Bibliographic record
Abstract
Oreste Vessella was born in Alife, Italy and he studied clarinet at the Regio Conservatory, Naples, and harmony under Camillo de Nardis. He came to the U.S. in 1901 and formed his own band in 1903. He is best known for his many summer seasons playing on Steel Pier in Atlantic City. His band also appeared at Brighton Beach, Long Beach and Ocean City. Tours covered the northeastern and Midwestern U.S. as well as eastern Canada. A limited biography of Vessella has been published in volumes 2 and 3 of the Heritage of the Band by William Rehrig, edited by Paul Bierley and self-published by Bierley with the assistance of Robert Hoe. A letter to Bierley from Oreste Vessella dated December 4, 1961 states Vessella suffered from a light stroke which affected only his right leg. In an article published in The Instrumentalist, dated September 1961, he wrote, I have been striving and shall continue to strive to give my beloved America the best that band music can offer. Research is needed to publish a biography of Oreste Vessella, nephew of a great Italian band director and composer Alessandro Vessella and brother of Marco Vessella. Oreste Vessella and Vessella' s Italian Band recorded for the Victor Company from 1911 to 1914 and for the Brunswick Company from 1920 to 1926. A total of five sides were done for the dwindling single-sided market. Victor double-sided records were first issued in 1909, following Columbia's introduction of double-sided records in 1908. The format for Victor records is to list the popular series 10 discs in numerical order in both the single-sided and double-sided versions. The 12 single-sided and double-sided records follow. The ethnic releases are last, again in numerical sequence. The ethnic series was offered to the public primarily in areas known to have concentrations of people of specific European countries. It is not known whether or not these ethnic recordings were sold in the respective overseas countries. It is possible that some of the 60,000 and 70,000 ethnic series recordings were sold in various Latin American countries. It is almost certain that the 90,000 series was sold exclusively in Latin countries such as Argentina, Brazil, Chile and others. Following the commercial number, the title is given. Frequently, the recorded selection is part of a major multisectional work. The title of the major work is listed in capitals, followed by that of the selection. In some cases subtitles may be listed, as well as the English translation of an Italian title. The composer's name follows. Occasionally, Vessella's Italian Band is referred to as Vessella's Band. Where indicated, a soloist is named. Most of Vessella's band recordings are not rare. Even the few ethnic recordings not made for the popular series are easily found. Impossible to find in the U.S. are the 90,000 series. This writer owns all the popular series, both 10 and 12 and the ethnic recordings not issued in the popular series, but has never seen any of the 90,000 series. The Discography Victor Company 10 Single Side 5845 Cradle Song, Lullaby (Wiegenlied) (Johannes Brahms, Op. 44, No. 4) - Michele Rinaldi, cornet solo with Vessella's Italian Band 10 Double Side 16883-B Blushing Maiden March (Oreste Vessella) - Vessella's Italian Band 1689 1 -A Inglesina March (D. Delle Cese) 16899-A Funiculi Funicula (Luigi Denza) - with chorus -B O Sole Mio (My Sunshine) (Eduardo di Capua) - Michele Rinaldi, cornet solo with Vessella's Italian Band 16900-A Maria Mari (Eduardo di Capua) - Vessella's Italian Band -B Addio Napoli (Farewell to Naples) (Raffaele Ascolege) 16976 La Spagnola (Vincenzo di Chiara) - Bianca Natale, piccolo solo with Vassella's Italian Band (no A or B side; this selection not released) 17216-A Samson and Delila: (My Heart at Thy Sweet Voice) (Camille Saint-Saens) - Michele Rinaldi, cornet solo with Vessella's Italian Band 17272-A Traumerei (Robert Schuman, Op. …
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.001 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.004 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".