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A pupil of the provocatively subversive Austrian Friedrich Gulda, whom she still regards as the greatest pianistic influence on her life, she subsequently overwhelmed both jury and audience with her spectacular playing at the 1965 Chopin competition in Warsaw. After undertaking a punishing schedule of recitals during this period, Argerich rejected the notion of pursuing a career as a solo pianist.
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TheAntlers: Crest (Tricky Remix) digitaldownload / 25.09.2012 (not officially released) _1.The Antlers: Crest (Tricky Remix)3:15You can listen to this remix on You Tube or Soundcloud. In 2012 you could downloadthe mp3 of the Tricky remix herefor free, but the link doesn't seem to work anymore (you can only read it via Way Back Machine, but the download link doesn't work). The remix doesn't seem to be released commercially anywhere.Tricky later worked with The Antlers on his album "False Idols" on thetrack 'Parenthesis'.
Emile Berliner, the inventor of the microphone and founder of the first disc record company, lived and worked in Washington, D.C. A contemporary of Thomas Edison, Berliner believed that the wax cylinder developed by Edison and his partners was too soft and fragile for making a permanent recording. Hence, he developed the first process for mass-production of disc recordings. These are two of his early recordings. Selected for the 2003 registry.
This ensemble of trombonist Kid Ory, originally called "Spikes' Seven Pods of Pepper," was the first recording ever issued of a black jazz band from New Orleans. It was recorded by Andrae Nordskog for his Santa Monica, California-based Nordskog record label. Later under confusing circumstances, the record was issued on the Sunshine label belonging to Los Angeles music promoters the Spikes Brothers. Selected for the 2005 registry.
Singer Ruth Etting was one of the first great singers of the electrical era of recording, the period after the mid-1920's when the microphone replaced the acoustic recording horn. As with the best of the male crooners of the period, Etting's vocal delivery was artfully understated and personal. In the words of popular music writers Phil Hardy and Dave Laing, Etting, "[b]y turns peppy, fragile, and gallant...evinced the contradictory spirits of America in the Depression: sometimes beaten down, sometimes bearing up, whenever possible blithe." All these characteristics are evident in her recording of Rodgers and Hart's "Ten Cents a Dance," recorded only two weeks after Etting introduced the song on stage in the musical "Simple Simon." Selected for the 2011 registry.
Experimental recordings made by the Bell Laboratories in early 1930s resulted in the first high-fidelity, stereo recordings. Among them were recordings which feature this great American orchestra under its renowned, and controversial, conductor Leopold Stokowski. Selected for the 2002 registry.
The acknowledged father of modern gospel music, Thomas A. Dorsey made only a handful of gospel recordings himself. Recording first as "Georgia Tom" and "Barrelhouse Tom," Dorsey was a noted blues artist and composer during the 1920s and early 1930s. In 1932, he dedicated the remainder of his life exclusively to gospel music. In four sessions in 1932 and 1934, Dorsey recorded several songs for Vocalion, including his popular composition "If I Could Hear My Mother Pray Again," which were released under his own name. His voice, although well-suited to his earlier blues and jazz recordings, was said to have lacked the qualities needed for gospel music and he made no further recordings, concentrating instead on songwriting and publishing. (Thomas Dorsey is not related to big-band leader Tommy Dorsey.) Selected for the 2007 registry.
Franz Boas is considered the father of American anthropology and is the founder of both the American Anthology Association and the American Folklore Society. In 1938, Boas and his former student, ethnomusicology pioneer George Herzog, recorded 22 aluminum discs of the Kwakwaka'wakw (sometimes spelled "Kwakiutl") chief Dan Cranmer. Cranmer had been jailed in Canada in the 1920s for carrying on his people's potlatch traditions, which were still being suppressed in the 1930s. Cranmer's recordings for Boas and Herzog documented the tribe's native language and the songs, speeches, games, feasts and ceremonies of the potlatch. Today, only about 5,500 Kwakwaka'wakw tribespeople remain in British Columbia with only about 250 of them still fluent in the tribe's original language. Selected for the 2013 registry.
Casals' role in rediscovering the Bach cello suites has tended to be somewhat overstated in a way that both exaggerates and denigrates his real accomplishment. The cello suites were fairly well-known among cellists and composers during the nineteenth century but where Casals differed from his predecessors was in understanding and cultivating the musical nature of the suites themselves. He seemed to grasp intuitively the intense depth of the music and give it the study that it demanded. Although his approach to the music seems, to our ears, quite romantic, his realization of the value of the music for concert performance (in contradiction to hundreds of years of tradition among cellists) was a profoundly modern gesture and one that helped change the reputation of the cello and modified not just cello performance, but the nature of string playing more generally. Selected for the 2018 registry.
Composer Sergey Prokofiev brought his "orchestral fairy tale" "Peter and the Wolf" to Moscow audiences in 1936, having composed the music and written the narration as an introduction to orchestral music for children. This premiere recording of the work was performed by the Boston Symphony, under the direction of Serge Koussevitzky, with narration by Richard Hale. Selected for the 2004 registry.
By the end of the 1930s, African-American opera singer Marian Anderson had already been hailed as the greatest contralto of her generation. Yet this did not prevent the Daughters of the American Revolution from prohibiting her from performing at Constitution Hall in Washington, D.C. in 1939. In response, and with the assistance of President Franklin Roosevelt and his wife Eleanor, Anderson was, on Easter Sunday of that year, invited to perform for a racially desegregated audience at the Lincoln Memorial. There she sang to an audience of over 75,000 people, with a national radio audience of millions more. Though brief newsreel excerpts of her brilliant performance have become familiar and even iconic since that time, the contemporary impact of this live, continuous radio coverage cannot be underestimated, and is now our most complete documentation of this key event in the struggle for civil rights. Selected for the 2008 registry.
The hall closet at 79 Wistful Vista, home of Fibber McGee and Molly (played by Jim and Marian Jordan), was the source of one of radio's most successful running sound gags and was America's best-known pile of junk as it tumbled out each time the door was opened. The effect played on the strength of the sound medium. Frank Pittman, the program's sound-effects engineer, created the comic catastrophe. The initial click of the door latch tantalizingly opened the routine. Then the thump of several boxes hitting the floor followed and grew to a crescendo of falling bric-a-brac increasing in speed and intensity until the victim was buried under a mountain of pots, pans, fish poles, dumbbells, skates, pie pans and coffee pots. The coda of the avalanche was the tinkling of a little bell. The gag was so effective that crowded, cluttered storage areas in homes are still compared by some to the closet of Fibber McGee. Selected for the 2007 registry.
Edward R. Murrow's eyewitness news broadcasts of the Battle of Britain conveyed the emotions and sounds of a city under siege to audiences throughout the United States. One of the best-remembered of that series of 1940 broadcasts was on September 21 when Murrow dispassionately described the bombing of London from a rooftop during the blitzkrieg. Selected for the 2004 registry.
Lizzie Douglas, better known as Memphis Minnie, was born circa 1897 in Algiers, Louisiana. She took up guitar as a child after her family moved to the Memphis, Tennessee area in 1904, and was singing and playing on Beale Street in Memphis by the age of 13. She started recording under the name "Memphis Minnie" for the Columbia label in 1929 and went on to record over 200 songs, more than any other female country blues artist. "Me and My Chauffer Blues" showcases her aggressive and uncompromising vocal delivery and stinging guitar work. It also is her best known song, thanks in part to later covers by Big Mama Thornton, Nina Simone and Jefferson Airplane. Selected for the 2019 registry.
"America's Town Meeting of the Air" was a spirited public affairs program broadcast live from Town Hall in New York over NBC radio from the 1930s to the 1950s. This program aired seven months before the nation's entry into World War II, when most of the country opposed entry into the war. The featured speakers were Reinhold Niebuhr, chairman of the Union for Democratic Action and creator of the Serenity Prayer, and John Flynn, New York chairman and a founder of the America First Committee. Niebuhr supported U.S. aid to Britain; Flynn opposed it. Selected for the 2009 registry.
The original 1942 commercial recording by Bing Crosby. Crosby's later 1947 rendition of this Irving Berlin classic is one of the best-selling records ever made, but it is actually a remake of his earlier 1942 version. The 1947 version was recorded under John Scott Trotter, the same music director as the original, and utilized the same arrangement, but Crosby's reading is slightly different than the 1942 original recording. Selected for the 2002 registry.
During the 1940s, the United States was in the record business. The V-Disc label was created to boost morale by providing recordings of familiar American artists to service camps overseas as well as on the home front. The V-Disc program took on added significance when, owing to a dispute between the record labels and the musicians' union over royalties, union musicians were forbidden to make commercial recordings. With the understanding that V-Discs would not be sold in the domestic market, the union permitted musicians to contribute their services for free so that some V-Disc releases could include fresh, new performances. Trumpeter Oran "Hot Lips" Page had played with the Bennie Moten Orchestra in Kansas City and was a featured performer with Artie Shaw during 1941-42. Page's V-Disc recording of the "Uncle Sam Blues," an ode to military conscription, must have resonated on both the war and home fronts. Selected for the 2008 registry. 041b061a72