54 Sentences With "long playing records" | Random Sentence Generator

The artist is a man who was inspired while listening to Beethoven's piano sonatas on long-playing records that he found at a yard sale.

E.M.I., A Complete List of His Master's Voice, Columbia, Parlophone and M.G.M. Long Playing Records, up to June 1955 (EMI, London 1955).

The original series, distributed by Atlantic Records, comprised 11 long-playing records with a different environment on each side, for 22 total Environments.

In the 1970s, Don Winslow of the Navy was one of a number of old-time radio programs re-issued as George Garabedian Productions by MARK56 Records on long-playing records for purchasers to enjoy in their homes.

It also includes recordings of gramophone records and long-playing records, music tapes, CDs and Beethoven films.Friederike Grigat: Die Bibliothek des Beethoven-Archivs in Bonn. In: Forum Musikbibliothek 21 (2000), p. 54. The focus is set on complete and rare recordings.

This fascinating hour-long interview, with unique memories of Tchaikovsky and other fabled events of Mme Mei's Saint-Petersburg career, was included in a Rubini Records set of two long-playing records, c. 1975, that also featured Medea Mei-Figner's complete commercially recorded output from the beginning of the 20th century.

16 In the early 1950s, the memory of the Orthophonic was fresh enough for RCA Victor to introduce the name "New Orthophonic" for its improved recording process and line of high-fidelity long-playing records and "Stereo-Orthophonic" was applied to RCA Victor's celebrated "Living Stereo" recordings issued later in the decade.

In the post-war period, following the invention of long-playing records, Tosca recordings were dominated by Maria Callas. In 1953, with conductor Victor de Sabata and the La Scala forces, she made the recording for EMI which for decades has been considered the best of all the recorded performances of the opera.Roberts, pp.

EMI first released the collection on vinyl LP (long-playing) records. Volume 1 first appeared in 1977, with a second edition in 1982 including corrections to the pitch of many of the recordings. The supplement also appeared around 1982. Volume 2 was published in 1979. Volume 3 and Volume 4 were released around 1984 and 1989 respectively.

She often performed at the PuneSawai Gandharva Music Festival. Saraswatibai and her elder sister, Hirabai Barodekar were the first to start the concept of jugalbandi vocal recital by ladies. Their jugalbandi recital was appreciated all over the world and got an overwhelming response from 1965 to 1980. Their jugalbandi (long playing) records and now cassettes are still in demand.

He worked and collaborated with Ukrainian diasporan composers such as Mykola Fomenko, Andrij Hnatyshyn, W. Hrudyn, Prof. J. B. Rudnyskyj and Ihor Sonevytsky. He issued several long- playing records with Ukrainian folk songs, songs of the Ukrainian Legion of World War I and the Ukrainian Underground Army. In 1971 the Ukrainian community in Minneapolis celebrated Minsky's 50th anniversary with a gala concert.

Phonograph and 78 rpm gramophone records were made of it until they were replaced by vinyl long- playing records from the 1950s onwards. From the time it replaced oil and wax finishes in the 19th century, shellac was one of the dominant wood finishes in the western world until it was largely replaced by nitrocellulose lacquer in the 1920s and 1930s.

Rocco Landesman's biggest passions are theater, baseball, horse racing and country music. On any given day he will insist that one of these is the perfect expression of American culture. His company, Jujamcyn Theaters, owns 5 Broadway theaters, and at one time or another Mr. Landesman has owned 3 minor league baseball teams, various racehorses and a collection of Roger Miller long playing records.

EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy with EMI's reluctance to introduce long playing records. Columbia became the most successful non-rock record company in the 1950s after it lured producer and bandleader Mitch Miller away from the Mercury label in 1950.

In the late 1940s when magnetic tape replaced direct wax disc recording and high fidelity long-playing records were introduced, Toscanini said he was much happier making recordings. Sachs wrote that an Italian journalist, Raffaele Calzini, said Toscanini told him, "My son Walter sent me the test pressing of the [Beethoven] Ninth from America; I want to hear and check how it came out, and possibly to correct it. These long- playing records often make me happy."Harvey Sachs, Toscanini, pp. 302–303 NBC recorded all of Toscanini's broadcast performances on 16-inch 33-1/3 rpm transcription discs from the start of the Maestro's broadcasts in December 1937, but the infrequent use of higher fidelity sound film for recording sessions began as early as 1933 with the Philharmonic, and by December 1948, improved high fidelity made its appearance when RCA began using magnetic tape on a regular basis.

At the beginning of the digital era, growth was hampered because there were only a few production facilities and limited capacity. In the interim as facilities were built, Laursen devised a concept to improve the sound quality of long playing records by producing albums recorded at 45 RPM. She introduced the “Angel Sonic Series;” LPs with sound recorded at cleaner, higher frequencies. Albums in the series are now collectors’ items.

Ronnie Cord in 1960 Ronnie Cord, born Ronald Cordovil, (Manhuaçu, January 22, 1943 – São Paulo, January 6, 1986) was a Brazilian singer. Son of conductor and composer Hervé Cordovil, he already played the guitar at age six. In 1959 he auditioned for Copacabana Records, in Rio de Janeiro. In 1960, the following year, he made his first recording, released on long-playing records that brought together several other singers.

He later presented his own programmes on radio and television, including Black Magic and The Marvellous World of Stanley Black. In the early 1950s, he regularly topped the Melody Maker lists of the most-heard musicians on radio. He was chosen to be included on Decca's first release of long-playing records in the UK in June 1950. This enabled him to continue his conducting, arranging and performing career and resulted many albums.

Decca Classical, 1929-2009 accessed 10 January 2012. By the end of the decade Decca's technical team was recognised as the best in the industry; The Times spoke of "Decca's incomparable engineers"."The Götterdämmerung everyone has been waiting for", The Times, 8 May 1965, p. 5 Under Haddy's technical leadership, Decca was the first British company to issue long playing records (1950) and was in the vanguard of stereophony in the middle of the decade.

After the war, in 1952, the factory mastered the production of long-playing records. And in 1961, the production of the first stereo records began. In 1964, the Aprelevka Plant became part of the All-Union record company “Melodiya” as the main production enterprise, which subsequently produced up to 65% of all Soviet records. By the early 1980s, the plant employed more than 3,000 people, and the release of records exceeded 50 million pieces per year.

Sam "Goody" Gutowitz (1904-1991) of New York City opened a small record store on New York's 9th Avenue shortly after the advent of vinyl long-playing records in the late 1940s. Although he did some retail business from his main store on 49th Street, most of his volume was in mail-order sales at discount prices, of which he was a pioneer. He became something of a folk hero among penniless college students as the first successful large-scale LP discounter.

It is sung to the dance tune of Sellenger's Round. It was the only one of the songs which found its way into the repertoire of Ashley Hutchings' and Shirley Collins' Albion Country Band, as testified by performances in 1976. Terry Cox, who was a member of Pentangle at this time, plays understated percussion on three songs. The last four tracks were recorded at the original studio sessions, but were excluded by reasons of time constraints on long-playing records.

Cook returned to Britain and in 1973, married the actress and model Judy Huxtable. Later, the more risqué humour of Pete and Dud went farther on long-playing records as "Derek and Clive". The first recording was initiated by Cook to alleviate boredom during the Broadway run of Good Evening, and used material conceived years before for the two characters but considered too outrageous. One of these audio recordings was also filmed, and therein tensions between the duo are seen to rise.

Welitsch's international career ended at about the time long-playing records were becoming the predominant medium for recordings. They opened the way for complete recordings of a large number of operas,Culshaw, pp. 18–19 but Welitsch retired too early to be part of this new development. Her only studio recording of a complete opera was Die Fledermaus (in English, without dialogue) recorded for the American Columbia label in December 1950 and January 1951 with the same cast and conductor as the contemporary Metropolitan Opera production.

In 1949 the Berlin Radio Orchestra under Helmut Koch recorded the complete opera, on long-playing records (LPs). The advent of LP recordings was, as Harold Schonberg later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music,Fortune, "The rediscovery of Orfeo" p. 109 and from the mid-1950s recordings of L'Orfeo have been issued on many labels. Koch's landmark version was reissued in 1962, when it was compared unfavourably with others that had by then been issued.

After the introduction of the softer vinyl records, -rpm LPs (long-playing records) and 45-rpm "single" or two-song records, and EPs (extended-play recordings), the common name became "record player" or "turntable". Often the home record player was part of a system that included a radio (radiogram) and, later, might also play audiotape cassettes. From about 1960, such a system began to be described as a "hi-fi" (high-fidelity, monophonic) or a "stereo" (most systems being stereophonic by the mid-1960s).

Cover of December 1984 "35th Anniversary" Schwann catalog, featuring Leonard Bernstein, Frank Zappa, Cyndi Lauper, and Sadao Watanabe The Schwann Catalog (previously Schwann Long Playing Record Catalog or later Schwann Record And Tape Guide) was a catalog of recordings started by William Schwann in 1949. The first edition was hand-typed and 26 pages long, and it listed 674 long- playing records (see LP record). By the late 1970s, over 150,000 record albums had been listed in Schwann. The company was honored by the record industry both at the 25th anniversary (1974)Billboard - 30 nov.

Sack also appeared in numerous films produced in Germany such as Flowers from Nice (1936) and Nanon, the latter being one of the most famous operettas produced in this period. Throughout her career Sack recorded profusely, first on acetate, then, starting about 1935, on the new German invention – the AEG Magnetophon. Recording on tape proved to be infinitely superior to disc and very considerable quantities of those recordings were later transferred to long- playing records (LPs). She died in a Mainz clinic on 2 March 1972 following an operation for cancer.

Waalkes in 2005 Waalkes' humor consists of puns and word plays as well as the use of silly and funny language, noises and body language. Parodies, for instance in form of popular songs that he revises and presents with his guitar, are typical stylistic elements. Additionally, he often imbeds satire, political innuendos and critique of time and society into his humorous performances. His Otto-Bücher (Otto-books) are regularly published and his Otto-Langspielplatten (Otto-long-playing records) became bestsellers, whereby many records attained top spots in musical charts and shops.

When he finally realized his dream of starting a record company, he named the company after the store where he made the acquaintance of many music lovers and artists. Skurnick died suddenly in 1952, leaving behind a wife, the painter Fay Kleinman and a daughter, Davida, who would become the theater historian Davi Napoleon and the mother of two boys, including jazz guitarist Randy Napoleon. During his short lifetime, Skurnick produced three acclaimed series for EMS, Pro Musica Antiqua, Forecasts in Music, and Survey of the Art Song. These were all released as long-playing records only.

The frequency range of ffrr was 80–15000 Hz, with a signal-to-noise ratio of 60 dB. While Decca's early ffrr releases on 78-rpm discs had some noticeable surface noise, which diminished the effects of the high fidelity sound, the introduction of long-playing records in 1949 made better use of the new technology and set an industry standard that was quickly imitated by Decca's competitors. Nonetheless titles first issued on 78rpm remained in that form in the Decca catalogues into the early 1950s. The ffrr technique became internationally accepted and considered a standard.

For several years, beginning in the late 1940s, Clifton alternated solo shows with the great pianist, Cy Walter (the Park Avenue Art Tatum) at New York's famed Drake Room. This elegant night spot housed in The Drake Hotel was a nexus at the time for some of the biggest names in the entertainment world. In 1950, Bill Clifton recorded one of the earliest long-playing records as part of the Columbia Records "Piano Moods" series.DownBeat, September 1943 Later work included an album featuring Clifton's talents as an arranger and conductor as well as pianist for the Ilene Woods LP "It's Late".

An original cast recording was released in 1947, heavily abridged. According to Hischak, only Lisa Kirk as Emily shines on the recording, which he calls "sad evidences of a very ambitious undertaking". Originally issued by RCA Victor Records on five 78s, sales were poor; Victor did not reissue it on LP during the rapid transition from 78s to long-playing records in 1949–1950, when most record companies were hastily transferring their entire catalogues onto the new medium. The recording was made available briefly in simulated stereo in the 1960s, and was reissued in the 1970s in the original mono.

To supplement the limited income he received from his fine art pursuits, Foy was actively involved in designing and illustrating magazine features in Mademoiselle magazine, book jackets for numerous publishers, and album covers for Long-Playing Records for Columbia Masterworks and Epic. Noteworthy book jackets include first editions of J. R. Salamanca's Lilith (1961) and Ray Bradbury's Something Evil This Way Comes (1962). Foy's design of the cover for Leonard Bernstein's recording of Igor Stravinsky's Le sacre du printemps (1957) was of such renown that it was reprinted on the hundredth-anniversary commemorative DVD edition (2013). A selection of such commercial illustrations is listed below.

In addition, Harry led the Fairey Aviation Band to eight successes in the British Open Championship, in which brass bands from outside of Great Britain are occasionally invited to participate. As conductor of the Fairey Aviation Band, the Black Dyke Mills Band, Munn & Felton's (now Virtuosi GUS Band), Bickershaw Colliery Band and the Brighouse and Rastrick Brass Band, he celebrated numerous successes. In 1945, Harry became Musical Director of the Morris Concert Band, with whom he also had numerous successes in competitions, took part in radio broadcasts and made many long-playing records. In the period of 1935 to 1970, he was conductor of the Fairey Aviation Band.

Because of financial hardships that plagued the recording industry during that period (and RCA's own parched revenues), Victor's long-playing records were discontinued by early 1933. There was also a small batch of longer-playing records issued in the very early 1930s: Columbia introduced 10-inch longer-playing records (18000-D series), as well as a series of double-grooved or longer-playing 10-inch records on their Harmony, Clarion & Velvet Tone "budget" labels. There were also a couple of longer-playing records issued on ARC (for release on their Banner, Perfect, and Oriole labels) and on the Crown label. All of these were phased out in mid-1932.

The Germanic Museum evolved into the Busch-Reisinger Museum, the only museum in North America dedicated to the study of art from the German-speaking countries of Central and Northern Europe. The Busch-Reisinger was located in Adolphus Busch Hall from 1921-1991 and the hall continues to house the Busch- Reisinger's founding collection of medieval plaster casts, as well as an exhibition on the history of the museum. The hall also hosts concerts on its Flentrop pipe organ, which was made famous by organist E. Power Biggs, who broadcast and recorded his long-playing records there. The hall is also home to Harvard's Minda de Gunzberg Center for European Studies.

This meant that they could be totally portable and fast, They could record voices in a day in a Los Angeles studio or a New York studio, wherever the best talent could be convinced to work on new and vibrant dramas written and acted by the best new talent anywhere in the country. Then they took the raw tapes back to Madison for post production. Given the technology at the time, they worked with multi tracking 2-inch tapes on a 24-track control board. They transferred the finished dramas onto long playing records and later switched to cassette tapes for distribution to the public broadcasting network throughout the country.

Rolling Stone ranked the album at number 123 on its list of 500 Greatest Albums of All Time, moving to 126 in a 2012 revised listing, the second highest placement for a reggae album; only Legend, ranked higher at number 46. Writing in The Spectator arts blog in 2012, Dave Rodigan described it as "quite simply, one of the greatest reggae albums ever made". The album was also groundbreaking as its singles were released as long-playing records as against to the early reggae songs coupled with two sides. The album was voted number 285 in the third edition of Colin Larkin's All Time Top 1000 Albums (2000).

Between 1935 and 1955 Ella Fitzgerald was signed to Decca Records. Her early recordings as a featured vocalist were frequently uncredited. Her first credited single was 78 RPM recording "I'll Chase the Blues Away" with the Chick Webb Orchestra. Fitzgerald continued recording with Webb until his death in 1939, after which the group was renamed Ella Fitzgerald and Her Famous Orchestra. With the introduction of 10" and 12" Long-Playing records in the late 1940s, Decca released several original albums of Fitzgerald's music and reissued many of her previous single-only releases. From 1935 to the late 1940s Decca issued Ella Fitzgerald's recordings on 78rpm singles and album collections, in book form, of four singles that included eight tracks.

Halad means tribute or offering in the Cebuano language, as such, the museum is dedicated to the founder's parents, Don Vicente and Inday Pining Gullas, who founded the University of the Visayas in Cebu, Philippines. In November 2010, expansion of the museum was carried out to make more room for the increasing collections held by the museum which includes memorabilia of Cebuano composers and artists in the 20th century, from musical instruments, lyric sheets to long-playing records. The revamped and completed Halad Museum was opened to the public on June 13, 2011 with more musical pieces on exhibit. The museum features three galleries dedicated to Cebuano music, kinaiyang Sugbuanon (Cebuano cultural traditions), and the founder's gallery.

The use of vinyl pressings, increased length of programming, and general improvement in audio quality over 78 rpm records were the major selling points. The complete technical disclosure of the Columbia LP by Peter C. Goldmark, Rene' Snepvangers and William S. Bachman in 1949 made it possible for a great variety of record companies to get into the business of making long playing records. The business grew quickly and interest spread in high fidelity sound and the do-it-yourself market for pickups, turntables, amplifier kits, loudspeaker enclosure plans, and AM/FM radio tuners. The LP record for longer works, 45 rpm for pop music, and FM radio became high fidelity program sources in demand.

Nonetheless, the show proved very popular and it won Tony and Grammy Awards. When the Broadway run of Good Evening ended, Moore stayed on in the U.S. to pursue his film acting ambitions in Hollywood, but the pair reunited to host Saturday Night Live on 24 January 1976 during SNL's first season. They performed a number of their classic stage routines, including "One Leg Too Few" and "Frog and Peach", among others, in addition to participating in some skits with the show's ensemble. It was during the Broadway run of Good Evening that Cook persuaded Moore to take the humour of Pete and Dud farther on long- playing records as Derek and Clive.

In 1951, Shea was signed to RCA Victor Records by Sam Wallace and Elmer Eades, after being "discovered" by Paul Barkmeyer. His first album for RCA Victor, released on 10-inch and 12-inch long-playing records and on 45 RPM records, was entitled Inspirational Songs, produced by Stephen H. Sholes (12 February 1911 – 22 April 1968) and backed by Hugo Winterhalter and his Orchestra. During Shea's first four years with RCA Victor, his records did not recover the cost of recording and pressing, but by the end of the 1950s, he enjoyed major success. After a 24-year association with the label, he left it in favor of Word Records in 1975.

On his return, he released the recordings on the Bach Guild label that he set up for the purpose. Later in the year, with the help of a loan from his father and the involvement of his younger brother Maynard, he formed the Vanguard Recording Society, into which the Bach Guild was subsumed. The company took full advantage of the new technology of long-playing records, allowing it to release longer unbroken classical music performances than was previously possible. Although initially recording an eclectic range of classical music, as the label developed through the 1950s and 1960s its roster expanded to include jazz, folk, and blues musicians, including The Weavers, Joan Baez, Odetta, Larry Coryell, Mississippi John Hurt, Charlie Musselwhite, and Buddy Guy.

In music Barococo is a term coined by musicologist H.C. Robbins-Landon which refers to a certain type of easy listening music that originated in the Baroque and pre-Classic periods. Specifically, Barococo music has been described as "crisp, impersonal, concertante music" (Fink 2005, p. 172). A portmanteau of the words Baroque and Rococo, the term was originally used as a criticism of the characteristic ease with which the average listener could enjoy this style of music at the height of Baroque revival in the first half of the 20th century. The emergence of long playing records made it possible for recordings of Baroque music to be played in repetition over a long period of time, leading individuals like Robbins-Landon to label it as repetitive.

Spalding's role as a leading Edison artist secured him representation on the first long-playing records: Edison's commercially ill- fated long-playing diamond discs, introduced in 1926, which were capable of playing up to 20 minutes per side at 80 RPM. Because, like all material on these pioneering records, his selections were dubbed from standard diamond disc masters, they represented the same short pieces in his standard catalogue. At the end of his life, Spalding again appeared on LP records, this time budget issues by small labels, but performing more substantial fare. Particularly of note are his accounts of the Beethoven and Brahms violin concerti recorded for Remington Records in Vienna, Austria's Brahms Hall in 1952, his last recording sessions.

Using familiar material (such as evergreen hits, standard tunes or classic recordings) is an important method of learning music styles. Until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. (See, for example, Please Please Me.) Artists might also perform interpretations ("covers") of a favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes.See, for example, Ella Fitzgerald Sings the Cole Porter Songbook Today three broad types of entertainers depend on cover versions for their principal repertoire: Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band.

His early recordings were made at Victor's Trinity Church studio in Camden, New Jersey until 1926, when Victor began recording the orchestra in the Academy of Music in Philadelphia. Stokowski and the Philadelphia Orchestra later participated in long playing, high fidelity, and stereophonic experiments, during the early 1930s, mostly for Bell LaboratoriesFox, Barry (24–31 December 1981) "A hundred years of stereo: fifty of hi-fi", Scientific American, pp 910–911; retrieved 1 March 2012. (Victor even released some early Long Playing Records around this time, which were not commercially successful for several reasons). Stokowski and the Philadelphia Orchestra continued to make records for Victor through December 1940. One of his last 1940 sessions was the world premiere recording of Shostakovich's sixth symphony.

Rather than the two-part construction of the 'wrap-around' sleeve, this method consists of a single component part, which is printed in full colour and is completely laminated with the 'flaps' tucked inside the back sleeve section. This is the method generally used for all subsequent releases in the vinyl age and is considered superior not only because of the additional ease allowed in the use of a single component, but also because the fully laminated finish offers far better protection from discolouration caused by exposure to natural light. With the advent of long-playing records, the album cover became more than just packaging and protection, and album cover art became an important part of the music marketing and consuming experience. In the 1970s it became more common to have picture covers on singles.

The first recording of L'Orfeo was issued in 1939, a freely adapted version of Monteverdi's music by Giacomo Benvenuti, given by the orchestra of La Scala Milan conducted by Ferrucio Calusio. In 1949, for the recording of the complete opera by the Berlin Radio Orchestra under Helmut Koch, the new medium of long-playing records (LPs) was used. The advent of LP recordings was, as Harold C. Schonberg later wrote, an important factor in the postwar revival of interest in Renaissance and Baroque music, and from the mid-1950s recordings of L'Orfeo have been issued on many labels. The 1969 recording by Nikolaus Harnoncourt and the Vienna Concentus Musicus, using Harnoncourt's edition based on period instruments, was praised for "making Monteverdi's music sound something like the way he imagined".

Cartoon characters are common subjects (or stars) of the stories, as are comic book superheroes and other media franchises, characters and personalities. Occasionally popular children's or family movies are adapted for book and record; the stories may either be re- presented by a new cast of performers, members of the movie cast, or the audio taken directly from the movie, with narration added. Disneyland Records and related companies produced several such works, as did Peter Pan Records (and its offshoot Power Records) and others, from the dawn of long-playing records and the 45rpm single until the digital age. In the late 1940s and early 1950s, Capitol Records produced many book-and-record sets for children, ranging from everything from Bozo the Clown to the classical music fantasy Sparky's Magic Piano.

The system appeared in Chrysler automobiles from 1956 to 1959 (1956-1958 model years). Records for the system were manufactured exclusively by Columbia Special Products, and could hold roughly 45 minutes of music or an hour of speech per side. This was accomplished by the use of a slower rotation speed of 16⅔ rpm—versus 33 rpm for conventional long-playing records and 45 rpm for singles—in conjunction with an extremely tight groove pitch of 550 grooves per inch (216.5 grooves per centimeter, over four times that of a standard monaural LP of the period). The recording surface extended to an unusually small diameter of , which constrained the label to for long-playing titles, but demonstration discs with brief contents not requiring an extended playing time were manufactured with standard 3 inch (76 mm) labels.

With the aid of a collaborator, Darboven adapted them into performable compositions for organ, double bass, harpsichord, string quartet, and chamber orchestra. She translated her additive concept of dates into musical scores, in which the digit 1 stands for the note e, 2 for f, 3 for g, etc. Compound numbers are expressed as an interval of two notes, e.g. 31=g-e, 24=f-h, etc., and numbers combined with 0 are used as broken chords.Hanne Darboven Quartett 88, March 17, 1990 - April 16, 1990 Portikus, Frankfurt. Hanne Darboven: ‘My systems are numeric concepts that work according to the laws of progression and/or reduction in the manner of a musical theme with variations.’ Wende 80 (Turning point 80) (1980), using an interview with Helmut Schmidt and Franz Josef Strauss, is the first piece in Darboven's work which is simultaneously a musical score. This music is preserved on 11 long-playing records in a black case (an edition of 250 was pressed).