CD 1 [79:22] | ||
Gramophone Company, Paris | ||
20 June 1928 | ||
1. | Desejo [Seresta No. 10] (Villa-Lobos) [text] | 0:47 |
2. | Na paz do outono [Seresta No. 6] (Villa-Lobos) [text] | 1:33 |
(BT4114-1) P760 | ||
3. | Realejo [Seresta No. 12] (Villa-Lobos) [text] | 0:41 |
4. | Estrela do céu é lua nova (Villa-Lobos) [text] | 1:12 |
(BT4111-1) P760 | ||
Brazilian Columbia, Rio de Janeiro | ||
early 1930 | ||
5. | Côco dendê, trapiá (arranged by Houston) [text] | 1:16 |
6. | Ai! Sabiá da mata (arranged by Houston) [text] | 2:17 |
(380885-1) 7050-B | ||
7. | O barão da Bahia (Maria Amelia Barros) [text] | 3:11 |
(380830-1) 7014-B | ||
8. | Cadeé minha pomba rola (arranged by Houston) | 3:15 |
(380832-2) 7014-B | ||
Gramophone Company, Paris | ||
26 September 1933 | ||
9. | Eh! Jurupanan [Côco] (arranged by Houston) | 3:05 |
(OPG 1016-1) K7055 | ||
10. | Berceuse Africano-Bresilienne (arranged by Houston) | 1:01 |
11. | Oia o sapo [Embolada] (arranged by Houston) [text] | 2:05 |
(OPG 1017-1) K7055 | ||
Liberty Music Shop, New York | ||
12. | Jongo (composer unknown) | 2:34 |
June 1938; (1757) L232 | ||
13. | Fado (composer unknown) | 2:39 |
June 1938; (1758) L232 | ||
14. | Toda p’ra você (Fernandez) [text] | 2:38 |
Recording date and matrix unknown; Unpublished test* | ||
15. | Xangô (Villa-Lobos) [text] | 1:17 |
Recording date and matrix unknown; Unpublished test* | ||
16. | Villancico Andaluz (Joaquin Nin) [text] | 1:50 |
Recording date and matrix unknown; Unpublished test* | ||
17. | Villancico Gallego (Nin) [text] | 1:16 |
Recording date and matrix unknown; Unpublished test* | ||
18. | Villancico Castellano (Nin) [text] | 1:19 |
Recording date and matrix unknown; Unpublished test* | ||
19. | Sur l’herbe (Ravel) [text] | 1:58 |
Recording date and matrix unknown; Unpublished test* | ||
20. | Quand je chante cette melodie (Nilvar) | 2:10 |
Recording date and matrix unknown; Unpublished test* | ||
21. | Mon ami (Jamblan/Herpin) | 3:01 |
July 1939; (R163-1) L263 | ||
22. | The cherry tree (S.L.M. Barlow) | 2:58 |
July 1939; (R164-1) L263 | ||
RCA Victor, New York | ||
1941 | ||
23. | Foi numa noite calmosa [No. 5 Modinha Carioca] (arranged by Luciano Gallet) [text] | 4:01 |
17 January 1941; (CS-060345-1) 13667 | ||
24. | Bahia [Carateristica] (Alvaro Moreira/Hekel Tavares) | 1:51 |
25. | Danza de caboclo [Côco] (arranged by Tavares) [text] | 0:50 |
24 January 1941; (CS-060371-1) 13667 | ||
26. | Bia-ta-tá [Côco] (arranged by Tavares) [text] | 1:23 |
27. | Benedicto pretinho (arranged by Tavares) | 1:01 |
24 January 1941; (CS-060372-2) 13668 | ||
28. | Berimbau, Op. 4 (Manuel Bandeira/Jayme Ovalle) [text] | 3:15 |
24 January 1941; (CS-060373-1) 13668 | ||
29. | Chariô [Tres potos de Santo, Op. 10, No. 1] (Jayme Ovalle) [text] | 1:03 |
30. | Aruanda [Tres potos de Santo, Op. 10, No. 2] (Jayme Ovalle) [text] | 1:05 |
31. | Estrella do Mar [Tres potos de Santo, Op. 10, No. 3] (Jayme Ovalle) [text] | 1:32 |
24 January 1941; (CS-060374-1) 13669 | ||
32. | Tayêras [Song and dance of the Mulatresses from Bahia] (arranged by Gallet) [text] | 1:39 |
33. | Bambalelê [Song from Pernambuco] (arranged by Gallet) [text] | 1:22 |
24 January 1941; (CS-060375-1) 13669 | ||
34. | Canção do carreiro [Seresta No. 8] (Villa-Lobos) [text] | 4:21 |
17 January 1941; (CS-060344-1) 17978 | ||
Siete canciones populares Españolas (Traditional, arranged by de Falla) | ||
35. | El paño moruno [text] | 1:14 |
36. | Seguidilla murciana [text] | 1:19 |
37. | Asturiana [text] | 2:25 |
38. | Jota [text] | 3:20 |
39. | Nana [text] | 1:12 |
40. | Canción [text] | 0:59 |
41. | Polo [text] | 1:29 |
18 April 1941; (CS-063377-1, CS-063378-1, CS-063379-1, and CS-063380-1) unpublished | ||
*The unpublished Liberty Music Shop recordings contained here were originally recorded on lacquer-coated aluminum discs. These unique test discs were in private hands for many years but have now apparently been lost. Fortunately, a magnetic tape transfer of the discs was made in the 1970s which we have used for this issue. We hope that the original discs survive somewhere.
The following selections are re-recorded from copies in the collection of Mr. and Mrs. Laurence C Witten II, the Yale Collection of Historical Sound recordings, Yale Music Library: Tracks 7 and 8 | ||
Accompaniment: Tracks [1-4] with Lucilia Guimarães Villa-Lobos, piano; [5 and 6] with Gaó, Zezinho, Jonas, and Chaves; [7] with Gaó, Zezinho, and Jonas; [8] with Gaó, Zezinho, Jonas, and Petit; [9 and 11] with Carlitos and his Brazilian Orchestra; [10] unaccompanied; [12] with unidentified percussionist; [13] with unidentified guitarists; [14-20] with unidentified pianist; [21 and 22] with Cy Walter, piano, and ensemble; [23-41] with Pablo Miguel, piano | ||
Languages: |
Producers: Scott Kessler and Ward Marston
Audio Conservation: Ward Marston
Audio Assistance: J. Richard Harris
Photos: Gregor Benko, Roger Gross, and Arquivo Nirez
Booklet Design: Takeshi Takahashi
Marston is grateful to the Estate of John Stratton (Stephen Clarke, Executor) for its continuing support.
Marston would like to thank Gregor Benko, John Bolig, Giulio Draghi, Lawrence F. Holdridge, David Mason, Peter Oehlkers, Ben Roth, and Richard Warren for their help in the production of this CD release.
Dedication
This CD is produced in loving memory of Andy Karzas: a great friend, a lover of opera, and an advocate of historic recordings.
Elsie Houston:
Queen of Brazilian Song
We are tremendously excited to be issuing the first comprehensive CD of the incomparable Brazilian mezzo-soprano, Elsie Houston. Her vocal production and interpretations defy description. The intensity of her passion coupled with the raw energy of her expression make Elsie Houston impossible to forget once you have heard any one of her records. She is undoubtedly the most individual of any classically trained singer to have recorded. Having studied singing with Lilli Lehmann and Ninon Vallin, Houston took her voice and career in a completely different direction, devoting the rest of her life to the performance of Brazilian music. Her first recording, made in Paris in 1927, contained four songs by Heitor Villa-Lobos with the composer's wife accompanying her at the piano. Also among her first records was a group of Brazilian folk songs that she collected and published. These are sung to the accompaniment of guitar, clarinet, and various indigenous percussion instruments. She made many night club appearances in Paris and later in the U.S. where exoticism of things South American had become the rage.