OP0943. IN A PERSIAN GARDEN – Excerpts (Complete, as recorded in 1916) (Liza Lehmann), with The Composer directing Agnes Nicholls, Edna Thornton, Hubert Eisdell & George Baker; IN A PERSIAN GARDEN – Excerpts by Marguerite Dunlap, Olive Kline, Harry Macdonough & Reinald Werrenrath – recorded 1915. (England) Palaeophonics 87, w.Elaborate ‘The Play’ 20pp. Brochure replete with numerous beautiful color reproductions of HMV's original 1916 artwork, plus texts of all the songs and a photo & quote of Liza Lehmann. Excellently transferred from the legendary Acoustic 78rpm rarities.
"British composer Liza Lehmann wrote her most beloved piece, In a Persian Garden, in 1895. Using the majority of Edward FitzGerald's translation of the Rubiayat of Omar Khayyám, the cantata scored for SATB solo quartet and piano, enjoyed wide-spread popularity into the 1920s and 30s. The piece and this performance, as a joining of the work of entities largely unknown to each other, make this presentation In a Persian Garden: The Collaborative Rubaiyat.
Liza Lehmann, was a widely popular composer both in the Europe and the United States at the end 19th and beginning of the 20th centuries. In 1910, Lehmann made a successful tour of the United States, where she accompanied her own songs in recitals. She became the first president of England's Society of Women Musicians in 1911 and 1912. Even after her death in 1918, at 56, selections from her work, especially from In a Persian Garden. were still popular and made by the likes of Lawrence Tibbet, John McCormack and Mario Lanza."
- Zillah Dorset Akron
“A gentleman farmer with a love of Edwardian and early Twentieth Century music has created a home industry of preserving early Musical and Revue scores as recorded on 78 and cylinder, the latter of which he is certainly a specialist. It is an impressive list of shows that Dominic Combe has digitalised and issued on Compact Disc. Not only is it the recordings but the lovingly created books that attach.
Early theatre recordings abound in Great Britain, more so than in the United States where it took them some time to start recording original cast material. And so, many early scores are available to be heard. But what Dominic discovered when he started assembling these scores was that often latter day British 78 and cylinder record collectors turned their noses up on recordings of dance music or covers and ‘best of’ or ‘gems’ making them hard to find. And, it is those recordings which can often contain songs not otherwise recorded. He has built strong connections with other collectors willing to lend material to make each issue as complete as possible.
Modern equipment and an aptitude for perfection have helped Dominic ‘clean up’ old 78 and cylinder records to deliver a sound quality that can be stunning. The booklets are produced with as much care by using original theatre programmes or magazines such as PLAY PICTORIAL and MUSIC FOR ALL so that the listener can get a good idea of how the show looked as well as to see the unique art work used to advertise the show back then.
Dominic has issued over fifty of these gems and still has titles either being completed or awaiting to be started on. The label is called PALAEOPHONICS.”
- y phayward, OVERTURES: The Bunnet-Muir Musical Theatre Archive Trust, 10 July, 2017