DOCSLIB.ORG

High-Fidelity-1962-A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

What's New in Tone Arms 60 Ceni s x 171 1 I APRIL THE MAGAZINE FOR MUSIC LISTENERS' z THE TRIUMPHS AND TROUBLES OF THE MET By Martin Mayer www.americanradiohistory.com Only these FM Stereo Receivers have Pilot's unique signal -sampling multiplex circuit* You get the best possible FM Stereo reception because PILOT'S unique signal -sampling multiplex circuit gives you maximum separation (30 db or better) across the entire audio spectrum. It is the simplest, most effective, most trouble -free circuit presently being manufactured for stereo demodu- lation. There are no troublesome frequency separation filters and matrices or extra controls as are required by other multiplex circuits. This is just one of the many features that make PILOT Stereo Receivers the perfect electronic "heart" for your high -fidelity system. Patent Pending STEREO FM MULTIPLEX /4 602M TUNER -AMPLIFIER 88 90 92 94 96 98 100 102 104 106 108 iu1 LL-17. - - - - - - - - - -- 1. iö:1 FM STEREC TUNING MASTER VOLUME STEREO BALANCE B HF H. r INPUT SELECTOR PHONO rOM l', AMP . ! - PILOT 602M...30 watts music power...frequency response 20- 20,000 cycles, 1 db.. "harmonic distortion 1% at full power...12- control flexibility...FM sensitivity 3 uy IHFM...wide band RF and IF circuits for undistorted reception at full modula - tion...6 inputs...51 " high x 145/e" wide x 103/4" deep. With cover... (Also available with added AM as Model 602S. Complete, 299.50) STEREO FM MULTIPLEX ¡10l 654M TUNER AMPLIFIER 90 92 94 96 98 100 102 104 106 108 M C FM FM 7.0 roo TUNING MASTER VOLUME STE RE<. BALANCE BASS TREBLE INPUT SELECTOR PHONO 1.4040 a PILOT 654M...60 watts music power (IHFM mid -band rating)...frequency re- sponse 10- 50,000 cycles plus 0.5 db or minus 1 db... hum and noise: completely inaudible (80 db below full output)... intermodulation distortion: less than 0.3% ...14 controls, including rumble and scratch filters...6 inputs... plus a fully auto- matic stereo indicator that lights on stations broadcasting FM stereo...51/2" high x 145/8° wide x 123/4° deep. Black and brass styling . With cover... íßi PILOT RADIO CORPORATION, 37 -18 36TH STREET, LONG ISLANDCITY 1, NEWYORK FOUNDED/ot 1919 CIRCLE 67 ON READER-SERVICE CARD www.americanradiohistory.com \ri.R.E To LEM CVLTURE-M#cP LIFE f4T '£URoPES LsD1UGj MUSIC FESTIVPrL? , WIN f MP1R 'S Rot/ND-11E-WORLD MUSIC CONTEST ! Imagine-you, and the guest of your choice, will be attending - such greats as the Athens. Dubrovnik, Bregenz, IF NM CULTURE-MAD : kND WftNT T0 I_lWf DAR : Salzburg, Bayreuth and Edinburgh Festivals. You'll 1NGLY, VISIT YOUR NEAR- : witness the world's finest presentations of opera, EST f-II FIDELITY DEALER ballet, drama, symphony concerts, chamber music, FOR COMPLETE ITINERARY and even "le jazz hot" at a Parisian cellar club. AND ENTRY FORMS ...OR : You'll be taken on personalized tours through WRITE: EMPIRE TRoUBADoR : many world- famous cultural centers, like Rome, : DEPT. ET-k,&*RDEN CITY, N.Y. Paris, Munich. Complete trip...21 days. Transpor- nation, rooms, meals, tickets and tours are pre -paid by creators of the Empire "Troubador "...world's empire most perfect and cultural record playback system. 1"SCIENTIFIC CORP. CIRCLE 41 ON READER- SERVICE CARD www.americanradiohistory.com c to get to his... L stereo fluxvalve pickup PICKERING & COMPANY INC. offers the stereo fluxvalve pickup in the following models: the Calibration Standard 381, the Collector's Series 380, the Pro -Standard Mark II and the Stereo 90. Priced from $16.50 to $60.00, available at audio specialists everywhere. E . " F O R T H O S E W H O C A N H E A R T H E D I F F E R E N C " 'ickering and Company -Plainview, Long Island, New York CIRCLE: 66 ON RE: %DF:R- SERVICE CARD HIGH FIDELITYi ITY MAGAZINE www.americanradiohistory.com Page 42 Page 49 41111. high fidelity Page 38 Music and Musicians 37 The Met-Present, Future, and Past: an editorial 38 The Triumphs and Troubles of the Met Martin Mayer 46 No Funeral Taps for Delius Peter J. Pirie 49 When the Big Bands Played Swing Martin Williams 20 Notes from Abroad -London. Munich 28 Teresa Stich -Randall: an interview Martin Bernheimer 59 Music Makers Roland Gelait Sound Reproduction 42 Improvements in Arms Joseph Marshall 52 Equipment Reports Grado Laboratory Series Stereo Cartridge EICO ST -96 FM -AM Tuner and MX -99 Multiplex Adapter H. H. Scott LK -72 Stereo Amplifier Kit Audax CA -70 "Sonoteer" Speaker System 105 High Fidelity Newsfronts Reviews of Recordings 61 Feature Record Reviews Strauss: Salome (Birgit Nilsson et al., Georg Solti) Ives: Sonata for Piano, No. 2 (Concord) (George Pappa.stavrou) 63 Other Classical Reviews 75 The Imports Gene Bruck -, 85 The Lighter Side 93 Jazz 97 The Tape Deck APRIL 1962 VOLUME 12 NUMBER 4 Published monthly of Great Barrington, Mass. by The Billboard Publishing Co. Copyright O 1962 by The Billboard Publishing Co. The deslen and contents el Huh fidelity Magazine are luny protected by copyright and must not be reproduced in one manner. Second -alois postale paid at Great Barrington and at additional mailing offices. One veer subscription in U. S.. Possessions, and Canada 56.00. Fi e..here S7.00. Indexed in the "Reader's Guide to Periodical Literature." Change of Address notices and undelivered copias (Form 35791 should be addressed to High Fidelity, Subscription Dept., 2160 Paterson St., Cincinnati 14, O. www.americanradiohistory.com .....,.......... RADIO lii fi1clli LAFAYETTEpresents It Matif Po-palm S eo- Pkono Sptent kativtim THE TRIUMPHS The FAMOUS LA -250A 50 -WATT STEREO AMPLIFIER AND TROUBLES CHOICE OF GARRARD AT-6 DIAMOND STEREO CARTRIDGE OF 1111 MET PICKERING 380C ir LAFAYETTE LA-250A 50 -WATT STEREO AMPLIFIER LAFAYETTE fArk Cover Design: by Roy Lindstrom OUR BEST STEREO SYSTEM BUY BASE SHURE M7D LAFAYETTE SK -58 MATCHED COMPONENTS 12" COAXIAL SPEAKERS Lafayette LA -250A 50 -Watt Stereo Amplifier 99.50 (OPTIONAL) Garrard AT -6 4 -Speed Record Changer 54.50 Roland Gelatt Pickering 380C Diamond Stereo Cartridge 29.85 LAFAYETTE Editor in Chief ELIPTOFLEX Lafayette Wood Base 3.95 BOOKSHELF 2 Lafayette SK -58 12" ENCLOSURES Coaxial Speakers Joan Griffiths @ 29.50 each 59.00 Executive Editor Total Price if Purchased Separately 246.80 Norman Eisenberg HI -FI STEREO SYSTEM, as above, with choice of Pickering 380C or Shure M7D Cartridge and Walnut, Audio Editor LAFAYETTE Mahogany or Blonde Changer Base (specify finish) 199.50 LS -252WX Only 199.50 Sue Severn SPECIAL PRICE Managing Editor Same as LS -252WX but includes 2 Lafayette Elip- toflex Series Bookshelf Enclosures in Walnut, Oiled YOU SAVE Walnut, Mahogany or Blonde (specify finish) Shirley Fleming 47.30 LS -254WX Only 265.50 Assistant Editor H. C. Robbins Landon Pacesetter of the High -Fidelity in- European Editor . renowned for its perfor- LAFAYETTE'S dustry Roy Lindstrom LINE mance. The ultimate for those who Art Director CRITERION demand the finest. Nathan Broder John M. Conly NEW! KT -550 100 -WATT KT -600A PROFESSIONAL R. D. Darrell Alfred Frankenstein BASIC STEREO AMPLIFIER KIT STEREO CONTROL CENTER John F. Indcox Robert C. Marsh KT -550 In Kit Form 134.50 KT -600A In Kit Form 79.50 Contributing Editors LA -550 LA -600A Completely Wired 1 34.50 Completely Wired Claire N. Eddings Advertising Sales Manager 184.50 , Walter F. Grueninger NO Director MONEY Circulation DOWN Warren B. Syer Publisher Rated at 50 -Watts per Channel Made in NO MONEY Response from 2. 100,000 cps, 0, DOWN -1db at 1 -Watt U.S.A. Made in Response 5-40,000 cps 1 db. Grain Oriented, Silicon Steel Transformers r U.S.A. Precise Balancing System Multiple Feedback Loop Design "Null" Unique Stereo and Monaural Control Features Assemble Kit Form A D V E R T I S I N G Easy -To- Concentric Input Level Controls A new "Laboratory Standard" dual 50 -watt ampli- Easy -To- Assemble Kit Form. Main Office basic stereo fier guaranteed to outperform any Sensitivity 2.2 my for 1 volt out. Dual low im- N. Eddings, The Publishing House market. Advanced engineering Less Claire amplifier on the pedance "plate follower" outputs 1500 ohms. Great Barrington, Mass. Telephone 1300 techniques plus the finest components ensure than .03% IM distortion; less than .1% harmonic Distortion levels so low below 2 volts. flawless performance. distortion. Hum and noise 80 db New York they are unmeasurable. Hum and noise better than 140103'ex41/2". Shpg. wt., 16 lbs. 90 db below 50- watts. Complete with metal en- 1564 Broadway, New York 36 closure. 9'''%x121/z "D. Shpg. wt., 60 lbs. Telephone' Plaza 7 -2800 Seymour Resnick, Andrew Spanberger Lafayette Radio, Dept. WD2 -1, P. 0. Box 10, Syosset, L. I., New York Chicago NEW 740 N. Rush St., Chicago 11 Name Telephone: Michigan 2 -4245 1962 P. H. Cempers, Thomas Berry, Address - CATALOG Allen Campbell City Zone - State 340 PAGES Los Angeles Hollywood 28 4kTAFAYETTEico NEW YORK I3,N.Y. BRONX 58, N.Y.- -NEWARK - --2, N.J. 1520 North Gower, , ------- - .IL. R A Ii = Telephone: Hollywood 9 -6239 I N.J. BOSTON 10, MASS LOCATIONS P. JAMAICA 33, NEW YORK PLAINFIELD, N.J. PARAMUS, George Kelley CIRCLE 58 ON READER -SERVICE CARD 4 HIGH FIDELITY MAGAZINE www.americanradiohistory.com Remember when the most delicious part of an ice Remember, if it's worth recording, it's worth Audio - cream soda was that last resounding sip? The magic tape There are eight types, one exactly suited to the years of youth are sprinkled with a thousand and one next recording you make.
Recommended publications

  • 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.
  • Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924

    Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924

    Wickstead, H 2017 “Wild Worship of a Lost and Buried Past”: Enchanted Bofulletin the History of Archaeology Archaeologies and the Cult of Kata, 1908–1924. Bulletin of the History of Archaeology, 27(1): 4, pp. 1–18, DOI: https://doi.org/10.5334/bha-596 RESEARCH PAPER “Wild Worship of a Lost and Buried Past”: Enchanted Archaeologies and the Cult of Kata, 1908–1924 Helen Wickstead Histories of archaeology traditionally traced the progress of the modern discipline as the triumph of secular disenchanted science over pre-modern, enchanted, world-views. In this article I complicate and qualify the themes of disenchantment and enchantment in archaeological histories, presenting an analysis of how both contributed to the development of scientific theory and method in the earliest decades of the twentieth century. I examine the interlinked biographies of a group who created a joke religion called “The Cult of Kata”. The self-described “Kataric Circle” included notable archaeologists Harold Peake, O.G.S. Crawford and Richard Lowe Thompson, alongside classicists, musicians, writers and performing artists. The cult highlights the connections between archaeology, theories of performance and the performing arts – in particular theatre, music, folk dance and song. “Wild worship” was linked to the consolidation of collectivities facilitating a wide variety of scientific and artistic projects whose objectives were all connected to dreams of a future utopia. The cult parodied archaeological ideas and methodologies, but also supported and expanded the development of field survey, mapping and the interpretation of archaeological distribution maps. The history of the Cult of Kata shows how taking account of the unorthodox and the interdisciplinary, the humorous and the recreational, is important within generously framed approaches to histories of the archaeological imagination.
  • A Survey of the Career of Baritone, Josef Metternich: Artist and Teacher Diana Carol Amos University of South Carolina

    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.
  • Bellini's Norma

    Bellini's Norma

    Bellini’s Norma - A discographical survey by Ralph Moore There are around 130 recordings of Norma in the catalogue of which only ten were made in the studio. The penultimate version of those was made as long as thirty-five years ago, then, after a long gap, Cecilia Bartoli made a new recording between 2011 and 2013 which is really hors concours for reasons which I elaborate in my review below. The comparative scarcity of studio accounts is partially explained by the difficulty of casting the eponymous role, which epitomises bel canto style yet also lends itself to verismo interpretation, requiring a vocalist of supreme ability and versatility. Its challenges have thus been essayed by the greatest sopranos in history, beginning with Giuditta Pasta, who created the role of Norma in 1831. Subsequent famous exponents include Maria Malibran, Jenny Lind and Lilli Lehmann in the nineteenth century, through to Claudia Muzio, Rosa Ponselle and Gina Cigna in the first part of the twentieth. Maria Callas, then Joan Sutherland, dominated the role post-war; both performed it frequently and each made two bench-mark studio recordings. Callas in particular is to this day identified with Norma alongside Tosca; she performed it on stage over eighty times and her interpretation casts a long shadow over. Artists since, such as Gencer, Caballé, Scotto, Sills, and, more recently, Sondra Radvanovsky have had success with it, but none has really challenged the supremacy of Callas and Sutherland. Now that the age of expensive studio opera recordings is largely over in favour of recording live or concert performances, and given that there seemed to be little commercial or artistic rationale for producing another recording to challenge those already in the catalogue, the appearance of the new Bartoli recording was a surprise, but it sought to justify its existence via the claim that it authentically reinstates the integrity of Bellini’s original concept in matters such as voice categories, ornamentation and instrumentation.
  • Verdi's Rigoletto

    Verdi's Rigoletto

    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
  • Kurt Hübner- Der Intendant

    Kurt Hübner- Der Intendant

    Kurt Hübner- Der Intendant Seine Stationen: Ulm- 1959-1962 Bremen- 1962-1973 Berlin- 1973-1986 1 ANHANG 1959-1986: DIE AUFFÜHRUNGEN DER INTENDANTENZEIT KURT HUBNERS I. ULM 1959-1962 Das Ensemble Schauspiel (Herren) Schauspiel (Damen) Oper I Operette Oper I Operette Peter Böhlke Elisabeth Botz (Herren) (Damen) Kar! Heinz Bürkel Käthe Druba Lambertus Bijnen Lisa Anders Will Court Angela Gotthardt Kari-Heinz von Eicken Helen Borbjerg Josef Gessler Friede! Heizmann Helmuth Erfurth Anita Butler Joachim Giese Hannelore Hoger George Fortune RuthConway Günter Hanke Alke Hoßfeld Jan Gabrielis Irmgard Dressler Hans-H. Hassenstein Elisabeth Karg Josef Gessler Josette Genet-Bollinger Valentin Jeker Maria-Christina Müller Peter Haage Marjorie Hall Rolf Johanning Elisabeth Orth Kar! Hauer Rita Hermann Norbert Kappen Helga Riede! J osef Kayrooz Marian Krajewska Jon Laxdall Ursula Siebert Bernd Küpper Liane Lehrer Georg von Manikowski Katharina Tüschen Bill Lucas Christine Mainka Dieter Möbius Erika Wackernagel Fritz Neugebauer Gertrud Probst Siegfried Munz Sabine Werner Richard Owens Gertrud Romvary Walther Fr. Peters Fritz Peter Ursula Schade Rudolf Peschke Heinrich Reckler Ingeborg Steiner Hans Jakob Poiesz Herbert Reiter Patricia Hyde Thomas Friedhelm Ftok Heinz Röthig Eva-Maria Wolff Willi Ress Hermann Runge Hermann Schlögl Fred Straub Hermann Schober Walter Voges Alois Strempel Heinz Weigand Peter Striebeck Kar! Schurr Rainald Walter RolfWiest 2 SPIELZEIT 1959/60 das zu überwinden, was gegen die Figur des Posa, die naive Leichtgläubigkeit des Carlos Carl Maria von Weber: und gegen andere alogische Entwicklungen Der Freischütz (29. 8. 59) gesagt werden kann. Schillers Feuerodem, ML: Harald von Goertz; 1: JosefWitt; hier zum erstenmal in reine, gehämmerte B: Hansheinrich Palitzsch Verse gebändigt, überall diese Bedenklich­ keiten siegen zu Jassen, fast möchte man Friedrich Schiller: Don Carlos (3.
  • Record Series 1121-113, W. W. Law Sheet Music and Songbook

    Record Series 1121-113, W. W. Law Sheet Music and Songbook

    Record Series 1121-113, W. W. Law Sheet Music and Songbook Collection by Title Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Heritage of Spirituals Go Tell it on the Mountain for chorus of mixed John W. Work 1952 voices, three part 1121-113-001_0110 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Go Tell it on the Mountain for chorus of women's John W. Work 1949 voices, three part 1121-113-001_0109 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals I Want Jesus to Walk with Me Edward Boatner 1949 1121-113-001_0028 1121-113-001 Galaxy Music Corporation A Heritage of Spirituals Lord, I'm out Here on Your Word for John W. Work 1952 unaccompanied mixed chorus 1121-113-001_0111 1121-113-001 Galaxy Music Corporation A Lincoln Letter Ulysses Kay 1958 1121-113-001_0185 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Like as a Father Ulysses Kay 1961 1121-113-001_0188 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus O Praise the Lord Ulysses Kay 1961 1121-113-001_0187 1121-113-001 C. F. Peters Corporation A New Song, Three Psalms for Chorus Sing Unto the Lord Ulysses Kay 1961 1121-113-001_0186 1121-113-001 C. F. Peters Corporation Friday, November 13, 2020 Page 1 of 31 Title Added Description Contributor(s) Date(s) Item # Box Publisher Additional Notes A Wreath for Waits II. Lully, Lully Ulysses Kay 1956 1121-113-001_0189 1121-113-001 Associated Music Publishers Aeolian Choral Series King Jesus is A-Listening, negro folk song William L.
  • The Field Guide to Sponsored Films

    The Field Guide to Sponsored Films

    THE FIELD GUIDE TO SPONSORED FILMS by Rick Prelinger National Film Preservation Foundation San Francisco, California Rick Prelinger is the founder of the Prelinger Archives, a collection of 51,000 advertising, educational, industrial, and amateur films that was acquired by the Library of Congress in 2002. He has partnered with the Internet Archive (www.archive.org) to make 2,000 films from his collection available online and worked with the Voyager Company to produce 14 laser discs and CD-ROMs of films drawn from his collection, including Ephemeral Films, the series Our Secret Century, and Call It Home: The House That Private Enterprise Built. In 2004, Rick and Megan Shaw Prelinger established the Prelinger Library in San Francisco. National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2006 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data Prelinger, Rick, 1953– The field guide to sponsored films / Rick Prelinger. p. cm. Includes index. ISBN 0-9747099-3-X (alk. paper) 1. Industrial films—Catalogs. 2. Business—Film catalogs. 3. Motion pictures in adver- tising. 4. Business in motion pictures. I. Title. HF1007.P863 2006 011´.372—dc22 2006029038 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Photo credits Cover and title page (from left): Admiral Cigarette (1897), courtesy of Library of Congress; Now You’re Talking (1927), courtesy of Library of Congress; Highlights and Shadows (1938), courtesy of George Eastman House.
  • Gubaidulina EU 572772 Bk Gubaidulina EU 26/07/2011 07:59 Page 1

    Gubaidulina EU 572772 Bk Gubaidulina EU 26/07/2011 07:59 Page 1

    572772 bk Gubaidulina EU_572772 bk Gubaidulina EU 26/07/2011 07:59 Page 1 Anders Loguin Øyvind Gimse Anders Loguin studied percussion at the Royal Øyvind Gimse is Artistic Leader of the Trondheim Soloists and a distinguished College of Music in Stockholm, and conducting in cellist and orchestral leader. After studies with Walter Nothas, Frans Helmerson Sweden, Finland and the United States. He and William Pleeth, he held the position of solo cellist in the Trondheim Sofia frequently conducts orchestras and ensembles in Symphony Orchestra for seven years. He has toured as a soloist with the Sweden and abroad. He was a founding member of Trondheim Soloists in Norway, Britain, Italy and Spain. His performances with the percussion ensemble Kroumata, and left the Anne-Sophie Mutter and the Trondheim Soloists throughout Europe and at the ensemble in 2008, co-founding the Carnegie Hall in 1999, as well as the recordings with her and the ensemble for GUBAIDULINA ensemble Glorious Percussion, which gave the DG, have received the highest critical acclaim. In addition his own work as world première of Sofia Gubaidulina’s work of the Artistic Leader of the Trondheim Soloists has resulted in the group receiving no same name for five percussionists and less than five GRAMMY® nominations for their last two recordings. In 2004 orchestra. Loguin participated in the world Gimse joined Sofia Gubaidulina as soloist in her work On the Edge of the première concerts of Fachwerk in 2009. Since 1977 Abyss at the Trondheim Chamber Music Festival and during the world Photo: Brita Carlens he has been professor and head of the percussion première concert performances of Fachwerk with Geir Draugsvoll and the department at the Royal College of Music in Stockholm.
  • 1001 Classic Commercials 3 DVDS

    1001 Classic Commercials 3 DVDS

    1001 classic commercials 3 DVDS. 16 horas de publicidad americana de los años 50, 60 y 70, clasificada por sectores. En total, 1001 spots. A continuación, una relación de los spots que puedes disfrutar: FOOD (191) BEVERAGES (47) 1. Coca-Cola: Arnold Palmer, Willie Mays, etc. (1960s) 2. Coca-Cola: Mary Ann Lynch - Stewardess (1960s) 3. Coca-Cola: 7 cents off – Animated (1960s) 4. Coca-Cola: 7 cents off – Animated (1960s) 5. Coca-Cola: “Everybody Need a Little Sunshine” (1960s) 6. Coca-Cola: Fortunes Jingle (1960s) 7. Coca-Cola: Take 5 – Animated (1960s) 8. Pet Milk: Mother and Child (1960s) 9. 7UP: Wet and Wild (1960s) 10. 7UP: Fresh Up Freddie – Animated (1960s) 11. 7UP: Peter Max-ish (1960s) 12. 7UP: Roller Coaster (1960s) 13. Kool Aid: Bugs Bunny and the Monkees (1967) 14. Kool Aid: Bugs Bunny and Elmer Fudd Winter Sports (1965) 15. Kool Aid: Mom and kids in backyard singing (1950s) 16. Shasta Orange: Frankenstein parody Narrated by Tom Bosley and starring John Feidler (1960s) 17. Shasta Cola: R. Crumb-ish animation – Narrated by Tom Bosley (1960s) 18. Shasta Cherry Cola: Car Crash (1960s) 19. Nestle’s Quick: Jimmy Nelson, Farfel & Danny O’Day (1950s) 20. Tang: Bugs Bunny & Daffy Duck Shooting Gallery (1960s) 21. Gallo Wine: Grenache Rose (1960s) 22. Tea Council: Ed Roberts (1950s) 23. Evaporated Milk: Ed & Helen Prentiss (1950s) 24. Prune Juice: Olan Soule (1960s) 25. Carnation Instant Breakfast: Outer Space (1960s) 26. Carnation Instant Breakfast: “Really Good Days!” (1960s) 27. Carnation: “Annie Oakley” 28. Carnation: Animated on the Farm (1960s) 29. Carnation: Fresh From the Dairy (1960s) 30.
  • KSENIJA SIDOROVA Classical Accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA Classical Accordion FOREWORD

    KSENIJA SIDOROVA Classical Accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA Classical Accordion FOREWORD

    KSENIJA SIDOROVA classical accordion Nordheim Bach Berio Scarlatti Mozart Schnittke Takahashi Piazzolla KSENIJA SIDOROVA classical accordion FOREWORD 01 Arne Nordheim FLASHING 07’21 Music has been my passion since early childhood, and thanks to my grandmother J. S. Bach OVERTURE IN THE FRENCH STYLE, BWV.831 I learnt the accordion. Classical accordion is still a young instrument, and 02 Adagio maestoso - Allegro - Adagio 07’04 unfortunately the image of its folk roots still remains. It will probably be a while 03 Luciano Berio SEQUENZA XIII “CHANSON” 09’15 before the phrase “I play the classical accordion” doesn’t sound unusual or funny! The classical accordion is a wonderfully expressive instrument and the repertoire on Domenico Scarlatti SONATA IN D MINOR, K.77 04 Moderato e cantabile - Minuetto 05’09 this CD ranges from Baroque music to Contemporary, including works which have quickly become core repertoire pieces Domenico Scarlatti SONATA IN D MAJOR, K.33 (Berio’s Sequenza , Nordheim’s Flashing ) 05 Allegro 03’12 balanced along transcriptions of solo 06 W. A. Mozart 12 VARIATIONS “AH, VOUS DIRAIS-JE, MAMAN”, 08’45 and orchestral music. In the past six K.265/300 e years of my studies in London I was Alfred Schnittke REVIS FAIRY TALE fortunate to meet many wonderful 07 i Chichikov's Childhood 02’09 people, and to perform and record with 08 ii Officials 02’22 fantastic musicians. 09 iii Waltz 03’15 10 iv Polka 02’33 This CD recording would not have been Yuji Takahashi LIKE A WATER BUFFALO possible without David and Mary 11 i Like a Water Buffalo (poem: Wendy Poussard) 01’02 Bowerman, recording producer 12 ii Like a Water Buffalo 09’30 Alexander Van Ingen, Professor Owen Murray and the support of my family.
  • Eugene Ormandy Commercial Sound Recordings Ms

    Eugene Ormandy Commercial Sound Recordings Ms

    Eugene Ormandy commercial sound recordings Ms. Coll. 410 Last updated on October 31, 2018. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2018 October 31 Eugene Ormandy commercial sound recordings Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 4 Administrative Information........................................................................................................................... 5 Related Materials........................................................................................................................................... 5 Controlled Access Headings..........................................................................................................................6 Collection Inventory...................................................................................................................................... 7 - Page 2 - Eugene Ormandy commercial sound recordings Summary Information Repository University of Pennsylvania: Kislak Center for Special Collections, Rare Books and Manuscripts Creator Ormandy, Eugene, 1899-1985