Rock ‘n’ roll 78s are a hot, but sometimes overlooked, commodity

This CD is reissued by ArkivMusic. Notes and Editorial Reviews You will not easily find a more absorbing box set of piano discs, or one that will be so frequently played while others languish in dusty oblivion, often examples of the dull respectability Cortot so demonstrably shunned. A brilliant but erratic technician, Cortot was infamous for wrong notes but less celebrated for how he always nailed the perfect tempo for a particular piece. Like most pianists of his generation, Cortot pulls inner voices out of the woodwork, adds bass octaves at will, and doesn’t always synchronize his hands, yet he employs these Read more devices toward specific coloristic and expressive ends. As for other cycles, those in charge rightly opted for Cortot’s Ballades, B minor sonata, B-flat minor sonata, and E-flat Nocturne Op. True, it’s not Cortot at his best, but it’s far from his worst. And Disc 1 offers a choice selection from Cortot’s acoustic and early electrical Chopin 78s. Charles Levin’s transfers more than hold their own alongside competing restorations by Ward Marston and Seth Winner, although the Nocturnes, C-sharp minor Prelude Op. His touch an old-fashioned word but one inseparable from the man was of a crystalline clarity, his coloration alive with myriad tints and hues. Combined with a poetic passion that knew no limits, such qualities created an idiosyncrasy and style that usually survived a fallible and bewilderingly confused keyboard mechanism.

Songs of Noel Coward

A “New” Casals Record? I may have uncovered a previously unknown recording of the great cellist Pablo Casals, but I would like cellists and Casals experts to weigh in. From to , Casals recorded for Columbia Records. Interestingly, this period largely overlaps with the lifespan of the Little Wonder record label. In brief, Little Wonder was the first discount record label; their records were one-sided, five inches in diameter, and sold for ten cents in an era when most records sold for 65 or 75 cents.

Celebrity classical recordings often sold for much more than that.

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Home Bill’s 78rpm Beginner’s Page This page is for anyone who has no previous knowledge of 78 rpm records and wants to find out more. What is a 78rpm record? Any flat disc record, made between about and the late s and playing at a speed around 78 revolutions per minute is called a “78” by collectors. Generally 78s are made of a brittle material which uses a shellac resin thus their other name is shellac records. Why 78 rpm speed? Although the speeds of the earliest discs can vary considerably from 78 rpm they are still called “78s”.

At first the speeds were not standardised but ranged between 65 and over rpm, but in the s an average speed was around 78rpm. The first disc recording machines were weight driven with the speed controlled by a governor and different calibrations between machines could lead to speed differences. When electrical recording was first used in , it was used for the soundtrack of films and so a precise speed was needed to keep in sync with the picture.

In America using 60Hz mains, the speed of electric motors is either or rpm. Using a rpm motor with a A similar calculation for England using 50 Hz mains gives a speed of

What the Vinyl Records “Comeback” Really Looks Like…

Sat Mar 07, Wed Oct 10, New Zealand Reproduced below is the text from the catalogue for the section “Collecting Copyright Stamps” Copyright stamps represent an exciting new branch of Revenue philately. I use the word “exciting” because of the large range of issuers from all parts of the world, the certainty of making new finds, the wide variety of interesting designs and the scope for philatelic specialisation in printings, papers, perforations and varieties, especially in some of the major issuers.

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Needles are new and will play perfect. These tins alone are becoming very collectable, some close to years old. Gramophone needles are meant to be changed after each use side of a shellac type record. Please see my other listings including items like a Gramophone, shellac, 78 rpm records, vinyl turntable, vinyl records, antique and collectable 78s some rare. There were no answered questions or comments placed on this listing.

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The Discographer – August 2013 -1

The full details of the book which inspired this web page: The book is still available and may be obtained from the Society. Obviously, a record with a long catalogue life would appear with many sorts of labels as it was re-pressed. However, from about , when the groove of a record ran on very long, smaller labels were produced as and when required.

Nimbus Records, when transcribing old 78s to CD (on the Prima Voce series) had purpose-built a replica of an old acoustic gramophone, placed it in a suitable room and then recorded it .

They are entry level Audio items if never really Hifi quality. The s spawned many turntables of midprice quality that were popular, the hair-shirt 33rpm-only ones by Linn are no good to us, we deal in 45rpm singles. Autochangers are usually not Hifi if a tiny few Transcription ones were made in the s. Then there are the turntables with no arms fitted that we mention next Heavy platter, strong motor with an idler wheel.

Poor Ideas In Turntables. This is a Lousy Idea based on simple theory of playing a disc: You don’t need to go far as clamping the disc as it’ll rub the label. But the “Transcriptor Saturn” just supports the disc mid air on a few posts. Be sure if you played a loud cut 45 with no amplification, you’d hear the music play.

The difference will be noticeable: Technics SL is the one we use for our Computer system is a direct-drive, the same we used before getting a

UK-Sold Amplifiers 1956-1981

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There are in fact two ‘period’ performances of The Lark Ascending, one dating from , not long after the work was premiered by its dedicatee, Marie Hall, but featuring a different violinist. The other is a s project embodying the neatly sanitising mindset of that time.

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The 46 selections dating from to run the gamut from Koranic recitations to proto-Bollywood theater music, from intricate mathematical constructions to heart-wrenching vocal acrobatics, from rigorous formalities to improvisational revelations.

His contributions to American music should never be forgotten. A new year and several important personnel changes occurred in the Glenn Miller band as soon as the holiday decorations came down. Newlywed Marion Hutton announced she was newly pregnant and retired temporarily. Apparently this event had been brewing for a while, as Marion was being featured less and less on the Miller sustaining broadcasts, though she had her nightly spot on the Chesterfield program.

Though Marion Hutton left the band temporarily in January , Chesterfield still used her in ads and billboards to promote the brand. Pert Dorothy Claire was quickly signed away from her solid perch in the Bobby Byrne band, which resulted in bad blood and a lawsuit between the two leaders. She would join on January 8th, but did not appear on record until February. Seeking more vocal variety, Glenn also signed the Four Modernaires as permanent members of the ensemble.

They arrived on January 13th and immediately began rehearsing for the upcoming record date. The band with Ray Eberle and the Modernaires in full cry. Glenn also renewed his contract with RCA Victor, under new, more lucrative terms. Now Miller had to earn the money by producing hit records. The January 17th session delivered the goods.

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This will be an on-going project, so all additional information is welcome. Big thanks to fellow Raresoulforum. Further breakdowns and explanations follow this grid:

HELPLESS was paired in early with a timely reissue of the WHEN JOHNNY COMES MARCHING HOME and has the distinction of being the last “new” Glenn Miller civilian band recording to be issued on Victor 78s.

On 8 August , the British branch of “Parlophone” with the “e” added was established, led by artists and repertoire manager Oscar Preuss. When Preuss retired in , Martin succeeded him as Parlophone’s manager. At the time, Parlophone specialized in mainly classical music, cast recordings, and regional British music. Warner Music closed the deal on July 1. Edgar Jackson was the director of this series, which was issued within the existing R- series the first issue was R These records were usually “split-coupled” the top and bottom side of each record was usually by different artists and did not correspond with the original American coupling.

The “Second New Rhythm-Style” series replaced the first series in about , and there was a separate series for each year from through , as well as some miscellany series. These 78s were popular and remained in print for years. Even though these records were never licensed for sale in the US, they were heavily imported through jazz shops like Commodore and Liberty in the late s and were sold through the s and into the early s.

They are treasured by collectors because they are pressed from the original stampers and usually sound much better than the worn and usually rare US OKeh original records.

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The record is a Brunswick label. Brunswick records were issued starting around by the Brunswick-Balke-Collender Company of Dubuque, Iowa, as an after thought to their line of phonographs. Their acoustically recorded records were among the highest quality of the period, but the company made a miscalculation with the advent of electrically recorded albums.

An example of a Brunswick record made using the company’s “light ray” electric recording method. The audio quality was dismal, the records flopped, and hundreds of recordings made using the new system were never issued. It was around this time that the Chicago-based label released some of their most acclaim albums including this one from their leading artists — Al Jolson, Duke Ellington, Ben Bernie, and more.

78s by and about aviators (s), Talking Machine Review Jun HMV (UK label) by unidentified author reprints a article about File” is a multi-label matrix-dating guide for the s, Record Research Mar, Jun ~~~ Shaw, Artie, by Malcolm E. Holt, Record Finder May/Jun

I repeat what I said to you back in Russia: Sergei Rachmaninov, One of those composers who are classics in their lifetime. Ernest Newman, In the history of Russian music Medtner is a forlorn figure. In recent years, however, his star seems at last to have begun to rise, and the present collection of works, built around one of his most substantial achievements—the cycle of fourteen piano sonatas, recorded here as an integral set for the first time—, eloquently demonstrates the particular strengths of a composer whose genius, in a more just world, would surely have long since been generally recognized.

At this point, on the threshold of a potentially brilliant future as a concert pianist, he peremptorily renounced the career for which his upbringing had prepared him and instead, with the support of his mentor Taneyev, decided to devote himself to composition, an occupation he had practised since infancy but for which he had little formal training. Henceforth his occasional appearances on the concert platform would essentially be showcases for his own works.

Medtner readily found a publisher for his first compositions and in Russia, particularly in Moscow, began to build up a considerable following, his status confirmed by the award of the Glinka Prize in for three groups of Goethe songs and in for two of the piano sonatas Op 25 No 2 and Op In the same period, before the outbreak of the First World War, two other great Moscow composer-pianists, who had graduated from the Conservatoire in the very year in which Medtner had enrolled there and who had already made reputations for themselves abroad, were reaching the peak of their popularity: Lacking the mystique of the one and popular appeal of the other, Medtner was from the first overshadowed; outside of Russia his music was virtually unknown.

Then came war and revolution. Unable to reconcile himself to the Bolshevik regime, in Medtner left Russia, returning only briefly six years later for a triumphant series of concerts. He settled first in Berlin and later in Paris, but made little impression in either capital. Throughout, undaunted by difficult, sometimes desperate, circumstances, he continued to pursue his mission as a composer with an almost religious dedication. Just when Medtner was beginning to establish himself in his new surroundings, the outbreak of the Second World War brought fresh problems, for income from concerts and lessons and royalties from his German publisher both suddenly ceased.

It’s All Over But the Crying – Ink Spots – Decca Records 24286