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Alshire Records Discography
Alshire Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan Alshire International Records Discography Alshire was located at P.O. Box 7107, Burbank, CA 91505 (Street address: 2818 West Pico Boulevard, Los Angeles, CA 90006). Founded by Al Sherman in 1964, who bought the Somerset catalog from Dick L. Miller. Arlen, Grit and Oscar were subsidiaries. Alshire was a grocery store rack budget label whose main staple was the “101 Strings Orchestra,” which was several different orchestras over the years, more of a franchise than a single organization. Alshire M/S 3000 Series: M/S 3001 –“Oh Yeah!” A Polka Party – Coal Diggers with Happy Tony [1967] Reissue of Somerset SF 30100. Oh Yeah!/Don't Throw Beer Bottles At The Band/Yak To Na Wojence (Fortunes Of War)/Piwo Polka (Beer Polka)/Wanda And Stash/Moja Marish (My Mary)/Zosia (Sophie)/Ragman Polka/From Ungvara/Disc Jocky Polka/Nie Puki Jashiu (Don't Knock Johnny) Alshire M/ST 5000 Series M/ST 5000 - Stephen Foster - 101 Strings [1964] Beautiful Dreamer/Camptown Races/Jeannie With The Light Brown Hair/Oh Susanna/Old Folks At Home/Steamboat 'Round The Bend/My Old Kentucky Home/Ring Ring De Bango/Come, Where My Love Lies Dreaming/Tribute To Foster Medley/Old Black Joe M/ST 5001 - Victor Herbert - 101 Strings [1964] Ah! Sweet Mystery Of Life/Kiss Me Again/March Of The Toys, Toyland/Indian Summer/Gypsy Love Song/Red Mill Overture/Because You're You/Moonbeams/Every Day Is Ladies' Day To Me/In Old New York/Isle Of Our Dreams M/S 5002 - John Philip Sousa, George M. -
Der Rosenkavalier by Richard Strauss
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2010 Octavian and the Composer: Principal Male Roles in Opera Composed for the Female Voice by Richard Strauss Melissa Lynn Garvey Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC OCTAVIAN AND THE COMPOSER: PRINCIPAL MALE ROLES IN OPERA COMPOSED FOR THE FEMALE VOICE BY RICHARD STRAUSS By MELISSA LYNN GARVEY A Treatise submitted to the Department of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2010 The members of the committee approve the treatise of Melissa Lynn Garvey defended on April 5, 2010. __________________________________ Douglas Fisher Professor Directing Treatise __________________________________ Seth Beckman University Representative __________________________________ Matthew Lata Committee Member The Graduate School has verified and approved the above-named committee members. ii I’d like to dedicate this treatise to my parents, grandparents, aunt, and siblings, whose unconditional love and support has made me the person I am today. Through every attended recital and performance, and affording me every conceivable opportunity, they have encouraged and motivated me to achieve great things. It is because of them that I have reached this level of educational achievement. Thank you. I am honored to thank my phenomenal husband for always believing in me. You gave me the strength and courage to believe in myself. You are everything I could ever ask for and more. Thank you for helping to make this a reality. -
Chronology 1916-1937 (Vienna Years)
Chronology 1916-1937 (Vienna Years) 8 Aug 1916 Der Freischütz; LL, Agathe; first regular (not guest) performance with Vienna Opera Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Miller, Max; Gallos, Kilian; Reichmann (or Hugo Reichenberger??), cond., Vienna Opera 18 Aug 1916 Der Freischütz; LL, Agathe Wiedemann, Ottokar; Stehmann, Kuno; Kiurina, Aennchen; Moest, Caspar; Gallos, Kilian; Betetto, Hermit; Marian, Samiel; Reichwein, cond., Vienna Opera 25 Aug 1916 Die Meistersinger; LL, Eva Weidemann, Sachs; Moest, Pogner; Handtner, Beckmesser; Duhan, Kothner; Miller, Walther; Maikl, David; Kittel, Magdalena; Schalk, cond., Vienna Opera 28 Aug 1916 Der Evangelimann; LL, Martha Stehmann, Friedrich; Paalen, Magdalena; Hofbauer, Johannes; Erik Schmedes, Mathias; Reichenberger, cond., Vienna Opera 30 Aug 1916?? Tannhäuser: LL Elisabeth Schmedes, Tannhäuser; Hans Duhan, Wolfram; ??? cond. Vienna Opera 11 Sep 1916 Tales of Hoffmann; LL, Antonia/Giulietta Hessl, Olympia; Kittel, Niklaus; Hochheim, Hoffmann; Breuer, Cochenille et al; Fischer, Coppelius et al; Reichenberger, cond., Vienna Opera 16 Sep 1916 Carmen; LL, Micaëla Gutheil-Schoder, Carmen; Miller, Don José; Duhan, Escamillo; Tittel, cond., Vienna Opera 23 Sep 1916 Die Jüdin; LL, Recha Lindner, Sigismund; Maikl, Leopold; Elizza, Eudora; Zec, Cardinal Brogni; Miller, Eleazar; Reichenberger, cond., Vienna Opera 26 Sep 1916 Carmen; LL, Micaëla ???, Carmen; Piccaver, Don José; Fischer, Escamillo; Tittel, cond., Vienna Opera 4 Oct 1916 Strauss: Ariadne auf Naxos; Premiere -
Boston Symphony Orchestra Concert Programs, Season 114, 1994-1995
osion 5«/V Ozawa J MIMC TiTltT.CTnil y> '(Ctln S/ 1994. eason When you know your worth Omega Constellation 18K gold and stainless steel ladies' watch*with diamond bezel. Scratch-resistant sapphire crystal. Water resistant. Swiss made since 1848. OMEGA (fo ALPHA OMEGA S?m& cWatcAe& sign excellence The of AMERICA'S WATCH SPECIALISTS Harvard Square-57 J.F.K. Street ©1994 Omega? a division of BED (US) Inc. Cambridge, MA 02138 1-800-447-4367 (617) 864-1227 Seiji Ozawa, Music Director One Hundred and Fourteenth Season, 1994-95 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Mrs. Edith L. Dabney, Vice-chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Harlan E. Anderson Nader F Darehshori Julian T. Houston Mrs. August R. Meyer Peter A. Brooke Deborah B. Davis Edna S. Kalman Mrs. Robert B. Newman James F Cleary Nina L. Doggett Allen Z. Kluchman Peter C. Read John F Cogan, Jr. Dean W. Freed Harvey Chet Krentzman Carol Scheifele-Holmes Julian Cohen Avram J. Goldberg George Krupp Richard A. Smith William F Connell Thelma E. Goldberg R. Willis Leith, Jr. Ray Stata William M. Crozier, Jr. Trustees Emeriti Vernon R. Alden AbramT. Collier Mrs. George I. Kaplan Mrs. George Lee Sargent Philip K. Allen Nelson J. Darling, Jr. George H. Kidder Sidney Stoneman David B. Arnold, Jr. Archie C. Epps Thomas D. Perry, Jr. John Hoyt Stookey Allen G. Barry Mrs. Harris Fahnestock Irving W. Rabb John L. Thorndike Leo L. Beranek Mrs. John L. -
Fest/Spiel/Haus/ St/Poelten/ 15 April 2019 Schelomo
FEST/SPIEL/HAUS/ ST/POELTEN/ 15 APRIL 2019 SCHELOMO Tonkünstler-Orchester Niederösterreich © Nancy Horowitz © Nancy Niederösterreich Tonkünstler-Orchester TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 Tonkünstler-Orchester Niederösterreich Alisa Weilerstein . Fabien Gabel Montag, 15. April 2019, 19.30 Uhr Festspielhaus St. Pölten, Großer Saal Gesamtdauer: ca. 2 Std. (inkl. Pause) Einführung mit Walter Weidringer 18.30 Uhr, Kleiner Saal Künstlerische Leiterin Festspielhaus St. Pölten: Brigitte Fürle TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 von Elfriede Jelinek Inszenierung: Nikolaus Habjan ab 16.03.2019 Österreichische Erstaufführung www.landestheater.net PROGRAMM Violoncello ALISA WEILERSTEIN Dirigent FABIEN GABEL RICHARD STRAUSS (1864 – 1949) Liebesszene aus der Oper «Feuersnot» op. 50 (1900/01) 7 ’ ERNEST BLOCH (1880 – 1959) «Schelomo» Hebräische Rhapsodie für Violoncello und Orchester (1915/16) 23’ PAUSE ERICH WOLFGANG KORNGOLD (1897 – 1957) Sinfonietta für großes Orchester op. 5 (1911-13) Fließend, mit heiterem Schwunge Scherzo. Molto agitato, rasch und feurig Molto andante (träumerisch) Finale. Patetico – Allegro giocoso 44’ Bitte beachten Sie, dass die tatsächliche Spieldauer von diesen Angaben geringfügig abweichen kann. Das Konzertprogramm wird vom ORF aufgezeichnet und am Dienstag, 23. April 2019, ab 14.05 Uhr in der Sendung «Das Ö1 Konzert» im Programm von Radio Österreich 1 in Dolby Digital 5.1 Surround Sound ausgestrahlt. «Radio OE 1 DD», abgespielt über einen digitalen Satelliten-Receiver und eine mehrkanalfähige Audioanlage, ermöglicht die volle Surround-Qualität. RICHARD STRAUSS Liebesszene aus der Oper «Feuersnot» op. 50 Nachdem «Guntram», Richard Strauss’ erste Oper, bei der Uraufführung in Weimar eine freundliche Aufnahme gefunden hatte, sah der Komponist voll Optimismus der Premiere in seiner Geburtsstadt München am 16. -
Download Booklet
SUPER AUDIO CD Randall ScaRlata baRitone • company of muSic tölzeR KnabenchoR • choRuS Sine nomine tonKünStleR-OrcheSteR abSolute enSemble KRiStjan jäRvi Leonard Bernstein,December 1975 Leonard © Don Hunstein/Lebrecht Music & Arts Photo Library LEONARD BERNSTEIN (1918 –1990) MASS A Theatre Piece for Singers, Players and Dancers Text from the Liturgy of the Roman Mass Additional texts by Stephen Schwartz and Leonard Bernstein Randall Scarlata baritone (Celebrant) Company of Music (Street Chorus) Johannes Hiemetsberger chorus master Tölzer Knabenchor (Boys’ Choir) Georg Drexel (solo boy soprano) Gerhard Schmidt-Gaden chorus master Chorus sine nomine (Chorus) Johannes Hiemetsberger chorus master Absolute Ensemble Tonkünstler-Orchester Niederösterreich Alexander Gheorghiu concertmaster Kristjan Järvi 3 Company of Music Chorus master Johannes Hiemetsberger soprano Barbara Achammer (solo) Theresa Dlouhy (solo) Ruth Kraus* (solo) Claudia Meller Absolute Ensemble Elisabeth Wimmer drums/percussion Damien Bassman alto Heidemaria Gruber (solo) bass guitar Lenneke Willemsen* (solo) Mat Fieldes Susanne Katharina Hell Birte Dalbauer-Stokkebaek solo violin Maja Wambersky Vesselin Gellev tenor electric keyboard Bernd Fröhlich (solo) Matt Herskowitz Gernot Heinrich (solo) Bernd Hemedinger (solo) trombone Reinwald Kranner* (solo) Michael Seltzer Dave Moskin* (solo) Jean-Jacques Rousseau clarinet/saxophone Michiyo Suzuki baritone/bass André Bauer* (solo) Günter Haumer (solo) Jörg Espenkott Christoph Wiegelbeyer Clemens Kölbl *guest artist 4 Company of Music -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
Barney Kessel Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 3 Scope & Content …………………………………………………………………… 5 Series Notes …………………………………………………………………………… 6 Container List: Series I: Correspondence …………………………………………………… 9 Incoming, Dated …………………………………………………… 9 From Maurice J. Summerfield …………………………………… 33 Incoming, Undated …………………………………………………… 35 Incoming, Unsigned & Undated …………………………………… 37 Blank Envelopes …………………………………………………… 37 Outgoing, Dated …………………………………………………… 38 To Maurice J. Summerfield …………………………………………… 43 Outgoing, Undated …………………………………………………… 44 Outgoing, Unsigned & Undated …………………………………… 44 Correspondence Including Photographs …………………………… 45 Series II: Personal Documents …………………………………………… 46 Biographies …………………………………………………………… 46 Marriage Documents …………………………………………………… 46 Obituaries …………………………………………………………… 47 Series III: Seminar …………………………………………………………… 48 Business …………………………………………………………… 48 Promotional Material …………………………………………………… 48 Notes …………………………………………………………………… 49 Correspondence …………………………………………………… 49 Questionnaires …………………………………………………… 50 Series IV: Promotional Material …………………………………………… 51 Flyers …………………………………………………………………… 51 Press Releases …………………………………………………… 52 Programs & Booklets …………………………………………………… 53 Interview Transcripts …………………………………………………… 55 Reviews …………………………………………………………… 55 Oversized Posters …………………………………………………… 56 Series V: Notes …………………………………………………………… 57 Notebooks …………………………………………………………… -
An Illustrated Chronology
Richard Tauber: An illustrated Chronology Fully updated and expanded, with a new Picture Gallery Daniel O’Hara With a Foreword and Afterword by Dr. Nicky Losseff and Marco Rosenkranz September 2020 Saltburn-by-the-Sea Dedicated to the memory of Richard Tauber Born: Linz, 16 May 1891. Died: London, 8 January 1948, and of John Marsom [1940-2018], my loving partner for over 46 years. Warning: Earlier versions of this work have been archived and pirated by other websites. The most recent update will always be the one found here: http://www.richard-tauber.de/wp-content/pdf/TAUBER-CHRONOLOGY.pdf Daniel O’Hara – Richard Tauber Chronology – Last revised: Sept. 2020 AUTHOR’S PREFACE I first became enthralled by the voice and artistry of Richard Tauber in my mid-teens through a 1955 BBC television showing of his 1936 film Land without Music. I soon began to collect his records and compile a discography, though my only sources then were Clough & Cummings’ World Encyclopaedia of Recorded Music (WERM) and old Parlophone Catalogues. In 1958 I became the youngest member of the recently-formed Richard Tauber Society, founded by Terry Griffin, through which I got to meet and corresponded with Tauber’s accompanist Percy Kahn and his widow Diana Napier, who served respectively as Society President and Vice-President. Early work on this Chronology began several decades ago in a series of notebooks. The information they contained was gradually transferred to a computer file, starting in 2007. This was added to and modified over the following years until a draft - still fairly sketchy - was considered extensive enough to post online in June 2011. -
En Guise D'avant-Propos
En guise d’avant-propos WEST COAST JAZZ — « La West Coast, qu’est‑ce que c’est ? » (Lee Konitz). — « C’est une étiquette, rien de plus. » (Hampton Hawes). — « Ça a été un pur accident. » (Chet Baker). L’appellation « Jazz West Coast » a toujours posé un problème à ceux‑là mêmes qui étaient censés l’avoir créée. Une étiquette rejetée plus ou moins violemment que quelques‑uns ont fini par accepter de guerre lasse. « On a toujours besoin d’un label », reconnaissait Shelly Manne. Apposer une estam‑ pille n’est guère difficile, les problèmes surgissent à partir du moment où il s’agit de préciser ce qu’elle est supposée recouvrir. Dans ce cas précis, s’agit‑il d’une forme de jazz inventée par des Californiens ? Certainement pas : le gros des musiciens venait de l’Est. Alors d’une variante jouée uniquement sur les bords du Pacifique ? Faux, il en existe des équivalents à New York, Boston, Chicago, en Suède et ailleurs encore. Peut‑ ISBN 978-2-86364-665-6 être un style pratiqué exclusivement par des jazzmen de race blanche ? Certes, / ils étaient majoritaires — et l’on verra pourquoi —, mais que deviennent Chico Jazz Hamilton, Buddy Collette, Curtis Counce, Leroy Vinnegar, Hampton Hawes et quelques autres ? Existe‑t‑il seulement une spécificité dans la musique inter‑ Coast prétée en Californie au cours des années 1952‑1965 ? Plus on en approfondit West l’étude, plus le doute s’installe. — Cette difficulté à appréhender globalement le «Jazz West Coast » ne lui appartient pas en propre. De semblables ambiguïtés se retrouvent Tercinet à propos de tous les styles dûment catalogués. -
Gala Concert Programme Gala Concert of the Slovak Philharmonic Orchestra
Gala Concert Programme GALA CONCERT OF THE SLOVAK PHILHARMONIC ORCHESTRA May 4, 2018 8 p.m. Konzerthaus Berlin (Großer Saal) Gendarmenmarkt 5 – 6, 10117 Berlin Slovak Philharmonic Rastislav Štúr, conductor Dalibor Karvay, violin Ján Levoslav Bella: Concert Piece in Hungarian Style Jana Kmit´ová: Secondary Thoughts for Large Orchestra Antonín Dvorˇák: Violin Concerto in A Minor, Op. 53 Allegro ma non troppo – Adagio ma non troppo – Finale: Allegro giocoso ma non troppo Dear friends, It is with great pleasure that I welcome you to this concert of the Slo- vak Philharmonic Orchestra, which is being held to mark the twenty- fifth anniversary of the establishment of the Slovak Republic. The independent Slovak Republic was born a quarter of a century ago – the first democratic state of the Slovaks, of which we can be rightly proud. Slovakia’s story has been anything but straightfor- ward, yet we have come a long way in the past twenty-five years. I can gladly say that Slovakia has been able to make good use of the unique potential of European integration. Over the course of twenty- five years of hard work, we have become a democratic and prosperous country – and a constituent of the safest, freest, most prosperous and best-governed part of the world. On 1st May, Slovakia celebrated 14 years of EU membership. This membership has been a natural homecoming to the family of democratic countries of Europe, from which we, together with other countries in the region, had been ripped out as a result of decisi- ons made by others. Our membership in the North Atlantic Treaty Organization is also crucial, providing a prerequisite for our prosperity by sharing responsibility for common security. -
BÉLA BARTÓK (1881 – 1945) «Der Wunderbare Mandarin» Konzertsuite Op
FEST/SPIEL/HAUS/ ST/POELTEN/ 03 JUNI 2019 BARTÓK/DVOŘÁK Tonkünstler-Orchester Niederösterreich © Nancy Horowitz © Nancy Niederösterreich Tonkünstler-Orchester TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 Tonkünstler-Orchester Michael SchØnwandt Montag, 03. Juni 2019, 19.30 Uhr Festspielhaus St. Pölten, Großer Saal Gesamtdauer: ca. 1 Std. 50 Min. (inkl. Pause) Einführung mit Christian Meyer 18.30 Uhr, Kleiner Saal Künstlerische Leiterin Festspielhaus St. Pölten: Brigitte Fürle TK_MosaikStPoelten_107x190_180920_RZ.indd 2 20.09.18 11:32 MARIMBA MAXIMAL TONKÜNSTLER-ORCHESTER THE WAVE QUARTET MARIMBA YUTAKA SADO DIRIGENT PIAZZOLLA · TSCHAIKOWSKI · ALBÉNIZ DORMAN · MÁRQUEZ r ge er b rz e H an ti is hr C © t te ar u Q e av W SA, 10. AUGUST 2019 grafenegg.com PROGRAMM Violine HIROMI KIKUCHI Viola KEN HAKII Dirigent MICHAEL SCHØNWANDT BÉLA BARTÓK (1881 – 1945) «Der wunderbare Mandarin» Konzertsuite op. 19 (1919/1927) 21’ GYÖRGY KURTÁG (*1926) «... concertante ...» für Violine, Viola und Orchester op. 42 (2002/03, rev. 2006/07) 25’ PAUSE ANTONÍN DVORÁKˇ (1841 – 1904) «Natur – Leben – Liebe» (1891/92) «In der Natur» Konzertouvertüre F-Dur op. 91 «Karneval» Konzertouvertüre A-Dur op. 92 «Othello» Konzertouvertüre fis-Moll op. 93 37’ Bitte beachten Sie, dass die tatsächliche Spieldauer von diesen Angaben geringfügig abweichen kann. BÉLA BARTÓK «Der wunderbare Mandarin» Konzertsuite op. 19 Drei Mal wurde er ermordet – erstickt, erstochen, erhängt. Doch der Mandarin lebt: Voller Begierde richtet er seinen Blick auf das Mädchen, denn gegen