The Vintage Miss Riboet Orion and Ce Momo Latiff Music Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

Thanks to Matthew Isaac Cohen for noticing that I had mistaken Miss Riboet II for the real thing in my previous post.

 
 

 

 

 

MISS RIBOET (INDONESIA)

 

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

By the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pankgkur.

>Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

versi ke-3(version three)

kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942

 
kelompok Sandiwara Miss Riboet Orion dan Dardanella 1925 hingga Fasisme di Panggung Sandiwara jaman JEPANG 1942TEATER MODERN JATIM, PANGGUNG SANDIWARA HINGGA KE SANDIWARA DARDANELLA 
 

Sandiwara panggung tidak bisa lepas dari sejarh film di Hindia, selain wayang, Sandiwara panggung sangat di gemari disini. Bebarapa panggung tradisional hingga adaptasi dari eropha, India, China sampai ke hal Wayang. Tetapi kalangan Belanda lebih suka sandiwara panggung dari pada wayang. Memang sejarah wayang diciptakan untuk propaganda seorang raja seperti yang dikisahkan oleh cerita wayang, sehingga rakyat yakin raja mereka seperti tokoh wayang tersebut titisan dewa dan sangat memiliki kekuatan yang luar biasa.

Oranbg Belanda banyak yang main dalam sandiwara ini, termasuk juga kelompok sandiwara bangsa China yang lama di Hindia. Bebarapa sandiwara yang terkenal adalah Opera Srie Permata, komedi Stamboel, Miss Riboet Orion dan Dardanella.

Sandiwara panggung ini ceritanya beragam, mulai dari kisah HIndia dan orang Belanda totok, atau pun Indo, dan yang populer saat itu dari luar negeri. Sandiwara ini kerapkali diiringi oleh musik-musik, nyanyian dan tarian yang khas, terutama musik keroncong, sunda, melayu, hingga india dan Eropha. Yang nantinya mereka akan terjun dalam Film dan beberapa menjadi pembuat film/bisnis film.

Telah satu abad lebih masyarakat Jatim telah mengenal teater modern. Akan tetapi, masyarakat Jatim juga para kreator teater-nya gagal mempertahankan tradisi teater modern yang telah dibangun sejak tahun 1891 oleh August Maheiu dengan nama Komedi Stamboel dan kemudian dilanjutkan dengan Dardanella pada tahun 1926.
Dardanella semula bernama The Malay Opera yang diprakarsai oleh Willy Klimanoff, anak pemain sirkus terkemuka A. Klimanoff kelahiran Rusia. Willy Klimanoff hijrah ke Indonesia sepeninggalan ayahnya. Dengan penguasaan teknik akrobatik Willy Klimanoff mendapat pekerjaan di Komedi Stamboel, kemudian mengganti namanya dengan A. Pedro.
Dalam bentuk pertunjukan atau infra strukturnya, A. Pedro banyak melakukan perombakan secara revolusioner sebagaimana sistem pertunjukan yang telah terkonsep oleh Komedi Stamboel dalam tradisi lakon dan tonilnya. Pedro melakukan perombakan radikal tradisi komedi bangsawan pendahulunya. Jika dalam Komedi Stamboel diantara pergantian adegan diisi atau diselingi dengan tarian-tarian dan lelucon untuk kepentingan hiburan, maka A. Pedro menghilangkan nuansa-nuansa lelucon dan tarian. Dardanella lebih menfokuskan pada bentuk pertunjukan drama murni. Dardanella mementingkan esensi dramatik, kekuatan cerita dan permainan aktor-aktornya, meskipun selingan tarian tetap ada namun masih berada dalam satu keutuhan pementasan, dengan lain kata, tari-tarian menjadi bagian dari alur cerita dan adegan.
Pengaruh Dardanella terhadap perkembangan teater modern Indonesia sangat besar. Seiring dengan kemajuan dardanella banyak bermunculan teater-teater lain yang diprakarsai oleh bekas sri panggung dan anggota dardanella sendiri. Seperti Bolero, Orion yang didirikan Miss ribort, dan Tjahaya Timoer yang didirikan Andjar Asmara. Andjar Asmara sewaktu menjadi anggota Dardanella menjabat sebagai tangan kanan A. Pedro. Andjar Asmara juga melakukan perombakan dalam sistem managerial dan sistem modernisasi dalam teknik tata panggung. Bahkan dampak dari kemajuan Dardanella sampai ke Jakarta, dengan didirikannya “teater Maya” yang diketuai oleh Usmar Ismail pada tanggal 27 Mei 1944.

Munculnya teater-teater kecil tersebut sebagai antitesis dari keberhasilan Dardanella dan juga sebagai proses eksperimental terhadap tema dan bentuk pementasan yang konvensional.

TUNTUTAN SEJARAH

 
Komedi Stamboel dan Dardanella yang lahir di Jawa Timur yakni Surabaya dan Sidoarjo merupakan pelopor gerakan pementasan teater modern di Indonesia, bahkan secara tidak langsung memberikan dampak yang begitu besar terhadap teater di tanahair nantinya.Semangat modernitas yang dibangun oleh Dardanella terlihat dalam setiap pertunjukannnya telah memakai scrip atau naskah, pengadaan properti, kostum, make-up, juga melakukan pementasan yang utuh, artinya, teater Dardanella menghilangkan konvensi-konvensi lelucon dan tarian-tarian yang memberikan kesenangan lebih pada penonton. Dardanella melalui A. Pedro dan Andjar Asmara telah melakukan sistem manajerial pertunjukan secara profesional yang merupakan supra struktural dari suartu pertunjukan. Hal ini yang merupakan ciri dari teater modern dengan semangat realisme.Realisme yang dimaksud ialah melihat peristiwa sehari-hari yang dialami setiap saat (ilusi kenyataan), sebuah pementasan bukan bukanlah sekedar menyajikan cerita, tetapi ada pesonanya, yakni yang seakan-akan bersungguh-sungguh, suatu permainan yang menimbulkan rangsangan pikiran bahwa yang terjadi di panggung bisa pula terjadi pada penonton. Konsepsi estetika realisme yakni semangat impresionis. Tidak tidak menggubris lagi pesan-pesan sejarah, kitab suci, tetapi langsung memberikan kesan tentang persoalan-persoalan pokok-nya. Konsepsi realisme ingin menohok konsepsi romantisisme yang cenderung menjadikan kehidupan seperti mimpi. Dalam hal ini peentasan Dardanella tidak lagi menampilkan epos-ramayana yang merupakan model pementasan tradisional, akan tetapi Dardanella lebih banyak memainkan naskah-naskah yang sedang terjadi pada masyarakat sekitar. Misalnya dengan mementaskan naskah Nyai Dasima dan Kalibrantasi.Dardanella dengan demikian sadar akan posisi dan konteks sosial dalam masyarakatnya, Dardanella mengapresiasi material dan mengekspresikan kultur lokal dengan perspektif modern.Sedangkan pada dekade dewasa ini, kreator dan pekerja seni teater Jatim telah gagal mewarisi dan mempertahankan tradisi teater modern yang telah dibangun Komedi Stamboel dan Dardanella. Kegagalan pekerja teater Jatim lebih pada sikap kritis, mentalitas, spirit dan intelektualitas. Artinya, pekerja teater Jatim bersifat sebagai pekerja bukannya seseorang atau kelompok yang memiliki daya pikir kritis terhadap fenomena kultural, kepekaan terhadap konteks sosial dibelakang teks realitas.Dalam beberapa pertunjukan terakhir teater-teater Jatim di Surabaya, pekerja teater Jatim mengesampingkan problematik perspektif kritis massa. Pertunjukan teater Jatim hanya bersifat momentum, temporal dan gegabah mencermati fenomena sosialnya. Dalam hal ini, pekerja teater Jatim khusunya Surabaya tidak mempertimbangkan kebutuhan-kebutuhan mental masyarakatnya. Sebagaimana kita ketahui bahwa Surabaya merupakan kota ‘metropolis’ dimana kriminalitas, kekerasan, urban, ketimpangan sosial, tata kota, pendidikan, perdagangan dsb, adalah suatu problematik yang sering kali dijumpai. Dengan lain kata, pertunjukan-pertunjukan yang ditampilkan pekerja teater Jatim kurang kritis mengklarifikasi problematik. Eksperimentasi dan eksplorasi yang dilakukan para pekerja teater Jatim lebih pada bentuk belaka, tidak menyentuh esensi dan fenomena masyarakatnya atau dengan lain kata minimnya proses kontenplatif, bukannya bermewah-mewah dengan bentuk pertunjukan, baik secara infra stuktural maupun supra strukturalnya, namun minim ide dan gagasan serta gagal menyampaikan dan mengkomunikasikan kegelisahan kultural Jatimnya.

Fenomena yang tak kalah memalukan pekerja teater Jatim ialah, para kritikus teater Indonesia, seperti Jim Lim, Zaini KM, Umar Kayam, Putu Wijaya, Nano Riantiarno, Rendra, Afrizal Malna, Bagdi Sumanto, Hanindawan, Nursahid, Sapardi Djoko Damono, Gunawan moehammad dll dalam beberapa tulisan, pembabagan, referensi-referensi dan data tentang teater modern Indonesia, Surabaya dan Jatim pada umumnya tidak pernah dicatat keberadaannya. Entah karena secara kualitas teater Jatim tidas layak, atau memang di Jatim tidak ada kritikus teater yang berkualitas sehingga dapat mengangkat nama teater Jatim. Secara logika sederhana, seharusnya teater modern Indonesia maju dan terus berkembang di Jatim, dimana pewarisan tradisi teater modern pertama kali diletakkan, bukannya di Solo, Bandung, Yogyakarta dan Jakarta.
Mari kita pikirkan bersama-sama.

Sepenggal Kisah Miss Riboet Orion dan Dardanella

 

 

Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella. Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.
 

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

 

Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

 

Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.

 

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara. Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 58). Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

 

Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

 

Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

 

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

 

Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.

 

Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.

 

Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

the end @ copyright Dr Iwan suwandy 2011

The Malaysia Legend Singer Salamh Ismael(Salomah)

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

vintage Picture collections

Puan Sri Salmah binti Ismail or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian singer and film actress. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Saloma died on 25 April 1983 at Assunta Hospital, Petaling Jaya, Selangor, Malaysia. She was buried at Jalan Ampang Muslim Cemetery, Kuala Lumpur next to the grave of her husband

 

 I Love Saloma!

 

Saloma
 
Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer.
 She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee. Saloma atau nama sebenarnya ialah Salmah Ismail (22 Januari 1935 – 25 April 1983) dilahirkan di Pasir Panjang, Singapura. Beliau mula menyanyi pada usia tujuh tahun dan menjadi penyanyi profesional pada usia belasan tahun. Pada awalnya, beliau mengasah bakat bersama Orkes Fajar Murni pimpinan Yusof Osman
 

Biography

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60’s.

the end @ copyright Dr Iwan suwandy 2011

The Vintage china Music record Found in indonesia

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Vintage  China Music record found in Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

2.UNIDENTIFIED COLUMBIA RECORD(PLEASE NATIVE COLLECTORS HELP TO TRANSLATE AND  GIVE MORE INFO)

PAGODA V 3912a

 

tigersleeve.jpg

tiger_1048d.jpg

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

TIGER

I have just finding the Old Record with  peacock bird mark, but I connaot Identified please native collectors help me to translate.

4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
regal50002c.jpg

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
hmv24_12941label.jpg

hmv24_12941.jpg

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

My friend Bakelite found a old china roster record sing by Zhou,not all roster were peiping opera.

compare with my fried collection(Mr Bakelite) below

Zhou Xuan (周璇) – The flower on my chest (襟上一朵花)

Zhou Xuan – The flower on my chest

he bought this 78 rpm record in 2008 in the antique market of Chengdu, in China. This sweet jazzy stuff was performed in the early 40′s by famous Chinese actress and singer Zhou Xuan , who was one of the most popular artist in the last years of the pre-communist era in China. I like this mix of western instruments and a typical Chinese voice, a style which was especially popular in western-influenced Shanghai at that time.

Zhou Xuan

 
 

 

Zhou Xuan
Chinese name 周璇
Pinyin Zhōu Xuán (Mandarin)
Birth name Su Pu (蘇璞)
Origin China
Born August 1, 1918(1918-08-01) or 1920
Changzhou, Jiangsu, Republic of China
Died September 22, 1957(1957-09-22)
Shanghai, China
Occupation Singer, Actress
Genre(s) Shidaiqu, Mandopop
Instrument(s) Singing
Years active 1935-1953

Zhou Xuan (August 1, 1918(1918-08-01) or 1920 – September 22, 1957(1957-09-22)) was a popular Chinese singer and film actress. By the 1940s, she had become one of China’s seven great singing stars.[1] She is probably the most well-known of the seven, as she had a concurrent movie career until 1953.

 

 Biography

Zhou was born Su Pu (蘇璞), but was separated from her natural parents at a young age and raised by adoptive parents. She spent her entire life searching for her biological parents but her parentage was never established until after her death.[2]

According to later family research, a relative who was an opium addict took her at the age of 3 to another city and sold her to a family named Wang, who named her Wang Xiaohong. She was later adopted by a family named Zhou, changing her name to Zhou Xiaohong.[3]

At the age of 13 she took Zhou Xuan as her stage name, ‘Xuan’ () meaning beautiful jade in Chinese.

 Career

In 1932, Zhou began acting as a member of the Bright Moonlight Song and Dance Troupe. She later achieved stardom in 1937 in Street Angel (馬路天使), when director Yuan Muzhi cast her as one of the leads as a singing girl.

The “Golden Voice” (金嗓子) was Zhou’s nickname to commend her singing talents after a singing competition in Shanghai, where she came in second.[1] Zhou rapidly became the most famous and marketable popular singer in the gramophone era up to her death, singing many famous tunes from her own movies. Her light but eminently musical voice captured the hearts of millions of Chinese of her time.

Between 1946 and 1950, she often went to Hong Kong to make films such as “All-Consuming Love” (長相思), “Hua wai liu ying” (花外流鶯), “Qinggong mishi” (清宮秘史), and “Rainbow Song” (彩虹曲). After introducing “Shanghai Nights” (夜上海) in 1949, Zhou returned to Shanghai. She spent the next few years in and out of mental institutions owing to frequent breakdowns. Through the years, Zhou led a complicated and unhappy life marked by her failed marriages, illegitimate children, and suicide attempts.

Having made a total of 43 movies, her favourite film was always Street Angel. This contained two theme songs: “Four Seasons Song” (四季歌) and “The Wandering Songstress” (天涯歌女), which enjoyed long-lasting popularity.[3]

Death

In 1957 she died in Shanghai in a mental asylum at the age of 39 during the Anti-Rightist Movement.[4] A possible cause of death may be encephalitis following a nervous breakdown.

Zhou Xuan was survived by 2 sons, Zhou Wen[5] and Zhou Wei, born of different fathers. According to Zhou Wen’s biography, the younger son, Zhou Wei, was the son of Tang Di (唐棣), while the father of Zhou Wen is unknown.

Zhou Wei currently lives in Toronto performing at times in the TTC subways, and participating in various musical projects, including teaching. He is known as a flautist.[6][7] He has two daughters, both musicians. The elder of the two, Zhou Xiaoxuan, is a classical pianist trained at Concordia University[disambiguation needed] and now living in Beijing.

Adaptations

 
 
 
A 1940s shidaiqu mandopop arrangement by Zhou Xuan.

.

To this day, Zhou Xuan’s songs still remain a staple in many Golden Oldies collections in Mandarin popular music.

There have been 2 biographies written by Zhou Xuan’s surviving family members. The book My Mother Zhou Xuan (我的媽媽周璇) was written by Zhou Wei and his wife Chang Jing (常晶); while a later book, Zhou Xuan Diary (周璇日記), was written by Zhou Wen.

 Biography controversy

After Zhou Wen’s biography was published, Zhou Wei accused Zhou Wen for altering Zhou Xuan’s diary and copying the contents in an attempt to mislead readers into distorting the image of Zhou Xuan. The rebuttal also revealed that Zhou Wen had hated Zhou Wei since youth. Zhou Wen was sent for adoption after birth, followed by alleged dark influences. Zhou Wei then legally inherited Zhou Xuan’s wealth over Zhou Wen.[8]

Television

An adaptation of the life of Zhou Xuan was TVB‘s Song Bird in 1989, starring Nadia Chan as Zhou Xuan and Leon Lai as her lover. In this series, Xuan’s songs were re-written in Cantonese and sung by Chan. She sang the duets with Lai in the program while under the limits of Crown Records (娛樂唱片). Deric Wan replaced Lai’s vocals on the soundtrack album.[citation needed]

Another adaptation, based on Zhou Wei’s biography, is the Chinese serial titled Zhou Xuan (周璇), starring Cecilia Cheung. This version of the story was accused by Zhou Wei as a false representation of Zhou Xuan and damaging to the reputation of the Zhou family.[9]

Filmography

Zhouxuan.jpg

  • 狂歡之夜 (1935)
  • Street Angel (馬路天使, 1937)
  • 西廂記 (1940)
  • 孟麗君 (1940)
  • Dream of the Red Chamber 红楼梦 (1944)
  • Night Inn 夜店 (1947)
  • 長相思 (1947)
  • 清宮秘史 (1948)
  • 花外流鶯 (1948)
  • 歌女之歌 (1948)
  • 莫負青春 (1949)
  • 花街 (1950)

 References

 

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

The Chinese  traditional Wedding Music Record(Singapore Pagoda  record,info from Haji Maji)

 

Here’s another Pagoda recorded in Singapore, this one in 1938. It features traditional Chinese wedding music played by a seroni ensemble. The typical ensemble consists of seroni (a shwam-like oboe known as suona in China), swilin (bamboo flute) and percussion; a small drum, cymbals and gong. Usually this type of music is used to accompany the bride while she is carried in a sedan and throughout other parts of the wedding. The piece heard on this record is labeled “Siew-Tow”, the most important part of the ceremony when the vows are taken.
A seroni ensemble is also used for funerals and other rituals.

Immigrants from southern China began moving to Malaysia and Indonesia as early as the 15th century. The British later encouraged Chinese immigration to the Straights Settlements in the the 19th and 20th centuries. Chinese, speaking several different dialects, quickly established themselves as traders throughout the region, as in other parts of Southeast Asia.

The label is hard to read, but it says:

Seroni
lagu Siew-Tow

>Pagoda V3905a (mx-7753 GD)

B.AFTER WORLD WAR II

(1)pathe record Miss Yao Lee

 

Miss Yao lee info

Yao Lee

 
Yao Lee
Chinese name 姚莉
Pinyin Yáo Lì (Mandarin)
Jyutping jiu4 lei6 (Cantonese)
Birth name Yáo Xiùyún (姚秀雲)
Origin Republic of China
Born 1922 (age 88–89)
Republic of China
Occupation Singer
Genre(s) Mandopop, shidaiqu
Instrument(s) Singing
Label(s) Pathé / EMI
Years active 1930s — 1970s

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

Contents

 Biography

Born Yáo Xiùyún (姚秀雲) and rasied in Shanghai, Yao began performing on the radio in 1935 at the tender age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “Xin xiao fang niu” (新小放牛). She was signed to Pathé Records.

She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect[2] and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.

 Career

During the 1930s and 40s, Yao Lee’s high, soft singing style was typical of Chinese popular music of the time. She performed numerous popular standards, such as Wishing You Happiness and Prosperity (恭喜恭喜), “I Can’t Have Your Love” (得不到你的愛情), and “By the Suzhou River” (蘇州河邊) with her brother Yao Min, arguably the best-known Chinese pop songwriter of the shidaiqu era.[3] She is famous for her 1940 version of Rose, Rose, I Love You (玫瑰玫瑰我愛你), later recorded by Frankie Laine in the United States with English lyrics. (Her version was also released in the US and the United Kingdom credited to “Miss Hue Lee”). Yao was known as “the Silver Voice” (銀嗓子) alluding to fellow Shanghai singer Zhou Xuan, who was known as “the Golden Voice” (金嗓子).

With increasing Western influence in the region after World War II and her move to Hong Kong, Yao Lee’s singing changed. She was introduced to more Western popular music and became an admirer of American singer Patti Page whom she emulated by lowering her voice and incorporating some vocal mannerisms. As a result, Yao is sometimes called “Hong Kong’s Patti Page.” One of her biggest ’50s records was “The Spring Breeze Kisses My Face” (春風吻上我的臉).

Yao was extremely prolific with over 400 gramophone records attributed to her.

References

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

 

 

 

(2)Yao Su Rong

 

 (sometimes Yao Su Yong) was born in 1946. Her breakthrough came in 1969, with the title track to the movie “今天不回家” (Today I Won’t Come Home).

That one song swept her into fame, the song being sung by young and old alike, securing her a much-coveted Hong Kong record deal with 海山 (Haishan Records), selling 600,000 copies.

Before that, she’d been singing songs for a while, a minor hit being a Mandarin-language rewrite of a Japanese popular song, “負心的人” (Cruel-Hearted Lover). No longer would she have to worry about success — instantly, she was selling out shows and getting invited to concerts all across the Mandarin-speaking world.

At the height of her popularity in the late sixties/early seventies, it is said that one Hong Kong nightclub owner offered her 60,000HKD for a month’s worth of performances (now about USD$7600 or over $10,000 Canadian dollars — I don’t know how much it was really worth then). A ridiculous amount even by today’s standards, it was even more extravagant back then, when the highest-paid Hong Kong singer was earning only about 10,000HKD a MONTH.

Audiences said what set her apart was her complete immersion into the emotion of her songs. Most of her songs are sentimental love ballads, wistful, nostalgic melodies, and her entire composure and movements would reflect the mood of her music. She often cried as she sang on stage.

However, there is a mark of controversy that stains her career. Though seemingly trivial now, it was enough to drive her to retirement.

Certainly, her catalog is extensive, with over 200 recorded songs. However, during the most intense period of martial law in Taiwan (basically, 1949 until 1975, when Chiang Kai-Shek died), 80 of her songs were banned, supposedly for stirring up unhealthy morals amongst the youth (too many sentimental songs about love would drive the population to immorality!) and being too depressing (for a happy nation is a strong nation, and who could be sad under a government as well-run as the ROC?).

On August 18th, 1969, Yao Su Yong sang at a packed crowd in Kaohsiung, southern Taiwan. The audience was crazy about her, cheering madly every time she appeared on stage, and pleaded and begged her to sing some of her banned songs. Initially, she declined as politely as she could, saying that she was not permitted to perform those songs, and that she hoped the audience would forgive her. However, the requests wouldn’t stop, and eventually, she sang “負心的人”, hoping the popular appeal of her song would override any official censorship.

Unfortunately, the police guards stationed at the theater didn’t agree. They called her offstage and questioned her, asking her to record her playlist and make an official confession. Failing to produce a playlist, her singer’s license was revoked, “leaving no door or window” open. Since she was no longer allowed to perform in Taiwan, she turned to Hong Kong and Southeast Asia to continue her career.

Now, she lives a quiet life in Singapore. Though Taiwan officially invited her to perform at the 1998 Golden Horse Film Festival (the biggest movie event of the island, government sanctioned), she politely declined, saying that now that her life was peaceful and stable, she preferred to remain out of the limelight. However, her legacy lives on. “Jin Tian Bu Hui Jia”, the movie, was remade in 1996, but still used her original song. Her records continue to be very popular, and her status in the annals of Chinese oldies divas is well-secured.

(3)unidentified record

(4)Unidentified

(5)Unidentified (comedian?)

(4)Chinese Folk song

THE END@ COPYRIGHT Dr IWANSUWANDY 2011

The Vintage Traditional Teocew and Fujian Opera music record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合,在印度尼西亞,前中國海外集合,他們仍然保持,直到通過,後出這一切集合下一代低谷,因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出,因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄,我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言,也給我更多的信息,並通過修正意見的中國本土languge。

我要thanks SLL評論,校正,translatation更多信息,與老式的中國歌劇信息相關,也People中國的獨立和解放週年的10月,10th.2011共和國的禮炮和榮譽。

雅加達,十月0.2011

伊万suwandy博士,MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understand the art of vintage chinese opera and also the old record disc  cannot played because the instrument of old record player didnot  exist anymore , all music record now in digital disc.

I still keep this old record for historical collections and  I will tried to transfer into digital disc. but  I met the difficulty in translating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thank for all comment,correction,translatation and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections


從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a “>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

 

 The Vintage  Traditional Chinese TEOCHEW AND  FUKIEN Opera Record found from Native Tionghoa Indonesia  Ethnic

Teochew Opera record

 

pagoda-v-3912-part-3.jpg

Pagoda was a great label that was most likely a subsidiary Deutsche-Grammophon along with Polyphon and Hindenburg. Pagoda seems to consist mostly of Teochew Opera from southern China. Unfortunately, I broke the Pagoda record I wanted to post while trying to get it’s too small spindle hole to fit on the turntable…so this is the runner up!

Performed by the Old Choy Bo Fung troupe. (thanks to Patrick Lau for translation.)

PAGODA V 3912a

 

tigersleeve.jpg

tiger_1048d.jpg

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

TIGER

I have just finding the Old Record with  peacock bird mark, but I connaot Identified please native collectors help me to translate.

4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
regal50002c.jpg

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
hmv24_12941label.jpg

hmv24_12941.jpg

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

a.His Master Voice record

 

b.people and star record(?)

c, Columbia record

 

the new Info from Haji Maji

 

THE MYSTERIOUS HANOVER LABEL

(Dr Iwan have this hidenberg label china traditional music record)

hannover-240.jpg

hannover-240sleeve.jpg

Here’s a beautiful Cantonese recording. I love this old style which is sparse but with a great rhythmic groove. Many people think of Chinese Opera as being very arrhythmic, and it certainly can be, but this record and many others are played in the same way fiddle music is played all over the world, with a steady pulse.

According to the label, this is a Hua Dan role performed by Xiao Hong Xin. Dan is the name for female roles in China, Hua Dan being one of half a dozen common female roles. Hua Dan is a younger, coquettish female who usually accompanies a Gui Men Dan, a virtuous older Lady, exemplified by the superstar Mei Lan Fang. Often these roles were performed by men, but I believe that Xiao Hong Xin is a woman. (Thanks to David Du for translations).

Thanks to the erudite JW over at Excavated Shellac the mystery is cleared up…the label is actually called “Hindenburg” with a picture of General Paul von Hindenburg, President of Germany (1925-1934) as the trademark. My apologies to the General for mistaking him for Kaiser Wilhelm! Hindenburg, Pagoda and Polyphon were under the umbrella of Deutsche-Grammophon.
“Mech. Copt. 1927″ is stamped in the shellac.

the end @ copyright Dr Iwan suwandy 2011

The Singapore legend singer Ce Momo (Latiff) Record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Singapore Legend Singer Ce Momo (Latiff)

The music record from singapore  had told me that one of the player  of Mist Riboet Orion when played at Singapore, still live there ,his name Momo latief, two days ago i found the music record of Ce Momo, I think the same singer,please  comment and corections.

His Master Voice record

Singer : Ce Momo

Song:1. Rayuan Pulau Kelapa 2.Pulau Bali

the information of Miss riboet Orion Record and Momo Latief

new info from Mr Azmosa Singapore that one of Dardanella Singer and comedian still stayed  at singapore until now ,her name Momo Latiff or Momo Makarim and still alive age 88 years old, please read mr Azoma comment in Indonesian Languguae :

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles divided  in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo that  Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have recording vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa

 
 
 
 

 

 
 
 
 
 
 

original info

Salam, Pak Iwan.

Saya berasal dari Singapura dan sangat kagum dengan koleksi Pak Iwan, terutama sekali tentang sejarah kumpulan seni seperti Miss Riboet Orion dan Dardanella. Kedua-dua kumpulan ini memang cukup popular di Singapura dan Malaya pada tahun 1930an. Salah satu ahli kumpulan Dardanella telah menetap di Singapura dan menjadi seorang seniwati yang terkenal di sisni sejak tahun 194oan . Beliau adalah Momo Latiff yang berasal dari Batavia dan kini berusia 88 tahun.

Momo Latif telah menjadi salah seorang penari Bali Dancers dalam kumpulan Dardanella. Selepas Dardanella berpecah pada pertengahan tahun 1930an, beliau telah memasuki kumpulan bangsawan yg di ketuai oleh Raden Sudiro. Pada satu persembahan yang di adakan di Melaka, Raden telah memberitahu kepada Momo bahawa Syarikat filem Shaw Brothers di Singapura ingin mengambil Momo sebagai heroine dalam filem yg berjudul Topeng Shaitan di terbitkan pada tahun 1939. Momo kemudian telah merakamkan suara pada tahun 1941 bersama HMV dengan nyanyian lagu2 Bunga Sakura, Pohon Beringin dan Pulau Bali.

Azmosa

.Pre world war two (Before 1942.)

KRONCONG STAMBOEL

Miss Riboet Oreon, Germany BEKA RECORDS ,song Tionghoa ethnic song and Arabic ethnic song Jasidi with kroncong Stamboel style.

The Information of The first Indonesian singer record Miss Riboet from google exploration.

1) Kisah singkat Miss Riboet Orion

a)versi satu

a) Miss Riboet Orion ‘s short story(Kisah singkat Miss Riboet Orion)

(a)The First Version(versi satu)

   

Iklan Dardanella.(Dardanella operate label promotion)

Two biggest native Indonesian operates were deveoloped in 1925 and 1926 were Miss Riboet Orion and Dardanella (Dua perkumpulan besar sandiwara berdiri pada 1925 dan 1926, Miss Riboet Orion dan Dardanella).

Keduanya merajai dunia sandiwara kala itu. Mereka dikenal terutama karena pemain-pemainnya yang piawai berperan di atas panggung, cerita-ceritanya yang realis, dan punya seorang pemimpin kharismatik.

Kedua perkumpulan ini dikenal sebagai pembenih sandiwara modern Indonesia. Mereka merombak beberapa tradisi yang telah lazim pada masa stambul, bangsawan, dan opera, seperti: membuat pembagian episode yang lebih ringkas dari stambul, menghapuskan adegan perkenalan para tokoh sebelum bermain, menghilangkan selingan nyanyian atau tarian di tengah adegan, menghapus kebiasaan memainkan sebuah lakon hanya dalam satu malam pertunjukan, dan objek cerita sudah mulai berupa cerita-cerita asli, bukan dari hikayat-hikayat lama atau cerita-cerita yang diambil dari film-film terkenal (Oemarjati, 1971: 30-31). Rombongan sandiwara ini juga mulai menggunakan naskah untuk diperankan di atas pentas, menggunakan panggung pementasan, serta mulai mengenal peran seseorang yang mirip sutradara (pada masa itu lazim disebut programma meester, peran ini dimainkan oleh pemimpin perkumpulan).

The Orion Operete Inc founder at Batavia(now jakarta) by Tio Tek Djiwn yunior, the primadona is Niss Riboet (later Married wir Mr Tio) and Mr Tio also played the swords,specialized as the robery of the women in the opera of Juanita veza written by Antoinette de Vega, after that this opretee becaem famous ad Miss Riboet Orion(Perkumpulan sandiwara Orion berdiri di Batavia pada 1925. Rombongan sandiwara ini didirikan serta dipimpin oleh Tio Tek Djien Junior. Tio merupakan seorang terpelajar pertama yang menekuni secara serius kesenian sandiwara modern. Dia lulusan sekolah dagang Batavia. Primadona mereka adalah Miss Riboet. Selain sebagai istri Tio, Riboet juga terkenal dengan permainan pedangnya. Ia sangat menonjol ketika memerankan seorang perampok perempuan dalam lakon Juanita de Vega karya Antoinette de Zerna. Selanjutnya perkumpulan ini terkenal dengan nama Miss Riboet Orion (Sumardjo, 2004: 115).

This Operete becaem more famous after came in The Journalist Njoo Cheong Seng and his wife Fifi Young ,during this time tje operate created a  imaginative story, then Nyo became the Tios best man which had the duty the story ,his succes with Saijah, R,soemiati,and Singapore at night(Perkumpulan ini semakin mengibarkan bendera ketenarannya setelah masuk seorang wartawan bernama Njoo Cheong Seng dan istrinya Fifi Young. Setelah masuknya Njoo Cheong Seng dan Fifi Young, perkumpulan ini meninggalkan cerita-cerita khayalan yang pada masa stambul dan bangsawan lazim untuk dibawakan ke panggung (Pane, 1953: 9). Kemudian Njoo Cheong Seng menjadi tangan kanan Tio Tek Djien dan bertugas sebagai penulis lakon pada perkumpulan ini dan menghasilkan cerita-cerita, seperti Saidjah, R.A. Soemiatie, Barisan Tengkorak, dan Singapore After Midnight.)

Pertunjukan Dardanella

Di tengah kepopuleran Miss Riboet Orion, berdiri perkumpulan sandiwara Dardanella di Sidoarjo pada 21 Juni 1926. Sebagaimana Miss Riboet Orion, Dardanella juga telah melakukan perubahan besar pada dunia sandiwara.

Dardanella founded by A.Piedro ,the russian man with name Willy Kilimanof. In 1929 starting show at Batavia based on the storyfrom best film like Robinhood,the amsk of Zorro,three musketters, the Black pirates, the Thieve of Baghdad,Sheik of Arabia,the graaf of Monte Cristo,vero, and the rose pf Yesterday. But at the second show Dardanella shown the Indonesia native story like Annie van Mendoet,Lily van tjikampek,the Rose of Tjikemabng based on the Indonesian Stories (Dardanella didirikan oleh A. Piedro, seorang Rusia yang bernama asli Willy Klimanoff (Ramadhan KH, 1984: 5cool. Pada 1929, untuk pertamakalinya Dardanella mengadakan pertunjukan di Batavia. Mulanya lakon-lakon yang dimainkan adalah cerita-cerita berdasarkan film-film yang sedang ramai dibicarakan orang, seperti Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia, Vera, dan Graaf de Monte Christo (Ramadhan KH, 1984: 74). Namun pada kunjungan keduanya di Batavia, mereka menghadirkan cerita mengenai kehidupan di Indonesia, seperti Annie van Mendoet, Lilie van Tjikampek, dan De Roos van Tjikembang. Cerita-cerita ini disebut dengan Indische Roman, yaitu cerita-cerita yang mengambil inspirasinya dari kehidupan Indonesia, dikarang dalam bahasa Belanda (Brahim, 1968: 116).

At the same time ,a journalis Andjar asmara also join the Dardanella and he bacame the Bes man of Peidro lika njo , he writthe the story Dr Samsi, Haida,Tjang,perantaian 88 dan Si bongkok like the huncthman of Notredam, Dardanella had the big five actors, Tan Tjeng Bok,Miss Dja, Mis Riboet II, Ferry Kock and Astaman (Pada tahun yang sama, seorang wartawan dari majalah Doenia Film, bernama Andjar Asmara, ikut masuk ke dalam perkumpulan ini, dan meninggalkan pekerjaannya sebagai wartawan di majalah tersebut. Seperti halnya Njoo Cheong Seng di Miss Riboet Orion, Andjar kemudian juga menjadi tangan kanan Piedro, dan bertugas sebagai penulis naskah perkumpulan. Andjar Asmara menulis beberapa naskah, seperti Dr. Samsi, Si Bongkok, Haida, Tjang, dan Perantaian 99 (Tzu You dalam Sin Po, 1939: 12). Dardanella juga terkenal dengan pemain-pemainnya yang piawai memegang peranan dalam setiap pertunjukan. Para pemain ini terkenal dengan sebutan The Big Five. Anggota Perkumpulan Dardanella yang disebut The Big Five yaitu, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, dan Astaman (Tzu You dalam Sin Po, 1939: 11-12).

The rivalrity between Miss Riboet Oreon and dardanella at Bavaia begun in 1931, starting about the name of Miss Riboet which Mr Tio sue to the court and win,   dardanela must used the name Miss riboet II  (Persaingan untuk meraih perhatian publik antara Miss Riboet Orion dengan Dardanella terjadi di Batavia pada tahun 1931. Sebenarnya persaingan Miss Riboet Orion dengan Dardanella sudah mulai terlihat ketika dua perkumpulan ini memperebutkan “pengakuan nama” dari salah satu pemainnya, yaitu Riboet. Dalam dua perkumpulan ini ada satu pemain yang namanya sama. Ketika itu Dardanella yang sedang bermain di Surabaya, didatangi dan dituntut oleh Tio Tek Djien, pemimpin Miss Riboet Orion, karena Dardanella mempergunakan nama Riboet juga untuk seorang pemainnya. Tio berkata kepada Piedro, “Kami tidak senang Tuan mempergunakan nama yang sama, nama Riboet juga untuk pemain Tuan…kami menyampaikan gugatan, Miss Riboet hanya ada satu dan dia sekarang sedang bermain di Batavia”. Akhir dari perseteruan ini adalah mengalahnya Piedro kepada Tio dan merubah nama Riboet yang ada di Dardanella menjadi Riboet II (Ramadhan KH, 1982: 72).

Memang lazim terjadi persaingan antarperkumpulan sandiwara, terutama di kota besar seperti Batavia. Sebelum persaingan dengan Dardanella, Miss Riboet Orion juga pernah bersaingan dengan Dahlia Opera, pimpinan Tengkoe Katan dari Medan, persaingan ini berakhir dengan kemenangan pihak Orion (Tzu You dalam Sin Po, 1939: 11). Wujud dari persaingan antara Miss Riboet Orion dan Dardanella ini adalah pecahnya perang reklame. Dardanella memajukan Dr. Samsi sebagai lakon andalan mereka, sedangkan Miss Riboet Orion dengan Gagak Solo. Dalam persaingan ini, Dardanella mengandalkan A. Piedro, Andjar Asmara, dan Tan Tjeng Bok, sedangkan Miss Riboet Orion mengandalkan Tio Tek Djien, Njoo Cheong Seng, dan A. Boellaard van Tuijl, sebagai pemimpinnya (Tzu You dalam Sin Po, 1939: 12). Kedua wartawan dalam perkumpulan-perkumpulan itu bekerja dan memutar otak untuk membuat reklame propaganda yang, sedapat-dapatnya, memengaruhi pikiran publik.

At least Miss Riboet Orion off in 1934 and gave the authority to Dardanella , and their writer Njoo Cheong Seng and fifi Young moved to dardanella(Akhirnya Miss Riboet Orion harus menyerah kepada Dardanella. Riwayat Perkumpulan Sandiwara Miss Riboet Orion berakhir pada 1934, ketika penulis naskah mereka Njoo Cheong Seng dan Fifi Young, pindah ke Dardanella.)

Then dardanella became famous with the new actors like Ratna asmara, Bachtiar Effendy,Fify young and an american from guam Henry L Duarte (Dardanella menjadi semakin besar dengan hadirnya anggota-anggota baru seperti Ratna Asmara, Bachtiar Effendi, Fifi Young, dan Henry L. Duarte (seorang Amerika yang dilahirkan di Guam). Dalam Dardanella juga berkumpul tiga penulis lakon ternama, seperti A. Piedro, Andjar Asmara, dan Njoo Cheong Seng, di samping itu, perkumpulan ini diperkuat oleh permainan luar biasa dari bintang-bintang panggungnya seperti Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, dan Riboet II.)

In 1935, Dardanella madse the tour to Siam,Burma. Ceylon,India,tibet ,the tour was called The Orient’s Tour with native dancer like wayang golek, Pencak Minangkabau,wayang golek,bali jagger, papua dancer and Ambon song (Pada 1935, Piedro memutuskan untuk mengadakan perjalanan ke Siam, Burma, Sri Lanka, India, dan Tibet, untuk memperkenalkan pertunjukan-pertunjukan mereka. Perjalanan ini disebut Tour d’Orient. Dalam perjalanan itu tidak dipentaskan sandiwara, melainkan tari-tarian Indonesia seperti Serimpi, Bedoyo, Golek, Jangger, Durga, Penca Minangkabau, Keroncong, Penca Sunda, Nyanyian Ambon, dan tari-tarian Papua (Tzu You dalam Sin Po, 1939: 13).

Tour de Orient qwere the last tour of Dardanella before the world war two, then dismish(Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…)

I have the tax fee of Padang city gouverment about the dardanella and Dwi Dja tours, during japanese occupation 1943-1844, I think the Japanesi Millitary occupation gouverment, used this show for political campaign(Dr iwan S)

(b)versi dua (from david ,Haji Maji web blog)

MISS RIBOET (INDONESIA)

Miss Riboet was the first huge star of recording in Indonesia and the Malay peninsula.  She was the lead actress of the Orion theatrical company, a tooneel troupe which was founded in 1925 in Batavia (Jakarta). In fact, she was so popular that by the time recording engineer Max Birkhahan made this recording in 1926 she already had her own series of “Miss Riboet Records.”

The label declares this a “Stamboel” recording, a western influenced genre of song that evolved out of the Indonesian theater known as ”komedie stamboel.”
Komedie stamboel was a form of musical theater that started in the city of Surabaya in 1891 and quickly became a craze throughout Indonesia. At first, it featured plays of arabesque fantasy (Stamboel = Istanbul), mainly tales from the Arabian Nights, with Ali Baba being a favorite standard. The plays were sung and included musical numbers as in a western musical, using mostly western instruments. They were also influenced by Parsi theater. There is an excellent book by Matthew Isaac Cohen that gives an extremely detailed account of the origin of Komedie Stamboel.

But by the mid-20s, when Miss Riboet began recording, komedie stamboel had already given way to the Malay theatrical form called bangsawan, and eventually tooneel, a more realistic form.
Apparently komedie stamboel had developed a somewhat unsavory reputation that led in part to it’s demise, some troupe leaders were accused of doubling as pimps for the actresses!
The music was often labeled as “Stamboel” on record, regardless of whether it was a stamboel, fox trot, tango, krontjong or traditional piece, such as this Javanese poetical form called Pangkoer Pelaoet .

Beka B. 15099-II

(c)Version Two_versi dua

http://img.photobucket.com/albums/v188/missriboet/missdjadanmissriboet1932.jpg*

Two major theatrical association founded in 1925 and 1926, Miss Riboet Orion and the Dardanelles. Both dominated the theatrical world at that time. They are known primarily for the players who expertly plays on stage, his stories are realist, and have a charismatic leader.

Both clubs are known as pembenih revue Indonesia. They break down some of the traditions that have been prevalent in the opera, nobility, and operas, such as: making a more compact distribution of episodes of the opera, to abolish the introduction scene of the characters before the play, eliminating the distraction singing or dancing in the middle of the scene, removing a habit to play a play only in a single night performances, and objects of the story has begun to form the original stories, instead of the old saga-saga or stories taken from famous movies (Oemarjati, 1971: 30-31). Theatrical troupe has also started using a script to starring on stage, using the stage performances, as well as getting to know someone who is similar to the role of director (at that time commonly called Programma Meester, this role is played by the leaders of associations).

Orion standing repertory in Batavia in 1925. Theatrical troupe was founded and is led by Tio Tek Djien Junior. Tio is the first scholar to pursue a serious art revue. He graduated from trade school in Batavia. They are the belle of Miss Riboet. Aside from being a wife of Tio, Riboet also famous for its game sword. He was very prominent when playing a female burglar in the play Juanita de Vega’s Antoinette de Zerna. Furthermore, this association known by the name of Miss Riboet Orion (Sumardjo, 2004: 115).

Society is increasingly raising the flag of his fame after entering a journalist named Njoo Cheong Seng and his wife Fifi Young. After the entry of Njoo Cheong Seng and Fifi Young, the association left the fantasy stories are at the opera and nobles brought to the stage common to (Pane, 1953: 9). Then Njoo Cheong Seng became Tio Tek Djien right hand and served as a scriptwriter on this association and produce stories, such as Saidjah, RA Soemiatie, Rows of skulls, and the Singapore After Midnight.

Amid the popularity of Miss Riboet Orion, standing repertory Dardanelles in Sidoarjo on June 21, 1926. As Miss Riboet Orion, the Dardanelles has also made major changes in the theatrical world. Dardanelles was founded by A. Piedro, a Russian whose real name is Willy Klimanoff (Ramadhan KH, 1984: 58). In 1929, for the first time performing in Batavia Dardanelles. At first play-act plays are stories based on movies that are busy talking people, like Robin Hood, The Mask of Zorro, The Three Musketeers, The Black Pirates, The Thief of Baghdad, Roses of Yesterday, The Sheik of Arabia , Vera, and Graaf de Monte Christo (Ramadhan KH, 1984: 74). But on his second visit in Batavia, they present a story about life in Indonesia, such as Annie van Mendoet, Lilie Tjikampek van, and De Roos van Tjikembang. These stories are called Indische Roman, namely the stories that take inspiration from the life of Indonesia, was composed in Dutch (Brahim, 1968: 116).

That same year, a journalist from the magazine Film Doenia, named Andjar Asmara, go in this society, and left his job as a journalist in the magazine. Like Miss Njoo Cheong Seng Riboet Orion, Andjar then also become Piedro right hand, and served as a script writer associations. Andjar Asmara write some scripts, such as Dr. Samsi, The Hunchback, Haida, Tjang, and Perantaian 99 (You in Sin Tzu Po, 1939: 12). Dardanelles is also famous for the players who expertly plays a role in each show. These players are known as the Big Five. Association members Dardanelles called The Big Five namely, Ferry Kock, Miss Dja, Tan Tjeng Bok, Riboet II, and Astaman (You in Sin Tzu Po, 1939: 11-12).

Competition to gain public attention between Miss Riboet Orion with the Dardanelles occurred in Batavia in 1931. Actual competition with the Dardanelles Miss Riboet Orion is starting to look when the two clubs are fighting over “name recognition” of one of his players, namely Riboet. In this group there are two players whose name is the same one. When the Dardanelles that was playing in Surabaya, approached and demanded by Tio Tek Djien, leader of the Miss Riboet Orion, because of the Dardanelles Riboet also use the name for a player. Tio said to Piedro, “We’re not happy sir use the same name, a name also for the players Riboet sir … we deliver the lawsuit, Miss Riboet there’s only one and he is now being played at Batavia”. The end of this feud is mengalahnya Piedro to Tio and Riboet rename that is in the Dardanelles into Riboet II (Ramadhan KH, 1982: 72).

It is not uncommon antarperkumpulan theatrical competition, especially in big cities such as Batavia. Before the competition with the Dardanelles, Miss Riboet Orion has also been competing with Dahlia Opera, led Tengkoe Katan from Medan, the competition ended with the victory of the Orion (You in Sin Tzu Po, 1939: 11). Existence of competition between Miss Riboet Orion and the Dardanelles is the outbreak of war billboard. Dr. Dardanelles advance. Samsi as their flagship play, while Miss Riboet Orion with Crow Solo. In this competition, relying Dardanelles A. Piedro, Andjar Asmara, and Tan Tjeng Bok, while Miss Riboet Orion rely Tio Tek Djien, Njoo Seng Cheong, and A. Boellaard van Tuijl, as its leader (You in Sin Tzu Po, 1939: 12). The two journalists in associations that work and rack my brain to make propaganda billboards that, wherever possible, influence the public mind.

Finally Miss Riboet Orion should be surrendered to the Dardanelles. Theatre Historical Society Miss Riboet Orion ended in 1934, when the script writers they Njoo Cheong Seng and Fifi Young, moved into the Dardanelles.

Dardanelles became greater with the presence of new members like Ratna Asmara, Bachtiar Effendi, Fifi Young, and Henry L. Duarte (an American who was born in Guam). In the Dardanelles also assembled three renowned scriptwriter, such as A. Piedro, Andjar Asmara, and Njoo Seng Cheong, in addition, the association is reinforced by the outstanding play of the stars of the stage as Miss Dja, Ferry Kock, Tan Tjeng Bok, Astaman, and Riboet II.

In 1935, Piedro decided to journey to Siam, Burma, Sri Lanka, India, and Tibet, to introduce their performances. This trip is called the Tour d’Orient. In the course of the play was not staged, but dances like Serimpi Indonesia, Bedoyo, Golek, Jangger, Durga, Disabled Minangkabau, Keroncong, Disabled Sunda, Ambon song, and dance of Papua (You in Sin Tzu Po, 1939: 13) .

Tour d’Orient is the last trip Dardanelles. After the trip was broken Dardanelles. And the story of two giants of this farce came to an end …

b) Miss Riboet theater’s Oreon (1925)

c) It is easy to guess the excitement Caused by the upcoming event in the island.And yet, life went on as usual: Miss Riboet – a popular actress and singer backthen – performing on stage garnering applause and favorable reviews in the island’s journals, cigarette advertisements and beauty cream, the automobile andthe new man – The Sportsman – coaxed out of the tennis and golf worlds by TheWorld of fashion … putting Singapore on the movie map with his filmBring’em Back Alive. Not to mention Wheeler and Woolsey, a pair of British comedians, who, in Their Day, were the resource persons more popular than Laurel and Hardy. Much excitement was Caused whenthe much-loved Charlie Chaplin and his brother arrived in Singapore in 1932 on Their Way to the Dutch Indies. Certainly, the Hollywood connection is created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of Fascination for movie-makers, writers, travelers, the real Kings and Queens or theones populating the screens of the newest art.c) on 25 November 1950 Indonesia with a group of stars including Fifi Young (film performer Zoebaida) and Miss Riboet Rawit. comes in singapore. (new info from Mr. Azmosa Singapore That one of the Dardanelles Singer and comedian still stayed at singapore until now, her name or Momo Momo Latiff Makarim still alive and age 88 years old, please read mr Azoma comment in Indonesian Languguae:

Regards, Mr Iwan.

I’m from Singapore and was very impressed with the collection of Mr. Iwan, particularly about the history of art as a collection of Miss Riboet Orion and the Dardanelles. Both these sets are quite popular in Singapore and Malaya in the 1930s. One expert on collection of the Dardanelles had been living in Singapore and became a famous artist in sisni since 194oan. He is Momo Latiff derived from Batavia, and is now 88 years old.

Momo Latif has become one of the Balinese dancers Dancers in a collection of the Dardanelles. After the Dardanelles berpecah in the mid-1930s, he has entered a collection of nobles who headed by Raden Sudiro. On the one offering held in Melaka, Raden has told Momo bahawa Syarikat Shaw Brothers films in Singapore want to take Momo as a heroine in a film titled Mask Shaitan published in 1939. Momo then have merakamkan vote in 1941 along with the singing lagu2 HMV Sakura Flower, the Banyan Tree and the island of Bali.

Azmosa
Singapore-thanks Mr. Iwan S. azoma from dr)

The Short Story of Mis Riboet Husband (HUSBAND TALE MISS RIBOET) IOP TEK HONG

Tion was the Mr. Richman, he Had the record label and shop produnctions (IOP TEK HONG Sumai RIBOET MISS IS a wealthy merchant, he has a firm sale gramohone and black plate.)

That he produced an ad beside yhe batavia Postcard Pictures, look below some sample illustration (Besides, he also produces a picture postcard town of batavia, look at some of the collection of Tio Tek Hong and illustration of Majallah Kiekies Landen van Java folk and below); 

TTH_1045_800w512h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1045

Topeng is a style or genre of masked dance and theatre, with music : West Java. We see here a Betawi (Batavia, now Jakarta) group. A search for the expression will turn up wikipedia and other sources; this is pretty good : Henry Spiller, “Topeng Betawi: The Sounds of Bodies Moving”.   Asian Theatre Journal 16:2 (1999) : 260-267   (accessed 28 January 09)

.
 

TTH_1046_800w510h.jpgUitgave : Tio Tek Hong, Weltevreden (Batavia). No. 1046

Woman may be same as in preceding Topeng card.
 
 

photo, no source information. Another view of Molenvliet Canal, Batavia here; more can be found by searching in the Dutch Atlas of Mutual Heritage (AMH).
 

TTH_1114_800w507h.jpgUitgave : Tio Tek Hong, Weltevreden, “Special Depot of Java postcards.” No. 1114. Obverse bears message to a Mr. C. Inouye, c/o Mitsui Bussan, Osaka, Japan. Postage stamp (and cancellation date) missing.
 
 

Miss Riboet and her arabic song Jasidi

Chassidic Song (jasidi), with video recorded at the Western Wall in Jerusalem, and … 5:27 Add to Added to queue In Jerusalem songArabic by badermansour.

Lagu Jasidi berasal dari Arab dan seirng dinyanyikan brthubungan dengan dinding barat dari Jerusalem,salah satunyayang terkenal oleh penyanyi Bader mansour, berdasarkan fakta piringan hitam diatas,ternyata Miss riboet telah menyanyikan lagu yang populer saat itu.

Miss Riboet and her Tionghoa ethnic song Djihong(no info about this song)

Who have the Miss Riboet music record with Kroncong stamboel song please comment and add the info via comment,thanks you very much.

I have just found information about Mr Riboet Orion Kroncong song produced by BEKA record from Google exploration :

BEKA RECORD
B 15652, Miss Riboet, Krontjong Dardanella, 1940-an
B 15761, Herlaut, Beka Krontjong, 1940-an
27850, De Indie Krontjong, 1940-an

Please help me with more info,thanks verymuch

The Malaysia Legend Singer Record Salmah Ismael

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Malaysia legend singer Salmah Ismael Music Record

Parlopone Malay record

singer: Salmah Ismael

Song: 1.Lengang Kangkong Baru(P.Ramlee) 2.Sekapor sirih seulas pinag(P.Ramlee)  from film Semerah Padi

Orchestra :Osman Achmad

.

 
Salmah Ismail
 

Puan Sri Datin Amar Salmah binti Ismail,AMN or better known as Saloma (22 January 1935 – 25 April 1983) was a Malaysian film actress and singer. She was the third wife of the film actor, director, singer, and songwriter Tan Sri P. Ramlee.

Biography

Salmah was born on 22 January 1935 at Pasir Panjang, Singapore. Coming from a family with artistic leanings (both her sisters Mimi Loma and Mariani were famous actresses on their own right), she displayed histrionic talents of her own as a singer at weddings and family events at 13. As she became more well-known in Singapore she joined the Panca Sitara Group, a band of musicians under the leadership of P. Ramlee. Around this time she also sang with the Kalung Senandung Group at Radio Singapura and entertained acting offers in musical films of the era, usually playing P.Ramlee’s love interest and/or the village ingenué.

Legend has it that her stage name was coined by Run Run Shaw of Shaw Bros when the film Salome which starred Rita Hayworth hit the box office. Other opinions favored the story that the name was given to her by her future husband P. Ramlee. They were married in 1961 and were widely regarded as the first true power couple of the Malaysian film industry. Apart from her artistry, Saloma was also famous as a screen beauty: her hourglass figure, magnificent hairdos and iconic kebaya dresses were copied by young ladies of the 60’s.

the end @ copyright Dr Iwan suwandy 2011

The Vintage Chinese Beijing Opera Music record

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

THE VINTAGE CHINESE OPERA RECORD COLLECTIONS

CREATED BY

Dr Iwan suwandy<MHA

Limited private edition e-book in CD_ROM

jakarta@copyright 2011

introductions

Welcome to Driwancybermuseum

                  

 介紹

歡迎到Driwancybermuseum

          我發現一些罕見的中國戲曲記錄集合,在印度尼西亞,前中國海外集合,他們仍然保持,直到通過,後出這一切集合下一代低谷,因為他們 didnot understan復古茅根歌劇藝術和舊記錄光盤不能打出,因為不老的舊紀錄的儀器發揮不復存在 becaus發送數字光盤中的所有記錄現在。
我仍然保持歷史收藏的舊紀錄,我會試圖轉移到數字光盤。但我遇到了困難 tranleting這就是為什麼我希望所有本地或收藏家將幫助我翻譯茅根唱片公司的中國語言,也給我更多的信息,並通過修正意見的中國本土languge。

我要thanks SLL評論,校正,translatation更多信息,與老式的中國歌劇信息相關,也People中國的獨立和解放週年的10月,10th.2011共和國的禮炮和榮譽。

雅加達,十月0.2011

伊万suwandy博士,MHA

 

        

 I have found some rare Chinese Opera records collections in Indonesia, ex chinese overseas collections which still they keep until pass away and after that the next generation trough out all this collections because they didnot understan the art of vintage chine opera and also the old record disc  cannot played because not old instrument of old record played exist anymore because all record now in digital disc.

i still keep this old record for historical collections and  i will tried to transfer into digital disc. but  I met the difficulty in tranlating the native china languge that is why I hope all native  or collectors will help me to translate the chinese language  of the chine record label and also send me more  info and correction via comment.

I want to thsnkd for sll comment,correction,translatatio and more info related with vintage chinese opera informations, and also salute and honor to Peole republic Of China Independence and Liberation anniversary in October,10th.2011.

Jakarta, October .2011

Dr Iwan suwandy,MHA

 

 Dr Iwan Collections


從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” closure_uid_jhtnw=”227″ Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a “>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

從本地Tionghoa印尼民族的老式傳統中國戲曲記錄
1)中國粵劇香港W.泉,1955年(三角)唱片公司的三個王國。

請哈吉Madji集合生產比較相同的公司,但不同的微量下面:

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。

2)Cninese粵劇進入龍歌劇院

從谷歌的探索與哈吉madji集合比較

龍爭虎鬥

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

3)歌劇院的中國皇帝明星唱片公司(請幫我翻譯的中國書法)

4)中國粵劇塔記錄

比較下面哈吉Midji集合
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

 歌劇國賓記錄

和BEKA記錄

主持人與哈吉Midji集合歌劇多音字下面

粵劇對 POLYPHON
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

從谷歌探索中國戲曲記錄
1)粵劇記錄 Courtecy哈吉馬騎(由大衛介紹)
四個紫VICTORSThe 42000-43000維克多系列包含一些有史以來最不可思議的中國音樂。為主廣東話,許多這些錄音是一邊倒的8000系列,在紐約市和舊金山早在1902年錄得的再版。因為這些在美國出售他們更容易找到這裡,有時吃剩的商店庫存的偉大條件。

這其中有經典粵語的小提琴,班卓琴的聲音,那就是,高胡,三弦聲。

維克托 42126 A1

一個美麗的記錄,具有最終吹中國笛稱為肖,讓人聯想到越南和其他東南亞長笛音樂。

VICTOR 42178 B2

這裡從 20世紀初的又一經典動聽的粵語錄音。這是一個很好的例子從這個維克多系列的典型記錄。

VICTOR 43246 A3

我已決定不來後這張唱片,因為它的非常潦草,但,因為它是我所有的時間最喜歡的勝者記錄和我,因為你必須是一個音樂愛好者勇敢的一群到是擺在首位在這裡,我想通什麼是地獄。享受。

粵語嗩吶器樂
 
 

我總是驚訝於這些記錄可以如何眾聲喧嘩,這裡是一個完美的的例子。一個粵語器樂演奏嗩吶。嗩吶是一種起源於中國北方,並最終用於軍事,婚慶,民樂和戲曲音樂在中國傳播的類型 shawm。它類似於 zurna土耳其和印度shennai,等等。

第二次世界大戰後,世界各地的地方的企業家開始成立自己的唱片公司。青平是許多中國國有標籤,在此期間出​​現,其中許多是在整個東南亞地區的中國移民社區的基礎之一。青坪和Num星(見下文)總部設在舊金山。

青平33

更ORIENTALWelcome從出土的蟲膠任何訪問者!環顧四周,我敢肯定你會發現你有沒有聽說過的東西!

我已經發布了來自東方的記錄和不少粵語記錄的東西,但我只是無法抗拒的共享,這一最新的發現。異界!

NUM Singthe鐵桿哈吉馬騎聽眾可能已經耗盡我所有以前的帖子,經過反复的日常生活listenings,所以今天我會發布一些小型獨立唱片公司在1940年代和50年代的三個不同的記錄。敬請關注,將在七月一個驚喜 … …

首先是NUM星標籤的記錄,這個人是混亂敲擊球迷和球員的垃圾可以蓋!在馬背上,標題是大致趙 TZI龍,節省了他的主人。帕特里克通過的意見“部分中添加這些細節。

黃金之星
 
 

這裡的另一個我從來沒有見過的… …金星來自香港的記錄。這粵語記錄是最有可能從 1940年或1950年初。有趣的是比較粵語音樂風格從早期的記錄,我已經張貼改變 … …聽 Beka,哥倫比亞龍,興登堡等

淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

潮州開 ODEON
 

據 WordPress博客統計,最常見的的搜索字詞這個博客,帶給人們的是“潮州戲”。因此,這裡有另一種為潮州球迷之一。

一個常見的抱怨是,所有潮州歌劇院的聲音相同的(有一些道理的話),但這個紀錄肯定脫穎而出 … …我不知道該說什麼,除非這是一個非常不尋常的的探空記錄!

標題是氧化鈦牟生童索(民困雪)。

更新:讀者哈維爾李永恩(!和她的媽媽)告訴我們,這裡的號角聲,是一個(或郝頭)這是常用的喀拉陪在軍事或法院場景舞台上的行動。她補充說,這是一個倒閉的劇團從新加坡稱為老撾 GEK Chuong Hiang錄音。她還向他的喀拉了一張照片。她不同意,這是一種罕見的冠冕堂皇的錄音,但我至少有50潮州78,但沒有一個像這樣的聲音。感謝哈維爾!

龍爭虎鬥
 

可能是我最喜歡的中國錄音可以發現在哥倫比亞 57000系列。隨著他們的紅色或綠色的標籤和標誌性的龍,這些記錄都充滿美麗的舊時代的粵劇。唯一的問題是尋找他們在體面的條件下,他們很老,似乎總是已經發揮到死亡。這個錄音的一些功能真是太神奇了唱歌。

(注:這條記錄的“G”的方已被摧毀的標籤,所以我filpside標籤)

粵劇對 POLYPHON
 
 
 

Polyphon – Grammophon與德國相關的另一種罕見的標籤,使用相同的編號為興登堡和塔。
通常美妙的粵式綏觀塘聖歌唱這裡。 (劉勵超)

在中國的第一個錄音發生在1903年在上海舉行,由Fred Gaisberg監督。他在第一次錄製會議的意見:

“他們對音樂的想法是tremdous的衝突和爆炸:鼓,三雙巨大的鑼鼓,一雙的slappers,一種班卓琴,喜歡風笛的聲音有些簧片樂器,和歌手大呼小叫的協助下,他們所謂的音樂留聲機。“
“第一天,10條記錄後,我們不得不停止。因此癱瘓的喧囂我魂飛魄散,我想不出。“
Gaisberg了在中國超過 300錄音。
(從 Gaisberg的自傳所報附註中的全方位CD“雨香蕉樹下​​降

2)北平戲曲記錄
一個經典的北平劇
 
 
 

我第一次聽到中國戲曲,我真的很震驚。我已經聽到了很多不同尋常的音樂,但沒有從西方的音樂概念似乎進一步。我知道我立刻被吸引住了,不得不考慮這東西 … …

我很快就了解到,中國戲曲有兩種主要類型,而且我在這裡談論的78轉時代,北平歌劇院(又名北京或北京)和粵劇。北平歌劇是多一點“古典”,而廣式多一點“民間”。這是很好的,要記住,在中國戲曲音樂的歷史,這是或多或少,他們的戲劇,民俗,音樂於一身,是一項長期而複雜的故事,回去數百年。我絕對沒有資格作出任何明確的陳述,哪些風格是年齡較大或影響的糾結 webwork的。

北平戲劇,這是什麼標記,通常這個紀錄是由一個喜歡小提琴,二胡或京胡的儀器,它的變化之一,和少數其他弦樂器。一般的雜音是提供一個節奏,鑼,鈸,木板等組成部分。唱的是居高不下的聲音,往往由男性表演了一個女人的作用(青衣江),並使用特殊發音的程式化的,過時的話傳唱,。這種風格往往很多將用於陪肢體動作,如雜技,精心設計的打鬥場面,手勢和一般的姿態舞台上的撞擊效果,要遠遠超過粵語野生。

在這裡,然後,是一個非常典型的例子,這種風格的,我猜從 1920年的。在我看來,百代錄在這種風格的最記錄,而其​​他標籤往往記錄更多粵語。

這位歌手是“歌劇之王”,梅蘭芳,國際知名的男歌手青衣江角色而聞名。看電影歡送一些很好的寫照霸王別姬。

在這裡,他唱了他的著名的巴黃某比亞基的序幕,這意味著皇帝巴黃某告別他的姘婦。 (塞內卡感謝翻譯嚼!)

這是一個著名的皇帝誰是沮喪,在他的手下在戰鬥中的損失的奇怪的故事。她自殺,以表達對她的忠君與著名的複雜的,程式化的劍,他的姘婦進行舞蹈,歌劇高潮!

3)潮州戲曲記錄
潮州對寶塔
 

塔是一個偉大的標籤,這是最有可能伴隨著 Polyphon和興登堡的一個子公司德意志- Grammophon。寶塔似乎包括大部分來自中國南方的潮州戲。不幸的是,我打破了雷峰塔的記錄,我想後而試圖得到它的主軸孔太小,轉盤上,以適應 … …所以這是亞軍!

舊蔡寶峰劇團演出。 (劉勵超感謝翻譯。)

寶塔 V 3912a

潮州歌劇從中國南部
 

這裡有一個美麗的催眠潮州晦澀的老虎標籤上的Opera。潮州話是從中國南方的廣東地區的中國方言。潮州音樂,承擔更多的相似性比其他中國戲曲的形式,特別是京劇(其實,這是在泰國錄得按我們的讀者之一,見進一步信息的評論)東南亞音樂。這個記錄是一個很好的例子,測得的節奏和清晰的旋律的潮州風格很少與北京風格的野生撞擊效應,。在18 20世紀有很多移民從廣東到泰國,馬來西亞,新加坡和亞洲其他地區的和健康的潮州歌劇院現場直到最近,在那些地方存在。

老虎

4)福建廈門歌劇院記錄
淘樂器
 

廈門是福建東南部省份,整個台灣海峽。語言和文化是密切相關的台灣。下面是一個淘歌劇上我從來沒有見過的標籤器樂。標籤的名稱翻譯為類似的“鄉村愛情公司”,或者更準確地“Patriotsim”,作為一個 commentor已經注意到如下。音樂聽起來很像歌仔戲(在未來的職位即將)。

Ai-Guo (Patriotic) 5318a” Xd=”>Ai-Guo (Patriotic) 5318a” Yd=”>愛國(愛國)5318a ” closure_uid_7oyu0g=”253″>>愛國(愛國)5318a

滑動音調
 
 

這裡的一個有趣的富豪之一。中國戲曲通常是在一個創紀錄的2,3或4系列的形式發布,以適應漫長的歌詞。音樂往往是這些系列的每一側上非常相似,經常有微妙的變化或的關鍵轉變,。這就是與這 2個記錄系列的情況下,這是第三部分。前三兩邊幾乎音樂相同,除了第3部分介紹了一些驚人的滑動和顫音。這種影響不僅是在本系列的其他歌曲,我從來沒有聽說過任何其他的中國紀錄!

我不是太肯定富豪的歷史,但它顯然在這個版本的時間,百代之附屬公司。

富豪50002C

來自福建的廈門歌劇院
 

歡迎回來,親愛的讀者,另一個極其晦澀難懂的中國戲曲的劑量。這一次,我們有一個淘大歌劇院對他主人的聲音標籤的例子。淘(又名福建)是一種語言 /方言從中國南方省份福建,鄰國的廣東省,我們上次張貼的潮州戲的起源。淘直接跨越台灣海峽的語言和音樂基本上是相同的。一樣的潮州人,福建人移居到東南亞的許多地方,與他們自己的音樂和語言。這部歌劇風格的形式在該地區仍然流行的今天。

我剛剛發現新的集合,於 2011年10月,我會比較 WITTH我HAVW通過 Google的EXP – LORATIONS COLECTION,我希望茅根土產及COLLATECTORS會幫我TRANLATE和發送威盛COMMR4NT信息我感謝你(議員伊万注)

最終版權博士伊万suwandy 2011

 
 
 
 

The Vintage  Traditional Chinese Opera Record found from Native Tionghoa Indonesia  Ethnic

1) the Chinese Cantonese  Opera of Three kingdom  by Hong W.Quan, 1955(Sam Kok ) record label.

please compare with Haji Madji collections produce by the same inc but different tittle below:

First up is a record on the Num Sing label, This one is for fans of chaotic percussion and players of trash can lids!  The title is roughly General Zhao Tzi Lung, on Horseback, Saves his Master.

2)Chinese Cantonese Opera Enter The Dragon Opera

compare with haji madji collections from google explorations

ENTER THE DRAGON

 

columbia-57700.jpg

Possibly my favorite Chinese recordings can be found in the Columbia 57000 series. With their red or green labels and iconic dragon, these records are full of beautiful old time Cantonese opera. The only problem is finding them in decent condition, they are quite old and always seem to have been played to death. This recording features some really amazing singing.

3)The Opera Of Chinese emperor by Ming Sing Record Label (please help me to translate the chinese calligraphy)

 

The Vintage Chinese Opera record Part One

“The Peiping_Beijing Opera Record”

Peiping Opera record

 
 
 
pathe35165a.jpg

pathe35165asleeve.jpg

The first time I heard Chinese Opera I was really shocked. I’ve listened to a lot of unusual music, but nothing seemed further from the western concept of music. I knew I was hooked immediately and had to look into this stuff…

I soon learned that there are two main types of Chinese Opera, and I’m talking about the 78 rpm era here, Peiping Opera (aka Peking or Beijing) and Cantonese Opera. Peiping Opera is a bit more “classical” while Cantonese style is a bit more “folk”. It’s good to keep in mind that the history of opera music in China, which was more or less their theater, folklore, and music all rolled into one, is a long and complicated story going back hundreds of years. I’m definitely not qualified to make any definitive statements about which style is older or the tangled webwork of influences.

Peiping Drama, which is what this record is labeled as, usually consists of a fiddle-like instrument called Erhu or Jinghu, or one of the variations on it, and a handful of other stringed instruments. The general cacophony is provided by a rhythm section consisting of gongs, cymbals, woodblocks and such. The singing is in an unnaturally high voice, often sung by men performing the role of a woman (qingyi) and using stylized, archaic words with special pronunciation. This style tends to be much more wild than the Cantonese, with a lot of percussive effects that would be used to accompany physical action on stage such as acrobatics, elaborate fight scenes, hand gestures and general posturing.

Here, then, is a pretty typical example of this style, I’m guessing from the 1920′s. It seems to me that Pathe recorded the most records in this style while other labels tended to record more Cantonese.

The singer is the “Opera King”, Mei Lan Fang, the internationally famous male singer known for qingyi roles. See the film Farewell My Concubine for some nice depiction of this.

Here he sings the prelude to his famous Ba Hwang Bia Gei, meaning Emperor Ba Hwang Bids Farewell to his Concubine. (thanks to Seneca Chew for translation!)

This is the strange story of a famous emperor who is despondent over the loss of his men in battle. The opera culminates with a famously complicated, stylized sword dance performed by his concubine as she commits suicide to express her loyalty to the emperor!

Dr Iwan vintage Beijing Opera record Collections,please comment and  add new info ,thank you.please native chinese collectors help me to identified the Baijing Opera music record below:’

a.made in china(Pathe)

unidentified record

b.made in India :

c.Made In England

 unidentified His Master Voice record

the  Beijing Traditional Opera

silang Visit His Mother

Almost a month ago, Bertrand uploaded a great (and big) video of Silang Visits His Mother, starring Shi Yihong and Li Jun, and since he knows I’m obsessed with Jin Xiquan and Xiong Mingxia (who also appear in this staging), he kindly gave me the privilege to make a post about it.

I usually keep things (that are related to my online presence) in mind, but this time I forgot about this very pleasant “duty”of mine.

The story of Yang Yanhui, or Yang Silang (lit. “fourth son”) is one of the most popular Beijing Operas, featured by exciting story, a variety of characters and earworm arias. A version with Yu Kuizhi and Li Shengsu in the leading role was already posted at operabeijing.com, and Bertrand’s friend Zach provided a straightforward description of the whole story.

There are only a few things I would like to add as curiosity.

Zach mentions Yang Yanhui changed his name to Muyi upon captured, to conceal his true identity. However, his new alias also hints at his family relations. The two characters that make the traditional compound for surname Yang (楊) are mu (木) and yi (易). Very clever, isn’t it? How tricky our Silang is.

The version posted earlier omitted one character from the play: Mrs. Silang. Yang Yanhui already had a wife at home who remained loyal to him for fifteen years, and now, after Silang’s short visit, they have to bid farewell again. I definitely don’t envy this character.

The most famous act of this play is undoubtedly Zuo Gong (Sitting in the Palace). Bertrand already posted a video with Yu Kuizhi and Li Shengsu singing the most appealing snippet from the famous duet of Yang Yanhui and Princess Tiejing, but you can never have enough Zuo Gong in your Beijing Opera blog.

In the following clip, the above mentioned duo is singing the same excerpt, just wearing stage costume. It’s a 2009 recording, and Yu Kuizhi seems unusually rested and well-fed this time. I added English subtitles to it with Aegisub, to ease my conscience. Believe me, stereo Yu is fun.

the Zuo Gong duet

And now to the main performance! You will meet many familiar faces, most of them already have a category, so don’t hesitate and click those links.

Hu Xuan, the young “old lady” of Shanghai Jingju Troupe was featured recently in a complete opera here, playing the role of a poor but noble spirited elderly woman. Now we can see her again as the mother of Yang Silang. I think she deserves a category too, what do you think? *pokes Bertrand*

Young Ma school laosheng Mu Yu, playing Yang Zongbao’s father in this play, also appeared here before, both as kid and as young adult. In the latter post you can also spot Zhu Hong (Jingju Theater of Beijing Youth Troupe), starring as Silang’s wife in this performance.

Shi Yihong and Li Jun are two excellent professionals, though not particularly exciting. Possibly I won’t stand alone with the opinion that performers in the supporting roles are a bit more interesting in this production.

《四郎探母·坐宫》Silang Tan Mu (The Fourth Son Visits His Mother)

the end @ copyright Dr Iwan suwandy 2011