DOCSLIB.ORG

Schwalb KEEP Bered' As the Turning Point Fqr the Better for LIQUOR STORE Civilisation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Schwalb KEEP Bered' As the Turning Point Fqr the Better for LIQUOR STORE Civilisation on Police 1(c$imipsaouRNAi* 11 sted Off Hit Record (Friday, October f, 1959 Rehearsals are under my at Annual Ball St Agnes High School for the This Coupon operetta, "Creatures of Impulse" y^ScJteta are now: on sal« foj Worth 10 Canti from the pen of W. S. Gilbert. first annual Brighton F6- Theme Song Toward Admission leading roles are being sung '«f jBall, sponsored by the by Barbara Starapoll, Monica pistol Hickory Club, for the to Rajient theatre Welj,, Mary Ann Bayer, Fraser Of the Brlghtoaa Mice Showing *jf s By SUZANNE WIGG Smiley, Joseph Araaa.and Rob­ !e**t Association. T he "Embtxxltd Heaven*" ert Oberklttbr. The perform li tie held in aicQuaid From the new movie "A Sum­ Slice dates are' Nov. 2 and 3. Jesuit': ligh School Friday, Oct. mer Place" comes a new tong WARNER BROTHERS does P^W» * pni- to 1 a.rm. Theme From A Summer It again. This time with*an at At* are on sale at Brigh- Place." There are several re­ bum called "Greatest Motion l|ife;Mls* hctdauarters» as well cordings of this long. Some Picture Piano Concertos" with §|£3M-»ft.;BrlgBton fire houses wort* mentioning are Hugo pianist George Greeley and the Around the World Wtnterbatter on Victor, Don Warner Brothers Orchestra. ••^"'.'^LTMOit Brighton mer- Dalke on Warner Brothers and ,, 4syCih*irniaB Is Officer Jay Such lovely tunes as "Love Let­ Leroy Holmes on MGSL This Is ters," "Moulin' Rouge," "An Af­ in 80 Days &F3Bif!«r Jr., assiitod by Offi- o pretty, nostalgic tune and re­ ?'.<alr*aee w. Grey J-r., and a fair To Remember." "Picnic," minds one of the "Theme Music "Tara's Theme, "The High And nmltlfte of fifteen members From Picnic." It ought to be a '0i)ttobb, lilt I hope so. (The Mighty' and "lullaby Of | Broadway' are played beauti Fancies Eddie" Meath, popular The Beverley Sisters on Lou-!*11''? *>y George Greeley adding riaio and television personality don have recorded a new ver-,a.n undeniably popular touch to "^ b« Master of Cerenwmies of he «other V*f Ieti« -THfAtili OF DiitWCflWI slon of "The Little Drummer i concerto's rich, dramatic iftterrnlisioa show. Local Boy"* which was first released sound, creating thrilling new 12ot*99 Qt-$ti5 I Clinton-' An. So., Cor. S. Goodman * | ar>* tiatloaal celebrities* are ex­list December Toy the Harry musical experiences. An album pected to- appear. Mualc will Slmeone Chortle on 20th Cen­ worth owning. Askyoufliquorstore hTf rovltted by Syl Novell's or­ tury Fox label. Although the chestra. London recording is not near RCA Victor needs no intro­ Assisting In the arrangements up to the Simeone disc in either duction but the new lineup of for the ball will be Brighton quality or performance, it M »lbums just released by RCA Citizen's Committee with Mr. worth mentioning because this must be mentioned. Here's and Mrs. Joseph Sciaarrino as lovely little melody is one of few gome from the pack: BROADEN TETA LINEK (Annie Rosar) at a Papal Audience in St. Peter's stands with chairmen, and Senator and Mrs. the finest new Christmas aongs YOUR "Two Sides Of Winterhalter. other pilgrims In the front row behind a bench seating real cardinals and Kenneth B. Keating aanrj Mr. to he recorded in many, many EDUCATION bishops just before the entrance of His Holiness, Pope Pius XII, in this and Mrs. Leonard Boniface, co- years. Since Christmas is com­ Wlnterbalter plays mood music scene from "Embezzled Heaven.?' chairmen. ing, I Imagine we will hear a selections and offers some Jan- VISIT lot more of and about "The Lit­ Inspired big band numbers. "Rendezvous In Rome." The f WNT ST. tle Drummer Boy." Incidentally, W. Citir T« Tic- TtertM Trite Watching The Screen Theatre News Harry Simeone is the composer Melaehrino String Orchestra ot the song. presents a musical portrait of SALVAGGIfyS 1 Rome A beautiful full-string al­ WILL, SONG TITLES are bum. "Belafonta At Carnegie LIQUOt STOti Mitnltln thecountryjl 'Moscoo - Moscoo getting stranger and stranger. Hall." Harry Belafonte sings Quliir Wilts eel IJeetn finest charcoal restaurant! By EUPHEM3A WWATT This one. "FtaeS-a-Frack" by folk tunes. Calypso, Spirituals, 39 Freer S». A* Ht At 'Outstanding Tom Thumb, on Decca lives up ballads and other great songs Foaturlng- mouth • watering to the title. It's a silly little associated with Belafonte. 10. 2-6501 Wt DBIVsTP by an exceptional performance Euphemla Van Rennselaer mutual aid to an IB-treated ttrlotn on a skewer .,. By RAY SMITH IVyatt has Ions been" associated friend, they admowlewlge the thing in which soloist and by Annie Rosar. The high point chorus spend two minutes sing­ Doubling In Brass." Morton etiunki of the most famous The cream of the crop moves of the film is the last third with theatre on the Broadway other's fine qualities and are of til steaks,. erlsreoil into the Regent Theater this scene. For many years >h( was not aihauned to confess their ing and talking* aabut a Word Gould gains some fantastic ef­ which takes place inside the (Rack-A-Fraek) which obvious­ fects with bran initruments. broiled. $3.S5 week as the warn and touching Vatican and includes scenes drama critic on The Catholic love. story of a wormrt's erring and World. Playwright Emmet Lav ly has no meaning. It's so bad sometimes employing three com­ NtMf&Y MO ,,.._,..,,._ .. Showing tho late Pope Pius XII. cry says that "she Is that rarity The fun about Shskeaspeire it It's bound to be a big seller. plete bands at Once to attain unerring f? this told in beauti-^o p^ ia mX llmlted t0 "Ishnflly in "EMBEZZLED ^ lation. among critics: a critic who loves that his plays can be staged in that stereo effect These albums onu g )t of lhe popu the theatre." Mrs. Wyatt won so many different ways. "Much Another rather ridiculous set all contain what RCA calls HkAVEN. .however, for its dramatic. con-r-. _„„._,. _. ... .- „„, -. Ado About Nothing" wai pro­ of lyrics appear on a disc call­ "Miracle Surface." It's a new tent and slmpio elements off**e coveted Blnneen Award for 8 the duced at Stratford, Connecticut ed "Seven Little Girls Sitting process which is supposed to I I'm warning yoi. riglU now. ^ l3Vitless in its appeal. vmmtem <•' Christian If yv.u ni.63 j,,i t,,iii, a hope values In theatre In 1938, the in 1037 when it was set in In The Back SeaJ" by Paul help repel dust, prevent surface Evans on Guaranteed label. It your television tube breaks into! jrj ENSURE the place in same year her actress-daughter Texas in the colonial period noise tnd static and give faith­ Hearth^ £fiibcrs T with Katherlne Hepburn In a Is concerned with a poor fellow ful sound reproduction. Sounds a thousand pieces. (Ugh! What heaven she wants above all else, Jane was presented with tele J? was that noise?) Sat seriously vision's prized "Emmy.** mantllln and Alfred Drake In a driving an auto who is quite great an elderly lardy devotes her en stiff gold .embroidered Jacket *$ Irked because the aeven pretty though, when It comes to good tiro earnings to the education solid entertainrnont, this is it eaballero. girls ire sitting in the back seat FOR LOUIS Prima and Keely cf-tk of nor nephew for the priost' Only one thing that Mr. with Fred. Outside the silly hood. Years go by before she Smith fans. Dot label has re­ This film is certain to be ap­ Khrushchev said on his tour MISS HEPBURN'S Beatrice story and the many and equally leased another album by this preciated by all people regard finds he has swindled her and pleased me and that was bis was a bit of a hoyden and 1111 y "dee-doo-deedum-dunM," tho discovery shows her that famous Jan team. It's warm, lets of belief. It's alternately criticism of "Can Can" and tho crawled tinder a table to eaves­ it's a rather cute little ditty. lilting, exciting, it's Jin. 2b Clinton Ave., S, humorous and sad and marked She has been trying; to buy sal dance he saw from the picture drop on her friend s while Decca has Just released a new 9 tft*9Hag rata a%Mfr, vallon. in Hollywood. A can-can isn't DraJte's Benedick was very care­ flatiiaaint firaauBBrsaut album called "Sesame" sung by The Glee Club." tn album , Sdva On SpoaaV's Coifi 4 Carry Prices really a dance at all but vul- ful of his dimity. wlV,wTaTgaX*tgW( W^****T*H*fTW g*i ^ Toni Arden. It's an album of by the Merrill itatoa Choir an MttssaUa fcttttd f»f Seeking solace and absolu- garlties set to rollicking music. fiery. Latin - American tunes, tidn, Che bewildered woman At Stratford, Ontario In 105S, Epic Is a collection of famous par cenftrt. &1 ta«r« I MUCH ADO was put hack in sung well by Miss Arden and lee club tongs, tuch n "Aura Speed's FLUFF DRY joins a pilgrimage to Borne, and One small repercussion of the played well by the orchestra M* tao #•» CN*t*iW ,ln a mass Papal audience, where Russian visitation was tho re­ Italy but Italy of the 18SM'i.Tbii Lee," "Gospel Train," "Sweet­ iMWWtlMS. was rather t homey cent with which Is not mentioned on the heart of Sigma Chi." etc. The Tike itttia) IhM 1st IAUNDRY u. add, .sho receives the blessing Pope vival in New York of "The libeL {Pius XII extends to the thou Three Sisters" when David Ross footmen carrying in the luggage tongs are well sung In a very fraat TimiaaJ si 4:05 m SERVICE 8HN.*1" lb.
Load more

Recommended publications
  • Jo April 2019.PPP
    An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated April 2019 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston , all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Tim Weston, Robert Rice, Richard Weize and Adam Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards, not forgetting Jonathan! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity.
    [Show full text]
  • Ambassador Auditorium Collection ARS.0043
    http://oac.cdlib.org/findaid/ark:/13030/kt3q2nf194 No online items Guide to the Ambassador Auditorium Collection ARS.0043 Finding aid prepared by Frank Ferko and Anna Hunt Graves This collection has been processed under the auspices of the Council on Library and Information Resources with generous financial support from the Andrew W. Mellon Foundation. Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] 2011 Guide to the Ambassador Auditorium ARS.0043 1 Collection ARS.0043 Title: Ambassador Auditorium Collection Identifier/Call Number: ARS.0043 Repository: Archive of Recorded Sound, Stanford University Libraries Stanford, California 94305-3076 Physical Description: 636containers of various sizes with multiple types of print materials, photographic materials, audio and video materials, realia, posters and original art work (682.05 linear feet). Date (inclusive): 1974-1995 Abstract: The Ambassador Auditorium Collection contains the files of the various organizational departments of the Ambassador Auditorium as well as audio and video recordings. The materials cover the entire time period of April 1974 through May 1995 when the Ambassador Auditorium was fully operational as an internationally recognized concert venue. The materials in this collection cover all aspects of concert production and presentation, including documentation of the concert artists and repertoire as well as many business documents, advertising, promotion and marketing files, correspondence, inter-office memos and negotiations with booking agents. The materials are widely varied and include concert program booklets, audio and video recordings, concert season planning materials, artist publicity materials, individual event files, posters, photographs, scrapbooks and original artwork used for publicity.
    [Show full text]
  • A Welcome for Warenskjold the Soviet's Gilels /^AH the Mazurkas Kleiber's Beethoven No. 5
    59 A Welcome for Warenskjold young man with a style made to order It is absorbing to note that the for the late works of Prokofiev, Shos­ purity, grace, and rhythmic accent of takovich, etc. Rubinstein’s playing is constant in Grieg and Dvorak: Songs. Dorothy Warenskjold, soprano, with the Con­ However, since he is playing Liszt the little as well as the much-played certs Arts Orchestra conducted by and Saint Saens, those abilities are Mazurkas, that his concern for the George Greeley. (Capitol P 8247, not altogether relevant. Of his ability second of Opus 33 is no more than his $5.70.) to play glissandi like glass, runs like attention to Opus 50, No. 1. In both— rivets, and arpeggios as glittering as as in the many between—the piano AS CONCERTGOERS and radio lis- arctic ice, there can be no question. sound is of this artist’s own distinctive -'1 teners (also operagoers in San But the kind of artistry that distin­ sonority, and though the sequence Francisco) on the West Coast know, guishes between effects must have involved phys­ Dorothy Warenskjold is one of the and expression is hard to ical effort spread over most accomplished American sopranos find in these perform­ many weeks’ time, it can of the day. That she is content, thus ances. There is a sugges­ be heard straight through far, with regional celebrity is a trib­ tion of it in the opening as the expression of a ute to her modesty. Also it reflects movement of the Saint- single underlying im­ the sensible view that there are other Saëns, but the invitation pulse which few could ways to make a career than by coming to charm in the allegro muster on any given oc­ to New York prematurely.
    [Show full text]
  • Rick L. Pope Phonograph Record Collection 10 Soundtrack/WB/Record
    1 Rick L. Pope Phonograph Record Collection 10 soundtrack/WB/record/archives 12 Songs of Christmas, Crosby, Sinatra, Waring/ Reprise/record/archives 15 Hits of Jimmie Rodgers/Dot / record/archives 15 Hits of Pat Boone/ Dot/ record/archives 24 Karat Gold From the Sound Stage , A Double Dozen of All Time Hits from the Movies/ MGM/ record/archives 42nd Street soundtrack/ RCA/ record/archives 50 Years of Film (1923-1973)/WB/ record set (3 records and 1 book)/archives 50 Years of Music (1923-1973)/WB/ record set (3 records and 1 book)/archives 60 years of Music America Likes Best vols 1-3/RCA Victor / record set (5 pieces collectively)/archives 60 Years of Music America Likes Best Vol.3 red seal/ RCA Victor/ record/archives 1776 soundtrack / Columbia/ record/archives 2001 A Space Oddyssey sound track/ MGM/ record/archives 2001 A Space Oddyssey sound track vol. 2 / MCA/ record/archives A Bing Crosby Christmas for Today’s Army/NA/ record set (2 pieces)/archives A Bing Crosby Collection vol. 1/ Columbia/record/archives A Bing Crosby Collection vol. 2/ Columbia/record/archives A Bing Crosby Collection vol. 3/ Columbia/record/archives A Bridge Too Far soundtrack/ United Artists/record/archives A Collector’s Porgy and Bess/ RCA/ record/archives A Collector’s Showboat/ RCA/ record/archives A Christmas Sing with Bing, Around the World/Decca/record/archives A Christmas Sing with Bing, Around the World/MCA/record/archives A Chorus Line soundtrack/ Columbia/ record/ archives 2 A Golden Encore/ Columbia/ record/archives A Legendary Performer Series (
    [Show full text]
  • Series 139 Playland Phonograph
    Westchester County Archives Series 139 2199 Saw Mill River Road Elmsford, New York 10523 Playland Phonograph Collection (914) 231-1500 1911‐1970 (bulk late 1920s‐1950s) Playland Phonograph Collection, 1911-1970, bulk late 1920s-1950s Series 139 Approximately 650 phonographs. Unarranged. Phonographs – both 10 and 12 inch – played from the Playland Music Tower and possibly the Playland Ice Casino. The collection includes classical music as well as popular tunes, including some Hawaiian-themed music. The collection is divided into five parts – a set of numbered records; numbered and unnumbered album collections; loose phonographs, and phonographs that were housed in their original album jackets. The album jackets have Braille identification tags because the disc jockey who worked at the Playland Music Tower was blind. There are two different indexes on note cards for the phonograph albums, but neither one appears to be complete or clear as to its exact use. Therefore, a new index has been completed by Archives’ volunteers. Please note: The Archives does not have playback equipment necessary to listen to the phonographs that make up this collection. The five subseries of this collection can be more fully described as follows: 1. A set of numbered records. These phonographs have individual number labels on them and run up through number 998. Each individual phonograph has 2 numbers on it – one for each side. However, the collection is not complete and there are only about 350 individual phonographs in this group. They were originally housed in 39 cardboard cases that held several individual phonographs. Due to the poor condition of these cases they were disposed during processing, although the case number was recorded.
    [Show full text]
  • Jo October 2020 Very Black.PPP
    An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated October 2020 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Tim Weston, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston, all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Robert Rice, Richard Weize and Adrian Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity.
    [Show full text]
  • VERDI: Rigoletto
    "Accordiorama." Hohner Accordion size closeups of the soloists, there are too Symphony Orchestra, Rudolf Würth- many annoying terminal fade-outs, and ner, cond. Vanguard VTC 1645, 52 the tape processing is only so- so-but the min., $7.95. catchy beat and infectious gusto of Dean Last Aprii's disc version bewitched me, and his accompanists are quite irresistible and I'm still as impressed as ever. This in the title song, Smoke Smoke Smoke. remarkable ensemble's tautly controlled, Night Train to Memphis, and the exu- symphonically sonorous performances of berant I Won't Go Huntin' with You familiar light classics (William Tell Jake (but I'll Go Chasin' Wimmen!). Overture, Invitation to the Dance, Hun- Even the corny recitations (to a distant garian Rhapsody No. 2, etc.) sound cornet in Oklahoma Bill, a harmonium just as good in rehearing. Even the solo- and humming chorus in Grasshopper ists (accordionist Karl Perenthaler in an MacClain and To a Sleeping Beauty) are other familiar tunes make his Gallic - arrangement of Paganini's Campanella unique examples of the purest tear -jerk American idioms deliciously palatable and Günther Wertz in a harmonica genre. even to listeners whose teeth are normally transcription of Hora Staccato) reveal set on edge by "modern" music; and considerably more than mere flashy "The Bridge." Sonny Rollins and Co. these two documentary film scores (quite virtuosity. Happily, too, the taping RCA Victor FTP 1140, 41 min., $7.95. apart from their historical interest) rank matches the stereo disc exactly in its In what is sure to be one of the most high among his most delightful works.
    [Show full text]
  • Guide to the Meredith Willson Papers (Mss 049)
    Guide to the Meredith Willson Papers (Mss 049) GENERAL INFORMATION Title: Meredith Willson Papers Accession Number: A2012-039, A2012-048 Dates: 1900-1991 Qty.: 96 lft (68 banker’s boxes, 4 large packing boxes, 3 large film boxes, 1 flat box, 1 card catalog box, 18 LP Boxes, 2 small LP boxes, 18 16” disc boxes, 43 scrapbooks, 1 flat file drawer.) Language: Collection is primarily in English; materials in other languagues are indicated at the file level. Processing Information: Processed by Jessica Frederick and Janice Roger. Completed March 14, 2014. COLLECTION OVERVIEW The Meredith Willson Papers span the years 1900 – 1991. The Papers are divided into five series: Personal, Business: Musicals, Business: Other, Meredith’s Music Collection, and Audiovisual Materials. Within each series, items are broken down into alphabetized categories. Personal includes Biographical Information, Calendars, Correspondence, Iowa Information, Major Meredith Willson, Three-dimensional Objects, folders from Meredith’s time in the National Council on Humanities, Newsclippings, Photo Albums, Photographs, and Scrapbooks. Business: Musicals contains most of Meredith’s business materials. The musicals are listed in the following order: The Music Man, The Unsinkable Molly Brown, Here’s Love, and 1491. Materials within each musical contain the following: Correspondence, Newsclippings, Programs / Playbills, Receipts / Royalties, Scores (not included in Here’s Love or 1491), Scrapbooks, and Scripts / Drafts. 1491 also includes a Research category. Business: Other contains Meredith’s work in Radio and other venues. This series contains Appearances, Professional Correspondence, Copyright Correspondence, Book / Music Correspondence, Financial Information, Honors / Awards, John Philip Sousa, Lyrics, Magazines / Catalogs, Newsclippings, Notebooks, Ev’ry Day Notes from sister Dixie Willson, Posters / Signs, Programs / Playbills, Scrapbooks, and Scripts / Drafts.
    [Show full text]
  • "Jazz" Alstone Signed
    Alstone Signed Alex Alstone orchestra has been signed by RCA Victor and is due for the big buildup. With the band business on the upswing band discs have enjoyed better sales than in any year since 1945. Record companies are all support­ ing new bands. Capitol has Billy May; MGM has launched Skip Martin crew; Coral is pushing Neal Hefti and Mercury is spark­ ing the Ralph Marterie outfit. a classic BING CROSBY and Judy Garland at a rehearsal for a Crosby radio of fhe American show. The recent Crosby debut on POPOFF? tv was a mild sensation. Miss New radio set, The Popov, has musical stage Garland will take her two-a-day gone into production in Russia. sung superbly by vaudeville show to Chicago and Soviets say it’s named after inven­ Detroit in the fall. tor of radio, Alexander Popov. GORDON MacRAE Day Exits "Jazz" and LUCILLE NORMAN Doris Day will not co-star with Danny Thomas in Warners re­ make of "The Jazz Singer” as orig­ Thirteen great songs are here—songs that run the whole inally announced. Though Day- remarkable gamut of Jerome Kern’s talent, from the saucy Thomas team was a hit in "See Let’s Begin to Lovely To Look At, I Won’t Dance, Yester­ You in My Dreams” studio feels days, and the all-time favorite Smoke Gets In Your Eyes. femme lead in "Jazz Singer” is too small a role for Miss Day. There’s a brand new excitement in the sound of this familiar music. George Greeley’s sparkling arrangements set the stage for incomparable performances by the stars, WESTWARD HERD and Anne Triólas bright, diverting comedy support.
    [Show full text]
  • Religious Education T
    t THE 1969 CARD INAL Volume THE CATHOLIC UNIVERSITY OF AMERICA WASHINGTON, D.C 1970 The"Seniors" Section was prepared by the 1969 CARDINAL Editor & Staff. All other sections here gathered together in perma­ nent form are the work of the 1970 CARDI­ NAL Editor & Staff and were completed dur­ ing the 1969 Summer, Autumn, and Winter. The academic year itself began on Sep­ chairman of the Board ot Trustees, an­ established a local chapter under the initial tember 18 with other questions burning be­ nounced at a press conference in late Janu­ impetus of John MacAloon. Events sides the theological. Foremost among them ary. The ecclesiastical schools would also be On Monday morning. October 14. stu­ was the search for a permanent Rector for a full part ot the University, he said. dents and faculty awoke to find, in front of the University. Father Whalen had assumed The theologians and the president search the Social Center, a small booth with a sign Academic year 1968-69, at least from a the post in an acting slot on October 16, were the two continuing threads ot melo­ abo\ e it reading "Keep Biafra .Alive." news point of view, came across like a pre­ 1968. In March a blue-ribbon search com­ drama that stretched throughout the aca­ The booth was the first signal of a month- mature baby—two months too early. mittee was appointed by the Trastees to demic year. The rest ot the year unfolded long campus drive to collect money for the On July 29, 1968, Pope Paul VI issued find candidates tor the position ot perma­ something like this.
    [Show full text]
  • German Folk Songs” Brahms I’D Enter Your Garden the Fiddler How Sad Flow the Streams Awake, Awake! a House Stands ‘Neath the Willows’ Shade
    Laurentian Singers Tour Repertoire 1955 “My Spirit Sang All Day” Finzi “O Magnum Mysterium” Victoria “German Folk Songs” Brahms I’d Enter Your Garden The Fiddler How Sad Flow The Streams Awake, Awake! A House Stands ‘Neath The Willows’ Shade “French Suite, No. 5” (Gigue) Bach “Fantaisie Impromptu” Chopin “There Is Sweet Music Here” White “Six Chansons” Hindemith The Doe A Swan Since All Is Passing In Winter Orchard “Hodie Christus Natus Est” Willan “Since First I Saw Your Face” Ford “He Is Good And Handsome” Passereau 1957 “Madrigal for a Bright Morning” Wayne Barlow “In Festo Transfigurationis Domini” Giovanni Pierluigi Palestrina “Allon, Gay Bergeres” 16th Century Chanson Guillaume Costeley “Set Down Servant” Arr. Robert Shaw “Balm in Gilead” Arr. William Dawson “Live A-Humble” Arr. Jester Hairston 1959 “The Carols of Death” William Schuman “Salvation is Created” Tschesnokoff “Hodie” Healey Willan “Te Deum” William Schuman “Glory Be to God” Arr. Jean Berger “Choir Blues” George Greeley, arr. J.R. Gilbert “He’s Gone Away” Arr. Walter Schuman “Elijah Rock” Arr. Jester Hairston “Hold On” Arr. Jester Hairston 1960 “Six Chansons” Paul Hindemith “The Doe” “A Swan” “Since All Is Passing” “In Winter” “The Orchard” “Springtime” “Tarantella” Randall Thompson “The Peaceable Kingdom” Randall Thompson “The Testament of Freedom” (excerpts from Randall Thompson the writing of Thomas Jefferson) “The God who gave us life” “We shall not die without a hope” “Te Deum” William Schuman “Laurentia” Traditional “Fides et Veritas” Nelson L. Robinson ‘77 “Carols of Death” on texts by Walt Whitman William Schuman “The last invocation” “The unknown region” “To all, to each” 1961 “Hodie Christus Natus Est” Palestrina “Jesu Dulcis Memoria” Victoria “Rejoice, My Soul” Balekirev “The Falcon” John Gerrish “Requiem Mass, C minor” Cherubini “Glory to God in the Highest” Randall Thompson “Hymn to St.
    [Show full text]
  • THE PAUL WESTON and JO STAFFORD COLLECTION Collection Number: MMS 6
    The University of Arizona School of Music THE PAUL WESTON AND JO STAFFORD COLLECTION Collection Number: MMS 6 Inventory of the Paul Weston and Jo Stafford Collection, 1917-2006 (bulk 1942-1973) Collection Number: MMS 6 University of Arizona School of Music Processed by: Keith Pawlak Date completed: December 2006 Collection Summary Collection name: Paul Weston and Jo Stafford Collection Collection number: MMS 6 Creators: Weston, Paul (1912-1996) and Stafford, Jo (1917-) Physical description: 33 linear ft. (64 boxes) Abstract: Collection of musical arrangements, business records, photographs, films and awards from the husband and wife team of Paul Weston (1912-1996) and Jo Stafford (1917-). Repository: School of Music. School of Music University of Arizona PO Box 210004 Tucson, AZ 85721-0005 URL: http://web.cfa.arizona.edu/music Administrative Information Restrictions: The Collection is open to researchers by appointment. There are no restricted materials. Copyright restrictions do exist on music manuscripts in the collection. For more information or requests to photocopy materials, to publish, or to make an appointment, please contact: Keith Pawlak Music Curator School of Music, rm. 109 University of Arizona Tucson, AZ 85721 Phone: 520-626-5242 Paul Weston and Jo Stafford collection 1 Acquisition Information: The Paul Weston and Jo Stafford Collection was established in 2006 through the gift of Mrs. Jo Stafford-Weston. Acknowledgements: This finding aid and gift were made possible through the help of Tim Weston, son of Paul Weston and Jo Stafford. Additional thanks to Kimberly Lewis for her help with the finding aid. Special Policies Governing Reproducing Or Publishing Materials In The Paul Weston And Jo Stafford Collection: Permission to research or examine these materials does not carry with it permission to commercially reproduce or publish.
    [Show full text]