Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Creator Record, 24 April, 1932, Budapest) / A rossz feleség (Kodály).
10” plum Hungarian HMV HUC 108 (ODK 212/213) M-A MB 45 J1069. MÁRIA BASILIDES, w.Béla Berkes Cond.: Nem akar az ökörcsorda legelni érik a, érik a Buzakalász / Cserebogár zöldre van a rágsoskapu festve (both Hungarian Folk). 10” dark-blue PW Eng. Col. D 31036, POM-1928. M-A MB 25 J1070. MÁRIA BASILIDES, w.Meyerowitz Cond. Berlin Staatsoper Orch.: SAMSON ET DALILA – Printemps qui commence / Mon coeur s’ouvre à ta voix (in German). 12” dark-blue Lindström Parlophon P.9258, POM-21 March, 1928. A to M-A, lovely copy has faintest rubs, inaud. Gorgeous performances! MB 35 J1071. MÁRIA BASILIDES: Geistliches Wiegenlied (Brahms) / Ave Maria (Bach-Gounod). 12” red Decca-Odeon 25257, POM-7 Nov.,1928 / 15 Aug., 1929. M-A, choice copy has, Sd. 2 only, faint rub, positively inaud. MB 15 J1072. MÁRIA BASILIDES: Nacht und Träume / Der Kreuzzug (both Schubert). 10” dark-blue PW Parl. R 1234, POM-3 April, 1929. M-A, a gleaming copy. MB 25 J1073. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / XERXES – Ombra mai fu (Handel). 12” red Decca–Odeon 25017, POM-7 Nov.,1928,‘Take’ 2, Sd.1. A to M-A, pristine copy has various minuscule pressing bumps. MB 20 J1074. MÁRIA BASILIDES: Komm, süsser Tod (Bach) / Xerxes – Ombra mai fu (Handel). 12” purple PW Parl. E 10757, POM-7 Nov.,1928, ‘Take’ 1, Sd.1. M-A, superlative copy! MB 25
3-12” V 11-8318/20, only form of issue, 1942, New York (except for 2 Sides, otherwise issued only on HMV, those being dubbings), in Orig. Album M-936. M-A MB 25, the Set.
Original 1903 Issue. M-A, lovely copy with exceptionally bright label has faintest rubs & a minor pressing ‘crease’ which appears to be endemic in matrix, inaud.; 3 wee pressing bumps, only one of which is positively audible a few turns. MB 295
J1078. GIUSEPPE KASCHMANN: ERNANI – O dei verd’anni miei / HAMLET – Brindisi. 10” silver & blue IRCC 214, RRs-1903, from Milano G & Ts. Numbered Copy #65; Kaschmann’s photo is affixed to Sd. 1 label. M-A/A-, clean copy with no wear has, Sd.2 only, sev. scrs, positively ltly audible. MB 15 “Giuseppe Kaschmann (Josip Kašman) studied singing with Ivan Zajc in the Croatian capital of Zagreb. He also took lessons from Alberto Giovannini in Udine. His first public performance occurred in Zagreb in 1869. He was cast in the lead role in a production of the first full scale Croatian opera, ZAJC’S MISLAV, on 2 October 1870. Six years later he made his Italian operatic début as Don Alphonse (Donizetti’s LA FAVORITE) in Turin. Before long, he had established himself as one of the best baritones in Italy, making an impressive début at La Scala in the 1878–1879 season (DON CARLO.) It was during this phase of his career that he seems to have altered the Croatian spelling of his name to Giuseppe Kaschmann. He reached the peak of his success in the 1880s and 1890s, building an international reputation and performing at such important venues as Bayreuth in PARSIFAL and TANNHÄUSER and the Metropolitan Opera in 1883 and 1896, as well as continuing to appear at La Scala. Audiences in Spain, Portugal, Russia, Monaco, Egypt, Brazil, and Argentina also had an opportunity to hear him perform during his prime, but he never sang in London. He was particularly renowned for his performances in operas by Verdi and Wagner, though his greatest role was probably Hamlet in Thomas’ opera. In 1903, he made five recordings in Milan for G & T. These are extremely rare and sought-after. They show that he possessed a fluent and flexible Italianate voice, which was characterized by a prominent vibrato and aristocratic phrasing. Reputedly he was an accomplished actor exhibiting a memorable stage presence. He was singing many major roles until he was nearly sixty, and continued to perform as late as 1921–1922, though by this stage of his career he switched to the buffo repertoire of Rossini, Donizetti, and other composers of comic opera. He also taught singing and his finest student was the celebrated buffo Salvatore Baccaloni.” - Ward Marston J1079. NINA KOSHETZ: Estrellita / Serenata Mexicana (both Ponce). 10” PW V 4040, POM-12 / 5 April, 1928. [A great Desert Island Record – exquisitely beautiful!] A to M-A, lovely copy has faintest rubs, inaud. MB 15 “Koshetz clamours with a passionate Russian melancholy, then passes a veil over the voice as a deep sigh comes from the soul.…the ‘Estrellita’…deliciously floated, and [one] has to acknowledge the collectors’ devotion is justified.” - J.B. Steane, THER GRAND TRADITION, p.308 J1080. NINA KOSHETZ: To the Sun (Sung by the Composer) / Over the Steppe (Gretchaninoff). 10” purple Bruns. 10139, POM-1922. M-A, choice copy has, Sd.1 only, minor label ‘crease’. MB 45 J1081. NINA KOSHETZ: None but the lonely heart / At the ball (both Tschaikowsky). 10” gold Bruns. 15029, POM-1922. A-, lovely copy has faint rubs, inaud.; Sd.1 only has very ltly audible tiny scr; Sd.2 label Autographed in black ink by Koshetz. MB 45
12” PW Disque Gram.DB 1205, POM-6 / 12 April, 1928. [Profoundly moving experiences!] A-, very decent copy has cosmetic rubs, positively inaud. MB 25 J1085. NINA KOSHETZ, w.Celius Dougherty (Pf.): Eleven Songs (Rachmaninoff), 8s. 4–12” Schirmer 55108/11, in Original Schirmer Album 16, only form of issue, 1941. M-A MB 45, the Set.
A to M-A, exceptionally bright copy has very faintest rubs, inaud.; slight warp does not affect playing. MB 20 J1089. GERSHON SIROTA: Schlosch esrei midoisch. 10” black Victor G & T Monarch 61082 (414z), POM-1902. A to M-A, beautiful copy has faintest rubs, inaud.; uncommonly bright label. [Very brief catalogue life!] MB 25 J1090. GERSHON SIROTA: Umipnel chatoenu. 10” red Pat.’12 V 61107 (417z-Ao-2), POM-1902. A to M-A, exceptionally bright copy. [Very brief catalogue life!] MB 25 J1091. GERSHON SIROTA: Himoze Iopu. 10” red GP V 61100 (1682z), POM-1903. A to M-A, exceptionally bright copy has faintest rubs, inaud., hardly worth mention. [Very brief catalogue life!] MB 25 J1092. GERSHON SIROTA: Mimkoimoi hu jifen. 10” black Victor G & T 61105 (410z), POM-1902. A-, very decent copy has lt.rubs, inaud.; uncommonly bright label. [Very brief catalogue life!] MB 25 J1093. GERSHON SIROTA: Jaale. 10” red GP V 61102 (1681z), POM-1903. A-, very decent copy has lt.rubs, inaud.; sl.faded label. [Very brief catalogue life!] MB 20 J1094. GERSHON SIROTA: Rezei (1903 Version). 10” red Pat.’08 V 61101 (1683z), POM-1903. A toM-A, lovely copy has faintest rubs, inaud., hardly worth mention. [Very brief catalogue life!] MB 25 J1095. GERSHON SIROTA: Kawokores rohe adre. 10” red Pat.’12 V 64231 (7109L), POM-1908. M-A, lovely copy has faintest rubs, inaud. MB 15 J1096. GERSHON SIROTA: Kawokores rohe adre / Eil molei rachmin. 10” black V 17745 (7109/10L), POM-1908. A, lovely copy has, faintest rubs, inaud.; Sd.2 only, minuscule scr, inaud. MB 12 J1097. GERSHON SIROTA: Halbein Chatoeinu. 10” red Pat.’12 V 64230 (1221ab), POM-22 June, 1909. M-A, great copy has faintest barely visible label nr. MB 15 J1098. GERSHON SIROTA, w.Wilnaer Grossen Synagog Chor.: Habein jakir li. 10” red Pat.’12 V 64272 (7090L), Orig. ‘A’ Plate Issue. POM-1908. A-, lovely copy has faintest rubs, minuscule inaud. scr. & 1 wee pressing bump. MB 12
10” red Pat.’12 V 64273 (7108½L), POM-1908. A-, lovely copy has lt. rubs & 1 wee pressing bump. MB 12 J1100. GERSHON SIROTA, w. Synagogi Warsz Chorem: Broisch haschono. 10” red Pat.’12 V 64275 (7096L), Orig. ‘A’ Plate Issue. POM-1908. A, lovely copy has faintest rubs, inaud. MB 12 J1101. GERSHON SIROTA: Aw horachmim. 10” red V 64383 (1222ab), Orig. ‘A’ Plate Issue. POM-22 June, 1909. M-A MB 15 J1102. GERSHON SIROTA: W'nemar loi hibit owoja. 10” red V 64384 (1223ab), POM-22 June, 1909. M-A, lovely copy has faintest rubs, inaud., hardly worth mention. MB 15 J1103. GERSHON SIROTA: Wêseeraw olecho (1909 Version, Sung with chorus) 10” red Pat.’12 V 64229 (1235ab), POM-24 June, 1909. A-, lovely copy has faintest rubs, inaud.; 1 wee pressing bump is faintly audible 3 turns. MB 12 J1104. GERSHON SIROTA: Birchos kohanim. 10” red Pat.’12 V 64228 (7114L), POM-1908. A to M-A, beautiful copy has faintest rubs, inaud. MB 12 J1105. GERSHON SIROTA: Umsanei teikef. 10” red Pat.’12 V 64274 (7095L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud. MB 15 J1106. GERSHON SIROTA: Umsanei teikef / B’roish haschoni. 10” black V 17741 (7095/96L), POM-1908. A to M-A, lovely copy has faintest rubs, inaud.; Sd.1 only has sl. audible pinpoint pressing bump. MB 15 J1107. GERSHON SIROTA: Sehloseh eschrei midos / Kdusche mimkoimcho. 10” green Col. E6003 (75607/08), POM-1908. A-, fine copy has lt. rubs & hint of grey on peaks, inaud. MB 8 J1108. GERSHON SIROTA: AÏDA – Celeste Aïda / TOSCA – E lucevan le stelle (both in Italian). 10” Eng. Vocalion Twelve 5017, only form of issue, 1928. A to M-A, lovely copy has very occasional superficial rubs, inaud. MB 45 “Blanche Marchesi, in her book A SINGER’S PILGRIMAGE, states that although the voice of Caruso was remarkable, she was of the opinion that the voices of Tamagno and the cantor from Warsaw, Sirota, were just as outstanding. As a longtime observer at the classes given by her mother, Mathilde, and from her own career as singer and teacher, she was in a position to hear many of the greatest singers in the world at the time. Thus any comment of hers as to an artist’s vocal abilities, whether natural or highly cultivated, must be taken seriously. Sirota possessed a rare elemental quality of tenor voice which invariably invokes in the listener a reaction usually associated with hearing artists like Ponselle, Ruffo, Chaliapin or the young Gigli for the first time.” - Alan Bilgora, Symposium liner notes “Sirota was commonly referred to as the ‘king of cantors’ or the Jewish Caruso. The singer had a dramatic coloratura tenor voice for which he was famed among Jewish communities not only in Poland - he became a worldwide phenomenon. He had an unusually broad-ranged voice, strong and beautifully resonate both in high and low registers. Thanks to his command of coloratura, he could deliver even the most demanding melismata effortlessly and softly. Despite their technological limitations, Sirota’s surviving recordings provide a vivid sense of the extraordinary power and expressive range of his voice. His was a brilliant and rich instrument, both warm and penetrating, capable of extraordinary dramatic contrasts. The influence of contemporary operatic style is apparent to some degree in his use of elaborate coloratura and his open, Italianate vocal production, particularly in the upper register. Much of the emotive power of his singing resulted from vocal gestures and ornaments that are central to the East European cantorial tradition, which includes not only the traditional modal patterns, but also glottal attacks and glissandos, bended pitches (singing between the standard chromatic pitches), trills and turns, sudden dynamic contrasts, and a distinctive use of highly elaborate coloratura in the service of text, effecting affective expression.” - YIVO J1109. FRIDA LEIDER, w.Raucheisen (Pf.): Erlkönig / Auf dem Wasser zu singen (both Schubert). 12” Electrola DB 5625, only form of issue, 1941. M-A, exemplary. MB 25 J1110. FRIDA LEIDER, w.Raucheisen (Pf.): Widmung; Marienwürmchen / Meine Rose (all Schumann). 12” Electrola DB 5626, only form of issue, 1941. M-A, exemplary. MB 25 J1111. FRIDA LEIDER, w.Barbirolli Cond.: DON GIOVANNI – Or sai che l’onore (Mozart) / ARMIDE – Ah! si la liberté (Gluck). 12” black PW HMB D 1547 (CR 2010/12-2), POM-11 May, 1928. M-A MB 8 J1112. FRIDA LEIDER, w.Barbirolli Cond.: DON GIOVANNI – Or sai che l’onore (Mozart) / ARMIDE – Ah! si la liberté (Gluck). 12” mauve & gold HMB AGSB 26 (CR 2010/12-2), POM-11 May, 1928. MINT MB 8 "...one marvel[s] with admiration at an artist like Leider who can pass from the great high tragic roles of Isolde and Brünnhilde in which she is so justly celebrated to this beautiful, fine and delicate etching [above]." - Kaikhosru Sorabji, NEW AGE J1113. FRIDA LEIDER: Ah! Perfido! (in Italian! [label suggests German]) (Beethoven), 2s. 12” black & red German Polydor 65745 (682/83as), POM-1922. A to M-A, glorious copy has faintest rubs, hardly worth mention. MB 95
12” Scroll V 7708, POM-11 May, 1928, on Z Shellac. M-A, glorious copy has faintest rubs, hardly worth mention. MB 15 J1116. FRIDA LEIDER, w.Barbirolli Cond.: TRISTAN - Liebestod / PARSIFAL - Ich sah' das Kind. 12” PW V 7523, POM-18 May, 1931. M-A MB 10 J1117. FRIDA LEIDER, w.Barbirolli Cond.: TRISTAN - Liebestod / PARSIFAL – Ich sah' das Kind. 12” PW Electrola DB 1545, POM-18 May, 1931. M-A MB 15 "...Frida Leider's [recording] of 'Ich sah das Kind' from PARSIFAL...possesses a tenderness and comprehension which have never been otherwise equaled in this music....There is also, naturally, the 'Liebestod,' and the recordings from the second act of TRISTAN, with Melchior. In what there is...there shines through to this very day a comprehension of Wagner, and an ability to transmit it, which are beyond comparison....in the Leider-Melchior days no performance was ever simply routine. I think it is the historic fact, which other singers and conductors who worked with her can attest, that Leider was quite incapable of a routine performance." - Vincent Sheean, FIRST AND LAST LOVE, p.100 J1118. FRIDA LEIDER, w.Blech Cond.: GÖTTERDÄMMERUNG - Immolation Scene, 4s. 2-12” black PW HMV D 2025/26, POM-26 Oct., 1928. M-A MB 15, The Pair. J1119. FRIDA LEIDER & ELFRIDE MARHERR-WAGNER, w.Blech Cond.: TRISTAN – Doch nur von Tristan (Isolde’s Narrative and Curse), 2s. 12” Orth Vla 7603, POM-8 Nov., 1928. M-A MB 10 J1120. FRIDA LEIDER & LAURITZ MELCHIOR; Coates Cond.: TRISTAN - Liebesnacht, 4s. 2-PW V 7273/74, POM-6 May, 1929. M-A MB 12, the Pair. J1121. FRIDA LEIDER: IL TROVATORE – D’amor sull’ali rosee / Tacea la notte [w.cabaletta] (in German). 12” red German Polydor 72975 (763az/23be), POM-1925/’26. A to M-A, glorious copy has faintest rubs, hardly worth mention. [Leider’s delicate shading, pianissimi and trills are breathtaking!] MB 95
(602/678as), POM-1921/’22. A to M-A, glorious copy has faintest rubs, hardly worth mention. MB 95 J1123. FRIDA LEIDER: NOZZE – Porgi amor / Dove sono (in German). 12” black Schall.Gram. 65744 (603/04½ as), POM-1921. A-B, very decent copy has considerable rubs & superficial scrs, occasionally faintly audible a turn or two, Sd.2. Not for the fastidious, but this plays as M-A! [Judicious and lovely portamenti here!] MB 65 J1124. FRIDA LEIDER: SIEGFRIED – Ewig war ich / PARSIFAL – Ich sah das Kind. 12” red German Polydor 72977 (767/882az), POM-1925. A-, Very decent copy has lt.rubs, positively inaud.
A to M-A, glorious copy has faintest rubs, hardly worth mention. MB 95 J1126. FRIDA LEIDER & CARL GÜNTHER: TOSCA – Amaro sol per te / Ah, quegli occhi (in German). 12” black Schall.Gram. 65687 (946/47as), POM-1922. A-B, very decent copy has rubs & very superficial scrs, occasionally very faintly audible a turn or two [an outstanding, compelling rendition, albeit in German!] MB 65
12” red Schall.Gram. 72985 (789/894az), POM-1925. A to M-A, glorious copy has faintest rubs, hardly worth mention. MB 95
12” red Schall.Gram. 72986 (891/92az), POM-1925. A to M-A, lovely copy has minor hlc appearing primarily Sd.1, inaud. MB 45
12” red Schall.Gram. 72934 (1485½/86as), POM-1923. A to M-A, glorious copy has faintest rubs, hardly worth mention. MB 95
A to M-A, glorious copy has faintest rubs, inaud. MB 95 J1131. LAURA HILGERMANN: Der Asra (Rubinstein). 10” flush black Wien G & T G.C.-43226 (896x), only form of issue, 1902. A to M-A, glorious copy has few faintest rubs, positively inaud.; minuscule pressing bump is faintly audible 2 or 3 turns. MB 225 J1132. LAURA HILGERMANN: LIEDERKREIS - Waldesgespräch (Schumann). 10” flush black Wien G & T G.C.-43227 (897x), only form of issue, 1902, announced. A to M-A, exceptional copy has 1 infinitessimal scr & wee hlc; very sl.rubbed label. MB 175 “Laura Hilgermann first sang in Prague, making her début as Azucena, and then in Budapest, until Mahler engaged her for Vienna in 1900. She remained there until 1920, greatly admired in a wide range of roles, including Orphée, Cherubino, Mignon, Sieglinde, Amneris and Carmen. Gitta Alpar and Maria von Ilosvay were amongst the pupils she taught in retirement. The voice is of beautiful quality; the singing is a model of restrained elegance. Laura Hilgermann died in the cellar of her house in Budapest, destroyed during the Russian bombardment of 1945.” - John Freestone J1133. OTTILIE FELLWOCK: IL TROVATORE –Stride la vampa (in German). 10” flush black Prague G & T G.C.- 43509 (1950x). A to M-A, an outstanding bright original 1903 copy w.exceptionally bright label; mere hint of grey on peaks, positively inaud.; tiny pressing bump is faintly audible a few turns. You’ll never find a lovelier copy (if any at all, to be sure!). MB 275
12” flush black Prague G & T 043030 (245y), only form of issue, 1904. A-B, lovely copy has lt.rubs & occasional tiny scrs, occasionally audible, primarily at very end. Two tiny edge patinas, visible topside only, inaud. MB 275
12” black Schall Gram. 65671 (466/81as), only form of issue, 1921. M-A, choice copy has, Sd. 2 only, faintest pap. rub, inaud. MB 45 J1137. FRIEDRICH SCHORR: DIE FLIEGENDE HOLLÄNDER – Wie aus der Ferne / FRIEDRICH SCHORR & MELANIE KURT: Versank ich jetzt in wunderbares Träumen? 12” black German Polydor 65621 (480/660as), only form of issue, 1921/’22, resp. M-A/A, choice copy has, Sd. 2 only, lt.rubs, inaud. MB 35
4-10” PW V 1865/68, only form of issue, mid-1930s, in Orig. Album M-430, w.Brochure. M-A MB 35, the Set. J1139. BJÖRLING JUVENILE TRIO (Olle, Jussi & Gösta): Sommarglädje (Swedish trad.) / Barndomshemmet [On the Banks of the Wabash] (Dresser). [Olle, Jussi and Gösta vocals, with David (their father) on piano or harmonium. Jussi would have just turned nine when these were recorded early in 1920, his childhood recordings, made at the beginning of their American tour that year.] 10” pale-green Col. E4547 (85798-2/85799-2), only form of issue, 1920. B, decent copy has considerable rubs & ltly. noisy surfaces; Sd.2 only has 2 very lt.scrs, positively inaud. Exceedingly rare, to say the very least! MB 45 J1140. ROBERT BLASS: Der Schlesische zecher und der Teufel (von Reissinger). 10” GP V 64032, POM-16 Oct., 1903, Never Doubled. A to M-A, supreme copy has uncommonly bright label. MB 35 J1141. ROBERT BLASS: Die beiden Grenadiere (Schumann). 12” Victor Directory: lib lib -> Security Survey lib -> Strategic Plan South Sudan Country Office Context lib -> The World Order of Bahá’u’lláh Selected Letters lib -> 1. naclo 2015 – North American Computational Linguistics Olympiad lib -> Ieee/iee electronic Library (iel) lib -> Lnpa wg position on Porting of Telephone Numbers Used by Voip service Providers lib -> 1. naclo 2017 – North American Computational Linguistics Olympiad lib -> [0] B. Hardware [2] lib -> [1] B. Hardware [1] lib -> Chem I honors Unit 2 Notes: Numbers in Chemistry Measurement Download 1.56 Mb. Share with your friends:
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