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Subject: VRCS at ARSC, this Thursday, 12/15
From: Bob Kosovsky <[log in to unmask]>
Reply-To:Bob Kosovsky <[log in to unmask]>
Date:Tue, 13 Dec 2016 10:11:17 -0500
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ARSC New York Chapter
<http://www.arsc-audio.org/chapters/newyorkchapter.html>

December 2016 Meeting
7:00 P. M. Thursday, Dec. 15, 2016

At the CUNY Sonic Arts Center
West 140th Street & Convent Avenue, New York
Or enter at 138th Street off Convent Avenue
Shepard Hall (the Gothic building)  — Recital Hall (Room 95, Basement level)
An elevator is located in the center of the building


SIXTY YEARS OF THE VOCAL RECORD COLLECTORS SOCIETY

Moderated by Joe Pearce and Seth Winner

Founded in 1956, the VRCS is the leading U. S. organization of collectors
and connoisseurs of vocal recordings. In addition to monthly meetings on
Manhattan’s Upper East Side, the VRCS issues an annual compendium of
scarce and choice recordings gathered on CD as chosen by the membership.
These issues have spread the organization’s name throughout the world.

Joe Pearce is the longest continuing member of the Vocal Record Collectors
Society of New York (VRCS) and its current President (since 2008),
Treasurer (since 2014), and Secretary (since 1974). The host of annual
Favorite Record Programs, he has conducted monthly record auctions for
over thirty years. His reviews and commentary on records, books,
opera-related (and other) films and videos, opera and concert
performances, etc., have appeared in OPERA QUARTERLY, THE RECORD
COLLECTOR, WAGNER NOTES, OPERA FANATIC, the NEW YORKER STAATS-ZEITUNG, and
the INTERNET MOVIE DATABASE. He has contributed to the late Ken Wlaschin’s
ENCYCLOPEDIA OF OPERA ON  SCREEN, Richard T. Soper’s NORDIC VOICES, Stefan
Zucker’s FRANCO CORELLI & A REVOLUTION IN SINGING, Nicholas Limansky’s
EARLY 20TH CENTURY OPERA SINGERS, and to various published articles and
discographies. As a vocal historian, he has since 1962 given or
participated in well over 100 opera-related programs in the New York area.
He was also a guest on various opera- related broadcasts, e.g. George
Jellinek’s THE VOCAL SCENE, =
Stefan Zucker’s OPERA FANATIC, Doug Fox’s EVENING AT THE OPERA, etc., and
appeared with Jerome Hines and Anna Moffo in a Belgian television
documentary devoted to the history and demise of THE VOICE OF FIRESTONE
(of whose telecasts, together with radio broadcasts of THE TELEPHONE HOUR,
he was a dedicated weekly attendee in adolescence for about five years
back in the 1950s). A retired banker, third baseman of limited talent,
strong-lunged amateur tenor of surpassing negligibility, lifelong devotee
of films, and opera-lover and collector of classical recordings since
childhood, his stated ambition in retirement is to live only as long as it
takes to hear, see and read everything.

Seth Winner founded Seth B. Winner Sound Studios in 1990. He has earned
three Grammy Nominations and two honorable mentions from NARAS for
remastering projects for the New York Philharmonic and two Duke Ellington
compilations that appeared on MCA/GRP and BMG. Preservation and mastering
projects have been undertaken for diverse clients, including the Minnesota
Orchestra, Metropolitan Opera, Sony Music, Pavilion Records, Ltd., Bridge,
Crystal, Sheffield Labs, Universal Music Group, the Cy Walter Archives,
the Schnabel Family Foundation, the Benny Carter and Benny Goodman
Collections housed at Rutgers University's Institute of Jazz Studies, the
Bach Aria Group, and a 4-CD package devoted to Jussi Bjo=CC=88rling's
American radio broadcasts (issued by the American JB Society on the WHRA
label), which won critical praise for its technical quality. Since 1989,
he has remastered the critically acclaimed Vocal Record Collectors'
Society Annual Issues. As a sound engineer for over 27 years at the New
York Public Library, he has supervised the preservation of many
collections. He did the initial engineering preserving the Toscanini
Collection, and contributed to the release of that conductor’s nearly
complete commercial discography on BMG in 1992. In 2014, he completed a
two-year NARAS-sponsored conservation and preservation project of New York
Philharmonic World War II-era broadcasts on glass- based lacquer coated
discs. From 1996-2004, he was co-chair with Gary Galo of ARSC's Technical
Committee and a contributor to the CLIR Technical Report concerning
analogue identification, conservation and preservation. He has contributed
to the design and construction of studios for Harvard University, The
University of Missouri at Kansas City, The Edison National Historical Site
and The International Piano Archives at Maryland.


DIRECTIONS TO THE SONIC ARTS CENTER
Subway: Take the 1 train to 137th Street City College and walk north to
140th St. & Broadway,
then go east to 140th St. & Convent Avenue. Take the A, B, C, or D trains
to 145th St, go south on St. Nicholas to 141st St, (one long block), then
west one block to Convent Avenue, and south one more block to 140th &
Convent Avenue.

Bus: M4 and M5 on Broadway; M 100, 101 on Amsterdam Ave. (one block West
of Convent Avenue)

The Sonic Arts Center at CCNY offers 4-year Bachelor of Fine Arts degrees
in Music with a concentration in Music and Audio Technology. Their program
provides an in-depth curriculum emphasizing real-world skills with a
project-based approach. Students enjoy a well-rounded program, with
emphasis on audio technology, music theory, orchestration, and history to
help them compete in a field that today demands an ever-growing and highly
diverse skill set.

All ARSC NY Chapter meetings are free and open to the public.

Voluntary contributions to help defray our expenses are welcome!


--
posted by

Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts,
Music Division, The New York Public Library for the Performing Arts
blog:  http://www.nypl.org/blog/author/44   Twitter: @kos2
   Listowner: OPERA-L ; SMT-ANNOUNCE ; SoundForge-users
--- My opinions do not necessarily represent those of my institutions ---

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