EDISON DIAMOND DISCS
THE CONCERT
SPANISH DANCES 1 & 2
(Moritz Moskowski) Brass Orchestra. 50080R
(September 11th, 1913). Moskowski (1854-1925) was a German composer of Polish descent. Besides composition, he had a successful career as a concert pianist and conductor. He taught in Berlin for many years, then moved to Paris in 1897 where Thomas Beecham, among others, was his pupil. The suite of Spanish Dances was originally written as piano duet, but was later arranged for orchestra, a version of which you hear here.
(Moritz Moskowski) Brass Orchestra. 50080R
(September 11th, 1913). Moskowski (1854-1925) was a German composer of Polish descent. Besides composition, he had a successful career as a concert pianist and conductor. He taught in Berlin for many years, then moved to Paris in 1897 where Thomas Beecham, among others, was his pupil. The suite of Spanish Dances was originally written as piano duet, but was later arranged for orchestra, a version of which you hear here.
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SON ANCH'IO LA VERTU MAGICA
'Don Pasquale' (Donizetti) sung by Lucrezia Bori - 83003R (July 21st, 1913) This sparkling little aria is sung by Norina of 'Don Pasquale' in act 1 of the opera as she comments on the powers of fascination of the heroine of a novel she is reading. The opera was first produced at the Théatre des Italiens in Paris, January 4th, 1843; and in London at Her Majesty's Theatre, June 29th the same year. Lucrezia Bori as born in Valencia 1887 and died in New York 1960. She made her debut at the Teatro Adriano in Rome as Micaela in Bizet's Carmen. She had a long career at the Metropolitan Opera of New York, lasting from 1910 till 1936. In her retirement, she remained however, closely involved with the Met |
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FAUST WALTZ (CHARLES GOUNOD)
played by the Peerless Orchestra – 80353R
June 8th, 1917.
A spirited interpretation of the waltz theme from Gounod’s opera, ‘Faust’ giving some idea of the sound quality once heard from Edison discs. The recording was dubbed onto the Blue Amberol cylinder # 3874.
played by the Peerless Orchestra – 80353R
June 8th, 1917.
A spirited interpretation of the waltz theme from Gounod’s opera, ‘Faust’ giving some idea of the sound quality once heard from Edison discs. The recording was dubbed onto the Blue Amberol cylinder # 3874.
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MARECHIARE (PAOLO TOSTI)
sung by Guido Ciccolini. 88552L (February 1919). An engaging Neapolitan song by Paolo Tosti who became singing master to the British royal family in 1880 and was duly knighted. When the moon rises in Marechiare, a young man's thoughts turn to serenading and even the fish make love amidst the waves! Guido Ciccolini was born about 1885 and died in Rome in 1963. He studied under Antonio Cologni among whose pupils were Mattia Battistini, Carlo Galeffi, Beniamino Gigli and others. His debut was in Bologna as Alfredo in La Traviata and he subsequently appeared in Britain, France, the Low Countries and Russia. He formed part of Nellie Melba's opera company of 1911 in Australia and later appeared in Boston and Chicago. He was one of a number of Italian tenors engaged by Edison to counter the popularity of Caruso. |
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LO, HERE THE GENTLE LARK (HENRY BISHOP)
sung by Marie de Kyser. 80316R (June 8th, 1916). This song, along with 'Home Sweet Home' is one of Henry Bishop's most famous songs. It affords a soprano great opportunities for showing off the beauty of her voice! Sir Henry Rowley Bishop was born in London, 1786 and died there in 1855. He was a prolific composer and had to his name some 120 dramatic works including operas and ballets which were performed in all the major London theatres in his time. In 1842, he was knighted. |
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WHY DO THE NATIONS? 'THE MESSIAH' (HANDEL)
sung by Arthur Middleton. 82538 (October 20th, 1915). The Gramophone Company offered a complete recording of 'The Messiah' on 25 single sided discs as early as 1907. Edison's customers had to make do with a limited number of randomly issued disc and cylinders. This number appears in the second part of 'The Messiah' and the words are taken from Psalms 2, verses 1 and 2. It deals with the rejection of the Christian Gospel by the world's leaders and elites. The work, first performed in Dublin in 1742, has since become a national institution and although originally intended for Lent and Easter, it is also performed in Advent and Christmas. Aurthur Middleton was born and raised in Iowa and by his early 20s was the voice of oratorio in the Mid West of the USA. In 1914, singing in Utica, NY, he was discovered by Frances Alda who got him a place at the Metropolitan Opera in NYC. He never sang outside the USA |
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SAVANNAH - GEORGIANNA BLUESFOX TROT (FRED FISHER)
played by the Georgia Melodions. 51346R
(May 26th, 1924).
Edison is known to have remarked that jazz sounded better played backwards! With such enthusiasm at the helm, it is little wonder that Edison is not renowned for jazz and hot dance recordings. Yet there are a great many hot dance, jazz and blues recordings lurking in the catalogues for collectors patient enough to identify them. The Georgia Melodians originated in Savannah, Georgia in early 1923. Once up and running, they established themselves in a Carolina coastal resort for the summer season. After this, they worked their way up the coast reaching New York City in early 1924. At the time of their first Edison recordings they were working at the Cinderella Ballroom on 48th and Broadway. In September that year, they moved to the Strand Roof for a few months then broke up after playing the New Year's Eve Ball at the Hotel Alamac, NYC. In spite of the break up, new titles by the presumably reformed band continued to be issued by Edison until 1926.
played by the Georgia Melodions. 51346R
(May 26th, 1924).
Edison is known to have remarked that jazz sounded better played backwards! With such enthusiasm at the helm, it is little wonder that Edison is not renowned for jazz and hot dance recordings. Yet there are a great many hot dance, jazz and blues recordings lurking in the catalogues for collectors patient enough to identify them. The Georgia Melodians originated in Savannah, Georgia in early 1923. Once up and running, they established themselves in a Carolina coastal resort for the summer season. After this, they worked their way up the coast reaching New York City in early 1924. At the time of their first Edison recordings they were working at the Cinderella Ballroom on 48th and Broadway. In September that year, they moved to the Strand Roof for a few months then broke up after playing the New Year's Eve Ball at the Hotel Alamac, NYC. In spite of the break up, new titles by the presumably reformed band continued to be issued by Edison until 1926.
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ABSENT (JOHN W. METCALFE, WORDS BY CATHERINE YOUNG GLEN)
sung by Laurence Wolfe. 52579L
(June 1929).
Edison held out as long as he could against the new electric recording process, declaring that it could not record without distortion. His copywriters backed up his judgement by saying surely Edison who has worked with electricity more than anyone else must know what he is talking about. Finally in 1927, the company adopted the new microphone recording system. You may judge for yourselves in these last three tracks how much of an advance it was.
Published by Boosey and Co in London, c. 1899, this beautiful late Victorian song benefits greatly from the new recording system which permits a crooning style of singing. Earlier recordings, though fine, lack the intimacy of this thoughtful and tender piece.
Sometimes between long shadows on the grass,
The little truant waves of sunlight pass;
My eyes grow dim with tenderness the while,
Thinking I see thee, thinking I see thee smile.
And sometimes in the twilight gloom apart,
The tall trees whisper, whisper heart to heart;
From my fond lips the eager answers fall,
Thinking I hear thee, thinking I hear thee call.
sung by Laurence Wolfe. 52579L
(June 1929).
Edison held out as long as he could against the new electric recording process, declaring that it could not record without distortion. His copywriters backed up his judgement by saying surely Edison who has worked with electricity more than anyone else must know what he is talking about. Finally in 1927, the company adopted the new microphone recording system. You may judge for yourselves in these last three tracks how much of an advance it was.
Published by Boosey and Co in London, c. 1899, this beautiful late Victorian song benefits greatly from the new recording system which permits a crooning style of singing. Earlier recordings, though fine, lack the intimacy of this thoughtful and tender piece.
Sometimes between long shadows on the grass,
The little truant waves of sunlight pass;
My eyes grow dim with tenderness the while,
Thinking I see thee, thinking I see thee smile.
And sometimes in the twilight gloom apart,
The tall trees whisper, whisper heart to heart;
From my fond lips the eager answers fall,
Thinking I hear thee, thinking I hear thee call.
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HOW TO MAKE LOVE (LUTHER AND ROBISON)
sung by Frank Luther and his Pards. 52532L
(April 1929).
This lively number lies surely at the other end of love's spectrum from the preceding track. Enjoy this lesson in courtship from Rubesville!
Frank Luther Crow (1899-1980) was a versatile musician, singer, composer and accompanist from Kansas. In 1927, he toured the British Isles as one of a quartet called 'The Revelers'. Between 1928 and 1932 he teamed up with fellow Kansan, Carson J. Robison, recording popular country songs. He then formed a country music trio with his wife, Zora Layman and a baritone named Leonard Stokes. Besides country music, he recorded hundreds of vocal refrains for dance records during the 1930s.
sung by Frank Luther and his Pards. 52532L
(April 1929).
This lively number lies surely at the other end of love's spectrum from the preceding track. Enjoy this lesson in courtship from Rubesville!
Frank Luther Crow (1899-1980) was a versatile musician, singer, composer and accompanist from Kansas. In 1927, he toured the British Isles as one of a quartet called 'The Revelers'. Between 1928 and 1932 he teamed up with fellow Kansan, Carson J. Robison, recording popular country songs. He then formed a country music trio with his wife, Zora Layman and a baritone named Leonard Stokes. Besides country music, he recorded hundreds of vocal refrains for dance records during the 1930s.
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SUNNY SKIES - FOX TROT(SONN & GILBERT)
by the Piccadilly Players with the Rollickers. 52478
(Feb 1929).
The Piccadilly Players were an offshoot of the Paul Whiteman orchestra who came to be the Edison house band led by Melville Morris
by the Piccadilly Players with the Rollickers. 52478
(Feb 1929).
The Piccadilly Players were an offshoot of the Paul Whiteman orchestra who came to be the Edison house band led by Melville Morris
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