Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Composer) / Le Papillon (Lavallée).
10” GP Victor 64083, only form of issue, 6 Jan., 1908. A to M-A, lovely copy has faintest rubs, inaud. MB 12 J0111. FRANK LA FORGE: Etude de Concert (MacDowell). 2” GP V 74101, only form of issue, 19 Nov., 1907. A-, bright copy has occasional faintest rub, inaud. MB 12 J0112. FRANK LA FORGE: Scarf dance (Chaminade) / Concerto #5 in E-flat – Adagio (Beethoven). 12” Pat.’12 blue Victor 55030, only form of issue, 27 Sept. / 2 Oct., 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 12
w.Arthur Bergh (Pf.): LE ROI S’AMUSE - Passapied (Delibes-Gruenberg). 10” black Viva-Tonal Col.2042-D, POM-7 Feb., 1928 / 5 March, 1929. M-A, choice copy. MB 15
12” black Viva-Tonal Col.50267-D, POM-6 / 20 March, 1929. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 J0116. YELLY d’ARANYI, w.Arthur Bergh (Pf.): Souvenir in D (Drdla) / Hungarian Dance #8 in A (Brahms). 10” dark-blue PW Eng. Col. 5681, POM-1928. M-A, lovely copy has, Sd. 2 only, faintest pap. rubs, inaud. MB 12 J0117. YELLY d’ARANYI & ADILA FACHIRI, w.Ethel Hobday (Pf.): Sérénade / Minuit (both Godard). 12” pale-blue Eng. Vocalion K 05260, POM-1925. A to M-A, lovely copy has faintest pap. rubs, inaud. MB 15 “Jelly and Adila d'Arányi Fachiri, sisters, were concert violinists and great-nieces of Joseph Joachim. Jelly was born in Budapest in 1895 and Adila in 1889. They were both trained in Budapest at the Royal High School for Music by the noted Hungarian violinist Jenö Hubay. Jelly made her début in Vienna in 1909.” – Anya Laurence, suite101.com, 15 Oct., 2008 J0118. RENE BENEDETTI, w.Maurice Fauré (Pf.): La Fontaine d’Aréthuse (Szymanowski) / Guitarre (Moskowski). 10” black Viva-Tonal Col.2167-D, POM-1929. M-A, as New! MB 20
10” black Viva-Tonal Col.2507-D, POM-20 Oct., 1927. A to M-A/A-, lovely copy has, primarily Sd.2, lt.rubs, inaud. MB 15 “By all accounts Benedetti had a big tone….his effortless digital legerdemain, his stylistic brilliance, and sheer flair, have to be savoured in full. Savoir faire, superb intonation, witty Gallic insouciance, magnificent bowing, legato refinement, subtle vibrato usage – where does one begin in measuring Benedetti’s glittering and magnificent playing?” - Jonathan Woolf J0120. JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim). 12” Special vinyl pressing of HMV Matrix 217y, POM-1903, Berlin. MINT MB 35 J0121. JOSEPH JOACHIM: Hungarian dance #2 in d (Brahms-Joachim). 12” black Berlin Gram.Monarch 047905 (217y), POM-1903, Berlin. M-A MB 75 “Virtuoso violinist, intimate friend of the greatest composers (especially Brahms), conductor, pedagogue and quartet leader, [Joachim] was also highly esteemed for his own compositions….his musical character was more colourful than most of his followers - Tully Potter, THE RECORDED VIOLIN J0122. JENO HUBAY, w.Otto Herz, (Pf.): POÈMES CARACTÉRISTIQUES - Berceuse / LE LUTHIER DE CRÉMONE - Intermezzo (both Played by the Composer). 12” Orth Vla 9642 (CW2046-2/47-1), POM-1928-Budapest. A to M-A, choice copy has faintest rubs, inaud. MB 35 “…In the composer’s own arrangement of the Intermezzo from his 1894 opera… LE LUTHIER DE CRÉMONE…the violin maker tries out his instrument senza vibrato; we are then treated to playing of great impact and rhyrhmic sophistication….the light, forward tone is projected with great agility…. His later career took him back to Budapest, where he taught a number of violinists who won later distinction, including Joseph Szigeti. He continued travelling as a virtuoso, played chamber music in a quartet with the cellist David Popper, and later became director of the Budapest Music Academy.” – Tully Potter, THE RECORDED VIOLIN J0123. FERENC von VECSEY: Le Luthier de Crémone - Intermezzo (Hubay). 10½” pale & dark blue US-Fonotipia 72402 (XPh 4628), POM-3 May, 1911. A-B, fine copy of choice Columbia pressing has lt. rubs, inaud. MB 45
– Tully Potter, THE RECORDED VIOLIN J0124. FERENC von VECSEY: Humoresque #7 in G-flat (Dvorák). 11½” Milano Fonotipia 74090 (XXPh 4534), POM-17 Feb., 1911. A to M-A, beautiful copy has very few superficial dust scrs, inaud. MB 75 J0125. FERENC von VECSEY: Il Trillo di Diavolo (Tartini-Hubay) / Souvenir de Moscou (Wieniawski). 11½” Milano Fonotipia 74091/92 (XXPh 4526/30-4), POM-17 Feb., 1911. M-A, splendid copy has, Sd.2, faintest rubs, inaud. MB 85 J0126. FERENC von VECSEY, w.Guido Agosti (Pf.): PAN AND ECHO - Nocturne (Sibelius) / Morceaux - Canzonetta in F (Palmgren). 10” burgundy Bruns.-Polydor 35013 (5747/37gr), POM-26 / 23 Nov., 1934. A to M-A, choice copy of superb Columbia pressing has, Sd.1 only, wee cluster ulc, faintly audible during final turns & minor adhesive residue on Sd.1 label. MB 45
A to M-A, beautiful copy has lt. rubs, inaud.; long internal lam, primarily Sd.2, is audible throughout. Very brief catalogue life! MB 10 J0128. DUCI de KEREKJARTO, w.Dezso d’Antalfy (Pf.): Serenata (Moszkowski) / w.Maurice Eisner (Pf): ‘Moonlight’ Sonata #14 in c-sharp – Adagio (Beethoven). 10” black early Col. 11-M, POM-2 March, 1921 / 24 Jan., 1923. A-, lovely copy has lt. rubs, inaud. MB 10
A-, lovely copy has lt. rubs, inaud. MB 8 J0130. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Souvenir de Moscow / Légende in d (both Wieniawski). 12” silver Flags Label Col. 60001-D, only form of issue, 11 Jan. / 23 June, 1923. M-A MB 15 J0131. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Chant sans paroles (Tschaikowsky) / LE DÉLUGE - Prélude (Saint-Saëns). 10” silver Flags Label Col. 20020-D, only form of issue, 20 / 11 Jan., 1923. M-A MB 15 J0132. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Serenade #1 in A (Drdla) (1926 Version) / Minuet #2 in G (Beethoven). 10” black Viva-Tonal Col. 128-M, POM-26 Oct., 1926, only form of issue, Sd.1. M-A, a gleaming copy. MB 15 J0133. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Nocturne #8 in D-flat, Op.27 (Chopin-Wilhelmj). 12” Tri-Color Col. 49901, POM-18 Oct., 1920. A to M-A, lovely copy has lt. rubs, inaud. MB 10 J0134. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Danza Española #5 – Andaluza (Granados). 10” Tri-Color Col. 81024, POM-18 May, 1923. A-, copy has lt. rubs, inaud. MB 8 J0135. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Suite #1 in G - Perpetuum mobile (Ries). 10” Tri-Color Col. 79721, POM-10 Feb., 1921. A to M-A, lovely copy has lt. rubs, inaud. MB 10 J0136. DUCI de KEREKJARTO, w.Francis Moore (Pf.): Humoresque #7 in G-flat (Dvorák). 12” Tri-Color Col. 49912, POM-26 Nov., 1920. A-, lovely copy has sl.grainey surface. MB 8 J0137. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): Serenade #1 in A (1920 Version) (Drdla). 10” Tri-Color Col. 79577, POM-15 Dec., 1920. A-, lovely copy has lt. rubs, inaud. MB 8 J0138. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): DANZAS ESPAÑOLAS – Romanza Andaluza (both Sarasate). 12” Tri-Color Col. 49900, POM-15 Oct., 1920. A-, lovely copy has lt. rubs, inaud. MB 8 J0139. DUCI de KEREKJARTO, w.Maurice Eisner (Pf.): DANZAS ESPAÑOLAS - Zapateado (Sarasate). 10” Tri-Color Col. 79456, POM-6 Nov., 1920. A-, copy has lt. rubs, inaud. MB 8 “A pupil of Hubay and referred to as a ‘brilliant, charismatic Hungarian violinist’, Kerekjártó made his American début in Carnegie Hall in 1920. The critics found him to have command of all the intricacies of violin technique accompanied by a tone that was at all times melting and flowing. He was particularly enthusiastically received for his feats of wonderful finger work and digital dexterity.” - Wikipedia J0140. LEO STROCKOFF: Introduction and rondo capriccioso (Saint-Saëns), 2s. 12” dark-blue Eng.Col.971 (AX121/22), only form of issue, 8 Aug., 1923. A to M-A, excellent copy has faintest rubs & very occasional dust mk, momentarily ltly audible; tiny edge crunch, nowhere near grooves. MB 10 “Original manuscripts [cadenzas!] by Eugene Ysaÿe for Beethoven's Violin Concerto and Mozart's Violin Concerto in G and harmonization for the Geminiani Sonata in d minor were rescued by Benno & Sylvia Rabinoff from a city dump in 1951. The music had been dumped there by the landlady of a certain Leo Strokoff, an ex-Ysaÿe pupil who had died in diminished circumstances.” – THE NEW YORK TIMES, 12 Aug., 1957 J0141. LEO STROCKOFF (as Leo Strock): CARMEN – Fantaisie de Concert (Bizet-Sarasate), 2s. 12” dark-blue Columbia Rena 224 (6117/18), only form of issue,c.1923. A to M-A, bright copy has faintest rubs, inaud.; Sd.1 only has 2 tiny scuffs & wee scr, momentarily ltly audible. MB 10 “I’ve always wondered whether that old business about Leopold Stokowski going by the name ‘Stokes’ had something to do with Leo Strockoff, who went by, and recorded under, the name ‘Strock’ as well as his own real name. In any case this means that violin collectors have to keep their wits about them, and one should never neglect a Strock lest it should turn out to be a Strockoff. About this fiddler, there’s not much written, but apart from Anglicising his name he recorded exclusively for English Columbia and spent his adult years in Britain, [best known for having made the first recording of the Lalo ‘Symphonie Espagnole’, in 1924].” - Jonathan Woolf, MusicWebInternational.com J0142. EUGEN YSAYE, w.DeCreus (Pf.): Albumblatt in C (Wagner-Wilhelmj). 12” Tri-Color Col. 36526, POM-30 Dec., 1912. M-A, exceptional copy. MB 20 J0143. EUGEN YSAYE, w.DeCreus (Pf.): Caprice viennois (Kreisler). 12” Tri-Color Col. 36525, POM-30 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 20 J0144. EUGEN YSAYE, w.DeCreus (Pf.): Hungarian dance #5 in g (Brahms-Joachim). 12” Tri-Color Col. 36524, POM-30 Dec., 1912. A to M-A, lovely copy has faintest rubs, inaud. MB 15 J0145. EUGEN YSAYE, w.DeCreus (Pf.): Berceuse (Fauré). 12” Tri-Color Col. 36519, POM-27 Dec., 1912. A to M-A, exceptional copy. MB 15 J0146. EUGEN YSAYE, w.DeCreus (Pf.): Scherzo Valse (Chabrier). 12” Tri-Color Col. 36514, POM-24 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J0147. EUGEN YSAYE, w.DeCreus (Pf.): Lointain passe Mazurka #3 in b (Played by the Composer). 12” Tri-Color Col. 36516, POM-24 Dec., 1912. M-A, exceptional copy. MB 25 J0148. EUGEN YSAYE, w.DeCreus (Pf.): DIE MEISTERSINGER - Preislied (Wagner-Wilhelmj). 12” Tri-Color Col. 36513, POM-24 Dec., 1912. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J0149. EUGEN YSAYE, w.DeCreus (Pf.): Rondino (Vieuxtemps). 12” Tri-Color Col. 36523, POM-30 Dec., 1912. M-A, exceptional copy. MB 25
12” Tri-Color Col. 36521, POM-27 Dec., 1912. M-A, exceptional copy. MB 25 J0151. EUGEN YSAYE, w.DeCreus (Pf.): Humoreseque, Op.101, #7 in G-flat (Dvorák). 12” Tri-Color Col. 36908, POM-19 March, 1914. A to M-A, beautiful copy has faintest rubs, inaud. & hardly worth mention. MB 15 J0152. EUGEN YSAYE, w.DeCreus (Pf.): Ave Maria (Schubert-Wilhelmj). 12” Tri-Color Col. 36907, POM-19 March, 1914. A to M-A, beautiful copy has faintest rubs, inaud. MB 15 J0153. EUGEN YSAYE, w.DeCreus (Pf.): Concerto in e – Allegro molto vivace (Mendelssohn). 12” Tri-Color Col. 36520, POM-27 Dec., 1912. A to M-A, lovely copy has lt rubs, inaud. MB 12 “In the world of violin playing, Eugèn Ysaÿe straddled the 19th and 20th centuries like a colossus. Ysaÿe studied with Wieniawski and Vieuxtemps at the Brussels Conservatory, where he absorbed the modern, ‘pulsating’ ‘French’ style of vibrato and Wieniawski’s tonal intensity and beauty, and through Ysaÿe’s influence these were disseminated through Western Europe. Fritz Kreisler, Jacques Thibaud and Georges Enescu called him ‘the master of us all’. Ysaÿe plays each piece with more emotional involvement and interpretive insight than today’s artists would see fit to expend on them. He is also the most impulsive violinist I have ever heard. As I listen I feel as though I am eavesdropping on his most private thoughts [giving me] the feeling of being transported back to a strange place and time [notably in Wagner’s Albumblatt in C].” - Joseph Magil, AMERICAN RECORD GUIDE, May/June, 1997 J0154. WALTER BIEDERMANN & L. SMITH: Mazurka de concert (Musin). 10” flush black & silver Col. 3176, POM-1905. A-, beautiful copy has faint rubs & very occasional tiny mk, ltly audible only very beg.; uncommonly bright label. MB 25
4-12” blue Viva-Tonal Col.G-67757/60-D, POM-1928 & 1929, in Orig.Album 137. M-A, as New (albeit album spine is slightly split). MB 65, the Set.
10” brown shellac Vocalion 60062 (12759/62), POM-1921. M-A/A-, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 65
10” brown shellac Vocalion 60010 (10958/45), POM-1921. A-, lovely copy has faint rubs, inaud. MB 45 J0158. PAUL KOCHANSKI & ARTHUR RUBINSTEIN (Pf.): Sonata #3 in d (Brahms), 6s. 3-12” Orth V 8483/85, on ‘Z’ shellac, POM-15 June, 1932, in Orig. Album M-241. M-A MB 65, the Set. “Paul Kochanski was a Polish violinist, composer, teacher, and arranger born in 1887 when Brahms was 54 years old. He first studied with his father then, at age 7, with Emil Mlynarski, one of the founders of the Warsaw Philharmonic. In 1901, Mlynarski, having by then become a conductor, invited the then fourteen-year-old Kochanski to be concertmaster of the Philharmonic. That probably made him - with the possible exception of Amadeus Mozart – the youngest concertmaster in history. In 1903, Kochanski found himself at the Brussels Conservatory. By 1908, he was touring Europe with Arthur Rubinstein. He became professor of violin at the Warsaw Conservatory in 1909 and was there until 1911. In 1916, Karol Szymanowski dedicated his first violin concerto to Kochanski, who had written the cadenza for it. In that same year, he took over for Leopold Auer at the St Petersburg Conservatory. He also taught for a year (1919-1920) at the Kiev Conservatory. During this time, he advised Prokofiev on matters of technique having to do with Prokofiev’s first violin concerto. Kochanski made his Carnegie Hall début in 1921, playing Brahms' Violin Concerto. From 1922, he lived in New York, becoming the head of the violin teaching staff at Juilliard (1924-1934.) In 1933, Kochanski premiered Szymanowski’s second Violin Concerto and again Szymanowski dedicated the work to him. On 12 January, 1934, at age 47, Kochanski died [of stomach cancer]. Among his pall bearers were Jascha Heifetz, Fritz Kreisler, and Efrem Zimbalist. Among Kochanski's pupils was Jacques Singer.” - Prone to Violins, 14 Sept., 2009 J0159. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Kujawiak Mazurka #2 in a (Wieniawski) / CZARDAS – Hejre kati (Hubay). 12” Vla 6550, POM-29 Oct., 1925. A-, lovely copy has faint rubs & superficial scrs, inaud. MB 12 J0160. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Rondino (Vieuxtemps) / Hungarian dance #4 in b (Brahms). 12” Vla 6447, only form of issue, 19 March, 1924 (assigned S/S numbers, but never issued). M-A, as New! MB 15 J0161. CECILIA HANSEN, w.Boris Zakharoff (Pf.): Berceuse (Järnefelt) / Berceuse (Cui). 10” Vla 1035, POM-19/5 March, 1924. A to M-A, lovely copy has faintest rubs, inaud. MB 15 “Hansen made eight 78rpm sides for Victor with Zakharoff at the piano, including beautiful accounts of the Cradle Songs by Järnefelt and Cui….the ensemble between husband and wife is excellent….In 1916 [she had] married the pianist Zakharoff (a friend of Prokofiev and a fellow pupil with him of Rimsky-Korsakov)….” - Tully Potter, THE RECORDED VIOLIN J0162. JOSEPH PIASTRO-BORISOFF, w.Maurice Nadelle (Pf.): La Gitana (Kreisler) / Mazurka de concert (Musin). 10" H & D paper label Edison 80693, only form of issue, Sd.2. M-A, as New! MB 15 “Russian recording artist and violinist Josef Piastro-Borisoff was a Belgian violinist (and onetime concertmaster of the New York Philharmonic Society, the Minneapolis Symphony, and the Los Angeles Philharmonic).” - Peter Blecha, National Institute of Music and Arts (Seattle) J0163. JAROSLAV KOCIAN: Canzonetta #1 (d’Ambrosio), self-announced; 1 of his 3 known titles. 10” flush black & silver Col. 1423, POM-1903. A-, lovely copy has lt. rubs, inaud.; small pressing bump is ltly audible a few turns; 3 minor hlc forming at edge; uncommonly bright label. MB 175 “Jaroslav Kocián was a Czech violinist, classical composer and teacher who studied in Prague under Otakar Sevcík, and is considered together with Jan Kubelík as the most important representative of Sevcík ´s school. Regarded as an interpreter of violin compositions of Johann Sebastian Bach, he is especially noted for his compositions for the violin, which have been recorded most often by his student Josef Suk. He taught at the Prague Conservatory. His three known recordings are most rare.” - Wikipedia J0164. LEONID KOGAN, w.Kondrashin Cond.: Sérénade mélancolique in b (Tschaikowsky) / w.Gauk Cond.: Introduction and rondo capriccioso (Saint-Saëns). 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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