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From patriotic "God Bless America" to wistful "White Christmas," Irving Berlin's songs have long accompanied Americans as they fall in love, go to war, and come home for the holidays. Irving Berlin's American Musical Theater is the first book to fully consider this songwriter's immeasurable influence on the American stage. Award-winning music historian Jeffrey Magee chronicles Berlin's legendary theatrical career, providing a rich background to some of the great composer's most enduring songs, from "There's No Business Like Show Business" to "Puttin' on the Ritz." Magee shows how Berlin's early experience singing for pennies made an impression on the young man, who kept hold of that sensibility throughout his career and transformed it into one of the defining attributes of Broadway shows. Magee also looks at darker aspects of Berlin's life, examining the anti-Semitism that Berlin faced and his struggle with depression. Informative, provocative, and full of colorful details, this book will delight song and theater aficionados alike as well as anyone interested in the story of a man whose life and work expressed so well the American dream.

Triple vinyl LP pressing in gatefold sleeve + two CDs. Babylon Berlin is the ingenious soundtrack of the outstanding and highly acclaimed TV series. The soundtrack works as an impressive musical accompaniment to the striking pictures of the series. While scores commonly evoke emotions, this series' score is pre-eminently an accentual element of the series' perception and the sonic reflection of the sensual delight that is Babylon Berlin. The score's composers are renowned German movie-director T

The bass features an alder body with a beautiful exotic wood top. Outfitting the body are a pair of Bartolini Jeff Berlin custom soapbar pickups,...

SPECIAL OLD BERLIN CRAFTSMAN EDITIONSWEET SINGING TONE FINISHED IN HAND VARNISH ONLYWITH FINEST MAPLE AND SPRUCEVIENNA STRINGS AS EXPERIENCED STRIN...

Vienna Strings E.T. Model BerlinRich Projecting Tone for Advanced Progressive PlayerFeatures:Luthier Made with All Finest MaterialsHand Selected &a...

Vienna Strings E.T. Model BerlinRich Projecting Tone for Advanced Progressive PlayerFeatures:Hand Selected & Aged Carved Spruce Top(10 Years)Ma...

Vienna Strings E.T. Model BerlinRich Projecting Tone for Advanced Progressive PlayerFeatures:Hand Selected & Aged Carved Spruce Top(10 Years)Ma...

SPECIAL OLD BERLIN CRAFTSMAN EDITIONSWEET SINGING TONE FINISHED IN HAND VARNISH ONLYWITH FINEST MAPLE AND SPRUCEVIENNA STRINGS AS EXPERIENCED STRIN...

The ADK Berlin 47 T-FET Microphone is an electric sounding mic. There is a nice energy in the upper mids that brings to life brass and woodwi...

Rithimic Series is designed and inspired by Jeff Berlin, created by Cort. Jeff Berlin is known as one of the greatest bass players in the world and...

Violin Bow Stamped Grimm Berlin This Bow is faintly stamped Grimm Berlin. The Bow is sold as is. I would suggest a rehair and recamber. Approx 5...

2x RFZ-Berlin W745A Fader XXL Bilder unterhalb der Beschreibung / XXL Pictures below the description Der Artikel wurde nicht getestet. ...

Concert Violin Designed by master luthier Marko Ackert "Made in Germany" Production in workshop of GEWA Adorf Selected Bosnian sycamore maple...

This book represents the first comprehensive study of the relationship between Hitler’s regime and its musical crown jewel, the Berlin Philharmonic. Nazi patronage afforded the Berlin Philharmonic innumerable privileges unique among German cultural institutions. The orchestra accepted these benefits with a combination of gratitude, apprehension, and vindication. As the musicians attempted to balance their exceptional status with a degree of artistic and organizational autonomy, tensions among ideological principle, legal jurisdiction, personal taste, and pragmatic regulation revealed profound contradictions at the heart of the Nazi State. In terms of institutional development, the transformations of the Berlin Philharmonic between 1933 and 1945 remain the model for the orchestra’s organization to the present day. Drawing together documents from orchestra, state, and private archives, this book reflects the experience of a major cultural institution, at once distressingly typical of Germany’s Nazi experience, and astonishingly distinct.

New Old Stock from a closed mail order service. Perfect, like new. Original edition & booklet Star Licks - Noma Video Inc. Made in USA. 1987 ...

Bach's St. Matthew Passion is universally acknowledged to be one of the world's supreme musical masterpieces, yet in the years after Bach's death it was forgotten by all but a small number of his pupils and admirers. The public rediscovered it in 1829, when Felix Mendelssohn conducted the work before a glittering audience of Berlin artists and intellectuals, Prussian royals, and civic notables. The concert soon became the stuff of legend, sparking a revival of interest in and performance of Bach that has continued to this day. Mendelssohn's performance gave rise to the notion that recovering and performing Bach's music was somehow "national work." In 1865 Wagner would claim that Bach embodied "the history of the German spirit's inmost life." That the man most responsible for the revival of a masterwork of German Protestant culture was himself a converted Jew struck contemporaries as less remarkable than it does us today―a statement that embraces both the great achievements and the disasters of 150 years of German history. In this book, Celia Applegate asks why this particular performance crystallized the hitherto inchoate notion that music was central to Germans' collective identity. She begins with a wonderfully readable reconstruction of the performance itself and then moves back in time to pull apart the various cultural strands that would come together that afternoon in the Singakademie. The author investigates the role played by intellectuals, journalists, and amateur musicians (she is one herself) in developing the notion that Germans were "the people of music." Applegate assesses the impact on music's cultural place of the renewal of German Protestantism, historicism, the mania for collecting and restoring, and romanticism. In her conclusion, she looks at the subsequent careers of her protagonists and the lasting reverberations of the 1829 performance itself.

Bach's St. Matthew Passion is universally acknowledged to be one of the world's supreme musical masterpieces, yet in the years after Bach's death it was forgotten by all but a small number of his pupils and admirers. The public rediscovered it in 1829, when Felix Mendelssohn conducted the work before a glittering audience of Berlin artists and intellectuals, Prussian royals, and civic notables. The concert soon became the stuff of legend, sparking a revival of interest in and performance of Bach that has continued to this day. Mendelssohn's performance gave rise to the notion that recovering and performing Bach's music was somehow "national work." In 1865 Wagner would claim that Bach embodied "the history of the German spirit's inmost life." That the man most responsible for the revival of a masterwork of German Protestant culture was himself a converted Jew struck contemporaries as less remarkable than it does us today―a statement that embraces both the great achievements and the disasters of 150 years of German history. In this book, Celia Applegate asks why this particular performance crystallized the hitherto inchoate notion that music was central to Germans' collective identity. She begins with a wonderfully readable reconstruction of the performance itself and then moves back in time to pull apart the various cultural strands that would come together that afternoon in the Singakademie. The author investigates the role played by intellectuals, journalists, and amateur musicians (she is one herself) in developing the notion that Germans were "the people of music." Applegate assesses the impact on music's cultural place of the renewal of German Protestantism, historicism, the mania for collecting and restoring, and romanticism. In her conclusion, she looks at the subsequent careers of her protagonists and the lasting reverberations of the 1829 performance itself.

Members of a Jewish Cultural League in Berlin were able to pursue their artistic activities and make and distribute records. Some of the titles recorded in Berlin were released in Palestine from 1934 to 1936 - forming part of the early history of Israel's record industry. These records that are scattered throughout the world for the most part exist only as single copies or test pressings. The repertoire is wide and includes classical music, Yiddish comedians, German cabaret, Palestinian folk son

In this pathbreaking book, Allen Forte uses modern analytical procedures to explore the large repertoire of beautiful love songs written during the heyday of American musical theater, the Big Bands, and Tin Pan Alley. Covering the work of such songwriters as Jerome Kern, Irving Berlin, Cole Porter, George Gershwin, Richard Rodgers, and Harold Arlen, he seeks to illuminate this extraordinary music indigenous to America by revealing its deeper organizational characteristics. In so doing, he aims to establish it as a unique corpus of music that deserves more intensive study and appreciation by scholars and connoisseurs in the broader fields of American popular music and jazz. Expressing much of the traditional tonality associated with European music in the eighteenth and nineteenth centuries, the love songs of the Golden Age are shown to draw on a rich variety of elements--popular harmony, idiomatic lyric-writing, and Afro-American dance rhythms. His analyses of such songs as "Embraceable You" or "Yesterdays" in particular exemplify his ability to convey the sublime, unpretentious simplicity of this great music.

While theatregoers are generally familiar with the names of such pioneers as George M. Cohan, Irving Berlin and Jerome Kern, the names of their black counterparts - Will Marion Cook, George Walker and Bob Cole, among others - are virtually unknown today. Allen Woll aims to remedy that neglect in this book, offering a thoroughly researched account of the evolution of black musical theatre from the turn of the century to the present day. In his discussion of the careers of Ethel Walters, Eubie Blake and Lena Horne, to name just a few of the luminaries considered here and in his outlines and analyses of "A Trip to Coontown", "Shuffle Along", "Porgy and Bess", "Ain't Misbehavin'", "The Wiz", "Dreamgirls" and dozens of other shows, Woll brings the works vividly to life. "Black Musical Theatre" should become an essential reference and guide for anyone interested in theatre and African American history.