Radio Digest, 1931-1932
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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article. -
28Apr2004p2.Pdf
144 NAXOS CATALOGUE 2004 | ALPHORN – BAROQUE ○○○○ ■ COLLECTIONS INVITATION TO THE DANCE Adam: Giselle (Acts I & II) • Delibes: Lakmé (Airs de ✦ ✦ danse) • Gounod: Faust • Ponchielli: La Gioconda ALPHORN (Dance of the Hours) • Weber: Invitation to the Dance ○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○○ Slovak RSO / Ondrej Lenárd . 8.550081 ■ ALPHORN CONCERTOS Daetwyler: Concerto for Alphorn and Orchestra • ■ RUSSIAN BALLET FAVOURITES Dialogue avec la nature for Alphorn, Piccolo and Glazunov: Raymonda (Grande valse–Pizzicato–Reprise Orchestra • Farkas: Concertino Rustico • L. Mozart: de la valse / Prélude et La Romanesca / Scène mimique / Sinfonia Pastorella Grand adagio / Grand pas espagnol) • Glière: The Red Jozsef Molnar, Alphorn / Capella Istropolitana / Slovak PO / Poppy (Coolies’ Dance / Phoenix–Adagio / Dance of the Urs Schneider . 8.555978 Chinese Women / Russian Sailors’ Dance) Khachaturian: Gayne (Sabre Dance) • Masquerade ✦ AMERICAN CLASSICS ✦ (Waltz) • Spartacus (Adagio of Spartacus and Phrygia) Prokofiev: Romeo and Juliet (Morning Dance / Masks / # DREAMER Dance of the Knights / Gavotte / Balcony Scene / A Portrait of Langston Hughes Romeo’s Variation / Love Dance / Act II Finale) Berger: Four Songs of Langston Hughes: Carolina Cabin Shostakovich: Age of Gold (Polka) •␣ Bonds: The Negro Speaks of Rivers • Three Dream Various artists . 8.554063 Portraits: Minstrel Man •␣ Burleigh: Lovely, Dark and Lonely One •␣ Davison: Fields of Wonder: In Time of ✦ ✦ Silver Rain •␣ Gordon: Genius Child: My People • BAROQUE Hughes: Evil • Madam and the Census Taker • My ■ BAROQUE FAVOURITES People • Negro • Sunday Morning Prophecy • Still Here J.S. Bach: ‘In dulci jubilo’, BWV 729 • ‘Nun komm, der •␣ Sylvester's Dying Bed • The Weary Blues •␣ Musto: Heiden Heiland’, BWV 659 • ‘O Haupt voll Blut und Shadow of the Blues: Island & Litany •␣ Owens: Heart on Wunden’ • Pastorale, BWV 590 • ‘Wachet auf’ (Cantata, the Wall: Heart •␣ Price: Song to the Dark Virgin BWV 140, No. -
Verdi's Rigoletto
Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered. -
Appendix B Biography: Hank Halstead
Appendix B Biography: Hank Halstead Henry Halstead was born November 16, 1897 in and died on March 19, 1984 As a young boy, Halstead learned to play violin. After studying the violin for 10 years, Hank Halstead turned professional when 19, playing clubs and hotels at the tables. In 1919, Henry Halstead played violin with 2 other men that went on to become famous Big Band Leaders, Abe Lyman and.Gus Amheim The 3 young men played in a band together at the Sunset Inn in Santa Monica, California. Abe Lyman played drums and Gus Arnheim played piano. Roy Fox, not well known in America but later a ranking bandmaster in England, played the trumpet on occasion with them. Even early on Halstead dressed the part, a tuxedo was a must and he must have worn out a few of them over the next 20 years. Henry Halstead was married to blues vocalist Marjorie Whitney. Marjorie went on to be the female singer in a group known as the King’s Jesters that played together in the 1930s. Marjorie died in 1994. The early Henry Halstead Orchestra was enormously successful at the St. Francis Hotel in San Francisco during the early 1920s for about three years. This was the early days of radio, and the group had the good fortune to broadcast over the very powerful (for those days) KGO in San 8/20/2014 Appendix B 1 | P a g e Francisco. The orchestra was "on" for about an hour a night, six nights a week. As a consequence, his band became the best known organization in the western United States and Hawaii. -
"A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 Piano Solo | Twelfth 12Th Street Rag 1914 Euday L
Box Title Year Lyricist if known Composer if known Creator3 Notes # "A" - You're Adorable (The Alphabet Song) 1948 Buddy Kaye Fred Wise Sidney Lippman 1 piano solo | Twelfth 12th Street Rag 1914 Euday L. Bowman Street Rag 1 3rd Man Theme, The (The Harry Lime piano solo | The Theme) 1949 Anton Karas Third Man 1 A, E, I, O, U: The Dance Step Language Song 1937 Louis Vecchio 1 Aba Daba Honeymoon, The 1914 Arthur Fields Walter Donovan 1 Abide With Me 1901 John Wiegand 1 Abilene 1963 John D. Loudermilk Lester Brown 1 About a Quarter to Nine 1935 Al Dubin Harry Warren 1 About Face 1948 Sam Lerner Gerald Marks 1 Abraham 1931 Bob MacGimsey 1 Abraham 1942 Irving Berlin 1 Abraham, Martin and John 1968 Dick Holler 1 Absence Makes the Heart Grow Fonder (For Somebody Else) 1929 Lewis Harry Warren Young 1 Absent 1927 John W. Metcalf 1 Acabaste! (Bolero-Son) 1944 Al Stewart Anselmo Sacasas Castro Valencia Jose Pafumy 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Ac-cent-tchu-ate the Positive 1944 Johnny Mercer Harold Arlen 1 Accidents Will Happen 1950 Johnny Burke James Van Huesen 1 According to the Moonlight 1935 Jack Yellen Joseph Meyer Herb Magidson 1 Ace In the Hole, The 1909 James Dempsey George Mitchell 1 Acquaint Now Thyself With Him 1960 Michael Head 1 Acres of Diamonds 1959 Arthur Smith 1 Across the Alley From the Alamo 1947 Joe Greene 1 Across the Blue Aegean Sea 1935 Anna Moody Gena Branscombe 1 Across the Bridge of Dreams 1927 Gus Kahn Joe Burke 1 Across the Wide Missouri (A-Roll A-Roll A-Ree) 1951 Ervin Drake Jimmy Shirl 1 Adele 1913 Paul Herve Jean Briquet Edward Paulton Adolph Philipp 1 Adeste Fideles (Portuguese Hymn) 1901 Jas. -
Inside Facts of Stage and Screen (October 25, 1930)
PRICE 10 CENTS RADIO Only Theatrical Newspaper on the Pacific Coast MUSIC NSIDE ACTS ESTABLISHED 1924 EDITED BY JACK JOSEPHS Entered as Second Class Matter, April 29, 1927, at Post- Published Every Saturday at 800-801 Warner Bros. Down- Vol. XII office, Los Angeles, Calif., under Saturday, 1 Act of March 3, 1879. October 25, 930 town Building, 401 West Seventh St., Los Angeles, Calif. No. 17 HOLLYWOOD lAUGHLIN’S BAD CHECK UNITS STAY CASE LOST AT DOLLAR; BY REALTOR ‘BIZ’ LEAPS Agua Caliente, with enough Jack Eaughlin will continue bad checks to stuff a mattress, producing stage units at Mil- won a test cast in Judge Elias lion Dollar. Now working on Rosenkranz’ court here this a percentage basis. This infor- ,—week against a Hollywood mation upset previous reports realtor to the tune of one that vaude was to be restored grand. at the Dollar, due to heavy Point on which Charles Katz, overhead of the Eaughlin pres- attorney, won the case was that entations. the realtor cashed his phony at the gambling houses's wicket, Biz has been considerably on the increase since and got U. S. coin, not faro these stage shows counters, in return. went in. Week before Laughlin opened his first pre- Realtor who had stopped pay- sentation, gross was $9000. ment on the bouncer, made defense First week of Laughlin was that he spent the jack on Agua $10,000. Second week, last Caliente tables, after which, all he week, with word-of-mouth ad- had was a hole in his pocket. vertising pulling for the inno- Test case is seen by the gambling vation got $14,000. -
Copyright by Melody Marie Rich 2003
Copyright by Melody Marie Rich 2003 The Treatise Committee for Melody Marie Rich certifies that this is the approved version of the following treatise: Pietro Cimara (1887-1967): His Life, His Work, and Selected Songs Committee: _____________________________ Andrew Dell’Antonio, Supervisor _____________________________ Rose Taylor, Co-Supervisor _____________________________ Judith Jellison _____________________________ Leonard A. Johnson _____________________________ Karl Miller _____________________________ David A. Small Pietro Cimara (1887-1967): His Life, His Work, and Selected Songs by Melody Marie Rich, B.M., M.M. Treatise Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2003 ACKNOWLEDGEMENTS The journey to discovering Pietro Cimara began in 1996 at a summer workshop where upon first hearing “Ben venga amore,” I instantly knew that I had to have more of Cimara’s music. Since then, the momentum to see my research through to the finish would not have continued without the help of many wonderful people whom I wish to formally acknowledge. First, I must thank my supervisor, Dr. Andrew Dell’Antonio, Associate Professor of Musicology at the University of Texas at Austin. Without your gracious help and generous hours of assistance with Italian translation, this project would not have happened. Ringraziando di cuore, cordiali saluti! To my co-supervisor, Rose Taylor, your nurturing counsel and mounds of vocal wisdom have been a valuable part of my education and my saving grace on many occasions. Thank you for always making your door open to me. -
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29
Mark Schubin's Media-Technology and Opera Chronology - National Opera Center - 2013 October 29 Origin of modern opera, modern science, and modern communications satellites: - 1520-1591: Vincenzo Galilei: father of modern acoustics, sung drama, and Galileo (whom he taught experimentation); after reading Galilei’s 1581 music-theory book, Johannes Kepler formulates 3 rd law of planetary motion, leading to modern satellites Telephony: - 1821: After a demonstration of Charles Wheatstone's "enchanted lyre," Repository of Arts predicts wired opera broadcasts - 1848: “Telakouphanon” (acoustic telephone) service delivering opera to homes for a fee predicted in Punch - 1849: Antonio Meucci, technical director of Havana Opera's Teatro Tacón (and former stagehand and effects technician at Florence's Teatro della Pergola) begins experiments on sound transmission by electricity via wire; continues them in NYC - 1876: The New York Times predicts box-office drop at Academy of Music if opera available to homes via telephone - 1877: Aria transmitted Providence to Boston; Punch's Almanack for 1878 predicts telephone delivery of opera to homes - 1878: Don Pasquale carried by telephone lines in Bellinzona, Switzerland from opera-house auditorium to nearby room - 1880: Microphone developed specifically for opera at David Moseley & Sons, Manchester, England; Edward P. Fry probably 1st person to listen to opera at home via telephone (applauds what he likes); opera carried 80 km from Zürich to Bâle - 1882: Scotland’s National Telephone Company allows home/office -
Guide to the Duncan P. Schiedt Photograph Collection
Guide to the Duncan P. Schiedt Photograph Collection NMAH.AC.1323 Vanessa Broussard Simmons, Franklin A. Robinson Jr., and Craig A. Orr. Processing and encoding funded by a grant from the Council on Library and Information Resources. 2016 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Background Information and Research Materials, 1915-2012, undated..................................................................................................................... 4 Series 2: Photographic Materials, 1900-2012, -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The farther we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies in my own collection via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (produced in the later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated PW Columbia pressings (1923-1940) offer similarly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. These figures do not indicate the “value” of the records but rather the lowest minimum bid I can accept. Some will sell for much more, although bids at any figure from the minimum on up are welcomed and appreciated. To avoid possible tie winning bids (which would otherwise be assigned to the earlier received bid), I’d suggest adding a cents amount to your bid. * * * “Text label on verso.” For a brief period (1912-1914), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or related comments. -
Volume 61, Number 11 (November 1943) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 11-1-1943 Volume 61, Number 11 (November 1943) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 61, Number 11 (November 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/222 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ' !the POWER that hath BUY WAR BONDS AND STAMPS FOR VICTORY ISIDOR PHILIPP, dis- tinguished French pian- ist and teacher of many outstanding pianists, in- cluding Guiomar No- vaes, Maurice Dumesnil, Henri Deering, Emma beginners Boyer, and Stell An- dersen, celebrated his piano on eightieth birthday FOR young September 2. M. Philipp, who was compelled to flee his native keyboard town Paris on ten minutes’ notice, has been in New York since May 1941, where he has By Louise Robyn been teaching and lecturing. He also PATH tales has visited cities in the Middle West. A PLEASURE technic book covers a new field in the child's early This of HERE, THERE. AND EVERYWHERE supplies a link that coordinates THE GRIFFITH MUSIC FOUNDATION PIANO book one training, for it TO THE held its fifth an- fingers, and enables the child Newark, New Jersey, CHILP) eves ears and IN THE MUSICAL WORLD PRE SCHOOL Robyn within a sur- nual institute on October 2. -
Democratizing Opera in America, 1895 to the Present
DEMOCRATIZING OPERA IN AMERICA, 1895 TO THE PRESENT A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Daniela Smolov Levy May 2014 © 2014 by Daniela Smolov Levy. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/ys875gk2432 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Thomas Grey I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Stephen Hinton Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii Abstract Despite opera’s well-known exclusivity, the genre has in fact consistently been the target of popularizing initiatives, a point often overlooked in accounts of its history.