ARRAU, Claudio:

Schumann: Piano Concerto. w/ de SABATA; NYPSO, (1951)

Beethoven: "Moonlight Sonata" (Note: 1^st Movement only!)

Brahms: Rhapsody G Minor, Op. 79/ No. 2

Chopin: Nocturne No. 6, Op. 27/ No. 2

" : Waltz No 6, Op. 64/ No. 1

Mozart: "Turkish March" (from K. 331)

Strauss, Johann: "Pizzicato Polka" (arr. By Schulhoff)

Weber: Invitation to the Dance, Op. 65.

Bartok: Divertimento for Strings. w/ Moscow Chamber Orch. (T: 29:01)

Vivaldi: Concerto Grosso in B Minor. w/ Moscow Chamber Orchestrea (T: 11:00)

" : " " in D Minor. w/ Moscow Chamber Orchestra (T: 10.02)

BIGGS, E. Power:

Bach: Chorale Preludes (7), arranged for organ brass & timpani. Aside from Biggs, we have all-star line-up: Rover VOISIN, Armando GHITALLA, & Marcel LaFOSSE, trumpets; Ernst Panenka, bassoon; Romana SZULC, timpani. (Wonderfully bright and festive settings)

Bach: Three Concerted Chorales (To Thee Alone be Victory, Praise God from Whom all Blessings Flow, and Praise to the Lord, the Almighty): Same brass ensemble as above.

Shostakovich: QuartetNo. 7, Op. 108. (Time: 12:23) (Non pariel)

" " " 14, Op. 142 (Time 28:15) (Ditto)

Mendelssohn: Violin Concerto. w/ CELIBIDACHE; Berlin RSO. (Frankly, I’ve never heard of Siegfried Borries, nor seen any other recordings by him. But if Celibidache liked his work, that’s good enough for me. Somewhere, somebody must be a Borries collector.)

Carmina Burana, Non Nobgis Domine (Wm. Byrd) "Little Maggie" (trad.) Gospel Tune & a raga entitled "Blend", w/ Billy Higgins, drums. [Bull made two LPs for Vanguard, of which this is the first & by far the best. A stunningly good banjo & guitar player, he freely mixed genres and made them his own by means of poignant arrangements. Word on the street was that he died of a heroin O.D. around 1967 – something happened, because he vanished from the scene suddenly and utterly. I fell in love with this record the year it came out and still adore it. THIS is what a good "cross-over" album should be! Wait until you hear Bull TEAR INTO Carmina Burana!]

BUSCH, Adolf:

Schubert: Trio in E-flat Major, Op. 100. Rudolph SERKIN, piano & Hermann BUSCH, cello. (T. 37:58)

SCHUBERT: Death and the Maiden; rec. in 1931. [Echt-Romantic interpretation in good sound; the virtuosity is hair-raising.]

D’Indy: Symphony on French Mt. Air. w/ George Weldon; Philharmonia Orch.

Franck: Symphonic Variations. w/ Charles MUNCH; N. Y. Philharominc Orch.

" : " " . w/ Sir Henry Wood; London Philharmonic, (1932)

Mozart: Concerto for 2 Pianos, K. 365. w/ Gaby Casadesus & MITROPOULOS; NYPSO, Nov. 13, 1955. (Time: 23:06)

CASALS, Pablo (cello):

"A Living Portrait". The great cellist discusses his life and art, waxes

philosophical about politics, spirituality, and matters of interpretation. Narration by Isaac STERN, w/ numerous musical examples and excerpts from his performances. Timing: Approximately 45-50 minutes.

Brahms: Trio No. 2 in C Major, Op. 87. w/ Casals, cello; Szegti, violin; Dame Myra Hess, piano. [It just doesn’t get any better than this!]

Grieg: Piano Concerto, w/ BOULT / London Philharmonic

Schumann: Piano Concerto, w/ Adrian BOULT/ London Philharmonic. [I can’t track a commercial US release of these fascinating and dynamic interpretations; there may not have been one, in which case Cherakassky fans will want to gobble these up, as they are prime examples of his art. Source is a good-to-good-plus condition LP pressed, apparently, solely for members of the Columbia Record Club living in the U.K.

Franck: Cantabile in B Major, (Notre Dame organ) (T: 5:50)

" : Fantasie in C Major, Op. 16. (Notre Dame organ) (T: 13:34)

" : L’Organiste (8 selections) (Notre Dame organ) (T: 14:16)

" : Piece Heroique in B Major. Notre Dame organ) (T: 8:31)

Bach: Cello Suite No. 3 (arr. For guitar by A. Carlevalo):

Villa-Lobos: Five Preludes for Guitar.

" : Choros No. 1.

ANOTHER DYNAMITE COMPILATION

Many connoisseurs of pianism regard Cortot as THE greatest Chopin interpreter of all time. He’s as linked to Chopin’s music as Kempff was to Schubert’s or Gieseking was to Debussy. Personally, I’d give a slight edge to Moravecs when I’m in a "Chopin Mood" (which is not often, I admit). There’s mo denying the French pianists incredible command of tone color, sensitivity of phrasing, and general "soul-mate" sense of sheer rightness in this repertoire.

Sourced from an Italian Odeon box set, which was only briefly available in the U.S. and then only in a handful of specialty shops in New York and comparable centers of musical culture. TBOMK ("To the Best Of My Knowledge"), it’s never been reissued on CD, at least not outside of Europe and never in its entirety. Timings are not listed, but if you’re a Chopin collector, you already sort-of know how long everything is. Contains ALL extant Cortot recordings of the Ballades, Etudes, Waltzes, Nocturnes, the Opus 60 Barcarolles, and an absolutely titanic account of the Op. 35 Sonata.

I guess the best way to order is to cherry-pick or send me a list of the pieces you’d like to hear Cortot play, and I’ll send back a price quote and if we’re both happy, I’ll start burning your dubs.

Chopin: The complete Nocturnes, Ballades, Etudes, Waltzes, Op. 60 Barcarolles, and an absolutely titanic account of the Sonata. Source is a French Odeon box set that was never widely available over here and is mostly in UN-played condition. The re-mastering work is superb. I don’t see any point in typing up each individual nocturne or waltz; they’re all here, so if there are things you’re missing, or if you’d just like a set of the Etudes or just a nice "sampler" to give to a friend, best contact me for particulars. I wish I had the capability to do holograms here, because this is as pretty a box of records as you’ll ever seen, Immaculate surfaces and if any sides have been played, it was only once and on good equipment.

Tableaux d’Voyages, No’s 4-6 & 8. Composer’s Piano Rolls!

Winterreigen & Marche Humoresque. Composer’s Piano Rolls

DOMBOIS, Eugen (baroque lute):

Bach: Prelude, Fugue & Allegro, BWV 998. (T. 11:27).

Kellner, David (c. 1670-1748): Six Fantasias for Lute. (T. 6:57).

Weiss: Sonata in A Minor ("L’Infidele"). (T. 19:42)

Romance sans Paroles, Op. 17/3. [Composer’s own piano roll.]

Brahms: Piano Quintet, Op. 34 (rec. 1954) (w/ Victor Aller, piano)

Dvorak: Quartet No. 12, "American". (Rec. 1954)

Schubert: String Quintet in C, D. 956. w/ Kurt Reher, cello. (rec. 1950)

Smetana: Quartet No. 1, "From My Life". (Rec. 1955)

Mussorgsky/ transcribed by Elgar Howarth: Pictures at an Exhibition (34:49)

FLONZALEY QUARTET:

Brahms: Piano Quintet, F minor, Op. 34, with HAROLD BAUER, piano. Recorded in December, 1925. (Time:35:26)

Haydn: String Quartet in D, "The Lark". Recorded in December, 1928(Time: 13:07).

Schumann: Piano Quintet, E-flat, Op. 44. OSSIP GABRILOWITSCH, piano. Recorded in December, 1927. (Time: 27:06)

Wagner: Wesendonck Lieder. w/ STOKOWSKI; His Symphony Orch.

"HERE": An anthology of classy, even torchy, ballads and pop songs that neither insult your intelligence nor seem to compromise the glories of Ms. Farrell’s remaining vocal powers. Off-beat, to be sure, but worth a listen.

Bartok: Out-of-Doors Suite.

Berg: Sonata, Op. 1. (As good a version as I’ve ever heard…)

Schoenberg: Klavierstuck. Op. 33 a & 33-b.

Stravinsky: Petrouchka (Three movements for piano)

Dvorak: Cello Concerto in B minor. w/ Leon Barzun; National Orchestral Association, live, 1940. T. 35:29

Reicha: Cello Concerto in A, Op. 4. w/ Barzun; National Orchestral Association, live, 1940 T. 24:21

Early Soviet Recordings: We offer the following items from recordings made circa 1930-1936, when Gilels was between 14 and 19 years old. Order the whole program or just the selections you especially care about:

Lully: Gigue (arr. L. Godovski). (Time: 1:58)

Tchaikovsky: Piano Concerto No. 2 in G, Op. 44. Kiril KONDRASHIN; Leningrad Philharmonic Orch. (Time: 36:23)

GOMBERG, Harold (First chair OBOE of the NY Philharmonic forever and a day, his playing could be awesome, and IS, here; but a really, really, ornery human being. His open disdain for Dimitri Mitropoulos, whom he denigrated in public as "the Greek fruit", eventually helped undermine D.M.’s authority over the whole orchestra. Now that I’ve reminded you of what an s.o.b. Gomberg was, try to put it out of your mind and just savor his incomparable oboe playing):

Britten: Fantasy for Oboe & Strings, Op. 2. w/ Galimir Quartet. [First, best, version]

BARBER: Sonata for Piano, Op. 29 [18:17]

GINASTERA: Sonata for Piano. [14:11]

Greunberg: Violin Concerto, Op. 47. w/ MONTEUX; San Francisco S.O.

Sibelius: Violin Concerto. w/ MITROPOLOUS; NYPSO; 3/11/51 (Dazzling)

Beethoven-Rubenstein: Turkish March.

Chopin: Andante Spinato & Grand Polonaise. (Live, Nov. 28, 1937)

" : Ballade in G Minor. (Live, Nov. 28, 1937)

" : Berceuse in D-flat, Op. 57. (Live, Nov. 28, 1937)

" : Etude in G-flat, Op. 25, No. 9. (Live, Nov. 28, 1937)

" : Nocturne in E flat Major. (Live, Nov. 28, 1937)

" : Nocturne in F-sharp, Op. 15, No. 2. (Live, Nov. 28. 1937)

" : Waltz in A Flat Major. (Live, Nov. 28, 1937)

" : Waltz in D-flat, Op. 64, No. 1. (Live, Nov. 28, 1937)

Hofman: (written under the name "Michel Dvorsky"): Chromiaticon, for Piano and Orchestra. Fritz REINER, Curtis Institute Orch., Live, Nov. 28, 1927. (T: approx. 13")

Hofman: " : Berceuse & Waltz. Live, Nov,. 28, 1937. (T: approx. 6 ")

" : Nocturne & Waltz. Live, Nov. 28, 1937. (T: approx. 5")

Mendelssohn: Spinning Song, Op. 67, No. 4, C Major. (T: approx 5")

Moszkowski: Caprice Espagnole, Op. 37. (T: ?)

Rachmaninoff: Prelude in G Major, Op. 23, No. 5. (T: approx 5-6")

Rubinstein: Piano Concerto No. 4. Fritz REINER; Curtis Institute Orchestra. Live, Nov. 28, 1937, Metropolitan Opera House. (T: Approx. 30 ")

HORSZOWSLI, MIECZYSLAW:

Busoni: Sonata for Violin No. 2. W/ Szegeti.

di Pistolia: Sonata No. 1 in G Minor (Time: 11:22)

" : Sonata No. 7 in G Major. (Time: 15:33)

Lalo: Symphonie Espagnole. w/ George SZELL; Vienna Philharmonic. Rec. 1943 (T. 24:58

Tchaikovsky: Violin Concerto. w/ William STEINBERG; Berlin State Opera Orch. Rec. 1929. T. 27:50 [Perhaps THE most romanticized interpretation you’ll ever hear. Drown in the portamento, swoon at the half-and-half tone of his legato; giggle like a naughty pumpkin caught loving the bits underlined in red ink! It’s TOO MUCH, really, but once a year or so, I bring this out and play it to remind myself of how "romantic" music was played BY the Romantics, for audiences of Romantics – and it’s revelatory.]

Vivaldi: "La Stravaganza" complete, Op. 4, Vol. 2 (Concertos 7 – 12) (T: not given)

Beethoven: Piano Concerto No. 5. w/ CANTELLI; NYPSO, Live, 1953

GOMBERG, Harold: (First chair of the New York Philharmonic forever and a day; his playing could be awesome –as it is here – but he was a really, really, nasty and treacherous sonofabitch. His open disdain for Music Director Dimiti Mitropoulos, whom he publicly denigrated as "the Greek Fruit", eventually helped undermine Dimitri’s authority over the orchestra. Now that I’ve reminded you what a vicious little turd Gomberg could be, forget about it, because on this disc he plays like an angel!

Britten: Fantasy for Oboe & Strings. w/ Galimer Quartet [The first ever version of this delightful work, and still the best; decent up-close mono]

Dvorak: Quartet in C, Op. 61

Wolf: Italian Serenade

Debussy: Sonata No. 2. w/ Laura Newell, harp; John Wummers, flute; Katims, viola. (T: 16:08) (NOTE: A private recording, made by the artists prior to their Columbia release, c. 1950 or 1951. Like the other two listings here, it’s hard to imagine any trio of artists rendering this score with more vibrancy and more exquisite tone colors!)

Loeffler: Two Rhapsodies -- L’Etang & La Cornemuse. Katims joined in this one by Harold Gomberg, notoriously crotchety first chair oboe of the NYPSO; and Dimitri Mitropoulos, in a rare turn as virtuoso pianist. Eerie and fascinating music, given the performance of a lifetime. Mitropoulos fans will especially enjoy his brilliance and blend as a solo artist. Truly, one of the great chamber music interpretations ever recorded.)

Schulman: Nocturne for Strings Katims conducting; NBC S.O. 9/8/48. (T: 4:26)

" : Waltzes for Orchestra. Katims conducting again; NBC S.O., 9:08)

Villa-Lobos: String Trio. Katims this time is joined by the great Alexander Schneider, and Frank Miller on cello. A dream ensemble. My dub derives from a master tape in possession of the Katims family. The sound is therefore much more alive and in-the-room than it was on the rather grungy Columbia commercial release. Another treasure.)

Khrennikov: Violin Concerto No. 1, Op. 14. w/ SVETLANOV; USSR Academic S.O. (T: 20:32)

Mendelssohn: Violin Concerto w/ Leo BLECH; Berlin State Opera O. (rec. 1926) (Time, 26:35)

Mozart: Violin Concerto No. 4. w/ Malcolm SARGENT; London Phil. O. (1939) (Time: 26:54)

KULENKAMPFF, Georg (violin): [If you know him at all, you probably know Kulenkampff through his stupendous account of the Sibelius concerto w/ Furtwangler. The same combination of technical agility and enormous, cello-dark tone can be enjoyed on these recordings, his earliest commercial sessions, in very good pre-war Telefunken sound. The war, of course, cut across his career, and he was just starting to concretize again when a sudden illness killed him in 1948. What a pity. I’d stack this Beethoven against any in the catalogue, and Schmidt-Issersted’s poised, elegant conducting is no small asset, either. Note: this is the first-ever recording of the Schumann Violin Concerto, which had only been rediscovered and published a few years earlier. When heard with this degree of conviction and eloquence, this neglected piece – which I actually prefer to the noxiously vapid Cello Concerto – assumes considerable stature. It’s still a mite thin for its length, so it’ll rarely be heard in a concert hall, but for home listening it is worthier than it’s better than "the common wisdom" would have you believe.]

Beethoven: Violin Concerto. w/ Schmidt-Issersted & Berlin Philharmonic, 1936, (43:25)

" : Romance No. 2, Op. 50. w/ Paul Kletzki; Berlin Phil.. 1932 (8:25)

Mozart: Violin Concerto K. 219, "Turkish", w/ Artur Rother; German Opera Orch, rec. in 1939 (28:43)

Schumann: Violin Concerto. w/ Schmidt-Isserstedt; Berlin Phil. Rec. 1937 (27:50)

Bach: Goldberg Variations.

Mozart: Concerto No. 13, K. 415. w/ Rodzinski & the NYPSO, live, 10/27/46

" : Piano Concerto No. 22, K. 482. w/ Rodzinski & the NYPSO, live, 12/2/45

" : Sonata No. 12, K. 332; recorded in Paris, 1938

Poulenc: Concerto Champetre. w/ Stokowski & the NYPSO, 11/12/1949 [A treasure.]

Intermezzo from "Cavalleria". Composer’s Piano Roll

Bartok: Six Duets for 2 Violins. w/ Nell Gotkovsky. (Time: 8:33)

" : Violin Concerto. w/ DORATI; New Philharmonia O. (T: 44:18)

Mendelssohn: Violin Concerto in D Minor. w/ Menuhin conducting the RCA Symphony String Orchestra. [No, that’s not a typo – this is the OTHER Mendelssohn concerto, not the masterful E Minor we’ve all known and loved. This substantial (and astonishingly accomplished work) dates from the composers fourteenth year and lay utterly forgotten until the manuscript weas loaned to Menuhin in the mid-Fifties, which is when this one and only recording was made. Given the charm and grace of the music – incredible for anyone, even Mendelssohn, to write music so ingratiating and technically first-rate at the age of 14! – it’s equally amazing that very few violinists have even performed it since this recording appeared in 1953 or 1954, and none has recorded a rival version. Just as well; Menuhin knew he’d struck gold with this manuscript and turned in such a glowing, beguiling performance that it could scarcely be improved upon, only tampered with! Source LP in very good condition and the piece lasts about 19.5 minutes. I’m confident that if you like the familiar E Minor, Opus 64, you’ll adore this rarity as well. If nobody told you, you certainly wouldn’t guess it had been composed, rather effortlessly, it would seem – by an adolescent boy in the throes of puberty! ]

Nielsen: Violin Concerto. w/ Moegens Woldike; Danish State R.S.O.

Schumann: Piano Concerto in A Minor. w/ Walter Goehr; Netherlands Philharmonic. [This young Australian pianist had it all: technique, temperament, wide-ranging taste, and tons of subtle showmanship. He died in his mid-twenties, however, just on the verge of a stellar international career. His only recordings were for the strange but always intriguing subscription label, the Musical Masterworks Society, which persisted in issuing everything on 10-inch discs long after that format went into permanent decline. You can still find a lot of these MMS records floating around in yard sales and thrift shops, and almost invariably they’re in awful condition. This one has a bad patch of noise and wear at the start of side one, after which it settles down and becomes thoroughly listenable – except for the Rice Crispies crackle that was also endemic to MMS recordings, and so persistent you just don’t notice it after a while. The interpretation is very fine indeed; Newton-Wood often produced a kind of "translucent china" tone that was very elegant without sounding effete or contrived; when the score calls for thunder, he supplies it; his phrasing is always intelligent, fresh, and unobtrusive in its use of rubato. As usual, Goehr provides a sympathetic, robust orchestral back-up. What a pity this enormously gifted pianist didn’t enjoy the long, glorious career he was qualified for! But how fortunate that we DO have a fair number of examples of his art. See also the listing for his version of the quirky, giving-the-audience-The -Finger, Stravinsky Piano Concerto – it’s among the most persuasive accounts I’ve heard of this deliberately contemptuous score; Mewton-Wood makes you like it, even though Stravinsky admitted he didn’t give a rat’s ass whether audiences "liked" it or not, so long as they paid to hear him play it.]

Cimarosa: Concerto for Oboe & Strings (Arr. Sir Arthur Benjamin). Daniel Seidenberg; Seidenberg Little Symphony. (Source disc is a "Black Label" Mercury. You will NEVER find one of these in mint condition. But the rarity of Miller playing as a classical artist, and a superb one, before he became "Mitch Miller" the band leader, makes this and the following two items worth collecting, despite the somewhat grungy surfaces.)

Milan, Louis: Pavane & Gigue for English Horn & Strings. Daniel Seidernberg; Seidenberg Little Symphony.

Vaughan-Williams: Concerto for Oboe & Strungs. Seidenberg; Seidenberg Little Symphony.

Wilder, Alec: Air for English Horn. w/ Frank Sinatra; Wilder Octet. (T: 3:55)

" " : Air for Oboe. w/ Frank Sinatra; Alec Wilder Octet. (Time: 3:34)

Vivaldi: Violin Concerto in C Major, Pincherle 88

" Violin Concerto in A Major, Pincherle 236

" Violin Concerto in A Major, Pincherle 234

" Violin Concerto in C Minor ("Il Sospetto"), Pincherle 419

MORAVEC, Ivan: (For what it’s worth, my favorite pianist…)

Mozart: Piano Concerto No. 14, K. 449, w/ Josef Vlac; Czech Phil (T: 22:02)

" : Piano Concerto No. 23, K. 488, " " " " " (T: 26:53)

Bloch: Schelomo. w/ COMPOSER & London Philharmonic Orch.

Brahms: Piano Concerto No. 1. w/ STOKOWSKI & American S.O. (live, 1967)

Scott: Piano Concerto No. 1. w/ John Ogdon; Bernard Herrmann; London P.O.

BARTOK: Hungarian Folk Tunes. w/ Natalia Zertsalovka, piano [9:02]

Bach: Violin Concerto NO. 1. W/ STERN; Ormandy; Philadelphia O.

" : Violin Concerto No. 2. W/ STERN; Ormandy; Philadelphia O.

Bartok: Violin Concerto No. 1. w/ Rozhdesvensky; Moscow State. (See comments under "Rozhdestvensky" above)

Brahms: Violin Concerto. w/ Stig WESTERVERG; Swedish R.S.O. Live, 9/9/71. (T: 33:33)

Bruch: Violin Concerto. w/ Horenstein; London Symphony Orch.

Hindemith: Sonata for Violin & Piano in E Major. w/ Natalia Zertsalova, piano [9:28]

Hindemith: Violin Concerto. w/ Horenstein; London Symphony Orch.

Leclair: Sonata No. 3 in D. w/ Vladimir Yampolsy, piano

Locatelli – Ysaye: Sonata in F Minor. w/ Vladimir Yampolsy, piano

Prokofiev: Sonata No. 1, Op. 80. w/ Vladimir Yampolsy, piano

STRAVINSKY: "Pulcinella" Suite. w/ Natalia Zertsalova, piano. [15:38]

Vivaldi: Concerto for 2 Violins in A Minor. W/ STERN; Ormandy; Philadelphia O.

YSAYE: Mazurka in B Minor, Op. 11/#3. w/ " " " [5:17]

" : Sonata-Ballad, Op. 27/ # 13. w/ " " " [6:31]

PHILADELPHIA WOODWIND QUINTET [Talk about a Dream Team! Willy Kincaid on the flute; John deLancie on the oboe; Tony Giglioti, clarinet; Sol Schoenbach on bassoon, and the fantastic Mason Jones on the Horn a la Francais. I’ve long treasured this collection, but somehow, somewhere, 20-30 years ago, it picked up a horrible patch of surface damage in the Haydn Divertimento; it only lasts a couple of minutes, but it makes you want to cry that even a few bars of these guys’ playing is wiped out. Rest of the selections are good, and the Haydn recovers. But I had to warn you.]

IBERT: Trois Pieces Breves. [I adore this little truffle-gobbler of a suite, and I don’t think you will ever, ever, hear it performed with more sheer drop-dead virtuosity than it is by these gentlemen.]

Berlioz: Harold in Italy. w/ KOUSSEVITZKY; Boston Symphony Orch. T 41:39

Hindemith: "Der Schanendreher". w/ John Pritchard & Unnamed chamber Orch.

Mozart: Sinfonia Concertante , K. 864. w/ Albert Spaulding, violin. Fritz Stiedry; New Friends of Music Orchestra [This and the Handel Viola Concerto – I’m not too sure Handel even composed one, but that’s what the album says – team two of the supreme string virtuosi of the 30s and 40s in perfect repertoire. Source is a Camden reprint, the ONLY one I’ve ever seen of this duo – thus I can supply no information as to dates, venues, etc. Sound quality is really quite warm and agreeable, beneath the multitude of tiny scratches & tics endemic to 60-year-old Camdens, but oh my God, the playing! What humanity, what depth of expression, what tasteful embellishments, and what ravishing tone these gentlemen produce! Plus, how many examples of Fritz Stiedry’s conducting survive today?]

Walton: Viola Concerto. w/ Sir Malcolm Sargent; Royal Philharmonic O.

RICCI, Ruggiero:

Sibelius: Violin Concerto, Op. 47. Oivin Fjelstad; London S.O. (Time: 30:31)

Tchaikovsky: Serenade Melancholic, Op. 26. (Time: 9:00)

RICHTER, Sviatislav:

Bach: Piano Concerto No. 1 in D Minor. Kurt SANDERLING; USSR State S.O.

Brahms: Piano Concerto NO. 2, Op. 83. w/ MRAVINSKY; Leningrad P.O. (Live, Dec. 27, 1961)

Schumann: Piano Concerto in A minor. Alexander Gauk; USSR State Radio O.

Dvorak: Cello Concerto, Op. 104. W/ TALICH; Czech Philharmonic (1952)

Sauguet: Melodie Concertante. w/ Rozhdesvensky; Moscow RSO (T: 24:44)

Vlasov, Vladimir: Cello Concerto No. 1. w/ Rpzhdestvensky; Moscow RSO (T: 24:00)

Rachmaninoff: Rhapsody on a Theme of Paganini. w/ De SABATA: NYPSO (1950)

Saint-Saens: Piano Concerto No. 2. w/ MITROPOULOS; NYPSO; live, April 19, 1953)

SAMMONS, Albert (violin):

Bruch: Violin Concerto No. 1, Op. 26: Sir Hamilton Harty; "Sympjpmy Orchestra"; rec. 1925.

Lotus Land. Composer’s Piano Roll

Schubert: Trio in E-flat minor, Op. 100. Adolph BUSCH, violin & Hermann Busch, cello. (T. 37:58)

Beethoven: Sonata, Op. 3, No. 2 (Time: 27:12)

Brahms: Paganini Vairations, Op. 34. )Time: 28:37)

Scarlatti: Sonatas K. 322/ K. 27/ K. 87/ K. 302/ K. 24/ K. 29: (Time: 14:01)

Bliss: Piano Concerto. w/ BOULT; Liverpool P.O. (T:37:21)

Liszt: Hungarian Fantasia. w/ Susskind; Philharmonia O. (T: 15:19)

Scriabin: Piano Concerto. w/ Susskind; philharmonia O. (T: 26:05)

Handel: Viola Concerto in B Minor. w/ Frieder Weissman conducting the "Golden Symphony Orchestra" (Huh?)[This has GOT to be transcribed from another Handel work, but I’m damned if I know what it might be. Awfully warn & civilized music, though. Otherwise, see comments under "Primrose" above.]

SQUIRE, W. H.(cello) :

Saint-Saens: Cello Concerto, Op. 33. Sir Hamilton Harty; Halle Orchestra (rec. in 1926)

Bach: Suite No. 2 in a Minor. T. 16:08

Bach: Suite No. 5 in c Minor. T. 23:47

Bach: Violin Concerto No. 1. W/ OISTRAKH; Ormandy; Philadelphia O.

" : Violin Concerto No. 2. W/ OISTRAKH; Ormandy; Philadelphia O.

Vivaldi: Concerto in A Minor for 2 Violins. W/ OISTRAKH; Ormandy; Philadelphia

Melodie, Op. 9, No. 1. Composer’s Piano Roll.

Poliosh Idyll, Op. 26, No. 4. Composer’s Piano Roll.

Bach: Violin Concerto in G Minor. w/ MITROPOULOS; NYPSO. 12/18/49. (T: 12:15)

Berg: Violin Concerto. w/ MITROPOULOS; NYPSO (12/30/45) (T: 24:45) (Splendid!)

Busoni: Concerto for Violin & Orch., Op. 35a. Thomas Scherman; The Little Orchestra Society.

Busoni: Sonata No. 2 in E Minor, Op. 36a. W/ HORSZOWSKI, piano.

Martin: Violin Concerto. w/ MITROPOULOS; NYPSO, live, 11/16/52. (T: 31:35)

TALICH QUARTET:

Haydn: String Quartet Op. 76, No. 5, D major Live, Holland Festival, 1970. (Time: 17:15)

Bach: Aria & Variations in Italian Style, BWV 989. (Time: 16:44)

" : Goldberg Variations. (Time: 63:44)

Prokofiefv: Violin Concerto No. 1. w/ Hollreiser; Zurich Radio Symphony. [I don’t know anything about him, either, except that he made some discs for the crazy old Musical Masterworks Society, of which this is one. It’s certainly a sleek, well-groomed interpretation, though, one that doesn’t try to inflate this fairly modest concerto to the manic heights of the ones Prokofiev wrote later. Good fiddling; I hope he enjoyed a long and rewarding career.]

Haydn: Quartet C Major, Op. 76/3, "Emperor"

" : Quartet B flat major, Op. 76/ 4, "Sunrise"

VOISIN, Roger (trumpet) [For more than 20 years, Voisin was the first-deck trumpet for the Boston Symphony. His distinctive tone – a blend of French elegance and Russian "projection" – was suited for a vast repertoire, and Koussevitzky treasured him greatly. Near the end of his active career, he contracted with the small but enterprising Kapp Records label to record a comprehensive anthology of baroque, rococo, and early Classical works for and featuring the solo trumpet. Not only were these the only recordings of many worthy but very obscure works, but the drop-dead brilliance of Voisin’s playing "sold" the music with such enthusiasm that these discs have become highly sought-after collectors’ items. There were at least ten of them, and I have about half the lot, which I’ll be posting over the next year or two. All are accompanied by the excellent Emanuel Vardi and a pick-up ensemble called the Kapp Sinfonietta. Let’s start with the following choice assortment of 17^th Century works:]

Fantini, Girolamo (c. 1600-1660): Chiamata No. 3 – Fanfare from

" " : Ciamata No. 6 – Fanfare from

Fischer, Johann Kaspar 91665-1746): Suite No. 8, Le Journal de Printemps

Lully: Carousel Music, 1668

Monteverdi: "Sinfonia da Guerra" – Fanfares from

Petzold, Johann Christian (1639-1694): "Hora Decima" ("Ten O’Clock")

Purcell: "The Fairy Queen", Sinfonia from

Stradella, Alessandro (1642-1682): Sonata for Trumpet & Two String Orchestras

Ravel: Gaspard de la nuit. T. 18:08

" : Le Tombeau de Couperin. T. 22:00

" : Jeux deau T. 4.02

Brahms: Violin Concerto. w/ Sir Anthony COLLINS; Sinfonia of London (no timing)

Mussorgsky: Pictures at an Exhibition. (T:35:16)

Prokofiev: Sonata No. 3 (T: 17:51)

Bach: Lute Suite in A Minor. T. 24:06

Bach: Lute Suite in E major. T. 19:34

Bach: Fugue in A Minor, BWV 1000. T. 6:03

" : Suite No. 2 in a minor (16:08)

" : " " 5 in c minor (23:47)

Brahms: Violin Concerto. w/ Koussevitzky & Boston, live, early 40s. (Very individualistic interpretation by a virtuoso who left few studio recordings. Koussie’s with him all the way, providing rich-toned support. Home recording is so-so only, but you can hear plenty of detail. One of my favorite versions, but definitely anachronistic)