Dennis Brain Horn Concertos Mp3, Flac, Wma

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Dennis Brain Horn Concertos mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Horn Concertos Country: UK Released: 1972 Style: Modern MP3 version RAR size: 1710 mb FLAC version RAR size: 1387 mb WMA version RAR size: 1461 mb Rating: 4.8 Votes: 574 Other Formats: VOC MMF MOD FLAC VQF AUD MP1 Tracklist Hide Credits Horn Concerto No. 2 In E Flat Major Composed By – Richard Strauss A1.a 1st Movement: Allegro A1.b 2nd Movemnet: Andante Con Moto A2 3rd Movement: Rondo (Allegro Molto) Horn Concerto Composed By – Paul Hindemith A3 1st Movement: Moderately Fast A4 2nd Movement: Very Fast. B1 3rd Movement: Very Slow. Horn Concerto No. 1 In E Flat Major, Op. 11 Composed By – Richard Strauss B2.a 1st Movement: Allegro B2.b 2nd Movement: Andante B2.c 3rd Movement: Allegro-Rondo (Allegro) Companies, etc. Printed By – Garrod & Lofthouse Credits Conductor – Paul Hindemith (tracks: A3, A4, B1), Wolfgang Sawallisch (tracks: A1, A2, B2) Horn – Dennis Brain Liner Notes – Alan Civil Orchestra – The Philharmonia Orchestra* Notes Track A1, A2 & B2 recorded in September 1956. Track A3 to B1 recorded in November 1956. Barcode and Other Identifiers Rights Society: MCPS Matrix / Runout (A Side Label): HLS.7001A Matrix / Runout (B Side Label): HLS.7001B Matrix / Runout (A Side Runout Groove): HLS 7001 A-1 Matrix / Runout (B Side Runout Groove): HLS 7001 B-1 Other versions Category Artist Title (Format) Label Category Country Year Dennis Brain, Wolfgang Dennis Brain, Sawallisch, Philharmonia Wolfgang Orchestra, Richard Sawallisch, 0777 7 Strauss, Paul Hindemith - EMI 0777 7 Philharmonia Europe 1998 47834 2 2 Richard Strauss & Classics 47834 2 2 Orchestra, Richard Hindemith Horn Strauss, Paul Concertos (CD, Album, Hindemith RE) Dennis Brain, Dennis Brain, Wolfgang Wolfgang Sawallisch, Philharmonia Sawallisch, Orchestra, Richard Angel CDC-7 CDC-7 Philharmonia Strauss, Paul Hindemith - Records, US 1986 47834 2 47834 2 Orchestra, Richard Richard Strauss & EMI Strauss, Paul Hindemith Horn Hindemith Concertos (CD, Album) Richard Strauss, Hindemith*, Dennis Brain Richard Strauss, 7243 5 - Horn Concertos Nos. 1 & EMI 7243 5 Hindemith*, Dennis UK & US 2002 67783 2 0 2 / Horn Concerto / Classics 67783 2 0 Brain Concert Music, Op. 50 (CD) Richard Strauss, Hindemith*, Dennis Brain EMI 7243 5 Richard Strauss, 7243 5 - Horn Concertos Nos. 1 & Classics, UK & 67782 2 1, Hindemith*, Dennis 67782 2 1, 2002 2 / Horn Concerto / EMI Europe 5 67782 2 Brain 5 67782 2 Concert Music, Op. 50 Classics (CD, Album) Related Music albums to Horn Concertos by Dennis Brain Mozart, Alan Civil, Otto Klemperer, Philharmonia Orchestra - Horn Concertos Beethoven - Solomon , The Philharmonia Orchestra, Herbert Menges, André Cluytens - The Five Piano Concertos English Chamber Orchestra - The Mozart Collection Mozart - 4 Horn Concertos Daniel Smith , Vivaldi, English Chamber Orchestra - Bassoon Concertos Volume Two Beethoven : Daniel Barenboim, Otto Klemperer, New Philharmonia Orchestra - The Five Piano Concertos / The Choral Fantasia Beethoven, Pinchas Zukerman And Daniel Barenboim - The Complete Beethoven Violin Sonatas Beethoven - Piano Concerto No. 3 In C Minor Mozart - Dennis Brain And The Philharmonia Orchestra Conducted By Herbert von Karajan - Horn Concertos Nos. 1-4 Mozart - Favourites From The Classics.

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Aubrey Brain (1893-1955)
Aubrey Brain (1893-1955) Aubrey Harold Brain was the son of A.E. Brain, Senior, brother of Alfred Brain, Junior, and father of Dennis Brain – all distinguished horn players. Another brother, Arthur, also played horn, but abandoned music to become a police officer. Aubrey’s first instrument was the violin, but he soon switched to horn. He first studied with his father, then with Adela Sutcliffe and Eugene Mieir, and finally with Friedrich Adolph Borsdorf at the Royal College of Music in 1911. He played in the North London Orchestral Society during his College years and was appointed principal horn of the New Symphony Orchestra in 1911. He went on the London Symphony Orchestra's tour of the US under Arthur Nikish in 1912; his father was unable to go on the tour because of his contract with Covent Garden. After returning from the tour, Aubrey joined his father and brother in a memorial concert for the Titanic. Aubrey became principal horn of Sir Thomas Beecham's opera company orchestra in 1913. It was during a tour with this company that he met Marion Beeley, a contralto for whom Sir Edward Elgar wrote "Hail, Immortal Ind!" in his opera The Crown of India. They were married in 1914. Aubrey’s early career was shadowed by the success of his older brother, Alfred, who dominated the scene until he left for the United States in 1922, and of his teacher, Borsdorf, until Borsdorf was forced to resign because of anti-German feeling at the outbreak of World War I in 1914.
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(ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France.
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FIDELITY 64 HIGH Le specialists, particularly to confirmed Brain make a clear-cut choice between the latter Winds, in E flat, Op. 16". MILHAUD: devotees, for its main attractions are not so and am glad to have both discs. Muti is the Cheminée du roi René.* MOZART: Diver- much the performances themselves, engag- more vibrant and brilliant Rossinian, Ab- timento No. 14, in B flat, K. 270 (arr. ing but indifferently recorded, as the ex- bado the more sensitive and graceful- Baines).* cerpts from a 1955 lecture -recital and a equally legitimate approaches. Abbadós Among the precious legacies left us 1956 interview, even less well recorded yet London Symphony, however, plays with by the great artists of the past, there are quite intelligible. There are also several greater finesse than Muti's Philharmonia, some we treasure with a special affection by by a keenly poignant sense of brief spoken reminiscences and tributes and I suspect that in the long run it is to Ab- intensified abbreviated discog- such colleagues as conductor Norman del badó s elegant performances that I will unfulfillment: the in Mar, flutist Gareth Morris, and critic Felix want to return more often. All three discs raphies of musicians tragically silenced promis- Aprahamian. Like Arabesque's moving are well recorded. Angel's surfaces, it is the very prime of their incalculably earlier memorials to Maggie Teyte (8069) good to note, are excellent. D.S.H. ing careers. One thinks first perhaps of conductor Guido Cantelli, contralto Kath- and Kathleen Ferrier (8070), this one is ab- leen Ferrier, pianist William Kapell, violin- solutely essential for every aficionado's Recitals ist Ginette Neveu, tenor Fritz Wunderlich, most treasured memorabilia.
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UNIVERSITY OF CINCINNATI Date: 18-Jan-2010 I, Sherry Holbrook Baker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Horn It is entitled: In Memoriam: Nine Elegiac Works for Horn, 1943–2004 Student Signature: Sherry Holbrook Baker This work and its defense approved by: Committee Chair: bruce mcclung, PhD bruce mcclung, PhD Randy Gardner, BM Randy Gardner, BM Alan Siebert, MM Alan Siebert, MM 3/4/2010 383 In Memoriam: Nine Elegiac Works for Horn, 1943–2004 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Performance Studies of the College-Conservatory of Music by Sherry Holbrook Baker M.M., Michigan State University, 1999 B.M., University of Kentucky, 1997 Committee Chair: bruce d. mcclung, Ph.D ABSTRACT In Memoriam: Nine Elegiac Works for Horn, 1943–2004 September 2007 marked the fiftieth anniversary of the death of one of the twentieth century’s greatest hornists, Dennis Brain. It also marked the sixth anniversary of the September 2001 terrorist attacks on the United States. The horrific events of 11 September stunned the nation; the death of Brain at the age of thirty-six in a car accident affected his family, music lovers, and musicians. Composers have memorialized both tragedies in elegies for horn. In fact, a wide variety of elegiac works composed during the latter half of the twentieth century feature horn. This study investigates eight such memorial works for horn: Jeffrey Agrell’s September Elegy (2001), dedicated to the victims of the 11 September 2001 terrorist attacks; Hermann Baumann’s Elegia for Natural Horn (1984), dedicated to Francesco Raselli; Adrian Cruft’s Elegy for Horn and Strings (1967), dedicated to Dennis Brain; James Funkhouser’s In Memoriam (2004), dedicated to Elaine Crawford; Douglas Hill’s Elegy for Horn Alone (1998), dedicated to C.
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DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.
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