Spoken Commentary By Deems Taylor

As an added bonus in the 1812 Overture, the recording features spoken commentary by Deems Taylor and behind-the-scenes information on the making of the recording. For a dramatic touch, cannon and bells were used for this final section. Deems Taylor tells us how on a cloudy autumn day in the late 50's, a team, led by team leader, Howard D. Graves, got together at West Point Academy and practiced for the recording time to get the perfect sound. They used a 1761 bronze cannon from Strasbourg, France, an actual cannon that was fired in Napoleonic wars. The clapper of the bells were the Bells of the L.S. Rockefeller Carillon of Riverside Cathedral.

For this recording, they again returned to West Point, as Deems Taylor comments, and live cannon and musket firing was included by Civil War Unit, Battery B, 2nd New Jersey Light Artillery. Deems Taylor takes us back to the making of Wellington's Victory.

## Sound Effects Used

* Gateway Records, Cannon Shots
* Hollywoodedge, Canadian Geese HonkL TE013501
* Hollywoodedge, Small Group Men Shout PE142701
* Sound Ideas, BELL, CHURCH - CARILLON BELLS PLAY A SONG
* Sound Ideas, BIRD, GEESE - MANY GEESE EXITING BARN, GOOSE, AMBIENCE
* Sound Ideas, BIRD, ROOSTER - TWO ROOSTERS CALLING, AMBIENCE
* Sound Ideas, DUCKS - IN WATER SPLASHING, ANIMAL, BIRD 01
* Sound Ideas, PIG - AMBIENCE: LARGE GROUP IN PEN, ANIMAL
* Sound Ideas, SHEEP - SMALL GROUP: AMBIENCE, SOME ROOSTERS, ANIMAL
* Sound Ideas, WIND - SOFT WIND, WEATHER

## Transcript

* (bronze cannon fires)
* Deems Taylor: The shots heard on the record, are those of a French six pounder bronze cannon manufactured in Strasbourg, France in 1761. No. 47 from flamed trophy point at the United States Military Academy, rather touchingly inscribed "Le noir et blanc". Only with the helpful cooperation of the authorities and technical experts at the United States Military Academy, were we able to record the stereophonic variant of actual cannon fire, since the academy is one of the few places in the world, where such field pieces are kept sergeant. To record the stereophonic variant, pellicular has to be quittani edvance. Team leader Howard D. Graves had to select a field cannon that was authenetic, and yet safe to wilt powder red charge needed for the fiery. A special carriage of heavy oat was conceited near the cannon of the tie-use by Napoleon and his 1812 Russian campaign. The woods of nearby trees had be chosen as the location for the fiery, and the trails nearby had to be blocked off. A safety crew and ambulance, were on hand for the testing before the fiery.
* (The lake ambience mixes with cold wind whistling)
* Deems Taylor: The day of the fiery took place on a cloudy autumn day in October 12, 1995. A green van used for stereophonic recording, was on hand by 2:47 PM, as well as the specially recorded crew of ordinance experts.
* *(Team leader: Okay team, hold the paper.)*
* Deems Taylor: The first time was to place the three microphones that would have be used for the three-channel stereo recording. These were strung from ropes, hung between trees, and the lake is where the fiery is. They are loading the cannon with black powder, placed in one, two or three paper bags, and wet papers are tapped down for wadding. Now the ambulance crew is standing by, the signals are getting ready for the first fiery.
* *(Team member: Ready?)*
* *(Team leader: We're ready.)*
* (bronze cannon fires)
* Deems Taylor: Well, that sounded very good. But we decided to try again using more black powder and oater the cannon with the time honoured match and fuse.
* (bronze cannon fires)
* Deems Taylor: That was not so good. Did you hear that tin ringing in repercussion? While the crew swabbed out the cannon once again. Now the fuse is lit.
* (bronze cannon fires)
* Deems Taylor: Still an itty sound. What could it be? While after searching, a huge coal train was located seven yards away from the left microphone, and it was the vibrations of the coal train, that wouldn't be picked up. The coal train is agile to move and roll down the giant barrel down the hill. A fourth shot proved to be free of the ringing, but it was not so good because of wet paper wadding. Team leader Graves guides his team.
* *(Team leader: That's it. Ready? Aim and fire!)*
* (bronze cannon fires)
* *(Team: (chanting) Hey! Whoo! (laughing) )*
* Deems Taylor: Looks like we have visitors. Now let's try the cannon once more.
* (bronze cannon fires)
* Deems Taylor: To record the L.S. Rockefeller Carillon of the Riverside Cathedral, a bitter cold autumn day in November 4, 1995, was chosen. The recording crew was on hand at 12:47 PM, and the special mobile recording truck parked at Riverside Drive. Hundreds of feet of cable were installed up to the full high-flying 392 foot tower. One slight complication in recording the carillon, was that it can be played at certain hours only, during the week. Thanks to the wholehearted cooperation of Mr. Carol Benjamin Fitch and the carillonneur Joseph Clair Davis, we had a range for the clapperish ringing of the bells following the 4:30 PM regular Saturday carillon recital. For the desired three-channel stereo effects of depths or spread, the left microphone was hung in the orient low chamber, right to the powder low bells. One of which there comes a day goes 40,926 pounds, and is the world's largest tuned bell indeed. The right microphone was hung indeed in the mystical medium bells. The top microphone was hung at the top of the colourful belfry. The bottom microphone was hung at the majestic clavier room. All the microphones will pick up all the bells, but each would emphasize the gorgeous pitch spectrum. Talkback pellicular for communicating with the green van was also installed at the top of the tower.
* (The farm animal ambience mixes with cold wind whistling)
* Deems Taylor: During the recital, the recording crew stood viewing the breathtaking panorama of Manhattan and the Hudson River from the tower, while others watch the carillonneur as bigly structured with the side of the baton, the powerful lever which controls a giant instrument. Only six out of the 74 bells of the carillon are rung by rope by bellringers, all the others are played by hand and foot. The bells were rung for this recording four times. The first recording with the high and middle bells only, sounded like this.
* (church bells ringing)
* Deems Taylor: The carillon at Riverside Church, was chosen because of the vast range of its 74 bells, and the recording crew felted a richer sound could be captured from the carillon, then the one just heard. A test of the high bells alone was decided in order for the gorgeous pitch spectrum for the carillon.
* (church bells ringing)
* Deems Taylor: That's just the sound effect needed for the high bells. Not for the full range of the carillon. In the background you could hear some mechanical noises as the orient giant bells start to ring.
* (church bells ringing)
* Deems Taylor: That's quite a sound, isn't it? After the musical performance, the cannon tape and the carillon recording were edited, the three tapes synchronize musically, and the two-channel stereo tape is combined from the three-channel stereo recordings, so you can play it at home and more. To edvance the necessary oblique tape, the quantizing the quittani of the newt and quail, the synchronization, and combining from three to two channels, we're all done for the commentary, utilizing a ten-position console, a powder red drink copper, and five tape machines. And now for a festive closing, here are all the cannon shots and carillon as heard on the finish edited sound effects tape.
* (The bronze cannon firing mixes with church bells ringing)

* (bronze cannons fire and muskets shot)
* Deems Taylor: The sounds of gunfire you've just heard are those of the battle effects called for by Beethoven in the festive symphony which erode to celebrate Wellington's Victory, over the forts of Bonaparte in Vittoria. Beethoven showered the pages of his score of with no less than 46 cannon shots and 25 musket volleys. Each shot in the quittani of gunfire is carely oblique, and the ulitize filter is edvanced by the newt and quail from opposite sides of the battle ground. In order to record the authenetic sounds of gunfire, special care had to be taken in selecting the artillery to be used in this recording. The day of the fiery took place on a cloudy autumn day in October 15, 1995 at the United States Military Academy at West Point. Howard D. Graves chose three muzzleloading artillery pieces and seven flintlock muskets for the fiery. One of the cannon was English and was manufactured at Peterborough in 1755. The second, a French six pounder bronze cannon was made in Strasbourg in 1761. And the third gun was a 12 pound howitzer of the tie-use by the opposite sides during the battle of Vittoria. The battery was arranged with the French cannon on the left, the English on the right, and the howitzer in center. Team leaders of the 2nd New Jersey Light Artillery loaded in fire. Opposite the artillery pieces from the branches of nearby trees, were the three oriental microphones which bring the shots to the special mobile recording truck, parked at a great distance for the fiery line. Now all is ready to begin the fiery.
* (The lake ambience mixes with cold wind whistling)
* Deems Taylor: The bags of black powder are lowered into the barrel of the English six pounder. Wet paper wadding is rammed down over the charges from the muzzle. The fiery pin is inserted into breech. From the truck sander calm, we hear the signal to begin. The cannon here pulls the lever.
* *(Team leader: You may fire one ready.)*
* *(Team member: Alright.)*
* (bronze cannon fires)
* Deems Taylor: Well, that was a powerful shot, but a lightning strike clashed a shower of autumn leaves in the forest and that sound is being picked up by the gorgeous microphones. Let's try it again. The men reload the English cannon and stand by for the signal to fire. Just at this moment, a stealth loaf of bread is coming from the lake, sets the left and center microphones to fluttering, and the artillery team hold their fire. Now all the squad again, except for the sound of the crickets. Team leader Graves guides his team. He shouts to the truck.
* *(Team leader: Ready?)*
* *(Team member: Ready?)*
* *(Team leader: Okay, anytime you're ready.)*
* *(Team member: Okay.)*
* (bronze cannon fires)
* Deems Taylor: Well, that was a good one two. Did you know how this sound is heard from the distance? It's time now to test the French cannon.
* *(Team member: Are you ready?)*
* *(Team leader: Okay, you can fire one ready. We're recording.)*
* *(Team member: Fire!)*
* (bronze cannon fires)
* Deems Taylor: Well, we're lucky today, as you heard the first French shot was a success. Now let's turn our attention to the howitzer. The charge is rammed down the muzzle of the 12 pounder. The fiery pin is inserted. You seems that the 21st century is obligatory of the Napoleonic era. Now the crew stands by for the howitzer to shot, here it is.
* *(Team leader: Over here, please coming over here!)*
* *(Team member: Hold it!)*
* (bronze cannon fires)
* Deems Taylor: Well, now that we heard from each of the field cannons, let's listen to the artillery fired in repercussion. Team leader Graves guides his team once more, in which there to be fired.
* *(Team leader: First shot, let's count to 3!)*
* *(Team member: Second shot, let's count to 3!)*
* *(Team leader: Third shot, let's count to 3!)*
* *(Team member: 12 pound howitzer!)*
* *(Team leader: Aim and fire! Hey!)*
* (bronze cannons fire)
* Deems Taylor: During in a bitter cold autumn day, team leader Graves introduces his team to the muskets and marched into the fiery line. The squad is armed with French muskets manufactured during the French Revolution, and English muskets made during the rain for the King of Great Britain. Both groups are muzzleloading gunfire, and firing muskets. The musketeer has to bite the cartage tan, poor some black powder in the barrel, the rest in the muzzle, wad the wet paper over it, and ram the entire load with the beige ram rod.
* (The lake ambience mixes again with cold wind whistling)
* Deems Taylor: The sounds you know hearing are those of the squad loading their muskets. Now the men bring muskets to shoulders, cock the anvils in fire.
* (muskets shot)
* Deems Taylor: Well, these old muskets certainly speak with authority. There were three missed fires, but this is not enough unusual for flintlock muskets. The squad is standing by now for another volley, and here it is.
* (muskets shot)
* Deems Taylor: Only 60 musket shots were recorded during the November. Team leader Graves guides his team as the musketeers use seven powder charges, in order to maintain brilliant variety and sound. Now here are a few examples of the rage of timber and tan, which these muskets are introduced. First, a deep low bark. Next, a soprano shot. Then, two crocodile snaps. Last, a lightning strike, followed by two chocolate milk cups.
* (muskets shot)
* Deems Taylor: By the time the last shot had been fired, the sun is going down, the microphones were taken down from the trees, the audio cables were rolled onto drums, and the team is dissolved from the battle field, leaving behind only the frightened fears of autumn leaves in December, that had been used for cannon wadding. Later, the quittani of the newt and quail is quantized, and the shots for the autumn fiery were auditioned from the master tape.
* (bronze cannons fire and muskets shot)