1940 BELA BARTOK PLAYS Preludio All Ungherese Fire Rondo Continental Records 78

$

67

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WEEK 2 of 3 weeks of great auctions – this is the SECOND week of three weeks of great records. As a default, I will not send you an invoice until the end of my sales cycle on September 27 – that way you can see my next listings and you can combine your wins into one parcel for a low postage.

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The famous BELA BARTOK recordings recorded by Don Gabor in his New York apartment for Continental Records

    In the winter of 1940 Béla Bartók and his wife Ditta Pasztory had come to the US to perform in a series of concerts. They had planned to go back to Europe in two years time as they expected that the war would not last very long. But the composer's health deteriorated. They stayed. Now it was important to get their son Peter out of Hungary to join them. They succeeded. Peter arrived in 1942 and then enlisted in the US Army at age 18.

    Producer Don Gabor and conductor Laszlo Halasz (later to be Remington's Recording Director) knew Béla Bartók. Halasz knew the composer personally and Gabor may also have met him in Hungary, but in any case knew of his appearence in New York. They made recordings of the maestro at his home in 1941 and probably also in 1942 and 1943, although it is possible that only Columbia made recordings in that year. The recordings made by Gabor and Halasz were practically immediately released on four Continental 78 RPM records (Set 102 consisting of 4005/6/7/8). Don Gabor had founded Continental Records Inc., in 1942. The discs were of course listed in the Gramophone Encyclopedia of Recorded Music, 1948 edition.

Three Hungarian Folk Tunes

Two Piano Pieces fr Mikrokosmos: Chord and Trill Study - New Hungarian Folk Song - Chromatic Invention

Preludio All Ungherese

First Rondo  Second Bagatelle

Improvisations No 7,8 / 1,2,6

Slow Melody Wallachian Dance Whirlign Dance/Quasi Pizzicato Ukrainian Songs Bagpipe PLayers

3x12" 78 rpm record. in original Album

Condition: Records have a severe defect: The groove is not circular but somewhat heart shaped. Needle jumps on the first 1cm. Using an Ultra Light Tonearm helps somewhat, but the records are very problematic,

Excellent minus, unworn some rubs, fine scratch on Rondo, fine scratch on Improvisation 1, Slow melody side is hazy and looks somewhat grainy.

Album is solid, spine split, some roughing of edges

Owner and producer of Remington Records, Donald H. Gabor (click on the name to read more about the man), was born on November 20, 1912. He received his education in Hungary. He was related to the Halmos family of Chicago. He came to the United States in 1938, just before World War 2 broke out. Many Hungarians left their country in the nineteen twenties and thirties as refugees of the dictatorial regime of Miklos Horthy (1921-1939). More Europeans fled from 1933 on because of the coming of the Third Reich.
Being of Hungarian descent is an important fact. It explains why so many artists, who had fled Hungary and other Eastern European countries, just before World War II, or had come to the US right after World War II had ended, were asked by Don Gabor to record for his labels at some time or other. If they had not been born in Europe, their parents would have and naturally had strong ties with the homeland. Or they simply had studied in Europe.

That is why names like Sari Biro, Edward Kilenyi, Laszlo Halasz, Ernö Dohnányi (in German: Ernst von Dohnanyi) and Georges Enesco/George Enescu (who stayed in Romania during World War Two) recorded for Gabor's labels. Many of the artists knew each other. .Helen Airoff was a pupil of Enesco's and French pianist Céliny Chailley-Richez can be found in the Remington catalogue when performing with Enesco and also with Airoff. Dohnányi was the teacher of pianist Edward Kilenyi and of conductor Laszlo Halasz. In Europe Dohnányi had met American violinist Albert Spalding and was to perform with him in New York several years later.
Pianist Etelka Freund was another example. She also was originally from Hungary and came to the United States in 1946 because her attempt to flee Europe before the war had failed. She inevitably was invited to make recordings for Don Gabor too.
Also the designers had European names: Alex Steinweiss, Otto Rado (from Slovenia), H. Kaebitz, Albitz, Einhorn, and Slonevski.
Even gifted jazz violinist Eddie South - The Dark Angel of The Fiddle - had a tie with Gabor's homeland and with Budapest where he studied shortly with professor Janoz Derzo (according to John C. Brown's liner notes on the cover of Trip Jazz TLP-5803).

    BELA BARTOK

    In the winter of 1940 Béla Bartók and his wife Ditta Pasztory had come to the US to perform in a series of concerts. They had planned to go back to Europe in two years time as they expected that the war would not last very long. But the composer's health deteriorated. They stayed. Now it was important to get their son Peter out of Hungary to join them. They succeeded. Peter arrived in 1942 and then enlisted in the US Army at age 18.

    Producer Don Gabor and conductor Laszlo Halasz (later to be Remington's Recording Director) knew Béla Bartók. Halasz knew the composer personally and Gabor may also have met him in Hungary, but in any case knew of his appearence in New York. They made recordings of the maestro at his home in 1941 and probably also in 1942 and 1943, although it is possible that only Columbia made recordings in that year. The recordings made by Gabor and Halasz were practically immediately released on four Continental 78 RPM records (Set 102 consisting of 4005/6/7/8). Don Gabor had founded Continental Records Inc., in 1942. The discs were of course listed in the Gramophone Encyclopedia of Recorded Music, 1948 edition. These recordings of Bartók were subsequently released on a 33 RPM Continental LP. Schwann Long Playing Record Catalog of September 1950 lists this LP with reference CLP 101. In the fall of 1952, two years after the Remington label had been founded, these recordings appeared on Remington R-199-94 with the same title, "Bartók plays Bartók".

Béla Bartók smoking a cigarette at the end of a recording session at his home in New York and watching the ashes of the cigarette to fall down.That is the suggestion of the photo of Bartók on the cover of the album with the four 78 RPM shellac disks.
Furthermore the labels bear the annotation "Recorded in Europe" thus avoiding problems with the Union and James Petrillo, while in reality the recordings were made in New York.

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