Auction 148 auction closing Date: Wednesday, 12 April, 2017
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| Flags Label Col.A2779, POM-20 / 21 Jan., 1918. A to M-A, beautiful copy has faintest rubs, inaud., hardly worth mention. MB 20
J0288. SASCHA JACOBSEN, w.Harry Kaufman (Pf.): La Cinquantaine (Gabriel-Marie) / w.Emanuel Balaban (Pf.): DANZAS ESPAÑOLAS - Danza española #5 in D (Moszkowski). 10” silver Flags Label Col.20032-D, POM-24 May, 1923 / 5 May, 1921. A to M-A, lovely copy has faint rubs, inaud. MB 20 J0289. SASCHA JACOBSEN, w.Harry Kaufman (Pf.): Pale Moon (Logan) / Indiana Moon (Isham Jones). 10” silver Flags Label Col.20001-D, POM-1 / 3 October, 1923. A to M-A, beautiful copy has faintest rubs, inaud.; Sd.1 only has tiny scr, inaud. MB 20
10” brown shellac Vocalion 30132, POM-1921. A-, lovely copy has faint rubs, inaud. MB 10 J0292. SASCHA CULBERTSON, w.Emanuel Balaban (Pf.): Ave Maria (Schubert-Wilhelmj). 12” brown shellac Vocalion 52030, POM-1921. M-A, lovely copy has faint rubs, inaud. MB 15 J0293. SASCHA CULBERTSON, w.Emanuel Balaban (Pf.): Liebesfreud (Kreisler). 10” brown shellac Vocalion 30144, POM-1921. M-A, as New! MB 15 J0294. SASCHA CULBERTSON, w.Willy Schaeffer (Pf.): Slavonic Dance #1 in g (Dvorák-Kreisler). 10” brown shellac Vocalion 30148, POM-1921. M-A, beautiful copy has faintest rubs, inaud. MB 15 J0295. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): Sonatina in G – Larghetto [as ‘Indian Lament’] (Dvorák-Kreisler). 12” brown shellac Vocalion 52006, POM-1921. A-, lovely copy has sev.superficial wee scrs, inaud. MB 10 J0296. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): La Ronde des Lutins (Bazzini) / THAÏS - Méditation (Massenet). 12” gold & brown Vocalion 70001, POM-1922. A-, very decent copy has lt.rubs, inaud. MB 10 J0297. SASCHA CULBERTSON, w.Helen Hamilton (Pf.): Guitarre (Moszkowski) / DANZAS ESPAÑOLAS - Zapateado (Sarasate). 10” brown shellac Vocalion 60002, POM-1921. M-A, lovely copy has, Sd.1 only, faint rubs, inaud.; faintest hlc forming at edge. MB 10 J0298. SASCHA CULBERTSON: Souvenir in D (Drdla) / KINDERSZENEN – Träumerei (Schumann). 10” brown shellac Vocalion 60021, POM-1921. A-, lovely copy has faint rubs, inaud. MB 10 “Sascha Culbertson studied first with Zukovsky….[then] from 1905 to 1908 he was with Sevcik in Prague, making his Vienna début in 1908..Culbertson commands [a] warm, singing tone....” – Tully Potter, THE RECORDED VIOLIN J0299. GEORGE MILTON LIPSCHULTZ: At Dawning (Cadman) / Serenade (Toselli). 10” black Viva-Tonal Col. 904-D, only form of issue, 17 Feb., 1927, Sd.2 label boldly Autographed in white ink. A-, lovely copy has lt.rubs, inaud. [This Chicago violinist was concertmaster for two seasons in
A to M-A, beautiful copy has, Sd.2 only, faint rubs, inaud. MB 15 “Ormandy was first engaged by conductor Ernö Rapée, a former Budapest friend and fellow Academy graduate, as a violinist in the orchestra of the Capitol Theatre in New York City. He became the concertmaster within five days of joining and soon became one of the conductors of this group. Ormandy also made 16 recordings as a violinist between 1923 and 1929. A new beginning in the New World meant a new name, and Ormandy [Jenő Blau] neither confirmed nor denied the story that he adopted his name from the French ship Normandie, on which he travelled to America….Arthur Judson, the most powerful manager of American classical music during the 1930s, first heard Ormandy when he conducted (as a freelancer) for a dance recital at Carnegie Hall by Isadora Duncan; Judson later said, ‘I came to see a dancer and instead heard a conductor’. Judson greatly assisted Ormandy's career, and when Arturo Toscanini was too ill to conduct the Philadelphia Orchestra in 1931, Judson asked Ormandy to stand in. This led to Ormandy's first major appointment as a conductor, in Minneapolis.” - Wikipedia
A-, absolutely fine copy has cosmetic rubs only faintly audible. [Gorgeous portamento here!] MB 20 “Max Mikhailov received violin lessons from Leopold Auer, then was accepted into Alexander Petschnikoff’s master class. In 1933, he joined the Berlin Philharmonic, but following the adoption of the Nuremberg Laws in 1935 his career in Germany appeared to be over. In 1945 he helped rebuild the radio symphony orchestra in Berlin under Soviet occupation. In 1948 he returned to playing the Tschaikowsky Concerto under Artur Rother. He died on 19 February 1971 in Munich.” - Ned Ludd J0302. RICARDO ODNOPOSOFF, w.Otto Herz (Pf.): O Canto do cysno negro (Villa-Lobos) / Perpetuum mobile (Novácek) . 10" RCA 10-1228, POM-1946. [Odnoposoff’s recording legacy demonstrates a great musicality, a brilliant technical command of the violin and an exciting, penetrating big sonority.] M-A, lovely copy has occasional faintest pap.rub, inaud. MB 12 J0303. RICARDO ODNOPOSOFF, w.Valentin Pavlovsky (Pf.): PETER AND THE WOLF - Theme and Processional (Prokofiev), 2s. 12" V 11-8849, POM-1945. M-A, as New! MB 15 “Born in 1917 in Buenos Aires from Russian-Jewish background, Adolfo Odnoposoff began playing the cello when he was 5 and studied in Berlin with Emanuel Feuermann and in Paris with Diran Alexanian, a colleague of Pablo Casals. Mr. Odnoposoff performed frequently in Latin America and held the position of first cellist with orchestras in Puerto Rico, Peru, Mexico and other countries. He became Professor emeritus at the University of North Texas from 1974.” - Sarah Acres J0304. MISCHA VIOLIN, w.Burmester (Pf.): Minuet #2 in G (Beethoven) / Tambourin chinois (Kreisler). [Mischa Viólin was concertmaster of the Roxy Theatre, 1930 & 1930s.] 11” black paper label H & D US-Pathé 40118, only form of issue, c.1917. A to M-A MB 10 J0305. MISCHA VIOLIN, w.Josef Adler (Pf.): Introduction & Tarantelle (Sarasate) / HERMAN KOLODKIN (Viola), w.Robert Gayler (Pf.): Arioso (Bach-Franko). 10" H & D etched label Edison 80641, only form of issue, 24 Dec., 1920 / ---. M-A, New! 15 J0306. MISCHA VIOLIN, w.Josef Adler (Pf.): DANZAS ESPAÑOLAS – Zapateado (Sarasate) / HERMAN KOLODKIN (Viola), w.Robert Gayler (Pf.): Eili, Eili (arr: Schindler). 10" H & D etched label Edison 80622, only form of issue, 24 Dec., 1920 / ---. M-A 15 J0307. MISCHA VIOLIN, w.Josef Adler (Pf.): Moto perpetuo (Paganini) / HELEN WARE, w.Francis Moore (Pf.): Hungarian Fantasia (arr. Ware). 10" H & D paper label Edison 80828, only form of issue, 23 Dec., 1920 / 1915, resp. M-A, as New! 15 J0308. MISCHA VIOLIN, w.Josef Adler (Pf.): Suite #1 in G - Perpetuum mobile (Ries) / LAURI KENNEDY(Cello), w.Dorothy Kennedy (Pf.): Hungarian Rhapsody (Popper). 10" H & D paper label Edison 80683, sole issue, 23 Dec. / 28 June, 1920. M-A, as New! MB 15 J0309. LAURI KENNEDY(Cello), w.Dorothy Kennedy (Pf.): Kol Nidrei (Bruch), 2s. 10" H & D paper label Edison 80580, only form of issue, 28 June, 1920. M-A, as New! MB 20 “Lauri Kennedy was born in a suburb of Sydney, and made his mark in the US in the 1920s, where he became principal cellist with the New York Philharmonic at the invitation of Arturo Toscanini. In the United Kingdom he played in a noted piano quartet called the Chamber Music Players with Albert Sammons, Lionel Tertis and William Murdoch. He recorded music with Fritz Kreisler and William Primrose, including Kreisler’s String Quartet in a minor in 1935 with members of the London String Quartet. ” - Wikipedia J0310. LUCIEN SCHMIT: Tre giorni son che Nina (Pergolesi) / JOCELYN – Berceuse (Godard). 10” black Cameo 366 [524/523], only form of issue, 1923. A to M-A / A-, lovely copy has, Sd.2, faintest rubs, inaud. MB 10 J0311. LUCIEN SCHMIT: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns) / Melody in F (Rubinstein). 10” black Cameo 383 [543/544], only form of issue, 1923. A-, lovely copy has faint rubs, inaud. MB 10 “Lucien S. Schmit, who was a native of Louvaine, Belgium came to this country in 1909, and became a member of the St. Louis Symphony Orchestra at 13. He became first cellist in the New York Symphony Orchestra in 1921 under Walter Damrosch. During the 1930s he was active in radio musical programs.” - THE NEW YORK TIMES, 22 July, 1976 J0312. ADOLPHE FREZIN, w.F. Goyens (Pf.): Sérénade (Played by the Composer) / Berçeuse mélancolique (Acc. by the Composer). 10” black Viva-Tonal Col. 2272-D, POM-1930. A to M-A, lovely copy has minuscule ec, far from grooves & faintest rubs, inaud. MB 12 J0313. ADOLPHE FREZIN, w.F. Goyens (Pf.): GOYESCAS – Intermezzo (Granados) / JOCELYN – Berceuse (Godard). 10” black Viva-Tonal Col. 2179-D, POM-1930. M-A, as New! MB 15 ”Adolphe Frezin became Principal cello of the National Orchestra of Belgium. After emigrating to the US in the summer of 1949, Frezin was a member of the Paganini Quartet until late 1954. While touring with the Paganini Quartet, Frezin was also able to perform as lead cello with the Metropolitan Opera Orchestra. Beginning in 1953, Frezin also sought to develop a career as a touring cello soloist with US regional orchestras. In 1955 in New York, Frezin was also Principal cello of the Symphony of the Air, organized after the NBC Symphony of Toscanini was disbanded. Prior to the Cleveland Orchestra, Adolphe Frezin was Principal cello of the Los Angeles Philharmonic in 1956-1959. George Szell recruited Adolphe Frezin first as ‘Co-Principal’ cello of the Cleveland Orchestra in the 1959-1960 season, advancing him to Principal cello in the 1960-1961 season.” - Cleveland Orchestra J0314. ANTHONY PINI: Melody in F (Rubinstein) / A Keltic lament (Foulds). 10” black Viva-Tonal Col. 1886-D [WA6230-2/WA6306-1], POM-1929. M-A, as New! MB 25
10” blue Aprelevsky-Zavod CCCP 18490/91, only form of issue, 1950. M-A MB 25 “Because of his highly individual style, Daniil Shafran aroused strong feelings. To his admirers, he was regarded with an almost religious reverence; to the unconvinced, he remained an enigma. His playing revealed a profound musicality and a subtle lyricism producing a tone that was rich and mellow. Perhaps the most extraordinary aspect was his ability for painting every possible tone colour at will. He held strong views on the teaching of the present time: ‘I think many teachers today are obsessed with technical perfection and because they are not themselves aware of the importance of the emotional aspect of playing, they are unable to pass it on’. Although his playing was so passionate and charged with emotion, as a man he was courteous, rather reserved and possessed of an old-world charm. He will be remembered as one of the legends in a musical world dominated far too often by clinical perfection.” - Margaret Campbell, THE INDEPENDENT, 13 Feb., 1997 J0316. ARNOLD FÖLDESY: Nocturne in E-flat, Op.9, #2 (Chopin) / ‘Zur guitarre’ Serenade, Op.54, #2 (Popper). 12” burgundy US-Odeon 3108 [xxB6515-2/6906], POM-1924. M-A, Pristine Copy of a superb pressing! MB 45 J0317. ARNOLD FÖLDESY: LE CARNAVAL DES ANIMAUX – Le Cygne (Saint-Saëns) / JOCELYN – Berceuse (Godard). 10” brown shellac Vocalion 14789 [100ao/14087r] [18289/18363L], POM-1924. M-A, a Pristine Copy! MB 45 J0318. ARNOLD FÖLDESY: Elfentanz (Popper) / Melody in F (Rubinstein). 10” brown shellac Vocalion 14773 [561L/---] [18289/18363L], POM-1924. M-A, a Pristine Copy! MB 45 J0319. ARNOLD FÖLDESY: Zigeunerweisen (Sarasate), 2s. 12” brown shellac Vocalion 35036 [920/921m], POM-1924. [An absolutely stupendous, beguiling performance . . . not to be missed!] A-, excellent copy has lt.rubs, inaud.; minuscule hlc is forming, visible primarily Sd.1; Sd.1 label has heavy nr. Aurally, this sounds like an ‘M-A’ copy! MB 35 J0320. ARNOLD FÖLDESY , w.Baerwald (Pf.): Cantabile, Op.36, #2 (Cui) / THAÏS – Méditation (Massenet). 12” white Homocord 4-8728 [52052-2/50], POM-1924. A-, lovely copy has faint rubs; Sd.1 only has long, very light scr, ltly audible; generally noisy surfaces throughout. MB 65
10” red Aprelevsky-Zavod CCCP 25287/86, only form of issue, 1955. M-A MB 25 “At the age of 11 Sergei Dorensky became a student of Grigory Ginsburg. At the 5th World Youth Festival in Warsaw he was awarded the 1st prize Gold Medal. In 1957 Dorensky won the 2nd prize at the International Piano Competition of Rio de Janeiro. In the same year he was called to teach at Tschaikovsky Conservatory, and in 1978 he became a professor there. Now he is one of the leading professors in the Tschaikovsky Conservatory, and since 2008 he has been head of the piano department.” - The Fifth China International Piano Competition J0322. LEO SCHULTZ: Concerto #1 in a – Cantilena (Goltermann) / Gavotte in D (Popper). 12” blue Col.A5490, POM-1913. A-, absolutely fine copy has cosmetic rubs & a few lt.scrs, positively inaud. MB 12 “Principal cellist in Berlin, with the Gewandhaus Orchestra of Leipzig from 1886 to 1889, Schultz came to the United States in 1889 and was professor of the New England Conservatory until 1898 as well as a soloist with the Boston Symphony Orchestra. He was first cellist for the New York Philharmonic from 1890 to 1906.” - Ned Ludd J0323. JULIUS BERGER: Broken Melody (van Beine) / Concerto #4 in g – Andante (Goltermann). 12” burgundy Okeh 3007, POM-c.1919, Lindström Studios, Berlin. A-, absolutely fine copy has cosmetic rubs & a few lt.scrs, positively audible only at very at beginning. MB 10
10” plum PW Electrola EG 724, POM-c.1930. M-A MB 12 “Grünfeld was educated at the Prague Conservatory. In 1876 he went to Berlin and for eight years taught at the Neue Akademie der Tonkunst. In conjunction with Xaver Scharwenka and Gustav Hollaender (later with Émile Sauret, Max Pauer, and Florian Zajic), he arranged trio soirées which became very popular Grünfeld was brother of the better-known pianist, Alfred. In 1886 Grünfeld was appointed court violoncellist to King William of Prussia.” - Ned Ludd J0325. WILLEM WILLEKE, w.Josef Adler (Pf.): Evening Song (Dessau) / Concerto #2 in d – Andante (Goltermann). 10" H & D paper label Edison 82152, only form of issue, 21 May, 1918. M-A MB 35 J0326. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): Romance sans parôles (van Goens) / Scotch pastorale (Saenger). 10” purple Bruns. 10164, only form of issue, 1 June 1923. M-A MB 15 J0327. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): Menuett (Haydn) / TANNHÄUSER –O du mein holder Abendstern (Wagner). 10” purple Bruns. 10145, POM-1922. M-A MB 15 J0328. WILLEM WILLEKE, w.Ralph Mazziotta (Pf.): LE CARNAVAL DES ANIMAUX – Le Cygne / JOCELYN – Berceuse (Godard). 10” dark-blue Bruns. 13022, POM-1921. M-A MB 15 “Willem Willeke won the admiration of Johannes Brahms, learned all of Brahms' cello works, and performed many of them with Brahms at the piano. Even so, he aspired to become a physician, and studied in Bonn and Vienna, winning his degrees. Nevertheless, Joseph Joachim, another friend of Brahms, repeatedly urged Willeke to return to music. When he agreed, he started his career with a tour of Scandinavia in which he played the Grieg sonata with the composer at the keyboard. And, again, when he played the Strauss sonata, that composer was his accompaniment. He came to he United States in 1907 as cellist with the Kneisel String Quartet. In 1917, when the Kneisel disbanded, he founded an ensemble called the Elshuco Trio. Mrs Elizabeth Sprague Coolidge in 1918 founded the Berkshire Festival of Chamber Music and named Willeke its first Musical Director. He stayed in that capacity until his death in 1950, and was succeeded by his widow. Willeke was also the leading cello teacher at the Institute for Musical Art in New York, which merged with the Juilliard School in 1926.” – Joseph Stevenson, allmusic.com J0329. ELSHUCO TRIO (William Willeke, William Kroll & Aurelio Giorni): Swedish Folk Song (Swendsen) / Autumn and Winter (Glazounow). 10” dark-blue Bruns. 13032, POM-1921. M-A MB 15 J0330. ELSHUCO TRIO: Salut d’amour (Elgar) / Sérénade (Widor). 10” dark-blue Bruns. 13008, POM-1921. A-, very decent copy has lt. rubs, inaud. MB 10 J0331. ELSHUCO TRIO: Melody in D (Fauré) / Scherzo (Reisseger). 10” gold Bruns. 13103, POM-1922. A-, very decent copy has lt. rubs, inaud. MB 10 J0332. HORACE BRITT, w.Josef Adler (Pf.): Romance sans paroles (Fauré) / PETITE SUITE - Menuet (Debussy). 10” black Viva-Tonal Col. 2166-D, POM-4 Dec., 1929. M-A, as New! MB 20 J0333. HORACE BRITT, w.Josef Adler (Pf.): Pièce en forme de Habañera (Ravel) / Granadina (Nin). 10” black Viva-Tonal Col. 2081-D, POM-29 Nov., 1929. M-A, as New! MB 20 “In November, 1892, at the age of 11, Horace Britt won entrance to the Paris Conservatoire, where he studied with Jules Delsart 1892-1895. Britt won the Conservatoire cello Premier prix in 1895, at age 14, the youngest winner to that time. Horace Britt was cello solo with the Lamoureux Orchestra in 1897, and with the Colonne Orchestra in 1898. Britt made his American début with the Chicago Symphony (then the Theodore Thomas Orchestra) in 1907, where he was Principal cellist, 1905-1907. (Horace Britt's brother Roger was a first violin with the Philadelphia Orchestra 1918-1924). After Chicago, Horace Britt became Principal cello of the Philadelphia Orchestra for one season, 1907-1908. In the 1910s, Britt became Principal cello of the Metropolitan Opera Orchestra. In 1924-1925 season, Horace Britt became Principal cello with the Minneapolis Symphony, under Henri Verbrugghen. During the 1925-1926 season, he taught at the Curtis Institute in Philadelphia.” - The Stokowski Legacy J0334. MARCEL HUBERT, w.Shura Cherkassky (Pf.): Sonata in g (Rachmaninoff), 7s / Sd.8 = MARCEL HUBERT, w.Harold Dart (Pf.): GOYESCAS – Intermezzo (Granados). 4-12" early Col. 68343/46-D, POM-1934-35, on Royal Blue Shellac, in Orig. Album 225. M-A, as New! MB 35, the Set.
12” gold & brown H & D Vocalion 56000, only form of issue, c.1919. [Ysaÿe’s Sonate pour violoncelle seul op. 28 was dedicated to Maurice Dambois, renowned Belgian cellist, composer and member of the Trio Èugene Ysaÿe and of the Quatuor Èugene Ysaÿe.] M-A MB 15 J0336. MAURICE MARECHAL, w.Robert Gayler (Pf.): Prière (Boellmann) / Sonata in G – Rondo (Bréval). 10" 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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