The orchestrations were created by Emil Gerstenberger, Stephen O. Jones, Max Steiner, Hilding Andersen and Robert Russell Bennett. [The Overture is the work of Mr. Jones.] Mr. McGlinn recovered the only existing copy of the orchestrations at the University of Texas at Austin.
@barbaraleary8300
4 жыл бұрын
The best score ever written for Broadway. Saw it in 1971 with Ruby Keeler and loved it.
@roderickfernandez5382
2 жыл бұрын
Me too wasn't she wonderful and Patsy Kelly just too much happiness
@retire14pattaya9
2 жыл бұрын
So did I march 1971
@bblegacy
2 жыл бұрын
It's nice to hear this for the flavor of what's going on in the original pit parts, including the full verses of "Tea For Two" and "No No Nanette".
@robertkeuscher2298
7 жыл бұрын
Would love to hear more from this concert
@kevinfatkin5085
3 жыл бұрын
Performed in revivals of this show in Vancouver in 1974 and 1979. What fun! Still one of my favourite musicals!
@elissel
21 күн бұрын
Here in Chicago in '79 too! I played Nanette, and our Curie HS musical was just wonderful. The memories just come flooding back...those I've retained anyway. 😉 Still have my Peach on the Beach bathing outfit, which my mom helped me put together. Great days.....🎉
@richardduployen6429
Жыл бұрын
John McGlinn and John Mauceri, New York City Opera, the Smithsonian Foundation did very good work. As we hear from this recording the original orchestrations can hardly be equalled. We can try and get the unusual instruments ro make small changes like keyboard instead of harp. The classical tradition e. g. Friml & Romberg & orchestrators like John Russell Bennett is hrad to beat. "New" orchestrations date very quickly. "Nanette" 1971!
@jeanpolhamus4516
Жыл бұрын
Everybody's a musicologist all of a sudden.
@chrisnorman9980
4 жыл бұрын
Just a little less driving and upbeat than the revival’s overture. :)
@HG-pi3qp
3 жыл бұрын
so is this public domain?
@anthonysalerno8732
2 жыл бұрын
In 1919 Red Sox owner Harry Frazee sold Babe Ruth (and other great players) to the Yankees to finance this show. In doing so he reduced the once mighty Red Sox of the 'Teens who had won several World Series titles to irrelevance and launched the Yankees dynasty of the 1920's. This act of treachery and greed by Frazee led to what we Red Sox fans once knew as "The Curse of the Bambino" whereby the franchise was cursed for a full 86 years when The Curse was broken with the first of 4 Red Sox World Series titles in the new millennium. So excuse me for having quite mixed feelings about this music!
@lekmirn.hintern8132
2 жыл бұрын
You are mistaken in one key fact: Frazee did not finance this show out of that sale. He'd produced a number of other shows, all flops, evidently; this was his first real hit, and it did not come until 1925. Believe me, standard musical comedies from the '20's were not 'in development' for six years! And of course, as a Yankee fan...
@Robbi496
4 жыл бұрын
They have had a bad tendency to slow down 1920's music and make it more "schmaltzy" Listen to a 1920's recording of something like "Lady be Good" and you will see what I mean!
@lilyhogwart
3 жыл бұрын
That may be partly because there were limitations to side length on 78s. Also because they often were not trying to at all replicate the stage experience. In addition, it depends on whether you are considering dance-band recordings, recordings for the general market, or one of the few recordings of that period that might be trying to give home listeners a document of the stage performance, the latter mostly done in London during the 1920s, documenting the productions of Broadway shows in the West End, sometimes with American stars. In addition, it was often common to speed up tempos for cast recordings when the LP era arrived. Goddard Lieberson, who produced so many of the great cast recordings, had a general rule of speeding up the stage tempos for cast recordings because people listening at home did not have the visuals. Sometimes they were speeded up drastically to simply get more music from a particularly long score onto the LP. Then when shows are revived and the original stage tempos are used, people think it sounds too slow and inauthentic.
@roderickfernandez5382
2 жыл бұрын
I know exactly what you mean those songs like Lady be good just chugged along and a zippy pace. Hard to keep sitting down
@Robbi496
4 жыл бұрын
To make it sound REALLY authentic, then need less strings and more brass. 1920's music was VERY 'brass heavy"
@lilyhogwart
3 жыл бұрын
These are the original orchestrations. They were string-heavy. If anything, there might have been more strings in the pit in 1925, while no more winds and brass. From the New York Times review of this concert (linked at bottom): ”For make no mistake about it - restorations like this reaffirm the indisputable fact that the American musical evolved out of central European operetta. This was not something rudely domestic that was then tamed; it was a European form onto which fashionable American rhythms and instrumental touches were applied, ever so gingerly. What these orchestrations sound like more than anything else is some snappy palm court salon orchestra at a turn-of-the-century spa - with trombone slides and bouncy rhythms for spice. And yet the blend is still very sweet, no matter what its origin.''' www.nytimes.com/1986/04/06/theater/concert-original-no-no-nanette.html
@bblegacy
2 жыл бұрын
Not true. While the popularity of jazz and its rhythms were influencing Broadway, the Broadway theater of the 1920s was still FAR more steeped in the tradition "OLD" Broadway, i.e. operetta and early-20th-century Tin Pan Alley popular songwriting that itself was evolving into simpler 32 & 36 bar choruses with a leading verse, that had begun taking root for about 15-20 years by then. Theater itself was entirely acoustic as well, without the use of microphones. So a typical Broadway orchestra could ONLY have had in it one or two (french) horns, two trumpets, and one or rarely two trombones, but in the end, usually 1-2-&-1, with four woodwinds to match (flute, oboe, clarinet and bassoon or maybe 2 clarinets and no bassoon). Large scale operetta may have had an additional 2nd flute and / or 2nd clarinet, to make 5 or 6 woodwinds along with 5 or 6 brass using a 2nd horn and 2nd trombone; i.e. Gilbert & Sullivan or Franz Lehar. Strings would have been Violins 1 & 2 carefully written for 8 but playable by 6 (if only 6 were within the budget), two violas and one or maybe two 'celli. Add a bass, harp and percussion and that would have given you the convenient number of 20 musicians minimum to upwards of 25 using everything else I mentioned and may adding a couple more violins to add to tonal quality of the strings and keep things in BALANCE. By the time shows came along during the 50s-70s where 26-29 or 30 musicians became a "standard" pit orchestra on Broadway, the small-ish pits in many of the NY theaters were pretty often stuffed to capacity with 12 strings & 12 winds plus harp (or guitar) / bass / drums and maybe additional Percussion 2 and or a Piano (or two, as in the case of the 1971 "Nanette" revival), all wedged into pretty close quarters. Orchestrations were written for singers in mind and the writing for an entirely acoustical environment like that not only reflected the tradition from which it evolved (utilizing primarily strings as the accompaniment), but also the fact that it's impossible to maintain any sense of ensemble / orchestral balance within an ORCHESTRA that's heavy on brass and woodwinds (whether or not the woodwinds are doubling on saxes) when there are only 7-8 or maybe 10 strings (not including the [upright] Bass). It's was NEVER just a simple concept of something like a saxophone-heavy loud brassy big band with a string section tacked onto it. As for the "jazz" shows of the 1920s like "Nanette" or the Gershwin shows or early Cole Porter and Rodgers & Hart, two or maybe three saxes might have been called for as "doubling" instruments for the clarinet, bassoon and maybe oboe; and rarely but nonetheless sometimes the flute. For one thing, Broadway musicians were employed by the theater so the Orchestrators often knew specifically WHO they were writing for and what their strengths were. And thus with shows like that, the world of "woodwind doubling" was born, (which is entirely an American concept), and which unfortunately the traditional Euro-centric musical Establishment that has dominated music schools and Conservatories in the USA for nearly a hundred years has utterly neglected to admit ever existed as a legitimate form of arranging (or composition), not to mention is necessary legitimate training for performance-minded students (who may wish to be so versatile), and schools still don't do it, to the extent that truly versatile, competent "woodwind doublers" are nearly impossible to find anywhere outside of MAJOR cities that have a history of having them. Trust me I know. I lived and worked on the road with four Broadway shows as a "reed doubler" for years and the whole concept of it is quickly becoming a lost art among younger players, which includes most "jazz" musicians who play in big bands now. As an Arranger and Conductor now it aggravates me no end that it's nearly downright impossible to find four or five woodwind players capable of playing pit orchestra books that are only labeled "Reed 1", "2", "3", "4" & "5"; that between the four (or five) of them may call for them all to be quality players on the 10-20+ instruments that the four or five books often call for.
@roderickfernandez5382
2 жыл бұрын
You also need a banjo a guitar and several more instruments that they don't use anymore
@roderickfernandez5382
2 жыл бұрын
@@bblegacy wow I feel like I've taken a course for credit thank you. I just know I love the original sound of twenties and 30s mix music. And then in the 1950s when they did a musical movie they didn't use original orchestration was a totally wrong sound for the period really gets on my nerves. When they brought to Broadway the original score of showboat I could not have been happier to hear the real thing instead of what they put into the movies. I played that until the needle was almost through the vinyl
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