The Magazine for Music Listene

Total Page:16

File Type:pdf, Size:1020Kb

The Magazine for Music Listene THE MAGAZINE FOR MUSIC LISTENE h,tO www.americanradiohistory.com11111 If you want a superlative stereo receiver by Fisher, check the four models at right. If you want something free by Fisher, look under this fold. () www.americanradiohistory.com 11 M1 The Fisher 400 65-Watt FM- Multiplex Stereo Receiver with STEREO BEAM* Size: 171/2" wide, 53/4" high, 13" deep. Weight: 303/4 lbs. Price: $299.50. The Fisher 500 -C 75 -Watt FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 3611 lbs. Price: $389.50. The Fisher 800 -C 75 -Watt ANI -FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 37 lbs. Price: $449.50. The Fisher 600 -T 110 -Watt Transistorized FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 163" wide, 51/2" high, 117/4" deep. Weight: 31 lbs. Price: $499.50. (Walnut cabinet for all models, $24.95.) PATENT PENDING CIRCLE 48 CN READER -SER\ ICE CARD OCTOFER 1964 1 www.americanradiohistory.com FOUR MICRO-MAGNETIC 15° PICKUPS! Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT "V -15 pickup for you. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the V -15 AC -1 Most of you, no doubt are tracking lighter on the late model AUTO- MATIC TURNTABLES and will use the V -15 AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V-15 AM -11 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V -15 AME -1 All four of these pickups are radically different from any other cartridge. You can see the difference. You can hear the difference. Pick up a V -15. Note its light weight-only 5 grams. Perfect for low mass tone arm systems. Now, see how Pickering's exclusive "Floating Stylus" and patented replaceable V -Guard assembly pro- tects your record and diamond as it plays .Trade Mark of Pickering and Co., Inc. HEAR PICKERING CO., FOR THOSE WHO CAN THE DIFFERENCE & , NC. PLAINVIEW,, N.Y. Pickering THE WORLD'S LARGEST AND MOST EXPERIENCED MANUFACTURER OF MAGNETI1C PICKUPS CIRCLE 60 ON READER-SERVICE CARD 2 HIGH FIDELITY MAGAZINE www.americanradiohistory.com Page 17 Page 96 high fideli page 1II Music and Musicians 17 Everyman's Guide to Discmanship Patrick J. Smith 80 The Struggle for Perfection: conductors' rehearsals on record Denis Stevens 96 Shostakovich Without Ideology Peter Heyworth 106 The Sound of Saudade: Portugal's fado O. B. Brummell 95 0 Lieber Schwann: an editorial 51 Notes from Our Correspondents: Rome, New York, Vienna Sound Reproduction 63 High Fidelity Newsfronts: thirty tubes per channel 101 New Products Norman Eisenberg 111 A Budget for Stereo Edward F. McIntyre 117 Equipment Reports Altec Three Sixty Integrated Amplifier ADC Point Four and Point Four/E Cartridges Stanton 800B Stereotable System Fisher XP -10 and XP -5 Speaker Systems Reviews of Recordings 123 Feature Record Reviews Beethoven: Fidelio (Birgit Nilsson, James McCracken, et al.; Lorin Maazel, cond.) Beethoven: Sonatas for Piano (complete); Sonatas for Piano, Nos. 29 -32; Brahms: Piano Works (Wilhelm Kempff) 126 Other Classical Reviews 160 Reissues 165 The Lighter Side 173 Jazz 179 The Tape Deck OCTOBER 1 9 6 4 VOLUME 14 NUMBER 10 Published monthly at Great Barrington, Mass., by The Billboard Publishing Co. Copyright a 1964 by The Billboard Publishing Co. The design and content. of High Fidelity Magazine ore fully protected by copyright and must not be reproduced in any manner. Second -class postage paid at Great Barrington and at additional mailing offices. One-year subscription- Anywhere on Earth $7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of address notices and undelivered copies (Form 3579) should be odd d to High Fidelity, Subscription Dept., 2160 Patterson St., Cincinnati, O., 45214. www.americanradiohistory.com 11111011 III MOM 0180E1 A studio control room where the programmes are passed through a QUAD control unit for special bal - arcing. Cover Photo: by Roy Lindstrom Roland Gelatt BRITISH Editor in Chief Joan Griffiths Executive Editor BROADCASTING Norman Eisenberg Quality Check Room. Programmes Audio Editor originating from abroad are here In Britain and many leading passed through a QUAD control unit Sue Severn and power amplifier where they are European countries several thou- Managing Editor filtered and balanced for optimum sands of QUAD products help to quality prier to transmission. provide the best in broadcasting Shirley Fleming and recording. This same equip- Assistant Editor ment is used in many more H. C. Robbins Landon thousands of homes where people European Editor listen to music. Roy Lindstrom Art Director Ask for full details of the QUAD range. Nathan Broder John M. Conly R. D. Darrell Alfred Frankenstein Robert C. Marsh Contributing Editors Off the air monitoring. QUAD tuners provide a cDntinuous check on trans- Claire N. Eddings mission. Director of Advertising Sales Walter F. Grueninger Circulation Director Warren B. Syer Publisher ,f or the closest a pproach to the oriLtiraal sound A D V E R T I S I N G Main Office The Quality Monitor room. A final Claire N. Eddings, The Publishing House Great Barrington, Mass. 01230 check on th= overall quality of British Telephone: 1300 Broadcasting. Photographs by kind co- operation of the British Broadcasting Corporation New York 165 West 46th St.. New York 10036 Telephone: Plaza 7 -2800 S. Resnick, A. Sobel, A. Spanberger . and in Chicago own THE ACOUSTICAL your Taylor /Friedman home, too, 333 N. Michigan Ave., Suite 314, Chicago 60601 the closest MANUFACTURING Telephone: 332 -7683 approach Jerry Taylor, Ed Larson to the original CO. LTD. Los Angeles sound. 434 So. San Vicente Blvd. Huntingdon, England. Los Angeles 90048 Telephone: Olympia 2 -2100 Robert J. Friedman, Mrs. Pat Kempler CIRCLE 3 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE www.americanradiohistory.com Go ahead and read the fine print! This is ONE RECORD CLUB WITHOUT RESTRICTIONS: Choose any LP, any label-no pre-selections! Buy 1 record or 100 -no yearly quotas! .loin once for a lifetime-no annual fees! Save at least 38% -and much more on special sales! This is the way you want it ... a record club without restrictions. With the Record Club of FREE America you can order any LP available in the TYPICAL SPECIAL SALE l entire Schwann Catalog (over thirty thousand SCHWANN CATALOG selections) and save on every one! Nobody limits LIST PRICE OUR PRICE you to one label or two. Nobody sends you a card OVER 30,000 selections that means you get an unwanted record if you for- 3.98 Capitol get to return it. Nobody says you have to buy 4, 6, Bestsellers $1.57 from more than 300 manufacturers! or 8 times a year. And nobody asks you to pay an CAPITOL COLUMBIA ANGEL annual membership fee. With Record Club of 5.98 Urania, Vox, RCA VICTOR DECCA MERCURY America you join once -and belong for a lifetime. Kapp,Westminster Classical Albums $1.77 WESTMINSTER DEUTSCHE GRAMMOPHON Here's HOW Record Club of America Works: Fill out your Lifetime Membership application. 4.98 Verve, VOX VERVE LONDON Send it, with your check or money order for $5 to Folkways Albums $2.49 ROULETTE ABC PARAMOUNT Record Club of America. By return mail you'll ELECTROLA AND HUNDREDS MORE receive your membership card guaranteeing you our regular discount of 38jí; off on every record ommome =t==== you buy. That means you buy at dealer costs: all H $3.98 LP's at $2.47, $4.98 LP's at $3.09 and $5.98 Record Club of America LP's at just $3.71 and our publication, Disc., which regularly supplements Schwann's listings 1285 Princess Street York, Pennsylvania 17405 and keeps you informed of the Club's extra - CLASSICAL saving specials like those featured at right. OPERA Disc. will also present timely critical reviews Gentlemen: by many of the nation's leading authorities. For your we always enclose an convenience Enclosed please find my check or money order blank. Your order is processed the day order for 55.00 which Will guarantee me Lifetime we get it. Records come to you factory new. Membership in Record Club of America. 1 If not completely satisfactory they can be re- understand that I am under no obligation to turned, immediate replacement guaranteed. purchase at any time, and that any purchases Over one hundred thousand individual members I do make will be at CLUB SAVINGS. I am and many of the nation's leading schools and free to choose any album as listed in the Schwann libraries are today enjoying tremendous savings FOLK JAZZ Record Catalog or Record Club of America's made possible through Record Club of America. regular publication, Disc. Why not join them ... and join us, today? GIFT MEMBERSHIP SPECIAL! El Add Gift Memberships to my 1 a check for Your membership entitles you to buy or offer request. enclose $2.50 each gift member, and have listed on gift memberships to friends, relatives and neigh- at attached sheet their names and addresses. bors for only $2.50 with full privileges. You can split the total between you -the original mem- bership and one gift membership divided equally COUNTRY & ifiUSICAL brings your cost down to $3.75; one original Signed membership and four gift memberships brings WESTERN your cost down to $3 each. Get a gang together Address -everybody saves! COITÌDY City, State Join the more than 100 000 happy members of Zip Code RECORD CLUB OF AMERICA CIRCLE 64 ON READER- SERVICE CARD OCTOBER 1964 www.americanradiohistory.com Take semiconductors as used by the world's only high fidelity manufacturer with 10 years of experience in solid state design.
Recommended publications
  • KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas
    KING FM SEATTLE OPERA CHANNEL Featured Full-Length Operas GEORGES BIZET EMI 63633 Carmen Maria Stuarda Paris Opera National Theatre Orchestra; René Bologna Community Theater Orchestra and Duclos Chorus; Jean Pesneaud Childrens Chorus Chorus Georges Prêtre, conductor Richard Bonynge, conductor Maria Callas as Carmen (soprano) Joan Sutherland as Maria Stuarda (soprano) Nicolai Gedda as Don José (tenor) Luciano Pavarotti as Roberto the Earl of Andréa Guiot as Micaëla (soprano) Leicester (tenor) Robert Massard as Escamillo (baritone) Roger Soyer as Giorgio Tolbot (bass) James Morris as Guglielmo Cecil (baritone) EMI 54368 Margreta Elkins as Anna Kennedy (mezzo- GAETANO DONIZETTI soprano) Huguette Tourangeau as Queen Elizabeth Anna Bolena (soprano) London Symphony Orchestra; John Alldis Choir Julius Rudel, conductor DECCA 425 410 Beverly Sills as Anne Boleyn (soprano) Roberto Devereux Paul Plishka as Henry VIII (bass) Royal Philharmonic Orchestra and Ambrosian Shirley Verrett as Jane Seymour (mezzo- Opera Chorus soprano) Charles Mackerras, conductor Robert Lloyd as Lord Rochefort (bass) Beverly Sills as Queen Elizabeth (soprano) Stuart Burrows as Lord Percy (tenor) Robert Ilosfalvy as roberto Devereux, the Earl of Patricia Kern as Smeaton (contralto) Essex (tenor) Robert Tear as Harvey (tenor) Peter Glossop as the Duke of Nottingham BRILLIANT 93924 (baritone) Beverly Wolff as Sara, the Duchess of Lucia di Lammermoor Nottingham (mezzo-soprano) RIAS Symphony Orchestra and Chorus of La Scala Theater Milan DEUTSCHE GRAMMOPHON 465 964 Herbert von
    [Show full text]
  • Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
    (De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification.
    [Show full text]
  • Eastman Notes July 2006
    Attention has been paid! Playing inside Eastman Opera Theatre & outside takes aim at Assassins New books by two faculty members Eastman 90 Nine decades of Eastman milestones Winter 2012 FOr ALUMni, PArentS, AnD FrienDS OF tHe eAStMAn SCHOOL OF MUSiC FROM THE DEAN A splendid urgency Every now and then I have the good fortune of hearing a concert that is so riveting, I am reminded why I got into music in the first place. The Eastman Philharmonia’s recent performance of Stravinsky’s Rite of Spring, under the guest baton of Brad Lubman, was just such an occasion. Prepared and conducted su- perbly by Brad, and exuberantly performed by students clearly amped up by the music and the occasion, the raw beauty of one of Stravinsky’s greatest works came to stunning life. The power of this experience had nothing to do with outcomes, technologi- cal expertise, assessment, metrics of excellence, or gainful employment upon graduation. This was pure energy funneled into an art form. It was exotically NOTES irrational. It was about the rigorous pursuit of beauty, Volume 30, number 1 pure and simple. Winter 2012 As the national “music movement” grapples with the perception that it has lost precious ground in the fight Editor to keep music in our schools, I was reminded of our na- David raymond tional obsession with practical outcomes, and the chal- Contributing writers lenge of making a case for subjective artistic value in the John Beck Steven Daigle face of such an objectivity-based national agenda. Matthew evans Although we tend to focus on the virtues of music it- Douglas Lowry self, what we are really talking about is the act of learning robert Morris music.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Gran Teatre Del Liceu
    GRAN TEATRE DEL LICEU Temporada 1986/87 e CONSORCI DEL GRAN TEATRE DEL LICEU Generalitat de Catalunya Ajuntament de Barcelona Ministerio de Cultura Diputació de Barcelona i Societat del Gran Teatre del Liceu LA BOHÈME Òpera en 3 actes Llibret de Giuseppe Giacosa i Luigi Illica CASA Música de Giacomo Puccini SMllA Buenas ideas en artículos para el hogar, la mujer y el recién nacido. Funció de Gala Dissabte, 7 de febrer, a les 21 h., funció núm. 34, torn e Dimarts, 10 de febrer, a les 21 h., funció núm. 35, tom A EN BARCELONA DELEGACiÓN EN ZARAGOZA Dijous, 12 de febrer, a les 21 h., funció núm. 36, torn B GRAN VIA CORTS CATALANES, 640 Diumenge, 15 de febrer, a les 17 h., funció núm. 37 torn T TELÉFONO 318 24 98 d05pe 08007 BARCELONA ZURITA, 8 TEL. (976) 23 74 54 LA BOHÈME Producció: Teatro alIa Scala Decoracions: Franco Zeffirelli Vestuari: Marcel Escoffier Rodo/fo Luis Lima Schaunard Vicenç Esteve Benoit Dídac Monjo Mimi Cecilia Gasdia Parpignol Antonio Bernal Marcello Enric Serra Colline Alfredo Zanazzo Alcindoro Dídac Monjo Musetta María Angeles Peters Sergent duaner Rafael Campos Director d'Orquestra José Collado Direcció d'Escena Franco Zeffirelli, realitzada per Antonello Madau-Díaz Directors del Cor Romano Gandolfi Vittorio Sicuri Mestre ajudant del Cor Miquel Ortega Violins concertinos Jaume Francesch Josep M. Alpiste Cor de Nois de l'Escola Pia Balmes Solista: Llorenç Maristany Director: Antoni Coll i Cruells ORQUESTRA SIMFÒNICA I COR DEL GRAN TEATRE DEL LICEU Contingut argumental Lloc de l'acció: París. Època: al voltant de l'any 1830.
    [Show full text]
  • Symposium Zwischen Zeiten Und Welten. Leben Und Werk Von Béla
    Symposium in memoriam Lory Wallfisch Zwischen Zeiten und Welten. Leben und Werk von Béla Bartók und George Enescu. Delmenhorst, 18.-20. November 2011 Organisation: Prof. Violeta Dinescu und Roberto Reale Carl von Ossietzky Universität Oldenburg 1 6. Zwischen Zeiten Symposium in memoriam Lory Wallfisch (1922-2011) Carl von Ossietzky Universität Oldenburg in Kooperation mit dem Hanse-Wissenschaftskolleg Delmenhorst/HWK Delmenhorst Zwischen Zeiten & Welten Leben und Werk von Béla Bartók und George Enescu 18.-20. November 2011 In diesem Jahr ist der 130. Geburtstag von zwei der schillerndsten musikalischen Persönlichkeiten des 20. Jahrhunderts zu feiern: Béla Bartók und George Enescu. Deswegen widmet sich das 6. Zwischen Zeiten-Symposium an der Universität Oldenburg diesen beiden Komponisten. Bartók und Enescu verbindet viel: Beide sind im osteuropäischen Raum geboren, beide haben ihre Heimat verlassen und dies als existentielles dramatisches Erlebnis empfunden, beide waren nicht nur Komponisten, sondern hervorragende praktizierende Musiker (Bartók als Pianist, Enescu als Violinist, Pianist und Dirigent), und schließlich haben beide in ihrem Werk das Eigene ihrer Herkunft bewahren können und Fremdes assimiliert. Bartók war ein angesehener Musikethnologe, dessen Recherchen bis heute Gültigkeit haben. Seine Transkriptionen und Analysen der traditionellen Musik Osteuropas sind Meilensteine der Forschung und haben zugleich seine eigene Musik inspiriert. Dass (und wie) diese Quellen seine Musik beeinflusst haben, bleibt in seiner Vielfalt noch zu entdecken. George Enescu hingegen hat keine wissenschaftlichen Feldforschungen wie Bartók betrieben, doch hat er, kaum weniger auf die traditionelle Musik seiner Heimat Bezug nehmend, eine Tradition begründet, die sich gänzlich von der Bartóks unterscheidet. Enescu wie Bartók haben mithin musikalische Sprachen entwickelt, die bei allen Gemeinsamkeiten außerordentlich individualisiert sind.
    [Show full text]
  • Czech Romantic Opera Anna Moffo, the Complete RCA Recital Albums
    act starting from ‘Stride le vampa’ would still be around for the later with tender strength by Bořek Rujan, a through the duet with Manrico. However, ‘Björling performance’ where he does strikingly virile-sounding baritone new to I think her finest singing is in the first not sound a great deal different. Finally, I me—one of the set’s major satisfactions scene of the following act. Captured and cannot resist mentioning the very first is hearing some unfamiliar singers threatened by the Count’s soldiers, her voice we hear on these discs—not proving themselves the equals of better- initial response is quiet and Moscona’s, but rather that of Milton known contemporaries. contemplative, rising to an exciting Cross, the inimitable presenter of Met Having said which, the prime climax as she defies her captors and broadcasts for more than 40 years. musical attractions here come from the warns of divine vengeance. As ever with Immortal Performances usual suspects. Maria Tauberová Nicola Moscona as Ferrando and there are extras. One can take for granted delivers Liduška’s brief lyric from Francesco Valentino as Di Luna were the fine sound restoration and the beautiful Dvořák’s rarely-heard Král a uhlíř both at relatively early stages in their Met booklet. There is also a musical bonus—a (‘King and Collier’) with immaculate careers and Trovatore represented their 1952 Björling broadcast containing ease and beauty of line. It is thrilling to debuts in Live Met broadcasts. Moscona several songs starting with a gorgeous ‘If I have the 15-minute fragment of would go on to give a total of more than could tell you’ and just one operatic Smetana’s last opera Viola (some way 700 performances with the company; aria—‘Nessun dorma’, a performance after Twelfth Night) inspirationally driven Valentino a mere 450! Both offer solid, comparable with his superb 1944 by Karel Ančerl.
    [Show full text]
  • The Best of Gilbert & Sullivan
    The Best of Gilbert & Sullivan Beecham Choral Society and Royal Philharmonic Orchestra conducted by James Walker The Mikado If You Want To Know Who We Are A Wand'ring Minstrel I [Nanki-poo] – Edgar Fleet Behold the Lord High Executioner [Ko-ko] – Donald Adams I've Got a Little List [Ko-ko] – Donald Adams Comes a Train of Little Ladies Three Little Maids from School are we [Peep-bo] – Cynthia Glover [Pitti-sing] – Jean Allister [Yum-yum] – Patricia Clarke The Moon and I [Yum-yum] – Patricia Clarke Mi-ya Sa-ma, Mi-ya Sa-ma [Katisha] – Jean Allister [Mikado] – Anthony Raffell My Object All Sublime [Mikado] – Anthony Raffell For He's Gone and Married Yum-Yum The Pirates of Penzance Pour, Oh Pour the Pirate Sherry [Samuel] – Neil Howlett Oh Better Far to Live And Die [Pirate King] – Kenneth Sandford Climbing Over Rocky Mountain Oh, Is There Not One Maiden Breast [Frederic] – Edgar Fleet [Mabel] – Cynthia Glover Poor Wand'ring One [Mabel] – Cynthia Glover I Am the Very Model of a Modern Major-General [Major-general] – John Cartier When the Foeman Bares His Steel [Mabel] – Cynthia Glover [Samuel] – Neil Howlett [Sergeant] – Donald Adams A Policeman's Lot Is not a Happy One [Sergeant] – Donald Adams With Cat-Like Tread [Samuel] – Neil Howlett H. M. S. Pinafore We Sail the Ocean Blue I'm Called Little Buttercup [Mrs. Cripps (Buttercup)] – Jean Allister The Nightingale [Ralph] – Edgar Fleet A Maiden Fair to See [Ralph] – Edgar Fleet I am the Captain of the Pinafore [Captain Corcoran] – Neil Howlett Over the Bright Blue Sea Sir Joseph's Barge is Seen I Am the Monarch of the Sea [Captain Corcoran] – Neil Howlett [Cousin Hebe] – Jean Allister [Sir Joseph Porter] – Stanley Riley When I Was a Lad [Sir Joseph Porter] – Stanley Riley Things Are Seldom What They Seem [Captain Corcoran] – Neil Howlett [Mrs.
    [Show full text]
  • La Serva Padrona Set by Pergolesi
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
    [Show full text]
  • 60 CENTS the Boston Symphony Orchestra
    H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance.
    [Show full text]
  • Myscena.Org Sm26-3 EN P02 ADS Classica Sm23-5 BI Pxx 2020-11-03 8:23 AM Page 1
    SUBSCRIBE @ mySCENA.org sm26-3_EN_p02_ADS_classica_sm23-5_BI_pXX 2020-11-03 8:23 AM Page 1 From Beethoven to Bowie encore edition December 12 to 20 2020 indoor 15 concerts festivalclassica.com sm26-3_EN_p03_ADS_Ofra_LMMC_sm23-5_BI_pXX 2020-11-03 1:18 AM Page 1 e/th 129 saison/season 2020 /2021 Automne / Fall BLAKE POULIOT 15 nov. 2020 / Nov.ANNULÉ 15, 2020 violon / violin CANCELLED NEW ORFORD STRING QUARTET 6 déc. 2020 / Dec. 6, 2020 avec / with JAMES EHNES violon et alto / violin and viola CHARLES RICHARD HAMELIN Blake Pouliot James Ehnes Charles Richard Hamelin ©Jeff Fasano ©Benjamin Ealovega ©Elizabeth Delage piano COMPLET SOLD OUT LMMC 1980, rue Sherbrooke O. , Bureau 260 , Montréal H3H 1E8 514 932-6796 www.lmmc.ca [email protected] New Orford String Quartet©Sian Richards sm26-3_EN_p04_ADS_udm_OCM_effendi_sm23-5_BI_pXX 2020-11-03 8:28 AM Page 1 SEASON PRESENTER ORCHESTRE CLASSIQUE DE MONTRÉAL IN THE ABSENCE OF A LIVE CONCERT, GET THE LATEST 2019-2020 ALBUMS QUEBEC PREMIER FROM THE EFFENDI COLLECTION CHAMBER OPERA FOR OPTIMAL HOME LISTENING effendirecords.com NOV 20 & 21, 2020, 7:30 PM RAFAEL ZALDIVAR GENTIANE MG TRIO YVES LÉVEILLÉ HANDEL’S CONSECRATIONS WONDERLAND PHARE MESSIAH DEC 8, 2020, 7:30 PM Online broadcast: $15 SIMON LEGAULT AUGUSTE QUARTET SUPER NOVA 4 LIMINAL SPACES EXALTA CALMA 514 487-5190 | ORCHESTRE.CA THE FACULTY IS HERE FOR YOUR GOALS. musique.umontreal.ca sm26-3_EN_p05_ADS_LSM_subs_sm23-5_BI_pXX 2020-11-03 2:32 PM Page 1 ABONNEZ-VOUS! SUBSCRIBE NOW! Included English Translation Supplément de traduction française inclus
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]