Marian Anderson - Negro Spirituals
Table of Contents
Download
Filename: marian-anderson-negro-spirituals.rar- MP3 size: 213.5 mb
- FLAC size: 1498 mb
Tracks
Track | Duration | Preview |
---|---|---|
Soon-a Will Be Done / Sinner, Please | ||
Ev'ry Time I Feel De Spirit I Know The Lord's Laid His Hands On Me | ||
Were You There? | ||
Crucifixion | ||
Sometimes I'Fell Like A Motherless Child | ||
Tramping | ||
I Know De Lord's Laid His Hands On Me | ||
Deep River / He's Got The Whole World In His Hands | ||
Roll Jord'n, Roll! | ||
Let Us Break Bread Together / Plenty Good Room | ||
Dere's No Hidin' Place Down Dere | ||
My Lord, What A Morning | ||
Roll, Jerd'n, Roll! / Go Down, Moses | ||
He's Got The Whole World In His Hands | ||
Everytime I Feel De Spriit / If He Change My Name / O What A Beautiful City! | ||
I Can't Stay Away | ||
Carry Me Back To Old Virginny | ||
Dere's No Hidin'Place Down Dere | ||
Were You There | ||
Heav'n Heav'n | ||
Deep River | ||
O What A Beautiful City | ||
Nobody Knows The Trouble I See (American Negro Melody) / Hear De Lam's A-Cryin' | ||
My Lord, What A Morning / Were You There? | ||
Honor, Honor / Ride On, King Jesus | ||
Ev'ry Time I Feel De Spirit | ||
Crucifixion / Sometimes I Feel Like A Motherless Child | ||
Hear De Lam's A Crying | ||
Sometimes I Feel Like A Motherless Child | ||
Ride On, King Jesus | ||
On Ma Journey / De Gospel Train | ||
Let Us Break Bread Together | ||
My Old Kentucky Home | ||
Honor, Honor | ||
Nobody Knows The Trouble I See |
Video
Marian Anderson - Deep River (Spiritual)
Marian Anderson: Crucifixion (1951) - 10 inch LP, RCA Victor
Images
Catalog Numbers
- ERF 157
- 7 ERF 17026
- LM 2032 Artistique
- 7 EJF 3
- RVC-1570
- 7 ERF 17025
- 7 EJF 2
- ERF 17025
Labels
- La Voix De Son Maître
- RCA
- RCA Gold Seal
Listen online
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- online luisteren
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Formats
- Vinyl
- 7"
- 45 RPM
- EP
- Mono
- LP
- Album
- Compilation
Companies
Role | Company |
---|---|
Record Company | Les Industries Musicales Et Electriques Pathé Marconi |
Printed By | S.I.A.T. |
Pressed By | Pathé Marconi, Chatou |
Phonographic Copyright (p) | RCA Records |
Manufactured By | RVC Corporation |
Produced For | Pathé Marconi |
Credits
Role | Credit |
---|---|
Contralto Vocals | Marian Anderson |
Arranged By | Burleigh (tracks: A1, B1, B2), Hayres (tracks: A2) |
Liner Notes | Sim Copans |
Piano | Frank Rupp |
Notes
- Piano : Franck Rupp
- "Série Collection" on label and back sleeve
- MADE IN FRANCE
Barcodes
- Matrix / Runout (Label A side): 7 TLA 206
- Matrix / Runout (Label B side): 7 TEA 10005
- Matrix / Runout (Runout stamped A side): 7 TLA 208 21 M3 159885
- Matrix / Runout (Runout stamped B side): 7 TEA 10005 21 M3 159886
- Price Code: Ⓐ
- Rights Society (Framed in a rectangle): BIEM
- Matrix / Runout: 7TLA 206 1B M3 194265
- Matrix / Runout: 7TLA 207 1B M3 194264
- Rights Society: BIEM
- Matrix / Runout: 7 TLA 206
- Rights Society (Squared): BIEM
- Matrix / Runout (Runout side A): 7TLA 206-1B M3 194-65
- Matrix / Runout (Runout side B): 7TLA 207-1B M3 194-64
About Marian Anderson
Marian Anderson (February 27, 1897 April 8, 1993) was an American singer, one of the most celebrated of the twentieth century. Music critic Alan Blyth said: "Her voice was a rich, vibrant contralto of intrinsic beauty." She performed in concert and recital in major music venues and with famous orchestras throughout the United States and Europe between 1925 and 1965. Although offered roles with many important European opera companies, Anderson declined, as she had no training in acting. She preferred to perform in concert and recital only. She did, however, perform opera arias within her concerts and recitals. She made many recordings that reflected her broad performance repertoire, which ranged from concert literature to lieder to opera to traditional American songs and spirituals. Between 1940 and 1965 the German-American pianist Franz Rupp was her permanent accompanist.
Anderson became an important figure in the struggle for black artists to overcome racial prejudice in the United States during the mid-twentieth century. In 1939, the Daughters of the American Revolution (DAR) refused permission for Anderson to sing to an integrated audience in Constitution Hall in Washington, DC. The incident placed Anderson into the spotlight of the international community on a level unusual for a classical musician. With the aid of First Lady Eleanor Roosevelt and her husband Franklin D. Roosevelt, Anderson performed a critically acclaimed open-air concert on Easter Sunday, April 9, 1939, on the steps of the Lincoln Memorial in the capital. She sang before an integrated crowd of more than 75,000 people and a radio audience in the millions.
Anderson continued to break barriers for black artists in the United States, becoming the first black person, American or otherwise, to perform at the Metropolitan Opera in New York City on January 7, 1955. Her performance as Ulrica in Giuseppe Verdi's Un ballo in maschera at the Met was the only time she sang an opera role on stage.
Anderson worked for several years as a delegate to the United Nations Human Rights Committee and as a "goodwill ambassadress" for the United States Department of State, giving concerts all over the world. She participated in the civil rights movement in the 1960s, singing at the March on Washington for Jobs and Freedom in 1963. The recipient of numerous awards and honors, Anderson was awarded the Presidential Medal of Freedom in 1963, the Congressional Gold Medal in 1977, the Kennedy Center Honors in 1978, the National Medal of Arts in 1986, and a Grammy Lifetime Achievement Award in 1991.
Name Vars
- Andersen
- Anderson
- M. Anderson
- Marian Anderson, Contralto
- Marion Anderson
- М. Андерсон
- Мариан Андерсон
- Марион Андерсон
- Þê¢óû¢óÀü¹ó
Comments
Her nephew was James DePreist, the great conductor of the Oregon Symphony (and other orchestras) and Mahler specialist. She lived with him in Portland, Oregon at the time of her death at age 96.
The way she sang that last verse leaves you speechless. An excellent job of making you feel like you were on Mt Calvary.
I am 74 years old and I first heard this haunting melody in assembly at Stoddard -Fleisher Jr High School at 12 years old. This rendition was so beautiful, and powerful for me as a mere child that it still haunts me to this day. IAM Muslim but I am still fascinated by the life and existence of such a being. To know that ESSA, whose name I also answere too even existed shows us that there is in fact a GOD that sent this beautiful creature to us to walk amongst us like a Man. This melody still freezes me Everytime I hear it. As mentioned, I bear his name, when I close my eyes each night I see two things, His eyes!! And his smile.
What a wonderful gift you have given me and others who were not present when she sang to a crowd of 75,000!! Stunning. The expressions in her voice mirror those on her face, in footage of her singing at the Lincoln Memorial. My deep gratitude to you for this moving recording.
Just read the piece in The New Yorker and had to look this one up. Oh my. To hear this stunner, recorded even before I was born, is to hear the depths of sorrow in voice.
Wow!! What a great, elusive singer she is!!
Thank you for making this available!!
unbelievable voice like she was actually there
It is a privilege to still be able to hear this heavenly voice, "Not One Word," can be added.
WOW!