120787bk Oklahoma 17/12/04 4:43 PM Page 2

1. Overture 3:19 9. Pore Jud Is Daid 2:49 17. Oklahoma 2:55 20. Out Of My Dreams 3:32 Orchestra Alfred Drake & Howard da Silva James Melton with Al Goodman’s Orchestra Eleanor Steber with Al Goodman’s Orchestra Decca 23282, mx WW 71454-T4-A Decca 23286, mx 71456-AA & Chorus Victor 10-1143, mx D4RB-0721 Victor 10-1142, mx D4RB-0719 Recorded 22 December 1944, New York 2. Oh, What A Beautiful Mornin’ 2:32 10. Lonely Room 2:36 Recorded 22 December 1944, New York Alfred Drake Alfred Drake 21. Oh, What A Beautiful Mornin’ 3:06 Decca 23283, mx W 71455-T3-A Decca 23380, mx W 72172-A3 18. The Surrey With The Fringe On Top John Charles Thomas with Victor Young’s 3:26 Orchestra & The Ken Darby Chorus 3. The Surrey With The Fringe On Top 11. Out Of My Dreams 2:47 James Melton with Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1059 3:07 Joan Roberts & Girl Chorus Victor 10-1142, mx D4RB-0720 Recorded 13 December 1944, Hollywood Alfred Drake Decca 23285, mx W 71479-T1-A Recorded 22 December 1944, New York Decca 23284, mx W 71459-T3-A 22. Kansas City 2:56 12. The Farmer And The Cowman 5:17 19. People Will Say We’re In Love 3:23 John Charles Thomas with chorus & 4. Kansas City 2:45 Ralph Riggs, Bette Garde & Chorus James Melton & Eleanor Steber with orchestra conducted by Victor Young Lee Dixon & Male Chorus Decca 23381, mx W 72170-A3, 72171-A3 Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1060 Decca 23285, mx W 71475-T3-A 13. All Er Nuthin’ 3:09 Victor 10-1143, mx D4RB-0722 Recorded 13 December 1944, Hollywood Recorded 22 December 1944, New York 5. I Cain’t Say No 2:59 Lee Dixon & Celeste Holm Victor 10-1142/3/4 issued as album M-988 Celeste Holm Decca 23284, mx W 71458-T2-A Decca 23286, mx 71457-E 14. Oklahoma 2:30 Transfers and Production: David Lennick • Digital Restoration: Graham Newton 6. Many A New Day 3:05 Alfred Drake & Chorus Original discs from the collections of David Lennick, John Rutherford and the Belfer Audio Joan Roberts & Girl Chorus Decca 23283, mx W 71474-T3-A Laboratory and Archive, Syracuse University • Special thanks to Vince Giordano Decca 23287, mx W 71478-T2-A 15. Finale: Oh, What A Beautiful Mornin’ 7. It’s A Scandal 3:15 —People Will Say We’re In Love 3:10 Producer’s Note by David Lennick Joseph Buloff & Chorus Joan Roberts,Alfred Drake & Chorus The masters for Decca’s Oklahoma album were sources are quiet 78 pressings of the later dubs, 1 Decca 23380, mx W 72169-A3 Decca 23282, mx 71476-AA recorded at 33 /3 RPM on sixteen-inch glass- and Canadian pressings in the case of Volume II. 8. People Will Say We’re In Love 3:11 based lacquer discs which were then dubbed to Victor’s Oklahoma! set was also made very Joan Roberts & Alfred Drake 78 RPM masters, processed with wartime quickly and some sides have permanent wow Decca 23287, mx W 71477-T3-A materials and pressed on recycled shellac. Later and distortion built into them from their original pressings were on better material and better sources. The Symphonic Suite was issued on Original Cast with the Oklahoma Orchestra & Chorus conducted by Jay Blackton dubs were made from the masters, but the 78s as well, but luckily was also recorded by Decca 23282/3/4/5/6/7 issued as Album DA 359; recorded in New York, 20 & 25 October1943 original lacquers were showing signs of wear by Decca for its World Broadcasting division in a Decca 23380/1 issued as Album A 383; recorded in New York, 25 May 1944 the time Oklahoma! was transferred to LP and slightly different version and pressed on high 45, even though safety copies existed and some quality vinyl transcription discs for radio station 16. Oklahoma: Symphonic Suite 11:26 World Program Service 700-8424/5/6/7, alternate takes have been found. Thus, the best use. This is the version heard on this CD. (Arranged by Robert Russell Bennett) mx BB 40824-A5 Alfred Wallenstein and Philharmonic Recorded 4 August 1944, Los Angeles, Orchestra of Los Angeles concurrently with Decca 23357/8 NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120787 6 8.120787 120787bk Oklahoma 17/12/04 4:43 PM Page 1

one he had chosen. first and he laboured over them for weeks at a with the union in September of 1943. The Decca also capitalized further on Oscar Hammerstein II had once been a great time. He worried about what a character was album was recorded a month later. Oklahoma! mania by recording Robert Russell Oklahoma! lyricist/librettist with hits like Show Boat to his feeling, what the dynamics of a scene needed, It was released as a series of six 78 discs Bennett’s Symphonic Suite on themes from Music by Richard Rodgers • Lyrics by Oscar Hammerstein II credit, but his work in the past decade had not what would make a snappy opening and included most of the major songs of the the show in August of the same year. Original Broadway Cast and Bonus Recordings, 1943-1944 consisted of nothing but flops and he was number for Act II. show,carefully trimmed to suit the roughly By December of 1944, RCA Victor had generally perceived as yesterday’s man. His simple poetic images brought out a new three minutes that a side could accommodate finally settled with the Musicians’ Union as well, Sometime after 11:00 pm on 11 March 1943, the had been empty,started doing brisk business. The same thing with director Rouben Rodgers, with long, flowing melodic lines and in those days. and one of their first recordings was – you curtain fell at New Haven’s Shubert Theatre on Audiences liked this show. It opened the Mamoulian. He had once electrified Broadway rich foursquare harmonies. It was a Even in this somewhat strait-laced format, guessed it! – Oklahoma! the world première of a new musical entitled following week in Boston to even better with his stagings of the original play Porgy and collaboration that might have fallen on deaf ears you can hear the fresh, young charm that They turned to a cast from the Metropolitan Away We Go! reviews and the creative team kept honing and its operatic sequel, Porgy and Bess, but he in the Roaring Twenties or the Dirty Thirties, but captivated the world. Drake once described Opera for this version, featuring tenor James One of the first people up the aisle was working down to the wire. hadn’t done a legit show in eight years and his as America struggled to get through the Second Oh, What A Beautiful Morning as ‘the closest Melton, who had appeared in several 1930s Rose Bigman, personal secretary to Broadway’s Then on 31 March, the day it was set to once-soaring film career was in freefall. World War, it was just what was needed. thing to lieder ever written by an American’, movie musicals like Stars Over Broadway most feared columnist,Walter Winchell. She open on Broadway,a freak early spring Ballet-trained Agnes DeMille had been fired That’s the second major factor: timing. The and he sings it that way,with rich, pure tones. before concentrating exclusively on his classical wasted no time in sending a telegram to her snowstorm hit the city and that, coupled with as choreographer from her first two musicals, kind of simple, homespun affirmation that Joan Roberts’ clear, bright voice soars effort- work. boss telling him what she thought of the show: the low-key feeling about the show in the leading man Alfred Drake’s career had stalled Oklahoma! offered was balm to the soul of a lessly in numbers like Out of My Dreams, West Virginia-born soprano Eleanor Steber ‘No legs, no jokes, no chance’, was her now- theatre community,was responsible for a since he did Babes In Arms for Rodgers and nation mired in a war they were starting to Celeste Holm remains the most humorously was thirty when this recording was made and legendary message. première performance filled with empty seats. Hart, and high-powered Mary Martin had turned wonder if they could ever win. innocent of all Ado Annies and Lee Dixon has about to enter what many consider her ‘golden Some sources attribute the remark to But that would be the last time there were down the female lead to appear in a show The cynical Broadway crowd, obsessed with such easy charm that one can comprehend why years’ as the Met’s leading lady. And baritone producer Mike Todd, but that isn’t as likely, any empty seats for the next five years. The called Dancing In The Streets (which would nothing more than their own narrow kingdom, the cast chose to cope with his problem John Charles Thomas began his career on Broad- because he was spotted leaving during the next morning’s reviews were almost universally later close in Boston). couldn’t see that and felt the show was old- drinking – as well as the onion sandwiches he way,appearing in numerous musical comedies show so he could catch an early train back to ecstatic and by noon, the box office was under The final nail in the coffin was that the fashioned. But sometimes, especially in the ate to mask the liquor on his breath. and operettas with titles like Apple Blossoms New York. siege. whole project was based on a folksy cowboy world of the musical, everything old is new Demand for the original recording of before finally moving to the Met in 1934. The once-mighty Theatre Guild was in a Oh yes, between Boston and New York, they play called Green Grow The Lilacs, which had again. Oklahoma! was so great that in May of 1944 Although no one could have guessed it panic, since this project was all that was had changed the name of their troubled tuner. only run for two months back in 1931. Another novelty that Oklahoma! was on the Decca decided to press another two discs with when Away We Go! opened so tentatively in standing between them and bankruptcy. In fact, It was now called Oklahoma! Of course it would be a disaster, right? cutting edge of was the original cast recording. the remaining songs. An interesting note from New Haven that March night in 1943, within they had to chase frantically after investors for Considering the fact that the show is Well, no one could have counted on two Decca had actually launched this revolution this release is that Howard DaSilva didn’t record the year – once it became Oklahoma! – it the $100,000 necessary to get this musical onto regarded today as one of the greatest and most things. The first was that the partnership with their selections from Porgy and Bess and his big solo as Jud, Lonely Room, but leading would trigger a whole new fashion in recording the stage. influential musicals of all time, you may find it between Rodgers and Hammerstein turned out This Is The Army. But then the famous ‘Petrillo man Drake sang it instead. As the rest of the show tunes: from the Original Cast recording, It looked like their efforts had been in vain, hard to imagine how everyone could have been to be pure magic. Ban’ took place, in which the American songs on this second recording were comedy through the Symphonic Version, right through a because the Gotham ‘wrecking crew’ who had so wrong about it until you look at these facts. The work that Rodgers had done with Hart Federation Of Musicians went on strike to numbers featuring non-singers like Joseph series of operatic covers. come up to the opening either joined Todd in Composer Richard Rodgers had just been was jazzy and sophisticated. He always wrote protest the uncompensated use of their work Buloff and Ralph Riggs, it may have been felt Many A New Day, indeed. his early departure, or let the Guild know this obliged to end a successful twenty-year his music first and Hart set his clever lyrics into on recordings. that Drake’s voice would provide a welcome latest piece was ‘weak…dull…unappealing’. partnership with Lorenz Hart due to the latter’s the existing template like some sort of verbal Decca was so eager to get a recording of change. – Richard Ouzounian But the next day,the newspaper critics were alcoholism. No one knew if Rodgers would be mosaic. Oklahoma! into the studios while it was still optimistic, if guarded, and the box office, which as good with another partner, especially not the But Hammerstein liked to create the lyrics hot, that it became the first to sign an agreement Cover image from Photodisc Green / Getty 2 8.120787 3 8.120787 4 8.120787 120787bk Oklahoma 17/12/04 4:43 PM Page 1

one he had chosen. first and he laboured over them for weeks at a with the union in September of 1943. The Decca also capitalized further on Oscar Hammerstein II had once been a great time. He worried about what a character was album was recorded a month later. Oklahoma! mania by recording Robert Russell Oklahoma! lyricist/librettist with hits like Show Boat to his feeling, what the dynamics of a scene needed, It was released as a series of six 78 discs Bennett’s Symphonic Suite on themes from Music by Richard Rodgers • Lyrics by Oscar Hammerstein II credit, but his work in the past decade had not what would make a snappy opening and included most of the major songs of the the show in August of the same year. Original Broadway Cast and Bonus Recordings, 1943-1944 consisted of nothing but flops and he was number for Act II. show,carefully trimmed to suit the roughly By December of 1944, RCA Victor had generally perceived as yesterday’s man. His simple poetic images brought out a new three minutes that a side could accommodate finally settled with the Musicians’ Union as well, Sometime after 11:00 pm on 11 March 1943, the had been empty,started doing brisk business. The same thing with director Rouben Rodgers, with long, flowing melodic lines and in those days. and one of their first recordings was – you curtain fell at New Haven’s Shubert Theatre on Audiences liked this show. It opened the Mamoulian. He had once electrified Broadway rich foursquare harmonies. It was a Even in this somewhat strait-laced format, guessed it! – Oklahoma! the world première of a new musical entitled following week in Boston to even better with his stagings of the original play Porgy and collaboration that might have fallen on deaf ears you can hear the fresh, young charm that They turned to a cast from the Metropolitan Away We Go! reviews and the creative team kept honing and its operatic sequel, Porgy and Bess, but he in the Roaring Twenties or the Dirty Thirties, but captivated the world. Drake once described Opera for this version, featuring tenor James One of the first people up the aisle was working down to the wire. hadn’t done a legit show in eight years and his as America struggled to get through the Second Oh, What A Beautiful Morning as ‘the closest Melton, who had appeared in several 1930s Rose Bigman, personal secretary to Broadway’s Then on 31 March, the day it was set to once-soaring film career was in freefall. World War, it was just what was needed. thing to lieder ever written by an American’, movie musicals like Stars Over Broadway most feared columnist,Walter Winchell. She open on Broadway,a freak early spring Ballet-trained Agnes DeMille had been fired That’s the second major factor: timing. The and he sings it that way,with rich, pure tones. before concentrating exclusively on his classical wasted no time in sending a telegram to her snowstorm hit the city and that, coupled with as choreographer from her first two musicals, kind of simple, homespun affirmation that Joan Roberts’ clear, bright voice soars effort- work. boss telling him what she thought of the show: the low-key feeling about the show in the leading man Alfred Drake’s career had stalled Oklahoma! offered was balm to the soul of a lessly in numbers like Out of My Dreams, West Virginia-born soprano Eleanor Steber ‘No legs, no jokes, no chance’, was her now- theatre community,was responsible for a since he did Babes In Arms for Rodgers and nation mired in a war they were starting to Celeste Holm remains the most humorously was thirty when this recording was made and legendary message. première performance filled with empty seats. Hart, and high-powered Mary Martin had turned wonder if they could ever win. innocent of all Ado Annies and Lee Dixon has about to enter what many consider her ‘golden Some sources attribute the remark to But that would be the last time there were down the female lead to appear in a show The cynical Broadway crowd, obsessed with such easy charm that one can comprehend why years’ as the Met’s leading lady. And baritone producer Mike Todd, but that isn’t as likely, any empty seats for the next five years. The called Dancing In The Streets (which would nothing more than their own narrow kingdom, the cast chose to cope with his problem John Charles Thomas began his career on Broad- because he was spotted leaving during the next morning’s reviews were almost universally later close in Boston). couldn’t see that and felt the show was old- drinking – as well as the onion sandwiches he way,appearing in numerous musical comedies show so he could catch an early train back to ecstatic and by noon, the box office was under The final nail in the coffin was that the fashioned. But sometimes, especially in the ate to mask the liquor on his breath. and operettas with titles like Apple Blossoms New York. siege. whole project was based on a folksy cowboy world of the musical, everything old is new Demand for the original recording of before finally moving to the Met in 1934. The once-mighty Theatre Guild was in a Oh yes, between Boston and New York, they play called Green Grow The Lilacs, which had again. Oklahoma! was so great that in May of 1944 Although no one could have guessed it panic, since this project was all that was had changed the name of their troubled tuner. only run for two months back in 1931. Another novelty that Oklahoma! was on the Decca decided to press another two discs with when Away We Go! opened so tentatively in standing between them and bankruptcy. In fact, It was now called Oklahoma! Of course it would be a disaster, right? cutting edge of was the original cast recording. the remaining songs. An interesting note from New Haven that March night in 1943, within they had to chase frantically after investors for Considering the fact that the show is Well, no one could have counted on two Decca had actually launched this revolution this release is that Howard DaSilva didn’t record the year – once it became Oklahoma! – it the $100,000 necessary to get this musical onto regarded today as one of the greatest and most things. The first was that the partnership with their selections from Porgy and Bess and his big solo as Jud, Lonely Room, but leading would trigger a whole new fashion in recording the stage. influential musicals of all time, you may find it between Rodgers and Hammerstein turned out This Is The Army. But then the famous ‘Petrillo man Drake sang it instead. As the rest of the show tunes: from the Original Cast recording, It looked like their efforts had been in vain, hard to imagine how everyone could have been to be pure magic. Ban’ took place, in which the American songs on this second recording were comedy through the Symphonic Version, right through a because the Gotham ‘wrecking crew’ who had so wrong about it until you look at these facts. The work that Rodgers had done with Hart Federation Of Musicians went on strike to numbers featuring non-singers like Joseph series of operatic covers. come up to the opening either joined Todd in Composer Richard Rodgers had just been was jazzy and sophisticated. He always wrote protest the uncompensated use of their work Buloff and Ralph Riggs, it may have been felt Many A New Day, indeed. his early departure, or let the Guild know this obliged to end a successful twenty-year his music first and Hart set his clever lyrics into on recordings. that Drake’s voice would provide a welcome latest piece was ‘weak…dull…unappealing’. partnership with Lorenz Hart due to the latter’s the existing template like some sort of verbal Decca was so eager to get a recording of change. – Richard Ouzounian But the next day,the newspaper critics were alcoholism. No one knew if Rodgers would be mosaic. Oklahoma! into the studios while it was still optimistic, if guarded, and the box office, which as good with another partner, especially not the But Hammerstein liked to create the lyrics hot, that it became the first to sign an agreement Cover image from Photodisc Green / Getty 2 8.120787 3 8.120787 4 8.120787 120787bk Oklahoma 17/12/04 4:43 PM Page 1

one he had chosen. first and he laboured over them for weeks at a with the union in September of 1943. The Decca also capitalized further on Oscar Hammerstein II had once been a great time. He worried about what a character was album was recorded a month later. Oklahoma! mania by recording Robert Russell Oklahoma! lyricist/librettist with hits like Show Boat to his feeling, what the dynamics of a scene needed, It was released as a series of six 78 discs Bennett’s Symphonic Suite on themes from Music by Richard Rodgers • Lyrics by Oscar Hammerstein II credit, but his work in the past decade had not what would make a snappy opening and included most of the major songs of the the show in August of the same year. Original Broadway Cast and Bonus Recordings, 1943-1944 consisted of nothing but flops and he was number for Act II. show,carefully trimmed to suit the roughly By December of 1944, RCA Victor had generally perceived as yesterday’s man. His simple poetic images brought out a new three minutes that a side could accommodate finally settled with the Musicians’ Union as well, Sometime after 11:00 pm on 11 March 1943, the had been empty,started doing brisk business. The same thing with director Rouben Rodgers, with long, flowing melodic lines and in those days. and one of their first recordings was – you curtain fell at New Haven’s Shubert Theatre on Audiences liked this show. It opened the Mamoulian. He had once electrified Broadway rich foursquare harmonies. It was a Even in this somewhat strait-laced format, guessed it! – Oklahoma! the world première of a new musical entitled following week in Boston to even better with his stagings of the original play Porgy and collaboration that might have fallen on deaf ears you can hear the fresh, young charm that They turned to a cast from the Metropolitan Away We Go! reviews and the creative team kept honing and its operatic sequel, Porgy and Bess, but he in the Roaring Twenties or the Dirty Thirties, but captivated the world. Drake once described Opera for this version, featuring tenor James One of the first people up the aisle was working down to the wire. hadn’t done a legit show in eight years and his as America struggled to get through the Second Oh, What A Beautiful Morning as ‘the closest Melton, who had appeared in several 1930s Rose Bigman, personal secretary to Broadway’s Then on 31 March, the day it was set to once-soaring film career was in freefall. World War, it was just what was needed. thing to lieder ever written by an American’, movie musicals like Stars Over Broadway most feared columnist,Walter Winchell. She open on Broadway,a freak early spring Ballet-trained Agnes DeMille had been fired That’s the second major factor: timing. The and he sings it that way,with rich, pure tones. before concentrating exclusively on his classical wasted no time in sending a telegram to her snowstorm hit the city and that, coupled with as choreographer from her first two musicals, kind of simple, homespun affirmation that Joan Roberts’ clear, bright voice soars effort- work. boss telling him what she thought of the show: the low-key feeling about the show in the leading man Alfred Drake’s career had stalled Oklahoma! offered was balm to the soul of a lessly in numbers like Out of My Dreams, West Virginia-born soprano Eleanor Steber ‘No legs, no jokes, no chance’, was her now- theatre community,was responsible for a since he did Babes In Arms for Rodgers and nation mired in a war they were starting to Celeste Holm remains the most humorously was thirty when this recording was made and legendary message. première performance filled with empty seats. Hart, and high-powered Mary Martin had turned wonder if they could ever win. innocent of all Ado Annies and Lee Dixon has about to enter what many consider her ‘golden Some sources attribute the remark to But that would be the last time there were down the female lead to appear in a show The cynical Broadway crowd, obsessed with such easy charm that one can comprehend why years’ as the Met’s leading lady. And baritone producer Mike Todd, but that isn’t as likely, any empty seats for the next five years. The called Dancing In The Streets (which would nothing more than their own narrow kingdom, the cast chose to cope with his problem John Charles Thomas began his career on Broad- because he was spotted leaving during the next morning’s reviews were almost universally later close in Boston). couldn’t see that and felt the show was old- drinking – as well as the onion sandwiches he way,appearing in numerous musical comedies show so he could catch an early train back to ecstatic and by noon, the box office was under The final nail in the coffin was that the fashioned. But sometimes, especially in the ate to mask the liquor on his breath. and operettas with titles like Apple Blossoms New York. siege. whole project was based on a folksy cowboy world of the musical, everything old is new Demand for the original recording of before finally moving to the Met in 1934. The once-mighty Theatre Guild was in a Oh yes, between Boston and New York, they play called Green Grow The Lilacs, which had again. Oklahoma! was so great that in May of 1944 Although no one could have guessed it panic, since this project was all that was had changed the name of their troubled tuner. only run for two months back in 1931. Another novelty that Oklahoma! was on the Decca decided to press another two discs with when Away We Go! opened so tentatively in standing between them and bankruptcy. In fact, It was now called Oklahoma! Of course it would be a disaster, right? cutting edge of was the original cast recording. the remaining songs. An interesting note from New Haven that March night in 1943, within they had to chase frantically after investors for Considering the fact that the show is Well, no one could have counted on two Decca had actually launched this revolution this release is that Howard DaSilva didn’t record the year – once it became Oklahoma! – it the $100,000 necessary to get this musical onto regarded today as one of the greatest and most things. The first was that the partnership with their selections from Porgy and Bess and his big solo as Jud, Lonely Room, but leading would trigger a whole new fashion in recording the stage. influential musicals of all time, you may find it between Rodgers and Hammerstein turned out This Is The Army. But then the famous ‘Petrillo man Drake sang it instead. As the rest of the show tunes: from the Original Cast recording, It looked like their efforts had been in vain, hard to imagine how everyone could have been to be pure magic. Ban’ took place, in which the American songs on this second recording were comedy through the Symphonic Version, right through a because the Gotham ‘wrecking crew’ who had so wrong about it until you look at these facts. The work that Rodgers had done with Hart Federation Of Musicians went on strike to numbers featuring non-singers like Joseph series of operatic covers. come up to the opening either joined Todd in Composer Richard Rodgers had just been was jazzy and sophisticated. He always wrote protest the uncompensated use of their work Buloff and Ralph Riggs, it may have been felt Many A New Day, indeed. his early departure, or let the Guild know this obliged to end a successful twenty-year his music first and Hart set his clever lyrics into on recordings. that Drake’s voice would provide a welcome latest piece was ‘weak…dull…unappealing’. partnership with Lorenz Hart due to the latter’s the existing template like some sort of verbal Decca was so eager to get a recording of change. – Richard Ouzounian But the next day,the newspaper critics were alcoholism. No one knew if Rodgers would be mosaic. Oklahoma! into the studios while it was still optimistic, if guarded, and the box office, which as good with another partner, especially not the But Hammerstein liked to create the lyrics hot, that it became the first to sign an agreement Cover image from Photodisc Green / Getty 2 8.120787 3 8.120787 4 8.120787 120787bk Oklahoma 17/12/04 4:43 PM Page 2

1. Overture 3:19 9. Pore Jud Is Daid 2:49 17. Oklahoma 2:55 20. Out Of My Dreams 3:32 Orchestra Alfred Drake & Howard da Silva James Melton with Al Goodman’s Orchestra Eleanor Steber with Al Goodman’s Orchestra Decca 23282, mx WW 71454-T4-A Decca 23286, mx 71456-AA & Chorus Victor 10-1143, mx D4RB-0721 Victor 10-1142, mx D4RB-0719 Recorded 22 December 1944, New York 2. Oh, What A Beautiful Mornin’ 2:32 10. Lonely Room 2:36 Recorded 22 December 1944, New York Alfred Drake Alfred Drake 21. Oh, What A Beautiful Mornin’ 3:06 Decca 23283, mx W 71455-T3-A Decca 23380, mx W 72172-A3 18. The Surrey With The Fringe On Top John Charles Thomas with Victor Young’s 3:26 Orchestra & The Ken Darby Chorus 3. The Surrey With The Fringe On Top 11. Out Of My Dreams 2:47 James Melton with Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1059 3:07 Joan Roberts & Girl Chorus Victor 10-1142, mx D4RB-0720 Recorded 13 December 1944, Hollywood Alfred Drake Decca 23285, mx W 71479-T1-A Recorded 22 December 1944, New York Decca 23284, mx W 71459-T3-A 22. Kansas City 2:56 12. The Farmer And The Cowman 5:17 19. People Will Say We’re In Love 3:23 John Charles Thomas with chorus & 4. Kansas City 2:45 Ralph Riggs, Bette Garde & Chorus James Melton & Eleanor Steber with orchestra conducted by Victor Young Lee Dixon & Male Chorus Decca 23381, mx W 72170-A3, 72171-A3 Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1060 Decca 23285, mx W 71475-T3-A 13. All Er Nuthin’ 3:09 Victor 10-1143, mx D4RB-0722 Recorded 13 December 1944, Hollywood Recorded 22 December 1944, New York 5. I Cain’t Say No 2:59 Lee Dixon & Celeste Holm Victor 10-1142/3/4 issued as album M-988 Celeste Holm Decca 23284, mx W 71458-T2-A Decca 23286, mx 71457-E 14. Oklahoma 2:30 Transfers and Production: David Lennick • Digital Restoration: Graham Newton 6. Many A New Day 3:05 Alfred Drake & Chorus Original discs from the collections of David Lennick, John Rutherford and the Belfer Audio Joan Roberts & Girl Chorus Decca 23283, mx W 71474-T3-A Laboratory and Archive, Syracuse University • Special thanks to Vince Giordano Decca 23287, mx W 71478-T2-A 15. Finale: Oh, What A Beautiful Mornin’ 7. It’s A Scandal 3:15 —People Will Say We’re In Love 3:10 Producer’s Note by David Lennick Joseph Buloff & Chorus Joan Roberts,Alfred Drake & Chorus The masters for Decca’s Oklahoma album were sources are quiet 78 pressings of the later dubs, 1 Decca 23380, mx W 72169-A3 Decca 23282, mx 71476-AA recorded at 33 /3 RPM on sixteen-inch glass- and Canadian pressings in the case of Volume II. 8. People Will Say We’re In Love 3:11 based lacquer discs which were then dubbed to Victor’s Oklahoma! set was also made very Joan Roberts & Alfred Drake 78 RPM masters, processed with wartime quickly and some sides have permanent wow Decca 23287, mx W 71477-T3-A materials and pressed on recycled shellac. Later and distortion built into them from their original pressings were on better material and better sources. The Symphonic Suite was issued on Original Cast with the Oklahoma Orchestra & Chorus conducted by Jay Blackton dubs were made from the masters, but the 78s as well, but luckily was also recorded by Decca 23282/3/4/5/6/7 issued as Album DA 359; recorded in New York, 20 & 25 October1943 original lacquers were showing signs of wear by Decca for its World Broadcasting division in a Decca 23380/1 issued as Album A 383; recorded in New York, 25 May 1944 the time Oklahoma! was transferred to LP and slightly different version and pressed on high 45, even though safety copies existed and some quality vinyl transcription discs for radio station 16. Oklahoma: Symphonic Suite 11:26 World Program Service 700-8424/5/6/7, alternate takes have been found. Thus, the best use. This is the version heard on this CD. (Arranged by Robert Russell Bennett) mx BB 40824-A5 Alfred Wallenstein and Philharmonic Recorded 4 August 1944, Los Angeles, Orchestra of Los Angeles concurrently with Decca 23357/8 NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120787 6 8.120787 120787bk Oklahoma 17/12/04 4:43 PM Page 2

1. Overture 3:19 9. Pore Jud Is Daid 2:49 17. Oklahoma 2:55 20. Out Of My Dreams 3:32 Orchestra Alfred Drake & Howard da Silva James Melton with Al Goodman’s Orchestra Eleanor Steber with Al Goodman’s Orchestra Decca 23282, mx WW 71454-T4-A Decca 23286, mx 71456-AA & Chorus Victor 10-1143, mx D4RB-0721 Victor 10-1142, mx D4RB-0719 Recorded 22 December 1944, New York 2. Oh, What A Beautiful Mornin’ 2:32 10. Lonely Room 2:36 Recorded 22 December 1944, New York Alfred Drake Alfred Drake 21. Oh, What A Beautiful Mornin’ 3:06 Decca 23283, mx W 71455-T3-A Decca 23380, mx W 72172-A3 18. The Surrey With The Fringe On Top John Charles Thomas with Victor Young’s 3:26 Orchestra & The Ken Darby Chorus 3. The Surrey With The Fringe On Top 11. Out Of My Dreams 2:47 James Melton with Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1059 3:07 Joan Roberts & Girl Chorus Victor 10-1142, mx D4RB-0720 Recorded 13 December 1944, Hollywood Alfred Drake Decca 23285, mx W 71479-T1-A Recorded 22 December 1944, New York Decca 23284, mx W 71459-T3-A 22. Kansas City 2:56 12. The Farmer And The Cowman 5:17 19. People Will Say We’re In Love 3:23 John Charles Thomas with chorus & 4. Kansas City 2:45 Ralph Riggs, Bette Garde & Chorus James Melton & Eleanor Steber with orchestra conducted by Victor Young Lee Dixon & Male Chorus Decca 23381, mx W 72170-A3, 72171-A3 Al Goodman’s Orchestra Victor 10-1144, mx D4RB-1060 Decca 23285, mx W 71475-T3-A 13. All Er Nuthin’ 3:09 Victor 10-1143, mx D4RB-0722 Recorded 13 December 1944, Hollywood Recorded 22 December 1944, New York 5. I Cain’t Say No 2:59 Lee Dixon & Celeste Holm Victor 10-1142/3/4 issued as album M-988 Celeste Holm Decca 23284, mx W 71458-T2-A Decca 23286, mx 71457-E 14. Oklahoma 2:30 Transfers and Production: David Lennick • Digital Restoration: Graham Newton 6. Many A New Day 3:05 Alfred Drake & Chorus Original discs from the collections of David Lennick, John Rutherford and the Belfer Audio Joan Roberts & Girl Chorus Decca 23283, mx W 71474-T3-A Laboratory and Archive, Syracuse University • Special thanks to Vince Giordano Decca 23287, mx W 71478-T2-A 15. Finale: Oh, What A Beautiful Mornin’ 7. It’s A Scandal 3:15 —People Will Say We’re In Love 3:10 Producer’s Note by David Lennick Joseph Buloff & Chorus Joan Roberts,Alfred Drake & Chorus The masters for Decca’s Oklahoma album were sources are quiet 78 pressings of the later dubs, 1 Decca 23380, mx W 72169-A3 Decca 23282, mx 71476-AA recorded at 33 /3 RPM on sixteen-inch glass- and Canadian pressings in the case of Volume II. 8. People Will Say We’re In Love 3:11 based lacquer discs which were then dubbed to Victor’s Oklahoma! set was also made very Joan Roberts & Alfred Drake 78 RPM masters, processed with wartime quickly and some sides have permanent wow Decca 23287, mx W 71477-T3-A materials and pressed on recycled shellac. Later and distortion built into them from their original pressings were on better material and better sources. The Symphonic Suite was issued on Original Cast with the Oklahoma Orchestra & Chorus conducted by Jay Blackton dubs were made from the masters, but the 78s as well, but luckily was also recorded by Decca 23282/3/4/5/6/7 issued as Album DA 359; recorded in New York, 20 & 25 October1943 original lacquers were showing signs of wear by Decca for its World Broadcasting division in a Decca 23380/1 issued as Album A 383; recorded in New York, 25 May 1944 the time Oklahoma! was transferred to LP and slightly different version and pressed on high 45, even though safety copies existed and some quality vinyl transcription discs for radio station 16. Oklahoma: Symphonic Suite 11:26 World Program Service 700-8424/5/6/7, alternate takes have been found. Thus, the best use. This is the version heard on this CD. (Arranged by Robert Russell Bennett) mx BB 40824-A5 Alfred Wallenstein and Philharmonic Recorded 4 August 1944, Los Angeles, Orchestra of Los Angeles concurrently with Decca 23357/8 NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 5 8.120787 6 8.120787 OKLAHOMA! 8.120787 OKLAHOMA! 5 Finale:Oh,WhatABeautifulMornin’— 15. Oklahoma 14. AllErNuthin’ 13. AndTheCowman TheFarmer 12. OutOfMyDreams 11. LonelyRoom 10. www. NOTES ANDFULLRECORDING DETAILS INCLUDED Graham Newton Restoration: Digital DavidLennick Transfers and Production: Bette Garde Celeste Holm Drake Alfred h O 9. Pore JudIsDaid Pore 9. PeopleWill Say We’re InLove 8. It’sAScandal 7. ManyANewDay 6. ICain’tSayNo 5. KansasCity 4. With TheFringeOnTop TheSurrey 3. Oh,WhatABeautifulMornin’ 2. Overture 1. RIGINAL & g People Will SayWe’re In Love 3:07 & C C C ARNES URLY 05NxsRgt nentoa t.Dsg:RonHoares Design: Ltd. 2005 NaxosRightsInternational naxos.com HORUS 3:11 & A C AST UNT 3:10 3:19 A C UNT C URLY W E A R URLY LLER J DO A ILL W UD ECORDING LI A E ILL & C DO P A LLER C H (sung by (sung by Alfred Drake) ARKER L NNIE • JoanRoberts 5:17 URLY AKIM AUREY & A A L HORUS AUREY NNIE • RalphRiggs DO & J • Howard daSilva • Howard & M 3:15 & G A UD 2:59 & G NNIE 2:30 1943-44 ALE IRL 2:49 IRL C C 3:09 L L C HORUS A HORUS AUREY AUREY C URLY NDREW HORUS Made inCanada , C ,C 2:36 2:32 & 2:45 C L 3:05 URLY AUREY URLY ONDUCTOR A 2:47 NDREW Lyrics byOscarHammersteinII Lyrics Rodgers Music byRichard W ILLIAMS J C 6 Oklahoma:SymphonicSuite 16. UD 2 KansasCity 22. Oh,WhatABeautifulMornin’ 21. OutOfMyDreams 20. PeopleWill SayWe’re InLove 19. With TheFringeOnTop TheSurrey 18. Oklahoma 17. ARNES F RY J Orchestra ofLosAngeles Orchestra WallensteinAlfred &thePhilharmonic (arranged byRobertRussellBennett) James Melton&EleanorSteber James Melton James Melton&Chorus Total Time:78:18 B John CharlesThomas&Chorus John CharlesThomas&KenDarbyChorus Eleanor Steber AY • LeeDixon ONUS • Joseph Buloff • JosephBuloff B LACKTON ADD R ECORDINGS 2:55 2:56 W ILL 3:32 P A 1944 ARKER LI H AKIM 11:26 3:23 3:06 8.120787

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OKLAHOMA! 8.120787