1937-12-24, [P ]
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Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms international A Bell & Howell Information Company 300 North! Z eeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9130640 The influence of Leonard B. Smith on the heritage of the band in the United States Polce, Vincent John, Ph.D. -
! Star ! | Dust | J Constipated?
THE SUN, NEWBERRY, S. C„ FRIDAY, FEBRUARY 4, 1938 — — IMPROVED Ferry Boat Passengers Cool Their Heels UNIFORM INTERNATIONAL CALL RECRUITS CLASSIFIED ! STAR ! IN SYPHILIS WAR UNDAY I DEPARTMENT chool Lesson Call for “recruits” in the “War | DUST | SBy REV. HAROLD L. LUNDQUIST. Against Syphilis” by Gen. John J. Dean of the Moody Bible Institute of Chicago. Pershing and Dr. Ray Lyman Wil LADIES © Western Newspaper Union. bur will be heard throughout the i for ' ★ JMovie • Radio * country. General Pershing is chair- wanted. ★ ★ Lesson for February 6 ★★★By VIRGINIA VALE★★★ CHALLENGING THE SOCIAL AMES CAGNEY has patched ORDER up his quarrel with Warner AROUND J LESSON TEXT—Mark 2:13-22. Brothers and Margaret Sulla- GOLDEN TEXT—I came not to call the righteous, but sinners—Mark 2:17. THE HOUSE van has made peace with the PRIMARY TOPIC—When Jesus Had Din Universal company, which is ner With Matthew. JUNIOR TOPIC—When Jesus Passed By. To Bake Potatoes.—Potatoes good news to all the admirers INTERMEDIATE AND SENIOR TOPIC will bake more quickly if cut in who have missed them. Cagney —Helping by Being Friendly. halves. Melt a little butter in a YOUNG PEOPLE AND ADULT TOPIC— will be rewarded with the very Crusading for a Christian Society. baking pan, place halved potatoes best story Warners own, the cut side down in it and bake. “Crusading for a Christian Socie • . • great New York stage hit “Boy ty,” is,one of the topics assigned for Ironing Linens.—When ironing Meets Girl.” consideration today. Everyone who ecru linens always iron them on It is a rollicking story about two is right thinking would be glad if the wrong side. -
Porgy and Bess» in Oltre Settant’Anni Di Interpretazioni DISCOGRAFIA SU «PORGY and BESS»
1 Giovinezza di «Porgy and Bess» in oltre settant’anni di interpretazioni DISCOGRAFIA SU «PORGY AND BESS» di Aloma Bardi [all’interno di ciascun capitolo, le voci sono elencate secondo l’ordine cronologico delle registrazioni] I. «PORGY AND BESS» NELL’INTERPRETAZIONE DI GEORGE GERSHWIN Gershwin performs Gershwin: Rare recordings, 1931-1935. Registr. dal vivo delle prove di una selezione dell’opera; 19 luglio 1935. Introduction – Summertime (Abbie Mitchell); A woman is a sometime thing (Edward Matthews); Atto I, Scena I, Finale; My man’s gone now (Ruby Elzy); Bess, you is my woman now (Todd Duncan, Anne Brown); George Gershwin, pf., dir. e annunciatore; 18:07; MusicMasters 5062-2-C, 1991. Testimonianza memorabile per respiro melodico, scelta dei tempi e ritegno antisentimentalistico risultanti dalla concezione sinfonica della direzione, che pone le voci nel fitto tessuto strumentale. II. INCISIONI DELL’OPERA In Porgy and Bess, la definizione di opera integrale e di versione definitiva è articolata e richiede una precisazione: l’edizione per voce e pf., l’unica stampata e pubblicamente disponibile (Warner Bros., 1935) non è una riduzione della partitura orchestrale, bensì testimonia la fase precedente a quella dell’orchestrazione ed è legata agli abbozzi manoscritti; Gershwin orchestrò l’opera mentre tale ed. era già in stampa. Il testo definitivo è invece convenzionalmente – e discutibilmente – considerato quello stabilito durante le rappresentazioni del debutto a Broadway, risultante da tagli numerosi e talora estesi, per lo più effettuati allo scopo di abbreviare la durata dello spettacolo e di eliminare difficoltà per gli interpreti o complessità ritenute eccessive in quel particolare contesto. Porgy and Bess. -
Hinneapolis, July UNIVERSITY of Ndmesota for JMMEDIATE
F UNIVERSITY OF NDmESOTA NEWS SERVICE • JULY 1, 1949 FOR JMMEDIATE RELEASE Pr r::-s '(('If tl-.SC~~ Hinneapolis, July - Conflicting viewpoints on how a high level of employment can be reached and maintained in this country -are presented in an informal manner in a new booklet, "Jobs for All: A Primer of Theory", publishod by the University of Minnesota Preas for the University's Industrial Relations Center. Authors of the book are Benjamin Rogge, former ,1J1.ember of the University of Minnesota staff now on the faculty of Northwestern Universit;y, and Dr. Robert G. - . Heneman, Jr., assistant director and research ass6~iite in the Minnesota Industrial Relations Center. The discussion of the problem of employmen\ was written by Rogge and Dr. Heneman in the form of a conversation between an unemployed man and a professor and tll0 experts who propose widely different metho~s of attaining full employment. Tho unemployed man asks questions most people would like the 'anm-rers to. Why are some persons unemployed? What can be done about it? The t"TO experts in the book answer these questions, each according to his point of view--one favoring government intervention, one for local adjustments. "Jobs for A1~' was written with the intention of helping popular understand- ')g of the problem, and to clarity the position of the two theories in order that ,L'" search into the subject may be applied more effect!vely• The only conclusions drawn by the authors of the book are that features of both theories are needed to help solve unemployment. -
Henry S. Bukowski Big Band Collection
Henry S. Bukowski Big Band Collection NMAH.AC.0678 David Haberstich 2001 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Scope and Contents note................................................................................................ 2 Biographical/Historical note.............................................................................................. 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Henry S. Bukowski Big Band Collection, [primarily photoprints] NMAH.AC.0678 Collection Overview Repository: Archives Center, National Museum of American History Title: Henry S. Bukowski Big Band Collection, [primarily photoprints] Identifier: NMAH.AC.0678 Date: ca. 1930s-1940s Creator: Bukowski, Henry S., 1922- National Museum of American History (U.S.). Division of Community Life Extent: 1 Cubic foot (3 boxes) -
Agma-Equity Fledermaus Dispute
VOL. IV, No.2 PUBLISHED BY AMER!CAN GUILD OF MUS!CAL ARTISTS, Inc., A. F. of L AUGUST, 1951 OFFI CERS OFFICES LA WRENCE TIBBETT New York 18 President 276 West 43rd Street ASTRID VARNAY Telephone: LOngacre 5·7508, 9, 10 1st Vice·President • JASCHA HEIFETZ Los Angeles 2nd Vice-President EDWARD A. ROSENBERG MACK HARRELL 6636 Hollywood Blvd. 3rd Vice-President Hollywood 28, Calif. Telephone: HUdson 2·2334 JAMES PEASE 4th Vice-President • San Franscisco DONALD DAME Treasurer THEODORE HALE 216 Pine Street LEOPOLD SACHSE Telephone : Sutter 0855 5th Vice-President • ELISABETH HOEPPEL Philadelphia Recording Secretary EDWARD DAVIS HYMAN R. FAINE 215 S. Broad Street Executive Secretary Telephone: KIngsley 5-4310 HOWARD M. LARAMY • Assistant to Executive Secretary Chicago RITA NASSER IRVING MEYERS Financial Secretary 188 W. Randolph Street Telephone: STate 2·0585 • • JAFFE JAFFE & HOWARD M. LARAMY Counsel Editor AGMA-EQUITY FLEDERMAUS DISPUTE On July 16, 1951 Lawrence Tibbett, National President and Actors Equity and Chorus Equity Associations over the juris Hyman R. Faine, National Executive Secretary of AGMA is distion of the "Fledermaus" and after the dispute had been sued the following release: "In the interests of the performers taken to the International Board of the 4A's, the parent body who have been engaged by the Metropolitan Opera Associa of Equity and AGMA. tion and other companies for their roles in the Fledermaus, In this whole controversy, AGMA at no time denied the ex the American Guild of Musical Artists is withdrawing its istence of an agreement dated June 13, 1939 which had been claim, based upon the contracts with such companies, to act drawn up by a joint committee of AGMA, Actors Equity and as the exclusive collective bargaining representative of such Chorus Equity, and had been signed by their representatives. -
Porgy and Bess”, Icamus 2015
Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. Giovinezza di «Porgy and Bess» in ottant’anni di interpretazioni 1935-2015 DISCOGRAFIA DI «PORGY AND BESS» di ALOMA BARDI ICAMus 2015 1 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. INDICE Pag. 5 INTRODUZIONE Pag. 6 I. «PORGY AND BESS» NELL’INTERPRETAZIONE DI GEORGE GERSHWIN Pag. 6 II. INCISIONI DELL’OPERA Pag. 14 III. INCISIONI DI PARTI E SELEZIONI DELL’OPERA Pag. 21 IV. SUITES DA «PORGY AND BESS» Pag. 21 IV.I CATFISH ROW, A SYMPHONIC SUITE FROM «PORGY AND BESS» (Gershwin, 1936) Pag. 22 IV.II PORGY AND BESS, A SYMPHONIC PICTURE (arrangiamento Robert Russell Bennett, 1943; discografia selezionata) Pag. 23 IV.III ALTRE SUITES O SELEZIONI PER ORCHESTRA DA «PORGY AND BESS» Pag. 24 V. TRASCRIZIONI DEGNE DI NOTA, ELABORAZIONI, ARRANGIAMENTI E INTERPRETAZIONI PARTICOLARI, CON ALCUNE CURIOSITÀ Pag. 24 V.I Strumento solista e orchestra Pag. 24 V.I.I Pianoforte 2 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. © Aloma Bardi and ICAMus 2015. Pag. 24 V.I.II Violino Pag. 25 V.I.III Fagotto Pag. 25 V.I.IV Tromba Pag. 25 V.II Strumento con accompagnamento di pianoforte Pag. 25 V.II.I Violino (trascr. Jascha Heifetz) Pag. 26 V.II.II Sassofono Pag. 27 V.III Suite/Medley dall’opera, per pianoforte Pag. 28 V.IV Improvvisazioni per organo Pag. 29 V.V Jasbo Brown Pag. 29 V.VI Complessi strumentali Pag. 30 V.VII Cori dall’opera Pag. 30 V.VIII Banda/Sassofono e Banda 3 Aloma Bardi, Discografia di “Porgy and Bess”, ICAMus 2015. -
A Frank Chat with Solo Vocalists
AZ Vol. II, No.5 PUBLISHED BI·MONTHLY BY AMERICAN GUILD OF MUSICAL ARTISTS, Inc., A. F. of L. December, 1948 OFFICERS OFFICES LAWRENCE TIBBETT New York 18 President 276 West 43rd Street CONRAD THIBAULT Telephone: LOngacre 5-7508, 9, 10 1st Vice·President • JAMES PEASE Los Angeles 2nd Vice·President 1. B. KORNBLUM ASTRID YARNAY 6331 Hollywood Boulevard 3rd Vice·President Telephone: Hillside 5121 LEOPOLD SACHSE • 4th Vice-President San- Franscisco JASCHA HEIFETZ THEODORE HALE 5th Vice-President 216 Pine Street Telephone: Sutter 0855 ELIZABETH HOEPPEL Recording Secretary • FREDERICK JAGEL Philadelphia Treasurer G. GILBERT MASON 207 Walnut Place HYMAN R. FAINE Executive Secretary Telephone: Lombard 1187 BELMONT KINDLER • Assistant to Executive Secretary Chicago 1 BERNARD W. ZUEBERT BEN MEYERS Financial Secretary 188 W. Randolph Street Telephone: State 0585 • • JAFFE & JAFFE BELMONT KINDLER Counsel Editor A Frank Chat With Solo Vocalists It for some time has been a matter for concern to AGMA basis of a higher minimum salary which AGMA has secured officials, officers, and Board members, that principals have for you in our Basic Agreements with producers. There is a conspicuously absented themselves from union meetings, and marked difference between negotiating when the weekly mini· in general refrained from taking a part in union affairs. mum for a leading role is $224, and when it might be $154_ Reasons That Principals Offer Further, many additional benefits Lo soloists appear in our agreements which you probably could not secure as an indi One is at a loss to understand such a situation, because vidual, such as: considering the numerous obstacles and discouraging experi ences which artists encounter in their career, it should be (a) A 'payor play' contract is deposited at AGMA for your self-evident that the need for a strong union is greater than engagement. -
Tapespondents Wanted
Wa L. Wallis, 1355 Continental Drive, Day- tona Beach, Florida; Recorders: V -M and Sil- TAPESPONDENTS rertone, all speeds, two tracks; Interest: Want WANTED tape contacts in Caribbean; Adult (36). This listing is for those seeking tape correspondents, looking for swaps of tapes, etc. and Leif G. Brush, 234 N. Austin Blvd., Oak Park, it is a free service for our readers. If you wish your name listed send us the following in- Illinois; Recorders: Ampex 601, Roberts 192FT, 7'/z ips, full track; Interests: First Day Covers, formation on a post card: I -Name, 2 -Mailing Address, 3 -Kind of recorder, speed and number old-time radio voices -network local, Want 1945 of tracks, 4 -Subjects on which you want to tapespond or items for which you are looking. or earlier network station breaks of Red, Blue, 5 -Indicate whether you are an adult or teenager. Listing will run two months and then be CBS, Mutual and CBC, Dominion networks. dropped to make way for new listings. Address your postcard to: TAPESPONDENTS Chimes included in Red, Blue breaks: "This is NBC -The National Broadcasting Company, WANTED, Tape Recording Magazine, 101 Baltimore -Annapolis Blvd., Severna Park, Md. bing-bong-bing," etc. Also: Complete Blue Coal Tape Recording magazine assumes no responsibility for any inquiries between people spons. Shadow half-hour; Kix spons. Lone Ranger listed in this column which are not answered. half-hour; Bayer spons. American Album of Fa- miliar Music. (Felix Knight, Donald Dame- announced by George Ansbro), Offer: Natilus Baker 106 Hendershot, Broad St., Selma, Ala.; Martin Gary, 807 Westham Parkway, Richmond arrival in Portland Harbor, Eng., 'S8-no charge; Recorder: V -M 700, 33/4 & 71/2 ips, dual track; 29, Virginia; Recorders: Viking -85 & 75 & 86 Adult. -
BOB KALE, CSA (Casting Director, Teacher, Coach)
1 BOB KALE, CSA (Casting Director, Teacher, Coach) 602 TENTH AVENUE S UIT E 4 NEW YORK, NY 10036 -3027 PH O NE : 917 -653 -9078 EMAIL: [email protected] WEBSITE: www.bobkaleonline.com Bob has been an Assistant, an Associate and a Casting Director at Hughes Moss Casting/Barry Moss Casting since 1996. He initially worked with both Barry Moss and Julie Hughes and, beginning in 2000, almost solely with Barry. In 2010 Bob became a partner, along with Barry and John Anastasi, in MKA Casting (Moss Kale Anastasi Casting) until Barry’s passing in 2014. He is a member of the Casting Society of America. A partial list of the projects he has worked on during that time would include: Theater Broadway A Tale of Two Cities (2008) (“Name” credit—Playbill, advertising) Little Women—The Musical* (2005) (“Name” credit—Playbill, advertising) Souvenir (2005) (“Name” credit—Playbill, advertising) King Hedley II (2001) An Inspector Calls* (1996) The Who’s Tommy* (1996) How to Succeed . .* (1995) Titanic—The Musical* (1997) The Life (1997) Jekyll & Hyde* (1997) The Scarlet Pimpernel (1997) Dream (1997) Footloose* (1999) A Christmas Carol (Madison Square Garden) (1996 to 2002) The Wizard of Oz* (Madison Square Garden) (1997) * Designates National Tour as well Film Jack and Jill (additional NY Casting; Roger Mussenden and Jeremy Rich, LA CDs) (2011) You Don’t Mess With The Zohan (additional NY casting; Finn-Hiller, LA CDs) (2008) I Now Pronounce You Chuck and Larry (additional NY casting; Roger Mussenden, LA CD) (2007) Beavis and Butthead Do America (NY Voice Casting) (1996) The Quest for Camelot (NY Voice Casting) (1998) 2 Big Daddy (NY Casting; Roger Mussenden, LA CD) (1999) Little Nicky (NY Casting; Roger Mussenden, LA CD) (2000). -
'S GREATEST MOVIE MUSICALS
‘s GREATEST MOVIE MUSICALS AFI is a trademark of the American Film Institute. Copyright 2005 American Film Institute. All Rights Reserved. Ballot2.indd 1 5/16/06 12:27:06 PM 1 ALADDIN 5 AN AMERICAN IN PARIS 9 BABES IN TOYLAND Disney, 1992 Metro-Goldwyn-Mayer, 1951 Metro-Goldwyn-Mayer, 1934 PRINCIPAL CAST Robin Williams, Scott Weinger, Linda Larkin (Voices) PRINCIPAL CAST Gene Kelly, Leslie Caron, Oscar Levant PRINCIPAL CAST Virginia Karns, Charlotte Henry, Felix Knight DIRECTORS Ron Clements, John Musker DIRECTOR Vincente Minnelli DIRECTORS Gus Meins, Charles Rogers PRODUCERS Ron Clements, John Musker PRODUCER Arthur Freed PRODUCER Hal Roach SCREENWRITERS Ron Clements, John Musker, Ted Elliot, Terry Rossio SCREENWRITER Alan Jay Lerner SCREENWRITERS Frank Butler, Nick Grinde MUSIC/LYRICS Alan Menken, Tim Rice, Howard Ashman CHOREOGRAPHER Gene Kelly MUSIC/LYRICS Victor Herbert/Glen MacDonough MUSIC/LYRICS George Gershwin/Ira Gershwin SONG SELECTIONS “A Whole New World” SONG SELECTIONS “Toyland” “Friend Like Me” SONG SELECTIONS “I Got Rhythm” “Don’t Cry, Bo-Peep” “One Jump Ahead” “I’ve Got a Crush on You, Sweetie Pie” “Go to Sleep, Slumber Deep” “Our Love Is Here to Stay” 2 ALEXANDER’S RAGTIME BAND 10 BABES ON BROADWAY Twentieth Century-Fox, 1938 6 ANCHORS AWEIGH Metro-Goldwyn-Mayer, 1941 Metro-Goldwyn-Mayer, 1945 PRINCIPAL CAST Tyrone Power, Alice Faye, Don Ameche PRINCIPAL CAST Mickey Rooney, Judy Garland, Fay Bainter DIRECTOR Henry King PRINCIPAL CAST Gene Kelly, Frank Sinatra, Kathryn Grayson DIRECTOR Busby Berkeley PRODUCER Harry Joe Brown DIRECTOR George Sidney PRODUCER Arthur Freed SCREENWRITERS Kathryn Scola, Lamar Trotti PRODUCER Jon Pasternak SCREENWRITERS Fred Finklehoffe, Elaine Ryan CHOREOGRAPHER Seymour Felix SCREENWRITER Isobel Lennart MUSIC/LYRICS Burton Lane/Arthur Freed, Roger Edens, E.Y. -
History of Musical CD Booklet
Richard Fawkes The History of the Musical NON- FICTION Read by Kim Criswell HISTORIES CONTAINS 100 MUSICAL EXCERPTS INCLUDING NA422712D ‘MEMORY’ AND ‘SOME ENCHANTED EVENING’ 1 MEMORY Cats (Lloyd Webber/Eliot/Nunn) 1:21 Kim Criswell from the CD KIM CRISWELL BACK TO BEFORE (CDVIR 8332 / CDJAY 1317) 2 The origins of The Musical – The Beggars Opera (John Gay) 1728 2:13 3 WERE I LAID ON GREENLAND’S COAST The Beggars Opera (John Gay) 1728 1:26 Sylvia Nelis and Frederick Ranslow, Lyric Theatre Orch (Hammersmith) cond. Frederick Austin (recorded l9l9) 4 Vaudevilles, Burlesques in Europe – Adolphe Adam 1:55 5 OH QU’IL ETAIT BEAU, Le Postillon de Longjumeau (Adolphe Adam) 1836 1:33 Maurice Capitaine, de l’Opera Comique 6 Opera-bouffes in Paris – Hervé (Florimond Roger) and Jacques Offenbach3:45 7 CAN CAN Orpheus in the Underworld (Offenbach) 1858 1:17 Slovak State Philharmonic Orchestra, Johannes Wildner 8.550924 8 André Messager and Charles Lecoq – Brussels and Paris 2:46 9 LA DISPUTE La Fille De Madame Angot (Charles Lecoq) 1872 1:02 Fanély Révoil, with orchestra conducted by Gustave Cloëz (recorded in Paris c.1933) 10 Vienna – Franz von Suppé 2:21 11 OVERTURE Die Schöne Galathee (Franz von Suppé) 0:41 Slovak State Philharmonic Orchestra (Kosice) Alfred Walter 8.553935 12 Vienna – Johann Strauss 1:31 13 OVERTURE Die Fledermaus (Johann Strauss) 1874 1:27 Czecho-Slovak Radio Symphony Orchestra (Bratislava) Johannes Wildner 14 England – Sir Arthur Sullivan and W.S. Gilbert 2:08 2 15 THE MOON AND I The Mikado (Gilbert and Sullivan) 1885 1:07 Margaret Mitchell, New Promenade Orchestra cond.