The Inventory of the Victor Seroff Collection #1707
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Rachmaninoff, Paganini, & the Piano; a Conversation
Rachmaninoff, Paganini, & the Piano; a Conversation Tracks and clips 1. Rachmaninoff in Paris 16:08 a. Niccolò Paganini, 24 Caprices for Solo Violin, Op. 1, Michael Rabin, EMI 724356799820, recorded 9/5/1958. b. Sergey Rachmaninoff (SR), Rapsodie sur un theme de Paganini, Op. 43, SR, Leopold Stokowski, Philadelphia Orchestra (PO), BMG Classics 09026-61658, recorded 12/24/1934 (PR). c. Fryderyk Franciszek Chopin (FC), Twelve Études, Op. 25, Alfred Cortot, Deutsche Grammophon Gesellschaft (DGG) 456751, recorded 7/1935. d. SR, Piano Concerto No. 3 in d, Op. 30, SR, Eugene Ormandy (EO), PO, Naxos 8.110601, recorded 12/4/1939.* e. Carl Maria von Weber, Rondo Brillante in E♭, J. 252, Julian Jabobson, Meridian CDE 84251, released 1993.† f. FC, Twelve Études, Op. 25, Ruth Slenczynska (RS), Musical Heritage Society MHS 3798, released 1978. g. SR, Preludes, Op. 32, RS, Ivory Classics 64405-70902, recorded 4/8/1984. h. Georges Enesco, Cello & Piano Sonata, Op. 26 No. 2, Alexandre Dmitriev, Alexandre Paley, Saphir Productions LVC1170, released 10/29/2012.† i. Claude Deubssy, Children’s Corner Suite, L. 113, Walter Gieseking, Dante 167, recorded 1937. j. Ibid., but SR, Victor B-24193, recorded 4/2/1921, TvJ35-zZa-I. ‡ k. SR, Piano Concerto No. 3 in d, Op. 30, Walter Gieseking, John Barbirolli, Philharmonic-Symphony Orchestra, Music & Arts MACD 1095, recorded 2/1939.† l. SR, Preludes, Op. 23, RS, Ivory Classics 64405-70902, recorded 4/8/1984. 2. Rachmaninoff & Paganini 6:08 a. Niccolò Paganini, op. cit. b. PR. c. Arcangelo Corelli, Violin Sonata in d, Op. 5 No. 12, Pavlo Beznosiuk, Linn CKD 412, recorded 1/11/2012.♢ d. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette. -
Swr2-Musikstunde-20111207.Pdf
__________________________________________________________________________________________________ 2 John Culshaw (3) Der Herr der Klänge: John Culshaw – Pionier der Stereo - Aufnahmetechnik. Die gestrige Musikstunde ging mit dem Don Juan von Richard Strauss zu Ende, in der 1956 von John Culshaw produzierten und von Fritz Reiner dirigierten Aufnahme mit den Wiener Philharmonikern … heute Morgen möchte ich gleich an einen weiteren in Wien entstandenen Schallplatten-Klassiker aus dem Jahre 1960 anknüpfen. Auch hier hatte Culshaw die Fäden in der Hand, und noch einmal stand Fritz Reiner am Pult. Bei einem Dirigenten, der 1888 in Budapest geboren und 1963 gestorben ist, der zudem die letzten vier Jahrzehnte seines Lebens überwiegend in den Vereinigten Staaten gearbeitet hat, mag bei einem jüngerem Publikum die Frage aufkommen: Wer bitteschön war Fritz Reiner ??? Der amerikanische Kritikerpapst Harold Schonberg hat einmal folgende Kurzcharakteristik gewagt: „Ein kleinwüchsiger Mann - mit großem Taktstock ...und einem klitzekleinen Schlag. Aufgrund seines musikalischen Intellekts, seiner überragenden musikalischen Fähigkeiten und seines beispiellosen Gehörs nahm er im Musikleben und - denken des 2o. Jahrhunderts eine einzigartige Rolle ein.“ Soweit Harold Schonberg. Reiner genoss zu Lebzeiten (und genießt in Kennerkreisen noch heute) größte Wertschätzung, er war ein Orchestererzieher par excellence...so verdankt ihm das Chicago Symphony Orchestra den Aufstieg zur Weltklasse, bevor Georg Solti es übernahm. Präzision und Detailgenauigkeit galten ihm als oberstes Gesetz. Gefürchtet war er bei den Musikern aber nicht nur wegen seines Perfektionismus und seines unfehlbaren Gehörs, sondern vor allem wegen seiner angsteinflößenden und für die Orchestermusiker oft erniedrigenden Ausbrüche. Wie eines seiner Chicagoer Opfer lakonisch anmerkte: Jeden Tag, an dem er nicht ausrastete, war er zu krank, um dirigieren zu können. -
Los Libros De Produccion Latino-Americana
JJrnpaganöa Autmratttsía LOS LIBROS DE PRODUCCION LATINO-AMERICANA íEnsayo aterra òri problema íic su expansión romerrial öentni ì>el (C tintinnite POR Antonio Alcover JEFE DEL ARCHIVO NACIONAL MIEMBRO DE LA "REAL ACADEMIA HISPANO-AM ERICA NA DE CIENCIAS Y AR- TES", DE CADIZ; DE LA "ACADEMIA NACIONAL DE LA HISTORIA", DE CARA- CAS ! DE LA "SOCIEDAD MEXICANA DE GEOGRAFIA Y ESTADISTICA", DE MEXI- CO: DE LA "REAL SOCIEDAD GEOGRAFICA", DE MADRID. HABANA M PRENTA "EL SIGLO XX" TENIENTE REVST 1912 flropaganòa Aatmrattiata LOS LIBROS DE PRODUCCION LATINO-AMERICANA lEttaago arma iipl problema à? su pxpansiótt nmtrrnal òrntro itti (Ínuíinrtttr POR Antonio Alcover JEFE DEL ARCHIVO NACIONAL MIEMBRO DE LA "REAL ACADEMIA HISPANO-AM ERICAN A DE CIENCIAS Y AR- TES", DE CADIZ! DE LA "ACADEMIA NACIONAL DE LA HISTORIA", DE CARA- CAS; DE LA "SOCIEDAD MEXICANA DE GEOGRAFIA Y ESTADISTICA", DE MEXI- CO; DE LA "REAL SOCIEDAD GEOGRAFICA", DE MADRID. HABANA IMPRENTA * EL SIGLO XX TENIENTE REY 27 A la prensa de la América Latina Si es la prensa la palanca más poderosa del pro- greso humano; si al concurso de la prensa se deben conquistas brillantes en el campo de las ideas y de la cultura universal; si la prensa, en fin, es la insti- tución más grandiosa de los tiempos modernos, y puede ella más en la conciencia de los pueblos que todos los ejércitos y todas las armadas, ¿á quién mejor dedicar este trabajo? Si ella lo acepta y lo apoya, el éxito no se ha- rá esperar. Si, por el contrario, se muestra indife- rente, el fracaso es seguro. -
Sociedad Amigos Del Arte De Medellín (1936-1962)
SOCIEDAD AMIGOS DEL ARTE DE MEDELLÍN (1936-1962) LUISA FERNANDA PÉREZ SALAZAR UNIVERSIDAD EAFIT ESCUELA DE CIENCIAS Y HUMANIDADES MAESTRÍA EN MÚSICA 2013 SOCIEDAD AMIGOS DEL ARTE DE MEDELLÍN(1936-1962) LUISA FERNANDA PÉREZ SALAZAR Trabajo de grado presentado como requisito Para optar al título de Magíster en Música Con énfasis en Musicología Histórica Asesor: Dr. Fernando Gil Araque MEDELLÍN UNIVERSIDAD EAFIT DEPARTAMENTO DE MÚSICA 2013 AGRADECIMIENTO Agradezco principalmente a mi asesor, el Doctor Fernando Gil Araque, por su paciencia y su dedicación; gracias a él pude seguir adelante y no perderme en el intento. Sus enseñanzas y su guía, fueron un estímulo para seguir creciendo profesionalmente. Muchísimas gracias a María Isabel Duarte, coordinadora de la Sala de Patrimonio Documental de la Universidad EAFIT. Ella me acogió cordialmente y me brindó toda la ayuda necesaria para acceder a los materiales de consulta. Extiendo el agradecimiento al personal de la Sala Patrimonial, especialmente a Diana y a Luisa, que siempre estuvieron dispuestos a orientarme en mi búsqueda. En Bogotá, quisiera agradecer al personal del Archivo General de la Nación y del Centro de Documentación Musical de la Biblioteca Nacional quienes me abrieron sus puertas y me permitieron indagar en sus archivos por información que fuera útil para mi proyecto. Agradezco especialmente a María Eugenia Jaramillo de Isaza, por abrirme las puertas de su casa y compartir conmigo sus recuerdos y anécdotas sobre la labor de Ignacio Isaza y la Sociedad Amigos del Arte. Finalmente quisiera agradecer a los profesores de la maestría, quienes contribuyeron en mi formación profesional y personal; y a las personas que no nombré, pero que me sirvieron como faro en el camino, y cuyo apoyo fue importante para la culminación de este proyecto de investigación. -
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. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
ARSC Journal
THE MARKETPLACE HOW WELL DID EDISON RECORDS SELL? During the latter part of 1919 Thomas A. Edison, Inc. began to keep cumulative sales figures for those records that were still available. The documents were continued into 1920 and then stopped. While the documents included sales figures for all series of discs time allowed me to copy only those figures for the higher priced classical series. Thus the present article includes the 82,000 ($2.00); 82,500 ($2.50); 83,000 ($3.00) and 84,000 ($4.00) series. Should there be sufficient interest it may be possible to do the other series at a later date. While the document did list some of the special Tone-Test records pressing figures were included for only two of them. I have arbitrarily excluded them and propose to discuss the Edison Tone Tests at a later date. The documents also originally included supplementary listings, which, for the sake of convenience, have been merged into the regular listings. The type copy of the major portion of the listings has been taken from regular Edison numerical catalogs and forms the framework of my forthcoming Complete Edison Disc Numerical Catalog. Several things may be noted: 1) Many of the sales figures seem surprisingly small and many of the records must be classed as rarities; 2) Deletion was not always because of poor sales-mold damage also played a part; 3) Records were retained even with extremely disappointing sales. Without a knowledge of the reason for discontinuance we cannot assume anything concerning records that had already been discontinued. -
Artur Rubinstein
<; :■ ARTUR RUBINSTEIN Exclusive Management: HUROK ARTISTS, Inc. 711 Fifth Avenue, New York 22, N. Y. ARTUR RUBINSTEIN ‘THE MAN AND HIS MUSIC ENRICH THE LIVES OF PEOPLE EVERYWHERE' By HOWARD TAUBMAN Music Editor of the New York Times \ rtur Rubinstein is a complete artist because as an artist and admired as a man all over the Ahe is a whole man. It does not matter whether world. In his decades as a public performer he /—\ those who go to his concerts are ear-minded has appeared, it has been estimated, in every or eye-minded — or both. His performances are country except Tibet. He has not played in Ger a comfort to, and an enlargement of, all the many since the First World War, but that is faculties in the audience. And he has the choice because of his own choice. He felt then that the gift of being able to convey musical satisfaction Germans had forfeited a large measure of their —even exaltation—to all conditions of listeners right to be regarded as civilized, and he saw from the most highly trained experts to the most nothing in the agonized years of the Thirties and innocent of laymen. Forties which would cause him to change his mind about Germany. The reason for this is that you cannot separate Artur Rubinstein the man from Artur Rubinstein The breadth of Rubinstein's sympathies are in the musician. Man and musician are indivisible, escapable in the concert hall. He plays music of as they must be in all truly great and integrated all periods and lands, and to each he gives its due. -
Voci Liriche E Sperimentazione Usica a Cura Di Gianluigi Mattietti M
Sardegna della memoria Collana diretta da Romano Cannas Archivi li G Voci liriche e sperimentazione usica a cura di Gianluigi Mattietti M Gli Archivi della memoria Collana diretta da Romano Cannas Comitato di esperti Pietro Clemente (coordinatore) Manlio Brigaglia Angelo De Murtas Maria Lai Ignazio Macchiarella Giacomo Mameli Giuseppe Marci Gianluigi Mattietti Gian Giacomo Ortu Paolo Pillonca Walter Racugno Paolo Scarnecchia Gian Nicola Spanu Ricerca e coordinamento dei documenti sonori Cristina Maccioni Stefania Martis Organizzazione Luciano Selis Produzione Enrico Loi (responsabile) Luciano Era Pierdamiano Marcialis Stefano Mulargia Letture Daniela Pettinau Segreteria Antonella Busia Maddalena Enna Bettina Murgia Fotografie Archivi di Rai Sardegna, Nino Busia, Giuseppe Podda e Giovanni Sanna Grafica e stampa Merella arti grafiche © 2005 Rai Radiotelevisione Italiana - Viale Mazzini 14 - ROMA È vietata la riproduzione non autorizzata Gianluigi Mattietti Voci liriche e sperimentazione na delle colonne di Radio Sardegna è stato Antonino Defraia, che per più di dieci anni ha intrattenuto melomani e U appassionati d’opera con la fortunata trasmissione “Appuntamento con la lirica”, dedicando molte puntate all’attualità e ai protagonisti del melodramma, con ascolti e interviste, presentando periodicamente giovani cantanti, allora emergenti, e poi affermatisi con grande successo (come il soprano Giusy Devinu, o il basso oristanese Mario Luperi), ma facendo soprattutto scoprire le grandi voci del passato, attraverso registrazioni rarissime, da vero collezionista, che solo in tempi recenti sono state riversate su cd e commercializzate. Tra le glorie della lirica un posto di riguardo è spettato al tenore Piero Schiavazzi (nonostante le poche incisioni sopravvissute, e la loro scadente qualità), capostipite di una vera e propria stirpe di cantanti sardi affermatisi nella prima metà del Novecento. -
Lynn Freeman Olson Collection Cassette
LYNN FREEMAN OLSON COLLECTION CASSETTE RECORDINGS LIST Beethoven 9 Symphonien Ouverturen (6 tape boxed set)- Karajan Berliner Philharmonikar Vivaldi: Two Concertos for Two Violins / Two Sonatas for Two Violins and Continuo - Aston Magna Vivaldi: Concerti E Sinfonie - I Solisti Veneti/Claudio Scimone Mahler: Symphony No. 10 - Philadelphia Orchestra / James Levine (2 cassettes) Mahler: Symphony So, 1 - London Philharmonic - Klaus Tennstedt Debussy: 3 Nocturnes Ravel: Pavane & Bolero - Moscow Radio Large Symphony Orchestra / Yevgeni Svetlanov Debussy: La Mer, Nocturnes - Cleveland Orchestra/ Lorin Maazel Rachmaninoff: Symphony No. 2 - Royal Philharmonic Orchestra / Yuri Temirkanov Rachmaninoff: Symphony Mo. 3 Shostakovich: Symphony No. 6 - London Symphony Orchestra / Andre Previn Rachmaninoff: Second Piano Concerto - Balakirev Islamey, Julius Katchen - London Symphony Orchestra / Sir Georg Solti Rachmaninoff: Piano Concerto No. 3 - Vladimir Ashkenazy - The London Symphony / Anatola Fistoulari Rachmaninoff: Piano Concertos 2 & 4 -Vladimir Ashkenazy - Concertgebouw Orchestra / Bernard Haitink Shostakovich: Symphony No. 11 ("1905") - Houston Symphony Orchestra / Leopold Stokowski Shostakovich: Symphony No. 6 / The Age of Gold (Ballet Suite) - Chicago Symphony / Leopold Stokowski Shostakovich: Symphony No. 7 ("Leningrad") - Bournemouth Symphony Orchestra / Paavo Berglund Shostakovich: Symphony No. 10 e minor Op, 93 - Austrian Broadcast Symphony Orchestra / Milan Horvat (2 cassette set) LYNN FREEMAN OLSON REFERENCE COLLECTION OF RECORDED SOUND -
Boston Symphony Orchestra Concert Programs, Summer, 1963-1964
ewoo %,m A.-;£> r^ u* BOSTON SYMPHONY ORCHESTRA ERICH LEINSDORF ^ Music Director -T^jj^i % Berkshire Festival 1963 I^^HMMUBBI^BB AN INVITATION TO HEAR THE DEBUT RECORDING BY LORIN HOLLANDER WITH THE BOSTON SYMPHONY UNDER THE DIRECTION OF ERICH LEINSDORF mmmv«Mx::miiWmi :: W>i Lorm Hollander was the first soloist chosen by Mr. " Leinsdorf to record with "The Aristocrat of Or- SSI»Y«M6 chestras." is in The album recorded RCA Victor's Dello Joio/ Fantasy and Variations new DYNAGROOVE system and captures to per- Ravel/Concerto in G Boston Symphony Orch./Leinsdorf fection Hollander's dazzling performance of The Aristocrat of Orchestras Ravel's Concerto in G , and the first recorded per- formance of Dello Joio's Fantas y, composed es- " pecially for Mr. Hollander. Acclaimed as . the outstanding member of his generation," watch for more recordings by Hollander and by the Boston Lorin Hollander Symphony under Mr. Leinsdorf's direction, exclu- sively on the Red Seal label. This album is avail- RCA VICTOR able in Living Stereo, Mono. Hi-Fi and on Tape. THE MOST TRUSTED NAME IN SOUND ^l, i Boston Symphony Orchestra ERICH LEINSDORF, Music Director Richard Burgin, Associate Conductor Berkshire Festival, Season ig6^ TWENTY-SIXTH SEASON MUSIC SHED AT TANGLEWOOD, LENOX, MASSACHUSETTS SEVENTH WEEK Concert Bulletin, with historical and descriptive notes by John N. Burk Copyright, 1963 by Boston Symphony Orchestra, Inc. The Trustees of The BOSTON SYMPHONY ORCHESTRA, Inc. President Vice-President Treasurer Henry B. Cabot Talcott M. Banks Richard C Paine Abkam Berkowitz E.. Morton Jennings, Jr. Sidney R. Rabb Theodore P.