Classical

Schubert and Mozart

Schubert and Mozart

Sleeve Notes:

The scores of the ‘Unfinished’ Symphony, as well as that of ‘Rosamunde’ had lain undiscovered for well over fifty years in dusty cupboards, before they were available to the world of music. The Viennese conductor Johann Herbeck discovered the ‘Unfinished’ in 1865 in Graz at a house of a former friend of Schubert’s. He copied it and introduced it for the first time in Vienna in December of that year – 37 years after the death of Schubert. In composing Eine Kleine Nachtmusik, Mozart gave to the world a precious jewel which has lost none of its radiant beauty. Eine Kleine Nachtmusik is one of the most famous examples of the lighthearted serenade music which was so characteristic of the eighteenth century. The work is loved by all; by music scholars as well as by those who only occasionally listen to classical music. To a lot of people it was just hearing Eine Kleine Nachtmusik, which interested them in classical music.

Label: Marble Arch MAL 552

1961 1960s Covers

Ravel's Bolero - London Philharmonic Orchestra

London Philharmonic Orchestra – Ravel’s Bolero

Sleeve Notes:

BOLERO Since 1928, when Maurice Ravel wrote Bolero, the piece has been one to stimulate discussion and argument. It has been called `hypnotic, boring’, nerve-racking and’ captivating’. Undoubtedly, it has been all of these things to different listeners. It is, in any event, the ‘world’s longest musical crescendo.

Although Ravel was a Frenchman to the world his birth in the Basse-Pyrenees of a Basque mother and a French-Swiss father was sufficient to arouse his interest in Spanish music.

Bolero, however, is in no way a serious attempt at Spanish dance Ravel’s Bolero is not truly a bolero at all. The basic rhythm pattern remains, but the tempo of this work is much slower than the bolero dance. The bolero is not even a true folk dance but rather a theatrical concoction based on the polonaise, chaconne and the zarabande.

Ravel’s Bolero is basically built upon a two-part musical theme which is repeated about eighteen times in the work. The orchestral colours used are as varied as ever attempted, but through it all is the relentless, driving rhythm of the snare drum.

The first part or the basic subject is presented by the flute. Then, beginning with the bassoon, the wind instruments in turn take up the melody or some variation of it. It moves from clarinet to oboe to flute to trumpet to tenor and soprano saxophones. Then, as the crescendo builds the theme is taken up by groups of instruments. It continues to build to the powerful, cumulative and frenzied end.

Ravel's Bolero - London Philharmonic Orchestra

Label: Pye Golden Guinea GGL 0032

1959 1950s Covers

Offenbach Gaite - Le Ballet Francais Orchestra

Offenbach Gaite – Le Ballet Francais Orchestra

Sleeve Notes:

GAITE PARISIENNE is without question the gayest and most fun-filled ballet ever produced. It has wit and bubble that so delightfully portrays the Parisian Cafe Society of the Second Empire, Using the melodies of the nineteenth century composer Jacques Offenbach and the book by Comte Etienne de Beauirnont, the internationally famous choreographer Leonide Massine created the ballet for Ballet Russe de Monte Carlo. Since its premiere in 1938, the work has captured the delight of audiences all aver the world.

As the curtain rises on GAITE PARISIENNE, we look into a fashionable Parisian restaurant where the help animatedly prepares for the night’s business. The first principal to arrive is the saucy Flower Girl. She is followed by three cocodettes (young ladies of easy virtue) and their escorts, who throw themselves into a mazurka. The lovely Glove Seller enters and all the men crowd around her, forgetting the other girls. Next to appear is the comically eager Peruvian, carrying his luggage since he is very impatient to plunge himself info the delicious naughtiness of Paris night life. The girls make merriment over his gauche antics, but the Glove Seller politely ignores him, though he plainly adores her.

An elegant Baron arrives and spurns the Flower Girl while giving his attentions to the Glove Seller, The Peruvian becomes increasingly, tipsy, and while being entertained by the cocodettes, he is brushed aside by arrogant soldiers who immediately take over. The next couple to enter ore La Lionne the city’s reigning beauty, and her chief admirer, the Duke, who boils over in jealousy when La Lionne flirts with one of the officers. The Glove Seller amuses herself while teasing the Baron by pretending sudden interest in the Peruvian. The situation eventually explodes! The Officer and Duke fight over La Lionne, the Baron and the Peruvian over the little Glove Seller, The Peruvian takes refuge under a table.

When peace is restored. The Baron and the Glove Seller do a dance expressing their love. All present take on a romantic mood, and following the entrance of the Can-Can Girls, who launch into an extravagant dance, the Cafe resumes its gaiety. The Duke and the Flower Girl and the Officer and La Lionne pair off happily. In conclusion, the unhappy Peruvian is left to sulk alone.

Offenbach Gaite - Le Ballet Francais Orchestra

Label: Marble Arch MAL 679

1975 1970s Covers

Vienna State Opera Orchestra - The Merry Widow

Vienna State Opera Orchestra – The Merry Widow

Sleeve notes:

The Music – The Viennese operetta is the true child of that strange multilingual, multinational and multicultural society, the Austro-Hungarian monarchy. If the operetta was born on the wrong side of the blanket, it survived such inauspicious beginnings as imitation Parisian opera to reach the heights of artistic and social acceptance. Originally influenced by French operas – especially those of Jacques Offenbach (he of Gaite Parisienne and “Can-Can” fame) – the Viennese operetta came into its own with Johann Strauss, Jr.’s still popular Die Fledermaus (1874). From then until the beginning of the First World War and the break-up of the Austro-Hungarian Empire. Viennese operetta flourished – an elaborate and fascinating mixture of Hungarian czardas, Bohemian polkas, Austrian galops. Slovakian folktunes, Viennese waltzes, and Italian melodrama, both sentimental and grotesquely emphatic.

The most successful composers of the genre, Johann Strauss. Jr.. Franz Lehar, Edmund Eysler, Emmerich Kalman, Oscar Straus, Leo Fall and Paul Abraham – were men with a gift for rich melodic inventiveness and a flair for atmosphere. There work was enriched immeasurably by the performers who, coming from all parts of the monarchy to Vienna, developed a style of interpretation which gave the Viennese operetta its final, unforgettable shape.

Recognizing this, the Vienna State Opera. already famed for its inimitable performances of Mozart. Wagner and Richard Strauss, acquired a second house, the Volksoper, during its Period of reconstruction in the days following World War II, and there it has kept alive the tradition of operetta. This Institution is virtually the only theatre in Europe where one can still see and hear Viennese operetta as it was played during the reign 01 Emperor Franz Joseph.

But the presentation of operetta on the phonograph disc is knotty. In the past companies have recorded (and often very well) either the complete operetta with famous opera singers and great symphonic conductors. or to deliver melodic excerpts with pop singers. But neither pop stars nor opera divas knew the tradition – despite beautiful singing or clever delivery.

The Westminster Gold series now for the first time endeavors to present Viennese operetta in its traditional garb, and at the same time in lively fashion. In bypassing the details of the story (dialogue is cut and musical repeats serving elaboration of text are omitted as well), yet by retaining the Dramatic structure of the music in its sprightly ensembles, orchestral transitions. etc.. Westminster Gold has endeavored to preserve the true image of the Viennese operetta. giving neither excerpts nor full-blown, tedious music-drama, but a bubbling half hour show (the demi-heure operetta, if you will) that encompasses all its musical glory in the interpretation that fits it best.

The Merry Widow – Hannah, a pretty young widow, is considered to be the -catch- of Paris, not only for her beauty but also because she had inherited a fortune of some twenty million francs. The Ambassador from her native Marsovia. Baron Popoff. has received official instructions to see that Hannah marries a Marsovian, thereby keeping her money in her homeland. The man who has received the Marsovian governmental blessing is Prince Danilo, known throughout his country as one of the handsomest, gayest and most charming, of the official court circle. Despite Prince Dan., devotion to his welcome assignment. Hannah resents the meddling in her private life. particularly the idea of a destiny “made-to-order”. Moreover, before settling down to wedded life again, she is determined to enjoy One mad, gay fling in Gay Paree. This she accomplishes to the utmost, finding that Prince Danilo is much in evidence every-where. and that his romantic nature is, indeed, most appealing. At the last. Hannah and Danilo decide that theirs is a true romance, and they take each other for better or worse.

Countess Maritza – The wealthy Countess Maritza possesses so many estates, castles. etc. that she really knows but little of any of her holdings. The castle which is the setting of this operetta is being managed by a most unusual and business-like overseer. Count Tassilo Endrody. Formerly one of the gayest and most popular of the young officers of Budapest, the Count had paid off his father’s debts by selling all of the family ancestral proper-ties – the castles; estates, racing stables and the family heir-looms. Only a few of his most intimate friends even know that he has taken the position in order to earn his living. Actually, Tassilo is working to provide a dowry for his sister, the Countess Liza. Maritza has no idea of the Count’s true identity, and she is Pleasantly surprised when she comes to the castle with a large retinue of guests and sees the handsome, aristocratic and erudite young man who has, through his wise management of the estate, doubled the income of the property. Tassilo, himself, is astonished to find that his sister, Liza, is among the guests.

To forestall her usual problem of too many suitors. Maritza announces that she is engaged to marry (the imaginary) Baron Koloman Zsupan. Imagine her consternation. however, when a real Baron by this unusual name makes his appearance to claim her as his betrothed. Zsupan then proceeds to fall in love with Liza, whose very presence is beginning to cause all sorts of complications for Tassilo.

Countess Maritza gives a great ball to celebrate her home-coming and, as Tassilo stands outside the ballroom listening to the playing of the Hungarian gypsy musicians, he begins to sing, putting into song his longing for the love, romance and gaiety of his happy past. Hearing the rich. robust voice. Maritza and her guests come out on the terrace and listen to Tassilo until he finished the song. Enchanted, the Countess commands him to repeat the number but Tassilo haughtily refuses saying that he is present as the overseer of her estate, not as an entertainer. Chagrined by such defiance of her authority, Maritza orders him to leave the estate, and he prepares for his departure_ He is encouraged, also, by the gypsy girl. Mania, who loves him devotedly. The situation seems almost hopeless, until Tassilo’s rich old aunt, the Princess Bozena Klopensheim, informs him that she has bought all of his old family holdings for the purpose of restoring him to his rightful position as a member of the autocracy. The Princess then sets all matters right between Tassilo and Countess Maritza. and Maritza is happy to confess her true love for her erstwhile overseer.

SIDE ONE THE MERRY WIDOW (FRANZ LEHAR) Band 1. Act I 15 29 Band 2. Act II 16.15 ENSEMBLE AND CHORUS OF THE VIENNA OPERA VIENNA STATE OPERA ORCHESTRA FRANZ BAUER-THEUSSL, CONDUCTOR

SIDE TWO COUNTESS MARITZA (EMMERICH KALMAN) (30:14) ENSEMBLE AND CHORUS OF THE VIENNA OPERA VIENNA STATE OPERA ORCHESTRA FRANZ BAUER-THEUSSL, CONDUCTOR.

Vienna State Opera Orchestra - The Merry Widow

Label: Westminster Gold WGS-8159

1971 1970s Covers

Vienna State Opera Orchestra - Liszt Hungarian Rhapsodies

Vienna State Opera Orchestra – Liszt Hungarian Rhapsodies

Sleeve Notes:

Frans Liszt was the miraculous pianist who became the “ancestral god” of all later piano virtuosi. He was a “giant” in many ways – as a lover he would have provided present-day gossip-columnists with almost inexhaustible material, as a musician he was an innovator who gave ideas to a host of composers for the next two generation – and today there are two opposite and irreconcilable views of his life, work and personality. To some his music has faded, and to others it is among the most exciting products of the nineteenth century. To some he was one of the great “Hungarian” composers, unflagging in his attachment to his nation’s freedom. To others he is primarily a cosmopolitan romantic genius, a leading figure in the movement for a “new music” that included Berlioz in France and Wagner in Germany.

The Hungarian and German aspects of Liszt are reflected in the bare facts of his birth and death. He was born Ferencz Liszt at Raiding in Hungary, in 1811.

He died in 1886 at Bayreuth, the centre which his son-in-law, Richard Wagner, had built in Germany for the performance of his own operas. And in a curious way, the events at Bayreuth reflected both Liszt’s musical powers and the decline of his reputation. For the innovations of Wagner, as the “composer of the future”, had pushed those of Liszt entirely into the background. Yet is was from the Liszt tone poems that Wagner had taken many of his ideas, and even actual musical motifs. The story is told that in 1876, when Wagner attended with Liszt a rehearsal of Die Walkare, he said, “Now, papa, comes a theme which I got from you.” Liszt answered, “All right, then one will at least hear it.

The Hungarian Rhapsodies embody the national Hungarian aide of Liszt. James Huneker wrote wittily of them. “The majority begin in a mosque and end in a tavern.” This points to the origin of both Hungarian folk music and Gypsy music in the East, and the use of Gypsy bands for uproarious town entertainment. For it was Hungarian popular music as it has been taken up and developed by the Gypsies that Liszt used in his Rhapsodies. He thought that the Gypsies had given Hungary its folk music, and admired them as apostles of untrammelled freedom:”they reject all despotism of law,” he wrote in his book, The Gypsies and their Musk in Hungary. Modern research has disclosed a Hungarian peasant music quite different from the popular and urban music of the Gypsy bands. But to the defence of Liszt comes none other than the great Hungarian composer who more than anyone else has studied and disclosed the old and basic folk music of Hungary. Whilst disapproving of the tunes themselves that Liszt chose in the name of “Hungarian music,” Bela Bartok wrote that the Rhapsodies “are perfect creations of their own kind. The material that Liszt used in them could not be treated with greater artistry and beauty.” And nobody has put better than Bartok the contradictory sides of Liszt as a composer. “Everything that had ever existed in music, whether trivial or sublime, left a lasting imprint on his work. Side by side with triviality, he displayed almost everywhere amazing boldness, either in form or in invention. The boldness was really a fanatical striving towards something rare and new.

The first fifteen Hungarian Rhapsodies, composed for piano, were published by Liszt in 1848-53. Four more appeared in 1882-5. Six of the most popular teem arranged by Liszt, with the collaboration of Franz Doppler, for orchestra. The four on this record correspond to the piano versions as follows: Orchestra: No. 1 in F minor No. 2 transposed to D minor No. 3 transposed to D No. 4 transposed to D minor Piano: No. 14 in F minor No. 6 in D flat No. 2 in C sharp minor No. 12 in C sharp minor.

Vienna State Opera Orchestra - Liszt Hungarian Rhapsodies

Label: Fontana BIG309-L

1958 1950s Covers

Immortal Pas De Deux - Royal Philharmonic Orchestra

Immortal Pas De Deux – Royal Philharmonic Orchestra

The extensive sleeve notes for this Immortal Pas De Deux record were written by Pigeon Crowle (Eileen Georgia Beatrice Crowle) artist, sculptor, authoress and ballet-composer 1903-1960. Not much else is known about her but that she wrote a lot about ballet. In 1959 you not only got a tasteful and attractive cover you also got an essay to read while you listened.

Sleeve Notes:

The pas de deux is the love song of the ballet, a duet of unspoken words, expressed in gesture, line, and harmonised movement. In the great classical and romantic ballets it is the high-light of an act, a coloratura passage in which the grace and beauty of the ballerina is contrasted with the chivalry and strength of her partner, the danseur noble.

“How light she is!’ he seems to say as she soars from his arms into the air; or, as he supports her in an arabesque — “How graceful” and as, with her hand laid on his, he slowly sums her poised on one elegant leg —”How beautiful!” The art of the classical ballerina is one of great beauty, but in the pas de deux, if aided by a partner of understanding and artistry, it shines with increased brilliance. But it depends to an extent, not generally realised, upon the ballerina being supported with knowledge and skill, and if these attributes are missing his performance will inevitably suffer. Her partner must watch for the slightest sign of insecurity, and be able to adjust her balance in all supported steps without any appearance of effort or strain, and without drawing audition to himself.

She must assist him with her response and timing, her taut springiness. In this way, working in complete unison and with subtle interplay of emotion, the pas de deux performed by two great artists is an exciting theatrical experience. As all emotions and feelings may be expressed in ballet, so they are reflected in the pas de deux. Those recorded here vary from the poetic to the flamboyant, from the light-hearted to the tragic, but all are set within the beautiful framework of the classical ballet. The pas de deux of the first act of Giselle in which Giselle dances with her lover Albrecht, has never been equalled for its delightful expression of youthful loss and happiness. The choreography is simple and devoid of all acrobatics or sensational lifts, but the gay and tender atmosphere of the scene is beautifully portrayed in its light and lilting movements. The love theme, given by strings and woodwind, recurs throughout the ballet — later, most tragically. Giselle was first performed in Paris in 1841, but still provides the most coveted of ballerina roles. Alicia Markova has become almost legendary in a part which she endows with her own unique qualities of romantic and remote fragility, while Anton Dolin, virtuoso of the art of partnering, has never been excelled as her Albrecht.

In the old classical ballets, the pas de deux (or grand adage as it is sometimes called) usually begins with an introduction for the two dancers, followed by one or two variations for each and a coda in which both join. Fokine, creator of modern ballet, revolted against many such conventions, and in his ballet Les Sylphides, the two principals have no sharply divided solos, but a dance that flows in an effortless continuity. Their entrance is particularly beautiful. He has begun to lift her in the wings, and she is still rising as they come into view. This creates the illusion that she might float away but for her partner’s restraining arms. Beryl Grey, with her soft, fluid line and gentle romanticism, gives a perfect performance in this ballet. When, however, Delibes’’ Sylvia was revived by the Royal Ballet in 1952, the choreography, by Frederick Ashton, included the grand adage in all its traditional glory. Tender and caressing, brilliant and exciting, soaring ecstatically with the solo violin, it is a love song designed to display the great art of Margot Fonteyn and the qualities of Michael Somes as dancer and partner. It comes as the climax of the third act, and there is a thrilling moment in the coda when, arrow-like, Sylvia flies through the air and appears to reverse her position in full flight just before Aminta catches her. The pas de deux from Casse-Noisette is one of the most beautiful ever devised. It combines a lyrical sweetness with classical virtuosity and precision, and commences in a quiet tempo quickening with the music which includes the bell-like tones of the celesta. Swiftly the ballerina runs towards her partner who takes her hand and draws her proudly through the air in a series of scintillating lifts, while the music mounts with a passionate and aching intensity unusual in classical ballet — indeed, it was adversely criticised by earlier audiences, who found it strange and disturbing. Casse-Noisette was the last ballet music written by Tchaikovsky, for he died in 1899, less than a year after its production. This adage can only be performed by artists of high distinction, and Belinda Wright and John Gilpin dance it with the delicacy and crispness of spun sugar.

Very different is the arrogant, flamboyant dance from Don Quixote, with its brilliant classical steps coloured in Spanish style. In Russia the ballet has remained in continuous performance ever since it was first produced in 1869, but in the West it is only known by this show piece for the ballerina and her partner. That dark beauty, Tamara Toumanova, and the lithe and elegant George Skibine, will long be remembered for their performance. What feats of virtuosity she displayed with no more apparent effort than a flick of her eloquent fan! With what panache he danced his variation, and partnered his dazzling ballerina in her scarlet tutu! Minkus’ music is the perfect accompaniment for this period piece.

The pas de deux performed by the dolls in La Boutique Fantastique is that lively French music hall dance, the Can Can. In their secret life whim the shop is closed, the dolls are lovers; but now they perform for the benefit of the customers, whirling their legs in the air, lifting their knees high and throwing back their heads with much jauntiness. The dance ends abruptly and, with a shake of her foaming white petticoats, the lady sinks to the ground in the “splits “, while her raffish partner runs to her side and whispers in her ear. The choreography for this dance is as sparkling and exhilarating as its music, and it comes from one of the most famous of Massine’s works. When he staged it for the Royal Ballet after the war, nineteen-year-old Moira Shearer was the gay, provocative doll and Massine her expert, agile partner.

To see Galina Ulanova partnered by Yuri Zdanov in Romeo and Juliet one of the great experiences of balIet-going. The pas de deux of the balcony scene is a symphonic picture in which the Juliet and Romeo themes are interwoven and the whole is a romantic reverie of small, gliding steps, interspersed with arabesques and — in the Bolshoi tradition — spectacular lifts. It is accomplished with an effortless ease by these two superb artists, who invest their roles with all the tragic poignancy and tender romanticism of the young star-crossed lovers.

The Aurora pas de deux from the last act of The Sleeping Beauty is the most famous of all the classical adages and of a most noble and brilliant description. The two silver and white figures make their sudden and dramatic appearance at the back of the stage and then advance with gracious yet imperious dignity to begin their breath-taking dance. This ends with a spectacular series of pirouettes and ” fish dives” to an accompaniment that mounts in excitement and finally dies on a sustained flute note and plucked strip, It is followed by a delicate solo on pointe for the ballerina and an exhilarating variation for the danseur. Every great ballerina has danced this adage, but none with more royal radiance than the lovely Svetlana Beriosova in her first great classical role at Covent Garden. For the audience it was an evening of enchantment. For her it was a wonderful yet terrifying experience, but in the assured hands of Michael Somas she triumphantly overcame all difficulties.

In all these dances the choreography owes much to its musical setting. Though so varied, all share a well-defined rhythmic line and a clear and vivid characterisation, which is inspiring to the dancers and carries the audience with them in the spell of the immortal pas de deux.

Pigeon Crowle

Immortal Pas De Deux - Royal Philharmonic Orchestra

Label: HMV CLP1239

1959 1950s Covers

Carmen Jones OST - Oscar Hammerstein II

Carmen Jones OST – Oscar Hammerstein II

The stirring music of Bizet with exceptionally fine lyrics and a fiery front cover. Not to be confused with Carmen Miranda samba queen – that’s the fruity one. In this production “Otto Preminger… has woven together the stirring music of Bizet with exceptionally fine lyrics and the synchronisation of talented actors and actresses…” Synchronisation is a technical term to mean the actors and actresses mime to the songs, these being sung by hidden professional singers or played back from a recording.

Sleeve Notes:

Side One

Overture
Opening Medley
Dat’s Love (Habanera)
You Talk Jus’ Like My Maw
Dere’s A Cafe On De Corner
‘Dis Flower
Beat Out Dat Rhythm On A Drum

Side Two

Stan’ Up An’ Fight
Quintet: Whizzin’ Away Along De Track
Card Song
My Joe
Duet And Finale

Probably no film has created more comment in recent years than has Oscar Hammerstein II’s ” Carmen Jones “. The fact that the music of Bizet had been applied to a modem story and a present-day setting, caused purist lovers of the original opera to shudder. However, none was disappointed with the brilliant treatment of this subject and that applies to this LP record, taken from the original sound-track of the film.

As Oscar Hammerstein himself says, “Carmen Jones is not in any way an opera, but is, in fact, a musical play based on an opera. The score of Bizet’s original music has not been altered in any way, nor has the traditional tempo been varied.”

Otto Preminger in his production of “Carmen Jones ” as a film, has woven together the stirring music of Bizet with exceptionally fine lyrics and the synchronization of talented actors and actresses. with the magnificent yokes of an unseen singing cast.

The story of ” Carmen Jones ” follows in a modern pattern, along the lines of its operatic counterpart, with a change of setting that brings the action into the 20th century — specifically World War II.

The story begins when Joe (Harry Belafonte) an Army corporal stationed in Jacksonville, U.S.A., is about to enter Flying School and a party is given in his honour by workers of the nearby parachute factory. Among them is his sweetheart Cindy Lou (Olga James), for whose attentions Sgt. Brown (Bros Peters) is a rival. During the course of the celebrations, Carmen Jones (Dorothy Dandridge) swaggers in and attempts to use her feminine wiles on Joe, who is not at all interested.

Joe at that time is seeking permission from his C.O. to marry Cindy Lou when Carmen chooses to pick a fight with another female employee. Sgt. Brown maliciously puts her in Joe’s custody to take her to Jacksonville Jail, and suggests to Cindy Lou that Joe has volunteered to be responsible for Carmen.

Carmen continues to lure, and her attempts are eventually successful. Meanwhile they stop at a shanty town where she proudly shows of her Joe — all the time promising him that they will soon be aboard the train for Jacksonville and the jail. Carmen’s grandmother, who is a fortune-teller, predicts evil things for the couple, which so much upsets the superstitious Carmen that she runs away.

Joe is imprisoned for his neglect of duty, and during his imprisonment he is so devoured by his passion for Carmen that he cannot face Cindy Lou when she visits him. The only reliefs in his
imprisonment are letters and promises from Carmen, with a gift of a rose.

Carmen, meanwhile, settles down at Billy Pastor’s night club to wait for Joe. Husky Miller (Joe Adams), a heavyweight champ, wants her as his girl friend, but Carmen will have none of it, despite the coaxing of her old friend Frankie (Pearl Bailey), whose job comes to depend on arranging things for Husky.

Joe is released, and joy reigns until Carmen realizes he still plans to go into flying school. She wants him to forget the army and go of to Chicago with her. He fights the temptation, but Sgt. Brown overhearing the scene, intrudes sneeringly and is knocked out by Joe, who, knowing now that the alternative is prison, hides the unconscious sergeant and agrees to Carmen’s plan.

In Chicago, they must evade M.P.’s and go into hiding. When their money has gone, Carmen goes to Husky for more. Frankie urges Carmen to be nice to the fighter, but Carmen swears she’s no two-timer. When Carmen retums to Joe, who complains to her for being away so long, he is suspicious as to the source of the money provided for food. This drives Carmen back to Husky’s where, at a party, she reads her own cards, forecasting death.

Joe follows Carmen, eluding the M.P.’s, while Cindy Lou arrives in pursuit of Joe. All meet at Husky’s training quarters, where Carmen tells Joe it’s all over between them, but helps him to escape. Cindy Lou departs in tears knowing that she has lost her Joe.

At the championship fight, the crowd acclaiming Husky’s triumph, Joe confronts Carmen, again pleading with her. When she refuses his love, he kills her. As the mob mums out of the doors screaming for their hero, the heartsick Joe weeps for the dead Carmen and voices his hope they will soon “hang him on the highest tree”, so that he might join his beloved.

Note by MERVYN DOUGLAS

Carmen Jones OST - Oscar Hammerstein II

Label: HMV CLP1034

1954 1950s Covers