DOCSLIB.ORG

78 Rpm INSTRUMENTAL RECORDINGS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
78 Rpm INSTRUMENTAL RECORDINGS 78 rpm INSTRUMENTAL RECORDINGS String, Keyboard & Wind Soloists – Conductors - Orchestras If anything is not clear, please advise as soon as possible and I’ll try to help. JOHN AMADIO [flutist] 3631. 12” Red Orth. Victrola 9695 [Cc17488-IV/17489-III]. THE CARNIVAL OF VENICE (arr. Briccaldi)/HUNGARIAN PASTORAL FANTASIE (Doppler). With Orch. dir. George Byng. Small lbl. stkr., few lightest rubs. Cons. 2. $12.00. AMAR STRING QUARTET [L. Amar; W. Caspar; P. Hindemith; R. Hindemith] 2388. 12” Blk. EE Polydor 66422-66424 [429bg-434bg]. STRING QUARTET, Op. 22 (Paul Hindemith). Six sides. Just about 1-2. $60.00. AARON AVSHALOMOV [composer/conductor]. Siberia, 1894-Portland, OR, 1964. Avshalomov developed an approach that grafted elements of traditional Chinese music—which he had first encountered as a child among the Chinese community of his Siberian home- town—onto a colorful Russian style in the manner of Rimsky- Korsakov. He used the Western-oriented symphony orchestra to imitate and evoke sounds of traditional Chinese instru- ments, and he also transcribed characteristic ornamentations and used such instruments as temple blocks and finger cymbals. His only musical studies were in Zurich and he then resided in Shanghai, excepting a few years in the U.S. and elsewhere, until 1946. He then permanently moved to Portland, OR, where his son, Jacob, was conductor of the Portland Symphony. – American Composers Alliance website. 3507. 12” PW Columbia Master Works Set 286 (68870-D – 68873-D). [A3074/3075-2, 3076/3077, 3078/3079-2, 3080/3081-2]. CONCERT IN G UPON CHINESE THEMES AND RHYTHMS (Aaran Avshalomov). Eight sides. With GREGORY SINGER [pianist]. Conducted by the composer. No album. Just about 1-2. $20.00. GEORGES BARRÈRE [flutist] 2160. 10” PW Red (gold print) Victor 1975. LA TIMIDE; L’INDISCRÈTE/LA PANTOMIME (all Rameau). With HORACE BRITT [cellist], CARLOS SAL- ZEDO [harpist]. Just about 1-2. $8.00. AARON AVSHALOMOV 2161. 10” PW Red (gold print) Victor 1976. TAM- BOURIN/LA CUPIS (both Rameau). With BRITT [cello] and SALZEDO [harp). Few lt. rubs, 2. $7.00. HANS BARTH [pianist] 2290. 10” Blk. Orth. Victor 20396. WITCHES’ DANCE, Op. 17, No. 2/SEA PICTURES: No. 7, Nautilus; No. 1, To the Sea (all MacDowell). Small lbl. tear side one, few lightest rubs, cons. 2. $7.00. HAROLD BAUER [pianist] 3156. 12” Red PW (gold print) Victor 8162. IM- PROMPTU-ROCOCO (Schütt, Op. 56, No. 2)/ VALSE (Arensky, Op. 15). Both with OSSIP GABRILOWITSCH [pianist]. Excellent press- ing, superb condition. Just about 1-2. $15.00. 3549. 12” Blk. vinyl Victor mat. CS-068860-1. NOVELETTE (Schumann). Unpublished. Just about 1-2. $50.00. RENÉ BENEDETTI [violinist] 3908. 12” Blue PW Eng. Columbia D15074, D15075 [WLX437/438, 439/440]. LE BOEUF DUR LE TOIT (Darius Milhaud). Four sides. With HANS BARTH JEAN WIENER [pianist]. IMs. Just about 1-2. $15.00. 216 78 rpm INSTRUMENTAL RECORDINGS ARTHUR BERGH [violinist]. St. Paul, MN, 1881-Los Angeles, CA, 1962. A composer, conductor, violinist, and pianist, Bergh was a violinist with the Metropolitan Opera (1903-08) and the New York Symphony. He was a musical director for the Emerson Phonograph Company and in the later 1920s for Columbia. Here he recorded as a piano accompanist for several singers, including Alexander Kipnis. Later he worked for MGM in Hollywood as a music researcher and librarian. Bergh composed over 400 works in various genres. His setting of Poe’s The Raven had been successfully performed by David Bispham and Percy Hemus (who also recorded it for Victor). 2042. 10” Vertical Blk. Phono-Cut 5187. ROMANCE (van Goens)/EATON [violin], ARTRELLA [flute], EATON [harp]. DREAMY MOMENTS (Ludwig). Cons. 3-4. $10.00. LOUIS BILLAUT [composer/conductor] dir. ORCHESTRE SYMPHONIQUE 3607. 12” PW Plum Disque Gram. L-884 [2G-502-2/504-1]. RAPSODIE LIMOUSINE: Pastorale/Bourée (Louis Billaut). Recorded March 23, 1931. Cons. 2. $20.00 LEO BLECH [conductor] dir. BERLIN STATE OPERA ORCHESTRA. Aachen, 1871-1958. Blech studied at the Berlin Hochschule für Musik and with com- poser Engelbert Humperdinck. His long term conducting included the German Opera in Prague (1899-1906), the Berlin State Opera (1906-1923), the Charlottenburg Opera (1923-25) and then again the Berlin State Opera (1926-1937). Despite being Jewish, he was permitted to conduct in Germany following 1933 by having been made an “honorary Aryan”, although while guest conductiong in Riga in the later 1930s he was warned not to return to Germany. He re- mained with the Riga Opera until 1941 and then moved to Sweden, where he conducted the Stockholm Royal Opera. He ended his career by returning to the Berlin Opera, 1949- 1954. In addition to his success as an operatic and symphonic conductor, Blech was also a recognized composer in a variety of idioms, his opera Versiegelt (1908) having experienced international performances. 3250. 12” Red Orth. Victrola 9329 [CLR3951-IV/CLR3952-II]. MASANIELLO: Overture (Auber). Two sides. Just about 1-2. $7.00. 3222. 12” Red Orth. Victrola 9485 [CLR3994-I/CwR464-I]. BALLO IN MASCHERA: Overture (Verdi)/COSÌ FAN TUTTE: Overture (Mozart). One tiny LSS side one, just about 1-2. $7.00. LEO BLECH LOUIS BLEUZET [oboist] 3883. 12” Blk. PW Eng. Col. DFX 3 [WLX1076/1077, 1078/1079]. SONATINE POUR HAUBOIS [OBOE] ET PIANO (Marcel Mihalovici). Four sides. With TOMAS TERAN [pianist]. Just about 1-2. $15.00. NAOUM BLINDER [violinist]. Lutsk, Russia, 1889-San Francisco, 1965. A graduate of the Imperial Conservatory of Odessa at the age of 14, Blinder studied with Alexander Fiedeman and then at the Royal Manchester College of Music, 1910-1913, with Adolph Brodsky. He then taught at his Odessa alma mater until 1920 and toured the next eight years. In 1928 he made ten sides for Columbia in New York (his only solo recordings) around the time of his April 10, 1928 Carnegie Hall debut and then remained in New York for two years on the Juilliard School faculty. He subsequently became concert master of the San Francisco Symphony and was also noted as a teacher. Perhaps his most illustrious pupil was Isaac Stern, who made his debut at the age of 15, playing the Bach Double Concerto with his teacher. Glenn Dicterow was also a pupil. At one point Blinder had 17 students as members of the San Francisco Symphony and the entire first violin section of the Oakland Symphony. 3007. 10” Blk. Viva-Tonal Columbia 158-M [W145634-2/145635-6]. PERPETUUM MOBILE (Novacek)/WIEGENLIED (Schubert, arr. Elman). Piano acc. Valentin Pavlowsky. Two very small rubs side one, otherwise just about 1-2. $15.00. 217 78 rpm INSTRUMENTAL RECORDINGS 3648. 12” Blk. Viva-Tonal Columbia 50118-E [W98459-1/98511-2]. LA CAPRICIEUSE, Op. 17 (Elgar)/CONCERTO: Canzonetta (Tschaikowsky). Piano acc. Valentin Pavlowsky. Just about 1-2. $15.00. BOHEMIAN [SUK] STRING QUARTET [Karl Hoffmann, Josef Suk, Jiri Herold, Ladislav Zelenka] 3737. 12” Brunswick 90425 – 90428 [779bm/780, 781/782, 783/784, 785/786]. QUARTET IN E MINOR (Smetana). Rare set, particularly as beautiful laminated Columbia pressings. Just about 1-2. $200.00. JOSEPH BOPP [flutist] 3489. 12” Plum Swiss HMV HEX 120 [2ZA-11-2/12-2]. BALLADE FOR FLUTE, STRING ORCHESTRA AND PIANO (Frank Martin). With Paul Sacher dir. Basler Kaminerorchester. Just about 1-2. $10.00. ROSARIO BOURDON [conductor] and VICTOR SYMPHONY ORCHESTRA 3904. 12” Blk. Orth. Vicor 36067. MARCHE JOYEUSE/ LE ROI MALGRÉ LUI: Danse Slave (both Cha- brier, ed. Hinrichs). Cons. 2. $8.00. EMMA BOYNET [pianist] 3068. 10” Red Scroll Victor 4315 [Z-type shellac]. LE MARCHANDE D’EAU FRAICHE/LE PETIT ANE BLANC (both Jacques Ibert). Just about 1-2. $12.00. ALEXANDER BRAILOWSKY [pianist] 3085. 10” PW Blue Polydor 90174 [2598½BH/2599½]. VALSE, Mi Mineur (Chopin)/ TOCCATA (Debus- sy). Just about 1-2. $15.00. 3302. 12” PW Gold Brunswick 90230 [1114½BI/ 1115½BI]. VALSE IMPROMPTU IN A FLAT MA- JOR (Liszt)/MARCHE MILITAIRE IN D FLAT MA- JOR, Op. 51, No.1 (Schubert). Excellent late ‘30s Columbia pressing. Few minor rubs, 2. $12.00. YOVANOVITCH BRATZA [violinist] 3647. 12” Blk. Viva-Tonal Columbia 50112-D [WAX2510/2511]. ROMANCE (Wieniawski)/ LEGENDE NAÏVE (Jongen). Piano acc. Just about 1-2. $15.00. HORACE BRITT [cellist] ROSARIO BOURDON 3083. 10” Blk. Viva-Tonal Columbia 2081-D [W149653-1/149654-3]. GRANADINA (Nin)/ PIÈCE EN FORME DE HABANERA (Ravel). J. Adler [pianist]. Just about 1-2. $12.00. EDDY BROWN, ROMAN TOTENBERG, BENNO RABINOFF, BORIS SCHWARZ [violinists] 3003. 10” Blk. Royale 1826, 1827 [US 1244-2/1245-1, 1246-1/1247-1]. CONCERTO FOR FOUR VIOLINS (Leonardo Leo). With ERNST VICTOR WOLFF [harpsichordist), celli and bass. Four sides. Scarce. Just about 1-2. $25.00. 2156. 10” Blk. Royale 1826, 1827 [US 1244-2/1245-1, 1246-1/1247-1]. Same as previous listing (#3003). Superficial rubs, 2-3. $15.00. FRITZ BUSCH [conductor] dir. LONDON PHILHARMONIC ORCHESTRA 3461. 12” Scroll Victor 11983, 11984 [2EA4013-I/4014-I, 4015-I/4016-I]. DON JUAN, Op. 20 (R. Strauss). Four sides. “Z”-type shellac. Just about 1-2. $15.00. FERRUCCIO BUSONI [pianist/composer] 3147. 12” Blue acous. Eng. Columbia L1470 [76060/76072]. PRÉLUDE IN A MAJOR; ÉTUDE IN G FLAT (Chopin)/PRELUDE TO CHORAL (Bach-Busoni); SCOTCH STEP (Beethoven). Couple lightest mks., cons. 2. $75.00. LOUIS CAHUZAC [clarinetist] 3374. 12” PoW Blue English Columbia LBX 3 [CCX 1273-2/1274-1]. SONATE POUR CLARINETTE ET PIANO (Honegger). 1½ sides/CANZONETTA (Pierné). With Folmer Jensen [pianist]. Just about 1-2. $7.00. PABLO CASALS [cellist] 3637. 12” Scroll “Z” Victor 6635. GOYESCAS: Intermezzo (Granados)/TOCCATA IN C MAJOR: Adagio (Bach-Siloti-Casals). Glassy mint surface. Just about 1-2.
Load more

Recommended publications
  • 18.7 Instrumental 78S, Pp 173-195
    78 rpm INSTRUMENTAL Sets do NOT have original albums unless indicated. If matrix numbers are needed for any of the items below in cases where they have been omitted, just let me know (preferably sooner rather than later). Albums require wider boxes than I use for records. If albums are available and are wanted, they will have to be shipped separately. U.S. postal charges for shipment within the U.S. are still reasonable (book rate) but out of country fees will probably be around $25.00 for an empty album. Capt. H. E. ADKINS dir. KNELLER HALL MUSICIANS 2107. 12” PW Plum HMV C.2445 [2B2922-IIA/2B2923-IIA]. FANFARES (Composed for the Musicians’ Benevolent Fund by Lord Berners, Sir. W. Davies, Dorothy Howell and Dame Edith Smyth). Two sides . Lt. rubs, cons . 2. $15.00. JOHN AMADIO [flutist] 2510. 12” Red Orth. Vla 9706 [Cc8936-II/Cc8937-II]. KONZERTSTÜCK, Op. 98: Finale (Heinrich Hofmann) / CONCERTINO, Op. 102 (Chaminade). Orch. dir. Lawrance Collingwood . Just about 1-2. $12.00. DANIELE AMFITHEATROF [composer, conductor] dir. PASDELOUP ORCH. 3311. 12” Green Italian Columbia GQX 10855, GQX 10866 [CPTX280-2/ CPTX281-2, CPTX282-3/ CPTX283- 1]. PANORAMA AMERICANO (Amfitheatrof). Four sides. Just about 1-2. $25.00. ENRIQUE FERDNANDEZ ARBOS [composer, conductor] dir. ORCH. 2222. 12” Blue Viva-Tonal Columbia 67607-D [WKX-62-2/WKX-63]. NOCHE DE ARABIA (Arbos). Two sides. Stkr. with Arbos’ autograph attached to lbl. side one. Just about 1-2. $20.00. LOUIS AUBERT [composer, con- ductor] dir. PARIS CONSERVA- TOIRE ORCH. 1570. 10” Purple Eng.
    [Show full text]
  • A Chronology of All Artists' Appearances with the Chamber
    75 Years of Chamber Music Excellence: A Chronology of all artists’ appearances with the Chamber Music Society of Louisville st 1 ​ Season, 1938 – 1939 ​ Kathleen Parlow, violin and Gunnar Johansen, piano The Gordon String Quartet The Coolidge Quartet The Heermann Trio nd 2 ​ Season, 1939 – 1940 ​ The Budapest String Quartet The Stradivarius Quartet Marcel Hubert, cello and Harold Dart, piano rd 3 ​ Season, 1940 – 1941 ​ Ralph Kirkpatrick, harpsichord and Lois Wann, oboe Belgian Piano­String Quartet The Coolidge Quartet th 4 ​ Season, 1941 – 1942 ​ The Trio of New York The Musical Art Quartet The Pro Arte Quartet th 5 ​ Season, 1942 – 1943 ​ The Budapest String Quartet The Coolidge Quartet The Stradivarius Quartet th 6 ​ Season, 1943 – 1944 ​ The Budapest String Quartet Gunnar Johansen, piano and Antonio Brosa, violin The Musical Art Quartet th 7 ​ Season, 1944 – 1945 ​ The Budapest String Quartet The Pro Arte Quartet Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord th 8 ​ Season, 1945 – 1946 ​ The Musical Art Quartet Nikolai Graudan, cello and Joanna Graudan, piano Philip Manuel, harpsichord and Gavin Williamson, harpsichord The Budpest String Quartet th 9 ​ Season, 1946 – 1947 ​ The Louisville Philharmonic String Quartet with Doris Davis, piano The Albeneri Trio The Budapest String Quartet th 10 ​ Season, 1947 – 1948 ​ Alexander Schneider, violin and Ralph Kirkpatrick, harpsichord The Budapest String Quartet The London String Quartet The Walden String Quartet The Albeneri Trio th 11 ​ Season, 1948 – 1949 ​ The Alma Trio
    [Show full text]
  • The Visual Aspects of Le Mage
    The visual aspects of Le Mage Michela Niccolai The first part of Massenet’s career was marked by the composition of several grand operas: Le Roi de Lahore (1877), Hérodiade (1881), Le Cid (1885) and Le Mage (1891). The latter , produced at the Paris Opéra, directed at that time by Ritt and Gailhard, was lavishly staged and the number of costumes was extraordinary. Even so, it remained on the bill, between spring and autumn 1891, for just thirty-one performances, from the première on 16 March. The new work was not received with great enthusiasm in the press. Henry Moreno (pen name of the publisher Henri Heugel) reported in the columns of Le Ménestre l: Pointless cliché: that is what characterises Le Mage . [...] Monsieur Massenet is obviously in a difficult period, in which he is no longer able to see clear - ly the path he had been following so successfully since the beginning. Like his hero Zarastra, he is badly in need of a spell of contemplation. He would do well to withdraw to the holy mountain to consider the dangers of over- hasty production, and then return to us stronger, fortified, ready to take on new challenges. (Henri Moreno, ‘Semaine Théâtrale, Le Mage ’, Le Ménestrel , 22 March 1891, no 12, p. 92.) Even among those close to Massenet, some appear to have been disap - pointed in their expectations of Le Mage . His friend and pupil Gustave Charpentier wrote to his father from Paris on 18 March 1891: 69 jules massenet: le mage The day before yesterday I attended the première of Le Mage (by Massenet).
    [Show full text]
  • American Viola Society Newsletter No. 17, November 1979
    AMERICAN VIOLA SOCIETY (formerly Viola Research Society) American Chapter of the INTERNATIONALE VIOLA FORSCI.IUNGSGESELLSCIIAFT ------------ __-,l-_lll_--II_ ..s-- November NEWSLETTER 17 1979 ----- - -- ----I- "YOU'VE COME A LONG WAY, BABY! " A REPCRT ON TH3 SEVZKTE INTERXATIC'NAL VIOLA CONGRESS PROTJO, UTAH The Seventh International Viola Congress, which took place July 12, 13, and 14 on the canipus of Eriehan; Young University, was a very epecial event on several counts. Sponsored by the American Viola Society and Brieham Youne University, the congress was held in t.he Frenklln S, Harris Fine Arts Center--& superb ccmplex that offered first-class concert halls, lecture roous, and exhibition galleries. Two celebrations, important to violists, took place durine the congress. The first was an anticipatory musics1 and biographical celebration of the 100th birthday of Ernest Bloch (born 1880), manifested by performances of all his worke for viola and a talk on his life and music by Suzanne Bloch, his dsuehter. The second was the 75th birthday of William Primrose. The viclists heard during the three days represented a stunning and consi~tentlyhigh level of performance--so~ethM that has become more and more the norm for viola playing today and synonymous with American strine playing in eeneral. Dr. David Dalton, the hoet chairperson of the congress and a mezber of BYU's ffiusic faculty, did an outstanding Job of oreanizinfr and oversaeing the congress, aided by the university 'a Music Department faculty and staff. No large meetine can be without flaws, but this caneress was one of the smocthest and least-blemished ever witnessed by this writer.
    [Show full text]
  • Current Review
    Current Review Isaac Stern plays Tchaikovsky: Violin Concerto, Op. 35 and Bartók: Violin Concerto No. 2, Sz. 112 aud 95.624 EAN: 4022143956248 4022143956248 Fanfare (Jerry Dubins - 2014.02.12) This release is of particular interest to me, for as one who was born, raised, and lived most of my life in San Francisco, I probably saw and heard Isaac Stern perform live in concert and recital more times than any other single artist. That, of course, was because of Stern’s close ties to the city in which he grew up and studied violin under Louis Persinger, one-time teacher of Menuhin, and with Naoum Blinder, the San Francisco Symphony’s then concertmaster. In 1936, Stern made his debut with the orchestra under the baton of Pierre Monteux, and though he would soon leave San Francisco to pursue a career as one of the world’s most recognized and sought-after violin virtuosos, he returned often to the city that had nurtured him to appear with the orchestra and in recital with his long-time accompanist, Alexander Zakin. In 1945, Stern signed a recording contract with Columbia, an association that lasted uninterrupted for 40 years, one of the longest such artist/record company alliances in history. And during those years, Stern joined forces with famous conductors, orchestras, and chamber musicians to record the entire mainstream violin concerto and chamber music repertoire, and beyond, often more than once. If you grew up in the 1950s and began collecting records in junior high and high school, as I did, the chances are you grew up with Isaac Stern spinning on your turntables.
    [Show full text]
  • December 1940) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 12-1940 Volume 58, Number 12 (December 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 12 (December 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/59 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. —— THE ETUDE Price 25 Cents mueie magazine i — ' — ; — i——— : ^ as&s&2i&&i£'!%i£''££. £&. IIEHBI^H JDiauo albums fcj m Christmas flarpms for JfluStc Jfolk IS Cljiistmas iSnraaiitS— UNTIL DECEMBER 31, 1940 ONLY) (POSTPAID PRICES GOOD CONSOLE A Collection Ixecttalist# STANDARD HISTORY OF AT THE — for £111 from Pegtnner# to CHILD’S OWN BOOK OF of Transcriptions from the Masters Revised Edition PlAVUMfl MUSIC—Latest, GREAT MUSICIANS for the Pipe Organ or Electronic DECEMBER 31, 1940 By James Francis Cooke Type of Organ Compiled and MYllfisSiiQS'K PRICES ARE IN EFFECT ONLY UP TO By Thomas
    [Show full text]
  • Discovering the Contemporary Relevance of the Victorian Flute Guild
    Discovering the Contemporary Relevance of the Victorian Flute Guild Alice Bennett © 2012 Statement of Responsibility: This document does not contain any material, which has been accepted for the award of any other degree from any university. To the best of my knowledge, this document does not contain any material previously published or written by any other person, except where due reference is given. Candidate: Alice Bennett Supervisor: Dr. Joel Crotty Signed:____________________ Date:____________________ 2 Contents Statement of Responsibility: ................................................................................................................... 2 Chapter One ............................................................................................................................................ 5 Introduction ........................................................................................................................................ 5 Methodology ....................................................................................................................................... 6 Literature Review ................................................................................................................................ 9 Chapter Outlines ............................................................................................................................... 11 Chapter Two .........................................................................................................................................
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Read Ebook {PDF EPUB} Sternenstaubkind by Isa Day Sternenmagie Bücher in Der Richtigen Reihenfolge
    Read Ebook {PDF EPUB} Sternenstaubkind by Isa Day Sternenmagie Bücher in der richtigen Reihenfolge. Die Sternenmagie -Serie schuf Isa Day im Jahre 2020. Entstanden sind seitdem fünf Teile der Reihenfolge. Der letzte bzw. neueste Band stammt auch aus diesem Jahr. 4.5 von 5 Sternen bei 2 Bewertungen. Chronologie aller Bände (1-5) Eingeleitet wird die Buchreihe mit dem Buch "Sternenstaubkind". Mit diesem Teil sollte zum Einstieg angefangen werden, wenn man alle Bände der Reihe nach lesen möchte. Direkt nach dem Einstieg 2020 ließ das nächste Buch nicht lange auf sich warten und folgte noch im selben Jahr unter dem Titel "Abschied". Ausgebaut wurde die Serie dann im Verlauf des Jahres mit drei neuen Bänden. Der aktuell letzte Teil heißt "Kollisionskurs". Start der Reihenfolge: 2020 (Aktuelles) Ende: 2020 ∅ Fortsetzungs-Rhythmus: 2,4 Monate. Buch 1 von 5 der Sternenmagie Reihe von Isa Day. Reihenfolge der Sternenmagie Bücher. Band 1 : Sternenstaubkind. Band 2 : Abschied. Band 3 : Verbannung. Verlag: Pongü Verlag. Bindung: Kindle Ausgabe. Band 4 : Wandelstern. Bindung: Kindle Ausgabe. Band 5 : Kollisionskurs. Bindung: Kindle Ausgabe. Wann erscheint ein neues Buch zur Sternenmagie Reihe? Fortsetzung der Sternenmagie Reihe von Isa Day. Ein Jahr lang wurde im Durchschnitt jede 2,4 Monate eine Fortsetzung der Reihenfolge publiziert. Ein Veröffentlichungstermin zum sechsten Teil hätte sich somit rechnerisch für 2020 ergeben müssen. Dies war jedoch nicht der Fall. Eine Bekanntmachung zu einem neuen Band erreichte uns bislang ebenfalls nicht. Wer nicht abwarten möchte, könnte mit Der Weg des Heilers eine weitere Reihe von Isa Day lesen. Unser Faktencheck klärt, ob eine Fortsetzung der Sternenmagie Bücher mit einem 6.
    [Show full text]
  • LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2
    28908Laviniabooklet 10-09-2008 11:05 Pagina 1 CHANNEL CLASSICS CCS SA 28908 LAVINIA MEIJER HARP DIVERTISSEMENTS SALZEDO | CAPLET | IBERT 28908Laviniabooklet 10-09-2008 11:05 Pagina 2 As a little girl of eight, I was already captivated by the magical sounds of the harp, so pure and rich. Once I discovered the instrument’s wealth of possibilities during my first lessons and my years at the conservatory, I quickly set myself a goal: I wanted to promote the harp as a solo instrument, wherever and however I could. I wanted to do this not only through the performance of well-known pieces, but also by encouraging contemporary composers to produce new harp compositions. For my first Channel Classics CD, I have chosen a combination of three 20th-century French masters. The Parisian firm of Érard, in particular, created technical innovations to the harp which considerably broadened the instrument’s (chromatic) capabilities; these innovations, followed by the first ‘minor’ masterpieces by Debussy and Ravel, soon made Paris the epicentre of a veritable harp explosion. More and more well-trained harpists appeared, and so did composers who became interested in the harp. Even though André Caplet did not compose much for the harp, the ‘Deux Divertissements’ are now an indispensable part of the repertoire. They are one of the harpist’s ‘musts’. And I cannot imagine why Jacques Ibert’s ‘Six Pièces’, those surprisingly colourful miniatures – are so rarely performed in their entirety. French-American Carlos Salzedo occupies a special place in the world of the harp. Famous both as a performer and teacher, he was immensely influential.
    [Show full text]
  • View PDF Online
    MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951.
    [Show full text]
  • Ernst Toch Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/ft0z09n428 No online items Ernst Toch papers, ca. 1835-1988 Finding aid prepared by UCLA Library Special Collections staff and Kendra Wittreich; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2008 The Regents of the University of California. All rights reserved. Ernst Toch papers, ca. 1835-1988 PASC-M 1 1 Title: Ernst Toch papers Collection number: PASC-M 1 Contributing Institution: UCLA Library Special Collections Language of Material: German Physical Description: 44.0 linear ft.(88 boxes) Date (inclusive): ca. 1835-1988 Abstract: The Collection consists of materials relating to the Austrian-American composer, Ernst Toch. Included are music manuscripts and scores, books of his personal library, manuscripts, biographical material, correspondence, articles, essays, speeches, lectures, programs, clippings, photographs, sound recordings, financial records, and memorabilia. Also included are manuscripts and published works of other composers, as well as Lilly Toch's letters and lectures. Language of Materials: Materials are in English. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Toch, Ernst 1887-1964 Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. Contact the UCLA Library Special Collections Reference Desk for paging information. Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections.
    [Show full text]