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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. -
Maurice Abravanel Remembers Kurt Weill
When it was issued in the Fifties, Columbia's record- serves the stylistic authenticity Lenya brought to the ing of the "Big Mahagonny" (K31.243, three discs, mono) role of Jenny but restores the role to its originalsoprano was a welcome introduction to the most monumental of range-providing the necessary musical and dramatic the Brecht -Weill works and is still indispensable toany contrast with Begbick, the other female principal. The library of Weill recordings. But now that theopera has transposition down an octave for Lenya is particularly become entrenched in the repertory, the shortcomings damaging to the beautiful "Crane Duet." of that version, conducted by Wilhelm Bruckner-Rugge- The Threepenny Opera has always been the most berg and with a cast centered on Lotte Lenya, are more popular of Weill's works: Within five years of its pre- apparent. A new recording is called for, one that pre- miere in 1928 it had been translated into eighteen Ian- and up, and 3/4 and 4/4." I asked about 5. He answered, "5 is only in Tchaikovsky's Pathetique, and that is2and3." During that time he composed and con- ducted a Christmas pantomime, Die Zoo- bernacht, easy and serviceable music that was performed every day for a week or so in Berlin. Busoni, his teacher, went to one performance, and his only comment was Maurice Abravanel that Kurt had conducted it well. We exchanged two or three letters while I had my firstengagement. I Remembers Kurt Weillbumped into him at an opera perform- ance, and we talked excitedly at inter- mission. -
Top 40 Singles Top 40 Albums Do They Know It's Christmas We're Not Gonna Take It Born in the U.S.A
10 February 1985 CHART #460 Top 40 Singles Top 40 Albums Do They Know It's Christmas We're Not Gonna Take It Born In The U.S.A. Can't Slow Down 1 Band Aid 21 Twisted Sister 1 Bruce Springsteen 21 Lionel Richie Last week 1 / 4 weeks Platinum / POLYGRAM Last week 16 / 11 weeks WEA Last week 4 / 30 weeks Platinum / CBS Last week 20 / 52 weeks Platinum / POLYGRAM The Power Of Love Hei Konei Ra Make It Big The Optimist 2 Frankie Goes to Hollywood 22 Patea Maori Club 2 Wham 22 D.D. Smash Last week 2 / 4 weeks FESTIVAL Last week 26 / 4 weeks WEA Last week 1 / 8 weeks Platinum / CBS Last week 19 / 9 weeks Platinum / FESTIVAL Like A Virgin Sea Of Love She's So Unusual Under A Blood Red Sky 3 Madonna 23 The Honeydrippers 3 Cyndi Lauper 23 U2 Last week 4 / 6 weeks WEA Last week 11 / 8 weeks WEA Last week 3 / 37 weeks Platinum / CBS Last week 23 / 46 weeks Platinum / ISLAND/POLYGRAM I Want To Know What Love Is Caribbean Queen Welcome To The Pleasuredome 20 Golden Greats Volume 2 4 Foreigner 24 Billy Ocean 4 Frankie Goes to Hollywood 24 The Shadows Last week 12 / 4 weeks WEA Last week 19 / 7 weeks FESTIVAL Last week 2 / 5 weeks Platinum / FESTIVAL Last week 43 / 6 weeks EMI Born In The Usa Ghostbusters Alf I Feel For You 5 Bruce Springsteen 25 Ray Parker Jnr 5 Alison Moyet 25 Chaka Khan Last week 31 / 2 weeks CBS Last week 18 / 16 weeks FESTIVAL Last week 5 / 5 weeks Platinum / CBS Last week 38 / 5 weeks WEA Private Dancer Doledrums Heartbeat City Love Life 6 Tina Turner 26 The Chills 6 The Cars 26 Berlin Last week 5 / 3 weeks FESTIVAL Last week 34 -
Recordings of Mahler Symphony No. 4
Recordings of Mahler Symphony No. 4 by Stan Ruttenberg, President, Colorado MahlerFest SUMMARY After listening to each recording once or twice to get the general feel, on bike rides, car trips, while on the Internet etc, I then listened more carefully, with good headphones, following the score. They are listed in the survey in about the order in which I listened, and found to my delight, and disgust, that as I went on I noticed more and more details to which attention should be paid. Lack of time and adequate gray matter prevented me from going back and re-listening all over again, except for the Mengelberg and Horenstein recordings, and I did find a few points to change or add. I found that JH is the ONLY conductor to have the piccolos play out adequately in the second movement, and Claudio Abbado with the Vienna PO is the only conductor who insisted on the two horn portamenti in the third movement.. Stan's prime picks: Horenstein, Levine, Reiner, Szell, Skrowaczewski, von Karajan, Abravanel, in that order, but the rankings are very close. Also very good are Welser- Most, and Klemperer with Radio Orchestra Berlin, and Berttini at Cologne. Not one conductor met all my tests of faithfulness to the score in all the too many felicities therein, but these did the best and at the same time produced a fine overall performance. Mengelberg, in a class by himself, should be heard for reference. Stan's soloist picks: Max Cencic (boy soprano with Nanut), in a class by himself. Then come, not in order, Davrath (Abravanel), Mathes (von Karajan), Trötschel (Klemperer BRSO), Raskin (Szell), Blegen (Levine), Della Casa (Reiner), Irmgard Seefried (Walter), Jo Vincent (Mengelberg), Ameling (Haitink RCOA), Ruth Zeisek (Gatti), Margaret Price with Horenstein, and Kiri Te Kanawa (Solti), Szell (Rattle broadcast), and Battle (Maazel). -
Julio Iglesias 1100 Bel Air Place Mp3, Flac, Wma
Julio Iglesias 1100 Bel Air Place mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: 1100 Bel Air Place Country: Turkey Released: 1984 Style: Vocal MP3 version RAR size: 1448 mb FLAC version RAR size: 1151 mb WMA version RAR size: 1388 mb Rating: 4.1 Votes: 810 Other Formats: TTA VOX AUD VOC AIFF DTS MPC Tracklist A1 –Julio Iglesias & Diana Ross All Of You 3:57 A2 –Julio Iglesias Two Lovers 4:23 A3 –Julio Iglesias Bambou Medley 3:48 A3-a –Julio Iglesias Il Tape Sur Des Bambous A3-b –Julio Iglesias Jamaica A4 –Julio Iglesias The Air That I Breathe 4:16 A5 –Julio Iglesias The Last Time 3:36 B1 –Julio Iglesias Moonlight Lady 4:10 B2 –Julio Iglesias When I Fall In Love 3:27 B3 –Julio Iglesias Me Va, Me Va 6:03 B4 –Julio Iglesias If (E Poi) 3:09 B5 –Julio Iglesias & Willie Nelson To All The Girls I've Loved Before 3:30 Notes Made in Turkey Barcode and Other Identifiers Rights Society: BIEM/STEMRA Other versions Category Artist Title (Format) Label Category Country Year Julio 1100 Bel Air Place CBS 86308 CBS CBS 86308 Europe 1984 Iglesias (LP, Album) Julio 1100 Bel Air Place S 86308 CBS S 86308 Spain 1984 Iglesias (LP, Album) Julio 1100 Bel Air Place Epic 35-8P-52 35-8P-52 Japan 1984 Iglesias (CD, Album) International Julio 1100 Bel Air Place CBS 40-86308 Suzy, CBS CBS 40-86308 Yugoslavia 1985 Iglesias (Cass, Album) Julio 1100 Bel Air Place CBS 86308 CBS CBS 86308 Portugal 1984 Iglesias (LP, Album) Related Music albums to 1100 Bel Air Place by Julio Iglesias Julio Iglesias - A Vous Les Femmes S.E. -
Songs by Title Karaoke Night with the Patman
Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P. -
Utah Symphony and Utah Opera Search for the Chief Executive Officer Salt Lake City, Utah
Utah Symphony and Utah Opera Search for the Chief Executive Officer Salt Lake City, Utah The Board of Trustees of the Utah Symphony and Utah Opera (USUO) invites nominations and applications for the position of President and Chief Executive Officer (CEO). The largest arts institution in the state of Utah with a unique multidisciplinary focus, USUO is one of the country’s preeminent arts and cultural institutions. With a mission to “Connect the Community through Great Live Music – Perform. Engage. Inspire,” the USUO reaches 450,000 residents in Utah and the Intermountain region through its four distinctive programming and artistic product lines, including a 52-week orchestra, an opera company with four productions per season, a popular summer concert series in Deer Valley, and one of the largest educational outreach programs in the country that brings classical music to more than 150,000 students annually. The Utah Symphony, which celebrated its 75th anniversary at Carnegie Hall in 2016, is one of the most engaged orchestras in the nation. Built as the home of the Utah Symphony in 1979 and named for Maurice Abravanel, the long-time Music Director of the Symphony and champion of classical music throughout Utah, Abravanel Hall is an architectural and acoustic treasure in the heart of downtown Salt Lake City. Under the leadership of the esteemed Music Director Thierry Fischer, the orchestra has completed two tours across Utah’s five national parks and other major landmarks, records extensively, and attracts guest conductors and artists from around the world. A part of the Salt Lake City community for over 40 years, Utah Opera has engaged Utah residents in inspiring operatic performances and annually performs for 80,000 students in Salt Lake City’s Capitol Theatre and in schools throughout Utah. -
Noam Zur Lebenslauf Tabellarisch Englisch
NOAM ZUR CONDUCTOR CURRENT/PREVIOUS POSITIONS 22.7.1981 Beer-Sheva, Israel DIRECTOR TITULAR Nationalities Orquesta Sinfónica de Salta | Salta | Argentina | Israeli, German 06/2017 – present Artistic Director; in charge of planning and restructuring Germany the repertoire (concert, opera, ballet), venues, etc. Folkenbornstr. 12 Administrative Director; in charge of a team of over 100 45472 Mülheim/Ruhr musicians, administrative, and support staff Developing and raising the artistic level of the orchestra - without changing personnel or the designation of any musician +49 179 719 6851 PRINCIPAL GUEST CONDUCTOR Dubrovnik Symphony Orchestra | Croatia | Work address Orquesta Sinfonica de 01/2016 – present Salta, Performing an average of 6-8 weeks a year with the Director Titular Caseros 460 orchestra Casa de Cultura, 2do Piso Participation in the regular series, as well as in special Salta, Argentina concerts such as on national tours, festivals, New Year’s concerts, etc. [email protected] [email protected] ARTISTIC DIRECTOR AND CHIEF CONDUCTOR “Tino Pattiera” International Opera Arias Festival | LANGUGAGES Dubrovnik Croatia | 2015 – 2018 Yearly summer festival of 6-10 days with the Dubrovnik ENGLISCH Symphony Orchestra and international soloists from the USA, Mother-tongue EU, Israel, and the participation of local artists GERMAN Conducting all Open Air, Gala, and special "sponsor" Mother-tongue concerts and recitals Programming and organizing all concerts, including HEBREW Lied recitals, chamber music, and orchestral concerts Mother-tongue Moderating all the concerts and holding pre-concert talks SPANISH Fluent FRENCH Basic ITALIAN Basic PRINCIPAL CONDUCTOR AND ARTISTIC ASSOCIATE Kammerphilharmonie Frankfurt | Germany | 2011 – 2015 Member of the artistic committee of the orchestra Shared responsibility for choosing repertoire, soloists, venues, etc. -
December 2016
Traditional Folk Song Circle goers to hear Potomac Accordion Ensemble December 10 December 2016 Inside this issue: From the President 2 Open Mics 3 Pics from Sunday Open Stage 4 Traditional Folk Song Circle 5 The Songs We Sing 6 Comfortable Concerts 7 Hill Chapel Concert 9 Gear of the Month 10 Pull up a Chair 12 Other Music Orgs of interest 13 Member Ads 14 Open Mic Photos 16 Board of Directors 18 F.A.M.E. Goals 18 Membership Renewal/App 18 Poster art courtesy of Todd C Walker Page 2 From the President I don’t know whose thought this is, but I read somewhere that “music is the wheels of a movement. I know that music made a tremendous difference in the anti- war movement of the 60s as well as the civil rights movement. Music is a powerful force that is often unrecognized. A song has a way of inspiring folks that nothing else comes even close to. We are in need of inspiring songs. One of the roles of a songwriter is not only to reflect on what is happening in the present but also to provide a vision of the future. What is your vision of the future? For some it is nihilistic bleakness – a very cynical response to our world. For others, it is filled with hope – we are somehow going to be able to figure out how we can live together and with all of creation. If you are a performer, I want to challenge you to get out of yourself and add songs that reflect your vision of the future to your repertoire. -
825646078936.Pdf
ITZHAK PERLMAN LIVE IN THE FIDDLER’S HOUSE plays familiar Jewish melodies arranged by Dov Seltzer 25 Bukovina 212 (Trad. arr. Alpert/Bern) 4.30 1 A Yiddishe Mamme 6.48 26 Lekho Neraneno (Trad. arr. Brave Old World) 5.00 2 As der Rebbe Elimelech is gevoyrn asoi freylach * 5.51 27 Doina Naftule (Trad. arr. Bjorling) 2.43 3 Reyzele * 4.10 28 A Hora mit Branfn (Trad. arr. Bjorling) 3.24 4 Oif’n Pripetchik brennt a feier’l 4.05 29 Healthy Baby Girl (Suigals) 2.16 5 Doyna * 3.39 30 Golem Tants (London) 1.49 6 Rozhinkes mit Mandelen 5.37 31 Honga Encore (Trad. arr. London) 1.35 7 Oif’n Weyg steyt a Boim 5.25 32 Nign (Sklamberg) 5.31 8 A Dudele * 4.50 33 Bulgars/The Kiss (Trad. arr. The Klezmatics/London) 5.07 9 Viahin soll ich geyn? 4.54 34 Meton Nign/In the Sukke 6.02 35 Sholom Aleykhem 4.33 36 Khaiterma 2.55 ITZHAK PERLMAN violin 37 Andy’s Ride 2.55 ISRAEL ZOHAR clarinet* 38 A Heymischer Bulgar/Wedding Dance (Trad. arr. Ellstein) 3.14 Israel Philharmonic Orchestra/Dov Seltzer 39 Kale Bazetsn (Seating the Bride)/Khusidl (Hasidic Dance) 4.30 (Trad. arr. Tarras) 40 Fun Tashlikh 3.01 IN THE FIDDLER’S HOUSE 41 A Yingele fun Poyln (A Young Man from Poland)/ 4.59 Di Mame iz Gegangen in Mark Arayn (Mother Went to Market) 10 Reb Itzik’s Nign * 6.01 42 Processional — (Trad. arr. Netzky and ‘Klezcorps’) 12.16 ‡ 11 Simkhes Toyre Time 3.22 Klezmer Suite — (Trad. -
Rodgers and Hart
Otterbein University Digital Commons @ Otterbein 1981 Summer Theatre Productions 1981-1990 7-1-1981 Rodgers and Hart Otterbein University Theatre and Dance Department Follow this and additional works at: https://digitalcommons.otterbein.edu/summer_production_1981 Part of the Acting Commons, Dance Commons, and the Theatre History Commons Recommended Citation Otterbein University Theatre and Dance Department, "Rodgers and Hart" (1981). 1981 Summer Theatre. 5. https://digitalcommons.otterbein.edu/summer_production_1981/5 This Book is brought to you for free and open access by the Productions 1981-1990 at Digital Commons @ Otterbein. It has been accepted for inclusion in 1981 Summer Theatre by an authorized administrator of Digital Commons @ Otterbein. For more information, please contact [email protected]. OTTERBEIN SUMMER THEATRE presents 329th Production (72nd Summer Theatre) RODGERS and HART i (A Musical Celebration) # Music by Lyrics by • RICHARD RODGERS LORENZ HART • July 1, 2, 3 and 7, 9, 10, 11, 1981 • Musical Director Lyle Barkhymer 2 Choreographer Joanne VanSant 0 Designer Fred J. Thayer * Costume Design Kathleen Lewicki ^ Rodgers and Hart is presented through special arrangements with The Rodgers and ® Hammerstein Theatre Library, 598 Madison Ave., New York, N.Y. 10022. ® ••••••••••••••••••••••••••••••/ Uk$tervilkRealtyt SINC » l%«l Tncorporakd “77ie Complete Real Estate Service** 16 E. COLLEGE WESTERVILLE. OHIO Phone 882-3641 ^ ______ ___ _/¥ DIRECTORS Lyle Barkhymer is an instructor of clarinet, music history and conducting. He hails from Pennsylvania, and after graduating from Otterbein he returned to Westerville, having completed his graduate studies at Indiana University. He has studied abroad in Vienna and London and is a member of the Columbus Symphony Orchestra. -
Hart, Lorenz (1895-1943) Lorenz Hart (Standing, by Raymond-Jean Frontain Right) with Richard Rodgers in 1936
Hart, Lorenz (1895-1943) Lorenz Hart (standing, by Raymond-Jean Frontain right) with Richard Rodgers in 1936. Encyclopedia Copyright © 2015, glbtq, Inc. Library of Congress Prints and Photographs Entry Copyright © 2002, glbtq, Inc. Division. Reprinted from http://www.glbtq.com Barely five feet tall, balding early, and possessing a disproportionately large head, Larry Hart was the first to disparage his own attractiveness. His jokes, however, masked a deeply-rooted inability to accept the possibility of romantic happiness or sexual gratification. Hart impulsively proposed marriage to several women friends, none of whom thought his offer serious. And when he allowed himself to act upon his desire for other men, he seems to have had difficulty performing sexually. (Biographer Frederick Nolan quotes one unidentified male partner's shock at discovering Hart cowering in the bedroom closet after sex, suggesting that the songwriter was unable actively to pursue homosexual pleasure without being overcome by guilt.) The result of such emotional imbroglio is that, despite having written lyrics as witty as any sung on the Broadway stage before or since, Hart is best remembered for his songs of unfulfilled desire and failed romance. Born Lorenz Milton Hart on May 2, 1895, to an immigrant Jewish family, Hart learned from his entrepreneur father that self-assertion allows survival. Never without a business venture, many of which were dishonest, Hart's father provided Larry with a lasting model for the cycles of impulsive free-spending and resulting impecuniosity that characterized Hart's own life. Hart entertained both friends and strangers lavishly, often living far beyond his means, but with a (sometimes unfounded) optimism that something would turn up.