The Vintage Sunda Gamelan Bhineka Tunggal Ika with singer Titim Fatimah 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 Sunda Gamelan Bhineka tungal Ika PP Inem Saputra singer Titim Fatimah.

I have seen the record during google eexplorations,

TITIM FATIMAH – SRIWEDARI

 

Here’s another incredibly beautiful album from the great TITIM FATIMAH with INEN SAPUTRA and ORKES GAMELAN SENI DUNDA BHINEKA TUNGGAL IKA….

 

TITIM FATIMAH – TJAHJA SUMIRAT

 

Here’s an incredibly beautiful album from the great sinden TITIM FATIMAH with INEN SAPUTRA leading the BHINEKA TUNGGAL IKA GAMELAN ORCHESTRA…..

 
 
 

Wednesday, November 11, 2009

TITIM FATIMAH – KASTAWA

 

Here’s an incredible cassette from the great TITIM FATIMAH. The sound quality is terrible at times, it’s a very old cassette that hasn’t kept very well but this music is so beautiful and this stuff is so incredibly hard to find that I gotta share it anyway, hope some of you will love this one as much as I do!!

and I have one record below

song :Medjang Geurlis(nn) and Tina Djandela(Koko Koswara)

, Mang Koko the sunda famous composer

original info

Lokanata,Koko Koesworo

The Soenda West Java native Singer Mang Koko Koeswara with his native  lawak Kantja Indihiang   and song Ronda malam means native night security patrol and maen baal mean play soccer which recorded by Irama Inc Indonesia singing ,look the rare white label promo record label below:

 

Koko Koeswara/ Mang Koko (Jawa Barat) with six native pelog nore and three basic note ,he also made the sunda song Sekar gending,and daeng Soetigna ,he had made the soenda song became more popular with the change from pantonis to be diatonist but this song with his music kantja indihiang group above never report before (dengan enam tangga  nada pelog da, mi, na, ti, la, da dengan tida nada dasar  . Selain itu menciptakan lagu Sunda diantaranya Sekar Gending.Daeng Soetigna dari Jawa Barat . Jasanya telah mengubah tangga nada pentatonis pada alat musik angklung menjadi diatonis sehingga angklung dikenal oleh masyarakat Indonesia maupun manca negara)

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The Identified Vintage China Music record Found In Indonesia

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 Chinese Export Record label to Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

PAGODA V 3912a

 

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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.

ORIENTAL RECORDS

January 12, 2008, 2:31 pm
Filed under: cantonese opera | Tags: , ,

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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.

>ORIENTAL 5028a

 
 
 

 

THE CHINESE YANGQIN

 

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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.

>ODEON 206019a

 
 
 

 

Bai Ju Rong

 

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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.

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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

 
 
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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

 
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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:

Seroni
lagu Siew-Tow

>Pagoda V3905a (mx-7753 GD)

 

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

 
 
Item condition:
 
 
Price: US $30.00

 

1a.

 Ting (centre) with guest stars (from left) Zhuang and Mohan

Ting (centre) with guest stars (from left) Zhuang and Mohan

LEGENDARY veteran Chinese singer and playback artiste Tsin Ting, who has entertained fans for over 50 years, will be performing in a charity concert
at Genting Arena of Stars on Saturday.

Tsin, a native of Szechuan, arrived in Hong Kong as a teenager in 1949. She made a living as a night club singer and on radio shows. In 1953, she was invited to join a seven-month tour of Malaya and Singapore with a group of actors and singers.


Upon returning to Hong Kong, Tsin made her first recording, a Cantonese version of One Day When We Were Young.


As a playback artiste, she has lent her vocals to many of Shaw Brothers’ opera movies from the 1950s to the 1960s, notably The Love Eternal, where she sang for Betty Loh Ti, the lead actress, in her role as Zhu Ying Dai.

The pathos in her song, along with Loh Ti’s excellent acting, moved viewers to tears. Tsin left Shaw Brothers Studio as a contract singer in 1970 but continued recording albums with EMI in the 1970s, Wing Hung in the 1980s, and Polygram in the 1990s.


Tsin stood in as singer for a countless number of leading ladies. In the 1950s, she sang for Lucille Yu Min, Lee Li Hwa, Lin Dai, Betty Loh Ti, Jeanette Lin Tsui, Helen Li Mei and in the 1960s, for Ivy Ling Po, Li Ching, Lily Ho, Jenny Hu, Margaret Tu Chuan and Cheng Pei Pei, to name a few.


In 2000, Tsin made a remarkable career comeback with a sold-out concert at the Hong Kong Coliseum with Liu Yun, Tsui Ping and Wu Yingyin.

She repeated the feat a year later in a concert with Liu Wu and Billie Tam.


In 2006, Tsin performed a famous Bai Guang classic as guest singer at Donald Cheung’s concert. Hong Kong audiences saw Tsin in 2008 at a series of sell-out solo concerts at Star Hall and in 2009, at the 10,000-seater Hong Kong Coliseum.

 

Tsin Ting Live Charity Concert In Genting is at 8pm. Tickets: RM80 — RM480. Guest artistes are Mohan and Zhuang Xue Zhong.

 

 

 

pathe record Miss Yao Lee

 

Miss Yao lee info

Yao Lee

 
Yao Lee
Chinese name 姚莉
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
Occupation Singer
Genre(s) Mandopop, shidaiqu
Instrument(s) Singing
Label(s) Pathé / EMI
Years active 1930s — 1970s

Yao Lee, also credited as Yiu Lei and Miss Hue Lee, was a Chinese singer from the 1930s to the 1970s and sister of Yao Min. By the 1940s, she became one of the Seven great singing stars.[1]

Contents

 Biography

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[2] 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.

 Career

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.[3] 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.

References

  1. ^ Baidu. Bai Guang. Retrieved on 2007-04-28.
  2. ^ Panorama of Musical Creation: Vocal Music at China Culture Information Net
  3. ^ Wakinchau. Golden days of Yao Li 流金歲月-姚莉 玫瑰 玫瑰我愛你. Retrieved on 2007-04-26.

 

 

 

(2)ZHOU XUAN AND BAI GUANG

Zhou Xuan 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.

Production
still from Street Angel (Malu Tianshi) 1937 / Image
courtesy: China Film Archive, Beijing Street Angel (Malu Tianshi) 1937 All ages
2.00pm Saturday 24 March
/ Cinema A / Live electronic subtitling35MM, 86 MINS, B. & W., MONO, CHINA, MANDARIN / DIRECTOR/SCRIPT: YUAN MUZHI / ORIGINAL STORY (NOVEL): MONCKTON HOFFE / CINEMATOGRAPHY: WU YINXIAN / CAST: ZHAO DAN, ZHOU XUAN, WEI HELING, ZHAO HUISHEN, WANG JITING, QIAN QIANLI, YUAN SHAOMEI, LIN JINYU / PRODUCTION COMPANY: MINGXING (STAR) FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEHong (Zhou Xuan) and her sister Yun live in a desperately poor part of Shanghai, having fled Manchuria after the Japanese invasion. Yun works as a prostitute to support them, while Hong sings in the streets with her tutor, who one day decides to sell her to a gangster. Friends from her neighbourhood help her to escape. Love-struck trumpeter Chen Xiaoping (Zhao Dan) takes her to live in another part of the city but her sister is found by gangsters and tragedy ensues. It is diva Zhou Xuan’s most celebrated role. A classic of the Shanghai cinema, the film is said to have been inspired by the 1928 Frank Borzage film of the same name as it features dramatic lighting and Soviet-style editing techniques. Director and scriptwriter Yuan Muzhi joined the Chinese Communist Party (CCP) in 1940 and established the Northeast Film Studio in the same year, after the CCP took over Manchurian Motion Pictures. In 1949, after the creation of the People’s Republic of China, he was chosen to head the Film Bureau in the Ministry of Culture.
Production still from Night Inn (Ye
Dian) 1947 / Image courtesy: China Film Archive, Beijing Night Inn (Ye Dian) 1947 / Cinema A35MM, 107 MINS, B. & W., MONO, CHINA, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: HUANG ZUOLIN / SCRIPT: KE LING / ORIGINAL STORY (PLAY): MAXIM GORKY / CINEMATOGRAPHY: ZHUANG YUANJUN, XU QI / CAST: WEIWEI, ZHOU XUAN, ZHANG FA, SHI HUI, TONG ZANGLING / PRODUCTION COMPANY: WENHUA FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEThe occupants of an inn owned by the ruthless and unpleasant Mr and Mrs Wen include a petty thief, a street vendor, a prostitute, a garbage collector and a street performer. Mr Wen demands rent payment from a sick tenant, while Mrs Wen plots to manipulate the thief into murdering her husband. Night Inn is an adaptation of Maxim Gorky’s play The Lower Depths: Scenes from Russian Life, first produced in Moscow in 1902 by Konstantin Stanislavski. Gorky’s play shows the relationships among the working-class tenants of a boarding house and explores whether it is better to live happily with illusions or to grasp the full, often miserable truth. Jean Renoir adapted the play in Les Bas Fonds 1936 and Akira Kurosawa transposed it to Edo-period Japan in Donzoko (The Lower Depths) 1957.
Production still from Orioles Banished from the Flowers (Huawai Liuying) Orioles Banished from the Flowers (Huawai Liuying) 1948  / Cinema A / Live electronic subtitling35MM, 84 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: HONG MO / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO SANNONG / ART DIRECTION: YI GUANGFU, YAN SHI / SOUND: SUN BINGYUN / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, YAN HUA, LÜ YUKUN, LI LULING, HU XIAOFENG / PRODUCTION COMPANY: DAZHONGHUA / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANYA situation comedy involving an accidental trip to Shanghai, Orioles Banished from the Flowers features extraordinary passages of music and images with songs from Zhou Xuan who plays Zhou Ying, a young girl with a gift for singing,. Her singing disturbs the tutoring sessions that university student Ding Qiushi (Yan Hua) gives her neighbours. When they finally meet they fall in love and only quarrel when Ying wants to help Qiushi financially. When Ying runs away and hides in the neighbour’s car, she ends up in a compromising situation. After early work in set design, Fang Peilin began directing in 1936. Remaining in Shanghai during the Japanese occupation, he made successful musicals and continued in this vein in Hong Kong after the war. He died in a plane crash when travelling to Shanghai.
Production still Song of a Songstress (Genü zhi Ge) Song of a Songstress (Genü zhi Ge) 1948 / Cinema A / Live electronic subtitling 35MM, 93 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: WU TIEYI / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO NONGPING / ART DIRECTION: YI GUANGFU / SOUND: SUN JINGHAI / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, WANG HAO, MENG NA, WEI PENGFEI, GU YELU / PRODUCTION COMPANY: QIDONG FLM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY Fang Peilin’s last film, Song of a Songstress, is also his best known. Cabaret singer Zhu Lan (Zhou Xuan) is pursued by arrogant playboy Ye Chunhua (Wang Hao) but she is in love with an impoverished painter, Fang Zhiwei (Gu Yelu), and resists Chunhua’s advances. Zhu Lan puts herself fatally in Chunhua’s debt when she asks him to find a job for Zhiwei. The climactic sequence uses parallel editing to heighten the pathos and tension; as Zhu Lan sings in a nightclub revenge is enacted for past wrongs. The tone is light and entertaining but balances elements of melodrama in Zhu Lan’s tragic past and romantic life and in the final dramatic revelations. ‘Songstress of the world’ (‘Tianya genü’), which Zhou Xuan performs here, is her best known song.
  Flower Street (Hua Jie) 1950 / Cinema A / Live electronic subtitling35MM, 70 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: YUE FENG / PRODUCER: SHEN TIANYIN / SCRIPT: TAO QIN / CINEMATOGRAPHY: DONG SHAOYONG / EDITOR: WANG ZHAOXI / ART DIRECTION: BAO TIANMING / MUSIC: LI HOUXIANG / CAST: ZHOU XUAN, YAN JUN, GONG QIUXIA, HAN FEI, LUO LAN / PRODUCTION COMPANY: GREAT WALL PICTURES CORPORATION / PRINT SOURCE: CENTRE DE DOCUMENTATION DU CINÉMA CHINOIS / SCREENING FORMAT: BETACAM SPFlower Street follows the fortunes of a family of performers in Shanghai from the 1920s through the Japanese occupation and the war. Xiao Hulu (Yan Jun) is a storyteller at the Triumph House, a tea house in Flower Street; his wife Bai Lanhua (Luo Lan) sings in the same establishment and his mother sells flowers in the street to help make ends meet. Little Taiping (Zhou Xuan) will follow her mother to become a singer, but not before the family has been torn apart by war in the panic of bombardment and evacuation. Further hardships are in store, even when they manage to reunite, with Taiping wooed by a local crook and Xiao Hulu beaten up when he takes liberties with propaganda songs during a performance for the Japanese. Great actors and a superb script from Tao Qin, as well as six songs from Zhou Xuan, make this a memorable slice of Shanghai amid tumultuous events, and a tender portrait of family ties. The film was re-released in 1952 following the news of Zhou Xuan’s attempted suicide early that year.

 

Production
still from Songs in the Rainy Nights (Yuye Gesheng) 1950
/ Image courtesy: Chinese Taipei Film Archive, Taiwan,
and Hong Kong Film Archive, Hong Kong Songs in the Rainy Nights (Yuye Gesheng) 1950 / Cinema A16MM, 101 MINS, B. & W., MONO, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: LI YING / PRODUCER: ZHANG SHANKUN / SCRIPT: SU CHENG / CINEMATOGRAPHY: WANG JIANHAN / EDITOR: SHEN YUQI / ART DIRECTION: LI HANXIANG / SOUND: GUO QIANG (KWOK KEUNG) / MUSIC: SITU RONG / SONGS: LI MING, YAO MIN / CAST: BAI GUANG, YAN HUA, LAN YINGYING, YOU GUANGZHAO, QUI PING / PRODUCTION COMPANY: FAR EAST MOTION PICTURE COMPANY / PRINT SOURCE/RIGHTS: CHINESE TAIPEI FILM ARCHIVESongs in the Rainy Nights follows the fate of Ah Qiao (Bai Guang) and Ah Yu (Lan Yingying), two sisters who move to Hong Kong to find work. Their cousin sings in a dance hall and Ah Qiao decides to follow in her footsteps, taking the stage name of ‘Hong Hong’ and appearing as the ‘Beauty of the Southern Kingdom’. Attracting many suitors, she soon becomes the mistress of wealthy manager Ma (You Guangzhao). Ah Yu finds work in a factory and meets up with Ah Bing, who comes from the same village and is a handyman at the dance hall. Ma leaves Ah Qiao after he discovers she is having an affair with Taipan Feng (Yan Hua), then tragedy strikes when Ah Qiao is crippled in an accident and only Ah Yu and Ah Bing stand by her. Songs in the Rainy Nights was Li Ying’s first Hong Kong film. For a few days after the film’s release at the Roxy and Liberty Theatres in Hong Kong, Bai Guang appeared on stage accompanied by the Far East Music Band.

(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

The His Master Voice Record ‘s History Collections

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

  

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

His Master’s Voice Record found in Indonesia

Edited By

Dr Iwan suwandy,MHA

 
 
 
His Master’s Voice
His Master's Voice.jpg
Parent company EMI (British Commonwealth except Canada)
RCA (western hemisphere)
JVC (Japan)
Founded 1908
Status Defunct (fate: trade mark sold to HMV Group)
Genre Various
Country of origin United Kingdom

His Master’s Voice is a trademark in the music business, and for many years was the name of a large record label. The name was coined in 1899 as the title of a painting of the dog Nipper listening to a wind-up gramophone. In the photograph on which the painting was based, the dog was listening to a phonograph cylinder.

Contents

Origins

The trademark image comes from a painting by English artist Francis Barraud, A.R.A. and titled His Master’s Voice. It was acquired from the artist in 1899 by the newly-formed Gramophone Company. According to contemporary Gramophone Company publicity material, the dog, a fox terrier called Nipper, had originally belonged to Barraud’s brother Mark. When Mark Barraud died, Francis inherited Nipper, along with a cylinder phonograph and a number of recordings of Mark’s voice. Francis noted the peculiar interest that the dog took in the recorded voice of his late master emanating from the trumpet, and conceived the idea of committing the scene to canvas.

In early 1899, Francis Barraud applied for copyright of the original painting using the descriptive working title Dog looking at and listening to a Phonograph. He was unable to sell the work to any cylinder phonograph company, but The Gramophone Company purchased it later that year, under the condition that Barraud modify it to show one of their disc machines. The image was first used on the company’s publicity material in 1900, and additional copies were subsequently commissioned from the artist for various corporate purposes.[1]

Later, at the request of the gramophone’s inventor Emile Berliner, the American rights to the picture became owned by the Victor Talking Machine Company. Victor used the image more aggressively than its UK partner, and from 1902 on all Victor records had a simplified drawing of the dog and gramophone from Barraud’s painting on their label. Magazine advertisements urged record buyers to “Look for the dog”.

 The Gramophone Company becomes “His Master’s Voice”

A colored vinyl single released by HMV

In Commonwealth countries, the Gramophone Company did not use this design on its record labels until 1909. The following year the Gramophone Company replaced the Recording Angel trademark in the upper half of the record labels by the picture painted by Frances Barraud, commonly referred to as Nipper or The Dog.

The company was not formally called “HMV” or His Master’s Voice, but was identified by that term because of its use of the trademark. Records issued by the Company before February 1908 were generally referred to as “G&Ts”, while those after that date are usually called “HMV” records.

Dr Iwan Collections HMV found in Indonesia

1.Chinese Opera Record

 
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

 

2. Ce Momo Latiff before  memebr of Miss riboet Oreon

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 corrections

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

This image continued to be used as a trademark by Victor in the USA, Canada and Latin America, and then by Victor’s successor RCA. In Commonwealth countries (except Canada) it was used by subsidiaries of the Gramophone Company, which ultimately became part of EMI.

The trademark’s ownership is divided among different companies in different countries, reducing its value in the globalised music market. The name HMV is used by a chain of music shops owned by HMV Group plc, mainly in the UK, Ireland, Canada, Singapore, Australia, Hong Kong, and Japan.

In 1921 the Gramophone Company opened the first HMV shop in London. In 1929 RCA bought Victor, and with it a major shareholding in the Gramophone Company which Victor had owned since 1920.

Dr Iwan RCA Shanghai cover collections

In 1931 RCA was instrumental in the creation of EMI, which continued to own the “His Master’s Voice” name and image in the UK. In 1935 RCA sold its stake in EMI but continued to own Victor and the rights to His Master’s Voice in the Americas.[citation needed] HMV continued to distribute RCA recordings until RCA severed its ties with EMI in 1957 which led EMI to buy Capitol Records.

World War II fragmented the ownership of the name still further, as RCA Victor’s Japanese subsidiary The Victor Company of Japan (JVC) became independent, and today they still use the “Victor” brand and Nipper in Japan only.[2] Nipper continued to appear on RCA Victor records in America (except for a period from around 1968 to 1977), while EMI owned the His Master’s Voice label in the UK until the 1980s, and the HMV shops until 1998.

In 1967, EMI converted the HMV label into an exclusive classical music label and dropped its POP series of popular music. HMV’s POP series artists’ roster was moved to Columbia Graphophone and licenced American POP record deals to Stateside Records.

The globalised market for CDs pushed EMI into abandoning the HMV label in favour of “EMI Classics“, a name they could use worldwide; however, it was revived in 1988 for Morrissey recordings. The HMV trademark is now owned by the retail chain in the UK. The formal trademark transfer from EMI took place in 2003.[3]

Meanwhile, RCA went into a financial decline. The dog and gramophone image, along with the RCA name, is now licensed by RCA Records and RCA Victor owner Sony Music Entertainment from Technicolor SA, which operates RCA’s consumer electronics business (still promoted by Nipper the dog) that predecessor company Thomson SA bought from General Electric in 1986, after GE bought RCA.[4] The image of “His Master’s Voice” now exists in the United States as a trademark only on radios and radios combined with phonographs, a trademark owned by Technicolor subsidiary RCA Trademark Management SA.

With that exception, the “His Master’s Voice” dog and gramophone image is in the public domain in the USA, its United States trademark registrations having expired in 1989 (for sound recordings and phonograph cabinets), 1992 (television sets, television-radio combination sets), and 1994 (sound recording and reproducing machines, needles, and records).

Additional notes

The “His Master’s Voice” logo was used around the world, and the motto became well-known in different languages. In Europe these include “La Voix de son Maître” (France), “La Voz de su Amo” (Spain), “A Voz do seu Dono” (Portugal), “La Voce del Padrone” (Italy), “Die Stimme seines Herrn” (Germany), “Husbondens Röst” (Sweden), “Głos Swego Pana” (Poland) and “Sahibinin Sesi” (Turkey).

On 1 April, 2007, HMV Group announced that Gromit, the animated dog of Wallace and Gromit, would stand in for Nipper for a three-month period, promoting children’s DVDs in its UK stores.[5]

The 1958 LP album “Elvis’ Golden Records” shows pictures of various RCA 45s with Nipper on their labels. On the British version, these images were blacked out, for obvious copyright reasons. This editing took place with many other RCA releases in England.

The movie Superman Returns (2006) contains a scene early on set in Kansas, in which a “His Master’s Voice” radio is clearly shown. His Master’s Voice radios have never been sold in the USA, due to RCA holding the “Nipper” copyright. The movie was made in Australia, and the nearest “prop” was obviously used.

In the 2008 film Valkyrie, a Deutsche Grammophon recording of Ride of the Valkyries with Nipper and “Die Stimme seines Herrn” motto on the label was shown spinning on a 78 rpm wind-up gramaphone as the music played in the protagonist’s living room.

Homage is played to the iconic dog and gramophone image in the 1999 feature film Wild Wild West where in a dog resembling Nipper runs to the side of a recently departed character and looks into an ear horn. The film however, is set in 1869, 30 years before Barraud created his work.

 HMV Group PLC

Main article: HMV Group

An HMV store on Oxford Street

The name HMV is still used by the chain of entertainment shops founded by Gramophone Company in the UK and Canada, which continued to expand internationally through the 1990s.

In 1998 HMV Media was created as a separate company leaving EMI with a 43% stake. The firm bought the Waterstone’s chain of bookshops and merged them with Dillons.

In 2002 it floated on the London Stock Exchange as HMV Group plc, leaving EMI with only a token holding. HMV shops in Australia, Ireland and the UK also use Nipper. HMV applied for trademark status in order to use Nipper at HMV stores in Canada but abandoned the application in 2010,[6] presumably because the rights to Nipper in Canada are part of the RCA brand portfolio now owned by Technicolor SA and licensed to other companies.

As of August 2006, there are over 400 HMV stores worldwide, plus the website hmv.com,[7] which is operated by HMV Guernsey.

 

The Bengawan Solo Song by Gesang Historic Collections

MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

                PENDIRI DAN PENEMU

  THE FOUNDER

      Dr IWAN SUWANDY, MHA

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                       

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

SHOWCASE :

 

The Indonesian Song Begawan Solo Music record History

(Sejarah rekaman Lagu Bengawan solo ciptaan Gesang  )

 

 

 
Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.
Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.In 2007, Gesdang hospitalized PKU Solo and prostate surgery. In January 2010, Gesang was hospitalized again, not long after Gesang home.Furthermore, Gesang was hospitalized Wednesday, May 13 due to respiratory and urinary infections womb. Sunday, May 16 RSU Solo Gesang entered ICU because of a decrease in blood pressure. Tuesday, May 18 Gesang rumored dead, but the news was wrong.

Songs creation Gesang

* Solo
* Red Bridge
* Farewell (the Indonesian version was popularized by Broery Pesulima)
* Hat Mount
* Ali-ali
* Andheng-andheng
* Fade
* Tales
* Handkerchief
* World Peace
* The Orphanage
* Nusul
* Newsletters
* Wheel World
* Great Wall
* Seto Ohashi
* Pandanwangi
* Impenku
* Pearl Necklace
* Young Adult
* Borobudur
* Tirtonadi
* Sandhang Food
* Handkerchief-

 
 
original info
 
Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Tahun 2007, Gesdang dirawat di rumah sakit PKU Solo dan menjalani operasi prostat. Di Januari 2010, Gesang masuk rumah sakit kembali, tak lama kemudian Gesang pulang.

Selanjutnya, Gesang masuk rumah sakit Rabu 13 Mei karena gangguan pernafasan dan infeksi kandungan kemih. Minggu, 16 Mei Gesang masuk ICU RSU Solo karena mengalami penurunan tekanan darah. Selasa, 18 Mei Gesang digosipkan meninggal dunia, akan tetapi kabar tersebut ternyata salah.

Lagu-lagu ciptaan Gesang

* Bengawan Solo
* Jembatan Merah
* Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
* Caping Gunung
* Ali-ali
* Andheng-andheng
* Luntur
* Dongengan
* Saputangan
* Dunia Berdamai
* Si Piatu
* Nusul
* Nawala
* Roda Dunia
* Tembok Besar
* Seto Ohashi
* Pandanwangi
* Impenku
* Kalung Mutiara
* Pemuda Dewasa
* Borobudur
* Tirtonadi
* Sandhang Pangan
* Kacu-kacu

 Frame One :

The Bengawan Solo (Gesang) Record Collections(Dr Iwan Collections)

 1.Indonesian record

1.Before World War Two

 1)His Master Voice record

His Master Voice Record sing by Che Sutinah, Bagawan solo and Sapu Tangan,(no Gesang Name writen as the composer,why I donnot undertand ,che sutinah my be from Singapore or Malaya,please comment and more info-Dr Iwan note)

 

2)Bengawan solo music Record Hawaiians Kilima

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song BENGAWAN SOLO AND OTHER INDONESIAN POPULAR SONG :Kole-kole,Toean , Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Limbe-limbe,Angin berbisik.

 

 

 HAWAIIANS KILIMA 

 BY RUDI WAIRATA
Rudi Wairata 1929-1981
FIRST ERA 1929 – 1981

 SECOND ERA 1929 – 1981

 

 

 2.After World War Two

 

1)Sri Rejeki,Rudi Pirngadie  with His Tetap Segar Orchestra, Down The Riverside Of Indonesia In Krontjong Beat .

Side one : Sungai Deli, Sungai Tjiliwung, Tjitarum Disenja Raja,Ditepi Sungai Seraju,Bengawan Solo.

2. Foreign Countries Record

1) Japanese record

2) Suppraphon Ceskoslovakia Record(for the first time report by Dr iwan S,)

at this records also another indonesian song O laka Laka, goro-goro ne and gula gula santan , please the collectors who have this record  or another countries ‘s record please report ,thanks from Dr iwan)

 3).Other Countries Record

Frame Two: The Bengawan solo record label(  Bengawan Solo, eksplorasi google)

Solo songs copyright
 Gesang MARTOHARTONO world is an artist who was born in Indonesia. Gesang creation songs have been translated into various languages ​​including, English, Mandarin and Japanese. To avoid the occurrence of claiming the work of other countries, such as claiming the song “Solo” by some Dutch citizens recently, record companies Partiwi Music Publishers (PMP) has been taking care of creation of songs royalties, amounting to 44 Gesang title track to the Directorate General of Intellectual Property Rights Department of Justice and Human Rights. All songs Gesang the patent certificate, has been published since September 25, 2009.

Based on information from Andy Hutadjulu, General Manager of PMP in Solo, Gesang songs also had plagiarized by the country of Malaysia, “1960 Years ago, one of the songs are very well-known Gesang creation of ‘Solo’ ve traced by Malaysia with the title track ‘ Main Cello ‘, “said Andy Hutadjulu, Friday, May 21, 2010.

“Rhythm, tone and tempo of the song with the song ‘Solo’, it’s just a poem and its title changed,” said Andy Hutadjulu, General Manager of PMP in Solo, Friday, May 21, 2010.

Andy said, polemical work Gesang song plagiarism by Malaysia recently completed when President Sukarno, when it intervened directly.

Bung Karno deliberately invited the Malaysian side at an event at the Senayan sports competitions. “There song Solo Gesang also played and watched it immediately.”

By looking at it, Malaysia has acknowledged, that the song was the work Gesang, musicians Indonesia, “said Andy.

Other Gesang song creation entitled ‘Sweep Hand’ is also almost claimed by Malaysia, to serve as the national anthem.

“But it is so copied the Malaysian national anthem at last, the song ‘Light of the Moon’,” he said.

After the patent, it is expected there will be no longer claim the songs Gesang.
All of that song was certified as a work Gesang patents. So it has been legally recognized. “If there are parties who claim that the song was his creation merupakaan Gesang it can not, because it’s against the law,” said Andy.

Until now, PMP is managing the 3,000 title track of about 92 musicians. Songs that are managed under the label PMP, among other things, the song To you work Kusbini Affairs, Yen Ing Tawang Ana Lintang Andjar Any late work, Ampar-Banana works Ampar Hamiedhan AC and other songs from musicians Indonesia.

Before he died, Gesang just received royalties from the PMP, dated May 5, 2010. Royalties earned by Gesang of the month from July to December there were about Rp 21,788,852. [*]

Sources: Viva News

Related Posts
AMI Award Never To Gesang
Ask Gesang 3 Song Written Keroncong
Maestro Keroncong Martohartono Gesang (1917-2010)
Nidji Solo Song Will Bring to America
2.The composer Gesang
1). Kroncong Bengawan solo song creation Gesang, sung by Waljinah
 

Waljinah is one the most famous and beloved singers of traditional Javanese, ESPECIALLY for her song “Walang snicker” which made her very popular Among the Javanese. She also has made some Collaborations with top Indonesian artists Such as Didi Kempot, Gesang, Puspa point and so on. Her Voice is Heard on the radio daily and Appearances She makes numerous television. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and Various other styles. Hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Solo, a tune the which has Become famous throughout Indonesia, Japan and much of Asia, and the which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.
Gesang
 
Background
Born October 1, 1917
Template: Dutch flag Surakarta, Surakarta Kasunanan, Dutch East Indies
Died May 20, 2010 (age 92 years)
Template: Flag Indonesia Surakarta, Indonesia
Genre Keroncong
Singer jobs
Songwriter
Instruments Vocals

Gesang Gesang or full Martohartono (born in Surakarta, Central Java, October 1, 1917 – died in Surakarta, Central Java, May 20, 2010 at age 92 years) is a singer and songwriter from Indonesia. Known as the “maestro keroncong Indonesia,” he became famous through the song Solo creations, which is famous in Asia, especially in Indonesia and Japan. The song ‘Solo’ creations have been translated into at least 13 languages ​​(including English, Chinese, and Japanese)

Table of contents
1 Song Solo
2nd Life
3 Songs creation Gesang
 
 

 Solo Song
This song was created in 1940, when he beusia 23 years. Gesang young when it was sitting on the edge of the Solo River, he is always amazed by the river, was inspired to create a song. This song creation process takes about 6 months.

Solo song also has its own popularity abroad, especially in Japan. Solo was used in one of the Japanese movies. [1]

Life
Gesang lived in at No. 5 Village Road Bedoyo Kemlayan, Serengan, Solo with nephew and his family, having previously lived in his house Perumnas Palur granting the Governor of Central Java in 1980 for 20 years. He has split with his wife in 1962. Selepasnya, choosing to live alone. He never had children.

Gesang at first was not a songwriter. Formerly, he was just a singer of songs for the event keroncong and just a little party in the city of Solo. She has also created a few songs, such as the World Wheel Keroncong, Keroncong the Orphanage, and Sweep Hand, during World War II. Unfortunately, three songs is not received from the public.

As a form of appreciation for his services towards the development of music keroncong, in 1983 founded the Japanese Garden near the Solo Gesang. Management of the park was funded by the Fund Gesang, an institution founded for Gesang in Japan.

Gesang had reportedly died on May 18, 2010 after his health reportedly deteriorating. [2]

Gesang was rushed to hospital due to his health declined on Wednesday (19/05/2010). Furthermore, Gesang be treated in the ICU since Sunday (16 / 5) because of his health continued to decline. Hospitals to form a team to handle health consisting of five different specialists. Until finally he died on Thursday (20/05/2010) At 18:10 in the Hospital PKU Muhammadiyah Surakarta. [3]

 Songs creation Gesang
Solo
Red Bridge
Farewell (the Indonesian version was popularized by Broery Pesulima)
Caping Mount
Ali-ali
Andheng-andheng
Fade
Myth
Handkerchief
World Peace
The Orphanage
Nusul
Newsletters
Wheel World
Great Wall
Seto Ohashi
Pandanwangi
Impenku
Pearl Necklace
Youth Adult
Borobudur
Tirtonadi
Food Sandhang
-Handkerchief handkerchief

 
 
 
 
 
 
 
 
 
 
 
 

original

1.Penyanyi Indonesia

1)Waljinah

2)Gordon Tobing

 2.Foreign Countries

 a.Jepanese

the styler 

b.Hongkong

1) Rebecca Pan

Rebecca Pan Di-hua (潘迪華, 潘迪华; also Poon Tik-wah, Pan Wan Ching) is a Chinese actress and singer.

She was born in Shanghai. She moved to Hong Kong in 1949. Her singing career began in 1957. One of her songs, which she recorded when she was 18, is played briefly in In the Mood for Love — the English version of an Indonesian folk song, “Bengawan Solo“.

2) Francis Yip

Frances Yip

Frances Yip
Chinese name 葉麗儀 (Traditional)
Chinese name 叶丽仪 (Simplified)
Pinyin ye4 li4 yi2 (Mandarin)
Jyutping jip6 lai6 ji4 (Cantonese)
Ancestry [Southern Chinese from Guangzhou)
Origin Hong Kong
Born January 1, 1947 (1947-01-01) (age 64)
Central, Hong Kong Island, Hong Kong
Occupation Singer
Genre(s) Cantopop
Instrument(s) Singing
Voice type(s) Cathy Sharon (Jakarta, Indonesia)
Label(s) [EMI)
Years active 1969 – present
Awards
This is a Chinese name; the family name is Yip.

Frances Yip Lai-yee is a Hong Kong Cantopop singer. She is best known for performing many of the theme songs for television series produced by TVB in the 1980s and early 1990s.

born on 22 Oct 1947, Frances is of Hakka ancestry, Yip hit international fame with her signature tune, The Bund from the TVB drama of the same title. Before her success, she tributed songs in her earlier albums originally performed by singers such as Adam Cheng, Roman Tam and Jenny Tseng.

In her 41-year career, Yip has released more than 80 albums, mostly of songs in American English, Indonesian, Malay, Mexican Spanish, Japanese, Tagalog, Cantonese and Mandarin. She has performed on television, and in films, concerts and cabarets in more than 30 countries on five continents. Yip is fluent in both Chinese (Cantonese and Mandarin) and English. She recently overcame breast cancer

3).Mona Fong

 

Mona Fong

Mona Fong Yat Wah
(Mona, Lady Shaw)
Chinese name 方逸華 (Traditional)
Chinese name 方逸华 (Simplified)
Pinyin fāng yì huá (Mandarin)
Jyutping fong1 jat6 waa6 (Cantonese)
Birth name Li Meng-Lan (李夢蘭)
Ancestry Guangdong
Origin  Hong Kong
Born 1934 (age 76–77)
Shanghai, Republic of China
Other name(s) 方夢華
Occupation general manager, production manager, film and television producer
Spouse(s) Run Run Shaw (1997-)
Parents Fong Man Lo

Mona Fong Yat Wah, Lady Shaw is a Hong Kong film and television producer and production manager. A Cantonese born in Shanghai, Mona achieved fame as one of the most popular nightclub singers and recording artists in Singapore and Hong Kong in the 1950s. She often sang English covers of top hits of the time. She is currently the Deputy Chairman and General Manager of Shaw Brothers Studio and Television Broadcasts Limited (TVB). She is also the second wife of renowned media mogul Sir Run Run Shaw.

To date, Fong has produced over a hundred films since 1977, the latest of which was Drunken Monkey in 2002.[1] Effective 1 January 2009, she was appointed General Manager of TVB.[2]

 4)The list of bengawan solo Record(Daftar Koleski Rekaman Musik Lagu Bengawan Solo)

Bengawan Solo Songs (83 music files)
 
01 lagukeroncong gesang bengawan solo
file type:mp3

   

02

gesang bengawan solo

file type:mp3

 

 

 

03

bengawan solo klantink

file type:mp3

 

 

 

04

putri ayu ft lius dan klanting bengawan solo

file type:mp3

 

 

 

05

keroncong bengawan solo

file type:mp3

 

 

 

06

tantowi yahya bengawan solo

file type:mp3

 

 

07

02 bengawan solo

file type:mp3

 

 

 

08

keroncong bengawan solo sundari soekotjonew

file type:mp3

 

 

09

01 hetty koes endang keroncong bengawan solo

file type:mp3

 

 

10

gesang bengawan solo

file type:mp3

 

 

 

 

 83 different bengawan solo songs.  Bengawan Solo’s latest album is In the Mood for Love (2000 Film) which is released on 2000-11-06 .

Frame Three:

The Composer Gesang and his Song Bengawan Solo History

1. The Song Bengawan solo

 

1)Hak cipta lagu Bengawan Solo

 GESANG MARTOHARTONO adalah seniman dunia yang lahir di Indonesia. Lagu-lagu ciptaan Gesang telah diterjemahkan ke berbagai bahasa di antaranya, Inggris, Mandarin dan Jepang. Untuk menghindari terjadinya pengklaiman karya dari negara lain, seperti pengklaiman lagu “Bengawan Solo” oleh beberapa warga Belanda baru-baru ini, perusahaan rekaman Penerbit Musik Partiwi (PMP) telah mengurus royalti lagu-lagu ciptaan Gesang yang berjumlah 44 judul lagu ke Direktorat Jendral HAKI Departemen Hukum dan Hak Asasi Manusia. Semua sertifikat paten lagu Gesang tersebut, sudah terbit sejak 25 September 2009.

Berdasarkan keterangan dari Andy Hutadjulu, General Manager PMP di Solo, lagu-lagu Gesang juga sempat dijiplak oleh negara Malaysia, “Tahun 1960 lalu, salah satu lagu ciptaan Gesang  yang sangat terkenal, yakni ‘Bengawan Solo’ pernah dijiplak oleh Malaysia dengan judul lagu ‘Main Cello’,” kata Andy Hutadjulu, Jumat, 21 Mei 2010.

“Irama, nada dan tempo lagu tersebut sama dengan lagu ‘Bengawan Solo’, hanya saja syair dan judulnya yang diubah,” kata Andy Hutadjulu, General Manager PMP di Solo, Jumat, 21 Mei 2010.

Andy mengungkapkan, polemik penjiplakan lagu karya Gesang  oleh  Malaysia baru selesai ketika Presiden Soekarno, kala itu turun tangan langsung.

Bung Karno sengaja mengundang pihak Malaysia di sebuah acara perlombaan olahraga di Senayan. “Di situ lagu Bengawan Solo dimainkan dan Gesang juga menyaksikannya langsung.”

Dengan melihat itu, Malaysia baru mengakui, kalau lagu itu adalah karya Gesang, musisi Indonesia,” kata Andy.

Lagu ciptaan Gesang lainnya yang berjudul ‘Sapu Tangan’ juga nyaris diklaim oleh Malaysia, untuk dijadikan lagu kebangsaan.

“Tetapi yang jadi ditiru sebagai lagu kebangsaan Malaysia akhirnya, lagu ‘Terang Bulan’,” katanya.

Setelah paten, diharapkan tak akan ada lagi klaim lagu-lagu Gesang.
Semua lagu itu sudah bersertifikat hak paten sebagai karya Gesang. Jadi secara hukum sudah diakui. “Jika ada pihak-pihak yang mengaku bahwa lagu Gesang itu merupakaan ciptaannya sudah tidak bisa, karena itu melanggar hukum,” ujar Andy.

Hingga saat ini, PMP sudah mengelola sebanyak 3.000 judul lagu dari sekitar 92 musisi. Lagu-lagu yang dikelola di bawah label PMP, di antaranya, lagu Bagimu Negeri karya Kusbini, Yen Ing Tawang Ana Lintang karya almarhum Andjar Any, Ampar-Ampar Pisang karya Hamiedhan A.C. dan lagu-lagu lain dari musisi Indonesia.

Sebelum meninggal, Gesang baru saja menerima royalti dari PMP, tanggal 5 Mei 2010. Royalti yang didapatkan oleh Gesang dari bulan Juli-Desember ada sekitar Rp 21.788.852.  [*]

Sumber: Viva News

Tulisan Terkait

2.The composer Gesang

1).Lagu Kroncong Bengawan solo ciptaan gesang,dinyanyikan oleh Waljinah

 

Waljinah is one the most famous and beloved Javanese traditional singers, especially for her song “Walang Kekek” which made her very popular among the javanese. She also has made some collaborations with top Indonesian artists such as Didi Kempot, Gesang, Titik Puspa and so on. Her voice is heard on the radio daily and she makes numerous television appearances. She has recorded over 1500 different songs, with a repertoire ranging from traditional singing with gamelan, popular songs, kroncong and various other styles. hear more from Waljinah at the fantastically eye popping Madrotter

Gesang Martohartono (born 1 October 1917) is a renowned Indonesian singer-songwriter from central Java, and composer of the song Bengawan Solo, a tune which has become famous throughout Indonesia, Japan and much of Asia, and which is almost synonymous with the kroncong style of Javanese music. He is most commonly known simply as Gesang.

2.The Biography of Gesang.

Gesang
Gesang
Latar belakang
Lahir 1 Oktober 1917
Templat:Bendera belanda Surakarta, Kasunanan Surakarta, Hindia Belanda
Meninggal 20 Mei 2010 (Umur 92 tahun)
Templat:Bendera indonesia Surakarta, Indonesia
Jenis Musik Keroncong
Pekerjaan Penyanyi
Pencipta lagu
Instrumen Vokal

Gesang atau lengkapnya Gesang Martohartono (lahir di Surakarta, Jawa Tengah, 1 Oktober 1917 – meninggal di Surakarta, Jawa Tengah, 20 Mei 2010 pada umur 92 tahun) adalah seorang penyanyi dan pencipta lagu asal Indonesia. Dikenal sebagai “maestro keroncong Indonesia,” ia terkenal lewat lagu Bengawan Solo ciptaannya, yang terkenal di Asia, terutama di Indonesia dan Jepang. Lagu ‘Bengawan Solo’ ciptaannya telah diterjemahkan kedalam, setidaknya, 13 bahasa (termasuk bahasa Inggris, bahasa Tionghoa, dan bahasa Jepang)

Daftar isi

 

 Lagu Bengawan Solo

Lagu ini diciptakan pada tahun 1940, ketika ia beusia 23 tahun. Gesang muda ketika itu sedang duduk di tepi Bengawan Solo, ia yang selalu kagum dengan sungai tersebut, terinspirasi untuk menciptakan sebuah lagu. Proses penciptaan lagu ini memakan waktu sekitar 6 bulan.

Lagu Bengawan Solo juga memiliki popularitas tersendiri di luar negeri, terutama di Jepang. Bengawan Solo sempat digunakan dalam salah satu film layar lebar Jepang.[1]

Kehidupan

Gesang tinggal di di Jalan Bedoyo Nomor 5 Kelurahan Kemlayan, Serengan, Solo bersama keponakan dan keluarganya, setelah sebelumnya tinggal di rumahnya Perumnas Palur pemberian Gubernur Jawa Tengah tahun 1980 selama 20 tahun. Ia telah berpisah dengan istrinya tahun 1962. Selepasnya, memilih untuk hidup sendiri. Ia tak mempunyai anak.

Gesang pada awalnya bukanlah seorang pencipta lagu. Dulu, ia hanya seorang penyanyi lagu-lagu keroncong untuk acara dan pesta kecil-kecilan saja di kota Solo. Ia juga pernah menciptakan beberapa lagu, seperti; Keroncong Roda Dunia, Keroncong si Piatu, dan Sapu Tangan, pada masa perang dunia II. Sayangnya, ketiga lagu ini kurang mendapat sambutan dari masyarakat.

Sebagai bentuk penghargaan atas jasanya terhadap perkembangan musik keroncong, pada tahun 1983 Jepang mendirikan Taman Gesang di dekat Bengawan Solo. Pengelolaan taman ini didanai oleh Dana Gesang, sebuah lembaga yang didirikan untuk Gesang di Jepang.

Gesang sempat dikabarkan meninggal dunia pada tanggal 18 Mei 2010 setelah kesehatannya dilaporkan memburuk.[2]

Gesang dilarikan ke rumah sakit akibat kesehatannya menurun pada Rabu (19/05/2010). Selanjutnya, Gesang harus dirawat di ruang ICU sejak Minggu (16/5) karena kesehatannya terus menurun. Rumah sakit membentuk sebuah tim untuk menangani kesehatan yang terdiri dari lima dokter spesialis yang berbeda. Hingga akhirnya beliau meninggal pada hari Kamis (20/05/2010) Pukul 18:10 di Rumah Sakit PKU Muhammadiyah Surakarta.[3]

 Lagu-lagu ciptaan Gesang

  • Bengawan Solo
  • Jembatan Merah
  • Pamitan (versi bahasa Indonesia dipopulerkan oleh Broery Pesulima)
  • Caping Gunung
  • Ali-ali
  • Andheng-andheng
  • Luntur
  • Dongengan
  • Saputangan
  • Dunia Berdamai
  • Si Piatu
  • Nusul
  • Nawala
  • Roda Dunia
  • Tembok Besar
  • Seto Ohashi
  • Pandanwangi
  • Impenku
  • Kalung Mutiara
  • Pemuda Dewasa
  • Borobudur
  • Tirtonadi
  • Sandhang Pangan
  • Kacu-kacu

the end @ Copyright Dr Iwan Suwandy 2011

The Vintage Indonesian Popular song By Kilima Hawaians

THE VINTAGE INDONESIA POPULAR SONG

BY KILIMA HAWAIANS

The Mena Moeria Minstrels

“BINTANG SINAR”

phillips Record

Indonesia Popular song

Kole-kole,Toean dan Njonja,Ajoen-ajoen,Buka Pintoe, Ole sioh,Bintang sinar,Ladju-ladju,Ombak putih,Mooi Eiland Ambon,Si Patokaan,Bengawan solo,Limbe-limbe,Angin berbisik.

 

other Kilima Hawaiaans record (google explorations)

  RUDI WAIRATA
Rudi Wairata 1929-1981
1929 – 1981 1929 – 1981
The Mena Moeria Minstrels – The Amboina Serenaders The Mena Moeria Minstrels – The Amboina Serena Suppose

biografie biography

1929 1929

Diederich Gijsbrecht Christo ‘Rudi’ Wairata wordt op 25 december 1929 geboren in Ternate (Halmaheira eilanden in de Molukse archipel) als zoon van Andries Egbert Wairata en Anthoinetta Cornelia Meulenaar. Diederich Gijsbrecht Christo ‘Rudi’ Wairata on December 25, 1929 born in Ternate (Halmaheira islands in the Moluccan islands), the son of Andries Egbert Wairata and Cornelia Anthoinetta Meule To.

Vader Wairata leidt een zangkoor en zijn oudste broer speelt in een hawaiianband. Father Wairata leads a choir and his oldest brother plays in a hawaiian band.

1939 1939

Op zijn tiende verjaardag krijgt Rudi een hawaiianplaat van Sol Hoopii en een van Andy Iona . On its tenth anniversary Rudi gets a hawaiian plate Sol Hoopii and one of Andy Iona.

hoopii.jpg (10112 bytes)
SOL HOOPII SOL HOOPII

1940 1940

Rudi bouwt zijn ukele om tot een hawaiiangitaartje en oefent met een potlood. Rudi construira ukele to a hawaiian guitar and performs with a pencil.

De familie Wairata is ondertussen naar Djokja verhuist en zijn vader stuurt hem daar op pianoles. The family Wairata has moved to Djokja and his father sends him on piano.

1942 1942

Als twaalfjarige vervangt Rudi zijn broer tijdens een optreden voor Radio VERAL. Het is een succesvol optreden en Rudi gaat voortaan de hawaiiangitaar in het ensemble bespelen. As a twelve year old replaces Rudi his brother during a performance for Radio generalized. It is a successful action and Rudi is now the hawaiian guitar in the ensemble playing. Zijn broer schakelt over op gitaar. His brother switches on guitar.

1943 19431950 1950 Rudi treedt vaak op tijdens bruiloften en partijen. Rudi is common at weddings and parties. Samen met onder andere Ruben Rumahlewang speelt hij bij het ensemble Mena Moeria (een oude strijdkreet; letterlijk mena = voor en moeria = achter ) in Jogjakarta en Batavia. Together with other Ruben Rumahlewang he plays in the ensemble Moeria Mena (an old battle cry, literally menagement = = moeria and rear) in Jogjakarta and Batavia. Rudi ontmoet ook George de Fretes en krijgt les van hem. Rudi also met George de Fretes and had lessons from him.De groep is regelmatig te beluisteren via de NIROM (Nederlands Indische Radio Omroep) The group is regularly heard by NIROM (English Indian Radio Broadcasting)
1951 1951

Vader Wairata heeft een beurs voor een muziekstudie voor zijn zoon Rudi op het Koninklijk Conservatorium in Den Haag geregeld. Father Wairata has a scholarship to study music for his son Rudi at the Royal Conservatory in Den Haag regularly.

Zijn in Nederland wonende oom haalde hem vrijwel direct over om in Nederland een hawaiianband te beginnen. His uncle living in the Netherlands took him almost directly in the Netherlands to start a hawaiian band. Dat worden de Mena Moeria Minstrels . That the Mena Moeria Minstrels. Op 16 oktober 1951 winnen ze de voorronde van het SAHIN-concours (SAHIN staat voor Stichting Amateur Hawaiianensembles In Nederland ) in het Amsterdamse Bellevue . On October 16, 1951 they won the preliminary round of the Competition Sahin (Sahin Foundation for Hawaiian Amateur ensembles in the Netherlands) in Amsterdam Bellevue. De bezetting bestaat dan uit: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury en Patty . The occupation exists from: Rudi Wairata, Ming Luhulima, Charlie Kuipers, Pariury and Patty. Ook de finale op 15 december 1951in de hal van de Snijbloemenveiling in Honselersdijk winnen ze met vlag en wimpel. The finale on 15 December 1951in the hall of the cut flowers in Honselersdijk Auction they won with flying colors.

1952 1952

Zangeres Joyce Aubrey , de ex- vrouw van George de Fretes , sluit zich na haar komst naar Nederland aan bij The Mena Moeria Minstrels . Joop Sahanaya , een neef van Rudi Wairata, gaat gitaar spelen in het ensemble. Singer Aubrey Joyce, the former wife of George de Fretes, quit after coming to the Netherlands at The Mena Moeria Minstrels. Sahanaya Joop, a nephew of Wairata Rudi is playing guitar in the ensemble.

De groep heeft veel succes met huladanseressen in hun show. The group has a lot of success with huladanseressen in their show.

1953 1953

The Mena Moeria Minstrels krijgen een platencontract bij platenmaatschappij Dureco NV (Dutch Record Company). The Mena Moeria Minstrels get a record contract with record company Dureco NV (Dutch Record Company). Op maandag 2 februari 1953 (daags na de watersnoodramp ) worden de eerste opnamen gemaakt in de studio gevestigd in het Bavohuis in Amsterdam-Oost. On Monday, Feb 2, 1953 (the day after the flood disaster), the first recordings made in studio located in the Bavo House in Amsterdam-Oost. Hun 78-toeren platen worden uitgebracht op het Omega label. Guus Jansen is hun labelmanager. Their 78-rpm records to be released on the Omega label. Guus Jansen their label manager.

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS THE MENA MOERIA Minstrels
vlnr: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya From left to right: Jack Salakory – Rudi Wairata – Joyce Aubrey – Ming Luhulima – Joop Sahanaya

Speciaal voor het krontjong repertoire en het vertolken van Molukse en Indische liedjes treedt de groep ook op onder de naam The Amboina Serenaders . Especially for krontjong repertoire and interpreting of Moluccan and Indian songs will the group under the name The Amboina Serena club. Op het RCA label (toen vertegenwoordigd door Dureco – zij brengen ook de eerste platen van Elvis Presley in Nederland op de markt) worden de opnamen van de Amboina Serenaders uitgebracht. Peter Bronkhorst is hiervan de labelmanager. At the RCA label (then represented by Dureco – they put the first record of Elvis Presley in the Netherlands on the market) are the images of Amboina Serena Suppose given. Peter Bronkhorst is the label manager. In de studio wordt een vibrafonist aan de bezetting toegevoegd. The studio is a vibraphonist added to the occupation.

1954 1954

 

http://translate_p_data/3mVCtIKeuSZwZ2Vqd.swf
Video clip KAIWAHU MARCH (78 toeren plaat) met foto’s en 2 Hawaiian video filmpjes (Dailymotion) Video clip KAIWAHU MARCH (78 rpm disc) with pictures and video clips Hawaiian 2 (Dailymotion)

1955 1955

 

The Mena Moeria Minstrels
THE MENA MOERIA MINSTRELS – 1e EP op Omega 145.506 THE MENA MOERIA Minstrel – 1st EP on Omega 145506

 

1956 1956 The Amboina Serenaders scoren een grote hit met Ik Wil Klappermelk Met Suiker , dat door de Nederlandse componist en tekstdichter Pierre Wijnnobel is geschreven. The Amboina Serena club scored a big hit with I Want coconut milk with sugar, by the Dutch composer and poet Pierre Wine Nobel text is written. Met voortreffelijke zang van Joyce Aubrey en Lou Lima (= Ming Luhulima) With excellent vocals by Joyce and Lou Aubrey Lima (= Ming Luhulima)

Joyce Aubrey in the Tuney Tunes of January 1957
JOYCE AUBREY in de Tuney Tunes van januari 1957 Joyce Aubrey in the Tuney Tunes of January 1957

Rudi Wairata en zijn Mena Moeria Minstrels nemen een zeer geslaagde versie op van Moon Mullican ‘s hit Honolulu Rock-A Roll-A. Een mix van hawaiianmuziek met rock-‘n-roll. Rudi Wairata and Mena Moeria Minstrels take a very successful version of Moon Mullican’s hit Honolulu Rock-A Roll-A. A mix of hawaiian music with rock-‘n-roll.

1957 1957 Er ontstaat onenigheid in de groep. There is disagreement in the group. Rudi Wairata verlaat de groep. Rudi Wairata leave the group. Hij maakt met een nieuwe formatie platen voor het RCA label (nu bij Inelco) onder de naam Rudi Wairata & The Hawaiian Minstrels en Rudi Wairata & The Serenaders . He created a new formation for the RCA record label (now Inelco) under the name Rudi Wairata & The Hawaiian Minstrels and Rudi Wairata & The Serena club.Ming Luhulima wordt de nieuwe leider van The Mena Moeria Minstrels – The Amboina Serenaders. Luhulima Ming is the new leader of The Mena Moeria Minstrels – The Serena Amboina club.Rudi Wairata neemt met zijn Ensemble The Hawaiian Minstrels het nummer Rock And Roll And Breezes (RCA) op. Rudi Wairata takes his Ensemble The Hawaiian Minstrels the song Rock And Roll And Breezes (RCA) on. Het wordt door sommigen beschouwd als de allereerste Indo-Rock opname. It is regarded by some as the first ever Indo-Rock recording. De muziek is van Wairata zelf en de tekst is geschreven en wordt gezongen door Charlie Kuipers . The music is Wairata itself and the text is written and sung by Charlie Kuipers.

The Mena Moeria Minstrels - The Amboina Serena led Suppose Ming Luhulima
THE MENA MOERIA MINSTRELS – THE AMBOINA SERENADERS olv Ming Luhulima THE MENA MOERIA Minstrels – THE SERENA Amboina RS led Ming Luhulima
vlnr: Joop Sahanaya – steeler? From left to right: Joop Sahanaya – steeler? – Jack Salakory – Joyce Aubrey – Ming Luhulima – Jack Salakory – Joyce Aubrey – Ming Luhulima

1958 1958 Rudi Wairata gaat met een hawaiianband in België werken. Rudi Wairata with a hawaiian band in Belgium. Tijdens de Wereldtentoonstelling Expo ’58 in Brussel speelt hij in de Hawaiian Village (onderdeel van het attractiepark) samen met Mike Anoi (Guus ‘broer’ Arends) . During the Expo’58 World Exhibition in Brussels he plays in the Hawaiian Village (part of the park) with Mike Anoi (Guus’ brother ‘Arends). Als pauze-act spelen The Tielman Brothers in de Hawaiian Village zich met hun wervelende rock-‘n-roll show in de kijker. If break-act play The Tielman Brothers at the Hawaiian Village with their whirlwind rock-‘n-roll show in the viewer. Tijdens een grote brand gaan hun instrumenten, maar ook die van Rudi Wairata verloren. During a major fire to their instruments, but also that of Rudi Wairata lost.The Mena Moeria Minstrels – The Amboina Serenaders vallen uiteen nadat Joyce Aubrey in de zomer van 1958 zich aansluit bij The Royal Hawaiian Minstrels – Suara Istana olv haar ex- echtgenoot George de Fretes . The Mena Moeria Minstrels – The Serena Amboina club cover after Joyce Aubrey in the summer of 1958, joins The Royal Hawaiian Minstrels – Suara Istana led her ex-husband George de Fretes. Hij is als verstekeling aan boord van de Johan Barneveldt naar Nederland gekomen. He is a stowaway aboard the Johan Barneveldt come to the Netherlands.Ming Luhulima richt zijn eigen krontjong-ensemble Pantja Warna op. Ming Luhulima address its own krontjong ensemble Pantja Warna on.
1959 1959 Rudi gaat steelgitaar spelen bij de Kilima Hawaiians . Rudi is steelgitaar play in Kilima Hawaiian. Daarvoor heeft Broer Arends hun vertrokken steeler Theo Ehrlicher tijdens een korte periode opgevolgd, maar dat is geen succes geworden. This has left their brother Arends steeler Theo Ehrlicher during a brief period followed, but that is not success. Nog vóór Rudi is ook aan George de Fretes is gevraagd of hij bij de Kilima Hawaiians wil komen spelen. Even before Rudi is also the George Fretes was asked whether he wants to Kilima Hawaiian play. Hij gaat niet op het verzoek in. He is not on the request.

The Kilima Hawaiian with Rudi Wairata
THE KILIMA HAWAIIANS met RUDI WAIRATA THE HAWAIIAN Kilima with RUDI WAIRATA

Bill Kilima and his Cowboys
BILL  KILIMA AND HIS COWBOYS met RUDI WAIRATA BILL AND HIS COWBOYS Kilima with RUDI WAIRATA

 

1960 1960

Het blad Romance brengt een speciale EP van Rudi Wairata & De Kilima Hawaiians uit. The magazine Romance brings a special EP & Rudi Wairata The Kilima Hawaiian off. Hierop is een zeer swingende en rockende versie van Steel Guitar Rag als Steel Guitar Rock te beluisteren. This is a very swinging and rocking version of Steel Guitar Rag Steel Guitar Rock as to listen.

Rudi Wairata & The Kilima Hawaiian
DE KILIMA HAWAIIANS – ROMANCE EP THE HAWAIIAN Kilima – ROMANCE EP
vlnr: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman From left to right: Wim van Herpen – Rudi Wairata – Mary Buysman – Bill Buysman

Tijdens een tournee van de Kilima Hawaiians in Duitsland blijft Wairata achter en gaat voor de Amerikanen spelen. During a tour of the Kilima Hawaiian Wairata remains behind in Germany and the Americans play.

1961 19611969 1969 De gouden jaren van de hawaiianmuziek zijn voorbij. The golden years of the hawaiian music are over. Het interessante werk in grote shows wordt steeds minder. The interesting work in big shows is always less. Alleen in de amusementssector in de horeca is nog wat te verdienen. Rudi is ook actief op cruiseschepen. Only in the entertainment sector in the trade is still something to earn. Rudi is also active on cruise ships. In Wiesbaden runt hij nog een tijdje een theaterbureau en zo af en toe krijgt Rudi Wairata nog de gelegenheid om een LP op te nemen. In Wiesbaden he still runs a theater while a desk and every now and then Rudi Wairata will have the opportunity to LP as well. Internationaal presenteert Rudi zich nu als Rudy. International Rudi presents itself now as Rudy. Verder gebruikt hij ook artiestennamen als Sam Letto en Roy Moana Furthermore, he also artiestennamen as Sam and Roy letto MoanaIn de periode 1962-1963 neemt Rudi Wairata in Duitsland nog een aantal platen op voor het 777 label. In the period 1962-1963 is Rudi Wairata in Germany a number of plates for the 777 label. Zijn begeleidingsgroep heeft dan de naam The Hawaiian Boys . His begeleidingsgroep than the name The Boys Hawaiian. In 1966 wordt hij in Duitsland gesignaleerd met The Waikiki Islanders , hij bespeeld dan een pedal steelgitaar. In 1966 he reported in Germany with The Waikiki Islanders, he played a pedal steelgitaar.
1970 19701980 1980 Rudi richt de groep Rudy Wairata & The Oriëntal Four op. Rudi, the group Wairata Rudy & The Oriental Four op. Hij speelt nog regelmatig in Duitsland. He still plays regularly in Germany. Van de groep verschijnt ook een LP op MFP(EMI) onder de titel The Magic Of The Oriënt. Rudi heeft voor het album ook een cover van Once van The Hurricane Rollers , de allereerste Indo-Rock compositie uit 1959 van Rob Boekholt , opgenomen. The group also appears on an LP MFP (EMI) under the title The Magic Of The Orient. Rudi on the album including a cover of Once by The Hurricane Rollers, the first ever Indo-rock composition from 1959 Rob Boekholt included.In het midden van de jaren zeventig is Rudi actief bij de groep Suara Nusantara , ook bekend onder de naam The Nusantara Serenaders met Boet Manuhutu, David Nanuru en zangeres Liszy. Van dit ensemble verschijnt in 1976 een LP op EMI en tevens een album van Rudi samen met steeler Frans van Oirschot . In the middle of the seventies Rudi is active in the group Suara Nusantara, also known under the name The Nusantara Serena club with fines Manu Hutu, David Nanuru and singer Liszy. From this ensemble appears in a 1976 LP on EMI and also an album by Rudi steeler with Frans van Oirschot. De Tilburger Van Oirschot is ooit in 1948 begonnen met zijn eigen hawaiianensembles The Aloma Hawaiians, The Malua Hawaiians en The Honolulu Strings (1950). The Tilburger Van Oirschot has ever started in 1948 with his own ensembles hawaiian Aloma The Hawaiian, The Malua Hawaiian and The Honolulu Strings (1950).Historisch is de ontmoeting te noemen in 1978 tussen Rudi Wairata en George de Fretes op de zolder (ingericht als hawaiianmuziek-museum) van Gerard Dillen in Haarlem. Historically, the meeting called in 1978 between George and Rudi Wairata the Fretes in the attic (if equipped hawaiian music museum) Gerard Dillen in Haarlem. Dillen heeft in 1959 de International Fanclub Hawaii Calls opgericht. Dillen in 1959 the International Fanclub Hawaii Calls established. Hij geeft het maandblad Sound of Hawaii uit en organiseerd hawaiianshows. He gave the monthly Sound of Hawaii and hawaiian organized shows.

Onder de naam Roy Moana wordt in 1978 een LP uitgebracht op GIP/Dureco met als titel Good Old Hawaii . Under the name Roy Moana is an LP released in 1978 on BIP / Dureco, entitled Good Old Hawaii. In de bezetting spelen Victor Gout (gitaar), Mieke Gout (ukelele), Henk Hensing (bas), André Spin (drums) en Ronnie Watti (zang) In the occupation play Gout Victor (guitar), Mieke Gout (ukelele), Henk Hensing (bass), Andre Spin (drums) and Ronnie Watti (vocals)

Rudy Wairata & his New Polynesians is waarschijnlijk de allerlaatste formatie waar Rudi een LP ( It’s Aloha Time ) mee opneemt voor het Delta label. Rudy Wairata & his New Polynesian is probably the very formation of a Rudi LP (It’s Aloha Time) to record for the Delta label.

 

1981 1981 Rudi Wairata overlijdt op 15 juli 1981 in Rotterdam, hij is dan slechts 51 jaar oud. Rudi Wairata dies on July 15, 1981 in Rotterdam, he is only 51 years old.
2006 2006 (p) Piet Muys (juni  2006) (p) Piet Muys (June 2006) mail

  • Speciale dank gaat uit naar: Special thanks go to:
    Riny Bade Riny Bade
    Hans de Raaij Hans de Raaij
    Peter Riethof † Peter Riethof †
    Bert Bossink Bert Bossink
  • Bronnen: Sources:
    Boek Haring & Hawaii (Lutgard Mutsaers 1992) Book Herring & Hawaii (Lutgard Mutsaers 1992)
    Rudy Wairata is still tickling the strings (Moesson 15-10-1980, Ralph Boekholt) Rudy Wairata is still tickling the strings (15-10-1980 monsoon, Ralph Boekholt)

aloha

the kilima hawaiians – aloha

 
format : casette
label : atlantic records indonesia/atlantic tara ltd.
tahun : –
      album : aloha
comment,ayo kita ber aloha ria,ala musik hawaii…
di album ini ada 2 group musikSIDE A1.pearl harbour march
2.the manukuli songs
3.sweet hawaiaan chimes
4.the one rose that left in my heart
5.on linger longer island
6.under the tropical moon
7.hano hano molokai
8.oh i’ll dream about hawaii
9.twilight in hawaii
10.aloha waikiki shore

SIDE B

1.lei aloha lei makamae
2.aloha once more
3.dreams of aloha
‘the leilani beach group’
4.the king of holiday island
5.two white seagulls
6.song of the island
7.blue hawaii
8.pagan love song
9.honolulu bewitched
10.leino kaiulani (george de fretes)
 

the end @ copyright Dr iwan suwandy 2011

The Rare Molluca Hawaiian lead by F. Patiwael 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 Rare Vintage Molucca Hawaian lead by Patiwael

Irama Record,

song :, sajang kane and siohe

 

 

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