120748bk McCormack2 11/12/03 3:17 PM Page 2

1. Killarney 3:38 7. Mother Machree 3:17 13. My Wild Irish Rose 3:07 17. Sweet Peggy O’Neill 2:08 (–Michael William Balfe) (Rida Johnson Young–Chauncey Olcott– (Chauncey Olcott–Ernest R. Ball) (Joseph P.Redding–Uda Waldrop) With orchestra Ernest R. Ball) With orchestra Orchestra conducted by Josef Pasternak Victor 74157, mx C 8594-1 With orchestra Victor 64426, mx B 14667-1 Victor 66028, mx B 23791-2 Recorded 3 January 1910, Camden Victor 64181, mx B 10069-1 Recorded 6 April 1914, Camden Recorded 30 March 1920, Camden 2. Come Back to Erin 3:49 Recorded 17 March 1911, New York 14. It’s a Long Way to Tipperary 3:10 18. The Barefoot Trail 2:37 (John William Cherry–Charlotte Alington 8. The Harp That Once Through Tara’s (Jack Judge–Harry Williams) (Marion Phelps–Alvin S.Wiggers) Barnard) Halls 2:19 With male chorus; orchestra conducted by Orchestra conducted by Josef Pasternak; With orchestra (–Old Irish Air) Walter B. Rogers Howard Rattay, violin Victor 74158, mx C 8588-1 With orchestra Victor 64476, mx B 15415-1 Victor 64878, mx B 23901-1 Recorded 1 February 1910, Camden Victor 64259, mx B 11833-1 Recorded 23 , New York Recorded 1 April 1920, Camden 3. The Minstrel Boy 2:43 Recorded 5 April 1912, Camden 15. , My Sireland from Eileen 2:35 19. The Next Market Day 1:02 (Thomas Moore–Old Irish Air) 9. Where the River Shannon Flows 3:05 (Henry Blossom–) (Traditional–Old Irish Air, arr. Herbert Hughes) With orchestra (James I. Russell) Orchestra conducted by Victor Herbert 20. A Ballynure Ballad 1:28 Victor 64117, mx B 8590-1 With orchestra Victor 64665, mx B 19447-1 (Traditional–Old Irish Air, arr. Herbert Hughes) Recorded 1 February 1910, Camden Victor 64311, mx B 12761-2 Recorded 5 April 1917, New York Edwin Schneider, piano 4. My Lagan Love 2:48 Recorded 2 January 1913, Camden 16. That Tumble Down Shack in Victor 64926, mx B 23904-1 (Joseph Campbell–Old Irish Air, arr. Sir 10. Molly Brannigan 2:45 2:55 Recorded 2 April 1920, Camden Hamilton Harty) (Traditional–Old Irish Air, arr. Sir Charles (Richard Pascoe–Monte Carlo–Alma M. 21. Little Town in the Old County Down With orchestra Villiers Stanford) Sanders) 3:18 Victor 64154, mx B 8751-1 Spencer Clay, piano Orchestra conducted by Josef Pasternack; (Richard Pascoe–Monte Carlo–Alma Sanders) Recorded 25 March 1910, New York Victor 64316, mx B 12765-1 Howard Rattay, violin Orchestra conducted by Josef Pasternak 5. Dear Little Shamrock 3:56 Recorded 3 January 1913, Camden Victor 64837, mx B 23456-5 Victor 64994, mx B 25353-2 (Andrew Cherry–William Shield) 11. The Foggy Dew 2:04 Recorded 10 December 1919, Camden Recorded 17 June 1921, Camden With orchestra (E. Milligan–C. Milligan Fox, arr. Spencer Victor 64153, mx B 8819-1 Clay) Transfers & Production: David O'Lennick Recorded 8 April 1910, Camden Spencer Clay, piano Digital Noise Reduction: Graham O'Newton 6. Believe Me If All Those Endearing Victor 64316, mx B 12767-1 Original monochrome photograph of John McCormack from Lebrecht Music Collection Young Charms 3:11 Recorded 3 January 1913, Camden (Thomas Moore–Old Irish Air) 12. The Low Backed Car 2:17 With orchestra (Samuel Lover–Old Irish Air) Victor 64180, mx B 8537-3 With orchestra Recorded 16 March 1911, New York Victor 64329, mx B 13031-1 Recorded 28 March 1913, Camden

5 8.120748 6 8.120748 120748bk McCormack2 11/12/03 3:17 PM Page 1

Three Ulster Airs – settings of Songs of Uladh, youngest ever to undertake a leading Alley, while his identification with nostalgic 1914 already aspiring to American citizenship, JOHN McCORMACK Vol. 2 a folksong collection arranged by ‘Padraig role at the Royal . The roster of great ballads in émigré-Celtic mode endeared him to but still fond of the country that had given Come Back To Erin Original 1910-1921 Recordings macAodh O’Neil’ (aka Herbert Hughes!) in singers who subsequently partnered him the record-buying middle-classes across the him his first break, that year he recorded Jack collaboration with ‘Seosamh macCathmhaoil’ onstage in London (and later in America with Atlantic, too. As a communicator, or Judge’s Great War anthem It’s A Long Way ‘Irish songs? … We all sang them – and got the prestigious Victrola and HMV Red Labels (otherwise Joseph Campbell (1879-1944), the Chicago Opera and elsewhere) included storyteller, in concert and on disc alike, To Tipperary, ostensibly to back the British the applause! I never could understand all (the very records restored on this CD) which noted Belfast-born poet, Irish folklorist, Melba,Tetrazzini, Sammarco,Vanni-Marcoux, McCormack was second to none. In his war-effort. this fuss about McCormack’s Irish songs … ensured that his voice would be heard in Secretary of the Irish National Literary Society Destinn, Dinh Gilly, Litvinne, Raïsa, Muzio and natural habitat, the concert platform, his Like his promoters McCormack was out to His Italian songs were much better!’ living-rooms around the world. and sometime Republican internee). Didur. His reputation as an operatic tenor was trademark ‘little black book’ in hand, he would make money, but he delivered the populist (Cavan O’Connor) John Francis McCormack was born of By 1905 funds were raised for McCormack high, notwithstanding his apparently regale his audiences with every kind of song repertoire with total sincerity and without mixed Scots-Irish extraction on 14 June 1884 to undertake further study in with ‘indifferent’ acting and despite the fact that his from the elevatedly classical to the banally condescension, and in a way inconceivable All great singers – and others less-than-great – in Athlone, where his father,Andrew, was a Vincenzo Sabatini. He had, meanwhile, in career in opera was virtually over by 1914. He commercial (Ernest R. Ball’s My Wild Irish today even to the most dedicated devotees of have always benefited from localised forms of local wool-mill worker. Respectably God- London in September 1904, made his first made his American debut (as Alfredo in La Rose or tear-jerking Mother Machree or crossover. hero-worship, and in the days before radio and fearing, his upbringing was scarcely privileged. recordings, cylinders for Edison followed a traviata) in New York, in 1909, but Alma Sanders’ stage-Irish Little Town In The TV McCormack’s popularity hinged largely on At school, however, he was a bright student week later by discs for ’s acclimatising quickly to life in the USA he Old County Down are cases in point). By Peter Dempsey, 2004 the fact that he was an Irishman who arrived and was awarded various scholarships and by Gramophone & Typewriter Company – already perceived the concert platform as a in America at the right moment to delight 1902, despite parental opposition, he already predictably of Irish songs, Killarney, The truer and certainly more lucrative metier. On mass-audiences with his Irish yarns. Which had a burning ambition to become a singer, Minstrel Boy and Believe Me, If All Those the one hand there was a vast resident Irish may sound like an over-simplification or even a although after failing the entrance exam to the Endearing Young Charms, but these were audience wanting to hear songs of the ‘Ould solecism – for his vast and cultured repertoire College of Science he at first took up a vocally a far cry from the re-recordings that Country’ and in any case, like his contempo- was soon to span arias, art-song and lieder, all clerical job in the postal service. Through were to follow, beginning with the Odeons rary Peter Dawson, he probably regarded opera Also available in the Naxos Nostalgia series ... of which he sang with artistry and friends who already sensed the exceptional (from December 1906 onwards) and the as too much work for too little reward. commitment, if not always total idiomatical quality of his voice, however, he was Victors made after January 1910. From his first recording session (for the accuracy. The difference between McCormack introduced to his mentor and preceptor McCormack’s initial forays into opera in Italy Victor Company) in January 1910 McCormack and the others, however, resided in a superior Vincent O’Brien (1871-1948), then conductor in 1906 offered the ambitious young tenor no was hailed a master balladeer. Though technical perfection (his fine diction and of Dublin’s Pro-Cathedral’s celebrated sure road to stardom and his earliest career expensive, his recordings – after those of exemplary articulation were founded on the Palestrina Choir. O’Brien coached the raw was marked by struggle prior to his Caruso – were major sellers, a boom industry principles of bel canto) – and to these were McCormack and under his tutelage, in May appearances in London at the Boosey Ballad for Victor which reciprocally complemented added, fortuitously perhaps, certain other 1903, the tenor won the Gold Medal at the and National Sunday League Concerts and the the tenor’s regular and far-reaching concert ingredients: an outgoing, even forceful Feis Ceoil (Irish Music Festival). His opportune patronage he secured which tours. The highest-paid recitalist of his personality, an uncanny power to accompanist on that occasion was the Co. opened the door to Covent Garden and final generation, his massive audiences were treated communicate simple emotions and, no less Down-born composer-conductor Hamilton recognition of his talent. McCormack made in the same breath as Handel or Scarlatti and advantageous, connections in the right places Harty (1879-1941) and he here sings Harty’s his Covent Garden début in October, 1907 (as Schubert, or Thomas Moore and Stanford, to 8.120504 8.120639* 8.120640* – not least an exclusive contract to record for haunting My Lagan Love, from the 1909 cycle Turiddu in ), at 23 the the latest mock-Irish samples from Tin Pan * Not Available in the U.S. 2 8.120748 3 8.120748 4 8.120748 120748bk McCormack2 11/12/03 3:17 PM Page 1

Three Ulster Airs – settings of Songs of Uladh, youngest tenor ever to undertake a leading Alley, while his identification with nostalgic 1914 already aspiring to American citizenship, JOHN McCORMACK Vol. 2 a folksong collection arranged by ‘Padraig role at the Royal Opera. The roster of great ballads in émigré-Celtic mode endeared him to but still fond of the country that had given Come Back To Erin Original 1910-1921 Recordings macAodh O’Neil’ (aka Herbert Hughes!) in singers who subsequently partnered him the record-buying middle-classes across the him his first break, that year he recorded Jack collaboration with ‘Seosamh macCathmhaoil’ onstage in London (and later in America with Atlantic, too. As a communicator, or Judge’s Great War anthem It’s A Long Way ‘Irish songs? … We all sang them – and got the prestigious Victrola and HMV Red Labels (otherwise Joseph Campbell (1879-1944), the Chicago Opera and elsewhere) included storyteller, in concert and on disc alike, To Tipperary, ostensibly to back the British the applause! I never could understand all (the very records restored on this CD) which noted Belfast-born poet, Irish folklorist, Melba,Tetrazzini, Sammarco,Vanni-Marcoux, McCormack was second to none. In his war-effort. this fuss about McCormack’s Irish songs … ensured that his voice would be heard in Secretary of the Irish National Literary Society Destinn, Dinh Gilly, Litvinne, Raïsa, Muzio and natural habitat, the concert platform, his Like his promoters McCormack was out to His Italian songs were much better!’ living-rooms around the world. and sometime Republican internee). Didur. His reputation as an operatic tenor was trademark ‘little black book’ in hand, he would make money, but he delivered the populist (Cavan O’Connor) John Francis McCormack was born of By 1905 funds were raised for McCormack high, notwithstanding his apparently regale his audiences with every kind of song repertoire with total sincerity and without mixed Scots-Irish extraction on 14 June 1884 to undertake further study in Milan with ‘indifferent’ acting and despite the fact that his from the elevatedly classical to the banally condescension, and in a way inconceivable All great singers – and others less-than-great – in Athlone, where his father,Andrew, was a Vincenzo Sabatini. He had, meanwhile, in career in opera was virtually over by 1914. He commercial (Ernest R. Ball’s My Wild Irish today even to the most dedicated devotees of have always benefited from localised forms of local wool-mill worker. Respectably God- London in September 1904, made his first made his American debut (as Alfredo in La Rose or tear-jerking Mother Machree or crossover. hero-worship, and in the days before radio and fearing, his upbringing was scarcely privileged. recordings, cylinders for Edison followed a traviata) in New York, in 1909, but Alma Sanders’ stage-Irish Little Town In The TV McCormack’s popularity hinged largely on At school, however, he was a bright student week later by discs for Fred Gaisberg’s acclimatising quickly to life in the USA he Old County Down are cases in point). By Peter Dempsey, 2004 the fact that he was an Irishman who arrived and was awarded various scholarships and by Gramophone & Typewriter Company – already perceived the concert platform as a in America at the right moment to delight 1902, despite parental opposition, he already predictably of Irish songs, Killarney, The truer and certainly more lucrative metier. On mass-audiences with his Irish yarns. Which had a burning ambition to become a singer, Minstrel Boy and Believe Me, If All Those the one hand there was a vast resident Irish may sound like an over-simplification or even a although after failing the entrance exam to the Endearing Young Charms, but these were audience wanting to hear songs of the ‘Ould solecism – for his vast and cultured repertoire Dublin College of Science he at first took up a vocally a far cry from the re-recordings that Country’ and in any case, like his contempo- was soon to span arias, art-song and lieder, all clerical job in the postal service. Through were to follow, beginning with the Odeons rary Peter Dawson, he probably regarded opera Also available in the Naxos Nostalgia series ... of which he sang with artistry and friends who already sensed the exceptional (from December 1906 onwards) and the as too much work for too little reward. commitment, if not always total idiomatical quality of his voice, however, he was Victors made after January 1910. From his first recording session (for the accuracy. The difference between McCormack introduced to his mentor and preceptor McCormack’s initial forays into opera in Italy Victor Company) in January 1910 McCormack and the others, however, resided in a superior Vincent O’Brien (1871-1948), then conductor in 1906 offered the ambitious young tenor no was hailed a master balladeer. Though technical perfection (his fine diction and of Dublin’s Pro-Cathedral’s celebrated sure road to stardom and his earliest career expensive, his recordings – after those of exemplary articulation were founded on the Palestrina Choir. O’Brien coached the raw was marked by struggle prior to his Caruso – were major sellers, a boom industry principles of bel canto) – and to these were McCormack and under his tutelage, in May appearances in London at the Boosey Ballad for Victor which reciprocally complemented added, fortuitously perhaps, certain other 1903, the tenor won the Gold Medal at the and National Sunday League Concerts and the the tenor’s regular and far-reaching concert ingredients: an outgoing, even forceful Feis Ceoil (Irish Music Festival). His opportune patronage he secured which tours. The highest-paid recitalist of his personality, an uncanny power to accompanist on that occasion was the Co. opened the door to Covent Garden and final generation, his massive audiences were treated communicate simple emotions and, no less Down-born composer-conductor Hamilton recognition of his talent. McCormack made in the same breath as Handel or Scarlatti and advantageous, connections in the right places Harty (1879-1941) and he here sings Harty’s his Covent Garden début in October, 1907 (as Schubert, or Thomas Moore and Stanford, to 8.120504 8.120639* 8.120640* – not least an exclusive contract to record for haunting My Lagan Love, from the 1909 cycle Turiddu in Cavalleria rusticana), at 23 the the latest mock-Irish samples from Tin Pan * Not Available in the U.S. 2 8.120748 3 8.120748 4 8.120748 120748bk McCormack2 11/12/03 3:17 PM Page 1

Three Ulster Airs – settings of Songs of Uladh, youngest tenor ever to undertake a leading Alley, while his identification with nostalgic 1914 already aspiring to American citizenship, JOHN McCORMACK Vol. 2 a folksong collection arranged by ‘Padraig role at the Royal Opera. The roster of great ballads in émigré-Celtic mode endeared him to but still fond of the country that had given Come Back To Erin Original 1910-1921 Recordings macAodh O’Neil’ (aka Herbert Hughes!) in singers who subsequently partnered him the record-buying middle-classes across the him his first break, that year he recorded Jack collaboration with ‘Seosamh macCathmhaoil’ onstage in London (and later in America with Atlantic, too. As a communicator, or Judge’s Great War anthem It’s A Long Way ‘Irish songs? … We all sang them – and got the prestigious Victrola and HMV Red Labels (otherwise Joseph Campbell (1879-1944), the Chicago Opera and elsewhere) included storyteller, in concert and on disc alike, To Tipperary, ostensibly to back the British the applause! I never could understand all (the very records restored on this CD) which noted Belfast-born poet, Irish folklorist, Melba,Tetrazzini, Sammarco,Vanni-Marcoux, McCormack was second to none. In his war-effort. this fuss about McCormack’s Irish songs … ensured that his voice would be heard in Secretary of the Irish National Literary Society Destinn, Dinh Gilly, Litvinne, Raïsa, Muzio and natural habitat, the concert platform, his Like his promoters McCormack was out to His Italian songs were much better!’ living-rooms around the world. and sometime Republican internee). Didur. His reputation as an operatic tenor was trademark ‘little black book’ in hand, he would make money, but he delivered the populist (Cavan O’Connor) John Francis McCormack was born of By 1905 funds were raised for McCormack high, notwithstanding his apparently regale his audiences with every kind of song repertoire with total sincerity and without mixed Scots-Irish extraction on 14 June 1884 to undertake further study in Milan with ‘indifferent’ acting and despite the fact that his from the elevatedly classical to the banally condescension, and in a way inconceivable All great singers – and others less-than-great – in Athlone, where his father,Andrew, was a Vincenzo Sabatini. He had, meanwhile, in career in opera was virtually over by 1914. He commercial (Ernest R. Ball’s My Wild Irish today even to the most dedicated devotees of have always benefited from localised forms of local wool-mill worker. Respectably God- London in September 1904, made his first made his American debut (as Alfredo in La Rose or tear-jerking Mother Machree or crossover. hero-worship, and in the days before radio and fearing, his upbringing was scarcely privileged. recordings, cylinders for Edison followed a traviata) in New York, in 1909, but Alma Sanders’ stage-Irish Little Town In The TV McCormack’s popularity hinged largely on At school, however, he was a bright student week later by discs for Fred Gaisberg’s acclimatising quickly to life in the USA he Old County Down are cases in point). By Peter Dempsey, 2004 the fact that he was an Irishman who arrived and was awarded various scholarships and by Gramophone & Typewriter Company – already perceived the concert platform as a in America at the right moment to delight 1902, despite parental opposition, he already predictably of Irish songs, Killarney, The truer and certainly more lucrative metier. On mass-audiences with his Irish yarns. Which had a burning ambition to become a singer, Minstrel Boy and Believe Me, If All Those the one hand there was a vast resident Irish may sound like an over-simplification or even a although after failing the entrance exam to the Endearing Young Charms, but these were audience wanting to hear songs of the ‘Ould solecism – for his vast and cultured repertoire Dublin College of Science he at first took up a vocally a far cry from the re-recordings that Country’ and in any case, like his contempo- was soon to span arias, art-song and lieder, all clerical job in the postal service. Through were to follow, beginning with the Odeons rary Peter Dawson, he probably regarded opera Also available in the Naxos Nostalgia series ... of which he sang with artistry and friends who already sensed the exceptional (from December 1906 onwards) and the as too much work for too little reward. commitment, if not always total idiomatical quality of his voice, however, he was Victors made after January 1910. From his first recording session (for the accuracy. The difference between McCormack introduced to his mentor and preceptor McCormack’s initial forays into opera in Italy Victor Company) in January 1910 McCormack and the others, however, resided in a superior Vincent O’Brien (1871-1948), then conductor in 1906 offered the ambitious young tenor no was hailed a master balladeer. Though technical perfection (his fine diction and of Dublin’s Pro-Cathedral’s celebrated sure road to stardom and his earliest career expensive, his recordings – after those of exemplary articulation were founded on the Palestrina Choir. O’Brien coached the raw was marked by struggle prior to his Caruso – were major sellers, a boom industry principles of bel canto) – and to these were McCormack and under his tutelage, in May appearances in London at the Boosey Ballad for Victor which reciprocally complemented added, fortuitously perhaps, certain other 1903, the tenor won the Gold Medal at the and National Sunday League Concerts and the the tenor’s regular and far-reaching concert ingredients: an outgoing, even forceful Feis Ceoil (Irish Music Festival). His opportune patronage he secured which tours. The highest-paid recitalist of his personality, an uncanny power to accompanist on that occasion was the Co. opened the door to Covent Garden and final generation, his massive audiences were treated communicate simple emotions and, no less Down-born composer-conductor Hamilton recognition of his talent. McCormack made in the same breath as Handel or Scarlatti and advantageous, connections in the right places Harty (1879-1941) and he here sings Harty’s his Covent Garden début in October, 1907 (as Schubert, or Thomas Moore and Stanford, to 8.120504 8.120639* 8.120640* – not least an exclusive contract to record for haunting My Lagan Love, from the 1909 cycle Turiddu in Cavalleria rusticana), at 23 the the latest mock-Irish samples from Tin Pan * Not Available in the U.S. 2 8.120748 3 8.120748 4 8.120748 120748bk McCormack2 11/12/03 3:17 PM Page 2

1. Killarney 3:38 7. Mother Machree 3:17 13. My Wild Irish Rose 3:07 17. Sweet Peggy O’Neill 2:08 (Edmund Falconer–Michael William Balfe) (Rida Johnson Young–Chauncey Olcott– (Chauncey Olcott–Ernest R. Ball) (Joseph P.Redding–Uda Waldrop) With orchestra Ernest R. Ball) With orchestra Orchestra conducted by Josef Pasternak Victor 74157, mx C 8594-1 With orchestra Victor 64426, mx B 14667-1 Victor 66028, mx B 23791-2 Recorded 3 January 1910, Camden Victor 64181, mx B 10069-1 Recorded 6 April 1914, Camden Recorded 30 March 1920, Camden 2. Come Back to Erin 3:49 Recorded 17 March 1911, New York 14. It’s a Long Way to Tipperary 3:10 18. The Barefoot Trail 2:37 (John William Cherry–Charlotte Alington 8. The Harp That Once Through Tara’s (Jack Judge–Harry Williams) (Marion Phelps–Alvin S.Wiggers) Barnard) Halls 2:19 With male chorus; orchestra conducted by Orchestra conducted by Josef Pasternak; With orchestra (Thomas Moore–Old Irish Air) Walter B. Rogers Howard Rattay, violin Victor 74158, mx C 8588-1 With orchestra Victor 64476, mx B 15415-1 Victor 64878, mx B 23901-1 Recorded 1 February 1910, Camden Victor 64259, mx B 11833-1 Recorded 23 November 1914, New York Recorded 1 April 1920, Camden 3. The Minstrel Boy 2:43 Recorded 5 April 1912, Camden 15. Ireland, My Sireland from Eileen 2:35 19. The Next Market Day 1:02 (Thomas Moore–Old Irish Air) 9. Where the River Shannon Flows 3:05 (Henry Blossom–Victor Herbert) (Traditional–Old Irish Air, arr. Herbert Hughes) With orchestra (James I. Russell) Orchestra conducted by Victor Herbert 20. A Ballynure Ballad 1:28 Victor 64117, mx B 8590-1 With orchestra Victor 64665, mx B 19447-1 (Traditional–Old Irish Air, arr. Herbert Hughes) Recorded 1 February 1910, Camden Victor 64311, mx B 12761-2 Recorded 5 April 1917, New York Edwin Schneider, piano 4. My Lagan Love 2:48 Recorded 2 January 1913, Camden 16. That Tumble Down Shack in Athlone Victor 64926, mx B 23904-1 (Joseph Campbell–Old Irish Air, arr. Sir 10. Molly Brannigan 2:45 2:55 Recorded 2 April 1920, Camden Hamilton Harty) (Traditional–Old Irish Air, arr. Sir Charles (Richard Pascoe–Monte Carlo–Alma M. 21. Little Town in the Old County Down With orchestra Villiers Stanford) Sanders) 3:18 Victor 64154, mx B 8751-1 Spencer Clay, piano Orchestra conducted by Josef Pasternack; (Richard Pascoe–Monte Carlo–Alma Sanders) Recorded 25 March 1910, New York Victor 64316, mx B 12765-1 Howard Rattay, violin Orchestra conducted by Josef Pasternak 5. Dear Little Shamrock 3:56 Recorded 3 January 1913, Camden Victor 64837, mx B 23456-5 Victor 64994, mx B 25353-2 (Andrew Cherry–William Shield) 11. The Foggy Dew 2:04 Recorded 10 December 1919, Camden Recorded 17 June 1921, Camden With orchestra (E. Milligan–C. Milligan Fox, arr. Spencer Victor 64153, mx B 8819-1 Clay) Transfers & Production: David O'Lennick Recorded 8 April 1910, Camden Spencer Clay, piano Digital Noise Reduction: Graham O'Newton 6. Believe Me If All Those Endearing Victor 64316, mx B 12767-1 Original monochrome photograph of John McCormack from Lebrecht Music Collection Young Charms 3:11 Recorded 3 January 1913, Camden (Thomas Moore–Old Irish Air) 12. The Low Backed Car 2:17 With orchestra (Samuel Lover–Old Irish Air) Victor 64180, mx B 8537-3 With orchestra Recorded 16 March 1911, New York Victor 64329, mx B 13031-1 Recorded 28 March 1913, Camden

5 8.120748 6 8.120748 120748bk McCormack2 11/12/03 3:17 PM Page 2

1. Killarney 3:38 7. Mother Machree 3:17 13. My Wild Irish Rose 3:07 17. Sweet Peggy O’Neill 2:08 (Edmund Falconer–Michael William Balfe) (Rida Johnson Young–Chauncey Olcott– (Chauncey Olcott–Ernest R. Ball) (Joseph P.Redding–Uda Waldrop) With orchestra Ernest R. Ball) With orchestra Orchestra conducted by Josef Pasternak Victor 74157, mx C 8594-1 With orchestra Victor 64426, mx B 14667-1 Victor 66028, mx B 23791-2 Recorded 3 January 1910, Camden Victor 64181, mx B 10069-1 Recorded 6 April 1914, Camden Recorded 30 March 1920, Camden 2. Come Back to Erin 3:49 Recorded 17 March 1911, New York 14. It’s a Long Way to Tipperary 3:10 18. The Barefoot Trail 2:37 (John William Cherry–Charlotte Alington 8. The Harp That Once Through Tara’s (Jack Judge–Harry Williams) (Marion Phelps–Alvin S.Wiggers) Barnard) Halls 2:19 With male chorus; orchestra conducted by Orchestra conducted by Josef Pasternak; With orchestra (Thomas Moore–Old Irish Air) Walter B. Rogers Howard Rattay, violin Victor 74158, mx C 8588-1 With orchestra Victor 64476, mx B 15415-1 Victor 64878, mx B 23901-1 Recorded 1 February 1910, Camden Victor 64259, mx B 11833-1 Recorded 23 November 1914, New York Recorded 1 April 1920, Camden 3. The Minstrel Boy 2:43 Recorded 5 April 1912, Camden 15. Ireland, My Sireland from Eileen 2:35 19. The Next Market Day 1:02 (Thomas Moore–Old Irish Air) 9. Where the River Shannon Flows 3:05 (Henry Blossom–Victor Herbert) (Traditional–Old Irish Air, arr. Herbert Hughes) With orchestra (James I. Russell) Orchestra conducted by Victor Herbert 20. A Ballynure Ballad 1:28 Victor 64117, mx B 8590-1 With orchestra Victor 64665, mx B 19447-1 (Traditional–Old Irish Air, arr. Herbert Hughes) Recorded 1 February 1910, Camden Victor 64311, mx B 12761-2 Recorded 5 April 1917, New York Edwin Schneider, piano 4. My Lagan Love 2:48 Recorded 2 January 1913, Camden 16. That Tumble Down Shack in Athlone Victor 64926, mx B 23904-1 (Joseph Campbell–Old Irish Air, arr. Sir 10. Molly Brannigan 2:45 2:55 Recorded 2 April 1920, Camden Hamilton Harty) (Traditional–Old Irish Air, arr. Sir Charles (Richard Pascoe–Monte Carlo–Alma M. 21. Little Town in the Old County Down With orchestra Villiers Stanford) Sanders) 3:18 Victor 64154, mx B 8751-1 Spencer Clay, piano Orchestra conducted by Josef Pasternack; (Richard Pascoe–Monte Carlo–Alma Sanders) Recorded 25 March 1910, New York Victor 64316, mx B 12765-1 Howard Rattay, violin Orchestra conducted by Josef Pasternak 5. Dear Little Shamrock 3:56 Recorded 3 January 1913, Camden Victor 64837, mx B 23456-5 Victor 64994, mx B 25353-2 (Andrew Cherry–William Shield) 11. The Foggy Dew 2:04 Recorded 10 December 1919, Camden Recorded 17 June 1921, Camden With orchestra (E. Milligan–C. Milligan Fox, arr. Spencer Victor 64153, mx B 8819-1 Clay) Transfers & Production: David O'Lennick Recorded 8 April 1910, Camden Spencer Clay, piano Digital Noise Reduction: Graham O'Newton 6. Believe Me If All Those Endearing Victor 64316, mx B 12767-1 Original monochrome photograph of John McCormack from Lebrecht Music Collection Young Charms 3:11 Recorded 3 January 1913, Camden (Thomas Moore–Old Irish Air) 12. The Low Backed Car 2:17 With orchestra (Samuel Lover–Old Irish Air) Victor 64180, mx B 8537-3 With orchestra Recorded 16 March 1911, New York Victor 64329, mx B 13031-1 Recorded 28 March 1913, Camden

5 8.120748 6 8.120748 JOHN McCORMACK Come Back to Erin 8.120748 h www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton NoiseReduction: Digital DavidLennick Transfers andProduction: 1910-1921 Original Recordings JOHN McCORMACK & g 04NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2004 NaxosRightsInternational naxos.com 6. Made inCanada Believe MeIfAllThoseEndearingYoung Charms 8. The Harp That Once Through Tara’sThe HarpThatOnceThrough Halls 16. 21. Vol.2 That Tumble DownShackInAthlone That Tumble Little Town InTheOldCountyDown 9. Where TheRiverShannonFlows Where 14. 8.120748 Come BacktoErin It’s ALongWay To Tipperary ADD 19. 15. 12. 5. 17. 13. 20. 18. 2. Dear Little Shamrock Dear LittleShamrock The NextMarketDay Ireland, My Sireland MySireland Ireland, The LowBackedCar 10. Sweet PeggyO’Neill 3. Come BackTo Erin My Wild Irish Rose 11. 7. A Ballynure Ballad A Ballynure The Barefoot TrailThe Barefoot 4. The Minstrel Boy The Minstrel Molly Brannigan Mother Machree Mother Machree The FoggyDew My LaganLove Total Time:59:34 1. Killarney Killarney

3:18 1:28 1:02 2:37 2:08 2:55 2:35 3:10 3:07 2:17 2:04 2:45 3:05 2:19 3:17 3:11 3:56 2:48 2:43 3:49 3:38

JOHN McCORMACK JOHN Come Back to Erin to Back Come 8.120748