Boston Symphony Orchestra Concert Programs, Summer, 1990
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Nummer 2 - December 2008
Nummer 2 - December 2008 Ny ordning!s.7-15 Demo + krati!?s.17 Blåmes?s.18-19 Fackavgiftens.27 Skyddet CYs.28 Arbetsmiljöansvarig Lars Smith sidorna 30-32. Fackexpeditionsansvarig Kicki El Gomati Förhandlingsansvarig Gunnar Öhman sidan 28. Försäkring o pensionsansvarig Cyrus Pairawan sidorna 30-32. Hemsideansvarig informerar Mikael Lind sidan 3. Informationsansvarig informerar Mikael Lind sidorna 3, 17-19. Introduktionsansvarig Kicki El Gomati Jämstäldhetsansvarig Anette Bergström Kultur o fritidsansvarig Babak Sadeghi Mångfald o integrationsansvarig Anette Bergström Rehabiliteringsansvarig Serg Zadruzny sidorna 30-32. Rekryteringsansvarig Kicki El Gomati Studieansvarig informerar Mikael Lind Ungdomsansvarig Kim Ekström 2 Innehåll Redaktion De ansvarigas sidor 2 Ansvarig utgivare Klubb 120 Skribenter Kubbens öppettider 3 Cyrus Pairawan Cyrus Pairawan (CP) Kollektivavtalet på väg ut... 3 Mikael Lind (ML) Veolias löften inte värda nå’t! 3 Chefredaktör Jan Melakoski (JM) En uppmaning!! 3 Mikael Lind Mats Örnsved (MÖ) Ledaren 4-5 Lars Smith (LS) Antifackliga kontraktet 5 Serg Zadruzny (SZ) Klubbens nya valorning 7-15 Klubb 119 skribenter Gunnar Öhman (GÖ) Demo + krati 17 Blåmes 18-19 Kollektivavtalsförhandlingar 29 Arbetarrörelsens Tankesmedja 20-26 Inga höjda avgiftsklasser 2009 27 Skyddsombuden i CY 28 Bonusen på turistkorten 28 Veolias löften Lösningen på förra korsordet 28-29 Försäkringskassans nya regler 30-32 inte värda nå’t! Medlemsresa till Tallin 34 Mycket långt tid har Fast än frågan stötts Korsordstävlingen 35 nu passerat sedan och blötts och mycket Vivendi über alles 37-39 Veolia lovade att tid har gått åt till at ta Efterlysning av skribenter 40 beställa och sätta upp fram den grafik som Expeditionens anslagstavlor åt SEKO skulle tryckas på tav- i varje spärr. -
(& Frankie Valli & the Four Seasons) Usa Singles
4 SEASONS (& FRANKIE VALLI & THE FOUR SEASONS) USA SINGLES DISCOGRAPHY 1962 to 1982 Special thanks go to the following sources used in compilation of this discography: previous USA and UK Fan Club newsletters, Ray Nichol, Tom Cramlington, Ken Charmer, John Hornsby, Frank Rovello, Charles Alexander, Russ McLelland, Paul Urbahns, George Juba, Mike Miller and Jose Sanchez. Corrected and Revised February, 2016. The discography listed below cites official, regular/stock (shop) copies of 4 Seasons’ USA releases on vinyl with a mention of promo/demo copies where of interest and also any other collectable releases around at that time. The chart positions cited are Billboard (with Cashbox listings in brackets). *Indicates picture sleeved singles and [Release Date]. MV = Music Vendorwhich became Record World (RW) in April, 1964, Chart positions are also given together with Billboard Disco or Adult Contemporary AC or R&B charts where applicable. Interesting related releases, demo/promo/DJ copies are also mentioned together with the odd track(s) on selected albums. Bermuda/Spanish Lace (Billboard reviewed this single on February 3rd , 1962 ) Gone 5122 [12/61] {Multicoloured label – green/yellow/orange/mauve; reached shops after Xmas hence [01/62 ] cited by some authors} Sherry/I’ve cried before Vee-Jay 456 1 (1) MV 1 R&B 1 [07/62] {DJ copy was black & white label with oval VJ logo as were all VJ DJ 4 Seasons releases from VJ 456 to VJ 576; all stock/regular pressings had the black rainbow label with oval VJ logo from VJ 456 to VJ 597} Big girls don’t -
DUSTY SPRINGFIELD Lesley Gore
DUSTY SPRINGFIELD COME FOR A DREAM—THE U.K. SESSIONS 1970-1971 During her 1968-1971 period with Atlantic Records in SELLING POINTS: the United States, Dusty Springfield also continued to record material in England, where her Atlantic repertoire • Dusty Springfield Was and Is the Greatest was released on Philips Records. In turn, Atlantic Female Blue-Eyed Soul Singer of All Time received rights to issue Dusty's British recordings from the era, but chose to focus entirely on her American • During Her 1968-1971 Period Recording for Atlantic in the U.S., Dusty Continued to Record sessions. In fact, it wasn’t until the ‘90s that some of for the Philips Label in England these masters (many of which originally came out on the Philips See All Her Faces album overseas) were available • That Material Was Never Released in the U.S. Stateside, but they were scattered across several compilations Except Decades Later in Piecemeal Fashion and were never comprehensively assembled. SONGS: During the CD Era Now, with the release of Come For A Dream—The U.K. Sessions 1. A Song For You 1970-1971, all of Dusty’s “orphaned” British recordings from her • Come for a Dream—The U.K. Sessions 1970- 2. Mixed Up Girl 1971 Gathers All of Her “Orphaned” British 1970-1971 Atlantic period have been gathered together for the first 3. Wasn’t Born To Follow Recordings from 1970-1971 Together in One time. These 16 sides document what was intended to be a 4. Sweet Inspiration Place for the First Time complete album plus some extra single sides and outtakes. -
PHILIPS RECORDS II I Ili/Sleteo
FRANCA : Concertino for Piano and dice, Teresa Stich -Randall is just aboutper- NEW RELEASES Orchestra (see SATIE) fect,offeringa warm, womanly, vocally captivating interpretation. FROM THE RECORDING OF SPECIAL MERIT On the negative side, however, I must - note that while Mr. Mackerras brings vigor GLUCK: Orfeo ed Litridice. Nlaureen WORLD'S GREATEST and excitement to the music, he does thisat Forrester (contralto), Orfeo; Teresa St:ch- the expense of refinement. Thereare impre- BUDGET LABEL Randall (soprano), Euridice: Nanny Steffek cise attacks and occasional lapses of "to- (soprano), Amore. Akademie Choir:Ind getherness," and the choral work isvery of- .4 I I I .4 4. .eteital ViennaStateOperaOrchestra.Charles ten ill -balanced and lacking in incisiveness. /lbAlb Al. dab,. ,,111, , Mackerras cond. VANGUARD BAC!' GUILD He conducts much of the second actata BGS 70686/87 two discs $11.58, BG 686/ rather inflexible tempo, and his pacing for ACCLAIMED BY 87 $9.58. the Dance of the Furies is decidedly hurried. CRITICS! Performance: First-rate A further debit is due in the area of textual Recording. Very good communication: Miss Forrester's Italian pro- Stereo Quality: Excellent nunciation could stand improvement, and Miss Steffek's is downright offending. These Instead of making available another conven- ACCLAIMED BY reservations prevent me from recommending tional version of Orfeo ed Euridice, the pro- the set as the decided preference among the ducers of this set embarked on an adventure RECORD -BUYERS! opera's contemporary versions, but they do in creative musicology which resulted in a performance that differs from any heretofore recorded. Without retelling here the com- plicated tale of this opera's history-which ;"-s-..._. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
CREATIVITY and INNOVATION in the MUSIC INDUSTRY Creativity and Innovation in the Music Industry
CREATIVITY AND INNOVATION IN THE MUSIC INDUSTRY Creativity and Innovation in the Music Industry by PETER TSCHMUCK Institute of Culture Management and Culture Science, University of Music and Performing Arts Vienna, Austria A C.I.P. Catalogue record for this book is available from the Library of Congress. ISBN-10 1-4020-4274-4 (HB) ISBN-13 978-1-4020-4274-4 (HB) ISBN-10 1-4020-4275-2 (e-book) ISBN-13 978-1-4020-4275-1 (e-book) Published by Springer, P.O. Box 17, 3300 AA Dordrecht, The Netherlands. www.springer.com Printed on acid-free paper Printed with the support of the Austrian Ministery of Education, Science, and Culture All Rights Reserved © 2006 Springer No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. Printed in the Netherlands. TABLE OF CONTENTS Preface ix Acknowledgements xi Introduction xiii 1. Aim and Structure of the Book xiii 2. Implications of Culture Institutions Studies xvi Chapter 1: The Emergence of the Phonographic Industry 1 Within the Music Industry 1. The Phonograph as Business Machine 1 2. “Coin-in-the-Slot:”-Machine 6 3. Records and Gramophones 9 4. “Herr Doctor Brahms Plays the Piano” 15 Chapter 2: The Music Industry Boom until 1920 19 1. -
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 ( -
Philips Records Discography
Philips Records Discography 200-000 series PHM 200-000/PHS 600-000 - Broadway Is My Beat - MICHEL LEGRAND [1962] A Wonderful Guy/Bewitched/I Got Plenty O’ Nuttin’/If I Loved You/Make Believe/Oh What A Beautiful Mornin’/Old Devil Moon/On The Street Where You Live/Smoke Gets In Your Eyes/Summertime/The Surrey With The Fringe On Top/Yesterdays [*] PHM 200-001/PHS 600-001 - French Horns For My Lady - JULIUS WATKINS [1962] Temptation/Clair De Lune/September Song/Catana/I’m A Fool To Want You//Speak Low/Nuages/The Boy Next Door/Mood Indigo/Home (When Shadows Fall) PHM 200-002/PHS 600-002 - Skinnay Ennis Salutes Hal Kemp - SKINNAY ENNIS [1962] A Foggy Day/Cheek To Cheek/Got A Date With An Angel (Skinnay Ennis Theme)/(How I’ll Miss You) When Summer Is Gone (Hal Kemp Theme)/I’m Breathless/I’ve Got You Under My Skin/Love For Sale/Rhythm Is Our Business/Scatter-Brain/When Did You Leave Heaven/Whispers In The Dark/You’ve Got Me Crying Again [*] PHM 200-003/PHS 600-003 - Golden Bluegrass Hits - The BARRIER BROTHERS [1962] Blue Moon Of Kentucky/Gotta Travel On/Polka On A Banjo/Cryin’ My Heart All Over You/My Little Georgia Rose/Salty Dog Blues//Earl’s Breakdown/Cabin On The Hill/Flint Hill Special/Stonewall Around Me/Before I Met You/Breakin’ In A Brand New Pair Of Shoes PHM 200-004/PHS 600-004 - Swing Low, Sweet Clarinet - The WOODY HERMAN QUARTET [1962] Alexandra/Begin The Beguine/Blue Moon/Don’t Be That Way/Mood Indigo/On The Sunny Side Of The Street/Pee Wee Blues/Rose Room/Someday Sweethear/Summit Ridge Drive/Sweet Lorraine/Swing Low, Sweet Clarinet [*] PHM 200-005/PHS 600-005 - Dual Pianos-World Favorite Piano Classics - RAWICZ & LANDAUER [1962] PHM 200-006/PHS 600-006 - Singin’ Happy - FRANKIE VAUGHAN [1962] PHM 200-007/PHS 600-007 - The Explosive! Freddy Cannon - FREDDY CANNON [1962] (reissue of Swan SLP 502) Boston (My Home Town)/Kansas City/Sweet Georgia Brown/Way Down Yonder In New Orleans/St. -
Classical Classical Notes CBS Records Masterworks Production Head Digital Recording Field
28 Classical Classical Notes CBS Records Masterworks production head digital recording field. According to presiden Paul Myers reportedly is moving over to the and chief engineer Clark Galehouse, Crest is the Decca /London organization, part of PolyGram. first custom label serving the educational mar- It's expected he'll take a top level a &r position ket to offer digital sound. The equipment is by there.... The Honolulu Symphony has an open- Sony. Morton Gould conducts the Univ of Flor- ing for associate conductor following the resig- ida Symphonic Band in several of his own works nation of Sidney Rothstein. Rothstein will pur- in a digital recording that Golden Crest is issuing sue his career on the mainland. commercially. The company also specializes in custom recordings of high school and college Violin Concertos of Korngold and Conus were ensembles, and has employed digital technology taped by Itzhak Perlman following recent con - for several of these projects. ceds with the Pittsburgh Symphony. The record- ing is for EMI /Angel. Galehouse is privately issuing a blindfold digital -analog comparison recording for his Nancy Zannini has been named to head the clientele to judge. But the engineer's own choice Philips Records division of PolyGram Classics. seems clear from the enthusiastic comments in- Zannini, formerly Philips publicity director, will cluded with digital albums already produced. have the title of vice president and assumes re- ... Minneapolis' Sound 80 Records has several sponsibilities handled by Scott Mampe. more digital recordings in the works, including Mampe's resignation was announced last week. two additional St. Paul Chamber Orchestra tap - Other PolyGram Classics divisional vice presi- ings. -
Die Markenarchitektur Der EMI Music Group
Die Markenarchitektur der EMI Music Group Von: Alexander Diesenreiter Diplomarbeit Wirtschaftsuniversität Wien Beurteiler: ao.Univ.Prof.Mag.Dr. Peter Tschmuck Wien, 26.06.2010 INHALTSVERZEICHNIS EINLEITUNG .........................................................................................4 1.1 Problemaufriss ...................................................................................................... 4 1.2 Ziel und Struktur der Arbeit .................................................................................... 5 2 GRUNDLAGEN ..................................................................................6 2.1 Struktur des Musikmarktes ..................................................................................... 6 2.1.1 Umwelt des Musikmarktsystems ..................................................................................................................8 2.1.2 Musikmarktsystem ......................................................................................................................................12 2.2 Marke und Markenarchitektur ............................................................................... 21 2.2.1 Definition von Marke .................................................................................................................................21 2.2.2 Markenstrategien ........................................................................................................................................25 2.2.3 Definition von Markenarchitektur.............................................................................................................28 -
Universidad Panamericana Escuela De Comunicación
UNIVERSIDAD PANAMERICANA ESCUELA DE COMUNICACIÓN LAS DISQUERAS INDEPENDIENTES (20012009): UNA EMPRESA CULTURAL QUE CAMBIÓ LA RELACIÓN DE LOS MEDIOS CON UN PÚBLICO Y UN MERCADO DEFINIDOS TESIS PROFESIONAL QUE PRESENTA: CECILIA GONZÁLEZ MICHALAK PARA OBTENER EL TÍTULO DE LICENCIADA EN COMUNICACIÓN DIRECTOR DE TESIS: GERARDO ROBERTO HERRERA VILLANUEVA MÉXICO, D.F. ENERO 2010 A mis padres Agradecimientos Sin querer ser existencialista, Nietzche una vez dijo que “la vida sin música sería un error”, ya que ésta es la esencia íntima del mundo. Y muchas de las personas que estuvieron presentes ayudando y apoyándome, tanto en la tesis como en la vida misma, son parte de mi esencia. Cada una, encarna una canción. Le agradezco a Dios, por darme la paciencia para que nada me turbara o espantara y llegar a la meta. Tocata y Fuga en RE menor de Joan Sebastián Bach. A mis padres por ser mucho más que sólo eso. Confío de Gustavo Cordera. Y no tengo más mensajes para darte más que esta sonrisa inmensa, gratitud y devoción es que nunca nada pudo apartarte de esa forma tan valiente de poner el corazón. A Éléonor, Fabiola, Anaís y Paquito, por acompañarme en las entrevistas y compartir esta aventura. Una pequeña dedicatoria para agradecer tantos años de amistad y lo que conllevan. Cartoon Music For Superheroes de Albert Hammond Jr. Dream of all the impossible and when you wake, you’ll see that all these dreams aren’t fake. They’re real, not impossible. A todos los compañeros de vida que apoyaron y estuvieron al pendiente: Estrou, Sagols, Felipan, Ovi, Vero, Lola y Chango. -
08 – Spinning the Record
VII. THE DIGITAL ERA Sound moves out of grooves and into bytes With interest in classical music slowly but surely sinking, and interest in jazz over- whelmed by fusion and funk, the late 1970s and early 1980s saw a retraction and consolida- tion of labels interested in their promotion. The early model was the PolyGram Music Group, a rather friendly arrangement of European classical labels intended to group-market their product in an increasingly global economy. Philips, under its corporate name of Philips Phonografische Industrie (PPI), was the first to attempt such a conglomeration. They first proposed a merger with British Decca in 1945, but it was rejected by Decca’s Edward Lewis. In the early 1950s they proposed a mer- ger with DGG. This, too, was initially rejected. Where PPI succeeded was with American Columbia. In 1951, after Columbia did not renew its international distribution agreement with EMI, PPI agreed to distribute Columbia recordings outside the US and have Columbia distribute its recordings inside the US. This agreement ran until 1961, when Columbia set up its own European network and PPI set out to make acquisitions in the US. But PPI continued to grow by building or buying factories in smaller countries. In 1962, PPI had a large factory in Baarn and factories in France, Britain, Denmark, Norway, Spain, Italy, Egypt, Nigeria and Brazil. That same year, they finally got DGG to agree to a merger whereby each label would manufacture each others' records, coordinate releases and not poach each others' artists or bid against each other for new talent.