DOCSLIB.ORG

RCA Victor Red Seal LM 1 10 Inch Series

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RCA Victor Red Seal LM 1 10 Inch Series RCA Discography Part 37 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA Victor Red Seal LM 1 10 Inch Series The LM Red Seal series contained the RCA Victor classical recordings, the LM 12 inch recordings continued until about 1973 when they were included into the Consolidated series. LM 1 – The Moldau (Smetana)/Husitska Overture Op. 67 (Dvorak) – Arthur Fiedler and the Boston Pops [1950] LM 2 – Highlights from Madame Butterfly – Licia Albanese, Luceille Browning and James Melton [1950] Act I: Love Duet/Act II: Un Bel Dì, Vedremo/Flower Duet/Act III: Addio LM 3 – Quartet in G Minor Op. 10 (Debussy) – Paganini Quartet [195?] LM 4 – Bruch Scottish Fantasy Op. 46 – Jascha Heifetz with Orchestra [195?] LM 5 – Mendelssohn: Concerto in E Minor Op. 64 – Mischa Elman, Desire Defauw and the Chicago Symphony Orchestra [195?] LM 6 – Overture to Consecration of the House in C, Op. 124 (Beethoven)/Overture to aManfred, Op. 115 (Schumann) – Arturo Toscanini and NBC Symphony Orchestra [1950] LM 7 – Symphony No. 8 in B Minor Unfinished (Schubert) – Serge Koussevitzky and Boston Symphony Orchestra [195?] LM 8 – Nutcracker Suite (Tchaikovsky) – Eugene Ormandy and the Philadelphia Orchestra [195?] LM 9 – Children’s Corner Suite – Leopold Stokowski and his Symphony Orchestra [195?] Doctor Gradus ad Parnassum/Jimbo’s Lullaby/Serenade for the Doll/The Snow is Dancing/The Little Shepherd Golliwogg’s Cake-Walk LM 10 – Les Sylphides (Chopin) – Arthur Fiedler and the Boston Pops Orchestra [195?] LM 11 – Monet No. 3: Jesus, Dearest Master – Robert Shaw Chorale and RCA Victor Orchestra [195?] Monet No. 3:Jesus Dearest Master (Bach) Complete LM 12 – Concerto for Piano and Orchestra No. 2 in C, Op. 15 (Beethoven) – William Kapell with NBC Symphony Orchestra [1952] LM 13 – Mozart Divertimento No. 15 in B Flat Major K. 287 – Arturo Toscanini and the NBC Symphony Orchestra [1950] LM 14 – William Tell Overture (Rossini)/The Skaters Waltz (Waldteufel) – Arturo Toscanini and NBC Symphony Orchestra [1950] LM 15 – Wagner Parsifal: Prelude and Good Friday Spell – Arturo Toscanini and the NBC Symphony Orchestra [1950] LM 16 – Down in the Valley – Marion Bell, William McGraw, Kenneth Smith and Ray Jacquemot, Peter Herman Adler and RCA Victor Orchestra [1950] 1 LM 17 – Mass (Stravinsky) – Igor Stravinsky and the Double Wind Quintet and Chorus of Men and Boys [195?] LM 18 - Concerto for Violin and Orchestra in E Minor, Op. 64 (Mendelssohn) – Jascha Heifetz, Sir Thomas Beecham and the and Royal Philharmonic Orchestra [7/50] LM 19 – Sonata Op. 65 (Chopin) – Serge Koussevitzky and Boston Symphony Orchestra [195?] LM 20 – Symphony No. 4 in A Op. 90 Italian (Mendelssohn) – Serge Koussevitzky and Boston Symphony Orchestra [195?] LM 21 – Piano Music of Mendelssohn Played by Vladimir Horowitz – Vladimir Horowitz [196?] Variations Sérieuses, Op. 54/Mendelssohn's Wedding March And Variations After Liszt LM 22 – Rachmaninoff Rhapsody on a Theme of Paganini Op. 43 - Artur Rubinstein, Susskind and the Philharmonia Orchestra [195?] LM 23 – Gershwin Rhapsody in Blue/Chambers A Satrical Suite for Two Pianos – Jose and Amparo Iturbi [195?] LM 24 – Quartet No. 16 in F, Op 135 (Beethoven) – Paganini Quartet [1951] LM 25 – Cantata No. 4: Christ Lag in Todesbanden – Robert Shaw and the RCA Victor Orchestra [195?] LM 26 – Rachmaninoff Rhapsody on a Theme of Paganini Op. 43 – Artur Rubinstein, Walter Susskind and the Philharmonia Orchestra [195?] LM 27 – Symphony aNo. 38 in D K. 504 Prague (Mozart) – Golschmann and the St. Louis Symphony Orchestra [195?] LM 28 – Symphony No. 94 in G Suprise (Haydn) – Serge Koussevitzky and the Boston Symphony Orchestra [195?] LM 29 LM 30 – Brahms Sonata No. 3 in D Minor, Op. 108 – Mischa Elman, Wolfgang Rose [195?] LM 31 – Haydn Symphonies, H. 173 in D Major: La Chasse – Fabien Sevitzky and the Indianapolis Symphony Orchestra [195?] LM 32 – Four Dances from Rodeo (Copland) – Antal Dorati and Dallas Symphony Orchestra [195?] LM 33 Not Issued LM 34 Not Issued LM 35 Not Issued LM 36 – Jose and Amparo Iturbi Play Music for Two Pianos – Jose and Amparo Iturbi [195?] Andalusian Dances Nos. 1 and 2 (Infante)/En Blanc Et Noir (Debussy) LM 37 – Quartet in E Minor (Verdi) – Paganini Quartet [195?] 2 LM 38 – Three Suns Present Your Favorite Hymns – Three Suns [1950] Abide With Me (H.F. Lyty [I.E. Lyte], W.H. Monk)/Ave Maria (Franz Schubert)/Lead, Kindly Light (John B. Dykes, John Henry Newman)/Whispering Hope (Alice Hawthorne)/Beautiful Isle Of Somewhere (Jessie Brown Pounds, John S. Fearis)/In The Garden (C. Austin Miles) LM 38 – Religious Songs – Rise Stevens with Orchestra [1950] Agnus Dei/Nearer, My God To Thee/Panis Angelicus/Abide With Me/The Holy City/Battle Hymn Of The Republic LM 39 – Songs of Old Vienna – Helen Traubel [195?] Im Prater Blüh'n Wieder Die Baüme (The Trees Are Blooming In The Park Again) (Stolz)/Yours Is My Heart Alone (Lehár)/Wien, Du Stadt Meiner Traüme (Vienna, My City Of Dreams) (Sieczyñski)/I'm In Love With Vienna (From The Great Waltz) (Strauss)/The Merry Widow Waltz (From The Merry Widow) (Lehár)/Love's Roundelay (Da Draussen Im Duftigen Garten)(From The Waltz Dream) (O. Straus And A.C. Ely) LM 40 Not Issued LM 41 – Symphony No. 2 in B Flat (Schubert) – Charles Munch and Boston Symphony Orchestra [195?] LM 42 Not Issued LM 43 – Symphony No. 8 in F, Op. 93 (Beethoven) – Pierre Monteux and the San Francisco Symphony Orchestra [195?] LM 44 – Stravinsky The Fire Bird Suite 1919 Edition – Leopold Stokowski and His Symphony Orchestra [195?] LM 45 – Peter and the Wolf, Op. 67 (Prokofieff) – Eleanor Roosevelt and Serge Koussevitzky and Boston Symphony Orchestra [195?] LM 46 – Tchaikovsky Nutcracker Suite, Op. 71a – Leopold Stokowski and His Symphony Orchestra [195?] LM 47 Not Issued LM 48 – Richard Strauss: Der Rosenkavalier Suite – Antal Dorati and the Robin Hood Dell Orchestra of Philadelphia [195?] LM 49 – Symphony No. 104 in D (Haydn) – Charles Munch and the Boston Symphony Orchestra [195?] LM 50 – Sonata for Piano in D Minor, Op. 31 (Beethoven) – Byron Janis [195?] LM 51 Not Issued LM 52 – Piano Quartet No. 1 in C Minor, Op. 15 (Faure) – Artur Rubinstein and Paganini Quartet [195?] LM 53 – Wieniawski Concerto for Violin and Orchestra No. 2 in D Minor Op. 22 – Mischa Elman with Hilsberg and Robin Hood Dell Orchestra of Philadelphia [195?] LM 54 – Schubert Symphonies D. 759 in B Minor Unfinished – Arturo Toscanini and the NBC Symphony Orchestra [195?] 3 LM 55 – Feste Romane (Respighi) – Arturo Toscanini and NBC Symphony Orchestra [1955] LM 56 Not Issued LM 57 – American Songs – Margaret Truman, Robert Shaw Chorale, RCA Victor Orchestra [1950] My Days Have Been So Wondrous Fre/The Bird/O’er the Hills Far Away/Beneath a Weeping Willow’s Shade/My Love is Gone to sea/The Death of General Washington/bunker Hill, Or the American Hero/Go, Congregation Go/I Am the Rose of Sharon/Song Over a Child LM 58 – Beloved Hymns – Blanche Theborn, Forsberg at the Organ [1950] The Old Rugged Cross – Bennard/I Walk with the King/Softly and Tenderly/Open My Eyes, That I May See/In the Garden/Shall We Gather At the River/Give Me That Old Time Religion LM 59 – Songs My Mother Taught Me – Rise Stevens, Milton Kalims and the RCA Victor Orchestra [195?] Songs My Mother Taught Me/Danny Boy/Flow Gently, Sweet Alton/Smilin' Through/Mighty Lak' A Rose/Too-Ra-Loo-Ra-Loo-Ral/All Thro' The Night/Cradle Song LM 60 – Sonata for Violin and Piano No. 7 in C Minor, Op. 30 No. 2 (Beethoven) – Jascha Heifetz, Emanuel Bay [195?] LM 61 – Mr. Imperium – Ezio Pinza and Fran Warren [195?] Andiamo/My Love And My Mule/Let Me Look At You/You Belong To My Heart (Solamente Una Vez)/September Song/Yesterdays/One Night Of Love/With A Song In My Heart LM 62 – Romantic Moments – Jeanette MacDonald [5/51] Ah! Sweet Mystery Of Life/Will You Remember/San Francisco/One Alone/Parlez Moi D'amour (Speak To Me Of Love)/When You're Away LM 63 – Spanish Folk Songs – Victoria De Los Angeles [195?] La Vi Llorando/Y Se Van Los Pastores/A Dormir Ahora Mesmo/Cancion De Trilla/Parado De Valldemosa/Nik Baditut/Andregaya/El Rusinyol/Granadina/Playera/El Testament d'Amelia LM 64 – Adagio in E/Rondo in C (Mozart) – Nathan Milstein with RCA Victor Orchestra [1950] LM 65 – Golden Moments of Song – Jan Peerce [1952] Sole Mio (Di Capua)/La Danza (Rossini)/Mattinata (Leoncavallo)/Torna A Surriento (Come Back To Sorriento) (De Curtis)/Valencia (Padilla)/Amapola (Pretty Little Poppy) (Lacalle) LM 66 – Patrice Munsel Recital – Patrice Munsel [195?] Dark Eyes/Granada (Lara)/Il Bacio (Arditi)/Estrellita (Ponce)/Peer Gynt: Solvejg's Song (Grieg)/Andalucia (Lecuona)/El Relicario (Padilla)/Celito Lindo (Ponce) LM 67 – Hungarian Dance No. 1 to 6 (Brahms) – Arthur Fiedler and the Boston Pops [195?] LM 68 – Strauss Waltzes – Arthur Fiedler and Boston Pops [195?] Treasure Waltz/Tales from the Vienna Woods/On the Beautiful Blue Danube LM 69 – Sousa Marches – Arthur Fiedler and Boston Pops [195?] El Capitán March/High School Cadets/The Thunderer March/Semper Fidelis/Washington Post March/Stars And Stripes Forever/Boston Commandery March/Carter/American Patrol March (Meacham) LM 70 4 LM 71 – Sonata for Piano and Violin No. 3 in D Minor Op. 108 (Brahms) – William Kapell and Jascha Heifetz [195?] LM 72 - Neapolitan Folk Songs – Ferruccio Tagliavini [195?] Dicitencello Vuie!/Pizzichi E Vase/Mamma Mia Che Vo' Sape/Senza Nisciuno/Mattinata/Amuri, Amuri LM 73 – Jeanette MacDonald Favorites – Jeanette MacDonald, Robert Russell Bennett and the RCA Victor Orchestra [1951] Indian Love Call/Les Filles de
Load more

Recommended publications
  • 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.
    [Show full text]
  • Network Notebook
    Network Notebook Fall Quarter 2018 (October - December) 1 A World of Services for Our Affiliates We make great radio as affordable as possible: • Our production costs are primarily covered by our arts partners and outside funding, not from our affiliates, marketing or sales. • Affiliation fees only apply when a station takes three or more programs. The actual affiliation fee is based on a station’s market share. Affiliates are not charged fees for the selection of WFMT Radio Network programs on the Public Radio Exchange (PRX). • The cost of our Beethoven and Jazz Network overnight services is based on a sliding scale, depending on the number of hours you use (the more hours you use, the lower the hourly rate). We also offer reduced Beethoven and Jazz Network rates for HD broadcast. Through PRX, you can schedule any hour of the Beethoven or Jazz Network throughout the day and the files are delivered a week in advance for maximum flexibility. We provide highly skilled technical support: • Programs are available through the Public Radio Exchange (PRX). PRX delivers files to you days in advance so you can schedule them for broadcast at your convenience. We provide technical support in conjunction with PRX to answer all your distribution questions. In cases of emergency or for use as an alternate distribution platform, we also offer an FTP (File Transfer Protocol), which is kept up to date with all of our series and specials. We keep you informed about our shows and help you promote them to your listeners: • Affiliates receive our quarterly Network Notebook with all our program offerings, and our regular online WFMT Radio Network Newsletter, with news updates, previews of upcoming shows and more.
    [Show full text]
  • THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020
    THE NEW YORK PHILHARMONIC THIS WEEK Broadcast Schedule – Spring 2020 PROGRAM#: NYP 20-27 RELEASE DATE: March 25, 2020 Music of Our Time: Liang, Dalbavie, Shepherd, Muhly, and Pintscher Lei LIANG (b. 1972): Verge, for 18 Strings (2009) (Magnus Lindberg, conductor) Marc‐André DALBAVIE (b. 1961): Melodia, for Instrumental Ensemble (2009) (Magnus Lindberg, conductor) Sean SHEPHERD (b. 1979): These Particular Circumstances, in seven uninterrupted episodes (2009) (Alan Gilbert, conductor) Nico MUHLY (b. 1981): Detailed Instructions, for orchestra (2010) (Alan Gilbert, conductor) Matthias PINTSCHER (b. 1971): Songs from Solomon’s garden, for baritone and chamber orchestra (2009; New York Philharmonic Co‐Commission with the Frankfurt Radio Symphony Orchestra) (Alan Gilbert, conductor; Thomas Hampson, baritone) PROGRAM#: NYP 20-28 RELEASE DATE: April 1, 2020 Bernstein Conducts Bernstein BERNSTEIN: Chichester Psalms (World Premiere performance) (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; John Bogart, boy alto) BERNSTEIN: Kaddish, Symphony No.3 (Leonard Bernstein, conductor; Camerata Singers, dir. Abraham Kaplan; Columbus Boychoir, dir. Donald Bryant; John Bogart, boy alto; Felicia Montealegre, speaker; Jennie Tourel, mezzo-soprano) BERNSTEIN: Suites 1 and 2 from the Dybbuk (Leonard Bernstein, conductor; Paul Sperry, tenor; Bruce Fifer, bass- baritone) PROGRAM#: NYP 20-29 RELEASE DATE: April 8, 2020 American Works: Gershwin, Russo, Ellington, and Copland GERSHWIN: Porgy and Bess (selections) (recorded 1954) (André Kostelantetz, conductor) RUSSO: Symphony No. 2, “Titans” (recorded 1959) (Leonard Bernstein, conductor; Maynard Ferguson, trumpet) ELLINGTON/ Marsalis: A Tone Parallel to Harlem (recorded 1999) (Kurt Masur, conductor; Jazz at Lincoln Center Orchestra, Wynton Marsalis, artistic director & trumpet) COPLAND: The Tender Land (abridged) (recorded 1965) (Aaron Copland, conductor; Joy Clements, soprano; Claramae Turner, mezzo-soprano; Richard Cassilly, tenor; Richard Fredricks, baritone; Norman Treigle, bass; Choral Art Society, dir.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Summer, 2009
    SUMMER 2009 • . BOSTON SYMPHONY ORCHESTRA JAMES LEVINE MUSIC DIRECTOR DALECHIHULY HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE 3 Elm Street, Stockbridge 413 -298-3044 www.holstengaIleries.com Olive Brown and Coral Pink Persian Set * for a Changing World They're Preparing to Change the 'I'Mi P i MISS HALL'S SCHOOL what girls have in mind 492 Holmes Road, Pittsfield, Massachusetts 01201 (413)499-1300 www.misshalls.org • e-mail: [email protected] m Final Weeks! TITIAN, TINTORETTO, VERONESE RIVALS IN RENAISSANCE VENICE " "Hot is the WOrdfor this show. —The New York Times Museum of Fine Arts, Boston March 15-August 16, 2009 Tickets: 800-440-6975 or www.mfa.ore BOSTON The exhibition is organized the Museum by The exhibition is PIONEER of Fine Arts, Boston and the Musee du sponsored £UniCredit Group by Investments* Louvre, and is supported by an indemnity from the Federal Council on the Arts and Titian, Venus with a Mirror (detail), about 1555. Oil on canvas. National Gallery of Art, Washington, Andrew the Humanities. W. Mellon Collection 1 937.1 .34. Image courtesy of the Board of Trustees, National Gallery of Art, Washington. James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 128th season, 2008-2009 Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman • Diddy Cullinane, Vice-Chairman • Robert P. O'Block, Vice-Chairman Stephen Kay, Vice-Chairman • Roger T. Servison, Vice-Chairman • Edmund Kelly, Vice-Chairman • Vincent M. O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser • Eric D.
    [Show full text]
  • The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes In
    THE USE OF THE POLISH FOLK MUSIC ELEMENTS AND THE FANTASY ELEMENTS IN THE POLISH FANTASY ON ORIGINAL THEMES IN G-SHARP MINOR FOR PIANO AND ORCHESTRA OPUS 19 BY IGNACY JAN PADEREWSKI Yun Jung Choi, B.A., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2007 APPROVED: Adam Wodnicki, Major Professor Jeffrey Snider, Minor Professor Joseph Banowetz, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Choi, Yun Jung, The Use of the Polish Folk Music Elements and the Fantasy Elements in the Polish Fantasy on Original Themes in G-sharp Minor for Piano and Orchestra, Opus 19 by Ignacy Jan Paderewski. Doctor of Musical Arts (Performance), May 2007, 105 pp., 5 tables, 65 examples, references, 97 titles. The primary purpose of this study is to address performance issues in the Polish Fantasy, Op. 19, by examining characteristics of Polish folk dances and how they are incorporated in this unique work by Paderewski. The study includes a comprehensive history of the fantasy in order to understand how Paderewski used various codified generic aspects of the solo piano fantasy, as well as those of the one-movement concerto introduced by nineteenth-century composers such as Weber and Liszt. Given that the Polish Fantasy, Op. 19, as well as most of Paderewski’s compositions, have been performed more frequently in the last twenty years, an analysis of the combination of the three characteristic aspects of the Polish Fantasy, Op.19 - Polish folk music, the generic rhetoric of a fantasy and the one- movement concerto - would aid scholars and performers alike in better understanding the composition’s engagement with various traditions and how best to make decisions about those traditions when approaching the work in a concert setting.
    [Show full text]
  • The Ukrainian Weekly 1983, No.10
    www.ukrweekly.com З r I Hr published by the Ukrainian National Association Inc., a fraternal non-profit association! s- - CO CD —X Д З> z я a-e. Ukrainian Weekl o-t o Vol. LI No. 10 THE UKRAINIAN WEEKLY SUNDAY. MARCH 6. 1983 25 і cents Catherine Yasinchuk, 86, dies; Historian's wife brutally beaten wrongly committed for 48 years by unknown assailants in Lviv PHILADELPHIA - Catherine Ya­ Russian, German, Austrian dialects, sinchuk, 86, who was wrongly institu­ Polish and Lithuanian. LVIV - The wife of Ukrainian at Lviv University, Mr. Dashkevych tionalized for 48 yeq`rs because she did Then Olga Mychajluk, an employee historian Yaroslav Dashkevych was was a reference specialist at the Aca­ not know English/died here at the in the state institution's personnel hospitalized after she was brutally demy of Sciences in Lviv before his Fairview Nursing Home in Erdenheim department, tried to talk to her in beaten by two men early in the year arrest in 1948. Imprisoned along with on Monday, February 14. Ukrainian. Miss Yasinchuk responded, while on her way home from work, his mother, he was released in 1956. No one had eVer heard of Miss and bit by bit she began to talk. reported the Harvard Ukrainian Re­ Soon after their release, his mother Yasinchuk until 1968, when, during a search Institute. died. It was learned that she had come to Liudmyla Dashkevych, whose hus­ Mr. Dashkevych has since become review ofthe status of patients at the United States alone at the age of IS. Philadelphia State Hospital, it was band is a noted Armenian specialist, one of the Soviet Union's most promi­ She met a young man, fell in love and was returning from her job as an editor nent experts in Armenian and Oriental learned that Miss Yasinchuk had been had a baby.
    [Show full text]
  • RCA LHMV 1 His Master's Voice 10 Inch Series
    RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op.
    [Show full text]
  • Chapter Three the Philadelphia Orchestra Stokowski Inherited 15
    <The "(PhiCacCeCpfiia Sound": The Formative Years (1912-1920) Candis nUreC^eCcf The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 CamJm (J- <rSuJLJa) Student APfljROVED: acuity Advisor a-/ C Cjjy, Honors Director The "Philadelphia Sound": The Formative Years (1912-1920) HONORS THESIS Presented in Partial Fulfillment Of the Requirements For the UNIVERSITY OF NORTH TEXAS HONORS PROGRAM By Candis Threlkeld Denton, Texas April 1999 Student APPROVED: Faculty Advisor • n juts • Honors Director Acknowledgements This paper would not have been possible without the help of the following people, who aided me immensely while I was researching in Philadelphia: JoAnne Barry - archivist with the Philadelphia Orchestra Marjorie Hassen - curator of the Stokowski Collection, Otto E. Albrecht Music Library, University of Pennsylvania John Pollock and the Student Staff of the Ross Reading Room - Van Pelt Library, University of Pennsylvania Paul Sadedov - Music Librarian at the Free Library of Philadelphia Members of the Philadelphia Orchestra - who were a daily inspiration to me (I would particularly like to thank those members who took the time out to talk with me: Luis Biava, Booker Rowe, Richard Woodhams, David Bilger, Elizabeth Starr, and Pete Smith.) Phil - the security guard at the Academy who always helped me find JoAnne Barry, and who always greeted "Texas" with such a wonderful smile in the mornings Stephanie Wilson - one of my dearest friends who let me stay at her house during the second week of my trip - and who gave me great reed advice before my senior recital Janet Miller, Laura Lucas, and Darryl - Stephanie's housemates, who always made me always feel welcome I would also like to thank the following people at the University of North Texas for all of their assistance: Maestro Anshel Brusilow - director of orchestras and my faculty advisor Dr.
    [Show full text]
  • Charles Reiner Collection
    Charles Reiner Collection Marvin Duchow Music Library McGill University Montréal, Québec, Canada 2010 Finding Aid Prepared by Elliott Cairns Edited by Cynthia A. Leive Latest Revision: July 2010 Collection Summary Title: Charles Reiner Collection Span Dates: 1924?–2006 Bulk Dates: (bulk 1950–1989) Call No.: Creator: Reiner, Charles, 1924–2006 Size: Language: Collection material in English, French, German, Italian, Spanish, Mandarin, and Hungarian Repository: Marvin Duchow Music Library, Schulich School of Music, McGill University, Montréal, Québec, Canada Abstract: The Charles Reiner Collection consists of correspondence, newspaper reviews and clippings, performance programmes, personal documents including legal material, photographs, writings, published and unpublished music by Reiner and other composers, audio and visual recordings of Reiner and other performers, books, and awards. Of particular interest is correspondence from Rudolf Serkin, Alfred Cortot, and Kurt Waldheim; legal documents from both before and after Reiner’s immigration to Canada; and the extensive collection of programmes and newspaper clippings that document Reiner’s extensive performance career. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalogue. They are grouped by name of person or organisation, by subject or location, and by occupation and listed alphabetically therein. Personal Names Blume, Helmut, 1914–1998—Correspondence. 1 Brott, Alexander, 1915–2005—Correspondence. Brott, Lotte, 1922–1998—Correspondence. Cortot, Alfred, 1877–1962—Correspondence. Duchow, Rebecca—Correspondence. Firkusny, Rudolf, 1912–1994—Correspondence. Janigro, Antonio, 1918–1989—Correspondence. Reiner, Charles, 1924–2006—Archives. Reiner, Charles, 1924–2006—Autographs. Reiner, Charles, 1924–2006—Correspondence. Ricci, Ruggiero, 1918– —Correspondence. Serkin, Irene, 1917–1998—Correspondence.
    [Show full text]
  • Topical Weill: News and Events
    Volume 15 Number 2 topical Weill Fall 1997 A supplement to the Kurt Weill Newsletter news &news events Mark your calendars—18 October 1998 is Lenya’s 100th Birthday! &news events Publications CD features the legendary Verlag Kiepenheuer & Witsch of Cologne will publish recordings that Lenya the German edition of Speak Low (When You Speak made for Philips in Ham- Love): The Letters of Kurt Weill and Lotte Lenya in the burg in 1955 and 1956, and fall of 1998. Entrusted to editors and translators Kim the booklet includes never- H. Kowalke and Lys Symonette by Lenya on her before-published photos of deathbed in 1981, these letters are testimonies to one of the recording sessions. the century’s most legendary artistic partnerships. The Lenya’s performances are German version contains minor revisions along with indeed “masterworks” and some new material. continue to be held up by The University of California Press gets a head start music critics as bench- on the centenary by reissuing the English version of marks of Weill interpreta- Speak Low in a paperback edition this month. Critics tion. from around the world praised the 1996 hardcover edi- tion as an outstanding achievement. Events Overlook Press will publish Lenya the Legend: A Pic- The New York-based torial Autobiography in the summer of 1998, an illustrat- American Foundation for ed narrative of Lenya’s life, told in her own words, AIDS Research (AmFAR) assembled entirely from interviews, correspondence, will be the beneficiary of autobiographical notes, and other writings. Compiled an all-star Broadway gala and edited by David Farneth, director of the Weill-Lenya tribute to Lenya on 18 Research Center, the book features nearly 350 photos October 1998 at the Majes- (300 black-and-white and 50 color) showing Lenya’s tic Theatre.
    [Show full text]
  • Symphony Orchestra
    School of Music ROMANTIC SMORGASBORD Symphony Orchestra Huw Edwards, conductor Maria Sampen, violin soloist, faculty FRIDAY, OCT. 11, 2013 SCHNEEBECK CONCERT HALL 7:30 P.M. First Essay for Orchestra, Opus 12 ............................ Samuel Barber (1910–1983) Violin Concerto in D Major, Opus 77 .........................Johannes Brahms Allegro non troppo--cadenza--tranquillo (1833–1897) Maria Sampen, violin INTERMISSION A Shropshire Lad, Rhapsody for Orchestra ..................George Butterworth (1885–1916) Symphony No. 2 in D Major, Opus 43 ............................Jean Sibelius Allegro moderato--Moderato assai--Molto largamente (1865–1957) SYMPHONY ORCHESTRA Huw Edwards, conductor VIOLIN I CELLO FRENCH HORN Zachary Hamilton ‘15, Faithlina Chan ’16, Matt Wasson ‘14 concertmaster principal Billy Murphy ‘16 Marissa Kwong ‘15 Bronwyn Hagerty ‘15 Chloe Thornton ‘14 Jonathan Mei ‘16 Will Spengler ‘17 Andy Rodgers ‘16- Emily Brothers ‘14 Kira Weiss ‘17 Larissa Freier ‘17 Anna Schierbeek ‘16 TRUMPET Sophia El-Wakil ‘16 Aiden Meacham ‘14 Gavin Tranter ‘16 Matt Lam ‘16 Alana Roth ‘14 Lucy Banta ‘17 Linnaea Arnett ‘17 Georgia Martin ‘15 Andy Van Heuit ‘17 Abby Scurfield ‘16 Carolynn Hammen ‘16 TROMBONE VIOLIN II BASS Daniel Thorson ‘15 Clara Fuhrman ‘16, Kelton Mock ‘15 Stephen Abeshima ‘16 principal principal Wesley Stedman ‘16 Rachel Lee ‘15 Stephen Schermer, faculty Sophie Diepenheim ‘14 TUBA Brandi Main ‘16 FLUTE and PICCOLO Scott Clabaugh ‘16 Nicolette Andres ‘15 Whitney Reveyrand ‘15 Lauren Griffin ‘17 Morgan Hellyer ‘14 TIMPANI and
    [Show full text]
  • Toscanini VII, 1937-1942
    Toscanini VII, 1937-1942: NBC, London, Netherlands, Lucerne, Buenos Aires, Philadelphia We now return to our regularly scheduled program, and with it will come my first detailed analyses of Toscanini’s style in various music because, for once, we have a number of complete performances by alternate orchestras to compare. This is paramount because it shows quite clear- ly that, although he had a uniform approach to music and insisted on both technical perfection and emotional commitment from his orchestras, he did not, as Stokowski or Furtwängler did, impose a specific sound on his orchestras. Although he insisted on uniform bowing in the case of the Philadelphia Orchestra, for instance, one can still discern the classic Philadelphia Orchestra sound, despite its being “neatened up” to meet his standards. In the case of the BBC Symphony, for instance, the sound he elicited from them was not far removed from the sound that Adrian Boult got out of them, in part because Boult himself preferred a lean, clean sound as did Tosca- nini. We shall also see that, for better or worse, the various guest conductors of the NBC Sym- phony Orchestra did not get vastly improved sound result out of them, not even that wizard of orchestral sound, Leopold Stokowki, because the sound profile of the orchestra was neither warm in timbre nor fluid in phrasing. Toscanini’s agreement to come back to New York to head an orchestra created (pretty much) for him is still shrouded in mystery. All we know for certain is that Samuel Chotzinoff, representing David Sarnoff and RCA, went to see him in Italy and made him the offer, and that he first turned it down.
    [Show full text]