DOCSLIB.ORG

VIVALDI: Twelve Concertos for Violin and Strings, Op

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
VIVALDI: Twelve Concertos for Violin and Strings, Op 110297-98bk 11/11/04 8:37 pm Page 5 Great Violinists: Louis Kaufman: VIVALDI: Twelve Concertos for Violin and Strings, Op. 8 Great Violinists: Louis Kaufman: VIVALDI: Twelve Concertos for Violin and Strings, Op. 8 ADD CD1 63:51 CD2 62:43 Great Violinists • Kaufman 8.110297-98 Concerto No. 1 in E major, Concerto No. 5 in E flat major, Concerto No. 8 in G minor, RV332 9:39 Concerto for Two Violins ‘La primavera’, RV269 9:29 ‘La tempesta di mare’, RV253 9:21 1 Allegro 3:00 in D major, RV513 1 Allegro 3:05 # Presto 3:21 2 Largo 2:55 (Peter Rybar, Second Violin) 15:06 2 Largo 2:57 $ Largo 2:21 3 Allegro 3:44 ^ Allegro molto 6:17 2 CDs 3 Allegro 3:27 % Presto 3:40 & Andante 3:06 VIVALDI Concerto No. 9 in D minor, RV236 8:26 * Allegro 5:45 Concerto No. 2 in G minor, Concerto No. 6 in C major, 4 Allegro 3:31 ‘L’estate’, RV315 9:56 ‘Il piacere’, RV180 8:22 5 Largo 2:06 Tracks ^-* were recorded in Zurich, Switzerland in Twelve Concertos for Violin and Strings, Op. 8 4 Allegro non molto 3:17 ^ Allegro 3:11 6 Allegro 2:48 August 1950. The Winterthur Symphony Orchestra 5 Adagio - Presto 3:46 & Largo e cantabile 2:17 was conducted by Clemens Dahinden. (Il Cimento dell’Armonia e dell’Inventione) 6 Presto 2:54 * Allegro 2:54 Concerto No. 10 in B flat major, (First issued as Concert Hall Society Release E-2 ‘La caccia’, RV362 8:03 [CHEL-2 PT1 and ERKL 0245AR]) including the first ever recording of Concerto No. 3 in F major, Concerto No. 7 in D minor, RV242 7:54 7 Allegro 3:26 ‘L’autunno’, RV293 10:03 ( Allegro 2:51 8 Adagio 2:12 7 Allegro 4:14 ) Largo 2:00 9 Allegro 2:26 The Four Seasons 8 Adagio 2:40 ¡ Allegro 3:05 9 Allegro 3:09 Concerto No. 11 in D major, RV210 12:40 Louis Kaufman, Violin 0 Allegro 4:54 Concert Hall Chamber Orchestra • Henry Swoboda Concerto No. 4 in F minor, ! Largo 2:40 ‘L’inverno’, RV297 8:07 @ Allegro 5:07 The Winterthur Symphony Orchestra, Zurich • Clemens Dahinden 0 Allegro non molto 3:23 ! Largo 2:13 Concerto No. 12 in C major, RV178 8:48 @ Presto 2:31 # Allegro 3:04 $ Largo 2:26 Tracks 1-@ were recorded on 25th, 30th and 31st Tracks #-¡ were recorded in Zurich, Switzerland, on % Allegro 3:17 December, 1947 at Carnegie Hall, New York. 4th, 5th and 8th August, 1950. The Winterthur The Concert Hall Chamber Orchestra was conducted Symphony Orchestra was conducted by Clemens Tracks 1-% were recorded in Zurich, Switzerland on by Henry Swoboda, joined by organist Edouard Nies- Dahinden. 4th, 5th and 8th August, 1950. Berger and harpsichordist Edith Weiss-Mann. The Winterthur Symphony Orchestra was conducted by Clemens Dahinden. (First issued as Concert Hall Society Set AR Volumes (First issued as Concert Hall Society CHS1064 Louis Kaufman, The Concert Hall Chamber Orchestra and Henry Swoboda during the recording of ‘The Four Seasons’, I and II [375-3[4] [1375], 376-9 [1376], 377-7[8] [CM18PT1N1A]) (First issued as Concert Hall Society CHS1064 at Carnegie Hall in December, 1947 (by kind permission) [1377], 378-9[10] [1378], 379-10 [11] [1379], [CM18PT2N2A & PT3N1A]) 380-1[3] [1380], 381-3[5] [1381], 382-1[3 & 10] [1382], 383-3[11] [1383], 384-10[11 & 13] [1384], 385-3[6 & 11] [1385], 386-3 [6] [1386], and CHC-1 [BL-11441 & BL11442]) 8.110297-98 5 6 8.110297-98 110297-98bk 11/11/04 8:37 pm Page 2 Great Violinists: Louis Kaufman: VIVALDI: Twelve Concertos for Violin and Strings, Op. 8 over-saturation and exploitation, Vivaldi’s music still meantime he was asked by Sam Josefowitz, owner of Paul Collaer who referred them to the Royal Music as a discovery of a missing early Vivaldi work was in continues to remain fresh, exuberant, and engaging. the newly formed Concert Hall Records, for repertoire Conservatory of Brussels library. At that time Kaufman fact a re-discovery of an early Vivaldi work that had The American violinist Louis Kaufman was microphone would continue on an additional 27 labels The son of a violinist who played at the Basilica of recommendations for solo violin concertos with a small found the first published edition that consisted of been overlooked through the cumbersome system of undoubtedly among the most recorded violinists of this through the 1970s. In 1948 the Kaufmans moved to San Marco in Venice, the younger Vivaldi was ordained orchestra – Vivaldi’s Four Seasons seemed a perfect fit. published parts for all twelve concertos. The Kaufmans cataloguing of works in European libraries. century. In a career that spanned nearly seven decades, Europe, making Paris their home base. The next eight to the priesthood in 1703, and was appointed violin During the last week of 1947 Kaufman recorded the ordered a microfilm copy, not believing their good luck. Louis Kaufman recorded the balance of Opus 8 for he made over 150 major recordings of his classical years saw a multitude of performances including master at the Ospedale della Pietà, the beginning of a Four Seasons at Carnegie Hall with the conductor At the time many European libraries filed their material Concert Hall Records in Switzerland in 1950. In the repertoire, and was heard as concertmaster in over five premières of violin concertos by Martinů (Concerto da long association. According to a contemporary Henry Swoboda, harpsichordist Edith Weiss-Mann, by year of acquisition, so searching for a particular following years, Kaufman would organize all-Vivaldi hundred movie soundtracks between 1934 and 1948, Camera), Anthony Collins, Lars-Erik Larsson, Henri observer, Charles des Brosses, who was in Venice in organist Edouard Nies-Berger, and members of the score could often be a frustrating experience. concerts in Paris, London, and New York, helping to including Gone With The Wind (1939), Show Boat Sauguet, Dag Wiren, Leighton Lucas, and Milhaud’s 1739-40, “The Ospedali have the best music in Venice. string section of the New York Philharmonic Orchestra. Soon after returning to Paris, the Kaufmans met a re-launch Vivaldi to the preeminent status he enjoys (1936), Modern Times (1936), Dodsworth (1936), Second Concerto and Concertino de Printemps under There are four of them all for illegitimate or orphaned Because of a forthcoming recording strike in the United friend for lunch who happened to be a correspondent for today. Wuthering Heights (1939), The Magnificent Ambersons the composer’s baton. During this period Kaufman was girls whose parents cannot support them. They are States scheduled for 1st January, 1948, Kaufman the Continental Daily Mail (an English newspaper (1942), Intermezzo (1939) and The Treasure of Sierra awarded the Grand Prix du Disque for his recording of brought up at the State’s expense and trained recorded the concertos after midnight (in the closing published in Paris). She published their saga and several Lance Bowling Madre (1948). Vivaldi’s Four Seasons with the conductor Henry exclusively in music. Indeed, they sing like angels, play days of 1947), so booked were the recording venues in English and American newspapers picked up the story Born in Portland, Oregon in 1905, Kaufman’s early Swoboda. In 1950 he suggested to the Town Hall Music the violin, flute, oboe, cello, bassoon – in short, no New York City. The record was released in early 1948 including Time magazine. What was hailed (at the time) studies were with Frank Eichenlaub and Henry Committee in New York City a first USA Vivaldi instrument is large enough to frighten them. They are with programme notes by the San Francisco Bettman. By the age of ten, he was travelling on the Festival to honour the composer’s 275th birthday in two cloistered like nuns. The performances are entirely their musicologist Alfred Frankenstein. From those notes Producers’ Note Western Pantages Vaudeville Circuit as assisting artist concerts. Through the years Louis Kaufman was most own and each concert is composed of about forty Kaufman was surprised to discover that the The Four to the dancer Rozika. In 1918 he went to New York City supportive of American composers. He recorded girls...” Seasons were part of a group that included an additional This re-issue and restoration project would not have been possible without the generous assistance and cooperation to enter the violin class of the renowned teacher Franz Copland’s Violin Sonata with the composer at the During Vivaldi’s years with the Pietà, intermittently eight concertos, at the time unlocated. of the Louis Kaufman Estate and, his widow, Dr Annette Kaufman. Additional source materials were provided by Kneisel (1865-1926) at the Institute of Musical Art. piano, works by Robert Russell Bennett, Samuel Barber from 1703 until 1740, his opera and instrumental In late 1948 the Kaufmans let their Hollywood Lance Bowling, Richard Wahlberg, and the Encore Archives in San Rafael, California. During the 1920s Kaufman took up the viola and often (the first recorded performance of the Violin Concerto), production was enormous, although it now seems that home and moved to Europe to perform, and to record As source materials for this project, we were given test pressings, master discs, and numerous copies of the played chamber music at private parties with Elman, Ernest Toch, William Grant Still, Walter Piston and approximately half of Vivaldi’s total output has been new repertoire for Concert Hall Records; the birth of the various versions of the commercial pressings of these concertos.
Load more

Recommended publications
  • Record Group 6
    Special Collections in Performing Arts MUSIC LIBRARY ASSOCIATION ARCHIVES Michelle Smith Performing Arts Library Record Group VI. Notes University of Maryland, College Park, MD Finding Aid by Melissa E. Wertheimer, MLA Archivist, 2018 MUSIC LIBRARY ASSOCIATION ARCHIVES: COLLECTION SUMMARY INFORMATION Finding Aid created with Describing Archives: A Content Standard, 2nd Edition Repository Special Collections in Performing Arts, Michelle Smith Performing Arts Library, Clarice Smith Performing Arts Center, University of Maryland, College Park, MD 20742 Creator Music Library Association Title Music Library Association Archives Date 1931 – 2017 [ongoing] Extent Approximately 300 linear feet of paper records; 5GB of digital materials; sound recordings Languages English with additional documents in French, German, Italian, Portuguese, Russian, and Spanish. Preferred Citation Music Library Association Archives, Special Collections in Performing Arts, University of Maryland, College Park, MD COLLECTION SCOPE & CONTENTS The Music Library Association Archives contains the official records of the Music Library Association (MLA) that document the history, activities, and publications of the organization since its founding in 1931. MLA is the professional association for music libraries and librarianship in the United States with the mission to provide a professional forum for librarians, archivists, and others who support and preserve musical heritage. Formats in the records include manuscripts, financial ledgers, printed publications, sound recordings, oral histories, photographs, scrapbooks, microfilm, realia, born-digital files, musical scores, and artwork. The collection also contains records of select current and former regional chapters, including the Atlantic, Greater New York, Mountain-Plains, and New England Chapters. Records of the California, Midwest, New York State-Ontario, Pacific Northwest, Southeast, and Texas Chapters are housed in repositories within their geographic areas.
    [Show full text]
  • Violin Sonata No. 2 in a Major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781
    Page 1 (1/31/20) Violin Sonata No. 2 in A major JOSEPH BOULOGNE, CHEVALIER DE SAINT-GEORGES (1745-1799) Composed in 1781. Joseph Boulogne, Chevalier de Saint-Georges, one of music history’s most fascinating figures, was born on Christmas Day 1745 on the Caribbean island of Guadeloupe, where his father, a French civil servant, was stationed as comptroller-general; his mother was a black islander. The family moved to Paris when the boy was ten. Joseph was enrolled in the academy of Nicolas Texier de La Boëssière, one of France’s most renowned fencing masters, and there received a good general education as well as rigorous training in swimming, boxing, horse riding and other physical and social skills; he became one of the finest fencers in Europe. Saint-Georges’ musical education was less well documented, though he apparently had shown talent as a violinist even before leaving Guadeloupe and seems to have been a student of the celebrated composer François Gossec for several years. sHe joined Gossec’s orchestra at the Concert des Amateurs in 1769, made his debut there as a soloist three years later (in two of his own violin concertos), and became concertmaster and conductor of the group shortly thereafter. In 1777, Saint-Georges entered the employ of the Duke of Orléans, and four years later took on the additional position of concertmaster of the Concert de la Loge Olympique, for which Claude-François-Marie Rigoley, Comte d’Ogny commissioned Haydn’s “Paris” symphonies. Saint-Georges acted as intermediary in finalizing the arrangements with Haydn, and he presumably directed the premieres of the works.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 69, 1949-1950
    FIFTIETH ANNIVERSARY OF SYMPHONY HALL BOSTON SYMPHONY ORCHESTRA FOUNDED IN 1881 BY HENRY LEE HI SIXTY-NINTH SEASON 1949- 1950 Tuesday Evening Series BAYARD TUCKERMAN, Jr. ARTHUR J. ANDERSON ROBERT J. DUNKLE, Jr. ROBERT T. FORREST JULIUS F. HALLER ARTHUR J. ANDERSON. Jr. HERBERT SEARS TUCKERMAN OBRION, RUSSELL & CO. Insurance of Every Description "A Good Reputation Does Not Just Happen It Must Be Earned." Boston, Mass. Los Angeles, California 108 Water Street 3275 Wilshire Blvd. Telephone Lafayette 3-5700 Dunkirk 8-3316 SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephone, Commonwealth 6-1492 SIXTY-NINTH SEASON, 1949-1950 CONCERT BULLETIN of the Boston Symphony Orchestra CHARLES MUNCH, Conductor Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Ai len M. A. De Wolfe Howe John Nicholas Brown Charles D. Jackson Theodore P. Ferris Lewis Perry Alvan T. Fuller Edward A. Taft N. Penrose Hallowell Raymond S. Wtlkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager T D. Perry, Jr. N. S. Shirk, Assistant Managers [»] Only you can decide Whether your property is large or small, it rep- resents the security for your family's future. Its ulti- mate disposition is a matter of vital concern to those you love. To assist you in considering that future, the Shaw- mut Bank has a booklet: "Should I Make a Will?" It outlines facts that everyone with property should know, and explains the many services provided by this Bank as Executor and Trustee.
    [Show full text]
  • FRENCH SYMPHONIES from the Nineteenth Century to the Present
    FRENCH SYMPHONIES From the Nineteenth Century To The Present A Discography Of CDs And LPs Prepared by Michael Herman NICOLAS BACRI (b. 1961) Born in Paris. He began piano lessons at the age of seven and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin, Christian Manen and Louis Saguer. He then entered the Paris Conservatory where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. He attended the French Academy in Rome and after returning to Paris, he worked as head of chamber music for Radio France. He has since concentrated on composing. He has composed orchestral, chamber, instrumental, vocal and choral works. His unrecorded Symphonies are: Nos. 1, Op. 11 (1983-4), 2, Op. 22 (1986-8), 3, Op. 33 "Sinfonia da Requiem" (1988-94) and 5 , Op. 55 "Concerto for Orchestra" (1996-7).There is also a Sinfonietta for String Orchestra, Op. 72 (2001) and a Sinfonia Concertante for Orchestra, Op. 83a (1995-96/rév.2006) . Symphony No. 4, Op. 49 "Symphonie Classique - Sturm und Drang" (1995-6) Jean-Jacques Kantorow/Tapiola Sinfonietta ( + Flute Concerto, Concerto Amoroso, Concerto Nostalgico and Nocturne for Cello and Strings) BIS CD-1579 (2009) Symphony No. 6, Op. 60 (1998) Leonard Slatkin/Orchestre National de France ( + Henderson: Einstein's Violin, El Khoury: Les Fleuves Engloutis, Maskats: Tango, Plate: You Must Finish Your Journey Alone, and Theofanidis: Rainbow Body) GRAMOPHONE MASTE (2003) (issued by Gramophone Magazine) CLAUDE BALLIF (1924-2004) Born in Paris. His musical training began at the Bordeaux Conservatory but he went on to the Paris Conservatory where he was taught by Tony Aubin, Noël Gallon and Olivier Messiaen.
    [Show full text]
  • Band Responding Unit, Novice Elementary Level
    Band Responding Unit, Novice Elementary Level A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2017–2019 PROJECT DIRECTOR • Johanna J. Siebert BAND WRITING TEAM • Armalyn De La O, San Bernardino, CA, Team Chair • Jesse D. Espinosa, Houston, TX • Theresa Hulihan, Phoenix, AZ • Jenny Neff, Collegeville, PA • Amanda Tierson, Webster, NY (ret.) ORCHESTRA WRITING TEAM • Susan Davis, Queens, NY, Team Chair • Beth Fortune, Seattle, WA • Rebecca Holmes, Reserve, LA • Patricia Ritchie, Omaha, NE • Laura Smith, San Diego, CA Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. BAND RESPONDING UNIT | NOVICE ELEMENTARY LEVEL | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Overview of Band Responding Unit, Novice Elementary Level ......... 4 Instructional Goals/Objectives ................................... 5 Prerequisite Skills for Students for the Unit ......................... 6 Embedded Inquiry Models ....................................... 6 Assessments ................................................... 7 Materials ....................................................... 8 Links: Recordings and Artifacts. 9 National Core Music Standards (2014) ............................. 20 Unit Lessons Lesson
    [Show full text]
  • News from the Library of Congress MOUG / MLA 2001
    News From the Library of Congress MOUG / MLA 2001 All of the news from LC this year furnishes empirical proof that the old maxim, “The more things change, the more they stay the same,” is not true. We can testify that, in fact, “The more things change, the more things change.” Like a young tree, the bigger it gets, the bigger it gets. The implementation of the Integrated Library System (ILS) has forced the Library to examine how it does business from the ground up. The result will be cleaner and leaner operation with more to offer everyone. (Regarding that “more to offer everyone,” it should be mentioned that our Web OPAC registers 150,000 searches a day!) The ILS has been in operation now for about one-and-a-half years. Most catalogers and technicians have become comfortable with its operations. Acquisitions and circulation staff are also up and running. Our goal for this calendar year is to return production to pre-ILS levels–and so far it appears that we will have no problem achieving this. We are also looking forward to the Voyager 2000 implementation, due in July 2001, which will provide us with added functionality. This report will be organized along the same lines as past reports. We will take a look at the major happenings in selected LC organizations and operations with special attention to areas of interest to Music Librarians. 1. LIBRARY OF CONGRESS INTEGRATED LIBRARY SYSTEM On August 21, 2000, the Library officially accepted the LC ILS system after extensive testing and forty consecutive days of acceptable response times.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 68, 1948-1949
    -4£2ttttj£fe, SYMPHONY HALL, BOSTON SIXTY-EIGHTH SEASON, 1948-1949*! CONCERT BULLETIN of the Boston Symphony Orchestra SERGE KOUSSEVITZKY, Music Director Richard Burgin, Associate Conductor with historical and descriptive notes by John N. Burk COPYRIGHT, 1948, BY BOSTON SYMPHONY ORCHESTRA, ItlC. The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc. Henry B. Cabot . President Jacob J. Kaplan . Vice-President Richard C. Paine . Treasurer Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Roger I. Lee Alvan T. Fuller Lewis Perry Jerome D. Greene Henry B. Sawyer N. Penrose Hallowell Raymond S. Wilkins Francis W. Hatch Oliver Wolcott George E. Judd, Manager [529] Only 3& you can @ decide © © © © © Whether your property is large or small, it rep- © resents the security for your family's future. Its ulti- © mate disposition is a matter of vital concern to those you love. © © To assist you in considering that future, the Shaw- © mut Bank has a booklet: ''Should I Make a Will?" © It outlines facts that everyone with property should © © know, and explains the many services provided by this Bank as Executor and Trustee. Call at any of our 2 J convenient offices, write or telephone © for our booklet: "Should I Make a WHIP" © © © Zj&KAonal c/KMdt z/jefotwitment © © Optional © The © © Shawmut Bank © 40 IVater Street^ Boston © Member Federal Deposit Insurance Corporation © © Capital and Surplus $30,000,000 © "Outstanding Strength 'for 112 Years © © [530] PB BB SYMPHONIANA The American Festival of 1939 One Always Returns THE AMERICAN FESTIVAL OF 1939 The review of American music at the symphony concerts of this week and next brings to mind two special concerts in October, 1939.
    [Show full text]
  • 1-5 Frontespizio
    UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO UniorPress AdSE III\5 ARCHIVIO DI STUDI EBRAICI DIRETTO DA GIANCARLO LACERENZA REDAZIONE: DIANA JOYCE DE FALCO, DOROTA HARTMAN CENTRO DI STUDI EBRAICI DIPARTIMENTO ASIA, AFRICA E MEDITERRANEO UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” PIAZZA S. DOMENICO MAGGIORE 12, 80134 NAPOLI TEL.+39 0816909675 - FAX.+39 0815517852 E-MAIL: [email protected] In copertina: Solomon Epstein, The Dybbuk: An Opera in Yiddish in Three Acts. Atto III, Scena 7 (Finale dell’opera): la sposa velata; trasfigurazione e morte di Leah. Il soprano Camilla Griehsel nella parte di Leah; regia Rachel Michaeli. Suzanne Dellal Centre for Dance and Theatre, Tel Aviv, 2 maggio 1999. Used by permission. © Rachel Michaeli, [email protected] ISBN 978-88-6719-056-0 Prodotto da IL TORCOLIERE – Officine Grafico-Editoriali di Ateneo © Università degli Studi di Napoli “L’Orientale” 2014 Edizione digitale UniorPress - 2020 UNIVERSITÀ DEGLI STUDI DI NAPOLI “L’ORIENTALE” CENTRO DI STUDI EBRAICI ARCHIVIO DI STUDI EBRAICI III\5 ALOMA BARDI ESOTISMI MUSICALI DEL DIBBUK ISPIRAZIONI DA UN SOGGETTO DEL FOLCLORE EBRAICO Napoli 2014 A Gabriele Boccaccini con gratitudine per quello che mi ha insegnato sull’ebraismo e ancor di più per il suo esempio di studioso AB SOMMARIO PREFAZIONE Il dramma Der Dybuk di S. An-Ski e la musica 11 I. RICERCA ETNOGRAFICA E ORIGINI DELL’INTERESSE MUSICALE 15 An-Ski e la musica del Dibbuk 17 Le musiche di scena di Yoel Engel 22 Le trascrizioni di A.Z.
    [Show full text]
  • News from the Library of Congress
    NEWS FROM THE LIBRARY OF CONGRESS MOUG/MLA 2012 The News from the Library of Congress this year includes reports from the major Library units concerned with music and sound recording materials: Music Division, National Audio-Visual Conservation Center/Packard Campus, the American Folklife Center, and the Policy and Standards Division. Reports from other Library units which may contain concerns of importance to the music library community (e.g., Copyright Office, Preservation Directorate, Technology Policy Directorate) may be found in the ALA Midwinter report on the Library’s website: http://www.loc.gov/ala/mw-2012-update.html MUSIC DIVISION………………………………………P. 1 PACKARD CAMPUS FOR AUDIO-VISUAL CONSERVATION, RECORDED SOUND SECTION…………………………………….P. 11 AMERICAN FOLKLIFE CENTER………………….P. 15 POLICY AND STANDARDS DIVISION, ACQUISITIONS & BIBLIOGRAPHIC ACCESS DIRECTORATE…….P. 27 MUSIC DIVISION --Reported by Sue Vita, Joe Bartl, Dan Boomhower, Denise Gallo, Mark Horowitz, Karen Lund, Anne McLean, and Steve Yusko This fiscal year, the Music Division’s first priority was to improve access to its vast collection of more than 20 million items, including scores, libretti, manuscripts, photographs, personal papers, instruments, and memorabilia. This was accomplished on a number of fronts: by processing and creating online finding aids for special collections; by creating new and improved existing bibliographic records; by digitizing items from collections and putting them online; and by publicizing the collections through the Performing Arts Encyclopedia, public programs, orientations, professional meetings, and social media. We 1 made significant progress on the Collections Analysis Project, which will result in improved physical and intellectual control over all of Music’s holdings.
    [Show full text]
  • LIST of RECORD MAKES (And Abbreviations Therefor) These
    LIST OF RECORD MAKES (and abbreviations therefor) These precede the record no. and are divided from it by a full point (.) A 440 A. 440 (U. S. A.) Cha. Champion (France) AA. Action Artistique (France—Propaganda Issue) Champ. Champrosay-Trois Muses (France) Act. Actuelle (France & G.B.) Ching J. Ching (G.B.) Ade. Adelphia (U.S.A.) CHM. Columbia History of Music (G.B., etc.) Alco. Alco. (U.S.A.) Chr. Christschall (Austria, Germany, etc.) Allo. Allegro (U.S.A.) CHS. Concert Hall Society (U.S.A.) Amb. Ambassador (France) Ch.Soc. Cherubini Society (G.B.) AmB. American Brunswick (U.S.A.) ChU. Chaine d’Union (France) AmC. American Columbia (U.S.A.) Cla. Clangor (Germany) Amf. Amfión (Mexico) Clc. Classic (France) AmD. American Decca (U.S.A.) CoA. Co-Art (U.S.A.) AmSon. American Sonora (U.S.A.) Coda Coda records of SMC (U.S.A.) AmVox. American Sonora (U.S.A.) Colo. Colorit (Sweden) Amph. Amphion (France) Com. Compass (U.S.A.) (Pressings of USSR records, Ang. Angelicum (Italy) set nos. only—disc nos. same as USSR) ARA. American Recording Artists (U.S.A.) Con. Concord (U.S.A.) ArgC. Argentine Columbia Argentine) Conc. Concertone (U.S.A.) ArgOd. Argentine Odeon (Argentine) Cont. Continental (U.S.A.) ArgV. Argentine Victor (Argentine) Cpt. Contrepoint (France) Argo. Argo (G.B.) Croy. Croydon Celebrity Recordings Society,G.B. Arti. Artiphone (Germany & France). Csm. Colosseum (U.S.A.) AS. Anthologie Sonore (France) Cto. Concerto (U.S.A.) Asch. Asch. (U.S.A.) CU. Columbia University (U.S.A.) ATC. Art of this Century (U.S.A.) Cup.
    [Show full text]
  • Evgeni Mravinsky Discography
    FRANK FORMAN AND KENZO AMOH Evgeni Mravinsky Discography Evgeni Alexandrovich Mravinsky (1903 I 6 I 4 St. Petersburg -1988I1I19 Leningrad) General Notes 1. All records are stereo unless noted as Grammophon's original Tchaikovsky monaural. Symphonies. See the List of Record Labels 2. LPs are 30 centimeters (12 inches) in diam­ below. eter unless stated otherwise. 9. This discography is a revision ofKenzo 3. The orchestra is the Leningrad Amoh, Frank Forman, and Hiroshi Philharmonic Symphony Orchestra unless Hashizume, Mravinsky Discography stated otherwise. (Osaka: The Japanese Mravinsky Society, 4. Recording data are mostly based on infor­ 1993 March 20). Agreat deal of peripheral mation from Alexandr Nevsorov (Moscow). material, such as photographs, a biography Discrepancies are noted. of the conductor, and several lists of con­ 5. ·~ before a recording date means that the certs, was omitted. exact date is unknown. The date given is 10. Grateful acknowledgements are owed to the earliest date that recording engineers several people: 1. Hiroshi Hashizume, sec­ were known to have checked the recording. retary of the Japanese Mravinsky Society; Alexandr Nevzorov (the discographers' cor­ 2. Alexandr Nevzorov, a Russian correspon­ respondent in Moscow) estimates that the dent, for his research in various archives; actual recording was made either on that 3. William D. Curtis, for the first known day or any time during the preceding compilation ofMravinsky's recordings; 4. month. Some anomalies, like the Donald R. Hodgman, a collector in New Ovsyaniko-Kulikovksy Symphony, remain. York City, for the loan of several dozen LPs; 6. Soviet LPs are numbered consecutively on 5. Paul Miller, a Los Angeles collector, for each side of the disc, instead of one number making a great many patient A-B compar­ for the entire disc.
    [Show full text]
  • Syracuse University Art Galleries
    Syracuse University Art Galleries Syracuse University Art Galleries Syracuse University Art Galleries The Syracuse University Art Collection, in association with the including l\1ark Rothko, Barnett It was Louis and Emily Lowe Art is proud to Milton Revisited: Kaufman who introduced to and Kaufman had the Louis and Annette Collection. Milton attended school together in Portland, In New York, met was an artist who helped define American art, often for dinner at tlle where there was a new whose impact on art is still seen in It is pal.nang to see and stimulating conversation to be The Kaufmans that Avery pursued a personal aesthetic at a time when there was enjoyed a lifelong friendship the artist. l-\.s Ted Aiken pressure to create an art that had a nationalistic such as lrrnr.rt='rl during his life, Louis and Annette Kaufinan American Scene painting. \lVhile his the person and the artist." Their relationship with might not have neatly fit into this "''-'.l.JlLLL.I.,('U. figure in American art a collection of art that approach and his commitment to np1~cr\n'll we are very pleased to present. truly 'American.' '-'"'"'-'."'. .1.,.",> to Domenic J. Associate Director of the Louis and Annette Kaufman these and other characteristics University Art Collection, who extensive research on in Milton Avery during their nearly 40 year with the artist and this collection developed the annotated checklist to the exhibition. Since his family. I think Avery recognized NIr. and Mrs. Kaufman's interest in many of these paintings are being seen for the Domenic artistic and creative activities, and certainly their commitment to excel- lllC:lU(leS each object's physical information including slgnat:un~s lence.
    [Show full text]