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On The Town 6. Ya Got Me 2:44 The Revuers Fancy Free – Three Dances Music by Leonard Bernstein Nancy Walker; Orchestra conducted by Music and Lyrics by The Revuers Music by Leonard Bernstein Lyrics by Betty Comden & Leonard Joy (Betty Comden, Adolph Green, 15. I. Galop 1:30 Adolph Green Decca 23396, mx 72723AA Alvin Hammer, Judy Holliday, Original Cast plus Mary Martin Recorded 1 February 1945, New York John Frank; Leonard Bernstein 16. II. Waltz 2:37 1. Opening: I Feel Like I’m Not Out Of Tracks 1–6 issued on Decca DL 8030 at the piano) 17. III. Danzón 2:44 Bed Yet—New York, New York 3:11 7. Some Other Time 3:53 13. The Girl With The Two Left Feet – Arthur Fiedler & The Boston Pops Orchestra Chorus & Orchestra conducted by Nancy Walker; David Baker, piano A Musical Satire 22:22 RCA Victor 11-9386, mx D6-RC-5733/4 Lyn Murray Dolphin 2 The Entire Company Recorded 5 June 1946, Tanglewood Decca 23485, mx 73043A Recorded 1956, New York 14. Joan Crawford Fan Club 3:20 Recorded 14 September 1945, New York On The Town Medley Featuring Betty Comden Transfers & Production: David Lennick 2. I Get Carried Away 3:02 Digital Restoration: Graham Newton Music by Leonard Bernstein Musicraft 1133/5 in set N-2, mx RS 685/90 Betty Comden & Adolph Green; Recorded c. March 1940, New York Orchestra conducted by Lyn Murray 8. New York, New York— Decca 23485, mx 73044B Lucky To Be Me 4:03 Cover photo of New York, Manhattan © Ilja Mašík / Dreamstime.com Recorded 14 September 1945, New York ‘Eadie and Rack’ (Howard ‘Rack’ Godwin 3. Lucky To Be Me 2:31 & Eadie Griffith) Mary Martin; Orchestra conducted by MacGregor Transcriptions LB 229, mx MMo775 Camarata Recorded November 1945, Los Angeles Also available in the Naxos Musicals series ... Decca 23395, mx 72728AA Recorded 6 February 1945, New York On The Town Ballet Music Music by Leonard Bernstein 4. Lonely Town 3:16 Mary Martin; Orchestra conducted by 9. Dance Of The Great Lover 1:41 Camarata 10. Lonely Town—Pas de deux 3:04 Decca 23395, mx 72729AA 11. Times Square—Finale, Act I 3:10 Recorded 6 February 1945, New York 12. Dream In The Subway— 5. I Can Cook Too 2:24 Dream Sequence, concluded 4:44 Nancy Walker; Orchestra conducted by Leonard Joy Leonard Bernstein conducting the C Decca 23396, mx 72724AA ‘On The Town’ Orchestra Recorded 1 February 1945, New York Victor 10-1159/60, Camden CAL 196 M Recorded 3 February 1945, New York 8.120846 8.120887 8.120888 These titles are not for retail sale in the USA Y
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movies were war-related, and even the top pop stayed in the company’s repertoire (as indeed and when Bernstein brought Robbins and 462 performances, undoubtedly due to the lack On The Town songs bore titles such as “You’d Be So Nice To Fancy Free does to this day), but Oliver Smith Smith along to see them perform one night, all in topicality felt once World War II ended. It Music by Leonard Bernstein Come Home To”, or “Praise the Lord and Pass saw more in its future. the parties involved got along well enough that later became a hit 1949 MGM movie, starring Lyrics by Betty Comden and Adolph Green the Ammunition”. He convinced Bernstein and Robbins that the duo agreed to write the book and lyrics of Gene Kelly and Frank Sinatra, which – strangely Robbins also was influenced by the raw, the one-act ballet contained inside it the seeds the show – as long as they got to play two of enough – cut out most of the songs from the Original Cast plus Mary Martin 1945 & 1956 • Ballet Music & Medley 1945 erotic energy in the sailors-on-leave paintings of of a hit Broadway musical and the two men the leads as well. original version. The Revuers Music and Lyrics by The Revuers Paul Cadmus and wanted to bring that to the agreed. In the whole madcap, inventive spirit of the But more importantly, it launched the Original Cast 1940 world of ballet. He constructed a scenario and Robbins, dreaming of a classy kind of show, thing, Robbins agreed. But Smith soon realized impressive musical theatre careers of started shopping it around to established wanted dramatic playwright Arthur Laurents to that with composer, choreographer, librettist Bernstein, Robbins, Comden and Green, which Fancy Free Music by Leonard Bernstein composers, all of whom turned him down. do the book and poet John Latouche to provide and lyricist all under the age of thirty, he would continue for decades to come. Three Dances 1946 At that point, Robbins fortunately ran into the lyrics, but fortunately Bernstein had a better needed some seniority on board. This recording is the kind of strange hybrid Oliver Smith, prominent set designer, society idea. And so he approached George Abbott. one would often find in those days. Only a “We’ll catch up some other time,” sing the Many people hail Rodgers and millionaire and friend of the ballet. He He saw the free-and-easy structure of the Already 57, and with over four dozen handful of songs were recorded and the only lovers in the touching finale to On the Town, Hammerstein’s 1943 Oklahoma! as the show volunteered to design Fancy Free, and show as being right up the street of two young productions to his credit, ‘Mr. Abbott’ (as he original artists heard were Comden, Green and but the irony is that this show, perhaps more that changed the face of modern musical immediately introduced Robbins to the 25 year- writer-performers who were near the end of was universally called) seemed just the right comedienne Nancy Walker, while musical than any other in musical comedy history theatre but, in truth, that work only polished old wunderkind of the symphonic conducting their ropes: Betty Comden and Adolph Green. man to rein in all this fresh, relatively untried comedy star Mary Martin was imported to sing couldn’t have happened at any other time than and deepened what had been begun by other world, Leonard Bernstein. Back in 1937, Bernstein and Green had met talent. the two big ballads done by the male romantic exactly when it did. productions, most notably, Showboat. The composer and choreographer instantly up at a summer camp where the former was “I like the kids connected with the show,” lead in the show! (A complete recording of the Not only is this musical the perfect But when you look at the brassy, sassy, song- clicked and they were off. Their breezy story of musical directing and the latter came in to play was Abbott’s only comment when asked why score would not be made until 1960.) reflection of just what America was like in and-dance explosion that was to characterize three sailors and the girls they try to connect The Pirate King in their production of The he had joined the team, but when the project The rest of the present disc gives a real feel those closing days of 1944 when, although the many musicals of the second half of the with on their one night in Manhattan before Pirates of Penzance. started falling apart out of nerves and after a for the work as a whole, containing Bernstein tide had turned in World War II, an Allied Twentieth Century, you have to hail On the they go overseas was not only filled with the The two became fast friends and Bernstein shaky try-out in Boston, he was the one who conducting the show’s considerable ballet victory was still thousands of lives away, but it’s Town as the flashy parent of this popular form. raw energy that was coursing through the would later be a faithful member of the cracked the whip and brought it onto music, cabaret favourites Eadie and Rack also a magic instance of a wildly disparate It all began in 1943 with a ballet called streets of New York in those days, but also audience at The Village Vanguard when Green, Broadway in top-notch condition. offering a stylish period rendition of two tunes, group of people coming together at the Fancy Free. Choreographer Jerome Robbins, managed to capture the emotional fragility and Comden and a young girl named Judith Tuvim It opened to rave reviews on 28 December a few selections from The Revuers original precisely right moment to create something searching for his next creative project for the longing for a world at peace where young men (later to achieve stardom as Judy Holliday) 1944, slightly more than eight months after the material and, to finish things off, Arthur Fiedler unique. New York company then called ‘Ballet Theatre’ and women would be free to couple without worked on their wacky comedy sketches as a premiere of Fancy Free. Such a rapid and the Boston Pops Orchestra with a 1946 A satirical comedy duo, a classical composer, (later ‘American Ballet Theatre’), found himself thinking of the shadow of death. group called The Revuers. turnaround was impressive even back then, but recording of three selections from Fancy Free, a ballet choreographer, a high-society designer plugging into the energy of the thousands of It opened on 18 April 1944 and became an But Tuvim had left the group, Green had a nowadays, with musicals taking years of the revolutionary ballet that gave birth to an and a veteran theatre director all found soldiers and sailors who would descend on instant, volcanic hit, attracting balletomanes as brief, unsuccessful career in Hollywood and workshops and tryouts to get to New York, it equally trend-setting musical comedy. themselves flung together in a creative crucible Manhattan during their few days leave before well as ordinary audiences, making both 1944 found Comden and Green working week seems absolutely phenomenal. that proved musical theatre makes much going off (or returning to) the European and Bernstein and Robbins household names. to week at The Blue Angel. The show ran a solid, but not overwhelming Richard Ouzounian stranger bedfellows than politics ever dreamed Pacific theatres of World War II. Any other hit ballet would have simply They had been enthusiastic audience of. At that point, nearly a third of all Hollywood rested there, on its considerable laurels, and members on the opening night of Fancy Free
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movies were war-related, and even the top pop stayed in the company’s repertoire (as indeed and when Bernstein brought Robbins and 462 performances, undoubtedly due to the lack On The Town songs bore titles such as “You’d Be So Nice To Fancy Free does to this day), but Oliver Smith Smith along to see them perform one night, all in topicality felt once World War II ended. It Music by Leonard Bernstein Come Home To”, or “Praise the Lord and Pass saw more in its future. the parties involved got along well enough that later became a hit 1949 MGM movie, starring Lyrics by Betty Comden and Adolph Green the Ammunition”. He convinced Bernstein and Robbins that the duo agreed to write the book and lyrics of Gene Kelly and Frank Sinatra, which – strangely Robbins also was influenced by the raw, the one-act ballet contained inside it the seeds the show – as long as they got to play two of enough – cut out most of the songs from the Original Cast plus Mary Martin 1945 & 1956 • Ballet Music & Medley 1945 erotic energy in the sailors-on-leave paintings of of a hit Broadway musical and the two men the leads as well. original version. The Revuers Music and Lyrics by The Revuers Paul Cadmus and wanted to bring that to the agreed. In the whole madcap, inventive spirit of the But more importantly, it launched the Original Cast 1940 world of ballet. He constructed a scenario and Robbins, dreaming of a classy kind of show, thing, Robbins agreed. But Smith soon realized impressive musical theatre careers of started shopping it around to established wanted dramatic playwright Arthur Laurents to that with composer, choreographer, librettist Bernstein, Robbins, Comden and Green, which Fancy Free Music by Leonard Bernstein composers, all of whom turned him down. do the book and poet John Latouche to provide and lyricist all under the age of thirty, he would continue for decades to come. Three Dances 1946 At that point, Robbins fortunately ran into the lyrics, but fortunately Bernstein had a better needed some seniority on board. This recording is the kind of strange hybrid Oliver Smith, prominent set designer, society idea. And so he approached George Abbott. one would often find in those days. Only a “We’ll catch up some other time,” sing the Many people hail Rodgers and millionaire and friend of the ballet. He He saw the free-and-easy structure of the Already 57, and with over four dozen handful of songs were recorded and the only lovers in the touching finale to On the Town, Hammerstein’s 1943 Oklahoma! as the show volunteered to design Fancy Free, and show as being right up the street of two young productions to his credit, ‘Mr. Abbott’ (as he original artists heard were Comden, Green and but the irony is that this show, perhaps more that changed the face of modern musical immediately introduced Robbins to the 25 year- writer-performers who were near the end of was universally called) seemed just the right comedienne Nancy Walker, while musical than any other in musical comedy history theatre but, in truth, that work only polished old wunderkind of the symphonic conducting their ropes: Betty Comden and Adolph Green. man to rein in all this fresh, relatively untried comedy star Mary Martin was imported to sing couldn’t have happened at any other time than and deepened what had been begun by other world, Leonard Bernstein. Back in 1937, Bernstein and Green had met talent. the two big ballads done by the male romantic exactly when it did. productions, most notably, Showboat. The composer and choreographer instantly up at a summer camp where the former was “I like the kids connected with the show,” lead in the show! (A complete recording of the Not only is this musical the perfect But when you look at the brassy, sassy, song- clicked and they were off. Their breezy story of musical directing and the latter came in to play was Abbott’s only comment when asked why score would not be made until 1960.) reflection of just what America was like in and-dance explosion that was to characterize three sailors and the girls they try to connect The Pirate King in their production of The he had joined the team, but when the project The rest of the present disc gives a real feel those closing days of 1944 when, although the many musicals of the second half of the with on their one night in Manhattan before Pirates of Penzance. started falling apart out of nerves and after a for the work as a whole, containing Bernstein tide had turned in World War II, an Allied Twentieth Century, you have to hail On the they go overseas was not only filled with the The two became fast friends and Bernstein shaky try-out in Boston, he was the one who conducting the show’s considerable ballet victory was still thousands of lives away, but it’s Town as the flashy parent of this popular form. raw energy that was coursing through the would later be a faithful member of the cracked the whip and brought it onto music, cabaret favourites Eadie and Rack also a magic instance of a wildly disparate It all began in 1943 with a ballet called streets of New York in those days, but also audience at The Village Vanguard when Green, Broadway in top-notch condition. offering a stylish period rendition of two tunes, group of people coming together at the Fancy Free. Choreographer Jerome Robbins, managed to capture the emotional fragility and Comden and a young girl named Judith Tuvim It opened to rave reviews on 28 December a few selections from The Revuers original precisely right moment to create something searching for his next creative project for the longing for a world at peace where young men (later to achieve stardom as Judy Holliday) 1944, slightly more than eight months after the material and, to finish things off, Arthur Fiedler unique. New York company then called ‘Ballet Theatre’ and women would be free to couple without worked on their wacky comedy sketches as a premiere of Fancy Free. Such a rapid and the Boston Pops Orchestra with a 1946 A satirical comedy duo, a classical composer, (later ‘American Ballet Theatre’), found himself thinking of the shadow of death. group called The Revuers. turnaround was impressive even back then, but recording of three selections from Fancy Free, a ballet choreographer, a high-society designer plugging into the energy of the thousands of It opened on 18 April 1944 and became an But Tuvim had left the group, Green had a nowadays, with musicals taking years of the revolutionary ballet that gave birth to an and a veteran theatre director all found soldiers and sailors who would descend on instant, volcanic hit, attracting balletomanes as brief, unsuccessful career in Hollywood and workshops and tryouts to get to New York, it equally trend-setting musical comedy. themselves flung together in a creative crucible Manhattan during their few days leave before well as ordinary audiences, making both 1944 found Comden and Green working week seems absolutely phenomenal. that proved musical theatre makes much going off (or returning to) the European and Bernstein and Robbins household names. to week at The Blue Angel. The show ran a solid, but not overwhelming Richard Ouzounian stranger bedfellows than politics ever dreamed Pacific theatres of World War II. Any other hit ballet would have simply They had been enthusiastic audience of. At that point, nearly a third of all Hollywood rested there, on its considerable laurels, and members on the opening night of Fancy Free
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movies were war-related, and even the top pop stayed in the company’s repertoire (as indeed and when Bernstein brought Robbins and 462 performances, undoubtedly due to the lack On The Town songs bore titles such as “You’d Be So Nice To Fancy Free does to this day), but Oliver Smith Smith along to see them perform one night, all in topicality felt once World War II ended. It Music by Leonard Bernstein Come Home To”, or “Praise the Lord and Pass saw more in its future. the parties involved got along well enough that later became a hit 1949 MGM movie, starring Lyrics by Betty Comden and Adolph Green the Ammunition”. He convinced Bernstein and Robbins that the duo agreed to write the book and lyrics of Gene Kelly and Frank Sinatra, which – strangely Robbins also was influenced by the raw, the one-act ballet contained inside it the seeds the show – as long as they got to play two of enough – cut out most of the songs from the Original Cast plus Mary Martin 1945 & 1956 • Ballet Music & Medley 1945 erotic energy in the sailors-on-leave paintings of of a hit Broadway musical and the two men the leads as well. original version. The Revuers Music and Lyrics by The Revuers Paul Cadmus and wanted to bring that to the agreed. In the whole madcap, inventive spirit of the But more importantly, it launched the Original Cast 1940 world of ballet. He constructed a scenario and Robbins, dreaming of a classy kind of show, thing, Robbins agreed. But Smith soon realized impressive musical theatre careers of started shopping it around to established wanted dramatic playwright Arthur Laurents to that with composer, choreographer, librettist Bernstein, Robbins, Comden and Green, which Fancy Free Music by Leonard Bernstein composers, all of whom turned him down. do the book and poet John Latouche to provide and lyricist all under the age of thirty, he would continue for decades to come. Three Dances 1946 At that point, Robbins fortunately ran into the lyrics, but fortunately Bernstein had a better needed some seniority on board. This recording is the kind of strange hybrid Oliver Smith, prominent set designer, society idea. And so he approached George Abbott. one would often find in those days. Only a “We’ll catch up some other time,” sing the Many people hail Rodgers and millionaire and friend of the ballet. He He saw the free-and-easy structure of the Already 57, and with over four dozen handful of songs were recorded and the only lovers in the touching finale to On the Town, Hammerstein’s 1943 Oklahoma! as the show volunteered to design Fancy Free, and show as being right up the street of two young productions to his credit, ‘Mr. Abbott’ (as he original artists heard were Comden, Green and but the irony is that this show, perhaps more that changed the face of modern musical immediately introduced Robbins to the 25 year- writer-performers who were near the end of was universally called) seemed just the right comedienne Nancy Walker, while musical than any other in musical comedy history theatre but, in truth, that work only polished old wunderkind of the symphonic conducting their ropes: Betty Comden and Adolph Green. man to rein in all this fresh, relatively untried comedy star Mary Martin was imported to sing couldn’t have happened at any other time than and deepened what had been begun by other world, Leonard Bernstein. Back in 1937, Bernstein and Green had met talent. the two big ballads done by the male romantic exactly when it did. productions, most notably, Showboat. The composer and choreographer instantly up at a summer camp where the former was “I like the kids connected with the show,” lead in the show! (A complete recording of the Not only is this musical the perfect But when you look at the brassy, sassy, song- clicked and they were off. Their breezy story of musical directing and the latter came in to play was Abbott’s only comment when asked why score would not be made until 1960.) reflection of just what America was like in and-dance explosion that was to characterize three sailors and the girls they try to connect The Pirate King in their production of The he had joined the team, but when the project The rest of the present disc gives a real feel those closing days of 1944 when, although the many musicals of the second half of the with on their one night in Manhattan before Pirates of Penzance. started falling apart out of nerves and after a for the work as a whole, containing Bernstein tide had turned in World War II, an Allied Twentieth Century, you have to hail On the they go overseas was not only filled with the The two became fast friends and Bernstein shaky try-out in Boston, he was the one who conducting the show’s considerable ballet victory was still thousands of lives away, but it’s Town as the flashy parent of this popular form. raw energy that was coursing through the would later be a faithful member of the cracked the whip and brought it onto music, cabaret favourites Eadie and Rack also a magic instance of a wildly disparate It all began in 1943 with a ballet called streets of New York in those days, but also audience at The Village Vanguard when Green, Broadway in top-notch condition. offering a stylish period rendition of two tunes, group of people coming together at the Fancy Free. Choreographer Jerome Robbins, managed to capture the emotional fragility and Comden and a young girl named Judith Tuvim It opened to rave reviews on 28 December a few selections from The Revuers original precisely right moment to create something searching for his next creative project for the longing for a world at peace where young men (later to achieve stardom as Judy Holliday) 1944, slightly more than eight months after the material and, to finish things off, Arthur Fiedler unique. New York company then called ‘Ballet Theatre’ and women would be free to couple without worked on their wacky comedy sketches as a premiere of Fancy Free. Such a rapid and the Boston Pops Orchestra with a 1946 A satirical comedy duo, a classical composer, (later ‘American Ballet Theatre’), found himself thinking of the shadow of death. group called The Revuers. turnaround was impressive even back then, but recording of three selections from Fancy Free, a ballet choreographer, a high-society designer plugging into the energy of the thousands of It opened on 18 April 1944 and became an But Tuvim had left the group, Green had a nowadays, with musicals taking years of the revolutionary ballet that gave birth to an and a veteran theatre director all found soldiers and sailors who would descend on instant, volcanic hit, attracting balletomanes as brief, unsuccessful career in Hollywood and workshops and tryouts to get to New York, it equally trend-setting musical comedy. themselves flung together in a creative crucible Manhattan during their few days leave before well as ordinary audiences, making both 1944 found Comden and Green working week seems absolutely phenomenal. that proved musical theatre makes much going off (or returning to) the European and Bernstein and Robbins household names. to week at The Blue Angel. The show ran a solid, but not overwhelming Richard Ouzounian stranger bedfellows than politics ever dreamed Pacific theatres of World War II. Any other hit ballet would have simply They had been enthusiastic audience of. At that point, nearly a third of all Hollywood rested there, on its considerable laurels, and members on the opening night of Fancy Free
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On The Town 6. Ya Got Me 2:44 The Revuers Fancy Free – Three Dances Music by Leonard Bernstein Nancy Walker; Orchestra conducted by Music and Lyrics by The Revuers Music by Leonard Bernstein Lyrics by Betty Comden & Leonard Joy (Betty Comden, Adolph Green, 15. I. Galop 1:30 Adolph Green Decca 23396, mx 72723AA Alvin Hammer, Judy Holliday, Original Cast plus Mary Martin Recorded 1 February 1945, New York John Frank; Leonard Bernstein 16. II. Waltz 2:37 1. Opening: I Feel Like I’m Not Out Of Tracks 1–6 issued on Decca DL 8030 at the piano) 17. III. Danzón 2:44 Bed Yet—New York, New York 3:11 7. Some Other Time 3:53 13. The Girl With The Two Left Feet – Arthur Fiedler & The Boston Pops Orchestra Chorus & Orchestra conducted by Nancy Walker; David Baker, piano A Musical Satire 22:22 RCA Victor 11-9386, mx D6-RC-5733/4 Lyn Murray Dolphin 2 The Entire Company Recorded 5 June 1946, Tanglewood Decca 23485, mx 73043A Recorded 1956, New York 14. Joan Crawford Fan Club 3:20 Recorded 14 September 1945, New York On The Town Medley Featuring Betty Comden Transfers & Production: David Lennick 2. I Get Carried Away 3:02 Digital Restoration: Graham Newton Music by Leonard Bernstein Musicraft 1133/5 in set N-2, mx RS 685/90 Betty Comden & Adolph Green; Recorded c. March 1940, New York Orchestra conducted by Lyn Murray 8. New York, New York— Decca 23485, mx 73044B Lucky To Be Me 4:03 Cover photo of New York, Manhattan © Ilja Mašík / Dreamstime.com Recorded 14 September 1945, New York ‘Eadie and Rack’ (Howard ‘Rack’ Godwin 3. Lucky To Be Me 2:31 & Eadie Griffith) Mary Martin; Orchestra conducted by MacGregor Transcriptions LB 229, mx MMo775 Camarata Recorded November 1945, Los Angeles Also available in the Naxos Musicals series ... Decca 23395, mx 72728AA Recorded 6 February 1945, New York On The Town Ballet Music Music by Leonard Bernstein 4. Lonely Town 3:16 Mary Martin; Orchestra conducted by 9. Dance Of The Great Lover 1:41 Camarata 10. Lonely Town—Pas de deux 3:04 Decca 23395, mx 72729AA 11. Times Square—Finale, Act I 3:10 Recorded 6 February 1945, New York 12. Dream In The Subway— 5. I Can Cook Too 2:24 Dream Sequence, concluded 4:44 Nancy Walker; Orchestra conducted by Leonard Joy Leonard Bernstein conducting the C Decca 23396, mx 72724AA ‘On The Town’ Orchestra Recorded 1 February 1945, New York Victor 10-1159/60, Camden CAL 196 M Recorded 3 February 1945, New York 8.120846 8.120887 8.120888 These titles are not for retail sale in the USA Y
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On The Town 6. Ya Got Me 2:44 The Revuers Fancy Free – Three Dances Music by Leonard Bernstein Nancy Walker; Orchestra conducted by Music and Lyrics by The Revuers Music by Leonard Bernstein Lyrics by Betty Comden & Leonard Joy (Betty Comden, Adolph Green, 15. I. Galop 1:30 Adolph Green Decca 23396, mx 72723AA Alvin Hammer, Judy Holliday, Original Cast plus Mary Martin Recorded 1 February 1945, New York John Frank; Leonard Bernstein 16. II. Waltz 2:37 1. Opening: I Feel Like I’m Not Out Of Tracks 1–6 issued on Decca DL 8030 at the piano) 17. III. Danzón 2:44 Bed Yet—New York, New York 3:11 7. Some Other Time 3:53 13. The Girl With The Two Left Feet – Arthur Fiedler & The Boston Pops Orchestra Chorus & Orchestra conducted by Nancy Walker; David Baker, piano A Musical Satire 22:22 RCA Victor 11-9386, mx D6-RC-5733/4 Lyn Murray Dolphin 2 The Entire Company Recorded 5 June 1946, Tanglewood Decca 23485, mx 73043A Recorded 1956, New York 14. Joan Crawford Fan Club 3:20 Recorded 14 September 1945, New York On The Town Medley Featuring Betty Comden Transfers & Production: David Lennick 2. I Get Carried Away 3:02 Digital Restoration: Graham Newton Music by Leonard Bernstein Musicraft 1133/5 in set N-2, mx RS 685/90 Betty Comden & Adolph Green; Recorded c. March 1940, New York Orchestra conducted by Lyn Murray 8. New York, New York— Decca 23485, mx 73044B Lucky To Be Me 4:03 Cover photo of New York, Manhattan © Ilja Mašík / Dreamstime.com Recorded 14 September 1945, New York ‘Eadie and Rack’ (Howard ‘Rack’ Godwin 3. Lucky To Be Me 2:31 & Eadie Griffith) Mary Martin; Orchestra conducted by MacGregor Transcriptions LB 229, mx MMo775 Camarata Recorded November 1945, Los Angeles Also available in the Naxos Musicals series ... Decca 23395, mx 72728AA Recorded 6 February 1945, New York On The Town Ballet Music Music by Leonard Bernstein 4. Lonely Town 3:16 Mary Martin; Orchestra conducted by 9. Dance Of The Great Lover 1:41 Camarata 10. Lonely Town—Pas de deux 3:04 Decca 23395, mx 72729AA 11. Times Square—Finale, Act I 3:10 Recorded 6 February 1945, New York 12. Dream In The Subway— 5. I Can Cook Too 2:24 Dream Sequence, concluded 4:44 Nancy Walker; Orchestra conducted by Leonard Joy Leonard Bernstein conducting the C Decca 23396, mx 72724AA ‘On The Town’ Orchestra Recorded 1 February 1945, New York Victor 10-1159/60, Camden CAL 196 M Recorded 3 February 1945, New York 8.120846 8.120887 8.120888 These titles are not for retail sale in the USA Y
5 8.120889 6 8.120889 K ON THE TOWN 8.120889 C Music Ballet TownOn The ‘E Medley TownOn The Mary Martin•NancyWalker •BettyComdenAdolph Green C O Howard ‘Rack’Godwin•EadieGriffith Howard 12. Dream In The Subway—Dream Sequence, InTheSubway—Dream Dream 12. Times ActI Square—Finale, 11. LonelyTown—Pas dedeux 10. Music by Leonard Bernstein • Lyrics byBettyComden&AdolphGreen •Lyrics Bernstein Music byLeonard TownOn The o o aei h ntdSae MadeinGermany Not for SaleintheUnitedStates ൿ www. NOTES ANDFULLRECORDING DETAILS INCLUDED Transfers &Production: DavidLennick •Digital Restoration: Graham Newton 9. Dance Of The Great Lover DanceOfTheGreat 9. .NewYork, NewYork—Lucky To BeMe 8. .SomeOtherTime 7. .Ya GotMe 6. ICanCookToo 5. LonelyTown 4. LuckyTo BeMe 3. IGetCarriedAway 2. Opening:IFeelLikeI’mNotOutOfBedYet 1. ONDUCTORS ONDUCTOR RIGINAL DEAND ADIE & concluded L A Ꭿ YN DOLPH 00NxsRgt nentoa t.Design: RonHoares Ltd. 2010 NaxosRightsInternational M naxos.com URRAY G C REEN R AST : L : L ACK C N 4:44 HORUS EONARD YN ANCY 3:02 M M ’, ARY MESWITH EMBERS M N 1945 M W & O ANCY URRAY ARY ALKER N M B ANCY ARTIN RCHESTRA B ETTY M W ERNSTEIN ARTIN ALKER 2:44 W 1–2 C 3:16 ALKER OMDEN 1:41 • 3:04 2:31 3:10 3:11 2:24 C M AMARATA 3:53 , & ARY 1945 Total Time70:47 M 4:03 ARTIN 3–4 • — , L New York, NewYork John Frank • Leonard Bernstein, piano Bernstein, John Frank•Leonard Alvin Hammer•JudyHolliday Betty Comden•AdolphGreen B A Bernstein Music byLeonard Dances Three Fancy Free: O byTheRevuers Music andLyrics Revuers The 14. Joan Crawford FanClub JoanCrawford 14. 7 III.Danzón 17. II.Waltz 16. I.Galop 15. The GirlWith TheTwo LeftFeet– 13. EONARD 1945 OSTON RTHUR IIA CAST RIGINAL A Musical Satire A MusicalSatire C OMDEN 1–6 P J F AND OY OPS ELRCNUTN THE CONDUCTING IEDLER 3:20 1:30 2:37 5–6 O 1956 • 2:44 1940 RCHESTRA P IANO T 7 HE E : D NTIRE , AVID F 1946 C EATURING OMPANY ADD B AKER B 22:22
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