Dr Iwan E-book In Cd Rom :The Music History Collections Intro”




The Music History collections



Created By

Dr Iwan Suwandy,MHA

Privated Limited E-Book In CD-rom edition

Special for Senior collectors

Copyright @ 2012


Koleksi Sejarah Plat gramophone(piring hitam) Di Indonesia Sebelum Perang Dunia kedua

(The Indonesian’s Phonograph Record   Historic collections) 

Frame One : Introduction

1. I have starting build the collections of  Gramophone plate since study in hish school at Padang city West Sumatra in 1960.

2. Until this day in 2011 I cannot found the complete informations about the Indonesian’s  gramophone plate History, that is why I have made reasech about this topic in order to give the young generations about the development of music gramophone technology in the world since found by Mr Thomas Alfa Edison and when first arrived in Indonesia during The Dutch East colionial Era.

3. I will show my collections with information from that very rare and amizing historic collections, very lucky I had found vintage book of gramophone and also many info fram google explorations,especially from wikipedia ,for that info thanks very much.

4. This exhibtion will divide into two parts, first before World War I and second Between WWI and WWII. all during Indonesia under Dutch east Indie Colonial time.

5.The earliest Gramophone’s Plate in 19Th Century produced by Addison inc with very thick plate almost 4 times then now circa 1 cm,then became half centimer and latest 0,2 cm more thin,please look the comperative picture below:

First the mechanic gramophone look the promotion picture of His Mater Voice company below:

and later electric gramophone, still used gramophone needle look the needle promotion label below :

6.In Indonesia during Colonial time , the gramophone’s plate sold by the chinese marchant ,many at Pasar Baru Market Batavia (Jakarta) please look the trader mark below :

7.I hope all the  collectors all over the world ,especially Indonesian Collectors plaes honor my copyright with donnot copy or tag this exhibitons without my permisssion,thanks.

Jakarta January 2011

Dr Iwan suwandy @ copyright 2011


The  Music Record History Collection E-Book In CD –Rom  is a project of Dr Iwan Cubermuseum .Wordpress.Com Web Blog  for Audio Visual Conservation.

 The goal of the Jukebox is to present to the widest audience possible early commercial sound recordings, offering a broad range of historical and cultural documents as a contribution to education and lifelong learning.

These selections are presented as part of the record of the past. They are historical documents which reflect the attitudes, perspectives, and beliefs of different times. Dr Iwan E-book In CD-ROM  does not endorse the views expressed in these recordings, which may contain content offensive to users

This Project dedicated to My son Albert suwandy Djohan Oetama because one of his hobbies were music record beside  the art of photography, I hope this informations will need for him to conservated my old music record collections in the future.

I hope one day when I am still alive this collections can chow in Indonesian television or may be there are the sponsorship for marketing promotion of the music record incoperations in Indonesia,

The old music record can be used for the listener in a special Old Music Café at Jakarta in the future

Dr Iwan Collections

A. Before World War One

I.Before 1920

I.Early 20th century

Edison Diamond Disc Phonograph  record


1Betsy Lane Shapherd

Song Calm As The Night By Carl Bohm ,Edison record 5075

Singer Soprano solo Betsy Lane Shepherd


Read more about Carl Bohm



Carl Bohm

James Russell Lowell, probably the most philosophical of American poets, not even excepting Emerson and Whitman, says in Rousseau and the Sentimentalists: “Talent is that which is in a man’s power; genius is that in whose power a man is.” Genius is peculiar and the limitations it imposes upon the composer are distinct and easily defined. Richard Wagner was as great a genius as the world has ever known, but it would doubtless have been impossible for him to have written a piece in the type in which the subject of our sketch, Carl Bohm (sometimes spelled Karl Bohm), has written. The music of Wagner has its place and the music of Bohm likewise has its scope and influence. A glance at the catalog of any publishing house will show the remarkable fecundity of this man. Many of his melodies arc so near the folk-song in type that they have necessarily become extremely popular. Other of his works, such as the ever-demanded Calm as the Night, shows a finish and musicianship together with originality which indicate that his position will be permanent. The great popularity .of his innumerable piano pieces may in a sense be the result of his long training under that admirable pedagog Losechhorn, who introduced Bohm to those idioms of the keyboard he knew so well.


 Bohm’s music supplies a kind of material which is invaluable in teaching pupils who demand melodies. Unfortunately there is a class of teachers which does not appreciate the necessity for tunes which may be easily assimilated by those students whose musical tastes are not manifest, or those whose talent flickers in the glare of the strong light from the immortal masters. Bohm was born in Berlin in 1844, and has remained there most of his life. His most successful piano pieces in the past have been The Silver Stars, La Vi-vandiere and La Zingara, The Fountain, Murmuring Spring, Frolics of the Butterflies, Pollacca Brilliante, Salon Mazurka. Of us 259, No. 2; Throwing Kisses. In presenting Carl Bohm’s latest piece in this issue we believe that we are rendering the student and teacher readers of THE ETUDE a real service.


“Mignon” Nocturne is a drawing-room piece of the very best type, showing the experienced hand of the master throughout. It must be played in a graceful, elegant manner, with strict attention to rhythmic values and accents and due observance of all the various nuances. The manner of expression is like that of a refined song.


Karl Böhm interview

By Alan Blyth

To mark 30 years since his death, we revisit a classic interview from 1972 – with listening suggestions


Conductor Karl Böhm, remembered 30 years on (photo: Tully Potter Collection)

This week marked the 30th anniversary of the death of Karl Böhm. We looked through the Gramophone archive and found this interview with the legendary Austrian conductor from 1972 when the music critic Alan Blyth sought out Böhm in Salzburg. The result was a stunning insight into one of classical music’s finest minds as Böhm looked back on his career, reminiscing on his friendship with Richard Strauss, his studies under Bruno Walter and performing Wozzeck in the presence of the composer.

WHEN I was in Salzburg for the festival during the summer, I took the opportunity of searching out Karl Böhm, more cherished in his own land than perhaps he is in ours. He was kind enough to give me some of his time in spite of the fact that, at the age of almost 78, he was conducting no less than 12 opera performances at Salzburg, plus concerts there and more opera at Munich.

The very morning we met he was due to rehearse Theo Adam who was sharing the role of Wozzeck with Walter Berry after Geraint Evans had to withdraw following an accident filming in Wales. The performance of the Berg opera was that night and it turned out to be a thrilling one, Böhm’s activity in the pit belying his somewhat frail appearance away from it.

He has for some years stayed during the festival at a charming little cottage behind one of the less well-known hotels, where for the most part he enjoys absolute peace. Unfortunately this year some building work was taking place nearby and, as we sat in the garden, Böhm did not hesitate to inveigh against how long it all seemed to be taking. The evidence is certainly there on the tape of our conversation, but luckily it did not blot out what Böhm said to me in his good English (which he constantly declared was inadequate), spoken—as is his German—with an attractive Viennese accent. In fact his home town is not Vienna but Graz, where he first studied at the Conservatory. It was at Graz too that he got his first job—as a repetiteur and assistant conductor. “Karl Muck by chance heard me direct Lohengrin there, and he invited me to study all Wagner’s scores with him. He was the first and greatest influence on me. Then in 1920, I conducted a new production of Fidelio—the first time I had done the work—and it was a success. I had the chance of becoming the musical director there the following year, but just at the same time I received a telegram from Bruno Walter inviting me to conduct Freischütz and Butterfly in Munich. He said that there was an opening for a fourth conductor there and advised me to take that post, rather than the one in Graz, as it would give me a better chance to learn the repertory. I accepted, and stayed six years in Munich. For the first year I worked with Walter. Then in 1922 Knappertsbusch became musical director of the Munich company. From both I learned all I needed to know. Walter really taught me my Mozart. You see my father had been a Wagnerian, out and out, so until I got to know Walter, I had not regarded Mozart as highly as I should have done. My first Mozart opera at Munich was Entführung at the Festival in 1921—with a marvellous cast: Maria Ivögun, Tauber and Paul Bender. I’d love to have that cast today for my new recording of the work. Two years later I did my first Tristan at the theatre.

“In 1927 I went to Darmstadt. Ebert was administrator during my time there – and Rudolf Bing was his assistant. That’s a bit of operatic history for you. About this time I conducted my first Wozzeck in the presence of the composer, who wrote a dedication in my score. You can’t imagine how difficult the work then was for everyone. I recall that my first rehearsals were just with the wind and percussion, the strings coming in only later. In all, we had 40 orchestral rehearsals for the production. Even today the work is still rhythmically very difficult to manage. Each musician must know what his colleagues are playing because it is impossible to give everyone a lead.

“Then in 1931 I went to Hamburg where I was to be musical director for four years, followed by nine years in Dresden. I met Strauss for the first time when I was in Hamburg, where we did a new production of Elektra. After that we were close friends for the rest of his life. Of course he was a musical genius as a composer, but he was also a very good conductor— and taught me a great deal. I remember once after he had rehearsed the first scene of Elektra, he said to the orchestra,’Play it very softly, it’s too loud composed’. He always told me that one must conduct only with one hand; the other should be in one’s pocket. But I recall one occasion when he was doing Die Frau ohne Schatten at Dresden, he followed his own advice for most of the evening until he got to the final quartet. There, in the fortissimo C major he brought out his other hand and got really excited. After the performance he asked me, ‘Böhmel’—he always called me that—’how was it?’. I said that it was fine except that you used your left hand. Three days later I was sitting in my box when he conducted the same work again. When he reached that passage, he used only his right hand—and with the other, waved to me”.

Having had so many excellent ensembles where he conducted before and after the war, did he miss that aspect of performances today? “Well, we can still achieve the same thing—but only at festivals. Here, for Così this time, I have had four weeks rehearsal with my wonderful cast. In the normal opera-house routine today, I know it’s impossible. A singer flies in the morning before a performance. He doesn’t want to rehearse—he wants to rest for the following night”.

Böhm very much likes recording live performances, but he says that it does depend on circumstances. For Tristan, one of his favourite sets, he told me that they did one act at a time with an audience present. “If Windgassen had had to do all three acts at once, he would naturally have had to reserve himself a little in Act I; for Nilsson, of course, it makes no difference. She could sing the whole work every day without tiring herself. In the studio, you can of course correct everything, but you sometimes lose the line of a performance, or at least it’s very hard to retain it”.

He was greatly looking forward to recording Entführung, in which Arleen Auger will be Constanze, Peter Schreier, Belmonte, and Kurt Moll, Osmin. He would also like to make Idomeneo. Next summer he will conduct a new production of the opera at the Salzburg Festival. “In the past I’ve used the Baumgartner edition but next summer I will go back to the original. Of course, it’s impossible to say exactly what that is. In Munich he cut this, in Vienna he cut that. There are difficult decisions to make”.

In Così at Salzburg this summer Böhm cut two arias—”Tradito, schernito” and “E amore un ladroncello”-that are included in his recording of the work for EMI. Why was that? “On stage, they make the work too long. I spoke many times with Strauss about this, and with his and my experience of numerous performances, I’m sure these cuts are right, and made with devotion to Mozart”.

Next summer Böhm will—at last—conduct a British orchestra again, not in this country but also at Salzburg when the LSO appears there for the first time. “I would love to conduct at Covent Garden again. I have happy memories of being there in 1947 with the Vienna State Opera. I remember the excellent acoustics”.

When considering orchestras and their characteristics, he feels that he is spoilt by his close connection (over forty years) with the Vienna Philharmonic and the Berlin Philharmonic. “For records, I must use these orchestras because I know them so well, I have to have a close contact with the players before I start, and that’s difficult with an orchestra I don’t know”.

For Wagner, Böhm thought that he had learnt most from Karl Muck. “He had the tradition from Cosima who presumably knew Richard’s own ideas. Muck told me where the orchestra should be more prominent, how to handle the Bayreuth acoustics, and so on. My own view of Wagner is to avoid sentimentality and bombast as far as possible. When I first did the Ring at Bayreuth, with Wieland in his last production, the critics said my Rheingold and Walküre were so transparent. I replied that in the old days I conducted Wagner before I knew Mozart and Bach; now I conduct his works, that is Wagner’s, purified by the other composers. That’s my opinion”.

Where Mozart himself is concerned, he believes that his understanding comes merely through love. “And I hope that is transferred from me to the orchestra and from them to the audience. Strauss used to say that in every piece there are one or two bars that tell you the right tempo. My example for this is the quintet in the second act of Zauberflöte. You see there alla breve and Allegro, so you’re tempted to begin too quickly, because when the Three Ladies get to the phrase ‘Man zischelt viel sich in die Ohren’ they won’t be able to fit it in, so the speed of that phrase must govern that for the whole piece. Strauss also said that Mozart was the inventor of unending melody—and took for his example Cherubino’s ‘Voi che sapete’. The melody begins with the first bar and ends with last”.

For conducting Strauss, Böhm went back to that dictum of the composer himself. “Not too loud”. He added; “I conducted the premieres of Schweigsame Frau and Daphne. Strauss was always present during rehearsals and he repeatedly said, ‘too loud, Böhmel’. In the former opera, he once said he couldn’t hear the words, so he took the score back to his hotel and reduced the clarinets and bassoons from four to two, with red ink”. Then the thought ran through Böhm’s mind that the work had never been recorded, and he made a mental note to put right that neglect.

Although known as a specialist in the German repertory, Böhm loves conducting Italian opera. Two years ago he directed a new production of Macbeth in Vienna, and last year Otello at the Met of which we have the love duet on the Bing Farewell disc (DGG 2530 260, 10/72). “I did all the repertory pieces in the old days and I also remember a wonderful Otello with Max Lorenz—he’s here in Salzburg, you know, this summer. I think I’ve done about 160 operas in my life”.

With that, Böhm had to leave to rehearse Wozzeck, one of the 160 that will surely long remain in the memory of those who have heard him conduct it.


Karl Bohm other record


Though none of these are among Karl Böhm‘s greatest performances of orchestral works by Richard Strauss, they are still superlative performances that easily out-distance most later recordings, despite their antique sound. Recorded in 1952 and 1954, the sound is quite fine for its time, with enough detail and plenty of presence. The performances themselves are all magnificent. Conducting the RIAS-Symphonie-Orchester, Böhm leads a bold and dashing Don Juan with a death scene of astonishing impact, a massive and mighty Eine Alpensinfonie with an Epilogue of tremendous beauty, and a Suite of Waltzes from Act III of Der Rosenkavalier of wonderful suppleness and sensuality. Böhm‘s 1957 recordings of Don Juan and Eine Alpensinfonie with the Staatskapelle Dresden are more fully realized and certainly better sounding than these, but this disc should interest any true believer in either Böhm or Strauss.




Hear the song






Calm As the Night digital sheet music. Contains printable sheet music plus an interactive, downloadable digital sheet music file.



Calm As the Night

Composed by:

Carl Bohm



Alto Saxophone, range: F#4-C6





Solo & Accompaniment




Original Published Key:

G Major



Singer Soprano solo Betsy Lane Shepher



1920 New Edison Phonograph with a Soul Soprano Betsy Lane Shepherd 2

page Ad

1b.Bariton singer Thomas Chalmers

1b.Thomas Chalmers

Recording by Edison record no 480

Singer Bariton Italian Thomas Chalmers

Thomas Chalmers (Baritone) (New York City 1884 – Greenwich, Connecticut 1966) 

Thomas Chalmers was born on October 20, 1884 in New York City, the son of Thomas Hardie and Sophia Amanda (De Bann) Chalmers.
In 1909,
he went to Florence to study singing with Vincenzo Lombardi and made his operatic debut in May 1911 in Fossombrone as Marcello in La bohème. His first appearance in the United States was as Jack Rance in The Girl of the Golden West with Henry Wilson Savage’s English Grand Opera Company.
Chalmers toured the United States with the company from 1911 to 12. He then sang as the leading baritone with the Boston National Opera Company and the Century Opera Company before making his Metropolitan Opera debut on November 17, 1917 as Valentin in Faust. He went on to appear regularly at the Met until 1922 and sang in the world premiere of Shanewis, the US premiere of Mârouf, and the first Met performances of La forza del destino and Crispino e la Comare. His recordings were all made for Edison and covered a wide range of repertoire from folk songs to opera; he recorded both on cylinder and the Edison Disc Record formats.
Following a throat operation, Chalmers withdrew from opera and became a stage and film actor.
His many stage roles included several Broadway premieres such as Landolfo in Pirandello’s The Living Mask (Henry IV), 1924; Doctor Schindler in Schnitzler’s The Call of Life (Der Ruf des Lebens), 1925; Captain Adam Brant in O’Neill’s Mourning Becomes Electra, 1931; Ben Loman in Miller’s Death of a Salesman, 1949; and Richard Bravo in Maxwell Anderson’s The Bad Seed, 1954.
One of Chalmers’s earliest film roles was The Minister in the 1923 silent film Puritan Passions, based on Percy MacKaye’s play The Scarecrow, which was in turn based on Feathertop, by Nathaniel Hawthorne.
His last film role was The Judge in Martin Ritt’s The Outrage, released in 1964.
Chalmers also produced and directed several short comedy films written by Robert Benchley, including The Sex Life of the Polyp and The Treasurer’s Report, both released in 1928.[5] His voice can be heard as the narrator in two documentary films by Pare Lorentz,
The Plow That Broke the Plains (1936) and The River (1938), both with scores by Virgil Thomson.
In the 1950s and 60s,
Chalmers appeared on television as an actor in several drama anthology series including Westinghouse Studio One, CBS Television Workshop, Kraft Television Theatre, The DuPont Show of the Month and Play of the Week.
He also appeared in single episodes of The Further Adventures of Ellery Queen, The Defenders, Mister Peepers, and several other weekly series.
Chalmers’ wife, Vilma Fiorelli, was originally from Florence. They were married in London on June 24, 1913. One of the couple’s daughters, Vilma Flora Chalmers, married the banker Alfred Hayes in 1937.
Thomas Hardie Chalmers died on June 11, 1966
at the Laurelton Nursing Home in Greenwich, Connecticut. He was survived by his wife and his daughter, Vilma Hayes. 

Dio Possente Faust (cit Gounod)

Charles Gounod Composer


Other Dio Possente Faust recording

Read more about Dio Possente Faust

·         Recording Title

Dio possente

·         Other Title(s)

    • Even the bravest heart (Parallel (translated) title)
    • Faust. Avant de quitter ces lieux (Uniform title)
    • Faust (Work title)

·         Composer

Charles Gounod

·         Baritone vocal

Antonio Scotti

·         Genre(s)


·         Category


·         Description

Baritone vocal solo, with orchestra

·         Language


·         Label Name/Number

Victor 6284

·         Matrix Number/Take Number


·         Recording Date


·         Place of Recording

Camden, New Jersey

·         Size


·         Duration


other record

Madama Butterfly: Ve loi dissi…Addio fiorito asil with Guido Ciccolini Edison 83038  5245-C
Madama butterfly: Amore o grillo with Guido Ciccolini 83038 5245-C
Tannhauser: O tu bell’astro Edison 9982
Pescatori di perle: Del tempio al limitar with Guido Ciccolini 82203 5332-A
Pagliacci: Si puo? Edison 357
Lucia di Lammermoor: Chi mi frena with Enrico Baroni, Giovanni Zenatello, Margaret Matzenauer, Arthur Middleton and Marie Rappold 82266-L 5224-A
Carmen: Votre toast Edison BA 82060 2997 

Read more about

Charles Gounod Composer

Charles-François Gounod (French pronunciation: [ʃaʁl fʁɑ̃swa ɡuno]; 17 June 1818 – 17 October[1][2] or 18 October[3][4] 1893) was a French composer, known for his Ave Maria (based on a work by Bach) as well as his operas Faust and Roméo et Juliette


Charles Gounod in 1859, the year of the premiere of Faust

Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher. Under her tutelage, Gounod first showed his musical talents. He entered the Paris Conservatoire, where he studied under Fromental Halévy and Pierre Zimmermann (he later married Zimmermann’s daughter). In 1839, he won the Prix de Rome for his cantata Fernand. He was following his father; François-Louis Gounod (d. 1823) had won the second Prix de Rome in painting in 1783.[4] During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century; these he never ceased to cherish. Around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition.[5] During that period, he was attached to the Church of Foreign Missions in Paris.

In 1854,

Gounod completed a Messe Solennelle, also known as the Saint Cecilia Mass. This work was first performed in its entirety in the church of St Eustache in Paris on Saint Cecilia’s Day, 22 November 1855; from this rendition dates Gounod’s fame as a noteworthy composer.

Gounod late in his career.

During 1855

Gounod wrote two symphonies. His Symphony No. 1 in D major was the inspiration for the Symphony in C, composed later that year by Georges Bizet, who was then Gounod’s 17-year-old student. In the CD era a few recordings of these pieces have emerged: by Michel Plasson conducting the Orchestre national du Capitole de Toulouse, and by Sir Neville Marriner with the Academy of St Martin in the Fields. Fanny Mendelssohn, sister of Felix Mendelssohn, introduced the keyboard music of Johann Sebastian Bach to Gounod, who came to revere Bach. For him, The Well-Tempered Clavier was “the law to pianoforte study…the unquestioned textbook of musical composition”. It inspired Gounod to devise an improvisation of a melody over the C major Prelude (BWV 846) from the collection’s first book. To this melody, in 1859 (after the deaths of both Mendelssohn siblings), Gounod fitted the words of the Ave Maria, resulting in a setting that became world-famous.[6]

Gounod wrote his first opera, Sapho, in 1851,

at the urging of a friend of his, the singer Pauline Viardot; it was a commercial failure. He had no great theatrical success until Faust (1859), derived from Goethe.

This remains the composition for which he is best known; and although it took some time to achieve popularity, it became one of the most frequently staged operas of all time, with no fewer than 2,000 performances of the work having taken place by 1975 at the Paris Opéra alone, not counting other theatres.[7] The romantic and melodious Roméo et Juliette (based on the Shakespeare play Romeo and Juliet), premiered in 1867, is revived now and then but has never come close to matching Faust’s popular following. Mireille, first performed in 1864, has been admired by connoisseurs rather than by the general public. The other Gounod operas have fallen into oblivion.

Caricature from Punch, 1882

From 1870 to 1874

Gounod lived in England. In 17 Morden Road, Blackheath. A blue plaque has been put up on the house to show where he lived.[8]

He became the first conductor of what is now the Royal Choral Society. Much of his music from this time is vocal. He became entangled with the amateur English singer Georgina Weldon,[9]

a relationship (platonic, it seems) which ended in great acrimony and embittered litigation.[10] Gounod had lodged with Weldon and her husband in London’s Tavistock House.

Later in his life,

Gounod returned to his early religious impulses, writing much sacred music. His Pontifical Anthem (Marche Pontificale, 1869)

eventually (1949)

became the official national anthem of Vatican City. He expressed a desire to compose his Messe à la mémoire de Jeanne d’Arc (1887) while kneeling on the stone on which Joan of Arc knelt at the coronation of Charles VII of France.[4]

A devout Catholic, he had on his piano a music-rack in which was carved an image of the face of Jesus.

He was made a Grand Officer of the Légion d’honneur

in July 1888.[4] In 1893,

shortly after he had put the finishing touches to a requiem written for his grandson, he died of a stroke in Saint-Cloud, France.

One of Gounod’s short pieces for piano, “Funeral March of a Marionette”, received a new and unexpected lease of life

from 1955

when it was first used as the theme for the television series Alfred Hitchcock Presents.

The March was one of the eight records that Alfred Hitchcock selected to take to his desert island when he appeared on the BBC radio program Desert Island Disks in 1959.[11] T

he March had earlier been used to produce equally suspenseful moments in F. W. Murnau‘s American silent film, Sunrise: A Song of Two Humans (1927) and Harold Lloyd’s first sound film, Welcome Danger (1929).[12]

Gounod’s secular piano-accompanied songs were numerous and much praised by Ravel, but are seldom heard in recitals today.

2.Final Trio(Consuelo Escobar de Castro

,Albert Lindquist and Virgilio Lazzari)

Albert Lindquest

3.Collins and Harlan


There was a time when, in American households, the expression “sung by Collins & Harlan” was instantly recognized, like an advertising jingle of the future such as “like a rock.” In the case of the popular vocal duo of the early 19th century, the comparison with a truck commercial serves a more literal purpose than simply pointing out how fleeting popular taste is or how quickly both stars and headlights can dim. Baritone Arthur Collins and tenor Byron Harlan were actually such large men that they were sometimes introduced as “the Half Ton Duo.” Collins was such a heavy piece of human machinery that when he accidentally stepped on a trap door backstage in 1921, the contraption gave way and the singer didn’t stop falling until he hit the basement. It took him two years to recover, but either member of the duo could be said to have earned a lengthy hiatus, not to take the accident lightly.

Collins is said to be the vocalist who made more recordings than any other artist of this period, some 200 sides for the Edison label alone. Partner Harlan sprinted just a bit behind on the discographical racetrack, cutting 130 slabs as a soloist, not to mention the duo’s prolific output of more than 100 Edison releases. With so much material pressed by these artists between 1902 and the late ’20s, it is not surprising that copies are still being found as well as bought and sold, although sellers sometimes feel a necessity to report on the relative presence of mold. In terms of content, some listeners may find some of the duo’s actual songs even more repulsive than any residue found on the record itself. Too often, the presence of a wide range of subject matter, from hating one’s wife (“My Wife Has Gone to the Country! Hurrah! Hurrah!”) to loving (“Alexander’s Ragtime Band”), is overlooked because of scandalous titles such as “Nigger Loves His Possum.” Both performers came up in the minstrel era, effectively inventing the concept of pop music once someone figured out how to make and sell recordings. Standing on the edge of some kind of controversial subject, be it minstrel themes or gangsta rap, seems to be part of the territory. Collins & Harlan can be said to be common currency in only one type of household in the 21st century, that being one that produces or distributes historic archival recordings. The duo is well-represented on such reissues, good news for any interested listeners with allergies to mold.

II.20th Century

1a.Peter Dawson

Peter Dawson (bass-baritone)

Peter Dawson
Background information
Birth name Peter Smith Dawson
Also known as J.P. McCall, Will Strong, Will Danby, Hector Grant, Arthur Walpole, Robert Woodville, Evelyn Byrd, Peter Allison, Denton Toms, Charles Weber, Arnold Flint, Gilbert Mundy, Geoffrey Baxter, Alison Miller
Born 31 January 1882(1882-01-31) Adelaide, South Australia, Australia
Died 27 September 1961(1961-09-27) (aged 79)
Sydney, New South Wales, Australia
Genres Opera, oratorio, song
Occupations bass-baritone singer, songwriter
Years active 1899–1950s

Peter Smith Dawson (31 January 1882 – 27 September 1961) was an Australian bass-baritone and songwriter.[1] Dawson gained worldwide renown through song recitals and many best-selling recordings of operatic arias, oratorio solos and rousing ballads during a career spanning almost 60 years.


B, Edison Record  Auctions

5 Edison Diamond Disc Phonograph Records


Sold Date: 07/24/2007

Channel: Online Auction

Source: eBay

Category: Tools

Thank you for stopping. Today up for auction we have a five piece set of Edison original Diamond Disc Phonograph Records. These discs are wonderfully made, and seem to be in great condition with little to no scratching. Each one features a song on each side.


 Disc one features No. 80431-R (5449)

 Saved by Grace by Geo Stebbins and the Metropolitan Quartet, and No. 80431-L (5487) Blest Be the Tie That Binds, Geo Stebbins and the Metropolitan Quartet.


The second record features (4843)

 Home Sweet Home, Payne Bishop, Betsy Lane Shephard, and


Calm as the Night, by Carl Bohm, performed by Betsy Lane Shephard.

(same with dr Iwan collections above)


The third disc contains No. 80315-R (4588)

 Annie Laurie by Lady John Scott, performed by Christine Miller, No. 80315-L (4477) Then You’ll Remember Me, The Bohemian Girl (Balfe), performed by James Harrod.

The fourth disc features No. 50584-R(6878)

 Breeze (Blow my baby back to me), Macdonald-Goodwin-Hanley, performed by the Premier Quartet, and 50584-L (6831) Ragging the Chopsticks by Frankl-Gottler performed by Arther Fields.

The fifth record features No. 50169-R (3035)

 America by the New York Military Band, and 50169-L (3069) (a) Hail Columbia (b) The Star Spangled Banner also performed by the New York Military Band.

All of these discs measure approx. 10” wide and 1/4” thick

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Item 330588085156 is no longer available.
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EDISON 80697 Betsy Lane Shepherd GARDEN OF SLEEP N

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    78RPM Edison Betsy Lane Shepherd Garden of SleepExpedited shipping available    Buy it now or Best offer $16.99 Time left:17d 11h 20m
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Dr Iwan Record label collections


Dr Iwan collections’s


The Earliest Chinese

Play Record Collections

The Vintage  China Music record found in Indonesia


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Driwan Masterpiece vintage International Music Record CollectionsI.ORIGINAL SOUNDTRACT OF MOTION PICTURE















ps. I hope the collectors who have this masterpiece collections to show us his collections with info and suggestion via comment,THIS INFO FOR RESEACRH HOW MUCH THIS RARE RECORD STILL EXIST NOW, THANKS VERYMUCH FOR YOUR INFO.

the end @ Copyright Dr Iwan Suwandy 2012


4 responses to “Dr Iwan E-book In Cd Rom :The Music History Collections Intro”

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