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The Minangkabau Music Record Historic collection(Sejarah Rekaman Musik Minang)

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The Minangkabau Music record History(Sejarah rekamn Musik Minang)1.Orkes Gumarang  sibp.Asbon degan Penyanyi Yuni amir,Oslan Husein dan Nurseha.

1) Gumarang Orchestra leader Asbon with Singer Yuni Amir ,song Ya Musthapa productions  Mesra Record Inc

 The Song Ya Mustapha history

Ya Mustafa, also spelled Ya Mustapha, is a famous Egyptian song of unclear origin, whose lyrics are composed in 3 different languages: Arabic, French and Italian. There are also versions in the Greek and Turkish languages, where they are very popular in the respective countries (“Μουσταφά”). The music of the song is similar to Greek music. It was very popular in the 1950s and early 1960s. The song has been performed in many different versions by many different singers worldwide. One of the earliest singers to record this song in the 1950s was the Turkish-French singer Dario Moreno. The song became popular in Europe with the help of the Egyptian-born Palestinian singer Bob Azzam, who released it in 1960 in France. Azzam’s version was also a hit on the UK Singles Chart, where it spent 14 weeks and peaked at number 23[1]. In Spain, in 1960, the song reached #1 in the charts in both versions sung by Bob Azzam and by José Guardiola [1]. Bruno Gigliotti, the brother of famous singer Dalida, also covered the song. The song also featured in a few Egyptian movies, including one starring the Egyptian actor Ismail Yassin in the 1950s, and another film featuring Sabah from the same era. In 1975, the Turkish Cypriot actress and singer Nil Burak sang Ya Mustafa. The song was also copied by the Indian composers Nadeem-Shravan. Other singers who reproduced exactly the same song include the Lebanese singer Reeda Boutros and the American singer and actress Angélica María.

This song, with its Greek style music and polyglotic lyrics, can be considered as a historical tribute to the cosmopolitan era in the Egyptian city of Alexandria. During that era, a large cosmopolitan polyglotic community, mainly Greeks, Jews and Italians, lived in Alexandria. A sizable portion lived in the Attarine district, where the events of the song takes place.

The refrain of the song is “Chérie je t’aime, chérie je t’adore, como la salsa del pomodoro” (Darling, I love you, darling, I adore you, like tomato sauce).

The Gumarang Asbon History

Gumarang Orchestra and other Minang record like  Kampuang Nan Jauh Dimato(the homeland which far from eyes)

and Gumarang 1971

Orkes Gumarang

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang. Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin. Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta.

Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya.

Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.  Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba. Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

 Album Gumarang – Kampuang Nan Jauah di Mato

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf. Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan. Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH). Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha. Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu.

Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.  “Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta. “Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman.

Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya.

Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional.

Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini. Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

2.Musik Minang ERA 1960-1970

1) Oslan Husein

oslan huseinGumarang, Teruna Ria, dan Kumbang Tjari
IRAMA musik Latin sudah masuk dalam ramuan aransemen musik lagu-lagu Indonesia sejak pertengahan tahun 1955. Pelakunya adalah seorang yang bernama Asbon Majid, pemimpin orkes Gumarang. Dengan maksud memberi alternatif lain dari seriosa, keroncong, dan hiburan, Asbon memasuki unsur-unsur musik Latin yang pada masa itu memang sedang populer di Indonesia.

oslan-tahu

Detail information on musical album is important for history. Look at this album entitled Tahu Tempe by singer Oslan Husein which published by Irama record on 1960-ies. This album attached a note written by Sjahrul Nawas on it’s back cover. Sjahrul Nawas said that this album presented songs concerning about basic need of the Indonesian people in era 1960-ies.

This album responded toward speech of Presiden Soekarno who said that Indonesian people will never been hungry, because Indonesia is a rich country. So that this album presented songs entitled Tahu Tempe (a traditional food made of soya-bean), Nasi Djagung (rice made of corn), Sepiring Nasi (A Plate of Rice).

But what made this album special is a song entitled Lebaran, which became national anthem and sung every Idul Fitri season. Also finally, we know that the composer of this classic song is M. Jusuf, a leader of Orkes Widjaja Kusuma, a band for this album. Who has any information about M. Jusuf? Please share us

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang.

Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin.

Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya.

Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.

Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba.

Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf.

Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan.

Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH).

Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha.

Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.(siapa yang memiliki rekaman orkes Gumarang dibp alidir,harap memberikan info,teriam Kasih- Dr Iwan S)

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.Bagaimanakah profiole Mas Yos, mari kita lihat pada sampul piring hitam berjudul Dari Mas Yos Kasih Maafkan Beta ,berupa rekaman musik orkes eslhinta dbp Mus Mualim. dibawah ini :

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu. Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.

“Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta.

“Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman. Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya. Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.

Pada era ini musik barat dilarang diputar di Radio,  sehingga musik dalam negeri memperoleh kesempatan.,sperti lagu minang , seperti cuplikan dari tulisan surat kabar Padang Post dibawah ini:

Sejarah munculnya kreatifitas seniman dalam memopulerkan lagu-lagu Minang. Frans Sartono (kompas.com), menjelaskan, pada era 1950-1960-an, pembatasan pemutaran musik pop Barat di radio berimbas pada kreatifitas seniman lokal untuk berbicara dengan bahasa daerah dalam lirik lagu. Orkes Gumarang yang personelnya adalah Urang Awak mempopulerkan lagu berbahasa Minang, seperti Ayam Den Lapeh sampai Laruik Sanjo. Mereka mengakomodasikan unsur musik Latin yang saat itu banyak digemari di negeri ini. Oslan Husein, dengan bahasa Minang pula, memopulerkan lagu seperti Kampuang nan Jauh di Mato, dan Elly Kasim dikenal lewat Bareh Solok.
Dengan penelusuran yang lebih lengkap mengenai sejarah munculnya lagu-lagu Minang yang bersinergi dengan musik-musik lain, Theodore KS, penulis masalah industri musik (kompas.com) menguraikan, bahwa di masa 50-an muncul grup-grup musik yang menggubah lagu-lagu Minang dengan warna musik lain, seperti musik klasik. Orkes Gumarang dengan irama Latin

Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional.

Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini.

Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

 Nuansa Minangkabau yang ada di dalam setiap musik Sumatera Barat yang dicampur dengan jenis musik apapun saat ini pasti akan terlihat dari setiap karya lagu yang beredar di masyarat. Hal ini karena musik Minang bisa diracik dengan aliran musik jenis apapun sehingga enak didengar dan bisa diterima oleh masyarakat. Unsur musik pemberi nuansa terdiri dari instrumen alat musik tradisional saluang, bansi, talempong, rabab, dan gandang tabuik.

Ada pula saluang jo dendang, yakni penyampaian dendang (cerita berlagu) yang diiringi saluang yang dikenal juga dengan nama sijobang[14].

Musik Minangkabau berupa instrumentalia dan lagu-lagu dari daerah ini pada umumnya bersifat melankolis. Hal ini berkaitan erat dengan struktur masyarakatnya yang memiliki rasa persaudaraan, hubungan kekeluargaan dan kecintaan akan kampung halaman yang tinggi ditunjang dengan kebiasaan pergi merantau.

Industri musik di Sumatera Barat semakin berkembang dengan munculnya seniman-seniman Minang yang bisa membaurkan musik modern ke dalam musik tradisional Minangkabau. Perkembangan musik Minang modern di Sumatera Barat sudah dimulai sejak tahun 1950-an ditandai dengan lahirnya Orkes Gumarang.

Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya.

2.Orkes Kumbang Tjari dibp.Nuskan sjarif dengan penyanyi Elly Kasim.

Kumbang Tjari
Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.
“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH. “Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.
PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan). Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek Manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.  Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan. Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.  Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.
Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam. Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene. Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.
Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya.

Mengikuti sukses Gumarang, Kumbang Tjari pun tak kalah terkenalnya. Adalah Nuskan Syarif yang menakhodai grup musik yang berdiri tahun 1961 ini. Meskipun mengagumi Gumarang, Nuskan berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang.
Memasuki studio rekaman piringan hitam (PH), album Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taratak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan).
Selain Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang.

Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene.

Seribu lagu setahun

Melihat perkembangan awal lagu-lagu pop Minang ini, wajar saja kalau sebagian penggemar lagu Minang prihatin dan kecewa dengan lagu Minang sekarang. Salah satu faktor yang menyebabkan lagu-lagu Minang tempo dulu bisa hinggap lebih lama di telinga pendengarnya adalah tidak banyaknya industri rekaman, apalagi ditahun-tahun 50-an tersebut. Dalam setahun bisa dihitung dengan jari lagu yang beredar. Belum lagi pada masa itu rekaman piringan hitam (PH) dengan gramafon sebagai medianya. Bahkan untuk tampil di RRI saja harus melewati seleksi yang ketat. “Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba,”

SEMENTARA itu, orkes Kumbang Tjari dipimpin oleh Nuskan Syarif, Teruna Ria oleh Oslan Husein, dan Zaenal Combo oleh Zaenal Arifin. Tiga orkes ini memasukkan rock’n’roll pada lagu-lagu Minang dan non-Minang, seperti Kampung Nan Jauh Di Mato, Tirtonadi, dan Bengawan Solo.

 

Kumbang Tjari

Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.

“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH. “Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.

Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak.

Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI.

“Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960.

Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.

“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu.

Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH.

“Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.

PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan).

Kemudian elly Kasim merekam beberapa piring hitam antara lain :

1.Lagu  Kasiah Tak Sampai diiringi Band  electrica dibp Iwan Setiawan ,diproduksi oleh Indah record,LP Sterio side 1 berisi lagu Kapan Kamai,Kasiah tak sampai,Gulai paku,Djangan Tjoba2,Batanam Mumbang dan Sutan Betawi

side 2 berisi lagu :Batjontiak,Putus Kasiah,Sunguik Apolo,Permohonan dan gadih Bajua.

2.Lagu Anak Salido direkam oleh Philips

Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.

Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan.

Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.(salam kepada Pak Nuskan sjarief,masih ingat saya Goan pemain tenis yang dilatih oleh ayah anda alm Bachtiar sjarief di Padang,masih ingat kita pernah bertemu dilapangn seberang sungai dikaki bukit gunung padang dulu sekitar tahun 1960,nama saya sekarang Iwan Suwandy-Dr Iwan)

Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.

Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam.

Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an.

Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene.

Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.

PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan). Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek Manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.  Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan. Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.  Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.

Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam. Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene. Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.

Album Elly Kasim – Main Kim

Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya.

Quantcast

Pada  era 1959-1970 Orkes Kumbangtjari dibawah pimpinan Nuskan sjarif ( Saya pernah bertemu dengan Nuskan sekitar tahun 1959, baik dipadang saat lagi berlatih  Tennis lapangan dengan ayahnya alm Pak Bachtiar  Sjarief dan tahun 1959 betermu di Jakarta saat bertanding tennis ke Semarang di Jakarta, terakhir Nuskan sjarif sebagai ppegawai negeri bertugas di Papua barat (IB saat itu) dan menciptakan lagu Apose,dimasnakah Nusakn sjarief saat ini ? harap yang menegtahuinya memebrikan ifo,ayahnya Bachtiar sjarief pelatihku sudah almarhum-Dr Iwan) lihat piringhitam Nuskan sjarif deng orkes Kumbang Tjarinya,djuga lagu Elly Kasim alias cik Unieng ,

The end @ copyright dr Iwan Suwandy 2011

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The Vintage Original Soundtracks omedian Motion Picture

(Piring Hitam Lagu asli Film komedi Lama)

1.Student Prince,Mario Lanza

The Student Prince (film)
The Student Prince is a 1954 CinemaScope color film musical featuring, as the credits read, “the singing voice of Mario Lanza”. Lanza had become embroiled in a bitter dispute with MGM during production and the studio dismissed him. Under the terms of the settlement with Lanza, MGM retained the…

 

The Student Prince Poster

The Student Prince (1954)

107 min  –  Musical   –  15 June 1954 (USA)
    1 2 3 4 5 6 7 8 9 10 6.4/10 X  

Users: 6.4/10 (347 votes) 14 reviewsThe World’s Greatest Love Musical

Director:

Richard Thorpe, and 1 more credit »

Writers:

Dorothy Donnelly (play), Sonya Levien, and 3 more credits »

Stars:

Ann Blyth, Edmund Purdom and John Ericson

Mario Lanza (January 31, 1921 – October 7, 1959) was an American tenor

Tenor
The tenor is a type of male singing voice and is the highest male voice within the modal register. The typical tenor voice lies between C3, the C one octave below middle C, to the A above middle C in choral music, and up to high C in solo work. The low extreme for tenors is roughly F2…

 and Hollywood movie star of the late 1940s and the 1950s. The son of Italian immigrants, he began studying to be a professional singer at the age of 15. Orchestral conductor Arturo Toscanini

Arturo Toscanini

Arturo Toscanini was an Italian conductor. One of the most acclaimed musicians of the late 19th century and 20th century, he was renowned for his brilliant intensity, his restless perfectionism, his phenomenal ear for orchestral detail and sonority, and his photographic memory…

 would reputedly later call him “the greatest voice of the twentieth century.” Others referred to him extravagantly as the “new Caruso”, after his “instant success” in Hollywood films, while MGM hoped that he would become the movie studio’s “singing Clark Gable

Clark Gable
William Clark Gable was an American film actor, nicknamed “The King of Hollywood” in his heyday. In 1999, the American Film Institute named Gable seventh among the greatest male stars of all time….

” due to his good looks and powerful voice.

After appearing at the Hollywood Bowl

Hollywood Bowl

The Hollywood Bowl is a modern amphitheater in the Hollywood area of Los Angeles, California, United States that is used primarily for music performances…

 in 1947, Lanza signed a seven-year contract with MGM’s head, Louis B. Mayer

Louis B. Mayer
Louis Burt Mayer was a Belarus-born American film producer. He is generally cited as the creator of the “star system” within Metro-Goldwyn-Mayer in its golden years. Known always as Louis B…

, who saw his performance and was impressed by his singing. Prior to this, Lanza had made only two appearances on an operatic stage, when in 1948 he sang the role of Pinkerton in Puccini

Giacomo Puccini
Giacomo Antonio Domenico Michele Secondo Maria Puccini was an Italian composer whose operas, including La bohème, Tosca, Madama Butterfly, and Turandot, are among the most frequently performed in the standard repertoire…

‘s Madama Butterflyin New Orleans.

Madama Butterfly
Madama Butterfly is an opera in three acts by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. Puccini based his opera in part on the short story “Madame Butterfly” by John Luther Long, which was dramatized by David Belasco…

 

His movie debut was in That Midnight Kiss, which produced an unlikely hit song in the form of Giuseppe Verdi

That Midnight Kiss
That Midnight Kiss was the screen debut of tenor Mario Lanza, also starring Kathryn Grayson, and released by Metro-Goldwyn-Mayer. Among the supporting cast were Ethel Barrymore, conductor/pianist Jose Iturbi , Keenan Wynn, J. Carroll Naish, and Jules Munshin…

 

Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi was an Italian Romantic composer, mainly of opera. He was one of the most influential composers of the 19th century…

‘s operatic aria “Celeste Aida.” The following year, in The Toast of New Orleans, his featured popular song “Be My Love” became his first million-selling hit. In 1951, he starred in the role of his tenor idol, Enrico Caruso (1873–1921), in the biopic, The Great Caruso, which produced another million-seller with “The Loveliest Night of the Year.” It was the top-grossing film that year. The title song of his next film, Because You’re Mine, featured his final million-selling hit song. The song went on to receive an Academy Award nomination for Best Original Song. After recording the soundtrack for his next film, The Student Princehe walked out on the project after an argument with producer Dore Schary

The Toast of New Orleans
The Toast of New Orleans is a 1950 musical film directed by Norman Taurog and choreographed by Eugene Loring. It starred Mario Lanza, Kathryn Grayson, David Niven, J. Carroll Naish, James Mitchell and a teenaged Rita Moreno…

 

The Great Caruso
The Great Caruso is a 1951 biographical film made by Metro-Goldwyn-Mayer. It was directed by Richard Thorpe and produced by Joe Pasternak with Jesse L. Lasky as associate producer from a screenplay by Sonya Levien and William Ludwig. The original music was by Johnny Green and the cinematography by…

 

Because You’re Mine
This article is about the 1952 musical comedy film. For other uses see Because You’re Mine .Because You’re Mine is a 1952 musical comedy film starring Mario Lanza. Directed by Alexander Hall, the film also stars Doretta Morrow, James Whitmore, and Dean Miller.-Plot:Opera singer superstar Renato…

 

The Student Prince
The Student Prince is an operetta with music by Sigmund Romberg and book and lyrics by Dorothy Donnelly. It is based on Wilhelm Meyer-Förster’s play Alt Heidelberg. The piece has elements of melodrama but lacks the swashbuckling style common to Romberg’s other works…

 

Dore Schary
Isadore “Dore” Schary was an American motion picture director, writer, and producer, and playwright. He graduated from Central High School in Newark, New Jersey ….

 over his behavior on the set.

Lanza was known to be “rebellious, tough, and ambitious”, and during most of his film career, he suffered from addictions to overeating and alcohol which had a serious effect on his health and his relationships with directors, producers and sometimes other cast members. Hollywood columnist Hedda Hopper

Hedda Hopper
Hedda Hopper was an American actress and gossip columnist, whose long-running feud with friend turned arch-rival Louella Parsons became at least as notorious as many of Hopper’s columns.-Early life:…

 writes that “his smile, which was as big as his voice, was matched with the habits of a tiger cub, impossible to housebreak.” She adds that he was the “last of the great romantic performers”. He made three more films before dying of a heart attack at the age of 38. At the time of his death in 1959 he was still “the most famous tenor in the world”. Author Eleonora Kimmel concludes that Lanza “blazed like a meteor whose light lasts a brief moment in time.”

The Lanza “myth” was created by familiar Hollywood formulae, which took his social class and Italian-American identity and combined them with his good looks and exceptional talent as a singer to create the “poor boy makes good”, who is “transformed into a star”. He genuinely appealed to audiences worldwide, however, owing to his ability to cater to a wide variety of musical tastes. He could sing operatic arias, popular songs, Neapolitan favorites, operettas, sacred melodies and Great American Songbook

Great American Songbook
The Great American Songbook is a nebulously-defined construct that seeks to represent the best American songs of the 20th century principally from Broadway theatre, musical theatre, and Hollywood musicals, from the 1920s to 1960, including dozens of songs of enduring popularity…

 standards, making him what some call the “crossover artist supreme”.

Today, the “magnitude of his contribution to popular music is still hotly debated”, and because he appeared on the opera stage only twice, many critics feel that he needed to have had more “operatic quality time” in major theatres before he could be considered a great star of that art form. Nonetheless, his groundbreaking films, especially The Great Caruso, influenced numerous future opera stars, including José Carreras

José Carreras
Josep Maria Carreras i Coll , better known as José Carreras , is a Catalan Spanish tenor particularly known for his performances in the operas of Verdi and Puccini…

, Plácido Domingo

Plácido Domingo
José Plácido Domingo Embil KBE , better known as Plácido Domingo, is a Spanish tenor and conductor known for his versatile and strong voice, possessing a ringing and dramatic tone throughout its range. In March 2008, he debuted in his 128th opera role, giving Domingo more roles than any other tenor…

, and Luciano Pavarotti

Luciano Pavarotti
Luciano Pavarotti, Cavaliere di Gran Croce OMRI was an Italian operatic tenor, who also crossed over into popular music, eventually becoming one of the most commercially successful tenors of all time. He was one of “The Three Tenors” and became well-known for his televised concerts and media…

. According to opera historian Clyde McCants, “Of all the Hollywood singers who performed operatic music . . . the one who made the greatest impact was Mario Lanza,” while Hedda Hopper

Hedda Hopper
Hedda Hopper was an American actress and gossip columnist, whose long-running feud with friend turned arch-rival Louella Parsons became at least as notorious as many of Hopper’s columns.-Early life:…

 stated, “. . . there had never been anyone like Mario, and I doubt whether we shall ever see his like again.”

Early years

Born Alfred Arnold Cocozza in Philadelphia, Pennsylvania

Philadelphia, Pennsylvania
Philadelphia is the largest city in Pennsylvania, sixth-most-populous city in the United States and the fifty-first most populous city in the world….

, he was exposed to classical singing at a young age by his Abruzzese

Abruzzo
Abruzzo is a region in Italy, its western border lying less than due east of Rome. Abruzzo borders the region of Marche to the north, Lazio to the west and south-west, Molise to the south-east, and the Adriatic Sea to the east…

Molisan

Molise
Molise is a region of Southern Italy, the second smallest of the regions. It was formerly part of the region of Abruzzi e Molise and now a separate entity. The region covers 4,438 km² and has a population of about 300,000.Molise is the newest Italian region, since it was established in…

 Italian immigrant parents. By the age of 16, his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA

YMCA
The Young Men’s Christian Association is a worldwide movement of more than 45 million members from 124 national federations affiliated through the World Alliance of YMCAs…

 Opera Company while still in his teens, he later came to the attention of conductor Serge Koussevitzky

Serge Koussevitzky
Sergei Aleksandrovich Koussevitzky , was a Russian-born Jewish conductor, composer and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.-Early career:…

, who in 1942 provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood

Tanglewood
Tanglewood is an estate and music venue in Lenox and Stockbridge, Massachusetts. It is the home of the annual summer Tanglewood Music Festival and the Tanglewood Jazz Festival, and has been the Boston Symphony Orchestra’s summer home since 1937.- History :…

, Massachusetts. Reportedly, Koussevitzky would later tell him that, “Yours is a voice such as is heard once in a hundred years.”

Opera career

His operatic debut, as Fenton in Otto Nicolai’s The Merry Wives of Windsor(in English), came at the Berkshire Music Festival in Tanglewood on August 7, 1942, after a period of study with conductors Boris Goldovsky and Leonard Bernstein

The Merry Wives of Windsor (opera)
The Merry Wives of Windsor is an opera in three acts by Otto Nicolai to a German libretto by Hermann Salomon Mosenthal, based on the play The Merry Wives of Windsor by William Shakespeare….

 

Leonard Bernstein
Leonard Bernstein was an American conductor, composer, author, music lecturer and pianist. He was among the first conductors born and educated in the United States of America to receive worldwide acclaim…

. It was here that Cocozza adopted the stage name Mario Lanza, for its similarity to his mother’s maiden name, Maria Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having “few equals among tenors of the day in terms of quality, warmth, and power.” Herbert Graf subsequently wrote in the Opera News of October 5, 1942 that, “A real find of the season was Mario Lanza […] He would have no difficulty one day being asked to join the Metropolitan Opera.” Lanza performed the role of Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini’s La bohèmewith the noted Mexican soprano Irma González, baritone James Pease, and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942 that, “Miss González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations.” In an interview shortly before her death in 2008, Ms. González recalled that Lanza was “very correct, likeable, [and] with a powerful and beautiful voice.”
His budding operatic career was interrupted by World War II, when he was assigned to Special Services in the U.S. Army Air Corps

La bohème
La bohème is an opera in four acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere performance of La bohème was in Turin on 1 February 1896 at the Teatro Regio and conducted by the young Arturo…

 

United States Army Air Corps
The United States Army Air Corps was a forerunner of the United States Air Force. Created on July 2, 1926 as part of the United States Army, it was also the predecessor of the United States Army Air Forces , established in 1941…

. He appeared in the wartime shows On the Beam and Winged Victory. He also appeared in the film version of the latter (albeit as an unrecognizable member of the chorus).

Winged Victory (play)
Winged Victory is a play and, later, a film by Moss Hart, originally created and produced by the U.S. Army Air Forces during World War II as a morale booster and as a fundraiser for the Army Emergency Relief Fund. Upon recommendation of Lt. Col. Dudley S. Dean, who had been approached with the…

 

Lanza resumed his singing career with a concert in Atlantic City

Atlantic City, New Jersey
Atlantic City is a city in Atlantic County, New Jersey, United States, famous for its boardwalk, casino gambling, sandy beaches, and view of the Atlantic Ocean. The city has also served as the inspiration for the board game Monopoly. Atlantic City is a resort community located on Absecon Island on…

 with the NBC Symphony Orchestra

NBC Symphony Orchestra
The NBC Symphony Orchestra was a radio orchestra established by David Sarnoff of the National Broadcasting Company especially for conductor Arturo Toscanini…

 in September 1945 under the baton of Peter Herman Adler

Peter Herman Adler
Peter Herman Adler was an American conductor born in Austria–Hungary in Gablonz an der Neiße, which is now in the Czech Republic….

, who subsequently became a mentor to him. The following month, Lanza replaced tenor Jan Peerce

Jan Peerce
Jan Peerce was an American operatic tenor. He is the father of film director Larry Peerce.-Biography:Jan Peerce’s parents, Louis and Henya Perelmuth, came from the Russian village of Horodetz. Their first child, a daughter, died in an epidemic. In 1903 they emigrated to America along with second…

 on the live CBS

CBS
CBS Broadcasting Inc. is a major US television network, which started as a radio network. The name is derived from the initials of the network’s former name, Columbia Broadcasting System. The network is sometimes referred to as the “Eye Network” in reference to the shape of the company’s logo…

 radio program Great Moments in Music, on which he made six appearances over a period of four months, singing extracts from various operas and other works. He then studied with noted teacher Enrico Rosati for fifteen months, acquiring a solid vocal technique that enabled him, in his own words, “to sing for hours without becoming tired.” His friend and colleague bass-baritone George London later recalled that, prior to working with Rosati, Lanza’s voice “was unschooled, but of incredible beauty, with ringing, fearless high notes. […] Rosati taught him to sing more lyrically, with less pressure, to good advantage.”

His studies with Rosati completed, Lanza embarked on an 86-concert tour of the United States, Canada and Mexico between July 1947 and May 1948 with George London and soprano Frances Yeend

Frances Yeend
Frances Yeend was an American classical soprano who had an active international career as a concert and opera singer during the 1940s through the 1960s…

. Reviewing his second appearance at Chicago’s Grant Park in July 1947 in the Chicago Sunday Tribune, the respected music critic Claudia Cassidy

Chicago Tribune
The Chicago Tribune is a major daily newspaper based in Chicago, Illinois, and the flagship publication of the Tribune Company. Formerly self-styled as the “World’s Greatest Newspaper” , it remains the most read daily newspaper of the Chicago metropolitan area and the Great Lakes region and is…

 

Claudia Cassidy
Claudia Cassidy , born in Shawneetown, Illinois, was a music, dance, and drama critic. She was so well-known for giving caustic reviews to what she considered bad performances that she earned the nickname “Acidy Cassidy.” Her judgment, however, which was regarded as extremely controversial even in…

 praised Lanza’s “superbly natural tenor” and observed that “though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama.”

In April 1948, Lanza sang two performances as Pinkerton in Puccini’s Madama Butterflyfor the New Orleans Opera Association. The conductor was Walter Herbert

Madama Butterfly
Madama Butterfly is an opera in three acts by Giacomo Puccini, with an Italian libretto by Luigi Illica and Giuseppe Giacosa. Puccini based his opera in part on the short story “Madame Butterfly” by John Luther Long, which was dramatized by David Belasco…

 

Walter Herbert (conductor)
Walter Herbert was an American conductor and impresario of German birth, and World Champion contract bridge player….

, the stage director was Armando Agnini

Armando Agnini
– Metropolitan Opera :Born in Naples, Italy, he went to the United States at the age of eighteen. He was associated with companies in Boston and Montreal, and made his debut with the Metropolitan Opera with a production of I puritani , in 1919…

. Writing in the St. Louis News, critic Laurence Odel observed that, “Mario Lanza performed his duties as Lieut. Pinkerton with considerable verve and dash. Rarely have we seen a more superbly romantic leading tenor. His exceptionally beautiful voice helps immeasurably.” Following the success of these performances, Lanza was invited to return to New Orleans in 1949 as Alfredo in Verdi’s La traviata. However, as biographer Armando Cesari observes, by 1949 Lanza “was already deeply engulfed in the Hollywood machinery and consequently never learned the role [of Alfredo].”

La traviata
La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias , a play adapted from the novel by Alexandre Dumas, fils. The title “La traviata” means literally The Woman Gone Astray, or perhaps more figuratively, The…

 

Film career

A concert at the Hollywood Bowl

Hollywood Bowl
The Hollywood Bowl is a modern amphitheater in the Hollywood area of Los Angeles, California, United States that is used primarily for music performances…

 in August 1947 had brought Lanza to the attention of Louis B. Mayer

Louis B. Mayer
Louis Burt Mayer was a Belarus-born American film producer. He is generally cited as the creator of the “star system” within Metro-Goldwyn-Mayer in its golden years. Known always as Louis B…

, who promptly signed Lanza to a seven-year film contract with Metro-Goldwyn-Mayer

Metro-Goldwyn-Mayer
Metro-Goldwyn-Mayer Inc., or MGM, was an American media company, involved primarily in the production and distribution of films and television programs. MGM was founded in 1924 when the entertainment entrepreneur Marcus Loew gained control of Metro Pictures, Goldwyn Pictures Corporation and Louis…

. This proved to be a turning point in the young singer’s career. The contract required him to commit to the studio for six months, and at first Lanza believed he would be able to combine his film career with his operatic and concert one. In May 1949, he made his first commercial recordings with RCA Victor

Sony BMG Music Entertainment
Sony BMG Music Entertainment was a global recorded music company, which was a 50–50 joint venture between the Sony Corporation of America and Bertelsmann AG…

. His rendition of the aria “Che gelida manina” (from La bohème) from that session was subsequently awarded the prize of Operatic Recording of the Year by the (United States) National Record Critics Association.

La bohème
La bohème is an opera in four acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Scènes de la vie de bohème by Henri Murger. The world premiere performance of La bohème was in Turin on 1 February 1896 at the Teatro Regio and conducted by the young Arturo…

 

The Toast of New Orleans

Lanza’s first two starring films, That Midnight Kissand The Toast of New Orleans, were commercial successes, and in 1950 his recording of “Be My Love” became the first of three million-selling singles for the young singer, earning him enormous fame in the process. While at MGM, Lanza worked closely with the Academy Award-winning conductor, composer, and arranger Johnny Green

That Midnight Kiss
That Midnight Kiss was the screen debut of tenor Mario Lanza, also starring Kathryn Grayson, and released by Metro-Goldwyn-Mayer. Among the supporting cast were Ethel Barrymore, conductor/pianist Jose Iturbi , Keenan Wynn, J. Carroll Naish, and Jules Munshin…

 

The Toast of New Orleans
The Toast of New Orleans is a 1950 musical film directed by Norman Taurog and choreographed by Eugene Loring. It starred Mario Lanza, Kathryn Grayson, David Niven, J. Carroll Naish, James Mitchell and a teenaged Rita Moreno…

 

Johnny Green
Johnny Green was an American songwriter, composer, musical arranger, and conductor. He was given the nickname “Beulah” by colleague Conrad Salinger. His most famous song was one of his earliest, “Body and Soul”…

. In a 1977 interview with Lanza biographer Armando Cesari, Green recalled that the tenor was insecure about the manner in which he had become successful, and was keenly aware of the fact that he had become a Hollywood star before first having established himself on the operatic stage. “Had [Lanza] been already a leading tenor, if not the leading tenor at the Met[ropolitan Opera House], and come to Hollywood in between seasons to make a picture, he would have had [the security of having] the Met as his home,” Green remarked. According to Green, Lanza possessed “the voice of the next Caruso. [Lanza] had an unusual, very unusual quality…a tenor with a baritone color in the middle and lower registers, and a great feeling for the making of music. A great musicality. I found it fascinating, musically, to work with [him].”

The Great Caruso

In 1951, Lanza portrayed Enrico Caruso in The Great Caruso, which proved an astonishing success, though it did not adhere to the facts of Caruso’s life. At the same time, Lanza’s increasing popularity exposed him to intense criticism by some music critics, including those who had praised his work years earlier. Nevertheless, Lanza’s performance earned him compliments from the subject’s own son, Enrico Caruso Jr., a tenor in his own right. Shortly before his death in 1987, Enrico Jr. wrote in Enrico Caruso: My Father and My Family (posthumously published by Amadeus in 1990) that, “I can think of no other tenor, before or since Mario Lanza, who could have risen with comparable success to the challenge of playing Caruso in a screen biography. […] Mario Lanza was born with one of the dozen or so great tenor voices of the century, with a natural voice placement, an unmistakable and very pleasing timbre, and a nearly infallible musical instinct.” He went on to praise Lanza’s tempi and phrasing, “flawless” diction, and “impassioned” delivery, adding that, “All are qualities that few singers are born with and others can never attain.” In conclusion, he wrote that, “Lanza excelled in both the classical and the light popular repertory, an accomplishment that was beyond even my father’s exceptional talents.”

The Great Caruso
The Great Caruso is a 1951 biographical film made by Metro-Goldwyn-Mayer. It was directed by Richard Thorpe and produced by Joe Pasternak with Jesse L. Lasky as associate producer from a screenplay by Sonya Levien and William Ludwig. The original music was by Johnny Green and the cinematography by…

 

The Student Prince

In 1952, Lanza was dismissed by MGM after he had pre-recorded the songs for The Student Prince. The reason most frequently cited in the tabloid press at the time was that his recurring weight problem had made it impossible for him to fit into the costumes of the Prince. However, as his biographers Cesari and Mannering have established, Lanza was not overweight at the beginning of the production, and it was, in fact, a disagreement with director Curtis Bernhardt

The Student Prince
The Student Prince is an operetta with music by Sigmund Romberg and book and lyrics by Dorothy Donnelly. It is based on Wilhelm Meyer-Förster’s play Alt Heidelberg. The piece has elements of melodrama but lacks the swashbuckling style common to Romberg’s other works…

 

Curtis Bernhardt
Curtis Bernhardt was a German film director born in Worms, Germany. Some of his American films were called “woman’s films” including the Joan Crawford film Possessed . Bernhardt trained as an actor in Germany, and performed on the stage, before starting as a film director in 1926…

 over Lanza’s singing of one of the songs in the film that led to Lanza walking off the set. MGM refused to replace Bernhardt, and the film was subsequently made with actor Edmund Purdom

Edmund Purdom
Edmund Anthony Cutlar Purdom was a British actor.-Early life:Purdom was born in Welwyn Garden City, Hertfordshire, England and educated at St Augustine’s Abbey School,Ramsgate, then by the Jesuits at St Ignatius’Grammar School and Welwyn Garden City Grammar School]…

 miming to Lanza’s voice. Ironically, the eventual director of the film was Richard Thorpe

Richard Thorpe
Richard Thorpe was an American film director.Born Rollo Smolt Thorpe in Hutchinson, Kansas, he began his entertainment career performing in vaudeville and onstage. In 1921 he began in motion pictures as an actor and directed his first silent film in 1923. He went on to direct more than one hundred…

, the same man whom Lanza had pleaded with MGM to replace Bernhardt, and with whom the tenor had enjoyed an excellent working relationship in The Great Caruso.

The Great Caruso
The Great Caruso is a 1951 biographical film made by Metro-Goldwyn-Mayer. It was directed by Richard Thorpe and produced by Joe Pasternak with Jesse L. Lasky as associate producer from a screenplay by Sonya Levien and William Ludwig. The original music was by Johnny Green and the cinematography by…

 

Depressed by his dismissal, and with his self-confidence severely undermined, Lanza became a virtual recluse for more than a year, frequently seeking refuge in alcoholic binges. During this period, Lanza also came very close to bankruptcy as a result of poor investment decisions by his former manager, and his lavish spending habits left him owing about $250,000 in back taxes to the IRS.

Serenade

Lanza returned to an active film career in 1955 in Serenade However the film was not as successful as his previous films, despite its strong musical content, including arias from Der Rosenkavalier, Fedora, L’arlesiana, and Otello, as well as the Act III duet from Otello with soprano Licia Albanese

Serenade (film)
Serenade, a 1956 Warner Bros. release, was tenor Mario Lanza’s fifth film, and his first on-screen appearance in four years. Directed by Anthony Mann and based on the 1937 novel of the same name by James M…

.

Der Rosenkavalier
Der Rosenkavalier is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from the novel Les amours du chevalier de Faublas by Louvet de Couvrai and Molière’s comedy Monsieur de Pourceaugnac…

 

L’arlesiana
L’arlesiana is an opera in three acts by Francesco Cilea to an Italian libretto by Leopoldo Marenco. It was originally written in four acts, and was first performed on 27 November 1897 at the Teatro Lirico di Milano in Milan…

 

Otello
Otello is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare’s play Othello. It was Verdi’s penultimate opera, and was first performed at the Teatro alla Scala, Milan, on February 5, 1887….

 

Licia Albanese
Licia Albanese is an Italian-born American operatic soprano. Noted especially for her portrayals of the lyric heroines of Verdi and Puccini, Albanese was a leading artist with the Metropolitan Opera of New York from 1940 to 1966…

. He then moved to Rome, Italy in May 1957, where he worked on the film Seven Hills of Rome, and returned to live performing in a series of acclaimed concerts throughout the UK, Ireland and mainland Europe. Despite a number of cancellations, which resulted from his failing health during this period, Lanza continued to receive offers for operatic appearances, concerts, and films.

In September 1958, he made a number of operatic recordings at the Rome Opera House for the soundtrack of what would turn out to be his final film, For the First Time. Here he came into contact with the Artistic Director of the Rome Opera, Riccardo Vitale, who offered him the role of Canio in Pagliacciin the theater’s 1960/61 season. Lanza also received offers from the management of the La Scala and San Carlo opera houses. However, his health continued to decline, with the tenor suffering from a variety of ailments, including phlebitis

For the First Time
For the First Time is tenor star Mario Lanza’s final film. Filmed on location in 1958 in Capri, Salzburg, Berlin and at the Rome Opera House, the film told the sentimental story of an operatic tenor who finds love for the first time with a young German woman , who happens to be deaf…

 

Pagliacci
Pagliacci is an opera consisting of a prologue and two acts written and composed by Ruggero Leoncavallo. It recounts the tragedy of a jealous husband in a commedia dell’arte troupe…

 

Phlebitis
Phlebitis is an inflammation of a vein, usually in the legs.When phlebitis is associated with the formation of blood clots , usually in the deep veins of the legs, the condition is called thrombophlebitis…

 and acute high blood pressure. His old habits of overeating and crash dieting, coupled with binge drinking, compounded his problems.

Death

In April 1959, Lanza suffered a minor heart attack, followed by double pneumonia

Pneumonia
Pneumonia is an inflammatory condition of the lung. It is often characterized as including inflammation of the parenchyma of the lung and abnormal alveolar filling with fluid ….

 in August. He died in Rome in October of that year at the age of 38 from a pulmonary embolism

Pulmonary embolism
Pulmonary embolism is a blockage of the main artery of the lung or one of its branches by a substance that has travelled from elsewhere in the body through the bloodstream . Usually this is due to embolism of a thrombus from the deep veins in the legs, a process termed venous thromboembolism…

 after undergoing a controversial weight loss program colloquially known as “the twilight sleep treatment,” which required its patients to be kept immobile and sedated for prolonged periods. Attenders at his funeral were the singers Maria Caniglia

Maria Caniglia
Maria Caniglia was one of the leading Italian dramatic sopranos of the 1930s and 1940s.- Life and career :…

 and Lidia Nerozzi and the actors Franco Fabrizi

Franco Fabrizi
Franco Fabrizi was an Italian actor.Son of a barber and a cinema cashier, was a soap opera photo actor, for example, the fotoromanzo Arizona Kid, in the newspaper Avventuroso Film…

 and Enzo Fiermonte

Enzo Fiermonte
Enzo Fiermonte , sometimes credited as William Bird, was a boxer and actor. Fiermonte was born on July 17, 1908 in Bari, Puglia, Italy. He married Madeleine Astor on November 27, 1933 in New York City, but was divorced on June 11, 1938. In his early life he was a boxer, but later became a film actor…

. Frank Sinatra

Frank Sinatra
Francis Albert “Frank” Sinatra was an American singer and actor.Beginning his musical career in the swing era with Harry James and Tommy Dorsey, Sinatra became a successful solo artist in the early to mid-1940s, being the idol of the “bobby soxers.” His professional career had stalled by the…

 sent his condolences by telegram.
Lanza’s widow, Betty, moved back to Hollywood with their four children, but died five months later at the age of 37. Biographer Armando Cesari writes that the apparent cause of death, according to the coroner, was “asphyxiation resulting from a respiratory ailment for which she had been receiving medication”. In 1991, Marc, the younger of their two sons, died of a heart attack at the age of 37; six years later, Colleen, their elder daughter, was killed at the age of 48 when she was struck by two passing vehicles on a highway. Damon Lanza, the couple’s eldest son, died in August 2008 of a heart attack at the age of 55.

Legacy

Lanza’s short career covered opera, radio, concerts, recordings, and motion pictures. He was the first artist for RCA Victor Red Seal to receive a gold disc and the first artist to sell two and half million albums. A highly influential artist, Lanza has been credited with inspiring successive generations of opera singers, including Plácido Domingo

Plácido Domingo
José Plácido Domingo Embil KBE , better known as Plácido Domingo, is a Spanish tenor and conductor known for his versatile and strong voice, possessing a ringing and dramatic tone throughout its range. In March 2008, he debuted in his 128th opera role, giving Domingo more roles than any other tenor…

, Luciano Pavarotti

Luciano Pavarotti
Luciano Pavarotti, Cavaliere di Gran Croce OMRI was an Italian operatic tenor, who also crossed over into popular music, eventually becoming one of the most commercially successful tenors of all time. He was one of “The Three Tenors” and became well-known for his televised concerts and media…

, Leo Nucci

Leo Nucci
Leo Nucci is an Italian operatic baritone, particularly suited to Verdi roles.Born at Castiglione dei Pepoli, near Bologna, he studied with Giuseppe Marchese and made his stage debut in Spoleto, as Figaro in Il barbiere di Siviglia, in 1967, he then joined the chorus of La Scala in Milan, and…

 and José Carreras

José Carreras
Josep Maria Carreras i Coll , better known as José Carreras , is a Catalan Spanish tenor particularly known for his performances in the operas of Verdi and Puccini…

. Singers with seemingly different backgrounds and influences were also inspired by his singing, including his RCA Victor label-mate Elvis Presley

Elvis Presley
Elvis Aaron Presley was one of the most popular American singers of the 20th century. A cultural icon, he is widely known by the single name Elvis. He is often referred to as the “King of Rock and Roll” or simply “the King”.Born in Tupelo, Mississippi, Presley moved to Memphis, Tennessee, with his…

.

In 1994, tenor José Carreras paid tribute to Lanza in a worldwide concert tour, saying of him, “If I’m an opera singer, it’s thanks to Mario Lanza.” Carreras’ colleague Plácido Domingo echoed these comments in a 2009 CBS interview when he stated, “Lanza’s passion and the way his voice sounds are what made me sing opera. I actually owe my love for opera thanks to a kid from Philadelphia.”

Filmography

  • Winged Victory
    Winged Victory (play)
    Winged Victory is a play and, later, a film by Moss Hart, originally created and produced by the U.S. Army Air Forces during World War II as a morale booster and as a fundraiser for the Army Emergency Relief Fund. Upon recommendation of Lt. Col. Dudley S. Dean, who had been approached with the…

     

    , 1944 (uncredited chorus member)

  • That Midnight Kiss
    That Midnight Kiss
    That Midnight Kiss was the screen debut of tenor Mario Lanza, also starring Kathryn Grayson, and released by Metro-Goldwyn-Mayer. Among the supporting cast were Ethel Barrymore, conductor/pianist Jose Iturbi , Keenan Wynn, J. Carroll Naish, and Jules Munshin…

     

    , 1949

  • The Toast of New Orleans
    The Toast of New Orleans
    The Toast of New Orleans is a 1950 musical film directed by Norman Taurog and choreographed by Eugene Loring. It starred Mario Lanza, Kathryn Grayson, David Niven, J. Carroll Naish, James Mitchell and a teenaged Rita Moreno…

     

    , 1950

  • The Great Caruso
    The Great Caruso
    The Great Caruso is a 1951 biographical film made by Metro-Goldwyn-Mayer. It was directed by Richard Thorpe and produced by Joe Pasternak with Jesse L. Lasky as associate producer from a screenplay by Sonya Levien and William Ludwig. The original music was by Johnny Green and the cinematography by…

     

    , 1951

  • Because You’re Mine
    Because You’re Mine
    This article is about the 1952 musical comedy film. For other uses see Because You’re Mine .Because You’re Mine is a 1952 musical comedy film starring Mario Lanza. Directed by Alexander Hall, the film also stars Doretta Morrow, James Whitmore, and Dean Miller.-Plot:Opera singer superstar Renato…

     

    , 1952

  • The Student Prince
    The Student Prince (film)
    The Student Prince is a 1954 CinemaScope color film musical featuring, as the credits read, “the singing voice of Mario Lanza”. Lanza had become embroiled in a bitter dispute with MGM during production and the studio dismissed him. Under the terms of the settlement with Lanza, MGM retained the…

     

    , 1954 (voice only)

  • Serenade
    Serenade (film)

    Serenade, a 1956 Warner Bros. release, was tenor Mario Lanza’s fifth film, and his first on-screen appearance in four years. Directed by Anthony Mann and based on the 1937 novel of the same name by James M…

     

    , 1956

  • Seven Hills of Rome, 1958
  • For the First Time
    For the First Time
    For the First Time is tenor star Mario Lanza’s final film. Filmed on location in 1958 in Capri, Salzburg, Berlin and at the Rome Opera House, the film told the sentimental story of an operatic tenor who finds love for the first time with a young German woman , who happens to be deaf…

     

    , 1959

 

Select recordings

  • The Mario Lanza Collection, RCA
    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1991

  • Mario Lanza: The Legendary Tenor, RCA
    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1987

  • The Great Caruso And Other Caruso Favorites, RCA
    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1989

  • Mario! Lanza At His Best
    Mario! Lanza at His Best
    Mario! Lanza At His Best is a CD released by BMG in 1995, and consists of two original albums recorded by tenor Mario Lanza. These are: the Neapolitan songs album Mario!, recorded in December 1958, and The Vagabond King, recorded in July 1959…

     

    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1995

    , RCA

  • Mario Lanza Live at Hollywood Bowl: Historical Recordings (1947 & 1951)
    Mario Lanza Live at Hollywood Bowl: Historical Recordings (1947 & 1951)
    Mario Lanza Live at Hollywood Bowl: Historical Recordings is a 2000 CD, released by the Gala label, includes the six selections that tenor Mario Lanza sang at his first Hollywood Bowl concert in August 1947. This is the performance that first brought Lanza to the attention of Hollywood, and…

     

    , Gala, 2000

  • Mario Lanza Sings Songs from The Student Prince and The Desert Song
    Mario Lanza Sings Songs from The Student Prince and The Desert Song
    Mario Lanza Sings Songs from The Student Prince and The Desert Song is a 1989 BMG CD by Mario Lanza.This CD features most of the songs recorded by Mario Lanza for the 1954 MGM film The Student Prince…

     

    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1989

    , RCA

  • Serenade/A Cavalcade of Show Tunes
    Serenade/A Cavalcade of Show Tunes
    The Mario Lanza CD Serenade/A Cavalcade of Show Tunes is a BMG UK “twofer”, released in 2004. Comprising the soundtrack album from the film Serenade, and the LP A Cavalcade of Show Tunes, the CD also includes a previously unreleased version of the song Serenade by Nicholas Brodszky and Sammy Cahn…

     

    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 2004

    , RCA

  • Mario Lanza: Opera Arias and Duets
    Mario Lanza: Opera Arias and Duets
    Mario Lanza: Opera Arias and Duets is a 1999 CD which at the time of its writing was the only all-operatic Mario Lanza CD that BMG had released…

     

    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1999

    , RCA

  • Christmas With Mario Lanza, RCA
    RCA
    RCA Corporation, founded as Radio Corporation of America, was an electronics company in existence from 1919 to 1986. Currently, the RCA trademark is owned by the French conglomerate Technicolor SA through RCA Trademark Management S.A., a company owned by Technicolor…

    , 1987

  • Mario Lanza – The Broadway Collection, Rosetta Remastering, 2008

 

2.Comedian Motion Movie TRUST ME, about President Jimmi Carter,written and Produced by Hans Handersen, music The Pickers

4.American Graffiti

 

41 Original Hits from the Soundtrack of American Graffiti

41 Original Hits From The Soundtrack Of American Graffiti
Soundtrack album from American Graffiti by Various
Released August 1973 (LP)
June 22, 1993 (CD)
Recorded Various
Genre Rock and roll, Oldies
Label MCA 8001
Producer Gil Rodin (soundtrack producer)
 
 

41 Original Hits From The Soundtrack Of American Graffiti is the official 1973 soundtrack album of the film American Graffiti. It has been certified triple platinum in the U.S., where it peaked at #10 on the Billboard 200 album chart.

Included in the film, but not on the soundtrack, are “Gee” by The Crows, “Louie, Louie” by Flash Cadillac & the Continental Kids, and Harrison Ford‘s in-character a cappella rendition of “Some Enchanted Evening“.

The song “Ain’t That a Shame” was a remake with a woman’s chorus, since Lucas could not obtain the rights to the original well-known original version by Fats Domino.

Also, the song “Party Doll” fades out earlier than the original version during the final chorus.

A second compilation, titled More American Graffiti (MCA 8007) (and not to be confused with the 1979 film sequel of that name) was issued by MCA in early 1975, with Lucas’s approval.[citation needed] It features more rock and doo-wop hits from the late ’50s and early ’60s (only one of which, the Crows’ “Gee”, was featured in the film), along with additional Wolfman Jack dialogue. A third and final oldies compilation, titled American Graffiti Vol. III (MCA 8008) was also issued by MCA in early 1976. All three albums were released as 2-record sets or double-length tapes, the tapes being quite hard to come by, now.

Track listing

 LP

Side one (Front side of record one)
No. Title Original Artist and year Length
1. (We’re Gonna) Rock Around the Clock”   Bill Haley & the Comets 1954 2:08
2. “Sixteen Candles”   The Crests 1958 2:48
3. Runaway”   Del Shannon 1961 2:18
4. Why Do Fools Fall in Love”   Frankie Lymon & the Teenagers 1956 2:14
5. That’ll Be the Day”   Buddy Holly 1957 2:14
6. Fanny Mae”   Buster Brown 1959 2:52
7. At the Hop”   Flash Cadillac & the Continental Kids 1973 2:25
8. “She’s So Fine”   Flash Cadillac & the Continental Kids 1973 2:18
9. The Stroll”   The Diamonds 1957 2:26
10. See You In September”   The Tempos 1959 2:03
Side two (Front side of record two)
No. Title Original Artist and year Length
1. Surfin’ Safari”   The Beach Boys 1962 2:05
2. “He’s The Great Imposter”   The Fleetwoods 1961 1:33
3. Almost Grown”   Chuck Berry 1959 2:09
4. Smoke Gets in Your Eyes”   The Platters 1959 2:37
5. Little Darlin’”   The Diamonds 1957 2:04
6. Peppermint Twist”   Joey Dee and the Starlighters 1961 1:58
7. Barbara Anne”   The Regents 1961 2:14
8. “Book of Love”   The Monotones 1958 2:17
9. Maybe Baby”   Buddy Holly 1958 2:01
10. Ya Ya”   Lee Dorsey 1961 2:22
11. The Great Pretender”   The Platters 1955 2:35
Side three (Back side of record two)
No. Title Original Artist and year Length
1. Ain’t That a Shame”   Fats Domino 1955 2:31
2. Johnny B. Goode”   Chuck Berry 1958 2:38
3. I Only Have Eyes for You”   The Flamingos 1959 3:09
4. Get a Job”   The Silhouettes 1958 2:37
5. To the Aisle”   The Five Satins 1957 2:44
6. “Do You Wanna Dance”   Bobby Freeman 1958 2:35
7. Party Doll”   Buddy Knox 1957 1:54
8. Come Go with Me”   The Del-Vikings 1956 2:37
9. You’re Sixteen – You’re Beautiful (And You’re Mine)”   Johnny Burnette 1960 1:56
10. Love Potion No. 9”   The Clovers 1959 1:53
Side four (Back side of record one)
No. Title Original Artist and year Length
1. Since I Don’t Have You”   The Skyliners 1958 2:35
2. Chantilly Lace”   The Big Bopper 1958 2:21
3. Teen Angel”   Mark Dinning 1960 2:35
4. Crying in the Chapel”   Sonny Till & the Orioles 1953 3:04
5. A Thousand Miles Away”   The Heartbeats 1957 2:25
6. Heart and Soul”   The Cleftones 1961 1:49
7. Green Onions”   Booker T. & the M.G.’s 1962 2:25
8. “Only You (and You Alone)”   The Platters 1954 2:35
9. “Goodnight, Well it’s Time to Go”   The Spaniels 1953 2:43
10. All Summer Long”   The Beach Boys 1964 2:05

Frame Two :

Golden Globe Award for Best Motion Picture – Musical or Comedy

Golden Globe Award for Best Motion Picture – Musical or Comedy has been awarded annually since 1952 by the Hollywood Foreign Press Association.

Contents

 

//

 1951-1957

Year Film Director[1] Producer[2]
1951[3][4] An American in Paris Vincente Minnelli Arthur Freed
1952 With A Song In My Heart Walter Lang Lamar Trotti
Hans Christian Andersen Charles Vidor Samuel Goldwyn
I’ll See You in My Dreams Michael Curtiz Louis F. Edelman
Singin’ in the Rain Stanley Donen & Gene Kelly Arthur Freed
Stars and Stripes Forever Henry Koster Lamar Trotti
1953 No Award given.
1954[5][6] Carmen Jones Otto Preminger Otto Preminger
1955[7][8] Guys and Dolls Joseph L. Mankiewicz Samuel Goldwyn
1956 The King and I Walter Lang Charles Brackett & Darryl F. Zanuck
Bus Stop Joshua Logan Buddy Adler
The Opposite Sex David Miller Joe Pasternak
The Solid Gold Cadillac Richard Quine Fred Kohlmar
The Teahouse of the August Moon Daniel Mann Jack Cummings
1957 Les Girls George Cukor Saul Chaplin & Sol C. Siegel
Don’t Go Near the Water Charles Walters Lawrence Weingarten
Love in the Afternoon Billy Wilder Billy Wilder
Pal Joey George Sidney Fred Kohlmar
Silk Stockings Rouben Mamoulian Producer

1958-1962

Year Comedy Director Producer Musical Director Producer
1958 Auntie Mame Morton DaCosta Morton DaCosta Gigi Vincente Minnelli Arthur Freed
Bell, Book and Candle Richard Quine Julian Blaustein Damn Yankees George Abbott & Stanley Donen George Abbott, Stanley Donen, Robert E. Griffith, & Harold Prince
Indiscreet Stanley Donen Norman Krasna South Pacific Joshua Logan Buddy Adler
Me and the Colonel Peter Glenville William Goetz tom thumb George Pal George Pal
The Perfect Furlough Blake Edwards Robert Arthur      
1959 Some Like It Hot Billy Wilder Billy Wilder Porgy and Bess Otto Preminger Samuel Goldwyn
But Not for Me Walter Lang William Perlberg & George Seaton The Five Pennies Melville Shavelson Jack Rose
Operation Petticoat Blake Edwards Robert Arthur Li’l Abner Melvin Frank Norman Panama
Pillow Talk Michael Gordon Ross Hunter & Martin Melcher A Private’s Affair Director Producer
Who Was That Lady? George Sidney Norman Krasna Say One for Me Director Producer
1960 The Apartment Billy Wilder Billy Wilder Song Without End George Cukor & Charles Vidor William Goetz
The Facts of Life Melvin Frank & Norman Panama Melvin Frank & Norman Panama Bells Are Ringing Vincente Minnelli Arthur Freed
The Grass Is Greener Stanley Donen Stanley Donen & James H. Ware Can-Can Walter Lang Saul Chaplin & Jack Cummings
It Started in Naples Melville Shavelson Jack Rose Let’s Make Love George Cukor Jerry Wald
Our Man in Havana Carol Reed Carol Reed Pepe George Sidney George Sidney
1961 A Majority of One Mervyn LeRoy Producer West Side Story Jerome Robbins & Robert Wise Robert Wise
Breakfast at Tiffany’s Blake Edwards Martin Jurow & Richard Shepherd Babes in Toyland Jack Donohue Walt Disney
One, Two, Three Billy Wilder Billy Wilder Flower Drum Song Henry Koster Ross Hunter
The Parent Trap David Swift Walt Disney & George Golitzen      
Pocketful of Miracles Frank Capra Frank Capra      
1962 That Touch of Mink Delbert Mann Robert Arthur, Martin Melcher, Edward Muhl, & Stanley Shapiro The Music Man Morton DaCosta Morton DaCosta
The Best of Enemies Director Producer Billy Rose’s Jumbo Charles Walters Martin Melcher & Joe Pasternak
Boys’ Night Out Michael Gordon Martin Ransohoff Girls! Girls! Girls! Norman Taurog Hal B. Wallis
If a Man Answers Henry Levin Ross Hunter Gypsy Mervyn LeRoy Mervyn LeRoy
Period of Adjustment George Roy Hill Lawrence Weingarten The Wonderful World of the Brothers Grimm Henry Levin & George Pal George Pal

 1963-1969

Year Film Director[1] Producer[2]
1963 Tom Jones Tony Richardson Michael Balcon, Michael Holden, Oscar Lewenstein, & Tony Richardson
Bye Bye Birdie George Sidney Irving Brecher & Michael Stewart
Irma la Douce Billy Wilder Edward L. Alperson, I.A.L. Diamond, Doane Harrison, Alexandre Trauner, & Billy Wilder
It’s a Mad, Mad, Mad, Mad World Stanley Kramer Stanley Kramer
A Ticklish Affair Director Producer
Under the Yum Yum Tree David Swift David Swift
1964 My Fair Lady George Cukor Jack Warner
Father Goose Ralph Nelson Robert Arthur
Mary Poppins Robert Stevenson Walt Disney
The Unsinkable Molly Brown Charles Walters Lawrence Weingarten
The World of Henry Orient George Roy Hill Jerome Hellman
1965 The Sound of Music Robert Wise Robert Wise
Cat Ballou Elliot Silverstein Walter Newman
The Great Race Blake Edwards Martin Jurow
Those Magnificent Men in Their Flying Machines Ken Annakin Stan Margulies
A Thousand Clowns Fred Coe Fred Coe
1966 The Russians Are Coming The Russians Are Coming Norman Jewison Norman Jewison
A Funny Thing Happened on the Way to the Forum Richard Lester Melvin Frank
Gambit Ronald Neame Leo L. Fuchs
Not with My Wife, You Don’t! Norman Panama Norman Panama
You’re a Big Boy Now Francis Ford Coppola Phil Feldman
1967 The Graduate Mike Nichols Joseph E. Levine & Lawrence Turman
Camelot Joshua Logan Jack Warner
Doctor Dolittle Richard Fleischer Arthur P. Jacobs
The Taming of the Shrew Franco Zeffirelli Producer
Thoroughly Modern Millie George Roy Hill Ross Hunter
1968 Oliver! Carol Reed John Woolf
Finian’s Rainbow Francis Ford Coppola Joseph Landon
Funny Girl William Wyler Ray Stark
The Odd Couple Gene Saks Howard W. Koch
Yours, Mine and Ours Melville Shavelson Robert F. Blumofe
1969 The Secret of Santa Vittoria Stanley Kramer George Glass & Stanley Kramer
Cactus Flower Gene Saks M.J. Frankovich
Goodbye, Columbus Larry Peerce Stanley R. Jaffe
Hello, Dolly! Gene Kelly Ernest Lehman
Paint Your Wagon Joshua Logan Alan Jay Lerner

 1970s

Year Film Director[1] Producer[2]
1970 MASH Robert Altman Ingo Preminger
Darling Lili Blake Edwards Blake Edwards
Diary of a Mad Housewife Frank Perry Frank Perry
Lovers and Other Strangers Cy Howard David Susskind
Scrooge Ronald Neame Robert H. Solo
1971 Fiddler on the Roof Norman Jewison Norman Jewison
The Boy Friend Ken Russell Harry Benn & Ken Russell
Kotch Jack Lemmon Producer
A New Leaf Elaine May Hillard Elkins
Plaza Suite Arthur Hiller Howard W. Koch
1972 Cabaret Bob Fosse Cy Feuer
Avanti! Billy Wilder Billy Wilder
Butterflies Are Free Milton Katselas M.J. Frankovich
1776 Peter H. Hunt Jack Warner
Travels with My Aunt George Cukor James Cresson & Robert Fryer
1973 American Graffiti George Lucas Francis Ford Coppola & Gary Kurtz
Jesus Christ Superstar Norman Jewison Norman Jewison, Patrick Palmer, & Robert Stigwood
Paper Moon Peter Bogdanovich Peter Bogdanovich & Frank Marshall
Tom Sawyer Don Taylor Frank Capra Jr. & Arthur P. Jacobs
A Touch of Class Melvin Frank Melvink Frank
1974 The Longest Yard Robert Aldrich Albert S. Ruddy
The Front Page Billy Wilder Paul Monash
Harry and Tonto Paul Mazursky Paul Mazursky
The Little Prince Stanley Donen Stanley Donen
The Three Musketeers Richard Lester Alexander Salkind, Ilya Salkind, & Pierre Spengler
1975 The Sunshine Boys Herbert Ross Ray Stark
Funny Lady Herbert Ross Ray Stark
The Return of the Pink Panther Blake Edwards Blake Edwards
Shampoo Hal Ashby Warren Beatty
Tommy Ken Russell Ken Russell & Robert Stigwood
1976 A Star Is Born Frank Pierson Jon Peters
Bugsy Malone Alan Parker Alan Marshall
The Pink Panther Strikes Again Blake Edwards Blake Edwards
The Ritz Richard Lester Producer
Silent Movie Mel Brooks Michael Hertzberg
1977 The Goodbye Girl Herbert Ross Ray Stark
Annie Hall Woody Allen Charles H. Joffe
High Anxiety Mel Brooks Mel Brooks
New York, New York Martin Scorsese Robert Chartoff & Irwin Winkler
Saturday Night Fever John Badham Robert Stigwood
1978 Heaven Can Wait Warren Beatty & Buck Henry Warren Beatty
California Suite Herbert Ross Ray Stark
Foul Play Colin Higgins Edward K. Milkins & Thomas L. Miller
Grease Randal Kleiser Allan Carr & Robert Stigwood
Movie Movie Stanley Donen Stanley Donen
1979 Breaking Away Peter Yates Steve Tesich
Being There Hal Ashby Andrew Braunsberg
Hair Milos Forman Michael Butler & Lester Persky
The Rose Mark Rydell Anthony Ray, Aaron Russo, & Marvin Worth
10 Blake Edwards Tony Adams & Blake Edwards

1980s

Year Film Director[1] Producer[2]
1980 Coal Miner’s Daughter Michael Apted Bernard Schwartz
Airplane! Jim Abrahams, David Zucker & Jerry Zucker Jon Davison & Howard W. Koch
Fame Alan Parker David De Silva & Alan Marshall
The Idolmaker Taylor Hackford Gene Kirkwood & Howard W. Koch Jr.
Melvin and Howard Jonathan Demme Art Linson & Don Phillips
1981 Arthur Steve Gordon Steve Gordon
The Four Seasons Alan Alda Martin Bergman
Pennies from Heaven Herbert Ross Nora Kaye, Rick McCallum, & Herbert Ross
S.O.B. Blake Edwards Tony Adams & Blake Edwards
Zoot Suit Luis Valdez Peter Burrell
1982 Tootsie Sydney Pollack Sydney Pollack & Dick Richards
The Best Little Whore­house in Texas Colin Higgins Robert L. Boyett & Colin Higgins
Diner Barry Levinson Jerry Weintraub
My Favorite Year Richard Benjamin Michael Gruskoff
Victor Victoria Blake Edwards Tony Adams & Blake Edwards
1983 Yentl Barbra Streisand Larry DeWaay, Rusty Lemorande, & Barbra Streisand
The Big Chill Lawrence Kasdan Michael Shamberg
Flashdance Adrian Lyne Jerry Bruckheimer & Don Simpson
Trading Places John Landis George Folsey Jr., Aaron Russo, Irwin Russo, & Sam Williams
Zelig Woody Allen Robert Greenhut
1984 Romancing the Stone Robert Zemeckis Michael Douglas
Beverly Hills Cop Martin Brest Jerry Bruckheimer & Don Simpson
Ghostbusters Ivan Reitman Bernie Brillstein & Ivan Reitman
Micki + Maude Blake Edwards Tony Adams, Lou Antonio, Trish Caroselli, & Jonathan D. Krane
Splash Ron Howard Brian Grazer
1985 Prizzi’s Honor John Huston John Foreman
Back to the Future Robert Zemeckis Neil Canton & Bob Gale
A Chorus Line Richard Attenborough Cy Feuer
Cocoon Ron Howard David Brown & Richard D. Zanuck
The Purple Rose of Cairo Woody Allen Robert Greenhut
1986 Hannah and Her Sisters Woody Allen Robert Greenhut
Crimes of the Heart Bruce Beresford Freddie Fields
Down and Out in Beverly Hills Paul Mazursky Pato Guzman & Paul Mazursky
Little Shop of Horrors Frank Oz David Geffen
Peggy Sue Got Married Francis Ford Coppola Paul R. Gurian
1987 Hope and Glory John Boorman John Boorman & Michael Dryhurst
Baby Boom Charles Shyer Bruce A. Block & Nancy Meyers
Broadcast News James L. Brooks James L. Brooks
Dirty Dancing Emile Ardolino Linda Gottlieb
Moonstruck Norman Jewison Norman Jewison
1988 Working Girl Mike Nichols Douglas Wick
Big Penny Marshall James L. Brooks & Robert Greenhut
A Fish Called Wanda Charles Crichton Michael Shamberg
Midnight Run Martin Brest Martin Brest
Who Framed Roger Rabbit Richard Williams & Robert Zemeckis Frank Marshall & Robert Watts
1989 Driving Miss Daisy Bruce Beresford Lili Fini Zanuck & Richard D. Zanuck
The Little Mermaid Ron Clements & John Musker Howard Ashman, Ron Clements, & John Musker
Shirley Valentine Lewis Gilbert Lewis Gilbert
The War of the Roses Danny DeVito James L. Brooks & Arnon Milchan
When Harry Met Sally… Rob Reiner Rob Reiner & Andrew Scheinman

1990s

Year Film Director[1] Producer[2]
1990 Green Card Peter Weir Peter Weir
Dick Tracy Warren Beatty Warren Beatty
Ghost Jerry Zucker Steven-Charles Jaffe, Lauren Ray, & Bruce Joel Rubin
Home Alone Chris Columbus John Hughes
Pretty Woman Garry Marshall Laura Ziskin
1991 Beauty and the Beast ‡ Gary Trousdale & Kirk Wise Don Hahn
City Slickers Ron Underwood Billy Crystal & Irby Smith
The Commitments Alan Parker Lynda Myles & Roger Randall-Cutler
The Fisher King Terry Gilliam Debra Hill, Tony Mark, & Lynda Obst
Fried Green Tomatoes Jon Avnet Jon Avnet & Norman Lear
1992 The Player Robert Altman David Brown, Michael Tolkin, & Nick Wechsler
Aladdin Ron Clements & John Musker Ron Clements & John Musker
Enchanted April Mike Newell Matthew Hamilton, Simon Relph, Ann Scott, & Mark Shivas
Honeymoon in Vegas Andrew Bergman Mike Lobell
Sister Act Emile Ardolino Scott Rudin & Teri Schwartz
1993 Mrs. Doubtfire Chris Columbus Producer
Dave Ivan Reitman Ivan Reitman & Lauren Shuler-Donner
Much Ado About Nothing Kenneth Branagh Kenneth Branagh, Stephen Evans, & David Parfitt
Sleepless in Seattle Nora Ephron Gary Foster
Strictly Ballroom Baz Luhrmann Antoinette Albert & Tristram Miall
1994 The Lion King Roger Allers & Rob Minkoff Don Hahn
The Adventures of Priscilla, Queen of the Desert Stephan Elliott Al Clark & Michael Hamlyn
Ed Wood Tim Burton Tim Burton & Denise Di Novi
Four Weddings and a Funeral Mike Newell Duncan Kenworthy
Prêt-à-Porter Robert Altman Robert Altman & Scott Bushnell
1995 Babe Chris Noonan Catherine Barber, Philip Hearnshaw, Bill Miller, George Miller, Doug Mitchell, & Daphne Paris
The American President Rob Reiner Barbara Maltby, Charles Newirth, Rob Reiner, & Jeffrey Stott
Get Shorty Barry Sonnenfeld Danny DeVito, Michael Shamberg, & Stacey Sher
Sabrina Sydney Pollack Sydney Pollack & Scott Rudin
Toy Story John Lasseter Bonnie Arnold & Ralph Guggenheim
1996 Evita Alan Parker Alan Parker & Robert Stigwood
The Birdcage Mike Nichols Marcello Danon, Michele Imperato, Neal Machlis, & Mike Nichols
Everyone Says I Love You Woody Allen Robert Greenhut
Fargo Joel Coen Ethan Coen
Jerry Maguire Cameron Crowe James L. Brooks, Cameron Crowe, Laurence Mark, & Richard Sakai
1997 As Good as It Gets James L. Brooks Laura Ziskin
The Full Monty Peter Cattaneo Uberto Pasolini
Men in Black Barry Sonnenfeld Laurie MacDonald, Walter F. Parkes, & Steven Spielberg
My Best Friend’s Wedding P.J. Hogan Producer
Wag the Dog Barry Levinson Barry Levinson & Robert De Niro
1998 Shakespeare in Love † John Madden Donna Gigliotti, Marc Norman, David Parfitt, Harvey Weinstein, & Edward Zwick
Bulworth Warren Beatty Warren Beatty & Pieter Jan Brugge
The Mask of Zorro Martin Campbell Doug Claybourne & David Foster
Patch Adams Tom Shadyac Mike Farrell, Barry Kemp, Marvin Minoff, & Charles Newirth
Still Crazy Brian Gibson Amanda Marmot
There’s Something About Mary Bobby Farrelly & Peter Farrelly Bobby Farrelly & Peter Farrelly
1999 Toy Story 2 John Lasseter Karen Robert Jackson & Helene Plotkin
Analyze This Harold Ramis Jane Rosenthal & Paul Weinstein
Being John Malkovich Spike Jonze Steve Golin, Vincent Landay, Sandy Stern, & Michael Stipe
Man on the Moon Milos Forman Danny DeVito
Notting Hill Roger Michell Duncan Kenworthy

2000s

Year Film Director[1] Producer[2]
2000[9] Almost Famous Cameron Crowe Ian Bryce & Cameron Crowe
Best in Show Christopher Guest Gordon Mark & Karen Murphy
Chicken Run Peter Lord & Nick Park Peter Lord, Nick Park, & David Sproxton
Chocolat Lasse Hallstrom Harvey Weinstein
O Brother, Where Art Thou? Joel Coen Tim Bevan, Ethan Coen, & Eric Fellner
2001 Moulin Rouge! Baz Luhrmann Fred Baron, Martin Brown, & Baz Luhrmann
Bridget Jones’s Diary Sharon Maguire Tim Bevan, Jonathan Cavendish, & Eric Fellner
Gosford Park Robert Altman Robert Altman, Bob Balaban, & David Levy[disambiguation needed]
Legally Blonde Robert Luketic Ric Kidney & Marc E. Platt
Shrek Andrew Adamson & Vicky Jenson Jeffrey Katzenberg, Aron Warner, & John H. Williams
2002 Chicago Rob Marshall Meryl Poster, Martin Richards, Bob Weinstein, Harvey Weinstein, & Craig Zadan
About a Boy Chris Weitz & Paul Weitz Tim Bevan, Robert De Niro, Brad Epstein, Eric Fellner, & Jane Rosenthal
Adaptation. Spike Jonze Jonathan Demme, Vincent Landay, & Edward Saxon
My Big Fat Greek Wedding Joel Zwick Gary Goetzman, Tom Hanks, & Rita Wilson
Nicholas Nickleby Douglas McGrath Simon Channing-Williams, John Hart, & Jeffrey Sharp
2003 Lost in Translation Sofia Coppola Sofia Coppola & Ross Katz
Bend It Like Beckham Gurinder Chadha Gurinder Chadha & Deepak Nayar
Big Fish Tim Burton Bruce Cohen, Dan Jinks, & Richard D. Zanuck
Finding Nemo Andrew Stanton Graham Walters
Love Actually Richard Curtis Tim Bevan, Eric Fellner, & Duncan Kenworthy
2004 Sideways Alexander Payne Michael London
Eternal Sunshine of the Spotless Mind Michel Gondry Anthony Bregman & Steve Golin
The Incredibles Brad Bird John Walker
The Phantom of the Opera Joel Schumacher Andrew Lloyd Webber
Ray Taylor Hackford Howard Baldwin, Karen Baldwin, Stuart Benjamin, & Taylor Hackford
2005 Walk the Line James Mangold James Keach & Cathy Konrad
Mrs. Henderson Presents Stephen Frears Norma Heyman
Pride & Prejudice Joe Wright Tim Bevan, Eric Fellner, & Paul Webster
The Producers Susan Stroman Mel Brooks
The Squid and the Whale Noah Baumbach Wes Anderson
2006 Dreamgirls Bill Condon Laurence Mark
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan Larry Charles Sacha Baron Cohen & Jay Roach
The Devil Wears Prada David Frankel Wendy Finerman & Karen Rosenfelt
Little Miss Sunshine Jonathan Dayton & Valerie Faris Albert Berger, David T. Friendly, Peter Saraf, Marc Turtletaub, & Ron Yerxa
Thank You for Smoking Jason Reitman Edward R. Pressman & David O. Sacks
2007 Sweeney Todd: The Demon Barber of Fleet Street Tim Burton John Logan, Laurie MacDonald, Walter F. Parkes, & Richard D. Zanuck
Across the Universe Julie Taymor Charles Newirth, Jennifer Todd, & Suzanne Todd
Charlie Wilson’s War Mike Nichols Tom Hanks
Hairspray Adam Shankman Toby Emmerich, Neil Meron, Marc Shaiman, Adam Shankman, Bob Shaye, Scott Wittman, & Craig Zadan
Juno Jason Reitman Lianne Halfon, John Malkovich, Mason Novick, & Russell Smith
2008 Vicky Cristina Barcelona Woody Allen Letty Aronson, Jaume Roures, Stephen Tenenbaum, & Gareth Wiley
Burn After Reading Ethan Coen & Joel Coen Ethan Coen & Joel Coen
Happy-Go-Lucky Mike Leigh Simon Channing-Williams
In Bruges Martin McDonagh Graham Broadbent & Peter Czernin
Mamma Mia! Phyllida Lloyd Benny Andersson, Judy Craymer, Tom Hanks, Phyllida Lloyd, Björn Ulvaeus, & Rita Wilson
2009 The Hangover Todd Phillips Daniel Goldberg & Todd Phillips
(500) Days of Summer Marc Webb Mason Novick, Jessica Tuchinsky, Mark Waters, & Steven J. Wolfe
It’s Complicated Nancy Meyers Nancy Meyers & Scott Rudin
Julie & Julia Nora Ephron Nora Ephron, Laurence Mark, Amy Robinson, & Eric Steel
Nine Rob Marshall John DeLuca, Rob Marshall, Marc Platt, Harvey Weinstein, & Maury Yeston

 2010s

Year Film Director[1] Producer[2]
2010[9] The Kids Are All Right Lisa Cholodenko Jeff Levy-Hinte,Gary Gilbert, Jordan Horowitz, Celine Rattray, Daniela Taplin Lundberg & Philippe Hellmann
Alice in Wonderland Tim Burton Richard D. Zanuck, Joe Roth, Suzanne Todd & Jennifer Todd
Burlesque Steven Antin Donald De Line
Red Robert Schwentke Lorenzo di Bonaventura & Mark Vahradian
The Tourist Florian Henckel von Donnersmarck Graham King, Tim Headington, Roger Birnbaum, Gary Barber & Jonathan Glickman

the end @ copyright Dr Iwan Suwandy 2011

The Vintage Original Soundtracks Motion Pictures V (piring hitam musik Film II)

WELCOME COLLECTORS FROM ALL OVER THE WORLD

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SHOWCASE :

The Vintage Original Soundtracks Motion Picture Number V

(Piring Hitam Lagu asli Film )

1.Romeo And Juliet,composed by Nino Rotta

Romeo And Juliet

 
 
 
who have this title in their:
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There are 15 labels for this title.
There are 15 compilation albums for this title.


   

// //
 

  Capitol Records 1 C 062.80356 D 
Country
Germany 
Format
LP 
Release Date
 
 


Other information
who have this label in their:
Collection: 12
Wish list: 2




   
  Track listing

Disc/Cassette 1
1.  Prologue and Fanfare for the Prince (01:47)
2.  Romeo (04:04)
3.  Juliet (01:33)
4.  The Feast at the House of Capulet (02:06)
5.  Their First Meeting (Introduction of the Complete “Love Theme”) (02:50)
6.  “What Is a Youth” (Love Theme from “Romeo & Juliet”) (02:24)
Sung by Glen Weston (Lyric by Eugene Walter)
7.  What Light Through Yonder Window Breaks? (The Balcony Scene, Part I) (02:57)
LP sleeve back states wrong duration of 1:57
8.  Parting Is Such Sweet Sorrow (The Balcony Scene, Part II) (02:38)
9.  But This I Pray…Consent to Marry Us Today (03:04)
Disc/Cassette 2
1.  Romeo and Juliet Are Wed (01:42)
2.  The Death of Mercutio and Tybalt (01:04)
3.  Night’s Candles Are Burnt Out (04:28)
4.  Adieu (Farewell Love Scene) (01:52)
5.  The Likeness of Death (03:40)
6.  The Ride from Mantua (02:55)
7.  Death…Hath Sucked the Honey of Thy Breath (The Death of Romeo) (01:47)
8.  Love Theme from “Romeo & Juliet” (In Capulet’s Tomb) (03:04)
9.  O, Happy Dagger! (The Death of Juliet) (02:04)
10.  Epilogue (02:05)


Total Duration: 00:48:0


Capitol Records CDP 792057-2 
Country
United States 
Format
CD 
Release Date
1989 
UPN
0-7777-92057-2-1 

 


Other information
Members who have this label in their:
Collection: 21
Wish list: 7



Things you can do:  Update this label

   
  Track listing

1.  PROLOGUE (PRINCE)
2.  Romeo’s Foreboding and THE FEAST AT THE HOUSE OF CAPULET
(Meeting of Romeo & Juliet); Romeo, Juliet; Song: “What Is A Youth?”, Lyric by Eugene Walter, Music by Nino Rota, Vocal by Glen Weston
3.  THE BALCONY SCENE
Romeo, Juliet, Nurse
4.  ROMEO & JULIET ARE WED
Friar, Romeo, Juliet
5.  THE DEATH OF MERCUTIO AND TYBALT
Mercutio, Romeo, Benvolio, Tybalt, Prince, Lady Capulet, Montague
6.  FAREWELL LOVE SCENE (Juliet’s Bedchamber)
Juliet, Romeo, Nurse
7.  THE LIKENESS OF DEATH
Juliet, Friar
8.  IN CAPULET’S TOMB (Death of Romeo & Juliet)
Nurse, Capulet, Romeo, Balthasar, Friar, Juliet, Watchman
9.  ALL ARE PUNISHED
Prince

 

Romeo and Juliet (1968 film)

Romeo and Juliet

DVD cover
Directed by Franco Zeffirelli
Produced by John Brabourne
Anthony Havelock-Allan
Written by Franco Brusati
Masolino D’Amico
Franco Zeffirelli
Story by William Shakespeare (Play)
Narrated by Laurence Olivier
Starring Leonard Whiting
Olivia Hussey
Milo O’Shea
Pat Heywood
John McEnery
Robert Stephens
Michael York
Music by Nino Rota
Cinematography Pasqualino De Santis
Editing by Reginald Mills
Distributed by Paramount Pictures
Release date(s) October 8, 1968
Running time 138 minutes
Country United Kingdom
Italy
Language English
Gross revenue $38,901,218

Romeo and Juliet is a 1968 British-Italian cinematic adaptation of the William Shakespeare play of the same name.

The film was directed and co-written by Franco Zeffirelli, and stars Leonard Whiting and Olivia Hussey. It won Academy Awards for Best Cinematography and Best Costume Design; it was also nominated for Best Director and Best Picture. Sir Laurence Olivier spoke the film’s prologue and epilogue and reportedly dubbed the voice of the Italian actor playing Lord Montague, but was never credited in the film.

Contents

//

Plot

The story is of two “star-cross’d” lovers who want to be together, but fate tears them apart.

Romeo is of the Montague family while Juliet is of the Capulet family. The Montagues and Capulets constantly are disrupting the peace of Verona, for they hold a grudge against one another. This makes it very difficult for Romeo and Juliet to be together as planned.

Feuds constantly break out and one day, Romeo’s friend, Mercutio begins to quarrel with Tybalt, Juliet’s cousin. The quarrel turns to a duel and in attempts to stop the fight, Romeo interferes, and Tybalt’s sword punctures Mercutio, who soon after dies. Wanting revenge, Romeo seeks to kill Tybalt, and succeeds. Therefore, Romeo is exiled for disrupting the streets for a fourth time.

This is a major turning point for the plot, for Juliet and Romeo no longer can be together. Not to mention, Juliet’s father, Lord Capulet agrees to have her marry Count Paris. In attempt to avoid marrying Paris, and with desire to be with Romeo, Juliet seeks the Friar Laurence’s help.

He creates a plan to make a potion for Juliet to drink to seem dead. Her family and Paris will think she’s passed and put her in the family tomb. Later, while in the tomb, alone, Juliet will awake & Romeo will rescue her, and a happily ever after will occur. However this is not the case.

Romeo’s friend witnesses Juliet being put in the tomb and quickly leaves to tell Romeo. Romeo comes to the tomb at night and sees her dead and kills himself with a poison he retrieved from a lowly herbalist. She soon wakes up with Friar by her side, urging her to leave, for he knows Romeo is dead. He flees the scene. She quickly finds Romeo on the floor and kills herself with his dagger.

With the knowledge of Romeo dead & Juliet freshly bleeding, the Montagues & Capulets along with town members come to the area and finally realize that their family feud is what brought the death of their children. They then promise peace.

 Cast

 Differences from the original play

While based on the original play, numerous small details were changed in the film’s story. However, this is also true of numerous Shakespeare films made by other famous directors, including Laurence Olivier’s versions of Henry V, Hamlet and Richard III, of the 1999 version of A Midsummer Night’s Dream, of the widely criticized Orson Welles Macbeth, and especially of Baz Luhrmann‘s Romeo + Juliet. Many of the same small changes in this adaptation were also made in Romeo + Juliet.

In the play… In the film…
Rosaline (Romeo’s unrequited love) is unseen in the play. Yet she is expected to be at the feast and this is why Romeo attends it as well. Rosaline can be found at Capulet’s feast. (She also appears in the 1954 film version.) It becomes evident at the feast Romeo is not the only one whom Rosaline shuns; she has multiple potential suitors doting on her, none of which she shows any interest in, though she seems to enjoy basking in the attention she is getting.
At the feast, when Tybalt recognizes Romeo, he is ready to kill him on the spot (“to strike him dead I’ll hold it not a sin”), but he is intercepted by Lord Capulet. Tybalt instead runs to Lord Capulet to protest Romeo’s presence.
After Mercutio is stabbed, he exits with Benvolio. Benvolio then re-enters to tell Romeo of Mercutio’s death. Mercutio dies in front of Romeo and Benvolio, without exiting.
Immediately following the fight between Romeo and Tybalt (and Romeo’s quick exit), both house lords and ladies and the Prince arrive on the fight scene. Following Juliet and her Nurse’s grieving, the scene is instead shifted to the steps of the prince’s palace.
Just before he leaves Verona after being exiled by the Prince, Romeo bids Juliet farewell on her balcony. The lovers are traditionally fully clothed although it is the morning after their wedding. This scene takes place largely in Juliet’s bedroom after their wedding night. Romeo is naked laying next to Juliet who is sleeping partially covered by a blanket. Romeo gets out of bed, Juliet awakens to see him gazing out the window. After he pulls on his trousers, he lays down next to her and she begins the Lark/Nightingale conversation. Only the last part of this scene takes place on the balcony, as in the play.
Juliet’s arranged marriage to Count Paris is scheduled for a Thursday, but after Juliet’s “repentance”, an overjoyed (and overzealous) Lord Capulet moves the wedding day up to Wednesday. The wedding remains scheduled for Thursday.
Juliet delivers a lengthy speech, commonly known as The Potion Scene, before drinking the sleeping potion. Juliet simply says: “Love give me strength” before drinking the potion.
Friar John (the unnamed donkey-riding messenger in the film) cannot get Friar Laurence’s message to Romeo because he finds himself involved in a quarantine, and instead returns the letter to Friar Laurence. Balthasar, galloping on horseback to tell Romeo of Juliet’s “death”, passes the unhurried messenger on the road. Later on, as Romeo and Balthasar ride back to Verona, they pass by the messenger, who is obliviously making adjustments to the cargo on his donkey.
After hearing of Juliet’s “death”, Romeo buys a vial of poison from a Mantuan apothecary before riding back to Verona. The scene was eliminated and was replaced by Balthasar and Romeo riding to Capulets’ tomb; though it is still daylight as they ride back to Verona, night has already fallen when they arrive. It is never revealed in the film where Romeo got the poison from.
At the entrance to Capulet’s tomb following Juliet’s interrment, Romeo is intercepted by Count Paris, who tries to arrest the fugitive Romeo, but Romeo draws on Paris and kills him (in the final scene, the Prince, referring to losing “a brace of kinsmen”, also referred to Paris as well as Mercutio). That scene was eliminated altogether, but the Prince’s line at the end was not changed. Reference to the scene was made in the souvenir program for the film, however, indicating that it may have been filmed, but deleted before the final release.
Near the end, following Romeo’s and Juliet’s respective suicides, Friar Laurence, arrested and brought back to the tomb by the Prince’s Watchmen, reveals to the Prince, both Lords and Lady Capulet the truth of Romeo & Juliet’s clandestine wedding and his other plans. (His story is confirmed by a letter intended for Lord Montague that Romeo had given to Balthasar.) The Friar is not seen or heard from again after fleeing in terror from the tomb, and thus the revelation of the secret marriage is never shown in the film, though both houses evidently know about Romeo and Juliet’s marriage by the time of the double funeral.
In the tomb, we learn through Lord Montague that his wife died of a broken heart upon learning of her son Romeo’s banishment. Lady Montague is still alive in the final scene at the church.
The play ends in Capulet’s Tomb. The final scene (the double funeral) unfolds at the steps to Verona’s church. After the Prince’s reprimand of both families, they exit, without reconciliation by the two fathers. The end credits are visible as processions from both houses make their way side by side into the church.
The final line (“…for never was a story of more woe, than this of Juliet and her Romeo”) is recited by the Prince. The unseen narrator who performed the introduction (“Two households, both alike in dignity…”) also gives the closing lines.

 Production

Set in a 15th-century Renaissance period, Romeo & Juliet was filmed entirely in Italy in varying locations:[1]

  • The balcony scene: At the Palazzo Borghese, built by Cardinal Scipione Borghese in the 16th century, in Artena, 20 miles south of Rome.
  • The church scenes: At a Romanesque church named St. Pietro in Tuscania, 50 miles northwest of Rome.
  • The tomb scene: Also in Tuscania.
  • The palace of the Capulets scenes: At Palazzo Piccolomini, built between 1459-62 by Pope Pius II, in the city of Pienza, in Siena province.
  • The street scenes: Also in Pienza.
  • The fight scenes: In Gubbio, a town in Umbria province.

According to Franco Zeffirelli‘s autobiography, Paul McCartney was originally asked to play the part of Romeo.[2]

Controversial rating distinctions

The film was once rated G in the United States, but was later re-rated M (now known as PG) primarily because of a nude scene featuring Hussey. Zeffirelli had to get permission for Hussey to appear nude in the film as she was only 15 years old at the time.[3] Leonard Whiting (Romeo), a 17-year-old subject of Great Britain at the time of the filming, was of legal age in Britain and did not need permission. Italy, where the film was made, has similar age laws.

 Soundtrack

Two releases of the score of the film, composed by Nino Rota, have been released.[4][5]

 “Love Theme from Romeo and Juliet

The film’s love theme is used in popular culture, as in “Our Tune” by disc jockey Simon Bates. In addition to this, various versions of the theme have been recorded and released, including the most successful by Henry Mancini, whose instrumental rendition was a number-one success in the United States during June, 1969.[6]

There are two different sets of English lyrics to the song.

 “What Is a Youth?”

The film’s version is called “What Is a Youth?”, featuring lyrics by Eugene Walter. This version has been released on the complete-score soundtrack release.

“A Time for Us”

An alternate version, called “A Time for Us”, featuring lyrics by Larry Kusik and Eddie Snyder. This version it has been recorded by Johnny Mathis and Andy Williams among others.

Josh Groban performed “Un Giorno Per Noi”, an Italian version of “A Time for Us”.

“Ai Giochi Addio”

A third version is called “Ai Giochi Addio”, featuring lyrics by Elsa Morante, and has been performed by opera singers such as Luciano Pavarotti and Natasha Marsh.

 In popular culture

Thom Yorke cites the film as one of the inspirations for the Radiohead song “Exit Music (For a Film)“. Said Yorke, “I saw the Zeffirelli version when I was 13, and I cried my eyes out, because I couldn’t understand why the morning after they shagged, they didn’t just run away. The song is written for two people who should run away before all the bad stuff starts. A personal song”.

Celine Dion referenced this film, in particular the “hand dance” scene, in the video for her 1992 single “Nothing Broken but My Heart”.

Japanese manga artist Rumiko Takahashi referenced the Zeffirelli film in two of her manga and anime works. In one episode of Urusei Yatsura, devious troublemaker Ryoko Mendou invites the series’ male protagonist, Ataru Moroboshi, to have a “Romeo and Juliet” rendezvous with her, and wears a dress based on Olivia Hussey’s from the 1968 film. Later, Takahashi’s Ranma 1/2 featured a storyline in which the lead characters, Ranma Saotome and Akane Tendo, are cast as Romeo and Juliet in a production of the play at their high school. Takahashi designed Ranma and Akane’s costumes for the play with Whiting and Hussey’s outfits in the Zeffirelli film in mind. The storyline spans chapters 74 through 77 of the manga and episode 39 of the anime titled Kissing Is Such Sweet Sorrow! The Taking of Akane’s Lips.[7]

Nino Rota

Nino Rota
Background information
Birth name Giovanni Rota Rinaldi
Born December 3, 1911(1911-12-03)
Milan, Lombardy, Italy
Died April 10, 1979(1979-04-10) (aged 67)
Rome, Italy

Nino Rota (December 3, 1911, Milan – April 10, 1979, Rome) was an Italian composer and academic who is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti. He also composed the music for two of Franco Zeffirelli‘s Shakespeare films, and for the first two films of Francis Ford Coppola‘s Godfather trilogy, receiving for the latter the Academy Award for Best original Score in 1974.

During his long career Rota was an extraordinarily prolific composer, especially of music for the cinema. He wrote more than 150 scores for Italian and international productions from the 1930s until his death in 1979—an average of three scores each year over a 46 year period, and in his most productive period from the late 1940s to the mid-1950s he wrote as many as ten scores every year, and sometimes more, with a remarkable thirteen film scores to his credit in 1954. Alongside this great body of film work, he composed ten operas, five ballets and dozens of other orchestral, choral and chamber works, the best known being his string concerto. He also composed the music for many theatre productions by Visconti, Zeffirelli and Eduardo de Filippo[1] as well as maintaining a long teaching career at the Liceo Musicale in Bari, Italy, where he was the director for almost 30 years.

//

[edit] Biography

Born into a musical family in Milan, Rota was a renowned child prodigy—his first oratorio, L’infanzia di San Giovanni Battista, was written at age 11[2] and performed in Milan and Paris as early as 1923; his three-act lyrical comedy after Hans Christian Andersen, Il Principe Porcaro, was composed when he was just 13 and published in 1926. He studied at the Milan conservatory there under Giacomo Orefice[1] and then undertook serious study of composition under Ildebrando Pizzetti and Alfredo Casella at the Santa Cecilia Academy in Rome, graduating in 1930[3].

Encouraged by Arturo Toscanini, Rota moved to the United States where he lived from 1930 to 1932. He won a scholarship to the Curtis Institute of Philadelphia, where he was taught conducting by Fritz Reiner and had Rosario Scalero as an instructor in composition.[3] Returning to Milan, he wrote a thesis on the Renaissance composer Gioseffo Zarlino. Rota earned a degree in literature from the University of Milan, graduating in 1937, and began a teaching career that led to the directorship of the Liceo Musicale in Bari, a title he held from 1950 until 1978[3].

In his entry on Rota in the 1988 edition of The Concise Baker’s Biographical Dictionary of Composers and Musicians, music scholar Nicholas Slonimsky described Rota as “brilliant” and stated that his musical style:

“… demonstrates a great facility and even felicity, with occasional daring excursions into dodecaphony. However his most durable compositions are related to his music for the cinema; he composed the sound tracks of a great number of films of the Italian director Federico Fellini covering the period from 1950 to 1979.”[3]

During the 1940s, Rota composed scores for more than 32 films, including Renato Castellani’s Zazà (1944). His association with Fellini began with Lo sceicco bianco (1952), followed by I vitelloni (1953) and La strada (1954). They continued to work together for decades, and Fellini recalled:

The most precious collaborator I have ever had, I say it straightaway and don’t even have to hesitate, was Nino Rota — between us, immediately, a complete, total, harmony … He had a geometric imagination, a musical approach worthy of celestial spheres. He thus had no need to see images from my movies. When I asked him about the melodies he had in mind to comment one sequence or another, I clearly realized he was not concerned with images at all. His world was inner, inside himself, and reality had no way to enter it.[4].

The relationship between Fellini and Rota was so strong that even at Fellini’s funeral Giulietta Masina, Fellini’s wife, asked to the trumpeter Mauro Maur to play the Improvviso dell’Angelo of Rota in the Basilic S. Maria degli Angeli e dei Martiri in Rome [5].

Rota’s score for Fellini’s (1963) is often cited as one of the factors which makes the film cohesive. His score for Fellini’s Juliet of the Spirits (1965) included a collaboration with Eugene Walter on the song, “Go Milk the Moon” (cut from the final version of the film), and they teamed again for the song “What Is a Youth?”, part of Rota’s score for Franco Zeffirelli‘s Romeo and Juliet. In all, Rota wrote scores to more than 150 films.

Rota wrote numerous concerti and other orchestral works as well as piano, chamber and choral music, much of which has been recorded and released on CD. After his death from heart failure[6] in 1979, Rota’s music was the subject of Hal Willner‘s 1981 tribute album Amarcord Nino Rota, which featured several at the time relatively unknown but now famous jazz musicians. Gus Van Sant used some of Rota’s music in his 2007 film Paranoid Park and director Michael Winterbottom used several Rota selections in the 2005 film Tristram Shandy: A Cock and Bull Story. Danny Elfman frequently cites Nino Rota as a major influence. Director Mario Monicelli filmed a documentary Un amico magico: il maestro Nino Rota which featured interviews with Franco Zeffirelli and Riccardo Muti (a student under Rota at Bari Conservatory), and was followed by a German documentary Nino Rota – Un maestro della musica. Both explored film and concert sides of the composer.

[edit] Operas

His 1955 opera Il cappello di paglia di Firenze (The Italian Straw Hat), an adaptation of the play by Eugène Labiche was presented by the Santa Fe Opera in 1977. In 2005 his opera Aladino e la lampada magica (Aladdin and the Magical Lamp), with Cosmin Ifrim in the title role, was performed in German translation at the Vienna State Opera and released on DVD.

Written for a radio production by RAI in 1950, his short opera, I due timidi (The Two Timid Ones), was presented by the Santa Fe Opera as part of their pre-season “One-Hour Opera” program in May/June 2008.

[edit] Quotes

Federico Fellini recalls his first chance meeting with Rota:

“Outside Cinecittà, I noticed a funny little man waiting in the wrong place for the tram. He seemed happily oblivious of everything. I felt compelled … to wait with him…. I was certain that the tram would stop in its regular place and we would have to run for it, and he was equally certain it would stop where he was standing … To my surprise, the tram did stop right in front of us.”

A critic conversing with Nino Rota at the age of eleven just prior to a performance of his oratorio, The Childhood of St. John the Baptist, in 1923:

Critic: “Do you like playing?”
Rota: “Whenever I can … Is it hard to write for a newspaper?”
Critic: “It’s not easy to do a good article”
Rota: “Have you come from Brussels specially to hear my oratorio?”
Critic: “I certainly have, my little friend.”
Rota: “That’s really funny. I won’t be conducting it tonight. Yesterday the double bass snubbed me”

On his friendship with Igor Stravinsky:

“Stravinsky was fun; his mind struck sparks. Age was no barrier – ours became a true friendship, despite distance and meeting ever more rarely.”

Nino Rota reflecting on the unhappiness of others:

“When I’m creating at the piano, I tend to feel happy; but – the eternal dilemma – how can we be happy amid the unhappiness of others? I’d do everything I could to give everyone a moment of happiness. That’s what’s at the heart of my music.”

Federico Fellini on Nino Rota:

“He was someone who had a rare quality belonging to the world of intuition. Just like children, simple men, sensitive people, innocent people, he would suddenly say dazzling things. As soon as he arrived, stress disappeared, everything turned into a festive atmosphere; the movie entered a joyful, serene, fantastic period, a new life.”

[edit] Film scores

[edit] 1930s

[edit] 1940s

[edit] 1950s

[edit] 1960s

[edit] 1970s

[edit] Concert works

[edit] Music for piano

  • Il Mago doppio-Suite per quattro mani (1919)
  • Tre pezzi (1920)
  • Preludio e Fuga per Pianoforte a 4 Mani (Storia del Mago Doppio) (1922)
  • Illumina Tu, O Fuoco (1924)
  • Io Cesserò il Mio Canto (1924)
  • Ascolta o Cuore June (1924)
  • Il Presàgio (1925)
  • La Figliola Del Re (Un Augello Gorgheggiava) (1925)
  • Ippolito gioca (1930)
  • Campane a Festa (1931)
  • Campane a Sera (1933)
  • Il Pastorello e altre Due Liriche Infantili (1935)
  • La Passione (poesia popolare) (1938)
  • Bagatella (1941)
  • Fantasia in sol (1945)
  • Fantasia in do (1946)
  • Azione teatrale scritta nel 1752 da Pietro Metastasio (1954)
  • 15 Preludi (1964)
  • Sette Pezzi Difficili per Bambini (1971)
  • Cantico in Memoria di Alfredo Casella (1972)
  • Due Valzer sul nome di Bach (1975)

[edit] Chamber

[edit] Duets

  • Pezzo per Corno in Fa e Contrabasso (1931)
  • Sonata per ottoni e organo (1972)
  • Tre Pezzi per 2 flauti (1972–73)

[edit] For string and piano

  • Improvviso in re minore per violino e pianoforte (1947)
  • Improvviso per Violino e Pianoforte (Un diavolo sentimentale) (1969)
  • Intermezzo per viola e pianoforte (1945)
  • Sonata in sol per Viola e Pianoforte (1934–35, revised 1970)
  • Sonata per Viola e Pianoforte della Sonata in Re per Clarinetto e pianoforte (1945)
  • Sonata per violino e pianoforte(1936–37)

[edit] For wind and piano

  • Castel del Monte – Ballata per Corno e Pianoforte (1974)
  • Cinque Pezzi facili per flauto e pianoforte (1972)
  • Elegia Per Oboe E Pianoforte (1955)
  • Pezzo in re per clarinetto e pianoforte (Agosto) (1977)
  • Sonata in Re per Clarinetto e Pianoforte (1945)
  • Toccata per Fagotto e Pianoforte (1974)

[edit] For flute and harp

  • Cadenze per il Concerto K299 di Mozart per flauto e arpa (1962)
  • Sonata per flauto e arpa (1937)

[edit] Trios

  • Trio per clarinetto, violoncello e pianoforte (1973)
  • Trio per Flauto, Violino e Pianoforte (1958 settembre)

[edit] Quartettos

  • Invenzioni per quartetto d’archi(1932)
  • Quartetto per archi (1948–54)

[edit] Miscellaneous

  • Il Presepio: Quartetto d’archi con voce (1929)
  • Il Richiamo: Quintetto d’archi con voce (1923)
  • Minuetto (1931)
  • Nonetto, per flauto, oboe, clarinetto, fagotto, corno, violino, viola, cello e contrabasso (1959, 1974, 1977)
  • Piccola Offerta Musicale per flauto, oboe, clarinetto, corno e fagotto (1943)
  • Quintetto per flauto, oboe, viola, violoncello e arpa (1935)
  • Romanza (Aria) e Marcia (1968)
  • Sarabanda e Toccata per Arpa (1945)
  • Sonata per Organo (1965)

[edit] Vocal

  • Perché Si Spense la Lampada (Quando Tu Sollevi la Lampada al Cielo) (August 1923)
  • Vocalizzi per Soprano leggero e Pianoforte (1957)
  • Tre liriche infantili per canto (soprano, tenor) e pianoforte/Three children’s lyrical poems for voice and piano (1935)
  • Le Prime Battute di 6 Canzoni e un Coro per “L’Isola Disabitata” (April 1932)
  • Mater fons amoris per Soprano (o tenore) solo, coro di donne e organo (1961)
  • Canto e Pianoforte/Voice and Piano (1972)
  • Ballata e Sonetto di Petrarca (1933)

[edit] Music for orchestra

  • Infanzia di S. Giovanni Battista oratorio per soli, coro e orchestra (1922)
  • Balli per piccola orchestra (1932–1934)
  • Sonata (Canzona) per orchestra da camera (1935)
  • Variazioni e fuga nei 12 toni sul nome di Bach per orchestra(1950)
  • Concerto in fa, Concerto Festivo per orchestra (1958–61)
  • Concerto per archi (1964–65, nuova revisione 1977)
  • Due Momenti (Divertimenti) (1970)
  • Fantasia sopra dodici note del Don Giovanni (1960)
  • Fuga per Quartetto d’Archi, Organo e Orchestra d’Archi (1923)
  • Guardando il Fujiyama (Pensiero per Hiroshima) (1976)
  • La Fiera di Bari (1963, 28-4)
  • La Strada (1966)
  • Le Molière imaginaire – Ballet Suite (1976–78)
  • Meditazione per coro e orchestra (1954)
  • Rabelaisiana. (1977)
  • Serenata per Orchestra in quattro tempi (1931–1932)
  • Sinfonia n.1 per orchestra (1935–1939)
  • Sinfonia n.2 in Fa per orchestra (1937–39)
  • Sinfonia n.3 in Do (1956–1957)
  • Sinfonia Sopra una Canzone d’Amore (1972)
  • Sonata per orchestra da camera (1937–1938)
  • Variazioni e fuga nei 12 toni sul nome di Bach per Orchestra (1950)
  • Variazioni sopra un tema gioviale per orchestra (1953)
  • Waltzes

[edit] Concertos for solo instrument and orchestra

  • Concerto per Arpa (1947)

[edit] Piano and orchestra

[edit] Strings and orchestra

  • Concerto per Violoncello n.0 (1925)
  • Divertimento Concertante per Contrabasso e Orchestra (1968–73)
  • Concerto per Violoncello n.1 (1972)
  • Concerto per Violoncello n.2 (1973)

[edit] Wind instrument and orchestra

  • Andante sostenuto per il Concerto per Corno K412 di Mozart (1959)
  • Concerto per Trombone (1966)
  • Ballata per Corno e orchestra “Castel del Monte” (1974)
  • Concerto per Fagotto (1974–77)

[edit] Opera

  • Il principe porcaro (1926)
  • Ariodante (1938–1941)
  • Torquemada (1943)
  • I due timidi (1950)
  • Il cappello di paglia di Firenze (premiere (1955))
  • Scuola di guida (1959)
  • La notte di un nevrastenico (1959)
  • Lo scoiattolo in gamba (1959)
  • Aladino e la lampada magica (1963–1965)
  • La visita meravigliosa (1965–1969)
  • Napoli milionaria (1973–1977)

[edit] Choral

  • Allegro concertante per Coro e Orchestra (1953)
  • Audi Judex Per Coro misto a 4 Voci a cappella (1964)
  • Canto di Gloria (1968)
  • Custodi nos Domine per Coro
  • Due Mottetti Vigilate et orate
  • Il Martirio di San Giovanni Battista/The Martyrdom of St. John the Baptist (1924)
  • Il Natale Degli Innocenti (1968–70)
  • Il Pane del Cielo (1967)
  • Il Pastorello e altre due liriche infantile (canto e pianoforte) (1935)
  • Il Presagio (1925)
  • Inno del Seminario La Quercia per Coro, una Voce e Pianoforte
  • L’infanzia di San Giovanni Battista/The childhood of St. John the Baptist (1922–23)
  • L’isola disabitata (1931)
  • La Figliola Del Re (ex Un Augello Gorgheggiava) (1925)
  • La Vita di Maria (1969–1970)
  • Messa a 4 voci (senza Gloria) (1962)
  • Messa di Requiem (1923–1924)
  • Messa per Coro e Organo (Orchestra) (1960)
  • Messa, Mariae dicata per coro e organo (1961)
  • Mysterium Catholicum (1962)
  • Ninna Nanna (1922, 1923)
  • Psallite nato de Maria Virgine (1958)
  • Quando tu sollevi la lampada al cielo (1922)
  • Roma Capomunni (1970–1971)
  • Salmo IC (1943)
  • Salmo VI Domine (1943)
  • Salve Regina per Voce e Pianoforte (1958)
  • Sonetto di Petrarca (1933)
  • Three Canons For Women’s Voices (1932)
  • Tota Pulchrases (1961)
  • Tu es Petrus in Sol Maggiore (1967)
  • Unum panem (1962)

[edit] Discography

[edit] CD

[edit] ARTS

  • Complete music for Viola/Violin and Piano

Viola & piano intermezzo, viola & piano sonata #1, viola & piano sonata #2, violin & piano sonata, Un diavolo sentimentale, Amanti senza amore

  • Sinfonia sopra una Canzone d’Amore/Concerto-Soirée for piano and orchestra

[edit] ASV

  • Chamber Music

Flute & harp sonata, clarinet, cello & piano trio, string quartet, quintetto, flute, violin & piano trio, Piccolo Offerta Musicale (Ex Novo Ensemble)

[edit] ATMA

  • La Strada, Harp Concerto, Trombone Concerto, Atma ACD 2 2294
  • La Strada Suite (coupled w/Kurt Weill’s Sym No.2), ALCD2 1036

[edit] BMG

  • Alle Origini della Mafia
  • Il Cappello di Paglia di Firenze

[edit] BIS

  • Kremerata Musica (Jun 97), CD-870

Piccola Offerta Musicale, sarabanda & toccata for harp, flute, violin & piano trio, Ippolito Gioca, Il Presepio, catilena, viola & piano intermezzo, Puccettino nella Giungla, nonetto

  • Symphonies No.1 & 2 (Aug 98), CD-970
  • Symphony 3 (etc.) (Aug 01), CD-1070

[edit] CAM

  • La Vita di Maria (1995 January 1), CAM 493062
  • Il Casanova di Federico Fellini (2004 April 30), CAM 493094
  • La Dolce Vita (2003 January 10), CAM 493095
  • Il Gattopardo (2005 January 28), CAM 493267
  • Accadde Al Penitenziario/Un Eroe Dei Nostri Tempi (1992 January 1), CAM 493295
  • Severino Gazzelloni Plays Nino Rota (1993 January 1), CAM 493397
  • Luis Bacalov Plays Nino Rota (1994 January 1), CAM 493398
  • 8½ (2009 March 1), CAM 511316
  • Amarcord (2003 March 28), CAM 511317
  • Giulietta degli Spiriti (2003 May 5), CAM 511318
  • Il Bidone (2003 May 21), CAM 512127
  • Fellini & Rota (2006 February 3), CAM 515348
  • I Clowns (2006 December 12), CAM 515394
  • Prova d’orchestra (2008 September 23), CAM 515465
  • Rocco e i suoi fratelli (2009 June 17), CAM 515510

[edit] Chandos

  • Piano Concertos, CHAN 9681
  • The Film Music of Nino Rota (25 November 1999), CHAN 9771
  • Chamber Music (15 June 2000), CHAN 9832

Clarinet, cello & piano trio, viola & piano sonata #2, flute, violin & piano trio, violin & piano sonata

  • Cello Concertos 1 & 2 (21 May 2001), CHAN 9892
  • Concertos (11 March 2002), CHAN 9954

Harp concerto, bassoon concerto, Castel del Monte, trombone concerto

  • Suite from ‘La Strada’/Sinfonia sopra una canzone d’amore/Waltzes from ‘Il Gattopardo’ (16 June 2003), CHAN 10090
  • Symphonies Nos 1 & 2 (1 June 2009), CHAN 10546

[edit] DRG

  • The Taming of the Shrew
  • Shoot Loud, Louder… I Don’t Understand
  • Death on the Nile

[edit] Dynamic

  • Chamber Music

Nonetto, quintetto, canzona, Petite Offrande Musicale (I Solisti Dauni)

  • Chamber Music for Flute

3 duets for flute & oboe, 5 pieces for flute & piano, flute, violin & piano trio, flute & harp sonata, quintetto

  • Works for Violin/Viola and Piano

Un diavolo sentimentale, violin & piano sonata, viola & piano intermezzo, viola & piano sonata #1, viola & piano sonata #2

 EL/Cherry Red

  • Fellini Masterpieces

La Strada, Le Notti Di Cabiria

  • LSD Roma

Toby Dammit (from Spirits Of the Dead), Roma, Shoot Loud, Louder!, Love & Anarchy

 EMI

  • Film Music

War & Peace, Il Gattopardo, La Strada (ballet), Waterloo

  • 2 Concerti per Pianoforte

 Hannibal

  • Amarcord Nino Rota

 Kicco Classics

  • Giovanna canta Nino Rota

 La Bottega Discantica

  • La Notte di un Nevrastenico/Nonetto
  • La Visita Meravilgiosa
  • Lo Scoiattolo in Gamba/Cristallo di Rocca
  • Mysterium

1962 recording of Mysterium Catholicum, formerly released on Claves

 Mana Music

  • Bravo Nino Rota

Amarcord, La Strada, Juliet of the Spirits, La Dolce Vita, I Vitelloni, 8½ (The Umbrellas)

MCA

  • The Godfather
  • The Godfather Part II

Milan

  • Chansons pour Fellini

Neljazz

  • Tribute to Nino Rota

Performed by the Gap Band

Rainbow Classics

  • Chamber Music vol. 1

Organ sonata, clarinet & piano sonata, 5 pieces for flute & piano, bassoon & piano toccata, flute & harp sonata, brass & organ sonata (Venice Ensemble)

 Rastascan

  • The Club Foot Orchestra Plays Nino Rota

RCA

  • Boccaccio ’70
  • Cinema Italiano: Music of Ennio Morricone & Nino Rota

Henry Mancini performs selections from Morricone & Rota

 Silva Screen

  • Romeo & Juliet

Original soundtrack conducted by Rota

  • Romeo & Juliet: Complete Film Score

Re-recording by the City of Prague Philharmonic Orchestra

  • The Godfather Trilogy

Re-recording by the City of Prague Philharmonic Orchestra

Sony

  • La Strada/Concerto per Archi/Il Gattopardo (May 2, 1995)
  • Music for Film (January 13, 1998)

The Godfather, The Godfather Part II, 8½, La Dolce Vita, Orchestra Rehearsal, Rocco and His Brothers, The Leopard

[edit] Stradivarius

  • Improvviso

Flute, violin & piano trio, flute & harp sonata, Un Diavolo Sentimentale, 3 duets for flute, 5 pieces for flute & piano, Allegro Veloce, violin & piano sonata, Rotafantasy ‘Owls’ flute/alto sax is him dedicated on cd ‘All love’ (June 2010) by composer Giovanni Tangorra. efve;rgve’s

3 .Exodus,the London sympony Orcestra conducting by Ernest Gold

Exodus: Original Motion Picture Soundtrack by Ernest Gold 1964

 

Exodus: Original Motion Picture Soundtrack by Ernest Gold cover

Exodus: Original Motion Picture Soundtrack

© 1964 RCA

4.Mary Queen Of Scott.composer John

Exodus (1960 film)

Exodus

Original film poster
Directed by Otto Preminger
Produced by Otto Preminger
Written by Dalton Trumbo
Based on Exodus by
Leon Uris
Starring Paul Newman
Eva Marie Saint
Ralph Richardson
Sal Mineo
Music by Ernest Gold
Cinematography Sam Leavitt, ASC
Editing by Louis R. Loeffler
Distributed by United Artists
MGM (DVD)
Release date(s) December 15, 1960 (1960-12-15)
Running time 208 minutes
Country United States
Language English

Exodus is a 1960 epic war film made by Alpha and Carlyle Productions and distributed by United Artists. It was produced and directed by Otto Preminger from a screenplay by Dalton Trumbo from the 1958 novel, Exodus, by Leon Uris. The Super Panavision 70 cinematography was by Sam Leavitt. The music, including the frequently covered title theme, was written by Ernest Gold.

The film stars Paul Newman, Eva Marie Saint, Ralph Richardson, Peter Lawford, Lee J. Cobb, Sal Mineo, John Derek, Hugh Griffith, Gregory Ratoff, Felix Aylmer, David Opatoshu, Alexandra Stewart, Jill Haworth, Marius Goring, Victor Maddern and George Maharis.

Director Otto Preminger helped to end the stigma of the Hollywood blacklist by hiring Dalton Trumbo to adapt the screenplay for the film.[1] The movie was shot entirely on location in Cyprus and Israel.

Contents

 

//

Summary

The film is based on the events that happened on the ship Exodus in 1947 and dealing with the founding of the state of Israel around 1948.

Nurse Katherine “Kitty” Fremont (Eva Marie Saint) is an American volunteer at the Karaolos Internment on Cyprus, where thousands of Jews – Holocaust survivors – are being held, as they have no homeland to return to. They sit in anticipation of the day they will be liberated. Ari Ben Canaan (Paul Newman), a Haganah rebel who previously was a captain in the Jewish Brigade of the British Army in World War II, obtains a cargo ship and is able to smuggle 611 Jewish inmates out of the camp for an illegal voyage to Mandate Palestine before being discovered by military authorities. When the British find out that the refugees are in a ship in the harbor of Famagusta, they blockade the harbor. The refugees stage a hunger strike, during which the camp’s doctor dies, and Ari threatens to blow up the ship and the refugees. The British relent and allow the Exodus safe passage.

Meanwhile, Kitty has grown very fond of Karen Hansen (Jill Haworth), a young Danish-Jewish girl searching for her father, from whom she was separated during the war. She has taken up the Zionist cause, much to the chagrin of Kitty, who had hoped to take young Karen to America so that she can begin a new life there.

During this time, opposition to the partition of Palestine into Arab and Jewish states is heating up, and Karen’s young beau Dov Landau (Sal Mineo) proclaims his desire to join the Irgun, a radical Zionist underground network. Dov goes to an Irgun address, only to get caught in a police trap. After he is freed, he is contacted by members of the real Irgun. Dov is interviewed by Ari Ben Canaan’s uncle Akiva (David Opatoshu). Before swearing Dov in, Akiva forces the boy to confess that he was a Sonderkommando in Auschwitz and that he was raped by Nazis. Because of his activities, Akiva has been disowned by Ari’s father, Barak (Lee J. Cobb), who heads the mainstream Jewish Agency trying to create a Jewish state through political and diplomatic means. He fears that the Irgun will damage his efforts, especially since the British have put a price on Akiva’s head. When Dov successfully bombs the King David Hotel in an act of terrorism, leading to dozens of fatalities, Akiva is arrested and sentenced to hang. Meanwhile, Karen’s father has been found, but he is suffering from clinical depression and does not recognize her. Karen has gone to live at Gan Dafna, a fictional Jewish kibbutz near Mount Tabor at which Ari was raised. (An actual kibbutz named Dafna is located now present Lebanese border.)

Kitty and Ari have fallen in love, but Uncle Akiva’s imprisonment is an obstacle, and Ari must devise a plan to free the prisoners.

Dov Landau, who had managed to elude the arresting soldiers, turns himself in so that he can use his knowledge of explosives to rig the Acre prison and plan an escape route. All goes according to plan; hundreds of prisoners, including Akiva, manage to escape. (For the historical incident on which this is based, see Acre Prison break.) Akiva is fatally shot by British soldiers while evading a roadblock set up to catch the escaped prisoners. Ari is also badly wounded. He makes his way to Abu Yesha, an Arab village where his lifelong friend, Taha, is the mukhtar. Kitty is brought there and treats his wound.

An independent Israel is now in plain view, but Arab nationals commanded by Mohammad Amin al-Husayni, the Grand Mufti of Jerusalem, plot to attack Gan Dafna and kill its villagers. Ari receives prior warning of this attack from Taha, and he manages to get the children of the town out in a mass overnight escape. Karen, ecstatic over the prospect of a new nation, finds Dov (who was out on patrol outside the town) and proclaims her love for him; Dov assures her that they will marry someday. As Karen returns to Gan Dafna, she is ambushed and killed by a gang of Arab militiamen. Dov discovers her lifeless body the following morning. That same day, the body of Taha is found hanging in his village, killed by Arab extremists with a Star of David symbol carved on his body. Karen and Taha are buried together in one grave. At the Jewish burial ceremony, Ari swears on their bodies that someday, Jews and Arabs will live together and share the land in peace. The movie then ends with Ari, Kitty, and a Palmach contingent entering trucks and heading toward battle.

Cast

Paul Newman on Exodus DVD cover

John Gielgud turned down the role of General Sutherland.[2]

Awards and nominations

Academy Awards

Composer Ernest Gold won the Academy Award for Best Original Score at the 1960 Oscars.

The film was also nominated for Best Supporting Actor (Sal Mineo) and for Best Cinematography (Sam Leavitt).

Golden Globe

Sal Mineo won the Best Supporting Actor Award

Grammy Award

Ernest Gold won Best Soundtrack Album and Song of the Year at the Grammy Awards of 1961 for the soundtrack and theme to Exodus respectively. It is the only instrumental song to ever receive that award to date. Oddly, the first notes of the great dramatic theme are identical to the opening theme of a somewhat obscure orchestral piece by Quincy Porter, New England Episodes, premiered in 1958 in Washington, DC.[citation needed]

Cannes Film Festival

The film was screened at the 1961 Cannes Film Festival, but was not entered into the competition for the Golden Palm.[3]

Soundtrack

The main theme from the film has been widely remixed and covered by many artists. A version by Ferrante & Teicher went all the way to number 2 on the Billboard Singles Chart. Another notable version was recorded by jazz saxophonist Eddie Harris. Other versions were recorded by Mantovani, Peter Nero, Connie Francis, and the Duprees, who sang the theme with lyrics written by Pat Boone. Other artists include Gospel pianist Anthony Burger (in the Gaither Vocal Band’s “I Do Believe”), singer Edith Piaf who used french lyrics, Classical pianist Maksim Mrvica and T.I. as a sample for Bankhead. Trey Spruance of the Secret Chiefs 3 rescored the theme for “surf band and orchestra” on the album 2004 Book of Horizons. Howard Stern uses it for comedic effect when discussing aspects of Jewish life. A sample of the Exodus was used also in Ice-T´s song Exodus from the Album 7 Deadly Sin, and Nas‘s song “You’re Da Man” from the album Stillmatic. A portion of the main title was included in a montage arranged by composer John Williams and performed at the 2002 Academy Awards ceremony.

Barry.1971

Composer John Barry

John Barry songsMost popular John Barry songs (see all 3 songs)
1 * From Russia With Love lyrics
2 * Somewhere In Time lyrics
3 * Midnight Cowboy lyrics

 

John Barry (composer)

John Barry

John Barry and Paul Bateman
in the Royal Albert Hall, September 2006
Background information
Birth name John Barry Prendergast
Born 3 November 1933(1933-11-03)
York, Yorkshire, England, UK
Died 30 January 2011(2011-01-30) (aged 77)
Oyster Bay, New York, U.S.
Genres Film score
Occupations Composer, conductor
Years active 1959–2006

John Barry Prendergast, OBE (3 November 1933 – 30 January 2011) was an Oscar winning English film score composer. He was best known for composing 11 James Bond soundtracks and was hugely influential on the 007 series’ style.

In a career spanning almost 50 years, Barry received a number of awards for his work, including five Academy Awards; two for Born Free, and one each for The Lion in Winter (for which he also won a BAFTA Award), Out of Africa and Dances with Wolves (for which he also won a Grammy Award) and the theme of Somewhere in Time (Golden Globe Award nomination for Best Original Score – Motion Picture).[1]

//

Career

Barry was born John Barry Prendergast, in York, England and was the son of a musically talented mother and a charismatic Irish father.[2][3] He was raised in and around cinemas in Northern England.[4]

His father, Jack Xavier Prendergast, from Cork, was a projectionist during the silent movie era who ended up owning a chain of movie theaters across the north.[4] Often, while watching a film, Barry would note with pen and paper, what worked or what did not.[3]

His childhood background in movies influenced Barry’s music interests.[2]

Although originally a classical pianist, Barry also learned the trumpet and grew interested in composing and arranging music. During his National Service in Cyprus, he began performing as a musician. After taking a correspondence course (with jazz composer Bill Russo) and working as an arranger for the Jack Parnell and Ted Heath’s Orchestra[5] he formed his own band in 1957, The John Barry Seven,[6] with whom he had some hit records, including “Hit and Miss”, the theme tune he composed for the BBC’s Juke Box Jury programme, a cover of the Ventures’ “Walk Don’t Run”, and the theme for the United Artists Western The Magnificent Seven. The career breakthrough for Barry was the BBC television series Drumbeat, when he appeared with The John Barry Seven and arranged for many of the singers, including Adam Faith; he also composed songs (along with Les Vandyke) and film scores on Faith’s behalf. When Faith made his first film, Beat Girl, in 1960, Barry composed, arranged and conducted the score, his first. His music was later released as the first soundtrack album on LP in the UK.[7] Barry also composed the music for another Faith film, Never Let Go, orchestrated the score for Mix Me a Person, and composed, arranged and conducted the score for The Amorous Prawn.

Barry was employed by the EMI record company from 1959 until 1962 arranging orchestral accompaniment for the company’s recording artists. From 1962, Barry transferred to Ember Records where he produced albums as well as arranging them.[8]

These achievements caught the attention of the producers of a new film called Dr. No who were dissatisfied with a theme for James Bond given to them by Monty Norman. Barry was hired and the result was one of the most famous signature tunes in film history, the “James Bond Theme“. (Credit goes to Monty Norman, see below.) When the producers of the Bond series engaged Lionel Bart to score the next James Bond film From Russia with Love, they discovered that Bart could neither read nor write music. Though Bart wrote a title song for the film, the producers remembered Barry’s arrangement of the James Bond Theme and his composing and arranging for several films with Adam Faith. Lionel Bart also recommended Barry to producer Stanley Baker for his film Zulu.[9] Bart and Barry worked together in the film Man in the Middle.

This was the turning point for Barry, and he went on to become one of the most celebrated film composers, winning five Academy Awards and four Grammy Awards, with scores for, among others, The Lion in Winter, Midnight Cowboy, Born Free, and Somewhere in Time.[1]

Barry was often cited as having had a distinct style which concentrated on lush strings and extensive use of brass. However he was also an innovator, being one of the first to employ synthesizers in a film score (On Her Majesty’s Secret Service), and to make wide use of pop artists and songs in Midnight Cowboy. Because Barry provided not just the main title theme but the complete soundtrack score, his music often enhanced the critical reception of a film, notably in Midnight Cowboy, King Kong, Out of Africa, and Dances with Wolves.

One of Barry’s best known compositions is the theme for the 1971 TV series The Persuaders!, also known as “The Unlucky Heroes”, in which Tony Curtis and Roger Moore were paired as rich playboys solving crimes. The score for the series was composed by Ken Thorne. The theme went on to be a hit single in some European countries and has been re-released on collections of 1970s disco hits. The instrumental recording features Moog synthesizers. Barry also wrote the scores to a number of musicals, including Passion Flower Hotel (lyrics by Trevor Peacock), the successful West End show Billy (lyrics by Don Black) and two major Broadway flops, The Little Prince and the Aviator and Lolita, My Love, the latter with Alan Jay Lerner as lyricist.

Barry’s work began to be sampled in the 1990s by artists such as Dr. Dre and Wu-Tang Clan, with his “James Bond Theme” being sampled by performers as diverse as Bonobo, Gang Starr and Junior Reid. Fatboy Slim used the opening guitars from “Beat Girl (Main Title)” for “Rockafeller Skank” from his 1998 album, You’ve Come A Long Way, Baby. The Sneaker Pimps also sampled “Golden Girl” on their 1996 single “6 Underground“. Additionally, “You Only Live Twice” was heavily sampled on “Millennium” from Robbie Williams‘ second album, I’ve Been Expecting You.[10]

In 2002, Barry was named an Honorary Freeman of the City of York.[11]

During 2006, Barry was the executive producer on an album entitled Here’s to the Heroes by the Australian ensemble The Ten Tenors. The album features a number of songs Barry wrote in collaboration with his lyricist friend, Don Black. Barry and Black also composed one of the songs on Shirley Bassey‘s 2009 album, The Performance. The song entitled, “Our Time is Now”, is the first written by the duo for Bassey since “Diamonds Are Forever“.[12]

James Bond series

After the success of Dr. No, Barry scored eleven of the next 14 James Bond films (but with Monty Norman continually credited as the composer of the “James Bond Theme“).[13]

In his tenure with the film series, Barry’s music, variously brassy and moody, appealed to film aficionados. For From Russia With Love he composed “007”, an alternative James Bond signature theme, which is featured in four other Bond films (Thunderball, You Only Live Twice, Diamonds Are Forever, Moonraker). The theme “Stalking”, for the teaser sequence of From Russia With Love, was covered by colleague Marvin Hamlisch for The Spy Who Loved Me (1977). (The music and lyrics for From Russia With Love’s title song were written by Lionel Bart, whose musical theatre credits included Oliver!). Barry also (indirectly) contributed to the soundtrack of the 1967 spoof version of Casino Royale: his Born Free theme appears briefly in the opening sequence.

In Goldfinger, he perfected the “Bond sound”, a heady mixture of brass, jazz and sensuous melodies. There is even an element of Barry’s jazz roots in the big-band track “Into Miami”, which follows the title credits and accompanies the film’s iconic image of the camera lens zooming toward the Fontainebleau Hotel in Miami Beach.

As Barry matured, the Bond scores concentrated more on lush melodies, as in Moonraker and Octopussy. Barry’s score for A View to a Kill was traditional, but his collaboration with Duran Duran for the title song was contemporary and one of the most successful Bond themes to date, reaching number one in the United States and number two in the UK Singles Chart. Both A View to a Kill and the Living Daylights theme by a-ha blended the pop music style of the artists with Barry’s orchestration. In 2006, a-ha’s Pal Waaktaar complimented Barry’s contributions “I loved the stuff he added to the track, I mean it gave it this really cool string arrangement. That’s when for me it started to sound like a Bond thing”.[14]

Barry’s last score for the Bond series was 1987’s The Living Daylights, Dalton’s first film in the series with Barry making a cameo appearance as a composer in the film. Barry was intended to score Licence to Kill but was recovering from throat surgery at the time and it was considered unsafe to fly him to London to complete the score. The score was completed by Michael Kamen.[15]

David Arnold, a British composer, saw the result of two years’ work in 1997 with the release of Shaken and Stirred: The David Arnold James Bond Project, an album of new versions of the themes from various James Bond films. Arnold thanks Barry in the sleeve notes, referring to him as “the Guvnor”. Almost all of the tracks were John Barry compositions, and the revision of his work met with his approval – he contacted Barbara Broccoli, producer of the upcoming Tomorrow Never Dies, to recommend Arnold as the film’s composer.[16] Arnold also went on to score the subsequent Bond films: The World Is Not Enough, Die Another Day, Casino Royale and Quantum of Solace.

Sole compositional credit for the “James Bond Theme” is attributed to Monty Norman, who was contracted as composer for Dr. No. Some 30 years later, in 2001, authorial matters came to a head in the High Court in London after Norman sued The Sunday Times for publishing that claim in a 1997 article naming Barry as the true composer; Barry testified for the defense.[17][18]

In court, Barry declared he had been handed a musical manuscript of a work by Norman (meant to become the theme) and that he was to arrange it musically, and that he composed additional music and arranged the “James Bond Theme”. The court was also told that Norman received sole credit because of his prior contract with the producers. Barry said that a deal was struck whereby he would receive a flat fee of £250 and Norman would receive the songwriting credit.[19] Barry said that he had accepted the deal with United Artists Head of Music Noel Rogers because it would help his career. Despite these claims the jury ruled unanimously in favour of Norman.[19]

On 7 September 2006, John Barry publicly defended his authorship of the theme on the Steve Wright show on BBC Radio 2.[20]

Personal life

Barry was educated at St Peter’s School, York, and also received composition lessons from Francis Jackson, Organist of York Minster.[2]

Barry moved to California in 1970 as a tax exile, with a British judge accusing him of emigrating to avoid paying £134,000 due the Inland Revenue.[5] The matter was resolved in the late 1980s and Barry was able to return to the UK.[5] He subsequently lived for many years in the United States, mainly in Oyster Bay, New York, on Long Island, since 1980.[2]

Barry suffered a rupture of the oesophagus in 1988, following a toxic reaction to a health tonic he had consumed. The incident rendered him unable to work for two years and left him vulnerable to pneumonia.[21]

Barry was married four times. His first three marriages, to Barbara Pickard (1959–63); Jane Birkin (1965–68); and Jane Sidey (1969–71), all ended in divorce.[5] He married his fourth wife Laurie in 1976,[5] to whom he remained married until his death. The couple had a son, Jonpatrick. Barry had three daughters from previous liaisons: Susie, Sian and Kate.[2]

Barry died of a heart attack on 30 January 2011 at his Oyster Bay home aged 77 years.[22][23] His was survived by Laurie, his wife of 33 years, as well as by four children and five grandchildren. There will be a private funeral service, and a memorial service is expected to be held later in 2011 in the United Kingdom.[22][24]

Awards and nominations

Five Academy Awards

Academy Award nominations

Grammy Award

  • 1969 Best Instrumental Theme for Midnight Cowboy.[26]
  • 1985 Best Jazz Instrumental Performance, Big Band for The Cotton Club.[26]
  • 1986 Best Instrumental Composition for Out of Africa.[26]
  • 1991 Best Instrumental Composition Written For A Motion Picture Or For Television for Dances with Wolves.[26]

BAFTA Award

  • 1968 Anthony Asquith Award for Film Music for The Lion in Winter.[27]

BAFTA Fellowship Award

BAFTA nominations

  • 1986 Best Score for Out of Africa[29]
  • 1991 Best Original Score for Dances with Wolves[30]

Emmy Award nominations

  • 1964 Outstanding Achievement in Composing Original Music for Television for Elizabeth Taylor in London (a 1963 television special)[31]
  • 1977 Outstanding Achievement in Music Composition for a Special (Dramatic Underscore) for Eleanor and Franklin: The White House Years[31]

Max Steiner Lifetime Achievement Award (presented by the City of Vienna)

Lifetime Achievement Award from World Soundtrack Academy (presented at the Ghent Film Festival)

  • 2010

Barry was inducted into the Songwriters Hall of Fame in 1998.[13]

 Discography

Film scores

Bond films

Barry worked on the soundtracks for the following Bond films:

Musicals

Television themes

Other works

  • Stringbeat (1961)
  • The Americans (1975)
  • The Beyondness of Things (1999)
  • Eternal Echoes (2001)
  • The Seasons – no release date set

Hit singles

(Excludes co-composed hits, e.g. Duran Duran‘s A View to a Kill)

  • “Hit And Miss” as The John Barry Seven plus Four, UK#10 (first charted 1960)
  • “Beat For Beatniks” as The John Barry Orchestra, UK#40 (1960)
  • “Never Let Go” as The John Barry Orchestra, UK#49 (1960)
  • “Blueberry Hill” as The John Barry Orchestra, UK#34 (1960)
  • “Walk Don’t Run” as The John Barry Seven, UK#11 (1960)
  • “Black Stockings” as The John Barry Seven, UK#27 (1960)
  • The Magnificent Seven” as The John Barry Seven, UK#45 (1961)
  • “Cutty Sark” as The John Barry Seven, UK#35 (1962)
  • “The James Bond Theme” as The John Barry Orchestra, UK#13 (1962)
  • “From Russia With Love” as The John Barry Orchestra, UK#39 (1963)
  • “Theme From ‘The Persuaders'” as John Barry, UK#13 (1971)

The 4 highest-charting hits all spent more than 10 weeks in the UK top 50.

 

 

 
John Barry is one of the best-known composers of soundtrack music of the late 20th and early 21st centuries, but his career has carried him through a multitude of music genres and styles. He is best-known in film in connection with his work on the James Bond pictures, but Barry is also the holder of five Academy Awards, none of them for the Bond movies. Born Free (for which he won Oscars for Best Score and Best Song), The Lion in Winter, Out of Africa, and Dances With Wolves are hardly unknown films…
 

Mary, Queen of Scots

Mary I
Portrait of Mary Queen of Scots, after François Clouet
Queen of Scots
Reign 14 December 1542 – 24 July 1567
Coronation 9 September 1543
Predecessor James V
Successor James VI
Regent James Hamilton, 2nd Earl of Arran (1542–1554)
Mary of Guise (1554–1560)
Queen consort of France
Tenure 10 July 1559 – 5 December 1560
 
Spouse Francis II of France
m. 1558; dec. 1560
Henry Stuart, Lord Darnley
m. 1565; dec. 1567
James Hepburn, 4th Earl of Bothwell
m. 1567; dec. 1578
Issue
James VI of Scotland and I of England
House House of Stuart
Father James V of Scotland
Mother Mary of Guise
Born 8 December 1542
Linlithgow Palace, Linlithgow
Died 8 February 1587(1587-02-08) (aged 44)
Fotheringhay Castle, Northamptonshire
Burial Peterborough Cathedral; Westminster Abbey
Signature

Mary Stuart (born as Mary Stewart; 8 December 1542 – 8 February 1587) was Queen regnant of Scotland from 14 December 1542 to 24 July 1567. In some lists of Scottish monarchs, she is recognised as Mary I.

She was the only surviving legitimate child of King James V of Scotland. She was 6 days old when her father died and she was crowned nine months later. In 1558, she married Francis, Dauphin of France, who ascended the French throne as Francis II in 1559. Mary was not Queen of France for long; she was widowed on 5 December 1560. Mary then returned to Scotland, arriving in Leith on 19 August 1561. Four years later, she married her first cousin, Henry Stuart, Lord Darnley. Their union was unhappy and in February 1567, there was a huge explosion at their house, and Darnley was found dead, apparently strangled, in the garden.

She soon married James Hepburn, 4th Earl of Bothwell, who was generally believed to be Darnley’s murderer. Following an uprising against the couple, Mary was imprisoned in Loch Leven Castle on 15 June and forced to abdicate in favour of her one-year-old son, James VI. After an unsuccessful attempt to regain the throne, Mary fled to England seeking the protection of her first cousin once removed, Queen Elizabeth I of England, whose kingdom she hoped to inherit. Mary had previously claimed Elizabeth’s throne as her own and was considered the legitimate sovereign of England by many English Catholics, including participants in the Rising of the North. Perceiving her as a threat, Elizabeth had her arrested. After 19 years in custody in a number of castles and manor houses in England, she was tried and executed for treason for her alleged involvement in three plots to assassinate Elizabeth

5.For Love Of Ivy .Sidney Poitier,music conduct and co,mposed by Quincy Jones.

 

Sidney Poitier

Sir Sidney Poitier (født 20. februar 1927) er en amerikansk skuespiller, filminstruktør, forfatter og diplomat fra Bahamas. Sidney Poitier er bedst kendt for en lang række prisvindende og nominerede roller i halvtredserne og tresserne. Specielt huskes kan som den første afro-amerikaner der vandt en Oscar for bedste mandlige hovedrolle for sit skuespil i filmen Markens liljer. Før det havde han allerede været nomineret i 1958 i samme kategori. Desuden har han vundet en BAFTA Award og være nomineret fem gange og fem gange til en Golden Globe, som han vandt for samme rolle som han vandt sin Oscar.

Siden 1997 har Sidney Poitier været Bahamas’ ambassadør til Japan og til UNESCO. I august 2009 modtog han Medal of Freedom af præsident Barack Obama.

For Love of Ivy

 

For Love of Ivy

Theatrical poster
Directed by Daniel Mann
Produced by Edgar J. Scherick
Jay Weston
Screenplay by Robert Alan Arthur
Story by Sidney Poitier
Starring Sidney Poitier
Abbey Lincoln
Beau Bridges
Nan Martin
Lauri Peters
Carroll O’Connor
Music by Quincy Jones

Quincy Jones

Quincy Jones

Quincy Delight Jones (født 14. marts 1933) er en amerikansk pladeproducent, dirigent, musikalsk arrangør og filmkomponist. I løbet af hans fem årtier i underholdningsindustrien har Quincy Jones opnået et rekordhøjt antal på 79 Grammy Award nomineringer, 27 Grammys herunder en Grammy Legend Award i 1991.

Jones er bedst kendt som producent af albummet Thriller (1982), af pop-ikonet Michael Jackson, som har solgt 104 millioner eksemplarer på verdensplan, og som producent samt leder af velgørenhedssangen We Are the World (1985). Quincy Jones er også kendt for sin populære sang Soul Bossa Nova fra 1962.

Studio Palomar Pictures
Distributed by Cinerama Releasing Corporation
Release date(s) July 17, 1968 (1968-07-17)
Running time 101 minutes
Country United States
Language English

For Love of Ivy is a 1968 romantic comedy film directed by Daniel Mann. The film stars Sidney Poitier, Abbey Lincoln, Beau Bridges, Nan Martin, Lauri Peters and Carroll O’Connor. The story was written by Sidney Poitier with screenwriter Robert Alan Arthur. The musical score was composed by Quincy Jones. The film received Golden Globe supporting acting nominations for Beau Bridges and Abbey Lincoln.

Plot

Seeking to improve herself, Ivy Moore, an African-American maid, announces her decision to leave her job working for the Austin family and go to secretarial school. The Austins are desperate to keep her and the teenagers, Gena and Tim, hatch a scheme to do so. Tim Austin sets up Ivy with Jack Parks, a trucking company executive, to wine and dine Ivy Moore. He hopes that the introduction of excitement in her life will dissuade her from leaving the family. Tim Austin persuades a reluctant Jack Parks to date her by threatening to reveal his illegal gambling casino. Their initial meetings are awkward for the cosmopolitan Parks and the less sophisticated Moore. Eventually, however, romance blossoms, but when Moore learns that Parks was coerced into initially dating her, she breaks up with him. Parks overcomes his attachment to bachelorhood and asks Moore to marry him. She accepts.

Themes

While it isn’t a race movie, or primarily about race, Jack Parks (Sidney Poitier) enjoys playing on the Austin children’s racial stereotypes.

The film was released on Region 1 DVD by MGM Home Video January 20, 2004.

the end @ copyright dr Iwan Suwandy 2011

The Original soundtrack of motion picture Record found In Indonesia(Piring Hitam musik thema film )

WELCOME COLLECTORS FROM ALL OVER THE WORLD

                          SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN

                                                AT DR IWAN CYBERMUSEUM

                                          DI MUSEUM DUNIA MAYA DR IWAN S.

_____________________________________________________________________

SPACE UNTUK IKLAN SPONSOR

_____________________________________________________________________

 *ill 001

                      *ill 001  LOGO MUSEUM DUNIA MAYA DR IWAN S.*ill 001

                                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

                                                         

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                         WELCOME TO THE MAIN HALL OF FREEDOM               

                     SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA

                     Please Enter

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

 

SHOWCASE :

The Original Soundtrack of the motion Pictures Record found In Indonesia

My fair Lady(Nat King Cole)

My Fair Lady (film)

My Fair Lady

Theatrical release poster by Bill Gold,
original illustration by Bob Peak
Directed by George Cukor
Produced by Jack Warner
Written by Alan Jay Lerner
George Bernard Shaw
Starring Audrey Hepburn
Rex Harrison
Stanley Holloway
Gladys Cooper
Music by Frederick Loewe (Music)
Alan Jay Lerner (Lyrics)
Cinematography Harry Stradling Sr.
Editing by William H. Ziegler
Distributed by Warner Bros.
Release date(s) December 25, 1964 (1964-12-25)
Running time 170 minutes
Country United States
Language English
Budget $17 million
Gross revenue $72 million

My Fair Lady is a 1964 American musical film adaptation of the Lerner and Loewe stage musical, of the same name, based on the film adaptation of the stage play Pygmalion by George Bernard Shaw. The ending and the ballroom scene are from the 1938 film, Pygmalion, rather than Shaw’s original stage play. The film was directed by George Cukor and stars Audrey Hepburn and Rex Harrison.

The film won eight Academy Awards, including Best Picture, Best Actor, and Best Director.[1]

Contents

 

//

 Plot

In Edwardian London, Henry Higgins (Rex Harrison), an arrogant, irascible, misogynistic professor of phonetics, believes that the accent and tone of one’s voice determines a person’s prospects in society. He boasts to a new acquaintance, Colonel Hugh Pickering (Wilfrid Hyde-White), himself an expert in phonetics, that he could teach any woman to speak so “properly” that he could pass her off as a duchess at an embassy ball, citing, as an example, a young flower seller from the slums, Eliza Doolittle (Audrey Hepburn), who has a strong Cockney (“Lisson Grove lingo” as it is called) accent.

Eliza goes to Higgins seeking speech lessons. Her great ambition is to work in a flower shop, but her thick accent makes her unsuitable for such a position. All she can afford to pay is a shilling per lesson, whereas Higgins is used to training wealthier members of society.[2] Pickering, who is staying with Higgins, is intrigued by the idea of passing a common flower girl off as a duchess and bets Higgins he cannot make good his boast, offering to pay for the lessons himself.

Eliza’s father, Alfred P. Doolittle (Stanley Holloway), a dustman, shows up three days later, ostensibly to protect his daughter’s virtue, but in reality simply to extract some money from Higgins, and is bought off with £5. Higgins is impressed by the man’s honesty, his natural gift for language, and especially his brazen lack of morals – “Can’t afford ’em!” claims Doolittle. Higgins recommends Doolittle to a wealthy American who is interested in morality.

Eliza goes through many forms of speech training, such as speaking with marbles in her mouth, enduring Higgins’ harsh approach to teaching and his treatment of her personally. She makes little progress, but just as she, Higgins, and Pickering are about to give up, Eliza finally “gets it”; she instantly begins to speak with an impeccable upper class accent.

As a test, Higgins takes her to Ascot Racecourse, where she makes a good impression with her stilted, but genteel manners, only to shock everyone by a sudden and vulgar lapse into Cockney while encouraging a horse to win a race: “C’mon Dover, move your bloomin’ arse!” Higgins, who dislikes the pretentiousness of the upper class, partly conceals a grin behind his hand.

Eliza poses as a mysterious lady at an embassy ball and even dances with a foreign prince. At the ball is Zoltan Karpathy (Theodore Bikel), a Hungarian phonetics expert trained by Higgins. After a brief conversation with Eliza, he certifies that she is of royal blood. This makes Higgins’ evening, since he has always looked upon Karpathy as a bounder and a crook.

After all the effort she has put in however, Eliza is given hardly any credit, all the praise going to Higgins. This, and his callous treatment towards her afterwards, especially his indifference to her future, causes her to walk out on him, leaving him mystified by her ingratitude.

Accompanied by Freddy Eynsford-Hill (Jeremy Brett), a young man she met at Ascot and who has become enamoured of her, Eliza returns to her old stomping ground at Covent Garden, but finds that she no longer fits in. She meets her father, who has been left a large fortune by the wealthy American Higgins had sent him to and is resigned to marrying Eliza’s stepmother. Alfred feels that Higgins has ruined him, since he is now bound by morals and responsibility. Eventually, Eliza ends up visiting Higgins’ mother, who is incensed at her son’s behaviour.

Higgins finds Eliza the next day and attempts to talk her into coming back to him. During a testy exchange, Higgins becomes incensed when Eliza announces that she is going to marry Freddy and become Karpathy’s assistant. Higgins explodes and Eliza is satisfied that she has had her “own back.” Higgins has to admit that rather than being a “a millstone around my neck… now you’re a tower of strength, a consort battleship. I like you this way.” Eliza leaves, saying they will never meet again.

After an argument with his mother—in which he asserts that he does not need Eliza or anyone else — Higgins makes his way home, stubbornly predicting that Eliza will come crawling back. However, he comes to the horrified realization that he has “grown accustomed to her face.” Then, to his great delight, Eliza suddenly returns to him.

The ending

In the ending of the original play Eliza makes it clear that she will marry Freddy. Shaw later wrote an essay[3] in which he explained precisely why it was impossible for the story to end with Higgins and Eliza getting married, though they would continue to be close throughout their lives. Higgins himself does not appear to want to marry Eliza. Towards the end of the original play, he sees the future as “You and I and Pickering will be three old bachelors together instead of only two men and a silly girl.”

The ending of the stage version of My Fair Lady comes from the 1938 film version of Pygmalion, starring Leslie Howard and Wendy Hiller; This ending was faithfully retained in the film version.

 Cast

Production

 Order of musical numbers

The order of the songs in the show was followed faithfully, except for “With a Little Bit of Luck”. The song is listed as being the third musical number in the play; in the film it is the fourth. Onstage, the song is split into two parts sung in two different scenes. Part of the song is sung by Doolittle and his cronies just after Eliza gives him part of her earnings, immediately before she makes the decision to go to Higgins’s house to ask for speech lessons. The second half of the song is sung by Doolittle just after he discovers that Eliza is now living with Higgins. In the film, the entire song is sung in one scene that takes place just after Higgins has sung “I’m an Ordinary Man”. However, the song does have a dialogue scene (Doolittle’s conversation with Eliza’s landlady) between verses.

The instrumental “Busker Sequence”, which opens the play immediately after the Overture, is the only musical number from the play omitted in the film version. However, there are several measures from this piece that can be heard as we see Eliza in the rain, making her way through the cars and carriages in Covent Garden.

All of the songs in the film were performed almost complete; however, there were some verse omissions, as there sometimes are in film versions of Broadway musicals. For example, in the song “With a Little Bit of Luck” the verse “He does not have a Tuppence in his pocket”, which was sung with a chorus, was omitted, due to space and its length. The original verse in “Show Me” was used instead. In the song “Get Me to the Church on Time” the verse that mentions “Drug me or jail me/ Stamp me or mail me” was omitted because the censors would not allow a verse referring to being drugged or jailed, and Alan Jay Lerner refused to have replacement lyrics for the song.

Dubbing

Hepburn’s singing was judged inadequate, and she was dubbed by Marni Nixon,[4] who sang all songs except “Just You Wait”, where Hepburn’s voice was left undubbed during the harsh-toned chorus of the song and Nixon sang the melodic bridge section. Some of Hepburn’s original vocal performances for the film were released in the 1990s, affording audiences an opportunity to judge whether the dubbing was necessary. Less well known is the dubbing of Jeremy Brett‘s songs (as Freddy) by Bill Shirley.[5]

Rex Harrison declined to pre-record his musical numbers for the film, explaining that he had never talked his way through the songs the same way twice and thus couldn’t convincingly lip-sync to a playback during filming (as musical stars had, according to Jack Warner, been doing for years. “We even dubbed Rin-Tin-Tin”[6]). To permit Harrison to recite his songs live during filming, the Warner Bros. Studio Sound Department, under the direction of George Groves, implanted a wireless microphone in Harrison’s neckties, marking the first known wireless microphone use in film history.[citation needed] André Previn then conducted the final version of the music to the voice recording.[citation needed] The sound department earned an Academy Award for its efforts.

Intermission

One of the few differences in structure between the stage version and the film is the placement of the intermission. In the stage play, the intermission comes after the scene at the Embassy Ball where Eliza is seen dancing with Karpathy. In the film, the intermission comes before the ball, as Eliza, Higgins and Pickering are seen departing for the embassy.

Art direction

The art direction was by Cecil Beaton, who won an Oscar. Beaton’s inspiration for the library in Henry Higgins’ home, where much of the action takes place, was a room at the Château de Groussay, Montfort-l’Amaury, in France, which had been decorated opulently by its owner Carlos de Beistegui.

Copyright issues

The head of CBS put up the money for the original Broadway production in exchange for the rights to the cast album (through Columbia Records). When Warner bought the film rights in February 1962 for the then-unprecedented sum of $5 million, it was agreed that the rights to the film would revert to CBS seven years after its release.[citation needed]

The first home video release was by MGM/CBS Home Video in 1981, and was re-released by CBS/Fox Video in 1984, 1986, 1991, and 1994.

Warner owned the film’s original copyright, but it was renewed by CBS due to the 1972 rights reversion. From 1998-2008, Warner owned the DVD rights to the film (under license from CBS), while CBS Television Distribution owns the television rights. This made My Fair Lady the only theatrical film whose ancillary rights are owned by CBS that was not distributed by CBS Home Entertainment.[citation needed]

A VHS release by Paramount Pictures in 2001 is currently out of print. However, Paramount obtained DVD rights in 2009 and re-released the film on DVD, on October 6, 2009.[7]

Musical numbers

Act I
  1. “Overture”
  2. “Why Can’t the English?” – Higgins
  3. Wouldn’t It Be Loverly?
  4. “An Ordinary Man” – Higgins
  5. “With a Little Bit of Luck” – Alfred
  6. “Just You Wait” – Eliza
  7. “Servants Chorus” – Mrs. Pearce, Servants
  8. The Rain in Spain” – Eliza, Higgins, Pickering
  9. I Could Have Danced All Night” – Eliza, Mrs. Pearce, Maids
  10. “Ascot Gavotte” – Ensemble
  11. “Ascot Gavotte (Reprise)” – Ensemble
  12. On the Street Where You Live” – Freddy
  13. “Intermission”
Act II
  1. “Transylvanian March”
  2. “Embassy Waltz”
  3. “You Did It” – Higgins, Pickering, Mrs. Pearce, Servants
  4. “Just You Wait (Reprise)” – Eliza
  5. “On the Street Where You Live” (reprise) – Freddy
  6. “Show Me” – Eliza
  7. “Wouldn’t It Be Loverly” (reprise) – Eliza, Ensemble
  8. Get Me to the Church on Time” – Alfred, Ensemble
  9. “A Hymn to Him (Why Can’t A Woman Be More Like a Man?)” – Higgins, Pickering
  10. “Without You” – Eliza
  11. I’ve Grown Accustomed to Her Face” – Higgins
  12. “Finale”
  13. “Exit Music”

 Soundtrack album as heard on the original LP

All tracks played by The Warner Bros. Studio Orchestra conducted by André Previn. Between brackets the singers.

  1. “Overture”
  2. “Why Can’t the English?” (Rex Harrison, Audrey Hepburn and/or Marni Nixon (for Audrey Hepburn), Wilfrid Hyde-White)
  3. “Wouldn’t It Be Loverly?” (Marni Nixon (for Audrey Hepburn))
  4. “I’m Just an Ordinary Man” (Rex Harrison)
  5. “With a Little Bit of Luck” (Stanley Holloway)
  6. “Just You Wait” (Audrey Hepburn, Marni Nixon (for Audrey Hepburn))
  7. “The Rain in Spain” (Rex Harrison, Audrey Hepburn, Marni Nixon (for Audrey Hepburn), Wilfrid Hyde-White)
  8. “I Could Have Danced All Night” (Marni Nixon (for Audrey Hepburn))
  9. “Ascot Gavotte”
  10. “On the Street Where You Live” (Bill Shirley (for Jeremy Brett))
  11. “You Did It” (Rex Harrison, Wilfrid Hyde-White)
  12. “Show Me” (Marni Nixon (for Audrey Hepburn), Bill Shirley (for Jeremy Brett))
  13. “Get Me to the Church on Time” (Stanley Holloway)
  14. “A Hymn to Him (Why Can’t a Woman Be More Like a Man?)” (Rex Harrison, Wilfrid Hyde-White)
  15. “Without You” (Marni Nixon (for Audrey Hepburn), Rex Harrison)
  16. “I’ve Grown Accustomed to Her Face” (Rex Harrison)

Previously unreleased on LP, included on the CD

  1. “The Flower Market”
  2. “Servants’ Chorus”
  3. “Ascot Gavotte (Reprise)”
  4. “Intermission”
  5. “The Transylvanian March”
  6. “The Embassy Waltz”
  7. “Just You Wait (Reprise)” (Audrey Hepburn and/or Marni Nixon (for Audrey Hepburn))
  8. “On the Street Where You Live (Reprise)” Bill Shirley (for Jeremy Brett)
  9. “The Flowermarket” (containing the reprise of “Wouldn’t It Be Loverly?”) (Marni Nixon for Audrey Hepburn)
  10. “End Titles”
  11. “Exit Music”

 Awards and honors

Academy Awards record
1. Best Actor, Rex Harrison
2. Best Art Direction, Gene Allen, Cecil Beaton, George James Hopkins
3. Best Cinematography, Harry Stradling Sr.
4. Best Costume Design, Cecil Beaton
5. Best Director, George Cukor
6. Best Original Score, André Previn
7. Best Picture, Jack Warner
8. Best Sound, George Groves
Golden Globe Awards record
1. Best Motion Picture – Musical or Comedy
2. Best Actor – Musical or Comedy, Rex Harrison
3. Best Director, George Cukor
BAFTA Awards record
1. Best Film from any Source, George Cukor

Academy Awards: 1964

My Fair Lady won eight Oscars:[1]

Four nominations

 Golden Globe Awards

My Fair Lady won three Golden Globes:

  • Golden Globe Award for Best Motion Picture – Musical or Comedy
  • Golden Globe Award for Best Director – Motion Picture – George Cukor
  • Golden Globe Award for Best Actor – Motion Picture Musical or Comedy – Rex Harrison

BAFTA Awards

Others

American Film Institute recognition

  • 1998 AFI’s 100 Years… 100 Movies #91
  • 2002 AFI’s 100 Years… 100 Passions #12
  • 2004 AFI’s 100 Years… 100 Songs:
  • 2006 AFI’s 100 Years of Musicals #8

 Restoration

The film was restored in 1994 by James C. Katz and Robert A. Harris, who had restored Spartacus three years earlier. The restoration was commissioned and financed by CBS, who purchased the film from Warner Bros. in 1971.[8]

Anna(Silvana Mangano)

Silvana Mangano

Silvana Mangano

as Circe in the 1955 film Ulysses.
Born 21 April 1930(1930-04-21)
Rome, Italy
Died 16 December 1989(1989-12-16) (aged 59)
Madrid, Spain
Years active 1945–1987
Spouse Dino De Laurentiis
(1949–1989)

Silvana Mangano (21 April 1930[1] – 16 December 1989)[2] was an Italian actress.

Raised in poverty during World War II, Mangano trained as a dancer and worked as a model before winning a “Miss Rome” beauty pageant in 1946[2]. This led to work in films; she achieved a notable success in Bitter Rice (1949) and continued working in films for almost four more decades.

The Bosnian singer Silvana Armenulić took her stage name from Mangano.

Contents

 

//

Early life

Born in Rome to an Italian father and an English mother (Ivy Webb from Croydon), Mangano lived in poverty caused by the Second World War. Trained for seven years as a dancer, she was supporting herself as a model.

In 1946, at age 16, Mangano won the “Miss Rome” beauty pageant and through this she obtained a role in a Mario Costa movie. One year later she became a contestant in the Miss Italia contest. Potential actress Lucia Bosé became “The Queen”, among Mangano and several other future stars of Italian cinema such as Gina Lollobrigida, Eleonora Rossi Drago and Gianna Maria Canale.

 Film career

Mangano’s earliest connection with filmmaking occurred through her romantic relationship with actor Marcello Mastroianni. This led her to a movie contract, though it would take some time for Mangano to ascend to international stardom with her performance in Bitter Rice (Riso Amaro, Giuseppe De Santis, 1949). Thereafter, she signed a contract with Lux Film, in 1949, and later married Dino De Laurentiis, on the verge of becoming a known producer.[1]

Though she never scaled the heights of her contemporaries Sophia Loren and Gina Lollobrigida, Mangano remained a favorite star between the 1950s and 1970s, appearing in Anna (Alberto Lattuada, 1951), The Gold of Naples (L’oro di Napoli, Vittorio De Sica, 1954), Mambo (Robert Rossen, 1955), Theorem (Teorema, Pier Paolo Pasolini, 1968), Death in Venice (Morte a Venezia, Luchino Visconti, 1971), and The Scientific Cardplayer (1972).

 Personal life

Married to Bitter Rice producer Dino De Laurentiis from 1949, the couple had four children: Veronica, Raffaella, Francesca, and Federico.[2] Veronica’s daughter Giada De Laurentiis is host of Everyday Italian on the Food Network. Raffaella coproduced with her father on Mangano’s penultimate film, Dune (David Lynch, 1984). Federico died in an airplane crash in 1981 in Alaska.[2] De Laurentiis and Mangano separated in 1983, and Mangano began divorce proceedings in 1988.[3]

Following surgery on 4 December 1989 that left her in a coma, Mangano died of lung cancer in Madrid, Spain, during the late night/early morning hours between 15 and 16 December 1989.[1]

Filmography

Although performed by Flo Sandon’s, Silvana Mangano was credited on the label of the recording of “El Negro Zumbon,” known as “Anna” in the U.S.A., which is from the soundtrack of the motion picture Anna (1951) and was a hit song in 1953.

Rock around The clock,Alan freed and his Rock and roll band, side one the great Pretender and side two Only you

Original Motion Picture Soundtrack
Original Motion Picture Soundtrack
Rock Around the Clock (film)

Rock Around the Clock
Directed by Fred F. Sears
Produced by Sam Katzman
Written by Robert E. Kent
Starring Bill Haley and His Comets
Alan Freed
The Platters
Freddie Bell and the Bellboys
Cinematography Benjamin H. Kline
Editing by Saul A. Goodkind
Jack Ogilvie
Distributed by Columbia Pictures
Release date(s) March 21, 1956
Running time 77 minutes
Country United States
Language English
Followed by Don’t Knock the Rock

Rock Around the Clock is the title of a 1956 musical motion picture that featured Bill Haley and His Comets along with Alan Freed, The Platters, Tony Martinez and His Band, and Freddie Bell and His Bellboys. It was produced by B-movie king Sam Katzman (who would produce several Elvis Presley films in the 1960s) and directed by Fred F. Sears.

The film was shot over a short period of time in January 1956 to capitalize on Haley’s success and the popularity of his multimillion-selling recording “Rock Around the Clock” that debuted in the 1955 teen flick Blackboard Jungle, and is considered the first major rock and roll musical film.

//

 Plot

Rock Around the Clock told a highly fictionalized rendition of how rock and roll was discovered, but moviegoers didn’t care about the plotline; they wanted to hear the music. The film was blamed for inciting rowdy behavior in theaters across America and Great Britain, and was banned in some parts of the world. Queen Elizabeth II reportedly requested a special screening of the film; her reaction to it is not known.[citation needed]

Despite the movie being named after it, the song “Rock Around the Clock” – although heard three times during the picture – is never actually performed in its entirety on screen. At the end of the picture, the director decides to show the two dramatic leads having a conversation while Haley and the Comets are shown performing the song in the background, the music muted to allow dialogue. It has been suggested that the decision to have people talking over this climactic performance “Rock Around the Clock”, a song people came to the film to hear, might have been a contributing factor in reported theater violence.[original research?]

 Cast

  • Alan Freed as Himself
  • Johnny Johnston as Steve Hollis
  • Alix Talton as Corinne Talbot
  • Lisa Gaye as Lisa Johns
  • John Archer as Mike Dodd
  • Henry Slate as Corny LaSalle

Featuring the musical talents of:

 Songs performed in the movie

  1. Rock Around the Clock” – Bill Haley and His Comets
  2. See You Later Alligator” – Haley
  3. “Rock-a-Beatin’ Boogie” – Haley
  4. “A.B.C. Boogie” – Haley – first verse only
  5. “Cuero (Skins)” – Tony Martinez and His Band
  6. “Mambo Capri” – Martinez
  7. “Solo Y Triste (Sad And Lonely)” – Martinez
  8. “Razzle-Dazzle” – Haley
  9. “Teach You to Rock” – Freddie Bell and the Bellboys
  10. “Bacalao Con Papa (Codfish And Potatoes)” – Martinez
  11. Only You (And You Alone)” – The Platters
  12. “R-O-C-K” – Haley
  13. “Happy Baby” – Haley – first verse and chorus only
  14. “Mambo Rock” – Haley – chorus only
  15. “Giddy Up A Ding Dong” – Bell
  16. The Great Pretender” – Platters
  17. “Rudy’s Rock” – Haley

No soundtrack album was ever released for the film. The performance of “Rudy’s Rock” is the only Haley song performed live on camera and while an off-air recording taken from the film would be released in Germany in the 1990s (as part of the Hydra Records Haley compilation album, On Screen), a proper studio-quality recording from the set has yet to be released. The band also performs live on camera during a brief rehearsal prior to lip-synching to the Decca recording of “R-O-C-K”.

“Rock Around the Clock” is heard three times in the film – once over the opening credits, again in a brief rendition of the opening verse during a montage, and again at the end where only the last verse is heard.

A few months prior to shooting the film, the Comets had undergone a major change in personnel, with several members leaving the group. As a result, most of the songs lip-synched in the film actually feature a different line-up of musicians than those shown performing. The only songs on which all musicians shown on screen were also involved in the recording session are “See You Later Alligator” and “Rudy’s Rock”. During the performances of “Rock Around the Clock”, Franny Beecher is shown playing the guitar for Danny Cedrone, who had originally been on the recording session, and who had died 18 months earlier. Cedrone’s guitar work can also be heard on “ABC Boogie”, the opening bars of which are performed off-camera.

 Impact

Rock Around the Clock was one of the major box office successes of 1956, and soon many more rock and roll musical films (notably the big-budget “A” picture The Girl Can’t Help It) would be produced and within a year, Elvis Presley (whose first film, 1956’s Love Me Tender, was a western, not a rock and roll movie) would soon appear in the most popular films of the genre, including Jailhouse Rock and King Creole.

Later in 1956, Bill Haley and His Comets headlined a loose sequel, Don’t Knock the Rock, also directed by Sears and produced by Katzman. Rushed into production in order to capitalize on the success of Rock Around the Clock, the sequel failed to duplicate the earlier film’s success.

In 1961, Katzman produced the similarly titled, Twist Around the Clock starring Chubby Checker, which was very similar in basic plot to Rock Around the Clock and is often referred to as a remake of the Haley picture.

Rock Around the Clock is also the title of a 1987 Canadian documentary.

Ten Thousand Bedroom,sung by Dean Martin.

Grease starring John Travolta-Olivia newton jones,the original soundtract from the motion picture.

 

Grease: The Original Soundtrack from the Motion Picture

Grease: The Original Soundtrack from the Motion Picture
Soundtrack album by John Travolta / Olivia Newton-John / Various artists
Released 1978
Recorded 1977
Genre Pop, rock and roll
Length 61:14
Label RSO
Producer Louis St. Louis
John Farrar
Barry Gibb, Albhy Galuten and Karl Richardson
Professional reviews
Olivia Newton-John chronology
Olivia Newton-John’s Greatest Hits
(1977)
Grease
(1978)
Totally Hot
(1978)

Grease: The Original Soundtrack from the Motion Picture is the original motion picture soundtrack for the 1978 film Grease. The album’s most famous song “You’re the One That I Want” was a US and UK #1 for stars John Travolta and Olivia Newton-John.

Contents

 

//

 Background

The album gives credit to the two stars of the film; John Travolta and Olivia Newton-John, although they only appear on seven of the 24 tracks. The remainder of the album is sung by various cast members and Sha Na Na – a group who performed many of the 1950s numbers in the film. The title track was recorded by Frankie Valli, who had no other connection with the film.

The most successful songs from the soundtrack were written specifically for the film. They included the Billboard number-one hitsYou’re the One That I Want“, “Grease” and the number-three, Academy Award-nominated “Hopelessly Devoted to You“.[1] In the UK, the album proved even more successful where “You’re the One That I Want” reached No.1 for nine weeks, “Summer Nights” reached No.1 for seven weeks, while “Grease”, “Hopelessly Devoted to You” and “Sandy” all became top three hits.[2][3][4][5] The soundtrack album hit the top of the charts in the U.S. during the summer of 1978, replacing The Rolling StonesSome Girls. In the UK, it remained at the top of the charts for 13 consecutive weeks.[6]

Two of the bass players who recorded on the Grease soundtrack were (at different times) members of Toto. One of these, David Hungate, also performed on Olivia Newton-John‘s album Totally Hot with Toto guitarist Steve Lukather. Other musicians here have previously worked with Elton John, Steely Dan, The Bee-Gees and others.

The album sold 28 million copies worldwide.[7]

Track listing

Side one

No. Title Writer(s) Vocals Length
1. Grease”   Barry Gibb Frankie Valli 3:24
2. “Summer Nights”   Jim Jacobs and Warren Casey John Travolta and Olivia Newton-John 3:35
3. Hopelessly Devoted to You”   John Farrar Olivia Newton-John 3:04
4. You’re the One That I Want”   John Farrar John Travolta and Olivia Newton-John 2:48
5. “Sandy”   Louis St. Louis and Scott Simon John Travolta 2:31

Side two

No. Title Writer(s) Vocals Length
6. “Beauty School Dropout”   Jim Jacobs and Warren Casey Frankie Avalon 3:59
7. “Look at Me, I’m Sandra Dee”   Jim Jacobs and Warren Casey Stockard Channing, Didi Conn, Dinah Manoff and Jamie Donnelly 1:40
8. “Greased Lightnin'”   Jim Jacobs and Warren Casey John Travolta 3:13
9. “It’s Raining on Prom Night”   Jim Jacobs and Warren Casey Cindy Bullens 2:51
10. “Alone at the Drive-in Movie” (instrumental) Jim Jacobs and Warren Casey 2:24
11. Blue Moon”   Richard Rodgers and Lorenz Hart Sha-Na-Na 2:18

Side three

No. Title Writer(s) Vocals Length
12. “Rock n’ Roll Is Here to Stay”   D. White Sha-Na-Na 2:03
13. Those Magic Changes”   Jim Jacobs and Warren Casey Sha-Na-Na 2:18
14. Hound Dog”   Jerry Leiber and Mike Stoller Sha-Na-Na 1:24
15. “Born to Hand Jive”   Jim Jacobs and Warren Casey Sha-Na-Na 4:37
16. Tears on My Pillow”   Sylvester Bradford and Al Lewis Sha-Na-Na 2:02
17. “Mooning”   Jim Jacobs and Warren Casey Louis St. Louis and Cindy Bullens 4:37

Side four

No. Title Writer(s) Vocals Length
18. “Freddy, My Love”   Jim Jacobs and Warren Casey Cindy Bullens 4:37
19. “Rock n’ Roll Party Queen”   Jim Jacobs and Warren Casey Louis St. Louis 2:11
20. “There Are Worse Things I Could Do”   Jim Jacobs and Warren Casey Stockard Channing 2:22
21. “Look at Me, I’m Sandra Dee” (reprise) Jim Jacobs and Warren Casey Olivia Newton-John 1:28
22. “We Go Together”   Jim Jacobs and Warren Casey John Travolta and Oliva Newton-John 3:00
23. Love Is a Many Splendored Thing” (instrumental) Sammy Fain and Paul Francis Webster 1:23
24. “Grease” (reprise) Barry Gibb Frankie Valli 4:37

 

FRAME THREE :

THE INTERNATIONAL COLLECTIONS FROM GOOGLE EXPLORATION

  The Sun Comes Up (1949) [IMDb:

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Soundtracks

 

Athena (1954)Girl Crazy (1943)Hit the Deck (1955)Meet Me in St. Louis (1944)Oklahoma! (1955)The Great Caruso (1951)The Merry Widow (1952)

DVD | VHS | Soundtracks

Athena (1954) [IMDb:

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Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.uk amazon.co.uk
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.de amazon.de
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.fr amazon.fr
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.jp amazon.co.jp

Girl Crazy (1943) [IMDb:

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Hit the Deck (1955) [IMDb:

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Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.de amazon.de
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.fr amazon.fr
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Meet Me in St. Louis (1944) [IMDb:

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Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.com amazon.com
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.ca amazon.ca
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.co.uk amazon.co.uk
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Oklahoma! (1955) [IMDb:

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Oklahoma! (1955 Film Soundtrack) at Amazon.com amazon.com
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Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.com amazon.com
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Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.co.jp amazon.co.jp
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.com amazon.com
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Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.co.uk amazon.co.uk
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The Great Caruso (1951) [IMDb:

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The Merry Widow (1952) [IMDb:

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Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.jp amazon.co.jp


details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]details/merchandise]
Girl Crazy (1943) [IMDb:

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Gun Glory (1957) [IMDb: details/merchandise]

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Hit the Deck (1955) [IMDb: details/merchandise]

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Interrupted Melody (1955) [IMDb: details/merchandise]

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It’s a Big Country (1951) [IMDb: details/merchandise]

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Journey for Margaret (1942) [IMDb: details/merchandise]

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Love Crazy (1941) [IMDb: details/merchandise]

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Love Finds Andy Hardy (1938) [IMDb: details/merchandise]

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The Judy Garland Signature Collection (A Star is Born / The Wizard of Oz / The Harvey Girls / Love Finds Andy Hardy / In the Good Old Summertime / Ziegfeld Girl / For Me and My Gal) at Amazon.com amazon.com
The Judy Garland Signature Collection (A Star is Born / The Wizard of Oz / The Harvey Girls / Love Finds Andy Hardy / In the Good Old Summertime / Ziegfeld Girl / For Me and My Gal) at Amazon.ca amazon.ca
The Judy Garland Signature Collection (A Star is Born / The Wizard of Oz / The Harvey Girls / Love Finds Andy Hardy / In the Good Old Summertime / Ziegfeld Girl / For Me and My Gal) at Amazon.co.uk amazon.co.uk
The Judy Garland Signature Collection (A Star is Born / The Wizard of Oz / The Harvey Girls / Love Finds Andy Hardy / In the Good Old Summertime / Ziegfeld Girl / For Me and My Gal) at Amazon.de amazon.de
The Judy Garland Signature Collection (A Star is Born / The Wizard of Oz / The Harvey Girls / Love Finds Andy Hardy / In the Good Old Summertime / Ziegfeld Girl / For Me and My Gal) at Amazon.fr amazon.fr
Love Finds Andy Hardy at Amazon.com amazon.com
Love Finds Andy Hardy at Amazon.ca amazon.ca
Love Finds Andy Hardy at Amazon.co.uk amazon.co.uk
Love Finds Andy Hardy at Amazon.de amazon.de
Love Finds Andy Hardy at Amazon.fr amazon.fr
Warner Classics Mega Collection at Amazon.com amazon.com
Warner Classics Mega Collection at Amazon.ca amazon.ca
Warner Classics Mega Collection at Amazon.co.uk amazon.co.uk
Warner Classics Mega Collection at Amazon.fr amazon.fr

Love Laughs at Andy Hardy (1946) [IMDb: details/merchandise]
… aka Uncle Andy Hardy (USA:promotional title)

Cover Products Shop
Legends of Hollywood - Comedy All-Stars at Amazon.com amazon.com
Legends of Hollywood - Comedy All-Stars at Amazon.ca amazon.ca
Legends of Hollywood - Comedy All-Stars at Amazon.co.uk amazon.co.uk
Legends of Hollywood - Comedy All-Stars at Amazon.fr amazon.fr
Love Laughs at Andy Hardy at Amazon.com amazon.com
Love Laughs at Andy Hardy at Amazon.co.uk amazon.co.uk
Love Laughs at Andy Hardy at Amazon.de amazon.de
Love Laughs at Andy Hardy at Amazon.fr amazon.fr
Love Laughs at Andy Hardy at Amazon.co.jp amazon.co.jp
Love Laughs at Andy Hardy at Amazon.com amazon.com
Love Laughs at Andy Hardy at Amazon.ca amazon.ca
Love Laughs at Andy Hardy at Amazon.co.uk amazon.co.uk
Love Laughs at Andy Hardy at Amazon.de amazon.de
Love Laughs at Andy Hardy at Amazon.fr amazon.fr

Meet Me in St. Louis (1944) [IMDb: details/merchandise]

Cover Products Shop
Essential Classics - American Musicals (The Music Man / Meet Me in St. Louis / Seven Brides for Seven Brothers) at Amazon.com amazon.com
Essential Classics - American Musicals (The Music Man / Meet Me in St. Louis / Seven Brides for Seven Brothers) at Amazon.ca amazon.ca
Essential Classics - American Musicals (The Music Man / Meet Me in St. Louis / Seven Brides for Seven Brothers) at Amazon.co.uk amazon.co.uk
Essential Classics - American Musicals (The Music Man / Meet Me in St. Louis / Seven Brides for Seven Brothers) at Amazon.fr amazon.fr
TCM Greatest Classic Films Collection: American Musicals (The Band Wagon / Meet Me in St. Louis / Singin' in the Rain / Easter Parade) at Amazon.com amazon.com
TCM Greatest Classic Films Collection: American Musicals (The Band Wagon / Meet Me in St. Louis / Singin' in the Rain / Easter Parade) at Amazon.ca amazon.ca
TCM Greatest Classic Films Collection: American Musicals (The Band Wagon / Meet Me in St. Louis / Singin' in the Rain / Easter Parade) at Amazon.co.uk amazon.co.uk
Warner Mega Classics Collection at Amazon.com amazon.com
Warner Mega Classics Collection at Amazon.ca amazon.ca
Warner Mega Classics Collection at Amazon.co.uk amazon.co.uk
Meet Me in St. Louis [Region 2 - PAL] at Amazon.com amazon.com
Meet Me in St. Louis [Region 2 - PAL] at Amazon.co.uk amazon.co.uk
Meet Me in St. Louis [Region 2 - PAL] at Amazon.de amazon.de
Meet Me in St. Louis [Region 2 - PAL] at Amazon.fr amazon.fr
Meet Me in St. Louis [Region 2 - PAL] at Amazon.co.jp amazon.co.jp
Meet Me In St. Louis (Two-Disc Special Edition) at Amazon.com amazon.com
Meet Me In St. Louis (Two-Disc Special Edition) at Amazon.ca amazon.ca
Meet Me In St. Louis (Two-Disc Special Edition) at Amazon.co.uk amazon.co.uk
Meet Me In St. Louis (Two-Disc Special Edition) at Amazon.fr amazon.fr

Oklahoma! (1955) [IMDb: details/merchandise]

Cover Products Shop
The Rodgers & Hammerstein Collection (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.com amazon.com
The Rodgers & Hammerstein Collection (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.ca amazon.ca
The Rodgers & Hammerstein Collection (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.co.uk amazon.co.uk
The Rodgers & Hammerstein Collection (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.fr amazon.fr
The Rodgers & Hammerstein Collection [Remastered] (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.com amazon.com
The Rodgers & Hammerstein Collection [Remastered] (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.ca amazon.ca
The Rodgers & Hammerstein Collection [Remastered] (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.co.uk amazon.co.uk
The Rodgers & Hammerstein Collection [Remastered] (The Sound of Music / The King and I / Oklahoma! / South Pacific / State Fair / Carousel) at Amazon.fr amazon.fr
Oklahoma! at Amazon.com amazon.com
Oklahoma! at Amazon.co.uk amazon.co.uk
Oklahoma! at Amazon.de amazon.de
Oklahoma! at Amazon.fr amazon.fr
Oklahoma! at Amazon.co.jp amazon.co.jp
Oklahoma! (50th Anniversary Edition) at Amazon.com amazon.com
Oklahoma! (50th Anniversary Edition) at Amazon.ca amazon.ca
Oklahoma! (50th Anniversary Edition) at Amazon.co.uk amazon.co.uk
Oklahoma! (50th Anniversary Edition) at Amazon.de amazon.de
Oklahoma! (50th Anniversary Edition) at Amazon.fr amazon.fr
Oklahoma! at Amazon.com amazon.com
Oklahoma! at Amazon.ca amazon.ca
Oklahoma! at Amazon.co.uk amazon.co.uk
Oklahoma! at Amazon.fr amazon.fr

Ten Thousand Bedrooms (1957) [IMDb: details/merchandise]

Cover Products Shop
Ten Thousand Bedrooms at Amazon.com amazon.com
Ten Thousand Bedrooms at Amazon.ca amazon.ca
Ten Thousand Bedrooms at Amazon.co.uk amazon.co.uk

VHS

 

Athena (1954)Back Street (1961)Challenge to Lassie (1949)Girl Crazy (1943)Gun Glory (1957)Hills of Home (1948)Hit the Deck (1955)Interrupted Melody (1955)Journey for Margaret (1942)Julia Misbehaves (1948)Love Crazy (1941)Love Finds Andy Hardy (1938)Love Laughs at Andy Hardy (1946)Meet Me in St. Louis (1944)Oklahoma! (1955)The Great Caruso (1951)The Merry Widow (1952)The Student Prince (1954)The Sun Comes Up (1949)

DVD | VHS | Soundtracks

Athena (1954) [IMDb: details/merchandise]

Cover Products Shop
Athena [VHS] at Amazon.com amazon.com
Athena [VHS] at Amazon.ca amazon.ca
Athena [VHS] at Amazon.fr amazon.fr
Athena [VHS] at Amazon.co.jp amazon.co.jp

Back Street (1961) [IMDb: details/merchandise]

Cover Products Shop
Back Street [VHS] at Amazon.com amazon.com
Back Street [VHS] at Amazon.ca amazon.ca
Back Street [VHS] at Amazon.de amazon.de
Back Street [VHS] at Amazon.fr amazon.fr
Back Street [VHS] at Amazon.co.jp amazon.co.jp

Challenge to Lassie (1949) [IMDb: details/merchandise]

Cover Products Shop
Challenge to Lassie [VHS] at Amazon.com amazon.com
Challenge to Lassie [VHS] at Amazon.ca amazon.ca
Challenge to Lassie [VHS] at Amazon.co.jp amazon.co.jp
Challenge to Lassie [VHS] at Amazon.com amazon.com
Challenge to Lassie [VHS] at Amazon.ca amazon.ca
Challenge to Lassie [VHS] at Amazon.de amazon.de
Challenge to Lassie [VHS] at Amazon.fr amazon.fr
Challenge to Lassie [VHS] at Amazon.co.jp amazon.co.jp
Challenge to Lassie [VHS] at Amazon.com amazon.com
Challenge to Lassie [VHS] at Amazon.ca amazon.ca
Challenge to Lassie [VHS] at Amazon.co.uk amazon.co.uk
Challenge to Lassie [VHS] at Amazon.de amazon.de
Challenge to Lassie [VHS] at Amazon.co.jp amazon.co.jp

Girl Crazy (1943) [IMDb: details/merchandise]

Cover Products Shop
Girl Crazy [VHS] at Amazon.com amazon.com
Girl Crazy [VHS] at Amazon.ca amazon.ca
Girl Crazy [VHS] at Amazon.de amazon.de
Girl Crazy [VHS] at Amazon.co.jp amazon.co.jp
Girl Crazy [VHS] at Amazon.com amazon.com
Girl Crazy [VHS] at Amazon.ca amazon.ca
Girl Crazy [VHS] at Amazon.de amazon.de
Girl Crazy [VHS] at Amazon.fr amazon.fr
Girl Crazy [VHS] at Amazon.co.jp amazon.co.jp

Gun Glory (1957) [IMDb: details/merchandise]

Cover Products Shop
Gun Glory [VHS] at Amazon.com amazon.com
Gun Glory [VHS] at Amazon.ca amazon.ca
Gun Glory [VHS] at Amazon.co.jp amazon.co.jp

Hills of Home (1948) [IMDb: details/merchandise]
… aka Master of Lassie (UK)

Cover Products Shop
Hills of Home [VHS] at Amazon.com amazon.com
Hills of Home [VHS] at Amazon.ca amazon.ca
Hills of Home [VHS] at Amazon.de amazon.de
Hills of Home [VHS] at Amazon.fr amazon.fr
Hills of Home [VHS] at Amazon.co.jp amazon.co.jp
Hills of Home [VHS] at Amazon.com amazon.com
Hills of Home [VHS] at Amazon.ca amazon.ca
Hills of Home [VHS] at Amazon.de amazon.de
Hills of Home [VHS] at Amazon.fr amazon.fr
Hills of Home [VHS] at Amazon.co.jp amazon.co.jp
Hills of Home [VHS] at Amazon.com amazon.com
Hills of Home [VHS] at Amazon.ca amazon.ca
Hills of Home [VHS] at Amazon.de amazon.de
Hills of Home [VHS] at Amazon.co.jp amazon.co.jp

Hit the Deck (1955) [IMDb: details/merchandise]

Cover Products Shop
Hit the Deck [VHS] at Amazon.com amazon.com
Hit the Deck [VHS] at Amazon.ca amazon.ca
Hit the Deck [VHS] at Amazon.de amazon.de
Hit the Deck [VHS] at Amazon.fr amazon.fr
Hit the Deck [VHS] at Amazon.co.jp amazon.co.jp

Interrupted Melody (1955) [IMDb: details/merchandise]

Cover Products Shop
Interrupted Melody [VHS] at Amazon.com amazon.com
Interrupted Melody [VHS] at Amazon.ca amazon.ca
Interrupted Melody [VHS] at Amazon.de amazon.de
Interrupted Melody [VHS] at Amazon.fr amazon.fr
Interrupted Melody [VHS] at Amazon.co.jp amazon.co.jp

Journey for Margaret (1942) [IMDb: details/merchandise]

Cover Products Shop
Journey for Margaret [VHS] at Amazon.com amazon.com
Journey for Margaret [VHS] at Amazon.ca amazon.ca
Journey for Margaret [VHS] at Amazon.fr amazon.fr
Journey for Margaret [VHS] at Amazon.co.jp amazon.co.jp

Julia Misbehaves (1948) [IMDb: details/merchandise]

Cover Products Shop
Julia Misbehaves [VHS] at Amazon.com amazon.com
Julia Misbehaves [VHS] at Amazon.ca amazon.ca
Julia Misbehaves [VHS] at Amazon.fr amazon.fr
Julia Misbehaves [VHS] at Amazon.co.jp amazon.co.jp

Love Crazy (1941) [IMDb: details/merchandise]

Cover Products Shop
Love Crazy [VHS] at Amazon.com amazon.com
Love Crazy [VHS] at Amazon.ca amazon.ca
Love Crazy [VHS] at Amazon.co.jp amazon.co.jp

Love Finds Andy Hardy (1938) [IMDb: details/merchandise]

Cover Products Shop
The Andy Hardy Collection - Love Finds Andy Hardy [VHS] at Amazon.com amazon.com
The Andy Hardy Collection - Love Finds Andy Hardy [VHS] at Amazon.ca amazon.ca
The Andy Hardy Collection - Love Finds Andy Hardy [VHS] at Amazon.de amazon.de
The Andy Hardy Collection - Love Finds Andy Hardy [VHS] at Amazon.fr amazon.fr
The Andy Hardy Collection - Love Finds Andy Hardy [VHS] at Amazon.co.jp amazon.co.jp

Love Laughs at Andy Hardy (1946) [IMDb: details/merchandise]
… aka Uncle Andy Hardy (USA:promotional title)

Cover Products Shop
Love Laughs at Andy Hardy [VHS] at Amazon.com amazon.com
Love Laughs at Andy Hardy [VHS] at Amazon.de amazon.de
Love Laughs at Andy Hardy [VHS] at Amazon.co.jp amazon.co.jp
Love Laughs at Andy Hardy [VHS] at Amazon.com amazon.com
Love Laughs at Andy Hardy [VHS] at Amazon.de amazon.de
Love Laughs at Andy Hardy [VHS] at Amazon.co.jp amazon.co.jp
Love Laughs at Andy Hardy [VHS] at Amazon.com amazon.com
Love Laughs at Andy Hardy [VHS] at Amazon.ca amazon.ca
Love Laughs at Andy Hardy [VHS] at Amazon.de amazon.de
Love Laughs at Andy Hardy [VHS] at Amazon.fr amazon.fr
Love Laughs at Andy Hardy [VHS] at Amazon.co.jp amazon.co.jp
Love Laughs at Andy Hardy [VHS] at Amazon.com amazon.com
Love Laughs at Andy Hardy [VHS] at Amazon.ca amazon.ca
Love Laughs at Andy Hardy [VHS] at Amazon.de amazon.de
Love Laughs at Andy Hardy [VHS] at Amazon.fr amazon.fr
Love Laughs at Andy Hardy [VHS] at Amazon.co.jp amazon.co.jp

Meet Me in St. Louis (1944) [IMDb: details/merchandise]

Cover Products Shop
Meet Me in St Louis [VHS] at Amazon.com amazon.com
Meet Me in St Louis [VHS] at Amazon.ca amazon.ca
Meet Me in St Louis [VHS] at Amazon.de amazon.de
Meet Me in St Louis [VHS] at Amazon.fr amazon.fr
Meet Me in St Louis [VHS] at Amazon.co.jp amazon.co.jp
The Judy Garland Giftset (Meet Me in St. Louis, The Harvey Girls, Easter Parade) [VHS] at Amazon.com amazon.com
The Judy Garland Giftset (Meet Me in St. Louis, The Harvey Girls, Easter Parade) [VHS] at Amazon.ca amazon.ca
The Judy Garland Giftset (Meet Me in St. Louis, The Harvey Girls, Easter Parade) [VHS] at Amazon.fr amazon.fr
The Judy Garland Giftset (Meet Me in St. Louis, The Harvey Girls, Easter Parade) [VHS] at Amazon.co.jp amazon.co.jp
Great Musicals - Musical Americana 6-Pack: Meet Me In St. Louis, The Music Man, On the Town, Seven Brides for Seven Brothers, Show Boat, Yankee Doodle Dandy [VHS] at Amazon.com amazon.com
Great Musicals - Musical Americana 6-Pack: Meet Me In St. Louis, The Music Man, On the Town, Seven Brides for Seven Brothers, Show Boat, Yankee Doodle Dandy [VHS] at Amazon.ca amazon.ca
Great Musicals - Musical Americana 6-Pack: Meet Me In St. Louis, The Music Man, On the Town, Seven Brides for Seven Brothers, Show Boat, Yankee Doodle Dandy [VHS] at Amazon.fr amazon.fr
Great Musicals - Musical Americana 6-Pack: Meet Me In St. Louis, The Music Man, On the Town, Seven Brides for Seven Brothers, Show Boat, Yankee Doodle Dandy [VHS] at Amazon.co.jp amazon.co.jp
Meet Me in St Louis, 50th Anniversary Edition [VHS] at Amazon.com amazon.com
Meet Me in St Louis, 50th Anniversary Edition [VHS] at Amazon.ca amazon.ca
Meet Me in St Louis, 50th Anniversary Edition [VHS] at Amazon.de amazon.de
Meet Me in St Louis, 50th Anniversary Edition [VHS] at Amazon.fr amazon.fr
Meet Me in St Louis, 50th Anniversary Edition [VHS] at Amazon.co.jp amazon.co.jp
Meet Me in St Louis [VHS] at Amazon.com amazon.com
Meet Me in St Louis [VHS] at Amazon.ca amazon.ca
Meet Me in St Louis [VHS] at Amazon.de amazon.de
Meet Me in St Louis [VHS] at Amazon.fr amazon.fr
Meet Me in St Louis [VHS] at Amazon.co.jp amazon.co.jp
Meet Me in St Louis [VHS] at Amazon.com amazon.com
Meet Me in St Louis [VHS] at Amazon.ca amazon.ca
Meet Me in St Louis [VHS] at Amazon.de amazon.de
Meet Me in St Louis [VHS] at Amazon.fr amazon.fr
Meet Me in St Louis [VHS] at Amazon.co.jp amazon.co.jp
Meet Me in St. Louis [VHS] at Amazon.com amazon.com
Meet Me in St. Louis [VHS] at Amazon.ca amazon.ca
Meet Me in St. Louis [VHS] at Amazon.co.uk amazon.co.uk
Meet Me in St. Louis [VHS] at Amazon.de amazon.de
Meet Me in St. Louis [VHS] at Amazon.fr amazon.fr
Meet Me in St. Louis [VHS] at Amazon.co.jp amazon.co.jp
Meet Me in St. Louis [VHS] at Amazon.com amazon.com
Meet Me in St. Louis [VHS] at Amazon.ca amazon.ca
Meet Me in St. Louis [VHS] at Amazon.de amazon.de
Meet Me in St. Louis [VHS] at Amazon.fr amazon.fr
Meet Me in St. Louis [VHS] at Amazon.co.jp amazon.co.jp

Oklahoma! (1955) [IMDb: details/merchandise]

Cover Products Shop
Oklahoma [VHS] at Amazon.com amazon.com
Oklahoma [VHS] at Amazon.ca amazon.ca
Oklahoma [VHS] at Amazon.co.uk amazon.co.uk
Oklahoma [VHS] at Amazon.fr amazon.fr
Oklahoma [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.ca amazon.ca
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
The Rodgers & Hammerstein Collection (South Pacific, The Sound Of Music, The King And I, State Fair, Carousel, & Oklahoma!) [VHS] at Amazon.com amazon.com
The Rodgers & Hammerstein Collection (South Pacific, The Sound Of Music, The King And I, State Fair, Carousel, & Oklahoma!) [VHS] at Amazon.ca amazon.ca
The Rodgers & Hammerstein Collection (South Pacific, The Sound Of Music, The King And I, State Fair, Carousel, & Oklahoma!) [VHS] at Amazon.fr amazon.fr
The Rodgers & Hammerstein Collection (South Pacific, The Sound Of Music, The King And I, State Fair, Carousel, & Oklahoma!) [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma [VHS] at Amazon.com amazon.com
Oklahoma [VHS] at Amazon.ca amazon.ca
Oklahoma [VHS] at Amazon.fr amazon.fr
Oklahoma [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! (Widescreen Edition) [VHS] at Amazon.com amazon.com
Oklahoma! (Widescreen Edition) [VHS] at Amazon.ca amazon.ca
Oklahoma! (Widescreen Edition) [VHS] at Amazon.de amazon.de
Oklahoma! (Widescreen Edition) [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.ca amazon.ca
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.co.uk amazon.co.uk
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.ca amazon.ca
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.ca amazon.ca
Oklahoma! [VHS] at Amazon.co.uk amazon.co.uk
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.co.uk amazon.co.uk
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp
Oklahoma! [VHS] at Amazon.com amazon.com
Oklahoma! [VHS] at Amazon.ca amazon.ca
Oklahoma! [VHS] at Amazon.de amazon.de
Oklahoma! [VHS] at Amazon.fr amazon.fr
Oklahoma! [VHS] at Amazon.co.jp amazon.co.jp

The Great Caruso (1951) [IMDb: details/merchandise]

Cover Products Shop
The Great Caruso [VHS] at Amazon.com amazon.com
The Great Caruso [VHS] at Amazon.co.uk amazon.co.uk
The Great Caruso [VHS] at Amazon.de amazon.de
The Great Caruso [VHS] at Amazon.fr amazon.fr
The Great Caruso [VHS] at Amazon.co.jp amazon.co.jp
The Great Caruso [VHS] at Amazon.com amazon.com
The Great Caruso [VHS] at Amazon.ca amazon.ca
The Great Caruso [VHS] at Amazon.de amazon.de
The Great Caruso [VHS] at Amazon.co.jp amazon.co.jp

The Merry Widow (1952) [IMDb: details/merchandise]

Cover Products Shop
Merry Widow [VHS] at Amazon.com amazon.com
Merry Widow [VHS] at Amazon.ca amazon.ca
Merry Widow [VHS] at Amazon.de amazon.de
Merry Widow [VHS] at Amazon.fr amazon.fr
Merry Widow [VHS] at Amazon.co.jp amazon.co.jp

The Student Prince (1954) [IMDb: details/merchandise]

Cover Products Shop
Student Prince [VHS] at Amazon.com amazon.com
Student Prince [VHS] at Amazon.ca amazon.ca
Student Prince [VHS] at Amazon.de amazon.de
Student Prince [VHS] at Amazon.fr amazon.fr
Student Prince [VHS] at Amazon.co.jp amazon.co.jp

The Sun Comes Up (1949) [IMDb: details/merchandise]

Cover Products Shop
Sun Comes Up [VHS] at Amazon.com amazon.com
Sun Comes Up [VHS] at Amazon.ca amazon.ca
Sun Comes Up [VHS] at Amazon.de amazon.de
Sun Comes Up [VHS] at Amazon.fr amazon.fr
Sun Comes Up [VHS] at Amazon.co.jp amazon.co.jp

Soundtracks

 

Athena (1954)Girl Crazy (1943)Hit the Deck (1955)Meet Me in St. Louis (1944)Oklahoma! (1955)The Great Caruso (1951)The Merry Widow (1952)

DVD | VHS | Soundtracks

Athena (1954) [IMDb: details/merchandise]

Cover Products Shop
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.com amazon.com
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.ca amazon.ca
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.uk amazon.co.uk
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.de amazon.de
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.fr amazon.fr
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.jp amazon.co.jp

Girl Crazy (1943) [IMDb: details/merchandise]

Cover Products Shop
Girl Crazy: Original Motion Picture Soundtrack at Amazon.com amazon.com
Girl Crazy: Original Motion Picture Soundtrack at Amazon.ca amazon.ca
Girl Crazy: Original Motion Picture Soundtrack at Amazon.co.uk amazon.co.uk
Girl Crazy: Original Motion Picture Soundtrack at Amazon.de amazon.de
Girl Crazy: Original Motion Picture Soundtrack at Amazon.fr amazon.fr
Girl Crazy: Original Motion Picture Soundtrack at Amazon.co.jp amazon.co.jp

Hit the Deck (1955) [IMDb: details/merchandise]

Cover Products Shop
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.com amazon.com
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.ca amazon.ca
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.co.uk amazon.co.uk
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.de amazon.de
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.fr amazon.fr
Hit the Deck: Original Motion Picture Soundtrack (Re-release of 1955 Film) at Amazon.co.jp amazon.co.jp

Meet Me in St. Louis (1944) [IMDb: details/merchandise]

Cover Products Shop
Meet Me in St. Louis at Amazon.com amazon.com
Meet Me in St. Louis at Amazon.de amazon.de
Meet Me in St. Louis at Amazon.fr amazon.fr
Meet Me in St. Louis at Amazon.co.jp amazon.co.jp
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.com amazon.com
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.ca amazon.ca
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.co.uk amazon.co.uk
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.de amazon.de
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.fr amazon.fr
Great Movie Themes: Ziegfeld Girl / Every Sunday / Meet Me In St. Louis - Original Soundtracks at Amazon.co.jp amazon.co.jp

Oklahoma! (1955) [IMDb: details/merchandise]

Cover Products Shop
King & I / Carousel / Oklahoma at Amazon.com amazon.com
King & I / Carousel / Oklahoma at Amazon.ca amazon.ca
King & I / Carousel / Oklahoma at Amazon.co.uk amazon.co.uk
King & I / Carousel / Oklahoma at Amazon.de amazon.de
King & I / Carousel / Oklahoma at Amazon.fr amazon.fr
King & I / Carousel / Oklahoma at Amazon.co.jp amazon.co.jp
Oklahoma! (1955 Film Soundtrack) at Amazon.com amazon.com
Oklahoma! (1955 Film Soundtrack) at Amazon.ca amazon.ca
Oklahoma! (1955 Film Soundtrack) at Amazon.co.uk amazon.co.uk
Oklahoma! (1955 Film Soundtrack) at Amazon.de amazon.de
Oklahoma! (1955 Film Soundtrack) at Amazon.fr amazon.fr
Oklahoma! (1955 Film Soundtrack) at Amazon.co.jp amazon.co.jp
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.com amazon.com
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.ca amazon.ca
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.co.uk amazon.co.uk
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.de amazon.de
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.fr amazon.fr
Rodgers & Hammerstein's Classic Musicals: Oklahoma! / The King and I / Carousel (Original Motion Picture Soundtracks) at Amazon.co.jp amazon.co.jp
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.com amazon.com
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.ca amazon.ca
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.co.uk amazon.co.uk
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.de amazon.de
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.fr amazon.fr
Oklahoma!: From The Soundtrack Of The Motion Picture (1955 Film) at Amazon.co.jp amazon.co.jp

The Great Caruso (1951) [IMDb: details/merchandise]

Cover Products Shop
The Great Caruso (Original Soundtrack) at Amazon.com amazon.com
The Great Caruso (Original Soundtrack) at Amazon.ca amazon.ca
The Great Caruso (Original Soundtrack) at Amazon.co.uk amazon.co.uk
The Great Caruso (Original Soundtrack) at Amazon.de amazon.de
The Great Caruso (Original Soundtrack) at Amazon.fr amazon.fr
The Great Caruso (Original Soundtrack) at Amazon.co.jp amazon.co.jp

The Merry Widow (1952) [IMDb: details/merchandise]

Cover Products Shop
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.com amazon.com
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.ca amazon.ca
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.uk amazon.co.uk
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.de amazon.de
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.fr amazon.fr
Athena (1954 Film) / The Merry Widow (1952 Film) / Everything I have is yours (1952 Film) at Amazon.co.jp amazon.co.jp


the end @ Copyright Dr Iwan suwandy 2011

The Chinese New Year Special Exhibition : CHINA RECORD LABEL(Pameran Piringhitam Tionghoa Tahun Baru Imlek)

WELCOME COLLECTORS FROM ALL OVER THE WORLD

                          SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN

                                                AT DR IWAN CYBERMUSEUM

                                          DI MUSEUM DUNIA MAYA DR IWAN S.

_____________________________________________________________________

SPACE UNTUK IKLAN SPONSOR

_____________________________________________________________________

 *ill 001

                      *ill 001  LOGO MUSEUM DUNIA MAYA DR IWAN S.*ill 001

                                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

                                                         

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                         WELCOME TO THE MAIN HALL OF FREEDOM               

                     SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA

                     Please Enter

                    

              DMRC SHOWROOM

(Driwan Music Record Cybermuseum)

 

SHOWCASE :

The Chinese New Year Exhibition “Chinese Record label   collections Found In Indonesia)        

                           GREATINGS

 

                  GONG XI FATCOI

          SIN TJOEN KIONG HI

SELAMAT TAHUN BARU IMLEK

                      FROM

            The Founder and Staf of

          Driwancybermuseum Blog 

  MAY THE NEXT YEARS ALL THE COLLECTORS FIND FENGSUI LONG LIFE ,WEALTHY AND HAPPINESS.

ALSO MERY CHRISTMAS

 

AND HAPPY NEW YEAR.

LET’S GO TO THE HAPPY CHINESE

             NEW YEAR  PARTY

1)OLDER MUSIC PARTY

 

 lET SEEN THE PARTY IN CHINA

AND INDONESIA in 2011

(1) CHINA NEWYEAR MODERN SHOW

(A)IN CHINA

(B)IN INDONESIA

 (2) TRADITIONAL TIONGHOA CEREMONY 

BUT PITY NO PARTY IN CAIRO BECAUSE CRISIS LET SEEN THE LATEST SITUATION BELOW.

ALSO IN QUEENSLAND AUSTRALIA

Frame Two:

Dr Iwan Collections

1.Special 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)Cninese 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)

4) Chinese cantonese Opera Pagoda Record

compare with haji Midji collections below

 

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

 Opera Odeon record

and BEKA Record 

compere with haji Midji collections Opera Polyphone below

 

polyphon-v490.jpg

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

Chinese Opera record from google xplorations

1)Cantonese Opera record Courtecy Haji Maji (introduced  by David)

 

FOUR PURPLE VICTORSThe 42000-43000 Victor series contains some of the most incredible Chinese music ever recorded. Predominately Cantonese, many of these recordings are reissues from the one sided 8000 series which were recorded in New York City and San Francisco as early as 1902. Because these were sold in the United States they are easier to find here, sometimes in great condition as leftover store stock.

This one has the classic Cantonese fiddle-banjo sound, that is, gaohu-sanxian sound.

>VICTOR 42126 A1

A beautiful recording featuring the end blown Chinese flute called Xiao, reminiscent of Vietnamese and other Southeast Asian flute music.

>VICTOR 42178 B2

Here’s another classic sounding Cantonese recording from the early 20th Century. This is a good example of the typical record from this Victor series.

>VICTOR 43246 A3

I had decided not to post this recording because it’s pretty scratchy, but because it’s one of my all time favorite Victor records and I because you must be an intrepid bunch of music lovers to be here in the first place, I figured what the hell. Enjoy.

I’m always amazed at how cacophonous these Chinese records can be and here’s a perfect example. A  Cantonese instrumental played on the suona. The suona is a type of shawm that originated in Northern China and eventually spread across China for use in military, wedding, folk and opera music. It’s similar to the Turkish zurna and the Indian shennai, among  others.

After World War II, local entrepreneurs around the world started setting up their own record companies. Tsing Ping is one of the many Chinese-owned labels that emerged in this period, many of which were based in Chinese immigrant communities throughout Southeast Asia. Tsing Ping and Num Sing (see below) were based in San Francisco.

>TSING PING 33

MORE ORIENTALWelcome to any visitors from Excavated Shellac! Have a look around, I’m sure you’ll find something you haven’t heard before!

I’ve already posted something from Oriental Records and quite a few Cantonese records, but I just couldn’t resist sharing this recent find. Otherworldly!

Num Singthe hardcore Haji Maji listeners have probably worn out all my previous postings through repeated daily listenings, so today I will be posting THREE different records from some small independent labels of the 1940′s and 50′s. Stay tuned, there will be a few surprises in July…

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. Thanks to Patrick for adding these details via the comments section.

Here’s another one I’ve never seen before….Golden Star Records from Hong Kong. This Cantonese record is most likely from the 1940′s or early 1950′s. It’s interesting to compare the way the Cantonese musical style has changed from the earlier records I’ve posted…listen to the Beka, Columbia dragon, Hindenburg, etc.

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).

According to the WordPress Blog statistics, the most common search term that brings people to this blog is “Teochew Opera”. So here’s another one for the Teochew fans out there.

A common complaint is that all Teochew Opera sounds the same (which has some truth to it) but this record certainly stands out …I’m not sure what to say except that this is a very unusual sounding record!

The title is Tio Mou Seng Tong Sok (Man Trapped in Snow).

UPDATE: Reader Javier Li Yong-En (and her Mom!) informs us that the trumpet sound here is a Har To (or Hao Tou) which is commonly used to accompany onstage action in military or court scenes. She adds that this is a recording by a defunct opera troupe from Singapore called Lao Gek Chuong Hiang. She also sends a photo he took of the Har To. She disagrees that this is an uncommon sounding recording, but I have at least 50 Teochew 78′s but not a single one sounds like this. Thanks Javier!

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.

(note: The “G” side of this record had a destroyed label, so I’m showing the filpside label)

Another rare label associated with Deutsche-Grammophon, Polyphon uses the same numbering as Hindenburg and Pagoda.
Typically wonderful Cantonese style singing here by Lum Kwun San. (Thanks to Patrick Lau)

The first recordings in China took place in 1903 in Shanghai and were supervised by Fred Gaisberg. His observations on the first recording session:

“Their idea of music is a tremdous clash and bang: with the assistance of a drum, three pairs of huge gongs, a pair of slappers, a sort of banjo, some reed instruments which sound like bagpipes, and the yelling of the singer, their so-called music was recorded on Gramophone.”
“On the first day, after making ten records we had to stop. The din had so paralyzed my wits I could not think.”
Gaisberg went to make over 300 hundred recordings in China.
(From Gaisberg’s autobiography as quoted in the notes to the Rounder cd “Rain Dropping on the Banana Tree

2) Peiping Opera record

 

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!

3)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

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

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_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.

2.Chinese Export Record label to Indonesia

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.

the end @ copyright Dr Iwan suwandy 2011

The Earliest Indonesian Record Label Collections Exhibition at Driwancybermuseum Music Record Museum Hall(Pameran Piring Hitam Antik Indonesia)

WELCOME COLLECTORS FROM ALL OVER THE WORLD

                          SELAMAT DATANG KOLEKTOR INDONESIA DAN ASIAN

                                                AT DR IWAN CYBERMUSEUM

                                          DI MUSEUM DUNIA MAYA DR IWAN S.

_____________________________________________________________________

SPACE UNTUK IKLAN SPONSOR

_____________________________________________________________________

 *ill 001

                      *ill 001  LOGO MUSEUM DUNIA MAYA DR IWAN S.*ill 001

                                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

                                                         

    BUNGA IDOLA PENEMU : BUNGA KERAJAAN MING SERUNAI( CHRYSANTHENUM)

  

                       THANK YOU FOR YOUR VISIT TO

                         THE MAIN HALL OF FREEDOM   

               TERIMA KASIS ATAS KUNJUNGAN ANDA DI            

                          GEDUNG UTAMA “MERDEKA

                   PLEASE ENTER

                                    

              DMRC SHOWROOM 

Driwan Music Record Cybermuseum

 SHOWCASE:

             THE INDONESIAN

    MUSIC RECORD’S  MUSEUM

SHOWCASE :

The Earliest Indonesian’s Record Label  Historic collections

Frame One : Introduction

1. I have starting build the MUSIC RECORD LABEL collections  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  Earliest Record Label 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. Before I had done The exhibtion which divide into two parts, first before World War WWIIand second after the WW II until 1960. all during Indonesia under Dutch east Indie Colonial time. and now lets look at the earliest  Indonesia independence era 1945-1960

5.The earliest  Record label whic found   in early  20 Th 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  java gamelan salendro Romo Dokto  ka 2 Srjowoengoe &Soetinah  Wayang Orang Saritomo  bybelow:

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

6.In Indonesia during Colonial time , the record label  sold by the chinese marchant still the same until thee arliest Indonesia Independt era 1945-1960,many at Pasar Baru Market and Prinsen Park(now Candra naya)  Batavia (Jakarta) please look the trader mark below :

7a. Before Indonesian Independent during Dutch East Indie(Ned.Indie) colonial-masa penjajahan  hindia Belanda the earliest Indonesian record(rekaman piring hitam) had found by dr Iwan were the His master Voice Javanese Gamelan Salendro Romo Dokto 1 looh ill above  and Amber anom ka 1 sing by Ardjowoengoe & Martedarmo Wayang orang satitomo  and BK Record,look the picture below

  and the singer was Mis Riboeet with Tionghoa etnic song and arabic ehnic song,more info look at my collections in the frame one.

7b.I had found Some Indonesia Album record era 1945-1960 ,look below

1)Irama record made in India with song Djali Djali

Indonesia’s recording studios have increasingly diversified out of the template established by the country’s two largest recording companies, P.N. Lokananta (the national recording company of Indonesia) and Hidup Baru.

In contrast to the 1950s and 1960s, many studios today are no longer owned solely by producers, the Indonesia record before lokanata, produced by Irama Records and made in India studio processing above , like MCG record by dutch Leow cooperations

also in Indonesia (Irama indonesian music co ltd) look below compare with above :

1) Irama Record

Irama record beside peroduced legendary music and singers record, also produced the children basic school’s Songs by Kutilang (the singer bird)orchestra lead by sudidharma

with very amizing decorations look below

Kutilang orchestra lead by sudidharma, had also played the national song Satu Nusa Satu Bangsa (one land one nation),the information from google ekploration in indonesian language ;

Sebuah Piringan Hitam/PH langka..”SATU NUSA SATU BANGSA” Rekaman Asli Mono diiringi oleh orkes KUTILANG dibawah pimpinan SUDIDHARMA, Kondisi Plat Mint,Cover mulus dan layak untuk dikoleksi.

The other earliest Indonesian records company :

2) Puspa Nada

3)Bali Record Music Cooperation

4) Mesra Record Inc

5)Gedung Musik Nusantara Record Inc

 6) Serimpi Music record Inc

7)Lokananta which not only music and po song also the Javanese Wayang ketoprak like Djaka Tingkir look below:

The Christian Songs

, and aslo the special album were made by lokanata record for the present to the 10 years memorable  Bandung asia Africa conference at Djakarta  in 1965

.(More type still in reasrech)

8)Indah Record like lokananta also produced Java Wayang Song Ketoprak mataram ,look below:

8.The Indonesia edition Rolling stones Magazine, in 2007 had publish special edition about 150 Indonesian Best music and singers  and from the table I had arragane a table beetween 1950-1970 look below :

Majallah Rolling stones Indonesia telah menerbitkan edisi khusus ke 32 Desember 2007 15o album musik dan penyayi Indonesia terbaik 1950-2007, daftra ini disususn olehkontributor Majalah Rolling Stone Indonesia, yaitu Denny MR (wartawan senior), Denny Sakrie (pengamat musik senior dan kolektor musik), David Tarigan (pendiri Aksara Records, kolektor musik) dan Theodore KS (pengamat musik senior). Daftar yang mereka susun dan terbitkan tersebut menuai berbagai macam kritik dan kontroversi dari para penggemar musik di Indonesia, dan dari daftar tersebut saya telah menyusun daftar musik dan penyanyi legendaris Indonesia 1950-1970 dibawah ini :

The best Indonesian legendary singers and orchestra  pre World War two never research , but the roling stone special magazine in 2005 had published the best Indonesian Rcord labe6 1950-1970

1) Era  1950-1950

47 1957 Papaja Mangga Pisang Jambu (kompilasi) Irama Records

 

2).ERA 1960-1970

18 1960 Lagu Gumarang Jang Terkenal Orkes Gumarang Mesra Records
32 1961 Semalam Di Malaya Saiful Bahri Irama Records
63 1962 Bubi Chen And His Fabulous 5 Bubi Chen Irama
62 1963 Eka Sapta Eka Sapta Bali Records
         
62 1963 Eka Sapta Eka Sapta Bali Records
37 1964 Oslan Husein Oslan Husein Irama Records
132 1964 Teluk Bayur Ernie Djohan Remaco
20 1965 Jang Pertama Dara Puspita Mesra Records
52 1966 Doa Ibu Titiek Puspa Irama
         
6 1967 To The So Called The Guilties Koes Bersaudara Mesra Records
         
4 1969 Dheg Dheg Plas Koes Plus Melody
21 1970 Koes Plus Volume 2 Koes Plus Dimitra
25 1969 Si Djampang Benjamin S. Melody

9. Sampai saat ini belum ada penelitian tentang penyanyi legendaris 1945-1950 pada masa perang kemerdekaan, tetapi saya telah menemukan beberapa koleksi pada era ini yang dapat dijadikan acuan bagi penelitian lebih lanjut.

Until this dayI  still couldnot foud the info about the research of Indonesian legendary music and singers during era Indonesian independent war 1945-1950, but I had found some collections during this era and can be the basic info for more future research .

10.Pameran ini tidak lengkap dan masih banyak kekurangannya sehingga koreksi dan saran serta tambahan informasi masih sangat diharapkan, sebelumnya saya ucapkan terima kasih.

This exhibition not complete and still found many wrong info that is why still need corections and sugestions from all Indonesian music record collectors, for more info and coreections thank you verymuch.

11.I hope all the  collectors all over the world ,especially Indonesian Music Records plates ‘s will Collectors honor my copyright with donnot copy or tag this exhibitons without my permisssion,thanks.

Jakarta Februaty 2011

Dr Iwan suwandy

 

Frame two :

Dr Iwan Collections

1.a. Era Penjajahan Belanda sebelum WWII  (Dutch East India colonial Before 1942)(1)GAMELAN SOLENDRO JAVANESE MUSIC RECORDED BY HIS MASTER VOICE INC(A.A) Romo Dokto Ka 2 sing by Patah Martodarmo& Gamelan Salendro Wayang orang Saritomo

(B.B) Amber Anon Ka 1 sing by Ardjowoengoe with javanese gamelan Martedarmo Wayang Orang(Human)Saritomo.

Gamelan salendro is primarily used for accompanying wayang golek (rod puppet theatre) and dance (both classical dance and the more recent social dance jaipongan). It can also be played on its own, although this is now less common, except on the radio. Such concert music (sometimes called kliningan) used to be popular at wedding receptions. Nowadays one usually finds gamelan degung or jaipongan (a social dance with very dynamic drumming) instead.

In broad terms, gamelan salendro, and music in the salendro tuning played on other instruments, are more popular with the common people. The Sundanese elite prefer gamelan degung or tembang Sunda, which were both formerly associated with the courts of the Regents in Dutch times.

A set of gamelan salendro resembles a small Javanese gamelan

Wayang Orang(wong )sebagai format seni panggung telah ada sejak awal pemecahan Mataram menjadi Kasultanan Yogyakarta, Kasunanan Surakarta, dan sebagian wilayah klan Mangkunegaran. Sejak saat itu, wayang wong berkembang dan dijadikan identitas Kasultanan Yogyakarta dan Mangkunegaran. Namun, pada masa pemerintahan Mangkunegara VI (1896-1916), terjadi krisis ekonomi yang mengakibatkan mandeknya perkembangan kesenian. Wayang wong terkena imbas dan kegiatannya dikurangi. Akibatnya, wayang wong keluar dari lingkungan istana dan tampil di depan publik. Peluang itu disambar oleh juragan keturunan Cina. Babah Gan Kam, seorang juragan batik, mementaskan wayang wong di luar istana dengan mendirikan grup wayang orang keliling pada 1895. Pertunjukan yang digelar di gedung bekas pabrik batik di Singosaren itu menyedot banyak penonton, yang umumnya keturunan Cina kaya. Setelah itu, muncul WO Sedya Wandana pimpinan Lie Sien Kwan, yang berpentas di sebelah timur Istana Mangkunegara. Ada pula kelompok yang dikelola orang Belanda bernama Reunecker. Grup ini kemudian dijual kepada Lie Wat Djien, yang berkongsi dengan badan pemerintah Mangkunegaran, dan pertunjukannya digelar di Gedung Sono Harsono, yang terletak di perempatan Pasar Pon.

Sejarah WO Sriwedari sendiri dimulai ketika Kebon Raja atau Taman Sriwedari diresmikan pada 1901. Kelompok yang pertama kali manggung adalah grup milik Babah Wang Gien, yang bergantian main dengan kelompok milik R.M. Sastratenaya. Baru sekitar tahun 1910, WO Sriwedari terbentuk. Pergelaran wayang orang saat itu selalu dipadati penonton. Mereka duduk beralaskan gedek—tikar dari anyaman bambu—dalam ruang terbuka. Untuk gedek paling depan atau kelas utama dan disebut kelas lose, harga karcisnya 50 sen, kelas I 30 sen, kelas II 20 sen, dan kelas III 15 sen. Tempat duduk paling belakang disebut kelas kambing dengan harga karcis 10 sen. Disebut kelas kambing karena tempat itu memang kandang kambing milik pemain wayang. Sudah menjadi kebiasaan pemain wayang wong keliling saat itu, mereka memelihara kambing di tobong. Siang mereka menggembala dan malam berpentas.

(2)Germany BEKA record Inc  with the singer Mis Riboeet,song Tionghoa ethnic song and Arabic ethnic song Jasidi.

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

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 writeer 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)versi dua

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

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).

Tour d’Orient adalah perjalanan terakhir Dardanella. Setelah perjalanan itu Dardanella pecah. Dan kisah dua raksasa sandiwara ini pun berakhir…

b)teater Miss Riboet’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 favourable reviews in the island’s journals, cigarette and beauty cream advertisements, 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 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 created the image of ‘Cesspool of the East’ for Singapore. Singapore was the object of fascination for movie-makers, writers, travelers, real Kings and Queens or theones populating the screens of the newest art.c)pada 25 November 1950 bersama satu rombongan bintang Indonesia termasuk Fifi Young (pelakon filem Zoebaida) dan Miss Riboet Rawit. datang di singapore.

The Short story of Mis Riboet Husband (KISAH SUAMI MISS RIBOET) TIO TEK HONG

Mr Tion was the richman,he had the Record label produnctions and shop(TIO TEK HONG SUMAI MISS RIBOET ADALAH SEORANG SAUDAGAR KAYA, ia memiliki firma penjualan gramohone and piring hitam.)

Beside that he ad produced yhe batavia Pictures Postcard,look some sample illustration below (Selain itu ia juga memproduksi kartupos bergambar kota batavia,lihat beberapa koleksi karya Tio Tek Hong dan illustrasi dari majallah Kiekies van Java folk and landen dibawah ini);

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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)

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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)

1b.Era 1945-1950

A.LAGU NASIONAL(National song)

1) RRI (Radio Republic Indonesia ) by Lokananta

side 1 Proklamasi Negara Republik Indonesia(Bung Karno)-

Republic Indonesia Independent proclamationLagu Kebangsaan Indonesia Raya (W.R.Supratman)-Indonesia Anthem.

 

side 2:satu usa satu bangsa (Ismael Marzuki),Paduan suara P.P.K.I

 diiringi orkes studio Djakarta dbp R.A.J.soejasmin.

 

 2) Tenth Year Anniversary Asia Africa Confrence memorable , lokanata national song record

a) Cover

 b) Six Indonesian National song Record Labels

LP 1 -Lagu perjuangan: Halo-halo bandung,Madju tak gentar,Njiur Hidjau dan rajuan pulau kelapa.

Lp 2 Lagu Kroncong

LP 3-Lagu Sumatra

Lp 4: Lagu Djawa

 Lp 5 : Lagu Maluku singer Titik Puspa

B.Lagu popular (pop -song)

 

(1a)The Battaks Native Orchestra Dolok Situmorang lead  by Nahun Sitoemorang.with song Denati Somaridi ,look below thid native battaks recording by Puspa nada Irama Inc record label

(look the record below and Please who know about this orcestra and singer send more info-dr iwan S)

Suhunan Situmorang

The singer Suhunan Sirtumorang  40 years ago, his songs more famous this time especially at the cafe and karaoke like Inul dara Sista’s  Karaoke but not many Battak native know about this.Situmorang still not married until died.

.

Apa boleh buat, selain catatan atas diri Nahum sendiri yang memang minim, ia terlahir dan berada di tengah sebuah bangsa yang amat rendah tingkat pengapresiasian atas suatu karya cipta; yang hanya suka menikmati karya orang lain tanpa mau tahu siapa penciptanya, selain enggan memberi penghargaan pada orang-orang kreatif yang telah memperkaya khazanah karsa dan rasa.

Nahum pun menjadi sosok yang melegenda namun tak pernah tuntas diketahui asal-usulnya. Sulit menemukan sumber yang sahih untuk menerangkan seperti apakah dulu proses kreatifnya, peristiwa atau pengalaman pahit apa saja yang memengaruhi kelahiran lagu-lagu ciptaannya, seberapa besar andilnya menumbuhkan semangat kemerdekaan manusia Indonesia dari kuasa penjajah, dan jasanya yang tak sedikit untuk menyingkap tirai keterbelakangan manusia Batak di masa silam. Ia adalah pejuang yang dibengkalaikan bangsa dan negerinya, terutama sukunya sendiri. Seseorang yang sesungguhnya berjasa besar mencerdaskan orang-orang sekaumnya namun tak dianggap penting peranannya oleh para penguasa di bumi leluhurnya.

Nahum sendiri mungkin tak pernah berharap jadi pahlawan yang akan terus dipuja hingga dirinya tak lagi berjiwa. Pula tak pernah membayangkan bahwa namanya akan tetap hidup hingga zaman memasuki era millenia. Boleh jadi pula tak pernah bisa sempurna ia pahami perjalanan hidupnya hingga usianya benar-benar sirna. Ia hanya mengikuti alur hati dan pikirannya saat melintasi episode-episode kehidupan dirinya yang dipenuhi romantika yang melekat dalam diri para pelakon gaya hidup avonturisme. Tak mustahil pula ia sering bertanya mengapa terlahir sebagai insan penggubah dan pelantun nada dengan tuntutan jiwa harus sering berkelana, bukan seperti saudara-saudara kandungnya yang “hidup normal” sebagaimana umumnya orang-orang di zamannya.

Meski aliran musik yang diusungnya beraneka ragam dan tak seluruhnya bernuansa etnik Batak dan bahkan banyak yang mengadopsi aliran musik Barat macam waltz, bossa, folk, jazz, rumba, tembang-tembang gubahannya begitu subtil dan melodius. Lirik-liriknya pun tak murahan karena menggunakan kosa kata Batak klasik bercitarasa tinggi, kaya metafora, dan karena cukup baik menguasai filosofi dan nilai-nilai anutan masyarakat Batak, mampu menyisipkan nasehat dan harapan tanpa terkesan didaktis.

Ia begitu romantik tapi tak lalu terjebak di kubangan chauvinis, juga seseorang yang melankolis namun menghindari kecengengan bila jiwa dicambuki cinta. Ia melantunkan kegetiran hidup dengan tak meratap-ratap yang akhirnya malah memercikkan rasa muak, sebagaimana kecenderungan lagu-lagu pop Batak belakangan. Ia gamblang meluapkan luka hati akibat cinta yang dilarang namun tak jadi terjebak dalam sikap sarkastis.

NAHUM memang bukan cuma penyanyi dan penulis lagu, tetapi juga penyair yang kaya kata dengan balutan estetika yang penuh makna. Lelaki pengelana ini, kata beberapa saksi mata, dalam keseharian senang tampil parlente, senantiasa berpakaian resik dan modis dengan sisiran rambut yang terus mengikuti gaya yang tengah ditawarkan zaman.

The fifth son form eight brother ,born at Sipirok,south Tapanuli, February,14th 1908, his father Kilian Situmorang who work as the teacher( Anak kelima dari delapan bersaudara ini lahir di Sipirok, Tapanuli Selatan, 14 Februari 1908. Orangtuanya termasuk kalangan terpandang karena ayahnya, Kilian Situmorang, bekerja sebagai guru di sebuah sekolah berbahasa Melayu, di tengah mayoritas penduduk yang kala itu masih buta huruf.)

Kilian sendiri berasal dari Desa Urat, Samosir, sebuah kampung di tepi Danau Toba dan jamak diketahui sebagai kampungnya para keturunan Ompu Tuan Situmorang. (Situmorang Pande, Situmorang Nahor, Situmorang Suhutnihuta, Situmorang Siringoringo, Sitohang Uruk, Sitohang Tongatonga, Sitohang Toruan). Kilian merantau ke wilayah Tapanuli Selatan demi mengejar kemajuan yang kian menguak gerbang peradaban manusia Batak Toba yang begitu lama tertutup dengan splendid-isolation-nya.

Sebagaimana harapannya pada anak-anaknya yang lain, Kilian pun menginginkan Nahum menjadi pegawai pemerintah kolonial. Harapannya itu tak tercapai meski Nahum sangat memenuhi syarat. Ia lebih senang menjadi manusia bebas tanpa terikat, bahkan di kala usianya masih remaja pun sudah berlayar ke Pulau Jawa, suatu hal yang tak terbayangkan bagi umumnya manusia Batak masa itu. Bukan karena kemampuan orangtuanya, melainkan karena dibawa satu pendeta yang bertugas di Sipirok dan kemudian kembali ke Depok, Jawa Barat, setamatnya dari HIS, Tarutung. Di Jakarta ia sekolah di Kweekschool Gunung Sahari dan kemudian meneruskan pendidikan ke Lembang, Bandung, lulus tahun 1928. Selain sekolah umum, ia memperdalam seni musik, terutama saat bersekolah di Lembang.

Ia turut bergabung dengan kalangan pemuda berpendidikan tinggi yang masa itu diterpa kegelisahan yang hebat untuk melepaskan bangsa dari cengkeraman kuasa kolonial. Mereka kerap berkumpul di bilangan Kramat Raya dan pada saat itulah ia berkenalan dan kemudian menjadi pesaing Wage Rudolf Supratman ketika mengikuti lomba penulisan lagu kebangsaan. Supratman memenangi lomba tersebut dengan lagu ciptaannya Indonesia Raya, Nahum diganjar juara dua.

Sayang sekali, lagu yang diperlombakan Nahum itu tak terdokumentasikan dan hingga kini belum ditemukan. Kabarnya, saat itu ia amat kecewa karena merasa lagu ciptaannyalah yang paling layak menang sebab selain unsur orisinalitas, durasinya pun lebih pendek ketimbang Indonesia Raya. (Unsur orisinalitas lagu Indonesia Raya sempat dipersoalkan, namun kemudian menguap begitu saja karena dianggap sensitif). Lelaki muda yang tengah digelontori idealisme dan cita-cita menjadi seniman musik yang mendunia ini pun memilih pulang ke Sumatera Utara, persisnya ke wilayah Keresidenan Tapanuli yang berpusat di Sibolga. Di kota pantai barat Sumatera itulah ia jalani pekerjaan guru di sebuah sekolah partikelir H.I.S Bataksche Studiefonds, 1929-1932.

In 1932, Nuhun situmorang move to tarutung to work with his brother Sopar Situmorang yo built a schoal althou the DEI colonial goverment forbidde to open the NGO school but the scool still open until 1942 untuil The japanese Occupation and clode by them (TAHUN 1932 itu pula ia hengkang ke Tarutung karena memenuhi ajakan abang kandungnya, Sopar Situmorang (juga berprofesi pendidik), untuk mendirikan sekolah partikelir bernama Instituut Voor Westers Lager Onderwijs. Pemerintah Hindia Belanda coba menghalangi karena saat itu ada peraturan melarang pembukaan sekolah bila dikelola partikelir. Nyatanya Nahum dan Sopar tetap bertahan dan mengajarkan pengetahun umum macam sejarah dunia, geografi, aljabar, selain musik, kepada murid-murid mereka. Sekolah swasta ini bertahan hingga 1942 karena tentara Dai Nippon kemudian mengambilalih kekuasaan Hindia Belanda, lalu menutupnya).

Sebelum sekolah tersebut ditutup Jepang, ia sudah wara-wiri ke Medan untuk menyalurkan bakat sekaligus mengaktualisasikan dirinya yang acap gelisah. Antara lain, bersama Raja Buntal, putra Sisingamangaraja XII, ia dirikan orkes musik ‘Sumatera Keroncong Concours’ dan pada tahun 1936 memenangkan lomba cipta lagu bernuansa keroncong di Medan. Hingga Hindia Belanda dan Jepang hengkang, ia tak pernah mau jadi pegawai mereka. Nahum memang nasionalis tulen dan karenanya memilih bergiat di ranah partikelir ketimbang mengabdi pada penjajah, selain pada dasarnya (mungkin karena seniman) tak menghendaki segala bentuk aturan yang mengekang kebebasannya berekspresi.

Tapi kala itu, mengandalkan kesenimanan belaka untuk menopang kebutuhan hidup taklah memadai, apalagi Nahum senang bergaul dan nongkrong di kedai-kedai tuak hingga larut malam. Tanpa diminta akan ia petik gitarnya dan bernyanyi hingga puas dan dari situlah bermunculan lagu-lagu karangannya. Dan ia bagaikan magnet, kedai-kedai tuak akan dipenuhi pengunjung yang bukan hanya etnis Batak. Orang-orang seperti tersihir mendengar alunan suaranya. Ia memiliki satu keistimewaan karena bisa menggubah lagu secara spontan di tengah keramaian dan tanpa dicatat. (Inilah salah satu penyebab mengapa lagu-lagunya hanya bisa dikumpulkan 120, sementara dugaan karibnya seperti alm. Jan Sinambela, jumlahnya mendekati 200 lagu).

Jenuh berkelana dari satu kedai ke kedai tuak lainnya, dalam kurun waktu 1942-1945, ia coba berwirausaha dengan membuka restoran masakan Jepang bernama Sendehan Hondohan, seraya merangkap penyanyi untuk menghibur tamu-tamu yang datang untuk bersantap. Sepeninggal Jepang karena kemerdekaan RI, restoran yang dikelolanya bangkrut. Ia kemudian berkelana dari satu kota ke kota lain sebagai pedagang permata sembari mencipta lagu-lagu bertema perjuangan dan pop Batak. Masa-masa itu pula ia kembali memasuki dunia manusia Batak dengan berbagai puak yang menghuni Sidempuan, Sipirok, Sibolga, Tarutung, Siborongborong, Dolok Sanggul, Sidikalang, Balige, Parapat, Pematang Siantar, Berastagi, dan Kabanjahe.

Tahun 1949, Nahum kembali menetap di Medan untuk menggeluti usaha broker jual-beli mobil dan tetap bernyanyi serta mencipta lagu, juga kembali melakoni kesenangannya bernyanyi di kedai-kedai tuak. Sesekali ia tampil mengisi acara musik di RRI bersama kelompok band yang ia bentuk (Nahum bisa memainkan piano, biola, bas betot, terompet, perkusi, selain gitar).

 Periode 1950-1960, menurut kawan-kawan dan kerabatnya, adalah masa-masa Nahum paling produktif mencipta lagu dan tampil total sebagai seniman penghibur. Tahun 1960, misalnya, ia dan rombongan musiknya tur ke Jakarta. Setahun lebih mereka bernyanyi, mulai dari istana presiden, mengisi acara-acara instansi pemerintah, diundang kedubes-kedubes asing, live di RRI, hingga muncul di kalangan komunitas Batak. Pada saat tur ini pula ia manfaatkan untuk merekam lagu-lagu ciptaannya dalam bentuk piringan hitam di perusahaan milik negara, Lokananta.

SAMPAI usianya berujung, ia tetap melajang. Kerap disebut-sebut, ia didera patah hati yang amat parah dan tak terpulihkan pada seorang perempuan bermarga Tobing, yang kabarnya berasal dari kalangan terpandang. Orangtua perempuan itu tak merestui Nahum yang “cuma” seniman menikahi anak gadis mereka. Cinta Nahum rupanya bukan jenis cinta sembarangan yang mudah digantikan wanita lain. Ternyata, berpisah dengan kekasihnya, benar-benar membuat Nahum bagaikan layang-layang yang putus tali di angkasa; terbang ke sana ke mari tanpa kendali. Ia tetap meratapi kepergian kekasihnya yang sudah menikah dengan pria lain. Sejumlah lagu kepedihan dan dahsyatnya terjangan cinta, berhamburan dari jiwanya yang merana.

Demikian pun Nahum tak hanya menulis sekaligus mendendangkan lagu-lagu bertema cinta. Dari 120 lagu ciptaannya yang mampu diingat para pewaris karyanya, mengangkat beragam tema: kecintaan pada alam, kerinduan pada kampung halaman, nasehat, filosofi, sejarah marga, dan sisi-sisi kehidupan manusia Batak yang unik dan khas. Dan, kendati pada tahun 30-an isu dan pengaturan atas hak cipta suatu karya lagu/musik belum dikenal di Indonesia, Nahum sudah menunjukkan itikad baik ketika mengakui lagu Serenade Toscelli yang ia ubah liriknya ke dalam Bahasa Batak menjadi Ro ho Saonari, sebagai lagu ciptaan komponis Italia.

Nahum pun terkenal memiliki daya imajinasi serta empati yang luarbiasa. Tanpa pernah mengalami atau menjadi seseorang seperti yang ia senandungkan dalam berbagai lagu ciptaannya, ia bisa menulis lagu yang seolah-olah dirinya sendiri pernah atau tengah mengalaminya. Salah stau contoh adalah lagu Anakhonhi do Hamoraon di Au (Anakkulah kekayaanku yang Terutama). Lagu bernada riang itu seolah suara seorang ibu yang siap berlelah-lelah demi nafkah dan pendidikan anaknya hingga tak mempedulikan kebutuhan dirinya. Lagu tersebut akhirnya telah dijadikan semacam hymne oleh kaum ibu Batak, yang rela mati-matian berjuang demi anak. Ketika menulis lagu itu Nahum layaknya seorang ibu.

Kemampuannya berempati itu, bagi saya, masih tetap tanda tanya, karena ia lahir dan besar di lingkungan keluarga yang relatif mapan karena ayahnya seorang amtenar yang tak akrab dengan kesusahan sebagaimana dirasakan umumnya orang-orang yang masa itu, sekadar memenuhi kebutuhan sehari-hari pun terbilang sulit. Ia pun tak pernah berumahtangga (apalagi memiliki anak) hingga mestinya tak begitu familiar dengan keluh-kesah khas orangtua Batak yang harus marhoi-hoi (susah-payah) memenuhi keperluan anak.

Juga ketika ia menulis lagu Modom ma Damang Unsok, laksana suara lirih seorang ibu yang sedih karena ditinggal pergi suami namun tetap meluapkan cintanya pada anak lelakinya yang masih kecil hingga seekor nyamuk pun takkan ia perkenankan menggigit tubuh si anak. Ia pun menulis lagu Boasa Ingkon Saonari Ho Hutanda yang menggambarkan susahnya hati karena jatuh cinta lagi pada perempuan yang datang belakangan sementara ia sudah terikat perkawinan, seolah-olah pernah mengalaminya.

Kesimpulan saya, selain memiliki daya imajinasi yang tinggi, Nahum memang punya empati yang amat dalam atas diri dan kemelut orang lain. Dalam lagu Beha Pandundung Bulung, misalnya, ia begitu imajinatif dan estetis mengungkapkan perasaan rindu pada seseorang yang dikasihi, entah siapa. Simak saja liriknya: Beha pandundung bulung da inang, da songonon dumaol-daol/Beha pasombu lungun da inang, da songon on padao-dao/Hansit jala ngotngot do namarsirang, arian nang bodari sai tangis inang/Beha roham di au haholongan, pasombuonmu au ito lungun-lungunan. Ia lukiskan perasaan rindu itu begitu sublim, indah, namun tetap menyisipkan nada-nada kesedihan.

Mengentak pula lagunya (yang dugaan saya dibuat untuk dirinya sendiri) berjudul Nahinali Bangkudu. Lirik lagu itu tak saja menggambarkan ironi, pun tragedi bagi sang lelaki yang akan mati dengan status lajang. Dengan pengunaan metafora yang mencekam, Nahum meratapi pria itu (dirinya sendiri?) begitu tajam dan menusuk kalbu: Atik parsombaonan dapot dope da pinele, behama ho doli songon buruk-burukni rere. Ironis sekaligus tragis.

Dan Nahum tak saja pandai menulis lagu yang iramanya berorientasi ke musik Barat, pun piawai mengayun sanubari lewat komposisi-komposisi berciri etnik dengan unsur andung (ratap) yang amat pekat. Perhatikanlah lagu Huandung ma Damang, Bulu Sihabuluan, Assideng-assidoli, Manuk ni Silangge, dan yang lain, begitu pekat unsur uning-uningan-nya.

Akhirnya kesan kita memang, dari 120 lagu ciptaannya yang mampu dikumpulkan para pewarisnya, tak ubahnya kumpulan 120 kisah tentang manusia Batak, alam Tano Batak, berikut romantika kehidupan. Ia tak hanya piawai menggambarkan suasana hati namun mampu merekam aspek sosio-antropologis masyarakat (Batak) yang pernah disinggahinya dengan menawan. Lagu Ketabo-ketabo, misalnya, menceritakan suasana riang kaum muda Angkola-Sipirok saat musim salak di Sidempuan, sementara Lissoi-lissoi yang kesohor itu merekam suasana di lapo tuak dan kita seakan hadir di sana.

Demikian halnya tembang Rura Silindung dan Dijou Au Mulak tu Rura Silingdung, begitu kental melukiskan lanskap daerah orang Tarutung itu, hingga saya sendiri, misalnya, selalu ingin kembali bersua dengan kota kecil yang dibelah Sungai Aeksigeaon dan hamparan petak-petak sawah dengan padi yang menguning itu bila mendengar kedua lagu tersebut. Nahum pun melampiaskan kekagumannya pada Danau Toba melalui O Tao Toba. Mendengar lagu ini, kita seperti berdiri di ketinggian Huta Ginjang-Humbang, atau Tongging, atau Menara Panatapan Tele, menyaksikan pesona danau biru nan luas itu. Kadang memang ia hiperbolik, contohnya dalam lagu Pulo Samosir, disebutnya pulau buatan itu memiliki tanah yang subur dan makmur sementara kenyataannya tak demikian.

Pada tahun 1969, beberapa bulan sebelum kematiannya, Nahun situmorang bernyanyi di Pangururan bersama VG Solu Bolon.  show mereka begitu monoton dan kurang menggigit karena tanpa disertai instrumen band. Ia tampil parlente dengan kemeja dan celana warna putih, walau terlihat sudah tua. Rupanya ia sudah digerogoti penyakit (kalau tak salah lever) namun tetap memaksakan diri bernyanyi ke beberapa kota kecil di tepi Danau Toba hingga kemudian meninggal dunia di usia 62 tahun.

Lewat karya-karyanya, seniman-seniman Batak telah ia antarkan melanglang ke manca negara, macam Gordon Tobing, Trio The Kings, Amores, Trio Lasidos, dan yang lain. Lewat lagu-lagu gubahannya pula banyak orang telah dan masih terus diberinya nafkah dan keuntungan. Sejak remaja telah ia kontribusikan bakat dan mendedikasikan dirinya untuk negara dan Bangso Batak. Lebih dari patut sebenarnya bila mereka yang pernah berkuasa di seantero wilayah Tano Batak memberi penghargaan yang layak bagi dirinya, katakanlah menyediakan sebuah kubur di Samosir yang bisa dijadikan monumen untuk mengenang dirinya.

Kini sisa jasad Nahum masih tertimbun di komplek pekuburan Jalan Gajah Mada, Medan. Keinginannya dikembalikan ke tanah leluhurnya melalui lagu Pulo Samosir, masih tetap sebatas impian. Ia tinggalkan bumi ini pada 20 Oktober 1969 setelah sakit-sakitan tiga tahunan dan bolak-balik dirawat di RS Pirngadi. Piagam Tanda Penghormatan dari Presiden SBY diganjar untuknya pada 10 Agustus 2006, melengkapi Piagam Anugerah Seni yang diberikan Menteri P&K, Mashuri, 17 Agustus 1969.

Para pewaris karya ciptanya yang sudah ditetapkan hakim PN Medan, 1969, sudah lama berkeinginan memindahkan jasadnya dan membuat museum kecil di Desa Urat, Samosir, sebagaimana keinginan Nahum. Diharapkan, para penggemarnya bisa berziarah seraya mendengar rekaman suaranya dan menyaksikan goresan lagu-lagu gubahannya. Rencana tersebut tak lanjut disebabkan faktor biaya dan (sungguh disesalkan) di antara para pewaris yang sah itu, yakni keturunan abang dan adik Nahum.

One of the same native battaks clan had built the inc to manage Nuhun Situmorang songs ,beside the rivality with the nice of Nugun situmorang,  Tagor ,his family became the musician Vicky sianipar .the family of in memoriam Nuhun Situmorang still alive were from the brother of him.

.The Nuhun Situmorang best song Samosi Island lyric in native language (Karya Nahum yang terkenal adalah lagu Pulo Samosir dengan lirik aslinya )  Molo marujungma muse ngolukku sai ingotma/Anggo bangkeku disi tanomonmu/Disi udeanku, sarihonma. (Bila hidupku sudah berakhir, ingatlah/Makamkanlah jasadku di sana/Sediakanlah kuburanku di sana).

(1b) The Soenda West Java native Singer Mang Koko Koeswara with his native  lawak Kantja Indihiang   and song Rond malam means native night security patrol and maen baal mean play soccer which recorded by Irama Inc Indonesia singing ,look the rare white label promo record label below:

 

Koko Koeswara/ Mang Koko (Jawa Barat) with six native pelog nore and three basic note ,he also made the sunda song Sekar gending,and daeng Soetigna ,he had made the soenda song became more popular with the change from pantonis to be diatonist but this song with his music kantja indihiang group above never report before (dengan enam tangga  nada pelog da, mi, na, ti, la, da dengan tida nada dasar  . Selain itu menciptakan lagu Sunda diantaranya Sekar Gending.Daeng Soetigna dari Jawa Barat . Jasanya telah mengubah tangga nada pentatonis pada alat musik angklung menjadi diatonis sehingga angklung dikenal oleh masyarakat Indonesia maupun manca negara)

(1b)Lagu Melayu dengan penyayi Said Effendi

Dikenal sebagai pelantun lagu-lagu melayu dan sekaligus pencipta lagu dalam genre musik melayu. Said Effendi menjadi pujaan khalayak sekitar tahun 1950-an, ketika irama Melayu-Deli merajai pasaran musik. Said Effendi menerima berkarung-karung surat dari penggemarnya. Ditahun 1960-an ia berhasil mengembalikan supremasi supremasi irama Melayu dari Malaysia ke Indonesia.  

Orang akan tertegun, jika mendengar suaranya berkumandang di radio atau piringan hitam, tinggi, lengking, dan padat, tanpa kehilangan kelenturannya. Terutama setelah menyanyikan lagu Seroja ciptaan Husein Bawafie, Said Effendi mengecap masa keemasan.

Sering disangka sebagai anak Medan apalagi menilik gaya bicaranya sehari-hari. Said Effendi lahir di Besuki, Jawa Timur, dari suku Madura. Masa kecilnya terbilang suram. Baru berusia 6 tahun, Said telah ditinggal ibunya untuk selamanya. Ayahnya yang berusaha sebagai pedagang keliling sering meninggalkan rumahnya. Sekolahnya tak menentu. Suatu ketika ia bahkan dikeluarkan dari sekolah. Tapi sejak usia 5 tahun ia biasa bangun pagi, berangkat ke surau untuk melantunkan adzan.

Keluar-masuk sekolah, Said akhirnya ikut seorang kerabat menjadi nelayan. Tapi ayahnya tak senang. Dia diberi barang dagangan, disuruh berkeliling ke kampung-kampung. Dalam pengembaraan itulah Said berjumpa dengan seseorang, yang menawarkan kepadanya untuk dididik menjadi penyanyi. Maka pada usia 13 tahun ditahun 1936, ia menjadi penyanyi orkes keroncong. Penghasilannya 1 gulden semalam, atau sama nilainya dengan 25 liter beras. Tapi setahun kemudian ia ditarik seorang pamannya ke Bondowoso, disuruh belajar lagi di Madrasah Al Irsyad. Di sana Said mendirikan klub musik. Sebuah medali emas 15 gram konon masih tergantung di madrasah itu, hasil kemenangan perkumpulan musik yang dipimpin Said dalam salah satu kontes stambul.

Sekolah itu ditutup Jepang karena berbau politik. Ia sempat memimpin rombongan musik ke Pontianak. Dari sana kembali ke Jakarta. ketika RRI mencari penyanyi untuk Orkes Studio Jakarta, dari 36 orang pelamar, dia salah seorang dari dua yang diterima. Lainnya adalah Sal Saulius. Sal pula yang membimbingnya mengenal not hingga dapat mencipta. Lagu pertamanya Asmara Dewi tahun 1948, setahun kemudian disusul Bahtera Laju. Nama dan suaranya kian tenar. Menciptakan sekitar 40 buah lagu, Said memimpin Orkes Melayu Irama Agung, yang mengiringi suaranya dalam rekaman.

 

Setelah Said membintangi beberapa film sebagai pemeran pembantu, sutradara Asrul Sani mempercayakan padanya peranan utama dalam Titian Serambut Dibelah Tujuh. Tapi namanya lebih dikenang sebagai penyanyi. Ditahun 1980, sempat bekerja sebagai pengurus keanggotaan Kine Club di Taman Ismail Marzuki, Jakarta.

 lagu SELAYANG PANDANG ini. Melodinya, kata orang Tionghoa di Surabaya, ciamik soro. Sangat enak. Karena itu, setiap kali main harmonika, seruling, atau alat musik lain, saya selalu memainkan melodi itu: SELAYANG PANDANG.  orang Indonesia tak asing lagi dengan lagu ciptaan LILY SUHAIRY dan HAMIEDHAN AC tersebut.

pada 1990-an  TVRI dalam program TITIAN MUHIBAH SENADA SEIRAMA KERJA sama TVRI dan RTM , di awal dan akhir acara, para pengisi acara selalu nyanyi ramai-ramai: SELAYANG PANDANG. Di Singapura, tepatnya di Pulau Sentosa, melodi lagu ini terus-menerus diperdengarkan. Ia sebagai simbol kehadiran orang-orang Melayu di negara kota itu. Di Kuala Lumpur, boleh dikata, MELODI SELAYANG pandang menjadi menu sehari-hari di sana.cengkok melayu (Malaysia), diiringi orkes melayu bercita rasa 1960-an hingga 1970-an awal. Tentu proses rekaman sudah lama sekali, 1970-an, bahkan 1960-an. Musiknya sederhana, namun justru di situlah kelebihan lagu-lagu lama. Syairnya pakai pola pantun. Ada sampiran, kemudian isi, ada nasihat, petuah-petuah bijak. Pantas saja orang-orang tua senang dengan lagu-lagu melayu ala Said Effendi.

 Selain SELAYANG PANDANG, di album seleksi Said Effendi ini ada lagu: SEMALAM DI MALAYSIA (Syaiful Bachri), LAMBAIAN BUNGA (Ismail Marzuki), PAK KETIPUNG (NN), HALIMUN MALAM (A Chalik), CITA HAMPA (Ali Sabeni), MUSAFIR KELANA (Husein Bawafie), RAYUAN MAUT (Said Effendi), LIRIKAN MATA (NN), MAINANG PULAU KAMPAI (NN), SENANDUNG ANAK DARA (Ismail Marzuki), KAPARINYO (NN).

Sisi B: YALE-YALE, BIMBANG DAN RAGU (Said Effendi), ANTARA KASIH DAN SAYANG (Chilung), angin menderu (NN), PURA-PURA (Husein Bawafie), CERMIN BUDI (Husein Bawafie), HANYA NYANYIAN (Said Effendi), TAWAF (Said Effendi), BALASAN KASIH (M Mashabi), MUTIARA DARI PULAU PINANG (Zainal Arifin), RIWAYATKU (M Ishak), ANAK KALA (NN).

Mendengar rekaman ini ibarat meniti sejarah dangdut, musik paling populer di Indonesia sampai hari ini. Ada kemiripan dengan dangdut, tapi berbeda. Dangdut yang ada sekarang, menurut saya, sudah berkembang menjadi sangat liar. Penampilan penyanyi-penyanyi dangdut (wanita) sangat tidak sopan. Jogetnya liar dan sensual.

Lain sekali dengan lagu-lagu melayu: anggun, sopan, religius, indah bahasa, adiluhung. Boleh jadi, dangdut yang awalnya menggunakan ‘bahan dasar’ melayu kemudian bercampur India, Arab, etnik… sehingga hasilnya seperti sekarang.
“Dengar lagu-lagu dangdut, lihat penyanyi-penyanyinya di atas panggung… kita jadi malu. Jauh dari keanggunan budaya timur,” kata Abdul Malik Buzaid alias A Malik Bz, salah satu pelopor musik melayu di Indonesia.

Malik bergabung dengan Orkes Melayu SINAR KEMALA pada 1960-a. Orkes pimpinan Abdul Kadir ini merilis puluhan album. Salah satunya Keagungan Tuhan, ciptaan A Malik Bz, yang dipopulerkan oleh Ida Laila.foto kenangan OM Sinar Kemala saat konser di Surabaya pada 1970-an. Said Effendi ada di gambar itu. “Dia itu asli Situbondo,” papar Malik.

.”

Menurut Malik Bz, sejak 1960-an Said Effendi sudah memperlihatkan bakat sebagai seniman musik jempolan. Tak hanya membawakan lagu-lagu orang lain, Said pun banyak bikin lagu. Ya, lagu-lagu melayu sesuai dengan tren musik waktu itu. Said banyak dipakai orkes-orkes melayu di Jakarta dan Surabaya. Dulu, kata Malik, setiap orkes selain punya pemusik-pemusik tetap juga beberapa penyanyi tetap.

Said Effendi ini, karena kehebatannya, kerap diundang sebagai bintang tamu di sejumlah orkes melayu. Lepas dari Jawa Timur, khususnya Surabaya, Said Effendi mengembangkan karier musik di Jakarta. Di ibukota ia bertemu dengan pemusik-pemusik top macam Syaiful Bachri, Muchtar Embut, Zainal Arifin, Husein Bawafie, dan nama-nama besar lain.

Maka, nama Said Effendi pun populer hingga ke negara-negara tetangga macam Malaysia, Singapura, Brunei. Apalagi, waktu itu negara-negara serumpun ini punya selera musik yang hampir sama. Yakni, lagu-lagu berpantun ala melayu. Melanglang buana ke negara jiran pun menjadi makanan sehari-hari Said Effendi.

“Jadi, Said Effendi memang sangat dikenal di Malaysia. Sama dengan lagu-lagu OM Sinar Kemala, termasuk Keagungan Tuhan, sangat dikenal di Malaysia, Brunei, Singapura,” jelas Malik Bz, komposer yang memberikan banyak informasi seputar musik melayu kepada saya sejak 2003.

Sayang sekali, jasa besar Said Effendi dalam mengembangkan musik di Tanah Air kurang diperhatikan oleh pemerintah Indonesia. Tak ada penghargaan apa pun yang diterima almarhum Said Effendi. Padahal, jasanya di bidang musik tak kalah dengan P RAMLEE, seniman musik melayu di Malaysia.

SELAYANG PANDANG
Versi Eddy Silitonga
Lama sudah tidak ke ladang
Tinggi rumput darilah lalang
Lama tak kupandang hati tak senang
Lama tak kupandang hati tak senang
REFREIN
Layang-layang selayang pandang
Hati di dalam rasa bergoncang
Jangan ragu dan jangan bimbang
Ini lagu selayang pandang
Kalau tidak kelapa puan
Tidak puan kelapa bali
Kalau tak puan siapa lagi
Kalau tak puan siapa lagi
Layang-layang…….
Wahai selasih janganlah tinggi
Kalaupun tinggi berdaun jangan
Wahai kekasih janganlah pergi
Kalaupun pergi bertahun jangan
Layang-layang
 
 
(I C) ORKES RAME DENDANG DBP HEHANUSA (IRAMA RECORD iNC)
 
Song 1. Apa apa djaga kelapa (D.herheru) .2.Tomo Terus (H.hehanusa) 3.djodjaru telu(Nely Supusepa)

song : 1.Sarinah(nn) 2. Burung Tantina (c.hehanusa)

(1d)Lagu Keroncong

(a) Orkes Empat Sekawan Djakarta pimpinan S,Jahja dengan lagu Tinggi di awan (saleh) dan Sampaikan salamku(nn)

encyclopedia/4eaf3f8b1af8374d72bc22819a43077a

Empat Sekawan

Salah satu kelompok musik yang dibentuk Ismail Marzuki di bawah naungan RRI Jakarta. Personel inti memang hanya empat orang, yaitu Saleh Soewita (gitar), Ishak (contra-bass), Jachja (biola), dan Ariston da Cruz (piano; pemusik asal Filipina yang berganti nama menjadi Arief Effendi). Contra-bass kadang-kadang dipegang oleh Sarom. Ismail sendiri bertindak sebagai pemimpin sekaligus pengaransemen musik orkes itu. Grup ini dibentuk sesaat setelah proklamasi kemerdekaan, yang ditujukan untuk menurunkan suhu politik yang makin panas dan setiap saat bisa meletus menjadi pertempuran terbuka. Jam main yang diberikan oleh pihak RRI Jakarta kepada orkes Empat Sekawan sekitar 30 menit sampai 1 jam. Jam siaran mereka dua kali dalam satu pekan, biasanya setiap hari Selasa dan Rabu siang. Pada 1946, hari dan jam main Empat Sekawan tidak menentu, kadang-kadang hari Senin, Selasa, atau Rabu. Umumnya orkes ini bermain sekitar 45 menit, dan tiga kali siaran dalam satu hari; siang pukul 13.15, sore pukul 17.15, dan malam pukul 20.00. Acara musik Empat Sekawan di RRI Programa Jakarta diberi tajuk Hiboeran Pahlawan, Hiboeran Oentoek Tentara Angkatan Laoet dan Oedara RI, Hieboeran Malam Minggu, Hiboeran Petang, Penawar Rindoe, dan Alam Ria Indonesia. Selain secara berkala mengisi acara musik di studio radio, Empat Sekawan juga menyempatkan diri turun langsung ke pelbagai front. Mereka menghibur para pejuang dan masyarakat setempat yang menyukai lagu perjuangan, khususnya lagu-lagu yang diciptakan oleh personel orkes kuartet itu, termasuk Ismail Marzuki.

 

Lagu ciptaan karya Ismail Marzuki yang paling populer adalah Rayuan Pulau Kelapa yang digunakan sebagai lagu penutup akhir siaran oleh stasiun TVRI pada masa pemerintahan Orde Baru.

Ismail Marzuki mendapat anugerah penghormatan pada tahun 1968 dengan dibukanya Taman Ismail Marzuki, sebuah taman dan pusat kebudayaan di Salemba, Jakarta Pusat. Pada tahun 2004 dia dinobatkan menjadi salah seorang tokoh pahlawan nasional Indonesia.

Ia sempat mendirikan orkes Empat Sekawan

(b) Kroncong Aneka Warna dbp Markasan(Srimpi record Inc)

side 1 dengan lagu : pak sakerah(sueb),kuto suroboyo(sukemi),numpak sepur (j,sudarminto dkk), Nyang T.H.R (noerjatian)

Side 2 :Motor Uduk(Achmad &J.sudarminto), Si Banci (Juwariyah T.M.),Mimpi dicokot ulo(Soekemi/Achmad), Nanggelo(Sueb)

(c) Orkes Kroncong Tjendrawasih dbp S.Padimin(lokananta record Inc)

Song side 1 : Nandur Djagung(M arif), Burung Merpati(S.Padimin)

song side 2 : ditepi bengawan solo(s.Padimin-kustiati), 2.Kroncong Mesra (sunarno-supardi achijat)

:

(d)Kroncong orkes  M.Sagi

(Irama record Inc)

1)Irama India with song Djali Djali singer notknown(NN)

 Keroncong M.Sagi Info (google explorations)

iramaI thought that, coupled with the previous post of today, I’d post something languid and tranquil, something somewhat relaxed. So, I brought out another classic Indonesian krontjong piece from the mid-20th century, on the local Irama label. “Irama” actually means “rhythm” in English – thus the title of the piece as well as the name of the record label are explained.

I posted a krontjong tune of the same vintage, and on another independent Indonesian label (Dendang), . This one is similar – it’s the style of krontjong that I quite enjoy, featuring the walking guitar and fiddle player trading runs in between smooth vocals. Krontjong itself is a relatively new type of urban folk music, developing in Indonesian urban areas a little over 100 years ago, with Batavian, Portuguese, Malay, and even African influence. Krontjong had changed dramatically since it was first recorded ca. 1904, and when this record was released (probably the late 1940s or so). The instrumentation was bare bones at first, featuring trios and the like. I’ve heard 1920s krontjong that sounds influenced by Stamboel theater, with a slightly more operatic sound, showing further influences at work. By the 1940s, krontjong was a rage, with whole orchestras and popular singers getting into the act…yet, to me this music is not easily explained. Indonesian-Hawaiian-guitar-and-fiddle-ballads?

As for the singer and band – I’m afraid these are muddy waters. I am mostly sure that “Moh.” stands for Mohammed, and “Kr.” stands for krontjong, but at the risk of being incorrect, I will let the original label stand as the official record

3)Jasa pemain biola M.Sagi

Awalnya dengan nama Kroncong Betawi lalu Kroncong Jakarta” … Di Jakarta saat itu … Susunan instrument seperti ini adalah berkat jasa M.Sagi seorang Violinist keroncong

also in Indonesia (Irama indonesian music co ltd) look below compare with above :

1) Dimin ,Mengenang nasib with M.Sagi Keroncong Orchestra ,productions Irama Record

The other earliest Indonesian records company :

ERA 1960-1970

1. Tiga Band Popular pada tahun 1960,bacalah informasi dibawah ini yang diperoleh dari eksplorasi google :

Gumarang, Teruna Ria, dan Kumbang Tjari

  
IRAMA musik Latin sudah masuk dalam ramuan aransemen musik lagu-lagu Indonesia sejak pertengahan tahun 1955. Pelakunya adalah seorang yang bernama Asbon Majid, pemimpin orkes Gumarang.
Dengan maksud memberi alternatif lain dari seriosa, keroncong, dan hiburan, Asbon memasuki unsur-unsur musik Latin yang pada masa itu memang sedang populer di Indonesia.
SEMENTARA itu, orkes Kumbang Tjari dipimpin oleh Nuskan Syarif, Teruna Ria oleh Oslan Husein, dan Zaenal Combo oleh Zaenal Arifin. Tiga orkes ini memasukkan rock’n’roll pada lagu-lagu Minang dan non-Minang, seperti Kampung Nan Jauh Di Mato, Tirtonadi, dan Bengawan Solo. Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang. Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin. Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya. Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.  Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba. Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.
Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf. Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan. Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH). Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha. Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.
Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.
“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu. Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.  “Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta. “Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman. Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya. Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.
Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional. Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini. Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.
Kumbang Tjari
Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.
“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi Gumarang, saya berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar,” lanjut Nuskan, ayah dari sembilan anak dan kakek dari 10 cucu. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang. Hal ini diperjelas Hasmanan, salah seorang penyanyi Gumarang yang menulis kesan-kesannya di sampul depan PH. “Sebagai orkes baru jang masih harus berdjuang memenangkan simpatik dan popularitas, menarik sekali nafas dan penghajatan jang diberikan ’Kumbang Tjari’ terhadap lagu-lagunja. Hidangan2 mereka terasa masih dekat sekali kepada tjara lagu2 rakjat asli Minang dibawakan. Petikan2 gitar Nuskan Sjarif sering mengingatkan orang akan bunji alat2 musik asli Minang seperti talempong, rebab, dan saluang,” demikian tulisan di sampul depan PH itu.
PH Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taraatak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan). Bersama Kumbang Tjari inilah Elly Kasim menjadi penyanyi lagu-lagu Minang yang belum tergantikan sampai sekarang. Perempuan kelahiran Tiku, Kabupaten Agam, Sumatera Barat, tanggal 27 September 1942, itu terkenal dengan lagu-lagu seperti Kaparinyo, Dayung Palinggam, Kelok Sembilan, Barek Solok, Lamang Tapai, Sala-lauak, Si Nona, Lansek Manih, Main Kim, Mudiak Arau, dan masih banyak lagi. Lagu-lagu itu telah dimuat dalam puluhan PH, kaset, maupun VCD selama lebih dari 40 tahun.  Namun, Kumbang Tjari kemudian terpaksa vakum ketika Nuskan sebagai guru olahraga menerima untuk ditempatkan di Sukarnapura (sekarang Jayapura), Papua, pada bulan Juli 1963. “Saya sangat menikmati profesi sebagai guru olahraga. Dikirim ke Irian Barat saya anggap sebagai amanat yang harus dilaksanakan. Setelah saya pergi, sayang teman-teman tidak bersedia meneruskan Kumbang Tjari,” ujar Nuskan. Selama di Jayapura, ia sempat juga membina bibit-bibit penyanyi dan menciptakan sejumlah lagu. Lahir di Tebing Tinggi tanggal 4 Januari 1935, dalam usia menjelang 70 tahun sekarang ini, Nuskan masih rajin joging di pagi hari dan tetap siap tampil bersama Kumbang Tjari-nya.  Walaupun hanya dua tahun (1961-1963) di belantika musik, Kumbang Tjari menjadi grup pertama yang tampil di TVRI ketika stasiun televisi pemerintah itu diresmikan tahun 1962. Orkes ini juga mengisi acara pembukaan Bali Room, Hotel Indonesia, dan kemudian tampil bersama Gumarang serta Taruna Ria dalam pertunjukan bertajuk “Tiga Raksasa” di Istora Senayan.
Nuskan kembali ke Jakarta 29 November dan Januari 1969 Kumbang Tjari dibentuk lagi dengan personel yang berbeda dan tidak pakai embel-embel “orkes” lagi. Kumbang Tjari pun kembali dipimpin Nuskan dan seperti sebelumnya mulai masuk studio rekaman dan mengisi berbagai acara panggung hingga tur ke Malaysia bersama Elly Kasim, Benyamin S, Ida Royani, serta Ellya Khadam. Di samping Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang. Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene. Zaenal Arifin, pencipta lagu Teluk Bayur, meninggal 31 Maret 2002. Asbon tutup usia pada 16 Maret 2004, sedangkan Oslan Husein dan Nurseha mendahului keduanya beberapa tahun sebelumnya.
Mereka memang sudah pergi, tetapi meninggalkan jejak berupa musik Minang dan Indonesia modern. Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya.

 

Pada era ini musik barat dilarang diputar di Radio,  sehingga musik dalam negeri memperoleh kesempatan.,sperti lagu minang , seperti cuplikan dari tulisan surat kabar Padang Post dibawah ini:

Sejarah munculnya kreatifitas seniman dalam memopulerkan lagu-lagu Minang. Frans Sartono (kompas.com), menjelaskan, pada era 1950-1960-an, pembatasan pemutaran musik pop Barat di radio berimbas pada kreatifitas seniman lokal untuk berbicara dengan bahasa daerah dalam lirik lagu. Orkes Gumarang yang personelnya adalah Urang Awak mempopulerkan lagu berbahasa Minang, seperti Ayam Den Lapeh sampai Laruik Sanjo. Mereka mengakomodasikan unsur musik Latin yang saat itu banyak digemari di negeri ini. Oslan Husein, dengan bahasa Minang pula, memopulerkan lagu seperti Kampuang nan Jauh di Mato, dan Elly Kasim dikenal lewat Bareh Solok.
Dengan penelusuran yang lebih lengkap mengenai sejarah munculnya lagu-lagu Minang yang bersinergi dengan musik-musik lain, Theodore KS, penulis masalah industri musik (kompas.com) menguraikan, bahwa di masa 50-an muncul grup-grup musik yang menggubah lagu-lagu Minang dengan warna musik lain, seperti musik klasik. Orkes Gumarang dengan irama Latin dan Teruna Ria me-rock’n’roll-kan lagu serta musiknya. Sementara gitar bersuara saluang ala Nuskan Syarif masih bisa dinikmati sampai sekarang bersama Kumbang Tjari-nya. Mereka-mereka ini merupakan grup musik yang dianggap tonggak tua dalam memopulerkan lagu pop Minang ketika itu. Kelahiran grup-grup musik ini ditopang oleh keberhasilan orkes Penghibur Hati yang lebih dulu berdiri dan terkenal dalam mendendangkan lagu-lagu Minang di RRI Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya. Pengaruh lagu-lagu Latin, seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, yang sedang digemari tak mampu ditepis.
Gumarang yang dilirik oleh perusahaan rekaman Irama pimpinan Suryoso Karsono, merekam Ayam Den Lapeh ciptaan A Hamid dinyanyikan oleh Nurseha , Jiko Bapisah dan Laruik Sanjo ciptaan Asbon, Yo baitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain, yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.

Mengikuti sukses Gumarang, Kumbang Tjari pun tak kalah terkenalnya. Adalah Nuskan Syarif yang menakhodai grup musik yang berdiri tahun 1961 ini. Meskipun mengagumi Gumarang, Nuskan berusaha membuat musik yang berbeda. Kalau Gumarang dominan dengan pianonya, Kumbang Tjari mengedepankan melodi gitar. Di sinilah Nuskan menunjukkan keperkasaannya sebagai pemain gitar, bukan hanya dalam soal teknik, namun juga dalam soal eksplorasi bunyi. Petikan gitarnya mengingatkan pendengarnya akan suara saluang, seruling bambu khas Minang. Ciri khas ini belum ada duanya sampai sekarang.
Memasuki studio rekaman piringan hitam (PH), album Kumbang Tjari yang pertama ini berisi lagu-lagu Asmara Dara yang dinyanyikan oleh Elly Kasim, Randang Darek dinyanyikan Nuskan Syarif, Taratak Tangga (Elly Kasim dan kawan-kawan), Mak Tatji (Nuskan Syarif), Apo Dajo (Elly Kasim dan kawan-kawan), Tjita Bahagia (Elly Kasim dan Nuskan Syarif), Cha Cha Mari Cha (Nuskan Syarif), Gadis Tuladan (Nuskan Syarif), Kumbang Djanti (Elly Kasim), Langkisau (Nuskan Syarif dan kawan kawan), Kureta Solok (Nusikan Syarif dan kawan-kawan), dan Oi, Bulan (Elly Kasim dan kawan-kawan).
Selain Gumarang dan Kumbang Tjari, juga tidak bisa dilupakan orkes Teruna Ria yang mempertegas irama rock’n’roll dalam lagu-lagu Minang.

Bubarnya Teruna Ria menyebabkan penyanyi utamanya, Oslan Husein, mendirikan Osria. Sementara personel lainnya, Zaenal Arifin, mendirikan Zaenal Combo, yang merajai penataan musik rekaman hampir semua penyanyi pada akhir 1960-an sampai awal 1970-an. Penyanyi-penyanyi yang diiringi Zaenal Combo, yaitu Lilies Suryani, Ernie Djohan, Alfian, duet Tuty Subarjo/Onny Suryono, Retno, Patti Sisters, Tetty Kadi, Anna Mathovani, Emilia Contessa, Titi Qadarsih, Angle Paff, atau Lily Marlene.

Seribu lagu setahun

Melihat perkembangan awal lagu-lagu pop Minang ini, wajar saja kalau sebagian penggemar lagu Minang prihatin dan kecewa dengan lagu Minang sekarang. Salah satu faktor yang menyebabkan lagu-lagu Minang tempo dulu bisa hinggap lebih lama di telinga pendengarnya adalah tidak banyaknya industri rekaman, apalagi ditahun-tahun 50-an tersebut. Dalam setahun bisa dihitung dengan jari lagu yang beredar. Belum lagi pada masa itu rekaman piringan hitam (PH) dengan gramafon sebagai medianya. Bahkan untuk tampil di RRI saja harus melewati seleksi yang ketat. “Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba,”

1) Gumarang Orchestra leader Asbon with Singer Yuni Amir ,song Ya Musthapa productions  Mesra Record Inc

 The Song Ya Mustapha history

Ya Mustafa, also spelled Ya Mustapha, is a famous Egyptian song of unclear origin, whose lyrics are composed in 3 different languages: Arabic, French and Italian. There are also versions in the Greek and Turkish languages, where they are very popular in the respective countries (“Μουσταφά”). The music of the song is similar to Greek music. It was very popular in the 1950s and early 1960s. The song has been performed in many different versions by many different singers worldwide. One of the earliest singers to record this song in the 1950s was the Turkish-French singer Dario Moreno. The song became popular in Europe with the help of the Egyptian-born Palestinian singer Bob Azzam, who released it in 1960 in France. Azzam’s version was also a hit on the UK Singles Chart, where it spent 14 weeks and peaked at number 23[1]. In Spain, in 1960, the song reached #1 in the charts in both versions sung by Bob Azzam and by José Guardiola [1]. Bruno Gigliotti, the brother of famous singer Dalida, also covered the song. The song also featured in a few Egyptian movies, including one starring the Egyptian actor Ismail Yassin in the 1950s, and another film featuring Sabah from the same era. In 1975, the Turkish Cypriot actress and singer Nil Burak sang Ya Mustafa. The song was also copied by the Indian composers Nadeem-Shravan. Other singers who reproduced exactly the same song include the Lebanese singer Reeda Boutros and the American singer and actress Angélica María.

This song, with its Greek style music and polyglotic lyrics, can be considered as a historical tribute to the cosmopolitan era in the Egyptian city of Alexandria. During that era, a large cosmopolitan polyglotic community, mainly Greeks, Jews and Italians, lived in Alexandria. A sizable portion lived in the Attarine district, where the events of the song takes place.

The refrain of the song is “Chérie je t’aime, chérie je t’adore, como la salsa del pomodoro” (Darling, I love you, darling, I adore you, like tomato sauce).

The Gumarang Asbon History

Gumarang Orchestra and other Minang record like  Kampuang Nan Jauh Dimato(the homeland which far from eyes)

and Gumarang 1971

Orkes Gumarang

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang. Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin. Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya. Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.  Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba. Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

 Album Gumarang – Kampuang Nan Jauah di Mato

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf. Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan. Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH). Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha. Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu. Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.  “Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta. “Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman. Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya. Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.

Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional. Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini. Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

2.Musik Minang ERA 1960-1970

1) Oslan Husein

oslan huseinGumarang, Teruna Ria, dan Kumbang Tjari
IRAMA musik Latin sudah masuk dalam ramuan aransemen musik lagu-lagu Indonesia sejak pertengahan tahun 1955. Pelakunya adalah seorang yang bernama Asbon Majid, pemimpin orkes Gumarang. Dengan maksud memberi alternatif lain dari seriosa, keroncong, dan hiburan, Asbon memasuki unsur-unsur musik Latin yang pada masa itu memang sedang populer di Indonesia.

oslan-tahu

Detail information on musical album is important for history. Look at this album entitled Tahu Tempe by singer Oslan Husein which published by Irama record on 1960-ies. This album attached a note written by Sjahrul Nawas on it’s back cover. Sjahrul Nawas said that this album presented songs concerning about basic need of the Indonesian people in era 1960-ies.

This album responded toward speech of Presiden Soekarno who said that Indonesian people will never been hungry, because Indonesia is a rich country. So that this album presented songs entitled Tahu Tempe (a traditional food made of soya-bean), Nasi Djagung (rice made of corn), Sepiring Nasi (A Plate of Rice).

But what made this album special is a song entitled Lebaran, which became national anthem and sung every Idul Fitri season. Also finally, we know that the composer of this classic song is M. Jusuf, a leader of Orkes Widjaja Kusuma, a band for this album. Who has any information about M. Jusuf? Please share us

2) Nuskan sjarif dengan Orkes  Kumbang Tjari

SEMENTARA itu, orkes Kumbang Tjari dipimpin oleh Nuskan Syarif, Teruna Ria oleh Oslan Husein, dan Zaenal Combo oleh Zaenal Arifin. Tiga orkes ini memasukkan rock’n’roll pada lagu-lagu Minang dan non-Minang, seperti Kampung Nan Jauh Di Mato, Tirtonadi, dan Bengawan Solo.

 

Menjelang akhir tahun 1953 dan awal 1954, ada beberapa anak muda asal Sumatera Barat yang, antara lain, bernama Alidir, Anwar Anif, Dhira Suhud, Joeswar Khairudin, Taufik, Syaiful Nawas, dan Awaludin yang di kemudian hari menjadi Kepala Polri. Bersama beberapa orang lainnya mereka berkumpul di rumah Yus Bahri di Jalan Jambu, Menteng, Jakarta Pusat. Mereka sepakat mendirikan sebuah grup musik untuk meneruskan kiprah orkes Penghibur Hati yang mendendangkan lagu-lagu Minang.

Mereka menamakan grupnya orkes Gumarang. Nama itu diambil dari cerita legendaris Minang, Cindue Mato, yang tokoh utamanya memiliki tiga binatang kesayangan. Tiga binatang itu adalah Kinantan si ayam jantan yang piawai, Binuang si banteng yang gagah perkasa, dan Gumarang si kuda sembrani berbulu putih yang larinya bagaikan kilat sehingga menurut legenda tersebut bisa keliling dunia dalam sekejap. Anwar Anif pun didaulat menjadi pemimpin.

Mula-mula yang dibicarakan adalah bagaimana konsep musik yang akan dibawakan untuk lagu-lagu Minang yang sudah dipopulerkan oleh Penghibur Hati melalui Radio Republik Indonesia (RRI) Jakarta. Lagu-lagu Penghibur Hati yang disiarkan radio itu, antara lain, Kaparinyo, Dayung Palinggam, Nasib Sawahlunto, dan Sempaya.

Pengaruh lagu-lagu Latin (seperti Melody d’Amour, Besame Mucho, Cachito, Maria Elena, dan Quizas, Quizas, Quizas) yang sedang digemari tak mampu mereka tepis. Oleh sebab itulah musik Latin tersebut menjadi unsur baru dalam aransemen musik Gumarang.

Pada masa itu tidaklah mudah bagi seorang penyanyi atau sebuah grup untuk tampil di RRI. Mereka harus lulus tes di depan sejumlah juri, sebagaimana layaknya peserta sebuah lomba.

Walaupun Anwar Anif hanya memimpin selama sembilan bulan, ia berhasil membawa Gumarang lulus tes RRI. Alidir yang menggantikannya ternyata bertahan lebih singkat lagi dan kemudian menyerahkan pimpinan Gumarang kepada Asbon, bulan Mei 1955.

Asbon tidak hanya mempertegas dominasi musik Latin dalam lagu-lagu yang sudah biasa dibawakan Gumarang, tetapi juga pada lagu-lagu baru ciptaannya maupun ciptaan personel Gumarang lainnya. Pada masa Asbon inilah bergabung pianis yang memiliki sentuhan Latin, Januar Arifin, serta penyanyi Hasmanan (kemudian menjadi sutradara), Nurseha, dan Anas Yusuf.

Kebesaran Gumarang tidak bisa disangkal berkat seringnya grup ini tampil di RRI dan memeriahkan acara Panggung Gembira. Sukses Gumarang merebut hati masyarakat menyebabkan penampilan orkes itu berlanjut di tempat-tempat lainnya, seperti Istana Negara, Gedung Kesenian, dan Istora Senayan.

Pada masa kepemimpinan Alidir, Gumarang sempat merekam sejumlah lagu di bawah naungan perusahaan negara, Lokananta, di Solo. Rekaman dilakukan di Studio RRI Jakarta dan hasilnya dibawa ke Lokananta untuk dicetak dalam bentuk piringan hitam (PH).

Dalam rekamannya yang pertama ini Gumarang bermain dengan gendang, bongo, maracas, piano, gitar, dan bas betot. Mereka tetap mempertahankan rentak gamat dan joget sambil memadukannya dengan beguine, rumba, dan cha-cha.

Bunyi alat musik Minang, seperti talempong, memang memberikan asosiasi pada irama Latin, demikian juga saluang. Itulah sebabnya irama Latin mudah dipadukan dengan lagu-lagu Minang.

Suyoso Karsono yang memimpin perusahaan rekaman Irama di Jakarta ternyata diam-diam tertarik pada Gumarang. Sebagai seorang pengusaha, orang yang dikenal dengan nama Mas Yos itu tahu bahwa irama yang dibawakan Gumarang bukan saja mampu menyajikan lagu-lagu Minang sesuai dengan aslinya, namun juga memiliki ramuan irama Latin yang amat disukai masyarakat.

“Sebenarnya irama Latin itu hanya dalam tempo, supaya lagu-lagu Minang bisa diterima juga oleh masyarakat di luar Minang,” kata Asbon ketika menerima tawaran Irama untuk merekam sejumlah lagu. Gumarang merekam Ayam Den Lapeh ciptaan A Hamid, Jiko Bapisoh dan Laruik Sanjo ciptaan Asbon, Yobaitu ciptaan Syaiful Nawas, Takana Adiak ciptaan Januar Arifin, Baju Karuang, Ko Upiek Lah Gadang, Titian Nan Lapuak, Nasib Sawahlunto, dan lagu lain-lain yang jelas sekali dipadukan dengan irama cha-cha yang dikenal sebagai pengiring tarian di Amerika Selatan.

“Cha-cha memang sedang menjadi favorit masyarakat waktu itu, sebagaimana kami senang naik becak dari tempat indekos menuju Studio Irama. Kalau selesai rekaman, Nurseha diantar Asbon dengan becak ke rumahnya di Grogol. Soalnya, rekaman yang dimulai pukul delapan malam biasanya selesai pukul dua dini hari,” ujar salah seorang penyanyi Gumarang, Syaiful Nawas, yang sempat menjadi wartawan harian Waspada, Pedoman, Purnama, Trio, Aneka, Sinar Harapan, Abadi, Suara Pembaruan, dan majalah Selecta.

“Sayalah yang bertugas menulis semua kejadian karena ikut di dalam proses rekaman. Mas Yos memberikan bahan-bahannya dan saya tulis di berbagai surat kabar serta majalah Selecta dan Varia. Bahkan, harian Pedoman menulis Gumarang dalam tajuk rencananya. Sementara Asbon langsung memberikan PH yang baru dari pabrik ke RRI,” ungkap Syaiful Nawas, kakek dari lima cucu yang sekarang setiap hari berkantor di rumah makan miliknya, Padang Raya.

3). Nurseha dengan lagu ayam den lapeh

Hasilnya, Laruik Sanjo dan Ayam Den Lapeh berkumandang tidak hanya di RRI, namun juga di toko-toko yang khusus menjual PH di Jakarta dan luar kota. Pemutaran lagu-lagu Gumarang itu adalah atas permintaan masyarakat yang mendatangi toko-toko itu dan membeli PH mereka. Laruik Sanjo yang berarti larut senja dan Ayam Den Lapeh sebagai analogi kehilangan kekasih, menjadi lagu-lagu populer secara nasional.

Sedemikian populernya kedua lagu itu, Laruik Sanjo dilayarputihkan oleh Perfini tahun 1960 dengan sutradara kondang Usmar Ismail serta aktor Bambang Irawan dan aktris Farida Oetojo sebagai pemeran utama. Sementara Stupa Film memproduksi Ayam Den Lapeh pada tahun yang sama dengan sutradara H Asby dan Gondosubroto, sementara Asbon dan Gumarang dipercaya mengisi ilustrasi musik film ini.

Ceritanya diambil dari lirik lagunya. Si kucapang si kucapai/ saikua tapang saikua lapeh/Tabanglah juo nan ka rimbo/Oi lah malang juo. Artinya, yang dikejar luput, yang dimiliki terlepas.

 Nuansa Minangkabau yang ada di dalam setiap musik Sumatera Barat yang dicampur dengan jenis musik apapun saat ini pasti akan terlihat dari setiap karya lagu yang beredar di masyarat. Hal ini karena musik Minang bisa diracik dengan aliran musik jenis apapun sehingga enak didengar dan bisa diterima oleh masyarakat. Unsur musik pemberi nuansa terdiri dari instrumen alat musik tradisional saluang, bansi, talempong, rabab, dan gandang tabuik.

Ada pula saluang jo dendang, yakni penyampaian dendang (cerita berlagu) yang diiringi saluang yang dikenal juga dengan nama sijobang[14].

Musik Minangkabau berupa instrumentalia dan lagu-lagu dari daerah ini pada umumnya bersifat melankolis. Hal ini berkaitan erat dengan struktur masyarakatnya yang memiliki rasa persaudaraan, hubungan kekeluargaan dan kecintaan akan kampung halaman yang tinggi ditunjang dengan kebiasaan pergi merantau.

Industri musik di Sumatera Barat semakin berkembang dengan munculnya seniman-seniman Minang yang bisa membaurkan musik modern ke dalam musik tradisional Minangkabau. Perkembangan musik Minang modern di Sumatera Barat sudah dimulai sejak tahun 1950-an ditandai dengan lahirnya Orkes Gumarang.

4)Orkes Kumbang Tjari pimpinan Nuskan sjarief produksi Bali Record di bawah pemasaran Remaco

Kumbang Tjari

Sementara itu, di Padang tersebutlah seorang pemuda yang gila musik bernama Nuskan Syarif. Saking besar keinginannya bermusik dan memiliki gitar, uang untuk membeli baju Lebaran dibelikannya gitar bekas di tukang loak. Nuskan, yang bangga dengan popularitas Gumarang, pada tahun 1954 sempat berlibur ke Jakarta. Dia tidak menyia-nyiakan kesempatan selama berada di Ibu Kota dan menawarkan lagu ciptaannya, Kok Upiak Lah Gadang, ke Gumarang. Ternyata lagunya diterima dan dimainkan dalam acara Panggung Gembira di RRI. “Lagu itu saya tulis notasi dan liriknya karena tape recorder belum memasyarakat seperti sekarang. Saya kembali ke Padang dan meneruskan karier sebagai penyanyi amatir sambil memperdalam pengetahuan saya bermain gitar,” kata Nuskan yang juga dikenal sebagai guru Pendidikan Jasmani di SMP Negeri I Padang hingga tahun 1960. Pindah ke Jakarta, Nuskan meneruskan karier sebagai guru olahraga, sementara kemampuannya bermain gitar dan mencipta lagu semakin meningkat. Atas saran Anas Yusuf, Nuskan memutuskan bergabung dengan Gumarang. Tetapi, Asbon yang sudah tahu kemampuan anak muda itu justru menyarankannya membentuk grup musik sendiri.

“Itulah awal lahirnya orkes Kumbang Tjari pada tahun 1961. Meskipun saya mengagumi