Showing posts with label unique instruments. Show all posts
Showing posts with label unique instruments. Show all posts
Sunday, December 28, 2014
Afternoon in Amsterdam
Afternoon in Amsterdam
released on LP
featuring Gavioli Draaiorgel "Jupiter"
recorded in Holland
From the liner notes:
The subtle pastel coloring of the aged buildings reflected in the canals' calm water; the incredible cleanliness of the worn sidewalks and streets; the happy sounds emanating from the big and colorful hand-cranked barrel organs along the Kalverstraat: these are Amsterdam in the sun-covered afternoons of any season, any year.
Music is important in the Netherlands. Amid the heavy traffic of Amsterdam, Rotterdam, Den Haag, and Scheveningen - traffic made difficult by the unending procession of bicycles and pint-sized motor cars - and in the green, soft, tranquil settings of rural Holland, one hears some sort of music no matter how early or late the hour. Radio Hilversum, the progressive, government-operated station, beams music to all of Europe through the day and night, and rarely do the concerts and operettas at Grote Zaal and Stadsschouwburg fail to attract turn-away audiences. Records are fast-selling items in the music stores, much as they are in North America; only a few weeks separate the arrival of a new pop tune on the American and Dutch hit parades.
The music contained here is like no other music anywhere. There are organs on every continent, but only in the Netherlands are there barrel organs like the massive but movable "Gavioli Draaiorgel Jupiter" instrument heard in this album. The astounding variety of pleasant sounds it produces are achived by a sort of paper folder, or book, whose leaves have, with unbelievable ingenuity, been carefully perforated to produce music when exposed to air pressure. The air, of course, is provided by the powerful organist patiently turning the heavy metal wheel at the organ's side. Another man stands near, collecting voluntary fees from the passersby; at intervals they trade chores. The guilders pile up for the two men, Everybody is happy.
Tracklisting:
Side 1
1. Afternoon Songs: Amsterdam; On the Old Lindencanal; By Us in the Jordaan; Oh Saberdyosia {3:03}
2. Afternoon Songs: The Perl of the Jordaan; At the Foot of the Old Water Tower; The Condemned House {3:02}
3. Dutch Waltzes: Hand in Hand; Nobody Like You; On Saturday Afternoon {2:55}
4. Dutch Marches: King Football; KLM March; Stadium March {2:51}
5. Between Tunnel and Maas Bridge: Always Ships are Coming; Ketelbinkie; Were You Born at Rotterdam; By the Maas {3:04}
6. Between Tunnel and Maas Bridge: The Flag of Rotterdam; Anchors Aweigh; Great Rotterdam {3:00}
Side 2
1. Dutch Towns: Just Give Me Amsterdam; My Own Rotterdam; There is Only One Den Haag {1:53}
2. Dutch Tangos: I Like Holland; Ole Guapa {2:24}
3. Sea Songs: The Song of the Sea; Seaman, Oh Seaman; On the Turbulent Waves {2:13}
4. Dutch South African Songs: Sarie Marais; Mama, I'd Like to Have a Husband; The Little Shoemaker {2:18}
5. Star Songs: Just Look at the Stars Tonight; At Night by Starlight; When Stars are Twinkling in the Sky {2:29}
6. Dutch Mill Songs: The Mill at the Brook; Greetje from the Polder; There Near the Mill {2:37}
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Saturday, April 6, 2013
Music Box Opera
[music boxes] - Music Box Opera
released on cassette in 1989
I found this tape with Mechanical Opera on one of my shopping trips, therefore making this a companion to the prior post. This will be the last "music box" post here for some time.
From the liner notes:
A native of northeastern Italy, Rita Ford came to the United States when she was six. She spent her childhood and young womanhood on Fisher's Island, New York and in Hartford, Connecticut. She was graduated as a registered nurse when she was 19 and worked in that capacity, as well as that of social worker, for a number of years in Hartford. When she moved to New York upon her marriage in the 1930s, she started to visit antique galleries and shops and to collect in a small way. It was when her husband became incapacitated that she turned to the antique field professionally. Occasionally, when purchasing a group of antique items, a music box would come her way. She gradually developed such an interest in them that about 30 years ago she decided to specialize exclusively in the purchase, sale, and repair of music boxes, and now owns the only such all-music box shop in the country (in New York City).
Tracklisting:
Side 1
1. Semiramide: Overture {4:02}
composed by Gioacchino Rossini
2. Mystery Piece: Belosi Celeh {3:46}
composed by Gioacchino Rossini
3. The Barber of Seville: Overture {3:45}
composed by Gioacchino Rossini
4. The Barber of Seville: Una Voce Poco Fa {3:45}
composed by Gioacchino Rossini
5. La traviata: Libiamo {4:15}
composed by Giuseppe Verdi
6. Carmen [excerpt] {4:20}
composed by Georges Bizet
7. Faust [excerpt] {4:17}
composed by Charles Gounod
Side 2
1. Cavalleria rusticana [excerpt] {4:16}
composed by Pietro Mascagni
2. Der Freischutz [excerpt] {5:44}
composed by Carl Maria von Weber
3. Don Giovanni [excerpt] {5:35}
composed by Wolfgang A. Mozart
4. Die lustige Witwe [excerpt] {2:24}
composed by Franz Lehar
5. Die Walkure [excerpt] {2:36}
composed by Richard Wagner
6. Rigoletto [excerpt] {2:40}
composed by Giuseppe Verdi
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Monday, April 1, 2013
Mechanical Opera
[music boxes] - Meachanical Opera
released on cassette in 1987
Music boxes were a phenomenon of the 19th century and were developed during a period of immense change. The industrial revolution brought riches to a few and comparative wealth to many of the new middle class. Home entertainment became a new industry; the intricate music box was symbolic of this new age of machinery. The tastes of the day are reflected in the tunes which are included on the music box discs and cylinders: in addition to many popular songs, hymns, and an abundance of dance tunes, one finds a wealth of opera arias. Most of these opera favorites are popular to this day and will be familiar to opera lovers.
The instruments featured on this recording are from two collections: The Roy Mickleburgh Collection of Bristol and the collection of Tony Sherriff of Truro, Cornwall. All the boxes have undergone careful restoration; the voices of our "prima donnas" are much as they were a hundred or more years ago. We hope that these charming tones will delight, entertain, and possibly amuse opera and music-box lovers everywhere. (from the liner notes)
Tracklisting:
Side 1
1. 24 1/2" Disc Polyphon (Penny-in-the-Slot) - Czar and Carpenter: Once I played with a scepter {2:00}
composed by Albert Lortzing
2. Paillard Vaucher Fils Cylinder Music Box - The Marriage of Figaro: Non piu andrai {1:06}
composed by Wolfgang A. Mozart
3. Le Croix "Mandoline" Cylinder Music Box - La dame blanche: Viens gentille dame {0:57}
composed by Adrien Boieldieu
4. 22" Disc Polyphon with Glockenspiel Attachment (Penny-in-the Slot) - Mignon: Do You Know the Land? {1:57}
composed by Ambroise Thomas
5. Sublime Harmony Piccolo Cylinder Music Box - Lohengrin: Wedding March {0:52}
composed by Richard Wagner
6. Paillard Vaucher Fils Cylinder Music Box - Tannhauser: Grand March {1:09}
composed by Richard Wagner
7. Le Croix "Mandoline" Cylinder Music Box - Les cloches de Corneville: Chorus {0:52}
composed by Robert Planquette
8. Paillard Vaucher Fils Cylinder Music Box - A Midsummer Night's Dream: Wedding March {1:09}
composed by Felix Mendelssohn
9. Nicole Freres Cylinder Music Box - La fille du regiment: Ah! Mes amis, quei jour de fete {1:41}
composed by Gaetano Donizetti
10. Nicole Freres Cylinder Music Box - Linda di Chamounix: Mia vendetta {0:40}
composed by Gaetano Donizetti
11. 12 Air, 2 Comb Cylinder Music Box and 27" Disc Regina - Lucia di Lammermoor: Sextet {2:00}
composed by Gaetano Donizetti
12. Paillard Vaucher Fils Cylinder Music Box - William Tell Ballet: "Tyrolienne" {1:06}
composed by Gioacchino Rossini
13. Le Croix "Mandoline" Cylinder Music Box - William Tell: Ah Matthilde {0:53}
composed by Gioacchino Rossini
14. Paillard Vaucher Fils Cylinder Music Box - The Barber of Seville: Una Voce Poco Fa {1:06}
composed by Gioacchino Rossini
15. Le Croix "Mandoline" Cylinder Music Box - The Barber of Seville: La Calunnia {0:55}
composed by Gioacchino Rossini
16. Nicole Freres 10 Air Cylinder Music Box (1841) - I puritani: Quartet: A te O cara amor talora {0:50}
composed by Vincenzo Bellini
17. Nicole Freres Cylinder Music Box - I puritani: Se tra il buio {0:53}
composed by Vincenzo Bellini
18. Paillard Vaucher Fils Cylinder Music Box - La sonnambula: Ah perche non posso odiarti? {1:07}
composed by Vincenzo Bellini
19. 27" Disc Regina Music Box - Norma: Mira, O Norma {2:01}
composed by Vincenzo Bellini
20. Le Croix "Mandoline" Cylinder Music Box - Norma: Mira, O Norma {0:53}
composed by Vincenzo Bellini
Side 2
1. 24 1/2" Disc Polyphon (Penny-in-the-Slot) - Il trovatore: Cabaletta: Di Tale Amor {2:03}
composed by Giuseppe Verdi
2. Le Croix "Mandoline" Cylinder Music Box - Il trovatore: Chorus: Convent Scene {0:52}
composed by Giuseppe Verdi
3. Paillard Vaucher Fils Cylinder Music Box - Ernani: Ernani Involami {1:14}
composed by Giuseppe Verdi
4. 27" Disc Regina Music Box - La traviata: Gypsy Chorus {1:58}
composed by Giuseppe Verdi
5. Le Croix "Mandoline" Cylinder Music Box - La traviata: Gypsy Chorus {1:01}
composed by Giuseppe Verdi
6. Le Croix "Mandoline" Cylinder Music Box - Rigoletto: La donna e mobile {0:54}
composed by Giuseppe Verdi
7. Ducommum Girod Cylinder Music Box - Nabucco: Overture {0:42}
composed by Giuseppe Verdi
8. Paillard Vaucher Fils Cylinder Music Box - Il trovatore: Miserere {1:08}
composed by Giuseppe Verdi
9. Excelsior Piccolo 12 Air Cylinder Music Box - The Mikado: The Flowers That Bloom in the Spring {0:44}
composed by Gilbert & Sullivan
10. Nicole Freres 19 1/2" Fortepiano Interchangeable Cylinder Box - The Mikado: The Flowers That Bloom in the Spring {0:51}
composed by Gilbert & Sullivan
11. 45-Note Penny-in-the-Slot Piano - The Pirates of Penzance: Poor Wandering One {1:39}
composed by Gilbert & Sullivan
12. Sublime Harmony Piccolo Cylinder Music Box - HMS Pinafore: I'm Called Little Buttercup {0:51}
composed by Gilbert & Sullivan
13. Nicole Freres 19 half" Fortepiano Interchangeable Cylinder Box - HMS Pinafore: When I Was a Lad I Served a Term {0:48}
composed by Gilbert & Sullivan
14. Nicole Freres 19 half" Fortepiano Interchangeable Cylinder Box - The Mikado: Tit Willow {0:51}
composed by Gilbert & Sullivan
15. Excelsior Piccolo 12 Air Cylinder Music Box - Faust: Soldier's Chorus: Deposons Les Armes {0:45}
composed by Charles Gounod
16. 15 1/2" Disc Regina Music Box - Faust: Soldier's Chorus: Deposons Les Armes {0:52}
composed by Charles Gounod
17. Sublime Harmony Piccolo Cylinder Music Box - Carmen: Toreador's Song {0:54}
composed by Georges Bizet
18. 27" Disc Regina Music Box - Carmen: Toreador's Song {2:03}
composed by Georges Bizet
19. Nicole Freres Cylinder Music Box - Les Huguenots: Air de ballet {0:48}
composed by Giacomo Meyerbeer
20. Paillard Vaucher Fils Cylinder Music Box - Robert le diable: Sicilienne {1:09}
composed by Giacomo Meyerbeer
21. Le Croix "Mandoline" Cylinder Music Box - Robert le diable: Sicilienne {0:56}
composed by Giacomo Meyerbeer
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Monday, December 24, 2012
The Story of the Music Box
The Story of the Music Box
released on LP in 1971
Now is a good time to pull this one out and play it. There are a few Yuletide tunes included among the recordings of various music boxes.
Tracklisting:
Side 1
1. Il Trovatore (Anvil Chorus) {1:08}
composed by Giuseppe Verdi
music box used: "Household" Regina
2. The Beautiful Blue Danube {1:31}
composed by Johann Strauss Jr.
music box used: "Console" Regina
3. Rocked in the Cradle of the Deep {1:33}
composed by J. P. Knight
music box used: "Console" Regina
4. Folk Song {0:29}
music box used: Three Bell Swiss Box
5. Artist's Life {0:43}
composed by Johann Strauss Jr.
music box used: Eighteen Bell Swiss Box
6. Garden of Dreams {1:09}
composed by Clare Kummer
music box used: "Household" Regina
7. Mocking Bird {0:58}
composed by Alice Hawthorne
music box used: "Concert" Regina
8. A Midsummer Night's Dream (Wedding March) {0:56}
composed by Felix Mendelssohn
music box used: Capitol
9. The Blue Bells of Scotland {1:30}
music box used: "Console" Regina
10. The Bohemian Girl (Then You'll Remember Me) {1:31}
composed by Michael Balfe
music box used: "Console" Regina
11. Lucia di Lammermoor (Sextet) {1:10}
composed by Gaetano Donizetti
music box used: "Household" Regina
12. Six Airs {3:43}
composed by Jacques Offenbach
music box used: Swiss Mandolin Box
13. Onward Christian Soldiers {0:58}
composed by Arthur Sullivan
music box used: "Concert" Regina
14. The Gypsy Baron (Gallop) {0:58}
composed by Johann Strauss Jr.
music box used: "Concert" Regina
Side 2
1. Jingle Bells {0:53}
music box used: "Household" Regina
2. Adeste Fideles {1:38}
music box used: "Console" Regina
3. Skaters' Waltz {1:00}
composed by Emil von Waldteufel
music box used: "Concert" Regina
4. First Noel {1:03}
music box used: "Household" Regina
5. William Tell (Prayer) {1:00}
composed by Gioacchino Rossini
music box used: "Household" Regina
6. Nightingale Song {0:59}
composed by Carl Zeller
music box used: "Concert" Regina
7. Angel's Serenade {0:54}
composed by Gaetano Braga
music box used: "Household" Regina
8. Stabat Mater (Cuijus Animan) {0:45}
composed by Gioacchino Rossini
music box used: Capitol
9. Auld Lang Syne {1:23}
music box used: Swiss "Coffin" Box
10. Hark the Herald Angels Sing {1:43}
music box used: "Household" Regina
11. Ave Maria {1:03}
composed by Charles Gounod
music box used: "Household" Regina
12. Song of the Virgin Mary {0:49}
music box used: American Olympia
13. Monastery Bells {0:55}
composed by Lefebure-Wiley
music box used: "Concert" Regina
14. O Sanctissima {0:55}
music box used: American Olympia
15. Cloister Bells {0:56}
music box used: "Concert" Regina
16. Holy City {1:21}
composed by Stephen Adams
music box used: "Console" Regina
17. Der Freischutz (Hunting Chorus) {1:04}
composed by Carl Maria von Weber
music box used: "Household" Regina
18. Bells of Cornville {1:03}
composed by Robert Planquette
music box used: "Concert" Regina
19. Silent Night {2:06}
composed by Franz Gruber
music box used: "Household" Regina
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Wednesday, November 21, 2012
Music For Pianos In Sixths Of Tones (McGill Recordings,1985)
Excerpts from the cover notes (enclosed):
Born in St.Petersburg in 1893,Ivan Wyschnegradsky was a disciple of Scriabin. In 1918 he had an intense mystical experience that caused him to see the necessity of a musical expression in micro-tones. Because of the chaotic conditions in Russia at the time,he moved permanently to Paris in 1920, where he lived until his death in 1979.
His determination and courage in face of incredible difficulties and the neglect of the musical world seem almost superhuman.because of the problems in creating adequate instruments for microtones,he had almost no performances until 1937 when he adopted the solution of two or more conventional pianos tuned to different diapasons.
Aside from the two successful concerts in 1937 and in 1945 in Paris, there were few performances and no publications.Only recently has the world recognized the importance of both his compositions and his theoretical writings on microtonal composition.
Since his death the "Association Ivan Wyschnegradsky" in Paris under the presidency of Claude Ballif has produces concerts,recordings and publications devoted to his music. But the first long playing recording of his music was produced by McGill University Records (No.77002) in 1978. On that recording the LePage-Mather Duo plays Two Concert Etudes,Op.19,Two Fugues,Op.33 and Integrations,Op.49, all in quarter tones. The works in sixths of tones on the present disc received their premieres at McGill University's Pollack Concert Hall in Montreal on April 21,1983* and are recorded here for the first time.
In the 1950's Wyschnegradsky elaborated his ultimate system for organizing his "continuum of sound".
This system he called "les espaces non octaviants". They are cycles that repeat not at the octave but at a slightly smaller or larger interval.In the case of Dialogue a Trois the interval is the major seventh or 33 sixths of tones.This interval can be subdivided equally (11,11,11) in "perfect regular structure" (requiring 3 pianos), in "irregular structure one colour" (9,12,12) requiring one piano) or in irregular structure two colours" (10,11,12) (requiring two pianos). He associated each piano with a color.
In DIALOGUE A TROIS he also uses his system of "ultrachromaticism rythmique"; very subtle changes in tempo which are the counterpoint of the small intervallic differences.The musical language can be reduced in three elements (1) broken chords, (2) repeated notes or chords, (3) regular fluctuations between two chords.
COMPOSITION OP 46,NO 1 is a short work which uses a non-octaviant space of 17 thirds of a tone (one third of a tone less than an octave). It is subdivided into three intervals of 12,11 and 11 sixths.This system offers the possibility of 34 different positions of the cycle.
The subject of the FUGUE in OPUS 30, on this recording, starts with a minor sixth,each note of which alternately slides downwards in sixths of tones. Following the five voice exposition the fugue features an entry in augmentation, and entry with the inversion of the augmentation, a stretto and a coda in non-fugal style.
For its pitch organization, Bruce Mather's POEME DU DELIRE uses Wyschnegradsky's system of "non-octaviant spaces", modified to produce a scale of thirds and sixths of tones.
Formally, it is a mosaic of six different textures: 1-monody, 2-a slow melody accompanied by complex broken chords, 3-a chorale with chords of 3,5,8 and 11 notes, 4-a melody of moderate pace accompanied by solid chords, 5-trills and chromatic (semitone) scales accompanied by slowly broken chords, and 6-fast tremolos and ostinatos.
Poeme du Delire is dedicated to the memory of A.Scriabin and his disciple I.Wyschnegradsky
ASPECTS by Jack Behrens is comprised of a Prologue,six Episodes and a Postlude- each less than a minute long. It is,in intent, a work for one piano with enhanced pitch possibilities; that is, the work is not antiphonal, with one piano echoing or reflecting another.Against a static pitch centre the Prologue quietly explores the "feel" of microtonal possibilities; these are reaffirmed (with many octaves slightly enlarged) in the Postlude. In the body of the composition, microtones are sometimes used to "color" pitches (especially in the final prankish Episode) and are frequently treated as point of fluctuation (rather than steps) or as ingredients in clusters (Episode 1) in other instances spatial expansion (Episode 3) or interval expansion (Episode 5) is explored .Aspects is dedicated to Bruce Mather.
Side One: Ivan Wyschnegradsky
a1-Dialogue a Trois,Opus 51 (1974)
a2-Composition,Opus 46,No.1 (1961)
a3-Prelude Et Fugue,Opus 30 (1945)
Side Two:
b1-Bruce Mather-Poeme Du Delire (1982)
b2-Jack Behrens-Aspects (1983)
Louis-Phillipe Pelletier,Paul Helmer,Francois Couture-Pianos
Bruce Mather,Conductor.

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Tuesday, October 16, 2012
Karlheinz Stockhausen-Music Im Bauch/Tierkreis (DG 1977)

Excerpts from the booklet (enclosed):
MUSIC IN THE BELLY:
Julika, my little girl,was about 2 years old when one evening all kinds of little sounds started coming from her insides and I said to her, "Why Julika- you have music on your belly!"(...)
In 1974, 7 years later, as I awoke one morning, I heard and saw a performance of Music In The Belly, exactly as I have now written it down.However, several details took shape only when I started composing.For instance, I wrote not only the three melodies which are imparted to the listener, revealed tone for tone and motive for motive- they are born as a whole and finally even handed over to the listener- I composed, instead, 12 melodies- one for each sign of the Zodiac.Each of these melodies has its own particular character and its own central pitch.(...)
For a performance,the players choose 3 melodies and everything they play comes from these.The marimba plays one of them stretched over the entire length of the performance.The klangplatten* play the three chosen melodies one after another and in their total duration, determine the length of the performance. The other instruments interpret motives and single notes of the melodies, or they play the melodies in various tempi simultaneously.
For the world premiere in Royan,France on March 28,1975 with "Les Percussions de Strasbourg", I chose the melodies LEO- AQUARIUS- CAPRICORN (they occur in the order,each played in 16:1 augmentation on the klangplatten, these notes serve as time orientation for the other players.
For this recording, the same order af these 3 melodies has been chosen.
*"Klangplatten"-Literally "sound plates"- are panels made of a metal alloy which,when struck,sound like low bells with very strong penetrating low fundamentals and long resonance.They differ from "plattenglocken"("plate bells") in that these are made of bronze and sound distinctly like low church bells.
Performance Description (excerpted from the booklet,enclosed):
(from)1-In the middle of the open stage hangs a birdman with the name MIRON (who is covered in strings of small bells). The silvery glittering klangplatten stand stage left in front of a sky blue, sound-reflecting partition,at the front edge of the stage are three small tables,at stage right a marimba,and in the background of the stage,at the left and right,one set of antique cymbals each,and in the middle a glockenspiel. In front of MIRON stands yet another, small glockenspiel on a low stool.(...)
(from) IV- The three players begin very slowly , then gradually faster to run bizarrely in a circle around MIRON, continuously hittin him more intensely, until they create through an secstatic dance with wild leaps, a dense rattling and tinkling of bells and tramping on the floor.
V-At three peals of the tubular bell, they all freeze and stare at MIRON.Player 1 looks to the exit,runs out,comes back with a large pair of scissors and cuts open MIRON's stomach.He searches inside the stomach with his hand,pulls out a small wooden box,looks around,sees one of the small tables (at the left edge of the stage, goes there.places the box on the table,opens the cover of the box and the music box melody of th LION begins.He goes to the small glockenspiel in front of MIRON and plays the melody simultaneously with the music blx the second time that it begins.
(...)
ZODIAC
After I had dreamed Music In The Belly, I inquired about music box factories, and landed after some searching in the music box factory Reuge in 1450 Sainte Croix in Switzerland.There I learned how music boxes are built and what one must consider when on wishes to compose for them. I learned,by the way,that until then, only arrangements of fragments from compositions and from songs were made for music boxes and that there were no original compositions for them in existence.
Apart from this, I began to busy myself with the 12 human characters of the Zodiac of which I had until then only a vague idea.In inventing each melody I thought of the character of children,friends,and aquaintances,who were born under the various star signs,and I studied the human types of the star signs more thoroughly.Each melody is now composed with all its measure and proportion in keeping with the characteristics of its respective star sign, and one will discover many legitimacies when one hears a melody often,and exactly contemplates its construction(...)
Karlheinz Stockhausen- Music Im Bauch/Tierkreis
Side One:
a1-Music In The Belly for 6 Percussionists and 3 Music Boxes (33:13)
Side Two: b1-12: Tierkreis (Zodiac) for Music Boxes
I-Aquarius (1:25)
II-Pisces (2:10)
III-Aries (1:59)
IV-Taurus (1:36)
V-Gemini (1:31)
VI-Cancer (1:35)
VII-Leo (1:53)
VIII-Virgo (1:22)
IX-Libra (1:46)
X-Scorpio (2:14)
XI-Sagittarius (1:59)
XII-Capricorn (1:41)

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Saturday, January 14, 2012
Sonde- EN CONCERT (Music Gallery Editions MGE14) 1978

Sonde - EN CONCERT (MGE14) 1978
From the back cover (enclosed):
Live concert improvisations. Some of the pieces are played on new sound-sources designed and constructed by members of the group. Others use traditional sources in a new context. Occasional use of electronic sound-modification techniques.
From the insert (enclosed):
Mario Bertoncini showed Le Groupe Mud that music can be made from
'sound sources' which the musician conceives and makes himself. The activity, which he calls "Musical Design", is not the same as instrument building.
An instrument can play any number of different peices. On the other hand, the sounds available from a 'sound source' constitute a single piece. This is a kind of sculpture in sound in which no parts are predetermined and in which the only guide is the kind of sound one wants to explore.(...)
The use of electronic amplification makes it possible to discover a world of sound in any type of material. Each successive degree of amplification is like hearing further and further inside he material with a kind of musical microscope. The sound can also be varied, in real time, by electronic processes such as filtering or ring modulation(...)
Gradually, through a period of improvisational practice, each sound-source begins to impose a 'form' on the piece.One source may ask for an active, fast-moving piece with silence in which players contrast different sounds; another may require a slower, continuous band of sound with constantly shifting colours, with the players providing the blend. But each time the piece is played it is new. With each improvisation a new aspect of it is discovered, and this becomes part of the piece which never stops growing.
Sonde - en concert
Side One:
A1- Mudiature 0:15
A2- Sahabi 3 7:02
A3- Voix 9:05
A4- Flutes/Modulation 5:25
A5- Mudiature 0:20
Side Two:
B1- Les Plaques 11:03
B2- Sahabi 2 14:06

Performers – Andrew Culver, Charles De Mestral, Chris Howard (tracks: A1, A3 to A5, B1), Keith Daniel (tracks: A1, A3 to A5), Linda Pavelka (tracks: A1, A3 to A5), Pierre Dostie
Photography – Culver, Miller
Side A is from a concert at Music Gallery, Toronto, on January 14, 1978.
Track B1 is from a concert given at the group's studio in Montréal on July 13, 1977.
Track B2 is from a concert given at York University, Toronto on January 17, 1978.
This record is dedicated to Mario Bertoncini.
re-up:
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Wednesday, January 11, 2012
The Glass Orchestra-THE GLASS ORCHESTRA (Music Gallery Editions MGE10) 1977

The Glass Orchestra (Music Gallery Editions MGE10) 1977
Booklet Enclosed.
These Notes adapted and excerpted from an article by Evan Ware:
The Glass Orchestra (a Toronto new music ensemble) works exclusively in the medium of glass, employing custom- or hand-made instruments (eg, glass harmonica, flute, xylophone) and 'found' instruments (bowls, wine glasses, bottles, tubes, etc). It is the only permanent ensemble of its kind in the world. The Glass Orchestra dates its beginnings to late 1977. It's founding members (heard on this record- Their first) are Miguel Frasconi, Marvin Green, John Kuipers, and Paul Hodge.
It has greatly advanced the craft of glass instrument-making. That the instruments it makes are fragile and do break highlights the exploratory and improvisatory nature of the ensemble, who regard such breakages as opportunities to discover different properties in the pieces of the shattered instrument.
The Glass Orchestra sets up on four carpets, each on a side of a large cube made of metal shafts. The various instruments of the ensemble - which collectively weigh half a tonne - are hung on the metal structure or placed on the carpets. The Glass Orchestra generally performs on candlelit stages in darkened halls because they "like to see the hundreds of reflections in the instruments" (Glass Orchestra website.)
The Record (MGE10)


The Glass Orchestra-MGE10
Side One:
A1 (10:09)
A2 (3:54)
A3 (7:00)
A4 (2:31)
Side Two:
B1 (8:03)
B2 (15:26)

re-up:
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Monday, October 17, 2011
Dutch Band Organ
Dutch Band Organ - Dutch Band Organ
released on LP (sometime in the 1950s? or 1960s?)
I think I was going to post this before the long hiatus. I found this LP at some thrift store earlier this year if I remember right. Most of the selection there was mostly 1970s and 1980s corporate pop schlock. Anyway, this record is another sweet-sounding and charming album of a mechanical organ. This is the music of the future. ;)
From the liner notes:
Dutch Band Organ is different! All Band Organs are a "gas," quaintly tootling and twittering away, but this Dutch variety is even more so. You have heard Band Organs in carnivals, circuses and fairs. The picture on the front cover will remind you. The straightforward melodies, crazy arrangements and frequent "clams" are nostalgic, taking you back to the fun days of your youth. In Holland, a Band Organ is a thing of achievement. There are lots of them and the builders take much pride in outdoing each other. The particular instrument recorded here is the Pride of Amsterdam, the best of them all! The process of making the music is interesting. after selecting tunes for this album, the list was sent to a roll maker who cuts by hand the appropriate holes in paper rolls which actuate the notes of the instrument as the roll progresses over a tracker, something like an ordinary player piano. The roll cutter in this case, incidentally, is a prominent Amsterdam attorney who cuts rolls as a hobby (try that one!). After cutting, the rolls were played on the Band Organ in a live room for the best sound. By the way, stereo recording equipment included Neumann microphones and the best of other European recording gear, all of which is PLENTY good. The very original adaptations and arrangements of the tunes played is remindful of the difference between domestic and imported Dutch beer. [That sounds good about right now.] Anyway, make yourself comfortable for listening, put this album on your player and you will soon get the idea and want to listen over and over again!
Tracklisting:
Side 1
1. Wonderful Copenhagen {2:07}
2. Cuddle Up a Little Closer {1:17}
3. Tennessee Waltz {1:34}
4. Did You Ever See a Dream Walking? {2:02}
5. Du Kannst Nicht Treu Sein {2:29}
6. Patricia {2:19}
Side 2
1. Que Sera Sera {1:40}
2. Pretty Baby {1:18}
3. Should I? {2:00}
4. I Get the Blues When It Rains {2:24}
5. Blue Tango {2:12}
6. Under the Double Eagle-March {3:07}
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Wednesday, March 16, 2011
Music Box Dancer
The Polyphon Musical Box - Music Box Dancer
released on LP in 1985
In 1885, Mr. Ellis Parr of London, England, invented a musical box that operated with flat steel discs instead of a cylinder. The difference was obvious - a cylinder could play only a severely limited programme whilst the Polyphon (as it was known) was only limited by the amount of discs available. The instrument featured in this album was made in Leipzig in 1899. After years of neglect, it has been expertly restored by Keith Harding in his famous London Workshops. (from the liner notes)
Tracklisting:
Side A
1. La Paloma (The Dove) {3:30}
2. I'll Take You Home Again Kathleen {1:48}
3. The Magic Flute: Glockenspiel and Slave Dance {3:19}
4. I'll Be Your Sweetheart {1:41}
5. Trobatore Miserere {3:23}
Side B
1. The Honey Suckle and the Bee {1:42}
2. Mignon Polonaise {3:25}
3. Mandolinata {3:31}
4. Jewel Song from Faust {1:45}
5. O Rest in the Lord {1:41}
6. Music Box Dancer {2:11}
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Friday, December 24, 2010
Chimes from the Church Tower
Del Roper - Chimes from the Church Tower
released on LP
The delicate electronic balance demanded by today's precise recording techniques requires special studios, sensitive sound systems, and acoustical perfection - all to provide the listener with all the purity and realism of the original performance.
How to duplicate this technical flawlessness - and record the actual playing of a massive carillon - was the problem faced by Del Roper in his creation of this collection of favorites.
Obviously, the instrument could not be housed in a recording studio. Rather, the studio had to be "transplanted" to the location of the carillon in the sanctuary and bell tower of the beautiful Polytechnic Methodist Church.
Here, after endless experimentation with technique and positioning of recording equipment, an engineering triumph was accomplished that is matched only by the excellence of Del Roper's virtuosity on the carillon.
After almost 100 hours of recording, the unique presence of the carillon was vividly caught at last. Now it was possible to reproduce the noble sound of chiming chorales in a home stereo or hi-fi system.
The sound that reaches your ears is the same sound that graces the evening air in the quiet neighborhood of Fort Worth's Polytechnic section. Not just a recording where a microphone overheard the instrument, but the actual, faithfully reproduced sound of the carillon as if your living room were just a short stroll from Del Roper and his Chimes from the Church Tower. (from the liner notes)
Tracklisting:
Side 1
1. And Can It Be {2:29}
2. Onward Christian Soldiers {2:44}
3. Faith of Our Fathers {2:18}
4. Come Thou Almighty King {1:42}
5. When I Survey the Wondrous Cross {3:28}
6. Blest Be the Tie That Binds {2:04}
7. My Faith Looks Up to Thee {2:03}
8. How Beauteous Were the Marks {2:53}
Side 2
1. Deeper and Deeper {1:57}
2. I Need Thee Every Hour {2:28}
3. Joyful, Joyful, We Adore Thee {2:29}
4. I Love to Tell the Story {3:00}
5. All Hail the Power of Jesus' Name {2:34}
6. I Love Thy Kingdom, Lord {2:06}
7. Glorious Things of Thee are Spoken {2:23}
8. The Church's One Foundation {1:48}
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Tuesday, December 21, 2010
A Christmas Tree [music boxes]
Rita Ford's Music Boxes - A Christmas Tree
LP released in 1985
I'm not sure if I really wanted to post Christmas music. I really don't care for it even at this time of year. Then I dug this LP out and since there's only music boxes on it, I might as well put this up. Some of the only Xmas music I would not mind listening to (even enjoy it) is played by these beautiful-sounding antique devices. Teo Macero is listed as executive producer on this LP, so that might count for something I suppose.
Six different kinds of music boxes are used: the Regina, Symphonium, Stella, Regina with Bells, Polyphon, and the Mira. I hope that all of you are enjoying the holidays so far.
Tracklisting:
Side 1
1. Medley of: I Know My Redeemer Liveth/Silent Night, Holy Night/Ave Maria/Jingle Bells/O Tannenbaum/Good King Wenceslas/Adeste Fideles/Cloister Bells/On the Christmas Tree the Lights are Burning/Song of the Virgin Mary/Christians Awake {14:07}
2. Medley of: Auld Lang Syne/Monastery Bells/Nazareth, the First Noel/Consolation/O Holy Night/Chimes of Normandy/Star of the Sea/Sweet Spirit Hear My Prayer/See the Conquering Hero/Stabat Mater/Silent Night with Bells {15:10}
Side 2
1. Medley of: Moonlight Serenade with Bells/Angels Serenade with Bells/Parade of the Wooden Soldiers/Monastery Bells {13:09}
2. Medley of: Ave Maria/untitled European folk melody/Monastery Bells/Some Sweet Day/Coronation Hymn {13:56}
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Sunday, October 3, 2010
Toy Symphonies
Raymond Lewenthal - Toy Symphonies
LP released in 1975
Here is a record for the man who has everything. Music to wake up to. Music to surprise your friends with. Music for Christmas. Music for your children. A sugar-coated history lesson pill. An inquiry into the mores of bygone days.
Hear 'em and laugh!
But above all, here for once is happy music - frivolous, even silly, some will say... but who can deny its happiness? It was written for happy occasions, for a world that was prosperous, secure, and certain at a time when family life was the center of life and when music in the home was homemade. It comes from a time when the cracks in the plaster of society were scarcely noticeable to the naked eye.
This record is the evocation of an era: the 19th century; and a place: the home ... the comfortable home of the well-to-do bourgeois, where people had leisure but not so much money that they were too indolent or too preoccupied with the cares of supervising their fortunes to make their own entertainment, and had to resort to hiring it.
Long ago, a hundred years ago and more, anyone who studied anything studied music. It was part of one's education. One was expected to learn it as one was expected to learn the ABC's. One didn't study music only if one intended (perish the thought) to go into it as a profession, nor did one decide to go into it as a profession simply because one could play a scale decently or eke out a high tone (as is happening more and more today).
No ... music, drawing, letter writing, reciting poetry, these were all part of the general education of those classes which had any leisure for any kind of education at all ... adjuncts to a culture civilized life. Music in those days was part of all family occasions, from the quiet evenings at home to the big festive holiday reunions, when visiting relatives came from afar and the house was full to the brim with the laughter (well-mannered!) of children, the warmth of the hearth and all the happiness that humans are capable of in those periods when troubles, misery and sadness can be warded off, forgotten or hidden in cupboards. The only mechanical music available then was from the music box standing in a corner of the parlor. All other music had to be made. People lifted their voices in song, and created sounds with the aid of their lungs and their fingers. Composers were kept busy supplying music to fill all needs. For this world came most of the lieder of Schubert, Schumann and Brahms, most chamber music and four-hand piano music, and a good deal of the music written for two hands.
And for this world also came the music for this record. Here was music in which the whole family could participate ... the elders playing on "serious" instruments such as the piano, violin and cello, while the children took care of organized noise in the form of peeps, tweets, thumps and what have you. Sometimes the elders took all the parts, to the delectation of the children. Sometimes the children were advanced enough to manage everything, to the vast entertainment of doting grown-ups.
Thus, toy symphonies form a not inconsiderable literature. (The French called them Symphonies burlesques, or Foires des enfants [Children's Fairs]; the Germans called them Kindersymphonien, Children's symphonies.) Their popularity made them a lucrative business for publishers, who sold not only the music but the toy instruments as well. Toy symphonies go back quite a bit in time. Both Carl Philipp Emanuel Bach and Michael Haydn experimented with the idea, and it now seems to be pretty conclusively proven that "The Toy Symphony by Haydn" was actually written by Leopold Mozart. An inspiration for writing this kind of music came, in the 18th century, from the existence of a world famous toy industry in the mountains near Salzburg ... not far from Berchtesgaden (which, ironically later, became infamous as the eyrie of Adolf Hitler). During the long winter months the peasants, confined much of the time to their huts, manufactured all manner of musical toys ... bird calls, drums, rattles, whistles, toy trumpets and the like. The tradition of toy symphonies grew and flourished in the German-speaking countries throughout the 19th century and spread elsewhere, though never to the same extent.
One of my musical hobbies (I have many) has been the collection of Toy Symphonies. Those presented here are a culling from among the best of many. All these pieces were written lovingly, with imagination and with care and, given the built-in pitch limitations of the toys (cuckoos are rather single-minded), they contain delightful music. The parts for the toys are always written out very specifically. Nothing is ad libitum or left to chance. The players are expected to follow all the rhythms and markings with scrupulous attention and the works only really sound well when played with the same care with which they were written.
The first time I conducted a toy symphony was for a gala benefit a few years ago in Newport, the famous summer gathering place of old-time American wealth. The concert took place in the hundred-room "cottage" of the Vanderbilts, The Breakers. The toys, tea trays and glass bowls were manned (or rather, womaned) by pillars of Newport dowagerdom. These formidable ladies took their work very seriously and were a most conscientious orchestra. At the concert they covered themselves with glory (and made only a minimum of wrong entrances). Other toy performances which I have led, numbering among the performers some well-known musicians, have sometimes been on a less high artistic level due to the fact that some of the professional players seemed to have had more difficulty counting correctly than my Newport dowagers!
In Newport there was, however, one major disaster. Before the first rehearsal a tour of the grand homes was made for the purpose of auditioning glass bowls, in order to find one which had the proper pitch and timbre. The lady entrusted with the very important glass-bowl part, while an excellent musician, had not yet mastered the technique of managing the bass-drum stick which was to make the bowl ring forth in all its glory. In one of the grandest homes, she swung her drum stick with a trifle too much vigor and shattered into a thousand sparkling splinters a very large, very expensive and very precious crystal bowl ... thereby almost putting an end to toy symphonies in Newport. (Raymond Lewenthal)
Pieces:
Toy Symphony (Kindersymphonie) in C, for piano, two violins & cello with nightingale, cuckoo, toy trumpet, drum, ratchet, bell tree, glass bell & tea tray - composed by Carl Reinecke
Adagio & Finale from the Toy Symphony, for piano, violin & cello with cuckoo, nightingale, fairy bells, sleighbells, triangle, toy trumpet, drum, bass drum & cymbals - composed by Franklin Taylor
Kitchen Symphony, Op. 445, for piano with trumpet, funnel trumpet, wine glass, bottle, saucepan, fire irons, milk jug & tin covers - composed by Henri Kling
Three Bacchanales, Op. 53, for piano with tambourine & triangle - composed by Daniel Steibelt
Toy Symphony (Kindersymphonie) in C, Op. 169, for piano, violin & cello with quail, cuckoo, nightingale, triangle, toy trumpet & drum - composed by Cornelius Gurlitt
Ouverture Burlesque, for piano and violin with three mirlitons, triangle, toy trumpet, drum, ratchet and whistle - composed by Etienne-Nicolas Mehul
Performers:
Raymond Lewenthal - conductor, piano
Nathan Ross - violin
Marshall Sosson - violin (tracks 1-4, Side 1)
Eleanor Aller - cello
Malcolm McNab - trumpets
Tom Raney (including solo tambourine), Hubert Anderson, Larry Bunker, Richie Lepore, Wally Snow, George Sponhaltz - toy instruments and percussion
Tracklisting:
Side 1
1. Toy Symphony (Kindersymphonie) in C: I. Allegro un poco maestoso {5:38}
2. Toy Symphony (Kindersymphonie) in C: II. Andantino {5:44}
3. Toy Symphony (Kindersymphonie) in C: III. Moderato {1:42}
4. Toy Symphony (Kindersymphonie) in C: IV. Steeple Chase (Molto vivace) {1:42}
5. Adagio from the Toy Symphony {5:17}
6. Finale from the Toy Symphony {5:49}
Side 2
1. Kitchen Symphony, Op. 445 {5:49}
2. Three Bacchanales, Op. 53 {4:21}
3. Toy Symphony (Kindersymphonie) in C, Op. 169: I. Allegro con fuoco {4:28}
4. Toy Symphony (Kindersymphonie) in C, Op. 169: II. Scherzo (Poco vivace) {3:11}
5. Toy Symphony (Kindersymphonie) in C, Op. 169: III. Rondo burlesco (Allegro, non troppo) {3:57}
6. Ouverture Burlesque {4:12}
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Friday, September 3, 2010
Old Music Box Waltz Melodies
Bornand Music Box Collection - Old Music Box Waltz Melodies
released on LP
This record celebrates the 10th anniversary of "OLD MUSIC BOX MELODIES" with 26 familiar, always popular, old and new world waltzes. It is recorded from two large fine Swiss cylinder music boxes and four of the various size disc music boxes, among them the "King of Music Boxes" the 27" disc Regina.
It was at the turn of the century, when Mr. Edison's phonograph, "The Talking Voice" made its appearance, that music boxes surrendered their place of honor in the parlor, to that sensational invention. No industry ever suffered such a sudden demise. Rare old instruments, many representing the life's work of some Swiss, French or German craftsman, were suddenly old-fashioned, and relegated to the barn, attic or the cellar; there to remain for half a century or more if not demolished by children at play, destroyed by the elements, carted away by a junkman, or perhaps the more fortunate ones, rescued by searchers for antiques.
As time cures many ills, it began to right this injustice; one after another, music boxes came back - museums became interested - collections were started, and the services of Joseph Bornand, one of the last surviving factory trained experts in this field, were again in demand. It was a great joy for Mr. Bornand to open his music box shop again and he in turn taught his son Adrian V. all the secrets of this long lost art, a Bornand family business in Switzerland since 1825.
The Bornand music box collection containing many rare one of a kind instruments from all parts of the world, has long been recognized as one of the foremost in existence. To share this beauty and give the world this music which will probably never be produced in its original form again, the Bornands have recorded it for the modern record players. Thus the phonograph, which ended the music box business so long ago, is now the means of bringing this music into thousands of homes, which would otherwise not know of its existence or enjoy its nostalgic beauty. (from the liner notes)
Tracklisting:
Side A
1. Invitation to the Dance {0:54}
2. Artists Life Waltz {1:48}
3. Merry Widow/Treasure Waltz {2:09}
4. Faust Waltz {2:44}
5. Little Fisher Maiden/Skater's Waltz {1:42}
6. Estudiantina/Chimes of Normandy {3:15}
7. Tales of Vienna Woods {1:44}
8. Waves of the Blue Danube/Lagunes Waltz {2:51}
9. Espana Waltz {1:21}
Side B
1. Blue Danube Waltz {1:54}
2. Carnival of Venice {1:56}
3. On a Sunday Afternoon {3:21}
4. In the Good Old Summertime {1:41}
5. Edelweiss Glide {2:05}
6. When the Leaves Begin to Turn/After the Ball/Southern Roses {2:31}
7. Wine, Women & Song {2:45}
8. Mikado Waltz/Loin du Bal/Angot Waltz {2:54}
9. Romeo & Juliet Grand Waltz {1:37}
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Saturday, July 31, 2010
Barrel Organ in Hi-Fi

Street Organ "The Arab" - Barrel Organ in Hi-Fi
released on LP
*much thanks to KL from NYC for this LP
This glorious collection of noises introduces to America the sound of one of the most celebrated sights of The Netherlands, and the music of one of the great street organs of the world, the dazzling instrument known as "The Arab". In Amsterdam, this organ, and others like it, give enormous pleasure to young and old alike, and keep the air ringing with gusty music. In America, the nearest sort of music is that associated with merry-go-rounds and carousels, brisk, lively and bright, and with no pretensions whatever to anything but the merriest kind of entertainment.
And entertainment is what it provides, no matter where it is heard. In its own home, in Amsterdam, a special atmosphere adds to its peculiar allure. The city lies like a spider in a web of waterways, where the air is permeated with the briny tang of the North sea. The people are open-hearted and humorous and romantic, and treasure their old traditions, the old patrician houses dating from the seventeenth century, the narrow streets, the many bridges, the winding canals and that supremely indigenous construction, the street organ.
The organs are pushed by energetic men up and down the bridges, over the rounded cobblestones, around the city. On certain days each week, the barrel organ is to be found at the same spot, where its hardy band of followers pause to listen to its vast repertoire of waltzes, marches and hits of the day. The program played by The Arab here is a sampling of the music heard in the streets of Amsterdam, at any season of the year, in any weather. In the Amsterdam patois, a barrel organ in general is known as a pierement, and one resident has had this to say about the beloved instruments: "If the pierements were to go on strike for a week, refusing to leave their nightly abodes, and cease filling the city with their joyous sounds, to which countless numbers of people sing, dance and in any case smile, the residents of Amsterdam would flock together and start asking each other anxiously what was wrong. The Amsterdammer would find that this city had suddenly become still and grey, as it appears sometimes when the autumn mists descend upon it or it is enveloped in a curtain of rain, a melancholy city; which explains why the pierement plays such a vital role in its daily life: a large, heavy, gaudily-decorated cabinet, which produces a great deal of noise, albeit organized noise, pleasant noise, and noise with an irresistible rhythm and blood-stirring vigor."
Well, that is what an Amsterdammer thinks about organs such as The Arab, and to a large degree Americans will feel the same. It does produce noise, plenty of it, but so delightful and invigorating that it is irresistible. Any one of the selections is a positive delight in orchestration, but those the listener finds familiar will be even greater treats. Perhaps the simplest examples are the Mexican La Paloma and the little Oscar Straus waltz La Ronde de l'amour. Never has the dove flown to such extraordinary accompaniment, such whirrings and clashings and gaiety, nor has the round of love ever been completed with such boisterous high spirits.

As can be seen from the photograph, The Arab is an instrument richly designed to complement its remarkable sound with a remarkable sight. The Arab was built in Antwerp in 1926, by the well-known organ-builder Pierre Verbeeck. In 1948, The Arab was entirely renovated by its present owner, G. Perlee of Amsterdam, also a well-known organ-builder. The mechanism has seventy-five keys, eight of which are for the basses and trombones, ten for the accompaniments, twenty-two for the melody, and seventeen for the counter-melody. The remaining keys are for the percussion instruments (bass drum, side drum and cymbals), the conductor and the registers. The organ has three registers for the melody: violin (fairly strong, string-toned flutes), bourdon (a special barrel-organ register of bright-sounding, sustained flutes), and metallophone (steel plates). There are four registers for the counter-melody: celeste, cello, baritone and triphone. Is it any wonder, then, that The Arab is a mighty experience when in full voice?
Here, then, is The Arab in a program of remarkable virtuosity, demonstrating all its stirring capabilities. Whether in popular favorites such as Mister Sandman and Oh Baby Mine or rousing marches like the March of the Herald, it adds a voice in the sounds of the world that is absolutely unique and unclassifiable. As our merry-go-round organs maintain their special nostalgic appeal, so does The Arab. It conjures up a world where everything is bright and gay, where spirits and hearts are high, and where a childlike delight in the texture of sound can revel in such merry music. Follow along with The Arab a little way, then, and learn the pleasures of such a sunny world. (from the liner notes)
Tracklisting:
Side A
1. Va Pensiero {2:42}
2. Heut' Nacht wenn die Blumen traumen {2:40}
3. Blaze Away {2:22}
4. La plus belle valse d'amour {2:47}
5. Rose-Maria Polka/Anneliese/The Happy Wanderer {2:36}
Side B
1. La Ronde de l'amour {2:12}
2. Oh Baby Mine/Mister Sandman {2:42}
3. March of the Herald {2:17}
4. The Theme from Limelight/Vaya con Dios {2:35}
5. Mit Musik durch's Leben {2:19}
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Friday, July 16, 2010
A Tour Through the Music Box Arcade
A Tour Through the Music Box Arcade
released on LP
Rarely do we have the opportunity to hear the sounds of a past era. "A Tour Through the Music Box Arcade" and "Music of the Roaring Twenties" is an L.P. Hi-Fidelity recording of some of the world's most famous and intricate music boxes.
Old timers will recall many of the mechanical marvels recorded here but it will be a new auditory experience for the younger generation.
In 1938 Herb and Bob Horn began the acquisition of what is now the world's greatest collection of music boxes. These date back to 1790 and each has been painstakingly restored to original playing condition. Almost a hundred, of the three hundred in the collection, are described and played in delightful shows in their fabulous Sarasota, Florida, attraction.
In this specially constructed turn-of-the-century building is displayed one of the world's largest and finest restored collections of antique and classic automobiles. Music, settings, costumes and the displays create a charming "Gay Nineties" atmosphere.
Horn's Cars of Yesterday and Music Box Arcade was built in 1952 as a showplace for the extensive collections of these antique music boxes and early American automobiles.
The Horn brothers manufactured school equipment and farm machinery, and in these plants, they acquired the skills necessary for the exacting mechanics of restoration work. They learned every job in the business from precise machine work to inventing, designing and developing mechanical processes.
The love of early mechanical innovations was the motivating force that led Herb and Bob Horn into the hobbies of collecting and restoring the devices that were responsible for changing our way of living.
"A TOUR THROUGH THE MUSIC BOX ARCADE" traces the development of music boxes through the years right up to the hey-day of the phonograph.
"MUSIC OF THE ROARING TWENTIES" presents the machines that were used to attract and hold crowds of people. Some were called nickelodeons and were found in saloons, restaurants and hotel lobbies. Others supplied music for the skating rinks, theatres, circuses, political rallies, sporting events and other outdoor attractions of the period. (from the liner notes)
Tracklisting:
Side 1
1. A Tour Through the Music Box Arcade {25:13}
Side 2
1. Music of the Roaring Twenties {25:50}
(1) (2)
Labels:
audio documentary,
unique instruments,
vinyl records
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