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 ARSC New York Chapter
<http://www.arsc-audio.org/chapters/newyorkchapter.html>
December 2016 Meeting
7:00 P. M. Thursday, 12/15/16
→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

ↂ

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 Björling'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.

ↂ

Our next meeting will be on January 19, 2017
Sean Hickey will discuss Entrepreneurship, recording and financing in the
current climate.


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!

To join ARSC, visit http://www.arsc-audio.org
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Kimberly Peach
ARSC Web Editor www.arsc-audio.org
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