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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. -
The Miraculous .Mandarin; Choral Chant
verity. The stereo pressing offers only slow tempo. seemed a hit precious. On ly Hungarian and non -Western essence marginal differences from the excellent the whole. however. the performances from the folk material. he has adapted monophonic version. H.G. here are to me more consistently con- diatonic and modal vocal lines to simple vincing than on the previous disc. Still triadic harmonies written in close, non - in evidence. unfortunately. is Mr. contrapuntal form. The jogging iambic BACH: St. John Passion, S. 245 Gould's occasional faint humming. N.B. rhythms and stylized hunting -call figures and harmonies alternate with a kind of Friederike Sailer (s); Marga Höffgen melodic Hungarian solo recitative and (c); Helmut Krebs (t), Evangelist; Franz BARTOK: The Miraculous .Mandarin; choral chant. suggesting not a cantata but Kelch (b), Jesus: Hermann Werdermann Cantata Profana a kind of extended Hungarian ballad of (bs); Heinrich Schütz Choir of Heil- the chase. The work is open and attrac- bronn; Pforzheim Chamber Orchestra, Chorus of the Hungarian Radio. Buda- tive certainly, a little monotonous in its Fritz Werner, cond. pest Philharmonic. Janos Ferencsik, cond. insistently healthy, out -of -doors choral MUSICAL HERITAGE SOCIETY MHS 542/ (in The Miraculous . Mandarin): Joef sound. but with the authentic Bartók 43. Two LP. $5.00. Reti. tenor. Andras Farago. bass. Chorus touch in its simple and original expres- MUSICAL HERITAGE SOCIETY MHS and Orchestra of the Hungarian Radio. sive structure. 542/43. Two SD. $5.00. György Lehel. cond. (in the Cantata). The choral singing here is excellent DEUTSCHE GRAMMOPHON LPM 18873. ( including the tiny choral section in Werner's tempos are everywhere plaus- LP. -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me. -
Constructing the Archive: an Annotated Catalogue of the Deon Van Der Walt
(De)constructing the archive: An annotated catalogue of the Deon van der Walt Collection in the NMMU Library Frederick Jacobus Buys January 2014 Submitted in partial fulfilment for the degree of Master of Music (Performing Arts) at the Nelson Mandela Metropolitan University Supervisor: Prof Zelda Potgieter TABLE OF CONTENTS Page DECLARATION i ABSTRACT ii OPSOMMING iii KEY WORDS iv ACKNOWLEDGEMENTS v CHAPTER 1 – INTRODUCTION TO THIS STUDY 1 1. Aim of the research 1 2. Context & Rationale 2 3. Outlay of Chapters 4 CHAPTER 2 - (DE)CONSTRUCTING THE ARCHIVE: A BRIEF LITERATURE REVIEW 5 CHAPTER 3 - DEON VAN DER WALT: A LIFE CUT SHORT 9 CHAPTER 4 - THE DEON VAN DER WALT COLLECTION: AN ANNOTATED CATALOGUE 12 CHAPTER 5 - CONCLUSION AND RECOMMENDATIONS 18 1. The current state of the Deon van der Walt Collection 18 2. Suggestions and recommendations for the future of the Deon van der Walt Collection 21 SOURCES 24 APPENDIX A PERFORMANCE AND RECORDING LIST 29 APPEDIX B ANNOTED CATALOGUE OF THE DEON VAN DER WALT COLLECTION 41 APPENDIX C NELSON MANDELA METROPOLITAN UNIVERSTITY LIBRARY AND INFORMATION SERVICES (NMMU LIS) - CIRCULATION OF THE DEON VAN DER WALT (DVW) COLLECTION (DONATION) 280 APPENDIX D PAPER DELIVERED BY ZELDA POTGIETER AT THE OFFICIAL OPENING OF THE DEON VAN DER WALT COLLECTION, SOUTH CAMPUS LIBRARY, NMMU, ON 20 SEPTEMBER 2007 282 i DECLARATION I, Frederick Jacobus Buys (student no. 211267325), hereby declare that this treatise, in partial fulfilment for the degree M.Mus (Performing Arts), is my own work and that it has not previously been submitted for assessment or completion of any postgraduate qualification to another University or for another qualification. -
Philharmonic Hall Lincoln Center F O R T H E Performing Arts
PHILHARMONIC HALL LINCOLN CENTER F O R T H E PERFORMING ARTS 1968-1969 MARQUEE The Chamber Music Society of Lincoln Center is Formed A new PERFORMiNG-arts institution, The Chamber Music Society of Lincoln Center, will begin its first season of con certs next October with a subscription season of 16 concerts in eight pairs, run ning through early April. The estab lishment of a chamber music society completes the full spectrum of perform ing arts that was fundamental to the original concept of Lincoln Center. The Chamber Music Society of Lin coln Center will have as its home the Center’s new Alice Tully Hall. This intimate hall, though located within the new Juilliard building, will be managed by Lincoln Center as an independent Wadsworth Carmirelli Treger public auditorium, with its own entrance and box office on Broadway between 65th and 66th Streets. The hall, with its 1,100 capacity and paneled basswood walls, has been specifically designed for chamber music and recitals. The initial Board of Directors of the New Chamber Music Society will com prise Miss Alice Tully, Chairman; Frank E. Taplin, President; Edward R. Ward well, Vice-President; David Rockefeller, Jr., Treasurer; Sampson R. Field, Sec retary; Mrs. George A. Carden; Dr. Peter Goldmark; Mrs. William Rosen- wald and Dr. William Schuman. The Chamber Music Society is being organ ized on a non-profit basis and, like other cultural institutions, depends upon voluntary contributions for its existence. Charles Wadsworth has been ap pointed Artistic Director of The Cham ber Music Society of Lincoln Center. The Society is the outgrowth of an in tensive survey of the chamber music field and the New York chamber music audience, conducted by Mr. -
High-Fidelity-1955-J
www.americanradiohistory.com the flPJ that's 7 -WAYS BETTER than ever! IMPROVED BALANCE between high and low Audio Devices now offers you a new and frequencies without sacrificing low- frequency output. vastly superior professional sound recording tape, at NO INCREASE IN PRICE NEW MOISTURE- REPELLENT BINDER with lower coefficient of friction. Absolutely eliminates tape squeal under hot, humid conditions. Runs Here's a radically improved sound recording tape, per- well even on machines badly out of tension ad- fected after long research in Audio Devices laboratories - justment. a tape that sets completely new standards of performance. NEW ANTI -TACK AGENT virtually eliminates Any one of the seven new and improved features listed po<sihility of sticking on hot erase and record here would be important news to the tape recordist. Col heads. Especially important to owners of older lectively, they spell a degree of perfection heretofore un- type machines. attainable in any magnetic recording tape! NEW DRIER -TYPE FORMULA greatly reduces Such a premium quality product could easily justify a l danger of oxide rub -off, even on dirty heads. premium price. But it has been made standard for all i Keeps clean heads clean. Audiotape, on plastic base or Mylar* polyester film -and j is available at previous standard prices. * IMPROVED HOT SLITTING of standard plastic hase. Edges of tape cleaner and smoother than Try the new Audiotape -test it- compare it with any other ever, danger of tear or breakage greatly reduced. product on the market. It will speak for itself! NEW LOW BACKGROUND NOISE through DuPont Trade Mara better dispersion of finer oxide particles. -
Werner-B02c[Erato-10CD].Pdf
Johann Sebastian Bach (1685-1750) The Cantatas, Volume 2 Heinrich Schütz Choir, Heilbronn Pforzheim Chamber Orchestra Württemberg Chamber Orchestra (B\,\1/ 102, 137, 150) Südwestfunk Orchestra, Baden-Baden (B\,\ry 51, 104) Fritz Werner L'Acad6mie Charles Cros, Grand Prix du disque (BWV 21, 26,130) For complete cantata texts please see www.bach-cantatas.com/IndexTexts.htm cD t 75.22 Ich hatte viel Bekümmernis, BWV 2l My heart and soul were sore distrest . Mon cceur ötait plein d'ffiiction Domenica 3 post Trinitatis/Per ogni tempo Cantata for the Third Sunday after Trinity/For any time Pour le 3n"" Dimanche aprös la Trinitö/Pour tous les temps Am 3. Sonntag nachTrinitatis/Für jede Zeit Prima Parte 0l 1. Sinfonia 3.42 Oboe, violini, viola, basso continuo 02 2. Coro; Ich hatte viel Bekümmernis 4.06 Oboe, violini, viola, fagotto, basso continuo 03 3. Aria (Soprano): Seufzer, Tränen, Kummer, Not 4.50 Oboe, basso continuo ) 04 4. Recitativo (Tenore): Wie hast du dich, mein Gott 1.50 Violini, viola, basso continuo 05 5. Aria (Tenore): Bäche von gesalznen Zähren 5.58 Violini, viola, basso conlinuo 06 6. Coro: Was betrübst du dich, meine Seele 4.35 Oboe, violini, viola, fagotto, basso continuo Seconda Parte 07 7. Recitativo (Soprano, Basso): Ach Iesu, meine Ruh 1.38 Violini, viola, basso continuo 08 8. Duetto (Soprano, Basso): Komm, mein Jesu 4.34 Basso continuo 09 9. Coro: Sei nun wieder zufrieden 6.09 Oboe, tromboni, violini, viola, fagotto, basso continuo l0 10. Aria (Tenore): Erfreue dich, Seele 2.52 Basso continuo 11 11. -
The Complete EMI Audio Tape Guide Audio Tape Guide
The Complete EMI Audio Tape Guide By David Winter Version of 23 FEBRUARY 2014 This list contains all known EMI (His Master’s Voice and Columbia) tapes released between 1952 and the early 1960s. Any new version will contain minor fixes or updates, or unreleased titles. If you wish to contribute, please email me at [email protected] with good quality pictures showing what should be updated or added. Thank you. Change log: - New format, hopefully for better reading. Tape catalog prefixes, tape types and misc details: EMI issued their "tape records" under two brands: His Master's Voice (HMV) and Columbia (COL). They were all recorded in 2 channel format, either in mono (twin sided) or stereo (Stereosonic, single sided). They are always 7-inch reels playing at 7.5ips (or 19 centimeters per second). Only a few recordings have been made available both in mono and stereo. However, many titles have been recorded in either format by different performers. Some titles were eventually imported in America by RCA when the company was licenced to produce the equivalent LPs. The table below shows the four catalog codes used for each type of tape and by each brand. Later 4-track stereo tapes and 2-track "Twin Packs" are not included in this list. This guide is based on EMI's catalog of 1958 and may be missing titles released shortly after. Mono Stereo CAT BTA CBT BTB COL CCT BTC CDT BTD HTA SAT HTB SBT HMV HTC SCT HTD SDT Other wordings: / between orchestra and conductor means "conducted by". -
Press Kit English
THE BACH CANTATAS PROJECT Berlin, 1949-1952 audite 21.415 (9 CD box) soprano: Johanna Behrend alto: Lorri Lail Edith Berger-Krebs Ingrid Lorenzen Gertrud Birmele Annelies Westen Marie-Luise Denicke Charlotte Wolf-Matthäus Agnes Giebel tenor: Helmut Krebs Gerda Lammers baritone: Dietrich Fischer-Dieskau Lilo Rolwes Walter Hauck Gunthild Weber bass: Gerhard Niese RIAS-Kammerorchester • RIAS-Kammerchor • RIAS-Knabenchor Karl Ristenpart, conductor (CANTATAS BWV 4, 19, 21, 22, 31, 32, 37, 38, 39, 42, 47, 52, 56, 58, 73, 76, 79, 88, 106, 108, 127, 140, 160, 164, 176, 178, 180, 199, 202) »audite« Ludger Böckenhoff • Tel.: +49 (0) 52 31-870 320 • Fax: +49 (0) 52 31-870 321 • [email protected] • www.audite.de INDEX recording date: CD 1 Ach Gott, wie manches Herzeleid, BWV 58 4.1.1952 Gunthild Weber • Walter Hauck Liebster Jesu, mein Verlangen, BWV 32 10.+11.12.1951 Agnes Giebel • Walter Hauck Jesus nahm zu sich die Zwölfe, BWV 22 15.+16.2.1950 Charlotte Wolf-Matthäus • Helmut Krebs • Dietrich Fischer-Dieskau Herr Jesu Christ, wahr’ Mensch, BWV 127 13.2.1950 Gertrud Birmele • Helmut Krebs • Dietrich Fischer-Dieskau CD 2 Christ lag in Todes Banden, BWV 4 17.-19.3.1952 RIAS-Knabenchor Der Himmel lacht! Die Erde jubilieret, BWV 31 9.+20.+21.3.1950 Lilo Rolwes • Helmut Krebs • Gerhard Niese Am Abend aber desselbigen Sabbats, BWV 42 11.4.1950 Edith Berger-Krebs • Ingrid Lorenzen • Helmut Krebs • Dietrich Fischer-Dieskau CD 3 Es ist euch gut, daß ich hingehe, BWV 108 17.+18.4.1950 / 27.4.1950 Ingrid Lorenzen • Helmut Krebs • Dietrich Fischer-Dieskau Wer -
Ristenpart-C05l[Audite-9CD]-Booklet
recording locotion: Jesus-Christus-Kirche, Berlin-Dahlem Studio Lankwitz, Berlin (CD9 Track l-9' l8-22) recording producer: PeterWackernagel (CDl Track l-l l,CD2 Track l-17, CD3 - CD5, CD6 Track 7-16, CD7 Track l-13, CD8 Track l-7 I 15-20, CD9 Track l-17 I 23-27) Wolfgang Lohse (CDl Track l2-21) Dorothee Ehrensberger (CD2 Track l8-24, CD6 Track l-6, CD7 Track I4- 19, CD8 Track 8-14) Sonnenberg (CD9 Track l8-22) recording engineer: Heinz Opitz (CDl Track l-5, CD2 - CD5, CD6 Track l2-16, CD8 Track l-14, CD9 Track 10-17 I 23-77). Peter Burkowitz (CDl Track 6-ll I 17-21, CD6 Track l- I l, CD7 Track 14- 19, CD9 Track l-9) . Fromm (CD I Track l2- l6) . Krüger (CD7 Track l-7, CD8 Track 8-20) ' unknown (CDl Track 17-21; CD7 Track 8-13, CD9 Track I8-22) @ Eine Aufnahme von RIAS Berlin (lizenziert durch Deutschlandradio) recording: @ 1949 - 1952 Deutschlandradio reseorch: Rüdiger Albrecht remastering: @ 2012 Ludger Böckenhoff; Karsten Zimmermann rrghts; audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, as well as the publication of this CD. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. ln general these are the original analogue tapes, which attain an astonishingly high quality, even measured by today's standards, with their tape speed of up to 76 cm/sec. -
ARSC Journal
FERENC FRICSAY CONDUCTS BARTOK. Violin Concerto No. 2 * (Tibor Varga, violin) (rec. 1951); RAVEL. Introduction and Allegro (Nicanor Zabaleta, harp) (rec. 1957). DGG 2535 704. BARTOK. Concerto for Orchestra. (rec. 1957). DGG 2535 701. BORODIN. On the Steppes of Central Asia (rec. 1952); Prince Igor. Polovtsian Dances (rec. 1950); MUSSORGSKY. A Night on Bare Mountain (rec. 1952); TCHAIKOVSKY. Overture, 1812 (RIAS Kammerchor) (rec. 1953). DGG 2535 727. KODALY. H~ry J~nos. Suite for Orch. (rec. 1954); Marosszek Dances (rec. 1954); Galanta Dances. DGG 2535 706. HAYDN. The Seasons (in German) (Maria Stader, sop.; Ernst Haefliger, tenor; Josef Greindl, bass; St. Hedwig's Cathedral Choir) (rec. concert, 11/11/61) DGG 2721 170 (3 LP's) MOZART. Requiem (Elisabeth Griimmer, sop.; Gertrude Pitzinger, alto; Helmut Krebs, tenor; Hans Hotter, bass; RIAS Kammerchor; St. Hedwig's Cathedral Choir) (rec. concert, 3/5/51). DGG 2535 713. MOZART. Die Zauberflote (Maria Stader, Rita Streich, Lisa Otto, so pranos; Ernst Haefliger, tenor; Dietrich Fischer-Dieskau, bar.; Josef Greindl, Kirn Borg, basses; RIAS Kammerchor, Berliner Motetten chor) (rec. 1955) DGG Heliodor 2701 015 (3 LP's) STRAVINSKY. The Rite of Spring (rec. 1954) DGG 2535 721 VERDI. Requiem (Maria Stader, sop.; Marianna Radev, alto; Helmut Krebs, tenor; Kirn Borg, bass; RIAS Karnrnerchor; St. Hedwig's Cathedral Choir) (rec. 1953) DGG Heliodor 2700 113 (2 LP's) VERDI. Requiem (Maria Stader, sop.; Oralia Dominguez, alto; Gabor Ca relli, tenor; Ivan Sardi, bass; St. Hedwig's Cathedral Choir) (rec. concert, 10/23/60) DGG 2721 171 (2 LP's) DGG has recently issued a large batch of old performances by the Hungarian conductor, Ferenc Fricsay (1914-1963), some in concert per formances published for the first time. -
Performance Practice of Johann Sebastian Bach's Passio
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 Performance Practice of Johann Sebastian Bach's Passio Secundum Johannem a Study of 25 Years of Recorded History (1982-2007) as Influenced by Events Surrounding the Historically Informed Performance Movement Michael Troy Murphy Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC PERFORMANCE PRACTICE OF JOHANN SEBASTIAN BACH‟S PASSIO SECUNDUM JOHANNEM – A STUDY OF 25 YEARS OF RECORDED HISTORY (1982-2007) AS INFLUENCED BY EVENTS SURROUNDING THE HISTORICALLY INFORMED PERFORMANCE MOVEMENT By MICHAEL TROY MURPHY A Dissertation submitted to the College of Music In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2008 Copyright 2008 Michael Troy Murphy All Rights Reserved The members of the Committee approve the dissertation of Michael Troy Murphy on June 24, 2008. ____________________________________ André J. Thomas Professor Directing Dissertation ____________________________________ Judy K. Bowers Committee Member ____________________________________ Charles Brewer Outside Committee Member ____________________________________ Kevin Fenton Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to my best friend and wife, Claire and my sons William and Colin, for your love, patience and encouragement iii ACKNOWLEDGMENTS I would like to thank my committee members for the encouragement and guidance they have offered me during my graduate studies at The Florida State University College of Music. This dissertation is a synthesis of their influence and my studies while pursuing my degree at Florida State University.