Mont chauvet mussorgsky biography

This page itemises the surviving broadcasts from the Metropolitan Opera House in New York between 1931-2005. Some of the best singers in the world performed at the Met and their broadcasts captured many singers in their most famous roles as well as others who recorded very little commercially. Sound quality is variable and some of the early off-air recordings are very noisy, but from the 1936-7 season onwards some have very good sound, having been taken from the original NBC transcription discs (rather than from off-air). Many early broadcasts are not known to survive (click here for a list of lost broadcasts), and others are incomplete, but there is still a remarkable number that exist in good sound. After 1950 all the broadcasts are known to still exist and most survive in excellent sound derived from FM or transcription sources. The Met was comparatively late to broadcast in stereo (December 1973). Major holdings of Met broadcasts (aside from the Met archive itself) can be found in the Library of Congress (which holds the original NBC discs for the 1936-7 and

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folder 1Sumsion, Herbert. “Coventry Carol” from Four Preludes on Well-Known Carols. London: Hinrichsen, 1955. Plate no. Hinrichsen Edition No. 333b.folder 2Sumsion, Herbert. “The Holly and the Ivy” from Four Preludes on Well-Known Carols. London: Hinrichsen, 1955. Plate no. Hinrichsen Edition No. 333c.folder 3Sumsion, Herbert. “Unto us is born a Son” from Four Preludes on Well-Known Carols. London: Hinrichsen, 1955. Plate no. Hinrichsen Edition No. 333d.folder 4Tardif, Hilaire-Marie. Chaconne et fugue à la gigue. Montreal: Editions Franciscaines, 1964. Manuscript reproduction. Bears an inscription to Mario Salvador by the composer (March 20, 1966).folder 5Tchaikovsky, Pyotr. Andante Cantabile: from String Quartet, Op. 11. New York: Carl Fischer, 1958. Plate no. N 2953.folder 6Tchaikovsky, Pyotr. Andante Cantabile [from String Quartet, Op. 11]. Transcribed for organ by James H. Rogers. New York: G. Schirmer, 1905. Plate No. 17520 C.folder 7Tchaikovsky, Pyotr. Andantino in modo di Canzona: from Symphony No. 4in F 

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I. Setting the Scene

Reyer, 1907 Source: hberlioz.com

When Ernest Reyer died in 1909 a contemporary wrote that Reyer could descend into eternal rest with the knowledge that his name would not perish, because he had left behind him, as guardians of his memory, the two immortal figures of Sigurd and Salammbô. More than a century later, that immortality has vanished. None of his five operas are in the standard repertoire. Sigurd, rarely performed, is remembered as a French copy of Wagner’s Ring. Salammbôhas been produced only once since the 1940s, and then in an abridged version. Reyer is not immortal; he is not even a demi-god. His works have descended into Hades, and there his ghost wanders among the dismal shades. That said, Reyer’s works contain much that is beautiful and much that is impressive. Sigurdand Salammbôheld the stage for decades; and another opera, never recorded, may be a lost masterpiece, as good as Gounod’s Faust.

Reyer’s contemporaries saw him as a serious, innovative composer who, like his models Berlioz and Wagner