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Handel : Conducted by Sir Thomas Beecham with Dora Labbette
Handel The Messiah - Volume I mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: The Messiah - Volume I Country: UK Released: 1928 Style: Baroque MP3 version RAR size: 1894 mb FLAC version RAR size: 1986 mb WMA version RAR size: 1467 mb Rating: 4.1 Votes: 965 Other Formats: MIDI AIFF MP3 AA DMF AUD MPC Tracklist A –Sir Thomas Beecham And Orchestra With Organ* Overture B –Hubert Eisdell Comfort Ye, My People C –BBC Choir* And The Glory Of The Lord D –Hubert Eisdell Every Valley Shall Be Exalted –Harold Williams, Baritone* WIth Orchestra* E1.1 Recit: Thus Saith The Lord Conducted By Sir Thomas Beecham Aria: But Who May Abide The Day Of E1.2 –Harold Williams, Baritone* His Coming Part 1 –Harold Williams, Baritone* WIth Orchestra* Aria: But Who May Abide The Day Of F Conducted By Sir Thomas Beecham His Coming Part 2 –Muriel Brunskill, Contrato*, Orchestra* Conducted By G1.1 Recit: Behold A Virgin Shall Conceive Sir Thomas Beecham G1.2 –Muriel Brunskill, Contrato* Aria: O Thou That Tellest, Part 1 –Sir Thomas Beecham And The BBC Choir* With H And He Shall Purify Orchestra And Organ* –Muriel Brunskill, Contrato*, Orchestra* Conducted By I1.1 Recit: Behold A Virgin Shall Conceive Sir Thomas Beecham I1.2 –Muriel Brunskill, Contrato* Aria: O Thou That Tellest, Part 2 –Harold Williams, Baritone* With Orchestra* Conducted J1.1 Recit: For Behold The Darkness By Sir Thomas Beecham Aria: The People That Walked In The J1.2 –Harold Williams, Baritone* Darkness, Part 1 –Harold Williams, Baritone* With Orchestra* Conducted Aria: The People -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
Carillon, Op 75 Une Voix Dans Le Désert, Op 77 Le Drapeau Belge, Op 79
Carillon, Op 75 Une Voix Dans Le Désert, Op 77 Le Drapeau Belge, Op 79 Three recitations of poems by Emile Cammaerts with orchestral accompaniments. Carillon Approximate Length: 5 minutes First Performance: Date: 7 December 1914 Venue: Queen's Hall, London Conductor: the composer Une Voix dans le Desert Approximate Length: 12 minutes First Performance: Date: 29 January 1916 Venue: Shaftesbury Theatre, London Conductor: the composer Le Drapeau Belge Approximate Length: 3 minutes 30 seconds First Performance: Date: 14 April 1917 Venue: Queen's Hall, London Conductor: the composer It is now well known that the First World War changed Elgar irrevocably. The chamber works and Cello Concerto that soon followed the war have an air of introspection and wistful longing for a world that had gone forever, shattered by the brutality of four years of conflict. But the changes that the war was to bring were not apparent from the outset. The war was not expected to last for more than six months and began in an atmosphere of patriotic fervour intent on settling old scores. And since this was a world war, the mood of patriotism extended to embrace other countries suffering at the hands of the Germans. The mood unsettled Elgar. He counted a number of Germans among his close friends and, after all, it was the Germans who had rescued The Dream of Gerontius from potential early oblivion following its disastrous premiere in Birmingham. But Elgar nevertheless responded to the needs of the hour by writing within the first year of the war two pieces whose proceeds went to support war charities in countries overrun by the Germans. -
Concerts with the London Philharmonic Orchestra for Seasons 1946-47 to 2006-07 Last Updated April 2007
Artistic Director NEVILLE CREED President SIR ROGER NORRINGTON Patron HRH PRINCESS ALEXANDRA Concerts with the London Philharmonic Orchestra For Seasons 1946-47 To 2006-07 Last updated April 2007 From 1946-47 until April 1951, unless stated otherwise, all concerts were given in the Royal Albert Hall. From May 1951 onwards, unless stated otherwise, all concerts were given in The Royal Festival Hall. 1946-47 May 15 Victor De Sabata, The London Philharmonic Orchestra (First Appearance), Isobel Baillie, Eugenia Zareska, Parry Jones, Harold Williams, Beethoven: Symphony 8 ; Symphony 9 (Choral) May 29 Karl Rankl, Members Of The London Philharmonic Orchestra, Kirsten Flagstad, Joan Cross, Norman Walker Wagner: The Valkyrie Act 3 - Complete; Funeral March And Closing Scene - Gotterdammerung 1947-48 October 12 (Royal Opera House) Ernest Ansermet, The London Philharmonic Orchestra, Clara Haskil Haydn: Symphony 92 (Oxford); Mozart: Piano Concerto 9; Vaughan Williams: Fantasia On A Theme Of Thomas Tallis; Stravinsky: Symphony Of Psalms November 13 Bruno Walter, The London Philharmonic Orchestra, Isobel Baillie, Kathleen Ferrier, Heddle Nash, William Parsons Bruckner: Te Deum; Beethoven: Symphony 9 (Choral) December 11 Frederic Jackson, The London Philharmonic Orchestra, Ceinwen Rowlands, Mary Jarred, Henry Wendon, William Parsons, Handel: Messiah Jackson Conducted Messiah Annually From 1947 To 1964. His Other Performances Have Been Omitted. February 5 Sir Adrian Boult, The London Philharmonic Orchestra, Joan Hammond, Mary Chafer, Eugenia Zareska, -
Elgar Organ Works
THE DOBSON ORGAN OF MERTON COLLEGE, OXFORD Elgar BENJAMIN NICHOLAS Organ wor ks EDWARD ELGAR (1857–1934): ORGAN WORKS THE DOBSON ORGAN OF MERTON COLLEGE, OXFORD Sonata for Organ in G major, Op. 28 Benjamin Nicholas 1 I. Allegro maestoso [9:03] 2 II. Allegretto [4:37] 3 III. Andante espressivo [6:31] 4 IV. Presto (comodo) [7:05] 5 ‘Nimrod’ from ‘Enigma’ Variations, Op. 36 [3:56] transcr. by W. H. Harris 6 Prelude to The Kingdom, Op. 51 [9:43] transcr. by A. Herbert Brewer* 7 Gavotte [5:50] transcr. by Edwin H. Lemare Vesper Voluntaries, Op. 14 8 Introduction: Adagio – [1:33] 9 I. Andante [1:20] 10 II. Allegro [2:57] 11 III. Andantino [2:42] 12 IV. Allegretto piacevole [1:56] 13 Intermezzo [0:44] 14 V. Poco lento [2:03] 15 VI. Moderato [1:57] 16 VII. Allegretto pensoso [2:00] 17 VIII. Poco allegro – Coda [4:27] Recorded on 25-26 June 2015 in Cover design: John Christ Join the Delphian mailing list: the Chapel of Merton College, Oxford Booklet design: Drew Padrutt www.delphianrecords.co.uk/join Total playing time [68:33] Producer/Engineer: Paul Baxter Benjamin Nicholas photo: John Cairns 24-bit digital editing: Adam Binks Booklet editor: John Fallas Like us on Facebook: 24-bit digital mastering: Paul Baxter Delphian Records Ltd – Edinburgh – UK www.facebook.com/delphianrecords *premiere recording of this arrangement Cover & booklet photography © Dobson www.delphianrecords.co.uk Pipe Organ Builders Ltd Follow us on Twitter: @delphianrecords With thanks to the Warden and Fellows of the House of Scholars of Merton College, Oxford Notes on the music The first recording of Merton’s new organ – post of Organist and Choirmaster in his own offering music and seeking commissions with attractively individual, quirky charm. -
Journal November 1998
T rhe Elgar Society JOURNAL I'- r The Elgar Society Journal 107 MONKHAMS AVENUE, WOODFORD GREEN, ESSEX IG8 OER Tel: 0181 -506 0912 Fax:0181 - 924 4154 e-mail: hodgkins @ compuserve.com CONTENTS Vol.lO, No.6 November 1998 Articles Elgar & Gerontius... Part II 258 ‘Elgar’s Favourite Picture’ 285 A Minor Elgarian Enigma Solved 301 Thoughts from the Three Choirs Festival 1929 305 Obituary: Anthony Leighton Thomas 307 More on Elgar/Payne 3 307 Book Reviews 313 Record Reviews 316 Letters 324 100 years ago... 327 I 5 Front cover: Elgar photographed at Birchwood on 3 August 1900, just after completing 3 The Dream of Gerontius. The photo was taken by William Eller, whom Elgar met through their mutual friend, Richard Arnold. **********=)=*****H:****H==HH:************:(=***=t:*****M=****=|i******************=|c* The Editor does not necessarily agree with the views expressed by contributors nor does the Elgar Society accept responsibility for such views. ELGAR SOCIETY JOURNAL ISSN 0143 - 1269 « ELGAR & GERONTIUS: the early performances Lewis Foreman Part II Ludwig Wiillner We should note that there were two Wullners. Ludwig was the singer and actor; Franz was his father, the Director of the Cologne Conservatoire and conductor of the Gurzenich Concerts. He was there at Diisseldorf and promised to consider Gerontius for a concert in 1902, but I cannot trace that it ever took place. We need to consider Ludwig Wullner, for he would sing Gerontius again on two further key occasions, the second Diisseldorf performance at the Lower Rhine Festival in May 1902, and then in London at Westminster Cathedral in June 1903, as well as the Liverpool premiere in March 1903. -
Dame Joan Hammond (1912-1966) 2
AUSTRALIAN EPHEMERA COLLECTION FINDING AID DAME JOAN HILDA HOOD HAMMOND (1912-1996) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA JULY 2018 Dame Joan Hilda Hood Hammond, DBE, CMG (24 May 1912 – 26 November 1996) was a New Zealand born Australian operatic soprano, singing coach and champion golfer. She toured widely, and became noted particularly for her Puccini roles, and appeared in the major opera houses of the world – the Royal Opera House Covent Garden, La Scala, the Vienna State Opera and the Bolshoi. Her fame in Britain came not just from her stage appearances but from her recordings. A prolific artist, Hammond's repertoire encompassed Verdi, Handel, Tchaikovsky, Massenet, Beethoven, as well as folk song, art song, and lieder. She returned to Australia for concert tours in 1946, 1949 and 1953, and starred in the second Elizabethan Theatre Trust opera season in 1957. She undertook world concert tours between 1946 and 1961. She became patron and a life member of the Victorian Opera Company (since 1976, the Victorian State Opera – VSO), and was the VSO's artistic director from 1971 until 1976 and remained on the board until 1985. Working with the then General Manager, Peter Burch, she invited the young conductor Richard Divall to become the company's Musical Director in 1972. She joined the Victorian Council of the Arts, was a member of the Australia Council for the Arts opera advisory panel, and was an Honorary Life Member of Opera Australia. She was important to the success of both the VSO and Opera Australia. Hammond embarked on a second career as a voice teacher after her performance career ended. -
The Complete EMI Audio Tape Guide Audio Tape Guide
The Complete EMI Audio Tape Guide By David Winter Version of 23 FEBRUARY 2014 This list contains all known EMI (His Master’s Voice and Columbia) tapes released between 1952 and the early 1960s. Any new version will contain minor fixes or updates, or unreleased titles. If you wish to contribute, please email me at [email protected] with good quality pictures showing what should be updated or added. Thank you. Change log: - New format, hopefully for better reading. Tape catalog prefixes, tape types and misc details: EMI issued their "tape records" under two brands: His Master's Voice (HMV) and Columbia (COL). They were all recorded in 2 channel format, either in mono (twin sided) or stereo (Stereosonic, single sided). They are always 7-inch reels playing at 7.5ips (or 19 centimeters per second). Only a few recordings have been made available both in mono and stereo. However, many titles have been recorded in either format by different performers. Some titles were eventually imported in America by RCA when the company was licenced to produce the equivalent LPs. The table below shows the four catalog codes used for each type of tape and by each brand. Later 4-track stereo tapes and 2-track "Twin Packs" are not included in this list. This guide is based on EMI's catalog of 1958 and may be missing titles released shortly after. Mono Stereo CAT BTA CBT BTB COL CCT BTC CDT BTD HTA SAT HTB SBT HMV HTC SCT HTD SDT Other wordings: / between orchestra and conductor means "conducted by". -
TENTH SUNDAY AFTER PENTECOST the EIGHTEENTH DAY O F AUGUST, 2019
TENTH SUNDAY AFTER PENTECOST THE EIGHTEENTH DAY of AUGUST, 2019 MORNING WORSHIP AUGUST 18, 2019 . 8:45 & 11:15 am THE GATHERING Carillon Prelude Sally Westmoreland Opening Voluntary Sospiri, Op. 70 Sir Edward Elgar (1857-1934) The Greeting We welcome each of you to this service! Please register your attendance on the Ritual of Christian Fellowship. Let us know if you are new, would like to become a member, or are interested in more information about Peachtree Road. We pray that this time together will be a blessing in your life. † At the sound of the bells, please prepare your hearts and minds for worship. The Choral Introit Hamilton Smith (Twentieth Century) He shall rule from sea to sea and from the river to the ends of the earth. Alleluia! Psalm 71:8, 11 Daniel 7:14 PRAISE AND THANKSGIVING At the Procession,* Hymn 89 Joyful, Joyful, We Adore Thee Hymn to Joy Invocation* Affirmation of Faith* The Apostles’ Creed I believe in God the Father Almighty, maker of heaven and earth; and in Jesus Christ his only Son our Lord: who was conceived by the Holy Spirit, born of the Virgin Mary, suffered under Pontius Pilate, was crucified, dead, and buried; the third day he rose from the dead; he ascended into heaven, and sitteth at the right hand of God the Father Almighty; from thence he shall come to judge the quick and the dead. I believe in the Holy Spirit, the holy catholic church, the communion of saints, the forgiveness of sins, the resurrection of the body, and the life everlasting. -
Newsletter Wednesday 10Th March 2021
Winchester City Festival Choir NEWSLETTER WEDNESDAY 10TH MARCH 2021 Welcome to another edition of ramblings from the conductor! I hope the newsletter continues to find you well. When Vaughan Williams met Shakespeare I think Ralph Vaughan Williams (1872 – 1958) has the accolade of being the composer to gett the most mentions in these newsletters! I make no apology for this, or for bringing his music to your attention again this week! I’m going secular for a change, and focusing on some of his music which uses the words of William Shakespeare (1564 – 1616). I’m going slightly off track this week as the first piece isn’t technically written for a choir, so it isn’t choral, but it could be… and is often sung by choirs with four soloists. Before we get to our first piece of music, a little history of the English conductor Sir Henry Wood (1869 – 1944), best known for his association with London's annual series of promenade concerts, known as the Proms. Indeed, it has been said that Henry Wood made the Proms and the Proms made Henry Wood! Wood studied at the Royal Academy of Music and at first seems to have intended a career as a composer, but his conducting abilities were to win out, particularly from 1895 when still only 26, he assumed the conductorship of a new series of Promenade Concerts to be given at the recently built Queen’s Hall in Langham Place. Nobody would have guessed that the series would survive two world wars and (hopefully) a pandemic! That it did was testament to Henry Wood’s devotion and sheer hard work over a 50-year period. -
Edward Elgar Malcolm Arnold Robert Simpson
SOMMCD 0145 Edward Elgar (1857-1934) String Quartet arr. for strings by david Matthews DDD MalcolM arnold (1921-2006) Edward Elgar Céleste Sonata for Strings arr. by david Matthews String Quartet arr. for strings by david Matthews Series after the String Quartet no. 2 robErt SiMpSon (1921-1997) allegro deciso from String Quartet no. 3 MalcolM arnold arr. for strings by the composer Sonata for Strings arr. by david Matthews after the String Quartet no. 2 orchestra of St paul’s · ben palmer conductor Elgar (arr. Matthews): String Quartet Op. 83 (26:46) robErt SiMpSon 1 I. Allegro moderato 8:44 2 II. Piacevole (poco Andante) 9:30 allegro deciso from String Quartet no. 3 3 III. Finale – Allegro molto 8:32 arr. for strings by the composer Arnold (arr. Matthews): Sonata for Strings (26:59) 4 I. Allegro 6:11 5 II. Maestoso con molto rubato – Allegro vivace 4:27 6 III. Andante 7:45 7 IV. Allegretto 8:36 Simpson (arr. by the composer) 8 Allegro Deciso 12:00 Total duration: 66:15 Recorded at St. Mary’s Church, Walthamstow on 24th and 25th March 2014. Recording Producer: Siva Oke Recording Engineer: Ben Connellan Front Cover Photograph: Shape of a violin © Jan Krömer orchestra of St paul’s Design & Layout: Andrew Giles ben palmer conductor © & 2015 SOMM RECORDINGS · THAMES DITTON · SURREY · ENGLAND Made in the EU he practice of arranging, adapting and transcribing has been an integral part first violin, Adolph Brodsky (who was appointed leader of the Hallé in 1895, the of Western music since its very origins, from the parody masses of the 16th same year he founded the quartet) had been urging Elgar to compose a piece Tcentury to Thomas Adès’s contemporary retouchings of Couperin, with every for them since 1900. -
JUNE, 1969 60C WASHINGTON/ BALTIMORE EDITION
JUNE, 1969 60c WASHINGTON/ BALTIMORE EDITION THE FM LISTENING GUIDE . r . 'n YG} itas-er".175ro ó _o °.. - i ,1!11 (! TV 1151,!S~ .. ha...,.. .,wv . _ . v '7.] gl "The Sony 6060 is the brightest thing that happened to stereo in a long while. If outshines receivers costing hundreds more." i///,ompoo.11 111111111IIIt111Í11111SM\\\\\\\\\\\ SONY FM 88 90 92 94 96 98 100 102104 10E 108 MHz at I 1UNING .lN"WI, 1 .. .r. I STEREO RECEIVER 0060 SO110 STATE Sony Model STR-6060 FW AM/FM Stereo Receiver MANUFACTURER'S SPECIFICATIONS- 0.5°/o. FM Stereo Separation: More :han 0.2°/o at rated output; under 0.15°/o at FM Tuner Section-IHF Usable Sensitivity: 40 dB @ 1 kHz. AM Tuner Section-Sensi- 0.5 watts output. Frequency Response: 1.8 /t, V. S/N Ratio: 65 dB. Capture Ratio: tivity: 160 µ,V (built-in antenna); 10 µ,V Aux, Tape: 20 Hz to 60 kHz +0, -3 dB. 1.5 dB. IHF Selectivity: 80 dB. Antenna: (external antenna). S/N Ratio: 50 dE @ S/N Ratio: Aux, Tape: 100 dB; Phono: 70 300 ohm & 75 ohm. Frequency Response: 5 mV input. Amplifier Section Dynamic dB; Tape Head; 60 dB. Tone Control 20 to 20,000 Hz ±1 dB. Image Rejection: Power Output: 110 watts (total), 8 ohms. Range: Bass: ±10 dB @ 100 Hz; Treble: 80 dB. IF Rejection: 90 dB. Spurious Rejec- RMS Power Output: 45 watts per charnel, ±10 dB @ 10 kHz. General-Dimensions: tion: 90 dB. AM Suppression: 50 dB. Total 8 ohms.