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1. My Hero 2:54 7. Begin The Beguine 3:19 14. My Heart And I 3:14 19. They Say It’s Wonderful 3:13 From The Chocolate Soldier (Cole Porter) From Old Chelsea From Annie Get Your Gun (Stanislaus Stange–Oscar Straus) With orchestra (Richard Tauber–Fred Tysh) (Irving Berlin) With orchestra Parlophone RO 20487, mx CE 10500-3 With orchestra and chorus conducted by With orchestra conducted by George Parlophone RO 20463, mx CE 9551-2 Recorded 31 May 1940 Henry Geehl Melachrino Recorded 10 January 1939 8. Indian Summer 2:58 Parlophone RO 20522, mx CE 11087-1 Parlophone RO 20556, mx CE 11975-2 2. Serenade from ‘Frasquita’ (Farewell (Victor Herbert-Al Dubin) Recorded 3 June 1943 Recorded 12 September 1947 My Love, Farewell) 3:10 With orchestra 15. We’ll Gather Lilacs 3:27 20. Oh, What A Beautiful Mornin’ 2:34 (Reginald Arkell–Franz Lehár) Parlophone RO 20487, mx CE 10513-2 (Ivor Novello) From Oklahoma With orchestra Recorded 26 June 1940 With orchestra conducted by Henry Geehl (Richard Rodgers-Oscar Hammerstein) Parlophone RO 20436, mx CE 9549-3 9. When Day Is Done 3:32 Parlophone RO 20538, mx CE 11370-1 With orchestra conducted by George Recorded 10 January 1939 (Robert Katscher–B. G. de Sylva) Recorded 12 April 1945 Melachrino 3. Don’t Be Cross 3:20 With orchestra 16. The Night Has Known My Tears 3:25 Parlophone RO 20556, mx CE 11974-1 From Der Obersteiger Parlophone RO 20489, mx CE 10530-1 (P.de Carolis-M. Mayne) Recorded 12 September 1947 (Clifton Bingham–Carl Zeller) Recorded 9 July 1940 With orchestra conducted by Eddie Griffiths All selections recorded in London and sung With orchestra 10. Sleepy Lagoon 3:26 Parlophone RO 20540, mx CE 11385-1 in English. Parlophone RO 20447, mx CE 9548-1 (Eric Coates-Jack Lawrence) Recorded 1 June 1945 Transfers & Production: David Lennick. Recorded 10 January 1939 With orchestra 17. Au revoir (J’attendrai) 3:21 Digital Noise Reduction: Graham Newton. 4. One Day When We Were Young 2:56 Parlophone RO 20492, mx CE 10644-1 (Dino Olivieri–Bruce Sievier) Original 78s loaned by John Rutherford. From the film The Great Waltz Recorded 19 December 1940 With orchestra conducted by Henry Geehl (Oscar Hammerstein–Johann Strauss, arr. 11. My Moonlight Madonna 3:14 Parlophone RO 20540, mx CE 11341-1 Dmitri Tiomkin) (Zdeneˇk Fibich–Paul Francis Webster) Recorded 6 February 1945 Also available .... With orchestra With orchestra conducted by Henry Geehl 18. Pedro The Fisherman 3:19 Parlophone RO 20431, mx CE 9532-1 Parlophone RO 20498, mx CE 10688-1 From the film The Lisbon Story Recorded 9 January 1939 Recorded 25 February 1941 (Harold Purcell–Harry Parr Davies) 5. Love Serenade 2:49 12. Jealousy 3:11 With orchestra conducted by George (Robert Wright–George Forrest–Riccardo (Jacob Gade–Winifred May) Melachrino Drigo) With orchestra conducted by Phil Green Parlophone RO 20545, mx CE 11615-1 With orchestra Parlophone RO 20513, mx CE 10963-2 Recorded 5 February 1946 Parlophone RO 20447, mx CE 9934-1 Recorded 3 July 1942 Recorded 30 June 1939 13. Love’s Last Word Is Spoken 3:17 6. Kiss Me Again 2:53 (Cesare Andrea Bixio–Bruce Sievier) (Henry Blossom–Victor Herbert) With orchestra conducted by Phil Green With orchestra Parlophone RO 20513, mx CE 10964-2 Parlophone RO 20484, mx CE 10414-2 Recorded 3 July 1942 Recorded 29 March 1940 8.120513 8.120555
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In 1912 Tauber was offered a contract by Marischka (Tauber having been the fourth American Victor Herbert (1859-1924) – Tauber Fisherman (with ridiculous lyrics by Harold RICHARD TAUBER Vol.3 the Wiesbaden Theatre, of which his father had successive tenor during the show’s initial 195- also offers a fine rendering of Indian Purcell which even Tauber is hard put to ‘Love’s Serenade’ Original 1939-1947 Recordings been made Director, but opted instead to performance run) but both in its original Summer, originally a piano solo interpolated redeem; this song, which ‘kept Britons continue his studies with Beines. In March version “Hab’ ein blaues Himmelbett” and in into Herbert’s 1919 musical The Velvet Lady, humming’ through World War 2, was aired by Decked in monocle and top-hat, in his own his Covent Garden ‘farewell’, two weeks before 1913 the fledgling tenor made a more high- Reginald Arkell’s translation, Serenade was to this was made a song in 1939, with lyrics by the tenor himself in the 1946 British National lifetime Tauber ‘the voice of tenor romance his death, on 8 January 1948. Musicianly and profile solo debut at the Neues Stadt-Theater in prove one of the tenor’s most regularly encored New York librettist Al Dubin, 1891-1945). A hit filming of the stage show Lisbon Story). incarnate’ was both an operetta matinee idol stylish, beneath that all-pervading and often Chemnitz, in Die Zauberflöte and a few days theme-songs. from his longest-running show Perchance To Among the ballads, non-operetta and non- and a best-selling balladeer through scores of distracting veneer of romanticism,Tauber was later appeared in Der Freischütz, securing for With My Hero, from The Chocolate Soldier Dream (1,022 performances, London, 1945), film period-pieces made memorable in Tauber mid-price magenta-label Parlophones (which, always disciplined in his art, his controlled himself a five-year contract with the Dresden by the Vienna-born Oscar Straus (1870-1950), We’ll Gather Lilacs still ranks high among the renditions are Love Serenade (a posthumous being so frequent, were know jocularly at EMI lyricism consciously attuned to the more Royal Opera. His operatic career was as Tauber opens with a number which sopranos, best-loved encores of Ivor Novello (1893-1951) vocalising of a waltz-theme from the 1900 as ‘Tauberphones’). Indeed, so all-embracing intimate dimensions of lieder and miniatures in notable for its diversity (a quick study thanks to rather than tenors, regularly stopped the show. – and Tauber’s is surely the best of its ballet Les millions d’Arlequin by Paduan was the populist Tauber’s assumption of the general. A fine songwriter in his own right, he his all-round musical accomplishment, at Premiered in Vienna in 1908 as Der tapfere contemporary non-cast recordings. From the composer-conductor Riccardo Drigo, 1846- latest frivolities from show and film that in was also an above-average pianist and an Dresden alone he sang, often at short notice, Soldat (The Brave Soldier) this now-forgotten Broadway musicals Oklahoma! (1943) and 1930), When Day Is Done (with words by some circles his stature was for a time underestimated (and until his last years a lyric-tenor leads in over sixty operas) and his operetta based on George Bernard Shaw’s Arms Annie, Get Your Gun (1946) come, New York-born Buddy G. De Sylva (alias George positively underrated. However, whereas it was frustrated) conductor. guest appearances at other leading European And The Man was once a major draw, which respectively, Oh, What A Beautiful Mornin’ Gard, 1895-1950) and music by Viennese-born for many years fashionable to regret his Richard Denemy Tauber was born opera houses included operetta, a new ran for 296 showings on Broadway (Lyric and They Say It’s Wonderful (unusual master of the revue-operette Robert Katscher investment of so many trifles with that illegitimately to theatrical parents in Linz, direction he would continue to follow even Theater) from 1909 before touring America, and repertoire for Tauber, it may still be thought), (1894-1942), this dates from 1926), Sleepy quintessentially Viennese charisma, during Austria, on 16 May 1891 and although he was more assiduously during the following decade. in London for 500 performances at the Lyric (in while Begin The Beguine (first heard in Cole Lagoon (a vocal version of the 1930 orchestral recent decades it has become more fashionable never far removed from singing he at first In 1930, in Berlin, he also branched into the 1910) prior to enjoying successful revivals in Porter’s short-lived 1935 Broadway venture miniature ‘By The Sleepy Lagoon’ by to reappraise Tauber as a pioneer of ‘cross-over’ showed no great inclination for it, despite then new medium of screen-musicals. Operetta 1914, 1932 and 1940. Another appropriated Jubilee) and My Heart And I (from Tauber’s Nottinghamshire-born Eric Coates,1886-1957), whose high musicality and fiercely self-critical encouragement offered him during his teens by in orientation (tailored to emphasise their star soprano air with which Tauber both charms own long-running London musical production My Moonlight Madonna (a 1933 vocal standards transcended all purely commercial the tenor Heinrich Hensel. Richard’s joint tenor, with plots subordinated to musical and disarms is Don’t Be Cross, a translation by of 1943, Old Chelsea), typify the tenor’s highly adaptation of ‘Poème’, Opus 41, No.6 for piano, considerations – a master to whom any song talents for piano and composition were honed content) these included Das lockende Ziel Clifton Bingham (1859-1913) from the English individual style. by the Czech pianist-composer Zdeneˇk Fibich, worthy of his consideration was Schubert. at the Conservatory of Frankfurt-am-Main while (1930) and Die grosse Attraktion (1931). production of Der Obersteiger (The Foreman), From the world of films our selections 1850-1900) and Au revoir (also known as The product of an age in which his burning ambition to become a conductor Tauber’s closest affiliation, however, was a popular Viennese operetta of 1894 by Karl include the ever-popular One Day When We ‘J’attendrai’, a cabaret favourite first heard individuality in performance was actively would remain latent for the rest of his life. In with stage-operetta and in particular with the Zeller (1842-1898). Were Young (one of several borrowings from around 1937 and subsequently became better encouraged,Tauber was essentially Schubertian 1910 he was finally persuaded to embark on a works of the Hungarian Franz Lehár (1870- From other stage-works Tauber recorded a Johann Strauss II incorporated into the score of known via a best-selling disc by the Corsican – or, perhaps more precisely, Mozartian (that is short course of study in Freiburg with the 1948), whose Frasquita (premiered in 1922, at diverse range of ‘favourites’, and our The Great Waltz, a 1938-vintage Oscar-winning tenor Tino Rossi). instrumental) in his approach to singing. An Heldentenor Carl Beines, the ‘great musician’ the Theater an der Wien) was to provide Tauber programme offers some of the more significant Hollywood mélange from MGM, which featured acclaimed recitalist, in more populist guise he whom he would later acknowledge as ‘the most with an entrée to a lifelong association, from of these. Kiss Me Again (with lyrics by St soprano Miliza Korjus) and Pedro, The Peter Dempsey, 2004 gave a captivating, if rather stylised, portrayal of important man in my life’. Instantly recognising 1924 onwards, that included his creations in Louis-born playwright and librettist Henry Schubert in the 1934 BIP film Blossom Time, his young pupil’s potential, Beines proceeded to Friederike in 1928 and in the opera Giuditta, Blossom (1866-1919) this is the best- while operas by Mozart were to provide the fulfil his promise to make him ‘the greatest Lehár’s last work, in 1934. The tenor lead in remembered number from Mlle. Modiste,a vehicles both of his stage debut in 1913 and of Mozart singer in the world’. Frasquita had earlier been created by Hubert 1905 Broadway musical by Dublin-born Original monochrome photo of Richard Tauber from Lebrecht Music & Arts Collection.
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In 1912 Tauber was offered a contract by Marischka (Tauber having been the fourth American Victor Herbert (1859-1924) – Tauber Fisherman (with ridiculous lyrics by Harold RICHARD TAUBER Vol.3 the Wiesbaden Theatre, of which his father had successive tenor during the show’s initial 195- also offers a fine rendering of Indian Purcell which even Tauber is hard put to ‘Love’s Serenade’ Original 1939-1947 Recordings been made Director, but opted instead to performance run) but both in its original Summer, originally a piano solo interpolated redeem; this song, which ‘kept Britons continue his studies with Beines. In March version “Hab’ ein blaues Himmelbett” and in into Herbert’s 1919 musical The Velvet Lady, humming’ through World War 2, was aired by Decked in monocle and top-hat, in his own his Covent Garden ‘farewell’, two weeks before 1913 the fledgling tenor made a more high- Reginald Arkell’s translation, Serenade was to this was made a song in 1939, with lyrics by the tenor himself in the 1946 British National lifetime Tauber ‘the voice of tenor romance his death, on 8 January 1948. Musicianly and profile solo debut at the Neues Stadt-Theater in prove one of the tenor’s most regularly encored New York librettist Al Dubin, 1891-1945). A hit filming of the stage show Lisbon Story). incarnate’ was both an operetta matinee idol stylish, beneath that all-pervading and often Chemnitz, in Die Zauberflöte and a few days theme-songs. from his longest-running show Perchance To Among the ballads, non-operetta and non- and a best-selling balladeer through scores of distracting veneer of romanticism,Tauber was later appeared in Der Freischütz, securing for With My Hero, from The Chocolate Soldier Dream (1,022 performances, London, 1945), film period-pieces made memorable in Tauber mid-price magenta-label Parlophones (which, always disciplined in his art, his controlled himself a five-year contract with the Dresden by the Vienna-born Oscar Straus (1870-1950), We’ll Gather Lilacs still ranks high among the renditions are Love Serenade (a posthumous being so frequent, were know jocularly at EMI lyricism consciously attuned to the more Royal Opera. His operatic career was as Tauber opens with a number which sopranos, best-loved encores of Ivor Novello (1893-1951) vocalising of a waltz-theme from the 1900 as ‘Tauberphones’). Indeed, so all-embracing intimate dimensions of lieder and miniatures in notable for its diversity (a quick study thanks to rather than tenors, regularly stopped the show. – and Tauber’s is surely the best of its ballet Les millions d’Arlequin by Paduan was the populist Tauber’s assumption of the general. A fine songwriter in his own right, he his all-round musical accomplishment, at Premiered in Vienna in 1908 as Der tapfere contemporary non-cast recordings. From the composer-conductor Riccardo Drigo, 1846- latest frivolities from show and film that in was also an above-average pianist and an Dresden alone he sang, often at short notice, Soldat (The Brave Soldier) this now-forgotten Broadway musicals Oklahoma! (1943) and 1930), When Day Is Done (with words by some circles his stature was for a time underestimated (and until his last years a lyric-tenor leads in over sixty operas) and his operetta based on George Bernard Shaw’s Arms Annie, Get Your Gun (1946) come, New York-born Buddy G. De Sylva (alias George positively underrated. However, whereas it was frustrated) conductor. guest appearances at other leading European And The Man was once a major draw, which respectively, Oh, What A Beautiful Mornin’ Gard, 1895-1950) and music by Viennese-born for many years fashionable to regret his Richard Denemy Tauber was born opera houses included operetta, a new ran for 296 showings on Broadway (Lyric and They Say It’s Wonderful (unusual master of the revue-operette Robert Katscher investment of so many trifles with that illegitimately to theatrical parents in Linz, direction he would continue to follow even Theater) from 1909 before touring America, and repertoire for Tauber, it may still be thought), (1894-1942), this dates from 1926), Sleepy quintessentially Viennese charisma, during Austria, on 16 May 1891 and although he was more assiduously during the following decade. in London for 500 performances at the Lyric (in while Begin The Beguine (first heard in Cole Lagoon (a vocal version of the 1930 orchestral recent decades it has become more fashionable never far removed from singing he at first In 1930, in Berlin, he also branched into the 1910) prior to enjoying successful revivals in Porter’s short-lived 1935 Broadway venture miniature ‘By The Sleepy Lagoon’ by to reappraise Tauber as a pioneer of ‘cross-over’ showed no great inclination for it, despite then new medium of screen-musicals. Operetta 1914, 1932 and 1940. Another appropriated Jubilee) and My Heart And I (from Tauber’s Nottinghamshire-born Eric Coates,1886-1957), whose high musicality and fiercely self-critical encouragement offered him during his teens by in orientation (tailored to emphasise their star soprano air with which Tauber both charms own long-running London musical production My Moonlight Madonna (a 1933 vocal standards transcended all purely commercial the tenor Heinrich Hensel. Richard’s joint tenor, with plots subordinated to musical and disarms is Don’t Be Cross, a translation by of 1943, Old Chelsea), typify the tenor’s highly adaptation of ‘Poème’, Opus 41, No.6 for piano, considerations – a master to whom any song talents for piano and composition were honed content) these included Das lockende Ziel Clifton Bingham (1859-1913) from the English individual style. by the Czech pianist-composer Zdeneˇk Fibich, worthy of his consideration was Schubert. at the Conservatory of Frankfurt-am-Main while (1930) and Die grosse Attraktion (1931). production of Der Obersteiger (The Foreman), From the world of films our selections 1850-1900) and Au revoir (also known as The product of an age in which his burning ambition to become a conductor Tauber’s closest affiliation, however, was a popular Viennese operetta of 1894 by Karl include the ever-popular One Day When We ‘J’attendrai’, a cabaret favourite first heard individuality in performance was actively would remain latent for the rest of his life. In with stage-operetta and in particular with the Zeller (1842-1898). Were Young (one of several borrowings from around 1937 and subsequently became better encouraged,Tauber was essentially Schubertian 1910 he was finally persuaded to embark on a works of the Hungarian Franz Lehár (1870- From other stage-works Tauber recorded a Johann Strauss II incorporated into the score of known via a best-selling disc by the Corsican – or, perhaps more precisely, Mozartian (that is short course of study in Freiburg with the 1948), whose Frasquita (premiered in 1922, at diverse range of ‘favourites’, and our The Great Waltz, a 1938-vintage Oscar-winning tenor Tino Rossi). instrumental) in his approach to singing. An Heldentenor Carl Beines, the ‘great musician’ the Theater an der Wien) was to provide Tauber programme offers some of the more significant Hollywood mélange from MGM, which featured acclaimed recitalist, in more populist guise he whom he would later acknowledge as ‘the most with an entrée to a lifelong association, from of these. Kiss Me Again (with lyrics by St soprano Miliza Korjus) and Pedro, The Peter Dempsey, 2004 gave a captivating, if rather stylised, portrayal of important man in my life’. Instantly recognising 1924 onwards, that included his creations in Louis-born playwright and librettist Henry Schubert in the 1934 BIP film Blossom Time, his young pupil’s potential, Beines proceeded to Friederike in 1928 and in the opera Giuditta, Blossom (1866-1919) this is the best- while operas by Mozart were to provide the fulfil his promise to make him ‘the greatest Lehár’s last work, in 1934. The tenor lead in remembered number from Mlle. Modiste,a vehicles both of his stage debut in 1913 and of Mozart singer in the world’. Frasquita had earlier been created by Hubert 1905 Broadway musical by Dublin-born Original monochrome photo of Richard Tauber from Lebrecht Music & Arts Collection.
2 8.120752 3 8.120752 4 8.120752 120752bk Tauber3 20/4/04 3:33 PM Page 1
In 1912 Tauber was offered a contract by Marischka (Tauber having been the fourth American Victor Herbert (1859-1924) – Tauber Fisherman (with ridiculous lyrics by Harold RICHARD TAUBER Vol.3 the Wiesbaden Theatre, of which his father had successive tenor during the show’s initial 195- also offers a fine rendering of Indian Purcell which even Tauber is hard put to ‘Love’s Serenade’ Original 1939-1947 Recordings been made Director, but opted instead to performance run) but both in its original Summer, originally a piano solo interpolated redeem; this song, which ‘kept Britons continue his studies with Beines. In March version “Hab’ ein blaues Himmelbett” and in into Herbert’s 1919 musical The Velvet Lady, humming’ through World War 2, was aired by Decked in monocle and top-hat, in his own his Covent Garden ‘farewell’, two weeks before 1913 the fledgling tenor made a more high- Reginald Arkell’s translation, Serenade was to this was made a song in 1939, with lyrics by the tenor himself in the 1946 British National lifetime Tauber ‘the voice of tenor romance his death, on 8 January 1948. Musicianly and profile solo debut at the Neues Stadt-Theater in prove one of the tenor’s most regularly encored New York librettist Al Dubin, 1891-1945). A hit filming of the stage show Lisbon Story). incarnate’ was both an operetta matinee idol stylish, beneath that all-pervading and often Chemnitz, in Die Zauberflöte and a few days theme-songs. from his longest-running show Perchance To Among the ballads, non-operetta and non- and a best-selling balladeer through scores of distracting veneer of romanticism,Tauber was later appeared in Der Freischütz, securing for With My Hero, from The Chocolate Soldier Dream (1,022 performances, London, 1945), film period-pieces made memorable in Tauber mid-price magenta-label Parlophones (which, always disciplined in his art, his controlled himself a five-year contract with the Dresden by the Vienna-born Oscar Straus (1870-1950), We’ll Gather Lilacs still ranks high among the renditions are Love Serenade (a posthumous being so frequent, were know jocularly at EMI lyricism consciously attuned to the more Royal Opera. His operatic career was as Tauber opens with a number which sopranos, best-loved encores of Ivor Novello (1893-1951) vocalising of a waltz-theme from the 1900 as ‘Tauberphones’). Indeed, so all-embracing intimate dimensions of lieder and miniatures in notable for its diversity (a quick study thanks to rather than tenors, regularly stopped the show. – and Tauber’s is surely the best of its ballet Les millions d’Arlequin by Paduan was the populist Tauber’s assumption of the general. A fine songwriter in his own right, he his all-round musical accomplishment, at Premiered in Vienna in 1908 as Der tapfere contemporary non-cast recordings. From the composer-conductor Riccardo Drigo, 1846- latest frivolities from show and film that in was also an above-average pianist and an Dresden alone he sang, often at short notice, Soldat (The Brave Soldier) this now-forgotten Broadway musicals Oklahoma! (1943) and 1930), When Day Is Done (with words by some circles his stature was for a time underestimated (and until his last years a lyric-tenor leads in over sixty operas) and his operetta based on George Bernard Shaw’s Arms Annie, Get Your Gun (1946) come, New York-born Buddy G. De Sylva (alias George positively underrated. However, whereas it was frustrated) conductor. guest appearances at other leading European And The Man was once a major draw, which respectively, Oh, What A Beautiful Mornin’ Gard, 1895-1950) and music by Viennese-born for many years fashionable to regret his Richard Denemy Tauber was born opera houses included operetta, a new ran for 296 showings on Broadway (Lyric and They Say It’s Wonderful (unusual master of the revue-operette Robert Katscher investment of so many trifles with that illegitimately to theatrical parents in Linz, direction he would continue to follow even Theater) from 1909 before touring America, and repertoire for Tauber, it may still be thought), (1894-1942), this dates from 1926), Sleepy quintessentially Viennese charisma, during Austria, on 16 May 1891 and although he was more assiduously during the following decade. in London for 500 performances at the Lyric (in while Begin The Beguine (first heard in Cole Lagoon (a vocal version of the 1930 orchestral recent decades it has become more fashionable never far removed from singing he at first In 1930, in Berlin, he also branched into the 1910) prior to enjoying successful revivals in Porter’s short-lived 1935 Broadway venture miniature ‘By The Sleepy Lagoon’ by to reappraise Tauber as a pioneer of ‘cross-over’ showed no great inclination for it, despite then new medium of screen-musicals. Operetta 1914, 1932 and 1940. Another appropriated Jubilee) and My Heart And I (from Tauber’s Nottinghamshire-born Eric Coates,1886-1957), whose high musicality and fiercely self-critical encouragement offered him during his teens by in orientation (tailored to emphasise their star soprano air with which Tauber both charms own long-running London musical production My Moonlight Madonna (a 1933 vocal standards transcended all purely commercial the tenor Heinrich Hensel. Richard’s joint tenor, with plots subordinated to musical and disarms is Don’t Be Cross, a translation by of 1943, Old Chelsea), typify the tenor’s highly adaptation of ‘Poème’, Opus 41, No.6 for piano, considerations – a master to whom any song talents for piano and composition were honed content) these included Das lockende Ziel Clifton Bingham (1859-1913) from the English individual style. by the Czech pianist-composer Zdeneˇk Fibich, worthy of his consideration was Schubert. at the Conservatory of Frankfurt-am-Main while (1930) and Die grosse Attraktion (1931). production of Der Obersteiger (The Foreman), From the world of films our selections 1850-1900) and Au revoir (also known as The product of an age in which his burning ambition to become a conductor Tauber’s closest affiliation, however, was a popular Viennese operetta of 1894 by Karl include the ever-popular One Day When We ‘J’attendrai’, a cabaret favourite first heard individuality in performance was actively would remain latent for the rest of his life. In with stage-operetta and in particular with the Zeller (1842-1898). Were Young (one of several borrowings from around 1937 and subsequently became better encouraged,Tauber was essentially Schubertian 1910 he was finally persuaded to embark on a works of the Hungarian Franz Lehár (1870- From other stage-works Tauber recorded a Johann Strauss II incorporated into the score of known via a best-selling disc by the Corsican – or, perhaps more precisely, Mozartian (that is short course of study in Freiburg with the 1948), whose Frasquita (premiered in 1922, at diverse range of ‘favourites’, and our The Great Waltz, a 1938-vintage Oscar-winning tenor Tino Rossi). instrumental) in his approach to singing. An Heldentenor Carl Beines, the ‘great musician’ the Theater an der Wien) was to provide Tauber programme offers some of the more significant Hollywood mélange from MGM, which featured acclaimed recitalist, in more populist guise he whom he would later acknowledge as ‘the most with an entrée to a lifelong association, from of these. Kiss Me Again (with lyrics by St soprano Miliza Korjus) and Pedro, The Peter Dempsey, 2004 gave a captivating, if rather stylised, portrayal of important man in my life’. Instantly recognising 1924 onwards, that included his creations in Louis-born playwright and librettist Henry Schubert in the 1934 BIP film Blossom Time, his young pupil’s potential, Beines proceeded to Friederike in 1928 and in the opera Giuditta, Blossom (1866-1919) this is the best- while operas by Mozart were to provide the fulfil his promise to make him ‘the greatest Lehár’s last work, in 1934. The tenor lead in remembered number from Mlle. Modiste,a vehicles both of his stage debut in 1913 and of Mozart singer in the world’. Frasquita had earlier been created by Hubert 1905 Broadway musical by Dublin-born Original monochrome photo of Richard Tauber from Lebrecht Music & Arts Collection.
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1. My Hero 2:54 7. Begin The Beguine 3:19 14. My Heart And I 3:14 19. They Say It’s Wonderful 3:13 From The Chocolate Soldier (Cole Porter) From Old Chelsea From Annie Get Your Gun (Stanislaus Stange–Oscar Straus) With orchestra (Richard Tauber–Fred Tysh) (Irving Berlin) With orchestra Parlophone RO 20487, mx CE 10500-3 With orchestra and chorus conducted by With orchestra conducted by George Parlophone RO 20463, mx CE 9551-2 Recorded 31 May 1940 Henry Geehl Melachrino Recorded 10 January 1939 8. Indian Summer 2:58 Parlophone RO 20522, mx CE 11087-1 Parlophone RO 20556, mx CE 11975-2 2. Serenade from ‘Frasquita’ (Farewell (Victor Herbert-Al Dubin) Recorded 3 June 1943 Recorded 12 September 1947 My Love, Farewell) 3:10 With orchestra 15. We’ll Gather Lilacs 3:27 20. Oh, What A Beautiful Mornin’ 2:34 (Reginald Arkell–Franz Lehár) Parlophone RO 20487, mx CE 10513-2 (Ivor Novello) From Oklahoma With orchestra Recorded 26 June 1940 With orchestra conducted by Henry Geehl (Richard Rodgers-Oscar Hammerstein) Parlophone RO 20436, mx CE 9549-3 9. When Day Is Done 3:32 Parlophone RO 20538, mx CE 11370-1 With orchestra conducted by George Recorded 10 January 1939 (Robert Katscher–B. G. de Sylva) Recorded 12 April 1945 Melachrino 3. Don’t Be Cross 3:20 With orchestra 16. The Night Has Known My Tears 3:25 Parlophone RO 20556, mx CE 11974-1 From Der Obersteiger Parlophone RO 20489, mx CE 10530-1 (P.de Carolis-M. Mayne) Recorded 12 September 1947 (Clifton Bingham–Carl Zeller) Recorded 9 July 1940 With orchestra conducted by Eddie Griffiths All selections recorded in London and sung With orchestra 10. Sleepy Lagoon 3:26 Parlophone RO 20540, mx CE 11385-1 in English. Parlophone RO 20447, mx CE 9548-1 (Eric Coates-Jack Lawrence) Recorded 1 June 1945 Transfers & Production: David Lennick. Recorded 10 January 1939 With orchestra 17. Au revoir (J’attendrai) 3:21 Digital Noise Reduction: Graham Newton. 4. One Day When We Were Young 2:56 Parlophone RO 20492, mx CE 10644-1 (Dino Olivieri–Bruce Sievier) Original 78s loaned by John Rutherford. From the film The Great Waltz Recorded 19 December 1940 With orchestra conducted by Henry Geehl (Oscar Hammerstein–Johann Strauss, arr. 11. My Moonlight Madonna 3:14 Parlophone RO 20540, mx CE 11341-1 Dmitri Tiomkin) (Zdeneˇk Fibich–Paul Francis Webster) Recorded 6 February 1945 Also available .... With orchestra With orchestra conducted by Henry Geehl 18. Pedro The Fisherman 3:19 Parlophone RO 20431, mx CE 9532-1 Parlophone RO 20498, mx CE 10688-1 From the film The Lisbon Story Recorded 9 January 1939 Recorded 25 February 1941 (Harold Purcell–Harry Parr Davies) 5. Love Serenade 2:49 12. Jealousy 3:11 With orchestra conducted by George (Robert Wright–George Forrest–Riccardo (Jacob Gade–Winifred May) Melachrino Drigo) With orchestra conducted by Phil Green Parlophone RO 20545, mx CE 11615-1 With orchestra Parlophone RO 20513, mx CE 10963-2 Recorded 5 February 1946 Parlophone RO 20447, mx CE 9934-1 Recorded 3 July 1942 Recorded 30 June 1939 13. Love’s Last Word Is Spoken 3:17 6. Kiss Me Again 2:53 (Cesare Andrea Bixio–Bruce Sievier) (Henry Blossom–Victor Herbert) With orchestra conducted by Phil Green With orchestra Parlophone RO 20513, mx CE 10964-2 Parlophone RO 20484, mx CE 10414-2 Recorded 3 July 1942 Recorded 29 March 1940 8.120513 8.120555
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1. My Hero 2:54 7. Begin The Beguine 3:19 14. My Heart And I 3:14 19. They Say It’s Wonderful 3:13 From The Chocolate Soldier (Cole Porter) From Old Chelsea From Annie Get Your Gun (Stanislaus Stange–Oscar Straus) With orchestra (Richard Tauber–Fred Tysh) (Irving Berlin) With orchestra Parlophone RO 20487, mx CE 10500-3 With orchestra and chorus conducted by With orchestra conducted by George Parlophone RO 20463, mx CE 9551-2 Recorded 31 May 1940 Henry Geehl Melachrino Recorded 10 January 1939 8. Indian Summer 2:58 Parlophone RO 20522, mx CE 11087-1 Parlophone RO 20556, mx CE 11975-2 2. Serenade from ‘Frasquita’ (Farewell (Victor Herbert-Al Dubin) Recorded 3 June 1943 Recorded 12 September 1947 My Love, Farewell) 3:10 With orchestra 15. We’ll Gather Lilacs 3:27 20. Oh, What A Beautiful Mornin’ 2:34 (Reginald Arkell–Franz Lehár) Parlophone RO 20487, mx CE 10513-2 (Ivor Novello) From Oklahoma With orchestra Recorded 26 June 1940 With orchestra conducted by Henry Geehl (Richard Rodgers-Oscar Hammerstein) Parlophone RO 20436, mx CE 9549-3 9. When Day Is Done 3:32 Parlophone RO 20538, mx CE 11370-1 With orchestra conducted by George Recorded 10 January 1939 (Robert Katscher–B. G. de Sylva) Recorded 12 April 1945 Melachrino 3. Don’t Be Cross 3:20 With orchestra 16. The Night Has Known My Tears 3:25 Parlophone RO 20556, mx CE 11974-1 From Der Obersteiger Parlophone RO 20489, mx CE 10530-1 (P.de Carolis-M. Mayne) Recorded 12 September 1947 (Clifton Bingham–Carl Zeller) Recorded 9 July 1940 With orchestra conducted by Eddie Griffiths All selections recorded in London and sung With orchestra 10. Sleepy Lagoon 3:26 Parlophone RO 20540, mx CE 11385-1 in English. Parlophone RO 20447, mx CE 9548-1 (Eric Coates-Jack Lawrence) Recorded 1 June 1945 Transfers & Production: David Lennick. Recorded 10 January 1939 With orchestra 17. Au revoir (J’attendrai) 3:21 Digital Noise Reduction: Graham Newton. 4. One Day When We Were Young 2:56 Parlophone RO 20492, mx CE 10644-1 (Dino Olivieri–Bruce Sievier) Original 78s loaned by John Rutherford. From the film The Great Waltz Recorded 19 December 1940 With orchestra conducted by Henry Geehl (Oscar Hammerstein–Johann Strauss, arr. 11. My Moonlight Madonna 3:14 Parlophone RO 20540, mx CE 11341-1 Dmitri Tiomkin) (Zdeneˇk Fibich–Paul Francis Webster) Recorded 6 February 1945 Also available .... With orchestra With orchestra conducted by Henry Geehl 18. Pedro The Fisherman 3:19 Parlophone RO 20431, mx CE 9532-1 Parlophone RO 20498, mx CE 10688-1 From the film The Lisbon Story Recorded 9 January 1939 Recorded 25 February 1941 (Harold Purcell–Harry Parr Davies) 5. Love Serenade 2:49 12. Jealousy 3:11 With orchestra conducted by George (Robert Wright–George Forrest–Riccardo (Jacob Gade–Winifred May) Melachrino Drigo) With orchestra conducted by Phil Green Parlophone RO 20545, mx CE 11615-1 With orchestra Parlophone RO 20513, mx CE 10963-2 Recorded 5 February 1946 Parlophone RO 20447, mx CE 9934-1 Recorded 3 July 1942 Recorded 30 June 1939 13. Love’s Last Word Is Spoken 3:17 6. Kiss Me Again 2:53 (Cesare Andrea Bixio–Bruce Sievier) (Henry Blossom–Victor Herbert) With orchestra conducted by Phil Green With orchestra Parlophone RO 20513, mx CE 10964-2 Parlophone RO 20484, mx CE 10414-2 Recorded 3 July 1942 Recorded 29 March 1940 8.120513 8.120555
5 8.120752 6 8.120752 RICHARD TAUBER Love’s Serenade 8.120752 IHR TAUBER RICHARD Original Recordings 1939-1947 Original Recordings h www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton NoiseReduction: Digital DavidLennick Transfers andProduction: Oh,WhatABeautifulMornin’ 20. TheySayIt’sWonderful 19. TheFisherman Pedro 18. (J’attendrai) Aurevoir 17. TheNightHasKnownMyTears 16. We’ll GatherLilacs 15. MyHeartAndI 14. Love’sLastWord IsSpoken 13. Jealously 12. MyMoonlightMadonna 11. SleepyLagoon 10. .WhenDayIsDone 9. IndianSummer 8. Begin TheBeguine 7. Kiss MeAgain 6. Love Serenade 5. One DayWhenWe Were Young 4. Don’t BeCross 3. ‘Frasquita’ from Serenade 2. MyHero 1. & g Total Time:63:32 04NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2004 NaxosRightsInternational naxos.com 2:54 3:11 2:53 2:49 3:26 3:20 3:14 2:58 3:27 3:19 3:32 3:19 3:21 3:13 3:14 3:10 3:17 2:34 Made inCanada 2:56 3:25 ”Love’s Serenade” 8.120752
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RICHARD TAUBER RICHARD Love’s Serenade Love’s 8.120752