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17.6 Inst. and Personality 78S. Pp 170-192

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78 rpm INSTRUMENTAL FRANCIS CESBRON [conductor] dir. ORCHESTRE SYMPHONIQUE 1773. 10” Green & White Lumen 30.081 [XL187/XL190]. VOILES BLANCHES AU CRÉ- PUSCULE / CALME DU SOIR (both Philippe Gaubert). Just about 1-2. $12.00. ABRAM CHASINS [pianist, composer] 1945. 10” Red Orth. Vla 1573 [OB1799-1A/OB1800-IIIA]. FAIRY TALE / PRELUDES: Op. 10, No. 5; Op. 12. No. 2; Op12. No. 1 (all Chasins). Just about 1-2. $15.00. 1946. 10” Red Orth. Vla 1582 [OB1797-IIA/OB1798-IIA]. THREE CHINESE PIECES: Flirtation in a Chinese Garden; Rush Hour in Hong Kong / A Shanghai Tragedy (all Chasins). Two sides. Few lightest mks., cons. 2. $15.00. SHURA CHERKASSKY [pianist] 2163. 10” Blue acous. Victor 45394. PRELUDE PATHETIQUE (Cherkassky) / ECOSSAI- SES (Beethoven). Cherkassky was eleven when he recorded these. Just about 1-2. $15.00. ERIC COATES [conductor, composer] dir. NEW QUEEN’S HALL LIGHT ORCH. 3390. 12” Blue acous. Eng. Columbia L1529 [76919/76922]. THE MERRYMAKERS [A MINIATURE OVERTURE / MORESQUE [DANCE INTERLUDE (both Eric Coates). Conducted by the composer. Small indentation side one and same spot on the reverse a small bump (a couple of ticks), otherwise just about 1-2. $12.00. PIERO COPPOLA [conductor, composer] dir. ORCH. SYMP. DU GRAMOPHONE 3391. 12” Blk. PW elec. Disque Gramophone W-973 [CT-4040-I/CT-4063-I]. SCHER- ZO FANTASQUE (Piero Coppola) / DANSE SYMPHONIQUE, Op. 63, No. 2 (Grieg). Just about 1-2. $12.00 ALFRED CORTOT [pianist] 1422. 10” White lbl. acous. vinyl Vla mat. B-31687-2. DOLLY SUITE: Berceuse (Fauré). Rec. 20 Jan. 1925. Unpub- lished. Just about 1-2. $40.00 2118. 10” Red acous. Vla 1016. BOURRÉE (Saint-Saëns). Played with left hand only. / SCHERZO, Op. 16, No. 2 (Mendels- sohn). Just about 1-2. $12.00. 2035. 10” Scroll Victor “Z” type shellac 1201. INVITATION TO THE WALTZ (v.Weber). Two sides. Just about 1-2. $12.00. EUGEN D’ALBERT [pianist, composer] ALFRED CORTOT 3402. 12” Blk. acous. Polydor 66032 [466az/468az]. CAPRIOLEN, Op. 32, Nos. 2, 4, 5, (Eugen d’Albert) / MEDITER- RANEAN (Arnold Bax); PUNCH AND JUDY SHOW [CASPERLE-THEATER], Op. 18, No. 6 (Eugen Goossens). IMs. Just about 1-2. $100.00. VLADIMIR DE PACHMANN [pianist] 1477. 10” Red Pats. Victor 64224. MAZURKA, Op. 50, No. 2, A Flat Major (Chopin). Just about 1-2. $10.00. 1310. 10” Red ’12 Pats. Victor 64263. MAZURKA, Op. 59, No. 3 in F# MINOR (Chopin). Top early pressing. Just about 1-2. $10.00. AUGUSTE DE RADWAN [pianist]. 1867-1957. A Polish pianist, celebrated in his time, who had studied in Vienna with Theodor Leschetitzky and was noted for his Chopin interpretations. He was also prominent as a teacher 3211. 12” PW Ultraphone EP 613 [P80109-Z/P80110-Z]. PRÉLUDES: 11, 19, 8 / MAZUR- KAS: 2 and 21 (all Chopin). Just about 1-2. $12.00. JOSÉ ECHANIZ [pianist] 1455. 10” Blk. Viva-Tonal Columbia 151-M [W95105-6/W95106-2]. POLONAISE IN E FLAT (Chopin). Two sides. Just about 1-2. $15.00. - 170 - 78 rpm INSTRUMENTAL Sir EDWARD ELGAR [conductor and composer] dir. SYMPHONY ORCHSTRA (item #3135) and LONDON SYMPHONY ORCH. (items #3876. #3894 and #3895) Sir EDWARD ELGAR conducting and cellist BEATRICE HARRISON recording the Elgar Cello Concerto in 1920 3135. 12” Blk. Hist. No. 2 HMV D177 [al8274f/al8276f]. CARILLON [SING, BELGIANS, SING] (Elgar). With recitation by HENRY AINLEY . IMs. Just about 1-2. $15.00. 3876. 12” PW Blk. HMV D1899, D1900 [Cc19741-II/Cc19727-III, Cc19728-II/Cc19740-II]. CROWN OF INDIA SUITE. Three sides / POMP AND CIRUMSTANCE MARCH No. 5 (both Elgar). Few lightest mks., cons. 2. $15.00. 3894. 12” Red Orth. Vla 9470-9472 [Cc15062-II/Cc15063-IV, Cc15064-III/Cc15065-I, Cc15066-II/Cc15072-I]. WAND OF YOUTH SUITE No. 1, Op.1a. Five sides / BEAU BRUMMEL: Minuet (both Elgar). Just about 1-2. $15.00. 3895. 12” Red Orth. Vla 9594-9595 [Cc15067-I/Cc15068-IT1, Cc15069-1A/Cc15070-I]. WAND OF YOUTH SUITE No. 2, Op. 1b (Elgar). Four sides. Just about 1-2. $12.00. MISCHA ELMAN [violinist] 2027. 10” Red ’08 Pats. Victor 61183 [6654e]. SWING SONG (Barnes). Piano acc. Percy B. Kahn. Never doubled. Few lightest mks. Cons. 2. $12.00. FLONZALEY QUARTET [Adolfo Betti, Alfred Pochon, Nicholas Moldavan, Ivan d’Archambeau] 1957. 10” Red Orth. Vla 1569. SALLY IN OUR ALLEY / TURKEY IN THE STRAW; OLD ZIP COON (all arr. Alfred Pochon). Just about 1-2. $12.00. JEAN FRANÇAIX [composer, pianist] with PARIS PHIL. dir. NADIA BOULANGER 3154. 12” Red Disque Gram. DB-5034, DB-5035 [2LA-1503-1/2LA-1504-1, 2LA-1505-1/ 2LA-1506-1]. CONCERTO POUR PIANO ET ORCHESTRA (Françaix). Four sides. IMs. Just about 1-2. $12.00. IGNAZ FRIEDMAN [harpsichordist (side one); pianist (side two)] 2158. 10” EE Blue Columbia 2040-M [W141604-2/W141605-1]. RONDO ALLA TURKA (Mozart) /PASTORALE (Scarlatti). Just about 1-2. $15.00. RUDOLF FRIML [composer, pianist] 1505. 10” Blk. EE Columbia 533-D [W141391-2/W141392-2]. THE VAGABOND KING: Song of the Vagabonds / CHANSONETTE (both Rudolf Friml). Few very tiny and harmless patinas, otherwise just about 1-2. $10.00. 1719. 10” Blk. Orth. Victor 22540. ROSE-MARIE: Indian Love Call / THE VAGABOND KING (both Friml). Just about 1-2. $10.00. - 171 - 78 rpm INSTRUMENTAL OSSIP GABRILOWITSCH [pianist, conductor] 1340. 10” White lbl. acous. Vla mat. B-31705-1. GAVOTTE (Gluck, arr. Brahms). Unpublished. Just about 1-2. $30.00. GALIMIR STRING QUARTET dir. DARIUS MILHAUD 1955. 10” Blk. PW Polydor 561.100, 561.101 [2460½HPP/ 2461¾HPP, 4162½HPP/ 4163½HPP]. SEPTIÈME QUA- TOUR A CORDES EN SI-BÉ- MOL (Milhaud). Four sides. Excellent pressings. Few lt. mks., cons. 2. $15.00. RUDOLF GANZ [conductor] dir. Pianist OSSIP GABRILOWITSCH at a tuneless keyboard ST. LOUIS SYMPHONY ORCHESTRA 3910. 12” Red PW (gold print) Victor 9009. NELL GWYN: Country Dance No. 1 / NELL GWYN: Pastoral Dance No. 2, The Merrymakers’ Dance No. 3 (Edward German). Just about 1-2. $8.00. GEORGE GERSHWIN [composer, pianist] 3060. 12” Green PoW Columbia 7192-M [WAX3758/WAX3759]. PRELUDES Nos. 1 and 2 / PRELUDE No. 3; “Andante” From Rhapsody in Blue (all Gershwin). Just about 1- 2. $7.00. PAUL GRAENER [composer, conductor] dir. BERLIN STATE OPERA ORCHESTRA 1222. 10” PW Blk. Schall. Gram. 62811 [8246½GR/8247½GR]. SCHWEDISCHE TÄNZE, Op. 98, Nos. 1 and 2 (Paul Graener). Two sides. Lbl. stkrs. top half of labels (radio station play check, 1942-44). Lt. superficial rubs. Just about 2. $15.00. PERCY GRAINGER [composer, pianist, conductor]. 2124. 10” Gold Flags Columbia 33001-D [81299-2/81323-3]. GOLLIWOGG’S CAKE WALK (Debussy) / GAVOTTE (Glück, trans. Brahms). Label autographed by Grainger. Just about 1-2. $35.00. 2126. 10” Gold Flags Columbia 33026-D [81298-1/81324-3]. TO A WATER-LILY, Op. 51 (MacDowell) / VOICES OF SPRING, Op. 32, No. 3 (Sinding). Label autographed by Grainger. Few lightest rubs, cons. 2. $35.00. 1933. 10” Blk. Viva-Tonal Columbia 154-M [W144204-3/W144205-2]. SHEPHERDS HEY / COUNTRY GARDENS (both Grainger). Just about 1-2. $15.00. 1535. 10” Blk. Viva-Tonal Columbia 163-M [W145228-6/W145237-4]. LORD PETER’S STABLE BOY (Danish Folk Song arr. Grainger). With RALPH LEOPOLD [harmoni- um / COLUMBIA SYMPHONY ORCH. dir. GRAINGER. SHEPHERDS HEY (Grainger). Just about 1-2. $15.00. 1932. 10” Blk. Viva-Tonal Columbia 1898-D [W147871-2/W147872-3]. RAMBLE ON LOVE [arr. from Strauss’s Der Rosenkavalier] (Grainger). Two sides. Just about 1-2. $20.00. RUDOLPH GRUEN [pianist, composer]. St. Louis, MO, 1900-Kansas City, MO, 1966 (one source states 1970). Gruen studied with Harold Bauer and made his debut in St. Louis in 1918. He appeared as a soloist with orchestras, in recital, and notably as an accompanist for singers such as Richard Crooks, Arthur Middleton, Vera Curtis and violinist Elias Breeskin. He appeared with Breeskin on recordings for Brunswick in 1920 and was a regular radio broadcaster on WNBC (New York) from 1930 through 1935. He also taught at Juilliard and the Manhattan School of Music. In addition, Gruen composed a number of pieces for piano, voice, and also two piano-four hands arrangements which he frequently performed with his wife, pianist and teacher Frances Hall. 1317. 10” PW elec. Roycroft 171 [3445/3552]. BEAUTY AND THE BEAST [DANCE ELUSIVE] (Gruen) /THE FOUNTAIN OF THE ACQUA PAOLA (Griffes). Small lbl. stkr., one very tiny PB. Just about 1-2. $15.00. - 172 - 78 rpm INSTRUMENTAL HOWARD HANSON [conductor] dir. EASTMAN-ROCHESTER SYMP. ORCH. 1883. 10” Red PW (gold print) Victor 2112. LAZY CIGARETTE [HABANERA] / EL GRECO [PAVANE] (both Robert Braine). Just about 1-2. $10.00. JOSEPH HASSID [violinist]. Suwalki, Poland, 1923 – Long Grove Hospital, Epsom, England, 1950. A remarkable prodigy, Hassid (raised by his father after his mother’s death when he was ten) was strongly encouraged by most of the virtuosi of the time who heard him. He came to England in 1938 at the invitation of Carl Flesch and made his public debut at Wigmore Hall (London) on 3 April 1940. His final concert was 1 March 1941 at Queens Hall, playing the Beethoven Violin Concerto. It was apparent that he was suffering from a “severe mental disorder” which was diagnosed as “schizophrenia” and was admitted to St. Andrew’s Hospital in Northampton. After a brief period of improvement, he was “certified insane” and remained institutionalzed for the rest of his life. A lobotomy was eventually attempted but postoperative infection set it, progressing into meningitis, which led to his death. Pianist Gerald Moore commented in the Gramophone magazine (April, 1973) that Hassid was “the greatest instrumental genius I’ve ever partnered.” He made only eight records, all in 1940, all extremely scarce.
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    Capital Complex: Valuations of Femininity in 1920s Stage Adaptations from Women’s Culture By Bethany Wood A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Theatre and Drama) at the UNIVERSITY OF WISCONSIN-MADISON 2012 Date of final oral examination: 10/15/12 This dissertation is approved by the following members of the Final Oral Committee: Mary Trotter, Associate Professor, Theatre and Drama Aparna Bhargava Dharwadker, Professor, Theatre and Drama Michael Vanden Heuvel, Professor, Theatre and Drama Julie D’Acci, Professor, Gender and Women’s Studies Jonathan Gray, Professor, Communication Arts © Copyright by Bethany Wood 2012 All Rights Reserved i Acknowledgements I am truly grateful for the generous personal and institutional support I have received throughout the research and writing of this dissertation. I am deeply indebted to my advisor, Dr. Mary Trotter, for her careful reading and insightful comments and questions, which inspired and directed this dissertation. Her advice and queries consistently push and guide my work in productive directions, and I am thankful for her mentorship. I would also like to express my appreciation for my dissertation committee, Dr. Julie D’Acci, Dr. Aparna Dharwadker, Dr. Jonathan Gray, and Dr. Michael Vanden Heuvel, whose suggestions helped hone my initial proposal and advance the complexity of my analysis. I am grateful for their insights and inquiries. Financial support from several institutions assisted with the research and completion
  • The Genre of Cabaret

    The Genre of Cabaret

    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2006 Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret Deborah Tedrick University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Tedrick, Deborah, "Black Cats, Berlin, Broadway And Beyond: The Genre Of Cabaret" (2006). Electronic Theses and Dissertations, 2004-2019. 972. https://stars.library.ucf.edu/etd/972 BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET by DEBORAH LYNNE TEDRICK Bachelor of Music, California State University at Los Angeles, 1989 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theatre in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2006 © 2006 Deborah Lynne Tedrick ii ABSTRACT Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks.