Difference between revisions of "Carpenter, John Alden (piano)"

Revision as of 18:20, 17 August 2019

John Alden Carpenter (1876-1951) was one of four artists who recorded for the Chicago Gramophone Society, and one of two living composers whose music the Society issued on disc.

This page is part of the site Classical 'Society' Records by Nick Morgan.

It addresses solely Carpenter's relationship with the Society, and his private and commercial recordings; his life and career are well documented elsewhere.^[1]

For dates of creation and latest update, please see 'Page information' in left sidebar.

Chicago Gramophone Society

For all Carpenter's prominence and popularity, by his fiftieth birthday only a handful of his songs had been issued on commercial records,^[2] and he himself had performed only on private discs (see below). So it is all the more remarkable that when he visited a Columbia recording studio in New York City on 5 December 1927, it was not for Columbia or another commercial label, but for a tiny group of Chicago music-lovers and gramophone enthusiasts, the Chicago Gramophone Society. The Society issued only four 78 rpm discs before disappearing from view: on one of them, Carpenter played the piano in his Water-Colors, settings of ancient Chinese poems, alongside the mezzo-soprano Mina Hager. How did this come about?

Standard works on the composer do not discuss the recording's genesis or reception.^[3] The Society itself was short-lived and little reported: its activities are known mainly from notices in a Boston-based magazine, The Phonograph Monthly Review, which acted as its mouthpiece. To summarize the more detailed account presented elsewhere on this site, the Society had started life, probably in late 1925, as a private circle for aficionados of recorded music,^[4] one of several North American groups formed around this time and modelled on Britain's gramophone societies. It was formally and publicly constituted in late 1926, when it elected as its President a Chicago stockbroker and record-collector, Vories Fisher. At that stage, originating new recordings was not among the Society's stated aims. Fisher himself did have ambitions in this direction, which he hoped to realise through a contest for readers of The Phonograph Monthly Review. But it seems to have dawned on him fairly quickly that this would not be successful, and in early 1927 he proposed that the Society issue a recording which he was underwriting with a fellow-member, Robert Pollak. The proposal was accepted, and in May or June the Chicago Gramophone Society distributed its first issue, consisting of César Franck's Prelude, Chorale and Fugue for solo piano, recorded complete on two 12-inch (30 cm) discs by Marion Roberts, an up-and-coming local pianist and composer.

In November 1927, the Review relayed a communication from Fisher, explaining that the Society's next issue had been delayed by 'an over-crowded schedule at the recording studios', but giving no hint as to its contents.^[5] The recordings were made only in December: Carpenter's disc on 5 December, and a companion disc of songs by Hugo Wolf and Richard Strauss, with a different pianist, a week later.^[6] The issue was officially announced in January 1928: consisting again of two 12-inch (30 cm) discs, it was pressed in a limited edition of 200 sets, priced at $5 each, and distributed later that month or in early February.^[7] For a small, amateur enterprise, this was a significant achievement: the fifth published record of any work by Carpenter, and his first (and only) published disc as a pianist, it immortalized the partnership between the composer and one of his most devoted interpreters.

Mina Hager

Mina Hager was born and brought up in South Dakota. She studied and lived in Chicago from 1914, and performed Carpenter's songs from as early as 1915,^[8] but she did not meet the composer until late 1917. As she recalled in old age,

'I met and auditioned for Mr. Carpenter in a rather unorthodox way. There was a Chamber orchestra being formed in Chicago which, for prestige and encouragement, very much needed a new work by a "Name Composer" for the opening performance. Mr. Carpenter was the ideal choice. He accepted, perhaps because he had just finished orchestrating his Water Colors, a group of four Chinese tone poems [...] and was glad for this opportunity of having it heard. A friend knew that he, therefore, needed a singer so, without telling me, brought him up to The Great Lakes Training Base [sic] where I was singing. The songs I sang that night were hardly material for an orchestral appearance – I think one of them was Annie Laurie – but evidently they were right because he engaged me. I fell in love with Water Colors immediately, and that performance introduced me to the wealth of the wonderful collection of his songs, [...] and also to the man, Mr. Carpenter. Perhaps the first reason I love his songs is that they "do something to me." Also the learning of them and the singing of them did something for me, musically, artistically and professionally.'[9]

By then, the USA had entered the first World War. As early as May 1917, Carpenter had approached John Philip Sousa about training bandsmen at the US Navy's Great Lakes Training Station in Chicago. As a result, Sousa enlisted and became bandmaster of the Station's band;^[10] and in September, Carpenter was appointed a member of the US National Committee on Army and Navy Camp Music.^[11] In this capacity, he more than once visited the Great Lakes Training Station,^[12] giving him ample opportunity to hear Hager. It is not how often she sang at the Station, or on what occasion her unwitting audition took place: perhaps it was at one of the 'singing schools' organized for the 'bluejackets' or 'jackies', when old favourites like 'Annie Laurie' were sung,^[13] or at an entertainment such as the 1917 Thanksgiving Ball held at the Station.^[14]

Originally set for female voice and piano, Carpenter's four Water-Colors had been premiered on 4 October 1916 by the Scottish-born mezzo-soprano Christine Miller (1877-1956) and the composer, at the Ziegfeld Theater in Chicago.^[15] Carpenter's new version for orchestra (including piano) was premiered by Mina Hager on 30 December 1917, at a benefit concert for the Navy Relief Society in the city's Illinois Theater; Carpenter was again at the keyboard, and Arthur Dunham (1875-1938) conducted his Philharmonic Orchestra.^[16] This was the beginning of a significant and enduring musical partnership, Hager becoming a life-long champion of the composer. It has been stated that on 30 March 1918 they gave a recital devoted entirely to his songs, described as 'very possibly the first of its kind';^[17] but no source of the period confirming either the event or the date has been located. Perhaps the recital in question was one given exactly a year later, after a charity supper at Chicago's Arts Club, whose programme has not been ascertained.^[18] In the meantime, in May 1918, at a music teachers' convention in Bloomington, Illinois, Carpenter had given a talk on music and the war effort, after which Hager joined him in fourteen of his songs, including Water-Colors; this is currently the earliest documented all-Carpenter recital. A critic noted that the singer, with her

'contralto voice of excellent quality and used with artistry, [...] proved an excellent interpreter. She shared with Composer Carpenter in the success of the songs.'[19]

The previous month, Carpenter had been put in charge of the music for a gala celebration of the centennial of Illinois' statehood at Orchestra Hall. During the festivities, Hager, dressed in 'an old brocade gown' of the period, sang 'songs that were favorites of the belles and beau [sic] of civil war days'.^[20] In June 1918, Carpenter accompanied Hager in two groups of his songs, once again at Chicago's Illinois Theater.^[21] Eighteen months later, they performed together at a meeting of the Englewood Woman's Club; this was received as 'a big compliment to the club.'^[22] Hager took the orchestrated Water-Colors to Minneapolis in November 1920,^[23] and the following October she chose several of Carpenter's songs for her New York debut.^[24] A few days later, she sang a Carpenter group at the National American Music Festival in Buffalo, New York,^[25] and in December 1921 the composer joined her for a private recital of his songs at the home of a Chicago society hostess.^[26] Over the following years, they appeared together less often, but Hager remained loyal to him, programming his songs regularly and taking them abroad - the first time, in 1924, to London, Berlin, and possibly elsewhere.^[27] Before leaving for Europe, she apparently recorded one of Carpenter's best-known war songs, The Home Road, at the Victor studios in New York; designated a 'trial', this was not issued.^[28]

In the summer of 1924, while Mina Hager was abroad, the US press carried early reports of a new ballet venture for Chicago.^[29] Formally launched in November, Allied Arts, Inc., was founded by Carpenter, who secured the backing of leading Chicago patrons.^[30] Under a former choreographer for Diaghilev's Ballets russes, it aimed to offer a 'new form of dramatic entertainment [...] combining music by a small orchestra, the ballet, and notable scenic effects'.^[31] Whether it was thanks to Hager's relationship with Carpenter is not known, but she was given a prominent role in the second Allied Arts production, presented in January 1925, when she sang Igor Stravinsky's short Pribaoutki, and the vocal solos in Manuel de Falla's ballet El amor brujo, receiving its Chicago premiere.^[32] A year later, in January 1926, came an even more significant premiere: the first performance in Chicago of Pierrot lunaire Op.21 by Arnold Schoenberg, staged with choreography and scenery. In full costume, Hager delivered the solo Sprechgesang ('speech-song') part (in both German and English, on different days), making a powerful impression on Robert Pollak, who pictured her in The Chicagoan, 'chanting, singing, wailing, a rising and falling ecstatic voice'.^[33] Pollak also witnessed the last Allied Arts production, presented in December 1926 and January 1927, when Hager performed Water-Colors with orchestra (Carpenter was reported to have prepared a new version,^[34] but this has not been verified; it may have been the one Hager had premiered in 1917).^[35] The organization itself folded some months later;^[36] lamenting its demise, Pollak listed a 'catalogue of pleasant memories' left behind, among them 'Mina Hager singing Carpenter and Stravinsky and Schoenberg'.^[37]

By 1928, a newspaper could claim that

'Miss Hager is said to have sung, at one time or another, every song ever composed by John Alden Carpenter, modern composer.'[38]

In the light of Mina Hager's involvement with Allied Arts, Inc., it becomes easier to envisage why the Chicago Gramophone Society engaged her to record, and why, out of Carpenter's large body of songs, Water-Colors was chosen. In fact, it is surely not accurate to say that the Society engaged her to record; the project was almost certainly Fisher's and Pollak's alone, with no input from other members, and in any case the Society seems to have become dormant before it was mooted. The work by Franck which made up the first issue may have been prompted partly by Fisher's contest in The Phonograph Monthly Review, but by mid-1928 Fisher had lost interest in it, and neither Carpenter nor the other composers recorded were mentioned in connection with it. There was probably no consultation of any kind, except with Hager; and none was needed, as the repertoire on her records closely reflects Fisher's and Pollak's known interests and enthusiasms. At the Society's second open meeting, Pollak had given a lengthy talk on Hugo Wolf, arguing that he was a greater song composer than Schubert or Brahms; it was illustrated with seven records, of which only one was produced in the US.^[39] Fisher, meanwhile, was rather averse to Wolf, whereas he was a self-confessed completist when it came to the songs of Richard Strauss,^[40] although these were considerably better represented in domestic record catalogues^[41] (Fisher had earlier helped to compile a discography of the composer for Britain's The Gramophone^[42]). As underwriters of this issue, why should Pollak and Fisher not exercise a prerogative to have more of these composers' songs recorded? Naturally, the exact programme would be agreed with Hager - who, it appears, sang Wolf for the first time in recital only weeks before the sessions;^[43] was this prompted by her forthcoming recording for the Society?

Announcing the second issue in January 1928, the (by now nominal) Society explained:

'Miss Hager was associated with the Allied Arts of Chicago for several years and was responsible for the first hearing in Chicago of such an important modern work as Schonberg's [sic] "Pierrot Lunaire".'

Strikingly, in March 1927, Vories Fisher had relayed to readers of The Phonograph Monthly Review a rumour that a 'semi-private' recording society in Berlin

'have made much Ernst Kreneck [sic], they have made the Strawinski "Histoire d'un Soldat" [sic], and (and this one I consider the most important) they have made the Schöenberg "Pierrot Lunnaire" [sic].'

(The rumour was false.) It is not known if Fisher attended any of Hager's Chicago performances the year before, but his enthusiasm is hard to explain otherwise. There could be no question of the Chicago Gramophone Society taking on anything as difficult and expensive as the Schoenberg. But it could certainly afford something else from the Allied Arts repertoire, something which also celebrated what Pollak dubbed their 'corking musical town':^[44] Water-Colors(in the original setting with solo piano - the orchestral version would also have been too expensive to record). This fit neatly onto one 12-inch (30 cm) disc, leaving a second free to make up the Society's second issue. Pollak and Fisher underwrote this and the Society's previous recording, and

It is possible that the release was planned the other way round - the Austro-German lieder first, leaving a second disc to fill - but the fact that Hager was chosen as the artist surely tips the balance in favour of Water-Colors as the lynch-pin of this set. And, of course, she was well placed to approach Carpenter to record it with her - better, perhaps, than Pollak, who had been less than complimentary about Carpenter's new ballet Skyscrapers at its Chicago premiere, though he later published a favourable profile of the composer.^[45]

Carpenter's involvement in the Society's production might well have been minimal: it says much for his friendship with Hager that he was prepared to travel to New York and play for just two sides (whether he had other business in the city on 5 December 1927 has not been ascertained). The recording seems to have gone without a hitch. As was the practice at the time, two takes of each side were set down, of which the second of both was issued; by contrast, the other two sides, which Hager recorded with another pianist, had to be remade a week later, and were both issued from fourth takes. No test pressings have come to light; Carpenter must surely have been asked to 'pass' the chosen takes, if only as a courtesy, and offered a complimentary copy of the pressed issue, but this too can not be confirmed. Whatever its genesis and gestation, the Chicago Gramophone Society's issue of Water-Colors was a notable gramophone premiere. Understandably, as a limited, non-commercial edition, it was reviewed only in The Phonograph Monthly Review,^[46] not, as far as is known, in other musical periodicals or in the general press. More surprisingly, neither Carpenter's nor Hager's recollections or opinions of it are documented. Hager seems not to have retained a copy of the disc; it is not among the many recordings donated with her papers to the Newberry Library in Chicago.^[47] Whether the composer kept one is likewise not known; in general, Carpenter's views on the gramophone appear not to have been canvassed. Perhaps he was not that interested in making recordings for public consumption: he appeared once more on a commercial disc (see below), although he had previously made one remarkable, not to say historic, if private, purely utilitarian recording. Or perhaps he was uncertain of the reception his piano-playing would receive from the gramophone audience, unseen and unknown. Such a fear was not unfounded. Today, a composer's recorded performance, or personal supervision of one, almost automatically accrues a special interest and authenticity. At the time, if the sole, anonymous review of the Society's second issue is anything to go by, the opposite was true:

'The composer's accompaniments are played with gusto and insight – a rare feat for a composer!'[48]

Nor does he seem to have made any comment on Hager's performance, despite his lasting admiration and support for her: in 1941, he wrote to the composer and critic Virgil Thomson, hoping to persuade him to review a forthcoming performance by the singer, now in the twilight of her concert career:

'It has long been my conviction that Miss Hager has very unusual gifts. [...] She has had some success in a limited way since she left Chicago and established herself in New York some years ago but nothing like the recognition to which, in my judgement, she is entitled.'[49]

Recordings

Private

System Western Electric, under licence to Columbia Phonograph Co., as denoted by the logo Ⓦ preceding matrix numbers.

Notes Made, presumably, in the studios of Columbia's 'Personal Record' Department in New York, the above recording is attributed in an unknown private source to the Chicago Gramophone Society.^[50] This is highly unlikely. The Society was not officially founded until just under a year later. Not only were there no members to pay for such a project, a set of nine sides (or ten, with a filler) would have been beyond the future Society's means, not to mention an impractical proposition.^[51] Moreover, this recording was clearly meant not for public audition but as an aid to the ballet's first production at the Metropolitan Opera in New York, where the world premiere was given two months later, on 19 February 1926.^[52] The ballet's genesis had already cost Carpenter considerable effort, as revealed in an interview between its designer, Robert Edmond Jones, and the founding editor of Modern Music, Minna Lederman:

'To discover what stimulus music rather than drama gives the painter, we casually asked [Mr. Jones] whether he worked from the score or the libretto. His unexpected replies led us to the story of the making of this ballet, the details of which are given here to record a pioneer effort from which an art-form emerged [...] Skyscrapers originally, it appears, had no libretto, no plot, no dance designs, not even a locale. In the beginning there was only the music and it is directly from this that the production has been built — built by the composer and the designer of scenes without the traditional choreographer. [...] A reversal of the usual routine, which is to start with the story, then proceed to the music and the stage picture, was therefore in order. Mr. Carpenter played the score repeatedly and from the music itself Mr. Jones evolved the scenes [...] Retreating to a farmhouse in Vermont they took the music and the scene designs and set to without story, plan or dancer. Their procedure is described by Mr. Jones: "Carpenter would play the music giving me an impression of the changing orchestration. He played each passage over and over again for hours. This would give me certain ideas of movement for which I drew tentative designs, to be discussed with him. Countless series of patterns were made during six months of gruelling, unremitting labor."'[53]

(The 'farmhouse in Vermont' was probably Carpenter's 'summer place' in Charlotte^[54]). Even then, Carpenter's work was not done, according to a review of the first night:

'The opera stage management and Mr. Carpenter himself had worked three weeks drilling the large company in the scenes of "Work, Play, and Work Again," which formed what plot the ballet offered.'[55]

This brief account leaves unclear exactly what happened behind the scenes at the Met. Presumably, repetiteurs were available, but perhaps the score, full of devices borrowed from the epoch-making ballets of Stravinsky and Prokofiev, was considered difficult enough for dancers that the composer's help was required. If so, Carpenter can hardly have been expected to put himself through three more weeks of arduous keyboard work, and his records would have been an excellent substitute; significantly, he played mainly the score's rhythmic skeleton, as one would for dancers, while singing and even whistling the salient melodic lines. Perhaps, too, the discs served as an interpretative guide to the conductor of the first run, Louis Hasselmans. It is not known how the sides were pressed, whether in 'automatic' couplings, to facilitate continuous playback on one machine, or in the conventional 'manual' sequence, or even 'single-faced'; in the latter cases, two machines would have been needed.

This recording is a remarkable document: it preserves not only some 27½ minutes of Carpenter's piano-playing, singing and whistling, but also a slightly different version of the score from that published by Schirmer in 1927. At the very start, an unidentified man instructs the listener to 'Adjust or tune your phonograph to this A'; someone, presumably Carpenter, sounds the A above middle C three times on the piano. The music starts almost immediately, unannounced, but then the person who gave the preliminary instruction calls out rehearsal cues, 'Number One', 'Number Two' etc. These usually correspond in placing to the figures (starting at 1) printed in the published score, but soon diverge in number: an interpolated 'Number 7a' ushers in a slightly different version of Scene III, so that when 'Number 8' is called it corresponds to published figure 9, and so on until another discrepant section after 'Number 43' / fig.44, which widens the gap yet further. The reduction which Carpenter recorded was presumably sight-read from his composing score, or a reworking of it which emerged after the weeks closeted with Jones in Vermont.^[56] Not the least remarkable aspect of the recording is the verve of Carpenter's performance, which conjures up an image of him hammering out the ballet's scenario with Jones at the farmhouse's piano. The fact that all sides are pressed from takes -1, and contain no fluffs or restarts, suggests the music was still very fresh in the composer's mind and under his fingers (although this may also have been an economy measure; to record 9 ten-inch sides and press three copies of each, Columbia charged something in the region of $450^[57]). Carpenter's infectious projection of the score's essence must have helped to motivate the dancers and players for the first run at the Met. Although an ostensibly 'functional' run-through, it is vivid and involving, and deserves to be more widely heard and investigated further.

Commercial

System Western Electric, under licence to Columbia Phonograph Co., as denoted by the logo Ⓦ preceding matrix numbers, and to Victor, as denoted by the letters VE in matrix prefixes.

Cuts Water-Colors: none.

Song of Faith: presumed none (auditioned without score).

Notes The single disc which Carpenter made for the Chicago Gramophone Society is his only known commercial recording as a pianist. No transfer to another medium is currently available. For more detailed information see relevant page.

The 'Parts' of Song of Faith listed above do not necessarily correspond to divisions in the score, but to sides of the records. Carpenter appears only in the last 'Part' of both the short- and long-play editions. The complete work takes up four short-play sides, issued on Victor 1559 and 1560, and two long-play sides, issued on Victor L-11608. Multiple transfers of the short-play edition are available for audition and download from archive.org (Parts 1 and 2; Parts 3 and 4).

Acknowledgements

I am extremely grateful to Don Tait of Chicago for his invaluable help in researching the content of this page.

References

Note The Phonograph Monthly Review underwent various name changes, detailed here, but on this page and elsewhere on this site, the magazine is referred to in the text and footnotes as The Phonograph Monthly Review or, where appropriate, the Review.

1. ↑ Pollack, Howard John Alden Carpenter: A Chicago Composer, Champaign, IL: University of Illinois Press, 2001 (revised edition of Pollack, Howard Skyscraper Lullaby, Washington & London: Smithsonian Institution Press, 1995)
2. ↑ Four compositions by John Alden Carpenter are currently known to have been issued on commercial records before 1926, all in the USA:
   • Eight Songs for a Medium Voice - (ii) Don't ceäre, Louise Homer (contralto), orchestra, Walter B. Rogers, matrix B 18035-1, rec. 29 June 1916, Camden, New Jersey, issued on Victor 87263 (10-inch / 25 cm)
   • Khaki Sammy, Henri Scott (bass), orchestra, conductor / director unknown, matrix unknown, rec. c. April 1918, New York, issued on Brunswick 15216 (10-inch / 25 cm)
   • Khaki Sammy, Mabel Garrison (soprano), orchestra, Josef Pasternack, matrix B-21920-5, rec. 16 May 1918, Camden, New Jersey, issued on Victor 64783 (10-inch / 25 cm)
   • The Home Road, Ernestine Schumann-Heink (contralto), orchestra, Josef Pasternack, matrix B-24499-5, rec. 28 September 1920, Camden, New Jersey, issued on Victor 87320 and 831 (10-inch / 25 cm); assigned face number 2-3519 for issue by the Gramophone Company of Great Britain but no issue known
   Two compositions are currently known to have been recorded but not issued:
   • Three Songs for a Medium Voice - (i) The Lawd is smilin’ through the do’, Sophie Braslau (contralto), Francis Lapitino (harp), orchestra, Josef Pasternack, Victor matrix B-25795 (10-inch / 25 cm), rec. 7 December 1921, Camden, New Jersey, unissued
   • The Home Road, Mina Hager (soprano) [sic], LeRoy Shield (piano), second(?) part of Victor unnumbered 'trial' (10-inch / 25 cm), rec. 26 May 1924, New York City, unissued; NB Carpenter is not credited but is almost certain to have been the composer
3. ↑ O'Connor, Joan John Alden Carpenter: A Bio-Bibliography, Westport, CT: Greenwood Press, 1994
   Pollack, Howard Skyscraper Lullaby: The Life and Music of John Alden Carpenter, Washington, D.C.: Smithsonian Institution Press, 1995, revised as John Alden Carpenter: A Chicago Composer, Champaign, IL: University of Illinois Press, 2001
4. ↑ Fisher, Vories 'Chicago Phonograph Society', in 'Phonograph Society Reports', The Phonograph Monthly Review, Vol.1 No.1, October 1926, pp.32-34 (on p.32)
5. ↑ Johnson, Axel B. 'General Review', The Phonograph Monthly Review, Vol.2 No.2, November 1927, pp.[41]-45 (on p.44)
6. ↑ All details of Columbia recording sessions for the Chicago Gramophone Society were ascertained, from original Columbia matrix cards now held by Sony Music Entertainment in New York, by Michael H. Gray, whose kind help is gratefully acknowledged; personal communication, 30 September 2015
7. ↑ 'The Chicago Gramophone Society hereby announces (...)' (notice), in 'Phonograph Society Reports', The Phonograph Monthly Review, Vol.2 No.4, January 1928, pp.146-47 (on p.146); Pollak, Robert 'Current Records', The Chicagoan, Vol.4 No.8, 14 January 1928, p.26
8. ↑ 'Radanovits Studio', Music News, Vol.7 No.18, 30 April 1915, p.37
9. ↑ Hager, Mina '"Speak for Yourself, John Alden Carpenter!"', Music Journal, Vol.28 No.3 (March 1970), pp.66-67
10. ↑ Buzzell, Francis The Great Lakes Naval Training Station. A History, Boston: Small, Maynard & Company, n.d. [c.1919], pp.147-48; Pollack, Howard John Alden Carpenter: A Chicago Composer, Champaign, IL: University of Illinois Press, 2001, p.158
11. ↑ 'Inspiration of Song Is Stressed in Plans For Training Camps', Arkansas Democrat [Little Rock, Arkansas], 17 November 1917, p.4
12. ↑ e.g. 'Sousa Coming To Teach Music At Great Lakes', Chicago Daily Tribune, Wednesday 23 May 1917, p.[1]; 'Song Leaders To Visit The Camps', Decatur Herald [Decatur, Illinois], Sunday 9 December 1917, 'Christmas Edition' section, p.6
13. ↑ '’Tis Songs Of The Heart That Uncle Sam's Nephews Sing', The Richmond Palladium and Sun-Telegram [Richmond, Indiana], Saturday 4 August 1917, p.10, also published as 'Singing School Held to Train Rookies' Voices', The Statesman [Austin, Texas], Thursday 9 August 1917, p.2
14. ↑ 'Cordon Will Give an Old Fashioned Dance for Jackies', Chicago Daily Tribune, Tuesday 23 October 1917, p.19; 'Great Lakes Ball Adds $5,000 to the Navy Relief Fund', ibid., Thursday 29 November 1917, p.22
    NB This hypothesis, and Hager's recollection, appear to be contradicted by a contemporary report stating that only men were allowed to take part in entertainments held in training camps, see 'Dr. Grace Whitford Tells Of War Work By Chicago Women', The Tampa Daily Times [Tampa, Florida], Saturday 8 September 1917, p.5; in researching this page, no attempt was made to locate or consult records of the Great Lakes Training Station, but it is hoped that they survive and may throw light on this matter
15. ↑ 'Matters of Music', Chicago Sunday Tribune, 1 October 1916, Part 8, p.2, and Pollack, Howard John Alden Carpenter: A Chicago Composer, Champaign, IL: University of Illinois Press, 2001, p.148
16. ↑ Donaghey, Frederick 'Saturday To Monday In Music', and 'Cinderella' 'Counting the Stars on the 100 Per Cent Flags Inspiring', Chicago Daily Tribune, Monday 31 December 1917, p.9
17. ↑ Pollack, Howard Skyscraper Lullaby, Washington & London: Smithsonian Institution Press, 1995, p.148
18. ↑ 'Hager-Carpenter Musicale at the Arts Club Sunday', Chicago Daily Tribune, Thursday 27 March 1919, p.15; 'Offices of "Children of the Frontier" Now in Powers Building', ibid., Saturday 29 March 1919, p.15
19. ↑ Cox, Jeannette (of the Musical Courier, New York) 'Second Day with State Music Teachers' Meeting', The Pantagraph [Bloomington, Illinois], Thursday 9 May 1918, p.3
20. ↑ 'Mme. X.' 'Great Loan Drive Takes First Place in All Activities', Chicago Sunday Tribune, 14 April 1918, Section 7, pp.4-5, 9 (on p.5)
21. ↑ 'Civic Music Forces Join for Concert', Chicago Daily Tribune, Monday 3 June 1918, p.15
22. ↑ 'Englewood Happenings', The Englewood Times [Chicago, Illinois], Friday 2 January 1920, pp.1, 8 (on p.8); 'Englewood Woman's Club', ibid., Friday 9 January 1920, Section Two, p.10
23. ↑ 'Two Popular Airs Are Included in Symphony Program Tomorrow', Minneapolis Morning Tribune [Minneapolis, Minnesota], Saturday 20 November 1920, p.31; 'Mina Hager, Chicago Singer, to Be Soloist With Symphony at Popular Concert Today', Minneapolis Sunday Tribune [Minneapolis, Minnesota], 21 November 1920, p.8
24. ↑ 'Miss Hager Heard in Pleasing Song Recital Program', New York Tribune, Tuesday 11 October 1921, p.7
25. ↑ McHenry, Izetta May 'American Concert Field', The Billboard, Vol.33 No.42, 15 October 1921, p.28
26. ↑ 'Brief Local Mention', Queen City Mail [Spearfish, South Dakota], Wednesday 28 December 1921, p.4
27. ↑ 'Music This Week', The Times, Monday 9 June 1924, p.16; Westermeyer, Karl 'Minna [sic] Hager', in 'Aus Berlin', Signale für die musikalische Welt, No.28, 9 July 1924, pp.1109-11 (on p.1109)
28. ↑ The Home Road Mina Hager (mezzo-soprano), LeRoy Shield (piano), unnumbered trial, recorded 26 May 1924, Victor studios, New York; for more information about this tentatively identified selection, see here
29. ↑ 'Subsidy For Public Ballet', The Sun [Baltimore, Maryland], Sunday 8 June 1924, p.2; 'Music Notes That Will Interest Musicians', The Daily Pantagraph [Bloomington, Illinois], Saturday 21 June 1924, p.12
30. ↑ 'Mme X.' 'Tonight's The Night We Greet World Flyers', Chicago Sunday Tribune, 9 November 1924, Part 10, pp.[1]-2 (on p.2); Moore, Edward 'Of New Things in Ballet and Music', ibid., 23 November 1924, Part 8, pp.[1], 8; 'Latest Thing In Fine Arts', The City Club Bulletin, Vol.XVII No.38, Monday 22 December 1924, p.154
31. ↑ Moore, Edward 'Another Allied Arts Program', Chicago Sunday Tribune, 12 December 1926, Part 9 Drama, p.[1]
32. ↑ Moore, Edward 'Allied Arts Reveal New Ballet, Music', Chicago Daily Tribune, Friday 2 January 1925, [Section Two,] p.15; id. 'Allied Arts Is Feat of Season', Chicago Sunday Tribune, 4 January, Part 7, pp.[1], 5, and 'Mme X.' 'Allied Arts Production', ibid., Part 8, p.2
33. ↑ Pollak, Robert 'Musical Notes', The Chicagoan, Vol.1 No.1, 14 June 1926, p.22
34. ↑ Moore, Edward 'Another Allied Arts Program', Chicago Sunday Tribune, 12 December 1926, Part 9 Drama, p.[1]; id. 'Stellar Event to Mark Holiday Week', ibid., 26 December 1926, Part 7 Drama, p.[1]; 'Nancy R.' 'Allied Arts to Open Series of Programs Week from Sunday', Chicago Daily Tribune, Saturday 18 December 1926, p.17
35. ↑ 'Chicago Allied Arts, Inc. [...]' (advertisement), Chicago Sunday Tribune, 2 January 1927, Part 7, p.2
36. ↑ 'Activities of Allied Arts to Be Suspended', Chicago Daily Tribune, Tuesday 26 July 1927, p.23
37. ↑ Pollak, Robert 'Musical Notes', The Chicagoan, Vol.3 No.11, 13 August 1927, p.30
38. ↑ 'Bowl Soloist Has European Reputation', Los Angeles Times, Sunday 20 May 1928, Part III, p.13
39. ↑ 'Chicago Gramophone Society', in 'Phonograph Society Reports', The Phonograph Monthly Review, Vol.1 No.5, February 1927, pp.224-27; discographical details of the discs of Hugo Wolf's songs played by Pollak at the meeting can be found here
40. ↑ (Fisher,) Vories 'Recorded Remnants', The Phonograph Monthly Review, Vol.1 No.6, March 1927, p.274
41. ↑ A provisional list of US recordings of Richard Strauss's music is available at the Discography of American Historical Recordings
42. ↑ Fisher, Vories and Britzius, Dr. K(enneth). 'List of Recorded Music of Richard Strauss', The Gramophone, Vol.III No.4, September 1925, p.183
43. ↑ N.D.D. 'Music', The Staunton News-Leader [Staunton, Virginia], Thursday 20 October 1927, p.3
44. ↑ Pollak, Robert 'Musical Notes', The Chicagoan, Vol.1 No.1, 14 June 1926, p.22
45. ↑ Pollak, Robert 'Musical Notes', The Chicagoan, Vol.2 No.5, 15 November 1926, pp.16-17; id. 'Chicagoans John Alden Carpenter', ibid., Vol.7 No.4, 11 May 1929, pp.24-25
46. ↑ 'Special', in 'Analytical Notes and Reviews', ibid., Vol.2 No.8, May 1928, pp.306-15 (on p.308)
47. ↑ Once again, my thanks to Bill Anderson for confirming in person what is implied by the inventory of Mina Hager's sound recordings held at the Newberry Library
48. ↑ 'Special', in 'Analytical Notes and Reviews', ibid., Vol.2 No.8, May 1928, pp.306-15 (on p.308); like much of the magazine's content, this unsigned review was probably written by Robert D. Darrell (1903-88), see Darrell, R.D. 'O Pioneer (A Half Century Later)', ARSC Journal, Vol.19 No.1, 1987, pp.4-10 (on p.5)
49. ↑ Carpenter, John Alden Letter to Virgil Thomson, 2 May 1941, Thomson Collection, Yale University, quoted in Pollack, Howard Skyscraper Lullaby, Washington & London: Smithsonian Institution Press, 1995, p.149
50. ↑ The recording has been auditioned from a digital copy of a good transfer, in which all sides have been edited together, once or twice obscuring the exact locations of side-breaks; other than the matrix and take numbers and recording date, no further details, or images of the original disc labels, were available
51. ↑ The first issued commercial recording of Skyscrapers, made by Victor on 1 May 1932 and conducted by Nathaniel Shilkret, was laid out, in line with contemporary commercial practice for such works, on six 12-inch (30 cm) 78 rpm sides (in Victor Album M-130, 'manual'-coupled discs 11250>52, Album AM-130, 'automatic'-coupled discs 11253>55, and Album DM-130, 'drop automatic'-coupled discs 13227>29), as well as on three 12-inch 33⅓ rpm long-playing sides (on Victor long-playing 'manual'-coupled discs L-11618>19 and 'automatic'-coupled discs L-11691>92)
52. ↑ 'The Musical Go-Getter', The Brooklyn Daily Eagle, Saturday 20 February 1926, p.6; Cushing, Edward 'Music of the Day', ibid.
53. ↑ M[inna].L[ederman]. 'Skyscrapers, an Experiment in Design: An Interview with Robert Edmond Jones', Modern Music, Vol.3 No.2, January-February 1926, pp.21-26
54. ↑ Among many press references to the Carpenters' 'summer place', see e.g. R.—, Nancy 'John Alden Carpenter House in Rush Street Is Taken by Paepckes', Chicago Daily Tribune, Tuesday 17 August 1926, p.29; 'Miss Carpenter to Be Married In Charlotte', Burlington Free Press and Times [Burlington, Vermont], Tuesday 29 May 1928, p.7
55. ↑ 'Carpenter Jazz Ballet Gives New York Kick', Chicago Daily Tribune, Saturday 20 February 1926, p.15
56. ↑ No piano reduction of Skyscrapers appears to have been published. One or more manuscript piano scores were given to Serge Diaghilev, who commissioned the work for his Ballets russes but did not mount it; see Watts, Carolyn America in the Transatlantic Imagination: The Ballets Russes and John Alden Carpenter's Skyscrapers (MA thesis), School of Music, University of Ottawa, 2015, pp.55, 58-59; the fate of these MSS has not been ascertained
57. ↑ Thanks to research carried out by Tim Brooks, Columbia's 'Personal Record' rates for 1917-18 are documented, and are summarized in Brooks, Tim Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (first paperback edition), University of Illinois Press, 2005, pp.442-43; it is not known if, or how much, the rates had changed by 1927