Paul van Kempen. Polydor 78s, Pt. 4

Happy late Thanksgiving to everyone! The holiday weekend has given me a little bit of time to work on transfers, so here is another installment of Polydor recordings by conductor Paul van Kempen. This will be the last batch comprised exclusively of Polydor material, but I DO have the Telefunken Sibelius 7th and some Hilversum Philharmonic material on Philips 78s in the pipeline. Also, I’ve discovered that there are two different Polydor versions of Liszt’s Les Preludes, so I will have the alternate version available as well. In addition to the concerto recordings with Wilhelm Kempff, Vasa Prihoda, Enrico Mainardi, Gioconda de Vito and Georg Kulenkampff, which have either been somewhat readily available or have been unavailable to me, there is probably at least a cd’s worth of Polydor items that I have not been able to locate. But, I can’t thank my friend Mike Gartz enough for allowing access to these rare items, and also putting up with my monopolizing his audio system for hours on end while dubbing these records during my visits! Thanks also to Neil for the scan of the autographed photo!

Beethoven Symphony No. 5 in C Minor, Op. 67
Polydor 67635/39 (matr. 1509-1517 GE)

July 7, 1941

Beethoven: Die Geschöpfe des Prometheus:
Overture and Ballettmusik Nr. 8. Allegro con brio
Polydor 15488/89 (matr. 1683-86 GS 9)
July 7, 1941

Gluck: Orphée et Eurydice:
No. 29, Ballet (Dance of the Blessed Spirits)
No. 30, Ballet (Melodie)
Willi Pretzsch, Flute soloist
Polydor 57155 (matr. 1681-82 GS 9)
July 7, 1941

Lortzing: Zar und Zimmermann, Overture
Polydor 57161 (matr. 1734-35 GS 9)
December 29, 1941

Cornelius: Der Barbier von Baghdad, Overture
Polydor 57162 (matr. 1736-37 GS 9)
December 29, 1941

Berlioz: Le carnaval romain, Ouverture, Op. 9
Polydor 57276 (matr. 1746-47 GS 9)
December 29, 1941

Paul van Kempen, Conductor
Dresden Philharmonic Orchestra


Posted in Orchestral, Van Kempen | Leave a comment

‪Otakar Jeremiáš‬. Dvořák: Symphony No. 9 (Esta, 1940s)

I’ve had this on my “to do” list for over two years now!  My friend Tobias posted this about four years ago in mp3 format, and I asked if I might have a “go at it”, so he generously sent me single side dubs which I’ve only now prepared.  So, a belated thank you to Tobias!

Here is another affectionate but not saccharine, easy-going but not dull, superbly idiomatic performance from Jeremiáš‬, who is a favorite of mine (see these other posts).  Perhaps it won’t leave one wanting to part with the various Talich versions, but I think you’ll enjoy this on it’s own terms.  The trio to the Scherzo movement has just the right kind of subtle “lift” to the rhythm, something seemingly captured with ease by so many Czech musicians, but not easily exported to many outside of the borders of Dvořák’s homeland.

Dvořák: Symphony No. 9 in E Minor
“From the New World”, Op. 95, B. 178

Otakar Jeremiáš, Conductor
Orchestr Národního divadla v Praze 
(Prague National Theatre Orchestra)
Esta H 5077/81 
Matr. BIEM 4357-63; 4365-6; 4374
Recorded in the 1940s


Posted in Jeremiáš, Orchestral | 11 Comments

Jonel Perlea. Schubert Symphony No. 9. Bamberg Symphony (Vox, 1956 Stereo)

I took a chance on this at a local lp eatery, and was very pleasantly surprised with the quality of the performance and recording.  My very first post on this blog was Perlea’s Remington lp of Debussy’s La Boîte à joujoux, and since the link had expired for that I’ve taken the opportunity to do a fresh 24 bit transfer of it.  So please visit that post to download the new and improved transfer.

Back to this Schubert.  According to the discographic information at, this performance was recorded and released in 1956, in mono pressings.  Yet this later pressing (with a “RVG” embossed in the vinyl indicating that Rudy Van Gelder mastered it), is in true stereo, and could even interest the audiophiles among us, as a wonderful stereo it is, with a very wide range and pleasing image spread.  It’s a bit light in bass, but some of this was perhaps Perlea’s preferred balance.  There’s an interesting emphasis on the (important) trombone lines, at the expense of trumpet and timpani, which adds an interesting clarity to textures.  It’s been a while since I’ve heard any of the Toscanini versions, but perhaps the textural approach is under the influence of AT?  Certainly the swiftly moving Andante con moto movement is in the Toscanini mold.  There is a truly strange detail in this movement at the 7:29 mark:  the pause after this dynamic buildup is a mind-boggling 15 seconds!  At first I thought my record was stuck in a (very quiet) skip!  Was this Perlea’s interpretation or Vox’s goof?  In any case, I don’t think you’ll find the same “heavenly length” on another version!  Overall, I think the first and third movements are the strongest, with beautifully shaped lines and well balanced textures.  You won’t find the individuality of a Mengelberg or Furtwangler here, but there’s much to enjoy.  The finale seems promising, but I feel it loses tension somewhere down the road, and ultimately disappoints.  The Vox stable of conductors can certainly yield many pleasures (Perlea, Hollreiser, van Remoortel, Gielen, and of course the better known Horenstein & Klemperer), if not always with the greatest consistency.  Perlea himself could be extremely dull, as in his slack and tepid Rimsky Scheherezade.  I should pull out his Berlioz Fantastique, which was actually my first lp version and I found very good at age of 10 or 11 (I also had the later Monteux SFSO version on 45 rpm!).

Schubert Symphony No. 9 in C Major, D. 944
Jonel Perlea, conductor
Bamberg Symphony
VOX STPL 510.200 (also PL 10 200)
Recorded or Issued September 10, 1956



Posted in Orchestral, Perlea, Uncategorized | 6 Comments

Ferdinand Leitner. 3 by Johann Strauss II

Among the neglected files on my hard drive, awaiting further work,  are a number of wonderful recordings by two of the “L” conductors from the Deutsche Grammophon stables in the late 78/early LP era, Fritz Lehmann and Ferdinand Leitner.  Rather than a large compilation (more to come!) here’s a small lagniappe (although it’s all free here, eh?) from Leitner.  There are several LPs worth of Strauss family works from him, perhaps not quite a rival in quality to the superb Ferenc Fricsay sides, but I think you’ll find a refined, pleasingly balanced and easy going approach from “L” and the Wurtembergers.  I don’t have the LPs at my disposal….this is from one of the “long playing” Variable Micrograde pressings, which are shellac 78rpm, but because of the variable groove spacing accomodate over 8 minutes per side.  Here‘s a bit more about them from a Gramophone article.  They can be noisy (this one is rather so), but have a sweet upper response, roundness, and a bit more dynamic range than the contemporary LP pressings.  These would have been tape originals, so certainly the disadvantage is the noise added.  Thanks to Mike Gartz for sharing this from his collection!  I do have one previous Leitner post here (the Mediafire links still seem to work). Hope you enjoy!

Johann Strauss II:
Wein, Weib und Gesang, Op.333
Bitte schön, Op.372 
Leichtes Blut, Op.319

Ferdinand Leitner, conductor
Württemburgisches Staatsorchester 
Recorded January 21, 1950
Stuttgart, Staatstheater
DG Variable Micrograde 78rpm 72011 



Posted in Leitner, Orchestral, Uncategorized | 1 Comment

Complete 1934-35 Polydor recordings by the Galimir Quartet

I’m finally back with some music!  I’m still not quite sure on the private or non-private status of my blog down the road, but I have finally caught up with the large number of comments asking for invitations.  Sorry about the delay and thanks for the interest! Obviously, I have not yet started the huge task of restoring links for the dead files, but this will start happening soon!

Meanwhile, with a minimum of comment, here are my transfers of the 3 works recorded by what the mid-30s Polydor labels refer to as the Galimir Quartet of Vienna.  I’m sure many young musicians knew Felix Galimir later in his life, as one of the premier chamber music coaches (at Juilliard, Mannes & Marlboro) until his death in 1999, but before that, in addition to this early version of the Galimir Quartet (its last incarnation only disbanded in 1993!), he was a member of the Vienna Philharmonic, and later Toscanini’s NBC SO. I still think of my only coaching (at a master class) with him whenever I play the Beethoven Spring Sonata!

The Berg Lyric Suite was recorded again by one of Galimir’s later quartets in 1983, but this 1935 recording was the first.  It’s hard to imagine the work involved to learn this work at that time, but the hard work shows….this is a completely fluid and assured performance!  The Ravel and Milhaud works have the stamp of authority of having both composers supervise the recordings. There are some transfers available of the these recordings, but I thought there was room for improvement, especially being able to work from flawless laminated Brunswick pressings from the collection of my friend Mike Gartz (thanks!).  One of those previous transfers of  the Berg missed a nearly half step pitch drop in the 4th mvt., and I’ve corrected this, of course. In the case of the Milhaud, Mike also did the 24 bit dubbing from his copy.

Ravel String Quartet in F
Brunswick 90411/13; Polydor 516758/80
matrices: 1012/14, 1008/9, 1011 gpp
Recorded 1934

Berg: Lyric Suite
Brunswick 95006/9; Polydor 526659/62
matrices: 1093, 1092, 1094/95, 1088/89, 1096/97 gpp
Recorded 1935

Milhaud String Quartet No. 7, Op. 87
Polydor 561100/01
matrices: hpp 2160/63
Recorded Nov. 18, 1935
Paris, Polydor Studio No. 2


See here, for the interesting proofs with Ravel’s corrections, one page of which heads this post.

Posted in Chamber, Galimir Quartet, Uncategorized | 23 Comments

Guiomar Novaes. Beethoven & Debussy

Guiomar Novaes is a favorite of mine, back from my days of imprinting via vinyl of various key repertory,  through the fairly thorough representation of her discography on CD (don’s miss the wonderful 2 CD set of Schumann recordings on the Musical Concepts label!).  Her Chopin Waltzes and Falla Nights in the Gardens of Spain were particular benchmarks in my young listening years.  Before I was 10 years old had a Vox sampler (or Voxample!) lp entitled “This is Novaes” which contained excerpts from both lps I’m presenting today.  I particularly enjoyed the last movement of the Beethoven concerto, and was disappointed that the earlier version conducted by Klemperer was chosen for CD reissue…not that the earlier version is unworthy, but I had never managed to find a copy of the complete Swarowsky conducted performance!

Perhaps the theme of this post should be the great, and the not so great!  The Beethoven showcases everything I love about Novaes’ playing:  beautiful singing tone and tonal sensitivity coupled with an ample supply of gutsiness, and a pragmatic balance between instinctive musicality and intelligent observation of the musical text.  It’s not “intellectual” Beethoven (and often not “urtext” either…listen to the final arpeggio of the concerto, continuing up the octave!), but it adds up to a tremendously satisfying view and realization of the work, even if a few eyebrows may be raised by those brought up on versions in which the Andante con moto 2nd movement is less “moto” and more philosophically searching.  I’m not sure why she recorded the concerto again so soon after the Klemperer version, but I’m certainly glad she did!

So, what about the Debussy?  I wanted to share it because there is no digital era reissue of it, but on many levels it’s not a success, I’m afraid.  Levels indeed…I’m not sure at which stage the ruinous dynamic compression was applied, perhaps in the original recording, or perhaps in the cutting, but it’s certainly the worst sounding of all of her Vox recordings.  Interestingly, the lead-out groove area reveals a “RVG” stamped onto it, so the cutter was legendary Jazz engineer Rudy Van Gelder!  What about Novaes?  There’s a rather infamous sound byte which exists among private collectors from one of her Vox sessions, at which she thought she was going to record retakes of repertory from a previous session.  When informed that she was to consider that project finished, and not so gently requested to start on fresh repertory, she flies into a verbal rage, all the while playing Chopin’s Barcarolle (in several different keys!).  I wonder if she had similar thoughts about the Debussy sessions?  Frankly, there SHOULD have been some retakes, as much of the playing is tentative, and there are numerous details that should not have been left “as is”, in my opinion.  Perhaps this was not repertory that Novaes had lived with enough, because there are some rather egregious score reading gaffes that she did not catch.  For example, in Les collines d’Anacapri, at 17 seconds in she misreads the divided stems which should be in rhythmic unison, and played both hands apart.  At the 2:54 mark she incorrectly reads the high register whole tone cluster….oddly the same mistake is made by Cortot, so perhaps there is an error in early editions?  Voiles has a curious rhythmic misreading at 1:26.  Danseuses de Delphes has a strange interpretation of the off beat chords (starting at 1:56), but I’m more inclined to see that as an conscious interpretive decision rather than a misreading, odd as it is.  At other times, there ARE certainly wonderful moments, and the fact that she has a fresh approach pays dividends, but I have a feeling that she needed to live with this repertory a bit longer before committing it to disc. Oddly, when Novaes first went to Paris to study, she won first place in a competition at the Conservatoire.  Among the jurors were Faure, Moskowski, and Debussy!  Perhaps she did not include works by the latter!

Thanks to Ward Marston for his transfer of the Beethoven lp (and thanks to Donald Manildi and IPAM for the loan of the lp).  I transfered the Debussy from Ward’s lp.

Beethoven:  Concerto in G Major, Op. 58
Beethoven:  Sonata No. 14 in C# Minor, Op. 27, No. 2, “Moonlight”
Guiomar Novaes, piano
Hans Swarowsky, conductor
Pro Musica Symphony, Vienna
Vox PL 8530 (released 1954)

Debussy: Preludes, Book 1
Guiomar Novaes, piano
Vox PL PL 10.180 (released 1956)

Note:  These are new links from Mediafire which should work now!

Posted in Novaes, Piano, Uncategorized | 15 Comments

Henri Merckel. Works by Mozart, Faure, Ravel, Pierne, Bozza

Yes, it’s been a long time since my last post…I’ll try not to make promises I can’t keep, but it’s been very difficult to find time to work on transfers the past few months.  Thank god for the holidays!

So, here’s a collection centered around violinist Henri Merckel (1897-1969), who is not completely overlooked (there are single discs from Music and Arts & Dutton), but is still fairly neglected considering his fairly large discography spanning from around 1930 through the 1960s. Despite his virtuoso pedigree (and ablilities!) and often florid portamenti, overall Merckel gives the sense of being a rather no-nonsense musician, rather than a fire-breather.  He was able to easily adapt to a wide range of styles and periods, from quite a number of Baroque era works to contemporary repertory.  The Ravel shows a beautiful ensemble and coloristic sense and, and a quicksilver responsiveness to his colleagues, including the seldom recorded but fabulous pianist, Eliane Zurfluh-Tenroc.  The Pierne work is a delight, and is played to the hilt!  The Bozza is a rarity, on a label I’ve not encountered before, but while it amply displays Merckel’s virtuosity, it also exhibits Bozza’s second rate writing.  Being generous, perhaps the composer intended certain passages to be an “homage” to Ottorino Resphighi’s Pini di Roma….or perhaps he figured this work would be forgotten before the lawyers came after him!  It seems to exist in a clarinet version as well.

Thanks again to Ward Marston and Mike Gartz for their rare originals, and technical wizardry.  As previously, the editing is my work.

MOZART: Violin Sonata in B-flat major, KV454
Henri Merckel, violin,
Jean Hubeau, piano
Recording d
ate:  January 23, 1942
Anthologie Sonore 111-13
Matr. AS 233-38

PIERNE: Impression de Music-Hall
Henri Merckel, violin,
Pugnet Caillard, piano
Recording d
ate: Feb. 2,  1946
Paris, Studio Albert
Voix de son maître DB11126-27
Matr. 2LA 4472-75 

BOZZA: Rapsodie niçoise
Henri Merckel, violin,
Orchestre Symphonique sous le dir. de l’Auteur
Recording date: April 6, 1943
Florilege HP2051-52
Matr. FLX 44-47 

SAINT-SAËNS: Danse macabre, op. 40
Orchestre symphonique de Paris,
Philippe Gaubert, conductor
Henri Merckel, violin
Recording date: April 4, 1930
Columbia LFX44
Matr. WLX 1325-26,  Takes: 2 & 1

FAURÉ: Piano Quartet No. 1 in C Minor, Op. 15
Merckel String Quartet
(Henri Merckel, Alice Merckel,

& Gaston Marchesini),
Eliane Zurfluh-Tenroc, piano
Recording dates: November 29 &30, 1933
Voix de son maître  L973-76
Matr. 2PG 1268-76

RAVEL: Trio pour Piano, Violon et Violoncelle
Henri Merckel, violin,
Madeleine Marcelli-Herson, cello,
Elaine Zurfluh-Tenroc, piano
Recording date: March 12, 1931
Voix de son maître DB4803-05
Matr.  2G 443-48 


Posted in Chamber, Merckel, Uncategorized, Violin, Zurfluh-Tenroc | Tagged , , , | 12 Comments

Georges Enescu, Céliny Chailley-Richez play Enescu’s Violin Sonata No. 3 (1948 Columbia)

Well, I see my absence this time has been the longest yet.  My apologies, but somehow this summer’s break for me has included working on transfer projects this time.  All I can say is that I have no intention of giving up, and there are quite a few things in the works!  I’ll try to catch up with responding to your comments soon….my apologies for neglecting these, and thanks for all of your input.

This is a fresh bit of work from just a couple of nights ago.  I’m back in the mid-Atlantic for my semi-annual visit, which means visits to Ward Marston’s as well!  So, as so often, let’s all thank Ward for providing the fine morsel from his collection, and his expert disc to digital expertise.  If the side joins are inferior, that is MY department this time!

Listeners may be more familiar these days with the recordings Enescu and Dinu Lipatti made of this (and the 2nd also) Sonata, which have now been issued in a number of different forms (I’m afraid the current incarnation from Electrecord is not at all good sonically).  This version with Chailley-Richez was commercially recorded and issued.  They also recorded Enescu’s 2nd Sonata for Remington (see this wonderful site for information on Chailley-Richez and Enescu‘s work for that label).  These days the Lipatti versions have supplanted these collaborations, which is understandable, but unfortunate.  Yes, Chailley-Richez is no Lipatti, but is no slouch either, and the recorded sound gives a better representation of Enescu’s tonal palate, even though he is near the end of his violinistic career, and there are a few moments of unsteadiness.  In either version, Enescu shows that this wonderful work was one he was born to compose AND perform!

Enescu: Violin Sonata No. 3, op. 25,
“Dans le charactère populaire roumain”
Georges Enescu, violin
Céliny Chailley-Richez, piano
Recorded October 19, 1948
Columbia GFX 121/3
Matrix nos.: CLX 2646/51 (all take 1)
Paris, Studio Albert

New link!

Posted in Enescu, Uncategorized, Violin | 3 Comments

Hugues Cuénod. French, Italian & Spanish Songs. 1950’s Westminster recordings

I thought I should pay a small tribute to Hugues Cuénod, who passed away 3 months ago at the age of 108.  It’s not really possible to sum up his unique qualities and accomplishments in a few words, so I’ll refer to this summation of his art that John Steane wrote for Gramophone back at the time of Cuénod’s 100th birthday.

It’s a shame that the opportunity wasn’t taken to issue an “Original Masters” boxed set containing all of the wonderful Westminster albums from the 1950’s, and now with the disappearance of some earlier cd issues by Dante/Lys, these recordings are a bit hard to come by currently.  There is an excellent Cuénod discography here, by the way. I remember a friend of mine who is a bit more versed in music history of this period looking at the French Troubadour program and remarking that it was not really an accurate title for the program.  In any case, it’s certainly a pleasing selection, and Cuénod’s simplicity triumphs over whatever may have changed in performance practice in the intervening decades.

Italian Songs (of the 16th and 17th Centuries) –
Spanish Songs (of 16th Century)

Italian Songs (16th and 17th Centuries)
1.  Marco da Gagliano: Valli profonde
2. Perino Fiorentino: Lute solo: Fantasia
3. Girolamo Frescobaldi: Se l’aura spira
Philippe Verdelot, arr. Willaert:
4. Fuggi, fuggi, cuor mio
5. Con lagrime e sospir
6. Anonymous: Lute solo: Veneziana
7. Giacomo Carissimi: Sventura, cuor mio
8. Antonio Scarlatti: Cara e dolce

Spanish Songs (16th Century)
Luis de Milan:
9. Perdida
10. Sospiro
11. Durandarte
12. Lute solo: 3 Pavanes
Alonso de Mudarra:
13. Si me llaman
14. Triste estaba
15. Lute solo: Pavana
16. Israel

Hugues Cuénod, tenor
Hermann Leeb, lute
Recorded c. 1950
Westminster WL 5059 or XWN 18654

French Troubadour Songs

1. Il me suffit
2. Quand ce beau printemps
3. Gilles Binchois: Rondeau: De plus en plus se renouvelle
4. Exultate iusti in Domine (Psalm XXXIII)
5. Quare fremuerunt (Psalm II)
6. Verba mea (Psalm V)
Guillaume de Machaut:
7. Ma chiere dame
8. Chanson Balladée
9. Hugo de Lantins: A madame playsante et belle
Clemens non Papa:
10. Misericorde au martyr
11. Puisque voulez
Thomas Créquillon:
12. L’ardent amour
13. A vous en est
14. Anonymous: Le lai des amants
Thomas Créquillon:
15. Je suis aimé de la plus belle
16. Puisque malheur
17. Cessez, mes yeulx
18.  Guillaume Dufay: Le jour s’endort
19. Adam de la Halle: Helas! il n’est mais nuns
20. Thibaut IV de Navarre: Pour ce se d’amer dueil

Hugues Cuénod, tenor
Hermann Leeb, lute
Recorded c. 1958
Westminster XWN 18683 or W 9610


Posted in Cuénod, Vocal | 8 Comments

Piero Coppola, Part 3

Here are some more rarities featuring Piero Coppola at the helm.  The gem of the batch is certainly the Falla Nights in the Gardens of Spain, a speedy yet evocative version, featuring some the wonderful playing of pianist Aline van Barentzen (see link for bio).  Despite the exotic appellation, van Barentzen was born in a Massachusetts, and had an important career, but did not make many recordings.  Owners of the large collection of Villa-Lobos leading his own works, entitled Par Lui-Meme, will find her performing two of the Chôros. I have included the solo piano filler side as well.

Coppola recorded a very large number of sides accompanying vocalists such as Charles Panzera and Vanni-Marcoux, and those fall outside of the scope of my survey, but I had to include the rare and beautiful Japanese songs orchestrated by Coppola himself.  This was the only record issued, but there were nine other sides recorded, but not issued, according to my discography!

Those of you who burn these compilations of mine to cdr, will have to choose to omit one track when burning to a 80 minute blank disc. Perhaps expendable is the not so fascinating orchestral transcription of Rachmaninoff’s Prelude in C sharp minor.  If you are inspired to add this to your library of scores, it seems to be available still.

I will present one more Coppola post soon:  the 1927 excerpts from Debussy’s Pelleas et Melisande, complete with the first disc omitted in two different cd reissues.  As in the previous posts, these transfers were a collaboration with Ward Marston providing the source material from his collection and disc transfers, and myself doing the editing honors.  Thanks again to Ward!

Rossini:  Overture to Il barbiere di Siviglia
Orchestre Symphonique du Gramophone
Disques Gramophone L 623
Matrices CFR 468/69
Recorded March 31, 1927

Balakirev: Tamara
Orchestre de la Société des concerts du Conservatoire
HMV DB 4801/2
Matrices 2K 121/22 & 124/25
Recorded January 14 & 28, 1931

De Falla: Noches en los Jardines de España
Aline van Barentzen, piano
Orchestre Symphonique
Disques Gramophone W 938/40a
Matrices CT 4031/35
Recorded June 7, 1928

De Falla: Andaluza (No. 4 from Piezas Españolas)
Aline van Barentzen, piano solo
Disques Gramophone W 940b
Matrix CT 4050
Recorded June 11, 1928
Note:  this is a filler for the “Noches” set

De Falla: Danse Espagnole (from La vida breve)
De Falla: Danza del fuego (from El amor brujo)
Orchestre Symphonique du Gramophone
Disques Gramophone W 891
Matrices CK 2756/57
Recorded March 6, 1928

Respighi: Pini di Roma
Orchestre de la Société des concerts du Conservatoire
HMV DB 4991/92
Matrices 2LA 671/74
Recorded October 12, 1935

Deux Melodies Japnoaises (orchestrated by Coppola):
a) Momizouri-Uta (Chanson de la Recolte du Riz)
b) Kusakari-Uta (Chanson du Faucheur)
Ayako Ogino, Soprano
Orchestre Symphonique du Gramophone
HMV DA 4826
Matrices OW 1432/33
Recorded c. 1932

Rachmaninoff:  Prelude in C Sharp Minor, Op. 3, No. 2
(arranged by G. Trousset)
Orchestre Symphonique
Disques Gramophone W 801b
Matrix CF 2798
Recorded January 27, 1930Note: B side to the Werther Prelude presented in my previous Coppola compilation


Posted in Coppola, Orchestral | 19 Comments