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Vintage Sounds
Australia
เข้าร่วมเมื่อ 17 ม.ค. 2019
A miscellaneous assortment of old but worthwhile recordings, transferred by me from original sources using modern technology.
Ernestine Schumann-Heink (contralto) - Stille Nacht, heilige Nacht (Mohr & Gruber) (1908)
Ernestine Schumann-Heink sings 'Stille Nacht, heilige Nacht,' recorded at Camden on 29 September 1908.
From Wikipedia: Ernestine Schumann-Heink (15 June 1861 - 17 November 1936) was a Czech-born German-American operatic contralto of German Bohemian descent. She was noted for the size, beauty, tonal richness, flexibility and wide range of her voice.
She was born Ernestine Amalie Pauline Rössler to a German-speaking family in the town of Libeň (German: Lieben), Bohemia, Austrian Empire, which is now part of the city of Prague, Czech Republic. Her father, Hans Rössler, was a shoemaker...
When Ernestine was three years old, the family moved to Verona. In 1866, at the outbreak of the Austro-Prussian War, the family moved to Prague, where she was schooled at the Ursuline Convent. At war's end, the Roesslers moved to Podgórze, now part of Kraków. The family moved again to Graz when 'Tini' was thirteen. Here she met Marietta von LeClair, a retired opera singer, who agreed to give her voice lessons.
In 1877, Rössler made her first professional performance, in Beethoven's Ninth Symphony in Graz, appearing with soprano Maria Wilt. Her operatic debut was at Dresden's Royal Opera House on 15 October 1878 as Azucena in Il Trovatore...
Her breakthrough into leading roles was provided when prima donna Marie Goetze argued with the director of the Hamburg opera. He asked Ernestine to sing the title role of Carmen, without rehearsal, which she did to great acclaim. Goetze, in a fit of pique, cancelled out of the role of Fidès in Le Prophète, to be performed the following night, and was again replaced by Ernestine. Schumann-Heink replaced Goetze as Ortrud in Lohengrin the following evening, one more time without rehearsal, and was offered a ten-year contract...
She performed with Gustav Mahler at the Royal Opera House, Covent Garden, London, and became well known for her performances of the works of Richard Wagner at Bayreuth, singing at the Bayreuth Festivals from 1896 to 1914.
Schumann-Heink's first appearance at the Metropolitan Opera in New York City was in 1899, and she performed regularly there until 1932. She recorded the first of her many musical 'gramophone' performances in 1900...
....In 1915, she appeared as herself in the early documentary film Mabel and Fatty Viewing the World's Fair at San Francisco directed by Fatty Arbuckle, who also appears as himself in the film.
While living at North Caldwell, New Jersey Schumann-Heink became interested in efforts to honor President Grover Cleveland... On 10 September 1912, Schumann-Heink performed a benefit concert at the church to raise money to purchase the adjacent Presbyterian Manse, Cleveland's birthplace...During World War I, Schumann-Heink supported the United States and its armed forces. She entertained the troops and raised money to help wounded veterans. She toured the United States raising money for the war effort, although she had relatives fighting on both sides of the war...
In 1926, she first sang Silent Night (in both German and English) over the radio for Christmas. This became a Christmas tradition with US radio listeners through Christmas of 1935. In 1927, she performed in an early Vitaphone sound short film, possibly the only surviving footage of her singing. She lost most of her assets in the Wall Street Crash of 1929 and was forced to sing again at age 69. Her last performance at the Met was in 1932 performing Erda in Der Ring des Nibelungen, aged 71. In her later years, she had a weekly radio program...
Schumann-Heink died of leukaemia on 17 November 1936 in Hollywood, California at the age of 75. Her funeral was conducted by the American Legion at the Hollywood Post Auditorium, and she was interred at Greenwood Memorial Park in San Diego...
I transferred this side from Gramophone Monarch 043111.
From Wikipedia: Ernestine Schumann-Heink (15 June 1861 - 17 November 1936) was a Czech-born German-American operatic contralto of German Bohemian descent. She was noted for the size, beauty, tonal richness, flexibility and wide range of her voice.
She was born Ernestine Amalie Pauline Rössler to a German-speaking family in the town of Libeň (German: Lieben), Bohemia, Austrian Empire, which is now part of the city of Prague, Czech Republic. Her father, Hans Rössler, was a shoemaker...
When Ernestine was three years old, the family moved to Verona. In 1866, at the outbreak of the Austro-Prussian War, the family moved to Prague, where she was schooled at the Ursuline Convent. At war's end, the Roesslers moved to Podgórze, now part of Kraków. The family moved again to Graz when 'Tini' was thirteen. Here she met Marietta von LeClair, a retired opera singer, who agreed to give her voice lessons.
In 1877, Rössler made her first professional performance, in Beethoven's Ninth Symphony in Graz, appearing with soprano Maria Wilt. Her operatic debut was at Dresden's Royal Opera House on 15 October 1878 as Azucena in Il Trovatore...
Her breakthrough into leading roles was provided when prima donna Marie Goetze argued with the director of the Hamburg opera. He asked Ernestine to sing the title role of Carmen, without rehearsal, which she did to great acclaim. Goetze, in a fit of pique, cancelled out of the role of Fidès in Le Prophète, to be performed the following night, and was again replaced by Ernestine. Schumann-Heink replaced Goetze as Ortrud in Lohengrin the following evening, one more time without rehearsal, and was offered a ten-year contract...
She performed with Gustav Mahler at the Royal Opera House, Covent Garden, London, and became well known for her performances of the works of Richard Wagner at Bayreuth, singing at the Bayreuth Festivals from 1896 to 1914.
Schumann-Heink's first appearance at the Metropolitan Opera in New York City was in 1899, and she performed regularly there until 1932. She recorded the first of her many musical 'gramophone' performances in 1900...
....In 1915, she appeared as herself in the early documentary film Mabel and Fatty Viewing the World's Fair at San Francisco directed by Fatty Arbuckle, who also appears as himself in the film.
While living at North Caldwell, New Jersey Schumann-Heink became interested in efforts to honor President Grover Cleveland... On 10 September 1912, Schumann-Heink performed a benefit concert at the church to raise money to purchase the adjacent Presbyterian Manse, Cleveland's birthplace...During World War I, Schumann-Heink supported the United States and its armed forces. She entertained the troops and raised money to help wounded veterans. She toured the United States raising money for the war effort, although she had relatives fighting on both sides of the war...
In 1926, she first sang Silent Night (in both German and English) over the radio for Christmas. This became a Christmas tradition with US radio listeners through Christmas of 1935. In 1927, she performed in an early Vitaphone sound short film, possibly the only surviving footage of her singing. She lost most of her assets in the Wall Street Crash of 1929 and was forced to sing again at age 69. Her last performance at the Met was in 1932 performing Erda in Der Ring des Nibelungen, aged 71. In her later years, she had a weekly radio program...
Schumann-Heink died of leukaemia on 17 November 1936 in Hollywood, California at the age of 75. Her funeral was conducted by the American Legion at the Hollywood Post Auditorium, and she was interred at Greenwood Memorial Park in San Diego...
I transferred this side from Gramophone Monarch 043111.
มุมมอง: 69
วีดีโอ
Louise Homer (contralto) - I Love to Tell the Story (Hankey & Fischer) (1919)
มุมมอง 332 ชั่วโมงที่ผ่านมา
Loise Homer sings 'I Love to Tell the Story,' with the Criterion Quartet (John Young, Horatio Rench, George Reardon and Donald Chalmers) and orchestra conducted by Josef Pasternack, recorded at Camden on 18 March 1919. From Wikipedia: Louise Beatty Homer (April 30, 1871 - May 6, 1947) was an American operatic dramatic contralto who had an active international career in concert halls and opera h...
Elena Gerhardt (mezzo-soprano) - Der Tod, das ist die kuhle nacht (Brahms) (1939)
มุมมอง 624 ชั่วโมงที่ผ่านมา
Elena Gerhardt sings 'Der Tod, das ist die kuhle Nacht' with piano by Gerald Moore, recorded in No. 3 Studio, Abbey Road, on 12 October 1939. From Wikipedia: Elena Gerhardt (11 November 1883 - 11 January 1961) was a German mezzo-soprano... Gerhardt was born at Connewitz near Leipzig, the daughter of a Leipzig restaurateur. She studied at the Leipzig Conservatory from 1899 to 1903...After a year...
Bruder-Post String Quartet - Serenade (String Quartet Op. 3, No. 5, Hob. III/17 - Haydn) (1921)
มุมมอง 527 ชั่วโมงที่ผ่านมา
The Brüder-Post String Quartet play Haydn's 'Serenade,' recorded in Berlin on 29 April 1921. There is nowadays doubt about the Haydn attribution of the Serenade, but Haydn claimed it as one of his works. The Brüder-Post String Quartet was formed by violist Arthur Post (1869-1911) in 1911 and comprised four brothers: Arthur, Willy, Max and Richard. the Quartet played throughout Germany until Art...
Gerhard Gregor (Welte organ) - Prelude to Act 1 ('Lohengrin' - Wagner) (1931)
มุมมอง 1419 ชั่วโมงที่ผ่านมา
Gerhard Gregor plays the Prelude to Act 1 of 'Lohengrin' on the Welte organ of the North German Broadcasting studios in Hamburg, recorded in 1931. Gregor (1906-1981) was the son of a pastor who began playing organ to accompany church services and subsequently silent films. He studied church music under Wolfgang Reimann in Berlin, but then took up a career as a cinema organist. In September 1930...
Antonis Delendas (tenor) - Tango des Roses (in Greek) (Schreier-Bottero) (c. 1928)
มุมมอง 5412 ชั่วโมงที่ผ่านมา
Antonis Delendas sings 'Tango des Roses,' recorded c. 1928. Delendas (c 1902-1966) was born in Constantinople. He studied violin at the Athens Conservatory and then singing from 1924 to 1928, making his professional debut in 1928 as Turiddu with the Elliniko Melodrama, the first Greek opera company. He remained with the company until 1932, and then continued singing in Athens, both in opera and...
Thomas Jensen and Royal Copenhagen Opera Orch - March ('The Mother' - Carl Nielsen) (1942)
มุมมอง 10514 ชั่วโมงที่ผ่านมา
Thomas Jensen conductes the Royal Copenhagen Opera Orchestra in the March from Nielsen's 'The Mother,' recorded in Copenhagen in mid-1942. From Wikipedia: Thomas Jensen (Copenhagen, 25 October 1898 - Frederiksberg, 13 November 1963) was a Danish orchestra conductor. Born into a working class household, he studied at the Danish Conservatory of Music. Jensen led several Danish ensembles, includin...
Alexander Prince (concertina) - Silver Heels (Neil Moret) (1907)
มุมมอง 7616 ชั่วโมงที่ผ่านมา
Alexander Prince plays 'Silver Heels,' recorded in London on 18 January 1907. From Wikipedia: Alexander Prince (1874 - 1928) was an early 20th-century vaudeville musician and recording artist who played the McCann-system Duet concertina (usually spelt 'Maccann'.) Born Alexander Sutherland in Aberdeen, Scotland, he was first given a concertina at age 8 by his music shop-owner father, who wanted ...
Bruder-Post String Quartet - Minuet ('String Quartet in E' - Boccherini) (1921)
มุมมอง 12016 ชั่วโมงที่ผ่านมา
The Brüder-Post String Quartet play Luigi Boccherini's Minuet from his 'String Quintet in E,' Op. 11, No. 5, recorded in Berlin on 29 April 1921. The Brüder-Post String Quartet was formed by violist Arthur Post (1869-1911) in 1911 and comprised four brothers: Arthur, Willy, Max and Richard. the Quartet played throughout Germany until Arthur's death. I transferred this side from Parlophone P 1274.
Gabriel Pierne/Societe des Concerts Colonne, Paris - 'Le Coq d'Or' Excerpts (Rimsky-Korsakov) (1928)
มุมมอง 12319 ชั่วโมงที่ผ่านมา
Gabriel Pierné conducts the Société des Concerts Colonne, Paris, in excerpts from 'Le Coq d'Or,' recorded by Odeon in Paris on 30 March 1928. From Wikipedia: Henri Constant Gabriel Pierné (16 August 1863 - 17 July 1937) was a French composer, conductor, pianist and organist. Gabriel Pierné was born in Metz. His family moved to Paris, after Metz and part of Lorraine were annexed to Germany in 18...
James Lent (Bells) and Bohemian Orchestra - Par-ci, par-la, Polka (Waldteufel, Op. 239) (1904)
มุมมอง 8619 ชั่วโมงที่ผ่านมา
James Lent, accompanied by the Bohemia Orchestra (a Gramophone Company house group) plays Waldteufel's 'Par-çi, par-là, Polka,' recorded in London on 6 October 1904. I transferred this side from Zonophone 449.
Friedrich Kark and Beka Orchestra, Berlin - Orpheus in the Underworld Overture (Offenbach) (1910)
มุมมอง 9221 ชั่วโมงที่ผ่านมา
Friedrick Kark (1869-1939) conducts the Beka Orchestra in an early version of the Overture to 'Orpheus in the Underworld,' recorded by Beka in Berlin in December 1910. For 1910, this recording - which I have transferred from Parlophon 592 - is a very creditable effort indeed. There are a couple of slips, but the conducting is energetic, and there is some gorgeous solo playing, albeit in a style...
John Barbirolli and NGS Chamber Orchestra - Symphony No. 104 in D major (Haydn) (1927)
มุมมอง 116วันที่ผ่านมา
John Barbirolli conducts the NGS Chamber Orchestra in Haydn's 'Symphony No. 104 in D major' ('London'), recorded by Vocalion in London for the National Gramophonic Society c. 23 November 1927. The movements are: 00:00 First movement 07:42 Second movement 15:47 Third movement 19:25 Fourth movement From Wikipedia: Sir John Barbirolli, CH (2 December 1899 - 29 July 1970), né Giovanni Battista Barb...
Elena Gerhardt (mezzo-soprano) - Zigeunerlieder, Op. 103 (Brahms) (1939)
มุมมอง 63วันที่ผ่านมา
Elena Gerhardt (mezzo-soprano) - Zigeunerlieder, Op. 103 (Brahms) (1939)
Leo Blech and Berlin State Opera Orchestra - 'Orpheus in the Underworld' Overture (Offenbach) (1926)
มุมมอง 98วันที่ผ่านมา
Leo Blech and Berlin State Opera Orchestra - 'Orpheus in the Underworld' Overture (Offenbach) (1926)
Alexander Prince (concertina) - Hornpipe Medley (arr. Prince) (1907)
มุมมอง 11114 วันที่ผ่านมา
Alexander Prince (concertina) - Hornpipe Medley (arr. Prince) (1907)
Mr E. King (bells) with Bohemian Orchestra - Twilight Shadows (Theodor Tobani) (1906)
มุมมอง 6614 วันที่ผ่านมา
Mr E. King (bells) with Bohemian Orchestra - Twilight Shadows (Theodor Tobani) (1906)
Regimental Band of H.M. Scots Guards, cond. F. W. Wood - Weymouth Chimes (Howgill) (1910)
มุมมอง 4514 วันที่ผ่านมา
Regimental Band of H.M. Scots Guards, cond. F. W. Wood - Weymouth Chimes (Howgill) (1910)
Violet Loraine - All Clear Out of the Park (Percival Knight) (1910)
มุมมอง 5214 วันที่ผ่านมา
Violet Loraine - All Clear Out of the Park (Percival Knight) (1910)
Goossens/London Philharmonic Orch - The Good-Humoured Ladies Suite (Scarlatti-Tommasini) (1936)
มุมมอง 11114 วันที่ผ่านมา
Goossens/London Philharmonic Orch - The Good-Humoured Ladies Suite (Scarlatti-Tommasini) (1936)
Igor Hmelnitsky (piano) - Piano Sonata, Op. 12 (Raymond Hanson)
มุมมอง 11714 วันที่ผ่านมา
Igor Hmelnitsky (piano) - Piano Sonata, Op. 12 (Raymond Hanson)
Tino Pattiera (tenor) - Di tu se fedele ('Un Ballo in Maschera' - Verdi) (1930)
มุมมอง 5814 วันที่ผ่านมา
Tino Pattiera (tenor) - Di tu se fedele ('Un Ballo in Maschera' - Verdi) (1930)
Tino Pattiera (tenor) - Viva il vino spumeggiante! ('Cavalleria Rusticana' - Mascagni) (1930)
มุมมอง 9614 วันที่ผ่านมา
Tino Pattiera (tenor) - Viva il vino spumeggiante! ('Cavalleria Rusticana' - Mascagni) (1930)
Budapest String Quartet - Quartet in G major, Op. 76, No. 1 (Haydn) (1926)
มุมมอง 16014 วันที่ผ่านมา
Budapest String Quartet - Quartet in G major, Op. 76, No. 1 (Haydn) (1926)
Violet Loraine - A Dollar Princess (Bennett Scott) (1910)
มุมมอง 10021 วันที่ผ่านมา
Violet Loraine - A Dollar Princess (Bennett Scott) (1910)
Beka London Orchestra, conducted by Julian Jones - The Trombone Blizzard (Severin) (1908)
มุมมอง 6721 วันที่ผ่านมา
Beka London Orchestra, conducted by Julian Jones - The Trombone Blizzard (Severin) (1908)
Florrie Forde - My Boy (Barnes, Weston & Scott) (c 1912)
มุมมอง 8721 วันที่ผ่านมา
Florrie Forde - My Boy (Barnes, Weston & Scott) (c 1912)
Regimental Band of H.M. Scots Guards, conducted by F. W. Wood - The Bells of St Malo (Rimmer) (1910)
มุมมอง 7821 วันที่ผ่านมา
Regimental Band of H.M. Scots Guards, conducted by F. W. Wood - The Bells of St Malo (Rimmer) (1910)
Budapest String Quartet - Allegro (Quartet No. 1 in D minor - Dittersdorf) (1926)
มุมมอง 41621 วันที่ผ่านมา
Budapest String Quartet - Allegro (Quartet No. 1 in D minor - Dittersdorf) (1926)
Felix Weingartner and Royal Philharmonic Orch - Symphony No. 5 in C minor, Op. 67 (Beethoven) (1927)
มุมมอง 28921 วันที่ผ่านมา
Felix Weingartner and Royal Philharmonic Orch - Symphony No. 5 in C minor, Op. 67 (Beethoven) (1927)
Estupenda interpretación. En mi opinión, el mejor tenor de las décadas de 1920, 30 y 40, exceptuando a Caruso. (22 . XII . 2024).
@@Lemmax-X-exdom Yes, certainly a major talent!
A beautiful rendition, on a very good acoustical recording. Thanks for sharing.
@@leestamm3187 Thanks.
Pure Italian spirit. What a great singer.
@@OldSchoolOpera Definitely!
크리스마스가 금방 돌아오네요. 한국은 오늘 눈이 아주 예쁘게 내렸어요. 분위기 가득한 노래, 감사합니다.
Thanks!
When sung this way it becomes absolutely magical. And OMG her diction and phrasing are just impeccable!
@@jpknijff A wonderful singer!
Have a peaceful Christmas, VS.
Love this! Thanks. 😊
Lovely, thank you!
Thank you for this transfer. Perfect for the season! Best wishes and Happy Christmas from George
@@georgejohnson1498 Thanks George.
She never forced, she has confidence in the quality of her voice; it is sad we will hear this anymore, the taste has changed, the dynamic is switched over from the range of ppp-f into mf-fff(f). This screaming quality today hurts in my ears. Elena Heard showed in this song the highest level of sublime singing culture . Only her German pronunciation is a bit eccentric here and there.
I think old recordings cut out A LOT of the higher and lower partials, so it’s almost impossible to tell what the voice really sounded like. If you listen to the orchestra it’s the same issue. No resonance. I wonder what this beautiful bird really sounded like. Probably breathtaking.
@@StephanieSusberich There is undoubtedly a lot missing, but I think we can get a reasonable idea of what was going on: and breathtaking is probably a good word to describe it!
A wonderful transfer of an exquisite recording !
@@MichaelStBede Thank you!
The great Journet!
@Optical747 Definitely!
I think I like it… no, I‘m sure that I do! It<äs like getting an entirely new glimpse at Wagner’s music… ✨✨✨ Thank you for the great post! 🙏🍀
So charming! ✨✨✨ Thanks a lot for sharing! 🙏🍀
@@hrbooksmusic7878 Glad you enjoyed it!
@ It‘s so graceful… I think it was one of the first pieces of classical music I fell in love with when I was a child… 😊
Her voice is so rich in the lower register, thank you for posting 🎉
@@violinistoftaupo Yes, it certainly is.
Ah, what a voice, VS... Thank you so much.
Haydn or Hoffstetter? It does not really matter very much. This is one of those delightful ear-worm pieces from the classical era that I would guess even now most people know, but have no idea what the music is! This record gives a lovely glimpse into how music making was in gentler times. I have a recording [now on CD] of this complete quartet played by the Pro Arte Quartet recorded by EMI in London in the 1930s. I very much prefer the Bruder-Post recording, even if the recording is less acute. It is the quality of music making that counts! Thank you for this delightful Seasonal gift. You are going to have your work cut out to find something more nearly perfect or suitable in this household. Best wishes from George
@georgejohnson1498 Thanks George. I rather thought you would enjoy this!
I listened to this yesterday, and really had no idea what was going on. Okay that the music itself is a long way from being a favourite, though I know it very well. I have Klemperer in this, and that strikes me as exemplary. Light of texture, mercurial, for some no doubt magical. I have known performances on record also notably from Furtwangler and Boult. I listened carefully, trying hard to find the motivation for the music itself and actually failing. Klemperer at least gives a clue ... So here we have a completely different take. Wagner's undoubtedly superb handling of orchestral sonority played on a sort of organ. I'd call the result as fascinating as it is is not to my taste. If I am not an enthusiast for the cymbals as a significant musically expressive instrument, they do clinch the moment on an orchestral performance of this, even if the method is decidedly naive in execution. Here we almost have something that might have occurred for a Wagner fan at their own cremation. Oh dear, please forgive me, but sometimes something has to be said. I think this is kitsch of the first quality, in other words. Hope for some Christmas Jollity from the old days to lighten the mood, and then a rest before bringing out the delightful out of the way records, studded with the occasional gem of the greatest - in the New Year. You have so much of the greatest covered, but I am sure you have a lot still hidden up your sleeve! Best wishes from George
Yes, it's unusual: but interesting to hear a Welte organ from this period. I'm just starting to think of what I might have that is Christmas related. I need to do some hunting!
It is a wonder that Damrosch did not make more recordings, but the ones I have heard are quite good. This orchestra actually merged with the New York Philhamonic later in 1928; for years there was a "blended" ensemble called the Philharmonic Symphony Orchestra of New York.
@@MrTimber101 I'm also surprised at the small number of Damrosch recordings. This one is certainly very worthwhile.
Very fine voice,well sung,but for me it will always be feodor chaliapin
@@amantedellopera1681 I can understand that!
Thanks so much for this posting. In my view this is by far the greatest recorded version of these songs, and the sound here is far superior to the others posted on youtube. In this 1946 recording Ripley’s voice is captured with greater purity than in her later 1954 recording, the year before she died. There is no electronic echo which can be heard on modern recordings (e.g. Janet Baker) and this gives a natural “live” feel. So, there is a freshness here than has not been approached in more recent hi-tech recordings. Ripley sounds totally spontaneous and is obviously enjoying the songs. The vocal is forward in the recording, unlike many modern recordings where it is recessed, but this is not at the expense of the orchestra which perfectly captures the genius of Elgar’s score. (note that Britten quotes Sea Slumber in his third interlude (Moonlight) from Peter Grimes). Thanks also for putting a human face to this great contralto voice.
@@johnstapleton7993 Thanks so much for your comments. Yes, this is a very fine recording, without the disadvantages that afflict later versions.
Fiery and imaginative playing. Heard of him before, but was unaware of this recording. Thanks for posting!
@@pianomaly9 Thanks!
What an unusual record. Very interesting, thank you.
What an unusual record! Somehow I never thought of Greece as being the home of music at all. So not only very enjoyable, but educational as well! Thank you, and best wishes from George
It surprised me as well, George!
Thanks for this upload, never heard him before. He is soooooo good! Merry Christmas 2024!
Definitely a great singer; and good wishes to you for Christmas!
This is wonderful! 🌹🌹🌹 An enchanting song and a lovely, expressive voice… ✨✨✨ Thanks a lot for posting! 🙏🍀
@@hrbooksmusic7878 Thanks: and agreed!
@ 👍⭐️😊
when I was 15 (1985) years I visited Hungary with my father. Went into a small shop to buy souvenirs and listened this pianist. My father bought the tape. we used to be always playing it, his house, mine house, on vacation in the car, when chating older, at his birthday, at mine. When he was older , about 75, he gift it to me finally...
A good memory!
A beautifully sung story….
@CyrilEaston Agreed!
The last Royal Christmas Message from the first monarch to make them. God Save King George V & King Charles III! Merry Christmas to you all.
@@thaddeusbryant7751 Thanks!
Kind of makes you happy. Thanks for sharing.
Thanks!
This sounds a lot like the recording Lionel Barrymore did to enhance the 1928 film with Russel Thordike years later.
@@vincents.4369 Interesting. From the number of copies of the recordings that I've seen, I suspect that the Williams version was quite popular. It was probably seen as the benchmark and either intentionally or unintentionally the basis for Barrymore's version.
Very nice & what a pretty label.
The German Parlophons were very distinctive indeed!
earliest recording of this??? thank you for uploading!!!
Какая прелесть!
Thank you!
Nice gentle cheerfulness. Thank you.
I wish this sort of music would be played at concerts, rather than just angular [to me deeply unappealing] modern music and a very safe collection of the greatest classics. Something like would fit very nicely after an overture, and before a concerto! The recording is amazing as an acoustic, let alone as recording from one hundred and twenty years ago! My English grandparents would have both been eight years old at the time! My Norwegian ones were not yet born! Best wishes from George
It's certainly pleasant light music.
Very much enjoyed this. I love the fluidity of this performance. Thanks and best wishes from George
A very pleasant performance indeed. Thanks, George.
What cheerful music! So nice. Thank you!
This is actually recorded by a band not an orchestra but nice arrangement for winds -- the cello sólo played by a trombon and the violín solo by a trumpet.
You are of course right! It was, however, typical of what was seen to be the appropriate composition for a "recording orchestra" of the time, and the company called it an orchestra, so I've used that term. The work is certainly very well arranged for the forces employed.
@@vintagesounds3878 And at least the oboe is an oboe! 'German bands' may have been proverbial in those days for their stolid honking and blaring (as in King Gama's song in 'Princess Ida'), but there is nothing dull or heavy-handed in this exuberant rendering.
@olivermundy4220 Yes, and what is notable about this version is how musical the result is. The strings are almost not missed!
Fascinating. I didnt know he conducted. Its a fine performance! Thanks very much, VS.
It certainly is well-done!
being a clarinet player,,,i am very impressed with that player,,that clarinet solo is very hard but he plays it great with a great tone and technique
Thanks! It's good to hear a player's opinion.
Guys, I found the sample, plz send this to the wiki because I’m been blocked
Delightful!
@@GrantCrider Thanks!
Very fast, can't hear any stringed instruments??
Kark's Beka Orchestra was probably much the same in composition as his Odeon Orchestra, of which we are fortunate to have a photo from 1909. The Odeon Orchestra was a 32 member wind and brass ensemble. Yes, it is certainly a very spirited rendition. Part of that might possibly be able to be explained by the timing restrictions that applied, but there is no doubt that performance speeds reduced through the twentieth century, so what we are hearing here might well be representative of the tempos generally adopted at the time.
great sound and work- vintage vintage- thank you
@@kratzkamer Thanks!
This is a very good record. Fine arrangement of the music, and superb playing, and a remarkable quality for its time. Especially lovely is the clarinet! Lovey creamy tones! Thanks and best wishes from George
@georgejohnson1498 Thanks George. Thus one is certainly a real surprise!