Norbeck, Peters & Ford AUCTION #150 • - -Closing Date: Friday, 17 May, 2019

N #150 • Regarding AUCTION #150 (Closing Date: Friday, 17 May, 2019), The Minimum Bid ("MB") is a guide. 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 bid in accordance with whatever a given item means to you.

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Table of Contents 78rpm records Nos. M0101 – M0222 Harp 78rpm records Nos. M0222 – M0237 - 78rpm records Nos. M0238 – M0411 78rpm records Nos. M0412 – M0459 78rpm records Nos. M0460 & M0461 Chamber 78rpm records Nos. M0462 – M0473 Orchestral & Choral 78rpm records Nos. M0474 – M0932 CONDITION GRADING: M-A - nearly MINT, albeit very slightly used Copy. A - slightly used Copy, but with no defects. B - used Copy, with light wear and rubs, not affecting playing. Any other defects, e.g.: light (lt), edge chip (ec), lamination (lam), hairline crack (hlc), internal pressure crack (ipc), scratch (scr); label damage, etc. are most clearly identified within each individual listing. POM – A Direct Pressing, Pressed from Original Master, (never a dubbing), whether an Original Pressing or a Subsequent Issue.Only form of issue – relates exclusively to 78rpm issues, only those Pressed from Original Masters. Scroll - relates exclusively to the best period of Victor, always featuring the SCROLL Label, mid-1930s, and always offering remarkably quiet surfaces, very often on Z Shellac, or Z type Shellac on Z Shellac - relates exclusively to the best pressings ever produced by Victor, mid-1930's, found on PW, ORTH, but primarily on SCROLL Labels, always offering remarkably quiet surfaces, identifiable by the minuscule "z" found only in the upper portion of the inner margin of the shellac. Master Works is Columbia's equivalent, offering the best pressings ever produced by Columbia, preceded (chronologically) by their notable Royal Blue Shellac 1932-34 Pressings. H & D - relates exclusively to Vertical-Cut (Hill & Dale) 78rpm issues, requiring a special stylus.

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THE RECORD COLLECTOR Larry Lustig, Editor 111, Longshots Close Broomfield, Chelmsford Essex CM1 7DU, UNITED KINGDOM Email: [email protected] Website: http://www.therecordcollector.org By annual subscription: £49 per year by air mail

M0101. RAOUL PUGNO: Impromptu - Valse (Chopin). 10" black G&T G.C.35502 (Matrix 2036-P 1), only form of issue, 1903. M-A, an extraordinary copy with uncommonly bright label! MB 450

“A month before Grieg made his recordings, another famous pianist made some discs for the Gramophone and Typewriter Company in Paris….Apparently, Pugno was not enthusiastic about the piano solos already on offer by the Gramophone and Typewriter Company, but they were obviously keen to secure the services of one of the greatest pianists of the time - indeed, along with Alfred Grünfeld, Pugno was one of the first pianists of international note to make recordings. He recorded four, ten-inch sides in April 1903; when he returned a few days later to hear the recordings, overwhelmed he immediately recorded five more sides.” - Jonathan Summers

M0102. FRANCIS PLANTÉ: Romance #2 in F-sharp (Schumann) / LA DAMNATION DE FAUST – Sérénade (Berlioz). 10” PW Eng. Col. D 13061, only form of issue, 3 July, 1928. M-A, exceptional copy has, Sd.2 only, wee ec, nowhere near grooves. MB 45

“Francis Planté spent his old age on his estate near Mont-de-Marsan and it was there in 1928 that he made his only recordings. It is extraordinary to think that a pianist who was already ten years of age when Chopin died in 1849 could have made sound recordings. Planté was always working at the piano; as he told , he was ‘…a student, still plodding in my ninetieth year’. Because of this he kept up his technique and played Chopin études when he was in his nineties. Gaby Casadesus and her husband spent an afternoon with Planté at this time. She said that Planté was ‘…a really wonderful Chopin player… I remember that he played the Chopin Barcarolle in an incredible way even then. He knew some Chopin students, Philipp’. His concerts were usually long affairs and in May 1928 when the indefatigable Planté had given two concerts in a single day (he was approaching ninety years of age), his American friend Irving Schwerké, eager to have Planté’s art preserved, interested the French Columbia Company in recording him. However, Planté would not travel to the recording studios in Paris, so Columbia took their recording equipment to his home in July 1928 and spent two days recording. These discs are historical documents of one of the earliest pianists to have been recorded….to be able to hear an important figure like Planté is a rare privilege.” - Jonathan Summers

M0103. CAMILLE SAINT-SAËNS & GABRIEL WILLAUME (Violin): Suite Algérienne – Rêverie à Blidah / LE DÉLUGE - Prélude (both Played by the Composer). 12” PW Disque Gram. DB 705 (03280/84v), POM-24 Nov., 1919. M-A MB 65

“Once described as the French Mendelssohn, Camille Saint-Saëns was talented and precocious as a child, with interests by no means confined to music. He made an early impression as a pianist. Following established French tradition, he was for nearly 20 years organist at the Madeleine in Paris and taught briefly at the École Niedermeyer, where he befriended his pupil Gabriel Fauré. He was a co-founder of the important Société Nationale de Musique with the patriotic aim of promoting contemporary French music in the aftermath of the Franco-Prussian war of 1870-01.” - Jonathan Summers

M0104. EDOUARD RISLER: Hungarian Rhapsody #11 in a (Liszt), 2s. 11½” green paper label H & D Pathé 9535, recorded 1917. M-A MB 325 M0105. EDOUARD RISLER: Sonata in A-flat - Finale (Beethoven) / Scherzo in e (Mendelssohn). 11½” green paper label H & D Pathé 9532, recorded 1917. M-A MB 325

“Edouard Risler was one of the great pianists of during the late 19th and early 20th centuries. His repertoire ranged from Bach and the French baroque composers, through the works of Beethoven, Chopin and Liszt, to his own transcriptions of the tone poems of .

Along with Cortot, he was a student of Diémer at the Paris Conservatory, being awarded the first prize in 1889. Cortot won it in 1896 and had this to say about Risler's playing: ‘I immediately felt myself engulfed by the music; it was not just a matter of what he was playing, but also his charm, his faculty to reveal, to communicate the incommunicable. His unique way of making music overwhelmed me, it entered into me, into my very flesh. Risler presented to me a magical world which previously I had only known as an onlooker. He opened my soul to the appreciation of a music that was born of spontaneous inspiration. His feeling for orchestral colour was something that I had never associated with the piano. From that moment I understood how the vocation of the interpreter could transcend the metier of the pianist, I knew...I could see...I believed, and I was clear in my vision’. He also studied with Eugen d'Albert, a pupil of Liszt.

His circle of friends included some of the most important composers of the day: Gabriel Fauré, , Emmanuel Chabrier, and Enrique Granados of whose works he was at times the dedicatée and gave the premieres….you will hear a wonderful pianist, one whose interpretive style cannot easily be confused with that of others of his era.” - forte-piano.com

M0106. EUGEN d’ALBERT: Ecosaises (Beethoven-d’Albert) / Die Toten Augen – Mytocle’s Aria (Played by the Composer). 10” black Schall.Gram. 62308 (19057/59-L), POM-1916. M-A, exceptional copy has, Sd.1 only, microscopic scr, inaud. MB 175

“The German composer Eugen d’Albert was born in Glasgow and had his early musical training in London, where his father had formerly been ballet-master at the King’s Theatre and at . He enjoyed a career as a virtuoso pianist, later turning his attention to , a form in which he won immediate, if ephemeral success. He died in Riga in 1932. The best known of d’Albert’s stage works is his music-drama TIEFLAND, based on Angel Guimerà’s TERRA BAIXA, a Catalan novel from 1897, and first staged in in 1903. - Jonathan Summers

M0107. : Au printemps (Played by the Composer) / JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim). 12” PW black Historic Catalogue #2 HMV D 803 (2147f / 217y), POM-1903, Paris / , resp. M-A, an outstanding copy! MB 65

“Edvard Grieg is the most important Norwegian composer of the later 19th century, a period of growing national consciousness…..He continued to divide his time between composition and activity in the concert hall until his death in 1907. As a pianist himself, Grieg wrote extensively for the piano…and in other sets of short compositions for the instrument, often derived directly or indirectly from Norwegian folk music….In the spring of 1903, Grieg made nine 78-rpm gramophone recordings in Paris….Among the great violinists and teachers of his time, JOSEPH JOACHIM studied in , worked as a boy with Mendelssohn in Leipzig, served as violinist to the King of Hanover, and eventually moved to Berlin. He met Brahms in 1853…and remained a friend for many years, advising him on orchestration and on writing for strings.” - Jonathan Summers

M0108. BLANCHE SELVA & JOAN MASSIA: Sonata in A (Franck), 8s. 4-PW dark-blue Eng. Col. DX 239/42, POM-1930. M-A MB 75, the Set.

“Blanche Selva, one of the most revered of French pianists of her generation, made pitifully few recordings and even those were compressed into a two-year period. Her discography in fact amounts to no more than a mere eleven works. Trained at the Schola Cantorum, Selva was appointed by d’Indy himself as teacher at the early age of eighteen. In all she taught there for twenty years and was adventurous enough to add her own twist to the usual continental drift westwards of Czech musicians – Selva herself moving to Prague to teach, encountering Suk and Novák along the way.” - Jonathan Woolf

M0109. EMMA BOYNET: Nocturne / Pastels – Feux follets (both Isidor Philipp). 10” Scroll V 4279, on ‘Z’-type shellac. M-A MB 65

M0110. EMMA BOYNET: Histoires – Le petit âne blanc / La marchande d’eau fraiche (both ). 10” Scroll V 4315, on ‘Z’-type shellac. M-A, Exemplary! MB 25

M0111. EMMA BOYNET: Sonata in C – Rondo (Haydn) / Allein Gott in der Höh’ sei Her! (Bach). 10” Scroll V 4336, on ‘Z’-type shellac. M-A, lovely copy has, Sd. 1 only, pinpoint pressing bump. MB 65

M0112. EMMA BOYNET: Fauré, Pierné, de Sévérac, Chabrier & Debussy, 10s. 5-10” PW V 4420/24, POM-1938, in Orig. Victor Album AM-549, w.Brochure. M-A MB 35, the Set.

M0113. EMMA BOYNET, w.Jacques Gordon (Viola) & Bruno Labate (Oboe): Two Rhapsodies, 5s / Sd.6 = JACQUES GORDON, w.Carl Deis (Pf.): Adieu pour jamais (both Loeffler). 3-12” Schirmer 2531/33, in Orig.Album 10. M-A MB 45, the Set.

M0114. EMMA BOYNET, w.Gordon : Piano Quintet in d (Fauré), 8s. 4-12” Schirmer 2527/30. M-A, as unplayed! MB 45, the Set.

Emma Boynet was a prized pupil and life long associate of Isidor Philipp. She was awarded a first prize in piano at the Paris Conservatory. She was a favorite pianist of with whom she often performed at Symphony concerts. And she is known for her beautiful playing of the French piano repertoire, particularly the music of Gabriel Fauré whom she knew well. I love her playing and will be on the lookout for more examples of it. Emma Boynet's Bach must have been delightful. To hear her play more of his music with that gorgeous tone and perfect touch would bring me no end of pleasure.” - forte-piano.com

M0115. MONIQUE de la BRUCHOLLERIE: Sonata #34 in e (Haydn), 2s. 12” HMV DB 21038, only form of issue, 22 Oct., 1947. M-A MB 12

M0116. MONIQUE de la BRUCHOLLERIE: Deux valses – caprices (Schubert) / ‘Egyptian’ #5 in F - Toccata (Saint-Saëns). 10” HMV DA 1888, only form of issue, 22 Oct., 1947. M-A MB 8

" Bruchollerie studied as a child with Isidor Philipp, who was a family friend. Under his guidance at the age of thirteen she won a premier prix at the Paris Conservatoire and was awarded the Pagès Prize, an honour given every five years to the best premier prix winner. She continued her studies in Paris with , and in Vienna with Liszt pupil Emil von Sauer. In 1948 she gave a highly-praised concert at the Salle Pleyel, where she played three piano concertos with Charles Munch and the Société des Concerts du Conservatoire. Bruchollerie made her debut in the USA with the Boston Symphony Orchestra under Ernest Ansermet on 14 December 1951, and at Carnegie Hall, when she played Rachmaninov’s Piano Concerto #3 in d minor with the same forces in February 1952. She ‘…reaped an immense triumph’ according to critic Olin Downes. A week later she gave her New York recital debut, also at Carnegie Hall….A month later Bruchollerie gave the New York première of a piano concerto by Jean Rivier conducted by George Szell. When she returned to give another solo recital at Carnegie Hall in March 1953, Bruchollerie was described as displaying ‘…playing of unquenchable enthusiasm and exuberance’." - Jonathan Summers

M0117. JEANNE-MARIE DARRÉ: Tarantelle in A-flat, Op.43 / Trois Ecossaises, Op.72 (both Chopin). 10” red Pathé PD 97, only form of issue, 1949. M-A MB 15

M0118. JEANNE-MARIE DARRÉ: Feux-follets (Liszt) / Aeolian Harp Étude #13 in A-flat, Op.25, #1; Étude #18 in g-sharp, Op.25, #6 (Chopin). 12” red Pathé PDT 92, only form of issue, 1944. M-A MB 8

“Jeanne-Marie Darré, a French pianist whose interpretations of Chopin and Liszt solo works and the Saint-Saens Concertos were admired for their sophistication and interpretive inventiveness, was an elegant player who dazzled with the strength and clarity of her technique but was also a provocative interpreter. Miss Darré also had considerable stamina. When she was 21 she played all five of the Saint-Saens Piano Concertos in a single program with the Concerts Lamoureux orchestra, conducted by Paul Paray. She repeated that feat twice and sometimes played all the Chopin Etudes and Preludes in a single recital program.

Her principal teachers were Isidore Philipp and Marguerite Long, through whom she met and worked with several great French composers of the time, among them Fauré, Saint-Saens and Ravel….her debut at Carnegie Hall with Charles Munch and the Boston Symphony Orchestra was an eagerly anticipated event. Miss Darré returned to give her first American recitals at the end of 1962, and returned regularly through the early 1980s.” - Allan Kozinn, , 1 Feb., 1999

M0119. ELAINE ZURFLUH-TENROC: Miroirs – Oiseaux tristes / La vallée des cloches (Ravel). 12” black Disque Gram. W-1031, only form of issue, 1929. M-A MB 15

M0120. MARGUERITE ROESGEN-CHAMPION: L’hirondelle (Daquin) / French Suite #5 in G - Passepied & Gavotte (Bach). 10” PW plum Disque Gram. K-6004, POM-1941. M-A MB 10

M0121. MARGUERITE ROESGEN-CHAMPION, w.Gaillard Cond.: Concerto in D, Op. 21 (Haydn), 4s. 2-12” Master Works Col. P-69405/06-D, POM-3 March, 1937, in Orig. Col. Album X-118. M-A MB 12, the Set.

M0122. MARGUERITE ROESGEN-CHAMPION, w.Gaillard Cond.: Concerto #1 in F, K.37 (Mozart), 3s; Sd.4 = Concerto in C - Rondo (J. C. Bach). 2-12” Master Works Col. P-69396/97-D, POM-20 May, 1936 / 19 April, 1940, in Orig. Col. Album X-114. M-A MB 12, the Set.

M0123. MARGUERITE ROESGEN-CHAMPION, w.Wolff Cond.: Concerto #4 in G, K.41 (Mozart), 3s; Sd.4 = Concerto in F - Rondo (J. C. Bach). 2-12” red French Col. RFX 75/76, only form of issue, 19 April, 1940. M-A MB 12, the Pair.

M0124. MARGUERITE ROESGEN-CHAMPION, w.Coppola Cond.: Les vieux seigneurs; Les jeunes seigneurs (both Couperin) / Rigaudon; Musette et tambourin (both Daquin). 10” PW plum HMV B.8122. M-A MB 10

M0125. MARGUERITE ROESGEN-CHAMPION, w.Coppola Cond.: Harpsichord Concerto #6 in B-flat, 3s / Sd.4 = Harpsichord Suite #11 in d – Sarabande & Gigue (both Handel). 2-10” Scroll V 4363/64, on ‘Z’-type shellac. M-A MB 12, the Pair.

M0126. MARGUERITE ROESGEN-CHAMPION, w.Coppola Cond.: Concerto #6 in F (Haydn), 2s. 12” PW V 12042, POM-3 March, 1933. M-A MB 12

M0127. MARGUERITE ROESGEN-CHAMPION, w.Coppola Cond.: Concerto #6 in F (Haydn), 2s. 12” black Japanese Orth V JB 84, POM-3 March, 1933. M-A MB 12

“The Swiss-born Roesgen-Champion had been privately musically educated by her mother, the singer Cecile Roesgen-Liodet, and then at the Geneva Conservatory where she studied piano with Marie Panthis and composition with Ernest Bloch and Jacques Dalcroze. Following her graduation in 1913 she pursued a concert career as a harpsichordist, appearing as a soloist with leading French orchestras.” - Aaron I. Cohen, INTERNATIONAL ENCYCLOPEDIA OF WOMEN COMPOSERS, p.393

M0129. ROBERT LORTAT: 24 Préludes (Chopin), 8s. 4-12” early PW & Viva-Tonal Col. 67540/43-D, POM-1928, in handsome hand-made album. M-A MB 35, the Set.

M0130. ROBERT LORTAT: Waltzes (Chopin), 10s. 5-12” early PW Col. 68028/32-D, POM-1928 on Royal Blue Shellac, in Orig. Album 171, w.brochure. A to M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

“As Lortat had performed complete cycles of Fauré’s works in concert, French Columbia asked him to record the études, waltzes, préludes and the Sonata in b- flat minor. The recordings were made in Paris between 1928 and 1931. The recording of the préludes is strong, bold and forthright, similar in style to Cortot; but Lortat displays an impetuousness that is even more evident in the sonata….the last few of Op. 25 are given excellent, bravura performances.”

M0131. MARIA THÉRÈSE BRAZEAU: Préludes, Book II - Feu d’artifice (Debussy) / Jeux d’eau (Ravel). 12” green German Polydor 27094, only form of issue, 1929. M-A MB 10

M0132. ANITA SIEGEL & BABETH LÉONET: Dolly – Suite (Fauré), 4s. 10” dark-blue PW French Col. DF1665 & 12” DFX193 [CL 5073/74; CLX 1777/78], POM-1934. M-A, choice, albeit 1 side has faintest rubs, inaud. MB 15, the Pair.

“As ‘a child pupil of Marguerite Long’, herself a renowned interpreter of Fauré's music. Anita Siegel appears also to have studied with Lazare Lévy, but did not perish in the Holocaust but rather fell to her death in 1943, aged 22, from the balcony of her apartment in Grenoble whence she had moved from Neuilly after her marriage in 1941.” - A niece of Anita Siegel

M0133. JACQUES DUPONT: Scherzo fantasque (Czerny) / Sonata #12 in G – Minuet (Schubert). 10” green Pathé X.98.176, only form of issue, 1933. M-A MB 12

M0134. JEAN DOYEN: Études de Concert – Il Lamento (Liszt), 2s. 12” Disque Gram W-1569, only form of issue, 3 March, 1943. M-A MB 15

M0135. JEAN DOYEN: Nocturne #6 in D-flat (Fauré), 2s. 12” Disque Gram DB-5029, only form of issue, 23 Feb.,1937. [Born in Paris, Doyen graduated from the as pianist in 1922. He began learning the instrument with Jeannine Barbulée (teacher of Samson François and Yvonne Lefébure), then studied with Louis Diémer (1919) and finally with Marguerite Long. In 1924, he made his solo debut with the .] A-, lovely copy has faint rubs, inaud. MB 15

M0136. JACQUES FÉVRIER: Sonata in B-flat (Bach), 2s. 12” L’Anthologie Sonore 68, POM-1938. M-A MB 15

M0137. JACQUES FÉVRIER: Miroirs – Noctuelles; w.MUNCH Cond. Paris Conservatoire Orch.: Concerto in D pour la main gauche, 5s (both Ravel). 3-12” French Col. LFX 631/33, only form of issue, 1942. M-A, choice copy has, Sd.1 of the Concerto only, very long internal lam, positively audible. MB 25, the Set.

“Although Paul Wittgenstein who commissioned this work gave the premiere with Robert Heger and the Vienna Symphony Orchestra on 5 January 1932, the first French pianist to perform it was Jacques Février, chosen by Ravel. When Ravel first heard Wittgenstein play the concerto at a private concert in the French embassy in Vienna, he was furious. He heard lines taken from the orchestral part and added to the solo, harmonies changed, parts added, bars cut and at the end a newly created series of great swirling arpeggios in the final cadenza. The composer was beside himself with indignation and disbelief. Later Wittgenstein agreed to perform the concerto as written, and the two men patched up their differences, but the whole episode left a bitter taste in both their mouths.

Jacques Février studied with Edouard Risler and Marguerite Long at the Paris Conservatoire, winning a premier prix in Long’s class in 1921. He specialised in French music and became a champion of the music of 'Les Six'. From childhood he was acquainted with Ravel, who had known his father in Fauré’s composition class at the Paris Conservatoire. Young Jacques would visit Ravel at Sainte-Croix in Neuilly where the composer was living with his mother. During his years at the Conservatoire, Février regularly visited Ravel and studied and played many of his works with him. Ravel chose Février to play his Concerto for the Left Hand, originally written for Paul Wittgenstein, and after three years of exclusive rights had elapsed Février played it all over the world. He said, ‘I had studied it with Ravel. Although already very ill, he knew perfectly well what he wanted and what he forbade. When Marguerite Long was learning the Concerto in G major I accompanied her on the second piano. Ravel was behind me, and I still remember exactly what he asked of her’….in addition to Février having studied many of Ravel’s works with the composer, he has an obvious understanding of this music and an ability to reveal the textures with clarity and precision.” - Jonathan Summers

M0128. ROBERT CASADESUS: Les Ballades (Chopin), 10s. 5-12” early PW Col. 68085/89-D, POM-1928, on Royal Blue Shellac, in Orig. Col. Album #179, w.brochure. M-A MB 65, the Set.

M0138. ROBERT CASADESUS: Jeux d’eau (Ravel), 2s. 10” black Viva-Tonal Col. 1864-D, POM-20 June, 1928. A to M-A, choice copy has, Sd.1 only, sev infinitessimal pap.scrs, inaud. MB 12

M0139. ROBERT CASADESUS, w.Bigot Cond.: Konzertstücke in f (Weber), 4s. 2-12” early PW Col. 68468/69-D, POM-6 June, 1935, in Orig. Col. Album X-59. M-A MB 15, the Set

M0140. GABY CASADESUS: Pavane pour une Infante défunte / Miroirs – Oiseaux tristes (both Ravel). 12” black French Polydor 566.251, only form of issue, c.1949. M-A MB 12

“Gaby Casadesus, a pianist and teacher whose specialty was the 19th- and 20th-century French piano repertory, and who often performed in a piano duo with her husband, Robert Casadesus, was born in Marseilles in August 1901. She became a student of Marguerite Long and Louis Diémer. She graduated from the Conservatoire with first prize in piano when she was 16 and soon established herself with performances of the piano works of Faure, Ravel and Milhaud, which she studied with the composers' guidance. When she was still at the Conservatoire she met Robert Casadesus, another student of Diémer, two years her senior. The two began giving performances of duo piano works together, and they married in 1921. In the 1960s their son, Jean Michel Casadesus, sometimes joined them for performances of the Bach Triple Concerto and Robert Casadesus' Concerto for Three .” - Allan Kozinn, THE NEW YORK TIMES, 20 Nov., 1999

M0141. RÉGINA PATORNI-CASADESUS (Clavecin): Toccatina (Scarlatti) / Pastorale variations with cadenza (Anton Eberl; [formerly att. Mozart]). 12” PW dark-blue Eng. Col. DX 53, POM-c.1930. A to M-A, lovely copy has faint rubs, inaud. MB 35

M0142. RÉGINA PATORNI-CASADESUS (Clavecin), w.Lucette Patorni-Casadesus, Henri Casadesus & Maurice Devilliers: Les plaisirs champêtres (Monteclair), 4s. 2-12” PW Eng. Col. LFX 19/20. M-A MB 35, the Pair. M0143. HÉLÈNE PIGNARI-SALLES, GERMAINE LEROUX, NICOLE ROLET & PIERO COPPOLA (Pfs.), w.Gustave Bret Cond.: Concerto for Four Pianos (Bach-Vivaldi), 3s. / Sd.4 = Gustave Bret Cond.: ACRUS TRAGICUS – Prelude (Bach). 2-12” green LVDP S10447/48 [2P6614/17], POM-6 March, 1933. M-A MB 20, the Pair.

“The name of Hélène Pignari (sometimes billed Pignari-Salles) comes up sometimes in connection with recordings in partnership with violinist Louis Kaufman for Concert Hall. The conductor, Gustave Bret appears to have also been an organist and composer. In 1933 he directed a recording of the Vivaldi-Bach Concerto for four keyboards.” – The Shellackophile

M0144. FRANCIS POULENC: Caprice pour piano / Deux novelettes pour piano (Played by the Composer). 12” Master Works Col. 68919-D, POM-1932. M-A MB 15

M0145. FRANCIS POULENC & GEORGES AURIC: PARADE – Suite (Arr. Piano, Four Hands), 3s / Sd. 4 = Deux morceaux en forme de poire (both Satie). 2-12” green French Boîte à Musique 16/17, only form of issue, 1937. M-A MB 25, the Pair.

M0146. FRANCIS POULENC, w.Lamorlette & Dhérin: Trio for Piano, Oboe & Bassoon (Played Composer), 4s. 2-12” PW Eng. Col. L 2223/24, POM-1928. M-A MB 25, the Pair.

M0147. MARGUERITE LONG: Nocturne #6 in D-flat (Fauré), 2s. 12” Master Works Col. 68935-D, POM-14 May, 1935. M-A MB 12

M0148. MARGUERITE LONG: La plus que lente / Estampes – Jardins sous la pluie (both Debussy). 12” Eng. Col. LFX 24, POM-6 / 12 Nov., 1929. M-A MB 10

M0149. MARGUERITE LONG: Arabesque #1 in F / Arabesque #2 in G (Debussy). 10” early PW Col. 17033-D, POM-10 July, 1930, on Royal Blue Shellac. M-A MB 12

M0150. MARGUERITE LONG: Fantaisie in f, op. 49 (Chopin), 4s. 2-10” PW Eng. Col. D13112/13, POM-11 May, 1929. A to M-A MB 12, the Pair.

M0151. MARGUERITE LONG: Saudades do Brasil – Paysandu; L’Automne - Alfama (Milhaud); w. DARIUS MILHAUD Cond.: Piano Concerto (Cond. by the Composer), 4s. 2-12” Master Works Col. 68737/38-D, POM-10 May / 5-6 April, 1935, in Orig. Col. Album X-67. M-A MB 25, the Set.

M0152. MARGUERITE LONG: Mazurka, Op.59, #3; w. Philippe Gaubert Cond. Paris Conservatoire Orch.: Piano Concerto #2 in f, 7s. (both Chopin). 4-12” Viva-Tonal Col. 67800/03-D, POM-6 Nov. / 28 June, 1929, in Orig. Album 143, w.Brochure. M-A MB 35, the Set.

M0153. MARGUERITE LONG, w. Paul Paray Cond. Colonne Orch.: Symphonie sur un chant montagnard français, Op.25 (D'Indy), 6s. 2-12” early PW Col. 68280/81-D, on Royal Blue Shellac, plus 1-12” Eng. Col. LX 362, POM-24 May, 1934, in Orig. Col. Album 211, w,brochure. M-A; Sd.3 has ec to 1st groove. MB 25, the Set.

M0154. MARGUERITE LONG, w. Philippe Gaubert Cond. Paris Conservatoire Orch.: Ballade for piano and orchestra in f-sharp, Op. 19 (Fauré), 4s. 2-12” PW Eng. Col. LFX 54/55, POM-9 Dec., 1929. M-A MB 10, thePair.

M0155. MARGUERITE LONG, w. Philippe Gaubert Cond. Paris Conservatoire Orch.: Concerto #23 in A, K.488 (Mozart), 6s. 3-12” Master-Works Col. 68566/68-D, POM-13 Dec., 1935, in Orig. Album 261, w.Brochure. M-A MB 25, the Set.

M0156. MARGUERITE LONG, w. Cond. London S.O.: Piano Concerto in G (Cond. by the Composer), 5s.; Sd.6 = PEDRO de FREITAS-BRANCO Cond.: Pavane pour une Infante défunte (Ravel). 3-12” Viva-Tonal (style) Col. 68064/66-D, POM-14 April, 1932, in Orig. Album 176. M-A MB 25, the Set.

M0157. GUIOMAR NOVAËS: L’Hymne National Brésilien (1920/’23 Version) (Gottschalk), 2s. 12” Vla 6372, POM-3 April, 1920 / 12 June, 1923, sole issue, Sd.2. M-A, superb copy has faintest rubs, inaud. MB 45

“Guiomar Novaës enjoyed one of the most successful and durable pianistic careers of the 20th Century….She possessed a perfectly balanced combination of qualities: superb musicianship, aristocratic phrasing, and a soaring, colorful tone as immediately recognizable as Horowitz’s thundering octaves.” - Jonathan Dobson

M0158. CARLOS VALDERRAMA: Inca Rhapsodie, #5 (Played by Composer), 2s. [Carlos Valderrama was a Peruvian pianist and composer, who travelled to villages and persuaded the indigenous people to play for him their tribal music. Inca music, he said is based on only five notes, played on hollow bamboo rods resembling but yards in length.] 10" H & D paper label Edison 80721 [7437-A/7440-B], only form of issue, 1920. M-A, as New! MB 35

M0159. CARLO ZECCHI: Arpeggio in E (Paganini-Liszt); Etude in G-flat, Op.10, #5 / Mazurka #25 in b, Op.33, #4 (both Chopin). 10” red French Ultraphone BP 1487, POM-1936. M-A MB 15

M0160. CARLO ZECCHI: Concerto in G (Vivaldi); Sonatina in G – Gigue (Scarlatti), 2s. 12” dark-blue Cetra CB.20350, only form of issue, 2 May, 1937. M-A MB 15

“Zecchi’s keyboard style was refined, poised and very graceful, somewhat akin to that of Arturo Benedetti Michelangeli, yet with more warmth. He made his first recordings for Odéon in Paris around 1927. While in in 1928 he recorded for the Russian label Muz Trust, the precursor of Melodiya. In 1935 Zecchi was again recording in Paris, this time for Ultraphone. From these sessions come excellent accounts of [Chopin, Ravel & Liszt].” - Jonathan Summers

M0161. MORIZ ROSENTHAL: Carnaval de Vienne (1930 Version) (Johann Strauss-Rosenthal), 2s. 12” red Decca-Odeon G-25839 (21706/07), POM-3 May, 1930. M-A, choice copy has, Sd.2, faintest pap. rubs, inaud. MB 12

M0162. MORIZ ROSENTHAL: Carnaval de Vienne (1935 Version) (Johann Strauss-Rosenthal), 2s. 12” V 11-8175, POM-23 Nov., 1935. M-A MB 12

M0163. MORIZ ROSENTHAL: Hungarian Rhapsody #2 in c-sharp (Liszt), 2s. 12” Royale 104, RR's, 1930, Ultraphon. M-A MB 12

M0164. MORIZ ROSENTHAL: Soirée de Vienne #6 in A (Schubert-Liszt), 2s. 10” PW V 1854, POM-25 May, 1936. M-A MB 10

M0165. MORIZ ROSENTHAL: Mazurka in D, Op.33, #2 / Mazurka in B, Op.63, (both Chopin). 10” PW V 1951, POM-22 Oct., 1937. M-A MB 12

M0166. MORIZ ROSENTHAL: ‘Black Keys’ Étude in G-flat, Op.10, #5; Mazurka in c-sharp, Op.63, #3 / Étude in C, Op.10, #1; Mazurka in G, Op.67, #1 (all Chopin). 12” PW Parl. E11161, POM-1931. A-, fine copy has few lt.superficial scrs, inaud. MB 12

M0167. MORIZ ROSENTHAL: Waltz in c-sharp, Op.64, #2 / Waltz in e, Op.Posth. (both Chopin). 12” PW Parl. E 11043, POM-28 April, 1930. M-A MB 12

M0168. MORIZ ROSENTHAL: Nocturnes, Mazurkas, Waltzes, Préludes & Chant polonais (Zyczenie), 8s. 4-12” Scroll V 14297/14300, POM-1936 [these are some of the best of Rosenthal’s discs as he was caught in excellent sound], in Orig. Album M-338, w.Brochure. M-A MB 35, the Set.

“…at the age of ten, Rosenthal began studies with a pupil of Chopin, Karl Mikuli, who at that time was director of the Lemberg Conservatory. From Mikuli, Rosenthal learnt the secret of a perfect legato as passed to him by Chopin. When his family moved to Vienna in 1875 Rosenthal began lessons with Liszt pupil Rafael Jossefy, learning from him the detached, brilliant technique of the Liszt school, and it was the combination of these two teachers that gave Rosenthal his comprehensive technique of vast range and diversity. In October 1876, on a visit to Vienna, Liszt heard Rosenthal and immediately accepted him as a pupil. He also made friends with the greatest musicians of the time including Johann Strauss, Saint-Saëns, Tchaikovsky, Brahms and particularly Anton Rubinstein with whom the young Rosenthal would often travel.

Rosenthal sustained a career through the first three decades of the twentieth century. Rosenthal was appointed guest professor at the Curtis Institute of Music in Philadelphia, where his students included Charles Rosen. Rosenthal was still before the public at the age of eighty, although by this time the titanic thunderings of his youth were replaced by the most subtle of shadings, a wondrously beautiful tone and exquisite poise and control. At the height of his career Rosenthal was unsurpassed as a pianist. Not only did he have the greatest technique, allied to a poetic musical insight, but he was also a great thinker who believed that the study of literature, the visual arts, poetry and nature was of extreme importance to musicians.

Rosenthal recorded his paraphrase on themes of Strauss, the ‘Carnaval de Vienne’, a number of times, the best being the recording for Parlophone made in May 1930. Rosenthal’s recordings of Chopin are some of the finest on disc.

Now aged eighty, Rosenthal recorded just two titles, the Tarantella in A flat Op. 43 by Chopin, and Liszt’s of Chopin’s song ’My Joys’. This last recording is a distillation of a lifetime’s knowledge of playing the piano and is exquisitely beautiful.” - Jonathan Summers

M0169. JOSEF LHÉVINNE: Polonaise in A-flat, Op.53 (Chopin), 2s. 10" Scroll V 1765, only form of issue, 6 Jan., 1936. M-A MB 20

M0170. JOSEF LHÉVINNE: Toccata in C, Op.7 / Frühlingsnacht (both Schumann). 12” Scroll V 8766, POM-7 June, 1935. M-A MB 25

M0171. JOSEF LHÉVINNE: Toccata in C, Op.7 / Frühlingsnacht (both Schumann). 12” PW V 8766, POM-7 June, 1935. M-A MB 20

M0172. JOSEF LHÉVINNE: Étude in g-sharp, Op.25, #6; Étude in E-flat, Op.10, #6 / Étude in a, Op.25, #11 (all Chopin). 12” PW V 8868, POM-10 June, 1935. M-A MB 12

M0173. JOSEF LHÉVINNE: Étude in g-sharp, Op.25, #6; Étude in E-flat, Op.10, #6 / Étude in a, Op.25, #11 (all Chopin). 12” RCA 8868, POM-10 June, 1935. MINT MB 10

M0174. JOSEF LHÉVINNE: Étude in b, Op.25, #22 / Préludes, Op.28, Nos. 16 & 17 (Chopin). 12” RCA 14024, POM-10 June, 1935 / 6 Jan., 1936. M-A MB 15

M0175. JOSEF LHÉVINNE: An der schönen, blauen Donau (Johann Strauss), 2s. 12” PW V 6840, POM 21 May, 1928. M A MB 12

M0176. JOSEF LHÉVINNE & ROSINA LHÉVINNE: Nocturnes - Fêtes (Debussy), 2s. 10" Scroll V 1741, only form of issue, 11 June, 1935. M-A MB 20

M0177. ALEXANDER BRAILOWSKY: Rondo a capriccio in G, Op.129 (Beethoven) / Pastorale et Capriccio (1939 Version) (Scarlatti). 12” Disque Gram. DB-3705, POM-1939. M-A MB 10

M0178. ALEXANDER BRAILOWSKY: Perpetuum mobile (Weber) / Pastorale et Capriccio (1926 Version) (Scarlatti). 12” black & silver French Polydor 95.141, POM-1926. M-A MB 10

M0179. ALEXANDER BRAILOWSKY: Barcarolle in F#, Op.60 (Chopin), 2s. 12” gold Bruns. 90414, POM-1934, choice Columbia pressing. M-A, choice copy has wee eddge crunch, Sd.1 only, far from grooves. MB 10

M0180. ALEXANDER BRAILOWSKY: Ständchen - Leise flehen meine lieder / Gnomenreigen (both Schubet-Liszt). 10” red & silver French Polydor 90.175, POM-1931. M-A MB 10

M0181. ALEXANDER BRAILOWSKY: Fantasiestücke, Op.12, #7 (Schumann) / Scherzo in e, Op 16, #2 (Mendelssohn). 10” red & silver French Polydor 90.173, POM-1931. M-A MB 10

M0182. ALEXANDER BRAILOWSKY: Hungarian Rhapsody #6 In D-Flat (Liszt), 2s. 10” red & silver French Polydor 90.146, POM-1929. M-A MB 10

M0183. ALEXANDER BRAILOWSKY: Polonaise in A flat major, Op. 53 (Chopin), 2s. 10” black & gold French Polydor 90.196, POM-1932. M-A MB 10

M0184. ALEXANDER BRAILOWSKY: Prélude, Op.11, #10; Étude, Op.8, #12 (both Scriabin) / El Amor Brujo – Danza ritual del fuego (de Falla). 12” dark-blue German Gram. 95142, POM-1928. M-A MB 10

M0185. ALEXANDER BRAILOWSKY: Moment Musical in f; Op. 94, #3 (Schubert) / Lieder ohne Worte - La Fileuse (Mendelssohn) / Sds. 3 & 4 = Tannhäuser - Overture (Wagner), 3s. 2-12” black & silver French Polydor 95.419/20, POM-1929. M-A MB 10

M0186. ALEXANDER BRAILOWSKY: Liebesträume / Sonetto 104 del Petrarca in E (both Liszt). 12” black & silver French Polydor 95.203, POM-1926. M-A MB 10

M0187. ALEXANDER BRAILOWSKY: Der Fliegende Höllander - Fantaisie (Wagner), 2s. 10” red & silver French Polydor 90.027, POM-1928. M-A MB 10

M0188. ALEXANDER BRAILOWSKY: Sonata #3 in b (Chopin), 6s. 3-12” PW V 15373/75, POM-1938, in Victor Album AM 548. M-A MB 25, the Set.

M0189. ALEXANDER BRAILOWSKY, w.Steinberg Cond.RCA S.O.: Concerto #1 in e (Chopin), 8s. 4-12” RCA 12-0968/71, POM-1949, in RCA Album DM 1317. M-A, choice copy of late beveled-edge pressing (rarely seen in 78rpm format). MB 25, the Set.

“Alexander Brailowsky, the Russian‐born concert pianist whose interpretation of the works of Chopin brought him worldwide acclaim, was the first to present the entire 169 piano works of Chopin in a cyclic format within a framework of six separate recitals. He performed this feat before capacity audiences in New York, Brussels, Zurich, Mexico City, Buenos Aires, Montevideo and Paris. One reviewer noted at the end of Mr. Brailowsky's Chopin series in New York in 1938 that ‘there are few enough pianists who have the prodigious memory, the physical strength, the comprehensive technique required for such an undertaking; there are far fewer who have - plus all these - the requisite musicianship’. Olin Downes of THE NEW YORK TIMES described the youthful pianist as a ‘born virtuoso in the, highest sense of that word….He feels instinctively the resources of the piano and makes of It an instrument that sings and throbs with color’. As guest soloist with major symphony orchestras, Mr. Brailowsky was noted for his large repertory. And in a series of 17 recitals in eight weeks in Buenos Aires he never repeated a single work. - THE NEW YORK TIMES, 26 April, 1976

M0190. : Serenade in A (Played by the Composer), 4s. 2-10” early PW Col. 17051/52-D, POM-1934. M-A MB 15, the Pair.

M0191. IGOR STRAVINSKY: Piano Rag-Music (Played by the Composer) / STRAVINSKY Cond. Racz, Charmy, Volant, Ginot, Juste, Lavaillotte, Godeau, Foveau, Deveny, Tudesq & Jean-Paul Morel: Rag-Time (Cond. by the Composer). 12” early PW Col. 68300-D, on Royal Blue Shellac, POM-1934. M-A MB 20

M0192. IGOR STRAVINSKY & SAMUEL DUSHKIN (Vln): Petrouchka – Danse russe (Played by the Composer) / Samuel Dushkin, Gromer, Durant, Vacellier & Grandmaison: Pastorale (Stravinsky). 10” Eng. Col. LB 15, POM-6 April, 1933. M-A MB 10

M0193. IGOR STRAVINSKY & SAMUEL DUSHKIN (Vln): Duo Concertant (Played by the Composer), 4s. 2-10” early PW Col. 17040/41-D, on Royal Blue Shellac, POM-6 April, 1933. M-A MB 20, the Pair.

M0194. IGOR STRAVINSKY, w.Ansermet Cond. Straram Orch.: Capriccio (Played by the Composer), 6s. 3-12” Viva-Tonal Col. 67870/72-D, POM-1930, in Orig. Col. Set 152. M-A MB 20, the Set.

M0195. CONRAD ANSORGE: Romance #1 in B-flat (Schumann) / Glanes de Woronince [as ‘Mélodies polonaises’] (Chopin-Liszt). 12” red Decca-Odeon 25520 (20865-2/20869), POM-1928. M-A, pristine copy has, beg. Sd.1, microscopic dust scr, w.3 faint ticks. MB 75 M0196. IGNAZ FRIEDMAN: Mazurka, Op.33, #2 / Prélude, Op.20, #19; Etude, Op. 28, #8 (all Chopin). 10” gold Flags Label Col. 30011-D (81597/81658), POM-15 / 31 March, 1924. Beautiful, quiet pressing. M-A, a gleaming copy! MB 20

"Ignaz Friedman’s boundless technique, juicy tone, and larger-than-life temperament truly justify his standing alongside other so-called Golden Age piano legends such as Hofmann, Rachmaninov, Lhévinne, and Moiséiwitsch."- Jed Distler, ClassicsToday.com, 12 March, 2003

M0197. ARTHUR FRIEDHEIM: Hungarian Rhapsody #6 in D-flat (Liszt), 2s. 12” dark-blue Eng. Col. 482 (30937/36674, POM-8 Jan., 1912 / 24 Feb., 1913. A to M-A MB 35

“What is most fascinating is [Arthur Friedheim’s] projecting Liszt in a classic, Apollonian manner, seeking to remind all of Liszt’s legitimate right to a realm within music’s pantheon….Friedheim’s too-few recordings and lucid perceptive writing conveys with striking modernity the essence of how a progressive mind and devoted artist interacted with the central cultural figure of his age and the after-effects of this experience translated into sound and words.” - Allan Evans

M0198. JAN SMETERLIN: Mazurka in b / Mazurka in C, both Op.33; Valse brilliante in F, Op.34 (all Chopin). 10” dark-green German Polydor 22363, POM-1929. M-A, albeit Sd. 2 only has faintest rubs, inaud. MB 25

“Mr. Smeterlin treats Chopin’s music like the old friend it is to him, with a warmth and love that sometimes becomes sentimental, and with a rhythmic freedom that borders on the capricious. It is an old- school approach, full of of individuality…special effects in the music that no one else does.” - Raymond Ericson, THE NEW YORK TIMES, 20 Jan., 1967

M0199. LUISE GMEINER: Intermezzo, Op.118, #4 / Rhapsodie, Op.119, #4 (both Brahms). 12” dark-blue German Telefunken E 2220, only form of issue, 17 Feb., 1937. [Luise Gmeiner, a pupil of Isidore Philipp, was the sister of Lula Mysz-Gmeiner.] M-A MB 35

M0200. SIXTEN EHRLING (as Pianist), w.Frykberg Cond. Stockholm Conservatory Orch.: Concerto #1 in e (Wiklund), 8s. 4-12” HMV DB 11021/24, POM-1949. MINT MB 25, the Set.

“Ehrling was the foremost Swedish conductor of the twentieth century, able to deliver performances both of Scandinavian music, with which he was closely identified, and of the more general repertoire with conviction, technical security and a high degree of musical integrity. He was greatly respected as a teacher of and counted amongst his pupils many who went on to enjoy significant careers. Of his recordings, which were limited in number, the most distinguished is the complete set of Sibelius symphonies, made for the Swedish label Metronome in the early 1950s with the Stockholm Philharmonic Orchestra. This set has been praised for its uncompromising portrayal of all the different moods of Sibelius the symphonist.” – Jonathan Summers

M0201. ARTUR SCHNABEL: Toccata in c; Toccata in D (both Bach), 8s. 4-10” PW V 2080/83, POM-24 Nov. 1937, in Orig. Album DM 532, w.Brochure. M-A MB 35, the Set. M0202. ARTUR SCHNABEL: Sonata #21 in A, Op.120 (Schubert), 9s. 5-12” S/S HMV Special shellac Pressings of Mx. 2EA 4543-51-1 M, POM-14-15 Jan., 1937. M-A MB 45, the Set.

“Alfred Brendel has recalled how Schnabel was perhaps the first pianist to give the A major Sonata its due, adding: ‘Even today, his 1937 recording transmits the freshness of an exhilarating discovery’.” - Richard Osborne, GRAMOPHONE, May, 1992

“Most of the first performances of [Schubert’s] pieces took place at chamber music evenings in someone's house. The early mixture of teenage passions and homey charm developed in those parlors set the scene for his greatest music….it grows well there. • Peter Schickele, Minnesota Public Radio Home

M0203. WILHELM KEMPFF: Sonata #12 in A-flat, Op.26 (Beethoven), 6s. 3-12” black PW German Polydor 66684/86, POM-1927. M-A MB 20, the Set.

M0204. WILHELM KEMPFF: 'Les adieux' Sonata #26 in E-flat, Op.81a (Beethoven), 4s. 2-12” black PW German Polydor 66687/88, POM-1928. M-A MB 20, the Pair.

M0205. WILHELM KEMPFF: ‘Hammerklavier’ Sonata #29 in B-flat, Op.106 (Beethoven), 10s. 5-12” burgundy Bruns.-Polydor 95020/24, POM-1936, in Orig. Brunswick Album BP-4. M-A, pristine copy of preferrred Columbia pressing. MB 35, the Set.

M0206. WILHELM KEMPFF: ‘Hammerklavier’ Sonata #29 in B-flat, Op.106 (Beethoven), 10s. 5-12” black German Polydor 67359/63, POM-1936. M-A MB 25, the Set.

M0207. WILHELM KEMPFF: Sonata #30 in E, Op.109 (Beethoven), 4s. 2-12” black German Polydor 67091/92, POM-1936. M-A MB 20, the Pair.

“Mr. Kempff developed a style characterized by nobility, structural clarity and deeply serious intent - which did not preclude a dewy, lyrical tone. Indeed, Mr. Kempff recorded prolifically until he was well into his 80s; his legacy includes complete renditions of the Beethoven and Schubert sonatas; concertos by Mozart and Beethoven; Liszt, Brahms, Chopin and Schumann compilations, and Bach's ‘Goldberg’ Variations and selections from the ‘Well-Tempered Clavier’. Mr. Kempff made his solo debut in 1917 at the Berliner Singakademie with a program that included Beethoven's ‘Hammerklavier’ Sonata and Brahms' Variations on a Theme by Paganini. The following year, he made his first appearance as a soloist with the , beginning an association that would last about half a century. Harold Schonberg wrote ‘When the music lies perfectly in his hands, Mr. Kempff can be a persuasive and even noble interpreter. Only a fine artist could have outlined the theme and the following first variation of Beethoven's Opus 109 with such simplicity and wisdom. And in the slow movement of the 'Hammerklavier' there was a grand design’…." - THE NEW YORK TIMES, 25 May, 1991

M0208. FANNY DAVIES: Davidsbündlertänze (Schumann), 6s. 3-12” Viva-Tonal Col. 67797/99-D, POM-1930 on Royal Blue Shellac, in Orig. Col. Album 142, w.brochure. M-A MB 85, the Set.

M0209. FANNY DAVIES: Kinderszenen (Schumann), 4s. 2-12” PW Eng. Col. L 2321/22, POM-2 Feb., 1929, issued UK & Australia only. M-A, lovely copy; Sd 2 only has lt. scuffs & scrs, ltly audible, thus A-B. MB 20, the Pair.

M0210. FANNY DAVIES, w.Ansermet Cond. Royal Phil.: Concerto in a (Schumann), 8s. 4-12” PW Eng. Col. 9616/19, POM-15-16 June, 1928, issued UK only, in Orig. Eng. Col. tie-back Album. M-A MB 65, the Set.

“The performance of Schumann’s Piano Concerto is so fresh and spontaneous that it is a surprise to learn that Davies was in her late sixties when she recorded it. If one reads the reminiscences of any of Clara Schumann’s pupils, the same ideas of interpretation abound, and it is in this recording that they are preserved and demonstrated….The performance style of this concerto has changed over the years, distorting the work into an overblown romantic warhorse, but listening to the simplicity and purity of Davies, one cannot help but imagine that this must be close to the way the work would have sounded in Schumann’s time.” - Jonathan Summers

M0211. GEORGE MALCOLM (Harpsichord): Bach goes to town (Alec Templeton) / Bach before the mast (Played by the Composer). 10” Parl.R.3776, only form of issue, 1953. M-A MB 15

"The day before George Malcolm was due to record on the harpsichord Alec Templeton’s 'Bach Goes To Town', the producer rang up and asked what they could put on the other side of the record. 'Oh, I’ll bring something', he said and sat up all night writing a brilliant fugue in the style of Bach with a subject based on the sailor’s hornpipe, a three-minute number that should have been called 'Bach Goes to Sea' but became 'Bach Before the Mast'. A brilliant piece, and typical of a great all-round musician. This taxing piece is an arrangement of the well-known British tune 'The Sailor's Hornpipe' somewhat in the style of the first movement of the Bach 'Italian Concerto'." - BaroqueMusic.org

M0212. ALEC TEMPLETON: Topsy Turvy Suite #1 – Bach goes to town / Topsy Turvy Suite #2 – Soldier’s minuet (both Played by the Composer). 10” Gramophone Shop GSV 1010, only form of issue, 1938. M-A MB 10

M0213. ALEC TEMPLETON: Topsy Turvy Suite #3 – Undertaker’s toccata / Ghost rhapsody (both Played by the Composer). 10” Gramophone Shop GSV 1011, only form of issue, 1938. M-A MB 10

M0214. ALEC TEMPLETON: Voyage à la lune / Mother’s lullaby; Friendship (all Played by the Composer). 10” Gramophone Shop GSV 1013, only form of issue, 1938. M-A MB 10

M0215. ALEC TEMPLETON: The lost chord (as written by Sir Arthur Sullivan, and as it might have been written for a Gilbert & Sullivan opera) / Alec Templeton in his impression of an amateur performance of Gilbert & Sullivan’s H.M.S. Pinafore. 10” Gramophone Shop GSV 1008, only form of issue, 1938. M-A MB 10 M0216. ALEC TEMPLETON: Longing / Pines (both Played by the Composer). 10” Gramophone Shop GSV 1012, only form of issue, 1938. M-A MB 10

M0217. ALEC TEMPLETON: MUSICAL PORTRAITS, incl. Bach tours Radio City; Mozart Matriculates; As Brünnhilde's Battle Cry might be sung by an American Crooner; Opera Presentation of 'South of the Border'; A sultry day in New York; Sousa and Strauss in reverse (all Played & Sung by the Composer), 6s. 3-10” black PW V 26492/94, only form of issue, 23 Jan., 1940, in Orig. Album P-19. [In every respect, this delightful set is an unforgettable treasure!] M-A MB 15, the Set.

M0218. ALEC TEMPLETON accompanying ELEANOR STEBER: Vienna in the Springtime / Roses in Wintertime (both Acc.by the Composer). 10” RCA 10-1473, POM-1949. M-A, choice beveled-edge pressing MB 12

“Two of the most delightful of Alec Templeton's original compositions are sung by Eleanor Steber with the composer himself at the piano. ‘Vienna in the Springtime’ and ‘Roses in the Wintertime’ draw upon the music of Richard Strauss and Johann Strauss, and familiar melodies are woven into the score by Templeton's agile pianism. This disc should prove popular with Miss Steber’s and Mr. Templeton's host of fans.” - THE NEW RECORDS, Vol. 17, #I, March, 1949

M0219. ALEC TEMPLETON , w.Kostelanetz Cond.: , 3s. / Sd 4 = Kostelanetz Cond.: Love walked in (both ). 2-12” green PW Col. 7379/80, POM-11 Feb., 1941, in Orig. Col. Album MX-196. M-A MB 15, the Set.

“Alec Templeton was a Welsh composer, pianist and satirist. Blind from birth, he studied at London's Royal Academy. In 1936, he moved from Wales to the United States as a member of Jack Hylton's Jazz Band, where he played with a number of orchestras and gave his first radio performances on The Rudy Vallée Show, The Chase and Sanborn Hour, Kraft Music Hall and The Magic Key. Signing a recording contract with RCA Victor in 1939, he made a string of amusing sides including ‘Man with New Radio’, ‘Mendelssohn Mows 'em Down’, and a pseudo- operatic rendering of ‘And the Angels Sing’ (written by the Italian composer Ziggy Elmano). A set of three 78rpm records called Musical Portraits was issued by RCA Victor as catalog number P-19; it continued in the catalog until the late ‘40s, and included ‘Mozart Matriculates’. It is often said that no one can convincingly satirise something unless he both understands and loves that which he intends satirising. That was never truer than in the case of Alec Templeton: he was a superb musical satirist and he took aim at the very musical forms he knew and loved best….he left behind a host of imitators, which is perhaps the sincerest form of flattery….he also left a rich recorded legacy.” - Greg Cormick, Program Notes to Templeton’s Flapper CD

M0220. JACQUES PRESS: DISconcerto (Played by the Composer), 2s. 10” green Alco S111, only form of issue, 1948, in frayed Original Printed Jacket. M-A MB 20

“Born in Russia in 1903, Jacques Press began studying piano at the age of six and later studied composition in Paris. He played piano for silent movies during his teens, lived for a short time in and Paris, and toured Europe with his own orchestra in 1924-25. He immigrated to the U.S. in 1926. After 12 years as an arranger for several large New York City movie houses, he moved to Hollywood, where he was active as a composer and arranger of songs and scores for films.” - HeBu Musikverlag M0221. DANA SUESSE: BLUE MOONLIGHT – Nine Piano Compositions (Played by the Composer), 6s. [In her early years, Suesse would ask the audience for a theme, and then proceed to take that theme, weaving it into something of her own.] 3-12” Schirmer Records 5503/05, only form of issue, 1940, in Orig. Schirmer Album #12. M-A, albeit Sds.3 & 5 have infinitessimal scuffs, inaud. MB 25, the Set.

"In May 1934 Paul Whiteman asked Suesse to compose a short instrumental along the same lines as her successful 'Jazz Nocturne'. 'Blue Moonlight' received its premiere in October, 1934, when she appeared on George Gershwin's radio program. On December 13 Dana recorded an abridged version with Whiteman's Concert Orchestra for RCA-Victor Records. Four years later Suesse adapted it for a popular song, recorded by the Glenn Miller Orchestra." - Ednay Arkspay

M0222. DANA SUESSE, w.Casper Reardon (Harp) & Chauncey Morehouse (Percussion): YOUNG MAN WITH A HARP - Suite for Harp and Orchestra (Played by the Composer), 4s. 2-12” Schirmer Records 2525/26, only form of issue, 12 April, 1940, in Orig. Schirmer Album #8. M-A MB 25, the Set.

“Casper Reardon was part of the first classes of Carlos Salzedo, along with Lucile Lawrence, Florence Wightman, Edna Phillips, Alice Chalifoux, Flora Greenwood and several others. He played in the Cincinnati Symphony Orchestra, then moved to New York and started swinging, then died young and suddenly, breaking a lot of hearts. He was a student of Carlos Salzedo at the Curtis Institute of Music where he had won a scholarship, had spent five years, 1926-31, in Cincinnati where he played with the Cincinnati Symphony and taught harp students of the Cincinnati Conservatory of Music. Coming to New York, Mr. Reardon played swing music on his instrument with great success making many appearances and appearing twice with Paul Whiteman’s Orchestra when it combined with the . - THE NEW YORK TIMES, 10 March, 1941

M0223. CARLOS SALZÉDO (Harp): Short Stories in Music for Young Harpists (Played by the Composer), 2s. 12" RCA 14871, only form of issue, 1938. M-A MB 12

M0224. CARLOS SALZÉDO (Harp), GEORGES BARRÈRE () & Horace Britt (Cello): La Cupis (celebrating La Camargo) / Le Tambourin (both Rameau). 10" PW V 1976, only form of issue, 24 May, 1937. M-A MB 15

M0225. ANITA LOUISE (Harp): Chanson sans paroles (Dubez) / w.Christian Thaulow (Violin) & Francis Tonhazy (Cello): Star Dust (Carmichael-Parish). 10" black Royale 1859, only form of issue, 1940. M-A MB 12

Anita Louise came to prominence in the mid 1930s at Warner Bros., but she had actually been in movies since 1922, when she was a 7 year-old child actress, and she successfully made the transition to a teen actress, and then an adult leading lady (one of the very few child stars to ever do this, joining Natalie Wood, and a very select few others!) Some of her movies include: THE STORY OF LOUIS PASTEUR, A MIDSUMMER NIGHT'S DREAM, A DREAM COMES TRUE, TOVARICH, THE LITTLE PRINCESS, and MARIE ANTOINETTE

M0226. MILDRED DILLING (Harp): Arabesque #1 (Debussy) / At the Spring (Albert Heinrich Zabel). 12" plum HMV C.1642, POM-1928. M-A MB 12

“Mildred Dilling, a concert harpist who performed for five Presidents, taught Harpo Marx and owned the world's largest private collection of harps, performed throughout North and South America, the Orient and Europe. At the peak of her career, she gave 85 concerts and traveled 30,000 miles a year. Dilling performed with noted vocalists Alma Gluck, Frances Alda, Yvette Guilbert, Nelson Eddy, and brothers Édouard de Reszke and Jean de Reszke. She played with Charles Wagner's Community Concert Series over 2000 times. A founder of the American Harp Society, Miss Dilling kept about 65 harps in her apartment and had others stored around the world. Sometimes she would bring 25 along on a concert tour. She performed for the first time at the White House during the Administration of Warren G. Harding and gave concerts there on six more occasions.” - THE NEW YORK TIMES, 3 Jan., 1983

M0227. LILY LASKINE: Impromptu pour harpe (Fauré), 2s. 12” PW V 12005. M-A MB 10

M0228. LILY LASKINE: Impromptu - Caprice pour harpe (Pierné) / Ballade roumaine pour harpe (Golestan). 12” PW plum Disque Gram. L-985, only form of issue, 6 July, 1934. M-A MB 12

M0229. LILY LASKINE, w.Coppola Cond.: Danse pour harpe (Debussy), 2s. 12” PW black Disque Gram. W-1025, only form of issue, 4 March, 1929. M-A MB 10

M0230. LILY LASKINE, MARCEL DARRIEUX & GEORGES IBOS: Le sommeil de l’enfant Jésus (Büsser) / LASKINE, DARRIEUX, IBOS & JULES LEMAIRE: Oratorio de Noêl – Quatuor (Saint-Saëns). 12” violet Eng. Decca TF.140, POM-4 Jan., 1937. A to M-A, lovely copy has faint rubs, inaud. MB 12

M0231. MARCEL GRANDJANY: Automne (Played by the Composer) / Piano Sonata in g – Allegro vivace (Gretchaninov-Grandjany). 10” RCA 10-1120. M-A MB 10

M0232. ADA SASSOLI (Harp), JOHN LEMMONÉ (Flute) & MAURICE LAFARGE (Pf.): Concerto for Harp & Flute in C, K.299 – Mvt 1 (Mozart). 12" purple V 70029, POM-9 Nov., 1910. M-A, lovely copy has faintest rubs, inaud. MB 10

M0233. JOHN COCKERILL: Première Arabesque (Debussy) / JOHN COCKERILL, , DAVID MARTIN, FREDERICK RIDDLE, JAMES WHITEHEAD, ARTHUR CLEGHORN & REGINALD KELL: Introduction and Allegro for Harp, with Strings and Woodwinds (Ravel), 4s. 2-12” dark-blue Eng. Col. DX 1310/11, POM-8 Nov., 1946. [John Thomas Cockerill, harpist of the Hallé Orchestra, was also principal harpist in the London Symphony Orchestra] M-A MB 15, the Pair. M0234. HENRIETTE RENIÉ: L’Hirondelle (Daquin-Renié) / Siciliana (Respighi). 10” green French Odéon 166.089, POM-1928. M-A MB 8

M0235. HENRIETTE RENIÉ: Menuet (Rameau-Renié); Le Coucou (Daquin-Renié) / Feuille d’automne (Played by the Composer). 10” green French Odéon 166.088, POM-1928. M-A MB 8

M0236. HENRIETTE RENIÉ: Menuet (Haydn-Renié) / Valse in d (Chopin-Renié). 10” green French Odéon 166.231, POM-1929. M-A MB 8

M0237. HENRIETTE RENIÉ: Légende (Played by the Composer), 2s. 12” dark-blue PW Parl. E11232, POM-1928. M-A MB 10

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.” - Kathy Kahn, BALLET PACFICA, A HISTORY

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 , 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.” - Thomas Tatton, THE INTERNATIONAL VIOLA SOCIETY, 1996 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 , 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, allmusic.com.

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 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 , 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, allmusic.com

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, ‘ 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 , Joseph Joachim’s successor at the Berlin Advanced School for Music. He returned to the U.S. after 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 , 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, Violinist.com

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 (with the New York Philharmonic). She studied with 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 (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, . 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 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. ’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 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, , and . 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 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): – 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 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.” - Gustav-Mahler.eu

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. (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. 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. 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 won first prize and 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 took place in 1937 (when she was not yet ten). Her recording career began in 1940 with Decca. Haendel moved to 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 glissando...it'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 - 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. (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 , 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 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 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 (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.” -Wikipedia

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 (): 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 , 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’ , 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. , 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 & 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, allmusic.com

M0405. GINETTE NEVEU, w.Jean Neveu (Pf.): Pièce en forme de (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, allmusic.com

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 M0412. JOSEPH HOLLMAN: Mazurka (Chopin). 10” black Paris G & T G.C.-3-7853 (4477o), only fom of issue, 1906. A to M-A, beautiful copy has faintest rubs, inaud. MB 65

M0413. JOSEPH HOLLMAN: Mazurka (Chopin) / Le Rouet / Extase (both Played by the Composer). 11¼” black H & D paper label US-Pathé 40181, recorded 1916, Paris. M-A, appears unplayed! MB 12

M0414. JOSEPH HOLLMAN: Melody in F (Rubinstein) / Serenade de Milenka (Blockx). 11¼” violet H & D paper label US-Pathé 40055, recorded 1916, Paris. M-A 12

M0415. JOSEPH HOLLMAN: Herbstblume (Popper) / Reverie (Schumann). 11¼” violet H & D paper label US-Pathé 40132, recorded 1916, Paris. M-A, appears unplayed! MB 12

M0416. JOSEPH HOLLMAN: Petite valse (Played by the Composer). 12” Pat.’08 V 74001 (C3079), POM-1 Feb., 1906, only form of USA issue. M-A, superb copy has faintest label nr. MB 8

M0417. JOSEPH HOLLMAN: Ave Maria (Schubert). 10” (5-line) Pat.’08 V 64001 (B3078), POM-1 Feb., 1906. M-A MB 8

M0418. JOSEPH HOLLMAN: Le Carnaval des Animaux – Le Cygne (Saint-Saëns) 10” V 64046 (B3027), POM-19 Jan., 1906. M-A, lovely copy has faintest rubs, inaud. MB 8

M0419. JOSEPH HOLLMAN: Serenade de Milenka (Blockx). 12” GP V 74045 (C3080), POM-1 Feb., 1906, only form of issue, USA. M-A MB 8

M0420. JOSEPH HOLLMAN: Andante religioso (Played by the Composer). 12” V 74002 (C3028), POM-19 Jan., 1906, only form of USA issue. M-A, superb copy has faintest rubs, inaud. MB 8

M0421. JOSEPH HOLLMAN: Kinderszenen - Träumerei (Schumann). 12” (5-line) Pat.’08 V 74044 (C3026), POM-19 Jan., 1906. M-A MB 8

M0422. JOSEPH HOLLMAN, w.Thomas Griselle (Pf.): Le Carnaval des Animaux – Le Cygne (Saint-Saëns) / Gavotte #2 (Popper). 10” dark-green Gennett 10059 (7806/7807), POM-1921. A-, lovely copy has faint rubs, inaud. MB 8

“Joseph Hollman was one of the most prominent concert cellists of his generation. He studied in St Petersburg (with Karl Davidov), Brussels and Paris, toured widely, and performed with Saint-Saëns and Ysaÿe. The former wrote his double concerto ‘La muse et le poète’ for Hollman and Ysaÿe.” - David Barker, MusicWeb International M0423. VICTOR HERBERT: Pensée amoureuse (Played by the Composer). 12” Pat.’08 V 74286, only form of issue, 26 Jan., 1912; although assigned a blue label number, this was never used. A to M-A, lovely copy has faintest rubs, inaud. MB 12

M0424. VICTOR HERBERT: Simple aveu (Thome). 12” Pat.’12 V 74300, Orig. ‘A’ Plate Issue, only form of issue, 26 Jan., 1912; although assigned a blue label number, this was never used. A-, lovely copy has lt. rubs, inaud. MB 12

M0425. VICTOR HERBERT: The angel’s whisper (Lover). 10” Pat.’12 V 64240, POM-26 Jan., 1912, issued USA only. M-A MB 12

M0426. VICTOR HERBERT: Petite valse (Played by the Composer). 10” Pat.’12 V 64297, POM-25 Jan., 1912, issued USA only. M-A MB 12

M0427. VICTOR HERBERT: The Low-back’d Car (Lover). 10” Pat.’08 V 64239, only form of issue, 25 Jan., 1912. M-A, lovely copy has faintest rubs, inaud. MB 12

M0428. VICTOR HERBERT: Scherzo (van Goens). 10” Pat.’12 V 64298, Orig. ‘A’ Plate Issue, only form of issue, 26 Jan., 1912; M-A MB 12

“Although Victor Herbert enjoyed important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. In the early 1880s, Herbert began a career as a cellist in Vienna and Stuttgart, during which he began to compose orchestral music. In 1885 Herbert became romantically involved with Therese Förster, a soprano who had recently joined the Court Opera for which the Court Orchestra played. Förster sang several leading roles at the Stuttgart Opera in 1885-86. After a year of courtship, the couple married on 14 August 1886. On 24 October 1886, they moved to the United States, as they both had been hired by Walter Damrosch and Anton Seidl to join the Metropolitan Opera. Herbert was engaged as the Met's principal cellist, and Förster was engaged to sing principal roles with the Met. He led the Pittsburgh Symphony from 1898 to 1904 and then founded the Victor Herbert Orchestra, which he conducted throughout the rest of his life. In the early years of the twentieth century, Herbert championed the right of composers to profit from their works. In 1909, he testified before the United States Congress, influencing the formation and development of the Copyright Act of 1909. This law helped to secure the rights of composers to charge royalties on the sales of sound recordings. Herbert also worked closely with John Philip Sousa, Irving Berlin and others in founding the American Society of Composers, Authors, and Publishers (ASCAP) on 13 February, 1914, at the Hotel Claridge in New York, becoming its vice-president and director until his death in 1924. The organization has historically worked to protect the rights of creative musicians and continues to do this work today.” - ASCAP

M0429. BEATRICE HARRISON: Liebesfreud (Kreisler) / Kaleidoscope - Orientale (Cui). 10” blue V 45066, POM-17 / 15 April, 1915, only form of issue, Sd.1. M-A, lovely copy has faintest rubs, inaud. MB 10 M0430. BEATRICE HARRISON: Zur guitarre (‘Take’ 2) (Popper) / May Night – Schlummerlied (Rimsky-Korsakov). 10” blue V 45072, POM-17 / 15 April, 1915, only form of issue, Sd.1. M-A, choice copy has, Sd.1 only, wee ec, not to grooves. MB 10

M0431. BEATRICE HARRISON: Ave Maria (Schubert) / Meistersinger - Preislied (Wagner). 12” blue V 55067, POM-27 Dec., 1915, only form of issue, both sides. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0432. BEATRICE HARRISON, w.Margaret Harrison (Pf.): Melody (Dawes) / Hassan – Serenade (Delius). 10” PW plum HMV B 3274, only form of issue, 28 Oct., 1929. M-A, appears unplaued! MB 12

M0433. BEATRICE HARRISON, w.Margaret Harrison (Pf.): The Broken Melody (van Beine) / Harlequinade (Popper). 12” PW plum HMV C 1626, only form of issue, 20 Aug., 1928. M-A MB 12

M0434. BEATRICE HARRISON, w.May Harrison (Pf.) & Henry Coates (Organ): Benediction (based on Mozart’s ‘Ave Verum’) / Angelus (based on Arcadelt’s ‘Ave Maria’) (both Henry Coates). 10” PW plum HMV B 4399, only form of issue, 14 Dec., 1926. M-A MB 12

M0435. BEATRICE HARRISON, w.Harold Craxton (Pf.): Cello Sonata (Delius), 4s. 2-12” PW black HMV D 1103/04, only form of issue, 1926. M-A MB 15

M0436. BEATRICE HARRISON, w.Eric Fenby Cond.: Caprice and Elegy (both Delius). 10” PW plum HMV B 3721, only form of issue, 25 Nov., 1930. M-A, lovely copy has, Sd.2 only, wee cluster dust mks, positively inaud. MB 12

“Beatrice Harrison was the leading British cellist of her day - the first woman cellist to play in 1913 at Carnegie Hall, and the first woman soloist with the Boston and Chicago Symphonies. According to pianist Gerald Moore, ‘Delius wrote his violoncello works with Beatrice Harrison in mind, and no wonder, for she had a poignant and luscious cantabile well suited to his music. Delius wrote his Double Concerto for Violin and Cello for Beatrice and her sister May’. May and Beatrice Harrison entered Delius' life as muse-like figures, inspiring a number of compositions. Beatrice Harrison [made] a request of Delius for new work to take with her on an upcoming American tour, [resulting in] the ‘Caprice and Elegy’. Beatrice Harrison recorded the ‘Caprice and Elegy’ in 1930.” - Janet Horvath, Forgotten Cellists, 17 Feb., 2018

M0437. BEATRICE HARRISON, w.Princess Victoria (Pf.): Cello Concerto – Adagio / BEATRICE HARRISON & MARGARET HARRISON, w.Princess Victoria (Pf.): Salut d’Amour (both Elgar). 12” vinyl Symposium 1026 (Cc14165/62), POM-25 Aug., 1928, both from Unpublished Masters, accompanied by Michael Plant’s 1987 printed notes. MINT MB 15 M0438. FLORENCE HOOTON, w.Ross Pratt (Pf.): Cello Sonata (Sammartini-Moffat), 2s. 12” red Eng. Decca K.909, only form of issue, 1939. M-A MB 15

“Florence Hooton’s father enrolled her with his own teacher, Warren Evans, who was well- known as a chamber player. She stayed with him until she was 14, when she began to attend the London Cello School. Her teacher there was one of the leading cellists in the British Isles, Douglas Cameron. After she won a scholarship at the Royal Academy of Music she continued studies with Cameron. She made a notable debut recital at Wigmore Hall in 1934. She had founded a trio with Frederick Grinke and Dorothy Manley, and with them played her first orchestral appearance, at with the BBC Symphony Orchestra under Sir Henry Wood, in the Beethoven Triple Concerto.

Hooton took an interest in modern British music, and soon gave the world premieres of Gordon Jacob's Divertimento for Unaccompanied Cello and the Legend-Sonata by Arnold Bax, with Bax's favored pianist, Harriet Cohen. Even so, she continued her studies, going to Zurich, where Emmanuel Feuermann had settled to teach. During one of her performances in 1934, present in the audiences were the composers Frank Bridge and his pupil . Bridge noticed that the piece she was playing had a large proportion of very high notes and whispered to Britten, ‘If that girl gets one more of those top notes spot-on I'm going round to ask if she'd like to give the first performance of my cello sonata’. The work in question had been turned down by two leading British cellists without changes to its high notes. Hooton worked on it for two years, working out practical fingerings for this work once called unplayable, and in 1936 did successfully premiere the concerto, which is called ‘Oration’.” - Joseph Stevenson, allmusic.com

M0439. MAY MUKLE, w.George Falkenstein (Pf.): Au bord du ruisseau (Adolphe Fischer) / Lullaby (Alice Bredt Verne). 10” black V 17844, only form of issue, 14 May, 1914. A-, lovely copy has faint rubs, inaud.; wee label nr, Sd.1 MB 8

“May Mukle, one of the first female British cellists to achieve international acclaim, began to tour as a teenager - throughout England, Europe, Australia, USA, and even Asia and Africa, earning herself the moniker, ‘the female Casals’. Mukle was equally dedicated to chamber music and joined such great artists as Pierre Monteux on viola, Jacques Thibaud, Paul Kochanski, Lionel Tertis, and Arthur Rubinstein. Her obituary in THE LONDON TIMES says: ‘by the turn of the century she was fully recognized not only as an outstanding musician but as one of the most remarkable cellists this country had produced’. - Janet Horvath, Forgotten Cellists, 5 May, 2018

M0440. CHARLES WARWICK EVANS, w.Ellen Tuckfield (Pf.): Chanson de Matin (Elgar) / Song of the Volga boatmen (arr. Geehl). 10” dark-blue Eng. Col. 2954 (69619/18), only form of issue, c.1916. A to M-A MB 12

“In 1908 he was leading cello in the Queen's Hall Orchestra. Warwick Evans formed the idea of a string quartet worked up to the standard of a solo virtuoso, and approached Waldo Warner. He left his position in the Queen's Hall Orchestra to devote himself to the String Quartet. They then enlisted Thomas W. Petre and Albert Sammons, the new Concertmaster of 's orchestra, to lead the quartet. After two years of rehearsing, they gave their first concert on January 26, 1910, at Bechstein (Wigmore) Hall…Warwick Evans suggested the name 'London String Quartet', and in 1911 it was adopted.” - Wikipedia

M0441. CORNELIUS VAN VLIET: Gavotte #2 (Popper) / Meistersinger - Preislied (Wagner). 9½” dark-green H & D paper label US-Pathé 25041, rec. 1920. M-A MB 20 M0442. CORNELIUS VAN VLIET: Le Carnaval des Animaux – Le Cygne (Saint-Saëns) / Tarantelle (Popper). 10” paper label Edison H & D 52355 (18604-B/05-C), POM-3 July, 1928. [Exceedingly Rare EL issue from this customarlly ‘popular‘ series!] M-A MB 45

“Cornelius van Vliet was born in Holland. He played with the Concertgebouw and later became principal of the orchestras at Leipzig and Prague. He moved to the United States in 1911 to play with the Minneapolis Symphony Orchestra. The New York Trio was founded in 1919, the original members being Scipione Guidi, violin, Cornelius van Vliet cello and Clarence Adler piano. van Vliet went on to become principal cello with the New York Philharmonic from 1922 to 1929, beginning with Mengelberg’s tenure as music director. He then became principle cellist with the Pittsburgh Symphony Orchestra. Van Vliet later taught at the University of Colorado, retiring in 1953.” - Fluff on the Needle, 16 June, 2012

M0443. NICOLAI GRAUDAN, w.Hansl Freudberg (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) / Scherzo (von Dittersdorf-Kreisler). [Recorded in a vibrant hall with a gorgeous acoustic!] 12” dark-blue Clangor MD 9265/66, only form of issue, 1932. [Graudan co-founded the Festival Quartet, with Goldberg, Primrose & Victor Babin.] A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35

“Nikolai Graudan, cellist, was known as an interpreter of Beethoven, Bach and Brahms. With his wife, Joanna Graudan, pianist, he formed a duo that was heard in the capitals of Europe, throughout the United States, and in Asia. They played frequently at New York’s Town Hall. As orchestra soloist Mr. Graudan had played under Wilhelm Furtwangler, Sir and Dimitri Mitropoulos, among others. As a youth, Nikolai studied at the St. Petersburg Conservatory from which he graduated with highest honors. Through the recommendation of Alexander Glazounov, the director, he was elected a professor, one of the youngest in the history of the Conservatory.

From 1926 to 1935, Mr. Graudan was first cellist with the Berlin Philharmonic. After coming to the United States, he was for a time a cellist with the Metropolitan Opera Company. Subsequently he was first cellist with the Minneapolis Symphony.” - THE NEW YORK TIMES, 14 Aug., 1964

M0444. HANS KRONOLD: Eili Eili / Kol Nidrei. 9½” dark-green H & D paper label US-Pathé 25032, recorded 1920. M-A, appears unplayed! MB 15

“Hans Kronold was a Jewish-born Polish cellist, composer, educator, and a member of symphony orchestras of New York and Boston. He was the first musician to make cello recordings on phonograph cylinders for Gianni Bettini. In 1886, he emigrated to New York, resuming his studies with cellist Anton Hekking and S. Vreeman. Kronold soon joined the Metropolitan Opera Orchestra, and shortly after the NYPO, where he played for five consecutive seasons. From 1900, he toured the United States and Canada for five years under the direction of Walter Damrosch, accompanying not only singers and acclaimed violinists such as Maud Powell, but also other renowned instrumentalists of his time.” - Wikipedia

M0445. RUDOLF HINDEMITH, w.Felix Guenther Cond. Berlin S.O.: Concerto n D (Tartini), 4s. 2-12” black PW German Homocord 4-9009/12 (M.510/513), POM-1929 [with superimposed ‘The Hit’ labels!]. [Hindemith’s signature embossed in run-out grooves, Sd.4] M-A MB 65, the Pair. M0446. RUDOLF HINDEMITH, w.Felix Guenther Cond. Berlin S.O.: Concerto in D (Tartini), 4s. 2-12” red Decca-Odeon 25239/40 (M.510/513), POM-1929. [Hindemith’s signature embossed in run-out grooves, Sd.4] A to M-A, lovely copy has faint rubs, inaud. MB 35, the Pair.

M0447. RUDOLF HINDEMITH, w.Alice Ehlers (Harpsichord): Sonata in F (Marcello), 2s. 10” red Decca-Odeon 20078 (H-62447/48), POM-1929. M-A MB 20

“Rudolf Hindemith (officially Paul Quest, pseudonym Hans Lofer), was mostly in the shadow of his more famous brother Paul. The two unequal but highly musical brothers in childhood, began to play together professionally in the Amar Quartet, one of the leading groups in the New Music scene of the 1920s, in which Rudolf played the cello. But he soon departed and switched to the genre of brass music and jazz. When brother Paul emigrated from Nazi to Switzerland in 1938, he remained a conductor in Germany. He became the conductor of the Symphony Orchestra of the General Government in Cracow, southern Poland, a project of Gauleiter Hans Frank, who was later hanged in Nuremberg in 1946 for his numerous crimes. After WW-II, Rudolf Hindemith led a restless life as a composer, conductor and educator with numerous pseudonyms.” - Wikipedia

M0448. PHYLLIS KRAEUTER, w.Leonore Kraeuter (Pf.): Fond recollections / Impromptu (both Popper). 10” Orth Vla 4185, only form of issue, 5 Dec., 1930. M-A MB 12

“Kraeuter made her New York debut at Town Hall in 1927 as a winner of the Walter W. Naumburg Musical Foundation's prize, which carried with it a public debut.” - THE NEW YORK TIMES, 11 Nov., 1964

M0449. PABLO CASALS: Liebesträum (1915 Version) (Liszt) / Suite #3 in D - Air on the G String (Bach). 12” Tri-Color Col. A5756 (37262/63), POM-5 May, 1915. A-, lovely copy has faint rubs, inaud. MB 12

M0450. PABLO CASALS: Quintet in D, K.593 - Larghetto (Mozart) / Tannhäuser – O du mein holder Abendstern (Wagner). 12” Tri-Color Col. A5953 (48718/16), POM-21 April, 1916. A-, lovely copy has faint rubs, inaud. MB 12

M0451. PABLO CASALS: Gavotte in D (Popper). 12” Tri-Color Col. 98012, POM-17 March, 1922. A to M-A, lovely copy has faintest rubs, inaud. & a short lamination hlc. MB 12

M0452. PABLO CASALS: Le Carnaval des animaux - Le cygne (Saint-Saëns). 12” Tri-Color Col. 49796, POM-22 April, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 12

M0453. PABLO CASALS: Xerxes – Ombra mai fu (Handel). 12” Tri-Color Col. 49802, POM-23 April, 1920. A to M-A, lovely copy has faintest rubs, inaud. MB 12 M0454. PABLO CASALS: Suite #1 in G, 6s; Suite #6 in D (Bach),14s. 7-12” PW V 17672/78, POM-1938/’39, Paris, in Orig. Album DM-742. M-A, appears unplayed. MB 175, the Set.

M0455. PABLO CASALS: Suite #2 in d, 6s.; Suite #3 in C (Bach), 6s. 6-12” PW V 15671/76, POM-1936, London, in Orig. Album M-611. M-A, appears unplayed. MB 175, the Set.

M0456. PABLO CASALS: Suites Nos 4 and 5 for Cello Unaccompanied, 13s / Sd.14 = PABLO CASALS, w.Nikolai Mednikoff (Pf.): Toccata in C - Adagio (all Bach). 7-12” RCA 12-0890/96, POM-13 June, 1939 / 28 Feb., 1927, Paris, gorgeous late issue, partially with beveled-edge pressings, in Orig. Album DM 1302. M-A, appears unplayed. MB 175, the Set.

M0457. EDMUND KURTZ, w.Artur Balsam (Pf.): Larghetto (Handel) / Requiebros (Cassado). 12” RCA 11-9953, POM-1948. A to M-A, lovely copy has, Sd.2, faintest rub, inaud. MB 20

M0458. EDMUND KURTZ, w.Emanuel Bay (Pf.): Adagio (Grazioli) / Danse orientale (Rachmaninoff). 12” V 11-9024, POM-1948. A to M-A MB 12

M0459. EDMUND KURTZ, w.William Kapell (Pf.): Cello Sonata in g (Rachmaninoff), 8s. 4-12” RCA 12-0576/79, POM-23 April, 1947, Orig. Album DM-1261. M-A MB 35, the Set.

“The cellist Edmund Kurtz, born St Petersburg, whose international career as soloist, principal cellist and chamber musician spanned some 60 years, always treasured a letter written by Klengel in 1924, in which he wrote, ‘In spite of his youth, Edmund Kurtz is already one of the most outstanding violoncellists of today…rarely have I found a pupil who developed so rapidly’. Kurtz was only 16 when he made his début recital in Rome, where he received much praise, and he repeated this success the following year in Berlin. This led to well-received solo appearances in all the main cities of Europe. In Paris he came under the influence of Pablo Casals, who recommended a further period of study, with the controversial teacher Diran Alexanian, which Kurtz found extremely helpful. In 1926-27 he was principal cellist of the Bremen Opera Orchestra and from 1927 until 1930 toured as personal cellist to the great Russian ballerina Anna Pavlova. He reflected that he must have played the Saint-Saëns ‘Dying Swan’ solo hundreds of times.

He was principal cellist of the Prague German Opera Orchestra under Georg Szell, 1932-36, after which he moved to the United States where he was principal cellist of the Chicago Symphony Orchestra for the next eight years. During this time he also toured internationally as cellist in the distinguished Spivakovsky Trio with the violinist Tossy Spivakovsky and his pianist brother, Jascha. In 1944 Kurtz resigned from orchestral playing in order to devote himself to his rapidly expanding solo career. He first appeared as a soloist before the American public in 1945 playing the Dvorák Concerto with the NBC Symphony Orchestra under . - Margaret Campbell, THE INDEPENDENT, 23 Aug., 2004

M0460. SERGE KOUSSEVITZKY (Double Bass), w.Pierre Luboshutz (Pf.): Chanson triste (Played by the Composer) / Sonata in g – Largo (Eccles). 12" Scroll V 7159, on ‘Z’ shellac, only form of issue, 26 / 25 Sept., 1929. M-A MB 20

M0461. SERGE KOUSSEVITZKY (Double Bass), w.Pierre Luboshutz (Pf.): Valse miniature; Chanson triste; Concerto in f - Andante (all Played by the Composer) / Wiegenlied (Laska); Sonata - Largo (Eccles), 6s. 3-12" red vinyl RCA 99-2000/02, partially POM-1929, in Orig. Limited Edition Album Set LE-1. M-A, appears unplayed! MB 95

"...bowing to the pressure from the public, [Koussevitzky] allowed [three of the above pieces] to be made part of a 78rpm album LE-1. ‘LE-1’ was a deluxe collector's edition of 1,000 copies only, pressed on 12" transparent red vinyl discs and issued in commemoration of his 25 years of service to the BSO....he allowed the release of the 1929 recordings only as an accommodation to his friends and fans." - Edward D. Young, ARSC Journal, 1990

M0462. 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# (both Played by the Composer). 5-10” pale-blue USSR 13160/68; 11992, POM-1945, in Orig. Compass Album C-102 (for USA distribution), w.Notes. M-A MB 65, the Set.

M0463. MUSICAL ARTS QUARTET: Alla Spagnola / Interludium in Modo Antico (both Glazounov). 12” black Viva-Tonal Col. 5085-M, only form of issue, 15 March, 1928. M-A, choice copy has, Sd.2 only, 3 or 4 minuscule pap. scrs, inaud. MB 15

M0464. MUSICAL ARTS QUARTET: Quartet in C, Op.54, #2), 5s. / Sd.6 = Quartet in D, Op.64, #5 – Vivace (both Haydn). 3-12” blue Viva-Tonal Col. 67320/22-D, only form of issue, 1927/’28, resp., in Orig.Album 69, w.Brochure. M-A MB 25, the Set.

M0465. MUSICAL ARTS QUARTET: Quartet in E-flat, 5s. / Sd.6 = Hark, hark, the lark (both Schubert). 3-12” blue Viva-Tonal Col. 67454/56-D, only form of issue, 1928. M-A MB 25, the Set.

“The Musical Arts Quartet (Sascha Jacobsen and Paul Bernard, violins; Louis Kaufman, viola, and Maria Roemaet-Rosanoff, cello), was founded in 1926 by four students at the Institute of Musical Art in New York (now known as the Juilliard School), and still in existence in 1941.” - The Shellackophile, 15 Nov., 2011

M0466. SANTOLIQUIDO TRIO (Ornella Puliti Santoliquido, Arrigo Pelliccia & Massimo Amfitheatrof): Piano Trio #2 in C, Op.97 (Brahms), 8s. 4-12” black German Polydor 67670/73, POM-1941. A to M-A, lovely copy has faintest rubs, inaud. MB 45, the Set. M0467. ROSÉ QUARTET (Rosé, Fischer, Ruzitska & Walter): Quartet in c, Op.18, #4 (Beethoven), 5s / Sd.6 = Suite #3 in D – Adagio (Bach). 3-12” black PW Czech Gramola ES 388/390, POM-1928. M-A, a glorious copy of this preferred Czech pressing! MB 85, the Set.

M0468. BOHEMIAN QUARTET (Hoffmann, Suk, Herold & Zelenka): From My Life Quartet #1 in e (Smetana), 8s. 4-12” gold Bruns. 90425/28, POM-1928. M-A, choice copy of preferred mid-1930s Columbia pressing. MB 95, the Set.

M0469. BOHEMIAN QUARTET (Hoffmann, Suk, Herold & Zelenka): Quartet #1 in B-flat (Suk), 7s / Sd. 8 = Waltzes, Op.54 – Waltz #1 in A (Dvorák). 4-12” blue PW German Polydor 95080/83, POM-1928. A-, lovely copy has faint rubs, inaud.; Sds 4 & 6 only have 1 ‘stressed’ groove, also inaud. MB 65, the Set.

M0470. THE HINDEMITH TRIO (Goldberg, Hindemith & Feuermann): Trio for Strings #2 (1933) (Played by the Composer), 6s. 3-12” early Col. 68274/76-D, on Royal Blue shellac, POM-21 Jan., 1934, in Orig. Album 209, w.Brochure. M-A, gleaming copy of this Royal Blue shellac pressing appears unplayed! MB 95, the Set.

M0471. AMAR QUARTET (Paul Hindemith, Licco Amar, Walter Caspar & Rudolf Hindemith): String Quartet #16 in E flat, K.428 (421b) (Mozart), 6s. 3-12” black PW German Polydor 66568/70, POM-1927. A to M-A, lovely copy has faintest rubs, inaud. MB 95, the Set.

M0472. AMAR QUARTET (Paul Hindemith, Licco Amar, Walter Caspar & Rudolf Hindemith): Quartet #4 in C, (Played by the Composer, Hindemith), 6s. 3-12” black PW German Polydor 66422/24, POM-1926. A to M-A; Sds.2 & 3 only have faint rubs, inaud. MB 95, the Set.

“The Amar Quartet was of towering importance in concert life of the 1920s thanks to its indefatigable commitment to contemporary music. The fact that the works of Paul Hindemith stood at the centre of these efforts is not surprising, in view of the personal union of composer and interpreter. The Amar Quartet was also committed to performing the works of other composers including considerable premieres.” - Wikipedia

M0473. DEMAN STRING QUARTET (Rudolf Deman, Emil Kornsand, Karl Reiz & Carl Dechert): Quartet in E-flat (Dittersdorf), 6s. 3-10” dark-blue Grammophon 90048/50, POM-1928. [Rudolf Deman was Concertmaster of Berlin Opera Orchestra.] M-A MB 20

M0474. HENRI NOSCO Cond.Royale Chamber Orch.: Divertimento #11 in D, K.251 (Mozart), 4s. 2-12” Burgundy Royale 614/615, only form of issue, 1940. M-A MB 15, the Pair. M0475. HENRI NOSCO Cond.Royale Chamber Orch.: Sextet for Two French Horns and String Quartet (Beethoven), 4s. 2-12” Burgundy Royale 622/623, only form of issue, 1940. M-A MB 20, the Pair.

“At the time of this recording, director (and probably first violin) Henri Nosco was also associate concertmaster of the NBC Symphony Orchestra and assistant conductor to Arturo Toscanini. From this it might inferred that the other players on the recording are also NBC musicians, perhaps including horn players Arthur and Jack Berv.

Henri Nosco was born in Paris on April 1, 1903. Before coming to the United States he had performed as violin soloist with the Pasdeloup Orchestra and under such distinquished conductors as Rhené-Baton and Camille Chevillard. In 1937 he was selected as associate concertmaster and assistant to Arturo Toscanini for the newly-formed NBC Symphony Orchestra. On March 5, 1939 the ‘Henri Nosco Orchestra’ performed on independent New York radio station WHN. For its 1939-40 season he conducted the four concerts of the WPA New Jersey Symphony Orchestra, in addition to his duties with the NBC Symphony. Throughout the decade he was heard frequently on the radio conducting both the NBC and ‘his own’ orchestra.” - MUSICAL QUARTERLY, Vol. XXVI, #4, 1940

M0476. ANDRÉ KOSTELANETZ Cond.: Revenge With Music – Medley (Arthur Schwartz & Howard Dietz), 2s. 12” black Orth V 36142, POM-9 Nov., 1934. M-A MB 20

“REVENGE WITH MUSIC is a musical comedy that opened on Broadway in 1934. This was the first ‘book’ musical by Dietz and Schwartz. The Broadway production opened on November 28, 1934 at the New Amsterdam Theatre for a total of 158 performances. A ‘Revenge with Music’ medley was the subject of the first recording session by André Kostelanetz and his orchestra on Victor Records, in 1934.” - The Online 78rpm Discographical Project: Victor Records, 36000 Series

M0477. NATHANIEL SHILKRET Cond. Victor Light Opera Co.: THE STUDENT PRINCE - Excerpts (Romberg), 2s. 12” V 11794, POM-11 May, 1935. Sd.1 label Autographed in white ink by Romberg. M-A, lovely copy has mended ‘edge bite’ in initial grooves. MB 10

M0478. NATHANIEL SHILKRET Cond. Victor S.O.: NEW YEAR’S EVE IN NEW YORK (Hans-Werner Janssen), 2s. [an almost 13-minute immersion in Hans-Werner Janssen's award-winning tone poem for large orchestra ‘New Year's Eve in New York’] 12” black Orth V 35986, POM-17 & 31 July, 1929. M-A MB 20

M0479. SIGMUND ROMBERG Cond. London Theatre Orch.: The New Moon – Selection (Cond. by the Composer), 2s. 12” black PW Eng. Col. 9712. M-A MB 12

M0480. LEONARD JOY Cond. Victor Orch. & Chorus: Sigmund Romberg Presents ‘Forbidden Melody’, 2s. 12” black Scroll V 36189, POM-13 Oct., 1936. M-A MB 20 “Nathaniel ‘Nat’ Shilkret (1889-1982) was a multi-talented instrumentalist and arranger who came up through the ranks of the Sousa, Pryor and Goldman bands. From 1919 to 1935 he was director of light music at the Victor Talking Machine Company. Shilkret was responsible for booking hundreds of recording sessions involving various bands, and for recording material under his own direction that Victor’s contract artists didn’t care to handle. Nat Shilkret had considerable clout at Victor, and brought it to bear on a series of Symphonic Jazz recordings made in the period 1928-1932….the ballet SKYSCRAPERS (1926) by Chicago composer John Alden Carpenter, is big city music, modern in style and meant to reflect the excitement of urban life in the 1920s. Carpenter is credited with being the first American composer in a concert milieu to incorporate the sounds of jazz in a short portion of his ballet Krazy Kat (1921), but Skyscrapers has its own rhythms, and is more jazz-inflected than ‘jazzy’.”

M0481. NATHANIEL SHILKRET Cond. Victor S.O.: SKYSCRAPERS - A Ballet Of Modern American Life (John Alden Carpenter), 6s. 3-12” EL Orth Vla 11250/52, on ‘Z’ shellac, only form of issue, 1 May, 1932, Orig. Album M-130. M-A, as unplayed! MB 45, the Set.

M0482. EUGENE ORMANDY Cond. Minneapolis S.O.: ADVENTURES IN A PERAMBULATOR (John Alden Carpenter), 7s / Sd.8 = Nozze – Overture. 4-12” PW V 8455/58, on ‘Z’ shellac, POM-17-23 Jan., 1934, in Orig. Album M-238. M-A MB 25, the Set.

M0483. ROBERT SHAW Cond. Victor Chorale: Petits voix (Poulenc), 2s. 10” RCA 10-1409, only form of issue, 1947. M-A, as unplayed! MB 6

M0484. ROBERT SHAW Cond. Victor Chorale: Six Chansons (Hindemith), 2s. 12” V 11-8868, only form of issue, 1945. M-A, as unplayed! MB 8

M0485. ROBERT SHAW Cond. Victor Chorale: The Bells of St. Mary’s (Adams) / The Lord’s Prayer (Malotte). 12” V 11-9155, only form of issue, 1947. M-A, as unplayed, yet faint ipc, not to edge nor center, appears Sd.2, inaud. MB 8

M0486. ROBERT SHAW Cond. Victor Chorale: Lohengrin – Bridal chorus (Wagner) / Il Trovatore – Anvil chorus (Verdi). 12” V 11-9294, only form of issue, 1947. M-A, as unplayed! MB 8

M0487. ROBERT SHAW Cond. Robert Shaw Chorale: Ave Maria (Schubert) / w.Shirlee Eammons & Raymond Keast: The Rosary (Nevin). 10” RCA 10-3448, only form of issue, 1952. M-A, beveled-edge pressing has faintest rubs, inaud. MB 12

M0488. ROBERT SHAW Cond. RCA Victor Chorale: Christmas Hymns and Carols, 8s. 4-12” RCA 11-9313/16, only form of issue, 1946. M-A, as unplayed! MB 20, the Set. M0489. HARL McDONALD Cond. Choral Society of University of Pennsylvania, unaccompanied: MISSA PRO DEFUNCTIS (Catalonian), 4s. 2-12” Scroll V 14277/78, only form of issue, 1937, on ‘Z’-type shellac, w.Brochure. [McDonald served as general manager of the Philadelphia Orchestra in from 1939 to 1955] M-A MB 25

M0490. NOBLE CAIN Cond. Chicago a Capella Choir, w.JOHN ALDEN CARPENTER (Narrator): SONG OF FAITH (Narrated by Composer), 4s. 2-10” Orth Vla 1559/60, only form of issue, 10 April, 1932. M-A MB 35, the Pair.

M0491. HOWARD HANSON Cond. Eastman-Rochester S.O.: COMES AUTUMN TIME – A Program Overture for Orchestra (Leo Sowerby), 2s. 10” PW V 2058, only form of issue, 11 May, 1939. M-A MB 10

M0492. DON GILLIS Cond. New Symphony of London: Saga of a Prairie School - Symphony #7 (Cond. by the Composer), 6s. 3-12” vinyl Texas Christian University TCU T-5694/96, POM-1948 (pressed by London Records), in Orig. TCU Album 1. M-A, lovely copy has faintest pap. rubs, inaud. MB 25, the Set.

“Gillis served as producer for Arturo Toscanini’s radio broadcasts with the NBC Symphony, and he must have sat in on any number of the Maestro’s sessions; certainly he learned his craft well, and he was a peerless interpreter of his own music – it fairly bursts out of the speakers, all bright-eyed and bushy-tailed. The London players are clearly enjoying themselves immensely…and the – essential to Gillis’ bright scoring – ring out crisp and clean.” - Steven J.Haller, AMERICAN RECORD GUIDE, July/Aug., 2003

M0493. JOHN FINLEY WILLIAMSON Cond. Westminster Choir: Song of the Christmas Presents (Andalusian Christmas Carol); Serbian Crib Carol / Joseph Came Seeking a Resting Place. 10” PW Col. 17351-D, only form of issue, 1942. M-A, w.faintest rubs. MB 8

M0494. THE PIPERS' GUILD QUARTET (Dorothy Barnard, Gertrude Enoch, Kay Connel & Annie Z. Miller): La Volta (Byrd); Ayre (Rossiter); Tower Hill (Farnaby) / O you’re pretty; Butter’d please; Nancy wants her own share (all Folk). 10” dark-blue Eng. Col. DB 2282, only form of issue, 1938. M-A, beautiful copy has label stkr, Sd.1. MB 12

“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!” - The Pipers’ Guild

M0495. KRYL’s BOHEMIAN BAND: Sakuntala - Overture (Goldmark). 12” black Pat.’08 V 31832, only form of issue,16 May, 1911. M-A, spectacular copy! MB 20 M0496. VICTOR HERBERT Cond.: Suite Romantique – Canzone amorosa (Nevin). 10” purple Pat.’08 V 60056, ‘Take’ 1, only form of issue, 21 June, 1911, Orig. ‘A’ Plate Issue. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0497. VICTOR HERBERT Cond.: Badinage (Cond. by the Composer). 12 ” purple Pat.’08 V 70053, ‘Take’ 4, only form of issue, 19 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0498. VICTOR HERBERT Cond.: Badinage / Babes in Toyland – The military ball (both Cond. by the Composer). 12 ” blue V 55104, ‘Take’ 8, only form of issue, 30 April, 1919, Sd.1 / ‘Take’ 1, only form of issue, 13 Oct., 1911, Sd.2. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0499. VICTOR HERBERT Cond.: Liebesträum (‘Take’ 1) (Liszt). 12” purple Pat.’08 V 70046, ‘Take’ 1, only form of issue, 21 June, 1911. M-A MB 10

M0500. VICTOR HERBERT Cond.: Liebesträum (Take’ 7) (Liszt) / Madama Butterfly - Fantaisie (Puccini). 12” blue V 55094, POM-23 / 22 May, 1923, ‘Takes’ 7 / 13, resp. M-A, a pristine copy! MB 12

M0501. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein). 12” purple Pat.’12 V 70077, only form of issue, 28 June, 1912, ‘Take’ 3. A to M-A MB 12

M0502. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein) / La Gioconda – Dance of the Hours (Ponchielli). 12” blue V 55044, only form of issue, 1 May, 1919, ‘Takes’ 5 / 8, resp. M-A, beautiful copy has, Sd.2, faintest rubs, inaud. MB 10

M0503. VICTOR HERBERT Cond.: Kamenoï-Ostrow – Rêve angelique (Rubinstein) / La Gioconda – Dance of the Hours (Ponchielli). 12” blue V 55044, POM-28 June, 1912 / 21 May, 1913, ‘Takes’ 2 / 5, resp. M-A, beautiful copy has faintest rubs, inaud. MB 10

M0504. VICTOR HERBERT Cond.: Song without Words – Spring Song (Mendelssohn). 10” purple Pat.’08 V 60046, ‘Take’ 1, only form of issue, 12 Oct., 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0505. VICTOR HERBERT Cond.: At Dawning (Cadman) / Poupée valsante (Poldini). 10” blue V 45170, ‘Takes’ 1 / 2, only form of issue, 21 May, 1923. A to M-A MB 10

M0506. VICTOR HERBERT Cond.: At Dawning (Cadman) / Poupée valsante (Poldini). 10” blue V 45170, ‘Takes’ 5 / 4, only form of issue, 22 May / 7 June, 1923. A to M-A MB 10 M0507. VICTOR HERBERT Cond.: American Fantasie (Cond. by the Composer), 2s. 12” blue V 55093, ‘Take’ 6, Sd.1, only form of issue, 20 May, 1918. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0508. VICTOR HERBERT Cond.: Carmen – Suite (Bizet). 12” purple Pat.’08 V 70067, POM-11 Oct., 1911. M-A, a pristine copy! MB 12

M0509. VICTOR HERBERT Cond.: Carmen – Suite (Bizet), 2s. 12” blue V 55103, POM-12 / 11 Oct., 1911. A to M-A MB 10

M0510. VICTOR HERBERT Cond.: Angel’s serenade (Braga) / Xerxes – Ombra mai fu (Handel). 12” blue V 55040, only form of issue, 30 April, 1919 / 15 May, 1923. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0511. VICTOR HERBERT Cond.: Marche slav (Tschaikowsky) / Suite #3 in D - Air on the G String (Bach). 12” blue V 55105, only form of issue, 22 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0512. VICTOR HERBERT Cond.: Woodland Sketches – At an old trysting place; To a wild rose (Macdowell). 10” purple Pat.’08 V 60053, ‘Take’ 1, only form of issue, 23 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0513. VICTOR HERBERT Cond.: Wesendonck Lieder – Träume / Tristan – Liebestod (Wagner). 12” blue V 55041, ‘Take’ 3, Sd.2, only form of issue, 21 May, 1913 / 26 April, 1919. M-A MB 10

M0514. VICTOR HERBERT Cond.: Wesendonck Lieder – Träume / Tristan – Liebestod (Wagner). 12” blue V 55041, ‘Take’ 5, Sd.2, only form of issue, 21 May, 1913 / 29 April, 1919. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0615. VICTOR HERBERT Cond.: L’Africaine – Marche indienne (Meyerbeer). 12” purple Pat.’08 V 70068, only form of issue, 13 Oct., 1911. A-, lt.rubs, inaud. MB 8

M0516. VICTOR HERBERT Cond.: Natoma – Dagger dance ‘Take’ 2 (Cond. by the Composer). 12” purple V 70049, POM-22 June, 1911. A to M-A, lovely copy has faintest rubs, inaud. MB 10

M0517. VICTOR HERBERT Cond.: Natoma – Dagger dance ‘Take’ 4 / Indian Summer (both Cond. by the Composer). 12” blue V 55200, only form of issue, 7 June / 3 May, 1923, Sd.2 is Herbert’s final recording. M-A, choice copy has wee pressing bump, Sd.2 . MB 15 M0518. VICTOR HERBERT Cond.: Babes in Toyland – March of the toys / Naughty Marietta – Intermezzo (both Cond. by the Composer). 12” blue V 55054, POM-22 June, 1911 / 1 May, 1919, only form of issue, Sd.2. A to M-A, lovely copy has faintest rubs, inaud.; Sd.2 has 2 minuscule scrs, inaud. MB 10

M0519. VICTOR HERBERT Cond.: Lady of the Slipper - Potpourri / Sweethearts - Potpourri (‘Take’ 4) (both Cond. by the Composer). 12” blue V 55039, POM-24 / 20 May, 1913, only form of issue, Sd.1. A to M-A, lovely copy has faintest rubs, inaud. MB 12

M0520. VICTOR HERBERT Cond.: Lohengrin – Bridal March (Wagner) / Midsummer Night’s Dream – Wedding March (Mendelssohn). 12” blue V 55048, only form of issue, 21 May, 1923, ‘Takes’ 5 / 5. M-A, a pristine copy! MB 12

M0521. VICTOR HERBERT Cond.: Suite #3 in g – Air on the G String (Bach). 12” purple V 70047, POM-22 June, 1911. A, lovely copy has faintest rubs, inaud. MB 8

M0522. PAUL WHITEMAN Cond.: Suite of Serenades (1924 Version) (Victor Herbert), 2s. 12” blue V 55226, POM-11 June, 1924. A-, very decent copy has superficial lt.rubs, inaud. This plays just beautifully! MB 20

M0523. PAUL WHITEMAN Cond.: Suite of Serenades (1928 Version) (Victor Herbert), 2s. 12” PW plum HMV C 1600, POM-1 March, 1928. A to M-A, lovely copy has occasional faintest pap. rub, inaud. MB 12

M0524. PAUL WHITEMAN Cond.: SLAUGHTER ON TENTH AVENUE (Richard Rodgers), 2s. 12” black Scroll V 36183, POM-26 June, 1936. A to M-A, lovely copy has lt.rubs, inaud. MB 12

M0525. PAUL WHITEMAN Cond.: GRAND CANYON SUITE (Grofé), 8s. 4-12” black Orth V 36052/55, POM-26-28 April, 1932, in Orig. Album C-18. M-A, appears unplayed! MB 25, the Set.

“George Gershwin sent RHAPSODY IN BLUE to Whiteman as a piano score in 1924. Whiteman asked Grofé to arrange it. It made both composer and arranger nationally famous. Later Grofé prepared the version for full orchestra that’s best known today. The success of RHAPSODY IN BLUE gave Whiteman a hunger for more works of symphonic jazz. It also gave Grofé the urge to try his hand at larger forms. Grofé was the first jazz arranger to use European orchestral techniques. Before his became well known, many Americans looked down on jazz as vulgar entertainment. Grofé’s skill and imagination as arranger helped make Whiteman’s band the most successful and respected jazz band in the country. Ferde Grofé’s GRAND CANYON SUITE remains one of the most popular of American orchestral pieces. He first wrote it for Paul Whiteman’s jazz band and devoted his entire career to popular music.” - David Guion, 29 May, 2017 M0526. PAUL WHITEMAN Cond.: MISSISSIPPI SUITE (Grofé), 2s. 12” black Orth V 35859, POM-2 Sept., 1927. M-A, appears unplayed! MB 15

“Grofé [apparently] took inspiration from Gershwin but also Aaron Copland. Grofé admired Copland and his ‘American classical music’ style” - Alex Burns, 7 Aug., 2016

M0527. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, Henry Busse, etc.: METROPOLIS – a blue fantasie (Grofé) [offering a kaleidoscope of wonderful gems inspired by Fritz Lang's landmark Silent movie METROPOLIS, and evocative of The Machine Age influence in music in which BIX is famously showcased], 4s. 2-12” black Orth V 35933/34, POM-13-17 March, 1928. M-A, choice copy has wee ‘heat’ mk, beg.each side, positively inaud. MB 45, the Pair.

M0528. PAUL WHITEMAN Cond. Roy Bargy, John Bowman, Bix Beiderbecke, Henry Busse, etc.: THREE SHADES OF BLUE (Grofé), 2s. 12” black Orth V 35952, POM-16 Feb., 1928. M-A MB 25

M0529. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, John Bowman, Henry Busse, etc.: Chloe (Neil Moret) / WARING’s Concert Orch: Naughty Marietta – Ah! Sweet Mystery of Life (Victor Herbert). 12” black V 35921, POM-27 Feb. / 17 April, 1928. M-A, choice copy w.wee ‘heat’ mk, beg.each side, positively inaud. MB 15

M0530. PAUL WHITEMAN Cond. GEORGE GERSHWIN (Pf.): RHAPSODY IN BLUE (1924 Version) (Played by the Composer), 2s. 12” blue V 55225, POM-10 June, 1924. M-A, as unplayed! MB 65

M0531. PAUL WHITEMAN Cond. GEORGE GERSHWIN (Pf.): RHAPSODY IN BLUE (1927 Version) (Played by the Composer), 2s. 12” black PW V 35822, POM-21 April, 1927. M-A, appears unplayed! MB 15

M0532. PAUL WHITEMAN Cond.: AN AMERICAN IN PARIS; w.Roy Bargy & Rosa Linda (Pfs.): RHAPSODY IN BLUE, SECOND RHAPSODY & CUBAN OVERTURE (all Gershwin), 10s. 5-12” black Decca 29088-92, POM-21 & 23 Oct., 1938, in Orig. Decca Album DA 31, w.Brochure. M-A, appears unplayed, albeit very occasional rub & superficial scr, inaud. MB 35, the Set.

“Roy Bargy gained his greatest fame as pianist with Paul Whiteman (1928-40), where his ‘legitimate’ technique allowed him to play both credible jazz and classical solos (such as RHAPSODY IN BLUE). - Scott Yanow, allmusic.com

M0533. PAUL WHITEMAN Cond. Roy Bargy (Pf.): Piano Concerto in F (Gershwin), 6s. 3-12” Art Label (Potato Head) Viva-Tonal Col. 50139/41-D, POM-15 & 17 Sept., 1928. [Rare in this ‘Potato Head’ pressing!] A-, lovely copy has lt.rubs, inaud. MB 45, the Set.

M0534. PAUL WHITEMAN Cond. Roy Bargy, Ramona, Peggy Healy, Jane Vance, etc.: WHITEMAN MEDLEY, 2s [Exactly the same performance as M0535, below]. 12” black Scroll V 36199, POM-2 Dec., 1932. M-A, appears unplayed! MB 15

M0535. PAUL WHITEMAN Cond. Roy Bargy, Ramona, Peggy Healy, Jane Vance, etc.: A NIGHT WITH PAUL WHITEMAN AT THE BILTMORE, 2s. 12” Victor ‘Picture’ Record 39,000, POM-2 Dec., 1932. M-A, lovely copy has very occasional wee rub, inaud. MB 45

M0536. PAUL WHITEMAN Cond. Durelle Alexander, Ramona, Johnny Hauser & King’s Men: TOP HAT - medley (Irving Berlin), 2s. 12” black Orth V 35828, POM-28 Sept., 1935. A-, lovely copy has considerable rubs, inaud. MB 10

M0537. PAUL WHITEMAN Cond. Roy Bargy, Bix Beiderbecke, Henry Busse, etc.: A STUDY IN BLUE (Domenico Savino) / NATHANIEL SHILKRET Cond.: MANHATTAN MOONLIGHT (Louis Alter). 12” black Orth V 36067, POM-2 March, 1928 / 17 May, 1932. A-, lovely copy has considerable rubs, inaud. MB 15

M0538. PAUL WHITEMAN Cond.: The Merry Widow - Medley (Lehár) / The Chocolate Soldier - My Hero (). 12” Art Label (Potato Head) Viva-Tonal Col. 50069-D, POM-12 / 13 May, 1928. B, decent copy has lt. rubs & few superficial lt. scrs, barely audible. This plays virtually as M-A. MB 25

M0539. PAUL WHITEMAN Cond. Bix Beiderbecke, Frank Trumbauer, Jack Fulton, etc.: Sweet Sue, just you (Harris) / Blackbirds of 1928 - I can’t give you anything but love (Fields). 12” Art Label (Potato Head) Viva-Tonal Col. 50103-D, POM-18 / 21 Sept., 1928. B, decent copy has lt. rubs & few lt. scrs, barely audible; Sd.2 only has 2 superficial light ipc, inaud. This plays virtually as M-A. MB 35

M0540. PAUL WHITEMAN Cond.: Sea Burial (Eastwood Lane, arr.: Grofé) / Caprice futuristic (Malneck-Signorelli). 12” black Orth V 36044, POM-29 / 18 Feb., 1928. M-A, lovely copy has faintest rubs, inaud. MB 12

“Eastwood Lane produced a few standalone pieces, of which the tone poem ‘Sea Burial’ (1925) remains the best known. Eastwood Lane may never gain [the fame of] Charles Ives, Carl Ruggles and Charles T. Griffes, etc - Uncle Dave Lewis, allmusic.com M0541. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: An orchestral rehearsal (Cella), 2s. 10” PW V 4537, only form of issue, 1 July, 1939. [An oddity featuring Fiedler’s speaking voice in a simulated live rehearsal] M-A MB 25

M0542. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: AMERICAN SALUTE - When Johnny comes marching home) / Yankee Doodle went to town (both arr. Morton Gould). 12” V 11-8762, POM-20 Nov., 1944. [During those trying times, such patriotism now surely appears dated and out of sync with the present!] A-, lovely copy has lt.rubs, inaud. MB 10

M0543. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Strike up the band (Gershwin) / LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal – Synthesis, Part 3 (Wagner). 12” yellow RCA special complimentary copy [for superb fidelity demonstration purposes] D-7, POM-3 July, 1935 / 7 April, 1934, A-, lovely copy has lt.rubs, inaud. MB 12

M544. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Medley from Walt Disney’s ALICE IN WONDERLAND (Sammy Fain; arr. Hugo Winterhalter), 2s. 10” RCA 10-3451, POM-10 June, 1951. M-A, choice beveled-edge pressing has faintest rubs, inaud. MB 12

M0545. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Pop goes the weasel (arr.Cailliet), 2s. 10” PW V 4397, POM-27 June, 1938. M-A, appears unplayed! MB 10

M0546. ARTHUR FIEDLER Cond. Boston ‘Pops’ Orch.: Pavanne (Morton Gould) / w.Roger Voisin (): The toy trumpet (Scott). 10” PW V 4456, POM-29 June, 1939. M-A, appears unplayed! MB 10

“Arthur Fiedler fled World War I in 1915, settling into the second-violin section of the BSO under Karl Muck. Fiedler later moved to the viola section, and doubled on celesta and other keyboard and percussion instruments. In 1929 Fiedler started a series of free outdoor summer concerts at the Esplanade on the banks of Boston's Charles River. Soon the concerts attracted audiences in the thousands. The BSO noticed, and in 1930 engaged Fiedler to conduct the Boston Pops, succeeding Alfredo Casella. He remained with the Pops until his death, gaining the distinction of holding the longest music directorship of an American orchestra. - James Reel, allmusic.com

M0547. LAWRANCE COLLINGWOOD Cond. London S.O.: DER RING DES NIBELUNGEN - Motives (Wagner), 4s. 2-12” Scroll V 11215/16, POM-17 April & 23 May 1931, Kingsway Hall, w.Victor Brochure. M-A MB 35, the Pair.

“Collingwood is responsible for the delivery of the brief snippets of leitmotifs, each of which is preceded by an announcer giving a number, which refers the listener to the booklet where an explanation of each motif is given.” - Paul Corfield Godfrey, MusicWebInternational M0548. GEOFFREY TOYE Cond. London S.O.: On Hearing the First Cuckoo in Spring (Delius), 2s. 10” Scroll V 4270, POM-1928, on ‘Z’ shellac. M-A, appears unplayed, albeit 2 infinttessimal pap.scrs, inaud. & hardly worth mention. MB 10

M0549. GEOFFREY TOYE Cond. New S.O.: Summer Night on the River (Delius), 2s. 10” black PW Electrola EW 78, POM-1928. M-A, appears unplayed!

M0550. CLAUD POWELL Cond. Doris Vane & John Coates: BRONWEN – Excerpts (Joseph Holbrooke), 6s. 3-12” blue PW Eng. Col. LW 76/78, recorded in Central Hall, Westminster (in a gorgeous, spacious acoustic), POM-5 July, 1929, in hand-made album. A- / M-A, the first two disks only are rubbed, albeit inaud. MB 35, the Set.

“BRONWEN, a musical drama or opera by Joseph Holbrooke, was part of the opera trilogy of the composer entitled THE COULDRON OF ANNWN. It was premiered on February 1, 1929 in Huddersfield by the Carl Rosa Opera ensemble….a recording was made quite quickly of a suite by Doris Vane and John Coates, under the direction of Claud Powell.” - Wikipedia

M0551. ROGER QUILTER Cond. Salon Orch.: Where the Rainbow Ends – Potpourri (Cond. by the Composer), 2s. 12” dark-blue Eng. Parl. E11175, POM-1930. M-A, appears unplayed! MB 12

M0552. RALPH VAUGHAN WILLIAMS Cond. BBC S.O.: Symphony #4 in f (Cond. by the Composer), 8s. 4-12” PW V 12182/85, in Orig. Album M 4340, w.Brochure. M-A, appears unplayed! MB 15, the Set.

M0553. RALPH VAUGHAN WILLIAMS Cond. National Folk Dance Orch.: Never love thee more / Geud man of Ballangigh (both Folk). 10” dark-blue Eng. Col. DB 2242, POM-12 May, 1930, Petty France, London. A-, lovely copy has, faintest rubs, inaud. MB 12

“Vaughan Williams' music expresses a deep regard for and fascination with folk tunes, the variations upon which can convey the listener from the down-to-earth (which Vaughan Williams always tried to remain in his daily life) to that which is ethereal. Simultaneously the music shows patriotism for England in the subtlest form.” - New World Encyclopedia

M0554. ARMAS JÄRNEFELT Cond. Stor S.O.: Präludium / Berceuse (both Cond. by the Composer). [Armas Järnefelt was Sibelius' brother-in-law and a well known conductor in his day, spending most of his career in and about Stockholm. As a composer he's known now for his charming Berceuse for violin and orchestra] 10” dark-blue German Odeon A 162213, POM-1928. M-A MB 15 M0555. JOHN BARBIROLLI Cond.: Präludium / Berceuse (both Järnefelt). 10” Scroll V 4320, POM-4 May, 1933, on ‘Z’-type shellac. M-A, label stkr, Sd.1. MB 12

M0556. JOHN BARBIROLLI Cond.NYPO: Ancient Airs and Dances – Arie di Corte (Respighi), 2s. 12” white RCA Special Pressing of CS 018872/73, POM-9 Feb., 1938, Carnegie Hall. M-A, beautiful copy has faintest rubs, inaud. MB 12

M0557. JOHN BARBIROLLI Cond. NGS Chamber Orchestra: Summer Night on the River (Delius), 2s. 12” buff PW National Gramophonic Society 72, only form of issue, 1927. M-A MB 15

M0558. JOHN BARBIROLLI Cond. NGS Chamber Orchestra: Serenade for Strings for Delius’ 60th birthday (Warlock), 2s. 12” buff PW National Gramophonic Society 75, only form of issue, 1927. M-A, lovely copy has faintest rubs, inaud. MB 15

M0559. JOHN BARBIROLLI Cond. Strings of NGS Chamber Orchestra: Suite for Strings (Purcell-Barbirolli), 3½s / Sd.4 = Allegretto (Marcello-Barbirolli). 2-12” buff PW National Gramophonic Society 96/97, only form of issue, 1927. M-A, lovely copy has faintest rubs, inaud. MB 15

“The National Gramophonic Society was founded October 29, 1923, by Compton MacKenzie who was especially fond of chamber music, and especially outraged by what he perceived as its wilful neglect by commercial record companies. The Society was never well supported and few subscribers ever acquired the complete catalogue. The N.G.S. apparently pioneered the 'society' model of record production in 1924; no earlier instance is known of a publisher or society which financed recordings by subscription, and sold them solely or principally to subscribers and members. Barbirolli made his first records in 1911 as a boy cellist, and in 1927 he made several NGS recordings as conductor of a chamber orchestra which he had formed a few years previously.” - GRAMOPHONE

M0560. FRANK BRIDGE Cond. London S.O.: THE SEA – Excerpts (Cond. by the Composer), 2s. 2-12” blue PW Eng. Col. L 1500/01, POM-1924. A-, lovely copy has, faintest rubs, inaud. MB 45, the Pair.

“Not only was this aural seascape one of Frank Bridge's most successful works, but it was the piece that ‘knocked sideways’ the 10-year-old Benjamin Britten, who would go on to study with Bridge and champion his music. THE SEA, however, is a plush late Romantic score not really characteristic of Bridge's fully mature, more austere music. To a degree, it can be confused with such Arnold Bax oceanic tone poems as GARDEN OF FAND, TINTAGEL, and ON THE SEA-SHORE.” - James Reel, allmusic.com

M0561. EDWARD GERMAN Cond.: TOM JONES– Dances - Introduction & Jig (Cond. by the Composer). 10” black HMV 2-579 (HO3826ae), POM-30 Nov., 1917. M-A, lovely copy has faintest rubs, inaud. MB 15 M0562. EDWARD GERMAN Cond. Bessie Jones, Edna Thornton, Charles Mott, Ernest Pike, Edward Halland, Joseph Reed, Violet Oppenshaw & Sarah Jones: MERRIE ENGLAND – (Cond. by the Composer), Complete, as recorded. 11-12” black HMV D-18-28 (HO 3100-17, 3169-95, 3203/08af), POM-1918, in Orig. HMV Album. M-A, beautiful copy w.occasional faintest rub, inaud. MB 95, the Set.

“Edward German wrote MERRIE ENGLAND after working on the score of THE EMERALD ISLE following Sullivan's premature death. He gained a lot of practical knowledge from Sullivan's sketches and style of orchestration and put this into practice with MERRIE ENGLAND the first of his large scale works for the stage. The show was produced at the Savoy Theatre where it played to packed houses.” - musicweb-international

M0563. ALICK MACLEAN Cond. New Queen’s Hall Light Orch.: Nell Gwyn - Three Dances / Henry VIII - Three Dances (both Edward German). 3-12” blue PW Eng. Col. L1410/11; 1424, only form of issue, 26 April & 6 Dec., 1921. M-A MB 35, the Trio.

“Alick Maclean was an English composer and conductor, who won the Moody-Manners prize for the best one-act British opera in 1895 with PETRUCCIO, an early example of verismo in England. Maclean was the musical director of Wyndham’s theatres (1899–1912), subsequently conducting the Scarborough Spa Orchestra to great renown. In addition, he conducted the Chappell (initially Ballad) Concerts from 1916 to 1923 and in the winter months of these years the New Queen’s Hall Light Orchestra.”

“Eleanor Gwyn, more commonly known as Nell Gwyn, was a prolific celebrity figure of the Restoration period. Praised by Samuel Pepys for her comic performances as one of the first actresses on the English stage, she became best known for being a long-time mistress of King Charles II of England and Scotland. Called ‘pretty, witty Nell’ by Pepys, she has been regarded as a living embodiment of the spirit of Restoration England and has come to be considered a folk heroine, with a story echoing the rags-to-royalty tale of Cinderella.” - Fluff on the Needle

M0564. KURT ATTERBERG Cond. Chamber Orch.: Suite Pastorale, Op.34 (Cond. by the Composer), 4s. 2-10” plum PW HMV X.4946/47, POM-21 Oct., 1937, Stockholm. M-A, albeit Sds. 3 & 4 appear slightly waxed. MB 25, the Pair.

M0565. KURT ATTERBERG Cond. Berlin Phil.: Symphony #6 in C (Cond. by the Composer), 6s. 3-12” blue PW German Polydor 95193/95, POM-1 Oct., 1928, in Orig. Polydor Album. M-A MB 95, the Set.

"The Symphony #6 brought [Atterberg] some international notoriety; it was awarded by a jury of composers the first prize in a competition held by the Columbia Phonograph Company in connection with the Schubert Centenary in 1928....Beecham [recorded it] with the Royal Philharmonic Orchestra (in 1928). The critic Ernest Newman questioned the work's originality, and Atterberg admitted it was a hoax and that he had deliberately imitated the styles of some of the composers on the jury, which included Glazunov, Alfano and Nielsen; he even wrote a pamphlet about the adventure entitled HOW I FOOLED THE WORLD." - John L. Holmes, CONDUCTORS ON RECORD M0566. HIDEMARO KONOYE Cond. Berlin Phil.: Symphony #91 in E-flat (Haydn), 6s. 2-10” DG 62892/93; 1-10” orange Eng. Decca-Polydor PO.5132, POM-1938. M-A; the first two disks appear unplayed! MB 35, the Trio.

"Konoye was the one and great conductor in the first age of the Japanese Classical Music world. He founded the 'New Symphony Orchestra of Tokyo' - later the NHK Symphony Orchestra. He made the first recording of Mahler's 4th Symphony in 1930 in . He created friendships with , Leopold Stokowski and many other famous conductor’s chair in Europe and the USA. In the early days of NBC Symphony, he got the conductor’s chair with Rodzinski and Munch. His planned US tour was to be supervised by Stokowski, but due to the start of World War II, his plan never materialized. He then went to Germany and conducted the Berlin Philharmonic.” - Braveheart

M0567. EDUARD van BEINUM Cond. Concertgebouw Orch.: Eine Ballettsuite (Reger), 6s. 3-12” DG 69424/26, POM-1943. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 25, the Set.

M0568. EDUARD van BEINUM Cond. Concertgebouw Orch.: Symphonie fantastique (Berlioz), 12s. 6-12” Eng. Decca AK.1626/31, POM-1941. M-A MB 25, the Set.

M0569. EDUARD van BEINUM Cond. London Phil., w.EUGENIA ZARESKA: Lieder eines fahrenden Gesellen (Mahler), 4s. 4-12” white Eng.Decca S/S shellac Test Pressings for London D.K.1624/25 (AR10891/94), POM-29 Nov., 1946. M-A MB 25, the Set.

M0570. FERENC FRICSAY Cond. RIAS S.O., Berlin: Kleine Abraxas – Suite (Egk), 2s. 12” Variable Micrograde DGG 72050, only form of issue, 12 Jan., 1951. M-A, beautiful copy has very fine hlc. Exceedingly Elusive late 78-era issue! MB 35, as is.

M0571. SELMAR MEYROWITZ Cond. Berlin Phil.: Fra Diavolo – Overture (Auber), 2s. 12” dark-blue German Telefunken E 1018, POM-1931. [Noteworthy that although we’ve seen the occasional copy of this disk with the Meyrowitz name printed on the labels, but on this copy there is no conductor mentioned!] M-A MB 12

M0572. SELMAR MEYROWITZ Cond. ‘Grand Orchestre Philharmonique’: A FAUST SYMPHONY (Liszt), 14s. 7-12” MasterWorks Col. 68747/53, POM-1935, in Orig. Col. silver-print Album 272, w.Brochure. M-A, appears unplayed! MB 45, the Set.

"The finest Faust Symphony ever recorded has sadly never been transferred to CD. That was the version by Selmar Meyrowitz (1875-1941) with the Paris Philharmonic. For passion and subtle nuance, Meyrowitz was simply in a class of his own. Those who have not heard of the conductor Selmar Meyrowitz here before are excused - he was killed during the Second World War whilst trying to escape the Nazis - a tragic end to a blossoming career....” - Jeffrey Liscomb M0573. EUGEN JOCHUM Cond. Berlin Phil.: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 6-12” red French Telefunken RE 2311/16, POM-1937. M-A, splendid copy has occasional faintest rubs, inaud. MB 45, the Set.

M0574. EUGEN JOCHUM Cond. Berlin Phil.: ‘Leonore’ Overture #3 (Beethoven), 4s. 2-12” red Czech Ultraphon F18021/22, POM-1937, Telefunken. M-A, superlative copy has faintest rubs Sd.3 only, inaud. MB 25, the Pair.

M0575. EUGEN JOCHUM Cond. Berlin Phil.: Tristan – Prelude & Liebestod (Wagner), 4s. 2-12” dark-blue German Telefunken E 2715/16, POM-1938. M-A MB 20, the Pair.

M0576. EUGEN JOCHUM Cond. Berlin Städtische Opera Orch. Lohengrin – Prelude (Wagner), 2s. 12” dark-blue German Telefunken E 3175, POM-1942. M-A MB 12

M0577. EUGEN JOCHUM Cond. Berlin Städtische Opera Orch. Götterdämmerung – Trauermarsch (Wagner), 2s. 12” pale-blue German Telefunken E 3128, POM-1940. M-A MB 12

M0578. EUGEN JOCHUM Cond. Württemburg Staatstheater Orch. & Chorus: Nabucco – Va pensiero / w.GEORG HANN: Tu sul labbro (both in German) (Verdi). 12” DG 68451, POM-14 Oct., 1950. Exceedinly rare in this late 78rpm issue! A to M-A, lovely copy has faintest rubs, inaud. MB 15

M0579. EUGEN JOCHUM Cond. Württemburg Staatstheater Orch. & Chorus: Tannhäuser – Einzug der Gäste / Pilgerchor (Wagner). 12” DG 68448, POM-28 Oct., 1950. Exceedinly rare in this late 78rpm issue! M-A, lovely copy has faintest rubs, inaud. MB 15

M0580. EUGEN JOCHUM Cond. Hamburg Staatsoper Orch. & Chorus: – Revolutionary Scene (abridged) (Mussorgsky), 2s. 12” pale-blue German Telefunken E 1934, POM-1935. A to M-A, Lovely copy has faintest rubs, inaud. MB 12

M0581. EUGEN JOCHUM Cond. Bavarian Radio S.O., w.Cunitz, Pitzinger, Fehenberger & Hann: TE DEUM (Bruckner), 4s. 2-12” Variable Micrograde DGG 92010, POM-22 Aug., 1950. Exceedinly rare in this late 78rpm issue! MINT MB 25, the Pair.

M0582. OSWALD KABASTA Cond. Mu nchener Philharmoniker: Legende vom Prinzen Eugen (Theodor Berger), 2s. 12” red Electrola DB 7652, only form of issue, 1942, [World Premiere Recording, the rarest Kabasta 78rpm disk, virtually impossible to find. Kabasta conducted the world premiere a few months earlier, 30 Nov., 1941, Mu nchener Phil.]. A to M-A, beautiful copy has faintest rubs, inaud.; Sd.1 only has sev.microscopic pap.scrs, only occasionally ever-so-faintly audible. MB 150

“Berger returned to this folkloric air at a time when the Austrian state no longer existed. Thus this choice of theme can be interpreted as a protest against the Nazi regime in Germany which assimilated in the 1938 Anschluss. The composer presents the folksong and its multitudinous facets using many different tempi, variations and fragments up to the triumphal entry celebrating the song.” - Universal Publishers

M0583. OSWALD KABASTA Cond. Mu nchener Philharmoniker: Impressioni Brasiliane (Respighi), 4s. 2-12” HMV DB 4643/44, POM-18 Jan., 1939. M-A, appears unplayed! MB 15, the Pair.

M0584 OSWALD KABASTA Cond. Mu nchener Philharmoniker: Symphony #8 in F (Beethoven), 6s. 3-12” red Electrola DB 5639/41, POM-1 May, 1941. M-A, beautiful copy has faintest rubs, inaud.; 2nd disk only has tiny edge bite, not to grooves. MB 20, the Set.

M0585. JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #5 in B-flat, 5s. / Sd.6 = ALOIS MELICHAR Cond. Berlin Charlottenberg Opera Orch.: Der Zwillingsbrüder - Overture (both Schubert). 3-12” black German Polydor 66932/34, POM-1929. M-A, an outstanding copy! MB 45, the Trio.

M0586. JASCHA HORENSTEIN Cond. Berlin Phil.: Symphony #7 in E (Bruckner), 14s. 7-12” black German Polydor 66802/08, POM-1928, in Orig. Polydor Album. M-A, choice copy has occasional faintest rub, inaud. MB 45, the Set.

M0587. ERICH SEIDLER Cond. Berlin Dresden Phil.: Königskinder - Verdorben - gestorben (Humperdinck), 2s. 12” DG 57210, POM-1942. M-A, appears unplayed! MB 8

M0588. PAUL SACHER Cond. Collegium Musikum Zürich: Prélude, Arioso et Fughetta sur le nom de Bach (Honegger), 2s. 12” dark-blue Swiss Col. LZX 10, only form of issue, 1945, Zürich. M-A MB 15

M0589. PAUL SACHER Cond. Basler Kammerchor & Études Mozartiennes Orch.: Idomeneo – Corriamo Fuggiamo Idomeneo; Placido e il Mar – Choruses Nos. 3, 9, 15, 18, 24 & 32 (Mozart), 4s. 2-12” PW plum Disque Gram L-899/900. M-A, lovely copy has faintest pap.rubs, inaud. MB 20, the Pair. M0590. HERMANN SCHERCHEN Cond. Winterthur S.O.: Symphony #94 in G (Haydn), 6s. 3-12” Swiss HMV DB 10000/02, only issue, 27 May, 1942. M-A, choice copy has, beg. Sd.3, faintest pap. scuff, positively inaud. Most uncommon Swiss issue! MB 45, the Trio.

“…[Scherchen] was patronized by Werner Reinhart, a wealthy burgher of Winterthur. The reason seems to have been twofold in that he had to pay alimony to a number of women and their numerous children [in which case Reinhart was an invaluable asset].” - Michael Hans Kater, THE TWISTED MUSE, p.128

M0591. KARL BÖHM Cond. Dresden Staatskapelle: ‘Romantic’ Symphony #4 in E-flat (Bruckner), 16s. 8-12” Scroll V 14211/18, POM-1936, on ‘Z’-type shellac, in Orig. Album M-331, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0592. KARL BÖHM Cond. Dresden Staatskapelle: Donna Diana – Overture (Reznicek) / 1001 Nights – Intermezzo (Johann Strauss). 12” HMV DB 4560, POM-1939. M-A, appears unplayed! MB 10

M0593. KARL BÖHM Cond. Dresden Staatskapelle: Undine – Ballettmusik / Zar und Zimmermann – Holzshuhtanz (both Lortzing). 12” plum HMV EH 916, POM-1935. M-A, appears unplayed! MB 10

M0594. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Italian Concerto in F (Bach), 3s. / Sd.4 = Armide - Gavotte; Iphigénie en Aulide - Tambourin (both Gluck). 2-12” dark-blue German Telefunken E 2079/80, POM-19 Oct., 1936. M-A MB 15, the Pair.

M0595. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Rosamunde - Entracte / Ballet in G (Schubert). 12” dark-blue German Telefunken E 1902, POM-1937. M-A, lovely copy has, Sd.1 only, faintest pap. rubs, inaud. MB 10

M0596. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Suite Orientale (Popy), 2s. 12” dark-blue German Telefunken E 1760, POM-1936. A to M-A, lovely copy has mildew spots, thus noisy surfaces. MB 10

M0597. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Guillaume Tell - Overture (Rossini), 2s. 12” dark-blue German Telefunken E 1803, POM-1936. M-A, lovely copy has faintest rubs, inaud. MB 10

M0598. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Pique Dame – Overture (von Suppé), 2s. 10” dark-blue German Telefunken A 2248, POM-1936. M-A MB 10

M0599. HANS SCHMIDT-ISSERSTEDT Cond. Berlin Phil.: Das Rheingold – Einzug der Götter in Walhall, 2s. 12” pale-blue German Telefunken E 2783, POM-1937. M-A, appears unplayed! MB 12 M0600. CARL SCHURICHT Cond. Berlin Städtisches Orch.: Allegro symphonique (Poot), 2s. 12” DG 57272, POM-8 June, 1943. M-A MB 45

M0601. CARL SCHURICHT Cond. Berlin Städtisches Orch.: Schneider Wibbel – Overture (Mark Lothar), 2s. 12” DG 68269, POM-1942. M-A MB 15

“SCHNEIDER WIBBEL, an opera by Lothar Hundermark, who used the name Mark Lothar was primarily a composer of light . One of his teachers was Wolf-Ferrari, and you can hear traces of his teacher in this cheerful, eccentric overture.” - James Miller, FANFARE, July/Aug., 2012

M0602. RUDOLF LAMY Cond. Singgemeinschaft, w.Hans Berger & Josef Koller (both hornists with Vienna Phil.) & Max Saal (Harp): Gesänge für Frauenchöre; Gesang auf Fingal (all Brahms), 4s. 2-12” red German Odeon O-9160/61 (xxB 9211/13), only form of issue, 1943. M-A MB 25, the Pair.

M0603. FREDERICK STOCK Cond. Chicago S.O.: Symphonic Waltz (Cond. by the Composer), 2s. 12” Orth Vla 7387, POM-23 Dec., 1930. M-A MB 15

M0604. FREDERICK STOCK Cond. Chicago Orch.: Scapino – A comedy overture (Walton), 2s. 12” Australian Col. LOX 582, POM-26 April, 1941. M-A MB 15

M0605. FREDERICK STOCK Cond. Chicago S.O.: Kuolema – Valse triste (Sibelius) / Sérénade (Volkmann); Tsar Sultan – Suite (Rimsky-Korsakov). 12” Scroll V 6579, POM-22 Dec., 1925, ‘Takes’ 3 / 3, on ‘Z’ shellac. M-A MB 10

M0606. FREDERICK STOCK Cond. Chicago S.O.: Mignon – Overture (Thomas), 2s. 12” Scroll V 6650, POM-21 Dec., 1926, ‘Takes’ 2 / 2R, on ‘Z’ shellac. M-A, choice copy has faintest rubs, inaud. MB 8

M0607. FREDERICK STOCK Cond. Chicago S.O.: Russlan and Ludmilla – Overture (Glinka) / Wesendonck Lieder - Träume (Wagner). 12” Scroll V 7123, POM-17 / 19 Dec., 1928, on ‘Z’ shellac. M-A, appears unplayed! MB 15

M0608. FREDERICK STOCK Cond. Chicago S.O.: Overture to an Italian Comedy (Arthur Benjamin), 2s. [After graduation Benjamin taught at the where one of his pupils was Benjamin Britten. From the 1930s on, Benjamin composed a number of light-music pieces] 12” V 11-8157, POM-1941. MINT MB 10 M609. FREDERICK STOCK Cond. Chicago S.O.: Hungarian Dances Nos.17 - 21 (Brahms), 2s. 12” vinyl Special Pressing of Unpublished Victor Matrices CVE 37277 / 37283, POM-21 / 22 Dec., 1926. MINT MB 65, the Pair.

“For thirty-seven seasons, from 1905 until his death in 1942, German-born conductor Frederick Stock served as music director of the Chicago Symphony. During those years, this adventurous conductor explored virtually every aspect of the orchestral repertory - from Bach to contemporary composers like Walton, Holst, Kodály, and Prokofieff. His recorded repertory was almost equally broad. By the winter of 1940, Stock had radically transformed the Chicago Symphony into an instrument that was poised to take its place as one of the world's finest.” - Tom Godell, Classical.Net

M0610. Cond. Vienna Phil.: Heimchen am Herd (Cricket on the Hearth) – Prelude to Act III (Goldmark), 2s. 12” plum PW Czech HMV AN 451, POM-1930. Highly Elusive! M-A MB 25

M0611. CLEMENS KRAUSS Cond. Vienna Phil.: Sakuntala – Overture (Goldmark), 4s. 2-12” plum PW Czech HMV AN 439/440, POM-1930. M-A MB 20, the Pair.

M0612. CLEMENS KRAUSS Cond. Vienna Phil.: Nozze – Overture / Entführung – Overture (Mozart). 12” Scroll V 11242, POM-1931, on Z Shellac. M-A, as Unplayed! MB 12

M0613. CLEMENS KRAUSS Cond. Vienna Phil.: Symphony #2 in D (Beethoven), 8s. 4-12” Scroll V & Orth Vla 11256/59, POM-1930 partially on ‘Z’ shellac, in Orig. Album M-131, w.Brochure. M-A MB 35, the Set.

M0614. CLEMENS KRAUSS Cond. Vienna Phil.: Feuerfest (Josef Strauss) / Ägyptischer marsch (1942 Version) (Johann Strauss), 2s. 12” pale-blue German Telefunken SK 3241, only form of issue, 1942. M-A, lovely copy has faintest rubs, inaud. MB 10

M0615. CLEMENS KRAUSS Cond. S.O.: O schöner Mai (Johann Strauss), 2s. 12” dark-blue German Telefunken E 3874, POM-1936. M-A MB 10

M0616. CLEMENS KRAUSS Cond. Vienna Phil.: Le Bourgeois Gentilhomme – Suite (Strauss), 8s. 4-12” PW V 9917/20, POM-1930, in Orig. Album M-101, w.Brochure. M-A, choice PW pressing appears unplayed! MB 25, the Set.

M0617. CLEMENS KRAUSS Cond. Vienna Phil.: Le Bourgeois Gentilhomme – Suite (Strauss), 8s. 12” Orth Vla 9917; plus 6-12” S/S HMV Test Pressings, POM-1930. M-A MB 35, the Set. M0618. CLEMENS KRAUSS Cond. Vienna Phil.: Ägyptischer marsch (1952 Version) / Im Krapfenwadl (Polka française) (both Johann Strauss), 2s. 12” red German Decca K 23310, only form of issue, 1952. M-A, lovely copy has faintest rubs, inaud. MB 12

M0619. CLEMENS KRAUSS Cond. Vienna Phil.: Im Frühling – Overture (Goldmark), 2s. 12” plum PW HMV C 1802, POM-1930. M-A MB 8

M0620. CLEMENS KRAUSS Cond. Vienna Phil.: Im Frühling – Overture (Goldmark), 2s. 12” plum PW HMV C 1802, POM-1930. M-A MB 8

M0621. CLEMENS KRAUSS Cond. London S.O.: Academic Festival Overture (Brahms), 2s. 12” red Eng. Decca K,1726, only form of issue, 1947. M-A MB 10

“During the 1930s Krauss and his second wife, Romanian soprano Viorica Ursuleac, performed at Covent Garden and met the Mills & Boon writer and opera fan Ida Cook (a.k.a. Mary Burchell) and her sister Louise. Krauss and Ursuleac later asked the sisters to look after their Jewish friend Mitia Meyer-Lismann, who thus became the first person the sisters helped emigrate to the UK to escape Nazi persecution. From 1937 until August 1939 the sisters helped at least twenty-nine families to gain British visas by travelling to Germany and Austria under the guise of wealthy opera-goers, and persuading British citizens to act as guarantors. The sisters corresponded with Krauss and Ursuleac, who would provide details of opera performances and castings in order to make their story more believable, and often performed the sisters’ favourite operas during their visits to Germany. Ida and Louise financed and organised the operation themselves, risking their lives (often unknowingly) by wearing Jewish-owned jewellery and furs on their return journeys, and lying to Nazi officers and border officials. The sisters were among the most effective transporters of to England during this time, and were recognised as Righteous Among the Nations by Yad Vashem in 1964 for their work. After the war, Allied officials forbade Krauss from appearing in public until 1947, when information about the help that he had provided the Cook sisters in saving Jews from persecution was made public. He resumed his position in Vienna and conducted internationally until his death on tour in South America in 1954.” - Abaigh McKee, Music and the Holocaust

M0622. ROBERT A. GOMBERG Cond. ‘Royale’ S.O. of Philadelphia: Symphony #40 in g, K.550 (Mozart), 6s. [Robert Gomberg, brother of Ralph Gomberg, was Violinist with Philadelphia Orch. for 10- years, under Stokowski] 3-12” dark-red Royale 574/576, only form of issue, 1942. M-A, appears unplayed! MB 25, the Trio.

M0623. FERDINAND LEITNER Cond. Württembergisches Staatsorchester: Egmont – Overture; Zwischemaktmusik; w.Lore Wissmann (S): Klärchens Lieder: Die Trommel gerührt; Freudvoll und liedvoll; w.Paul Hartmann (Speaker): Schlusszene (Beethoven), 8s. 4-12" DGG 68349/52, only form of issue, 26 Feb. & 13 May, 1949. M-A, appears unplayed! MB 25, the Set. M0624. OSCAR FRIED Cond. Berlin Phil.: Oberon – Overture (Weber), 2s. 12” black Schall.Gram. 65938, POM-1924. M-A, lovely copy has, Sd.1 only, faint rubs & few superficial mks, faintly audible very few turns. MB 12

M0625. OSCAR FRIED Cond. Berlin Phil.: Euryanthe – Overture (Weber), 2s. 12” green German Polydor 19988, POM-1928. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12

M0626. OSCAR FRIED Cond. Berlin Phil.: Hänsel und Gretel – Orchestral Suites (Humperdinck), 4s. 2-12” green PW German Polydor 19984/85, POM-1928. M-A, virtually pristine copy! MB 15, the Pair.

M627. OSCAR FRIED Cond. Royal Phil.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky), 10s. 5-12” Early PW Col. 67618/22-D, on Royal Blue shellac, POM-1930, in Orig. Album 119. M-A, superb copy of preferred Royal Blue shellac pressing. MB 95

M0628. OSCAR FRIED Cond. Berlin Staatsoper Orch.: A Faust Overture (Liszt), 3s. / Sd.4 = ALOIS MELICHAR Cond.: Ungarischer Marsch in c (Schubert-Liszt). 12” gold Bruns. 90077/78, POM-1928. M-A, superb copy of preferred Columbia pressing has, end Sd.2, microscopic scr, positively inaud. MB 15, the Pair.

M0629. OSCAR FRIED Cond. Berlin Staatsoper Orch. & Chorus: Der Freischütz – Was gleicht wohl auf Erden (Weber) / Der Fliegende Holländer – Summ’ und brumm’ (Wagner). 12” PW black French Polydor 66518, POM-1927. M-A MB 12

M0630. OSCAR FRIED Cond. Berlin Phil.: Mazeppa – Symphonic Poem (Liszt), 4s. 2-12” orange Eng. Decca-Polydor CA.8177/78, POM-1928. M-A MB 15, the Pair.

M0631. OSCAR FRIED Cond. British S.O.: Sylvia – Suite (Delibes), 4s. 2-12” Eng. Col. LX 114/15, POM-1929. A to M-A, lovely copy has faint rubs, inaud. MB 12, the Pair.

“If today Oskar Fried is the only one of Mahler’s four pupils who is barely remembered, it is not because he lacked talent or failed to work hard. Rather, unlike his colleague Willem Mengelberg, Fried was not granted the lifelong leadership of a single important orchestra and the possibility of spreading his name and fame throughout the world by means of commercial and broadcast recordings. And unlike and the younger Otto Klemperer who left behind numerous hi-fi and stereo recordings, Fried did not live long enough after his flight from to the USSR (where he died in 1941) to be able to adequately convey to posterity most of his repertoire. Yet enough survives from Fried’s recorded legacy, begun in the acoustic era for DG. - Z. D. Akron M0632. BRUNO KITTEL Cond. Berlin Phil., w.Lotte Leonard, Emmy Land, Eleanor Schlosshauer-Reynolds, Anton Maria Topitz, Eugen Transky, Wilhelm Guttmann & Herman Schey: MISSA SOLEMNIS (Beethoven), 22s. 11-12” black French Polydor 95.146/156, POM-1928. M-A MB 45, the Set.

M0633. BRUNO KITTEL Cond. Berlin Phil., w. Erich Röhn, (Solo-Violin); Tilla Briem, Geusta Hammer, Walter Ludwig & Fred Drissen: MATTHÄEUS-PASSION (Bach), 35s. 18-12” dark-blue Cetra-Polydor RR8040/57, POM-1942. M-A, albeit 1st disk is broken. MB 45, the Set.

M0634. BRUNO KITTEL Cond. Berlin Phil., w.Tilla Briem, Gertrud Freimuth, Walter Ludwig & Fred Drissen: REQUIEM, K.626 (Mozart), 18s. 9-12” dark-blue German Meisterklasse Gramophon 67731/39, POM-1941. M-A MB 45, the Set.

‘Bruno Kittel’s 1941 recording of Mozart's REQUIEM is a moving account; heightened by elite- status choral singing and by the masterly orchestral control of the Berliner Philharmoniker, the tableau is not complete without the very good - and sometimes impressive - soloists. This album discloses a trailblazing account of Mozart's justly famous REQUIEM. Kittel's is a classic reading of this masterpiece: power, tension and the heavenly sense of a tragic era, but not without an unmistakable Mozartian temperament. This recording of the REQUIEM is meaningful because it is one of the first studio recordings (maybe the very first) of the work.” - Bach Cantatas Website

M0635. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Die Fledermaus – Overture (Johann Strauss), 2s. 12” purple Eng. Parl. E10775, POM-30 April, 1928. [A uniquely delightful and individual performance which features ‘rapid tempi and sharp ensemble’ - Ralph Moore] M-A, a choice copy! MB 12

M0636. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Lohengrin - Prelude (Wagner), 2s. 12” Viva-Tonal Col. 67469-D, on Royal Blue shellac, POM-9 Sept., 1927. M-A, appears unplayed! MB 12

M0637. ARTUR BODANZKY Cond. Berlin Staatsoper Orch.: Die Meistersinger – Prelude, Act I, 3s. / Sd.4 = Lohengrin – Prelude, Act III (Wagner). 2-12” red Decca-Odeon 25555/56, POM- 10 Sept., 1927. M-A MB 15, the Pair

“Bodanzky studied composition with Alexander von Zemlinsky, was an assistant to Mahler at the Vienna Opera, and was also closely associated with Busoni (who recommended him to Toscanini when Toscanini left New York in 1915). He was head of the German wing at the Met from 1915 until his death in 1939. He was conducting the infamous performance of Halévy's LA JUIVE, during which Caruso, in his own words, was ‘doubled over forward like a dry twig, screaming like a madman’ because of the pain he was in. More than responsive, his orchestra is indescribably hot. James Huneker - a legendary name among early twentieth century New York critics - wrote: ‘No living conductor has the fiery temperament of Bodanzky save Arturo Toscanini’.” - Joe Horowitz, 17 July, 2014 M0638. WILLEM MENGELBERG Cond. NYPO: Suite for Orchestra – Air (J.S. Bach-Mahler) / Sinfonia in B flat – Presto, Op.18, #2 (J.C. Bach-Stein). 12" Scroll V 7484, POM-16 Jan., 1929, on ‘Z’-type shellac. M-A, as unplayed! MB 15

M0639. WILLEM MENGELBERG Cond. NYPO: Symphony #1 in C (Beethoven), 8s. 4-12” Orth Vla 7211/14, POM-9 Jan., 1930, in Orig. Album M-73, w.Brochure. M-A, as unplayed! MB 25, the Set.

M0640. WILLEM MENGELBERG Cond. NYPO: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 14s. 7-12” PW V 7446/52, POM-4 & 9 Jan., 1930, on ‘Z’ shellac & ‘Z’-type shellac, in Orig. Album M-115, w.Brochure. M-A, as unplayed! MB 45, the Set.

M0641. WILLEM MENGELBERG Cond. NYPO: Der Fliegende Höllander – Overture (Wagner), 2s. 12" Scroll V 6547, POM- 6 Oct.,1925, on ‘Z’-type shellac. M-A, as unplayed! MB 15

“Although Willem Mengelberg had first come to New York to open the Philharmonic’s season in 1905, it was not until sixteen years later that he appeared regularly before the City’s concert- going public. At that time, the board of the fledgling National Symphony Orchestra (unrelated to the later orchestras of the same name headed by Walter Damrosch and Hans Kindler) brought Mengelberg in to rebuild the ensemble and share the leadership with Artur Bodanzky. The next year, following Mengelberg’s recommendation, the orchestra was merged into the New York Philharmonic, with the Dutchman ultimately becoming principal conductor. It was at this time that Mengelberg made his first recordings with the ensemble.

As the decade progressed, both Furtwänger and Toscanini were engaged for extended guest conducting appearances with the Philharmonic. While the former left after two seasons, Toscanini stayed on as the orchestra merged with yet another ensemble, Damrosch’s New York Symphony, to form the Philharmonic-Symphony Orchestra of New York in the Fall of 1928. Toscanini was appointed principal conductor, with Mengelberg accepting the lesser role of associate. Ultimately, politics from within and without the orchestra took their toll, and Mengelberg left New York in early 1930, never to return. - Mark Obert-Thorn

M0642. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Prélude à L’après-midi d’un Faune (Debussy), 2s. 12” black Italian Telefunken SK 2955, POM-30 Nov., 1938. M-A, beautiful copy has faintest rubs, inaud. MB 35

M0643. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Psyché et Eros (Franck), 2s. 12” black GermanTelefunken SK 2463, POM-Dec, 1937 & Jan., 1938. M-A, appears unplayed! MB 35

M0644. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Die Meistersinger - Prelude (Wagner), 2s. 12” black GermanTelefunken SK 3137, POM-12 Nov., 1940. M-A, virtually pristine! MB 35 M0645. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Serenade for Strings (Tschaikowsky), 6s. 3-12” brown Swiss Telefunken SK 2901/03, POM-9 Oct. & 2 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0646. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Serenade for Strings (Tschaikowsky), 6s. 3-12” black Czech Ultraphon 14219/21, POM-9 Oct. & 2 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0647. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Don Juan (Strauss), 4s. 12” red German Telefunken TF 754/55, POM-8-9 Nov., 1938. M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has microscopic mk., audible only a turn or two. MB 35, the Pair.

M0648. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Ein Heldenleben (Strauss), 10s. 5-12” black German Telefunken SK 3181/85, POM-April, 1941. M-A, virtually pristine! MB 95, the Set.

M0649. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony in d (Franck), 10s. 5-12” black French Telefunken Pacific SK 3145/49, POM-3 Oct. & 2 Nov., 1938. M-A, lovely copy has faintest rubs, inaud.; #3146 only has edge crunch which affects only initial grooves of Sd.3. MB 45, the Set.

M0650. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky), 10s. 4-12” black GermanTelefunken SK 2214/18, POM-21 Dec., 1937. M-A, appears unplayed! MB 95, the Set.

M0651. WILLEM MENGELBERG Cond.Concertgebouw Orch., w.CONRAD HANSEN (Pf.): Piano Concerto #1 in b (Tschaikowsky), 8s. 4-12” black GermanTelefunken SK 3092/95, POM-5-6 July, 1940. M-A, beautiful copy has occasional faintest rub, inaud.; final disk has tape-reinforced ulc in inner margin. MB 45, the Set.

M0652. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #5 in e, 13s. / Sd.14 = Serenade for Strings - Waltz (both Tschaikowsky). 7-12” red Decca-Odeon 25478/84, POM-10 / 12 May, 1938. M-A, lovely copy has faintest rubs, inaud. MB 45, the Set

M0653. WILLEM MENGELBERG Cond.Concertgebouw Orch.: La Damnation de Faust – Marche hongroise / Menuet des sylphes (Berlioz) 12” lilac French Odéon 17004/05, POM-1926. M-A, a spectacular copy! MB 15 M0654. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #1 in C (Beethoven), 6s. 3-12” black ItalianTelefunken SK 2770/72, POM-8 Nov., 1938, Orig. Italian Telefunken Album. M-A, virtually pristine! MB 65, the Set.

M0655. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 3-12” black Swiss Telefunken SK 3117/22, POM-11 Nov., 1940. M-A, appears unplayed! MB 95, the Set.

M0656. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #4 in B (Beethoven), 8s. 4-12” black GermanTelefunken SK 2794/97, POM-1-2 Dec., 1938. M-A, appears unplayed! MB 75, the Set.

M0657. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Pastorale’ Symphony #6 in F (Beethoven), 8s. 4-12” black GermanTelefunken SK 2424/28, POM-Dec. 1937 & Jan., 1938. M-A, beautiful copy has very occasional faintest rub, inaud. MB 75, the Set.

M0658. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #8 in F (Beethoven), 6s. 3-12” black GermanTelefunken SK 2760/62, POM-9 Nov., 1938, in Orig. Italian Telefunken Album. M-A, appears unplayed! MB 45, the Set.

M0659. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #8 in F (Beethoven), 6s. 3-12” black Czech Ultraphon 14721/23, POM-9 Nov., 1938. M-A, appears unplayed! MB 65, the Trio.

M0660. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Leonore - Overture I (Beethoven), 2s. 12” early PW Col. 68055-D, POM-2 June,1931, on Royal Blue Shellac, M-A, virtually pristine! MB 15

M0661. WILLEM MENGELBERG Cond.Concertgebouw Orch.: ‘Lucio Silla’ Sinfonia in B-flat (J. C. Bach), 2s. 12” red Decca-Odeon 25014, POM-10 June, 1927. M-A, virtually pristine! MB 15

M0662. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Rosamunde - Overture (Schubert), 2s. 12” black GermanTelefunken SK 3008, POM-30 Nov., 1938. M-A, virtually pristine! MB 35

M0663. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Alceste - Overture (Gluck-Mottl), 2s. 12” dark-blue Eng.Decca K.771, POM-24 June, 1935. M-A, a spectacular copy . . . and remarkably quiet surfaces! MB 12 M0664. WILLEM MENGELBERG Cond.Concertgebouw Orch.: Symphony #5 in c-sharp – Adagietto (Mahler), 2s. 12” blue PW Eng.Col. L 1978, POM-May, 1926. M-A, lovely copy has faintest rubs, inaud.; beg.Sd.2 has superficial scr. [The portamenti will drive you insane . . . or leave you, like us, in a state of ecstasy!] MB 12

“Mahler once said of Mengelberg: ‘There's no one else I could entrust a work of mine to with entire confidence’.

Beginning very quietly, this music is soon full of longing: its arcing, graceful melodies unfold with a bittersweet intensity, rise gradually to a soaring climax, and finally fall back to the peaceful close.

The Adagietto served as a love letter from the composer to Alma Schindler, probably shortly before they were married in 1902. The Dutch conductor Willem Mengelberg, in his personal copy of the Fifth Symphony, wrote: ‘This Adagietto was 's declaration of love for Alma! Instead of a letter, he sent her this in manuscript form; no other words accompanied it. She understood and wrote to him: He should come!!! (both of them told me this!)’ Mengelberg's own description of the Adagietto was ‘love, a love comes into his life’." - Gilbert Kaplan, THE NEW YORK TIMES, 19 July, 1992

M0665. PAUL HINDEMITH Cond. Berlin Phil.: Mathis der Maler (Cond. by the Composer), 6s. 3-12” blue GermanTelefunken E 1647/49, POM-9 April, 1934. M-A, appears unplayed! MB 25, the Trio.

“By 1930, Hindemith had consolidated his researches and began to produce a series of masterpieces including Concert Music for Strings and Brass (1930), the opera MATHIS DER MALER (1934-1935) and Symphony ‘Mathis der Maler’ (1934) which shares themes with the Opera. He also began a remarkable series of sonatas for every major instrument, all idiomatic and almost all becoming a part of standard repertory. The Nazis forced Hindemith out of Germany. He went to Switzerland, England, and finally settled in the United States, where he joined the Yale University faculty.” - Steve Schwartz, Classical.Net

M0666. ERICH BÖHLKE Cond. Berlin State Opera Orchestra: Capriccio italien (Tschaikowsky), 4s. 2-12" red German Polydor 57277/8, POM-6 Jan., 1941. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0667. OTTO MARIENHAGEN Cond. Berlin Phil.: Rienzi – Overture 3s. / Sd.4 = Lohengrin – Prelude Act III (Wagner). 2-12” green PW German Polydor 19815/16, POM-1928. Virtually pristine! MB 15, the Pair.

M0668. KRYL’s BOHEMIAN BAND: Attila – Te sol quest'anima (Grand Trio) / ARTHUR PRYOR’s BAND: – Potpourri ‘Take’ 7 (both Verdi). 12” black V 35195, POM-16 May, 1911 / 13 Dec., 1918. M-A, a spectacular copy! MB 15

“Bohumir Kryl made sounds with the cornet that audiences had never heard before and that no one had dared to try to record until he came along. Kryl was a virtuoso's virtuoso. He had the outsized ego to make sure he would not soon be forgotten, making his interpretations of the classic repertoire into standards along the way." - Zillah D. Akron M0669. Cond. Moscow Phil.: ROMEO AND JULIET – Suite #2 (Cond. by the Composer), 12s. 6-10” pale-blue USSR 7754/65, recorded 1943. M-A, appears unplayed! MB 45, the Set.

M0670. LEONID YUREV Cond.: Tahiti-Trot / Valse (both Shostakovitch). 10” pale-blue USSR 13267/66, recorded 1945. M-A, lovely copy has faintest rubs, inaud. MB 12

“As the conductor Nikolai Malko tells the story in his Reminiscences, ‘During a tour of the (in 1928), Mitya heard a record of the Tahiti-Trot. I said to him, 'Well, Mitenka, if you really have as much genius as they say, I give you one hour to go into the next room, put this little piece down on paper and orchestrate it for me to play’. Apparently, it took Shostakovich only forty-five minutes to accomplish the task and win the challenge. Dedicated ‘To dear Nikolai Andreevich Malko as a token of my best feelings’, Malko premiered Shostakovich's charmingly delightful arrangement the next year with the Leningrad Philharmonic. With its delicate celesta, its insouciant stopped trumpets, its blowzy glissandos, and its sweetly swinging strings, Shostakovich's orchestration sounds far more affectionate than disdainful. Shostakovich later re-used ‘Tahiti-Trot’ in the third act of his ballet THE AGE OF GOLD.” - James Leonard, allmusic.com

M0671. NIKOLAI ANOSOV Cond. USSR State S.O.: Overture on Russian Themes (Balakirev) / ALEKSANDER ORLOV Cond. Moscow Radio S.O.: In the Steppes of Central Asia (Borodin). 10” red Aprelevski Zavod 923/24, recorded 1952. M-A, appears unplayed! MB 10

M0672. ALEKSANDR MELIK-PASHAYEV Cond. Bolshoi Theatre Orch. & Chorus: Eugen Onégin – Final Chorus, Act I / w.SERGEI OSTROUMOV: May Fortune fulfill her every wish (Triquet’s arietta). 12” red USSR 04944/45, recorded 1937. M-A, appears unplayed! MB 10

M0673. VIKTOR KNUSHEVITSKY Cond.: Spanish Waltz (Millutin) / GRIGORII STOLIAROV Cond.: Spring Ball (Shvaris). 10” red CCCP 18394/17936, recorded 1950. M-A MB 8

M0674. Cond.Bolshoi Theatre Orch.: The Nutcracker - Final Waltz (Tschaikowsky), 2s. 10” purple CCCP 20370/71, recorded 1951. A-, lovely copy has very occasional lt.scr, ever-so-faintly audible. MB 8

M0675. BORIS KHAIKIN Cond.: Colas Brugnon – Overture (Kabalevsky), 2s. 10” pale-blue USSR 136586/87, recorded 1946. M-A, lovely copy has faintest rubs, inaud. MB 12 M0676. SAMUIL SAMOSUD Cond.: Ivan Susanin – Polonaise (Glinka), 2s. 10” pale-blue Aprelevski Zavod Art Label (Bolshoi) 7680/81, recorded 1938. M-A, lovely copy has ec, both sides, to 1st groove – before performance. MB 8

M0677. SAMUIL SAMOSUD Cond.: G’schichten aus dem Wiener Wald (Johann Strauss), 4s. 2-10” red CCCP 8451/54, recorded 1939. M-A MB 15, the Pair.

M0678. SAMUIL SAMOSUD Cond.: Ivan Susanin – Krakoviak (Glinka), 2s. 10” pale-blue Aprelevski Zavod Art Label (Bolshoi) 9906/07, recorded 1939. M-A MB 10

“Founder and original conductor of the USSR Radio Symphony Orchestra (1953-57), Samosud also led the first performances of Shostakovich’s Symphony #7 (1942), LADY MACBETH OF MTSENSK (1934) and WAR AND PEACE (1942), among other notable works.” - Z. D. Akron

M0679. AARON AVSHALOMOV Cond. Shanghai Municipal Orch., w.GREGORY SINGER: Piano Concerto in G upon Chinese Themes and Rhythms (Cond. by the Composer), 8s. 4-12” MasterWorks Col. 68867/70-D, POM-1936. M-A, gleaming has faintest rubs, inaud.; Sd.6 only has infinitessimal scr, faintly audible, merely a few turns. MB 45, the Set.

“Aaron Avshalomoff spent nearly thirty years in , lured there by the sounds of its street music, its ancient opera, costumes and legends, all encountered as a child in the Chinese quarter of Nikolaïevsk, his Siberian birthplace.

This first of Avshalomoff's three concertos was inspired by the gifted young pianist and composer, Gregory Singer. It was composed in 1935 during a six week stay at Hangchow - the famous resort about which the Chinese say, ‘above there is heaven, below there are Suchow and Hangchow’. Near the shores of the beautiful West Lake, in a peasant's cottage, Avshalomoff used a portable harmonium to compose this expansive and brilliant vehicle for piano.

Aaron Avshalomov was Chinese-acculturated foreigner, Russian-Jewish immigrant, and multifaceted musician, which uniquely situated him among Shanghai’s influential foreign artists for experimentation with new blends of Chinese and Western music from 1931 to 1947. I describe Avshalomov’s musical style by offering examples of Chinese-Western fusion composition and I demonstrate that Avshalomov was historically significant via the influence he had on Chinese musicians and through his foreshadowing of future musical developments. During his last three years in China Avshalomoff conducted the Shanghai Symphony. All in all, he was a major figure in the cultural life of China up to the time of the Revolution of 1949.” - John Winzenburg, Hong Kong Baptist University, 12 Nov., 2013

M0680. KONSTANTIN IVANOV Cond. USSR State S.O.: Capriccio italien (Tschaikowsky), 4s. 2-12” purple CCCP 014709/11, POM-1947. M-A MB 15

M0681. NICOLAI GOLOVANOV Cond.: Gayne – Lezhinka / Sabre Danse (Khatchaturian). 10” pale-blue USSR 12502/03, recorded 1945. M-A MB 12 M0682. VASSILI NEBOLSIN Cond. Bolshoi Theatre Orch.: Mazeppa – Overture (Tschaikowsky), 2s. 12” red Art Label (175th Bolshoi Anniversary) Aprelevski Zavod 019525/26, recorded 1951. M-A MB 10

M0683. ALBERT COATES Cond. Leeds Festival Chorus & Orch.: Mater Ora Filium (Bax), 3s. / Sd.4 = Ode to St. Cecilia’s Day – Soul of the World (Purcell). 2-12” black HMV D-1044/45, only form of issue, 29 Oct., 1925. M-A, beautiful copy has, Sd.2 only, faintest rubs, inaud. MB 75, the Pair.

M0684. ALBERT COATES Cond.: Mefistofele – Prologue / Nerone – Gloria, vittoria! (both Boito). 12” black HMV D-938, only form of issue, 24 Oct., 1924. M-A, beautiful copy has faintest rubs, inaud. MB 35

M0685. ALBERT COATES Cond.: Ma Mère l’Oye (Ravel), 2s. 12” blue V 55175, POM-25 Nov., 1921 & 25 April, 1922. M-A MB 35

M0686. ALBERT COATES Cond.: La Valse (Ravel), 3s./ Sd.4 = The Perfect Fool – Dance of the spirits of earth (Holst). 2-12” Orth Vla 9130/31, POM-26 March / 20 Sept., 1926. M-A MB 10

M0687. ALBERT COATES Cond. London S.O.: Toccata in F (Bach), 2s. 12” PW V 11468, POM-18 Feb., 1932. M-A, w.label stkr, Sd.1. MB 12

M0688. ALBERT COATES Cond.: Francesca da Rimini (Tschaikowsky), 4s. 2-12” black HMV D-951/52, only form of issue, 22-24 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair.

M0689. ALBERT COATES Cond. London S.O.: ‘Jupiter’ Symphony #41 in C, K.551, 7s / Sd.8 = Der Schauspieldirektor - Overture (both Mozart). 4-12” Scroll V 9360/63, on ‘Z’ shellac, POM-27 Aug. & 25 Oct.,1927. M-A MB 45, the Set.

M0690. ALBERT COATES Cond. London S.O.: ‘Jupiter’ Symphony #41 in C, K.551, 7s / Sd.8 = Der Schauspieldirektor - Overture (both Mozart). 4-12” Orth Vla 9360/63, POM-27 Aug. & 25 Oct.,1927, in Orig. Album M-30, w.Brochure. M-A MB 35

“This is one of Coates’ greatest recordings….I think it exemplifies Coates’ full-bodied abandon; its excitement is electric.” - Stephen M. Stroff, LE GRAND BATON, Vol. 45, #17, March, 1980

M0691. ALBERT COATES Cond. London S.O.: Kamarinskaya (Glinka), 2s. 12” Scroll V 11482, POM-7 May, 1930. M-A MB 12 M0692. ALBERT COATES Cond. London S.O.: Le poème de l'extase (Scriabin), 5s. / Sd.6 = THOMAS BEECHAM Cond. Beecham S.O.: Nozze – Overture (Mozart). 3-12” gold Flags Label Col. 68014/16-D, POM-27 April & 7 May, 1920. M-A, beautiful copy has occasional faintest rub, inaud. MB 65. The Trio.

M0693. ALBERT COATES Cond.: The Planets – Mars, The bringer of war (Holst), 2s. 12” PW V 11808, POM-20 Sept., 1926, on ‘Z’ shellac. M-A, lovely copy has faintest rubs, inaud. MB 15

M0694. ALBERT COATES Cond. London S.O.: Russian Folk Songs, 3s./ Sd.4 = The Musical Snuff Box (both Liadov). 2-12” Orth Vla 9797/98, on ‘Z’ shellac, POM-7 Nov., 1929. M-A, appears unplayed! MB 20, the Pair.

M0695. ALBERT COATES Cond.: Till Eulenspiegel (1921 Version) (Strauss), 4s. 2-12” blue V 55268/69, POM-4 Nov., 1921. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair

M0696. ALBERT COATES Cond.: Till Eulenspiegel (1927-28 Version) (Strauss), 4s. 2-12” Scroll V 9271/72, POM-25 Oct., 1927 / 5 Jan., 1928, on ‘Z’ shellac. A-, lovely copy has faint rubs; Sd.3 only has tiny superficial scr, inaud. MB 15, the Pair.

M0697. ALBERT COATES Cond.: Don Juan (Strauss), 4s. 2-12” blue V 55176/77, POM-28 April & 5 May, 1922. M-A, lovely copy has faintest rubs, inaud. MB 25, the Pair

M0698. ALBERT COATES Cond. London S.O.: Tod und Verklärung (Strauss), 5s. / Sd.6 = Prometheus – Overture (Beethoven). 3-12” Orth Vla 9402/04, POM-12 Oct., 1928 / 6 Jan., 1927. M-A, appears unplayed! MB 20, the Trio.

M0699. ALBERT COATES Cond.: ‘Eroica’ Symphony #3 in E-flat, 11s. / Sd.12 = Allegretto in E-flat [Pressed from Master, unlike other copies which are dubbings] (both Beethoven). 6-12” Orth Vla 9449/54, POM-16 Sept. & 26 Oct, 1926 / 22 Oct., 1925, in Orig. Album AM-6. M-A, a choice copy! MB 45, the Set.

M0700. ALBERT COATES Cond.: Russlan and Ludmilla – Overture (Glinka) / Snegorotchka – Dance of the tumblers (Rimsky-Korsakov). 12” blue V 55196, POM-5 May / 14 July, 1922. M-A MB 25

M0701. ALBERT COATES Cond.: Hänsel und Gretel - Overture (Humperdinck), 2s. 12” Orth Vla 9075, POM-26 Oct., 1926. M-A MB 10

M0702. ALBERT COATES Cond. London S.O.: Fontane di Roma (Respighi), 4s. 2-12” Scroll V 9126/27, POM-4 Jan., 1927 & 5 Jan., 1928, on ‘Z’ shellac. M-A, appears unplayed! MB 20, the Pair

M0703. ALBERT COATES Cond. London S.O.: Symphony #2 in b (Borodin), 6s. 3-12” Scroll V 11163/65, on ‘Z’ shellac, POM-5 & 6 Nov., 1929 & 18 April, 1931, in Orig. Album M-113, w.Brochure. M-A, a glorious copy! MB 35, the Set.

M0704. ALBERT COATES Cond. London S.O.: Le Pas d’Acier (Prokofiev), 4s. 2-12” PW V 11446 & 12” Orth Vla 11447, POM-18 Feb., 1932. M-A, beautiful copy, albeit Sd.3 only has faintest rubs, inaud. MB 15, the Pair

M0705. ALBERT COATES Cond. London S.O.: Love for Three Oranges – March, Waltz & Scherzo (Prokofiev), 2s. 12” Orth Vla 9128, POM-6 Jan., 1927. A-, lovely copy has faint rubs, inaud. MB 8

M0706. ALBERT COATES Cond. London S.O.: Le Chant du Rossignol - Marche chinoise (Stravinsky), 2s. 12” PW V 11160, POM-14 Oct., 1930. M-A MB 12

M0707. ALBERT COATES Cond. London S.O.: Petrouchka (Complete) (Stravinsky), 8s. 4-12” black HMV D-1521/24, only form of issue, 19 & 24 Oct., 1927; 5 Jan. & 15 Feb., 1928, in Orig. HMV Album. M-A, as unplayed! MB 35, the Set.

M0708. ALBERT COATES Cond.: L' Oiseau de Feu – Suite (Stravinsky), 4s. 2-12” black HMV D-958/59, only form of issue, 24 & 29 Oct., 1924. M-A, lovely copy has faintest rubs, inaud. MB 35, the Pair.

M0709. ALBERT COATES Cond. London S.O.: A Night on Bare Mountain (Mussorgsky), 2s. 12” Orth Vla 11448, POM-18 April, 1931. M-A MB 12

M0810. ALBERT COATES Cond.: ‘Pathétique’ Symphony #6 in b (Tschaikowsky) (1926 Version), 10s. 5-12” Orth Vla 9050/54, POM-15 Sept. & 25 Oct., 1926, in Orig. ‘soft cover’ Victor Album M-4, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0711. ALBERT COATES Cond. National S.O.: ‘Pathétique’ Symphony #6 in b (1945 Version) (Tschaikowsky), 12s. 6-12” Eng. Decca AK.1243/48, only form of issue, 11 April; 10 & 26 July, 1945, in Orig. Decca Album EDA 21. M-A, lovely copy has faintest rubs, inaud. MB 35, the Set. M0712. ALBERT COATES Cond. London S.O.: May Night – Overture (Rimsky-Korsakov), 2s. 12” PW V 11424, on ‘Z’ shellac, POM-8 Oct. / 5 Nov., 1929. A to M-A MB 12

M0713. ALBERT COATES Cond. London S.O.: Le Coq d’Or – Introduction / Cortège des noces (Rimsky-Korsakov), 2s. 12” Scroll V 9696, on ‘Z’ shellac, POM-8 Oct. / 5 Nov., 1929. A-, lovely copy has faint rubs, inaud. MB 8

M0714. ALBERT COATES Cond. National S.O.: Le Coq d’Or – Cortège des noces (Rimsky-Korsakov), 2s. 12” Eng. Decca K.1330, only form of issue, 18 May, 1945. M-A MB 15

M0715. ALBERT COATES Cond. London S.O.: In the Steppes of Central Asia (Borodin), 2s. 12” Orth Vla 11469, POM-7 Nov., 1929. M-A MB 12

M0716. ALBERT COATES Cond. London S.O.: ‘Polish’ Symphony #3 in D (Tschaikowsky), 8s. 4-12” PW V 13211/14, POM-25 Feb. & 1 March, 1932, in Orig. Album DM-166, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0717. ALBERT COATES Cond.: Symphony #5 in e (Tschaikowsky), 12s. 6-12” black HMV D-759/64, only form of issue, 25 Oct., 3 & 17 Nov. & 22 Dec., 1922, in Orig. HMV Album. M-A, as unplayed! MB 45, the Set.

M0718. ALBERT COATES Cond. London S.O.: Tsar Sultan – Suite #3 (Rimsky-Korsakov), 2s. 12” Orth Vla 9473, POM-16 Feb., 1928. M-A, lovely copy has faintest rubs, inaud. MB 8

M0719. ALBERT COATES Cond. London S.O.: Prince Igor – Polovetzian Dances (Borodin), 2s. 12” PW V 9474, POM-24 Oct., 1927. M-A, appears unplayed! MB 12

M0720. ALBERT COATES Cond. London S.O.: Snegorotchka – Dance of the tumblers / Ivan the Terrible – Storm Music (both Rimsky-Korsakov), 2s. 12” PW V 11454, POM-20 / 19 Feb., 1932. M-A MB 12

M0721. ALBERT COATES Cond. London S.O.: Khovantchina – Persian Dances (Mussorgsky), 2s. 12” PW V 11135, POM-7 May, 1930. M-A, appears unplayed! MB 12

M0722. ALBERT COATES Cond. National S.O.: Romeo and Juliet – Fantasy Overture (Tschaikowsky), 5s. / Sd.6 = Snegorotchka – Dance of the tumblers (Rimsky-Korsakov). 3-12” Eng. Decca AK.1305/07, only form of issue, 8 & 23 Feb. / 23 Feb., 1945, in Orig. Decca Album EDA 6, w.Brochure. M-A MB 25, the Set. M0723. ALBERT COATES Cond.: Le Coq d’Or – Suite (Rimsky-Korsakov), 6s. 3-12” blue V 55270/72, POM-10 May / 14 July, 1922. M-A, lovely copy has lt. rubs, inaud. MB 25, the Trio.

M0724. ALBERT COATES Cond. London S.O., w. : Boris Godunov – Coronation Scene (Mussorgsky), 2s. 12” Scroll V 11485, on ‘Z’ shellac, POM-26 Oct., 1925. M-A MB 12

M0725. ALBERT COATES Cond. London S.O., w.FEODOR CHALIAPIN: In questa tomba oscura (Beethoven) / Song of the Volga boatmen. 12” PW V 6822 [Coates’ name not on labels], POM-20 Oct., 1927. M-A, lovely copy has faintest rubs, inaud. MB 12

M0726. ALBERT COATES Cond.: Prince Igor - Overture (Borodin), 2s. 12” Orth Vla 9123, POM-26 Oct., 1926. M-A/A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 10

M0727. ALBERT COATES Cond. London S.O.: Hamlet – Overture Fantasia (Tschaikowsky), 4s. 2-12” PW V 12121/22, POM-19 Feb., 1932. M-A, appears unplayed! MB 12

M0728. ALBERT COATES Cond.: Oberon – Overture (Weber), 2s. 12” Scroll V 9122, on ‘Z’-type shellac, POM-25 Oct., 1926. M-A, lovely copy has faintest rubs, inaud. MB 15

M0729. ALBERT COATES Cond. London S.O.: Die Feen - Overture (Wagner), 2s. 12” Orth Vla 11455, POM-19 Feb., 1932. [A justifiably famous performance!] M-A MB 15

M0730. ALBERT COATES Cond.: Siegfried Idyll (Wagner), 4s. 2-12” blue V 55266/67, POM-17 July, 1922. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 35, the Pair

M0731. ALBERT COATES Cond.: Die Walküre – Magic Fire Music (Wagner), 2s. 12” Scroll V 9006, on ‘Z’-type shellac, POM-25 Jan., 1926. M-A, a spectacuar copy! MB 15

M0732. ALBERT COATES Cond.: Die Walküre – Ride of the Valkeries / Das Rheingold - Prelude (both Wagner). 12” PW V 9163, POM-25 Jan., 1926. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 10 M0733. ALBERT COATES Cond. London S.O.: Manfred - Scherzo (Tschaikowsky), 2s. 12” Orth Vla 11475, on ‘Z’ shellac, POM-17 Feb., 1932. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0734. ALBERT COATES Cond. London S.O.: Mefisto - Waltz (Liszt), 2s. 12” Orth Vla 11161, on ‘Z’ shellac, POM-14 Oct., 1930. M-A, lovely copy has faintest rubs, inaud.; Sd.2 only has infinitessimal scr, only barely faintly audible 2 or 3 times. MB 10

M0735. ALBERT COATES Cond.: Lohengrin – Bridal Chorus (in English) / Prelude, Act III (Wagner). 12” PW V 9005, POM-27 Oct., 1925. M-A, lovely copy has faintest rubs, inaud. MB 10

M0736. ALBERT COATES Cond.: Götterdämmerung - Trauermarsch (Wagner), 2s. 12” Orth Vla 9487, on ‘Z’ shellac, POM-26 Jan., 1926 (from the ‘Complete’ Set). M-A, a spectacuar copy! MB 15

“Coates’ performances are stunning, recalling his smash RING Cycle of 1925. The Funeral March in particular is among the dozen or so timeless masterpieces from the Age of the 78.” - Stephen M. Stroff, LE GRAND BATON, Vol. 45, #17, March, 1980

M0737. ALBERT COATES Cond.: Die Meistersinger - Overture (Wagner), 2s. 12” blue V 55171, POM-28 Oct, 1921. M-A, lovely copy has very faintest rubs, inaud. & hardly worth mention. MB 15

M0738. ALBERT COATES Cond.: Tannhäuser – Overture, 3s. [‘Take’ 1-A, Sd.1] / Sd.4 = Die Meistersinger – Dance of the Apprentices (both Wagner), 2-12” PW V 9059/60, POM-16 Sept. / 25 Oct., 1926. M-A, beautiful copy! MB 15, the Pair

M0739. ALBERT COATES Cond.: Tannhäuser – Venusberg Music - Bacchanale, 3s. / Prelude, Act III, (Wagner), 2-12” Orth Vla 9027/28, POM-29 & 30 July / 27 Oct., 1925. M-A, lovely copy has faintest rubs, inaud. MB 15, the Pair

M0740. ALBERT COATES Cond. Widdop, Suddaby, Walker & Robertson: ‘Choral’ Symphony #9 in d (Beethoven), 16s. 8-12” black PW Czech HMV ES 243/250, POM-14 – 19 Oct., 1926, in Orig. Orth VlaAlbum M-12, w.Brochure. M-A, glorious copy of preferred Czech pressing! MB 55, the Set.

M0741. ALBERT COATES Cond. London S.O., w. Widdop, Schumann, Balfour & Schorr: MASS IN B MINOR (Bach), 34s. 17-12” Scroll V & Orth Vla 9955/71, POM-1929, on ‘Z’ shellac & ‘Z’-type shellac, in Orig.cherry-red Victor Albums M-104, w.Brochure. M-A, a magnificent copy!. MB 55, the Set.

“Albert Coates studied composition with Rimsky-Korsakov, was a protégé of Arthur Nikisch, conducted opera in Russia, Germany, and England, and after the Russian Revolution was made director of all opera houses in the Soviet Union. [After] his escape from Russia to Finland in 1919, his long association with the London Symphony and his stint in America, Coates was a high-voltage conductor who prized excitement and wide contrasts. When his style meets congenial material, sparks fly. One such meeting of man and music is Borodin’s Second Symphony, with a powerful, strongly accented first movement that places a premium on orchestral brilliance and color, a windswept Scherzo, a brooding Andante full of bardic Russian poetry, and a folk dance-based Finale. There’s a sense of abandon and controlled wildness to this performance, along with tempos that make other versions sound sedate. Siegfried’s Rhine Journey sounds like the hero’s escorted by battleships, with some whitewater thrills thrown in for good measure. - Dan Davis, ClassicsToday.com

M0742. GEORGE GEORGESCU Cond. Bucharest Phil.: Rapsodia Romana (Enescu) 2s. 10” plum PW Czech HMV AM 1986, POM-c.1930. M-A, beautiful copy has faintest rubs, inaud. MB 15

‘…a trusted and admired colleague of the composer’s, one whose later intercession enabled Georgescu to overcome political problems and to resume his Romanian conducting career, Georgescu has always enjoyed cachet among collectors’ - Jonathan Woolf, MusicWebInternational

M0743. BRONISŁAV SZULC Cond. Warsaw Opera Orch.: Tanieo - Suite (Spendiaryan [Spendiarov]), 2s. 10” black Syrena-Electro 6381 (20339/40), POM-1928. [Szulc returned to Poland as a noted conductor, there and abroad. He ultimtely emigrated to Israel and directed an orchestra in Tel-Aviv; Spendiaryan was one of the founders of the 20th century Armenian national school] A-, lovely copy has lt.rubs, inaud.; Sd.1 only has barely visible lateral hlc to 1st groove, positively ltly audible during initial turns only. MB 12

M0744. Cond. London Phil. Symphony #5 in e (Tschaikowsky), 12s. 6-12” Eng. Decca AK.2036/41, only form of issue, 5-9 July, 1948, Kingsway Hall, London. M-A MB 45, the Set.

“According to Celibidache, a satisfactory performance could be achieved only by working over long periods with profound concentration, to ensure an overall grasp of character and content as well as finesse of detail. When the use of magnetic tape for recording allowed for shorter ‘takes’ and the substitution of one passage for another, he virtually turned his back on a medium that he accused of producing ‘complete travesties’. He believed that the technique of tape-editing meant ‘the end of the continuous and basic pulse necessary to bring the work to life in sound’, and considered a recording only offered ‘an impression of what certain people thought and felt about the music at a certain time’, making his views more explicit by reportedly describing a recorded performance as being ‘like a photograph of love-making’.” - The Independent, 16 Aug., 1996 M0745. METOD VYMETAL Cond. FRANTIŠEK MAXIÁN (Pf.) & Prague Womens’ Choir: Echoes from Moravia (Moravian Duets) (Dvor a k), 8s. 4-12” red Supraphon 12374/77 (042742/49), POM-early ‘40s. Exquisitely beautiful! M-A MB 35, the Set.

M0746. Cond. Pan American Orch.: Washington's Birthday – Barn Dance; Into the Night [‘The whole piece is but an attempt to get a simple picture of darkness, silence, the loneliness of an old man who has lost everything but his faith, and night sounds’ – Ives] (both Charles Ives) / CHARLES LICHTER Cond.: Men and Mountains – Lilacs; JUDITH LITANTE, w. Henry Brant (Pf.): Toys (both Carl Ruggles). 12” green New Music Recordings 1013, only form of issue, 1934, sponsored by the League of Composers. M-A, lovely copy has faintest rubs, inaud. MB 25

“Following stints as Serge Koussevitsky's secretary and rehearsal pianist, first in Paris and then in Boston, Slonimsky himself began to conduct in earnest, polishing his craft with the Symphony Orchestra. Eventually he worked up the confidence to form his own group, the Chamber Orchestra of Boston. Word got around about a new ensemble that promoted contemporary music, and dozens of composers came out of the woodwork, offering scores. One of Slonimsky's main contacts was the tone cluster pioneer Henry Cowell, who in turn introduced the conductor to Charles Ives. In 1931, Ives financed two Slonimsky concerts in Paris given over to new American music. Slonimsky guest conducted Furtwängler's Berlin Philharmonic in works by Ives, Cowell, Ruggles, Varèse, and the Cuban composer Amadeo Roldán.

If the Berlin concerts were a major stepping stone of his conducting career, the crowning glory was probably the world première of Varèse's IONISATION in New York, March 6th, 1933, in a concert presented by the Pan American Association of Composers. Varèse founded the organization in 1926, whose membership included both Cowell and Slonimsky. Composed two years earlier, and dedicated to Slonimsky, IONISATION is scored for thirteen players who maneuver their way through an arsenal of percussion instruments, from Chinese blocks and gongs of all sizes, to a colorful array of hand percussion and police sirens, the latter a Varèse trademark. In a letter dated December 17th, 1931 Varèse described Ionisation to harpist Carlos Salzedo as being ‘cryptic, synthesized, powerful and terse. And as for the structure: stunning mechanics’.

The work generated enough controversy to arouse the interest of Columbia Records. Although the composer was not present for the world première, he arrived in New York in time to supervise preparations for the recording. Slonimsky recalled the session in his autobiography: ‘We engaged the percussion players from the New York Philharmonic, but it soon became clear that they could never master the rhythms. In desperation, we appealed to fellow composers to take over the task; to them the Varèsian rhythm was child's play. As a result, my ensemble was star-studded. Carlos Salzedo, the great harpist, played the thematically important Chinese blocks. Paul Creston was at the anvils. Wallingford Riegger rubbed the güiro. Henry Cowell pounded tone-clusters on the piano keyboard. William Schumann, then a mere youngster, pulled the cord of the lion's roar’. Last but not least, Varèse himself manned the sirens, borrowed for the session from a retired New York City fireman.

This made an impact in unexpected ways too. As Slonimsky duly noted in his entry on Varèse in Baker's Biographical Dictionary of Musicians, a group of scientists working on the atom bomb at Oak Ridge, Tennessee in 1940 played the IONISATION record for relaxation and stimulation in their work. Similarly, New Music Quarterly Recordings (henceforth NMQR) was formed with the intention of documenting these and other new American works for which major labels saw no commercial potential.” - Jed Distler, Classical.Net M0747. NICOLAS SLONIMSKY Cond. Percussion Ensemble, incl. Carlos Salzedo, Paul Creston, Wallingford Riegger, Henry Cowell, William Schumann, Edgar Varèse, etc.: IONISATION (Cond. by the Composer), 2s. [Duly fascinating, superb mono sound of well-defined percussion instruments especially as heard on these remarkably quiet surfaces made possible by Royal Blue shellac) 10” Early PW Col. 4095-M, on Royal Blue shellac, POM-1931. M-A, superb copy has, Sd.1 only, label rub & 2 minor lams, positively inaud. MB 35

M0748. NICOLAS SLONIMSKY Cond. Various Soloists: OCTANDRE (Cond. by the Composer), 2s. 12” pale-blue New Music Recordings 1411, only form of issue, 1938, sponsored by the League of Composers. M-A, lovely copy has, Sd.1 only, faintest rubs, inaud. MB 35

M0749. NICOLAS SLONIMSKY (Pf.), ALFREDO ST.MALO (Vln), FRITZ MAGG (Cello) & OLGA AVERINO (S): South American Chamber Music, incl. Mignone, Fernandez, Pedrell, Villa-Lobos, Broqua, Ficher, Santa Cruz, Sas & Uribe-Holguin, 8s. 4-12”PW Col.70714/17-D, in Orig. Album M-437, w.Brochure. M-A, as unplayed! MB 25, the Set.

M0750. JOSEF CHARVÁT Cond. Prague National Theatre Orch.: Libuse – Overture (Smetana), 2s. 12” PW plum Czech HMV AN 347, POM-1930. A to M-A, beautiful copy has, Sd. 2 only, faintest rubs, inaud. MB 12

M0751. DOL DAUBER Cond. Dauber Salon Orch.: Hunyady Laszlo – Overture (Erkel) 2s. 12” plum PW Czech HMV AN 474, POM-1930. M-A MB 8

M0752. MAX ROTH Cond. Berlin Phil.: Vardar (Bulgarian Rhapsody) (Vladigerov), 2s. 12” orange Eng. Decca-Polydor CA.8147, POM-1928. M-A MB 12

“Bulgarian-Jewish composer Pancho Vladigerov was born in Zurich in 1899, but his family moved to his father's native country when he was still a youth, and thus the mature composer's music is imbued with the expressive melodies, propulsive rhythms, and vibrant colors of Bulgaria. To some, Vladigerov's music with its sweetness and sentimentality and its energy and exuberance may sound less like a cousin of Béla Bartók than like the brother of Erich Wolfgang Korngold. Colorful, it fulfills a similar function as nationalistic rhapsodies by George Enescu and Hugo Alfvén.” - James Leonard, allmusic.com

M0753. RAFAEL KUBELIK Cond. Philharmonia Orch.: Iphigénie en Aulide - Overture (Gluck), 3s. / Sd.4 = Entührung aus dem Serail - Overture (Mozart), 4s. 2-12” HMV DB 9753/54, POM-17 Feb., 1952. M-A, appears unplayed! MB 15, the Pair.

M0754. RAFAEL KUBELIK Cond. Czech Phil.: In der Natur - Overture (Dvorák), 4s. 2-12” plum HMV C.3628/29, POM-2 & 3 Oct., 1946. M-A, as unplayed! MB 15, the Pair. M0755. RAFAEL KUBELIK Cond. Czech Phil.: Othello - Overture (Dvorák), 4s. 2-12” plum HMV JOX 7/8, POM-1 Oct., 1946. M-A, as unplayed! MB 15, the Pair

M0756. RAFAEL KUBELIK Cond. Czech Phil.: Sinfonietta (Janácek), 6s. 3-12” plum HMV C.7671/73, POM-4 Oct., 1946. M-A, as unplayed! MB 15, the Trio.

“Kubelik is generally agreed to be one of the best Czech conductors of the twentieth century, whose readings of both Czech repertoire and the Austro-Germanic repertoire were highly regarded for their lyricism, flexibility, and intensity. Kubelik had long been an ardent advocate of Janácek's operas outside Czech-speaking countries. Kubelik chose the Janácek Sinfonietta to conclude the 1946 Prague Spring Festival and recorded it a few months later [above]. Interestingly, as the newly appointed conductor of Czech Phil in 1942, he performed it for the first time in January 1942 under Nazi occupation.” - James Leonard, allmusic.com

M0757. RAFAEL KUBELIK Cond. Czech Phil.: Má Vlast (Smetana), 6s. 3-12” PW V 12520/22, POM-1937, in Orig. Album M-523, w.Brochure. M-A, as unplayed! MB 15, the Set.

“Kubelik’s performances were considered highlights of the concert season by those who prized a warm, probing, grandly scaled style of music making that was quickly being eclipsed by a more streamlined, modern approach. After 1985, Mr. Kubelik conducted only once. Having declared when he left Prague in 1948 that he would not return until the situation changed, he went back in 1990 to conduct 'Ma Vlast' at the opening of the first Prague Spring Festival after Vaclav Havel's Velvet Revolution. Mr. Kubelik had conducted the work 45 years earlier to celebrate the liberation of Prague from Nazi occupation.” - Allan Kozinn, THE NEW YORK TIMES, 12 Aug., 1996

M0758. VACLAV TALICH Cond. Czech Phil.: MÁ VLAST (Smetana), 20s. 10-12” PW plum Czech HMV AN 386/95, POM-1929. M-A, beautiful copy has apparent ‘waxing’, absolutely inaud. MB 95, the Set.

M0759. VACLAV TALICH Cond. Czech Phil.: Waltzes Nos. 1 & 4 (Dvorák), 2s. 12” Electrola DB 5609, POM-1 April, 1940. M-A, superb copy w.faintest rubs, inaud. MB 15

M0760. VACLAV TALICH Cond. Czech Phil.: Libuse - Overture (Smetana), 2s. 12” Electrola DB 5305, POM-1 April, 1940. M-A, superb copy has faintest rubs, inaud. MB 15

M0761. VACLAV TALICH Cond. Czech Phil.: Raduz and Mahulena - Pohadka, A Fairy Tale (Suk), 8s. 4-12” blue Czech Supraphon H 23053/56, POM-2 May, 1949. M-A, appears unplayed, albeit slight warp requires extra weight on one side. MB 35, the Set.

M0762. VACLAV TALICH Cond. Czech Phil.: Carnival – Overture (Dvorák), 2s. 12” silver V 13710, POM-28 Nov., 1935. M-A MB 10 M0763. VACLAV TALICH Cond. Czech Phil.: Slavonic Dance #1 in C / Slavonic Dance #2 in e (Dvorák), 2s. 12” plum Disque Gram. L-1019, POM-27 Nov., 1935. M-A, superb copy has faintest rubs, inaud. MB 10

M0764. VACLAV TALICH Cond. Czech Phil.: (Various) Slavonic Dances, Opp.46 & 72 (Dvorák), 8s. 4-12” Scroll V 11925/28, POM-27 Nov., 1935, on ‘Z’-type shellac, in Orig. Album M-310, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0765. VACLAV TALICH Cond. Czech Phil.: (Various) Slavonic Dances, Opp.46 & 72 (Dvorák), 10s. 5-10” silver V 4353/57, POM-27 Nov., 1935, in Orig. Album M-345, w.Brochure. M-A, appears unplayed! MB 35, the Set.

M0766. VACLAV TALICH Cond. Czech Phil.: Symphony #1 in D (Dvorák), 10s. 5-12” silver V 13819/23, POM-22 Nov., 1938, in Orig. Album DM-874, w.Brochure. M-A MB 35, the Set.

M0767. VACLAV TALICH Cond. Czech Phil.: Symphony #2 in d (Dvorák), 10s. 5-12” PW V 12710/14, POM-23 Nov., 1938, in Orig. Album M-663, w.Brochure. M-A MB 35, the Set.

M0768. VACLAV TALICH Cond. Czech Phil.: Symphony #4 in G (Dvorák), 10s. 5-12” Scroll V 11899/11903, POM-23 & 28 Nov., 1935, on ‘Z’-type shellac, in Orig. Album M-304, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0769. VACLAV TALICH Cond. Czech Phil.: Serenade for String Orchestra (Suk), 8s. 4-12” PW V 13635/38, POM-1 April, 1940, in Orig. Album M-779, w.Brochure. M-A MB 35, the Set.

“Václav Talich is to Czech performance what Smetana or Dvořák is to Czech composing. He took the great tradition of Czech 19th-century music and gave it the shape that remains modern to this day. When we look at his activity in the , the National Opera and elsewhere, we soon realise that he was perhaps the most hardworking of Czech musicians – and especially abroad he was often compared with the greatest conductors of his time. For that reason alone (although there are many others), he is a figure worth attention. The course and meaning of his life, however, far transcends the field of music, since his destiny, like that of all great artists, sets up a mirror to the age in which he lived and also to the standards of today. Talich’s individuality shines from all the recordings and there is no alternative but to regret, once again, that a conductor so important in both the Czech and international musical life of the twentieth century did not have a chance to make more.” - Bohuslav Vítek, CZECH MUSIC, Vol. VI, 2003

M0770. LÁSZLÓ SOMOGYI Cond. Hungarian S.O.: Divertimento #1 for string orchestra (Leo Weiner), 2s. 12” pale-green Budapest M.H.V. MN 1005 (M 238/239). M-A, superb copy w.faintest rubs, inaud. MB 12 “László Somogyi received his musical training under Zoltán Kodály and Leo Weiner at the Ferenc Liszt Academy at Budapest, where he was later to become leading professor of the Conductor's Class. While in Hungary he founded and led the Symphonia Orchestra, was Chief Conductor of the Hungarian Broadcasting, and guested with the Hungarian State Opera. In 1956 he left Hungary and was active all over the world.” - Wikipedia

M0771. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Nocturnes - Fêtes (Debussy), 2s. 10” Scroll V 1309, on ‘Z’ shellac, POM-11 Oct., 1927. M-A, appears unplayed! MB 12

M0772. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.William Kinkaid (Flute solo): Prélude à L’après-midi d’un Faune (1927 Version) (Debussy), 2s. 12” Scroll V 6696, on ‘Z’ shellac, POM-10 March, 1927. M-A, appears unplayed! MB 12

M0773. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w. Thaddeus Rich (Violin solo): Danse macabre (Saint-Saëns), 2s. 12” Scroll V 6505, on ‘Z’ shellac, POM-29 April, 1925. M-A, appears unplayed! MB 25

“Among the very first Victor electrical recordings, the ‘Danse macabre’ was quietly issued some months before Victor's big push of the new electrical recording process. This big push was the large Victor promotion kicked off on ‘Victor Day, 2 Nov., 1925, with the largest advertising and Victrola promotion yet made by the Victor Talking Machine Company. This example surely exceeded all expectations!” - Z. D. Akron

M0774. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Marche slave (Tschaikowsky), 2s. 12” Scroll V 6513, on ‘Z’ shellac, POM-14-15 May, 1925. [Great sonics, this was used for demonstrations in record shops!] M-A, appears unplayed! MB 20

M0775. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Prince Igor - Polovetzki dance (Borodin) / Caucasian Sketches - Polovetzki dance (Ippolitov-Ivanov). 12” AC label V 6514, on ‘Z’ shellac, POM-29 April / 15 May, 1925. M-A, appears unplayed! MB 12

M0776. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Marcel Tabuteau (English Horn): Four Legends - The Swan of Tuonela (Sibelius), 2s. 12” Scroll V 7380, on ‘Z’ shellac, POM-2 & 3 May, 1929. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. & hardly worth mention. MB 12

M0777. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Water Music - Suite (Handel - Harty/Stokowski) 2-12” Scroll V 8550/51, on ‘Z’ shellac, POM-30 April, 1934. M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 15, the Pair. M0778. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Toccata and Fugue in d (Bach), 2s. 12” Scroll V 8697, on ‘Z’-type shellac, POM-26 Nov., 1934. M-A, appears unplayed! MB 12

M0779. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Christ lag in Todesbanden / ‘Little’ Fugue in g (both Bach). 12” Scroll V 7437, on ‘Z’-type shellac, POM-17 March, 1931. M-A, appears unplayed! MB 12

M0780. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Passacaglia, in c (Bach), 4s. 2-12” black PW Electrola EJ 5798/79, POM-28 Jan. / 1 May, 1929. M-A, glorious copy of preferred Electrola pressing appears unplayed! MB 15, the Pair.

M0781. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Das wohltemperierte Klavier - Prelude in e-flat / Ich ruf’ zu dir, Herr Jesu Christ (both Bach). 12” Scroll V 6786, on ‘Z’ shellac, POM-10 Dec. / 13 Oct., 1927. M-A, appears unplayed! MB 12

M0782. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #2 - Rhumba, (Complete, as recorded) / Festival of the Workers – Dance of the workers (both Harl McDonald). 12" Australian HMV DB 2913, POM-25 Nov., 1935. [These stunning recordings were issued at the height of the Great Depression, thus enjoyed limited circulation] M-A, choice copy of Australian pressing with quiet surfaces! MB 20

M0783. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rienzi – Overture, 3s. / Sd.4 = Götterdämmerung - Finale (both Wagner). 2-12” Scroll V 6624/25, on ‘Z’ shellac, POM-18 Nov., 1926 / 6 Jan., 1927. M-A, beautiful copy has,. Sd.2 only, faintest rubs, inaud. & hardly worth mention. MB 15, the Pair.

M0784. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tristan und Isolde – Symphonic Synthesis (Wagner-Stokowski), 8s. 4-12” Scroll V 7625/28, on ‘Z’ shellac, POM-16 April, 1932. M-A, appears unplayed! MB 35, the Set.

M0785. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal, Act III - Symphonic Synthesis (Wagner-Stokowski, 4s. 2-12” Scroll V 8617/18, on ‘Z’ shellac, POM-7 April, 1934. M-A, appears unplayed! MB 15, the Pair.

M0786. LEOPOLD STOKOWSKI -Cond. Philadelphia Orch.: Lohengrin - Prelude, Act I, 2s. (Wagner). 12” Scroll V 6791, on ‘Z’-type shellac, POM-13 Oct., 1927. M-A, appears unplayed! MB 12 M0787. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Hungarian dance #1 in g (Brahms-Stokowski) / The Red Poppy Ballet - Yablochko (Glière). 10” Scroll V 1675, on ‘Z’ shellac, POM-17 March, 1934. M-A, appears unplayed! MB 12

M0788. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #4 in a (Sibelius), 8s. 4-12" Scroll V 7683-86, on ‘Z’ shellac, POM-23 April, 1932, in Orig. Album M-160, w.Brochure. M-A, appears unplayed! MB 25

M0789. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal, Act III - Symphonic Synthesis (Wagner-Stokowski, 4s. 2-12” Scroll V 8617/18, on ‘Z’ shellac, POM-7 April, 1934. M-A, appears unplayed! MB 15, the Pair.

M0790. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.LAWRENCE TIBBETT: Die Walküre – Excerpts, 8s. 4-12” Scroll V 8542/45, on ‘Z’ shellac; (1st disk only) on ‘Z’-type shellac, POM-30 April, 1934, in Orig. Album M-248, w.Brochure. M-A, appears unplayed! MB 35, the Set.

M0791. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le sacre du printemps (Stravinsky), 8s. 4-12” Scroll V 7231/34, on ‘Z’ shellac, POM-26 Sept., 1929 & 12 March, 1930. M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

M0792. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L' Oiseau de Feu (1927 Version) (Stravinsky), 5s. / Sd.6 = Khovanschina – Entr'acte (Galitsin's Journey) (Mussorgsky). 3-12” Scroll V 7047/49, on ‘Z’ shellac, POM-12 Oct., 1927. M-A, beautiful copy has faintest rubs, inaud. MB 35, the Set.

M0793. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L' Oiseau de Feu (1935 Version) (Stravinsky), 5s. / Sd.6 = Prelude in E-flat (Shostakovitch). 3-12” Scroll V 8926/28, on ‘Z’-type shellac, POM-25 Nov. / 30 Dec., 1935, in Orig. Album M291, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0794. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w Davies, Cathcart, Betts & Lowenthal: ‘Choral’ Symphony #9 in d (in English) (Beethoven), 19s. 10-12” Scroll V 8433/41-S, on ‘Z’ shellac, POM-30 April, 1934. M-A, appears unplayed! MB 45, the Set. M0795. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Mischa Mischakoff (Violin): Scheherazade (1927 Version) (Rimsky-Korsakov), 12s. 6-12” Scroll V 6738-42, on ‘Z’-type shellac, POM-8-11 Oct., 1927, in Orig. Album M-23, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0796. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Alexander Hilsberg (Violin): Scheherazade (1934 Version) (Rimsky-Korsakov), 12s. [Alexander Hilsberg plays as if he is making love to his instrument. It is full of passion. The closing moments of the final movement are achingly beautiful]. 6-12” Scroll V 8698/8703, on ‘Z’-type shellac, POM-12 Nov., 1934, in Orig. Album M-269, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0797. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tod und Verklärung (Strauss), 6s. 3-12” Scroll V 8292/94, on ‘Z’ shellac, POM-7 April, 1934, in Orig. (rubbed) Album M217, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0798. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: - Dance of the Seven Veils (Strauss), 3s. / Sd.4 = Oriental Impressions – Japanese Nocturne (Eichheim). 2-12” Scroll V 7259/60, on ‘Z’ shellac, POM-5 Jan., 1929. M-A, appears unplayed! MB 15, the Pair.

M0799. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le poème de l'extase; Prometheus - Le poème de feu (both Scriabin), 8s. 4-12” Orth Vla 7517/20, on ‘Z’ shellac & ‘Z’-type shellac, POM-19 March., 1932, in Orig. Album M-125, w.Brochure. M-A, beautiful copy has faintest rubs, inaud.; 7517 has sl. marred label. MB 45, the Set.

M0800. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L'Arlésienne - Suite #1 (Bizet), 6s. 3-12” Scroll V 7127/29, on ‘Z’ shellac, POM-3-4 May, 1929. M-A, appears unplayed! MB 35, the Trio.

M0801. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Nocturnes - Nuages; Danses Sacrée et Profane; Le Cathédral engloutie (all Debussy); Mignon –Gavotte (Thomas), 8s. 4-12” Orth Vla 7453/56, on ‘Z’ shellac, [final disk is not on ‘Z’ shellac ], POM-2 / 4 May, 1929; 4 April, 1931, in Orig. Album M-116, w.Brochure. M-A, appears unplayed!

M0802. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rapsodie espagnole (Ravel), 4s. 2-12” Scroll V 8282/83, on ‘Z’ shellac, POM-17 March, 1934. A to M-A, beautiful copy has faintest rubs, inaud. MB 12 M0803. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #1 in f (Shostakovich), 9s. [Breathtakingly beautiful . . . heard to great advantage on this remarkably quiet pressing!] 5-12" Scroll V 7884/88-S, on ‘Z’-type shellac, POM-18 Nov.,1933, in Orig.Album M-192. M-A, as unplayed! MB 35, the Set.

M0804. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #5 in d (Shostakovich), 12s. 6-12" PW V 15737/42, POM-20 April, 1939, in Orig.Album M-619. M-A, as unplayed! MB 35, the Set.

M0805. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #6 in b (Shostakovich), 9s. 5-12" silver V 18396-S/18400, POM-8 & 22 Dec., 1940, in Orig.Album DM-867, w.Brochure. M-A, as unplayed! MB 35, the Set.

M0806. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Walter Guetter (Bassoon): Symphony #5 (Tschaikowsky), 12s. 6-12" Scroll V 8589/94, on ‘Z’-type shellac, POM-12 Nov.,1934, in Orig. Album M-253, w.Brochure. M-A, as unplayed! MB 45, the Set.

M0807. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony in d (1935 Version), 11s. / Sd.12 = Panis Angelicus (both Franck). 6-12” Scroll V 8959/64, on ‘Z’-type shellac, POM-30 Dec., 1935, in Orig. Album M-300, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0808. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony in d (1927 Version) (Franck), 12s. 6-12” Scroll V 6726/30, on ‘Z’ shellac, POM-3-4 Oct, 1927 [plus the early 1927 disk, 6725, of Stokowski outlining the themes (obviously not on ‘Z’ shellac)], in Orig. Album M-223, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0809. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w. Marcel Tabuteau (oboe): 'From the New World' Symphony #9 in e (1934 Version) (Dvorák), 8s. 4-12” Scroll V 8742/46, on ‘Z’ shellac, POM-22 Oct., 1934. M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 35, the Set.

M0810. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 250th Anniversary Album, incl. Toccata in c – Adagio; Siciliano; Chaconne; Nun Komm, der Heiden Heiland; Komm, Süsser Tod; Sarabande (all Bach), 10s. 5-12" Scroll V 8492/96, on ‘Z’ shellac, POM-28 Oct., 1933; 7 & 30 April, 1934, in Orig. Album M 243, w.Brochure. M-A, appears unplayed! MB 35, the Set. M0811. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 'Unfinished' Symphony #8 in b (1924 Version) (Schubert), 6s. 3-12” AC-label V 6459/61, POM-18-19 April, 1924. [The first complete recording of this Symphony!] M-A, appears unplayed! MB 35, the Trio.

M0812. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: 'Unfinished' Symphony #8 in b (1927 Version) (Schubert), 6s. 3-12” Scroll V 6663/65, on ‘Z’ shellac, POM-28-30 April, 1927, in Orig. Album M-16, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0813. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #1 in c (Brahms), 10s. 5-12” Scroll V 8971/75, on ‘Z’-type shellac, POM-5 Jan., 1936, in Orig. Album M-301, w.Brochure. M-A, appears unplayed, albeit Sd.1 only has harmless wee ulc,. MB 45, the Set.

M0814. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #3 in F (Brahms), 10s. 5-12” Scroll V 6962/66, on‘Z’ shellac ‘& Z’-type shellac, POM-25-26 Sept., 1928, in Orig. Album M-42, w.Brochure. M-A, appears unplayed! MB 45, the Set.

M0815. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #4 in e (Brahms), 10s. 5-12” Scroll V 7830/34, on ‘Z’ shellac, POM-4 March & 29 April, 1933. M-A, appears unplayed. MB 45, the Set.,

M0816. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #7 in A (Beethoven), 10s. 5-12” Scroll V 6670/74, on ‘Z’ shellac, POM-30 April, 1927 [plus the early 1927 disk, 6679, of Stokowski outlining the themes (obviously not on ‘Z’ shellac), a heavily rubbed copy, marveling at Beethoven’s creation of such a joyous work during a period of personal melancholy, repeating the cliché about the Seventh being a ‘dance symphony’ then announcing and plinking out the major themes on a piano], in Orig. Album M-17, w.Brochure. M-A, appears unplayed! MB 45, the Set.

“The love of music is a continuous enjoying of beauty and sound…It has been a continual effort to make music more alive so that it is not a mechanical reproduction of what is on a piece of paper, but a real expression, as it always was with the greatest artists’.” - Leopold Stokowski, THE NEW YORK TIMES, 14 Sept., 1977

M0817. VINCENZO BELLEZZA Cond. Royal Opera House Orch.: Tancredi - Overture (Rossini), 2s. [Conducted at Met Opera, 1926-35] 12” Orth Vla 11137, POM-Feb., 1931. M-A, as unplayed. MB 8

M0818. VINCENZO BELLEZZA Cond. Royal Opera House Orch. & Chorus: Boris Godunov - Il vostro amor mi lascia indifferente / Salve a te, Zar Boris Teodorovic! 12" Orth Vla 9400, on ‘Z’ shellac, POM-9 July, 1928, Live Performance, Covent Garden. M-A MB 12 M0819. ARTURO TOSCANINI Cond. La Scala Orch.: Gagliarda (Galilei-Respighi). 12” Vla 74672, POM-18 Dec., 1920. M-A, with Reviewer’s ‘X’ in label. MB 12

M0820. ARTURO TOSCANINI Cond. La Scala Orch.: Scènes Pittoresques – La Fête Bohême (Massenet). 12” Vla 74725, POM-31 March, 1921. M-A, beautiful copy has very faintest rubs, certainly inaud. MB 12

M0821. ARTURO TOSCANINI Cond. La Scala Orch.: La Damnation de Faust – Rákoczy March (Berlioz). 12” Vla 74695, POM-24 Dec., 1920. M-A, lovely copy has faint rubs, inaud. MB 12

M0822. ARTURO TOSCANINI Cond. La Scala Orch.: Symphony #39 in E-flat – Menuetto, K.543 (Mozart). 12” Vla 74668, POM-18 Dec., 1920. M-A, lovely copy has faint rubs, inaud.; microscopic nd. MB 12

M0823. ARTURO TOSCANINI Cond. La Scala Orch.: Symphony #1 in C – Finale (Beethoven). 12” Vla 74690, POM-30 March, 1921. M-A, a beautiful copy! MB 12

M0824. ARTURO TOSCANINI Cond. La Scala Orch.: A Midsummer Night’s Dream - Wedding March (Mendelssohn). 12” Vla 74745, POM-11 March, 1921. M-A, a beautiful copy! MB 12

M0825. ARTURO TOSCANINI Cond. NYPO: A MIDSUMMER NIGHT'S DREAM – w.BRUNO JANEKE (French Horn): Nocturne; w.JOHN AMANS (Flute): Scherzo (Mendelssohn). 12" Gold Bruns. 50074, only form of issue, 4 Feb., 1926. M-A MB 15

M0826. ARTURO TOSCANINI Cond. NBC S.O.: Suite #3 in D - Air (Bach) / Orfeo ed Euridice - Dance of the blessed spirits (Gluck). RCA 12-3301, POM-1951. M-A, choice copy of beveled-edge pressing has faintest rubs, inaud. MB 12

M0827. ARTURO TOSCANINI Cond. NYPO: L'apprenti sorcier (Dukas), 2s. 12" Scroll V 7021, POM-18 March, 1929, Carnegie Hall, on ‘Z’ shellac. M-A, beautiful copy has faintest rubs, inaud. MB 12

M0928. ARTURO TOSCANINI Cond. NYPO: L’Italiana in Algeri – Overture (Rossini), 2s. 12” Scroll V 14161 , on ‘Z’-type shellac, POM-10 April, 1936. M-A, as unplayed. MB 12

M0829. ARTURO TOSCANINI Cond NYPO: La Traviata – Préludes, Acts I & III (Verdi), 2s. 12” Scroll V 6994, on ‘Z’-type shellac, POM-18 March, 1929. M-A, lovely copy has faintest rubs, inaud.; label stkr, Sd.1. MB 12 M0830. ARTURO TOSCANINI Cond. NYPO: ‘The Clock’ Symphony #4 in D (Haydn), 7s. / Sd.8 = A MIDSUMMER NIGHT'S DREAM - Scherzo (Mendelssohn). 4-12" Scroll V 7081/84, POM-29 / 30 March, 1929, Carnegie Hall, on ‘Z’ shellac, in Orig. Album AM-57, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0831. ARTURO TOSCANINI Cond. NYPO: ‘Haffner’ Symphony #35 in D, K.385 (Mozart), 5s / Sd. 6 = w.JOHN AMANS (Flute): Orfeo – Dance of the blessed spirits (Gluck). 3-12” Scroll V 7136/38, on ‘Z’-type shellac, POM-4-5 April / 21 Nov., 1929, in Orig. Album M-65, w.Brochure. M-A, appears unplayed! MB 25, the Set.

M0832. ARTURO TOSCANINI Cond. NYPO: Symphony #7 in A (Beethoven), 10s. 5-12” Scroll V 14097/14101, on ‘Z’-type shellac, POM-1936, in Orig. Album M-317, w.Brochure. M-A, appears unplayed. MB 25, the Set

M0833. ARTURO TOSCANINI Cond NYPO: Siegfried Idyll (Wagner), 4s. 2-12” Disco Grammofono DV 2920/21, POM-8 Feb., 1936. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0834. ARTURO TOSCANINI Cond. NYPO: Lohengrin – Préludes to Acts I & III; Götterdämmerung – Dawn and Rhine Journey; Siegfried Idyll (all Wagner), 10s. 5-12” Scroll V 14011/15, on ‘Z’-type shellac, POM-8-9 April, 1936, in Orig. Album AM-308, w.Brochure. M-A, appears unplayed. MB 35, the Set.

M0835. ARTURO TOSCANINI Cond. NBC S.O.: Götterdämmerung - Rhine Journey - Rehearsal Extract, featuring the Mæstro's speaking voice! 12” S/S shellac Victor Private Pressing of Unpublished Mx.CS 068593, w.RCA spiderweb embossed back, only form of private issue, 1941 – RCA’s Musical Directors’ 1941 Seasonal Greetings record. M-A, a pristine copy! MB 35

"Some 'bootlegged' recordings of Toscanini rehearsals convey the volatile atmosphere of these sessions. In a foggy, croaking voice he 'sings' the way the phrase should go - and manages to transmit not only its shape but its hue as well. The rehearsal record of Siegfried's Rhine Journey gives an uncanny demonstration of this instantaneous communication of tonal color.” - Roland Gelatt, MUSIC-MAKERS, p.87

M0836. ARTURO TOSCANINI Cond. NBC S.O.: All-Wagner Program, 6s. 3-12” 33 1/3 r.p.m. aluminum-base acetates from Carnegie Hall Recording Co., recorded at Toscanini’s Farewell Concert, 4 April, 1954. M-A, as unplayed. MB 25, the Set

M0837. ARTURO TOSCANINI Cond. NBC S.O.: Tristan und Isolde – Liebestod. 12” S/S Victor Private vinyl Pressing of Mx. 073219, w.RCA spiderweb embossed back, POM-19 March, 1942. M-A, beautiful unplayed copy has very faintest rubs, inaud. MB 15 M0838. VICTOR de SABATA Cond. Santa Cecilia Orch.. I Vespri Siciliani - Overture (Verdi), 2s. 12” LDVP DB 6444, POM-Feb., 1947. M-A, immaculate late Italian pressing with remarkably quiet surfaces. MB 8

M0839. VICTOR de SABATA Cond. E.I.A.R. S.O. JUVENTUS (Cond. by Composer), 4s. 2 12” red Decca Odeon G-25898/99, POM-29-30 Dec., 1933. M-A MB 15, the Pair.

“Gorgeous violins lead, Don Juan like, into the late Romantic syntax warmed by lavish portamenti – turbulent, energetic and distinctly central European. ’JUVENTUS dates’ from 1919. It's a 16-minute symphonic poem about youth beginning and ending with surging themes reminiscent of Korngold's ‘Sursum Corda’ written the same year.” - Jonathan Woolf, MusicWebInternational

M0840. VICTOR de SABATA Cond. E.I.A.R. S.O.: Feux d’Artifice (Stravinsky) / Symphony of the Machines - Steel Foundry (Mossolov). 12” red Decca Odeon 25510, POM-1934. M-A MB 15

“Also active as a music official, Mosolov quickly found recognition within the young Moscow music scene and got to know many foreign colleagues, whose works were performed in Russia at the time not least due to his efforts, including , Paul Hindemith, Alfredo Casella, Darius Milhaud and Arthur Honegger. Among his contemporary countrymen, the Russian Alexander Mosolov certainly underwent one of the most individual of developments. However unknown, most of his compositions have remained during and after the Soviet Union and abroad, then and since, a single piece has ensured that his name has stayed lastingly present - the ‘Iron Foundry’ from the ballet STEEL FOUNDRY.” - American Record Guide, Jan. / Feb., 2016

M0841. VICTOR de SABATA Cond. Santa Cecilia Orch.. JEUX (Debussy), 4s. 2-12” RCA 12-0536/37, POM-Jan.-Feb., 1947. [‘…at that time ‘Jeux’ was rarely heard and de Sabata had a special affection for it.’ - John L. Holmes, CONDUCTORS ON RECORD] M-A, pristine copy of late beveled-edge pressing. MB 15, the Pair.

M0842. VICTOR de SABATA Cond. Santa Cecilia Orch.. Il Segreto di Susanna - Overture / Il Quattro Rusteghi – Act II Intermezzo (both Wolf-Ferrari). 12” HMV DB 6786, POM-Feb., 1947. M-A, as unplayed. MB 8

M0843. VICTOR de SABATA Cond. Santa Cecilia Orch.. FONTANE DI ROMA (Respighi), 4s. 2-12” RCA 12-1046/47, POM-Jan., 1947, in Orig.Album DB 1337. . M-A, choice copy of late beveled-edge pressing. MB 15, the Set.

M0844. VICTOR de SABATA Cond. E.I.A.R. S.O., w.Pia Tassinari, Ebe Stignani, Ferruccio Tagliavini & ItaloTajo: REQUIEM, K.626 (Mozart), 16s. 8-12” dark-green Cetra SS.1001/08, POM-Dec., 1941. M-A, lovely copy has faint rubs, inaud. MB 35, the Set. M0845. VICTOR de SABATA Cond.Berlin Phil.. GALÁNTAI TÁNCOK (Kodály), 4s. 2-12”DG 69447/48, POM-April, 1939, in Orig. Album DGS 12. M-A, as unplayed. MB 15, the Set.

“A primary characteristic of virtually all great conductors is intensity, and de Sabata could galvanize an orchestra like no one else. A prime example from these 1939 sessions with the Berlin Philharmonic is a hair-raising performance of Kodaly’s DANCES OF GALANTA in which the rubato in the slow sections is mesmerizing and authoritative, and the faster sections go like the wind, with astonishing precision.” - Paul E. Robinson, Classical Voice North America

M0846. VICTOR de SABATA Cond.Berlin Phil.. FESTE ROMANE (Respighi), 7s. 4-12” DG 69251/54, POM-April, 1939, in Orig. Album DGS 3. M-A, as unplayed. MB 25, the Set.

M0847. VICTOR de SABATA Cond.Berlin Phil.. Tod und Verklärung (Strauss), 5s. 3-12” DG 69283/85, POM-April, 1939. A-, lovely copy has faint rubs, inaud. MB 15, the Trio.

M0848. VICTOR de SABATA Cond. London Phil.. EN SAGA, 5s. / Sd.6 = Valse triste (both Sibelius). 3-12” red Eng.Decca. K.1504/06, POM-May, 1946, in Orig. Album EDA 49. M-A, as unplayed. MB 25, the Set.

“In my opinion, the best of the LPO recordings is the performance of Sibelius’ EN SAGA; the quiet passages are wonderfully atmospheric, and de Sabata whips up plenty of excitement in the fast sections.” - Paul E. Robinson, Classical Voice North America

M0849. VICTOR de SABATA Cond. London Phil.. ‘Eroica’ Symphony #3 in E-flat (Beethoven), 12s. 6-12” red Eng.Decca. AK.1507/13, POM-May, 1946, in Orig. Album ED 19. M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.

M0850. VICTOR de SABATA Cond. London Phil.. Le Carnaval romain (Berlioz), 2s. 12” red Eng.Decca. K.1552, POM-May, 1946. M-A, as unplayed. MB 8

M0851. ETTORE PANIZZA Cond. La Scala Orch.: ‘Italian’ Symphony #4, 7s. / Sd.8 - A MIDSUMMER NIGHT'S DREAM - Scherzo (both Mendelssohn). 4-12” Scroll V 11174/77, on ‘Z’ shellac, POM-1931/’28, resp., in Orig. Album AM-119, w.Brochure. M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.

“Born in Buenos Aires in 1875, Panizza made his debut as assistant conductor at the Rome Opera when only 22. He was most closely associated with La Scala, Milan, the Royal Opera House in London, New York’s Met and the Teatro Colón in Buenos Aires. Interestingly, when Toscanini conducted the premiere of Puccini’s TURANDOT he stopped at the point where Puccini ceased writing, thus allowing Panizza to be the first to conduct the opera as completed by Alfano.” - Bob Briggs, MusaicWebInternational M0852. LORENZO MOLAJOLI Cond. La Scala Orch.: I Pini di Roma (Respighi), 6s. 3-10” dark-blue PW Eng. Col. 5310/12, POM-1928. M-A, as unplayed. MB 15, the Trio.

M0853. LORENZO MOLAJOLI Cond. La Scala Orch.: Fontane di Roma (Respighi), 4s. 2-12” dark-blue PW Eng. Col. 9833/34, POM-1928. M-A, as unplayed. MB 15, the Pair.

M0854. LORENZO MOLAJOLI Cond. La Scala Orch.: Feste Romane (Respighi), 2s. 12” PW Col. 69017-D, POM-1928. A-, very decent copy has lt.rubs, inaud. MB 8

M0855. LORENZO MOLAJOLI Cond. La Scala Orch.: Masaniello – Overture (Auber), 2s. 12” PW dark-blue Eng. Col. DX 187, POM-1928. M-A, lovely copy has, Sd.1 only, wee dust scrabble, just barely audible 2 or 3 turns. MB 8

M0856. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch.: I Vespri Siciliani - Overture (Verdi), 2s. 12” black German Polydor 66581, POM-1927. A-, lovely copy has lt.rubs, inaud. MB 8

M0857. LORENZO MOLAJOLI Cond. La Scala Orch.: Fra Diavolo – Overture (Auber), 2s. 12” PW dark-blue Eng. Col. DX 154. M-A, lovely copy has faintest rubs, inaud. MB 8

M0858. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch. & Chorus: Cavalleria – Prelude; Entrance Chorus; w.JOSÉ RIAVEZ (T): O Lola (Mascagni), 4s. 2-12” dark-blue PW US-Odeon 5140/41, POM-1927. M-A, lovely copy has faintest rubs, inaud. MB 15, the Pair,

M0859. LORENZO MOLAJOLI Cond. Berlin Staatsoper Orch.: Guillaume Tell - Overture (Rossini), 4s. 12” blue Viva-Tonal Col. G-7161/62-M, POM-1927. M-A, superlative copy has very occasional faintest rub, inaud. MB 15, the Pair.

M0860. LORENZO MOLAJOLI Cond. La Scala Orch.: La Cenerentola - Overture (Rossini), 2s. 12” dark-blue Eng. Col. DX 704, POM-1928. M-A , as unplayed, albeit Sd.2 only has faint rub, inaud. MB 8

M0861. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Overture (Rossini), 3s. / Sd.4 = Cavalleria – Intermezzo (Mascagni). 2-12” dark-blue PW Eng. Col. 9663/64, POM-1927. M-A, superlative copy has, Sd.3 only, very occasional faintest rub, inaud. MB 15, the Pair.

M0862. LORENZO MOLAJOLI Cond. La Scala Orch.: La Gioconda – Dance of the Hours (Ponchielli), 2s. 12” dark-blue Eng. Col. DX 11, POM-1928. M-A, as unplayed. MB 8 M0863. LORENZO MOLAJOLI Cond. La Scala Orch.: La Giara - Suite Sinfonica (Casella), 2s. [‘La Giara’ is a comedy ballet written in 1924 at the suggestion of Erik Satie and premiered that same year. The symphonic suite was arranged at the request of Willem Mengelberg who conducted its premiere in New York] 12” black PW Eng. Col. 11721, POM-1928. M-A MB 15

M0864. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Sinfonia (Rossini), 2s. 12” green Viva-Tonal Col. 52057-X, POM-1927. M-A, superlative copy has, Sd.1 only, very occasional faintest rub, inaud. MB 12

M0865. LORENZO MOLAJOLI Cond. La Scala Orch.: Semiramide – Overture, 3s. / Sd.4 = Cavalleria – Intermezzo (both (Rossini)). 2-12” dark-blue PW Eng. Col. 9663/64, POM-1927. M-A, superlative copy has, Sd.3 only, very occasional faintest rub, inaud. MB 15, the Pair.

M0866. LORENZO MOLAJOLI Cond. La Scala Orch.: Mignon - Overture (Thomas), 2s. 12” dark-blue PW Eng. Col. 9759, POM-1928. M-A, as unplayed. MB 8

M0867. LORENZO MOLAJOLI Cond. La Scala Orch.: Forza – Overture (Verdi), 2s. 12” black Viva-Tonal Col. 50172-D, POM-1927. M-A, a superlative copy! MB 12

M0868. LORENZO MOLAJOLI Cond. La Scala Orch.: L’Amico Fritz – Intermezzo / Cavalleria – Intermezzo (both Mascagni). 12” black Viva-Tonal Col. 50167-D, POM-1927. A to M-A, lovely copy has faintest rubs, inaud. MB 12

"The shadowy figure of Lorenzo Molajoli is a mystery in the annals of opera. Nothing seems to be known of his career other than that he conducted many recordings in the 1920s and 1930s, mostly for Columbia in Milan. From the evidence of those discs he was clearly a very competent musician, experienced at handling large orchestral and vocal forces - and yet where? What can be established is that he served with considerable distinction as the house conductor in Milan for Italian Columbia, recording complete operas and accompanying a large number of singers, in addition to making recordings of a number of operatic overtures. Molajoli conducted twenty complete or abridged operas for Columbia between 1928 and 1932." - Paul Campion

M0869. ANTONIO GUARNIERI Cond. Milan S.O.: Antique Danze ed Arie – Villanella (Respighi), 2s. 12” red & gold Fonotipia E-5111 (xxPh 6180/81), POM-16 Feb., 1928. M-A, superb copy has numerous gold flecks - residue from the bright labels. MB 12

Antonio Guarnieri succeeded Arturo Toscanini at La Scala in 1929 and stayed there until shortly before his death. A highly regarded technician at the podium, he conducted many important world premières, Ottorino Respighi's BELFAGOR, for instance. - Wikipedia M0870.MARINO CREMESINI Cond. Cantori Bolognese: Sestina - Lagrime d'Amante al Sepolcro dell' Amata (Monteverdi), 6s. 3-12” early PW Col. 68295/97-D, POM-1928, on Royal Blue Shellac, in Orig. Col. Album #218. M-A, as unplayed! MB 35, the Set.

M0871. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: Il Matrimonio Segreto – Sinfonia (Cimarosa), 2s. 12” dark-blue Cetra CB 20216, POM-23 July, 1939. M-A, appears unplayed. MB 12

M0872. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: Il Portatore d’Acqua – Sinfonia (Cherubini), 2s. 12” dark-blue Cetra CB 20218, POM-23 July, 1939. M-A, appears unplayed. MB 12

M0873. ARMANDO LA ROSA PARODI Cond. EIAR S.O.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” dark-blue Parlophone DPX 30,POM-23 July, 1939. M-A, appears unplayed. MB 8

M0874. GINO MARINUZZI Cond. La Scala Orch.: FEDRA – Overture (Pizzetti), 2s. 12” Burgundy Telefunken La Scala label SKB 3202, POM-1941. M-A, as unplayed. MB 15

“The selection of Marinuzzi’s 78s is limited largely to overtures, which indicates the main focus of his musical life, opera. Given the conductor’s work on behalf of Pizzetti, it’s valuable to find an example from FEDRA (Telefunken, 1941), played with resplendent command. Marinuzzi should be far better known than he is. - Jonathan Woolf, MusicwebInternational

M0875. GINO MARINUZZI Cond. La Scala Orch.: I Vespri Siciliani - Overture (Verdi), 2s. 12” green Capitol Telefunken 82000, POM-1941. M-A, superb copy has wee inaud. pap.scr, Sd.2. MB 8

M0876. SERGIO FAILONI Cond. EIAR S.O.: Antique Danze ed Arie – Villanella (Respighi), 2s. 2-12” dark-green Cetra BB 25017/18, POM- 1947, in Orig. Cetra Album. M-A, appears unplayed. MB 15, the Set,

“In 1947 Sergio Failoni was invited to make his debut at the Metropolitan Opera, however, he suffered a stroke and died the following year. He was regarded as one of the leading interpreters of the Italian repertoire.” - Nicolas Slonimsky

M0877. CARLO SABAJNO Cond. La Scala Orch.: Barbiere – Overture (Rossini). 12” white Vla 68010-B (576c), POM-1905. M-A, lovely copy has faint rubs, inaud. MB 10

M0878. ARTHUR PRYOR’s BAND: Orfée aux Enfers – Overture (Offenbach) / Forza - Overture (Verdi). 12” black Pat.’08 V 35215, only form of issue,15 / 17 Nov., 1911. M-A, a spectacular copy! MB 15 M0879. GUIDO CANTELLI Cond. Santa Cecilia Orch.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” LVDP DB 11324, only form of issue, 9 May, 1949. M-A, choice late Italian pressing with remarkably quiet surfaces. MB 10

M0880. GUIDO CANTELLI Cond. NBC S.O. Symphony #93 in D (Haydn), 6s. 3-12” RCA 12-0996/98, POM-2 March, 1949, in Orig. Album DM 1323. M-A, beautiful copy of choice, late beveled-edge pressing has, 1st disk only, minuscule hlc forming. MB 15, the Set.

“When Toscanini returned to Italy after the war, Cantelli had already begun to establish his reputation as a conductor, and he had the talent and good fortune to impress Toscanini who, after a few meetings, put the protective arm of his endorsing patronage around the shoulders of his very young countryman. No other conductor in the history of the art has established, so early in life, so wide a fame.” - Walter Legge (HMV record producer), WORDS AND MUSIC, p.228

M0881. ANGELO ALBERGONI Cond. Milan S.O.: L’Assedio di Corinto – Overture (Rossini), 2s. 12” dark-blue Eng. Parlophone E 11169 (xxPh 5947/48), POM-21 May, 1927, Albergoni’s name not on label. M-A, as unplayed, albeit has faintest rubs, inaud. MB 8

M0882. ANGELO ALBERGONI Cond. Milan S.O.: Nabucco – Sinfonia (Verdi), 2s. 12” dark-blue Eng. Parlophone E 11205 (xxPh 5977/78), POM-26 May, 1927, M-A, as unplayed, albeit Sd.2 has 2 wee scrs, inaud. MB 8

M0883. ANGELO ALBERGONI Cond. Milan S.O.: I Vespri Siciliani - Overture (Verdi), 2s. 12” red & gold Fonotipia E-5065 (xxPh 5954/74), POM-21 / 26 May, 1927, Albergoni’s name not on label. M-A, as unplayed! MB 12

M0884. ANGELO ALBERGONI Cond. Milan S.O.: La Fille du Régiment – Overture (Donizetti), 2s. 12” red Decca-Odeon 25082 (xxPh 6318/19), POM-18 June, 1928. [Albergoni’s name not on label] M-A, as unplayed! MB 8

M0885. ARTHUR PRYOR’s BAND: Marche slave ‘Take’ 3 (Tschaikowsky) / BANDA DE POLICÍA DE MÉXICO: Semiramide - Overture ‘Take’ 1 (Rossini). 12” black V 35167, only form of issue,19 Sept., 1910 / 10 July, 1907. M-A, a spectacular copy . . . of equally stunning performances not to be overlooked, especially by wind enthusiasts! MB 15

M0886. MIKLOS ROZSA Cond. M-G-M Orch.: Madame Bovary – Potpourri (Cond. by the Composer) 4s. 2-10” vinyl M-G-M 30208/09, only form of issue, 1949 (from M-G-M soundtrack), in Orig. M-G-M Album 43. M-A MB 25, the Set. M0887. GUILLAUME BALAY Cond. La Musique de la Garde Républicaine: Dionysiaques (Florent Schmitt), 4s. 2-10” plum PW Disque Gram. K-5336/37, only form of issue, 1927. A-, very decent copy has lt.rubs, inaud. MB 20, the Pair.

“One of the most fascinating and forward-looking works in the concert band repertoire was penned by Florent Schmitt back in 1913-14. ‘Dionysiaques’ was composed for France’s elite Garde Républicaine Band, which premiered the work in 1925.

Dionysiaques is a brilliant, 11-minute tour de force that takes the listener on an incredible sound journey. Although the work is not really programmatic, its title suggests a Dionysian orgy, which is fully realized in the intensity of the music with its interesting contrasts: brooding chromaticism alternating with thrilling tutti climaxes. The composer Pierre-Octave Ferroud, one of Schmitt’s pupils, sensed in the work ‘the overflowing of sap in springtime’.

Moreover, the score has an intriguing orchestration, calling for several unusual instruments such as the sarrusophone, bass , pedal clarinets and even double basses! Like many of Schmitt’s compositions, the music is a challenge for performers, which may partially explain why it took many decades for ‘Dionysiaques’ to become a staple of the concert band repertoire.

This 1927 Balay recording was released on the Gramophone label, with the music spread over four sides of 78-rpm disks. What gives ‘Dionysiaques’ its staying power as a concert band piece? It is highly inventive … always fresh and interesting … and in the end, completely thrilling. Rarely does one hear a piece of music that takes the listener through so many moods and contrasts inside of a dozen minutes. In short, ‘Dionysiaques’ has been around for a century, but it never grows old. - Phillip Nones , 25 Sept., 2012

M0888. GUILLAUME BALAY Cond. La Musique de la Garde Républicaine: Antoine et Cléopâtre: Sélamlik (Divertissement) / Le Camp de Pompée (Florent Schmitt), 2s. 12” plum PW Disque Gram. L-766, only form of issue, 13 March, 1929. A-, very decent copy has lt.rubs, inaud. MB 15

“Schmitt's ANTOINE ET CLÉOPÂTRE music was written for André Gide's 1920 production of Shakespeare's ANTONY AND CLEOPATRA. The composer assembled two suites from the incidental music. The ensemble credit is given on the label as simply ‘Musique d'Harmonie’; the conductor is Guillaume Balay, the former director of the famous Garde Républicaine band who conducted the 1909 premiere of SÉLAMLIK. The work itself was inspired by a trip Schmitt took to Turkey in 1905, and the title refers to the portion of the Turkish home reserved for the company of men only, inspired by the Turkish ceremonial guard units assigned to the Sultan in Constantinople which Schmitt witnessed on parade when visiting the Ottoman Empire in the early 1900s. SÉLAMLIK conjures up an atmosphere of raucous celebration nearly continuously throughout its entire five-minute duration.” - Jeff Crompton, 19 Jan., 2017

M0889. MAURICE JAUBERT Cond. Lamoureux Orch.: Ballade (Cond. by the Composer), 2s. 12” MasterWorks Col. 69019-D, POM-1935. A-, very decent copy has lt. rub & infinitessimal edge lams, inaud. MB 10

“As music director of Pathé-Nathan studio, Jaubert conducted the film scores of several other composers, including Arthur Honegger and Darius Milhaud. He regularly conducted at concerts in France and abroad; he was a strong supporter of when that composer was widely misunderstood.” - Wikipedia M0890. PAUL PARAY Cond. Concerts Colonne Orch.: A Night on Bare Mountain (Mussorgsky), 2s. 12” early PW Col. 68305-D, on Royal Blue Shellac, POM-25 May, 1934, M-A, superb copy of excellent Royal Blue Shellac pressing. MB 15

M0891. PAUL PARAY Cond. Concerts Colonne Orch.: ‘Pastorale’ Symphony #6 in F, 9s / Sd.10 = Die Ruinen von Athen – Overture (both Beethoven). [Elegant woodwinds play with great panache and personality by Beethoven’s brook, contributing to an increasingly passionate scene. The Storm is one of the most alarming, hair-raising ever: strings caught in the path of brass and drums scamper like mice’ - Arthur Bloomfield] 5-12” early PW Col. 68239/43-D, POM-23 May, 1934, in Orig. Album 201. M-A, superb copy of excellent 1934 pressing. MB 25, the Set.

M0892. ANDRÉ MESSAGER Cond. Paris Conservatoire Orch.: Le Rouet d’Omphale / Le Déluge – Prelude (both Saint-Saëns). 12” Tri-Color Col. A6087, POM-15 Oct., 1918. A to M-A MB 12

M0893. GABRIEL PIERNÉ Cond. Colonne Orch.: Gwendoline - Overture, 3s. / Sd.4 = Ronde villageoise (both Chabrier). 2-12” red Decca-Odeon 25312/13, POM-17 Jan. 1930. A to M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0894. GABRIEL PIERNÉ Cond. Colonne Orch.: Rapsodie norvégienne (Lalo), 2s. 2-12” red Decca-Odeon 25331/32, POM-6 March, 1929. M-A MB 15, the Pair.

M0895. GABRIEL PIERNÉ Cond. Colonne Orch.: Ma Mère l’Oye (Ravel), 3s. / Sd.4 = L' Oiseau de Feu – Berceuse (Stravinsky). 2-12” red Decca-Odeon 25319/20, POM-28 April / 16 March, 1928. M-A MB 15, the Pair.

M0896. GABRIEL PIERNÉ Cond. Colonne Orch.: Le Coq d’Or – Introduction & Bridal Procession (Rimsky-Korsakov), 2s. 12” red Decca-Odeon 25382, POM-30 March, 1928. M-A MB 10

M0897. GABRIEL PIERNÉ Cond. Colonne Orch.: Prélude à L’après-midi d’un Faune (Debussy), 2s. 12” red Decca-Odeon 25392, POM-10 Feb., 1930. M-A MB 10

M0898. GABRIEL PIERNÉ Cond. Colonne Orch.: In the steppes of Central Asia (Borodin), 2s. 12” red Decca-Odeon 25390, POM-121 Nov., 1928. M-A MB 10

M0899. GABRIEL PIERNÉ Cond. Colonne Orch.: Feu d’artifice / Suite pour petit Orchestre - Polka and Galop (both Stravinsky). 12” red Decca-Odeon 25309, `POM-21 Nov., 1928 / 16 Dec., 1929. M-A MB 10 M0900. GABRIEL PIERNÉ Cond. Colonne Orch.: Suite pour petit Orchestre (Stravinsky), 2s. 12” early PW Col. G-68141-D, on Royal Blue Shellac, POM-16 Dec., 1929. M-A, beautiful copy with remarkably quiet surfaces has, Sd.1 only, very lt. audible scr at end; Sd.2 only has several minuscule lams, hardly worth mention. MB 15

M0901. GABRIEL PIERNÉ Cond. Colonne Orch.: Suite pour petit Orchestre (Stravinsky), 2s. 12” red Decca-Odeon G-25886, POM-16 Dec., 1929. M-A, lovely copy has faint rubs, inaud. MB 8

M0902. GABRIEL PIERNÉ Cond. Colonne Orch.: Petrouchka (Stravinsky), 5s. / Sd.6 = Sérénade pour la poupée (Debussy). 3-12” red Decca-Odeon 25526/28, POM-23 Nov., 1928 / 9 Dec., 1929. M-A MB 20, the Trio.

M0903. GABRIEL PIERNÉ Cond. Colonne Orch.: Pavane pour une Infante défunte (Ravel), 2s. 12” French Odéon 123.617, POM-19 Feb., 1929. A-, lovely copy has faint rubs, inaud. MB 10

M0904. GABRIEL PIERNÉ Cond. Colonne Orch.: Samson et Dalila - Bacchanale (Saint-Saëns), 2s. 12” red Decca-Odeon 25334, POM-5 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 8

M0905. GABRIEL PIERNÉ Cond. Colonne Orch.: Images - Ibéria (Debussy), 6s. 3-12” red Decca-Odeon 25558/60, POM-3 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 20, the Trio.

M0906. GABRIEL PIERNÉ Cond. Colonne Orch.: A Midsummer Night’s Dream - Excerpts (Mendelssohn), 4s. 2-12” red Decca-Odeon 25399 / 25400, POM-15 Dec., 1930. M-A, lovely copy has faint rubs, inaud. MB 15, the Pair.

M0907. GABRIEL PIERNÉ Cond. Colonne Orch.: Die Meistersinger – Prelude, Act III (Wagner), 2s. 12” red Decca-Odeon 25502, POM- 13 Jan., 1930. M-A, lovely copy has, Sd.2 only, faintest rubs, inaud. MB 10

M0908. GABRIEL PIERNÉ Cond. Colonne Orch.: Le Roi d’Ys - Overture (Lalo), 4s. 2-12” red Decca-Odeon 25380/81, POM-10 June, 1930. M-A MB 15, the Pair.

M0909. GABRIEL PIERNÉ Cond. Colonne Orch.: L' Arlésienne - Suites 1 & 2 (Bizet), 8s. 4-12” red Decca-Odeon 25513/16, POM-7-10 Feb., 1930. M-A MB 35, the Set.

M0910. GABRIEL PIERNÉ Cond. Colonne Orch.: Ramuntcho (Cond. by the Composer), 2s. 12” French Odéon 123.574, POM- 21 Nov., 1928. M-A, a spectacular copy! MB 12

M0911. GABRIEL PIERNÉ Cond. Colonne Orch.: Cydalise et le Chèvre-Pied (Cond. by the Composer), 4s. 2-12” Viva-Tonal Col. G-68035/36-D, POM- 14 May, 1930. M-A, a gorgeous copy! MB 35, the Pair.

M0912. GABRIEL PIERNÉ Cond. Colonne Orch.: Psyché, 5s. / Sd.6 = Prélude, Chorale & Fugue – Chorale (both Franck). 3-12” Viva-Tonal Col. G-67991/93-D, POM-6 March / 9 Dec., 1929, in Orig. Album 164, w.Brochure. M-A, a gorgeous copy! MB 35, the Set.

M0913. GABRIEL PIERNÉ Cond. Colonne Orch.: Bourrée fantasque (Chabrier), 2s. 12” French Odéon 123.545, POM- 20 April, 1928. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0914. GABRIEL PIERNÉ Cond. Colonne Orch.: Carnaval romain (Berlioz), 4s. 2-12” Viva-Tonal Col. G-67744/45-D, POM-16 March, 1928. M-A, lovely copy has very faintest rubs, inaud.; Sd.4 only has wee lam. MB 15, the Pair.

M0915. GABRIEL PIERNÉ Cond. Colonne Orch.: Marche héroïque (Saint-Saëns), 2s. 12” French Odéon 123.749, POM- 12 Jan., 1931. M-A, lovely copy has very faintest rubs, inaud. MB 10

M0916. GABRIEL PIERNÉ Cond. Colonne Orch.: Nocturnes (Debussy), 6s. 3-12” Viva-Tonal Col. G-68020/22-D, POM-16 May, 1929. M-A, a gorgeous copy! MB 25, the Trio.

M0917. GABRIEL PIERNÉ Cond. Colonne Orch.: Nocturnes (Debussy), 6s. 3-12” red Decca-Odeon 25544/46, POM-16 May, 1929. M-A, appears unplayed! MB 25, the Trio.

M0918. GABRIEL PIERNÉ Cond. Colonne Orch.: Rédemption (Franck), 4s. 2-12” French Odéon 123.733/34, POM-12 Nov., 1930. M-A, a gorgeous copy! MB 15, the Pair. “Gabriel Pierné was a highly accomplished French composer of many and attractive works. Also an esteemed conductor, he was a master of orchestration. Although he was a classmate of at the Paris Conservatory, he did not follow the latter's lead in harmonic practice. However, he seems to have added the new orchestral colors pioneered by Debussy and Ravel to his orchestral palette. Pierné was apparently commissioned to write ‘Cydalise et le Chèvre-Pied’ in 1913, the same year in which Stravinsky's RITE OF SPRING was premiered. Yet it is not even as advanced as Stravinsky's first ballet, FIREBIRD, as far as accepting modernism is concerned. The fluency and charm of the finest pages of this ballet score have much of the sophisticated naïveté of Fauré's ‘Dolly’ Suite, Ravel's ‘Mother Goose’, or Debussy's ‘Children's Corner’. It also has a lush eroticism reminiscent of Ravel's ‘Daphnis et Chloé’.

After the libretto of the ballet was worked out, Pierné started composition in 1914 and finished the score in 1915. The Opéra de Paris immediately accepted it, but could not produce it under wartime conditions. Its premiere was thus delayed until January 15, 1923. By that time, the score was quite out of date. Nevertheless, the Parisian audience and the critics accepted it wholeheartedly. Paradoxically, if it had been modernist at the time Pierné wrote it, it would have been an outdated form of modernism. The critics recognized it as representing an ‘old school’ of composition. It is brilliantly orchestrated, and has some touches absorbed from Debussy, such as use of ancient modes and the whole-tone scale, but its harmony remains traditionally functional. Pierné is much given to developing a single tone color to represent each of his main characters, and uses imaginative tone colors, bright melodies, and catchy rhythms throughout.” - Joseph Stevenson, allmusic.com

M0919. GABRIEL PIERNÉ Cond. Colonne Ensemble - Darrtieux, Alès, Lopes, Juste, Blanquart, Beghin, Dervaux, & Jean Doyen: GIRATION (Cond. by the Composer), 2s. 12” French Col. LFX 337, POM-12 Jan., 1934. +M-A, lovely copy has very faintest rubs, inaud. MB 15

“Gabriel Pierné has been called the most complete French musician of the late Romantic/early twentieth century era. In his own music Pierné blended a seriousness of purpose (acquired in part through his studies with César Franck) with a lighter, more popular flavor reminiscent of Jules Massenet (with whom Pierné also studied); his dedication to the music of his contemporary French composers earned him a reputation as a conductor of deep integrity.

In 1890 Pierné succeeded his teacher, Franck, as organist at St. Clotilde cathedral, a distinct honor for a young man of 27. In the late 1890s he abandoned his career as an organist and in 1903 made his debut as assistant conductor of the Concerts Colonne (of which he served as principal conductor from 1910 to 1934, devoting a great deal of rehearsal time to the preparation of new works). In addition to his activities on the podium, Pierné served on the administration of the Paris Conservatoire and composed for the Ballet Russes (three successful ballets produced between 1923 and 1934). In the years prior to his death in 1937 he was elected to the Académie des Beaux Arts and made a Chevalier of the Légion d'honneur.

Pierné avoided symphonic form in favor of orchestral poems and character pieces. While Pierné's large-scale works showcase a solid grasp of musical architecture, the smaller chamber works (sonatas for both violin and cello and a String Quintet, among other pieces), are more indicative of his exceptional facility. - Blair Johnston, allmusic.com

M0920. LOUIS BILLAUT Cond.: Rapsodie limousine (Cond. by the Composer), 2s. 12” plum PW Disque Gram. L-884, only form of issue, 23 March, 1931. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 20

M0921. REYNALDO HAHN Cond.: Le Bal de Béatrice d’Este (Cond. by the Composer), 4s. 2-12” plum Disque Gram. L-990/91, POM-17 April, 1935, issued France & Japan only. M-A, choice pair has, Sd.2 only, tiny neatly mended lateral edge lam into initial grooves. MB 20, the Pair.

M0922. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: La Valse (Ravel), 4s. 2-12” PW Eng. Col. L2245/46 , POM-1930. M-A, as unplayed! MB 15, the Pair.

M0923. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: Les Chants de la Mer (Cond. by the Composer), 4s. 2-12” MasterWorks Col. 69335/36-D, POM-1930. M-A, as unplayed! MB 20, the Pair.

M0924. PHILIPPE GAUBERT Cond. Paris Conservatoire Orch.: Les Chants de la Mer (Cond. by the Composer), 4s. 2-12” white Japanese Col. Test Pressings for Mx. LX 1317/19; 1324-2, POM-1930. M-A, appears unplayed! MB 20, the Pair.

“Flautists know well Gaubert’s name, [thus] It will come as no surprise that he was a virtuoso of the flute standing in succession to his teacher Taffanel. In Gaubert's own 1930 LES CHANTS DE LA MER recording, it drifts in delight between the Franck of PSYCHÉ, the Bax of FAND and Mediterranean and, inescapably Debussy's LA MER. There is a sovereign weight to the third and last movement as well as mystical communion with far marine horizons. It is into the tremble and shimmer of those horizons that the music finally evaporates. “ - Rob Barnett, musicweb-international

M0925. HENRI SAUGUET Cond. Lamoureux Orch.: Les Forains (Cond. by the Composer), 6s. 3-12”black French Polydor 566.254/56, POM-1945. M-A, choice copy appears unplayed, albeit very occasional infinitesimal pap. scr, inaud. MB 25, the Trio.

“LES FORAINS has fared better than Sauguet’s symphonies in having at least two commercial recordings made. Here we meet the composer in lighter vein. The score was composed in 1945, so is contemporaneous with the First Symphony. Its inspiration is the travelling gypsy circuses of , and Sauguet infuses this intensely colourful score not only with copious melody, wit and exuberance, but also with more pensive moments. It's beneficial having the composer's own thoughts on the work in this thrilling performance.” - Stephen Greenbank, musicweb-international

M0926. JACQUES IBERT Cond.: Divertissement pour Orchestre de Chambre (Cond. by the Composer), 4s. 2-10” plum PW Disque Gram. K-7573/74, only form of issue, 1935. M-A MB 35, the Pair.

“Composed in 1929/30, DIVERTISSEMENT is incidental music for the theatrical play THE ITALIAN STRAW HAT. A highly eclectic mix of styles that include music hall tunes, blues and jazz, Viennese waltzes and the ‘Wedding March’ from Mendelssohn’s A MIDSUMMER NIGHT’S DREAM musically supports the ensuing confusion. The work features colouristic improvisations and sparkles with characteristic humour, as show tunes irreverently mingle with learned counterpoint.” - Georg Predota, 11 Feb., 2015 M0927. DÉSIRÉ-EMILE INGHELBRECHT Cond. Concerts Pasdeloupe Orch.: Sinfonia brève da Camera (Cond. by the Composer), 4s. 2-10” blue & silver Art-Deco label Pathé X.8810/11, only form of issue, 1931. M-A, an outstanding copy! MB 45, the Pair.

“Inghelbrecht ‘s archingly melodic, emotionally touching and sensitively impressionistic SINFONIA BRÈVE DA CAMERA is of provocative substance. A very worthwhile piece that deserves a modern recording provided it captures the vivacity so clearly evident here.” - Rob Barnett, musicweb-international

M0928. VINCENT d’INDY Cond.: Le Camp de Wallenstein (Cond. by the Composer), 4s. Sd.4 also featuring d’Indy’s Vocal Autograph. 2-10” blue & silver Art-Deco label Pathé X.8806/07, only form of issue, 1931. M-A, exceptional copy has occasional faintest pap. rub, inaud. MB 35, the Pair.

“The bubbly d’Indy WALLENSTEIN’S CAMP at times seems indebted to Berlioz and Dukas while at others lapses into sturdy light music mode. It grew on me a little with repeated hearings. “ - Rob Barnett, musicweb-international

M0929. HENRI RABAUD Cond.: La Procession Nocturne (Cond. by the Composer), 4s. 2-12” PW French Col. D 15078/79, POM-1928. M-A, Exemplary! MB 25, the Pair.

M0930. HENRI RABAUD Cond.: Mârouf – Ballet (Cond. by the Composer), 4s. 2-12” Eng. Col. D 15080/81, POM-9 Nov., 1927. M-A MB 25, the Pair.

”MÂROUF, SAVETIER DU CAIRE is an opéra comique by the French composer Henri Rabaud. The libretto, by Lucien Nepoty, is based on a tale from the ARABIAN NIGHTS. MÂROUF was first performed at the Opéra-Comique, Paris, on 15 May 1914. The premiere was a great success and MÂROUF became Rabaud's most popular opera. The score makes great use of oriental colour.” - musicweb-international

M0931. FERNAND OUBRADOUS Cond. Ensemble Instrumental du Conservatoire National de Paris: Chanson et Danses (d’Indy), 4s. 2-12” dark blue LVSM SL-174/75, only form of issue, 1951. M-A, choice copy has faintest pap. rubs, inaud. MB 25, the Pair.

M0932. LOUIS BEYDTS Cond.: À Travers Paris (Cond. by the Composer), 4s. 2-10” plum PW Disque Gram. K-7811, only form of issue, 1936. M-A, Exemplary! MB 35, the Pair.

“In 1941 French composer, music critic and theatre director Louis Beydts acted as artistic director to the recording of PELLÉAS ET MÉLISANDE conducted by Roger Désormière. He finished his career as Director of the Opéra-Comique in Paris from 1952 -1953, with the 50th anniversary production of PELLÉAS ET MÉLISANDE and the first French production of THE RAKE'S PROGRESS. An important figure in Parisian musical life, Beydts was a close friend of the cellist . “ - Philadelphia Chamber Music Society

1926 – Victor Orthophonic label 1934 – Victor SCROLL label

1927 – Columbia Viva-Tonal label 1936 – Columbia advanced Viva-Tonal label

1938 – Columbia MasterWorks label

We have become aware of general confusion regarding specific labels and production values from Victor and Columbia. In the interest of clarification we offer the following valuable data:

* 1926 – Victor Orthophonic label * 1934 – Victor SCROLL label * 1935 – Victor SCROLL label, with ‘Z’ shellac [‘Z’ shellac eventually on PW (PreWar) pressings as well]

Regarding Victor’s ORTHOPHONIC Scroll labels vs. mid-1930s SCROLL labels . . . after the commonly-known and ubiquitous Orthophonic Scroll labels, 1926-30, with which everyone is familiar, Victor’s Red Seal label changed in 1934 to the Victor Red Seal Record (customarily known simply as ‘SCROLL, Victor Red Seal Record’).

Although many people (dealers included) tend to confuse the two labels, thinking they are one and the same, the old Orthophonic label is not to be confused with the then new 1934 introduction of the relatively scarce SCROLL label, (scarce due to te Great Depression during which relatively few records were pressed), which itself would be replaced with a simpler non-scroll label a mere two years afterward.

It was about this same time when Victor’s very special ‘Z’ shellac was introduced, offering remarkably quiet surfaces and far superior reproduction capability. These ‘Z’ shellac pressings have always been rightly coveted and sought-after. As you will note, there is a very considerable number of such pressings in this Auction Catalogue, most of them coming from one very special collection which was created by a duly knowledgeable collector who always sought them out.

**************************************** * 1927 – Columbia Viva-Tonal label * 1932 – Columbia Royal Blue Shellac * 1936 – Columbia advanced Viva-Tonal label * 1938 – Columbia MasterWorks label

Also prominent in this 2019 Auction is a considerable number of Columbia’s Viva-Tonal disks, also offering superior surfaces. In 1927, ahead of Victor’s schedule, Columbia began issuing their Viva- Tonal disks, offering superior surfaces than Columbia had previously known. At the end of 1932, Columbia then introduced its sensational Royal Blue Shellac which offered remarkably quiet playing surfaces, akin to Victor’s ‘Z’ shellac. In 1936, Columbia embarked upon an advanced Viva-Tonal type of label and improved surface, followed shortly thereafter by their coveted MasterWorks pressings in 1938. The latter was Columbia’s response to Victor’s ‘Z’ shellac pressings.

We are most pleased to be able to offer a generous bounty of superior quiet pressings, all duly noted throughout the Catalogue. Serious collectors will do themselves a great service by paying special attention to Victor’s ‘Z’ shellac as well as Columbia’s Viva-Tonal, Royal Blue Shellac and their gloriousMasterWorks pressings. Happy (and correctly-informed) Collecting to everyone!