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The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
The Delius Society Journal Spring 2001, Number 129
The Delius Society Journal Spring 2001, Number 129 The Delius Society (Registered Charity No. 298662) Full Membership and Institutions £20 per year UK students £10 per year US/\ and Canada US$38 per year Africa, Aust1alasia and far East £23 per year President Felix Aprahamian Vice Presidents Lionel Carley 131\, PhD Meredith Davies CBE Sir Andrew Davis CBE Vernon l Iandley MA, FRCM, D Univ (Surrey) Richard I Iickox FRCO (CHM) Lyndon Jenkins Tasmin Little f CSM, ARCM (I Ions), I Jon D. Lilt, DipCSM Si1 Charles Mackerras CBE Rodney Meadows Robc1 t Threlfall Chain11a11 Roge1 J. Buckley Trcaswc1 a11d M11111/Jrrship Src!l'taiy Stewart Winstanley Windmill Ridge, 82 Jlighgate Road, Walsall, WSl 3JA Tel: 01922 633115 Email: delius(alukonlinc.co.uk Serirta1y Squadron Lcade1 Anthony Lindsey l The Pound, Aldwick Village, West Sussex P021 3SR 'fol: 01243 824964 Editor Jane Armour-Chclu 17 Forest Close, Shawbirch, 'IC!ford, Shropshire TFS OLA Tel: 01952 408726 Email: [email protected] Website: http://www.dclius.org.uk Emnil: [email protected]. uk ISSN-0306-0373 Ch<lit man's Message............................................................................... 5 Edilot ial....................... .... .. .. .. .. .. .. .. .. .. .. .. ... 6 ARTICLES BJigg Fair, by Robert Matthew Walker................................................ 7 Frede1ick Delius and Alf1cd Sisley, by Ray Inkslcr........... .................. 30 Limpsficld Revisited, by Stewart Winstanley....................................... 35 A Forgotten Ballet ?, by Jane Armour-Chclu -
The History of Nipper and His Master's Voice by Erik Østergaard
The History of Nipper and His Master's Voice By Erik Østergaard Nipper and His Master's Voice - What is the story? Nipper the dog was born in Bristol in Gloucester, England in 1884 and so named because of his tendency to nip the backs of visitors' legs. When his first master Mark Barraud died destitute in Bristol in 1887, Nipper was taken to Liverpool in Lancashire, England by Mark's younger brother Francis, a painter. In Liverpool Nipper discovered the Phonograph, a cylinder recording and playing machine and Francis Barraud "often noticed how puzzled he was to make out where the voice came from". This scene must have been indelibly printed in Barraud's brain, for it was three years after Nipper died that he committed it to canvas. Nipper died in September 1895, having returned from Liverpool to live with Mark Barraud's widow in Kingston-upon-Thames in Surrey, England. Though not a thoroughbred, Nipper had plenty of bull terrier in him; he never hesitated to take on another dog in a fight, loved chasing rats and had a fondness for the pheasants in Richmond Park! In 1898 Barraud completed the painting and registered it on 11 February 1899 as "Dog looking at and listening to a Phonograph". "Dog looking at and listening to a Phonograph" Barraud then decided to rename the painting "His Master's Voice" and tried to exhibit it at the Royal Academy, but was turned down. He had no more luck trying to offer it for reproduction in magazines. "No one would know what the dog was doing" was given as the reason! Next on Barraud's list was The Edison Bell Company, leading manufacturer of the cylinder phonograph, but again without success. -
Vol. 14, No. 4 March 2006
Cockaigne (In London Town) • Concert Allegro • Grania and D • May Song • Dream Children • Coronation Ode • Weary Wind West • Skizze • Offertoire • The Apostles • In The South (Ala Introduction and Allegro • EveningElgar Scene Society • In Smyrna • The Kin • Wand of Youth • How Calmly the Evening • Pleading • Go, S Mine • Elegy • Violin Concerto in B minor • Romance • Sym No.2 • O Hearken Thouournal • Coronation March • Crown of India • G the Lord • Cantique • The Music Makers • Falstaff • Carissima • S • The Birthright • The Windlass • Death on the Hills • Give Un Lord • Carillon • Polonia • Une Voix dans le Desert • The Sta Express • Le Drapeau Belge • The Spirit of England • The Frin the Fleet • The Sanguine Fan • Violin Sonata in E minor • Quartet in E minor • Piano Quintet in A minor • Cello Concer minor • King Arthur • The Wanderer • Empire March • The H Beau Brummel • Severn Suite • Soliloquy • Nursery Suite • A Organ Sonata • Mina • The Spanish Lady • Chantant • Reminisc • Harmony Music • Promenades • Evesham Andante • Ros (That's for Remembrance) • Pastourelle • Virelai • Sevillana Idylle • Griffinesque • Gavotte • Salut d'Amour • Mot d'Am Bizarrerie • O Happy Eyes • My Love Dwelt in a Northern Froissart • Spanish Serenade • La Capricieuse • Serenade • The Knight • Sursum Corda • The Snow • Fly, Singing Bird • Fro Bavarian Highlands • The Light of Life • King Olaf • Imperial M The Banner of St George • MARCHTe Deum and 2006 Benedictus Vol.14, No.4 • Caract Variations on an Original Theme (Enigma) • Sea Pictures • Ch d N it Ch d -
Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings Of
UNIVERSITY OF CINCINNATI Date: 5-May-2010 I, Mary L Campbell Bailey , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Oboe It is entitled: Léon Goossens’s Impact on Twentieth-Century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen Student Signature: Mary L Campbell Bailey This work and its defense approved by: Committee Chair: Mark Ostoich, DMA Mark Ostoich, DMA 6/6/2010 727 Léon Goossens’s Impact on Twentieth-century English Oboe Repertoire: Phantasy Quartet of Benjamin Britten, Concerto for Oboe and Strings of Ralph Vaughan Williams, and Sonata for Oboe of York Bowen A document submitted to the The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 24 May 2010 by Mary Lindsey Campbell Bailey 592 Catskill Court Grand Junction, CO 81507 [email protected] M.M., University of Cincinnati, 2004 B.M., University of South Carolina, 2002 Committee Chair: Mark S. Ostoich, D.M.A. Abstract Léon Goossens (1897–1988) was an English oboist considered responsible for restoring the oboe as a solo instrument. During the Romantic era, the oboe was used mainly as an orchestral instrument, not as the solo instrument it had been in the Baroque and Classical eras. A lack of virtuoso oboists and compositions by major composers helped prolong this status. Goossens became the first English oboist to make a career as a full-time soloist and commissioned many British composers to write works for him. -
Christie's Hong Kong Presents Important Chinese
PRESS RELEASE | HONG KONG | 8 M A Y 2 0 1 4 FOR IMMEDIATE RELEASE CHRISTIE’S HONG KONG PRESENTS IMPORTANT CHINESE CERAMICS & WORKS OF ART SPRING AUCTIONS 2014 Hong Kong – Christie’s Hong Kong will present a series of Chinese Ceramics & Works of Art auctions on 28th May 2014. Featuring five individual sales with more than 400 works, the auctions are estimated to realize in excess of HK$700 million/ US$87 million. IMPERIAL CHINESE TREASURES FROM A DISTINGUISHED AMERICAN COLLECTION Following the success of Imperial Chinese Porcelain- Treasures from a Distinguished American Collection in 2013, Christie’s is privileged to offer Imperial Chinese Treasures from a Distinguished American Collection, an addition of 18 works from this renowned collection on Wednesday, May 28. This group of works represents some of the finest and rarest Ming and Qing dynasty Imperial porcelain and glass wares. Highlights include a fine and extremely rare copper-red decorated pear-shaped vase, yuhuchunping, Hongwu period (1368-1398) (Estimate: HK$15,000,000-20,000,000/US$1,875,000-2,500,000), a very rare imperial yellow-ground falangcai ‘floral’ bowl, Kangxi pink-enamelled four-character yuzhi mark within double squares and of the period (1662-1722) (Illustrated right, Estimate: HK$12,000,000-18,000,000/US$1,500,000- 2,500,000) and a magnificent and rare famille rose vase, tianqiuping, Yongzheng six-character seal mark and of the period (1723- 1735) (Estimate: HK$12,000,000-15,000,000/US$1,600,000-1,900,000) (Please refer to a separate press release for details). -
The Life and Death of Classical Music
Norman Lebrecht THE LIFE AND DEATH OF CLASSICAL MUSIC Norman Lebrecht, assistant editor of the Evening Standard in London and presenter of BBC’s lebrecht.live, is a prolic writer on music and cultural aairs, whose weekly column has been called required reading. Lebrecht has written eleven books about music, and is also author of the novel The Song of Names, which won the Whitbread First Novel Award in 2003. www.normanlebrecht.com ALSO BY NORMAN LEBRECHT Mahler Remembered The Maestro Myth When the Music Stops The Complete Companion to 20th Century Music Covent Garden: The Untold Story The Song of Names Contents List of Illustration Acknowledgements Introduction: Past Midnight PART I Maestros 1. Matinee 2. Middlemen 3. Midpoint 4. Millionaires 5. Miracles on Miracles 6. Madness 7. Meltdown 8. Post Mortem Notes to Part I PART II Masterpieces: 100 Milestones of the Recorded Century PART III Madness: 20 Recordings that Should Never Have Been Made Concise Bibliography In memory of Klaus Tennstedt (1926–1998) a studio nightmare List of Illustrations 1. A crowd in Queen’s Park, Manchester, listening to an Auxeto Gramophone 2. Fred Gaisberg turning pages in a 1920s Berlin studio for Fritz Kreisler and his accompanist Franz Rupp 3. A gramophone, early 1930s 4. Arturo Toscanini at the 1937 Salzburg Festival 5. Arthur Schnabel 6. Marian Anderson, early 1940s 7. Gregor Piatigorsky, Jascha Heifetz and Arthur Rubinstein, Hollywood, 1949 8. Professor Elsa Schiller 9. Herbert von Karajan in Berlin, 1955, with Hans Heinz Stuckenschmidt and Gerhart von Westermann 10. Glenn Gould, Leonard Bernstein and the New York Philharmonic Orchestra, New York, March 1961 11. -
History of Parlophone Singles Parlophon Began As a German
History of Parlophone Singles Parlophon began as a German company founded in 1896 by Carl Lindström, a Swedish inventor who lived in Berlin. Lindström made phonographs using the name “Parlophon,” and dictating machines using the name “Parlograph.” In 1911, Lindström’s company obtained controlling interest in the International Talking Machine Company – the German corporation that owned and had created Odeon Records. Lindström saw the opportunity to merge the European record manufacturing and player manufacturing markets, and to expand this new industry. During this period, records were being exported from Germany to Great Britain in increasing numbers – so that German imports consisted of a sizable portion of the British record market. Lindström endeavored to expand the production of Odeon’s discs worldwide, and after the First World War he succeeded in bringing the Odeon label to the United States, but his struggles to acquire a British company had been unsuccessful. William Barry Owen worked for German‐American inventor Emile Berliner, the man who introduced the disc record and “gramophone” in late 1887. In July, 1897, he left US‐based National Gramophone Company, a subsidiary of Berliner Gramophone, to move to England. He and Trevor Williams founded the UK Gramophone Company in May, 1898 – not long after Lindström founded his Parlophon company in Germany. Their independent company became Berliner’s partner in Britain. One of Berliner’s associates was Frank Seaman, who had managed the National Gramophone Company. Seaman left Berliner in 1899. Using technology that he “borrowed” from Berliner, Seaman founded Zon‐o‐Phone Records. Seaman pursued an alliance with Columbia Records, offering Columbia royalties for the stylus design in exchange for driving Emile Berliner out of business in America. -
ARSC Journal, Fall 1991 207 American Graphophone & Columbia
THE AMERICAN GRAPHOPHONE COMPANY AND THE COLUMBIA PHONOGRAPH COMPANY ENTER THE DISC RECORD BUSINESS, 1897-19031 By Raymond R. Wile By 1897 the American Graphophone Company and its marketing arms, the Columbia Phonograph Company and the Columbia Phonograph Company: General were in a position to control a large portion of the talking machine industry. Patent problems involving the Edison interests had been resolved in late 1896 when the two warring parties agreed to accept consent decrees and to cross-license each other. Delays in the settlement of the North American Phonograph Company liquidation adversely affected Edison and gave the Graphophone group valuable lead time. And now that major segments of the Bell and Tainter patents had been sustained in the courts, the American Graphophone Company decided to test claims concerning pre-recorded cylinders. Relying upon these, as well as on patents granted or pending that had been obtained from Douglass, Bettini and Macdonald, the company commenced a wide-ranging series of suits in Midwest and East Coast federal jurisdictions. Edison soon applied for and received a license under the Macdonald patent when it was granted-but at a cost of $10,000. If the Graphophone Company was successful in its other areas it would effectively control a major portion ofthe market and might even dry up potential supplies of cylinder masters that could be used by Edison's National Phonograph Company. Preliminary injunctions were obtained in all cases except one brought against the United States Phonograph Company, a major supplier of master recordings to National. Later, after George Tewksberry, its chief motivating force, suffered a progressive mental disorder, even this firm had to admit defeat. -
Music & Entertainment and Roger Thorne Collection (Part Three)
Music & Entertainment and Roger Thorne Collection (Part Three) Wednesday 22 February 2012 10:00 Special Auction Services 81 Greenham Business Park Newbury RG19 6HW Special Auction Services (Music & Entertainment and Roger Thorne Collection (Part Three)) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Galli-Curci, Gluck, Dawson, Tetrazzini, Lloyd, Harrison, Dews Pathé Actuelle and Perfect, 10-inch needle-cut records: and others; 13 Aeolian-Vocalion, by Lenghi-Cellini, Gerhardt, 340, in three racks Pounds, Butterworth, Allan, Titterton and others; and 3 NGS, Estimate: £40.00 - £60.00 Peter Warlock (The Curlew), John Armstrong, cond. Constant Lambert (101) Estimate: £30.00 - £40.00 Lot: 2 Dance records, Regal, Zonophone and Regal-Zonophone: 124 by Gelder, Cotton, Kyte, Roy, Cyril Blake, Scott Wood, Bert Lot: 9 Firman, Rhythmic Eight, Swain, Jack Payne and others; and Dominion records, 10-inch: 87, mixed content, by Herman Columbia: 101 by Denza Dance Band, Reser, Herman, Wasserman, Godowsky, Savoy Orpheans, Jimmy O'Dea & Voorhees, Valee, Lentz, Selvin, Kahn, Carroll, Lombardo, Harry O'Donovan George Formby, Henry Hearty, Tom Burke, Charleston Chasers, Ellington, Henderson, Whidden, Kunz, Jay Wilbur, Frank Kamplain, Elsie Carlisle, Betty Brown, Al. Ralton and others (225, in 2 racks) Tiers, Lily Long, Margate Municipal Orchestra, Harry Hemsley, Estimate: £40.00 - £60.00 Tommy Handley, Charles Penrose, Sam Lanin and others, mainly dance, in a rack Estimate: £20.00 - £40.00 Lot: 3 10-inch acoustic Columbia, including Columbia Rena, -
Parlophone Singles Label Styles
Parlophone Singles Label Styles Parlophon began as a German company founded in 1896 by Carl Lindström, a Swedish inventor who lived in Berlin. Lindström made phonographs using the name “Parlophon,” and dictating machines using the name “Parlograph.” In 1911, Lindström’s company obtained controlling interest in the International Talking Machine Company – the German corporation that owned and had created Odeon Records. Lindström saw the opportunity to merge the European record manufacturing and player manufacturing markets, and to expand this new industry. During this period, records were being exported from Germany to Great Britain in increasing numbers – so that German imports consisted of a sizable portion of the British record market. Lindström endeavored to expand the production of Odeon’s discs worldwide, and after the First World War he succeeded in bringing the Odeon label to the United States, but his struggles to acquire a British company had been unsuccessful. William Barry Owen worked for German-American inventor Emile Berliner, the man who introduced the disc record and “gramophone” in late 1887. In July, 1897, he left US-based National Gramophone Company, a subsidiary of Berliner Gramophone, to move to England. He and Trevor Williams founded the UK Gramophone Company in May, 1898 – not long after Lindström founded his Parlophon company in Germany. Their independent company became Berliner’s partner in Britain. The Gramophone Company began pressing seven-inch records billed as Gramophone Records, for which they started using paper labels in 1901. They introduced ten-inch discs called Gramophone Concert Records (1902) and twelve-inch Gramophone Monarch Records (1903), with lawsuits impacting the company throughout this period.