1930 GILBERT & SULLIVAN HMS PINAFORE compl D'Oyly Cart

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A series of great  classical orchestral and instrumental performances by major conductors, composers and instrumentalists.

Here is the great, first 1930 HMV recoding of Gilbert and Sullivan's HMS PINAFORE

With the original D'Oyle Carte Company

The 1930 D'Oyly Carte Pinafore

Cast Sir Joseph Porter Henry Lytton
Captain Corcoran George Baker
Ralph Rackstraw Charles Goulding
Dick Deadeye Darrell Fancourt
Bill Bobstay Sydney Granville
Bob Becket Stuart Robertson
Josephine Elsie Griffin
Little Buttercup Bertha Lewis
Hebe Nellie Briercliffe

London Symphony Orchestra
Conductor: Malcolm Sargent

Recorded in London,
February 4 - June 4, 1930

This is a great set, almost noiseless, and the sonics of the recoding put anything recorded in the US to shame - one may think this is an LP with a full and present sound

Album C 13 Manual Sequence PRE WAR GOLD LABEL PRESSING 9x12" Victor 78 rpm.  early circle label pressings, in green colored lyre album

THIS IS THE QUIETEST PRESSING AVAILABLE, SINCE EARLY HMV and VICTOR SCROLL PRESSINGS MAY SUFFER FROM INCREASED SURFACE NOISE !!!

Condition:

EXCELLENT faintest scuffs, Album is great with light splitting at spine, but still holds well together

This was the second of seven recordings issued by D'Oyly Carte and HMV over the two-year period from 1930 to 1931. The cast is made up entirely of D'Oyly Carte performers, with the exception of George Baker as the Captain and Stuart Robertson as the Carpenter's Mate. Several are among the greatest all-time exponents of their roles.

Particularly gratifying is Henry Lytton's Sir Joseph. Lytton had a career with D'Oyly Carte that started with the original run of Princess Ida and lasted over half a century, but he only recorded four roles. He is clearly past his prime here, but full of personality nonetheless. Darrell Fancourt's menacing Deadeye should be required listening for anyone who undertakes the role. Granville's Bill Bobstay is also of note, as he played the role in the second Savoy repertory season; he is thus one of the few singers to have recorded a role learned under Gilbert's personal direction. My principal reservation with this recording is the chorus, who are neither in sync with each other, nor with the conductor.

Jim Farron reported that, in his copy of the set, the liner notes listed the 1922 cast. He assumed that perhaps the distributor had leftover copies of the booklet on its hands and couldn't be bothered to print new ones. Bruce Miller reported, however, that his copy has the same problem, but also includes advertising for sets issued in 1940, or later. Hence, it appears that new sets of notes with the wrong cast continued to be printed. Bruce points out that the side breakdown was the same in both sets, so that part of the notes remained accurate.

The value of these recordings lies in the study of performance practice, a window, if you like, into the way these operettas were played in the first part of this century. They are essentially performances by the D'Oyly Carte Opera Company, although not directly advertised as such. Pinafore was recorded in 1930 and The Mikado, in 1936. Much is made by G&S traditionalists of the way these pieces were performed in "the good old days," and the record notes make no bones about this "golden age" of G&S performances. If these performances are any guide, we haven't missed much. Charles Goulding and Elsie Griffin, the Ralph and Josephine retrospectively, sing very badly, with that thin English bleat, so beloved of those to whom any hint of robust singing is in poor taste. Take, for example, "Farewell My Own." The singing borders comparison with Florence Foster Jenkins, and this goes for a very superannuated Henry Lytton. Simply awful. Sargent was musical director for D'Oyly Carte in those days and exhibits none of the style or inspiration which would distinguish him in later years. ... The transfers from early electrical 78's are remarkably good, with some distortion showing in the climaxes. The original recordings were supervised by Rupert D'Oyly Carte, and if that is a guarantee of the benchmark set by Gilbert and Sullivan, it is high time the whole G&S "tradition" was re-examined.

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[THE GRAMOPHONE, August 1930, (Vol. VIII); pg.130]
THE H.M.V. PINAFORE ALBUM

The Gilbert & Sullivan News ù September, 1930 

It should, of course, be H.M.S. Pinafore; we all know that. But in the present instance the above title serves to indicate a version for which "His Master's Voice" is responsible and so to differentiate the gramophonic reproduction from the Savoy original, which has never yet, so far as I am aware, been sanctified by inclusion in the official Navy List. In his Bab Ballads, from which Sir W. S. Gilbert borrowed the idea of the story of the Pinafore (it being his own property), the name of the vessel commanded by Captain Reece was, doubtless for the sake of the rhyme, given as the Mantelpiece; but, once mentioned there, we hear of it no more; whereas immortality, safe almost as that of Nelson's Victory, awaits the name of Captain Corcoran's Pinafore.

It was performed for the first time at the old Opera Comique Theatre, after the withdrawal of The Sorcerer, on May 28th, 1878, and ran for about two years. Its popularity during that period amounted to a "craze." Nothing like it has been known since, either in England or America, where it remains to-day the greatest favourite of all the Gilbert and Sullivan operas, not excluding even The Mikado. Mr Arthur Lawrence has truly said in his Life of Sir Arthur Sullivan, "It was not an uncommon thing for one individual to have seen the piece, say, a dozen times; church choirs added it to their repertoire; thousands of sturdy Puritans, who had never been inside a theatre before, went to see one or other of the performances. It is on record that a hundred thousand barrel-organs were constructed to play nothing else." I wonder how many gramophones will now be sold on purpose to play this Album, which they will not only do a hundred thousand times better, but therewith evoke the most perfect reproduction of the authentic Savoy performance that has yet been achieved.

There was only one way to arrive at this result, and that was to go to the fountain head for it; which is what H.M.V. has invariably done for its recordings of these operas. In other words, they have placed the entire direction of the business in the able and responsible hands of Mr. Rupert D'Oyly Carte, the son of the famous Richard whom it was my privilege to know from the days when he built the first Savoy Theatre. It goes without saying, therefore, that the present Album offers a complete and faithful replica of the performance recently witnessed at that newly-constructed house. The cast is as follows: Sir Joseph Porter, (Sir) Henry A. Lytton; Captain Corcoran, Mr. George Baker; Ralph Rackstraw, Charles Goulding; Dick Deadeye, Darrell Fancourt; Josephine, Elsie Griffin; Hebe, Nellie Briercliffe; and Little Buttercup, Bertha Lewis. In certain concerted pieces Sydney Granville and Stuart Robertson also take place.

To state that the whole interpretation of the opera was carried out under the baton of Dr. Malcolm Sargent is to give assurance that the true Savoy traditions have been accurately preserved. His penchant for brisk tempi is no drawback here; rather the contrary, in fact. He maintains the lively atmosphere that the music demands and yet never neglects its delicious sentimental aspects. At one point only do I notice a conspicuous departure from the right Sullivanesque reading, namely, in failing to observe the classic pause before the Captain's "Hardly ever," upon which Sir Arthur absolutely insisted. [See note below.] The work of the chorus and orchestra could not in any way be improved upon; it is simply perfect, and the timbre throughout adapts itself admirably to the exigencies of the recording instrument. The names of the soloists speak for themselves. There is no need to praise either the dry, unctuous humour or the faultless diction of Sir Henry Lytton, who renews in his delightful art all that was so individual and alert in the methods of the famous George Grossmith. Of the others, Miss Bertha Lewis comes nearest in voice and style to Miss Everard or Rosina Brandram; but as Josephine Miss Griffin might perhaps have sung with a trifle more liveliness and spirit.

HERMAN KLEIN.
 
Note: Concerning Klein's criticism of the interpretation of "I am the Captain of the Pinafore," Bruce Miller writes:

I think Klein's memory is faulty in this observation. He was a friend both of D'Oyly Carte and of Sullivan, and one might expect him to know such details. But Sullivan's autograph of Pinafore, which was used both by the composer and others as a conducting score, shows no such pause. This is the kind of detail which conductors would write in these autographs; numerous examples can be mentioned.

Moreover, it shows Sullivan's alteration of the slurring of the bassoon passage to make it even more connected than it was originally. What Sullivan possibly might have done would be to slow this passage down, and speed it up again on the Captain's "Hardly ever." This would not really be a "pause," but it may be what Klein had in mind. One might expect to see a "rall." or "rit." if it was something Sullivan really wanted, however.

I've never heard it done this way, which is why it caught my attention. I listened to the side, and as Klein mentioned, there is indeed no pause before "Hardly ever" ù this is the pause he said Sullivan "always insisted upon" but which I (and probably you as well) have never heard or known about.

However, I think Klein may have gotten that phantom pause confused with the one we always hear in this passage:

I am never known to quail
At the fury of a gale [pause]
And I'm never, never sick at sea.

Sargent does, of course, take this pause in both verses. And it is true that while there's nothing in the vocal scores to indicate something happens at this juncture, in Sullivan's autograph there are two conductor's marks (evidently written after the vocal score had been derived from this page) which indicate that Sullivan probably "always insisted on a pause here": a rall. above that spot near the vocal line, and a fermata over the rest higher up in the score, same place.

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