Sold Date: June 3, 2014
Start Date: June 1, 2014
Final Price: $90.00 (USD)
Seller Feedback: 3510
Buyer Feedback: 15

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DESCRIPTION:  Records 79-90, 6 boxes from the legendary Franklin Mint 50 box set.

CONDITION:  4 boxes still originally sealed.  All boxes have two records in the special FM sleeve; styrofoam between the records, a letter explaining the selections, and a beautiful insert which talks about the selections, artists, and composers. The records appear unplayed and perfect in condition.  

Record 079. Schumann, Grieg
A1. Schumann, Piano Concerto in A minor, Op.54, Allegro affettuoso
A2. Schumann, Piano Concerto in A minor, Op.54, Intermezzo, Andantino grazioso
A3. Schumann, Piano Concerto in A minor, Op.54, Allegro vivace
Dinu Lipatti, Pianist.
The Philharmonia Orchestra, Herbert von Karajan, Conductor. (1947)
B1. Grieg, Piano Concerto in A minor, Op.16, Allegro molto moderato.Cadenza.Tempo I
B2. Grieg, Piano Concerto in A minor, Op.16, Adagio
B3. Grieg, Piano Concerto in A minor, Op.16, Allegro moderato molto e marcato
Dinu Lipatti, Pianist.
The Philharmonia Orchestra, Alceo Galliera, Conductor. (1948)

Record 080. Tchaikovsky
A1. Tchaikovsky, Piano Concerto No.1 in B-flat minor, Op.23, Allegro non troppo e molto maestoso
B1. Tchaikovsky, Piano Concerto No.1 in B-flat minor, Op.23, Andante semplice.Prestissimo.Tempo I
B2. Tchaikovsky, Piano Concerto No.1 in B-flat minor, Op.23, Allegro con fuoco
Van Cliburn, Pianist.
Symphony Orchestra, Kirill Kondrashin, Conductor. (1958)

Record 081. Handel
A1. Handel, Highlights from Messiah, Part One, Part Two (Beginning)
Highlights from “Messiah” — Part One – I. No.1 ”Comfort ye” No.2 ”Ev’ry valley” II. No.3 ”And the glory of the Lord” No.12 ”For unto us a Child is born” III. No.16 ”Rejoice greatly” No.17 ”Then shall the eyes of the blind” No.18 ”He shall feed His flock” — Part Two (Beginning) – IV. No.20 ”Behold the Lamb of God”
Elizabeth Harwod (Soprano), Janet Baker (Contralto), Robert Tear (Tenor).
The Ambrosian Singers, English Chamber Orchestra, Charles Mackerras, Conductor. (1966)
B1. Handel, Highlights from Messiah, Part Two (Conclusion).Part Three
Highlights from “Messiah” — Part Two (Conclusion) – V. No.21 ”He was despised” VI. No.38 ”Why do the nations” VII. No.42 ”Hallelujah” — Part Three – VIII No.43 ”I know that my Redeemer liveth” IX. No.51 ”Worthy is the Lamb” No.52 ”Amen”
Elizabeth Harwod (Soprano), Janet Baker (Contralto), Raimund Herincx (Bass).
The Ambrosian Chorus, English Chamber Orchestra, Charles Mackerras, Conductor. (1966)

Record 082. Bach
A1. Bach, Arias from the ”St. Matthew Passion”, Part One
Arias from the “St. Matthew Passsion” — Part One – No.10 ”Buss’ und Reu’ ” No.12 ”Blute nur, du liebes Herz” No.19 ”Ich will dir mein Herze schenken” No.33 ”So ist mein Jesus nun gefangen”
Elisabeth Schwarzkopf (Soprano), Christa Ludwig (Contralto).
The Philharmonia Choir, The Philharmonia Orchestra, Otto Klemperer, Conductor. (1961)
B1. Bach, Arias from the ”St. Matthew Passion”, Part Two
Arias from the “St. Matthew Passsion” — Part Two – No.47 ”Erbarme dich, mein Gott” No.58 ”Aus Liebe will mein Heiland sterben” No.61 ”Können Tränen meiner Wangen”
Elisabeth Schwarzkopf (Soprano), Christa Ludwig (Contralto).
The Philharmonia Orchestra, Otto Klemperer, Conductor. (1961)

Record 083. Stravinsky
A1. Stravinsky, Le Sacre du Printemps (The Rite of Spring), Part I
Le Sacre du Printemps (The Rite of Spring) — Part I – The Fertility of the Earth: Introduction.Dance of the Youths and Maidens.Dance of Abduction.Spring Rounds.Games of the Rival Towns.Entrance of the Celebrant.The Kiss to the Earth.Dance to the Earth
B1. Stravinsky, Le Sacre du Printemps (The Rite of Spring), Part II
Le Sacre du Printemps (The Rite of Spring) — Part II – The Sacrifice: Introduction (The Pagan Night).Mystic Circle of the Adolescents.Dance to the Glorified One.Evocation of Ancestors.Ritual Performance of the Ancestors.Sacrificial Dance
New York Philharmonic. Leonard Bernstein, Conductor. (1958)

Record 084. Prokofiev
A1. Prokofiev, Symphony No.5 in B-flat, Op.100, Andante
A2. Prokofiev, Symphony No.5 in B-flat, Op.100, Allegro marcato
A3. Prokofiev, Symphony No.5 in B-flat, Op.100, Adagio
B1. Prokofiev, Symphony No.5 in B-flat, Op.100, Allegro giocoso
Boston Symphony Orchestra, Serge Koussevitzky, Conductor. (1946)
B2. Prokofiev, Violin Concerto No.1 in D major, Op.19, Andantino
B3. Prokofiev, Violin Concerto No.1 in D major, Op.19, Scherzo, Vivacissimo
B4. Prokofiev, Violin Concerto No.1 in D major, Op.19, Moderato.Andante
Joseph Szigeti, Violinist.
London Philharmonic Orchestra, Thomas Beecham, Conductor. (1946)

Record 085. Mozart
A1. Mozart Serenade No.10 in B-flat major, K.361, Largo.Molto allegro
A2. Mozart Serenade No.10 in B-flat major, K.361, Minuet
A3. Mozart Serenade No.10 in B-flat major, K.361, Adagio
B1. Mozart Serenade No.10 in B-flat major, K.361, Minuet, Allegretto
B2. Mozart Serenade No.10 in B-flat major, K.361, Romanze, Adagio
B3. Mozart Serenade No.10 in B-flat major, K.361, Theme with six variations, Andante
B4. Mozart Serenade No.10 in B-flat major, K.361, Finale, Molto allegro
Soloists of the Vienna Philharmonic Orchestra, Wilhelm Furtwängler, Conductor. (1947)

Record 086. Schubert
A1. Schubert, String Quintet in C major, Op.163, Allegro ma non troppo
A2. Schubert, String Quintet in C major, Op.163, Adagio
B1. Schubert, String Quintet in C major, Op.163, Scherzo, Presto,Trio, Andante sostenuto
B2. Schubert, String Quintet in C major, Op.163, Allegretto
Isaac Stern and Alexander Schneider, Violinists,
Milton Katims, Violist,
Pablo Casals and Paul Tortelie, Cellists. (1953)

Record 087. Beethoven
A1. Beethoven, Symphony No.1 in C major, Op.21, Adagio molto.Allegro con brio
A2. Beethoven, Symphony No.1 in C major, Op.21, Andante cantabile con moto
A3. Beethoven, Symphony No.1 in C major, Op.21, Menuetto, Allegro molto e vivace
A4. Beethoven, Symphony No.1 in C major, Op.21, Finale, Adagio.Allegro molto e vivace
The Cleveland Orchestra. George Szell, Conductor. (1964)
B1. Beethoven, Symphony No.9 in D minor, Op.125 ”Choral”, Allegro ma non troppo, un poco maestoso
B2. Beethoven, Symphony No.9 in D minor, Op.125 ”Choral”, Molto vivace
Bayreuth Festival Orchestra, Wilhelm Furtwängler, Conductor. (1951)

Record 088. Beethoven
A1. Beethoven, Symphony No.9 in D minor, Op.125 ”Choral”, Adagio molto e cantabile
Bayreuth Festival Orchestra, Wilhelm Furtwängler, Conductor. (1951)
B1. Beethoven, Symphony No.9 in D minor, Op.125 ”Choral”, Presto.Allegro (Schiller’s ”Ode to Joy”)
Elisabeth Schwarzkopf (Soprano), Elisabeth Honger (Contralto), Hans Hoff (Tenor), Otto Edelmann (Bass).
Bayreuth Festival Orchestra, Wilhelm Furtwängler, Conductor. (1951)

Record 089. Dvorak, Smetana
A1. Dvorak, Symphony No.8 in G major, Op.88, Allegro con brio
A2. Dvorak, Symphony No.8 in G major, Op.88, Adagio
A2. Dvorak, Symphony No.8 in G major, Op.88, Adagio
A2. Dvorak, Symphony No.8 in G major, Op.88, Adagio
B3. Smetana, The Moldau (”Vltava”)
The Cleveland Orchestra. George Szell, Conductor. (1958)

Record 090. Bartok
A1. Bartok, Concerto for Orchestra, Introduzione.Andante non troppo.Allegro vivace
A2. Bartok, Concerto for Orchestra, Giocoso delle coppie, Allegretto scherzando
B1. Bartok, Concerto for Orchestra, Elegia, Andante non troppo
B2. Bartok, Concerto for Orchestra, Intermezzo interrotto.Allegretto
B3. Bartok, Concerto for Orchestra, Finale, Pesante, Presto
Chicago Symphony Orchestra. Fritz Reiner, Conductor. (1955)

Shipping cost is for United States postal codes only. It is actually a bit more than $9.00 for five--I will cover the rest.  There was a significant increase in foreign shipping.  Please visit www.usps.com to calculate the price more accurately.        

Payment via PayPal ONLY! NO EXCEPTIONS, please.

Thanks for looking and happy bidding!

If you need additional information (i.e. pictures), please ask!  I will be happy to oblige any reasonable requests.  In other words: Please do not wait until the last minute!  I can not guarantee requests for additional pictures, info, etc. if the auction ends within 24 hours.

All records have been handled with the utmost of care.  99% of the albums I own are pre-owned from audiophiles, discophilists, and just general lovers of music!  These are all used, unless specified as "still sealed."  If there is any abnormal wear, I will do my best to list all of it in the description.  I also use a grading system for the old-schoolers.  See below.

Shipping is $4.00, USPS Media Mail--U.S. ONLY--for all 12" discs; $3.50, USPS First Class Mail--U.S. ONLY--for all 7" discs.  78 RPM's, on the rare occasion that one is listed, is priced separately and by weight and will ALWAYS require insurance.  I will offer (not mandatory) insurance for all other domestic destinations, but they must be sent non-media mail (more expensive) if insurance is requested.  Contact me for pricing or you can visit to get a general idea.  Each domestic disc thereafter is $0.50.  For my international friends, shipping prices are based on , and will of course depend on the destination.  International buyers MUST--"must"--no exceptions!--be sent with insurance.  Lots, when offered, are priced separately for shipping.   All items, auctions or fixed prices with a final value of over $100.00 will require mandatory insurance.

Packaging each record takes quite a bit of time!  The record and inner sleeve is placed outside of the jacket.  All is then bubble wrapped and sandwiched between cardboard and taped.  I have found this to be the safest for the records, most efficient, and I get a little green by recycling cardboard.

If you have ANY special requests, PLEASE ASK.  However, shipping will ONLY be made to the address on record.

Grading below is based on Goldmine's standards.  (Thank you!)  See  for more information.  I assign two grades: one for the jacket and one for the record itself:

MINT (M): Perfect! This record looks like it has just left the manufacturer, with NO flaws whatsoever. It looks as though it had never been handled. No scuffs or scratches, blotches or stains. No stickers address labels, writing on the covers or labels. No tears or seam splits. No wear to the cover or record period! Age of the record has nothing to do with it.

NEAR MINT or NM, M- : this record appears virtually flawless.  A very minor scuff and very little else can appear on the vinyl. It should play without any noise over the flaw. The flaw is very hard to see. The cover looks as close to perfect with only minor signs of wear and or age. Minor impressions to the cover (due to the outer edge of the vinyl resting inside) may be acceptable, however the artwork is be as close to perfect as can be.

EXCELLENT or EX or VG++ : minor scuffs which are only slightly visible. There may be more than a few scuffs and NO scratches.  COVER: Artwork is still as close to perfect as can be. Some impression to the cover (minor outer ring wear) but no ink wear! Some slight creases to the corners, but not wrinkled and obtrusive to the eye. The corners can show white (where the artwork pasted slick was) meaning, slight wear. No seam splits or writing on the cover or taped repairs can make this grade.

VERY GOOD PLUS or VG+ record shows wear, surface scuffs. The vinyl still has a great luster, but the flaws will be noticeable to the naked eye. If the flaws don't cause any surface noise, the vinyl can still make the VG+ grade. COVERS: A virtually clean cover, but may have small writing on it.  The artwork looks clean with slightly more aging. The back of the cover usually gives away the age of the cover. Flat white paper will be somewhat yellow yet no stains or mildew from water damage. Some minor wear to the seams or spine, but no tears or holes popping through. The corners will be slightly dog eared yet no crackly bends, defacing the artwork. In essence, a VG+ cover should have no more than 3 flaws mentioned.

VERY GOOD or VG: this record is a record that is good enough. They are not really going to look very good, but it will STILL play very good. There will almost always be some surface noise when they are played. The dynamics should still be excellent, overpowering the surface noise. A VG record will appear well played but still have some luster. VG covers will look worn, used. There may be some seam splitting. There will be some ring wear, where the ink has begun to wear off, giving the cover a look of snow falling. If the artwork looks snowy all over, it is less than VG condition. There may be some writing on the cover.  (Still, no large letters in magic marker). It will look aged and more yellowish due to contamination's in the air (sometimes looking like cigarette smoke). Still it should be decent.

GOOD or G A good record will look very well played, dull, grayish and possibly abused. However a Good record should still play. It will have distracting surface noise. Such as crackle that is continuous or some hiss. Will also have some loss of dynamics caused from grooves being worn. It should play without any skips or any obtrusively loud pops or repeated clicks, caused by deep scratches. Good means that it will play with some form of decency, so one can still enjoy the music even though you can still hear noise caused from the wear. A good cover will have just about everything wrong with it. It will have seam splits (possibly taped repaired), but only with scotch tape. No duct tape or masking tape repairs.

POOR (P) and Fair (F)
Poor (P) and Fair (F) records usually end up going in the trash. Records are cracked, impossibly warped, or skip and/or repeat when an attempt is made to play them. Covers are so heavily damaged that you almost want to cry.  [As I once read a poor jacket being described: it is barely worth putting down over a puddle.]