We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
BAND RECORDS
11
NUMBER
5206
5511
4165
31739
31120
31352
5255
31242
31735
31393
4351
4195
4349
5713
5325
2648
31160
31603
On the Belvidere — Two Step(Na Belvederu Pochod) (Faster)
Pryor’s Band
Our Director March. (Bigelow) Pryor’s Band
Over the Waves Waltz. ( Sobre las Olas) (Rosas) Pryor’s Band This waltz never seems to lose favor — dainty and delightful.
Overture “ 1812.” (Tschaikowsky) Pryor’s Band
This great Tschaikowsky overture, one of the masterpieces of descriptive writing, is a favorite one, not only with lovers of the more serious music, but with the public in general, which is always impressed by its stirring and warlike strains and wonderful climax.
Paderewski Miniiet. (I. J. Paderewski) Sousa’s Band
Pagliacci Prologue. (Leoncavallo) Pryor’s Band
Parade Post (with Kaiser Friedrich March) German Cavalry Band Parsifal Fantasia. (Wagner) Pryor’s Band
Parsifal — Processional of Knights of the Holy Grail. (Wagner)
Pryor’s Band
A magnificent record of this famous march, perhaps the most interesting single number in Wagner’s opera. The playing of the band here is superb, the great climaxes being given with splendid precision and noble tone.
Peer Gynt Suite, No. 1. (Opus 46) (Edvard Grieg) Pryor’s Band Part 111. “Anitra’s Dance.”
Peer Gynt Suite, No. 1. (Edvard Grieg) Pryor’s Band
Part IV. “In the Hall of the Mountain King.”
This Peer Gynt, No. 1, is perhaps the best known and loved of all Grieg’s compositions. It is taken from the incidental music to Henrik Isben’s dramatic poem, “Peer Gynt.”
In this third movement “we see plainly the lithe, supple form of Arutra as she moves through the graceful and fascinating figures of the dance.” Anitra is the daughter of a Bedouin chief, and Peer Gynt during his wan¬ derings has met and loved her.
The final movement describes the hero’s pursuit of the goblins after his departure from the hall of the Mountain King.
Note.— Parts 1 and 2 of this Suite will be found on Double-Faced Record No. 35007, page 142.
Peru — National Air Pryor’s Band
Peter Piper — Characteristic March. (Henry)
Pryor’s Band
Pickles and Peppers — Ragtime Two-step (Shepherd) Pryor’s Band One of the most intricate bits of ragtime playing yet issued. However, Pryor’s Band is quite at home here and demonstrates that such execution as this is mere child’s play. It has been said that ragtime is out of fashion, but the demand for such records as “Mr. Blackman,” “Coon Band Contest,” “Darkies’ Spring Song” and “Razazza Mazzazza” will prove that Pryor’s way of playing it is still very popular.
Pilgrim’s Chorus. (From Lombardi) (Verdi)
Pilgrim’s Chorus — Tannhauser. (Wagner)
Pilgrim’s Chorus — Tannhauser. (Wagner)
Plantation Echoes. (Conterno)
A splendid medley of old time Southern airs and dances concluding with “Old Folks at Home" and “Dixie.”
Pryor’s Band Pryor’s Band Pryor’s Band Pryor’s Band
SIZE
10
10
10
12
12
12
10
12
12
12
10
10
10
10
10
10
12
12