Specific Area and at a Specific Level of Music Provided for Locating
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Scribherms I Brought Bark by Request SPENCFR Healthfullv Air Conditioned
had ever heard of Fred's bulldogs Have they been lnnoculated? (In- signing Ginger Rogers. Ginger, 1 A Canines Also Demand and Sport Is Betty Hutton before, questions began to pour deed!) And heaven knows how Is well known, has more details lr Detailed Contracts over the wires to New York, such many more queries of the like. her contracts than any star In town as "Is this a dog act?” (You bet!) When the deal was finally con- from the size of her mlrrori The Studio Cheered as She Broadcast Br the Associated Press. makeup How many dogs In the troupe? cluded the legal department ad- to the dimensions of the type In hei When Kay Kyser starts on a to Director and Cast (Plenty!) Are they Insured? (Yes!) mitted it was more complicated than billings. Apologies picture, veterans around his studio By HAROLD HEFFF.RNAN. RKO. If the deal is set each other Luise will do began asking "What AMUSEMENTS. AMUSEMENTS. AMUSEMENTS. HOLLYWOOD. another "Good Earth" impersona- next?” For anything can and does _ and sounds: tion for on a Sights "China Skies.” .. Warner happen Kyser picture. Latest Even Preston Foster himself Bras, will shortly announce a re- complication Is Kay's whim to sign ! rubbed his eyes a bit over this sud- make of the Colleen Moore silent some vaudeville acts for the new den transformation. Within 15 hit "So Big” for Bette Davis. That opus. Including one act called minutes on the 20th Centurv-Fox makes five pictures on Bette's future “Fred’s Bulldogs.”* lot he went from the role of Roger chart, Paramount has granted When the casting director sent the Terrible Touhy in "Roger Touhy, Veronica Lake a long summer vaca- the contracts down to the legal de- Last of the Gangsters,” to the char- tion to recuperate from the double partment, the fun began. -
Daniela Schillaci
IN COLLABORAZIONE Non ci fermeremo mai! con il patrocinio Non deporremo mai la nostra cetra. La nostra voce si alzerà pura e soave per cantare la nostra umanità. Saremo testimoni di bellezza per un sentimento di vera rinascita Premio Lirico e il nostro canto entrerà nei cuori dei buoni Internazionale e farà breccia in quelli di pietra. MARCELLA I nostri giorni saranno cantare e danzare l’amicizia tra i popoli. POBBE Insieme vedremo l’aurora di un nuovo tempo 2020 lasciando nell’aria il profumo della vita. Young Opera Project 2020 CON IL SOSTEGNO Daniela Schillaci Teatro Olimpico di Vicenza Sabato 19 Settembre 2020 ore 21.00 Daniela Schillaci, diplomata in canto al Conservatorio Gioacchino Premio Lirico Internazionale Rossini di Pesaro con il massimo dei voti, vince quale Migliore giovane can- tante il concorso Giuseppe Di Stefano di Trapani nel 1998. MARCELLA POBBE 2020 Inizia immediatamente una brillante carriera che la vede debuttare in Così Gala fan tutte (Despina) all’Opera Giocosa di Savona; Werther (Sophie) a Spoleto; Un ballo in maschera (Oscar) a Venezia e Catania; La sonnambula (Lisa) a Roma, Messina e Palermo; Il cappello di paglia di Firenze (Elena) a Messina e Comitato d’Onore all’Opéra de Lausanne; Turandot (Liù) a Seoul; I Lombardi alla prima crocia- Concert ta al Maggio Musicale Fiorentino; Ariane et Barbe-bleu, Thaïs e Peter Grimes Francesco Rucco a Torino, Elektra e Die Frau ohne schatten al Maggio Musicale Fiorentino; Il Sindaco di Vicenza Silvia Bonino telefono di Menotti (Lucy) a Catania; Carmen all’Opera di Roma, all’Arena di Verona e ad Ascoli Piceno; La serva padrona (Serpina) a Firenze e Roma. -
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. -
The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Stanford Tape Collection ARS.0112
http://oac.cdlib.org/findaid/ark:/13030/kt8x0nf8dx No online items Guide to the Stanford Tape Collection ARS.0112 Finding aid prepared by Franz Kunst Archive of Recorded Sound Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-9312 [email protected] © 2011 The Board of Trustees of Stanford University. All rights reserved. Guide to the Stanford Tape ARS.0112 1 Collection ARS.0112 Descriptive Summary Title: Stanford Tape Collection Dates: 1940-2007 Date (bulk): Bulk, 1960-1980 Collection number: ARS.0112 Repository: Archive of Recorded Sound Collection size: 14 boxes: 317 open reel tapes (37 5" reels ; 200 7" reels ; 80 10.5" reels) ; 5 videocassettes ; 7 video reels ; 1 film (8mm) ; 2 compact discs ; one binder Abstract: Historic music and speech recordings on open reel tape, made on the campus of Stanford University. Language of Material: English Access Open for research; material must be requested at least two business days in advance of intended use. Contact the Archive for assistance. Publication Rights Property rights reside with repository. Publication and reproduction rights reside with the creators or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Stanford Tape Collection, ARS-0112. Courtesy of the Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, Calif. Sponsor This finding aid was produced with generous financial support from the National Historical Publications and Records Commission. Scope and Contents The Stanford Tape Collection consists of historic music and speech recordings made on the campus of Stanford University. -
PLAYHOUSE SQUARE January 12-17, 2016
For Immediate Release January 2016 PLAYHOUSE SQUARE January 12-17, 2016 Playhouse Square is proud to announce that the U.S. National Tour of ANNIE, now in its second smash year, will play January 12 - 17 at the Connor Palace in Cleveland. Directed by original lyricist and director Martin Charnin for the 19th time, this production of ANNIE is a brand new physical incarnation of the iconic Tony Award®-winning original. ANNIE has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work. Choreography is by Liza Gennaro, who has incorporated selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography. The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde). Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA, Joy Dewing Casting (Soul Doctor, Wonderland). The tour is produced by TROIKA Entertainment, LLC. The production features a 25 member company: in the title role of Annie is Heidi Gray, an 11- year-old actress from the Augusta, GA area, making her tour debut. -
Cds by Composer/Performer
CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H. -
Chamber Music Festival
UNIVERSITY MUSICAL SOCIETY CHARLES A. SINK, PRESIDENT THOR JOHNSON, GUEST CONDUCTOR LESTER MCCOY, ASSOCIATE CONDUCTOR Second Concert 1947-1948 Complete Series 2968 Eighth Annual Chamber Music Festival THE PAGANINI QUARTET HENRI TEMIANKA, First Violin ROBERT COURTE, Viola GUSTAV ROESEELS, Second Violin GABOR REJTO, Violoncello SATURDAY AFTERNOON, JANUARY 17* 1948, AT 2:30 RACKHAM AUDITORIUM ANN ARBOR, MICHIGAN PROGRAM Quartet in B-flat major, Op. 64, No. 3 HAYDN Vivace assai Adagio Menuetto (allegretto) Finale (allegro con spirito) Quartet in C minor, Op. 18, No. 4 BEETHOVEN Allegro ma non tanto Scherzo (andante schcrzoso quasi allegretto) Menuetto (allegretto) Allegro, prestissimo INTERMISSION Quartet in B-flat major, K. 458 ("The Hunt") .... MOZART Allegro vivace assai Minuctto, moderato Adagio Allegro assai The Paganini Quartet may be heard on RCA Victor Red Seal records. THE THIRD CONCERT in the Chamber Music Festival will take place this evening at 8:30 o'clock. (over) ARS LONGA VITA BR E VIS PROGRAM NOTES By H. WILEY HITCHCOCK Quartet in B-flat major, Op. 64, No. 3 JOSEPH HAYDN Chamber music owes much to Joseph Haydn. Almost all of the chamber works before his contributions were based on the continuo principle: the chamber group was supported by a keyboard instrument which filled in the harmonies between a bass part and the florid upper parts. Now, since the continuo player extemporized, there was much indiscriminate doubling of notes, and the written-down parts of the chamber instruments had no absolute tonal meaning; the composer could never be sure how his music would sound. In nearly eighty string quartets, and many other chamber works, Haydn attempted to solve the problem of creating chamber music intended as independent of the "help ing hand" of a continuo. -
Multivalent Form in Gustav Mahlerʼs Lied Von Der Erde from the Perspective of Its Performance History
Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History Christian Utz All content is licensed under a Creative Commons Attribution 4.0 International License. Received: 09/10/2017 Accepted: 19/11/2017 Published: 27/02/2018 Last updated: 27/02/2018 How to cite: Christian Utz, “Multivalent Form in Gustav Mahlerʼs Lied von der Erde from the Perspective of Its Performance History,” Musicologica Austriaca: Journal for Austrian Music Studies (February 27, 2018) Tags: 20th century; Analysis; Bernstein, Leonard; Das Lied von der Erde; Klemperer, Otto; Mahler, Gustav; Performance; Performance history; Rotational form; Sonata form; Strophic form; Walter, Bruno This essay is an expanded version of a paper presented at the symposiumGustav Mahler im Dialog, held at the Gustav Mahler Musikwochen in Toblach/Dobbiaco on July 18, 2017. The research was developed as part of the research project Performing, Experiencing and Theorizing Augmented Listening [PETAL]. Interpretation and Analysis of Macroform in Cyclic Musical Works (Austrian Science Fund (FWF): P 30058-G26; 2017–2020). I am grateful for advice received from Federico Celestini, Peter Revers, Thomas Glaser, and Laurence Willis. Files for download: Tables and Diagrams, Video examples 1-2, Video examples 3-4, Video examples 5-8, Video examples 9-10 Best Paper Award 2017 Abstract The challenge of reconstructing Gustav Mahlerʼs aesthetics and style of performance, which incorporated expressive and structuralist principles, as well as problematic implications of a post- Mahlerian structuralist performance style (most prominently developed by the Schoenberg School) are taken in this article as the background for a discussion of the performance history of Mahlerʼs Lied von der Erde with the aim of probing the model of “performance as analysis in real time” (Robert Hill). -
November 2, 1975 Mr. Artur Rubinstein Beverly Wilshire Hotel
Scopus Award Recipient 1975 Dinner Chairman ARTUR RUBINSTEIN ALBERT A. SPIEGEL Past Recipients of the Scopus Award LOUIS H. BOYAR HARRY A. GOLDMAN RABBI MAX NUSSBAUM ROSALIND WYMAN EUGENE L. WYMAN DR. FRANKLIN D. MURPHY GREGOR PIATIGORSKY ELIE WIESEL November 2, 1975 Mr. Artur Rubinstein Beverly Wilshire Hotel Beverly Hills, California Dear Mr. Rubinstein: First, let me again tell you how honored and pleased we are to have you with us. I am sorry you did not receive any of our communications. However, this is understandable since your schedule takes you to all four corners of the world. For your information, there is a private dais reception from 6:30 to 7:30 PM in the Brentwood Room of the Century Plaza Hotel. Invitations have been issued only to those individuals who will be seated on the dais. Both you and Mrs. Rubinstein, of course, will be among our distinguished dais guests. I am enclosing the agenda for the evening. The actual programs will not be ready until Wednesday. This should provide the timing and sequence of our program. The eve ning is one in which you will be honored with the Scopus Award, the most coveted and prestigious award of the American Friends of the Hebrew University. I am also pleased to tell you that we were fortunate in securing for our musical program one of your protegees, Janina Fialkowska, whom we were fortunate to hear during our recent visit to Jerusalem this past summer. Her concert on November 2nd in Pasadena made it possible for her to be with us. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
The University of Chicago Objects of Veneration
THE UNIVERSITY OF CHICAGO OBJECTS OF VENERATION: MUSIC AND MATERIALITY IN THE COMPOSER-CULTS OF GERMANY AND AUSTRIA, 1870-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF MUSIC BY ABIGAIL FINE CHICAGO, ILLINOIS AUGUST 2017 © Copyright Abigail Fine 2017 All rights reserved ii TABLE OF CONTENTS LIST OF MUSICAL EXAMPLES.................................................................. v LIST OF FIGURES.......................................................................................... vi LIST OF TABLES............................................................................................ ix ACKNOWLEDGEMENTS............................................................................. x ABSTRACT....................................................................................................... xiii INTRODUCTION........................................................................................................ 1 CHAPTER 1: Beethoven’s Death and the Physiognomy of Late Style Introduction..................................................................................................... 41 Part I: Material Reception Beethoven’s (Death) Mask............................................................................. 50 The Cult of the Face........................................................................................ 67 Part II: Musical Reception Musical Physiognomies...............................................................................