Composer: Ivor Novello
Works: Shine Through My Dreams, Deep in My Heart, Fold Your Wings, The Radiance of Your Eyes, Every Bit of Loving in the World, The Thought Never Entered My Head, Give Me Back My Heart, Scene from Act I of Murder in Mayfair, When the Gypsy Played, The Girl I Knew, Shine Through My Dreams, If You Only Knew, My Dearest Dear, The Leap Year Waltz, Dark Music, We’ll Gather Lilacs, I Can Give You the Starlight, Waltz of My Heart, Keep the Home Fires Burning
Performers: Various artists
Recording: Original recordings 1917-1950
Label: NAXOS
Ivor Novello’s legacy is a fascinating intersection of musical theatre and early 20th-century British popular music, characterized by lush melodies and a distinctively romantic sensibility. This Naxos compilation, “Shine Through My Dreams,” pays homage to Novello’s enduring charm, featuring a selection of songs drawn from his illustrious stage productions and early film appearances. Novello’s works from the 1930s and 1940s not only reflect the zeitgeist of their era but also stand as a final flourish in the grand tradition of operetta, akin to that of his contemporaries like Franz Lehár, suffused with the elegance of Viennese waltzes.
The performances within this compilation vary in quality but collectively underscore Novello’s melodic genius. The opening track, “Deep in My Heart,” sung by Mary Ellis, is notable for its warm and poignant delivery, although it is not without competition; one finds the contrasting interpretations of Anne Ziegler and Webster Booth compelling. The emotional gravity in Ellis’s rendition is palpable, though it is perhaps Booth’s more theatrical approach that captures the essence of Novello’s style. This intertextuality between different recordings reveals the richness of Novello’s musical language, allowing listeners to appreciate the subtlety and complexity inherent in even his most accessible melodies.
Recording quality, however, presents a mixed bag. The earliest tracks, such as “The Radiance of Your Eyes” from 1917, exhibit the limitations of their time, with a certain ‘stuffed-shirt’ aesthetic that can detract from the emotional impact. The engineering is markedly better in later recordings, such as “Every Bit of Loving” from 1921, where Frances Alda’s dulcet tones are accompanied by a fuller, more resonant orchestration that captures the lushness of Novello’s arrangements. Peter Dempsey’s digital transfers and restorations for this Naxos release manage to balance nostalgia with clarity, though one cannot help but wish for even greater fidelity to bring out the intricacies of the orchestration which often get lost in the older recordings.
Among the more interesting inclusions are “If You Only Knew” and “The Girl I Knew,” with vocal performances that encapsulate the charm and wit of Novello’s work. The former, delivered by Dorothy Dickson with a male chorus, evokes a sense of longing, while the latter, sung by Elisabeth Welch, gracefully navigates its lyrical intricacies. Particularly delightful is the excerpt from “Murder in Mayfair,” where Novello himself engages in witty repartee, providing a glimpse into his charismatic personality and the theatrical milieu from which his music emerged. Such moments of levity serve to humanize the collection, grounding it in the historical context of its creation.
Despite the enjoyment to be found in this collection, there are significant overlaps with the recent ASV release, which diminishes its novelty. The duplications of tracks such as “Shine Through My Dreams” and “Dark Music” highlight a missed opportunity for broader exploration of Novello’s repertoire. While the familiar melodies are undeniably appealing, the absence of lesser-known gems, such as “Fly Home Little Heart,” is a conspicuous oversight that leaves aficionados yearning for a more comprehensive celebration of Novello’s artistry.
This collection ultimately provides a nostalgic wallow in the delightful melodies of Ivor Novello, albeit with caveats regarding redundancy and recording limitations. The charm of these songs, infused with a distinctively English romanticism, deserves a more prominent place in contemporary performance and recording practice. As interest in Novello’s work resurges, one hopes for a renaissance of his theatrical productions, recognizing their rightful place alongside the great operettas of the 19th and 20th centuries. This Naxos release stands as a testament to Novello’s legacy, inviting both new listeners and dedicated fans to revel in the beauty of his music.
