Norbeck, Peters & Ford N #150
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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. How to Place Bids We are pleased to receive bids via PHONE: [(802) 524-7673] or [(802) 524-4884] TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Saturday, when PETER FORD is available to take bids and answer any questions - or FAX [1 (888) 819 4831] or E-mail ([email protected]), 24 hours a day, 7 days a week. When placing your bids, please list the ITEM NUMBER (in the left column of catalogue) and a brief description of the item. Include your phone & E-mail address and shipping address to which your parcel will be sent on all orders. Table of Contents Piano 78rpm records Nos. M0101 – M0222 Harp 78rpm records Nos. M0222 – M0237 Violin - Viola 78rpm records Nos. M0238 – M0411 Cello 78rpm records Nos. M0412 – M0459 Double Bass 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. REMITTANCE: Please include your Credit Card Number, with expiration date and name as it appears on the card. PayPal always accepted. Make checks and moneyorders payable to Norbeck, Peters & Ford, in US Dollars and must be PAYABLE THROUGH A UNITED STATES BANK. ALL FOREIGN BANK CHARGES MUST BE PREPAID! Our catalogue is also available at http://www.norpete.com We always maintain a vast inventory of thousands of 78s & LPs not on our website, as well as books & ephemera – Please ask. 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 Paris 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 Marguerite Long, 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 France 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 Richard Strauss. 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, Reynaldo Hahn, 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 Covent Garden. He enjoyed a career as a virtuoso pianist, later turning his attention to opera, 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 Prague in 1903. - Jonathan Summers M0107. EDVARD GRIEG: Au printemps (Played by the Composer) / JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim).