Siebzehn Jahr, Blondes Haar, Strangers In The Night, Er Ist Wieder Da Traumerei’n, A Taste Of Honey, Lara’s Theme From ‘Dr. Zhivago’, In Un Fiore, Spanish Eyes, Beat-Special No. 1, Michelle, I Left My Heart In San Francisco, Ab Und Zu, Kinki, Edelweiss From The Musical ‘The Sound Of Music’
The Banjo’s Back In Town, Mack The Knife, South Rampart Street Parade, Tennessee Wig Walk, Limehouse Blues, When The Saints Go Marching In, Roll Out The Barrel, Canadian Capers, American Patrol, Black Cat Rag, Aba Daba, Honeymoon, Banjo Rag
Drinking medley: Tavern in the town — Landlord fill the flowing bowl — Little brown jug — Another little drink — Here’s to good old whiskey — What shall we do with the drunken sailor — Tavern in the town
…lush strings, sweeping strings totally beautiful and eminently David Rose strings…
“The Stripper” — David Rose composed it. “Holiday for Strings” — David Rose composed that, too.
David Rose, in fact, composed 11/12ths of the music in this bedazzling David Rose showcase. For most composers, the above would represent a professional lifetime. With David Rose, however, there’s a hitch! Specifically, composer David Rose is also the famed arranger and conductor David Rose, whose arrangement helped to establish “Like Young” as a “standard” instrumental hit.
“The Stripper”, “Holiday for Strings” and “Like Young” — nearly everyone can whistle the melodies of these favourites upon request. But what of the other tunes in the album? Well, just about everyone could whistle those melodies, too . . . if only the titles were as familiar as the tunes.
How did this situation come about?… the answer is as grand as the David Rose talent itself. Briefly, David Rose has been enjoying the business of music-making since the mid-thirties when, as a Chicago radio staff pianist and arranger, he was responsible for adapting and performing the music which backdropped the voices of radio’s top stars. His sounds were so successful that Hollywood came calling in 1938 and persuaded him to vent his talents over Hollywood-based air waves. Radio fame led quickly to screen acclaim which in turn led to TV pre-eminence (like musical directorship s on “top 10” shows “Bonanza” and “The Red Skelton Hour”). The result is a repertoire of magnificent music that’s been heard and enjoyed via the three major entertainment media —fine music whose audience favour rests more with the melodies than the titles.
And here are sumptuously new David Rose presentations of those beautiful David Rose compositions—each one intended strictly for listening pleasure, whether it be of the com-forting background type or of the more intense and rewarding full-attention variety. No matter what, complete enjoyment is there when familiar “California Melodies” and “Gay Spirits” are given lyrically sweeping interpretations . . . when the equally familiar “Dance of the Spanish Onion” along with “Wig-Warn” and “Taco Holiday” are caught in a lighthearted intermingling of violins, brass, woodwinds and percussion . . . when the almost classically familiar “Four-Twenty A.M.” romances the senses with a kind of New York-on-a-drizzly-morning mood.
This is truly a HOLIDAY FOR STRINGS — pizzicato strings, sweeping strings, totally beautiful strings . . . rich strings delicately accented with just the right dash of an entire orchestra of instruments. And it’s all by a complexity of talents named David Rose.
It’s very much an international hit parade these days, with songs from nearly every country in the world at times, all fighting hard to win those coveted places high up in the top twenty.
This latest Caravelli album has taken due notice of the trends, of course. In bringing you this happy selection of recent hits the Maestro has picked a round dozen of the best from at least half as many countries and has given them all that magic Caravelli treatment.
Setting a romantic mood to open side one, we begin with one of this year’s most haunting new melodies. John Phillips of the Mamas and Papas wrote ‘San Francisco’ which proved to be a Number One hit for Scott McKenzie. Also from across the Atlantic comes an old Cuban song, which turned up in the Pete Seeger repertoire and recently scored for the Sandpipers. That’s right, we mean ‘Guantanamera’.
European writers are well featured throughout this album. From Britain’s Martin and Coulter comes ‘Puppet On A String’ which took them, and Sandie Shaw, right to the top at Monte Carlo in the ’67 Eurovision Song Contest. John Barry is heard, too, in ‘Wednesday’s Child’, which he wrote for the film ‘The QuiIler Memorandum’.
Maurice Jarre, the French film composer whose ‘Lawrence Of Arabia’ score was and is so popular has two of his more recent compositions included. On side one you will find an up-to-the-minute treatment of his ‘Grand Prix’ theme, and on side two a nostalgic setting for the ‘Doctor Zhivago’ love theme ‘Somewhere My Love’.
Germany’s Bert Kaempfert is here with ‘The World We Knew’, this one given a fresh, glowing arrangement, and the theme from one of the more memorable French films of late, ‘A Man And A Woman’ proves Francis Lai well worthy to be included.
Finally, from our Venetian-born Maestro’s own talented pen comes ‘Toi, Tu Es Loin De Moi’, the last but by no means the least track in this exciting new and cosmopolitan collection of Today’s Hits freshly presented in the inimitable Caravelli manner.
Ludmila Dvořáková, the eminent Czechoslovak soprano, was born in 1923 in Kolin. Since childhood she was learning to play the piano and the violin and between 1942-1949 studied solo singing at the Prague Conservatory. After graduation she became a soloist of the Ostrava Opera and, since 1954, sang in the Prague and Bratislava National Theatres.
Even as a Conservatory student she represented Czech art of singing abroad, e. g. in France and Belgium, and in the Soviet Union during Antonin Dvořák commemorative festivities in 1954. She is an eminent interpreter of Wagner’s operatic heroines (Tannhauser, The Twilight of the Gods), of which she gave yet another proof last year during her guest-performances in Bayreuth where the critics have highly praised her voice as “one of an unusual viola colouring, plastic in expression and absolutely perfect as regards technique: it is unique even among first class singers of this category”. Ludmila Dvořáková is now a permanent member of the Berlin Opera and sings regularly also in the Metropolitan Opera in New York, the State Opera in Vienna, the Bavarian State Opera in Munich, the Hamburg State Opera and in the operas in Lausanne and Berne in Switzerland.
Ray Conniff – Hi-Lili Hi-Lo, John Barry – You Only Live Twice, Stan Butcher, His Birds And Brass – Winchester Cathedral, Les & Larry Elgart – Music To Watch Girls By, André Kostelanetz – Cordoba, Don Lusher – Moonlight Serenade, The Fluegel Knights – Cabaret, Charlie Byrd – Born Free, The Happy Hawaiians – He ‘Nalu March, Eugene Ormandy – Sabre Dance
ENJOY THE WHOLE RANGE OF WONDERFUL SUPERSTEREO ALBUMS
These SUPERSTEREO Albums bring to you a new concept in stereo recording. For, until now, most stereo has been of the ‘gimmick’ type exploiting the techniques of stereo whilst not fully realising the true musical value of the performances. Now, CBS Records are proud to present the recordings you have really wanted. The lush sounds of big, famous orchestras and the exciting rhythms of instrumental groups – flawlessly recorded. Spectacular records, but records that faultlessly retain the superb artistry and dramatic arrangements the artists intended. Superstereo will bring out the full potential of your playing equipment. You will thrill to the sensational sound of Superstereo.
This series has been recorded in the U.S.A. by the outstanding engineers of Mercury. For all recordings in the series special musical arrangements have been written to get the best out of the technical possibilities and the artistic skill of such musicians as XAVIER CUGAT, PETE RUGOLO, DAVID CARROLL and many others. The magnetic film technique often used by Mercury during recording sessions has astonishing advantages in capturing the top quality in recorded sound – high transparency, a remarkable roundness of tone and a greater distortion-free dynamic range. Obviously, microphone settings vary for each type of music. Even for each number changes in the positioning of instruments, microphones, and in balance are required in order to achieve the best results and the most realistic sound-quality. All this has resulted in this series, in a warm, brilliant, but natural sound which brings you the next best thing to an orchestra in your home.
The action of Madama Butterfly lakes place in the early 1900s, at Nagasaki, Japan. After a brief orchestral introduction, the curtain rises on the exterior of Pinkerton’s house, set against the background of the hay. the harbour, and the town Benjamin Franklin Pinkerton, a lieutenant in the United States Navy, is being shown over the little house which he intends to occupy during his brief stay in Japan.
Sharpless, the U S Consul, arrives, and the opening bars of The Star-Spangled Banner’ are heard Pinkerton tells the Consul of the beautiful Japanese girl he has met (Dovunque al mondo) and whom he intends to marry, but with the privilege of annulling the marriage at any time. The consul does his best to dissuade his compatriot, convinced that no good will result, but Pinkerton will not be deflected from his course, and flippantly proposes a toast to America.
Goro announces the approach of the bridal party and the voice of Butterfly is heard (Ancora un passo or via) and with the serenely beautiful Spira sul mare e sulla terra she appears at the little wicket gate opening into the garden, looking radiantly happy, her arms filled with flowers Her relatives and friends assemble and the quaint ceremony of the signing of the marriage contract takes place While the guests are enjoying the delights of the table. Butterfly draws her husband aside and asks if she may retain a few souvenirs—a handkerchief, a mirror, a fan and a dagger m a ceremonial sheath. At the height of the festivities. Co-Co-San’s uncle, a Japanese priest, rushes in. He is furious with his niece for deserting her faith to marry an alien. Butterfly’s relatives and friends turn against her and leave hurriedly, with curses on their lips, leaving Pinkerton with his weeping bride.
Darkness falls and Suzuki. Co-Co-San’s maid, brings out a white kimono for her mistress to replace the ceremonial garment. Pinkerton takes his bride on to the terrace and clasped in each other’s arms, they sing ecstatically of their love (Bimba dagli occhi pieni di malia).
The interior of the house is seen when the curtain rises on tire second act Three years have passed and Pinkerton’s vessel has long left Japanese waters, but his wife still occupies the little house he bought. The faithful Suzuki still serves her mistress and there is an additional member of the household in the person of little “Trouble”, Butterfly’s son by Pinkerton.
Suzuki prays before an image of the Buddha, but Butterfly refuses to pray to a Japanese god. She fervently hopes that her husband’s God will answer her prayer that Pinkerton will return when the robins nest. She then sings the famous aria Un bel di, vedremo. assuring Suzuki that Pinkerton will return and that there will be a joyful reunion.
As she finishes the aria. Sharpless arrives with Goro the marriage broker. Sharpless tells Co-Co-San that he has received a letter from Pinkerton. She expresses her joy but Goro urges her to remarry and introduces a wealthy suitor, Yamadori. She replies that it is not possible as she is already married. Goro tells her that Pinkerton’s desertion gives her grounds for divorce, but she is confident that he will return. She runs out of the room and returns with a child in her arms. Sharpless asks. “Is this his child?” “Yes.” replies Butterfly, “his name is Trouble, but soon he will be called Joy.” Sharpless tries to read Pinkerton’s letter, m which he tells of his marriage to an American girl, but she interrupts and asks the Consul to write to Pinkerton and tell him what a beautiful son he has Taking the baby m her arms, she sings Che tua madre dovra prenderti un braccio, during which she bids the child not to believe the bad man who says his father will not return.
Sharpless leaves, and soon afterwards the boom of a cannon is heard. It is Pinkerton’s ship, and Co-Co-San tells Suzuki to fill the house with flowers The two sing the lovely Flower Duet (Scuoti quella fronda di ciliego… tutti I fior) Butterfly, her baby, and Suzuki silently await Pinkerton’s arrival as twilight steals over the room, and a lovely haunting melody is heard from an unseen chorus of humming voices.
The final scene shows dawn approaching, but the three figures keep their vigil, the music of the Intermezzo suggesting the brightening mom Suzuki and the child sleep, but Butterfly has not closed her eyes the long night through. The music of the Intermezzo runs straight into the singing of sailors from afar (Oh eh! Oh eh!). As sunshine fills the room, Suzuki awakens and Butterfly carries her son into an adjoining room. Hardly has she gone than Pinkerton arrives with Sharpless. Suzuki is overjoyed, but they bid her to be silent She sees an American woman in the garden and Sharpless tells her it is Pinkerton’s American wife, who has come to adopt the child. Sharpless advises Pinkerton to withdraw, so that he may tell Butterfly the cruel truth alone Before leaving, Pinkerton takes a sad farewell of his Japanese home (Addio fiorito asil) Suzuki cries out despairingly and Butterfly rushes in expecting to find Pinkerton The truth dawns on her and she agrees to give up her child, but asks half an hour’s grace Left alone, she takes the dagger from its sheath, and reads the words inscribed on it. Con onor muore chi non puo serbar vita con onore (Die with honour when it is impossible to live with honour) A sliding door opens and Suzuki pushes the child towards his mother, who bids him a poignant farewell Then, taking the dagger, she goes behind a screen and the knife is heard to fall from her hand She staggers forward, takes the child’s hand, and falls lifeless. Pinkerton rushes in, sobbing with grief and shame. As the curtain falls, Sharpless picks up the child and turns away, while a solemn Japanese melody is thundered out by the orchestra.
ART & SOUND LTD. 1967