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Boston Symphony Orchestra Concert Programs, Season 50,1930
PRSGREttAE TO THE MUSIC LOVER The BRAMBACH Grand is truly a great instrument. It is made of the finest mate- rials by an organization that is 107 years old. $ In the making of BRAMBACH Pianos 675 there is no thought of quantity ... no con- sideration of numbers. Each instrument is only an entity in itself ... 4 ft. 10 in. an individual unit, as long carefully wrought, as deftly constructed, and containing the same measure of imagination and idealism as any other masterpiece of art. Convenient Terms CCtlARYEY® 144 Boylston Street Tel. HANcock 5180 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492 Boston Symphony Orchestra INC. Dr. SERGE KOUSSEVITZKY, Conductor FIFTIETH SEASON, 1930-1931 Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1931, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL WILLIAM PHILLIPS M. A. DE WOLFE HOWE EDWARD M. PICKMAN JOHN ELLERTON LODGE HENRY B. SAWYER BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1625 ^fr THE STEINWAY, GRACEFULLY DECORATIVE, BEAUTIFUL OF TONE, 1% EASILY WITHIN YOUR REACH You can have a Steinway in your living-room now by making a 10% first payment, and the balance will be extended over a period of three years ! Make a visit to your nearest Steinway dealer today and select your instrument. • There are Steinways of various sizes and prices, but there is never any variation in quality. -
029I-HMVNX1912X03-0000A0.Pdf
" His Master's Voice' ' reach a new and charming subject given out by the 'cello and accompanied by the short chords of the strings. 'Cello.--ý-.- ___ ý-----ý ýp -ý__- st r--- ýQ -ý N. -ý- -!- 40-40- -- ý =g- o This is followed by new matter in the Ali.aicr ey. P -y- etc. which works up into a glorious finale. A magni- ficent performance of the " Ruy Blas," conducted by Mr. Landon Ronald with insight and with spirit. (Speed 81.) ' THE following Records i bvfhr. No.o Svn, ' nkn..v Orchestra are already Published by Breilkoj6f flirlel. i issued. 12-inch Records, Es. 6d. " Overture Weber 0717 "Peer Gynt" Suite 0724 Oberon" (a) Morning ... Grieg 0718 "Peer Gynt' Suite y 'ROM Weber's last Opera, (h) Death of Ase G,i, for 0719 "Peer Gynt" Suite which was written (c) Anitra's Dance performance at his visit 0720 "Per Gynt" Suite England. This (d) In the Hall of the to record com- Mountain King Grder mences with the Allegro, 0701 "Leonora" Overture beginning the familiar (No. 3), Part I 6rctlmvrn with 0702 "Leonora" Overtur rushing passages for strings. (No. 3), Part II I th,'ra This is followed by the lovely 0703 " Leonora" Overture for (No. 3), Part I I I htrtkne. u movement wood wind, 0681 "Midsummer Night's Dream "-Scherzo,l which transports us at once /endc/sselua into fairyland, this page being 0682 " Figaro " Overture1/ncart superbly given by the players Orches- 0683 Finlandia- Sym- of the New Symphony phonic Po_m Silc/n,s tra, the instrumental tone-colour "His Master's Voice'' being exquisitely reproduced. -
Werner Alberti Jerzy S. Adamczewski Martin Abendroth Bessie Abott
Martin Abendroth Sinfonie Orchester, dir. Felix Günther Die Zauberflöte Mozart 1929, Berlín 52434 In diesen heiligen Hallen Hom. A 8030 5101 52435 O Isis und Osiris Hom. A 8030 5101 Bessie Abott, Enrico Caruso, Louise Homer, Antonio Scotti orchestra Rigoletto Verdi 20.2.1907, New York A 4259 Bella figlia dell´amore HMV DO 100 6823 Jerzy S. Adamczewski Orkiestra symfoniczna, dir. Olgierd Straszyński Halka Stanisław Moniuszko / Włodzimierz Wołski 1955±, Varšava WA 1489 Racitativ i ariaJanusza Muza 1717 P 1321 Auguste Affre, Etienne Billot Orchestre Faust Gounod x.5.1907, Paříž XP 3362 Duo du 1er Acte – 2 Disque Odeon 60329 X 40 Werner Alberti klavír Martha Flotow x.9.1905, Berlín xB 675 Mag der Himmel euch vergeben Odeon Record 34296, 1/10 okraj X 15 Postillion von Lonjumeau Adam x.9.1905, Berlín Bx 679 Postillionslied Odeon Record 34296, 1/10 okraj X 15 Orchester Troubadour Verdi x.2.1906, Berlín 1001 Ständchen Hom. B. 838 P 11261 14.5.1906, Berlín 1701 Stretta Hom. B. 838 P 11261 Bajazzo Leoncavallo x.7.1912, Berlín 14281 Nein, bin Bajazzo nichr bloss! Beka B. 3563 P 10964 14285 Hüll´ dich in Tand Beka B. 3563 P 10964 Odeon-Orchester, dir. Friedrich Kark Troubadour Verdi x.9.1906, Berlín Bx 1641 Ständchen Odeon Record 50152 X 65 Lohengrin Wagner x.9.1906, Berlín Bx 1659 Nun sei bedankt, mein lieber Schwann Odeon Record 50161 X 65 Frances Alda, Enrico Caruso, Josephine Jacoby, Marcel Journet Victor Orchestra, dir. Walter B. Rogers Martha Flotow 7.1.1912, New York A 11437 Siam giunti, o giovinette HMV DM 100 5420 A 11438 Che vuol dir cio HMV DM 100 5420 A 11439 Presto, presto andiam HMV DM 104 5422 A 11440 T´ho raggiunta sciagurata HMV DM 104 5422 Frances Alda, Enrico Caruso, Marcel Journet Victor Orchestra, dir. -
September-2016-Auction.Pdf
78 CLASSICAL GALLERY CLASSICAL RECORD AUCTION No. 2 CLOSING DATE: SEPTEMBER 30, 2016 NEW AUCTION AUCTION CLOSING DATE: SEPTEMBER 30, 2016 Here you will find a list of early 78 rpm recordings of interest to every level of collector. Most items are focused on Classical selections from the 1898- 1940 period, some a bit more common but of really nice condition. The condition of grading employed here is: CONDITION GRADING: 1: UNPLAYED 1-2: TOP CONDITION 2: VERY FINE COPY- A FEW RUBS OR MARKS, NO NEEDLE WEAR 2-3 SOME RUBS, NON-SOUNDING BLEMISHES, NO NEEDLE WEAR. 3: SOME HEAVIER RUBS, MARKS, NO-SOUNDING BLEMISHES. AN AVERAGE COPY 3-4: LIGHT-SOUNDING WEAR (GREYING), RUBS. 4: SOUNDING WEAR, RUBS, MARKS 4-5: WEAR, RUBS, MARKS 5: OBVIOUS SOUNDING WEAR, HEAVY RUBS, MARKS 5-6: HEAVY WEAR, RUBS, MARKS 6: A WRECK! ONLY LISTED FOR EXTREME RARITY. As you can see, I’ve used Larry Holdridge’s grading scale as it seems to be the most universally accepted and understood system. However, if there are any questions, please feel free to call or e-mail for more clarification. This list is also posted on my website: www.78classicalgallery.com. Please submit bids either electronically through the website, or via USPS mail. Either are welcome. In the meantime, enjoy your perusal of these items. Good luck! Best wishes, David Schmutz # Image Name Artist Selection Min. Bid CLYINDERS FRENCH PATHE #3496 AFFRE: HUGUENOTS- PLUS PATHE SALON BLANCHE (MEYERBEER).- 1902 BLACK WAX, WRITING ON CYLINDER: AFFRE- RIM A BIT FADED AND RUBBED. IN ORIGINAL CASE WITH 1 AFFRE $200.00 HUGUENOTS ARIA ORIGINAL LID. -
ARSC Journal
THE GILBERT AND SULLIVAN OPERETTAS ON 78s: COMPLETE SETS AND ABRIDGEMENTS, 1906. 1950 John W. N. Francis In 1877 Richard D'Oyly Carte commissioned Gilbert and Sullivan to write The Sorcerer, and organized an ensemble of singer-actors to perform the new piece under the author's artistic direction. Also in 1877, of course, Charles Cros and Thomas Edison invented sound recording. More than a century later both the music and the medium continue to flourish, and indeed they have come together often and success fully--notably in the many complete versions by the D'Oyly Carte Opera Company, which have set standards of style and ensemble for generations of devotees and amateur performers. This discography documents the complete recordings of the Gilbert and Sullivan operettas made at 78 rpm, not only by the D'Oyly Carte company or under its aegis, but also by others with lesser claims to authenticity. Also included are substantial abridgements and sets of excerpts--groups of five or more sides made at essentially the same time and place and with the same performers, whether or not they were ever issued collectively or with consecutive numbering. The following comments set the recordings in the context of the D'Oyly Carte Opera Company's history. THE ACOUSTIC RECORDINGS When Richard D'Oyly Carte died in 1901, his widow Helen assumed manage ment of the businesses he had built, including the Savoy Theatre in London and the opera company, which was then on tour. In 1906 she brought the troupe back to the Savoy for a repertory season of Gilbert and Sullivan, its very first. -
ARSC Journal, Vol
Sound Recording Reviews ude and part of the Concerto, and the Blumenfeld are played with real distinction. In these pieces, Barere's conception of the music harnesses his tendency toward overt technical display and causes his pianism to serve expressive ends. Producer Brian Crimp writes at length and with glowing enthusiasm about Barere's playing as revealed on these and other recordings, and hopes for a reassess ment of his reputation. As a reading of the foregoing comments makes clear, this re viewer is scarcely inclined to name Barere as worthy of a high place in any musical pantheon. But his is an individual and readily identifiable style, and perhaps some who are understandably starved for anything resembling the grand manner of Ro mantic pianism will find pleasure and satisfaction listening to these recordings. Others, who admire the great recorded mementos of Hofmann, Rachmaninoff, Godow sky, and Friedmann at their best, may find it difficult to avoid feeling outrage when confronted with Barere's musical insensitivity and unrelievedly visceral interpretive outlook. Reviewed by David Breckbill Enrico Caruso The Complete Caruso-Including the Original Victor Talking Machine Com pany Master Recordings. RCA Victor Gold Seal 60495-2-RG. 12 CDs. The Caruso Edition, Vol. I, 1902-1908. Pearl EVC I. 3 CDs. The Caruso Edition, Vol. II, 1908-1912. Pearl EVC II. 3 CDs. Enrico Caruso-Opera Arias and Songs, Milan 1902-1904. Angel/EM! Great Recordings of the Century CDH 7610462. 1 CD. Since the LP record first appeared over 40 years ago, admirers of the vocal art of Enrico Caruso have been offered several collections of the legendary tenor's complete recordings, only to find they were neither complete nor consistently well-produced. -
Discographie
Discographie 1. Musique 1.1. Duo vocal 1.2. Mélodie 1.3. Musique de film 1.4. Musique instrumentale 1.5. Œuvre pour chœur 1.6. Œuvre pour piano 1.7. Opéra 1.8. Poème symphonique 2. Poésie 2.1. Chanson 2.2. Lecture 3. Roman 3.1. Adaptation théâtrale 3.2. Comédie musicale 3.3. Conte pour enfants 3.4. Lecture 3.5. Musique de scène 4. Théâtre 4.1. Lecture 4.2. Musique de scène 5. Correspondance 5.1. Lecture 6. Autres écrits 7. Documents 1. Musique 1.1. Duo vocal Le Crucifix in / Jean-Baptiste Faure // Léon Beyle (T) ; Hector Dufranne (BAR) ; accomp. de chœurs et d'orchestre - 190. - 1 disque : 78 t., aig. ; 25 cm - Gramophone concert GC- 33649/GC-34191 Cote salle P : C 003848 Le Crucifix in / Jean-Baptiste Faure // Enrico Caruso (T) ; Marcel Journet (B) ; accomp. d'orchest- re - 1912 (enr.) - 1 disque monoface : 78 t., aig. ; 30 cm - Victrola 89054 Cote salle P : SD 78 30 005738 Le Crucifix in / Jean-Baptiste Faure // Alma Gluck (S) ; Louise Homer (A) ; accomp. d'orchestre - ca 1920 - 1 disque : 78 t., aig. ; 30 cm - Victrola 8029 Cote salle P : SD 78 30 005648 Le Crucifix in / Jean-Baptiste Faure // Miguel Villabella (T) ; Georges Villier (BAR) ; accomp. d'orchestre - ca 1927 - 1 disque : 80 t., saphir ; 30 cm - Pathé 2605 Cote salle P : SD 78 30 005992 Le Crucifix in / Jean-Baptiste Faure // Miguel Villabella (T) ; Georges Villier (BAR) ; accomp. d'orchestre - ca 1927 - 1 disque : 78 t., aig. ; 25 cm - Pathé X2605 Cote salle P : C 003731 Le Crucifix in / Jean-Baptiste Faure // André Balbon (T) ; Yvon Le Marc'hadour (BAR) ; accomp. -
Livres Et Documents Sur Richard Wagner (1813-1883)
LIVRES ET DOCUMENTS SUR Richard WAGNER (1813-1883) (Mise à jour le 25 mars 2013) Médiathèque Musicale Mahler 11 bis, rue Vézelay – F-75008 Paris – (+33) (0)1.53.89.09.10 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 Livres et documents sur Richard Wagner (1813-1883) LIVRES A : Catalogues, catalogues d'expositions, programmes… 3 B : Ecrits de Richard Wagner, correspondance… 4 C: Biographies, études… 6 D : Ouvrages collectifs, colloques, symposiums… 15 E : Revues… 16 G : Analyses d'œuvres… 17 Wagner dans les ouvrages thématiques… 23 Wagner dans les biographies d'autres compositeurs… 32 PARTITIONS 36 ENREGISTREMENTS SONORES 41 REVUES 64 FONDS D'ARCHIVES 66 ARCHIVES NUMÉRISÉES 75 2 Médiathèque Musicale Mahler – Bibliographie Wagner / 2013 LIVRES BIOGRAPHIES DE RICHARD WAGNER A : catalogues… Bayreuth 1876-1976. - Bayreuth : Festspielleitung Bayreuth, 1976. - (BM WAG A14) Dossier Richard Wagner de Roger Commault. - . - (BM WAG A11 (Réserve)) Exposition Richard Wagner : Musée Galliéra, 24 juin-17 juillet 1966. - Paris : Musée Galliéra, 1966. - (BM WAG A13) Richard Wagner Kalender : Merkbüchlein über Richard Wagner's Leben, Werke und Wirken für alle Tage des Jahres. - Wien : Fromme, 1882. - (BM WAG A5 (Réserve)) Richard Wagners photographische Bildnisse. - München : Bruckmann, 1908. - (BM WAG A7) Wagner e Venezia : catalogo della mostra, Palazzo Vendramin-Calergi, 13 febbraio - 31 luglio 1983. - Venezia : Palazzo Vendramin-Calergi, 1983. - (BM WAG A10) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1885. - München : Schmid, 1885. - (BM WAG A5 (Réserve)) ALLGEMEINER RICHARD-WAGNER-VEREIN. - Bayreuther Taschenkalender für das Jahr 1886. - München Leipzig : Schmid : Leede, 1886. - (BM WAG A5 (Réserve)) ASSOCIAZIONE RICHARD WAGNER DI VENEZIA. - Venezia per Wagner : progetto per la fondazione a Venezia di un museo e di un centro internazionale di studi e di ricerche dedicati a Richard Wagner. -
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 slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era 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. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * 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 featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh. -
ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia
ROBYNCATHCART: M.A. CANDIDATEIN MUSICOLOGY THEUNIVERSITY OF VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia IZ- Supervisor: Dr. Gordana Lazarevich December 12,2003 University of Victoria PO Box 1700 STN CSC Victoria, BC V8W 2Y2 Canada Supervisor: Dr. Gordana Lazarevich A~STRACT Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics. List of Figures ............................................................................ 11 ... List of Appendices ...................................................................... 111 Acknowledgements ..................................................................... iv Preface ......................................................................................... v Chapter 1: Planting the Seeds of the Garcia 11 School ................. 1 (a) The Italian Schools ...................................... -
Muzikološki Z B O R N I K X L V I
MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL X L V I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 0 MUZIKOLOŠKI ZBORNIK • MUSICOLOGICAL ANNUAL XLVI/2 • MUSICOLOGICAL ZBORNIK ANNUAL MUZIKOLOŠKI ZBORNIK OB JUBILEJU KATARINE BEDINA ISSN 0580-373X ESSAYS IN HONOUR OF KATARINA BEDINA 9 770580 373009 MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL X L V I / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 0 ZBORNIK OB JUBILEJU KATARINE BEDINA ESSAYS IN HONOUR OF KATARINA BEDINA 1 Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Aleš Nagode (Ljubljana) Urednik • Editor Matjaž Barbo (Ljubljana) Izvršilni urednik • Assistant Editor Jernej Weiss (Ljubljana) Uredniški odbor • Editorial Board Mikuláš Bek (Brno) Jean-Marc Chouvel (Reims) David Hiley (Regensburg) Nikša Gligo (Zagreb) Aleš Nagode (Ljubljana) Niall O’Loughlin (Loughborough) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://www.ff.uni-lj.si/oddelki/muzikologija/MZ_home.htm Prevajanje • Translation Andrej Rijavec Cena • Price 10 € / 20 € (other countries) Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Valentin Bucik, dekan Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 500 izvodov • Printed in 500 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja. Prispevki naj bodo opremljeni s kratkim povzetkom (200-300 besed), izvlečkom (do 50 besed), ključnimi besedami in kratkimi podatki o avtorju. -
Eleventh Rehearsal and Concert
SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES Ticket Office, 1492 . rj. , , S \ „„ Telephones ^^'^^ ^^^o„„ { Administration Offices. 3200 S TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor programm? of ti?? Eleventh Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 3 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 4 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 809 : Piano. Used and Indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel W^alter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY G. L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 810 Boston Symphony Orchestra PERSONNEL ?j!a3!d!d=fa!id=adl=!!=faa6^^ ®^f)e Qt^itktrin^ i^tano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET Cor. NORTHAMPTON ST. Near Mass. Ave. BOSTON 812 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN anc/ EIGHT Eleventh Rehearsal and Concert FRIDAY AFTERNOON, JANUARY 3, at 230.