The Kroncong Music Record 1945-1965

The Kroncong Music Record 1945-1965.

A.Era 1945-1950

1 Fontana Record,Krontjong Nusantara,

by

George de Fretes

 George Fretes
 

 

George Fretes (Bandung (Dutch East Indies), December 23, 1921 – Torrance (California), November 19, 1981) was a Dutch (of Malayan origin) steel guitarist, singer and composer.

The Fretes was born from the marriage of military KNIL Anton Balthasar de Fretes Tersemas and Carolina. As a child he played on bottles of water and listened to the radio to hear music as it was Hoopi Sol, a famous Hawaiian guitarist from the 30s and 40s of last century.

In 1936 won the Fretes with the “Hawaiian Little Boys” (with Vic Spangenberg, Hans de Water, Leo Cress and Guus Shrine) with its first prize, an incentive in a Hawaiian Competition in Batavia. For the first prize he did not qualify because the average age of just fourteen years the band was therefore out of competition to be participated. It gave the “Hawaiian Little Boys” is a performance for NIROM, the Dutch East Indies Radio Broadcasting.

Joyce Aubrey gaat zingen bij het ensemble The Royal Hawaiian Minstrels en Suara Istana o.l.v. haar ex- echtgenoot George de Fretes. Hij is als verstekeling aan boord van de Johan van Barneveldt in de zomer van 1958 naar Nederland gekomen. De kleine Wanda wordt bij de optredens betrokken als hula danseres en bespeelster van percussie instrumenten. Later is zij ook als zangeres actief.

George de Fretes en Suara Istana - Tuney Tunes feb. 1959
Uit de TUNEY TUNES van februari 1959
vlnr: Bill Toma – Joyce Aubrey – Wanda – George de Fretes – Eddie Scipio Blume – Fred Hoogduin

When he was sixteen formed the Fretes the Royal Hawaiian Quintet, which also starred brother Arie. With the now famous Fretes composition Royal Hawaiian Hula won a competition in 1937.

In the spring of 1938 he was on another show in Surabaya voted “Champion of the Archipelago” with his band, which has since been renamed The Royal Hawaiian Minstrels. Under this name provides the band 67 years later still shows.

In Dutch East Indies were the Royal Hawaiian Minstrels until the outbreak of World War II the most popular and most expensive pay band. During the war it was forbidden to play Hawaiian music and changed its name to Suara Istana (voice of the palace) and played successfully krontjong Music.

After the war, their success was so great that it resulted in the fact that the group broke down and sometimes in two places at once occurred. The core were the brothers George, John, Peter and Arie, supplemented with cousin Tony, and the solid Bram Titaley singer Aubrey Joyce (then wife of George), supplemented by other musicians.

Early 50′s divorced George Joyce with their daughter Wanda left for the Netherlands. George came in 1958 as a stowaway on the Johan van Oldebarneveldt with him and his fame had traveled ahead in January for the Winter Producer of Phonogram telegraphed ahead to the ship under contract that he would like to have. On September 1, 1958 George joined the Fretes for the first time in Utrecht, Netherlands, on one day records for traders. In the newly formed Royal Hawaiian Minstrels played alongside George also include Bill Thoma, Wim van der Beek and sang Joyce Aubrey. It was so successful that he was a few weeks later, his own radio show at the AVRO and had the Christmas of 1958 was seen with his own TV show. (The Dutch television existed at that time from a transmitter in black / white exceptions). Tickling the strings he had heard such a difficult song he played blindfolded.

His arrival in the Netherlands caused quite a stir since his student Rudi Wairata – previously the Netherlands had come – though his numbers had been stolen and the plate put in his Amboina Serenaders, where the Fretes wife Joyce Aubrey’s hard singer had been . The judge Rudi exposed as impostor and a long time he could not occur in the Netherlands.

George Fretes was a musical genius. He composed dozens of songs, played many instruments include: trumpet, saxophone, guitar, violin, but was a champion on the steel guitar. His musical oeuvre spans less than 65 LPs.

His business, he could hardly settle well and he was by all and sundry in the Dutch music cheated. The interest in Hawaiian music disappeared early 60s but the influence of George was huge on so-called Indo-rock musicians.

In 1966 he made a tour with the Tielman Brothers, who he knew from India, Germany, Switzerland and Scandinavia. Also in that year he made an LP with the German orchestra of Frank Valdor before the Netherlands for good and to turn his back to the United States to leave.

From 1969 to 1981 he lived in Los Angeles where he was on 19 November of that year would die from a heart attack. He was buried next to his idol Sol Hoopi and they have the same bronze plaque on the grave because George had long ago surpassed his idol and they had room for him beside Sol Hoopi made.

The Royal Hawaiian Minstrels after the death of George just moved on. There was a group of that name in the United States with his brother John in the Netherlands with his brother Peter and his son Roy Fretes, each year at the Pasar Malam in The Hague to play. Wanda was the daughter Fretes sixties well known in the Netherlands as a teen singer. They made records in the Netherlands and Germany and also sang regularly at her father’s band, where they participate in Indonesia, Japan and Hawaii occurred.

 

 

 

1a.Kroncong Bram Aceh(Titaley)

Bram Aceh atau Bram Titaley yang dijuluki “Buaya Keroncong” sejak tahun 30-an sudah mulai menyanyi. Berikut ini beberapa lagu irama keroncong oleh kakek dari Harvey Malaiholo ini dengan iringan Orkes Keroncong Senja Ayu. Pak. Fauzi silahkan nikmati suara berat oleh Bram Aceh.

  1. Kr. Tanah Airku( Kelly Puspita, 1960)
  2. Kr. Moresko(N N, 1930)
  3. Kr. Pasar Gambir(?, 1930)
  4. Bunga Anggrek(N N, 1910)
  5. Schoon Ver Van You(N N, 1930)
  6. Salabinta(N N, 1955)
  7. Terkenang Kenang(Sariwono, 1950)
  8. Dibawah Sinar Bulan Purnama (Maladi, 1940)

 2.LAGU NASIONAL(National song)

1) RRI (Radio Republic Indonesia ) by Lokananta  March Indonesian anthem,

side 1 Proklamasi Negara Republik Indonesia(Bung Karno)-

Republic Indonesia Independent proclamationLagu Kebangsaan Indonesia Raya (W.R.Supratman)-Indonesia Anthem.Until this day I havenot found The Indonesian anthem Kroncong style,who have it please show us.

Ten Year Anniversary Asia Africa Confrence memorable , lokanata national kroncong song record

a) Cover

 

Lp 2 Lagu Kroncong

1. Lagu Jembatan Merah ciptaan Gesang 2.Lagu telomojo Ciptaan Sj’ahban

3.Lagu saputangan ciptaan Gesang

4.Lagu Gema dwikora ciptaan leby.

Yang sulit ditemui saat ini adalah Lagu kroncong Bengawan solo ciptaan gesang,harap yang memilikinya berkenan merperlihatkannya kepada kita.

Lp 4: Lagu Kroncong  Djawa

1). Lagu Kuwi apo Kuwi ciptaan R.ng Tjokrowarsito

2). Lagu Jula Juli (nn)

During Asean Games V at Jakarta,Lokanata record also issued the souvenier LP -music record with near same songs, I have only one of the five part.

 

2.Lagu Kroncong Era 1950-1960

1) Orkes suara Angkasa dibp R Sutedjo

lagu : Seruan terumi ciptaan saleh

2)Orkes Empat Sekawan Djakarta pimpinan S.Jahja 

side one : Lagu sampaikan salamku (nn)

1) lagu Tinggi di awan (saleh)

2)  Sampaikan salamku(nn)

Empat Sekawan
Four Gang
One of the musical group formed under the auspices of Ismail Marzuki Jakarta RRI. Key personnel are only four people, namely Saleh Soewita (guitar), Isaac (contra-bass), Jachja (violin), and Ariston da Cruz (piano; musician from the Philippines which was renamed Arief Effendi). Contra-bass is sometimes held by Sarom. Ismail itself acts as an orchestra leader and arranger’s music. This group was formed shortly after the proclamation of independence, which aimed to lower the political temperature is hotter and at any moment erupt into open battle. Curtain time is given by the RRI Jakarta to the Gang of Four orchestras around 30 minutes to 1 hour. Hours of their broadcast twice in one week, usually every Tuesday and Wednesday afternoon. In 1946, the day and hour of Gang of Four played erratic, sometimes on Monday, Tuesday, or Wednesday. Generally, this orchestra is playing about 45 minutes, and broadcast three times in one day; afternoon at 13.15, afternoon at 17:15, and dinner at 20.00. Gang of Four music show on RRI Programa Jakarta Hiboeran entitled Heroes, Army Forces Hiboeran Oentoek Laoet and Oedara RI, Hieboeran Saturday night, Hiboeran evening, Bidder Rindoe, and Alam Ria Indonesia. In addition to periodically fill the musical events in the radio studio, Gang of Four also took down directly to the various fronts. They cheer the fighters and the local community who love the fight song, especially the songs that were created by the orchestra quartet’s personnel, including Ismail Marzuki.
   Ismail Marzuki song creation work of the most popular is the Palm Island Flirt used as final cover songs broadcast by TVRI during the New Order government.

Ismail Marzuki got a gift honors in 1968 with the opening of Taman Ismail Marzuki, a park and cultural center in Salemba, Central Jakarta. In 2004 he was crowned a national hero of Indonesia.

He had founded the orchestra Gang of Four

2. Various Colors Markasan Kroncong DBP (Srimpi record Inc.)
side 1 with the song:

1) pack sakerah (Sueb) 2) Kuto suroboyo (Sukemi),

3) numpak gauge (j, sudarminto et al),

4) Nyang T.H.R (noerjatian

 
ismail Marzuki.

Side 2 :

1)Motor Uduk(Achmad &J.sudarminto),

2)Si Banci (Juwariyah T.M.),

3)Mimpi dicokot ulo(Soekemi/Achmad),

4)Nanggelo(Sueb)

3. Orkes Kroncong Tjendrawasih dbp S.Padimin(lokananta record Inc)

Song side 1 :

1)Nandur Djagung(M arif),

2)Burung Merpati(S.Padimin)

song side 2 : 

1)ditepi bengawan solo(s.Padimin-kustiati),

 2).Kroncong Mesra (sunarno-supardi achijat)

:

3.Orkes Kroncong Kemayoran dbp  M.Sagi

(Irama record Inc)

1)Irama produksi  India with song

side one : Djali Djali  (NN) singer Oje

 

side two : Mengenang Nasib ciptaaan Sukamto-St.P.Bustamil

Gambang semarang(Oei Yok sioe)

kroncong meratap Hati(Mardjo Kahar)

Keroncong M.Sagi Info (google explorations)

irama

I thought that, coupled with the previous post of today, I’d post something languid and tranquil, something somewhat relaxed. So, I brought out another classic Indonesian krontjong piece from the mid-20th century, on the local Irama label. “Irama” actually means “rhythm” in English – thus the title of the piece as well as the name of the record label are explained.

I posted a krontjong tune of the same vintage, and on another independent Indonesian label (Dendang), . This one is similar – it’s the style of krontjong that I quite enjoy, featuring the walking guitar and fiddle player trading runs in between smooth vocals. Krontjong itself is a relatively new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influence. Krontjong had changed dramatically since it was first recorded ca. 1904, and when this record was released (probably the late 1940s or so). The instrumentation was bare bones at first, featuring trios and the like. I’ve heard 1920s krontjong that sounds influenced by Stamboel theater, with a slightly more operatic sound, showing further influences at work. By the 1940s, krontjong was a rage, with whole orchestras and popular singers getting into the act…yet, to me this music is not easily explained. Indonesian-Hawaiian-guitar-and-fiddle-ballads?

As for the singer and band – I’m afraid these are muddy waters. I am mostly sure that “Moh.” stands for Mohammed, and “Kr.” stands for krontjong, but at the risk of being incorrect, I will let the original label stand as the official record

3)Jasa pemain biola M.Sagi

Awalnya dengan nama Kroncong Betawi lalu Kroncong Jakarta” … Di Jakarta saat itu … Susunan instrument seperti ini adalah berkat jasa M.Sagi seorang Violinist keroncong

also in Indonesia (Irama indonesian music co ltd) look below compare with above :

1) Dimin ,Mengenang nasib with M.Sagi Keroncong Orchestra ,productions Irama Record

FRAME FOUR :

THE INDONESIA KRONCONG HISTORY FROM GOOGLE EXPLORATION FOR COMPERATIVE STUDY:

Keroncong music was born in Indonesia through the course of its long history and full of unique views of its constituent elements consisting of various components of cultural, ethnic, and language. If we draw a red thread about the origins of the birth of music keroncong in Indonesia, we will be faced with the mystery concerning the history of world history. History of Islamic occupation in the southern region of the Iberian peninsula from the fifth century until the thirteenth century. Historical background that explains why the Europeans in the sixteenth century was so determined to mobilize all its military and navigational skills to get the spices from the East. The history of the arrival of the Portuguese and the Dutch in the seventeenth century to fight over hegemony in Southeast Asia through trade monopoly in the Malacca, Sunda Kelapa, and the Moluccan islands. The history of slavery, and the lives of street musicians during the Dutch East Indies. Identity formation history of the nation of Indonesia as an independent nation and has a cultural heritage that is not infinite number of music including keroncong. Fortunately for music that eventually keroncong accepted and become the property of the Indonesian nation, a fact which has gained international recognition.

Today when we talk about keroncong, we are faced with a term that contains a broad sense. Etymologically, keroncong derived from the name of a musical instrument similar small-sized guitar, commonly four strings made of nylon, so it produces sound when played crong, jreng not like the sound of metal strings. Keroncong term believed to derive from the crafters in the village monument waditra who inherited the art of craft skills waditra guitar. Guitar was named as an adaptation of the guitar keroncong cavaquinho brought by Portuguese sailors sailed around the world. When he arrived in the archipelago of Madeira is called braguinha guitar, because it comes from the region of Braga in Portugal. In Brazil people call this machete is used to accompany dances. On the Caribbean island was called Cuatro guitar, because the four stringed. When the Polynesians arrived in the Pacific, the natives call it a ukelele, or fingers that jump, because it learned how to play but not crushed. Interesting to note that the guitar that gained popularity as a Hawaiian ukulele with patents, while the ukulele as keroncong designation has been recognized as a patent Indonesia by Salwa El-Shawan Castelo-Branco in the dictionary of The Grove’s Dictionary of Music and Musicians, “Portugal” (2002:197) .

Thus the ukulele can be said to occupy a key position in every game keroncong music, so it must have a color crong orkestrasinya that serves as a rhythmic riffs (repeated patterns). In addition, the ukulele is spread and used in various types of ensemble gives an indication that the color also crong formations wherever it is played the ukulele. We in Indonesia have also agreed that there is no any music that may appear keroncong without bearing the label has a unique color of the game crong ukulele. It is universally believed that there is no keroncong without crong, and through the deployment of ukulele music keroncong not impossible in many different versions can also be found in various corners. Currently crong color can still be found among others in the islands of Halmahera in the ensemble bastidor are generic, in Malacca in the ensemble dondang unfortunately, in the Netherlands in the ensemble toegoenezen, in Hawaii in the Hawaiian guitar ensemble, in Suriname with krontjong ensambelnya, except in Indonesia in the ensemble keroncong orchestra.

If keroncong as waditra has worldwide, then keroncong as a musical ensemble, keroncong as a form of song, and keroncong as guitar playing style is typical of Indonesia, a genre influenced by Javanese gamelan. Keroncong ensemble orchestration typically featuring violin or flute as a carrier flow of melody, the guitar as an accompanist and a carrier flow of counter-melodies, ukulele as a time-beater, and stringed cello (Pizzicato) as a tune-percussion rhythm that sometimes dipertebal with stringed bass.

Like pengendang become the leader of the Javanese gamelan, the cellist with the typical pattern according Kusbini gedugannya became conductor in the orchestra keroncong. Gedugan it has a dual function as a bass and percussion, who led the orchestra keroncong not need it and avoid the use of drum-set in orkestrasinya. From here we can see how strong the dominance waditra displaying character strings in an orchestra keroncong chordophonic in total from its role as a carrier of the melody to rhythm and harmony.

Orchestration keroncong Moresco actually a dance accompaniment consisting of guitar and tambourine percussion pieces of metal as a musical blend of Arab-Caucasian. Tambourine is also used in orchestral musicians keroncong Indies in Batavia in the Dutch East Indies. That’s why another version of the term emerged when the tambourine keroncong keroncong excluded from the orchestra under the influence of Javanese gamelan, so that the color of the metal triangle is no longer heard, and which remains is the color of his guitar keroncong. The color of the metal triangle is returned as a property of the Javanese dancers who wore bracelets on their legs. Currently though tambourine is still heard in Tugu village, orchestra keroncong in Indonesia are no longer using it.

 Keroncong community orchestra Indies in Batavia (Illustration: A.Th. Manusama (1919:12 a))
During the Dutch East Indies, keroncong appeared as ars nova, a new art which is non-traditional and non-classical Western art favored by urban communities. Major cities in Java and then grow into a center keroncong, since achieving popularity through the Night Market in Gambir, Krokodilen communities in Kemajoran, up to concours Jaar Markt in Surabaya. Keroncong when it became part of mass culture that has commercial value, so the ensemble keroncong popping up everywhere. But after independence, there was a musical revolution around the world with the birth of rhythmic rock music popular with young people. Rhythmic rock music quickly spread through the music and recording technology of today that displace the popularity of conventional rhythmic music including keroncong.

A musicologist, music is music with a conventional rhythm accentuation falls on the first beat, like a dance rhythm walsa the count of three, or four-count rhythm in marcia. Instead rock rhythms provide a fresh breath when it moved accentuation of the first beat is marked by the beat of snare-drum stick on the second beat of rhythmic patterns in between the game-bass drum and hi-hat cymbal. The move gave birth to accentuate the character sinkopatik, continuous dependence, giving rise to the psychological sensation of questions unanswered. Not surprisingly, when the rhythm of rock managed to attract the attention of the younger generation, and quickly mastered the universal musical life.

There is no denying that the drum-set occupies a key position in the rhythm of rock. Currently there are no popular music of any kind that does not use a drum-set, ranging from the simple to the band’s symphonic band groups or sophisticated light music orchestra. Rock rhythms through drum-set game has worldwide and became the basis of all kinds of popular music today. Along with the popularity of conventional music and is considered to be marginalized musical representation of the past that have been outdated, the only demand by the elderly only.

In this case his music keroncong faced a dilemma, because on the one hand, if the slump in popularity will continue to maintain a conventional rhythm, while on the other hand the use of drum-set in the orchestration keroncong will kill the music characteristics. Time passes quickly when music keroncong finally moved from the mass culture of commercially valuable music industry entered the cultural traditions that are classified as ethnic music. Types of music such as this are always vulnerable to the threat of extinction, so the concept of preservation and revitalization of the agenda. Fortunate that the social capital of keroncong lies in the support of some communities in Indonesia to ensure that the music has been born for centuries will not become extinct. However, revitalization efforts need to continue to be done for any purpose, including the purpose of reconstruction, go-international goals, or for the benefit of experimental and archiving.

Go-international effort against keroncong music ever undertaken by Rudi Pirngadie through keroncong Stay Fresh orchestra performances that brought the genre Keroncong-beat in the New York World’s Fair in 1964. Keroncong beat is a concept that explores rhythm gedugan keroncong in the form of a cello, rhythmic riffs ukulele, and banyu milli guitar to accompany all types of songs including songs West. No less keroncong singers like M. Rivani, Rita Zahara, and Sayekti managed to attract the attention of American society in the Western rendition of I Left My Heart in San Francisco that dikeroncongkan. Experimentation Keroncong beat did not bring results, among others due to not having a strong cultural roots in Indonesia. Not impossible that the failure was also due to the characteristic rhythm of the exotic, are powerless against the sensational rock rhythms. But after all, innovation Pirngadie has successfully demonstrated the position and value of fresh music keroncong Indonesia in the international arena.

Another go-international efforts can be done through the preparation of packaging for keroncong orchestra as conducted by RRI Jakarta Studio Orchestra led by Isbandi in event Star Radio Television Keroncong type. Similarly, experimentation Singgih Sanjaya through arable Light Keroncong in orchestral format that maintains grip keroncongnya. This effort is more suitable for the preservation of musical tradition keroncong music as a packaged artistically musical. This effort is more academic and respectable in lifting keroncong as a repertoire of Indonesia in international forums, is more than just offering a generic rhythm.

Go-international effort is also meant to promote the international world that is music keroncong Indonesia, through patents or intellectual property rights, followed by numerous publications about keroncong of the researchers. So far researchers like Surya Brata, Paramita Abdurachman, Harmunah, Budiman BJ, and Suka Hardjana has a lot to do, while foreign researchers such as Ernst Heins Bronia Kornhauser and contributed to them. Research Philip Yampolsky producing generic recording keroncong singer of the 1930s a different color with singer keroncong voice today, other than for years Philip has paid great attention to the ethnic music of the archipelago.

Go-international effort also requires us to appreciate the maestro who has managed to develop keroncong music since the days of the Dutch East Indies to be able to look at this as one of the mainstream music of Indonesia, as has been pioneered by the community of Monument in Krontjong Toegoe, Kusbini in Keroncong Original, Gesang in Keroncong Idioms, Idioms Andjar Any in Java, and the singers who have contributed to the life keroncong music from generation to generation. May be expected with the rapid music education in Indonesia, the younger generation of academic musicians will instinctively moved their concerns to participate to maintain the ancestral heritage which has bequeathed our nation.

Thus efforts are a true go-international against keroncong music does not lie solely on the spread and popularity of music keroncong internationally, or at archiving the music in the form of the figure scores, or in the form of orchestra performances kroncong immanent, but rather focused on attitudes that reflect the desire of the creators, musicians, and researchers keroncong Indonesia to behave in a musical.

In the end we are morally obligated to maintain and support the international confidence that keroncong is the music of Indonesia, as well as Portuguese music known as fado, blues to African-American musical identity, from Spanish flamenco, and tango as an Argentine folk songs, national music that is popular with songs that not only sung but also expressed Coração, or from the deepest depths.

Save the Music Kroncong We

Reading several publications bulletin “Tjroeng”, stretching the spirit of community seems keroncong Indonesia (KKI), both fans, musicians, singers, and observer keroncong willing to dig back and preserve the art of music keroncong perceived prominence began to recede. In the KKI may further increase with the increasing number of people in Indonesia, but the percentage may be decreased. Can it be said keroncong music began to recede pamorya?

When compared with the 70 state may have a point. At that event keroncong music activities sponsored by the government or state can be said to be solid. Among them, are not lost from memory is always held regularly every year election race radio stars from the local level (provincial) to the national level. Selection is sponsored (held) by the Ministry of Information, and Radio Republik Indonesia (RRI) which is an institution under the auspices of the Ministry of Information has always broadcast the race elections tsb radio star. At that time the contested not only music but also of the type keroncong seriosa and “entertainment”, or more dekenal today as a kind of pop.

Enthusiastic people to follow the holding of a huge radio star. This event proved that disiakan by RRI until late at night is always awaited by the pendenganya. And keroncong music among the public at that time occupied a higher position, more popular when compared with other types of music and entertainment seriosa. Developments in society influence the development of public taste of music available. Naturally formed polarization taste and appreciation of music as well as influence the development of music itself. A shift in tastes, especially among young children (teenagers) are more like the type of entertainment or pop music. Many of the emerging pop music groups like Koes Plus, Favourit Group, D’lloyd, Pambers, Mercys etc.. In addition, slowly but surely, began creeping up the popularity of dangdut music which at that time better known as the musical “Malay”. Even dedengkot dangdut music like Oma Irama at the beginning of his musical career through pop music, and several single song was popular at that time. The situation now, the popularity of both kinds of music is higher (more fans) far left and seriosa kroncong types of music.

Orkes keroncong komunitas Indies di Batavia  (Ilustrasi: A.Th. Manusama (1919:12a))

Not satisfied with the container provided by the government as an arena of competition, the musicians pop music pop stars hold their own elections, both at regional and national level, better known by the voters “Pop Singer”. The more pop music event was held, while the event for music keroncong the less even none at all.

Subsequent developments, with the abolition of the Ministry of Information from the ranks of the cabinet, automatically lost the election race is also a calendar of activities which include the radio star music keroncong therein. Also mean missing the event to socialize and popularize music keroncong among the wider community.

Is this the series of events ultimately lowers the overall prestige of keroncong music fans and becoming obsolete?

Indonesia in the eyes of society as a whole may fall dramatically keroncong music fame if the criterion is the amount of numbers keroncong pengemar or music lovers. But among his own popularity or prestige KKI keroncong music still exist and awake, only the number is likely much less than the pop music fan or dangdut. The addition of the number of fans are also not very significant, perhaps waiting for the changing tastes in line with the addition of age is not keroncong music fans. In fact, keroncong music community still exists, even not only in Indonesia but expanded into other countries brought about by the Indonesian people are migrating to other countries, like Malaysia, Suriname, the Netherlands etc.. In the countries mentioned above, remain consistent keroncong music community enjoys and plays music keroncong.

Enjoying or membeci a type of music or songs, with regard to taste, so it is highly subjective, can not be forced. Walk naturally obey the existing environment and habits. Pop songs sung by Shakira music grop or by a music group in Indonesia Radja very loved among teens or children smell big (ABG), but maybe the songs the group was not recognized at all by the people of Suriname. Society there may be more familiar with the song artist Waljinah “Walang Kekeknya”. In conclusion, globally, which have more prestige or more popular? Keroncong pop music or music? Please readers perceive themselves to answer the other questions mentioned above.

Problems faced by communities in Indonesia and dibelahan keroncong other world is how to maintain sustainable existence keroncong music. This needs attention in light of concerns from some quarters who doubted the durability keroncong music for the “onslaught” other kinds of music, especially pop music. As the news reported by the website antara.co.id, dated October 19, 2008, carried stories about the great hope maestro keroncong Indonesia, “Gesang”, asking people keroncong music fans to help preserve the flow of the original music of this Java (meaning keroncong) to stay alive all time. Behind the hope he implies the concerns that the music began to recede fallen keroncong Indonesia. Gradually, if nothing is done “nguri-uri” keroncong music, it is not likely fans will be left extinct. This situation is a challenge and an opportunity keroncong entire human community to restore luster to the hope keroncong music maestro “Gesang” keroncong can be realized.

How do our efforts to preserve the cultural art of music keroncong?

, There are various types of keroncong, there Keroncong Original, Idioms Keroncong, Stambul Keroncong, coupled with Krontjong Toegoe. Of each type did have a “formula” or “grip” on their own [regarding this formula have appeared in previous bulletins Croeng]. Looking at the formula or pakemnya, keroncong music can be categorized as serious music, equivalent to classical music because there are rules that must be met in order to be called music keroncong. Therein lies the beautiful and “adiluhungnya” keroncong music! So if there are some citizens say that the music keroncong is “tacky” or “old school” Shah-Shah was only because of different perceptions, but it’s a big mistake! Not just anyone and not many who can create and play music “pure” keroncong properly. Only people who have special talents. Therefore, keroncong music that is played without obeying the rules, or that there can be said to deviate as keroncong contemporary or experimental music. Usually of young people who likes to experiment so that the music was born CongDut (keroncong Remix), CongRock (keroncong alloy and rock), CongLan (alloy keroncong and gamelan), etc.. How do we respond to the birth of the type music

 
 
 
 
 
 
 
 
 
 
 
 
  Orkes keroncong komunitas Indies di Batavia (Ilustrasi: A.Th. Manusama (1919:12a))

 the end @ copyright Dr Iwan suwandy 2011

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The Singapore legend Singer Ce Momo Latiff Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

versi ke-3(version three)

kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942

 
kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942TEATER MODERN JATIM, PANGGUNG SANDIWARA HINGGA KE SANDIWARA DARDANELLA 
 

Sandiwara panggung tidak bisa lepas dari sejarh film di Hindia, selain wayang, Sandiwara panggung sangat di gemari disini. Bebarapa panggung tradisional hingga adaptasi dari eropha, India, China sampai ke hal Wayang. Tetapi kalangan Belanda lebih suka sandiwara panggung dari pada wayang. Memang sejarah wayang diciptakan untuk propaganda seorang raja seperti yang dikisahkan oleh cerita wayang, sehingga rakyat yakin raja mereka seperti tokoh wayang tersebut titisan dewa dan sangat memiliki kekuatan yang luar biasa.

Oranbg Belanda banyak yang main dalam sandiwara ini, termasuk juga kelompok sandiwara bangsa China yang lama di Hindia. Bebarapa sandiwara yang terkenal adalah Opera Srie Permata, komedi Stamboel, Miss Riboet Orion dan Dardanella.

Sandiwara panggung ini ceritanya beragam, mulai dari kisah HIndia dan orang Belanda totok, atau pun Indo, dan yang populer saat itu dari luar negeri. Sandiwara ini kerapkali diiringi oleh musik-musik, nyanyian dan tarian yang khas, terutama musik keroncong, sunda, melayu, hingga india dan Eropha. Yang nantinya mereka akan terjun dalam Film dan beberapa menjadi pembuat film/bisnis film.

Telah satu abad lebih masyarakat Jatim telah mengenal teater modern. Akan tetapi, masyarakat Jatim juga para kreator teater-nya gagal mempertahankan tradisi teater modern yang telah dibangun sejak tahun 1891 oleh August Maheiu dengan nama Komedi Stamboel dan kemudian dilanjutkan dengan Dardanella pada tahun 1926.
Dardanella semula bernama The Malay Opera yang diprakarsai oleh Willy Klimanoff, anak pemain sirkus terkemuka A. Klimanoff kelahiran Rusia. Willy Klimanoff hijrah ke Indonesia sepeninggalan ayahnya. Dengan penguasaan teknik akrobatik Willy Klimanoff mendapat pekerjaan di Komedi Stamboel, kemudian mengganti namanya dengan A. Pedro.
Dalam bentuk pertunjukan atau infra strukturnya, A. Pedro banyak melakukan perombakan secara revolusioner sebagaimana sistem pertunjukan yang telah terkonsep oleh Komedi Stamboel dalam tradisi lakon dan tonilnya. Pedro melakukan perombakan radikal tradisi komedi bangsawan pendahulunya. Jika dalam Komedi Stamboel diantara pergantian adegan diisi atau diselingi dengan tarian-tarian dan lelucon untuk kepentingan hiburan, maka A. Pedro menghilangkan nuansa-nuansa lelucon dan tarian. Dardanella lebih menfokuskan pada bentuk pertunjukan drama murni. Dardanella mementingkan esensi dramatik, kekuatan cerita dan permainan aktor-aktornya, meskipun selingan tarian tetap ada namun masih berada dalam satu keutuhan pementasan, dengan lain kata, tari-tarian menjadi bagian dari alur cerita dan adegan.
Pengaruh Dardanella terhadap perkembangan teater modern Indonesia sangat besar. Seiring dengan kemajuan dardanella banyak bermunculan teater-teater lain yang diprakarsai oleh bekas sri panggung dan anggota dardanella sendiri. Seperti Bolero, Orion yang didirikan Miss ribort, dan Tjahaya Timoer yang didirikan Andjar Asmara. Andjar Asmara sewaktu menjadi anggota Dardanella menjabat sebagai tangan kanan A. Pedro. Andjar Asmara juga melakukan perombakan dalam sistem managerial dan sistem modernisasi dalam teknik tata panggung. Bahkan dampak dari kemajuan Dardanella sampai ke Jakarta, dengan didirikannya “teater Maya” yang diketuai oleh Usmar Ismail pada tanggal 27 Mei 1944.

Munculnya teater-teater kecil tersebut sebagai antitesis dari keberhasilan Dardanella dan juga sebagai proses eksperimental terhadap tema dan bentuk pementasan yang konvensional.

TUNTUTAN SEJARAH

 
Komedi Stamboel dan Dardanella yang lahir di Jawa Timur yakni Surabaya dan Sidoarjo merupakan pelopor gerakan pementasan teater modern di Indonesia, bahkan secara tidak langsung memberikan dampak yang begitu besar terhadap teater di tanahair nantinya.Semangat modernitas yang dibangun oleh Dardanella terlihat dalam setiap pertunjukannnya telah memakai scrip atau naskah, pengadaan properti, kostum, make-up, juga melakukan pementasan yang utuh, artinya, teater Dardanella menghilangkan konvensi-konvensi lelucon dan tarian-tarian yang memberikan kesenangan lebih pada penonton. Dardanella melalui A. Pedro dan Andjar Asmara telah melakukan sistem manajerial pertunjukan secara profesional yang merupakan supra struktural dari suartu pertunjukan. Hal ini yang merupakan ciri dari teater modern dengan semangat realisme.Realisme yang dimaksud ialah melihat peristiwa sehari-hari yang dialami setiap saat (ilusi kenyataan), sebuah pementasan bukan bukanlah sekedar menyajikan cerita, tetapi ada pesonanya, yakni yang seakan-akan bersungguh-sungguh, suatu permainan yang menimbulkan rangsangan pikiran bahwa yang terjadi di panggung bisa pula terjadi pada penonton. Konsepsi estetika realisme yakni semangat impresionis. Tidak tidak menggubris lagi pesan-pesan sejarah, kitab suci, tetapi langsung memberikan kesan tentang persoalan-persoalan pokok-nya. Konsepsi realisme ingin menohok konsepsi romantisisme yang cenderung menjadikan kehidupan seperti mimpi. Dalam hal ini peentasan Dardanella tidak lagi menampilkan epos-ramayana yang merupakan model pementasan tradisional, akan tetapi Dardanella lebih banyak memainkan naskah-naskah yang sedang terjadi pada masyarakat sekitar. Misalnya dengan mementaskan naskah Nyai Dasima dan Kalibrantasi.Dardanella dengan demikian sadar akan posisi dan konteks sosial dalam masyarakatnya, Dardanella mengapresiasi material dan mengekspresikan kultur lokal dengan perspektif modern.Sedangkan pada dekade dewasa ini, kreator dan pekerja seni teater Jatim telah gagal mewarisi dan mempertahankan tradisi teater modern yang telah dibangun Komedi Stamboel dan Dardanella. Kegagalan pekerja teater Jatim lebih pada sikap kritis, mentalitas, spirit dan intelektualitas. Artinya, pekerja teater Jatim bersifat sebagai pekerja bukannya seseorang atau kelompok yang memiliki daya pikir kritis terhadap fenomena kultural, kepekaan terhadap konteks sosial dibelakang teks realitas.

Dalam beberapa pertunjukan terakhir teater-teater Jatim di Surabaya, pekerja teater Jatim mengesampingkan problematik perspektif kritis massa. Pertunjukan teater Jatim hanya bersifat momentum, temporal dan gegabah mencermati fenomena sosialnya. Dalam hal ini, pekerja teater Jatim khusunya Surabaya tidak mempertimbangkan kebutuhan-kebutuhan mental masyarakatnya. Sebagaimana kita ketahui bahwa Surabaya merupakan kota ‘metropolis’ dimana kriminalitas, kekerasan, urban, ketimpangan sosial, tata kota, pendidikan, perdagangan dsb, adalah suatu problematik yang sering kali dijumpai. Dengan lain kata, pertunjukan-pertunjukan yang ditampilkan pekerja teater Jatim kurang kritis mengklarifikasi problematik. Eksperimentasi dan eksplorasi yang dilakukan para pekerja teater Jatim lebih pada bentuk belaka, tidak menyentuh esensi dan fenomena masyarakatnya atau dengan lain kata minimnya proses kontenplatif, bukannya bermewah-mewah dengan bentuk pertunjukan, baik secara infra stuktural maupun supra strukturalnya, namun minim ide dan gagasan serta gagal menyampaikan dan mengkomunikasikan kegelisahan kultural Jatimnya.

Fenomena yang tak kalah memalukan pekerja teater Jatim ialah, para kritikus teater Indonesia, seperti Jim Lim, Zaini KM, Umar Kayam, Putu Wijaya, Nano Riantiarno, Rendra, Afrizal Malna, Bagdi Sumanto, Hanindawan, Nursahid, Sapardi Djoko Damono, Gunawan moehammad dll dalam beberapa tulisan, pembabagan, referensi-referensi dan data tentang teater modern Indonesia, Surabaya dan Jatim pada umumnya tidak pernah dicatat keberadaannya. Entah karena secara kualitas teater Jatim tidas layak, atau memang di Jatim tidak ada kritikus teater yang berkualitas sehingga dapat mengangkat nama teater Jatim. Secara logika sederhana, seharusnya teater modern Indonesia maju dan terus berkembang di Jatim, dimana pewarisan tradisi teater modern pertama kali diletakkan, bukannya di Solo, Bandung, Yogyakarta dan Jakarta.
Mari kita pikirkan bersama-sama.

Sepenggal Kisah Miss Riboet Orion dan Dardanella

 

 

Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella. Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.
 

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

 

Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

 

Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.

 

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara. Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 58). Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

 

Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

 

Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

 

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

 

Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.

 

Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.

 

Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

the end @ copyright Dr Iwan suwnady 2011

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The Malaysia Legend singer Salmah Ismael

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

vintage Picture collections

Puan Sri Salmah binti Ismail or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian singer and film actress. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Saloma died on 25 April 1983 at Assunta Hospital, Petaling Jaya, Selangor, Malaysia. She was buried at Jalan Ampang Muslim Cemetery, Kuala Lumpur next to the grave of her husband

 

 I Love Saloma!

 

Saloma
 
Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer.
 She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee. Saloma atau nama sebenarnya ialah Salmah Ismail (22 Januari 1935 – 25 April 1983) dilahirkan di Pasir Panjang, Singapura. Beliau mula menyanyi pada usia tujuh tahun dan menjadi penyanyi profesional pada usia belasan tahun. Pada awalnya, beliau mengasah bakat bersama Orkes Fajar Murni pimpinan Yusof Osman
 

Biography

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60′s.

the end @ copyright Dr Iwan suwandy 2011

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The Indonesia Legend Singer Sam Saimun Record (piring hitam Sam Saimun)

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Indonesian legend singer Sam Saimun Record

singer :Sam saimun

song: Malam ta’ berbintang _leo Masengi(Night without star)

orkes :Lima Seirama  dbp A.Usman

the end @copyright Dr Iwan suwandy 2011

another popular song sing by sam saimun

Sam Saimun ”Kr Telomojo”
Penyanyi Legendaris Sam Saimun…..!!!!

Sam Saimun – Di Sudut Bibirmu – YouTube
This Song was composed by Our Maestro Mochtar Embut – In the 50′s decade – and that time NTC and Bing Crosby Era, and followed by indonesian singer (refered to Bing Slamet) ie Sam …

Sam Saimun Selendang Sutra Mp3 Downloads
 Sam Saimun Selendang Sutra Mp3s (9406 MP3s) including lgm selendang sutra sam saimun, lgm selendang sutra sam saimun, sam saimun diwajahmu kulihat bulan, sam saimun di sudut …

Sam Saimun Info

 



The name Sam Saimun, keroncong singer in 60-ies for me is such mystery, until I get this album including his photograph on February 2008. The first time I know his name is from a cassette album which compiled Indonesian national anthems by old singers. They are Sam Saimun, Bram Atjeh, and so on.Why Sam Saimun is such a mystery? Because difficult to find his album. Also may be because his album is only a few, and is not produced anymore by record industry. What makes his name more mysterious is because legend singer Bing Slamet once upon time in a book Musisiku (2007) quoted as saying that Sam Saimun is his teacher in learning to sing keroncong. Wow? Even Bing Slamet recognized him that so high? Come on, who is Sam Saimun? This album at least can show you his talented voice. *
at the back of the sam saimun record above, there was  Bing Slamet sing  a song his own song Risau(B.Slame)with orchest lima seirama dbp A.Usman. This record very rare dificult to find.
 
at  RRI, Bing Slamet a lot to absorb knowledge and experience of the musician Iskandar and keroncong famous musicians, M Sagi, and other musical friends like Sjaifoel Bachrie, Soetedjo, and Ismail Marzuki. And, a lot of influence is the singer Sam Saimun had known since served in Yogyakarta in 1944. For Bing, singer Sam Saimun is figure role model. Not a few who called Bing’s vocal timbre is very similar to Sam Saimun
Penyanyi SAM SAIMUN pernah bernyanyi bersama  ELLY SRI KUDUS, BING SLAMET ,DJUITA, S. EFFENDY ,NURROUGHMA ,MIEKE WIDJAJA
(I ever met elly srikudus,she sing the song from Rusia with love special for me in 1966-Dr Iwan note)
 
the end
 

 

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The Vintage Chinese Teochew and Fukian Opera Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合,在印度尼西亞,前中國海外集合,他們仍然保持,直到通過,後出這一切集合下一代低谷,因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出,因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄,我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言,也給我更多的信息,並通過修正意見的中國本土languge。

我要thanks SLL評論,校正,translatation更多信息,與老式的中國歌劇信息相關,也People中國的獨立和解放週年的10月,10th.2011共和國的禮炮和榮譽。

雅加達,十月0.2011

伊万suwandy博士,MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understand the art of vintage chinese opera and also the old record disc  cannot played because the instrument of old record player didnot  exist anymore , all music record now in digital disc.

I still keep this old record for historical collections and  I will tried to transfer into digital disc. but  I met the difficulty in translating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thank for all comment,correction,translatation and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections


從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a “>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

 

 The Vintage  Traditional Chinese TEOCHEW AND  FUKIEN Opera Record found from Native Tionghoa Indonesia  Ethnic

Teochew Opera record

 

pagoda-v-3912-part-3.jpg

Pagoda was a great label that was most likely a subsidiary Deutsche-Grammophon along with Polyphon and Hindenburg. Pagoda seems to consist mostly of Teochew Opera from southern China. Unfortunately, I broke the Pagoda record I wanted to post while trying to get it’s too small spindle hole to fit on the turntable…so this is the runner up!

Performed by the Old Choy Bo Fung troupe. (thanks to Patrick Lau for translation.)

PAGODA V 3912a

 

tigersleeve.jpg

tiger_1048d.jpg

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

 

peacock bird

I have just finding the Old Record with  peacock bird mark, but I connaot Identified please native collectors help me to translate.

4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
regal50002c.jpg

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
hmv24_12941label.jpg

hmv24_12941.jpg

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

 

the end @ copyright Dr Iwan suwandy 2011

Posted in China unique collections | Leave a comment

THE vINTAGE CHINESE CANTON TRADITIONAL OPERA RECORD

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

 

Showroom :

THE XINTAGE CHINESE OPRERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合,在印度尼西亞,前中國海外集合,他們仍然保持,直到通過,後出這一切集合下一代低谷,因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出,因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄,我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言,也給我更多的信息,並通過修正意見的中國本土languge。

我要thanks SLL評論,校正,translatation更多信息,與老式的中國歌劇信息相關,也People中國的獨立和解放週年的10月,10th.2011共和國的禮炮和榮譽。

雅加達,十月0.2011

伊万suwandy博士,MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore becaus e all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections


從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a “>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

 

 

 The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

(1)the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

(2)The Chinese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

columbia-57700.jpg

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

(3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

The Chinese Opera Record part Two

“The Canton Opera Record”

(1)the cantonese Opera Pagoda Record

compare with haji Midji collections below

 Opera Odeon record

and BEKA Record 

compere with haji Midji collections Opera Polyphone below

 

polyphon-v490.jpg

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana TreeChinese Opera record from google Explorations

Cantonese Opera record Courtecy Haji Maji (introduced  by David)

FOUR PURPLE VICTORSThe 42000-43000 Victor series contains some of the most incredible Chinese music ever recorded. Predominately Cantonese, many of these recordings are reissues from the one sided 8000 series which were recorded in New York City and San Francisco as early as 1902. Because these were sold in the United States they are easier to find here, sometimes in great condition as leftover store stock.

This one has the classic Cantonese fiddle-banjo sound, that is, gaohu-sanxian sound.

VICTOR 42126 A1

A beautiful recording featuring the end blown Chinese flute called Xiao, reminiscent of Vietnamese and other Southeast Asian flute music.

VICTOR 42178 B2

Here’s another classic sounding Cantonese recording from the early 20th Century. This is a good example of the typical record from this Victor series.

VICTOR 43246 A3

I had decided not to post this recording because it’s pretty scratchy, but because it’s one of my all time favorite Victor records and I because you must be an intrepid bunch of music lovers to be here in the first place, I figured what the hell. Enjoy.

 
 

I’m always amazed at how cacophonous these Chinese records can be and here’s a perfect example. A  Cantonese instrumental played on the suona. The suona is a type of shawm that originated in Northern China and eventually spread across China for use in military, wedding, folk and opera music. It’s similar to the Turkish zurna and the Indian shennai, among  others.

After World War II, local entrepreneurs around the world started setting up their own record companies. Tsing Ping is one of the many Chinese-owned labels that emerged in this period, many of which were based in Chinese immigrant communities throughout Southeast Asia. Tsing Ping and Num Sing (see below) were based in San Francisco.

TSING PING 33

MORE ORIENTALWelcome to any visitors from Excavated Shellac! Have a look around, I’m sure you’ll find something you haven’t heard before!

I’ve already posted something from Oriental Records and quite a few Cantonese records, but I just couldn’t resist sharing this recent find. Otherworldly!

 
the hardcore Haji Maji listeners have probably worn out all my previous postings through repeated daily listenings, so today I will be posting THREE different records from some small independent labels of the 1940′s and 50′s. Stay tuned, there will be a few surprises in July…

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master. Thanks to Patrick for adding these details via the comments section.

 
 

Here’s another one I’ve never seen before….Golden Star Records from Hong Kong. This Cantonese record is most likely from the 1940′s or early 1950′s. It’s interesting to compare the way the Cantonese musical style has changed from the earlier records I’ve posted…listen to the Beka, Columbia dragon, Hindenburg, etc.

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

 
columbia-57700.jpg

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

(note: The “G” side of this record had a destroyed label, so I’m showing the filpside label)

 
 
 
polyphon-v490.jpg

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

 

THE END @COPYRIGHT dR iWAN SUWANDY 2011

Posted in China unique collections | Leave a comment

The Vintage Chinese Peiping_Beijing Opera Record

 

 

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合,在印度尼西亞,前中國海外集合,他們仍然保持,直到通過,後出這一切集合下一代低谷,因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出,因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄,我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言,也給我更多的信息,並通過修正意見的中國本土languge。

我要thanks SLL評論,校正,translatation更多信息,與老式的中國歌劇信息相關,也People中國的獨立和解放週年的10月,10th.2011共和國的禮炮和榮譽。

雅加達,十月0.2011

伊万suwandy博士,MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore because all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections


從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a “>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a ” closure_uid_7oyu0g=”253″>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

 
 
 
 

The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

1) the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

2)Chinese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

columbia-57700.jpg

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

 

The Vintage Chinese Opera record Part One

“The Peiping_Beijing Opera Record”

Peiping Opera record

 
 
 
pathe35165a.jpg

pathe35165asleeve.jpg

The first time I heard Chinese Opera I was really shocked. I’ve listened to a lot of unusual music, but nothing seemed further from the western concept of music. I knew I was hooked immediately and had to look into this stuff…

I soon learned that there are two main types of Chinese Opera, and I’m talking about the 78 rpm era here, Peiping Opera (aka Peking or Beijing) and Cantonese Opera. Peiping Opera is a bit more “classical” while Cantonese style is a bit more “folk”. It’s good to keep in mind that the history of opera music in China, which was more or less their theater, folklore, and music all rolled into one, is a long and complicated story going back hundreds of years. I’m definitely not qualified to make any definitive statements about which style is older or the tangled webwork of influences.

Peiping Drama, which is what this record is labeled as, usually consists of a fiddle-like instrument called Erhu or Jinghu, or one of the variations on it, and a handful of other stringed instruments. The general cacophony is provided by a rhythm section consisting of gongs, cymbals, woodblocks and such. The singing is in an unnaturally high voice, often sung by men performing the role of a woman (qingyi) and using stylized, archaic words with special pronunciation. This style tends to be much more wild than the Cantonese, with a lot of percussive effects that would be used to accompany physical action on stage such as acrobatics, elaborate fight scenes, hand gestures and general posturing.

Here, then, is a pretty typical example of this style, I’m guessing from the 1920′s. It seems to me that Pathe recorded the most records in this style while other labels tended to record more Cantonese.

The singer is the “Opera King”, Mei Lan Fang, the internationally famous male singer known for qingyi roles. See the film Farewell My Concubine for some nice depiction of this.

Here he sings the prelude to his famous Ba Hwang Bia Gei, meaning Emperor Ba Hwang Bids Farewell to his Concubine. (thanks to Seneca Chew for translation!)

This is the strange story of a famous emperor who is despondent over the loss of his men in battle. The opera culminates with a famously complicated, stylized sword dance performed by his concubine as she commits suicide to express her loyalty to the emperor!

Dr Iwan vintage Beijing Opera record Collections,please comment and  add new info ,thank you.please native chinese collectors help me to identified the Baijing Opera music record below:’

a.made in china(Pathe)

unidentified record

 

 

b.made in India :

c.Made In England

 unidentified His Master Voice record

the  Beijing Traditional Opera

silang Visit His Mother

Almost a month ago, Bertrand uploaded a great (and big) video of Silang Visits His Mother, starring Shi Yihong and Li Jun, and since he knows I’m obsessed with Jin Xiquan and Xiong Mingxia (who also appear in this staging), he kindly gave me the privilege to make a post about it.

I usually keep things (that are related to my online presence) in mind, but this time I forgot about this very pleasant “duty”of mine.

The story of Yang Yanhui, or Yang Silang (lit. “fourth son”) is one of the most popular Beijing Operas, featured by exciting story, a variety of characters and earworm arias. A version with Yu Kuizhi and Li Shengsu in the leading role was already posted at operabeijing.com, and Bertrand’s friend Zach provided a straightforward description of the whole story.

There are only a few things I would like to add as curiosity.

Zach mentions Yang Yanhui changed his name to Muyi upon captured, to conceal his true identity. However, his new alias also hints at his family relations. The two characters that make the traditional compound for surname Yang (楊) are mu (木) and yi (易). Very clever, isn’t it? How tricky our Silang is.

The version posted earlier omitted one character from the play: Mrs. Silang. Yang Yanhui already had a wife at home who remained loyal to him for fifteen years, and now, after Silang’s short visit, they have to bid farewell again. I definitely don’t envy this character.

The most famous act of this play is undoubtedly Zuo Gong (Sitting in the Palace). Bertrand already posted a video with Yu Kuizhi and Li Shengsu singing the most appealing snippet from the famous duet of Yang Yanhui and Princess Tiejing, but you can never have enough Zuo Gong in your Beijing Opera blog.

In the following clip, the above mentioned duo is singing the same excerpt, just wearing stage costume. It’s a 2009 recording, and Yu Kuizhi seems unusually rested and well-fed this time. I added English subtitles to it with Aegisub, to ease my conscience. Believe me, stereo Yu is fun.

the Zuo Gong duet

And now to the main performance! You will meet many familiar faces, most of them already have a category, so don’t hesitate and click those links.

Hu Xuan, the young “old lady” of Shanghai Jingju Troupe was featured recently in a complete opera here, playing the role of a poor but noble spirited elderly woman. Now we can see her again as the mother of Yang Silang. I think she deserves a category too, what do you think? *pokes Bertrand*

Young Ma school laosheng Mu Yu, playing Yang Zongbao’s father in this play, also appeared here before, both as kid and as young adult. In the latter post you can also spot Zhu Hong (Jingju Theater of Beijing Youth Troupe), starring as Silang’s wife in this performance.

Shi Yihong and Li Jun are two excellent professionals, though not particularly exciting. Possibly I won’t stand alone with the opinion that performers in the supporting roles are a bit more interesting in this production.

《四郎探母·坐宫》Silang Tan Mu (The Fourth Son Visits His Mother)

the end @ copyright Dr Iwan suwandy 2011

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