Otto Klemperer (1885-1973)
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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Sofie von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Sofie von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro). -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
(ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. -
17.2. Cylinders, Ed. Discs, Pathes. 7-26
CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti). -
Cantants, Intèrprets, Directors... Títol: Birgit Nilsson I Bayreut
WAGNERIANA CATALANA Nº 24 ANY 2006 TEMA 6: CANTANTS, INTÈRPRETS, DIRECTORS... TÍTOL: BIRGIT NILSSON I BAYREUT. MEMÒRIES DE BIRGIT NILSSON. Segona part AUTOR: Birgit Nilsson La primera part d’aquest capítol “Med ett ord, Bayreuth!” (En un sol mot, Bayreuth) del llibre “La Nilsson” de Birgit Nilsson (ISBN9170548765) editat en suec per Fischer & Co Estocolm, 1995 va ésser publicat en el número anterior, el mes de Novembre de 2005. Birgit Nilsson encara vivia. Ens va deixar el desembre de l’any passat. Serveixi aquesta traducció, extreta del text alemany editat per Krüger amb el títol “Mein Leben für die Oper”. com a petit homenatge a la memòria de la gran soprano que va interpretar tant bé les heroïnes wagnerianes. El setembre de 1956 em trobava a Buenos Aires, cantant la Mariscala del “Cavaller de la Rosa” de Strauss i la Donna Anna del “Don Giovanni” de Mozart. El primer dia de la Primavera argentina, el 21 de setembre, vaig rebre un telegrama de Wolfgang Wagner preguntant-me si l’any següent, 1957, voldria cantar la Isolda. I tant que ho volia!. Isolda a Bayreuth!. Quina felicitat! Immediatament, però, vaig recordar que encara em calia mostrar-me ofesa; així doncs vaig telegrafiar dient que no hi estava interessada. Va seguir un altre telegrama, molt afalagador, amb informació referent a directors i cantants Vaig començar a dubtar de la meva decisió. Vaig consultar en Bertil com creia ell que em calia comportar-me. Ell opinà que no havia d’oblidar que en aquell moment (els més famosos teatres d’Òpera internacionals m’havien començat a fer l’aleta amb temptadors contractes) Bayreuth estava més interessat a guanyar-me com Isolda, que jo a retornar a Bayreuth. -
BWTB Revolver @ 50 2016
1 PLAYLIST AUG. 7th 2016 Part 1 of our Revolver @ 50 Special~ We will dedicate to early versions of songs…plus the single that preceded the release of REVOLVER…Lets start with the first song recorded for the album it was called Mark 1 in April of 1966…good morning hipsters 2 9AM The Beatles - Tomorrow Never Knows – Revolver TK1 (Lennon-McCartney) Lead vocal: John The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. A bit of….The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul 3 The Beatles - Here, There And Everywhere / TK’s 7 & 13 - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966. -
WAGNER Die Walküre
660172-74 bk Walküre US 17/7/06 10:28 Page 16 3 CDs Recorded at the Staatsoper Stuttgart, Germany, WAGNER on 29th September 2002 and 2nd January 2003. General Director: Prof. Klaus Zehelein Die Walküre Executive Producers: Dr Reinhard Ermen (SWR Radio), Gambill • Jun • Rootering • Denoke • Behle • Vaughn Dr Dietrich Mack (SWR TV) and Paul Smaczny (EuroArts) Staatsoper Stuttgart • Staatsorchester Stuttgart Producer: Thomas Angelkorte Editor: Irmgard Bauer Lothar Zagrosek Engineers: Brigitte Hermann and Karl-Heinz Runde This performance of Die Walküre is the second part of Wagner’s Ring cycle recorded live during Stuttgart Opera’s 2002/2003 season. For the first time in the history of the Ring cycle each of the four operas was staged with separate producers and casts. A production of EuroArts Music International GmbH and Südwestrundfunk in co-operation with ARTE Gefördert von der Medien- und Filmgesellschaft Baden-Württemberg 8.660172-74 16 660172-74 bk Walküre US 17/7/06 10:28 Page 2 Die Walküre Stuttgart Staatsorchester (The Valkyrie) Established in 1589 as the Court Orchestra of Württemberg, the Württemberg Stuttgart State Orchestra has a history The First Day of over four hundred years. Over the generations there have been collaborations with musicians of distinction, among them Leonhard Lechner, the Frobergers, Niccolò Jommelli, Johann Rudolf Zumsteeg, Konradin Kreutzer, of Johann Nepomuk Hummel and Carl Maria von Weber. Berlioz praised the orchestra, when he appeared with it as Der Ring des Nibelungen conductor, and in the 1880s Stuttgart was one of the first to stage the complete Ring cycle, conducted by the then (The Ring of the Nibelung) General Music Director Herman Zumpe, who had assisted Wagner at the first Bayreuth Festival. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
07 – Spinning the Record
VI. THE STEREO ERA In 1954, a timid and uncertain record industry took the plunge to begin investing heav- ily in stereophonic sound. They were not timid and uncertain because they didn’t know if their system would work – as we have seen, they had already been experimenting with and working the kinks out of stereo sound since 1932 – but because they still weren’t sure how to make a home entertainment system that could play a stereo record. Nevertheless, they all had their various equipment in place, and so that year they began tentatively to make recordings using the new medium. RCA started, gingerly, with “alternate” stereo tapes of monophonic recording sessions. Unfortunately, since they were still uncertain how the results would sound on home audio, they often didn’t mark and/or didn’t file the alternate stereo takes properly. As a result, the stereo versions of Charles Munch’s first stereo recordings – Berlioz’ “Roméo et Juliette” and “Symphonie Fanastique” – disappeared while others, such as Fritz Reiner’s first stereo re- cordings (Strauss’ “Also Sprach Zarathustra” and the Brahms Piano Concerto No. 1 with Ar- thur Rubinstein) disappeared for 20 years. Oddly enough, their prize possession, Toscanini, was not recorded in stereo until his very last NBC Symphony performance, at which he suf- fered a mental lapse while conducting. None of the performances captured on that date were even worth preserving, let alone issuing, and so posterity lost an opportunity to hear his last half-season with NBC in the excellent sound his artistry deserved. Columbia was even less willing to pursue stereo. -
Elektra 2017
B Y L ARRY R OTHE igmund Freud and Carl Gustav Jung approached the wronged must exact vengeance. Now, just as her mother human mind as a museum. They toured patients’ avenged the young Iphigenia, Elektra seeks revenge for her Sinner galleries, focusing on the permanent collec - father’s death. His killers must die. Sophocles captures all tions. What a show the princess Elektra would have offered, a this in a story of corrosive sorrow. Hofmannsthal chose not display so disturbing that it gave birth to a psychoanalytical the - to mention Iphigenia in his version of the legend, thus eras - ory. Jung coined the term “Electra complex” in 1913, ten years ing sympathy for Klytemnestra. His queen is no grieving after the Austrian poet Hugo von Hofmannsthal wrote his play mother. She is a self-centered adulteress who wants her hus - Elektra, based on Sophocles’ classic drama, and four years after band gone. His murder drives Elektra to the edge of insanity. Richard Strauss transformed Hofmannsthal’s play into his most When Strauss saw Hofmannsthal’s Elektra in 1905, he musically daring opera. For Hofmannsthal, the character of knew it could become an opera, yet he balked at the subject, Elektra (to use the German spelling) must have exercised a worried that it too closely resembled his last stage work, powerful appeal, for she embodied the fevers and perfumes of Salome . That story, drawn from the Bible and thus also set in fin-de-siècle art. As drawn to interiors as were Freud and Jung, antiquity, capitalized on flamboyance. The nymphet of the Hofmannsthal saw opportunity in Elektra—the opportunity to title teases her stepfather, King Herod, with a flood of adoles - depict a tortured mind, to open the doors to her inner museum. -
01-15-2019 Pelleas Eve.Indd
CLAUDE DEBUSSY pelléas et mélisande conductor Opera in five acts Yannick Nézet-Séguin Libretto by the composer, adapted from production Sir Jonathan Miller the play by Maurice Maeterlinck set designer Tuesday, January 15, 2019 John Conklin 7:30–11:30 PM costume designer Clare Mitchell First time this season lighting designer Duane Schuler revival stage director Paula Williams The production of Pelléas et Mélisande was made possible by a generous gift from Pierre and Ailene Claeyssens general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 115th Metropolitan Opera performance of CLAUDE DEBUSSY’S pelléas et mélisande conductor Yannick Nézet-Séguin in order of vocal appearance gol aud Kyle Ketelsen mélisande Isabel Leonard geneviève Marie-Nicole Lemieux DEBUT arkel Ferruccio Furlanetto pellé as Paul Appleby* yniold This performance A. Jesse Schopflocher is being broadcast live on Metropolitan a shepherd Opera Radio on Jeremy Galyon SiriusXM channel 75 and streamed at a physician metopera.org. Paul Corona Tuesday, January 15, 2019, 7:30–11:30PM KAREN ALMOND / MET OPERA Paul Appleby and Chorus Master Donald Palumbo Isabel Leonard in Musical Preparation Derrick Inouye, Carol Isaac, the title roles of Jonathan C. Kelly, and Marie-France Lefebvre Debussy’s Pelléas et Mélisande Assistant Stage Director Robin Guarino Children’s Chorus Director Anthony Piccolo Prompter Marie-France Lefebvre Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This performance is made possible in part by public funds from the New York State Council on the Arts.