101. George Gershwin And The Rhapsody In Blue, Classical Notes, Peter Gutmann by oscar levant with Eugene Ormandy conducting the Philadelphia Orchestra.You may remember levant primarily as an insufferable character in the MGM http://www.classicalnotes.net/features/gershwin.html

It is amazing but true that every 30 years a new technology has revolutionized the process of recording music. In the mid-1890s Emil Berliner's flat disc became the medium of choice over the cylinder, in the mid-1920s electrical recordings swept aside the acoustic process, in the mid-50's stereo overrode mono, and in the mid'80s the CD pushed aside vinyl. It is no less amazing that all but one of these transitions was a smooth and gradual process, in which the predecessors coexisted with the improved newcomer for years, if not decades. Thus, cylinders persisted through World War I, mono discs sold quite well throughout the 'sixties and, notwithstanding the industry's efforts to kill vinyl outright, the fact remains that until quite recently CDs penetrated only a small fraction of the homes with turntables. The only exception was the replacement of the acoustic process with the electrical system. Perhaps the reason was the extreme difference in their quality. Early discs really sounded no different from cylinders (if anything, they sounded worse, as their inner grooves had lower fidelity and higher distortion) and there is little aesthetic difference between stereo and a good mono recording or between a CD and a well-preserved LP. But the difference between acoustic and electrical recordings is unmistakable. The acoustic process, it should be remembered, approached sound much like the human ear. A horn gathered the sound and concentrated it on a diaphragm, whose vibrations were transferred to a stylus, which made a corresponding engraving on a wax cylinder or disc. The process was purely mechanical; the original acoustic energy was transferred directly to the record.

102. ASI Satellite Collections L Lorna levantdaughter of oscar levant (19061972). oscar levant was an Americanpianist, composer, and author who studied briefly (1935-1937) with http://www.usc.edu/isd/archives/schoenberg/sat-l.htm

ASI Satellite Collections L Lambro, Phillip, 1935- [ Collection, 1945-1997: 2 folders (211 leaves, 6 recordings) Phillip LambroAmerican composer and conductor who recorded for the film industry. He worked in the publicity department of G. Schirmer (Schoenberg's primary American publisher) in New York (1960-1963). Contents excerpt of memoirs documenting Lambro's time at G. Schirmer (2 versions: 81 and 77 leaves), including transcripts and photocopies of Schoenberg/G. Schirmer correspondence catalog, G. Schirmer (photocopy) (ca. 1949) correspondence (41 items: 1945-1997) programs (7 items: 1964-1987) publicity brochure on Lambro (3 copies) recordings (6 cassettes, noncommercial) Correspondents ASI (R. Wayne Shoaf (1 item: 1990)) Phillip Lambro (3 items: 1990, 1997) Los Angeles Philharmonic Orchestra Trumpet Section (Irving Bush (1 item: 1981)) G. Schirmer (Hans Heinsheimer (14 items: 1947-1950)) Arnold Schoenberg (21 items: 1945-1950) Leopold Stokowski (1 item: 1963) (updated 19 September 1997) Back Lateiner, Jacob, 1928- [

103. Singin' In The Rain (1952) studio musician Cosmo Brown (Donald O Connor playing a role modeled afterpianist/songwriter oscar levant), Don Lockwood s best friend and longtime http://www.filmsite.org/sing.html

Singin' In The Rain (1952) Greatest Films www.filmsite.org and www.greatestfilms.org With descriptive review commentaries and background history on many classic, landmark films in cinematic history, especially American/Hollywood films. Including posters, Academy Awards history, film genres, film terms, film history by decade, trivia, and lots of lists of 'best' films, stars, scenes, quotes, resources, etc. Buy This Film Singin' in the Rain (1952) is one of the most-loved and celebrated film musicals of all time from MGM, before a mass exodus to filmed adaptations of Broadway plays emerged as a standard pattern. The joyous film, co-directed by Stanley Donen and acrobatic dancer-star-choreographer Gene Kelly, is a charming, up-beat, graceful and thoroughly enjoyable experience with great songs, lots of flashbacks, wonderful dances (including the spectacular Broadway Melody Ballet with leggy guest star Cyd Charisse), casting and story. This was another extraordinary example of the organic, 'integrated musical' in which the story's characters naturally express their emotions in the midst of their lives. Song and dance replace the dialogue, usually during moments of high spirits or passionate romance. And over half of the film - a 'let's put on a play' type of film, is composed of musical numbers. This superb film, called "MGM's TECHNICOLOR Musical Treasure," was produced during MGM studios' creative pinnacle. From the late 1930s to the early 1960s, producer Arthur Freed produced more than forty musicals for MGM. The creative forces at the studio in the Freed Unit - composed of Freed, Vincente Minnelli, Stanley Donen, and actor/choreographer Gene Kelly - also collaborated together to produce such gems as

104. Raykoff Article Part 5, Volume 2 Issue 1 Spring 2000 That conquest is achieved by Gene Kelly, levant’s costar in An American in Paris, Here Kelly plays pianist Andrew Miller, an American in Rochefort who http://www.echo.ucla.edu/Volume2-Issue1/raykoff/raykoff-article-part5.html

Shine (1996), purportedly the "true story" of pianist David Helfgott’s early career, his struggle against mental illness, and his redemption through the nurturing woman who "saves" him and eventually marries him. As a further narrative about confrontation with the patriarchal social order, Shine Thus Shine Shine is Rachmaninoff’s Third Piano Concerto in D minor, op. 30. Part of the film’s hype involved fetishizing the technical difficulty and musical challenge of this piece (witness popular press articles such as "Between the Rach III and a Hard Place: A Notoriously Brutal Concerto Stars in a New Film" ) in order for its practice and performance scenes to carry dramatic impact. "It’s a piece for elephants, elephantine!" David chatters. His piano teacher warns David’s demanding father, "Whatever you do, don’t you inflict bloody Rachmaninoff on him! He’s not ready!" The professor exhorts David to imagine the "monumental Rach 3" in terms of a confrontation between concerto agents: "Think of it as two separate melodies jousting for supremacy!" The concerto performance itself is presented as a dangerous interaction: "Performing is a risk, you know! No safety net!" his professor warns him. "Make no mistake, David—it’s dangerous. You will get hurt!"

105. Premier Collections The Kraft Music Hall Starring Al Jolson oscar levant plays portions of a Rachmaninoff piano concerto and Brahms Lullaby . oscar levant plays a piano selection by Khatchakurian. http://www.radioarchives.org/PC09.htm

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