Droop's Music House, 1300 G

Total Page:16

File Type:pdf, Size:1020Kb

Droop's Music House, 1300 G will b» repainted with suggestion* Martinelli, famous tenor of the Kitty Beale, toprano of tho Helena Marth, contralto, who Vladimir Rowing, Russian ten¬ Sophie Braelau, young con¬ from i:obert Edmond Johm. Metropolitan Optra, who htada Metropolitan Ofera Sextet, to make« her pro/eeeional Wash¬ or, who gives a song recital in tralto of the Metrupohiau Grand opera as It should bat give a next debut in recital the concert the season who it the arttit BEST the list of artists in next Sun¬ be heard in eonoert Sun¬ ington joint first of Optra, of If the aim and claim of this organ- ( SINGERS concert at the 9 in with a of the Rubinstein Tues¬ the concert the Phil¬ day evening's day evening at o'clock, Verady, young Hunga¬ Club, fourth of Izatlon that has made *t*ady and Wtllard, when a sextet from tho ballroom of the Willard rian woman cellist, in the day evening at 8:30 in the New harmonic Course, Tuesday, at it in the seventh concert the Ten-Star Masonic Auditorium. at the National Theater. aura steps toward the standards at . the Metropolitan will be heard Hotel. The concert of 4:30, in thn sertes of "Concerts Dip- couree of "Cencertt Diploma- Serine, Friday, at i -SO, at the leading organisations. In building LIKED OF ALL lomatiquee.'\ tit/uee." National Theattr. toward a national opera In Washing¬ g; ton, Director Albion Is assembling " an opera anssmble that Justifies this high ambition and that win MUSIC MAKERS glvs a gala performance In Wash¬ ington. 'vAmerica Is to the Fore to Prove That the _* .a....yss.... f Coming MUSIC IN MOVIES » *' r~v Contralto Voice Is Not Scarce~4lreat t- «. "* Growing 3 Artists of Opera and Concert Will Bring Songs Creatore at Rlatto to Charm a Our For a Second Week li.t Mid-Winter Season.And TLgOORE'S RIAJLTO THEATER ar has secured the services of Women's Chorus Ctals Will Give an Interesting Maestro Creators for another gala week of music for this popular rrv Concert in the Week's Music Calendar. and progresslvs plcturs theater. JESSIE MacBRIDE. Perhaps no local institution deroted By to amusement and art has done *wo con^ra^s our concerts of the week. more in bringing to the city dur¬ » » Both of them American ing the past few months artists r singers. Sophie Braslau, than Moore's who comes as artist in the second Philharmonic of repute and talent Course, Rlalto Theater. The series of has won her in and been concerts given in connec¬ r< way Washington proclaimed weekly for her vital charm and warmth of tion with its picture scopes, snd temperament, feature to the regular Helena Marsh makes her here as as an added be, professional debut photo-drama program has proved hp. artist in the Ten Star Concert. Miss Marsh is well- one of ths most popular worth¬ ^-r known in Washington socially, and to her art she brings while entertainments ever offered the present season. Mr. Rosing im the theater-going public. personal appeal, and a beautiful voice. said to here youth, rarely be first of all a remark¬ ¦ iiu. Maestro Creatore opened Tho singer, many people say, H a year or more before she made her able Interpreter, but hi* vocal re¬ last Monday afternoon, giving makes the to the as a thrss greatest appeal debut here an a singer, at which sources are ample, and vocal¬ 'Samson and Dalilah' tun, the Chicago and the Philadel¬ series of special concerts greatest number of music lovers. ist alone he would command the week. time she sang with another group great caro bens" (Bechnl); "Kr iat'a" With Noted Soloists phia Opera Companies. tlmss daily throughout If that is tho case, this is the f of Metropolitan Opera Singers in admiration. Many of his Interpre¬ (Wolf); "Dissonance" (Borodlne); Boston Symphony and Nicola Zerola, tenor, ia the Sam¬ Capacity audiences have greeted bis CJ*!- enthusi¬ veelt for the music lover. the Belasco Theater two years ago. tations are intensely dramatic; not "1 lo'e n&' a laddie but ana" (Old Here in son. He was a discovery of Ham- every appearance and the Monteux, Conductor February offer¬ In the concert given by the She haa won her way remarkably, theatrical, however. In the common Scotch); "Romanc* de Pauline." interest will bo felt In merstein and sans with the Manhat¬ astic reception accorded' his ^ of that but ho the Illus¬ the .Rubinstein Club, a choral club of aa It is difficult for an American acceptation word, from the Opera "Pique Dame" MONTEUX, ^JHiCAT tan forces after great continental ings have at tlmea reached pro¬ i^. piERRE conductor of the Boa- the announcement of a special one Washington composed of 100 girl to get recognition from the does not hesitate at times to five (Tsrhaikowsky); "Voce dl donna," trious successes, and at the Metropolitan. portions of an ovation and Igti facial emphasis to a line or to ton Symphony Orchestra, now In matinee performance of Salnt-Saens to ths Rlalto when the con¬ women's a Metropolitan at no early a stage from "La Oloconda" (Ponchlelli). He was called the successor to visit >fT. voices, Russian tenor, a the third season at this has In a career and at so an even whole song. With cello played by Miss Varady, post, treat opera, "Samson and Dalilah," Hollls Kdlson cert is being: given should bs . Vladimir Rosing, will be heard. youthful Tamagno. Davenny, Miss Beale is the The program Is: Aria, "Cavatlna" Miss Marsh will give "Alone on the made a program of brilliance and to be given here by the Washington who appeared with the Washington enough to convince the most doubt¬ >7>» Another newcomer is the Hunga- age. granddaugh* for ter of the late well-known Gen. from "Ffeust" (Oounod); Knglisn Housetop" (Oalloway); "Nightingale variety the single concert to Opera (Company, Edouard Albion, Company as Mephlstopheles ful that Washington citizens know, rlaa Rozsi Verady. who lie this famous Opera cellist, Sprlgg S. Carroll, who spent the group, "Invocation to Love" (Cyril Lane" (Alice Barnett); "The Day Is given by organisa¬ general director, at the National in "Faust" and Tonlo In "Pag- appreciate and love good music, w gives a joint recital with Miss Scott), "Hebredian Dance" Scotch tion In Washington this year, which that the claim advanced for ,,f last years of his life at his country Dull." dedicated lo Mlaa Marsh Theater on Friday afternoon, Feb¬ llacacl," will sing the High Prlcat; and Marsh. (Fraser), "Lord Rendel" (Sommersct of will take place at the National The¬ Tlttman will the of the Nation as a . home near Takoma Park. Her (Walter Henry Rothwell); "Song ruary 24, at 2:15. Charles Trowbridge Capital Folksong), "L<ove Went a-Rldlng" the U and ater, Tuesday afternoon, January Ablme- music center is not without founda¬ comes from the Met* friends in Washington are looking Open" (Prank Porge); This will be the most Imposing appear in the dual roles of gRASLAU (Bridge); Russian group, "The Milt¬ "Ave Maria" (Shubert). 31, at 4:30, under management of presentation yet made by this com¬ lech and th« Old Hebrew, other tion. > ix. ropolitan Opera, where she forward with enthusiasm to hear¬ apd er" (Dorgomlngsky), "Hindoo Song" Mls» Varady's selections will be Mrs. Wllson-tlreene pany, in the of the local artists are Albert Shefferman, The program, beginning today is one of the younger singers upon ing her in an operatic program. which, light He . (Rlmsky-Korsakoff), "Death Sere¬ Sonata E Minor Seventeenth Cen¬ The symphony on this program rendition of "Alda" sea¬ will give Wagner's "Tann- which the future of America's fore¬ » great last baritone; Herbert Aldrlch, tenor, (Sunday) nade" and "Song of a Flea" (Mous- tury (Arloatl); (Tschalkow- will be the Fourth by Tuchaikow- son, may seem an and Walter Matson, bass. hauser" overture, the flTst time most opera house must be built. Contralto "Elegie" extravagant BrasEau, sorgsky). Tickets are on sale at "Serenade (Olazo- sky in F minor. This work was claim, that the facta bear There will be a chorus of 100 this beautiful score has ever been An American-born artist, she Is the sky); Espagnole" except that, In the office of T. Arthur Smith, Inc., nowt; "Scherzo" (Van tloena); "Sl- considered by the Russian com¬ out the statement. Director Albion aays, will surpass attempted by a local photoplay «». of a distinguished Rus- Recital Tuesday daughter 1806 O street. cllllenne" (Paure); and "Tarantella" poser as his finest achievement, The cast is headed Eleanora de the work done in "Aida," ? heater, and with augmented orches¬ sian doctor of New York, so she BRASLAU, the brilliant by splendid gOPHIE . and the subsequent verdict of pos¬ Clsneros as Dalilah. will direct the tra of musicians and special in¬ has the continental and young contralto of the Metro¬ (Popper). Mrae. Clsneros Arnold Volpe again Influence, Tickets be had at the office terity is more and more inclining coached this role with and the direction brought here from Phila¬ the of seventeen she politan Grand Opera, will be heard may Salnt-Saens orchestra, stage struments y jat age spoke Marsh-Verady Recital of T. Arthur 1306 O to his view. The work describes himself. Her Dalilah is famous will be under Enrlca Dillon, and New Tork. As an in¬ (our languages. Miss Braslau hsa In recital at the National Theater Smith, Inc., Clay delphia p, street. the hopes and aspirations of Hu¬ among opera-goers throughout the who put on "Aida." termezzo, Mascagnl's "Cavallerla sung abroad with great success, next Tuesday afternoon, January In "Ten-Star" Series .
Recommended publications
  • Introduction
    THE NEW YORK PUBLIC LIBRARY FOR THE PERFORMING ARTS THE OLIVE WONG PROJECT PERFORMANCE COSTUME DESIGN RESEARCH GUIDE INTRODUCTION COSTUME DESIGN AND PERFORMANCE WRITTEN AND EDITED BY AILEEN ABERCROMBIE The New York Public Library for the Perform- newspapers, sketches, lithographs, poster art ing Arts, located in Lincoln Center Plaza, is and photo- graphs. In this introduction, I will nestled between four of the most infuential share with you some of Olive’s selections from performing arts buildings in New York City: the NYPL collection. Avery Fisher Hall, Te Metropolitan Opera, the Vivian Beaumont Teater (home to the Lincoln There are typically two ways to discuss cos- Center Teater), and David H. Koch Teater. tume design: “manner of dress” and “the history Te library matches its illustrious location with of costume design”. “Manner of dress” contextu- one of the largest collections of material per- alizes the way people dress in their time period taining to the performing arts in the world. due to environment, gender, position, economic constraints and attitude. Tis is essentially the The library catalogs the history of the perform- anthropological approach to costume design. ing arts through collections acquired by notable Others study “the history of costume design”, photographers, directors, designers, perform- examining the way costume designers interpret ers, composers, and patrons. Here in NYC the the manner of dress in their time period: where so many artists live and work we have the history of the profession and the profession- an opportunity, through the library, to hear als. Tis discussion also talks about costume sound recording of early flms, to see shows designers’ backstory, their process, their that closed on Broadway years ago, and get to relationships and their work.
    [Show full text]
  • The Anchor, Volume 51.06: December 1, 1937
    Hope College Hope College Digital Commons The Anchor: 1937 The Anchor: 1930-1939 12-1-1937 The Anchor, Volume 51.06: December 1, 1937 Hope College Follow this and additional works at: https://digitalcommons.hope.edu/anchor_1937 Part of the Library and Information Science Commons Recommended Citation Repository citation: Hope College, "The Anchor, Volume 51.06: December 1, 1937" (1937). The Anchor: 1937. Paper 15. https://digitalcommons.hope.edu/anchor_1937/15 Published in: The Anchor, Volume 51, Issue 6, December 1, 1937. Copyright © 1937 Hope College, Holland, Michigan. This News Article is brought to you for free and open access by the The Anchor: 1930-1939 at Hope College Digital Commons. It has been accepted for inclusion in The Anchor: 1937 by an authorized administrator of Hope College Digital Commons. For more information, please contact [email protected]. tw'-. tmmm'm mm; f-fSw ; mm®* mm: • • • •_, - ••• • • «lFi . AK- '• ^" • '.•*••' •:.»- 5»VHV*! wtffn- me. ' msi ' J- = December 1, 1937 •>, U Fifty-first Year of Hope College, ==================== = Koch Presents Classical Club to Here's How It's Done, Girls Dutch Treat Week This Afternoon at 'our To Start Monday Song Recital In The Classical Club held its meet- g November 17, in the Alethean As Females Cheer Chapel Tonight m at four o'clock. Latin tongs were sung and a report on the ora- Program Includes Bowling, Baritone Soloist to Give was given by Harriet Lem- Church Attendance, Program of Varied Icuil. Florence Meengs rendered a olin solo, and an informal talk Theater Party Classical Music on the auguries was given by Heath Goodwin.
    [Show full text]
  • 029I-VOCBX1926XXX-0000A0.Pdf
    VOCALION RECORDS LIST OF PRICES PINK LABEL SECTION 516 1 B 10-in. 4/- 12-in. .. .. .. BLUE LABEL SECTION 12-in. 4/6 1 J 12-in. 4/6 .. .. .. .. 12-in. 4(6 1 R 10-in. 31- .. .. .. .. BRITS: ? :NST!T_'75 OF RE"O?DED 29 EXH!ßrr;oN ROAD, LONDON, S.W.7. This (1926) edition of the 'Vocalion' Record Catalogue in its new and simplified form will it is hoped, enable the Public to select to the best advantage from the wide and representative range of records enumerated therein. The present edition contains all Records issued up to and including November, 1925. The five distinct Sections into which the Catalogue is divided enable the customer to find any required record at a glance. Key to Indices. (a) Alphabetical List Artists: of - gives the page numbers on which will be found the works recorded by individual Artists. Alphabetical List of Titles :- shows all titles other than Dance numbers, the latter appearing separately at the end of the Catalogue, on tinted paper. In giving this general list of titles, the reverse side of each Record is shown in italics, excepting where various works appear under Subject Headings, in which case the reverse side will be found under the name of the piece itself. (continued overleaf (c) Artists and their Records :- This Section is sub-divided into five parts :- 1. Operatic, Oratorio, Songs and Ballads 2. Instrumental 3. Band 4. Orchestral 5. Miscellaneous Each part being arranged alphabetically under the names of the Artists and in the order of Solos, Duets, Trios, Quartettes, etc.
    [Show full text]
  • Catalogue 1926
    This (1926) edition of the 'Vocalion' Record Catalogue in its new and simplified form will it is hoped, enable the Public to select to the best advantage from the wide and representative range of records enumerated therein. The present edition contains all Records issued up to and including November, 1925. The five distinct Sections into which the Catalogue is divided enable the customer to find any required record at a glance. Key to Indices. (a) Alphabetical List Artists: of - gives the page numbers on which will be found the works recorded by individual Artists. Alphabetical List of Titles :- shows all titles other than Dance numbers, the latter appearing separately at the end of the Catalogue, on tinted paper. In giving this general list of titles, the reverse side of each Record is shown in italics, excepting where various works appear under Subject Headings, in which case the reverse side will be found under the name of the piece itself. (continued overleaf (c) Artists and their Records :- This Section is sub-divided into five parts :- 1. Operatic, Oratorio, Songs and Ballads 2. Instrumental 3. Band 4. Orchestral 5. Miscellaneous Each part being arranged alphabetically under the names of the Artists and in the order of Solos, Duets, Trios, Quartettes, etc. (d) Composers' List :- To enable the customer to select from the works of well known composers, a simple list has been inserted, giving the page number on which such works will be found. (e) Dance Section:- The very great demand for Dance Music has prompted us to arrange this Section distinct from the main part of the Catalogue, and in alphabetical headings Fox-trots, order of titles under the respective of Highland Reels, Lancers, One-steps, Tangos and Waltzes, the reverse side being shown in italics.
    [Show full text]
  • A Survey of the Professional and Major Amateur Theatre
    A SURVEY OF THE PROFESSIONAL AND MAJOR AMATEUR THEATRE P.RESENTATIONS IN SASKATOON FrlOM 1912 TO 1930 A Thesis Submitted to the Faculty of Graduate Studies in Partial Fulfilment of the Requirements for the Degree of ]i[aster of Arts in the Department of Drama University of Saskatchewan -. by Albert Ronald. Williams Saskatoon, Saskatchewan Nay, 1967 @ Copyright 1967. A. R. Williams 351.91.0 The author has agreed that the Library, University of Saskatche­ wan may make this thesis freely available for inspection. ].loreover, the author has agreed that permission for extensive copying of this thesis for scholarly purposes may be granted by the professor or professors who supervised the thesis work recorded herein or, in their absence, by the Head of the Department or the Dean of the College in which the thesis work was done. It is understood that due recognition will be given to the author of t,his thesis and to the University of Saskatchewan in any use of material in this thesis. Copying or pub­ lication or any other use of the thesis for financial gain without approval by the University of Saskatchewan and the author's written permission is prohibited. Requests for permission to copy or to make other use of material in this thesis in whole or in part should be addressed to: Head of the Department of Drama University of Saskatchewan SASKATOON, Canada SYNOPSIS This thesis is a survey of theatrical presentations in Saskatoon from 1912 to 1930. No attempt is made to propound theories based upon these facts. About three-quarters of this thesis presents a day-by-day compilation of professional stage productions and locally produced shows that appeared in the major Saskatoon Theatres from 1912 through 1921.
    [Show full text]
  • Eisinger Butterfly.Fm
    Ralf Eisinger Miura Tamaki Eine japanische Butterfly OAG Taschenbuch Nr. 104 OAG DEUTSCHE GESELLSCHAFT FÜR NATUR- UND VÖLKERKUNDE OSTASIENS Die OAG ist eine 1873 in Japan von deutschen Kauf- leuten, Gelehrten und Diplomaten gegründete Vereini- gung, deren Ziel es u. a. ist, die Länder Ostasiens, insbe- sondere Japan, zu erforschen und Kenntnisse darüber zu verbreiten. Die Reihe OAG Taschenbuch (früher OAG aktuell) er- scheint in unregelmäßigen Abständen und geht allen Mit- gliedern der OAG kostenlos zu. Soweit die jeweilige Auf- lage reicht, steht sie auch anderen Interessenten zur Verfü- gung. Die Manuskripte für die Reihe OAG Taschenbuch ge- hen in der Regel auf Vorträge zurück, die in der OAG To- kyo gehalten wurden. Sie enthalten grundsätzlich die Auffassung der jeweiligen Verfasser, die sich nicht not- wendigerweise mit der Auffassung der OAG zu decken braucht. Dieses Buch ist eine Veröffentlichung der OAG im IUDICIUM Verlag. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Copyright 2020 OAG Deutsche Gesellschaft für Natur- und Völkerkunde Ostasiens Tokyo, Japan. Printed in Germany April 2020 ISBN 978-3-86205-669-9 3 Inhalt Ein Vorspiel aus der Gegenwart ......................................... 5 Kindheit und Jugend ........................................................ 10 Westliche Musik in Japan ................................................
    [Show full text]
  • Vladimir Rosing Memoirs of a Social, Political and Artistic Life
    1 Vladimir Rosing Memoirs of a Social, Political and Artistic Life Transcribed, Edited & Annotated by Richard Rosing 2 To G.L. with all my love and gratitude1 1 The identity of “G.L.” is a mystery. The dedication exists in one of the earliest manuscript books, written in the 1930s. Because it is the only dedication Val ever made, it has been retained here. 3 Prologue Without an End, Without Beginning One never knows what lies beyond the instant; one never knows when and where began the chain that brought this instant or the next. Our finest intellect vainly tries to grasp, to understand what lies beyond its scope — the infinite — the endless space and time, without an end, without beginning. As I write this very instant, and as you read this line, somewhere a new life is born, and somewhere a life has ended. To understand the reason for and the purpose of our lives, to understand the cruelty of nature — when God who has created all and rules is a God of love — is a vain effort. We must accept that it exists beyond our understanding, yet the human brain in all its arrogance and conceit refuses to accept defeat, and carries on the struggle to conquer nature, space, and maybe time; but it cannot conquer time, that goes relentlessly forward, forward, bringing in its course the endless joys, misery and suffering of human minds and bodies. In any case, here on this Earth some say true life only begins unhampered by the body — [the] bones, flesh, nerves and senses that bring to us mortals such joy and such cruel suffering.
    [Show full text]
  • The Stage Art of Theodore Komisarjevsky: an Exhibition in the Harvard Theatre Collection
    The stage art of Theodore Komisarjevsky: An exhibition in the Harvard Theatre Collection The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Johnson, Catherine J. 1991. The stage art of Theodore Komisarjevsky: An exhibition in the Harvard Theatre Collection. Harvard Library Bulletin 1 (4), Winter 1990-1991: 6-41. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661228 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA HARVARD LIBRARY BULLETIN 3 Among Harvard's Libraries The Revolution in the College Library KENNETH E. CARPENTER 6 The Stage Art of Theodore Komisarjevsky: An Exhibition in the Harvard Theatre Collection CATHERINE J.JOHNSON 42 Shakespeare's Italians HARRY LEVIN 51 American Library Resources for Latin American Studies WILLIAM VERNON JACKSON 68 Harvard Library Bibliography: Supplement NI \\' SI H 11 S \\ IN I I H l 1J lJ 11 - I 1J tJ I \ 0 I ll \l I I N t · \1 BI I{ l Publishedby Haroard UniversityLibrary, Cambridge,Massachusetts HARVARD LIBRARY BULLETIN 3 Among Harvard's Libraries The Revolution in the College Library KENNETH E. CARPENTER 6 The Stage Art of Theodore Komisarjevsky: An Exhibition in the Harvard Theatre Collection CATHERINE J. JOHNSON 42 Shakespeare's Italians HARRY LEVIN 51 American Library Resources for Latin American Studies WILLIAM VERNON JACKSON 68 Harvard Library Bibliography: Supplement NEW SERIES WINTER 1990-1991 VOLUME I NUMBER 4 Published by Harvard University Library, Cambridge, Massachusetts HARVARD LIBRARY BULLETIN NEW SERIES, VOLUME I, NUMBER 4, WINTER 1990-1991 PUBLISHED FEBRUARY 1991 ISSN 0017-8136 EDITOR Kenneth E.
    [Show full text]
  • 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 ......................................
    [Show full text]
  • 9-2019 Printed, Cds, Lps. Pp. 149-170
    BOOKS SC = Soft Cover HC = Hard Cover DJ = Includes Dust Jacket . Grading refers to book pages (content): As new; 1-2 (excellent used copy); 2 (minor marks), 3 (problems, described). Dust Jacket problems (if any) are separately mentioned. BOOKS – SINGER A UTOBIOGRAPHIES and BIOGRAPHIES 1000. EMMA ALBANI – Victorian Diva [Cheryl MacDonald]. Dundern Press, Toronto & London, 1984. 205 pp. Illustrated. SC. As new . $7.00. 1001. FRANCES ALDA – Men, Women and Tenors [Frances Alda]. AMS Press, NY, 1971. Reprint from 1937 first ed. 307 pp. Illustrated. HC. As new . $8.00. 1002. MARIAN ANDERSON – A Singer’s Journey [Allan Keiler]. Scribner, 2000. 447 pp. Illustrated. Discography. HC. DJ. As new . $12.00. 1003. BLANCHE ARRAL – The Extraordinary Operatic Adventures of … [trans. Ira Glackens, ed. Wm. Moran]. Amadeus, 2002. 352 pp. Illustrated. Discography (Moran). HC. DJ. As new . $12.00. 1004. GIANNINA ARANGI-LOMBARDI – Voce Maestra [Tulliano Carpino]. Citta’ di Mari- gliano.,1998. 60 pp. Illustrated. Discography. SC. As new . $8.00. 1005. FLORENCE AUSTRAL – When Austral Sang [Michael Elphinstone and Wayne Hancock]. Nat. Lib. Of Australia, 2005. 655 pp. Illustrated. Discography. HC. DJ. As new . $12.00. 1006. FLORENCE AUSTRAL – One of the Wonder Voices of the World [James Moffat]. Currency Press, Sydney, Australia, 1995. 278 pp. Illustrated. Discography. HC. DJ. As new. $8.00. 1007. ISOBEL BAILLIE – Never Sing Louder Than Lovely [Isobel Baillie]. Hutchinson, 1982. 208 pp. Illustrated. Discography. HC. DJ. As new . $10.00. 1008. JANET BAKER – Full Circle-An Auto- biographical Journal [Janet Baker]. MacRae, London, 1982. 260 pp. Illustrated. HC. DJ. DJ 2. Book as new .
    [Show full text]
  • 19.1 Historic Masters, Pp 220-228
    HISTORIC MASTERS VINYL PRESSINGS MADE FROM THE ORIGINAL METALS Continuing in the tradition of IRCC and HRS, Historic Masters has made available to collectors limited editions of a host of historic recordings pressed on vinyl from stampers taken from the original EMI masters . Many of the records HM has issued are first and only editions, while others are extremely scarce in original form. Details as how to contact Historic Masters to purchase their latest issues will be found near the beginning of this catalogue in the Collectors’ Mart section . Offered below are issues from 1 to 214 (final single issue thusfar). The minimum bid is a uniform (remarkably low, I’d say) $6.00 each. All are as new, so I’ve not otherwise included grading or minimum bid information. Those described as unpublished are first and only 78 rpm editions. ---------------------------------------------------------------------------------------------------------------- 6001. 10” HMA 1. CONCHITA SUPERVIA [ms]. LULLABY (Scott)/WHEN I BRING YOU COLOUR’D TOYS (Carpenter). 1932 London matrices. Both side unpublished . 6002. 10” HMA 2. FERNANDO DE LUCIA [t]. SERENAMENTE (Barthèlemy)/A SURRIENTA (de Curtis). From 1909 Gramophone matrices. 6003. 10” HMA 3. HINA SPANI [s]. CANCIÓN DEL CARRETERO (Buchardo)/DIA DEL FESTE (Ugarte). 1930 Italian Gramophone matrices. 6004. 10” HMA 4. FRANCESCO TAMAGNO [t]. TROVATORE: Di quella pira/OTELLO: Ora e per sempre addio (both Verdi). 1903 G&T matrices (3012ft/3025ft). Both unpublished takes . 6005. 12” HMB 5. MATTIA BATTISTINI [b] and ELVIRA BARBIERI [s]. TROVATORE: Mira d’acerbe/TROVATORE: Vivrà! Contende (Verdi). From 1913 Gram. matrices. 6006. 12” HMB 6. SELMA KURZ [s]. ERNANI: Involami/TROVATORE: D’amor sull’ ali rosee (both Verdi).
    [Show full text]
  • The Monthly Musical Record 1871-1960
    Introduction to: Richard Kitson, The Monthly Musical Record (1871-1960) Copyright 2011, The RIPM Consortium, Ltd. Répertoire international de la presse musicale (www.ripm.org) The Monthly Musical Record (1871-1960) The Monthly Musical Record [MMR] was published in London from 1 January 1871 to 1 December 1960. In all, the journal consists of 1,002 issues, ninety annual volumes and 28,000 pages. From its inception until 1915, twelve issues were produced each year, but owing to the exigencies of the two World Wars, the depression of the 1930s, the paper shortages after 1945, and, finally, the enormous cost of publication at the end of the 1950s, MMR was twice reduced: in 1916 to ten annual issues, and in 1956 to six. Beginning with 166 annual pages in 1871, the size increased to an average of 300 pages in 1884. From 1923 through 1939 the annual number of pages increased to 380 and then declined to 240 pages from 1941 until the journal’s demise. MMR was created as an adjunct to the important British music publishing firm Augener & Co. by the firm’s founder and proprietor, George Augener (1830-1915). Throughout its existence (1853-1962), the firm was an important British publisher of a great many educational items including the editions of the Associated Board of the Royal Schools of Music, representing the principal music educational institutions of Great Britain, and acted as agent for many of the most important European publishers. Aware of the numerous music journals already in existence, Ebenezer Prout, MMR’s first editor justified the
    [Show full text]