A Musical Mélange
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029I-HMVCX1924XXX-0000A0.Pdf
This Catalogue contains all Double-Sided Celebrity Records issued up to and including March 31st, 1924. The Single-Sided Celebrity Records are also included, and will be found under the records of the following artists :-CLARA Burr (all records), CARUSO and MELBA (Duet 054129), CARUSO,TETRAZZINI, AMATO, JOURNET, BADA, JACOBY (Sextet 2-054034), KUBELIK, one record only (3-7966), and TETRAZZINI, one record only (2-033027). International Celebrity Artists ALDA CORSI, A. P. GALLI-CURCI KURZ RUMFORD AMATO CORTOT GALVANY LUNN SAMMARCO ANSSEAU CULP GARRISON MARSH SCHIPA BAKLANOFF DALMORES GIGLI MARTINELLI SCHUMANN-HEINK BARTOLOMASI DE GOGORZA GILLY MCCORMACK Scorn BATTISTINI DE LUCA GLUCK MELBA SEMBRICH BONINSEGNA DE' MURO HEIFETZ MOSCISCA SMIRN6FF BORI DESTINN HEMPEL PADEREWSKI TAMAGNO BRASLAU DRAGONI HISLOP PAOLI TETRAZZINI BI1TT EAMES HOMER PARETO THIBAUD CALVE EDVINA HUGUET PATTt WERRENRATH CARUSO ELMAN JADLOWKER PLANCON WHITEHILL CASAZZA FARRAR JERITZA POLI-RANDACIO WILLIAMS CHALIAPINE FLETA JOHNSON POWELL ZANELLIi CHEMET FLONZALEY JOURNET RACHM.4NINOFF ZIMBALIST CICADA QUARTET KNIIPFER REIMERSROSINGRUFFO CLEMENT FRANZ KREISLER CORSI, E. GADSKI KUBELIK PRICES DOUBLE-SIDED RECORDS. LabelRed Price6!-867'-10-11.,613,616/- (D.A.) 10-inch - - Red (D.B.) 12-inch - - Buff (D.J.) 10-inch - - Buff (D.K.) 12-inch - - Pale Green (D.M.) 12-inch Pale Blue (D.O.) 12-inch White (D.Q.) 12-inch - SINGLE-SIDED RECORDS included in this Catalogue. Red Label 10-inch - - 5'676 12-inch - - Pale Green 12-inch - 10612,615j'- Dark Blue (C. Butt) 12-inch White (Sextet) 12-inch - ALDA, FRANCES, Soprano (Ahl'-dah) New Zealand. She Madame Frances Aida was born at Christchurch, was trained under Opera Comique Paris, Since Marcltesi, and made her debut at the in 1904. -
ARSC Journal
A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers. -
04-05-2019 Traviata Eve.Indd
GIUSEPPE VERDI la traviata conductor Opera in three acts Nicola Luisotti Libretto by Francesco Maria Piave, production Michael Mayer based on the play La Dame aux Camélias by Alexandre Dumas fils set designer Christine Jones Friday, April 5, 2019 costume designer 8:00–11:05 PM Susan Hilferty lighting designer New Production Kevin Adams choreographer Lorin Latarro The production of La Traviata was made possible by a generous gift from The Paiko Foundation Major additional funding for this production was received from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 1,020th Metropolitan Opera performance of GIUSEPPE VERDI’S la traviata conductor Nicola Luisotti in order of vocal appearance violet ta valéry annina Anita Hartig Jane Bunnell flor a bervoix giuseppe Kirstin Chávez Marco Antonio Jordão the marquis d’obigny giorgio germont Jeongcheol Cha Artur Ruciński baron douphol a messenger Dwayne Croft* Ross Benoliel dr. grenvil Kevin Short germont’s daughter Selin Sahbazoglu gastone solo dancers Scott Scully Garen Scribner Martha Nichols alfredo germont Stephen Costello Friday, April 5, 2019, 8:00–11:05PM JONATHAN TICHLER JONATHAN / MET OPERA A scene from Chorus Master Donald Palumbo Verdi’s La Traviata Musical Preparation J. David Jackson, Joshua Greene, Vlad Iftinca*, and Zalman Kelber* Assistant Stage Directors Jonathon Loy, Sarah Ina Meyers, and Kathleen Smith Belcher Stage Band Conductor Gregory Buchalter Italian Coach -
ACM MM 96 Text ACM MULTIMEDIA 96
ACM MM 96 Text ACM MULTIMEDIA 96 General Information Technical Program Demonstrations Art Program Workshops Tutorials Stephan Fischer Last modified: Fri Nov 29 09:28:01 MET 1996 file:///C|/Documents%20and%20Settings/hsu.cheng-hsin/Desktop/acmmm96/index.htm[1/28/2010 9:42:17 AM] ACM MM 96 ACM MULTIMEDIA 96 The Fourth ACM International Multimedia Conference and Exhibition ADVANCE PROGRAM 18-22 November 1996 Hynes Convention Center Boston, Massachusetts, USA Co-located with SPIE's Symposium on Voice, Video and Data Communication, and Broadband Network Engineering program and overlapping with CSCW, to be held in nearby Cambridge. Welcome to ACM Multimedia '96 Special Events Conference-at-a-Glance Ongoing Events Courses Technical Papers Panels Registration Course Selections Hotels Conference Organization Welcome to ACM Multimedia '96 In what seems in retrospect to have been an astonishingly short time, multimedia has progressed from a technically- challenging curiosity to an essential feature of most computer systems -- both professional and consumer. Accordingly, leading-edge research in multimedia no longer is confined to dealing with processing or information- access bottlenecks, but addresses the ever-broadening ways in which the technology is changing and improving interpersonal communication, professional practice, entertainment, the arts, education, and community life. This year's program emphasizes this trend: off-the-shelf building blocks are now available to construct useful and appealing applications which are highlighted in the Demonstration and Art venues. In addition to the full complement of panels, courses, and workshops, the conference program features a distinguished set of technical papers. Keynotes will be provided by Glenn Hall, the Technical Director of Aardman Animations whose work includes Wallace and Gromit; and Professor Bill Buxton of the University of Toronto and Alias | Wavefront Inc. -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
17.2. Cylinders, Ed. Discs, Pathes. 7-26
CYLINDERS 2M WA = 2-minute wax, 4M WA= 4-minute wax, 4M BA = Edison Blue Amberol, OBT = original box and top, OP = original descriptive pamphlet. Repro B/T = Excellent reproduction Edison orange box and printed top. All others in clean, used boxes. Any mold on wax cylinders is always described. All cylinders not described as in OB (original box with generic top) or OBT (original box and original top) are boxed (most in good quality boxes) with tops and are standard 2¼” diameter. All grading is visual and refers to the cylinders rather than the boxes. Any major box problems are noted. CARLO ALBANI [t] 1039. Edison BA 28116. LA GIOCONDA: Cielo e mar (Ponchielli). Repro B/T. Just about 1-2. $30.00. MARIO ANCONA [b] 1001. Edison 2M Wax B-41. LES HUGUENOTS: Nobil dama (Meyerbeer). Announced by Ancona. OBT. Just about 1-2. $75.00. BLANCHE ARRAL [s] 1007. Edison Wax 4-M Amberol 35005. LE COEUR ET LA MAIN: Boléro (Lecocq). This and the following two cylinders are particularly spirited performances. OBT. Slight box wear. Just about 1-2. $50.00. 1014. Edison Wax 4-M Amberol 35006. LA VÉRITABLE MANOLA [Boléro Espagnole] (Bourgeois). OBT. Just about 1-2. $50.00. 1009. Edison Wax 4-M Amberol 35019. GIROLFÉ-GIROFLA: Brindisi (Lecocq). OBT. Just about 1-2. $50.00. PAUL AUMONIER [bs] 1013. Pathé Wax 2-M 1111. LES SAPINS (Dupont). OB. 2. $20.00. MARIA AVEZZA [s]. See FRANCESCO DADDI [t] ALESSANDRO BONCI [t] 1037. Edison BA 29004. LUCIA: Fra poco a me ricovero (Donizetti). -
Finding Value in Standard Classical Vocal Repertoire As a Twenty-First-Century Teacher-Performer
Belmont University Belmont Digital Repository Recital Papers School of Music Spring 5-11-2021 Performing with Purpose: Finding Value in Standard Classical Vocal Repertoire as a Twenty-first-century Teacher-performer Hallie Bisaga [email protected] Follow this and additional works at: https://repository.belmont.edu/music_recitals Part of the Music Performance Commons Recommended Citation Bisaga, Hallie, "Performing with Purpose: Finding Value in Standard Classical Vocal Repertoire as a Twenty-first-century Teacher-performer" (2021). Recital Papers. 14. https://repository.belmont.edu/music_recitals/14 This Scholarly Project is brought to you for free and open access by the School of Music at Belmont Digital Repository. It has been accepted for inclusion in Recital Papers by an authorized administrator of Belmont Digital Repository. For more information, please contact [email protected]. PERFORMING WITH PURPOSE: FINDING VALUE IN STANDARD CLASSICAL VOCAL REPERTOIRE AS A TWENTY-FIRST-CENTURY TEACHER-PERFORMER By HALLIE BISAGA A RECITAL PAPER PROPOSAL Submitted in partial fulfillment of the requirements for the degree of Master of Music in Vocal Performance in the School of Music of the College of Music and Performing Arts Belmont University NASHVILLE, TENNESSEE May 2021 4/27/21 Contents Acknowledgements Presentation of Material Introduction ..............................................................................................................1 Early Italian Vocal Music ........................................................................................5 -
![Preliminary Pages [PDF]](https://docslib.b-cdn.net/cover/9128/preliminary-pages-pdf-199128.webp)
Preliminary Pages [PDF]
THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Rebecca Mara Plack May 2008 © 2008 Rebecca Mara Plack THE SUBSTANCE OF STYLE HOW SINGING CREATES SOUND IN LIEDER RECORDINGS, 1902-1939 Rebecca Mara Plack, Ph. D. Cornell University 2008 In this dissertation, I examine the relationship between vocal technique and performance style through 165 audio clips of early Lieder recordings. I proceed from the starting point that many stylistic gestures are in fact grounded in a singer’s habitual vocalism. Vibrato, tempo and rubato are directly affected by a singer’s voice type and his physical condition, and portamento has long been a technical term as well as a stylistic one. If we consider these technical underpinnings of style, we are inevitably moved to ask: how do a singer’s vocal habits affect what we perceive to be his style? Does a singer’s habitual vocalism result in his being more likely to make certain style gestures, or even unable to make others? To address these questions, I begin by defining a vocabulary that draws on three sources: the language of vocal pedagogy, data derived from voice science, and evidence drawn from recordings themselves. In the process, I also consider how some Lieder singers distorted the word “technique,” using it to signify emotional detachment. Next, I examine the ways in which a recording represents the performer, addressing how singers are affected by both changing aesthetics and the aging process; both of these lead to a discussion of how consistently some performers make certain stylistic gestures throughout their recordings. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Závěrečné Práce
JANÁČKOVA AKADEMIE MÚZICKÝCH UMĚNÍ V BRNĚ Hudební fakulta Katedra zpěvu Studijní program zpěv Fenomén Tři tenoři Diplomová práce Autor práce: BcA. Jiří Ullrich Vedoucí práce: doc. MgA. Mgr. Monika Holá, Ph.D. Oponent práce: PhDr. MgA. Alena Borková Brno 2018 Bibliografický záznam ULLRICH, Jiří. Fenomén Tři tenoři [The Three Tenors phenomenon]. Brno: Janáčkova akademie múzických umění v Brně, Hudební fakulta, Katedra zpěvu, 2018 54 s. Vedoucí diplomové práce, doc. MgA. Mgr. Monika Holá, Ph.D. Anotace Diplomová práce „Fenomén Tři tenoři“ pojednává o historii a vývoji tenorového hlasu, o životech a kariérách tenorů José Carrerase, Plácida Dominga a Luciana Pavarottiho, triu, které vytvořili a jeho vlivu na další hudební vývoj a vznik podobných uskupení. Annotation Diploma thesis „The Three Tenors phenomenon” deals with history and development of the tenor voice, lives and careers of the tenors José Carreras, Plácido Domingo and Luciano Pavarotti, the trio they created and it´s influence on further musical development and the creation of the similar groups. Klíčová slova Tři tenoři, José Cerreras, Plácido Domingo, Luciano Pavarotti, fenomén, tenor. Keywords The Three Tenors, José Carreras, Plácido Domingo, Luciano Pavarotti, phenomenon, tenor. Prohlášení Prohlašuji, že jsem předkládanou práci zpracoval samostatně a použil jen uvedené prameny a literaturu. V Brně, dne 12. května 2018 Jiří Ullrich Poděkování Na tomto místě bych rád poděkoval paní doc. MgA. Mgr. Monice Holé, Ph.D. za trpělivé vedení diplomové práce. Obsah ÚVOD ......................................................................................................................... -
Bruckner Sämtliche Sinfonien
® BRUCKNER SÄMTLICHE SINFONIEN Simone Young Philharmoniker Hamburg Werktexte zu den Symphonien von Michael Lewin Inhalt Studiensymphonie in f-Moll WAB 99 5 Symphonie Nr 0 in d-Moll „Nullte“ WAB 100 ����������������������������������������������������������������������������11 Symphonie Nr 1 in c-Moll WAB 101 19 Symphonie Nr 2 in c-Moll WAB 102 25 Symphonie Nr 3 in d-Moll WAB 103 37 Symphonie Nr 4 in Es-Dur WAB 104 „Romantische“ 51 Symphonie Nr 5 in B-Dur WAB 105 63 Symphonie Nr 6 in A-Dur WAB 106 ��������������������������������������������������������������������������������������������� 71 Symphonie Nr 7 in E-Dur WAB 107 79 Symphonie Nr 8 in c-Moll WAB 108 87 Symphonie Nr 9 in d-Moll WAB 109 101 2 Anton Bruckner Sämtliche Symphonien 3 Studiensymphonie in f-Moll WAB 99 4 Anton Bruckner Sämtliche Symphonien 5 Symphonie – Schularbeit – diese Skizzen unter dem endgültigen Schriftbild führung zu bringen Aber in einer Zeit, wo das und in diesem Versuch noch mit Andante molto Studiensymphonie erhalten Nowak war es auch, der im Rahmen Interesse an Bruckners Symphonien so gewach- bezeichnet wird Die Grundidee ist durch zwei Anton Bruckners f-Moll-Symphonie -
A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina
University of South Carolina Scholar Commons Theses and Dissertations 2015 A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Amos, D. C.(2015). A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3642 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A SURVEY OF THE CAREER OF BARITONE, JOSEF METTERNICH: ARTIST AND TEACHER by Diana Carol Amos Bachelor of Music Oberlin Conservatory of Music, 1982 Master of Music University of South Carolina, 2011 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2015 Accepted by: Walter Cuttino, Major Professor Donald Gray, Committee Member Sarah Williams, Committee Member Janet E. Hopkins, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies ©Copyright by Diana Carol Amos, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS I gratefully acknowledge the help of my professor, Walter Cuttino, for his direction and encouragement throughout this project. His support has been tremendous. My sincere gratitude goes to my entire committee, Professor Walter Cuttino, Dr. Donald Gray, Professor Janet E. Hopkins, and Dr. Sarah Williams for their perseverance and dedication in assisting me.