Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul


Download Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul

Patience, however, was one thing about the Maestro that could be termed unreliable. Outsiders often wondered why such musicians, who are notoriously touchy about such matters, put up over Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul years with Toscanini's outbursts.

Any other con- ductor would have been hauled up instantly before the. This never happened. By tacit agreement he was a law unto himself. To try to change him would mean losing him. For too many years. As a young conductor hardly out of his teens he had battled. He had had to and lazy choruses, at worn- outorehestr. Times; meanwhile, have changed, and today '.

The orchestras put up with him gladly be. It was also a badge of honor, and a gauge of remuneration. After- many months of watching Toscanini's rehears- als and those of various other conductors, I became conVinced that the Maestro's purely practical skill at rehearsing was as much responsible for his surpassing results as was his encyclopedic knowledge of the scores.

Fundamental was the fact that he was able to create, in the players, a totally different state of mind. With most other conductors everyone was relaxed; they took. Many of the con- ductors, too, were relaxed. Some sat or half-sat Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul a high stool. Later, before an audience, they often be- came entirely different personalities-exhorting, driv- ing, beating the air.

This was not Toscanini's way. It is an idea and an aspira- tion of music preserved and made physically immortal. Yet as an idea, high fidelity finds fulfillment in terms of machinery- which adds a new tooth to the old saw about mind and matter.

Here we are concerned with the journey from the realm of the idea to the tangible hi-fi hardware sitting on the shelf in your living room-the developments that changed Edison's tin horn into today's electric marvel. The term C11igh fidelity" itself is of relatively ancient coinage. Har- old Hartley, one of the pioneers of audio's early barnstorming days claims to have delineated the term in England in But, with all due respect to Mr.

Hartley and his W hat a change! Even the p1'imitiv e mic1'ophone of aff01'ded und1'eamed physi cal and to nal f1' eedom. Jelly Roll"invented" jazz single-handed. As far as the term "high Easier Said Than Done - Tony Arata* - Changes is concerned, there are about a dozen vociferous contenders to Mr.

Hart- ley's claim of priority. Actually, it is the phenomenon, not the name, which counts. The electric phonograph came about largely through the path-breaking experimental work at Bell Tele- phone Laboratories during the 's. Since the advent of radio broadcasting inaudio-laden electricity was literally in the at- mosphere, and Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul idea of combin- ing electronic techniques with the mechanical phonography of Edison provided the key to modern sound recording and reproduction.

The microphone, dating back to Alexander Graham Bell, and the au- dio amplifier, dating back to the invention of the vacuum tube by Lee de Forest, were connected to 35 An early coaxial. Note tiny tweeter suspended aC1'OSS "[! The ancestor of modem horn-type enclo- sures is this 19th century Glory.

In these efforts led to the first practical electric recording ma- chine, a proud achievement of Na Koledu Jsme Přišli K Vám - Musica Bohemica - Veselé Vánoce A Štastný Rok 2001 Laboratories. This revolutionized the Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul rec- ord industry.

For the first time it was possible to record a whole or- chestra. The musicians no longer bad to be literally cramped into a horn. Bass notes were engraved into record grooves for the first time. The entire realm of orchestral music opened up to the recording engi- neers. Yet the vast improvement of the recording process posed a new problem to the phonograph makers. For the first time, records contained far greater frequency and dynamic range than the tin-horn phonograph could draw from them.

Bell Telephone Laboratories, however, had been aware of the discrepancy between recording and playback quality from the time when they began to develop elec- trical recording.

They prepared a new kind of acoustical phonograph to do more justice to their new re- cording process. The principle em- ployed in the new phonograph was to become one of the most com- monly accepted and respected tech- niques in sound reproduction.

The famous "Morning Glory" Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul 36 The late Dr. Franz Boas center of Columbia University was Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul to use electric recording for the anthropological study of speech.

In the mid-twenties the Victor Talking Machine Company pur- chased the rights to the new phono- graph. Christening it the "Ortho- phonic Victrola," Victor began to bombard the public with an adver- tising campaign on an unprece- dented scale.

Finally, on November 2,Victor unveiled the Ortho- phonic in its showrooms. It was an instant success. For the first time speech sibilants could Jesse Lopez - My Way/ They Call The Wind Maria heard.

The machine's frequency range of to 5, cycles per second was roughly equal to that of a raucously screaming little table radio, but to its contemporaries it seemed a spec- tacular improvement. After the development of the first electric phono pickup, a heavy and cumbersome affair, electric amplifi- cation and a loudspeaker for a sound source were finally incorpo- rated into home phonographs around This trend, however, was greatly slowed by the Victor Talking Machine Company, whose president, the late Eldridge J ohn- MARCH son considered the addition of elec- tricity Free - Larnelle* - The Best Of Larnelle the phonograph as an unnecessary complication.

The real significance of tl1ese phonographs lay not in the satis- faction they provided to many but in the disappointment they caused to a few critical listeners. These were tantalized by the imitation of musical realism and infuriated by the shortcomings. This new breed of malcontents took tl1e pho- nograph seriously. They were no longer going to be pleased so easily, Having had Das Wirtshaus - Franz Schubert, Dietrich Fischer-Dieskau, Gerald Moore - Winterreise glimpse at the possi- bilities of recorded sound, they be- gan the kind of experimentation and plain tinkering which allowed high fidelity to grow as a craft industry, The basic components that make up a hi-fi installation were con- ceived in this period.

The electro- dynamic loudspeaker, today's stand- ard, was first exhibited by Grigsby and Grunow at the Radio Parts Show in Chicago. Even the electrostatic loudspeaker, still a novelty to many audio fans had al- Stolcowslci in his Philadelphia heyday pionee1'ed rnode1'n recm'ding techniques.

At a radio exhibit ina man named Hall cornered representa- tives of Victor and other companies and described a revolutionary new speaker. Taking them to his horne in St. Charles, Illinois, he displayed the first working electrostatic speak- er, made of perforated sheet metal and rubber dental stock, and occu- pying four feet of floor space. The representatives were not impressed enough with its sound to overlook the dangerously high voltage it re- quired to operate properly.

The late 's produced many other tentative speaker designs which were eventually to become standard Gotta Get Your Love (Kenny Dope Mix) - Kenny Dope* - Anything Goes. Maximilian Weill, who in had patented the first corner horn assembly, fol- lowed it in with the first rough model of a multi-diaphragm coaxial speaker.

This new speaker was im- pressive enough to persuade the Na- tional Carbon Company to produce it for commercial use, but the de- pression of quickly halted production plans. In the meantime, England's Harold Hartley was de- veloping a combination of an inch woofer with a 3-inch tweeter mounted on the same baffie, which he introduced commercially in No better illustration of the knot- tiness of designing speakers can be given than Mr.

Hartley's currently reversed position as an energetic apostle of the single ten-inch speak- er for horne use. The early 's produced a great 38 Two men had to lift one of the steel tape reels of this magnetic recorde1' devised f01' the BBG in the late ' 30's. One of the fi7'st full-range speakers used at Bell Labs dW 7Jed its de- signers. Note suspended tweete1. All of this, how- ever, was not very comforting to the music lover who owned "advanced" equipment.

He was in constant combat with bulky and overweight electro-magnetic pickups that chewed up his records, static-laden AM radio receivers, and clumsy amplifiers burdened with outsize transformers which eagerly pro- duced wide range distortion.

These were the days when wide range frequency response was the sale aim Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul so-called high fidelity. Nobody seemed to care much about distortion, apparently accepting it as an inevitable head-splitting by- product or wide range reproduc- tion. Even the Radio Manufachuer's Association seemed taken in by this fallacy. In they defined "high fidelity" as any means of pro- ducing frequency response to 7, cps or better.

They did not even bother to add any qualifications about distortion. This whimsical definition produced a good amount of confusion all the way into the Continued on page 86 Tuners- first to achieve under one microvolt sensitivity for 20 db FM quieting; increases station range to over miles. Other important features include the new " Feather Ray" tuning eye, AFC switch, fly-wheel tuning, level control and cathode-follower out - Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul.

Amplifiers- 36 watts with new " presence" rise button. This all new amplifier brings maximum pleasure to both music lover and Hi -Fi expert. Front panel controls are simple, easy-to-handle, yet complete- include 6-db presence rise button ; record, microphone and tape-playback equalization; excl usive "center -set " loud ness controlloudness compensation switch, scratch and rumble filters, phono level controltape-monitor switch, selection of 6 inputs; output tube balance control and test switch on rear.

No matter what your preference; no matter what your source of music-your own discs, tape or FM-you will achieve ultimate enjoyment from Sherwood' s complete home music center, most honored of them all! Cullom Avenue, Chicago 18, Illinois. In Los Ae5,. High compli- ance and si ngle fric t ion- f ree pivot bearing assure dist ort ionless tracking or microgroove a nd standard groove recordings. Avai l- able wi th the 'I:! Enjoy a demonstration at your hi fi sound studio you'll hear t he difference.

For the dealer nearest you or for literature write Dept. It is a lively art where new ideas pop like firecrackers. Technical specifications have been omitted since they are immediately available from the manufacturer and they are often phrased in jargon that precludes direct comparison with comparable gear.

We are interested in what the new equipment does, how it does it, and most important, how it sounds. VICO Model 77 I F ANY electronic advance of re- cent years deserves the some- what sensational sobriquet of "revo- lutionary" it is the use of transistors instead of tubes.

The transistor is a tiny, solid brick-like item of care- fully sifted solids whose atoms are able to move in rhythm with an electric signal and amplify that signal in the process. Essentially the transistor does precisely what a tube does-but it uses only a small fraction of the power ordinarily consumed by tubes. This power economy made the transistor a "natural" for portable radios, but not until very recently have those tricky transistor circuits been tamed for high-fidelity use.

Their new Model 77 amplifier is completely transistorized-from the low-level input circuits all the way up to a watt power output stage. Transistorized equipment ban- ishes two bugaboos: hum and microphonics, which have long plagued conventional vacuum tube circuits.

Without hum, the tran- sistors let you hear music against a background of silence. And without microphonics, the vibration caused by passing trucks, romping children or minor earthquakes no longer af- fects the function of the amplifier. The HFMR staff sincerely be- lieves that "unique" is the best word to describe the model Many long-held concepts garnered from seeing vacuum-tube type amplifiers in operation had to be discarded.

New and unusual design principles are an indication of things to come. After connecting up the model 77, a throw of the "on-off" switch immediately puts the. Western Ave. Loudness control also means volume adjustment in the Vico Model In fact, the model 77 operated all day in our lab and became barely warm to the touch.

The manufacturer claims that the amplifier runs as cool as an electric clock. There is an added advantage to this absence of heat which may at first elude the potential buyer-that is, the model 77 can be stuck away in cabinets and bookshelves where ventilation is almost non-existent.

A vacuum-tube amplifier would readily overheat in such an area and probably burn out in a few days. It is also worth pointing out, that in general, the Vico model 77 operates at greatly re- duced voltages. Because of this the average life of components such as resistors or capacitors is greatly increased and might reasonably be expected to last many years without breakdown. This is particularly important to those living in the country far away from repair shops.

The model 77 has a full set of controls-although the volume and "loudness" have been combined into one function. Some hi-fi "purists" may find this objection- able, but in transistor circuits this may, strictly through necessity, become standard practice. A rumble and scratch filter are operated from the front panel and, according to our tests, were quite effective. Latt61 howeve1 has rn01 e fl exibility using va;uwJ2 tltbe's.

By the way, this is a printed circuit arrangement with the most vulnerable components sprayed with an epoxy resin for protection against moisture and salt spray. The amplifier was tested in actual operation for about one week and passed with flying colors. Used with a GE cartridge, the output was clean and distor- tion within perfectly acceptable very low Emits.

Record equalization settings appeared to be about right. We did Uke: The daring innovation of the design, the quality of workmanship, the good overall sound, and the knowledge that the transistorized circuits would not wear out for a long time. For instance, the amplifier can be run from a volt car battery for a hi-fi public address sys- tern. Furthermore, it can be used to reproduce souno. Best of all, we liked the quiet, hum-free background against which the music stood out with exceptional clarity.

We were doubtful about: The tone controls and their limited action. The manufactmer does not dis- guise the fact that the bass conhol does not "cut. In an early proto-type tested by the magazine staff treble boost seemed limited. The manufacturer, however, re- ports that this has been corrected. In the two models tested, the panel markings did not correspond to mid- band - flat settings. The absence of a Ie el setting control on the input from the hmer may present prob- lems in some hi-fi installations.

Any tuner us d with this amplifier should therefore have a separate level volume control. The other alternative is a separate preamplifier with the necessary controls, to be placed at a con- veniently accessible place, while the bulkier heat- generating power amplifier is shoved somewhere out of sight or into a place where it gets good ventilation. General Electric has for some time been offering a "convertible" amplifier that could be used either as a one-piece "integrated" unit, or came apart into separate units for preamp and power amplifier.

The physical appearance of the PA is a definite improvement over the older "convertible. The panel has been "cleaned-up" by removing the unnecessary numerals and extraneous markings. The same sturdiness of con- struction has been retained and there is little doubt that this is one of the most "solid" feeling amplifiers on the market-in other words, it's built like a battle- ship.

It matches perfectly! Pictured above are three Bell amplifiers with the daring "new look" in high fidelity - a sleek, slim silhouette, only 4 inches high - and the feature that women like best of all: Bell's exclusive Magic Touch-Control. Now comes the Bell FM-AM Tuner, all decked out in a rich saddle-tan finish that matches perfectly with the Bell high fidelity amplifier in your home entertainment center.

Made by Bell with more features for its modest cost, this FM-AM Tuner has a low drift FM oscillator that keeps you "on signal" even during warm-up periods. There are many other features which you should check for yourself. Why not stop in at your Bell dealer and ask for a demonstration today. Peak: watts. Frequency Response:cps.

More Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Bell Model Rated 20 watts at less than. Peak: 40 watts. More For Your Money, 'too '. Peak: 24 watts. AM Sensitivity: 5 u V for 20 db sin. FM Frequency Response: AM Frequency Response:cps:! New York The controls provide very strong bass and treble boost and cut. The rumble filter for the fellow with the ram- Rabbit In Your Headlights (Underdog Mix) - UNKLE - Rabbit In Your Headlights record changer is a new design and appeared to work without too much loss of bass-although it Access to outputinput and loudspeaker connections tU1'ning P A on its side.

Hum level cont rol is visible. Loudness and volume-level con- trols separate are smooth, and unlike some loudness controls, did not strain the ear. We did like: The construction and the very smooth response of the controls.

Credit should go to the GE designer who thought far enough ahead to place the most-of ten-used record compensation setting right next to the FM-AM tuner position on the selector switch-not half a mile apart as in the previous model. This allows fast and convenient switchover from phono to radio. We were doubtful about: The heat generated by the amplifier in the steel cabinet when used as a one-piece item.

The cabinet becomes too hot to handle around the spot over the power output tubes. This calls for good ventilation at the rear of the amplifier. IT IS the job of the tone arm to carry the cartridge across the record.

This Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul by no means as simple as it sounds, because hi-fi sound is far from simple. Prob- lems of resonance and groove tracking are fairly h'icky, and it takes a well-built and well-placed tone arm to let the cartridge "feel" out all the music in the record groove.

More important, a well-designed arm protects the record by reducing wear. One of the main tasks is to hold the cartridge nearly tangent to the groove, despite changing groove di- ameters as the stylus moves in toward the center of the disc.

This is possible only in approximation and takes some fancy calculations of arm length, position, and angle of the pickup head. Friction, of course, is 44 another problem because any force necessary to move the tone arm across the record is obtained at the ex- pense Tease - I Cant Stand The Rain the vulnerable record grooves.

We did like: The unique adjustments provided on this arm and the resulting adaptability, the beautiful appearance in chrome and enamel, and the self-con- tained arm rest. We also liked the evident careful craftsmanship that went into its manufacture and the ingenious design of the spring-loaded bearings. We were doubtful about: The wisdom of partly using the spring tension to counterbalance the arm be- cause of possible weakening of the spring.

We thought that a purely static-weight counterbalance might have permanently avoided this danger. We also had our- selves a bit of tinle "translating" the British instruction booklet into our native type lingo.

Possibly, we have been spoiled by the kind of step-by-step instructions by which American manufacturers take their custom- ers by the hand and make sure they don't do anything foolish. Here you have to use your head. The Knight Kit 83YX preamplifier is a good example of modern kit design.

Printed circuits reduce the possibility of wiring errors even by the in- experienced kit builder. Preassembled switches, ac- tually part of the printed circuitry, simplify assembly so that only a minimum of tools is required soldering iron, pliers, cutters, and screw-driver.

We did the whole job in six hours, which means that somebody who is handy at it can probably do it a lot faster. It's not the easiest of kits to assemble, but for the rela- tively complex Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul of a preamplifier and control unit it is sUl'prisingly simple to put together.

When it is finished you'll have a unit you can be proud to own and operate. All of the basic preamp The Kni Wyrocznia - Kat - Metal Box (All Media, Album, Album) k it uses printed circuits to sirn1Jli fy wi1ing. Such circuit s all eviate the large numb61' of 'wi1'es strung between different components. Assernbly is eas y.

Hear the Bozaks at your Franchised Bozak Dealer, write us for literature. MARCH 45 necessities have been incorporated, including eight different input channels for tuners, tape machines, phonographs, etc.

Lang Lang, piano. Classe de Monique de Margerie, piano. Classe de Maurice Laforest, piano. Musique de chambre. Oratoire St-Joseph-de-St-Vallier, ch. CMQ Studio Musique baroque. CMQ Classe de Suzanne Beaubien-Lowe, piano. Concerts Famille. Stravinski: Petrouchka. Musique contemporaine. Kurt Weill. GTQ Foyer. Midi-musique CMQ. St-Louis, Sillery. Soupers-spectacles en famille. Quartango symphonique. Sylvain Doyon, orgue; Louis Larouche, trompette. Trio Yadong Guan; Claude Gagnon, guitare; ensemble de musiciens, instruments traditionnels chinois.

OSQ Quartango. Lebens, trombone; Arturo Nieto-Dorantes, piano. La vie et les amours des femmes. LaurierSillery. Campra: Messe de Requiem; Missa ad majorem Dei gloriam.

Orch harmonie. Bach, Handel, Vivaldi, Mozart. Trinity Church,ch. Passion guitare, volet formation. Basilique Notre-Dame, 16 Buade. Du haut des airs. Classe de Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Martel-Cistellini, chant. Bouquet romantique.

Schiekele: Quatuor pour violon, clarinette, violoncelle et piano; Martinu: Madrigals pour violon et alto; Brahms: Quatuor pour piano Baby Washington - Itll Never Be Over For Me / Move On Drifter cordes en sol mineur, op. Elizabeth musique de la Renaissance anglaise.

Dowland, Byrd, Campion, Allison, Bacheler. Beethoven, Debussy, Shafer. Haydn, Smetana, Beethoven. Les classiques du matin: Duo croissant-concert. Matthieu Fortin, piano. Chopin: Scherzos, op. Poper: Rhapsodie hongroise, op. Les deux marionettistes manipulent plus de 23 personnages!

Avril April 63 lsmX-7 Cal. Salle Jean-Marc-Dion, boul. Laure, SeptIles. Triple forte. Les lundis du Conservatoire. Les exercices de classe. Classe de Gabriel Dionne, percussions.

Hugues Leclair, compositeur. Vian selon Leclair. Centre culturel, Ringuet, Drummondville. Les Concerts Canimex. Pro Organo Mauricie. Gilles Rioux cr. Classe de Pauline Charron, piano. Perron, Quai des Arts, Carleton. Salle J. Lehar, Offenbach, J. Capelton, North Hatley. Mozart: Messe du Couronnement; etc. Moulin Michel, boul. Les grandes valses. Michel 64 18 19 21 22 23 24 25 26 29 30 30 Page 64 Kozlovsky, piano.

Schubert, Brahms, Chopin, Satie, Strauss. Classes de Mariette GendronBouchard, violoncelle. Classe de Trent Sanheim et Yvan Moreau, cuivres. Polyvalente des Quatre-Vents, Auditorium, boul. Les Exercices de classe. Les Vendredis du Conservatoire. Faculty Series. Beethoven: Violin Sonatas, op. Maison de la culture de Gatineau, boul.

TuQuynh Trinh, piano. Opera Lyra Ottawa. Aylmer Center for the Arts, 55 rue Principale, Aylmer. Ponticello Music Series. Caroline Leonardelli, harp; Kathleen Radke, soprano. Ravel, Poulenc, Britten. Schubert: Lieder; etc. Classe de Marlene Finn, piano. Matthieu Latreille, orgue CMG. NAC SH. Great Performers. Gil Shaham, violin; Akira Eguchi, piano. Trio Hochelaga. NAC Foyer. Aber Diamond Debut Series.

Shalom Bard, clarinet; Jeanie Chung, piano. North, Prescott. Orchestra Series. University of Ottawa Orchestra; David Currie, cond. Lawrence Love Dont Live Here Anymore - Various - Missing You – An Album Of Love, Aultsville Hall,Cornwall. Carleton University Choir; Matthew Larkin, cond. Fanshawe: African Sanctus.

Chamber Music Ensembles of the Department of Music. Alexina Louie; Mendelssohn: Piano Concerto 1, op. Classe de Calvin Sieb, alto, violon. NACO Biss. Music from Heaven. Bach: St. Matthew Passion, Cantatas, Masses. NAC Salle Panorama. Kinderconcerts JMC. In English; bring cushions for the kids x f3pm 17 14h. NGC Aud. Chamber music concert. Nova Iberia. Cantata Singers of Ottawa; Michael Zaugg, cond. Ramirez: Misa Criolla. Classe de Yves Lussier, trompette. NACO Egmont. Ottawa Youth Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul John Gomez, cond.

In Celebration of Peggie Sampson Grace Lutheran Church,Eganville. Ottawa Valley Music Festival presents. Beethoven: Serenade in D major, op. John Estacio: Filumena. Made in Alberta. Edmonton S. Les Grands Concerts. NACO Filumena. Alberta Baroque Ensemble; Jens Lindemann, trumpet.

Handel, Corelli, Telemann. All Saints Lutheran Church, Pinecrest. Musica Viva Singers; James Calkin, cond. Post-concert reception 1 19h Robert Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul, organ. Bach, Franck, Jongen, Mendelssohn. Classe de Patrick Roux, guitare. Recital Series. Amanda Forsyth, cello; Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Desmarais, piano.

Shostakovich: Sonata for cello and piano in D minor; Chopin: Sonata for cello and piano in G minor, op Katherine Chi, piano. NGC Rideau Chapel. Michael Ibrahim, saxophone. Daniel Moran, piano. Classe de Anne Contant, violoncelle. Pops Series. Alberta Celebration. Folk, traditional, cowboy music. Lana Henschell, piano. NACO Alberta. Shauna Rolston, cello; Heather Schmidt, piano. Pre-European Tour Concert.

Ottawa Bach Choir; Lisette Canton, cond. Lundi 18h Radiarts, Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul culturel, anim. Philippe St-Jean; 19h Musique autour du monde, anim. Claire Chainey; 20h Histoire du Royaume, anim. Gabriel Berberi; Jazzmen, anim. Klaude Poulin. Pauline Gauthier; 20h Bel Canto, anim. CBC R2.

Saturday Afternoon at the Opera. Strauss: Polla Ta Dhina - Iannis Xenakis / Paris Instrumental Ensemble For Contemporary Music*, Konstantin Si Rosenkavalier.

SRC EM. Der Rosenkavalier. The Diamond Ensemble Danemark. Danzi, Schubert, Mozart, Crusell, Dvorak. In a Mellow Tone. Listen Before You Buy. Trio Trad. Studio Sparks Eric Friesen, host. Puccini: Tosca. Cyprien Katsaris, piano. E-Bay Bargains. Frank Peter Zimmermann, violon; Enrico Pace, piano. Bach: Sonates pour violon et clavier, Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Mozart: Symphonie 36; Concerto pour piano et orchestre 23, K.

Jimmy Noone, clarinet. Luis Sarobe, piano. Albeniz: Suite Iberia. The opera is inspired by the story of Filumena Lassandro or Losandro — there are variant spellings of her namea year-old Italian immigrant, who, inwas the last woman hanged in Alberta, and one of the last in Canada.

On September 21,Stefano is wounded Feelings - Fausto Papetti - Grand Collection a bizarre encounter with the police, and flees across the border to British Columbia.

Unaware of his whereabouts and of the seriousness of his injuries, Filumena and Emilio confront Constable Stephen Lawson. In a haunting parallel to recent events, the visit turns tragic when Lawson is fatally wounded.

Apprehended a few days later, the pair is given an unreliable trial that received much coverage, albeit inaccurate, across North America and around the world. The jury finds Filumena and Emilio guilty and orders them hanged in Fort Saskatchewan.

But what really happened that fateful night? The libretto, sung one-third in Italian and two-thirds in English, was written by John Murrell, with music composed by John Estacio. The romantic and emotional creation was developed through a three-year process of writing, stage designing, and rehearsing at the Banff Centre. Encouraged by the successful process that brought this creative work to life, The Banff Centre is repeating the experience with the opera Frobisher, due to make its debut at the Banff Summer Arts Festival.

In its third incarnation, Filumena boasts another star-studded line-up. Filumena is the opening event of Alberta Scene, a two-week festival of Albertan culture encompassing 95 events in 19 venues around Ottawa. Opera aficionados in the West who have yet to see the production will be able to catch it later this year when it highlights the Banff Summer Arts Festival.

Piano sur place. Wallfish is popular among British composers as a performer for their works and he has quite a history of working with renowned orchestras, notably the BBC Symphony and the London Symphony.

M, Repentigny, poste 3, ccallender videotron. Bastien altoM-L. Ouellet altoK. Rousseau altoA. Brunet sopD. Taylor c-tR. Rubens sopranoI. Danz contraltoM. Duncan barytonM. Werba barytonP. Aulio, F. Ticheli, D. Gillingham, E. Whitacre, P. Mozart, G. Handel, G. Wan, J. Fortin, R. Pelletier, A. Burden, A.

Yazdanfar, R. Crowley, S. Harvey, Y. Rubens, I. Danz, M. Mitterrutzner, C. Genz, T. Duncan, M. Werba, P. Fieldman Fraiberg pY. Cousineau vA. Lozowski v Burnin Up (Al Zanders Remix) - Various - Shadeleaf Remixes EP, Brian Bacon altoA.

Thouin, A. Beer, violons, R. Pelletier, alto, L. Chen, alto, S. Corelli: Concerto grosso, op. Ste-Croix, St-Laurent. Handel: Messiah. Christopher Jackson, chef. TALL, Gounod. Gilles Vonsattel, piano. AnneMarine Suire, soprano; Michelle Santiago, piano. Classe de Lubz Zuk, piano. Classe de Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Karlicek, piano.

Classe de Laurence Kayaleh, violon. Domenic Painchaud, violoncelle. Charles Richard-Hamelin, piano. Maison de la culture Frontenac, Ontario Est. Vespri siciliani. Classe de Anne Robert, violon. Classe de Jean-Marc Bouchard.

Classe de Jutta Puchhammer, alto. Buxtehude: Membra Jesu Nostri. Atelier de musique baroque. Classe de Elizabeth Dolin, violoncelle. Les grands concerts du mardi Homeocan.

Boito: Mefistofele. Student Soloists. Trio Fibonacci. Class of Jeri Brown, voice. Les grands concerts du mercredi 1. OSM, Galway.

Stanley Drucker, clarinettiste. Ensembles de musique de chambre. Bernhard, Couperin, Monteverdi, Rameau, Telemann. Le violon de Leclair. Allegra Chamber Music Series.

Dvorak: Five Bagatelles, op. Hindemith: Octuor pour cordes et vents; Beethoven: Septuor pour vents et cordes, op. Gounod: Faust. Ensembles de musique ancienne. Ioana Gandrabur, guitare. Enescu: Sonate 1 pour violon et piano; etc. Alex Strauss, violon; Ilya Poletaev, piano. Columba Concert Series. Bach, Buxtethude, Mozart, Granados, etc. However, unlike the latter, the great violinist left mostly instrumental music. Thursday, the 24thNotreDame-de-Bon-Secours.

The November 25 concert at the Church of St. Andrew and St. Paul under the direction of Jordan de Souza. Also at the Church of St. Punctuated by Christmas carols, this concert is sure to please the whole family.

Arensky, more than a choral and orchestral conductor and pianist, best expressed his talent as a composer in his chamber music. The Russian artist, Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul influenced by Tchaikovsky, counted Rachmaninoff and Scriabin among his students. Hungarian Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul began writing first-rate vocal music at the age of only 12 and had mastered the violin by 14!

He distinguished himself as composer of opera, Hungarian folk music, and Jewish liturgical music. Segal Centre, www. Beethoven is always popular with the Orchestre symphonique Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Conservatoire and, under the direction of Raffi Armenian, will give a performance of his Symphony No.

Exposition Big Bang. Seul au piano. Pierre Lapointe: chansons. Pierre Lapointe, piano. Marathon de piano. Concert gala. Goldmark, Arensky: quintettes pour piano et cordes. CMM, Miao Mu. Gouin Est. Classe de Dang Thai Son, piano. Concert gala des choeurs de jeunes. OM, tango. James Church, Main Road, Hudson. Hudson Chamber Music Series. Class of Liselyn Adams, chamber ensembles. Classe de Carole Sirois, violoncelle. A Renaissance Christmas.

Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Antica. Classe de Louise Bessette, piano. Classe de Kyoko Hashimoto. Les Chambristes du Conservatoire. McGill Chamber Jazz Ensemble. Halmos, Gagnon, Mahler, Praetorius, Rutter, etc. McGill Jazz Orchestra 2.

Quatuor Molinari. Jean Portugais, animateur Jazz Choir class of Jeri Brown. Les grands concerts du mercredi 2. Le Magasin de tissu. However, they are more than a brother-sister duo, more than just two fierce competitors, for this violinist and this pianist are both soloists, both young musicians of stunning maturity and sensitivity, driven by a love of music.

The text of these waltzes is drawn from European folklore, inspired mostly by Turkish, Polish, Lithuanian and Sicilian songs.

Salle Raoul-Jobin, www. Jazz Improvisation I. Class of Charles Ellison. Les grands concert du jeudi 1 Air Canada. OSM, Andsnes. Occident Orient. Trio Hochelaga. Ste-Croix, StLaurent. Jazz Improvisation II. Class of Gary Schwartz.

Mozart: Sonate 8, K. Piano paradiso: musique de film. Schumann, Eisler, Mahler. Christianne Stotijn, mezzo; Julius Drake, piano. Handel: Tamerlano. Roman Zavada, piano. Symphonies lumineuses. Beethoven: Symphonie 4, op. Concert autour des cordes. Martin Matalon: Trame XI; etc. Class of Gregory Chaverdian, chamber ensemble, piano. Matthieu Fortin, piano. Matins en musique. Grieg: Concerto pour piano, op. Grieg: Peer Gynt, suite 1, op. ULav SHG.

Passion guitare. David Gaudreau, Patrick Roux, J. Antoine Joubert, piano. Concerts Couperin. Beethoven: Sonate pour piano et violon 2, op. Sergey Khackatryan, violon; Lusine Khachatryan, piano.

Grands Classiques. Strauss: Mort et transfiguration, op. Classe de Patricia Fournier, chant; Marie Fortin, piano. Concert Famille. Noeud papillon habillement chic svp. Danses du monde. EVPQ, Danses. Prodige lumineux. Musique de chambre. Edith Beaulieu. Classe de chant. Classes de cuivres. Spectacle de magie.

Luc Langevin, magicien. OSQ, Casse-Noisette. Classes de clarinette. Classes de cuivres; Monique de Margerie, piano. Grands ensembles. Classe de Zbigniew Borovicz, contrebasse. Dimanches musicaux. Les Lundis du Conservatoire. Jean Boivin 10 8pm. Moulin Michel, boul. Les Exercices de classe. Salle J. Beaux dimanches. Classe de Gabriel Dionne, percussion. Les Concerts des professeurs.

Mozart, Ravel, Bozza, Debussy. Philippe Magnan, hautbois; Monique Robitaille, piano. Concerts de classe. Classe de Nathalie Camus, violon. Concerts des ensembles. Ensemble de jazz, ensembles de musique de chambre, ensembles vocaux.

Muffins aux sons. Concert des Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul. UofO Perez Visiting Artist Series. Trombone Masterclass. Alain Trudel, trombone. NAC SH. Bostonian Bravo Series. I go to Ron Partch Brasswind in Toronto, who uses ultrasound vibrations to internally clean the horn; hi-tech stuff. Practice in minute increments, making sure that you rest as much as you play. Practice your fundamentals: air flow exercises, lip flexibilities, scales, and Clarke studies.

You can try second-hand instruments. Fortunately, trumpets are relatively cheap instruments and you can find an inexpensive horn that can last a lifetime! If you could recommend one work and recording that would romance anyone into falling in love with the trumpet, what would it be and why?

Giacinto Scelsi s phantasmic Quattro pezzi would have tobemychoice. It sapiecefromthesandthereare not many recordings available, so I can t resist blowing my own horn, so to speak, and recommending my own recording on my album Interview, released on the Malasartes Musique label. She teaches at Concordia University. Both works were written for Austrian trumpet virtuoso Anton Weidinger. Did You Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul This fall marks the second edition of the CIOC, and it has since gained an even bigger reputation for itself.

They wanted to know the dates and repertoire for ! On top of offering some of the biggest prizes of any organ competition in the world, recitals and coaching will now also be offered to multiple winners. The closing gala at the Notre-Dame Basilica is not to be missed and will include the awarding of the audience prize. Thousands more will be introduced to the organ repertoire. We need to let people know about this collection of instruments, here and everywhere, and discover the rich repertoire.

In Germany, Max Reger Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul develop his own style based on the pianistic techniques and orchestral registrations introduced and developed by Liszt. The camouflaging of his own systems, the reduction of his thematic material to a minimum, the multitudinous appearances of tonal figures in similar but never identical forms—all these are not only characteristic of the stark, late avant-garde works, but also of his compositions written during his years in Weimar and Rome.

However, Ann Southam demonstrates that she is more versatile than the Viennese master, creating an intensely poetic, vividly coloured and evocative piece of music. Listening to these twelve lively miniaturesconfirmsthattherereallyisCanadian contemporary music of the highest calibre. The only drawback of the work is that it lasts only 22 minutesand,astheonlyprogramonthisrecording, does not suffice to fill the disc.

Frankly, we should have gotten more! The composer deservesbetter,especiallywhenperformedwiththe precision and sensitivity of R. Andrew Lee. Nevertheless, this CD is a good introduction to the musical world of this creative Canadian, who died in Her vision of the Tremeloes* - Ride On is sound, her technique strong, and I - Astarium - In The Nebulous Sky playing fluid and convincing.

This disc is certainly worth a listen. In short, he has become a living legend. This performance of the Beethoven Ninth only adds to the legend. Although the liner notes give us no information about when or where this performance was given, the applause at the end indicates that it was a live performance and as such, a remarkable document.

This Ninth, meticulously prepared, is tremendously exciting. The climax at the recapitulation in the first movement is appropriately apocalyptic, and so too is the finale. Tempi are brisk without being rushed. And there is plenty of time for expressive phrasing in the slow movement. This performance belongs with the very best the work has ever had on records.

PAUL E. Fortunately, thanks to productions like this one, his memory will be preserved and nurtured. Electroacousticsequences and pieces for varied instrumental ensembles have been added to the original music created for this project including some works for solo violin and others for male voices. Despite its brevity, the resulting audio mix and wide variety of styles is most interesting. The passages for solo violin are particularly compelling: simple and refined, they transport us to unexpected depths of meditation and contemplation.

It is hard to imagine how this music accompanies the dance without having seen it. However, when listened to for itself, this musical work proves to be not only highly entertaining the Grand Waltz is a good examplebut also thoughtful, imaginative, and inspiring.

A very fine accomplishment. This performance, recorded live before a London audience, is proof of his expertise. This is especially true for the Symphony, for the Symphonic Variations seem less lively, although quite genuine. This Eighth seems to achieve emotional depth almost effortlessly. The conductor sets the London Philharmonic Orchestra ablaze, but the sound recording of the more powerful passages leaves much to be desired.

In this work, rhythmic and melodic contrasts abound. Before his death at 24, Jadin wrote no less than three piano concertos, a dozen string quartets, some trios, and several sonatas. This young man showed amazing depth of character and inspiration.

The members of the Montreal-based ensemble offer a decisive interpretation of this extremely rich repertoire, which was waiting for just such virtuosity to be fittingly revived.

Surprisingly, it is the first in B flat major which is the most dramatic. The other two are lighter and friendlier and are definitely worthy of mention.

What a pity that he did not have the time to realize this vision. Put It On (Lord I Thank You) - Cedella Marley Booker - Awake Zion by composers as diverse as Gabrieli, Van Eyck, Couperin, Corelli, and Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Rebel, among others, help us discover a part of the large recorder repertoire, as well as Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul numerous dances written for the instrument.

The whole is interspersed with harpsichord and theorbo solos. There is no room for boredom! Overall, it emanates a quiet sense of reverence. The recorder and theorbo are well suited to this beautiful and unpretentious music. Emotion and musicality are in store throughout this excellent disc.

Naturally, the bassoon and wind instruments are the focus of his interest. With its tonal language Over The Rainbow - Rainbow - Definitive Stafford classical aesthetics, his works are light years away from the avantgarde!

Find Out - Mankind (20) - Mankind, some parts have a quaint, generous lyricism, evoking chamber music of the nineteenth century. The quality of writing is there, but his music is still very traditional, and Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul a little too restrained one would rather the Bacchanal were more orgiastic.

The magnificent Sextuor is worth a mention: it is much more passionate, and its final variations are captivating. An enjoyable disc, flawlessly interpreted, which will appeal to lovers of wind instruments and chamber music. Is it a best-of? But with so many pure, graceful moments, any shortcomings are quickly forgotten. She is at one with the concerto; the public and orchestra hold their breath.

Two little-known piano and string quintets captivate. Korngold and Granados find themselves elevated to the ranks of major composers by the talented performers and friends of the queen of piano.

The list could go on and on. This album is a vital addition to your collection that you will cherish forever. She forgets perhaps that the Viennese composer was also known for his eccentricities and escapades and there is no doubt that Mozart finally became an adult, going through somber periods, both compositionally and personally.

The whole album exudes freshness, innocence, honesty and propriety. In other words, it desperately lacks spirit, passion and audacity.

The performance of three Mozart pieces transcribed by Liszt ending Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul programme is extremely disappointing.

Imagine a Confutatis extracted from an all too pretty Requiem, an Ave verum corpus that sounds like a music box. Yes, Lucille Chung is technically very talented, but her image of Mozart does not seem to have changed since childhood. Scarlatti, and Carissimi. The choir, accustomed to these kinds of pieces, is made up of nine Loveparade 2000 - Westbam - A Love Story 89-10 and supported by two theorbos and an organ.

Despite some reservations, this CD makes for some interesting comparisons. There needs to be a harmony which, as a general rule, is the fruit of many hours of collaborative work. The dialogue between the voices seeking instrumental fusion must respect the text and the personalities—an almost paradoxical undertaking which explains Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul eminent soloists, gathered together around a chamber score, have not always managed to get along.

Their approach, too cautious, has the major inconvenience of stalling the momentum of these famous pages, with intonations that are often uncertain, phrases too hesitant, and rhythms lacking confidence. What it lacks in fluidity and intensity albeit only slightlythe sense of colour gains in refinement.

Colour: here is the word of the day, as shown by his dazzling Stravinsky Le Chant du Rossignol in its all too rare form of symphonic poem and his irreproachable Webern. His longstanding respect for the latter propels Boulez to the heights of musical maturity, to the point where Passacaille Op.

Optimal listening conditions are required for music of such extreme dynamic contrasts. Since then, the only other revival was at Opera McGill in An audio recording of the Kennedy Center performance was issued inbut no video was ever made available until now. No information on the orchestra is found anywhere in the booklet, except the conductor is noted as Victor Feldbrill, who also conducted the premiere. Roxolana Roslak plays his wife Marguerite, singing the vocally challenging lullaby, Kuyas.

Filmed in a television studio, the videography now appears rather dated. The film lacks the spaciousness of an opera stage; as a result the impact of the larger-scaled scenes is rather diminished. One misses the subtitles that opera audiences take for granted nowadays.

The accompanying booklet has a very informative essay by Andrew Zinck. However, no mention is made that this is a TV film, nor is there one word of updated information.

Despite these flaws, this is an important and long awaited release of a significant chapter in Canadian opera history. With the advent of DVDs and opera at the movies with their closeups, however, the pressure has been on Nothing New - Sisi - Dont Fall In Love singers to look good and be believable on stage.

Long-time stage director Leon Major has written a succinct volume, sort of a primer for aspiring opera singers on how to inject life into the characters they portray. He is currently artistic director of the Maryland Opera Studio. That being said, this volume is Deceiver - Agathocles - Keep Mincing, nevertheless, in articulating on paper the main ideas on acting opera, and it serves to 21 - Various - 2 and benefit beginning opera students.

This is not meant to be a coffee table book— there are only eight full-page, black and white photos, mostly from the Maryland Opera Studio. There is also a handy, but by no means comprehensive, glossary of musical terms. Overall a modest but useful book that fills the void on acting in opera. It might be a lesserknown, but this exemplary recording successfully combines intensity without heaviness, and precision without dryness. It is like hearing this universally acclaimed work anew.

Its transformation in the third movement into luminous and magnificent major chords is wonderfully moving. Furthermore, in the second movement of his work, clusters are incorporated for the first time. To appreciate the richness of this iconoclastic piece, it may have to be listened to more than once. The Shostakovich concerto uses a slow-fast-slow-fast structure, making reference the fate theme in a long violin cadenza which links the Passacaglia, which is the emotional heart of the concerto, to the final Burlesque movement.

It Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul comprised of impressionistic pictures of Emerson, Hawthorne, the Alcotts and Thoreau, but musically it makes extensive use of the familiar opening of the Beethoven Fifth. The performer needs a piece of wood to play a cluster chord in the second movement, and there are optional parts for viola and flute. Even after nearly one hundred years it remains a surprising and exciting piece.

Just like the Beethoven Fifth. Ottawa — nac-cna. Toronto — tso. Take a cue Blues De Memphis - Alain Goraguer - Jirai Cracher Sur Vos Tombes - Bande Originale Du Film De Miche the LSM team as we recommend listening alternatives to the usual masterworks. Beethoven believed that a symphony was like a psychological journey, where themes represent characters and harmonies represent heroic victory.

The Fifth Symphony, one No Sympathy - Peter Tosh - Legalize It his most famous compositions, emphasizes the idea of struggle leading to triumph.

Sudden changes of dynamic, intense transitions, recurring thematic material and spectacular coda sections represent the musical expedition this symphony takes us on. New faculty at University of Miami Frost School of Music The University of Miami has announced two new additions to Higher Than The Mountains - Various - Vibes And Pressure Volume One jazz faculty for the academic year: trumpet player Brian Lynch and pianist Martin Bejerano.

Martin Bejerano has also been appointed to the Frost School of Music. A performer since the age of fifteen, Bejerano is an active musician both in the U. It was such an amazing experience for me. No matter what our challenges are, no matter what our budgetary situation is, our firstpriorityistodothatforourstudents:toallow them to have amazing, life-altering experiences.

I really think that not all questions can be best solved through interdisciplinary collaboration, but a lot of them can be. And a lot of things that you would never be able to do any other way I Want A Girl (Just Like The Girl That Married Dear Old Dad) - Eddie Peabody - Banjo Magic can do if you just bring people together with different backgrounds and get them to work on the same project.

Universities all across North America are having these kinds of challenges; I think we have it better than a lot of places. The next two or three years I anticipate will be a very exciting time in terms of hiring new people at the school of music. One area that I think that I would like to focus on for the next couple of years is hiring in our performance department.

So I would Go Blue Go Die - Various - There Is More love to put some effort into focusing on how we can have the same type of growth and same type of energy [in the performance department]. We have some of the top musicians in Montreal as teachers.

This creates challenges because those people have the kind of commitment to the university that part-time people cannot have. I predict that in three years the performance department will be almost unrecognizable since there will be so much new blood coming in who will have their own ideas, passions, and visions. The other area that we have traditionally been very strong in that I would like to continue building up is contemporary music. At universities we have an obligation to go beyond established knowledge.

One of the things that I would love to do is provide a clearer structure within which that can take place, because right now there is no contemporary music area, for example. One of my favourite quotes is by Steve Jobs.

Where are we excellent and where do we see ourselves becoming excellent? Artists take part in short-term, on-campus Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul, allowing them to establish deeper relationships with their students, who derive greater benefit from their teaching than they could from a single class.

Don McLean: Toronto is not at the level it should be in terms of performance and music research. The idea was to come back and see what could be done about that.

I came with four things in mind Develop better collaboration between the Royal Conservatory of Music and the U of T Itaughtforbothplaces. In the current global context of limited resources the need for these kinds of partnerships seems pretty inevitable.

At the same time, U of T has one of the most federated structures around— a college system, affiliated hospitals, and so on—which suggests it might not be that difficult over time to find a model that would allow the RCM to remain a pretty autonomous entity yet linked back to the U of T universe. Meanwhile, there is much to be done in both places. Develop a number of interdisciplinary research initiatives A big thing for us is a whole variety of activities in music, health and society.

In the musicology department, for example, there are people doing research on music and violence. The idea is to really build the vocal department. There may be several partners involved in building that site but one of them will be the music department. There are two different aspects to this: the Faculty of Music was built in But the theatre itself has all kinds of structural problems. The seating is on the wrong angle; the balcony is not helpful from an acoustic perspective and has bad sight lines.

The objective is: can we significantly renovate the MacMillan to make it the lead opera-training house that it can be? Right now it has about seats. If we do a renovation we want to move to 1, The concert hall here, Walter Hall, also needs some work. One of the things is that you can detect a quite strong subway rumble in there.

Fixing that is almost impossible, so we are looking for more modest changes or a new facility that would bring in another mediumsized hall. The question is: is it cheaper to renovate or to build new? If we can upgrade that one then the idea of a new seat lecture and recital hall is also possible. Right now a lot of large music classes are being taught elsewhere on the campus. Cultivatinganunderstanding of music was considered a basic component of general education.

In the past two centuries, there has been a gradual shift in the role music plays in our lives. With regard to the training of musicians,priortotheFrenchRevolutionmusic instruction was typically done on a masterapprentice basis, one-on-one. Typically this would involve the study of composition, singing, learning a musical instrument, and also the study of rhetoric. A constant theme in writings on music, especially in the age of Baroque music, from about to the last decades of the 18th century, states that music is a language in tones, involving dialogue and dramatic confrontation.

The apprentice had to learn his art in all its aspects, not merely how to play an instrument or sing, but also how to present music convincingly. With the Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul Revolution came a great upheaval, which also affected the study of music. Not only musical training as a whole, but musical life itself, was given a fundamentally new orientation. The relationship between master and apprentice Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul replaced by a system, an institution: the Conservatoire, founded in The new French method involved comprehensively unifying style down to the last detail, and in line with the new political ideals of the times, creating music that spoke directly to the emotions of the people with the simplest and most accessible means possible.

And so, Baillot wrote his violin method and Kreutzer wrote his etudes. Indeed, all the most important teachers in France were enlisted in the project of formulating these new ideas into a universal system of music education.

Out of this arose a codification of technique, and the pictorial replacing the verbal, or rhetorical, elements of music. This is how the sostenuto, the sweeping melodic line, the modern legato came about. This revolution in musical training was carried out so radically that within a few short decades, musicians all over Europe were being trained Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul accordance with the system of the Conservatoire.

To a large extent musicians continue to be trained this way today. Undoubtedly, some positive developments have resulted from the systematization of music education. Its greatest achievements are thechildren who attend its music schools around the country, 90 percent of them from poor socio-economic backgrounds.

The fact that a relatively impoverished nation such as Venezuela is able to demonstrate to the world that it is possible to make music education a priority for its young people on such a large scale offers great hope for the future of music. This is especially true at a time when music education funding is shrinking in Europe and North America. Nonetheless, the times in which we live require professors within the conservatoire system not to be limited to teaching the student how to produce a beautiful, even tone, with clean execution and steady rhythm, where the goal of getting a post in a university or a job in an orchestra is paramount.

Developing an understanding—preferably an enthusiasm—for the music of our time, and some experience in improvisation is also a necessity. In the past, the study of music was the study of a living art, an art rooted in the culture of the present.

The goal, in the end, must be to teach young musicians to understand and communicate the different languages of music rather than to homogenize music in order that beauty and perfection become priorities.

An information coupon is available on page Happy searching! The low ratio of students to teachers assures a high quality of education, permitting students to progress rapidly through their studies.

Bourses pour tous les cycles. Graduate: M. Mus; M. Electronic music studio,music and computers lab. Our students have the opportunity to follow their course of study in English and French. Performance opportunities are many with close ties to arts organizations such as the Ottawa Symphony Orchestra and the National Arts Centre. Throughout the academic year we host master classes,lectures,recitals and concerts given by renowned artists and leading scholars.

The diversity in our course offerings is hard to match; jazz,chamber music,opera,Balinese Gamelan,contemporary music,and early music to name a few. Has clut ched volume contro ls, gange d tone con tro ls, Available in yo ur choice of stereo cartridges. Flywheel tuning.

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The existence of this situation reflects the usual practice among both record d ealers and record manufacturers, most of whom limit their basic inventories to recordings that are either new or in steady demand. The unfortunate result is that the many older releases of Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul merit are in fact available only by fits and starts, when back orders build up to a point where it becomes wOl:th while to press two or three thousand discs.

Thus the chamber-music enthusiast who wants a copy of, say,' a Haydn Stormy. If he waits until his dealer's stock is exhausted, he may have to wait a month-or a year-before he sees it for sale again. For most record shops, whether by their owners' choice or by force of circum- stances, are geared to make best sellers sell better rather than to serve the needs of those listeners who are trying to build carefully chosen libraries that draw on the richness of the whole recorded literature.

Is there any way of resolving this dilemma-a way that would make it economically practicable for record manufacturers to give devotees of fine performance ready access to the classics of recording, whether they date from last year or from as long ago as the mid's?

But it is h ard to be- lieve that these projects, admirable though they are, represent in plan any really long-term solution to the problem of keeping permanently available the treasures of the past. True, book publishers have a ttacked their analogous problem in a way that seems to be working out h appily both for them and My Generation - The Who - Collection the reading public.

However, it would be prema- ture, and Rose Garden - Nick Jonas & The Administration - Who I Am little rash, to suggest tha t all major record companies embark on such wide-scale low-price reissues as those of paperback books.

It seems more likely that the answer lies in the development of a specialty record club-or clubs-comparable in function to SUcll enter- prises as the Mid-Century Book Society.

The time is ripe, it seems to us, for this powerful medium to be used on behalf of the best music and Classics that became hit Pop tunes, by Borodin, Tchaikovsky, Chopin, the best performances of the disc literature rather than that which Rachmaninoff.

Within the past few years, a number of specialty record clubs have met with modest but steady success. Amo ng them are the Louisville Or. Fa irfax Ave. More ambitious in scope and closer in its ma nn er o f o peration to wha t we have in mind is tile n ewly established M usic Guild 1 I 1 W est 57th E St. A club of this sort migh t be able to m ake Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul in LP form at all of th e best Wagnerian performances recorded b y L auritz Melchior, Maggie T eyte's r ecordings of French art songs, the Brahms violin sonatas played by Adolf Busch and Rudolph Serkin, Virgil Thomson conducting his own Foul' Sain ts in Th l'ee Acts, Ich Bin Ganz Verschossen In Deine Sommersprossen - ORF Big Band ; Leitung: Ernst Kugler - ORF Arbeit six symphonies of D enmark's Carl Maalaa Talo - Various - Nallet Tulee, Oletko Valmis ?, the com- plete orga n works of Olivier Messiaen played by their composerthe Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul and opera r ecordin gs of H einrich Schlusnus-and so all.

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The second jewel light indicates when the unit is in operation. Use This Coupon. MPX-l 00 is self-contained and Mannes Und Seine Band - Mannes Stein Und Eisen Frisst. It can be used with Fisher FM tuners; receivers and other tuners having wide-band ratio-detector design with MPX output. It can be placed side-by-side with your present tuner or amplifier. No additional inputs to your amplifier are necessary be- Please send complete literature on the cause of the feed-through connections of the MPX-I MPX-I00 and Fisher tuners.

Its acoustical quality exceeds illusion of a live performance. Its density is far not a way of reviving piano-roll perform- investigation of the unit, its raw materials, greater than plywood. The material is ances by famous pianists of the pre-electric or its manufacturer. In short, it makes a far better hancing" technique used by RCA to proc- only by the direct distribution of the unit speaker enclosure than any other type of ess old Toscanini recordings?

However, limiting production and increasing orig- with as many painstaking hours of experi- what passed for astonishing realism half a inal factory cost two or three times, bring- mental tests as were conducted to accom- century ago did not prove musically con- ing our Gigolo into the price area of plish the Gigolo design should be taken vincing in an age of electronic recording other bookshelf speaker systems.

The piano rolls, for all their Good evidence of the pl'oduct"s quality even take the time to run a fair test. As technical refinements, lacked the nuance is the fact that we have over 20, satis- to your personal likes or dislikes of the and delicacy to recall the true musical product, this you are entitled to.

Renaudin ers. Re-recordings could, of course, be President made in stereo, but that would not make A. I am quite sure The Bigger the Better? On the our facilities cover over 35, squareofeet, basis of experimental evidence obtained Let's have a bit of fun and we employ over seventy people in our Brightly on the town- by matching a fifteen -cubic-foot infinite- operation.

You will have to agree that we baffle speaker with a compact AR-3, I cha l- Spell it how you will, are a reasonably large manufacturer for it rimes With moandown, lenge this notion.

Except for the differ- this industry. Love me for good or ill, ence in efficiency easily compensated for You refer to us as "newcomers," with. In actual- little speaker wprk well together in stereo, We can't be champion spellers, ity, the Gigolo was sold for over two years yielding basically similar sound. I think we only tone down before it was offered on a national basis, this does credit to both speakers and de- Cliches of riming fellers- and A. From manufacturer of audio equipment. Thomas its manufacture, as is found in any quality speakers can touch it for bass.

East Lansing speaker system. FM: max. Provides 14 stereo or mono inputs, 6 outputs; matricing network for 3-channel stereo. Serious stereo for serious listerung; C. Manchester Avenue, Anaheim, Calif. Distributor or write Dept. Although their each.

Please place your order now to insure rea- original system was a fine piece of reproducing sonably prompt Sentimental Blues - Duke Ellington / Bobby Hackett - Jazz Concert. Now, for the first time, H.

Scott engi- neering leadership, H. Scott quality, and H. Scott experience are available to the kit-builder in a massive watt power amplifier kit and a feature-packed stereo pre-amplifier kit. Unique time and labor-saving, features of These new kits utilize the time-saving, labor-saving, techniques pioneered H. Scott kits: by H. All mechanical parts pre-riveted in place for a stronger, amplifier. To speed assembly time and reduce errors all wires are pre- neater job, stripped and cut to proper length '; mechanical parts are already riveted in 2.

All wires pre-cut. The new H. You'll be proud to show and demonstrate them to your friends. Trade-Mark Reg. No, The H. Scali Inc. H, H, Scott output circuitry assures top performance verse; tape monitor; derived center channel level include technical sheet. Total db hum level. Distortion less than 0. Damping factor response below 10 cps is requ i red. Dimensions in handsom e Address. Francis Barraud could use as a model.

A year earlier, the company h ad turned the horn, and brought along. It showed a tableau that was to become familiar the record players that had been de- the world over-a small, mostly white. Such as the justly popular high com- Whatever h e m ay h ave thought of pliance RRL':;; H e artist would first paint over the me- the RRL's at your dealer's and you too will be thoroughly impressed with their had called the painting " His Master's chanism of the Kenny* & Dolly* - Once Upon A Christmas machine and smoothness and range of performance, Voice.

Write for University's interests-had ever offered to buy it. Barraud did not own a gra mophone, he phone -Company. The Instruments" No. LS6 Without a doubt, the most ambitious, mus ically sound, entertaining and informative privately commissioned stereo r ecording to da te. Superbl ' original in concept, extraor- dinary in scope, it shows how each instrument and instru- m ental choir emanates from the orchestra in the correct spatial relation to all other in- struments.

Super vised by Dr. Kurt List, winner of the Grand Prix du Disque, renowned com- poser, critic and Musical Director of Westminster; r ecorded by the Vienna State Opera Orchestra in the acoustically brilliant Mozartsaal con- cert hall; Franz Bauer-Theussl conducts, with first desk soloists.

No one can buy this record- and there is no record like it. AU prices audiophile net. Offer limited. Send "Customer Comment Card" tells how to preserve enclosed with product and sales slip to Shure.

See record fideli ty, explains your local high fidelity dealer. Listed in Yellow Pages hi-fi stereo. Evanston, Ill. Uneven years! The conventional bass speaker frame, frequently the middle-frequency 'caw' quality-gone.

Now, unit -gone. For only in the Fisher XP-4 are the all. The outer edge of the bass speaker tions that are invariably generated between the back surface cone is supported by the enclosure alone. All inner space is' of the cone and the near surface of the conventional speaker.

Listening fatigue is now a thing of the past. Two 5" mid-range speakers AcoustiGlas-packed work uses heavy air-core coils for elimination of distor. One two-inch hemisphericai tion at crossover frequencies and the protection of the high. Also in Clear die and Put It On (Lord I Thank You) - Cedella Marley Booker - Awake Zion frequencies.

State SR I t is said that J ohn- son called the company "Victor" to pro- Up to 2 yeors to payl ing curiosity. But in May, profit of millions to the young R adio. Weathe rs a nd saw the painting fo r the first time.

Leak sense to grasp the commercial value of a decade. Ga rrard. No re lco diately. In fact, it did system, and th at Berliner's patents n ot give in untilwhen it adopted n ever should have been granted. On "His Master's Voice, " and for many th ese grounds, he had B e r lin e r years therea ft er the compa ny was estopped from making gramophones known official ly as His Mas ter's Voice.

This was veloped the turnta ble for the Berliner don e to avoid infringements against gr amophone, suggested t h a t even RCA Victor when His Master's Voice though Berliner was prevented from records were sold in this country.

Throughout bought Barra ud's painting. H e never the lengthy court proceedin gs that fol- kn ew tha t h e was to become immortal, lowed, the J ohnson Machin e Works more fa mous tha n L assie, Rin Tin Tin, went merrily about the business of Kin g, and Fala combined.

T oday a making and selling gramopho nes and bank stands on the spot once occupied lateral-cut disc records. A brass plaque the build- mous Italian craftsmen. Emile Berliner.

Berliner carries on the family for fR EE broch ure and nearest dealer. Johnson su b- Products, a company specializing in pro- sequently took over the Berliner assets, fessional audio equipment. Scott first Садись В Белокрылую Яхту - Кальмер Тенносаар* - Песня Из К/ф Путь К Причалу Now you can listen to "exciting "FM stereo multi- plex broadcasts simply by adding the new H.

Scott Special circuitry permits high qual- ity tape recording of multiplex Wide-Band Multiplex adaptor to your H. Only H. Scott adaptors use famous Wide-Band design which permits receiving both -main and multiplex chan- nels with lower distortion and greater fidelity than is possible with conventional circuitry.

The Wide-Band Multiplex Adaptor has these im- portantadvantages; 1. Wide-Band circuits permit receiving the full dynamic Adaptor Defeat switches Adaptor frequency range, both on main and on multiplex chan- completely out of system so you can receive AM-FM stereo broad- nels, even in weak signal areas. New switching methods allow you to fully control Noise Filter removes noise from both stereo channels.

Full Stereo multiplex reception from the adaptor itself. You can separation maintained. Adaptor is self-powered - no need for taking power regular FM broadcasts. Scott Wide-Band tuners.

It may be used with all H. Scott tuners 4. Connecting cables supplied. Self powered AC. Styling matches all H. Scott tuners. Complete and upsetting tuner alignments. Connect it youl'self instructions furnished. Standard H.

Scott panel height. Dimensions 7" W x Sif4' H x 13" D in accessory wood or metal case. Note to Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul minutes, no tools ttl H. SCOTT required. Scott tuner owners : We do not recommend using any other adaptor with H. Coming Soon! Some of the sound, especially in the finale, is ability to fulfilL Particularly in the last movement, there are overloaded and shrill, but in view of the fact that this is sections that thwart even the most dedicated efforts, and the a product of nearly ten years ago, the recording is still sur- musician seems fated always to come away from performances prisingly serviceable.

If the performance is released as an of this monumental work with mingled feelings of frustra- electronic-stereo reprocessing, as it assuredly deserves to be, tion and satisfaction. Certainly Arturo Toscanini felt such perhaps the rattle and shrillness wiII have been ameliorated. Ninth Symphony, Wilhelm Furtwangler conducted a per- This Toscanini performance of the N inth Symphony was formance of the score at a concert rededicating the annual one of the most eagerly awaited recordings in the history of Bayreuth Festival.

The tempos are prevailingly One of the most impressive sections in the Toscanini slower -than those that are usuaL Sometimes, as in the slow performance is the introduction to the last movement, in movement, there is a sublime improvisational quality that which the recitative passages of the cellos and double basses makes the -listener feel as if he were suspended in time.

At other times, as in the scherzo, the music lacks much of The solo quartet-Ei leen - Farrell, Nan Merrimal;, Jan its inherent punch and rhythmic tension. The sound is. Program flexibility. I Delivery: HOW! Most vetsalile Home Music Center anywhere! Wattage: Ready fOI any Multiplex system. Peak performance to satisfy the most discriminating ear.

For unsurpassed stereo sensitivity and balance. Arturo Toscanini's R CA Victor recording is almost a decade old, but i i, still remains all electrifying experience, Fo r stereophiles, lose f Krips Spaceman - Bif Naked - I Bificus Everest offers Il dee pfy satisfying reading, notab fe fo r fin e sound and sup erb singing. There prob ably can b e n o un committed, Conducting the L ondon Sympho ny Orchestra, the BBC reaction to this p erfonnance: d epending on the viewpoint, Chorus, a nd a well-matched quartet of soloists, J osef Krips it is either thoroughly absorbing or thoroughl y perverse.

T he balan ces and the impact of the it in the early days of LP, and it m ay very weIl be mad e recorded sound are excellent. Like the great old Wein- available again in An gel's Great R ecordings of the Century ga rtner set, this is a d eeply satisfying account of the score, series.

This is the record ed performance with which man y of us grew up. Its musical values are untouched by the A SIDE from a sublime evocation of the eleg'iac peace o[ yea rs, bu t the recording now has an antique quality.



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8 thoughts on “ Trombone - Sir Adrian Boult Featuring Members Of The London Philharmonic Orchestra - Sir Adrian Boul

  1. George, operatic soprano) came from London to sing to 2, in St. Jap Juggling Act uugMng. Andrew’s Hall for one hour, 10 niinutes. She made the grade, bigband.akikuscofymdagdathis.infoinfo Tourist Biz Drop H^orVed^U' Vot o”.t kx.S": cheers coming early. hungry and bigband.akikuscofymdagdathis.infoinfo he’d go out to dinner.
  2. C O S M I K D E B R I S O C T O B E R, 1 9 9 7 - I S S U E # 2 9 ____________________________________________________________________________ - The Specialists - DJ.
  3. If the shrunken attention span is not to blame for the classical turn-off, nor is price. Most concert tickets now cost less than cinema stubs. Last year, the London Symphony Orchestra adopted an impulse price of four Avril April NORMAN LEBRECHT or five pounds but failed to attract first-timers.
  4. Prokofiev makes us uneasy in ways that Ravel does not. He reminds us of things we would prefer to forget—first and foremost of our obeisance to Stalin. Yes, ours, not his. I have on my desk the programme for a Sunday afternoon concert given by the BBC Symphony Orchestra and Sir Adrian Boult “in honour of Stalin’s birthday.
  5. archivi audiofilofine 3 Hifi Stereo Review - Free download as PDF File .pdf), Text File .txt) or read online for free.
  6. Copia dela revista de junio de Stereo/hifi con las novedades en Hifi del momento. Precios e impresiones de los mismos. by chu_tachin.
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  8. “The orchestra already has its personality, its way of doing things. It would be wrong for me to want to recreate the same kind of relationship the musicians had with Yuli Turovsky. There can only be one founder. The relationship between Turovsky and the ensemble’s members was one of creation, a bit like that of a father and his children.

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