Podcast appearances and mentions of Victor Herbert

TVC 685.1: Ed and guest co-host Chuck Harter welcome author, voice artist, radio host, and Laurel and Hardy historian Randy Skretvedt. Randy's latest book, March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland, is a detailed, behind-the-scenes look at the making of March of the Wooden Soldiers (1934), the adaptation of the Victor Herbert operetta Babes in Toyland (which, in fact, was the title of Wooden Soldiers when it was originally released) that not only has remained a holiday tradition on television since the early 1950s, but was reportedly Stan Laurel's favorite film of the ones with he did with Oliver Hardy. Topics this segment include how March of the Wooden Soldiers was originally intended as an Eastertime release in 1934, as well as the many delays that plagued the production of the movie. March of the Wooden Soldiers: The Amazing Story of Laurel & Hardy's Babes in Toyland is available from Bonaventure Press.

Victor Herbert - Irish RhapsodySlovak Radio Symphony OrchestraKeith Brion, conductorMore info about today's track: Naxos 8.559027Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Welcome to the Instant Trivia podcast episode 1200, where we ask the best trivia on the Internet. Round 1. Category: Map Happy 1: Its name says where it's at. South Africa. 2: "Zone" in on this country important to world commerce. Panama. 3: Zone in on this country, important to world commerce. Panama. 4: A bit of serendipity will lead you to this country's name. Sri Lanka. 5: Nation where Bolivar is buried. Venezuela. Round 2. Category: Tea Time Movie 1: Disney's "Johnny Tremain" takes part in this Dec. 16, 1773 incident. the Boston Tea Party. 2: Johnny Depp is at least eccentric as this tea party guest in 2010's "Alice in Wonderland". the Mad Hatter. 3: The title character of "Rikyu" teaches this painstaking routine to the fierce warlord Hideyoshi. the Japanese tea ceremony. 4: Jack Black as this character has tea with the dolls of a Brobdingnagian girl. Gulliver. 5: In "Tea with Mussolini", Cher plays a character based on this American art patron who spent a lot of time in Italy. Peggy Guggenheim. Round 3. Category: Phrases That Sell 1: "Obey your thirst" and drink this. Sprite. 2: "Be all that you can be" in this military branch. the Army. 3: This network says it's "The most trusted name in news". CNN. 4: This shipping company asks, "What can Brown do for you?". UPS. 5: It's the popular query in Verizon's TV ads. Can you hear me now?. Round 4. Category: Pat. With Pat in quotation marks 1: Let's take our drinks outside onto this paved lounge area. patio. 2: Adjective meaning characteristic of being a father. paternal. 3: Want a good pastry? Go to this French type of store that specializes in them. a patisserie. 4: A regional form of a language, not necessarily French. patois. 5: It's the murder of one's own father. patricide. Round 5. Category: Babes 1: In his career, he walked a record 2,056 times. Babe Ruth. 2: If Paul Bunyan sang "I Got You Babe", he'd be referring to one of these animals. an ox. 3: It's where Victor Herbert set his "Babes". Toyland. 4: She set records in the 1932 Olympics in the javelin throw and the 80-meter hurdles. Babe Didrikson. 5: Nicknamed "Babe", this early film comedian played The Tin Woodsman in 1925's "The Wizard of Oz". Oliver Hardy. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

durée : 01:28:02 - En pistes ! du vendredi 03 mai 2024 - par : Emilie Munera - Emilie et Rodolphe vous proposent de clôturer la semaine en parcourant les œuvres de Jean Sibelius, Frédéric Chopin, Nikolaus Matthes, Victor Herbert, Gabriel Fauré et Mozart, mais également celles de Jacques Hardel et François Couperin. En pistes !

This Saturday's "Saturday Matinee" on Vintage Classic Radio will kick off with "The Great Gildersleeve,” where the episode "Selling the Drugstore" from February 22nd, 1942, takes us on a humorous journey with Throckmorton P. Gildersleeve, a character spun off from "Fibber McGee and Molly." In this episode, Gildersleeve contemplates selling the drugstore he's come to own, leading to a series of comedic events and moral dilemmas. The cast features Harold Peary as Gildersleeve, Walter Tetley as Leroy, Lillian Randolph as Birdie, Earle Ross as Judge Hooker, and Richard LeGrand as Mr. Peavey, among others, contributing to the show's unique blend of humor and heartfelt moments. Following that, we'll enjoy "The Burns and Allen Show" in the episode "Jack Benny in the Beauty Shop," originally broadcasted on November 2nd, 1943. This episode showcases the unmatched chemistry of George Burns and Gracie Allen in a hilarious mix-up involving Jack Benny at a beauty shop, leading to a flurry of misunderstandings and witty banter. The episode stars George Burns and Gracie Allen themselves, with Jack Benny playing his own notoriously stingy persona, alongside regulars like Bill Goodwin, the announcer, and musicians like Meredith Willson. To round out our matinee, "The Railroad Hour" presents the musical episode “Orange Blossoms” from February 11th, 1952. This production is a delightful adaptation of the operetta by Victor Herbert, telling a romantic and slightly comedic tale set against the backdrop of the French Riviera. The episode stars Gordon MacRae, bringing his vocal talents to the fore as the lead, with support from Lucille Norman, adding charm and depth to the musical numbers and narrative. Each show from our lineup offers a unique glimpse into the golden age of radio, from the comedic antics of beloved characters in "The Great Gildersleeve" and "The Burns and Allen Show" to the melodious romance of "The Railroad Hour." Together, they create a Saturday matinee that promises laughter, music, and a touch of nostalgia.

The Railroad Hour "The Only Girl" March 3, 1950 NBC The Railroad Hour "The Princess Pat" May 22, 1950 NBC 

Broadcast on Serenade Radio on 15th February, 2024 Name Artist Album Year Comments The American Girl Two Step Ron Rhode Thine Alone: The Music Of Victor Herbert [Roxy RP-115-CD] 2004 5-80 Wurlitzer, Sanfilippo Residence, Barrington IL Kiss Me Again Ernest Broadbent The Organist Entertains [BBC Records REC 72M] 3-13 Wurlitzer, Empress Ballroom, Blackpool The Streets Of New York George Wright Live At The Rialto [Banda 109759-2] 1971 2-10 Wurlitzer, Rialto Theatre, South Pasadena Fleurette Alex Jones ATOS 2018 Pasadena Highlights 2018 3-19 Wurlitzer, Barnum Hall, Santa Monica, CA Ah, Sweet Mystery of Life Joseph Seal Golden Hour of Theatre Organ Favourites [Pye GH 517] 1971 3-12 Wurlitzer, ABC Theatre, Kingston-Upon-Thames Italian Street Song David Hegarty A Live! Symphonic Organ Pops Concert 2012 6-389 Harrah Symphonic Organ, Hurricane, West Virginia; part pipes, part Walker Digital I'm Falling In Love With Someone Dudley Savage A Touch Of Romance [DS 1] 1995 3-7 Compton plus Melotone & Solo Cello, Compton House (Ralf Krampen) Brey-am-Rhine, Germany; ex-Regal, Putney (3-6) When You're Away John Duffy Duffy At The Organ [London HA-U2012] 1957 3-10 Wurlitzer-Gottfried, CBS-KNX Studios, Columbia Square, Hollywood, CA; ex-Legion (Capitol) Theatre, Walla Walla, WA Cuban Serenade Tiny James Farewell To The Fox [Fantasy CD] 1963 4-36 Wurlitzer, Fox Theatre, San Francisco March of the Toys Allen Mills An Old Fashioned Christmas [McIver Recording DM-068] 1985 3-18 Wurlitzer, Proctor's Theatre, Schenectady, NY

American History Stories brings our early history alive and gives modern listeners an idea of what it was like to be glued to our radios before we got our news from the internet and 24 hour news cycles. Including dramatizations of events before radio and live radio broadcasts from pivotal points in American history. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

Broadcast on radio from 1935 to 1953, Cavalcade of America was an anthology drama series that documented historical events, often through dramatization. In addition, it occasionally presented musicals, such as an adaptation of Show Boat, and condensed biographies of popular composers. It was later on television from 1952 to 1957. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

Synopsis Today's date marks the original Columbus Day, honoring the Italian explorer who for decades was described as the man who “discovered America.” In recent years Native American leaders have pointed out that indigenous peoples had been living on the continent for thousands of years, and Columbus didn't “discover” anything — in fact, he didn't even know where he was, which is why he called the people he found here “Indians.” Some historians now think that Viking explorers from Scandinavia arrived in America long before Columbus – and others suggest the Chinese arrived before those Europeans. Even so, it's Columbus who has a national holiday (now always observed on the closest Monday in October), and concert music written to celebrate it. For example, there's a “Columbus Suite” by Victor Herbert, originally commissioned for the 1893 Chicago World Fair to celebrate the 400th anniversary of the Columbus voyage, but not actually premiered until 1903. A much more recent “Columbus-inspired” work, and much more elegiac in tone, is by the Native American composer James DeMars. It's titled: “Premonitions of Christopher Columbus” and is scored for Native American flute, African drum, and chamber orchestra. In this work, DeMars blends sounds of the various ethnic traditions that would come to make up modern America. Music Played in Today's Program Victor Herbert (1859-1924) Columbus Suite Slovak Radio Symphony; Keith Brion, cond. Naxos 8.559027 James DeMars (b. 1952) Premonitions of Christopher Columbus Tos Ensemble with R. Carlos Nakai, Native American flute Canyon 7014 On This Day Births 1686 - German composer and lutenist Silvius Leopold Weiss, in Breslau; 1713 - Baptismal date of German composer Johann Ludwig Krebs, in Butterstedt, Weimar; 1872 - English composer Ralph Vaughan Williams, in Down Ampney, Gloucestershire; 1880 - English-born Canadian composer and organist Healey Willan, in London; Deaths 1692 - Italian composer Giovanni Battista Vitali, in Bologna, age 60; Premieres 1910 - Vaughan Williams: "A Sea Symphony" (after Walt Whitman) at the Leeds Festival; 1924 - Mahler: Symphony No.10 (1st and 3rd movements only), arranged by Ernest Krenek (with additional retouching by Alexander von Zemlinksy and Franz Schalk), by Vienna Philharmonic, Franz Schalk conducting; The American premiere of these two movements was give on Dec. 6, 1949, by the Erie (Pa.) Philharmonic conducted by the composer's nephew, the Austro-American conductor Fritz Mahler (1901-1973); The English musicologist Deryck Cooke prepared the first performing edition of Mahler's entire Tenth Symphony which received its first performance on August 13, 1964, by the London Symphony conducted by Berthold Goldschmidt; Since then, Cooke has revised his arrangement, and several other musicologists have prepared their own rival performing editions of Mahler's surviving notation for this symphony; 1931 - Rachmaninoff: “Variations on a Theme of Corelli (La Folia)” for solo piano, in Montréal (Canada), by the composer; 1951 - Bizet: opera "Ivan le Terrible" (posthumously), in Bordeaux; 1951 - Dessau: opera "Die Verurteilung des Lukullus" (The Trial of Lucullus) (2nd version), in East Berlin at the Deutsche Staatsoper; 1961 - Douglas Moore: opera "The Wings of the Dove" (after the novel by Henry James), in New York; 1971 - Andrew Lloyd Webber: rock musical "Jesus Christ Superstar," in New York City; A choral version of this musical was performed in Kansas City, Kan. On May 15, 1971, and a touring company was launched to present the musical on July 12, 1971; Prior to any staged presentations, the work was first released as a double LP record album in October of 1970; 1984 - Olly Wilson: "Siinfonia," by the Boston Symphony, Seiji Ozawa conducting; 1984 - Ellen Taaffe Zwilich: "Celebration" for orchestra, by the Indianapolis Symphony, John Nelson conducting; 1997 - Sallinen: "Overture Solennel," in Monaco by the Monte Carlo Philharmonic, James DePreist conducting; 1998 - Philip Glass: opera "The Voyage," at the Metropolitan Opera in New York, Bruce Ferden conducting; 2000 - Rautavaara: Harp Concerto, in Minneapolis with harpist Kathy Kienzle and the Minnesota Orchestra, Omso Vänskä conducting; Others 1739 - Handel completes in London his Concerto Grosso in Bb, Op. 6, no. 7 (Gregorian date: Oct. 23). Links and Resources On Columbus Day On Victor Herbert On James DeMars

This special Encore episode of Broadway Nation celebrates the birthdays this week of two of Broadways greatest composers -- George Gershwin & Vincent Youmans. Both were born 124 years ago in 1898 and they came into the world just one day apart – Gershwin on September 26, and Youmans on September 27. And even though they were both born in NYC, they came from different worlds.  Gershwin's parents were Russian-Jewish immigrants, and George grew up on the Lower East Side where his father worked in a shoe factory and George dropped put of school at 15 to go to work. Youmans, however, was born into the lap of luxury – his father was a wealthy hat manufacturer, and Vincent grew up in Larchmont, NY, attended the exclusive Trinity School, and eventually Yale University. But despite their differences, over the next 30 years their lives would often be intertwined. Both fell in love with music and show business, both began their careers as Tin Pan Alley song pluggers, and both served as rehearsal pianists on Broadway musicals that were composed by Victor Herbert.  Gershwin made his Broadway debut as a composer in 1918 and had his first hit song the following year with “Swanee”, which had lyrics by Irving Caesar. Their song became an absolute sensation when Al Jolson incorporated it into his hit show Sinbad. Youmans had to wait until 1921 to make his Broadway debut with the musical Two Little Girls In Blue. Interestingly, the lyrics for that show were written by George's older brother, Ira Gershwin. Both Gershwin and Youmans achieved international fame and fortune on Broadway during the 1920s, creating hit shows and hit songs that still define the era. George archived his greatest successes when he finally teamed up with his brother, Ira. And Youmans biggest hits were created in collaboration with George's early partner, Irving Caesar. All of this took place during the first decade of what I call the “Silver Age of Broadway” – which is the focus of this episode. Strangely, both composers would die young, way before their time -- Gershwin of a brain tumor in 1937, and Youmans of Tuberculosis a decade later. This episode is dedicated to them and to all the amazing men and women who epitomized the Jazz Age on Broadway. Learn more about your ad choices. Visit megaphone.fm/adchoices

Released for AFRTS August 14, 1964 episode 585. J Strauss' Kaiserstadt Polka, Victor Herbert's Irish Rhapsody, Debussy's Gollywogs Cakewalk" and Gounod's Faust Waltz.

Today's WPMT premiere of "Sweethearts" features music by Victor Herbert and stars movie greats Jeanette MacDonald and Nelson Eddy, originally heard on the March 25th, 1946 episode of The Screen Guild Theater! Tune in at 1 PM CT on Facebook, Spotify, Youtube and all major podcast platforms!

July 17 is the 108th birthday of Eleanor Steber, surely one of the all-time greatest singers that the United States has ever produced (as well as one of the most versatile and technically-accomplished!) In long overdue Countermelody tribute to this exceptional artist, I present the first of two very special episodes honoring Eleanor. After the “usual” career overview featuring mostly live highlights from her operatic appearances all over the world, I turn the stage (or in this case the mic), over to my dear friend Michelle Oesterle, founder and conductor of the Manhattan Girls Chorus, who was also Eleanor Steber's stepdaughter. As such she spent time (especially in the summer months) with her father and Eleanor at Melody Hill, Eleanor's estate on Long Island. She provides us with an unparalleled intimate portrait of Eleanor as woman and as singer and describes the profound influence that Eleanor had in her life, as well as the characteristics that combined to make her the profoundly appealing and moving interpreter that she was. She also addresses the white elephant in the room, that is, Eleanor's alcoholism, and makes a plea for tolerance and understanding vis-à-vis this serious disease. The Steber tribute will continue with a further episode sometime in the next month. For now, let us raise our glasses (of sparkling mineral water), in tribute to this phenomenal artist, the like of which we will never see again. Musical selections range from Victor Herbert to Alban Berg and everything in between. Thank you, Michelle, and evviva Eleanor! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Join us today at 1 PM CT for the musical farce “The Red Mill” with music by Victor Herbert, book and lyrics by Henry Blossom and additional lyrics by Forman Brow. Featuring screen stars Gene Kelly, Lucille Norman and Gordon MacRae with Alan Reed! Listen in on Youtube, Facebook, Spotify and all major podcast platforms.

Our final report from the 2022 Manx Music Festival - in PART ONE you can hear the children who won their individual solo singing classes, and in so doing earned a place in the Sheffield Plate competition - the Festival's highest award for the most promising young voice. They are: Penny Lavery - winner of the solo class for age 10 & 11 singing The Jaguar, accompanied by Madeline Kelly Zac Colligon - winner of the solo class for age 12 - 14 singing The Wizard, accompanied by Frank Woolley Theo Hills - winner of the solo class for age 5 - 9 singing Pirates, accompanied by Wendy McDowell Cara Rowles - winner of the solo class for age 8 & 9 singing The Little Spanish Town accompanied by Wendy McDowell Breesha Kelsey - winner of the solo class for age 12 & 13 singing Friend of the Ocean, accompanied by Frank Woolley Kirsten Loach - winner of the solo class for ages 14 & 15 singing The Water Is Wide, accompanied by Wendy McDowell Lyla King - winner of the solo class for ages 6 -7 singing Out In The Garden, accompanied by Wendy McDowell. Lyla is this year's winner of the Sheffield Plate. Her teacher is Mrs Olivia Landels and this is the first time Lyla has taken part in the Guild ! This is followed by three of the six contenders for the Cleveland Medals: Mezzo soprano Debbie Gooding singing Art Is Calling For Me by Victor Herbert, accompanied by Frank Woolley Soprano Morag Withey singing Laudate Dominim by Mozart, accompanied by Madeline Kelly Baritone Matthew Quinn singing Eri tu from Un Ballo in Maschera by Verdi, accompanied by Patricia Cullen Select Today at The Guild - The Finals Part Two for the rest of the Cleveland Medal Test and other winning performances from the concluding days of the Manx Music Festival The Manx Music Festival is featured on Manx Radio's YouTube channel - watch our series of videos featuring competitors, adjudicators, Guild veterans .... and more.... Copy and paste this link into your browser: https://www.youtube.com/channel/UCG4nB2TvNY2At0WYeF0jDzg?view_as=subscriber Subscribe for free and don't miss new episodes. To check results, find details of classes etc go to www.manxmusicfestival.org To see photos of class winners, and get up-to-the minute Guild news, follow the Manx Music Festival on social media - https://www.facebook.com/ManxMusicFestival

Una vez que el público aprendió a afrontar la prohibición como un hecho de la vida, ésta se convirtió en una fuente de diversión. Con José Manuel Corrales.

Synopsis April 29th fell on Sunday in the year 1906, and readers of The New York Times photogravure supplement were able to view scenes of the terrible destruction in San Francisco that followed the great earthquake that struck that city just 11 days before. The paper was filled with accounts of the suffering caused by the quake, and undoubtedly, many New Yorkers asked themselves what they could do to help. The New York musical community provided one answer by quickly arranging a number of benefit concerts. The largest of these occurred on today's date that year at New York's Hippodrome, and was organized by the popular composer Victor Herbert, who conducted his orchestra with Metropolitan Opera singer Ernestine Schumann-Heink as a featured soloist. The vast Hippodrome was completely sold out, with standing-room-only tickets filling the aisles. Seven thousand dollars were raised, which by today's standards seems a rather modest sum, but by 1906 standards was impressive enough to make newspaper headlines. Perhaps New York musicians and their audiences felt a personal affinity with the quake victims, as their own Metropolitan Opera Company, including its star tenor Enrico Caruso, was on tour in San Francisco when the quake struck on April 18th, and, as the Times reported, the Met's touring orchestral musicians, almost without exception, lost their instruments. That bit of news must have struck a special chord with Victor Herbert. In 1886, both he and his wife had come to America from Europe to join the Metropolitan Opera – he as an orchestral cellist, and she as a soprano soloist. Music Played in Today's Program Victor Herbert (1859–1924) — Cello Concerto No. 1 (Lynn Harrell, cello; St. Martin's Academy; Sir Neville Marriner, cond.) London 417 672

Broadcast on radio from 1935 to 1953, Cavalcade of America was an anthology drama series that documented historical events, often through dramatization. In addition, it occasionally presented musicals, such as an adaptation of Show Boat, and condensed biographies of popular composers. It was later on television from 1952 to 1957. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

Bill reads today's issue (or at least this day in 1823) of the Troy Sentinel. The issue includes beekeeping tips, hogsheads of rum, an enormous pig, news on the Morales expedition, a Christmas poem from an anonymous reader…   Links/sources:   Troy Sentinel (Dec. 23, 1823): https://nyshistoricnewspapers.org/lccn/sn83031777/1823-12-23/ed-1/seq-3/   Victor Herbert's Orchestra, "Nutcracker Ballet: Chinese Dance / Dance of the Mirilitons" (1913): https://archive.org/details/Voices_of_Christmas_Past_1898_to_1922/16_NutcrackerBalletChineseDanceDanceoftheMirilitons.flac   "O Tannenbaum": https://archive.org/details/78_o-tannenbaum_orchefter-mit-gloden_gbia0010664b   Ken Griffin, "Silent Night" (1950): https://archive.org/details/78_adeste-fideles-o-come-all-ya-faithful_ken-griffin-mohr-gruber_gbia0097796/03   Charles R. Cronhom, "It Came Upon the Midnight Clear / Shepherd's Christmas Song / I Saw Three Ships a-Sailing" (1960): https://archive.org/details/78_it-came-upon-the-midnight-clear-shepherds-christmas-song-i-saw-three-ships-asai_gbia0034356a/   Ken Griffin, "O Come All Ye Faithful" (1950): https://archive.org/details/78_adeste-fideles-o-come-all-ya-faithful_ken-griffin-mohr-gruber_gbia0097796/03   Ernest Hare, "The Night Before Christmas" (1920): https://archive.org/details/Voices_of_Christmas_Past_1898_to_1922/15_NightBeforeChristmas.flac   Andrew Kostelantetz & His Orchestra, "Nutcracker Suite, Op. 71" (1924): https://archive.org/details/78_nutcracker-suite-op.-71a.-march---dance-of-the-sugar-plum-fairy_andre-kostelantetz_gbia0001232a   Edison Male Quartette, "Sleigh Ride Party / Jingle Bells" (1898): https://archive.org/details/Voices_of_Christmas_Past_1898_to_1922/03_SleighRidePartyJingleBells.flac  

Leonard Bernstein's "Candide" is an operetta. An operetta is like an opera, with one big difference. In opera, everything is sung, but in operetta, there are spoken lines between the singing. Composers who wrote operettas in English include Sir Arthur Sullivan (who can't be separated from William S. Gilbert, who wrote the words for Gilbert and Sullivan operettas), Victor Herbert, Sigmund Romberg, and Rudolf Friml.

In London on today’s date in 1896, the Czech composer Antonín Dvořák conducted the first performance of his Cello Concerto in b minor. Two years earlier, while teaching at the National Conservatory in New York, Dvořák attended the Brooklyn premiere of a Cello Concerto by the American cellist and composer, Victor Herbert. Herbert had been the principal cellist for the premiere performance of Dvořák’s “New World” Symphony at Carnegie Hall. Herbert was a superb player and the soloist in the premiere of his own concerto. After the concert, Dvořák rushed backstage, embraced Herbert, and told him his concerto was “splendid—simply splendid.” Inspired by Herbert’s example, Dvořák began a Cello Concerto of his own, completing it in just three months. It was the last work he completed during his three-year stay in America, but on the final page of his manuscript score, he wrote: “I finished the Concerto in New York, but when I returned to Bohemia I changed the end completely the way it stands here now.” The concerto was written for and dedicated to Dvořák’s countryman, the Czech cellist Hanuš Wihan, but due to a scheduling conflict, a British soloist named Leo Stern played its world premiere in London.

In London on today’s date in 1896, the Czech composer Antonín Dvořák conducted the first performance of his Cello Concerto in b minor. Two years earlier, while teaching at the National Conservatory in New York, Dvořák attended the Brooklyn premiere of a Cello Concerto by the American cellist and composer, Victor Herbert. Herbert had been the principal cellist for the premiere performance of Dvořák’s “New World” Symphony at Carnegie Hall. Herbert was a superb player and the soloist in the premiere of his own concerto. After the concert, Dvořák rushed backstage, embraced Herbert, and told him his concerto was “splendid—simply splendid.” Inspired by Herbert’s example, Dvořák began a Cello Concerto of his own, completing it in just three months. It was the last work he completed during his three-year stay in America, but on the final page of his manuscript score, he wrote: “I finished the Concerto in New York, but when I returned to Bohemia I changed the end completely the way it stands here now.” The concerto was written for and dedicated to Dvořák’s countryman, the Czech cellist Hanuš Wihan, but due to a scheduling conflict, a British soloist named Leo Stern played its world premiere in London.

Today we observe an important anniversary for what we now call “intellectual property.” On today’s date in 1914, ASCAP—the American Society of Composers, Authors, and Publishers—was founded in New York City. Its first director was the composer Victor Herbert, who, the story goes, once heard a hotel orchestra playing some of his music. Now, you might think Herbert would be pleased, but actually he was furious. His music was supposedly protected by copyright, but Herbert realized he wasn’t receiving royalty payments from the hotel or the performers. Long before Muzak and other recorded background music, live musical performances in commercial settings like hotels and restaurants were common, but enforcement of copyright law and the collection of royalty payments woefully rare. Helping to found ASCAP was Herbert’s way of improving the chances that his fellow composers, songwriters, lyricists, and music publishers could earn a decent living from their creative works. Herbert was 55 years old in 1914, and a string of Broadway hits such as “Babes in Toyland” and “Naughty Marietta” had made him the early 20th century equivalent of Stephen Sondheim or Andrew Lloyd Webber – and Herbert would probably be very gratified that both Sondheim and Lloyd Webber would later become ASCAP members themselves.

Today we observe an important anniversary for what we now call “intellectual property.” On today’s date in 1914, ASCAP—the American Society of Composers, Authors, and Publishers—was founded in New York City. Its first director was the composer Victor Herbert, who, the story goes, once heard a hotel orchestra playing some of his music. Now, you might think Herbert would be pleased, but actually he was furious. His music was supposedly protected by copyright, but Herbert realized he wasn’t receiving royalty payments from the hotel or the performers. Long before Muzak and other recorded background music, live musical performances in commercial settings like hotels and restaurants were common, but enforcement of copyright law and the collection of royalty payments woefully rare. Helping to found ASCAP was Herbert’s way of improving the chances that his fellow composers, songwriters, lyricists, and music publishers could earn a decent living from their creative works. Herbert was 55 years old in 1914, and a string of Broadway hits such as “Babes in Toyland” and “Naughty Marietta” had made him the early 20th century equivalent of Stephen Sondheim or Andrew Lloyd Webber – and Herbert would probably be very gratified that both Sondheim and Lloyd Webber would later become ASCAP members themselves.

On today’s date in 1918, the celebratory “American Fantasy” of the Dublin-born American composer Victor Herbert opened the first program of the newly-formed Cleveland Orchestra. Cleveland had reason to celebrate. World War I had ended one month earlier, and, for some time, city organizers had been trying to build a hometown orchestra. In December of 1918, Father John Powers of St. Ann’s Church wanted to give a concert to raise some money for his parish, and, as Father Powers also happened to be a fine Irish tenor, offered to perform on the same bill as the new orchestra, just in case the untried ensemble of 54 didn’t prove to be a sufficient box-office attraction. So, along with Father Power’s songs and Herbert’s “American Fantasy,” conductor Nikolai Sokoloff lead the Orchestra in Bizet’s “Carmen” Suite, Tchaikovsky’s Fourth Symphony, Liadov’s tone poem “The Enchanted Lake,” and, for a rousing closer, Liszt’s tone poem “Les Preludes.” Over the next 100 years, especially during the period when George Szell was music director of the Cleveland Orchestra, the ensemble came to be regarded as one of the best in the world.

On today’s date in 1918, the celebratory “American Fantasy” of the Dublin-born American composer Victor Herbert opened the first program of the newly-formed Cleveland Orchestra. Cleveland had reason to celebrate. World War I had ended one month earlier, and, for some time, city organizers had been trying to build a hometown orchestra. In December of 1918, Father John Powers of St. Ann’s Church wanted to give a concert to raise some money for his parish, and, as Father Powers also happened to be a fine Irish tenor, offered to perform on the same bill as the new orchestra, just in case the untried ensemble of 54 didn’t prove to be a sufficient box-office attraction. So, along with Father Power’s songs and Herbert’s “American Fantasy,” conductor Nikolai Sokoloff lead the Orchestra in Bizet’s “Carmen” Suite, Tchaikovsky’s Fourth Symphony, Liadov’s tone poem “The Enchanted Lake,” and, for a rousing closer, Liszt’s tone poem “Les Preludes.” Over the next 100 years, especially during the period when George Szell was music director of the Cleveland Orchestra, the ensemble came to be regarded as one of the best in the world.

Soprano Kirsten C. Kunkle has been hailed as an outstanding singing actress with a voice that has been described as beautiful, ethereal, powerful, fiery, and bewitching. Among her favorite roles are Agathe in Der Freischütz, the title role in Suor Angelica, Magda and the Foreign Woman in The Consul,” Mimì in La bohème, Rosalinda in Die Fledermaus, Contessa in Le nozze di Figaro, Mother in Amahl and the Night Visitors, Iolanta and Brigitta in Iolanta, Zemfira in Aleko, Lisa in Pique Dame, Donna Elvira in Don Giovanni, Laetitia in The Old Maid and the Thief, and the Witch in Hansel and Gretel. With the Philadelphia Opera Collective, she has created leading roles in numerous world premieres, including Edith Standen in Shadow House, Annie Jump Cannon in Jump the Moon, Edgar Allan Poe in Opera Macabre: Edgar Allan Poe, and Dr. Frankenstein in By You That Made Me, Frankenstein. In 2016, she made her professional straight play debut in Machinal with EgoPo Classic Theater and her professional musical theatre debut as Domina in A Funny Thing Happened on the Way to the Forum with the Scranton Shakespeare Festival. She has an Honorable Mention for The American Prize in Voice – Professional Art Song and Oratorio Division (Women), as well as being a two-time semi-finalist for The American Prize in Opera (Women). She made her Carnegie Hall debut in 2014, as well as being the Pennsylvania District National Association of Teachers of Singing Artist Award winner that year. She won second place in the Roschel Vocal Competition in 2015. She attended Bowling Green State University and the University of Salzburg for her undergraduate studies, majoring in voice performance with minors in Italian and German. Her graduate degrees are in voice performance from the University of Michigan. A voting member of the Muscogee Nation, Dr. Kunkle commissioned and premiered sixteen original compositions, including one of her own, based upon the poetry of her ancestor and highly-acclaimed poet of the Native American Muscogee Nation, Alex Posey. She has recorded extensively through the Comic Opera Guild, specializing in the works of Victor Herbert. Her recordings are collected at the Library of Congress, the National Museum of the American Indian at the Smithsonian Institution, and the Merkel Area Museum in Merkel, Texas. Ms. Kunkle is included on the list of Classical Native American Artists and Musicians at the Smithsonian Institution's National Museum of the American Indian and on the Molto Native Music list of performers. She has been published in peer-reviewed journals and is a successful voice educator. She is the Co-Founder and Artistic Director of Wilmington Concert Opera, a grassroots women and minority led opera company in Wilmington, Delaware. Most recently, she had her solo European debut with the Sofia Philharmonic in the role of Arabella in Johann Strauss II's “Blindekuh.” She is also a NAXOS recording artist for “Blindekuh,” which was released in March of 2020 to extraordinary reviews. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

Elizabeth and Abigail explore the rich and complex history of absinthe's popularity, especially in 19th century France, and offer ways to use it in cocktails today. Mentioned in the show:Hideous Absinthe: A History of the Devil in a Bottle by Jad AdamsAbsinthe Frappè Sheet MusicAbsinthe Frappè lyrics From the 1904 Broadway comic operetta 'It Happened In Nordland'Music by Victor Herbert (founder of ASCAP)Lyrics by Glen MacDonoughVerseWhen Life seems grey and dark the dawnAnd you are through,There is, they say, on such a mornOne thing to do:Rise up and ring, a bell-boy callTo you straight-way,And bid him bring a cold and tallAbsinthe frappè! ChorusIt will free you first from the burning thirstThat is born of a night of the bowl,Like a sun 'twill rise through the inky skiesThat so heavily hang o'er your soul.At the first cool sip on your fevered lipYou determine to live through the day,Life's again worthwhile as with a dawning smileYou imbibe your absinthe frappè. VerseThe deed is done so waste no woe o'er yestereen.Nor swear to shun a year or so the festive scene.Remorse will pass, despair will fade with speed awayBefore a glass of rightly made absinthe frappè! ChorusIt will free you first from the burning thirstThat is born of a night of the bowl,Like a sun 'twill rise through the inky skiesThat so heavily hang o'er your soul.At the first cool sip on your fevered lipYou determine to live through the day,Life's again worthwhile as with a dawning smileYou imbibe your absinthe frappè.

Today’s topic is operetta and opera on Broadway. From the early days of the Great White Way, a large amount of the musical theatre repertoire was actually operetta. I begin with a discussion of the composers of such operettas (Victor Herbert, Rudolf Friml, and Sigmund Romberg, with a significant nod to Jerome Kern as well) and the singers who appeared in those works. Then I present an array of works adapted from the classical repertoire (primarily Wright and Forrest’s Song of Norway and Kismet), followed by examples of that curious hybrid, Broadway opera, including Gian Carlo Menotti’s The Medium and The Consul; Marc Blitzstein’s Regina; Frank Loesser’s The Most Happy Fella; Kurt Weill and Langston Hughes’s Street Scene; and Leonard Bernstein’s Candide. A wide range of singers is included, some celebrated (Lotte Lenya, Patricia Neway, Barbara Cook, Marta Eggerth, Lawrence Tibbett), some less so (Helena Scott, Lee Venora, Fritzi Scheff, Robert Rounseville), the careers of some of whom stretch back to the beginning of the century, but all singers which straddled the fence between musicals, operetta, and opera. But rest assured: this is no dry history lesson: it’s a fast-paced romp through a fun and fascinating topic! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!

1. Magnus Lindberg’s Clarinet Concerto:https://open.spotify.com/track/2vXK1aHUEmxx0qKW47sI632. Scott Patterson’s Piano Sonata No. 3:https://soundcloud.com/afro-house-productions/piano-sonata-no-33. Paul Salerni’s Something Permanent:https://open.spotify.com/playlist/5SJ3fKS9zHr3wUMlQyPCF2You can listen to these before or after the episode, or you can pause our podcast and go listen to each piece as we introduce them. Panelists:Baltimore-based composer Elliott Grabill brings an authentic perspective to contemporary classical music. As a math teacher, his experiences working with students of all walks of life nurtures an artistic voice that’s both personal and relevant. His most recent song cycle, Teacher Tales, recalls the stories of injustices he witnesses on a daily basis while teaching. The songs, with self-authored lyrics, were hailed by Ron Beckett as doing “what great art has been able to do – raising awareness on issues society blindly accepts.” He brought Magnus Lindberg’s clarinet concerto. elliottgrabill.comKnown for her extensive vocal range, mezzo-soprano Elise Christina Jenkins has charmed audiences in repertoire ranging from opera and art song to operetta. Last year she joined INSeries for their Operetta Wonderland: The Magic of Victor Herbert. A frequent performer with Opera NOVA, she sang the role of Tisbe in Rossini’s La Cenerentola, Monisha in Scott Joplin’s Treemonisha, and in various outreach programs and recitals. Elise made her Italian debut in the Amalfi Coast Music and Arts Festival in Mairoi performing scenes from Mozart’s Così fan tutte and she later returned to Italy to sing Madre Maria in Francis Poulenc’s I dialoghi delle Carmelitane. As an oratorio soloist, Elise was invited to sing Handel’s Messiah at the Korean United Methodist Church of Koinonia for their Christmas Eve service with chamber orchestra under the baton of Dr. In Dal Choi. She brought Scott Patterson’s Piano Sonata no. 3, and recommends the other performances of Afro House, among others.Jeffrey Earl Young Jeffrey Earl Young (ASCAP) currently studies under composer Daron Hagen of New York. His compositions range from instrumental solos and art songs, to chamber, choral, and orchestral works. Jeff’s music has been performed by violinist Lauren Cauley Kalal and percussionist Matthew Gold at the Walden School’s Creative Musician’s Retreat; by saxophone/bassoon duo Xelana at Connecticut Summerfest and again in Brooklyn; by new music ensemble Bent Frequency and the Beo String Quartet at the Charlotte New Music Festival, and many others. He sings with the Peabody Community Chorus and enjoys the new music community in Baltimore. A retired intellectual property attorney, Jeff has served on the boards of Bent Frequency, Friends of Music at Emory University, and the Atlanta Young Singers. He brought Paul Salerni’s Something Permanent. Examples of his compositions are found at soundcloud.com/youngatl-1More information at pauseandlisten.com. Pause and Listen was created by host John T.K. Scherch and co-creator/marketing manager Michele Mengel Scherch.

Biography of composer Victor Herbert from Cavalcade of America broadcast from the 1930's. Victor August Herbert (February 1, 1859 – May 26, 1924) was an American composer, cellist and conductor of Irish ancestry and German training. Although Herbert enjoyed important careers as a cello soloist and conductor, he is best known for composing many successful operettas that premiered on Broadway from the 1890s to World War I. He was also prominent among the tin pan alley composers and was later a founder of the American Society of Composers, Authors, and Publishers (ASCAP).

Victor Herbert's modern, modest song of 1919 continues to enchant musicians to this day. WNYC's Sara Fishko tells the story in this archival edition of Fishko Files. (Produced in 2017) “Indian Summer”Lee Konitz, alto sax; Billy Bauer, guitarPrestige, 1956 "Indian Summer"Tommy Dorsey and his OrchestraJack Leonard, vocals1939 "Indian Summer"Glenn Miller OrchestraRay Eberle, vocalsBluebird, 1939 "Indian Summer"Sidney Bechet, soprano sax1940 "Indian Summer"Coleman Hawkins, tenor sax1945 "Indian Summer"Stan Getz, tenor saxPrestige, 1949 "Indian Summer"Chet Baker, tromboneFantasy, 1959 "Indian Summer"Barney Kessel, guitarContemporary, 1956 "Indian Summer"Joe Pass, guitarPablo, 1973 "Indian Summer"Jim Hall, guitarA&M, 1976 "Indian Summer"Frank Sinatra, vocals; Duke Ellington OrchestraFrank Sinatra Enterprises, 1967 "Indian Summer"Paul Desmond, saxSony, 1974 Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

The Music of Victor Herbert Revisted Name Artist Album Year Comments Spanish Serenade Lyn Larsen Paradise Revisited [Musical Contrasts CD] 1995 5-80 Wurlitzer, Sanfilippo Residence, Barrington IL Kiss Me Again Ernest Broadbent The Organist Entertains [BBC Records REC 72M] 3-13 Wurlitzer, Empress Ballroom, Blackpool A Naughty Marietta Medley Bill Vlasak An Hour With Bill [WJV CD] 2002 4-42 Wurlitzer, Paramount Music Palace, Indianapolis, IN; then to Roaring 20s Pizza & Pipes, Ellenton, FL (Original 4-20, Paramount Oakland) Thine Alone Ron Rhode The Vinyl Years 1 [Roxy RP-107-CD] 1994 Ron Rhode At The Mighty Wurlitzer Indian Summer Bobby Hackett, John Seng Music 'Till Dawn [Sony Special Products CD] 4-21 Wurlitzer, Loderhose Studio, Jamaica, Long Island NY; ex-Paramount Studio Wurlitzer The American Girl Two Step Ron Rhode Thine Alone: The Music Of Victor Herbert [Roxy RP-115-CD] 2004 5-80 Wurlitzer, Sanfilippo Residence, Barrington IL

Barry O’Day returns to help the downtrodden Irish in their rebellion against the English in this adaptation of the Victor Herbert opera. Original Air Read more ...

Das in Liechtenstein gegründete "Ensemble Esperanza" existiert seit gerade einmal drei Jahren. Doch dieses Streichorchester hat das Zeug zu Höherem, wie man auch auf seiner jüngsten, beim Label Ars Produktion erschienenen SACD "Western Moods" hören kann. Mit Stücken zwischen Victor Herbert, Gershwin, Barber und Jimi Hendrix präsentieren sich hier "die jungen Wilden" im besten Sinne. Unbedingt hörenswert!

A broadcast of our November 11th Director's Salon for "Operetta Wonderland - The Magic of Victor Herbert" with guests Dr. Tracey Elaine Chessum and Loras Schissel from the Library Congress, moderated by Brian J. Shaw and featuring music director Carlos Rodriguez and the cast of "Operetta Wonderland".

Leonard Bernstein's "Candide" is an operetta. An operetta is like an opera, with one big difference. In opera, everything is sung, but in operetta, there are spoken lines between the singing. Composers who wrote operettas in English include Sir Arthur Sullivan (who can't be separated from William S. Gilbert, who wrote the words for Gilbert and Sullivan operettas), Victor Herbert, Sigmund Romberg, and Rudolf Friml.

Victor Herbert Orchestra - "Humoresque" http://www.wfmu.org/playlists/shows/79576

Victor Herbert Orchestra - "Humoresque" https://www.wfmu.org/playlists/shows/79576

More highlights from the National Recording Registry. Records by: Merle Travis, Clara Ward, Benny Goodman, The Mississippi Sheiks, Will Rogers, Victor Herbert,  The Ink Spots and the ivory-billed woodpecker. Records include: How I Got Over, Sitting On Top of the World, The Man I Love, If I Didn't Care, Luck Be A Lady, the Moonlight Sonata, Sixteen Tons and The Dream Medley.

Nobody Knows features the voice of Mason Rosenthal, with sound design by Morgan FitzPatrick Andrews. Chenda Cope asked the question. The orchestras of Victor Herbert and Raderman-Beckerman provided the sugar and salt a century ago. Somebody likes the space between stations.

Victor Herbert - Master of Melody http://oldtimeradiodvd.com

Records made on cylinders from 1902 to 1919, including: The Thunderer, In the Garden, I'm Forever Blowing Bubbles, Shine On Harvest Moon, The Carmen March and The Stars and Stripes Forever. Performers include: The Sousa Band, Ada Jones, Billy Murray, The Apollo Quartet of Boston, The Edison Symphony Orchestra and Victor Herbert.

An intimate concert sampling Herbert's operetta classics, including Babes in Toyland, Naughty Marietta, and moments from the Ziegfield Follies. Rediscover an important composer and cellist who influenced Antonín Dvořák, and later, great American musical theater figures like Irving Berlin and the Gershwins. Hosted by Loras John Schissel (Music Division), with William Hicks (music director/pianist), Rebecca Luker (vocalist), Ron Raines (vocalist), Aaron Lazar (vocalist), Korliss Uecker (vocalist) and Jerry Grossman (cellist). For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6275

"Toyland, Toyland, little girl and boy land..." Hey, why aren't you singing along? Don't you know the lyrics to Victor Herbert's operetta Babes in Toyland? Well, you'd better brush up, because the Walt Disney Pictures adaptation (in Technicolor, no less) of that operetta is in the spotlight on this week's episode of Mousterpiece Cinema. Josh and Gabe are guest-free once again as they explore Mother Goose Land and Toyland, which are adjoined by the Forest of No Return. (Don't worry, that forest isn't as terrifying as it sounds.) And after only a few minutes, your intrepid co-hosts answer a very pertinent and timely question: is this actually a Christmas movie? The answer isn't as easy as you might think, and neither is this surprisingly bifurcated film. So, in the words of the dastardly Barnaby (seriously), come. Let's pussyfoot. And check out the new show!

Victor Herbert is the grandfather of American musical theater, founder of the organization that protects the rights of composers (ASCAP), and the creator of some of America's best loved classics. He set the stage for the legendary creators of Broadway, making the work of Irving Berlin, Rodgers and Hammerstein, and Stephen Sondheim possible. For captions, transcript, and more information visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=5821

The Lux Radio Theatre. June 12, 1944. CBS net. "Naughty Marietta". Sponsored by: Lux.  Nelson Eddy, Jeanette MacDonald, Cecil B. DeMille, Howard McNear, Jack Mather (doubles), Jay Novello (doubles), Verna Felton, Virginia Gregg (doubles), Charles Seel (doubles), Joseph Du Val (doubles), Ferdinand Munier, Norman Field, Cliff Clark, Betty Moran, Ann Tobin (doubles), Janet Scott, Dellie Ellis, Regina Wallace (doubles), Enrico Ricardi (choral master), Betty Stevens (chorus soloist), Clarence Badger (chorus), Henry Iblings (chorus), Earl Hunmaker (chorus), Louis Yaekel (chorus), George Gramlich (chorus), Tom Clarke (chorus), Dudley Kunnell (chorus), John Knobler (chorus), Devona Doxie (chorus), Georgia Stark (chorus), John Lee Mahin (screenwriter), Frances Goodrich (screenwriter), Albert Hackett (screenwriter), Victor Herbert (composer), Rida Johnson Young (book, lyrics), Janet Russell (commercial spokesman), Helen Andrews (commercial spokesman), Duane Thompson (commercial spokesman), Doris Singleton (commercial spokesman), John McIntire (commercial spokesman), Fred MacKaye (director), Sanford Barnett (adaptor), Charlie Forsyth (sound effects), John Milton Kennedy (announcer), Louis Silvers (music director).oldtimeradiodvd.com

Featuring music by Gilbert & Sullivan, Victor Herbert, Emmerich Kálmán, Jacques Offenbach, Richard Rodgers, Sigmund Romberg and an interview with company member Ted Christopher. Broadcast 7.7.12 on WCWS.

Published March 9, 2011 In this episode we'll talk to Chris van der Kuyl, CEO of brightsolid. By Andrew Martin of the History Repeating Blog Mark Olsen of  MyHeritage / World Vital Records WDYTYA recap at the MyHeritage blog Else Churchill and her team from the Society of Genealogists in the UK really do a brilliant job organizing the classes for Who Do You Think You Are?   NEWS: I'm honored that my Genealogy Podcasts and Blogs 101 class is included in the group. I really enjoyed introducing more people to podcasts and blogs I've heard from a lot of folks that this really opened their eyes to a medium they didn't realize was out there for them to enjoy for free.  Debbie writes: “Wow.  All I can say is Wow.  I am a 52 year old mother of 4 in Bountiful, Utah.  I have been watching the RootsTech Live presentations online and have just finished watching yours.  It was amazing and inspiring.  I consider myself somewhat tech savvy but have veered away from Blogs.  (Just the sound of the word Blog infers something that will weigh you down.)  But after your presentation I am anxious to try iGoogle and add blogs and podcasts tailored to my interests.  I had no idea.  And thanks for pointing out the Google blog search option.  All the genealogy-focused search options now available through Google are exciting. I am hopeful you will add all your RootsTech presentations to your podcasts.  They sound fascinating.” And during that presentation I encouraged viewers to get their own genealogy blog started so that they can get information out there that might help them connect with other genealogists researching the same family line.  And Carol wrote me shortly after the conference to let me know that she did just that! She writes: Marlene also wrote in about RootsTech. She says: “The Rootstech Conference was so awesome.  I learned so much about podcasts, I am willing to try it out. But first I am the craft queen, especially when it comes to crafting my family history.  The last day of the Rootstech I had to leave early.  I didn't get to your last class that I had waited so long for.  Do you have a podcast of the steps for creating the crafts you make with your family history?? I see the instructions, but I wanted to watch you in action.  p.s. Thanks so much for your signed book on find family through newspapers.  I can't wait to get started. Marlene” Genealogy Gems YouTube channel: And the 4 part Family History Christmas Wreath series Also, several projects discussed in class are featured in my book "Genealogy Gems" available at my .   MAILBOX: Hi Lisa, I love your podcasts, but I'm still catching up!! Back in 2009. you ran a series of "Name that Tune" challenges, which I absolutely loved, I think I have old time music in my DNA. It took me a day to recognize the "Missouri Waltz," I knew "The Dark Town Strutters Ball" right away; when I was little I named my doll "Honey" and always thought of those first lines "I'll be down to get you in a taxi, Honey...", I knew "I'll see you in my dreams" don't know if you are old enough to recall "Sing along with Mitch" when it was on TV, but we had all Mitch Miller's Sing Along albums and "I'll See you in my dreams" was among them. Okay, so that brings me to the reason for this email. In Episode 56, you celebrated "I'll See you in my dreams" and then played a brief 30 seconds of another tune, it was a violin instrumental. Well as I said I've listened up to 59 and I've never heard the result for that last tune. I think it may be "Thine Alone" by Victor Herbert. It was from the operetta "Eileen". Herbert was born in Ireland and emigrated to America, his more famous songs include "Ah Sweet Mystery of Life" and "The March of the Toys" from "Babes in Toyland" but he seems to have written hundreds of songs.  You had a loyal listener named "Jeannie" who called you with the names of the first 4 songs, I laughed at the similarity in our names, but anyway, I'm going crazy, did anyone else ever recognize that song? If you go to iTunes, there is a good instrumental version of "Thine Alone" on the Album "The Music of Victor Herbert & Sigmund Romberg" performed by George Melchrino. It is a lovely song. I can't tell you how many wonderful memories those songs gave me!! Yes, I am working on my Family History and really enjoy all your podcasts, videos, blogs and advice. I did finish your Family History: Genealogy Made Easypodcast series, got to get to work on the  too!! Thank you so much for all you do! Jean  Sue:    Paula really is amazing and if you'd like to learn more about her and handwriting analysis head over to   GEM: Interview with Chris van der Kuyl, CEO of  brightsolid companies:  

Celebrate St. Patrick's Day with a Triad of super Poems Let's celebrate St. Patrick's Day with a short collection of poems (not recipes!) and all of our good wishes for the Next Year. We do so with a very small celebration for St Patrick's Day on March 17th. We bring you three poems that are typically Irish - they deal with Harps, Shamrocks and St. Patrick's Birthday! Then we head off to the pub for some of the black stuff! Full Show-notes, with all credits, can be found on our main Website at http://celticmythpodshow.com/patrick Running Order: Intro 0:40 The Legend of Ireland's Magic Harp by Author Unknown 01:52 The Four-Leaved Shamrock by Samuel Lover 3:42 St Patrick's Birthday by Samuel Lover  5:58 Out-takes 1:06:08 We hope you enjoy it! Gary & Ruthie x x x Released: 17th March 2010, 10m It's always great to hear from you! Email garyandruth@celticmythpodshow.com, or leave us a message using Speakpipe   The Legend of Ireland's Magic Harp This beautiful and magical poem, sadly of author unknown, makes a lovely start to our show. The original can be found on Old Irish Poems and Dizzy Boy. We did find a reference on liceogilvaniu.it that attributes it to (Carlo Calzolari, 3^B internaz.) - but we're not sure what that means.    The Four-Leaved Shamrock by Samuel Lover Samuel Lover (February 24, 1797 Dublin – July 6, 1868) was an Irish songwriter, novelist, as well as a painter of portraits, chiefly miniatures. He was the grandfather of Victor Herbert. Samuel was born at number 60 Grafton Street and went to school at Samuel Whyte's at 79 Grafton Street, now home to Bewley's cafe. By 1830 he was secretary of the Royal Hibernian Academy and lived at number 9 D'Olier Street. Lover produced a number of Irish songs, of which several — including The Angel's Whisper, Molly Bawn, and The Four-leaved Shamrock — attained great popularity. This short biography came from Wikipedia and the poem itself from Old Irish Poems.   St Patrick's Birthday by Samuel Lover Saint Patrick (Latin: Sanctus Patricius, Irish: Naomh Pádraig) (c. 387 – 17 March, 493;) was a Romanized-Celt, a Romano-Briton and Christian missionary, who is the most generally recognised patron saint of Ireland (although Brigid of Kildare and Colmcille are also formally patron saints). By the eighth century he had come to be revered as the patron saint of Ireland. The Irish monastery system evolved after the time of Patrick and the Irish church did not develop the diocesan model that Patrick and the other early missionaries had tried to establish. Saint Patrick's Day (Irish: Lá Fhéile Pádraig) is a yearly holiday celebrated on 17 March. It is named after Saint Patrick (circa AD 387–461), the most commonly recognized of the patron saints of Ireland. It began as a purely Catholic holiday and became an official feast day in the early 1600s. However, it has gradually become more of a secular celebration of Ireland's culture. For more information, check out the Wiki entries for Saint Patrick and St. Patrick's Day and the poem itself from Old Irish Poems.       Get EXTRA content in the Celtic Myth Podshow App for iOS, Android & Windows Contact Us: You can leave us a message by using the Speakpipe Email us at: garyandruth@celticmythpodshow.com. Facebook fan-page http://www.facebook.com/CelticMythPodshow, Twitter (@CelticMythShow) or Snapchat (@garyandruth), Pinterest (celticmythshow) or Instagram (celticmythshow)   Help Spread the Word: Please also consider leaving us a rating, a review and subscribing in iTunes or 'Liking' our Facebook page at http://www.facebook.com/CelticMythPodshow as it helps let people discover our show - thank you :) If you've enjoyed the show, would you mind sharing it on Twitter please? Click here to post a tweet! Ways to subscribe to the Celtic Myth Podshow: Click here to subscribe via iTunes Click here to subscribe via RSS Click here to subscribe via Stitcher   Special Thanks Diane Arkenstone The Secret Garden. See her Contributor page for details. Kim Robertson The Hangman's Noose. See her Contributor page for details. Jigger Time Ticks Away. See her Contributor page for details. Keltoria, Tides of Time from Shadows & Stone. See the Contributor page for details. Appalachian Celtic Consort, Road to Lisdoonvarna/Tobin's from their album Come by the Hills. See their Contributor Page for more details.   For our Theme Music: The Skylark and Haghole, the brilliant Culann's Hounds. See their Contributor page for details.   Extra Special Thanks for Unrestricted Access to Wonderful Music (in Alphabetic order) Anne Roos Extra Special thanks go for permission to use any of her masterful music to Anne Roos. You can find out more about Anne on her website or on her Contributor page. Caera Extra Special thanks go for permission to any of her evocative harping and Gaelic singing to Caera. You can find out more about Caera on her website or on her Contributor Page. Celia Extra Special Thanks go for permission to use any of her wonderful music to Celia Farran. You can find out more about Celia on her website or on her Contributor Page. Damh the Bard Extra Special thanks go to Damh the Bard for his permission to use any of his music on the Show. You can find out more about Damh (Dave) on his website or on his Contributor page. The Dolmen Extra Special thanks also go to The Dolmen, for their permission to use any of their fantastic Celtic Folk/Rock music on the Show. You can find out more about The Dolmen on their website or on our Contributor page. Keltoria Extra Special thanks go for permission to use any of their inspired music to Keltoria. You can find out more about Keltoria on their website or on their Contributor page. Kevin Skinner Extra Special thanks go for permission to use any of his superb music to Kevin Skinner. You can find out more about Kevin on his website or on his Contributor page. Phil Thornton Extra Special Thanks go for permission to use any of his astounding ambient music to the Sonic Sorcerer himself, Phil Thornton. You can find out more about Phil on his website or on his Contributor Page. S.J. Tucker Extra Special thanks go to Sooj for her permission to use any of her superb music. You can find out more about Sooj on her website or on her Contributor page. Spiral Dance Extra Special thanks go for permission to use Adrienne and the band to use any of their music in the show. You can find out more about Spiral Dance on their website or on their Contributor page. We'd like to wish you 'Slán Go Foill!', which is Irish for 'Goodbye', or more literally 'Wishing you safety for a while'!    Save Save

Patriotic songs for July 4th.  Songs include: National Emblem, America, Any Place the Old Flag Flies and Keep the Home Fires Burning. Performers include: The Marine Band, Cal Stewart, Victor Herbert and Louis Armstrong.

Music by Victor Herbert including The March of the Toys and Gypsy Love Song.