DOCSLIB.ORG

High-Fidelity-1969-0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
High-Fidelity-1969-0 www.americanradiohistory.com ,3U 1 0IN0000G50NAPR JA7n Ai g GìUINLAN íEwAUNEE HI SCH CEk,AUNEE 4.I 54216 SñU!PJO3OH ay} !IAI all :saiuoqdwAg El sqoAo)ejsoqg zaafiuego agi aaeldad slenuew MON Ogl II!M slapow aeu angeaedu,00 wayl afipnr o1 MOH sJOñuBq3 'g 511 ta19ewin1 ¿0UO3S Toa all aanp ualel M.1113110 IA shad aye aneli 09 6961- -11add I H ai per 500 -TX is the atïle receï ver. Tune it manually. Traditionalists can tune AM and FM stations in the normal way, with Fisher's ultrasmooth flywneel drive. Or by push button. Preset your four favorite FM stations on the miniature dials. After that, tune to any one instantly, at the touch of a button. The station will be locked in electrically, so there'll be no drift. SOU. sfAte Or by AutoScan ipM-Ar 1t!!14 fCl1v Touch one of these two buttons and the next FM station up or down the dial is automatically tuned in, dead center. Hold down either button and all FM stations up or down the dial come in, one by one. having to switch mendous sensitivity. (Usable sensitivity tie stereo mode. 1.7 microvolts.) And it has a highly se- -channel speaker lective crystal filter that lets you pull in note speaker any - weak, distant stations located right next to stronger, local stations. In our tests If you connect a the 500 -TX was able to receive more you'll be able to clear stations than any other receiver or , or both tracks, tuner, regardless of price. speakers with a And speaking of price, that's the best mitor switch. feature of all. sher 500 -TX has It costs less than other, less power- : connection of an ful, less versatile, less sensitive receivers. ' an extraordinary It's $449.95. (Walnut cabinet, /our stereo sound. $22.95. Prices slightly higher in the Far Or by remote control. !r for details.) West.) With this optional accessory -ie 500 -TX. (the Fisher Rid -30, $9.95) 190 watts ±1dB at 8 ohms. Other receivers about the Fisher that claim big power are nearly always you can operate the AutoScan w. rated at 4 ohms. Their power into normal from your easy chair or bed. .emendous power 8 -ohm speaker systems is actually less. DO -TX offers tre- CIRCLE 30 ON READER -SERVICE CARD www.americanradiohistory.com The 19Owatt* Fisi world's most vers 1 11 1 1 1s 1i 1 iK 08 90 92 94 96 90 100 102 104 I'd'r' r,r ll tI11i 11i n _, 6[1 F`, 111 E !II' 3 a e % I TAN MCWIieN - PASS - 'eue Ir 7 You'll be able to do more things with mono speaker without - Mail this coupon the new Fisher 500 -TX than with any the receiver out of t for your free copy of The Fisher Handbook, 1969 other receiver in history. Simply use the center UR- edition. This reference guide In addition to being able to choose connection to feed a re. to hi -fi and stereo also your favorite FM station manually, or where in your home! Includes detailed information on all ways automatically, the 500 -TX And there's more. Fisher three components. lets you control speakers throughout stereo tape recorder, Fisher Radio Corporation 11 -35 45th Road your home. monitor either track Long Island City, N.Y.11101 You can set up, and control, a center - through both your stern channel speaker in your main stereo set- special mode /tape me Name up. Plus, you can set up remote stereo And more. The F' to Address speakers in another room and listen facilities for the simpl just the remote speakers. Or just the accessory that will adc City State Zip main stereo system. Or all at the same reverberation effect to 0104091 eJ time. (Ask your Fisher deal Plus, since the 500 -TX delivers an Other features of ti enormous 190 watts into an 8 -ohm load, There's even more The Fisher you'll have enough power to feed still an- 500 -TX you should knc other pair of stereo remote speakers. In addition to its ti PRICES St IGHTLY NIGHER IN TN( EAR WEST. Plus, you can feed a single, remote and versatility, the 5 www.americanradiohistory.com Do this. Or do this. Ordothis. Ordo this. www.americanradiohistory.com IOR 1d4 1 CO 96 92 88 illJTOSCAN 0 NIDI MUTIIG TUNING r ITN Orr If A TE ANNAMOt RECEIVER ru, cor .or eroe a 7171; # Nile! www.americanradiohistory.com ` ,. d 6"r;` SS POMP. ir AP 4Iik I MID Words are inherently limited in stimulating these cartridges to reproduce the entire range the emotions aroused by music. This is especially so of every instrument. With no loss of power. in describing how high fidelity components perform. In the case of brasses, this meant a cartridge With cartridges, for example, we speak of that could recreate the exact nuances that distinguish flat frequency response, high compliance, a trumpet from a cornet. A trombone from a low mass, stereo separation. Words like these bass trumpet. A Wagner tuba from a French horn. enlighten the technically minded. But they do We call this achievement "100% brass power." little or nothing for those who seek only When you play your records with an XV -15, you won't be the sheer pleasure of listening. concerned with even that simple phrase. We kept both aspects in mind when developing Instead, you'll just feel and enjoy the renewed experience the XV -15 series of cartridges. We made the of what high fidelity is really all about. technical measurements. And we listened. We listened especially for the ability of PICKER/NG THE NEW PICKERING XV- I5/750E. PREMIER MODEL OF THE XV-15 SERIES.TRACKS AT 1/2 T01 GRAM. DYNAMIC COUPLING FACTOR OF 750FOR USE IN FINEST TONEARMS.S60.00.OTHER XV -15 CARTRIDGES FROM $29.95. PICKERING & CO.,PLAINVIEW, L.I., N.Y. CIRCLE 49 ON READER-SERVICE CARD www.americanradiohistory.com HIGH FIDELITY VOL. 19 NO. 4, APRIL 1969 MUSIC AND MUSICIANS REPORTS FROM LONDON, AND VIENNA 14 THE OPERA REVIEWER STRIKES BACK Conrad L. Osborne 20 SHOSTAKOVICH'S SYMPHONIES Royal S. Brown An appraisal of the music and the recordings 43 ROCKS IN THEIR HEADS Arnold Shaw The professors have taken over rock 48 CYCLES Gene Lees Are we reliving the thirties? 100 ELVIS PRESLEY, INC. Morgan Ames For sale: one solid -gold public personality 104 AUDIO AND VIDEO TOO HOT TO HANDLE HF answers your more incisive questions 26 NEWS & VIEWS War of the Watts ... Good music versus money 28 EQUIPMENT IN THE NEWS The latest in audio gear 30 TURNTABLES: RENAISSANCE OF THE MANUAL? Robert Long The "automatic" revolution has influenced the manual turntables 34 HOW WE TEST TURNTABLES, ARMS, AND CHANGERS Daniel Gravereaux A CBS Labs audio engineer speaks out 39 EQUIPMENT REPORTS 55 Harman -Kardon HK -50 Sinall speaker with big sound spread Dual 1212 High performance from middle- priced automatic Sherwood S -8800a A top of the line stereo FM receiver C/ M Labs CC -2 preamp Simple styling, professional grade performance RECORDINGS FEATURE REVIEWS 63 Mattia Battistini-the greatest baritone in recording history? The spectacular virtuosity of trombonist Vinko Globokar Handel's Chandos anthems Orfeo- theatrical thrills from Monteverdi OTHER CLASSICAL REVIEWS Furtwängler's sub rosa Beethoven's Ninth . Strauss rarities by Fischer -Dieskau .... 67 IN BRIEF 96 REPEAT PERFORMANCE Peter G. Davis Esoteric exhumations from Columbia . A Lily Pons gala 98 THE LIGHTER SIDE The Deviants go Ptoof! . Noel Coward revisited 102 JAZZ Memoirs of Willie "The Lion" Sinith . Lenny Breau: prodigious guitarist 108 THEATER & FILM Chitty Chitty Bang Bang . Promises, Promises promises little 110 THE TAPE DECK R. D. Darrell Astrostereo by the fireside 112 ETC. WHAT DO YOU DO IN GREAT BARRINGTON'' 4 LETTERS TO THE EDITOR 6 PRODUCT INFORMATION 21, 115 ADVERTISING INDEX 114 Published at Great Barrington, Mass. 01230 by Billboard Publications, Inc. Copyright ` 1969 by Billboard Publications, Inc. The design and contents of High Fidelity Magazine are fully protected by copyright and must not be reproduced in any manner. Snond .class postage paid at Great Barrington and at additional mailing offices. Authorized es second lass mall by the Post Office Department, Ottawa and for payment of postage in cash. High Fidelity/Musical America Edition is published monthly. Subscription in the U.S.A. and Ds Possessions, 312; elsewhere, 313. Subscription including Concert Artist Directory published in December, $17, in the U.S.A. and its Possessions; elsewhere, 518. Regular issues 31.00 a copy. National and other editions published monthly Subscription in the U.S.A. and its Possessions, 57; elsewhere, S8. Regular issues 60d a copy. Indexed in the Reader's Guide to Periodical Literature. Mace N address notices and andellyered allies (Fern 3579) shellld be addressed te Nigh Fidelity, Sebstriptiel Department, 2160 Pattersee Street, Clechmett, Chie 45214. Please state bah old tad mea addresses ahan regeeetlag a change. APRIL 1969 3 www.americanradiohistory.com LEONARD MARCUS What Do You Do in Great Barrington? Editor DEAR READER: NORMAN EISENBERG Audio-Video Editor Among the letters that enter my In Box, two seem to be eternally can I become a record reviewer for reappearing. One asks, "How PETER G. DAVIS HIGH FIDELITY (or a concert reviewer for Musical America) ?"; the Music Editor other wants to know, "What goes on in Great Barrington ?" I shall leave to a future letter my answer to the first, which after all is SHIRLEY FLEMING mainly of interest to writers, those who think they are, music Editor, Musical America Section experts, those who think they are, and those who would like to be.
Load more

Recommended publications
  • Decca Discography
    DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable.
    [Show full text]
  • Der Fliegende Holländer
    WAGNER DER FLIEGENDE HOLLÄNDER Theo Adam Anja Silja Martti Talvela Gerhard Unger Ernst Kozub Annelies Burmeister BBC Chorus New Philharmonia Orchestra OTTO KLEMPERER THE HOME OF OPERA Klemperer conducts Der fliegende Holländer With The Flying Dutchman was born the modern musical drama. Ernest Newman On 29 July 1839, the small, London-bound merchant vessel Thetis, running before a fierce storm in the Skagerrak, took shelter in a Norwegian fjord. As the anchor was dropped and the sails were furled, the shouts of the crew echoed around the fjord’s granite cliffs filling one of the passengers with what he later described as an indescribable contentment. Strictly speaking, the 26-year-old Richard Wagner, his wife, Minna, and their Newfoundland dog were stowaways, smuggled across the Russian border to the port of Pillau [present-day Baltisyk] under the noses of armed Cossack guards. They had to be smuggled because the passport of the debt-ridden young music director had been confiscated by the Riga authorities. It is a sobering thought that, had the Thetis foundered, the Wagners would not have reached Paris (their eventual destination) and Western music would not have taken the course it did in the wake of Wagner’s revolutionary influence. We have no way of knowing whether the figure of the Flying Dutchman presented itself to Wagner as the Thetis heaved and wallowed off the Norwegian coast. He knew the story, and in later years was unperturbed when connections were made in people’s minds between the legendary Dutchman and the young vagabond Wagner: outcast, world-wanderer, seeker of the love of the ‘infinitely womanly woman’.
    [Show full text]
  • High Fidelity Magazine June 1956
    ify. I Ai 1. 1i Ijj AGAZINE FOR MUSIC LIST ENERS a 50 CENTS 1 0 i A DISCOGRAPHY BY HAROLD SCHONBERG www.americanradiohistory.com cuuliatape now offers you THE MOST COMPLETE LINE of recording tape and accessories O PLASTIC -BASE AUDIOTAPE O TYPE "LR" AUDIOTAPE O TYPE "EP" AUDIOTAPE The finest, professional quality recording Made on 1 -mil i\lylare polyester film, it Extra Precision magnetic recording tape for tape obtainable - with maximum fidelity, provides 50% more recording time per reel. tclemctering, electronic computers and other uniformity. frequency response and freedom The thinner, stronger hase material assures specialized data recording applications. from background noise and distortion. ntaxinutnt durability and longer storage life O ADHESIVE REEL LABELS COLORED AUDIOTAPE even tinder adverse conditions. O Provide positive identification of your tapes. Same professional quality as above, but on O SELF -TIMING LEADER TAPE right on the reel. blue or green plastic base. Used in conjunc- A durable, white plastic leader with spaced tion with standard red -brown tape, it pro- markings for accurate timing of leader in- HEAD ALIGNING TAPE vides instant visual identification of recorded tervals. Test frequencies, pre -recorded with precisely selections spliced into a single reel - fast, correct azimuth alignment, permit accurate easy color cueing and color coding. Avail- O SPLICING TAPE aligning of magnetic recording heads. able at no extra cost! Permacel 91 splicing tape is specially formu- lated to prevent adhesive from O AUDIO HEAD DEMAGNETIZER O COLORED AUDIOTAPE REELS squeezing out, drying up or becoming brittle. Completely removes permanent magnetism Plastic 5" and 7" Audiotape reels in attrac- from recording heads in a few seconds.
    [Show full text]
  • Autographen-Auktion 5
    AUTOGRAPHEN-AUKTION 5. April 2003 Dorint Hotel, 41061 Mönchengladbach, Hohenzollernstr. 5 Los 1363 Victor Vasareley Axel Schmolt Autographen-Auktionen 47807 Krefeld Willicher Straße 7 Telefon 02151-30 51 00 Telefax 02151-30 88 66 E-Mail: [email protected] Autographen – Auktion am Samstag, den 5. April 2003 Dorint Hotel, 41061 Mönchengladbach, Hohenzollernstr. 5 Die Versteigerung beginnt um 10.00 Uhr. Pausen nach den Gebieten Literatur und Bühne-Film-Tanz Im Auktionssaal sind wir zu erreichen: Telefon (02161) 893 752 und Fax (02161) 893 617 Während der Auktion findet im Auktionssaal keine Besichtigung statt. Die Besichtigung in unseren Geschäftsräumen kann zu den nachfolgenden Terminen wahrgenommen werden oder nach vorheriger Vereinbarung. 29.3.2003 (Samstag) von 10.00 bis 16.00 Uhr und 31.3.2003 – 4.4.2003 von 10.00 bis 17.00 Uhr Bei Überweisung der Katalogschutzgebühr von EUR 10,- senden wir Ihnen gerne die Ergebnisliste der Auktion zu. Autographen - Auktionen Axel Schmolt Willicher Straße 7 47807 Krefeld Tel. 02151 – 30 51 00 / Fax 02151 – 30 88 66 Internet: http://www.schmolt.de Wichtiger Hinweis: Mit der Abgabe der Gebote für die Autographen, Dokumente und Bildpostkarten aus der NS-Zeit verpflichtet sich der Bieter dazu, diese Ware lediglich für historisch-wissenschaftliche Sammelzwecke zu erwerben und in keiner Weise propagandistisch im Sinne des § 86 StGB zu benutzen. - Allgemeine Versteigerungsbedingungen - Diese allgemeinen Auktionsbedingungen sind auch ohne schriftliche Anerkennung bei Abgabe persönlicher oder schriftli- cher Gebote ausschließlich maßgebend. 1. Die Versteigerung ist öffentlich und freiwillig. Alle Lose werden mit Ausnahme der eigenen Lose des Versteigerers im fremden Namen und für fremde Rechnung gegen sofortige Bezahlung in EUR versteigert.
    [Show full text]
  • Associació Wagneriana. Apartat Postal 1159. Barcelona 08080 [email protected]
    CDs. L’OBRA DRAMÀTICA DE R. WAGNER. Qui és el director amb els temps més ajustats? Quin tenor ens colpeix més en la mort de Tristany? Quin ha estat el Gurnemanz més savi?........ Segons les respostes a aquestes i a moltíssimes més preguntes es pot confeccionar una llista de CDs o una altra. Una que doni més relleu a versions històriques o que reculli les més recents de manera que puguem escoltar els bons cantants actuals, que existeixen, sense haver de suportar les escenografies espantoses que avui dia es fan. O una mica de cada...... No volem ni podem ser exhaustius. A la xarxa trobareu més d0un lloc amb tot el que s’ha editat i totes les versions de les obres de Wagner. Nosaltres només volem obrir un espai de participació pels socis i us demanem que ens feu arribar les vostres predilectes amb un comentari, que si voleu publicarem en aquest espai, i així anirem entre tots compartint coneixements i emocions. DIE FEEN / LES FADES / LAS HADAS 1. Intèrprets: Kurt Moll, Linda Esther Gray, Kari Lövaas, Krisztina Laki, John Alexander, Cheryl Studer. Cor i orquestra: Chor des Bayerischen Rundfunk / Symphonieorchester des Bayerisches Rundfunk Director: Wolfgang Sawallisch Gravació d’una representació dels Festivals d’òpera de Munich ORFEO, 1984 2. Intèrprets: Jyrki Korhonen, Sue Patchell, Ulrize Sonntag, Manuela Kriscak, Raimo Sirkïa, arthur Korn Cor i orquestra: del Teatro Comunale di Cagliari Director: Gabor Ötvös Associació Wagneriana. Apartat postal 1159. Barcelona 08080 Http://www.associaciowagneriana.com [email protected] DAS LIEBESVERBOT / LA PROHIBICIÓ D’ESTIMAR / LA PROHIBICIÓN DE AMAR 1.
    [Show full text]
  • Marijke Van Der Lugt
    MARIJKE VAN DER LUGT (ROTTERDAM 1919 – DEN HAAG 1989) LEVEN EN LOOPBAAN Höre ich nur diese Weise, Die so wundervoll und Leise, Wonne klagend, alles sagend, Mild versöhnend aus ihm tönend, in mich dringet, auf mich schwinget, hold erhallend um mich klinget? (uit: Isolde’s Liebestod) Maart 2008 INLEIDING Marijke van der Lugt kan worden beschouwd als een van de grootste na-oorlogse operazangeressen die Nederland heeft voortgebracht. In de toch al zo rijke zangcultuur van ons land heeft het aan vooraanstaande zangeressen nooit ontbroken en menigeen heeft naam gemaakt bij de wisselende Nederlandse operagezelschappen aan het eind van de negentiende en de eerste decennia van de twintigste eeuw, de Wagnervereeniging en in het buitenland. Namen als Aaltje Noorderwier-Reddingius en Cato Engelen-Sewing, om ons tot sopranen te beperken, hebben bij operaliefhebbers nog steeds een bekende klank en de stemmen van latere sopranen als Greet Koeman, Erna Spoorenberg, Gré van Swol-Brouwenstijn en Antoinette Tiemessen heeft menigeen nog op het operatoneel kunnen bewonderen. Sopranen die zich op grond van hun bijzondere stemeigenschappen bekwaamden in het dramatische of zelfs hoogdramatische vak zijn uiterst zeldzaam gebleven. Na Liesbeth Poolman-Meissner en Elisabeth Ohms, die een grote naam verwierven in voornamelijk het hoogdramatisch Wagner- en aanverwant repertoire in de eerste helft van de twintigste eeuw, is het alleen Marijke van der Lugt geweest die in dit specialistische domein werkzaam is geweest en lauweren heeft geoogst. Merkwaardig echter is het feit dat haar naam bij niet-ingewijden geen of weinig herkenning oproept, zoals gaandeweg dit onderzoek is gebleken, terwijl haar carrière toch goed te volgen is geweest in de kranten en via de vele radio-uitzendingen waaraan zij heeft meegewerkt.
    [Show full text]
  • Radio 3 Listings for 16 – 22 August 2008 Page 1 of 37
    Radio 3 Listings for 16 – 22 August 2008 Page 1 of 37 SATURDAY 16 AUGUST 2008 Trio No.2 in C major Valentinas Gelgotas (flute), Vitalija Raskeviciute (viola), SAT 01:00 Through the Night (b00cx90l) Gediminas Derus (cello) With Susan Sharpe. Gluck, Christoph Willibald (1714-1787) Mozart, Wolfgang Amadeus (1756-1791) Dance of the Furies, from Act II of Orfeo ed Euridice Violin Concerto no. 3 (K.216) in G major Zagreb Philharmonic Orchestra, Lovro von Matacic (conductor) Director James Ehnes (violin), Mozart Anniversary Orchestra Glazunov, Alexander Konstantinovich (1865-1936) Mozart, Wolfgang Amadeus (1756-1791) Gavotte in D (Op.49 No.3) Violin Concerto no. 4 (K.218) in D major Stefan Lindgren (piano) Director James Ehnes (violin), Mozart Anniversary Orchestra Förster, Kaspar Jr (1616-1673) More of this Mozart with Ehnes in tomorrow's concert Dialogus a 5 'Quid faciam misera?' Olga Pasiecznik & Marta Boberska (sopranos), Dirk Snellings Schubert, Franz (1797-1828) (bass), Il Tempo Baroque Ensemble – Wim Maseele (theorbo), Piano Sonata in B flat major (D.960) Anna Sliwa (viola), Lilianna Stawarz (chamber organ), Marcin Leon Fleischer (piano) Zalewski (bass viol), Agata Sapiecha (violin & director) Holst, Gustav (1874-1934) Rimsky-Korsakov, Nikolai (1844-1908) The Planets – suite (Op.32) Capriccio Espagnole BBC Symphony Chorus, BBC Symphony Orchestra, Leonard Stavanger Symphony Orchestra, Alexander Dmitriev Slatkin (conductor) (conductor) Spohr, Louis (1784-1859) Granados, Enrique (1867-1916) "Notturno for wind and Turkish band in C major,
    [Show full text]
  • High-Fidelity-1959-Dec.Pdf
    STEREO ISCS 1959 culling the year's harvest DECEMBER THE MAGAZINE FOR MUSIC LISTENERS 60 CENTS Handel's Messiah Newly Recorded An appraisal of four new stereo versions by NATHAN BRODER Otto Klemperer A tall man against adversity by PETER HEYWORTH www.americanradiohistory.com 3 SECONDS... It's the Glaser- Steers GS -77. You 6 SECONDS... the turntable has stopped can tell by its modern -the next trim styling-a hint of the precise record drops gently into play mechanism that's 'under- position. Suddenly you are the -hood'. A record has just com- aware that you have just seen something different- pleted its play. The tone arm has lifted differ- from the groove ent from any changer you've ever known. You and returns to rest. So far, so good have seen -it might be any how turntable pause eliminates the harsh grinding action changer. But, here's where the similarity ends. Watch caused by dropping what happens one record on another or onto the next. turntable while in motion. 9 SECONDS... the tone arm leaves its rest, moves The GLASER - STEERS GS-77 is ,vorthy toward the record, and then- gently, sets itself down into of the finest stereo or monophonic system. It is designed the lead -in groove of the record. Then -and only then and engineered to protect your records and add hours of does the turntable resume its motion. In these 9 seconds listening pleasure to your treasured recordings. Enhance you have seen a record handled automatically with the performance of your high fidelity system, today.
    [Show full text]
  • Recordings - Chronological Order Last Updated April 2007
    Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Recordings - chronological order Last updated April 2007 1947 Beethoven 9th Symphony WALTER conductor Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons London Philharmonic Orchestra Label: BBC 1947 Brahms Alto Rhapsody CLEMENS KRAUSS conductor Kathleen Ferrier, Phyllis Spurr, Max Gilbert, John Newmark London Philharmonic Orchestra Label: Naxos 1947 Stravinsky Symphony of Psalms ERNEST ANSERMET conductor Norma Proctor , London Symphony Chorus London Philharmonic Orchestra Label: 1949 Bloch Sacred Service ERNEST BLOCH ERNEST conductor London Philharmonic Orchestra Label: 1950 Borodin Povlovzian Dances EDUARD VAN BEINUM conductor London Philharmonic Orchestra Label: 1951 Various Zadok the Priest, Hallelujah Chorus, etc. VARIOUS conductor Bach Choir, New London Bach Choir, Alexandra Choir, BBC Choral Society, Croydon Philharmonic Choir, Goldsmith's Choral Union, & Royal Choral Society BBC Symphony Orchestra, Philharmonia Orchestra, London Symphony Orchestra Label: 1953 Berlioz Te Deum SIR THOMAS BEECHAM conductor Alexander Young, Dulwich Boys Choir Royal Philharmonic Orchestra Label: 1953 Delius A Mass of Life SIR THOMAS BEECHAM conductor Rosina Raisbeck, Monica Sinclair, Charles Craig, Bruce Boyce Royal Philharmonic Orchestra Label: www.lpc.org.uk Administration +44 (0) 20 7193 1382 Membership +44 (0) 2020 71937193 13781378 Facsimile +44+44 (0)7092(0)7092 382468382468 BISHOPSGATE INSTITUTE, 230 BISHOPSGATE LONDON EC2M 4QH Charity Number
    [Show full text]
  • WNIB Program Schedule Feburary 1972
    ,~,...,_~ _,,,,...,...,. _....,,.,..,. ,.,,. - ~ _ ____ _, ,,,,..-------·.-~-,--- --~ _,,,_,_~~~~'!l!tt<::~~-""""i"'..-.J•~-_,,..,_,...,!<- ,,__ !'Mi'-"~"" r~'°l"""'"'I ~---~ •-~-~,.,.........,.,,.,,,_,,,,_.._,,,~~ PROGRAM SCHEDULE WNIB 97.1 fm February, 1972 The Advent Loudspeaker_ ... _ and The Smaller Advent Loudspeaker Both available at_ Beverly Near North Morton Grove Oak Park 2035 W. 95 th 48 E. Oak 5700 W. Dempster 7045 W. North 779-6500 337-4150 967-6690 383-7006 TUESDAY, WEDNESDAY, FRIDAY & SATURDAY 10 AM - 6 PM; MONDAY & THURSDAY 10 AM - 9 PM 9481); & "Romany Life" - Jeannette MacDonald, s (RCA 2908) PROGRAM SCHEDULE HERBERT "Sunset" - Orch/Andre Kostelanetz (Col M 30075) .WNIB 6 PM CHABRIER Trois· valses roman- 97.1 fm tiques - Robert & Gaby Casadesus, p (Col MS 6323) THOMAS "Raymond" Overture - New York Phil/Leonard Bernstein (Col ML 6143) MEYERBEER "0 Paradiso" from "L'Africaine" - Giuseppe di Stefano, t (OGG WNIB Program Schedule is published by Radio Station WNIB, 25 East Chestnut, 138 827) ; HALEVY "Rachel, quand du Seigneur" Chicago, Illinois 60611. Phone: 337-5252. Subscription rates: one year $5. 00; from "La Juive" -Placido Domingo, t(RCA 3083); two years $9. 00; three years $12. 00. & SAINT SAENS "Arretez, o mes freres" from "Samson e Dalila" -Jon Vickers, t (Ang 36210) SAINT SAENS Fantasy for Violin & COVER: "Ji,olation", acrylic, charcoal, and ink on canvas, by William T, Wi­ Harp, Op. 124 - Ruggiero Ricci, vn; Gloria le This work is from the exhibit of the art of William T. Wiley at the Art Agostino,harp (Dec DL 710177) In~titute of Chicago through February 20, The cover painting was lent to the SAINT SAE:NS Fantasia in E~ - E.
    [Show full text]
  • Wagner Der Fliegende Holländer. Pentatone Inaugura Il Ciclo Per Il Bicentenario Pubblicato Su Gothicnetwork.Org (
    Wagner Der fliegende Holländer. Pentatone inaugura il ciclo per il bicentenario Pubblicato su gothicNetwork.org (http://www.gothicnetwork.org) Wagner Der fliegende Holländer. Pentatone inaugura il ciclo per il bicentenario Articolo di: Livia Bidoli [1] La Pentatone ha inaugurato da settembre 2011 il suo omaggio a Wagner rilasciando il primo dei pacchetti dedicati alle sue opere: Der Fliegende Holländer, composto tra 1840 e '41. Ben dieci ne comporranno il ciclo sotto la direzione di Marek Janowski con la Rundfunkchor Berlin & Rundfunk-Sinfonieorchester Berlin. Un cast eccezionale affronta questa “ballata scenica” (Wagner dixit), opera che abbozza le forme primeve di letimotiv e di melodia infinita, il fulcro fondante del Musikdrama. Presentiamo i cantanti: Albert Dohmen nella parte dell'Olandese (basso-baritono), Ricarda Merbeth in quella di Senta (soprano), Matti Salminen come Daland (basso), Robert Dean Smith (Erik, tenore), Silvia Hablowetz (Mary, mezzosoprano), Steve Davislim ( Steuermann, tenore). Una registrazione colossale quella che ci attende all'ascolto: alla stessa stregua di quelle di Otto Klemperer (la sua del 1968 per EMI è con la BBC New Philharmonia Chorus & Orchestra e Theo Adam, Anja Silja, Martti Talvela, Ernst Kozub, Gerhard Unger, Annelies Burmeister) di cui Marek Janowski occupa la Guest Conductor Chair alla Pittsburgh Symphony Orchestra, e ricordando inoltre che la sua prima incisione per intero del Ring (Der Ring des Nibelungen) è stata tra 1980 e 1983 per RCA. Queste registrazioni dedicate al bicentenario della nascita di Wagner (1813) che si compirà nel 2013, sono invece recentissime, a cominciare da questa per Der Fliegende Holländer alla Filarmonica di Berlino del 13 novembre 2010, che affronta l'Ouverture introduttiva e declamatoria dei temi principali con piglio direttivo possente e vigoroso, con trombe ed ottoni ben calibrati e passaggi lirici teneramente “velati”, la cui ripresa è tornita da epico romanticismo.
    [Show full text]
  • Festivals De Bayreuth
    FESTIVAL DE BAYREUTH Lohengrin 1876 – 2021 1909 Parsifal L’Anell del Nibelung 1876 L’Anell del Nibelung Lohengrin 1882 Parsifal 1911 Parsifal 1883 Parsifal L’Anell del Nibelung 1884 Parsifal Els Mestres Cantaires 1886 Parsifal de Nuremberg Tristan i Isolde 1912 Parsifal 1888 Parsifal L’Anell del Nibelung Els Mestres Cantaires Els Mestres Cantaires de Nuremberg de Nuremberg 1889 Parsifal 1914 Parsifal Tristan i Isolde L’Anell del Nibelung Els Mestres Cantaires L’Holandès errant de Nuremberg 1924 Parsifal 1891 Parsifal L’Anell del Nibelung Tristan i Isolde Els Mestres Cantaires Tannhäuser de Nuremberg 1892 Parsifal 1925 Parsifal Tristan i Isolde L’Anell del Nibelung Els Mestres Cantaires Els Mestres Cantaires de Nuremberg de Nuremberg Tannhäuser 1927 Parsifal 1894 Parsifal L’Anell del Nibelung Tannhäuser Tristan i Isolde Lohengrin 1928 Parsifal 1896 L’Anell del Nibelung L’Anell del Nibelung 1897 Parsifal Tristan i Isolde L’Anell del Nibelung 1930 Parsifal 1899 Parsifal L’Anell del Nibelung L’Anell del Nibelung Tristan i Isolde Els Mestres Cantaires Tannhäuser de Nuremberg 1931 Parsifal 1901 Parsifal L’Anell del Nibelung L’Anell del Nibelung Tristan i Isolde L’Holandès errant Tannhäuser 1902 Parsifal 1933 Parsifal L’Anell del Nibelung L’Anell del Nibelung L’Holandès errant Els Mestres Cantaires 1904 Parsifal de Nuremberg L’Anell del Nibelung 1934 Parsifal Tannhäuser L’Anell del Nibelung 1906 Parsifal Els Mestres Cantaires L’Anell del Nibelung de Nuremberg Tristan i Isolde 1936 Parsifal 1908 Parsifal L’Anell del Nibelung L’Anell del Nibelung
    [Show full text]