Sylvia Marlowe Plays Vittorio Rieti

The eminent American harpsichordist Sylvia Marlow (1908-1981) is heard today in two works dedicated to her by the composer Vittorio Rieti (1898-1994).

In the Concerto for Harpsichord, the orchestra is conducted by Samuel Baron, better known as a flutist, although he conducted throughout his career. Baron also takes part in the Partita for Flute, Oboe, String Quartet and Harpsichord, conducted by Marlowe from the keyboard.

Vittorio Rieti

These are delightful works in a neoclassical vein from the pen of Rieti, an Italian who was resident in the US after 1940. Despite the scowling portrait of the composer at left, Rieti's music is known for its charm. He composed two ballet scores for Serge Diaghilev during the 1920s, both choreographed by George Balanchine. The composer and choreographer continued to work together after both moved to America.

Marlowe was particularly fond of the Partita, which she commissioned and recorded three times. The Harpsichord Music Society, which she founded, commissioned the concerto.

Known both for her mastery of the baroque repertoire and her dedication to contemporary composers, Marlowe was one of the key figures in bringing renewed attention to the harpsichord during the mid-20th century.

Sylvia Marlowe

The performances here are everything you might wish, and the upfront sound is what American Decca was providing on disc during the 1960s. (These date from June 1966.) If anything, though, Marlowe's instrument is buried in the mix - in contrast to many other harpsichord records of the day, where the instrument is unrealistically loud. One minor drawback to the sound is the presence of some rustle in the right channel.

This transfer was in response to a request on another forum.

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The Blackwood Brothers' First LP

I've featured the Blackwood Brothers Quartet a few times on this blog and its companion, but have never offered a full album by the group. So here is the group's first LP, a 10-incher from 1952. And as a bonus, I have included the four songs added in 1956 to fill out a 12-inch version of the same album.

The Blackwoods were and are arguably the most important and popular southern gospel group of all time, sharing that status with the Statesmen and Hovie Lister.

Before and for some time after signing an RCA Victor contract, the Blackwoods put out records on their own label, a few of which you can find in the post on my singles blog. But greater prestige and better distribution were to be had with the RCA affiliation.

The eight songs on the 10-inch LP were recorded by the personnel on the cover above: (top) bass Bill Lyles and tenor Dan Huskey, (middle) lead James Blackwood and baritone R.W. Blackwood, and (bottom) pianist Jack Marshall. These date from January and May 1952.

The songs added to the 12-inch LP are "The Love of God" and "Everywhere He Went" from January 1952, and "Oh, What a Time" and "The Hand of God" from October 1952. On the latter two songs, tenor Bill Shaw replaced Dan Huskey. (This group is depicted at right, in an image from now-vanished Grand Old Gospel Reunion site.)

That group, which would remain intact for a few years, was widely admired. The Southern Gospel History site terms them, "Four outstanding, versatile vocalists accompanied by arguably the finest quartet pianist of the day. This was as close to a perfect quartet as the world of gospel music had experienced thus far."

In June 1954, the group won Arthur Godfrey’s Talent Scouts competition, but just two weeks later a plane crash claimed the lives of R.W. Blackwood and Bill Lyles. After the tragedy, James Blackwood's first impulse was to disband, but he ultimately reformed the group with Cecil Blackwood replacing his brother R.W., and J.D. Sumner replacing Bill Lyles. This version of the quartet would remain together for 11 years, achieving tremendous success. I believe the 12-inch LP cover below depicts that quartet, although the earlier configurations are heard on the record.

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(From left) Bill Shaw, James Blackwood, Cecil Blackwood and J.D. Sumner

'Sweet and Low' with the Robert Shaw Chorale

Previously on this site, we have heard from the eminent choral conductor Robert Shaw leading Bach cantatas with Cleveland Orchestra members and presumably vocal forces from that ensemble's choir.

Today we find him guiding his namesake chorale in an early RCA Victor LP, recorded in 1950, just two years after he founded the group. The repertoire is nostalgic songs from long ago, which had attained newfound popularity in the postwar era. (See, for example, this collection from Jo Stafford and Gordon MacRae, also from 1950 and also including "Sweet and Low" and "In the Gloaming.")

The young Robert Shaw

The chorale's performances are predictably secure and sensitive. A few words about the soloists might be helpful.

Soprano Shirlee Emmons joined the chorale on its founding. She later was widely cast by regional opera companies, then became a noted voice teacher and author, including a book on Lauritz Melchior.

Baritone Raymond Keast sang for Shaw as far back as the latter's days with Fred Waring. Keast was in the Broadway casts of Allegro and Song of Norway in the 1940s. He also appeared on the 1955 RCA recording of La Forza del Destino (which included Shaw Chorale).

The accompanist is Raymond Viola. I haven't found much information on him, other than he was one of the artists on a 1952 RCA recording of the Bartok Sonata for Two Pianos and Percussion.

RCA later turned this 10-inch record into a 12-incher by adding the six Schubert songs that the chorale's male voices had recorded in 1949. The sound on this version is quite good.

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The chorale in an informal moment on tour.
Shaw is at the center of things, counting the beer bottles.