Jerome Kern: Show Boat - Scenario for Orchestra The Cleveland Orchestra, Artur Rodzinski, conductor Recorded on December 29, 1941, in Severance Hall, Cleveland, Ohio, on American Columbia matrices XCO 32141 through 32146. Issued in 1942 as Columbia Masterworks Set M-495 (records 11743-D through 11745-D), and in automatic sequence as Set MM-495 (records 11746-D through 11748-D). This symphonic arrangement of themes from "Show Boat" was prepared by Jerome Kern in the summer of 1941, at the instigation of Artur Rodzinski. The liner notes for the album, by Moses Smith, gives the following very detailed synopsis: "Scenario for Orchestra begins very softly and slowly (Andante sostenuto ma non troppo) in A minor with the Mississippi River motto in the muted strings. In the fourth measure the first horn intones the call of the River, and is promptly imitated by the other three horns. This motto recurs throughout the work. A little later (measure 13) the bassoon introduces the 'work theme,' which is also subjected to subsequent use. "Three measures later, after considerable retard, the English horn utters the plaintive song of the Negroes on the levee, 'Misery's Done Come.' The tempo is enlivened as the River theme returns, while against it the muted first violins sing a passionate melody. This brief but ecstatic episode yields (measure 31) to the first statement of 'Ol Man River,' principal theme of the entire composition, gaining importance and intensity on subsequent restatement. As the melody proceeds one hears on two occasions from the flutes fragments of the music which accompanied the 'verse' of 'Ol' Man River' in the original operetta. "The end of 'Ol' Man River' is promptly succeeded by an allegro, the first measures of which are associated, in the original, with the roustabouts loading boats. This is followed by a more extended development of the 'verse' fragments from 'Ol' Man River,' which one has just heard. "The second record side [at 4:03] continues in this vein for a short time. The jollification dies out and one hears, first in the muted trumpet and then in the oboe, fragments of tunes from the operetta, preparatory to a complete statement of 'Can't Help Lovin' That Man,' so closely identified with Helen Morgan. The rest of the record side (vivace), represents the happy gathering of negroes and whites as the showboat 'Cotton Blossom' arrives. "The third side [at 8:13] begins with an impression of a callope - Captain Andy's theme. There is a transition to Magnolia's theme, played by the bass clarinet in a low register against string accompaniment. Bells and celesta lend their ethereal sounds to the general effect of child-like innocence. On repetition the theme gains in both richness and sophistication. At the end Captain Andy's theme is heard briefly. Then follows transitional material to make way for one of the masterpieces of American song, 'Only Make Believe.' The end of the record side, in waltz tempo, consists of the music of Magnolia's avowal. "The fourth side [at 11:25] begins with a short serenade-like waltz (with guitar) that serves for introduction to a more extended and more passionate waltz, representing the culmination of the romance of Magnolia and Ravenal, and employing, in its course, the entire riches of the orchestra. There is an abrupt change of mood as a dance tune appears, typifying the jubilation of shuffling negroes on the departure of the showboat upstream. This episode is immediately followed, as the key changes sharply from B-flat to B, by a section depicting the carnival spirit of the Midway of the Chicago World's Fair (1893). We hear the noisy carousal of the carnival scene, the two competitive barkers, the cacophonous crowd. Just before the end of the record the tempo and mood change as the music reminds us of Julie's self-abnegation toward Magnolia. "The beginning of side five [at 15:06] takes us to the Dahomey Village scene of the opera. We hear a rude, barbaric African dance, built on three themes. There is an ingenious fade-out of the dance as the first them is modified until it leads naturally into another masterpiece of lyricism, 'Why Do I Love You?.' By a skilful modulation one is presently transported from the scene of Magnolia's and Ravenal's life - and love - in Chicago to the convent at St. Agatha's where there daughter is. "The sixth side [at 18:40] is given over to a summary and recapitulation. The last statement of 'Ol' Man River' is twice interrupted by the passionate waltz of Magnolia's avowal, but it finally runs its triumphant course like the timeless, irresistible River it depicts." To download a higher-quality audio file of this recording, please visit my blog, The Shellackophile - http://shellackophile.blogspot.com - where this and many other vintage recordings may be downloaded.

• published: 01 Jun 2012
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