For Don and any others curious about whose nightingale recording Respighi used for Pines of Rome...
A couple years ago, we had a library patron who does orchestra program notes who also wondered this.
The short answer is probably Carl Reich in 1910 or 1913.
Here's what we came up with for the patron:
In the 1925 Ricordi score for Pini di Roma, Respighi, lists Grammofono in the instrumentation and there's a footnote that states "No. R. 1605 del 'Concert Record Gramophone': Il Canto dell'usignolo."
The "1605" is incorrect. Page 55 of the score, when the Grammofono is actually used, has the correct footnote: "No. R. 6105 del 'Concert Record Gramophone: Il canto dell'usignolo."
That R. 6105 entry in the Italian record catalog is for "VOCI DELLA NATURA (Bremen)," dates 1910 and 1913.
So in the His Master's Voice: The German Catalogue (1898-1929) book, there is an entry for "NACHTIGALL-SCHLAG, Besitzer Carl Reich (Bremen)" and the recordings were made in May 1910 and May 1913. Those dates and location match up with the "VOCI DELLA NATURA (Bremen)" entry in the Italian catalog. So I think we can assume that the "Il canto del usignolo" recording used by Respighi was the one made by Carl Reich and issued in both Germany and Italy (and possibly elsewhere).
It's also interesting that the percussionist of the orchestra for which these liner notes were researched talked about all the different formats they've used over the years (phonograph, reel-to-reel, computer, etc.) but also said, that if any of them don't work, he's prepared to just whistle a nightingale's bird call himself!
Timothy R. Williams
Music, Film & Audio Dept.
Carnegie Library of Pittsburgh
From: Association for Recorded Sound Discussion List [[log in to unmask]] on behalf of Don Cox [[log in to unmask]]
Sent: Tuesday, June 17, 2014 1:19 PM
To: [log in to unmask]
Subject: Re: [ARSCLIST] Phonobomb examples?
On 04/08/2013, Karl Miller wrote:
> Coming late to this thread...it seemed like things were drifting into
> recorded oddities.
> It seems like one could do a book on such things. However, for me,
> finding a definition or some sort of limiting aspect might be
> difficult. For example:
> Piston: Incredible Flutist (calls for a dog to bark) Kagel: Acustica
> (gargling and belching) Geesin & Waters: Music from the Body (just
> about every sort of human function from farting to heavy breathing)
> Wes Harrison: Mr. Sound Effects (Released by Chicago Stereo Mastering
> in "Stupefying Stereo") Maxwell: Ebb Tide (sea gulls) Respighi: Pine
> of Rome (nightingale)
The Respighi is I think the earliest example in non-theatrical music.
I wonder whose recording of a nightingale Respighi originally used. It
would be on an acoustic 78 rpm disc.
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