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ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
A Caravan of Culture: Visitors to Emporia, Kansas by Charles E
A Caravan of Culture: Visitors to Emporia, Kansas by Charles E. Webb INTRODUCTION hat do Ulysses S. Grant, "Buffalo Bill" Cody, Susan B. Anthony, Will Rogers, Ethel Barrymore, and Dr. \Verner Von Braun haye in common"? They were W among the hundreds of famous people that have visited EmpOria, Kansas during the past one hundred years. In dividuals and groups of national and international fame, represen ting the arts, seiencl's. education, politics, and entertainment, have pa~sed before Emporia audiences in a century long parade. Since 1879, this formidable array of personalities has provided informa tion and entertainment to Emporia citizens at an average rate of once eaeh fifteen days, The occasional appearanee of a famous personality in a small city may well be considered a matter of historical coineidence. When, however, such visits are numbered in the hundreds, arc fre quent, and persist for a century, it appears reasonable to rank the phenomenon as an important part of that eity's cultural heritage. Emporia, although located in the interior plains, never ae cepted the role of being an isolated community. It seems that the (own's pioneers eonsidered themselves not on the frontier fringi'" of America, but strategically situated near its heart. From the town's beginning, its inhabitants indicated an intention of being informed and participating members of the national and world communities. To better understand why Emporia was able to attract so many distinguished guests, a brief examination of its early development is required. In the formative years of the city's history wc may identify some of the events, attitudes, and preparations Ihat literally set the stage for a procession of renowned visitors. -
May Festival NICHOLAS FALCONE Band Instruments LUCILLE GRAHAM Piano JAMES HAMILTON Voice HILL AUDITORIUM THEODORE HARRISON Head of Vocal Department ANN ARBOR, MICH
UNIVERSITY SCHOOL OF MUSIC The UNIVERSITY MUSICAL SOCIETY SUMMER SESSION Charles A. Sink, President E. V. Moore, Musical Director JUNE 25 — AUGUST 5, 1928 FACULTY AND OFFICERS Announces the CHARLES A. SINK President THIRTY-FIFTH ANNUAL E. V. MOORE; Musical Director BYRL FOX BACHER Dean of Women DONNA ESSEXSTYN Piano May Festival NICHOLAS FALCONE Band Instruments LUCILLE GRAHAM Piano JAMES HAMILTON Voice HILL AUDITORIUM THEODORE HARRISON Head of Vocal Department ANN ARBOR, MICH. JUVA HIGBIE Public School Music NORA C. HUNT Voice May 16, 17, 18, 19, 1928 GRACE KONOLD Voice FOUR DAYS EDITH KOON Piano SIX CONCERTS MARGARET MACGREGOR Organ V EARL V. MOORE Organ and Theory *DAVID MATTERN Public School Music A FEAST OF GOOD MUSIC MAUDE OKKELBERG Piano HANNS PICK [\ 'Cello and Theory Opera Stars MABEL RHEAD Piano Oratorio Singers •FRANK SHOWERS Public School Music Violinists Pianists NELL STOCKWELL Piano Organists NORA WETMORE Voice Choral Union ANTHONY J. WHITMIRE Violin Children'8 Chorus * Guest Instructor. Symphony Orchestra NOTE—The right is respectfully reserved to make such changes in the personnel of the Faculty of the Summer Session as necessity may require. MICHIGAN'S GREATEST MUSICAL EVENT Artists and Organizations Schedule of Concerts EARL V. MOORE Musical Director I. WEDNESDAY EVENING, MAY 16 FREDERICK STOCK Orchestral Conductor Miscellaneous Artist Concert ERIC DELAMARTER Guest Conductor Dedication of new Frieze Memorial Organ just completed by the Skinner Organ Company at a cost PERCY GRAINGER Guest Conductor of $75,000. Margaret Matzenauer Contralto Palmer Christian Organ Chicago Symphony Orchestra LEONORA CORONA Soprano Frederick Stock Conductor Prima Donna Metropolitan Opera Co. Eric Delamarter Guest Conductor LEONE KRUSE Soprano Prima Donna Chicago Civic Opera 2. -
Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
ARSC Journal
HISTORIC VOCAL RECORDINGS STARS OF THE VIENNA OPERA (1946-1953): MOZART: Die Entfuhrung aus dem Serail--Wer ein Liebchen hat gafunden. Ludwig Weber, basso (Felix Prohaska, conductor) ••.• Konstanze ••• 0 wie angstlich; Wenn der Freude. Walther Ludwig, tenor (Wilhelm Loibner) •••• 0, wie will ich triumphieren. Weber (Prohaska). Nozze di Figaro--Non piu andrai. Erich Kunz, baritone (Herbert von Karajan) •••• Voi che sapete. Irmgard Seefried, soprano (Karajan) •••• Dove sono. Elisabeth Schwarzkopf, soprano (Karajan) . ..• Sull'aria. Schwarzkopf, Seefried (Karajan). .• Deh vieni, non tardar. Seefried (Karajan). Don Giovanni--Madamina, il catalogo e questo. Kunz (Otto Ackermann) •••• Laci darem la mano. Seefried, Kunz (Karajan) • ••• Dalla sua pace. Richard Tauber, tenor (Walter Goehr) •••• Batti, batti, o bel Masetto. Seefried (Karajan) •.•• Il mio tesoro. Tauber (Goehr) •••• Non mi dir. Maria Cebotari, soprano (Karajan). Zauberfl.Ote- Der Vogelfanger bin ich ja. Kunz (Karajan) •••• Dies Bildnis ist be zaubernd schon. Anton Dermota, tenor (Karajan) •••• 0 zittre nicht; Der Holle Rache. Wilma Lipp, soprano (Wilhelm Furtwangler). Ein Miidchen oder Weibchen. Kunz (Rudolf Moralt). BEETHOVEN: Fidelio--Ach war' ich schon. Sena Jurinac, soprano (Furtwangler) •••• Mir ist so wunderbar. Martha Modl, soprano; Jurinac; Rudolf Schock, tenor; Gottlob Frick, basso (Furtwangler) •••• Hat man nicht. Weber (Prohaska). WEBER: Freischutz--Hier im ird'schen Jammertal; Schweig! Schweig! Weber (Prohaska). NICOLAI: Die lustigen Weiher von Windsor--Nun eilt herbei. Cebotari {Prohaska). WAGNER: Meistersinger--Und doch, 'swill halt nicht gehn; Doch eines Abends spat. Hans Hotter, baritone (Meinhard von Zallinger). Die Walkilre--Leb' wohl. Hotter (Zallinger). Gotterdammerung --Hier sitz' ich. Weber (Moralt). SMETANA: Die verkaufte Braut--Wie fremd und tot. Hilde Konetzni, soprano (Karajan). J. STRAUSS: Zigeuner baron--0 habet acht. -
Imi/SICAL Lized in "Tiie Redemption.” | Jersey
62 THE SUNDAY STAT?. WASHINGTON, D. C M MAY 27, 1028 -PART 4. THREE SOLOISTS IN GOUNOD'S “REDEMPTION” TOMORROW NIGHT | MUSIGRAPHS MUSIC rrilE choir of All Saints’ Church, ] linlst; Lester Eichncr. trombonist, and A Chevy Chase, will give a musical . James Nalley, cornctist, also will ac- service at 8 p.m. today, at which the < company the choir in the rendition of BY HELEN FETTER. numbers will be from “Elijah” and Gounod's "Unfold. Ye Portals,” from ‘‘The Hymn of Praise," by Mende’ss iftn. “The Redemption." Mr. Lindsay will j Emily Harrold. soprano, will sing | play “Arioso” tßachi. and Mr. Wallen's “Hear Ye, Israel”; Ccctle Sale, con- numbers will be “Lento” (Lalo>, “La- FRANCOIS GOU- I Mozart had as his fee for piano tralto. “O Rest in the Lord,” from mento" (Gabriel Marie) and "Autumn NOD is most widely known iessons, in 1781, 25 cents a lesson. “Elijah”; James T. Nicholson, tenor, Flower” (Popper) The choir also will composer of the The comment was added that, “If With All Your Hearts,” from "Eli- sing “O Lord. Thou Art Our God” as the jah.” and "The (Dickinson). favorite of French operas. "although he considered this am- ! Sorrows of Death.” j Deborah H Lawson will CHARLES’ from “Hymn of Praise,” and Robert H. sing “I Will Extol Thee,” from "Eli" Faust.” His "Romeo and Juliet” ple compensation, he gave his Davidson, that lie baritone, “Lord God of Abra- ; (Costai. and Gerald L. Whelan will also is a popular operatic work. pupils to understand ham” and "It Is Enough.” from ‘‘Elijah." sing "The Lord is My Light" lAilit- “Tobie," favor i His three oratorios, "Re- made this rate as a special A trio composed of Miss Harrold. -
12-15-2018 Trittico Eve.Indd
GIACOMO PUCCINI il trittico conductor Il Tabarro Bertrand de Billy Opera in one act with a libretto by production Giuseppe Adami, based on the play Jack O’Brien La Houppelande by Didier Gold set designer Suor Angelica Douglas W. Schmidt Opera in one act with a libretto by costume designer Jess Goldstein Giovacchino Forzano lighting designers Gianni Schicchi Jules Fisher and Opera in one act with a libretto Peggy Eisenhauer by Giovacchino Forzano, based on revival stage directors a passage from the narrative poem Gregory Keller and J. Knighten Smit Divina Commedia by Dante Alighieri Saturday, December 15, 2018 8:30 PM–12:35 AM Last time this season The production of Il Trittico was made possible by a generous gift from Karen and Kevin Kennedy Additional funding for this production was received from the Gramma Fisher Foundation, general manager Peter Gelb Marshalltown, Iowa, The Annenberg Foundation, Hermione Foundation, Mr. and Mrs. William R. jeanette lerman-neubauer music director Miller, and M. Beverly and Robert G. Bartner Yannick Nézet-Séguin 2018–19 SEASON The 87th Metropolitan Opera performance of GIACOMO PUCCINI’S il tabarro conductor Bertrand de Billy in order of vocal appearance giorget ta Amber Wagner michele George Gagnidze luigi Marcelo Álvarez tinca Tony Stevenson* talpa Maurizio Muraro a song seller Brian Michael Moore** frugol a MaryAnn McCormick young lovers Ashley Emerson* Yi Li Saturday, December 15, 2018, 8:30PM–12:35AM 2018–19 SEASON The 81st Metropolitan Opera performance of GIACOMO PUCCINI’S suor angelica conductor -
Problems of Tempo in Puccini's Operas
Problems of Tempo in Puccini's Arias Author(s): Mei Zhong Source: College Music Symposium, Vol. 40 (2000), pp. 140-150 Published by: College Music Society Stable URL: https://www.jstor.org/stable/40374404 Accessed: 22-08-2018 17:38 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms College Music Society is collaborating with JSTOR to digitize, preserve and extend access to College Music Symposium This content downloaded from 129.105.215.146 on Wed, 22 Aug 2018 17:38:20 UTC All use subject to https://about.jstor.org/terms Problems of Tempo in Puccini's Arias Mei Zhong problems of tempo in Puccini's soprano arias are surprisingly vexing for per- formers, given that the composer provided many indications in his scores, including many metronome markings, and supervised the preparation of several singers who went on to make early phonograph recordings of his arias. The difficulties arise from the lack of markings in some cases, ambiguous or impractical markings in others (with some evidence that at times Puccini himself was not reliable in this matter), doubts about the authorship of some markings, and wide variations in tempo among recorded perfor- mances. -
Rev. Theodore M. Hesburgh, C.S.C., President, University of Notre Daine, at a Memorial Mass for Richard Tucker, St
(Eulogy delivered by the Rev. Theodore M. Hesburgh, C.S.C., President, University of Notre Daine, at a Memorial Mass for Richard Tucker, St. Patrick's Cathedral, New York City, October 14, 1975) On behalf of His Eminence, Terence Cardinal Cooke, who is offering this M.emorial Mass, and especially on behalf of the family of Richard Tucker, his dear wife, Sara, and his sons, Barry, David, and Henry, I welcome all of you, his friends, to this memorial service in the great Cathedral of Saint Patrick, in the great City in which Richard was born, grew up, performed as few others have, so well and so long and so thrillingly, and where so sadly last January he was laid to rest after a heartrending service at the Met in Lincoln Center. To the casual observer, this must seem to be a very unusual occasion: to have a Memorial Mass offered by the Cardinal Archbishop of New York in thanksgiving for the talents of a deceased Jewish opera star in this great Cathedral, with a eulogy preached by the President of the University of Notre Dame. .. All I can say to you, my friends, is that this great man whom we remember so fondly today was a very unusual person. The unusual was the story of his life. The son of poor Bessarabian immigrants, Richard began singing at the age of six in the Allen Street Synagogue on the lower East Side. He was later a drop-out from Brooklyn's New Utrecht High School, to work at every manner of odd jobs so that he could earn enough money to pay for his voice lessons. -
MAX ROSEN, Violinist ISRAEL JOSEPH at the Piano Frflflll Mmtmii, Ml MBIQI, Mffldm M1M, [Feimmv 16, 19118, EMT WLW
MflraiflW 5M1TOI MOIETY 1111=1111 THIRTY-NINTH SEASON No. CCCXII COMPLETE SERIES FIFTH CONCERT MAX ROSEN, Violinist ISRAEL JOSEPH at the Piano frflflll MMTMii, Ml MBIQI, MffldM M1M, [FEiMMV 16, 19118, EMT WLW PROGRAM CHACONNE Tomaso Vitali (1650?) SYMPPIONIE ESPAGNOLE Bd. Lalo Allegro non troppo Andante Rondo (a) ROMANZE, F MAJOR ...... Beethoven (b) CHORUS 01? DERVISHES (from "The Ruins of Athens") Beethoven-Alter (c) TURKISH MARCH Beethoven-Auer AWE WEISE Christian Sinding POLONAISE BRILLANTE, A MAJOR Wieniazvskl STEINWAY PIANO USED THE NEXT CONCERT IN THIS SERIES WILL BE THE FIRST MAY FESTIVAL CONCERT, MAY 15, 1918 TRAFFIC REGULATION.—By order of the Police Department, on the nights of the Choral Union Concerts, vehicles of all kinds will be prohibited on North University Avenue between Thayer and Ingalls Streets; Taxi-cabs must park on the West side of Thayer Street, facing South between North University Avenue and Washington Street; Private autos may be Parked on Ingalls and Washington Streets. Persons on foot are requested to refrain from leaving from the Taxi-cab entrance at the Thayer Street side of the auditorium. SPECIAL INTERUREAN CARS.—East for Detroit and West for Jackson and intervening points will leave from in front of the Auditorium immediately after the concert. Hereafter special cars will leave the Jackson Station at 6:00 (Eastern time) stopping at intervening points. Special cars will also leave Ypsilanti at 7:15 (Eastern time) reaching the auditorium at 7 145. LOST ARTICLES should be enquired for at the office of Shirley W. Smith, Secretary of the University, in University Hall, where articles found should also be left. -
Itwo New American Operas in a Day at Metropolitan
11. L--r THIT SUN, SUNDAY, MARCH 17, .1918. ITWO NEW AMERICAN OPERAS IN A DAY AT METROPOLITAN AlthouM, Leonard, MalateiU, Resell-tslia- n, Olorla," Bononclnl; "The Pretty, Crea- the trenches comprise Carlos Balzedo's English airs and old French and Italian Bads, Moch and d'Angelo. Mr. ture," Old English, fitorace; vleiit In Old .Sonata Form" - "Deh .'Tour Choruses numbers. CONCERTS OF THE WEEK. Pap! will conduct. e non tardar," "None dl Klgaro," Mo. for men's voices and harp, Maurice Slavery Days "Boris Oodunov" on eve'-nln- : inNewOrleans the Theme Thursday sart "l.'en voce poco fa," "Barblcro dl Pavel's two choruses, "Nlcoletto" and The Falxcdo Harp Knaemble, Carlos SUNDAY Symphony Society, Aeolian Hall, 3 P. M. Eddy Uiown, with Mme. Homer, Delaunol. Slvllla," Rossini; Hell Hong from "Trols Beaux Olseaux du Paradls," and Tor-padl- e, Balzedo leader, assisted by Clreta Galli-Curc-i, Howard, Mattfeld and Sparkes, and "Laktnc," flute, Dcllbcs ; Klorent Schmltt's "Chant do Ouerre." violinist, Carnegie Hall, G P. M. Amelita recital, of One, with "SolveJ? soprano, will give second con- t an Indian Maiden, Messrs. Dldur. De. Segurola, Grieg ; Orccnwood solo, voices plane, a Hippodrome, 3 P. M. Opera concert, Metropolitan Opera House,, That Rothler, Rons," "Under the for tenor m4n's and cert on Friday evening, Mnrdi 22, In Althouse, Audlslo, Illoch, Tree," Buzxl-rercl- a ; "I.;i Crepuseule." which sung by Bada. nossl, were all written and first f harp encsmblo will 8:30 P. M. - Schlegel and Mr. ; Hlbella ; In In war. numbers are Aeolian Hall. The of the- Other. -
For One Week Man Drove Op
TIIE SUNDAY OREGOXJAN, PORTLAXD, NOVEMBER 21, 1920 Every section collapsed at the sen-- 1 Ov tlest touch. I 2 SIX t I went to the telephone and or- - RARE MUSICAL ATTRACTIONS PROMISED dered more, and dlscoveied that tt ' would probably be Christmas before j J FOR COMING CONCERT SEASON IN PORTLAND 1 could set any. 1 However, after I had examined the j rest of the Job I concluded it would T Fire Famous Singers "Who Have Not Been Heard in Portland to Appear at ffeiBjr Theater Includes be Christmas before I rot the iurnaee ; X Arthur Middleton, Paul Althouse, Kathleen Parlow and Myrna Sharlow. ' cleaned, so 1 stoppea worryins that.. - J cJ "Merchandise Merit Only It was necessary, of coarse, to opr. of ate on the furnace in order to re- - move what was the matter with it, which was chiefly soot. S Theoretically, all you have to do to get into the vitals of a furnace is to v unscrew a lot of bolts, which will X v r Aid iv-'- lcosen the Jacket. X But the bolts wouldn't unscrew. I They were rusted solid. W Heing mechanical. I thought of the cold chisel and after two mornings I and a palm" full of blisters I sot the j bolts out. O As the last one Jingled on the' floor the main body of the furnace gave a I dismal groan and separated like the X one-ho- ss shay, scattering its debris a in fragments on the floor, while a I dark lirown, sooty snow sifted over J them.