Auction Number 144 -- AUCTION Closing Date: Monday, 13 June, 2010 Since 1972 Regarding AUCTION #144 (Closing Date: Monday, 13 June, 2011), The Minimum Bid ("MB") is a guide which has been set in accordance with current market value, determined through constant monitoring of auction sales during recent years. In cases of extreme rarity, the actual realized price may far exceed the Minimum Bid, while in other cases an item may realize a price very close to the Minimum Bid, and, occasionally, the Minimum Bid itself. Please simply bid in accordance with whatever a given item means to you. If a bidder wins more than originally anticipated, we are most pleased to make any mutually comfortable arrangement for payment terms. Please inquire. TELEPHONE HOURS are 10:00 am - 5:00 PM, EST - Monday – Friday, when PETER FORD is available to take bids and answer any questions. Bids may be submitted by e-mail, FAX, telephone or (bearing closing date in mind) postal mail. [802 524-7673] or FAX [1 888 819 4831].

CONDITION GRADING, 78rpm: M-A - nearly MINT, albeit slightly used Copy. A - slightly used Copy, but with very minimal or 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 Subsequent Issue. only form of issue - relates exclusively to 78rpm issues, only those which are Pressed from Original Masters. Scroll - relates exclusively to the best period of Victor, always featuring the Scroll Label, mid-1930's, and always offering remarkably quiet surfaces, very often on Z Shellac, although not always so indicated. Z Shellac - relates exclusively to the best pressings ever produced by Victor, mid-1930's, found on PW, Orth (Orthophonic), 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. In the event that there is no “z” embossed in such pressings, they will be identified as being “z-type shellac.” Master Works is Columbia's equivalent, offering the best pressings ever produced by Columbia, preceded (chronologically) by their notable Blue Shellac Pressings. How to Place Bids We are pleased to receive bids via phone (802-524-7673) or Fax: (1 888 819 4831), or e-mail ([email protected]) 24 hours a day, 7 days a week. We also accept bids via postal mail. When placing your bids, please list the ITEM NUMBER (in left column of catalogue) and a brief description of the item. Include your phone & FAX number (e-mail, when available) on all orders. REMITTANCE: Please include your American Express, Visa or MasterCard number, with expiration date and name as it appears on the card. We also accept PayPal payments. Make checks and money orders payable to Norbeck, Peters & Ford, in US Dollars. Checks and Money orders must be PAYABLE THROUGH A UNITED STATES BANK. ALL FOREIGN BANK CHARGES MUST BE PREPAID! SHIPPING: PLEASE INDICATE THE EXACT ADDRESS TO WHICH YOU WANT YOUR PARCEL SHIPPED. We have a fine stock of 78rpm Storage Albums (normally containing twelve sleeves each), priced at $7.50 per album, as slightly used, but EXCELLENT. When ordering, be sure to specify whether you want 10" (25cm) or 12" (30cm). We have a comprehensive stock of choice copies of thousands of vocal and instrumental 78s, and LPs. Additionly, we have hundreds of performer & composer biographies, as well as books on opera houses, etc. We also have an extensive inventory of vintage photos and ephemera. Please let us know your needs.

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Auction Number 144 -- AUCTION Closing Date: Monday, 13 June, 2010 Since 1972 TABLE OF CONTENTS: Piano 78rpm records Violin 78rpm records Viola 78rpm records Cello & Double Bass 78rpm records Chamber Music 78rpm records Orchestral 78rpm records Female Vocal 78rpm records Tenor Vocal 78rpm records Baritone & Bass Vocal 78rpm records Personality, popular & Jazz 78rpm records Spoken Word 78rpm records Opera News & Record News Periodicals Books Autographed Vintage Photographs Mapleson Cylinders LP Boxed Set

Nos. K 1 – K158 Nos. K159 – K298 Nos. K299 – K314 Nos. K315 – K368 Nos. K369 – K434 Nos. K435 – K571 Nos. K572 – K1418 Nos. K1419 – K1699 Nos. K1700 – K2126 Nos. K2127 – K2238 Nos. K2239 – K2257 Nos. K2258 – K2318 Nos. K2318 – K2328 Nos. K2329 – K2391 No. K2392

THE RECORD COLLECTOR Larry Lustig, Editor 111, Longshots Close Broomfield, Chelmsford Essex CM1 7DU, ENGLAND Email: [email protected] Website: http://www.therecordcollector.org By annual subscription: £31 ($58.00) per year by air mail

Norbeck, Peters & Ford, LLC 59 Congress Street Saint Albans, VT 05478-1611 USA

802-524-7673 - Fax: 1 888 819 4831 email: [email protected] website: www.norpete.com

Auction Number 143 -- AUCTION Closing Date: Saturday, 8 May, 2010

Nos. K1 – K158 are Piano 78rpm records K1. MARGUERITE de VALMALÈTE: Le Tombeau de Couperin (Ravel), 4s. 2-10” EL green French Polydor 522754/55, POM-1932. M-A, Exemplary! MB 45, the Pair. "This is another kind of playing altogether – a luminous, dazzling pianism, full of delicacy, passion, polish, exquisitely shaped, with hushed, shaded pianissimos….[This is] the first Ravel 'Tombeau de Couperin' ever recorded….[a] marvelous performance. Although the Marquise de Valmalète could summon forth a very beautiful tone and could establish an enchanting mood, she was at her best in fast, toccata-like movements which she executed with fearless brio and assurance, her big technique carrying the music forward with intoxicating effect." – David Mulbury, AMERICAN RECORD GUIDE, Nov./Dec., 2005 K2. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – La Cathédrale engloutie (Debussy), 2s. 10” EL green French Odéon 166.150, POM-1928. A, lovely copy has, Sd. 2 only, faint pap. rubs, faintly audible. MB 15 K3. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – Danseuses de Delphes / Minstrels (Debussy). 10” EL red Decca-Odeon 20091, POM-1928. M-A MB 10 K4. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – La fille aux cheveux de lin / Children’s corner – La sérénade interrompue (both Debussy). 10” EL red Decca-Odeon 20090, POM-1929. M-A MB 10 K5. MARIUS FRANÇOIS GAILLARD: Préludes, Book I – Valse romantique) Estampes – Pagodes (both Debussy). 12” EL red Decca-Odeon 25427, POM-1929. M-A, Exemplary! MB 12 K6. MARIUS FRANÇOIS GAILLARD: Préludes, Book II – La Puerta del vino / General Lavine, eccentric (Debussy). 10” EL Green French Odéon 166.262, POM-1929. M-A, Exemplary! MB 15 K7. MARIUS FRANÇOIS GAILLARD: Suite Bergamasque – Prélude / Pour le Piano – Toccata (both Debussy). 12” EL Green French Odéon 171.081, POM-1929. M-A MB 15 K8. MARIUS FRANÇOIS GAILLARD: Pour le Piano – Sarabande (Debussy), 2s. 10” EL green French Odéon 166.175, POM-1928. M-A, Exemplary! MB 12 K9. MARIUS FRANÇOIS GAILLARD: Rêverie / Estampes – Jardins sous la pluie (both Debussy). 12” EL Green French Odéon 171.057, POM-1928. M-A, Exemplary! MB 15 K10. MARIUS FRANÇOIS GAILLARD: Mazurka / La plus que lente (both Debussy). 12” EL red Decca-Odeon 25428, POM-1929. M-A, Exemplary! MB 12 K11. MARIUS FRANÇOIS GAILLARD: Ballade slave (Debussy), 2s. 10” EL red Decca-Odeon 20092, POM-1928. M-A MB 10 K12. YVONNE LEFÉBURE: Variations, Interlude et Final on a theme by Rameau (Dukas), 4s. 2-12” EL PW V 12088/89, POM-1936. M-A, appears unplayed! MB 15, the Pair. “Yvonne Lefébure was one of the premier French pianists and teachers of the 20th century. A prodigy, she studied with Maurice Emmanuel (with whose family she remained close throughout her life) and CharlesMarie Widor at the Paris Conservatoire. She has also studied with Marguerite Long, first at a private school called the Conservatoire Femina-Musica (which provided Nadia Boulager with her first official teaching post) and then in Long's preparatory class at the Conservatoire (1ère médaille). Alfred Cortot is said to have had the greatest influence over her playing.” K13. NADIA BOULANGER & DINU LIPATTI: Waltzes, Op.39, Nos. 1, 2, 5, 6, 10, 14 & 15 (Brahms), 2s. (Complete, as recorded). 12” EL Disque Gram. DB 5061, only form of issue, 1937. M-A, Exemplary. MB 15 K14. NADIA BOULANGER (Pf.), w.IRÈNE & NATHALIE KEDROFF: Klänge; Die Meere / NADIA BOULANGER, w.NATHALIE KEDROFF & de POLIGNAC: Die Schwestern; NADIA BOULANGER, w.JEAN de POLIGNAC, IRÈNE KEDROFF, HUGUES CUÉNOD & DODA CONRAD: Der Gang zum Liebchen (all Brahms) (in French). 12” EL Disque Gram. DB 5060, only form of issue, 1937. M-A, Exemplary! MB 15 K15. NADIA BOULANGER & DINU LIPATTI, w.JEAN de POLIGNAC, IRÈNE KEDROFF, HUGUES CUÉNOD & DODA CONRAD: Liebeslieder Walzer, Op.52 (Brahms), 6s. 3-12” EL PW Disque Gram DB 5057/59, only form of issue, 1937. M-A, Exemplary! MB 45, the Trio. “Boulanger, who liked to be known as ‘Mademoiselle’, made her conducting début in 1912. She was the first woman to conduct several major symphony orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Philadelphia Orchestra, and in England the Hallé Orchestra of Manchester and the BBC Symphony Orchestra. In 1938 she directed the first performance of Stravinsky’s Dumbarton Oaks Concerto in Washington, DC. As a performer she made few recordings. In 1937 HMV issued three sets of discs featuring her: Jean Françaix’s Piano Concerto in D, which she conducted; Brahms’ Liebeslieder Waltzes, in which she and Dinu Lipatti were the duo pianists with a vocal ensemble; and the first recordings of any music by Monteverdi: a selection of his madrigals, which she directed.” “The Romanian classical pianist, Dinu Lipatti, was born into a musical family: his father was a violinist, his mother a pianist, and his godfather was the violinist and composer George Enescu. He finished second at the 1934 Vienna International Piano Competition, which led to Alfred Cortot, who thought he should have won, resigning from the jury in protest. Lipatti subsequently studied under Alfred Cortot, Nadia Boulanger (with whom he recorded a number of Johannes Brahms' Liebeslieder waltzes in the four-hand arrangement), Paul Dukas (composition) and Charles Munch (conducting) in Paris.”

K16. ROBERT LORTAT: Études, Opp.10 & 25 (Chopin), 16s. 8-12” EL Viva-Tonal Col. 67965/72-D, POM-1931, in Orig. Album 163. M-A, a gleaming copy. MB 65, the Set. K17. ROBERT LORTAT Les 24 Préludes, Op. 28 (Chopin), 8s. 4-12” EL early PW & Viva-Tonal Col. 67540/43-D, POM-1928, in handsome hand-made album. M-A, gleaming copy has, Sd. 8 only, sev. wee pap. scrs. MB 35, the Set. “Robert Lortat had a lifetime bond with Fauré, to whom he wrote in 1912 requesting a meeting. Fauré dedicated his twelfth nocturne to Lortat, who participated in the first performance of Fauré’s Quintet No 2. Unfortunately it would appear that Lortat did not record any Fauré; all his recordings are of Chopin. As he had performed complete cycles of the 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 Étude Op. 10 No. 12 is played in a similar fashion to Ignaz Friedman where Lortat rolls the left hand figure upward to the top note which he slightly suspends. Altogether he seems to improve as he progresses, so that the last few of Op. 25 are given excellent, bravura performances.” K18. MARCEL MAAS: Toccata & Fugue in c (Bach), 4s. 2-12” EL early PW Col. 68131/32-D, blue shellac pressing, in Orig. Album. M-A, Exemplary! MB 35, the Set. “The Toccata in C minor receives a reading distinguished by superb voicings, colour and vivacity, by wellsprung internal rhythms and by calibrated dynamics – buoyant and imaginative Bach playing.” – Jonathan Woolf, Program Notes to Biddulph CD K19. ALFRED CORTOT: La Leggierezza, ‘Take’ 1, 1919 Version (Liszt). 12” AC Vla 74589, POM-8 Jan., 1919, the first of 2 ‘Takes’. M-A, Exemplary! MB 10 K20. ALFRED CORTOT: La Leggierezza, ‘Take’ 6, 1923 Version (Liszt) / Jeux d’eau, ‘Take’ 5, 1923 Version (Ravel). 12” AC Vla 6065, POM-27 Feb. / 1 March, 1923. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10 “From [the sessions of 1919] come some extraordinary discs including a stunningly delicate étude by Liszt, ‘La Leggierezza’, and a technically assured ‘Étude en forme de valse’ by Saint-Saëns. In fact, Horowitz was so impressed by Cortot’s performance of this work he asked [Cortot’s] advice on the technical aspects of it.” – Jonathan Summers, A-Z OF PIANISTS K21. ALFRED CORTOT: Étude en forme de valse (1919 Version) (Saint-Saëns). 12” AC Vla 74588, POM-9 Jan., 1919. M-A, Exemplary! MB 10 K22. ALFRED CORTOT: Étude en forme de valse (1931 Version) (Saint-Saëns) / La Leggierezza, 1931 Version (Liszt). 12” EL LVDP DB 1535, POM-13 May, 1931. M-A, Exemplary! MB 15 K23. ALFRED CORTOT: Seguidilla (1919 Version) (Albéniz). 10” AC Vla 64819, only form of issue, 7 Jan., 1919, ‘Take’ 1 of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K24. ALFRED CORTOT: Seguidilla (1923 Version) / Malagueña (both Albéniz). 10” AC Vla 560, POM-27 / 28 Feb., 1923, Sd.1 offers ‘Take’ 5 of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K25. ALFRED CORTOT: Malagueña (Albéniz). 10” AC Vla 64846, POM-28 Feb., 1923, ‘Take’ 8 of 3 issued ‘Takes’. M-A, Exemplary! MB 10 K26. ALFRED CORTOT: Melodie polonaise, Op.74, #5 (1919 Version) (Chopin-Liszt). 10” AC Vla 64973, POM-26 Jan., 1919. M-A, Exemplary! MB 10 K27. ALFRED CORTOT: Melodie polonaise, Op.74, #5 (1923 Version) (Chopin-Liszt) / Préludes – Book I – Minstrels; La Fille au cheveux de lin (Debussy). 10” AC Vla 562, POM-28 Feb., 1923 / 26 Jan., 1919. M-A, Exemplary! MB 15 K28. ALFRED CORTOT: Au bord d’une source (Liszt) / Pathetic study, Op.8, #12 (Scriabin). 10” AC Vla 982, POM-2 Jan. / 5 Feb., 1923. M-A, Exemplary! MB 10 K29. ALFRED CORTOT: Litany (Schubert-Cortot) / Impromptu in F-sharp, Op.36 (Chopin). 12” EL (AC label) Vla 6502, only form of issue, 21 March, 1925; very brief catalogue life. M-A, Exemplary! MB 12 "It was always said about Cortot’s tone that it had such an extraordinary quality that one could recognise it from among a hundred pianists, and this is what I mean by the touch being a ‘very personal matter’." – Magda Tagliaferro, EPTA Piano Journal, Vol. 5, #4, 1984 K30. ALFRED CORTOT: Waltz in c-sharp, Op.64, #2 / Étude in A-flat, Op.25, #1; Étude in c, Op.25, #12 (all Chopin). 10” EL Vla 1101, only form of issue, 21 March, 1925, very brief catalogue life. M-A, Exemplary! MB 12 K31. ALFRED CORTOT: Berceuse, Op.57 (Chopin). 12” AC Vla 74623, only form of issue, 27 Jan., 1920, ‘Take’ 5 of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K32. ALFRED CORTOT: Guten Abend, gut’ Nacht (Wiegenlied) (Brahms) / Sous le palmier (Albéniz). 10” EL Orth Vla 1271, POM-21 March, 1925 / 27 Oct., 1926, only form of issue, Sd.2. M-A, Exemplary! MB 12 K33. ALFRED CORTOT: Black Keys Étude in G-flat, Op.10, #5; Butterfly Étude in G-flat, Op.25, #9 (1920 Version) (Chopin). 10” AC Vla 64989, POM-22 April, 1920. M-A, Exemplary! MB 10 K34. ALFRED CORTOT: Black Keys Étude in G-flat, Op.10, #5; Butterfly Étude in G-flat, Op.25, #9 (1923 Version) / Tarantelle, Op. 43 (all Chopin). 10” AC Vla 561, only form of issue, 27 / 28 Feb., 1923, Sd.1 offers ‘Take’ 6 of 2 issued ‘Takes’; Sd.2 offers ‘Take’ 10 of 2 issued ‘Takes’. M-A, Exemplary! MB 15

K35. ALFRED CORTOT: Les 24 Préludes, Op.28 (1926 Version) (Chopin), 8s. 4-12” EL Orth Vla 6715/18, POM-1926, in Orig. Album M-20, w.Brochure. M-A, Exemplary! MB 35, the Set. K36. ALFRED CORTOT: Les 24 Préludes, Op.28 (1933-34 Version) (Chopin), 8s. 4-12” EL Scroll V 8813/16, on ‘Z’-type shellac, POM-1934, in Orig. Album M-282, w.Brochure. M-A, Exemplary! MB 35, the Set. “No one has played Chopin’s twenty-four Préludes with such mercurial beauty, and yet with such a sense of the set as one continuous work (he recorded it three times, but the 1933-34 version [above] is the most impressive.” – Robert Philip, PERFORMING MUSIC IN THE AGE OF RECORDING, p.187 K37. ALFRED CORTOT: Ballade in A-flat, Op.47 (Chopin), 2s. 12” EL Scroll V 7335, on ‘Z’ shellac, POM-1929. A, lovely copy has faintest pap. rubs, inaud. MB 10 K38. ALFRED CORTOT: Ballade in f, Op.52 (Chopin), 2s. 12” EL Scroll V 7336, on ‘Z’ shellac, POM-1929. A, lovely copy has faintest pap. rubs, inaud. MB 10 K39. ALFRED CORTOT: Préludes – Book I – La Fille au cheveux de lin; Minstrels (Debussy). 10” AC Vla 64956, POM-8 Jan., 1919. M-A, Exemplary! MB 10 K40. ALFRED CORTOT: Tarantelle, Op.43 (Chopin). 10” AC Vla 64910, POM-11 Jan., 1919, ‘Take’ 3 of 2 issued ‘Takes’. M-A, Exemplary! MB 10 K41. ALFRED CORTOT: Scherzo, Op.16, #2 (Mendelssohn) / Bourrée (for the left hand only) (Saint-Saëns). 10” AC Vla 1016, only form of issue, 5 Feb. / 1 March, 1923; although assigned S/S numbers, they were not used. M-A, Exemplary! MB 15 K42. ALFRED CORTOT: Jeux d’eau, ‘Take’ 2, 1920 Version (Ravel). 12” AC Vla 74659, POM-28 Jan., 1920, ‘Take’ 2 of 2 issued ‘Takes’, issued USA only. M-A, Exemplary! MB 12 K43. ALFRED CORTOT: Invitation to the waltz, 1923 Version (Weber). 12” AC Vla 74798, POM-6 Feb., 1923, ‘Take’ 7 of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K44. ALFRED CORTOT: Rondo capriccioso – Presto (Mendelssohn). 12” AC Vla 74810, POM-6 Feb., 1923, issued USA only. M-A, Exemplary! MB 12 K45. ALFRED CORTOT: Étude in a, Op.25, #11 / Impromptu in A-flat, Op.29 (both Chopin). 12” AC Vla 6417, POM-1 March, 1923 / 28 Dec., 1922, issued USA only. M-A, Exemplary! MB 12 K46. ALFRED CORTOT: Papillons (Schumann), 4s. 2-10” LVDP DA 1442/43, POM-4 July, 1935. M-A, choice copy of preferred LVDP pressing. MB 20, the Pair. “Nowhere is [Cortot’s] remarkable marriage of intellect and instinct heard to finer effect: the spontaneity of phrasing and rhythmic buoyancy equalled by a breath-taking dynamic range and subtle tonal palette. It is playing of consummate elegance and cultivation, yet shot through with mercurial flashes….it is pure indulgence to treasure ‘Papillons’ above all other of Cortot’s Schumann performances….a performance of sublime simplicity, unrivalled by any other version.” – Bryan Crimp, ARSC, Vol. XIII, #1, 1981 K47. ALFRED CORTOT: Sonatina in F-sharp, 3s. / Sd.4 = Jeux d’eau, 1933 Version (both Ravel). 2-12” EL LVDP DB 1533/34, POM-1933. M-A, choice copy of preferred LVDP pressing. MB 20, the Pair. K48. ALFRED CORTOT: Prélude, Aria & Final (Franck), 6s. 3-12” EL Scroll V & Orth Vla 7712/14, partially on ‘Z’ shellac, POM-1932, in Orig. Album AM-163, w.Brochure. M-A, lovely copies; Sds. 2 & 5 only have faintest pap. rubs, inaud. MB 35, the Set. K49. ALFRED CORTOT: Rigoletto – Paraphrase de concert, 1920 Version (Verdi-Liszt). 12” AC Vla 74636, POM-28 Jan., 1920, ‘Take’ 1 of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K50. ALFRED CORTOT, w.International String Quartet: Quintet in f (Franck), 8s. 4-12” EL Scroll V 6849/52, on ‘Z’ shellac, POM-1927, in Orig. Album M-38, w.Brochure. M-A, Exemplary! MB 45, the Set. K51. ALFRED CORTOT, w.Ronald Cond. London Phil.: Concerto in a (Schumann), 8s. 4-12” EL Scroll V 8313/16, on ‘Z’-type shellac, POM-1934, in Orig. Album M-39, w.Brochure. M-A, Exemplary! MB 35, the Set. “Once one had heard Cortot's tone, it could never be forgotten. Magda Tagliaferro thought ‘his sound was pure enchantment, whether the music was soft or loud’. Yvonne Léfebure, who for years was Cortot's chief assistant, wrote ‘when you listened to Cortot play, you realised that what he was doing at the piano was not like what other people were doing’. In a Cortot performance there could be a new flash of insight, and the audience felt included in a special moment. Through his long career he marvelled at the beauty and plasticity of the masterpieces of the piano literature, and, from many accounts, even in old age he transcended a broken body in playing with an often heart-breaking intimacy and poignancy. At his best, everything he touched was heightened with an uncanny elegance. He was so romantic, truly the most youthfully romantic of the great pianists. He had an inspired sense of rubato, and one inflection within a phrase can haunt the listener for days. For Cortot, music was aspiration, a reaching for the unknown. He searched for elusive lights and shadows. His playing was the difference between poetry and prose. Magda Tagliaferro declared 'the images that he conjured up were absolutely visionary’." – David Dubal

K52. EMMA BOYNET: Histoires – Le petit âne blanc / La marchande d’eau fraiche (both Jacques Ibert). 10” EL Scroll V 4315. M-A, Exemplary! MB 55 K53. EMMA BOYNET: Sonata in C – Rondo (Haydn) / Allein Gott in der Höh’ sei Her! (Bach). 10” EL Scroll V 4336. M-A, lovely copy has, Sd. 1 only, pinpoint pressing bump. MB 65 K54. 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” EL Schirmer 2531/33, in Orig.Album 10. M-A, appears unplayed! MB 75, the Set. K55. EMMA BOYNET, w.Gordon String Quartet: Piano Quintet in d (Fauré), 8s. 4-12” EL Schirmer 2527/30, in Orig.Album 9, w.Notes. M-A, appears unplayed! MB 75, the Set. K56. RICARDO VIÑES: Images – Poissons d’or (Played by the dedicaté) (Debussy) / Scherzo in A-flat (Borodin). 10” EL PW French Col. LF 41, POM-1930. M-A, Exemplary! MB 45 “Fortunately, Viñes recorded the work dedicated to him by Debussy, ‘Poissons d’or’. This and ‘La Soirée dans Grenade’ are examples of his art where the Columbia microphone has captured all his subtle shadings and lightness of touch. The shimmering performance of ‘Poissons d’or’ is probably his best disc.” – Jonathan Summers, A-Z OF PIANISTS K57. RICARDO VIÑES: Piezas caracteristicas – Torre bermeja (Albéniz) / Estampes – La Soirée dans Grenade (Debussy). 12” EL PW Eng. Col. D 15245, POM-1930. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 35 K58. RICARDO VIÑES: Chants d’Espagne – Orientale / Seguidillas (Albéniz). 10” EL PW French Col. LF 42, POM-1930. A-/M-A, lovely copy has, Sd. only, sev. lt. superficial scrs, inaud. MB 25 K59. RICARDO VIÑES: Granada (Albéniz) / Le parc d’attractions (Blancafort). 12” EL PW French Col. LFX 73, POM-1930. M-A, Exemplary! MB 45 “Although Ricardo Viñes (1875—1943) was active during the ‘golden age’ of pianism, he deliberately pursued an entirely different musical path from his fellow practitioners. He is perhaps best categorized with the Catalan school of pianists, a group of formidable players that included Albéniz, Granados, Malats, Mompou, and de Larrocha. It goes without saying that Viñes became one of the leading interpreters of the Spanish piano literature. However, his affinities also extended to many French, Russian, and South American composers of the day. Generally eschewing the familiar Austro-German and Slavic repertoire of most pianists, Viñes campaigned tirelessly for new and recent works, introducing them throughout Europe and South America. Viñes’ earliest teacher was Juan Pujol in Barcelona. At the suggestion of Albéniz, he traveled to Paris at the age of 12, enrolling in the Conservatoire class of Charles Bériot. There he met Maurice Ravel, his exact contemporary. It was not long before Viñes developed strong professional relationships with Debussy and Sévérac, later with Fauré, Satie, and Les Six. (Of the latter group, Francis Poulenc took piano lessons from Viñes; another pupil was Marcelle Meyer.) – Donald Manildi K60. VLADIMIR HOROWITZ: Six Sonatas (Scarlatti), 4s. 2-12” EL RCA 12-0586/87, only form of issue, 1946 & 1947, in Orig. Album MO 1262. M-A, a gleaming copy. MB 15, the Set. K61. VLADIMIR HOROWITZ: 32 Variations in c (Beethoven), 3s. / Sd.4 = Nun freut, euch lieben Christen (Bach). 2-10” EL Scroll V 1689/90, on ‘Z’-type shellac, POM-6 May, 1934. M-A, Exemplary! MB 15, the Pair. K62. VLADIMIR HOROWITZ: Arabesque in C (Schumann), 2s. 10” EL Scroll V 1713, on ‘Z’ shellac, POM-6 May, 1934. M-A, Exemplary! MB 12 K63. VLADIMIR HOROWITZ: Mazurka in f, Op.7, #3 (Chopin) / Fantaisiestücke – Traumeswirren (Schumann). 10” EL Scroll V 1654, on ‘Z’-type shellac, POM-15 Nov., 1932. M-A, Exemplary! MB 12 K64. VLADIMIR HOROWITZ: Capriccio Concert Étude in f (Dohnányi) / Valse oubliée #1 in F-sharp (Liszt). 10” EL Scroll V 1455, on ‘Z’-type shellac, POM-4 Dec., 1928 / 25 Feb., 1930. M-A, Exemplary! MB 12 K65. VLADIMIR HOROWITZ: Danse exotique (Demeny-Horowitz) / Études d’exécution transcendante d’après Paganini – Étude #2 in E-flat (Liszt-Busoni). 10” EL Orth Vla 1468, POM-4 March, 1930. M-A, appears unplayed! MB10 K66. VLADIMIR HOROWITZ: Pastourel; Toccata in B-flat (both Poulenc) / Étude XI pour les arpèges composés (Debussy). 12” EL Scroll V 8996, on ‘Z’-type shellac, POM-11 Nov., 1932 / 6 May, 1934. M-A, appears unplayed! MB 15 K67. VLADIMIR HOROWITZ: Sonata #1 in E-flat (Haydn), 4s. 2-12” EL Scroll V 8489/90, on ‘Z’ shellac, POM-11 Nov., 1932. M-A, lovely copy has, Sds. 3 & 4, faintest pap. rubs, inaud. MB 15, the Pair. K68. VLADIMIR HOROWITZ: Mazurka in c-sharp, Op.50, #3 / Étude in c-sharp, Op.10, #4; Étude in G-flat, Op.10, #5 (all Chopin). 12” EL Scroll V 14140, POM-2 June, 1935, on ‘Z’-type shellac. M-A, Exemplary! MB 12 K69. VLADIMIR HOROWITZ: Carmen – Variations (1928 Version) (Bizet) / Mazurka in c-sharp, Op.30, #4 (1928 Version) (Chopin-Horowitz). 10” EL Electrola DA 982, POM-2 April / 26 March, 1928. M-A, lovely copy has, Sd.1 only, faintest pap.rub, inaud.; minuscule label tear, Sd.1. MB 10

K70. VLADIMIR HOROWITZ: Carmen – Variations (Bizet-Horowitz) (1947 Version) / Mazurka in f, Op.7, #3 (Chopin). 12” EL RCA 12-0427, POM-22 Dec., 1947. M-A MB 12 “Horowitz had first considered making his own set of variations on Bizet’s music after performing Pablo Sarasate’s violin and piano arrangement on themes from Carmen with Milstein many times during their Russian tours. He had become so bored with the simple ‘habañera’ piano accompaniment that he decided to produce variations of his own….The result was a glittering blend of Bizet, Moszkowski, Sarasate, and Horowitz – but with a virtuoso stamp and an élan that was his alone.” – Glenn Plaskin, HOROWITZ, p.86 K71. VLADIMIR HOROWITZ: Pictures at an Exhibition, 7s / Sd. 8 = By the water (both Mussorgsky). 4-12” EL red vinyl RCA 18-0233/36, POM-1947. M-A, choice copy of preferred vinyl pressing appears unplayed! MB 35, the Set. “Horowitz’s finale to this work is overpowering in sheer sonorous impact: that so much music can pour from one instrument or that two hands can manage so many notes seems scarcely credible.” – NEW YORK SUN, 29 March, 1947 K72. VLADIMIR HOROWITZ, w.Coates Cond. London S.O.: Concerto #3 in d, 9s / Sd. 10 = Horowitz: Prelude #6 in g, Op.23, #5 (both Rachmaninoff). 5–12” EL Orth Vla 7462/66, POM-30 Dec., 1930 / 12 June, 1931, partially on ‘Z’ shellac, in Orig. Album M-117, w.Brochure. M-A, a gleaming copy. MB 35, the Set. K73. VLADIMIR GEORGES BOSKOFF, w.Cloëz Cond. Paris Phil.: Concerto #19 in F, K.459 (Mozart), 6s. 3-12” EL Viva-Tonal Col. G-68025/27-D, POM-12 Oct., 1930, in Orig. Album 170. M-A, a gleaming copy. MB 35, the Set. K74. SERGE PROKOFIEV: Suggestion diabolique; Étude, Op.52; Contes de la vieille grand’mère, Op.31, Nos. 2 & 3; Visions fugitives; Sonatine pastorale in C; Gavotte, Op.25, #2; Gavotte, Op.32, #3; Paysage, Op.59; Sonata #4 in c – Andante (all Played by the Composer), 8s. 4-12” EL PW V 15029/32, POM-1935, in Orig. Album M-477, w.Brochure. M-A, gleaming copy has, Sd. 1 only, infinitesimal pap. scr. MB 75, the Set. K75. SERGE PROKOFIEV, w.Coppola Cond. London S.O.: Concerto #3 in C (Played by the Composer), 6s. 3-12” EL Orth Vla 7772/74, on ‘Z’-type shellac, POM-1932, in Orig. Album M-176, w.Brochure. M-A, choice copy has, Sd. 2 only, faintest pap. scuff, inaud. MB 35, the Set. “From the very beginning there is a welcome straightforwardness to Prokofiev’s performance….Altogether an indispensable performance that is ‘historic’ in all the best senses of the word….Prokofiev’s playing was much admired by his contemporaries, not least by Poulenc.” – Nigel Simeone, INTERNATIONAL PIANO QUARTERLY, Autumn, 2000 K76. KONSTANTIN IGUMNOV: Barcarolle (June), OP.37a, #6 / Autumn Song (October), OP.37a, #10 (Tchaikovsky). 12” EL USSR 015351/52, recorded 1947. M-A, Exemplary! MB 15 “Konstantin Igumnov was a Russian virtuoso pianist and the teacher of many famous Russian pianists. Igumnov studied under Nikolai Zverev, and at Moscow Conservatory under Alexander Siloti and Pavel Pabst. He took theory and composition courses from Sergei Taneyev, Anton Arensky and Mikhail IppolitovIvanov. In 1898-99 he was pianoforte teacher at the Tiflis music-school of the Russian Music Society. From 1899 he was Professor at the Moscow Conservatory, where his life's work was carried out. Among his many students were Lev Oborin, Maria Grinberg, Bella Davidovich, and many others.” K77. BELLA DAVIDOVITCH: Ballade #4 in f, Op.52 / Étude #5 in G-flat; Étude #15 in F (all Chopin). 12” EL dark-green Le Chant du Monde 5.039 (PPS 4091/99). A to M-A, lovely copy has faintest pap. rubs & very occasional superficial pap. mks., inaud. MB 20 “At an early age, Bella Davidovitch entered the Moscow Conservatory where she studied with Konstantin Igumnov and Yakov Flier. In 1949, she shared the first prize with Halina Czerny-Stefańska at the 4th International Frederick Chopin Piano Competition. This launched her on a very successful career in the Soviet Union and Eastern Europe, in which she appeared with every major Russian conductor and performed as a soloist with the Leningrad Philharmonic Orchestra for 28 consecutive seasons.” – Jonathan Summers, A-Z OF PIANISTS K78. LEV OBORIN: Étude in E-flat, Op.10, #6 (Chopin) / EMIL GILELS: Chant sans parôles – Souvenir de Hapsal (Tchaikovsky). 10” EL red CCCP Aprelevski Zavod 17787/18101, recorded 1950/’40, resp. M-A MB 15 “In 1921, Oborin was accepted into Moscow Conservatory as a student of piano and composition. He completed his piano studies in 1926. In the same year, news reached Moscow of the First International Frédéric Chopin Piano Competition, to be held in Warsaw in 1927, and his piano teacher Konstantin Igumnov immediately thought of him. After winning first prize in the competition, he gave concerts in Poland and in Germany. Until 1945 he performed exclusively in Russia and taught at the Moscow Conservatory at the same time. In 1935 he played his first concert with the violinist David Oistrakh, with whom he continued to collaborate all of his life. Aram Khachaturian dedicated his Piano Concerto in D flat to Oborin. During the years 1941 to 1963, Oborin played in a trio with the violinist David Oistrakh and cellist Sviatoslav Knushevitsky, achieving international fame. He gave first public performances of the works of several modern composers, including Khachaturian, Shebalin, Myaskovsky, Prokofiev (including the Violin Sonata No. 1 with Oistrakh), and Shostakovich.” K79. HEINRICH NEUHAUS: Poem in F-sharp, Op.32, #1 / Poem in D, Op.32, #2; Poem, Op.59 (all Scriabin). 10” EL red CCCP Aprelevski Zavod 8309/10, recorded 1939. M-A MB 15

“Heinrich Neuhaus was a Soviet pianist and pedagogue of German extraction. He taught at the Moscow Conservatory from 1922 to 1964; he was largely self-taught. In 1902 he gave a recital with the 11-year-old Mischa Elman, and in 1904 gave concerts in Dortmund, Bonn, Cologne and Berlin. Subsequently he studied with Leopold Godowsky in Berlin. In 1914 Neuhaus started teaching in Elisavetgrad and later Tbilisi and Kiev (where he befriended Vladimir Horowitz). In 1922 he began teaching at the Moscow Conservatory where he was also director between 1935 and 1937. His pupils there included Yakov Zak, Sviatoslav Richter, Emil Gilels, Anatoly Vedernikov, Tikhon Khrennikov, Anton Ginsburg, Alexei Lubimov, Radu Lupu, and numerous others.” K80. VLADIMIR SOFRONITSKY: Prelude in C, Op.31, #1 / Prelude in D, Op.39, #2; Prelude in C, Op.48, #2 (all Scriabin). 10” EL red CCCP Aprelevski Zavod 20974/75, recorded 1951. M-A MB 15 “From 1916 to 1921, Sofronitsky studied in the Petrograd Conservatory under Leonid Nikolayev, where Dmitri Shostakovich, Maria Yudina, and Elena Scriabina, the eldest daughter of the deceased Alexander Scriabin, were among his classmates. He met Scriabina in 1917 and married her in 1920. Sofronitsky was highly appreciated as an outstanding pianist by the composer Alexander Glazunov and the musicologist and critic Alexander Ossovsky. In 1920, Sofronitsky married the oldest daughter of Scriabin, Elena. While he had already divulged a sympathy for the piano music of the recently deceased mystic composer - – as attested by Yudina - – he now had a greater intellectual and emotional connection to Scriabin's works through his wife, also a talented pianist, and through the Scriabin in-laws. Not surprisingly, Sofronitsky recorded a large number of Scriabin works and also compositions by Chopin, Rachmaninov, Schumann, Prokofiev, and others. His recorded performances from the 1940s are generally more representative than those from the last decade.” K81. LEFF POUISHNOFF: Sonata in G, 9s / Sd. 10 = Impromptu, Op.142, #2 (both Schubert). 5-12” EL Viva-Tonal Col. 67440/44-D, in Orig. Album 92. M-A, a gleaming copy. MB 35, the Set. “Leff Pouishnoff was born in Russia, at Odessa, on 11 October, 1891, and started to play the piano before he was four, teaching himself, it is said, by watching his sister. By the time he was five, he had already played at a public concert. After a few years of study at Kiev, he entered the Conservatoire at St. Petersburg, where he had such famous professors as Esipoff for the piano, and Liadov, Glazounov and Rimsky-Korsakov for composition. He was a distinguished pupil, and when he left the Conservatoire he had won both the gold medal and the Rubinstein Prize. His first important engagement was a tour, in 1911, with Leopold Auer, the violinist, and a year or two later he became a professor at Tiflis. He left Russia in 1920, and travelled extensively. On one of his world tours he was the first professional concert pianist to be heard in Persia (Iran). He was well known in America, and gave over a hundred recitals in Australia. In the early 1920s he made London his permanent home and became a British citizen in 1931." – GRAMOPHONE, July, 1959 K82. SERGEI RACHMANINOFF: Hungarian Rhapsody #2 in c-sharp (Liszt), 2s. 10” AC etched label Edison H & D 82169 (6739/40), only form of issue, 22 April, 1919. M-A MB 15 K83. SERGEI RACHMANINOFF: Serenade (Played by the Composer) / Scherzo (Borodin). 10” EL Scroll V 1762, POM-3 Jan., 1936 / 23 Dec., 1935, on ‘Z’-type shellac. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K84. SERGEI RACHMANINOFF: Carnaval (Schumann), 6s. 3-12” EL Scroll V 7187/89, POM-1929, on ‘Z’ shellac, in Orig. Album M-70, w.Brochure. M-A, Exemplary! MB 95, the Set. K85. SERGEI RACHMANINOFF & FRITZ KREISLER: Sonata in A (Schubert), 6s. 3-12” EL PW V 8216/18, POM-20 & 21 Dec., 1928, in Orig. Album M-107, w.Brochure. M-A, appears unplayed! MB 45, the Set. K86. SERGEI RACHMANINOFF & FRITZ KREISLER: Sonata #3 in c (Grieg), 6s. 3-12” EL Scroll & Orth V 8112/14, POM-15 Sept., 1928, on ‘Z’-type shellac; last disc only on ‘Z’ shellac, in Orig. Album M-45, w.Brochure. A to M-A, lovely copy has, Sds 1 & 4 only, few lt. mks, inaud. MB 25, the Set. "Both Rachmaninoff and Kreisler had that thing which nobody has anymore – a type of elegance that seems to have died out. There's a certain kind of humanity in the performance that can bring tears to the eye. It happens very quickly – it can happen in a single phrase." – John Browning K87. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Rhapsody on a Theme of Paganini (Played by the Composer), 6s. 3-12” EL Scroll V 8553/55, POM-24 Dec., 1934, on ‘Z’-shellac & ‘Z’-type shellac, in Orig. Album M-250. M-A; Sds. 1-4 are pristine; Sds. 5 & 6 have lt. rubs & scuffs, inaud. MB 45, the Set. K88. SERGEI RACHMANINOFF, w.Stokowski Cond. Philadelphia Orch.: Concerto #2 in c (Played by the Composer), 10s. 5-12” EL Scroll & Orth V 8148/52, POM-1929, on ‘Z’-shellac, in Orig. Album M-58, w.Brochure. M-A, lovely copy has occasional faintest pap. rubs, inaud.; Sds. 9 & 10 only have scuffs, inaud. MB 45, the Set. K89. SERGEI RACHMANINOFF, w.Ormandy Cond. Philadelphia Orch.: Concerto #3 in d (Played by the Composer), 9s. 5-12” EL PW V 17481/85-S, in Orig. Album M-710, POM-1939-40, w.Brochure. M-A, appears unplayed! MB 25, the Set. K90. SERGEI RACHMANINOFF, w.Ormandy Cond. Philadelphia Orch.: Concerto #4 in g (Played by the Composer), 8s. 4-12” EL V 11–8615/18,POM-20 Dec., 1941, in Orig. Album DM-972. M-A, appears unplayed! MB 25, the Set. “…we have been left in the recordings of Sergei Rachmaninoff a bequest that is a historically significant musical experience of unique power, beauty and logic.” – Gregor Benko, RACHMANINOFF ON RECORDS

K91. IDA KREHM: Etude in B flat major (‘Etude in Ninths’), Op. 65, No. 1 / Sonata No.5 in F sharp major, Op. 53 (both Scriabin). 10” EL Paraclete Music 30, only form of issue, 1942, privately recorded, East Haven, CT. M-A MB 15 “The Canadian pianist Ida Krehm was born in Toronto in 1912 of Russian parents. She studied in Canada with Ernest J. Farmer, Norah Drewett de Kresz, Viggo Kihi, and theory with Healey Willan. She made her first concert appearance in 1924 and five years later moved to Chicago where she continued her studies with Rudolf Ganz. In 1936 she married Joseph Richard Pick, a Chicago pianist, composer, and textile broker. A year later she won the Schubert Memorial Award, the National Federation of Music Clubs Prize, and the Naumburg Foundation Award. As a result, she appeared with the Philadelphia Orchestra conducted by Eugene Ormandy and made her New York début at Town Hall. Her Canadian professional début took place in 1939 at Hart House, University of Toronto. She toured widely after that, appearing as soloist with the Cleveland, Chicago, Hallé, Toronto, London Philharmonic, Suisse Romande, Royal Philharmonic, and many other orchestras. She introduced many significant works by Kabalevsky, Tansman, Benda, Dello Joio, Surinach, and others, including Bloch’s Scherzo fantasque in 1950 with the Chicago Orchestra. When Samuel Yaffe created Paraclete Music in the early 1940s, he invited Ida Krehm to be among a handful of pianists to record the very first comprehensive anthology of Scriabin’s piano works. As a result, in 1942 she recorded Scriabin’s Sonata No.5 in F sharp major, Op. 53, and the very first recording of Scriabin’s Etude in B flat major (‘Etude in Ninths’), Op. 65, No. 1.” K92. JOSEF LHÉVINNE: An der schönen, blauen Donau (Johann Strauss), 2s. 12” EL Orth Vla 6840, POM-21 May, 1928. M-A, Exemplary! 15 “[Lhévinne’s] first recording for Victor was made in 1928, the almost infamous disc of Johann Strauss’s waltz ‘An der schönen, blauen Donau’. This arrangement by nineteenth-century pianist Adolf Schulz-Evler became Lhévinne’s most popular encore. The recording has never been surpassed in charm, panache and rhythmic aplomb, and probably never will be.” – Jonathan Summers, A-Z OF PIANISTS K93. JOSEF LHÉVINNE: Polonaise in A-flat, Op.53 (Chopin), 2s. 10" EL Scroll V 1765, on ‘Z’-type shellac, only form of issue, 6 Jan., 1936. M-A MB 25 K94. 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” EL RCA 8868, POM-10 June, 1935. MINT MB 12 K95. JOSEF LHÉVINNE: Étude in b, Op.25, #22 / Préludes, Op.28, Nos. 16 & 17 (Chopin). 12” EL RCA 14024, POM-10 June, 1935 / 6 Jan., 1936. M-A, Exemplary! MB 15 K96. JOSEF LHÉVINNE: Toccata in C, Op.7 / Frühlingsnacht (both Schumann). 12” EL Scroll V 8766, on ‘Z’-type shellac, POM-7 June, 1935. M-A, Exemplary! MB 25 K97. JOSEF LHÉVINNE & ROSINA LHÉVINNE: Nocturnes – Fêtes (Debussy), 2s. 10" EL Scroll V 1741, on ‘Z’-type shellac, only form of issue, 11 June, 1935. A, lovely copy has faintest pap. rubs & 1 faint pap.scr, inaud. MB 20 “One of the greatest pianists of the 1920s and 1930s, Lhévinne is remembered by a handful of exemplary recordings that have enshrined his name in the annals of pianistic history….Lhévinne had one of the most extraordinary techniques of any pianist who recorded. His discs of Chopin’s études are continually astonishing for their ease and effortless fluency combined with tremendous power and force when required.” – Jonathan Summers, A-Z OF PIANISTS K98. OSSIP GABRILOWITSCH: Gavotte (Glazounov). 12” AC S/S Special vinyl Pressing of Unpublished Mx. C 31706-2, POM-13 Jan., 1925. MINT MB 45 K99. OSSIP GABRILOWITSCH: En automne (Moszkowski) / Novelette, Op.99, #9 (Schumann). 10” EL AC Vla 1042, only form of issue, 29 May, 1924. M-A MB 15 K100. OSSIP GABRILOWITSCH: Shepherd’s Hey (Grainger) / Le Roi s’amuse – Passapied (Delibes). 10” EL AC Label Vla 1095, only form of issue, 12 May, 1925. M-A MB 15 K101. OSSIP GABRILOWITSCH & FLONZALEY QUARTET: Piano Quintet in E-flat Op.44 (1923/24 Version) (Schumann), 4s (Complete, as recorded). 2-AC 12" Vla 6462/63, POM-20 Dec., 1923 & 25 Feb., 1924. M-A, Exemplary! Rare 1923/’24 Version, soon deleted and replaced by the famous 1927 Performance. MB 25, the Set. K102. OSSIP GABRILOWITSCH & FLONZALEY QUARTET: Piano Quintet in E-flat (1927 Version) (Schumann), 8s. 4-12" EL Scroll V 8120/23, on ‘Z’ shellac, POM-21 Dec., 1927, in Orig. Album M-28, w.Brochure. M-A MB 65, the Set. “Apart from the few sides [Gabrilowitsch] made as conductor of the Detroit Symphony Orchestra in 1928, he made both an acoustic (1923-1924, abridged) and electric (1927) recording of Schumann’s Piano Quintet in E-flat, Op.44, with the Flonzaley Quartet. The 1927 version shows a palpable rapport between the musicians, and demonstrates what an exceptional chamber music player Gabrilowitsch was….” – Jonathan Summers, A-Z OF PIANISTS K103. OSSIP GABRILOWITSCH & HAROLD BAUER: Suite for Two Pianos – Valse (Arensky) / Impromptu – Rococo (Schütt). 12” EL PW V 8162, only form of issue, 13 June, 1928 / 19 Sept., 1929. M-A, Exemplary! MB 15 “Gabrilowitsch was a refined and polished pianist; everything is revealed and clarity and precision, yet underlined with warmth and poetry. For an artist of his great talent he made very few recordings….Gabrilowitsch used to tour with Harold Bauer giving two-piano recitals, and his most famous recording is the Waltz from the Suite for Two Pianos, Op.15, by Arensky. As New York Times critic Harold Schonberg so memorably wrote, ‘…a lovelier piano disc has never been made’.” – Jonathan Summers, A-Z OF PIANISTS

K104. HAROLD BAUER: Moonlight Sonata #14 in c-sharp, 3s / Sd. 4 = Gavotte in F (both Beethoven). 2-12” EL Scroll V 6591/92, on ‘Z’-type shellac, POM-1926. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 20, the Pair. K105. HAROLD BAUER: Fantasiestücke (Schumann), 8s. 4-12” EL PW V 14486/89, POM-1935, in Orig. Album M-379, w.Brochure. M-A, appears unplayed! MB 25, the Set. K106. HAROLD BAUER: Harold Bauer at the Piano: Bach, Handel, Scarlatti, Couperin, Mendelssohn, Schumann, Chopin, Brahms, Schubert & Debussy, 10s. 5-10” EL Schirmer 2001/05, in Orig. Album 1. M-A, Exemplary! MB 95, the Set. K107. HAROLD BAUER: Sonata in f (Brahms), 8s. 4-12” EL Schirmer 2536/39, only form of issue, 1939, in Orig. Album 14. M-A, appears unplayed! MB 65 “The music-publishing firm of Schirmer, for whom Bauer was working as an editor, had its own record label, and in 1939 Bauer made a series of records for it, most importantly of the Piano Sonata in f, Op.5, by Brahms. It is justly recognized as one of the best versions of the sonata and has even been described in print as ‘unquestionably one of the great piano recordings of the century’.” – Jonathan Summers, A-Z OF PIANISTS K108. HAROLD BAUER & FLONZALEY QUARTET: Piano Quintet in f, Op.34 (Brahms), 10s. 5-12" EL Orth Vla 6571/75, POM-21 & 23 Dec., 1925, in Orig. Album M-10. M-A, Exemplary! MB 35, the Set. K109. HAROLD BAUER & FLONZALEY QUARTET: Piano Quintet in f, Op.34 (Brahms), 10s. 5-12" EL Scroll V 6571/75, on ‘Z’ shellac, POM-21 & 23 Dec., 1925, in Orig. Album M-10, w.Brochure. M-A, appears unplayed! MB 75, the Set. K110. RUDOLF FIRKUSNY: Bohemian Dances, Book I – #2 in a / #4 in B-flat (Smetana). 12” EL Czech HMV DB 5300. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 25 “Firkušný started his musical studies with the composers Leoš Janáček and Josef Suk, and the pianist Vilém Kurz. Later he studied with Alfred Cortot and Artur Schnabel. He began performing on the continent of Europe in the 1920s, and made his débuts in London in 1933 and New York in 1938. He escaped the Nazis in 1939, fled to Paris, later settled in New York and became a U.S. citizen.” – Jonathan Summers, A-Z OF PIANISTS K111. STANISLAS NIEDZIELSKI: Mazurka in c-sharp, Op. 63, #3; Mazurka in F, Op. 68, #3 / Mazurka in G, Op.50, #1; Mazurka in C, Op.67, #3 (all Chopin). 10” EL PW plum HMV B 3550, POM-14 June, 1930. M-A MB 15 “Stanislas Niedzielski (1905-1975) was born in Warsaw and studied with Sliwinski and Opienski, before taking lessons from Paderewski in Switzerland. At the age of twenty he gave his first concert in London, which launched his international career. He toured all over the world, including frequent performances in South Africa. Although his repertoire was varied and extensive, he is today perhaps best known for his impassioned performances of Chopin's music.” – Nalen Anthoni, Naxos CD liner notes K112. MORIZ ROSENTHAL: Piano Music of Chopin, 8s. 4-EL 12” Scroll V 14301/04, on ‘Z’-type shellac, POM-1936, in Orig.Album AM-338, w.Brochure. M-A, pristine copy is unplayed! Exceedingly elusive, especially on ‘Z’-type shellac! MB 75, the Set. K113. MORIZ ROSENTHAL: Waltz in c-sharp, Op.64, #2 / Waltz in e, Op.Posth. (both Chopin). 12” EL PW Parl. E11043, POM-28 April, 1930. M-A, a gleaming copy. MB 15 K114. MORIZ ROSENTHAL: Mazurka in D, Op.33, #2 / Mazurka in B, Op.63, #1 (both Chopin). 10” EL PW V 1951, POM-22 Oct., 1937. M-A, a gleaming copy. MB 15 K115. MORIZ ROSENTHAL: Soirée de Vienne #6 in A (Schubert-Liszt), 2s. 10” EL PW V 1854, POM-25 May, 1936. M-A, a gleaming copy. MB 12 K116. MORIZ ROSENTHAL: Carnaval de Vienne (1930 Version) (Johann Strauss-Rosenthal), 2s. 12” EL red Decca-Odeon G-25839 (21706/07), POM-3 May, 1930. A/A-, lovely copy has faintest pap. rubs, inaud. MB 12 K117. MORIZ ROSENTHAL: Carnaval de Vienne (1935 Version) (Johann Strauss-Rosenthal), 2s. 12” EL V 11-8175, POM-23 Nov., 1935. M-A, appears unplayed! MB 12 K118. MORIZ ROSENTHAL: Prélude #6 in b; Prélude #11 in B; Prélude #7 in A; Prélude #23 in F / Étude #1 in C; Nouvelle étude in A-flat (all Chopin). 12” EL gold lateral cut Edison 47004 (N754B / N838B), only form of issue, 1929 (and apparently his sole published Edison sides). B-, very decent copy has numerous lt. rubs & scrs, mainly cosmetic. This plays beautifully, despite a slightly hazy reproduction. Exceedingly rare. MB 75 K119. MORIZ ROSENTHAL, w.Weissmann Cond.: Concerto #1 in e (Chopin), 10s. 3-10” EL PW Parl. R 902/04 & 2-12” EL PW Parl. E11113/14, POM-1930 & 1931, in Orig. Parlophone Album. M-A, a gleaming copy. MB 35, the Set. “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.” – Jonathan Summers, A-Z OF PIANISTS K120. FINI VALDEMAR HENRIQUES (as Pianist): Billedbogen – Bolden; Dukkens Vuggevise; Den Lille Jokey / Den Lille Soldat; Sommerfuglen (Played by the Composer). 10” EL plum HMV X.4833. Henriques, a pupil of Joachim, was known primarily as a composer who made a few discs as a violinist. This appears to be his sole piano recording. M-A MB 30

K121. LIZA FUCHSOVA: Fantasy on Czech Folksongs (Smetana), 2s. 10” EL plum HMV JO 31. M-A, appears unplayed! MB 12 K121½. LIZA FUCHSOVA: Oves / Czech Festival (both Smetana). 12” EL plum HMV JOX 2. M-A, appears unplayed! MB 12 “Another stunning pianist in danger of being forgotten is Liza Fuchsova who was born in Brno in 1913 and who studied there and at the Prague Conservatory, teaching there after graduating. She later settled in the UK in 1939 as a refugee from the Nazis. She was a truly sensational pianist and a charming, smart and elegant woman. Those who knew her said that she was and will remain the best Janáček pianist of all, and she was connected with the Society of the Promotion of New Music. Humphrey Searle wrote the fiendishly difficult Toccata from his Op 14 for her. She was superb in chamber music and the pianist for the Dumka Trio and an excellent teacher. She died in London in 1977.” – Dr. David C. F. Wright K122. WANDA LANDOWSKA (Harpsichord): 20 Sonatas (Scarlatti), 14s. 7-12” EL LVSM DB 11.205/11, POM-1939, in handsome handmade Album. M-A, Exemplary! MB 45, the Set. "Almost needless to say, the playing is full of vigorous gestures and individual ideas. She was no respecter of text and there are little repeats here and there which are no more indicated than they are necessary. Yet such matters seem something of an irrelevance, since they only reflect an attitude of the time adopted by a celebrated pioneer of the harpsichord revival in the twentieth century. No, what charms me in Landowska's recital is her affecting poetic insight into Scarlatti's music; she is not just rediscovering the proper conjunction of composer and instrument, she believes in it and feels it intensely." – GRAMOPHONE, Aug., 1994 K123. WANDA LANDOWSKA (Harpsichord): La Poule; La Joyeuse / Les Sauvags; Menuet majeur; Menuet mineur; Les Tricotets (all Rameau). 12” EL LVSM DB 4990, POM-1935. M-A, Exemplary! MB 12 K124. WANDA LANDOWSKA (Harpsichord): Toccata in D (Bach), 3s / Sd. 4 = 2 Magnificat (Pachelbel). 2-12” EL LVSM DB 5047/48, POM-1936. M-A, Exemplary! MB 20, the Pair. K125. WANDA LANDOWSKA (Harpsichord): Italian Concerto in F, 3s / Sd. 4 = Three Little Preludes & Fugue (both Bach). 2-12” EL Scroll V 14232/33, POM-1936, on ‘Z’-type shellac. M-A, Exemplary! MB 20, the Pair. K126. WANDA LANDOWSKA (Harpsichord): Chromatic Fantasy & Fugue in d; Six Little Preludes; Partita in B-flat (all Bach), 8s. 4-12” EL Scroll V 14144/47, POM-1935, on ‘Z’-type shellac, in Orig. Album M-323, w.Brochure. M-A, appears unplayed! MB 35, the Set. K127. WANDA LANDOWSKA (Harpsichord): Goldberg Variations (1933 Version) (Bach), 12s. 6-12” EL PW Disque Gram. DB 4908/13, POM-1933, in Orig. Album, w.Brochure. M-A, Exemplary! MB 45, the Set. K128. WANDA LANDOWSKA (Harpsichord): Goldberg Variations (1945 Version) (Bach), 12s. 6-12” EL RCA 11–8939/44, POM-1945, in Orig. Album DM-1022, w.Brochure. M-A, Exemplary! MB 25, the Set. K129. WANDA LANDOWSKA (Harpsichord): Das Wohltemperirte Clavier, Book I – Préludes & Fugues 1-8 (Bach), 12s. 6-12” EL RCA 12-1051/56, POM-1949, in Orig. Album DM-1338. M-A, Exemplary! MB 25, the Set. K130. WANDA LANDOWSKA (Harpsichord): Couperin Recital, 12s. 6-12” EL PW Disque Gram. DB 4941/46, POM-1934, in Orig. Album, w.Brochure. M-A, Exemplary! MB 45, the Set. "Wanda Landowska's harpsichord recital of last evening at the Town Hall was as stimulating as a needle shower. Indeed, the sound of that princely instrument, when it is played with art and fury, makes one think of golden rain and of how Danaë’s flesh must have tingled when she found herself caught out in just such a downpour….She played everything better than anybody else ever does. That is to say that the way she makes music is so deeply satisfactory that one has the feeling of a fruition, of a completeness at once intellectual and sensuously auditory beyond which it is difficult to imagine anything further.” – Virgil Thomson, NEW YORK HERALD TRIBUNE, 22 Oct., 1942 K131. PAUL BAUMGARTNER: Wanderer Fantasia in C (Schubert), 6s. 3-12” EL plum HMV C.4879/81. M-A, appears unplayed! MB 20, the Set. “Born in Altstätten, Switzerland, Paul Baumgartner studied piano and composition with Walter Braunfels in München and with Eduard Erdmann in Köln where he subsequently taught. Fleeing from the rise of the Nazis he took up residence in Basel, in Switzerland again, where he taught in the conservatory. A fine pianist, he was one of the musicians who rallied around Casals and played in the first Casals festival.” K132. GERHARD PUCHELT: Sonata in A, Op.120, 3s / Sd. 4 = Scherzo in B-flat (both Schubert). 2-12” EL plum Electrola EH 1403/04. M-A, appears unplayed! MB 20, the Pair. “Puchelt may be considered one of the founders of Romantic Revival in Germany. Tireless, he played less known romantic repertoire and also published several books concerned with his discoveries. Gerhard Puchelt belonged to the group of best known and highly acclaimed artists in Germany in the 50s and 60s.” K133. ARTUR SCHNABEL, w.Barbirolli Cond. London S.O.: Concerto #27 in B-flat, K.595 (Mozart), 8s. 4-12” EL Orth Vla 8475/78, on ‘Z’ shellac, POM-2 May, 1934, in Orig.Album M-240. M-A, Exemplary! MB 35, the Set. K134. ARTUR SCHNABEL, w.Sargent Cond. London Phil.: Concerto #2 in B-flat (Beethoven), 8s. 4-12” EL Scroll V 8901/04, POM-5 April, 1935, on ‘Z’-type shellac, in Orig. Album AM-295, w.Brochure. M-A, appears unplayed! MB 35, the Set.

K135. HARRIET COHEN: Das Wohltemperierte Klavier, Book I – Prelude and Fugue #4 in c-sharp (Bach), 2s. 12” EL dark-blue Eng. Col. DX 1650, POM-1947. M-A, appears unplayed! MB 10 K136. EVELYN HOWARD-JONES: Das Wohltemperierte Klavier, Book I – Preludes and Fugues, Nos. 10 – 17 (Bach), 8s. 4-12” EL Viva-Tonal Col. 67823/26-D, POM-1929, in Orig. Album 147. M-A, appears unplayed! MB 45, the Set. K137. EDWIN FISCHER: Preludes and Fugues Nos. 35 – 43 (Bach), 14s. 7-12” EL Scroll V 14235/41, on ‘Z’-type shellac, in Orig. Album M-334, w.Brochure. M-A, choice copy (w.sl. worn & mended album). MB 65, the Set K138. EDWIN FISCHER: Chromatic Fantasy and Fugue in d, 3s / Sd.4 = Das Wohltemperirte Clavier – Prelude and Fugue in D (both Bach). 2-12” EL Scroll V 8680/81, POM-1931, on ‘Z’ shellac. M-A, appears unplayed! MB 25, the Pair “Not many pianists can equal the beauty of Fischer’s pianissimos and chordal playing – one completely forgets that there are hammers involved in the creation of these sounds.” – Farhan Malik, INTERNATIONAL PIANO QUARTERLY, Winter, 2001 K139. EDWIN FISCHER: Chaconne in G (Handel), 2s. 10” EL Scroll V 1597, POM-1931, on ‘Z’-type shellac. M-A MB 15 K140. EDWIN FISCHER: Appassionata Sonata in f (Beethoven), 6s. 3-12” EL Scroll V 8792/94, POM-1935, on ‘Z’-type shellac, in Orig. Album M-279, w.Brochure. M-A MB 25, the Set. K141. EDWIN FISCHER Plays & Cond.: Musical Offering on a theme of Frederick the Great – Ricercare in Six Voices (Bach-Fischer), 2s. 12” EL Scroll V 8660, POM-1933, on ‘Z’ shellac. M-A, appears unplayed! MB 15 K142. EDWIN FISCHER (Playing & Cond.): Concerto in d (Bach), 6s. 3-12” EL Scroll V 8570/72, on ‘Z’ shellac, in Orig. Album M-252. M-A, pristine copy is unplayed! MB 45, the Set. K143. EDWIN FISCHER Plays & Cond.: Concerto in d, K.466 (Mozart), 8s. 4-12” EL Scroll & Orth V 8321/24, on ‘Z’ shellac, in Orig. Album M-223. M-A, choice copy has, Sd. 1 only, long, very lt. nr, inaud. MB 35, the Set. K144. EDWIN FISCHER, w.Barbirolli Cond.: Concerto in E-flat, K.482 (Mozart), 8s. 4-12” EL Scroll V 14093/96, on ‘Z’-type shellac, in Orig. Album AM-316, w.Brochure. M-A, appears unplayed! MB 35, the Set. K145. WALTER GIESEKING: Suite française #5 – Gigue / Jesus bleibet meine Freunde (both Bach). 10” EL MasterWorks Col. 17150-D, POM-4 May, 1939, New York. M-A, appears unplayed! MB 10 K146. WALTER GIESEKING: Arabesque #1 in E / Arabesque #2 in G (both Debussy). 10” EL MasterWorks Col. 17145-D, POM-4 May, 1939, New York. M-A, appears unplayed! MB 10 K147. WALTER GIESEKING: Reflets dans l’eau / Soirée dans Grenade (both Debussy). 12” EL early PW Col. 68575-D, POM-9 Feb., 1936, London. M-A, Exemplary! MB 12 K148. WALTER GIESEKING: Suite bergamasque (Debussy), 4s. 2-12” EL MasterWorks Col. 68033/34-D, POM-1931, Central Hall, Westminster, in Orig. Album X-8. M-A, Exemplary! MB 15, the Set. K149. WALTER GIESEKING: Gaspard de la nuit (Ravel), 4s. 2-12” EL MasterWorks Col. 69658/59-D, POM-31 Jan., 1937 / 11 Aug., 1938, London / Berlin, in Orig. Album X-141. M-A, Exemplary! MB 15, the Set. K150. WALTER GIESEKING: Gaspard de la nuit – Ondine (Ravel) / Images – Poissons d’or (Debussy). 12” EL MasterWorks Col. 69020-D, POM-31 Jan., 1937, London. M-A, Exemplary! MB 10 K151. WALTER GIESEKING: Miroirs #4 – Alborada del gracioso (Ravel), 2s. 10” EL MasterWorks Col. 17137-D, POM-8 Nov., 1938, Berlin. M-A, appears unplayed! MB 10 K152. WALTER GIESEKING: To the spring; Butterfly / Wedding day at Troldhaugen (all Grieg). 12” EL dark-blue German Odeon O-7804, POM-1927, Berlin; Gieseking’s signature embossed in inner margin, both sides. M-A, choice copy has, very end Sd. 2, few insignificant pap. mks, inaud. MB 12 K153. WALTER GIESEKING: Intermezzo in b, Op.117, #2 / Romance in F, Op.118, #5 (both Brahms). 12” EL pale-blue German Col. LWX 337, POM-1939, Berlin. M-A, choice copy has few faint ‘damp’ spots, inaud. MB 12 K154. WALTER GIESEKING: Sonata #16 in B-flat, K.570 (Mozart), 4s. 2-12” EL MasterWorks Col. 68998/99-D, POM-30 Sept., 1938, Berlin, in Orig. Album X-79. M-A, Exemplary! MB 15, the Set. K155. WALTER GIESEKING: Kinderszenen (Schumann), 4s. 2-12” EL PW French Col. LFX 858/59, POM-1939, Berlin (never issued USA). M-A, choice copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 15, the Pair. K156. WALTER GIESEKING: Waldstein Sonata #21 in C, 5s / Sd. 6 = Bagatelle in E-flat (both Beethoven). 3-12” EL MasterWorks Col. 69476/78-D, POM-11 Aug., 1938, Berlin, in Orig. Album X-358. M-A, Exemplary! MB 25, the Set. “[Gieseking] had a unique command of suspended motion with vibration, like that of a hummingbird hovering over a flower….Such playing is the ultimate in mastery and sensuous elegance, the result of a scrupulous care that marks genius.” – Abram Chasins, SPEAKING OF PIANISTS, p.113 K157. OTTO SCHULHOF: Parodie einer Dorfmusik / Spieluhr (both Played by the Composer). 10” EL plum Scandinavian HMV GA 5008. A to M-A, lovely copy has, Sd. 1 only, lt. scuff, ever-so-faintly audible. MB 15 K158. ERNST TOCH, w.Kaufman Quartet: Quintet for Piano and Strings (Played by the Composer), 8s. 4-12” EL PW Col. 71149/52-D, in Orig. Album M-460. M-A, appears unplayed! MB 35, the Set. “Ernst Toch was considered one of the great avant-garde composers in the pre-Nazi era. Pulitzer Prize for Music in 1956 for his Third Symphony (Pittsburgh Symphony Orchestra on 2 December, 1955).”

Nos. K159 – K298 are Violin 78rpm records K159. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #4 in c; Sonata #6 in G (both Bach), 8s. 4-12” EL early PW Col. 68134/37-D, blue shellac pressing, POM-1936, in Orig. Album 186, w.Brochure. M-A, appears unplayed, albeit Sd. 1 only has minuscule dust scr! MB 75, the Set. K160. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #4 in c; Sonata #6 in G (both Bach), 8s. 4-12” EL Eng. Col. LFX 269/73, POM-1936. M-A, lovely copy has very occasional faintest pap. rubs, inaud. MB 45, the Set. K161. ALFRED DUBOIS & MARCEL MAAS (Pf.): Sonata #5 in f, 5s / Sd.6 = Sonata #2 in A – Andante un poco (both Bach), 6s. 3-12” EL early PW Col. 68142/44-D, blue shellac pressing, POM-1936, in Orig. Album 187. M-A, appears unplayed! MB 75, the Set. "Alfred Dubois was one of the stars of the Franco-Belgian school of violinists. A pupil of Ysaÿe and bestknown today as Arthur Grumiaux’s teacher, he was also a soloist in his own right, as his fine records testify. These 1930s sonatas, recorded with his regular accompanist Marcel Maas, show his inimitable artistry and sonorous tone. A 'must' for anyone interested in historic violin playing." K162. ALFRED DUBOIS, w.Defauw Cond. Brussels Royal Conservatory Orch.: Concerto #6 in E-flat, K.268, 5s / Sd.6 = ALFRED DUBOIS, w.Goeyens (Pf.): Divertimento #17 in D, K.334 – Minuet (both Mozart). 3-12” EL Viva-Tonal Col. 68052/54-D, POM-1936, in Orig. Album 174, w.Brochure. M-A, appears unplayed! MB 65, the Set K163. ARTHUR GRUMIAUX & JEAN POUGNET, w.Süsskind Cond. Philharmonia String Orch.: Concerto in d for two violins, BWV 1043 (Bach), 4s. 2-12” EL dark-blue Eng. Col. DX 1276/77, POM-27 March, 1946. M-A, appears unplayed! MB 15, the Pair K164. JACQUES THIBAUD: Romance in G (Svendsen) / Humoresque #7 in G-flat (Dvorák). 11½” AC H & D paper label US-Pathé 60068, both recorded 1919, only form of issue, Sd.1. A-, lovely copy has lt. rubs & mks, inaud.; Sd.1 only has very fine nr, also inaud. MB 45 K165. JACQUES THIBAUD: Pièces de clavecin, Book III – 20th order – Les Chérubins (Couperin) / Morceaux – Scherzando (Marsick). 11½” AC H & D paper label US-Pathé 60081, recorded 1918/’16, resp. B-C, decent copy has numerous lt. rubs & scrs, positively audible, but plays most clearly. MB 25 K166. JACQUES THIBAUD: Piccolino – Mélodrame (Guiraud) / Thaïs – Méditation (Massenet). 10¾“ AC Milano Fonotipia 39209/39054 (XPh 526/524), POM-1905. Sd. 2 is ‘Take’ 1 (of 3 issued ‘takes’). B-C, decent copy has numerous lt. scrs, positively ltly. audible. MB 25 K167. JACQUES THIBAUD, w.Harold Craxton (Pf.): Suite #3 in D – Air for G string (Bach) / Le Coq d'Or – Hymne au soleil (Rimsky-Korsakov). 12” EL PW HMV DB 1017, only issue, 14 / 21 Feb., 1927. M-A, Exemplary! MB 35 K168. JACQUES THIBAUD, w.Harold Craxton (Pf.): Les Fêtes d’Hébé – Tambourin (Rameau); Études-Caprices – ÉtudeCaprice #4 in a (Wieniawski) / Moments musicaux – Moment musical #3 in f – Air russe (Schubert); Caprices en forme d’étude – Minuet caprice #18 in f (Rode). 10” AC PW Disque Gram. DA 441, POM-2 June, 1922. M-A, Exemplary! MB 45 K169. JACQUES THIBAUD, w.Harold Craxton (Pf.): Préludes, Book I – La fille aux cheveux de lin (Debussy) / Waltz #15 in A-flat (Brahms). 10” EL PW Disque Gram. DA 866, POM-25 / 23 Nov., 1925. M-A, Exemplary! MB 25 K170. JACQUES THIBAUD, w.Harold Craxton (Pf.): Danza española #5 in e (Andaluza) / Danza española #6 in D (Rondalla aragonesa) (both Granados). 12” EL PW Disque Gram. DB 1113, POM-14 Feb. / 21 Oct., 1927. M-A, lovely copy has very occasional infinitesimal pap. scr, positively inaud. MB 25 K171. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): Sicilienne (Paradis) / Concerto #11 in d – Largo (Vivaldi). 10” EL PW Electrola DA 1191, POM-23 / 24 April, 1930. M-A, Exemplary! MB 35 K172. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): Chaconne in g (Vitali-Charlier), 2s. 12" EL PW Disque Gram. DB 2799, POM-21 March, 1936. M-A, Exemplary! MB 45 K173. JACQUES THIBAUD, w.Tasso Janopoulo (Pf.): España – Tango in D (Albéniz) / Marionettes – Poupée valsante (Poldini). 10" EL PW Disque Gram. DA 1339, POM-1 July, 1933. M-A, appears unplayed! MB 35 K174. JACQUES THIBAUD, w.Georges de Lausnay (Pf.): Le Déluge – Prélude (1929 Version) (Saint-Saëns) / La Vida Breve – Danza española (de Falla). 12" EL Disque Gram. DB 1338, POM-29 May, 1929. M-A, Exemplary! MB 35 “Bordeaux is famous for wine and as the birthplace of Jacques Thibaud; few would disagree that 27 September, 1880 heralded a remarkable vintage. For more than half a century, Thibaud epitomised the elegance and grace of the Franco-Belgian school, along with his own relaxed, easy-going manner which fused with a natural wit to make a unique musician.” – Tully Potter, THE RECORDED VIOLIN K175. JACQUES THIBAUD, MAURICE VIEUX, PIERRE FOURNIER & MARGUERITE LONG: Quartet #2 in g (Fauré), 8s. 4-12" EL Disque Gram. DB 5103/06, only form of issue, 10 May, 1940, in handsome hand-made album. M-A, Exemplary! MB 85, the Set. “Controlling our dreadful anguish…we began [the above] recording session in an extraordinary atmosphere. Never had Thibaud’s sound been more gorgeous. We were all devastated [by the German threat]. Elevated by the music, beyond the reach of present times, we succeeded in the tour de force, of recording the whole quartet in one day.” – Marguerite Long, AU PIANO AVEC FAURÉ, p.172

K176. GINETTE NEVEU, w.Jean Neveu (Pf.): Pièce en forme de habanera (Ravel) / Bagatelle (Scarlatescu). 10" EL LVSM DA 1871, only form of issue, 12 Aug., 1946. M-A, Exemplary! MB 35 K177. GINETTE NEVEU, w.Jean Neveu (Pf.): Four Pieces, Op.17 (Suk). 2-12" EL HMV DB 6359/60, POM-14 Aug.,1946. M-A, appears unplayed! MB 25, the Pair. “[Neveu] left a handful of recordings which document a remarkable musical spirit….She would surely have developed to one of the supreme violinists [had she not been taken from us at age 30] – she had already touched greatness.” – Tully Potter, THE RECORDED VIOLIN K178. CHRISTIAN FERRAS, w.Poulet Cond. London S.O.: Violin Concerto (Elizalde), 6s. 3-12” EL red Eng. Decca AK.1777/79, POM-1947 M-A, Exemplary! MB 35, the Set. “Instantly recognisable as a student of Enescu by his almost imperceptible portamento, [Ferras] ranks with Thibaud, Francescatti and Neveu. His uniquely centred, luminous tone illuminated the emotional dimensions of every note he played. His susceptibility to tonal beauty, accompanied by an instinctively infallible sense of speeds and transitions, transcended conventional interpretative considerations.” – Laurence Vittes, CLASSIC RECORD COLLECTOR, Autumn, 2003 K179. NATHAN MILSTEIN: Partita #2 in d for Violin Unaccompanied (Bach), 5s. 3-12” EL MasterWorks Col. 68814/16-D, POM-1936, in Orig. Album 276. M-A, appears unplayed! MB 45, the Set. K180. NATHAN MILSTEIN: Sonata #1 in g – Adagio (Bach); Sds. 1-3 = Nathan Milstein, w.Leopold Mittman (Pf.): Chaconne (Vitali), 3s. 2-12” EL early PW Col. 68476/77-D, POM-1936. M-A, Exemplary! MB 35, the Pair K181. NATHAN MILSTEIN, w.Leopold Mittman (Pf.): Nocturne in c-sharp, Op.Posth. (Chopin-Milstein) / Má Vlast – Domoviny; Aus der Heimat (Smetana). 12” EL early PW Col. 68480-D, POM-30 Dec., 1935 / 4 Jan., 1936. M-A, mid-1930s pressing appears unplayed! MB 25 K182. NATHAN MILSTEIN, w.Leopold Mittman (Pf.): Polonaise brilliante in D / Violin Concerto #2 – Romance (both Wieniawski). 12” EL Col. 69032-D, POM-21 Feb., 1936 / 29 April, 1937. M-A, appears unplayed! MB 12 K183. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Sonata #8 in G (Beethoven), 4s. 2-12” EL PW Col. 69623/24-D, POM-1938, in Orig. Album X-137. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 25, the Set. K184. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Rondino on a Theme by Beethoven (Kreisler) / Orfeo ed Euridice – Mélodie (Gluck). 10” EL Col.17408-D, only form of issue, 30 April / 21 May, 1942. M-A, appears unplayed! MB 15 K185. NATHAN MILSTEIN, w.Artur Balsam (Pf.): Burleska, Op.17, #4 (Suk) / Scherzo-tarantelle, Op.16 (Wieniawski). 12” EL Col. 71498-D, only form of issue, 24 Oct., 1940 / 21 May, 1942. M-A, appears unplayed! MB 15 K186. NATHAN MILSTEIN, w.Walter Cond. NYPO: Concerto in e, 7s / Sd.8 = Walter Cond.: Midsummer Night's Dream – Scherzo (both Mendelssohn). 4-12” EL Col.12146/49-D, POM-16 May, 1945, in Orig. Album MM-577. M-A, appears unplayed! MB 25, the Set. K187. NATHAN MILSTEIN, w.Barbirolli Cond. NYPO: Concerto #1 in g (Bruch), 6s. 3-12” EL PW Col. 11858/60-D, POM-12 April, 1942, in Orig. Album MM-517. M-A, appears unplayed! MB 35, the Set. K188. NATHAN MILSTEIN, w.Stock Cond. Chicago Orch.: Concerto in D (Tchaikovsky), 8s. 4-12” EL PW Col. 11284/87-D, POM-4 March, 1940, in Orig. Album MM-413. M-A, a gleaming copy. MB 25, the Set. “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….Whenever Mr Milstein gave a concert, it always turned out to be a violinists’ convention. Every violinist in the vicinity would attend, marveling at the ease and security of his playing.” – Harold C. Schonberg, THE NEW YORK TIMES, 22 Dec., 1992 K189. GEORG KULENKAMPFF, w.Franz Rupp (Pf.): Albumblatt in C (Wagner-Wilhelmj) / Petite Suite – Menuet (Debussy). 12” EL red German Grammophon 15095, POM-1928. A to M-A, lovely copy has lt. rubs, inaud. MB 15 K190. GEORG KULENKAMPFF, w.Ferdinand Leitner (Pf.): Ballets du Roy – Gavotte en rondeau (Lully) / Romance in G (Svendsen). 10” EL dark-blue German Telefunken A2625. A to M-A, lovely copy has lt. rubs, inaud. MB 15 K191. GEORG KULENKAMPFF, w.Schmidt-Issetstedt Cond. Berlin Phil.: Gesangsszene Concerto #8 in a, Op.47 (Spohr), 5s / Sd. 6 = Abendlied, Op.85, #12 (Schumann). 3-12” EL dark-blue German Telefunken E 1847/49. M-A, appears unplayed! MB 45, the Set. “[Kulenkampff’s] warm, sympathetic playing can be heard on many recordings, notably the Brahms, Schumann, Spohr ‘Gesangsszene’ and Mozart ‘Turkish’ Concertos….Though he stayed in Germany after 1933 and thereby boosted his career, Kulenkampff insisted on continuing to play the Mendelssohn Concerto, officially blacklisted; he even managed to record it.” – Tully Potter, THE RECORDED VIOLIN K192. WILHELM STROSS, w.Walther Theurer & Wolfgang Haag (Flutes): Brandenburg Concerto #4 in G (Bach), 4s. 2-12” EL Electrola DB 11525/26. M-A, appears unplayed, albeit few faintest rubs, Sd. 2, inaud. MB 20, the Pair. K193. YEHUDI MENUHIN, w.Louis Persinger (Pf.): La Capricciosa (Ries) / Allegro (Fiocco). 10” EL PW Electrola DA 1003, POM-15 March / 1 April, 1928. M-A MB 12

K194. YEHUDI MENUHIN: Sonata #3 in C for Violin Unaccompanied (Bach), 6s. 3-12” EL Orth Vla 7615/17, POM-13 Nov., 1929, in Orig. Album M-148, w.Brochure. M-A, Exemplary! MB 45, the Set. K195. YEHUDI MENUHIN: Caprice #24 (Paganini), 2s. 10” EL PW Electrola DA 1281, POM-23 May, 1932. M-A MB 12 K196. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.): Danzas Españolas – Romanza Andaluza, Op.22, #1 (Sarasate) / La Ronde des Lutins (Bazzini). 12” EL Scroll V 8695, POM-28 Nov.,1934, on ‘Z’ shellac. M-A, appears unplayed! MB 15 K197. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.): Hungarian Dance #6 in D-flat (Brahms) / Moto perpetuo (Paganini). 12” EL Scroll V 8866, POM-28 Nov. / 29 Sept., 1934, on ‘Z’-type shellac. M-A, appears unplayed! MB 15 K198. YEHUDI MENUHIN, w.Hephzibah Menuhin (Pf.): Sonata #3 in a (Enescu), 6s. 3-12” EL Scroll V 14110/12, POM-6 Jan., 1936, on ‘Z’-type shellac, in Orig. Album AM-318, w.Brochure. M-A, appears unplayed! MB 35, the Set. K199. YEHUDI MENUHIN, w.Hephzibah Menuhin (Pf.): Sonata #34 in A, K.526 (erroneously offered as Sonata #42) (Mozart), 4s. 2-12” EL Scroll V 8442/43, POM-29 Sept.,1933, on ‘Z’ shellac. M-A, appears unplayed! MB 25, the Pair. K200. YEHUDI MENUHIN, w.Elgar Cond. London S.0.: Concerto in b (Cond. by the Composer), 12s. 6-12” EL Orth 7747/52, POM-15 July, 1932, Orig. Album M-174, w.Brochure. M-A, appears unplayed! MB 35, the Set. “There is no definitive interpretation for Menuhin, but the search for repose, for a place where music, far from any pretension, vibrates naturally, where it can breathe more than show off. This opening of musical feeling [is] beyond technique and schools. It is in this sense that Menuhin's lesson remains exemplary, today more than ever: born in America when Heifetz was triumphing in the media, Menuhin died in Berlin, closer to Adolf Busch and Wilhelm Furtwängler.” – Eric Taver, klassiknet, 7 May 1999 K201. JASCHA HEIFETZ, w.Emanuel Bay (Pf.): Sonata #26 in B-flat, K.378; Sonata #32 in B-flat, K.454 (erroneously offered as Sonatas Nos.10 & 15) (Mozart), 10s. 5-12” EL Scroll V 14331/35, POM-3 / 10 Feb., 1936, on ‘Z’-type shellac, in Orig. Album AM-343, w.Brochure. M-A, Reviewer’s Copy, appears unplayed! MB 35, the Set. K202. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Caprice #13 in B-flat / Caprice #20 in D (both Paganini). 10” EL Scroll V 1697, on ‘Z’-type shellac, POM-1934. M-A, Exemplary! MB 15 K203. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Stücke, Op.45 – Guitarre (Moszkowski) / L’Enfant Prodigue – Prélude (Debussy). 10” EL Scroll V 1694, on ‘Z’-type shellac, POM-1934. A, lovely copy has faintest pap. rubs, inaud. MB 12 K204. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Sea murmurs (Castelnuovo-Tedesco); Tsar Saltan – Flight of the bumblebee (Rimsky-Korsakov) / Triakontameron – Alt Wien (Godowsky). 10” EL Orth Vla 1645, only form of issue, 3 Feb., 1934. A, lovely copy has faintest pap. rubs, inaud. MB 12 K205. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Caprice #24 (Paganini), 2s. 12” EL Scroll V 8828, POM-1934, on ‘Z’-type shellac. M-A, appears unplayed! MB 15 K206. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Sonata in E-flat (Strauss), 5s. 4-12” EL Scroll V 7978/81-S, POM-6 Feb., 1934, on ‘Z’-type shellac, in Orig. Album AM-200, w.Brochure. M-A MB 35, the Set. K207. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #4 in d (Vieuxtemps), 6s. 3-12” EL Scroll V 8916/18, POM-14 March, 1935, on ‘Z’-type shellac, in Orig. Album AM-297, w.Brochure. M-A, choice copy has very occasional faintest pap. rub, inaud. MB 35, the Set. K208. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in a, 5s / Sd.6 = Heifetz, w.Árpád Sándor (Pf.): Méditation (both Glazounov). 3-12” EL Orth Vla 8296/98, POM-28 March, 1934, on ‘Z’ shellac, in Orig. Album M-218, w.Brochure. M-A, appears unplayed! MB 35, the Set. K209. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto # 5 in A, K.219 (Mozart), 8s. 4-12” EL Scroll V 8601/04, POM-23 Feb., 1934, on ‘Z’ shellac, in Orig. Album M-254, w.Brochure. M-A, appears unplayed! MB 45, the Set. “Some listeners found [Heifetz] profound, noble and aristocratic, while others considered him cold, emotionless, and superficial. The recurring criticism that he played without emotion prompted Heifetz to hire a publicist in 1935, but he never shook the image. In 1940, music critic Virgil Thomson wrote a notorious review entitled ‘Silk Underwear Music’ which accused Heifetz of ‘empty elegance’ and said his ‘machinetooled’ performances had ‘no musical or emotional significance’. This, despite acknowledging Heifetz' ‘silken tone’, ‘famous double stops’, and ‘true pitch’. No, Heifetz' conception of music was ‘embarrassingly refined’, hence the reference to silk underwear.” – Christopher M. Wright (referencing Thomson ‘s notorious 1940 ‘Silk Underwear Music’ review). K210. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #2 in d, 5s / Sd.6 = Heifetz, w.Árpád Sándor (Pf.): Scherzo tarantelle (both Wieniawski). 3-12” EL Scroll V 8757/59, POM-18 March, 1935 / Feb., 1934, on ‘Z’-type shellac, in Orig. Album M-275, w.Brochure. M-A, appears unplayed! MB 35, the Set. K211. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto in d (Sibelius), 8s. 4-12" EL Scroll V 14016/19, POM-26 Nov., 1935, on ‘Z’-type shellac, in Orig.Album M 309, w.Brochure. M-A Exceedingly elusive in ‘Z’-type shellac format! MB 35, the Set. K212. JASCHA HEIFETZ, w.Salvador Camarata Cond.: White Christmas (Irving Berlin) / w.Milton Kaye (Pf.): À la valse (Victor Herbert). 10” EL black Decca 23376, only form of issue, 17 Oct., 1944. A-, lovely copy has lt. rubs, inaud. MB 15 K213. JASCHA HEIFETZ & BING CROSBY: Where my caravan has rested (Löhr) / Jocelyn – Berceuse (Godard). 10" EL red Decca 40012, only form of issue, 1945. A-, lovely copy has lt. rubs, inaud.; Sd. 1 has wee closed blister. MB 12

K214. JASCHA HEIFETZ, w.Toscanini Cond. NBC S.O..: Concerto in D (Beethoven), 9s. 5-12” EL PW V 17451-S/55, POM-11 March, 1940, in Orig. Album DM-705, w.Brochure. M-A Front endpaper Inscribed & Autographed by Heifetz, dated in his hand 16 Feb., 1942. MB 35, the Set. K215. ADOLF BUSCH & RUDOLF SERKIN: Sonata #3 in E-flat, Op.12 (Beethoven), 4s. 2-12” EL Orth Vla 7560/61, POM-5 May, 1931, on ‘Z’ shellac. A-, lovely copy has faintest pap. rubs & few minuscule pap. scrs, inaud. MB 25, the Pair K216. ADOLF BUSCH & RUDOLF SERKIN: Sonata in G, Op.78 (Brahms), 6s. 3-12” EL Japanese V VD-8245/47, POM-4 & 7 May, 1931. A-, lovely copy has lt. rubs, inaud.; Sd. 3 only has wee ec, not to grooves. MB 25, the Set. K217. ADOLF BUSCH & RUDOLF SERKIN (Pf.): Sonata #2 in A, Op.100 (Brahms), 4s. 2-12” EL PW Electrola DB 1805/06, POM-20 Sept., 1932. M-A, lovely copy has very occasional pap. rub, inaud. MB 25, the Pair. “Adolf Busch, leader of the Busch String Quartet and the Busch Chamber Players, founded the Marlboro Festival in Vermont with his duo partner and son-in-law, pianist Rudolf Serkin. Busch’s playing was entirely at the service of the music and the composer; instrumental display was abhorrent to him. Full and intensely expressive, his tone had the warm glow of burnished gold but was never sweet or lush, and his style was austere, ardent, fiery, and rugged but not rough. His artistic integrity carried over into his life: he left Europe for America in revulsion against Nazism, even though it meant losing his most appreciative audiences and half of his income. Although Busch was known primarily as a chamber musician, he was a popular, acclaimed virtuoso, especially as a young man, and never stopped performing concertos.” – Edith Eisler, STRINGS, May/June, 2001 K218. DAVID OISTRAKH, w.Nikolaĭ Petrovich Rakov (Pf.): Poem in e (Acc. by the Composer), 2s. 10” EL red CCCP Aprelevski Zavod 16477/78, recorded 1948. A, lovely copy has faintest pap. rubs, inaud. MB 15 K219. DAVID OISTRAKH, w.Reinhold Glière Cond.: The Bronze Horseman – Violin solo / Glière Cond.: The Bronze Horseman – Waltz (both Cond. by the Composer). 10” EL red CCCP Aprelevski Zavod 16342/45, recorded 1948. M-A, appears unplayed! MB 15 K220. SZYMON GOLDBERG & PAUL HINDEMITH: Duet in B-flat for Violin & Viola, K.424 (Mozart), 4s. 2-12” EL early PW Col. 68285/86-D, on blue shellac, POM-21 Jan., 1934, in Orig. Album 212. M-A, appears unplayed! MB 65, the Set. K221. SZYMON GOLDBERG & PAUL HINDEMITH: Duet in B-flat for Violin & Viola, K.424 (Mozart), 4s. 2-12” EL PW Col. 70464/65-D, POM-21 Jan., 1934, in Orig. Album MX 46. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 35, the Set. K222. EDDY BROWN accompanying Jean Merrill (S) & Crys Holland (MS): Brahms, Godard, Clutsam, Jakobowsky, Molloy, Barnby, etc., 8s. 4-10” EL Sonora 1055/58, in Orig. Album MS-462. A to M-A, lovely copy has occasional faintest pap. rub, inaud.; Sd. 8 only has very faint nr, ever-so-faintly audible a few turns. Exceedingly elusive! MB 35, the Set. K223. EDDY BROWN & ROMAN TOTENBERG, w.Jascha Zayde (Pf.): Serenade #1 in G for Two Violins (Sinding), 4s. 2-10” EL black Royale 1809/10, only form of issue, c.1942. M-A, Exemplary! Exceedingly Elusive! MB 35, the Pair. K224. EDDY BROWN, w.Roman Totenberg, Carleton Cooley, Frank Miller, John Wummer & Edward Vito: Three Pieces for Flute, Harp & String Quartet (Mason), 4s. 2-10” EL black Royale 1867/68, only form of issue, c.1942. M-A, appears unplayed! Exceedingly elusive! MB 45, the Pair. K225. EDDY BROWN & ROMAN TOTENBERG, w.Ernst Victor Wolff (Harpsichord): Sonata in g for Two Violins (Handel), 2s. 12” EL dark-red Royale 603, only form of issue, 1942. M-A, appears unplayed! MB 35 K226. EDDY BROWN, w.Clarence Adler (Pf.): Sonata #2 in G (Grieg), 5s / Sd. 6 = Vocalise (Rachmaninoff). 3-12” EL dark-red Royale 589/91, only form of issue, 1942. M-A, appears unplayed! Exceedingly elusive! MB 75, the Set. “Another Auer alumnus was Eddy Brown, who was born in Chicago on 15 July, 1895, and had his first violin lessons from his father. At seven he was taken to Europe and placed with Hubay in Budapest, where at 11 he won a competition with his performance of the Mendelssohn Concerto….With a vibrato showing more Hubay than Auer influence, he finds the right singing style and excellent intonation (with quite a good trill) for the transcription [Vocalise]…of the wordless song which Rachmaninoff wrote for the Russian coloratura soprano Antonina Nezhdanova.” – Tully Potter, THE RECORDED VIOLIN K227. EFREM ZIMBALIST: Sonata #1 for Violin Unaccompanied (Ysaÿe), 4s. 2-12” EL PW V 16194/95, only form of issue, 27 Oct., 1939, in Orig. Album M-669, w.Brochure. M-A, appears unplayed! MB 45, the Set. K228. EFREM ZIMBALIST, w.Harry Kaufman (Pf.): Sonata #3 in d (Brahms), 6s. 3-12” EL Viva-Tonal Col. 67786/88-D, on blue shellac, POM-19 May, 1930, in Orig. Album 140, w.Brochure. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 65, the Set. K229. SASCHA CULBERTSON, w.Emanuel Balaband (Pf.): Liebesfreud (Kreisler). 10” AC brown shellac Vocalion 30144, POM-1921. M-A, Exemplary! MB 15 “Sascha Culbertson was born in Bessarabia on 10 August, 1894, and studied first with Zukovsky….[then] from 1905 to 1908 he was with Sevcik in Prague, making his Vienna début in the latter year….Culbertson commands [a] warm, singing tone....” – Tully Potter, THE RECORDED VIOLIN

K230. ADILA FACHIRI & YELLY D’ARÁNYI, w.Ethel Hobday (Pf.): Sérénade / Minuit (both Godard). 12” AC pale-blue Eng. Vocalion K 05260, POM-1925. M-A, lovely copy has faintest pap. rubs, inaud. MB 25 “Jelly and Adila d'Aranyi Fachiri, sisters, were concert violinists and great-nieces of Joseph Joachim. Jelly was born in Budapest in 1895 and Adila in 1889. They were both trained in Budapest at the Royal High School for Music by the noted Hungarian violinist Jenö Hubay. Jelly made her début in Vienna in 1909.” – Anya Laurence, suite101.com, 15 Oct., 2008 K231. YELLY d’ARÁNYI, w.Bergh (Pf.): Chaconne in g (Vitalli-Charlier), 2s. 12” EL dark-blue PW Eng. Col. 9875, POM-6 & 20 March, 1929. M-A, appears unplayed! MB 20 K232. YELLI d’ARÁNYI: Souvenir in D (Drdla) / Hungarian Dance #8 in A (Brahms). 10” EL dark-blue PW Eng. Col. 5681, POM-1928. M-A, choice copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 20 K233. YELLY d’ARÁNYI, FELIX SALMOND & MYRA HESS: Trio #1 in B-flat (Schubert), 8s. 4-12” EL dark-blue PW Eng. Col. 9509/12, POM-28-30 Dec., 1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 25, the Set. “One of the most distinctive soloists of the interwar years was…Yelli d’Arányi….The ‘Tzigane’ which Ravel dedicated to her in 1924, she premiered in London….She gave the first performances of Vaughan-Williams’ Concerto Accademico…and Dame Ethel Smyth’s Concerto for Violin and Horn….Myra Hess became her sonata partner in 1927, the year of her first American tour, and they included the new Ravel Sonata in their programmes….A cultured, impulsive, striking-looking woman who was fluent in four languages, Yelli d’Arányi was an intriguing mixture of intellect and temperament, a devastating performer on her good days.” – Tully Potter, THE RECORDED VIOLIN K234. JENÖ HUBAY, w.Otto Herz, (Pf.): Poèmes Caractéristiques – Berceuse / Le Luthier de Crémone – Intermezzo (both Played by the Composer). 12” EL vinyl Symposium 1013 (CW2046-2/47-1), POM-1928-Budapest. MINT MB 15 K235. PABLO de SARASATE, w.Otto Goldschmidt (Pf.): Partita #3 in E – Preludio (Bach) / Tarantelle, Op.43 (Played by the Composer). 10” AC PW black Historic Catalogue #2 HMV E 183 (4258/60o), POM-1904. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud.; Sd. 1 only has ec into initial grooves. MB 20 “A child prodigy and one of the most dazzling musical personalities of his time was Spain’s greatest violinist Pablo de Sarasate.….Sarasate’s records, all made when he was still an active soloist, are all delightful, and even if they cannot project the full force of his personality, they confirm his technical prowess, in particular his beautifully equalised scale.” – Tully Potter, THE RECORDED VIOLIN K236. JUAN MANÉN: Chanson-adagietto (Played by the Composer) / Jota aragonesa (1918 Version) (Sarasate). 12” AC plum Spanish Disco Gramófono 067922/21 (S 03128/03200v), POM-1918. A-, lovely copy has very lt. rubs & very occasional pap. scr, inaud. MB 35 “Juan Manén (or Joan Manén,14 May, 1883 – 26 June, 1971) was a Spanish violinist and composer, born in Barcelona. His progress in music was so rapid that his father exhibited him as a piano prodigy. Having studied the violin under D. Alard, he suddenly appeared as a violinist, and met with such success that in Germany he was compared to his famous countryman Sarasate.” K237. GRIGORAS DINICU: Hora Staccato (Played by the Composer) / Hungarian Potpourri (arr.Dinicu). 10” EL dark-blue PW Eng. Col. 5684, POM-c.1930. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35 K238. GRIGORAS DINICU & His Roumanian Gypsy Orch.: Roumanian Songs and Melodies, 6s. 3-10” EL black PW V V-19024/26, only form of issue, 1939, in Orig. Album S-20. A to M-A, lovely copy has, Sds. 1 & 2 only, faintest pap. rubs, inaud. MB 45, the Set. “The name of Grigoras Dinicu is kept alive by one piece, ‘Hora Staccato’, which in Heifetz’s 1932 concert transcription has been played and recorded by innumerable violinists. It is of great interest to hear it played by its creator, in the authentic style….Dinicu and his band provided a highlight of the 1937 Paris Exposition, alongside Enescu, Lipatti & Bobesco.” – Tully Potter, THE RECORDED VIOLIN K239. MILAN LUSK, w.Mme Vojuckova-Wetchke (Pf.): Kinderscenen – Träumerei (Schumann) / Souvenir in D (Drdla). 10” AC dark-blue & red Emerson 02005-X (4151/52), only form of issue, 1920. A-/A-B, lovely copy has lt. rubs, inaud.; Sd. 2 only has 2 tiny scrs, also inaud. MB 15 K240. SADAH SHUCHARI, w.Arthur Reginald (Pf.): Mélodie arabe (Glazounov-Kochanski) / Sicilienne and Rigaudon (Francoeur-Kreisler). 10" EL Orth Vla 4114, only form of issue, 7 Dec., 1928 / 10 Jan., 1929, of Shuchari's sole recording. M-A, Exemplary! MB 12 K241. JOSEF GINGOLD & BERYL RUBINSTEIN: Sonata #1 (Bloch), 7s. 4-12” EL PW V 12314/17-S, in Orig. Album AM-498. M-A, appears unplayed! MB 45, the Set. K242. ALBERT SPALDING, w.André Benoist (Pf.): Stücke, Op.45 – Guitarre (Moszkowski) / Bandanna Sketches – Nobody knows de trouble I see (White). 10” EL gold Bruns. 15107, only form of issue, 18 / 14 Jan., 1926. A-, lovely copy has lt. rubs, inaud.; Sd. 2 only has sev. dust scrs, minimally audible. MB 10 K243. ALBERT SPALDING, w.André Benoist (Pf.): Divertimento #17 in D, K.334 – Minuet (Mozart) / Waltz #15 in A-flat (1927 Version) (Brahms). 10” EL gold Bruns. 15127, only form of issue, 31 Jan., 1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 15

K244. ALBERT SPALDING, w.André Benoist (Pf.): Etchings (Played by the Composer), 6s. 3-10” EL Scroll V 1707/09, on ‘Z’-type shellac, only form of issue, 2 Feb. & 22 May, 1934, in Orig. Album M-264, w.Notes & Photo inside front cover. M-A, appears unplayed! Exceedingly elusive! MB 95, the Set. K245. ALBERT SPALDING, w.André Benoist (Pf.): Drink to me only with thine eyes (1934 Version) / Waltz #10 in b, Op.69 (Chopin). 10” EL Scroll V 1703, on ‘Z’-type shellac, only form of issue, 1934. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K246. ALBERT SPALDING, w.André Benoist (Pf.): Alabama (Plantation melody) (Played by the Composer) / Danzas españolas – Habañera (Sarasate). 10” AC paper label Edison H & D 82095 (3759/4098), only form of issue, 1915. M-A, Exemplary! MB 20 K247. ALBERT SPALDING: Dragon Fly (A Study in Arpeggios, for Violin Unaccompanied) (Played by the Composer) / w.Benoist (Pf.): Danse du Diable Vert (Gaspar Cassadó). 10" EL PW V 1914, only form of issue, 13 May, 1937. M-A, lovely copy has, alas, Sd. 2 only, nd, positively audible sev. turns. Exceedingly elusive! MB 15 K248. ALBERT SPALDING, w.André Benoist (Pf.): Horch! Horch! die Lerch (1934 Version) (Schubert) / Waltz #15 in A-flat (1934 Version) (Brahms). 10” EL Orth Vla 1667, on ‘Z’-type shellac, only form of issue, 22 May, 1934. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K249. ALBERT SPALDING, w.André Benoist (Pf.): Romance #1 in G (Beethoven), 2s. 10” EL Scroll V 1788, on ‘Z’-type shellac, only form of issue, 1934. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K250. ALBERT SPALDING, w.André Benoist (Pf.): Romance #2 in F (Beethoven), 2s. 12” EL PW V 14579, POM-1936. M-A, appears unplayed! MB 20 K251. ALBERT SPALDING, w.André Benoist (Pf.): Sonata #6 in E (Handel), 2s. 12” EL Scroll V 14029, on ‘Z’-type shellac. M-A, appears unplayed! MB 20 K252. ALBERT SPALDING, w.André Benoist (Pf.): Morceaux – Cavatina (Raff) / Humoresque #7 in G-flat (Dvorák). 10” AC paper label Edison H & D 82047 (3761/4579), only form of issue, 1913. M-A MB 15 K253. ALBERT SPALDING, w.André Benoist (Pf.): Souvenir in D (Drdla) / Caprice espagnole (Ketten). 10” AC paper label Edison H & D 82154 (5062/5759), only form of issue, 1919. M-A, Exemplary! MB 15 K254. ALBERT SPALDING, w.André Benoist (Pf.): Zigeunerweisen (Sarasate) / Airs de Ballet – Valse bluette (Drigo); Three poor mariners (Quilter). 10” AC paper label Edison H & D 82192 (6950/7005), only form of issue, 1920. M-A, choice copy has, Sd. 1 only, infinitesimal pap. mk, inaud. MB 15 K255. ALBERT SPALDING, w.André Benoist (Pf.): Lieder ohne Worte – #6 in A – Spring song (Mendelssohn) / Mélodies – Mélodie #1 in F (Rubinstein). 10” AC paper label Edison H & D 82135 (5748/47), POM-1918, only form of issue, Sd.1. M-A, lovely copy has, Sd. 2 only, 2 wee edge chips, not to grooves. MB 20 K256. ALBERT SPALDING, w.André Benoist (Pf.): Kinderscenen – Träumerei (1920 Version) (Schumann) / Scherzo-Tarantelle, Op.16 (Wieniawski). 10” AC paper label Edison H & D 82188 (5749/6975), only form of issue, 1920. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 15 K257. ALBERT SPALDING, w.André Benoist (Pf.): Kinderscenen – Träumerei (1934 Version) / Abendlied (both Schumann). 10” EL Scroll V 1727, on ‘Z’-type shellac, only form of issue, 1934. M-A, lovely copy has, Sd. 2 only, minuscule edge flake, not to grooves. MB 15 K258. ALBERT SPALDING, w.Ormandy Cond. Philadelphia Orch.: Gesangscene Concerto #8 (Spohr), 4s. 2-12” EL RCA 15355/56, in Orig. Album M 544. M-A, appears unplayed! MB 20, the Set. “The Spohr was recorded by Heifetz and Kulenkampff as well as by Spalding, but it’s the American’s traversal that has always seemed the most impressively generous in toto. Forthright and eloquent, expressive and firmly focused he spins a most persuasive line, his pellucid tone taking on ever more weight of vibrato usage in the slow movement. His expressive swellings never break emotive limits and the vibrant playing of the finale’s fugal passage and his succulent little finger intensifications illuminate and irradiate the finale; he’s excellent in alt as well.” – Jonathan Woolf K259. ALBERT SPALDING & WILLIAM PRIMROSE; Stiedry Cond. New Friends of Music: Sinfonia Concertante in E-flat, K.364 (Mozart), 7s / Sd.8 = Spalding & Primrose, w.Benoist (Pf.): Trio Sonata in E – Adagio (Handel). 4-12” EL RCA 18242/45, in Orig. Album DM 838, w.Brochure. M-A, appears unplayed! MB 35, the Set. "The vibrato is, perhaps, the most personal element of the violinist's playing, the most important factor influencing the character of his tone, in giving it individuality. Just as the great master-painters can be recognized without the signature on their canvasses, by distinctions of line and composition, so, I believe, our great violinists can be distinguished by the peculiar quality of their vibrato." – Albert Spalding K260. ALBERT SPALDING, w.André Benoist (Pf.): Sonata in A (Franck), 8s. 4-12" EL Orth Vla 8274/77, only form of issue, 1 Feb., 1934, partially on ‘Z’ shellac, in Orig. Album M-208, w.Brochure. M-A, Exemplary! MB 45, the Set. K261. ALBERT SPALDING, w.André Benoist (Pf.): Sonata #2 in A (Brahms), 6s. 12" EL Scroll V 8858; 2-10" EL Scroll V 1724/25, on ‘Z’-type shellac, only form of issue, in Orig. Album M-288. M-A, appears unplayed! MB 75, the Set.

K262. JACQUES GORDON, w.Lee Pattison (Pf.): Partita for Violin and Piano, 7s / Sd. 8 = Les Paons (both Loeffler). 4-12” EL MasterWorks Col. 68820/23-D, in Orig. Album 275. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 45, the Set. K263. MISCHA ELMAN, w.Percy B. Kahn (Pf.): Miniatures, Op.314, #3 – Gavotte (Bohm). 10" AC black London G & T G.C.-3-7916 (8041e), recorded 14 June, 1906. A, lovely copy has usual faintest pap.rubs, inaud. MB 45 K264. MISCHA ELMAN, w.Carroll Hollister (Pf.): Pièce en forme de habanera (Ravel) / Le Cygne (Saint-Saëns). 10” EL Orth Vla 1592, only form of issue, 20 Feb. / 2 June, 1930. M-A, Exemplary! MB 15 K265. MISCHA ELMAN, w.Shilkret Cond. Victor S.O.: Sérénade mélancolique in b, Op.26 (Tschaikovsky), 2s. 12” EL Orth Vla 7744, POM-25 Aug., 1930. M-A, lovely copy has, Sd 2 only, faintest pap. rubs, inaud. MB 12 K266. MISCHA ELMAN, w.Collingwood Cond. London S.O.: Concerto in g (Vivaldi), 4s. 2-12” EL Orth Vla 7585/86, POM-1931. M-A, appears unplayed, albeit Sd. 4 only has infinitesimal pap. mk, inaud! MB 35, the Pair K267. MISCHA ELMAN, w.Barbirolli Cond. London S.O.: Concerto in D (Tschaikowsky), 8s. 4-12” EL Scroll V 8186/89, POM-19-20 Dec., 1929, on ‘Z’ shellac, in Orig. Album M-79, w.Brochure. A, lovely copy has faintest pap. rubs, inaud. MB 35, the Set. K268. MISCHA ELMAN, w.Defauw Cond. Chicago S.O.: Concerto in e, 7s / Sd. 8 = w.Wolfgang Rosé (Pf.): Song without words – May breezes (both Mendelssohn). 4-12” EL RCA 12-0132/35, only form of issue, 8 March, 1947, in Orig. Album DM-1196. M-A, appears unplayed! MB 35, the Set. “Elman had a miraculously beautiful tone the likes of which no one had ever heard before. It was so amazingly rich, some said it flowed from his violin like lava. It was a tone of great depth, fullness, sweetness, and plasticity….Elman’s sound was like a living being, and Elman was the conjurer who could make it appear at will.” – Joseph Magil, AMERICAN RECORD GUIDE, Sept./Oct., 2004 K269. TOSCHA SEIDL: Orientale (Cui). 10” AC Col. 78138, POM-22 Oct., 1918. A, lovely copy has faintest pap. rubs, inaud. MB 10 K270. TOSCHA SEIDL: Concerto in D – Canzonetta (Tchaikovsky). 12” AC Col. 49771, POM-23 March, 1920. A-, decent copy has lt. rubs & scrs, inaud.; tiny edge bite only to 1st groove. MB 8 K271. TOSCHA SEIDL, w.Harry Kaufman (Pf.): Valse bleue (Margis). 10” AC Col. 78760, POM-27 Oct., 1919. M-A, Exemplary! MB 12 K272. TOSCHA SEIDL, w.Harry Kaufman (Pf.): Liebesfreud (Kreisler). 12” AC Col. 49904, POM-27 Oct., 1920. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K273. TOSCHA SEIDL, w.Louis T. Grunberg (Pf.): Nocturne in e, Op.72 (Chopin). 12” AC Col. 49448, POM-18 June, 1918. A-, very decent copy has lt. rubs & scrs, inaud. MB 8 K274. TOSCHA SEIDL, w.Louis T. Grunberg (Pf.): Quartet #1 in d – Andante cantabile (Tchaikovsky). 12” AC Col. 49624, POM-25 April, 1919. A-, very decent copy has lt. rubs & scrs, inaud. MB 8 K275. TOSCHA SEIDL, w.Eugene Kusmiak (Pf.): Divertimento #17 in D, K.334 – Minuet / Idomeneo – Gavotte (both Mozart). 10” EL PW V 4536, POM-11 Dec., 1938. M-A, Exemplary! MB 15 K276. TOSCHA SEIDL, w.Eugene Kusmiak (Pf.): Hungarian Dance #1 in g (Brahms) / Intermezzo (Provost). 10” EL PW V 4458, POM-11 Dec., 1938. M-A, Exemplary! MB 12 K277. TOSCHA SEIDL & ARTHUR LOESSER: Sonata in G (Brahms), 8s. 4-12” EL Viva-Tonal Col. 67915/18-D, POM-2 Jan., 1931, in Orig. Album 155. M-A, appears unplayed! MB 65, the Set. K278. TOSCHA SEIDL & ARTHUR LOESSER: Sonata in A (Brahms), 6s. 3-12” EL early PW Col. 67180/82-D, POM-1925-26, in Orig. Album 36, w.Brochure. M-A, appears unplayed, albeit Sd. 3 only has infinitesimal pap. mk, inaud. MB 65, the Set. “Seidl was highly regarded through the early 1920s, but he never attained star status as a soloist, and by the late 1930s he was making his living as a film studio violinist….Hearing his recordings today, one can only wonder why Seidl did not succeed, but the answer may lie partly in the timing of his career….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. Seidl’s recordings for Victor, HMV and Columbia show him to be an outgoing player with a bright sound and a somewhat more attractive tone than one hears on Heifetz’s records from the same period.” – Allan Kozinn, MISCHA ELMAN AND THE ROMANTIC STYLE, p.102 K279. TOSCHA SEIDL & MILIZA KORJUS, w.Finston Cond.: The Great Waltz – Tales from the Vienna Woods (Johann Strauss-Tiomkin), 2s. 10” EL PW V 4410, POM-1938. M-A MB 10 K280. TOSCHA SEIDL & MILIZA KORJUS, w.Finston Cond.: The Great Waltz – One day when we were young / There will come a time (Johann Strauss-Tiomkin), 2s. 10” EL PW V 4411, POM-1938. M-A MB 10 K281. MAX ROSEN: Sérénade du Tzigane (Valdez). 10” AC green Bruns. 10043, only form of issue, 1921. M-A, Exemplary! MB 12

K282. MAX ROSEN, w.Persson (Pf.): Souvenir in D (Drdla). 10” AC green Bruns. 10012, POM-1919. M-A, Exemplary! MB 10 K283. MAX ROSEN, w.Wilens (Pf.): Kol Nidrei (Bruch) / Eili, Eili (arr.Shallit). 10” EL gold Bruns. 15206, only form of issue, 1929. M-A, choice copy has wee edge burn, nowhere near grooves. MB 15 “George Gershwin first displayed interest in music at the age of ten, when he was intrigued by what he heard at a friend, Max Rosen's, violin recital. The sound and the way his friend played captured him.” – Jewish-American Hall of Fame K284. ALBERT SAMMONS: Londonderry Air (arr.Sammons) / Molly on the shore (arr.Kreisler). 10” EL PW Eng. Col. 4820, POM-1926. M-A, lovely copy has, Sd. 2 only, wee edge burn not to grooves. MB 10 K285. ALBERT SAMMONS: Passacaglia on a theme of G.B. Sammartini (Nachez), 2s. 12” EL PW Eng. Col. 9351, POM-9 Sept., 1926. M-A, Exemplary! MB 20 K286. ALBERT SAMMONS, w.Gerald Moore (Pf.): Sonata #2, Op.31 (Rubbra), 4s. 2-12” EL plum HMV C.3547/48, only form of issue, 16 April, 1946. M-A, appears unplayed! MB 25, the Pair K287. ALBERT SAMMONS, w.Ethel Hobday (Pf.): Pieces, Op.5 – From the canebrake (Gardner) / Slavonic Dances – Dance #2 in e (Dvorák). 10” AC English pale-blue Vocalion X-9611, only form of issue, 1924. A-, lovely copy has faint pap. rubs & superficial pap. scrs, inaud. MB 15 K288. ALBERT SAMMONS, w.William Murdoch (Pf.): Sonatina in D, Op.137, 6s / ETHEL LEGINSKA: Moments musicaux, Op.94, 8s (both Schubert). 7–10” EL Viva-Tonal Col. 17010/16-D, POM-1928, in Orig. Album 94. M-A, choice copy has, sl. tattered album. MB 35, the Set. K289. ALBERT SAMMONS, w.William Murdoch (Pf.): Kreutzer Sonata #9 in A (1927 Version) (Beethoven), 10s. 5-12” EL Viva-Tonal Col. 67261/65-D, POM-1927. M-A, appears unplayed, albeit Sd. 9 has various faint lams & Sd. 2 has tiny edge flake, not to grooves. MB 45, the Set. “Among the many outstanding Sammons recordings is the Beethoven ‘Kreutzer’ Sonata with William Murdoch….By the time the ‘Kreutzer’ was recorded in 1927, the Sammons/Murdoch partnership had been in existence for over a decade. Their recording underlines the impeccable liaison that had been built up over the years. It is duo playing at its finest.” – The Strad Magazine, Aug., 1986 K290. ALBERT SAMMONS, w.William Murdoch (Pf.): Sonata in e (Elgar), 6s. 3-12” EL early PW Col. 68392/94-D, POM-2 Feb., 1935, in Orig. Album #241, w.Brochure. M-A, appears unplayed! MB 35, the Set. K291. ALBERT SAMMONS & LIONEL TERTIS: Harpsichord Suite #7 in g – Passacaglia (Handel-Halvorsen), 2s. 12” EL PW Eng. Col. L2364, POM-27 May, 1929. M-A, appears unplayed! MB 15 K292. ALBERT SAMMONS & LIONEL TERTIS, w.Harty Cond. London Phil.: Sinfonia Concertante in E-flat, K.364 (Mozart), 8s. 4-12” EL early PW Col. 68148/51-D, on blue shellac, POM-30 April, 1933, in Orig. Album 188, w.Brochure. M-A, appears unplayed! MB 35, the Set. K293. ALBERT SAMMONS, LIONEL TERTIS & WILLIAM MURDOCH: Trio #2 in c (Mendelssohn), 8s. 4-12” EL Viva-Tonal Col. 67212/15-D, POM-9 Dec., 1925. M-A, appears unplayed! MB 35, the Set. K294. ALBERT SAMMONS, W. H. SQUIRE & WILLIAM MURDOCH: Archduke Trio in B-flat, Op.97 (Beethoven), 10s. 5-12” EL Viva-Tonal Col. 67256/60-D, partially blue shellac, POM-28 Nov., 1926, in Orig. Album 52. M-A, Exemplary! MB 35, the Set. K295. ALBERT SAMMONS, w.Harty Cond.: Concerto #1 in g (Bruch), 6s. 3-12” EL early PW Col. 67152/54-D, POM-9 April, 1925. M-A, choice copy has, beg. Sd. 1 only, wee edge lam. MB 35, the Set. K296. ALBERT SAMMONS, w.Sargent Cond. Liverpool Phil.: Violin Concerto (Delius), 6s. 3-12” EL Eng. Col. DX 8197/99, POM-7 April, 1944. M-A, appears unplayed! MB 25, the Set. “Sammons worked out the technical details [of the Elgar Violin concerto] with the composer and the work is dedicated to him. Although the Delius Violin Concerto (composed in 1916) was premiered by Sammons in 1919, he did not record it until 1944.” – The Strad Magazine, Aug., 1986 K297. ALBERT SAMMONS, w.Wood Cond.: Concerto in b – Allegro / Andante (1916 Version, abridged) (Elgar), 2s. 12” AC pale-blue Eng. Col. L 1071, only form of issue, 1916 (this is only the first of two issued discs). A, lovely copy has few lt. rubs, inaud. MB 15 K298. ALBERT SAMMONS, w.Wood Cond.: Concerto in b (1929 Version) (Elgar), 12s. 6–12” EL Eng. Col. L 2346/51, only form of issue, 19 Jan., 1929, in Orig. Album 127, w.Brochure. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 45, the Set. “Although it was…Fritz Kreisler to whom the work is dedicated, it was Sammons, often under the composer’s baton, who promoted it….Sammons performed the Elgar more than of all the concertos in this repertoire, giving over 100 performances throughout his career….When a German critic slighted Elgar’s music in the press, Sammons was among the many notables, including Bernard Shaw, who instigated a letter of protest. The recording of the Elgar Violin Concerto, made on 19 January, l929 with Henry Wood and the New Queen’s Hall Orchestra, stands as a monument to the achievement of British music in the early part of this century.” – The Strad Magazine, Aug., 1986

Nos. K299 – K314 are Viola 78rpm records K299. LIONEL TERTIS: Partita #2 in d – Chaconne (Bach), 4s. 2-12” AC early PW Col. 67071/72-D, POM-25 Nov., 1924. A-B, decent copy has considerable rubbing & few lt. scrs, minimally audible. Rare 1924 late AC-era issue which enjoyed a brief Catalogue life. MB 35, the Pair. K300. LIONEL TERTIS: Lieder ohne Worte – #1 in E / #20 in E-flat (Mendelssohn). 10” EL Eng. Col. DB 1468, POM-26 Oct., 1933. A-, lovely copy has faintest pap. rubs & pap. scrs, inaud. MB 10 K301. LIONEL TERTIS: Chant sans parôles (Tschaikowsky) / Sous la feuillée (Thomé). 10" AC brown shellac Vocalion 21004, POM-1920. M-A, appears unplayed! MB 25 K302. LIONEL TERTIS: Three Sketches – The Blackbirds (Played by the Composer) /None but the lonely heart (as ‘A Pleading’) (Tchaikovsky). 10" EL black Viva-Tonal Col. 174-M, POM-17 / 19 June, 1927. M-A, gleaming copy appears unplayed. MB 15 K303. LIONEL TERTIS: Minnelied (Brahms) / Londonderry Air (arr.Tertis). 10" EL black Viva-Tonal Col. 2192-D, POM-19 June, 1928. M-A, lovely copy has, Sd. 2 only, few lt. rubs, inaud.; Sd. 1 only has numerous insignificant lateral lams. MB 10 K304. LIONEL TERTIS, w.Ethel Hobday (Pf.): Sunset (Played by the Composer) / Les rêves (Rebikoff-Tertis). 10" AC pale blue Eng. Vocalion X-9696, only form of issue, 1921 / 27 Nov., 1922. B, decent copy has rubs & numerous lt. scrs, minimally audible; wee ec is neatly mended. MB 10 K305. LIONEL TERTIS, w.Ethel Hobday (Pf.): The Answer / Allegretto (both Wolstenholme). 10” EL Eng. Col. DB 1022, only form of issue, 8 Dec., 1930. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 15 K306. LIONEL TERTIS, w.William Murdoch (Pf.): Aria (Porpora) / Komm, süsser Tod (Bach). 10" AC PW Eng. Col. D 1502, only form of issue, 1925. A to M-A, lovely copy has lt. rubs, inaud. MB 12 K307. LIONEL TERTIS, w.George Reeves (Pf.): Violin Sonata #2 (Delius-Tertis), 3s / Sd. 4 = Hassan – Serenade (Delius). 2-12" EL Viva-Tonal Col. 67761/62, POM-7 Oct., 1929, in Orig. Album X-37. M-A, appears unplayed! MB 25, the Set. K308. LIONEL TERTIS, w.George Reeves (Pf.): Violin Sonata #2 (Delius-Tertis), 3s / Sd. 4 = Hassan – Serenade (Delius). 2-12" EL Eng. Col. L 2342/43, POM-7 Oct., 1929. M-A, Exemplary! MB 20, the Pair. K309. LIONEL TERTIS, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Col. 68114/16-D, on blue shellac, POM-17 Feb., 1933, in Orig. Album 183. M-A, lovely copy has, Sds. 1 & 2 only, faintest pap. rubs, inaud. MB 35, the Set. K310. LIONEL TERTIS, w.Harriet Cohen (Pf.): Sonata #1 in f (Brahms), 6s. 3-12” EL Eng. Col. LX 225/27, POM-17 Feb., 1933. M-A, Exemplary! MB 25, the Set. “Lionel Tertis is acknowledged the world over as the founder of modern Viola playing. His virtuosity and personal vision of a warm vibrant viola tone, derived from his close study of his idol Kreisler’s playing, amazed his contemporaries and stimulated others to carry on his work….he was a supreme interpreter of romantic music, and his records document a great and enduring musical personality.” – Tully Potter, THE RECORDED VIOLA K311. RAYMOND JEREMY (Viola), w. Maria Korchinska (Harp): Phantasy Sonata for Viola and Harp (Bax), 6s. 3-12” National Gramophonic Society 118/120, only form of issue, 1928. A to M-A, lovely copy has occasional faintest pap. rub & very lt. scr, inaud. Raymond Jeremy, a Bax exponent, had premiered Elgar’s late chamber works in 1919 in a group led by Albert Sammons. MB 30, the Set. K311a. EMANUEL VARDI, w.Vivian Rivkin (Pf.): Sonata #1 in G; Sonata #2 in D (both Bach), 6s. 3-12” EL dark-red Royale 598/600, only form of issue, 1942. M-A, appears unplayed, albeit discs 1 & 2 have very faintest ‘heat’ indents causing no more than very light swish. Exceedingly elusive! MB 35, the Set. K312. FREDERICK RIDDLE, w.Walton Cond. London S.O.: Viola Concerto (Cond. by the Composer), 6s. 3-12” EL orange Eng. Decca X.199/201, only form of issue, 6 December 1937, in Orig. Album 8. M-A MB 35, the Set. “Frederick Riddle made the first recording of William Walton's Viola Concerto, on 6 December 1937 – still considered a benchmark performance – with the composer conducting. He was recommended for this recording by Lionel Tertis. He made some revisions to the concerto, with Walton's approval. Although Walton conducted the work many times with leading soloists such as Tertis and William Primrose, the interpretation he liked above all others was that of Frederick Riddle.” K313. QUINCY PORTER (Viola), Lois Wann (Oboe), Bernard Tinterow (Violin) & Aaron Bodenhorn (Cello): Serenade for Oboe, Violin, Viola & Violincello (Richard Donovan) / SAMUEL SIEGEL, w.Gregory Tucker (Pf.): Idless for Violin and Piano (William H. Bailey). 12” EL New Music Recordings 1514/1414, only form of issue, c.1941. A memento from the Yaddo Music Group, developed after Quincy Porter’s inspiration. MINT MB 8 K314. SAMUEL LIFSCHEY, w.Egon Petri (Pf.): Viola Sonata #1 in f (Brahms), 5s / Sd.6 = Samuel Lifschey: Suite #6 in D – Gavottes Nos. 1 & 2 for Viola Unaccompanied (Bach). 3-12” EL PW Col. 71317/19-D, POM-21 June, 1941, in Orig. Album MM-487. M-A, appears unplayed! MB 25, the Set. “Samuel Lifschey was good enough to hold the first chair in the Philadelphia Orchestra for 30 years, satisfying the notoriously difficult Leopold Stokowski and then the demanding violinist-turned-conductor Eugene Ormandy….In 1925 he began his 30-year stint with the Philadelphia Orchestra, and it was a measure of his stature that the management’s retirement rule was relaxed so that he could stay on an extra year after his 65th birthday.” – Tully Potter, THE RECORDED VIOLIN

Nos. K315 – K368 are Cello & Double Bass 78rpm records K315. PABLO CASALS: Suite #1 in G for Cello Unaccompanied; Suite #6 in D for Cello Unaccompanied (Bach), 14s. 7-12” PW V 17665/71, POM-2 / 3 June, 1938, in Orig. Album AM-742. M-A, lovely copy has very occasional pap. rub or scr, inaud. MB , the Set. K316. PABLO CASALS: Suite in C – Prélude / Sarabande (Bach). 12” AC Col. A5782, POM-23 April, 1915. A-, lovely copy has few faint rubs, inaud.; Sd. 2 only has faint pap. scr, also inaud. MB 10 K317. PABLO CASALS: Suite in C – Gigue (Bach) / Concerto in D – Adagio (Haydn). 12” AC Col. A5875, POM-15 April, 1916. M-A/A, lovely copy has, Sd. 2 only, few faint rubs, inaud. MB 12 K318. PABLO CASALS: Danza española #5 in e (Andaluza) (Granados) / Concerto in a – Cantilena (Goltermann). 12” AC Col. A5847, POM-15 April, 1916. A-, lovely copy has, few faint rubs & scrs, inaud. MB 10 K319. PABLO CASALS: Quintet in D – Larghetto (Mozart) / Tannhäuser – O du mein holder Abendstern (Wagner). 12” AC Col. A5953, POM-21 April, 1916. A-, lovely copy has lt. rubs, inaud. MB 10 K320. PABLO CASALS: Xerxes – Ombra mai fu (Handel). 12” AC Col. 49802, POM-23 April, 1920. A-, lovely copy has lt. rubs & scrs, minimally audible. MB 10 K321. PABLO CASALS, w.Blas Net (Pf.): L’Estro Armonico – Largo (Vivaldi) / Serenata Napoletana (Sgambati). 10” EL Orth Vla 1542, POM-1934. M-A, Exemplary! MB 10 K322. PABLO CASALS, w.Blas Net (Pf.): Komm süsser Tod (Bach) / Sonata in C – Minuet with variations (Haydn). 12” EL Orth Vla 7501, POM-1931/’30, resp. M-A, Exemplary! MB 12 K323. PABLO CASALS, w.Blas Net (Pf.): Sonata #6 in A – Adagio / Allegro (Boccherini). 12” EL Orth Vla 7258, POM-1931. M-A, Exemplary! MB 12 K324. PABLO CASALS, w.Blas Net (Pf.): Sonata #2 in a – Andante / w.Otto Schulhof (Pf.): Suite #3 in D – Air (both Bach). 12” EL Orth Vla 7368, POM-1931. M-A, Exemplary! MB 12 K325. PABLO CASALS, w.Blas Net (Pf.): Songs my mother taught me (Dvorák); Tsar Saltan – Flight of the bumblebee (Rimsky-Korsakov) / Lieder ohne Worte – #49 in D (Mendelssohn). 12” EL RCA 7193, POM-1930. M-A, Exemplary! MB 12 K326. PABLO CASALS, w.Edouard Gendron (Pf.): Toccata in g – Adagio (Bach) / Goyescas – Intermezzo (1925 Version) (Granados). 12” AC Vla 6501, POM-21 Feb., 1925. M-A, Exemplary! MB 15 K327. PABLO CASALS, w.Mednikoff (Pf.): Toccata in g – Adagio (Bach) / Goyescas – Intermezzo (Granados) (1927 Versions). 12” EL PW V 6635, POM-28 Feb., 1927. M-A, Exemplary! MB 12 K328. PABLO CASALS, w.Mednikoff (Pf.): Après un rêve (Fauré) / w.Edouard Gendron (Pf.): Chanson villageoise (Popper). 10” EL Orth Vla 1083, POM-5 Jan., 1926 / 3 April, 1925, Sd. 1 being ‘Take’ 12, the third of 3 issued ‘Takes’. M-A, lovely copy has smudged label, Sd. 2. MB 10 K329. PABLO CASALS, w.Mednikoff (Pf.): Kinderscenen – Träumerei (1926 Version) (Schumann) / Mélodies – Mélodie #1 in F (Rubinstein). 10” EL Orth Vla 1178, POM-5 / 20 Jan., 1926, Sd. 1 being 1930 Version, Camden (vs. the 1930 Version, Hayes). M-A, Exemplary! MB 10 K330. PABLO CASALS, w.Mednikoff (Pf.): Gavotte tendre (Hillemacher) / Menuet (Debussy). 10” EL Orth Vla 1191, POM-4 / 5 Jan., 1926. M-A, Exemplary! MB 10 K331. PABLO CASALS, w.Mednikoff (Pf.): Danza española #5 in e (Andaluza) (Granados) / Danses espagnoles – Vito (Popper). 10” EL Orth Vla 1311, POM-25 Feb. / 31 Jan., 1928, Sd. 1 being ‘Take’ 7, 1928 Version of 2 issued ‘Takes’; Sd. 2 being ‘Take’ 5, of 2 issued ‘Takes’. M-A, Exemplary! MB 10 K332. PABLO CASALS, w.Mednikoff (Pf.): Mazurka in g (Popper) / English Suite #6 in D – Gavottes Nos. 1 & 2 (as Musette) (Bach). 10” EL Orth Vla 1349, POM-28 Feb. / 31 Jan., 1928. M-A, Exemplary! MB 10 K333. PABLO CASALS, w.Mednikoff (Pf.): Moments musicals – No. 3 in f (Schubert) / Le Carnaval des Animaux – Le Cygne (1928 Version) (Saint-Saëns). 10” EL Scroll V 1143, on ‘Z’-type shellac, POM-4 / 31 Jan., 1928, Sd.2 being ‘Take’ 6, the second of 2 issued ‘Takes’. M-A, Exemplary! MB 15 K334. PABLO CASALS, w.Mednikoff (Pf.): Tannhäuser – O du mein holder Abendstern / Die Meistersinger – Preislied (both Wagner). 12” EL PW V 6620, POM-5 / 19 Jan., 1926, Sd. 2 being ‘Take’ 1, the first of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K335. PABLO CASALS, w.Mednikoff (Pf.): Tannhäuser – O du mein holder Abendstern / Die Meistersinger – Preislied (both Wagner). 12” EL V 6620, POM-5 / 19 Jan., 1926, Sd. 2 being ‘Take’ 2, the second of 2 issued ‘Takes’. M-A, Exemplary! MB 12 K336. PABLO CASALS, w.Mednikoff (Pf.): Nocturne in E-flat / Prélude in D-flat (both Chopin). 12” EL Orth Vla 6589, POM-19 / 20 Jan., 1926, on ‘Z’ shellac. A, lovely copy has faintest pap. rubs, inaud. MB 15 K337. PABLO CASALS, w.Horszowski (Pf.): Sonata #4 in C, Op.102, #1 (Beethoven), 4s. 2-12” EL Scroll V 14366/67, POM-1937, on ‘Z’-type shellac. A to M-A, lovely copy has few faint rubs, inaud.; Sds. 1 & 2 have sev. minor pap. scrs, inaud. MB 20, the Pair. K338. PABLO CASALS & ALFRED CORTOT: Zauberflöte – Seven Variations on ‘Ein Mädchen oder Weibchen’ (Mozart-Beethoven), 4s. 2-10” EL PW Japanese V NF-4087/88, POM-21 June, 1927. M-A, Exemplary! MB 20, the Pair.

K339. MSTISLAV ROSTROPOVICH: Suite #5 in c for Cello Unaccompanied – Courante & Gigue (Bach) / Élégie in c (Fauré). 7¾” EL red Aprelevski Zavod Extended Play 00325/26, recorded c.1950. M-A, Exemplary! MB 15 K340. NICOLAI GRAUDAN, w.Hans Freudberg (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) / Scherzo (von Dittersdorf-Kreisler). 12” EL dark-blue Clangor MD 9265/66. Graudan co-founded the celebrated Festival Quartet, with Goldberg, Primrose & Victor Babin. A, lovely copy has faintest pap. rubs, inaud. MB 12 K341. WILLEM WILLEKE: Chants sans parôles (Played by the Composer) / Flower song (Lange). 10” AC purple Bruns. 10147, only form of issue, 1922. A/A-, lovely copy has few lt. rubs, inaud.; Sd. 2 only has sev. wee dust mks, minimally audible the occasional turn. MB 15 “Willem Willeke won the admiration of Johannes Brahms, learned all of Brahms' cello works, and performed many of them with Brahms at the piano. Even so, he aspired to become a physician, and studied in Bonn and Vienna, winning his degrees. Nevertheless, Joseph Joachim, another friend of Brahms, repeatedly urged Willeke to return to music. When he agreed, he started his career with a tour of Scandinavia in which he played the Grieg sonata with the composer at the keyboard. And, again, when he played the Strauss sonata, that composer was his accompaniment. He came to the United States in 1907 as cellist with the Kneisel String Quartet. In 1917, when the Kneisel disbanded, he founded an ensemble called the Elshuco Trio. Mrs Elizabeth Sprague Coolidge in 1918 founded the Berkshire Festival of Chamber Music and named Willeke its first Musical Director. He stayed in that capacity until his death in 1950, and was succeeded by his widow. Willeke was also the leading cello teacher at the Institute for Musical Art in New York, which merged with the Juilliard School in 1926.” – Joseph Stevenson, allmusic.com K342. EMANUEL FEUERMANN: Suite in G for Cello Unaccompanied (Reger), 4s. 2-12” EL PW Col. 69787/88-D, POM-7 Feb., 1939, in Orig. Album X-152, w.Brochure. M-A, appears unplayed! MB 35, the Set. K343. EMANUEL FEUERMANN, w.Franz Rupp (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) (Two different Performances). 10" EL vinyl pressing of BS-041516-1 / 041516-2, POM-8 Aug. / 14 Dec., 1939, both Unpublished Matrices. MINT MB 65 K344. EMANUEL FEUERMANN, w.Franz Rupp (Pf.): Organ Toccata in C – Adagio (Bach-Casals-Siloti) (a Third Performance) / Après un rêve (Fauré). 10" EL vinyl pressing of BS-041516-4 / 041517-5, POM-14 Dec., 1939, both Unpublished Matrices. MINT MB 65 K345. EMANUEL FEUERMANN, w.van der Pas (Pf.): Sonata #1 in e (Brahms), 5s. 3-12” EL early PW Col. 68379/81-D, POM-10 July, 1934, in Orig. Album 236. M-A, appears unplayed! MB 35, the Set. K346. EMANUEL FEUERMANN, w.Myra Hess (Pf.): Sonata in A, Op.69 (Beethoven), 5s / Sd.6 = Feuermann, w.Gerald Moore (Pf.): Konzertstück – Andantino (Weber). 3-12” EL MasterWorks Col. 69081/83-D, POM-29 June, 1937, in Orig. Album 312, w.Brochure. M-A, appears unplayed! MB 35, the Set. K347. EMANUEL FEUERMANN, w.Stokowski Cond. Philadelphia Orch: Schelomo (Bloch), 5s. 3-12” EL PW V 17339/41-S, POM-27 March, 1940, in Orig. Album AM-698, w.Brochure. M-A, appears unplayed! MB 25, the Set. K348. VICTOR HERBERT: Scherzo (van Goens). 10” AC V 64298, only form of issue, 26 Jan., 1912. M-A MB 12 K349. VICTOR HERBERT: The angel’s whisper (Lover). 10” AC V 64240, POM-26 Jan., 1912, issued USA only. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K350. VICTOR HERBERT: Pensée amoureuse (Played by the Composer). 12” AC Pat.’06 V 74286, 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 K351. VICTOR HERBERT: Simple aveu (Thome). 12” AC Pat.’12 V 74300, 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 K352. VICTOR HERBERT: Petite valse (Played by the Composer). 10” AC V 64297, POM-25 Jan., 1912, issued USA only. A-, lovely copy has lt. rubs, inaud. MB 12 “Victor August Herbert was an Irish-born, German-raised American composer, cellist and conductor. Although 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 rôles at the Stuttgart Opera in 1885 through the summer of 1886. 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 rôles 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, 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.”

K353. GASPAR CASSADÓ & Mme von MENDELSSOHN-GORDIGIANI: Cello Sonata #1 in d (Debussy), 3s / Sd. 4 = Aragonesa (Played by the Composer). 2-12” EL early PW Col. 67895/96-D. M-A, appears unplayed! MB 25, the Pair. K354. GASPAR CASSADÓ, w.Harty Cond.: Arpeggione Cello Concerto in a (Schubert-Cassadó), 6s. 3-12” EL Viva-Tonal Col. 67781/83-D, POM-5 May, 1929, in Orig. Album 139. M-A, appears unplayed! MB 35, the Set. “Cassadó was a Spanish contemporary of Pablo Casals who lived from 1897 to 1966. In fact, he may have been Casal's youngest pupil, when he studied with him in Paris in 1910. When Cassadó was nine years old, he played his first public performance, where he was heard by Casals who immediately offered to give him lessons. He was given a scholarship by the city of Barcelona to go to Paris and study with Casals there. He also studied composition with Manuel de Falla and Maurice Ravel.” K355. MARCEL HUBERT, w.Shura Cherkassky (Pf.): Sonata in g (Rachmaninoff), 7s / Sd.8 = MARCEL HUBERT, w.Harold Dart (Pf.): Goyescas – Intermezzo (Granados). 4-12" EL early PW Col. 68343/46-D, on blue shellac, in Orig. Album 225. M-A, appears unplayed! MB 35, the Set. K356. MAURICE MARÉCHAL: Plainte (d’Hervelois) / Concerto in A – Largo mesto (C.P.E. Bach). 12” EL early PW Col. 7245-M, POM-1929. M-A, choice copy has, Sd.1 only, minuscule pap.scr, inaud. MB 15 K357. MAURICE MARÉCHAL, w.Robert Casadesus (Pf.): Cello Sonata #1 in d (Debussy), 3s / Sd.4 = Épiphanie – Danse des petits nègres (Caplet). 2-12” EL Eng. Col. LFX 85/86, POM-1930. M-A, appears unplayed! MB 25, the Pair. K358. MAURICE MARÉCHAL, w.Bigot Cond. Lamoureux Orch.: Cello Concerto in c (J.C. Bach), 4s. 2-12” EL French Col. LFX 774/75, POM-1948. M-A, superlative copy has tape affixed Sd. 2 label. MB 25, the Pair. K359. MAURICE MARÉCHAL, w.Gaubert Cond.: Cello Concerto in d (Lalo), 6s. 3-12” EL PW French Col. LFX 282/84, POM-1932. A to M-A, lovely copy is apparently ltly waxed, inaud.; beg. Sd. 3 has wee scr, ltly audible 4 turns, but this trio plays beautifully. MB 20, the Set. K360. MAURICE DAMBOIS: Love’s old sweet song (Molloy) / Let the rest of the world go by (Ball). 10” AC brown shellac Vocalion 24014, POM-1921. Dambois was the celebrated Belgian cellist to whom Ysaÿe dedicated his 1924 Sonata for Cello Unaccompanied, Op.28. M-A, Exemplary! MB 12 K361. NAUM BENDITZKY & BERNARD WAGENAAR: Sonatina for Cello and Piano, 3s / Sd. 4 = BERNARD WAGENAAR: A Tale (Played by the Composer). 2-12” EL early PW Col. 68331/32-D, on blue shellac, in Orig. Album 223. M-A, appears unplayed! MB 35, the Set. “Wagenaar studied at Utrecht University before starting his career as a teacher and conductor in 1914. He moved to the USA in 1920. From 1925 to 1968 he taught at the Juilliard School where Ned Rorem, Jacob Druckman, Bernard Herrmann, Robert Ward, Tutti Camarata, Charles Jones, Alan Shulman and James Cohn were among his pupils. He was an active member of the League of Composers.” K362. JOSEPH HOLLMANN: Petite valse (Played by the Composer) / Kinderscenen – Träumerei (Schumann). 10” AC black G & T G.C.-47889/88 (5388½/80b), only form of issue, 13 June, 1904. A-, lovely copy has very faint rubs & occasional pap. scr. Hollmann was the dedicaté of Saint-Saëns’ Cello Concerto #2, Op.119. MB 15 K363. BEATRICE HARRISON, w.Princess Victoria (Pf.): Cello Concerto – Adagio / BEATRICE HARRISON & MARGARET HARRISON, w.Princess Victoria (Pf.): Salut d’Amour (both Elgar). 12” EL vinyl Symposium 1026 (Cc14165/62), POM-25 Aug., 1928, both from Unpublished Masters, accompanied by Michael Plant’s printed notes, 1987. MINT MB 35 K364. BEATRICE HARRISON, w.Elgar Cond. New S.O.: Cello Concerto in e (Cond. by the Composer), 6s. 3-12”EL PW black HMV D 1507/09, only form of issue, 1928. M-A, appears unplayed! MB 45, the Set. “Beatrice gave the first performance of Edward Elgar's Cello Concerto in 1921. By 1924 she had toured in Europe and America, and in November 1925 she reappeared at the Royal Philharmonic in the all-Elgar concert, performing the Cello Concerto under Elgar's baton (he had insisted that she be the soloist whenever he conducted the work, after she studied the work with him prior to making an abridged, preelectric recording). A year or two later, when the advent of electrical recording had improved the technical potential of the gramophone, Beatrice Harrison was the soloist chosen to make the 'official' HMV recording of the concerto with Elgar conducting. Perhaps inevitably the Elgar Concerto was the work with which she was most closely identified, not least in her performances for Henry Wood.” K365. DIMITRY MARKEVITCH, w.André Collard: Cello Sonata in g (Chopin), 6s. 3-12” EL black French Polydor A 6.301/03. M-A, Exemplary! MB 25, the Set. “Dimitry Markevitch was a Russian concert cellist, researcher, teacher and musicologist. He studied under Gregor Piatigorsky and founded the Institut de Hautes Études Musicales (IHEM) in Switzerland. His brother, Igor Markevitch, was the orchestral conductor.” K366. SERGE KOUSSEVITZKY (Double Bass), w.Bernard Zighera (Pf.): Concerto for Double Bass in f – Andante (Played by the Composer), 2s. 2-10” EL S/S Special vinyl Pressings of Unpublished BVE-42992/93, POM-26 Sept., 1928. MINT MB 25, the Pair. K367. SERGE KOUSSEVITZKY (Double Bass), w.Pierre Luboshutz (Pf.): Valse miniature (Played by the Composer) / Minuet in G (Beethoven). 10" EL Orth Vla 1476, only form of issue, 25 Sept., 1929. A, lovely copy has faint rubs. MB 15 K368. SERGE KOUSSEVITZKY (Double Bass), w.Pierre Luboshutz (Pf.): Chanson triste (Played by the Composer) / Sonata in g – Largo (Eccles). 12" EL PW V 7159, only form of issue, 26 / 25 Sept., 1929. M-A MB 20

Nos. K369 – K434 are Chamber Music 78rpm records K369. MARIE WILSON STRING QUARTET (Marie Wilson, Gwendolen Higham, Anne Wolfe & Phyllis Hasluck): String Quartet in G (Bax), 6s. 3-12” National Gramophonic Society 153/55, only form of issue, 15-16 April, 1930. M-A, appears unplayed! MB 35, the Set. “The National Gramophonic Society was founded October 29, 1923, by Compton MacKenzie. The Society was never well supported and few subscribers ever acquired the complete catalogue.” K370. AEOLIAN STRING QUARTET (Cumpson, Compinsky, Reilich, Mankovitz & Harry Fuchs), w.Harry Cumpson (Pf.) & Aaron Gorodner (Clarinet): Concerto, Op.2 (Roy Harris), 5s / Sd.6 = HARRY CUMPSON (Pf.): Cloches à travers les feuilles (Debussy. 3-12” EL early PW Col. 68138/40-D, only form of issue, 1933, on blue shellac, in Orig. Album 6. M-A, appears unplayed! MB 45, the Set. K371. GORDON STRING QUARTET (Gordon, Rossi, Dawson & Magg): Quartet #3 (William Schuman), 6s. 3-12” EL vinyl Concert Hall 1069/74, in Orig. Album AB, w.Notes. M-A, Exemplary! MB 25, the Set. K372. GORDON STRING QUARTET (Gordon, Sackson, Robyn & Benditzky): La Oracion del Torero (Turina), 2s. 12" EL Eng. Col. LX 618. M-A, choice copy has faintest pap. rubs, inaud. MB 15 K373. GORDON STRING QUARTET (Gordon, Sackson, Robyn & Benditzky): String Quartet #3 (Quincy Porter), 4s. 2-12" EL early PW Col. 68395/96-D, in Orig. Album 242, w.Brochure. M-A, appears unplayed! MB 45, the Set. K374. GORDON STRING QUARTET (Gordon, Sackson, Lincer & Benditzky): Quartet in a (John Alden Carpenter), 6s. 3-12" EL Schirmer 2513/15, in Orig. Album 4, w.Notes. M-A, appears unplayed! MB 45, the Set. K375. GORDON STRING QUARTET (Gordon, Weiss, Lincer & Magg): String Quartet in One Movement (Lœffler), 4s. 2-12” EL Schirmer 2534/35, in Orig. Album 13, w.Notes. M-A, appears unplayed! MB 35, the Set. K376. GORDON STRING QUARTET (Gordon, Weiss, Lincer & Magg), w.Emma Boynet (Pf.): Piano Quintet in d (Fauré), 8s. 4-12” EL Schirmer 2527/30. M-A, appears unplayed! MB 75, the Set. K377. YORK STRING QUARTET (Pollikoff, Reisler, Paeff & Turkisher): String Quartet, Op.49 (Shostakovich), 4s. 2-12" EL dark-red Royale 580/814, only form of issue, 1942. M-A, appears unplayed, albeit Sds. 3 & 4 have ec, affecting 1st few grooves, Sd. 3 only! MB 20, the Pair. K378. YORK STRING QUARTET (Pollikoff, Weits, Russell & Turkisher): Quartet in A, Op.33, #6 (Boccherini), 4s. 2-12" EL dark-red Royale 593/94, only form of issue, 1942. M-A, appears unplayed! MB 20, the Pair. K379. NEW YORK PHILHARMONIC STRING QUARET (Piastro, Pogany, Kurthy & Schuster): Quartet #1 in D (Tchaikovsky), 6s. 3-12” EL black Concertone 330/332. M-A, choice copy has, Sd. 3 only, few lt. rubs, inaud. MB 65, the Set. K380. NEW YORK PHILHARMONIC STRING QUARET (Piastro, Pogany, Kurthy & Schuster): Quartet #15 in G (Schubert), 8s. 4-12” EL dark-red Royale 610/13, only form of issue, 1942. M-A, appears unplayed! MB 75, the Set. K381. CASELLA TRIO (Alberto Poltronieri, Alfredo Casella & Arturo Bonucci): Trio for Piano, Violin & Cello (Roy Harris), 6s. 3-12” EL early PW Col. 68247/49-D, only form of issue, 1934, on blue shellac. M-A, appears unplayed! MB 45, the Trio. K382. PRO ARTE QUARTET, Quartet #2 in D (Borodin), 7s / Sd.8 = Five Novelettes – Orientale (Glazounov). 4-12" EL Scroll V 8609/12, POM-1933, on ‘Z’ shellac, in Orig. Album M-255. M-A, appears unplayed! MB 45, the Set. K383. PRO ARTE QUARTET: Quartet in D (Franck), 12s. 6-12" EL Scroll V 8630/35, on ‘Z’ shellac, in Orig. Album M-259, w.Brochure. M-A, appears unplayed! MB 45, the Set. K384. PRO ARTE QUARTET, w.Arthur Rubinstein: Piano Quartet in g, Op.25 (Brahms), 8s. 4-12" EL Orth Vla 8444/47, on ‘Z’ shellac, in Orig. Album M-234. M-A, appears unplayed! MB 45, the Set. K385. PRO ARTE QUARTET, w.Alfredo Cassella: Piano Quintet in C (Bloch), 8s. 4-12" EL Scroll V 7874/77, on ‘Z’ shellac & on ‘Z’-type shellac, in Orig. Album M-191, w.Brochure. M-A, choice copy has neatly mended album. MB 35, the Set. K386. PRO ARTE QUARTET, w.Alfred Hobday: Quintet in g, K.516 (Mozart), 8s. 4-12" EL Orth Vla 7869/72, on ‘Z’-type shellac & ‘Z’ shellac. M-A, lovely copy has, Sds. 7 & 8, few lt. dust scrs, momentarily audible. MB 35, the Set. K387. PRO ARTE QUARTET, w.Alfred Hobday & Artur Schnabel (Pf.): Forellen Piano Quintet in A (Schubert), 10s. 5-12" EL Scroll V 14032/36, on ‘Z’-shellac, Orig. Album M-312, w.Brochure. M-A, appears unplayed! MB 45, the Set. K388. KREINER QUARTET (Sylvan & Alan Shulman, Josef Gingold, Edward Kreiner): Rispetti e Strambotti (Malipiero), 5s / Sd. 6 = Passepied (Beryl Rubinstein). 3-12” EL PW V 12132/34, in Orig. Album AM-397. M-A, Reviewer’s Copy. MB 25, the Set. K389. KREINER SEXTETTE (Sylvan & Alan Shulman, Josef Gingold, Edward Kreiner, Ely Lifshey & Carl Stern): Chorale for String Sextette (Roy Harris), 2s. 12” EL PW V 12537, only form of issue, 14 Aug., 1937. M-A, appears unplayed! MB 20 K390. MALKIN TRIO (Manfred, Jacques & Joseph Malkin): Piano Trio in g (Smetana), 7s / Sd. 8 = Autumn song (Tchaikovsky). 4-12” EL Viva-Tonal Col. 67530/33-D, only form of issue, 5-6 March, 1928, in Orig. Album #107. M-A, appears unplayed, albeit sev. minuscule dust scrs, Sd. 4 only & 2 lateral lams, Sd. 8! Quite elusive; only the second copy to have come through here! MB 65, the Set.

K391. KREISLER STRING QUARTET (Kreisler, Petrie, Primrose & Kennedy): Quartet in a, 7s / Sd.8 = Scherzo à la Dittersdorf (both Played by the Composer, Kreisler). 4-12” EL Scroll V 14253/56, POM-1 April, 1935, on ‘Z’ type shellac, in Orig. Album AM-335, w.Brochure. M-A, Reviewer’s Copy appears unplayed, albeit Sd. 7 only has infinitesimal dust scr, inaud! MB 95, the Set. K392. KREISLER STRING QUARTET (Kreisler, Petrie, Primrose & Kennedy): Quartet in a, 7s / Sd.8 = Scherzo à la Dittersdorf (both Played by the Composer, Kreisler). 4-12” EL Canadian V 14249/52, POM-1 April, 1935, in Orig. Album M-335, w.Brochure. M-A, appears unplayed! MB 75, the Set. K393. LÉNER STRING QUARTET: Moment musical #3 – Transcription / Sonata in G – Minuet – Transcription (both Schubert). 10” EL dark-blue PW Eng. Col. DB 290, POM-1930. M-A, Exemplary! MB 15 K394. LÉNER STRING QUARTET: Quartet in d, K.421 – Andante (Mozart), 2s. 10” EL dark-blue Eng. Col. DB 832, POM-1932. M-A, Exemplary! MB 10 K395. LÉNER STRING QUARTET: Prélude #6 in b, Op.28 / Prélude #4 in e, Op.28; Étude #1 in C, Op.10 (all Chopin). 10” EL early PW Col. 17046-D, on blue shellac, POM-1933. A to M-A, lovely copy has lt. rubs, inaud. MB 15 K396. LÉNER STRING QUARTET: Grosse Fuge, Op.133 (1930 Version) (Beethoven), 4s. 2-12” EL Viva-Tonal Col. 67873/74-D, POM-1930. M-A, appears unplayed! MB 45, the Pair. K397. LÉNER STRING QUARTET: Il Serioso Quartet in f, Op.95 (Beethoven), 6s. 3-12” EL Viva-Tonal Col. 67274/76-D (final disc is blue shellac pressing), POM-1926, in Orig. Album 56. M-A, appears unplayed! MB 45, the Set. K398. LÉNER STRING QUARTET: Quartet in F, Op.135 (Beethoven), 6s. 3-12” EL MasterWorks Col. 69021/23-D, POM-1936, in Orig. Album 307, w.Brochure. M-A, appears unplayed! MB 45, the Set. K399. LÉNER STRING QUARTET: Rasoumovsky Quartet in C, Op.59, #3 (Beethoven), 8s. 4-12” EL early PW Col. 67252/55-D, POM-1926, in Orig. Album 51, w.Brochure. M-A, appears unplayed! MB 45, the Set. K400. LÉNER STRING QUARTET: Quartet in A, Op.41, #3 (Schumann), 8s. 4-12” EL MasterWorks Col. 69117/20-D, POM-1936. A to M-A, lovely copy has of preferred MasterWorks pressing has, Sd. 3 only, various lt. scrs, inaud. MB 35, the Set. K401. LÉNER STRING QUARTET, w.Olga Loeser-Lebert: Piano Quintet in E-flat, Op.44 (Schumann), 8s. 4-12” EL early PW Col. 68188/91-D, on blue shellac, POM-1933, in Orig. Album 192. M-A, appears unplayed! MB 45, the Set. K402. LÉNER STRING QUARTET, w.Olga Loeser-Lebert: Piano Quintet in A, Op.81 (Dvorák), 8s. 4-12” EL Eng. Col. LX 150/53, POM-1930, in Orig. Album 232, w.Brochure. M-A MB 35, the Set. K403. LÉNER STRING QUARTET, w.Charles Draper: Clarinet Quintet in b, Op.115 (Brahms), 10s. 5-12” EL Viva-Tonal Col. 67613/17-D, on blue shellac, POM-1928, in Orig. Album 118. M-A, appears unplayed! MB 35, the Set. K404. BUDAPEST STRING QUARTET (Roismann, Schneider, Kroyt & Schneider): Quartet in g (Debussy), 8s. 4-12" EL vinyl Office of War Information – Overseas Branch 14, recorded (presumably) 10–12 Dec., 1940. M-A, lovely copy has, Sd. 8 only, few minuscule dust scrs, minimally audible a few turns. MB 25, the Set. K405. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in C, K.465 (Mozart), 6s. 3-12" EL Scroll V 8836/38, POM-14-15 Nov, 1932, on ‘Z’-type shellac, in Orig. Album M-285. A, lovely copy has faintest pap. rubs, inaud. MB 35, the Set. K406. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in F, K.590 (Mozart), 6s. 3-12" EL Scroll V 14360/62, POM-29-30 April, 1935, on ‘Z’-type shellac, in Orig. Album M-348, w.Brochure. M-A, appears unplayed! MB 45, the Set. K407. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in D, Op.18, #3 (Beethoven), 6s. 3-12" EL Scroll V 8863/65, POM-30 April, 1935, on ‘Z’-type shellac, in Orig. Album AM-289. M-A, appears unplayed! MB 35, the Set. K408. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in a, Op.51, #2 (Brahms), 8s. 4-12" EL Scroll V 8798/8801, POM-30 April, 1935, on ‘Z’-type shellac, in Orig. Album M-278, w.Brochure. A to M-A, choice copy has very occasional faintest pap. rub, inaud. MB 35, the Set. K409. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet #1 in E-flat (Mendelssohn), 6s. 3-12" EL Scroll V 14000/02, on ‘Z’-type shellac, POM-29 April, 1935, in Orig. Album M-307, w.Brochure. M-A, appears unplayed! MB 45, the Set. K410. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet #2 in a (Bartók), 8s. 4-12" EL Scroll V 14127/30, POM-25 & 27 April, 1936, on ‘Z’-type shellac, in Orig. Album AM-320, w.Brochure. M-A, appears unplayed! MB 55, the Set. K411. BUDAPEST STRING QUARTET (Roismann, Schneider, Ipolyi & Schneider): Quartet in a (Schubert), 8s. 4-12" EL Scroll V 11720/23, on ‘Z’ shellac, POM-4 April, 1934, in Orig. Album AM-225. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 35, the Set. K412. BUDAPEST STRING QUARTET, w.Hans Mahike: Quintet in G, Op.111 (Brahms), 6s. 3-12" EL Orth Vla 11553/55, in Orig. Album M-184, w.Brochure. M-A, appears unplayed! MB 35, the Set. K413. BUDAPEST TRIO (Endre Petri, Nicholas & George Roth): Dumky Trio in e, Op.90 (Dvorák), 6s. 3-12" EL purple Eng. Bruns. 30120/22, in Orig. Album 2, w.Brochure. M-A, Exemplary! MB 35, the Set.

K414. ADOLF BUSCH, AUBREY BRAIN & RUDOLF SERKIN: Horn Trio in E-flat, Op.40 (Brahms), 8s. 4-12” EL PW V & Orth Vla 7969/72, POM-13 Nov., 1933, partially on ‘Z’ shellac, in Orig. Album AM-199. A to M-A, choice copy has very occasional faintest pap. rub, inaud. MB 35, the Set. K415. ADOLF & HERMANN BUSCH & RUDOLF SERKIN: Trio #2 in E-flat (Schubert), 10s. 5-12” EL PW V 14464/68, POM-23 Oct., 1935, in Orig. Album M-374. M-A, Exemplary! MB 35, the Set. K416. BUSCH QUARTET: Rasoumovsky Quartet in C, Op.59, #3 (Beethoven), 8s. 4-12” EL PW V 8335/38, POM-10 & 16 Nov., 1933, in Orig. Album M-171, w.Brochure. M-A, appears unplayed! MB 35, the Set. K417. BUSCH QUARTET: Quartet in E-flat, Op.127 (Beethoven), 10s. 5-12” EL PW V 15097/15101, POM-1936, in Orig. Album AM-489, w.Brochure. M-A, Exemplary! MB 35, the Set. K418. BUSCH QUARTET: Quartet in c-sharp, Op.131 (Beethoven), 10s. 5-12” EL PW V 14432/36, POM-2 March, 1936, in Orig. Album M-369, w.Brochure. M-A, Exemplary, albeit mended album. MB 35, the Set. K419. BUSCH QUARTET: Quartet in a, Op.132 (Beethoven), 11s. 6-12” EL PW V 16258-S / 63, POM-7 Oct., 1937, in Orig. Album DM-490, w.Brochure. M-A, appears unplayed, albeit Sd. 1 only has wee dust scr, inaud. MB 35, the Set. 9

K420. BUSCH QUARTET: Quartet in F, Op.135 (Beethoven), 8s. 4-12” EL Scroll & PW V 8850/53, POM-13 Nov., 1933, on ‘Z’-type shellac, in Orig. Album M-287, w.Brochure. M-A, Exemplary! MB 45, the Set. K421. BUSCH QUARTET: Death and the Maiden Quartet in d (Schubert), 8s. 4-12” EL PW V 15009/12, POM-16 Oct., 1936, in Orig. Album AM-468, w.Brochure. M-A, lovely copy has, Sds. 3 & 8, lt. rub, inaud. MB 35, the Set. K422. BUSCH CHAMBER PLAYERS: Spiritual #2 – Mary an’ Matha jes’ gone ‘long to ring dem charmin’ bells (Played by Composer). 10” EL S/S Special shellac Pressing of Unpublished 34657, POM-30 April, 1945. MINT MB 20 K423. BUSCH CHAMBER PLAYERS, w.Marcel Moyse (Flute): Suite #1 in C; Suite #2 in b (both Bach), 12s. 6-12" EL PW V 11993/98, on ‘Z’-type shellac, POM-28 Oct. / 1 Nov., 1936, in Orig. Album M-332, w.Brochure. M-A, exemplary copy has, Sds 1 & 10 only, few lt. pap. rubs, inaud. MB 45, the Set. K424. BUSCH CHAMBER PLAYERS: Suite #3 in D; Suite #4 in D (both Bach), 10s. 5-12" EL Scroll V 12009/13, POM-28 / 27 Oct., 1936, on ‘Z’-type shellac, in Orig. Album M-339. M-A, Exemplary! MB 45, the Set. “One of the major chamber music forces of the first half of the 20th Century, the [Busch String Quartet] was in many respects a perfect complement to the occasionally more celebrated Budapest Quartet. Whereas the Budapest’s Beethoven was purged of many of the performance practices typical of the earlier half of the century, the Busch did not hesitate to incorporate them….these parameters never spill over into tastelessness.” – Mortimer H. Frank, CLASSIC RECORD COLLECTOR, Summer, 2007 K425. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): The Lark Quartet in D, Op.64, #5 (Haydn), 6s. 3-10" EL Japanese Viva-Tonal Col. J5201/03, POM-1927-28. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 45, the Set. K426. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): Quartet in C, K.465 (Mozart), 8s. 4-12" EL PW Eng. Col. L 2290/93, POM-1927-28, in Orig. Eng. Col. Album, w.Brochure. M-A, Exemplary! MB 75, the Set. K427. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): Quartet in a (Schumann), 6s. 3-12" EL PW Eng. Col. L2329/31, POM-1927-28. M-A, Exemplary! MB 75, the Set. K428. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): Quartet in A, Op.18, #5 (Beethoven), 8s. 4-10" EL PW Eng. Col. D1659/62, POM-1927-28, in Orig. Eng. Col. Album, w.Brochure. M-A, Exemplary! MB 75, the Set. K429. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): Quartet in c-sharp, Op.131 (Beethoven), 10s. 5-12" EL PW Eng. Col. L 2283/87, POM-1927-28, in Orig. Eng. Col. Album. M-A, Exemplary! MB 95, the Set. K430. CAPET STRING QUARTET (Capet, Hewitt, Benoit & Delobelle): Quartet in a, Op.132 (Beethoven), 10s. 5-12" EL PW Eng. Col. L 2272/76, POM-1927-28. A-, lovely copy has, Sds 1-4 only, lt. rubs, inaud. MB 55, the Set. “[Capet’s] specialty was Beethoven, whose quartets he played in complete series….There are some outstanding records of these performances, so that posterity is in a position to gain a true picture of his individuality.” – Carl Flesch, MEMOIRS, pp.93 & 94 K431. LOUIS BAILLY Cond. The Curtis Chamber Music Ensemble: Triptique for String Orchestra (Tansman), 4s. 2-12” EL Scroll V 11944/45, on ‘Z’ shellac, only form of issue, 1936. M-A, appears unplayed! Louis Bailly was a founding member, 1903, of the Capet Quartet; played with the Flonzaley Quartet, 1917-24, and was chairman of the Curtis chamber music department until 1941. MB 20, the Pair. K432. HENRI MERCKEL, MADDALENA MARCELLI-HERSON & ELIANE ZURFLUH-TENROC: Trio in a (Ravel), 6s. 3-12” EL Scroll V 11243/45, on ‘Z’ shellac, POM-1931, in Orig. Album M-129, w.Brochure. M-A, appears unplayed! MB 35, the Set. K433. INTERNATIONAL STRING QUARTET (Mangeot, Voorsanger, Bray & Shinebourne): Quartet #6 (Locke), 2s. 12” National Gramophonic Society 143, only form of issue, 1930. M-A, appears unplayed! MB 20 K434. INTERNATIONAL STRING QUARTET (Mangeot, Voorsanger, Bray & Shinebourne), w.Georges Pitsch (Cello): Sonate en Concert #5 in e (Vivaldi), 3s / Sd. 4 = JOHN BARBIROLLI & ETHEL BARTLETT (Pf.): Three Pieces (arr.Bartlett). 2-12” National Gramophonic Society 131/32, only form of issue, 1929. M-A, appears unplayed, albeit Sd. 4 only has sev. faintest pap. rubs, inaud. MB 35, the Pair.

Nos. K435 – K571 are Orchestral Music 78rpm records K435. ERNST LÉVY Cond. Choeurs Philharmoniques de Paris: MISSA CHORALIS (Liszt), 10s. 5-12” EL dark-green French Polydor 516.627/631, POM-1935. M-A, appears unplayed! MB 45, the Set. “Lévy’s performances are not for the faint of heart….Born in Basel, Switzerland on 18 November 1895, Lévy’s early training included studies with French virtuoso Raoul Pugno (1852-1914) and with Busoni’s disciple Egon Petri (1881-1962). Composer Hans Huber (1852-1921) also was an important early influence. Four years later Levy set up residence in Paris and after spending some time as a pianist and teacher, he founded in 1928 the Choeur Philharmonique. ‘I was steeped in choral singing, coming from Basel’, Lévy said. ‘When I arrived in Paris, I noticed that there were no big amateur choruses. There were only some little choruses in churches here and there. I noticed that many masterworks were not known in Paris and that there was a need to create a chorus. It was not easy, but I succeeded’. In 1935 Lévy and Choeur Philharmonique recorded Liszt’s Missa Choralis for the Polydor label, the first recording ever made of one of Liszt’s sacred choral works.” – Donald Manildi, ERNST LÉVY, FORGOTTEN GENIUS K436. PIERO COPPOLA Cond.: España (Chabrier), 2s. 12” EL plum Disque Gram. L-678. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12 K437. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Valses Nobles et Sentimentales (Ravel), 4s. 2-12” EL Scroll V 11727/28, on ‘Z’-shellac, POM-5 Feb., 1934. M-A, lovely copy has, Sd. 1, faintest pap. rubs, inaud. MB 20, the Pair. K438. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Le Tombeau de Couperin (Ravel), 4s. 2-12” EL PW V 12320/21, POM-26 Oct., 1930. (Grand Prix du Disque, 1932). M-A, appears unplayed! MB 15, the Pair. K439. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Daphnis et Chloé – Suite #1- 2 excerpts (Ravel), 2s. 12” EL Scroll V 11882, on ‘Z’-type shellac, POM-5 Feb., 1934. M-A MB 12 K440. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Images Pour Orchestre – Ibéria (1935 Version), 5s / Sd. 6 = La Soirée dans Grenade (both Debussy). 3-12” EL Scroll V 11888/90, on ‘Z’-type shellac, POM-12 March, 1935, in Orig. Album M-77, w.Brochure. M-A, appears unplayed! MB 35, the Set. “…there was no attempt to project his personality on to the composer he conducted; like many of the great conductors of the period, [Coppola] trusted the composer to speak for himself, and his readings are thus free from affectation. His account of Debussy’s Ibéria still strikes me as having more atmosphere, delicacy and flair that most of the readings at present in the catalogue. He has just the right degree of rubato in the middle movement, just the right feeling for texture and colour, and a genuine warmth and spontaneity.” - Robert Layton, Gramophone, May, 1971 K441. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Antar Symphony #2 (Rimsky-Korsakov), 6s. 3-12” EL Scroll V 11671/73, on ‘Z’ shellac & ‘Z’-type shellac, POM-15 March, 1933, in Orig. Album M-210. M-A, choice set has, Sd.3 only, faintest pap. rubs & pap. scrs, inaud. MB 25, the Set. K442. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Rhenish Symphony #3 in E-flat (Schumann), 6s. 3-12” EL Orth Vla 11706/08, on ‘Z’ shellac, POM-1933, in Orig. Album M-237, w.Brochure. M-A, appears unplayed! MB 35, the Set. K443. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Istar – Variations Symphoniques (d’Indy), 3s / Sd.4 = FABIEN SEVITZKY Cond. Philadelphia Chamber String Sinfonietta: Molly on the shore (Grainger). 2-12” EL Orth Vla 11559/60, POM-19 April, 1932. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 15, the Pair K444. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Habanera (Louis Aubert), 2s. 12” EL black Disque Gram. W-1151, only form of issue, 1930. M-A, lovely copy has, Sd. 2, faint pap. rub, inaud. MB 10 K445. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Phaëton – Poème symphonique (Saint-Saëns), 2s. 12” EL silver PW V 11431, POM-1930. M-A, appears unplayed! MB 10 K446. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Le Roi d’Ys – Overture, 3s / Sd. 4 = Divertissement in A – Andantino (both Lalo). 2-12” EL plum Disque Gram. L-863/64, POM-1930. M-A, appears unplayed! MB 15, the Pair. K447. PIERO COPPOLA Cond. Paris Conservatoire Orch.: I Pini di Roma (Respighi), 4s. 2-12” EL Scroll V 11917/18, on ‘Z’-type shellac, POM-1936. M-A, lovely copy has, Sd. 4, faintest pap. rubs, inaud. MB 25, the Pair. K448. PIERO COPPOLA Cond. Paris Conservatoire Orch.: Sigurd – Overture (Reyer), 2s. 12” EL Disque Gram. DB 4947, only form of issue, 8 Oct., 1934. M-A, Exemplary! MB 12 K449. PIERO COPPOLA Cond. Pasdeloup Orch.: Louise – Prélude, Act II (Charpentier), 2s. 10” EL Disque Gram. DA 4868, only form of issue, 1934. M-A, Exemplary! MB 12 K450. PIERO COPPOLA Cond. Pasdeloup Orch.: Salome – Interlude, Scene 3 / Interlude, Scene 4 (Strauss). 10” EL Orth Vla 4283, POM-1934. A-, lovely copy has lt. rubs & few tiny dust scrs, minimally audible. MB 8 “In spite of his…almost shrinking modesty, [Coppola’s] ambition was conducting. In the French capital he forged his way to the front rank of conductors, and much to my surprise and pleasure I observed him commanding the respect and dignity of artists and public alike.” – Fred Gaisberg, A Matter of Records, p.154

K451. ARTURO TOSCANINI Cond.: Symphonic Rehearsal, 2s. 10” EL pale-blue vinyl CRS 10,000. M-A, Exemplary! MB 15 K452. ARTURO TOSCANINI Cond. La Scala Orch.: Pisanella – Le quai du port de Famagouste (Pizzetti). 10” AC Vla 64952, POM-21 Dec., 1920. M-A, Reviewer’s Copy. MB 10 K453. ARTURO TOSCANINI Cond. La Scala Orch.: L’Arlesienne – Suite #2 – Farandole (Bizet). 10” AC Vla 64986, POM-11 March, 1921. A to M-A, lovely copy has few dust scrs, inaud. MB 8 K454. ARTURO TOSCANINI Cond. La Scala Orch.: Carmen – Aragonaise (Prélude, Act. IV) (Bizet). 10” AC Vla 64999, POM-31 March, 1921. M-A, Exemplary! MB 10 K455. ARTURO TOSCANINI Cond. La Scala Orch.: Don Pasquale – Overture (Donizetti), 2s. 2-10” AC Vla 66030/31, POM-30/29 March, 1921. M-A, Exemplary! MB 12, the Pair. K456. ARTURO TOSCANINI Cond. La Scala Orch.: Il Segreto di Susanna – Overture (Wolf-Ferrari). 10” AC Vla 66081, POM-10 March, 1921. M-A, Exemplary! MB 10 “The 1920-21 series of La Scala recordings are, in my opinion, unjustly neglected, for they preserve some of the best orchestral sound made by the acoustic process….He conducted the La Scala Orchestra, with which he was on an American tour, and the recordings were made in Camden, New Jersey….” – Clive Pearsall, THREE ITALIAN CONDUCTORS (John Hunt, Ed.), p.13 K457. ARTURO TOSCANINI Cond. NYPO: Symphony #7 in A (Beethoven), 10s. 5-12” EL Scroll V 14097/14101, on ‘Z’-type shellac, POM-1936, in Orig. Album M-317, w.Brochure. M-A, appears unplayed. MB 35, the Set. K458. ARTURO TOSCANINI Cond. NYPO: L’Italiana in Algeri – Overture (Rossini), 2s. 12” EL Scroll V 14161, on ‘Z’-type shellac, POM-10 April, 1936. M-A, Exemplary! MB 12 K459. ARTURO TOSCANINI Cond. NYPO: La Traviata – Préludes, Acts I & III (Verdi), 2s. 12” EL Scroll V 6994, on ‘Z’-shellac, POM-18 March, 1929. M-A, lovely copy has, Sd. 2 only, few faintest rubs, inaud. MB 12 K460. ARTURO TOSCANINI Cond. NYPO: Haffner Symphony #35 in D, K.385 (Mozart), 5s / Sd. 6 = Orfeo – Dance of the blessed spirits (Gluck). 3-12” EL Scroll V 7136/38, on ‘Z’-type shellac, POM-4-5 April / 21 Nov., 1929, in Orig. Album M-65, w.Brochure. M-A, Exemplary! MB 35, the Set. K461. ARTURO TOSCANINI Cond. NYPO: Lohengrin – Préludes to Acts I & III; Götterdämmerung – Dawn and Rhine Journey; Siegfried Idyll (all Wagner), 10s. 5-12” EL Scroll V 14011/15, on ‘Z’-type shellac, POM-1936, in Orig. Album AM-308, w.Brochure. M-A, appears unplayed. MB 35, the Set. K462. ARTURO TOSCANINI Cond. NBC S.O.: Nutcracker Suite (Tchaikovsky), 4s. 2-12” EL vinyl V Disc 261/62, only form of issue, Live Broadcast, 25 June, 1944, from Studio 8–H, Radio City, New York. M-A, appears unplayed, albeit Sd. 2 only has few minuscule dust scrs. MB 25, the Pair. K463. ARTURO TOSCANINI Cond. NBC S.O.: Il Signor Bruschino – Overture (Rossini) / FABIAN SEVITZKY Cond. Indianapolis S.O.: Peer Gynt – Suite #2 – Solvieg’s song (Grieg). 12” EL vinyl V Disc 637, only form of issue, Live Broadcasts, 11 Nov., 1945, from Studio 8–H, Radio City, New York / 30 Dec., 1944, Murat Theatre, Indianapolis. M-A, appears unplayed, albeit Sd. 1 only has infinitesimal pap. scr, inaud. MB 15 K464. DON GILLIS Cond. New Symphony of London: Saga of a Prairie School Symphony #7 (Cond. by Composer), 6s. 3-12” EL 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 35, 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 trumpets – essential to Gillis’ bright scoring – ring out crisp and clean.” - Steven J.Haller, AMERICAN RECORD GUIDE, July/Aug., 2003 K465. CECIL LEESON (Saxophone), w.Josef Wagner (Pf.): Sonata for E-flat Alto Saxophone (Moritz), 6s. 3-12” EL red Decca 29079/81, only form of issue, 1941, in Orig. Album 187, w.Brochure. M-A, appears unplayed, albeit very occasional pap. scr, inaud. MB 35, the Set. “Cecil Leeson possessed a beautiful, clean saxophone sound and used a Martin with custom keys….We have here his stellar performance with saxophone and string quartet. He is widely credited with establishing the Saxophone as a legitimate concert instrument. A number of works by his contemporaries such as Paul Creston were dedicated to him and he enjoyed a long career before his death in 1989.” K466. LAMAR STRINGFIELD (Flute), w.Jack Gasselin, Henry Nosco, Léon Barzin & Lucien Schmidt: Moods of a Moonshiner (Sound-pictures by a North Carolinian) (Played by the Composer), 4s, 2-12” EL dark-red Royale 601/02, only form of issue, 1942, in Orig. Album 35. M-A, appears unplayed! MB 35, the Set. “Lamar Stringfield studied at Wake Forest University, then traveled to New York to study flute and composition at the Institute of Musical Art. He spent some time as a freelance player and conductor in New York, then returned to his home in North Carolina where he founded the North Carolina Symphony. In 1928 he was awarded the Pulitzer Prize for his orchestral suite From the Southern Mountains. He was particularly interested in using American folk music in his compositions, including American Indian themes.”

K467. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Quintetto in E – Minuetto (Boccherini) / String Quartet Op.3, #5 – Andante cantabile (Haydn). 12” EL Scroll V 7256, on ‘Z’ shellac, POM-1929. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K468. 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" EL Scroll V 8492/96, on ‘Z’ shellac, POM-1933, in Orig. Album M 243, w.Brochure. M-A, appears unplayed! MB 35, the Set. K469. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Toccata and Fugue in b (Bach), 2s. 12” EL Scroll V 6751, on ‘Z’ shellac, POM-1927. A, lovely copy has few lt. rubs, inaud. MB 10 K470. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Little Fugue in g / Christ lag in Todesbanden (both Bach). 12" EL Scroll V 7437, on ‘Z’-type shellac, POM-1931. M-A, choice copy has, Sd. 2 only, tiny pressing bump, inaud. MB 15 K471. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: The Great Fugue in g (Bach), 2s. 10" EL Scroll V 1728, on ‘Z’-type shellac, only form of issue, 1934. M-A, appears unplayed! MB 15 K472. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Johannes-Passion – Es ist vollbracht (Bach), 2s. 12" EL Scroll V 8764, on ‘Z’-type shellac, POM-1934. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K473. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Water Music Suite (Handel-Stokowski), 4s. 2-12" EL Scroll V 8550/51, on ‘Z’ shellac, POM-1934. M-A, appears unplayed! MB 20, the Pair. K474. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Alceste – Prélude; Thésée – Marche / Triomphe de l’amour – Notturno (all Lully). 12" EL Scroll V 7424, on ‘Z’ shellac, POM-1930. A-/M-A, barely played copy has, Sd. 1 only, sev. heavy pap.scrs, only occasionally very ltly audible during Marche. MB 12 K475. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: La Grande Pâque Russe – Overture (Rimsky-Korsakov), 4s. 2-12” EL Scroll V 7018/19, on ‘Z’ shellac, POM-1929. A to M-A, lovely copy has, Sd. 1 only, 2 infinitesimal pap. scrs, inaud.; Sds 3 & 4 only have 3 ec, Sd. 4 only into 1st grooves. MB 20, the Pair. K476. LEOPOLD STOKOWSKI Cond. NBC S.O.: Marche slave (Tschaikovsky), 2s. 12” EL vinyl Special Pressing of Unpublished Mx.CS-075025/26, POM-23 April, 1942. MINT MB 65 K477. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Marche slave (Tschaikovsky), 2s. 12" EL Scroll V 6513, on ‘Z’ shellac, POM-1925. M-A, appears unplayed! MB 20 K478. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Casse Noisette – Ballet Suite (Tschaikovsky), 6s. 3-12" EL Scroll & PW V 8662/64, partially on ‘Z’-type shellac, POM-1934, in Orig. Album M-265, w.Brochure. M-A, Exemplary! MB 25, the Set. K479. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Caucasian Sketches – In the village (Ippolitov-Ivanov) / Prince Igor – Polovetzki Dance (Borodin). 12" EL (AC label) V 6514, on ‘Z’ shellac, POM-1925. A to M-A, lovely copy has, Sd. 1 only, sev. tiny scrape, very ltly audible merely 5 turns. MB 12 K480. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Eight Russian Folk Dances (Liadov), 4s. 12” EL Orth Vla 8491, on ‘Z’ shellac & 10” Orth Vla 1681, on ‘Z’-type shellac, POM-1934. M-A, beautiful pair. MB 35, the Pair. K481. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Prélude à l’Après-Midi d’un Faune (Debussy), 2s. 12” EL Scroll V 6696, on ‘Z’-type shellac, POM-1927. M-A, Exemplary! MB 15 K482. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rapsodie Espagnole (Ravel), 4s. 2-12" EL Scroll V 8282/83, on ‘Z’ shellac, POM-1934. A, lovely copy has very lt. rubs, inaud. MB 20, the Pair. K483. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Ibéria – Fête-Dieu à Séville (Albéniz), 2s. 12” EL Orth Vla 7158, on ‘Z’ shellac, POM-1928. M-A, Exemplary! MB 15 K484. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Danse macabre (Saint-Saëns), 2s. 12” EL Scroll V 14162, on ‘Z’-type shellac, POM-1936. A Stokowski sensation! M-A, appears unplayed! MB 25 K485. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Danse macabre (Saint-Saëns), 2s. } 12” EL Disque Gram. DB 3077, POM-1936. M-A/A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 K486. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Serenade for Orchestra – Minuet in a (Brahms), 2s. 10" EL Scroll V 1720, on ‘Z’-type shellac, POM-1934. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K487. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Unfinished Symphony #8 in b (Schubert), 6s. 3-12" EL Scroll V 6663/65, on ‘Z’ shellac, POM-1927, in Orig. Album M-16, w.Brochure. M-A, lovely copy has, Sds 1 & 6 only, occasional superficial pap. scr or pap. rub, inaud. MB 25, the Set. K488. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #4 in a (Sibelius), 8s. 4-12" EL Scroll V 7683-86, on ‘Z’-shellac, only form of issue, 1932, in Orig. Album M-160, w.Brochure. M-A, appears unplayed! MB 35, the Set. 489. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Finlandia (Sibelius), 2s. 12” EL Scroll V 7412, on ‘Z’ shellac, POM-1930. A, lovely copy has faintest pap. rubs, inaud. MB 10 K490. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Romeo and Juliet – Overture (Tchaikovsky), 5s / Sd. 6 = La Vida Breve – Danza español (de Falla). 3-12" EL Scroll V 6995/97, on ‘Z’-shellac & Z’-type shellac, POM-1928, in Orig. Album M-46. M-A, lovely copy has faintest pap. rubs, inaud. MB 25, the Set K490a. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Die Meistersinger - Act III Prelude, 2s. 10" EL Orth Vla 1584, POM-1931. M-A MB 10

K491. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #5 (Tschaikowsky), 12s. 6-12" EL Scroll V 8589/94, on ‘Z’ shellac & ‘Z’-type shellac, POM-1934, in Orig. Album M-253, w.Brochure. M-A, appears unplayed! MB 45, the Set. K492. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Schéhérazade (Rimsky-Korsakov), 12s. 6-12" EL Scroll V 8698/8703, on ‘Z’-shellac, POM-1934, in Orig. Album M-269. M-A, appears unplayed! MB 45, the Set K493. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le Poème de l’Extase, 4s; Poème du feu, 4s. (both Scriabin) 4-12" EL Orth Vla 7515/18, on ‘Z’ shellac & ‘Z’-type shellac, POM-1932, in Orig. Album M-125. M-A, appears unplayed! MB 45, the Set K494. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le Poème de l’Extase, 4s; Poème du feu, 4s. (both Scriabin) 4-12" EL Orth Vla 7515/18, on Vitrolac (Victor’s short-lived flexible plastic), POM-1932, in Orig. Album M-125. M-A, pristine copy of preferred Vitrolac pressing! MB 45, the Set. K495. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Le Sacre du Printemps (Stravinsky), 8s. 4-12" EL Scroll V 7227/30, on ‘Z’-type shellac, POM-1930, in Orig. Album M-74, w.Brochure. M-A, choice copy has, Sd. 7 only, minuscule pap. scr, inaud. MB 45, the Set. K496. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: L’Oiseau de Feu – Suite (Stravinsky), 5s / Sd.6 = Prélude#14 in e-flat (Shostakovich-Stokowski). 3-12" EL Scroll V 8926/28, on ‘Z’-type shellac, POM-1935, in Orig. Album M-291, w.Brochure. M-A, appears unplayed! MB 25, the Set. K497. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Carmen – Aragonaise (Prélude, Act. IV) / Prélude, Act 1 (Bizet). 10" EL Scroll V 1356, on ‘Z’-type shellac, POM-1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K498. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: The Stars and Stripes Forever / El Capitane (both Sousa). 10" EL PW V 1441, POM-1929/'30, resp. M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K499. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #2 – Rhumba, (Complete, as recorded) (Harl McDonald). 12" EL Shellac S/S RCA Special white label Pressing (w.RCA embossed spiderweb verso) of CS 94619, issued for Members of the M.T.N.A. and A.S. of M., POM-1935. A, lovely copy has few lt rubs, inaud. MB 15 K500. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #1 in c (Brahms), 10s. 5-12” EL Scroll V 8971/75, on ‘Z’-type shellac, POM-1935-36, in Orig. Album M-301, w.Brochure. M-A, Exemplary! MB 35, the Set. K501. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #2 in D (Brahms), 12s. 6-12” EL Scroll V & Orth Vla 8277/82, on ‘Z’ shellac & ‘Z’-type shellac, POM-1929, in Orig. Album M-82, w.Brochure. M-A, Exemplary! MB 45, the Set. K502. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Symphony #3 in F (Brahms), 10s. 5-12” EL Scroll V 6962/66, on ‘Z’ shellac, POM-1928, in Orig. Album M-42, w.Brochure. M-A, appears unplayed! MB 45, the Set. K503. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: New World Symphony #5 (Dvorak), 10s. 5-12” EL Scroll V 8737/41, on ‘Z’-type shellac, POM-1934, in Orig. Album M-273, w.Brochure. M-A, choice copy has, Sds 4 & 5 only, very few superficial mks, inaud. MB 35, the Set. K504. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Bali (Symphonic variations) (Henry Eichheim), 3s / Sd. 4 = Etenraku (8th Century Japanese ceremonial Prelude) (arr. Kunoye). 2-12" EL Scroll V 14141/42, on ‘Z’-type shellac, only form of issue, 1934. M-A, choice copy has, Sd., 2 only, faintest pap. rubs, inaud. MB 25, the Pair. K505. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Salome – Dance of the seven veils (Strauss), 3s / Sd. 4 = Japanese nocturne (Henry Eichheim). 2-12" EL Orth Vla 7259/60, on ‘Z’ shellac, POM-1929. A/A-, lovely copy has, primarily Sds 3 & 4, lt. rubs & pap. mks, inaud. MB 15, the Pair. K506. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tod und Verklärung (Strauss), 6s. 3-12” EL Scroll V 8288/90, on ‘Z’ shellac, POM-1934, in Orig. Album M-217, w.Brochure. M-A, appears unplayed! MB 45, the Set. K507. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Rienzi – Overture, 3s / Sd. 4 = Götterdämmerung – Finale (both Wagner). 2-12" EL Scroll V & Orth Vla 6624/25, Sds. 1 & 2 on ‘Z’-type shellac, POM-1926-27. M-A, Exemplary! MB 15, the Pair. K508. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Parsifal – Symphonic Synthesis (Wagner), 4s. 2-12" EL Scroll V 8617/18, on ‘Z’ shellac, POM-1934. M-A, appears unplayed! MB 25, the Pair. K509. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tannhäuser – Overture & Venusburg Music (Wagner), 6s. 3-12” EL Scroll & PW V 7262/64, on ‘Z’-shellac & ‘Z’-type shellac, POM-1929-30, in Orig. Album M-78, w.Brochure. M-A, appears unplayed, albeit Sd. 4 only has few lt. rubs, inaud. MB 35, the Set. K510. LEOPOLD STOKOWSKI Cond. Philadelphia Orch.: Tristan und Isolde – Orchestral Synthesis (Wagner), 8s. 4-12” EL Scroll V 7621/24, on ‘Z’-type shellac, POM-1932, in Orig. Album M-154, w.Brochure. M-A, appears unplayed! MB 35, the Set. K511. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Lawrence Tibbett (Bar.): Die Walküre – Excerpts, 8s. 4-12” EL Scroll & PW V 8542/45, partially on ‘Z’-type shellac, POM-1934, in Orig. Album M-248, w.Brochure. M-A, appears unplayed! MB 35, the Set. K512. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Agnes Davis: Götterdämmerung – Siegfried’s Rhine journey; Siegfried’s death; Brünnhilde’s Immolation (Wagner), 10s. 5-12” EL Orth Vla 7843/47, on ‘Z’-type shellac, POM-1933, in Orig. Album M-188. M-A, appears unplayed, albeit Sd. 10 only has 2 infinitesimal pap. scrs, inaud. MB 45, the Set.

K513. LEOPOLD STOKOWSKI Cond. Philadelphia Orch., w.Agnes Davis, Cathcart, Betts & Loewenthal: Choral Symphony #9 in d (in English) (Beethoven), 17s. 9-12” EL Scroll V 8433-41-S, on ‘Z’ shellac & ‘Z’-type shellac, POM-1934, in Orig. Album AM-236. M-A, appears unplayed! MB 65, the Set. “Stokowski’s quarter-of-a-century in Philadelphia was one of the most celebrated in the annals of 20thcentury music, since he took a small provincial ensemble and turned it into one of the greatest orchestras in the world.” – John Hunt, LEOPOLD STOKOWSKI DISCOGRAPHY K514. ROBERT KAJANUS Cond.: Symphony #1 in e, 9s / Sd.10 = Karelia Suite – Alla marcia (both Sibelius). 5-12” EL MasterWorks Col. 67844/48-D, POM-1930, in Orig. Album 151, w.Brochure. M-A, Exemplary! MB 35, the Set. K515. ROBERT KAJANUS Cond.: Symphony #2 in D, 9s / Sd.10 = Karelia Suite – Intermezzo (both Sibelius). 5-12” EL PW Australian Col. LOX-90/94, POM-1930. M-A, Exemplary! MB 35, the Set. K516. ROBERT KAJANUS Cond. London S.O.: Symphony #3 in C, 8s / SERGE KOUSSEVITZKY Cond. BBC S.O.: Symphony #7 in C, 6s (both Sibelius). 7-12” EL PW V 12117/20, POM-1932; 14555/57, POM-15 May, 1933, in Orig. Album AM-394, w.Brochure. M-A, Exemplary! MB 35, the Set. K517. ROBERT KAJANUS Cond. London S.O.: Symphony #5 in E-flat, 7s / Sds 8-14 = Pohjola’s Daughter; Tapiola (all Sibelius). 7-12” EL Scroll V 11503/09, on ‘Z’ shellac & ‘Z’-type shellac, in Orig. Album M-333, w.Brochure. M-A, Exemplary! MB 45, the Set. K518. ROBERT KAJANUS Cond. London S.O.: Belshazzar’s Feast (Sibelius), 4s. 2-12” EL PW V 13435/36, POM-1932; in Orig. Album M-715, w.Brochure. M-A, lovely copy has faintest pap. rubs, inaud. MB 15, the Set. “Kajanus was the first to make recordings of Sibelius’ First, Second, Third and Fifth symphonies. They were recorded in the early 1930s, with the London Symphony Orchestra. In 1930, the Finnish government and Britain's EMI-Columbia label, perceiving a potentially wide audience for the composer's work, contrived to secure recordings of Sibelius' first two symphonies, and Kajanus was selected to record both at the insistence of the composer. In 1932, Kajanus recorded Symphonies Nos. 3 and 5, along with several of the orchestral suites and tone poems. Apart from being the most massive recording project ever attempted around the work of a living composer, these recordings were considered definitive for many years, and are still regarded as necessary listening for serious fans of Sibelius.” K519. SERGE KOUSSEVITZKY Cond. Boston S.O.: Boléro (Ravel), 3s / Sd.4 = Gymnopédie #1 (Satie-Debussy). 2-12” EL Scroll V 7251/52, on ‘Z’ shellac, POM-14 April, 1930. A, lovely copy has few lt. rubs, inaud. MB 20. the Pair. K520. SERGE KOUSSEVITZKY Cond. Boston S.O.: Also Sprach Zarathustra (Strauss), 9s. 5-12" EL Scroll V 8619/23-S, on ‘Z’ shellac, POM-22 Jan., 1935, in Orig. Album M-257, w.Brochure. M-A, appears unplayed! MB 35, the Set. K521. SERGE KOUSSEVITZKY Cond. Boston S.O.: Symphony #2 in D (Sibelius), 11s. 6-12" EL Scroll V 8721/26-S, on ‘Z’-type shellac, POM-24 Jan., 1935, in Orig. Album M-272, w.Brochure. M-A, appears unplayed! MB 35, the Set. K522. SERGE KOUSSEVITZKY Cond. Boston S.O.: Romeo and Juliet – Overture (Tchaikovsky), 6s. 3-12" EL Scroll V 14356/58, on ‘Z’-type shellac, POM-28 Dec., 1936, in Orig. Album AM-347, w.Brochure. M-A, lovely copy has, Sds. 3 & 4 only, occasional faintest pap. rubs, inaud. MB 35, the Set. K523. SERGE KOUSSEVITZKY Cond. Boston S.O.: Italian Symphony #4 in A (Mendelssohn), 6s. 3-12" EL Scroll V 8892/94, on ‘Z’-type shellac, POM-23 Jan., 1935, in Orig. Album AM-294, w.Brochure. M-A, lovely copy has occasional faintest pap. rubs, inaud. MB 25, the Set. K524. SERGE KOUSSEVITZKY Cond. Boston S.O.: Unfinished Symphony #8 in b, 5s / Sd. 6 = Rosamunde – Ballet music (both Schubert). 3-12" EL Scroll V 14120/22, on ‘Z’-type shellac, POM-6 / 8 May, 1936, in Orig. Album AM-319, w.Brochure. M-A, lovely copy has occasional faintest pap. rubs, inaud.; Sd. 6 only has ec into 1st grooves. MB 25, the Set. K525. ADOLF BUSCH Cond. Busch Chamber Orch.: Adagio & Fugue in c, K.546 (Mozart), 2s. 12” EL Disque Gram. DB 3391, POM-10 Oct., 1937. M-A MB 12 K526. FRITZ BUSCH Cond. Berlin Staatsoper Orch.: Die Aegyptische Helena – Helenas Erwachen / Da-Uds Tod (Strauss). 12” EL red Decca-Odeon 25031, POM-1 Oct., 1928. M-A MB 12 K527. FRITZ BUSCH Cond. Berlin Staatsoper Orch., w.Rose Pauly-Dreesen: Die Aegyptische Helena – Bei jener, Nacht / Zweite Brautnacht! (Strauss). 12” EL red Decca-Odeon 25850, POM-1 Oct., 1928. M-A MB 12 K528. FRITZ BUSCH Cond. Berlin Staatsoper Orch., w.Rose Pauly-Dreesen: Die Aegyptische Helena – Bei jener, Nacht / Zweite Brautnacht! (Strauss). 12” EL PW Eng. Parlophone E10787, POM-1 Oct., 1928. M-A MB 15 K529. FRITZ BUSCH Cond. BBC S.O.: Till Eulenspiegels Lustige Streiche (Strauss), 4s. 2-12” EL Scroll V 11724/25, POM-5 March, 1934, on ‘Z’ shellac. A to M-A, lovely copy has, Sds. 1 & 4only, long but lt. nrs which tick a very few times. MB 12, the Pair. K530. FRITZ BUSCH Cond. BBC S.O.: Linz Symphony #36 in C, K.425 (Mozart), 6s. 3-12” EL Scroll V 11802/04, POM-5 March, 1934, on ‘Z’ shellac, in Orig. Album M-266, w.Brochure. M-A, appears unplayed! MB 35, the Set. K531. ALFRED HERTZ Cond. San Francisco S.O.: Tristan – Prélude (Wagner), 2s. 12” EL PW V 6585, POM-20 April, 1926. A, lovely copy has faintest pap. rubs, inaud. MB 10

K532. ALFRED HERTZ Cond. Berlin Phil.: Parsifal – Prelude (Wagner), 3s. 3-12” AC black S/S HMV 040772/74 (1160/63½s), POM-1913. A to M-A, lovely copy has, Sd.3 only, 2 faint nr, inaud. MB 35, the Set. “In 1903, Hertz conducted Parsifal at the New York Met in the first stage production outside Bayreuth, and this invited the wrath of Cosima Wagner and other Wagnerites who had sought to prevent stage productions outside Bayreuth. As a consequence, he was barred from appearing at Bayreuth or at any other major German opera house.” – John L. Holmes, CONDUCTORS ON RECORD, p.278 K533. ADRIAN BOULT Cond. Light S.O.: Fête Galante – Entente cordiale / Two Interlinked French Folk Melodies (both Ethel Smyth). 12” EL V 18155, POM-3 March, 1939. M-A, choice copy has, Sd. 2 label only, tiny sticker. MB 12 K534. ADRIAN BOULT Cond. BBC S.O.: Suite #3 in D, 5s / Sd. 6 = Violin Sonata #6 – Prélude (arr. Pick-Mangiagali) (both Bach), 6s. 3-12” EL Scroll V 11693/95, on ‘Z’-shellac, POM-23 May, 1933, in Orig. Album M-214. M-A, appears unplayed. MB 35, the Set. K535. ADRIAN BOULT Cond. BBC S.O.: Romance in C (Sibelius), 2s. 12” EL PW V 13499, POM-9 April, 1940. M-A, appears unplayed! MB 12 K536. ADRIAN BOULT Cond. BBC S.O.: The Hebrides – Overture (Fingal’s Cave) (Mendelssohn), 2s. 12” EL Scroll V 11886, on ‘Z’-type shellac, POM-20 Oct., 1933. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 K537. ADRIAN BOULT Cond. BBC S.O.: Euryanthe – Overture (Weber), 2s. 12” EL Scroll V 12037, on ‘Z’-type shellac, POM-28 Jan., 1937. M-A, appears unplayed. MB 12 K538. ADRIAN BOULT Cond. BBC S.O.: Tragic Overture, 3s / Sd. 4 = Hungarian Dances, Nos. 19, 20 & 21 (Brahms). 2-12” EL Scroll V 11533/34, on ‘Z’-shellac, POM-30 May / 7 Oct., 1932. M-A, appears unplayed. MB 20, the Pair K539. ADRIAN BOULT Cond. BBC S.O.: Manfred – Overture (Schumann), 3s / Sd. 4 = Così fan Tutte – Overture (Mozart). 2-12” EL Scroll V 11713/14, on ‘Z’-shellac, POM-27 March, 1934. M-A, appears unplayed. MB 20, the Pair K540. ADRIAN BOULT Cond. BBC S.O.: Portsmouth Point – Overture (Walton), 2s. 10” EL Scroll V 4327, on ‘Z’-type shellac, POM-3 Dec., 1936. M-A, Reviewer’s Copy. MB 10 K541. ADRIAN BOULT Cond. BBC S.O.: Song of Thanksgiving (Vaughan Williams), 4s. 2-12” EL Eng. Parlophone-Odeon S.W. 8138/39, only form of issue, 18 Dec., 1951. M-A, Exemplary! MB 25, the Pair. K542. ADRIAN BOULT Cond. BBC S.O.: Jupiter Symphony #41 in C, K.551, 7s / Sd. 8 = Der Schauspieldirektor – Overture (both Mozart). 4-12” EL Scroll V 11656/59, on ‘Z’ shellac & ‘Z’-type shellac, POM-22 May, 1933, in Orig. Album M-203, w.Brochure. M-A, appears unplayed. MB 35, the Set. K543. ADRIAN BOULT Cond. BBC S.O.: The Great Symphony #9 (as #7) in C (Schubert), 12s. 6-12” EL Scroll V 11810/15, on ‘Z’ shellac & ‘Z’-type shellac, POM-17 Dec., 1934, in Orig. Album M-268, w.Brochure. M-A, appears unplayed. MB 35, the Set. K544. ADRIAN BOULT Cond. BBC S.O.: Night-Ride and Sunrise, 4s / The Oceanides, 2s (both Sibelius). 3-12” EL Scroll V 11936/38, on ‘Z’-type shellac, POM-23 Jan., 1936, in Orig. Album AM-311. M-A, appears unplayed. MB 25, the Set. K545. ADRIAN BOULT Cond. BBC S.O., w.Berkeley Mason (Organ): Crown Imperial Coronation March (Walton), 2s. 12” EL Australian HMV DB 3164, POM-16 April, 1937. M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr. MB 12 K546. ADRIAN BOULT Cond. Hallé Orch.: A Shropshire Lad – Rhapsody (Butterworth), 2s. 12” EL plum HMV C.3287, POM-5 March, 1942. Vaughan Williams dedicated his ‘London’ Symphony to Butterworth. MINT MB 8 “Sir Adrian Boult ( 1889-1983) is one of the greatest figures in 20th century music. He studied at the Leipzig Conservatory, then in 1914 he joined the music staff at Covent Garden. In 1918 Holst asked him to conduct the first performance of The Planets, at a privately organized concert in Queen's Hall, London. In 1919 he joined the teaching staff of the RCM (where he remained until 1930). He worked with the Ballet Russe, British National Opera Company, Royal Opera House and regional opera companies. From 1928 to 1931 he was musical director of the Bach Choir, and was also appointed as conductor of the Birmingham Festival Choral Society, and subsequently as musical director of the City of Birmingham Orchestra where he remained until 1930. In 1930 Boult was appointed music director for the BBC and asked to form a new orchestra. He secured the best players and for the next decade largely met his goal of setting the standard for English orchestras. He was associate conductor of the Proms from 1942 to 1950. He immediately joined the LPO as music director toured both West Germany and the Soviet Union. In 1957 Sir Adrian ‘retired’ but continued to make many appearances. He went back to the CBSO in 1959–60 and returned to the RCM to teach from 1962 to 1966. Boult championed British music, giving première and repeat performances, and celebrated recordings, of works by Elgar, Vaughan Williams, Bax, Walton, Holst, Delius, Tippett and others. In his BBC days he had also introduced much new music to London, with concert performances of Berg's Wozzeck (1934) and Busoni's Doktor Faust (1937), and works by Bartók, Stravinsky, Schönberg, Webern and American composers. Adrian Boult was knighted for his services to music in 1937 and received many other honours. He was almost 90 when he made his final public appearance and his final recording (of music by Parry) in 1978.” K547. GEOFFREY TOYE Cond. London S.O.: On hearing the first cuckoo in spring (Delius), 2s. 10” EL Orth Vla 4270, POM-1928. Toye conducted the première of Vaughan Williams’ ‘London’ Symphony, at the request of the composer. A, lovely copy has faintest pap. rubs, inaud. MB 10

K548. WILLEM MENGELBERG Cond. NYPO: Le Rouet d’Omphale (Saint-Saëns), 2s. 12” EL Scroll V 7006, POM-15 Jan., 1929, on ‘Z’ shellac. M-A, Exemplary! MB 20 K549. WILLEM MENGELBERG Cond. NYPO: Siegfried – Waldweben (Wagner), 2s. 12” EL Scroll V 7192, POM-14 Dec., 1928, on ‘Z’ shellac. M-A, appears unplayed! MB 20 K550. WILLEM MENGELBERG Cond. NYPO: Symphony #1 in C (Beethoven), 8s. 4-12” EL Scroll V 7211/14, POM-9 Jan., 1930, on ‘Z’ shellac & ‘Z’-type shellac , in Orig. Album M-73, w.Brochure. M-A, Exemplary! MB 75, the Set. K551. NATHANIEL SHILKRET Cond. Victor S.O.: Skyscrapers (John Alden Carpenter), 6s. 3-12” EL Orth Vla 11250/52, on ‘Z’ shellac, only form of issue, 1 May, 1932, in Orig. Album M-130, w.Brochure. M-A, appears unplayed! MB 35, the Set. “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. In 1919 he was named director of light music at the Victor Talking Machine Company, remaining in this job until 1935. 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; mainly waltzes, operetta melodies and sentimental salon selections. 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’.” K552. PAUL WHITEMAN Concert Orch.: Grand Canyon Suite (Grofé), 8s. 4-12” EL black PW V 36052/55, only form of issue, 26-28 April, 1932, in Orig. Album C-18, w.Notes. M-A, appears unplayed! MB 35, the Set. “Beginning about 1920, Grofé played the jazz piano with the Paul Whiteman orchestra. He served as Whiteman's chief arranger from 1920-1932. He made hundreds of arrangements of popular songs, Broadway show music, and tunes of all types for Whiteman. Grofé's most memorable arrangement is that of George Gershwin's Rhapsody in Blue, which established Grofé's reputation among jazz musicians. Grofé took that which Gershwin had written for two pianos and orchestrated it for Whiteman's jazz orchestra. He transformed Gershwin's musical canvas with the colors and many of the creative touches for which it is so well known. He went on to create two more arrangements of the piece in later years. Grofé's 1942 orchestration for full orchestra of Rhapsody in Blue is the one most frequently heard today. In 1932, The New York Times called Grofé ‘the Prime Minister of Jazz’. This was an oblique reference to the fact that Whiteman was widely called ‘King of Jazz’, especially after the appearance of the 1930 film of that name which featured Whiteman's music.” K553. EUGENE ORMANDY (as Violinist): Home, sweet home (Bishop) / The prisoner’s song (Massey). 10” EL black Cameo 889 (1851/50), only form of issue, 1925. A-/B, very decent copy has lt. rubs, inaud.; Sd. 2 only has few wee scrs. MB 15 K554. EUGENE ORMANDY (as Violinist): Ave Maria (Bach-Gounod) / WILLIAM ROBYN (T): Ave Maria (Bach-Gounod). 10” EL black Cameo 611 (1016/14), only form of issue, 1924. A/A-, lovely copy has, Sd. 2 only, lt. rubs & faint nr, inaud. MB 15 K555. EUGENE ORMANDY (as Violinist), w.Steffy Goldner Ormandy (his 1st wife) (Harp): Humoresque (Dvorák) / Souvenir (Drdla). 10” EL black Okeh 41147 (40185/86), only form of issue, 30 Aug., 1928. B, decent copy has rubs & lt. scrs. MB 15 K556. EUGENE ORMANDY Cond. Major Bowes Capitol Theatre Trio: A Kiss in the dark / Naughty Marietta – Ah! Sweet mystery of life (both Victor Herbert). 10” EL black Okeh 40999 (400053/52), only form of issue, 1928. A-B, very decent copy has lt. rubs & scrs, inaud.; far superior to cosmetic appearance. MB 12 K557. EUGENE ORMANDY Cond. Dr Eugene Ormandy’s Salon Orch., w.Tommy & Jimmy Dorsey: The Verdict is Life with you (Razaf) / Carolina Club Orch.: Can’t yo’ heah me callin’ Caroline (Roma). 10” EL black Okeh 41408 (403869/403601), only form of issue, 21 March, 1930. A to M-A, exemplary copy has, Sd 2 only, long faint lam, plus 2 tiny edge lams. MB 15 “A new beginning in the New World meant a new name, and Ormandy neither confirmed nor denied the story that he adopted his name from the French ship Normandie, on which he travelled to America….The amazing richness of New York’s cultural life…was a major attraction; financial considerations forced Ormandy to join the [Major Bowes] Capitol Theatre Orchestra in 1922…..” – Robert Matthew-Walker, GRAMOPHONE, June, 1985 K558. EUGENE ORMANDY Cond. Minneapolis S.O.: Adventures in a Perambulator (John Alden Carpenter), 7s / Sd.8 = Nozze – Overture. 4-12” EL Orth Vla 8455/58, on ‘Z’ shellac, POM-17-23 Jan., 1934, in Orig. Album M-238, w.Brochure. M-A, appears unplayed! MB 45, the Set. K559. EUGENE ORMANDY Cond. Minneapolis S.O.: Hary Janos – Suite (Kodály), 6s. 3-12” EL Orth Vla 7951/53, on ‘Z’-type shellac, POM-17 Jan., 1934, in Orig. Album M-197. M-A, appears unplayed, albeit Sd. 3 only has very few infinitesimal dust mks, inaud. MB 45, the Set. K560. EUGENE ORMANDY Cond. Minneapolis S.O.: Chorale and Fugue in d (Zemachson), 3s / Sd.4 = GEORGE SZELL Cond. Vienna Phil.: Frühlingsstimmen (Johann Strauss). 2-12” EL Scroll V 8924/25, on ‘Z’-type shellac, POM-14 Jan., 1935 / 23 June, 1934. M-A, Exemplary! MB 20, the Pair.

K561. EUGENE ORMANDY Cond. Minneapolis S.O.: Alborada del gracioso (Ravel), 2s. 12” EL Scroll V 8552, on ‘Z’ shellac, POM-23 Jan., 1934. M-A, appears unplayed! MB 20 K561a. EUGENE ORMANDY Cond. Minneapolis S.O.: Scherzo capriccioso (Dvorák), 2s. 12” EL Scroll V 8418, on ‘Z’ shellac, POM-22 Jan., 1934. M-A, appears unplayed! MB 20 K562. EUGENE ORMANDY Cond. Minneapolis S.O.: Verkaufte Braut – Dance of the Comedians / Polka (Smetana). 12” EL Scroll V 8694, on ‘Z’-type shellac, POM-19 Jan., 1934. M-A, appears unplayed! MB 15 K563. EUGENE ORMANDY Cond. Minneapolis S.O.: Verklärte Nacht (Schönberg), 8s. 4-12” EL Scroll V 8266/69, on ‘Z’-type shellac, POM-16 & 24 Jan., 1934, in Orig. Album M-207. M-A, appears unplayed! MB 65, the Set. K564. EUGENE ORMANDY Cond. Minneapolis S.O.: Three Johann Strauss Waltzes, Overtures to Die Fledermaus & Der Zigeunerbaron (all Johann Strauss), 10s. 5-12” EL Scroll V 8650/54, on ‘Z’-shellac, POM-10–14 Jan., 1935, in Orig. Album M-262. M-A, appears unplayed! MB 65, the Set. K565. EUGENE ORMANDY Cond. Minneapolis S.O.: When Johnny comes marching home (Roy Harris), 2s. 12" EL Scroll V 8629, on ‘Z’ shellac, POM 12 Jan., 1935. M-A, appears unplayed! MB 25 K566. EUGENE ORMANDY Cond. Minneapolis S.O.: The Pleasure Dome of Kublai Khan (Griffes), 2s. 12" EL Scroll V 7957, on ‘Z’ shellac, POM-17 Jan., 1934. M-A, appears unplayed! MB 15 K567. EUGENE ORMANDY Cond. Minneapolis S.O.: Symphony #7 in E (Bruckner), 15s. 8-12” EL Scroll V 8770/77-S, on ‘Z’-type shellac, POM-1935, in Orig. Album M-276, w.Brochure. M-A, appears unplayed! MB 50, the Set. “In 1931, Ormandy’s career reached a turning point. His idol, Arturo Toscanini…had cancelled out of a twoweek guest conducting engagement with the Philadelphia Orchestra. No other conductor was able to step in – or willing to risk the inevitable comparisons with The Maestro….His concerts were a triumph, not least because a talent scout from the Minneapolis S. O., which was then looking for a new conductor, was in the audience. His enthusiastic endorsement led to Ormandy’s engagement as music director there.” - Mark Obert-Thorn, Program Notes for Biddulph CDs K568. EUGENE ORMANDY Cond. Minneapolis S.O., w.Bowen (S) & Gallogly (C); Twin City Symphony Chorus: Resurrection Symphony #2 in c (Mahler), 22s. Recorded during Live Performance, 6 January, 1935. 11-12” EL Scroll V 11753/63, on ‘Z’ shellac, POM-6 & 7 Jan., 1935, in Orig. Album M-256. M-A, appears unplayed! MB 75, the Set. “Ormandy suggested recording in Minneapolis; as conductor and orchestra were paid an annual salary, recording could be made at no extra cost in return for a royalty. The arrangement proved profitable for all concerned; the more records they made, the more money they received, and within a few years Ormandy and the orchestra had been paid over $250,000. Considering the economic climate, and the relative value of the dollar, this was a very large sum indeed for royalties from classical record sales.” – Robert Matthew-Walker, GRAMOPHONE, June, 1985 K569. DAVID McK. WILLIAMS (Organist) & St Bartholomew’s Choir; Ruth Shaffner, Pearl Benedict-Jones, Allan Jones, Donald Pirnie & Frank Cuthbert: SAINT MATTHEW PASSION (Bach) (Complete, as recorded), 24s. 12-12” EL Orth Vla 11285/96, POM-1932, in Orig. Album M-138, w.Brochure. M-A, appears unplayed! MB 45, the Set. K570. BEN STAD Cond. American Society of Ancient Instruments, incl. K. P. E. Bach, J. S. Bach & Handel, 8s. 3-10" EL Scroll V 1714/16 & 12” EL Scroll V 8720, on ‘Z’ shellac, in Orig. Album M-271. M-A, appears unplayed! MB 35, the Set. K571. ALFRED WALLENSTEIN Cond. Wallenstein Sinfonietta: Symphony #25 in g, K.183 (Mozart), 6s. 3-12” EL MasterWorks Col. 69128/30-D, only form of issue, 1933, in Orig. Album 323. M-A, appears unplayed! MB 25, the Set. “After a season with the Los Angeles Philharmonic, in 1920 [Wallenstein] went to Leipzig to study cello with Julius Klengel….He was principal cello with the Chicago Symphony (1922-29), then held the same position with the New York Philharmonic until 1936.” – Tully Potter, ADOLF BUSCH, THE LIFE OF AN HONEST MUSICIAN, pp.1121-22 Collectors of Vocal Music are encouraged to subscribe to the invaluable and indispensable THE RECORD COLLECTOR, featuring in-depth articles on singers of the past, discographies, critical reviews of relevant historical-interest CDs and related Books.

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K572. JEANNE GERVILLE-RÉACHE: Chanson slave (Chaminade) / Werther – Va, laisse couler mes larmes. 10” AC silver Victor IRCC 109, POM-29 April / 30 Oct., 1909. Numbered Copy #5 of a Limited Edition. M-A, Exemplary! MB 35 K573. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn). 12" AC Pat.’08 Vla 88368, Orig. ‘A’ Plate Issue, only form of issue, 5 May, 1911, this appeared otherwise only as the ultra rare silver HRS private issue. M-A, choice copy has infinitesimal pap. mk at end, barely visible & inaud. MB 50 K574. JEANNE GERVILLE-RÉACHE: D'une prison (Hahn) / Sapho - O ma lyre immortelle (Gounod). 12” AC silver Victor HRS 1011, POM-5 May, 1911 / 29 April, 1909. Numbered Copy #25 of an extraordinarily Limited Edition. M-A, Exemplary! MB 65 “Gerville-Réache spent a part of her childhood in the French West Indies, where her father was stationed as a diplomat, but back in Paris she studied with Rosine Laborde and the legendary Pauline Viardot-Garcia. We probably have the latter to thank for most of what we hear on Gerville-Réache’s recordings today. Emma Calvé was overwhelmed by the young contralto’s voice, and arranged for her début at the OpéraComique as Gluck’s Orphée in 1899. She was only 17 years old. She remained on the roster at the OpéraComique until 1903, and it was there that she created the rôle of Geneviève in Pelléas et Mélisande (3 April, 1902, l’Opéra-Comique). Her interpretation of Dalila quickly established the popularity of Saint-Saëns’ opera in America, and the critic Philip Hale ranked her Dalila ‘on a par with de Reszke’s Roméo, de Lucia’s Canio, Ternina’s Isolde, Calvé’s Carmen and Maurel’s Iago’. When the Met and its trustees raised sufficient ‘hush money’ for Oscar Hammerstein and the Manhattan Opera closed down, Gerville-Réache appeared with the Chicago, Philadelphia and Montréal companies, but mostly sang in extensive recital tours and as soloist with symphonies throughout the United States. She had taken up residence there in 1910 with her husband (the director of the Pasteur Institute in New York) and their two young sons. Her last hours of life found her besieged with an unbelievable combination of violent illnesses. Ptomaine poisoning triggered a ruptured appendix, which induced a miscarriage, and she died in New York at the tragically young age of 32. She possessed the voice of a fine cello swathed in burgundy-colored velvet. A true, sonorous contralto with many of the better qualities of Ernestine Schumann-Heink and Louise Homer, remarkably amalgamated into a single human voice. Gerville-Réache’s voice cannot but leave an impression on those hearing her….in record after record (not that there are all that many of them), she displays a remarkable range which encompasses cavernous lows to ringing, apparently effortless high notes. Hers was without doubt a voice to be cherished and remembered.” - Andrea Shum-Binder, subito-cantabile K575. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice. 12” AC Pat.’08 Vla 88198, only form of issue, 29 April, 1909, this appeared otherwise only as the rare gold HRS private issue. M-A, Exemplary! MB 25 K576. JEANNE GERVILLE-RÉACHE: Orfeo ed Euridice – J'ai perdu mon Euridice / L’Enfant Prodigue – L’Année en vain chasse l’année (Air de Lia) (Debussy). 12” AC gold Victor HRS 1004, POM-29 April, 1909 / 5 May, 1911. Numbered Copy #4 of an extraordinarily Limited Edition. M-A, Exemplary! MB 50 K577. JEANNE GERVILLE-RÉACHE: L’Enfant Prodigue – L’Année en vain chasse l’année (Air de Lia) (Debussy). 12” AC white Vla 88281, POM-5 May, 1911. M-A, exemplary copy of preferred late pressing. MB 25 K578. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (First Version, ‘Take’ 1) (Gounod). 12" AC Pat.'08 Vla 88205, only form of issue, 29 Oct., 1909. M-A, Exemplary! MB 25 K579. JEANNE GERVILLE-RÉACHE: La Reine de Saba – Plus grand, dans son obscurité (Second Version, ‘Take’ 2) / Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" AC silver Victor IRCC 73, POM-29 Oct., 1909 / 5 May, 1911. Numbered Copy #67 of a Limited Edition. M-A, Exemplary! MB 35 K580. JEANNE GERVILLE-RÉACHE: Paul et Virginie – Parmi les lianes (Air du Tigre) (Massé). 12" AC Pat.'08 Vla 88317, only form of issue, 5 May, 1911, Never Doubled (other than elusive IRCC private issue, above). M-A, Exemplary! MB 25 K581. JEANNE GERVILLE-RÉACHE: La Vivandière – Viens avec nous, petit (Godard). 10" AC Pat.'08 Vla 87080, only form of issue, 5 May, 1911, Never Doubled (other than elusive AGS private issue). M-A, Exemplary! MB 25 K582. JEANNE GERVILLE-RÉACHE: Sapho – O ma lyre immortelle (Gounod). 12” AC ‘Elaine’ Vla 88166, only form of issue, 29 April, 1909, this appeared otherwise only as the rare gold HRS private issue. M-A, exemplary copy of preferred late ‘Elaine’ issue. MB 25 K583. JEANNE GERVILLE-RÉACHE: Il Trovatore – Stride la vampa (in Italian). 10” AC white Vla 87065, only form of issue, 29 Oct., 1909, this appeared otherwise only as the most elusive HRS private issue. A-, lovely copy of preferred late issue few scuffs, ever-so-faintly audible. MB 20 "The old 'Desert Island' cliché is really not a bad way to force one to come to grips with the problem of sorting out one's real favorites when it comes to recordings....I consider Gerville-Réache's recordings of the Reine de Saba and Sapho arias among the really great records. The regal quality and the authority with which the singer opens the first...is not equaled on records, in my estimation....The recording of 'O ma lyre immortelle' from Gounod's Sapho is a close second, and again would be on my list for the great recordings of the century....For a third selection of this singer's records, I would be hard put to choose between the 'Air de Lia' from Debussy's L'Enfant Prodigue and the lovely 'D'une prison' of Reynaldo Hahn...." W.R. Moran, THE RECORD COLLECTOR, 1973

K584. YVONNE BROTHIER: Nozze – Non so più / Voi che sapete (both in French). 10" EL black Disque Gram. P-698, only form of issue, 29 Oct., 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 K585. YVONNE BROTHIER: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte (both in French). 10" EL black Disque Gram. P-687, only form of issue, 18 / 19 Oct., 1926. M-A, lovely copy has adhisive on labels. MB 12 K586. YVONNE BROTHIER & LOUIS MUSY: Hamlet – Doute de la lumière, 2s. 12" EL black Disque Gram. W-852, only form of issue, 1927. A-B, very decent copy has lt. rubs & lt. grey on peaks. MB 10 K587. FANNY HELDY: Antar – Air de l’oasis (Dupont) (Creator Record, 14 March, 1921, l’Opéra) / Madama Butterfly – Un bel dì (in French) (1921 Version). 11¾” AC green H & D Pathé 0317. M-A MB 20 “Perhaps [Heldy’s] most attractive recording is the Air of the Oasis from Gabriel Dupont’s Antar. The music …gives Heldy the opportunity to show off some soft high notes and sing easily and attractively without forcing the tone.” – Michael Scott, THE RECORD OF SINGING K588. FANNY HELDY: La Traviata – Ah! fors’ è lui; Sempre libera (in French) (1921 Version), 2s. 11¾” AC green H & D Pathé 0318. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 12 K589. FANNY HELDY, w.Coppola Cond.: La Traviata – Ah! fors’ è lui; Sempre libera (in French) (1928 Version), 2s. 12” EL PW Disque Gram. DB 1271, POM-14 Nov., 1928. M-A MB 12 K590. FANNY HELDY, w.Coppola Cond.: La Traviata – Addio del passato (in French) / Manon – Je suis encore toute étourdie. 12” EL PW Disque Gram. DB 1409, POM-1930. M-A MB 15 K591. FANNY HELDY, w.Coppola Cond.: Roméo – Je veux vivre / Louise – Depuis le jour. 12” EL PW Disque Gram. DB 1304, POM-14 Nov., 1928 / 23 May, 1929. M-A, a gleaming copy. MB 15 K592. FANNY HELDY, w.Coppola Cond.: Thaïs – Air du miroir (Dis-moi que je suis belle), 2s. 12” EL PW Disque Gram. DB 1129, POM-8 Nov., 1927. M-A, a gleaming copy. MB 15 K593. FANNY HELDY, w.Coppola Cond.: Thaïs – O Messager de Dieu / w.Marcel Journet: Baigne d’eau mes mains et mes lèvres. 10” EL PW HMV DA 940, POM-8/7 Nov., 1927. M-A MB 12 K594. FANNY HELDY, w.Coppola Cond.: Madama Butterfly – Un bel dì (1929 Version) / La Boheme – Mi chiamano Mimi (both in French). 12” EL PW Disque Gram. DB 1513, POM-1929. M-A, a gleaming copy. MB 15 K595. FANNY HELDY, w.Coppola Cond.: Faust – Air des bijoux, 2s. 10” EL PW HMV DA 1051, POM-23 May, 1929. M-A MB 10 K596. FANNY HELDY, w.Coppola Cond.: Faust – Il était un Roi de Thulé / Manon – Adieu, notre petite table. 10” EL PW Disque Gram. DA 1250, POM-14 Nov., 1928. M-A, a gleaming copy. MB 15 K597. FANNY HELDY & FERNAND ANSSEAU, w.Coppola Cond.: Manon – Duo de Saint-Sulpice (N’est-ce plus ma main?), 2s. 12” EL PW HMV DB 1410, POM-12 Nov., 1927. M-A MB 10 K598. FANNY HELDY & FERNAND ANSSEAU, w.Coppola Cond.: Carmen – Parle-moi de ma mère, 2s. 12” EL PW HMV DB 1115, POM-12 Nov., 1927. M-A MB 10 K599. FANNY HELDY & MARCEL JOURNET, w.Coppola Cond.: Hamlet – Doute de la lumière / FANNY HELDY, FERNAND ANSSEAU & MARCEL JOURNET: Faust – Final trio. 12” EL white Archive HMV VB 71, POM-10 June, 1931 / 26 Feb., 1930. M-A MB 8 K600. FANNY HELDY, w.Reynaldo Hahn Cond.: Le Marchand de Venise – La sentence nous y venons / FANNY HELDY, MAHE, SINGHER & LE CLEZIO: L’amour qui pourtant n’est pas bête (both Cond. by the Composer). 10" EL PW Disque Gram. DA 4872, only form of issue, 1935 (possibly Japan also). M-A, a gleaming copy. MB 25 “Heldy sang at the Palais Garnier (l’Opéra), débuting in 1920 and singing many lyrico-spinto rôles. She was an accomplished comedienne, very attractive, and maintained her high standards throughout her career.” – Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.222 K601. ANNA TARIOL-BAUGÉ: La Grande Duchesse de Gérolstein – La déclaration / La Belle Hélène – Amours divins (both Offenbach). 10” AC black V 62977, POM-1908. M-A MB 15 K602. ANNA TARIOL-BAUGÉ: La Fille de Mme Angot – Marchande de marée (Lecocq) / La Périchole – Tu n’es pas beau (Offenbach). 10” AC black V 62984, POM-1907. M-A, lovely copy has, Sd. 1 only, infinitesimal pap. scr, barely visible & inaud. MB 15 K603. ANNA TARIOL-BAUGÉ & ALFRED DAMBRINE: La Périchole – L’Espagnole et la jeune Indienne (Offenbach) / Miss Helyett – Duetto espagnol (Audran). 10” AC black Canadian GP V 120019, POM-30 March, 1909. B, very decent copy has lt. rubs & superficial scrs. MB 10 “Anna Tariol-Baugé was one of the great performers on the operetta stage in France for over thirty years. She was associated with the Théâtre des Variétés for many years and appeared at the Opéra-Comique as a guest. It was in this capacity that she created the rôle of Agathe in Messager’s Véronique in 1898.” – VRCS Program notes K604. JENNIE TOUREL, w.Abravanel Cond.: Arias from La Périchole & Les Contes d’Hoffmann (both Offenbach). 2-10” EL Col. 17539/40-D, in Orig. Album MX-299, POM-1947. M-A MB 15, the Set.

K605. JENNIE TOUREL, w.Erich Itor Kahn (Pf.): Ariettes oubliées – C’est l’éxtase langoureuse / Il pleure dans mon coeur (Debussy). 10” EL Eng. Col. LB 125, only form of issue, 1947. M-A Elusive! MB 12 K606. JENNIE TOUREL, w.George Reeves (Pf.): Chanson triste (Duparc) / Les berceaux (Fauré). 12” EL Eng. Col. LX 1306, only form of issue, 1946. M-A MB 12 K607. JENNIE TOUREL, w.George Reeves (Pf.): Zyczenie (The Maiden's Wish); Moja Pieszczotka (My Joy) / Niema Czego Trzeba (Mélancolie) (all Chopin; in Polish). 12” EL Col. 72870-D, only form of issue, 1949. M-A MB 12 K608. JENNIE TOUREL, w.Erich Itor Kahn (Pf.): 10 Rachmaninoff Songs, 6s. 3-12” EL Col. 718070/09-D, POM-1945, in Orig. Album M-625. M-A, as New. MB 20, the Set. K609. JENNIE TOUREL, w.Pietro Cimara Cond. Metropolitan Opera Orch.: Arias from La Cenerentola, L’Italiana in Algeri, Barbiere & Semiramide, 6s. 3-12” EL Col. 72132/34-D, POM-1946. M-A MB 20, the Set. K610. JENNIE TOUREL, w.Süsskind Cond. Philharmonia Orch.: Jeanne d'Arc – Adieu, forêts (Tschaikowsky), 2s. 12” EL Eng. Col. LX 1547, only form of issue, 25 Sept., 1951. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K611. JENNIE TOUREL, w.Süsskind Cond. Philharmonia Orch.: Carmen – Habañera / Les tringles des sistres tintaient. 12” EL Eng. Col. LX 1507, only form of issue, 25 Sept., 1951. M-A MB 10 K612. JENNIE TOUREL, w.Villa-Lobos Cond.: Seréstas, 3s / Sd.4 = Sino de aldeia (both Cond. by the Composer). 2-12” EL Col. 71656/57-D, Orig. Album X-249, only form of issue, 1945. M-A MB 15, the Set. “Jennie Tourel was born Bella or Jennie Davidovich in the city of Vitebsk, now in Belarus. Tourel and her family were forced to flee during the Russian Revolution; they settled first in Gdansk, Poland and then in Paris. Tourel continued her piano studies in Paris, but switched to singing under the tutelage of Reynaldo Hahn and Anna El-Tour. Sources differ as to when Tourel made her début and where; some say the Chicago Civic Opera in 1930, others the Opéra Russe (in Paris) in 1931. Tourel made her début with the Metropolitan Opera on 15 May, 1937 in Mignon; and a recording survives of this performance. Tourel's earliest recordings are all live opera ‘bootlegs’; a 1944 Met performance of Bellini's Norma, in which Tourel appears opposite Zinka Milanov, is particularly prized by collectors. As Paris fell before the Nazis in 1940, Tourel fled to Lisbon to board one of the last ships heading to the United States. Tourel rejoined the Met, remaining there until 1947, and became established as the reigning mezzo in New York, extraordinarily popular as well in performances with the New York Philharmonic. In 1945, she premièred the vocal/orchestral versions of several Samuel Barber songs, including ‘Sure, on this Shining Night’, in a CBS broadcast led by the composer. Tourel also worked with Villa-Lobos, Poulenc, Virgil Thomson, Lukas Foss (the Song of Songs), and others. In Venice in 1951, Tourel created the rôle of Baba the Turk in Stravinsky's opera The Rake's Progress. The sheer number of works Tourel introduced in one way or another is in itself impressive. But it was Tourel's association with Leonard Bernstein that proved most fruitful. The partnership began in 1942 with Bernstein taking the rôle of piano accompanist to Tourel in recitals, and lasted until she died. Their connection went beyond music; they shared many common interests. Tourel premièred Bernstein's ‘Jeremiah’ Symphony under the composer in Pittsburgh in 1944, and also sang at the première of his third symphony, Kaddish, in Tel Aviv in 1963 . Several of Bernstein's songs were written for her, including ‘I Hate Music’ (1943). Among the many recordings Tourel made with Bernstein functioning both as piano accompanist and conductor were those of Mussorgsky's Songs and Dances of Death, Berlioz's La Mort de Cléopâtre, Ravel's Shéhérazade, and their 1962 recording of the Mahler Resurrection Symphony. Tourel was an eccentric who delighted in befuddling critics with conflicting information on her background. She tried to reduce her age by ten years, relocated her birthplace to Toronto, and in later years emphatically denied having created her stage name by modifying that of her teacher. Tourel taught at Julliard and at the Aspen Music School; her impact on younger musicians was considerable and not necessarily limited to singers. Among Tourel's protégés were mezzo-soprano Barbara Hendricks, pianist James Levine, bassist Gary Karr, and, to a certain extent, Bernstein himself. She made her last major appearance in 1972 in Seattle in Thomas Pastieri's opera Black Widow, and died the following year at the age of 73.” ~ Uncle Dave Lewis, ALL MUSIC GUIDE EVENING AT THE OPERA, with DOUG FOX Broadcasting Tuesdays 8-12 PM New York time on WMNR-FM, Monroe, CT Now in recently greatly improved audio quality at www.wmnr.org K613. CLARA CLAIRBERT, w.Wolff Cond.: Lakmé – Dans la forêt près de nous / Les Pêcheurs de Perles – Comme autrefois. 12” EL black French Polydor 566.157, POM-1933. A, lovely copy has faintest pap. rub, inaud. MB 12 K614. CLARA CLAIRBERT, w.Gurlitt Cond.: Manon – Adieu, notre petite table / La Traviata – Addio del passato (in French). 12” EL PW black French Polydor 66918, POM-1929. A to M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 12

K615. CLARA CLAIRBERT, w.Gurlitt Cond.: Manon – Voyons, Manon, plus de Chimères / Oui, dans les bois (Fabliau). 12” EL PW black French Polydor 66917, POM-1929. M-A, a gleaming copy. MB 15 K616. CLARA CLAIRBERT, w.Gurlitt Cond.: Manon – Ce Bruit de l’Or / w.Prüwer Cond.: Suis-je gentille ainsi. 12” EL PW black German Polydor 66919, POM-1929. M-A, a gleaming copy. MB 15 K617. CLARA CLAIRBERT, w.Wolff Cond.: Il bacio (Arditi) / Villanelle (dell’Acqua). 10” EL PW black German Polydor 62704, POM-1929. M-A, a gleaming copy. MB 15 K618. CLARA CLAIRBERT, w.Wolff Cond.: Le carnaval de Venise (Benedict), 2s. 12” EL PW black German Polydor 67045, POM-1929. M-A, a gleaming copy. MB 15 K619. CLARA CLAIRBERT, w.Wolff Cond.: Le Pardon de Ploërmel (Dinorah) – Ombre légère, 2s. 12” EL PW black French Polydor 566.156, POM-1933. A, lovely copy has faintest pap. rub, inaud. MB 12 K620. CLARA CLAIRBERT, w.Prüwer Cond.: La Fille du Régiment – Salut à la France / Lucia – Ardon gl’incensi (in French). 12” EL PW black French Polydor 66921, POM-1929. M-A, lovely copy has, Sd. 2 only, few infinitesimal pap. mks, barely visible & inaud. MB 12 K621. CLARA CLAIRBERT, w.Gurlitt Cond.: Thème et variations (Proch) / Les Huguenots – O beau Pays. 12” EL PW black German Polydor 66920, POM-1929. A to M-A, choice copy has, Sd. 1, faintest pap. rub, inaud. MB 12 K622. CLARA CLAIRBERT: Mireille – Trahir Vincent / Rigoletto – Caro nome (in French). 12” EL PW black German Polydor 66793, POM-1928. M-A MB 12 K623. CLARA CLAIRBERT: Mignon – Je suis Titania / Mireille – O légère hirondelle. 12” EL PW black French Polydor 66794, POM-1928. M-A MB 12 K624. CLARA CLAIRBERT: Lakmé – Où va la jeune Indoue / Manon – Je suis encore toute étourdie. 12” EL PW black German Polydor 66791, POM-1928. M-A, lovely copy has 3 infinitesimal pap. scrs, inaud. MB 12 K625. CLARA CLAIRBERT: La Traviata – Ah! fors’è lui / Sempre libera (in French). 12” EL PW black German Polydor 66790, POM-1928. M-A MB 12 “For almost thirty years [Clairbert} was the leading prima donna of the Monnaie, enjoying immense popularity….To her legion of admirers she was clearly an extraordinary artist, whose singular art was described as: ‘Clairbert, it is not just a name, it is a concept!....an expression of limpid facility, a crystalline and pure quality, a dazzling and infallible technique and a voice beyond comparison’.” – Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, pp.201-02 K626. LUCETTE KORSOFF: Il bacio (in French) (Arditi). 10” AC black V 52723, POM-1908. M-A, gleaming copy. MB 8 K627. LUCETTE KORSOFF: Valse des roses (Métra) / LÉON BEYLE & HECTOR DUFRANNE: Carmen – Celle que vous aimez est ici. 10” AC black Pat.’08 V 62750, POM-1908. M-A MB 8 K628. LUCETTE KORSOFF: Mignon – Je suis Titania / ALICE VERLET: Lakmé – Pourquoi dans les grands bois. 10” AC blue V 45006, POM-1908. M-A, lovely copy has, Sd. 1 only, insignificant pap. mk, inaud. MB 10 K629. LUCETTE KORSOFF: Manon – Obéissons quand leur voix appelle. 10” AC black Paris Pre-Dog G.C.-33691, POM-1908. A-, lovely copy has few lt. rubs & superficial mks. MB 10 K630. LUCETTE KORSOFF & LÉON BEYLE: Manon – On l’appelle Manon / Nous vivrons à Paris. 10” AC blue V 45009, POM-1906/’08, resp. M-A MB 8 K631. LUCETTE KORSOFF & LÉON BEYLE: Manon – Et je sais votre nom. 10” AC black Pat. ’08 V 52722, POM-1908. M-A MB 8 K632. LUCETTE KORSOFF & LÉON BEYLE: Manon – Avez-vous peur; J'écris à mon père / ALINE VALLANDRI & ANTONIO ROCCA: Lakmé – Dans la forêt près de nous. 10” AC blue Pat.’12 V 45005, POM-1908. M-A MB 8 “Korsoff was born in Italy of Russian parents. At sixteen, she performed with a Russian opera troupe of which her father was a member. She studied with Frédéric Boyer in Paris and sang the rôle of Marie in the Brussels Opera's production of The Bartered Bride in 1905. She also appeared at the Opéra-Comique, New Orleans Opera, Boston Opera and Monte Carlo Opera. She was a coloratura soprano with technique to spare and a beautiful tone. She was particularly admired as the Queen of the Night.” K633. LILY PONS: Mimosas (Giraud) / Le loup, la biche, et le chevalier (Salvadore). 10” EL vinyl white Col. 40176, only form of issue, 2 Sept., 1953. M-A, a gleaming copy. MB 10 K634. LILY PONS, w.Cimara Cond.: Think on me (Scott) / Ave Maria (Bach-Gounod). 10” EL Col. 17376-D, only form of issue, 30 Nov., 1944. M-A MB 10 K635. LILY PONS, w.Frank LaForge (Pf.): Cupid captive (Acc. by the Acc. by the Composer) / w.Kostelanetz Cond.: Estrellita (Ponce). 10” EL PW V 2137, only form of issue, 7 March, 1940. Sd. 2 is very lovely. M-A, gleaming copy. MB 8 K636. LILY PONS, w.Kostelanetz Cond.: J’attendrai (Poterat) / La Traviata – Ah! fors’ è lui. 12” EL PW Canadian Col. C15971, POM-8 / 15 May, 1946. M-A MB 8 K637. LILY PONS, w.Harold Barlow Cond.: Rigoletto – Caro nome (in Italian) / André Kostelanetz Cond.: Stormy weather (Harold Arlen). 12” EL vinyl V-Disc 520, only form of issue, 25 June, 1945 / June, 1945. B-C, decent copy has the usual rubs & scrs found in this series. MB 10

K638. LILY PONS, w.Kostelanetz Cond.: L’invitation au voyage (Duparc) / w.Abravanel Cond.: Après un rêve (Fauré). 12” EL PW Canadian Col. C16059, POM-2 April, 1947 / 19 Sept., 1946. M-A MB 8 K639. LILY PONS, w.Abravanel Cond.: Chère nuit (Bachelet) / Les roses d’Ispahan (Fauré). 12” EL PW Canadian Col. C16057, POM-19 Sept., 1946. M-A MB 8 K640. LILY PONS, w.Cloëz Cond.: Thème et variations (Proch) / Parysatis – Le rossignol et la rose (Saint-Saëns). 10” EL dark-blue early PW Col. G-4074-M, POM-26 Feb., 1929. M-A, a gleaming copy. MB 10 K641. LILY PONS, w.Cloëz Cond.: Zauberflöte – Der Hölle Rache / Nozze – Voi che sapete (foth in French). 10” EL French Odéon 188.644, POM-26 Feb. / 6 July, 1929. M-A, a gleaming copy. MB 10 K642. LILY PONS, w.Cloëz Cond.: Les Contes d’Hoffmann – Les oiseaux dans la charmille / Mireille – O légère hirondelle. 10” EL French Odéon 188.642, POM-20 Feb., 1929. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 10 K643. LILY PONS, w.Cloëz Cond.: Lakmé – Où va la jeune Indoue (1929 Version), 2s. 10” EL red Decca 23015, POM-21 Feb., 1929. M-A MB 8 K644. LILY PONS, w.Bourdon Cond.: Lakmé – Où va la jeune Indoue (1930 Version), 2s. 10” EL Orth Vla 1502, POM-8 Dec., 1930. M-A MB 8 K645. LILY PONS, w.Cloëz Cond.: Lakmé – Dans la forêt près de nous / Les Contes d’Hoffmann – Les oiseaux dans la charmille. 10” EL red Decca 23016, POM-21/20 Feb., 1929. M-A MB 10 K646. LILY PONS, w.Kostelanetz Cond.: I Puritani – Son vergin vezzosa / Mignon – Je suis Titania. 12” EL Eng. Col. LX 1514, POM-23 April, 1949. M-A, a gleaming copy. MB 8 K647. LILY PONS, w.Cloëz Cond.: Barbiere – Una voce poco fà (in French), 2s. 10” EL red Decca-Odeon P-G-20521, POM-21 March, 1929. M-A MB 8 K648. LILY PONS, w.Cloëz Cond.: La Boheme – Mi chiamano Mimi / Zauberflöte – Ach ich fühls (both in French). 12” EL red Decca 29004, POM-26 Feb., 1929. M-A MB 10 K649. LILY PONS, w.George Possell (Flute): Lucia – Ardon gl'incensi / Spargi d'amaro pianto. 12” EL Scroll V 7369, POM-8 Dec., 1930, ‘Takes’ 3 / 1 (each of two issued ‘takes’), on ‘Z’ shellac. M-A MB 12 K650. LILY PONS, w.George Possell (Flute): Lucia – Ardon gl'incensi / Spargi d'amaro pianto. 12” EL V 7369, POM-8 Dec., 1930, ‘Takes’ 2 / 2 (each of two issued ‘takes’). M-A, a gleaming copy. MB 8 K651. LILY PONS & ENRICO DI MAZZEI, w.Cloëz Cond.: Rigoletto – E il sol dell'anima (in Italian), 2s. 12” EL French Odéon 123.597, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12 K652. LILY PONS & ENRICO DI MAZZEI, w.Cloëz Cond.: La Boheme – Non sono in vena / O soave fanciulla (in French). (both in French). 12” EL French Odéon 123.598, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12 “When she became an overnight star in January 1931 with a matinee performance of Lucia Di Lammermoor at the Metropolitan, she had almost no background to speak of....although she stopped singing at the Metropolitan Opera in 1959, after twenty-eight years on the roster, this did not mark her retirement. She went on, singing less and less, until the mid-sixties. Then, at the age of sixty-eight, she made a most unexpected appearance at Philharmonic Hall in New York City....she sang six arias to delirious acclaim, and the concert became part of a television documentary dedicated to her.” – Lanfranco Rasponi, THE LAST PRIMA DONNAS K653. GABRIELLE RITTER-CIAMPI: Il bacio (Arditi) / Jazz dans la Nuit (Roussel). 11¾” EL black Art Label Pathé X.7195, only form of issue, 1929. A/A-B, lovely copy has lt rubs, inaud.; Sd. 2 only has long but very lt. scr, only occasionally minimally audible. Exceedingly Rare! Sd. 1 label Autographed in black ink by Ritter-Ciampi. MB 45 K654. GABRIELLE RITTER-CIAMPI: Hamlet – En vous voyant (Air du livre) / Manon Lescaut – L’éclat de rire (Auber). 11½” AC H & D green paper label Pathé 0496 (20043/45), only form of issue, 1925. M-A, a gleaming copy. Elusive! MB 20 “Ritter-Ciampi débuted in 1917 as Violetta, and two years later she was engaged at Opéra-Comique, where she became famous as an interpreter in Mozart operatic rôles. Her activity was centered predominantly in France, but she took part also in the Salzburg Festival in 1932, again in Mozart's rôles. She was considered a fine, light lyric soprano with good technique and is capable of reaching high notes easily, frequently compared to her days with Adelina Patti, who had a similar voice.” K655. NOÉMI PÉRUGIA, w.Joseph Benvenuti (Pf.): Le Jardin Clos, 3s / Sd. 4 = Tristesse (both Fauré) 2-12” EL Disque Gram. DB 5157/58, only form of issue, 1941. M-A, a gleaming copy. Exceedingly elusive wartime issue, France only. MB 35, the Pair. K656. NOÉMI PÉRUGIA, w.Irène Aitoff (Pf.): Dans la forêt de septembre / Le don silencieux (both Fauré). 10" EL Disque Gram. DA 5008, only form of issue, 1945. M-A, Exemplary! MB 25 K657. NOÉMI PÉRUGIA, w.Irène Aitoff (Pf.): Chansons de Bilitis (Debussy), 2s. 12” EL Disque Gram. DB 11.186, only form of issue, 1947. M-A, Exemplary! MB 25 “Noémie Pérugia was winner of the International Gabriel Fauré competition in 1938, after which she made her début in the Verdi Requiem. She devoted her career to the music of Fauré and Honegger. Specializing in French mélodie, she taught at the École Normale de Musique de Paris and the Schola Cantorum. She founded the Concours Gabriel Fauré international d'interprétation et d'accompagnement Noémie Pérugia, in Paris, and l'Académie de chant et d'art lyrique Noémie Pérugia, in Amsterdam.”

K658. GÉORI BOUÉ, w.Cloëz Cond.: Manon – Je suis encore toute étourdie / Adieu, notre petite table. 10” EL French Odéon 188.944, only form of issue, 1945. M-A, lovely copy has, Sd. 1 only, faintest dust mk, inaud. MB 12 K659. GÉORI BOUÉ, w.Cloëz Cond.: Mireille – Mon coeur ne peut changer / À toi mon âme, je suis ta femme. 10” EL French Odéon 188.945, only form of issue, 1945. M-A MB 15 K660. GÉORI BOUÉ, w.Cloëz Cond.: Mireille – Scène de la Crau, 2s. 10” EL French Odéon 188.946. M-A, a gleaming copy. MB 15 K661. GÉORI BOUÉ, w.Cloëz Cond.: Otello – Canzone del Salce / Ave Maria (in French) (Verdi). 12” EL French Odéon 123.870, only form of issue, 1943. M-A, a gleaming copy. MB 15 K662. GÉORI BOUÉ, w.Cloëz Cond.: Nozze – Voi che sapete / Deh! vieni, non tardar (in French). 12” EL French Odéon 123.893, only form of issue, 1947. M-A, Exemplary! MB 15 K663. GÉORI BOUÉ, w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL French Odéon 123.872, only form of issue, 1943. M-A, a gleaming copy. MB 15 K664. GÉORI BOUÉ, w.Cloëz Cond.: La Boheme– Mi chiamano Mimi / Madama Butterfly - Un bel dì (both in French). 12” EL French Odéon 123.871, only form of issue, 1947. M-A, a gleaming copy. MB 15 K665. GÉORI BOUÉ, w.Pascal Quartet & Raymond Trouard (Pf.): Chanson perpétuelle (Chausson), 2s. 12” EL French Odéon 123.889, only form of issue, 1947. M-A, a gleaming copy. MB 20 “Géori (Georgette) Boué made her Paris début at the Opéra-Comique in 1939, as Mimi in La Bohème (singing in the 1,000th performance at the Salle Favart on 3 May 1951), and other rôles there included: Lakmé, Manon (singing in the 2,000th performance on 18 January 1952), and Ciboulette (first performance at the Opéra-Comique). Her début at the Palais Garnier took place in 1942, as Marguerite, and she went on to sing rôles such as Juliette, Thaïs, Salomé in Hérodiade, Louise, Gilda, Violetta, Desdemona, Tosca, Madama Butterfly, Tatiana, etc. Boué had a clear voice of considerable power, renowned for her impeccable diction, she was widely regarded as one of the greatest French sopranos of the 1940s. She was married to French baritone Roger Bourdin in May 1944, with whom she can be heard in two recordings, Faust under Thomas Beecham, and Thaïs. She retired from the stage in 1970.” K666. NINON VALLIN (as Vallin-Pardo): La Boheme – Mi chiamano Mimi (in French) / LUCY VUILLEMIN & PAUL PAYAN: Louise – Crois-tu qu’il t’aime? 12” AC black Disque Gram. 033172/034191, POM-13 Jan., 1914 / 10 Jan., 1913. A to M-A/M-A, lovely copy has, Sd. 1 only, very few sl. greyed grooves, inaud. MB 25 K667. NINON VALLIN (as Vallin-Pardo): Manon – Je suis encore toute étourdie / Lakmé – Tu m’as donné le plus doux rêve. 11½” AC H & D grey paper label US-Pathé 59067 (3163/64), recorded 1917. M-A, Exemplary! MB 15 K668. NINON VALLIN (as Vallin-Pardo): Le Timbre d’Argent – Le bonheur est chose légère (Saint-Saëns) / Louise – Depuis le jour. 11½” AC H & D grey paper label US-Pathé 59004 (3150/47), recorded 1916. M-A, Exemplary! MB 15 K669. NINON VALLIN (as Vallin-Pardo) & LÉON BEYLE: Manon – On l’appelle Manon (Duo de la lettre) / Mireille – Vincenette à votre âge. 11½” AC H & D black paper label Pathé 2519 (1458/76), only form of issue, 1913 (Vallin’s 1st Pathé). M-A, lovely copy has faintest grey on peaks; Sd. 2 only, wee pressing bump. MB 20 K670. NINON VALLIN: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1928 Versions) 11¾” EL orange Art Label Pathé X.7149, only form of issue, 1928. M-A, choice copy has, Sd. 1 only, infinitesimal pap. scr, inaud. Exceedingly elusive! MB 35 K671. NINON VALLIN: Vidalita (Arenas) / Amargura (Gardel-Razzano) (both in Spanish). 11½” AC H & D green paper label Pathé 3219 (3504/08), only form of issue, 1922. B-, very decent copy has few lt. mks, corrugated mks, Sd.1 only; tiny hlc runs into 1st grooves only, from ec, not to grooves. Exceedingly rare! MB 15 K672. NINON VALLIN: Siete Canciones Populares Españoles – Jota (de Falla) / Tonadillas – El majo discreto (Granados) (both in Spanish). 11½” AC H & D green paper label Pathé 3220 (3510/11), only form of issue, 1922. A/M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. Exceedingly rare! MB 25 K673. NINON VALLIN: Après un rêve (Fauré) / Célèbre sérénade (Gounod). 11½” AC H & D green paper label Pathé 3222 (3489/88), only form of issue, 1921. A to M-A Elusive! MB 15 K674. NINON VALLIN: Nozze – Deh! vieni, non tardar / Mefistofele – L’altra notte (both in French). 11½” AC H & D black paper label Pathé 0263 (2063/52), recorded 1920, only form of issue, Sd.1. M-A, Exemplary! MB 25 “The exceptional quality of [Vallin’s] voice, its purity, its freshness, its timbre, its color, its flexibility, its emotional character as well as the assurance and the taste with which it was used could leave no doubt whatever. We were in the presence of a great artist.” - Albert Carré, director of the Opéra-Comique K675. NINON VALLIN: Pagliacci – Stridono lassu (in French) / Lakmé – Tu m’as donné le plus doux rêve. 11½” AC H & D green paper label Pathé 172 (3161/64), recorded 1917, only form of issue, Sd.1. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K676. NINON VALLIN: Mignon – Connais-tu le pays? / La Boheme – Mi chiamano Mimi (in French). 11½” AC H & D green paper label Pathé 0074 (3145/46), only form of issue, 1916. M-A MB 15 K677. NINON VALLIN: Mignon – Elle est là, près de lui / Thaïs – Air du miroir (Dis-moi que je suis belle). 11½” AC H & D green paper label Pathé 173 (3154/60), only form of issue, 1917. M-A, Exemplary! MB 20

K678. NINON VALLIN: La Boheme – Donde lieta uscì / Madama Butterfly – Un bel dì (both in French). 11½” AC H & D green paper label Pathé 170 (3151/52), recorded 1916, only form of issue, Sd.1. M-A/A, lovely copy has, Sd. 2 only, sev infinitesimal mks, inaud. MB 15 K679. NINON VALLIN: Louise – Depuis le jour / Manon – Adieu, notre petite table. 11½” AC H & D green paper label Pathé 0075 (3147/48), recorded 1916, only form of issue, Sd.2. A to M-A, lovely copy has, Sd.2 only, numerous infinitesimal pressing bumps. MB 15 K680. NINON VALLIN, w.Vadon (Organ): Voici la Noël (Tiersot) / Panis angelicus (Franck). 11¾” EL black Art Label Pathé X.7226, only form of lateral issue, 1930. A, lovely copy has faintest pap. rubs, inaud. Exceedingly elusive! MB 35 K681. NINON VALLIN, w.Darck (Pf.): Waltz #9 in A-flat, Op.69, #1 (as ‘Valse de l’adieu’) (Chopin; arr.Darck) / Hungarian Dance #4 in f (as ‘Violon du soir’) (Brahms; arr.Darck). 10” EL dark-blue French Odéon 281.277, POM-21 June, 1938. M-A, a gleaming copy. MB 20 K682. NINON VALLIN, w.Darck (Pf.): Waltz #15 in A-flat (as ‘Ainsi qu’un très vieux refrain’ – ‘Célèbre Valse de Brahms’) (Brahms; arr.Darck) / L’adorable cantilène (Spencer). 10” EL dark-blue French Odéon 281.278, POM-21 June,1938. M-A, a gleaming copy. MB 20 K683. NINON VALLIN, w.Darck (Pf.): Dolly – Berceuse (Fauré) / Chanson (Acc. by the Composer). 10” EL dark-blue French Odéon 166.805, POM-25 June, 1934, only form of issue, Sd.2. A to M-A, lovely copy has faintest pap rubs, inaud. MB 25 K684. NINON VALLIN, w.Darck (Pf.): Où voulez-vous aller? (Gounod) / Fortunio – La maison grise (Messager). 10” EL red Decca-Odeon G-20328, POM-25 June, 1934. M-A MB 10 K685. NINON VALLIN, w.Darck (Pf.): Les roses de Saadi (Canal) / Les Nuits d’Été – Villanelle (Berlioz). 10” EL green Pathé PG 62, only form of issue, 15 May, 1935. M-A, a gleaming copy. MB 25 K686. NINON VALLIN, w.Darck (Pf.): Près de l’étang (Longas) / The night is made for love (in French) (Jerome Kern). 10” EL dark-blue French Odéon 166.806, only form of regular issue, 25 June, 1934; this appeared also in Argentina. M-A, a gleaming copy. MB 25 K687. NINON VALLIN, w.Darck (Pf.): Triste est le Steppe (Gretchaninoff); Les lilas (Rachmaninoff) / Venise (Gounod). 10” EL green Pathé PG 82, only form of issue, 13 Jan., 1937. M-A, lovely copy has, Sd. 2 only, faintest pap., rubs, inaud. Most elusive! MB 25 K688. NINON VALLIN, w.Darck (Pf.): Clair de lune / Soir (both Fauré). 10” EL green Pathé PG 101, only form of issue, 15 June, 1938. M-A, a gleaming copy. Most elusive! MB 25 K689. NINON VALLIN, w.Darck (Pf.): Chanson de printemps (Gounod) / Mai; Secret (both Roesgen-Champion; Acc. by the Composer). 10” EL green Pathé PG 81, only form of issue, 29 April / 13 Jan., 1937. M-A, Exemplary! MB 25 K690. NINON VALLIN, w.Darck (Pf.): Les vieilles de chez nous (Levadé) / Sérénade du passant (Massenet). 10” EL dark-blue French Odéon 281.031, only form of issue, 11 May, 1936. M-A, Exemplary! MB 25 K691. NINON VALLIN, w.Darck (Pf.): La rose / Automne (both Fauré). 10” EL green Pathé PG 60, only form of issue, 15 May, 1935. M-A, Exemplary! MB 20 K692. NINON VALLIN, w.Darck (Pf.): Cimetière de campagne / Chansons Grises – L’heure exquise (both Hahn). 10” EL green Pathé PG 80, POM-13 Jan., 1937. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K693. NINON VALLIN, w.Darck (Pf.): Cimetière de campagne / Chansons Grises – L’heure exquise (both Hahn). 10” EL blue PW Col. P-17160, POM-13 Jan., 1937. M-A, Exemplary! MB 10 K694. NINON VALLIN, w.Darck (Pf.): Ave Maria (Bach-Gounod) / w.Darck (Pf.) & J.Faure (Cello): Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” EL dark-blue PW Japanese Col. P 27, POM-11 / 20 May, 1936, missing in exemplary Juynboll discography. M-A, lovely copy has, Sd. 2 only, faint pap rubs, barely visible & inaud. MB 15 K695. NINON VALLIN, w.Darck (Pf.): Dolly – Berceuse (Fauré) / Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” EL red Decca-Odeon G-20324, POM-25 June, 1934 / 20 May, 1936. M-A, Exemplary! MB 10 K696. NINON VALLIN, w.Maurice Faure (Pf.): Clair de lune / L’automne (both Fauré). 10” EL French Odéon 188.578, POM-31 March, 1928. M-A, Exemplary! MB 15 K697. NINON VALLIN, w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL French Odéon 188.579, POM-31 March, 1928. M-A, Exemplary! MB 15 K698. NINON VALLIN, w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL Australian Parl. AR 121, POM-31 March, 1928. M-A, Exemplary! Beautiful surfaces. MB 20 K699. NINON VALLIN, w.Maurice Faure (Pf.): Si mes vers avaient des ailes / Chansons Grises – L’heure exquise (both Hahn). 10” EL red Decca-Odeon G-20504, POM-31 March, 1928. M-A MB 10 K700. NINON VALLIN, w.Maurice Faure (Pf.): Les deux coeurs (de Fontenailles) / L’île heureuse (Chabrier). 10” EL dark-blue French Odéon 166.667, only form of issue, 31 May, 1933. A to M-A, lovely copy has faintest pap.rubs. MB 15 K701. NINON VALLIN, w.Maurice Faure (Pf.): Nell / Le parfum impérissable (both Fauré). 10” EL Pathé PD 51, only form of issue, 28 July,1943. M-A, a gleaming copy. Elusive wartime issue. MB 15

K702. NINON VALLIN, w.Maurice Faure (Pf.): Sais-tu? (de Fontenailles) (‘Take’ 2 [‘Take’ 1 also issued]) / w.de Pierlas (Pf.): L’anneau d’argent (Chaminade). 10” EL green French Odéon 166.666, only form of regular issue, 31 May, 1933, Sd.2; (Sd.1 appeared also in Argentina). M-A, a gleaming copy. Sd.1 is among Vallin’s most beguiling renditions! MB 35 K703. NINON VALLIN, w.Maurice Faure (Pf.): Les roses d’Ispahan / Au cimetière (both Fauré). 10” EL Pathé PD 66, only form of issue, 28 July, 1943. M-A, gleaming copy has, beg. Sd. 1, faintest scuff, inaud. Elusive wartime issue. MB 20 K704. NINON VALLIN, w.Maurice Faure (Pf.): Aurore / En sourdine (both Fauré). 10” EL Pathé PD 46, only form of issue, 28 July,1943. M-A, a gleaming copy. Elusive wartime issue. MB 20 K705. NINON VALLIN, w.Maurice Faure (Pf.): Le secret / Soir (both Fauré). 10” EL Pathé PD 45, only form of issue, 28 July, 1943. M-A, a gleaming copy. Elusive wartime issue. MB 25 K706. NINON VALLIN, w.Louis Beydts Cond.: Le promenoir des deux amants (Debussy), 2s. 12” EL Pathé PDT 82, only form of issue, 28 July, 1943. M-A, lovely copy has, Sd. 2 only, long lateral lam, audible during 1st quarter of performance. Ultra-Rare wartime issue! MB 35 K707. NINON VALLIN, w.Reynaldo Hahn (Pf.): Les étoiles / La délaissée (both Acc. by the Composer). 10” EL red Decca-Odeon G-20507, POM-26 June, 1930. M-A, Exemplary! MB 12 K708. NINON VALLIN, w.Reynaldo Hahn (Pf.): Études Latines – Tyndaris / Lyde (both Acc. by the Composer). 10” EL French Odéon 188.741, POM-26 June, 1930. M-A, Exemplary! MB 15 K709. NINON VALLIN, w.Reynaldo Hahn (Pf.): Infidélité / D’une prison (both Acc. by the Composer). 10” EL French Odéon 188.738, POM-26 June, 1930. M-A, a gleaming copy. MB 15 K710. NINON VALLIN, w.Reynaldo Hahn (Pf.): Le printemps / L’air (both Acc. by the Composer). 10” EL French Odéon 188.739, POM-26 June, 1930. M-A, Exemplary! MB 15 K711. NINON VALLIN, w.Cloëz (Pf.): Mandoline / Arièttes Oubliées – Aquarelles (both Debussy). 10” EL red Decca-Odeon G-20326, POM-3 July, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 K712. NINON VALLIN, w.Cloëz Cond.: Phidylé (Duparc), 2s. 10” EL Argentinian Odeon 195.014, POM-3 July, 1928. M-A, lovely copy has, Sd. 2 only, faintest pap. scr, inaud. Exquisitely beautiful! MB 15 K713. NINON VALLIN, w.Cloëz Cond.: Chanson triste (Duparc) / w.Madeleine D’Aleman (Pf.): Schwanengesang – Leise flehen meine Lieder (Ständchen) (in French) (Schubert). 12” EL red Decca-Odeon G-25843, POM-3 July, 1928 / 3 Dec., 1929. M-A, Exemplary! MB 15 K714. NINON VALLIN, w.Cloëz Cond.: Mefistofele – L’altra notte / Norma – Casta Diva (both in Italian!). 12” EL French Odéon 123.709, POM-27 June, 1930. M-A, choice copy has faintest pap. rubs, positively inaud. Sublimely beautiful & her sole recordings in Italian! Excellent shellac offering unusually quiet surfaces. MB 25 K715. NINON VALLIN, w.Cloëz Cond.: Tosca – Vissi d’arte (in French) / Hérodiade – Il est doux, il est bon. 12” EL French Odéon 123.530, POM-29 March, 1928, only form of issue, Sd.1. M-A, Exemplary! MB 15 K716. NINON VALLIN, w.Cloëz Cond.: Werther – Va! laisse couler mes larmes, 2s. 10” EL French Odéon 188.517, POM-13 April, 1927. M-A, Exemplary! MB 15 K717. NINON VALLIN, w.Cloëz Cond.: Werther – Werther! Qui m’aurait dit (Air des lettres), 2s. 12” EL red Decca-Odeon G-25846, POM-13 April, 1927. A to M-A, lovely copy has, Sd. 1 only, sev. wee pressing bumps. MB 12 K718. NINON VALLIN, w.Cloëz Cond.: Les Pêcheurs de Perles – Comme autrefois, 2s. 10” EL French Odéon 188.742, POM-27 June, 1930. M-A, Exemplary! MB 15 K719. NINON VALLIN, w.Cloëz Cond.: Carmen – Séguedille (1927 Version) / Fortunio – Lorsque je n’étais qu’une enfant (Messager). 10” EL French Odéon 188.521, POM-16 April / 24 Oct., 1927. A to M-A, lovely copy has, Sd. 2 only, tiny ndl cut, ltly. audible only a few turns. The Messager side is exquisitely beautiful! MB 12 K720. NINON VALLIN, w.Cloëz Cond.: Louise – Depuis le jour / Lohengrin – Einsam in trüben Tagen (in French). 12” EL French Odéon 171.033, POM-3 May / 24 Oct., 1927, only form of issue, Sd.2. M-A, Exemplary! Vallin’s most exceptional and beautiful foray into Wagner! MB 25 K721. NINON VALLIN, w.Cloëz Cond.: Manon – Adieu, notre petite table / Voyons Manon, plus de chimères. 10” EL red Decca-Odeon G-20580, POM-15 Dec., 1931. M-A MB 12 K722. NINON VALLIN, w.Cloëz Cond.: Manon – Obéissons quand leur voix appelle (Gavotte) / Je suis encore tout étourdie. 10” EL French Odéon 188.863, POM-15 Dec., 1931. M-A, lovely copy has, beg. Sd. 2 only, faint nr – audible only a few turns. MB 10 K723. NINON VALLIN, w.Cloëz Cond.: Manon – Obéissons quand leur voix appelle (Gavotte) / Je suis encore toute étourdie. 10” EL early PW Col. G-4091-M, POM-15 Dec., 1931. M-A, a gleaming copy. MB 12 K724. NINON VALLIN, w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL French Odéon 171.031, POM-3 May, 1927. M-A, Exemplary! MB 15 K725. NINON VALLIN, w.Cloëz Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL red Decca-Odeon G-25861, POM-3 May, 1927. M-A, Exemplary! MB 12

K726. NINON VALLIN, w.Cloëz Cond.: Mignon – Connais-tu le pays? / Elle est aimée. 12” EL French Odéon 171.032, POM-3 May, 1927. M-A, Exemplary! MB 15 K727. NINON VALLIN, w.Cloëz Cond.: Carmen – Habañera / NINON VALLIN & ROGER BOURDIN: Fortunio – C’est un garçon de bonne mine (Messager). 10” EL French Odéon 188.541, POM-31 Oct., 1927, only form of issue, Sd.2. M-A, Exemplary! MB 15 K728. NINON VALLIN, w.Cloëz Cond.: Carmen – Les tringles des sistres tintaient / Snegoroutchka – Le nuage a dit un jour au tonnerre (Lehl’s 3ième chanson) (Rimsky-Korsakov). 12” EL French Odéon 171.026, POM-16 April / 27 Oct., 1927. M-A, a gleaming copy. MB 20 K729. NINON VALLIN, w.Andolfi (Pf.): Mai / Rêverie (both Hahn). 10” EL green Pathé X.93.082, only form of issue, 1932. M-A, a gleaming copy. MB 20 K730. NINON VALLIN, w.Andolfi (Pf.): Clair de lune / Les roses d’Ispahan (both Fauré). 10” EL green Pathé X.3465, only form of lateral issue, 1930; appeared briefly as H & D. M-A/A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 20 K731. NINON VALLIN, w.Andolfi (Pf.): Après un rêve / Au bord de l’eau (both Fauré). 10” EL green Pathé X.93.081, only form of regular issue, 1932; this appeared also in Japan. M-A, a gleaming copy. Grand Prix du Disque, 1934. MB 20 K732. NINON VALLIN, w.Andolfi (Pf.): Si mes vers avaient des ailes (1928 Version) (Hahn) / Ave Maria (Bach-Gounod). 10” EL green Pathé Actuelle X.3366, POM-1928. M-A, lovely copy has faintest pap. rubs, inaud. MB 20 K733. NINON VALLIN, w.Andolfi (Pf.): Si mes vers avaient des ailes (1932 Version) / Paysage (both Hahn). 10” EL Pathé X.93.074, POM-1932 (thought to be only form of issue in exemplary Juynboll discography, but obviously [see below] issued also in Japan). M-A, a gleaming copy. MB 15 K734. NINON VALLIN, w.Andolfi (Pf.): Si mes vers avaient des ailes (1932 Version) / Paysage (both Hahn). 10” EL Japanese Viva-Tonal Col. J 5300, POM-1932. A-/M-A, lovely copy has, Sd. 1 only, few lt. rubs, inaud. MB 12 K735. NINON VALLIN, w.Andolfi Cond.: Chanson triste / L’invitation au voyage (both Duparc). 11¾” EL black Art Label Pathé X.7230, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. MB 35 K736. NINON VALLIN, w.Andolfi Cond.: Jardin d’amour / Les trois princesses; Bourrée de Chapdes-Beaufort (both Vuillermoz). 10” EL green Pathé PG 34, only form of issue, 11 June, 1934. M-A, a gleaming copy. MB 30 K737. NINON VALLIN, w.Andolfi Cond.: Chanté, riez, dormez (Sérénade) (1931 Version) (Gounod) / ENZO DE MURO LOMANTO: Rigoletto – La donna e mobile. 10” EL Japanese Viva-Tonal Col. S-64, POM-1931, this Japanese issue is missing in exemplary Juynboll discography. A-, very decent copy has lt. rubs, inaud. MB 12 K738. NINON VALLIN, w.Andolfi Cond.: Nozze – Deh! vieni, non tardar / Don Giovanni – Batti, batti o bel Masetto (both in French). 11¾” EL black Art Label Pathé X.7167, only form of issue, 1928. M-A, Exemplary! MB 35 K739. NINON VALLIN, w.Andolfi Cond.: Faust – Le Roi de Thulé / Air des bijoux. 11¾” EL black Art Label Pathé X.7228, only form of issue, 1930. A-, lovely copy has very occasional superficial rub, inaud. MB 35 K740. NINON VALLIN, w.Andolfi Cond.: Manon – Adieu, notre petite table / Voyons Manon, plus de chimères. 11¾” EL black Art Label Pathé X.7166, only form of lateral issue, 1928. M-A, choice copy has, Sd.1 only, has faintest nr, inaud.; faintest nr, each label. MB 35 K741. NINON VALLIN, w.Andolfi Cond.: Carmen – L’amour est enfant de bohème (Habañera) / Séguedille. 11¾” EL orange Art Label (w.Vallin’s photo) Pathé X.7147, only form of lateral issue, both 1928. M-A, Exemplary! MB 35 “It was not until 1927 that Pathé decided to turn out a premium-priced record and to create labels for these records which would be truly outstanding. They called this series ‘Pathé-Art’, the 29 cm recordings had ‘orange and gold’ labels and the 30.5 cm recordings ‘multicolor [with] orange border’. Those were the terms used by Pathé themselves in describing their ware. Both were dazzling, in-your-face art-deco creations. The 29 cm was a rather chaotic and jazzy jumble of gold and orange design, while the 30.5 cm recording was in my opinion the more dramatic with the entire upper half of the label containing a flamboyant, stylized design in brilliant reds, oranges, yellows, and green, and the lower half in basic jet black with gold lettering. The ‘Art’ series, as a whole, was short-lived, but just before Pathé abandoned the ‘Art’ series altogether, they decided to gussy up some of their celebrity 25 cm recordings by creating a hitherto new ‘Art’ label (although never advertised as such). This label was also an art-deco delight à la Kandinsky, the upper half in royal blue, steel grey and white in a bizarre array of triangles and wheels, the lower half in solid royal blue with gold lettering. After her three ‘Art’ series recordings for Pathé, Vallin in early 1928 began a series of recordings for Odéon. She promptly returned to Pathé later in 1928 and made 12 recordings in the ‘Art series’….These recordings were published from October 1928 to February 1929. In late 1928 she again returned to Odéon; and in 1929 once again returned to Pathé and made seven more recordings in the ‘Art’ series which were published in the early months of 1930. Her trips back and forth between the Pathé and the Odéon recording studios, playing one company off against the other, were very much a calculated game to get what repertory she wanted to record. While Vallin's recordings on the ‘Pathé-Art’ label consist of fairly standard repertoire, the rarity of this premium-priced label should awaken all Vallin fans….[included among them are] Don Giovanni: Air de Zerline, ‘Panis angelicus’ (Franck), ‘Voici le Noël’ (Tiersot), ‘L'Invitation au voyage’ (Duparc) and the duet with Sibille from Le Roi d'Ys.” - Victor Girard, Marston Program Notes

K742. NINON VALLIN, w.Andolfi Cond.: Redis-moi toujours (Lauwerens) / Tu demandes pourquoi! (Beydts). 10” EL dark-blue Pathé X.93.110, only form of issue, 1932. M-A/A-, lovely copy has, Sd. 2 only, mere hint of grey on peaks. Ultra-Rare! MB 45 K743. NINON VALLIN, w.Andolfi (Pf.): Frauenliebe und Leben (in French) (Schumann), 8s. 4-10” EL dark-green Pathé X.3464, 3470, 3496 & 3497, only form of issue, 1930. M-A, choice copy of this complete set. Rarely seen as a complete unit. MB 75, the Set. “When Vallin was asked how she was able to record such oddities (in France) as Norma, Mefistofele, Frauenliebe und Leben, Richard Strauss songs, etc., she launched into a long bitter tirade against the recording industry’: ‘I always had to bargain with them - 'If you let me record X, I'll record Y for you; the sales for Y will surely compensate any financial loss you suffer from X'." - Victor Girard, Marston Program Notes K744. NINON VALLIN, w.Andolfi Cond.: La Boheme – Addio senza rancor / La Boheme – Mi chiamano Mimi (both in French). 11¾” EL orange Art Label Pathé X.7145, only form of issue, 1928. M-A, Exemplary! MB 35 K745. NINON VALLIN, w.Andolfi Cond.: Carmen – Habañera / Les tringles des sistres tintaient. 12” EL MasterWorks Col. P-9152-M, POM-1938. M-A, gleaming copy of preferred MasterWorks pressing. MB 15 K746. NINON VALLIN, w.Andolfi Cond.: La Fille du Régiment – Par le rang et par l’opulence; Salut à la France!, 2s. 10” EL green Pathé PG 36, only form of issue, 11 June, 1934. A, lovely copy has very occasional hint of grey on peaks – a duly forward recording. Label stickers, both sides. MB 15 K747. NINON VALLIN, w.Bigot Cond.: Nozze – E Susanna non vien; Dove sono (in French), 2s. 10” EL Pathé PD 35, only form of issue, 28 July, 1943. M-A, Exemplary! Most elusive wartime issue. MB 45 K748. NINON VALLIN, w.Ruhlmann Cond.: Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1931 Versions) 12” EL green Pathé X93.044, only form of issue, 1931. M-A, a gleaming copy. MB 20 K749. NINON VALLIN, w.Ruhlmann Cond.: Dolores / Les sirènes (both Waldteufel). 10” EL dark-blue Pathé X.93.134, only form of regular issue, 20 June, 1933; issued also in Australia. M-A, Exemplary! MB 25 K750. NINON VALLIN, w.Ruhlmann Cond.: Enchantement / Élégie (both Massenet). 10” EL Pathé X.93.045, only form of issue, 1931. M-A, gleaming copy has, Sd 2 only, faintest pap. rub, inaud. MB 25 K751. NINON VALLIN, w.Ruhlmann Cond.: Carmen – L’amour est enfant de bohème (Habañera) / Séguedille. 12” EL Pathé X.90.030, POM-1931, thought to be only form of issue, but issued in Australia as well. M-A, a gleaming copy. MB 15 K752. NINON VALLIN, w.Ruhlmann Cond.: Carmen – En vain pour éviter (Card scene) / Les tringles des sistres tintaient. 12” EL Pathé X.90.031, only form of issue, 1931. M-A, a gleaming copy. MB 20 K753. NINON VALLIN, w. Ruhlmann Cond.: Der Graf von Luxemburg – Je vais être mariée (Romance de Suzanne) (in French) (Lehár) / w.Andolfi Cond.: La Reine Joyeuse – Oh, Oh, La troublante volupté (Cuvillier). 10” EL green Pathé X.91.025, only form of issue, 1931. M-A, superlative copy has, Sd.1, tiny nr at end, positively inaud. Important Vallin rarity, no copy of which was available to Juynboll at the time of his discographic compilation. MB 45 K754. NINON VALLIN, w.Ruhlmann Cond.: Louise – Depuis le jour / Madama Butterfly – Un bel dì (in French). 12” EL Pathé X.90.029, only form of issue, 1931. M-A, Exemplary! MB 15 K755. NINON VALLIN, w.Ruhlmann Cond.: Manon – Suis-je gentille ainsi / Adieu, notre petite table. 12” EL Pathé X.90.053, only form of issue, 1932. M-A, a gleaming copy. MB 15 K756. NINON VALLIN, w.Ruhlmann Cond.: Manon – Obéissons quand leur voix appelle / NINON VALLIN & MIGUEL VILLABELLA: On l’appelle Manon (Duo de la lettre). 12” EL Pathé X.90.034, only form of issue, 1931. M-A, gleaming copy has, Sd 1 only, 1 lt. mk, positively inaud. MB 15 K757. NINON VALLIN, w.Ruhlmann Cond.: Manon – À nous les amours et les roses / Les Contes d’Hoffmann – Elle a fui, la tourterelle. 12” EL Pathé X.90.082, only form of issue, 20 June, 1933 / 1932. M-A, a gleaming copy. MB 15 K758. NINON VALLIN, w.Ruhlmann Cond.: Faust – Le Roi de Thulé / Air des bijoux. 12” EL Pathé X.90.084, only form of issue, 1932 / 20 June, 1933. M-A, a gleaming copy. MB 15 K759. NINON VALLIN, w.Ruhlmann Cond.: La Boheme – Addio senza rancor / Mi chiamano Mimi (both in French). 12” EL Pathé X.90.028, only form of issue, 1931. M-A, a gleaming copy. MB 15 K760. NINON VALLIN, w.Ruhlmann Cond.: Tosca – Non la sospiri / Vissi d’arte (both in French). 10” EL Pathé X.90.057, only form of issue, 1932. M-A, a gleaming copy. MB 15 K761. NINON VALLIN, w.Alix Cond.: La Fille de la Madelon – Quand Madelon / Mon vieux pont de pierre (Gailhard). 10” EL dark-blue Pathé PA 1280, only form of issue, 1937. Very rare memento of the film La Fille de la Madelon (this is only the second copy we’ve seen in nearly 40 years!). M-A, Exemplary! MB 45 K762. NINON VALLIN, w.Cariven Cond.: Étude, Op.10, #3 (as ‘Intimité) (Chopin) / Une Revue – La dernière valse (Hahn). 12” EL PW French Col. LFX 338, POM-1 Feb., 1934; only form of issue, Sd.2; Sd. 1 issued also as LFX 594. M-A, lovely copy has, Sd. 1 only, sev. infinitesimal dust mks, inaud. MB 20 K763. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Ständchen / Traum durch die Dämmerung (both in French) (both Strauss). 10” EL French Odéon 188.735, POM-19 June, 1930. M-A, choice copy has wee label smudge, Sd.2 only. MB 15

K764. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Der Nussbaum / In der Fremde (both in French) (both Schumann). 10” EL French Odéon 188.733, only form of issue, 19 June, 1930. A-/M-A, lovely copy has, Sd.1 only, lt. grey on peaks. MB 12 K765. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Le Timbre d’Argent – Le bonheur est chose légère (Saint-Saëns) / Chère nuit (Bachelet). 12” EL French Odéon 123.583, POM-24 Nov., 1928. M-A, Exemplary! MB 15 K766. NINON VALLIN, w.Madeleine D’Aleman (Pf.): La violette doublera (arr.Grospierre); Tambourin (arr.Tiersot) ‘Take’ 2 of 2 issued ‘Takes’/ Plaisir d’amour (Martini). 12” EL red Decca-Odeon G-25844, POM-26 / 24 Nov., 1928. M-A, Exemplary! MB 15 K767. NINON VALLIN, w.Madeleine D’Aleman (Pf.): In der Fremde (Schumann) / Die Schöne Müllerin – Wohin? (both in French) (Schubert). 10” EL early PW Col. G-4080-M, blue shellac pressing, POM-19 June, 1930. M-A MB 15 K768. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Peer Gynt – Solveig’s song (1927 Version, in French) (Grieg) / Tosca – Vissi d’arte (1927 Version, in French). 10” EL brown shellac green Pathé Actuelle X.0625, POM-1927, only form of issue, Sd.2. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has a few tiny scrs, ltly audible. MB 12 K769. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Peer Gynt – Solveig’s song (1929 Version, in French) (Grieg) / Sadko – Chant indou (Rimsky-Korsakov). 12” EL red Decca-Odeon 25318, POM-3 Dec., 1929. M-A MB 12 K770. NINON VALLIN, w.Madeleine D’Aleman (Pf.): Le Nil (Leroux) / Sadko – Chant indou (Rimsky-Korsakov). (1929 Versions) 12” EL French Odéon 123.664, POM-3 Dec., 1929, only form of issue, Sd.1. A-/A, lovely copy has, Sd. 1 only, hint of grey on peaks. MB 12 K771. NINON VALLIN, w.Marguerite Long (Pf.): Les berceaux / GEORGES THILL, w.Maurice Faure (Pf.): Après un rêve (both Fauré). 10” EL Eng. Col. LF 125, only form of issue, 12 June, 1933 / 26 Sept., 1932. M-A, Exemplary! MB 15 "...an exception to most criticisms is Ninon Vallin. She is one of the best sopranos in our period....She sang with pure tone and even line, having all the virtues of French sound...with none of the drawbacks....She was also a prolific gramophone artist, making, as far as I know, never a bad record….What Ninon Vallin was to the French opera house, Claire Croiza was to French song." - J.B. Steane, THE GRAND TRADITION, pp.263-64 K772. NINON VALLIN, w.Joaquin Nin (Pf.): Cantos de España – Malagueña / Polo (both Acc. by the Composer). 10” EL French Odéon 188.695, POM-3 Dec., 1929. M-A, Exemplary! MB 20 K773. NINON VALLIN, w.Joaquin Nin (Pf.): Cantos de España – Tonada de la niña perdida / Granadina (both Acc. by the Composer). 10” EL red Decca-Odeon G-20541, POM-3 Dec., 1929. M-A, lovely copy has, both sides, wee pressing bump. MB 15 K774. NINON VALLIN, w.Joaquin Nin (Pf.): Cantos de España – Malagueña / Polo (both Acc. by the Composer). 10” EL red Decca-Odeon G-20543, POM-3 Dec., 1929. M-A MB 20 K775. NINON VALLIN, w.Joaquin Nin (Pf.): Cantos de España – Montañesa / Los Amantes Chasqueados – El jilguerito del pico de oro (both Acc. by the Composer). 10” EL red Decca-Odeon G-20542, POM-3 Dec., 1929. M-A MB 20 K776. NINON VALLIN, w.Le Roy (Flute) & Jamet (Harp): Mélodies populaires indiennes de Pérou (sung in Quechua & Spanish), 4s. 2-10” EL green Pathé PG 37/38, POM-11 June, 1934. M-A, a gleaming copy. MB 30, the Pair. K777. NINON VALLIN, w.Le Roy (Flute) & Jamet (Harp): Mélodies populaires indiennes de Pérou (sung in Quechua & Spanish), 4s. 2-10” EL MasterWorks Col. P-4219/20, POM-11 June, 1934. M-A, Exemplary! MB 20, the Pair. K778. NINON VALLIN, w.Cloëz Cond.: EL AMOR BRUJO, 3s / Sd. 4 = w.Maurice Faure (Pf.): Siete Canciones Populares Españoles – Seguidilla murciana; Nana (all de Falla). 2-10” EL red Decca-Odeon 20118/19, POM-29 / 31 March, 1928. M-A MB 20, the Pair. K779. NINON VALLIN & MADELEINE SIBILLE: Le Roi d’Ys – Margared, o ma soeur (Lalo), 2s. 11¾” EL black Art Label Pathé X.7233, only form of issue, 1930. M-A, Exemplary! MB 35 K780. NINON VALLIN & MADELEINE SIBILLE; Andolfi Cond.: Les Contes d'Hoffmann – Belle nuit, ô nuit d’amour (Offenbach) / La Fille de Mme Angot – Jours fortunés (Lecocq). 10” EL Pathé X.90.058, POM-1932, thought to be only form of issue, but issued in Australia as well. M-A, lovely copy has, Sd. 1 only, few insignificant pap. mks, inaud. MB 15 K781. NINON VALLIN & JEAN MARNY: Mireille – La brise est douce (Chanson de Magali) / La foi de son flambeau divin. 11½” AC H & D bright orange paper label Pathé 2554 (2061/73), only form of issue, 1920. M-A MB 20 K782. NINON VALLIN & ANDRÉ BALBON; Andolfi Cond.: Manon – Pardon, mais j’étais là / Mignon – Légères hirondelles. 10” EL green Pathé PG 70, only form of issue, 29 Feb., 1936. M-A, Exemplary! (this is only the second copy we’ve seen in nearly 40 years!). MB 35 K783. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: La Fille de Mme Angot – Voyons monsieur, raisonnons politique (Duo politique) (Lecocq) / La Mascotte – Je sens lorsque je t’aperçois (Duo des dindons) (Audran). 10” EL Pathé PD 4, only form of issue, 1934. M-A, a gleaming copy. MB 15 K784. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: Les Noces de Jeannette – Halte-là, s’il vous plaît / Ah! Jarnigué, ce n’est pas gai (Massé). 10” EL Pathé PD 3, only form of issue, 1934. M-A, exemplary copy has, Sd. 1 only, few lt. rubs, inaud. MB 20

K785. NINON VALLIN & ANDRÉ BAUGÉ; Andolfi Cond.: Der Graf von Luxemburg – Schau’n Sie freundlichst mich an / Die Lustige Witwe – Lippen schweign (both in French) (both Lehár). 10” EL Pathé X.2.620, only form of lateral regular issue (appeared in Australia, as well), 1930; appeared briefly as H & D. M-A, Exemplary! Exceedingly elusive, this is only the second copy we’ve seen in nearly 40 years! MB 35 K786. NINON VALLIN & ANDRÉ BAUGÉ: Véronique – De ci, de là (Duo de l’âne) / Ah! méchante, vous voulez rire? (Duo de l’escarpolette) (Messager). 11½” AC H & D yellow paper label Pathé 2569 (1604/05), only form of issue, 1923. M-A, choice copy has, Sd. 1 only, 2 wee rubs, positively inaud. MB 15 K787. NINON VALLIN & JEAN MARNY: Manon – Duo de Saint-Sulpice, 2s. 11½” AC H & D yellow paper label Pathé 2553 (2059/60), only form of issue, 1920. M-A, beautiful copy has, Sd. 2 only, sev. faint scuffs, inaud.; tiny edge bite, not to grooves. MB 12 K788. NINON VALLIN & MIGUEL VILLABELLA: Manon – J’ai marqué l’heure du départ…et je sais votre nom; Non! je ne veux pas le croire (Duo de la rencontre), 2s. 11¾” EL black Art Label Pathé X.7225, only form of issue, 1930. M-A, Exemplary! MB 35 K789. NINON VALLIN & MIGUEL VILLABELLA, w.Ruhlmann Cond.: La Boheme – Sono andati / NINON VALLIN, MADELEINE SIBILLE, MIGUEL VILLABELLA & ANDRÉ BAUGÉ: Addio dolce svegliare (both in French). 12” EL Pathé X.90.056, only form of issue, 1932. M-A, a gleaming copy. Elusive! MB 20 K790. NINON VALLIN & MIGUEL VILLABELLA, w.Ruhlmann Cond.: Manon – Duo de Saint-Sulpice, 2s. 12” EL Pathé X.90.081, only form of issue, 1932. M-A, a gleaming copy. MB 15 K791. NINON VALLIN & CHARLES FRIANT, w.Cloëz Cond.: Carmen – Final Scene, 2s. 12” EL French Odéon 171.024, only form of issue, 16 April, 1927. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud.; both labels are scuffed. MB 12 K792. NINON VALLIN & JULIEN LAFONT, w.Cloëz Cond.: Mignon – Légères hirondelles / As-tu souffert? 10” EL French Odéon 188.537, POM-26 Oct., 1927. M-A, Exemplary! MB 15 K793. NINON VALLIN & JULIEN LAFONT, w.Cloëz Cond.: Louise – Repose-toi; L’enfant serait sage (Berceuse), 2s. 12” EL French Odéon 123.507, POM-26 Oct., 1927. M-A, Exemplary! MB 15 K794. NINON VALLIN, RENÉ MAISON & JULIEN LAFONT, w.Cloëz Cond.: Faust – Alerte! Alerte!, Anges purs (Final trio) / RENÉ MAISON, ROGER BOURDIN & JULIEN LAFONT: Trio du duel. 12” EL French Odéon 123.509, POM-31 Oct., 1927. M-A, choice copy has faintest pap. rubs, inaud. MB 15 K795. NINON VALLIN, ENRICO di MAZZEI, ARTHUR ENDRÈZE & PAUL PAYEN, w.Cloëz Cond.: TOSCA – Excerpts (in French), (Complete, as recorded), 14s. 7-12” EL French Odéon 123.810/816, POM-8-14 June, 1932, in Orig. Odéon Album, w.Brochure. M-A, lovely copy has, Sd. 7 only, 2 long lt. scrs, ever-so-faintly audible the occasional turn; final disc only has ec to 1st groove, not affecting performance. Elusive! MB 65, the Set. “Ninon Vallin was, [early in her career], successful on the concert platform, singing in Debussy’s La Demoiselle Élue and also in the première of his Le Martyre de Saint Sébastien, both in 1911 at le Châtelet. Debussy was enlighted about the young soprano whose voice, he said, shimmered like silver. He chose her for the première of his Trois Poèmes de Stéphane Mallarmé. In addition to Debussy, Ninon Vallin collaborated with a number of important composers, including Albert Roussel, Reynaldo Hahn, Xavier Leroux, Louis Beydt, Marguerite Béclard D’Harcourt and Joaquín Nin. It was the director at the OpéraComique, Albert Carré, who encouraged her to expand her performing activities to opera. She also had a remarkable sympathy for the music of Spain and Spanish America. Last but not least; for almost four decades she was the most active and effective ambassadress of French singing throughout the world. Her operatic career continued well into the 1930s. She was 70 years old (!) when she made her last recordings, with a voice still in good condition. She continued to give concerts until after the war and spent the rest of her life teaching near Lyon. Hers was a clear, pure and absolutely firm soprano voice. It was characterstic of this singer to put as much sensitivity into a casual arrangement of a Chopin study as she did into music by Debussy or Schumann. Her stylistic security guarded her from sentimentality and exaggeration. Many of her recordings are outstanding.” - Andrea Shum-Binder, subito-cantabile K796. ALICE RAVEAU: Werther – Werther! Qui m’aurait dit (Air des lettres), 2s. 10½” AC brown French Odéon 97752/51 (xP 5164/63), only form of issue, 1907. A to M-A, choice copy has very occasional dust mk, inaud. MB 45 K797. ALICE RAVEAU, w.Ruhlmann Cond.: Carmen – En vain pour éviter (Card scene) / Près des ramparts de Séville. 12” EL PW red Pathé X.90.025, only form of issue, 1931. A-, lovely copy has, primarily Sd. 2, various very lt. dust scrs, mainly cosmetic. MB 15 “…with Alice Raveau, the words are lively, the notes accurate, the whole full of insinuation – a distinguished account, well conducted.” - Rodney Milnes, OPERA ON RECORD, Vol. I, p.472 K798. ALICE RAVEAU: Samson et Dalila – Printemps qui commence / Mon coeur s’ouvre à ta voix. 12” EL black Art Label Pathé X.7222, only form of issue, 1929. M-A, a gleaming copy. MB 25 K799. ALICE RAVEAU, w.Andolfi (Pf.): Barcarolle / Le voyageur (both Fauré). 10” EL Pathé X.93.078, only form of issue, 1932. M-A, a gleaming copy. Exceedingly elusive! MB 25

K800. ALICE RAVEAU, w.Andolfi (Pf.): Liederkreis – In der Fremde / Wenn ich in deinen Augen seh' (in French) (Schumann). 10” EL Pathé X.93.087, only form of issue, 1932. M-A, a gleaming copy. Exceedingly elusive! MB 25 K801. ALICE RAVEAU, w.Tomasi Cond.: Orfeo ed Euridice – Che farò senza Euridice (in French), 2s. 12” EL Pathé PDT 38, recorded 1934; only form of issue, Sd.2. M-A, a gleaming copy. MB 20 K802. ALICE RAVEAU, GERMAINE FÉRALDY & JANY DELILLE; Tomasi Cond. Vlassoff Chorus & Orch.: ORFEO ED EURIDICE (Gluck), 16s. (Complete, as recorded). 8-12” EL MasterWorks Col. 11000/07-D, POM-1936, in Orig. Album 15. M-A, gleaming copy of choice MasterWorks pressing. MB 45, the Set. K803. CLÉONTINE DE MÉO: Alceste – Divinités du Styx / Der Freischütz – Leise, leise, fromme weise (in French). 12” EL red PW French Col. D 14212, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. Celebrated French soprano who sang Sieglinde, Brunnhilde, Donna Anna, Octavian, etc.; de Méo’s sole issued recording. MB 25 K804. MARIE CHARBONNEL: Messiah – He shall feed his flock (in French). 10½” AC Test Pressing (w.handwritten label) for Odéon Xp 6196 (issued as X.11839), POM-1914. A to M-A, superb copy! MB 35 K805. MARIE CHARBONNEL: Le Prophète – Ah! Mon fils / O toi qui m’abandonnes. 12” AC black Disque Gram. 033170/71, POM-29 Dec., 1913. A-B, very decent copy has, Sd.1 only, faint nr, ltly audible a few turns; Sd. 2 has numerous superficial scrs, inaud. MB 15 “Marie Charbonnel recorded for Odéon, Gramophone, and Opéra-Saphir. Her resplendent voice is immediately recognizable, and her secure technique places her in the front rank of French contraltos.” - Vincent Giroud, Marston Program Notes K806. FÉLIA LITVINNE: Samson et Dalila – Mon coeur s’ouvre à ta voix / La Favorite – O mon Fernand. 10" AC silver IRCC 5011, RRs-1908, Phrynis. Numbered Copy #8 of a Limited Edition, w.Litvinne’s photo affixed to Sd. 1. M-A/A-, lovely copy has, Sd. 2 only, faint rubs, inaud. MB 12 “…with the legendary Litvinne, one discovers how [Saint-Saëns] must have intended the music to sound in word and music; even at forty-seven, [Litvinne] maintains an ideal line and suggests the delights of the couch.” - Alan Blyth, OPERA ON RECORD, Vol. II, p.215 K807. FÉLIA LITVINNE: Il Trovatore – D'amor sull'ali rosee (in French) / LILLI LEHMANN: Norma – Casta Diva. 12” AC Société Française de Gramophilie AFG 4, RRs-1907 (although artists' signatures appear in shellac inner margins). M-A, Exemplary! MB 15 K808. FÉLIA LITVINNE: Cavalleria – Voi lo sapete / Aïda – I sacri nomi (both in French). 12” AC vinyl Historic Masters HMB 10, POM-1905, (10¾” record pressed onto a 12” blank). MINT MB 12 K809. FÉLIA LITVINNE: L’Africaine – Sur mes genoux / Aïda – I sacri nomi (in French). 10" AC silver IRCC 3042, RRs-1905, Fonotipia. M-A, Exemplary! MB 10 K810. FÉLIA LITVINNE: Les Troyens – Adieu, fière cité. 10" AC S/S vinyl RCA Test Pressing for IRCC 1008, (w.RCA embossed spiderweb verso), RR-1904, Pathé. M-A, choice copy has 2 wee pressing bumps. MB 10 K811. FÉLIA LITVINNE: Cavalleria – Voi lo sapete (in Italian) / Lohengrin – Einsam in trüben Tagen (in French). 10½“ AC Paris Fonotipia 39052/39182 (xPh 675/76), POM-1905. B-, decent copy has grey on peaks, positively audible. MB 25 “…[one] had never heard another voice like Litvinne’s, for fullness of the sound itself, for the enchanting timbre, for the softness and the richness of the range of colourings, or for such music in the sound itself and its overtones….In each rôle, Litvinne’s voice seemed made for that particular rôle: in every sound was the music of the particular character. Irrespective of the tessitura and language in which she was singing, the articulation of every word was clear and somehow transparent….Every phrase was alive with her temperament and involvement….” - Sergei Levik, THE LEVIK MEMOIRS, p. 307 K812. SUZANNE CESBRON-VISEUR, w.Cloëz Cond.: Shéhérazade – La Flûte enchantée / L'Indifférent (Ravel) (Complete, as recorded). 10” EL French Odéon 188.630, POM-1929. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, barely visible & inaud. MB 25 “Cesbron-Viseur's…inimitable French style has disappeared in an age of mediocre singing. [This celebrated artists’s pupils included Régine Crespin & Eliette Schenneberg]….whose sound gives me chills…." - Ward Marston, Courier-Post, 21 July, 1996 K813. DÉVA-DASSY, w.Alix Cond.: Yana – Mon coeur de femme / C’est toi (Richepin) (Creator Record, 24 Dec., 1936, Châtelet, Paris). 10” EL dark-blue Pathé PA 1099, only form of issue, 1937. B, very decent copy has rubs & tiny scrs, mainly cosmetic MB 15 “Déva-Dassy was a French opera and operetta diva who was the second female in Paris that created Laya in ‘Fleurs d'Hawaii’ (by the composer Paul Abraham), in which she sang ‘Ni toi, ni moi’ and a duet with Emile Rousseau called ‘La plus belle perle du monde’, where, in return, Max Bussy sang to her ‘Fleur d'Hawaii’. She also sang Charlotte in Werther, Mignon in Mignon and Suzuki in Madama Butterfly.” - Rudi Polt K814. SOFIA del CAMPO, w.Reibold Cond.: Villanelle (dell’Acqua) / Roméo – Je veux vivre. 12” EL Orth Vla 9206, only form of issue, 15 March / 23 April, 1928, on ‘Z’ shellac. M-A, lovely copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 15

K815. MARGUERITE D’ALVAREZ: Stille Nacht (in English) (Gruber). 12” AC brown shellac Vocalion 52020, POM-1921. A-, lovely copy has few lt.rubs & pap. mks, inaud. MB 8 K816. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego). 10” AC brown shellac Vocalion 30121, POM-1921. M-A, Exemplary! MB 10 K817. MARGUERITE D’ALVAREZ: Homing (1921 Version) (del Riego) / El relicario (Padilla). 10” AC brown shellac Vocalion 60029, POM-1921. M-A, Exemplary! MB 10 K818. MARGUERITE D’ALVAREZ, w.Morton Howard (Pf.): Homing (del Riego) / Do not go, my love (Hageman) (1925 Versions). 10” EL (AC label) Vla 1116, only form of issue, 5 May, 1925. M-A, exemplary Reviewer’s Copy. MB 10 K819. MARGUERITE D’ALVAREZ, w.Percy Kahn (Pf.): Homing (1926 Version) (del Riego) / w.Mme Adami (Pf.): Do not go, my love (subsequent 1925 Version) (Hageman). 10” EL PW HMV DA 790, POM-14 June, 1926 / 13 July, 1925, only form of issue, Sd.1. M-A, lovely copy has, Sd.1 only, sev greyed grooves, inaud. MB 15 “Of all the vocal records this month, I was most glad to find at last a worthy reproduction of Marguerite d’Alvarez which I do not hesitate to call one of the chief boons hitherto conferred by electric recording. What a relief it is when, after listening to singer after singer of talent, one is able to listen to a singer of genius! Mme d’Alvarez has chosen two of her most popular encores with which to make her début in electric recording, and, believe me, it takes all the electricity going to reproduce her electrically. She has the quality of dangling some utterly commonplace string of Ciro pearl words as if they were jewels sparkling….” - Compton Mackenzie, GRAMOPHONE, Oct., 1926 K820. MARGUERITE D’ALVAREZ: Elijah – O rest in the Lord (Mendelssohn). 12” AC brown shellac Vocalion 52018, POM-1921. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K821. MARGUERITE D’ALVAREZ: Le Prophète – Ah, mon fils! / Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 70010, POM-1920, issued USA only. M-A, Exemplary! MB 20 K822. MARGUERITE D’ALVAREZ, w.Neale Blair (Pf.): Tus ojillos negros (de Falla) / La zagalina (Tabuyo). 10” EL Orth Vla 1139, only form of issue, 8 Dec., 1925 (Sd. 1 being ‘Take’ 8 of two issued Versions). M-A, Exemplary! Sd. 2 label Autographed in gold ink by D’Alvarez. MB 45 K823. MARGUERITE D’ALVAREZ, w.Mme Adami (Pf.): La première (Amherst Webber) / w.Percy Kahn (Pf.): J’ai pleuré en rêve (Hüe). 10” EL PW Disque Gram. DA 794, only form of issue, 17 July, 1925 / 18 June, 1926. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. Exceedingly Rare! MB 45 K824. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Caro mio ben (Giordani) / Down here (Brahe). 10” EL PW HMV DA 831, only form of issue, 14 Oct., 1926. M-A, Exemplary! MB 25 K825. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): Ojos tapátios (Velazques-Elizondo). 10” EL S/S Special vinyl Pressing of Mx. BVE-58147-12, POM-2 Jan., 1930, from Unpublished Matrix. MINT MB 45 K826. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): En calesa (Álvarez). 10” EL S/S Special vinyl Pressing of Mx. BVE-58150-12, POM-3 Jan., 1930, from Unpublished Matrix. MINT, albeit considerable ‘thumping’, inherent in matrix. MB 45 K827. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): El Niño Judío – De España vengo (Luna- Álvarez). 10” EL S/S Special vinyl Pressing of Mx. BVE-58151, POM-3 Jan., 1930, from Unpublished Matrix. MINT MB 45 K828. MARGUERITE D’ALVAREZ w.Edward Hart (Pf.): Las Hijas del Zebedeo – Al pensar en el dueño (Carceleras) (Chapí). 10” EL S/S Special vinyl Pressing of Mx.BVE-58148, POM-3 Jan., 1930, from Unpublished Matrix. MINT MB 45 “Marguerite d’Alvarez may be regarded as one of the most unique singers before the public. God, the good fairies, and the Fates have united to endow her with ten or a dozen qualities, any one of which would be sufficient to give her a notable position. . . . She is gifted with a most extraordinary contralto voice of great range and flexibility, and of a mellow and luscious quality.” - Carl Van Vechten, MUSICAL COURIER, 22 April, 1920 K829. MARGUERITE D’ALVAREZ: Carmen – Habañera (1920 Version, D’Alvarez’s first recording). 12” AC pink English Vocalion A-0144 (5151), POM-1920. M-A, Exemplary! MB 15 K830. MARGUERITE D’ALVAREZ: Carmen – Habañera (1920 Version, D’Alvarez’s first recording) / MARGUERITE D’ALVAREZ & GIULIO CRIMI: Il Trovatore – Ai nostri monti. 12” AC pink English Vocalion A-200 (5151/7359), POM-1920. M-A, lovely copy has, Sd. 1 only, mere hint of grey on peaks. MB 15 K831. MARGUERITE D’ALVAREZ: Carmen – Séguedille (1921 Version). 10” AC brown shellac Vocalion 30124, POM-1921. M-A, Exemplary! MB 8 K832. MARGUERITE D’ALVAREZ: Carmen – Séguedille / Habañera (1926 Versions). 10” EL Vla 1145, only form of issue, 26 Jan., 1926. M-A, Exemplary! MB 8 K833. MARGUERITE D’ALVAREZ, w.Ivor Newton (Pf.): Carmen – Séguedille / Samson et Dalila – Mon coeur s’ouvre à ta voix (1928 Versions). 10” EL PW HMV DA 1000, only form of issue, 14 Sept., 1928. M-A, lovely copy has very occasional faintest pap. rub, inaud. MB 15 K834. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix / Printemps qui commence. 12” EL Orth Vla 6590, POM-23 April, 1926. M-A, Exemplary! MB 8 K835. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 52000, POM-1920. M-A, Exemplary! Label Autographed in black ink by D’Alvarez. MB 25

K836. MARGUERITE D’ALVAREZ: Samson et Dalila – Mon coeur s’ouvre à ta voix (1920 Version). 12” AC brown shellac Vocalion 52000, POM-1920. M-A, Exemplary! MB 8 “Mme Marguerite D'Alvarez tells a colorful story of her first encounter with Oscar Hammerstein, with whose dazzling operatic successes she was so prominently identified: ‘I was a girl just beginning a singing career’, she says. ‘In Paris I heard that Mr. Hammerstein was in the city engaging artists for his New York opera house. I went to his hotel to see him and try to gain an audition. He was sitting in the lobby, and I was directed to him. ‘What do you want?' He neither arose from his sprawling position, nor removed from his mouth the long black cigar that he always chewed upon. 'I should like an audition’, I replied. 'I am a contralto’. 'I don't need a contralto!' He looked away, signifying that the audience was closed. ‘I was nearly bursting with astonishment and anger. I had been reared in a stately Spanish household, where was preserved sacredly the old punctilious tradition of Spain. I had never been treated rudely by a man, and this was rudeness beyond anything that I had ever imagined could exist. My temper got the best of me. 'Mr Hammerstein’, I glared at him, 'I am sorry I came to you. It is not pleasant to come near so ill-mannered a person’. He stared at me incredulously. He was the great impresario, and I a little singer looking for a post. I turned and walked away. As I was passing out of the door, he came running up behind me. 'Well, if you want, you can have an audition’, he growled. 'No, thank you! I could not possibly sing for so ill-bred a man!' He sputtered angrily, but I went on. Several days later my agent told me that Mr. Hammerstein wanted me to come to an audition. I refused, but the agent insisted. I went, all upset, so upset that I sang very badly at the audition. I did not care. I was so angry that I was glad, as I thought, to have failed to secure an engagement with Hammerstein. But when I was through, he praised me absurdly, and gave me a contract. In a few weeks I was sailing for New York. I was not so unhappy. More acquaintance with the man had taught me that, while he was uncouth, the power of genius was in him." - TIME, 11 Feb., 1924 K837. LUCREZIA BORI: I hear you calling me (in English) (Marshall). 10” AC V 87188, only form of issue, 27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. A-, very decent copy has lt rubs & sev. lt. scrs, inaud. Elusive! MB 12 K838. LUCREZIA BORI: El Majo discreto (Granados) / Milonguita (Delfino). 10” AC Vla 1033, POM-8 Oct., 1923 / 13 June, 1924. M-A, Reviewer’s Copy. MB 10 K839. LUCREZIA BORI: Patotero sentimental (Romero) / La cruz de mayo (Valverde). 10” EL Orth Vla 1190, POM-8 Dec., 1925. M-A, Exemplary! MB 12 K840. LUCREZIA BORI: The little damozel (Ivor Novello) / Simonetta (Rumbold) (both in English). 10” EL Orth Vla 1162, only form of issue, 21 Nov. / 8 Dec., 1925. M-A, Exemplary! MB 12 K841. LUCREZIA BORI: The little damozel (Ivor Novello) / Simonetta (Rumbold) (both in English). 10” EL (AC label) Vla 1162, only form of issue, 21 Nov. / 8 Dec., 1925. M-A, Exemplary! MB 10 K842. LUCREZIA BORI: Niña Pancha (Habañera) (Valverde). 10” AC V 87189, POM-27 March, 1914. M-A MB 8 K843. LUCREZIA BORI: Niña Pancha (Habañera) (Valverde) / When love is kind (in English) (Moore). 10” AC Vla 898, POM-27 March, 1914 / 12 May, 1922. A to M-A, lovely copy has sev. infinitesimal dust mks. MB 8 K844. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1923 Versions). 10” AC Vla 986, POM-8 Oct., 1923, Never issued S/S, although issue numbers. M-A, Exemplary! MB 10 K845. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1927 Versions). 10” EL Scroll V 1262, POM-27 May, 1927, on ‘Z’-type shellac. A-, very decent copy has lt. rubs, inaud. MB 8 K846. LUCREZIA BORI: Il bacio (Arditi) / Ciribiribin (Pestalozza) (1927 Versions). 10” EL Orth Vla 1262, POM-27 May, 1927. M-A, Exemplary! MB 8 K847. LUCREZIA BORI: La paloma (Yradier). 12” AC V 88480, POM-27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. M-A MB 8 K848. LUCREZIA BORI: La paloma (Yradier). 12” AC white HMV Test Pressing for C-14644-2 (identical to above, w.handwritten HMV label), POM-27 March, 1914, ‘Take’ 2 of 2 issued ‘Takes’. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K849. LUCREZIA BORI: Malagueña (Lorenzo Pagans) / CHARLOTTE KIRWAN: Hark, what I tell to thee (The spirit song) (Haydn). 10” AC etched label Edison H & D 80102 (2225/3022), only form of issue, 15 April / Nov., 1913. M-A, bright copy has sev. infinitesimal mks, sl. audible a turn or two. MB 15 K850. LUCREZIA BORI: Malagueña (Lorenzo Pagans). 10” AC V 87190, POM-27 March, 1914. M-A MB 8 K851. LUCREZIA BORI: La Primavera d’Oro (Glazounov) / Geschichten aus dem Wiener Wald (as ‘Storielle del bosco Viennese) (Johann Strauss) (both in Italian). 12” EL Orth Vla 6699, POM-2 Dec., 1925 / 27 May, 1927. A to M-A/A, lovely copy has, Sd. 2 only, lt. rubs, inaud. A positively charming record! MB 10 K852. LUCREZIA BORI: Clavelitos (Valverde). 10” AC V 87217, POM-23 March, 1915. A-, very decent copy has lt. rubs, inaud. MB 6 K853. LUCREZIA BORI: Clavelitos (Valverde) / Malagueña (Lorenzo Pagans). 10” EL Orth Vla 1385, POM-1 June, 1927 / 13 Jan., 1928. A, lovely copy has faintest pap. rubs, inaud. MB 8 K854. LUCREZIA BORI: Villanella (Sibella). 10” AC Vla 87328, POM-27 May, 1921. M-A, a gleaming copy. MB 8

K855. LUCREZIA BORI: Villanella (Sibella) / Les Soirées Musicales – La Danza (Rossini). 10” AC Vla 546, POM-27 May, 1921 / 12 Feb., 1914. A to M-A MB 8 K856. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL Orth Vla 1348, POM-22 May, 1928, on ‘Z’ shellac. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud. MB 12 K857. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL Orth Vla 1348, POM-22 May, 1928. M-A, lovely copy has, Sd. 2 only, lt. rubs, inaud. MB 8 K858. LUCREZIA BORI: La Violetera (Padilla) / Seguidilla (Danza spagnola) (arr.Reimann). 10” EL LVDP DA 1039, POM-22 May, 1928. M-A, Exemplary! MB 10 “Bori was born Lucrezia Borja (Borgia) Gonzalés de Riancho at Gandia near Valencia on 24 December, 1887, the daughter of a well-to-do army officer. She was a descendant of Renaissance Italy's powerful Borgia family; her name in Italian, in fact, was Lucrezia Borgia. Her family, however, insisted she change it for the stage. Bori made her first public appearance at a benefit concert in Valencia at age six. She made her professional début at the Teatro Adriano in Rome on 31October, 1908, as Micaela in Carmen. Bori was subsequently hired by La Scala the following season, where the promising young artist so enchanted German composer Richard Strauss that he insisted she sing the rôle of Octavian in the local premier of his Der Rosenkavalier in 1911. In 1912 she made her début as Manon Lescaut at the Met. Bori was one of the most highly respected and greatly loved singers in the Met’s history and after her retirement she was appointed to the Board of Directors, the first singer to be so honored. Her voice was of modest size but it was of a individual and delicate timbre, capable to draw characters of pathetic fragility. She imbued them with intense and passionate feeling. There is elegance and charm in her singing which is entirely her own. Lucrezia Bori certainly belongs to the great lyric sopranos of the century. She is a singer of fine and exquisite taste.” - Andrea Shum-Binder, subito-cantabile K859. LUCREZIA BORI: Nozze – Voi che sapete / Explanatory talk. 10” AC etched label Edison H & D 82526 (2217/2739), only form of issue, 30 April, 1914, in Original Edison sleeve. M-A MB 20 K860. LUCREZIA BORI: Nozze – Deh! vieni, non tardar (1921 Version). 12” AC Vla 88633, POM-7 April, 1921. Autographed by Bori. M-A, Exemplary! MB 20 K861. LUCREZIA BORI: Nozze – Deh! vieni, non tardar (1921 Version). 12” AC Vla 88633, POM-7 April, 1921. M-A, Exemplary! MB 8 K862. LUCREZIA BORI: Don Giovanni – Vedrai, carino. 10” AC Vla 87333, POM-23 Nov., 1921, ‘Take’ 12 of 2 issued ‘Takes’. M-A, gleaming copy has very faint pressing bump. MB 8 K863. LUCREZIA BORI: Così fan Tutte – In uomini, in soldati. 10” AC Vla 87346, POM-12 May, 1922. M-A, Exemplary! MB 8 K864. LUCREZIA BORI: Roméo – Je veux vivre. 10” AC Vla 87351, POM-2 Oct., 1922. M-A, a gleaming copy. MB 8 K865. LUCREZIA BORI: Snegoroutchka – Je connais, je connais, ma mère (Rimsky-Korsakov). 10” AC Vla 87356, POM-2 Oct., 1922. M-A MB 8 K866. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1924 / ’23 Versions). 10” AC Vla 1053, POM-13 June, 1924 / 28 Sept., 1923. M-A, Exemplary! MB 10 K867. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1927 Versions). 10” EL Scroll V 1333, POM-30 Dec., 1927, on ‘Z’-type shellac. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K868. LUCREZIA BORI: L’Amour Mouillé – Valse d’oiseau (Varney) / La Boheme – Quando m’en vo (1927 Versions). 10” EL Orth Vla 1333, POM-30 Dec., 1927. M-A, Exemplary! MB 10 K869. LUCREZIA BORI: Manon – Adieu, notre petite table / Lakmé – Pourquoi dans les grands bois. 10” AC Vla 1009, POM-8 Oct., 1923, Never issued S/S, although issue numbers. M-A MB 10 K870. LUCREZIA BORI: Les Contes d’Hoffmann – Elle a fui, la tourterelle. 12” AC V 88525, POM-23 March, 1915. M-A, a gleaming copy. MB 8 K871. LUCREZIA BORI: La Traviata – Addio del passato. 10” AC V 87178, POM-12 Feb., 1914. M-A MB 8 K872. LUCREZIA BORI: La Traviata – Ah! fors’ è lui / ROSA PONSELLE: Aïda – Ritorna vincitor. 12” EL Scroll V 7438, POM-20 July / 18 Jan., 1928, on ‘Z’ shellac. A, lovely copy has very lt. rubs, inaud. MB 10 K873. LUCREZIA BORI: La Traviata – Ah! fors’ è lui / ROSA PONSELLE: Aïda – Ritorna vincitor. 12” EL PW V 7438, POM-20 July / 18 Jan., 1928. M-A, Exemplary! MB 10 K874. LUCREZIA BORI: Pagliacci – Stridono lassu. 12” AC V 88398, POM-12 Feb., 1914. M-A, a gleaming copy. MB 8 K875. LUCREZIA BORI: Iris – Un dì, al tempio (Mascagni). 12” AC V 88524, POM-23 March, 1915; Never Doubled USA (other than elusive IRCC reissue). M-A MB 8 K876. LUCREZIA BORI: Iris – In pure stille (Mascagni). 10” AC V 87219, POM-16 April, 1915. M-A, Exemplary! MB 8 K877. LUCREZIA BORI: Iris – In pure stille / Così fan Tutte – In uomini, in soldati. 10” AC white Archive HMV VA 17, POM-16 April, 1915 / 12 May, 1922. MINT MB 8

K878. LUCREZIA BORI: La Boheme – Mi chiamano Mimi. 12” AC V 88475, POM-12 Feb., 1914, ‘Take’ 2 of 2 issued ‘Takes’; Never Doubled USA. M-A MB 8 K879. LUCREZIA BORI: La Boheme – Mi chiamano Mimi / Madama Butterfly – Un bel dì. 12” EL Scroll V 6790, POM-5 May, 1926 / 4 Jan., 1928, on ‘Z’-type shellac. M-A MB 12 K880. LUCREZIA BORI: La Boheme – Mi chiamano Mimi / Madama Butterfly – Un bel dì. 12” EL PW V 6790, POM-5 May, 1926 / 4 Jan., 1928. M-A, Exemplary! MB 8 K881. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL (AC label) Vla 6561, POM-21 Nov. / 2 Dec., 1925, on ‘Z’ shellac. M-A, a gleaming copy. MB 15 K882. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL PW V 6561, POM-21 Nov. / 2 Dec., 1925. M-A M-A, Exemplary! MB 10 K883. LUCREZIA BORI: La Boheme – Donde lieta uscì / Louise – Depuis le jour. 12” EL (AC label) Vla 6561, POM-21 Nov. / 2 Dec., 1925. M-A M-A, Exemplary! MB 8 K884. LUCREZIA BORI: Il Segreto di Susanna – O gioia, la nube leggera (Wolf-Ferrari) / Iris – Un dì, al tempio (Mascagni). 12” AC silver Victor IRCC 70, POM-23 Nov., 1921 / 23 March, 1915. Numbered Copy #50 of a Limited Edition. Sd.2 label Autographed by Bori, whose photo is affixed to label. M-A, gleaming copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 35 K885. LUCREZIA BORI: Il Segreto di Susanna – O gioia, la nube leggera (Wolf-Ferrari). 12” AC Vla 88647, POM-23 Nov., 1921; Never Doubled USA (other than elusive IRCC reissue). M-A, Exemplary! MB 8 K886. LUCREZIA BORI: L’Amico Fritz – Son pochi fiori / Non mi resta che il pianto (Mascagni). 10” AC Vla 967, POM-28 Sept., 1923, Never issued S/S, although assigned issue numbers. M-A MB 10 K887. LUCREZIA BORI: L’Amico Fritz – Son pochi fiori / Non mi resta che il pianto (Mascagni). 10” AC LVDP DA 649, POM-28 Sept., 1923. M-A, Exemplary! MB 10 K888. LUCREZIA BORI: Manon Lescaut – In quelle trine morbide (Puccini) / YVONNE de TRÉVILLE: Manon Lescaut – C’est l’histoire amoureuse (Auber). 10" AC pale-pink IRCC 101, RRs-1910/’15, both Edison. Numbered Copy #6 of a Limited Edition. M-A, lovely copy has, Sd. 2 only, sev. infinitesimal pap. mks, inaud. MB 15 K889. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL Scroll V 1361, on ‘Z’ shellac, POM-18 May, 1928. M-A, Exemplary! MB 12 K890. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL PW V 1361, POM-18 May, 1928. M-A, Exemplary! MB 8 K891. LUCREZIA BORI: Mignon – Connais-tu le pays? / Me voici dans son boudoir (Rondo gavotte). 10” EL Orth Vla 1361, POM-18 May, 1928. M-A, a gleaming copy. MB 8 K892. LUCREZIA BORI: Arias from La Vida Breve, La Rondine, Il Segreto di Susanna, Manon (2), Nozze, Don Giovanni (2), 8s. 3-12" EL PW V 14614/16; 1-10" EL PW V 1846, only form of issue, 1937, (the sole exception being the single 10" disk), in Orig. Album M 405, w.Brochure. M-A, a gleaming copy. MB 35, the Set. K893. LUCREZIA BORI, w.George Copeland (Pf.): Los Amantes Chasqueados – El Jilguera del pico de oro / Aci y Galatea – El Confiado jiguerillo (both Nin). 10” EL V 2201, only form of issue, 19 Nov., 1937. M-A, Exemplary! MB 15 K894. LUCREZIA BORI, w.George Copeland (Pf.): Malagueña / Jota tortosina (both Nin); Siete Canciones Populares Españolas – Seguidilla (de Falla). 10” EL PW V 1984, only form of issue, 19 Nov., 1937. M-A, Exemplary! MB 20 K895. LUCREZIA BORI, w.George Copeland (Pf.): Don Quixote de la Mancha – Consejo (Obradors) / Siete Canciones Populares Españolas – Jota (de Falla). 10” EL PW V 1978, only form of issue, 19 Nov., 1937. A/A-, lovely copy has, primarily Sd. 2, lt. rubs, inaud. MB 15 K896. LUCREZIA BORI & LAWRENCE TIBBETT: Calm as the night (Goetze) / Les Contes d’Hoffmann – Barcarolle. 10” EL PW V 1747, POM-1 June, 1927. M-A, Exemplary! MB 8 K897. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 2-12” AC Vla 89161/62, POM-2 Nov., 1921. M-A, Exemplary! MB 12 K898. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 12” AC Vla 8004, POM-2 Nov., 1921. M-A, Exemplary! MB 12 K899. LUCREZIA BORI & GIUSEPPE DE LUCA: Don Pasquale – Pronta io son; Vado corro, 2s. 12” AC buff PW HMV DK 102, POM-2 Nov., 1921. M-A, Exemplary! MB 12 "Not everyone takes to Bori’s somewhat acidulous voice, but who can resist what she does with it? She radiates vivacity in Juliette's waltz … and in the Norina-Malatesta duet from Don Pasquale. Her legato, long line and pathetic accent … are masterful." - C. J. Luten, OPERA NEWS K900. LUCREZIA BORI & ANDREA PERELLO de SEGUROLA: La Revoltosa – Por qué de mis ojos (Chapì). 12” AC V 88526, POM-16 April, 1915. M-A, Exemplary! MB 10 K901. LUCREZIA BORI & ANDREA PERELLO de SEGUROLA: El Puñao de Rosas - Romanza (Chapì). 10” AC V 87225, POM-16 April, 1915; Never Doubled USA. M-A MB 10

K902. LUCREZIA BORI & TITO SCHIPA: La Boheme – Sono andati (Mimi’s Death scene), 2s. 12” EL PW V 8068, POM-24 Nov., 1925. M-A, choice copy has, beg. Sd. 2 only, faintest pap. rub, inaud. MB 10 K903. LUCREZIA BORI & TITO SCHIPA: La Boheme – Sono andati (Death scene), 2s. 12” EL Orth Vla 8068, POM-24 Nov., 1925. M-A, Exemplary! This legendary performance becomes truly revelatory when played at its correct speed of 73.47rpm! MB 8 K904. LUCREZIA BORI & BENIAMINO GIGLI: Roméo – Ah! ne fuis pas encore! 10” AC Vla 87581, POM-28 March, 1923. M-A, Exemplary! MB 10 K905. LUCREZIA BORI & BENIAMINO GIGLI: Roméo – Ange adorable / LUCREZIA BORI & MIGUEL FLETA: Carmen – Parle-moi de ma mère. 12” AC mauve & gold HMV AGSB 58, POM-28 March, 1923 / 14 Jan., 1924, both from Unpublished Masters. MINT MB 35 K906. LUCREZIA BORI & JOHN McCORMACK: La Boheme – O soave fanciulla. 10” AC Vla 87512, POM-8 April, 1914. M-A, Exemplary! MB 10 K907. LUCREZIA BORI & JOHN McCORMACK: La Traviata – Parigi, o cara. 12” AC V 88453, POM-8 April, 1914. M-A, Exemplary! MB 12 K908. LUCREZIA BORI & JOHN McCORMACK: La Traviata – Parigi, o cara / LUCREZIA BORI, JOSEPHINE JACOBY, JOHN McCORMACK & REINALD WERRENRATH: Rigoletto – Bella figlia dell’amore. 12” AC Vla 10006, POM-8 April, 1914. M-A MB 10 “The gift of a beautiful voice is considered to be a divine one. To possess a vocal quality that has a marked individuality is to be blessed indeed. One such singer was Lucrezia Bori. She, together with singers like Enrico Caruso, Titta Ruffo, Beniamino Gigli, Tito Schipa, Richard Tauber and Lauritz Melchior or Amelita Galli-Curci, Luisa Tetrazzini, Rosa Ponselle and later Maria Callas, among certain other noted recording artists, only need to utter a couple of notes and it is usually sufficient for the record listener to immediately recognise the singer. The Great Depression of the late 1920s had caused severe financial difficulties at the Metropolitan and Bori - always one of their best box-office attractions - was persuaded to delay her planned retirement from 1933 to 1936. She also became Chairperson of the ‘Committee to save the Metropolitan Opera House’ and through her performances, public addresses and appeals worked to raise the funds that ultimately enabled the company to survive. Although her career had blossomed in Italy and she had sung in South America and in other USA operatic centres with great success, the Metropolitan Opera in New York was her artistic home. She was the first woman to join the Board of the Met. Lucrezia Bori enjoyed a secluded and quiet retirement, but to the end of her days she was always interested in the fortunes of the Company and in the development of any young artist associated with that great house. Lucrezia Bori died in New York on 12 May, 1960.” - Alan Bilgora K909. CONSUELO ESCOBAR de CASTRO: L’ardita (Arditi) / Morenita (Buzzi-Peccia). 10” AC paper label Edison H & D 80713 (6665/5977), only form of issue, 31 Dec., 1921 / 1922. M-A, Exemplary! Charming examples of this Mexican coloratura. MB 15 K910. CONSUELO ESCOBAR de CASTRO: Lakmé – Où va la jeune Indoue / I Puritani – Vien diletto. 10” AC etched label Edison H & D 82177 (6567/6677), only form of issue, 1 Dec., 1919 / 1920. M-A, lovely copy has faintest pap. rubs, barely visible & inaud. MB 15 K911. GRAZIELLA PARETO: O bimba, bimbetta (Sibella). 12” AC Vla 88642, POM-10 June, 1920. A most exquisite rendition, among Pareto’s finest! M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K912. GRAZIELLA PARETO: Frühlingstimmen (in Italian) (Johann Strauss) / Il bacio (Arditi). 12” AC Vla 6400, POM-1907 / 29 May, 1920. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. mks, positively inaud. MB 20 K913. GRAZIELLA PARETO: Nozze – Deh! vieni, non tardar. 12” AC Milano Gram. Monarch 2-053176, POM-10 June, 1920. A-B, very decent copy has rubs & sev. lt. scrs, only occasionally ltly audible. MB 12 K914. GRAZIELLA PARETO: Don Pasquale – Quel guardo, il cavaliere. 12” AC HMV 2-053175, POM-29 May, 1920. M-A, Exemplary! MB 12 K915. GRAZIELLA PARETO: Don Pasquale – Quel guardo, il cavaliere / Les Pêcheurs de Perles – Comme autrefois (in Italian). 12” AC Vla 6401, POM-29 May, 1920. M-A, a gleaming copy. MB 20 K916. GRAZIELLA PARETO: La Sonnambula – Ah! Non credea mirarti. 12” Pat.’08 V 76003 (1401½c), POM-1907, Never Doubled. M-A, Exemplary! MB 15 K917. GRAZIELLA PARETO: Lucia – Quando rapita in estasi. 12” Pat.’08 V 76009 (1389c), POM-1907, Never Doubled, Never listed in a North American Victor Catalogue. M-A, Exemplary! MB 15 K918. GRAZIELLA PARETO: Lucia – Splendon le sacre faci. 12” AC Milano G & T 053153 (1390½c), POM-1907. A-B, very decent copy has rubs & scuffs, positively audible. MB 10 K919. GRAZIELLA PARETO: La Traviata – Ah! fors’ è lui; Sempre libera, 2s. 12” AC HMV DB 565, POM-10 June, 1920. M-A, Exemplary! MB 15 K920. GRAZIELLA PARETO: Rigoletto – Caro nome (1907 Version). 12” Pat.’08 V 76007 (1369c), POM-1907, Never Doubled, Never listed in a North American Victor Catalogue. M-A, Exemplary! MB 15

K921. GRAZIELLA PARETO: Rigoletto – Caro nome (1918 Version) / GRAZIELLA PARETO & LAMBERTO BERGAMINI: E il sol dell’anima. 12” AC vinyl Historic Masters HM 38 (3283/85c), POM-6 July, 1918. MINT MB 15 K922. GRAZIELLA PARETO & TITTA RUFFO: Don Giovanni – Là ci darem la mano. 12” AC HMV 054229, POM-21 Nov., 1908. M-A, lovely copy has 3 infinitesimal pap. scrs, inaud. MB 12 K923. GRAZIELLA PARETO & LAMBERTO BERGAMINI: La Traviata – Libiam, libiamo (Brindisi). 12” AC Disque Gram. 2-054081, POM-6 July, 1918. A-, very decent copy has few faint rubs & short hlc. A curiosity in that the label clearly states Pareto’s partner to be Matteo Dragoni! MB 8 K924. GRAZIELLA PARETO & GIOVANNI MANURITTA: La Sonnambula – D’un pensiero / FRANCESCO SIGNORINI: Guillaume Tell – Asile héréditaire (in Italian). 12” AC vinyl Historic Masters HM 30 (Ck1472-2/1493c), POM-1924/’08. MINT MB 12 “Pareto studied in Milan with Vidal, and made her stage début in Barcelona, as Micaela in 1906, and in Madrid, in 1908, as Amina in La Sonnambula, one of her greatest rôles. She made her début at La Scala, as Gilda in 1914. She appeared in Paris, London, Vienna, and St Petersburg, and had a long association with the Teatro Colón in Buenos Aires, where she sang from 1909 until 1927, also appearing in Chicago in 1921. Her best rôles included Rosina, Norina, Lucia, Juliette, Ophélie, Leila, and Lakmé. She retired in Naples, with her husband composer Gabriele Sibella. Pareto was one the great coloratura sopranos of the ‘Spanish School’ of the early 20th century, which includes Maria Barrientos, Maria Galvany and Mercedes Capsir.” K925. MARGHERITA CAROSIO, w.Olivieri Cond.: Gran valzer cantabile (Venzano) / Canzone araba (Lorenzo Pagans). 10” EL LVDP DA 5378, only form of issue, 1940. M-A, lovely copy has, Sd. 2 only, wee scuff, ever-so-faintly audible a turn or three. Exceedingly elusive and hauntingly beautiful! MB 25 K925a. MARGHERITA CAROSIO, w.Gennai Cond.: Betly – In questo semplice (Donizetti), 2s. 10” EL HMV DA 1910, only form of issue, 1947. M-A, Exemplary! MB 8 K926. MARGHERITA CAROSIO, w.Fistoulari Cond.: I Capuleti ed i Montecchi – O! quante volte (Bellini) / Manon – Adieu, notre petite table (in Italian). 12” EL LVDP DB 21336, only form of issue, 1951. M-A, Exemplary! MB 15 K926a. MARGHERITA CAROSIO, w.Erede Cond.: I Puritani – Qui la voce / Don Pasquale – Quel guardo, il cavaliere. 12” EL HMV DB 6858, only form of issue, 1947. M-A, Exemplary! MB 8 K927. MARGHERITA CAROSIO, w.Erede Cond.: L'Elisir – Prendi, per me sei libero / Rigoletto – Tutte le feste al tempio. 12” EL HMV DB 6867, only form of issue, 1947. M-A, Exemplary! MB 8 K927a. MARGHERITA CAROSIO, w.Albergoni Cond.: Fra Diavolo – Or son sola, 2s. 10” EL red Fonotipia Odeon B 3783, POM-1929. M-A, gleaming copy has, Sd. 2 only, wee dust scr, ever-so-faintly audible a few turns. MB 15 K928. MARGHERITA CAROSIO, w.Albergoni Cond.: Barbiere – Una voce poco fa, 2s (1929 Version). 12” EL red Fonotipia Odeon F 5596, POM-18 Dec., 1929. M-A, gleaming copy has wee pressing bump. MB 25 K929. MARGHERITA CAROSIO, w.Patanè Cond.: Barbiere – Una voce poco fa, 2s (1946 Version). 12” EL HMV DB 6379, only form of issue, 1946. M-A, Exemplary! MB 8 K929a. MARGHERITA CAROSIO, w.Fistoulari Cond.: La Traviata – Ah! fors’ è lui; Sempre libera, 2s. 12” EL LVDP DB 21306, only form of issue, 1951. M-A, Exemplary! Most elusive! MB 15 K930. MARGHERITA CAROSIO, w.Patanè Cond.: La Traviata – Addio del passato / La Boheme – Mi chiamano Mimi. 12” EL HMV DB 6343, only form of issue, 1946. M-A, Exemplary! MB 8 K930a. MARGHERITA CAROSIO, w.Weissmann Cond.: Gorgheggi bell’alba (Natale Carosio) / La Sonnambula – Ah! non credea mirarti (1928 Version). 12” EL pale-blue PW French Parl. 59.509, POM-1928. M-A, a gleaming copy. Exceedingly elusive; Sd. 1 is a remarkable coloratura tour-de-force! MB 25 K931. MARGHERITA CAROSIO, w.Patanè Cond.: La Sonnambula – Ah! non credea mirarti (1946 Version) / Lina – La madre mia (Ponchielli). 12” EL HMV DB 6388, only form of issue, 1946. M-A, Exemplary! MB 8 K932. MARGHERITA CAROSIO, w.Weissmann Cond.: Mignon – Je suis Titania (in Italian) / Lucia – Spargi d’amaro pianto. 12” EL dark-blue PW Parl. E11024, POM-1928. M-A,lovely copy has, end Sd. 1, tiny audible scr. MB 15 K932a. MARGHERITA CAROSIO & CARLO TAGLIABUE, w.Patanè Cond. Royal Opera House Orch.: Lucia di Lammermoor – Appressati Lucia, 2s. 12” EL HMV DB 6358, only form of issue, 1946. M-A, Exemplary! MB 8 “One of the great operatic sopranos of the 1930s and ‘40s, Carosio ruled the stage of La Scala with her powerful yet light voice, her looks and her outstanding abilities as an actress….The cancellation through illness of a performance of Puritani at La Fenice in 1949 unwittingly gave a young soprano named Maria Callas an opportunity to consolidate her reputation in the bel canto repertoire.” – James Jolly, Gramophone, April, 2005 K933. TOTI dal MONTE: Carnevale di Venezia (1924 Version) (Benedict), 2s. 12” AC Vla 6487, POM-10 Dec., 1924. M-A, Exemplary! Very brief catalogue life, at end of AC era. MB 10 K934. TOTI dal MONTE: Carnevale di Venezia (1926 Version) (Benedict), 2s. 12” EL Orth Vla 6614, POM-29 Oct. / 4 Nov., 1926. M-A, Exemplary! MB 10 K935. TOTI dal MONTE: Carnevale di Venezia (1926 Version) (Benedict), 2s. 12” EL LVDP DB 1001, POM-29 Oct. / 4 Nov., 1926. M-A, beautiful copy of late LVDP pressing. MB 10

K936. TOTI dal MONTE: Lo, here the gentle lark (Bishop) / Ninna-Nanna (Maori Lullaby) (William G. James) (both in English). 12” EL PW Disco Grammfono DB 1315, POM-21 Nov., 1927, only form of issue, Sd.2 (Sd.1 appeared very briefly in Japan). M-A, beautiful copy has, Sd. 2 only, infinitesimal dust mk, inaud. Exceedingly rare! Sd.2 among dal Monte’s most bewitching renditions! MB 65 K937. TOTI dal MONTE: Magari (Filippi) / A Rosina (Fabria). 10” AC Vla 1106, POM-9 Dec., 1924. A, lovely copy has faintest pap. rubs, inaud. Very brief catalogue life, at end of AC era. MB 10 K938. TOTI dal MONTE: La Lucciole (Brogi) / Vidalita (Williams). 10” EL Orth Vla 1202, POM-2 / 4 Nov., 1926. M-A, lovely copy, Sd. 1 only, faintest pap. rubs, inaud. MB 10 K939. TOTI dal MONTE: Redentor in famegia (Canzonetta veneziana; Gondole e chitare) / Ninna-Nanna (Bianchini). 12” EL LVDP DB 1319, POM-1929. M-A, beautiful copy of late LVDP pressing. MB 15 K940. TOTI dal MONTE: Ninna-Nanna (Bianchini) / Mignon – Je suis Titania (in Italian). 12” EL Orth Vla 7485, POM-1929. M-A, Exemplary! MB 10 K941. TOTI dal MONTE: Estrellita (Ponce) / Du bist wie eine Blume (in Italian) (Schumann). 10” EL vinyl Historic Masters HMA 45, POM-2 July, 1925, both from Unpublished Masters. MINT MB 15 K942. TOTI dal MONTE, w.Dino Olivieri Cond.: Fa la nana, bambin (Nina nana Istriana) / Amuri, amuri (Canzione del carrettieri) (both Sadero). 10” EL LVDP DA 5350, POM-1938, only form of issue, Sd.2. M-A, Exemplary! Two of dal Monte’s most exquisite renditions! MB 15 K943. TOTI dal MONTE, w.Dino Olivieri Cond.: Fa la nana, bambin (Nina nana Istriana) / Carnevale di Venezia – Barcarola de la Marangona (both Sadero). 10” EL LVDP DA 5370, POM-1938/’39. M-A, Exemplary! Two of dal Monte’s most exquisite renditions, Sd. 2 from dal Monte’s first film! MB 12 K944. TOTI dal MONTE, w.Dino Olivieri Cond.: Carnevale di Venezia – Trema l’onda (Adami) / Si dondola (Bonagura). 10” EL LVDP DA 5369, only form of issue, 1939. A-, very decent copy has few lt. rubs & superficial mks ever-so-faintly audible the occasional turn. Also from dal Monte’s first film! Exceedingly elusive! MB 25 K945. TOTI dal MONTE: Nozze – Deh! vieni, non tardar / Guglielmo Tell – Selva opaca. 12” AC LVDP DB 831, POM-9 Dec., 1924, only form of issue (LVDP only), although recorded USA. M-A/A, lovely copy of late LVDP pressing. MB 15 K946. TOTI dal MONTE: Rigoletto – Caro nome / Barbiere – Una voce poco fà. 12” AC Vla 6495, POM-11 Dec., 1924. M-A, beautiful copy has, alas, wee edge bite into 1st grooves, not affecting performance. MB 6 K947. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1924 Version). 12” AC Vla 6466, POM-18 / 19 Feb., 1924. M-A, beautiful copy has, Sd. 2 only, faintest pap. rubs, inaud. Very brief catalogue life, at end of AC era. MB 10 K948. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1926 Version). 12” EL LVDP DB 1015, POM-5 Nov. / 28 Oct., 1926. M-A, beautiful copy of late LVDP pressing. MB 10 K949. TOTI dal MONTE: Lucia – Splendon le sacre faci / Spargi d'amaro pianto (1926 Version). 12” EL black PW V 36285, POM-5 Nov. / 28 Oct., 1926. M-A, beautiful copy of late PW Victor pressing. MB 8 K950. TOTI dal MONTE: La Traviata – Ah! fors’ è lui / TOTI dal MONTE & LUIGI MONTESANTO: Rigoletto – Lassù in cielo. 12” EL HMV DB 2124, only form of issue, 7 Nov., 1933. M-A, Exemplary! MB 8 “Galli-Curci left the Chicago Opera, 4 January, 1924, after Giorgio Polacco, manger of the Company, refused to let her choose the operas in which she would sing. Her failure to dissuade Polacco did not deter her from threatening to leave the Metropolitan if Gatti-Casazza extended the contract of Italian coloratura Toti dal Monte, who sang rôles that Galli-Curci considered her own.” - Richard W. Amero, balboaparkhistory.net K951. TOTI dal MONTE: La Fille du Régiment – Il faut partir (in Italian) / Lucia – Regnava nel silenzio. 12” EL Orth Vla 6613, POM-29 Oct., 1926. M-A, Exemplary! Exquisitely lovely performances! MB 8 K952. TOTI dal MONTE: La Fille du Régiment – Il faut partir (in Italian) / Lucia – Regnava nel silenzio. 12” EL LVDP DB 1040, POM-29 Oct., 1926. M-A, Exemplary! Exquisitely lovely performances! MB 10 K953. TOTI dal MONTE: La Fille du Régiment – Chacun le sait / Par le rang et l’opulence (in Italian). 12” EL Orth Vla 6923, POM-10 March, 1928. M-A, Exemplary! MB 8 K954. TOTI dal MONTE: La Fille du Régiment – Chacun le sait / Par le rang et l’opulence (in Italian). 12” EL LVDP DB 1152, Sd. 2 is ‘Take’ 3 of 2 issued ‘Takes’, POM-10 March, 1928. M-A, beautiful copy of late LVDP pressing. MB 10 K955. TOTI dal MONTE: Falstaff – Sul fil d’un soffio etesio / La Sonnambula – Ah! Non credea mirarti. 12” EL Orth Vla 7198, POM-1929. M-A, Exemplary! MB 8 K956. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! 12” EL Victor Test Pressing for CM 1027-2 (w.RCA embossed spiderweb verso) (identical to below, w.handwritten label), POM-1929. M-A, Exemplary! MB 10 K957. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! / Comme autrefois (in Italian). 12” EL Orth Vla 7721, POM-1929. M-A, Exemplary! MB 8 K958. TOTI dal MONTE: Les Pêcheurs de Perles – O dieu brahma! / Comme autrefois (in Italian). 12” EL HMV DB 1316, POM-1929. MINT MB 8

K959. TOTI dal MONTE: Norma – Casta Diva / TOTI dal MONTE & LUIGI MONTESANTO: Barbiere – Dunque io son. 12” EL LVDP DB 2125, only form of issue, 7 Nov., 1933. M-A, Exemplary! MB 12 K960. TOTI dal MONTE: Lodoletta – Flammen, perdonami! (Mascagni) / Don Pasquale – Quel guardo, il cavaliere. 12” EL LVDP DB 5396, only form of issue, 2 May, 1941. M-A, beautiful copy of late LVDP pressing. MB 15 K961. TOTI dal MONTE: Linda di Chamounix – O luce di quest’anima / Mignon – Je suis Titania (in Italian). 12” EL LVDP DB 1318, POM-1929. M-A, choice copy of preferred LVDP pressing. MB 12 K962. TOTI dal MONTE & TITO SCHIPA: Don Pasquale – Tornami a dir / La Sonnambula – Prendi, l’anel ti dono. 10” EL LVDP DA 1351, only form of issue, 4 Oct., 1933. A, lovely copy of late LVDP pressing has sev faint pap. scrs, inaud. MB 10 K963. TOTI dal MONTE & TITO SCHIPA: Don Pasquale – Tornami a dir / La Sonnambula – Prendi, l’anel ti dono. 10” EL HMV DA 1351, only form of issue, 4 Oct., 1933. M-A, Exemplary! MB 8 K964. TOTI dal MONTE & AUGUSTO BEUF: Don Giovanni – Là ci darem la mano / Nozze – Crudel! perchè finora. 10” EL LVDP DA 5406, only form of issue, 2 May, 1941. M-A, Exemplary! MB 15 “Best known for her Cio-Cio-San, Toti Dal Monte débuted at La Scala at the age of 23 (1916) in the challenging rôle of Biancafiore from the then-new opera Francesca da Rimini by Riccardo Zandonai. She returned to La Scala in 1922 and made numerous appearances there over the next couple of decades singing a broad range of rôles. Her U.S. début took place in November, 1924, at the Chicago Civic Opera, and the following month she débuted to thundering applause at the Metropolitan Opera singing Lucia. Some might assert that her greatest legacy to opera came with her 1939 recording of Madama Butterfly, featuring Beniamino Gigli as Pinkerton. Dal Monte's Cio-Cio-San is considered by many critics the finest ever, and the recording itself one of the greatest the work has received. Cio-cio-San is a much heavier part than Dal Monte would have undertaken normally, and her interpretation is notable for its youthful-sounding freshness, which fits with the character's age. In 1939 Dal Monte also appeared in her first film, Carnevale Di Venezia.” - Robert Cummings, allmusic.com K965. CLAUDIA MUZIO: Angel’s serenade (Braga). 11½” AC H & D grey paper label US-Pathé 52024, recorded 1918. M-A, Exemplary! MB 15 K966. CLAUDIA MUZIO: Until (Sanderson). 11½” AC H & D grey paper label US-Pathé 54038, only form of issue, 1918. M-A, Exemplary! MB 15 K967. CLAUDIA MUZIO: Bonjour, Suzon (in English) (Delibes). 11½” AC H & D grey paper label US-Pathé 54039, only form of issue, 1918. M-A, a gleaming copy. MB 20 K968. CLAUDIA MUZIO: O ben tornato, amore (Roxas). 11½” AC H & D grey paper label US-Pathé 54062, only form of issue, 1918. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K969. CLAUDIA MUZIO: Jean (Burleigh). 11½” AC H & D grey paper label US-Pathé 54067, only form of issue, 1918; Muzio’s final Pathé recording. M-A, a gleaming copy. MB 20 K970. CLAUDIA MUZIO: Crisantemi (Sodero) / Chère nuit (Bachelet). 10” AC etched label Edison H & D 82218 (7628/29), only form of issue, 11 Nov., 1920. M-A, Exemplary! MB 15 K971. CLAUDIA MUZIO: La separazione (Rossini) / L’Amico Fritz – Son pochi fiori. 10” AC paper label Edison H & D 82291 (8850/51), only form of issue, 16 Feb., 1923. M-A, Exemplary! MB 15 K972. CLAUDIA MUZIO: Adriana Lecouvreur – Io son l’umile ancella / CLAUDIA MUZIO & MARIO LAURENTI: Pagliacci – Nedda! Silvio! a quest’ora. 10” AC paper label Edison H & D 82247 (7950/7856), only form of issue, 29 April / 2 March, 1921. M-A MB 15 K973. CLAUDIA MUZIO: Hérodiade – Il est doux, il est bon (in Italian) / I Lombardi – O madre, dal cielo soccorri al mio pianto. 10” AC paper label Edison H & D 82309 (8409/50), only form of issue, 7 April / 12 May, 1922. M-A MB 15 K974. CLAUDIA MUZIO: La Wally – Ebben? ne andrò lontana / I Pagliacci – Stridono lassu. 10” AC etched label Edison H & D 82232 (7645/08), only form of issue, 22 Nov., 1920 / 24 Jan., 1921. M-A, Exemplary! MB 15 K975. CLAUDIA MUZIO: Eugen Onégin – Letter scene (in Italian) / Andrea Chénier – La mamma morta. 10” AC etched label Edison H & D 82224 (7614/22), only form of issue, 3 / 8 Nov., 1920. M-A, Exemplary! MB 15 K976. CLAUDIA MUZIO: Bianca e Fernando – Sorgi, o Padre (Bellini) / Forza – Pace, pace, mio Dio! 10” AC paper label Edison H & D 82267 (8392/97), only form of issue, 24 / 28 March, 1922. M-A, Exemplary! Sd. 1 label is missing. MB 15 K977. CLAUDIA MUZIO: Il Trovatore – Tacea la notte / D’amor sull’ali rosee. 10” AC etched label Edison H & D 82223 (7611/10), only form of issue, 1 Nov. / 6 Dec., 1920. A to M-A, lovely copy has few lt. rubs, inaud. MB 10 “Although the Edisons do not have the tonal presence of the later electrics…in the opinion of some voice connoisseurs, these Edisons provided a more spacious treatment of voices than the techniques employed by other American companies around this same time. Yet such is the force of Muzio’s personality that there is more than adequate compensation for any purely sonic limitation in the variety of emotions she could conjure up.” - William Ashbrook, Marston Program Notes

K978. CLAUDIA MUZIO: Canzone Guerresca (Giordano) / Inno de guerra del Carciatori (Garibaldi Hymn). 11½” AC H & D grey paper label US-Pathé 63020, recorded 1917. M-A, Exemplary! MB 15 K979. CLAUDIA MUZIO: La Boheme – Mi chiamano Mimi / BLANCHE ARRAL: Le Mariage de Jeannette – Au bord du chemin (Air du Rossignol). 12” AC mauve & gold HMV AGSB 14, POM-20 June, 1911 / 19 March, 1909. MINT MB 35 K980. CLAUDIA MUZIO: Aïda – Ritorna vincitor!, 2s. 11½” AC H & D grey paper label US-Pathé 63021, recorded 1917. M-A, beautiful copy has, Sd. 2 only, faintest pap. scr, inaud. MB 12 K981. CLAUDIA MUZIO: Madama Butterfly – Un bel dì. 11½” AC H & D grey paper label US-Pathé 54016, recorded 1918. A to M-A, lovely copy has faintest pap. rub, barely visible & inaud. MB 15 K982. CLAUDIA MUZIO: La Traviata – Addio del passato. 11½” AC H & D grey paper label US-Pathé 54022, recorded 1918. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K983. CLAUDIA MUZIO: Otello – Ave Maria / La Gioconda – Suicidio! 11½” AC H & D grey paper label US-Pathé 63019, recorded 1917, only form of issue, Sd.2. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 15 K984. CLAUDIA MUZIO & KATHLEEN HOWARD: Les Contes d’Hoffmann – Barcarolle. 11½” AC H & D grey paper label US-Pathé 54026, recorded 1918. A to M-A, lovely copy has faintest pap. rub, barely visible & inaud.; wee ec, not to grooves. MB 10 K985. CLAUDIA MUZIO & FRANCESCO MERLI: Otello - Già nella notte densa (Act I), 2s. 12” EL Italian Col. BQX 2510, POM-8 June, 1935. M-A, a gleaming copy. MB 10 K986. CLAUDIA MUZIO & FRANCESCO MERLI: Otello - Dio ti giocondi (Act III), 2s. 12” EL Italian Col. BQX 2511, POM-8 June, 1935. M-A, a gleaming copy. MB 10 “Muzio’s pianissimi were memorable. Not only did she employ them in tender, idyllic and elegiac moments, but she also adapted them to dramatic ends, so that on occasion the whole tension of a scene was carried on a slender thread of sound….No one has surpassed her in the variety of colour and gradation of tone of which she was capable; and her power of communication, achieved by the simplest of means, was remarkable.” - J. B. Richards, THE RECORD COLLECTOR, 1968 K987. IRENE MINGHINI-CATTANEO: Samson et Dalila – Printemps qui commence / Carmen – Habañera (both in Italian). 12” EL LVDP DB 1303, POM-1929. M-A, Exemplary! MB 15 “Minghini-Cattaneo is the slinky schemer personified; the tone bites, the glottal stop works overtime in her biting version…but she remembers to be ‘dolce’ at ‘contro l’amor’.” - Alan Blyth, OPERA ON RECORD, Vol. II, p.214 K988. IRENE MINGHINI-CATTANEO: Il Trovatore – Stride la vampa! / ANTONIO CORTIS: Cavalleria – Siciliana. 10" EL LVDP DA 1277, only form of issue, 1929. M-A, a gleaming copy. MB 12 K989. IRENE MINGHINI-CATTANEO: Norma - Sgombra è la sacra selva / ANTONIO CORTIS & ANNA ROZSA: Carmen – Parle-moi de ma mère (in Italian). 12” EL LVDP DB 1749, POM-1929. M-A, choice copy of preferred LVDP pressing. MB 15 K990. IRENE MINGHINI-CATTANEO & LIONELLO CECIL, w.Sabajno Cond.: La Gioconda – Laggiù nelle nebbie remote / MINGHINI-CATTANEO & de MARTIS: L’amo come il fulgor del creato! 12” EL Disco Grammofono DB 1432, POM-1930. M-A, lovely copy has sl. smudged label, Sd.2. MB 15 K991. IRENE MINGHINI-CATTANEO, GRANFORTE & de MARTIS: La Gioconda – Figlia, che reggi / IRENE MINGHINI-CATTANEO, MASINI, BASI & LUCINI: Voce di donna. 12” EL LVDP DB 1448, POM-1930. M-A, exemplary copy of preferred late pressing. MB 15 “Irene Minghini-Cattaneo is certainly to be counted among the most appreciated Italian mezzo sopranos. Hers is a vibrant voice of an arresting sound after the ‘modern Italian fashion’, with amazing extension at both ends of the range (chest register!). Her legato line is frequently disturbed by quite a strong vibrato….the power of the voice and her dramatic instincts and passionate singing can be truly breathtaking, above all, in Verdi and veristic operas. She participated in two landmark recordings, in Aïda and in Il Trovatore in which she is the outstanding artist of each.” - Andrea Shum-Binder, subito-cantabile K992. EUGENIA BURZIO: Ave Maria (Bach-Gounod) / L’Africana – Figlio del sol. 10” AC dark-blue Eng. Col. Populare D 568 (11052/44), POM-1911. M-A, choice copy has, Sd. 1 only, mere hint of grey on peaks. MB 20 K993. EUGENIA BURZIO: Ballo – Ma dall’arido stelo divulsa; Mezza notte, 2s. 10¾“ AC Milano Fonotipia 39513/14 (XPh 1543/44), POM-18 Dec., 1905. A-/A to M-A, lovely copy has, Sd. 1 only, few lt. rubs & infinitesimal pap. scr, inaud. MB 20 K994. EUGENIA BURZIO: Saffo – L’ama ognor qual’io l’amai (Pacini) / ROSALIA CHALIA: Semiramide – Bel raggio lusinghier. 10" AC silver IRCC 3054, RRs-1912, Columbia / 1900 (not 1896!), Zonofono. M-A MB 12 K995. EUGENIA BURZIO & ANTONIO MAGINI-COLETTI: Il Trovatore – Qual voce; Conte! Ne cessi, 2s. 10¾” AC US Fonotipia 39439/40 (XPh 1534/35), POM-16 Dec., 1905. A to M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 15

K996. EUGENIA BURZIO: Norma – Deh! non volerli vittime, 2s. 10” AC dark-brown Eng. Col. D 4387 (11393/94), POM-1913. M-A, Exemplary! MB 25 K996a. EUGENIA BURZIO: Norma – Qual cor tradiste / BERENICE de PASQUALI & ANDREAS de SEGUROLA: Mignon – Légères hirondelles (in Italian). 10” AC dark-blue Col. H 46 (11392/19876), POM-1913. A to M-A MB 15 “The intensity of [Burzio’s] performance of Norma's ‘Deh! non volerli vittime’ stretches the emotional force of the drama to the breaking point….Burzio's excesses tumble out with extraordinary power to produce a touchingly human interpretation. Surely Bellini would not have complained.” - Harold Bruder, THE OPERA QUARTERLY K997. EUGENIA BURZIO: Otello – Ave Maria / Mefistofele – L'altra notte. 12” AC dark-blue Eng. Cigale D 17526 (74715/16), POM-1913. M-A, choice copy has occasional faintest pap.mk, barely visible & inaud. MB 25 K998. EUGENIA BURZIO: Aïda – O cieli azzurri / Mefistofele – Spunta l’aurora pallida. 10” AC red Eng. Col. D 8078 (111043/49), POM-1911. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 25 K999. EUGENIA BURZIO: La Gioconda – Suicidio! / Ecco la barca . . . addio (Act IV Trio, sung as a solo!). 11½” AC H & D green paper label Pathé 10164 (86424/25), recorded 1916, only form of issue, Sd.2, this being one of Burzio’s most intense interpretations; she sings as if possessed! Absolutely heartrending! M-A, Exemplary! MB 20 K1000. EUGENIA BURZIO: La Gioconda – Suicidio! / Ecco la barca . . . addio (Act IV Trio, sung as a solo!), identical to above. 10" AC vinyl purple IRCC 3136, RRs-1913, both Pathé. MINT MB 12 “We find emphasis on this vocal resource [of chest voice] in Burzio’s recording of Gioconda’s ‘Ecco la barca’. At the repetition of La Cieca’s words when she first gives the rosary to Laura (here at the same pitches), the ease and richness with which Burzio sings the low B-flat (on the final syllable of ‘E le preghiere aduna’) suggest that her vocal orientation was rather that of a falcon.” - William Ashbrook, Marston Program Notes K1001. EUGENIA BURZIO: Forza – Pace, pace mio Dio! / EUGENIA BURZIO & GIUSEPPE de LUCA: La Gioconda – Così mantieni il patto? 12” AC red Fonotipia-Odeon F-5513 (xxPh 2279/2391), POM-18 Dec., 1906 / 31 Jan., 1907. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 25 “Burzio’s…dramatic instincts are particularly apparent in the duet from La Gioconda, where she is joined by Giuseppe De Luca. Burzio’s first words, ‘Sí, il patto mantengo’, are grimly fatalistic, but when she begins her pseudoseduction of Barnaba, ‘T’arresta!’, the voice begins to glow suggestively. As she asks God’s forgiveness for turning the knife on herself, ‘Dio mi perdoni l’immenso peccato’, we hear a soul’s despair.” - William Ashbrook, Marston Program Notes K1002. ROSINA TORRI: Turandot – Signore, ascolta! / Tu che de gel. 10” EL plum LVDP HN 773, POM-20 Nov., 1926. M-A, choice copy of preferred LVDP pressing. MB 12 “Rosina Torri sang Liù in the first Rome performance of Turandot, and was a noted Lauretta in Gianni Schicchi as well; toward the end of her career she was also admired at La Scala as Musetta. She possessed a bright, well-focused spinto voice (not unlike that of Albanese) that has always been greatly admired by the Italians.” - John Ardoin, THE OPERA QUARTERLY K1003. MARIA ZAMBONI: Turandot – Signore, ascolta! / Tu che di gel (Creator Record, 24 April, 1926, La Scala). 10” EL PW Eng. Col. D1572, POM-1926. M-A, choice copy has, Sd.1 only, faintest pap. rub, inaud. MB 15 K1004. GIANNA GALLI, w.Benvenuti Cond.: Lakmé – Dov’è l’Indiana bruna (Bell song), 2s. 10” EL pale-blue Cetra AT 0400, only form of issue, 16 March, 1955. M-A, gleaming copy has sev. infinitesimal pap. mks, barely visible & inaud. Extremely rare item from very end of 78 era. MB 25 K1005. CHIARETTA GELLI, w.Petralia Cond.: L’estasi (Valzer brillante) (Arditi) / La Folletta (Marchesi). 10” EL dark-blue Cetra DC 4230, only form of issue, 19 April, 1943. M-A, Exemplary! MB 25 K1006. NORA de ROSA, w.Basile Cond.: L’Amico Fritz – Son pochi fiori / Fedora – Ed ecco il suo ritratto. 10” EL pale-blue Cetra AT 0402, only form of issue, 16 March, 1955. M-A, gleaming copy has sev. infinitesimal pap. rubs, barely visible & inaud. Extremely rare item from very end of 78 era. MB 25 K1007. MARIA MINAZZI, w.Basile Cond.: La Rondine – Chi il bel sogno / Manon – Adieu, notre petite table (in Italian). 10” EL brown Parl.-Odeon R.O. 30004, POM-5 May / 27 Feb., 1951. M-A, a gleaming copy. MB 15 K1008. MARIA BONELLI, GILBERTO MAZZI-GUERRIERI, w.Petralia Cond.: Rompicollo (Fantasia cantata dell’Operetta) (Pietri), 2s. 10” EL dark-blue Cetra IT 595, only form of issue, 7 April, 1939. M-A, Exemplary! MB 25 K1009. MARGHERITA VOLTOLINA, w.Petralia Cond.: Die Lustige Witwe – Viljalied / MARIA BONELLI, MARGHERITA VOLTOLINA, MARRONI & GILBERTO MAZZI-GUERRIERI: Fantasia (in Italian) (Lehár). 10” EL dark-blue Cetra IT 577, only form of issue, 25 Feb., 1939. M-A, a gleaming copy. MB 25 K1010. MARIA BONELLI, MARGHERITA VOLTOLINA, MARRONI & GILBERTO MAZZI-GUERRIERI,w.Petralia Cond.: Acqua Cheta – Fantasia (Pietri), 2s. 10” EL dark-blue Cetra IT 570, only form of issue, 25 Feb. / 4 March, 1939. M-A, a gleaming copy. MB 25 K1011. DORA DOMAR, w.I Maestri Cantori di Firenze: La stornello della mietitrice (Vagnetti) / GIUSEPPE PILIEGO: Santa Lucia Luntana (Mario). 12” EL Orth Vla 9132, only form of issue, 19 Oct., 1927. Never listed in a pre-1931 U.S. catalogue. M-A, lovely copy has very occasional pap. rub, inaud. MB 12

K1012. MAGDA OLIVERO, w. Ermelinda Magnetti (Pf.): Panteismo (Gerussi) / Triste est le Steppe (Gretchaninoff). 10” EL pale-blue Cetra AT 0322, only form of issue, 6 May, 1953. M-A, a gleaming copy. Extremely rare item from very end of 78 era, among Olivero’s rarest and most sought-after titles. MB 75 K1013. MAGDA OLIVERO, w.Ermelinda Magnetti (Pf.): La Procession (Franck) / w.Basile Cond.: Manon – Adieu, notre petite table (in Italian). 12” EL red Cetra PE 184, only form of issue, 6 May, 1953. A to M-A, lovely copy has faint pap. scuffs, inaud.; beg. Sd. 1 only has tiny edge scr, ltly audible sev. turns, before voice. MB 50 K1014. MAGDA OLIVERO, w.Basile Cond.: Iris – Un dì, al tempio (Mascagni) / Gianni Schicchi – O mio babbino caro. 10” EL pale-blue Cetra AT 0321, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. rub, barely visible & inaud. Rare item from very end of 78 era. MB 50 K1015. MAGDA OLIVERO, w.Basile Cond.: Loreley – Amor, celeste ebbrezza (Catalani) / La Traviata – Amami Alfredo. 10” EL pale-blue Cetra AT 0320, only form of issue, 6 May, 1953. M-A, gleaming copy has, Sd. 1 only, pap. rub, inaud. Rare item from very end of 78 era, Sd. 2 among Olivero’s most justifiably celebrated renditions. MB 50 K1016. MAGDA OLIVERO, w.Tansini Cond.: Adriana Lecouvreur – Io son l’umile ancella / Poveri fiori. 12” EL dark-green Cetra BB 25028, POM-26 June, 1940 / 27 Nov., 1939, only form of issue, Sd.1. A to M-A, lovely copy has few faintest rubs, inaud.; Sd. 2 only has tiny dust scr, ever-so-faintly audible, if at all; Sd. 2 only has long internal silent lam. MB 35 K1017. MAGDA OLIVERO, w.Tansini Cond.: Mefistofele – L’altra notte / Adriana Lecouvreur – Poveri fiori. 12” EL dark-green Cetra BB 25049, POM-27 Nov., 1939; (the label for Sd. 2 indicates La Rosa Parodi as conductor, but this is the exact performance as #K1016, conducted by Tansini). A to M-A, lovely copy has few rubs, inaud.; Sd. 2 only has superficial cosmetic scrape, inaud. MB 35 K1018. MAGDA OLIVERO, w.Tansini Cond.: La Boheme – Mi chiamano Mimi / Tosca – Vissi d’arte. 12” EL dark-green Cetra BB 25053, POM-29 / 26 June, 1940. M-A, Exemplary! MB 35 K1019. MAGDA OLIVERO, w.Tansini Cond.: La Traviata – Ah! fors’ è lui; w.Muzio Giovagnoli (T): Sempre libera, 2s. 12” EL dark-blue Cetra BB 25034, POM-26 June, 1940. M-A, choice copy has, beg. Sd. 1 only, large ec into initial grooves, affecting only the first few words. Rare item, among Olivero’s most justifiably celebrated renditions. MB 35 K1020. MAGDA OLIVERO, w.Simonetto Cond.: Résurrection – Dieu de grâce (in Italian) / Manon Lescaut – Sola, perduta, abbandonata. 12” EL red Cetra BB 25277, only form of issue, 1940. M-A, lovely copy has, Sd. 1 only, 3 infinitesimal dust scrs, positively inaud.; Sd. 2 only has faint scuff, also inaud. MB 35 K1021. MAGDA OLIVERO, w.Simonetto Cond.: Suor Angelica – Senza mamma / Manon Lescaut – In quelle trine morbide. 12” EL dark-green Cetra BB 25271, only form of issue, 1940. M-A, Exemplary! MB 50 K1022. MAGDA OLIVERO, w.Simonetto Cond.: Louise – Depuis le jour (in Italian) / La Boheme – Donde lieta uscì. 12” EL dark-green Cetra BB 25272, only form of issue, 1940. M-A, superb copy has, Sd. 2 only, lateral lam, ever-so-faintly audible just a few turns. MB 35 K1023. MAGDA OLIVERO & FERRUCCIO TAGLIAVINI; Tansini Cond.: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Cetra BB 25050, POM-27 Nov., 1939. M-A, a gleaming copy. MB 65 “The miracle of Magda Olivero is that her wings are strong enough and broad enough to carry us with her as she soars towards the inexplicable, towards a shining goal beyond the dreams of other artists and other human beings.” - John Ardoin, THE RECORD COLLECTOR, 1997 K1024. LUISA LUCINI, w.Frattini Cond.: Madama Butterfly – Un bel dì / Tosca – Vissi d’arte. 10” EL black Fonit 8955, only form of issue, 31 Dec., 1942. M-A MB 15 K1025. LUISA LUCINI, w.Frattini Cond.: La Wally – Ebben, ne andrò lontana / FULVIA TREVISANI, w.Frattini Cond.: La Boheme – Mi chiamano Mimi. 10” EL black Fonit 8956, only form of issue, 31 Dec., 1942. M-A MB 15 K1026. ROSA OLITZKA: Ich liebe dich (Grieg) / Pique Dame – O jeunes filles. 10” AC Col. A1344, POM-25 Nov., 1912. M-A, a gleaming copy. MB 35 “Rosa Olitzka studied with Désirée Artôt de Padilla, and had a fine-tuned rich, velvety and steady contralto instrument, and was at the beginning of a long operatic career that would take her just about everywhere in a large and varied repertoire….‘O jeunes filles’ from Pique Dame has Olitzka plunging in and out of octaves with an almost reckless abandon as she delivers cavernous low notes and a dazzling top, crowned by a remarkable trill…. Perhaps it’s best that present day productions of Tannhäuser generally use a boy soprano for the Shepherd; in a recording of this music, Olitzka sounds matronly and lacking in charm, but it’s easy to imagine her crossing the stage with a sheep (or two) flung over her shoulders – and this just shouldn’t be the case when listening to Wagner’s melodic little boy.” - Andrea Shum-Binder, subito-cantabile K1027. ROSA OLITZKA: Agnus Dei (Bizet) / Sapho – O ma lyre immortelle (Gounod). 12” AC Col. A5428, POM-20 March, 1912 / 21 Nov., 1911. M-A, Exemplary! MB 20 K1028. ROSA OLITZKA: La Gioconda – Voce di donna / Faust – Faites-lui mes aveux (in Italian). 10” AC H & D paper label Edison 80726 (4377/52), only form of issue, Sd.1, both 1916 (although Olitzka’s sole Edison disc, it was not issued until 1922). M-A, a gleaming copy. MB 20 K1029. ROSA OLITZKA: Orfeo – Che farò senza Euridice / Le Cid – Pleurez mes yeux. 12” AC Col. A5379, POM-6 / 16 Sept., 1911. M-A, Exemplary! MB 20

K1030. ROSA OLITZKA: Tannhäuser – Frau Holda kam aus dem Berg hervor (Shepherd’s song) / Le Prophète – Ah, mon fils! 12” AC Col. A5340, POM-18 / 6 Sept., 1911. M-A, Exemplary! MB 20 K1031. VERONIKA BORISENKO, w.Makarov (Pf.): Three Songs (Rachmaninoff), 2s. 10” EL red Aprelevski Zavod 16200/01, recorded 1948. A-, lovely copy has lt. rubs & scuffs, mainly cosmetic. Borisenko sang at the Kirov Opera, 1944-46, then at the Bolshoi, 1946-63 & 1967-77. MB 10 K1032. LYUDMILA LEGOSTAYEVA, w.Samosud Cond.: The Fountain of Bakhchisarai (Arensky), 2s. 10” EL red Aprelevski Zavod CCCP 14021/22, recorded 1943. M-A, Exemplary! MB 12 “Legostayeva was much admired as a soloist for All-Union Radio from 1930 to 1960. She sang cantatas, romances, and concert performances of operas, outstanding in many rôles.” K1033. MARIA KURENKO: Élégie (Massenet) / La Traviata – Addio del passato. 10” EL Viva-Tonal Col. 2062-M, POM-25 April / 18 May, 1927, only form of issue, Sd.2. M-A, a gleaming copy. Sd. 1 label Autographed in white ink by Kurenko. MB 25 K1034. MARIA KURENKO: The last rose of summer (Moore) / The lass with the delicate air (Arne). 10” EL Viva-Tonal Col. 2042-M, POM-4 / 7 May, 1926. M-A, lovely copy has 3 infinitesimal dust mks, inaud. MB 12 K1035. MARIA KURENKO: Mariä Wiegenlied (Reger) / Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]). 10” EL Viva-Tonal Col. 2046-M, only form of issue, 12 / 23 April, 1926. M-A, lovely copy has few lt. rubs, inaud. MB 10 K1036. MARIA KURENKO: Mon gentil Pierrot (Sérénade française) (Leoncavallo) / Mireille – O légère hirondelle. 10” EL Viva-Tonal Col. 2048-M, only form of issue, 21 May, 1926. M-A, a gleaming copy. The charming Leoncavallo song is, without question, Kurenko’s finest single recording. MB 20 “Madame Kurenko’s studio was an intellectual and artistic salon. Composers frequently visited her and sought her advice on music. Or they gave her samples of their music and asked her to sing them, or have her students sing them. She had an enormous music library consisting of many manuscripts and originallytranscribed music from outstanding composers.” - Diana Corto, THE RECORD COLLECTOR, 1997 K1037. MARIA KURENKO: Villanelle (dell’Aqua) / Chanté, riez, dormez (Sérénade) (Gounod). 12” EL Viva-Tonal Col. 7157-M, POM-31 March / 20 May, 1927. M-A/A-, lovely copy has, Sd. 2 only, faint pap. scr, inaud; long internal lam affects Sd. 1 only. MB 8 K1038. MARIA KURENKO: Il bacio (Arditi) / Manon – Voyons, Manon, plus de Chimères. 12” EL early PW (Viva-Tonal period) Col. 7110-M, only form of issue, 7 May / 15 April, 1926. M-A, a gleaming copy. MB 15 K1039. MARIA KURENKO: I Vespri Siciliani – Bolero / Barbiere – Una voce poco fà. 12” EL Viva-Tonal Col. 7127-M, only form of issue, 15 / 28 April, 1926. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs & faint pap. scr, inaud. MB 12 K1040. MARIA KURENKO: Sadko – Chanson indoue / Le Coq d'Or – Hymne au soleil (both Rimsky-Korsakov). 10” EL Viva-Tonal Col. 2053-M, POM-7 May, 1926 / 18 May, 1927. M-A, gleaming copy has, Sd 2 only, sev. wee cosmetic lams. MB 12 K1041. MARIA KURENKO: La Boheme – Quando m’en vo (Musetta) / Mignon – Connais-tu le pays? 10” EL Viva-Tonal Col. 2055-M, POM-15 / 25 March,1927. M-A, lovely copy has, Sd 1 only, tiny cosmetic lam. MB 10 K1042. MARIA KURENKO, w.Sergei Tarnowsky (Pf.): Speak not, o beloved / None but the lonely heart (both Tchaikovsky). 10” EL PW V 2093, POM-9 / 22 Feb.,1940, issued USA only. M-A, Exemplary! MB 10 K1043. MARIA KURENKO, w.Sergei Tarnowsky (Pf.): Speak not, o beloved / None but the lonely heart (both Tchaikovsky). 10” EL RCA 10-0020, POM-9 / 22 Feb.,1940, issued USA only. Sd. 2 label Autographed by Kurenko. M-A MB 20 K1044. MARIA KURENKO, w.Sergei Tarnowsky (Pf.): So soon forgotten / The Enchantress – Where are you? (Act IV) (both Tchaikovsky). 10” EL PW V 2094, only form of issue, 22 Feb.,1940. M-A, Exemplary! MB 12 K1045. MARIA KURENKO, w.Sergei Tarnowsky (Pf.): One small word / At the ball; Children’s song (all Tchaikovsky). 12” EL RCA 11-0020, POM-22 Feb.,1940, issued USA only. M-A, Exemplary! MB 12 K1046. MARIA KURENKO, w.Sergei Tarnowsky (Pf.): ’Twas you alone; Song of the gypsy girl / Complaint of the bride (all Tchaikovsky). 12” EL RCA 11-0019, POM-22 / 8 Feb.,1940, issued USA only. M-A, Exemplary! MB 10 K1047. MARIA KURENKO, w.Gretchaninov (Pf.): Twelve Songs (all Acc. by the Composer). 3-12” EL V 18380/82, only form of issue, 25 April, 1941, in Orig. Album M-862. M-A, Exemplary! MB 25, the Set. “Kurenko was especially famous as an interpreter of Gretchaninov. The composer had left Russia in 1925 and now spent most of his time in Paris and the USA….She was his preferred interpreter of his songs and they gave several all-Gretchaninov [recitals] together….” - Larry Lustig, THE RECORD COLLECTOR, 1997 K1048. BELA RUDENKO: Khovanschina – Mysterious powers (Martha’s divination) (Mussorgsky); Tsar’s Bride – You will pay (Act II) / BELA RUDENKO & MIKHAIL GRISHKO: Scene of Lyubasha & Bomely (Act II) (Rimsky-Korsakov). 10” EL red Aprelevski Zavod Extended Play 861/62, recorded 1951. M-A, Exemplary! On Sd.2, Rudenko is partenered by Ukranian bass-baritone Mikhail Grishko, very popular in Russian opera houses, but was never at the Bolshoi! MB 15 K1049. E. SHUMILOVA, w.Sakarov Cond.: The Maid of Pskov – Olga’s arietta (Rimsky-Korsakov) / Rusalka – Once a husband asked his wife (Dargomyzhsky). 10” EL red Aprelevski Zavod 17029/30, recorded 1949. A, lovely copy has few lt. rubs & pap. scrs, inaud. MB 10

K1050. VERA FIRSOVA: Of what I dream in the quiet night (Rimsky-Korsakov) / Before my window (Rachmaninoff).. 10” EL red Aprelevski Zavod 17289/90, recorded 1949. M-A, lovely copy has, Sd. 2 only, hint of grey on peaks. MB 15 K1051. VERA FIRSOVA, w.Kondrashin Cond.: Tsar’s Bride – You will pay (Act II) (Rimsky-Korsakov), 2s. 10” EL red Aprelevski Zavod CCCP 23267/68, recorded 1954. M-A, Exemplary! MB 15 K1052. VERA FIRSOVA, w.Kondrashin Cond.: Rigoletto – Caro nome (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 16551/52, recorded 1949. M-A, Exemplary! A uniquely beautiful rendition! MB 20 K1053. VERA FIRSOVA & DAVID GAMREKELI, w.Piradov Cond.: Barbiere – Dunque io son (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 16059/60, recorded 1948. M-A, Exemplary! Brilliantly partnered by Gamrekeli, a noted verismo baritone with a notably high range, Firsova truly shines in this duet! Rosina was Firsova’s first major rôle at the Bolshoi. MB 20 “Vera Firsova was, for a full quarter of a century, the leading coloratura soprano at the Bolshoi, having débuted there in 1947.” K1054. SOFIA PREOBRAZHENSKAYA: Why, tell me, girl of my heart (Mussorgsky) / IVAN KOZLOVSKY: O, if you only knew (Tchaikovsky). 10” EL purple Aprelevski Zavod 18631/32, recorded 1950. M-A, Exemplary! MB 15 “Sofia Preobrazhenskaya enjoyed the distinction of graduating in 1928, a pupil of Ivan Yershov. She was greatly admired for over 30 years at the Mariinsky (Kirov) Opera, 1928-59. Her overcast, dark vocal timbre was especially well suited to the solemn, serious, and melancholy female characters of Russian opera.” - Kurt Malisch, Program Notes, VOICES BEHIND THE IRON CURTAIN K1055. VALERIA BARSOVA: Bolero (Cui) / Solovei (Alabiev). 10” EL blue Aprelevski Zavod 6301/04 (0319/20), recorded 1937. M-A, lovely copy has few lt. mks, inaud. MB 15 K1056. VALERIA BARSOVA, w.Samosud Cond.: Ivan Susanin – On the river’s further side (Glinka), 2s. 10” EL blue Aprelevski Zavod USSR 7769/70, recorded 1938. M-A MB 15 K1057. VALERIA BARSOVA, w.Weissmann Cond.: Roméo – Je veux vivre / Mignon – Je suis Titania (both in Russian). 12” EL dark-blue PW Parl. E11186, POM-1928. M-A, gleaming copy has, Sd. 1 only, 2 wee rubs, inaud. MB 15 “Valeria Barsova was a Russian lyric-coloratura who graduated both in voice (class of Umberto Masetti) and piano (Alexander Goldenweiser). Her early operatic experience was as Rosina in Barbiere, with Chaliapin as Don Basilio. One of the greatest singers of her generation, with a velvety, soft, elastic voice, technically very strong. Barsova began her Bolshoi career in 1920 with coloratura rôles and gradually grew into of the lyric and even young dramatic soprano, singing, for example, Leonora in Verdi’s Il Trovatore, and Madama Butterfly!” - Kurt Malisch, Program Notes, VOICES BEHIND THE IRON CURTAIN K1058. V. V. VIKTOROVA: Two Songs (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod 15242/43, recorded 1947. M-A MB 10 K1059. V. V. VIKTOROVA: Two Songs (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod 15244/45, recorded 1947. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1060. V. V. VIKTOROVA: I Loved him (Balakirev) / Romance (Bulakov). 10” EL pale-blue Gram. Plast 15756/55, recorded 1948. M-A MB 10 K1061. NATALIYA SHPILLER: I opened the window wide (Tchaikovsky) / Floods of Spring (Rachmaninoff). 10” EL blue Aprelevski Zavod 11566/67, recorded 1943. M-A, lovely copy has few lt. mks, inaud. MB 15 K1062. NATALIYA SHPILLER: Serenade, Op.65, #1 (Tchaikovsky) / Spanish song (Balakirev). 10” EL taupe Art Label Aprelevski Zavod 11568/69, recorded 1943. M-A, Exemplary! MB 15 “Natalia Shpiller was a Russian lyric soprano who débuted at the Bolshoi in 1934, remaining there until 1958. She was a highly regarded singer of the Russian school admired for her musicality and warm, polished expressiveness.” - Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS, p.323 K1063. S. A. BATURINA: Dubrovsky – Masha’s romance (Nápravnik). 10” EL S/S Special vinyl Pressing of Mx. XVE-1851-3 (issued only as Vla 4064-A), POM-17May, 1928, Harbin, Manchuria. MINT MB 15 K1064. S. A. BATURINA: Pique Dame – ‘Twill soon be midnight. 10” EL S/S Special vinyl Pressing of Mx. XVE-1814-2 (issued only as Vla 4064-B), POM-14May, 1928, Harbin, Manchuria. MINT MB 15 “[Baturina’s] voice has a gleaming, expansive top and the style is fervent. Here, the sometimes poor balance of the recordings is especially evident, suggesting that the engineers were obliged to back away from so spectacular a voice. There is a distinct feeling that Baturina had more to offer than the discs were quite able to capture.” - Houston Maples, THE RECORD COLLECTOR, 2001 K1065. VERA DAVYDOVA: Serenade, Op.63, #6 / Serenade, Op.65, #3 (both Tchaikovsky). 10” EL blue Aprelevski Zavod 10066/10212 (33/188), recorded 1943. M-A, lovely copy has few lt. mks, inaud. MB 15 “Vera Davydova sang at the Mariinsky opera, 1929-32, then at the Bolshoi, 1932-56. She was coached by Ivan Yershov for the rôle of Marfa in Khovanschina. Tall, stately, beautiful (Stalin was said to be in love with her), she had a splendid, even voice throughout her whole range.” - Richard D. Sylvester, TCHAIKOVSKY’S COMPLETE SONGS, p.302

K1066. ALMA GLUCK: Tu – Habañera (Fuentes). 10” AC Pat.’08 V 64182, POM-22 March, 1911. M-A MB 8 K1067. ALMA GLUCK: My Laddie (Thayer). 10” AC Pat.’12 V 64183, POM-22 March, 1911. M-A MB 8 K1068. ALMA GLUCK: Four American Indian Songs – From the land of sky blue water (Cadman). 10” AC Pat.’12 V 64190, POM-16 May, 1911. M-A MB 8 K1069. ALMA GLUCK: Long ago, sweatheart mine; A maid sings light (both MacDowell). 10” AC Pat.’12 V 64268, POM-10 June, 1912, Never Doubled, USA. A-, very decent copy has lt. rubs & few wee scrs. MB 8 K1070. ALMA GLUCK: Have you seen but a whyte lillie grow? (Jonson). 10” AC Pat.’12 V 64320, POM-23 Jan., 1913, Never Doubled, USA. A, lovely copy has faintest pap. rubs, inaud. MB 10 K1071. ALMA GLUCK: Red, red rose (Cottenet). 10” AC Pat.’12 V 64321, POM-23 Jan., 1913. M-A MB 10 K1072. ALMA GLUCK: My Laddy (Thayer). 10” AC Pat.’08 V 64183, POM-22 March, 1911. M-A MB 10 K1073. ALMA GLUCK: Song of the chimes (Worrell). 10” AC Vla 64322, POM-24 Jan., 1913. M-A MB 8 K1074. ALMA GLUCK: The Brook (Dolores). 10” AC Vla 64324, POM-25 Jan., 1913. M-A MB 8 K1075. ALMA GLUCK: When love is kind (Moore). 10” AC Pat.’12 V 64325, POM-25 Jan., 1913. M-A MB 10 K1076. ALMA GLUCK: The Swallows (Cowen). 10” AC V 64392, POM-29 Dec., 1913. M-A MB 10 K1077. ALMA GLUCK: The Lass with the delicate air (Arne). 10” AC V 64398, POM-31 Dec., 1913. A to M-A MB 8 K1078. ALMA GLUCK: La Serenata (Tosti). 10” AC V 64399, POM-31 Dec., 1913. M-A MB 8 K1079. ALMA GLUCK: Carmena (Wilson). 10” AC V 64400, POM-29 Dec., 1913. A to M-A MB 8 K1080. ALMA GLUCK: The Marriage Market – Little grey home in the west (Löhr). 10” AC Vla 64412, POM-7 March, 1914. M-A MB 8 K1081. ALMA GLUCK: As a beam o’er the face of the waters may glow (Moore). 10” AC V 64415, POM-6 March, 1914, issued USA only. M-A MB 10 K1082. ALMA GLUCK: The Braes o’Balquhidder (Tannahil). 10” AC V 64416, POM-6 March, 1914, Never Doubled, USA. M-A MB 8 K1083. ALMA GLUCK: Comin’ thro’ the rye. 10” AC V 64422, POM-6 March, 1914. M-A MB 8 K1084. ALMA GLUCK: I’se gwine back to Dixie (White). 10” AC Vla 64564, POM-15 Feb., 1916. M-A MB 8 K1085. ALMA GLUCK: Carry me back to old Virginny (Bland). 12” AC Vla 74420, POM-13 Nov., 1914. M-A, gleaming copy of Gluck’s phenominal money-maker, holding the distinction of being Victor’s first Red Seal record to sell over a million copies! MB 10 K1086. ALMA GLUCK: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart], in English). 10” AC Vla 64590, POM-17 Feb., 1916, Never Doubled, UK. M-A MB 8 K1087. ALMA GLUCK: The Gardener – The bird of the wilderness (Tagore-Horsman). 10” AC V 64591, POM-17 Feb., 1916. M-A MB 8 K1088. ALMA GLUCK: A perfect day (Bond). 10” AC V 64607, ‘Take’ 4, POM-25 Sept., 1916, Never Doubled, US. A to M-A MB 8 K1089. ALMA GLUCK: A perfect day (Bond). 10” AC Vla 64607, ‘Take’ 6, POM-27 Dec., 1916, Never Doubled, UK. A to M-A MB 8 K1090. ALMA GLUCK: L’Heure exquise (Hahn). 10” AC Vla 64750, POM-18 Sept., 1917. This beautiful Hahn song was regarded by Gluck to be her very finest recording. A to M-A MB 10 K1091. ALMA GLUCK: Still wie die Nacht (Böhm). 10” AC V 64589, POM-17 Feb., 1916, issued USA only. M-A MB 8 K1092. ALMA GLUCK: The prayer perfect (Stenson). 10” AC Vla 64713, POM-23 Jan., 1917, Never Doubled M-A MB 8 K1093. ALMA GLUCK: Two folk-songs of Little Russia (arr.Zimbalist). 10” AC Vla 64727, POM-25 June, 1917. A to M-A MB 8 K1094. ALMA GLUCK: Darling Nellie Gray (Hanby). 10” AC Vla 64729, POM-26 June, 1917, Never Doubled, UK. A to M-A MB 8 K1095. ALMA GLUCK: Bring back my bonnie to me. 10” AC Vla 64793, POM-11 Sept., 1918, Never Doubled, UK. M-A MB 8 K1096. ALMA GLUCK: The little old log cabin in the lane (Hays). 10” AC Vla 64809, POM-11 Sept., 1918. M-A MB 8 K1097. ALMA GLUCK: Nelly was a lady (Foster). 10” AC Vla 64828, POM-11 Sept., 1918, Never Doubled, UK. M-A MB 8 K1098. ALMA GLUCK: Der Vogelhändler – Nightingale song (Zeller). 10” AC Vla 64566, ‘Take’ 1, POM-18 Feb., 1916. M-A MB 8 K1099. ALMA GLUCK: Der Vogelhändler – Nightingale song (Zeller). 10” AC V 64566, ‘Take’ 2, POM-18 Feb., 1916, issued USA only. M-A MB 8

K1100. ALMA GLUCK: Hippolyte et Aricié – Rossingols amoureux (Rameau). 12” AC V 74249, POM-20 July, 1911, Never Doubled, USA (other than in most elusive HRS Series). M-A, a gleaming copy. MB 15 “Gluck’s finest recorded achievement was ‘Rossignols amoureux’ by Rameau, surely one of the really great records.” – Joe Winstanley, CLASSICAL RECORDINGS QUARTERLY, Autumn, 2010 K1101. ALMA GLUCK: Hippolyte et Aricié – Rossingols amoureux (Rameau) / Czarskaia Nevesta (Czar's Bride) – (Lyubasha's Aria) (Unaccompanied) (Rimsky-Korsakov, in German). 12” AC gold Victor HRS 1037, POM-20 July, 1911 / 31 Dec., 1913. Numbered Copy #21 of an extraordinarily Limited Edition. Sd.2 label Autographed by Gluck. M-A, a gleaming copy. MB 75 "Perhaps best of all is the aria 'Rossignols amoureux' from Rameau's Hippolyte et Aricie: just the sort of music that the great golden age singers leave most conspicuously alone, yet requiring the assurance of technique and beauty of voice that were supposed to be theirs. Gluck's record, with its clear placing and pure flutelike ease, did something to fill a notable gap in the old catalogues." – J.B. Steane, THE GRAND TRADITION K1102. ALMA GLUCK: Czarskaia Nevesta (Czar's Bride) – (Lyubasha's Aria) (Unaccompanied) (Rimsky-Korsakov; in German). 12” AC V 74383, ‘Take’ 2, POM-31 Dec., 1913, only form of regular issue (other than in most elusive HRS Series). M-A, a gleaming copy. MB 20 K1103. ALMA GLUCK: Theodora – Angels ever bright and fair (Handel). 12” AC Vla 74559, POM-18 Sept., 1917. M-A MB 12 K1104. ALMA GLUCK: Semele – Oh, sleep! why dost thou leave me? (Handel). 12” AC Vla 74423, ‘Take’ 3, POM-14 Feb., 1916, issued USA only. M-A, gleaming copy has minor ulc MB 15 K1105. ALMA GLUCK: Semele – Oh, sleep! why dost thou leave me? (Handel). 12” AC V 74423, ‘Take’ 2, POM-13 Nov., 1914, Never Doubled, USA. M-A, a gleaming copy. MB 12 K1106. ALMA GLUCK, w.Hageman Cond.: Atalanta – Care selve (in English) (Handel). 12” AC V 74504, POM-26 Sept., 1916. M-A, a gleaming copy. MB 15 “...['Care selve'] which for many years was called by musicians the finest piece of music ever recorded, because of the perfect mastery of Handel's classic legato line, and the phenomenal control of the voice. 'O Sleep, why dost thou leave me?' is in the same class, with the addition of an adagio trill that could stand the application of a thousand-power magnifying glass. 'Rossignols amoureux' of Rameau is even more exacting and displays the command of a palette of technique which, in a word, demands everything.” – Marcia Davenport, TOO STRONG FOR FANTASY, pp.109-110 K1107. ALMA GLUCK: La Boheme – Donde lieta uscì (Mimi). 10” AC Pat.’12 V 64225, POM-13 April, 1911. M-A MB 10 K1108. ALMA GLUCK: La Boheme – Quando m’en vo (Musetta). 10” AC V 64560, POM-17 Feb., 1916. M-A MB 8 K1109. ALMA GLUCK: Sadko – Chanson indoue (1916 Version). 10” AC Vla 64269, ‘Take’ 2, only form of issue, 17 Feb., 1916. A to M-A MB 10 K1110. ALMA GLUCK: Hubicka – Cradle song (Smetana). 10” AC Pat.’08 V 64213, POM-20 July, 1911. M-A MB 8 K1111. ALMA GLUCK: Snegoroutchka – Aller au bois (in French) (Rimsky-Korsakov). 10” AC V 64421, POM-7 March, 1914. M-A MB 10 K1112. ALMA GLUCK: Snegoroutchka – Song of the shepherd Lehl (in English) (Rimsky-Korsakov). 10” AC Pat.’12 V 64209, POM-19 July, 1911. A to M-A, lovely copy has infinitesimal pap. scr, inaud. MB 10 K1113. ALMA GLUCK: Pagliacci – O che volo d’augelli. 12” AC Pat.’08 V 74238, POM-16 May, 1911. M-A MB 10 K1114. ALMA GLUCK: Carmen – Je dis que rien ne m’épouvante (in Italian). 12” AC Pat.’08 V 74245, ‘Take’ 1, only form of issue, 13 April, 1911. M-A MB 12 K1115. ALMA GLUCK: Louise – Depuis le jour. 12” AC Pat.’12 V 74252, ‘Take’ 3, POM-23 Jan., 1913. M-A MB 12 K1116. ALMA GLUCK, w.Efrem Zimbalist (Violin): Le Nil (Leroux). 12” AC Pat.’12 Vla 88358, POM-19 Feb., 1912. M-A MB 10 K1117. ALMA GLUCK, w.Efrem Zimbalist (Violin): Angel’s serenade (Braga). 12” AC Pat.’12 Vla 88434, POM-13 March, 1913. M-A, lovely copy has mere hint of nr, inaud. MB 8 K1118. ALMA GLUCK, w.Efrem Zimbalist (Violin): Swedish cradle song. 10” AC Vla 87566, POM-10 Sept., 1918. A to M-A MB 8 K1119. ALMA GLUCK, w.Efrem Zimbalist (Violin): Hatikva. 10” AC Vla 87522, POM-11 Sept., 1918, Never listed in a North American Victor Catalogue. M-A MB 10 K1120. ALMA GLUCK, w.Efrem Zimbalist (Violin): Quatre Chants Populaires – Chanson hébraique (in Yiddish) (Ravel). 10” AC Vla 87276, POM-25 June, 1917. M-A MB 10 K1121. ALMA GLUCK, w.Efrem Zimbalist (Violin): None but the lonely heart (in German) (Tchaikovsky). 10” AC V 87244, POM-17 Feb., 1916, Never Doubled, UK. M-A MB 10

K1122. ALMA GLUCK, w.Efrem Zimbalist (Violin): Élégie (Massenet). 10” AC Pat.’12 Vla 87101, POM-19 Feb., 1912. M-A MB 8 K1123. ALMA GLUCK, w.Efrem Zimbalist (Pf.): Irish love song (Lang). 10” AC V 64346, POM-13 March, 1913. M-A MB 8 K1124. ALMA GLUCK, w.Charles Gilbert Spross (Pf.): Will-o-the-wisp (Acc. by the Composer). 10” AC Pat.’08 V 64192, POM-16 May, 1911. M-A, a gleaming copy. MB 10 K1125. ALMA GLUCK, w.Hageman Cond.: War schöner als der schönste Tag (Canzonetta) (Loewe). 10 AC V 64626, POM-26 Sept., 1916, Never Doubled, UK. M-A MB 8 K1126. ALMA GLUCK, w.Hageman Cond.: Such a li’l’ fellow (Dichmont). 10 AC V 64625, POM-26 Sept., 1916. M-A MB 8 K1127. ALMA GLUCK, w.Hageman Cond.: She wandered down the mountain side (Clay). 12” AC Vla 74503, POM-25 Sept., 1916. M-A, lovely copy has faintest pap. rub, inaud. MB 8 K1128. ALMA GLUCK & PAUL REIMERS: Der Jäger Lang dem Weiher ging (Hunter’s song) (Pax). 10” AC V 87184, Orig. ‘A’ plate issue, POM-7 March, 1914, Never Doubled. M-A MB 12 K1129. ALMA GLUCK & LOUISE HOMER, w.Hageman Cond.: Norma – Mira, o Norma. 12” AC V 88576, POM-25 Sept., 1916. M-A MB 12 K1130. ALMA GLUCK, w.Victor Herbert Cond.: Lo, here the gentle lark (Bishop). 10” AC Pat.’12 V 64267, POM-10 June, 1912. M-A, a gleaming copy. MB 10 K1131. ALMA GLUCK, w.Victor Herbert Cond.: La Colomba. 10” AC Pat.’12 V 64277, POM-10 June, 1912, Never Doubled, USA. M-A MB 10 K1132. ALMA GLUCK, w.Victor Herbert Cond.: Sadko – Chanson indoue (1912 Version) (Rimsky-Korsakov). 10” AC Pat.’12 V 64269, POM-10 June, 1912, Never Doubled, USA. M-A, a gleaming copy. MB 12 K1133. ALMA GLUCK, w.Victor Herbert Cond.: Natoma – I list the trill of golden throat (Cond. by the Composer). 12” AC V 74274, POM-10 June, 1912. M-A, Exemplary! MB 15 “No soprano of [Gluck’s] own or subsequent generations has surpassed the instrumental purity of her tone and line, which could fairly be called immaculate.” – Desmond Shawe-Taylor K1134. SOPHIE BRASLAU: Girometta (Sibella). 10” AC Vla 64967, POM-24 June, 1921. A, lovely copy has faintest pap. rubs, inaud. A contender for Braslau’s loveliest recording, this song having been written by her teacher – duly charming! MB 8 “Sophie Braslau, a contralto with a three-octave range, sang with the Metropolitan Opera for several years before becoming a touring concert artist. Braslau made her début in Wagner's Parsifal, and performed in Toscanini's revival of Carmen and in Verdi's Requiem.”' K1135. SOPHIE BRASLAU: Eili, Eili (in Hebrew) / Romance in E-flat, Op.44, #1 (Die Nacht) (Rubinstein; in Russian). 12” EL blue Viva-Tonal Col. 7143-M, only form of issue, 4 June, 1928. A to M-A, lovely copy has, Sd. 2 only, 2 lams, inaud. MB 10 K1136. SOPHIE BRASLAU: Eili, Eili (in Hebrew). 12” AC Vla 74577, POM-29 April, 1918. M-A MB 8 K1137. SOPHIE BRASLAU: Yohrzeit (in Hebrew). 12” AC Vla 74595, POM-27 June, 1919. M-A MB 8 K1138. SOPHIE BRASLAU: Chant juif (Mey; trans. Mussorgsky). 10” AC V 64478, only form of issue, 21 Oct., 1914. M-A MB 10 K1139. SOPHIE BRASLAU: Der Tod und das Mädchen / Der Erlkönig (both Schubert). 12” EL blue Viva-Tonal Col. 64131-D, POM-27 April, 1928. M-A, a gleaming copy. MB 10 K1140. SOPHIE BRASLAU: Die junge Nonne / Die Forelle; Heidenröslein (all Schubert). 12” EL blue early PW Col. 67432-D, POM-30 / 27 April, 1928. M-A, gleaming copy of choice mid 1930s pressing. MB 10 K1141. SOPHIE BRASLAU: Same old, dear old place (Wilson). 12” AC Vla 74681, POM-24 Jan., 1921. M-A MB 8 K1142. SOPHIE BRASLAU: Thy beaming eyes (MacDowell). 10” AC V 64470, POM-28 Sept., 1914, Never Doubled, USA. M-A MB 8 K1143. SOPHIE BRASLAU: Bid me good-bye (Weatherly-Tosti). 10” AC V 64541, POM-20 Oct., 1915. A to M-A, lovely copy has minuscule edge scr. MB 8 K1144. SOPHIE BRASLAU: The sweetest story ever told (Stults). 10” AC Vla 64708, POM-18 July, 1917. M-A, a gleaming copy. MB 8 K1145. SOPHIE BRASLAU: Croon, croon, underneat’ de moon (Clutsam). 10” AC Vla 64799, POM-9 Oct., 1918. M-A MB 8 K1146. SOPHIE BRASLAU: Baby mine (Johnston). 10” AC white Vla 64810, POM-9 Oct., 1918, Never Doubled, USA. M-A, a gleaming copy. MB 8 K1147. SOPHIE BRASLAU: Ever of thee I’m fondly dreaming (Hall). 10” AC Vla 64883, ‘Take’ 2, POM-27 June, 1919, issued USA only. M-A, lovely copy has faint rub, inaud. MB 8

K1148. SOPHIE BRASLAU: Lady, Be Good – The man I love (Gershwin) / If I could look into your eyes (Goodman). 10” EL black Viva-Tonal Col. 153-M, only form of issue, 1 / 5 June, 1928. M-A, a gleaming copy. Exceedingly elusive! MB 45 K1149. SOPHIE BRASLAU: Come to me, o beloved! (Malipiero) / Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti) (both in Italian). 12” EL blue Viva-Tonal Col. 7133-M, only form of issue, 16 Sept. / 31 Aug., 1927. A-, lovely copy has lt rubs & few superficial pap. scrs, ever-so-faintly audible 3 turns only, Sd.1. The Malipiero cantata displays Braslau’s deep contralto voice particularly well. MB 10 K1150. SOPHIE BRASLAU: Just a little house of love (Wood). 10” AC Vla 64937, POM-24 June, 1921, issued USA only. M-A, lovely copy has tiny ndl cut. MB 8 K1151. SOPHIE BRASLAU: Swingin’ vine (Grosvenor). 10” AC Vla 64996, ‘Take’ 4, POM-7 June, 1921, issued USA only. M-A, a gleaming copy. MB 8 K1152. SOPHIE BRASLAU: Jasmine door (Scott). 10” AC Vla 66044, ‘Take’ 5, POM-23 Jan., 1922, issued USA only. M-A, a gleaming copy. MB 8 K1153. SOPHIE BRASLAU: Somebody loves me (Hattie Starr). 10” AC Vla 66084, POM-24 May, 1922, issued USA only. M-A, a gleaming copy. MB 8 K1154. SOPHIE BRASLAU: Last night (Kjerulf) / The sweetest story ever told (Stults). 10” AC Vla 553, ‘Takes’ 8 / 1, POM-20 Oct., 1915 / 18 July, 1917. A to M-A MB 8 K1155. SOPHIE BRASLAU: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti). 10” AC V 64468, ‘Take’ 7, only form of issue, 28 Sept., 1914. M-A MB 10 K1156. SOPHIE BRASLAU: Lucrezia Borgia – Il segreto per esser felice (Brindisi) (Donizetti). 10” AC white Vla 64468, ‘Take’ 9, POM-21 Oct., 1914. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K1157. SOPHIE BRASLAU: Carmen – Habañera (1914 Version). 10” AC V 64469, ‘Take’ 11, only form of issue, 21 Oct., 1914. M-A, lovely copy has faint pap. rub, inaud. MB 8 K1158. SOPHIE BRASLAU: Carmen – Habañera (1928 Version) / En vain pour éviter (Card Scene). 10” EL black Viva-Tonal Col. 156-M, only form of issue, 4 / 5 June, 1928. M-A MB 10 “Braslau’s parents, both from Russia, recognized early on the musical talent of their only child. Her father was on friendly terms with many musicians and often hosted visiting virtuosi. Sophie Braslau acknowledged that her musical inspiration came from a performance by soprano Alma Gluck at the old Mendelssohn Hall. Signor A. Buzzi-Pecci, a voice teacher, who was often a visitor at the Braslau home, worked with Braslau for three years, then she studied with Mme Marcella Sembrich, Gabriele Sibella, Herbert Witherspoon, Mari Marafioti, and others. When she auditioned at the Metropolitan Opera with a group of seventeen other hopefuls, she won instant recognition and was granted a five-year contract.” – Oliver B. Pollak, JEWISH WOMEN’S ENCYCLOPEDIA K1159. ELSE BREMS, w.Folmer Jensen (Pf.): Plaisir d’amour (Martini) / L’amour de moi (both in French). 10” EL Danish Tono K 8034, only form of issue, 1944. M-A Exquisitely sensitive and stylistic renditions! MB 12 K1160. ELSE BREMS, w.Folmer Jensen (Pf.): Vaaren er kommen (Henriques) / Sol deroppe (Heise) (both in Danish). 10” EL HMV DA 5228, only form of issue, 1940. M-A MB 8 K1161. ELSE BREMS, w.Egisto Tango Cond.: Carmen – Habañera / ELSE BREMS & OTTE SVENDSEN: Séguedille (both in Danish). 12” EL Danish Tono X 25030, only form of issue, 1944. A-, lovely copy has few lt. rubs, inaud.; Sd. 1 only has safe, closed pressing blister. MB 8 K1162. ELSE BREMS, w.Egisto Tango Cond.: Samson et Dalila – Mon coeur s'ouvre à ta voix / Printemps qui commence (both in French). 12” EL Danish Tono X 25050, only form of issue, 1945. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1163. ELSE BREMS & STEFAN ISLANDI, w.Egisto Tango Cond.: Il Trovatore – Ai nostri monti / Mal reggendo (both in Italian). 12” EL HMV DB 5279, only form of issue, 10 May, 1943. M-A, Exemplary! MB 10 “When she was 17, her father brought Else Brems to Mattia Battistini and the baritone was enthusiastic in his praise for the young singer’s talent. Subsequently, she went to Paris for a four month’s stay to study the French repertory (with Georges Cunelli and Povla Frijsh) and it was here that her lifelong love affair with French music started. At the age of 20 she made her début in a small concert hall at Copenhagen. She went for further studies to Mme Charles Cahier, and later Else Brems returned to Paris. At 21, she made her first appearance at the Royal Theatre Copenhagen as Carmen. She appeared as Carmen in Vienna, Warsaw, Budapest, Stockholm and London within a short time. With few short breaks, Else Brems concentrated on The Royal Theatre Copenhagen from her début in 1930 until 1962. In 1933 she went on a tour in the United States and appeared with the Chicago Orchestra. Her performances were reviewed with enthusiasm. Her voice was even compared with the young Ernestine Schumann-Heink. In 1938 she was engaged as Carmen for the Vienna State Opera by Bruno Walter and Carl Ebert. Her partners included Todor Mazaroff and Jan Kiepura. In 1940 she married the tenor Stefan Islandi with whom she frequently appeared together in concerts. During the war she toured the Scandinavian countries and after the war, in 1948, she reappeared as Carmen at Covent Garden.” - Andrea Shum-Binder, subito-cantabile

K1164. HÉLÈNE CALS, w.Weissmann Cond.: Il bacio (Arditi) / Mignon – Je suis Titania. 12” EL dark-blue PW Parl. E 10990, POM-c.1929. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K1165. HÉLÈNE CALS: Stabat Mater – Vidit suum (Pergolesi) / Giulio Cesare – Piangerò, la sorte mia (Handel). 12” EL red Decca-Odeon 25359, POM-c.1929. A-, lovely copy has few lt. rubs & dust scrs, ltly audible a few turns. Exquisite, tasteful use of portamento here! MB 12 “The Dutch soprano Hélène Cals was a great radio favourite in the 1930s. Perhaps she did not have the largest voice, but it was radiant and had a beautiful timbre. She did make some lovely records, this aria from Giulio Cesare I think is one of her best. Her phrasing in this aria is exceptionally fine and, I think, unsurpassed.” - Peter van der Waal, THE RECORD COLLECTOR, 2007 K1166. JULIA CULP: Drink to me only with thine eyes (in English). 10" AC V 64401, POM-27 Jan., 1914, Never Doubled, USA. M-A, Exemplary! MB 8 K1167. JULIA CULP: Stille Nacht, (1914 Version) (Gruber). 10" AC V 64397, POM-4 March, 1914, (this being ‘Take’ 5 of two issued Versions), Never Doubled. M-A, Exemplary! MB 8 K1168. JULIA CULP: Stille Nacht, (1917 Version) (Gruber) / w.Coenraad V. Bos (Pf.): Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" AC Vla 566, POM-2 May, 1917 / 6 Feb., 1914. M-A, Exemplary! MB 8 K1169. JULIA CULP: Love’s old sweet song (Molloy). 12" AC Vla 74540, POM-1 May, 1917, issued USA only. M-A, Exemplary! MB 8 K1170. JULIA CULP: All through the night (in English). 10" AC V 64414, POM-4 March, 1914. M-A, Exemplary! MB 8 K1171. JULIA CULP: Auld lang syne (Burns). 10" AC V 64418, POM-6 Feb., 1914. M-A, Exemplary! MB 8 K1172. JULIA CULP: Bendemeer’s Stream (arr.Gatty). 10" AC Vla 64720, POM-1 May, 1917. M-A, Exemplary! MB 8 K1173. JULIA CULP: Long, long ago (Bayly). 10" AC Vla 64419, POM-27 March, 1917, (this being ‘Take’ 9 of two issued Versions). M-A, Exemplary! MB 8 K1174. JULIA CULP: The Blue Paradise – Auf wiedersehn! (in English) (Romberg). 12" AC V 74523, POM-27 March, 1917, Never Doubled outside USA. M-A, a gleaming copy. MB 10 K1175. JULIA CULP: Tears must fall, eyes must weep (Cradle song – 1915) (in English) (Kreisler). 12" AC V 74460, POM-29 Dec., 1915, Never Doubled outside USA. M-A, Exemplary! MB 10 K1176. JULIA CULP: The old refrain (Kreisler). 10" AC V 64667, POM-4 April, 1917, Never Doubled, USA. M-A, lovely copy has faintest pap. rubs, barely visible & inaud. MB 8 K1177. JULIA CULP: Geluckig vaderland (Dutch folksong). 10" AC Vla 64551, POM-28 Dec., 1915. M-A, Exemplary! MB 8 K1178. JULIA CULP: Dutch Serenade (de Lange). 10" AC V 64552, POM-28 Dec., 1915, Never Doubled, USA. M-A, Exemplary! MB 8 K1179. JULIA CULP: By the waters of Minnetonka (Lieurance). 10" AC Vla 64721, Orig. ‘A’ Plate Issue, POM-2 May, 1917. M-A, Exemplary! MB 8 K1180. JULIA CULP: Indian Songs – Lullaby (Lieurance). 10" AC V 64491, POM-18 March, 1915. M-A, Exemplary! MB 8 K1181. JULIA CULP: The cottage maid (in English) (Beethoven). 10" AC V 64493, POM-23 March, 1915. M-A, Exemplary! MB 8 K1182. JULIA CULP: Ave Maria (Schubert). 10" AC V 64489, POM-19 March, 1915. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K1183. JULIA CULP: Im Abendroth (Schubert). 10" AC V 64492, POM-19 March, 1915, issued USA only. M-A, Exemplary! MB 8 K1184. JULIA CULP: Samson et Dalila – Printemps qui commence. 12" AC V 74430, POM-19 March, 1915, Never Doubled, USA. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K1185. JULIA CULP: Samson et Dalila – Mon coeur s’ouvre à ta voix. 10" AC V 64490, POM-19 March, 1915. M-A MB 8 K1186. JULIA CULP: Du bist die Ruh’ (Schubert). 12" AC V 74461, POM-29 Dec., 1915, Never Doubled outside USA. M-A, Exemplary! MB 10 K1187. JULIA CULP: Du bist die Ruh’ / Schwanengesang – Leise flehen meine Lieder (Ständchen) (both Schubert). 12" AC Vla 6066, POM-29 Dec. / 18 March, 1915, (Sd. 2 being ‘Take’ 4 of two issued Versions). M-A, exemplary copy has, beg. Sd. 2, wee pressing bump. MB 15 “You might describe Julia Culp as a connoisseur’s singer….What she excelled in were….sustained legato line, remarkable breath control, subtle colour, immaculate care for words….But ‘connoisseur’s singer’ does not mean that only connoisseurs can appreciate her; one becomes a connoisseur by listening to her.” - Michael Oliver, INTERNATIONAL OPERA COLLECTOR, Autumn, 2000 K1188. JULIA CULP: Passing by (in English) (Purcell). 10" AC V 64550, POM-28 Dec., 1915, Never Doubled, USA. M-A, bright copy has faintest pap. rubs, inaud. MB 8

K1189. JULIA CULP: Faithfu’ Johnnie (in English) (Beethoven). 12" AC white Vla 74429, POM-19 March, 1915, Never Doubled, USA. M-A, Exemplary! MB 15 K1190. JULIA CULP: Elijah – O rest in the Lord (in English) (Mendelssohn). 12" AC V 74427, POM-18 March, 1915, Never Doubled, USA. M-A, Exemplary! MB 10 K1191. JULIA CULP: Israel in Egypt – Dank sei dir (Handel). 12" AC white Vla 74462, POM-28 Dec., 1915, only form of issue (other than elusive Japanese edition). M-A, Exemplary! MB 15 K1192. JULIA CULP, w.Coenraad V. Bos (Pf.): I’ve been roaming (Horn). 10" AC V 64404, POM-4 March, 1914, Never Doubled, USA. M-A, Exemplary! MB 8 K1193. JULIA CULP, w.Coenraad V. Bos (Pf.): At parting (Rogers). 10" AC V 64441, POM-4 March, 1914, Never Doubled, USA, (this being ‘Take’ 6 of two issued Versions). M-A, Exemplary! MB 8 K1194. JULIA CULP, w.Coenraad V. Bos (Pf.): Mignonette (in French) (Weckerlin). 10" AC V 64403, POM-4 March, 1914. M-A, Exemplary! MB 8 “In spite of the difficulties [with Victor’s choice of repertoire] there are a few gems which show how great [Culp’s] artistry was, for example, ‘Mignonette’, ‘I’ve been roaming’ and ‘At parting’.” - Floris Juynboll, THE RECORD COLLECTOR, 1986 K1195. JULIA CULP, w.Coenraad V. Bos (Pf.): Heidenröslein (Schubert). 10" AC V 64396, POM-4 March, 1914. M-A, Exemplary! MB 8 K1196. JULIA CULP, w.Coenraad V. Bos (Pf.): Immer leiser wird mein Schlummer (Brahms). 10" AC V 64553, only form of issue, 29 Dec., 1915. M-A, Exemplary! MB 10 K1197. JULIA CULP, w.Coenraad V. Bos (Pf.): Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" AC V 64402, POM-6 Feb., 1914. M-A, Exemplary! MB 8 K1198. JULIA CULP, w.Coenraad V. Bos (Pf.): Mariä Wiegenlied (Reger). 10" AC Vla 64683, POM-28 March, 1917, Never Doubled. M-A, Exemplary! MB 12 K1199. JULIA CULP, w.Coenraad V. Bos (Pf.): Nuit d’étoiles (in French) (Debussy). 10" AC Vla 64676, POM-28 March, 1917, Never Doubled, USA. M-A, choice copy has wee pressing bump. MB 12 K1200. JULIA CULP, w.Coenraad V. Bos (Pf.): Mondnacht (Schumann). 10" AC V 64554, POM-28 Dec., 1915, Orig. ‘A’ Plate Issue, issued USA only. M-A, Exemplary! MB 10 K1201. JULIA CULP, w.Michael Raucheisen (Pf.): Es muss ein Wunderbares sein (Liszt) / Auf Flügeln des Gesanges (Mendelssohn). 10" AC Vla 1041, only form of issue, 26 March, 1924. M-A, Exemplary! MB 15 K1202. JULIA CULP, w.Fritz Lindemann (Pf.): Der Tod und das Mädchen / Der Lindenbaum (both Schubert). 12” EL vinyl Historic Masters HMB 62, POM-29 July, 1926. MINT MB 8 K1203. JULIA CULP, w.Fritz Lindemann (Pf.): Du bist wie eine Blume (Schumann) / Feldeinsamkeit (Brahms). 10" EL PW black Electrola EW 9, POM-29 July, 1926. M-A, gleaming copy has wee ipc, inaud. & virtually invisible. MB 45 “[Julia Culp] was a great personality and she is still considered as one of the greatest lieder singers. I consider her recording of ‘Feldeinsamkeit’ by Brahms to be one of her best. In it she demonstrates her gift to sing pianissimo, putting meaning into every word she sings." - Peter van der Waal, THE RECORD COLLECTOR, 2007 K1204. JULIA CULP, w. Otto Bake (Pf.): Auf Flügeln des Gesanges (Mendelssohn) / Ave Maria (Schubert). 12” AC Art Label (nude boy playing pipes) Anker 9453 (04848/50), POM-1908, Berlin. A-, very decent copy has cosmetic rubs & very few faint scrs, only occasionally ltly audible.; edge bite nowhere near 1st groove. MB 25 “Julia Culp in 1908 uses even more generous rubato than some of her contemporaries. and sings with fantastically pure intonation.” - Will Crutchfield, SONG ON RECORD, Vol. I, p.119 K1205. JULIA CULP, w. Otto Bake (Pf.): Frauenliebe und Leben (Schumann), 8s. 4-12” AC Japanese Col. S-9007/10, RRs-1909, in Orig. Album, w.Culp’s Photo on cover. M-A, a gleaming copy. MB 75, the Set. “By far the most moving interpretation [in the above] is 'Nun hast du mir den ersten Schmerz getan'. It is remarkable how a young singer of twenty-six could bring out so wonderfully the bleak and stark tragedy of this song. She informs the words with such meaning that it is as if she had lived a long life full of bitter experience....Not even Elisabeth Schumann, in her famous recording of the cycle, approaches her.” - Floris Juynboll, THE RECORD COLLECTOR, 1986 K1206. LILIAN WEBER HANSEN, w.Egisto Tango Cond.: Don Carlos – O don fatale / Il Trovatore – Stride la vampa (both in Danish). 12” EL Danish Tono X 25161, only form of issue, 1945. M-A, a gleaming copy. MB 15 “Lilian Weber Hansen’s breakthrough came with the rôle of Eboli in Verdi’s Don Carlos in 1948 when she let her sumptuous voice and wealth of dramatic nature come to full flower. She sang ‘O don fatale’ on record with Egisto Tango conducting, showing a big dramatic voice and expression.” - Kari Flor, Dansk kvindebiografisk leksikon K1207. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: The garden of happiness (Folksong) / When the cuckoo calls (Kilpinen). 10” EL dark-blue Capitol-Telefunken 77-80155, recorded 12 April, 1938. M-A, bright copy has, Sd. 2 only, tiny closed blister. MB 6

K1208. AULIKKI RAUTAWAARA, w.Franz Rupp (Pf.): Du bist die Ruh’ / Der Tod und das Mädchen (both Schubert). 12” EL dark-blue German Telefunken E 1687, only form of issue, 1934. M-A, Exemplary! Most elusive! MB 15 K1209. AULIKKI RAUTAWAARA, w.Leitner (Pf.): Ich liebe dich / Wonne der Wehmut (both Beethoven). 10” EL dark-blue German Telefunken A 2781, only form of issue, 1938. M-A, Exemplary! MB 15 K1210. AULIKKI RAUTAWAARA, w.Leitner (Pf.): Sapphische Ode / Auf die Nacht in den Spinnstub’n (Mädchenlied III) (both Brahms). 10” EL dark-blue German Telefunken A 2538, only form of issue, 1938. M-A, lovely copy has few lt. rubs, inaud. MB 12 K1211. AULIKKI RAUTAWAARA, w.Leitner (Pf.): Svarta rosor / Pa varandan vid havet (both Sibelius). 10” EL pale-blue German Telefunken A 2543, only form of issue, 1938. A to M-A, lovely copy has few lt. rubs, inaud. MB 12 K1212. AULIKKI RAUTAWAARA, w.Kreuder Cond.: Serenade (Cond. by the Composer) / Maytime – Will you remember? (in English) (Romberg). 10” EL dark-blue German Telefunken A 2503, only form of issue, 1938. M-A, Exemplary! MB 15 K1213. AULIKKI RAUTAWAARA, w.Kreuder Cond.: Eva – Wär’ es auch nichts als ein Augenblick / Die Lustige Witwe – Vilja-Lied (both Lehár). 12” EL dark-blue German Telefunken E 2496, POM-1938. M-A, a gleaming copy. MB 15 K1214. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: Den första kyssen / Mädchen kam vom Stelldichein (The Tryst) (both Sibelius). 10” EL dark-blue German Telefunken A 1900, POM-12 April, 1938. M-A, Exemplary! MB 12 K1215. AULIKKI RAUTAWAARA, w.Gerald Moore (Pf.): Säf, Säf, Susa / Den första kyssen (both Sibelius). 10” EL Parl-Odeon R.O. 20575, POM-1948. M-A, Exemplary! MB 8 K1216. AULIKKI RAUTAWAARA, w.Gerald Moore (Pf.): Jägargossen (in Swedish) / Hymn to Thaïs (in English) (both Sibelius). 10” EL Parl-Odeon R.O. 20574, POM-1948. M-A, Exemplary! MB 8 K1217. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond.: Nozze – Porgi amor (in Italian) / Zauberflöte – Ach’ ich fühl’s (in German) (both Mozart). 12” EL dark-blue German Telefunken E 2688, POM-21 April, 1938. M-A, Exemplary! MB 15 K1218. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond.: Nozze – Porgi amor (in Italian) / Zauberflöte – Ach’ ich fühl’s (in German) (both Mozart). 12” EL cerise Australian Telefunken Radiola E.038T, POM-21 April, 1938. M-A, Exemplary! MB 15 K1219. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: Peer Gynt – Solveig’s song / Solveig’s Cradle song (Grieg). 12” EL dark-blue German Telefunken E 1795, POM-13 Feb., 1935. M-A, a gleaming copy. MB 15 K1220. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: Peer Gynt – Solveig’s song / Solveig’s Cradle song (Grieg). 12” EL pale-blue Scandinavian Telefunken Telestar E 1795, POM-13 Feb., 1935. M-A, lovely copy has faintest pap. rubs & few infinitesimal mks, inaud. MB 10 K1221. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: Säf, Säf, Susa / The diamond on the March snow (both Sibelius). 10” EL dark-blue Capitol-Telefunken 77-80154, recorded 12 April, 1938. M-A, Exemplary! MB 8 K1222. AULIKKI RAUTAWAARA, w.Schmidt-Isserstedt Cond. Berlin Phil.: Cavalleria – Voi lo sapete / AULIKKI RAUTAWAARA & PETER ANDERS: No, no, Turiddu (in German). 12” EL dark-blue German Telefunken E 1807, only form of issue, 1935. M-A/A-, lovely copy has, Sd. 2 only, lt. rubs & hint of grey on peaks, inaud. MB 15 K1223. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond.: Carmen – Parle-moi de ma mère (in German), 2s. 12” EL dark-blue German Telefunken E 2654, only form of issue, 30 April, 1938. M-A, lovely copy has, Sd. 2 only, infinitesimal pap. scr, inaud. MB 15 K1224. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond. Berlin Phil.: Rendezvous bei Lehár, 2s. 12” EL dark-blue German Telefunken E 1781, POM-1935. M-A/A, lovely copy has, Sd. 2 only, few lt. rubs, inaud MB 12 K1225. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond. Berlin Phil.: Rendezvous bei Lehár, 2s. 12” EL red Swiss Telefunken E 1781, POM-1935. M-A, Exemplary! MB 15 K1226. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond.: Der Bettelstudent – Ich setz’ den Fall / Nur das eine bitt’ich dich (Millöcker). 12” EL dark-blue German Telefunken E 2629, only form of issue, 1938. M-A, a gleaming copy. MB 12 K1227. AULIKKI RAUTAWAARA & PETER ANDERS, w.Lutze Cond.: Die Lustige Witwe – Komm’ in den kleinen Pavillon / Das Land des Lächelns – Wer hat die Liebe uns ins Herz gesenkt (both Lehár). 12” EL red Austrian Telefunken Exquisit E 1047, POM-5 May, 1942. M-A, choice copy of elusive Wartime issue. MB 20 K1228. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond.: Der Zigeunerbaron – Wer uns getraut (Johann Strauss) / Der Rastelbinder – Wenn zwei sich lieben (Lehár). 12” EL dark-blue Swiss Telefunken E 2572, POM-1938. M-A, a gleaming copy. MB 15 K1229. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond.: Die Csardasfürstin – Potpurri (Kálmán), 2s. 12” EL dark-blue German Telefunken E 1690, POM-1934. M-A, Exemplary! MB 15

K1230. AULIKKI RAUTAWAARA & PETER ANDERS, w.Schmidt-Isserstedt Cond.: Die Csardasfürstin – Potpurri (Kálmán), 2s. 12” EL red Swiss Telefunken E 1690, POM-1934. A to M-A, lovely copy has, primarily Sd. 2, few lt. rubs, inaud. MB 10 K1231. AULIKKI RAUTAWAARA & PETER ANDERS, w.Bund Cond.: Du und ich! (Potpurri), 2s. 10” EL pale-blue Scandinavian Telefunken Telestar A 1627, POM-23 April, 1934. M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. Highly elusive! MB 15 “Aulikki Rautawaara made her international breakthrough at the Glyndebourne Opera Festival in 1934 where she participated in the famous complete recording of Mozart’s Le Nozze di Figaro. Immediately after this, Telefunken rushed to offer her a recording contract. Between 1939 and 1942 she recorded some 30 songs for them….She also sang several duets with Peter Anders….It is sad to note that a successful international career was interrupted by the War….One of Aulikki Rautawaara’s last international appearances was at the Edinburgh Music Festival in 1949.” K1232. RIA GINSTER, w.Hans Vollenweider (Organ): Dem Unendlichen (Schubert) / Semele – Where'er you walk (in German). 12” EL Swiss HMV DB 10044, only form of issue, 1943, Zürich. M-A, a gleaming copy. The unforgettable Semele aria offers a supreme example of beautiful portamento. MB 45 K1233. RIA GINSTER, w.Oskar Kromer (Viola) & Paul Baumgartner (Pf.): Gestillte Sehnsucht (Brahms), 2s. 12” EL Swiss HMV DB 10098, only form of issue, 1944, Zürich. M-A, a gleaming copy. Exceedingly elusive! MB 85 "...some of the most magical Lieder singing ever recorded... [the above] constitutes a pinnacle of artistic and technical achievement which it would be difficult to surpass." - Robert Jones, RECORDED SOUND, Oct., 1965 K1234. RIZA EIBENSCHÜTZ & MINNI NAST: Nozze – Che soave zeffiretto (Letter duet) / MARGARETHE PREUSE-MATZENAUER & PAUL BENDER: Mignon – Légères hirondelles (both in German). 10” AC black Dresden Gram. Concert G.C.-3-44032/31 (5076r/323ab), POM-1908 / 5 Jan., 1909. A-B, very decent copy has lt. rubs & very few lt. scrs, inaud. Exceedingly elusive! MB 75 K1235. ADELAIDE ANDREJEWA de SKILONDZ: Les Huguenots – Une dame noble et sage / Robert le Diable – Robert, toi que j’aime (both in German). 12” AC black Berlin Monarch Gram. 043233/34 (371/383ai), POM-4 / 10 Oct., 1913. M-A, extraordinary copy has, very end Sd. 1, mere hint of nr, barely visible & positively inaud. MB 150 K1236. ADELAIDE ANDREJEWA de SKILONDZ & OTOKAR MARÁK: La Traviata – Libiamo, libiamo / OTOKAR MARÁK: Cavalleria – Viva il vino spumeggiante (both in German). 10” AC black Schall. Gram. 61704 (1339/38ak), POM-4 Sept., 1912. A-, lovely copy has very lt. rubs, inaud. & few wee pressing bumps. MB 35 “Adelaide Andrejewa von Skilondz was a Russian operatic coloratura soprano. She was born in Saint Petersburg, where she studied singing and began her career in 1904. In 1909 she sang the role of the Queen of Shemakha in the Saint Petersburg première of Nikolai Rimsky-Korsakov's Le Coq d’Or. She also sang at the Berlin Hofoper until the start of World War I, at which time she moved to Stockholm, where she performed in opera up until 1920 and in concert performances until 1930. Her rôles there included the Queen of the Night, Lucia di Lammermoor, and Gilda. Later she taught singing. Among her students were Kerstin Meyer, Kim Borg, Eva Gustavson, Eva Prytz, and Elisabeth Söderström.” K1237. GERTRUDE FÖRSTEL: Von eweiger Liebe (Brahms) / Wiegenlied (Richard Strauss). 12” AC black German Polydor 66151 (805/04az), POM-1925. A to M-A, choice copy has very occasional faint pap. scr, inaud. Important rarity from end of AC Era. MB 125 K1238. GERTRUDE FÖRSTEL-LAUTERER, LEO SLEZAK & WILHELM HESCH: Faust – Final trio (in German). 12“ AC black Wien Monarch Gram. 044015 (40 Hp), only form of issue, 1903. B-, decent copy has lt. grey on peaks & few scuffs, minimally audible. MB 35 “Gertrude Förster-Lauterer made her début in Prague in 1888. Two years later she married the composer Josef Bohuslav Förster. She sang in the world première of Dvorák’s Jakobin as well as other local premières. She sang in Hamburg between 1893-1901 and made her Hofoper début in 1901. There she sang a wide range of rôles including Carmen, Santuzza, Frau Fluth, Nedda, Eva, and Sieglinde. She left the Hofoper in 1913 and retired from the stage the following year.” - Christopher Norton-Welsh, Program Notes to Marston’s MAHLER’S DECADE IN VIENNA K1239. ERNA DENERA & THALIA PLACHINGER: Lohengrin – Du Ärmste, kannst nie ermessen; Wenn ich im Kampfe, 2s. 11½” AC H & D grey paper label US-Pathé 62016 (15626/29), POM-1910, Berlin. M-A, a gleaming copy. MB 20 K1240. ERNA DENERA & FRITZ VOGELSTROM: Carmen – Parle-moi de ma mère (in German), 2s. 12” AC lavender Art Label Lindström Parlophon P.373, POM-1910, Berlin. M-A/A, choice copy has, Sd. 2 only, sev. faint pap. scrs, inaud. MB 20 K1241. SELMA vom SCHEIDT: Josefine von der Heilsarmee (Lincke). 10” AC black Weimar G & T G.C.-43485 (1211z), only form of issue, 1903. B-, decent copy has lt. rubs & scrs. MB 15 K1242. SELMA & JULIUS vom SCHEIDT: Abschied der Vögel (Hildach). 10” AC black Köln G & T G.C.-44234 (1213z), only form of issue, 1903. A-B, decent copy has grey on peaks; nd at very beg., audible 5 turns; neatly mended lateral edge lam; uncommonly bright label. MB 15 K1243. SELMA & JULIUS vom SCHEIDT: Nozze – Crudel! perchè finora / Zauberflöte – Papagena, Papageno! (both in German). 10” AC black Berlin G & T G.C.-2-44130/47 (4557/61h), only form of issue, 1906. B-, decent copy has lt. rubs & scrs; Sd. 2 only has long nr, positively ltly audible a few turns. MB 15

K1244. MARIA CEBOTARI, w.Heger Cond.: Frühlingsstimmen (Johann Strauss), 2s. 10” EL dark-blue German Odeon O-25647, POM-12 Dec., 1935. M-A, a gleaming copy. MB 15 K1245. MARIA CEBOTARI, w.Heger Cond.: Il bacio / Parla! (both Arditi). 10” EL dark-blue German Odeon O-25794, POM-4 June, 1936. M-A, a gleaming copy. MB 15 K1246. MARIA CEBOTARI, w.Grünberg Cond.: Starke Herzen im Sturm – Freiheits-Hymne / Strahlende Sterne der Liebe (both Herbert Windt). 10” EL dark-blue German Odeon O-25931, only form of issue, 1 July, 1937. M-A, a gleaming copy. Exceedingly elusive memento of Cebotari’s 1937 film! MB 20 K1247. MARIA CEBOTARI, w.Heger Cond.: O, cease thy singing, maiden fair (Chanson géorgienne) (Rachmaninoff) / Die Nachtigall (Alabiev). 10” EL red Decca-Odeon P-G-20449, POM-19 Sept., 1935. M-A MB 10 K1248. MARIA CEBOTARI, w.Heger Cond.: Entführung – Marten aller Arten, 2s. 10” EL red Decca-Odeon P-G-20447, POM-9 April, 1935. M-A, Exemplary! MB 10 K1249. MARIA CEBOTARI, w.Heger Cond.: La Traviata – Ah! fors’ è lui; Sempre libera (in German), 2s. 10” EL pale-blue German Odeon O-25834, POM-4 June, 1936. M-A, Exemplary! MB 12 K1250. MARIA CEBOTARI, w.Heger Cond.: Pagliacci – Stridono lassu / La Boheme – Quando m’en vo (both in German). 10” EL dark-blue French Odéon O 25563, POM-19 Sept., 1935. M-A, Exemplary! MB 12 K1251. MARIA CEBOTARI, w.Krips Cond.: Nozze – Dovè sono (in Italian), 2s. 10” EL HMV DA 1875, only form of issue, 26 Sept., 1947. M-A, Exemplary! MB 10 K1252. MARIA CEBOTARI, w.Steeger Cond.: Don Giovanni – Batti, batti, o bel Masetto / Vedrai carino (both in German). 12” EL black German Polydor 67686, only form of issue, 1941. M-A, a gleaming copy. MB 12 K1253. MARIA CEBOTARI, w.Steeger Cond.: La Boheme – Mi chiamano Mimi (1941 Version) / Tosca – Vissi d’arte (both in German). 12” EL black German Grammophon 67684, only form of issue, 1941. M-A, a gleaming copy. MB 12 K1254. MARIA CEBOTARI, w.Steeger Cond.: La Traviata – Addio del passato / CARLA SPLETTER, w.Steeger Cond.: La Boheme – Quando m’en vo (both in German). 10” EL DGG 62863, only form of issue, 1941/’42. M-A, gleaming copy has occasional pinpoint pressing bumps. MB 12 K1255. MARIA CEBOTARI, w.von Karajan Cond. Vienna Phil.: Don Giovanni – Non mi dir (in Italian), 2s. 12” EL HMV DB 6738, only form of issue, 16 Dec., 1947. (As is customary with 78rpm operatic issues of this period, von Karajan’s name does not appear on labels). M-A, Exemplary! MB 10 K1256. MARIA CEBOTARI, w.von Karajan Cond. Vienna Phil.: Ariadne auf Naxos – Es gibt ein Reich, 2s. 12” EL HMV DB 6914, only form of issue, 16 Nov., 1948. (As is customary with 78rpm operatic issues of this period, von Karajan’s name does not appear on labels). M-A, Exemplary! MB 10 K1257. MARIA CEBOTARI, w.von Karajan Cond. Vienna Phil.: Der Zigeunerbaron – O habet acht (Saffi’s aria) (Johann Strauss) / w.Prohaska Cond. Vienna Phil.: Faust – Air des bijoux (in French). 12” EL HMV DB 6947, only form of issue, 16 Nov., 1948 / 28 Jan., 1949. M-A, Exemplary! MB 10 K1258. MARIA CEBOTARI, w.Prohaska Cond. Vienna Phil.: Die Lustigen Weiber von Windsor – Nun eilt Herbei, 2s. 12” EL HMV DB 6939, only form of issue, 28 Jan., 1949. M-A, Exemplary! MB 8 K1259. MARIA CEBOTARI, w.Zweig Cond.: La Boheme – Mi chiamano Mimi (1932 Version) / MARIA CEBOTARI & MARCEL WITTRISCH: O soave fanciulla (both in German). 12” EL PW Electrola DB 4415, only form of issue, 24 Nov., 1932. A, lovely copy has, Sd. 2 only, few insignificant dust scrs, inaud. MB 10 K1260. MARIA CEBOTARI, w.Prohaska Cond. Vienna Phil.: Madama Butterfly – Un bel dì / Con onor muore (both in Italian). 12” EL HMV DB 6940, only form of issue, 10 Dec., 1948. M-A, Exemplary! MB 8 “As we can learn from her repertory, Maria Cebotari was an extraordinarily versatile singer. She was often considered a ‘predecessor’ to Maria Callas. Indeed, the two sopranos had a great deal in common. Both were true artists of great musicality and totally committed to their art. Both were utterly ‘reliable’, never missing an entry or a rehearsal. They would never come along half-knowing the music, and they could be entrusted with something new and it would be learnt quickly and intelligently. No wonder that the two Marias were loved by all great conductors. With the underlying darkness of her soprano, a pronounced vibrato and brilliance at the top of her range - but above all with the intelligence, intensitiy and sheer energy, she did justice to every rôle. She was one of the very few singers who succeeded in lyrical, dramatic and coloratura parts….Four composers were essential for her short career: Mozart, Strauss, Verdi and Puccini. In 1935, she sang the part of Aminta in the world première of Richard Strauss' Die Schweigsame Frau under Karl Böhm at Dresden Semper Opera House. Strauss advised her to move to Berlin, and in 1936 she joined the Berlin State Opera, where she was a prima donna until 1946. That year, she sang Susanna in Le Nozze di Figaro, Zerlina in Don Giovanni, and Sophie in Der Rosenkavalier for Dresden Semper Opera Company's performances at the Royal Opera House, Covent Garden. From then on, she appeared at many great opera houses including Vienna Staatsoper and at La Scala. Richard Strauss described her as ‘the best all-rounder on the European stage; never late and never cancels’. Herbert von Karajan, during a BBC interview decades after her death, said she was the greatest Madama Butterfly he had ever conducted.” - Andrea Shum-Binder, subito-cantabile

K1261. EVA von der OSTEN: Lohengrin – Einsam in trüben Tagen / Euch Lüften, die mein Klagen. 12” AC vinyl Historic Masters HMB 16, POM-24 Aug., 1911. MINT MB 12 K1262. EVA von der OSTEN & FRIEDRICH PLASCHKE: Aïda – Ciel! mio padre! (in German), 2s. 2-12” AC white Gram. Monarch Test Pressings for Mx. 438/39m, POM-1909. A-B, very decent copy has rubs & hint of grey on peaks; Sd. 2 only has various superficial scrs, minimally audible. MB 35, the Pair. K1263. MARGARETHE SIEMS: Der Rosenkavalier – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) (Creator Record, 26 Jan., 1911, Dresden) / EMMY DESTINN: Zauberflöte – Ach, ich fühl’s (1908 Version). 12” AC vinyl Historic Masters HMB 55, POM-25 Aug., 1911 / 1908. MINT MB 8 K1264. MARGARETHE SIEMS, EVA von der OSTEN & MINNIE NAST: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / MARGARETHE SIEMS: Kann mich auch an ein Mädelerinnen (Marschallin’s monologue) (Creator Record, 26 Jan., 1911, Dresden), 2s. 12” AC black Schall. Gram. 65200 (2302/03o), POM-25 Aug., 1911. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 65 K1265. MARGARETHE SIEMS: Les Huguenots – O beau pays de la Touraine; A ce mot seul (w.cabaletta) (in German), 2s. 12” AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Lindstrom Parlophon P.574/75, recorded 1911, Berlin, only form of issue, Sd.2. A-, lovely copy has very occasional mainly superficial tiny scrs, only occasionally ltly audible. A rare opportunity to acquire Siems’ greatest single disc, only Sd.1 of which was ever otherwise issued. Aside from Siems’ exquisite phrasing, messa di voce, morendo, fila di voce and remarkable breath control, she exhibits her legendary 20-second shaded trill prior to a stunning high D! MB 850 “Finest of all [in Les Huguenots], perhaps, is Margarete Siems, the original Marschallin, whose version is easily the most elaborate but who sings with indolent grace and effortless bravura. When this is allied to a meticulous attention to dynamic markings, it has the expansiveness and grandeur of style that this music requires.” - Vivian A. Liff, IL CORRIERE DELLA GRISI, 9 Sept., 2008 “The steady slow pulse of ‘O beau pays’ is hypnotically interpreted by Siems as she subtly colours phrases by swelling her tone and then pulls back to a narrow pianissimo….Margarethe Siems was clearly an extraordinary artist, and her recordings are treasures that still enrich our lives today. Along with the brilliant virtuosity, there is an emotional intensity in her singing that is hypnotic and haunting….She had the ability to colour her voice and drew out patterns of light and shadow as she sang.” - Harold Bruder, THE RECORD COLLECTOR, 2000 K1266. META SEINEMEYER, w.Weissmann Cond.: Gretchen am Spinnrade / Die junge Nonne (both Schubert). 12” EL red Decca-Odeon G-25832, POM-19 / 24 April, 1928. M-A, Exemplary! MB 12 K1267. META SEINEMEYER, w.Weissmann Cond.: Tristan – Liebestod / IVAR ANDRÉSEN, w.Weissmann Cond.: Tatest du’s wirklich? 12” EL PW Parl. E10829, POM-19 Jan., 1928. M-A, choice copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 K1268. META SEINEMEYER, w.Weissmann Cond.: Don Carlos – Tu che le vanità (in Italian), 2s. 12” EL brown German Lindström Parlophon P.9873, POM-2 Nov., 1927. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. Most Elusive! MB 45 K1269. META SEINEMEYER, w.Weissmann Cond.: Nozze – Dove sono? (in German), 2s. 12” EL PW Parl. E11130, POM-4 May, 1927. A to M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 15 K1270. META SEINEMEYER, w.Weissmann Cond.: Madama Butterfly – Un bel dì / Tosca – A te quest’ inno (both in German). 12” EL dark-blue German Lindström Parlophon P.9639, POM-22 June, 1928. M-A, choice copy has, Sd. 1 only, infinitesimal dust scr, inaud. MB 15 K1271. META SEINEMEYER, w.Weissmann Cond.: Manon Lescaut – In quelle trine morbide / META SEINEMEYER & IVAR ANDRÉSEN: Forza – Chi puo legger nel futuro (both in German). 12” EL PW Parl. E11153, POM-2 Nov. / 27 Dec., 1927, only form of issue, Sd.2. M-A, lovely copy has, Sd. 2 only, faintest hint of nr, inaud. MB 15 K1272. META SEINEMEYER, w.Weissmann Cond.: Forza – Son giunta, grazie o Dio; Madre, pietosa Vergine (in Italian), 2s. 12” EL PW Parl. E10605, POM-5 May, 1927. M-A, lovely copy has, Sd. 2 only lt. rub, inaud. MB 15 K1273. META SEINEMEYER, w.Weissmann Cond.: Forza – La vergine degli angeli / IVAR ANDRÉSEN: Il sante nome (both in German). 12” EL brown German Lindström Parlophon P.9808, POM-27 Dec., 1927. M-A, Exemplary! MB 15 ”Meta Seinemeyer, whose early death was much lamented…excelled in all rôles requiring an emotional, lyric-dramatic ability….No tombstone inscription could be more apt than the final words from the German translation of La Forza del Destino: ‘Die Seele lebt’ – the soul lives on.” - Fritz Busch K1274. META SEINEMEYER & SIGISMUND PILINSKY, w.Weissmann Cond.: Die Meistersinger – Morgenlich leuchtend (Prize Song), 2s. 12” EL PW Parl. E10947, POM-25 April, 1928. M-A, Exemplary! MB 12 K1275. META SEINEMEYER, SIGISMUND PILINSKY, HELENE JUNG, ROBER BURG & FRITZ DÜTTBERND, w.Weissmann Cond.: Lohengrin – Zug zum Münster, 2s. 12” EL PW Parl. E10933, POM-25 June, 1928. M-A, a gleaming copy. MB 12 K1276. META SEINEMEYER & HELENE JUNG, w.Weissmann Cond.: Hänsel und Gretel – Abends will ich shlafen geh’n / Juchei, nun ist die Hexe tot. 12” EL PW Parl. E10870, POM-15 Feb., 1929. M-A, a gleaming copy. MB 12

K1277. META SEINEMEYER & HELENE JUNG, w.Weissmann Cond.: Madama Butterfly – Flower duet (in German), 2s. 12” EL PW Parl. E10883, POM-15 Feb., 1929. M-A, lovely copy has, Sd. 1 only, faintest pap. rub, inaud. MB 12 K1278. META SEINEMEYER & TINO PATTIERA, w.Weissmann Cond.: Otello – Gia nella notte densa (in Italian), 2s. 12” EL PW Parl. E10816, POM-11 May, 1928. M-A, a gleaming copy. MB 12 K1279. META SEINEMEYER & TINO PATTIERA, w.Weissmann Cond.: Aïda – Pur ti riveggo (in Italian), 2s. 12” EL PW Parl. E10905, POM-11 May, 1928. A to M-A, lovely copy has, Sd.1 only, wee pressing bump & lt. rubs. MB 12 K1280. META SEINEMEYER & TINO PATTIERA, w.Weissmann Cond.: Andrea Chénier – Udite! Sono sola! / La Boheme – O soave fanciulla (both in German). 12” EL PW Parl. E10976, POM-3 Nov., 1926. M-A, Exemplary! MB 15 “Meta Seinemeyer had, in my opinion, one of the greatest soprano voices of the 20th century. I believe that, if she hadn't died so young, she would be known as one of the greatest singers ever. Her voice is one of great intensity, and it possesses a certain poignancy, a quality that has been described as ‘tears in the voice’, which makes it unique. She was also quite versatile, and equally at home in the German and Italian repertoires. Seinemeyer was especially well-known for her Verdi rôles; she was a leading figure in what was called the ‘Verdi Renaissance’ in Germany. But she also sang, to great acclaim, several Wagnerian rôles, and in addition, she sang a great variety of other rôles, from Mozart to Busoni. Her repertoire included at least 51 rôles in 46 operas, quite a few when you consider that her career lasted only 11 years. She also made over 100 recordings, in which her incredible voice can be heard today.” - Vicki Kondelik, THE RECORD COLLECTOR, 2002 K1281. META SEINEMEYER & EMANUEL LIST, w.Weissmann Cond.: Faust – Church Scene (in German), 2s. 12” EL PW Parl. E10835, POM-14 Jan., 1929. M-A, Exemplary! MB 12 K1282. META SEINEMEYER, JARO DWORSKY & EMANUEL LIST, w.Weissmann Cond.: Faust – Final Scene (in German), 2s. 12” EL PW Parl. E10834, POM-14 Jan., 1929. M-A, a gleaming copy. MB 12 K1283. META SEINEMEYER, ELISA STÜNZNER & EMANUEL LIST, w.Weissmann Cond.: Der Rosenkavalier – Nicht dort, das ist das Vorzimmer / META SEINEMEYER, GRETE MERREM-NIKISCH & EMANUEL LIST: Bin von so viel Finesse charmiert. 12” EL red Decca-Odeon 25237, POM-21 Sept., 1928. M-A, Exemplary! MB 12 K1284. META SEINEMEYER, ELISA STÜNZNER & GRETE MERREM-NIKISCH, w.Weissmann Cond.: Der Rosenkavalier – Mein Gott, s’war mehr wie eine Farce / Hab mir’s gelobt. 12” EL PW Parl. E10865, POM-21 Sept., 1928. M-A, a gleaming copy. MB 15 K1285. META SEINEMEYER, HELENE JUNG, MAX HIRZEL, WILLY BADER & IVAR ANDRÉSEN, w.Weissmann Cond.: Aïda – Iside venerata (Act I ensemble) / Che vegg’io! Egli? Mio padre! (Act II ensemble [part I], in German). 12” EL brown German Lindström Parlophon O-8717, POM-1 Nov., 1927. A to M-A, lovely copy has, Sd. 2 only, 3 wee pressing bumps, inaud.; Sd. 1 only has 2 faintest pap. scrs, inaud. MB 15 K1286. META SEINEMEYER, HELENE JUNG, MAX HIRZEL, WILLY BADER & IVAR ANDRÉSEN, w.Weissmann Cond.: Aïda – Che vegg’io! Egli? Mio padre! (Act II ensemble [parts II & III], in German). 12” EL PW Parl. E10747, POM-1 Nov., 1927. M-A, Exemplary! MB 15 K1287. META SEINEMEYER & CARL MARTIN ÖHMAN: Tosca – Ah! franchigia; O dolci mani (in German), 3s / Sd. 4 = DMITRI SMIRNOV: E lucevan le stelle (in Italian). 2-12” EL / AC vinyl Historic Masters HMB 63/64, POM-12 Feb., 1926 / 1909, resp., Sd.3 from Unpublished Master. MINT MB 8, the Pair “Together with singers like Tino Pattiera, Ivar Andrésen and Robert Burg [Seinemeyer] played an important part in the Verdi Renaissance that started in Dresden in the 1920s. Her partner in many rôles was the passionate Tino Pattiera with whom she recorded several duets. In 1929 Meta Seinemeyer was invited to sing at Covent Garden as Sieglinde, Eva and Elsa. Soon after her return from London she fell seriously ill with leukemia. On her deathbed she married the conductor and pianist Frieder Weissmann, with whom she had often worked in recitals and recordings.” - Andrea Shum-Binder, subito-cantabile K1288. OTTILLE METZGER: Der Tod und das Mädchen (Schubert) / Les Dragons de Villars – Denkt nur, vor dem Eremiten (Maillart). 12“ AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.1211/10, POM-28 Feb.,1912, only form of issue, Sd.2. A-, very decent copy has lt. rubs, inaud.; Sd. 2 only has few lt. scuffs & scrs, mainly cosmetic; alas, tiny hlc, primarily Sd. 2. MB 12 K1289. OTTILLE METZGER: Der Evangelimann – O schöne Jugentage (Kienzl) / Il Trovatore – Stride la vampa (in German). 12“ AC Art Label (Girl holding phonodisc at morninglory gramophone by window) Parlophon P.614/617, POM-1911. A to M-A, lovely copy has very occasional infinitesimal dust mk, inaud. MB 25 K1290. OTTILLE METZGER & WOLFGANG von SCHWIND: Aïda – Già i sacerdoti adunansi (Act IV) (in German), 2s. 12“ AC black Berlin Monarch Gram. 043166/044177 (2167/66½c), only form of issue, 20 Jan., 1911. A to M-A, glorious copy has mere hint of grey on peaks. MB 25 “Metzger sang at Bayreuth in 1901, 1902, 1904 and 1912, where she was most noted for her stately interpretations of Waltraute in Götterdämmerung and Erda in Siegfried. Numerous other engagements decorated her long career, including ones at Berlin, Dresden, Leipzig, Prague, Oslo, Zürich, Amsterdam, Wiesbaden, Vienna, Düsseldorf, Hague and St. Petersburg. Metzger-Lattermann was also a distinguished recitalist; at one point her accompanist was none other than Richard Strauss. On records, Metzger displays the sort of otherworldly, deep and compelling voice needed for Wagner’s earth mothers and all-knowing goddesses.” - Andrea Shum-Binder, subito-cantabile

K1291. TIANA LEMNITZ, w.Hertha Klust (Pf.): Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10" EL Electrola DA 5506, only form of issue, 18 Feb., 1948. M-A, Exemplary! MB 25 K1292. TIANA LEMNITZ, w.Seidler-Winkler (Pf.): Nachtgruss / Die Kleine (both Wolf). 10" EL Electrola DA 4491, only form of issue, 1940. M-A, lovely copy has, Sd. 1 only, few minor ‘damp’ spots, inaud. MB 25 K1293. TIANA LEMNITZ, w.Lutze Cond.: Ave Maria (Bach-Gounod) / Ave Maria (Schubert). 10" EL Eng.Telefunken GF.63018, only form of issue, 28 April., 1951. M-A, bright copy has, Sd. 2 only, few lt. rubs, positively inaud. Ravishingly beautiful! MB 25 K1294. TIANA LEMNITZ, w.Raucheisen (Pf.): Wesendonck Lieder – Der Engel / Stehe still (Wagner). 12” EL burgundy German Grammophon 57084, POM-6 April, 1937. M-A, a gleaming copy. MB 20 K1295. TIANA LEMNITZ, w.Raucheisen (Pf.): Wesendonck Lieder – Im Treibhaus / Träume (Wagner). 12” EL burgundy German Grammophon 57028, POM-2 April, 1936. M-A, a gleaming copy. MB 20 K1296. TIANA LEMNITZ, w.Blech Cond. Berlin Staatsoper Orch.: Tannhäuser – Dich teure Halle / Allmächt’ge Jungfrau. 12” EL red German Grammophon 15079, POM-16 Dec., 1934. M-A, a gleaming copy. MB 15 K1297. TIANA LEMNITZ, w.Leopold Ludwig Cond. Berlin Staatsoper Orch.: Tannhäuser – Allmächt’ge Jungfrau, 2s. 12” EL Swiss HMV DB 6809, only form of issue, 2 Feb., 1948. M-A, Exemplary! MB 35 K1298. TIANA LEMNITZ, w.Schüler Cond. Berlin Staatsoper Orch.: Lohengrin – Einsam in trüben Tagen / Euch Lüften, die mein Klagen. 12” EL violet German Grammophon 35081, POM-1 July, 1937. M-A, a gleaming copy. MB 15 K1299. TIANA LEMNITZ, w.Blech Cond. Berlin Staatsoper Orch.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1935 Version). 12” EL burgundy Brunswick-Polydor 95032, POM-18 Jan., 1935. M-A, gleaming copy of choice mid-1930s Columbia pressing. MB 15 K1300. TIANA LEMNITZ, w.Leopold Ludwig Cond.: Der Freischütz – Wie nahte mir der Schlummer; Leise, leise, fromme Weise / Und ob die Wolke (1948 Version). 12” EL Electrola DB 11523 (2RA6153-1/54-1), only form of issue, 20 Feb., 1948; Sd.1 is 'Take' 1, of two issued 'Takes'. M-A, beautiful copy has, Sd. 1 only, 3 infinitesimal dust scrs, positively inaud. MB 35 K1301. TIANA LEMNITZ, w.Leopold Ludwig Cond.: Der Freischütz – Wie nahte mir der Schlummer / Leise, leise, fromme Weise (1948 Version). 12” EL Swiss HMV DB 6802 (2RA6153-2/54-1), only form of issue, 20 Feb., 1948; Sd.1 is 'Take' 2, of two issued 'Takes'. M-A, a gleaming copy. MB 45 “…the radiant Tiana Lemnitz, whose seamless, infinitely pleading vocal work in Agathe’s two arias from Der Freischütz almost define in themselves the essence of German Romanticism.” - Alan Rich, NEW YORK, 8 June, 1981 K1302. TIANA LEMNITZ & TORSTEN RALF; Seidler-Winkler Cond. Berlin Staatsoper Orch.: Lohengrin – Das süsse Lied verhallt, 2s. 12” EL Electrola DB 4667, POM-1939. M-A, beautiful copy has, Sd. 2 only, few minor ‘damp’ spots, inaud. MB 15 K1303. TIANA LEMNITZ & TORSTEN RALF; Seidler-Winkler Cond. Berlin Staatsoper Orch.: Otello – Già nella notte densa (Act I) (in German), 2s. 12” EL Electrola DB 4668, POM-1939. A-, very decent copy has few lt. rubs, inaud.; Sd. 2 only has sev. lt. scrs, positively inaud. MB 12 K1304. TIANA LEMNITZ & MARGARETE KLOSE, w.Ludwig Cond.: Orfeo – Viens! Suis un époux qui t'adore / Quelle épreuve cruelle (in German). 12” EL Swiss HMV DB 6801, only form of issue, 4 Feb., 1948. M-A, a gleaming copy. Most elusive! MB 35 K1305. TIANA LEMNITZ & HELGE ROSWAENGE, w.Eduard Künneke Cond.: Die Grosse Sünderin – Immerzu singt dein Herz / HELGE ROSWAENGE (Solo): Das Lied vom Leben (both Cond. by the Composer). 12” EL DGG 15099, POM-24 March, 1935. (All-Creator Recording, 31 Dec., 1936, Berlin Staatsoper.) M-A, a gleaming copy. MB 15 K1306. TIANA LEMNITZ, ERNA BERGER & VIORICA URSULEAC; Krauss Cond.: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / TIANA LEMNITZ & ERNA BERGER: Ist ein Traum (Final duet). 12” EL black German Grammophon 67075, POM-26 Jan. / 19 April, 1936. M-A, a gleaming copy. MB 15 K1307. TIANA LEMNITZ & GEORGINE von MILINKOVIC; Leitner Cond.: Der Rosenkavalier – Kann mich auch an ein Mädelerinnen (Marschallin’s monologue), 2s. 12” EL Variable Micrograde DGG 72147, only form of issue, 24 Jan., 1952 (Lemnitz’s final recording). M-A, gleaming copy has, Sd 1 only, faintest pap. rub, inaud. Most elusive! MB 25 K1308. TIANA LEMNITZ, GEORGINE von MILINKOVIC & ELFRIDE TRÖTSCHEL; Leitner Cond.: Der Rosenkavalier – Hab’mir’s gelobt (Final trio) / GEORGINE von MILINKOVIC & ELFRIDE TRÖTSCHEL: Ist ein Traum (Final duet). 12” EL Variable Micrograde DGG 72121, only form of issue, 31 Oct., 1951. M-A, a gleaming copy. MB 25 “Lemnitz [was an] esteemed member of the Berlin State Opera from (1934-1935),[and] made guest appearances in Vienna, Munich, Rome, Covent Garden and, in 1936 and 1950, at the Teatro Colón. [Lemnitz sang] many leading rôles [including] Pamina; Aida; Micaëla; Wagner’s Elsa, Eva and Sieglinde; and Strauss’ Octavian as well as the Marschallin. One of her most admired performances was at the 1939 Salzburg Festival, where she sang Agathe in Weber’s Der Freischütz. Tiana Lemnitz was known for her exquisite singing, delicate tone, and subtlety of expression.” - Lia Frey-Rabine, Program Notes to Marston’s DER ROSENKAVALIER

K1309. TIANA LEMNITZ & HELGE ROSWAENGE, w.Erwin Baltzer Cond.: The Enchantress - Love Duet (in German) (Tschaikowsky), 2s. 12” EL Electrola DB 5624, issued Germany only, 1941. Released in early 1941, shortly before Germany invaded Russia when all recordings of Russian music were suppressed. Relatively few copies survived, almost none on this original label; most kown copies have blank or ‘test’ labels. Exceedingly elusive! M-A MB 135 K1310. JOHANNA GADSKI: Wesendonck Lieder – Der Engel (Wagner). 10” AC Vla 87273, only form of issue, 4 May, 1917. A, lovely copy has faintest pap. rubs, inaud. Most elusive! MB 20 K1311. JOHANNA GADSKI: Wesendonck Lieder – Stehe still (Wagner). 10” AC white Vla 87275, only form of issue, 4 May, 1917. M-A, Exemplary! Most elusive. MB 20 K1312. JOHANNA GADSKI: Wesendonck Lieder – Träume (Wagner). 12” AC Vla 88591, only form of issue, 4 May, 1917. M-A, Exemplary! Most elusive, this usually appears only as a late white-label pressing. MB 20 K1313. JOHANNA GADSKI: Wesendonck Lieder – Im Treibhaus / Lohengrin – Euch Lüften die mein Klagen (both Wagner). 12” AC gold Victor HRS 1047, POM-4 May, 1917 / 4 April, 1912. Numbered Copy #12 of an extremelyf Limited Edition, the sole double-sided appearance, both sides. A-, lovely copy has lt. rubs, inaud. MB 35 K1314. JOHANNA GADSKI: Die Lotosblume (in German & English) (Schumann). 12” AC V 88578, only form of issue, 25 Oct., 1916. M-A, Exemplary! Elusive! MB 20 K1315. JOHANNA GADSKI: Ständchen (Richard Strauss). 10” AC GP V 87016, Orig. ‘A’ Plate Issue, only form of issue, 14 Jan., 1908. M-A, choice copy has minor label smudge. MB 20 K1316. JOHANNA GADSKI: Widmung (Schumann). 10” AC GP V 87019, only form of issue, 14 Jan., 1908. M-A, Exemplary! MB 20 K1317. JOHANNA GADSKI: Du bist die Ruh’ (Schubert). 12” AC DeLuxe V 85025, only form of issue, 11 Nov., 1903. A-, remarkable copy has few lt. rubs & 1 pap. scrs, inaud. Exceedingly elusive! MB 35 K1318. JOHANNA GADSKI: Der Erlkönig (Schubert). 12” AC Pat.’12 Vla 88040, POM-26 Nov., 1906, issued USA only. M-A, choice copy has faintest nr on label. MB 10 K1319. JOHANNA GADSKI: Schwanengesang – Leise flehen meine Lieder (Ständchen) (Schubert). 12” AC Pat.’12 Vla 88112, POM-14 Jan., 1908, Never Doubled. M-A, Exemplary! MB 12 K1320. JOHANNA GADSKI: Gretchen am Spinnrade (Schubert). 12” AC Pat.’08 Vla 88111, only form of issue, 14 Jan., 1908. M-A, lovely copy has faintest pap. rub, inaud. MB 12 K1321. JOHANNA GADSKI: Gretchen am Spinnrade (Schubert). 12” AC white Vla 88111, only form of issue, 14 Jan., 1908. M-A, a gleaming copy. MB 20 K1322. JOHANNA GADSKI: Auf dem Kirchhofe (Brahms). 10” AC V 87099, ‘Take’ 2, only form of issue, 14 March, 1912. M-A, Exemplary! MB 15 K1323. JOHANNA GADSKI: Auf Flügeln des Gesange (Mendelssohn). 10" AC Pat.’12 Vla 87100, Orig. ‘A’ Plate Issue, only form of issue, 30 Jan., 1912. M-A, Exemplary! MB 15 K1324. JOHANNA GADSKI: Die Lorelei (Silcher). 12” AC V 88564, only form of issue, 26 May, 1916. M-A, Exemplary! MB 15 K1325. JOHANNA GADSKI: Haidenröslein (Werner). 12” AC V 88566, only form of issue, 26 May, 1916. M-A, a gleaming copy. Elusive! MB 20 K1326. JOHANNA GADSKI: Die Wacht am Rhein (Wilhelm) / Lobetanz – An allen Zweigen (Thuille). 12” AC mauve & gold HMV AGSB 23, POM-8 Feb., 1915 / 14 March, 1912, only double-sided issue, for both. MINT MB 25 K1327. JOHANNA GADSKI: Annie Laurie (Scott). 10” AC V 87173, only form of issue, 23 Oct., 1913. M-A MB 10 K1328. JOHANNA GADSKI: Ave Maria (1904 Version) (Bach-Gounod). 10” AC Pat.’08 Vla 81045, only form of issue, 24 April, 1904. M-A, choice copy has minor label id. MB 12 K1329. JOHANNA GADSKI: Ave Maria (1906 Version) (Bach-Gounod). 12” AC Pat.’8 Vla 88039, POM-26 Nov., 1906, Never Doubled. M-A, Exemplary! MB 10 K1330. JOHANNA GADSKI, w.La Forge (Pf.): How much I love you (Acc. by the Composer); The year's at the spring (Amy Beach). 10" AC Pat.’12 Vla 87026, only form of issue, 14 Jan., 1908. M-A, Exemplary! MB 15 K1331. JOHANNA GADSKI, w.La Forge (Pf.): Verborgene Wunden; Like the Rosebud (both Acc. by the Composer). 12" AC GP V 88041, only form of issue, 26 Nov., 1906. A to M-A, lovely copy has few lt. rubs, inaud. Elusive! MB 25 K1332. JOHANNA GADSKI: A slumber song (in English) (Gilmour). 10” AC V 87252, POM-26 May, 1916, Never Doubled. M-A, a gleaming copy. MB 12 K1333. JOHANNA GADSKI: Kathleen Mavourneen (in English) (‘Take’ 3 of 2 issued ‘Takes’) (Crouch). 12” AC V 88546, only form of issue, 15 June, 1915. M-A, Exemplary! MB 15 K1334. JOHANNA GADSKI: Irish Folk Song (Foote). 12” AC V 88117, only form of issue, 26 Feb., 1908. M-A, Exemplary! MB 15 K1335. JOHANNA GADSKI: Stabat Mater – Inflamatus (1907 Version) (Rossini). 12” AC GP V 88059, POM-17 March, 1907, ‘Take’ 1, Never Doubled USA. M-A, choice copy has very minor ulc, nowhere near grooves. MB 10

K1336. JOHANNA GADSKI: Stabat Mater – Inflamatus (1907 Version) (Rossini) / Tristan – Liebestod. 12” AC PW Historical Catalogue #2 HMV DB 660, POM-17 March, 1907, Sd. 2 being ‘Take’ 1 of 3 issued ‘Takes’. M-A, Exemplary! MB 15 K1337. JOHANNA GADSKI: Stabat Mater – Inflamatus (1910 Version) (Rossini). 12” AC Pat.’12 Vla 88059, POM-30 Sept., 1910, ‘Take’ 4, Never Doubled. M-A, a gleaming copy. MB 10 K1338. JOHANNA GADSKI: Stabat Mater – Inflamatus (1910 Version) (Rossini). 12” AC V 88059, POM-30 Sept., 1910, ‘Take’ 4, Never Doubled. M-A, gleaming copy has pinpoint nd. MB 8 K1339. JOHANNA GADSKI: Messiah – He shall feed His flock (in English) (Handel). 12” AC V 88571, only form of issue, 25 May, 1916. M-A, Exemplary! Elusive! MB 20 K1340. JOHANNA GADSKI: Oberon – Ozean, du Ungeheuer, 2s. 12” AC silver Victor IRCC 164, POM-6 May, 1914 / 15 June, 1915. Numbered Copy #25 of a Limited Edition. M-A, a gleaming copy. MB 35 "...Mme Gadski gains stature as a recording artist by her vital handling of this brilliant aria....As always, when faced with the torturous vocal line she meets the challenge with an abandon that would founder a less skillful singer and she distinguishes herself....the more taxing the music, the better she performs." - Louis Migliorini, THE RECORD COLLECTOR, 1957 K1341. JOHANNA GADSKI: Der Fliegende Holländer – Traft ihr das Schiff. 12” AC Pat.’12 Vla 88116, POM-26 Feb., 1908. This was doubled only as the elusive IRCC 26. M-A, a gleaming copy. MB 15 K1342. JOHANNA GADSKI: Lohengrin – Einsam in trüben Tagen. 12” AC Pat.'12 Vla 88038, POM-26 Nov., 1906, Never Doubled. M-A, a gleaming copy. MB 15 K1343. JOHANNA GADSKI: Tannhäuser – Verzeiht, wenn ich weiss / Zurück von ihm. 12” AC silver Victor IRCC 121, POM-23 April,1913. Numbered Copy #47 of a Limited Edition, Gadski’s photo is affixed to Sd. 1 label; the only double-sided issue of these titles. M-A, Exemplary! MB 35 K1344. JOHANNA GADSKI: Tannhäuser – Allmächt’ge Jungfrau. 12” AC white Vla Test Pressing for Unpublished Mx.C-4129-2, POM-8 Dec., 1906, (w.RCA embossed spiderweb verso); this appeared only as IRCC 186. M-A,choice copy has sev. infinitesimal pap. mks, positively inaud. MB 25 K1345. JOHANNA GADSKI: Tannhäuser – Dich, teure Halle. 12” AC Pat.’08 Vla 88057, POM-17 March, 1907, doubled only in a 1940s RCA pressing. M-A, Exemplary! MB 15 K1346. JOHANNA GADSKI: Tannhäuser – Dich, teure Halle. 12” AC white Vla 88057, POM-17 March, 1907, doubled only in a 1940s RCA pressing. M-A, Exemplary! MB 20 K1347. JOHANNA GADSKI: Tristan – Dein Werk? 12” AC V 88165, POM-30 April, 1909, Never Doubled. M-A, Exemplary! MB 20 K1348. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 1, 1907 Version). 12” AC Pat.’08 Vla 88058, POM-17 March, 1907, Never Doubled. M-A, choice copy has faintest pap. rubs, inaud. MB 15 K1349. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 3, 1913 Version). 12” AC Vla 88058, only form of issue, 23 Oct., 1913. M-A, gleaming copy has infinitesimal dust mk, inaud. MB 15 K1350. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 7, 1915 Version). 12” AC Vla 88058, only form of issue, 16 June, 1915. M-A, a gleaming copy. MB 15 K1351. JOHANNA GADSKI: Tristan – Liebestod (‘Take’ 7, 1915 Version). 12” AC white Vla 88058, only form of issue, 16 June, 1915. M-A, a gleaming copy. MB 20 K1352. JOHANNA GADSKI: Die Walküre – Du bist der Lenz (Gadski’s departure from Brünnhilde – now singing Sieglinde!). 10” AC white Vla 87167, POM-23 April, 1913, Never Doubled. M-A, a gleaming copy. MB 20 K1353. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1903 Version). 10” AC Monarch V 81018, POM-11 Nov., 1903, Never Doubled. A-B, very decent copy has lt. grey on peaks & few scuffs. MB 15 K1354. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1906 Version). 10” AC GP V 87002, ‘Take’ 1, only form of issue, 26 Nov., 1906. M-A, Exemplary! MB 15 K1355. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1910 Version). 10” AC Pat.’08 Vla 87002, ‘Take’ 3, only form of issue, 30 Sept., 1910. M-A, Exemplary! MB 10 K1356. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1916 Version). 10” AC V 87002, ‘Take’ 7, POM-26 May, 1916. M-A, a gleaming copy. MB 10 K1357. JOHANNA GADSKI: Die Walküre – Ho-jo-to-ho (1916 Version) / MARGARETE MATZENAUER: Fort denn, eile. 10” AC Vla 904, POM-26 May, 1916 / 8 March, 1912. M-A, Exemplary! MB 8 8. JOHANNA GADSKI: Die Walküre – War es so schmählich? (Brünnhildes Bitte). 12” AC Pat.’08 Vla 88183, POM-30 April, 1909, Never Doubled. M-A, Exemplary! MB 20 K1359. JOHANNA GADSKI: Siegfried – Ewig war ich (Brünnhilde’s awakening). 12” AC Pat.’08 Vla 88186, POM-1 May, 1909, Never Doubled. M-A, Exemplary! MB 15 K1360. JOHANNA GADSKI: Siegfried – Ewig war ich (Brünnhilde’s awakening). 12” AC V 88186, POM-1 May, 1909, Never Doubled. M-A, a gleaming copy. MB 15

K1361. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten. 10” AC Pat.’08 Vla 87098, only form of regular issue, 14 March, 1912 (this appeared otherwise only as the elusive IRCC 128). M-A, a gleaming copy. MB 20 K1362. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten. 10” AC white Vla 87098, only form of regular issue, 14 March, 1912 (this appeared otherwise only as the elusive IRCC 128). M-A, a gleaming copy. MB 20 K1363. JOHANNA GADSKI: Götterdämmerung – Zu neuen Thaten / Betrug’ Schändlichster Betrug! 10” AC silver Victor IRCC 128, POM-14 March, 1912 / 7 May, 1910. Numbered Copy #48 of a Limited Edition. M-A, a gleaming copy. MB 25 K1364. JOHANNA GADSKI: Götterdämmerung – Betrug’ Schändlichster Betrug! / Helle Wehr! 10” AC mauve & gold HMV AGSA 36, POM-7 May, 1910, only form of issue, Sd.1. M-A, Exemplary! MB 25 K1365. JOHANNA GADSKI: Götterdämmerung – Fliegt heim ihr Raben (Immolation Scene). 12” AC Pat.’12 Vla 88185, POM-30 April, 1909, Never Doubled, except as the elusive AGSB reissue. M-A, Exemplary! MB 20 K1366. JOHANNA GADSKI: Götterdämmerung – Fliegt heim ihr Raben (Immolation Scene). 12” AC white Vla 88185, POM-30 April, 1909, Never Doubled, except as the elusive AGSB reissue. M-A, Exemplary! MB 25 K1367. JOHANNA GADSKI: Nozze – Porgi amor. 12” AC white Vla 88275, only form of issue, 29 Sept., 1910. M-A, a gleaming copy. Most Elusive! MB 30 K1368. JOHANNA GADSKI: Il Trovatore – D'amor sull'ali rosee. 12” AC Pat.’12 Vla 88379, only form of issue, 4 April, 1912. M-A, a gleaming copy. Among Gadski’s most celebrated and beautiful rarities! MB 30 K1369. JOHANNA GADSKI: Aïda – Ritorna vincitor! (‘Take’ 2, 1908 Version). 12” AC Pat.’08 Vla 88137, POM-26 Feb., 1908. M-A, Exemplary! MB 15 K1370. JOHANNA GADSKI: Aïda – Ritorna vincitor! (‘Take’ 4, 1912 Version). 12” AC Vla 88137, POM-4 April, 1912. M-A, Exemplary! MB 15 K1371. JOHANNA GADSKI: Aïda – O Patria mia (‘Take’ 2, 1904 Piano acc. Version). 12” AC De Luxe V 85012, only form of issue, 5 March, 1904. A, lovely copy has hint of grey on peaks & faintest pap. rubs, inaud. MB 20 K1372. JOHANNA GADSKI: Aïda – O Patria mia (‘Take’ 2, 1904 Piano acc. Version). 12” AC GP V 85012, only form of issue, 5 March, 1904. A, lovely copy has hint of grey on peaks & faintest pap. rubs, inaud. MB 15 K1373. JOHANNA GADSKI: Aïda – O Patria mia, 1912 Version. 12” AC Pat.’08 Vla 88042, POM-4 April,1912. M-A, Exemplary! MB 12 K1374. JOHANNA GADSKI: Ballo – Morrò, ma prima in grazia / Ma dall’arido stelo divulsa. 12” AC PW Historical Catalogue #2 HMV DB 661, POM-6 May, 1914. M-A/A-, lovely copy has, Sd. 2 only, sev. wee dust scrs. MB 12 K1375. JOHANNA GADSKI: Ballo – Morrò, ma prima in grazia / Ma dall’arido stelo divulsa. 12” AC white Archive HMV VB 52, POM-6 May, 1914. MINT MB 8 K1376. JOHANNA GADSKI: Cavalleria – Voi lo sapete. 12” AC GP V 88136, Orig. ‘A’ Plate Issue, (‘Take’ 1 of 2 issued ‘Takes’), POM-26 Feb., 1908, Never Doubled. M-A, Exemplary! MB 15 “Vocally, Gadski possessed a magnificent instrument, expertly trained and thoroughly disciplined; interpretively she was schooled in the finest traditions; and stylistically she was at home in the work of several dissimilar composers. As Brünnhilde she must have been superb, and in Wagner generally she was magnificent. The music of Verdi also took on a remarkable lustre from her great voice, and certain rôles in Mozart and Meyerbeer gained new color and beauty when she sang them... Johanna Gadski was a great artist, one of the very greatest artists, and her records must be collected and studied--selected naturally, as is true with anyone who recorded--but selected and admired as long as fine singing is appreciated and respected.” - Louis Migliorini,The Record Collector, 1957 K1377. JOHANNA GADSKI & OTTO GORITZ: Still wie die Nacht (Goetze). 12” AC Pat.'12 Vla 88440, POM-16 April, 1913, Never Doubled USA. M-A, a gleaming copy. MB 15 K1378. JOHANNA GADSKI & OTTO GORITZ: Zauberflöte – Papagena, Papageno! 10” AC V 87510, POM-16 April, 1913, Never Doubled (other than in most elusive HRS Series). M-A, Exemplary! MB 12 K1379. JOHANNA GADSKI & OTTO GORITZ: Zauberflöte – Bei Männern. 12” AC Pat.'12 Vla 88369, POM-14 March, 1912, Never Doubled, USA. M-A, Exemplary! MB 15 K1380. JOHANNA GADSKI & OTTO GORITZ: Der Fliegende Holländer – Ver’sank ich jetzt; Wohl kenn'ich Weibes, 2s. 12” AC silver Victor IRCC 146, POM-14 March, 1912. Numbered Copy #6 of a Limited Edition, the only double-sided issue of these titles. M-A, Exemplary! MB 25 K1381. JOHANNA GADSKI, MATTFIELD, van HOOSE, JOURNET & REISS: Die Meistersinger – Selig, wie die Sonne. 12” AC Pat.’08 Vla 95201, POM-29 Jan., 1908, Never Doubled. M-A, Exemplary! MB 15 K1382. JOHANNA GADSKI, MATTFIELD, van HOOSE, JOURNET & REISS: Die Meistersinger – Selig, wie die Sonne. 12” AC white Vla 95201, POM-29 Jan., 1908, Never Doubled. M-A, gleaming copy has faintest nr on label. MB 15 K1383. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte dell’armee; Alla pompa, che s’appresta, 2s. 2-12” AC Pat.’08 Vla 89024/25, POM-1 May, 1909, Never Doubled, USA. M-A, Exemplary! MB 15, the Pair.

K1384. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte dell’armee; Alla pompa, che s’appresta, 2s. 2-12” AC white Vla 89024/25, POM-1 May, 1909, Never Doubled, USA. M-A, beautiful pair, only the 2nd disc has faintest pap. rubs, inaud. MB 15, the Pair. K1385. JOHANNA GADSKI & LOUISE HOMER: Aïda – Fu la sorte, 2s. 12” AC PW Historical Catalogue #2 HMV DB 666, POM-1 May, 1909, the only double-sided issue of these titles. M-A, a gleaming copy. MB 20 K1386. JOHANNA GADSKI & LOUISE HOMER: Orfeo – Su è con me vieni cara. 12” AC Pat.'08 Vla 89041, POM-7 Feb., 1910, Never Doubled, USA. M-A, Exemplary! MB 15 K1387. JOHANNA GADSKI & PASQUALE AMATO: Aïda – Ciel! mio padre!; Su dunque, 2s. 2-12” AC Pat.’12 Vla 89067/68, POM-14 April, 1913. M-A, a gleaming copy. MB 15, the Pair. K1388. JOHANNA GADSKI & PASQUALE AMATO: Il Trovatore – Mira, d’acerbe lagrime; Vivra, contende il giubilo, 2s. 2-12” AC Pat.’12 Vla 89069/70, Orig. ‘A’ Plate Issues, POM-14 April, 1913, Never Doubled outside USA. M-A, a gleaming copy. Generally considered to be the definitive version of this duet. MB 20, the Pair. K1389. JOHANNA GADSKI & ENRICO CARUSO: Aïda – La fatal pietra; O terra addio, 2s. 2-12” AC Pat.’12 Vla 89028/29, POM-7 / 6 Nov., 1909. M-A, Exemplary! MB 15, the Pair. K1390. JOHANNA GADSKI & ENRICO CARUSO: Aïda – La fatal pietra; O terra addio, 2s. 12” AC pale-green LVDP DM 114, POM-7 / 6 Nov., 1909. M-A, gleaming copy of preferred late LVDP pressing. MB 15 K1391. JOHANNA GADSKI, w.Mancinelli Cond.: Ero e Leandro – Fragment of Act III Aria (Cond. by the Composer) / GADSKI, HOMER, de MARCHI & JOURNET, w.Mancinelli Cond.: Aïda – Su! del Nilo. 10” AC silver IRCC 3058, RRs, 4 March / 31 Jan., 1903, Live Performances, Metropolitan Opera House (from Mapleson Cylinders). M-A MB 15 K1392. JOHANNA GADSKI & EDOUARD de RESZKÉ: Les Huguenots - Act III Duet (4 fragments), 2s. 12” AC gold IRCC 168, RRs, from Mapleson Cylinders recorded during Actual Performance, Met Opera, 24 Jan., 1903. Numbered Copy #24 of Limited Edition, to which Gadski’s photo is affixed to Sd. 1 label; de Reszké’s photo affixed to Sd. 2 label. (N.B.: the red label IRCC reissue lacks the vital ‘presence’ of this original IRCC.) M-A, Exemplary! MB 35 “Of Gadski's cylinders the duet from Les Huguenots with Edouard De Reszke is certainly a very remarkable performance. Her energy seems unfailing, and for a startling moment or two she sustains top C through to five measures while her companion sings a jaunty tune underneath!...The fragments from Les Huguenots in the big duet with Gadski are certainly his most striking showing. Indeed Mapleson was very lucky with this famous singer. Practically all the cylinders from which he can be heard are good, and the ones from Les Huguenots are among the very best acoustically of the lot. And besides, the singing is something near hair-raising!” - John Stratton K1393. ERNA SACK: La Folletta (Salvatore Marchesi) / Gasparone – Komm, mia bella (Canzonetta) (Millöcker). 10” EL red Swiss Telefunken A2035, POM-12 June, 1936. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1394. ERNA SACK: In sonniger Zeit (Gold und Silber) (Lehár) / Lysistrata – Glühwürmchen-idyll (Lincke). 12” EL dark-blue Austrian Telefunken C22347, POM-26 May, 1937. M-A, Exemplary! MB 10 K1395. ERNA SACK: Nanon – So verliebt wie heut’ war ich nie / Lockende Geigen (Lachwalzer) (both Melichar). 10” EL dark-blue Swiss Telefunken A2669, POM-5 Sept., 1938. M-A, Exemplary! MB 10 K1396. ERNA SACK, w.Hansgeorg Otto Cond.: Ich hab’ amal a Räuscherl g’habt (Kapeller) / Die Kätzchen – Unter dem Lindenbaum (Hugo Felix). 12” EL dark-blue German Telefunken E2250, POM-11 June, 1937. M-A, choice copy has, Sd. 1 only, faint nr & pap.scr, positively inaud. MB 10 K1397. ERNA SACK, w.Bund Cond.: Ay-ay-ay (in German) (Freire) / Schlaf’ ein, mein Blondengelein (Wiegenlied, [one wonders how any child could sleep through this!]) (Sattler). 10” EL dark-blue Swiss Telefunken A1718, POM-15 Oct., 1934. M-A, lovely copy has, Sd. 1 only, wee pressing bump. MB 10 K1398. ERNA SACK, w.Bund Cond.: Wenn sich eine schöne Frau verliebt (Sattler) / Clivia – Ich bin verliebt (Dostal). 10” EL dark-blue German Telefunken A1676, POM-30 Aug., 1934. M-A, lovely copy has tiny dust mk, inaud. MB 10 K1399. ERNA SACK, w.Melichar Cond.: Estrellita (Ponce) / Villanelle (dell’Acqua) (both in German). 10” EL black & silver PW Bruns. 53110, POM-13 June, 1936. A to M-A, lovely copy of preferred mid-1930s Columbia pressing. MB 10 K1400. ERNA SACK, w.Cerné Cond.: In einem kühlen Grunde / Der rote Sarafan (both folksongs). 10” EL dark-blue German Telefunken A10067, POM-14 Dec., 1939. M-A, Exemplary! MB 10 K1401. ERNA SACK, w.Schmidt-Isserstedt Cond.: Parla (in German) (Arditi) / Marta – Den Teuren zu versöhnen. 12” EL dark-blue Swiss Telefunken E1772, POM-29 Jan., 1935. M-A, a gleaming copy. The Flotow aria from the German edition is omitted in the Italian score. This is an unusually lovely performance. MB 12 K1402. ERNA SACK, w.Schmidt-Isserstedt Cond.: Frühlingsstimmen / Die Tänzerin Fanny Eisler – Draussen in Sievering (both Johann Strauss). 12” EL black Eng. Telefunken GX.61013, POM-2 April, 1935, Sd. 2 = 1st ‘Take’. A-, very decent copy has lt. rubs, inaud.; Sd. 1 only has tiny cluster dust scrs, ever-so-faintly audible a turn or three. MB 12 K1403. ERNA SACK, w.Schmidt-Isserstedt Cond.: Frühlingsstimmen / Die Tänzerin Fanny Eisler – Draussen in Sievering (both Johann Strauss). 12” EL dark-blue German Telefunken E1774, POM-2 April, 1935, Sd. 2 = 2nd ‘Take’, only form of issue. M-A, a gleaming copy. MB 12

K1404. ERNA SACK, w.Willy Dehmel Cond.: Wenn das Glück Regie führt und das Herz spilt (Lied; [giving the expression ‘detached top’ a new meaning!]) / Willy Dehmel Cond.: Wenn das Glück Regie führt und das Herz spilt (Tango) (Kirchstein). 10” EL red German Telefunken T5787, only form of issue, 1936, Kino-Platten. A-, lovely copy has lt. rubs, inaud. Exceedingly elusive! MB 15 K1405. ERNA SACK, w.Hugo Diez Cond.: Eine kleine Frühlingsweise (Humoresque) / Heimatlied (set to Largo from ‘New World’ Symphony #5) (both Dvorák). 12” EL dark-blue German Telefunken E3905, only form of issue, 15 Jan., 1952. M-A, Exemplary! Interesting curiosity from Sack’s final recording sessions! MB 10 K1406. ERNA SACK, w.Raucheisen (Pf.): Möchte wohl gerne ein Schmetterling sein / Zur drossel sprach der Fink (both d’Albert). 10” EL dark-blue German Telefunken A2202, only form of issue, 24 April, 1937. M-A, Exemplary! MB 15 K1407. ERNA SACK, w.Raucheisen (Pf.): Mondnacht / Der Nussbaum (both Schumann). 10” EL dark-blue German Telefunken A2233, only form of issue, 24 April, 1937. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1408. ERNA SACK, w.Schmidt-Isserstedt Cond.: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Guten Abend, gut’ Nacht (Wiegenlied) (Brahms). 10” EL dark-blue German Telefunken A2257, only form of issue, 26 April, 1937. M-A, Exemplary! MB 15 K1409. ERNA SACK, w.Schmidt-Isserstedt Cond.: Der Vogel im Walde (Tauber) / Sternlein und Mond (Sattler). 10” EL dark-blue German Telefunken A1868, only form of issue, 27 Aug. / 14 Sept., 1935. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1410. ERNA SACK, w.Schmidt-Isserstedt Cond.: Die deutsche Nachtigall (Eine Folge schönster Melodien, incl. Drdla, Toselli, Boldi, Millöcker & Johann Strauss), 2s. 12” EL gold & dark-blue German Telefunken E1879, POM-17 Nov., 1935. M-A, gleaming copy has few ‘damp’ spots, inaud. MB 12 K1411. ERNA SACK, w.Schröder Cond.: Funiculi, Funicula (Denza) / Die Nachtigall (Alabiev) (both in German). 10” EL burgundy German Telefunken A2900, POM-13 / 17 Feb., 1939. M-A, Exemplary! MB 10 K1412. ERNA SACK, w.Schmidt-Isserstedt Cond.: Don Pasquale – Quel guardo, il cavaliere / Rigoletto – Caro nome (both in German). 12” EL dark-blue German Telefunken E1755, POM-10 Dec., 1934 / 4 Jan., 1935. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1413. ERNA SACK, w.Schmidt-Isserstedt Cond.: Barbiere – Una voce poco fa (1934 Version) (in German), 2s. 12” EL red French Telefunken E1735, POM-4 Dec., 1934. M-A, Exemplary! MB 10 K1414. ERNA SACK, w.Schütze Cond.: Barbiere – Una voce poco fa (1936 Version) (in German), 2s. 12” EL black German Polydor 35087, POM-1936. M-A, Exemplary! MB 10 K1415. ERNA SACK, w.Schröder Cond.: Die Fledermaus – Mein Herr Marquis / Spiel’ ich die Unschuld. 12” EL red Swiss Telefunken E2571, POM-11 Feb., 1938. M-A, Exemplary! MB 10 K1416. ERNA SACK, w.Schmidt-Isserstedt Cond.: Der Freischütz – Einst träumte meiner sel’gen Base, 2s. 10” EL dark-blue German Telefunken A1771, POM-29 Jan., 1935. M-A, Exemplary! MB 10 K1417. ERNA SACK, w.Czernik Cond.: La Boheme – Mi chiamano Mimi / Linda di Chamounix – O luce di quest’anima (both in German). 12” EL black German Telefunken SK 3242, POM-3 Jan., 1942. M-A, Exemplary! MB 10 K1418. ERNA SACK & MARCEL WITTRISCH, w.Rother Cond.: Paganini – Niemand liebt Dich so wie ich (Lehár) / Der Vogelhändler – Schenkt man sich Rosen in Tirol (Zeller). 12” EL red Austrian Telefunken Exquisit E1010, POM-17 Nov., 1935. M-A, a gleaming copy. MB 12 “Erna Sack’s career really started in high gear in 1930 when her uncanny ability to sing those stratospheric high notes, including C above high C, (thus her nickname ‘The German Nightingale’). (Richard Strauss later wrote a new cadenza for her high voice, for her to sing as Zerbinetta in Ariadne auf Naxos). In 1931 she sang Norina in Don Pasquale at Bielefeld, where her voice made a great impression and her gifts immediately recognised. The Wiesbaden Theatre engaged her in 1932, and in that year she also made several radio broadcasts and recordings. In 1934 she was engaged by the Breslau Theatre, where he rôles included her first Zerbinetta in Richard Strauss' Ariadne auf Naxos, and the following year arrived at the Dresden State Opera, where she attracted the attention of Karl Böhm and, above all, Richard Strauss. In 1934 she also made a spectacular return to Berlin, appearing as Gilda in Rigoletto alongside Heinrich Schlusnus and Walther. The conductor was Erich Kleiber. In 1935, Erna Sack made her first series of concert tours, to Austria, the Netherlands, the French Third Republic and the United Kingdom. During the same year, she signed her exclusive recording contract with Telefunken. She appeared in the world première of Strauss' Die Schweigsame Frau, a rôle in which her special commitment earned her the gratitude of both Strauss and Karl Böhm. As a result she was invited to sing the part of Zerbinetta under Strauss' personal direction when the Dresden State Opera visited the Royal Opera House, Covent Garden, in 1936. After World War II, Erna Sack toured extensively and was particularly successful in Latin America. But it was in Canada that she enjoyed her greatest post-war successes and for a number of years the couple lived in Montréal. In 1953, she carried out an extended tour of the Federal Republic of Germany and West Berlin, a marathon undertaking involving over 40 concerts.”

K1419. JEAN de RESZKÉ, w.Flon Cond.: L'Africaine – O Paradis! / w.Damrosch Cond.: Siegfried – Forge Scene (fragments). 10” AC gold IRCC 110, RR's from Mapelson Cylinders, Live Performances, Met Opera, 15 / 19 March, 1901. Numbered Copy #181 of a Limited Edition. de Reszké's Photo affixed to both Labels. M-A, Exemplary! MB 25 K1420. CHARLES ROUSSELIÈRE: Pensée d’automne / Noël païen (both Massenet). 12” EL black PW French Polydor 566065, only form of issue, 1930. M-A MB 35 K1421. CHARLES ROUSSELIÈRE: Mai (Hahn) / An die Ferne Geliebte – Nimm sie hin (in French) (Beethoven). 10” EL black French Polydor 561021, only form of issue, 1930. M-A MB 35 “Originally a blacksmith by trade, Rousselière studied with Albert Vaguet at the Paris Conservatoire and made his début at the Opéra as Samson in 1900. The following year he sang in the première of Camille Saint-Saëns's Les Barbares, and he remained with the company until 1905. Until 1919 he was a favourite at Monte Carlo, where he appeared first in La Damnation de Faust; premières there included Mascagni's Amica, Saint-Saëns' L’Ancêtre and Fauré's Pénélope. His 1906 début at the Metropolitan was in Roméo et Juliette. Upon his return to France, he added Otello, Lohengrin, Siegfried and Parsifal to his repertory. He also appeared in Berlin, Buenos Aires and Milan, and in his later years sang mostly at the Opéra-Comique where in 1913 he created the title rôle in Gustave Charpentier's Julien.” - J. B. Steane K1422. JEAN ROUSSELIÈRE: Mamz’elle Nitouche – Un mariage de raison / Couplets de l’inspecteur (Hervé). 10” EL dark-green French Polydor 522108. A-, very decent copy has lt. rubs & few lt. scrs, inaud. MB 10 K1423. AGUSTARELLO AFFRE (The French Tamagno): Parais à ta fenêtre (Gregh). 10" AC black Paris G & T G.C.-32686 (1454-F), only form of issue, 1905. A to M-A, choice copy has infinitesimal pap. scr, positively inaud. MB 35 K1424. AGUSTARELLO AFFRE: Les Huguenots – Plus blanche que la blanche hermine / La Reine de Saba – Inspirez-moi, race divine. 8½” AC etched label center-start H & D Paris Pathé 3496/93 (22472/71), Original 1903 issue, Sd. 2 announced. A to M-A, bright copy has hint of grey on peaks. MB 35 K1425. AGUSTARELLO AFFRE: Les Huguenots – Plus blanche que la blanche hermine / Entrée de Raoul. 12” AC black paper label H & D Paris Pathé 6 (3496/3509), recorded 1903. M-A, Exemplary! MB 15 K1426. AGUSTARELLO AFFRE: Les Huguenots – Beauté divine / Asile héréditaire. 12” AC etched label H & D Paris Pathé 3511/3484 (38239/53511), recorded 1903. M-A/A-, lovely copy has, Sd.2 only, lt. grey on peaks. MB 15 K1427. AGUSTARELLO AFFRE: Roméo – Ah! lève-toi, soleil! 12” AC etched label center-start H & D Paris Pathé 3485 (7797), Original 1902 issue, announced. A to M-A, bright copy has hint of grey on peaks. MB 15 K1428. AGUSTARELLO AFFRE: La Reine de Saba – Inspirez-moi, race divine / Rigoletto – La donna è mobile (in French). 12” AC brown paper label H & D Paris Pathé 60 (3493/81), recorded 1910. A to M-A, lovely copy has mere hint of grey on peaks. MB 10 K1429. AGUSTARELLO AFFRE & HIPPOLYTE BELHOMME: Guillaume Tell – Troncar suoi dì (in French) / AFFRE & MATHILDE COMÈS: Grand duo (Act IV). 12” AC black paper label H & D Paris Pathé P.2501 (1701/1501), recorded 1910. A-, very decent copy has, primarily Sd. 2, lt. grey on peaks. MB 10 “Agustarello Affre held his own with Escalaïs, de Reszke, Van Dyck, Alvarez, Saléza, Scaremberg, Muratore and Franz in a career that lasted two decades. Affre made his début at the Paris Opéra in 1890 as Edgardo in Lucia with Nellie Melba. At the Opéra, he created rôles in operas by Massenet and Saint-Saëns and also sang Canio and Belmonte for the first time. Affre never sang at the Opéra-Comique, but during his career he made guest appearances in Lyon, Marseille, Brussels, London, New Orleans, Havana and San Francisco.” - Robert Baxter, Program Notes for Marston’s CARMEN K1430. CHARLES DALMORÈS: Ninon (Tosti). 12” AC Pat. ’08 Vla 88330, Orig. ‘A’ Plate Issue, POM-26 Oct., 1911, Never Doubled (although assigned an issue number for the ‘Heritage’ series, this was never used. M-A, gleaming copy has infinitesimal pap. mk, positively inaud. MB 25 K1431. CHARLES DALMORÈS: Bonjour, Suzon! (Delibes). 10” AC Pat.’12 Vla 87119, only form of issue, 28 Oct., 1912. M-A, gleaming copy has infinitesimal pap. mk, positively inaud. MB 25 K1432. CHARLES DALMORÈS: Je t’aime (Massenet). 10” AC V 87120, only form of regular issue, 28 Oct., 1912, this appeared otherwise only as the rare gold HRS private issue. M-A, Exemplary! MB 20 K1433. CHARLES DALMORÈS: Je t’aime (Massenet) / Samson et Dalila – Arrêtez, o mes frères. 10” AC gold Victor HRS 1054, POM-28 Oct., 1912 / 30 Oct., 1911. Numbered Copy #4 of an extraordinarily Limited Edition. M-A, a gleaming copy. MB 65 K1434. CHARLES DALMORÈS: Samson et Dalila – Arrêtez, o mes frères. 10” AC white Vla 87087, only form of regular issue, 30 Oct., 1911, this appeared otherwise only as the rare gold HRS private issue & as AGSA 15. M-A, Exemplary! MB 15 K1435. CHARLES DALMORÈS: Samson et Dalila – Arrêtez, o mes frères / Le Prophète – Roi du ciel. 10” AC mauve & gold HMV AGSA 15, POM-30 Oct., 1911 / 25 March,1908, Sd. 2 Unpublished. MINT MB 15

K1436. CHARLES DALMORÈS: Il Trovatore – Ah! sì ben mio / Grisélidis – Ouvrez-vous sur mon front (Massenet). 12” AC mauve & gold HMV AGSB 9, POM-12 April, 1907 / 25 Oct., 1912. MINT MB 15 "…[Dalmorès’] style is exemplary, and the phrasing and attack that of a consummate musician. He also supplies the written trill in the Trovatore excerpt – a vital component of the aria, but largely ignored by contemporary tenors….” - Vivian Liff, CLASSIC RECORD COLLECTOR, Spring, 2001 K1437. CHARLES DALMORÈS: Roméo – Ah! lève-toi, soleil! / Grisélidis – Ouvrez-vous sur mon front, portes du Paradis (Massenet). 12” AC silver Victor HRS 2004, POM-3 April, 1907 / 25 Oct., 1912. Sd. 2 label Autographed by Dalmorès. M-A, gleaming copy has, Sd. 1 only, faintest pap. rub, inaud. MB 45 K1438. CHARLES DALMORÈS: Les Contes d’Hoffmann – C’est elle / O Dieu, de quelle ivresse. 10” AC mauve & gold HMV AGSA 7, POM-26 Oct., 1911 / 25 March, 1908, Sd. 2 Unpublished. MINT MB 15 K1439. CHARLES DALMORÈS: Lohengrin – Athmest Du nicht. 10” AC Pat.’08 Vla 87088, POM-26 Oct., 1911, Orig. ‘A’ Plate Issue. M-A, a gleaming copy. MB 15 K1440. CHARLES DALMORÈS: Carmen – La fleur que tu m’avais jetée. 12” AC GP V 85122, POM-25 Oct., 1912. A-, lovely copy has few faint dust scrs. MB 10 K1441. CHARLES DALMORÈS: Carmen – La fleur que tu m’avais jetée / Roméo – Ah! lève-toi, soleil! 12” AC red vinyl RCA 15-1013, POM-25 Oct., 1912. MINT MB 10 K1442. CHARLES DALMORÈS & EMMA CALVÉ: Carmen – Là-bas dans la montagne. 12” AC Pat.'12 Vla 89019, POM-20 March, 1908. M-A, Exemplary! MB 12 K1443. CHARLES DALMORÈS & MARCEL JOURNET: Carmen – Je suis Escamillo. 12” AC GP V 85114, POM-15 Feb., 1907, Never Doubled, USA. A-, very decent copy has lt. rubs, inaud. MB 10 K1444. CHARLES DALMORÈS & MARCEL JOURNET: Faust – Ô merveille…À moi les plaisirs. 12” AC GP V 85115, only form of regular issue, 19 Feb., 1907, this appeared otherwise only as IRCC 169. A-, very decent copy has lt. rubs, inaud.; nd at very end, after performance. MB 10 “Dalmorès made his operatic début at the Théâtre des Arts in Rouen on 6 October, 1899, in the heavy Wagnerian rôle of Siegfried. Following this, he spent six seasons with the Théâtre de la Monnaie in Brussels and sang with success at London's Royal Opera House, Covent Garden, in 1904-1905 and 19091911. His American début took place in Faust, in which he appeared with New York's Manhattan Opera Company on 7 December, 1906. He spent four years with the company, specializing in French rôles....In the pantheon of great French dramatic/lyric-dramatic tenors, his place is secure. He proved to be a worthy successor to Jean de Reszke (the biggest male opera star of his day), Léon Escalaïs and Albert Alvarez, each of whom enjoyed international careers during the 1890s and early 1900s. Of those French-speaking tenors who took up his mantle, the most esteemed were Paul Franz and Fernand Ansseau, followed in turn by René Maison, Georges Thill and, finally, Jose Luccioni, who was the last representative of this distinguished lineage. Luccioni retired in 1962. There are no big-voiced French tenors of comparable stature singing today.” K1445. JOSÉ LUCCIONI, w.Tomasi Cond. Lamoureux Orch.: Colomba – Le chant du Maquis / Méditerranée (Scotto). 10” EL LVSM DA 5023, only form of issue, 1948. M-A, lovely copy has, Sd 1 only, faintest pap. rubs, inaud. MB 12 K1446. JOSÉ LUCCIONI, w.Bigot Cond.: Werther – Pourquoi me réveiller? / J’aurais sur ma poitrine. 10” EL Disque Gram. DA 4901, only form of issue, 1936. A/A-B, very decent copy has lt. rubs, inaud.; Sd. 2 only has various dust scrs, positively ltly audible. MB 8 K1447. JOSÉ LUCCIONI, w.Bigot Cond. l’Opéra Orch.: Polyeucte – Source délicieuse / Roméo et Juliette – Ah! lève-toi, soleil! (both Gounod). 12” EL Disque Gram. DB 11.115, only form of issue, 1946. M-A, Exemplary! MB 15 K1448. JOSÉ LUCCIONI, w.Bigot Cond. l’Opéra Orch.: Aïda – Celeste Aïda / Otello – Niun mi tema (both in French). 12” EL LVSM DB 11.179, only form of issue, 1948. M-A, exemplary copy. MB 15 K1449. JOSÉ LUCCIONI & CHARLES CAMBON, w.Bigot Cond. l’Opéra Orch.: Otello – Desdemona rea!, 3s / Sd. 4 = CHARLES CAMBON: Otello – Credo (in French). 2-12” EL LVSM DB 11.193 & 11.204, only form of issue, 1948. M-A, gleaming copy has, Sd 3 only, faintest pap. rub, inaud. MB 20, the Pair. “In 1927 Luccioni entered the Conservatoire de Paris and studied with Léon David, Léon Escalaïs and Eugène Size who eventually became his wife. In 1931 he sang at the Grand Opéra Paris for one season. In 1933 he was engaged at the Opéra-Comique where he was successful as Don José, a rôle he sang about 500 (?) times. He soon specialized in dramatic tenor rôles which suited his temperament. From 1935 - 1937 he regularly appeared at Italian opera houses. The Chicago Opera engaged him in the season 193738. After World War II he appeared in several sound movies. At the end of his career he became Director of the Opéra in Nice. José Luccioni is a dramatic tenor with much power in the upper register. His singing is characterized by an overwhelming spontaneity. It is ‘al fresco singing’, but of a high standard.” - Andrea Shum-Binder, subito-cantabile

K1450. DAVID DEVRIÈS, w.Émile Nerini (Pf.): Cimetière de campagne (Hahn) / Les anes du Caire (Acc. by the Composer). 10" EL French Odéon 188.596, only form of issue, 5 July, 1928. M-A, lovely copy has very occasional pap. rub, inaud. Exceedingly elusive! MB 75 K1451. DAVID DEVRIÈS, w.Cloëz Cond.: Mélodies Persanes – Tournoiement / Au Cimetière (Saint-Saëns). 10" EL French Odéon 188.584, original form of issue, 25 April, 1928 (this appeared otherwise only in Argentina). M-A, a gleaming copy. Exceedingly elusive! MB 75 K1452. DAVID DEVRIÈS, w.Cloëz Cond.: La Basoche – Je suis aimé de la plus belle / J’irai chez les oiseaux mes frères (Messager). 10" EL French Odéon 188.526, only form of issue, 1927. M-A, lovely copy has very occasional pap. rub, inaud. Exceedingly elusive! MB 45 K1453. DAVID DEVRIÈS, w.Cloëz Cond.: Mignon – Elle ne croyait pas / Faust – Salut! demeure. 12” EL French Odéon 123.552, POM-25 / 22 May, 1928, only form of issue, Sd. 1. M-A, a gleaming copy. MB 75 K1454. DAVID DEVRIÈS, w.Cloëz Cond.: Manon – En fermant les yeux (Le rêve) / Le Roi d'Ys – Vainement, ma bien-aimée. 10" EL French Odéon 188.505, only form of issue, 1927. M-A, a gleaming copy. MB 35 K1455. DAVID DEVRIÈS: Manon – En fermant les yeux (Le rêve) / Faust – Salut, demeure. 12” AC etched label H & D Paris Pathé 80/4790 (12378/75104), recorded 1905/’07. M-A, lovely copy has, Sd. 2 only, faint grey patch only at beginning. MB 35 K1456. DAVID DEVRIÈS: Le Roi d’Ys – Vainement, ma bien aimée (Aubade) (Lalo). 12” AC purple Pat.’08 V 70021, Orig. ‘A’ Plate Issue, only form of issue, 4 April, 1910. M-A, Exemplary! Exceedingly Elusive! MB 45 “In the delightful Aubade from Lalo’s Le Roi d’Ys, recorded for Victor, the actual colour of [Devriès’] vocal tone is to be heard to advantage. Captured here is a light and not unattractive vibrato which allows his beautifully managed poised soft top A’s to float effortlessly over the gentle accompaniment.” - Alan Bilgora, THE RECORD COLLECTOR, 2004 K1457. DAVID DEVRIÈS & GABRIELLE LEJEUNE-GILIBERT: La Fille de Mme Angot – Voyons, Monsieur, raisonnons-nous politique (Lecocq). 12” AC purple Pat.’08 V 70025, Orig. ‘A’ Plate Issue, only form of issue, 4 April, 1910. A-, lovely copy has faint pap. rubs & few infinitesimal pap. scrs, inaud. Exceedingly Elusive! MB 35 K1458. DAVID DEVRIÈS, NANSEN, DANGÈS & BELHOMME: L’Arlésienne – Marche des Rois (Bizet) / HENRI ALBERS, LAPEYRETTE & LASALLE: La Marseillaise (de Lisle). 12” AC H & D grey paper label US-Pathé 59013 (0777/0590), recorded 1910. M-A/A-, lovely copy has, Sd. 2, long nr, positively inaud. MB 15 “…David Devriès…exemplified the art of the French ténor légère. As did Edmond Clément and the ill-fated Louis Cazette, he exhibited in his singing the elegance, style and good taste that has seemingly been eroded during the last half of the 20th Century.” - Alan Bilgora, THE RECORD COLLECTOR, 2004 K1459. EDMOND CLÉMENT: L’adieu du matin (Pessard; att.Chizat) / Manon – En fermant les yeux (Le rêve). 11¼” AC H & D grey paper label US-Pathé 59051, recorded 1916. M-A, Exemplary! MB 20 K1460. EDMOND CLÉMENT: Mai (Hahn) / Lakmé – Fantaisie aux divins mensonges. 11¼” AC H & D grey paper label US-Pathé 59006, recorded 1916. M-A, lovely copy has faintest pap. rubs, inaud. The Hahn song is sheer balm to the ears and soul! MB 20 K1461. EDMOND CLÉMENT: Il neige (Bemberg); Bergère légère (Weckerlin) / Plaisir d’amour (Martini). 11¼” AC green Paris paper label H & D Pathé 3098, recorded 1916. M-A, Exemplary! MB 20 K1462. EDMOND CLÉMENT: Bergère légère (Pessard; Weckerlin); L'adieu du matin (Pessard). 10” AC Pat.’08 V 64223, POM-6 Nov., 1911. M-A, a gleaming copy. MB 10 “The café song ‘Ça fait peur aux oiseaux’ has a delicious flavour of Paris, and there are the early songs ‘Bergère légère’ and ‘L'adieu matin’, both of them magical in the singer’s handling of the melody and use of the head voice.” - J.B. Steane, Program Notes to Marston CD K1463. EDMOND CLÉMENT: Ça fait peur aux oiseaux (Bernard). 10” AC Vla 64226 (w.RCA embossed spiderweb verso), POM-6 Nov., 1911, Never Doubled, US. M-A, choice copy of late Elaine pressing. MB 15 K1464. EDMOND CLÉMENT: Il est d’étranges soirs (Roubaud) / Lakmé – Ah! viens dans la forêt. 11¼” AC green Paris paper label H & D Pathé 2022, recorded 1919. M-A, Exemplary! MB 15 K1465. EDMOND CLÉMENT: En passant par la Lorraine (arr.Tiersot) / Les filles de la Rochelle. 11¼” AC green Paris paper label H & D Pathé 3099, recorded 1916. M-A, Exemplary! Sd.2 provides an example of the lost art of fin-de-siècle French singing – simply exquisite! MB 25 K1466. EDMOND CLÉMENT: Les Nuits d’Été – L’absence (Berlioz) / Werther – O nature. 11¼” AC green Paris paper label H & D Pathé 2021, recorded 1919. M-A/A, lovely copy has, Sd. 2 only, faint pap. scr, inaud., positively inaud. MB 20 K1467. EDMOND CLÉMENT: Le mariage des roses (Franck) / Amadis de Gaule – Bois épais (Lully). 11¼” AC black Paris paper label H & D Pathé 3166, recorded 1919. M-A, Exemplary! Most elusive! MB 35

K1468. EDMOND CLÉMENT: Ariettes oubliées – Green (Aquarelle, #1) (Debussy) / Clair de lune (Fauré). 11¼” AC black Paris paper label H & D Pathé 3165, recorded 1919. M-A/A-, lovely copy has, Sd. 2 only, lt. grey on peaks. Exceedingly elusive! MB 25 “There are those singers who, despite relatively ordinary careers, are remembered by posterity by dint of having made a few records. Because of their recordings, some artists of yesteryear are even more highly regarded nowadays than they were during their own lifetimes. Not so for Edmond Clément (1867-1928), the famous French tenor idolized by the audiences of the Paris Opéra-Comique….The many recorded documents of his work that we possess have not yet established his rightful place in our collective consciousness. While listening to Clément, one should not expect the immediate impact and solar timbre of a Caruso or a Gigli. Instead, one must go one step further and listen attentively to savor a ray of the moonlight that illuminates his voice, and to discover the poetry and charm of an exquisite artist.” - Jacques Chuilon, THE OPERA QUARTERLY K1469. EDMOND CLÉMENT: La Dame Blanche – Viens, gentille dame (Boiëldieu) / Manon – En fermant les yeux (Le rêve). 11¼” AC green Paris paper label H & D Pathé 121, recorded 1916. A to M-A, lovely copy has, Sd. 1 only, few infinitesimal mks, positively inaud. MB 20 K1470. EDMOND CLÉMENT: Manon – En fermant les yeux (Le rêve). 12” AC Pat.'12 V 74258, POM-6 Nov., 1911. M-A, Exemplary! MB 10 K1471. EDMO0D CLÉMENT: Lakmé – Fantaisie aux divins mensonges / Werther – Pourquoi me révéiller? 11¼” AC green Paris paper label H & D Pathé 119, recorded 1916. M-A, a gleaming copy. MB 25 K1472. EDMOND CLÉMENT: Werther – Pourquoi me réveiller? 10” AC V 64234, POM-18 Dec., 1911. M-A, Exemplary! MB 10 K1473. EDMOND CLÉMENT: Manon – Ah! fuyez, douce image (1905 Version) / Roméo – Ah! lève-toi, soleil! 10" AC silver IRCC 205, RRs-1905, Odéon. Numbered Copy #7 of a Limited Edition, w.Clément’s photo affixed to Sd. 1 label. M-A/A-, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 12 K1474. EDMOND CLÉMENT: Manon – Ah! fuyez, douce image (1916 Version) / Cavalleria – O Lola (Sicilienne) (in French). 11¼” AC green Paris paper label H & D Pathé 120, recorded 1916. M-A, Exemplary! MB 20 K1475. EDMOND CLÉMENT: La Basoche – À ton amour simple et sincère / Je suis aimé de la plus belle (Messager). 11¼” AC black Paris paper label H & D Pathé 0279, recorded 1920. M-A, Exemplary! Exceedingly elusive! MB 35 K1476. EDMOND CLÉMENT: Jocelyn – Cachés dans cet asile (Berceuse) (Godard). 10” AC V 64233, POM-18 Dec., 1911. M-A, a gleaming copy. MB 10 K1477. EDMOND CLÉMENT: Le Roi d’Ys – Vainement, ma bien aimée (Lalo). 12” AC V 74264, POM-18 Dec., 1911. M-A, Exemplary! MB 10 K1478. EDMOND CLÉMENT & MARCEL JOURNET: Les Pêcheurs de Perles – Au fond du temple saint / EMMY DESTINN & MARIA DUCHÊNE: Pique Dame – O viens, mon doux berger. 12” AC Vla 8017, POM-18 Jan, 1912 / 23 April, 1915. M-A, a gleaming copy. MB 10 K1479. EDMOND CLÉMENT & MARCEL JOURNET: Robert le Diable – Le bonheur est dans l’inconstance / Du rendezvous (Meyerbeer). 12” AC white Archive HMV VB 30, POM-18 Jan., 1912. MINT MB 8 K1480. EDMOND CLÉMENT & GERALDINE FARRAR: Au clair de la lune (Lully). 10” AC Pat.’12 Vla 87509, Orig. ‘A’ Plate Issue, POM-17 March, 1913. M-A, a gleaming copy. MB 10 K1481. EDMOND CLÉMENT & GERALDINE FARRAR: Unter’m Fenster (in French) / Danté – Nous allons partir (Godard). 10” AC mauve & gold HMV AGSA 5, POM-17 March, 1913. MINT MB 15 K1482. EDMOND CLÉMENT & GERALDINE FARRAR: Roméo – Ange adorable. 12” AC Pat.’12 Vla 88421, POM-13 Feb., 1913. A to M-A, bright copy has few wee pap. mks, inaud. MB 10 K1483. EDMOND CLÉMENT & GERALDINE FARRAR: Mefistofele – Lontano, lontano. 12” AC Vla 88422, POM-13 Feb., 1913. M-A, Exemplary! MB 10 “Edmond Clément was one of the very fine French tenors to emerge around the turn of the century. He studied singing at the Conservatoire (Paris) and made his début at the Opéra-Comique in 1889 in Gounod’s Mireille. He took part in the premières of Saint-Saëns’ Phryné and Bruneau’s L’Attaque du Moulin as well as the first performances in Paris of Falstaff and Butterfly. In 1896 he was in the first Don Giovanni ever given at the Opéra-Comique, and in 1904 sang Don José in the 1000th performance of Carmen at that theater. In 1909 he made his début at the Metropolitan in Werther and appeared in the only performances there of Fra Diavolo. With the Boston Opera Company in 1912 he sang his first Hoffmann, a performance reputedly ideal in its mixture of masculinity and dreaminess, with finely shaded singing. His Don José also developed into a masterly portrayal. He returned to France to fight in World War I and was wounded. Later he devoted himself to teaching, but gave a memorable last recital at the age of 60 in Paris. His recordings are models of their kind, with slim, clearly defined tone, a polished style and unostentatious personal charm.” - J. B. Steane

K1484. RAOUL JOBIN, w.Charles Goulet Cond. Les Disciples de Massenet: Les anges dans nos campagnes / Ça, bergers assemblons-nous . 10” EL Canadian RCA 10-1180, only form of issue, 1945. M-A, lovely copy has, Sd. beg. Sd. 2, few tiny edge scrs, inaud. Exceedingly Elusive! MB 15 K1485. RAOUL JOBIN, w.Charles Goulet Cond. Les Disciples de Massenet: Nouvelle agréable / Venez, Divin Messie! 10” EL Canadian RCA 10-3883, only form of issue, 1945. A to M-A, lovely copy has few faint rubs & pap. scrs, positively inaud. Exceedingly Elusive! MB 15 K1486. RAOUL JOBIN, w.Cluytens Cond. l'Opéra-Comique Orch. & Chorus: Carmen – Avec la garde montante / Cluytens Cond.: La cloche a sonné. 10” EL Eng. Col. LB 146, POM-1950. M-A, Exemplary! An oddity! MB 15 K1487. RAOUL JOBIN, w.Cluytens Cond. l'Opéra-Comique Orch.: Tosca – Recondita armonia / E lucevan le stelle (both in French). 10” EL French Col. LF 270, only form of issue, 1 April, 1948. M-A, Exemplary! MB 15 K1488. RAOUL JOBIN, w.Cluytens Cond. l'Opéra-Comique Orch.: Carmen – La fleur que tu m’avais jetée / Werther – J'aurais sur ma poitrine. 12” EL French Col. LFX 827, only form of issue, 1 April, 1948. M-A, a gleaming copy. MB 15 K1489. RAOUL JOBIN, w.Fourestier Cond. l'Opéra Orch.: Lohengrin – In fernem Land / Siegfried – Nothung! Nothung! (both in French). 12” EL French Col.LFX 844, only form of issue, 1 April, 1948. M-A, gleaming copy has, Sd. 1 only, sev. microscopic dust mks, inaud. MB 15 K1490. RAOUL JOBIN, w.Pelletier Cond. Metropolitan Opera Orch.: Arias from Roméo, Manon, L'Africaine, Hérodiade, Werther & Damnation de Faust, 6s. 3-12” EL Col. 72138/40-D, POM-1947, in Orig. Album MM-696. M-A, Exemplary! MB 25, the Set. K1491. RAOUL JOBIN, Joan Peebles, Leonard Warren, etc; w.Pelletier Cond.: CARMEN – Excerpts, 6s. 3-12” EL World's Greatest Operas SR-45/47, only form of issue, 1940. M-A, Exemplary! MB 20, the Set. “Raoul Jobin made his début at the Paris Opéra on 3 July, 1930, as Tybalt in Roméo et Juliette. From then on, he quickly sang principal tenor rôles at both the Opéra and the Opéra-Comique, as well as in many cities throughout France, Lyons, Toulouse, Bordeaux, Marseilles, etc. He sang mainly the French repertoire, with occasional incursions into the Italian repertoire. With the outbreak of the war, he returned to North America. He made his début at the Metropolitan Opera on 19 February, 1940, as des Grieux in Manon. He remained with the company until 1950, where he sang many rôles alongside such singers as Lily Pons, Bidú Sayão, Licia Albanese, Risë Stevens, under conductors such as Wilfrid Pelletier and Thomas Beecham, among many others. He made regular appearances in San Francisco, Chicago, Boston, New Orleans, etc., also appearing in Mexico City, Rio de Janeiro, and Buenos Aires. The war over, he returned to Paris in 1947, where he successfully sang his first major Wagnerian rôle, Lohengrin, earning him the nickname ‘Monsieur Lohengrin’. He later sang the role of Walther in Die Meistersinger with equal success. He also created the role of Fabrice Del Dongo in La Chartreuse de Parme by Henri Sauguet. He began teachng at the Conservatoire de musique du Québec à Montréal, and later at the Conservatoire de musique du Québec à Québec where he notably served as director from 1961-1970. He trained many young Canadian singers, notably Colette Boky and Huguette Tourangeau.” K1492. JEAN ANZANI, w.Bigot Cond.: La Favorite – Un ange, une femme inconnue / Ange si pur. 10” EL PW French Col. LF 86, only form of issue, 1931. A to M-A, lovely copy has hint of grey on peaks. MB 12 K1493. JEAN ANZANI, w.Cohen Cond.: Mignon – Elle ne croyait pas / Mireille – Anges du Paradis. 12” EL PW French Col. LFX 130, only form of issue, 1930. A to M-A, lovely copy has hint of grey on peaks. MB 12 “Jean Anzani gives pleasure with his strong voice, full from top to bottom.” - John T. Hughes, OPERA ON RECORD, Vol. III, p.149 K1494. VICTOR PUJOL, w.Cloëz Cond.: Si J’Étais Roi – J’ignorais son nom / Un regard de ses yeux (Adam). 12” EL green French Odéon 171.086, only form of issue, 1929. M-A, lovely copy has, Sd. 2, very minor indent at end, inaud. MB 15 K1495. VICTOR PUJOL, w.Cloëz Cond.: La Poupée – Je suis timide / Dans les couvents qu’on est heureux (Audran). 10” EL green French Odéon 166.245, only form of issue, 1929. M-A, Exemplary! MB 15 K1496. VICTOR PUJOL, w.Cloëz Cond.: Les Dragons de Villars – Ne parle pas (Maillard) / La Fille du Régiment – Pour ne rapprocher de Marie (Donizetti). 10” EL green French Odéon 166.174, only form of issue, 1929. M-A, choice copy has, Sd. 1 only, infinitesimal dust mk, positively inaud. MB 15 K1497. VICTOR PUJOL, w.Cloëz Cond.: Les Cloches de Corneville – Va, petit mousse / Je regardais en l’air (Planquette). 10” EL green French Odéon 166.068, only form of issue, 1928. M-A, Exemplary! MB 15 “Victor Pujol was both a leading tenor and a singer of important comprimario rôles at the Opéra-Comique during the 1920s….He had over eighty rôles in his repertoire, many of which he had created….He retired from the stage in 1941 and after the war, from 1947-1964, he was a professor at the Operetta Department of the Paris Conservatory.” – VRCS Program notes K1498. GEORGIO SEMBRI, w.Cohen Cond.: Tosca – E lucevan le stelle / L’Elisir d’Amore – Una furtiva lagrima. 12” EL Disque Gram. DB 11.167, only form of issue, 1949. M-A, choice copy has, Sd. 2 only, infinitesimal dust mk, inaud. MB 12

K1499. JOSÉ JANSON, w.Ruhlmann Cond.: Manon – En fermant les yeux (Le rêve) / Ah! fuyez, douce image. 12” EL dark blue Pathé PAT 153, only form of issue, 1939. M-A, lovely copy has, Sd. 2, wee scr, inaud. MB 15 “…José Janson, one of the lightest tenors to record Werther (he sang it at the Opera-Comique in 1939)…produces refined, imaginative performances….” - Lord Harewood, OPERA ON RECORD, Vol. I, p.503 K1500. CHARLES RICHARD, w.Bigot Cond.: Mignon – Elle ne croyait pas / Adieu, Mignon, courage. 12” EL Disque Gram. DB 11.119, only form of issue, 1944. A to M-A, lovely copy has Sd. 2 only, few lt. rubs & minor pap. scr, ever-so-faintly audible, a turn or three. MB 12 “Having already considered some ‘French’ tenors from earlier years, I must now turn to…the postwar era, among them Charles Richard whose vocal equipment is good, the notes are sweet, and there is an amount of feeling….” - John T. Hughes, OPERA ON RECORD, Vol. III, p.142 K1501. MIGUEL VILLABELLA: Pensée d’automne (Massenet) / Plaisir d’amour (Martini). 10” EL green Pathé X.3409, recorded 1928. A-, decent copy has considerable rubs & numerous scrs, ever-so-faintly audible. MB 8 K1502. MIGUEL VILLABELLA: Geschichten aus dem Wiener Wald (as ‘Le beau Danube bleu) (Johann Strauss) (in French) / Flots du Danube (Ivanovici). 10” EL Canadian Pathé PA 93, recorded 1933. B, decent copy has considerable rubs, nrs & lt. scrs, positively ltly. audible. Sd. 2 offers Villabella’s best! MB 8 K1503. MIGUEL VILLABELLA: Mon gentil Pierrot (Sérénade française) (Leoncavallo) / Quand tu chantes (Sérénade) (Gounod) (1927 Versions). 10” EL green Pathé Actuelle X.3355, recorded 1927. A to M-A MB 12 K1504. MIGUEL VILLABELLA, w.Cloëz Cond.: Mon gentil Pierrot (Sérénade française) (1928 Version) / Mattinata (Aubade) (both Leoncavallo). 10” EL French Odéon 188.559, POM-1928. A-, very decent copy has lt. rubs & scrs, ever-so-faintly audible the occasional turn. MB 10 K1505. MIGUEL VILLABELLA, w.Cloëz Cond.: Madrigal – Rencontre (Fauré) / Quand tu chantes (Sérénade) (1928 Version) (Gounod). 12” EL French Odéon 123.517, POM-1928. M-A, Exemplary! MB 15 K1506. MIGUEL VILLABELLA, w.Andolfi (Pf.): Dans cet asile solitaire (Romance) (Pierre-Louis Couperin) / L’Amant Jaloux – Tandis que tu sommeilles (Sérénade) (Grétry). 10” EL MasterWorks Col. P-17144-D, POM-1933. M-A, a gleaming copy. MB 12 K1507. MIGUEL VILLABELLA: Barbiere – Ecco ridente (1928 Version) (in French), 2s. 12” EL orange Art Label Pathé X.7127, recorded 1928. A to M-A, lovely copy has faint pap. rubs, inaud. MB 20 K1508. MIGUEL VILLABELLA, w.Cloëz Cond.: Grisélidis – Voir Grisélidis, c’est connaître / Je suis l’Oiseau (Massenet). 10” EL French Odéon 188.669, POM-1929. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1509. MIGUEL VILLABELLA: Mignon – Elle ne croyait pas / Manon – Ah! fuyez, douce image. 12" EL early green Pathé X.0703. A to M-A, lovely copy has, Sd. 1 only, 3 infinitesimal dust scrs, inaud. MB 12 K1510. MIGUEL VILLABELLA, w.Andolfi (Pf.): La Favorite – Ange si pur / Mignon – Adieu, Mignon, courage. 10” EL green Pathé PG 29, only form of issue, 1934. A-, lovely copy has few lt. rubs, inaud. MB 10 K1511. MIGUEL VILLABELLA, w.Ruhlmann Cond.: Lakmé – Ah! viens dans la forêt profonde / Le Roi d’Ys – Vainement, ma bien aimée (1932 Version). 10” EL Pathé X.90.051, only form of issue, 1932. M-A, gleaming copy has, Sd. 1 only, sev. wee dust mks, ever-so-faintly audible sev. turns. MB 12 K1512. MIGUEL VILLABELLA, w.Cloëz Cond.: Le Roi d’Ys – Vainement, ma bien aimée (1928 Version) / La Salut nous est promis. 10” EL French Odéon A 188.555, only form of issue, 1928. B, decent copy has lt. scrs & heat damage, ltly audible throughout, yet this plays remarkably well. MB 6 K1513. MIGUEL VILLABELLA, w.Cauchie Cond.: Amadis de Gaule – Bois épais / Armide et Renaud – Plus j’observe ces lieux (both Lully). 12” EL PW Col. P-9153, POM-1935. A to M-A MB 8 K1514. MIGUEL VILLABELLA, w.Cloëz Cond.: La Dame Blanche – Déjà la nuit plus sombre / Viens gentille dame (1928 Version) (Boiëldieu). 10” EL French Odéon 188.586, POM-1928. M-A, Exemplary! MB 15 K1515. MIGUEL VILLABELLA, w.Cloëz Cond.: La Dame Blanche – Ah! quel plaisir d’être soldat! / Quand la paix (Déjà la nuit plus sombre) (Boiëldieu). 10” EL French Odéon A 188.656, POM-1929. A-, lovely copy has few lt. rubs. MB 10 K1516. MIGUEL VILLABELLA, w.Ruhlmann Cond.: Tosca – Recondita armonia / E lucevan le stelle. 10” EL Pathé X.90.071, only form of issue, 1930. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K756. MIGUEL VILLABELLA & NINON VALLIN, w.Ruhlmann Cond.: Manon - Duo de la lettre / NINON VALLIN: Obéissons quand leur voix appelle. 12” EL Pathé X.90.034, only form of issue, 1931. M-A, gleaming copy has, Sd 2 only, 1 lt. mk, positively inaud. MB 15 K790. MIGUEL VILLABELLA & NINON VALLIN, w.Ruhlmann Cond.: Manon - Duo de Saint-Sulpice, 2s. 12” EL Pathé X.90.081, only form of issue, 1932. M-A, a gleaming copy. MB 15 K789. MIGUEL VILLABELLA & NINON VALLIN, w.Ruhlmann Cond.: La Boheme – Sono andati / MIGUEL VILLABELLA, NINON VALLIN, MADELEINE SIBILLE & ANDRÉ BAUGÉ: Addio dolce svegliare (both in French). 12” EL Pathé X.90.056, only form of issue, 1932. M-A, a gleaming copy. Elusive! MB 20

K1517. MIGUEL VILLABELLA, w.Cloëz Cond.: Così fan Tutte – Un aura amorosa (in French) (shades of Heddle Nash!) / Roméo et Juliette – Ah! lève-toi, soleil! 12” EL French Odéon 123.639, only form of issue, 1929. A, lovely copy has few lt. mks, occasional very ltly.audible. Exceedingly Elusive! MB 25 “Miguel Villabella, though remembered as a quintessential French tenor, was actually a Basque, born in Bilbao in 1892. His father was a famous Zarzuela baritone, from whom the young tenor learned much, but a move to Paris led to a meeting with Lucien Fugère, doyen of French bass-baritones and musical life in Paris. He made a concert début in San Sebastian in 1917 and his operatic début a year later, opened at the Opéra-Comique in 1920 and thereafter, once established, was seldom heard outside France (he did get as far as Brussels and though he was billed for a Florence appearance it can’t be confirmed he actually appeared). His career wound down after the Second War; his stage career ended in 1940, as he devoted more and more time to teaching, and he died in 1954. He took the expected roles, Don José, Hoffmann, Fernando (in Così), Des Grieux, Rinuccio and Gérald amongst them. He sang under Bruno Walter and recorded Lully, so he was certainly no one-dimensional tenor. What he was instead was an expressive lyric tenor with a fine range, especially at the top where his floated head voice was exceptionally convincing. He was a most stylish exponent of the French tradition, one that embraces a good number of Basque and Corsican singers in addition to Villabella. He is plangency itself in Manon – marvellously floated head voice with admirable breath control (even at the top there is no sense of strain) – and he is noble and virile in Massenet’s Grisélidis. The voix mixte he so effortlessly deploys (essentially head voice and falsetto) is emblematically French and wonderful to hear. His Le Roi d’Ys is notable for richness of execution, latent power, consummate style and portamenti on light head notes. [Villabella is] lyrically elevated and tonally admirable exponent of a vanished performing style.” - Jonathan Woolf, musicweb K1518. JOSÉ PALET: La Dolores – Di que es verdad (Bretón) / Lucrezia Borgia – Di pescatore ignobile. 10” AC Vla 927, POM-4 / 11 Sept., 1917. Never listed in a North American Victor catalogue. M-A, choice copy has, Sd. 2 only, tiny ulc, far from grooves. MB 15 K1519. JOSÉ PALET: Marina – Costa la da levante (Arietta), 2s. 10” AC Vla 928, POM-1921. Never listed in a North American Victor catalogue. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20 K1520. JOSÉ PALET & MERCEDES FARRY: Marina – Dúo Marina y Jorge (Arietta). 12” AC Vla 74638 (w.RCA embossed spiderweb verso), POM-1916. M-A, a gleaming copy. MB 15 “Palet's international career, mainly in Latin countries, won him acclaim principally in dramatic rôles, but he is best remembered now for his assumption of the tenor lead in Breton's opera La Dolores.” – Boris Semeonoff K1521. ENRICO di MAZZEI, w.Cloëz (Pf.): Andrea Chénier – Un dì al’azzurro spazio (Improvviso) (in Italian), 2s. 10” EL French Odéon 188.688, only form of issue, 1927. M-A, choice copy has, Sd. 1, tiny label smudge. MB 20 K1522. ENRICO di MAZZEI, w.Cloëz Cond.: Cavalleria – O Lola (Sicilienne) / Tosca – Recondita armonia (both in French). 10” EL French Odéon 188.501, only form of issue, 1927. M-A, Exemplary! MB 12 K1523. ENRICO di MAZZEI, w.Cloëz Cond.: Tosca – E lucevan le stelle / O dolci mani (sung as a solo, in French). 10” EL French Odéon 188.500, only form of issue, 1927. A, lovely copy has few lt. rubs, inaud. MB 12 K1524. ENRICO di MAZZEI, w.Cloëz Cond.: La Fanciulla del West – Ch’ella mi creda libero / Iris – Apri la tua finestra. 10” EL French Odéon 188.562, only form of issue, 1928. M-A, Exemplary! MB 15 K651. ENRICO DI MAZZEI & LILY PONS, w.Cloëz Cond.: Rigoletto – E il sol dell'anima (in Italian), 2s. 12” EL French Odéon 123.597, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12 K652. ENRICO DI MAZZEI & LILY PONS, w.Cloëz Cond.: La Boheme – Non sono in vena / O soave fanciulla (in French). (both in French). 12” EL French Odéon 123.598, POM-19 Dec., 1928. M-A, a gleaming copy. MB 12 K1525. CHRISTY SOLARI: I Puritani – A te, o cara / Barbiere – Se il mio nome. 10” EL black Viva-Tonal Col. 2178-D, POM-c.1932. M-A, gleaming copy has, primarily Sd. 2, long internal lam, very ltly audible toward end, Sd. 2 only. MB 12 K1526. CHRISTY SOLARI, w.Giuseppina Zinetti, Maugeri, Zambelli, Mannarini, Nessi, etc.; Molajoli Cond. La Scala Ensemble: LA FAVORITA – Abridged, (Complete, as recorded), 10s. 5-12” EL green Eng. Col. GQX 10064/68. M-A, a gleaming copy. MB 35, the Set. K1527. GIOVANNI MANURITTA: Barbiere – Ecco ridente / L’Elisir d’Amore – Una furtiva lagrima (1927 Versions). 12” EL green Italian Odeon E5058 (xxPh 5822/23), POM-13 Jan., 1927. M-A, a gleaming copy. MB 15 K1528. GIOVANNI MANURITTA: Barbiere – Ecco ridente / L’Elisir d’Amore – Una furtiva lagrima (1929 Versions). 12” EL dark-blue Italian Col. D 14622, POM-1930. M-A, a gleaming copy. MB 12 K1529. GIOVANNI MANURITTA & WANDA BARDONE: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Milano Fonotipia E 5057 (xxPh 5849/50), POM-19 Jan., 1927. M-A, gleaming copy has, Sd 2 only, infinitesimal pap. scr, inaud. MB 15 K1530. TINO BORELLI, w.Albergoni Cond.: Tosca – Recondita armonia / E lucevan le stelle. 10” EL blue Italian Odeon B 3758, only form of issue, 12 Dec., 1929. M-A, a gleaming copy. MB 25 K1531. TINO BORELLI, w.Albergoni Cond.: Fedora – Amor ti vieta / Manon – En fermant les yeux (Le rêve) (in Italian). 10” EL blue Italian Odeon B 3768, only form of issue, 12 Dec., 1929. M-A, gleaming copy has, beg. Sd. 1, tiny rub, inaud. MB 25

K1532. GASTON MICHELETTI, w.Cloëz Cond.: Les Contes d’Hoffmann – Légende de Kleinzach / MARIE THÉRÈSE GAULEY: Les oiseaux dans la charmille. 10” EL French Odéon 188.533, only form of issue, 1927. M-A, a gleaming copy. MB 12 K1533. GASTON MICHELETTI & EMMA LUART, w.Cloëz Cond.: Les Contes d’Hoffmann – C’est une chanson d’amour, 2s. 10” EL French Odéon 188.574, only form of issue, 1928. M-A, a gleaming copy. MB 15 K1534. GASTON MICHELETTI, w.Cloëz Cond.: Mignon – Elle ne croyait pas / Roméo – Ah! lève-toi, soleil!. 12” EL French Odéon 171.019, POM-1927. M-A, Exemplary! MB 12 K1535. GASTON MICHELETTI, w.Cloëz Cond.: Carmen – La fleur que tu m’avais jetée / Faust – Salut, demeure. 12” EL French Odéon 123.650, POM-1929. M-A, Exemplary! MB 12 K1536. GASTON MICHELETTI, GERMAINE CERNAY, ARTHUR ENDRÈZE, MADY ARTY, etc., w.Cloëz Cond.: CAVALLERIA RUSTICANA – Excerpts (in French) (Complete, as recorded), 10s. 5-12” EL red Decca-Odeon G-25935/40, POM-1932. M-A, lovely copy has very occasional pap. rub, inaud. MB 45, the Set. “Gaston Micheletti was contracted to the Opéra-Comique, where his first rôle was Des Grieux. This opera house became the centre of his activities until his retirement in 1946. He sang in a wide range of rôles, including Don José, Turiddu, Hoffmann, Gérald, Pinkerton, Canio, Dimitri in Alfano’s Risurrezione, Mylio, Werther, Rodolfo, Cavaradossi and Roméo. He created numerous rôles in premieres of forgotten French operas. His career was largely restricted to French and Belgian opera houses. He is a lirico-spinto tenor of remarkable subtlety. The timbre of his voice is attractive, warm and velvety, with a slightly baritonal tinge.” K1537. GIOVANNI MALIPIERO: La leggenda del Piave (Mario) / AURELIANO PERTILE: La campana di S. Giusto (Arona). 10” EL black Decca 70024, POM-c.1939 / 20 Oct., 1926. M-A, Exemplary! Most Elusive! MB 25 K1538. GIOVANNI MALIPIERO, w.Cordone Cond.: La Damnation de Faust – Nature immense / Merci, doux crépuscule (in Italian). 12” EL LVDP DB 5445, only form of issue, 1941. M-A, a gleaming copy. MB 25 “…Giovanni Malipiero is alive to the poetry [Sd.2], of the aria [which is] very sensitively sung. Malipiero was clearly an artist, and he has the benefit of first-rate orchestral accompaniment.” - David Cairns, OPERA ON RECORD, Vol. II, p.175 K1539. GIOVANNI MALIPIERO, w.Berrettoni Cond.: Manon – En fermant les yeux (Le rêve) (1940 Version) / Ah! fuyez, douce image (in Italian). 12” EL LVDP DB 5362, only form of issue, 1940. M-A, a gleaming copy. MB 25 K1540. GIOVANNI MALIPIERO, w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) (1939 Version) / Mignon – Elle ne croyait pas (in Italian). 12” EL Parl. DPX 25, POM-8 June, 1939. M-A, a gleaming copy. MB 15 K1541. GIOVANNI MALIPIERO, w.Berrettoni Cond.: Mignon – Adieu, Mignon, courage / Elle ne croyait pas (in Italian). 12” EL LVDP DB 5356, only form of issue, 1940. M-A, a gleaming copy. MB 25 “…try to hear Giovanni Malipiero, for there you will find much elegance of phrasing. Listen as he sings [Sd.1], all taken in one breath, creating an effect that is utterly charming, and he is well in character: a piece of great singing.” - John T. Hughes, OPERA ON RECORD, Vol. III, p.141 K1542. GIOVANNI MALIPIERO, w.Ghione Cond.: Werther – O nature (in Italian) / La Favorita – Spirto gentil (1941 Version). 12” EL LVDP DB 5405, only form of issue, 1941. M-A, a gleaming copy. MB 25 K1543. GIOVANNI MALIPIERO, w.Tansini Cond.: L’Elisir d’Amore – Una furtiva lagrima / La Favorita – Spirto gentil (1939 Version). 12” EL Parl. DPX 24, POM-8 June, 1939. M-A, a gleaming copy. MB 15 "Malipiero's singing is so limpid, so musical, so purely poetic that [that lovely apostrophe to the twilight from Berlioz version of Faust] ought to go at once, without a second thought, into anybody's Desert Island Discs....His over-all standard of performance is remarkably high and consistent." - Eric Rees, THE RECORD COLLECTOR, 1993 K1544. GIOVANNI MALIPIERO, w.Berrettoni Cond.: Mefistofele – Giunto sul passo estremo (1940 Version) / Dai campi, dai prati. 10” EL LVDP DA 5382, only form of issue, 1940. M-A, lovely copy has faintest pap. rubs, inaud. MB 20 K1545. GIOVANNI MALIPIERO, w.Tansini Cond.: Mefistofele – Giunto sul passo estremo (1939 Version) / Tosca – O dolci baci; E lucevan le stelle. 12” EL Parl. DPX 29, POM-8 June, 1939. M-A, a gleaming copy. MB 15 K1546. GIOVANNI MALIPIERO, w.Tansini Cond.: Mefistofele – Giunto sul passo estremo (1939 Version) / Rigoletto – La donna è mobile; Questa o quella? 12” EL dark-green Cetra BB 25063, POM-8 June, 1939. M-A, a gleaming copy. MB 25 “Malipiero’s version of the ‘Giunto sul passo estremo’ from Mefistofele is a reminder that this rôle was one in which he was very much admired. It is stylishly sung and allows for his expressive talents to be fully realised.” - Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS K1547. GIOVANNI MALIPIERO, w.Tansini Cond.: La Boheme – Che gelida manina / Mefistofele – Giunto sul passo (1939 Version). 12” EL dark-green Cetra BB 25052, POM-8 June, 1939. M-A, a gleaming copy. MB 25

K1548. GIOVANNI MALIPIERO, w.Tansini Cond.: Tosca - O dolci baci; E lucevan le stelle / GIOVANNI MALIPIERO & TANCREDI PASERO: Faust – Vous qui faites l’endormie (in Italian). 12” EL dark-green Cetra BB 25061, POM-8 Nov., 1937. M-A, gleaming copy has, Sd. 2 only, faintest pap. scr, barely visible & inaud. MB 25 “In 1937, Malipiero made the first of what would prove to be many appearances at Italy's foremost opera house, the Teatro alla Scala in Milan, as Ramiro in Rossini's La Cenerentola. Nine years later, following World War II, he took part in an historic concert held to mark the re-opening of La Scala, performing under the baton of Arturo Toscanini. Much admired in parts written by the bel canto composers Rossini, Donizetti and Bellini, Malipiero was also acclaimed for his performances in Verdi's La Traviata, Falstaff and Rigoletto. During the 1930s and '40s he appeared, for instance, in Les Contes d’Hoffmann, Faust, Werther and Le Jongleur de Notre-Dame. The political turmoil of the late 1930s, culminating in the outbreak of the six-year-long Second World War, restricted Malipiero's opportunities to establish an international career. Malipiero possessed a clear, bright, well-trained voice with a slightly husky timbre. Italian music critics and audiences of the 1930-1960 period praised his singing style, regarding it as belonging to the elegant 'old school' of pre-verismo vocalism. He can be heard as Edgardo in a complete recording of Lucia di Lammermoor, with the coloratura soprano Lina Pagliughi in the title rôle and Ugo Tansini conducting, that was made by Cetra Records at the height of the tenor's powers in 1939.” - J. B. Steane K1549. EMILIO RENZI (a.k.a. Aldo Visconti), w.Zeme Cond.: Mamma Rosa (Cherubini) / Serenatella a mamma (Bertini). 10” EL red Cetra AA 380, only form of issue, 5 / 6 July, 1944. M-A, Exemplary! Truly redolent of the young di Stefano! MB 25 K1550. EMILIO RENZI, w.Basile Cond.: Tarantella / ANTENORE REALI: Caruli (both Giordano & Mauri). 10” EL red Cetra AA 395, only form of issue, 26 Sept., 1944. M-A, a gleaming copy. MB 25 K1551. EMILIO RENZI, w.Basile Cond.: Serenata (Giordano & Mauri) / LINA de FERRARI: I fiori prigionieri (Pick Mangiagalli). 10” EL red Cetra AA 393, only form of issue, 26 Sept., 1944. M-A, gleaming copy has, beg. Sd. 2, lt. rubs, positively inaud. MB 25 “Emilio Renzi’s…voice has that light lyrical and incisive timbre that not only is attractive but also projects well, with his phrasing, even in the most ordinary of songs, being a model of its kind …possessed of a charm that is irresistible….a tenor who surely would have achieved a greater cachet with those collectors interested in fine voices and good singing had he left more demanding solo examples of his operatic repertoire.” - Alan Bilgora, THE RECORD COLLECTOR, 2006 K1552. ROBERTO D’ALESSIO: Werther – Pourquoi me réveiller? (in Italian) / Mefistofele – Dai campi, dai prati. 10” EL red PW Eng. Col. D 12553, POM-1932. M-A, a gleaming copy. MB 25 K1553. ROBERTO D’ALESSIO: Les Pêcheurs de Perles – Je crois entendre (in Italian) / La Boheme – Che gelida manina. 12” EL red PW Eng. Col. D14683, POM-1927. A to M-A, bright copy has, Sd. 2 only, few minuscule dust mks, ever-so-faintly audible a turn or three. MB 15 K1554. ROBERTO D’ALESSIO: Mignon – Elle ne croyait pas / Adieu, Mignon, courage (in Italian). 10” EL red PW Eng. Col. D 12549, POM-1932. M-A, a gleaming copy. MB 25 “Roberto d’Alessio provides subtle and elegant phrasing. The voice is not inherently beautiful, but its owner certainly knows how to use what he has….voice forward and with a slight vibrato, phrases [Sd.1] in wonderfully long-breathed spans and colours the voice considerably….His breath control and phrasing are such that he spins out a fine legato for some twenty seconds without pausing for breath.” - John T. Hughes, OPERA ON RECORD, Vol. III, pp.141 & 149 K1555. NINO EDERLE: Rigoletto – La donna è mobile / Questa o quella? 10” EL black Fonit 27001. M-A, Exemplary! MB 20 K1556. NINO EDERLE: Mignon – Elle ne croyait pas / Adieu, Mignon, courage (in Italian). 12” EL black Fonit 35053. M-A, choice copy has, Sd. 2 only, lt. rubs & faint nr, inaud. MB 15 K1557. NINO EDERLE: Mignon – Adieu, Mignon, courage / Manon – En fermant les yeux (Le rêve) (both in Italian). 12” EL PW purple Parl. E10781. M-A, a gleaming copy. MB 15 K1558. AMEDEO BERDINI & PINA MALGARINI, w.Petralia Cond.: Madama Butterfly – Bimba dagli occhi, 2s. 12” EL red Cetra CB 20504, only form of issue, 22 / 23 March, 1950. M-A, gleaming copy has, Sd. 2 only, infinitesimal dust mk, positively inaud. MB 35 “Amedeo Berdini, possessor of a voice of real weight, coupled with a warm timbre, was a true lirico spinto, whose mentor, Gigli, opened the way to what seemed destined to be a great career. This tragically was cut short by his early death at the age of 44. Arias from Pietri’s Maristella, Catalani’s Loreley, Gomes’ Salvator Rosa and Lo Schiavo, and a passionate Madama Butterfly love duet with Pina Malgarini will impress by their commitment and highly-compelling interpretations.” - Alan Bilgora, A NEW GOLDEN AGE OF FORGOTTEN TENORS K1559. FERRUCCIO TAGLIAVINI, w.Ermelinda Magnetti (Pf.): L’heure exquise (Hahn) / Élégie (Massenet). 10” EL blue Cetra AT 0129, only form of issue, 20 July, 1948. M-A/A-, lovely copy has, Sd. 2 only, sev. wee dust scrs, positively inaud. Exceedingly Rare! MB 45

K1560. FERRUCCIO TAGLIAVINI, w.Gallino Cond.: Voglio vivere così (Film) – Voglio vivere così / Tu non mi lascerai (both d’Anzi, from the 1941 film). 10" EL dark-blue Italian Cetra AT-0115, only form of issue, 9 Dec., 1941. M-A, a gleaming copy. Exceedingly Rare! MB 35 K1561. FERRUCCIO TAGLIAVINI, w.Petralia Cond.: La Donna è Mobile (Film) – Malinconia d’amore / Ho messo il cuore nei pasticci (both d’Anzi, from the 1941 film). 10” EL dark-blue Cetra AT 0125, only form of issue, 6 Nov., 1942. M-A, Exemplary! Exceedingly Rare! MB 35 K1562. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: O paese d’o sole (Bovio) / Scalinatella (Cioffi). 10” EL pale-blue Cetra AT 0294, POM-25 Oct., 1951, New York. M-A, a gleaming copy. MB 25 K1563. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: O paese d’o sole (Bovio) / Scalinatella (Cioffi). 10” EL black Canadian RCA 25-7164, POM-25 Oct., 1951, New York. M-A, lovely copy has tiny rub, beg. both sides, inaud. MB 15 K1564. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: Me so ‘nbriacato ‘e sole (d’Esposito) / Musica proibita (Gastaldon). 10” EL pale-blue Cetra AT 0295, POM-26 Oct., 1951, New York. M-A, a gleaming copy. MB 25 K1565. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: Me so ‘nbriacato ‘e sole (d’Esposito) / Musica proibita (Gastaldon). 10” EL HMV DA 2054, POM-26 Oct., 1951, New York. M-A, Exemplary! MB 12 K1566. FERRUCCIO TAGLIAVINI, w.Cellini Cond.: Mamma mia, che vo’ sape? (Nutile) / Senza nisciuno (de Curtis). 10” EL HMV DA 2029, POM-24 Nov., 1950, New York. M-A, Exemplary! MB 15 K1567. FERRUCCIO TAGLIAVINI, w.Fragna Cond.: Notte a Santa Lucia (Fragna-Bonagura) / FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Basile Cond.: Mefistofele – Lontano, lontano. 12” EL red Cetra BB 25276, only form of issue, 7 / 6 Nov., 1950. M-A, a gleaming copy. MB 35 K1568. FERRUCCIO TAGLIAVINI, w.Rossi Cond.: Luisa Miller – Quando le sere al placido / Marta – M’appari. 12” EL blue Cetra BB 25230, POM-17 / 19 July, 1948, only form of issue, Sd.1. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 20 K1569. FERRUCCIO TAGLIAVINI, w.Rossi Cond.: La Fanciulla del West – Ch’ella mi creda libero / Andrea Chénier – Come un bel dì di Maggio. 12” EL red Cetra BB 25217, only form of issue, 13 / 16 July, 1948. M-A, a gleaming copy. MB 35 K1570. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) / Mignon – Adieu, Mignon, courage (both in Italian). 12” EL dark-green Cetra BB 25119, only form of issue, 12/14 June, 1943. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1571. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Manon – En fermant les yeux (Le rêve) / Mignon – Adieu, Mignon, courage (both in Italian). 12” EL dark-blue Cetra BB 25119, only form of issue, 12/14 June, 1943. M-A, Exemplary! MB 15 K1572. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Tosca – O dolci mani (as a solo) / Barbiere – Ecco ridente in cielo. 12” EL dark-green Cetra BB 25181, POM-1942. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1573. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Tosca – O dolci mani (as a solo) / Barbiere – Ecco ridente in cielo. 12” EL red Cetra BB 25181, POM-1942. M-A, a gleaming copy. MB 15 K1574. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Tosca – O dolci mani (as a solo) / E lucevan le stelle (1942 Version). 12” EL red Cetra BB 25118, POM-1942. M-A, gleaming copy has, Sd. 1 only, wee pap. rub, inaud. Sd. 1 presents Tagliavini at his most remarkably enchanting! MB 15 K1575. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Tosca – Recondita armonia / E lucevan le stelle (1941 Versions). 12” EL dark-green Cetra BB 25040, POM-1941. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1576. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Tosca – Recondita armonia / E lucevan le stelle (1941 Versions). 12” EL red Cetra BB 25040, POM-1941. M-A, a gleaming copy. MB 15 K1577. FERRUCCIO TAGLIAVINI, w.Morel Cond.: Tosca – Recondita armonia / E lucevan le stelle (1950 Versions). 12” EL Canadian RCA 12-3295, POM-7 April, 1950. M-A, a gleaming copy. MB 12 “Tagliavini was considered by many to be the natural successor to Gigli after World War II….He made his North American début at the Chicago Opera as Rodolfo, and in 1947 created a furor in his début at the Metropolitan Opera in the same role….Tagliavini’s recordings remain touchstones of the lyric tenor’s art.” - Alan Bilgora, liner notes to Pearl’s THE CETRA TENORS K1578. FERRUCCIO TAGLIAVINI, w.Basile Cond.: Werther – Pourquoi me réveiller? / FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Basile Cond.: Il faut nous séparer, 3s (in Italian). 2-12” EL blue Cetra BB 25233/34, POM-18 July, 1948, only form of issue, Sd.3. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 35, the Pair. K1579. FERRUCCIO TAGLIAVINI, w.Basile Cond.: Werther – Pourquoi me réveiller? / w.Rossi Cond.: Marta – M’appari. 12” EL red Cetra BB 25182, POM-18 /19 July, 1948. M-A, gleaming copy has, Sd. 2 only, 2 wee pap. rubs, inaud. MB 20

K1580. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L’Arlesiana – È la solita storia (Cilea) / I Quattro Rustighi – Luceta xe un bel nome (Wolf-Ferrari). 12” EL red Cetra BB 25056, POM-23 June, 1940. M-A, a gleaming copy. Exceedingly Elusive! MB 45 K1581. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L'Arlesiana - 'E la solita storia / La Boheme – Che gelida manina. 12” EL red Cetra BB 25021, POM-23 June, 1940. M-A, a gleaming copy. MB 20 K1582. FERRUCCIO TAGLIAVINI, w. Rossi Cond.: Don Pasquale – Sogno soave e casto / L'Elisir – Quant’è bella. 12” EL blue Cetra BB 25219, only form of issue, 16 / 17 July, 1948. M-A, a gleaming copy. MB 35 K1583. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L'Elisir – Una furtiva lagrima / Rigoletto – Parmi veder le lagrime. 12” EL dark-green Cetra BB 25058, POM-23 June, 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1584. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L'Elisir – Una furtiva lagrima / Rigoletto – Parmi veder le lagrime. 12” EL dark-green Cetra BB 25058, POM-23 June, 1940. M-A, Exemplary! MB 15 K1585. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Sonnambula – Prendi, l'anel ti dono / Falstaff – Dal labbro il canto. 12” EL dark-green Cetra BB 25022, POM-5 Oct., 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1586. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: Sonnambula – Prendi, l'anel ti dono / FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Rossi Cond.: La Traviata – Parigi, o cara. 12” EL blue Cetra BB 25231, POM-5 Oct., 1940 / 19 July, 1948, only form of issue, Sd. 2. M-A, gleaming copy has tiny edge nick, far from grooves. MB 15 K1587. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L’Amico Fritz – Ed anche Beppo amò / I Lombardi – La mia letizia. 12” EL green Cetra BB 25026, POM-23 Nov, 1940. M-A, lovely copy has occasional lt. rubs, inaud. Sd. 1 label has Tagliavini’s Autograph superimposed. MB 25 K1588. FERRUCCIO TAGLIAVINI, w.Tansini Cond.: L’Amico Fritz – Ed anche Beppo amò / I Lombardi – La mia letizia. 12” EL green Cetra BB 25026, POM-23 Nov, 1940. M-A, lovely copy has, Sd. 2 only, sev. very lt. pap. scrs, inaud. MB 12 K1589. FERRUCCIO TAGLIAVINI, w.Voorhees Cond.: Manon – En fermant les yeux (Le rêve); L’Africaine – O Paradis! (both in Italian) / MONA PAULEE, w.Kostelanetz Cond.: The Firefly – Romany life (Victor Herbert). 12” EL vinyl V-Disc 788, Broadcast Performances, 19 May, 1947, NBC Studios / June, 1947, CBS, New York (not to be confused with Paulee’s commercial release of her earlier studio recording, 19 Jan., 1942). B-/A-, very decent copy has numerous rubs & lt. scrs, customary for this series. MB 12 K1023. MAGDA OLIVERO & FERRUCCIO TAGLIAVINI; Tansini Cond.: L’Amico Fritz – Suzel, buon dì (Cherry Duet), 2s. 12” EL red Cetra BB 25050, POM-27 Nov., 1939. M-A, a gleaming copy. MB 65 "Ferruccio's voice was a true lyric tenor – full without being absolutely 'robusto,' with a marvelous colour, a natural flexibility and most admirably schooled. It can be heard on many records in almost its full beauty, for it is a voice which recorded well." - Tito Gobbi, MY LIFE, p.157 K1590. FERRUCCIO TAGLIAVINI & PIA TASSINARI, w.Basile Cond.: Tosca – Or lasciami al lavoro, 2s. 12” EL blue Cetra BB 25232, POM-17 July, 1948. M-A, a gleaming copy. MB 20 K1591. FERRUCCIO TAGLIAVINI, PIA TASSINARI, MARIA HUDER & ENZO MASCHERINI, w.Tansini Cond.: La Boheme – Addio, dolce svegliare, 2s. 12” EL dark-green Cetra BB 25121, POM-16 June, 1943. M-A, Exemplary! MB 15 “Nearly any time opera lovers discuss inherently beautiful voices, Tagliavini's name is sure to come up. His smooth lyric tenor had a luxurious timbre, reminiscent of Tito Schipa's, and was also warm and extremely expressive. In another resemblance to Schipa, he had a particular gift for vocally caressing a phrase without making it sound like a studied effect, and could sing piano and pianissimo without crooning. He excelled in the lighter, lyric repertoire, and for many was the definitive Nemorino, Nadir (Les Pêcheurs de Perles), Ernesto (Don Pasquale), and Fritz (L’Amico Fritz) of his generation, or for some, even the century. He and composer Pietro Mascagni became close friends, and Mascagni claimed that Tagliavini was instrumental in making L’Amico Fritz a success. During his early years, Tagliavini focused on this lyric repertoire, but as his career advanced, he added heavier rôles, such as Loris Ipanov in Fedora, Riccardo and Cavaradossi. His opera début was in Florence as Rodolfo, in 1938. His La Scala début was in 1942, also as Rodolfo, as was his United States début in Chicago in 1946, and his Met début in 1957. In addition to his stage performances and recordings, he also appeared in many popular films, mostly of the light and sentimental type. He retired from the stage in 1965, but gave annual performances at Carnegie Hall through 1981. He was [for a time] married to soprano Pia Tassinari, whom he met in 1940.” - Anne Feeney, allmusic.com K1592. PRIMO MONTANARI, w.Semprini Cond.: Schwanengesang – Leise flehen meine Lieder (Ständchen) (in Italian) (Schubert) / Mattinata (Leoncavallo). 10” EL black Fonit 8962, only form of issue, 31 Dec., 1942. M-A, bright copy has, alas, minor hlc, ever-so-faintly audible both sides. Exquisitely lovely singing! Montanari married Lina Pagliughi in 1929, performing with her, Castagna, Granforte & Pedro Mirassou on many tours. He and Pagliughi remained devoted to one another until his death in 1972. MB 12

K1593. GIULIO CRIMI: Santa Lucia lontana. 10” AC brown shellac Vocalion 30123, POM-1920. A-, lovely copy has lt. rubs & few superficial mks, inaud. MB 10 K1594. GIULIO CRIMI: Marta – M’appari. 10” AC brown shellac Vocalion 30174, POM-1921. M-A, Exemplary! Crimi is best-remembered for having created both Luigi (Il Tabarro) & Rinuccio (Gianni Schicchi), 14 Dec., 1918, Metropolitan Opera. MB 12 K1595. GIULIO CRIMI: Rigoletto – La donna è mobile. 10” AC brown shellac Vocalion 30170, POM-1921. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1596. GIULIO CRIMI: Pagliacci – Vesti la giubba / Tosca – E lucevan le stelle. 10” AC brown shellac Vocalion 60039, POM-1922. M-A, Exemplary! MB 15 K1597. GIULIO CRIMI: Manon Lescaut – Donna non vidi mai. 10” AC brown shellac Vocalion 30119, POM-1920. M-A, a gleaming copy. MB 15 K1598. GIULIO CRIMI: L’Africaina – O Paradiso! 12” AC brown shellac Vocalion 52044, POM-1923. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1599. GIULIO CRIMI: Zazà – O mio piccolo tavolo. 12” AC brown shellac Vocalion 55006, only form of issue, 1923. A-, lovely copy has faintest pap. rubs & scrs, inaud. MB 10 K1600. GIULIO CRIMI & MARIE SUNDELIUS: Madama Butterfly – O quanti occhi fisi. 12” AC brown shellac Vocalion 52014, POM-1921. M-A, lovely copy has faint pap. rubs, barely visible & inaud. MB 15 K1601. ALESSANDRO VALENTE, w.Fred Hartley and his Quintet: Canta pe’ me / Tu, ca nun chiagne (both de Curtis). 10” EL PW dark-blue Eng. Decca F.3871, only form of issue, 1932 (Valente’s final recording). A to M-A, lovely copy has mere hint of grey on peaks. Elusive! MB 15 K1602. ALESSANDRO VALENTE, w.Nastrucci Cond.: La Fanciulla del West – Ch’ella mi creda libero / Or son sei mesi. 10” EL PW plum LVDP HN 764, POM-4 Dec., 1928. M-A, a gleaming copy. This Italian issue was obviously unknown by Alan Kelly at the time of his excellent 1989 Record Collector discography. MB 15 K1603. ALESSANDRO VALENTE, w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL PW plum LVDP HN 763, POM-25 April, 1927. M-A, a gleaming copy. This Italian issue was obviously unknown by Alan Kelly at the time of his excellent 1989 Record Collector discography. MB 15 K1604. ALESSANDRO VALENTE, w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL HMV DA 2033, POM-25 April, 1927. M-A, Exemplary! MB 8 K1605. ALESSANDRO VALENTE, w.di Veroli Cond.: Turandot – Nessun dorma! / Non piangere, Liù. 10” EL white Archive HMV VA 73, POM-25 April, 1927. M-A, Exemplary! MB 8 “When, in 1953, the playing of [Valente’s] ‘Nessun dorma’ on a BBC programme created such renewed interest, he did try to capitalise on the sudden success [thus the third incarnation by HMV].” - Alan Bilgora, THE RECORD COLLECTOR, 1989 K1606. ALESSANDRO VALENTE, w.di Veroli Cond.: Pagliacci – Vesti la giubba / Tosca – Recondita armonia. 12” EL PW plum HMV C 1387, POM-25 April / 10 May, 1927. M-A, a gleaming copy. MB 12 K1607. ALESSANDRO VALENTE, w.Sabajno Cond.: L’Africaina – O Paradiso! / ALESSANDRO VALENTE & BENVENUTO FRANCI (although label suggests A. Pilotto): Madama Butterfly – Addio, fiorito asil. 10” EL PW plum LVDP HN 765, POM-4 June, 1929. M-A, a gleaming copy. MB 15 K1608. ALESSANDRO VALENTE, w.Sabajno Cond.: Serenata (Mascagni) / Andrea Chénier – Si, fui soldato. 10” EL PW plum HMV B 3486, POM-6 Jan. / 14 March, 1930. M-A, Exemplary! MB 10 K1609. ALESSANDRO VALENTE, w.Sabajno Cond.: Tosca – E lucevan le stelle / Carmen – La fleur que tu m’avais jetée (in Italian). 10” EL PW plum HMV B 3487, POM-7 June, 1929 / 13 March, 1930. A-, very decent copy has, primarily Sd. 1, lt. rubs & dust scrs, positively ltly audible. MB 6 K1610. ALESSANDRO VALENTE, w.Sabajno Cond.: Aïda – Celeste Aïda (w.recit.), 2s. 10” EL PW plum HMV B 3682, POM-26 Jan., 1929. A-, very decent copy has, primarily Sd. 2, lt. rubs & dust scrs, positively ltly audible. MB 6 K1611. ALESSANDRO VALENTE & EMMA LATTUADA, w.Sabajno Cond.: Manon Lescaut – Tu! Tu! Amore, tu?; O tentatrice, 2s. 12” EL PW plum HMV C 1503, POM-21 Feb., 1928. M-A, a gleaming copy. MB 15 K1612. FRANCO RICCI, w.Guarino Cond.: Marechiare (Tosti) / Mmiez’ ‘o ggrano (Nardella). 10” EL dark-green Italian Col. CQ 2147, only form of issue, 22 / 24 Jan., 1951. M-A, a gleaming copy. In his day, Ricci was often compared to Carlo Buti – a well deserved compliment! MB 15 K1613. NINO NIPOTE, w.Angelo Fiorentino (Pf.): Luna chiara (Fusco) / Curiosita’ (Mendes). 10” EL pale-green Cetra DC 0319, only form of issue, 4 June, 1955. M-A, gleaming late 78-era issue. MB 12 K1054. IVAN KOZLOVSKY: O, if you only knew (Tchaikovsky) / SOFIA PREOBRAZHENSKAYA: Why, tell me, girl of my heart (Mussorgsky). 10” EL purple Aprelevski Zavod 18632/31, recorded 1950. M-A, Exemplary! MB 15 K1614. IVAN KOZLOVSKY: Before my window (Rachmaninoff) / Disenchantment (Tchaikovsky). 10” EL red Aprelevski Zavod CCCP 19451/52, recorded 1951. M-A, Exemplary! MB 12

K1615. IVAN KOZLOVSKY: Schlafe, mein Prinzchen (Wiegenlied) (Flies [att. Mozart]) / Marmotte (Beethoven) (both in Russian). 10” EL red Aprelevski Zavod CCCP 9182/83, recorded 1939. M-A, lovely copy has, Sd. 2 only, faint cosmetic pap. rubs, inaud. MB 15 K1616. IVAN KOZLOVSKY: At the ball (Tchaikovsky) / Winter evening (Yakovlev). 10” EL red Aprelevski Zavod CCCP 20229/30, recorded 1951. M-A, Exemplary! MB 12 K1617. IVAN KOZLOVSKY: Do not re-awaken memories (Bulakhov), 2s. 10” EL red Aprelevski Zavod CCCP 20271/72, recorded 1951. M-A, a gleaming copy. MB 12 K1618. IVAN KOZLOVSKY: On the hills of Georgia (1950 Version) (Rimsky-Korsakov) / Frenzied nights (Tchaikovsky). 10” EL red Aprelevski Zavod 18091/92, recorded 1950. M-A, Exemplary! MB 12 K1619. IVAN KOZLOVSKY: On the hills of Georgia (1951 Version) (Rimsky-Korsakov) / I shall tell you nothing (Tchaikovsky). 10” EL red Aprelevski Zavod CCCP 20382/83, recorded 1951. M-A, a gleaming copy. MB 12 K1620. IVAN KOZLOVSKY: It is not the wind / In the silence of the night (both Rimsky-Korsakov). 10” EL black Aprelevski Zavod USSR 6265/66, recorded 1937. M-A, Exemplary! MB 12 K1621. IVAN KOZLOVSKY: A lone white sail / Mountain summits (both Varlamov). 10” EL black Aprelevski Zavod USSR 6261/62, recorded 1937. A-/A, lovely copy has, Sd. 1 only, few lt. scrs, very ltly audible a few turns. MB 8 K1622. IVAN KOZLOVSKY: Black brows, brown eyes (Ukranian folk song), 2s. 10” EL red Aprelevski Zavod CCCP 20956/57, recorded 1951. M-A, Exemplary! MB 10 K1623. IVAN KOZLOVSKY: Behind the window (Tschaikowsky) / Lonely and sad (Dargomyzhsky). 10” EL red Aprelevski Zavod CCCP 20453/54, recorded 1951. M-A, Exemplary! MB 10 K1624. IVAN KOZLOVSKY: Again, as before, alone (Tschaikowsky) / Daydreaming (Arensky). 10” EL red Aprelevski Zavod CCCP 20164/65, recorded 1951. M-A, Exemplary! MB 8 “Kozlovsky’s popularity was enormous, even though relatively few heard him live in the theatre or on the concert platform since he performed almost exclusively in Moscow. He was known mainly from records…and radio broadcasts, on which for many years before World War II his voice was heard almost daily….Kozlovsky has wonderful breath control, and the voice sounded crystal-clear and sonorous. The sound was so individual that it was impossible to imitate him.” - Lawrence Friedman, THE RECORD COLLECTOR, 1999 K1625. IVAN KOZLOVSKY: Natalka Poltavka – Do not rustle, meadow / Oh! I’m unhappy (Lysenko). 10” EL red Aprelevski Zavod USSR 10677/76, recorded 1940. M-A, lovely copy has occasional rub, inaud. MB 10 K1626. IVAN KOZLOVSKY: Dubrovsky – Recitative and romance of Vladimir (Napravník), 2s. 10” EL blue Aprelevski Zavod USSR 9180/81, recorded 1939. M-A, Exemplary! MB 12 K1627. IVAN KOZLOVSKY: Halka – The wind moans in the hills (Moniuszko), 2s. 10” EL pale-blue Aprelevski Zavod Art Label 10718/19, recorded 1940. A to M-A, lovely copy has occasional cosmetic pap. mk, inaud. MB 15 K1628. IVAN KOZLOVSKY: Rusalka – Prince’s cavatina (Dargomyzhsky), 2s. 10” EL blue Aprelevski Zavod USSR 12540/41, recorded 1945. M-A, Exemplary! MB 15 K1629. IVAN KOZLOVSKY: May Night – Sleep, my beauty (Rimsky-Korsakov), 2s. 10” EL red Aprelevski Zavod CCCP 9176/77, recorded 1939. M-A, Exemplary! MB 15 K1630. IVAN KOZLOVSKY: Werther – J’aurais sur ma poitrine / Pourquoi me réveiller? (in Russian). 10” EL red Aprelevski Zavod 9160/61, recorded 1939. A to M-A, lovely copy has few lt. rubs, inaud. MB 15 K1631. IVAN KOZLOVSKY: Werther – Un autre est son époux! (Désolation de Werther) (in Russian), 2s. 10” EL taupe & dark-blue Aprelevski Zavod 9168/69, recorded 1939. A to M-A, lovely copy has few lt. rubs, inaud.; Sd. 1 only has tiny pressing bump, audible a few turns during orchestral passage. Kozlovsky sings Werther as to the manner born; this is sheer poetry! MB 15 K1632. IVAN KOZLOVSKY: La Boheme – Che gelida manina (in Russian), 2s. 10” EL red Aprelevski Zavod CCCP 9178/79, recorded 1939. M-A, Exemplary! MB 12 K1633. IVAN KOZLOVSKY: Lohengrin – In fernem Land (in Russian), 2s. 10” EL pale-blue Aprelevski Zavod Bolshoi Art Label 6981/82, recorded 1938. M-A, Exemplary! MB 15 K1634. IVAN KOZLOVSKY: Demon – Recitative and aria of Sinodal (Rubinstein), 2s. 12” EL red Aprelevski Zavod CCCP 018502/03, recorded 1950. M-A, Exemplary! MB 15 K1635. IVAN KOZLOVSKY & YELIZAVETA SHUMSKAYA: Madama Butterfly – Bimba dagli occhi; Vogliatemi bene (in Russian), 4s. 2-12” EL red Aprelevski Zavod CCCP 018709/12, recorded 1950. M-A, a gleaming copy. MB 25, the Pair. K1636. IVAN KOZLOVSKY: Eugen Onégin – Faint echo of youth, 2s. 12” EL red Aprelevski Zavod USSR 04903/04, recorded 1937. M-A, Exemplary! MB 15 K1637. IVAN KOZLOVSKY: Prince Igor – Daylight is fading away, 2s. 12” EL red Aprelevski Zavod CCCP 06346/47, recorded 1937. M-A, choice copy has, beg. Sd. 1, faint rub, inaud. MB 15

K1638. IVAN KOZLOVSKY: Rusalka – Prince’s Cavatina (Dargomyzhsky), 2s. 12” EL red Aprelevski Zavod CCCP 022910/11, recorded 1953. M-A, a gleaming copy. MB 15 K1639. IVAN KOZLOVSKY & BORIS GMYRIA: When two people part (Lysenko) / The wind is wailing (both in Ukranian). 10” EL red Aprelevski Zavod USSR 28129/28, recorded 1957. M-A, a gleaming copy. MB 12 K1640. IVAN KOZLOVSKY & MARIA MAKSAKOVA: Eugen Onégin – I love you, Olga / YELIZAVETA ANTONOVA & YELENA KRUGLIKOVA: Didst thou not hear? 12” EL red Aprelevski Zavod CCCP 020895 / 04584, recorded 1951/’36, resp. M-A, a gleaming copy. MB 15 “Kozlovsky was one of the most admired singers of his time, one of the rarities known for his range, technique, beauty of tone, and acting. As if that weren't enough, he also directed an opera company, occasionally singing lead rôles there as well. He had a remarkable longevity, singing creditably even in his seventies. While his most familiar rôles were from the Russian repertoire (he is credited for making the Simpleton in Boris Godunov a rôle for stars rather than comprimarios), he was also noted for his performances of Werther, Lohengrin, and Almaviva. His style was old-fashioned, particularly in the bel canto repertoire, where sometimes he permitted a performance to become mere showmanship, but even those who deplored his taste had to admit his technical facility. He began his nearly 30-year career at the Bolshoi in 1926, and he was soon one of its leading tenors, making his last appearance in a staged opera there in 1954. Kozlovsky also started his own opera company in 1938, occasionally appearing in the lyric repertoire there. He was awarded the prestigious designation of People's Artist of the U.S.S.R. in 1940. In 1956, he began an impressively long teaching career at the Moscow Conservatory, retiring in 1980. Even into his seventies he was singing recitals, and at public appearances, even one celebrating his ninetieth birthday, was willing to oblige his audience with a few lines, at least, showing an increasingly amazing vocal longevity.” - Anne Feeney, allmusic.com K1641. GEORGY VINOGRADOV: Travelling song (Dunayevsky) / Early stars glimmer (Makarov). 10” EL red Aprelevski Zavod CCCP 17095/17134, recorded 1949. M-A, a gleaming copy. MB 10 “It is true that Vinogradov lent his talents to some second-rate (at best) music, but with a voice like that, the old adage about listening to him sing the telephone directory becomes literally true. We just listen to him and sit back, letting the waves of beautiful sound wash over us, seducing us with their comeliness and teaching us what good singing is all about.” - Larry Feriedman, THE RECORD COLLECTOR, 2010 K1642. GEORGY VINOGRADOV: In a sunny clearing (Solovyov-Sedoy) / Why do you? (Kirichek). 10” EL black Aprelevski Zavod USSR 11965/12389, recorded 1944. M-A, lovely copy has occasional faintest pap. rub, inaud. MB 10 K1643. GEORGY VINOGRADOV, w.Golovanov Cond.: Eugen Onégin – Faint echo of my youth, 2s. 10” EL red Aprelevski Zavod CCCP 12769/70, recorded 1945. M-A, a gleaming copy. MB 12 “…judged solely from his recorded legacy, [Vinogradov] deserves to be at least as well known and highly regarded as his more famous colleagues, Sergei Lemeshev and Ivan Kozlovsky…Certainly the voice and artistry can stand comparison with such tenors as Schipa, Simoneau, Valletti, and the young Vanzo, making his neglect even more extraordinary….for the true genius of this singer it is necessary to hear the operatic arias and Russian art songs. Few tenors have sung Lensky’s final aria [above] with such beauty of tone, tenderness, and real poetry.” - Vivian A. Liff, AMERICAN RECORD GUIDE, Sept./Oct., 2004 K1644. MISHA ALEXANDROVICH: My beloved garden (Khachaturian) / Lullaby (Kompaneyets). 10” EL red Aprelevski Zavod CCCP 16118/37, recorded 1948. M-A, Exemplary! MB 12 K1645. MISHA ALEXANDROVICH: The nightingale and the Rose / Ballade (both Khrennikov). 10” EL red Aprelevski Zavod CCCP 16356/57, recorded 1948. M-A, Exemplary! MB 12 K1646. MISHA ALEXANDROVICH: Two delightful Neapolitan songs (in Russian), 2s. 10” EL black Aprelevski Zavod 17065/66, recorded 1949. M-A/A-, lovely copy has, Sd. 2, few lt. rubs & long, lt. scr, ever-so-faintly audible. MB 10 “Mikhail Davidovich Alexandrovich (a.k.a. Misha Alexandrovich) gained popularity as a prodigy. He graduated from the Riga Conservatory. For a long time he was a cantor at synagogues in Vilnius and Kaunas. From 1940 onwards he was a concert and chamber singer in the USSR, recording numerous 78s and LPs. He lived in Israel from 1971 to 1979, when he moved to the United States, and then from 1990 until his death he lived in Germany.” - Uri Daigin K1647. SOLOMON KHROMCHENKO: Aleko – Romance of the young gypsy (Rachmaninoff) / Rafael – My heart trembles with passion (Arensky). 10” EL pale-blue Aprelevski Zavod Bolshoi Art Label 8566/67, recorded 1936. M-A, Exemplary! MB 15 K1648. SOLOMON KHROMCHENKO: Aleko – Romance of the young gypsy (Rachmaninoff) / N. SEREDA: Tsar’s Bride – Aria of Lykov (Rimsky-Korsakov). 10” EL black New York World’s Fair 1939 USSR 4598/5746, recorded 1936. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 15 “What can one say about Solomon Khromchenko? First of all, the timbre of his voice, lyrical and masculine, but not sickly-sweet. He was an able dramatic actor and was perfectly built….Khromchenko possessed the most beautiful timbre of the voices in the Bolshoi.” - Anatoly Orfenov, SOVETSKY ARTIST, 23 Dec., 1977

K1649. ARTUR FRINBERG: Ballo – Di tu se fedele / Otello – Dio! mi potevi, scagliar (in Latvian). 10” EL red Aprelevski Zavod CCCP 19956/57, recorded 1951. M-A, a gleaming copy. Although sung in Latvian, Sd 2 is truly a glorious performance! MB 12 K1650. GEORGI NELEPP, w.Kondrashin Cond.: La Juive – Rachel, quand du Seigneur (in Russian), 2s. 10" EL red Aprelevski Zavod 14937/38, recorded 1947. M-A, choice copy has, Sd.1, faintest pap.rub, inaud. MB 15 K1651. GEÖRGI NELEPP, w.Melik-Pashaev Cond.: Sadko – Had I thy pearls and gold (w.recit.) (Rimsky-Korsakov), 2s. 10" EL red Aprelevski Zavod CCCP 15679/80, recorded 1948. M-A, Exemplary! MB 15 “The Bolshoi had a remarkable dramatic tenor, György Mikhailovich Nelepp, an artist of impeccable taste, with a beautiful, youthfully resonant voice. I have yet to hear a better Hermann in The Queen of Spades. When I first joined the Bolshoi, we worked on Fidelio together; that time ranks among the best memories of my career.” - Galina Vishnevskaya, GALINA, pp.185-86 K1652. TADEUSZ LELIVA: L’Africaine – O Paradis! (in Italian; label states in Polish), announced, w.piano acc.. 10” AC black & silver Warsaw Col. 35261, POM-1904. B, very decent copy has considerable rubs & numerous very lt. scrs, very ltly audible in this remarkably forward recording. MB 65 “[Leliva’s] was a characteristic voice with an attractive and plaintive quality. In spite of his identification with the Italian repertory, his Eastern European origin is very obvious.” - Michael Scott, THE RECORD OF SINGING K1653. BÉNO BLACHUT: Cavalleria – O Lola (Sicilienne) / Il Trovatore – Deserto sulla terra (both in Czech). 10” EL black Supraphon 17011-M, POM-7 April, 1942. M-A/A, lovely copy has, Sd. 2, few lt. rubs, inaud. MB 15 "Beno Blachut’s voice is what is left for us on records….Anglophone commentators have most often compared Blachut’s voice to Gedda’s, occasionally Björling’s and Wunderlich’s, meaning that it was an attractive lirico-spinto capable of heroic colouration.” - Sean Coxen, THE RECORD COLLECTOR, 2006 K1654. JAN KONSTANTIN, w.Vasata Cond. Prague National Opera Orch.: Libuse – O, vy lipy (Smetana) / JINDRICH BLAZICEK, w.Skvor Cond.: Rusalka - Vim, ze jsi kouzlo (Dvorák). 10” EL black Ultraphon C 12500, POM-1941. A to M-A, lovely copy has occasional lt. rub, inaud. MB 10 K1655. JAN KONSTANTIN, ADA NORDENOVÁ, MARTA KRÁSOVÁ, JAROSLAV GLEICH, VLADIMIR TOMS, EMIL POLLERT, KAREL HRUSKA, etc.; Ostrcil Cond. Prague National Opera Orch.: PRODANÁ NEVESTA (Smetana), 30s. 15-12” EL Orth Vla 11617/31, POM-1933, in Orig. Album M-193, w.Libretto-Brochure. M-A, beautiful copy has remarkably quiet surfaces; Sds. 4 & 16 only, long nr, ltly audible. Exceedingly elusive! MB 85, the Set. "Here is one of the all-time great opera recordings, a snapshot of a departed age….This adorable recording held its own for 20 years, a tribute to HMV’s artistic sense in going to the fountainhead rather than essaying a version in German….[enchanting is] the conversational lightness of this Prague cast which is virtually ideal.” - Tully Potter, CLASSIC RECORD COLLECTOR, Spring, 2001 K1656. SAMUEL HYBINETTE: Süsse Träume (Elling) / Rigoletto – La donna è mobile (in Swedish). 10” AC black Stockholm Concert Gram. G.C.-4–42550/2–52855 (5373/72), POM-28 Aug., 1913. A/A-, lovely copy has, primarily Sd. 2, occasional faint rub & pap. scr, positively inaud. MB 25 “[Dr Samuel Hybinette was] a semi-professional singer who had a beautiful voice, gave many concerts and recitals in Scandinavia, in 1916, [followed by] a 1919 Danish concert tour….Hybinette studied medicine and became a surgeon….A noted doctor, he became physician to the King of Sweden.” – Richard T. Soper, NORDIC VOCES, p.243 K1657. MARIUS JACOBSEN: Der gaar sagn (Toft) / Der Flyver saa mange fugle (Andersen). 10” EL plum PW HMV X.3997, only form of issue, 11 / 14 May, 1932. M-A, Exemplary! MB 8 K1658. MARIUS JACOBSEN: Der Var Engang – Midsommervise / Serenade (Lange-Müller). 10” EL plum PW HMV X.3298, only form of issue, 21 June, 1929. M-A, lovely copy has faint pap. rubs, inaud. MB 8 K1659. MARIUS JACOBSEN, w.Hye-Knudsen Cond.: Tosca – Recondita armonia / E lucevan le stelle (in Danish). 10” EL HMV DA 1448, only form of issue, 1936. M-A, lovely copy has faint pap. rubs, inaud. Jacobsen sang at Copenhagen’s KGL Opera from 1927 to 1956, being named Kämmersänger in 1946. MB 8 K1660. FOLKE ANDERSSON, w.Hans Bingangs Cond.: La Belle Hélène – Au mont Ida trois déesses (Paris' Entrance) (Offenbach) / Les Cloches de Corneville – Va, petit mousse (Planquette) (both in Swedish). 10” EL plum HMV X.3751, POM-19 May, 1931. M-A, Exemplary! Although entirely eclipsed by the Björling 1938 rendition, Sd. 1 is a quite delightful rendition by Anderson who sang into his 90s, having made his Stockholm operatic début in 1921 as Almaviva, in Barbiere! MB 10 K1661. FOLKE ANDERSSON, w.Eduard Hladisch Cond.: Alexandra – Love comes from a fairy-tale land (Szirmai) / Das Land des Lächelns – Dein ist mein ganzes Herz (Lehár) (both in Swedish). 10” EL blue & orange Sonora 6006, POM-1938. M-A, Exemplary! MB 10 K1662. FOLKE ANDERSSON & SYLVAN BERÉ, w.von Eichwald Cond.: Teufelreiter (The Devil’s Horseman) – Potpourri (Kálmán) (in Swedish), 2s. 10” EL blue & orange Sonora 6007, POM-1938. M-A, Exemplary! MB 10

K1663. STEFAN ISLANDI, w.Thórdarson Cond. Reykjavik Men’s Choir: Ökuljóò (Russian folksong) (in Icelandic) / STEFAN ISLANDI, w.Felumb Cond.: Fedora – Amor ti vieta. 10” EL Scandinavian HMV DA 5278, POM-22 Nov., 1937 / 27 Aug., 1936. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 “Of special note is the song ‘Ökuljóó’….Originally issued as a single-sided 10 inch electric disc, it had a certain cachet among 78rpm collectors. It is sung over a male choir accompaniment….Islandi is very effective here.” - Alan Bilgora, THE RECORD COLLECTOR, 2010 K1664. STEFAN ISLANDI, w.Thórdarson Cond. Reykjavik Men’s Choir: Ökuljóò (Russian folksong) (in Icelandic). 10” EL HMV DAS 5208, POM-22 Nov., 1937. MINT copy of this unusual S/S issue, (w.HMV embossed spiderweb verso). A record of haunting beauty and great sensitivity. MB 25 K1665. STEFAN ISLANDI, w.Felumb Cond.: I Fjarlaegò (Runólfsson) / Vögguljóò (Pórdarson) (both in Icelandic). 10” EL HMV DA 5201, only form of issue, 27 Aug., 1936. M-A, Exemplary! Sd. 2 is of ethereal beauty! MB 20 K1666. STEFAN ISLANDI, w.Felumb Cond.: Fedora – Amor ti vieta / Adriana Lecouvreur – L’anima ho stanca (both in Italian). 10” EL HMV DA 5202, POM-27 Aug., 1936, only form of issue, Sd. 2. M-A, Exemplary! MB 8 K1667. STEFAN ISLANDI, w.Felumb Cond.: Pagliacci – Vesti la giubba / Rigoletto – La donna è mobile (both in Italian). 10” EL HMV DA 5218, only form of issue, 2 Sept., 1940. M-A, Exemplary! MB 8 “[Islandi had a] brilliant lyric tenor, equally at home in concert. An internationally acclaimed artist, one of the glories of Icelandic vocal history. A beautiful…voice with an Italianate sound and style.” – Richard T. Soper, NORDIC VOCES, p.243 K1668. STEFAN ISLANDI & HENRY SKJAER, w.Egisto Tango Cond.: Les Pêcheurs de Perles – Au fond du temple saint (in Danish) / Forza - Solenne in quest'ora (in Italian). 12” EL HMV DB 5268, POM-29 May, 1942. MINT MB 8 “The Pearl Fishers duo is sung here in Danish but does not suffer in any way from this, as the style is captured perfectly….The two sides from Il Trovatore are splendidly sung [in Italian] with [Islandi’s] wife, the warm-voiced Danish contralto Else Brems….both artists sound very effective.” - Alan Bilgora, THE RECORD COLLECTOR, 2010 K1669. HANS BUFF-GIESSEN: La Dame Blanche – Viens, gentille dame (Boiëldieu) / Mignon – Adieu, Mignon, courage (both in German). 10” AC black Dresden Pre-Dog G.C.-3-42324/42701 (185r/4643h), POM-1905/’06, resp. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. An outstanding copy of this rarity, only two of Buff-Giessen’s celebrated six recorded sides! MB 1250 K1670. OTTO BRIESEMEISTER: Siegfried – Nothung! Nothung! (Schwertlied) / Das Rheingold – Über Stock und Stein zu Tal. 10½” AC brown German Odeon 64774/75 (xB 3464/67), only form of issue, 1907. M-A, choice copy has, Sd. 1 only, faintest pap. rub, inaud. MB 160 K1671. KARL ERB: Tannhäuser – Inbrunnst im Herzen (Rome narrative), 2s. 12” AC beige, black & brown German Odeon Rxx 76477/78 (xxB 6066/67), only form of issue, 1914. A-B, very decent copy has lt. rubs & cosmetic mks, inaud. MB 15 K1672. KARL ERB: Die Meistersinger – Preislied / Am stillen Herd. 10½” AC beige, black & brown German Odeon Rx 98000/16 (xB 5745/44), only form of issue, 1912. A-B, very decent copy has lt. rubs & numerous lt. scrs, ever-so-faintly audible. MB 15 K1673. KARL ERB: Rigoletto – Questa o quella? / La donna è mobile (both in German). 10½” AC beige, black & brown German Odeon Rx 98054/55 (xB 6068/69), only form of issue, 1914. A-B, very decent copy has lt. rubs & cosmetic mks, inaud. MB 15 K1674. KARL ERB, w.Seidler-Winkler (Pf.): Litanei (Schubert) / O Jesulein süss (Bach). 10” EL plum HMV EG 3184, only form of issue, 1934. M-A, Exemplary! MB 8 K1675. KARL ERB, w.Seidler-Winkler (Pf.): Nun wandre, Maria / Schlafendes Jesukind (both Hugo Wolf). 10” EL plum HMV EG 3498, only form of issue, 1935. M-A, Exemplary! MB 8 K1676. KARL ERB, w.Seidler-Winkler (Pf.): Zum neuen Jahr (Hugo Wolf) / Ein gar alt Fröhlich (Zilcher). 10” EL plum HMV EG 3499, only form of issue, 1935. M-A, Exemplary! MB 8 K1677. KARL ERB, w.Seidler-Winkler (Pf.): Verborgenheit / Gebet (both Hugo Wolf). 10” EL plum HMV EG 3591, only form of issue, 1935. M-A, Exemplary! MB 8 K1678. KARL ERB, w.Seidler-Winkler (Pf.): Nacht und Träume / Des Fischers Liebesglück (both Schubert). 10” EL plum HMV EG 3611, only form of issue, 1936. M-A, Exemplary! MB 8 K1679. KARL ERB, w.Seidler-Winkler (Pf.): An Sylvia (Schubert) / Lerchengesang (Brahms). 10” EL plum HMV EG 3687, only form of issue, 1936. M-A, Exemplary! MB 8 K1680. KARL ERB, w.Seidler-Winkler (Pf.): Du bist die Ruh’ / Ave Maria (both Schubert). 10” EL plum HMV EG 3756, only form of issue, 1936. M-A, Exemplary! MB 8 K1681. KARL ERB, w.Seidler-Winkler (Pf.): Der Wanderer an den Mond / Liebesbotschaft (both Schubert). 10” EL HMV DA 4421, POM-1937. M-A, Exemplary! MB 8 K1682. KARL ERB, w.Seidler-Winkler (Pf.): Am See / An die Laute (both Schubert). 10” EL HMV DA 4422, POM-1937. M-A, Exemplary! MB 8

K1683. KARL ERB, w.Seidler-Winkler (Pf.): A Lieder Recital, incl. Schubert, Schumann, Brahms, Wolf & Loewe, 12s. 6-10" EL PW V 4398/4403, POM-1935-37, in Orig. Album M 501, w.Brochure. M-A, Exemplary! MB 45, the Set. “…the recital magician Karl Erb…had been a member of the Munich ensemble all the way back in the days when Bruno Walter wielded the baton on the conductor’s podium of the opera house. Hans Pfitzner himself was the one who elevated Erb’s unique interpretation of the title rôle in his Palestrina to a position high in the heavens of his admiration. The remarkable thing about Erb’s song interpretation was that it was not just the sheer beauty of his voice that made all the difference…it was also his interpretative acumen. I had the good fortune to be able to learn and profit from the impressions any number of great recitalists made on me in the course of my long life, but ultimately it was Paul Bender and Karl Erb who sparked my great love for the art song.” - Hans Hotter, MEMOIRS, pp.122-23 K1684. KARL ERB, w.Seidler-Winkler (Pf.): Das Lied im Grünen (Schubert) / Frohe Botschaft (Hugo Wolf). 10” EL HMV DA 4420, POM-1937. M-A, Exemplary! MB 8 K1685. KARL ERB, w.Hans Altmann (Pf.): Nachtstück / Gesange des Harfners – Wer nie sein Brot mit Tränen ass (both Schubert). 12” EL Electrola DB 11539, only form of issue (Germany only), 1951 – Erb’s final recording session at age 74! M-A, a gleaming copy. Exceedingly elusive! MB 25 K1686. KARL ERB, w.Seidler-Winkler (Pf.): Das sie hier gewesen (Schubert) / Andenken (Hugo Wolf). 10” EL HMV DA 4423, POM-1937. M-A, Exemplary! MB 8 K1687. KARL ERB, w.Seidler-Winkler (Pf.): Was soll ich sagen? (Schumann) / Die Liebe hat gelogen (Schubert). 10” EL HMV DA 4424, POM-1937, only form of issue, Sd. 1. M-A, Exemplary! MB 8 K1688. KARL ERB, w.Seidler-Winkler (Pf.): Es muss ein Wunderbares sein (Liszt) / Abendlied (Schumann). 10” EL HMV DA 4425, only form of issue, 1937. M-A, Exemplary! MB 8 K1689. KARL ERB, w.Seidler-Winkler (Pf.): Des Fremden kindes heil’ger Christ (Loewe) / Weinachtsgesang (Adam). 10” EL HMV DA 4426, only form of issue, 1937. M-A, Exemplary! MB 8 K1690. KARL ERB, w.Seidler-Winkler (Pf.): Mondnacht / Der Nussbaum (both Schumann). 10” EL HMV DA 4427, only form of issue, 1937. M-A, Exemplary! MB 8 K1691. KARL ERB, w.Seidler-Winkler (Pf.): Adelaide (Beethoven), 2s. 10” EL HMV DA 4428, only form of issue, 1937. M-A, Exemplary! MB 8 K1692. KARL ERB, w.Seidler-Winkler (Pf.): O wüsst’ ich doch den Weg zurück / O kühler Wald (both Brahms). 10” EL HMV DA 4429, POM-1937. M-A, Exemplary! MB 8 K1693. KARL ERB, w.Seidler-Winkler (Pf.): Auf ein altes Bild (Hugo Wolf) / Nachruf (Schoeck). 10” EL HMV DA 4448, only form of issue, 1937. M-A, Exemplary! MB 8 K1694. KARL ERB, w.Seidler-Winkler (Pf.): Im Abendrot / Über allen gipfeln ist ruh’ (both Schubert). 10” EL HMV DA 4459, only form of issue, 1939/’36, resp. M-A, Exemplary! MB 8 K1695. KARL ERB, w.Seidler-Winkler (Pf.): Der Einsame / Der Wegweiser (both Schubert). 12” EL HMV DB 4465, only form of issue, 1937. M-A, Exemplary! MB 8 K1696. KARL ERB, w.Seidler-Winkler (Pf.): Vor meiner Wiege / Der Jüngling und der Tod (both Schubert). 12” EL HMV DB 4466, only form of issue, 1937. M-A, Exemplary! MB 8 K1697. KARL ERB, w.Seidler-Winkler (Pf.): Wer machte dich so krank; Alte Laute (both Schumann) / Ihr Grab (Schubert). 12” EL HMV DB 4467, only form of issue, 1937. M-A, Exemplary! MB 8 K1698. KARL ERB, w.Seidler-Winkler (Pf.): Ich liebe dich; Das Geheimnis / Der Wachtelschlag (all Beethoven). 12” EL HMV DB 4677, only form of issue, 1939. M-A, Exemplary! MB 8 K1699. KARL ERB, w.Gerald Moore (Pf.): Nimmersatte Liebe / MARTA FUCHS: Spanisches Liederbuch – Geh’ Gelibter, geh’ jetzt (both Hugo Wolf). 12” EL HMV DB 6813, only form of issue, 1937. M-A, Exemplary! MB 8 "[Erb] kept his voice without the slightest deterioration till well into his seventies, retaining its almost angelic tone quality, not unlike a German McCormack. In retrospect he emerges as one of the most subtle and fascinating Lieder singers of his age." - Michael Scott, THE RECORD OF SINGING K1700. BERNHARD SÖNNERSTEDT, w.Gerald Moore (Pf.): Prometheus / Der Erlkönig (both Schubert). 12” EL dark-plum Electrola EH 1337. M-A, a gleaming copy. MB 12 K1701. BERNHARD SÖNNERSTEDT, w.Folmer Jensen (Pf.): Michelangelo-Lieder – Wohl denk ich oft; Alles endet, was entstehet; Fühlt meine Seele, 3s / Sd. 4 = Anakreons Grab (all Hugo Wolf). 2-12” EL HMV DB 20161/62. M-A, Exemplary! MB 15, the Pair. K1702. BERNHARD SÖNNERSTEDT & KERSTIN TORLUND, w.Sven Sköld Cond.: Ack, Värmeland du Sköna – Potpourri, 2s. 12” EL Swedish Radiotjänst RD 531. M-A, Exemplary! MB 12 K1703. PAUL SANDOZ, w.Vollenweider (Organ): Matthäus-Passion – Mache dich, mein Herze (w.recit.) (Bach), 2s. 12” EL Swiss HMV DB 10061, only form of issue (Switzerland only), 1943. M-A, pristine copy has wee label tear, Sd. 2 only. MB 12

K1704. PAUL SANDOZ, w.Vollenweider (Organ): Still wie die Nacht (Böhm) / Wo du hingehst (Louis Roessel). 10” EL dark-plum Swiss HMV JK 41, only form of issue (Switzerland only), 1944. M-A, Exemplary! MB 8 K1705. PAUL SANDOZ, w.Vollenweider (Organ): Komm, süsser Tod / Bist du bei mir (both in French) (both Bach). 10” EL Swiss HMV DA 6008 (these same songs sung in German were issued as DA 6007), only form of issue (Switzerland only), 1943. M-A, Exemplary! MB 8 K1706. PAUL SANDOZ, w.Vollenweider (Organ) & Mottier (Cello): Caro mio ben (Giordani) / Xerxes – Ombra mai fu. 12” EL Swiss HMV DB 10043, only form of issue (Switzerland only), 1943. M-A, Exemplary! MB 12 K1707. PAUL SANDOZ, w.Vollenweider (Organ): Messiah – For behold darkness; The people that walked in darkness (in German), 2s. 12” EL Swiss HMV DB 10072, only form of issue (Switzerland only), 1944. M-A, Exemplary! MB 12 K1708. PAUL SANDOZ, w.Marti (Pf.): Die beiden Grenadiere / Wanderlied (both Schumann). 10” EL dark-plum Swiss HMV JK 29, only form of issue (Switzerland only), 1942. M-A, Exemplary! MB 12 K1709. PAUL SANDOZ, w.Marti (Pf.): Ungeduld / Schwanengesang – Leise flehen meine Lieder (Ständchen) (both Schubert). 10” EL dark-plum Swiss HMV JK 24, only form of issue (Switzerland only), 1942. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K1710. PAUL SANDOZ, w.Marti (Pf.): Chanson d’Aliénor / Les Armaillis (both Dorel). 10” EL dark-plum Swiss HMV JK 3, only form of issue (Switzerland only), 1941. M-A, Exemplary! MB 10 K1711. PAUL SANDOZ, w.Marti (Pf.): C’est la petite Gilberte / Mitrailleurlied (both IndeGand). 10” EL dark-green Swiss HMV HE 177, only form of issue (Switzerland only), 1941. M-A, lovely copy has tiny edge bite only to 1st groove. MB 8 K1712. PAUL SANDOZ, w.Marti (Pf.): Am Meer / Der Wanderer (both Schubert). 12” EL dark-plum Swiss HMV HEX 108, only form of issue (Switzerland only), 1942. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1713. PAUL SANDOZ, w.Marti (Pf.) & Mottier (Cello): L’angélus de la mer / Le credo du Paysan (both Goublier). 12” EL dark-plum Swiss HMV HEX 109, only form of issue (Switzerland only), 1942. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1714. PAUL SANDOZ, w.Guilmain (Pf.): Les Trois cloches / À une petite fille de chez nous (both Villard). 12” EL dark-plum Swiss HMV HEX 106, only form of issue (Switzerland only), 1942. M-A, Exemplary! MB 12 K1715. PAUL SANDOZ, w.Paul Baumgartner (Pf.): La vie antérieure / L’invitation au voyage (both Duparc). 12” EL Swiss HMV DB 10035, only form of issue (Switzerland only), 1942. M-A, Exemplary! MB 12 K1716. PAUL SANDOZ, w.Charbonnier (Pf.) & Schrick (Viola da gamba): Cantata #203 - Amore travitore (Bach), 4s. 2-12” EL Trésors de la Musique TM 20/21, only form of issue, 10 Nov., 1950. M-A, Exemplary! MB 20, the Pair. K1717. PAUL SANDOZ & MARIE-LOUISE RACHAT, w.Guilmain (Pf.): La Chanson de Montreux – Sylvie / Dans le Verger désert (Boller). 12” EL pale-green Art Label Swiss HMV HEX 107, only form of issue (Switzerland only), 1942. M-A, lovely copy has, Sd. 1 only, infinitesimal dust scr, inaud. MB 12 “The Swiss baritone, Paul Sandoz, performed in Strasbourg (1932-1934), Lucerne (1934-1941) and Basel (1941-1947). He sang in concerts and oratorios, appearing in Switzerland, Milan, Paris and Bologna. In 1938 he sang in the world première of Honegger’s Jeanne d'Arc au Bûcher. He was a stylish interpreter of many styles of music from baroque to modern. From 1947 to 1950 he taught at the academy of music in Lausanne and from 1949 was professor at the academy of music in Basel.” - Aryeh Oron K1718. WALTER SOOMER: Der Lenz (Hildach) / Die Uhr (Loewe). 10” AC green Polyphon 12376 (21184/89), POM-1912. A-/A, lovely copy has, Sd. 1 only, few lt. rubs, inaud. MB 15 K1719. BØRG LOWENFALK, w.Holger Lund Christiansen (Pf.): Gellert-Lieder (Beethoven), 4s. 2-12” EL plum HMV Z.7032/33. M-A, Exemplary! MB 15, the Pair. K1720. EINAR LARSSON: Nerone – Vivete in pace / Laggiu, tra i giunchi (in Swedish). 12” EL dark-blue German Odeon AA 210222 (xxSto 2652/2808). Larsson, a distinguished Swedish baritone, Stockholm, 1925-27; Copenhagen, 1927-51) was forced to interrupt his career in 1939 after throat surgery. He devoted considerable time assisting retired stage artists. A, lovely copy has lt. rubs, inaud. MB 15 “An older colleague and a true gentleman, Einar Larsson, stood in the wings and noticed how I was perspiring, struggling with the vocal and histrionic interpretation. He took me aside and gave me some words to live by: ‘Young lady, if you continue like this, you’ll be finished in half a year. You rush around like a crazed rat, forcing your voice until it hurts. Think of this: the public should be shaken, not you. This is theater, my dear child. You cannot act so realistically that you harm your voice. Here it is theater, theater, theater.’ Thank you, dear Einar, those were the right words at the right time. I have never forgotten them, even though it took me a while until I learned to incorporate your wise advice.” - Birgit Nilsson, LA NILSSON, p.54 K1721. MARKO ROTHMÜLLER, w.Erede Cond. Philharmonia Orch.: Tannhäuser – O du mein holder Abendstern / Blick’ ich umher. 12” EL plum HMV C.3790, only form of issue, 1948. M-A/A-, lovely copy has, Sd. 2 only, wee cluster dust scrs, positively very ltly audible. MB 8

K1722. MARKO ROTHMÜLLER, w.Suzanne Gyr (Pf.): Songs & Dances of Death (in German) (Mussorgsky), 4s. 2-12” EL Swiss HMV DB 10062/63, only form of issue (Switzerland only), 1943. M-A, a gleaming copy. Exceedingly elusive! MB 35, the Pair “During the war years the Swiss branch of HMV was sufficiently enterprising to record Rothmüller in a variety of songs and lieder. Alas that the enterprise could not help make the records more widely available; production and circulation in Switzerland was clearly small and the records do not seem to have been issued elsewhere. They have become collectors’ rarities on a par with earliest acoustic recordings….Rothmüller’s [Songs & Dances of Death] is presumably the first complete cycle in German.” - Stanley Henig K1723. MARKO ROTHMÜLLER, w.Robertson Cond. Philharmonia Orch.: Così fan Tutte – Donne mie la fate a tantie / Zauberflöte – Ein Mädchen oder Weibchen. 12” EL plum HMV C.4054, only form of issue, 1950. M-A, Exemplary! MB 10 K1724. MARKO ROTHMÜLLER, w.Robertson Cond. Philharmonia Orch.: Andrea Chénier – Nemico della Patria? / Tosca – Tre sbirri, una carrozza (Te Deum). 12” EL plum HMV C.4019, only form of issue, 1950/’48, resp. M-A, Exemplary! MB 10 K1725. MARKO ROTHMÜLLER, w.Erede Cond. Philharmonia Orch.: Rigoletto – Pari siamo! / MARKO ROTHMÜLLER & FRANCA SACCHI: Gia! mi dicon venal. 12” EL plum HMV C.3689, only form of issue, 1947. M-A, Exemplary! MB 10 K1726. MARKO ROTHMÜLLER, w.Erede Cond. Philharmonia Orch.: Rigoletto – Cortigiani / FRANCA SACCHI: Vissi d’arte. 12” EL plum HMV C.3738, only form of issue, 1947. M-A, Exemplary! MB 10 “Marko Rothmuller, who made his Metropolitan Opera début in Die Meistersinger in 1959, had a singing career that began with Der Freischütz in Hamburg in 1932. He rejoined the Met for the 1964-1965 season. By then, he had been appointed a professor of voice at Indiana University, Bloomington, where he started teaching in 1955. He was a native of Croatia, and studied at the Zagreb Music Academy. He went to Vienna to train as a singer with Franz Steiner and study composition with Alban Berg; the title role of Berg's Wozzeck became a signature piece. He studied for that rôle with Erich Kleiber, who conducted the Berlin première of Wozzeck in 1925. After his engagement at the Hamburg Opera, Mr. Rothmuller established himself as one of Europe's most promising baritones, scoring successes particularly in works by Wagner and Verdi. Because he was of Jewish descent, he left Germany in the early 1930's to sing in Zagreb and Zurich, where he appeared regularly until 1947. His European engagements then took him to the Vienna State Opera, Covent Garden and the Glyndebourne Opera. In 1954, he returned to Germany for the first time with a guest appearance in West Berlin. His American début was with the New York City Center Opera as Amonasro in Aïda in 1948, after which he traveled extensively in this country for opera and concert engagements.” - Wolfgang Saxon, THE NEW YORK TIMES, 22 Jan., 1993 K1727. HERMANN SCHEY: Wanderlied (Schumann) / Der Trompeter von Säkkingen – Behüt dich Gott (Nessler). 12” EL green & black Tri-Ergon TE 1052 (310/318). A-/A, lovely copy has, Sd. 1 only, few tiny scrs, inaud. MB 12 K1728. HERMANN SCHEY, w.Meyrowitz Cond.: Midnight review (in German) (Glinka) / Die beiden Grenadiere (Schumann). 12” EL black Kalliope K 774 (30295/96), POM-1929. A-, very decent copy has lt. rubs & few lt. mks, inaud. MB 12 K1729. HERMANN SCHEY, w.Michael Taube (Pf.): Die Schöne Müllerin – Danksagung an den Bach / Ungeduld (Schubert). 10” EL dark-blue Clangor 9173, only form of issue, 1932, accompanied by Clangor broadside with texts. M-A, Exemplary! MB 12 K1730. HERMANN SCHEY, w.Michael Taube (Pf.): Die Schöne Müllerin – Halt! / Wohin (Schubert). 10” EL dark-blue Clangor 9177, only form of issue, 1932, accompanied by Clangor broadside with texts. M-A, Exemplary! MB 12 K1731. HERMANN SCHEY, w.Michael Taube (Pf.): Die Schöne Müllerin – Der Neugierige / Tränenregen (Schubert). 12” EL dark-blue Clangor 9179, only form of issue, 1932, accompanied by Clangor broadside with texts. M-A, Exemplary! MB 12 K1732. HERMANN SCHEY, w.Michael Taube (Pf.): Winterreise – Die Krähe / Der Leiermann (Schubert). 10” EL dark-blue Clangor 9183, only form of issue, 1932. M-A/A, lovely copy has, Sd. 1 only, faint pap. scuffs, inaud. MB 12 K1733. HERMANN SCHEY, w.Michael Taube (Pf.): Winterreise – Der Lindenbaum / Gutte Nacht (Schubert). 12” EL dark-blue Clangor 9175, only form of issue, 1932. M-A, Exemplary! MB 12 K1734. HERMANN SCHEY, w.Michael Taube (Pf.): Winterreise – Frühlingstraum / Der Wegweiser (Schubert). 12” EL dark-blue Clangor 9181, only form of issue, 1932. M-A, Exemplary! MB 12 “Hermann Schey sang the Kindertotenlieder under Willem Mengelberg with the Concertgebouw Orchestra in 1929 and left so lasting impression that he returned annually to Holland, particularly to perform memorable performances of Matthäus-Passion, also under Mengelberg. He gave the première performances of several lieder by Othmar Schöck, and in 1930 sang in Berlin the bass-solo in the première of the cantata Das Dunkle Reich by Hans Pfitzner. He immigrated in 1934 to Holland and when Holland was occupied in 1940 by the German army, being a Jew he had to hide himself until the end of the war. Then he resumed his career and participated in the Holland Festival and in further international festivals.”

K1735. BAPTIST HOFFMANN: Pagliacci – Prologo / Carmen – Chanson du toréador (both in German). 10” AC black Berlin Concert Gram. G.C.-3–42401/02 (3932/30h), POM-1905. A-, very decent copy has lt. rubs & hint of grey on peaks, inaud. MB 10 K1736. BAPTIST HOFFMANN: Tannhäuser – O du mein holder Abendstern / Der Fliegende Holländer – Wie aus der Ferne. 10” AC green Berlin Zonophone X-2–22087/88 (1072/73ab), POM-17 May, 1909. M-A, choice copy has, Sd. 2 only, hint of grey on peaks, inaud. MB 12 K1737. BAPTIST HOFFMANN & EMILIE HERZOG: Pagliacci - Sei là? Credea che te ne fossi andato (in German) / PAUL KNÜPFER & HERMANN BACHMANN: Der Fliegende Holländer – Wie, hör’ ich recht? 10” AC black Berlin Pre-Dog G.C.-2-44289/88 (2986r/10479½u), POM-1907. A-B, very decent copy has lt. rubs, inaud.; sev. scrs, ever-so-faintly audible. MB 10 K1738. BAPTIST HOFFMANN & ERNA DENERA: Der Fliegende Holländer – Versank ich jezt in wunderbares Träumen?, 2s. 11½” AC H & D grey paper label US-Pathé 62004 (15635-1/15635-2), recorded 1910. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 “Baptist Hoffmann created the rôle of Rathenow in Leoncavallo’s Roland von Berlin. He studied with Julius Stockhausen and became the teacher of Paul Bender.” K1739. PAUL BENDER: Der Nöck (Loewe), 2s. 12” AC black Schall. Gram. 65576 (1257/58m), POM-1918. A/A-, lovely copy has faintest pap. rubs, inaud.; Sd. 2 only has few tiny scrs & faint nr, ltly audible. MB 12 K1740. PAUL BENDER: Der Wanderer (Schubert) / Der Mummelsee (Loewe). 12” AC black Schall. Gram. 65575 (1256/59m), POM-1918. A-, lovely copy has lt. rubs & very occasional lt. & tiny scr, inaud. MB 15 K1741. PAUL BENDER: Zauberflöte – O Isis und Osiris / In diesen heil’gen Hallen. 10” AC black Schall. Gram. 62304 (19202/03L), POM-1918. M-A, choice copy has, Sd.2 only, 3 infinitesimal mks, positively inaud. MB 20 K1742. PAUL BENDER: Die Meistersinger – Das schöne Fest, Johannistag / DENERA, OBER, JÖRN, SOMMER & ZADOR: Selig wie die Sonne. 12” AC black Schall. Gram. 65121 (380/499s), POM-1909 / 17 Sept., 1910. M-A, Exemplary! MB 20 K1743. PAUL BENDER: Barbiere – La Calunnia / Faust – Le veau d’or (both in German). 10½” AC brown German Odeon 99503/04 (xB 4843/44), only form of issue, 1909. A-B, very decent copy has lt. rubs & faint scrs, inaud.; minuscule hlc appears Sd. 2 only. MB 15 K1744. PAUL BENDER, w.Michael Raucheisen (Pf.): Traum durch die Dämmerung (Strauss) / Der alte Herr (Graener). 10” EL plum PW HMV EG 6107, POM-21 April, 1933. M-A, Exemplary! MB 12 K1745. PAUL BENDER, w.Michael Raucheisen (Pf.): Edward / Erlkönig (both Loewe). 12” EL plum PW HMV C 2591, POM-20 April, 1933. M-A, lovely copy has, Sd.1 only, sev. infinitesimal dust mks, ltly audible, just a few turns. Sd. 2 a particularly compelling rendition! MB 15 K1746. PAUL BENDER, w.Michael Raucheisen (Pf.): Tom der Reimer / Hochzeitslied (both Loewe). 12” EL plum PW Electrola EH 830, POM-24 April, 1933, only form of issue, Sd.2. M-A, beautiful copy has very lt. spotting, positively inaud. This captures a wonderful ‘hall’ ambiance! MB 15 K1234. PAUL BENDER & MARGARETHE PREUSE-MATZENAUER: Mignon – Légères hirondelles / RIZA EIBENSCHÜTZ & MINNI NAST: Nozze – Che soave zeffiretto (Letter duet) (both in German). 10” AC black Dresden Gram. Concert G.C.-3-44031/32 (323ab /5076r), POM-5 Jan., 1909 / 1908. A-B, very decent copy has lt. rubs & very few lt. scrs, inaud. Exceedingly elusive! MB 75 “A pupil of Louise Ress and Baptist Hoffmann, Paul Bender made his official stage début as Sarastro in 1900 at Breslau. In 1903 he was engaged by the Munich Opera, and continued as their first bass for 30 years; his last performance, as Don Basilio, took place there only seven days before his death. Bender made his Covent Garden début in 1914 as Amfortas in the British stage première of Parsifal; although the rôle was described as being rather high for his fine basso cantante, he made a profound impression. His other rôles during this German winter season were Hunding, Sachs and Jacob in Méhul's Joseph. When German performances resumed at Covent Garden in 1924 and 1927, Bender showed his outstanding gifts as a comedian in the parts of Osmin and Baron Ochs, but was again much admired in his Wagner rôles, especially as Hagen. He created the rôle of Pope Pius IV at the première of Hans Pftizner's Palestrina, 1917 in Munich, and sang all the leading bass rôles of the German repertory at the Metropolitan (1922-27). Bender was a fine actor, and his great stature contributed to an imposing stage presence. He became famous also as a lieder singer, especially in the songs and ballads of Carl Loewe. Among his many recordings, the most valuable are those of Loewe ballads made in 1930 and 1933 , which reveal a gripping dramatic power, a distinctness of enunciation and a quiet humour that are delightful. His students included Josef Greindl and Hans Hopf.” K1747. GOTTLOB FRICK, w.Schüchter Cond.: Don Carlos – Ella giammai m’amò; Dormirò sol (in German), 2s. 12” EL plum Electrola DB 11555, only form of issue, 13 June, 1953. A-, lovely copy has lt. rubs, inaud.; Sd. 1 only has faint pap. scr, also inaud. MB 15 “Frick’s voice, instantly recognisable by its dark, evil-sounding, almost reptilian timbre, was aptly described by Wilhelm Furtwängler as 'the blackest bass in Germany' (der schwärzeste Bass in Deutschland). This made up for the fact that it was somewhat smaller than others such as Josef Greindl's, Ludwig Weber's, and Kurt Böhme's.”

K1748. JOSEF GREINDL, w.Fritz Lehmann Cond.: Nozze – Non più andrai / Abrite un po’ (in German). 10” EL Variable Micrograde DGG 36025, only form of issue, 27 March, 1952. M-A, a gleaming copy. MB 12 K1749. JOSEF GREINDL, w.Rieger Cond.: Faust – Le veau d’or / Vous qui faites l’endormie (1952 Versions) (both in German). 10” EL DGG 62887, only form of issue, 17 March, 1952. M-A, a gleaming copy. MB 12 “Josef Greindl was considered as one of the greatest Wagner singers of his time. He had a powerfully expressive bass voice, whose clarity of declamation exhibited his stylistic projecting ability. Josef Greindl was equally convincing in dramatic and Buffo rôles. He also excelled in concert singing.” - Aryeh Oron K1750. PAUL KNÜPFER: Der Wanderer (Schubert) / Tom der Reimer (Loewe). 12” AC black Gram. Concert 042262/61 (479/78s), POM-1910. A-B, very decent copy has, primarily Sd. 1, lt. rubs, inaud. MB 12 K1751. PAUL KNÜPFER: Die Hirten (Hirten wachen im Feld) / Die Könige (Drei Könige wandern) (both Cornelius). 10” AC black Gram. Concert G.C.-4-42388/87 (7913/12r), POM-5 Oct., 1910. A-/A-B, very decent copy has lt. rubs, inaud. MB 12 K1752. PAUL KNÜPFER: Archibald Douglas (Loewe), 2s. 12” AC black Monarch Gram. 042362/63 (245/46ai), POM-18 Sept., 1912. A to M-A, choice copy has occasional superficial scr, inaud. MB 20 K1753. PAUL KNÜPFER: Ich grolle nicht (Schumann) / Herbst (Rehbaum). 10” AC black Schall. Gram. 4-42577/78 (13713/55r), only form of issue, 20 / 27 March, 1914. A to M-A, beautiful copy has few wee pressing bumps; Sd 2 only has few lt. rubs, inaud. MB 15 K1754. PAUL KNÜPFER: Der Wagen rollt (Fürst) / Der letzte Gruss (Levi). 10” AC black Schall. Gram. 4-42373/74 (7456/57r), POM-1910. A to A-, lovely copy has very occasional lt. rub, inaud. MB 15 K1755. PAUL KNÜPFER: Wanderlied (Schumann) / Der Schlesische zecher und der Teufel (von Reissinger). 10” AC black Gram. Concert G.C.-4-42368/69 (7459/58r), POM-1910. A to A-, lovely copy has faint rubs & very few pap. scrs, inaud. MB 15 K1756. PAUL KNÜPFER: Frundsberg – Die Werbetrommel geht durchs Land; Hell gleitet der Stern; Darauf liess ich mich werben; Ich steck’ an meine Hosen Patronen an die zehn (Max Zenger), 2s. 12” AC black Berlin Monarch Gram. 042390/91 (660/61m), POM-19 Dec., 1912. A-, very decent copy has lt. rubs, inaud. MB 15 K1757. PAUL KNÜPFER: Frundsberg – Die Werbetrommel geht durchs Land; Hell gleitet der Stern; Darauf liess ich mich werben; Ich steck’ an meine Hosen Patronen an die zehn (Max Zenger), 2s. 12” AC PW black Historic Catalogue #2 HMV D 804, (660/61m), POM-19 Dec., 1912. M-A, gleaming copy has, Sd. 2 only, wee cluster dust mks, inaud. MB 25 K1758. PAUL KNÜPFER: Zauberflöte – In diesen heil’gen Hallen (1913 Version) / Don Carlos – Ella giammai m’amo (in German). 12” AC black Schall. Gram. 65171 (1139/1267s), POM-28 Aug. / 20 Nov., 1913. A to M-A, lovely copy has, Sd. 1 only, various lt. scrs, ever-so-faintly audible. MB 15 K1759. PAUL KNÜPFER: Zauberflöte – O Isis und Osiris / In diesen heil’gen Hallen (1905 Versions). 10” AC black Schall. Gram. 3-42275/42339 (160/161r), POM-1905. A to M-A, beautiful copy has few faint rubs, inaud. MB 15 K1760. PAUL KNÜPFER: Zauberflöte – O Isis und Osiris / In diesen heil’gen Hallen (1905 Versions). 10” AC PW black Historic Catalogue #2 HMV E 327 (160/161r), POM-1905. A to M-A, choice copy has few faint rubs, inaud. MB 15 K1761. PAUL KNÜPFER: Zauberflöte – O Isis und Osiris (1913 Version) / Der Waffenschmied – Auch ich war ein Jüngling (Lortzing). 12” AC black Schall. Gram. 042403/02 (400/355al), only form of issue, 16 April / 31 March, 1913. M-A, choice copy has, beg. Sd. 2 only, tiny scr, ever-so-faintly audible. MB 20 K1762. PAUL KNÜPFER: Der Fliegende Holländer – Wie, hör’ ich recht? 10” AC black Berlin Pre-Dog G.C.-2-44289/88 (2986r/10479½u), POM-1907. A-B, very decent copy has lt. rubs, inaud.; sev. scrs, ever-so-faintly audible. MB 10 Paul Knüpfer spent most of his career at the Berlin Imperial Opera where he was a noted buffo bass. He sang Baron Ochs in the Berlin premiere of Der Rosenkavalier. He often performed with his wife, soprano Maria Knüpfer-Egli. K1763. JOSEPH SCHWARZ: Hans Heiling – An jenem Tag (Marschner) / Rigoletto – Cortigani (in German). 12” AC red German Polydor 72600 (1407s/1021m), POM-1916/’18, resp. A-, lovely copy has, Sd.2 only, 2 lt. scuffs & 1 tiny pap. scr, inaud. MB 15 K1764. JOSEPH SCHWARZ: Il Trovatore – Il balen (in German). 12” AC red Schall. Gram. 72532 (956m), POM-1916. A-, lovely copy has lt. rubs & long, faint nr, positively inaud. MB 15 K1765. JOSEPH SCHWARZ: Zazà – Zazà, piccola zingara (in German). 12” AC black on blue Lyre-playing nude Opera Disc 72712 (1409s), POM-1918. A-, very decent copy has lt. rubs, inaud. MB 15 K1766. JOSEPH SCHWARZ: Freundliche vision / Heimliche Aufforderung (both Strauss). 10” AC red Schall Gram. 70598 (19099/97L), POM-1918. A to M-A, lovely copy has faintest pap. rubs & 2 wee pressing indents, ever-so-faintly audible. MB 40

K1767. JOSEPH SCHWARZ: O quand je dors (in German) (Liszt). 12” AC Schall. Gram. 042510 (1032m), POM-1916. A to M-A, beautiful copy has 2 wee pap. rubs, inaud. Truly a ‘desert island’ record! MB 35 “The great German baritone of the nineteen-tens and twenties was Joseph Schwarz...he seems to be exceptional in the beauty of his singing, the ancestor of a notable generation of German baritones, Schlusnus, Hüsch and Janssen chief among them....the tone is strong and resonant and the upper range brilliant...he maintained an exemplary legato....” - J.B. Steane, THE GRAND TRADITION, p.91 K1768. JOSEPH SCHWARZ: La Traviata – Di Provenza il mar / Les Contes d'Hoffmann - Scintille diamant (both in German). 12” AC red German Polydor 72530 (1023/954m), POM-1916. M-A, a gleaming copy. MB 45 K1769. JOSEPH SCHWARZ: Rigoletto – Io piango / I Pagliacci – Prologo (both in German). 12” AC pink Lindström Parlophon P.335 (698/999), POM-1912. A/A-, lovely copy has, Sd. 2 only, few wee cosmetic scrs, inaud. MB 25 K1770. JOSEPH SCHWARZ: L’Africaine – Avoir tant adorée / Fille des rois (both in German). 12” AC red Schall Gram. 72534 (1030/29m), POM-1916. M-A, choice copy has, Sd 2 only, faintest pap. rub, inaud. MB 45 K1771. JOSEPH SCHWARZ: Guillaume Tell - Sois immobile (in German) / Zar und Zimmermann – Sonst spielt’ ich mit Szcepter. 12” AC Art Label (Girl at window with morning glory horn) Parlophon P.1670/71, POM-1912. M-A, choice copy has, Sd. 1 only, few infinitesimal pap. rubs, inaud. Extraordinarily Elusive, especially in such beautiful condition! MB 65 K1772. JOSEPH SCHWARZ: Le Roi De Lahore – Promesse de mon avenir (in German) / Hérodiade – Vision fugitive (sung exquisitely in French). 12” AC pink Lindström Parlophon P.336 (1677/78), only form of issue, 1912. M-A, beautiful copy has, Sd 1 only, minuscule scr, positively inaud. Most Elusive, Sd.2 being Schwarz’s sole recording in French! MB 45 K1773. JOSEPH SCHWARZ: Les Contes d'Hoffmann – Scintille diamant / Rigoletto – Pari siamo (both in German). 12” AC black Schall Gram. 042495/94 (954/53m), POM-1916. M-A, a gleaming copy of another ‘desert island’ record! MB 45 K1774. JOSEPH SCHWARZ: Ballo – Eri tu (1916 Version) / Il Trovatore – Il balen (both in German). 12” AC black Schall. Gram. 042496/97 (955/56m), POM-1916. M-A, Exemplary! MB 35 K1775. JOSEPH SCHWARZ: Ballo – Alla vita che t’arride / Faust – Avant de quitter ces lieux (both in German). 12” AC red German Polydor 72599 (1020m/1408s), POM-1916/’18, resp. M-A, exemplary copy has, Sd 2 only, faintest pap. rubs & minuscule pap. scr, inaud. MB 35 K1776. JOSEPH SCHWARZ: Tannhäuser – O du, mein holder Abendstern. 12” AC red Schall. Gram. 72675 (1405s), POM-1918. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K1777. JOSEPH SCHWARZ: Tannhäuser – Blick’ ich umher / O du, mein holder Abendstern. 12” AC red German Polydor 72674 (1404/05s), POM-1918. M-A, choice copy has, Sd. 1 only, infinitesimal rub, barely visible & inaud. MB 35 K1778. JOSEPH SCHWARZ, w.Heinrich Grünfeld (Cello): Caro mio ben (Giordani) / Kol Nidrei (Lewandowski). 12” AC Schall. Gram. 72533 (1267/1031m), POM-1916. A-, very decent, unworn copy has various minuscule dust scrs, positively ltly audible. MB 15 K1779. JOSEPH SCHWARZ & CLAIRE DUX: Il Trovatore – Vivrà! contende il giubilo (in German) / CLAIRE DUX: La Boheme – Quando m'en vo (in Italian). 10” AC brown shellac Vocalion 24062 (19024L/1120ar), POM-1917. M-A, a gleaming copy. MB 35 K1780. JOSEPH SCHWARZ & HERMANN JADLOWKER: Guarda che bianca luna (Campana; in Italian). 10” AC black on blue Lyre-playing nude Opera Disc 74590 (14075r), POM-1918. A to M-A, choice copy has faintest pap.rubs, positively inaud. MB 25 “Joseph Schwarz made his début at Linz in 1900 as Amonasro. Subsequently he toured with enormous success and returned to his home town Riga at the Imperial Opera in St. Petersburg. He was invited at the Vienna Volksoper and later he became member of the Imperial Vienna Opera where he remained an admired member of the ensemble from 1909 to 1915. After the sudden demise of the popular Leopold Demuth he had to take over the latter’s rôles. After a guest appearance in Berlin in 1915, the singer decided to terminate his contract with the Vienna Opera and moved to Berlin where he was hailed as the ‘second Battistini’. He soon became one of the most splendid and popular members of the ensemble. His psychological study of Iago made theatre history in Berlin. In 1921 he toured the United States, and for several years he was associated with the Civic Opera Company in Chicago and was also immediately engaged at the Met. His singing was enhanced by his superb stage presence and his histrionic ability caused his style to be compared to Chaliapin’s! Joseph Schwarz ideally combined classical Italian ‘belcanto style’ with emotional intensity; he belongs in the constellation of the greatest baritones of the 20th century. His is a gloriously vibrant, warm and dark-colored voice of outstanding quality. His legato and resonant mezza voce, his musical expression and flexibility are remarkable.” - Andrea Shum-Binder, subito-cantabile K1781. EDOUARD ROUARD, w.Defosse Cond.: Faust – Écoutez-moi bien (Mort de Valentin) / EDOUARD ROUARD, VILLABELLA & BILLOT: Que voulez-vous, Messieurs? 12” EL red Decca-Odeon G-25862, POM-1930. M-A, Exemplary! MB 8

K1782. EDOUARD ROUARD: Lakmé – Lakmé, ton doux regard se voile / Hérodiade – Vision fugitive. 12” AC black Disque Gram. W 409, only form of issue, 18 May, 1921. M-A, Exemplary! MB 12 “Having débuted at l’Opéra in 1912, Rouard is perhaps best remembered for having created the rôle of Alaouddin in Roussel’s Padmavati, 1 Jan., 1923. He remained at l’Opéra through 1929.” K1783. MICHEL DENS, w.Blot Cond.: Tannhäuser – O du mein holder Abendstern / Blick’ ich umher (in French). 12” EL Pathé PDT 279, only form of issue, 1952. M-A, Exemplary! MB 12 K1784. MICHEL DENS, w.Cluytens Cond.: Barbiere – Largo al factotum (in French) / Le Jongleur de Notre-Dame – Fleurissait une sauge (Légende de la Sauge). 12” EL Pathé PDT 162, only form of issue, 1948. M-A, Exemplary! MB 12 K1785. MICHEL DENS, w.Cariven Cond.: Das Land des Lächelns – Dein ist mein ganzes Herz / MICHEL DENS & JACQUELINE de BOURGES: Bei einem Tee en deux (both in French) (Lehár). 10” EL Pathé PD 159, only form of issue, 1951. M-A, gleaming copy has, Sd. 1 only, faint pap. rub, inaud. MB 12 K1786. MICHEL DENS, w.Gressier Cond.: Les Cloches de Corneville – J’ai fait trois fois le tour du monde / Non, vous le voyez (Planquette). 10” EL dark-blue Pathé PA 3007, only form of issue, 1951. M-A MB 12 “After the Second World War, Dens began a very successful career at the Opéra-Comique and the Palais Garnier in Paris. His début rôle at the Opéra in 1947 was in the title rôle of Rigoletto. He appeared with success at the Aix-en-Provence Festival and at most of the great Opera Houses of France. He also appeared in Belgium, Switzerland, Canada, North Africa. He enjoyed a remarkably long and successful career, singing in opera as late as 1979, and also scoring magnificent success in French and Viennese operettas, notably in Lehár's The Land of Smiles and The Merry Widow. With his well trained and expressive baritone voice, Dens was a tireless and amazingly consistent performer (singing Sou-Chong in Land of Smiles 250 consecutive nights during the 1951-52 season). He sang an estimated 10,000 performances during his long career.” K1787. CHARLES SOIX, w.André Tournier (Pf.): Mélodies Persanes - Extase (Rubinstein) / Songs and Dances of Death – Field Marshal Death (Mussorgsky) (both in French). 12” EL Pathé PDT 112, only form of issue, 28 May, 1946. M-A, a gleaming copy. MB 15 K1788. CHARLES SOIX, w.André Tournier (Pf.): Berceuse (Gretchaninoff) / Ballade (Moussorgsky) (both in French). 10” EL Pathé PD 54, only form of issue, 28 May, 1946. A to M-A, choice copy has faintest pap. rubs, inaud. MB 12 “Charles Soix sang mostly comprimario parts at the Paris Opéra, where his début rôle in 1953 was the Duke in Roméo et Juliette. He is especially remembered as the Dapertutto on the French Columbia recording of Les Contes d’Hoffmann, with Raoul Jobin, Renée Doria, Vina Bovy, and Geori Boué.” - Vincent Giroud, Marston Program Notes for Firebirds of Paris K1789. ORPHÉE LANGEVIN: Tannhäuser – O du, mein holder Abendstern (in French) / ANITA RIO: Madama Butterfly – Un bel dì. 10” AC paper label Edison H & D 80761 (4185/3825), only form of issue, 1923. M-A, a gleaming copy. MB 15 “Orphée Langevin was born in Québec around 1880. At the beginning of the century he studied in Paris with Emmanuel Lafarge, Léon Melchisédec and Dubulle. Beginning in 1916, he recorded opera arias (Tannhäuser, La Traviata, Benvenutto Cellini, L'Africaine, Hamlet), several of which were duets with Alice Verlet and Odette Le Fontenay, on both cylinder and lateral-cut Edison Diamond records for the American Edison company. His recording career lasted until at least 1924.” - Robert Thérien, Library and Archives, Canada K1790. JEAN AQUISTAPACE: Le Châlet – Arrêtons-nous ici (Adam) / Hérodiade – Dors, ô cité perverse! 11½” AC H & D green paper label Pathé 0388 (438/456), only form of issue, 1922. M-A, a gleaming copy. MB 20 “Jean Aquistapace studied singing with bass-baritone Édouard Rouard. He was the first Frenchman to sing Boris in French: the performance took place at the Grand-Théâtre in Lyons in 1913. It was also as Boris that he made his début at the Paris Opéra when he succeeded Vanni-Marcoux in the rôle in 1922. Other parts he sang at the Opéra include Sparafucile (Rigoletto), Méphistophélès (Faust) and Papageno (Zauberflöte). He also sang the Devil in Grisélidis when Massenet’s opera was first staged at the Opéra in 1922 with Robert Couzinou as the Marquis and Fernand Ansseau as Alain.” - Vincent Giroud, Marston Program Notes for Firebirds of Paris K1791. CHARLES CAMBON, w.Roussel Cond.: Marche des Allobroges (arr.Viot) / Mourir pour la Patrie (Chant des Girodins) (Verney) (French popular patriotic songs). 10” EL white & green French Polydor 521.839 (3973/3951), only form of issue, c.1932. A-B, very decent copy has lt. rubs, inaud. This exceptionally forward recording has cloudy surfaces, yet the brilliant performances play very clearly. Exceedingly elusive! MB 15 K1792. CHARLES CAMBON, w.Fourestier Cond.: Hérodiade – Vision fugitive / Thaïs – Voilà donc la terrible cité. 12” EL LVSM DB 11.238, only form of issue, 1950. M-A, Exemplary! MB 15 K1793. CHARLES CAMBON & DALERANT: Boris Godounov – Prologue (Introduction), 2s. 12” EL early PW Col. 7255-M, POM-1929. M-A, choice copy of preferred mid-1930s pressing. MB 12 “From 1930 until 1953 Cambon was arguably the dominant French dramatic baritone of his time, singing all the larger Heldenbaritone rôles….He sang Orest in the Paris première of Elektra (1932), and was also in the Paris première of Turandot in 1928. In 1936 he sang in the première of Enescu’s Oedipe.”

K1794. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Soupir (1925 Version) (Acc. by the Composer) / Fontaines – L’antique fontaine; De bon matin (Cras). 10” AC PW Disque Gram. DA 689, only form of issue, 6 Feb., 1925. A to M-A, lovely copy has, Sd. 2 only, infinitesimal dust mk, inaud. Exceedingly elusive! MB 65 K1795. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Il était jadis un berger; Chanson de Marie / Vivons heureux (arr.Weckerlin). 10” EL PW Disque Gram. DA 4812, only form of issue, 23 / 26 June, 1931. M-A, Exemplary! MB 35 K1796. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Le secret (Fauré) / Chanson de l’adieu (Tosti). 10” EL PW Disque Gram. DA 4814, only form of issue, 26 June, 1931. M-A, a gleaming copy. MB 35 K1797. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Ninon (Tosti) / Chant hindou (Désespérance) (Bemberg). 12” EL PW Disque Gram. DB 1515, only form of issue, 14 April, 1931. M-A, a gleaming copy. MB 35 K1798. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: L’ultima canzone / Segreto (both in Italian) (both Tosti). 12” EL PW Disque Gram. DB 1473, only form of issue, 24 Sept, 1930. M-A, choice copy has faintest pap.rubs, inaud.; Sd.1 label sl. smudged. MB 50 K1799. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Ma poupée chérie (de Séverac) / Plaisir d’amour (Martini) (1925 Versions). 12” AC PW Disque Gram. DB 925, only form of issue, 6 Feb. / 24 Sept., 1925. M-A MB 45 K1800. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Ma poupée chérie (de Severac) / Plaisir d’amour (Martini) (1928 Versions). 12” EL PW Disque Gram. DB 1175, only form of issue, 28 / 18 June, 1928. M-A, Exemplary! MB 35 K1801. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Ma poupée chérie (de Severac) / Plaisir d’amour (Martini) (1933 Versions). 12” EL PW Disque Gram. DB 4916, only form of issue, 22 Nov., 1933. M-A, lovely copy has occasional lt. rub, inaud.; Sd. 1 only has 2 infinitesimal mks, positively inaud. MB 35 “The three versions [above] of de Séverac’s berceuse ‘Ma poupée chérie’ attest to the popularity of the piece—which is indeed to this day the most popular piece penned by the Languedocien composer.” - Vincent Giroud, Marston Program Notes K1802. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): La pêche des moules; Trop aimable Sylvie / L’étoile du matin (all arr.Weckerlin). 10” EL plum PW Disque Gram. K 6955, only form of issue, 2 May, 1932. M-A, gleaming copy has, Sd 2 only, sev. infinitesimal pap. scrs, inaud. MB 25 K1803. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Chanson des heures (Privas) / Le temps des cerises (Renard). 10” EL plum PW Disque Gram. K 7148, only form of issue, 22 Nov., 1933. M-A, gleaming copy has, Sd. 2 only, infinitesimal pap. scr, barely visible & inaud. MB 35 K1804. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Cléopâtre – Solitaire sur ma terrasse (Massenet) / Hamlet – Être ou ne pas être (Thomas). 12” EL vinyl Historic Masters HMB 12, POM-5 Oct., 1931. MINT MB 12 K1805. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: La Damnation de Faust – Devant la maison / Chanson de la puce. 10” EL PW Disque Gram. DA 1158, only form of issue, 23 Sept., 1930. A-, very decent copy has lt. rubs, inaud. MB 15 K1806. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Der Lindenbaum / Morgengruss (both in French) (Schubert). 12” EL PW Disque Gram. DB 4821, only form of issue, 23 June, 1931. M-A, a gleaming copy. MB 35 K1807. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Die Forelle / Lachen und weinen (both in French) (Schubert). 10” EL PW Disque Gram. DA 989, only form of issue, 28 June, 1928. M-A, a gleaming copy. MB 35 “In all of [his examples of German Lied] Vanni-Marcoux’s sensitive handling of the text is so persuasive that one could easily forget that they are done in translation.” - Vincent Giroud, Marston Program Notes K1808. JEAN-ÉMILE VANNI-MARCOUX, w.Janine Houssaye (Pf.): Le chant des charpentiers / Le chant des demoiselles de magasin (both Victor Larbey). 10” EL red & gold Chants des Métiers DR XII, only form of issue, 1931-32. B/B-, decent copy has considerable rubs & scrs, mainly cosmetic; Sd. 2 only has short but deep scr. Socialist songs which Vanni-Marcoux recorded for this label. Ultra Rare! MB 45 K1809. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Le manoir de Rosemonde (Duparc) / Der Nussbaum (in French) (Schumann). 10” EL PW Disque Gram. DA 1123, only form of issue, 28 May, 1930. M-A, Exemplary! MB 35 K1810. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Cantatille (Lancel) / Chanson normande (arr.Weckerlin). 10” EL PW Disque Gram. DA 4804, only form of issue, 23 / 26 June, 1931. M-A, a gleaming copy. MB 45 K1811. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Je me mets en votre mercy / Offrande (both Hahn). 10” EL PW Disque Gram. DA 1201, only form of issue, 14 April, 1931. M-A, a gleaming copy. MB 20 “Hahn is represented with two songs, the 1891 ‘Offrande’, on the Verlaine text more famously set by Debussy, and the Charles d’Orléans-based ‘Je me mets en votre mercy’—an altogether delightful performance.” - Vincent Giroud, Marston Program Notes K1812. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond. Panurge – Touraine est un pays (Massenet) (Creator Record, 25 April, 1913, Gaîté-Lyrique, Paris) / FERNAND ANSSEAU & TILKIN SERVAIS: La Muette de Portici – L’amour sacré de la patrie (Auber). 10” EL white Archive HMV VA 54, POM-28 May / RR-26 May, 1930. MINT MB 8

K1813. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola (Pf.): Le beau séjour; Dans notre village (arr.Weckerlin) / Panurge – Touraine est un pays (Massenet) (Creator Record, 25 April, 1913, Gaîté-Lyrique, Paris). 10” EL PW Disque Gram. DA 1124, POM-28 May, 1930, only form of issue, Sd. 1. M-A, Exemplary! MB 45 K1814. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Envoi de fleurs / Prière (both Gounod). 10” EL PW Disque Gram. DA 4829, only form of issue, 3 May, 1932. M-A, a gleaming copy. MB 35 K1815. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Envoi de fleurs; Charme d’amour / Stances à Manon (all Delmet). 10” EL plum PW Disque Gram. K 7183, only form of issue, 17 Oct., 1933. M-A, gleaming copy. MB 35 K1816. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Tout simplement / Les petits pavés (both Delmet). 10” EL PW Disque Gram. K 7203, only form of issue, 12 / 17 Oct., 1933. M-A, a gleaming copy. MB 35 K1817. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Vous êtes si jolie / Le vieux mendiant (both Delmet). 10” EL plum PW Disque Gram. K 6750, only form of issue, 3 Nov., 1932. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 35 K1818. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Mélancolie / L’étoile d’amour (both Delmet). 10” EL plum PW Disque Gram. K 6882, only form of issue, 3 Nov., 1932. M-A, a gleaming copy. MB 35 K1819. JEAN-ÉMILE VANNI-MARCOUX, w.Petitjean (Pf.): Mélancolie / L’étoile d’amour (both Delmet). 10” EL plum LVSM K 6882, only form of issue, 3 Nov., 1932. M-A, a gleaming copy. MB 25 K1820. JEAN-ÉMILE VANNI-MARCOUX, w.Longas (Pf.): Fanfreluches; Petit chagrin / Chanson libertine; Fermons nos rideaux (all Delmet). 10” EL plum PW Disque Gram. K 7076, only form of issue, 12 Oct., 1933. M-A, Exemplary! MB 35 “Paul.Delmet’s songs remained popular throughout the twentieth century and some—‘L’étoile d’amour’ for one—still are. It is, in any event, difficult to imagine a more stylish rendering than the one they get from Vanni-Marcoux.” - Vincent Giroud, Marston Program Notes K1821. JEAN-ÉMILE VANNI-MARCOUX, w.Irène Aïtoff (Pf.): 14 Delmet Songs. 12” LVSM Long-Play FALP 358, original form of issue, 1955, recorded at age 78!. M-A, Exemplary! MB 50 “In 1955, the 78 year old Vanni-Marcoux returned to the recording studio to produce an entire LP album devoted to Delmet. His accompanist, this time, was the distinguished Russian-born pianist and coach Irène Aïtoff” - Vincent Giroud, Marston Program Notes K1822. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Pelléas et Mélisande – Ah! tout va bien / Une grande innocence. 10” EL PW Disque Gram. DA 902, POM-6 Oct., 1927. M-A, Exemplary! MB 12 K1823. JEAN-ÉMILE VANNI-MARCOUX, w.Bervily Cond.: Sans Famille – Lettre de Jean-Pierre (Les loups) (Leroux) / Ma Lola (Maurice Yvain). 10” EL plum PW Disque Gram. K 7372, only form of issue, 7 Nov., 1934 (Orchesral versions, not to be confused with piano-acc. versions, earlier that year). M-A, a gleaming copy. MB 35 “The two songs from Sans Famille, written by the distinguished operetta composer Maurice Yvain are reminders of Vanni-Marcoux’s film career.” - Vincent Giroud, Marston Program Notes K1824. JEAN-ÉMILE VANNI-MARCOUX, w.Lermyte (Pf.): Reviens (Fragson & Christine) / Quand les lilas refleuriront (Dihaie). 10” EL plum PW Disque Gram. K 7326, only form of issue, 7 May, 1934. M-A, gleaming copy has, Sd. 1 only, faintest pap. rub, barely visible & inaud. MB 45 K1825. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Mignon – De son coeur j’ai calmé la fièvre (Berceuse) / Fugitif et tremblant. 10” EL PW Disque Gram. DB 4867, only form of issue, 12 Nov., 1934. M-A, choice copy has faintest pap. rubs, inaud. MB 35 K1826. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Quichotte – Quand apparaissent les étoiles / Je meurs (La mort de Don Quichotte) (1924 Versions) (Massenet). 10” AC PW Disque Gram. DA 631, only form of issue, 13 Oct., 1924. A, lovely copy has faintest rubs. Rare late AC Issue. MB 45 K1827. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Quichotte – Quand apparaissent les étoiles / Je meurs (La mort de Don Quichotte) (1927 Versions) (Massenet). 10” EL PW Disque Gram. DA 934, only form of issue, 6 Oct., 1927. M-A, Exemplary! MB 35 K1828. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Quichotte –Seigneur, reçois mon âme / Je suis le chevalier errant (Massenet). 10” EL PW Disque Gram. DA 936, only form of issue, 13 Oct., 1927. M-A, Exemplary! MB 45 K1829. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Le Jongleur de Notre-Dame – La Vierge entend fort bien; Fleurissait une sauge (Légende de la Sauge) (Massenet), 2s. 10” EL PW Disque Gram. DA 1159, only form of issue, 23 Sept., 1930. M-A, superlative copy has, Sd.2 only, hint of grey on peaks – endemic to this issue, on all copies. MB 25 K1830. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Monna Vanna – Ce n’est pas un vieillard (Février) (Creator Record, 13 Jan., 1909, l’Opéra) / Don Quichotte – Écoute, mon ami, je me sens bien malade (1924 Version) (Massenet). 12” AC PW Disque Gram. DB 809, only form of issue, 6 / 13 Oct., 1924. M-A/A, lovely copy has, Sd. 2 only, sev. infinitesimal ndl cuts, minimally audible the occasional turn. MB 45

K1831. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Carlos – Elle ne m’aime pas, 2s. 12” EL mauve & gold HMV AGSB 85, POM-7 Oct., 1931. M-A, a gleaming copy. MB 45 “[Vanni-Marcoux’s] complete recording of ‘Elle ne m’aime pas’…has some claim to be the finest version on records. It is almost as smoothly vocalised as the abridged version by Plançon….Here is a true basse chantante, who can convey all the drama and pathos of the scene without those sudden outbursts, sobs and parlando lapses which are often allowed to deface the nobility of the music.” - Desmond Shawe-Taylor, RECORDED SOUND, 1968 K1832. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: La Habanera – Et c’est à moi que l’on dit: ‘Chante!’ (Laparra), 2s. (Creator Record, 24 Feb., 1908, l’Opéra-Comique). 10” EL PW Disque Gram. DA 4818, only form of issue, 5 Oct., 1931. M-A, gleaming copy has, end Sd. 2 only, lt. grey on peaks. MB 45 K1833. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Giovanni - Deh, vieni alla finestra (in French) / La Boheme – Vecchia zimarra (in Italian). 10” EL PW Disque Gram. DA 937, POM-12 Oct., 1927. M-A, choice copy has, Sd. 1 only, wee nr, momentarily ltly audible. MB 25 K1834. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Don Giovanni - Deh, vieni alla finestra (in French) / La Boheme – Vecchia zimarra (in Italian). 10” EL white Archive HMV VA 50, POM-12 Oct., 1927. MINT MB 8 K1835. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Boris Godounov – I have attained power / Ah! I am suffocating (in French). 12” EL PW Disque Gram. DB 1112, only form of issue, 7 Oct., 1927; ‘Take’ 1, Sd.2. A to M-A, lovely copy has, Sd. 2 only, faintest pap. rub, inaud. MB 35 K1836. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Boris Godounov – Coronation scene (in French) / Louise – Dorme, repose-toi (Berceuse). 12” EL PW Disque Gram. DB 4950, only form of issue, 8 June / 12 Nov., 1934. A-, lovely copy has faintest pap. rubs, inaud. MB 35 K1837. JEAN-ÉMILE VANNI-MARCOUX, w.Coppola Cond.: Boris Godounov – Oh! je meurs (Death of Boris) (1924 Version), 2s. 10” AC PW Disque Gram. DA 678, only form of issue, 26 Sept., 1924 – Vanni-Marcoux’s first recording. M-A, Exemplary! MB 45 “Some great singers are remembered above all as great voices; others as great singing actors. Vanni-Marcoux definitely belongs to the latter category….Vanni-Marcoux’s voice took to the microphone well. As Desmond Shawe-Taylor, among others, has noted, one would never guess from the timbre that Vanni-Marcoux was half-Italian. His voice is characteristically French, with a distinctive head resonance, indeed slightly nasal at times, and rather reminiscent of someone like Georges Thill. The other immediately apparent feature of Vanni-Marcoux’s art is his expressive, yet immaculate and always clear delivery of the text. In this respect he was, indeed, above all a singing actor….For those hitherto unfamiliar with his complete recorded legacy, Vanni-Marcoux’s versatility in the Lieder and mélodie repertory may come as a surprise. He was, in fact, active as a recitalist, beginning in the 1920s, and some of the qualities we have noted above, such as the clarity of his diction and his eschewing vocal histrionics, qualified him to become a first-rate concert singer.” - Vincent Giroud, Marston Program Notes K1838. JEAN-FRANÇOIS DELMAS: La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 10” AC Victor Monarch 5081 (1292F), only form of issue, 1902. B-, very decent copy has lt. rubs & lt. grey throughout, yet this stunning performance comes through remarkably well; plays best with a 1.5 mil. stylus. MB 35 K1839. JEAN-FRANÇOIS DELMAS: Les Huguenots – Des troubles renaissants (Bénédiction des Poignards) (Meyerbeer) / Faust – Le veau d’or (‘Take’ 1 of four issued ‘Takes’). 10½“ AC Paris Fonotipia 39027/28 (xPh 512/14), POM-1904. A/A-, choice copy has very occasional superficial scr, inaud.; Sd. 2 only has hint of grey on peaks & tiny scr, ever-so-faintly audible a turn or three. This plays best with a 1.5 mil. stylus, at 85 to 88rpm. MB 95 K1840. JEAN-FRANÇOIS DELMAS: Patrie – Pauvre martyr obscur (Paladilhe) / PAUL AUMONIER: Les Huguenots – Piff, paff, piff, paff. 11¼” AC etched label center-start H & D Paris Pathé 2494/120 (7302/14763), recorded 1902/’00, resp., both announced. This plays brilliantly at 90rpm (or a tad higher). A/A-, lovely copy has, Sd.2 only, lt. grey on peaks. MB 35 “Jean-François Delmas studied singing and opera at the Paris Conservatory and in 1886 was unanimously awarded two first prizes. Delmas made his début at the Paris Opéra on 28 September, 1886, as Saint-Bris (Les Huguenots), which began a long association with that house, leaving him little time to sing outside of France. The notable exceptions were the Mariinsky in Saint Petersburg, the San Carlo in Lisbon, and the Monte Carlo Opera House in Monaco. Delmas was particularly successful in the major Wagnerian rôles including Hans Sachs, Wotan, and Hagen. He was also a well-known interpreter of the standard French repertoire. Delmas holds the record of taking part in more creator-rôles than any other singer in the Paris Opéra’s history….Delmas had an incredible range, ‘… which was equally powerful in bottom F of the bass register as it was at the top of G of the tenor’s …’ (Georges Pioch, Musica, November 1905) and his voice possessed warmth and authority. All of Delmas’ records are highly sought by collectors worldwide even though he tended to repeat much of the same material for each record company [for which he recorded].” - Vincent Giroud, Marston Program Notes for Meybeer on Record K1841. MARCEL JOURNET: Le Régiment de Sambre et Meuse (Planquette) / Lucia – Dalle stanze, ove Lucia. 10” AC dark-blue HMV ABHA 1, only form of issue, 1 Jan., 1916, both from Unpublished Masters (although both had been assigned Victor Issue Numbers). MINT MB 6

K1842. MARCEL JOURNET: Aux morts pour la patrie (Messager). 12” EL S/S vinyl pressing of Unpublished C-19118-1, POM-23 Jan., 1917. Interesting memento from WW I. MINT MB 25 K1843. MARCEL JOURNET: Les boefs (1905 Version) (Dupont). 12” AC S/S red vinyl RCA Test Pressing for C-2353-1, POM-1 March, 1905, Never Doubled. M-A, a gleaming copy. MB 15 K1844. MARCEL JOURNET: Les boefs (1917 Version) (Dupont) / Le flibustier (Barrucand). 10” AC Vla 701, POM-22 / 23 Jan., 1917, issued USA only. M-A, Exemplary! MB 12 K1845. MARCEL JOURNET: Chant patriotique belge. 10” AC V 64651, POM-24 Jan., 1917. M-A, lovely copy has few infinitesimal pap. mks, inaud. MB 8 K1846. MARCEL JOURNET: Bozhe Tzarya Khrani (Hymne Impérial Russe) (in Russian & French) (Lvov). 12” AC V 74464, only form of issue, 24 Jan., 1916. M-A, a gleaming copy. MB 15 K1847. MARCEL JOURNET: Bozhe pradde (Srpska Himna) (in Serbian & French) (Jenko). 12” AC V 74466, POM-26 Jan., 1916, Never Doubled, USA. M-A, a gleaming copy. MB 15 K1848. MARCEL JOURNET: Himno Nacionale Argentino (Conradi) / Fratelli d’Italia (Mamelli). 10” AC Vla 700, POM-22 Jan., 1917 / 27 Jan., 1916. M-A, a gleaming copy. MB 10 K1849. MARCEL JOURNET: La Brabançonne (Belgian national song) (Rogier). 10” AC V 64558, POM-25 Jan., 1916. M-A, a gleaming copy. MB 10 K1850. MARCEL JOURNET: Chant de guerre cosaque (Russian Cossack War Song) (Massenet) / La Brabançonne (Belgian national song) (Rogier). 10” AC Vla 696, POM-27 / 25 Jan., 1916. M-A, Exemplary! MB 10 K1851. MARCEL JOURNET: Le Père, la Victoire (1916 Version) (Ganne). 10” AC V 64557, Orig. ‘A’ Plate Issue, POM-25 Jan., 1916. M-A, a gleaming copy. MB 10 K1852. MARCEL JOURNET: Le Père, la Victoire / Marche Lorraine (1916 Versions) (both Ganne). 10” AC Vla 697, POM-25 Jan., 1916. M-A, a gleaming copy. MB 10 K1853. MARCEL JOURNET, w.Coppola Cond.: Le Père, la Victoire / Marche Lorraine (1927 Versions) (both Ganne). 10” EL PW HMV DA 930, only form of issue, 11 Oct., 1927. M-A, gleaming copy has, Sd. 1 only, faintest pap. rub, inaud. Exceedingly elusive! MB 25 K1854. MARCEL JOURNET: La Procession (1926 Version) (Franck) / Stabat Mater – Pro peccatis (Rossini). 12” EL Orth Vla 7289, POM-11 Oct., 1926. M-A, gleaming copy has, Sd. 1 only, 1 lt. scr, positively inaud. MB 12 K1855. MARCEL JOURNET: La Marseillaise (de l’Isle). 12” EL S/S vinyl 1944 Christmas Greetings Issue of Mx. CVE 3178, POM-19 Oct., 1925, w.RCA embossed verso. M-A, Exemplary! MB 12 K1856. MARCEL JOURNET: La Marseillaise (de l’Isle) / Die beiden Grenadiere (in French) (Schumann) (1925 Versions). 12” EL Orth Vla 6557, POM-19 Oct. / 11 Sept., 1925. M-A, a gleaming copy. MB 12 K1857. MARCEL JOURNET: La Marseillaise (de l’Isle) / Die beiden Grenadiere (in French) (Schumann) (1925 Versions). 12” EL PW Disque Gram. DB 924, POM-19 Oct. / 11 Sept., 1925. M-A, Exemplary! MB 12 K1858. MARCEL JOURNET: Die beiden Grenadiere (1906 Version) (in French) (Schumann). 12” AC Pat.’08 V 74038, POM-13 March, 1906, Never Doubled, USA. M-A, Exemplary! MB 10 K1859. MARCEL JOURNET: Le soir (Gounod). 12” AC Pat.’12 V 74272, Orig. ‘A’ Plate Issue, POM-9 Jan., 1912, Never Doubled, USA. A, lovely copy has few faint rubs, inaud. MB 15 K1860. MARCEL JOURNET: Le Cor (Flégier). 12” AC V 74508, POM-25 Jan., 1917. M-A, a gleaming copy. MB 8 K1861. MARCEL JOURNET: Minuit chrétiens (Cantique de Noël) (1917 Version) (Adam). 12” AC V 74519, POM-24 Jan., 1917. M-A, a gleaming copy. MB 8 K1862. MARCEL JOURNET: Minuit chrétiens (Cantique de Noël) (Adam) / O salutaris hostia (Luce) (1925 Versions). 12” EL PW V 6559, POM-21 Oct. / 11 Sept., 1925. M-A, gleaming copy has, Sd 2 only, few infinitesimal dust mks. MB 10 K1863. MARCEL JOURNET: O salutaris hostia (1916 Version) (Luce). 12” AC V 74472, POM-25 Jan., 1916. M-A, a gleaming copy. MB 8 K1864. MARCEL JOURNET: O salutaris hostia (1933 Version) (Luce) / Ceux qui pieusement sont morts pour la patrie (Letorey). 10” EL PW Disque Gram. DA 1329, only form of issue, 11 May, 1933, Journet’s final recording. M-A, gleaming copy has, Sd. 2 only, tiny nr, momentarily ltly. audible. Exceedingly elusive! MB 35 K1865. MARCEL JOURNET: Hosanna! (1917 Version) (Granier). 12” AC Vla 74735, POM-26 Jan., 1917. M-A, a gleaming copy. MB 8 K1866. MARCEL JOURNET: Les rameaux (1910 Version, ‘Take’ 2 of 3 issued ‘Takes’) (J.P. Faure). 12” AC GP V 74037, POM-14 Jan., 1910, Never Doubled, USA. M-A, Exemplary! MB 8 K1867. MARCEL JOURNET: Les rameaux (1916 Version, ‘Take’ 3 of 3 issued ‘Takes’) (J.P. Faure). 12” AC V 74037, POM-1 Feb., 1916, issued USA only. M-A, Exemplary! MB 8 K1868. MARCEL JOURNET: Les rameaux (Faure) / Hosanna! (Granier) (1925 Versions). 12” EL Orth Vla 6556, POM-11 Sept. / 19 Oct., 1925. M-A, Exemplary! MB 12

K1869. MARCEL JOURNET: Le Clarion (Chant du soldat) (Deroulede). 12” AC Vla 74473, POM-28 Jan., 1916. M-A, Exemplary! MB 8 K1870. MARCEL JOURNET, w.Victor Military Band: Quand Madelon (Roberts) / Band (solo): Marche française! (Reeves). 10” AC black V 18534, only form of issue, 12 Feb., 1919; an interesting curiosity in that Journet’s name does not appear on label since he merely happened to join in, singing one verse along with the Victor Military Band as they were recording! A to M-A/A-, beautiful copy has, Sd. 2 only (Military Band side), few lt. rubs, inaud. MB 15 K1871. MARCEL JOURNET: Don Giovanni – Madamina, il catalogo è questo (1926 Version), 2s. 10” EL Orth Vla 1285, only form of issue, 13 Oct., 1926. M-A, a gleaming copy. MB 12 K1872. MARCEL JOURNET: Don Giovanni – Madamina, il catalogo è questo (part 2 only – Nella bionda) (1910 Version). 12” AC Pat.’08 V 74191, POM-13 Jan., 1910. M-A, a gleaming copy. MB 8 K1873. MARCEL JOURNET: Zauberflöte – O Isis und Osiris (in French). 10”AC V 64235, POM-11 Jan., 1912. M-A, a gleaming copy. MB 8 K1874. MARCEL JOURNET: Zauberflöte – O Isis und Osiris (in French) / Cléopâtre – Air de la lettre (Massenet). 10”AC Vla 699, POM-11 Jan., 1912 / 28 Jan., 1916. M-A, Exemplary! MB 8 K1875. MARCEL JOURNET: Zauberflöte – In diesen heil'gen Hallen (in French). 12” AC V 74266, POM-11 Jan., 1912, Never Doubled USA. M-A, a gleaming copy. MB 12 K1876. MARCEL JOURNET: Messa di Requiem – Pie Jesu (Fauré). 10” AC V 64582, POM-26 Jan., 1916, Never Doubled, USA. M-A, a gleaming copy. MB 8 K1877. MARCEL JOURNET: La Damnation de Faust – Devant la maison (Berlioz) / La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet). 10” EL (AC label) Vla 1123, POM-19 / 21 Oct., 1925. M-A, Exemplary! MB 8 K1878. MARCEL JOURNET: La Damnation de Faust – Devant la maison (Berlioz) / La Jolie Fille de Perth – Quand la flamme de l’amour (1925 Version) (Bizet). 10” EL PW Australian HMV DA 759, POM-19 / 21 Oct., 1925. A to M-A, lovely copy has few lt. rubs, inaud. MB 10 K1879. MARCEL JOURNET: La Jolie Fille de Perth – Quand la flamme de l’amour (1910 Unpublished Version) (Bizet). 12” EL S/S vinyl pressing of Unpublished C-8563-1, POM-15 Jan., 1910. MINT MB 25 K1880. MARCEL JOURNET: Faust – Le veau d’or / Il était temps. 10” AC Vla 695, on ‘Z’-type shellac, POM-19 Jan., 1910 / RR-14 Jan., 1910. Sd.2 is a Pantograph Issue (not pressed from Original Master); this is a choice mid-1930s pressing. M-A, a gleaming copy. MB 10 K1881. MARCEL JOURNET: Faust – Vous qui faites l’endormie (1906 Version). 12” AC Pat.’12 Vla 74036, POM- 8 March, 1906; Subsequent pressings were Pantograph Issues (not pressed from Original Master). M-A, Exemplary! MB 8 K1882. MARCEL JOURNET: Faust – Vous qui faites l’endormie (1906 Version). 12” AC Victor Monarch G & T 032036 (C-3163-1), POM-8 March, 1906. A to M-A, lovely copy has wee pap. rub, inaud. MB 12 K1883. MARCEL JOURNET: Faust – Vous qui faites l’endormie / Barbiere – La Calunnia (1925 Versions). 12” EL Orth Vla 6558, POM-21 Oct., 1925. M-A, a gleaming copy. MB 12 K1884. MARCEL JOURNET: Faust – Il était temps. 10” AC Pat ’08 V 64119, POM-14 Jan., 1910. Subsequent pressings were Pantograph Issues (not pressed from Original Master). M-A, Exemplary! MB 8 K1885. MARCEL JOURNET: Lakmé – Lakmé, ton doux regard se voile (1905 Victor Version). 12” AC GP V 85047, Orig. ‘A’ Plate Issue, POM-17 Feb., 1905, never doubled. A to M-A, splendid copy has few faint rubs, inaud.; nr on label. MB 15 K1886. MARCEL JOURNET: Lakmé – Lakmé, ton doux regard se voile (1905 Victor Version). 12” AC G & T 032021 (C-2311-1), POM-17 Feb., 1905, Never Doubled. A to M-A, choice copy has few faint rubs, inaud.; uncommonly bright label. MB 15 K1887. MARCEL JOURNET: Lakmé – Lakmé, ton doux regard se voile (1905 Columbia Version) / AUGUSTIN NUIBO: Marta – M’appari (in French). 10” AC black Col. A545, POM-1905/’06, resp. M-A, Exemplary – an extraordinary copy! MB 15 K1888. MARCEL JOURNET: Cléopâtre – Air de la lettre (Massenet). 10”AC Vla 64587, POM-28 Jan., 1916. M-A, gleaming copy has 1 minuscule rub, barely visible & inaud. MB 8 K1889. MARCEL JOURNET: Ascanio – Enfants, je ne vous en veux pas (Saint-Saëns) / Monna Vanna – Dis-la vite, Vanna (Février). 10” AC white Archive HMV VA 23, POM-16 May, 1922. MINT MB 8 K1890. MARCEL JOURNET: Les Contes d’Hoffmann – Scintille diamant (1908 Version, ‘Take’ 1 of two issued ‘Takes’). 12” AC Pat.’08 V 74103, POM-7 Jan., 1908, Never Doubled, USA. M-A, Exemplary! MB 10 K1891. MARCEL JOURNET: Les Contes d’Hoffmann – Scintille diamant (1912 Version, ‘Take’ 2 of two issued ‘Takes’). 12” AC V 74103, only form of issue, 17 Jan., 1912. A to M-A, lovely copy has faint rubs, inaud. MB 12 K1892. MARCEL JOURNET: Mignon – De son coeur j’ai calmé la fièvre (Berceuse). 12” AC V 74270, POM-9 Jan., 1912. M-A, a gleaming copy. MB 8

K1893. MARCEL JOURNET: Philémon et Baucis – Que les songes heureux (Air de sommeil) (Gounod). 12” AC Pat.’08 V 74154, only form of issue, 10 Jan., 1910. M-A, choice copy has faintest pap. rub, inaud. MB 15 K1894. MARCEL JOURNET: Les Huguenots – Piff, paff, piff, paff (1910 Version, ‘Take’ 1 of two issued ‘Takes’) (Meyerbeer). 12” AC Pat.’08 V 74156, POM-14 Jan., 1910, Never Doubled. M-A, a gleaming copy. MB 12 K1895. MARCEL JOURNET: Les Huguenots – Piff, paff, piff, paff (1916 Version, ‘Take’ 3 of two issued ‘Takes’) (Meyerbeer). 12” AC Vla 74156, POM-1 Feb., 1916. M-A, a gleaming copy. MB 12 K1896. MARCEL JOURNET: Les Huguenots – Des troubles renaissants (Bénédiction des Poignards) (in Italian) (Meyerbeer). 12” AC Vla 74275, POM-15 Jan., 1912. M-A, a gleaming copy. MB 10 K1897. MARCEL JOURNET: Robert le Diable – Démons fatals (Valse infernale) (Meyerbeer). 12” AC Pat.’08 V 74282, POM-19 Jan., 1912. M-A, choice copy has faintest pap. rubs, inaud. MB 10 K1898. MARCEL JOURNET: Hérodiade – Astres étincelantes (1910 Version, ‘Take’ 1 of two issued ‘Takes’). 12” AC white Vla 74152, POM-11 Jan., 1910, Never Doubled. M-A, Exemplary! MB 20 K1899. MARCEL JOURNET: Le Châlet – Dans le service de l’Autriche (Adam). 12” AC white Vla 74281, POM-16 Jan., 1912, Never Doubled in any regular series. M-A, Exemplary! MB 15 K1900. MARCEL JOURNET: Le Châlet – Dans le service de l’Autriche (Adam) / La Favorite – Anathème de Balthazar (Donizetti). 12” AC red vinyl 1946 Christmas Greetings Issue of C-8541/19134, POM-16 Jan., 1912 / 26 Jan., 1917, Sd.2 Unpublished. Accompanied by original 1946 RCA complimentary letter describing this record. M-A, Exemplary! MB 15 K1901. MARCEL JOURNET: Le Jongleur de Notre-Dame – Fleurissait une sauge (Légende de la Sauge) (1908 Version). 12” AC Pat.’12 V 74123, POM-7 Jan., 1908. M-A, gleaming copy has faint nr on label. MB 10 K1902. MARCEL JOURNET: Le Jongleur de Notre-Dame – Fleurissait une sauge (Légende de la Sauge) (1926 Version) (Massenet) / Louise – Dorme, repose-toi (Berceuse). 12” EL PW V 6785, POM-11 / 12 Oct., 1926. M-A, gleaming copy of preferred mid-1930s pressing has, Sd. 1 only, faintest pap. rub, inaud. MB 12 K1903. MARCEL JOURNET: La Favorita – Splendon più belle (in Italian). 12” AC Pat.’08 V 74273, POM-15 Jan., 1912, Never Doubled, USA. M-A, a gleaming copy. MB 12 K1904. MARCEL JOURNET: Barbiere – La calunnia (1908 Version, ‘Take’ 1 of two issued ‘Takes’). 12” AC Vla 74104, POM-7 Jan., 1908, Never Doubled. M-A, Exemplary! MB 10 K1905. MARCEL JOURNET: Marta – Chi mi dirà (Porter song) (1905 Version). 10” AC V 64014, POM-17 Feb., 1905, Never Doubled. M-A, a gleaming copy. MB 12 K1906. MARCEL JOURNET: Nerone – Padre nostro che sei mei ciel (Act 1) / Ecco il magico specchio (Act 2) (Boito). 12” AC PW Disco Grammofono DB 733, POM-16 May, 1924. M-A, Exemplary! MB 15 K1907. MARCEL JOURNET: La Reine de Saba – Sous les pieds d’une femme. 12” AC Pat.’08 V 74269, Orig. ‘A’ Plate Issue, POM-11 Jan., 1912, Never Doubled. M-A, gleaming copy has minor id etched in label. MB 20 K1908. MARCEL JOURNET: La Boheme – Vecchia zimarra (1906 Version, ‘Take’ 1 of three issued ‘Takes’). 10” AC GP V 64035, POM-8 March, 1906, Never Doubled. A-, very decent copy has cosmetic lt. rubs & mks. MB 8 K1909. MARCEL JOURNET: La Boheme – Vecchia zimarra / Marta – Chi mi dirà (Porter song) (1912 Versions). 10” AC Vla 698, POM-16 / 17 Jan., 1912. M-A, Exemplary! MB 8 K1910. MARCEL JOURNET: La Boheme – Vecchia zimarra / Marta – Chi mi dirà (Porter song) (1925 Versions). 10” EL Orth Vla 1135, POM-10 Sept. / 19 Oct., 1925. M-A, Exemplary! MB 8 K1911. MARCEL JOURNET: La Boheme – Vecchia zimarra / Marta – Chi mi dirà (Porter song). 10” EL PW Disco Grammofono DA 771, POM-10 Sept. / 19 Oct., 1925. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K1912. MARCEL JOURNET: Il Trovatore – Abbietta zingara. 12” AC Vla 74474, POM-27 Jan., 1916. M-A, Exemplary! MB 8 K1913. MARCEL JOURNET: Mefistofele – Ave Signor! Son lo spirito che nega (Prologue) (1910 Version). 12” AC white Vla 74210, POM-14 Jan., 1910, Never Doubled, USA. M-A, Exemplary! MB 15 K1914. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1905 Columbia Version). 10” AC flush black & silver Col. 3109, POM-23 Jan., 1905. A-, very decent copy has lt.rubs & scrs, inaud. MB 20 K1915. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1905 Columbia Version) / SALVATORE SCIARRETTI: Rigoletto – La donna è mobile. 10” AC black Col. A533, POM-23 Jan., 1905/’04, resp. M-A, Exemplary – an extraordinary copy! MB 15 K1916. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1905 Victor Version). 12” AC Victor Monarch G & T 052093 (C-2309-1), POM-17 Feb., 1905, Never Doubled. A-, lovely copy has lt. rubs, inaud. MB 12 K1917. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1905 Victor Version). 12” AC GP V 74008 (C-2309-1), POM-17 Feb., 1905, Never Doubled. A to M-A, lovely copy has lt. rubs, inaud. MB 10 K1918. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1907 Victor Version). 10” AC Pat.’08 V 64077, POM-19 March, 1907, Never Doubled. M-A, Exemplary! MB 10

K1919. MARCEL JOURNET: Ernani – Infelice, e tuo credevi (1910 Victor Version). 12” AC Pat.’08 V 74008 (C-2309-2), POM-11 Jan., 1910, Issued USA only; Never Doubled. Subsequent pressings were Pantograph Issues (not pressed from Original Master). M-A, Exemplary! MB 12 “In this day and age, rife with pushed-down baritones who pass themselves off as true basses, and many authentic basses who choke when attempting a high E flat, it is comforting to listen to Marcel Journet’s recordings….With his clarion tones, convincing acting ability and adaptability to any rôle in the lyric repertoire…he possessed so many enviable qualities as an artist that we can certainly consider him as one of the great singers of the Twentieth Century.” - Jean-Pierre Mouchon, THE RECORD COLLECTOR, 2002 K1920. MARCEL JOURNET: Der Freischütz – Schweig, Schweig (in French). 10” AC Pat.’12 V 64236, Orig. ‘A’ Plate Issue, POM-17 Jan., 1912, Never Doubled. A to M-A, choice reviewer’s copy has few lt. rubs, inaud. MB 15 K1921. MARCEL JOURNET: Tannhäuser – O du mein holder Abendstern (1906 Version, ‘Take’ 2 of three issued ‘Takes). 12” AC GP V 74006, POM-10 Jan., 1910, Never Doubled. A-, very decent copy has lt. rubs & few tiny mks at edge. MB 10 K1922. MARCEL JOURNET: Tannhäuser – O du mein holder Abendstern (1910 Version, ‘Take’ 3 of three issued ‘Takes). 12” AC Pat.’12 V 74006, POM-10 Jan., 1910. Subsequent pressings were Pantograph Issues (not pressed from Original Master). M-A, a gleaming copy. MB 8 K1923. MARCEL JOURNET: Tannhäuser – O du mein holder Abendstern / Lohengrin – Mein Herr und Gott (Königsgebet) (1926 Versions). 10” EL Orth Vla 1274, POM 11 / 12 Oct., 1926, only form of issue. M-A, Exemplary! MB 15 K1924. MARCEL JOURNET: Lohengrin – Mein Herr und Gott (Königsgebet) (1905 Version). 10” AC GP V 81059, POM-17 Feb., 1905, Never Doubled. M-A, choice copy has 3 infinitesimal pap. mks, barely visible & inaud. MB 12 K1925. MARCEL JOURNET: Lohengrin – Mein Herr und Gott (Königsgebet) / Mefistofele – Ave Signor! Son lo spirito che nega (Prologue) (1916 Versions). 10” AC Vla 915, POM-28 Jan. / 1 Feb., 1916, Sd. 2 issued USA only. M-A, Exemplary! MB 8 K1926. MARCEL JOURNET: Das Rheingold – Abendlich strahlt der Sonne auge. 12” AC white Vla 74268, POM-11 Jan., 1912, Never Doubled. M-A, Exemplary! MB 15 K1927. MARCEL JOURNET: Die Walküre – Wotans Abschied (1922 Version) (in French), 2s. 10” AC PW Disque Gram. DA 477, only form of issue, 16 May, 1922. M-A, choice copy has faintest pap. rubs, inaud. Exceedingly elusive! MB 25 K1928. MARCEL JOURNET: Die Walküre – Wotans Abschied (1928 Version) (in French), 4s. 2-12” EL PW Disque Gram. DB 1156/57, only form of issue, 13 March, 1928. M-A, a gleaming copy. Exceedingly elusive! MB 55, the Pair. K1929. MARCEL JOURNET: Götterdämmerung – Hier sitz’ ich zur Wacht. 12” AC Pat.’12 V 74276, POM-16 Jan., 1912, Never Doubled. M-A, gleaming copy has infinitesimal pap. scr, positively inaud. MB 15 K1930. MARCEL JOURNET: Götterdämmerung – Hier sitz’ ich zur Wacht. 12” AC white Vla 74276, POM-16 Jan., 1912, Never Doubled. M-A, gleaming copy of preferred late pressing. MB 15 K1931. MARCEL JOURNET: Die Meistersinger – Wahn! Wahn! Überall Wahn! (in French), 2s. 10” EL PW Disque Gram. DA 951, POM-10 June, 1931. M-A, a gleaming copy. Exceedingly elusive! MB 35 K1932. MARCEL JOURNET: Die Meistersinger – Wahn! Wahn! Überall Wahn! (in French), 2s. 10” EL white Archive HMV VA 71, POM-10 June, 1931. MINT MB 8 “Journet’s voice, unlike any other voice I know, aged like a great wine. It is truly a unique, and therefore thrilling, experience to hear an artist who after thirty intensive years of career has preserved his voice virtually intact and who can then use this voice as an instrument of expression. While some listeners may find hearing Hans Sachs sung in French or Italian somewhat disconcerting, for me there is no more sympathetic and melancholy Sachs on record; there is no more desperately crazed Athanaël on record. His two recordings from Boito’s Nerone—that magnificent and ignored masterpiece—are stunning. Even the musically undistinguished Luce songs, among his last recordings, are transfigured…. And I now can fully understand Max de Schauensee who, having heard Journet during the 1920s, wrote that Journet’s voice “... sparkled like a great red jewel.” - Victor Girard, Marston Program Notes K1479. MARCEL JOURNET& EDMOND CLÉMENT: Robert le Diable – Le bonheur est dans l’inconstance / Du rendezvous (Meyerbeer). 12” AC white Archive HMV VB 30, POM-18 Jan., 1912. MINT MB 8 K1933. MARCEL JOURNET, w.Coppola Cond.: Thaïs – La paix soit avec vous! / Honte! Horreur! Ténèbres éternelles. 12” EL PW Disque Gram. DB 1196, only form of issue, 7 March, 1928. A to M-A, lovely copy has, Sd. 1 only, tiny cluster dust scrs, positively ltly. audible. MB 15 K1934. MARCEL JOURNET, w.Coppola Cond.: Thaïs – Va, mendiant, cherchez ailleurs ta vie! / Voilà donc la terrible cité! 12” EL PW HMV DB 1169, only form of issue, 7 March, 1928. M-A, Exemplary! MB 20

K1935. MARCEL JOURNET & FANNY HELDY, w.Coppola Cond.: Thaïs – Baigne d’eau mes mains et mes lèvres / FANNY HELDY: O messager de Dieu. 10” EL PW Disque Gram. DA 940, POM-7 / 8 Nov., 1927. M-A, Exemplary! MB 20 K1936. MARCEL JOURNET & FANNY HELDY, w.Coppola Cond.: Thaïs – Baigne d’eau mes mains et mes lèvres / FANNY HELDY: O messager de Dieu. 10” EL white Archive HMV VA 47, POM-7 / 8 Nov., 1927. MINT MB 8 K599. MARCEL JOURNET & FANNY HELDY, w.Coppola Cond.: Hamlet – Doute de la lumière / MARCEL JOURNET, FANNY HELDY & FERNAND ANSSEAU: Faust – Final trio. 12” EL white Archive HMV VB 71, POM-10 June, 1931 / 26 Feb., 1930. MINT MB 8 K1937. MARCEL JOURNET & PASQUALE AMATO: I Puritani – Suoni la tromba. 12” AC Pat.’12 Vla 89056, POM-15 Jan., 1912. A-, very decent copy has lt. rubs & 2 faint pap. scrs, inaud. MB 8 K1938. MARCEL JOURNET & MARIO ANCONA: I Puritani – Suoni la tromba / CARLO ALBANI: Lucrezia Borgia – Di pescatore ignobile. 12” AC gold Victor HRS 1003, POM-6 March / 18 Oct., 1907. Numbered Copy #49 of an extraordinarily Limited Edition. M-A, a gleaming copy. MB 45 K1939. MARCEL JOURNET & FERNAND ANSSEAU: Carmen – Je suis Escamillo / FERNAND ANSSEAU: La fleur que tu m’avais jetée. 12” EL PW Disque Gram DB 1098, POM-11 Oct., 1927. M-A, a gleaming copy. MB 12 K1940. MARCEL JOURNET & FERNAND ANSSEAU: Faust – Mais ce Dieu que peut’il pour moi?; Ici, je suis à ton service. 12” EL PW HMV DB 1364, POM-27 Sept., 1929. M-A, Exemplary! MB 8 K1941. MARCEL JOURNET & ENRICO CARUSO: Crucifix (J. B. Faure). 12” AC V 89054, POM-7 Jan., 1912. M-A, Exemplary! MB 8 K1942. MARCEL JOURNET & ENRICO CARUSO: Marta – Solo, profugo. 12” AC Vla 89036, POM-12 Jan., 1910. M-A, Exemplary! MB 8 K1943. MARCEL JOURNET, FRANCES ALDA & ENRICO CARUSO: I Lombardi – Qual voluttà trascorrere. 12” AC Pat.’08 Vla 95211, POM-7 Jan., 1912. M-A, Exemplary! MB 10 “…for an excellent example of Journet’s ability to blend his voice with those of his colleagues, listen to him with Caruso and Frances Alda in ‘Qual voluttà’ from I Lombardi.” - Graham Oakes, THE RECORD COLLECTOR, 2002 K1944. MARCEL JOURNET & GERALDINE FARRAR: Mignon – Légères hirondelles. 12” AC Pat.’08 Vla 89038, POM-16 Jan., 1910. M-A, choice copy has infinitesimal pap. scr, barely visible & inaud. MB 8 K1945. MARCEL JOURNET & GERALDINE FARRAR: Faust – Elle ouvre sa fenêtre. 12” AC Vla 89040, POM-17 Jan., 1910. M-A, Exemplary! MB 8 K1946. MARCEL JOURNET, van HOOSE & de GOGORZA: Faust – Que voulez-vous, Messieurs? 12” AC Pat.’08 V 74004, POM-17 Jan., 1906. M-A, choice copy has infinitesimal pap. scr, inaud. MB 10 K1947. MARCEL JOURNET, VEZZANI, BERTHON, MUSY, etc.; Büsser Cond. l’Opéra Ensemble: FAUST, 40s. 20-12” EL PW V 11020/39, POM-1930, in Orig. Albums AM-105, w.Brochure. M-A, gleaming copy of preferred mid-1930s pressing. MB 45, the Set. “Recorded in 1930, Büsser’s performance with the forces of the Paris Opéra is surprisingly sparing in its cuts….In the title role, César Vezzani demonstrates that singers of Faust can have robust voices….Mireille Berthon, like so many of her soprano colleagues, is a girlish, innocent-sounding Marguerite, which is quite right for the role….Marcel Journet is the star of the complete performance. At the time of the recording he was either 62 or 63 and every once in a while you can infer that you’re hearing a great voice in decline, but Journet had so much to begin with that, even though more than 70 years have elapsed since this recording was made, he’s the best Méphistophélès to have recorded the role….one is vexed by the apparent reality that what one is hearing is nearly the last gasp of a particular singing style that can be documented back to the early 20th century.” - James Miller, FANFARE, Sept./Oct.., 2002 K1948. EDOUARD de RESZKÉ: Ernani – Infelice, e tuo credevi / Marta – Chi mi dirà (Porter song). 10" AC silver & blue blue shellac Columbia IRCC 28, (1221/22), RRs-1903. Numbered Copy #89 of a Limited Edition. M-A, a gleaming copy. MB 35 “Commercially made were only the three ten-inch Columbia black and silver label discs, made in the USA. To my mind, these are neither as rare nor as bad as is commonly thought amongst collectors….sufficient is recorded to give an idea of what the voice sounded like….[the above are] re-recordings, well done from better copies than one is likely to find on original label….Emma Eames has placed on record that he could produce with his voice the exact tone quality of a ‘cello throughout its range….It became a legend in the Met touring company that Edouard could replace any of the instruments in the band….” - James Dennis, THE RECORD COLLECTOR, 1951 K1949. ARMAND CRABBÉ: Marouf – Caravana (Rabaud) (presumably from Argentinian Disco Nacional 84008) / LINA PASINI-VITALE, PIERO SCHIAVAZZI & PASQUALE AMATO: Ernani – O sommo Carlo. 12” AC red & white German Fonotipia Nxx 74928 / F 74161 (XXBao 487 / XXPh 4022), POM-1922 / 30 June, 1909. M-A, gleaming copy has wee pap. scr, Sd. 1, positively inaud.; 4” lateral edge bite into 3rd groove is neatly mended. MB 35

K1950. ARMAND CRABBÉ: Pensée d’automne (Massenet) / ELADIO A. CHAO: Chant indoue (Bemberg). 12” AC black Pat.’08 V 68308 (C-6691/3932, POM 29 Dec., 1908 / 18 Oct., 1906, Camden. M-A, gleaming copy has, Sd 2, infinitesimal dust mk, barely visible & positively inaud. Exceedingly Elusive! MB 65 K1951. ARMAND CRABBÉ: Amoureuse (in French) (Berger) / Ich liebe dich, my dear (in English) (Hart). 10” EL red Decca 23010 (GB.5342/43), POM-1932, London. M-A, Exemplary! MB 12 K1952. ARMAND CRABBÉ: Tell me tonight (Spoliansky) / Ich liebe dich, my dear (Hart) (both in English). 10” EL red Eng. Decca M.432 (GB.5341/43), POM-1932, London, only form of issue, Sd. 1. M-A, Exemplary! MB 20 K1953. ARMAND CRABBÉ: Mélancolie (Delmet) / Reproches à Ninon (Frings) (both in French). 10” EL red Eng. Decca M.457 (GB.5327/28), POM-1932, London, only form of issue, Sd.2. M-A, a gleaming copy. MB 25 K1954. ARMAND CRABBÉ: Nele-ay-ay-ay (Sung by the Composer) / Amoureuse (Berger) (both in French). 10” EL red Eng. Decca M.434 (GB.5340/42), POM-1932, London, only form of issue, Sd.1. M-A, gleaming copy has, Sd. 1 only, infinitesimal dust scr, inaud. MB 25 K1955. ARMAND CRABBÉ: Rubia (Sung by the Composer) / Siete Canciones Populares Españoles – Jota (de Falla). 12” EL red Eng. Decca T.202 (GA.5325/26), POM-1932, London. M-A, Exemplary! MB 25 K1956. ARMAND CRABBÉ: Ranchito viejo (Maurage) / Junto al Puente de la Pena – Canción del Olvido (Serrano). 10” EL (AC label) Vla 1090, POM-15 April, 1925, Sd. 1 issued USA only. M-A, Exemplary! MB 12 K1957. ARMAND CRABBÉ, w.Leroy Shield (Pf.): Soir de Paques (Maurage) / Mireille – Chanson du berger (Gounod). 10” EL (AC label) Vla 1088, POM-18 April, 1925, Sd. 1 issued USA only. Never listed in a North American Victor catalogue. M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K1958. ARMAND CRABBÉ, w.Byng Cond.: La Chine (as ‘Canción Criolla’) (Maurage) / Tristeza de Cabocho (as ‘Tanguinho brasileiro’) (Supynamba). 10” EL Orth Vla 4145, POM-5 July, 1928. M-A, Exemplary! MB 15 K1959. ARMAND CRABBÉ, w.Byng Cond.: C’était en avril (Pedrell) / Ojos tapatios (Mendez). 10” EL Argentinian Orth Vla 4146, POM-5 July, 1928. B-, decent copy has lt. rubs & scrs, mainly cosmetic; Sd. 2 only has small nd, ltly audible 3 turns. These beguiling performances play beautifully! MB 10 K1960. ARMAND CRABBÉ, w.Sabajno Cond.: El Trust de los Tenorios – Je t’aime (as ‘Jota españole’) (1929 Version [considerably more spirited than Crabbé’s 1928 Version, under Coppola!]) (Serrano) / w.Coppola Cond.: Sur l’eau (Pedrell) (both in French). 10” EL PW black HMV E 536, POM-5 Feb., 1929 / 8 Oct., 1928, resp. M-A, Exemplary! MB 15 K1961. ARMAND CRABBÉ, w.Coppola Cond.: Sur l’eau (Pedrell) / El Trust de los Tenorios – Je t’aime (as ‘Jota españole’) (1928 Version) (Serrano) (both in French). 10” EL Orth Vla 4137, POM-8 Oct., 1928, only form of issue, Sd.2. M-A, Exemplary! MB 15 K1962. ARMAND CRABBÉ, w.Coppola Cond.: L’Angélus de la mer (Goublier) / Les Cloches de Corneville – J’ai faint trois fois la tour du monde (Planquette). 10” EL black PW Disque Gram. P-783, POM-25 June, 1928. M-A, Exemplary! MB 15 K1963. ARMAND CRABBÉ, w.Coppola Cond.: Hamlet – O vin, dissipe la tristesse / Barbiere – Largo al factotum (in French). 12” EL PW Disque Gram. DB 1043, POM-15 March, 1927. M-A, a gleaming copy. MB 15 K1964. ARMAND CRABBÉ, w.Coppola Cond.: Pagliacci – Prologo (in French), 2s. 12” EL Argentinian Orth Vla 9436, POM-30 Sept. / 17 March, 1927. Never listed in a pre-1931 North American Victor catalogue. M-A, Exemplary! MB 15 K1965. ARMAND CRABBÉ, w.Coppola Cond.: Acis and Galatea – O ruddier than the cherry (Handel) / w.Victor Pascal (Cello): Quo Vadis? – Errer à travers les mers (Nougues) (both in French). 12” EL PW Disque Gram. DB 1213, POM-3 Oct., 1929. M-A, a gleaming copy. MB 45 “[Crabbé] was a remarkable artist who sang major rôles and comprimario parts….His repertoire and dramatic abilities were legendary and over his long career he appeared in eight different rôles in Les Contes d’Hoffmann alone. One of opera’s memorable artists who demonstrated that there are no ‘small’ rôles in opera….He had an unusually well-schooled voice with great expressiveness and classic beauty, particularly in the higher register….in fact, at one point, colleagues suggested he might convert to the tenor range.” – Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.352 K1966. CHARLES PANZÉRA, w.Alfred Cortot (Pf.): Dichterliebe (Schumann), 6s. 3-12” EL Disque Gram DB 4987/89, POM-17 Sept., 1935. M-A, a gleaming copy. MB 25, the Trio. “The Panzéra / Cortot version, greatly feted in its day, is roughly contemporaneous with the Hüsch….Panzéra captures the wonder of the early songs….[with] an almost unequalled tender intimacy in the baritone’s tone….Cortot’s magic in Schumann [is] virtually inimitable….By comparison with some modern standards, this is an affectionate, not deep nor psychological reading, but is none the less engrossing for that.” - Alan Blyth, SONG ON RECORD, Vol. I, p.146 K1967. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): La vie antérieure / L'invitation au voyage (both Duparc) (1931 Versions). 12” EL PW Disque Gram DB 4819, POM-20 / 29 Oct., 1931. M-A, a gleaming copy. MB 15

K1968. CHARLES PANZÉRA, w.Maurice Blondel Quartet: Souvenir (Lalo). 10” EL S/S Test Pressing (w.handwritten label) for Disque Gram. OPG 1638-1 (issued as DA 4873), POM-4 June, 1934. A-, lovely copy has lt. rubs, inaud. Exceedingly elusive Desert Island beauty! MB 25 K1969. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): La Bonne Chanson (Fauré), 6s. 3-12” EL Disque Gram DB 5020/22, POM-30 Sept. & 1 Oct., 1936. M-A, choice copy has, Sd 2 only, minor rub, inaud. MB 25, the Trio. “[In ‘La Bonne Chanson’] Charles Panzéra observes a clear distinction between legato and non-legato phrasing, giving a variety of shape to the vocal line which has been lost by the majority of later singers….If the singer is to match the complete human picture of Verlaine’s poetry, he must be able to draw on a wide palette of tone colours or inflexions in the voice. None of the other performers on record has the range to do so.” - Richard Fairman, OPERA ON RECORD, Vol. II, pp.80 & 81 K1970. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): En sourdine / Au cimetière (both Fauré). 12” EL Disque Gram. DB 4903, POM-25 Oct., 1932. M-A, gleaming copy has, Sd. 2 only, faint ‘stressed’ groove, positively inaud. MB 15 K1971. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Panis angelicus / La Procession (both Franck). 12” EL black Disque Gram. W 995, only form of issue, 4 Oct., 1927 / 14 Nov., 1928. A, lovely copy has few lt. rubs, inaud. Exceedingly elusive! MB 25 K1972. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Lydia / Le parfum impérissable (both Fauré). 10” EL Disque Gram. DA 4878, POM-2 / 3 Oct., 1935. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K1973. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Testament (1937 Version) / La vague et la cloche (1938 Version) (both Duparc). 12” EL Japanese SD-3088, POM-4 Nov., 1937 / 20 June, 1938 (identical to DB 5085). M-A, Exemplary! MB 15 K1974. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): D’une prison (Hahn) / Clair de lune (Debussy) (1923 Versions). 10” AC black Disque Gram. P 489, only form of issue, 6 Dec., 1923, Panzéra’s first recording session. M-A, choice copy has, Sd. 2 only, faint rub & few superficial pap. mks, positively inaud. Exceedingly Elusive early Panzéra AC issue! MB 55 K1975. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Orfeo –Tu se’ morta (Les plaintes d’Orféo) (Monteverdi) / Amadis de Gaule – Bois épais (Lully). 12” AC black Disque Gram. W 652, only form of issue, 2 Oct., 1924. M-A, lovely copy has, Sd 2 only, few faint rubs, inaud. Most Elusive early Panzéra AC issue! MB 75 K1976. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): L’Horizon Chimérique (1936 Version) (Fauré), 2s. 12” EL Disque Gram DB 5009, only form of issue, 17 Nov., 1936. M-A, choice copy has very occasional rub, inaud. (Creator Record, 12 May, 1922, Société National, Paris). MB 25 “Following the triumphant première of L' Horizon Chimérique, Panzéra was immediately contacted by French HMV to make recordings. So many were the offers of engagements he received following that fateful 12 May 1922, that it was not until December 1923 that he and Magdeleine Panzéra-Baillot were able to set themselves up before the recording funnel of the as-yet acoustic gramophone to etch their first recording waxes. They continued recording a substantial repertory until the advent of war in 1940. Besides a large selection of mélodies by Fauré, Duparc, Saint-Saëns, Caplet and many others, including German Lieder, Panzéra made a celebrated complete album of Schumann's Dichterliebe with Alfred Cortot at the piano in 1935. He also recorded operatic music, not only the usual chestnuts of the French baritone, but items by Lully and other early composers, as well as J. S. Bach, Mozart, Beethoven and Wagner.” K1977. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): In der Fremde / Der Nussbaum (both in French) (both Schumann). 10” EL PW Disque Gram. DA 4809, only form of issue, 20 Oct., 1931 / 5 Feb., 1932. M-A, gleaming copy has tiny label tears. MB 20 K1978. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Songs by Fauré; MAGDELEINE PANZÉRA-BAILLOT (Pf.): Debussy recital. 12” Mercury Long-Play MG 10097, original form of issue, 1950-51, recorded at age 54! M-A, Exemplary! MB 65 K1979. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Songs by Ravel; MAGDELEINE PANZÉRA-BAILLOT (Pf.): Milhaud, Honegger, Guy-Ropartz, Delvincourt, Auber, Noel-Gallon, Trémois & Poulenc recital. 12” Mercury Long-Play MG 10098, original form of issue, 1950-51, recorded at age 54! M-A, Exemplary! MB 65 “By the time the Panzéras made their 33 rpm Long Playing Records for Mercury, his voice was audibly drier and he could no longer create the effects that made his performances so magical. Nonetheless, there is still his great artistry to be heard….Mme Panzéra can be heard to have lost none of her pianistic skills….Throughout the last years of his life, Gabriel Fauré gave the young couple inestimable help and, fittingly, Panzéra sang the baritone solo from Fauré’s Réquiem at the Memorial Service for the composer in 1924.” - Robert Bunyard, THE RECORD COLLECTOR, 2005 K1980. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Soir (1937 Version) / Nocturne (both Fauré). 10” EL PW Disque Gram. DA 4905, only form of issue, 7 Jan., 1937. M-A, a gleaming copy. MB 20

K1981. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chanson triste (1931 Version) / Soupir (1932 Version) (both Duparc). 10” EL PW Disque Gram. DA 4808, only form of issue, 20 Oct., 1931 / 5 Feb., 1932. M-A, Exemplary copy of another Desert Island disk! MB 25 “A good example [of Panzéra’s remarkably varied palette of sounds with which he appears instinctively to colour each song] is Duparc’s ‘Soupir’. This song depends for its effect on repetitions of the words ‘Ne jamais la voir ni l’entendre’ (Never to see nor hear her’). With each repeat, Panzéra becomes ever more intense with subtle gradations in timbre and volume until, in despair, the voice shades down with equal subtlety to the last line….” - Robert Bunyard, THE RECORD COLLECTOR, 2005 K1982. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chanson triste / Soupir (1935 Versions) (both Duparc). 10” EL PW Disque Gram. DA 4880, POM-3 Oct., 1935. M-A, gleaming copy has, Sd. 2 only, faintest pap. rub, inaud. Still another Desert Island disk! MB 15 K1983. CHARLES PANZÉRA, w.Piero Coppola Cond.: Chanson triste (Duparc) / Noël des enfants qui n’ont plus de maison (Debussy) (1926 Versions). 10” EL black Disque Gram. P 723, POM-5 / 7 Oct., 1926, only form of issue, Sd.2. A to M-A, lovely copy has faintest pap. rubs, inaud. MB15 K1984. CHARLES PANZÉRA, w.Piero Coppola Cond.: Chanson triste (Duparc) / Clair de lune (Fauré) (1926 Versions). 10” EL black HMV E 519, POM-5 / 6 Oct., 1926. A-, lovely copy has few lt. mks, ltly audible, Sd. 2 only. MB10 “Charles Panzéra seems to have recorded [‘Chanson triste’] at least five times, always with the ‘speaking’ tone, intimate refinement, and sense of a single arch of phrasing that made him such a renowned interpreter of mélodies….No wonder Panzéra was such an influence on his successor, Gérard Souzay…..” - Alan Blyth, OPERA ON RECORD, Vol. II, p.19 K1985. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Poèmes Juifs – Lamentation / Le chant du laboureur (Milhaud). 10” EL black Disque Gram. P 839, only form of issue, 30 May, 1929. M-A, choice copy has sev. wee mks, inaud. MB 35 K1986. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Chants Populaires – Chanson hébraïque / Deux Mélodies Hébraïques – Kaddish (both Ravel). 12” EL black Disque Gram. W 990, only form of issue, 7 Oct., 1927 / 6 June, 1928. A-/A, lovely copy has few pap. rubs, inaud.; Sd. 1 only has tiny pap. scr, inaud. MB 20 K1987. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Les roses d’Ispahan / Soir (1929 Version) (both Fauré). 10” EL black Disque Gram. P 852, only form of issue, 10 Oct., 1929. M-A, Exemplary! MB 20 K1988. CHARLES PANZÉRA, w.Magdeleine Panzéra-Baillot (Pf.): Flors d’Occitana – Chanson pour le petit cheval (de Séverac) / Les berceaux (1926 Version) (Fauré). 10” EL black Disque Gram. P 724, POM-13 / 14 Oct., 1926. M-A, Exemplary! MB 25 K1989. CHARLES PANZÉRA, w.Piero Coppola Cond.: Poème de l’Amour et de la Mer – Le temps des lilas (Chausson) / w.Magdeleine Panzéra-Baillot (Pf.): Le soir (1935 Version) (Gounod). 12” EL Disque Gram DB 4971, POM-4 Jan. / 3 Oct., 1935, only form of issue, Sd.2. M-A, gleaming copy has, Sd. 2 only, pap. rubs, inaud. MB 20 K1990. CHARLES PANZÉRA, w.Piero Coppola Cond.: Le pas d’armes du Roi Jean (Saint-Saëns) / Tannhäuser – O du, mein holder Abendstern (1926 Version) (in French). 12” EL black Disque Gram. W 802, only form of issue, 8 / 5 Oct., 1926. M-A, lovely copy has minor label tears. MB 20 K1991. CHARLES PANZÉRA, w.Piero Coppola Cond.: Nocturne (1926 Version) (Franck) / Sur un vieil air (Bordes). 12” EL black Disque Gram. W 861, only form of issue, 7 / 8 Oct., 1926. B, very decent unworn copy has lt. rubs & scrs, occasional ltly. audible. MB 10 K1992. CHARLES PANZÉRA, w.Piero Coppola Cond.: Chanson de la nuit durable (de Séverac) / Nocturne (1934 Version) (Franck). 12” EL Disque Gram. DB 4868, only form of issue, 24 Oct., 1932. M-A, a gleaming copy. MB 20 K1993. CHARLES PANZÉRA, w.Piero Coppola Cond.: Der Doppelgänger / Erlkönig (1926 Versions, in French) (both Schubert). 12” EL black Disque Gram. W 760, only form of issue, 4 Oct., 1926. A-, lovely copy has very occasional minuscule pap. scrs, only occasionally very ltly. audible. MB 20 K1994. CHARLES PANZÉRA, w.Piero Coppola Cond.: Trois Ballades de François Villon – Nos. 2 & 3 (Complete, as recorded) – Ballade que fait Villon à la requeste de sa mère / Ballade des femmes de Paris (Debussy). 10” EL PW Disque Gram. DA 4810, only form of issue, 3 Nov.,1931. M-A, a gleaming copy. MB 20 K1995. CHARLES PANZÉRA, w.Piero Coppola Cond.: La vague et la cloche / Phidylé (both Duparc) (1932 Versions). 12” EL PW Disque Gram. DB 4820, POM-3 / 10 Feb., 1932. M-A, gleaming copy has, Sd 1 only, faintest pap. rubs, inaud. MB 20 K1996. CHARLES PANZÉRA, w.Piero Coppola Cond.: La vague et la cloche / Phidylé (both Duparc) (1932 Versions). 12” EL Scroll V 11647, POM-3 / 10 Feb., 1932, on ‘Z’-type shellac. M-A, gleaming copy has faintest pap. rubs, inaud. MB 20 K1997. CHARLES PANZÉRA, w.Jean Fournet Cond.: Colloque sentimental (Debussy) / Le galop (Duparc). 10” EL LVSM DA 5015, only form of issue, 3 Nov., 1947, Panzéra’s final 78rpm session. M-A, Exemplary! MB 15 K1998. CHARLES PANZÉRA, w.Piero Coppola Cond.: Don Giovanni – Madamina, il catalogo è questo (in French), 2s. 10” EL HMV DA 4858, only form of issue, 2 May, 1934. Grand Prix du Disque, 1935. M-A, Exemplary! MB 10

K1999. CHARLES PANZÉRA, YVONNE BROTHIER, VANNI-MARCOUX & WILLY TUBIANA, w.Piero Coppola Cond.: PELLÉAS ET MÉLISANDE – Excerpts (1927 Version, Complete, as recorded), 16s. 4-10” EL PW V 4174/76; 1444; 4-12” PW V 9636/39, POM-25 & 30 March, 1927, in Orig. Album M-68. M-A, gleaming copy has very occasional superficial mk, positively inaud. MB 45, the Set. “Pelléas et Mélisande was a work that ideally suited Panzéra’s aristocratic style and good taste, for he abhorred what he termed ‘stentorian’ singing. Debussy’s expertly crafted orchestration readily allowed him to portray all the nuances of tone, colour and meaning inherent in the rôle without having to distort the words. In perfecting his portrayal of Pelléas he had the benefit of guidance from its creator Jean Périer, but Panzéra also had his own, very clear ideas about how it should be sung….Panzéra had a smoothly produced lyric baritone voice that he used with great skill. In The Grand Tradition, John Steane singled out two great French singers as being ‘outstanding, Arthur Endrèze in opera, Charles Panzéra in song’. Neither of them was born in France, but both epitomised all that was best in French singing. On records, their timbres can sound quite similar in lyrical passages, and both baritones wondrously caress the phrases of a pianissimo passage.” - Robert Bunyard, THE RECORD COLLECTOR, 2005 K2000. HECTOR DUFRANNE: Don Giovanni - Deh, vieni alla finestra (in French). 10” AC black Paris G & T G.C.-3-32637 (9100½u), POM-1905. A, lovely copy has few lt. rubs, inaud.; uncommonly bright label. MB 15 K2001. HECTOR DUFRANNE: Manon – Regardez-moi bien / À quoi bon l’économie. 10” AC black Paris Pre-Dog G.C.-3-32766/67 (5329/30h), POM-1907. A to M-A, lovely copy has few lt. rubs, inaud.; uncommonly bright label. MB 15 K2002. HECTOR DUFRANNE: Le Châlet – Vallons de l’Helvétie (Adam) / Joconde – Dans un délire extrème (Nicolo). 10” AC dark-green Paris Zonophone X-82519/18 (9042u/5327o), POM-1905/’06. A-B, very decent copy has lt. rubs, inaud.; Sd. 1 only has few wee scrs & minor ‘heat’ indent, ever-so-faintly audible at very end. MB 12 K2003. HECTOR DUFRANNE: La Jolie Fille de Perth – Quand la flamme de l’amour (Bizet) / Le Jongleur de Notre-Dame – Fleurissait une sauge (Légende de la Sauge) (Massenet). 12” AC Col. A5455, only form of issue, 22 Nov., 1912. M-A, Exemplary! MB 12 K2004. HECTOR DUFRANNE: Les Contes d’Hoffmann – Scentille diamant / Lakmé – Lakmé, ton doux regard. 12” AC Col. A5444, only form of issue, 22 Nov., 1912. M-A, Exemplary! MB 12 K2005. HECTOR DUFRANNE: Thaïs – Voilà donc la terrible cité! / DUFRANNE & HENRI SCOTT: I Puritani – Suoni la tromba. 12” AC Col. A5558, POM-27 / 24 Feb., 1914, only form of issue, Sd. 1. M-A, Exemplary! MB 12 “According to Michael Scott, Dufranne’s singing belonged to the ‘old school’ of the 19th century in which the language was not allowed to compromise vocal quality. It was a well-placed, finely produced voice combining a clean attack with a ‘forward’ production….best represented in his Columbia recordings [which] preserved his warm and mellow voice as well as his perfect enunciation, an art completely lost today.” - Andrea Shum-Binder, subito-cantabile K2006. HECTOR DUFRANNE, Krieger, Arnoult, Gilles, Aubert, etc.; Truc Cond.: L’HEURE ESPAGNOLE (Ravel), 14s. 7-12”EL PW Col. 70929/35-D, POM-1928, in Orig. Album MM OP-14. M-A, choice copy has, Sd. 8 only, infinitesimal dust scr, inaud. MB 35, the Set. K2007. HECTOR DUFRANNE, Nespoulous, Croiza,. Maguenat, Narçon, etc.; Truc Cond.: PELLÉAS ET MÉLISANDE – Excerpts (Complete, as recorded), 12s. 6-12”EL PW Eng. Col. L2233/38, POM-1928, in Orig. Album, w.:Brochure. (Dufranne Creator Record, 3 April., 1902, l’Opéra-Comique). M-A, a gleaming copy. MB 45, the Set. “[Dufranne] was clearly an exceptional artist with a strong, well-focused voice able to sing tessiture easily and accurately….Many students of great vocal art have expressed the opinion that the era during which Dufranne distinguished himself has passed forever and that his style and finesse, especially in the French repertoire, is no longer available. He will long be remembered as a giant among great artists.” – Richard T. Soper, BELGIAN OPERA HOUSES AND SINGERS, p.362 K2008. ARTHUR ENDREZE, w.Reynaldo Hahn (Pf.): Psyché (Paladilhe) / Études Latines – Phyllis (Acc. by the Composer). 10” EL green Pathé PG 88, only form of issue, 1937. M-A, gleaming copy has, Sd. 1 only, faintest pap. rub, barely visible & inaud. Ultra-Rare! MB 85 K2009. ARTHUR ENDRÈZE, w.Defosse Cond.: Nocturne / La Procession (both Franck). 12” EL red Decca-Odeon G-25893, POM-22 Oct. / 24 Dec., 1930. M-A, Exemplary! MB 15 K2010. ARTHUR ENDREZE, w.Ruhlmann Cond.: Le Roi Arthus – Pommiers verts / Ne m’interroge plus, ô Roi (Chausson). 10” EL Pathé PD 6, only form of issue, 1934. A-, lovely copy has very lt. rubs & occasional pap. mk, inaud. Exceedingly elusive! MB 25 K2011. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: Tannhäuser – O du mein holder Abenstern / Blick ich’ umher (both in French). 12” EL Pathé X.90.040, only form of issue, 1932. M-A, a gleaming copy. Exceedingly elusive! MB 30 K2012. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: La Damnation de Faust – Voici des roses / Samson et Dalila – Maudite à jamais soit la race. 10” EL Pathé PD 18, POM-1932. M-A, a gleaming copy. MB 25 K2013. ARTHUR ENDRÈZE, w.Defosse Cond.: Thaïs – Voilà donc la terrible cité! / Hérodiade – Vision fugitive. 12” EL red Decca-Odeon G-25880, POM-21 July / 22 Oct., 1930. A to M-A, lovely copy has few lt. rubs & minor ‘stressed’ groove, positively inaud. MB 12

K2014. ARTHUR ENDRÈZE, w.Ruhlmann Cond.: Hamlet – Être ou ne pas être / Faust – Écoute-moi bien. 12” EL Pathé PDT 51, POM-1932. M-A, a gleaming copy. MB 20 K2015. ARTHUR ENDRÈZE, w.Defosse Cond.: Roméo et Juliette – Ballade de la Reine Mab / Que l'hymne nuptial succède. 12” EL red Decca-Odeon G-25892, POM-22 Oct., 1930. M-A, Exemplary! MB 12 K2016. ARTHUR ENDRÈZE, w.Defosse Cond.: Le Roi De Lahore – Promesse de mon avenir / La Traviata – Di Provenza il mar (in French). 12” EL French Odéon 123.021, POM-30 Nov., 1929, only form of issue, Sd.1. M-A, gleaming copy has very occasional pressing mk, ever-so-faintly audible, Sd 1 only. MB 20 “On records, Endrèze projects a romanticism that supports his image. His voice is velvety and sensual. He articulates each phrase with a feeling for the particular color that helps illuminate its meaning. As a singing actor, Arthur Endrèze was the heir to Jean de Reszké's legendary magic; he also deserves recognition as one of the greatest American baritones.” - Harold Bruder, Program Notes to VAIA 1128 K2017. FERNANDO GUARNERI: Torna a Surriento (de Curtis) / La Traviata – Di Provenza il mar. 10” AC paper label Edison H & D 80724 (5114/5278), only form of issue, 1922. M-A, a gleaming copy. MB 15 ”Fernando Guarneri, from Naples, came to the U.S. about 1915, singing with the San Carlo Opera Company and leading U.S. music festivals. His few recordings were for various labels, including Victor, 1919-24.” K2018. MARIO LAURENTI: Torna a Surriento (de Curtis) / MARIE RAPPOLD, w.Lauri Kennedy (Cello): Élégie (Massenet). 10” AC etched label Edison H & D 82190 (6806/7086), only form of issue, 1920. M-A, Exemplary! MB 8 K2019. MARIO LAURENTI: Love is mine (Gartner) / MARIE RAPPOLD: Sing me love’s lullaby (Morse). 10” AC etched label Edison H & D 82219 (6823/6457), only form of issue, 1921. M-A, Exemplary! MB 8 K2020. MARIO LAURENTI: Calm as the night (Böhm) / ANNA CASE: Good bye, beloved, good bye (arr. Sampson). 10” AC paper label Edison H & D 82196 (6701/7248), only form of issue, 1920. M-A, Exemplary! MB 8 K2021. MARIO LAURENTI: Non è ver (in English) (Mattei) / ANNA CASE: Dearie (Kummer). 10” AC paper label Edison H & D 82249 (7934/8218), only form of issue, 1922/’21, resp. M-A, lovely copy has, Sd. 1 only, sev. minor rubs, positively inaud. MB 8 K2022. MARIO LAURENTI: Le Jongleur de Notre-Dame – Fleurissait une sauge (Légende de la Sauge) / MARIE RAPPOLD: Manon Lescaut – In quelle trine morbide. 10” AC paper label Edison H & D 82259 (7984/4953), only form of issue, 1921/’22, resp. M-A, Exemplary! MB 8 K2023. MARIO LAURENTI: Rigoletto – Cortigiani / GUIDO CICCOLINI: Carmen – La fleur que tu m’avais jetée (in Italian). 10” AC etched label Edison H & D 82156 (6481/4063), only form of issue, 1919. M-A, Exemplary! MB 8 “Mario Laurenti came to the U.S. and was engaged to sing in the chorus of the Metropolitan Opera. In 1916 he made his solo début as the Innkeeper in Manon Lescaut. He remained at the Met for six more seasons. At the Met, he sang the part of Fritz in the first performance there, 1921, of Die Tote Stadt with Jeritza.” K2024. NAZZARENO BERTINELLI, w.Albergoni Cond.: Nerone –Vivete in pace / NAZZARENO BERTINELLI & ANNA MARCANGELI: Padre nostro. 12” EL green Italian Odeon N 6651 (XXPh 6684/83), both sides offering ‘Take’ 2, only form of issue, 15 Jan., 1931. M-A, a gleaming copy. MB 25 K2025. NAZZARENO de ANGELIS: Simon Boccanegra – Il lacerato spirito (w.recit.), 2s. 10¾“ AC Milano Fonotipia 92440/41 (XPh 3752/53), POM-7 Jan., 1909. M-A, Exemplary! MB 20 K2026. NAZZARENO de ANGELIS: La Boheme – Vecchia zimarra / Mefistofele – ecco il mondo (1909 Version). 10¾“ AC German Fonotipia B92443/42 (XPh 3751/54), POM-7 / 8 Jan., 1909. M-A, lovely copy has, Sd. 1 only, infinitesimal dust scr, inaud. MB 20 K2027. NAZZARENO de ANGELIS: Faust – Vous qui faites l’endormie (in Italian) / Mefistofele – ecco il mondo (1928 Version). 12” EL blue PW Eng. Col. L2247, POM-8 Nov., 1927 / 17 Feb., 1928. M-A, a gleaming copy. MB 10 K2028. NAZZARENO de ANGELIS: Der Freischütz – Hier im ird’schen Jammertal (in Italian) / Barbiere – La calunnia. 12” EL black Viva-Tonal Col. 52818-D, POM-4 / 5 Nov., 1927. M-A, gleaming copy has, Sd. 2 only, faintest pap. rub & 2 wee internal lams, inaud. MB 10 K2029. NAZZARENO de ANGELIS: Don Carlos – Ella giammai m’amò, 2s. 12” EL blue Italian Col. GQX 10178, POM-7 / 8 Nov., 1927. M-A, Exemplary! MB 10 K2030. NAZZARENO de ANGELIS: Robert le Diable – Nonnes, qui reposez / La Juive – Vous qui du Dieu vivant (both in Italian). 12” EL blue Italian Col. GQX 10195, POM-28 Sept. / 1 Oct., 1928. M-A, a gleaming copy. MB 10 K2031. NAZZARENO de ANGELIS: Nabucco – Sperate o figli / Tu sul labbro. 12” EL green Italian Col. GQX 10196, POM-2 Oct., 1928. A-, very decent copy has lt. rubs & various internal patinas, inaud.; sev. wee ndl cuts, beg. Sd. 1 only, clicking sev. turns, otherwise these distinguished, authoritative performances play just beautifully. MB 8 K2032. NAZZARENO de ANGELIS: Mosè – Eterno, imenso / de ANGELIS, w.Cheni, Venturini & Mannarini: Dal tuo stellato soglio. 12” EL blue Italian Col. GQX 10207, POM-4 / 9 Oct., 1929. M-A, a gleaming copy. MB 10 K2033. NAZZARENO de ANGELIS, w.Molajoli Cond.: Mefistofele – Prologo, 6s. 3-12” EL green Eng. Col. D14470/72, POM-1 Oct., 1928 (not from Complete Set, recorded 1931). M-A, exemplary copy has occasional faintest pap. rub, inaud. MB 20, the Trio.

K2034. NAZZARENO de ANGELIS, Antonio Melandri, Giannina Arangi-Lombardi, Mafalda Favero, etc.; Molajoli Cond.La Scala Ensemble: MEFISTOFELE, 34s. 17-12” EL green Eng. Col. GQX 10619/35, POM-1931. M-A, gleaming copy has, very end. Sd. 34 only, nd & brief nr. MB 45, the Set. “During his 36-year career, de Angelis appeared on stage on more than 1500 occasions, performing a repertoire of 57 different operas. He was especially celebrated for his powerful portrayal of the title rôle in Boito's Mefistofele, which he sang at least 500 times between 1906 and 1938. Making his début at La Scala in 1907, and appearing often under the baton of La Scala's principal conductor, Arturo Toscanini, in 1913, he created there the rôle of Archibaldo in Montemezzi's L'Amore dei Tre Re. He also sang at the Paris Opéra, in 1909, as the High Priest in Spontini's La Vestale. Other than singing at the Lyric Opera of Chicago during the years 1910-11 and 1915–20, de Angelis' career was based almost entirely in Europe. He did, however, make a sequence of acclaimed appearances at the Teatro Colón in Buenos Aires, beginning with the 1911 season. de Angelis possessed one of the most impressive bass voices produced by Italy; his was a big, dark and well blended vocal instrument with strong top notes and plenty of stamina and carrying power. Chronologically, de Angelis succeeded the famous late-19th century basses Francesco Navarini and Vittorio Arimondi and anticipated the rise to prominence in the 1920s of Ezio Pinza and Tancredi Pasero. He made his first recordings in 1907/08 for Fonotipia Records, and his last in the late 1920s and early '30s for Columbia Records. In 1931, he recorded Mefistofele in Milano. It is the only rôle that he recorded in its entirety.” K2035. GIUSEPPE MANACCHINI, w.Tansini Cond.: Ballo – Eri tu? / Rigoletto – Cortigiani. 12” EL dark-blue Cetra CC.2154, only form of issue, 20 / 22 May, 1939. M-A, a gleaming copy. MB 25 K2036. GIUSEPPE MANACCHINI, w.Tansini Cond.: Andrea Chénier – Nemico della patria? / Faust – Avant de quitter ces lieux (in Italian). 12” EL dark-blue Cetra CB.20370, only form of issue, 23 May, 1939. M-A, a gleaming copy. MB 25 “Having become a principal singer at La Scala in 1935, Manacchini created the rôle of De Guiche in Alfano’s Cyrano De Bergerac, 22 Jan., 1936, Rome. Conducted by Serafin, the cast also included Caniglia and Luccioni. His best years were in Spain, 1948-54, then retired to Casa di Riposo, where he died.” K2037. GIUSEPPE NOTO, w.Albergoni Cond.: Andrea Chénier – Nemico della patria? / ROSETTA PAMPANINI: La mama morta. 12” EL red Fonotipia N 6601 (XXPh 6077/6098), POM-20 Oct., 1927 / 11 Jan., 1928. A-, lovely copy has lt. rubs, inaud.; Sd. 2 only has faint pap. scr, inaud. MB 15 K2038. GIUSEPPE NOTO, w.Albergoni Cond.: Ballo – Eri tu? / La Traviata – Di Provenza il mar. 12” EL green Italian Odeon E 5082 (XXPh 6045/63), only form of issue, 15 / 18 Oct., 1927. M-A, a gleaming copy. MB 25 “Noto created the rôle of Petronio in Mascagni’s Nerone, 16 Jan., 1935, La Scala. Conducted by the Composer, the cast also included Bruna-Rasa, Pertile, Pasero, Granforte and Carosio.” K2039. ENRICO MOLINARI: Nerone – Ecco il magico specchio / Vivete in pace. 10” EL PW Italian Test Pressing for Col. D12305 (B2496/2500), POM-1928. M-A, beautiful copy has, Sd. 2 only, sev. infinitesimal lams near end of performance, inaud. MB 15 “Molinari created the rôle of Giannotto in Mascagni’s Lodoletta, 12 Jan., 1918, with the Composer conducting. Also in the cast were Storchio and Campioni. He also sang in Nerone in Naples & Genoa, and enjoyed a 47 year career, then retired to Casa di Riposo, where he died.” K2040. ANTONIO SCOTTI: Scetate (Costa). 10” AC Pat.’08 Vla 87084, only form of issue, 20 Jan., 1911. M-A, Exemplary! MB 20 K2041. ANTONIO SCOTTI: Mandolinata (Paladilhe). 10” AC Pat.’08 Vla 81063, POM-10 Feb., 1905, Never Doubled. M-A, Exemplary! MB 20 K2042. ANTONIO SCOTTI: Luna nova (Costa). 12” AC Pat.’08 Vla 88290, POM-17 Feb., 1911, Orig. ‘A’ Plate Issue, Never Doubled. M-A, Exemplary! MB 12 K2043. ANTONIO SCOTTI: Maria, Marì (di Capua). 12” AC Pat.’08 Vla 88083, POM-22 March, 1907. M-A, a gleaming copy. MB 10 K2044. ANTONIO SCOTTI: Don Giovanni – Deh, vieni alla finestra; Falstaff – Quand’ero paggio. 12” AC V 88194, POM-6 Oct., 1909. M-A, a gleaming copy. MB 10 K2045. ANTONIO SCOTTI: Le Roi de Lahore – Promesse de mon avenir (in Italian). 10” AC white Vla 81064 (B-2358-1), POM-2 March, 1905, Never Doubled. M-A, gleaming copy has a virtually invisible nr on label. MB 25 K2046. ANTONIO SCOTTI: Faust – Avant de quitter ces lieux (12” 1903 Version) (in Italian). 12” AC V Deluxe 85017 (C-878-1), POM-31 Dec., 1903, Never Doubled. A-B, very decent copy has cosmetic rubs & lt. scrs, inaud. Elusive issue enjoyed brief catalogue life. MB 15 K2047. ANTONIO SCOTTI: Faust – Avant de quitter ces lieux (10” 1903 Version) (in Italian). 10” AC GP V 81022 (B-878-1), POM-31 Dec., 1903, Never Doubled. M-A, choice copy has pinpoint nd, inaud. MB 15 K2048. ANTONIO SCOTTI: Faust – Avant de quitter ces lieux (1909 Version) (in Italian). 12” AC Pat.’08 Vla 88203, POM-5 Oct., 1909. M-A, a gleaming copy. MB 10 K2049. ANTONIO SCOTTI: Faust – Écoutez-moi bien (Mort de Valentin) (in Italian). 12” AC Pat.’08 Vla 88282, Orig. ‘A’ Plate Issue, POM-20 Jan., 1911, Never Doubled USA. M-A, gleaming copy has very occasional superficial mk, inaud. MB 15

K2050. ANTONIO SCOTTI: Faust – Écoutez-moi bien (Mort de Valentin) (in Italian). 12” AC V 88282, POM-20 Jan., 1911, Never Doubled USA. M-A, a gleaming copy. MB 10 K2051. ANTONIO SCOTTI: L'Elisir – Come Paride vezzoso. 12” AC Victor G & T V.M.-052109 (C2361-1), POM-2 March, 1905, Never Doubled, USA. M-A, Exemplary! MB 20 K2052. ANTONIO SCOTTI: L'Elisir – Come Paride vezzoso. 12” AC S/S heavy vinyl RCA Test Pressing for C2361, (w.RCA embossed spiderweb verso), POM-2 March, 1905, Never Doubled, USA. M-A, Exemplary! MB 20 “…a performance of exceptional sensitivity, the phrasing contrived by graceful portamenti, the fioritura a fitting part of the whole….Like Battistini, [Scotti] knew how to turn a song to advantage.” - Michael Scott, THE RECORD OF SINGING K2053. ANTONIO SCOTTI: Rigoletto – Deh, non parlare al misero; Don Giovanni – Finch'han dal vino / L’Elisir – Come Paride vezzoso. 12” AC mauve & gold HMV AGSB 24, POM-10 March, 1904 / 2 March, 1905. MINT MB 12 K2054. ANTONIO SCOTTI: Rigoletto – Deh, non parlare al misero; Don Giovanni – Finch’han del vino. 12” AC white Vla 85031 (C1094), POM-10 March, 1904, Never Doubled in any regular series – only as IRCC & AGSB 24. M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K2055. ANTONIO SCOTTI: Rigoletto – Deh, non parlare al misero; Don Giovanni – Finch’han del vino / Falstaff – L’Onore! Ladri! 12” AC white & gold Vla IRCC 18, POM-10 March, 1904 / 7 Oct., 1909. Numbered Copy #12 of an extraordinarily Limited Edition, Sd. 1 label boldly Autographed by Scotti; Scotti’s photo is imprinted on Sd.2 label. M-A, a gleaming copy. MB 45 K2056. ANTONIO SCOTTI: Rigoletto – Pari siamo (1st Version). 12” AC S/S Special vinyl Pressing of C-3173-1, POM-9 March, 1906, Never Doubled. MINT MB 20 K2057. ANTONIO SCOTTI: La Sonnambula – Vi ravviso (1903 Version). 10” AC V Monarch 81041 (B-877-1), POM-31 Dec., 1903, Never Doubled. A-, lovely copy has very lt. rubs & few lt. scrs. MB 15 K2058. ANTONIO SCOTTI: La Sonnambula – Vi ravviso (1906 Version). 12” AC pink Milano G & T 052139 (C-3174-2), POM-3 May, 1906, Never Doubled. M-A, exceptional copy has 2 minor rubs, inaud. MB 20 K2059. ANTONIO SCOTTI: La Sonnambula – Vi ravviso (1909 Version). 10” AC Pat.’08 Vla 87034, (B-3174-1), POM-6 Oct., 1909, Never Doubled USA. M-A, Exemplary! MB 15 K2060. ANTONIO SCOTTI: Don Pasquale – Bella siccome un angelo. 10” AC V Monarch 81043 (B-1092-1), POM-10 March, 1904, Never Doubled in any regular series, only as IRCC 75. M-A, exceptional copy for this vintage has 3 infinitesimal pap. mks, inaud. MB 35 K2061. ANTONIO SCOTTI: Don Pasquale – Bella siccome un angelo / Ballo – Alla vita che t’arride. 10” AC silver Victor IRCC 75, POM-10 March, 1904 / 2 March, 1905. Numbered Copy #4 of an extraordinarily Limited Edition, Sd.1 label of which has Scotti’s photo affixed. M-A, a gleaming copy. MB 35 K2062. ANTONIO SCOTTI: Aïda – Suo padre…Anch’io pugnai. 10” AC Pat.’08 Vla 81042 (B-1091-1), POM-10 March, 1904, Never Doubled. A to M-A, lovely copy has few lt. cosmetic mks, positively inaud.; heavy nr only at outer edge of label. MB 15 K2063. ANTONIO SCOTTI: Ballo – Eri tu? 12” AC Pat.’08 Vla 85044, POM-10 Feb., 1905, Never Doubled. A-, lovely copy has few lt. cosmetic mks, positively inaud.; tiny label smudge. MB 15 K2064. ANTONIO SCOTTI: Falstaff – L’Onore! Ladri! 12” AC Pat.’08 Vla 88195, POM-7 Oct., 1909, Never Doubled USA, other than the elusive IRCC issue. A to M-A, lovely copy has faintest pap. rub, inaud. MB 15 K2065. ANTONIO SCOTTI: Otello – Inaffia l’ugola! (Brindisi) (1905 Version). 10” AC GP V 81054 (B-2235-1), Orig. ‘A’ Plate Issue, POM-10 Feb., 1905, Never Doubled. A-, lovely copy has few lt. rubs & 2 pressing bumps. MB 15 K2066. ANTONIO SCOTTI: Otello – Inaffia l’ugola! (Brindisi) (1909 Version). 10” AC V 87040 (B-4324-1), POM-5 Oct., 1909, Never Doubled USA. M-A, choice copy has wee label smudge. MB 15 K2067. ANTONIO SCOTTI: Otello – Credo in un Dio crudel. 12” AC S/S Special vinyl Pressing of C-3176-1, POM-9 March, 1906, Never Doubled. MINT MB 20 K2068. ANTONIO SCOTTI: Tosca – Già, mi dicon venal (1st 1908 Version). 12” AC Pat.’12 Vla 88122, POM-17 Feb., 1908, issued USA only. M-A, gleaming copy has minor id etched in label. MB 12 K2069. ANTONIO SCOTTI: I Pagliacci – Prologo – Un nido di memorie (1903 Version). 10” AC Pat.’12 Vla 81021 (B-876-1), POM-31 Dec., 1903, Never Doubled. M-A, Exemplary! MB 15 K2070. ANTONIO SCOTTI: I Pagliacci – Prologo – Un nido di memorie (1903 Version). 10” AC V 81021 (B-876-1), POM-31 Dec., 1903, Never Doubled. M-A, Exemplary! MB 12 K2071. ANTONIO SCOTTI: I Pagliacci – Prologo - Si può? (1906 Version). 12” AC GP V 88029 (C-3175-3), POM-3 May, 1906, Never Doubled. A-B, very decent copy has lt. rubs & few superficial mks, inaud. MB 10 K2072. ANTONIO SCOTTI: I Pagliacci – Prologo - Si può? (1909 Version). 12” AC Pat.’08 Vla 88029 (C-3175-5), POM-5 Oct., 1909. M-A, a gleaming copy. MB 12 K2073. ANTONIO SCOTTI: I Pagliacci – Si può? (1909 Version). 12” AC black on blue Lyre-playing nude 76214 (C-3175-5), POM-5 Oct., 1909. M-A, choice copy has wee label sticker. MB 12

K2074. ANTONIO SCOTTI & ENRICO CARUSO: Madama Butterfly – Amore o grillo. 12” AC Pat.’08 Vla 89043, POM-14 March, 1910. M-A, Exemplary! MB 8 K2075. ANTONIO SCOTTI & ENRICO CARUSO: Madama Butterfly – Non ve l’avevo detto? Addio fiorito asil. 12” AC Pat.’08 Vla 89047, POM-14 March, 1910. M-A, gleaming copy has infinitesimal nr, positively inaud. MB 8 K2076. ANTONIO SCOTTI & ENRICO CARUSO: Don Carlos – Dio, che nell’alma infondere. 12” AC Pat.’08 Vla 89064, POM-30 Dec., 1912. M-A, beautiful copy has faintest pap. rubs, inaud. MB 8 K2077. ANTONIO SCOTTI & GERALDINE FARRAR: Don Giovanni – La cì darem la mano / La Boheme – Mimi, speravo di trovarvi qui (1909 Versions). 12” AC PW buff Historic Catalogue #2 HMV DK 111, POM-4 / 6 Oct., 1909. A-, lovely copy has few lt. rubs, inaud. MB 12 K2078. ANTONIO SCOTTI & GERALDINE FARRAR: Don Giovanni – La cì darem la mano (1909 Version). 12” AC Pat.’08 Vla 89015, POM-4 Oct., 1909. M-A, a gleaming copy. MB 10 K2079. ANTONIO SCOTTI & GERALDINE FARRAR: Nozze – Crudel, perchè finora. 12” AC Pat.’08 Vla 89027, POM-4 Oct., 1909. M-A, lovely copy has 2 infinitesimal pap. mks, inaud. MB 10 K2080. ANTONIO SCOTTI & GERALDINE FARRAR: Madama Butterfly – Ora a noi (1909 Version). 12” AC Vla 89014, POM-6 Oct., 1909. M-A, a gleaming copy. MB 10 K2081. ANTONIO SCOTTI & GERALDINE FARRAR: Madama Butterfly – Ora a noi (1909 Version). 12” AC black on blue Lyre-playing nude 77518 (C-5015-4), POM-6 Oct., 1909. M-A, Exemplary! MB 12 K2082. ANTONIO SCOTTI & GERALDINE FARRAR: La Boheme – Mimi, speravo di trovarvi qui (1908 Version). 12” AC GP V 89016, POM-19 Feb., 1908. M-A, choice copy has infinitesimal nr, positively inaud. MB 10 K2083. ANTONIO SCOTTI & GERALDINE FARRAR: La Boheme – Mimi, speravo di trovarvi qui (1909 Version). 12” AC Pat.’08 Vla 89016, POM-6 Oct., 1909. M-A, gleaming copy has faintest pap. rub, inaud. MB 10 K2084. ANTONIO SCOTTI & GERALDINE FARRAR: Les Contes d’Hoffmann – Belle nuit (Barcarolle). 10” AC Pat.’08 Vla 87502, POM-6 Oct., 1909. M-A, Exemplary! MB 8 K2085. ANTONIO SCOTTI, MARCEL JOURNET & ENRICO CARUSO: Faust – Que voulez-vous, Messieurs? 12” AC Pat.’08 Vla 95206, POM-16 Jan., 1910, Never Doubled. M-A, Exemplary! MB 12 K2086. ANTONIO SCOTTI, RITA FORNIA & RICCARDO MARTIN: Madama Butterfly – Lo so che alle pene. 10” AC Pat.’08 Vla 87503, only form of issue, 7 March, 1910. M-A, Exemplary! MB 8 K2087. ANTONIO SCOTTI, ENRICO CARUSO, GERALDINE FARRAR & GINA VIAFORA: La Boheme – Addio dolce svegliare. 12” AC Pat.’08 Vla 96002, POM-10 March, 1908. M-A, a gleaming copy. MB 10 K2088. ANTONIO SCOTTI, ENRICO CARUSO, BESSIE ABOTT & LOUISE HOMER: Rigoletto – Bella figlia dell’amore. 12” AC Pat.’08 Vla 96000, POM-20 Feb., 1907. M-A, a gleaming copy. MB 10 K2089. ANTONIO SCOTTI, ENRICO CARUSO, MARCELLA SEMBRICH & GINA SEVERINA: Rigoletto – Bella figlia dell’amore. 12” AC Vla 96001, POM-7 Feb., 1908. M-A, Exemplary! MB 8 K2090. ANTONIO SCOTTI, CARUSO, JOURNET, MARCELLA SEMBRICH, FRANCESCO DADDI & GINA SEVERINA: Lucia – Chi mi frena. 12” AC Pat.’08 Vla 96200, POM-7 Feb., 1908. M-A, a gleaming copy. MB 10 K2091. ANTONIO SCOTTI & MARCELLA SEMBRICH: Don Pasquale – Vado, corro! (sans ‘Pronto io son’). 12” AC Victor G & T 054074 (C-3181-2), POM-14 March, 1906. A, lovely copy has faintest pap. rub & occasional superficial mk, inaud.; infinitesimal scr at very end occurs after performance. MB 12 “Antonio Scotti's La Scala début in 1898 was as Hans Sachs and this, like the Falstaff which came quickly thereafter, was under the baton of Toscanini. Scotti first sang at Covent Garden in 1899 as Don Giovanni and returned there each year until 1910, revisiting London in 1913 - 1914. It was at Covent Garden that he premiered Franco Léoni's L'Oracolo, a gut-wrenching bit of verismo with which Scotti was identified throughout his career. A Metropolitan Opera début took place in 1899, as Scotti reprised his Don Giovanni on 27 December and the positive impression continued with Valentin on 4 January, surrounded by Nellie Melba and the De Reszke brothers. Ernest Reyer's Salammbô, a rarity, offered Scotti as Hamilcar in March when Scotti was also heard to positive effect as Rigoletto. In another year, Scotti had participated in one of the famed ‘nights of the seven stars’ as Nevers in Meyerbeer's Les Huguenots. In January 1902, his Iago was described by the Times as ‘crafty, malignant, intense’. Scotti became the reigning Baron Scarpia of his time, unequaled until the arrival of Tito Gobbi decades later. Among his gallery of memorable portraits, Scarpia was heard most often, 217 times in fact. He partnered 15 different Toscas over the course of his long career at the house. His 25th anniversary Metropolitan season was celebrated in 1924 with a gala performance of Tosca. His career was unusually long, lasting into his late sixties, and Scotti remained with the Metropolitan for a remarkable 35 consecutive seasons, singing more than 1200 performances, some 350 of them on tour. He performed opposite his close friend Enrico Caruso when the illustrious tenor made his Met début as the Duke of Mantua in 1903. By the 1930s, Scotti's voice had declined considerably but he retained his place on the Met's roster of singers due to his outstanding histrionic ability. His final Met appearance occurred on 20 January, 1933, when he sang Chim-Fen in L'Oracolo, the rôle he had created in 1905. Scotti's recordings confirm that he was a stylish, well-trained and aristocratic singer. His voice was not particularly large or resonant; but it was rock steady, smooth toned and accurate in its execution of difficult vocal ornaments.” - Erik Eriksson, allmusic.com

K2092. LAWRENCE TIBBETT: Thy beaming eyes (MacDowell) / Oh, that we two were maying (Nevin). 10” EL Scroll V 1172, on ‘Z’ shellac, POM-24 May, 1926; M-A, a gleaming copy. MB 15 K2093. LAWRENCE TIBBETT: Thy beaming eyes (MacDowell) / Oh, that we two were maying (Nevin). 10” EL Orth Vla 1172, POM-24 May, 1926; M-A, a gleaming copy. MB 8 K2094. LAWRENCE TIBBETT: Drink to me only with thine eyes (Jonson) / Believe me, if all those endearing young charms (Moore). 10” EL PW V 1238, POM-30 March, 1927. M-A, a gleaming copy. MB 8 K2095. LAWRENCE TIBBETT: Old black Joe / Uncle Ned (both Foster). 10” EL V 1265, POM-31 March, 1927. M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K2096. LAWRENCE TIBBETT: Song of the Flea (Moussorgsky) / Pilgrim's Song (Tschaikowsky). 12” EL Orth Vla 7779, POM-8 Dec., 1932, Sd. 1 being 'Take' 2 of two issued 'Takes’. M-A, Exemplary! MB 10 K2097. LAWRENCE TIBBETT: Last night when we were young (Arlen) / On the road to Mandalay (Speaks). 12” EL PW V 11877, POM-10 Oct., 1935, only form of issue, Sd. 1. M-A, a gleaming copy. MB 12 K2098. LAWRENCE TIBBETT: Die Almacht / Der Wanderer (both Schubert) (both in English). 12” EL PW V 15891, only form of issue, 4 Jan., 1940. M-A, choice copy has, 2 infinitesimal pap. scrs, inaud. MB 12 K2099. LAWRENCE TIBBETT: The Bailiff’s daughter (Old English) / Goin’ home (Adaptation of Largo, from New World Symphony) (Dvorák). 12” EL PW V 15549, POM-4 Jan., 1940 / 19 Oct., 1936, only form of issue, Sd. 1). M-A, a gleaming copy. MB 12 K2100. LAWRENCE TIBBETT: On the road to Mandalay (Speaks) / Goin’ home (Adaptation of Largo, from New World Symphony) (Dvorák). 12” EL HMV DB 3036, POM-10 Oct., 1935 / 19 Oct., 1936. M-A, Exemplary! MB 10 K2101. LAWRENCE TIBBETT: Edward (in English) (Loewe) / De glory road (Wolfe). 12” EL RCA 7486, POM-29 Oct. / 10 Dec., 1931, Sd. 1 being only form of issue, 'Take' 2 of two issued 'Takes'. M-A, appears unplayed! MB 12 K2102. LAWRENCE TIBBETT: Edward (in English) (Loewe) / De glory road (Wolfe). 12” EL PW V 7486, POM-12 / 10 Dec., 1931, Sd. 1 being 'Take' 4 of two issued 'Takes'. M-A, Exemplary! MB 12 “’De Glory Road’ is a melodramatic description of a pitfall-filled race to elude the devil in reaching the glorious heights of heaven. It became Tibbett's 'party piece', his signature song, his most requested encore. ‘Glory Road’ and other songs of that genre have long since fallen out of favour, but to hear Tibbett's performance of it is even today a thrilling experience, nostalgic to those old enough to have heard him sing it in person, ear-opening to listeners of a younger generation.” - Harper MacKay, LAWRENCE TIBBETT, FROM BROADWAY TO HOLLYWOOD K2103. LAWRENCE TIBBETT: None but the lonely heart (in English) (Tchaikovsky) / In a Persian Garden – Myself when young (Liza Lehmann). 10” EL PW V 1706, POM-20 April, 1934. M-A, a gleaming copy. MB 8 K2104. LAWRENCE TIBBETT: Carmen – Chanson du toréador / Tosca – Te Deum. 12” EL PW V 8124, POM-8 / 3 April, 1929, Sd. 2 being 'Take' 2 of two issued 'Takes’. M-A, Exemplary! MB 8 K2105. LAWRENCE TIBBETT: Carmen – Chanson du toréador / Tosca – Te Deum. 12” EL RCA 8124, POM-8 / 10 April, 1929, Sd. 2 being 'Take' 4 of two issued 'Takes’, exceptionally forward recording! M-A, Exemplary! MB 10 K2106. LAWRENCE TIBBETT: Barbiere - Largo al factotum / Ballo - Eri tu. 12” EL PW V 7353, POM-15 April, 1930, Sd. 1 being 'Take' 1 of two issued 'Takes’; Sd. 2 being 'Take' 3 of two issued 'Takes'. M-A, a gleaming copy. MB 12 K2107. LAWRENCE TIBBETT: Pagliacci – Prologo, 2s. 12” EL PW V 6587, POM-7 June, 1926, Sd.1 being 'Take' 3 of two issued 'Takes’. M-A, choice copy has long, ever-so-faint pap. scr, positively inaud. MB 10 K2108. LAWRENCE TIBBETT: Pagliacci – Prologo, 2s. 12” EL RCA 6587, POM-7 June, 1926, Sd.1 being 'Take' 2 of two issued 'Takes’. M-A, Exemplary! MB 12 K2109. LAWRENCE TIBBETT: Emperor Jones – Standin' in de need of prayer (Gruenberg) / Merry Mount – Oh, ‘tis an earth defiled (Hanson). 12” EL Scroll V 7959, on ‘Z’ shellac, POM-19 Jan., 1934, (Creator Record, 7 Jan, 1933 / 10 Feb., 1934, Metropolitan Opera), issued USA & Australia only. A to M-A, lovely copy has few very faint rubs, inaud. MB 15 K2110. LAWRENCE TIBBETT: The King's Henchman – Oh, Caesar, great wert thou! / Nay, Maccus, lay him down (Deems Taylor). 12” EL PW V 8103, POM-5 April, 1928, only form of issue, Sd.1; issued USA only. (Creator Record, 17 Feb., 1927, Metropolitan Opera). M-A, a gleaming copy. MB 15 “Tibbett became a passionate champion of American opera, and in the late 1920s and 1930s he sang in the world premières of many notable American works, the best known of which are The King's Henchman and Peter Ibbetson (Deems Taylor), The Emperor Jones (Louis Gruenberg), Merry Mount (Howard Hanson), In the Pasha's Garden (John Seymour), and Caponsacchi (Richard Hageman). Additionally, he was a major figure on radio, was the first president of the American Guild of Musical Artists, and was one of the first ‘serious’ opera singers to appear in full-length films, starting with Lionel Barrymore's 1929 The Rogue Song. He followed this with New Moon (1930), The Prodigal (1931), Cuban Love Song (1931), Metropolitan (1935), and Under Your Spell (1936). He did not, however, sing outside the United States until 1937, when he débuted as Scarpia at Covent Garden; this led to his creation of the rôle of Don Juan in Eugene Goossens' Don Juan de Mañara.” - Anne Feeney, allmusic.com

K2111. LAWRENCE TIBBETT: Music in the Air – The song is you / And love was born (both Hammerstein & Kern). 10” EL Orth Vla 1612, POM-8 Dec., 1932. M-A, a gleaming copy. MB 12 K2112. LAWRENCE TIBBETT: The Rogue Song – The rogue song / The Narrative (both Stothart). 10” EL PW V 1446, POM-13 Jan., 1930. M-A, a gleaming copy. MB 8 K2113. LAWRENCE TIBBETT: The Rogue Song – When I’m looking at you / The white dove (both Stothart). 10” EL Orth Vla 1447, POM-13 Jan., 1930. M-A, lovely copy has faintest pap. rubs, inaud. MB 8 K2114. LAWRENCE TIBBETT: The New Moon – Lover, come back to me / Wanting you (both Romberg). 10” EL Orth Vla 1506, POM-6 March, 1931. M-A, lovely copy has, Sd. 2 only, sev. sl. greyed grooves, inaud. MB 8 K2115. LAWRENCE TIBBETT: The Prodigal – Without a song (Youmans) / Life is a dream (Oscar Straus). 10” EL Orth Vla 1507, POM-6 March, 1931. M-A, lovely copy has 2 infinitesimal pap. scrs, positively inaud. MB 8 K2116. LAWRENCE TIBBETT: The Cuban Love Song – Tramps at sea / LAWRENCE TIBBETT (singing both Baritone & Tenor parts): Cuban love song (Stothart). 10” EL Orth Vla 1550, POM-26 / 28 Oct., 1928, Sd. 2 being 'Take' 2 of two issued 'Takes'. M-A, lovely copy has, Sd. 1 only, faintest pap. rubs, inaud. MB 10 K2117. LAWRENCE TIBBETT: Semele – Where’er you walk / Theodora – Defend her! Heaven (both Handel). 12” EL PW V 17456, POM-4 Jan., 1940, issued USA & Australia only. M-A, choice copy has faint pap. rubs, inaud. MB 10 K2118. LAWRENCE TIBBETT: Tannhäuser – O du mein holder Abendstern / Faust – Avant de quitter ces lieux. 12” EL Orth Vla 8452, on ‘Z’ shellac, POM-20 April, 1934. M-A, a gleaming copy. MB 15 K511. LAWRENCE TIBBETT, w.Leopold Stokowski Cond. Philadelphia Orch.: Die Walküre – Excerpts, 8s. 4-12” EL Scroll & PW V 8542/45, partially on ‘Z’-type shellac, POM-1934, in Orig. Album M-248, w.Brochure. M-A, appears unplayed! MB 35, the Set. K2119. LAWRENCE TIBBETT & ROSE BAMPTON: Simone Boccanegra – Figlia, tal nome palpita / LAWRENCE TIBBETT, ROSE BAMPTON, GIOVANNI MARTINELLI & LEONARD WARREN: Plebe, Patrizi…(both w.Wilfrid Pelletier Cond.). 12” EL PW V 15642, POM-3 May, 1939. A to M-A MB 12 “Tibbett made his Met début as Lovitsky in Boris Godunov in 1923. In the same season he sang Valentin, but recognition did not come until 1925 when he sang Ford in a Falstaff performance and earned much more successthat evening than Antonio Scotti in the title rôle! He was catapulted to being a principal of the Met for 27 season, his greatest rôle being Simone Boccanegra. A period of decline set in during the mid 1940s, but in his 1941 Otello one can detect very little of this decline. In La Forza del Destino, Tosca and in Pelléas et Mélisande one can recognize the ‘tired’ voice, but his singing is still moving, still a great artist. Lawrence Tibbett is considered as one of the towering baritones of America, with the sheer expansion and marvelous richness of his dark-timbred voice, his pure legato, the warmth, the extensive range from the bottom to the very top, his coloring and nuancing of a phrase, and his lyrical declamation.” - Andrea Shum-Binder, subito-cantabile K2120. THOMAS L. THOMAS, w.Hannemann (Pf.): Danny Boy / Flow gently, sweet Afton. 10” EL RCA 10-1312, only form of issue, 1 Nov, 1946. M-A, Exemplary! MB 8 K2121. THOMAS L. THOMAS, w.Hinschen Cond.: Les Rameaux (in English) (Faure) / Ave Maria (in Latin) (Schubert). 12” EL RCA 11-9109, only form of issue, 17 Sept., 1945. M-A, choice copy has, Sd. 1 only, faint lateral ipc, inaud. MB 8 K2122. THOMAS L. THOMAS, w.Hinschen Cond.: A perfect day (Bond) / The Rosary (Nevin). 12” EL RCA 11-9190, only form of issue, 17 Sept., 1945. M-A, Exemplary! MB 8 K2123. THOMAS L. THOMAS, w.Maximillian Pilzer Cond.: Can't Help Singing – More and more / Any moment now (Jerome Kern). 10" EL V 10-1136, only form of issue, 4 Dec., 1944. M-A, choice copy has tiny label sticker, Sd. 2 MB 12 K2124. THOMAS L. THOMAS, w.Al Goodman Cond.: Carousel – June is bustin’ out all over / THOMAS L. THOMAS & NAN MERRIMAN: If I loved you (Richard Rodgers). 10" EL RCA 10-1174, only form of issue, 18 June, 1945. M-A, Exemplary! MB 12 K2125. THOMAS L. THOMAS & NAN MERRIMAN, w.Al Goodman Cond.: Carousel – You’ll never walk alone / NAN MERRIMAN: What’s the use of wond’rin (Richard Rodgers). 10" EL RCA 10-1175, only form of issue, 18 June, 1945. M-A, choice copy has few lt. rubs, inaud. MB 12 K2126. THOMAS L. THOMAS, w.Helen Marshall, Helen Olheim, Risë Stevens, etc.; Nathaniel Shilkret Cond.: Blossom Time, Maytime, My Maryland, The Student Prince, The Desert Song & The New Moon – Excerpts (Romberg), 10s. 5-12" EL Scroll V 11792/96, on ‘Z’ shellac, only form of issue, 1935. M-A, Exemplary! MB 35, the Set. “In 1937 Thomas became the youngest singer and only Welshman to have won the Metropolitan Opera's annual radio auditions. He made his début there on 15 May, 1937 as Silvio in Pagliacci. Despite success, Thomas decided to turn down a Met contract and return to a concert career instead. In 1941, he made one exception to his abdandonment of the opera stage, when he sang the title rôle in Walter Damrosch's opera Cyrano, after Ezio Pinza had withdrawn from the production less than a month before the opening night. At his career’s peak, Thomas sang 60 concerts a year in the United States and further afield in Canada, Wales, England, Germany, and Australia, as well as performing on weekly radio broadcasts. For a time he was one of the highest paid concert artists in the United States. In 1948 and 1949 he hosted the weekly radio show, Your Song And Mine, and he also became a fixture on the radio (and later television) program, The Voice of Firestone, where he appeared from 1942 until 1957.”

K2127. MAURICE CHEVALIER: Pruneaux-Figues (Yvain) / Chanson pour moi (Mercier). 11½” AC brown paper label H & D Paris Pathé 4399 (2767/59), recorded 1922. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 25 K2128. MAURICE CHEVALIER: Là-Haut – Si vous n’aimez pas ça / Couplets de ‘Là-Haut’ (Yvain). 11½” AC brown paper label H & D Paris Pathé 2058 (4841/40), recorded 1923. M-A, Exemplary! MB 25 K2129. MAURICE CHEVALIER & DRANEM (Armand Ménard): Là-Haut – Duo de inseparables / MARY MALBOS: Parce que…(Yvain). 11½” AC brown paper label H & D Paris Pathé 2059 (4839/05), recorded 1923. (These are All-Creator Recordings from Là-Haut, 31 March, 1923, Bouffes-Parisiens.) M-A, Exemplary! MB 25 K2130. MAURICE CHEVALIER: Dédé – Pour bien réussir dans la chausseure / J’ose pas (Christiné). 11½” AC brown paper label H & D Paris Pathé 2030 (3410/11), recorded 1922. M-A, choice copy has faintest pap. rubs, inaud. MB 25 K2131. MAURICE CHEVALIER: Dédé – Je m’donne / MAURICE CHEVALIER & ANDRÉ URBAN: Dans la vie faut pas s’en faire (Christiné). 11½” AC brown paper label H & D Paris Pathé 2031 (3412/13), recorded 1922. M-A, Exemplary! MB 25 K2132. MAURICE CHEVALIER & ALICE COCÉA: Dédé – Si j’avais su / ALICE COCÉA: Et voila comme (Christiné). 11½” AC brown paper label H & D Paris Pathé 2032 (3420/22), recorded 1922. M-A, Exemplary! (These are All-Creator Recordings from Dédé, 10 Nov., 1921, Bouffes-Parisiens.) MB 25 “…Maurice Chevalier, making a formidable first appearance in operetta after having starred at the Casino de Paris with Mistinguett the previous season…brought down the house with ‘Pour bien réussir dans la chausseure’, and even more famously, ‘Dans la vie faut pas s’en faire’.” - Richard Traubner, OPERETTA, A THEATRICAL HISTORY, p.309 K2133. MAURICE CHEVALIER, w.Leonard Joy Cond.: Innocents of Paris – Louise / w.Griselle Cond.: Wait ‘till you see ‘Ma chérie’. 10” EL black Orth V 21918, POM-14 / 15 March, 1929. M-A, Exemplary! MB 15 K2134. MAURICE CHEVALIER, w.Leonard Joy Cond.: Innocents of Paris – It’s a habit of mine / On top of the world, alone. 10” EL black Orth V 22007, POM-14 March, 1929. M-A, Exemplary! MB 15 K2135. MAURICE CHEVALIER, w.Griselle Cond.: Innocents of Paris – Les Ananas / Valentine (1929 Version). 10” EL black Orth V 22093, POM-15 March, 1929. A-, very decent copy has lt. rubs, inaud. MB 10 K2136. MAURICE CHEVALIER, w.Griselle Cond.: Innocents of Paris – Valentine (1929 Version) / Avec le Sourire – Les mots qu’on voudrait dire. 10” EL plum HMV X.4862, POM-15 March, 1929 / 1936. M-A, lovely copy has faintest pap. rubs, inaud. MB 10 K2137. MAURICE CHEVALIER, w.Leonard Joy Cond.: Fifty Million Frenchmen – You’ve got that thing (Cole Porter) / The Love Parade – Paris, stay the same. 10” EL black Orth V 22294, POM-25 Jan., 1930, ‘Takes’ 1 / 3 (each of two issued ‘takes’). A to M-A, choice copy has few lt. rubs, positively inaud. MB 15 K2138. MAURICE CHEVALIER, w.Leonard Joy Cond.: Fifty Million Frenchmen – You’ve got that thing (Cole Porter) / The Love Parade – Paris, stay the same. 10” EL black Orth V 22294, POM-25 Jan., 1930, ‘Takes’ 1 / 3 (each of two issued ‘takes’). A to M-A, choice copy has few lt. rubs, positively inaud. MB 15 K2139. MAURICE CHEVALIER, w.Leonard Joy Cond.: Fifty Million Frenchmen – You’ve got that thing (Cole Porter) / The Love Parade – Paris, stay the same. 10” EL black Orth V 22294, POM-25 Jan., 1930, ‘Takes’ 2 / 2 (each of two issued ‘takes’). A to M-A, choice copy has few lt. rubs, positively inaud. MB 15 K2140. MAURICE CHEVALIER, w.Leonard Joy Cond.: The Love Parade – My love parade / Nobody’s using it now. 10” EL black Orth V 22285, POM-22 Jan., 1930. A to M-A, choice copy has few lt. rubs, positively inaud. MB 15 K2141. MAURICE CHEVALIER, w.Leonard Joy Cond.: Hello! Beautiful! / Walkin’ my baby back home. 10” EL black Orth V 22634, POM-22 Feb., 1931. A-B, very decent copy has few lt. rubs, positively inaud.; Sd. 2 only has tiny pap. scr, also inaud. MB 15 K2142. MAURICE CHEVALIER, w.Leonard Joy Cond.: One Hour With You – What would you do? / Oh! that Mitzi! 10” EL plum PW HMV B 4173, POM-24 Feb., 1932. M-A, Exemplary! MB 10 K2143. MAURICE CHEVALIER, w.Bouillon Cond.: Parade du Monde – Quand un vicomte / Un tout p’tit peu. 10” EL plum Disque Gram. K-7587, POM-1935. M-A, Exemplary! MB 15 K2144. MAURICE CHEVALIER: Je vais sur mon chemin / Le Silence est d’Or – Pour les amants. 10” EL plum HMV JO 75, POM-c.1941. M-A, choice copy has, Sd. 1 only, wee ec, not to grooves. MB 10 K2145. MAURICE CHEVALIER: J’ai peur de coucher tout seul / En plus grand. 10” EL plum PW Disque Gram. K-6052, POM-1930. A-B, very decent copy has lt. rubs & occasional tiny scr, inaud. MB 10 K2146. MAURICE CHEVALIER, w.Fred Freed Orch.: J’Avais Sept Filles – Demain j’ai vingt ans / C’est l’amour, mais oui. 10” EL black London P.18226. M-A, appears unplayed! MB 15 K2147. MAURICE CHEVALIER, w.Fred Freed Orch.: L’orientale / Madam’ Madame. 10” EL black London P.18227. M-A, appears unplayed! MB 15 K2147a. MAURICE CHEVALIER, w.Nat Finston Orch.: Mimi (Richard Rodgers) / Un tout p’tit peu (Moretti). 10” EL black RCA 25-0106. M-A, appears unplayed! MB 15

K2148. MAURICE CHEVALIER, w.Henri René Orch.: Valentine (1947 Version) (Christiné), 2s. 10” EL black RCA 25-1090, POM-1947. M-A, appears unplayed! MB 15 K2149. MAURICE CHEVALIER, w.Raymond Legrand Orch.: Les Parigots / Ma Pomme – T’en fais pas fiston. 10” EL black Canadian Decca 240240. M-A, appears unplayed! MB 15 K2150. MAURICE CHEVALIER, w.Raymond Legrand Orch.: Mesdames Oh! Mesdames / Ma Pomme – Y a tant d’amour. 10” EL black Canadian Decca 240242. M-A, appears unplayed! MB 15 K2151. MAURICE CHEVALIER, w.Raymond Legrand Orch.: Mome de mome / Ma Pomme (Nouvelle version). 10” EL dark-blue Canadian Decca 240429. M-A, appears unplayed! MB 15 “Maurice Chevalier was a French actor, singer, and popular vaudeville entertainer. He is noted as a Sprechgesang performer. Chevalier's signature songs included ‘Louise’, ‘Mimi’, ‘Valentine’, and ‘Thank Heaven for Little Girls’. His trademark was a boater hat, which he always wore on stage with his tuxedo. In 1909, he became the partner of the biggest female star in France, Fréhel. However, due to her alcoholism and drug addiction, their liaison ended in 1911. Chevalier then started a relationship with 36-year-old Mistinguett at the Folies Bergère where he was her 23 year old dance partner; they eventually played out a public romance.” K2152. MARLENE DIETRICH, w.Holländer Orch.: Der Blaue Engel – Ich bin die fesche Lola / Kinder heut’ Abend such ich mir was aus (both Cond. by the Composer). 10” EL plum HMV EG 1802, POM-1930. A, lovely copy has faintest pap. rubs, inaud. MB 10 K2153a. MARLENE DIETRICH, w.Holländer Orch.: Der Blaue Engel – Wenn ich mir was Wünschen dürfte (Cond. by the Composer) / w.Spoliansky Cond.: Leben ohne Liebe kannst du nicht. 10” EL plum PW HMV EG 2265, only form of issue, 1930 / 12 March, 1931. M-A, lovely copy has label sticker, Sd.1. MB 10 K2153. MARLENE DIETRICH, w.Holländer Orch.: Der Blaue Engel – Nimm dich in acht vor blonden Frauen / Ich bin von Kopf bis Fuss auf Liebe (both Cond. by the Composer). 10” EL plum HMV EG 1770, POM-1930. A, lovely copy has faintest pap. rubs, inaud. MB 10 “The Blue Angel (German: Der blaue Engel) is a film directed by Josef von Sternberg in 1930. The film is considered to be the first major German sound film and it brought world fame to actress Marlene Dietrich. In addition, it introduced her signature song, Friedrich Holländer's ‘Falling in Love Again (Can't Help It)’.” K2154. MARLENE DIETRICH & ROSEMARY CLOONEY: Too old to cut the mustard (Carlisle) / w.Jimmy Carroll Cond.: Good for nothin’ (Wilder). 10” EL Col. 39812, only form of issue, 18 / 19 Aug., 1952. M-A, Exemplary! MB 12 K2155. FANNY BRICE: If we could only take her word, 2s. 10” AC Col. A2122, only form of issue, 18 Feb., 1916 (Brice’s first recording session). A to M-A, choice copy has faintest pap. rubs, inaud. MB 20 K2156. FANNY BRICE: Oh, how I hate that fellow Nathan / I’m and Indian. 10” AC blue V 45303, only form of issue, 15 / 18 Nov., 1921. M-A, superb copy has, Sd. 2 only, infinitesimal pap. scr, positively inaud. MB 20 K2157. FANNY BRICE: Becky is back in the ballet / The Shiek of Avenue B. 10” AC blue V 45323, only form of issue, 13 / 14 July, 1922. A-, very decent copy has lt. rubs & few lt. scrs, inaud. MB 12 K2158. FANNY BRICE: Ziegfeld Follies of 1921 – Second-hand Rose / My man (1921 Version). 10” AC blue V 45263, only form of issue, 8 / 15 Nov., 1921. A to M-A, choice copy has, Sd. 1 only, faint nr at end. MB 15 K2159. FANNY BRICE: Mrs Cohen at the beach, 2s. 10” EL black Orth V 21211, only form of issue, 20 / 21 Dec., 1927. M-A, Exemplary! MB 25 K2160. FANNY BRICE: My Man – If you want the rainbow / I’d rather be blue. 10” EL black Orth V 21815, POM-14 Dec., 1928. M-A, appears unplayed, exceptional for this series! MB 25 K2161. FANNY BRICE: Be Yourself! – When a woman loves a man / Cooking breakfast for the one I love. 10” EL black Orth V 22310, POM-15 Jan., 1930. A-, lovely copy has few lt. rubs, inaud. MB 15 K2162. FANNY BRICE, w.Hanley Stafford: Baby Snooks Learns, 6s. 3-10” EL white & red Capitol 6154/59, POM-1949, in Orig. Album DC-3081. A-B, very decent copy has lt. rubs & occasional scrs, momentarily audible. MB 15, the Set. “Fanny Brice starred in the Ziegfeld Follies in the 1920s and 1930s. A pioneer female comic, she was one of the most popular Jewish entertainers of her day. And her fame became even greater when Barbra Streisand played the starring role in Brice’s life story, Funny Girl (1968). From 1938 until her death in 1951 Brice had an incredibly successful radio show based on just one character, Baby Snooks, a precocious, bratty toddler. This album of three double-sided 78 rpm recordings was produced in 1949 on the Capitol Records label.” - Maxine Schackman, Judaica Sound Archives, 4 Nov., 2009 K2163. BLANCHE RING: Come, Josephine, in my flying machine. 10" AC purple Pat. '08 V 60032, only form of issue, 22 Dec., 1910. M-A, Exemplary! MB 20 K2164. BLANCHE RING: Yip! I adee! I Aye. 10" AC black Pat. '08 V 5692, POM-20 March, 1909. A to M-A, choice copy of Original Issue has few superficial mks, positively inaud. MB 15 K2165. BLANCHE RING: Yip! I adee! I Aye. 10" AC purple Pat. '08 V 60017, POM-20 March, 1909. A to M-A, choice copy has few superficial mks, positively inaud. MB 10 "’I've Got Rings on My Fingers’ was introduced when Blanche performed in The Midnight Sons in 1909. Her recording of the song for RCA Victor is listed as one of Billboard's top hits of that year, along with her recordings of ‘Yip-I-Addy-I-Aye"’ and ‘The Billiken Man’."

K2166. COLE PORTER: Thank you so much, Mrs Lowsborough-Goodby / Anything Goes – You're the Top (“At words poetic I’m so pathetic that I always have found it best instead of getting them off my chest, to let ‘em rest, unexpressed….”) (both Sung by the Composer). 10" EL black Orth V 24766, POM-26 Oct., 1934. A to M-A, lovely copy has faintest pap. rubs, inaud. Most Elusive! MB 25 “Cole Porter loved to write songs with lists of various items. ‘You’re the Top’ is probably the best known of these list songs. It was written for the Broadway show Anything Goes in 1934. Porter composed it during a cruise on Germany’s Rhine River. He asked his fellow passengers to tell him what they considered important in their lives, or important in general, and Porter worked them into the lyric. For the record, he names an astonishing 37 persons, places and things in the course of the song. Anything Goes hit Broadway soon after the end of Prohibition and as the nation was beginning to see the first glimmers that it could escape the Great Depression, ‘You're the Top’ helped lift the nation's spirits. Actually there are many variations on ‘You’re the Top’, with the list changing with the times. This above version is the one Porter himself recorded in 1934. Porter wasn’t much of a singer, but he more than makes up for that with his enthusiasm and sense of fun.” K2167. FLORENCE DESMOND (Impersonating Janet Gaynor, Jimmy Durante, Greta Garbo, Tallulah Bankhead, Marlene Dietrich, Zasu Pitts, Gracie Fields & Marie Dressler), w.Ray Noble Orch.: A Hollywood Party, 2s. 10” EL plum PW HMV B 4264, POM-25 July, 1932. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K2168. THE HARMONIZERS (Charles Hart, Billy Jones, Steve Porter & Harry Donaghy): Breezin’ along with the breeze / Barcelona. 10” EL burgundy Harmony 218-H, only form of issue, 13 July, 1926. M-A, appears unplayed! MB 10 K2169. ELIDA MORRIS: Kiss me (Irving Berlin) / ADA JONES & BILLY MURRAY: The bell of the barber’s ball (George M. Cohan [as McCohan]). 10” AC black Pat.’10 V 16807, only form of issue, 13 Sept. / 14 Oct., 1910. M-A, beautiful copy has faintest nr, each side, positively inaud. MB 15 K2170. EVELYN HERBERT, w.Shield Cond.: The New Moon – One kiss / Lover, come back to me (Romberg). 10” EL black Orth V 21883, only form of issue, 28 Dec., 1928 / 5 Feb., 1929 (Sd. 2 being ‘Take’ 8 [of two issued ‘Takes’]) (Creator Record, 19 Sept., 1928, Imperial Theatre, New York.) A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 K2171. BEBE DANIELS, w.Baravelli Cond.: Rio Rita – You’re always in my arms / If you’re in love, you’ll waltz. 10” EL black Orth V 22132, POM-16 Sept., 1929. A-, lovely copy has lt. rubs, inaud. MB 15 K2172. JOHN BOLES, w.Shields Cond.: Cameo Kirby (Song of the West) – Romance / After a million dreams. 10” EL black Orth V 22230, only form of issue, 15 Nov., 1929. M-A, appears unplayed, but tiny ipc appears Sd.2. MB 15 K2173. GID TANNER and his Skillet-Lickers, w.RILEY PUCKETT: Ya gotta quit kickin’ my dog aroun’ / Turkey in the straw. 10” EL black Viva-Tonal Col. 15084-D, only form of issue, 17 April, 1926. M-A, appears unplayed! MB 15 “George Riley Puckett was a country music pioneer mostly known for being a member of Gid Tanner and the Skillet Lickers. In 1924 Puckett accompanied fiddler Gid Tanner to New York, where they recorded twelve songs and tunes for the Columbia Phonograph Company. They were the first country-music artists to record for that firm. These recording sessions yielded vocal selections by Puckett and fiddle tunes by Tanner. Puckett was a charter member of the influential string band Gid Tanner and His Skillet Lickers and continued to record with the group through their last session in 1934. Riley Puckett was one of the nationally known pioneer country music artists who gained experience and exposure at the Georgia OldTime Fiddlers Conventions, held in Atlanta between 1913 and 1935.” K2174. HELEN MORGAN, w.Baravelli Cond.: Show Boat – Can’t help lovin’ dat man / Bill (Hammerstein & Kern) (1928 Versions). 10” EL black Orth V 21238, POM-14 Feb., 1928. A to M-A, choice copy of Original 1928 Issue. MB 15 K2175. HELEN MORGAN, w.Victor Young Cond.: Show Boat – Can’t help lovin’ dat man / Bill (Hammerstein & Kern) (1932 Versions). 12” EL red PW Col. 55005, POM-9 Aug., 1932. (Creator Record, 27 Dec., 1927, Ziegfeld Theatre, New York.) M-A, Exemplary! MB 12 K2176. HELEN MORGAN, w.Shilkret Cond.: Frankie and Johnny – Give me a heart to sing to / Frankie and Johnny. 10” EL black Orth V 24650, POM-21 March, 1934, only form of issue, Sd. 2. M-A, Exemplary! Most Elusive! MB 35 “A quintessential torch singer, Helen Morgan made a big splash in the Chicago club scene in the 1920s. She starred as Julie LaVerne in the original Broadway production of Hammerstein and Kern's musical Show Boat in 1927 as well as in the 1932 Broadway revival of the musical, and appeared in two film adaptations, becoming firmly associated with the rôle. She sang ‘Bill’ (lyrics by P.G. Wodehouse, music by Jerome Kern) and ‘Can't Help Lovin' Dat Man’ in two stage runs and two film productions of Show Boat over a span of 11 years. After appearing in the 1929 film version of Show Boat, Morgan went on to star in Kern and Hammerstein's Broadway musical, Sweet Adeline. In the musical, Morgan introduced the songs ‘Why Was I Born’ and ‘Don't Ever Leave Me’.” K2177. SPIKE JONES: When Yuba plays the rumba on the tuba / Laura. 10” EL black RCA 20-2118, only form of issue, 6 May, 1946, Sd. 1 label Autographed in white ink by Spike Jones. M-A, Exemplary! MB 15 K2178. ELSIE JANIS: Fo' de Law'd's sake play a waltz (Sung by the Composer). 10" AC purple Pat.'12 V 60091, POM-22 Oct., 1912. M-A, choice copy of Original 1912 Issue. MB 20 “A child prodigy who performed at the White House for President McKinley, Elsie Janis burst to stardom on Broadway while still a teenager doing clever imitations of famous Americans. But it was her legacy as the first person to entertain troops on the front lines in war-ravaged France that bestowed immortality on her and gave her the nickname ‘The Sweetheart of the A.E.F.’."

K2179. GEORGE GERSHWIN (Pf.): Oh, Kay! – Do-do-do / Someone to watch over me (both Played by the Composer). 10” EL black Viva-Tonal Col. 809-D, POM-8 Nov., 1926. A to M-A, choice copy has faintest pap. rubs, inaud. MB 25 K2180. ALEC TEMPLETON: Vocal Impressions (Tenor saxist, French vocalist, American vocalist) (Played & ‘Sung’ by the Composer) / ETHEL MERMAN: Why do they call a Private a Private? (Hayes & Loesser). 12” EL vinyl V Disc 368, only form of issue, Live Broadcasts, 6 Nov., 1944, from Studio 8-H, Radio City, New York / Camp Shanks’ ‘Blueprint Special’ Show, 1944, preceeded by Merman’s spoken introduction. A-B, very decent copy has the customary rubs & very lt. scrs, endemic to this series. MB 25 K2181. ALEC TEMPLETON: Ida (Munson) / Big Ben bounce (Played by the Composer). 10” EL Atlantic 1034. M-A, Exemplary! MB 12 K2182. ALEC TEMPLETON: Humming blues (Played by the Composer) / Some of these days (Brooks). 10” EL PW Col. 35697, only form of issue, 8 July, 1940. M-A, lovely copy has tiny edge bite to 1st groove, not affecting playing. MB 8 K2183. ALEC TEMPLETON: Star dust (Hoagy Carmichael) / And the angels sing (as it might be presented at the Metropolitan Opera House) (Johnny Mercer & Ziggy Elman). 10” EL black PW V 26353, only form of issue, 16 Aug., 1939. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K2184. ALEC TEMPLETON: Man with new radio (Musical caricature) / Hazy and blue (both Played by the Composer). 10” EL black PW V 26348, only form of issue, 16 Aug., 1939. M-A, Exemplary! MB 12 K2185. ALEC TEMPLETON: Three little fishies (Itty bitty pool) (Saxie Dowell) / Night and day (Cole Porter). 10” EL black PW V 26402, only form of issue, 16 Aug., 1939. A/M-A, lovely copy has faintest pap. rubs, inaud. MB 12 K2186. ALEC TEMPLETON: Body and soul (Green) / Mary had a little lamb (arr. Alec Templeton). 10” EL black PW V 26668, only form of issue, 16 Aug., 1939. M-A, Exemplary! MB 12 K2187. ALEC TEMPLETON: Longing / Pines (both Played by the Composer). 10” EL Gramophone Shop GSV 1012, only form of issue, 1938. M-A, Exemplary! MB 12 K2188. ALEC TEMPLETON: Voyage à la lune / Mother’s lullaby; Friendship (all Played by the Composer). 10” EL Gramophone Shop GSV 1013, only form of issue, 1938. M-A/A, lovely copy has, Sd. 2 only, few lt. rubs, inaud. MB 10 “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 Flapper CD K2189. ALEC TEMPLETON: Topsy Turvy Suite #1 – Bach goes to town / Topsy Turvy Suite #2 – Soldier’s minuet (both Played by the Composer). 10” EL Gramophone Shop GSV 1010, only form of issue, 1938. A to M-A, lovely copy has faintest pap. rubs, inaud.; Sd. 1 only has harmless tiny edge lam. MB 8 K2190. ALEC TEMPLETON: Topsy Turvy Suite #3 – Undertaker’s toccata / Ghost rhapsody (both Played by the Composer). 10” EL Gramophone Shop GSV 1011, only form of issue, 1938. A to M-A, lovely copy has few lt. rubs, inaud. MB 8 K2191. ALEC TEMPLETON: Improvisation on five varied melodies (incl. Ride of the Valkyries, Lambeth walk, etc.) / The music goes ‘round and around (as it might have been written by Mozart, Johann Strauss and Handel). 10” EL Gramophone Shop GSV 1009, only form of issue, 1938. M-A, Exemplary! MB 12 K2192. 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” EL Gramophone Shop GSV 1008, only form of issue, 1938. M-A, Exemplary! MB 12 K2193. ALEC TEMPLETON: Alec Templeton in his impression of old-fashioned Italian Grand Opera / A trip through a music conservatory. 10” EL Gramophone Shop GSV 1006, only form of issue, 1938. M-A, Exemplary! MB 12 K2194. ALEC TEMPLETON: Alec Templeton in his impression of the shortest Wagnerian opera / Two German lieder singers. 10” EL Gramophone Shop GSV 1007, only form of issue, 1938. M-A, Exemplary! MB 12 K2195. 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'; Sousa and Strauss in reverse; A sultry day in New York (all Played & Sung by the Composer), 6s. 3-10” EL black PW V 26492/94, only form of issue, 23 Jan., 1940, in Orig. Album P-19. M-A, Exemplary! MB 25, 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’. In 1942 he did eight sides for Decca, six of them released as a three-record set with catalog number A-314.”

K2196. BEATRICE LILLIE: I hate Spring (Hamilton) / Set to Music – Weary of it all (Noël Coward). 10” EL Liberty Music Shop L-250, only form of issue, 13 Feb., 1939. A to M-A Elusive! MB 15 K2197. BEATRICE LILLIE: At Home Abroad – Paree / Flying colors – Mother told me so (Schwartz & Dietz). 10” EL Liberty Music Shop L-189, only form of issue, 31 Oct., 1935. M-A, Exemplary! MB 12 K2198. BEATRICE LILLIE: At Home Abroad – Get yourself a Geisha (It’s better with your shoes off) (Schwartz & Dietz) / w.Hugh French (Pf.): Set to Music – Three white feathers (Noël Coward). 10” EL Liberty Music Shop L-251, only form of issue, 13 Feb., 1939. M-A, Exemplary! MB 12 K2199. BEATRICE LILLIE, w.Will Irwin (Pf.): Set to Music – Mad about the boy (School girl version / Cockney maid version) (Noël Coward), 2s. 10” EL Liberty Music Shop L-249, w.Addison Foster half-label superimposed, only form of issue, 13 Feb., 1939. A to M-A, lovely copy has, Sd. 2 only, sev. tiny harmless edge lams. MB 12 K2200. BEATRICE LILLIE, w.Will Irwin (Pf.): Set to Music – Marvelous party (Noël Coward) / The gutter song (Shelton). 10” EL Liberty Music Shop L-252, only form of issue, 13 Feb., 1939. M-A MB 12 K2201. BEATRICE LILLIE, w.Sam Walsh (Pf.): I’m a campfire girl (Crooker) / He was a gentleman (Gorney). 10” EL Gramophone Shop GSV 1003, only form of issue, 3 July, 1934. M-A, Exemplary! MB 15 K2202. BEATRICE LILLIE, w.Sam Walsh (Pf.): There are fairies at the bottom of our garden (Liza Lehmann) / Snoops, the lawyer (Ruby). 10” EL Gramophone Shop GSV 1002, only form of issue, 3 July, 1934. A to M-A, lovely copy has few lt. rubs, inaud. MB 12 K2203. BEATRICE LILLIE, w.Edward Cooper (Pf.): Baby didn’t know (Gideon) / A baby’s best friend (Rogers & Hart). 10" EL black Orth V 25165, POM-24 Oct., 1934. A, lovely copy has lt. rubs, inaud.; Sd. 1 primarily has minor edge burn, not to grooves. MB 15 K2204. BEATRICE LILLIE, w.Roy Ross Cond.: Souvenir Album, incl. Lady Windermere’s fan; The yodeling goldfish; Clop! Clip! Clop!; Honey, ma’ love; Wind ‘round my heart; Oh for a night in the ballroom, 6s. 6-10" EL black Decca 24392/94, in Orig. Album A-633. M-A, choice copy has, Sd., 3 only, few infinitesimal pap. scrs, inaud. MB 20, the Set. K2205. BEATRICE LILLIE, w.Vincent Youmans (Pf.): Oh, Please! – Like he loves me / Nicodemus (Acc. by the Composer). 10” EL black Orth V 20361, only form of issue, 27 Nov., 1926, (Creator Record, 17 Dec., 1926, Fulton Theatre, New York.). A-, very decent copy has lt. rubs & few superficial scrs, inaud. MB 15 “Beatrice (or Bea) Lillie, as she would be known professionally, took advantage of her gift for witty satire that made her a stage success for more than 50 years. In her revues, she utilized sketches, songs, and parody that won her lavish praise from the New York Times after her 1924 New York début. In some of her best known bits, she would solemnly parody the flowery performing style of earlier decades, mining such songs as ‘There are Fairies at the Bottom of our Garden’ and ‘Mother Told Me So’ for every double entendre, while other numbers (‘Get Yourself a Geisha’ and ‘Snoops the Lawyer’, for example) showcased her exquisite sense of the absurd. Throughout her career as a revue performer, Lillie's contracts almost invariably stipulated that she would not make her first entrance onstage until at least half an hour into the show; by that point, every other act in the revue had made its first appearance and the audience would be keenly awaiting the entrance of Miss Lillie, the star of the evening.” K2206. JACK HULBERT: The Camels are Coming – Who’s been polishing the sun? / Roadhouse – What a little moonlight can do. 10” EL plum PW HMV B.8238, only form of issue, 1934. A to M-A, choice copy has faintest pap. rubs, inaud. MB 10 K2207. JACK HULBERT: Miss what’s her name / Dancing Lady – My dancing lady. 10” EL plum PW HMV B.8147, only form of issue, 1934. A-, very decent copy has lt. rubs, inaud. MB 8 “Born in Ely, Cambridgeshire, Hulbert was educated at Cambridge and appeared in many shows and revues, mainly with the Cambridge Footlights. He was one of the earliest famous alumni of the comedy club. After Cambridge, he earned recognition and fame performing in musicals and light comedies. He made his film début in Elstree Calling (1930); appearing opposite his wife and frequent stage and screen co-star Cicely Courtneidge whom he had married in 1916. His marriage to Cicely Courtneidge lasted for 62 years until his death.” K2208. Voice of the Stars, incl. Gracie Fields, Charles Laughton, Leslie Henson, Albert Burdon, Evelyn Laye, Lew Ayres, Mae West, Stanley Lupino, Gordon Harker, George Arliss, Bobby Howes / Wallace Beery, Jackie Cooper, Jack Hulbert, Cicely Courtneidge, Laurel & Hardy, Katherine Hepburn, Janet Gaynor, Frederic March, Norma Shearer, Jack Buchanan, Diana Wynyard. 10” EL green & red Regal Zonophone MR 1234, only form of issue, 1934. M-A, Exemplary! MB 20 K2209. VERNON DALHART: When the work’s all done this fall / FRANKIE WALLACE: Riding on the elevated railroad. 10” white & black Cameo 9111. M-A, appears unplayed! MB 8 K2210. SHANNON QUARTET (a.k.a. Shannon Four & The Revelers): A little bit of heaven / Where the river Shannon flows. 10” EL black Viva-Tonal Col. 746-D, only form of issue, 30 Aug., 1926. M-A, appears unplayed! MB 15 K2211. JAMES CLAFFY: Laughing Molly / Kerry Man’s rambles; Mountain dew. 10” EL green Viva-Tonal Col. 33151-F, only form of issue, 1927. M-A, appears unplayed! MB 10 K2212. FRANK FARRELL and his Greenwich Village Inn Orch.: Charmaine! (w.Arthur Fields, Vocal) / LOU GOLD Orch.: A little girl, a little boy, a little moon (w.Jimmy Kern, Vocal). 10” EL blue Velvet Tone 1445-V, only form of issue, 3 / 13 June, 1927. M-A, appears unplayed! MB 10 K2213. THE HARMONIANS: What’ll you do? / The Merry World – I fell head over heels in love. 10” EL burgundy Harmony 540-H, only form of issue, 19 Nov., 1927. M-A, appears unplayed! MB 10

K2214. HARRY C. BROWNE: Polly wolly doodle / Push dem clouds away. 10” EL black Viva-Tonal Col. 1359-D, only form of issue, 21 Feb., 1928. M-A, appears unplayed! MB 10 K2215. ARTHUR FIELDS: Laugh, clown, laugh / I wanna sail away with you. 10” AC red Grey Gull 2392, recorded 1922. M-A, appears unplayed, albeit few greyed grooves, beg. Sd.1. MB 8 K2216. ARTHUR FIELDS: When the role is called up yonder / BOB THOMAS: Throw out the life line. 10” AC red Grey Gull 4069, recorded 1922. M-A, appears unplayed! MB 8 K2217. ARTHUR FIELDS: A bird in a gilded cage / Break the news to mother. 10” EL red Grey Gull 4178, recorded 1928. M-A, appears unplayed! MB 8 K2218. STEVE PORTER: Flanagan at the vocal teacher’s / STEVE PORTER & ERNEST HARE: The Arkansas traveler. 10” AC red Grey Gull 4112, recorded 1920. M-A, appears unplayed! MB 8 K2219. VERNON DALHART (as Jeff Calhoun): May I sleep in your barn tonight, Mister? / FRANCIS HEROLD: When I saw sweet Nellie home. 10” AC red Grey Gull 4118, recorded 1920. M-A, appears unplayed! MB 8 K2220. WESTELL GORDON: When you’re not here / VERNON DALHART (as Vel Veteran): There’s a rainbow ‘round my shoulder. 10” EL red Grey Gull 2437, recorded 1928. M-A, appears unplayed! MB 8 K2221. AL BERNARD: The preacher and the bear / The sting of the bumble bee. 10” EL red Grey Gull 4167, recorded 1928. M-A, appears unplayed, despite occasional rub. MB 8 K2222. AL BERNARD: Rufus Green at the circus / Rufus Green at the huskin’ bee. 10” EL red Grey Gull 4257, recorded 1928. M-A, appears unplayed! MB 8 K2223. AL BERNARD: Ida sweet as apple cider / JOHN RYAN: My old New Hampshire home. 10” EL red Grey Gull 4198, recorded 1928. M-A, appears unplayed! MB 8 K2224. JOHN RYAN: After the ball was over / Do they ever think of me at home? 10” pale-blue Radiex 4151. M-A, appears unplayed! MB 8 K2225. JOHN RYAN: Carolina moon / LEW IRVING: Life without you is just a bubble. 10” pale-blue Radiex 2446. M-A, appears unplayed! MB 8 K2226. JOHN RYAN: Carry me back to old Virginny / ARTHUR FIELDS: Lone trail rose. 10” pale-blue Radiex 4123. M-A, appears unplayed! MB 8 K2227. JOHN RYAN: All by yourself in the moonlight / LEW IRVING: Every day. 10” pale-blue Radiex 2452. M-A, appears unplayed, albeit faint pap. scr, Sd.1, inaud. MB 8 K2228. ARTHUR FIELDS: Tell mother I’ll be there / WESTELL GORDON: Ben Bolt. 10” pale-blue Radiex 4127. M-A, appears unplayed! MB 8 K2229. STEVE PORTER: Flanagan’s second hand car / STEVE PORTER & BILLY JONES: Hy and Si and the line fence. 10” pale-blue Radiex 4002. M-A, appears unplayed! MB 8 K2230. JEANNE WILLARD (Whistler): Listen to the mocking bird / The song bird. 10” pale-blue Radiex 4061. M-A, appears unplayed! MB 8 K2231. ARTHUR FIELDS: Captain Jinks / HONEY DUKE: Hand me down my walking cane. 10” pale-blue Radiex 4119. M-A, appears unplayed, albeit large, lateral edge bite to 1st groove. MB 5 K2232. FRANK LUTHER: The butcher boy / Jesse James. 10” pale-blue Radiex 4133. M-A, appears unplayed, albeit infinitesimal pap. scr, Sd. 2 only, inaud. MB 8 K2233. AL SHERMAN: Blue Hawaiian moon / ROY BUTLER: Sweet Hawaiian kisses. 10” pale-blue Radiex 4160. M-A, appears unplayed! MB 8 K2234. VERNON DALHART (as Vel Veteran): Waltz me around again, Willie / VERNON DALHART (as Jeff Calhoun): Casey Jones. 10” pale-blue Radiex 4174. M-A, appears unplayed! MB 8 K2235. STEVE PORTER & BYRON HARLAN: Uncle Si at the village barber / Uncle Si and Hiram swapping horses. 10” pale-blue Radiex 4230. M-A, appears unplayed! MB 8 K2236. STEVE PORTER: Flanagan at the doctor’s / STEVE PORTER & BYRON HARLAN: Casey and Reilly meet on the street. 10” pale-blue Radiex 4231. M-A, appears unplayed, albeit infinitesimal hint of pap. scr, end Sd. 1, inaud. MB 8 K2237. AL BERNARD: Good evening, Caroline / VERNON DALHART (as Vel Veteran): Let me call you sweetheart. 10” pale-blue Radiex 4250. M-A, appears unplayed! MB 8 K2238. JACK KAUFMAN & CAMPBELL: Save it for a rainy day / JACK KAUFMAN & HONEY DUKE: Roll ‘em girls. 10” pale-blue Radiex 8101. M-A, appears unplayed! MB 8 “Radiex Records was a United States record label of the 1920s. It was manufactured by Grey Gull Records of Boston, Massachusetts, from 1921 until the demise of Grey Gull in late 1930; it was then pressed for a few more months into 1931 by the successor firm which continued the Radiex, Van Dyke and Madison labels. Radiex records were sold in Montgomery Ward catalogs although they were not manufactured specifically for that firm.”

K2239. ROBERT FROST reading his own poems, 10s. 5-12” EL red vinyl Library of Congress LC 1760/69, in Orig. Album P-6. M-A, appears unplayed! MB 35, the Set. K2240. HERBERT READ, PHELPS PUTNAM, JOHN BERRYMAN, HORACE GREGORY & DELMORE SCHWARTZ reading their own poems, 10s. 5-12” EL red vinyl Library of Congress LC 1770/79, in Orig. Album P-7. M-A, appears unplayed! MB 35, the Set. K2241. RICHARD BLACKMUR, STEPHEN SPENDER, ELIZABETH BISHOP, THEODORE ROETHKE & WITTER BYNNER reading their own poems, 10s. 5-12” EL red vinyl Library of Congress LC 1780/89, in Orig. Album P-8. M-A, appears unplayed! MB 35, the Set. K2242. ROBERT FITZGERALD, MARYA ZATURENSKA, ROBERT LOWELL, CONRAD AIKEN & WILLIAM EMPSON reading their own poems, 10s. 5-12” EL red vinyl Library of Congress LC 1790/99, in Orig. Album P-9. M-A, appears unplayed! MB 35, the Set. K2243. ARCHIBALD MACLEISH, MURIEL RUKEYSER, HOWARD BAKER, LÉONIE ADAMS & JANET LEWIS reading their own poems, 10s. 5-12” EL red vinyl Library of Congress LC 1800/09, in Orig. Album P-10. M-A, appears unplayed! MB 35, the Set. K2244. T. S. ELIOT reading his own poems, 10s. 5-12” EL red vinyl Library of Congress LC 168493. M-A, appears unplayed! MB 35, the Set. K2245. T. S. ELIOT: The Hollow Men / Gerontion (Read by the Author). 12” EL vinyl Harvard Vocarium P-990/91. M-A, appears unplayed! MB 10 K2246. EDITH EVANS reading Shakespeare, Jonson, Wordsworth, Keats, Blake, Clough, Byron, Scott, Herrick, Masefield, Chesterton, Hardy, de la Mare, Bottomley, Nichols, Davies, Carroll, Church, Noyes, Binyon & Tennyson, 12s. 6-10” EL PW Col. 17151/56-D, POM-1938, in Orig. Album M-375, w.Brochure. M-A, choice copy has, Sd. 1 only, lt. rubs, inaud. MB 25, the Set. K2247. JOHN GIELGUD reading Shakespeare, Jonson, Byron, Scott, Waller, Shelley, Donne, Kingsley, Rossetti, Morris, Bridges, Sassoon, Masefield, de la Mare, Davies, Tennyson & T. S. Eliot, 12s. 6-10” EL PW Col. 17207/12-D, POM-1938, in Orig. Album M-419, w.Brochure. M-A, Exemplary! MB 25, the Set. K2248. JOHN GIELGUD: Speeches from Othello, Hamlet, The Merchant of Venice, As You Like It, Richard II, The Tempest, Henry V, Henry IV & Midsummer Night's Dream, 10s. 5-12” EL Linguaphone EEG.28/38E, only form of issue, 1927, in Orig. Linguaphone Album, w.separate, individual Brochure for each disc. M-A, Exemplary! MB 45, the Set. K2249. JOHN GIELGUD, w.Massed Choirs & Orch.: Excerpts from Richard II & King John (Shakespeare) / ADRIAN BOULT Cond. BBC S.O.: Rule Britannia (Arne); The British Grenadiers. 10” EL plum HMV B.9420, POM-1937, for King George’s Jubilee Trust Fund. M-A, Exemplary! MB 15 K2250. JOHN GIELGUD & EDITH EVANS: The Importance of Being Earnest – Lady Bracknell interviews John Worthing (Wilde), 2s. 10” EL plum HMV B.8883, POM-1938. M-A, Exemplary! MB 10 K2251. JOHN GIELGUD & MARGARET RUTHERFORD: The Importance of Being Earnest – Lady Bracknell interviews John Worthing / JOHN GIELGUD, w.Donald Bain, Richard Wordsworth & Malcolm Keen: Lady Windermere’s Fan – Act III Excerpt (Wilde). 12” EL vinyl Decca DU 90012, POM-1947, in original Decca printed sleeve. M-A, Exemplary! MB 15 K2252. ANTHONY QUAYLE: Soliloquies from Othello (Shakespeare), 2s. 12” EL plum HMV C.4248, only form of issue, 1953. M-A, appears unplayed! MB 15 K2253. ORSON WELLES, et al.: The Merchant of Venice (Shakespeare) – Abridged Version by Mercury Theatre, 24s. 12-12” EL gold PW Col. ME-1001/24, POM-1938, in Orig. Album C-6. M-A, appears unplayed; tattered album & paper. MB 65, the Set. K2254. ORSON WELLES, et al.: Twelfth Night (Shakespeare) – Abridged Version by Mercury Theatre, 16s., plus 2 more sides devoted to Epilogue. 9-12” EL gold PW Col. ME-1025/44, POM-1938, in Orig. Album C-7. M-A, appears unplayed; Excellent album; tattered paper. MB 65, the Set. K2255. ORSON WELLES, etc.: Julius Caesar (Shakespeare) – Abridged Version by Mercury Theatre, 10s. 5-12” EL MasterWorks Col. 11117/21-D, POM-1938, in Orig. Album 325. M-A, appears unplayed. MB 45, the Set. “Orson Welles,still in his early 20s, was catapulted to fame by his ‘anti-fascist Julius Caesar produced at the Mercury Theater. In 1938 he memorialized that production in a five-record set. It was not a recreation of the stage production. The performers were assigned different parts from those they had on the stage, and the play was greatly condensed. A piece of speech in one act was combined with a line from another act and another part; the entire murder scene from ‘The ides of March have come’ to ‘Et tu Brute’ lasted only 15 seconds. This was the first recording of a complete play in condensed form; it treated the recorded play as a new art form.” - Robert O’Brien, Encyclopaedia of Recorded Sound K2256. HELEN HAYES, w.Roy Shields Cond.: Mine Eyes have Seen the Glory (Julia Ward Howe, Francis Scott Key, Samuel Francis Smith & Walt Whitman; w.musical settings by Kurt Weill), 4s. 2-12” EL V 11-8221/22, POM-1942, in Orig. Album M-909. M-A, appears unplayed. MB 25, the Set. K2257. RALPH BELLAMY: Leaves of Grass – Excerpts (Walt Whitman), 8s. 4-12” EL V 11-8524/27, POM-1943, in Orig. Album M-955. M-A, appears unplayed. MB 35, the Set.

Nos. K2258 – K2284 are single issues of OPERA NEWS, 1937-39 K2258. OPERA NEWS, Fourth Annual Report of the Met Opera Guild, 1936-39. 17pp. Johnson on cover. MB 8 K2259. OPERA NEWS, Vol. II, #1, 15 Nov., 1937. Ziegler & Edward Johnson on cover. MB 8 K2260. OPERA NEWS, Vol. II, #2, 22 Nov., 1937. Shorr & Bodanzky on cover. MB 8 K2261. OPERA NEWS, Vol. II, #3, 29 Nov., 1937. Flagstad on cover. MB 8 K2262. OPERA NEWS, Vol. II, #4, 6 Dec., 1937. Cigna & Tagliabue on cover. MB 8 K2263. OPERA NEWS, Vol. II, #5, 13 Dec., 1937. Bori on cover. MB 8 K2264. OPERA NEWS, Vol. II, #7, 27 Dec., 1937. Pinza on cover. MB 8 K2265. OPERA NEWS, Vol. II, #8, 3 Jan., 1938. Rose Pauly on cover. MB 8 K2266. OPERA NEWS, Vol. II, #9, 10 Jan., 1938. Facsimile of Peri’s Euridice title page on cover. MB 8 K2267. OPERA NEWS, Vol. II, #10, 17 Jan., 1938. Pons on cover. MB 8 K2268. OPERA NEWS, Vol. II, #14, 14 Feb., 1938. Kiepura & Eggert on cover. MB 8 K2269. OPERA NEWS, Vol. II, #16, 28 Feb., 1938. Peggy Brendgard winning poster on cover. MB 8 K2270. OPERA NEWS, Vol. II, #17, 7 March, 1938. Milton Cross, Wilfrid Pelletier, etc. on cover. MB 8 K2271. OPERA NEWS, Vol. II, #18, 14 March, 1938. Chariot of Thespis on cover. MB 8 K2272. OPERA NEWS, Vol. III, #1, 7 Nov., 1938. Caniglia as Mistress Ford on cover. MB 8 K2273. OPERA NEWS, Vol. III, #6, 12 Dec., 1938. Cruikshank drawing of Sir John Falstaff on cover. MB 8 K2274. OPERA NEWS, Vol. III, #7, 19 Dec., 1938. Hans Hermann Nissen on cover. MB 8 K2275. OPERA NEWS, Vol. III, #9, 2 Jan., 1939. Met Opera Chorus on cover. MB 8 K2276. OPERA NEWS, Vol. III, #10, 9 Jan., 1939. Set for San Francisco’s Elektra on cover. MB 8 K2277. OPERA NEWS, Vol. III, #11, 16 Jan., 1939. Grace Moore as Louise on cover. MB 8 K2278. OPERA NEWS, Vol. III, #13, 30 Jan., 1939. Risë Stevens, Rethberg & Hans Hermann Nissen on cover. MB 8 K2279. OPERA NEWS, Vol. III, #14, 6 Feb., 1939. Lina Aimaro on cover. MB 8 K2280. OPERA NEWS, Vol. III, #15, 13 Feb., 1939. Helen Jepson as Thaïs on cover. MB 8 K2281. OPERA NEWS, Vol. III, #16, 20 Feb., 1939. Mr & Mrs Ettore Panizza on cover. MB 8 K2282. OPERA NEWS, Vol. III, #17, 27 Feb., 1939. Met Opera Ballerinas on cover. MB 8 K2283. OPERA NEWS, Vol. III, #18, 6 March, 1939. Pinza as Boris on cover. MB 8 K2284. OPERA NEWS, March - April, 1939. Met Opera ‘Tour’ issue, w.Bori & List on cover. MB 8

Nos. K2285 – K2314 are complete volumes of OPERA NEWS, 1946-76 K2285. OPERA NEWS, Vol. XI, 1946-47, Complete Set. MB 25 K2286. OPERA NEWS, Vol. XII, 1947-48, Complete Set. MB 25 K2287. OPERA NEWS, Vol. XIII, 1948-49, Complete Set. MB 25 K2288. OPERA NEWS, Vol. XIV, 1949-50, Complete Set. MB 25 K2289. OPERA NEWS, Vol. XV, 1950-51, Complete Set. MB 25 K2290. OPERA NEWS, Vol. XVI, 1951-52, Complete Set. MB 25 K2291. OPERA NEWS, Vol. XVII, 1952-53, Complete Set. MB 25 K2292. OPERA NEWS, Vol. XVIII, 1953-54, Complete Set. MB 25 K2293. OPERA NEWS, Vol. XIX, 1954-55, Complete Set. MB 25 K2294. OPERA NEWS, Vol. XX, 1955-56, Complete Set. MB 25 K2295. OPERA NEWS, Vol. XXI, 1956-57, Complete Set. MB 25 K2296. OPERA NEWS, Vol. XXII, 1957-58, Complete Set. MB 25 K2297. OPERA NEWS, Vol. XXIII, 1958-59, Complete Set. MB 20 K2298. OPERA NEWS, Vol. XXIV, 1959-60, Complete Set. MB 20 K2299. OPERA NEWS, Vol. XXV, 1960-61, Complete Set. MB 20

K2300. OPERA NEWS, Vol. XXVI, 1961-62, Complete Set. MB 20 K2301. OPERA NEWS, Vol. XXVII, 1962-63, Complete Set. MB 20 K2302. OPERA NEWS, Vol. XXVIII, 1963-64, Complete Set. MB 20 K2303. OPERA NEWS, Vol. XXIX, 1964-65, Complete Set. MB 20 K2304. OPERA NEWS, Vol. XXX, 1965-66, Complete Set. MB 20 K2305. OPERA NEWS, Vol. XXXI, 1966-67, Complete Set. MB 20 K2306. OPERA NEWS, Vol. XXXII, 1967-68, Complete Set. MB 20 K2307. OPERA NEWS, Vol. XXXIII, 1968-69, Complete Set. MB 15 K2308. OPERA NEWS, Vol. XXXIV, 1969-70, Complete Set. MB 15 K2309. OPERA NEWS, Vol. XXXV, 1970-71, Complete Set. MB 15 K2310. OPERA NEWS, Vol. XXXVI, 1971-72, Complete Set. MB 15 K2311. OPERA NEWS, Vol. XXXVII, 1972-73, Complete Set. MB 15 K2312. OPERA NEWS, Vol. XXXVIII, 1973-74, Complete Set. MB 15 K2313. OPERA NEWS, Vol. XXXIX, 1974-75, Complete Set. MB 15 K2314. OPERA NEWS, Vol. XL, 1975-76, Complete Set. MB 15 K2315. RECORD NEWS, Vol. I, Nos. 1-12, published in Toronto by Ross-Court, 1956-57. As important as discographical issues of THE RECORD COLLECTOR, but infinitely rarer! Excellent, sl.used copy. MB 35 K2316. RECORD NEWS, Vol. II, Nos. 1-12, published in Toronto by Ross-Court, 1957-58. As important as discographical issues of THE RECORD COLLECTOR, but infinitely rarer! .Used copy has a few markings, plus minor waterstains. MB 25 K2317. RECORD NEWS, Vol. III, Nos. 1-12, published in Toronto by Ross-Court, 1958-59. As important as discographical issues of THE RECORD COLLECTOR, but infinitely rarer! Used copy has a few markings, plus minor waterstains. MB 25 K2318. RECORD NEWS, Vol. IV, Nos. 1-12, published in Toronto by Ross-Court, 1959-60. As important as discographical issues of THE RECORD COLLECTOR, but infinitely rarer! Used copy has a few markings, plus minor waterstains; issue #12 has minor burn marks, affecting very bottom of a few pages, in no way affecting text. MB 20 K2319. RODOLFO CELLETTI. Le Grandi Voci, Dizionario critico – Biografico dei Cantanti con Discografia Operistica. Roma, Istituto per la Collaborazione Culturale, 1964. 1044pp.; Numerous Photos; DJ. (Italian Text) Legendary reference source offering brief biographies and discographies of countless singers of all nationalities. Exceedingly elusive! MB 185 K2320. ROBERTO BAUER. The New Catalogue of Historical Records, 1898-1908/09. Milano, Martucci, 1937. 294pp. Original 1937 Edition. (softbound, as originally published) Inscribed to George T. Keating and Autographed by the Author, not dated. Exceptional condition. MB 125 K2321. ROBERTO BAUER. The New Catalogue of Historical Records, 1898-1908/09. London, Sidgwick and Jackson, 1947. 494pp. DJ. Excellent copy of the Original 1947 Edition has very sl. yellowed page edges. Inscribed to George T. Keating and Autographed by the Author, March, 1957. Exceptional condition. MB 95 K2322. ROBERTO BAUER. The New Catalogue of Historical Records, 1898-1908/09. London, Sidgwick and Jackson, 1970. 494pp. DJ. MB 45 K2323. The World's Encyclopedia of Recorded Music [WERM]. F. F. Clough & G. J. Cuming. London, Sidgwick and Jackson, 1952. 890pp. (Incl. First Supplement, 1950-51.) Excellent, sl. used copy. MB 95 K2323a. The World's Encyclopedia of Recorded Music [WERM], Second Supplement, 1951-52. F. F. Clough & G. J. Cuming. London, Sidgwick and Jackson, 1953. 262pp. MB 45 K2324. The World's Encyclopedia of Recorded Music [WERM], Third Supplement, 1953-55. F. F. Clough & G. J. Cuming. London, Sidgwick and Jackson, 1957. 564pp. MB 75 K2325. Discopædia of the Violin, Original Edition. James Creighton, Ed. Toronto, University of Toronto Press, 1974. 987pp. DJ. Long out-of-print. MB 150 K2326. Discopædia of the Violin, Second Edition, Volumes I, II & III, (plus separately-bound Index). James Creighton, Ed. Burlington, Ontario (Canada), Records Past, 1994-95. 1610pp., incl. Index (Softbound, Slipcase Edition). Long out-of-print. MB 475, the Set of Four Volumes, with Slipcase. K2327. The Victor Master Book, Vol. II (Vol. I never published), 1925-36. Brian Rust. England, Published by the Author, 1969. 776pp. Includes listings of Personalities & Performers, alphabetical by Artist offering specific recording locations & dates, including all rejected "takes." Invaluable reference source for black Orthophonic Victors, arranged by matrix number, with cross references by issue numbers. MB 175 K2328. W. J. HENDERSON. The Art of Singing. New York, Dial, 1938. 509pp. Index; Chapters incl. Calvé, Tetrazzini, Lilli Lehmann, Hauk, Melba, Viardot, Patti, Galli-Curci, Farrar, Caruso, Maurel, Jean de Reszké, Jeritza, Ponselle, Pons, Scotti, Renaud, Sembrich, Flagstad, Schumann-Heink, etc. Invaluable reference source, highly sought-after! MB 65

K2329. Emma Calvé. Morrison 5” x 7” Cabinet photo, Chicago. Signed & dated 1899. MB 250

K2330. Yvette Guilbert. 4½” x 6½” Sarony Cabinet photo, New York. Signed. MB 150

K2331. Lucette Korsoff (as Susanna). Postcard. Signed & dated May, 1906. MB 125

K2332. Fanny Heldy (as Violetta). Waléry Postcard, Paris. Signed. MB 65

K2333. Lise Landouzy (as Rosina). Dupont Postcard, Brussels. Signed. MB 40

K2334. Lise Landouzy (as Lakmé). Klary Postcard. Signed. MB 40

K2335. Lise Landouzy and Edmond Clément (Manon & DesGrieux). Klary Postcard. Unsigned. MB 30

K2336. Paul Payan (as Mefistofele). Postcard inscribed, signed & dated ‘Buenos Aires 5/7/24’. MB 45

K2337. Lucien Fugère. 7½” x 9 5/8” Cabinet photo. Inscribed, signed & dated 1898. Sl. waterstained. MB 135

K2338 Lucien Fugère. Three Cartes de Visites. 4 1/8” x 2 5/8” each. MB 95

K2339. Marcel Journet (as Nerone). Postcard. Signed in white ink & dated 1927. MB 95

K2340. Victor Maurel. 4¼” x 6½” Aimé Dupont Cabinet Photo, NY Signed & inscribed ‘Souvenir de New York 1895’. MB 195

K2341. Charles Dalmorès. Mishkin Postcard, NY. Signed. MB 50

K2342. Antonietta Stella (as Aïda). 7½” x 10” Frank Lerner glossy photo. Inscribed, signed & dated New York 1958. MB 35

K2343. Blanche Marchesi. Postcard. Signed. MB 65

K2344. Renata Tebaldi. 8” x 10” Bruno glossy photo, NY. Inscribed, signed & dated 1957. MB 65

K2345. Rosa Olitzka. 5” x 7” glossy photo. Signed. MB 35

K2346. Lina Cavalieri. Gorgeous sepia 9½” x 11½” Photo. Signed & dated, Paris, 1929. wrinkled edges in no way affecting the lovely image. MB 165

K2347. Lucrezia Bori (as Manon). 7” x 9½” Strauss-Peyton glossy photo, NY. Inscribed & signed. MB 95

K2348. Pasquale Amato. Ermani Postcard, Milano. Signed & dated. ‘New York 1909’. MB 65

K2349. Tito Schipa. 6¾” x 9” Casa Ettore Reali matte photo, Roma. Signed & dated, ‘Roma 1930’. MB 95

K2350. Giovanni Martinelli. Mishkin Postcard, NY. Signed & dated 23 December 1917. MB 95

K2351. Riccardo Martin (as Pinkerton). Postcard. Inscribed, signed & dated ‘New York 1908’. MB 65

K2352. Riccardo Martin. Historic Record Society label, plus 5¼” x 7¼” glossy Photo, both signed. MB 35

K2353. Florencio Constantino (as Don José). Mishkin Postcard, NY. Inscribed, signed & dated. MB 125

K2354. Enrico Caruso (as Riccardo). 4¼” x 6½” Aimé Dupont sepia Photo, NY. Unsigned. MB 95

K2355. Enrico Caruso. Postcard. View of New Municipal Building, New York City. Inscribed, signed & dated 24 December 1912. MB 125

K2356. Enrico Caruso and Marguerite Namara. 8” x 10” matte Photo. Unsigned. MB 95

K2357. Enrico Caruso, very young. Informal, signed, sepia postcard. Handsome image Boldly Signed. MB 750

K2358. Lotte Schöne. Postcard. Inscribed, signed & dated ‘1927. MB 95

K2359. Olive Fremstad. 6” x 8” sepia Mishkin Photo. Excellent, w.tiny chipped corner. Boldly Signed. MB 195

K2360. Olive Fremstad. Handwritten envelope and note writing about her Salome, under Strauss. MB 145

K2361. Olive Fremstad. Signed program page from 15 February, 1912, Metropolitan Opera performance of Tristan und Isolde. (Also includes on verso 15 February, 1912 matinee program page for Königskinder). MB 65

K2362. Selma Kurz. Julius Weisz Postcard, Wien. Signed. MB 95

K2363. Frida Leider (as Isolde). Schenker Postcard, Berlin. Signed. MB 95

K2364. Johanna Gadski (as Brünnhilde). Mishkin Postcard, NY, Boldly Signed. MB 75

K2365. Julia Culp. Leiser Postcard, Berlin, signed. MB 50

K2366. Nelson Eddy. 8” x 10” matte photo. Inscribed & signed. MB 45

K2367. Nelson Eddy and Ilona Massey from M-G-M’s “Balalaika”. 8” x 10” Clarence S. Bull matte photo, M-G-M. Unsigned. MB 30

K2368. Jan Peerce. 8” x 10” matte photo. Signed. MB 35

K2369. Leo Slezak (as Otello). Postcard. Signed in Cyrillic, and dated 21 / 2 / 11. Excellent image, albeit barely visible pinpoint hole in center. MB 95

K2370. Otto Goritz (as Hans Sachs). Breitkopf & Härtel Postcard, NY. Signed. MB 95

K2371. Otilie Metzger-Lattermann (as Brünnhilde). Heraus Geber Postcard, Berlin. Signed & dated Hamburg, July, 1916. MB 150

K2372. Zinka Milanov (as Leonora). 7½” x 9½” glossy photo. Boldly Inscribed & signed in white ink. Handsome portrait has tiny chip at bottom.. MB 45

K2373. Clara Butt Rumford. Postcard. Signed. MB 50

K2374. Geraldine Farrar (as Orlanda in Leroux’s La Reine Fiammette). 8“ x 10” matte photo. Signed & dated ‘New York 1919’. MB 75

K2375. Jean de Reszké. 5¼” x 8½” Benque Cabinet Photo, Paris. Inscribed, signed & dated 1894. MB 225

K2376. Edouard de Reszké. 4¼” x 6¼” Gaspar-Félix Tournachon (a.k.a. Nadar) Cabinet photo, Paris. Signed & dated 1896. Beautiful piece has 2 wee creases. MB 325

K2377. Gustave Charpentier. 4¼” x 6½” Henri Manuel Cabinet photo, Paris, with musical notation. Handsome image is Inscribed & signed. Very lower portion of Manuel card had erasure, over which Charpentier wrote. MB 150

K2378. Jules Massenet. Pierre Petit Postcard, Paris. Unsigned. MB 45

K2379. Jules Massenet. Handwritten note. Signed & dated 30 Nov., 1884. MB 65

K2380. M and Mme Jules Massenet. Carte de Viste. 1903. MB 45

K2381. Vincent d’Indy. 4¼” x 6½” Henri Manuel Cabinet photo, Paris. Inscribed & signed. Exceptionally handsome image. MB 175

K2382. Yehudi Menuhin. 9¼” x 7” Fäh glossy Photo, Gstaad. Inscribed & signed. sl. wrinkled. MB 35

K2383. Albert Spalding. Postcard Photo of Violet Oakley drawing (commissioned by the Spalding Family), 1928. Signed. MB 35

K2384. Harold Bauer. 7” x 9” matte photo. Inscribed, signed & dated ‘Fitchburg 1922’. MB 75

K2385. Ricardo Viñes. 4¼” x 6½” Gerschel Cabinet photo, Paris. Inscribed, signed & dated 1903. MB 250

K2386. Anton Rubinstein. 4¼” x 6½” Ganz Cabinet Photo, Brussels. Signed & dated 1894. Very sl. soiled. MB 195

K2387. Anton Rubinstein. Handwritten note, signed & dated 1874. MB 95

K2388. Carl Böhm. Lauterwasser Postcard, Überlingen. Inscribed & signed. MB 45

K2389. Dimitri Mitropoulos. 8” x 10” Usis glossy photo, Wien. Signed & dated 1959. MB 65

K2390. Albert Wolff. 5¼” x 7¼” Pirou Cabinet photo, Paris. Inscribed, signed & dated 1907. Exceptionally handsome image. MB 175

K2391. Albert Wolff. 6” x 9½” Lauro Photo, Trieste, with slight tear on left. Inscribed, signed & dated 1961. MB 65

K2392. The Mapleson Cylinders, 1900 - 1904, Complete LP Edition, Recorded during actual performances at the Metropolitan Opera House, incl. Adams, Alvarez, Bispham, Calvé, de Marchi, Jean & Edouard de Reszké, Bréval, Dippel, Eames, Gadski, Gilibert, Homer, Journet, Melba, Nordica, Plançon, Scheff, Schumann-Heink, Scotti, van Rooy, Sembrich, Ternina, etc. 6-Rodgers & Hammerstein R & H 100, in Boxed Set, w.Elaborate Brochure, Factory-Sealed. MB 85, the Set.