High-Fidelity-1963-0
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Harold Tichenor 4/3-2016 Dear Fellow Reel to Reel Audiophie
Harold Tichenor 4/3-2016 Dear fellow reel to reel audiophie: I do hope this email gets through to you as I want to let my past reel to reel customers know the new arrangements for acquiring 15 IPS copies of my tape masters. For the last few years I made them principally available through eBay where Deborah Gunn, better known as Reel-Lady, acted as my agent. Both Deb and I were happy with that arrangement and I can’t thank her enough for her valiant efforts to handle all sales professionally and promptly. However, over the past two years changes at eBay have led to prohibitively high listing and closing costs, even to the point that they take a commission on the shipping costs. During the past year there has also been a flood of lower quality tapes coming onto eBay, many made from cd originals or other dubious sources. It just became impossible to produce our high quality tapes at the net return after eBay and Paypal fees were deducted. Deb and I have talked about it quite a lot and looked at alternative ways to make the tapes available. In the end, Deb decided to retire from the master tape sales business. After giving thought to using eBay myself, setting up a website store or engaging another web sales agent, I decided that I would contact you all directly and test the waters on direct sales to my past customers. Thus this email to you directy from me. FIRST: let me say if you would rather not receive these direct emails in future please let me know immediately and I will remove you from the mailing list. -
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. -
Walton - a List of Works & Discography
SIR WILLIAM WALTON - A LIST OF WORKS & DISCOGRAPHY Compiled by Martin Rutherford, Penang 2009 See end for sources and legend. Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Catalogue No F'mat St Rel A BIRTHDAY FANFARE Description For Seven Trumpets and Percussion Completion 1981, Ischia Dedication For Karl-Friedrich Still, a neighbour on Ischia, on his 70th birthday First Performances Type Date Orchestra Conductor Performers Recklinghausen First 10-Oct-81 Westphalia SO Karl Rickenbacher Royal Albert Hall L'don 7-Jun-82 Kneller Hall G E Evans A LITANY - ORIGINAL VERSION Description For Unaccompanied Mixed Voices Completion Easter, 1916 Oxford First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.03 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - FIRST REVISION Description First revision by the Composer Completion 1917 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel Hereford Cathedral 3.14 4-Jan-02 Stephen Layton Polyphony 01a HYP CDA 67330 CD S Jun-02 A LITANY - SECOND REVISION Description Second revision by the Composer Completion 1930 First Performances Type Date Orchestra Conductor Performers Unknown Recording Venue Time Date Orchestra Conductor Performers No. Coy Co Cat No F'mat St Rel St Johns, Cambridge ? Jan-62 George Guest St Johns, Cambridge 01a ARG ZRG -
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MARLBORO MUSIC 60th AnniversAry reflections on MA rlboro Music 85316_Watkins.indd 1 6/24/11 12:45 PM 60th ANNIVERSARY 2011 MARLBORO MUSIC Richard Goode & Mitsuko Uchida, Artistic Directors 85316_Watkins.indd 2 6/23/11 10:24 AM 60th AnniversA ry 2011 MARLBORO MUSIC richard Goode & Mitsuko uchida, Artistic Directors 85316_Watkins.indd 3 6/23/11 9:48 AM On a VermOnt HilltOp, a Dream is BOrn Audience outside Dining Hall, 1950s. It was his dream to create a summer musical community where artists—the established and the aspiring— could come together, away from the pressures of their normal professional lives, to exchange ideas, explore iolinist Adolf Busch, who had a thriving music together, and share meals and life experiences as career in Europe as a soloist and chamber music a large musical family. Busch died the following year, Vartist, was one of the few non-Jewish musicians but Serkin, who served as Artistic Director and guiding who spoke out against Hitler. He had left his native spirit until his death in 1991, realized that dream and Germany for Switzerland in 1927, and later, with the created the standards, structure, and environment that outbreak of World War II, moved to the United States. remain his legacy. He eventually settled in Vermont where, together with his son-in-law Rudolf Serkin, his brother Herman Marlboro continues to thrive under the leadership Busch, and the great French flutist Marcel Moyse— of Mitsuko Uchida and Richard Goode, Co-Artistic and Moyse’s son Louis, and daughter-in-law Blanche— Directors for the last 12 years, remaining true to Busch founded the Marlboro Music School & Festival its core ideals while incorporating their fresh ideas in 1951. -
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. -
Myscena.Org Sm26-3 EN P02 ADS Classica Sm23-5 BI Pxx 2020-11-03 8:23 AM Page 1
SUBSCRIBE @ mySCENA.org sm26-3_EN_p02_ADS_classica_sm23-5_BI_pXX 2020-11-03 8:23 AM Page 1 From Beethoven to Bowie encore edition December 12 to 20 2020 indoor 15 concerts festivalclassica.com sm26-3_EN_p03_ADS_Ofra_LMMC_sm23-5_BI_pXX 2020-11-03 1:18 AM Page 1 e/th 129 saison/season 2020 /2021 Automne / Fall BLAKE POULIOT 15 nov. 2020 / Nov.ANNULÉ 15, 2020 violon / violin CANCELLED NEW ORFORD STRING QUARTET 6 déc. 2020 / Dec. 6, 2020 avec / with JAMES EHNES violon et alto / violin and viola CHARLES RICHARD HAMELIN Blake Pouliot James Ehnes Charles Richard Hamelin ©Jeff Fasano ©Benjamin Ealovega ©Elizabeth Delage piano COMPLET SOLD OUT LMMC 1980, rue Sherbrooke O. , Bureau 260 , Montréal H3H 1E8 514 932-6796 www.lmmc.ca [email protected] New Orford String Quartet©Sian Richards sm26-3_EN_p04_ADS_udm_OCM_effendi_sm23-5_BI_pXX 2020-11-03 8:28 AM Page 1 SEASON PRESENTER ORCHESTRE CLASSIQUE DE MONTRÉAL IN THE ABSENCE OF A LIVE CONCERT, GET THE LATEST 2019-2020 ALBUMS QUEBEC PREMIER FROM THE EFFENDI COLLECTION CHAMBER OPERA FOR OPTIMAL HOME LISTENING effendirecords.com NOV 20 & 21, 2020, 7:30 PM RAFAEL ZALDIVAR GENTIANE MG TRIO YVES LÉVEILLÉ HANDEL’S CONSECRATIONS WONDERLAND PHARE MESSIAH DEC 8, 2020, 7:30 PM Online broadcast: $15 SIMON LEGAULT AUGUSTE QUARTET SUPER NOVA 4 LIMINAL SPACES EXALTA CALMA 514 487-5190 | ORCHESTRE.CA THE FACULTY IS HERE FOR YOUR GOALS. musique.umontreal.ca sm26-3_EN_p05_ADS_LSM_subs_sm23-5_BI_pXX 2020-11-03 2:32 PM Page 1 ABONNEZ-VOUS! SUBSCRIBE NOW! Included English Translation Supplément de traduction française inclus -
An Annotated Bibliography of Canadian Oboe Concertos
An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible. -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982. -
The Magazine for Music Listene
THE MAGAZINE FOR MUSIC LISTENE h,tO www.americanradiohistory.com11111 If you want a superlative stereo receiver by Fisher, check the four models at right. If you want something free by Fisher, look under this fold. () www.americanradiohistory.com 11 M1 The Fisher 400 65-Watt FM- Multiplex Stereo Receiver with STEREO BEAM* Size: 171/2" wide, 53/4" high, 13" deep. Weight: 303/4 lbs. Price: $299.50. The Fisher 500 -C 75 -Watt FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 3611 lbs. Price: $389.50. The Fisher 800 -C 75 -Watt ANI -FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 1711" wide, 53/4" high, 1311" deep. Weight: 37 lbs. Price: $449.50. The Fisher 600 -T 110 -Watt Transistorized FM- Multiplex Stereo Receiver with STEREO BEACON* Size: 163" wide, 51/2" high, 117/4" deep. Weight: 31 lbs. Price: $499.50. (Walnut cabinet for all models, $24.95.) PATENT PENDING CIRCLE 48 CN READER -SER\ ICE CARD OCTOFER 1964 1 www.americanradiohistory.com FOUR MICRO-MAGNETIC 15° PICKUPS! Whether you own a record changer, automatic turntable, or a professional type manual turntable Pickering has engineered the RIGHT "V -15 pickup for you. If it's RECORD CHANGER application, where high output and heavier tracking forces are required try the V -15 AC -1 Most of you, no doubt are tracking lighter on the late model AUTO- MATIC TURNTABLES and will use the V -15 AT -1 Or if a professional type MANUAL TURNTABLE is your choice you'll need the even more compliant V-15 AM -11 And if it's unexcelled tracking ability you're seeking, you will demand the ELLIPTICAL STYLUS PICKUP V -15 AME -1 All four of these pickups are radically different from any other cartridge. -
Decca Discography
DECCA DISCOGRAPHY >>2 GREAT BRITAIN: ffrr, 1944-57 In a business where exclusive contracts were the norm, it was very difficult for a newcomer to become established and Decca’s initial roster of classical artists was unable to compete with established rivals. In March 1932 an agreement with Polydor provided access to a substantial catalogue of German artists and a year later the company virtually abandoned classical recording to concentrate on dance bands. The move to Thames Street Studios provided more scope for orchestral sessions and a bold policy of recording contemporary British music enhanced the label’s reputation. The newly formed Boyd Neel Orchestra was signed up in 1934, followed by the Griller String Quartet in 1935, Clifford Curzon in 1937, Peter Pears in 1944, Kathleen Ferrier in 1946 and Julius Katchen in 1947. War broke the link with Polydor, leaving Decca with a respectable catalogue of chamber music, but little symphonic repertoire. Armed with ffrr technology, the company began to remedy this in 1944, engaging Sidney Beer’s National Symphony Orchestra until 1947 and the misleadingly named New Symphony Orchestra (it had made its first recordings in 1909) from 1948. Neither developed into a house band to rival EMI’s Philharmonia and, with the Royal Philharmonic also exclusive to EMI, Decca had to resort to the LSO and the LPO, both in rather run-down condition in the post-war years. Meanwhile every opportunity was taken to impress visiting continental orchestras with ffrr sessions and it was evident that the company intended to transfer much of its symphonic work to Paris, Amsterdam, Geneva and Vienna as soon as practicable. -
Jacobs-Ladder-Lent-2015
Jacob’s Ladder Lent 2015 Jacob’s Ladder A newsletter from St. Mark’s Anglican Church, Port Hope St. Mark’s says The renowned choir The Coldest Night of the Godspeed to Marg of Britain’s Year” saw a team of Tandy Gloucester walkers from St. Mark’s Cathedral to sing at raise $2100 Parishioners gave a St. Mark’s in the fall resounding farewell to in support of the Green our priest of 13 years Wood Coalition See the photo above and See page 5 pages 4 and 11 See page 9 Hello from the Interim Priest, Mary Ryback A year after her arrival in Canada, Mary met Chet--a widower— My arrival on March 1st landed me into your midst in in the public library where she worked. Five months later they this most solemn season of Lent. I’ve been up and were married! He came as a package deal—with two daughters running ever since! and a son. Two more daughters were born to Mary and Chet. When the youngest child was in grade 8, Mary began her undergraduate studies by correspondence through the University of Waterloo. In 1992 Mary graduated with a B.A. in Religious Studies. This was to be the end of her formal schooling, but a year later Mary enrolled at Trinity College, University of Toronto in the Master of Divinity programme. As part of the requirements for this degree, each student had to spend a term as an intern in a parish church. Mary was able to fulfill this requirement in Cuernavaca, Mexico. -
Sir Colin Davis Discography
1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.