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1 of 3 copies
www.discogs.com/Johann-Sebastian-Bach-M%C3%BCnchener-Bach...
Bach - Brandenburgische Konzerte 1,3,6 BWV 1046, BWV 1048, BWV 1051 - Munchener Bach-Orchester (Kurt-Christian Stier, Ingo Sinnhoffer, Oswald Uhl, Johannes Fink, Fritz Kiskalt, Hansheinz Schneeberger, Manfred Clement, Hermann Baumann, Werner Meyendorf), Karl Richter, DGG Archiv 198 487
www.discogs.com/Olivier-Messiaen-Pieces-For-Organ/release...
Messiaen - Organ - Transports de joie d'une ame, Devant la gloire du Christ qui est la sienne, Les oiseaux et les sources, Les eaux de la grace, Dieu parmi nous, Le vent de l'esprit, L'ange aux parfums, Desseins eternels - Jean-Claude Reynaud Organ Orgue Orgel, Cavaille-Coll Organ St.Sernin Basilica Toulouse France 1967, Candide Vox CE 31034
Depeche Mode - Where's the Revolution
Depeche Mode are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan (lead vocals, occasional songwriter since 2005), Martin Gore (guitar, keyboards, vocals, main songwriter since 1982), and Andy Fletcher (keyboards, bass guitar). Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke (keyboards, guitar, main songwriter from 1980 to 1981), left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the lead songwriting duties and, later in 1982, Alan Wilder (keyboards, drums, bass guitar, occasional songwriter) officially joined the band to fill Clarke's spot, establishing a line up that would continue for the next 13 years. Depeche Mode have been a trio again since 1995, when Wilder left.
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www.discogs.com/Louis-van-Dijk-Thomas-Orgel-Variatie-Loui.... Thomas Soloist Model 100, Thomas Catalina Special Model 235EL, Gershwin-Strike up the Band,Lennon/McCartney-Yesterday, Bach-Aria uit Suite in D, Londonderry Air
Rare Record
1 of 2 copies
www.discogs.com/Franz-Schubert-Schneiderhan-Fournier-Nico...
Schubert - Duos & Piano Trios - Sonatine D.384, D.385 & D.408, Rondo D.895, Fantasie D.934, Duo D.574 - Walter Klien Piano, Wolfgang Schneiderhan Violin & Sonate D.821 - Jean Fonda Piano, Pierre Fournier Violon Cello & Variation uber "Ihr Blumlein alle" - Aurele Nicolet Flute, Karl Engel Piano, 1970 & Piano Trio D.898- Trio di Trieste (Dario de Rosa Piano, Renato Zanettovich Violin, Libero Lana Violon Cello), 1961 & Piano Trio D.929, 1967 - Trio di Trieste (de Rosa, Zanettovich, Amadeo Baldovino Violon Cello) 1969 & Notturno D.897 - Christoph Eschenbach Piano, Rudolf Koeckert Violin, Josef Merz Violon Cello, DGG 2734 004 Privilege Box 4Lp, 1975
www.discogs.com/Felix-Mendelssohn-Concerto-N2-Pour-Deux-P... Rare Record. 1 of 2 copies. Not identical
1 of 2 Copies. www.discogs.com/Puccini-Milanov-Bjoerling-Warren-Leinsdor...
Puccini - Tosca Opera - Zinka Milanov,Jussi Bjoerling, Leonard Warren, Leonardo Monreale, Fernando Corena, Mario Carlin, Nestore Catalini, Vincenzo Preziosa, Giovanni Bianchini, Rome Opera House Orch. & Chorus, Erich Leinsdorf, RCA Victrola VICS 6000/1-2 EX
www.discogs.com/Addinsell-Liszt-Chopin-Rachmaninoff-Warsc.... Virtuose Klaviermusik - Addinsell - Warsaw Concerto - Isador Goodman Piano, Melbourne SO, Patrick Thomas & Liszt - Piano Concerto No.1 - Tamas Vasary Piano, Bamberger Symph., Felix Prohaska & Chopin - Andante spianato, Grande Polonaise brillante op.22 - Tamas Vasary Piano, Berliner Phil., Janos Kulka & Rachmaninov - Piano Concerto No.2 op.18 - Sviatoslav Richter Piano, Warsaw Nat. Phil. SO, Stanislav Wislocki, DGG Favorit 2535672. 1 of 2 copies. Not identical
www.discogs.com/Robert-Casadesus-Interpr%C3%A8te-Les-Plus.... Suite Bergamasque - Clair De Lune,Children's Corner - Doctor Gradus Ad Parnassum, Serenade of the Doll, Deux Arabesques, Images-Livre I - Reflets Dans L'Eau, Masques, Estampes - Jardins Sous La Pluie, Preludes-Livre !! - Feux D'Artifice, Pavane pour une infante defunte, Jeux D'Eau, Miroirs - Alborada Del Gracioso, Ma Mere L'Oye - Laideronette Imperatrice des Pagodes, Tombeau de Couperin - Forlane-Rigaudon, Le No. 209
www.discogs.com/Francis-Poulenc-Georges-Bernanos-Artistes...
Rare Record.
No Backside
1 of 2 copies.
Gramophone Review:
In the history of French opera Dialogues des -Carmélites is a worthy successor to Debussy’s Pelléas, and indeed its touching heroine Blanche shares much of the troubling, troubled, out-of-this-world, fey personality of her predecessor. Poulenc is as accomplished a master at setting the French language in a melodic yet at the same time quasi-parlando style as Massenet, and his use of a large orchestra is at once fastidious and convincing, conservative but never derivative, though inevitably there are influences, mostly beneficial ones.
It is evident from this recording that the singers were inspired by the piece to give of their considerable best. With the benefit of hindsight we can judge that this was a final flowering of the authentic school of French singing. Denise Duval is part of the long line of clear-voiced, incisive sopranos in the Heldy mould. She catches here all the conflicting facets of Blanche’s personality, girlish, wilful, frightened, elated as the role requires. Crespin, even though at this early stage of her career she was already not altogether happy above a high G, is a moving, authoritative Madame Lidoine. Still better is Rita Gorr’s commanding yet sympathetic Mother Marie and Denise Scharley’s haunted and haunting Old Prioress, quite devastatingly desparate in her death scene. Liliane Berton is a charming Sister Constance, and the smaller roles are finely taken, not least Louis Rialland as the hapless, helpless Chaplain.
Pierre Dervaux conducts an inspired, inspiriting account of the work, attentive to both its smaller detail and its grander, elevated passages, raising the final scene of martyrdom to a proper degree of intensity as some inner strength and group-fervour grips the nuns. As compared with the vocal score, there are a few cuts and changes in the voice parts, both sanctioned by Poulenc. The mono recording is more than adequate. For anyone interested in 20th-century opera, this is a ‘must’: we are unlikely to have another recording and certainly not one so authentic as this.