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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. -
Verdi Week on Operavore Program Details
Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
The Humanities in Western Tradition Volume Ii the Humanities in Western Tradition Volume Ii
AUDIO COMPACT DISC TO ACCOMPANY The HumanitieIN THE WESTERNs TRADITION VOLUME II: RENAISSANCE TO PRESENT 3-44278 A 61336 Perry | Baker | Hollinger Perry Perry AUDIO COMPACT DISC TO ACCOMPANY | | Baker Baker ISBN 0-395-84818-0 | | Hollinger Hollinger ,!7IA3J5-ieibia!:m;k;k;K;K The HumanitieIN THE WESTERN TRADITIONs VOLUME II: RENAISSANCE TO PRESENT A 61336 3-44278 THE HUMANITIES IN WESTERN TRADITION VOLUME II THE HUMANITIES IN WESTERN TRADITION VOLUME II 1 (15.1) Weelkes: As Vesta Was From 14 (19.4) Beethoven: Symphony No. 5, I 27 (22.6) Mussorgsky: Pictures at an Latmos Hill Descending Exhibition, “Great Gate of Kiev” 15 (19.4) Beethoven: Symphony No. 5, 2 (15.2) Giovanni da Palestrina: Pope III/IV 28/29(22.7) Tchaikovsky: 1812 Overture Marcellus Mass, Credo 16 (19.5) Beethoven: Symphony No. 9, IV 30 (22.8) Debussy: La Mer, II Jeux de 3 (15.3) Monteverdi: L’Orfeo, Lasciete I Vagues 17 (20.1) Schubert: Erlkönig Monti 31 (23.1) Shoenberg: Variations, Theme 18 (20.2) Mendelssohn: Midsummer 4 (16.1) Vivaldi: Four Seasons, Spring, I and Variation IV Night’s Dream, Wedding March 5 (16.2) Handel: Messiah, “All We Like 32 (23.2) Ives: Fourth of July 19/20 (20.3) Berlioz: Symphonie Fantastique, Sheep” IV (23. 3) Stravinsky: The Rite of Spring 6/7 (16.3) Bach: Passacaglia in C Minor 33 Augers of Spring 21 (20.4) Chopin: Polonaise in A Flat 34 Mock Abduction 8 (16.4) Bach: Brandenburg Concerto No. Major 35 Rounds 2, II 22 (22.1) Verdi: Nabucco, “Coro di Schiavi 36 (24.1) Joplin: Maple Leaf Rag 9(16.5) Bach: St. -
Opera Recordings: a Very Personal Guide by Ralph Moore
“Untouchable” and ”Most Recommendable” Opera Recordings: a very personal guide by Ralph Moore My handful of regular readers might have noticed some glaring omissions in the list of thirty-seven major operas whose discographies I have surveyed over the last couple of years - operas whose quality and popularity are such that one might reasonably have expected me to have included them in my labours. There are, after all, probably around fifty truly first-rate operas which have been most often performed and recorded and I have by no means covered them all. I received requests to survey some of the following but on consideration, I realised that there were good reasons for my reluctance to do so. The most obvious omissions are these twelve operas: Verdi’s La traviata and Il trovatore; Wagner’s Lohengrin and Tannhäuser; Mozart’s Don Giovanni; Puccini’s La bohème, Tosca, Madama Butterfly and Turandot; Rossini’s Il barbiere di Siviglia; Donizetti’s Lucia di Lammermoor and Beethoven’s Fidelio. My reason for not having reviewed them collectively is that either the opera in question has received one or two recordings of such definitive quality that consideration of the others is otiose or there are so many good recordings of it in the catalogue that making a helpful or meaningful recommendation becomes difficult. I have therefore decided to circumvent the problem by making some brief, annotated recommendations and guidance for those major operas hitherto neglected. Obviously, my selections are highly subjective and controversial, and other collectors will be dismayed that I have ostensibly rejected their own candidates for recordings of classic status or nominated one they loathe but at the same time I think I may fairly claim that these are, in general, recordings which have stood the test of time. -
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre
Record Series 1121-105.4, W. W. Law Music Collection-Compact Discs, Inventory by Genre Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) James Cotton Living the Blues James Cotton; Larry McCray; John Primer; Johnny B. Gayden; Brian Jones; Dr. John; Lucky Peterson; Joe Louis Walker 1994 1121-105-242 19 Blues (music) Willie Dixon Willie Dixon; Andy McKaie; Don Snowden 1988 1121-105-249 01 Oversized case; 2 CD box set Blues (music) Cincinnati Blues (1928-1936) Bob Coleman's Cincinnati Jug Band and Associates; Walter Coleman; Bob Coleman no date 1121-105-242 17 Found with CD album in Box #10, Item #28; Case was found separately Blues (music) Willie Dixon, The Big Three Trio Willie Dixon; The Big Three Trio 1990 1121-105-242 18 Blues (music) The Best of Muddy Waters Muddy Waters 1987 1121-105-242 08 Blues (music) The Roots of Robert Johnson Robert Johnson 1990 1121-105-242 07 Blues (music) The Best of Mississippi John Hurt Mississippi John Hurt; Bob Scherl 1987 1121-105-242 06 Blues (music) Bud Powell: Blues for Bouffemont Bud Powell; Alan Bates 1989 1121-105-242 36 Friday, May 11, 2018 Page 1 of 89 Genre Album title Contributor (s) Date Final Box # Item # Additional Notes Original CD Blues (music) Big Bill Broonzy Good Time Tonight Big Bill Broonzy 1990 1121-105-242 04 Blues (music) Bessie Smith The Collection Bessie Smith; John Hammond; Frank Walker 1989 1121-105-242 38 Blues (music) Blind Willie Johnson Praise God I'm Satisfied Blind Willie Johnson 1989 1121-105-242 20 Post-it note was found on the back of this CD case, photocopy made and placed in envelope behind CD. -
Parola Scenica: Towards Realism in Italian Opera Etdhendrik Johannes Paulus Du Plessis
Parola Scenica: Towards Realism in Italian Opera ETDHendrik Johannes Paulus du Plessis A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of PhD by Thesis Abstract This thesis attempts to describe the emergence of a realistic writing style in nine- teenth-century Italian opera of which Giuseppe Verdi was the primary architect. Frequently reinforced by a realistic musico-linguistic device that Verdi would call parola scenica, the object of this realism is a musical syntax in which nei- ther the dramatic intent of the text nor the purely musical intent overwhelms the other. For Verdi the dramatically effective depiction of a ‘slice of a particular life’—a realist theatrical notion—is more important than the mere mimetic description of the words in musical terms—a romantic theatrical notion in line with opera seria. Besides studying the device of parola scenica in Verdi’s work, I also attempt to cast light on its impact on the output of his peers and successors. Likewise, this study investigates how the device, by definition texted, impacts on the orchestra as a means of realist narrative. My work is directed at explaining how these changes in mood of thought were instrumental in effecting the gradual replacement of the bel canto singing style typical of the opera seria of Rossini, Donizetti, and Bellini, by the school of thought of verismo, as exemplified by Verdi’s experiments. Besides the work of Verdi and the early nineteenth-cen- tury Italian operatic Romanticists, I touch also briefly on the œuvres of Puccini, ETDGiordano and the other veristi. -
Boston Symphony Orchestra Concert Programs, Season 105, 1985
m *$m Boston Symphony Orchestra SEIJI OZAWA, Music Director ^M }&MM "SaH*?. tag® rA'O. .v* 105th Season 1985-86 <> &S*i Outof the wood comes the TnnnzimHiiuiiiuiiiQcto of the world's first barrel-blended • «4s8i»«r-"- *&$ 12 year-old Canadian whisky. .vw^' as tnev a Barrel-Blending is the final process ot blending selected wmsKies into oak barrels to marry prior to bottling. Imported in bottle by Hiram Walker Importers Inc., Detroit Ml © 7985. Seiji Ozawa, Music Director One Hundred and Fifth Season, 1985-86 Trustees of the Boston Symphony Orchestra, Inc. Leo L. Beranek, Chairman Nelson J. Darling, Jr., President J.P. Barger, Vice-Chairman Mrs. John M. Bradley, Vice-Chairman George H. Kidder, Vice-Chairman William J. Poorvu, Treasurer Mrs. George L. Sargent, Vice-Chairman Vernon R. Alden Archie C. Epps Mrs. August R. Meyer David B. Arnold, Jr. Mrs. John H. Fitzpatrick E. James Morton Mrs. Norman L. Cahners Mrs. John L. Grandin David G. Mugar George H.A. Clowes, Jr. Francis W Hatch, Jr. Thomas D. Perry, Jr. William M. Crozier, Jr. Harvey Chet Krentzman Mrs. George R. Rowland Mrs. Lewis S. Dabney Roderick M. MacDougall Richard A. Smith Mrs. Michael H. Davis John Hoyt Stookey Trustees Emeriti Philip K. Allen E. Morton Jennings, Jr. John T. Noonan Allen G. Barry Edward M. Kennedy Irving W. Rabb Richard P. Chapman Edward G. Murray Paul C. Reardon Abram T. Collier Albert L. Nickerson Sidney Stoneman Mrs. Harris Fahnestock John L. Thorndike Officers of the Corporation Thomas W Morris, Vice-President, Special Projects and Planning John Ex Rodgers, Assistant Treasurer Theodore A. -
Nicolas Flagello Passion of Martin Luther King (Original Version) L’Infinito the Land
8.112065 Flagello conducts Flagello STEREO Nicolas Flagello Passion of Martin luther King (original version) l’Infinito The land ezio Flagello , Bass-baritone ambrosian Singers london Philharmonic orchestra I Musici di Firenze Nicolas Flagello (1962 and 1969 recordings) Nicolas Nicolas Flagello (1928-1994) Flagello Passion of Martin Luther King • L’Infinito • The Land (1928-1994) The brothers Nicolas Flagello (1928-1994) and Ezio Berlin Deutsche Opera, as well as London’s Covent Flagello (1931-2009) were born in New York City to a Garden. He was widely acclaimed in the title roles of family that had been musically active for generations. Falstaff and Gianni Schicchi , in addition to Dr Dulcamara Passion of Martin luther King (1968) (original version) 48:32 Their father, a successful dress designer, was an amateur in L’elisir d’amore , Sparafucile in Rigoletto , Klingsor in (Texts by Martin Luther King, Jr., 1929-1968 / Latin Liturgy) oboist, and their mother had been a singer whose father Parsifal, Pogner in Die Meistersinger , and many others. 1 Hosanna Filio David 4:15 (conductor and composer Domenico Casiello) was said In 1966 he created the rôle of Enobarbus in the world 2 At the Center of Non-Violence 5:24 to have studied with Verdi. Both boys became immersed première of Samuel Barber’s Antony and Cleopatra. In 3 Cor Jesu 6:04 in music at an early age, although their parents did not addition he appeared on the concert stage with many of 4 In the Struggle for the Freedom 6:47 encourage them to pursue it professionally. Nicolas the world’s leading orchestras. -
Wednesday Playlist
February 6, 2019: (Full-page version) Close Window “The only love affair I have ever had was with music.” —Maurice Ravel Start Buy CD Stock Program Composer Title Performers Record Label Barcode Time online Number Sleepers, 00:01 Buy Now! Mozart Symphony No. 8 in D, K. 48 Prague Chamber Orch/Mackerras Telarc 80300 089408030024 Awake! 00:14 Buy Now! Sibelius En Saga, Op. 9 Los Angeles Philharmonic/Salonen Sony 48067 07464480672 00:32 Buy Now! Franck Violin Sonata in A Bell/Denk Sony Classical 88697820262 886978202628 01:01 Buy Now! Albinoni Oboe Concerto in D, Op. 7 No. 6 Holliger/I Musici Philips 432 115 028943211529 Arrau/Royal Concertgebouw 01:09 Buy Now! Brahms Piano Concerto No. 2 in B flat, Op. 83 Philips 438 320 717794777222 Orchestra/Haitink 02:01 Buy Now! Liszt Hungarian Rhapsody No. 1 in F minor Israel Philharmonic/Mehta Sony 44926 07464449262 02:13 Buy Now! Glazunov Ballade, Op. 78 Moscow Symphony/Golovschin Naxos 8.553512 730099451222 02:30 Buy Now! Schubert Sonata in A minor, D. 821 "Arpeggione" Rostropovich/Britten London 417 833 028941783325 03:00 Buy Now! Elgar The Spanish Lady Suite Guildhall String Ensemble/Salter RCA 7761 07863577612 03:13 Buy Now! Schumann Symphonic Etudes, Op. 13 Emanuel Ax Sony 42086 887654208620 03:49 Buy Now! Corelli Concerto Grosso in B flat, Op. 6 No. 11 Southwest German Chmbr Orch/Wich Seraphim 69143 724356914322 04:01 Buy Now! Bach Recorder Sonata, BWV 1032 Petri/Jarrett RCA Victor Red Seal 61274 090266127429 Va, pensiero (Chorus of the Hebrew Slaves) ~ Ambrosian Singers/London 04:13 Buy Now! Verdi London 421 895 028942189522 Nabucco Symphony/Abaddo 04:19 Buy Now! Kalinnikov Symphony No. -
BERKELEY (1903-1989) Sacred Choral Music Berkeley
REAM.1129 MONO ADD LENNOX BERKELEY (1903-1989) Sacred Choral Music Berkeley (1947) For six solo voices, and chamber orchestra of 12 players 1 I. Stabat Mater dolorosa (5’01”) 2 II. O quam tristis et afflicta (3’38”) 3 III. Quis est homo qui non fleret / IV. Pro peccatis suæ gentis (4’50”) 4 V. Eia Mater, fons amoris (3’33”) 5 VI. Sancta Mater, istud agas / VII. Fac me tecum, pie, flere (4’24”) 6 VIII. Virgo virginum præclara / IX. Fac me plagis vulnerari (5’33”) 7 X. Christe, cum sit hinc exire (5’58”) Mary Thomas (soprano) Barbara Elsy (soprano) Maureen Lehane (contralto) Nigel Rogers (tenor) Christopher Keyte (baritone) Michael Rippon (bass) Ambrosian Singers, chorus-master, John McCarthy Members of the English Chamber Orchestra, leader, Emanuel Hurwitz Conducted by Norman Del Mar From Friends' House, London during the St Pancras Arts Festival BBC Broadcast 1 March 1965 The BBC wordmark and the BBC logo are trade marks of the British Broadcasting Corporation and are used under licence. BBC logo © BBC 1996 c © REAM1129 20 REAM1129 1 ‘Being a Catholic has meant that I feel at home with the Roman liturgy … I felt attracted to these texts because I believed what they were about’.1 This statement by Lennox 8 (1962) Berkeley (1903-1989), taken from an interview with his biographer Peter Dickinson in For soprano, chorus, oboe, horn, cellos, double-bass and organ 1978, helps to account for the passionate commitment and inner strength of the composer’s religious choral writing. Several of his sacred works, including two major Felicity Harrison (soprano) Donald Hunt (organ) examples presented here, are set to Latin texts despite being written for the concert hall BBC Northern Singers & Members of the BBC Northern Orchestra and not intended for inclusion in the Liturgy. -
Jean Berger (1909–2002): a Biographical Chronology
AMERICAN MUSIC RESEARCH CENTER JOURNAL Volume 18 2010 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado at Boulder THE AMERICAN MUSIC RESEARCH CENTER Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Mary Dominic Ray, O.P. (1913–1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music William S. Farley, Research Assistant, 2009 –2010 K. Dawn Grapes, Research Assistant, 2009–2011 EDITORIAL BOARD C. F. Alan Cass Kip Lornell Susan Cook Portia Maultsby Robert R. Fink Tom C. Owens William Kearns Katherine Preston Karl Kroeger Jessica Sternfeld Paul Laird Joanne Swenson-Eldridge Victoria Lindsay Levine Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25.00 per issue ($28.00 outside the U.S. and Canada). Please address all inquiries to Lisa Bailey, American Music Research Center, 288 UCB, University of Colorado, Boulder, CO 80309-0288. E-mail: [email protected] The American Music Research Center website address is www.amrccolorado.org ISSN 1058-3572 © 2010 by the Board of Regents of the University of Colorado INFORMATION FOR AUTHORS The American Music Research Center Journal is dedicated to publishing articles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and pro - posals from the scholarly community, ranging from 3,000 to 10,000 words (excluding notes). All articles should be addressed to Thomas L. Riis, College of Music, University of Colorado at Boulder, 301 UCB, Boulder, CO 80309-0301.