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_ COLUMBIA RECORDING CORPORATION

e Subsidiary of Columbia Broadeasting System, Ine. Bridgeport e New York e Hollywood

_— ‘SJ

COLUMBIA CATALOG 1945

table of contents

MASTERWORKS FOR MILLIONS (FOREWORD)................... Vi HOW TO USE THE COLUMBIA CATALOG..................... Vill LIST OF COLUMBIA ARTISTS............... ie Pee are X PRONUNCIATION GUIDE OF COMPOSERS, COMPOSITIONS AND ARTISTS.............. XH Sonn YC OFLMUSICAL, TERMS i245. 00. cs oe ere 0.0) c te lplauiie levee XIV CORNERSTONES FOR YOUR RECORD LIBRARY................. XVil (A Guide For Record Collectors) GENERAL LIST OF COLUMBIA MASTERWORKS SEAS ROR ECOR DS 9 otic ie betel reins ade! oc a lek os ees ¥ oo ots 1 armeeES CSPI SIMA LT SLA tte cee tne Fo on venga ey cust war o's doo che abe eV Le AEBS (CpeRao cree ee eal eA a A es lo ea on Er 20 SELINA Ves) rN eee aes, fy ais arava nat ane’c OS tidor s SM 22 Ber ACAMERAL ISICREr Rees 0 Seer mer Pak ck... th Alia ub. b ule pale oto axett 4] a MIE LC eee ee, ee Ih ho ya tee O hee cas eb eae 44 a A PAL) SIC oe eres or ent tee Ee oy oe Melee A5 RE SPAR LUIS es Ok re. ec, ee ace om Berea its bw ee nes 47 Pero en RAL) S (cates cere Cee ar) Sree Be eS keane ane dane alld 50 RIAA. PALS CaN ore or he nT Iss ale ot ee Maun 51 PIPE ASS TOR euOraN ol os oo. ck crs stead woh ate cla be weet. ok 55 era IDAL Rm ECFIN ICAL SERIES Cie alti sts nitctae dis vo bse Veale dace es pele 56 Or tA Serene DO le ale tee cacelecate 57 MA GOR ANAA TIGEREADINGS Ee sc. moh ccsos oc dee cto ceen cee 79

table of contents (cont) —

EDUCATIONAL ‘RECORDS eee vevaons «8 FOLK MUSIC: (spirituals,e€c,) 2). iw.) ct ets ee a

FUNERAL :PARLOR) MUSIGSio-8 2 ooo Sapa iere te ee -s pe HARP MUSIC<. 7 cuca Sy tee gece CA ethane i a ss HARPSICHORD .MUSIG, 33... woe ee Fee oh ct eae eae if HAWAIIAN MUSIC ........... Sse See ilies Tdi Rs raat Jes eee ‘

LATIN AMERICAN: MUSIC sor... Si ect. net a LIEDER. Suh ees OR et ee a8 ois ee MADRIGALS |». 0 iG." OPP ee eo eee, Dc Roe eae eee fine MARCHES ee eae se han Bors Big oes Ry Oia ane tee

MARIMBA’MUSIC oscil se. 555 ti se ge ee MASTERWORKS.: ALBUMS) occ. coeur nee BS doy Sen eee OPERAS os noch, Se See ola es ee PVE ee ORATORIO MUSIC ii: ce ce ee ak oe gin eee es Sa te eee ORGAN’ MUSIC 21.55.31 ee a2

QUARTETS (instrumental). 00. 32 sees eee ete ey QUINTETS (instrumental): 302.25, cn oe ete aa ee eee SACRED-MUSIC sree 2: wot eI Te Sata aaah te ot oe ice : SHOW TUNES (from Motion Pictures, Musical Comedies, Operettas) .

SONATAS 22252 See re Oe eae Tn em

FRIOS 05 ico 8S ae Wis Aue Weta nae etle ales tee oe tae te ete ee

Biographies and recordings of Columbia’ Masterworks Artists

ALL PRICES SHOWN IN THIS CATALOG ARE EXCLUSIVE OF TAXES

This catalog is kept up to date by monthly supple- ments. Ask your dealer to put you on his mailing list.

VI

|

masterworks — for millions

the world’s finest musie on records

The Columbia Catalog bears eloquent testimony to the vast treasury of music which can now be enjoyed by everybody. Within its pages you will find selections appealing to every conceivable taste. In repertory, Columbia Records encompass the entire realm of music, ranging from the symphonies of Beethoven to our present- day “swing.”

Music is as much a part of the modern cultured home as books ____ or fine paintings. The shelves of your record library are like the _ shelves of your bookcase, in that from each you may choose spiritual nourishment to suit your every mood. Whether you are just starting

___@ library or are an experienced record connoisseur, you will find in a Bac4

Columbia presents the world’s great music performed by the most ee imposing array of artists ever assembled. And Columbia’s musical experts, always in closest touch with leading composers, are con- oS stantly on the alert for something new in musical composition.

Thus, the homes of America are assured of immortal music, inter- _ preted by the finest and most distinctive artists of our generation. 2 On Columbia Masterworks, Great Music Is More Faithfully Yours!

VII

how to use this catalog

This Columbia Catalog has been carefully designed and cross-referenced to make it easy for music lovers to find the selections they want.

@ LOOK FOR YOUR COLUMBIA RECORDS ALPHABETICALLY © UNDER THE TITLE OF THE SELECTION

(HERE YOU WILL FIND COMPLETE INFORMATION)

NAME OF LARGER WORK OF WHICH COMPOSITION IS

NAME OF COMPOSITION TRANSLATION

\ ‘ ! ' \ ' ' : | ' - | xf ' ' re ee a ea Fe ~ 3 ~ - ers Piss re - ~ =-

VOI CHE SAPETE (“You Who Know”) (from ‘Le Nozze di Figaro’’) (Mozart)-- ---- --Queen of the Night Aria

pe LiiyePoOns (SODTGMO)e = c.. haraenas eee $

S - Ss a

\ 4

-eaecn ance @oaqwea = ——— we ew we ew wm eo we ewe =

‘N /

N

NAME OF REFERENCE TO SELECTION | ALBUM SET IF IT ON OTHER 1S

SIDE PART OF ONE

ALBUM SET NO. OF WHICH ARTISTS RECORD IS A PART

OR

NOTE: Disregard the A, An, Der, Das, Die, Ein, Eine, L’, Le, La, Les, Las, Los, Il, El, Un, Une, Una or other foreign language equivalents. Always refer to the alphabetical listing of the following word.

VIII

You will find this catalog so extensively cross-referenced that you can find

any record you want, even though you may know little about it. For example:

IF YOU KNOW THE COMPOSER

Look for the alphabetical listing of the composer's last name.

IF YOU KNOW THE ARTIST fF Recordings of Popular Artists (as Harry James, Frank Sinatra, etc.) by are found in the alphabetical section of the catalog under the last i name of the artist. Recordings of Masterworks Artists (as Lily Pons, Philharmonic- Symphony Orchestra of N. Y. are found in the Masterworks Artists

Section (yellow section).

IF YOU KNOW THE SELECTION IS AN ALBUM SET Masterworks Albums are found in the catalog under M. Popular

Albums are found under P.

IF YOU KNOW THE SELECTION IS A SONATA, SYMPHONY, CON- CERTO, ETC.

Look for it under the alphabetical listing of the particular category,

e.g. Concertos are under C; Sonatas under 35 etc.

IF YOU KNOW THE SELECTION COMES UNDER A PARTICULAR HEADING SUCH AS ACCORDIAN MUSIC, BAND MUSIC, DRAMA, ETC.

Refer to the alphabetical listing of the particular heading.

additional information

1) When record nos. are preceded by the letter P— it indicates that they

are for sale in the United States only.

2) When record nos. are preceded by the letter S— it indicates a single

faced record.

ne 3) Most Masterworks Sets are available in standard sequence for use on | manually operated phonographs and also in automatic sequence for drop type automatic record changers. The standard sequence is designated by the prefix M or X, the automatic sequence by the prefix MM or MX. Look for the MM or MX numbers only when the selection is listed by title, for MM and MX numbers are not given

when selections are listed by composer or artist.

(4) Okeh Records are not listed in this catalog.

COLUMBIA ARTISTS

the finest artists of today and yester- day have made columbia masterworks

Recordings of the Following Artists Will Be Found

ALL-AMERICAN ORCHESTRA, THE BRITISH BROADCASTING COMPANY

SYMPHONY ORCHESTRA

BAYREUTH FESTIVAL ORCHESTRA BERLIN PHILHARMONIC ORCHESTRA BERLIN STATE OPERA ORCHESTRA BOURNEMOUTH MUNICIPAL ORCHESTRA CHICAGO SYMPHONY ORCHESTRA CLEVELAND ORCHESTRA, THE

COLON OPERA ORCH., BUENOS AIRES COLUMBIA BROADCASTING SYMPHONY COLUMBIA OPERA ORCHESTRA CONCERTGEBOUW ORCHESTRA OF

AMSTERDAM

CONCERTS COLONNE ORCHESTRE GRAND ORCHESTRE PHILHARMONIQUE DE

PARIS HALLE ORCHESTRA

ARBOS, ENRIQUE FERNANDEZ AUBERT, LOUIS BARBIROLLI, JOHN BARLOW, HOWARD BEECHAM, SIR THOMAS BIGOT, EUGENE BLACK, FRANK CHAVEZ, CARLOS COATES, ERIC COHEN, ELIE DORATI, ANTAL EHRLICH, JULIUS ELMENDORFF, KARL FINSTON, NATHANIEL GAUBERT, PHILIPPE GOEHR, WALTER

ANCIENT INSTRUMENTS DOLMETSCH FAMILY

BASSOON CAMDEN, ARCHIE

‘CELLO

CASSADO, GASPAR FEUERMANN, EMANUEL HEIFETZ, BENAR MARECHAL, MAURICE PIATIGORSKY, GREGOR

CLARINET

BELLISON, SIMEON DRAPER, CHARLES GOODMAN, BENNY

X

in the ARTIST’S SECTION

ORCHESTRAS

LIGHT SYMPHONY ORCH. LONDON PHILHARMONIC ORCHESTRA

LONDON SYMPHONY ORCHESTRA

MADRID SYMPHONY ORCHESTRA MILAN SYMPHONY ORCHESTRA MINNEAPOLIS SYMPHONY ORCHESTRA ORCHESTRE DES CONCERTS STRARAM ORCHESTRE DES FESTIVALS DEBUSSY

ORCHESTRE DU THEATRE ROYAL DE LA

MONNAIE BRUSSELS ORCHESTRE SYMPHONIQUE DE PARIS PHILADELPHIA ORCHESTRA, THE PHILHARMONIC-SYMPHONY ORCHESTRA

OF NEW YORK

PITTSBURGH SYMPHONY, THE ROYAL PHILHARMONIC ORCHESTRA

VIENNA PHILHARMONIC ORCHESTRA VIENNA SYMPHONY ORCHESTRA

CONDUCTORS

HARTY, SIR HAMILTON HEWARD, LESLIE HOLST, GUSTAVE HOSSLIN, FRANZ VON INGHELBRECHT, DESIRE KAJANUS, ROBERT KERBY, PAUL

KINSKY, ROBERTO KOSTELANETZ, ANDRE KURTZ, EFREM LEINSDORF, ERICH MENGELBERG, WILLIAM MEYROWITZ, SELMAR MILHAUD, DARIUS MITROPOULOS, DIMITRI MOLAJOLI, CAV. LORENZO

INSTRUMENTAL

CLAVICHORD DOLMETSCH, ARNOLD

FLUTE

LAURENT, GEORGES MOYSE, MARCEL

HARP

DILLING, MILDRED GOOSSENS, SIDONIE LORENZI, MARIO NEWELL, LAURA

HARPSICHORD

DOLMETSCH, RUDOLPH PESSL, YELLA WOLFF, ERNST VICTOR

MUCK, KARL ORMANDY, EUGENE PARAY, PAUL PELLETIER, WILFRED REINER, FRITZ RODZINSKI, ARTUR RUHLMANN, FRANCOIS SARGENT, MALCOLM SCHONBERG, ARNOLD STOCK, FREDERICK STOKOWSKI, LEOPOLD STRARAM, WALTER STRAVINSKY, IGOR WAGNER, SIEGFRIED WALTER, BRUNO WEINGARTNER, FELIX — WOOD, SIR HENRY

HORN

BRAIN, AUBREY BRAIN, DENNIS

OBOE

GOOSSENS, LEON MILLER, MITCHELL

ORGAN

COMMETTE, EDWOUARD DAWBER, HAROLD MACLEAN, QUENTIN M. SCHWEITZER, ALBERT TORCH, SIDNEY

PIANO

BALSAM, ARTUR BARTOK, BELA CASADESUS, ROBERT

a "i >

:

2 4

eee ee ee ee aa

PIANO (Continued) COHEN, HARRIET COWELL, HENRY DORFMANN, ANIA FRIEDMAN, IGNAZ GERSHWIN, GEORGE GIESEKING, WALTER GIMPEL, JAKOB GODOWSKY, LEOPOLD GRAINGER, PERCY GRAUDAN, JOANNA GUILBERT, CARMEN HESS, MYRA

JOYCE, EILEEN KENTNER, LOUIS KILENY!, EDWARD KITAIN, ANATOLE KRENEK, ERNST LEVANT, OSCAR LONG, MARGUERITE MAGALOV, NIKITA DE MOORE, GERALD NAT, YVES

~ NOVAES, GUIOMAR

PETRI, EGON PHILIPP, ISADORE SAMUEL, HAROLD SAUER, EMIL SCHARRER, IRENE SCHMITZ, E. ROBERT SERKIN, RUDOLF STRAVINSKY, IGOR TEMPLETON, ALEC

SOPRANOS

ALSEN, ELSA ANTOINE, JOSEPHINE ARANGI- LOMBARDI, GIANNINA CAPSIR, MERCEDES CROIZA, CLAIRE LABETTE, DORA LARSEN- TODSEN, NANNY LAWRENCE, MARJORIE LEHMANN, LOTTE MANNARINI, IDA MULLER, MARIA MUZIO, CLAUDIA PERLI, LISA PONS, LILY , SAYAO, BIDU SCACCIATI, BIANCA TRAUBEL, HELEN VALLIN, NINON VARNAY, ASTRID

MEZZO-SOPRANO

CERNAY, GERMAINE PETINA, IRRA STEN, SUZANNE STEVENS, RISE TOUREL, JENNIE

CONTRALTOS

BRASLAU, SOPHIE CASTAGNA, BRUNA THORBORG, KERSTIN

TENORS

BORGIOLI, DINO CARTER, JOHN

VAN DER PAS, THEODORE WOLFF, ERNST VICTOR

DUO-PIANISTS

BARTLETT AND ROBERTSON

ROBERT & GABY CASADESUS

RAWICZ AND LANDAUER

SMALL ENSEMBLES

BUSCH, ADOLF CHAMBER PLAYERS

HINDEMITH TRIO, THE

JACQUES STRING ORCHESTRA

LOS ANGELES WIND QUINTET

ORCHESTRA OF THE NEW FRIENDS OF MUSIC

PASQUIER TRIO

STRING QUARTETS BUDAPEST STRING UARTET

Q BUSCH QUARTET CURTIS STRING QUARTET DORIAN STRING QUARTET KOLISCH STRING QUARTET LENER STRING QUARTET LONDON STRING QUARTET ROTH STRING QUARTET STRADIVARIUS STRING QUARTET STUYVESANT STRING QUARTET

VOCAL

TENORS (Cont.) DARCY, EMERY CECIL, LIONELLO GRANDA, ALESSANDRO HACKETT, CHARLES HAYES, ROLAND KIEPURA, JAN KULLMAN, CHARLES MAISON, RENE MARTINI, NINO MELCHIOR, LAURITZ MERLI, FRANCESCO NASH, HEDDLE ROSSI, TINO

THILL, GEORGES TRENET, CHARLES

BARITONES

BONELLI, RICHARD BROWNLEE, JOHN EDDY, NELSON GALEFFI, CARLO JANSSEN, HERBERT LESCENCO, PETER ROBESON, PAUL SINGHER, MARTIAL STRACCIARI, RICARDO WEEDE, ROBERT WOLFF, ERNST

BASSES

BACCALONI, SALVATORE KIPNIS, ALEXANDER PINZA, EZIO

WEBER, LUDWIG

VIOLIN

BELNICK, ARNOLD BUSCH, ADOLF CALVET, JOSEPH CAMPOLI, ALFREDO D‘ARANYI, YELLY FLESCH, CARL FRANCESCATTI, ZINO HUBERMANN, BRONISLAW KRASNER, LOUIS LENER, JENO MILSTEIN, NATHAN PASCAL, ANDRE POUGNET, JEAN RENARDY, OSSY SZIGETI, JOSEPH ZIMBALIST, EFREM

VIOLA

HINDEMITH, PAUL LIFSCHEY, SAMUEL PASCAL, LEON PRIMROSE, WILLIAM

VIOLA DA GAMBA SCHOLZ, JANOS

TRUMPET

ESKDALE, GEORGE LOCKWOOD, ARTHUR

CHORUSES

ASSOCIATED GLEE CLUBS OF AMERICA

BRITISH BROADCASTING CO. CHORUS

BACH CANTATA CLUB OF

LONDON BAYREUTH FESTIVAL CHORUS CATHOLIC CHURCH MUSIC CONCERT CHOIR CHANTEURS DE LYON, LES CHORUS OF THE ROYAL OPERA HOUSE, LONDON COECILIA CHORUS OF

ANTWERP eeue LIGHT OPERA

DON COSSACK CHORUS LEEDS FESTIVAL CHOIR MADRIGAL SINGERS MADRIGALISTS, THE PARIS OPERA

ST. GEORGE SINGERS satire LA OPERA OF

MILAN

STRASBOURG CATHEDRAL CHOIR

VIENNA STATE OPERA CHORUS

VLASSOV, ALEXIS (RUSSIAN CHOIR)

WESTMINSTER CHOIR, THE

WINGS OVER JORDAN CHOIR

DRAMA

EVANS, EDITH EVANS, MAURICE GIELGUD, JOHN LAUGHTON, CHARLES MERCURY THEATER RATHBONE, BASIL WELLES, ORSON

pronunciation guide

AIDA—(Ah-ee’-da) ALBENIZ—(AI-bayn’-ith) ANDREA CHENIER—(On’-draya Shayn-yay) ANTOINE—(On-twan)

BACH—(Bahkh)

BARBIERE DI SIVIGLIA—(Bar- bee-air’-eh dee See-veel’-ya)

BARCAROLLE—(Bar’-ka-roll) BAY REUTH—(By’-royt) BEETHOVEN——(Bay’-toe-ven) BELLINI—(Bell-ee’-nee) BERLIOZ—(Bear’-lee-chs) BIZET—(Bee-zay) BOCCHERINI—(Bok-kay-ree’-nee) BOHEME—(Bo-aym’) BORIS GODOUNOV—(Boh’-rees Goh‘-doo-noff) BORODIN—(Bohr’-oh-deen) BRUCH—(Brookh)

CASADESUS—(Ka-sa-day-soo’) CASTAGNA—(Cah-stahn’-yah)

CAVALLERIA RUSTICANA—(Ka- vul-leh-ree’-a Rus-teh-kahn’-a)

CHABRIER—(Sha-bree-aye’)

CHARPENTIER—(Shar-pahn- tee-aye’)

CHERUBINI—(Keh-roo-been’-ee)

CHOPIN—(Show’-pan)

CID, LE—(Luh Seed)

COQ D’OR—(Cock-door)

CORELLI—(Kor-ell’-lee)

CUI—(Kwee)

DEBUSS Y—Day-bues’-see) DE FALLA—(Day-fahl’-yah) DELIBES—(Duh-leeb’) d‘INDY—(Dan’-dee)

DOHNANYI—(Dohkh-non’-yee)

DON GIOVANNI—(Don Joh-vahn’- nee)

DONIZETTI—(Doni-tset’-tee) DRDLA—(Derd’-!ah) DUKAS—(Doo’-kah)

DVORAK—(Dvor’-shak) EURYANTHE—(Oyr-ee-an’-thay)

FAUST—(Fowst) FEUERMANN—(Foy’-er-mahn) FIDELIO—(Fee-day’-lee-o) FLOTOW—(Fioh’-toh)

FORZA DEL DESTINO—(Fort-zah dell Des-tee’-noh)

FRANCK—(Frahnk) FREISCH UTZ—( Fry’-shootz)

GIESEKING—(Gees’-eh-king) GIOCONDA—(Joh-kon’-dah) GLAZOUNOV—(Glah’-zoo-noff) GLIERE—(Glee-air’) GLUCK—(Glook) GODARD—(Go'dar) GOOSSENS—(Goo’ -sens) GOTTERDAMMERUNG—(Get-ter- dem’-er-oong) GOUNOD—(Gco’no) GRANADOS—(Gra-nah’-dos) GRIEG—(Greeg)

HANDEL—(Han’-del) HAYDN—(Hy’-dn) HERODIADE—(Aye-roh dyahd) HONEGGER—(On’-nay-ger)

- INTERMEZZO—(In-ter-met’-so)

IPPOLITOV-IVANOV—(Ee-pohl-ee’- toff Ee-vah’-noff)

KHOVANTCHINA—Kho-vahn- chee’-na)

KIEPURA, JAN—(Keh-poo’-rah, Yahn)

KOUSSEVITZK Y—(Koo-seh-vitz’ - kee)

KREN EK—(Kshé-nek)

LAKME—(Lock’-may)

LALO—(Lah’-low)

Xs

COLUMBIA —

wee Saree ea

LEHAR—(Lay’-harr) LEHMANN—(Lay’-mahn) LISZT—(List) LOHENGRIN—(Low’-en-grin)

LUCIA DI LAMMERMOOR—(Loo- chee’-a dee Lam’-mer-moor)

MANON—(Ma’-non) MASCAGNI—(Mahs-kahn’-yee) MASSENET—(Mahs’-sin-ay) MAZURKA—(Ma-zoor’-ka) MEISTERSINGER—(My’-stair- zing-er) MELCHIOR—(Mel’-khee-or) MENDELSSOHN—(Men’-del-sohn) MENGELBERG—(Men’-gel-bairg) MEY ERBEER—(My’-er-bare) MIGNON—(Meen’-yawnh) MILSTEIN—(Mill’-styne) MITROPOULOS—(Mee-tro-poo-los)

MONTEVERDI—(Moan-teh- vair'-dee)

MOUSSORGSK Y—(Moo-sorg’-skee) MOZART—(Mow’-tsart) MUCK—(Mook)

PAGLIACCI—(Pahl-yat’-chee) PALESTRINA—(Pal-es-tree’-na) PARSIFAL—(Par’-sih-fahl)

PECHEURS DE PERLES—(Peh’-shur da Pairl)

PELLEAS ET MELISANDE—(Pay’- lay-ahs ay May’-lee-sahnd)

PIATIGORSKY—( Pe-at-i-gor’-skee) PIERNE—(Pee-air-nay’) PONCHIELLI—(Pon-kee-ell’-ee) PROKOFI EV—(Pro-kuff’-yeff) PROPHETE—(Pro-feht’) PUCCINI—(Poo-chee’-nee) PURCELL—(Purr-sell’)

RACHMANINOV—(Rakh-mah’- nee-noff)

RAMEAU—(Rah-mow’) RAVEL—(Rch-vell’) REZNICEK—(Rets’-nee-check) RIGOLETTO—(Ree-go-let’-toe)

RIMSKY-KORSAKOV—(Rim-skee Kore’-sa-koff)

~ RODZINSKI—(Rod-shins’-kee)

ROMEO ET JULIETTE—(Row’- may-oh ay Zhoo’-lee-et)

ROSENKAVALIER—(Roze’-en- ka-va-leer)

ROSSINI—(Ro-see’-nee)

SADKO—(Sahd’-ko) SAINT-SAENS—(San-Sahn) SALOME—(Sahl’-oh-may) SAMSON ET DALILA—(Sahn’-sohn ay Da-lee’-la) SARASATE—(Sar-a-sah’ tay) SATIE—(Sah’- tee) SAYAO, BIDU—(Say- ah’-oh, Bee-doo) SCARLATTI—(Skar- lah’-tee) SCHONBERG—(Shirn’ -bairg) SCHUBERT—(Shoo’-bairt) SCHUMANN—(Shoo’-mahn) SCRIABIN—(Skree-ah’-bin)

SHOSTAKOVITCH—(Shos-ta-ko’- vitch)

SIBELIUS—(Si-bail’-yus) SIEGFRIED—(Seeg’-freed) SMETANA—(Smet’-ahn-na) STOKOWSK1—(Stoh-koff’-skee) STRAVINSK Y—(Stra-vin’-skee) SZIGETI—(Sih-geh-tee)

TANN HAUSER—(Tahn’-hoy-zer) THAIS—(Tah’‘-ees) THOMAS—(Toh-mah)

TOMBEAU DE COUPERIN—(Tom- boh duh Koo-per-anh)

TOSCA—(Toss’-ka) TRAVIATA—(Trah-vee-ah’-ta)

TRISTAN UND ISOLDE—(Treess’- tahn oondt Ee-sole’-dah)

TROVATORE—(Tro-va-toe-ray) TCHAIKOVSK Y—(Chy-kuff’-skee)

VERDI—(Vair’-dee)

WAGNER—(Vahg’-ner) WALKURE—(Vahl-kuhr’-eh) WALTER—(Vahl’-ter)

WEBER, von—(fon Vay’-bair) - WEINGARTNER—(Vine’-gart-nur) WERTHER—(Vair’-ter) WIENIAWSKI—(Veen-yay’-skee)

ZAUBERFLOTE—(Tsow’-ber-floy-teh)

XI]

glossary of musical terms ;

A CAPPELLA

ACCELERANDO .

ADAGIO ALBORADA ALLEGRETTO ALLEGRO ALLEMANDE

ANDANTE ANDANTINO ARIA

AUBADE

BOLERO BOURREE CADENZA

CANON

CANTABILE CANTATA

CANZONETTA CAVATINA CHACONNE

CODA

CONCERTO

COUNTERPOINT

COURANTE CZARDAS

XIV.

(Ah-kah-pel’-Iah) (ah-chay-lay-ron’-doh) (ah-dah’-djoh) (ah!-boh-rah’-dah) (ahl-lay-grayt’-toh)

(ahl-lay’-groh) (al-mond’)

(ahn-dahn’-tay) (ahn-dahn-tee’-noh) (ah’-ree-ah) (ah-bad’) (boh-lay’-roh)

(boor-ray’) (ka-dayn’-dzah)

(Kanon)

(kahn-tah’-bee-lay) (kahn-tah’-tah)

(kahn-dzoh-nay‘-tah) (kah-vah-tee’-nah) ( shackun’)

(koh’-dah)

(kon-chair'’-toh)

(koun’-ter-point)

(koo-rahnt') (char-dahsh)

—For voices alone without instrumen- tal accompaniment. ao —A gradual increase in aaaeat ac- rs celerating. —Slow. : —A Spanish morning serenade. —Rather lively and bright. —Brisk; lively. —A stately dance movement uslGlia > found in 17th and 18th Conta Suites. siete —Neither fast nor slow. Rather slow ea but with a certain amount of for- a ward motion. < —A little faster than andante. ae —An air or song from an oratorio or opera. —A morning song; French equivalent of Alborada. —A Spanish dance. —A lively dance of French origin. i —An elaborately decorative passage _ in a composition usually just before | the end- os —A composition in which a given. — melody is closely imitated note by note by some other part, beginning late and overlapping; e.g. “Three | Blind Mice.” —In a singing style; song-like. —An unacted opera or short oratorio with a good deal of chorus work. —A piece with a marked melody; a song without words. —A piece of instrumental music gen- — erally slow and short. —A slow dance of ‘’3 beats in a meas- ure,” that originated in Spain. | —Term applied to any passage added at the end of a composition to gives it a sense of finality. —A symphonic composition, in whicha an instrument (sometimes two or three) stands out as a solo against — an orchestral background. eS —A combination of many melodies, each independent, but fitted to gether to produce a uniform resu —A dance with quick running steps. — —A lively national dance of Hungary

DOLCE _ ETUDE

FANTASIE _ FORTE

FORTISSIMO FUGUE

GALLIARD _ GAVOTTE

GIGUE ~ HABANERA

HHUMORESQUE

IMPROMPTU

INTERMEZZO

LARGO LEGATO

LENTO

(dohl’chay) (ay-tewd)

(fahn-tah-zee’)

(for’-tay) (for-tee’-see-moh) (fewg)

(gal-yard) (ga-vot')

(zheeg) (hah-bah-nay’-rah) (hew-mor-esk’)

(im-promp’-tu)

(een-tayr-mayts’-soh)

(lar’-goh)

(lay-gah’-toh)

(layn’-toh)

LIED; LIEDER (pl.) (leet; leader)

- MADRIGAL

MAZURKA MOTIF

NACHTMUSIK °

NOCTURNE

(mad’-ri-gal)

(mah-zoor-kah) (moh-teef’)

(nahkht’-moo-zeek’)

(nok-turn)

(ob-blee-gah’-toh)

(oh‘-pus)

DIVERTIMENTO (dee-vayr-tee-main’-toh) —Light music in easy going style;

often a potpourri of popular melo- dies.

—Sweet.

—A study or exercise for improving the technique of a performer.

—A composition in which the com- poser’s fancy roves unrestricted by any set form; often a potpourri of selections from an opera.

—Loud.

—As loud as possible.

—A “many-voiced” composition de- veloped from one central melody ac- cording to strict contrapuntal rules.

—A gay lively 16th century dance.

—A lively dance in quadruple time: it always begins on the 3rd beat of the measure.

—A rustic dance, usually the final movement in an old suite.

—A slow Cuban dance, popular in ‘Spain.

—A composition of a humorous or fanciful character.

—Literally equivalent to improvisation but in the 19th Century it came to mean a piece of music in a devel- oped song form.

—A short piece usually between the acts of a drama or opera.

—Very slow and stately.

—Smooth and connected with no breaks between tones. -

—Slow.

—German art song.

—An unaccompanied secular part song popular in the 16th and 17th cen-

turies especially in Italy and Eng- land.

—A Polish dance.

—A short group of notes forming a dis- tinct pattern repeated at different intervals throughout a composition.

—Night music; a serenade. —A dreamy pensive instrumental com- position descriptive of night.

—A supplementary accompanying part played by a single instrument more in the nature of an additional deco- rative musical idea.

—Term applied to classified composi- tions of a composer, as a means of

XV

OVERTURE

PASSACAGLIA PASSEPIED

PIANISSIMO PIANO PIZZICATO

POLYPHONIC

RITARDANDO

PRESTO PRESTISSIMO RECITATIVE

REQUIEM RHAPSODY

RONDO

SCHERZO SONATA

SONATINA STACCATO TARANTELLA

TYMPANI VIVACE

(oh’-vya-ture)

(pas-ah-kahl’-yah) (pahss-pyay): (pyah-nee’-see-moh) (pyah’-noh) (pee-tsee-kah’-toh)

(pol-i-fon’-ik)

(ree-tahr-dahn‘-doh)

(pray’-stoh) (pray-stee’-see-moh) (res-i-tah-teev’)

(rek’-wee-em)

(rap’-soh-dee)

(ron’-doh)

(skayr’-tsoh)

(soh-nah’-tah)

(soh-nah-tee’-nah) (stah-kah’-toh) (tah-rahn-tayl’-lah)

(tim’-pah-nee) (vee-vah’-chay)

identification; e.g., opus 1 to indi- cate the first work, etc.

—An orchestral composition introduc- tory to an opera, oratorio, play, suite, etc. There are also concert overtures, which are independent of any other work.

—A moderately slow. dance of Spanish |

origin.

—A dance resembling the minuet but —

in a somewhat faster tempo. —Very softly. —Soft.

—Plucked with the fingers instead of

bowed. —Term meaning “many voiced”; us- ually applied to unaccompanied yo-

cal music in which each voice sings

an independent melody.

—Gradually diminishing the speed; 2

holding back.

—Quick.

—Very quickly.

—Song in which melody, rhythm and meter are disregarded in favor of

imitation of natural inflections of .

speech; often preceding an aria.

—A musical setting of the Mass for the Dead.

—An instrumental compos'tion usually a fantasia on folk or folk-like melo- dies.

—A form in which the principal theme reappears several times in the same key, with contrasting themes in be- tween.

—A sprightly, humorous, instrumental composition usually a movement in a symphony, quartet, etc.

—An extended composition for one or

two instruments usually in 3 or 4 movements.

—A short or simplified sonata. —Disconnected; short, clear-cut play- ing; opposite to legato.

—A lively, passionate Italian Folk

Dance; once used fo lure the bite of ;

the tarantula. —Kettle-drums. —Vivacious; spirited; brisk.

XVI

“-

Ea yt Ser hehe

4 9 P : “Sika at os ok eRe ae ive i OG Pt tee Rd

il ‘ie lS,

cornerstones

for your record library

A collection of the nation’s favorites taken directly from our sales records.

One man’s meat is another man’s poison. Therefore, only the very brave will tackle the problem of telling anybody and everybody what they should or should not have in their Record Libraries.

Music is so intensely personal, so much a matter of what you yourself feel... and let the rules go hang... that the only basis on which you should build your library is personal choice. If you like it, then, by all means, include it in your collection. Enjoy it and play it with pride.

Purely as a guide, we present herewith the 5 star selec- tions from the Columbia Catalog as evidenced by our sales.

XVII

SYMPHONIES

SYMPHONY NO. 1 IN C MAJOR—Beethoven y The Cleveland Orcnestra—Artur Rodzinski....... 4-12” records, set M-MM-535

SYMPHONY NO. 2 IN D—Beethoven : Cs London Symphony Orchestra—Felix Weingartner. ..4-12"’ records, set M-MM-377 © SYMPHONY NO. 3 IN E-FLAT (’‘Eroica’’)—Beethoven Philharmonic-Symphony Orchestra of New York—Bruno Walter

6-12'’ records, set M-MM-449 SYMPHONY NO. 5 IN C MINOR—Beethoven MS: Philharmonic-Symphony Orchestra of New York—Bruno Walter sie 4-12" records, set M-MM-498 SYMPHONY NO. 6 IN F MAJOR (“Pastorale”’)—Beethoven Minneapolis Symphony Orchestra—Dimitri Mitropoulos

5-12"’ records, set M-MM-401 SYMPHONY NO. 7 IN A MAJOR—Beethoven Vienna Philharmonic Orchestra—Felix Weingartner

wi

5-12’’ records, set M-MM-260 oe

SYMPHONY NO. 8 IN F MAJOR—Beethoven rae Vienna Philharmonic Orchestra—Felix Weingartner ea 3-12" records, set M-MM-292 SYMPHONY NO. 9 IN D MINOR ("Choral’’)—Beethoven Pe eet Vienna Philharmonic Orchestra with Chorus and Soloists—Felix Weingartner 8-12’ records, set M-MM-227

SYMPHONY NO. 1 IN C MINOR—Brahms

London Symphony Orchestra—Felix Weingartner...5-12’ records, set M-MM-383 SYMPHONY NO. 2 IN D MAJOR—Brahms

London Symphony Orchestra—Felix Weingartner. .5-12"’ records, set M-MM-493 SYMPHONY NO. 5 IN E MINOR (“From The New World’’)—Dvorak

All American Orchestra—Leopold Stokowski...... 6-12’’ records, set M-MM-416

SYMPHONY IN D MINOR—Franck London Philharmonic Orchestra—Sir Thomas Beecham

Buoy retards: set M-MM-479 SYMPHONY NO. 40 IN G MINOR—Mozart London Philharmonic Orchestra—Sir Thomas Beecham

3-12” records, set M-MM-316 CLASSICAL SYMPHONY IN D MAJOR—Prokofiev Minneapolis Symphony Orchestra—Dimitri Mitropoulos 2-12"’ records, set X-MX-166

SYMPHONY NO. 5 IN B-FLAT—Schubert London Philharmonic Orchestra—Sir Thomas Beecham 4 4-12" records, set M-MM-366

SYMPHONY NO. 8 IN B MINOR (“Unfinished’’)—Schubert f Se London Philharmonic Orchestra—Sir Thomas Beecham 3-12”. records, set M-MM-330

SYMPHONY NO. 1 IN F MAJOR—Shostakovitch

The Cleveland Orchestra—Artur Rodzinski....... 4-12" records, set M-MM-472 SYMPHONY NO. 5——Shostakovitch The Cleveland Orchestra—Artur Rodzinski........ 5-12" records, set M-MM-520 SYMPHONY NO. 1 IN E MINOR—Sibelius

Philh.-Sym. Orch. of N. Y.—John Barbirolli......5-12" records, set M-MM-532

SYMPHONY NO. 7 IN C MAJOR—Sibelius Philh.-Sym. Orch. of N. Y.—Sir Thomas Beecham. .3-12’’ records, set M-MM-524 ai

SYMPHONY NO. 4 IN F MINOR—Tchaikovsky Minneapolis Symphony Orchestra—Dimitri Mer ep ol

records, set M-MM-468

SYMPHONY NO. 5 IN E MINOR—Tchaikoysky oe

The Cleveland Orchestra—Artur Rodzinski....... 5-12” records, set M-MM-406

London Philharmonic Orchestra—Sir Thomas Beecham f a 5-12” records, set M-MM-470

SYMPHONY NO. 6 IN B MINOR (‘Pathétique”)—Tchaikovsky Rs All-American Orchestra—Leopold Stokowski....... 6-12" records, set M-MM-432 |

Dis

OVERTURES

CORIOLAN OVERTURE—Beethoven Minneapolis Symphony Orchestra—Dimitri Mitropoulos....1-12’ record, 11175-D

EGMONT OVERTURE-—Beethoven aa Vienna Philharmonic Orchestra—Felix Weingartner...... 1-12” record, 69195-D :

HEBRIDES OVERTURE (‘Fingal’s Cave’’)—Mendelssohn . London Philharmonic Orchestra—Sir Thomas Beecham....1-12’ record, 69400-D

DON GIOVANNI OVERTURE—Mozart London Philharmonic Orchestra—Sir Thomas Beecham....1-12’ record, 70365-D

MERRY WIVES OF WINDSOR OVERTURE—Nicolai , London Philharmonic Orchestra—Sir Thomas Beecham....1-12’’ record, 68938-D |

XVIII | SS

THE BARBER OF SEVILLE OVERTURE—Rossini Columbia Broadcasting Symphony—Howard Barlow....... 1-12’ record, 70704-D

SEMIRAMIDE OVERTURE—Rossini London Philharmonic Orchestra—Sir Thomas Beecham

2-12’ records, set X-MX-215 WILLIAM TELL OVERTURE—Rossini London Philharmonic Orchestra—Sir Thomas Beecham 2-12” records, set X-MX-60 DIE FLEDERMAUS OVERTURE—-J. Strauss Berlin State Opera Orchestra—Bruno Walter............. 1-12" record, 9080-M

POET AND PEASANT OVERTURE—Von Suppé Concertgebouw Orchestra of Amsterdam—Willem Mengelberg

1-12’ record, 9075-M OVERTURE 1812—Tchaikovsky The Cleveland Orchestra—Artur Rodzinski........ 2-12" records, set X-MX-205

THE FLYING DUTCHMAN OVERTURE—Wagner London Philharmonic Orchestra—Sir Thomas Beecham

5 2-12’ records, set X-MX-107 DIE MEISTERSINGER PRELUDE—Waoner Pittsburgh Symphony Orchestra—Fritz Reiner.......... 1-12” record, 11984-D

TANNHAUSER OVERTURE—Wagner London Philharmonic Orchestra—Sir Thomas Beecham

2-12" records, set X-MX-123 SCAPINO, A COMEDY OVERTURE—Walton Chicago Symphony Orchestra—Frederick Stock.......... 1-12” record, 11945-D

OBERON OVERTURE—Weber London Philharmonic Oschestra—Sir Thomas Beecham....1-12'’ record, 69410-D

SUITES AND TONE POEMS

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ow ae ¥

“= ae tee” é a ‘ e

- «.* Pee “ -

-

DAMNATION OF FAUST (Excerpts)—Berlioz London Philharmonic Orchestra—Sir Thomas Beecham ; 2-12" records, set X-MX-94 L’ARLESIENNE SUITE NO. 1—Bizet London Philharmonic Orchestra—Sir Thomas Beecham 2-12" records, set X-MX-69 CARMEN SU!ITE—Bizet

London Philharmonic Orchestra—Sir Thomas Beecham 2-12" records, set X-MX-144

ESPANA—Chabrier London Philharmonic Orchestra—Sir Thomas Beecham... .1-12‘’ record, 71250-D

CINDERELLA

London Philharmonic Orchestra—Eric Coates......... 2-12” records, X-MX-239 LONDON AGAIN—SUITE—Coates

ENIGHGOOTES CMC OrcneStlG.n ics sure) to eett) one olor e oh cute ye 2-12" records, set X-MX-102

AFTERNOON OF A FAUN—Debussy London Philharmonic Orchestra—-Sir Thomas Beecham....1-12’ record, 69600-D MER, LA—Debussy The Cleveland Orchestra—Artur Rodzinski..... -,.3-12" records, set M-MM-531 DELIUS SOCIETY SET, VOLUME 1—Delius London Philharmonic Orchestra—Heddle Nash (Tenor) Sr MELIOMOAS: DECCUOIM eae crerera, ce iene crete ec: srerelens 7-12” records, set M-MM-305 ON HEARING THE FIRST CUCKOO IN SPRING; THE WALK TO PARADISE GARDEN—Delius Royal Philharmonic Orchestra—Sir Thomas Beecham. 2-12" records, set X-MX-31 THE SORCERER’S APPRENTICE—Dukas Minneapolis Symphony Orchestra—Dimitri Mitropoulos

PEER GYNT SUITE NO. 1—Grieg London Philharmonic Orchestra—Sir Thomas Beecham 2-12’ records, set X-MX-180

Grand Orchestre Philharmonique—Désiré Inghelbrecht

2-12’ records, set X-MX-110 GRAND CANYON SUITE—Grofé Andre Kostelanetz and Orchestra............... 4-12’ records, set M-MM-463

THE FAITHFUL SHEPHERD (Suite)—Handel-Beecham London Philharmonic Orchestra—Sir Thomas Beecham 3-12’ records, set M-MM-458

WATER MUSIC SUITE—Handel-Harty London Philharmonic Orchestra—Sir Hamilton Harty

2-12” records, set X-MX-13 MARK TWAIN (Portrait for Orchestra)—Kern Andre Kostelanetz and his Orchestra............. 2-12’ records, set X-MX-227

LES PRELUDES—Liszt London Symphony Orchestra—Felix Weingartner...2-12” records, set X-MX-198

XIX

/

2-12" records, set X-MX-212

A MIDSUMMER NIGHT’S DREAM (Incidental palrotiarery sy ie 20 The Cleveland Orchestra—Artur Rodzinski........ 4-12" records, set M- MM-504

NIGHT ON A BARE See Nee neuer oLagey

Concerts Colonne Orchestra—Paul Paray............... 1-12’ record, 68305-D

PICTURES AT AN EXHIBITION—Moussorgsky-Stokowski

All-American Orchestra—Leopold Stokowski....... 4-12" records, set M-MM-511

PETER AND THE WOLF—Prokofiev

Basil Rathbone (Narrator) with Leopold Stokowski conducting the All American Orchestre ces. moe cae sorta a acre dete oan 3-12’ records, set M-MM-477

DAPHNIS AND CHLOE (Second Suite)—Ravel

The Cleveland Orchestra—Artur Rodzinski........ 2-12’ records, set X-MX-230

SCHEHERAZADE (Symphonic Suite)-——Rimsky-Korsakoy

The Cleveland Orchestra—Artur Rodzinski........ 5-12” records, set M-MM-398

DANSE MACABRE—Saint-Saéns

Chicago Symphony Orchestra—Frederick Stock......... 1-12” record, 11251-D

FINLAND!IA—Sibeiius

The Cleveland Orchestra—Artur Rodzinski............. 1-12” record, 11178-D

London Philharmonic Orchestra—Sir Thomas Beecham....1-12’’ record, 69180-D

THE SWAN OF TUCNELA—Sibelius Chicago Symphony Orchestra—Frederick Stock.......... 1-12’’ record, 11388-D

THE MOLDAU—Smetana Philharmonic-Symphony Orchestra of New York—Bruno Walter t 2-12’ records, set X-MX-211. DON QUIXOTE—R. Strauss Piatigorsky (Cello) with Pittsburgh Symphony Orchestra Rritzs REINGh2s adanarinyerec sme co aetncet iene) Sen er enicn ene 5-12” records, set M-MM-506

TILL EULENSPIEGEL’S MERRY PRANKS—R. Strauss The Cleveland Orchestra—Artur Rodzinski........ 2-12”’ records, set K-MX-210

FRANCESCA DA RIMINI—Tchaikovsky London Philharmonic Orchestra—Sir Thomas Beecham 3-12’ records, set M-MM-447

NUTCRACKER SUITE—Tchaikovsky Chicago Symphony Orchestra—Frederick Stock. ..3-12’’ records, set M-MM-395

ROMEO AND JULIET—Tchaikovsky The Cleveland Orchestra—Artur Rodzinski....... 3-12"" records, set M-MM-478

MISCELLANEOUS ORCHESTRAL WORKS

ROUMANIAN RHAPSODY NO. 1—Enesco Chicago Symphony Orchestra—Frederick Stock. ...2-12’’ records, set K-MX-203

CLAIR DE LUNE—Debussy PAVANE POUR UNE INFANTE DEFUNTE Andre Kostelanetzeand#Orenesitira sro ceete een tena eeie aed 1-12" record, 7361-M

MOTO PERPETUO—Paginini PROCESSION OF THE SARDAR (from “Caucasian Sketches’’)—Ippolitov-Ilvanov

Chicago Symphony Orchestra—Frederick Stock.......... 1-12’ record, 11738-D SHOW BOAT (Scenario for Orchestra) —Kern i The Cleveland Orchestra—Arthur Rodzinski...... 3-12” records, set M-MM-495 HUNGARIAN RHAPSODY NO. 2—Liszt

The All-American Orchestra—Leopold Stokowski........ 1-12” record, 11646-D

BOLERO—Roavel :° The All-American Orchestra—Leopold Stokowski...2-12’’ records, set X-MX-174

RAPSODIE ESPAGNOLE—Ravel The Cleveland Orchestra—Artur Rodzinski........ 2-12" records, set X-MX-234

CAPRICCIO ESPANCLE—Rimsky-Korsakoy Philharmonic-Symphony of N. ¥Y.—John Barbirolli. .2-12’ records, set X-MX-185

WALTZES FROM ROSENKAVALIER—R. Strauss The Cleveland Orchestra—Artur Rodzinski.............. 1-12” record, 11542-D

CAPRICCIO ITALIEN—Tchaikowsky Philharmonic-Symphony cf N. Y.—Sir Thos. Beecham 2-12" records, set X-MX-229 MARCHE SLAVE—Tchaikowsky ., The Cleveland Orchestra—Artur Rodzinski.............. 1-12” record, 11567-D

BALLET MUSIC

XX

LES SYLPHIDES—Chopin

London Philharmonic Orchestra—Walter Goehr.......... 1-12” record, 69281-D SYLVIA; COPPELIA (Excerpts)—Delibes London Philharmonic Orchestra—Efrem Kurtz........... 1-12” record, 69323-D

RITUAL DANCE OF FIRE—de Falla-Stokowski Perpetual Motion—Novacek-Stokowski

All-American Orchestra—Leopold Stokowski..... eeeeceeet-12” record, 11879-D GAITE PARISIENNE—Offenbach

London Philharmonic Orchestra—Efrem Kurtz..... 2-12"" records, set X-MX-115 DANCE OF THE HOURS (“La Gioconda’”’)—Ponchielli

Chicago Symphony Orchestra—Frederick Stock.......... 1-12” record, 11621-D FIREBIRD SUITE—Stravinsky

All American Orchestra—Leopold Stokowski...... 3-12’ records, set M-MM-446

LE SACRE DU PRINTEMPS—Stravinsky Philharmonic-Symphony Orchestra of New York—lIgor Stravinsky

4-12" records, set M-MM-417 THE SWAN LAKE (Excerpts)—Tchaikovsky London Philharmonic Orchestra—Antal Dorati..... 4-12’ records, set M-MM-349

CONCERTOS ee

CONCERTO NO. 4 IN G MAJOR—Beethoven Walter Gieseking with the Saxonian State Orchestra—Karl Bohm 4-12” records, set M-MM-411 CONCERTO NO. 5 IN E-FLAT MAJOR (‘’Emperor’’)—Beethoven Rudolf Serkin with the Philharmonic-Symphony Orchestra of New York—Bruno WCAC TMM ARMS’ seertere<s sit cheae eae ec rie te eee eke Le 5-12’ records, set M-MM-500

SYMPHONIC VARIATIONS—Franck Walter Gieseking with London Philharmonic Orchestra—Sir Henry Wood

2-12’ records, set X-MX-10 CONCERTO IN F—Gershwin Oscar Levant with the Philharmonic-Symphony Orchestra of New York—Andre ees CR TG eee Oe es Sa! og Ga Vee cecle New bie eee oe 4-12" records, set M-MM-512 RHAPSODY IN BLUE; LOVE WALKED IN—Gershwin Andre Kostelanetz and his Orchestra—Featuring Alec Templeton

2-12" records, set X-MX-196 CONCERTO IN A MINOR—Grieg Walter Gieseking with the Berlin State Opera Orchestra—Hans Rosbaud

4-12" records, set M-MM-313 CONCERTO NO. 1 IN E-FLAT—Liszt Walter Gieseking with the London Philharmonic Orchestra—Sir Henry Wood

2-12’ records, set X-MX-17 CONCERTO NO. 2 IN A MAJOR—Liszt Egon Petri with the London Philharmonic Orchestra—Leslie Heward

3-12’ records, set M-MM-362 HUNGARIAN FANTASIA—Liszt Edward Kilenyi (Piano) with Grand Orchestre Philharmonique de Paris—Selmar AOV LOW lUZMMML CPI outs. castaieye ce atte bsteitnel eves te dre yelse gh 2-12’ records, set X-MX-120 CONCERTO NO. 1 IN G MINOR—Mendelssohn Ania Dorfmann with London Symphony Orchestra—Walter Goehr

2-12" records, set X-MX-124 CONCERTO NO. 12 IN A MAJOR—Mozart Louis Kentner with London Philharmonic Orchestra—Sir Thomas Beecham

3-12’ records, set. M-MM-544

CONCERTO FOR PIANO AND ORCHESTRA—Shostakovitch Eileen Joyce with Arthur Lockwood (trumpet) & Hallé Orchestra— eS mL TOW Clee a Mt Satya othe ene Pair Wenn cS tire Potone 3-12’ records, set M-MM-527

CONCERTO NO. 1 IN B-FLAT MINOR—Tchaikovsky Egon Petri with the London Philharmonic Orchestra—Walter Goehr

fs 4-12’ records, set M-MM-318 CONCERTSTUCK INF MINOR—Weber

Robert Casadesus with Symphony Orchestra—Eugéne Bigot 2-12" records, set X-MX-59

VIOLIN

CONCERTO NO. 2 IN E MAJOR—Bach

Adolf Busch and Busch Chamber Players......... 3-12’ records, set M-MM-530 CONCERTO IN D MAJOR—Beethoven

Joseph Szigeti with Symphony Orchestra—Bruno Walter

5-12” records, set M-MM-177 CONCERTO IN D MAJOR—Brahms Joseph Szigeti with the Hallé Orchestra—Sir Hamilton Harty

5-12’ records, set .M-MM-117 CONCERTO NO. 1 IN G MINOR—Bruch Nathan Milstein (Violin) with the Philharmonic-Symphony Orchestra of New York BOUT AISCILORTOULL 2 sconnicrnie mere ake wheter es hc bisie at acale mis 3-12” records, set M-MM-517 CONCERTO IN E MINOR—Mendelssohn Joseph Szigeti with the London Philharmonic Orchestra—Sir Thomas Beecham

4-12’ records, set M-MM-190 CONCERTO IN D MAJOR—Prokofiev

Joseph Szigeti with the London Philharmonic Orchestra—Sir Thomas Beecham 3-12" records, set M-MM-244

XX

CONCERTO IN D MAJOR—Tchaikovsky ; Nathan Milstein with the Chicago Symphony Orchestra—_Frederick Stock 4-12" records, set M-MM-413

OTHER INSTRUMENTS

BRANDENBURG CONCERTOS NOS. 1-6—Bach te 4 = The) Busch: Chamber. Playersia cure wele are oerens 8-12’ records, set M-MM-249 —

6-12" records, set M-MM-250_ .

FIRST RHAPSODY FOR CLARINET—Debussy Benny Goodman and the Philharmonic-Symphony Orchestra of New York—John > Barbiroll (hormesis cistcsecere neh iene 1 Mn ol tke tn eee Lae eee ee 1-12" record, 11517-D— 2

a CONCERTO NO. 1 IN A MINOR FOR ‘CELLO AND ORCHESTRA—Saint-Saéns ; Gregor Piatigorsky with Chicago Symphony Orchestra—Frederick Stock a4 2-12" records, set X-MX-182

*

KEYBOARD MUSIC PIANO

WALTZ—From Suite No. } For Two Pianos—Arensky

SCHERZO—From “Midsummer Night’s Dream” music—Mendelssohn 4 Ethel Bartlett and Rae Robertson (Duo-Pianists).......... 1-12’ record, 71398- dD 2

CHORALE PRELUDES—Bach

Busoni! Egor. Petri 2:5) SOLS 255i) (ai Sas a he ee ee 1-12” record, 71463-D PARTIFA NO. 5 IN G MAJOR—Bach Wolter: Gireseleing-¢PlGnOy sci... cr. castes» lauctemansl he ttiousn ened 2-12” records, set X-MX-208 SONATA NO. 14 IN C-SHARP MINOR a (Mean tote eet Ruidolf=Serkin (PIiGMOy eso ene ore : 2-12’' records, set X-MX-237 SONATA NO. 14 IN C-SHARP MINOR (“Moonlight’’)—Beethoven Egon. Petri-4qPiane) lsc or Si eee: ae ae ee 2-12" records, set X-MX- 1a SONATA NO. 2T IN C MAJOR (Waldstein’’)-—Beethoven Walters Gieséking (Piano) > oo° 200% aks tere etee totes 3-12’ records, set M-MM-358 SONATA NO. 23 IN F MINOR (‘“Appassionata”)—Beethoven . a Walter Gieséking: (Piano). 22 Xs ie oe.. meee eee 3-12” records, set M-MM-365 | SONATA NO. 28 IN A MAJOR—Beethoven z Walter: Gieseking’ (Piano) 322.3. 23... cee ecens 2-12’’ records, set X-MX-172 | VARIATIONS AND FUGUE ON A THEME BY HANDEL—Brahms Egor Petes (Pilko! So Sic Nerina act Seana er geeats 3-12’’ records, set M-MM-345 VARIATIONS ON A THEME BY PAGANINI—Brahms = EgonisPetrit (Piano )}encecicoet ccm soma eaten aera renner 2-12’" records, set X-MX-80 — BARCAROLLE IN F SHARP MAJOR—Chopin as Walter 'Gieseking (Piano). 2anis cia aire a atc atte elonelarien ai 1-12” record, 71026-D ETUDES, OP. 10—Chopin a Edward. Kilenyt),(Piaroyese. cove ieee octence stele oie enetoaene carers 3-12” records, set M-368 © ETUDES, OP. 25—Chopin Edward Kilenytia(Plano) ise occa cele