Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Z Shellac. M-A, as New! MB 15
J0233. MISCHA ELMAN, w.Collingwood Cond. London S.O.: Romance #1 in G (Beethoven), 2s. 12” LVDP DB 1846, only form of issue, 30 Nov.,1932. M-A, superlative copy has faintest pap.rubs, inaud. & hardly worth mentioning. MB 15
Romance #2 in F (Beethoven), 2s. 12” LVDP DB 1847, only form of issue, 30 Nov.,1932. M-A, superlative copy has faintest pap.rubs, inaud. MB 15
Quartet #1 in d – Andante cantabile (Tchaikowsky) / ‘Emperor’ Quartet in C – Theme & Variations (Haydn). 12” Scroll V 6634, POM-5 Jan., 1927, on Z-type Shellac. A to M-A, beautiful copy has, Sd.1 only, faintest rubs, inaud. MB 12
J0236. JASCHA HEIFETZ, w.Isidor Achron (Pf.): Piano Sonata #17 in D – Rondo / Ave Maria (both Schubert). 12” Scroll V 6691, POM-31 Dec., 1926, on ‘Z’ shellac. M-A, as New! MB 15
Sd.6 = JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Méditation, Op.32 (both Glazounov). 3-12" Orth Vla 8296/98, POM-28 March, 1934, on ‘Z’ shellac, in Orig.Album M 218, .Brochure. M-A, as New! MB 25, the Set.
4-12" Scroll V 14016/19, POM-26 Nov., 1935, on ‘Z’-type shellac, in Orig.Album M 309, w.Brochure. A to M-A, beautiful copy has faintest rubs, inaud. MB 25, the Set.
(erroneously printed as Sonatas Nos.10 & 15) (Mozart), 10s. 5-12” Scroll V 14331/35, POM-3 / 10 Feb., 1936, on ‘Z’-type shellac, in Orig. Album AM-343, w.Brochure. M-A, as New! Reviewer’s Copy (reviewer’s ‘X’ on labels). MB 25, the Set. J0240. JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Tzigane (Ravel), 2s. 12” Scroll V 8411, only form of issue, 6 Feb., 1934, on Z Shellac. M-A, as New! MB 15 J0241. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: Concerto #2 in d, 5s / Sd.6 = JASCHA HEIFETZ, w.Árpád Sándor (Pf.): Scherzo tarantelle (both Wieniawski). 3-12” Scroll V 8757/59, POM-18 March, 1935 / Feb., 1934, on ‘Z’-type shellac, in Orig. Album M-275, w.Brochure. M-A, as New! MB 35, the Set. J0242. JASCHA HEIFETZ, w.Barbirolli Cond. London Phil.: ‘Turkish’ Concerto #5 in A, K.219 (Mozart), 8s. 4-12" Scroll V 8601/04, POM-Feb., 1934, on ‘Z’ shellac, in Orig. Album M 254, w.Brochure. M-A, as New! MB 25, the Set. “Some listeners found [Heifetz] profound, noble and aristocratic, while others considered him cold, emotionless, and superficial. The recurring criticism that he played without emotion prompted Heifetz to hire a publicist in 1935, but he never shook the image. In 1940, music critic Virgil Thomson wrote a notorious review entitled ‘Silk Underwear Music’ which accused Heifetz of ‘empty elegance’ and said his ‘machine-tooled’ performances had ‘no musical or emotional significance’. This, despite acknowledging Heifetz' ‘silken tone’, ‘famous double stops’, and ‘true pitch’. No, Heifetz' conception of music was ‘embarrassingly refined’, hence the reference to silk underwear.” – Christopher M. Wright (referencing Thomson ‘s notorious 1940 ‘Silk Underwear Music’ review). J0243. NAOUM BLINDER, w.Valentin Pavlowsky (Pf.): Caprice viennois (Kreisler) / Variations on a theme by Corelli (Tartini-Kreisler). 12” Royal Blue Shellac, Col.5106-M, POM-19 Nov., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 35 J0244. NAOUM BLINDER, w.Valentin Pavlowsky (Pf.): Wiegenlied (Schubert-Elman) / Perpetuum mobile (Novácek). 10” black Viva-Tonal Col.158-M, POM-26 March / 14 Feb., 1928. A to M-A, lovely copy has faintest rubs, inaud. MB 35 “At the invitation of Issay Dobrowen in 1931, Blinder accepted the concertmaster position at the San Francisco Symphony Orchestra, where he also played under Pierre Monteux and Enrique Jorda. He remained with the orchestra until 1957, and was a soloist with many orchestras around the country. He was one of the founders of the San Francisco String Quartet (1935), which was composed of members of the orchestra, including his cellist brother, Boris. Blinder was a noted violin teacher as well. His most prominent student was one of the most critically acclaimed violinists of the twentieth century, Isaac Stern…and Glenn Dicterow, who was the concertmaster of the New York Philharmonic. Blinder died in San Francisco on 21 November, 1965 aged 76 years.” - Wikipedia J0245. YEHUDI MENUHIN, w.Marcel Gazelle (Pf.): DANZAS ESPAÑOLAS – Romanza Andaluza (Sarasate) / La Ronde des Lutins (Bazzini). 12” Scroll V 8695, POM-28 Nov.,1934, on ‘Z’ shellac. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 15 J0246. YEHUDI MENUHIN & GEORGES ENESCU; (Vlns); Monteux Cond. Paris Conservatoire Orch.: Concerto for Two Violins in d (Bach), 4s. 2-12" Scroll V 7732/33, POM-4 June, 1932, on ‘Z’ shellac. A to M-A, lovely copy has faintest pap.rubs, inaud. MB 25, the Pair.
12” Scroll V 6844, POM-27 / 2 Feb., 1928, on ‘Z’ shellac. M-A, as New! MB 12 J0249. FRITZ KREISLER, w.Carl Lamson (Pf.): Caprice viennois (Played by the Composer) / Humoresque #7 in G-flat (Dvorák). 12” Scroll V 6692, POM-14 April, 1926 / 26 March, 1927, on ‘Z’-type shellac. M-A, as New! MB 15 J0250. FRITZ KREISLER, w.Blech Cond. Berlin Staatsoper Orch: Concerto in D (Beethoven), 11s. / Sd.12 = FRITZ KREISLER: Sonata #1 in g – Adagio for Violin Unaccompanied (Bach). 6-12” Scroll V 8138/43, POM-Dec., 1926, on ‘Z’ shellac. M-A, as New! MB 85, the Set. J0251. FRITZ KREISLER, w.Blech Cond. Berlin Staatsoper Orch.: Concerto in D (Brahms), 9s. / Sd.10 = FRITZ KREISLER, w.Raucheisen (Pf.): Romance in A (Schumann). 5-12” Scroll V 8115/19, POM-Nov., 1927, on ‘Z’ shellac. M-A, as New! MB 85, the Set.
Sd.8 = FRITZ KREISLER, w.Árpád Sándor (Pf.): SONGS WITHOUT WORDS – May Breezes (both Mendelssohn). 4-12” PW Electrola DB997/1000, POM-Dec., 1926, in Orig. Electrola Album M-19, w.Brochure. A to M-A, beautiful copy has occasional faint rubs, inaud. MB 65, the Set. J0253. JACQUES THIBAUD: Ave Maria (Schubert-Wilhelmj) / Chant sans paroles (Tschaikowsky). 10½” US grey paper label H & D Pathé 27512, recorded 1919, Brooklyn. M-A, a spectacular copy! MB 65 J0254. JACQUES THIBAUD: Smilin’ through (Penn) / Roses of Picardy (Wood). 9½” US grey paper label H & D Pathé 27516, recorded 1920, Brooklyn. M-A, superb copy! MB 65 J0255. JACQUES THIBAUD: PICCOLINO – Mélodram de Piccolino (Guiraud) / Melody in F (Rubinstein). 11” US grey paper label H & D Pathé 60046, recorded 1916, Paris / Brooklyn, resp. A to M-A, superb copy has faintest rubs, inaud. & hardly worth mention. MB 55
11” US grey paper label H & D Pathé 60071, recorded 1917, Brooklyn. A to M-A, superb copy has, Sd.1 only, very lt.nr, inaud. MB 45
11” US grey paper label H & D Pathé 60051, recorded 1916, Brooklyn / Paris, resp. A-, lovely copy has faintest rubs, inaud. MB 55 J0258. JACQUES THIBAUD: Introduction and rondo capriccioso (Saint-Saëns), 2s. 11” US grey paper label H & D Pathé 60047, recorded 1916, Paris. B-C, decent copy has considerable rubs & lt.scrs, positively audible; ec into first grooves, Sd.1, not affecting performance. Offered due to rarity. MB 15 J0259. JACQUES THIBAUD, w.Harold Craxton (Pf.): Moment musical #3 in f (Schubert); Minuet caprice #18 in f (Rode). 10” Vla 66065, POM-7 Feb., 1922. M-A, as New! MB 25 J0260. JACQUES THIBAUD, w.Harold Craxton (Pf.): Sérénité (Vieuxtemps) / Slavonic Dance #1 in g (Dvorák). 10” Vla 976, POM-6/7 Feb., 1922. M-A, beautiful copy has, alas, fine hlc. MB 15, as is . . . J0261. JACQUES THIBAUD & ALFRED CORTOT: Sonata in A (Franck), 8s. 4-12” Vla 6524/27, POM-1923 & 1924. M-A Exceedingly Rare, this AC Issue enjoyed a very brief catalogue life and was superseded by the 1929 EL Version. M-A, beautiful copy has, Sd.3 only, infinitessimal pap.scr, positively inaud., hardly worth mention. MB 150, the Set.
M-A, beautiful copy. [Belov was a violinist with the Philadelphia Orchestra, 1912-31.] MB 15 J0263. JOSEPH SZIGETI, w.H. Bird (Pf.): KUOLEMA - Valse triste (Sibelius). 12” black HMV 07971 (Ai6217f), POM-3 April, 1912. A to M-A, lovely copy has lt.rubs, inaud. MB 20 J0264. JOSEPH SZIGETI, w.Kurt Ruhrseitz (Pf.): Der Zephir (Hubay) / Sicilienne et rigaudon (Francoeur-Kreisler). 12” blue Viva-Tonal Col.7131-M, POM-7 Sept., 1926. A to M-A, lovely copy has faintest rubs, inaud. MB 12 “Szigeti... was an incredibly cultured musician. Actually his talent grew out of his culture....I always admired him, and he was respected by musicians….in his late years, he finally got the appreciation he deserved from the general public as well.” – Nathan Milstein, FROM RUSSIA TO THE WEST, p. 93 J0265. FRANK GITTELSON: Caprice viennois (Kreisler) / THAÏS – Méditation (Massenet). 12” Tri-Color Col. A5988, POM-28 / 27 March, 1917. [Frank Gittelson taught at Peabody from 1922-1943 and was the National Symphony Orchestra Concertmaster during the 1930s.] A, lovely copy has faintest rubs, inaud. MB 10 J0266. OSCAR SHUMSKY, w.Bernard Greenhouse (Cello): Sonata for Violin & Cello (Ravel), 4s. 2-12” vinyl Concert Hall 1219/22, POM-1950, in Orig. Album B 4. M-A MB 35, the Set. J0267. OSCAR SHUMSKY, w.Artur Balsam (Pf.): Sonata for Violin & Piano in b (Respighi), 6s. 3-12” vinyl Concert Hall 1213/22, POM-1950, in Orig. Album B 15. M-A MB 35, the Set. “Oscar Shumsky, a violinist and conductor who was renowned for the beauty of his sound and the luminous musicality of his performances of Bach, Mozart and Brahms, was one of the last students of Leopold Auer, the legendary Russian violinist who also taught Jascha Heifetz, Mischa Elman and Efrem Zimbalist. When Auer died in 1930, Zimbalist took over Shumsky's training and reinforced the grandly Romantic, communicative interpretive style that was the principal hallmark of the early 20th-century Russian violin school. Although he never became a household name on the order of Heifetz, he commanded tremendous respect among musicians throughout his career, not only for his solo performances but also for the passion he brought to chamber music and orchestral playing. That quality was something he passed on to many of his students, who included Eugene Drucker and Philip Setzer of the Emerson String Quartet; Ida Kavafian; Eliot Chapo, a former concertmaster with the New York Philharmonic and Guillermo Figueroa, the concertmaster of the New York City Ballet Orchestra. Mr. Shumsky was born in Philadelphia on 23 March, 1917, and began studying the violin with Albert Meiff when he was 4. When he was 8, he played a concerto at a Philadelphia Orchestra youth concert conducted by Leopold Stokowski, and that same year he began his studies with Auer, at first privately in New York and later at the Curtis Institute of Music in Philadelphia. Mr. Shumsky studied at Curtis until 1936, and he continued to work privately with Zimbalist until 1938. By then, he was a seasoned professional, having performed the Brahms and Elgar concerti with the Philadelphia Orchestra on tour in 1932. In 1939 he joined Toscanini's orchestra, the NBC Symphony, where he met the violist William Primrose. Mr. Shumsky became the first violinist in the Primrose Quartet, which made several classic recordings in the early 1940s. In the 1950s, he began playing the viola both in chamber performances and in recitals, and he often included unaccompanied works for both instruments on his programs. He also took up conducting in the 1950s, and made his podium début in Canada, with the National Festival Orchestra in 1959. Other orchestras he conducted over the years include the Westchester Symphony, the San Francisco Symphony and the Mostly Mozart Orchestra. By the 1970s, Mr. Shumsky's performing schedule had dwindled as a taste for modern, streamlined interpretations eclipsed the Romantic style in which he specialized. Nevertheless, he became a revered teacher on the faculties of the Juilliard School, the Curtis Institute and Yale University.” - Allan Kozinn, THE NEW YORK TIMES, 27 July, 2000 J0268. LOUIS KAUFMAN, w.Louis Spielman (Pf.): Ramona (Wayne) / Little log cabin of dreams (Dowling). 10" H & D paper label Edison 52301, only form of issue, 2 May, 1928. M-A, beautiful copy of this electrical Edison rarity! MB 55 J0269. LOUIS KAUFMAN, w.Milhaud Cond. NRDF Orch.: Concerto de Printemps (Cond. by the Composer; Played by the dedicatée), 2s. 12” burgundy Capitol 86013, recorded 1949. M-A, beautiful copy has, Sd.1 only, faint edge rub, inaud. MB 15 J0270. LOUIS KAUFMAN, w.Rachmilovich Cond. Santa Monica S.O.: Concerto #3 in b (Saint-Saëns), 6s. 3-12” Disc 4120/22, only form of issue, 1945, in Orig. Album 805. M-A MB 25, the Set. J0271. LOUIS KAUFMAN, w.Rachmilovich Cond. Santa Monica S.O.: Concerto in D (Khachaturian), 8s. 4-12” vinyl Concert Hall 1173/80, POM-1946, in Orig. Album AN. A to M-A, lovely copy has faint rubs, inaud. MB 25, the Set. J0272. LOUIS KAUFMAN, w.Henry Swoboda Cond.: Concerti delle Stagioni (Vivaldi), 12s. 6-12” vinyl Concert Hall 1375/86, POM-1950, in 2 Orig. Albums AR 1 & 2. M-A MB 45, the Sets. “It is remarkable that Louis Kaufman’s mid-century, première recording of THE FOUR SEASONS, singlehandedly re-kindled interest in the music of the eighteenth-century Italian composer Antonio Vivaldi. Not only did that recording go around the world, but its impact on twentieth-century culture continues to this day.” - D. Wright, Violinist.com J0273. LOUIS KAUFMAN, w.Robert Russell Bennett (Pf.): HEXAPODA – 5 studies in Jitteroptera - Gut-Bucket Gus; Jane Shakes Her Hair; Betty and Harold Close Their Eyes / ’Till Dawn Sunday; Jam Jives (Acc. by the Composer; Played by the dedicatée), 2s. 12” PW Col. 70727-D, only form of issue, 1 Jan., 1940. M-A, as New! MB 20 J0274. LOUIS KAUFMAN (Viola), SASCHA JACOBSEN (Violin), PAUL BERNARD & MARIE ROSMAET-ROSANOFF: Scherzo (Mendelssohn) / L’ARLESIENNE – Adagietto (Bizet). 10” black Viva-Tonal Col. 2342-D, only form of issue, 4 Feb., 1930 / 26 April, 1929. M-A MB 12 “The American violinist Louis Kaufman was undoubtedly among the most recorded violinists of [the 20th century]. In a career that spanned nearly seven decades, he made over 150 major recordings of his classical repertoire, and was heard as concertmaster in over five hundred movie soundtracks between 1934 and 1948….In 1918 he went to New York City to enter the violin class of the renowned teacher Franz Kneisel at the Institute of Musical Art. During the 1920s Kaufman took up the viola and often played chamber music at private parties with Elman, Casals, Hofmann, Zimbalist, Heifetz and Kreisler. In 1927 he graduated from the Institute of Musical Art with highest honours, winning the Loeb Prize; the following year he won the famed Naumberg Award. In the same year (1928), he made his New York City Town Hall début, which launched his solo concert career that would last nearly fifty years.” - Lance Bowling J0275. MICHEL PIASTRO, w.Jascha Veissi (Pf.): Poem (Fibich-Kubelik) / Horch! Horch! Die Lerch (Schubert-Spalding). 10" gold Bruns. 15221, POM-27 Dec., 1929. A to M-A, beautiful copy has faintest rub, Sd.2, inaud. & hardly worth mention. [Such a privilege and joy to be able to offer records as beautiful as these Piastro gems, making our work all the more pleasurable and rewarding!] MB 25 J0276. MICHEL PIASTRO, w.Ignatz Hilsberg [Max List] (Pf.): Souvenir de Moscou (Wieniawski) / La Romanesca (16th Century). 10" purple Bruns. 10268, only form of issue, 27 Sept., 1926. M-A MB 25 J0277. MICHEL PIASTRO, w.Ignatz Hilsberg [Max List] (Pf.): Coeur d’Arlequin (Drigo-Auer) / LE COQ D’OR –Hymn to the Sun (Rimsky-Korsakov - Kreisler). 10" purple Bruns. 10269, POM- 29 / 28 Sept., 1926. M-A MB 25 J0278. MICHEL PIASTRO, w.Maurice Nadelle (Pf.): Serenade in G (Arensky) / Irish Lament (Franco). 10" purple Bruns. 10209, only form if issue, 25 May / 23 June, 1925. A-B, very decent copy has rubs, inaud.; wee ndl.cut very beg.Sd.1 ticks three times. MB 12
10" purple Bruns. 10267, only form if issue, 25 May, 1925. A-B, very decent copy has rubs, inaud. MB 12 J0280. MICHEL PIASTRO, w.Frank Black (Pf.): Le Carnaval russe (Wieniawski) / LYRIC PIECES –The lonely wanderer (Grieg - Piastro). 10" gold Bruns. 15165, only form of issue, 30 Sept., 1927. M-A, as New! MB 25 “When famous fiddlers played concertos with the New York Philharmonic in Toscanini’s time, they were on their mettle, knowing that the leader sitting at their elbow was capable of standing up and performing the work just as well, if not better. He was Michel Piastro…a brilliant exponent of the Auer school.” - Tully Potter, THE RECORDED VIOLIN J0281. MAXIMILLIAN PILZER: Caprice viennois (Kreisler) /THAÏS – Méditation (Massenet). 12” gold & brown H & D Vocalion 46000, only form of issue, 1916. [Pilzer, a Joachim pupil, began his career as a vioinist, became a conductor, then died while conducting a Naumberg Concert in Central Park, 30 May, 1958. When he collapsed, he hit his head on the concrete.] M-A, choice copy has, Sd.2 only, 2 infinitessimal mks, inaud. MB 10
10” gold & brown H & D Vocalion 22001, only form of issue, 1916. A-, lovely copy has lt rubs, inaud. MB 10 J0283. MAXIMILLIAN PILZER: Serenata Napoletana (Sgambati) / SAMUEL GARDNER: Concerto #2 – Andantino (de Bériot)). 10” black Victor 18175, only form of issue, 2 June, 1913 / 13 Sept., 1915. A-, lovely copy has lt rubs, inaud. MB 10 J0284. ELIAS BREESKIN, w.Robert Gayler (Pf.): Canzonetta #1 (d’Ambrosio) / VLADIMIR DUBINSKY (Cello): Chant du Ménéstrel (Glazounov). 10" H & D paper label Edison 80704, only form of issue, c.1914. A-/M-A, excellent copy has, Sd.1 only, faint paper scuffs, inaud. MB 15 J0285. ELIAS BREESKIN, w.Rudolf Gruen(Pf.): Souvenir poétique (Fibich-Schindler) / Minuet #2 in G (Beethoven). 10" dark-blue Brunswick 13005, POM-1920. A-, excellent copy has sl.grainey surface & lt.rubs, inaud. MB 10 J0286. ELIAS BREESKIN, w.Josef Bonime(Pf.): Simple aveu (Thomé) / From the canebake (Gardener). 10" purple Brunswick 5126, only form of issue, 1922. A to M-A, excellent copy has lt.mildew spots, inaud. MB 10 “Elias Breeskin was a Russian (Ukrainian) violinist, composer, arranger, teacher, and conductor and was a notorious gambler and con man who was a very successful musician in spite of his addiction to gambling. He began his American musical education at Juilliard in the spring of 1908. He studied with Franz Kneisel for about seven years. Possibly upon graduation from Juilliard at age 19 – in 1915 - he shared the Loeb Memorial Prize with Sascha Jacobsen. Afterward, as part of the Loeb Prize awarded him, he made his Carnegie Hall début and was very well received. Breeskin joined the New York Symphony in 1917, at the time conducted by Walter Damrosch. In June of 1920, at age 24, he married into a very wealthy American family. Anyone else would have used these newly-acquired resources to become a very major and influential figure in music, but not Breeskin. At about the same time, it became known that he was a serious gambler and also became concertmaster of the Capitol Theatre Orchestra in New York. He was named conductor of the Minneapolis Symphony in 1925, but because of his gambling habit and the consequent accumulation of gambling debts, that job did not last long. Having left Minneapolis within the year, he went to Pittsburgh where he helped re-organize the Pittsburgh Symphony where he was concertmaster and associate conductor. He left Pittsburgh after his divorce from his wealthy wife. Then, he returned to New York and worked as an orchestral musician and arranger for a few years. Many years later (1937), he was in Hollywood where he wrote and arranged music and he helped form the Hollywood Bowl Symphony. Nevertheless, in 1940 having stolen the orchestra’s payroll, he exited to Mexico City where he worked as musical director for radio stations XEW, XEX, and XEB, gave lessons, and composed movie soundtracks. As far as I know, he never set foot in the U.S. again. In any case, his great success in Mexico lasted about five years. The gambling had continued and he was finally imprisoned for supposedly being on the wrong side of the political agenda and, presumably, for his gambling debts as well. He was pardoned in 1958, at age 62. While in prison, he wrote a piece entitled the ‘City of the Dead’. It got good reviews when he premiered it later on.”
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