I had this set.. with the original descriptive pamphlet.. and gave it to a fine young musical friend .. age 20 .. (I'm 70) for his collection.. I'm glad to be able to pass the good stuff to someone appreciative.. Thanks for posting this!
@@senorxrey6429 Thank you. He'll be 25 in June and I've given him a great many records.. the 90-record Hit-of-the-Week sides I've collected for 50 years.. Little Wonder records .. sheet music.. basically anything he's interested in...
For me, this contemporary treatment of this masterpiece from my favorite composer, the great George Gershwin, has greater impact than later -- perhaps smoother, but more sterile and less immediate -- readings. A landmark for both the composer and, here, Mr. Shilkret.
Others spend hundreds of hours with Marx's _Mehrwerttheorie,_ we prefer sixteen minutes of the 78prof's *Mehrwertpraxis.* This is a truly distinguished upload, a rare example of the whole being *more* than the sum of its parts, Mehrwert in action. These extended recordings did have quite an impact, though eventually a transient one, on contemporary composers and arrangers, but as soon as the LPs emerged twenty years later, they attended to the large form again, working on and driven by various motifs and motives, more often than not bumbling and stumbling in Maestro Gershwin's big footsteps. Thank you, Professor, once again!
Fantastic ! 💐 Listen to this amazing and remarkable composition 🎼 of George Gershwin 🗽 on its original album 🗼 ... I'm a bit overwhelmed 😊 and I thank You so much 🌺 Mark
Nat Shilkret is a largely forgotten musical genius. As music director for the Victor Talking Machine Company he recorded music of every musical genre - classical to pop. Of the classics there is an acoustical recording of the 1812 Overture (1924) and a brilliant performance of John Alden Carpenters "Skyscrapers (1932). In 1925 Skilkret formed and conducted the Victor Orchestra, the only studio dance orchestra to gain an international following. In the 1930s Shilkret became a leading musical figure in Hollywood - First with RKO and later with MGM. Not only was he a brilliant arranger - as can be heard in his recording of "American"' - But as a composer of such symphonic works as "Skyward" (1927) and "Creation" From the "Genesis Suite" (1945). Without question, Shilkrets recording of "American in Paris' is the definitive performance of that important work - never to be surpassed. Incidentally, in 1970 I played this recording on the audio equipment at the Ohio State University sound lab, and found upper frequencies recorded as high as 14,000 CPS. This recording is pretty close to what we call "High Fidelity". I didn't need to tell you this - Just listen - Wow!!
I had a set of these 78s in my Mom’s house, which I bought at a Salvation Army thrift store in the 1980s. Maybe someday they’ll surface again. Until then, it’s nice to hear it here!
This is the definitive performace of An American In Paris. Shilkret won a Grammy Award for this recording - many years after the actual records were made.
Wow, this record came out the same year my Uncle Henry was born. My dad came into the world in 1926. It's neat to hear the music that was popular when my dad and his family were born.
My favorite of American in Paris recordings. Fantastically stylish, and on original instruments! As a trivia point, the turn to Side 4 disproves an argument that Leonard Bernstein liked to make when he 'swung' the trumpet solo. Very square in this recording-- 1920s, not 1940s. Fred Astaire, Ravel, and Picasso-- not Ella Fitzgerald.
If I may add something to Mr Colts brilliant comment below ... Nat Shilkret was one of the first musicians to record on a 33 1/3 long playing record. His performance of "Skyscrapers", also with the Victor Symphony, was recorded simultaneously on six 78RPM sides and three 33 1/3 sides. The 78s were issued on Victor red seal records in an album. The 33 1/3 s were issued as "singles" - 1 double sided and one single sided disc. The Victor 33 1/3s were called Program Transcriptions. They were pressed in a flexible plastic called Victrolac and had much less surface noise than did 78 RPM records. The first program Transcriptions were issued in October of 1931, but because of extremely poor sales the last of Victors 33 1/3s were issued in early 1933. Incidentally, "Skyscrapers" was an example of what was then called"Symphonic Jazz" and is much like "An American In Paris" which also incorporatyes jazz motifs.
Do you mind me asking what system you use to organize your music? I have thousands of songs, and wonder what might be a better system of tagging, organizing, etc. You seem to be so organized. I have been collecting old music since I was 5! When I was a child, instead of listening to the top 40, my dad gave me his old 78 collection, and I've been an aficionado ever since... I used to have lots of old cylinder records, etc, but lost most everything in a fire.
He would,additionally,be the greatest filmcomposer ever if working in this branche.Or might been actually if he didn´t died so early.But beside that his influence on film-music is tremendous up to now.
I absolutely agree with Mr Colt. I just listened to the Leonard Bernstein recording of this work and the passage referred to below is drawn out and played so slowly that I think Bernstein was heavily drugged during this recording session
Listen to what Nat Shilkret does at the beginning of side 3 (6;50) He's absolutely the only conductor who plays it this way.. Doesn't it sound just like a steam train pulling away from a station?? Did Shilkret intended to convey this musical "image"? I really like it.
@@darrencolt5955 Probably true, but that must have eventually fell by the wayside, at least by the early 40s, as I checked my collection and came across a few 78 RPM albums issued as only 2 discs. May have dawned on execs at the time that even shorter pieces could be put into binder albums.
@@jeffboettcher2531 I have a collection of almost 30,000 78RPM records - been collecting for 60 years. I have about 70% of all Victor albums and I can tell you that it wasn't until about 1940 that 2 record sets were issued in albums.
@@the78prof72 That is incorrect. Gershwin was 100% of the orchestration, as well as made any changes deemed necessary during the recording process. Which, in fact, he also was on - playing the celeste part. =) The the 2017 Critical Edition full score has fabulous scholarship attached that explains all of this. Cheers!
I had this set.. with the original descriptive pamphlet.. and gave it to a fine young musical friend .. age 20 .. (I'm 70) for his collection.. I'm glad to be able to pass the good stuff to someone appreciative.. Thanks for posting this!
Glad to see someone 20 can appreciate something that's not auto-tuned! You're a great person to pass this along.
@@senorxrey6429 Thank you. He'll be 25 in June and I've given him a great many records.. the 90-record Hit-of-the-Week sides I've collected for 50 years.. Little Wonder records .. sheet music.. basically anything he's interested in...
I'll bet if he loves music as much as we do, then he'll take good care of it for years to come. I wish more young people loved real music.
@@diane1390 He does. .. and he will...
My son sent me here..
What a good boy he is!
Incredible. And after 9 months of listening to black, hispanic, hip hop and rap music at work. This is a god send.
Very nice!! You would be surprised at how many people think this song came from a Gene Kelly Movie in 1951. Thanks Professor!!
For years, the version I was used to hearing was Leonard Bernstein's December 1958 recording with the New York Philharmonic (released in 1959).
wow nice discovery amd recording with gershwin in it
The fact that George Gershwin (1898-1937) himself is at the piano for this recording makes it priceless! This genius died far too early! 😥
Celeste (according the new research associated with the 2017 Critical Edition), but - agreed!
He actually wasn't at the piano during this recording he was the one honking the taxi horns that he got custom from Paris
6:00 if anyone wants to know, this is Gershwin playing the Celeste solo
For me, this contemporary treatment of this masterpiece from my favorite composer, the great George Gershwin, has greater impact than later -- perhaps smoother, but more sterile and less immediate -- readings. A landmark for both the composer and, here, Mr. Shilkret.
Others spend hundreds of hours with Marx's _Mehrwerttheorie,_ we prefer sixteen minutes of the 78prof's *Mehrwertpraxis.* This is a truly distinguished upload, a rare example of the whole being *more* than the sum of its parts, Mehrwert in action. These extended recordings did have quite an impact, though eventually a transient one, on contemporary composers and arrangers, but as soon as the LPs emerged twenty years later, they attended to the large form again, working on and driven by various motifs and motives, more often than not bumbling and stumbling in Maestro Gershwin's big footsteps. Thank you, Professor, once again!
Thanks...glad that you like it!
This must have sounded so modern to people in 1929! Still does!
Thank you for this exciting original recording-such a treasure!
You're most welcome....it really is a great piece of history.
If I'm not mistaken, those car horns were actual Paris taxi horns Gershwin bought specifically for use in recording the work.
Fantastic ! 💐 Listen to this amazing and remarkable composition 🎼 of George Gershwin 🗽 on its original album 🗼 ... I'm a bit overwhelmed 😊 and I thank You so much 🌺
Mark
Nat Shilkret is a largely forgotten musical genius. As music director for the Victor Talking Machine Company he recorded music of every musical genre - classical to pop. Of the classics there is an acoustical recording of the 1812 Overture (1924) and a brilliant performance of John Alden Carpenters "Skyscrapers (1932). In 1925 Skilkret formed and conducted the Victor Orchestra, the only studio dance orchestra to gain an international following. In the 1930s Shilkret became a leading musical figure in Hollywood - First with RKO and later with MGM. Not only was he a brilliant arranger - as can be heard in his recording of "American"' - But as a composer of such symphonic works as "Skyward" (1927) and "Creation" From the "Genesis Suite" (1945). Without question, Shilkrets recording of "American in Paris' is the definitive performance of that important work - never to be surpassed. Incidentally, in 1970 I played this recording on the audio equipment at the Ohio State University sound lab, and found upper frequencies recorded as high as 14,000 CPS. This recording is pretty close to what we call "High Fidelity". I didn't need to tell you this - Just listen - Wow!!
Always quite stirring to listen to this wonderful piece every now and again. Bravo on this very clear transfer to digital. 👍
This is sooooo cool ! !
Great performance, and great recording. Seemless across four discs!
THANK YOU....
I had a set of these 78s in my Mom’s house, which I bought at a Salvation Army thrift store in the 1980s. Maybe someday they’ll surface again. Until then, it’s nice to hear it here!
Wonderful!
This is the definitive performace of An American In Paris. Shilkret won a Grammy Award for this recording - many years after the actual records were made.
thank you for uploading this recording. it's utterly fantastique! Parfait!
So glad that you like it!
Astonishing.
Wow, this record came out the same year my Uncle Henry was born. My dad came into the world in 1926. It's neat to hear the music that was popular when my dad and his family were born.
This is astonishingly high-fidelity for 1929.
Great to hear this version , now I have to find the shellac discs
My favorite of American in Paris recordings. Fantastically stylish, and on original instruments!
As a trivia point, the turn to Side 4 disproves an argument that Leonard Bernstein liked to make when he 'swung' the trumpet solo. Very square in this recording-- 1920s, not 1940s. Fred Astaire, Ravel, and Picasso-- not Ella Fitzgerald.
Orchestrated music back then had such a different sound and feel to it.
If I may add something to Mr Colts brilliant comment below ... Nat Shilkret was one of the first musicians to record on a 33 1/3 long playing record. His performance of "Skyscrapers", also with the Victor Symphony, was recorded simultaneously on six 78RPM sides and three 33 1/3 sides. The 78s were issued on Victor red seal records in an album. The 33 1/3 s were issued as "singles" - 1 double sided and one single sided disc. The Victor 33 1/3s were called Program Transcriptions. They were pressed in a flexible plastic called Victrolac and had much less surface noise than did 78 RPM records. The first program Transcriptions were issued in October of 1931, but because of extremely poor sales the last of Victors 33 1/3s were issued in early 1933. Incidentally, "Skyscrapers" was an example of what was then called"Symphonic Jazz" and is much like "An American In Paris" which also incorporatyes jazz motifs.
Heard it when it was released on LP in the 80s!
Do you mind me asking what system you use to organize your music? I have thousands of songs, and wonder what might be a better system of tagging, organizing, etc. You seem to be so organized. I have been collecting old music since I was 5! When I was a child, instead of listening to the top 40, my dad gave me his old 78 collection, and I've been an aficionado ever since... I used to have lots of old cylinder records, etc, but lost most everything in a fire.
This lost is tragic!😪
He would,additionally,be the greatest filmcomposer ever if working in this branche.Or might been actually if he didn´t died so early.But beside that his influence on film-music is tremendous up to now.
I absolutely agree with Mr Colt. I just listened to the Leonard Bernstein recording of this work and the passage referred to below is drawn out and played so slowly that I think Bernstein was heavily drugged during this recording session
Oh yes... The Victor Symphony Orchestra was actually composed of musicians from the Boston Symphony Orchestra.
Listen to what Nat Shilkret does at the beginning of side 3 (6;50) He's absolutely the only conductor who plays it this way.. Doesn't it sound just like a steam train pulling away from a station?? Did Shilkret intended to convey this musical "image"? I really like it.
This didn't get issued with an outer cover, like other 78 RPM albums? Have a couple versions, but likely all from the 40's. Can check after a while.
This was not issued in an album - but as 2 singles. To be in a Victor album at this time , a composition had to occupy 3 or more records.
@@darrencolt5955 Probably true, but that must have eventually fell by the wayside, at least by the early 40s, as I checked my collection and came across a few 78 RPM albums issued as only 2 discs. May have dawned on execs at the time that even shorter pieces could be put into binder albums.
@@jeffboettcher2531 I have a collection of almost 30,000 78RPM records - been collecting for 60 years. I have about 70% of all Victor albums and I can tell you that it wasn't until about 1940 that 2 record sets were issued in albums.
@@darrencolt5955 That's kind of what I figured.
Did Gershwin do the orchestration then, not Ferde Grofe?
My understanding is that although Gershwin was present at the session, it was Shilkret's orchestration.
@@the78prof72 That is incorrect. Gershwin was 100% of the orchestration, as well as made any changes deemed necessary during the recording process. Which, in fact, he also was on - playing the celeste part. =) The the 2017 Critical Edition full score has fabulous scholarship attached that explains all of this. Cheers!
Interesting use of bass clarinet instead of tuba.
...1951...Movie...Gene Kelly... (H)
Am I supposed to be hearing car horns in this?
Yes, that's how Gershwin wrote it. en.wikipedia.org/wiki/An_American_in_Paris
@@the78prof72 thats interesting.
Talk about authentic!! The car horns used in this recording were the actual ones that Gershwin brought back from Paris.
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