HERBERT VON KARAJAN the Complete EMI Recordings (1946-1984) Volume 1 - Orchestral
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Harold Tichenor 4/3-2016 Dear Fellow Reel to Reel Audiophie
Harold Tichenor 4/3-2016 Dear fellow reel to reel audiophie: I do hope this email gets through to you as I want to let my past reel to reel customers know the new arrangements for acquiring 15 IPS copies of my tape masters. For the last few years I made them principally available through eBay where Deborah Gunn, better known as Reel-Lady, acted as my agent. Both Deb and I were happy with that arrangement and I can’t thank her enough for her valiant efforts to handle all sales professionally and promptly. However, over the past two years changes at eBay have led to prohibitively high listing and closing costs, even to the point that they take a commission on the shipping costs. During the past year there has also been a flood of lower quality tapes coming onto eBay, many made from cd originals or other dubious sources. It just became impossible to produce our high quality tapes at the net return after eBay and Paypal fees were deducted. Deb and I have talked about it quite a lot and looked at alternative ways to make the tapes available. In the end, Deb decided to retire from the master tape sales business. After giving thought to using eBay myself, setting up a website store or engaging another web sales agent, I decided that I would contact you all directly and test the waters on direct sales to my past customers. Thus this email to you directy from me. FIRST: let me say if you would rather not receive these direct emails in future please let me know immediately and I will remove you from the mailing list. -
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. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
60 CENTS the Boston Symphony Orchestra
H ENSCHBL 1881 -1884 60 CENTS GERICKE 1884-1889 1898 -1906 NIKISCH 1889-1893 Seventy -five Years of The Boston Symphony Orchestra by JOHN M. CONLY 1919 FEBRUARY PA UR 1893 -1898 ax a CC' c C - u á www.americanradiohistory.com how to select the best suited to your needs Standard Plastic -Base Audiotape meets strength and immunity to temperature all the requirements of the professional and humidity. Like all "Mylar" Audio - RELATIVE STRENGTH OF TAPE or home recordist to excellent advantage, tape, it will not dry out or embrittle BASE MATERIALS (at 75'F) providing unsurpassed recording quality with age. at minimum cost. It has consistently set In 50% Humidity the highest performance standards in Super -Thin Audiotape, on 1/2 -mil radio stations, sound studios and record "Mylar." doubles the footage obtainable 90% Humidity manufacturing companies throughout the on a standard reel. Its use, however, is world. The standard 11/2-mil cellulose limited to special applications where Yield Strength Breaking Strength acetate base has ample strength for greatly increased playing time justifies trouble -free operation under all normal a sacrifice of mechanical strength and some increase in print-through. operating conditions. AUDIOTAPE, STANDARD PLASTIC BASE LR Audiotape offers ad- Regardless of the base material, there two important 4.2 Ib. vantages which, for many is only one Audiotape quality -the fin- applications. 4.1 lb. more than outweigh the slight addi- est obtainable. All tapes are precision LR AUDIOTAPE, 1-MIL "MYLAR" tional cost per foot. First, it gives 50<,-;, coated with the same carefully formu- more uninterrupted playing time on a lated oxide and meet the same exacting professional standards of performance. -
The Life and Death of Classical Music
Norman Lebrecht THE LIFE AND DEATH OF CLASSICAL MUSIC Norman Lebrecht, assistant editor of the Evening Standard in London and presenter of BBC’s lebrecht.live, is a prolic writer on music and cultural aairs, whose weekly column has been called required reading. Lebrecht has written eleven books about music, and is also author of the novel The Song of Names, which won the Whitbread First Novel Award in 2003. www.normanlebrecht.com ALSO BY NORMAN LEBRECHT Mahler Remembered The Maestro Myth When the Music Stops The Complete Companion to 20th Century Music Covent Garden: The Untold Story The Song of Names Contents List of Illustration Acknowledgements Introduction: Past Midnight PART I Maestros 1. Matinee 2. Middlemen 3. Midpoint 4. Millionaires 5. Miracles on Miracles 6. Madness 7. Meltdown 8. Post Mortem Notes to Part I PART II Masterpieces: 100 Milestones of the Recorded Century PART III Madness: 20 Recordings that Should Never Have Been Made Concise Bibliography In memory of Klaus Tennstedt (1926–1998) a studio nightmare List of Illustrations 1. A crowd in Queen’s Park, Manchester, listening to an Auxeto Gramophone 2. Fred Gaisberg turning pages in a 1920s Berlin studio for Fritz Kreisler and his accompanist Franz Rupp 3. A gramophone, early 1930s 4. Arturo Toscanini at the 1937 Salzburg Festival 5. Arthur Schnabel 6. Marian Anderson, early 1940s 7. Gregor Piatigorsky, Jascha Heifetz and Arthur Rubinstein, Hollywood, 1949 8. Professor Elsa Schiller 9. Herbert von Karajan in Berlin, 1955, with Hans Heinz Stuckenschmidt and Gerhart von Westermann 10. Glenn Gould, Leonard Bernstein and the New York Philharmonic Orchestra, New York, March 1961 11. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
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. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1. -
Dennis Brain Discography
DENNIS BRAIN ON RECORD A Comprehensive Discography Compiled by Robert L. Marshall Fourth Edition, 2011 FOREWORD This is the fourth, and no doubt final, revision of the “Comprehensive Inventory by Composer” section from my book, Dennis Brain on Record: A Comprehensive Discography of his Solo, Chamber and Orchestral Recordings, originally published in 1996, with a foreword by Gunther Schuller (Newton, Mass: Margun Music, Inc.). Most of the additions and corrections contained in the present list were brought to my attention by Dr. Stephen J. Gamble who, over the course of the past fifteen years, has generously shared his discographical findings with me. Although many of these newly listed items also appear in the discography section of the recently published volume Dennis Brain: A Life in Music, co-authored by Dr. Gamble and William C. Lynch (University of North Texas Press), it seemed useful nonetheless to make an updated, integral version of the “comprehensive” inventory available as well. There is one significant exception to the claim of “comprehensiveness” in the present compilation; namely, no attempt has been made here to update the information relating to Dennis Brain’s film studio activities. All the entries in that regard included here were already listed in the original publication of this discography. The total number of entries itemized here stands at 1,791. In the original volume it was 1,632. All the newly added items are marked in the first column with an asterisk after the composer’s name. (It will be interesting to see whether any further releases are still forthcoming.) The entries themselves have been updated in other respects as well. -
Index of 'Maria Callas Magazine' No's 1 – 82
Index of ‘Maria Callas Magazine’ No’s 1 – 82 Founder’s Preface 48-66; 51-66; 54-66; 57-66; 60-66; 63-68; 66-66 October 1958 - October 1959 18-6 – by J. Handzic and K.H. van Zoggel 69-68; 72-68; 75-68; 78-69; 81-70 • Part IV: The Concerts as ‘Maria Callas’: • 1-5; 2-4; 3-4; 4-4; 5-4; 6-4; 7-4; 8-4; 9-4; 10-4; 11-4; 12-4 1960-1965 19-7 13-4 14-4; 15-4; 16-4; 17-4; 18-4 19-4 Changes and Additions to List of Club Members • Part V: The Farewell Recitals 1973-1974 20-18 • 40-59; 41-76; 43-60; 44-72; 46-62; 47-70; 49-62 Preface – by K.H. van Zoggel 50-64; 52-61; 53-70; 55-61; 56-70; 58-61; 59-70; 61-60 Chronology of Maria Callas – by K.H. van Zoggel • 56-4; 57-4; 58-4; 59-4; 60-4; 61-4; 62-4; 63-4; 64-4; 65-4 62-70; 64-60; 65-70; 67-60; 68-70; 70-59; 71-70; 73-58 • Part I: The childhood years in New York, 66-4; 67-4; 68-4; 69-4; 70-4; 71-4; 72-4; 73-4; 74-4; 75-4 74-70; 76-58; 77-70; 79-58; 80-70; 82-58 1923 – 1937 45-34 76-4; 77-4; 78-4; 79-4; 80-4; 81-4; 82-4 • Part II: The years of apprenticeship and war List of Club Members E-mail Addresses in Greece, 1937 – 1945 45-35 Preface – by J. -
Pav, ,Girr Motown MS672 PETER KASTNER IS the UGLIEST GIRL in TOWN !
COIN MACHINE SEPTEMBER 21, 1968 SEVENTY -FOURTH Y R $1.00 PAGES 53 TO 63 The 7# International Music -Record Newsweekly 7 Montreux Disk Prize to Ford & Motorola in New British Decca's 'Electra' RCA in Drive By MIKE HENNESSEY Pact; Join By LEE ZHITO MONTREUX, France-The don on behalf of CBS, and to British Decca recording of Rich- Peter Andry, Essistant manager DETROIT -The Ford Motor cartridge system and is ex- Motorola will jointly stage a ard Strauss' "Electra," starring of EMI's international artists de- Co. has extended its Stereo 8 pected to quash periodic rumors giant in -store car dealer promo - Birgit Nilsson and conducted by partment, on behalf of EMI player contract with Motorola's that Ford is considering other tion aimed at achieving the Georg Solti, won the gold London. Automotive Products Division tape systems. Ford's commit- broadest consumer exposure of trophy in the Montreux Inter- Gelatt Presides for another three years, and is ment appears certain to add the cartridge concept as yet at- national Record Awards, inau- In addition, the 10 -man in- joining Motorola and RCA in a significant impetus to the al- tempted at the automotive level. gurated here Sept. 10 during the ternational jury, presided over massive nationwide Stereo 8 ready burgeoning 8 -track mar- Display Center 23d Montreux Music Festival. by Roland Gelatt, associate pub- promotion campaign. Thus, ket. This will consist of a car Winner of the silver award lisher of Higt Fidelity which Motorola will continue to sup- In addition, Ford, RCA and showroom demonstration and was Leonard Bernstein's CBS is sponsoring the annual rec- ply 8 -track CARtridge play- display center spotlighting recording of Mahler's "Sixth ord awards in conjunction with backs for all lines in the Ford IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII Stereo 8. -
The Modernisation of Wind Playing in London Orchestras, 1909–1939: A
The modernisation of wind playing in London orchestras, 1909–1939: A study of playing style in early orchestral recordings Emily Claire Worthington PhD University of York Department of Music April 2013 2 3 Abstract This is a study of performing styles among wind players in London orchestras during the period 1909–1939. Existing scholarship relating to orchestral performance in London in the early twentieth century perpetuates the notion that playing standards were, at best, unreliable until the establishment of contracted orchestras in the 1930s. In addition, existing studies of wind playing in orchestral recordings pre-1930 suggest that a plain style prevailed, with little use of vibrato or tonal flexibility, until the French woodwind schools began to influence British practices in the late 1930s. Three London orchestras are considered through a combination of archival research and recording analysis. A case study of the New Symphony Orchestra (1905–1930) challenges the notion that pre-1930 London orchestras were ill-disciplined and lacking in corporate identity. The NSO’s recordings document a hyper-expressive performance style founded on the use of temporal flexibility, which bears relation to styles observed among pianists, singers and string players of the period. Attention then turns to London’s first ‘permanent’ orchestras, the BBC Symphony Orchestra and London Philharmonic Orchestra. Documentary evidence shows that the two ensembles were established to fulfill two very different ideals of orchestral performance and musical aesthetic. Comparison of the orchestras’ recordings is used to establish how this led to the emergence of two contrasting styles of playing in their wind sections, both of which nonetheless represented a move away from the style of the NSO.