Jury Convenes on Kopeehne Probe
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PENSION FUND BENEFIT CONCERT TUESDAY EVENING 5 AUGUST 1980 at 8:30 Flute Concerto, And, Most Recently, a Violin Concerto
PENSION FUND BENEFIT CONCERT TUESDAY EVENING 5 AUGUST 1980 at 8:30 flute concerto, and, most recently, a violin concerto. Mr. Williams has composed the music and served as music director for approximately sixty films, including lane Eyre, Goodbye, Mr. Chips, The Poseidon Adventure, The Towering Inferno, Earthquake, Jaws, Star Wars, Close Encounters of the Third Kind, Superman, and Dracula. He has recently completed his latest score for the sequel to Star Wars, The Empire Strikes Back, and recorded it with the London Sym- phony Orchestra. For his work in films, Mr. Williams ha& received fourteen Academy Award nominations, and he has been awarded three Oscars: for his filmscore arrangement of Fiddler on the John Williams Roof, and for his original scores to Jaws John Williams was named the nine- and Star Wars.This year, he has won his teenth Conductor of the Boston Pops seventh and eighth Grammys: the on 10 January 1980. Mr. Williams was soundtrack of his score for Superman born in New York in 1932 and moved was chosen as best album of an original to Los Angeles with his family in 1948. movie or television score, and the He studied piano and composition at Superman theme was cited as the year's the University of California in Los best instrumental composition. In addi- Angeles and privately with Mario tion, the soundtrack album to Star Castelnuovo-Tedesco; he was also a Wars has sold over four million copies, piano student of Madame Rosina more than any non-pop album in Lhevinne at the Juilliard School in recording history. -
Lister); an American Folk Rhapsody Deutschmeister Kapelle/JULIUS HERRMANN; Band of the Welsh Guards/Cap
Guild GmbH Guild -Light Catalogue Bärenholzstrasse 8, 8537 Nussbaumen, Switzerland Tel: +41 52 742 85 00 - e-mail: [email protected] CD-No. Title Track/Composer Artists GLCD 5101 An Introduction Gateway To The West (Farnon); Going For A Ride (Torch); With A Song In My Heart QUEEN'S HALL LIGHT ORCHESTRA/ROBERT FARNON; SIDNEY TORCH AND (Rodgers, Hart); Heykens' Serenade (Heykens, arr. Goodwin); Martinique (Warren); HIS ORCHESTRA; ANDRE KOSTELANETZ & HIS ORCHESTRA; RON GOODWIN Skyscraper Fantasy (Phillips); Dance Of The Spanish Onion (Rose); Out Of This & HIS ORCHESTRA; RAY MARTIN & HIS ORCHESTRA; CHARLES WILLIAMS & World - theme from the film (Arlen, Mercer); Paris To Piccadilly (Busby, Hurran); HIS CONCERT ORCHESTRA; DAVID ROSE & HIS ORCHESTRA; MANTOVANI & Festive Days (Ancliffe); Ha'penny Breeze - theme from the film (Green); Tropical HIS ORCHESTRA; L'ORCHESTRE DEVEREAUX/GEORGES DEVEREAUX; (Gould); Puffin' Billy (White); First Rhapsody (Melachrino); Fantasie Impromptu in C LONDON PROMENADE ORCHESTRA/ WALTER COLLINS; PHILIP GREEN & HIS Sharp Minor (Chopin, arr. Farnon); London Bridge March (Coates); Mock Turtles ORCHESTRA; MORTON GOULD & HIS ORCHESTRA; DANISH STATE RADIO (Morley); To A Wild Rose (MacDowell, arr. Peter Yorke); Plink, Plank, Plunk! ORCHESTRA/HUBERT CLIFFORD; MELACHRINO ORCHESTRA/GEORGE (Anderson); Jamaican Rhumba (Benjamin, arr. Percy Faith); Vision in Velvet MELACHRINO; KINGSWAY SO/CAMARATA; NEW LIGHT SYMPHONY (Duncan); Grand Canyon (van der Linden); Dancing Princess (Hart, Layman, arr. ORCHESTRA/JOSEPH LEWIS; QUEEN'S HALL LIGHT ORCHESTRA/ROBERT Young); Dainty Lady (Peter); Bandstand ('Frescoes' Suite) (Haydn Wood) FARNON; PETER YORKE & HIS CONCERT ORCHESTRA; LEROY ANDERSON & HIS 'POPS' CONCERT ORCHESTRA; PERCY FAITH & HIS ORCHESTRA; NEW CONCERT ORCHESTRA/JACK LEON; DOLF VAN DER LINDEN & HIS METROPOLE ORCHESTRA; FRANK CHACKSFIELD & HIS ORCHESTRA; REGINALD KING & HIS LIGHT ORCHESTRA; NEW CONCERT ORCHESTRA/SERGE KRISH GLCD 5102 1940's Music In The Air (Lloyd, arr. -
The Inventory of the Phyllis Curtin Collection #1247
The Inventory of the Phyllis Curtin Collection #1247 Howard Gotlieb Archival Research Center Phyllis Curtin - Box 1 Folder# Title: Photographs Folder# F3 Clothes by Worth of Paris (1900) Brooklyn Academy F3 F4 P.C. recording F4 F7 P. C. concert version Rosenkavalier Philadelphia F7 FS P.C. with Russell Stanger· FS F9 P.C. with Robert Shaw F9 FIO P.C. with Ned Rorem Fl0 F11 P.C. with Gerald Moore Fl I F12 P.C. with Andre Kostelanetz (Promenade Concerts) F12 F13 P.C. with Carlylse Floyd F13 F14 P.C. with Family (photo of Cooke photographing Phyllis) FI4 FIS P.C. with Ryan Edwards (Pianist) FIS F16 P.C. with Aaron Copland (televised from P.C. 's home - Dickinson Songs) F16 F17 P.C. with Leonard Bernstein Fl 7 F18 Concert rehearsals Fl8 FIS - Gunther Schuller Fl 8 FIS -Leontyne Price in Vienna FIS F18 -others F18 F19 P.C. with hairdresser Nina Lawson (good backstage photo) FI9 F20 P.C. with Darius Milhaud F20 F21 P.C. with Composers & Conductors F21 F21 -Eugene Ormandy F21 F21 -Benjamin Britten - Premiere War Requiem F2I F22 P.C. at White House (Fords) F22 F23 P.C. teaching (Yale) F23 F25 P.C. in Tel Aviv and U.N. F25 F26 P. C. teaching (Tanglewood) F26 F27 P. C. in Sydney, Australia - Construction of Opera House F27 F2S P.C. in Ipswich in Rehearsal (Castle Hill?) F2S F28 -P.C. in Hamburg (large photo) F2S F30 P.C. in Hamburg (Strauss I00th anniversary) F30 F31 P. C. in Munich - German TV F31 F32 P.C. -
Benny Goodman's Band As Opening C Fit Are Russell Smith, Joe Keyes, Miller Band Opened a Week Ago Bassist
orsey Launches Brain Trust! Four Bands, On the Cover Abe Most, the very fine fe« Three Chirps Brown clarinet man. just couldn't mm up ’he cornfield which uf- 608 S, Dearborn, Chicago, IK feted thi» wonderful opportunity Entered as «cwwrf Hom matter October 6.1939. at the poet oHice at Chicano. tllinou, under the Act of March 3, 1379. Copyright 1941 Taken Over for shucking. Lovely gal io Betty Bn Down Beat I’ubliAing Co., Ine. Janney, the Brown band'* chirp New York—With the open anil rumored fiancee of Most. ing of his penthouse offices Artene Pie- on Broadway and the estab VOL. 0. NO. 20 CHICAGO, OCTOBER 15, 1941 15 CENTS' lishment of his own personal management bureau, headed by Leonard Vannerson and Phil Borut, Tommy Dorsey JaeÆ Clint Brewer This Leader's Double Won Five Bucks becomes one of the most im portant figures in the band In Slash Murder business. Dorsey’s office has taken New York—The mutilated body of a mother of two chil- over Harry James’ band as Iren, found in a Harlem apartment house, sent police in nine well as the orks of Dean Hud lates on a search for Clinton P. Brewer last week. Brewer is son, Alex Bartha and Harold ihe Negro composer-arranger who was granted a parole from Aloma, leader of small “Hawaiian” style combo. In Addi the New Jersey State Penitentiary last summer after he com tion. Dorsey now is playing father posed and arranged Stampede in G-Minor, which Count to three music publishing houses, the Embassy, Seneca and Mohawk Ie’s band recorded. -
Great Instrumental
I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T. -
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 Concerts at Lewisohn Stadium, 1922-1964
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2009 Music for the (American) People: The Concerts at Lewisohn Stadium, 1922-1964 Jonathan Stern The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2239 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MUSIC FOR THE (AMERICAN) PEOPLE: THE CONCERTS AT LEWISOHN STADIUM, 1922-1964 by JONATHAN STERN VOLUME I A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2009 ©2009 JONATHAN STERN All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy. Professor Ora Frishberg Saloman Date Chair of Examining Committee Professor David Olan Date Executive Officer Professor Stephen Blum Professor John Graziano Professor Bruce Saylor Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract MUSIC FOR THE (AMERICAN) PEOPLE: THE LEWISOHN STADIUM CONCERTS, 1922-1964 by Jonathan Stern Adviser: Professor John Graziano Not long after construction began for an athletic field at City College of New York, school officials conceived the idea of that same field serving as an outdoor concert hall during the summer months. The result, Lewisohn Stadium, named after its principal benefactor, Adolph Lewisohn, and modeled much along the lines of an ancient Roman coliseum, became that and much more. -
1951-52 Bulletin of Information - Department of Music Seattle Niu Versity
Seattle nivU ersity ScholarWorks @ SeattleU Bulletin of Information 1951 1951-52 Bulletin of Information - Department of Music Seattle niU versity Follow this and additional works at: http://scholarworks.seattleu.edu/bulletinofinformation Recommended Citation Seattle nivU ersity, "1951-52 Bulletin of Information - Department of Music" (1951). Bulletin of Information. 41. http://scholarworks.seattleu.edu/bulletinofinformation/41 This Bulletin is brought to you for free and open access by ScholarWorks @ SeattleU. It has been accepted for inclusion in Bulletin of Information by an authorized administrator of ScholarWorks @ SeattleU. SEATTLE UNIVERSITY MUSIC BULLETIN 1951 - 1952 DEPARTMENT OF MUSIC 900 Broadway SEATTLE 22, WASHINGTON DEPARTMENT OF MUSIC SEATTLE UNIVERSITY ADMINISTRATIVE OFFICERS Very Rev. Albert A. Lemieux, S.J., Ph. D.............................. President Rev. Anthony B. Corrigan, S.J., M. A ..................................................... ...Dean of Studies Rev Daniel J. Reidy, S.J., Ph. D.........................................................................Faculty Director Mr. Walter Aklin, B. of Music ............................................................... .. ... Head of Department GENERAL INFORMATION The Department of Music offers five fields of study which are especially designed to meet the practical and artistic needs of the student. These areas are: Music Education (teaching) B. of Ed. Major in Music Music Composition and Arranging B. M. Music Applied (voice, piano and instrumental) B. M. Music History and Art (B. A. Major in Music) Music Criticism and Analysis (Literary Criticism) (B. A. Major in Literature—Minor in Music) Students who intend to major in Music should have playing ability on some instru ment. If this instrument has not been piano, a practical knowledge of the keyboard is desirable. The School lays stress on its Music Education degree. -
The Jerry Gray Story
THE JERRY GRAY STORY THE JERRY GRAY STORY “The Jerry Gray Story” has been compiled to provide researchers and music fans an overview of the musical life of Jerry Gray (1915-1976) following his discharge from the US Army Air Force in late 1945. This chronology documents all known daily activities, media articles, commercial recording sessions, transcription library recording sessions, radio broadcasts, film productions, television appearances, theater appearances, and personal appearances of Jerry Gray post-WWII. This encompasses three primary locations and time frames: The New York City Years 1945-1947; The Hollywood Years 1947-1969; and The Dallas Years 1969-1977. These are presented as: Part 01 - 1945-1946 Part 02 – 1947 Part 03 – 1948 Part 04 – 1949 Part 05 – 1950 Part 06 – 1951-1952 Part 07 – 1953-1954 Part 08 – 1955-1960 Part 09 – 1961-1968 Part 10 – 1969-1977 Additionally, we will eventually include as: Part 11 – Song Index Part 12 – Location Index Part 13 – Artist Index Part 14 – Recording Session Index Part 15 - Discography This is a work-in-progress. There are still many items, articles, stories, photographs, and label scans to be reviewed and confirmed. They will be included in future versions. As of today, our full work product is about 2,342 pages and 526,447 words. Events are posted chronologically. However, like topics are grouped together when possible [such as record reviews and media reports of a specific event]. Recording sessions will show only the matrix number and the primary released recordings for each song. Part 1 - Page 2 of 200 Part 15 - Discography to follow will document all known commercial and transcription recording sessions and radio/film/television/personal performances and their known releases in detail. -
Rick L. Pope Phonograph Record Collection 10 Soundtrack/WB/Record
1 Rick L. Pope Phonograph Record Collection 10 soundtrack/WB/record/archives 12 Songs of Christmas, Crosby, Sinatra, Waring/ Reprise/record/archives 15 Hits of Jimmie Rodgers/Dot / record/archives 15 Hits of Pat Boone/ Dot/ record/archives 24 Karat Gold From the Sound Stage , A Double Dozen of All Time Hits from the Movies/ MGM/ record/archives 42nd Street soundtrack/ RCA/ record/archives 50 Years of Film (1923-1973)/WB/ record set (3 records and 1 book)/archives 50 Years of Music (1923-1973)/WB/ record set (3 records and 1 book)/archives 60 years of Music America Likes Best vols 1-3/RCA Victor / record set (5 pieces collectively)/archives 60 Years of Music America Likes Best Vol.3 red seal/ RCA Victor/ record/archives 1776 soundtrack / Columbia/ record/archives 2001 A Space Oddyssey sound track/ MGM/ record/archives 2001 A Space Oddyssey sound track vol. 2 / MCA/ record/archives A Bing Crosby Christmas for Today’s Army/NA/ record set (2 pieces)/archives A Bing Crosby Collection vol. 1/ Columbia/record/archives A Bing Crosby Collection vol. 2/ Columbia/record/archives A Bing Crosby Collection vol. 3/ Columbia/record/archives A Bridge Too Far soundtrack/ United Artists/record/archives A Collector’s Porgy and Bess/ RCA/ record/archives A Collector’s Showboat/ RCA/ record/archives A Christmas Sing with Bing, Around the World/Decca/record/archives A Christmas Sing with Bing, Around the World/MCA/record/archives A Chorus Line soundtrack/ Columbia/ record/ archives 2 A Golden Encore/ Columbia/ record/archives A Legendary Performer Series ( -
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. -
New York Philharmonic
New York Philharmonic ONE HUNDRED AND TWENTY-NINTH SEASON 1970-71 Wednesday Evening, January 20, 1971, at 8:30 7951st Concert GALA PENSION FUND BENEFIT CONCERT Daniel Barenboim, Conductor ARTUR RUBINSTEIN, Pianist WEBER Overture to “Euryanthe” BEETHOVEN Concerto No. 4 for Piano and Orchestra, G major, Opus 58 I Poco sostenuto; Vivace ( II Andante con moto (III Rondo: Vivace ARTUR RUBINSTEIN INTERMISSION BRAHMS Concerto No. 1 for Piano and Orchestra, D minor, Opus 15 I Maestoso II Adagio III Rondo: Allegro non troppo ARTUR RUBINSTEIN Mr. Rubinstein plays the Steinway Piano Assistance in underwriting of the costs of presenting this concert has been provided by The Julia D. Steinway Fund. Steinway Piano Columbia Records In consideration of the performing artists and members of the audience, those who must leave before the end of the concert are asked to do so between numbers, not during the performance. The taking of photographs and the use of recording equipment are not allowed in this auditorium. The Julia D. Steinway Fund was recently established by the Society in memory of Mrs. Frederick T. Steinway, one of the most beloved personalities in the musical life of New York and a patron of the arts long active in New York Philharmonic affairs. Mrs. Steinway was a member of the Philharmonic’s Auxiliary Board from its inception in 1923 and a Director of the Society from 1934 until her death in 1958. The setting up of the Fund was made possible by an initial contribution from The Steinway Founda tion, Inc., to which the Society is most deeply grateful.