Composer: Broadway
Works: Through the Gramophone Vols 1 & 2
Performers: Various singers, choruses, and orchestras of the Victor, Columbia, and Brunswick record companies
Recording: Volume 1 (1844-1909): CD1 78.16, CD2 75.51; Volume 2 (1909-1914): CD1 75.57, CD2 78.01
Label: Pearl: GMS 0082, GMS 0083
The anthology “Broadway Through the Gramophone” serves as an illuminating lens through which we can examine the intersection of European operetta and American musical theater during the crucial early decades of the 20th century. Spanning works from 1844 to 1914, these two volumes encapsulate a rich tapestry of the genre’s evolution, showcasing the burgeoning voice of Broadway while still imbued with its European roots. The compilation, however, can be misleadingly titled; many tracks represent operettas and musical forms that originated in Britain and continental Europe, yet were performed on American stages. This historical context is vital for understanding the cultural dialogues at play during this formative era.
The performances included in these collections reveal a remarkable dedication to vocal clarity and harmonic precision, even within the constraints of the acoustic recording technology of the time. Singers from the Victor and Columbia record labels display commendable diction and stylistic finesse, reminiscent of the Received Pronunciation prevalent in British recordings of the same period. Listening to tracks such as “Oh Promise Me” from De Koven’s “Robin Hood,” one can appreciate the singers’ ability to convey emotional nuance and character, even in truncated performances limited to four or five minutes. Notably, the orchestral arrangements, while often reduced to wind instruments and brass, offer a buoyant backdrop that complements the vocal lines, as heard in “The Wizard of the Nile” where Herbert’s melodies foreshadow the whimsicality of later Broadway hits.
However, the technical qualities of these recordings warrant scrutiny. The sonic clarity achieved in the engineering is commendable, allowing for an impressive articulation of lyrics and musical lines, particularly in tracks like “Marriage Is a Holy Union” from “Erminie.” Pearl’s engineering choices favor higher frequencies, resulting in a somewhat thin sound that may lack the warmth associated with modern recordings. Yet, the absence of significant surface noise enhances the listening experience, allowing the listener to focus on the performers’ diction and the subtleties of their interpretations. The engineering team deserves praise for their ability to maintain the integrity of the original performances while addressing the inherent limitations of the recording medium.
When juxtaposed with contemporaneous collections, such as the renowned revivals of “Showboat” and “Anything Goes,” the significance of this anthology crystallizes. It allows modern audiences to engage with works that have largely been relegated to obscurity. The anthology raises a provocative question: how long will it be before we hear modern interpretations of other neglected treasures from the Broadway stage, such as Monckton’s “The Quaker Girl” or Kern’s early works? The historical importance of these recordings cannot be overstated; they not only preserve an essential part of musical theater history but also serve as a reminder of the vibrant artistic exchanges that shaped American musical identity.
A more comprehensive approach to the accompanying notes would have enriched the experience further. While they provide a surface overview, additional context regarding the original productions, conductors, and performers would allow listeners to appreciate the depth of the musical narratives presented. Nevertheless, this collection stands as a testament to a critical period in musical history, bridging the gap between the operatic traditions of Europe and the evolving landscape of American musical theater. The clarity of the performances, combined with the rich historical context, renders “Broadway Through the Gramophone” a vital resource for both scholars and enthusiasts alike, offering a window into a bygone era of musical artistry.
