Marine Mammal Fund - The Singing Humpbacks
released on cassette tape (yes, Oxford Dictionary, this is still a valid term)
This one is another thrift store discovery. It's been a while since beautiful humpback whale singing has been posted. The cover and the cassette itself says that this was part of the Voices of Nature Series. Due to lack of time, I could not attempt to find more info about this series as nothing was showing up in the first few pages of my favorite search engine.
The liner notes does provide a brief explanation of this series:
The VOICES OF NATURE SERIES is a production of the Marine Mammal Fund, a non-profit organization devoted to public education of ocean and marinelife issues. This series is designed to acquaint the listener with the diversity of life on our planet through the sounds that these life forms produce.
The meaning of animal sounds is little understood. No doubt some of the sounds they generate are used in communicating with others of their kind, while other sounds are used to warn of danger. Through all of the possible meanings, one thing is crystal clear: animal sounds as perceived by the human ear are fascinating and can be listened to for hours.
Tracklisting:
Side 1
1. Hawaiian Singers {7:43}
recorded by Kenneth C. Balcomb and Lon Brockelhurst off Lahaina, Maui, in March of 1979
2. Mexican Singers {6:47}
recorded by Kenneth C. Balcomb and Jorge Urban off Gordo Bank, Baja Mexico in March of 1988
Side 2
1. Humpbacks of Glacier Bay {4:49}
recorded by Dr. Lee Tepley at Glacier Bay, Alaska, no date provided
2. Caribbean Singers {9:40}
recorded by Dr. Thomas Poulter sometime during the 1960s
(1)
Olivier Messiaen - Et Exspecto Resurrectionem Mortuorum/Couleurs de la cite celeste
released on LP
I borrowed this LP a few years ago and ripped it then. The cover was beat up so I had to "borrow" the cover from somewhere on the net. The back cover has a little bit of handwriting on it. I do not know what the dates refer to (maybe when the music was recorded), but it was nice that someone wrote how to pronounce Olivier Messiaen's name.
Et Exspecto Resurrectionem Mortuorum ("And I await the Resurrection of the Dead")
On the back cover, the entirety of side 1 is referred to as the beginning and the first track on side 2 is referred to as the conclusion.
Conducted by Pierre Boulez.
Performed by Groupe Instrumental a Percussion de Strasbourg and Orchestre du Domaine Musical.
This work was commissioned by André Malraux. It was composed and orchestrated in 1964. Its instrumentation intends it for vast spaces: churches, cathedrals, and even performances in the open air and on mountain heights....
It is perhaps useful to recall that, at the time he was writing his score, the composer gladly surrounded himself with strong and simple pictures - of the stepped pyramids of Mexico, the temples and statues of Ancient Egypt, Romanesque and Gothic churches; that he re-read the texts of St. Thomas Aquinas on "The Resurrection" and "The World of the Resuscitated"; that he worked in the high Alps, facing those powerful landscapes that are his true homeland.
May 7, 1965, at eleven o'clock in the morning: the date of the first, private, performance at the Sainte-Chapelle. This was the ideal setting for the work, as much for the marriage of the colors of the instrumental timbres and sonorous intricacies with the resplendence of blues, reds, gold and purples, as for the alternating resonances due to the encircling of the stained-glass windows. A second performance took place under the direction of Serge Baudo in the Cathédral de Notre Dame de Chartres before a large throng on Sunday, June 20, 1965, at the end of High Mass. This was given in the presence of Monseigneur Michon (the Bishop of Chartres) and of Général Charles de Gaulle. The third performance was given in Paris, at a concert of the Domaine Musical, under the direction of Pierre Boulez, with the players who take part in the present recording. The orchestra comprises three ensembles: woodwind, brass, and metallic percussion instruments. (from the liner notes)
Woodwind: 2 piccolos, 3 flutes, 3 oboes, 1 cor anglais, 1 E-flat clarinet, 3 clarinets, 1 bass clarinet, 3 bassoons, 1 contrabassoon
Brass: 1 trumpet in D, 3 trumpets, 6 horns in F, 3 trombones, 1 bass trombone, 1 tuba, 1 bass saxhorn in B flat
Metallic Percussion: 3 sets of tuned cowbells, tubular bells, 6 gongs, 3 tam-tams
Couleurs de la cité céleste
Conducted by Pierre Boulez. Performers: Yvonne Loriod - piano ; Guy Deplus - first clarinet ; André Fournier - second clarinet ; Gaston Derytere - third clarinet ; Georges Van Gucat - xylophone ; Claude Ricou - xylorimba ; Jean Batigne - marimba ; Pierre Thibaud - trumpet in D ; René Allain - first trombone ; Jean-Paul Finkbeiner -tubular bells
These "inner colors" spring from five quotations from the Apocalypse:
1. "And there was a rainbow round about the throne." (Revelations IV: 3)
2. "And the seven angels had seven trumpets." (Revelations VIII: 6)
3. "And to the star was given the key to the bottomless pit." (Revelations IX: 1)
4. "And the light of the Holy City was like a jasper stone, clear as crystal." (Revelations XXI: 11) 5. "And the foundations of the wall of the city were garnished with all manner of precious stones: jasper, sapphire, chalcedony, emerald, sardonyx, sardius, chrysolite, beryl, topaz, chrysoprasus, jacinth, amethyst." (Revelations XXI: 19, 20)
The form of the piece depends entirely on colors. The themes, melodic or rhythmic, the complexes of sounds and timbres evolve like colors. In their perpetually renewed variations can be found (by analogy) colors that are warm and cold, complementary colors that influence their neighbors, shading down to white, or toned down by black. These transformations can be compared to the superimposition of plays enacted on several stages, the simultaneous unfolding of several different stories.
Plainsong Alleluias, Greek and Hindu rhythms, permutations of note values, the birdsong of different countries: all these accumulated materials are placed at the service of color and of the combinations of sounds that assume and call out for it.
The sound-colors, in their turn, are a symbol of the Celestial City and of Him who dwells there. Above all time, above all place, in a light without light, in a night without night.... That which the Apocalypse, still more terrifying in its humility than in its visions of glory, describes only in a blaze of colors.... To the song of two New Zealand birds (the Tui-Bird and the Bell-Bird) is opposed "the Abyss," with its pedal-notes for the trombones and the resonance of tam-tams. To the cries of the Brazilian Araponga is opposed "the colored ecstasy" of pedal points: sard red - red flecked with blue - orange, gold, milky-white - emerald green, amethyst violet - purple violet and blue violet... The work ending no differently from the way it began, but turning on itself like a rosewindow of flamboyant and invisible colors.
Couleurs de la cité céleste was composed in 1963. First performed on October 17, 1964, at the Donaueschingen Festival, under the direction of Pierre Boulez, the work was repeated on December 11, 1964, in Brussels (at the Reconnaissance des Musiques Modernes Festival), then in Paris on December 16, 1964, at a concert of the Domaine Musical, again under the direction of Pierre Boulez. In all these performances, Yvonne Loriod played the solo piano part. (from the liner notes by Olivier Messiaen)
Tracklisting:
Side 1
1. Et Exspecto Resurrectionem Mortuorum: I. Des profondeurs de l'abîme, je crie vers toi, Seigneur: Seigneur, écoute ma voix! ("Out of the depths have I cried unto thee, O Lord: Lord, hear my voice.") (Psalm 130: 1, 2) {3:39}
2. Et Exspecto Resurrectionem Mortuorum: II. Le Christ, ressuscite des morts, ne meurt plus; la mort n'a plus sur lui d'empire ("Christ being raised from the dead dieth no more; death hath no more dominion over him.") (St. Paul's Epistle to the Romans VI: 9) {5:21}
3. Et Exspecto Resurrectionem Mortuorum: III. L'Heure vient où les morts entendront la voix du Fils de Dieu ("The hour is coming when the dead shall hear the voice of the Son of God.") (St. John V: 25) {4:50}
4. Et Exspecto Resurrectionem Mortuorum: IV. Ils ressusciteront, glorieux, avec un nom nouveau dans le concert joyeux des étoiles et les acclamations des fils du ciel ("They shall be raised in glory, with a new name, when the morning stars sing together, and all the sons of God shout for joy.") (St. Paul's First Epistle to the Corinthians XV: 43; The Revelations of St. John II: 17; Job XXXVIII: 7) {8:41}
Side 2
1. Et Exspecto Resurrectionem Mortuorum: V. Et j'entendis la voix d'une foule immense... ("And I heard the voice of a great multitude.") (The Revelation of St John XIX: 6) {6:37}
2. Coleurs de la cite celeste {16:44}
(1)
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}
(1)
Moondog - Moondog: The Viking of 6th Avenue
There was a compilation of Moondog tracks with the same title that was released about several years ago. This one featured in the post is the companion CD to a Moondog biography, Moondog: The Viking of 6th Avenue written by Robert Scotto. I thought that as a biography it is very good. It is well-researched. It offers insight into who Moondog was (yes, he was formally trained in music), the unfortunate situation of his blindness that he had to deal with, how he almost became famous early in his career, why his life went into a different direction (i.e. why he lived in poverty and had to go out on the street to obtain income), his habits and lifestyle, and how he eventually became respected and accepted. I would certainly recommend this book for anyone interested in Moondog and/or interesting artists. Did I mention it comes with a CD of Moondog's music?
I think a lot of the tracks may or may not be familiar to you all, but this one does have some previously unreleased material including performances with Steve Reich, Philip Glass (who wrote the preface in the book), and Jon Gibson. Of course, there is a lot more of Moondog out there if one knows where to look.
Tracklisting:
1. Caribea {1:32}
Performer/Composer: Moondog
2. To a Sea Horse {1:44}
Performer/Composer: Moondog
3. Trees Against the Sky {0:51}
Performer/Composer: Moondog
4. Oo Debut {1:09}
Performer/Composer: Moondog
5. Autumn {2:08}
Performer/Composer: Moondog
6. Moondog Monologue {8:24}
Performer/Composer: Moondog
7. Moondog's Theme {1:54}
Performer/Composer: Moondog
8. Trimbas in Quarters {1:48}
Performer/Composer: Moondog
9. I Came Into This World Alone {1:19}
Performers: Moondog, Steve Reich, Philip Glass, Jon Gibson
Composer: Moondog
10. Be a Hobo {1:22}
Performers: Moondog, Steve Reich, Philip Glass, Jon Gibson
Composer: Moondog
11. Why Spend the Dark Night With You {1:40}
Performers: Moondog, Steve Reich, Philip Glass, Jon Gibson
Composer: Moondog
12. All is Loneliness {1:38}
Performers: Moondog, Steve Reich, Philip Glass, Jon Gibson
Composer: Moondog
13. Organ Rounds {2:05}
Performer/Composer: Moondog
14. Canon in F Major, Book I {0:44}
Performer: Paul Jordan
Composer: Moondog
15. Canon in B Flat Major, Book III {1:37}
Performer: Paul Jordan
Composer: Moondog
16. Canon in B Flat Major, Book I {0:43}
Performer: Paul Jordan
Composer: Moondog
17. Canon in B Flat Major, Book II {0:29}
Performer: Paul Jordan
Composer: Moondog
18. Canon in G Sharp Minor, Book I {0:44}
Performer: Paul Jordan
Composer: Moondog
19. Canon in C Sharp Minor, Book II {1:33}
Performer: Paul Jordan
Composer: Moondog
20. 5/4 Snakebite Rattle {3:41}
Performer: Stefan Lakatos
Composer: Moondog
21. Trimbas and Woodblock in 5/2 {1:26}
Performer: Stefan Lakatos
Composer: Moondog
22. When I am Deep in Sleep {2:18}
Performer: Stefan Lakatos
Composer: Moondog
23. Rabbit Hop {2:26}
Performer/Composer: Moondog
24. Dog Trot {2:25}
Performer/Composer: Moondog
25. Bird's Lament {2:01}
Performer/Composer: Moondog
26. Viking 1 {2:56}
Performer/Composer: Moondog
27. Heimdall Fanfare {3:07}
Performer/Composer: Moondog
28. Intro and Overtone Continuum {2:22}
Performer/Composer: Moondog
(1)
Professor Liang Tsai-Ping and His Group - China's Instrumental Heritage
released on LP
The CHENG, of the silk group, is similar to a zither. It has sixteen strings stretched over sixteen frets on an oblong wooden sound box. It is said to have originated in the Ch'in dynasty (221-206 B.C.), and therefore it is sometimes called the ch'in cheng. Apparently the earliest form of the instrument, in the Ch'in and Han dynasties, had twelve strings. Later, the thirteenth to sixteenth strings were added. The strings were originally silk, but brass ones have also been used since the late Ming and early Ch'ing dynasties (about 1650). The cheng was introduced into Japan in its thirteen-stringed form and called koto. The Korean and Vietnamese also imported the cheng from China. Recently, the instrument has been vigorously revived by Professor Liang Tsai-Ping, who was born in Kaoyang, Hopei, in 1911, and a promising period for the instrument is beginning.
The HSIAO, the vertical flute, of the bamboo group, is a bamboo pipe, originally dark or light brown in color, about 22 inches long. It has five holes along the upper side and one along the under side.
The SHENG, of the gourd group, could be called a "mouth pipe-organ." It is distinguished among Chinese instruments by its unique harmonic feature. Along the brim of its gourd base or body there are irregular vertical bamboo pipes. It is played by sucking in the breath at the mouth of each pipe, which leads out of the base or body, very much like the spout of a teapot. The Northern type of Sheng has seventeen pipes and the Southern thirteen. The pipes all have reeds.
The HSUN (sometimes, HSUIN), of the clay group, is an ocarina, one of the most ancient instruments in China. It is made of baked clay and ornamented with designs, clouds, etc. It has six holes, one at the apex to blow through, three in front, and two in back. When it is played, it is held firmly in both hands.
The NAN-HU, the Southern fiddle or violin, of the silk group, is a very popular instrument in China today. Introduced into China proper from neighboring Mongolia, probably in the Yuan dynasty (1280-1368), it has a hollow cylindrical body, one end of which is covered with snake skin while the other is kept open. The body is attached to a long arm over which two strings are stretched. The bow is moved between the strings. (from the liner notes)
Tracklisting:
Side 1
1. P'ing sha lo yen [Wild Geese Alighting on the Sandy Shore] {3:20}
North China folk song of the 17th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa
2. Lao sen sao tien [Old Monk Sweeping the Buddhist Temple] {1:57}
North China (Shantung) folk song of the 14th century; sheng played by Liang Ming-Yueh
3. Teng lou [Ascending to the Top of a Tower] {2:25}
North China (Hopei) folk song of the 18th century; cheng played by Liang Min-Shih (Miriam Liang)
4. Pai niao chao feng [Hundred Birds Courting the Phoenix] {2:17}
North China (Honan) folk song of the 17th century; cheng played by Prof. Liang Tsai-Ping, nan-hu played by Lin Pei
5. Yang-kuan san tieh [The Farewell] {2:47}
North China (Shensi) folk song of the 8th century; hsun played by Liang Ming-Yueh
6. Tsu-yu hsing [Freedom March] {4:35}
composed by Prof. Liang Tsai-Ping; cheng played by Miriam Liang
7. Chin shang hua [Flowers on Brocade] {2:23}
North China (Hopei) folk song of the 16th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa
Side 2
1. I ku-jen [Remembering an Old, Old Friend] {2:23}
composed by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping
2. Shu-hua ch'u [Relieving My Heart] {2:57}
composed by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping, sheng played by Miriam Liang
3. Han ya hsi sui [Winter Ravens Sporting Over the Water] {2:54}
North China (Shensi) folk song of the 10th century; cheng played by Prof. Liang Tsai-Ping, hsiao played by Wong Chen-Hwa
4. Ch'un chiang hua yueh yeh [The Spring River in the Flowery Moonlight] {11:17}
North China (Shensi) folk song of the 7th century; arranged by Prof. Liang Tsai-Ping; cheng played by Prof. Liang Tsai-Ping, sheng played by Liang Ming-Yueh, hsiao played by Wong Chen-Hwa, nan-hu played by Lin Pei
(1) or (1)
Nitoy Gonzales and His Manila Rondalla - Tinikling!: Folk Dances of the Philippines
released on LP
With the long-awaited independence of the Philippines in 1946, at the close of World War II, the culture of a nation comprised of more than 7,000 islands underwent a remarkable renaissance.
Long forgotten native dance patterns, songs, rhythms and painting and a revived interest in making ceramics all came to the fore in the most exciting decade the Philippines has ever known.
In this beautifully-recorded album produced in the renowned Mico Studios in Manila, Capitol is privileged to offer a top-drawer collection of pop music designed for dancing. All but two of the ten tracks are by Nitoy Gonzales' melodic rondalla orchestra.
A rondalla group is comprised of plucked instruments including the banduria, octavina, laud, bajo and guitar. The banduria is the most important. Shaped like an old English zither, the banduria has six pairs of double strings tuned in fourths from F-sharp to G. It is played with a plectrum. The laud is similar to the banduria except that it has a longer neck, a wider body and a lower pitch. Shaped like a small guitar, the octavina has a mellow tone quality and is tuned like the laud from F-sharp to G, an octave lower than the banduria. The Philippine guitar of the rondalla is a blend of the native kudyapi and the Spanish guitar. Its five strings are tuned E-A-D-G-B. The bajo is a four-stringed bass, tuned E-A-D-G, and played by plucking.
The second group of Philippine instruments are those of the Muslim Filipinos who live in the southern islands and still preserve their traditional culture. Basically, the instruments are an assortment of gongs made of brass. The gongs usually have turned-in rims and a protruding center knob which is struck with a bare stick or a stick with a rubber covered end. The major instrument is the kulintang, which is a set of eight graduated gongs, horizontally mounted on a wooden frame. This is a gong-melody instrument, somewhat like a gong xylophone. The gandingan consists of two pairs of large gongs with narrow rims, suspended vertically from a rack. Other gongs are called agong and babandil. The basic drum is the dabekan, which is played in an upright position and which has an animal hide covering held by rattan strips.
By far the most famous of the purely Filipino dances is the Tinikling, named after the long-legged "tikling" bird of the rice paddies. One or more couples dance, with superb skill and timing, between two rapidly clapped bamboo poles - a fascinating dance to watch (or try, if one has the courage). The world-famous Bayanihan troupe of Manila, which toured the U.S.A. so successfully in late 1959, invariably programs the exciting Tinikling dance as a colorful finale.
The musical conductor of the Bayanihan company, moreover, is the same excellent musician from Manila who conducts the rondalla unit presented in this album. Nitoy Gonzales is, indeed, the most popular musician in all the Philippines, with as many as eight records frequently in the Islands' "Top Ten Favorites." (from the liner notes)
A little over a year ago, I posted an instructional album that gave instructions on how to perform the Tinikling dance if you're interested in learning more about Tinikling. This album is all-instrumental despite references to singing and lyrics in the liner notes about the individual songs.
Tracklisting:
Side One
1. Polka Tayabas {2:42}
2. Ti Liday {2:55}
3. Biniganbigat {3:28}
4. Pantomina Part I {2:30}
5. Pantomina Part II {2:13}
Side Two
1. Basulto {1:48}
2. Kandingan {3:07}
3. Sua Sua {2:44}
4. Los Bailes de Ayer Part I {2:58}
5. Los Bailes de Ayer Part II {3:44}
(1)
National Geographic Society - Guide to Bird Sounds
released in 1983 on 4 10" flexidisc records (Eva-Tone Soundsheets)
Just as we delight to hear the familiar voice of a friend, our pleasure in hearing an unseen bird increases when we recognize its song. We listen and learn that a Mockingbird is establishing its territory nearby, that Tundra Swans are passing overhead, that the Summer Tanagers have returned from their southern winter. Songs and calls betray the location of shy or nocturnal species that we might otherwise miss, and confirm the identity of a bird seen only fleetingly. And for a few look-alikes, voice is our only means for positive identification in the field.
These recordings include the sounds of 179 species - not always the most beautiful sounds, nor those most often heard, but the sounds that are most helpful in finding and identifying elusive or confusing species.
Birds sing primarily to announce that a territory is claimed and a mate sought. That is why we hear more singing in the nesting season than at other times of the year. In most cases, only the male sings.
But the pleasant, melodious sounds we call "songs" are only one form of bird language. At any season we can hear the brief, simple calls used by both males and females to maintain contact and to convey alarm, distress, and feeding information. Often it is a call, rather than a song, that identifies a species. The adult American Crow and Fish Crow are virtually identical in appearance. Observers distinguish them in the field by their different calls. You will hear these and other distinctive sounds on these records.
You will also hear some very unmusical "songs" - the hooting of owls, the grating cries of terns, the clapping and clicking of rails. And you will hear some signals that are not made by voice at all, like the dramatic wing drumming of the Ruffed Grouse.
Time spent at home in becoming familiar with the bird sounds on these records will be well rewarded in the field. Expert birders find that they depend on voice as much as plumage in identifying birds. The variety of bird sounds is impressive - and perhaps daunting. Learn a few at a time, beginning with species you often see and hear.
You may find it easier to remember a song in words that imitate its sounds and cadence. Most listeners agree, for example, that the American Robin's varied phrases sound like cheerily cheerio cheerup. You will find many such verbalizations in the National Geographic Society's Field Guide to the Birds of North America. (from the liner notes)
Tracklisting:
Record 1
Side A
1. Western Grebe, Tundra Swan, Trumpeter Swan, Canada Goose {2:40}
2. King Rail, Clapper Rail, Virginia Rail, Sora, Yellow Rail, Black Rail {2:32}
3. Semipalmated Plover, Common Ringed Plover, Black-bellied Plover, Lesser Golden-Plover, Greater Golden-Plover, Greater Yellowlegs, Lesser Yellowlegs {2:52}
4. Wilson's Phalarope, Red-necked Phalarope, Short-billed Dowitcher, Long-billed Dowitcher, Ruddy Turnstone, Black Turnstone {2:33}
Side B
1. Sanderling, Dunlin, Semipalmated Sandpiper, Least Sandpiper, Temminck's Stint, Baird's Sandpiper, Pectoral Sandpiper {2:15}
2. Arctic Tern, Common Tern, Forster's Tern, Roseate Tern, Royal Tern, Caspian Tern {2:28}
3. Red-shouldered Hawk, Broad-winged Hawk, Red-winged Hawk {1:22}
4. Ruffed Grouse, Spruce Grouse, Blue Grouse, Montezuma Quail, Scaled Quail, Gambel's Quail, California Quail, Mountain Quail {4:08}
Record 2
Side A
1. Black-billed Cuckoo, Yellow-billed Cuckoo, Mangrove Cuckoo {1:27}
2. Long-eared Owl, Great Horned Owl, Barred Owl, Great Gray Owl, Spotted Owl, Eastern Screech-Owl, Western Screech-Owl, Whiskered Screech-Owl, Flammulated Owl {4:15}
3. Elf Owl, Ferruginous Pygmy-Owl, Northern Pygmy-Owl, Northern Saw-whet Owl, Boreal Owl {1:52}
4. Chuck-will's-widow, Whip-poor-will, Buff-collared Nightjar, Common Poorwill, Common Pauraque, Common Nighthawk, Antillean Nighthawk, Lesser Nighthawk {3:01}
Side B
1. Broad-billed Hummingbird, White-eared Hummingbird, Black-chinned Hummingbird, Anna's Hummingbird, Broad-tailed Hummingbird, Allen's Hummingbird {2:26}
2. Downy Woodpecker, Hairy Woodpecker, Ladder-backed Woodpecker, Nuttail's Woodpecker {1:58}
3. Cassin's Kingbird, Couch's Kingbird, Tropical Kingbird {1:31}
4. Great Crested flycatcher, Brown-crested Flycatcher, Ash-throated Flycatcher, Dusky-capped Flycatcher, Eastern Wood-Pewee, Western Wood-Pewee, Gray Flycatcher, Dusky Flycatcher, Hammond's Flycatcher {4:46}
Record 3
Side A
1. Least Flycatcher, Acadian Flycatcher, Willow Flycatcher, Alder Flycatcher, Yellow-bellied Flycatcher, Western Flycatcher, Northern Beardless-Tyrannulet {3:56}
2. Scrub Jay, Gray-breasted Jay, American Crow, Fish Crow, Mexican Crow, Chihuahuan Raven, Common Raven {2:49}
3. Black-capped Chickadee, Carolina Chickadee, Chestnut-backed Chickadee, Boreal Chickadee, Siberian Tit, White-breasted Nuthatch, Red-breasted Nuthatch, Pygmy Nuthatch, Brown-headed Nuthatch {4:13}
Side B
1. Carolina Wren, Marsh Wren, Sedge Wren, Canyon Wren {1:35}
2. Arctic Warbler, Blue-gray Gnatcatcher, Black-tailed Gnatcatcher {1:36}
3. Wood Thrush, Veery, Gray-cheeked Thrush, Swainson's Thrush, Hermit Thrush, American Robin {3:12}
4. Northern Mockingbird, Brown Thrasher, Curve-billed Thrasher, Bendire's Thrasher, California Thrasher, Crissal Thrasher, Water Pipit, Sprague's Pipit {4:13}
Record 4
Side A
1. Black-capped Vireo, White-eyed Vireo, Bell's Vireo, Hutton's Vireo, Gray Vireo, Solitary Vireo, Red-eyed Vireo, Philadelphia Vireo, Warbling Vireo {4:59}
2. Bachman's Warbler, Mourning Warbler, Connecticut Warbler, Kentucky Warbler, Louisiana Waterthrush, Northern Waterthrush {3:17}
3. Brown Towhee, Abert's Towhee, Grasshopper Sparrow, Baird's Sparrow {2:35}
Side B
1. Bachman's Sparrow, Botteri's Sparrow, Cassin's Sparrow, Chestnut-collared Longspur, McCown's Longspur, Smith's Longspur, Lapland Longspur {3:36}
2. Eastern Meadowlark, Western Meadowlark, Red-winged Blackbird, Tricolored Blackbird {2:04}
3. Scott's Oriole, Orchard Oriole, Hooded Oriole, Scarlet Tanager, Summer Tanager, Hepatic Tanager {2:56}
4. Red Crossbill, Common Redpoll, Purple Finch, Cassin's Finch, House Finch {2:03}
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Keiko Matsuo and Her Ensemble - 18th Century Traditional Music of Japan
released on LP
The secular music as it exists today originated in the 16th to 18th century. It is fresh and lively, strongly rhythmical, and is played chiefly on the samisen and koto. It includes operatic music, instrumental chamber music, and vocal music. Within the field of operatic music (Katarimono) the Japanese distinguish between a great number of types according to subject-matter, social standards, etc. For instance, Ithyu-busi is an aristocratic type which, in a way, may be compared (socially) to the French opera of Lully; whereas Gidayu is "music for the merchant," i.e., a popular opera or operetta, rather noisy and full of cheap effects. The chamber music (frequently instrumental) and vocal combined) is the most interesting field of Japanese music. A favored form, which dates back to the 18th century, is the Jiuta. It consists of an opening Song (s), an instrumental piece (I), and a final song (S). Sometimes the scheme is broadened to a rondo-like arrangement: S I S I S. Another form of special interest is the Danmono. These are melodic variations on a theme of 7 or 8 measures, for the koto alone. Another type of 18th-century chamber music is the Sankyoku, performed on the samisen, koto, and shakuhachi. Kumi are pieces for voice and koto.
Japanese music, like Chinese, is practically always in duple time. However. the phrases are frequently of irregular length (five or seven measures), in contrast to the more strictly "regular" scheme of Chinese music. The rhythms provided by the drums are in those peculiar arrangements also found in Hindu, Javanese, Arabic music which, for the European ear, obscure the fundamental time and beat.
...
The most important instrument of Japanese art-music is the koto, the Japanese variety of the Chinese ch'in. Other instruments directly taken over from China are the sho (Chinese sheng), the biwa (Chinese pip'a). More strictly indigenous instruments are the samisen, a guitar used by street singers and geishas; the hichiriki, an oboe (not a flute) with a characteristic metal disk encircling the mouthpiece; the kokyu, similar in shape to the samisen, but bowed; and the shakuhachi, a long flute of ancient origin which calls for an especially difficult technique of blowing. (from the liner notes)
This LP is an all-instrumental chamber music (or Sankyoku) album consisting mainly of great koto playing. I found this one sitting in the bins of a locally operated thrift store.
This post is dedicated to the people in Japan. My thoughts are with them.
Tracklisting:
Side 1
1. Rokudan No Shirabe {3:53}
2. Chidori No Kyoku {3:53}
3. Midare {3:30}
4. Aki No Kotonoha {2:22}
5. Yugao {3:27}
6. Shochikubai {2:48}
Side 2
1. Haru No Kyoku {3:02}
2. Miyama Jishi {3:08}
3. Yae Goromo {2:46}
4. Akikaze No Kyoku {2:12}
5. Iso-Chidori {2:22}
6. Godan Ginuta {2:25}
7. Yachiyo Jishi {3:15}
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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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Sounds of Nature - Sounds of the Jungle
cassette released in 1991
This tape is a recording of "the concert of the jungle" featuring lions, monkeys, elephants, leopards, frogs, birds, etc. Hardly any information was included on this release which seems to be the case of a lot of these older nature sounds cassettes and CDs I've been finding for the past few years so I can't tell exactly what species is being heard. Also, as is the case with most of the nature sounds releases, this one is intended to be played as a background for relaxation or to provide background ambiance. Thanks to tapes like this, I can listen to the beautiful sounds of the jungle from the comfort of my home as opposed to actually being in a real jungle environment where it is likely far from being a safe place to relax.
Tracklisting:
Side 1
1. Sounds of the Jungle side 1 {28:54}
Side 2
1. Sounds of the Jungle side 2 {28:09}
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NorthSound - Loon Talk
released on cassette in 1992
Contains recordings of the loon's haunting and beautiful calls including wails, yodels, tremolos, and hoots. All of the loons' calls on the album were recorded in their natural environment somewhere in the Canadian wilderness.
From the liner notes:
THE TREMOLO
This is the loons' all-purpose call which can signal annoyance, worry, or greeting. Mated pairs use a tremolo duet when disturbance threatens their young. This duet is also used in early spring to reinforce pair bonding and advertise territorial rights.
Trivia: The tremolo is the only call loons can give while in flight.
THE WAIL
Often termed the "night call," the wail is considered the most primitive of loon sounds. It is also the first call attempted by loon chicks. Oliver Austin described the loon wail as "one of the loveliest sounds in nature," and it's the favorite among most loon listeners. The wail is frequently used in night chorusing and in answering the tremolo of loons flying overhead.
Trivia: This loon call is known to elicit the howls of wolves and coyotes.
THE YODEL
Sigurd Olson described the yodel as "the weirdest and wildest of calls ... beautiful and thrilling." Issued only by the male, the message of the yodel is territorial. When an intruding loon approaches another loon's territory, yodels are used as verbal attack. During confrontations, male loons may engage in "counter-singing" while the territorial female supports her mate with wails and tremolos.
Trivia: Even after the battle for turf is over, a resident male will often yodel for an hour or more.
THE HOOT
This one-note call sounds just like it reads if you go softly on the "t". A location call that lets the mate or chicks know the sender's whereabouts, the hoot is used mainly between family members. It may serve an "I'm OK, are you OK?" function. Trivia: While it is frequently used, the hoot is not often heard, because it is a quiet, intimate call.
Tracklisting:
Side 1
1. Loon Talk side 1 {26:02}
Side 2
1. Loon Talk side 2 {28:40}
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Tod Machover - Light/Soft Morning, City!
released on LP in 1984
Light (composed in 1979)
Performed by members of the Ensemble InterContemporain with two computer-generated tapes
Conducted by Peter Eotvos.
Computer parts realized at IRCAM, Paris.
Soft Morning, City! (composed in 1980)
Performed by Jane Manning - soprano and Barry Guy - double bass
Computer parts realized at IRCAM, Paris.
Text from Finnegans Wake.
Light and Soft Morning, City! form a natural pair among my compositions. Both were completed within the space of one year, deal with similar compositional pre-occupations, and employ related uses of technology in music; together they are the culminating points of my work to that date.
Among the similarities between them, the presence of computer-generated sound is perhaps the most obvious. My real introduction to computer music (other than some preparatory studies at Juilliard, MIT, and Stanford University) came when I arrived at IRCAM, Paris, in the Fall of 1978. It was an exciting time there; a new technology, that of real-time digital synthesis, was just being perfected, thanks to Giuseppe di Giugno, an Italian physicist who had been invited to the institute by Luciano Berio. His machines, at that time the 4A and 4C (now superseded by the 4X!), for the first time gave composers the possibility of hearing their music immediately and of including gestural control and performance nuance. By a series of lucky accidents I became intimately involved with these machines at an early stage and was able to appreciate the beauty and power that they represented. When IRCAM commissioned me to write a piece for the Ensemble InterContemporain later that year, I decided to employ both the 4A and 4C machines in combination with a large instrumental ensemble.
The piece that resulted was Light, which was premiered at the Metz Festival in November 1979, and given its Paris premiere later that month in IRCAM's Espace de Projection. The performers were those who appear on this recording. (Tod Machover)
Tracklisting:
Side 1
1. Light {29:10}
Side 2
1. Soft Morning, City! {23:15}
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Brian Ferneyhough - The Arditti Quartet Edition
CD released in 1989
Arditti Quartet:
Irvine Arditti - violin
David Alberman - violin
Levine Andrade - viola
Rohan de Saram - cello
One of the most important and fascinating personalities of today's music, Brian Ferneyhough is also one of the most difficult to define. His earliest compositions go back to 1968. In 1974 he suddenly came into full view at the Royan Festival, then directed by Harry Halbreich. Prior to that time the complexity of his thought and the extreme difficulty of his works seemed to prevent their wider circulation. From 1974 onwards, this situation was completely reversed and, owing to a greater number of performances, not least by the Arditti String Quartet, who enjoy a close relationship with the composer, Brian Ferneyhough's stature now places him among the most recognized and influential composers of his time.
Brian Ferneyhough defines himself as a "sceptical mystic" in search of "the positive nature of doubt". He creates a fundamentally original music, replete with polyphonic potentials and rich harmonic textures. It often demonstrates a powerful architectonic concern and an acute sense of the large form. His strictly organised writing confronts the material's specific and pragmatic interconnections with the performer's "creative neurosis". This is a music of discontinuous sound and discourse, with complex combinations and hierarchies. As the information content is so extraordinarily dense it can at times be very demanding for the listener, but the aesthetics and dialectics reflect an art of extreme rigour and genuine grandeur.
...
The Arditti Quartet was formed in 1974, when its original players Irvine Arditti and Levine Andrade were studying at the Royal Academy of Music, London. They were joined in 1977 by Rohan de Saran and in 1986 by David Alberman.
They specialise in the performance of contemporary music and music of this century comprising a vast and varied selection of works in all styles, and consider it important to work with the composers whose music they play. Part of their objective is to encourage young composers to write for their medium. In the course of one season they have performed as many as 50 new pieces. The 1988/1989 season included new works from Georges Aperghis, Philippe Boesmans, Sylvano Bussotti, John Cage, Elliott Carter, Pascal Dusapin, Brian Ferneyhough, Sofia Gubadulina, Maurizio Kagel, Helmut Lachenmann, Conlon Nancarrow, Luigi Nono, Krysztof Penderecki, Henri Pousseur, Wolfgang Rihm and Hans-Jurgen von Bose.
Since 1982 they have been resident string tutors in the Darmstadt Summer Academy for New Music, as well as having given master classes worldwide.
This record is part of a series played by the Arditti Quartet for Disques Montaigne. This series consists of the classics of the XXth century to include music of the 2nd Viennese School and Bartok as well as a selection of recent repertoire. (Patrick Szersnovicz; translated by A. A. Hebbachi)
Tracklisting:
1. Deuxieme Quatuor a cordes {9:57}
2. Adagissimo pour quatuor a cordes {1:54}
3. Troisieme Quatuor a cordes: 1er mvt {9:51}
4. Troiseme Quatuor a cordes: 2e mvt {7:00}
5. Sonates pour quatuor a cordes {41:03}
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Paul Hindemith and Bernhard Heiden - Sonatas for Horn & Piano
LP released in 1981
Performers:
Caswell Neal - horn
Zita Carno - piano
The two Sonatas by Paul Hindemith represented on this album represent in full flower the consolidation of his musical language achieved in his celebrated opera, Mathis der Maler, but in the context of the duo sonata for wind instruments. The 1939 Horn Sonata is contemporaneous with the powerful Violin Concerto, while the 1943 piece, composed after he had settled down to a professorship at Yale, having emigrated from a Nazi-dominated Middle-Europe, has as its major companionpiece the brilliant and popular Symphonic Metamorphoses on Themes of Carl Maria von Weber.
In commentary supplied for this recording, horn soloist, Caswell Neal, after noting the love that Hindemith shared for the horn in common with his great Austro-German predecessors, Mozart, Weber, Schumann, Brahms, and Bruckner, gives the following description of the music:
"The first movement leads off with a bold statement for horn, tempered subsequently by more tender and reflective material. A sudden return to the bravura manner ensues with repeated horn calls. A second assertive theme is introduced, this time with interchange between horn and piano. All this occurs within the first page of the horn part. The movement as a whole continues in this vein of contrast between the brisk and heroic, the tender and reflective. A lively coda recalls the opening and leads to the final bars on a note of high resolution. The slow movement opens with a broad, peaceful statement for piano, then taken up by the horn, which then turns the tables with a bolder version; but calm returns quickly and we soon hear thematic elements in inverted form. The music then works toward a brassy climax, then returns to its tranquil opening theme, this time inverted. Abrupt interjections by horn and piano serve as introduction to the spirited finale, with the opening theme proper following in quick succession. A slow section, introduced via a variant of the slow movement main theme, leads to the most haunting and memorable part of the music. The piano brings us back to the fast music, and after dialogue development, the slow episode is recalled, this time leading to a climactic statement for horn. The main elements of the exposition are recalled, then the second movement main theme variant dovetailed with the third movement opening theme, which then becomes inverted to provide a broad and virile ending to the whole Sonata."
While the 1939 Sonata is scored for horn in F, the 1943 work was written originally for the alto horn in E-flat, more commonly associated with the marching band. However, the composer indicated the French horn and/or saxophone as perfectly acceptable alternates, and Mr. Neal in his notes emphasizes his own preference for the more agile and expressive French horn, and accordingly has used it on this album. Herewith his comments on the music:
"The opening is a quiet and noble statement for horn with piano accompaniment - short and full of feeling. The brief movement as a whole constitutes a kind of prelude - a Hindemithian glimpse of ethereal music. Brisk and busy interplay between horn and piano in varying meters characterizes the second movement. The dynamic range of the horn is fully exploited, but the end is quiet.
Following the slow-fast-slow-fast sequence of the baroque sonata da chiesa, Hindemith gives us here another brief slow movement, this time in dialogue format between piano and horn.
Finally, before the last movement proper, Hindemith requests a reading of a spoken dialogue of his own composition, which states in quietly eloquent fashion something of the composer's own perspective on music past, present, and future:
THE POSTHORN (DIALOGUE)
Horn Player:
'Is not the sounding of a horn to our busy souls (even as the scent of blossoms wilted long ago, or the discolored folds of musty tapestry, or crumbling leaves of ancient yellowed tomes) like a sonorous visit from those ages which counted speed by straining horses' gallop, and not by lightning prisoned up in cables; and when to live and learn they ranged the countryside, not just the closely printed pages? The cornucopia's gift calls forth in us a pallid yearning, melancholy longing.'
Pianist:
'The old is good not just because it's past, nor is the new supreme because we live with it, and never yet a man felt greater joy than he could bear or truly comprehend. Your task it is, amid confusion, rush, and noise to grasp the lasting, calm, and meaningful, and finding it anew, to hold and treasure it.'
The piano leads off the last movement with a virtuoso evocation of the modern hustle-bustle. Then the horn makes its quiet statement with a song in slow tempo. They build together, but the horn insists on the stately and the ordered, holding out against the onslaughts of piano to the very end."
---
Bernhard Heiden, born in Frankfurt, Germany, was a pupil of Hindemith who finished his studies in the U.S. He has been teaching composition at Indiana University since 1946 and has composed prolifically for all manner of instruments. His 1939 Horn Sonata is of distinctly lighter character as compared to the ordered and thoughtful complexities of his mentor.
Caswell Neal describes the music as follows:
"The 2/2 Moderato opening movement has the horn leading off with a quiet statement, with subordinate themes following over a moody piano accompaniment. The piano is indeed most skillfully used to announce changes in direction throughout the entire movement. When the original theme is heard again, it is at half the original tempo; but the tempo primo resumes speedily. Contrasting episodes of calm and energy carry the movement to another half-tempo statement of the main theme, which serves via crescendo to end it. The second movement contrasts a quiet minuetto section with a vivace pitting horn against piano. The minuetto section returns in intensified vein. A highly effective obbligato episode for horn leads to a brief and tranquil coda. The finale is a lively 2/2 rondo of almost quickstep character with horn and piano vying vigorously, one against the other. The concluding pages of the movement are marked by the expected return of the main theme, but this time in triplets."
In recent correspondence to Caswell Neal, the composer, Heiden, had some interesting comments on the SONATA:
"The Horn Sonata was written for Theodore Seder who was the first horn player with the Detroit Symphony in 1939. He later became the Librarian of the Fleisher Collection of the Public Library in Philadelphia.
I was not aware at the time that I composed the work that Hindemith was also writing a Sonata for Horn that same year. Nor, I am sure, was he aware of my piece. I do remember showing it to him 1 or 2 years later. The last movement contains some Greek dance rhythms which I heard while dining in a Detroit Greek restaurant! This was long before we ever came to Greece where we now have spent many summers and 2 sabbaticals." (from the liner notes)
Tracklisting:
Side 1
1. Paul Hindemith - Sonata for Horn & Piano: Massig bewegt {5:22}
Hindemith's Sonata for Horn & Piano composed in 1939
2. Paul Hindemith - Sonata for Horn & Piano: Ruhig bewegt {3:56}
3. Paul Hindemith - Sonata for Horn & Piano: Lebhaft {6:45}
Side 2
1. Bernhard Heiden - Sonata for Horn & Piano: Moderato {4:35}
Heiden's Sonata for Horn & Piano composed in 1939
2. Bernhard Heiden - Sonata for Horn & Piano: Tempo di minuetto {4:14}
3. Bernhard Heiden - Sonata for Horn & Piano: Rondo: Allegretto {3:02}
4. Paul Hindemith - Sonata for Alto Horn in E-Flat (or Horn) & Piano: Ruhig bewegt {1:49}
Hindemith's Sonata for Alto Horn in E-Flat (or Horn) & Piano composed in 1943
5. Paul Hindemith - Sonata for Alto Horn in E-Flat (or Horn) & Piano: Lebhaft {3:25}
6. Paul Hindemith - Sonata for Alto Horn in E-Flat (or Horn) & Piano: Sehr langsam {1:46}
7. Paul Hindemith - Sonata for Alto Horn in E-Flat (or Horn) & Piano: The Posthorn (Dialogue); Lebhaft {3:38}
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I'm going to be visiting some people on Xmas day. I'll probably be back in a couple of days.I would like to wish everyone out there best wishes for the holidays and seasons greetings.
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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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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