54 minutes of 78 rpm goodies, all Santa-approved (you'll have to take my word). The Trinity Choir's 8/26/1926 Christmas Hymns and Carols, (I love it when that distinction is made) from a period when the "standard" hymns and carols had almost been codified. Exception: Christians, Awake, Salute the Happy Morn, which should be a standard carol-sing title, but nobody asked me. But evidently, it had its day in the snow--er, sun.
John McCormack is magnificent in both acoustical and electrical form, and we get his classic 1914 Ave Maria (with Fritz Kreisler, and in the Bach-Gounod setting I prefer) and a wonderful Oh Come, All Ye Faithful from 1926 (with the Trinity Choir sounding stronger and brighter than ever). But maybe the highlight of this sleighlist is the 1913 Prince's Orchestra Children's Symphony, aka Kindersinfonieand and Toy Symphony, which for a long time was falsely credited to "Haydn"--i.e., Joseph or Michael--but actually came from the pen of Benedictine monk Father Edmund Angerer (1740-1794). The chief challenge, performance-wise, is locating the original toys (or reasonable facsimiles thereof) for the sound effects. And we already know that Spike Jones was hardly the first person to expertly employ musical racket, but this circa-1770 piece really pushes the date back.
Plus, Nathaniel (aka, Nat) Shilkret directs the International Novelty Orchestra, with Sigmund Krumgold on pipe organ, in the all-time version of Leon Jessel's 1897 holiday masterpiece, Parade of the Wooden Soldiers. Recording date: 1/25/1928 (a month late!). But not before Collin H. Drigg's 1940 Novachord recording, very possibly arranged by Ferde Grofe. Says Wikipedia, the Novachord is "often considered the world's first commercial polyphonic synthesizer." I'll buy that. Er, I would, if I could afford one. (Or had a place to put it.)
Lillian Currie's Children's Toy March (Pince's Band, 1912) was presented at a faster clip in 1911 as part of the descriptive piece On a Christmas Morning. I see that I posted same at my Shellac City YouTube page in its Harmony label edition. Anyway, this more mellow rendition of the march has its charms...
Oh, and I always feel the need to note that "Adeste Fideles" is not "Fidelis," though we see that typo pretty often. Oh, and when I posted my YouTube upload of the Driggs 78 at Facebook, a number of synthesizer enthusiasts were more than slightly impressed. Synths have a longer history than we imagine.
And a non-shellac, non-78-rpm selection, 1958's God's Christmas Tree, ripped from my Columbia 45. How this got on the list, I don't know, but I never said I knew what I was doing.
And I discovered that my MAGIX program has a FLAC export option, so...
DOWNLOAD: Merry Shellacmas! (1912-1940/1958)
Adeste Fideles (Oh Come, All Ye Faithful)--John McCormack, Trinity Choir, 1926
Christmas Hymns and Carols, Pts. I and II--Trinity Choir, Dir. Rosario Bourdon, 1926
Messiah--Hallelujah Chorus (Guess who?)--Same
Gloria from "Twelfth Mass" (Mozart)--Trinity Choir; pipe organ: Mark Andrews, 1926
Ave Maria (Bach-Gounod)--John McCormack, Fritz Kreisler, 1914
Parade of the Wooden Soldiers (Jessel)--Collins H. Driggs, Novachord solo, 1940
Parade of the Wooden Soliders (Jessel)--International Concert Orch. Dir. Shilkret; pipe organ: Sigmund Krumgold, 1928
Children's Symphony (Father Edmund Angerer)--Prince's Orch., 1913
Children's Toy March (Lillian Currie)--Prince's Band, 1912
Messiah--Hallelujah Chorus--Mark Andrews, Pipe Organ Solo, 1925
Babes in Toyland--March of the Toys--Victor Concert Orch., Dir. Nathaniel Shilkret, 1939
The Skaters--Waltz--International Concert Orch., Dir. Nathaniel Shilkret, 1926
The Star of Bethlehem--Richard Crooks, Orch. cond. John Barbirolli, 1933
The Holy City--Richard Crooks, Orch. cond. John Barbirolli, 1933
God's Christmas Tree--Southwest High School Choir, O.B. Dahle, 1958
Lee
6 comments:
This is great stuff, Lee, thanks! Your sleigh-lists get better every year!
Hi, Lee - and merry Christmas to you!
The novachord may have been a pioneer, but it also wasn't a particularly good sounding instrument. I have an album of early Vera Lynn records where she is backed on almost every number by the contraption. It sort of sounds like an electronic harpsichord, and begins to grate after a while.
John McCormack recorded four different settings of Ave Maria - Schubert and Bach-Gounod, but also Mascagni and Peter Cornelius. I'll probably post all of them at some point this year, along with some other things he did.
Thanks for everything - just getting around to your posts!
Ernie,
Thanks! And I suppose I should hyphenate "sleight-list" as you have, but since it's a take on "playlist" and not a real word, punctuation isn't a worry. Besides, punctuation is gradually ceasing to be a thing these days! (Smile icon)
Buster,
I look forward to hearing the other "Ave Maria" McCormacks, though I've heard his Schubert recording. And I may even have it (but I can't be sure...). And the Novachord, at least on Driggs' recordings, sounds like the pinched "piano" voices on my old Korg Poly-800 (in fact, I recall creating a piano-sounding voice, complete with "sustain" by tweaking the parameters of another patch). BUT... I have heard with my own ears a Grofe composition recorded with a Novachord almost perfectly mimicking the sound of a female chorus. A very spooky composition whose name I don't recall. But evidently the instrument had a pretty broad range, or so I've been told. Which raises the question of why, if so, it wasn't better exploited.
Lee - I wasn't aware of the Novachord's range. I posted a David Allyn session a while back in which Paul Smith arranged an ensemble that included the instrument - it sounded much like the Vera Lynn records.
Buster,
I was assured that the women's chorus (which I initially concluded was live) was indeed the sound of a Novachord. But I can't personally confirm as much!
Buster,
Here's a YouTube video which demonstrates a decent range of patches, complete with sustained tones and reverb...
https://www.youtube.com/watch?v=ctkDr6w4DCc
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