DOCSLIB.ORG

Mozart, Alan Civil, Otto Klemperer, Philharmonia Orchestra

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mozart, Alan Civil, Otto Klemperer, Philharmonia Orchestra Mozart Horn Concertos mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Horn Concertos Country: UK Released: 1961 Style: Classical MP3 version RAR size: 1663 mb FLAC version RAR size: 1841 mb WMA version RAR size: 1766 mb Rating: 4.1 Votes: 486 Other Formats: APE DTS AHX MOD DMF FLAC AA Tracklist Concerto No. 2 In E Flat Major, K.417 A1.1 First Movement: Allegro Maestoso A1.2 Second Movement: Andante A1.3 Third Movement: Rondo Concerto No. 3 In E Flat Major, K.447 A2.1 First Movement: Allegro A2.2 Second Movement: Romance (Larghetto) B1 Third Movement: Allegro Concerto No. 4 In E Flat Major, K.495 B2.1 First Movement: Allegro Moderato B2.2 Second Movement: Romanza (Andante) B2.3 Third Movement: Rondo (Allegro Vivace) Concerto No. 1 In D Major, K.412 B3.1 First Movement: Allegro B3.2 Second Movement: Rondo (Allegro) Companies, etc. Printed By – Ernest J. Day & Co. Ltd. Made By – Ernest J. Day & Co. Ltd. Manufactured By – Columbia Graphophone Company Ltd. Credits Cadenza – Alan Civil (tracks: A2.1 to B2.3) Composed By – Mozart* Conductor – Otto Klemperer Horn – Alan Civil Liner Notes – Alan Civil Orchestra – The Philharmonia Orchestra* Notes Stereo version is SAX2406 Other versions Category Artist Title (Format) Label Category Country Year Mozart*, Alan Civil, Angel Mozart*, Alan Otto Klemperer, Records, 35689, S Civil, Otto 35689, S Philharmonia Angel 35689, S. Klemperer, 35689, S. US 1961 Orchestra - Horn Records, 35689 Philharmonia 35689 Concertos (LP, Angel Orchestra Album) Records Mozart*, Alan Mozart*, Alan Civil, Civil, Otto Otto Klemperer, SAX 2406 Klemperer, Philharmonia Columbia SAX 2406 UK 1961 Philharmonia Orchestra - Horn Orchestra Concertos (LP, RE) Mozart*, Alan Civil, Mozart*, Alan Otto Klemperer, Civil, Otto SMC 91 Philharmonia SMC 91 Klemperer, Columbia Germany Unknown 205 Orchestra - Horn 205 Philharmonia Concertos (LP, Orchestra Album) Mozart*, Alan Mozart*, Alan Civil, Civil, Otto Otto Klemperer, SAX 2406 Klemperer, Philharmonia Columbia SAX 2406 UK 1961 Philharmonia Orchestra - Horn Orchestra Concertos (LP) Mozart* - Alan Civil, His SXLP Mozart* - Alan Philharmonia SXLP Master's 30207, Civil, Philharmonia Orchestra, Otto 30207, Voice, His UK 1976 SXLP. Orchestra, Otto Klemperer - Four SXLP. Master's 30207 Klemperer Horn Concertos (LP, 30207 Voice RP) Related Music albums to Horn Concertos by Mozart Mozart / Alan Civil - Royal Philharmonic Orchestra, Rudolf Kempe - The Four Horn Concertos • Concert Rondo Mozart - Dennis Brain And The The Philharmonia Orchestra / Herbert von Karajan - Horn Concertos (Complete) Ludwig van Beethoven - Symphony No. 5 IN C Minore, Symphony No. 1 IN C Major Händel, The Boyd Neel String Orchestra, Boyd Neel, Thurston Dart - Handel Twleve Concerti Grossi, Op. 6 Oscar Shumsky, Artur Balsam - Mozart: Sonatas for Violin and Piano Vol. Four Mozart, Daniel Barenboim, New Philharmonia Orchestra, Otto Klemperer - Piano Concerto No. 25 In C, K.503 / Serenade No. 12 In C Minor, K.388 Mozart - Otto Klemperer Conducting The Philharmonia Orchestra - Symphony No. 29 In A Major, K.201 / Symphony No. 41 In C Major, K. 551 ("Jupiter") Mozart - James Brown , Virtuosi Of England, Arthur Davison - Mozart Horn Concertos Vivaldi - Yehudi Menuhin, Polish Chamber Orchestra, Jerzy Maksymiuk - Violin Concertos Ludwig van Beethoven, Jascha Heifetz, Arturo Toscanini, NBC Symphony Orchestra - Beethoven - Concerto In D Major, Op. 61 Dinu Lipatti and The Philharmonia Orchestra conducted by Alceo Galliera - Grieg: Concerto In A Minor For Piano And Orchestra; Chopin: Waltz In A Flat Major, Op. 34 No. 1 Dennis Brain And The Philharmonia Orchestra Conducted By Walter Süsskind : Mozart - Concerto No. 2 In E-flat For Horn And Orchestra.
Load more

Recommended publications
  • (ABH) and Gesellschaft Für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany
    Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. The narrative contrasts the strategies followed by two brass instrument manufacturers, one a new entrant the other an incumbent. It shows how the new entrant despite a slow start, small scale and a commitment to traditional artisanal skills, was able to develop the technology of the German horn and establish itself as one of the world’s leading brands of horn, while the incumbent firm despite being the first to innovate steadily lost ground until like many of the other leading horn makers of the 1930s, it eventually exited the industry. Keywords: Disruptive innovation, Creative Industries, Musical Instruments Introduction For much of the 19th and a substantial part of the 20th century, British orchestras had a distinctive sound. This differentiated them from their counterparts in many parts of Europe and the United States. This sound was the product of the instruments they played, most notably in the horn section of the orchestra. In Britain horn players typically utilized instruments modelled on the Raoux horn from France.
    [Show full text]
  • Open Research Online Oro.Open.Ac.Uk
    Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century.
    [Show full text]
  • BWTB Revolver @ 50 2016
    1 PLAYLIST AUG. 7th 2016 Part 1 of our Revolver @ 50 Special~ We will dedicate to early versions of songs…plus the single that preceded the release of REVOLVER…Lets start with the first song recorded for the album it was called Mark 1 in April of 1966…good morning hipsters 2 9AM The Beatles - Tomorrow Never Knows – Revolver TK1 (Lennon-McCartney) Lead vocal: John The first song recorded for what would become the “Revolver” album. John’s composition was unlike anything The Beatles or anyone else had ever recorded. Lennon’s vocal is buried under a wall of sound -- an assemblage of repeating tape loops and sound effects – placed on top of a dense one chord song with basic melody driven by Ringo's thunderous drum pattern. The lyrics were largely taken from “The Psychedelic Experience,” a 1964 book written by Harvard psychologists Timothy Leary and Richard Alpert, which contained an adaptation of the ancient “Tibetan Book of the Dead.” Each Beatle worked at home on creating strange sounds to add to the mix. Then they were added at different speeds sometime backwards. Paul got “arranging” credit. He had discovered that by removing the erase head on his Grundig reel-to-reel tape machine, he could saturate a recording with sound. A bit of….The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul 3 The Beatles - Here, There And Everywhere / TK’s 7 & 13 - Revolver (Lennon-McCartney) Lead vocal: Paul Written by Paul while sitting by the pool of John’s estate, this classic ballad was inspired by The Beach Boys’ “God Only Knows.” Completed in 14 takes spread over three sessions on June 14, 16 and 17, 1966.
    [Show full text]
  • Booklet 125X125.Indd
    1 2 3 CONTENTS A RECORDED HISTORY Philip Stuart 7 REMINISCENCES BY LADY MARRINER 18 A FEW WORDS FROM PLAYERS 21 HISTORY OF THE ACADEMY OF SAINT MARTIN IN THE FIELDS Susie Harries (née Marriner) 36 CD INFORMATION 44 INDEX 154 This Edition P 2020 Decca Music Group Limited Curation: Philip Stuart Project Management: Raymond McGill & Edward Weston Digital mastering: Ben Wiseman (Broadlake Studios) TH 60 ANNIVERSARY EDITION Design & Artwork by Paul Chessell Special thanks to Lady Marriner, Joshua Bell, Marilyn Taylor, Andrew McGee, Graham Sheen, Kenneth Sillito, Naomi Le Fleming, Tristan Fry, Robert Smissen, Lynda Houghton, Tim Brown, Philip Stuart, Susie Harries, Alan Watt, Ellie Dragonetti, Gary Pietronave (EMI Archive, Hayes) 4 5 A RECORDED HISTORY Philip Stuart It all started with L’Oiseau-Lyre - a boutique record label run by a Paris-based Australian heiress who paid the players in cash at the end of the session. The debut LP of Italianate concerti grossi had a monochrome photograph of a church porch on the cover and the modest title “A Recital”. Humble beginnings indeed, but in 1962 “The Gramophone” devoted a full page to an enthusiastic review, concluding that it was played “with more sense of style than all the chamber orchestras in Europe put together”. Even so, it was more than a year before the sequel, “A Second Recital”, appeared. Two more such concert programmes ensued [all four are on CDs 1-2] but by then the Academy had been taken up by another label with a shift in policy more attuned to record collectors than to concert goers.
    [Show full text]
  • CHAMBER Contents
    CHAMBER Contents Page a1 3 a2 31 a3 53 a4 60 a5 80 a6+ 89 Supplementary Performances On Period Instruments 103 Classic & Historic Performances 114 a1 The symbol denotes a signpost navigating the user to related content elsewhere in the Edition. Keys are indicated thus: Symphony in C = C major · Sonata in c = C minor 2 CD 1 73.52 Nannerl Notenbuch (excerpts) 16 Minuet in C K15f 1.02 1 Andante in C (No.53) K1a 0.17 17 Fantasia (Prelude) in G K15g 0.59 2 Allegro in C (No.54) K1b 0.14 18 Contredanse in F K15h 1.00 3 Allegro in F (No.55) K1c 0.48 19 Minuet/Minore in A/a K15i/k 2.04 4 Minuet in F (No.56) K1d 1.14 20 Contredanse in A K15l 1.06 5 Minuet in G (No.62) K1e 21 Minuet in F K15m 1.11 Minuet in C (No.63) K1f 1.57 22 Andante in C K15n 2.34 6 Minuet in F (No.58) K2 0.54 23 Andante in D K15o 2.05 7 Allegro in B (No.59) K3 0.57 24 Movement for a Sonata in g K15p (Movement 1?) 3.05 8 Minuet in F b(No.49) K4 1.16 25 Andante in B K15q (Movement 2?) 3.18 9 Minuet in F (No.61) K5 1.06 26 Andante in g bK15r (Movement 3?) 1.31 10 Allegro in C (No.20) K9a 3.10 27 Rondo in C K15s 0.37 Erik Smith harpsichord 28 Movement for a Sonata in F K15t 2.18 CD 10: alternative versions from Nannerl Notenbuch 29 Sicilianos in c K15u 1.45 CD 174: K9b fragment · CD 177: K9b completion 30 Movement for a Sonata in F K15v 2.30 31 Allemande in B K15w 2.18 London Sketchbook b Chamber a1 32 Movement for a Sonata in F K15x 0.54 11 Allegretto in F K15a 1.38 33 Minuet in G K15y 0.54 12 Andantino in C K15b 1.03 34 Gigue in c K15z 2.08 CD 194: K15b first version 35 Movement
    [Show full text]
  • Download Booklet
    SRCD.307 STEREO ADD MAW Sinfonia NICHOLAS MAW (b.1935) JOHN GARDNER (b.19 17) English Chamber Orchestra, Norman Del Mar Sinfonia (1966) * (30’00”) 9 Theme and Variations for Brass 1 1st Movement: Quartet Op. 7 (1951) (9’55”) Molto sostenuto (13’49”) GARDNER Theme & Variations DODGSON Sonata 2 2nd Movement: Threnody (9’30”) STEPHEN DODGSON (b.19 24) 3rd Movement: Variations (10’33”) 3 Sonata for Brass Quintet (1963) (10’48”) ADDISON Divertimento Philip Jones Brass Ensemble 10 1st Movement: Allegro moderato (1’54”) JOHN ADDISON (1920-1998) 11 2nd Movement: Poco adagio (2’37”) Divertimento for Brass 12 3rd Movement: Vivace (1’32”) Quartet Op. 9 (1951) (8’17”) 13 4th Movement: Lento (2’35”) 4 1st Movement: Fanfare (1’33”) 14 5th Movement: Allegro (2’10”) 5 2nd Movement: Valse (1’23”) 6 3rd Movement: Scherzo (1’09”) (62’56”) 7 4th Movement: Lullaby (2’06”) 8 5th Movement: Galop (2’06”) * English Chamber Orchestra conducted by Norman Del Mar Philip Jones Brass Ensemble Philip Jones & Elgar Howarth, trumpets Ifor James, horn John Iveson, trombone John Fletcher, tuba The above individual timings will normally each include two pauses. One before the beginning of each movement or work, and one after the end. *ൿ 1971 ൿ 1975 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering ൿ 2008 Lyrita Recorded Edition, England. © 2008 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the UK LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK NICHOLAS MAW movement before its insouciant close.
    [Show full text]
  • DMA Document
    UNIVERSITY OF CINCINNATI Date: 18-Jan-2010 I, Sherry Holbrook Baker , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Horn It is entitled: In Memoriam: Nine Elegiac Works for Horn, 1943–2004 Student Signature: Sherry Holbrook Baker This work and its defense approved by: Committee Chair: bruce mcclung, PhD bruce mcclung, PhD Randy Gardner, BM Randy Gardner, BM Alan Siebert, MM Alan Siebert, MM 3/4/2010 383 In Memoriam: Nine Elegiac Works for Horn, 1943–2004 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Division of Performance Studies of the College-Conservatory of Music by Sherry Holbrook Baker M.M., Michigan State University, 1999 B.M., University of Kentucky, 1997 Committee Chair: bruce d. mcclung, Ph.D ABSTRACT In Memoriam: Nine Elegiac Works for Horn, 1943–2004 September 2007 marked the fiftieth anniversary of the death of one of the twentieth century’s greatest hornists, Dennis Brain. It also marked the sixth anniversary of the September 2001 terrorist attacks on the United States. The horrific events of 11 September stunned the nation; the death of Brain at the age of thirty-six in a car accident affected his family, music lovers, and musicians. Composers have memorialized both tragedies in elegies for horn. In fact, a wide variety of elegiac works composed during the latter half of the twentieth century feature horn. This study investigates eight such memorial works for horn: Jeffrey Agrell’s September Elegy (2001), dedicated to the victims of the 11 September 2001 terrorist attacks; Hermann Baumann’s Elegia for Natural Horn (1984), dedicated to Francesco Raselli; Adrian Cruft’s Elegy for Horn and Strings (1967), dedicated to Dennis Brain; James Funkhouser’s In Memoriam (2004), dedicated to Elaine Crawford; Douglas Hill’s Elegy for Horn Alone (1998), dedicated to C.
    [Show full text]
  • Strange Brew√ Re-Exploring Seminal Rock Music | Edition 05 | Friday January 26 2007
    M i c h a e l W a d d a c o r ‘ s πStrange Brew Re-exploring seminal rock music | Edition 05 | Friday January 26 2007 Revolver : Thirty-five glorious minutes of Fabulous adventure and innovation An appreciation of a seminal psychedelic masterpiece Michael W addacor revisits the album many critics and fans regard as the greatest rock album of the last five decades. Three years into British Beatlemania, it seemed as if The Beatles in 1965 could do nothing wrong. The Fab Four recorded and released two excellent albums, Help and Rubber Soul. Both albums proved one certain fact: Lennon, McCartney, Harrison and Starr were improving as writers, musicians, arrangers and ideators with each successive album and showing greater degrees of wit, originality and musical distinction. Similarly, George Martin was evolving in leaps and bounds as one of the most imaginative and daring music producers of the 1960s. By this time, however, there were fans and critics who wondered if anyone, let alone The Beatles, could top the performance of Rubber Soul. With the release Front cover of The Beatles‘ Revolver album, based on in August 1966 of Revolver, The Beatles fast quelled a collage by Klaus Voormann (1966) any arguments about their culture of continuously improving creativity. Today, many Beatles Nineteen sixty-six was a watershed year enthusiasts rate this is as the band‘s best album. I for rock music œ a period of heightened shall settle on Revolver being a Top Five Beatles creativity marked by the release of several album along with Abbey Road, The Beatles, Sgt seminal albums, among them key works Pepper‘s Lonely Hearts Club Band and Rubber Soul.
    [Show full text]
  • Dennis Brain Discography
    DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.
    [Show full text]
  • LSUG Sept. 16Th 2012
    PLAYLIST SEPT. 16TH 2012 HR.1 HR 1 The Beatles - Wait - Rubber Soul (Lennon-McCartney) Lead vocals: John and Paul Recorded June 17, 1965 during the “Help!” sessions, the song was left unfinished when The Beatles had hit the deadline to submit the album. Five months later, as the deadline to submit “Rubber Soul” was upon them, they grabbed the unfinished song, threw on some overdubs and decreed it finished. Specifically, they added a tone pedal guitar, tambourine, maracas, and more vocals on November 11, 1965, the final day of recording for “Rubber Soul.” On U.S. album: Rubber Soul - Capitol LP The Beatles - For No One - Revolver (Lennon-McCartney) Lead vocal: Paul Written entirely by Paul in March 1966 while on vacation with then-girlfriend Jane Asher at the Swiss ski resort of Klosters. The backing track was recorded in 10 takes on May 9, 1966 with only Paul (piano) and Ringo (drums) present. John and George do not perform on this song. Overdubs included Paul on clavichord, and Ringo on cymbals and maracas. Paul’s lead vocal was recorded on May 16. The baroque-style French horn solo was credited to Alan Civil and recorded on May 19. Ringo’s original drum part was removed from the track in the reduction mixdown. The song was originally called “Why Did It Die?” Paul: “I was in Switzerland on my first skiing holiday. I'd done a bit of skiing in ‘Help!’ and quite liked it, so I went back and ended up in a little bathroom in a Swiss chalet writing ‘For No One.’ I remember the descending bass line trick that it's based on, and I remember the character in the song - the girl putting on her make-up.” On U.S.
    [Show full text]
  • British and Commonwealth Symphonies from the Nineteenth Century to the Present
    BRITISH AND COMMONWEALTH SYMPHONIES FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs and LPs Prepared by Michael Herman Composers A-G KATY ABBOTT (b. 1971) She studied composition with Brenton Broadstock and Linda Kouvaras at the University of Melbourne where she received her Masters and PhD. In addition to composing, she teaches post-graduate composition as an onorary Fellow at University of Melbourne.Her body of work includes orchestral, chamber and vocal pieces. A Wind Symphony, Jumeirah Jane was written in 2008. Symphony No. 1 "Souls of Fire" (2004) Robert Ian Winstin//Kiev Philharmonic Orchestra (included in collection: "Masterworks of the New Era- Volume 12") ERM MEDIA 6827 (4 CDs) (2008) MURRAY ADASKIN (1905-2002) Born in Toronto. After extensive training on the violin he studied composition with John Weinzweig, Darius Milhaud and Charles Jones. He taught at the University of Saskatchewan where he was also composer-in-residence. His musical output was extensive ranging from opera to solo instrument pieces. He wrote an Algonquin Symphony in 1958, a Concerto for Orchestra and other works for orchestra. Algonquin Symphony (1958) Victor Feldbrill/Toronto Symphony Orchestra ( + G. Ridout: Fall Fair, Champagne: Damse Villageoise, K. Jomes: The Jones Boys from "Mirimachi Ballad", Chotem: North Country, Weinzweig: Barn Dance from "Red Ear of Corn" and E. Macmillan: À Saint-Malo) CITADEL CT-601 (LP) (1976) Ballet Symphony (1951) Geoffrey Waddington/Toronto Symphony Orchestra (included in collection: “Anthology Of Canadian Music – Murray Adaskin”) RADIO CANADA INTERNATIONAL ACM 23 (5 CDs) (1986) (original LP release: RADIO CANADA INTERNATIONAL RCI 71 (1950s) THOMAS ADÈS (b.
    [Show full text]
  • Dennis Brain on Record
    DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Foreword and Introduction Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well.
    [Show full text]