Music For Two People Alone - George Melachrino

 

Lover

Music For Two People Alone

The Melachrino Orchestra

Conducted by George Melachrino

RCA Victor LPM 1027

1954

From the back cover: Two people alone - alone together - the nicest paradox in the English language.

The words to these ten songs are not sung because two people alone together don't need them. They have their own, spoken or silent.

This is the kind of music that hearts becoming one.

It's relaxed, happy music – the kind that George Melachrino's orchestra plays better than any other in the world today.

Actually, Liebestraum once had lyrics. But when it was finally published in its most celebrated version over a century ago – 1850 to be exact – it was wordless. And it has been so ever since. Like all the great love songs, it doesn't need any text to make its point.

With the exception of the perennial Liebestraum, the oldest tune you'll find here is probably Blue Room, which was introduced on Broadway in the 1926 musical that helped to make Rodgers and Hart the biggest names in show business – The Girl Friend.

It was only a year later when Show Boat made its appearance. The Hammerstein-Kern score was studded with hits, among them the ever-popular Why Do I Love You? (Purists will be interested to learn that a song of almost precisely the same title – lacking only the question mark – had been heard in Gershwin's My Fair Lady two years before.)

Gershwin's Girl Crazy was big news along the White Way in 1930. The show itself is long since forgotten, but even those who never heard of it know the unforgettable Embraceable You. By 1931 Tin Pan Alley was beginning to dip into the vast untapped reservoir of Latin American songs. One of the first imports was Quiéreme Mucho – we have known it all these years as Yours. The composer, Gonzalo Roig, is renowned in the southern latitudes for his operetta, Cecilia Valdes, but even in that work he touched no more responsive chords than he does in this lovely ballad.

Rodgers and Hart were so busy writing musicals by 1933 that they didn't have much time for non-theatrical numbers. But they did take a breather in this year to compose Lover, and it turned out to be one of their most successful songs.

How many remember a movie called Kill That Story, circa 1934? Lew Pollack wrote a song for it that survived, and deserved to, after its vehicle was dead and buried. He titled it Two Cigarettes in the Dark.

In 1938 there was another song along the same lines that was not written for a film although it made its way into at least one. This is Hoagy Carmichael's immortal Two Sleepy People, which may very well be the most nearly perfect music ever composed for two people alone together.

But whenever people are alone together it is of no great importance to set a mood for them with atmospheric prose. That takes care of itself. Music, at best, can be merely an added touch.

And that is all this unique album is intended to be – something to make a nice hour of being alone together just a little bit nicer.

You Were Meant For Me

Yours

Why Do I Love You

Liebestraum

Lover

Embraceable You

Blue Room

Two Cigarettes In The Dark

Two Sleepy People

I Love Thee

Queen City Brass

 

Queen City Brass

Queen City Brass

Engineers: Larry Nager & Lou Ukelson

Vetco Studios - Cincinnati, Ohio

Jewel Records - Cincinnati, Ohio

Pressed October 14, 1982

Queen City Publications

From the back cover: Brass quintets play in sepia tones. No matter how timely the tune, they set everything at half-past 1903.

This is not a put-down. So please do not assume brass quintet players are a bunch of nostalgic stick-in-the-muds. They are not. Also, don't try to imagine them going out of their way to make their material sound dated or old hat. They do not. It's just that with their brassy, wind-driven tones, they make songs sound simply idyllic, like a stroll in the park right after the turn of the century. In the distance, a brass band, a quintet no less, plays under the brightly painted roof of a filigreed gazebo. The air is clean. The sun is shining. The grass is green. Everyone is civilized or tries to be. Ladies speak softly and carry dainty parasols. Gentlemen keep just as quiet and tip their hats to strangers.

Moving closer to the bandstand, it will take a bit of doing to discover who's playing. There is no electronic loudspeaker system amplifying the quintet's music. Remember, this is an acoustic brass quintet. No one has to plug in the tuba to make it work. No one could even if they wanted to. This instrument runs on lung power.

As for the quintet's name, there is no marquee putting it up in lights. There is just a simple poster on a tripod announcing the quintet's name, its members, and the current selection. Moving even closer makes the poster's message easy to read.

Presenting: The Queen City Brass. Steven Pride and Christopher Swainhart, trumpets. Dennis Hanthorn, French horn. Peter Norton, trombone. Michael Thornton, tuba. Besides the quintet, its members busy themselves with other musical endeavors. Michael Thornton and Steven Pride play in the Cincinnati Symphony Orchestra. Peter Norton performs with the Dayton Philharmonic. Dennis Hanthorn manages the Dayton Opera. Christopher Swainhart runs the group's publishing concern and leads the devil-may-care life of a free-lance musician. On this, their debut album, the Queen City Brass perform an American musical travelogue from the Broadway of George Gershwin, "By George," to the big band theme of Tommy Dorsey, "I'm Gettin' Sentimental Over You," from the ragtime of Scott Joplin and Louis Chauvin, "Heliotrope Bouquet," to the march time of John Philip Sousa, "The Stars and Stripes Forever."

There may be one or two of you out there who have never heard of the Queen City Brass. These same people may be asking themselves: "What could five guys from Cincinnati, the Queen City of the West, possibly add to the literature of the brass quintet that hasn't already been covered by the Canadian Brass or the Empire Brass Quintet?"

That's a very good question. It's so good, in fact, it can be answered in one word: Plenty. Through its approach, its repertoire, and its sound, the Queen City Brass is saying something new. For one thing, this is an egalitarian outfit. There are no loafers in this group. Most brass quintets are not that way. There's no sense naming names here. They know who they are. They are easy to spot. These groups are the ones where the trumpets carry the tuba, trombone, and French horn. You won't find that with the Queen City Brass. The group is too strong in the traditionally weak links for that to happen. Everybody stands on their own around here.

This strength at every position gives the Queen City Brass a full sound, a very full sound, an extremely full sound. I'm talking a full sound here. How full is it? It's so full that at times the group sounds like the Wall-to-Wall Brass. Throughout this recording there are occasions where the music just has to be coming from more than five horns. But no. It's just the Queen City Brass' blend and tailor-made arrangements playing tricks on your ears.

There is one selection where the quintet cheats. Through the wonders of electricity and tape, Christopher Swainhart's piccolo trumpet makes the quintet a sextet. But that is the only incident of overdubbing on the LP, and it is for a good cause, "The Stars and Stripes Forever."

The Queen City Brass' repertoire makes an individual statement by tapping Cincinnati's musical heritage. "Lassus Trombone" was written by Cincinnati's march king, Henry Fillmore. "Alcoholic Blues" came from the bent elbow of Al von Tilzer, an early officer of the Cincinnati-based American Federation of Musicians Local No. 1. "Billboard March" salutes Billboard magazine, which originated in the Queen City. "May Festival Galop" honors the city's annual choral/ orchestral celebration, the May Festival. The traditional "Bier Hier," which was probably a favorite of the afore- mentioned Al von Tilzer, commemorates Cincinnati's German heritage of brewing as well as drinking beer.

With that said, this is not chauvinistic civic pride speaking. The Queen City Brass is not for local consumption only. Last year, its offerings were sampled coast to coast via the 200-station network that carries "A Prairie Home Companion." After the Queen City Brass stopped the show with "The Stars and Stripes Forever," people were comparing the quintet with the program's imaginary sponsor, Powdermilk Biscuits, and saying things like, "Heavens! They're tasty! And expeditious." – Cliff Radel

Cliff Radel is the pop music critic for The Cincinnati Enquirer. His articles have also appeared in The New York Times, Chicago Tribune, The Washington Post, and Down Beat.

Black Bottom Stomp

Alcoholic Blues

Ragtime Nightmare

Getting Sentimental Over You

Billboard March 

By George

Lassus Trombone

Heliotrope Bouquet

Carnival Of Venice

Chattanooga Choo Choo

Bier Hier

May Festival

Stars And Strips Forever

Joe Venuti Plays Jerome Kern

 

Yesterdays

Joe Venuti Plays Jerome Kern

A Golden Crest Jazz Classic

Golden Crest Records CR 3101

1960

From the back cover: Because there are so few practitioners with the gifts of a Joe Venuti, the violin as a powerful jazz instrument is little known in the present scene, and all but forgotten from the past. A few record collectors remember Darnell Howard who played with Jellyroll Morton in the Twenties, and there are others who recall Eddie South who played a jazz fiddle along 52nd Street in the Thirties. But nobody new has come along since then with a similar feeling for the jazz idiom. Almost single-handedly Joe Venuti has kept the fiddle vitally alive, but then his roots go deep-right back to the soil that produced Beiderbecke, Berrigan, Goldkette, Red Nichols, Fletcher Henderson, and even the Dorseys when they were known as the Scranton Sirens. And like so many of the others he developed in that controversial cradle of talent, the original Paul Whiteman band. What is astonishing is that Venuti still plays with such verve and virility, with such an endless flow of fresh ideas, that listening to him now you'd think he was still a kid fresh out of Philadelphia.

The most obvious reason for Joe Venuti's iron durability is unquestionably his fantastic technique-gleaned originally from six solid years of conservatory study where, as a youngster, he startled his professors with jazz improvisations. But other violinists have possessed an excellent technique, yet when approaching jazz seem unable to remove the potted palms from their bows. Venuti is unique in that respect; he has so overwhelmed the instrument with his own sense of urgency that in listening to him you wonder how mere wood and gut can speak so forcibly. In view of his example one wonders why the younger crop of jazzmen have not rediscovered the fiddle for their construction of new sounds. Certainly they have not hesitated to raid the symphonic arsenal, as it were, to bring color and vibrancy to their music. As a result there are an increasing number of virtuosi on the oboe, flute, harp, French horn, tuba and even the harpsichord – none of them traditional jazz solo instruments. But the break-through in fresh uses of the jazz fiddle remains almost the sole possession of the old master himself.

Venuti's career began in a music-loving family who were all adept on the violin, cello and mandolin. He went to grammar school with the great guitarist, Eddie Lang, for many years they were associated with each other professionally. They began playing "straight" with a pianist in Atlantic City in the early Twenties, but spent a good deal of time, as Joe remembers it, holding jam sessions in the men's room where it wouldn't disturb the patrons. It was in Atlantic City that they met the Dorsey brothers, fresh out of Scranton, and they sat in with them on occasion. Years later, during one of their periodic break-ups, Jimmy Dorsey joined the Joe Venuti band for a brief spell. Joe later joined the original Red Nichols group that played the Pelham Heath Inn during the Twenties. Later he played with both the Paul Whiteman and Jean Goldkette organizations – all the jazz immortals were his compatriots and they grew in stature through the free exchange of ideas. From the Thirties on Venuti has always led his own groups playing the traditional big-time circuits – from the Strand Theatre on Broadway to films in Hollywood. He is a particular favorite of Bing Crosby's; the friendship goes all the way back to the Whiteman days when both were with the band.

Within the trade the legend of Joe Venuti is great and the stories of his zest for fun are endless. He has never been one to discourage laughter, and his own predilection for clowning has cost him engagements. They tell of the time the manager of a Kansas City hotel asked the Venuti band to play more gently for the lady luncheon guests. As the manager walked off the floor Venuti turned to the band and said, "Okay, fellows, let's give 'em Nagasaki!" They almost blasted the manager off the floor and with him the remainder of their engagement. And once during a stage show at the Strand the male singer with the band, new to the stage, walked right over the footlights and into the orchestra pit. As he climbed back over the footlights again, trying to find the spot, Joe is said to have fallen flat on his back from laughter as the show continued on its merry way.

The sidemen who have worked with him all remember him with affection, and recall there was always a happy time with Joe around. Listening to him play Gershwin and/or Kern should make you happy, too. – ARNOLD SUNDGAARD

Also from the back cover: About the Players – The selection of men assisting Joe was inspired. Tony Gottuso is undoubtedly one of the finest guitar men on the scene today. His activity in both television and recording studios is a testament to his great capabilities.

Jack Zimmerman on bass, besides being one of New York's outstanding bass men, is also an excellent arranger and conductor. Many of Jack's works are heard daily on radio and TV in the "better" advertising jingles.

Bobby Donaldson is known as a musical drummer. His intuitive approach to playing has made him a leader in the field of rhythm. Bobby will be remem- bered as one of the outstanding members of the Benny Goodman Septet.

Ellis Larkins on piano personifies the perfect ac- companist. In listening to this record, you will note the constant interplay and finesse of this outstanding artist. Ellis is known for his work with the great Ella Fitzgerald.

One of the most unusual aspects of this album is that many of the "takes" were "firsts". The routine was set on the spot and the result is a spontaneous jelling of fluid ideas and, most of all, "swing". The esteem and respect that musicians on this date hold for the artistry of Joe can be sensed in this recording.

Kakua

A Fine Romance

Smoke Gets In Your Eyes

Look For The Silver Lining

Why Was I Born

Who

Yesterdays

Make Believe

Ol' Man River

Lovely To Look At

All The Things You Are

1981 - 82 Wind & Jazz Ensemble I - Smoky Hill High School

 

Wind & Jazz Ensemble I

1981 - 82 Smoky Hill High School

Wind Ensemble and Jazz Ensemble I

Joseph M. Brice, Director

Soundmark STEREO R968 BSCR

One Good Turn

Samatha

Look For The Silver Lining

Ice Castles 

In The Mood

Cafe Amore

Ritual

Breaking Up Is Hard To Do

Our Love Is Here To Stay

Flow Gentle, Sweet Rhythm - Maxine Sullivan / John Kirby Band

 

Barbara Allen

Leonard Feather Presents

Flow Gently, Sweet Rhythm

With Maxine Sullivan - Vocals

Charlie Shavers leading the original John Kirby Band

Jack Walker - Commentator

A Jazztone Society Classic J-1229

1956

*Charlie Shavers - Trumpet

Buster Bailey - Clarinet

Russell Proscope - Alto Sax

Billy Kyle - Piano

Specs Powell - Drums

Aaron Bell - Bass

**Charlie Shavers - Trumpet

Buster Bailey - Trumpet

Hilton Jefferson - Alto Sax

Milt Hinton - Bass

Louis Barnum - Piano

Dick Hyman - Piano

Leonard Feather - Piano ( on Loch Lomond only)

***Dick Hyman - Piano, Harpsichord & Organ

Oscar Pettiford - Bass

Osie Johnson - Drums

From the back cover: THERE have been times in the history of jazz when a group of musicians was instilled with such a spirit of unity that it was hard to imagine what the effect would be if even a single change were made in its membership. There have been times like that, but they have been very, very rare. The Duke Ellington orchestra of the 1930's was just about the only example in the big band field. Among the small combos the most memorable instance was the sextet led by the late John Kirby. Kirby, a bass player from Baltimore who had played with the bands of Fletcher Henderson and Benny Carter, had some definite ideas in mind when he set out to become a band leader. In contrast with the casual and often poorly integrated ensemble sounds that had characterized most small groups up to that time in the swing era, Kirby wanted to create something new: a soft, subtle band of swing that would keep the customers' toes in action while never upsetting their eardrums.

Working at the old Onyx club on West 52nd Street, Kirby experimented for sev eral months before settling down with what was to become, from 1938, the basic and unchangeable personnel during his years of glory. The light, bouncing ensemble line comprised Charlie Shavers' trumpet, Buster Bailey's clarinet, and Russell Procope's alto saxophone. The gently persuasive rhythm section had Billy Kyle on piano, the late O'Neil Spencer on drums, and Kirby. Often, too, at the Onyx there would be the new little singing sensation from Pittsburgh, Maxine Sullivan, who was Mrs. John Kirby during those years.

Shavers wrote most of the arrangements and worked closely with Kirby on produc- ing exactly what he wanted. That they succeeded, far beyond the bounds of all the 52nd Street units, was proved indisputably when the sextet, moving swiftly to national success, abandoned that thoroughfare to make its elegant impact in higher echelons hitherto beyond the scope of any jazz outfit, let alone a Negro group. Places like the Waldorf-Astoria in New York and the Pump Room in Chicago, and, perhaps the most important of all, the CBS studios in Manhattan, where, almost seventeen years ago, the Kirby group and Miss Sullivan began their own weekly network series.

Flow Gently, Sweet Rhythm, they called this program, and to this day there are those who will tell you that nothing else quite as delightful, nothing as smooth in quality and consistent in mood has since been heard on any airwaves.

The program stayed on the air for at least two years, and every Sunday afternoon millions of listeners were treated to the unique sounds of what was so aptly described in its slogan as "the biggest little band in America." And there were a lucky few who, like this writer, were able to slip into the studio on some of those Sundays to enjoy the proceedings in person.

For those who are too young to recall it, the best comparison might be made by stat- ing that the Kirby band in its heyday was as renowned and respected as the King Cole trio in 1945, the Shearing quintet in 1950, or the Brubeck quartet in 1955. The disintegration of the original band began in 1942 when Billy Kyle was drafted. The following year Procope, too, was called to the colors, and Shavers began to double in the Raymond Scott band at CBS. By 1944 the original Kirby sound could no longer be conjured up. He had many different groups after that but never recaptured the pristine charm of the original article. Kirby's last few years were melancholy ones, lived in the shadow of his famous past. In 1952 he died in California. Meanwhile, the sidemen who had swung up the ladder of fame with him remained successfully active in New York.

About a year ago I asked Charlie Shavers whether he might not be interested in reviving the original Kirby band, with a suitable replacement on bass, for a record session that would recapture the spirit of the old band and its wonderful broadcasts. Charlie was immediately enthusiastic, but the problem was to try to catch all the men in New York at the same time. Many months went by and we never seemed to be able to arrange it. When Billy Kyle was in town with Louis Armstrong's band, Procope would be on the road with Duke Ellington; or when Duke came to New York, Kyle and Armstrong would be in Australia. There was no problem getting "Specs" Powell, the drummer who in 1941-2 had replaced Spencer in the original band, for "Specs" had spent the last twelve years on staff at CBS in New York. Buster Bailey, too, was always on hand; since early 1954 he has been a regular on the bandstand at the Metropole. Maxine Sullivan, living in town, also said she would be ready when we were.

Finally, impatient with delays, we arranged to fly Procope in between one-nighters with Duke. On a Monday evening, as soon as "Specs" had finished playing the Arthur Godfrey show, everyone assembled at the Esoteric studios-Shavers, Procope, Buster, Billy, "Specs", and Maxine. It was the first time the six of them had been together in thirteen years. Nostalgia flowed like water; everyone told everybody how little they had changed, and in most cases they were right, except for some added avoirdupois here and there. Maxine, who had looked incredibly young in 1938, had the same fantastic little-girl look as ever. Buster had grayed but still looked phenomenally youthful for a man with four children and six grandchildren. To complete the unit, Charlie and I had agreed that Aaron Bell, a brilliant and well-trained musician who had at one time been a music teacher at a high school in his home town, Muskogee, Oklahoma, had just the perfect light sound and touch to replace Kirby on bass. As for the role of narrator, which the late Canada Lee played so superbly on the broadcasts, both of us simultaneously had the same thought. Nobody but Jack Walker, whose pear-shaped tones are heard on his own Life Begins at Midnight show over WFOV in New York, could possibly fill Canada's shoes.

I think some of the happy spirit of this reunion came through in the music that was played that night. You will wonder, as we wondered, whether there couldn't be room today, on the air or in person, for just such a combination of timeless talents; and perhaps you will join us in hoping that it may come to pass. – LEONARD FEATHER

Note: In addition to the recordings described above, Mr. Feather produced two subsequent sessions featuring Maxine Sullivan. Seven of the selections recorded at those sessions are included here.

Rose Room*

Molly Malone*

If I Had A Ribbon Bow*

Loch Lomond*

Oh No, John!**

Windy*

Wraggle Taggle Gipsies**

Jackie Boy***

Barbara Allen***

A Brown Bird Singing***

Flow Gently, Sweet Rhythm*

Songs That Brought Sunshine Into The Depression - Hollywood Sound Stage Chorus

 

Brother Can You Spare A Dime

Songs That Brought Sunshine Into The Depression

The Hollywood Sound Stage Chorus

Somerset ALBUM P-6300

1958

Brother Can You Spare A Dime

Just Let A Smile Be Your Umbrella

Let's Have Another Cup Of Coffee and Let's Have Another Piece Of Pie

The Object Of My Affection

On The Sunny Side Of The Street

How's The Time To Fall In Love (Potatoes Are Cheaper)

Shuffle Off To Buffalo

I Found A Million Dollar Baby

A Shanty In Old Shanty Town

Happy Days Medley

¡ Oye la Marmimba ! - Hermanos Paniagua

 

Primavera

¡ Oye la Marmimba !

Marimba Orquesta de los Hermanos Paniagua

Discos Peerless Fidelidad LD 553

From the back cover: La Marimba, instrumento típico de México, ha recorrido el mundo entero dando a conocer la música mexicana en una de sus expresiones más puras.

De entre la gran cantidad de conjuntos de marimba existentes en nuestra República, es seguramente la MA- RIMBA ORQUESTA DE LOS HNOS. PANIAGUA el conjunto más destacado de nuestro medio artístico desde hace dieciocho años.

Esta internacionalmente famosa marimba nació en San Cristóbal las Casas, Chis., cuna que fuera igualmente de este instrumento, para presentarse en la ciudad de México en 1943 aprovechando una función especial en el Teatro Alameda.

Desde su arribo a esta capital la suerte les sonrió amigablemente, pero más que buena ventura fueron sus cualidades artísticas las que les abrieron las puertas de la fama.

En un principio fueron contratados con el fin de poner marco musical a la película "Tierra de Pasiones" y más tarde este conjunto de grandes dimensiones, se dió a conocer rápidamente entre el público nacional e internacional por medio de sus grabaciones, con lo cual se forjaron un prestigio internacional envidiable.

En el año de 1948, con el nombre de "MARIMBA OR- QUESTA DE LOS HNOS. PANIAGUA", firmaron contrato en la disquera PEERLESS en donde, después de doce años, aún son exclusivos, habiendo obtenido durante este tiempo considerables dividendos y cimentándose una posición, categoría y prestigio inigualables.

Hermisendo Paniagua, director del citado conjunto es, por sus creaciones, reconocido como talentoso músico lo mismo que el resto de sus hermanos. Entre su producción se cuentan: Ven cariñito ven – El ferrocarrilero – La del cha, cha, chá – Mi caramelito – .Seis pasitos – Vals de media noche - Lilí – Rosa Elena - Suave y Bonito e infinidad de melodías más.

El conjunto de la "MARIMBA ORQUESTA DE LOS HNOS. PANIAGUA, ha recorrido miles de kilómetros al través del Continente llevando consigo el mensaje de nuestra música, interpretada en su genial estilo.

Translation of back cover: The marimba, a traditional Mexican instrument, has traveled the world, introducing Mexican music in one of its purest forms.

Among the many marimba ensembles in our country, the MARIMBA ORQUESTA DE LOS HNOS. PANIAGUA has undoubtedly been the most prominent ensemble in our artistic community for the past eighteen years.

This internationally famous marimba ensemble was born in San Cristóbal de las Casas, Chiapas, the birthplace of the instrument, and made its debut in Mexico City in 1943 during a special performance at the Alameda Theater.

Since their arrival in the capital, luck has smiled kindly on them, but more than good fortune, it was their artistic qualities that opened the doors to fame.

Initially, they were hired to provide the musical score for the film “Tierra de Pasiones” (Land of Passions), and later this large ensemble quickly became known to national and international audiences thru their recordings, which earned them enviable international prestige.

In 1948, under the name "MARIMBA ORQUESTA DE LOS HNOS." PANIAGUA signed a contract with the PEERLESS record label, where, after twelve years, they remain exclusive, having earned considerable royalties during that time and cemented an unparalleled position, status, and prestige.

Hermisendo Paniagua, director of the aforementioned ensemble, is recognized as a talented musician for his creations, as are the rest of his brothers. His works include: Ven cariñito ven (Come, my darling, come) – El ferrocarrilero (The railroad worker) – La del cha, cha, chá (The cha-cha-cha girl) – Mi caramelito (My little sweetie) – Seis pasitos (Six little steps) – Vals de media noche (Midnight waltz) – Lilí – Rosa Elena – Suave y Bonito (Soft and beautiful) and countless other melodies.

The ensemble “MARIMBA ORQUESTA DE LOS HNOS. PANIAGUA” has traveled thousands of kilometers across the continent, carrying with it the message of our music, performed in its brilliant style.

Zandunga

El Rascapetate

Camino A San Cristobal

El Cachito

Tuxtla 

Primavera

Espejito - La Chunga

Sones Ixtapa Soya

El Jabali

El Bolonchon

El Bachajonteco

Las Chipanecas

Holiday In Rio - Alfred and His Amigos

 

Besame Aqui

Holiday In Rio

A Bay Musical Adventure

The Exciting Rhythms of The Rhumba, The Mambo, The Cha Cha Cha, The Tango

Delightful Mood Music

Perfect For Romantic Listening and Dancing

Alfred and His Amigos

Colortone C33-4921

Sweet And Gentle

Cumana (Coo Ma Nah)

Say Si Si (Para Vigo Me Voy)

Mambo #5

Adios Muchachos Esto Es Cha Cha Cha

Besame Aqui

Perhaps, Perhaps, Perhaps (Quizas, Quizas, Quizas)

El Rancho Grande

La Cumparsita

Mexican Hat Dance

La Palmoa

Mussorgsky - Boris Godounoff / Debussy - Nocturnes - Warwick Symphony Orchestra

 

Boris Godounoff / Nocturnes

Mussorgsky Boris Godounoff - Symphonic Synthesis

Debussy / Nocturnes - Nuages (Clouds) • Fetes (Festivals) • Sirenes (Sirens)

Warwick Symphony Orchestra

RCA Candem CAL-140 (E3RP-6004 & E3RP-6005 on disc label and runout)

I machine washed the record several times, so the disc is clean but still features some groove noise. A noisy lead in that smooths about a little about a minute in on Side A. Side B is a better listen.

The cover art was worth sharing!

Songs By George Perle

 

Two Rilke Songs (1941)

American Contemporary

Songs By George Perle

13 Dickinson Songs

2 Rilke Songs

Bethany Beardslee - Soprano 

Morey Ritt - Piano

Produced by Carter Harman

Art Direction: Judith Lerner

Cover Drawing by Barbara Phillips Perle

Photo of drawing provided by Robert Michael Buslow

Recorded by David Hancock, December 1978 and January 1979, New York City

A Composer Supervised Recording

Composers Recording, Inc. CRI 402 STEREO

1979

From the back cover: GEORGE PERLE (b. Bayonne, NJ, 1915) has been on the faculty of the City University of New York (Queens College) since 1961 and has also held teaching posts at the University of Louisville and the University of California (Davis) and visiting positions at Yale University, University of Southern California, the Juilliard School, State University of New York at Buffalo, University of Pennsylvania, Columbia University, and Tangle- wood. He was a Guggenheim Fellow in 1966-67 and in 1974-75, and in 1978 he was elected to membership in the American Academy and Institute of Arts and Letters. He is the author of Serial Composition and Atonality: an Introduction to the Music of Schoenberg, Berg and Webern, now in its fourth edition, and Twelve-Tone Tonality. The latter sets forth the view that the seemingly disparate styles of post-triadic music share common structural elements, and that collectively these imply a new tonality, as "natural" and coherent as the major-minor tonality which has been the basis of a common musical language in the past. A third book, Volume One of The Operas of Alban Berg is now in preparation by the University of California Press.

Other works by George Perle recorded by CRI include QUIN- TET FOR STRINGS (CRI SD 148), MONODY FOR SOLO FLUTE (CRI SD 212), SIX PRELUDES FOR PIANO (CRI SD 288), TOCCATA FOR PIANO (CRI SD 306), THREE MOVEMENTS FOR ORCHESTRA (CRI SD 331), STRING QUARTET No. 7 (CRI SD 387). His most recent composition, Concertino for Piano, Winds, and Timpani was commissioned by the Fromm Music Foundation for the Contemporary Chamber Players of the University of Chicago (Ralph Shapey, cond.). His STRING QUARTET No. 7 won the American Academy-Institute of Arts and Letters Award in 1977. He writes: 

"Though every beginner in composition tries his hand at it before anything else, it has always seemed to me that the art song is the most subtle, sophisticated, and difficult of musical genres. Out of all the possible ways of reading and interpreting a poem, the musical setting fixes just one, and it must do so in the most spontaneous and authentic way, without seeming to encroach upon the prerogatives of the poet and the listener. Not only must it seem right, and seem so at once without also seem- ing coercive and demanding, but it must go beyond this and enhance and elucidate the words otherwise why bother to put music to them at all? But then, what about the music itself, which has its own logic, its own proportions, its own kind of coherence? And what about the problem of combining two such uniquely characteristic and individual means of musical expres- sion as voice and piano in such a way that the special personal- ity of each is realized, and even heightened by contrast and association with the other?

"Obviously, my concept of what an art song should be was formed by the achievements of the great German composers of Lieder in the 19th century, so it is not surprising that I should have chosen, for my first songs, composed in 1941, German verses that evoke, in their simplicity, immediacy, and self-contained lyricism, the world of the Lied - poems of the sort that inspired the early Romantic composers, though their author, Rainer Maria Rilke, was a very late Romantic. When Bethany Beardslee asked me to write some songs for her I again decided that what I wanted to write were Lieder, but in my own language, rather than in German. Many months passed before I found the verses that could lead my musical thoughts in the direction that I had decided upon the English Romantic poets didn't work for me at all in this respect. The Dickinson Songs, commissioned for Bethany Beardslee by the National Endowment for the Arts, were composed in 1977-78 and were first performed by Ms. Beardslee and Ms. Ritt at the Fifth Annual Arts Song Festival of the Westminster Choir College in Princeton on June 19, 1978. The two song cycles on this recording are my total output in the genre."

BETHANY BEARDSLEE was the original singer who could make "difficult" contemporary art music sound as effortless as a popular song and she remains the reigning queen of the idiom. She has made numerous recordings, the most recent of Robert Helps' GOSSAMER NOONS, on CRI SD 384. MOREY RITT has been praised for her artistry in solo recitals and chamber music concerts in the U.S., Europe, Canada, Argentina, and Australia. In 1976 she presented the world premiere of George Perle's acclaimed Six Etudes for Piano at the ISCM's World Music Days in Boston, and then gave the work its first New York performance. In 1979 she was appointed Professor of Music at Queens College.

This record is dedicated to the memory of Barbara Phillips Perle.

THIRTEEN DICKINSON SONGS (1977-1978)

FROM A CHILDHOOD
1. Perhaps you'd like to buy a flower
2. I like to see it lap the miles
3. I know some lonely houses off the road 

4. There came a wind like a bugle

AUTUMN DAY
5. Beauty – be not caused – it is
6. The wind – tapped like a tired man
7. These are the days when birds come back 

8. The heart asks pleasure – first –

GRAVE HOUR
9. What if I say I shall not wait!
10. If I'm lost – now –
11. The loneliness one dare not sound – 12. Under the light, yet under

CLOSING PIECE
13. She bore it till the simple veins

TWO RILKE SONGS (1941)

BETHANY BEARDSLEE, soprano 

GEORGE PERLE, piano