Today's classical playlist

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MIRACLES OF SANT'IAGO
Medieval Chant & Polyphony for St. James from the Codex Calixtinus
Various and Anonymous
Anonymous 4

Harmonia Mundi USA
 
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Mozart, Wolfgang Amadeus (1756-1791)

Members of the Bavarian Radio Symphony Orchestra
Eugen Jochum, conductor

Serenade, wood-winds & 4 horns, K. 370a (361) B♭ major
Serenade Nr. 10, B-dur, KV 361 (Bläser-Serenade)

Deutsche Grammophon Gesellschaft SLPM 138 830 [1963]
1 LP, 12 in, 33⅓ rpm, Stereophonic, Microgroove

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Good morning!
And Beau good afternoon!

Brahms

Symphony No. 4 in E Minor, Op 98

Virtuoso Symphony of London

Alfred Wallenstein~conductor

Audio Fidelity~1959

Have included a photo of the tech data for this recording.
Some great technical aspects for almost 60 years ago!

I am fortunate to have five of these Audio Fidelity records in excellent condition.
I don't have a large collection but some goodies!

IMG_3924.JPG IMG_3926.JPG
 
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Sorry to keep dragging this quote to the top; but it works.

Google search of the image tells me this appears to be Copley Symphony Hall in San Diego, 1929. What a beautiful space! Will you get to spend any time there during rehearsals to get some ideas about what's going to work really well?

Civic Youth Orchestra
60th Anniversary Concert

June 18, 2017
sunday 3pm

Copley Symphony Hall
San Diego, Ca

~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~

program:

CYO Symphonic Orchestra, Alize Drieling, Conductor
Light Cavalry Overture — Franz von Suppé

CYO Symphony Orchestra, Robert Gilson, Conductor (conductor for rest of concert)
Lieutenant Kijé Suite Symphonique, Op. 60 — Serge Prokofiev

An American in Paris — George Gershwin

<<< intermission >>>

Fanfare for the Common Man — Aaron Copland
featuring the CYO Alumni Brass

Concerto in b minor for 4 violins — Antonio Vivaldi
~ Allegro
featuring former CYO Concertmasters and Assistant Concertmasters

The CYO Symphony Orchestra
Danzon No. 2 — Arturo Marquez

The CYO Symphony Orchestra and Alumni
Symphony No. 4 in f minor, Op. 36 — Peter Illyich Tchaikovsky
4. Allegro con fuoco


CYO Symphony and Symphonic Orchestra and Alumni
Star Wars (original sound score) — John Williams

graduating seniors awards presentation follows concert
<<< fin >>>
~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~_~

Ambient Recordings by Mike French
TFH — A Journey to the Impact Zone
From balcony, first row center. The seats of the “owners” of the Copley Symphony Hall; the Jacobs family seats.

recordings:
1) DPA 4060 omni pair as Boundary Layer Effect
DPA MMA6000 +22dB
2) Line Audio CM3 pair as narrow-focus NOS stereo 930cm at 70º combined axis
3) Sennheiser MKE2002 Artificial Head Binaural Stereo kit, per Senn Binaural protocol. Head placed on movie projectors, on face side of wall, on lighting array shelf on balcony face.
1&2) into Tascam DR70D at 2448
3) into Roland R09HR mic input @ gain level 65

1&2 to be mixed in post-edit.

comments to follow in next post........
 
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151 member orchestra
DSCN3717.jpg
DSCN3645.jpg
DSCN3675.jpg
DSCN3652.jpg
I had to walk several blocks from the parking spot, as I didn't want to kick down $25 to park near the hall.
So I left my daily driver mic stands in the truck, and only brought my really tall stand (9' lighting stand). My daily driver stand is steel, and weighs a ton; so it got left behind in the effort. So I used the hand truck as my stand, and used a lighting clamp to secure it, and my extensions; that was a new one for me.
 
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This is an amazing hall. It was built with a no expenses spared approach. The lines are late art-nouveau, and early art-deco, with lots of craftsman era accouterments. Just a gorgeous hall. And, acoustically, it seems quite superb.
One oddity about it:
It has had modern skyscrapers built around it. By the exterior surroundings; modern skyscraper in appearance. But once through the doors, you are drawn back to a whole different era.
The staff,....
I've never been made to feel more welcome. I was a bit nervous, as it is a union-shop hall. But this was to be anything but a problem.
I walked onto the stage as they were still setting it. I found a stage manager, who referred me to the house sound tech, and called him to the stage to meet me. He already knew my name, as I was listed as sound tech on the "list". He greeted me very warmly. I asked him about the house protocol for recordists, and he said I could do anything that I wanted. He also clued me into the fact that his house mics were adjusted to reach into mid open-aire hall space, which was a very short distance from the balcony, when he dropped them into position; at least the main ambient pair. He said that he'd bring me up and set me up in the *"owners" seats. (* the Jacobs family donated what was said to be $100m for the restoration and renovation of the hall, in faithful restoration).
The sound tech and I sat there for a good twenty minutes just talking geek tech talk. He then told the ushers to keep everyone back and away from the area (the balcony was used to seat the extra muscians that filled the ever growing orchestra).

After soundcheck/rehearsal, I started looking aorund the hall, and was greeted by an usher whao gave me a personal tour of the facility, and the low-down on its past history; Fox movie theater in the silent movie era, 1929. It has a quadrophonic pipe organ, with pipe arrays at the stage, and at left and right, rear of hall. This was an original installation.

As far as my experience... It was one of the best. I was treated so well, and the facility was beyond adequate description.

a couple more pics:
a giant center of ceiling lamp of copper and arts glass, and its comlimentary sibling
DSCN3659.jpg
DSCN3661.jpg
the center of the stage band shell opening is right here...................... ^^
Lobby lighting:
DSCN3686.jpg

Stage right:
DSCN3701.jpg

stage left:
DSCN3702.jpg
 
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This is an amazing hall. It was built with a no expenses spared approach. The lines are late art-nouveau, and early art-deco, with lots of craftsman era accouterments. Just a gorgeous hall. And, acoustically, it seems quite superb.
One oddity about it:
It has had modern skyscrapers built around it. By the exterior surroundings; modern skyscraper in appearance. But once through the doors, you are drawn back to a whole different era.
The staff,....
I've never been made to feel more welcome. I was a bit nervous, as it is a union-shop hall. But this was to be anything but a problem.
I walked onto the stage as they were still setting it. I found a stage manager, who referred me to the house sound tech, and called him to the stage to meet me. He already knew my name, as I was listed as sound tech on the "list". He greeted me very warmly. I asked him about the house protocol for recordists, and he said I could do anything that I wanted. He also clued me into the fact that his house mics were adjusted to reach into mid open-airs hall space, which was a very short distance from the stage. He said that he'd bring me up and set me up in the *"owners" seats. (* the Jacobs family donated what was said to be $100m for the resotration and renovation of the hall, in faithful restoration).
The sound tech and I sat there for a good twenty minutes just talking geek tech talk. He then told the ushers to keep everyone back and away from the area (the balcony was used to seat the extra muscians that filled the ever growing orchestra).

After soundcheck/rehearsal, I started looking aorund the hall, and was greeted by an usher whao gave me a personal tour of the facility, and the low-down on its past history; Fox movie theater in the silent movie era, 1929. It has a quadrophonic pipe organ, with pipe arrays at the stage, and at left and right, rear of hall. This was an original installation.

As far as my experience... It was one of the best. I was treated so well, and the facility was beyond adequate description.

a couple more pics:
a giant center of ceiling lamp of copper and arts glass, and its comlimentary sibling
View attachment 952948
View attachment 952949
the center of the stage band shell opening is right here...................... ^^
Lobby lighting:
View attachment 952950

Stage right:
View attachment 952951

stage left:
View attachment 952952
Impressive, Mike. A crescendo from that many could pin you to the back wall.
 
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Mozart, Wolfgang Amadeus (1756-1791)

Bayerischer Rundfunk. Orchester
Ferdinand Leitner, conductor

Symphony no. 36, in C major, K. 425 (Linz).
Symphony no. 31, in D major, K. 297 (Paris)
Les petits riens: Overture

Deutsche Grammophon Gesellschaft SLPM 138 046 [1961]
1 LP, 12 in, 33⅓ rpm, Stereophonic, Microgroove

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Beethoven, Ludwig van (1770-1827)

Berliner Philharmoniker
Herbert von Karajan, conductor

Symphony no. 9 in D minor, op. 125 "Choral"
Sinfonie Nr. 9 d-Moll op. 125 „An die Freude“


Deutsche Grammophon Gesellschaft SLPM 138 809 [1963]
1½ LP, 12 in, 33⅓ rpm, Stereophonic, Microgroove

Notes:

Performers:
Gundula Janowitz, soprano
Hilde Rössel-Majdan, alto
Waldemar Kmentt, tenor
Walter Berry, bass

Wiener Singverein
Reinhold Schmid, chorus master

  • CatNum: 138809
  • Date: 1962-10-08
  • Venue: Berlin, Jesus Christus-Kirche
  • Label: Deutsche Grammophon
  • Performer: Berliner Philharmoniker
  • Composer: BEETHOVEN
  • Title: Symphony No. 9 in D minor, op. 125 'Choral'
  • LpNum: 138809
  • CdNum: 445 007-2
  • Performer: Gundula Janowitz; Hilde Rössel-Majdan; Waldemar Kmentt; Walter Berry
  • Conductor: Karajan, Herbert von
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Last edited:
This is an amazing hall. It was built with a no expenses spared approach. The lines are late art-nouveau, and early art-deco, with lots of craftsman era accouterments. Just a gorgeous hall. And, acoustically, it seems quite superb.
One oddity about it:
It has had modern skyscrapers built around it. By the exterior surroundings; modern skyscraper in appearance. But once through the doors, you are drawn back to a whole different era.
The staff,....
I've never been made to feel more welcome. I was a bit nervous, as it is a union-shop hall. But this was to be anything but a problem.
I walked onto the stage as they were still setting it. I found a stage manager, who referred me to the house sound tech, and called him to the stage to meet me. He already knew my name, as I was listed as sound tech on the "list". He greeted me very warmly. I asked him about the house protocol for recordists, and he said I could do anything that I wanted. He also clued me into the fact that his house mics were adjusted to reach into mid open-airs hall space, which was a very short distance from the stage. He said that he'd bring me up and set me up in the *"owners" seats. (* the Jacobs family donated what was said to be $100m for the resotration and renovation of the hall, in faithful restoration).
The sound tech and I sat there for a good twenty minutes just talking geek tech talk. He then told the ushers to keep everyone back and away from the area (the balcony was used to seat the extra muscians that filled the ever growing orchestra).

After soundcheck/rehearsal, I started looking aorund the hall, and was greeted by an usher whao gave me a personal tour of the facility, and the low-down on its past history; Fox movie theater in the silent movie era, 1929. It has a quadrophonic pipe organ, with pipe arrays at the stage, and at left and right, rear of hall. This was an original installation.

As far as my experience... It was one of the best. I was treated so well, and the facility was beyond adequate description.

a couple more pics:
a giant center of ceiling lamp of copper and arts glass, and its comlimentary sibling
View attachment 952948
View attachment 952949
the center of the stage band shell opening is right here...................... ^^
Lobby lighting:
View attachment 952950

Stage right:
View attachment 952951

stage left:
View attachment 952952

Great pictures and sharing, Mike! Many thanks!!!
 
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Offenbach, Jacques (1819-1880)

Orchester der Deutschen Oper Berlin
RIAS-Kammerchor
Richard Kraus, conductor

Contes d'Hoffmann. Selections
Hoffmanns Erzählungen Opernquerschnitt

Deutsche Grammophon Gesellschaft SLPEM 136 414 [1960]
1 LP, 12 in, 33⅓ rpm, Stereophonic, Microgroove

Notes:

Opera excerpts; sung in German

Mattiwilda Dobbs, Gladys Kuchta, Hedi Klug, sopranos
Cvetka Ahlin, mezzo-soprano
Sándor Kónya, tenor
with supporting soloists

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Les Contes d'Hoffmann by Jacques Offenbach performed in German - 1961

Conductor Richard Kraus
Orchestra - Deutsche Oper Berlin
Chorus - RIAS Kammerchor

Hoffmann - Sándor Kónya
Olympia - Mattwilda Dobbs
Giulietta - Gladys Kuchta
Antonia - Hedi Klug
Coppélius - Thomas Stewart
Dapertutto - Thomas Stewart
Miracle - Thomas Stewart
Nicklaus - Cvetka Ahlin
Spalanzani - Ulfried Günther

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Black Disc:
D.G.G. 136 414 SLPEM {1LP}
DG 2537 009 {1LP}

Compact Disc
DG «Resonance» 809 50 77 (Highlights)

ª(year of issue or re-issue)

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This is an amazing hall. It was built with a no expenses spared approach. The lines are late art-nouveau, and early art-deco, with lots of craftsman era accouterments. Just a gorgeous hall. And, acoustically, it seems quite superb.
One oddity about it:
It has had modern skyscrapers built around it. By the exterior surroundings; modern skyscraper in appearance. But once through the doors, you are drawn back to a whole different era.
The staff,....
I've never been made to feel more welcome. I was a bit nervous, as it is a union-shop hall. But this was to be anything but a problem.
I walked onto the stage as they were still setting it. I found a stage manager, who referred me to the house sound tech, and called him to the stage to meet me. He already knew my name, as I was listed as sound tech on the "list". He greeted me very warmly. I asked him about the house protocol for recordists, and he said I could do anything that I wanted. He also clued me into the fact that his house mics were adjusted to reach into mid open-aire hall space, which was a very short distance from the balcony, when he dropped them into position; at least the main ambient pair. He said that he'd bring me up and set me up in the *"owners" seats. (* the Jacobs family donated what was said to be $100m for the restoration and renovation of the hall, in faithful restoration).
The sound tech and I sat there for a good twenty minutes just talking geek tech talk. He then told the ushers to keep everyone back and away from the area (the balcony was used to seat the extra muscians that filled the ever growing orchestra).

After soundcheck/rehearsal, I started looking aorund the hall, and was greeted by an usher whao gave me a personal tour of the facility, and the low-down on its past history; Fox movie theater in the silent movie era, 1929. It has a quadrophonic pipe organ, with pipe arrays at the stage, and at left and right, rear of hall. This was an original installation.

As far as my experience... It was one of the best. I was treated so well, and the facility was beyond adequate description.

a couple more pics:
a giant center of ceiling lamp of copper and arts glass, and its comlimentary sibling
View attachment 952948
View attachment 952949
the center of the stage band shell opening is right here...................... ^^
Lobby lighting:
View attachment 952950

Stage right:
View attachment 952951

stage left:
View attachment 952952

This is cool stuff! Thanks for sharing it!
 
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Schubert, Franz (1797-1828)
Goethe, Johann Wolfgang von (1749-1832)

Dietrich Fischer-Dieskau, baritone
Jörg Demus, piano

Ein Schubert-Goethe-Liederabend
Recital; Schubert-Goethe

Deutsche Grammophon Gesellschaft SLPM 138617 [1963]
1 LP, 12 in, 33⅓ rpm, Stereophonic, Microgroove

Contents
Wandrers Nachtlied
Ein Gleiches
Ganymed
Jägers Abendlied
An Schwager Kronos
Meeres Stille
Prometheus
Gesänge des Harfners
An den Mond
Auf dem See
Erster Verlust
Der Musensohn

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