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.
NUMBER
31333
1168
5755
1183
31159
2773
31331
4705
4843
2774
31218
2775
31219
2776
31220
2777
31221
5012
5596
5595
5549
31350
BAND RECORDS
15
Walkiire Fantasia (Wagner) Pryor’s Band
Containing some of the finest portions of this second opera of the Niebelungen Ring. At first we hear the motive of The Sword by full band, followed by the tumultuous Ride of the Valkyries, one of the most tremendous compositions in existence. A skillful modulation brings us to the last act, and a part of the great scene between Wotan and Brunnhilde is given, beginning with the wonderful Siegfried, Guardian of the Sword theme. The closing line of Wotan’s Farewell is heard on the cornet, fol¬ lowed by the Fire Music, an exquisite blending of the two fire motive with. Brunnhilde’ s Sleep.
Warblers’ Serenade (Perry) Sousa’s Band
Washington Grays March (Grafulla) Pryor’s Band
Washington Post March (Sousa) Sousa’s Band
Wedding March (Mendelssohn) Pryor’s Band
Wedding of the Winds Waltz (Hall) Pryor’s Band
Whispering Flowers (Von Blon) Pryor’s Band
A delightful characteristic number. The murmuring of the flowers as they are stirred by the forest breeze, the rustling of the leaves, and the toll¬ ing of the distant church bells are beautifully portrayed.
Whistlers, The ( Intermezzo ) (Reiterer) Sousa’s Band
Not since the “Warblers’ Serenade” have we had such a dainty little whistling number as this intermezzo from Fruhlingsluft by Ernst Reiterer. It contains some beautiful melodies, notably the whistling strain.
William Tell Ballet Music — Part III (Rossini) Pryor’s Band William Tell Overture — Part I — At Dawn (Rossini) Pryor’s Band William Tell Overture — Part I — At Dawn (Rossini)
William Tell Overture — Part II — The Storm William Tell Overture — Part II — The Storm William Tell Overture — Part III — The Calm William Tell Overture — Part III — The Calm William Tell Overture — Part IV— Finale (Rossini)
William Tell Overture— Part IV — Finale (Rossini)
William Tell, Rossini’s last and greatest work, was produced in 1829 at the Paris Opera. This great overture, which Berlioz has called a sym¬ phony in four parts, is a fitting prelude to such a noble and serious work and is full of beautiful contrasts.
The first movement is reposeful, expressing the solitude of nature, and is followed by the contrasting Storm, a majestic and awe-inspiring tonepicture. To the Storm succeeds a beautiful pastoral with a delicious melody for the English horn, and as Berlioz says: “with the gamboling of the flute above this calm chant producing a charming freshness and gayety.” As the last notes of the melody die away, the trumpets enter with a brilliant fanfare on the splendid finale, a fitting climax to a great work.
Pryor’s Band Pryor’s Band Pryor’s Brnd Pryor’s Band Pryor’s Band Pryor’s Band Pryor’s Band
With Sword and Lance March (Starke)
“Yama Yama Man” Medley
“Gibson Bathing Girl,” “Every Little Bit Added,’ Man,” “ Somebody That I Know ” and “ Rainbow.”
Yankee Shuffle March (Moreland)
Ye Ancients March (Reeves)
Zampa Overture (Herold)
Pryor’s Band Pryor’s Band
“Yama Yama
Pryor’s Band Pryor’s Band Sousa’s Band
SIZE
12
10
10
10
12
10
12
10
10
10
12
10
12
10
12
10
12
10
10
10
10
12