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         Founder: 
          Len Mullenger (1942-2025)                          Editor 
          in Chief:John Quinn              
           
        
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       BROADWAY THROUGH THE GRAMOPHONE (1844-1930) 
         Full track details below 
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         At four double CDs this Pearl set must be one of the largest compilations of Broadway musicals/operettas ever transcribed. The tracks comprise 'Vocal Gems': gramophone transcriptions Broadway productions between 1914 and 1929. The titles are usually confined to one 12" 78 record side resulting in a maximum track length of 4'30". There are occasional tracks of over 8 minutes where the selection covers two 12" sides. 
 Many of the musicals represented in these volumes have never been given any professional revivals since the decade immediately following the opening run. This neglected music, whatever the source, has been lost from public attention since the 50s when LP players rendered the old 78s unplayable. 
 We have to be grateful to Victor for the regular issues of New York's popular Twenties musicals. No sooner had a musical made its mark on Broadway than it seems the score was taken into the studio for recording. 
 No details of singers are given on these discs but a few separate credits show that the Broadway stars did enter the recording studio. Generally the singers we hear are those engaged directly by the record companies. Whoever they are they are good singers and harmonise well. We hear singing with good diction and elegant English phrasing. 
 In volumes 3 and 4, there is a lot of very interesting native American material, of Victor Herbert and Jerome Kern in particular. Some of the titles are likely to be completely new to us. Thirteen years ago the McGlynn recordings of Showboat and Anything Goes proved very popular and judging by the content of these volumes it appears there is further potential to provide modern recordings of many more of these musicals. After Volumes 1 and 2 one is aware of a more modern approach to composition from 1915 onwards. This can be detected in Volume 3, CD1. Examples the approach can be heard in tk4, Romberg's Maid in America (1915); and tk11, Cuvillier's Florabella (1916); CD2 tk5, Kern & Wodehouse's Oh, Lady! Lady! (1918) 
 The last tracks here represented were recorded in 1930 and relate to film music The Love Parade and Sunny Side Up (Volume 4 CD2 tks 14 & 15). The musical numbers have more bounce to their rhythm and zip to the vocal lines. The recordings, of course, have a wider frequency spectrum and are (marginally) better than those from the previous two decades (collected in volumes 1 and 2). 
 The notes tell us little about the original Victor records, their conductors or their singers. The Light Opera Company "Gems" series launched by the American Victor Company began about 1909 and used such prolific Victor artists as Lucy Isabelle Marsh, Olive Kline, Lambert Murphy, Reinald Werrenrath, Harry MacDonough, Elsie Baker, and Royal Dadmun. The Victor investment in recording such a series was more extensive than Columbia's contribution. When electrical recordings were introduced in 1925 the Victor series continued, with re-recordings of some of their early acoustic discs. The original singers continued into the early electrical era and Lambert Murphy used by Victor went on to sing with the Metropolitan Opera. 
 In the later twenties and early thirties Victor began to issue composer-dedicated albums of Light Opera "Gems". Victor Herbert (two volumes of five twelve inch records, VM-C1 and VM-C2), Rudolf Friml (with the composer playing the piano on some of the sides), Sigmund Romberg and, eventually, Jerome Kern and George Gershwin were featured in this series. A third Victor Herbert set, largely recapitulating the most popular repertoire of the previous two sets, came out in the 1930s. Again major artists participated along with 'company' singers; Rise Stevens sang in the Romberg set (before making her debut at the Met.) and the popular singer Jane Froman prominently featured in the Gershwin set. Nathaniel Shilkret was the music director for most of these electrical sets and he conducts with authority and style deploying orchestrations that are authentic in phrasing. (This important background information comes from research kindly provided by Calvin M Goodwin of America.) 
 Occasionally some of the HMV series (the two-sided electrical Merry Widow, for example) were issued under a Victor 'Stateside' label and a G&S set originating in England was similarly reissued in the US. These were on their black label as were the previous individual "Gems" records: the American composer-specific sets were Red Seal issues. Some of the electric "Gems" follow the British tradition and are two-sided. We desperately need reissues of the later Victor Red Seal sets. They offer near definitive interpretations by Shilkret which preserve much of Herbert's own characteristic "rubato-style" as well as authentic orchestrations, tempi, and harmonisations. 
 Since they preserve a now vanished "authentic" style of interpretation there will be many, on both sides of the Atlantic, who hope that supplementary Pearl volumes maybe forthcoming. One can appreciate why Pearl disregarded the Offenbach operettas in these volumes. As for Showboat, Kismet and Anything Goes and all those operettas/musicals imported from Britain, these have modern recordings elsewhere. 
 In volumes 3 and 4 we find recording techniques have become better adapted to the medium and one becomes slowly aware that the orchestral textures thicken and the choruses sound fuller: evidence of the evolution of the gramophone. Composition wise, the shows (as they were now becoming called) increasingly take on the characteristics of the Busby Berkley films. 
 The notes give a four-page description of the progression of the musical scene on Broadway from 1914 to 1929 but with so much content on the discs they are barely adequate. 
 That aside these two sets represent that powerful combination 
          of historical significance and pleasurable listening enhanced by beneficial 
          developments in recording techniques so evident when you compare the 
          sound on the first two volumes with that on the present two.  Full track Listing 2.	THE ONLY GIRL Herbert Music, 
        Blossom Words  3. WATCH YOUR STEP Berlin 
        Music & Words  4. MAID IN AMERICA Romberg 
        & Carroll Music, Atteridge Words  5. NOBODY HOME Kern Music. 
        Greene Words  6. THE PRINCESS PAT Herbert 
        Music, Blossom Words  7. ALONE AT LAST Lehár 
        Music, Woodward Words  8. VERY GOOD EDDIE Kern Music, 
        Greene and others Words  9. STOP! LOOK! LISTEN! Berlin 
        Music & Words  10. SYBIL Jacobi Music, 
        Graham & Smith Words  11. FLORA BELLA Schwarzwald & Cuvillier 
        Music, Various writers Words  12. 	HAVE A HEART Kern 
        Music, Wodehouse Words  13. LOVE O'MIKE Kern Music, 
        Smith Words  14. OH, BOY! Kern Music, 
        Wodehouse & Bolton Words,  15. EILEEN Herbert Music, 
        Blossom Words  1. ZIEGFELD FOLLIES OF 1917 Hubbell & 
        Stamper Music, Buck Words.  2. LEAVE IT TO JANE Kern Music, 
        Wodehouse Words  3. JACK O' LANTERN Caryll 
        Music, Caldwell Words  4. GOING UP Hirsch Music, 
        Harbach Words  5. OH, LADY! LADY! Kern Music, 
        Wodehouse Words  6. THE RAINBOW GIRL Hirsch 
        Music, Wolf Words  7. ROCK A BYE BABY Kern Music, 
        Reynolds Words  8. 	SOMETIME Friml Music, 
        Young Words  9.	LISTEN LESTER Orlob 
        Music, Cort & Stoddard Words.   10. SOMEBODY'S SWEETHEART Bafunno 
        & Stothart Music, Price & Hammerstein 
        Words  11. 	SHE'S A GOOD FELLOW Kern 
        Music, Caldwell Words  12. THE LADY IN RED Winterberg 
        Music, Caldwell Words  13. APPLE BLOSSOMS Jacobi & Kreisler 
        Music, Le Baron Words  14. 	BUDDIES Hilliam Music 
        & Words  15. 	IRENE Tierney Music, 
        McCarthy Words  16. THE NIGHT BOAT Kern Music, 
        Caldwell Words  17. 	HONEY GIRL Von Tilzer 
        Music, Fleeson Words  1. 	MARY Hirsch Music, 
        Harbach Words  2. 	JIMMIE Stothart Music, 
        Harbach & Hammerstein II Words.  3. THE LAST WALTZ Straus & Goodman 
        Music, Various writers Words  4. BLOSSOM TIME Schubert, arr. by Romberg 
        & Berte Music, Donnelly Words  5. 	ROSE-MARIE Friml Music, 
        Harbach & Hammerstein II Words  6. THE STUDENT PRINCE IN HEIDELBERG Romberg 
        Music, Donnelly Words  7. 	THE LOVE SONG Kunneke 
        Music, Smith Words  8. NO, NO, NANETTE Youmans 
        Music, Caesar & Harbach Words  9. DEAREST ENEMY Rodgers Music, 
        Hart Words  10. THE VAGABOND KING Friml 
        Music, Hooker Words  11. SUNNY Kern Music, Hammerstein 
        II & Harbach Words  13.	PRINCESS FLAVIA Romberg 
        Music, Smith Words  14,	THE COCOANUTS Berlin 
        Music & Words  15. 	THE GIRL FRIEND Rodgers 
        Music, Hart Words  16. 	QUEEN HIGH Gensler 
        Music, De Sylva Words 17. 	HONEYMOON LANE Hanley 
        Music, Dowling Words  1. OH, KAY! G. Gershwin Music, 
        I. Gershwin Words   2. THE DESERT SONG Romberg 
        Music, Hammerstein II & Harbach Words  3. 	PEGGY-ANN Rodgers Music, 
        Hart Words  4. RIO RITA Tierney Music, 
        McCarthy Words  5. LUCKY Ruby, Kalmar, Kern & Harbach 
        Music & Words  6. 	MY MARYLAND Romberg 
        Music, Donnelly Words  7. 	THE THREE MUSKETEERS Friml 
        Music, Wodehouse & Grey Words   8. THE NEW MOON Romberg Music, 
        Hammerstein II Words  9. HOLD EVERYTHING! Henderson 
        Music, De Sylva Words  10. 	WHOOPEE Donaldson 
        Music, Kahn Words  11. 	FOLLOW THRU Henderson 
        Music, DeSylva & Brown Words  12. 	BITTER SWEET Coward 
        Music & Words  13. 	WAKE UP AND DREAM Porter 
        Music & Words  14. THE LOVE PARADE (1929 Paramount Film) Schertzinger 
        Music, Grey Words  15. SUNNY SIDE UP (1929 William Fox Film) Henderson 
        Music, DeSylva & Brown Words  
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