CD 1 (71:00) | ||
Session 1 | ||
September 1906 | ||
1. | A Nation Once Again (Traditional) | 3:03 |
(Lx 1565-1) 44364 | ||
2. | God Save Ireland (Root) | 2:59 |
(Lx 1566-1) 44363 | ||
3. | The Boys of Wexford (Darley) | 3:11 |
(Lx 1567-1) 44366 | ||
4. | The Croppy Boy (Traditional) | 2:56 |
(Lx 1568-1) 44367 | ||
5. | The Dear Little Shamrock (Cherry) | 2:58 |
(Lx 1569-1) 44368 | ||
6. | The Snowy Breasted Pearl (Traditional) | 3:04 |
(Lx 1570-1) 44369 | ||
Session 2 | ||
September 1906 | ||
7. | The Green Isle of Erin (Roeckel) | 3:05 |
(Lx 1576-1) 44374 | ||
8. | Kathleen Mavourneen (Crouch) | 3:12 |
(Lx 1577-1) 44375 | ||
9. | Come Back to Erin (Claribel) | 2:58 |
(Lx 1579-1) 44376 | ||
10. | Come Back to Erin (Claribel) | 2:03 |
(L 1580-1) 2895 | ||
11. | The Dear Little Shamrock (Cherry) | 2:04 |
(L 1581-1) 2896 | ||
12. | Killarney (Balfe) | 3:13 |
(Lx 1582-1) 44377 | ||
Session 3 | ||
February or March 1907 | ||
13. | My Dark Rosaleen (Needham-Morgan) | 2:58 |
(Lx 2132-1) 44889 | ||
14. | Savourneen Deelish (Traditional) | 3:06 |
(Lx 2133-1) 44852 | ||
15. | Terence’s Farewell to Kathleen (Traditional) | 2:36 |
(Lx 2134-1) 44853 | ||
16. | Oft in the Stilly Night (Traditional) | 3:20 |
(Lx 2135-1) 44854 | ||
Session 4 | ||
September 1907 | ||
17. | Absent (Metcalf ) | 2:09 |
(Lx 2430-1) 57511 | ||
18. | A Farewell (Liddle) | 2:39 |
(Lx 2431-1) 57548 | ||
19. | A Farewell (Liddle) | 2:39 |
(Lx 2431-2) 57548 | ||
20. | Love’s Golden Treasury (Capel) | 3:18 |
(Lx 2432-1) 57549 | ||
Session 5 | ||
September 1907 | ||
21. | Like Stars Above (Squire) | 3:30 |
(Lx 2487-1) 57507 | ||
22. | CAVALLERIA RUSTICANA: O Lola ch’ai di latti [Siciliana] (O Lola, pretty one, white as the May, love) (Mascagni) | 1:58 |
(Lx 2488-1) 57523 transposed down a semitone to E Minor | ||
23. | PAGLIACCI: Recitar! Mentre preso dal delirio ... Vesti la giubba (To act! With my heart bowed down with sorrow ... On with the motley) (Leoncavallo) | 2:27 |
(Lx 2489-1) 57524 transposed down a semitone to E-flat Minor | ||
24. | The Awakening of a Perfect Spring (Simpson) | 3:35 |
(Lx 2490-1) 57504 | ||
25. | RIGOLETTO: La donna è mobile (Verdi) | 2:00 |
(Lx 2491-1) 57508 transposed down a semitone to B-flat | ||
CD 2 (77:17) | ||
Session 6 | ||
September 1907 | ||
1. | Thora (Adams) | 3:12 |
(Lx 2500-1) 66190 | ||
2. | TOSCA: E lucevan le stelle (Puccini) | 2:30 |
(Lx 2501-1) 57525 | ||
3. | A Child’s Song (Marshall) | 2:41 |
(Lx 2502-1) 57503 | ||
Session 7 | ||
November 1907 | ||
4. | I Sent My Love Two Roses (Simpson) | 2:37 |
(Lx 2545-1) 57506 | ||
Session 8 | ||
November 1907 | ||
5. | The Lord is My Light (Allitsen) | 3:31 |
(Lx 2558-1) 57505 | ||
6. | RIGOLETTO: Questa o quella (Verdi) | 2:02 |
(Lx 2559-1) unpublished on 78 rpm | ||
Session 9 | ||
November 1907 | ||
7. | THE BOHEMIAN GIRL: When other lips (Then you’ll remember me) (Balfe) | 3:08 |
(Lx 2619-1) 57522 | ||
Session 10 | ||
August or September 1908 | ||
8. | LA BOHÈME: Che gelida manina (Puccini) | 4:30 |
(Lxx 2791-1) 84205 | ||
9. | Mattinata (Leoncavallo) | 2:06 |
(Lx 2793-1) unpublished on 78 rpm | ||
10. | CARMEN: La fleur que tu m’avais jetée (See here the flower) (Bizet) | 3:48 |
(Lx 2795-1) 57582 | ||
11. | I’ll Sing Thee Songs of Araby (Clay) | 3:17 |
(Lx 2796-2) 57583 | ||
12. | MIGNON: Elle ne croyait pas (In her simplicity) (Thomas) | 4:30 |
(Lx 2797-1) 57581 | ||
13. | Roses (Adams) | 3:16 |
(Lx 2798-1) 57580 | ||
14. | Pianto del Core (Pinsuti) | 4:56 |
(Lxx 2799-1) 84206 | ||
Session 11 | ||
October 1908 | ||
15. | Has Sorrow Thy Young Days Shaded (Traditional) | 3:31 |
(Lx 2840-1) 57587 | ||
16. | Avenging and Bright (Traditional) | 3:00 |
(Lx 2841-1) 57590 | ||
17. | The Foggy Dew (Traditional) | 3:06 |
(Lx 2842-1) 57593 | ||
18. | Trottin’ to the Fair (Traditional) | 1:31 |
(Lx 2843-1) 57594 | ||
19. | MARITANA: There is a flower that bloometh (Wallace) | 2:59 |
(Lx 2844-1) 57588 | ||
20. | SONGS OF THE TURKISH HILLS: I Know of Two Bright Eyes (Clutsam) | 2:49 |
(Lx 2845-1) 57591 | ||
Session 12 | ||
October 1908 | ||
21. | Mary of Allendale (Hook) | 3:06 |
(Lx 2850-1) 57602 | ||
22. | I Hear You Calling Me (Marshall) | 3:48 |
(Lxx 2852-1) 84207 | ||
23. | When Shadows Gather (Marshall) | 3:20 |
(Lxx 2853-1) 84210 | ||
24. | I Hear You Calling Me (Marshall) | 4:03 |
(Lxx 2854-1) 84208 | ||
CD 3 (71:55) | ||
Session 13 | ||
November or December 1908 | ||
1. | Lolita (Serenata Espagnol) (Buzzi-Peccia) | 3:18 |
(Lxx 2962-1) 84217 | ||
2. | Parted (Scott) | 3:12 |
(Lx 2963-1) 57608 | ||
3. | The Philosophy of Love (Larchet) | 2:36 |
Lx 2965-1) 57704 | ||
Session 14 | ||
August 1909 | ||
4. | A Southern Song (Batten) | 4:11 |
(Lxx 3134-2) 84233 | ||
5. | Mountain Lovers (Squire) | 4:07 |
(Lxx 3135-1) 84226 | ||
6. | When Shadows Gather (Squire) | 3:43 |
(Lx 3136-2) 57632 | ||
7. | Take, Oh Take Those Lips Away (Bennett) | 3:00 |
(Lx 3137-1) 57630 | ||
8. | CARMEN: La fleur que tu m’avais jetée (Il fior che avevi a me) (Bizet) | 3:53 |
(Lxx 3138-1) 84225; X 75 | ||
Session 15 | ||
September 1909, with orchestra | ||
9. | Lolita (Serenata Espagnol) (Buzzi-Peccia) | 3:16 |
(Lx 3150-2) 57640 | ||
10. | My Dark Rosaleen (Needham-Morgan) | 3:50 |
(Lxx 3151-2) 84240 | ||
11. | LA FAVORITA: Spirto gentil (Donizetti) | 3:37 |
(Lxx 3152-2) 84230 transposed down a semitone to B | ||
12. | Voi Dormite, Signora! (Tosti) | 3:29 |
(Lxx 3153-2) 57643 | ||
Session 16 | ||
September 1909 | ||
13. | The Fairy Glen (Marshall) | 3:20 |
(Lx 3155-1) 57644 | ||
14. | Eileen Aroon (Traditional) | 3:20 |
(Lx 3156-1) 57641 | ||
15. | Ideale (Tosti) | 3:36 |
(Lx 3157-1) 57642 | ||
16. | O Lovely Night (Ronald) | 4:03 |
(Lxx 3158-1) 84229 | ||
Session 17 | ||
September 1909 | ||
17. | The Green Isle of Erin (Roeckel) | 4:06 |
(Lxx 3160-1) 84234 | ||
18. | L’Ultima Canzone (Tosti) | 2:48 |
(Lx 3162-1) 57645 transposed down a semi-tone to B | ||
19. | My Queen (Blumenthal) | 4:15 |
(Lxx 3163-1) 84231 | ||
20. | The Last Watch (Pinsuti) | 4:15 |
(Lxx 3164-1) 8 | ||
CD 4 (61:00) | ||
Session 18 | ||
September 1909 | ||
1. | Oft in the Stilly Night (Traditional) | 2:31 |
(Lx 3166-1) 57646 | ||
2. | The Ould Plaid Shawl (Traditional) | 2:45 |
(Lx 3167-1) 57647 | ||
3. | SPANISH DOLLARS: The Bay of Biscay (Davy) | 2:15 |
(Lx 3168-1) 57648 | ||
4. | Goodbye, Sweetheart, Goodbye (Hatton) | 3:21 |
(Lx 3169-1) 57705 | ||
Session 19 | ||
September 1909 | ||
5. | AIDA: Celeste Aida (Verdi) | 3:40 |
(Lxx 3173-1) 84236 | ||
Appendix 1: | ||
Alternative takes: Recording dates uncertain | ||
6. | Savourneen Deelish (Traditional) | 3:19 |
(Lx 2133-2) 57550 | ||
7. | Love’s Golden Treasury (Capel) | 3:15 |
(Lx 2432-2) 57549 | ||
8. | RIGOLETTO: La donna è mobile (Verdi) | 2:42 |
(Lx 2491-3) unpublished on 78 rpm | ||
9. | RIGOLETTO: La donna è mobile (Verdi) | 2:43 |
(Lx 2491-4) 57508 | ||
10. | TOSCA: E lucevan le stelle (Puccini) | 2:51 |
(Lx 2501-2) 57525, see note on page 65 | ||
11. | RIGOLETTO: Questa o quella (Verdi) | 2:13 |
(Lx 2559-3) 57631 | ||
12. | LA BOHÈME: Che gelida manina (Puccini) | 4:23 |
(Lxx 2791-2) 84205 | ||
13. | Mattinata (Leoncavallo) | 2:02 |
(Lx 2793-2) 57633 | ||
Appendix 2: | ||
Cylinder recordings, 1906 | ||
Edison Bell Consolidated Phonograph Company | ||
14. | Home to Athlone (Greene) | 2:29 |
Edison Bell two-minute cylinder 10085C | ||
Russell Hunting Company | ||
15. | God Save Ireland (Root) | 2:39 |
Sterling three-minute cylinder 612 | ||
16. | The Boys of Wexford (Darley) | 2:38 |
Sterling three-minute cylinder 613 | ||
17. | A Nation Once Again (Davis) | 2:41 |
Sterling three-minute cylinder 614 | ||
18. | The Croppy Boy (Traditional) | 2:31 |
Sterling three-minute cylinder 615 | ||
19. | Come Back to Erin (Claribel) | 2:33 |
Sterling three-minute cylinder 682 | ||
20. | The Dear Little Shamrock (Cherry) | 2:36 |
Sterling three-minute cylinder 683 | ||
21. | Come Back to Erin (Claribel) | 2:26 |
Alternative take of Sterling three-minute cylinder 682 transferred to Pathé disc 77686 | ||
22. | The Dear Little Shamrock (Cherry) | 2:28 |
Alternative take of Sterling three-minute cylinder 683 transferred to Pathé disc 77687 | ||
CD 1: | ||
CD 2: | ||
CD 3: | ||
CD 4: |
Producers: Ward Marston and Scott Kessler
Project coordinator: Jeremy Meehan
Audio Conservation: Ward Marston
Audio Assistance: J. Richard Harris
Photographs: Gordon T. Ledbetter, Elizabeth O’Brien, John Scarry, John Ward, and the estate of Paul Worth
Booklet notes: John Scarry and John Ward
Booklet Design: Takeshi Takahashi
This set is dedicated to the memory of Paul Worth, whose knowledge, passion, and research is the foundation for any McCormack project.
Marston extends a special note of gratitude to Jeremy Meehan, whose tireless work and good humor made this set a reality.
Recordings: Producing this set would not have been possible without the generosity of many John McCormack record collectors, who made their Odeon collections available to Marston. These are: Gregor Benko, John Bolig, the British Library Sound Archives, Harry Butler, Dominic C. H. Comb, Richard Copeman, John Keveny, Paul Steinson, and the estate of Paul Worth
The following selections are re-recorded from copies in the collection of Mr. and Mrs. Laurence C. Witten II in the Yale Collection of Historical Sound Recordings, Yale University Library:
CD 1: Tracks [10-11]
CD 2: Tracks [12, 15-16, 19]
Marston would like to thank: The Lord Mayor of Dublin, Councillor Oisín Quinn; Staff of the Lord Mayor’s Office; John Count McCormack and the McCormack Family; Members and Committee of the John McCormack Society of Ireland; Mark Bailey; Eddie Hogan; Andrew D. Jones; Gordon T. Ledbetter; Brigid Lucey; Donal MacNally; Robert Marston; David Mason; Michael and Doreen McFarlane; Senan and Simon Meehan; Elizabeth O’Brien; Tom Ruane; John Scarry; Michael and Jennifer Semple; Betty Stoutt; Jonathan Summers; John Ward; and Sandra Worth.
John McCormack, A Star Ascending
Odeon Recordings: 1906-1909
John McCormack (1884–1945) is still remembered and revered by many today. The natural beauty of his voice, allied with his phenomenal technique, unequaled breath control, and eloquence of sentiment, lead many to regard him as the world’s supreme lyric tenor. This four-CD set includes operatic arias, Irish ballads, and popular songs from McCormack’s Odeon recordings dating from 1906–1909, as well as nine cylinder recordings of 1906 made for the Edison Bell and Russell Hunting companies. These early recordings are sometimes dismissed by admirers of McCormack and collectors of vocal art because they do not capture him at his artistic zenith. They are, however, almost unique in the history of the gramophone as they allow us to trace McCormack’s steady development, session by session, from his uneven, raw, and sometimes undistinguished singing in 1906 to performances showing him on the cusp of mastery by 1909.