The mission of Marston is to preserve the great performances of the past and keep alive the traditions that were prevalent at the dawn of recording.
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A new release which features 2 pianos performing Rachmaninoff's Symphonic Dances invites reviewer Joseph Horowitz to revisit Marston Records' release from 2018, the "biggest classical music find of recent decades":
https://www.artsjournal.com/uq/2024/06/a-validation-overwhelming-and-unprecedented-babayan-and-trifonov-perform-rachmaninoff.html
Landmarks of Recorded Pianism Vol. 3 is now available at https://www.marstonrecords.com/collections/piano/products/landmarks3
This third volume in the acclaimed series of rare piano gems includes many recordings available here for the first time, featuring pianists Simon Barere, Nathaniel Dett, Jan Smeterlin, Adelina de Lara, Elsie Hall, and Katharine Goodson. Of particular note is a recently discovered 1936 recording of Smeterlin playing Chopin's 2nd Piano Concerto with the Boston Symphony Orchestra conducted by Serge Koussevitsky.
Lawrence Tibbett is now available at https://www.marstonrecords.com/collections/singer/products/tibbett
One of the greatest baritones of all time, Lawrence Tibbett recorded over 100 sides exclusively for RCA Victor between 1925 and 1940 which are presented here alongside recordings made for film and radio. This 10-CD set is already being considered my many as the most outstanding accomplishment in the 27-year history of Marston Records, and features a 223-page booklet highlighted by an extraordinarily insightful and comprehensive essay by Conrad L. Osborne on the recordings and career of Tibbett.
A wonderful radio program hosted by Joseph Horowitz dives into the music and artistry of the legendary baritone Lawrence Tibbett: https://the1a.org/segments/more-than-music-the-story-of-lawrence-tibbett/
Marston's 10-CD set--Lawrence Tibbett: The Complete Victor Recordings and Selected Broadcasts--will be available in a week, and pre-orders can be placed through our website at www.marstonrecords.com
How did the son of a part-time deputy sheriff, killed in a shootout with a desperado, become so famous?
Ward Marston and Marston Records were recently featured in a Wall Street Journal article written by Tim Page. A number of Marston releases are discussed, as well as the forthcoming Wagner's Parsifal with Flagstad and Melchior.
"Goodbye Russia: Rachmaninoff in Exile" book review by Joseph Horowitz, with a shout-out to Marston's "Rachmaninoff Plays Symphonic Dances."
Sergei Rachmaninoff may have taken American citizenship in 1943, but his heart and soul remained in his Russian past
Conrad L. Osborne's thoughts on the Tannhäuser revival this season: https://conradlosborne.com/2023/12/22/tannhauser-and-the-old-opera-problem/
Our colleague and supporter, Richard Beaudoin, Assistant Professor of Music at Dartmouth College, soon will be publishing a fascinating book titled "Sounds as They Are: The unwritten music in classical recordings." Ward Marston is quoted in the text, and Marston Records' recordings are referenced. More information can be found here: https://global.oup.com/academic/product/sounds-as-they-are-9780197659281?cc=us&lang=en
One of the many benefits of being a preferred customer with Marston is never missing a new release in the category for which you are enrolled (vocal preferred, piano preferred, or all preferred). Preferred customers also receive discounts on many new releases, as well as discounts on postage if living overseas. Perhaps the biggest advantage, however, is the Lagniappe series of discs which we provide exclusively for our preferred customers. These single-disc issues with limited printed materials are not for sale to the public, are provided to our preferred customers free of charge, and feature extraordinary artists (often with a limited recorded legacy) who are often unfamiliar to many listeners. A perfect example is our latest Lagniappe featuring the complete published recordings of Elda Cavalieri. https://www.marstonrecords.com/pages/lagniappe-19-cavalieri
To find out more about this program or to sign up, visit our website at: https://www.marstonrecords.com/pages/preferred
We are pleased to announce the publication of our latest vocal release, The Complete Recordings of Giuseppe Anselmi. https://www.marstonrecords.com/collections/singer/products/anselmi
The charismatic lyric tenor Giuseppe Anselmi (1876–1929) was idolized in Madrid, Warsaw, Buenos Aires, and Saint Petersburg during the first decade of the 20th century. He sang with success at Covent Garden and La Scala at a time when his competition was Caruso, Zenatello, Bonci, and Giorgini. Understanding the power of recordings to publicize a singer’s voice, Anselmi recorded prolifically for Fonotipia from 1907–1910 (both operatic and song repertoire) and in 1913 for Edison. His records include some of his own compositions, as well as some pieces of unusual repertoire for the time, so some of the records are quite scarce for this reason. Also an accomplished violinist, Anselmi composed in his spare time and after he ended his career in 1918 he devoted his time to teaching and composition until his untimely death from pneumonia in 1929, at fifty-two. Upon his death his heart was removed from his body and sent to Madrid’s Teatro Real, the theater of his greatest successes.
Giuseppe Anselmi is known to many for his matinee-idol good looks and arresting stage presence. Besides the typically romantic roles in which he excelled, like Des Grieux and Romeo, among his most memorable roles were Almaviva and Don Ottavio. Along with Bonci, Anselmi is considered one of the last of the bel canto tenors. But above all else, Anselmi was a refined and sophisticated musician, known for his ornamentations, elegance, diction, and mastery of recitative. Anselmi is a must-hear singer.
Anselmi’s biography has always been surrounded by a shroud of mystery to which he often contributed, especially concerning his early career and private life, so that much of what has been written about him was simply hearsay and scarcely documented. We pay homage to Anselmi by reissuing all of his Fonotipia and Edison recordings in this five-CD set, which will include numerous rare photos, complete discographic information, and two informative essays: Francisco Segalerva, a frequent contributor to The Record Collector, has written a biographical piece containing original research that sheds light on some of the most unknown episodes of Anselmi’s life and career. William Crutchfield, director of Teatro Nuovo and also a contributor to The Record Collector concentrates on the tenor’s singing and recordings providing insight into Giuseppe Anselmi the musician.
We are pleased to announce the publication of our latest piano release, Robert Goldsand: The Lost Recitals. https://www.marstonrecords.com/collections/piano/products/goldsand
Robert Goldsand (Vienna, 1911–Connecticut, 1991) entered the Vienna Academy of Music at around age six and made his recital debut four years later at ten. Later, Goldsand studied with Moriz Rosenthal and Emil Sauer. He launched his US career in 1927 and played regularly in New York from the 1940s onward. Among pianists active in the twentieth century, few could boast of a repertoire as varied and extensive as Goldsand’s. He died at age eighty in 1991.
Goldsand’s pianism was characterized by a remarkable range in tone color, an unusual degree of interpretative freedom, and a complete command of the instrument. At times he would follow the letter of the text scrupulously, while at others he would adopt a seemingly willful disregard for the composer. In either case, Robert Goldsand’s recordings demand attention and are worthy additions to any piano-recording collection.
Goldsand made few commercial recordings, yet surreptitiously-recorded tapes of Goldsand recitals (mid 1960s) exist and have been circulated among collectors. Beginning earlier (the mid-1950s), Goldsand arranged for many of his New York recitals to be professionally taped for his own retention. These remained in his possession until his death in 1991 and nearly 100 open-reel tapes in deplorable condition were donated to the International Piano Archives at the University of Maryland. A massive conservation project was expertly and painstakingly accomplished by Seth B. Winner Sound Studios, Inc. resulting in a new cache of recordings.
After auditioning more than two dozen Goldsand recitals from the preserved and digitized tapes, the performances presented here were chosen to represent him at the height of his powers. Notes are by IPAM Curator Donald Manildi. This three-CD Marston release marks the first–and long overdue–representation of Robert Goldsand's playing on compact disc. It offers performances from 1956 through 1977.
New CD sets have been added to our "Endangered List", which consists of sets with fewer than 50 original copies remaining, so order now if any of the titles interest you before they sell out for good!
https://www.marstonrecords.com/collections/endangered
Graziella Pareto is now available and shipping out to customers around the world!
Graziella Pareto (Barcelona, 6 May 1889 – Rome, 1 September 1973) made her operatic debut as Micaëla in Carmen, on the 8th of May 1906, at the Teatro Liceu, Barcelona. By age twenty-one she was singing with the biggest operatic stars of her time. Step by step she conquered all the major opera houses in Spain and Italy, toured all over the world, and never had to perform in less important theaters.
Most critics described Pareto’s singing as “exquisite,” “artistic,” “aristocratic,” and “elegant.” Others felt she had “a light voice” which occasionally got “drowned by the orchestra except for the high notes,” which may explain why her on-stage stardom was not achieved. Her recorded legacy, however, though relatively small, for the most part overcomes the problems of projection. Even before her second operatic engagement, the Milan branch of the Gramophone Company contracted Pareto (on the 25th of September 1907) to make celebrity red label records. Recording exclusively for the Gramophone Company, Pareto transmits her artistic and aristocratic style through the grooves. In addition, one hears flawless technique, beauty of voice, evenness of her registers, and clarity. Pareto was an incomparable artist and we are proud to release all thirty-six sides she made.
Filling out this two-CD set are selected recordings of Elvira de Hidalgo. A student of Melchior Vidal (Pareto’s teacher as well). Hidalgo is best remembered as the teacher of Maria Callas, who spoke often and glowingly of Hidalgo. We have chosen eight selections, two of which were electrically recorded in Athens in 1933.
The set includes notes by Michael Aspinall and an abundance of photos.
https://www.marstonrecords.com/collections/frontpage/products/pareto
Wilhelm Kempff has arrived and is currently in the mail to our customers! Read below for more information about this exquisite set or to place an order.
Friedrich Wilhelm Walter Kempff (1895–1991) is considered one of the great pianists of the twentieth century. One of the last chief exponents of the Germanic piano tradition, Kempff is particularly well known for his interpretations of Beethoven and Schubert. He is often best remembered for his warmth and poetic insights, sensitivity, and beautiful phrasing, yet this set of Kempff’s earliest recordings also reveal a young firebrand: a technical marvel capable of stunning, extroverted virtuosity.
Wilhelm Kempff was awarded two scholarships to the Berlin Hochschule für Musik at the age of nine: one to study piano with Heinrich Barth, and another to study composition with Brahms’s close friend and disciple Robert Kahn, both of whom had previously taught Artur Rubinstein. In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven’s “Hammerklavier” and Brahms’s “Variations on a Theme of Paganini”. Kempff toured extensively during his career yet did not make his first London appearance until 1951, and his first in New York in 1964 at the ages of fifty-five and sixty-nine respectively. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson’s Disease).
Wilhelm Kempff recorded over a period of some sixty years, yet this set of his acoustic recordings is unique: this is the first time that these early acoustic recordings have been assembled and the only group of Kempff recordings that have never been reissued. Additionally, Kempff establishes himself as the first pianist in history to place fully a quarter of the Beethoven sonatas on disc. The final Kempff DG/Polydor acoustic recording is arguably the most historically significant, since his Beethoven First, recorded with the Berlin State Opera Orchestra in September of 1925, stands as the first commercial release of one of the staples of the modern repertoire. Notes by Stephen Siek (pianist, musicologist, piano historian, and author of England’s Piano Sage: The Life and Teachings of Tobias Matthay) round out this historically important and beautifully lyric set.
https://www.marstonrecords.com/collections/frontpage/products/kempff
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 8: Concerto and Solo Performances, 1938-1947. The selected track features a Bell Telephone Hour broadcast of Rachmaninov's Prelude in G Minor, op. 23 no. 5, from 30 July 1945.
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 8: Concerto a...
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release Ernst Levy, Vol. 4: Forgotten Genius: A Selection of Unpublished Concert and Studio Recordings. The featured track is Brahms's Rhapsodie in B Minor, op. 79, no. 1. This recording was made on 14 November 1954 in Cambridge, Massachusetts. https://www.youtube.com/watch?v=i1XxdK2YzGg
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release A Century of Romantic Chopin. The track features Moritz Rosenthal performing Etude, Op. 10, No. 1 in C recorded 4 April 1929 in New York City.
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release A Century of Romantic Chopin. The track featur...
Celestina Boninsegna is finally available for sale on our website! We are very excited to be releasing the complete recordings of this extraordinary artist.
Celestina Boninsegna (1877–1947) was one of the most prolifically-recorded sopranos of the early twentieth century. Yet it was not her stage career which convinced recording executives to produce her records, but her “phonogenic” voice that created the demand. Boninsegna’s recordings are stunning, making her one of the most collectible sopranos of her time. She managed to overcome the limitations of the acoustic recording studio and leave us records that have some of the presence of live recordings from the stage. According to Fred Gaisberg, the impresario for the Gramophone Company, Boninsegna’s “voice was so smooth and velvety and of such even registers that recording was no effort; the results obtained were always thoroughly musical and therefore gave intense pleasure. Those harsh places expected in any record by a dramatic soprano were conspicuous by their absence.”
Over the past fifty years there have been no comprehensive LP or CD reissues of Boninsegna’s records. We now pay homage to Boninsegna by reissuing all of her recordings in this five-CD set, which will include several extremely rare photos, complete discographic information, and an informative essay by Michael Aspinall on her career and recordings.
Order your copy today: https://www.marstonrecords.com/collections/singer/products/boninsegna
For Whom the Berceuse Tolls:
Josef Hofmann going beyond the text:
https://challengingperformance.com/the-book-20a/
Daniel Barolsky, former Marston employee and professor of music at Beloit College, discusses in fascinating detail Josef Hofmann's interpretation of Chopin’s Berceuse Op. 57 from the Golden Jubiliee Concert of 1937.
Re-thinking creativity in classical performance
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release Landmarks of Recorded Pianism, Vol. 2. The track features Moritz Rosenthal (1862-1946) performing Hungarian Rhapsody No. 2 in C-sharp Minor by Liszt-Rosenthal from an Edison Hour broadcast in New York City on the 11th of February, 1929. https://www.youtube.com/watch?v=4lUQvdqaKHU
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release Landmarks of Recorded Pianism, Vol. 2. The tra...
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 7: Concerto Performances 1940-1947. The selected track features a live broadcast of Beethoven's Piano Concerto No. 5 in E-flat, op. 73 ("Emperor") on 12 May 1940 with Hans Lange conducting. In this track Hofmann performs the third movement titled Rondo. https://www.youtube.com/watch?v=VEoJDTrqnRw
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 7: Concerto P...
Our 2-CD set featuring the complete recordings of Hina Spani as well as 6 Verdi arias sung by Giannina Arangi Lombardi has arrived and is currently being mailed out to our customers! Please read below for more information about this captivating artist.
Hina Spani (1890*–1969) was born Higinia Tuñón in a province of Buenos Aires. She enjoyed a major operatic career centered in Italy during the 1920s and 1930s. Among the great sopranos of her era, Spani shines as brightly as any, yet her celebrity was less well known most likely due to her career being limited mainly to Italy, Spain, and South America, and her only tour to an English-speaking country was in Australia. She made her operatic debut at La Scala in 1915 as Anna in Catalani’s Loreley. She sang at Puccini’s funeral at the Duomo in Milan’s cathedral on 29 November 1924 (and repeated this performance at La Scala a month later) under the baton of Arturo Toscanini, which was a turning point in her career. She created the title role in the world premiere of Respighi’s Maria Egiziaca in 1934 at the Teatro Colón, Buenos Aires and performed in the world premiere of Alberto Franchetti’s Glauco. Spani’s voice is of first-rate quality and well-trained, with a beautifully warm tone and an even scale. She began as a lirico-spinto but graduated to dramatic parts and had a vibrant, instantly recognizable voice capable of thrilling the listener in opera or song. Although she was a true soprano, she had the fullness associated with mezzo-sopranos: she sang some roles often taken by mezzos, such as Marina in Boris Godunov and Santuzza in Cavalleria rusticana, and regretted never having portrayed Eboli in Don Carlos. She excelled in art songs but commanded no fewer than sixty operatic roles. After retiring from the operatic stage, she taught at the Vocal Art Institute of the Teatro Colón, which she directed.
Hina Spani’s entire recorded output can be found on fewer than twenty discs. Her musical conviction and sincerity linked with limited recordings have made Spani a favorite among record collectors. This complete two-CD set includes all of her recordings for Italian Columbia and HMV. The repertoire is almost evenly divided between operatic arias and Italian, Spanish, and Argentinian art songs. The booklet notes are by Michael Aspinall and Tully Potter.
*In true prima donna fashion, Spani took six years off her age and gave her birth year as 1896.
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to pianist Nibya Mariño. The featured track is Albéniz's Triana. This series consists of single disc issues that are given free of charge to Preferred Customers (customers who subscribe to all of our piano, vocal, or all of releases). https://www.youtube.com/watch?v=hrZ4qeQjmNc
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to Nibya Mariño. The feature...
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release Luboshutz and Nemenoff: The Art of Duo-Piano Playing. The selected track features the husband and wife piano duo of Pierre Luboshutz and Genia Nemenoff performing Mozart's Overture from Le nozze di Figaro, K. 492, recorded in New York City in 1941.
https://www.youtube.com/watch?v=B4yX_K_GckA
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release Luboshutz and Nemenoff: The Art of Duo-Piano P...
For a limited time, take a listen to Gary Lemco's broadcast on KZSU 90.1 FM at Stanford University featuring the work of Serge Koussevitzky, BSO conductor from 1924-1949. In this program Mr. Lemco shares a recording of the duo piano team Luboshutz & Nemenoff under the baton of Koussevitzky from the recent Marston release Luboshutz and Nemenoff: The Art of Duo-Piano Playing. The featured live recording is of Mozart's Concerto No. 10 in E flat from 25 October 1938. Click on the link below and enter the date of the broadcast (03-04-2022) and time (7:00 PM): http://kzsulive.stanford.edu/showplayer/
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to Edouard Risler. The featured track is Beethoven's Sonata in E-flat, op. 31, no. 3: Second Movement – Scherzo, recorded in Paris by Pathé in 1917. This series consists of single-disc issues that are given free of charge to Preferred Customers (customers who subscribe to all of our piano, vocal, or all of our releases). https://youtu.be/leJNeBaxiP0
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to Edouard Risler. The featu...
Luboshutz-Nemenoff: The Art of Duo-Piano Playing is now available and shipping!
It wasn’t until the end of the 1920s that professional duo-piano teams became a regular part of the concert scene with the emergence of Bartlett and Robertson, followed by Vronsky and Babin a bit later, and finally, in 1936, Luboshutz and Nemenoff.
Pierre Luboshutz (1890–1971) and Genia Nemenoff (1905–1989) were husband and wife. Both were from musical families of Russian and Jewish heritage and both ultimately settled in New York by way of Germany and France. Pierre had established a fine reputation in Russia as a member of the Luboshutz Trio, comprised of Pierre and his two more famous sisters. He also became known as a successful accompanist who toured extensively with a variety of distinguished soloists. Genia, however, languished in the States: it was the Depression, her family was abroad, and musical opportunities were limited. Performing together was a wonderful solution, if not without risk: duo-piano teams were not featured on the concert circuit. Yet Pierre and Genia were not only undaunted, they were well-connected: Pierre had many important musician-colleagues and friends and Pierre’s sister Lea introduced the duo to her manager, the indomitable Sol Hurok, who was intrigued and on board. “Luboshutz & Nemenoff’s” success came quickly, but it was their talent and chemistry that left an enduring legacy.
Marston’s 4-CD set contains Luboshutz and Nemenoff’s RCA Victor recordings and selections from their LP discs: Mozart’s Sonata K. 448, Brahms’s Haydn Variations, Schumann’s Andante and Variations, Op. 46, Milhaud’s Scaramouche Suite, and many transcriptions and arrangements. Also included are live performances of Bach and Mozart concerti with Serge Koussevitzky and the Boston Symphony Orchestra, as well as Harl McDonald’s Two Piano Concerto with the Philadelphia Orchestra conducted by the composer. Notes are written by Thomas Wolf, the grandson of Lea Luboshutz and the grandnephew of Pierre and Genia. Thomas’s recollections of the time spent with his great aunt and uncle provide a unique glimpse into the people who comprised one of the greatest of piano duos.
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 6: The Casimir Hall Recital. The selected track features a live performance from Casimir Hall at the Curtis Institute of Music in Philadelphia. Here Hofmann performs Chopin's Waltz in E-flat, Op. 18, "Valse Brillante," on the 7th of April, 1938. https://www.youtube.com/watch?v=DhGR0insUGk&lc=UgzP3USTxNXJ_dzzPBR4AaABAg
For more information or to purchase a copy of this release, please visit:
https://www.marstonrecords.com/products/hofmann6
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records release The Complete Josef Hofmann, Vol. 6: The Casimi...
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to José Viana da Motta. The featured track is Liszt's Églogue, S. 160, No. 7, from Années de Pèlerinage: Suisse, recorded in Paris by Pathé, 1928. This series consists of single-disc issues that are given free of charge to Preferred Customers (customers who subscribe to all of our piano, vocal, or all of our releases). https://www.youtube.com/watch?v=VzDBv9wfgZI
For more information about this release or our Preferred Customer Program, please visit: https://www.marstonrecords.com/pages/lagniappe-12-damotta
In this episode of Past Forward, Ward Marston discusses and plays a selection from the Marston Records Lagniappe release devoted to José Viana da Motta. The ...
Herbert Janssen: Portrait of a Mastersinger has been released and is now shipping!
The recordings of the baritone Herbert Janssen (1892–1965) have continued to delight listeners, beginning with their first appearance in the 1920s up until the present, where contemporary critics often revere them as standards of distinguished singing. The very individualistic beauty of his voice has long been held in the highest esteem by connoisseurs of both operatic and Lieder singing. His perfect Italianate legato, his breath control, and the “long-bowed” phrasing of his vocal art were greatly praised by critics and audiences throughout his thirty-year career, first in continental Europe and at Covent Garden, and latterly in the Americas.
His musically rich and varied career in Europe ended abruptly in 1937 when his outspoken opposition to Hitler’s regime led to his pursuit by the Gestapo and eventual escape and exile. Until then, he had given highly praised performances, not only of the Wagnerian roles for which he is chiefly remembered today, but of Mozart, Gluck, a great deal of Verdi and other Italian and French operas, as well as of contemporary works and even Russian repertoire.
Janssen’s Lieder singing on record has left memorable interpretations of songs by Schubert, Schumann, Brahms, Wolf, and Strauss which are still highly prized today.
The present collection includes all his surviving pre-war studio recordings of opera and operetta (except for the 1930 Columbia Tannhäuser); all of Janssen’s surviving 78 rpm Lieder recordings, including several previously unpublished items; and rare broadcast material that appears here together for the first time. The set includes liner notes by Iain Miller and Michael Aspinall, as well as a large selection of rare photos. As a portrait of one of the greatest baritones on records, this six-CD set of Herbert Janssen is the most complete yet to appear.
https://www.marstonrecords.com/collections/frontpage/products/janssen
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Video No. 2 of 4: Ward Marston performs Have Yourself A Merry Little Christmas, God Rest Ye Merry Gentlemen, and O Come All Ye Faithful at the piano. Enjoy!
Video No. 3 of 4: Ward Marston performs It's The Most Wonderful Time Of The Year at the piano. Enjoy!
Happy Holidays from Marston Records! To celebrate the music of the season, Ward Marston performs some seasonal favorites at the piano. This the first of 4 videos: Let It Snow. Enjoy!
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