Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Monarch 5006 (2149-2w), POM-1902, Never Doubled. A to M-A, superlative copy has
faintest rubs & hint of grey on peaks, inaud.; wee pressing bump, very briefly audible. MB 45
POM-1902, Never Doubled in any regular series, only as the very rare IRCC reissue. A to M-A, superlative copy has faintest rubs, inaud.; uncommonly bright label. MB 65
faintly audible only during spoken announcement; 1 microscopic scr ltly audible 2 turns; uncommonly bright label. MB 65 J1208. SUZANNE ADAMS: FAUST – Air des bijoux. 10" flush black London G & T G.C.-3291 (2085), Stamper III, only form of issue, 1902. A-, lovely copy has faint rubs & very few superficial scrs, inaud.; rubbed label; contemporaneous London sticker remains. MB 45 J1209. SUZANNE ADAMS: FAUST – Air des bijoux. 10” flush black & silver Col. 1243, only form of issue, 1903, announced. A to M-A, superlative copy has sev. microscopic scrs, faintly audible, if at all; uncommonly bright label. MB 65 “Suzanne Adams was an American lyric coloratura soprano. Known for her agile and pure voice, Adams first became well known in France before establishing herself as one of the Metropolitan Opera's leading sopranos at the beginning of the twentieth century. Adams was born in Cambridge, Massachusetts. She studied in New York with Jacques Bouhy and then in Paris with Mathilde Marchesi. She made her opera début at the Paris Opéra in 1894 or 1895 as Juliette in ROMÉO ET JULIETTE. She studied the role of Juliet and the role of Marguerite from FAUST with Gounod himself, who greatly admired her fine technique, brilliant tone, and vocal flexibility. She remained at the Paris Opéra for three years and then went to Nice. While in France she sang numeroues roles by Gounod and Meyerbeer, as well as the Queen of the Night in the THE MAGIC FLUTE and Eurydice in Gluck's ORFEO, among other roles. She went on to join the Metropolitan Opera in New York where she sang numerous roles during the seasons of 1898–99 to 1903. Her roles at the Met included Juliette, Marguerite, Marguerite de Valois from LES HUGUENOTS, Micaela from CARMEN, Cherubino from LE NOZZE DI FIGARO, Donna Elvira from DON GIOVANNI, Philine from MIGNON, Berthe from LE PROPHÈTE, the Forest Bird from SIEGFRIED, Nedda from PAGLIACCI, Gilda from RIGOLETTO, Infanta from LE CID, Inès from L'AFRICAINE, and Mimì from LA BOHÈME, among others. In 1898 she married Leo Stern, an English cellist who died in 1904. Following Stern's death, Adams soon retired from the stage and settled in London. She appeared at Covent Garden in some performances of CARMEN in November 1906 (presumably as Micaela), and these may have been among her last appearances in opera. She is reported to have taught singing for many years, further details are lacking so far. She appeared in a few concerts in the UK in 1905 and 1906. She visited the United States in late 1907 to appear in vaudeville in Chicago, New York and elsewhere. She may have continued teaching until her death in London in 1953.” - Wikipedia J1210. ADA CROSSLEY: New Year’s Song (Mallinson). 10” GP Victor 64009, POM-30 April, 1903, Never Doubled. A-, lovely copy has hint of grey on peaks. MB 35
lt.rubs, few minuscule mks & very minor ‘heat’ damage at edge, audible only during piano intro.; minor label run. MB 15 J1215. ADA CROSSLEY: Nearer my God to Thee (Mason). 11½" H & D center-start etched label Pathé 50294 [10116], recorded 1904, London. M-A, superlative copy! MB 35 “Ada Jemima Crossley (1871-1929), singer, was born on 3 March 1871 at Tarraville, Gippsland, Victoria, Australia. When it became apparent that Ada had a voice of great promise, her parents allowed her to take lessons with Madame Fanny Simonsen, on the condition that she never sing opera. One of her first public appearances in Melbourne was in November 1889, then in the next four years she sang frequently at oratorios and concerts, including the popular promenade concerts organized by W. J. Turner, and was principal contralto in the choir of Charles Strong's Australian Church. She became well known in Sydney after her début there in January 1892. In March 1894 Ada left for London where she studied first with Charles Santley and then for some seven months in Paris with Madame Marchesi. Her London début was at the Queen's Hall in May 1895, but her big opportunity came when she substituted at a moment's notice for Clara Butt at a concert in Manchester; she was soon singing at principal oratorio festivals throughout Great Britain. While her voice was admired for its rich velvet quality and steady purity of timbre - one reviewer described it as having the 'luscious richness of a Carlsbad plum combined with the translucent purity of rock crystal' - she was praised particularly for her interpretative skills. A favourite of royalty, she was commanded five times in two years to sing before Queen Victoria, and she sang on many important ceremonial occasions. In 1903 she claimed a repertoire of 500 sacred songs and ballads, ranging from Gluck and Handel to Richard Strauss. While on a successful tour of the United States of America in 1902-03, during which she recorded for the Victor Gramophone Co.'s Red Seal Celebrity series, Madame Crossley was engaged by J. C. Williamson to visit Australia and New Zealand. She arrived in September 1903 and was received with acclaim. The young Percy Grainger was among her entourage. She returned to England in February 1904 via South Africa.” - Margery Missen, Australian Dictionary of Biography J1216. EDITH MASON: The last rose of summer (Moore) / Goodbye (Tosti). 12” purple Bruns.30108, only form of issue, 1924. A to M-A, beautiful copy has faint rubs, inaud. MB 45 J1217. EDITH MASON: The last rose of summer (Moore) / Goodbye (Tosti). 12” purple Bruns.30115, only form of issue, 1925. A-, lovely copy has faint rubs, inaud. MB 35 J1218. EDITH MASON: Serenata (in English) (Tosti) / Oh, for the wings of a dove (Mendelssohn). 10" purple Bruns. 10243, only form of issue, 1926. A-, lovely copy has faint rubs, inaud. MB 35 J1219. EDITH MASON: Oh, dry those tears (del Riego) / Far off I hear a lover's flute (Cadman). 10" purple Bruns. 10215, only form of issue, 1925. A-, lovely copy has faint rubs, inaud. MB 35 J1220. EDITH MASON: From the land of sky-blue water (Cadman) / w.Frederick Fradkin (Violin): Mighty lak' a rose (Nevin) / 10" purple Bruns. 10241, only form of issue, 1928. A to M-A, beautiful copy has faint rubs, inaud. MB 35 J1221. EDITH MASON: From the land of sky-blue water (Cadman) / BAYOU SONGS - Dreamin' time (Strickland). 10" purple Bruns. 10177, only form of issue, 1924. A to M-A, beautiful copy has, Sd.1 only wee briefly audible scr. MB 35 J1222. EDITH MASON: INDIAN LOVE LYRICS - Pale hands I loved (Kashmiri song) (Woodforde-Finden) / BAYOU SONGS - Dreamin' time (Strickland). 10" purple Bruns. 10222, only form of issue, 1925. A-B, very decent copy has considerable rubs, inaud. MB 25 J1223. EDITH MASON: My old Kentucky home (Foster) / Carry me back to old Virginny (Bland). 10" purple Bruns. 10242, only form of issue, 1928. A-, lovely copy has faint rubs, inaud.; spotted label, Sd.1. MB 25 J1224. EDITH MASON: FAUST - Air des bijoux (1924 Version) / MADAMA BUTTERFLY - Ancora un passo. 10" gold Bruns. 15096, only form of issue, 1924. A to M-A, beautiful copy has faintest rubs, inaud. MB 35 J1225. EDITH MASON: FAUST - Air des bijoux / MADAMA BUTTERFLY - Un bel dì (1925 Versions). 12” gold Bruns. 50080, only form of issue, 1925. A to M-A, beautiful copy has faint rubs, inaud. MB 45 “The name Edith Mason lacks the resonance of some of her more frequently recorded contemporaries. If the lasting fame of a singer is based on recordings then her fame is small indeed. Born in St. Louis in 1891, Mason began her studies in Paris with Victor Maurel. She returned to America to study at the New England Conservatory. Her début in Boston took place in 1912 as a last minute replacement in the role of Nedda in PAGLIACCI. Her success was immediate. She returned to Paris to study with Edmond Clément. In 1915, Mason made her Metropolitan Opera début as Sophie in DER ROSENKAVALIER. For the next thirty years she was an international star, singing in all the major European houses, Central and South America, the Metropolitan, and her ‘home’ company, Chicago. She sang over forty operatic roles, concertized widely, and was admired by the public and the press. Toscanini chose her to sing in his 1935 Salzburg season. Critic Michael Scott is quoted as follows: ‘At the best of times there are comparatively few singers who never make an ugly sound; still fewer of whom it can be said that every note, at least on gramophone records, is a thing of loveliness. In that select company may be numbered the lyric soprano Edith Mason’. The voice is astonishingly beautiful and her command of her upper register is breathtaking. The technique is perfect and the musicality tasteful. Her recorded legacy is pitifully small, however. Only four arias from her operatic repertoire were recorded. We have [among others] her ‘Un bel dì’ from Mason's favorite role in which she was coached by Puccini himself. Miss Mason made all of her recordings for the Brunswick label between 1924 and 1928.” - ARSC Journal - Vol. 25, #2 (1994) J1226. RITA FORNIA: Der Spielmann (Hildach). 12” Pat.'12 V 74227, only form of issue, 5 June, 1912. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 20
A, beautiful copy has faintest rubs, inaud. MB 20 J1229. RITA FORNIA: Dein gedenk’ ich, Margaretha (Meyer-Helmund). 10” V 64290, only form of issue, 7 June, 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20 J1230. RITA FORNIA: Frühlingszeit (Becker). 10” Pat.’12 V 64299, only form of issue, 7 June, 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20 J1231. RITA FORNIA: Allerseelen (Lassen). 10” V 64289, only form of issue, 5 June, 1912. M-A, superlative copy of one of Fornia’s most elusive discs. MB 30 J1232. RITA FORNIA: Allerseelen (Lassen). 10” white Vla 64289, only form of issue, 5 June, 1912. M-A, choice copy of excellent late pressing, one of Fornia’s most elusive discs. MB 30 J1233. RITA FORNIA: Mazurka #23 in D (as ‘Aime-moi’) (Chopin-Pauline Viardot-Garcia). 10” Pat’12 V 64284, only form of issue, 6 June, 1912. A to M-A, beautiful copy of another of Fornia’s most elusive discs. MB 30 J1234. RITA FORNIA: Chanson d’Estelle – Ah! s’il est dans votre village (Chanson de Florian) (Godard). 10” Pat.'12 V 64244, only form of issue, 21 Nov., 1911, Original "A" Plate Issue. A to M-A, beautiful copy of another of Fornia’s most elusive discs has minor label scr. MB 25 J1235. RITA FORNIA: ROMÉO – Que fais-tu, blanche tourterelle. 12” Pat.’12 V 74211, POM-23 Dec., 1910, Never Doubled in any regular series, only as the very rare AGS reissue (below), Original "A" Plate Issue. A to M-A, beautiful copy has faintest rubs, inaud. MB 20 J1236. RITA FORNIA: FAUST – Faites-lui mes aveux (1st Version, in Italian) / ROMÉO – Que fais-tu, blanche tourterelle. 12” mauve & gold HMV AGSB 61, POM-7 March / 23 Dec., 1910, Sd.1 from Unpublished Master. MINT MB 25 J1237. RITA FORNIA: FAUST – Faites-lui mes aveux (2nd Version, in French). 10” Pat.’12 V 64162, only form of issue, 23 Dec., 1910. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J1238. RITA FORNIA: FAUST – Faites-lui mes aveux (2nd Version, in French). 10” white Vla 64162, only form of issue, 23 Dec., 1910. M-A, superlative copy of excellent late pressing. MB 15 J1239. RITA FORNIA, ANTONIO SCOTTI & RICCARDO MARTIN: MADAMA BUTTERFLY – Lo so che alle pene. 10” Pat.’08 [5 line] Vla 87503, only form of issue, 7 March, 1910. M-A MB 8 “Conried engaged Rita Fornia for the Metropolitan’s 1907-08 season and she made her first appearance, with her name temporarily modified into Rita La Fornia (after her native state), at the opening of the new Academy of Music in Brooklyn on 14 November 1907, as Siébel with Farrar, Caruso, Noté, and Didur. Her first appearance at the Metropolitan was as the Geisha in IRIS with Eames, Caruso, Scotti, and Journet, on 6 December 1907. She proved her usefulness to the company when in Philadelphia, on 31 December, she replaced an ailing Sembrich in IL BARBIERE DI SIVIGLIA; she sat up all night to learn Rosina in Italian, having until then only sung the opera in German. Bonci, Campanari, and Chaliapin were in the cast. After some appearances as Helmwige in DIE WALKÜRE she hit the headlines when, on 19 March 1908, she replaced Emma Eames as Leonora in IL TROVATORE, singing with Caruso, Homer, and Stracciari. She must have been ready for this opportunity, for Eames notified the management only at 5:30 in the afternoon that she would be unable to sing that night. Fornia repeated the role on 4 April, and also on tour in Boston on 8 April. The New York American reported: ‘To the amazement of those who had not heard the singer in important parts, Mme. La Fornia made a pronounced and brilliant hit. Though she had had no rehearsal, she sang admirably. In the dramatic passages she had power, and suggested passion. In her florid music, she had taste, charm, and remarkable facility. Her voice is fresh and of a delightful quality. She acts intelligently. And she is handsome. Why has the Metropolitan management kept a singer of Mme. La Fornia’s caliber in the background all these months?’ Fornia would seem to be typical of Jean de Reszke’s most successful students, such as Maggie Teyte, Rachel Morton, or Lucile Marcel. Her voice is easily produced and floats on the breath; the registers are well blended and she can sing softly or loudly at any point of her scale. Her performances are exquisitely refined, suggesting that the concert hall might have offered her a rich field. To compare the two versions of the ‘Flower Song’ from FAUST [both, above] is to learn something of recording conditions in 1910. Both are excellent and stylish, but with less time available in the second ‘take’, singer and conductor have to go faster, although they still manage to use a great deal of tempo rubato. The earlier version imparts important lessons in style - if only singers and conductors today could listen to it! Notice the first rallentando appropriately placed on the words ‘Que mon coeur nuit et jour Languit d’amour!’, soon followed by an accelerando to underline the crescendo of excitement at the words ‘Le secret de ma flamme’. A similar pattern of ‘give-and-take’ is continued throughout the song. The recitative ‘Fanée!’ is marvelously rendered and the aria ends with a virtuoso touch: the first high G on ‘un doux baise’is taken pianissimo, the repetition, forte. She introduces appoggiaturas as if this were Italian music of c.1820; this is probably a ‘tradition’ handed down at the Met from the days of Scalchi. Her singing of the ‘Chanson de Stéphano’ from ROMÉO ET JULIETTE is so fine that I often use this record as an example of bel-canto singing in the mezzo-soprano repertoire. Although she does not actually smile very much in what is, after all, an ironic aria, she is graceful and insinuating, and admirably precise in her execution of the triplets and the lightly sung but brilliant scale passage taking her easily up to high C. The salon songs are beautifully sung, even ‘Aime-moi’, in which the execution is reasonably accurate and most pleasing. Even better is Chaminade’s ‘Madrigal’, a very good song with a fine piano accompaniment, and here Fornia and Rosario Bourdon have a wonderful time with their playful rubati. Listening to the lovely tone, the easy vocalization and the charming manner of Fornia in a difficult song like this, one has the sensation that she must have been one of the greatest and most poular singers of her day - and yet she wasn’t! Fornia gives Erik Meyer-Helmund’s famous ‘Zauberlied’ with fine sustained tone, but she is even better in her deeply felt ‘Dein gedenk’ich, Margaretha’. After a bumpy start she sweeps excitingly through Becker’s ‘Frülingslied’. Eugen Hildach’s ‘Der Spielmann’ is an evocative song that rather taxes Fornia in the key of G – she might have sounded more relaxed a tone lower. Still, she suggests something of the nostalgic longing so skillfully echoed in Howard Rattay’s beautifully played obbligato.” - Michael Aspinall, Marston Program Notes J1240. SUSAN STRONG: Die junge Nonne (Schubert) / HÉRODIADE – Il est doux, il est bon. 12” sliver Victor IRCC 159, POM-1907; Sd.2 = RR, 1908. Numbered Copy #18 of an extremely Limited Edition. Sd.1 Label Autographed by Strong, whose Photo is affixed. M-A, a gleaming copy. MB 35 “…an unusually imaginative and heart-felt account [of the Schubert song].” - J.B. Steane, SONG ON RECORD, Vol. 1, p.79 J1241. MARY GARDEN: Comin' thro' the rye / John Anderson, my Jo. 10” Tri-Color Col. A1190, only form of issue, 1912. M-A MB 10 J1242. MARY GARDEN: Over the Steppe (in English) (Gretchaninoff). 10" Victor S/S vinyl Test Pressing, Mx.BVE 36733-2, POM-5 Nov., 1929, Victor label written in longhand. M-A MB 12 J1243. MARY GARDEN: Over the Steppe (in English) (Gretchaninoff) / CARMEN - En vain pour éviter. 10" Orth Vla 1539, POM-5 Nov., 1929. M-A MB 15 J1244. MARY GARDEN: LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mi. 12” Tri-Color Col. 30699, POM-21 March, 1911. M-A, choice copy of this uncommon original S/S issue. MB 12 J1245. MARY GARDEN: LE JONGLEUR DE NOTRE-DAME – Liberté, ô liberté, ma mi / HÉRODIADE - Il est doux, il est bon. 12” Tri-Color Col. A5289, POM-21 March, 1911. M-A MB 8 J1246. MARY GARDEN: LA TRAVIATA - Sempre libera (in French). 12” Tri-Color Col. 30696, POM-14 March, 1911. M-A MB 10 J1247. MARY GARDEN: LA TRAVIATA - Ah! fors' è lui; Sempre libera (in French), 2s. 12” Tri-Color Col. A5284, POM-14 March, 1911. M-A MB 10 J1248. MARY GARDEN: LOUISE - Depuis le jour (1912 Version) / THAÏS – L’amour est une vertu rare. 12” Tri-Color Col. A5440, POM-17 May, 1912. M-A MB 8 J1249. MARY GARDEN: LOUISE - Depuis le jour (1912 Version) / THAÏS – L’amour est une vertu rare. 12” Tri-Color Col. A5440, POM-17 May, 1912. Sd.1 label Autographed in white ink by Garden. M-A MB 25 J1250. MARY GARDEN: LOUISE - Depuis le jour (1926 Version). 12" Victor S/S vinyl Test Pressing, Mx.CVE 36734-14, POM-24 Dec., 1926. M-A MB 12 J1251. MARY GARDEN: LOUISE - Depuis le jour (1926 Version) / RÉSURRECTION - Dieu de grace (Alfano). 12” Orth Vla 6623, only form of regular issue, 24 Dec. / 3 Nov., 1926. M-A MB 8 J1252. MARY GARDEN, w.Alexander Russell (Organ): In the gloaming (Harrison) / Jock O'Hazeldean. 12” Orth Vla 7254, only form of issue, 7 Nov., 1929, Garden's final recordings. [Sd.1 is considered to be Garden’s most memorable, heartfelt rendition – a recording to treasure!] M-A MB 15 J1253. MARY GARDEN, w.Jean Dansereau (Pf.): Somewhere a voice is calling (Tate). 10" EL S/S Special vinyl Pressing of Unpublished Mx.BVE 40735 4, POM 5 Nov., 1929. MINT MB 35 J1254. MARY GARDEN, w.Jean Dansereau (Pf.): Afton water (Hume) / Annie Laurie. 10" Orth Vla 1480, POM-4 Nov., 1929 / 3 Nov., 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J1255. MARY GARDEN, w.Jean Dansereau (Pf.): Beau soir (Debussy) / Clair de lune (Szulc). 10" Orth Vla 1439, POM-4 Nov., 1929. M-A MB 12 J1256. MARY GARDEN, w.Jean Dansereau (Pf.): At dawning (Cadman) / At parting (Rogers). 10" Orth Vla 1216, POM-26 Oct. / 24 Dec.,1926. M-A MB 12 J1257. MARY GARDEN, w.Claude Debussy (Pf.): ARIETTES OUBLIÉES - L'ombre des arbres / Il pleure dans mon coeur (both Accompanied by the Composer). 10” white & red Victor IRCC 107, RRs-1904. M-A MB 35 J1258. MARY GARDEN, w.Claude Debussy (Pf.): ARIETTES OUBLIÉES – Green / PELLÉAS ET MÉLISANDE – Mes longs cheveux (CREATOR Record, 30 April 1902, l’Opéra-Comique 30 April 1902) (both Acc. by the Composer). 10” white & red Victor IRCC 106, RRs-1904. M-A MB 35 “Impressed with her voice, Carré invited Mary Garden to join the roster at the Opéra-Comique in 1900. Garden made her professional opera début with the company on 10 April, 1900 in the title rôle of Gustave Charpentier's LOUISE. Although Garden had been preparing the rôle, the début was unscheduled as she was a last minute replacement for Marthe Rioton who had become ill. From 1901 for two years, she carried on an affair with André Messager, who conducted her in LOUISE. She claimed that when the Opéra-Comique director Albert Carré asked her to marry him, she replied that she had someone else in her life – Messager. Her description is of a tempestuous relationship, but they remained friends until his death. Persuaded by Oscar Hammerstein I to join his competition against the Metropolitan Opera, Garden quit her frequent Opéra-Comique engagements to join the Manhattan Opera House in New York City. She made her American début in the Manhattan Opera House on 25 November, 1907 in the title rôle in THAÏS, a rôle which fitted her personality and art like a glove. She further astounded American audiences with her uncanny portrayal of a young boy in Massenet's LE JONGLEUR DE NOTRE DAME (1908) and in the United States première of PELLÉAS ET MÉLISANDE.” - Ned Ludd J1259. ANNA FITZIU: The Star Spangled Banner (Key) / Old Folks at home (Foster). 10½” US grey paper label H & D Pathé 60045, recorded 1916, only form of issue, both sides. M-A MB 20 J1260. ANNA FITZIU: Il bacio (Arditi) / TOSCA – Vissi d’arte. 10½” US grey paper label H & D Pathé 62012, recorded 1916, only form of issue, Sd.1. A to M-A, lovely copy has faint tubs, inaud. MB 15 J1261. ANNA FITZIU: TOSCA – Vissi d’arte / Milan Opera Sextet: LUCIA – Chi mi frena. 10” burgundy & gold Pathé Actuelle 025074, recorded 1916. M-A, superb copy. MB 12
12” Tri-Color Columbia A5119, POM-1909. Sd.1 a spectacular display of Blauvelt’s bravura technique! M-A, superlative copy has, Sd.2 only, faintest rubs, barely visible & certainly inaud. Ultra Rare! MB 45
10” GP V 64030, POM-13 April, 1905, Never Doubled.. M-A, a superlative copy! MB 15 J1266. LILLIAN BLAUVELT: The last rose of summer (Moore; [erroneously ascribed to Stephen C. Foster]). 12” Tri-Color Columbia 30126, POM-1907. A, lovely copy has faint rubs, inaud. & rubbed label. MB 15 J1267. LILLIAN BLAUVELT: The last rose of summer (Moore) / DAVID BISPHAM: The pirate song (Gilbert). 12” Tri-Color Columbia A5019, POM-1907/’06, resp. M-A, a superlative copy! MB 15 J1268. LILLIAN BLAUVELT: Les filles de Cadix (Delibes). 12” Tri-Color Columbia 30113, POM-1907. A, lovely copy has 2 microscopic scrs, positively inaud. MB 15 J1269. LILLIAN BLAUVELT: A Norwegian Song (Logé) / RODELINDA – Le Printemps (in French, obviously) (Handel). 12” Tri-Color Columbia A5120, POM-1909. A to M-A, beautiful copy has, Sd.1 only, large pressing bump caused by separating laminate which may cause stylus to jump. The Handel aria plays perfectly! Ultra Rare . . . and beautiful! MB 25
12” Tri-Color Columbia A5078, POM-1908/'07, resp. M-A, a superlative copy! Exceedingly elusive! MB 15 J1271. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1905 Version). 12” GP V 74027, POM 13 April, 1905, Never Doubled. A, beautiful copy has faintest rubs, inaud. Contemporaneous San Francisco sticker remains. MB 20 J1272. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1905 Version). 12” white Vla 64289, POM 13 April, 1905, Never Doubled. M-A, choice copy of excellent late pressing. MB 25 J1273. LILLIAN BLAUVELT: ROMÉO – Je veux vivre (1907 Version). 12” Tri-Color Columbia 30124, POM-1907, w. ‘Manhattan’ label superimposed. A-, lovely copy has lt.rubs & very isolated, superficial mks, inaud., albeit noisy surface. Exceedingly elusive! MB 15
12” Tri-Color Columbia 30091, POM-1907, w. ‘Manhattan’ label superimposed. A to M-A, exceptional copy has microscopic edge lams, of absolutely no consequence. Exceedingly elusive! MB 20
10” GP V 81067, POM-13 April, 1905, Never Doubled in any regular series (other than IRCC 8 & AGSA 4), [in the catalogue briefly!]. A-B, very decent copyhas lt.rubs, inaud. MB 15 J1276. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French). 10” white label Vla 64029, POM-13 April, 1905. Never Doubled in any regular series (other than IRCC 8 & AGSA 4). M-A, as New! MB 20 J1277. LILLIAN BLAUVELT: I VESPRI SICILIANI – Mercè dilette (in French) / MARCELLA SEMBRICH: 10” silver & blue Victor IRCC 8, POM-13 April, 1905 / 19 Nov., 1904, Numbered Copy #70 of an extremely limited edition. M-A MB 25 “Lillian Blauvelt was a popular opera singer in New York and internationally in the first decade of the 20th century. Her voice was a lyric soprano with a very pure timbre and dramatic distinction. Her vocal range was from G to D. She was from Brooklyn, New York, and eventually toured every country in Europe. She was a graduate of the National Conservatory of Music and sang in concerts in New York and Brooklyn prior to becoming the soprano of the 42nd Street West Presbyterian Church in 1893. In 1898 she sang under Sir Henry Wood at the Royal Albert Hall in London. Forty years later his list of the finest artists he had ever worked with included Ferruccio Busoni, Fritz Kreisler, Pablo Casals and Lillian Blauvelt. In 1905 Blauvelt signed a six-year contract with Fred Whitney to appear in comic opera. She reportedly received $504,000 for her services (or $2,000 per week). Her first venture after the pact was made was a production of THE ROSE OF ALHAMBRA, written by Charles Emerson Cook and Lucius Hosmer. Cook was a close affiilliate of David Belasco.” - Wikipedia J1278. MAGGIE TEYTE: Ma Curly-headed baby (Clutsam) / I’se Gwine back to Dixie (White). 10" H & D etched label Edison 82159, only form of issue, 5/3 Feb., 1919. M-A; Sd.1 only has wee rub. MB 15
10" H & D etched label Edison 82163, only form of issue, 20/30 Jan., 1919. M-A MB 15 J1280. MAGGIE TEYTE: My ain folk (Lemon) / Believe me if all those endearing young charms (1919 Version). 10" H & D white paper label Edison 82163, only form of issue, 20/30 Jan., 1919. M-A MB 15 J1281. MAGGIE TEYTE: INDIAN LOVE LYRICS – Kashmiri Song / ARTHUR MIDDLETON: Pale Moon (Woodforde-Finden). 10" H & D etched label Edison 82205, only form of issue, 3 Feb., 1919 / 1920. A-, lovely copy has faint grey on peaks, inaud. MB 15 J1282. MAGGIE TEYTE: Happy Days / Dreams (both Streletzky). 10" H & D white paper label Edison 82331, only form of issue, 6 Feb., 1919. M-A MB 15 J1283. MAGGIE TEYTE: Obstination (as ‘A Resolve’) (in English) (de Fontenailles) / An open secret (Woodman). 10” Col. A1471, only form of issue, 26 Nov., 1913. A to M-A, lovely copy has lt rubs, inaud. MB 12 J1284. MAGGIE TEYTE, w.Gerald Moore (Pf.): Obstination (1944 Version) (de Fontenailles) / w. Gerald Moore (Pf.) & James Whitehead (Cello): Élégie (Massenet). 10” HMV DA 1847, only form of issue, 20 July,1944. MINT MB 6
10” Col. A1490, only form of issue, 26 Nov., 1913. M-A MB 15 J1286. MAGGIE TEYTE, w.Gerald Moore (Pf.): Après un rêve (Fauré) / Si mes vers avaient des ailes (1941 Version) (Hahn). 10” HMV DA 1777, POM- 26 March, 1941. M-A MB 6 J1287. MAGGIE TEYTE: When love is kind / THE MARRIAGE MARKET – Little grey home in the West (1913 Version) (Löhr). 10” Col. A1472, only form of issue, 26/28 Nov., 1913. A to M-A, lovely copy has lt rubs, inaud. MB 12 J1288. MAGGIE TEYTE: Until (Sanderson) / THE MARRIAGE MARKET – Little grey home in the West (1915 Version) (Löhr). 10” Col. A1938, only form of issue, 19 Nov., 1915. M-A MB 15 J1289. MAGGIE TEYTE: A little love, a little kiss (Silesu) / Just you (Burleigh). 10” Col. A1957, only form of issue, 19 Nov., 1915. A-, lovely copy has lt. rubs, inaud. MB 8 J1290. MAGGIE TEYTE: Down in the forest (Ronald) / Believe me if all those endearing young charms (1914 Version). 10” Col. A1555, only form of issue, 10 March, 1914. M-A MB 15 J1291. MAGGIE TEYTE: Home, sweet home (Bishop) / Oft in the stilly night. 12” Col. A5834, POM-6 June, 1916, issued USA only. M-A, an exceptional copy. MB 12 J1292. MAGGIE TEYTE: Home, sweet home (Bishop) / Oft in the stilly night. 12” black & gold Col. 5031-M, POM-6 June, 1916, issued USA only. M-A, spectacular copy of preferred late pressing. MB 15 J1293. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” violet Eng. Decca T.201, POM-22 Sept., 1932. M-A, choice copy of Original Issue. MB 12 J1294. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” red Eng. Decca K.993, POM-22 Sept., 1932. M-A, as New! MB 12 J1295. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’est pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 12” red US-Decca 29008, POM-22 Sept., 1932. M-A, choice copy of Teyte’s desert island disc. MB 8 J1296. MAGGIE TEYTE: LA PÉRICHOLE – Tu n’es pas beau, tu n’es pas riche (Offenbach) / VÉRONIQUE – Petite dinde, ah! quel outrage; Ma foi! pour venir de Provence (Messager). 2-12” S/S Special vinyl Pressings of Decca Mx.FGA 4932/31, POM-22 Sept., 1932. M-A MB 20, the Pair "When, in the second couplet of La Périchole's 'Tu n'est pas beau’, she takes the 'brigand' a seventh below written note - it is to make the word a teasing, sarcastic aside, a caress, a chuck under the chin. It is an effect not in the score, and yet every performance without it sounds naked....Such license ought to be deplored....One cannot, because she had it in her to create a level of beauty no less than equal to the song itself." - Alan Rich, HIGH FIDELITY, May, 1965 J1297. MAGGIE TEYTE: SIR ROGER DE COVERLEY - Care free / Sweet Mistress Prue (Gibson). 10” red London R.10058, POM-28 Nov., 1932. M-A MB 6 J1298. MAGGIE TEYTE: The Homes they leave behind / Your King and Country want you (both Rubens). 10” dark blue Eng. Col. 2467 [29164/65], only form of issue, 1914-15. C-, playable copy has numerous rubs & scrs, positively audible; both sides have patinas. Very rare, as may be imagined. MB 10 J1299. MAGGIE TEYTE: The Homes they leave behind / Your King and Country want you (both Rubens). 12” dark blue Eng. Col. 495 [6424/25], only form of issue, 1914-15. M-A, a spectacular copy. MB 20 J1300. MAGGIE TEYTE, w.Kennedy Russell Cond.: BY APPOINTMENT – White roses /
10” PW plum HMV B.8242, only form of issue, 7 / 3 Nov., 1934; this enjoyed a remarkably brief Catalogue Life; (BY APPOINTMENT opened 11 Oct., 1934 and closed almost immediately thereafter). A to M-A Exceedingly rare! MB 20 J1301. MAGGIE TEYTE, w.Kennedy Russell Cond.: MONSIEUR BEAUCAIRE – I do not know (Messager). 12” pale blue Eng. Col. L 1311, only form of ssue, 13 May, 1919. A to M-A, choice copy has faintest rubs, inaud. MB 20 “A series of 78rpm records were made by British Columbia in London in 1919 [above] at the time of the creation, with Marion Green, Maggie Teyte, Alice Moffat and John Clarke, with the Prince's Theatre Orchestra conducted by Kennedy Russell….Maggie Teyte’s…voice is of exquisite purity, perfect placement; there is spontaneity and distinction. Hers is a voice of a ‘femme fragile’, perfectly adapted for French mélodies. She had a conscientious and painstaking approach to the art of interpretation. Maggie Teyte’s recordings are indispensable for lovers of French music.” - Edward Blickstein, VAI J1302. MAGGIE TEYTE, w.George Reeves (Pf.): Si mes vers avaient des ailes (1932 Version) (Hahn) / Après un rêve (Fauré). 10” dark blue Eng. Decca F.40300, POM-20 Sept., 1932. M-A MB 10 J1303. MAGGIE TEYTE, w.George Reeves (Pf.): Songs my mother taught me / Humoresque (as Christina’s Lament) (Dvorák). 10” red Eng. Decca M.444, only form of issue, 20 Sept., 1932. M-A MB 8 J1304. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE (Ravel), 4s. 2-12” HMV DB 6843/44, only form of issue, 12 & 13 July, 1948. MINT Highly Elusive! MB 15, the Pair J1305. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – Asie (part 2 only) (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13215-3, 12 July, 1948. MINT MB 8 J1306. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – La Flûte enchantée (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13216-2, 12 July, 1948. MINT MB 8 J1307. MAGGIE TEYTE, w.Rignold Cond. Royal Opera House Orch.: SHÉHÉRAZADE – L’Indifférent (Ravel). 12” S/S HMV Special shellac Pressing of Mx. 2EA13217-1, 12 July, 1948. M-A, choice copy has faintest rub, inaud. MB 8 J1308. MAGGIE TEYTE, w.Gerald Moore (Pf.): Psyché (Paladilhe) / Chanson Triste (Duparc). 10” HMV DA 1779, POM- 26 March / 17 April, 1941. M-A MB 8 J1309. MAGGIE TEYTE, w.Gerald Moore (Pf.): KING ARTHUR – Fairest isle of all isles excelling / THE LIBERTINE - Nymphs and shepherds (both Purcell). 10” HMV DA 1790, POM-1 Aug., 1941. MINT MB 6 J1310. MAGGIE TEYTE, w.Gerald Moore (Pf.): Oft in the stilly night / Comin' thro' the rye. 10” HMV DA 1804, only form of issue, 3 Oct., 1941. M-A MB 6 J1311. MAGGIE TEYTE, w.Gerald Moore (Pf.): Now sleeps the crimson petal (Quilter) / Pleading (Elgar). 10” HMV DA 1807, only form of issue, 23 Dec.,1941. M-A MB 8 J1312. MAGGIE TEYTE, w.Gerald Moore (Pf.): Plaisir d'amour (Martini) / Dans les ruines d'une abbaye (Fauré). 10” HMV DA 1810, only form of issue, 16 Jan., 1942. MINT MB 6 J1313. MAGGIE TEYTE, w.Gerald Moore (Pf.): Les roses d'Ispahan / Soir (both Fauré). 10” HMV DA 1819, only form of issue, 28 May / 16 Jan., 1942. MINT MB 6 J1314. MAGGIE TEYTE, w.Gerald Moore (Pf.): L'heure exquise (1941 Version) / Offrande (both Hahn). 10” HMV DA 1821, POM-17 April, 1941. MINT MB 6 J1315. MAGGIE TEYTE, w.Gerald Moore (Pf.): En sourdine (Hahn) / Ici - bas! (Fauré). 10” HMV DA 1830, only form of issue, 22 Aug., 1941 / 6 Jan., 1942. MINT MB 6 J1316. MAGGIE TEYTE, w.Gerald Moore (Pf.): Lydia / Nell (both Fauré). 10” HMV DA 1831, only form of issue, 10 Feb., 1943. MINT MB 6 J1317. MAGGIE TEYTE, w.Gerald Moore (Pf.): Chanson d'avril (Bizet) / Le colibri (Chausson). 10” HMV DA 1833, only form of issue, 7 June, 1943. MINT MB 6 J1318. MAGGIE TEYTE, w.Gerald Moore (Pf.): Beau soir / Romance (both Debussy). 10” HMV DA 1838, only form of issue, 10 Feb., 1944. MINT MB 6 J1319. MAGGIE TEYTE, w.Gerald Moore (Pf.): Pastorale (Bizet) / Chanson d'Estelle (Godard). 10” HMV DA 1840, only form of issue, 3 April, 1944. MINT MB 6 J1320. MAGGIE TEYTE, w.Gerald Moore (Pf.): Le secret / Clair de lune (both Fauré). 10” HMV DA 1876, only form of issue, 5 Dec., 1941 / 6 Jan., 1942. M-A MB 6 J1321. MAGGIE TEYTE, w.Gerald Moore (Pf.): Clair de lune (Szulc) / Extase (Duparc). 12” HMV DB 5937, only form of issue, 1941. MINT MB 6 J1322. MAGGIE TEYTE, w.Gerald Moore (Pf.): L'absent (Fauré) /
POM-20 May, 1946 / 28 May, 1942, both from Unpublished Matrices, only form of issue. MINT MB 8 J1323. MAGGIE TEYTE, w.Gerald Moore (Pf.): Belle lune d'argent (Hahn); Les papillons / w.Gerald Moore (Pf.) & James Whitehead (Cello): POÈME DE L'AMOUR ET DE LA MER - Le temps des lilas (Chausson). 12” vinyl Historic Masters HMB 15, POM-15 Nov., 1944, both only form of issue from Unpublished Matrices (despite HMV having assigned Issue #DB 6179). MINT MB 8 "When [Teyte] sang Chausson's POÈME DE L'AMOUR ET DE LA MER with us, I don't think there was a dry eye on the platform at the end of it, and knowing the attitude of the average orchestral player to these things made it certainly an occasion to remember." - Boyd Neel J1324. MAGGIE TEYTE, w.Gerald Moore (Pf.): Oh, quand je dors (Liszt); Les larmes (Tschaikowsky); D'Anne jouant de l'espinette; Le Martin-pêcheur (Ravel); La lune blanche luit dans les bois; J'ai presque peur en vérité (both Fauré); MOZART - Être adoré; Air des adieux (Hahn); PELLÉAS ET MÉLISANDE - Voici ce qu'il écrit ... son frère (Geneviève, Act I, Sc.2); Tu ne sais pas pourquoi il faut que je m'éloigne (singing both roles, Pelléas and Mélisande, Act IV, Scene 4), 8s. 4-12” Gramophone Shop GSC 21/24, only form of issue, 1947, in Orig. Album GSC-3, w.Brochure. [Fascinating to hear Teyte singing the roles of Pélleas, Mélisande, and Geneviève as well!] MINT MB 20, the Set. "Carried away by his absolute devotion to Maggie, [Brogan (of the Gramophone Shop)] threw himself into attempting to arrange no less than a complete recording of PELLÉAS ET MÉLISANDE....nothing came of Brogan's hope of recording the whole opera, and he had to console himself in the end with mere snippets: Maggie doubling Pelléas and Mélisande, singing in addition the role of Geneviève, on [the above] famous set of records made specially for his Gramophone Shop....her most perfect recording with [Gerald] Moore was of Ravel's 'Le Martin-pêcheur' [above]….It was, Teyte thought, the most difficult record she ever attempted to make, and the result conveys the musical intricacy of Ravel's score....Another Ravel recording, 'D'Anne jouant de l'espinette,' [above] is hardly less perfect." - Garry O'Connor, THE PURSUIT OF PERFECTION, pp. 183, 195 & 241-42 J1325. MAGGIE TEYTE, w.Gerald Moore (Pf.): Le jet d'eau; Proses Lyriques, Nos. 1, 3 & 4 (all Debussy); w.Leslie Heward Cond. London S.O.: Phidylé; L'invitation au voyage (both Duparc); LES NUITS D'ÉTÉ - Le spectre de la rose; Absence (Berlioz), 8s. 4-12” white HMV JG 177/180, only form of issue, 1940, in Orig. Gramophone Shop Album, w.Brochure. MINT MB 20, the Set. J1326. MAGGIE TEYTE, w.Alfred Cortot (Pf.): Debussy Recital, 14s. 7-10” Scroll V 1768/74, POM-1936, in Orig. Album M-322, w.Brochure. M-A, Superlative Copy of Preferred Scroll Pressing. MB 20, the Set "If you want to hear the Debussy [Ravel & Fauré] sung by a vocalist who still knows what they sounded like in the epoch that saw their creation, there is no other living artist who can evoke them for you so authentically or so vividly....Miss Teyte alone has the key to it, the discipline of it, the workmanship and the knowledge to expose it before us." - Virgil Thomson, NEW YORK HERALD TRIBUNE, 29 Dec., 1945 J1327. MAGGIE TEYTE, w.Jean Paul Morel Cond.: Arias from La Servante Maîtresse, Rose et Colas, Le Déserteur, Zémir Et Azor, Les Oies De Frère Philippe & Le Tableau Parlant (Pergolesi, Monsigny, Grétry & Dourlen), 6s. 3-10” RCA 10-1369/71, only form of issue, 1946, in Orig. Album MO 1169, w.Notes & Texts. [Perhaps the most exquisite of all Teyte’s heavenly recordings; this set is a treasure!] MINT MB 15, the Set "I have never understood why HMV has not brought out MAGGIE TEYTE's album MO-1169 of old French Opéra-Comique arias, her only Victors made in America. They are exquisitely done and well recorded." - Leo Riemens, RECORD NEWS, Jan., 1951 J1328. MAGGIE TEYTE, w.Blech String Quartet & Gerald Moore (Pf.): Chanson perpétuelle (Chausson), 2s. 12” HMV DB 6159, only form of issue, 2 Sept., 1943. MINT MB 8 J1329. MAGGIE TEYTE, w.Gerald Moore (Pf.): ARIETTES OUBLIÉES - Aquarelles (Debussy) / LA BONNE CHANSON - L'hiver a cessé (Fauré). 10” HMV DA 1893, only form of issue, 17 April, 1941 / 28 May, 1942. MINT MB 6 J1330. MAGGIE TEYTE, w. Voorhees Cond. Bell Telephone Hour Orch.: LA BOHEME – Donde lieta; Addio senza rancor / NOZZE – Voi che sapete. 10” Ruby Recording 33 1/3 rpm Acetate, off-the-air Original, 11 Jan., 1948, New York. M-A MB 15 J1331. CAMILLA WILLIAMS, w.Ralph Berkowitz (Pf.): O, what a beautiful city / City called Heaven. 10” RCA 10-1425, only form of issue, 1946; Sd.2 label Autographed by Williams. M-A, choice copy has faintest rubs, inaud. MB 15 “On May 15, 1946, an unknown singer named Camilla Williams took the stage at City Center in Manhattan as Cio-Cio-San. Her performance would be the capstone of a night of glorious ‘firsts’. Miss Williams, a lyric soprano who began her career as a concert singer, had never been in an opera. The New York City Opera, the young upstart company with which she was making her début, had never before staged MADAMA BUTTERFLY. But there was another, far more important ‘first’, though its significance has been largely forgotten over time: As Cio-Cio-San, Miss Williams, the daughter of a chauffeur and a domestic in the Jim Crow South, was the first black woman to secure a contract with a major United States opera company - a distinction widely ascribed in the public memory to the contralto Marian Anderson. Miss Williams’ performance that night, to rave reviews, came nearly a decade before Miss Anderson first sang at the Metropolitan Opera. As Miss Williams well knew, it was a beacon that lighted the way to American opera houses for other black women, Miss Anderson included. Reviewing Miss Williams’ début in THE NEW YORK TIMES, Noel Straus wrote, ‘There was a warmth and intensity in her singing that lent dramatic force of no mean order to the climactic episodes, and something profoundly human and touching in her delivery of all of the music assigned her’.” - Margalit Fox, THE NEW YORK TIMES, 2 Feb., 2012 J1332. ANNE BROWN, w.Hye-Knudsen Cond.: PORGY AND BESS - Summertime / My man's gone now (CREATOR Record, 30 Sept., 1935, Boston). 12” Danish Tono X 25112. A to M-A MB 20 “In 1935, the soprano Anne Brown created the role of Bess in George Gershwin's masterly folk opera PORGY AND BESS and was a prime influence on Gershwin's decision to make the character as important as that of Porgy. When she joined the cast of the show, it bore the same title – PORGY – as DuBose Heyward's 1925 source novel and 1927 play. But as Gershwin wrote more and more music for Brown, the part became equally important and the show became PORGY AND BESS. When Porgy and Bess finally opened in a tryout engagement in Boston, it received a 15-minute ovation and a rapturous reception from both audience and critics. The same year Brown and Duncan were guest stars for a successful production of PORGY AND BESS in Denmark. In 1948 Brown settled in Oslo, Norway.” - Tom Vallance, THE INDEPENDENT, 16 April 2009 J1333. GERALDINE FARRAR: Caro mio ben (Giordani). 10” black Berlin G & T G.C.-53430 (3801h), only form of issue, 27 Sept., 1905. A-, lovely copy has faintest runs, inaud.; uncommonly bright label. MB 25 J1334. GERALDINE FARRAR: Der Nussbaum (Schumann) / Ouvre tes yeux bleues (Massenet). 10” white & gold PW Vla IRCC 1, POM-3 April, 1923 / 9 Sept., 1922, Numbered Copy #49 of a Limited Edition, w.Farrar’s Autograph, Sd. 1. M-A MB 45 J1335. GERALDINE FARRAR: Auf flügeln des Gesanges (Mendelssohn) / Humoresque (as ‘Christina’s Lament’) (Dvorák). 10" silver Orth Victor IRCC 41, POM-5 April / 13 Jan., 1927. Numbered Copy #20 of Limited Edition, Sd.1 label is Autographed by Farrar. A to M-A MB 45 J1336. GERALDINE FARRAR: Chant vénetien (Bemberg) / Ständchen (Strauss). 10" silver AC / EL Orth Victor IRCC 55, POM-8 Sept., 1922 / 11 Jan., 1927. Numbered Copy #17 of Limited Edition, Sd.1 label, to which her photo is affixed, is Autographed by Farrar. M-A MB 45 J1337. GERALDINE FARRAR: Dear Heart (Mattei). 10” black London G & T G.C. 3621 (3799h), only form of issue, 27 Sept., 1905. A to M-A MB 35 J1338. GERALDINE FARRAR: Cherry Ripe (Horn). 10” black London G & T G.C. 3620 (3798h), only form of issue, 27 Sept., 1905. A to M-A, choice copy has an uncommonly bright label. MB 35 J1339. GERALDINE FARRAR: J’ai tant de choses à vous dire (Ferrari) / DER OPERNBALL – In chambre séparàe (as ‘Midnight bells’) (Heuberger-Kreisler). 10" silver AC / EL Orth Victor IRCC 79, POM-8 Sept., 1922 / 13 Jan., 1927. Numbered Copy #42 of Limited Edition, Sd.2 label is Autographed by Farrar; Sd.1 label has her photo affixed. M-A MB 45 J1340. GERALDINE FARRAR: MIGNON – Connais-tu le pays? (in German). 10” black Berlin G & T G.C.-53345 (2174h), only form of issue, 1904. A-B, very decent copy has lt.rubs & isolated superficial; mks; uncommonly bright label. MB 25 J1341. GERALDINE FARRAR: MIGNON – Connais-tu le pays? / MARTHA – The last rose of summer (both in German). 10” black Berlin G & T G.C.-43733/43841 (3803h/4718h), POM- 27 Sept., 1905 / Sept., 1906. A to M-A, choice copy has an uncommonly bright label. MB 35
10” black London G & T G.C. 33618 (1315r), only form of issue, 26 June, 1906. A to M-A, beautiful copy has mere hint of faint nr, barely visible & certainly inaud.; uncommonly bright label. MB 35
(as ‘Wonnervoller Mai, o komm Herbei’) (Gluck) / NOZZE – Non so più. 10" silver AC / EL Orth Victor IRCC 79, POM-19 Dec., 1912 / 12 Jan., 1927. Numbered Copy #25 of Limited Edition, Sd.2 label is Autographed by Farrar. M-A MB 45
10” black Berlin Concert Gram. G.C.-43721/32 (3802h/2496L), POM- 27 Sept., 1905 / 1904. A to M-A MB 35 J1347. GERALDINE FARRAR: LA TRAVIATA – Sempre libera (in Italian). 10” black Berlin G & T G.C.-53469 (1316r), only form of regular issue, 23 June, 1906, doubled only as the elusive IRCC reissue. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25 J1348. GERALDINE FARRAR: MEFISTOFELE – L’altra notte (in Italian). 10” black Berlin G & T G.C.-53425 (3800h), only form of regular issue, 9 Sept., 1905, doubled only as the elusive IRCC reissue. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25 J1349. GERALDINE FARRAR & CARL JÖRN: TANNHÄUSER – Gepriesen sei die Stunde / FAUST – Es ist shon spät (in German). 10” black Berlin G & T G.C.-2-44145/37 (4719h/4721h), only form of issue, Sept., 1906. A to M-A, beautiful copy has hint of grey on peaks, inaud.; uncommonly bright label. MB 25 J1350. GERALDINE FARRAR & CARL JÖRN: RIGOLETTO –E il sol dell’anima (in Italian) / MARIE DIETRICH & CARL JÖRN: TROVATORE - Miserere (in German). 10” black Berlin Concert Gram. G.C.-54311 / 2-44133 (4720h/4705h), POM- 27 Sept., 1905 / 1906. A to M-A MB 35 J1351. GERALDINE FARRAR & EDMOND CLÉMENT: Sous la fenêtre (in French) ‘Take’ 1 (Schumann). 10” Pat.12 Vla 87507, Original "A" Plate Issue, only form of issue, 13 Feb., 1913; (‘Take’ 2 issued as AGSA 5). A to M-A MB 12 J1352. GERALDINE FARRAR & EDMOND CLÉMENT: LE DANTE - Nous allons partir (Godard). 10” V 87508, POM-17 March, 1913. A to M-A MB 8 CONDITION GRADING: M-A - nearly MINT, albeit very slightly used Copy. A - slightly used Copy, but with no defects. B - used Copy, with light wear and rubs, not affecting playing. C - heavily used copy whose defects are clearly described Any other defects, e.g.: light (lt), edge chip (ec), lamination (lam), hairline crack (hlc), internal pressure crack (ipc), scratch (scr); label damage, etc. are most clearly identified within each individual listing. POM – A Direct Pressing, Pressed from Original Master, (never a dubbing), whether an Original Pressing or a Subsequent Issue. Only form of issue – relates exclusively to 78rpm issues, only those Pressed from Original Masters. Scroll - relates exclusively to the best period of Victor, always featuring the SCROLL Label, mid-1930s, and always offering remarkably quiet surfaces, very often on Z Shellac, or Z type Shellac on Z Shellac - relates exclusively to the best pressings ever produced by Victor, mid-1930's, found on PW, ORTH, but primarily on SCROLL Labels, always offering remarkably quiet surfaces, identifiable by the minuscule "z" found only in the upper portion of the inner margin of the shellac.
preceded (chronologically) by their notable Royal Blue Shellac 1932-34 Pressings. H & D - relates exclusively to Vertical-Cut (Hill & Dale) 78rpm issues, requiring a special stylus. Norbeck, Peters & Ford – since 1972 Remittance: Please include your Credit Card Number, with expiration date and name as it appears on the card. PayPal always accepted. Make checks and moneyorders payable to Norbeck, Peters & Ford, in US Dollars and must be Payable Through A United States Bank. All Foreign Bank Charges Must Be Prepaid! Our catalogue is also available at http://www.norpete.com We always maintain a vast inventory of thousands of 78s & LPs not on our website, as well as books & ephemera – Please ask. THE RECORD COLLECTOR Larry Lustig, Editor 111, Longshots Close Broomfield, Chelmsford Essex CM1 7DU, UNITED KINGDOM Email: larry.lustig@therecordcollector.org Website: http://www.therecordcollector.org\ By annual subscription: £49 per year by air mail 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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