Arturo Toscanini and Don Gillis in Rehearsal, Don Gillis Collection, University of North Texas
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ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
An Interview with Robert Shaw: Reflections at Eighty
An Interview with Robert Shaw: Reflections at Eighty by Jeffrey Baxter RobertShaw .Robert Shaw's distinguished career began in New York City In 1979, Shaw was appointed by President Jimmy Carter to in 1938, where he prepared choruses for such renowned con the National Council on the Arts and he was a 1991 recipient of ductors as Fred Waring, Arturo Toscanini, and Bruno Walter. the Kennedy Center Honors, the nation's highest award given to In 1949 he formed the Robert Shaw Chorale, which for two artists. Musical America, the international directory of the per decades reigned as America's premier touring choir. Under the forming arts, named him Musician of the Year for 1992, and auspices ofthe U.S. State Department, the Chorale performed during the same year he was awarded the National Medal ofthe in thirty countries throughout Europe, the Soviet Union, the Arts in a White House ceremony. He was the 1993 recipient of Middle East, and Latin America. During this period Shaw also the Conductors' Guild TheodoreThomas Award, in recognition served as Music Director ofthe San Diego Symphony and then ofhis outstanding achievement in conducting and his contribu as Associate Conductor of the Cleveland Orchestra, working tions to the education and training ofyoung conductors. closely with George Szell for eleven years. He served as Music A regular guest conductor ofmajor orchestras in this country Director of the Atlanta Symphony Orchestra from 1967 to and abroad, Shaw also is in demand as a teacher and lecturer at 1988, during which time the orchestra garnered widespread leading U.S. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation, would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room. -
NBC MONITOR Begins 1955
11 1 8 .« Discussing "Monitor" opening at NBC's new Radio Central are, left to right Sylvester L. Weaver, Jr., NBC Presi- dent; James Fleming, Executive Producer and Editor of "Monitor," Robert W. Sarnoff, NBC Executive Vice-President; Dave Garroway, "Monitor" Communicator, and Mike Zeamer, program's Entertainment Producer. "Monitor" Takes to the Air A he National Broadcasting Company has — A pickup of Jerry Lewis at Brown's Hotel in the opened a new era in network radio with the revolution- Catskills and a preview of a segment of his latest film. ary service, "Monitor." Using the immediacy and mo- — A discussion of "The Spiritual Climate of Amer- bility of radio, "Monitor" is designed to bring listeners ica," with Dr. William Saltonstall, principal of Phillips- whatever is most interesting, important or entertaining, Exeter Academy, interviewing Dr. Nathan Pusey, Presi- wherever it may be happening. dent of Harvard. The new weekend radio service was introduced — A dress rehearsal of Victor Jory's "The Fairly June 12 with an ear-and-eye-opening one-hour similcast Fortune" at Bucks County Playhouse, with a com- — a program presented on both radio and television — mentary by producer Michael Ellis. from NBC Radio Central, the network's new §150,000 The Opening Team world listening post in New York. Continuing on the NBC radio network for eight hours in its opening The initial simulcast was presided over by Sylvester broadcast, "Monitor" indicated its scope with a virtual L. Weaver, Jr., President of NBC, and featured James kaleidoscope of information and entertainment. Among Fleming, executive producer and editor of "Monitor." its features were: Also on hand were "communicators" Dave Garroway, — A tense interview with a prisoner inside the walls Clifton Fadiman, Walter Kiernan, Morgan Beatty, Frank of the Federal Penitentiary at San Quentin. -
Bruno Walter (Ca
[To view this image, refer to the print version of this title.] Erik Ryding and Rebecca Pechefsky Yale University Press New Haven and London Frontispiece: Bruno Walter (ca. ). Courtesy of Österreichisches Theatermuseum. Copyright © by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections and of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Sonia L. Shannon Set in Bulmer type by The Composing Room of Michigan, Grand Rapids, Mich. Printed in the United States of America by R. R. Donnelley,Harrisonburg, Va. Library of Congress Cataloging-in-Publication Data Ryding, Erik S., – Bruno Walter : a world elsewhere / by Erik Ryding and Rebecca Pechefsky. p. cm. Includes bibliographical references, filmography,and indexes. ISBN --- (cloth : alk. paper) . Walter, Bruno, ‒. Conductors (Music)— Biography. I. Pechefsky,Rebecca. II. Title. ML.W R .Ј—dc [B] - A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. For Emily, Mary, and William In memoriam Rachel Kemper and Howard Pechefsky Contents Illustrations follow pages and Preface xi Acknowledgments xv Bruno Schlesinger Berlin, Cologne, Hamburg,– Kapellmeister Walter Breslau, Pressburg, Riga, Berlin,‒ -
Of the Reader If Possible.” Check out His Blog – It's Great! “
of the reader if possible.” Check out his Blog Britten, Tippett, Walton as they were writing – it’s great! their masterieces and being able to discuss “A lot of modern critics employ double them with the composers. I’ve met many of standards. If it’s a new piece they go for it, in the most famous musicians: Messiaen, Nono, the old days they’d have gone at it!” Stockhausen, Strauss.” Ever lighthearted John then told me a Meeting Richard Strauss face to face is criticism joke about Sarasate. “Sarasate last described as “one of the most climactic mom - Tuesday left all criticism behind him, as he did ents in my life”. “It was during the Beecham/ the orchestra.” Strauss Festival in Drury Lane. I was working Sir Thomas Beecham was also reported to for Beecham then and went to see him arriv - be quite a wit and a bit of a joker: wasn’t it ing at the same time as Strauss. The door was Dame Kiri te Kanawa Beecham, who, when asked if he had ever locked and Strauss turned and looked me conducted any Stockhausen, said, “No, but I straight in the eye and shouted loudly, “diese once trod in some.”? verdammen Tür”. I was too shocked to say efugees are grateful people and Georg Solti “Beecham only ever told me one joke in all anything. Fortunately someone came and Rnever forgot how many people helped him the years I worked for him, he needed to have opened it.” to get work with letters of recommend ation, an audience or an orchestra in front of him to “Stockhausen was an hour late for a TV including Arturo Toscanini with whom he had become entertaining. -
Battle of the Brains: Election-Night Forecasting at the Dawn of the Computer Age
ABSTRACT Title of Dissertation: BATTLE OF THE BRAINS: ELECTION-NIGHT FORECASTING AT THE DAWN OF THE COMPUTER AGE Ira Chinoy, Doctor of Philosophy, 2010 Dissertation directed by: Professor Emeritus Maurine Beasley Philip Merrill College of Journalism This dissertation examines journalists’ early encounters with computers as tools for news reporting, focusing on election-night forecasting in 1952. Although election night 1952 is frequently mentioned in histories of computing and journalism as a quirky but seminal episode, it has received little scholarly attention. This dissertation asks how and why election night and the nascent field of television news became points of entry for computers in news reporting. The dissertation argues that although computers were employed as pathbreaking “electronic brains” on election night 1952, they were used in ways consistent with a long tradition of election-night reporting. As central events in American culture, election nights had long served to showcase both news reporting and new technology, whether with 19th-century devices for displaying returns to waiting crowds or with 20th-century experiments in delivering news by radio. In 1952, key players – television news broadcasters, computer manufacturers, and critics – showed varied reactions to employing computers for election coverage. But this computer use in 1952 did not represent wholesale change. While live use of the new technology was a risk taken by broadcasters and computer makers in a quest for attention, the underlying methodology of forecasting from early returns did not represent a sharp break with pre-computer approaches. And while computers were touted in advance as key features of election-night broadcasts, the “electronic brains” did not replace “human brains” as primary sources of analysis on election night in 1952. -
95649 Digibooklet Lucerne Festival Vol
HISTORIC PERFORMANCES Karl Böhm Hindemith Concerto for Woodwinds, Harp and Orchestra Bruckner Symphony No. 7 Vienna Philharmonic Paul Hindemith (1895–1963) Concerto for Woodwinds, Harp and Orchestra I. Moderately Fast 8:01 II. Grazioso 2:57 III. Rondo. Rather Fast 4:34 Anton Bruckner (1824–1896) Symphony No. 7 in E major, WAB 107 I. Allegro moderato 19:40 II. Adagio. Sehr feierlich und sehr langsam 22:09 III. Scherzo. Sehr schnell – Trio. Etwas langsamer 9:35 IV. Finale. Bewegt, doch nicht schnell 11:12 Werner Tripp flute Gerhard Turetschek oboe Alfred Prinz clarinet Ernst Pamperl bassoon Hubert Jelinek harp Vienna Philharmonic Karl Böhm recorded live at Lucerne Festival (Internationale Musikfestwochen Luzern) Previously unreleased Naturalness and sense of form Karl Böhm in Lucerne “When I conducted Tristan and Isolde in Munich in January 1981, by chance almost all the conductors of note were in town: Carlos Kleiber, Herbert von Karajan and Karl Böhm,” Leonard Bernstein wrote in his preface to Franz Endler’s Böhm monograph. Forty years later, the compilation of these names makes us sit up, since it signals the tectonic shift that has taken place in musical interpretation in the meantime. Whereas the enigmatic podium refusenik Carlos Kleiber has risen by virtue of his charisma to the narrow ranks of the century’s greatest conductors alongside Arturo Toscanini and Wilhelm Furtwängler, the spell of the former “miracle” Karajan seems to have been broken comprehensively, and Karl Böhm appears to be almost forgotten. Yet Böhm, who died in Salzburg on 14 August 1981 at the age of 86, was undoubtedly one of the great conductors of international standing during the three decades between 1950 and 1980. -
The Pin-Up Boy of the Symphony: St. Louis and the Rise of Leonard
The Pin-Up Boy of the Symphony St. Louis and the Rise of Leonard Bernstein BY KENNETH H. WINN 34 | The Confluence | Fall/Winter 2018/2019 In May 1944 25-year-old publicized story from a New Leonard Bernstein, riding a York high school newspaper, had tidal wave of national publicity, bobbysoxers sighing over him as was invited to serve as a guest the “pin-up boy of the symphony.” conductor of the St. Louis They, however, advised him to get The Pin-Up Boy 3 Symphony Orchestra for its a crew cut. 1944–1945 season. The orchestra For some of Bernstein’s of the Symphony and Bernstein later revealed that elders, it was too much, too they had also struck a deal with fast. Many music critics were St. Louis and the RCA’s Victor Records to make his skeptical, put off by the torrent first classical record, a symphony of praise. “Glamourpuss,” they Rise of Leonard Bernstein of his own composition, entitled called him, the “Wunderkind Jeremiah. Little more than a year of the Western World.”4 They BY KENNETH H. WINN earlier, the New York Philharmonic suspected Bernstein’s performance music director Artur Rodziński Jeremiah was the first of Leonard Bernstein’s was simply a flash-in-the-pan. had hired Bernstein on his 24th symphonies recorded by the St. Louis Symphony The young conductor was riding birthday as an assistant conductor, Orchestra in the spring of 1944. (Image: Washing- a wave of luck rather than a wave a position of honor, but one known ton University Libraries, Gaylord Music Library) of talent. -
The History of NBC New York Television Studios, 1935-1956"
`1 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 (Revised) 5 Rare Interior Photos of The International Theater added on page 64 By Bobby Ellerbee And Eyes Of A Generation.com Preface and Acknowledgement This is the first known chronological listing that details the conversions of NBC’s Radio City studios at 30 Rockefeller Plaza in New York City. Also included in this exclusive presentation by and for Eyes Of A Generation, are the outside performance theaters and their conversion dates to NBC Television theaters. This compilation gives us the clearest and most concise guide yet to the production and technical operations of television’s early days and the network that pioneered so much of the new medium. As you will see, many shows were done as “remotes” in NBC radio studios with in-house mobile camera units, and predate the official conversion date which signifies the studio now has its own control room and stage lighting. Eyes Of A Generation would like to offer a huge thanks to the many past and present NBC people that helped, but most especially to Frank Merklein (NBC 1947-1961) Joel Spector (NBC 1965-2001), Dennis Degan (NBC 2003 to present), historian David Schwartz (GSN) and Gady Reinhold (CBS 1966 to present), for their first hand knowledge, photos and help. This presentation is presented as a public service by the world’s ultimate destination for television history…The Eyes Of A Generation. –Bobby Ellerbee http://www.eyesofageneration.com/ https://www.facebook.com/pages/Eyes-Of-A-Generationcom/189359747768249 `2 | P a g e "The History of NBC New York Television Studios, 1935-1956" Volume 1 of 2 Contents Please Note: Converted should be understood as the debut date of the facility as an exclusive TV studio, now equipped with its own control room. -
ROBERT SHAW, Conductor
ROBERT SHAW, Conductor Music Director Emeritus and Conductor Laureate of the Atlanta Symphony Orchestra, Robert Shaw began his tenure as Music Director of the ASO 30 years ago in 1967 and served in that capacity until 1988. During that time, he built it into a major American orchestra, gamering widespread acclaim through national and international tours and award-winning recordings. A regular guest conductor of major orchestras in this coun try and abroad, Mr. Shaw is also in demand as a teacher and lec turer in leading U.S. universities. He founded the Robert Shaw Institute to foster excellence in music making, especially in the choral arts. The Institute’s summer festivals in southwest France have attracted admiring attention from the international press and produced a number of recordings from the Robert Shaw Festival Singers. Beginning this summer, the Institute is sponsored by the University of Utah and is in residence in Park City, Utah. In Atlanta, he per forms and records with the Robert Shaw Chamber Singers. Mr. Shaw’s distinguished career began in New York, where he prepared choruses for such renowned conductors as Arturo Toscanini and Bruno Walter. In 1949 he formed the Robert Shaw Chorale, which for two decades reigned as America’s premier touring choral group and was sent by the U.S. State Department to 30 countries in Europe, the Soviet Union, the Middle East, and Latin America. During this period, Mr. Shaw also served as Music Director of the San Diego Symphony and then as Associate Conductor of the Cleve land Orchestra, working closely with George Szell for 11 years. -
GEORGE SZELL the FORGOTTEN RECORDINGS
GEORGE SZELL and the CLEVELAND ORCHESTRA THE FORGOTTEN RECORDINGS ARIADNE 5011-2 JS Bach (1685-1750) · Brahms (1833-97) · Mozart (1756-91) Schumann (1810-56) · Smetana (1824-84) R Strauss (1864-1949) · Stravinsky (1882-1971) The Cleveland Orchestra, George Szellconductor GEORGE CD 1 1- 5 JS Bach Orchestral Suite No.3 in D major, BWV 1068a 19:33 SZELL 6 Smetana The Moldau (Vltava) from Má vlasta 11:37 7 R Strauss Till Eulenspiegel’s Merry Pranksa 13:49 and the 8- bm Mozart Symphony No.39 in E flat, K543b 24:42 Total duration: 69:44 CLEVELAND Recorded in the Masonic Auditorium, Cleveland, Ohio on: aDecember 24, 1954 (mono); bOctober 19-21, 1955 (stereo) ORCHESTRA CD 2 1 Brahms Academic Festival Overture, Op.80 10:25 2- bm Brahms Variations on a Theme by Haydn, Op.56a* 17:31 bn- bq Schumann Symphony No.4 in D minor, Op.120 25:37 br- cn Stravinsky The Firebird Suite (1919 Version) 19:36 The Total duration: 73:13 From stereo recordings in the Masonic Auditorium, Cleveland, Ohio, October 19-21, 1955 FORGOTTEN All FIRST RELEASES on CD except * Producing and Audio Restoration: Lani Spahr RECORDINGS Ariadne Front cover: George Szell Design: Andrew Giles Booklet Editor: Michael Quinn Includes Seven First Releases AAD Visit www.somm-recordings.com for further information Ariadne © & 2021 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND · Made in EU The Cleveland Orchestra, George Szellconductor 4 Variation II: Più vivace 0:59 THE FORGOTTEN RECORDINGS 5 Variation III: Con moto 1:44 6 Variation IV: Andante con moto 2:04 7 JS Bach: Orchestral Suite