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
Dr IWAN SUWANDY, MHA
The Driwan’s Cybermuseum
(Museum Duniamaya Dr Iwan)
The Chinese Export Record label to Indonesia
A.PRE WORLD WAR II
1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)
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.
Filed under: cantonese opera | Tags: Bai Ju Rong, cantonese opera, Oriental
I had a request for some more Bai Ju Rong, the amazing Cantonese singer featured below on the Clipper label. Here he is on the obscure Oriental Records label.
Here’s an excellent recording on the Odeon label featuring the Yangqin, a Chinese hammered dulcimer. The hammered dulcimer is used all over the world; Santur in India, Santoor in Perisa, Santouri in Turkey and Greece and various forms of the Cymbalom used throughout Eastern Europe. The Yangqin is a common instrument in Cantonese “Silk and Bamboo”, a form of folk playing that is closely related to Chinese Opera. I think this may be the only record I have that features the instrument.
The Odeon label included many different forms of Chinese Opera from all over the country. This one, I believe, was recorded in Hong Kong.
Bai Ju Rong, aka Bak Keui Wing (1892-1974) is one of my favorite singers. He was trained as a youth in the role of Xiaosheng, one of the subtypes of the main male role known as Sheng. Xiaosheng roles were handsome young men involved in various romantic intrigues and adventures. Bai Ju Rong went on to be thought of as the “Xiaosheng King” and made a major impact on Cantonese opera in the 1920′s. He re-defined almost every aspect of the performance; most importantly he switched from using the archaic “Official Cantonese (which many could not understand) to using vernacular language. He also changed the singing from an affected high voice to a natural, flowing “true voice” and made his mark on the use of gestures and melodic recitation.He started losing his sight and eventually had to quite performing. By 1948 he was reduced to singing in the street. Amazingly, he made a comeback and was again very successful. In 1958 he became principal of the Guangdong Opera School.This is part one of four.
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).
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.
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)
The Chinese traditional Wedding Music Record(Singapore Pagoda record,info from Haji Maji)
Here’s another Pagoda recorded in Singapore, this one in 1938. It features traditional Chinese wedding music played by a seroni ensemble. The typical ensemble consists of seroni (a shwam-like oboe known as suona in China), swilin (bamboo flute) and percussion; a small drum, cymbals and gong. Usually this type of music is used to accompany the bride while she is carried in a sedan and throughout other parts of the wedding. The piece heard on this record is labeled “Siew-Tow”, the most important part of the ceremony when the vows are taken.
A seroni ensemble is also used for funerals and other rituals.
Immigrants from southern China began moving to Malaysia and Indonesia as early as the 15th century. The British later encouraged Chinese immigration to the Straights Settlements in the the 19th and 20th centuries. Chinese, speaking several different dialects, quickly established themselves as traders throughout the region, as in other parts of Southeast Asia.
The label is hard to read, but it says:
B.AFTER WORLD WAR II
1. THE KINGDOM AND THE BEAUTY SUNG BY
TSIN TING AND KIAN HUNG
Tsin Ting Kiang Hung 33 rpm 10″ Record Pathe CPA 169
pathe record Miss Yao Lee
Miss Yao lee info
|Pinyin||Yáo Lì (Mandarin)|
|Jyutping||jiu4 lei6 (Cantonese)|
|Birth name||Yáo Xiùyún (姚秀雲)|
|Origin||Republic of China|
|Born||1922 (age 88–89)
Republic of China
|Label(s)||Pathé / EMI|
|Years active||1930s — 1970s|
Born Yáo Xiùyún (姚秀雲) and rasied in Shanghai, Yao began performing on the radio in 1935 at the tender age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “Xin xiao fang niu” (新小放牛). She was signed to Pathé Records.
She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.
During the 1930s and 40s, Yao Lee’s high, soft singing style was typical of Chinese popular music of the time. She performed numerous popular standards, such as Wishing You Happiness and Prosperity (恭喜恭喜), “I Can’t Have Your Love” (得不到你的愛情), and “By the Suzhou River” (蘇州河邊) with her brother Yao Min, arguably the best-known Chinese pop songwriter of the shidaiqu era. She is famous for her 1940 version of Rose, Rose, I Love You (玫瑰玫瑰我愛你), later recorded by Frankie Laine in the United States with English lyrics. (Her version was also released in the US and the United Kingdom credited to “Miss Hue Lee”). Yao was known as “the Silver Voice” (銀嗓子) alluding to fellow Shanghai singer Zhou Xuan, who was known as “the Golden Voice” (金嗓子).
With increasing Western influence in the region after World War II and her move to Hong Kong, Yao Lee’s singing changed. She was introduced to more Western popular music and became an admirer of American singer Patti Page whom she emulated by lowering her voice and incorporating some vocal mannerisms. As a result, Yao is sometimes called “Hong Kong’s Patti Page.” One of her biggest ’50s records was “The Spring Breeze Kisses My Face” (春風吻上我的臉).
Yao was extremely prolific with over 400 gramophone records attributed to her.
(2)ZHOU XUAN AND BAI GUANG
|ZHOU XUAN AND BAI GUANG
Archetypal songstress of Mandarin cinema Zhou Xuan (1920–1957) is best remembered for her performance in the classic Street Angel 1937. In her popular Hong Kong production Song of a Songstress 1948 (dir: Fang Peilin), she performs ‘Songstress of the world’ (‘Tianya genü’), which became her signature song. Tragically, her final years were spent in a Mainland mental hospital, where her death was possibly suicide. Many of her songs are still popular today; one features in the soundtrack of Wong Kar-wai’s In the Mood for Love 2000 (see Mirror Cities: Fascination and Nostalgia). Launching her singing career at 22, Bai Guang (1920–1999) quickly became a successful singer–actress in Japanese-occupied Shanghai, and then, like Zhou Xuan, her star continued to rise in Hong Kong after the war. Bai was known as the most sultry and sensuous of the songstress stars, nicknamed both ‘Standard Alto’ for her low voice and ‘Bewitching Beauty of all Ages’ for her enduring stage appeal. In Songs in the Rainy Nights 1950 (dir: Li Ying), she plays a country girl who moves to Hong Kong and achieves success as a nightclub singer, while her cousin works more respectably in a factory.
(3)Yao Su Rong
(sometimes Yao Su Yong) was born in 1946. Her breakthrough came in 1969, with the title track to the movie “今天不回家” (Today I Won’t Come Home).
That one song swept her into fame, the song being sung by young and old alike, securing her a much-coveted Hong Kong record deal with 海山 (Haishan Records), selling 600,000 copies.
Before that, she’d been singing songs for a while, a minor hit being a Mandarin-language rewrite of a Japanese popular song, “負心的人” (Cruel-Hearted Lover). No longer would she have to worry about success — instantly, she was selling out shows and getting invited to concerts all across the Mandarin-speaking world.
At the height of her popularity in the late sixties/early seventies, it is said that one Hong Kong nightclub owner offered her 60,000HKD for a month’s worth of performances (now about USD$7600 or over $10,000 Canadian dollars — I don’t know how much it was really worth then). A ridiculous amount even by today’s standards, it was even more extravagant back then, when the highest-paid Hong Kong singer was earning only about 10,000HKD a MONTH.
Audiences said what set her apart was her complete immersion into the emotion of her songs. Most of her songs are sentimental love ballads, wistful, nostalgic melodies, and her entire composure and movements would reflect the mood of her music. She often cried as she sang on stage.
However, there is a mark of controversy that stains her career. Though seemingly trivial now, it was enough to drive her to retirement.
Certainly, her catalog is extensive, with over 200 recorded songs. However, during the most intense period of martial law in Taiwan (basically, 1949 until 1975, when Chiang Kai-Shek died), 80 of her songs were banned, supposedly for stirring up unhealthy morals amongst the youth (too many sentimental songs about love would drive the population to immorality!) and being too depressing (for a happy nation is a strong nation, and who could be sad under a government as well-run as the ROC?).
On August 18th, 1969, Yao Su Yong sang at a packed crowd in Kaohsiung, southern Taiwan. The audience was crazy about her, cheering madly every time she appeared on stage, and pleaded and begged her to sing some of her banned songs. Initially, she declined as politely as she could, saying that she was not permitted to perform those songs, and that she hoped the audience would forgive her. However, the requests wouldn’t stop, and eventually, she sang “負心的人”, hoping the popular appeal of her song would override any official censorship.
Unfortunately, the police guards stationed at the theater didn’t agree. They called her offstage and questioned her, asking her to record her playlist and make an official confession. Failing to produce a playlist, her singer’s license was revoked, “leaving no door or window” open. Since she was no longer allowed to perform in Taiwan, she turned to Hong Kong and Southeast Asia to continue her career.
Now, she lives a quiet life in Singapore. Though Taiwan officially invited her to perform at the 1998 Golden Horse Film Festival (the biggest movie event of the island, government sanctioned), she politely declined, saying that now that her life was peaceful and stable, she preferred to remain out of the limelight. However, her legacy lives on. “Jin Tian Bu Hui Jia”, the movie, was remade in 1996, but still used her original song. Her records continue to be very popular, and her status in the annals of Chinese oldies divas is well-secured.
(4)Chinese Folk song
THE END@ COPYRIGHT Dr IWANSUWANDY 2011