African Tribal Dances

various artists compilation - African Tribal Dances

released on LP

From the liner notes:

"The greatest free show on earth!" These words were used by an overseas visitor to Africa to describe the African Tribal Dances heard on this hi-fi recording made on the Witwatersrand. Every Sunday morning various mines take the turn in presenting to the public, visitors in particular, a cross section of the dancing of the tribes employed on the mines. These people come from many parts of Africa and use the dances as a form of exercise and a means of retaining their identity. The excitement is intense and it can certainly be described as the greatest free show on earth!

Technical notes:

These recordings were made with the camera in mind; the movement of sound in the recording follows the most likely camera requirements. To achieve this effect 6 Neumann microphones were suspended over the dance arena resulting in the best possible pick-up of the action taking place. This is a complete transistorised recording, a special 6 channel mixer being used in conjunction with a Nagra transistorised recording. The recordings were made by Alan D. Boyle and the recording lasting approximately 36 minutes was edited from 3 hours of tape to bring you the best sounds of each group participating.

Tracklisting:

Side 1

1.  Mzingili - untitled  {4:02}

2.  Nguni - untitled  {2:36}

3.  Bapedi - untitled  {1:59}

4.  Bakwenas (Bechuanas) - untitled  {1:59}

5.  Whistling Bechuanas (Balete) - untitled  {3:01}

6.  Hlubi - untitled  {3:09}

7.  Batswa (Shangaan from Nyambane) - untitled  {3:03}

Side 2

1.  Mchopi - untitled  {3:04}

2.  Amakway (Shangaan Choir) - untitled  {1:49}

3.  Amakwenkwe (Xhosa) - untitled  {2:04}

4.  Pondo - untitled  {2:27}

5.  Baca (Gumboot Dancers) - untitled  {3:11}

6.  Bacas Umzimkulu - untitled  {2:51}

7.  Barotse - untitled  {2:31}

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Steel Rails Under Thundering Skys

Brad Miller - Steel Rails Under Thundering Skys

released on cassette in 1972

Recordings of steam engine trains with thunderstorms in the background (or were the storms mixed in?). Brad Miller first started out recording trains. Those recordings were on several albums including this one. He later founded The Mystic Moods Orchestra and Mobile Fidelity Sound Labs, both of which he is most remembered for.

There are supposed to be separate tracks, but they were mixed together. Separating them would have been disruptive so I made the decision to rip each side as one track. It sounds coherent which I'm sure was the intention. The trains recorded are mentioned below in the tracklisting.

Tracklisting:

Side 1

1.  Steel Rails Under Thundering Skys side 1  {20:08}
No. 1702 2-8-0 Reader Railroad, Reader, Arkansas ; No. 11 2-6-2 Reader Railroad, Reader, Arkansas ; No. 8444 4-8-4 Union Pacific Railroad, Denver, Colorado ; No. 34 2-8-2 Sierra Railroad, Jamestown, California

Side 2

1.  Steel Rails Under Thundering Skys side 2  {21:01}
No. 759 2-8-4 Steamtown Foundation, Bellows Falls, Vermont (ex-Nickle Plate) ; No. 28 2-8-0 Sierra Railroad, Jamestown, California ; No. 2102 4-8-4 Steam Tours inc. (ex-Reading Railroad), Roncevert, West Virginia ; No. 1246 4-6-2 Steamtown Foundation, Bellows Falls, Vermont (ex-Canadian Pacific) ; No. 1278 4-6-2 Steamtown Foundation, Bellows Falls, Vermont (ex-Canadian Pacific) ; No. 4449 4-8-4 Amerian Freedom Train Foundation (ex-Southern Pacific GS4) ; No. 36 2-8-2 White Mountain Scenic Railway, McNary, Arizona (ex-Sierra Railroad)

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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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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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Hovhaness/Husa/Straight-Split Release (CRI 221) ca. 1968

Notes excerpted from the back cover (enclosed)

The Hovhaness TRIPTYCH was commissioned by the Columbia Broadcasting System,each number being composed for a specific Christmas of Easter broadcast.

I:The AVE MARIA is scored for two oboes,two horns,harp and women's chorus.It is  a four-part polyphonic motet in ancient modal scales.

II:The CHRISTMAS ODE is scored for piano, strings and celesta.It opens with a brief introduction for solo violin over plucked sounds and bell-like celesta in a polymodal idiom. this leads to a soprano solo, interspersed with lively but chorale like string interludes and modal counterpoint creating a mood which the composer describes as "celestial joyousness".

III:The EASTER CANTATA,dedicated to Oliver Daniel, was composed in three days for the Easter broadcast of 1953. Since Mozart's Jubilate was on the same program, Hovhaness was required to use the same instrumentation for his work: two oboes,two horns and strings (plus, at his request,a harp and celesta). The composer writes:
  "The EASTER CANTATA  begins with a tiny prelude in fantastic sounds,tuning the ear to the musci of lamentation.A mournful air and chorus follow, depicting the sorrow of the Crucifiction.A soprano aria changes the mood to ecstasy as it contemplates the Resurrection.Canonic textures of harp,celesta and pizzicato strings prepare the entrance of the soprano solo over drones, and continue their polyphony throughout the movement.A lively double canon in the orchestra accompanies a joyous  polymodal canon sung by the chorus,forming the climax of the Resurrection movement".

Karel Husa:MOSAIQUES FOR ORCHESTRA
Professor Husa describes the review of Hans Hauptmann as a completely unclued statement of his own meditations while composing the music:

"It reaches spectacular orchestral display with rather macabre tone effects.Rhythm and instrumentation combine into an organic conglomeration of rising bizarre grandiose sounds.The entire work appears menacing and diabolic.It is a clarion call of defense,an admonition to meet chaos with the unification of coordinated powers.In the end we have a quiet,soothing release of unrestrained form."

Willard Straight;DEVELOPMENT FOR ORCHESTRA was commissioned by Mrs.Courtney Campbell for the 1961 Washington Square Concert series and premiered that year undr the direction of Russell Stanger.It was composed for the limited instrumentation available (flute,oboe,two horns,two trumpets,percussion and strings) and has no programmatic implications beyond the musical one suggested by the title.It is a series of free and contrasting variations not of a melodic line but of the harmonic structure of the opening measures.
-Carter Harman
 
Side One:

a1-3:Alan Hovhaness:TriptychMembers of the Bamberg Symphony 
Singers:Benita Valente,soprano
Alferdo Antonini,conductor

I- Ave Maria 2:44
 
II- Christmas Ode 6:28
 
III- Easter Cantata 13:12 


Side Two:
 
b1: Karel Husa: Mosaiques For Orchestra (1961) 16:03 
Stockholm Radio Symphony Orchestra
Conducted by the composer.  

b2:Willard Straight: Development For Orchestra (1961) 8:42
London Philharmonic Orchestra
Russell Stanger,conductor
 























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Accent on Steam Volume One

Arkay Enterprises - Accent on Steam Volume One

released on cassette in 1978

Cassette has recordings of train engines and train whistles from various places such as Ecuador, Argentina, South Africa, what was then Czechoslavakia, what was then West Germany, Canada, and the United States. Recordings of gate and bell mechanisms, cannon fire, chipmunks, and birds make brief appearances. In my modest collection of train sound recordings, this one may be my favorite.

Tracklisting:

Side 1

1.  Guayaquil & Quito Railway #44, 2-8-0  {2:36}

2.  On Board Guayaquil & Quito Railway #44, 2-8-0  {3:57}

3.  Argentine National Railways #1321, 2-10-2  {0:58}

4.  Argentine National Railways #3035, 4-6-2  {0:59}

5.  South African Railways, Double Headed Garratts  {2:56}

6.  South African Railways #3422, 4-8-4, Class 25NC  {2:05}

7.  South African Railways, 4-8-4, Class 25NC  {1:55}

8.  South African Railways, 4-8-2, Class 15AR  {2:59}

9.  South African Railways #3693, Class 24, 2-8-4  {1:40}

10. Denver & Rio Grande Narrow Gauge #484 and #498  {2:12}

Side 2

1.  Chessie Steam Special #2101, Orleans Road  {4:24}

2.  Chessie Steam Special #2101, Sandpatch Grade  {4:37}

3.  Czechoslovakian 2-10-0, Class 566  {3:41}

4.  Czechoslovakian 2-10-0, Class 556  {2:51}

5.  German 2-10-0, 3-cylinder, Class 043  {1:26}

6.  Canadian National #6218, 4-8-4  {1:46}

7.  Cass Scenic Railway, 4 Shays, 2-3-4-5  {3:31}

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The Runaround

Some of you may have experienced frustrating restrictions on the flow of the Rapidshare files:"File owners' public traffic exhausted" is how they put it.
Those new restrictions allow for only 1Gb outgoing traffic per day.
And recently RS limited the capacity of free accounts to 5Gb.

THE GOOD NEWS:
For the next month, until April 24, there are NO restrictions on Rapidshare traffic.
You are encouraged to grab whatever intrigues you during this open period..
It (RS availability) will return to "normal" after April 24,

Thanks to all the visitors who left comments of support and suggestions to a recent post regarding the current difficult times.

We appreciate it.

Master Musician of India

Ustad Ali Akbar Khan - Master Musician of India

released on LP in 1966

The title of Chandranandan alludes to the Hindi words "chandra" (moon) and "nandan" (son). Accordingly, it is evening music, and introspective rather than romantic. After the briefest possible alap the basic rhythmic pattern of sixteen beats (teental) is set by the tabla. This particular performance unfolds first in vilambit laya (slow rhythm), gaining momentum with the ensuing madhya laya (moderate rhythm), then breaking into drut laya (fast rhythm). An unusual feature here, beginning about three-quarters of an inch from the end of the side, is the yugal-bandi ("yugal", concert; "bandi", a sort of contest) or question-and-answer exchange in which the sarodist and tabla player "talk" to each other, the latter replying to the former in precisely the same "words", mutatis mutandis. Not once in the heat of this episode do the artists traduce the fundamental teental; the "questions" are exactly eight beats long and the "answers" begin on the ninth beat and end on the sixteenth. Nor does this fidelity to the rhythm waver in the ati-drut (very fast) peroration, which readers such an overwhelming climax that one of the invited guests at the recording session could not forebear from applause despite a strict injunction. The engineers could not edit out the spontaneous first moment of this reaction without doing violence to the recording., and so it is still there to be heard, at the very end of the side.
The word "Gauri" is a proper female name; the prototype was the wife of none less than Lord Shiva, the Hindu deity who was among other things god of the arts. The word "manjari" means flower petals.Gauri Manjari, then, one may take to be an artist's offering to his muse. Properly under these circumstances, it is not one of the thrice-familiar ragas. It is in fact one of the aprachalit ones - "unpopular" is the translation but in the sense that it is relatively new and known only to Ali Akbar Khan's audiences. Being without benefit of tabla, this recorded performance seems to be all alap. In truth it is a complete but compact ragini. There is no rhythmic pattern, but in the absence of beats there is a clearly defined pulse and a feeling of laya (which alludes to bar-lines; the teental units on the overside contain four layas each). When this pulse quickens, about one inch in on the side, we are in the jor, corresponding very roughly to what we would call the development section. Less than another inch later we are precipitated into the concluding jhala, which emphasizes overtones and Beethoven-like patterns of repeated notes and dazzling pyrotechnics all contained within the compass of the ragini as initially stated by the composer-performer.  (James Lyons from the liner notes)

Chandranandan and Gauri Manjari are both raginis (female). The playing time for Chandranandan is between 8 P.M. and 3 A.M. It has three expressions of human feelings (rasas); they are Karuna (pathos), Bhakti (devotion), and Sringara (love). In the beginning, the melody creates the pathetic emotion, and then leads to the expression of devotion. When the Bhakti or devotion is settled and established in the tune, then through a change of notes, but maintaining the same ragini, it takes us into the feeling of love. And that is Sringara. This Sringara rasa is not bound by the carnal desires. It is a love which is based above that; the love which comes through the pains of life and the devotion of life.
Gauri Manjari is composed of Bhakti (devotion), Karuna (pathos), and Vir rasa (the rasa of strength), mixed with very little Sringara. The time for this music is between 9 P.M. and 2 A.M. Gauri Manjari begins with a feeling of uneasiness of mind, and then, gradually, the rasas will bring the other feelings one by one, and end in the notes of happiness.
These two raginis took several years to compose. They are my original creations. I have taken the characteristics of many ragas and raginis and mixed them, and created a new color and character. This is the final shape and expression of the tunes.  (Ustad Ali Akbar Khan)

Tracklisting:

Side 1

1.  Raga Chandranandan  {21:28}
Ustad Ali Akbar Khan - sarod ; Pandit Mahapurush Misra - tabla ; Anila Sinha - tanpura

Side 2

1.  Raga Gauri Manjari  {19:07}
Ustad Ali Akbar Khan - sarod ; Anila Sinha - tanpura

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Paraguayan Harp, Vol. 2

Ed Lange and His Trio Andeno - Paraguayan Harp, Vol. 2

released on LP in 1977

I found this record at a thrift store. While finding really good records like this one between $1 and $2 at thrift stores and other similar places is great, one of the drawbacks is that volume 2 of something is there yet volume 1 or other volumes are missing. I searched in the same racks again twice trying to find the first volume of Paraguayan Harp. No luck. Perhaps someday I'll obtain volume 1. In the meantime, do enjoy Paraguayan Harp, Vol. 2 supremely produced and performed.

From the liner notes:

The Indian Harp of Paraguay was most probably introduced to South America by the Jesuit missionaries of the middle 1500's. These astute men studied the Guarani language (the language of the Tupi-Guarani Indians in and around Paraguay) and Christianized them in their native language, and taught them to sing and dance in celebration of the God of the Western European world. Most probably it was the medieval harp of Ireland that was carried to Paraguay. After many turbulent years, during which the missionaries were killed or run out of Paraguay, the musical instruments and European influence remained.

Until the turn of this last century, the harp was most probably an accompanying instrument, and differed in shape and tonal quality from the present one. As the harp gained popularity, it became more and more the focal point of conjuntos [groups], and began to attract the attention of prolific folk song composers. The Paraguayan harp of today is a highly sophisticated, incredibly fine-tempered instrument, and is still undergoing changes. It is distinctively Paraguayan, and yet has found popularity the world over. It is a diatonic instrument, and has 36 strings covering five octaves. It is played with the fingernails and callouses to achieve a wide range in tonal qualities. Although diatonic, much of the solo music of the harp is played in the relative minor key, and guitars sometimes add in missing notes to achieve otherwise impossible chords. The masters of the instrument have achieved a rapid dexterity that entrances audiences, who see hands flying all over the harp. This is a virtuoso's instrument, and to play it well requires either brutal attack of the instrument - or tender caressing of the strings. It is a harp played by men and yet... it sings to the Gods.

Tracklisting:

Side 1

1.  Pajaro Campana (The Bell Bird)  {4:16}

2.  El Condor Pasa  {3:56}

3.  Malambo  {4:03}

4.  Lamento Paraguayo (Paraguayan Lament)  {3:22}

5.  Rio Rebelde (Rebel River)  {2:45}

Side 2

1.  Mi Atarraya (My Fishing Net)  {3:06}

2.  El Tren (The Train)  {2:35}

3.  Zambita  {3:07}

4.  Torrealbara  {3:06}

5.  Caballito (Little Horse)  {2:30}

6.  La Calecita (Merry-Go-Round)  {1:52}

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Yet Another Message

This is yet another one of those "I haven't posted in a while" type of posts. Given what's been happening lately including blogs disappearing or quitting, I wonder if people no longer visit music blogs frequently. I have been noticing that in some other areas of the blogosphere, bloggers are posting sporadically and visitors hardly come to the blogs. It seems a lot of the people have migrated over to Twitter and Facebook. I have been considering reviving my Twitter account and possibly start posting shares over there. I still have a Facebook account, but I am using it less often. I don't feel it's safe for me to post there considering Facebook's stance on not valuing privacy. I also don't really like it much. I don't think I've ever felt more uncomfortable on the Internet when I was using Facebook.

Now to the main point of this post. A lot of my links have been dying lately. One of the main culprits is Mediafire. It's been using a bot to find and block access to what has been programmed in its system as copyrighted material that is available on iTunes and/or Amazon. Often, the bot does a poor job. It has blocked access to a lot of my files because it has mistaken the tracks posted for some different artists' tracks that seem to have similar names. I know that Mediafire is using the bot because of panic caused by what happened to Megaupload and threats from the MPAA (Motion Pictures Association of America). I won't be using it anymore. I'll always remember that it was once a great site to store files from the late 2000s to 2012.
Anyway I have read the numerous re-up requests in my past posts. I am having trouble finding time to do re-ups, but I am still trying to meet requests. Finding reliable file hosters is becoming more difficult. It may be a long while before I can have at least most of them back up. Patience is a virtue.
I did re-up several electronic music albums a few days ago. Check the "Updates" page.
I'll try to keep on putting more back up. They'll be in small batches. Keep checking the "Updates" page.

Micheline Coulombe Saint Marcoux-Musical Portrait (ca.1977)

 

Here is my second multi-disc installment in the Composers,Artists and Publishers Association of Canada's "Musical Portrait" series.

The first (three records) featured composers from Ontario.These three feature composers from Quebec, including work from one of the most highly respected and best-known of contemporary Canadian composers, Bruce Mather.
Also noteworthy is the inclusion of a complete work- "Atmospheres" by Nicole Rodrigue, and (excerpts from) some very good electronic works by Micheline Coulombe Saint-Marcoux,which hearken back to the sounds of the classic era of electronic music, and should definitely appeal to many of you.


Micheline Coulombe Saint-Marcoux- Musical Portrait (ca.1977)

side one:

a1-excerpts from Assemblages (4:31)
Christina Petrowska,piano

a2-String Quartet no.2, 3rd Movement (3:02)
Classiquue de Montreal(?)

side two:

b1- 3 excerpts from Zones (electronic music) (3:34)

b2- 3 excerpts from Trakadie (for percussion and tape) (4:21)
Guy LaChapelle,percussion

























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Nicole Rodrigue-Musical Portrait (ca.1977)

 


Nicole  Rodrigue-Musical Portrait 

side one:

a1:Atmospheres (beginning) (8:08)

side two:

b1:Atmospheres (conclusion) (2:06)

b2:4 Movements from Soufriere (5:53)



























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Bruce Mather-Musical Portrait (ca.1977)

                                                                                                                                      
Bruce Mather- CAPAC Musical Portrait

side one:

a1:excerpt from Madrigal V (5:10)

a2:excerpt from Symphonic Ode (3:14)

side two:
 
b1:excerpt from Sonata For Two Pianos (5:36)
Garth Beckett,Boyd MacDonald,pianos
 
b2:excerpt from Madrigal II (2:58)
Mary Morrison,Soprano
Patricia Rideout,Contralto
Ensemble of the Societe de Musique Contemporaine Du Quebec,
Serge Garant,conductor

 























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The Sound of New York City

The Sound of New York City

CD released in 2000

About a few weeks ago, I was doing some after-Christmas shopping in a store owned by a medium-sized national chain. A few relatives gave me some cash for Christmas so I was wanting to use it right away. I did find some LPs and CDs with this CD being among the finds. I spotted this CD in the clearance section where it was priced for only $2.

It is a recording of environmental sounds throughout New York City as one can tell from the title with most of the album recorded in Manhattan. This appears to be something that is intended for tourists to buy as a souvenir or for former residents of New York City who miss the place. Considering the release date there is an eerie feeling. One of the tracks was recorded at the World Trade Center. A year later, I'm sure you know what happened there.

This was recorded using some sort of technology called Sound All Around where it's supposed to give listeners the perception of 360 degrees of sound. There are not much details given about this technology. The CD was intended to be heard using headphones and indeed it sounds great on headphones. I feel like I'm in the city itself.

There is a website for the CD, but I'm not sure when it was last updated. The site says it's available in "selected gift shops around New York City". It's also supposed to be available on Amazon. As of this writing, the lowest price for a copy is the cheap price of $62.24. I wonder how much the gift shops are selling this for.

Tracklisting:

1.  The Sound of New York City Preview  {9:51}

2.  Chinatown  {7:20}
walking east on Canal St.

3.  SoHo  {4:41}
Saturday shopping on Broadway below Houston St.

4.  Subway  {6:59}
a ride on the 5 train from 14th St. to City Hall

5.  Downtown  {3:01}
afternoon in the financial district

6.  World Trade Center  {3:02}
5PM crowds back from work

7.  South Street Seaport  {6:09}
July 4th fireworks

8.   Midtown  {6:56}
the usual weekday shuffle

9.  Grand Central  {3:17}
6PM crowds going home

10.  Times Square  {7:16}
a long walk all around

11.  Fifth Avenue  {6:12}
from Rockefeller Center to Central Park

12.   Central Park  {5:36}
a long walk and a baseball game

13.  JFK Airport  {2:42}
international terminal

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French Music And French Musicians,Program 184-Therese Brenet

This series of records is from the late 1960's.The French Broadcasting System In North America present French Music And French Musicians.
These records are no doubt rare in that the individual programs (clocking in at  thirty minutes each) are divided between two different l.p. records (so thet the radio dj could make the smooth transition from part one to part two without having to break and turn over the record.)
These records are almost 50 years old, and so I imagine that finding the correct pairs to reproduce an entire show might be pretty difficult.

Another, more interesting feature is that the records contain in many cases broadcast premieres of compositions commisioned by the ORTF specially for these overseas broadcasts.
(This first post is one of these).
It seems quite possible to me that many of these contemporary pieces may not have ever subsequently received major label recordings, and might therefore be one-of-a-kind, unique items.

Each program begins with a spoken introduction-a brief biography of the composer and a short description of the work to be presented, with the principal soloists, orchestra and conductor named.
As the records have no covers and most are missing the typed paper insert, I might make errors in spelling the names of the musicians presenting these works.My apologies in advance.

Last year my father was lucky enough to find almost 100 of these l.p.'s and, as far as I know, all programs are complete. He's been sending me the modern music ones, and this is the first one I've decided to post.
Thanks, Beboppa Poppa!
 

The French Broadcasting System In North America-
French Music And French Musicians, Program 184.

Therese Brenet- Fragor, poème en six mouvements pour deux pianos et orchestre 1969 

a1: spoken introduction  (1:41)

a2: Fragor (beginning) (11:51)

b1: Fragor (conclusion) (15:02)

b2: end notes (0:28)

Commande de  (Commissioned By)  l’O.R.T.F.
Catherine Brilly,Anne-Marie Fontaine- Pianos
Strasbourg Orchestra,Directed by Roger Albert




















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Musical Portrait-David Grimes

Some selected records from the (first?) CAPAC Musical Portrait Series (ca.1977)
"A Fiftieth Anniversary Project".

Considering how many individual 7-inch records were released by the Composers,Authors and Publishers Association of Canada in numerous "Musical Portrait" series (dozens of records in each of at least 5 series in total), it is amazingly difficult to find information on this promotional endeavor, ostensibly intended to give the radio-listening public a broader knowledge of the state of contemporary Canadian music when it was created in 1977.

These "not for sale" 7-inch 33 1/3 rpm records contain music (presumably selected by the composers themselves) which was intended to showcase the variety of styles which each composer utilized.
Most of the records contain excerpts from longer works, though some also contain complete shorter works.
As each record totals only around 17 minutes, it is understandable that some composers would choose to have presented as broad a scope as possible from their entire oeuvre by selecting excerpts.
However, it does make the absolute value of each record hard to evaluate..
My conclusion is that they are useful as a sort of advertisement, as the excerpts are at least long enough to get a distinct sense of the style of the given works.

Finding the complete works to satisfy your interest may be difficult, however, as the chances are that the entire works can be found only in limited-edition CBC boxed sets dedicated to the individual composer, which are not easy to find nowadays.

In any case-I hope that you will find something of intrinsic value in these little artifacts, and maybe some new leads to follow in your search for overlooked or underexposed Canadian composers and their works.

My first offering includes works by 3 of the 4 founding members of the Canadian Electronic Ensemble (unfortunately,my copy of the record by the fourth member- Larry Lake, is missing from its sleeve. If it turns up I'll addend the post.)



 CAPAC Musical Portrait-David Grimes (QC-1289)

a1-excerpt from Increscents for violin and electronic instruments (4:50)
Morry Kernerman,violin
James Montgomery and David Grimes,synthesizers
 
a2-excerpt from Sotto Voce for voice and tape (3:03)
Marry Morrison-soprano

b1-excerpt from Walter for trombone and electronics (3:42)
David Grimes,trombone
James Montgomery,electronics
 
b2-excerpt from Legend (4:00)
Canadian Electronic Ensemble 

























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Musical Portrait-James Montgomery

CAPAC Musical Portrait-James Montgomery (QC-1290)
 
a1-excerpt from Relations for piano and tape (2:02)
Karen Kieser,piano 

a2-excerpt from White Fire for amplified brass quintet(1:50)
The Canadian Brass
 
a3-excerpt from Reconnaissance for amplified String Quartet (3:50) 
Vaghy String Quartet

b1-excerpt from Paris (4:34)
Canadian Electronic Ensemble 

b2-excerptr from October 4th, 1974 (3:07)
Canadian Electronic Ensemble 
 

 


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Musical Portrait-David Jaeger

 

CAPAC Musical Portrait-David Jaeger (QC-1288)
 
a1-excerpt from Fancye for organ and tape (6:47)
Derek Healy,organ
 
a2-excerpt from Quanza Duetto for 2 guitars and tape (1:50)
Robert Bauer and Douglas Virgin,Guitars
 
b1-excerpt from Whale Oil (4:35)
Canadian Brass Ensemble
 
b2-excerpt from Star Song (3:15)
Canadian Electronic Ensemble




























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Solitudes Volume Three

Dan Gibson - Solitudes Volume Three

released on cassette in 1981

Here it is, the first post of the year. As someone helpfully wrote "thunder" on the cover of my copy, there are some sounds of thunder on side 1.

From the liner notes:

Side 1: "Among the Giant Trees of the Wild Pacific Coast" is a haven for natural sounds. Streams twist through this forest of Red Cedar, Western Hemlock, and Douglas Fir. Thunderstorms build and coat the moss laden ground. Along the river a Fox Sparrow and MacGillivray's Warbler sing, and as the delta appears, expanding into coastal waters, the peeps of the Black Oyster Catcher welcomes any explorer.

WILDLIFE SPECIES FEATURED

Fox Sparrow, Pacific Tree Frogs, Varied Thrush, White-crowned Sparrow, MacGillivray's Warbler, Winter Wren, Red-shafted Flicker, Glaucous-winged Gulls, Bald Eagle (adult and young), Black Oystercatcher

Side 2: "Spring Morning on the Prairies" contrasts the peaceful image of swaying grain in the easy breeze to the cacophony of migrating and resident wildlife that frequent the scattered sloughs. The natural energy of the Vesper Sparrow, Killdeer, American Coot, and the Marbled Godwit characterize these active sloughs.

WILDLIFE SPECIES FEATURED

Western Meadowlark, Vesper Sparrow, Canada Geese, Killdeer, Yellow-headed Blackbird, American Coot, Long-billed Marsh Wren, Red-winged Blackbird, Savannah Sparrow, Marbled Godwit, Mallard Ducks

Tracklisting:

Side 1

1.  Among the Giant Trees of the Wild Pacific Coast  {29:07}

Side 2

1.  Spring Morning on the Prairies  {28:54}

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P.S. All of the Solitudes posts should be available. I am still missing volumes nine, eleven and twelve.

It's After the End of the World,Don't You Know That Yet?

Well.
Of course we're all still here.
Even this blog is still here, and that's saying a mouthful these days.

I'd just like to say Happy Holidays to you who visit here occasionally or often- I'm sure some of you have noticed the slowing-down of the postings here.
The current state of the sphere we call blog is not good.
Perhaps the new year holds promise of better things to come.
Let's hope so.

On behalf of myself and grey calx-
Best Wishes to our members and visitors for the New Year.

Peace and Good Will.

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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Message from the Management: Xmas/Holiday Not the End of the World After All edition

It looks like it's been a while since I last posted here.

* It was one year and five days ago that DrEyescope joined the Closet as a contributor marking his first anniversary here. I would like to thank DrEyescope for all of the great music that he has shared during his time here so far from Lukas Foss to Fat and for turning me on to some stuff that was once new to my ears. May this blog be blessed with his generosity for some time to come.
To be honest, DrEyescope is the main reason why this blog is still active. A little over a year ago, I had given some thought to shutting this blog down or at least no longer updating the blog. I believed that the time for this blog had come. At the time, I was still in school and held a full-time job where I attempted to start my career. There was very little free time to devote to the blog. Along came DrEyescope to give this place some new life and energy.

* I am trying to find time to re-up a bunch of dead links. Sadly dead links are abundant here as of late. Hopefully, there will be some of those links active again sometime during the next few days. Keep watching the "Updates about Old Posts" page.

* I may have a new post (or two) sometime before Christmas. I hope everyone has recovered from the non-event of the end of the world.

Merry Holidays and/or Happy Christmas!

Fat-Plays For You (1988 Amok)

Fat Plays For You (1988 Amok)

First words: If you liked Massacre's Killing Time, you will undoubtedly like Fat Plays For You.
 
Notes excerpted from the back cover (enclosed):
 
Looking back on our lives from a certain age,most of us recall our youthful enthusiasms with rueful amusement.How many grand designs have we lefr the the wayside,how many wild geese have we chased? Taking experience as a guide, we might be inclined to agree with Bishop Warburton's description of enthusiasm as "That temper of mind on which the imagination has got the better of judgement".
(...)
The relationship between the individual and the society is at the base of the ceremonies which we more commonly associate with foarmality. Indeed the very first ceremony most of us attend is designed to introduce us to knochling down to hard work or study when the first spurt of enthusiastic energy is over. Nothing could be mor natural. Youth is a process of sorting out preferences until one arrives at the elements of a permanent identity.
The trouble with some people is that they never do decide which enthusiasms to cultivate and which to eliminate. In the end their interests die like flowers in a garden full of weeds.

The ceremony makes an interesting illustration. The audience streams into the hall in all manner of dress,from mink stoles to tattered jeans.But when the orchestra takes the stage,the players are dressed uniformly-the men in black coats,the women in black evening gowns.The conductor walks to the posium in white tie and tails.On closer examination, children are in children's clothes and in that style of dress , they contain a pattern particular to them.Nearly all are next to water in some form or another - oceans,rivers,lakes.On a personal level,they can be very unpleasant companions.
(...)
At the same time, it is impossible to argue with Ralph Waldo Emerson's statement that "every great and commanding moment int the annals of the world is the triumph of some enthusiasm." So enthusiasm is a neutral source of energy that can be applied for good or ill.In some cases, it may seem to be applied for neither.Much of the energy it creates is simply dissipated to no particular end.However, the distance and difficulties of weather continue to make it amount the most expensive in the world.
(...)

Note:The front cover is pilfered directly from an ESP-Disk by Charles Tyler.

Biographical information from correspondence with Jeff Noble:

Fat was a No-wave group formed in Montreal, which recorded 7 albums, though only 4 were released (Plays For You, Hit, Automat Hi-life and Magnetizer). They recorded Plays for You in Montreal in 1988, then moved to Barcelona and recorded the others during their 4 year stay in Europe, though Hit was recorded in NYC in 1989.  Most notably they spent just under a year in Morocco, where they rehearsed and recorded with a local group in the Souss Valley called Ahouad Mia - a father and son on ahouad (flute) and a father and son on bendir frame drums. They were also joined by Ben Lamouden -probably the best known rebab player in the country as well as other percussionists and singers.
 
Mr.Noble considers this later work to be the best music which Fat ever recorded, and he is currently working on the final mixing and mastering of this and the mastering of the other two unreleased records as well as the re-issue of the four previously released discs all in 2013.

I have also enclosed a magazine interview with Guitarist Eric Rosenzveig from just after the release of this album.

























Eric Rosenzveig:Guitar
Jeff Noble:Bass
Phil Giborski:Drums

Fat-Plays For You (1988 Amok)

Side One:

a1-Rhino (2:53)

a2-Space Cowboy (4:33)

a3-Nu-Pa-Yip (6:11)

a4-A Man Is His Dog (6:57)
 

Side Two:

b1-Crank (1:50)

b2-Simplicity (2:11)

b3-Lampshade Of Fear (3:18)

b4-Generic (5:00)

b5-ESP (5:31)

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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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