DOCSLIB.ORG

Guide to the Locicero Sicilian Record Collection, 1950-1960 Descriptive Summary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to the Locicero Sicilian Record Collection, 1950-1960 Descriptive Summary Guide to the LoCicero Sicilian record collection, 1950-1960 Descriptive Summary Title : LoCicero Sicilian record collection Creator: LoCicero Family Dates : 1950-1960 ID Number : L21 Size: 3 boxes Abstract: This collection consists of Sicilian music on vinyl. The LPs are arranged according to number, with additional track, artist, and copyright information noted in the descriptor fields. Language(s): English Italian Sicilian Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: LoCicero Family Acquisition Donation. Information: Access Conditions: None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/ for more information. Preferred Citation: LoCicero Sicilian record collection, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Scope Note The collection contains audio recordings of contemporary Sicilian music from the 1950s and 1960s in 45rpm vinyl. Arrangement Note: The LPs in this collection are arranged numerically. Arrangement The LPs in this collection are arranged numerically. Subject Headings Geographic Names: Sicily (Italy) -- Music Subject Terms: Music -- Italy COLLECTION CONTENTS BOX 1 ITEM : 20-2126-A / 20-2126-B Scope/Content: 20-2126-A: Hoodle Addle (Ray McKinley). Tex Beneke with The Miller Orchestra. Vocal refrain by Tex Beneke and The Mello Larks. RCA Victor. 20-2126-B: Anniversary Song (from the Columbia picture "The Jolson Story") (Based on a theme by Ivanovici) (Al Jolson-Saul Chaplin)/ Text Beneke with The Miller Orchestra. Vocal refrain by Garry Stevens and The Mello Larks. ITEM : 20-2549-A / 20-2549-B Scope/Content: 20-2549-A: My Little Donkey (Louis Prima-Barbara Belle). Louis Prima and his Orchestra. Vocal refrain by Louis Prima. 20-2549-B: Valencia (Boyer-Jacques-Cahrles-Padilla) (American version by Clifford Grey). Vocal refrain by Louis Prima. RCA Victor Division of Radio Corporation of America, Camden, N.J., Made in U.S.A. ITEM : 23-0309-A / 23-0309-B Scope/Content: 23-0309-A: Adiós, Mariquita Linda. Fox Trot (Charapera) (Marcos A. Jiménez). Tito Guizar Con Orquesta. 23-0309-B: Qué Bonito Es Contentarse. Corrido (De la Pellcula "Como México No Hay Dos") (Nenette Noriega-Tito Guizar). Con Orquesta. Para mejoras resultados úsense Agujas Victor. Reg. U.S. Pat. Off. Marcas Registradas. International Series. RCA Victor Division of Radio Corporation of America, Camden, N.J., Made in U.S.A. ITEM : 84 4-A / 84-4-B Scope/Content: 84-4-A: Gypsy Love Song (from "The Fortune Teller) (Harry B. Smith-Victor Herbert) Reinald Werrenrath. Baritone with orchestra. 84-4-B: Duna (Marjorie Pickthall-Josephine McGill). Reinald Werrenrath. Victor Talking Machine Co., Camden, N.J. This record is patented by the following U.S. Patent, Owned by this Company: No. 896,059, Dated August 11, 1908. ITEM : 1067-A / 1067-B Scope/Content: 1067-A: All Alone (Irving Berlin). John McCormack. Tenor with Orchestra. 1067-B: Rose-Marie (from the Musical Play "Rose-Marie") (Harbach-Hammerstein-Friml). John McCormack. Tenor with Orchestra. This record is patented by the following U.S. Patent, Owned by this Company: No. 896,059, Dated August 11, 1908. ITEM : 3943-A / 3943-B Scope/Content: 3943-A: Li Cuntrattura (Frank Amato) Canto Frank Amato. Mandolino, A. Catania; Chitarro, S. Pelione. 3943-B: Grusseri, Bucciu, E Fruttaiolo (Frank Amato). United Sound Systems, Detroit, Michigan, U.S.A. Copyright 1950. ITEM : 3944-A / 3944-B Scope/Content: 3944-A: Huckle Bucchi Baccala (Frank Amato). 3944-B: Terra Di Paradisu (Frank Amato). Canta Frank Amato. Mandolino, A. Catania. Chitarra, S. Pelione. Copyright 1951. Released for use in Home Phonographs. United Sound Systems, Detroit, Mich., U.S.A. ITEM : 14006-F Scope/Content: (88591): (G. De Rosalia). Comic Talking. G. De Rosalia E Co. (88592): Nofrio E Lo Scrivano. G. De Rosalia E Co. Columbia Phonograph Company, Inc. Made and Pat'd in U.S.A. Nov. 12, '07, Feb. 11. '08, Aug. 11, '08, Nov 30 '09, Aug 18 '14, Oct. 20 '14, Mar. 11, '19, July 1, '19. Canada '05, '20, '21, '22. ITEM : 14011-F Scope/Content: (89493): Anicizia. Mazruka. (L. Canore). Violin Solo-Guitar Accomp. Nullo Romani, Violinist. (89494):Baciami Forte. Valzer. (S. [text obstructed]). Columbia. Made and Pat'd In U.S.A. Jan. 21,'13 and May 22,'23. Copyright Columbia Phonograph Company, Inc. New York, U.S.A. ITEM : 14153-F Scope/Content: (105504): Capelli D'Orati (S'Tafarelli) Polka. (105505): A'Amorosa (S. Tafarella). Mazurka. Tarafella Sextette. Columbia. Made and Pat'd In U.S.A. Jan. 21,'13 and May 22,'23. Copyright Columbia Phonograph Company, Inc. New York, U.S.A. ITEM : 14830-F Scope/Content: (20254): Sotto Ar Chiaro Della Luna (G. Simi-Martelli-Neri). Carlo Buti con l'Orchestra Feruzzi. Italian Vocal. Imported Recording. Columbia. (C.B. 7062): Chitarra Romana (E. DlLazzaro-C. Bruno). ITEM : 14838-F Scope/Content: (C.B. 7584): T'Aspetto A Napoli (Lama-Dovlo). Carlo Buti con l'Orchestra Ferruzzi. Italian. Per perfetto tono usate Aghi Columbia. (C.B. 7861): Se Avessi Un Mandolino (Marf-Lao). Columbia. Mfrd. Under U.S. Pat. No. 1,702,564 and Pat. Pending Trademarks Reg. U.S. Pat. Off.—Marcos Registrados. Made in U.S.A. ITEM : 15014-F Scope/Content: (C.B. 9327): Notte A Sorrento (M. Schisa-C. Penati). Carlo Buti con l'orchestra Ferruzzi. Per perfetto tono usate Aghi Columbia. Italian. (C.B 9356): O Bella Bionda-Valzer (Olivieri-Frati). Mfrd. Under U.S. Pat. No. 1,702,564 and Pat. Pending Trademarks Reg. U.S. Pat. Off.—Marcos Registrados. Made in U.S.A. ITEM : 15020-F Scope/Content: (25947): Rosa Sfrunnata (G. Cioffi-G. Pisano) Carlo Buti con l'orchestra Ferruzzi. (25948): Rusella ‘E Maggio-Canzone Valser. 15020-F (25948). (E. Cannio-A. Trusiano). Carlo Buti con l'orchestra Ferruzzi. Per perfecto tono usate Aghi Columbia. Italian. Columbia. Mfrd. Under U.S. Pat. No. 1,702,564 and Pat. Pending Trademarks Reg. U.S. Pat. Off.—Marcos Registrados. Made in U.S.A. ITEM : 15154-F Scope/Content: (CO 36896): Campagnola Florentina. Giancola e Buti -- Della Gatta. (CO 36897): Canta Firenze. Cesarini-Ferrini. Carlo Buti con Orchestra D. Olivieri. Per perfetto tono usate Aghi Columbia. Italian. Columbia. Mfrd. Under U.S. Pat. No. 1,702,564 and Pat. Pending Trademarks Reg. U.S. Pat. Off.—Marcos Registrados. Made in U.S.A. ITEM : 15287 Scope/Content: (677): Z Adios Muchachos (Vedani-Sanders-Stewart). Andy Russell. Vocal With Orchestra. Manufactured by Capital Records. (2847) Y If I Steal A Kiss (Nancio Herb Brown-Edward Heyman) From The Metro-Goldwyn-Mayer Picture. "The Kissing Bandit." Andy Russell With Paul Weston and His Orchestra. ITEM : 17523-A / 17523-B Scope/Content: 17523-A: Evening Chimes (Abendglöckchen) (Carl Heins, Op. 201) Neapolitan Trio. 17523-B: Woodland Echoes (A.P. Wyman, Op. 34). Victor Talking Machine Co. Camden. N.J. Instrumental Trio with bells (Violin, Flute, Harp). ITEM : 27511 Scope/Content: (L 6014): El Choclo (A.G. Villoldo). The Castilians Under Direction of Victor Young. 27511 (2:38). (L 6098) Valentino Tango. From Columbia Picture "Valentino" (Heniz Reomheld-Jack Lawrence). DECCA Personality Series. Manufactured by Decca Records, Inc., New York, U.S.A. ITEM : 35923 Scope/Content: (CCO 3494): Temptation. Tango From "Going to Hollywood." -- Freed-N.H. Brown. Xavier Cugat and his Orchestra. (CCO 3495): Orchids In the Moonlight. Tango From "Flying Down to Rio" -- Gus Kahn -- Eliscu -- Youmans. Xavier Cugat and his Orchestra. Columbia. Mfrd. under U.S. Pat. No. 1,702,564 and Pat. Pending Trademarks Reg. U.S. Pat. Off.-Marcas Registradas. Made in U.S.A. ITEM : 37239 Scope/Content: (CO 34838): El Botellero (The Bottle Vendor). Rhumba-Vocal Chorus by Del Campo -- G. Valdes. Xavier Cugat and his Waldorf-Astoria Orchestra. (CO 36000): Drume Negrita. Afro-Cuban Lullaby -- Grenet -- Xavier Cugat and his Waldorf-Astoria Orchestra. Columbia. Mfrd. under U.S. Pat. No. 1,702,564 and Pat. Pending. Trademarks Red. U.S. Pat. Off.-Marcas Registradas. Made in U.S.A. ITEM : 37829 Scope/Content: (HCO 2224): Un Poquito De Amor. Begium. From "This Time For Keeps." Vocal Chorus by Dorothy Poter. Soler-Cugat- Freed. Xavier Cugat and his Orchestra. (HCO 2340): Phumba at the Waldorf. Rhumba. Cugat. Columbia. Mfrd. Under U.S. Pat. No. 1,702,564 and Pat. Pending Trage-Marks Reg. U.S. Pat. Off.—Marcas Registradas. Made in U.S.A. ITEM : 66045 Scope/Content: Pagliacci-Serenata d'arlecchino (Harlequin's Serenade) (Act 2) (Leoncavallo) Tito Schipa. Victrola. Victor Talking Machine Co. Camden, N.J. ITEM : A683 Scope/Content: (4053): La Favorita (Donizetti) "Una vergine, an angiol di Dio" (A vision of beauty appearing). Tenor Solo. Sung in Italian by Florencio Constantino. With Orchestra Accompaniment. (4061): Marta (Flotow) "M'appari" (Ah, so pure). This record is sold under the Price Maintentance Contracts and upon condition that is shall no be re-sold in U.S. for less than the price printed here on. Columbia Phonograph Company, London. Copyright 1906. ITEM : A1505 Scope/Content: (39060): Mignon "Connais tu le pays?" (Know'st thou the land?) (Thomas) Soprano Solo. Sung in French by Olive Fremstad with Orchestra Accompaniment. (39061): Tosca "Ora stammi a sentor" (Puccini). Columbia Record. Symphony Series. Made Under One or More of the Following U.S. Letters Patent: Dec. 10, 1901, Nov. 25, 1902, Jan. 2, 1906, Feb. 11, 1908, Aug. 11, 1908, Nov. 30, 1909, Other Patents Pending. Copyright 1906. ITEM : A2779 Scope/Content: 78061: Souvenir (Drdla). Violin Solo. Played by Sascha Jacobsen. Samuel Chotzinoff at the Piano. 78065: Serenade from "Les Millions D'Arlequin" (Drigo). Columbia Record.
Load more

Recommended publications
  • Barbican Wordmark Document Template
    For release: Monday 8 January 2018 Barbican marks beginning of 2018 The Art of Change season with announcement of first major UK solo exhibitions for Dorothea Lange and Vanessa Winship, feminist film season and new YouTube film series Pioneering photographers Dorothea Lange and Vanessa Winship will have their first major UK solo exhibitions at the Barbican as part of its 2018 season The Art of Change, the international arts centre announced today. The season, which spans visual arts, theatre, music, dance and film, explores the dialogue between arts, politics and society with Lange and Winship’s compelling bodies of works addressing the human impact of migration, displacement and economic recession. One of the most influential photographers of the 20th century, the American documentary photographer Dorothea Lange’s exhibition Politics of Seeing will include her legendary images of the devastating impact of the Great Depression on the American population, as well as rarely seen photographs of the internment of Japanese-Americans during the Second World War; while British contemporary photographer Vanessa Winship’s show will bring together an outstanding selection of more than 150 photographs, many never seen before in the UK. Her work explores notions of identity, memory and history in border regions, all demonstrative of Winship’s poetic gaze, which won her the prestigious Henri Cartier-Bresson prize in 2011.These two solo exhibitions, along with the group shows Another Kind of Life: Photography on the Margins opening in February and featuring Bruce Davidson, Mary Ellen Mark, Larry Clark and many more, and Modern Couples: Art, Intimacy and the Avant-garde in the autumn which includes, among others, bodies of work by Tina Modotti and Edward Weston, Lee Miller and Man Ray mark a stellar year for photography at the Barbican.
    [Show full text]
  • The Victor Black Label Discography
    The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig ISBN 978-1-7351787-3-8 ii The Victor Black Label Discography Victor 25000, 26000, 27000 Series John R. Bolig American Discography Project UC Santa Barbara Library © 2017 John R. Bolig. All rights reserved. ii The Victor Discography Series By John R. Bolig The advent of this online discography is a continuation of record descriptions that were compiled by me and published in book form by Allan Sutton, the publisher and owner of Mainspring Press. When undertaking our work, Allan and I were aware of the work started by Ted Fa- gan and Bill Moran, in which they intended to account for every recording made by the Victor Talking Machine Company. We decided to take on what we believed was a more practical approach, one that best met the needs of record collectors. Simply stat- ed, Fagan and Moran were describing recordings that were not necessarily published; I believed record collectors were interested in records that were actually available. We decided to account for records found in Victor catalogs, ones that were purchased and found in homes after 1901 as 78rpm discs, many of which have become highly sought- after collector’s items. The following Victor discographies by John R. Bolig have been published by Main- spring Press: Caruso Records ‐ A History and Discography GEMS – The Victor Light Opera Company Discography The Victor Black Label Discography – 16000 and 17000 Series The Victor Black Label Discography – 18000 and 19000 Series The Victor Black
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Projections of Musical Jewishness: Composers of Hollywood's Golden Age Permalink https://escholarship.org/uc/item/2500c312 Author Fruchtman, Aaron Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Projections of Musical Jewishness: Composers of Hollywood’s Golden Age A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Aaron J. Fruchtman August 2016 Dissertation Committee: Dr. Byron Adams, Chairperson Dr. Walter Aaron Clark Dr. Michael Alexander Dr. Daniel Goldmark Copyright by Aaron J. Fruchtman 2016 The Dissertation of Aaron J. Fruchtman is approved: ______________________________________________ ______________________________________________ ______________________________________________ ______________________________________________ Committee Chairperson University of California, Riverside Acknowledgements Despite locking myself away from the world to write this dissertation, I was supported by many individuals and institutions. I am grateful to my committee chair, Dr. Byron Adams, who always believed in my scholarly vision and made me want to become a musicologist. I am also grateful to my committee members: Profs. Walter Clark, Michael Alexander, and Daniel Goldmark. Each of you has made yourselves available to me over this journey and I am profoundly thankful for your words of wisdom. Two archivists deserve special praise: I would like to thank James D’Arc at Brigham Young University who shares my passion for the music of Max Steiner and made my visit to Provo most productive. At the University of Southern California, Edward Comstock constantly fielded my questions and requests and had time for wonderful conversations about our favorite Golden Age film composers.
    [Show full text]
  • 2007 ARSC Conference
    2007 ARSC Conference Program Abstracts An asterisk (*) indicates that an abstract is not yet available. OPENING SESSION MILWAUKEE’S JACK TETER: GET HEP & GET HAPPY! Cary Ginell (Origin Jazz Library, Thousand Oaks, California) It isn’t often that a performer with a background in country music becomes a successful dance band vocalist, but such was the case with the versatile Jack Teter (1902-1987). Born in the Ozarks, Teter moved to Wisconsin in the 1920s, playing banjo for Bill Carlsen’s Orchestra, a popular ballroom dance band in the Milwaukee area. However, during the time he was recording with Carlsen for Paramount, he was also pursuing his country roots by performing as a soloist and with the prolific hillbilly team of Frank Welling & John McGhee. He was a friend of Alfred Schultz, Paramount’s pressing foreman, and became well acquainted with Paramount’s recording activities in the late ‘20s and early ‘30s. During the Depression, Teter ceased recording, but continued as a well-known local radio host in Wisconsin known as “The Song Doctor.” Keeping himself before the public, Teter was the surprise hit of 1950 with a vocal version of an old jazz standard, “Johnson Rag.” With his group, the Jack Teter Trio, Teter’s career was rejuvenated and he enjoyed further success in the early 1950s at a time when musicians half his age were on the charts. Teter’s warm vocals, rhythmic work on guitar and tenor guitar highlighted the series of records he made for Sharp and other local labels. He also dabbled in acting and other endeavors.
    [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]
  • Tommy Dorsey
    TOMMY DORSEY CATALOG 1 9 4 5 Prepared by: DENNIS M. SPRAGG YEAR-BY-YEAR CHRONOLOGY Volume 1 / Chapter 11 Updated: February 24, 2016 1 January 1945 TOMMY DORSEY AND HIS ORCHESTRA Trumpets: George Seaberg, Mickey Mangano, Sal La Perche, Dale Pierce, Gerry Goff. Trombones: TD, Nelson Riddle, Tex Satterwhite, Frank D’Annolfo. Reeds: Buddy De Franco (clt & as), Sid Cooper, Babe Fresk (as), Vido Musso (ts), Bruce Branson (bs). Strings: Alex Beller, Rhythm: Jess Stacy (p), Bob Bain (g), Sid Bloch (b), Buddy Rich (d). Vocalists: Charlie Carroll, Bonnie Lou Williams, The Sentimentalists. Arranger: Sy Oliver. January 5, 1945 (Fri) 11:30 pm – Midnight CBS New York Music ‘Til Midnight - The Mildred Bailey Show (CBS) (WABC) Mildred Bailey, host Tommy Dorsey, guest Paul Barron Orchestra CBS-612 (When Your Heart’s On Fire) Smoke Gets In Your Eyes (TD solo) January 6, 1945 (Sat), 1:00 - 1:30 pm Ritz Theatre, New York Eddie Condon’s Town Hall Jazz Concert 33 (BLUE) (WJZ) Eddie Condon, host Fred Robbins, announcer Tommy Dorsey (trombone), M/Sgt. Harry Bluestone and Jack Eberle (vocalist), guests Lee Wiley, vocalist BLUE-54 Sunday, TD dialogue & dedication to Miff Mole, How Com You Do Me Like You Do, Every Night (JE), Keep Smiling At Trouble, Sugar (LW), Impromptu Ensemble (to close) AFRS Eddie Condon’s Jazz Concert 33 (SSR 1-11-3/4) AFRS-941 Sunday, TD dialogue & dedication to Miff Mole, How Com You Do Me Like You Do, Every Night (JE), Keep Smiling At Trouble, Sugar (LW), Impromptu Ensemble (to close) 2 January 7, 1945 (Sun) 4:30 - 5:00 pm NBC Radio City, New York Music America Loves Best (The RCA Victor Show) (NBC) (WEAF) LOC RWA 6943 A1-2 Louis Calhern, host Tommy Dorsey and Dorothy Maynor, guests Jay Blackton Orchestra and Chorus AFRS MALB 31 S-15 I Got Shoes (DM/Chorus), By The Sleepy Lagoon (TD solo), Estrellita (DM), I Love You, Me Company Along (DM), I Dream Of You (Chorus) (TD solo), The Last Rose Of The Summer (DM) (TD solo), Siboney T.
    [Show full text]
  • A Portrait of Tommy Dorsey
    A PORTRAIT OF TOMMY DORSEY Prepared by Dennis M. Spragg Glenn Miller Archive Updated April 21, 2015 1 THE TALENTED AND TEMPERAMENTAL TD Although he celebrated his birthday as November 19, 1905, according to Schuylkill County records, Thomas Francis “Tommy” Dorsey, Jr. was born November 27, 1905 in Mahanoy Plane, a small town outside Shenandoah, Pennsylvania, the second son of Thomas Francis “Pop” Dorsey (born 1872) and Theresa “Tess” Langton (married 1901), Americans of Irish ancestry. Their firstborn son was James Francis “Jimmy” Dorsey, born February 29, 1904. The Dorsey couple bore two additional offspring, Mary, born 1907 and Edward, born 1911. Edward only lived to the age of three. Shenandoah was located in the heart of Pennsylvania coal country. Coal miner Pop Dorsey was once quoted as saying; “I would do anything to keep my sons out of the mines”. The Dorsey parents were interested in music and musically inclined. They saw music as a path for their sons to escape what they considered the “dead-end” future of coal mining. Pop and Tess Dorsey instilled a love of music in their sons. The father favored the cornet as an instrument and his sons fought over who would play it better. Ultimately, Jimmy Dorsey would gravitate to reed instruments and Tommy Dorsey to brass instruments. As children, the sons played in local parades and concerts. As they grew into adolescence, the brothers took nonmusical jobs to supplement the Dorsey family income. Young Tommy worked as a delivery boy. In 1920, the family moved to Lansford, Pennsylvania, where Pop Dorsey became leader of the municipal band and a music teacher.
    [Show full text]
  • Conductorcynthia Johnston Turner Took up the Trombone As a Teenager in Order to Join a Friend’S Dixieland Band
    Hodgson Wind Ensemble Program Notes The Hodgson Christian Lindberg (Born 1958) Wind Ensemble Concerto for Winds and Percussion (2003) Thursday Scholarship Series Christian Lindberg is widely considered Thursday to be one of the finest trombone soloists to have ever lived. In fact, in September, 2015, 2017 • 7:30 p.m. he was voted “The Greatest Brass Player in March 2 History” by the world’s largest classical ra- dio station, Classic FM. Born in Danderyd, Sweden (a suburb of Stockholm), he began playing the trumpet in his youth and later conductorCynthia Johnston Turner took up the trombone as a teenager in order to join a friend’s Dixieland band. His formal pianoEvgeny Rivkin studies began in 1976 at the Swedish Royal Academy of Music in Stockholm, and con- tinued at the Royal College of Music in Lon- Gershwin Gala don, as well as in Los Angeles. He has since pursued a spectacular career exclusively as a soloist, with over one hundred concerts a PROGRAM year in major venues, and the premieres of over fifty works for trombone and orches- Lindberg Concerto for Winds and Percussion (2003) tra. Lindberg was given the honorary title of Prince Consort Professor by the Royal Col- simply put down on paper. To say anything lege of Music in 1994, and was appointed a more about my work would be pretentious Gershwin Rhapsody in Blue (1924) professor at the Swedish Royal Academy of nonsense.” Trans. Hunsberger Music in 1996. The Concerto for Winds and Percussion was Lately, Lindberg’s career has successfully commissioned by British conductor Timo- Gershwin An American in Paris (1928) turned towards conducting.
    [Show full text]
  • Milton Cross Born in Manhattan on 16 April 1897, Milton Cross Was One of Radio’S First Full- Time Announcers, and Remained So Until His Death on 3 January 1975
    1 Milton Cross Born in Manhattan on 16 April 1897, Milton Cross was one of radio’s first full- time announcers, and remained so until his death on 3 January 1975. His association with the Saturday afternoon radio broadcasts of the Metropolitan Opera’s matinee performances began literally with the first such broadcast: a performance of Hänsel and Gretel that aired on Christmas afternoon, December 25, 1931. Although Christmas Day fell on a Friday that year, the National Broadcasting Company decided to continue broadcasting Metropolitan Opera performances over its Blue Network (which later became the American Broadcasting Company, the corporate name of the ABC network) every Saturday afternoon, a holiday from work for most American men and women. In addition to his 43 consecutive seasons as radio’s Voice of the Metropolitan Opera,” Milton Cross served as an announcer for a variety of other radio programs including “The Magic Key of RCA” (a music program sponsored by RCA Victor), “Information Please” (an early quiz show), “Coast to Coast on a Bus” (a children’s show featuring child performers), and “The Chamber Music Society of Lower Basin Street” (a highly popular jazz-and-blues program). He also narrated a number of film shorts (five- to fifteen-minute sound films that were shown between feature films in movie theaters), as well as educational and entertainment recordings for children, including “Peter and the Wolf” (Musicraft Records, 1949) and “The Magic of Music” (Cabot Records, 1964). Were either of your parents, or any of your siblings, involved in music? Not professionally, no. My father, Robert Cross, and my mother, Margret, who was called “Maggie” within the family, had six children, and I was the fifth of their brood of six.
    [Show full text]
  • New World Records
    New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org The Vintage Irving Berlin New World NW 238 The eminent composer Jerome Kern once said, dreamed up some lyrics, and, with their resident “Irving Berlin has no place in American music. Nick Nicholson supplying the music,“Marie from He is American music.” Sunny Italy” was created. (Berlin received a royal- Apart from his music, Berlin symbolizes the ty of thirty-seven cents.) The number reached American dream of rags to riches. He was born print and made history for, because of a printer’s Israel Baline in Temun, a Jewish settlement in error, Baline was given credit as I. Berlin. He fan- Siberia, in 1888. His father, Moses, was a cantor cied “Berlin”but felt that “Izzy”was not sufficient- who, in order to escape the Cossack pogroms, ly high-toned, so he changed it to “Irving.” brought his wife, Leah, and his eight children to In 1911, Berlin wrote both the music (with the the United States, to a hand-to-mouth existence aid of a music secretary or arranger) and the on New York’s Lower East Side.Almost a century lyrics of “Alexander’s Ragtime Band.” Emma later, Israel Baline, now Irving Berlin, is a house- Carus, a vaudeville entertainer of the time, heard hold word and is married to the former Ellin it, liked it, and sang it. It caught hold. When Al Mackay, a prominent debutante of her day, with Jolson, an end man in a minstrel show, sang it, it three daughters and a bevy of grandchildren.
    [Show full text]
  • Arnold Schoenberg in Los Angeles Author(S): Dorothy Lamb Crawford Source: the Musical Quarterly, Vol
    Arnold Schoenberg in Los Angeles Author(s): Dorothy Lamb Crawford Source: The Musical Quarterly, Vol. 86, No. 1 (Spring, 2002), pp. 6-48 Published by: Oxford University Press Stable URL: http://www.jstor.org/stable/3601001 . Accessed: 21/06/2013 09:59 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . 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]. Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to The Musical Quarterly. http://www.jstor.org This content downloaded from 193.50.140.116 on Fri, 21 Jun 2013 09:59:33 AM All use subject to JSTOR Terms and Conditions American Musics Arnold Schoenberg in Los Angeles DorothyLamb Crawford I only teach the whole of the art ... As a composerI must believe in inspirationrather than in mechanics. -Arnold Schoenberg ArnoldSchoenberg had just turned sixty when he madethe suddende- cisionin mid-September1934 to leavethe EastCoast for California. He hadheld the mostprestigious post in his fieldin Germany,but he wrote his friendsthat in LosAngeles he faced"a completely blank page, so far as my musicis concerned."1The previousOctober he hadbeen abruptly notifiedby
    [Show full text]
  • 03 – Spinning the Record
    II: RADIO, ELECTRICALS AND ALL THAT JAZZ The technological and musical revolution heard ‘round the world All the while that the record industry was growing and expanding, other technological advances were slowly growing and gaining perfection. Films were one; thanks to the techno- logical innovations of Pathé and the creative experiments of such directors as Georges Mélies, F.W. Murnau and D.W. Griffith, they reached by the end of the ‘teens a surprisingly high level of achievement. But films were an obvious form of media growth: they were in the pub- lic eye and even influenced the culturally proficient. (Many people still do not know that the great tenor Enrico Caruso actually proposed marriage to actress Billie Burke—who much later in life gained immortality as Glenda in “The Wizard of Oz”—on the strength of her radi- ant presence in the movies. She jilted him.) Much less obvious to the general public were some behind-the-scenes experiments that were being perfected in laboratories around the world. Most students of media history know how in 1894, at age 20, Guglielmo Marconi in- vented his spark transmitter with antenna at his home in Bologna. He took his “black box” to Great Britain in February 1896 and, though it was broken by custom officials, he filed for a patent on 2 June 1896 and began to build his world empire of Marconi companies. Less well-known, but equally as important in the long run, was a Danish inventor named Valdemar Poulsen. On 1 December 1898—at about the same time that Berliner discs and Bettini cylinders were really getting off the ground—he patented the first magnetic re- corder, called the “telegraphone,” which used steel wire.
    [Show full text]