High Fidelity Magazine February 1960
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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. -
From the Violin Studio of Sergiu Schwartz
CoNSERVATORY oF Music presents The Violin Studio of Sergiu Schwartz SPOTLIGHT ON YOUNG VIOLIN VIRTUOSI with Tao Lin, piano Saturday, April 3, 2004 7:30p.m. Amamick-Goldstein Concert Hall de Hoernle International Center Program Polonaise No. 1 in D Major ..................................................... Henryk Wieniawski Gabrielle Fink, junior (United States) (1835 - 1880) Tambourin Chino is ...................................................................... Fritz Kreisler Anne Chicheportiche, professional studies (France) (1875- 1962) La Campanella ............................................................................ Niccolo Paganini Andrei Bacu, senior (Romania) (1782-1840) (edited Fritz Kreisler) Romanza Andaluza ....... .. ............... .. ......................................... Pablo de Sarasate Marcoantonio Real-d' Arbelles, sophomore (United States) (1844-1908) 1 Dance of the Goblins .................................................................... Antonio Bazzini Marta Murvai, senior (Romania) (1818- 1897) Caprice Viennois ... .... ........................................................................ Fritz Kreisler Danut Muresan, senior (Romania) (1875- 1962) Finale from Violin Concerto No. 1 in g minor, Op. 26 ......................... Max Bruch Gareth Johnson, sophomore (United States) (1838- 1920) INTERMISSION 1Ko<F11m'1-za from Violin Concerto No. 2 in d minor .................... Henryk Wieniawski ten a Ilieva, freshman (Bulgaria) (1835- 1880) llegro a Ia Zingara from Violin Concerto No. 2 in d minor -
1 a Review of the Record-Breaking Snow and Persistent Cold Of
A Review of the Record-Breaking Snow and Persistent Cold of February and March 1960 Laurence G. Lee NOAA/National Weather Service Greer, SC 1. Introduction February and March 2010 marked the 50th anniversary of one of the most severe periods of winter weather on record in the western Carolinas and extreme northeast Georgia. Beginning in February 1960 a series of winter storms and a prolonged period of below normal temperatures disrupted commerce, schools, and life in general across the region. The severe winter weather was not confined to the southern Appalachians and nearby areas. The entire eastern United States was affected. According to narratives at the time (Ludlum 1960a,b), the month of March 1960 had more records for snow and cold in the eastern states than any previous March. March 1960 is still the coldest March on record at Asheville, Charlotte, and Greenville-Spartanburg. Figure 1 displays the departure of March 1960 average temperature from normal1. The total March 1960 snowfall distribution is in Fig. 2. The general nature of the snowfall map does not depict details and extremes in the southern Appalachians. Fig. 1. Departure of average temperature from normal for March 1960. (U.S. Department of Commerce, 1960d) 1 Normals in this document refer to the 30-year period from 1921 to 1950. 1 Fig 2. Monthly snowfall (top) percentage of mean monthly snowfall (bottom) for March 1960. (U.S. Department of Commerce, 1960d) Following December 1959 and January 1960 with near or slightly above normal temperatures in the Southeast, the flow pattern across North America changed abruptly to a configuration that favored cold weather for the eastern United States. -
Lynn Olson: a Tiny History of High Fidelity
A Tiny History of High Fidelity, Part 1 A Rainy Night in Portland, 1936. Thanks to the restoration movement, much of downtown Portland still looks like this. Where do I come from? Where am I going? Who am I? These ancient questions are with us still. With only the slightest of changes, they can be recast into a form that provides a guidepost to the music lover, the audiophile, the hobbyist, and the artisan-engineer. Where does the art of sound reproduction come from? Where is it going? What do I seek from this art? Radio! 1900-1930 In the first years of Electrical Amplification, engineers had their hands full just trying to master the complex and non-intuitive mathematics of vacuum tube amplifiers and oscillators. It is worth keeping in mind that vacuum tubes were electronics in the first half of the Twentieth Century; before Lee DeForest modified Edison's light-bulb, the only form of "amplification" were relays that could repeat and rebuild telegraph signals. Radio relied on tuned circuits, massive brute-force spark-gap transmitters, large long-wave antennas, and crystal-diode rectification that directly powered the headphones. The faint signal that wiggled the headset diaphragm was a infinitesimal fraction of the megawatts that poured in all directions from the transmitter. Records, of course, were purely mechanical and acoustic, and wouldn't work at all if it weren't for horn-gain in recording and playback. What we now think of as electronic engineering back then was electrical engineering, focussed on keeping AC power transmission systems in phase and specialized techniques for pushing a telephone-audio signal down hundreds of miles of wire without benefit of amplification. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
Buyer's Guide to Loudspeakers 2017
CONTENTS • FROM THE EDITOR • ON THE HORIZON • BOOK FEATURE • HOW TO CHOOSE A LOUDSPEAKER • DESKTOP & POWERED • BOOKSHELF, STAND-MOUNT • FLOORSTANDING <$10K • FLOORSTANDING >$10K • SUBWOOFERS Buyer’s Guide to Loudspeakers 2017 SPONSORED BY A MASTERPIECE OF DESIGN AND ENGINEERING Renaissance ESL 15A represents a major evolution in electrostatic design. A 15-inch Curvilinear Line Source (CLS™) XStat™ vacuum-bonded electrostatic transducer with advanced MicroPerf ™ stator technology and ultra-rigid AirFrame™ Blade construction provide the heart of this exceptional loudspeaker. A powerfully dynamic low-frequency experience is rendered with unfl inching accuracy and authority courtesy of dual 12-inch low-distortion aluminum cone woofers. Each woofer is independently powered by a 500-watt Class-D amplifi er, and controlled by a 24-Bit Vojtko™ DSP Engine featuring Anthem Room Correction (ARC™) technology. Hear it today at your local dealer. 1 Buyer’s Guide to Loudspeakers 2017 the absolute sound MartinLogan_DLR_TAS_Renaissance_ESL15A_Buyer's_Guide_SPREAD_2016.indd 1 2016-03-15 7:49 AM 2 Buyer’s Guide to Loudspeakers 2017 the absolute sound Click here to go to that section CONTENTS • FROM THE EDITOR • ON THE HORIZON • BOOK FEATURE • HOW TO CHOOSE A LOUDSPEAKER • DESKTOP & POWERED • BOOKSHELF, STAND-MOUNT • FLOORSTANDING <$10K • FLOORSTANDING >$10K • SUBWOOFERS Contents SPONSORED BY You can’t tell anything about the loudspeaker until you listen to it. Don’t be in a hurry to buy the first speaker you like; audition several products. A MASTERPIECE OF DESIGN AND ENGINEERING Renaissance ESL 15A represents a major evolution in electrostatic design. FROM THE EDITOR ON THE HORIZON HOW TO CHOOSE A LOUDSPEAKER A 15-inch Curvilinear Line Source (CLS™) XStat™ vacuum-bonded electrostatic transducer with advanced MicroPerf ™ stator technology and ultra-rigid Julie Mullins welcomes you to our Neil Gader has the scoop on the Robert Harley helps you navigate the tricky process of speaker auditioning AirFrame™ Blade construction provide the heart of this exceptional loudspeaker. -
FRENCH SYMPHONIES from the Nineteenth Century to the Present
FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen. -
Summary of Floods Ir the United States During 1960
Summary of Floods ir the United States During 1960 By J. O. ROSTVEDT FLOODS OF 1960 IN THE UNITED STATES GEOLOGICAL SURVEY WATER-SUPPLY PAPER 1790-B Prepared in cooperation with Federal, State, and local agencies CNITED STATES GOVERNMENT PRINTING OFFICE, WASHINGTON : 1965 UNITED STATES DEPARTMENT OF THE DTERIOR STEWART L. UDALL, Secretary GEOLOGICAL SURVEY Thomas B. Nolan, Director For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.G. 20402 - Price 45 cents (pap^r cover) CONTENTS Page Abstract___-_--_____-__-____---_--__-______-___-___.____________ Bl Introduction._____________________________________________________ 1 Determination of flood stages and discharges_________________________ 6 Explanation of data_________________-__-___________________-_____- 11 Summary of floods of 1960_____________________________________ 13 Floods of: February 8-10 in northern California._______________________ 13 March 7-9 in southern Idaho.______,____-__-__-_-_____-____ 18 March 17-April 5 in central Florida.________________________ 20 March-April in the Skunk River and lower Iowa River basins, Iowa_ _________________________________________________ 24 March 29-April 6 in southeastern Wisconsin and northeastern Illinois.----.-.-_____________________________-. 27 March-April in eastern Nebraska and adjacent areas._________ 30 March 30-April 6 in New York___-_-_____---_-__-_-_--__-__ 47 April 15^19 in west-central Missouri.________________________ 51 April and May in northern Wisconsin and Michigan Upper Peninsula. ___ ___________-_-______-__-_-_--___-_-_-_-_-__ 53 May 4-6 in northwestern Arkansas and east-central Oklahoma. _ 58 May 5-9 in southern Mississippi.___________________________ 60 May 6 in south-central Missouri.- __________________________ 64 May 19-22 in southwestern Arkansas and southeastern Okla homa. -
Artes 21-22.Docx
DOI: 10.2478/ajm-2020-0004 Artes. Journal of Musicology Constantin Silvestri, the problematic musician. New press documents ALEX VASILIU, PhD “George Enescu” National University of Arts ROMANIA∗ Abstract: Constantin Silvestri was a man, an artist who reached the peaks of glory as well as the depths of despair. He was a composer whose modern visions were too complex for his peers to undestand and accept, but which nevertheless stood the test of time. He was an improvisational pianist with amazing technique and inventive skills, and was obsessed with the score in the best sense of the word. He was a musician well liked and supported by George Enescu and Mihail Jora. He was a conductor whose interpretations of any opus, particularly Romantic, captivate from the very first notes; the movements of the baton, the expression of his face, even one single look successfully brought to life the oeuvres of various composers, endowing them with expressiveness, suppleness and a modern character that few other composers have ever managed to achieve. Regarded as a very promising conductor, a favourite with the audiences, wanted by the orchestras in Bucharest in the hope of creating new repertoires, Constantin Silvestri was nevertheless quite the problematic musician for the Romanian press. Newly researched documents reveal fragments from this musician’s life as well as the features of a particular time period in the modern history of Romanian music. Keywords: Romanian press; the years 1950; socialist realism. 1. Introduction The present study is not necessarily occasioned by the 50th anniversary of Constantin Silvestri’s death (23rd February 1969). -
Charles De Gaulle at the National Press Club, April 23, 1960
Charles de Gaulle at the National Press Club, April 23, 1960 Charles de Gaulle. Bundesarchiv, B 145 Bild-F015892-0010 / Wegmann, Ludwig / CC-BY-SA, CC BY-SA 3.0 de, https://commons.wikimedia.org/w/index.ph p?curid=6845791 French President Charles de Gaulle (1890-1970) arrived in Washington on Friday, April 22, 1960, for a State visit comprised primarily of talks with President Dwight D. Eisenhower to prepare for the upcoming Big Four summit planned for May in Paris, the first such meeting since World War II of leaders from the U.S., Great Britain, France, and the Soviet Union. General de Gaulle, leader of the Free French Forces resisting both the German occupation of France and the collaborationist Vichy government during the war, drew a warm welcome from Washingtonians that matched an equally enthusiastic embrace the people of Paris had given General Eisenhower, the supreme commander of Allied forces in western Europe during the liberation of France, on his State visit seven months earlier. De Gaulle wrote in his memoir, “All the way from the airport to Blair House I drove beside President Eisenhower to a deafening accompaniment of cheers, sirens and brass bands, amid a forest of banners and flags.” Area police estimated that 200,000 people—many of them government workers given an extended lunch hour—crowded the airport, bridge, and streets. De Gaulle remarked that the greeting, “clearly represented something fundamental.” The next morning, de Gaulle held “a vast press conference at the National Press Club,” he reported, “where most of the questions put to me concerned the 1 projected meeting of the Big Four.” The New York Times described his performance as “relaxed and informal.” On Sunday, de Gaulle flew with Eisenhower to the president’s farm in Gettysburg. -
Country Term # of Terms Total Years on the Council Presidencies # Of
Country Term # of Total Presidencies # of terms years on Presidencies the Council Elected Members Algeria 3 6 4 2004 - 2005 December 2004 1 1988 - 1989 May 1988, August 1989 2 1968 - 1969 July 1968 1 Angola 2 4 2 2015 – 2016 March 2016 1 2003 - 2004 November 2003 1 Argentina 9 18 15 2013 - 2014 August 2013, October 2014 2 2005 - 2006 January 2005, March 2006 2 1999 - 2000 February 2000 1 1994 - 1995 January 1995 1 1987 - 1988 March 1987, June 1988 2 1971 - 1972 March 1971, July 1972 2 1966 - 1967 January 1967 1 1959 - 1960 May 1959, April 1960 2 1948 - 1949 November 1948, November 1949 2 Australia 5 10 10 2013 - 2014 September 2013, November 2014 2 1985 - 1986 November 1985 1 1973 - 1974 October 1973, December 1974 2 1956 - 1957 June 1956, June 1957 2 1946 - 1947 February 1946, January 1947, December 1947 3 Austria 3 6 4 2009 - 2010 November 2009 1 1991 - 1992 March 1991, May 1992 2 1973 - 1974 November 1973 1 Azerbaijan 1 2 2 2012 - 2013 May 2012, October 2013 2 Bahrain 1 2 1 1998 - 1999 December 1998 1 Bangladesh 2 4 3 2000 - 2001 March 2000, June 2001 2 Country Term # of Total Presidencies # of terms years on Presidencies the Council 1979 - 1980 October 1979 1 Belarus1 1 2 1 1974 - 1975 January 1975 1 Belgium 5 10 11 2007 - 2008 June 2007, August 2008 2 1991 - 1992 April 1991, June 1992 2 1971 - 1972 April 1971, August 1972 2 1955 - 1956 July 1955, July 1956 2 1947 - 1948 February 1947, January 1948, December 1948 3 Benin 2 4 3 2004 - 2005 February 2005 1 1976 - 1977 March 1976, May 1977 2 Bolivia 3 6 7 2017 - 2018 June 2017, October -
60 CENTS the Boston Symphony Orchestra
H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.