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Oral History Interview with Edith Wyle, 1993 March 9-September 7
Oral history interview with Edith Wyle, 1993 March 9-September 7 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Interview EW: EDITH WYLE SE: SHARON EMANUELLI SE: This is an interview for the Archives of American Art, the Smithsonian Institution. The interview is with Edith R. Wyle, on March 9th, Tuesday, 1993, at Mrs. Wyle's home in the Brentwood area of Los Angeles. The interviewer is Sharon K. Emanuelli. This is Tape 1, Side A. Okay, Edith, we're going to start talking about your early family background. EW: Okay. SE: What's your birth date and place of birth? EW: Place of birth, San Francisco. Birth date, are you ready for this? April 21st, 1918-though next to Beatrice [Wood-Ed.] that doesn't seem so old. SE: No, she's having her 100th birthday, isn't she? EW: Right. SE: Tell me about your grandparents. I guess it's your maternal grandparents that are especially interesting? EW: No, they all were. I mean, if you'd call that interesting. They were all anarchists. They came from Russia. SE: Together? All together? EW: No, but they knew each other. There was a group of Russians-Lithuanians and Russians-who were all revolutionaries that came over here from Russia, and they considered themselves intellectuals and they really were self-educated, but they were very learned. -
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. -
Part 2 of Selected Discography
Part 2 of Selected Discography Milt Hinton Solos Compiled by Ed Berger (1949-2017) - Librarian, journalist, music producer, photographer, historian, and former Associate Director, Institute of Jazz Studies, Rutgers University. This is a chronological list of representative solos by Hinton as a sideman in a variety of settings throughout his career. Although not definitive, Milt was such a consistent soloist that one could cite many other equally accomplished performances. In some cases, particularly from the 1930s when bass solos were relatively rare, the recordings listed contain prominent bass accompaniment. November 4, 1930, Chicago Tiny Parham “Squeeze Me” (first Hinton recording, on tuba) 78: Recorded for Victor, unissued CD: Timeless CBC1022 (Tiny Parham, 1928–1930) January–March 1933, Hollywood Eddie South “Throw a Little Salt on the Bluebird’s Tail” (vocal) “Goofus” CD: Jazz Oracle BDW8054 (Eddie South and His International Orchestra: The Cheloni Broadcast Transcriptions) May 3, 1933, Chicago Eddie South “Old Man Harlem” (vocal) 78: Victor 24324 CD: Classics 707 (Eddie South, 1923–1937) June 12, 1933, Chicago Eddie South “My, Oh My” (slap bass) 78: Victor 24343 CD: Classics 707 (Eddie South, 1923-1937) March 3, 1937 Cab Calloway “Congo” 78: Variety 593 CD: Classics 554 (Cab Calloway, 1934–1937) January 26, 1938 Cab Calloway “I Like Music” (brief solo, slap bass) 78: Vocalion 3995 CD: Classics 568 (Cab Calloway, 1937–1938) August 30, 1939 Cab Calloway “Pluckin’ the Bass” (solo feature —slap bass) 78: Vocalion 5406 CD: Classics -
The First Critical Assessments of a Streetcar Named Desire: the Streetcar Tryouts and the Reviewers
FALL 1991 45 The First Critical Assessments of A Streetcar Named Desire: The Streetcar Tryouts and the Reviewers Philip C. Kolin The first review of A Streetcar Named Desire in a New York City paper was not of the Broadway premiere of Williams's play on December 3, 1947, but of the world premiere in New Haven on October 30, 1947. Writing in Variety for November 5, 1947, Bone found Streetcar "a mixture of seduction, sordid revelations and incidental perversion which will be revolting to certain playgoers but devoured with avidity by others. Latter category will predomin ate." Continuing his predictions, he asserted that Streetcar was "important theatre" and that it would be one "trolley that should ring up plenty of fares on Broadway" ("Plays Out of Town"). Like Bone, almost everyone else interested in the history of Streetcar has looked forward to the play's reception on Broadway. Yet one of the most important chapters in Streetcar's stage history has been neglected, that is, the play's tryouts before that momentous Broadway debut. Oddly enough, bibliographies of Williams fail to include many of the Streetcar tryout reviews and surveys of the critical reception of the play commence with the pronouncements found in the New York Theatre Critics' Reviews for the week of December 3, 1947. Such neglect is unfortunate. Streetcar was performed more than a full month and in three different cities before it ever arrived on Broadway. Not only was the play new, so was its producer. Making her debut as a producer with Streetcar, Irene Selznick was one of the powerhouses behind the play. -
BROWNIE the Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet
BROWNIE The Complete Emarcy Recordings of Clifford Brown Including Newly Discovered Essential Material from the Legendary Clifford Brown – Max Roach Quintet Dan Morgenstern Grammy Award for Best Album Notes 1990 Disc 1 1. DELILAH 8:04 Clifford Brown-Max RoaCh Quintet: (V. Young) Clifford Brown (tp), Harold Land (ts), Richie 2. DARN THAT DREAM 4:02 Powell (p), George Morrow (b), Max RoaCh (De Lange - V. Heusen) (ds) 3. PARISIAN THOROUGHFARE 7:16 (B. Powell) 4. JORDU 7:43 (D. Jordan) 5. SWEET CLIFFORD 6:40 (C. Brown) 6. SWEET CLIFFORD (CLIFFORD’S FANTASY)* 1:45 1~3: Los Angeles, August 2, 1954 (C. Brown) 7. I DON’T STAND A GHOST OF A CHANCE* 3:03 4~8: Los Angeles, August 3, 1954 (Crosby - Washington - Young) 8. I DON’ T STAND A GHOST OF A CHANC E 7:19 9~12: Los Angeles, August 5, 1954 (Crosby - Washington - Young) 9. STOMPIN’ AT TH E SAVOY 6:24 (Goodman - Sampson - Razaf - Webb) 10. I GET A KICK OUT OF YOU 7:36 (C. Porter) 11. I GET A KICK OUT OF YOU* 8:29 * Previously released alternate take (C. Porter) 12. I’ LL STRING ALONG WITH YOU 4:10 (Warren - Dubin) Disc 2 1. JOY SPRING* 6:44 (C. Brown) Clifford Brown-Max RoaCh Quintet: 2. JOY SPRING 6:49 (C. Brown) Clifford Brown (tp), Harold Land (ts), Richie 3. MILDAMA* 3:33 (M. Roach) Powell (p), George Morrow (b), Max RoaCh (ds) 4. MILDAMA* 3:22 (M. Roach) Los Angeles, August 6, 1954 5. MILDAMA* 3:55 (M. Roach) 6. -
Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK -
Arturo Toscanini and Don Gillis in Rehearsal, Don Gillis Collection, University of North Texas
Arturo Toscanini and Don Gillis in rehearsal, Don Gillis Collection, University of North Texas. Reproduced with permission. MARK MCKNIGHT, SUSANNAH CLEVELAND Rediscovering “Toscanini: The Man Behind the Legend” The following article is based on the authors’ presentation at the ARSC Conference in Austin, TX, April 2005. The focus is on the Don Gillis Collection, which the University of North Texas (UNT) Music Library acquired after Gillis’s death in 1978. Gillis, a longtime associate of Arturo Toscanini, served as the conductor’s assistant and the producer for the NBC Symphony broadcast concerts from 1944 until they ended ten years later. The photographs that illustrate this article are from the collection and are reproduced with permission. __________________________________________________________________________________ he story of Arturo Toscanini’s rise to fame as one of history’s most celebrated con- ductors is well known. Having spent the first several years of his professional life in T the opera pit, Toscanini then gained a reputation for his symphonic conducting, serving as principal conductor of the New York Philharmonic from 1929 to 1936. When he left that post and retired to his native Italy, his American fans believed they would never again see the maestro conduct here. At the age of 70, however, when most individuals are happily settled into retirement, Toscanini returned to the podium, this time in a completely new and, in some ways controversial, forum, as head of the recently organized NBC Symphony. He would remain with the orchestra until his final departure in 1954. Toscanini died three years later in New York, just two months before his ninetieth birthday. -
Panel Discussion Remembering Slutforart: Tseng Kwong
asian diasporic visual cultures and the americas 1 (2015) 311-324 brill.com/adva Panel Discussion ⸪ Remembering SlutForArt: Tseng Kwong Chi A Conversation on Dance, Performance, and Art with Muna Tseng, Ping Chong, Bill T. Jones, and scholar Karen Shimakawa Introduction by Alexandra Chang New York University, New York, ny, USA [email protected] “Remembering SlutForArt: Tseng Kwong Chi,” a conversation between artis- tic theatre directors and choreographers Muna Tseng, Bill T. Jones, and Ping Chong with scholar and adva us Area Editor Karen Shimakawa, took place on 1 May 2015 at nyu’s Cantor Film Center presented by the Asian/Pacific/ American Institute at New York University and the Grey Art Gallery in con- junction with the Grey’s exhibition Tseng Kwong Chi: Performing for the Camera, curated by Amy Brandt. Brandt, who sadly passed away just weeks after the opening, curated this first major travelling survey show of Tseng’s works, which ranged from candid shots of his immediate East Village circle of artistic creators and his little seen Moral Majority series depicting Right Wing politicians posing in front of a crumpled American flag, to his more well- known documentation of the 1983 Body Painting collaboration between Bill T. Jones and Keith Haring. The exhibition also featured Tseng’s popular East Meets West and The Expeditionary series, performance self-portrait series in which the artist posed as his alter ego, the Ambiguous Ambassador, in a Mao Suit and mirrored glasses in front of iconic landmarks in the us, Canada, and Europe. The artist, who died of aids in 1990, was part of the 1980s Mudd Club and Club 57 set with artists such as Ann Magnuson, Kenny Scharf, and Jean-Michel Basquiat and collaborated with Keith Haring, docu- menting the Pop artist’s work in the subways even before his international rise to fame. -
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 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. -
A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life. -
The Sam Eskin Collection, 1939-1969, AFC 1999/004
The Sam Eskin Collection, 1939 – 1969 AFC 1999/004 Prepared by Sondra Smolek, Patricia K. Baughman, T. Chris Aplin, Judy Ng, and Mari Isaacs August 2004 Library of Congress American Folklife Center Washington, D. C. Table of Contents Collection Summary Collection Concordance by Format Administrative Information Provenance Processing History Location of Materials Access Restrictions Related Collections Preferred Citation The Collector Key Subjects Subjects Corporate Subjects Music Genres Media Formats Recording Locations Field Recording Performers Correspondents Collectors Scope and Content Note Collection Inventory and Description SERIES I: MANUSCRIPT MATERIAL SERIES II: SOUND RECORDINGS SERIES III: GRAPHIC IMAGES SERIES IV: ELECTRONIC MEDIA Appendices Appendix A: Complete listing of recording locations Appendix B: Complete listing of performers Appendix C: Concordance listing original field recordings, corresponding AFS reference copies, and identification numbers Appendix D: Complete listing of commercial recordings transferred to the Motion Picture, Broadcast, and Recorded Sound Division, Library of Congress 1 Collection Summary Call Number: AFC 1999/004 Creator: Eskin, Sam, 1898-1974 Title: The Sam Eskin Collection, 1938-1969 Contents: 469 containers; 56.5 linear feet; 16,568 items (15,795 manuscripts, 715 sound recordings, and 57 graphic materials) Repository: Archive of Folk Culture, American Folklife Center, Library of Congress, Washington, D.C. Summary: This collection consists of materials gathered and arranged by Sam Eskin, an ethnomusicologist who recorded and transcribed folk music he encountered on his travels across the United States and abroad. From 1938 to 1952, the majority of Eskin’s manuscripts and field recordings document his growing interest in the American folk music revival. From 1953 to 1969, the scope of his audio collection expands to include musical and cultural traditions from Latin America, the British Isles, the Middle East, the Caribbean, and East Asia.