1878 __ Telephone concert - Transmission of the Opera Don Pasquale
‣ Comment : “As early as June 10, 1878, at Bellinzona, Switzerland, the opera "Don Pasquale" at the Teatro Sociale was transmitted by telephone to an audience in another hall, entirely separate from that within the theater.”. (Telephony, September 10, 1910, p. 293) — This experiment seemed to have been organized by Michelle Patocchi. — Concert forms that have come about in the modern 'technical' age. — for instance telephone, radio and gramophone concerts. — have abolished the traditional performance situation where musicians and the audience are gathered in the same hall [See further un Schwab, "Konzer", pp. 190-193]. The telephone concert was a 'distance concert' where musicians played into a microphone in one location while the listeners were gathered at a different place receiving the musical production by means of loudspeakers. Applause was superfluous since the performers were not present with the audience. It could even happen. — depending on the technical setup at the time around 1900. — that the 'concertgoers' (wearing headphones) would be isolated from each other, as in a radio or gramophone concert : "Man gehe einmal in einen Radiohörraum, in dem noch so viele Hörer mit den Kopfbügeln bewaffnet sitzen, une man wird den Untershcied gegen*uber dem Konzertsaal sofort verspüren. Es gibt kein allgemeines Zusammenklingen, kein gegenseitiges sich in der Empfindung steigern. Jeder bleibt für sich abgeschlossen. Sein Hören wird zur Privatsache" (Wolfgang Martini, "Radio und Musik", in "Deutsche Musikpflege", ed. by Josef Ludwig Fischer, Frankfurt a.M. : Bühnenwolksbund, 1925, p. 96) (Entering a radio listening room in which so many listeners sit armed with headphones, one will immediately perceive the difference from a concert hall. There is no general sounding together, no mutual exciting of emotions. Each person remains closed off from the others. His hearing becomes a private matter). (Heinrich W. Schwab, "The phenomenon of concert Applause : Interactions between Institution, Ritual, and Musical Genre", In "Genre and ritual: the cultural heritage of medieval rituals", Edited by Eyolf Østrem, Mette Birkedal Bruun, Nils Holger Petersen, )
‣ French comment : “. (Bien avant les découvertes de Hertz, Branly et Marconi, l'idée de diffuser nouvelles et musique, était en puissance. Autres temps, autres moyens. Le téléphone naissant, engendre le "théâtrophone". C'est déjà une merveille. En 1878, on effectue en)
‣ Source : Huth, Arno George (1937), "La radiodiffusion, puissance mondiale (International Propaganda and Communications)", Paris : Gallimard, Originally issued as no. 14 of "Les Documents Bleus - Notre Temps", p. 33.
‣ Source : Huurderman, Anton A. (2003), “The Worldwide History of Telecommunications”, Hoboken, NJ: John Wiley & Sons/IEEE Press, p. 182.
‣ Source : Truesdale, Dorothy S. (1943), “The Telephone Concert”, In Publication fund series, Vol. 21, Rochester Historical Society (Rochester, N.Y.), pp. 224-225.
‣ Source : Laurence, John (1963), “Sir George Cayley: the inventor of the aeroplane”, M. Parrish Ed., p. 131.
‣ Source : Schwab, Heinrich W. (2005), "The phenomenon of concert Applause : Interactions between Institution, Ritual, and Musical Genre", In "Genre and ritual: the cultural heritage of medieval rituals", Edited by Eyolf Østrem, Mette Birkedal Bruun, Nils Holger Petersen, and Jens Fleischer, Special issue of the journal Transfiguration : Nordic Journal for Christianity ad the Arts, Museum Tusculanum Press, 2005, pp. 228-231.
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