Description: Yes we combine shipping for multiple purchases.Add multiple items to your cart and the combined shipping total will automatically be calculated. 1977 America Sings 1920-1950 Barber Bernstein Copland Foss Vinyl 3-LP Record Box VG+ Record Grade per Goldmine Standard: VG+ America Sings, (1920-1950)Works by William Schuman, Elliott Carter, Wallingford Riegger,Ruth Crawford Seeger, Roger Sessions, Aaron Copland,Virgil Thomson, Randall Thompson, Lukas Foss, Walter Piston,Henry Cowell, Samuel Barber, Irving Fine, Louise Talma, /Leonard Bernstein, George Gershwin, Charles Ives\VOXThe Gregg Smith Singers • Gregg Smith, Conductor3Srecq5rds]\ ith The 1 exas Boys’ Choir, The Columbia University Men’s Glee ClubAnd The Peabody Conservatory Concert SingersThe progress of American music over the past 200 years hasbeen one of slow evolvement. Still, at the time of our coun-try's birth, we did develop an indiginous American style asexemplified by the New England Revolutionaries, led by theindefatigable William Billings. That this school did not nour-ish and develop to become the cornerstone of Americanmusical art is one of the tragedies in our country’s musichistory, but with the new-found wealth of and settling downin the Eastern Seaboard cities, our culture began to lookelsewhere—to Europe—for its musical ideals. In fact, underthe leadership of Lowell Mason there was an actual purgingof the music of Billings and his contemporaries. Throughout19th-century America, European musical inlluences were tocontinually dominate classical American music, although thestyles would change from Italian opera inilucnce during thefirst part of the century to the strong domination of Germansymphonic ideals in the latter part. It should be noted thatmost of the late 19th-century American symphonic com-posers, such as Horatio Parker, Edward MacDowell, andArthur Farewell studied in Europe.The major change in American music history occurredduring the period following World War 1, when a whole newgroup of young composers looked for inspiration to Parisand to the new music of Stravinsky. Led by Aaron Copland,who was both an important composer and an eloquentspokesman for new American music causes, these young mencame back to America with a determination to create a trulyindigenous American music. They had at their disposal Amer-ican jazz and folk song. This period—between 1920 andWorld War 11—was one of the strongest and healthiest inAmerican music history. One need only mention such namesas Copland, George Gershwin, Virgil Thomson, Walter Pis-ton, Roger Sessions, William Schuman, Samuel Barber andElliott Carter to realize what a flourishing musical period itwas. Indeed, it is doubtful that any country produced a morewide-ranging and strong group of composers as our own dur-ing the first part of the 20th century. If we add the name ofthe great giant, Charles Ives, we can certainly take pride atwhat was happening in American music at that time.It should also be pointed out that all of the aforementionedcomposers were especially active during some of the mostturbulent times in American social history: the so-called“Jazz Age," the American Depression and finally World WarII. One could easily draw a conclusion that the new socialstruggles of the Depression Years helped and indeed en-couraged a striving for an American art, an art that was nolonger elitist, but rather one for the American common man.If the music of Copland and others did not belong in theranks of popular music, historically-speaking it neverthelesswas a product that drew its inspiration from the Americanpeople.While most of these composers have gained their fameprimarily as masters of the orchestra, almost all of themhave also been tremendously interested in vocal music.Nearly all have written extensively for the voice—solo songs,opera, and a great deal of choral music. The contributionthat American composers of the ’20s, '30s and ’40s madeto the world of choral music has been enormously importantand vital to choral art. Indeed, the general rennaissance thattook place in all 20th-century choral music was also presentin American choral music. The nco-renaissance of choralcolor, word-painting and contrapuntal texture were idealsthat were met head-on by most of these American giants.Many of these composers devoted a great deal of their writingto choral music and the output is surprising indeed: almostevery composer represented in this collection has writtendozens of choral works, large and small, of extraordinaryhigh quality.* # * * $In this fifth volume of the AMERICA SINGS series, wehave endeavored to present at least one work of the mostimportant composers of this period. It roughly covers theyears from 1920 to 1950, although our boundaries have beenstretched at one end to include a couple of charming bits of“political" writing by Charles Ives, and at the other end toinclude those works which, although written in the early’50s, belong still to the style of this time. In such a collectionit is a difficult task to not only choose the most representa-tive work by each composer, but also to decide which com-posers should be represented. For this album we have forthe most part tried to give the best representation from thegroup which was really the founding‘generation for newAmerican 20th-century music. Most of them were bornat the end of the 19th century, and the younger membersslightly later, in the 1910s and early ’20s, included becausethey represent the continuation of this historical movement.Since World War II, the musical world has changedenormously, and many of our composers have changed theirmusical styles and attitudes, and later volumes will includenot only works by younger American composers, but alsoworks by some of the composers included here. There is agroup of Americans belonging to the older generation whichhave not been included here—the so-called “avant gardists”such as John Cage, who though of the same generation asSchuman and Barber, remained outside the main stream.Since Cage’s influence was to be felt much more in the late'50s and earl}' ’60s. it seemed best to include his music inthe contemporary volumes to follow.Finally it should be noted that this collection centersprimarily on music for the chamber chorus. It does notinclude larger works of oratorio size for chorus and orches-tra. Also, important works by several of these composershave already been recorded, and it was felt that rather than“re-perform" those, it would be more helpful and interestingto present works which had not been previously recorded.In the case of Copland, this meant omitting one of the majorpieces in the 20th-century choral repertoire. “In the Be-ginning” and in the case of Barber, that marvelous suite,“Reincarnations.” (Both of these works have been recorded,along with William Schuman’s “Carols of Death” in a pre-vious Gregg Smith Singers album. “An American Triptich.”Another important choral work which we regretfully omittedwas the “Hour Glass Suite” of Irving Fine. Again, this hasbeen recorded by The Gregg Smith Singers in another albumdevoted completely to that too-often neglected composer.There are very few of Charles Ives' choral pieces which havenot already been recorded by the Gregg Smith Singers, butcertainly no album of 20th-century American music, vocal orotherwise, would be complete without this greatest of allAmerican composers. The two election songs presented hereoffer the listener two completely different styles: “WilliamWill” was composed in the 1890's, and “Vote for Names” of1912. is practically atonal.Although American choral music and American music ingeneral has over the past fifty years grown tremendously instature, the long-standing habit of down-grading and ne-glecting our own music still persists today. It is tragic thatthis great generation of 20th-century composers has been soneglected over the past few years—indeed, they are alreadybeing described by some writers as the “lost generation.'’ Itis also tragic that many of these works have not yet enteredinto the mainstream of American choral music. Wc hopethat this album will help bring an awakening to the choralmastery of these outstanding composers, as well as helpingthe cause of our American 20th-century musical past.About THE GREGG SMITH SINGERS:In the past decade The Gregg Smith Singers have reached a preemi-nence in the choral music world and in the American music scene ingeneral through their tours. New York concerts and recording activity,which has probably been the most prolific of any chorus in the worldduring this time. They have championed not only the new with theirhistorical recordings of Igor Stravinsky, Arnold Schonberg andCharles Ives, and the old with their “Glory of Gabrieli” series as wellas their recordings of Heinrich Schuetz for VOX, but they have con-tinued their lead in bringing the cause of American music to therecording medium, starting as early as 1966 with their recordings ofCharles Ives and William Billings (they were the first to feature hisworks) and continuing with recordings of the choral music of IrvingFine. Barber. Copland. Schuman, Reynolds, and finally. “The GreatSentimental Age" and “Founding Years” in this AMERICA SINGSseries. Perhaps their greatest recording project is this ambitiousAMERICA SINGS series with VOX which will encompass overtwenty records covering music from the Pilgrim times to the present.Soon to be released are two volumes of contemporary music and avolume of 20th-century American chamber operas. Still to be re-corded in this Bicentennial project will be music from the AmericanRevolution to the Civil War. and finally, music from the end of the19th Century to early 20th Century: “The Transition Years.”Gregg Smith, founder and director of the singers, has main-tained an active composing career along with his conducting activi-ties. and at present has over 50 works published by G. Schirmers.Several of these works have been recorded, including “Bible Songsfor Young Voices” (VOX) and a major anti/war cantala, “Bewareof the Soldier,” which was recently released on CRI. In addition.Mr. Smith is active as an educator, and conducts many workshops and'clinics throughout the U.S.About the Performers:Rosalind Rees, who is also Mrs. Gregg Smith, is a graduate of theCleveland Institute of Music and has an active career as a soloperformer of 20th-century music as well as early Medieval andRenaissance songs. She recently gave the world premiere of a newwork of William Schuman with the National Symphony Orchestra,Anton Dorati conducting, where Irving Lowens compared her withsuch “phenominal sopranos as Jan DeGaetani and Phyllis Bryn-Julson.”Priscilla Magdamo was born in the Philippines and after graduatingfrom Silliman University in Dumaguete came to the U.S. where shereceived a degree in Ethno-Musicology at the Univ, of Indiana. Tnaddition to collecting Philippine folksongs, she is active as a soloistin NYC.Richard Muenz is a graduate of the Manhattan School of Musicand has recently performed as a soloist in the Lerner-Bernstein pro-duction of “1600 Pennsylvania Avenue.”Patricia Price is a graduate of Ithaca College and presently singswith the New York City Opera Company.Patrick Mason is a graduate of Peabody Conservatory and specializesin Renaissance and contemporary music as a soloist.Fay Kittelson is a graduate of Concordia College where she sangunder Paul Christiansen. She has recorded as a soloist for the “Music-Minus-One” series.Catherine Aks is a graduate of Queen’s College in Brooklyn. She isfrom a prominent musical family: Her grandfather was WallingfordRiegger.Henry Niemann has had extenstivc operatic experience with the NewYork City Opera Company as well as popular music tours withHarry Bcllafonte.Oresta Cybriwsky is a graduate of the Peabody Conservatory ofMusic where she accompanied the Peabody Concert Singers underGregg Smith’s direction. She has been the regular pianist with theGregg Smith Singers for the past 2 years.The Texas Boys’ Choir for over a quarter of a century has been theleading organization of its kind in the U.S. and one of the great boychoir organizations in the entire world. Led by their founder anddirector George Bragg, the boy choir has not toured the U.S. formany years but have made several tours of Europe, and in additionhave been collaborators with the Gregg Smith Singers on severalnotable recordings including “The Choral Music of Charles Ives”and the “Glory of Gabrieli” series.The Peabody Conservatory of Baltimore is one of the oldest andmost famous conservatories in the U.S. The Concert Singers are anelite organization of 36 vocal students who perform a wide range ofchoral repertoire from the very old to the very new.The Columbia University Men’s Glee Club is the oldest continuingorganization of its kind in the U.S. At present they are enteringtheir 103rd straight year of existence. The Glee Club is made up ofgeneral university students who, in addition to their yearly concertsin New York, have toured Europe and Mexico.A final word of thanks must be given to David Hancock, our re-cording engineer who has recorded all of the AMERICA SINGSvolumes as well as many other recordings for The Gregg SmithSingers. Without his invaluable friendship and knowledge of ourorganization, it can truly be said that this series could not be possible.Side I The Gregg Smith SingersBand I. Prelude(William Schuman, b. 1910)Rosalind Rees, SopranoBand 2. Musicians Wrestle Everywhere (Elliott Carter, b. 1908)Band 3. Who Can Revoke (Wallingford Riegger, 1885-1961)Oresta Cybriwsky, PianistBand 4. Chant(Ruth Crawford Seeger, 1901-1953)Priscilla Magdamo, AltoBand 5. Turn O Libertod(Roger Sessions, b. 1896)Oresta Cybriwsky & Raymond Becgle, PianistsWILLIAM SCHUMAN is one of the most active major com-posers of American choral music today. He was director atSarah Lawrence College for several years, which turned outto be one of his first important teaching positions. Over theyears he has written over 25 works, including two major can-tatas, a choral opera (“Casey at t/ie Bat”), as well as severalimportant choral suites. His composition “Cantata: FreeSongs” was the first Pulitzer prize-winning composition inmusic in 1943. Prelude is one of Schuman's early works, asetting of a passage by Thomas Wolfe from “Look Home-ward Angel”: “A stone, a leaf, an unfound door. . . .” Itcalls for solo soprano with four-part chorus. Prelude is aprime example of Schuman's acute sense of word-coloring—every image evokes brilliant musical and choral sonorities.ELLIOTT CARTER is not known as a writer of choral andvocal music, but in his early years he seems to have writtenquite a few works for chorus: “Harmony of Morning,” “De-fense of Corinth,” “Emblems” and several shorter works,including “Musicians Wrestle Everywhere.” The text is byEmily Dickenson, and Carter shows his tremendous flair forintriguing syncopated rhythmic writing as well as a masteryof contrapuntal and word-painting textures.RUTH CRAWFORD SEEGER is only now beginning toreceive the kind of fame she should have had many yearsago as a composer. In her compositional lifetime she wasconsidered a radical composer, writing music that was often12-tonc in nature or at least atonal. “Chant” employs no textwhatsoever but rather humming choir with a vocal soloist.It is extremely prophetic of vocal sounds used by contem-porary composers of the ’60s & ’70s.WALLINGFORD RIEGGER, who has been noted as oneof the first American 12-tonc composers, created in his life-time many, many choral works of a wide range. As an in-teresting sideline to his own career he used many pseudo-myms for choral arrangements which were written for prac-tical educational use. The work “Who Can Revoke” waswritten for his son-in-law. Harold Aks, who is a noted choralconductor in the New York City area.ROGER SESSIONS has written only a few choral worksin his career—a couple of large works, a mass for voicesand organ, and recently three Chorales for Chamber Chorusand Orchestra. One of his earliest choral pieces is the ex-citing “Turn O Libertod,” a setting of a text by Walt Whit-man. The work shows the kind of knotty musical texturesfor which Sessions is noted. At the same time, its power ininterpreting Whitman’s text is evident. The work is writtenfor chorus and piano 4-hands.Side IIBand 1. Two Pieces(Aaron Copland, b. 1900)An ImmoralityKevin Treadway. Soprano • Alan Buratto. PianoThe House on the HillThe Texas Boys’ Choir, Steve Stevens. DirectorGregg Smith. ConductorBand 2. Four Southern Hymns (Virgil Thomson, b. 1896)The Morning StarDeath. ’Tis a Melancholy DayMy Shepherd Will Supply My NeedGreenfieldsThe Peabody Conservatory Concert SingersGregg Smith. ConductorBand 3. Alleluia(Randall Thompson, b. 1899)The Gregg Smith SingersGregg Smith. ConductorThe dean of American composers, Aaron Copland, has al-ways been a strong supporter of educational music andchoral music, the two being, of course, interwined. His twoearliest choral pieces are these works written for piano andtreble choir (An Immorality) and treble choir unaccom-panied (The House on the Hill). The first is a setting of apoem of Ezra Pound, the second a poem of Edward Arling-ton Robinson. “An Immorality” shows everything we expectof Copland, tremendous pulsating rhythms, a brilliant eclatof style. It is a piece much too neglected in recent years,as is “The House on the Hill,” one of Copland's most poeticworks, a very demanding a capella piece for four-part treblevoices.VIRGIL THOMSON has time and again turned to Ameri-can folk music as the basis of many of his outstanding works,such as the documentary movie scores, the “Plough that brokethe Plains” and “The River.” This no doubt accounts for histurning to Southern folk hymody for settings which werecreated at the end of the 1940s. The settings are remarkablein their ability to maintain the traditional choral sounds ofthese beautiful hymns, and yet somehow convey the per-sonality of their arranger—Thomson. The four hymns areall taken from early 19th-Century Southern hymnals and areto be found in many of those collections, including the famousSacred Harp. All four settings emphasize the predominantmodal feeling that is found throughout this kind of Southernhymnody.One of the most famous choral works found in all of 20th-century music is RANDALL THOMPSON’S Alleluia. Itmight be described as an almost perfect piece, a work whichfound instant recognition and fame and has endured overmany years, primarily because of its mastery of choral writingand sonority. Interestingly enough it has had very few record-ings over the past decade. This may well be the first new re-cording of the work since the early '60s.Side HIBand 1. Behold I build an house (Lukas Foss, b. 1922)Band 2. Psalm and Prayer of David(Walter Piston, 1894-1976)The Peabody Conservatory Concert SingersGregg Smith, ConductorMichael Landen, OrganistAlthough LUKAS FOSS is the youngest composer in thisalbum, his early works are imbued with the Americanstyle that was at its apex during the ’40s and ’50s. As a youngman. Lukas Foss immigrated from Germany to the U.S. andimmediately fell in love, not only with the country, but alsowith its musical style. His first large work, which has recentlybeen released on Turnabout Vox. “The Prairie,” is a workwhich, amazingly written at 19. captures so well the Ameri-can flavor of Carl Sandburg's text. “Behold I build an house”was written in 1948 and is a setting of a Jewish text for organand chorus. Again, though an earlv work, it shows remarkablemastery of compositional technique, choral sonority andalso great skill in writing for the organ. The work is dividedinto three sections, a slow section, a fast contrapuntal mid-dle section, and finally a beautiful prayer at the end.It is regrettable that WALTER PISTON did not writemuch more for chorus than his two works, “Carnival Song,”for male chorus and brass instruments, and “Psalm andPrayer of David,” for mixed chorus and 8 instruments. Asthis work shows. Piston has great skill in contrapuntalwriting and a wonderful ear for choral sonorities. “Psalm andPrayer of David” has two main sections: the Psalm itselfis a lively movement interspersed with complex 5/8, 6 8& 3/8 meters. The second movement, the Prayer, is one ofthe most beautiful and eloquent movements in all of 20th-century choral music. It reaches the depths of the anguishof the poetry in every way and certainly deserves to be calleda masterpiece.Side IV The Columbia University Men's Glee ClubGregg Smith, ConductorBand 1. Defense of Corinth(Elliott Carter, b. 1910)Edward Green & Mark Sutton Smith, PianistsJan Opalach. NarratorBand 2. Luther’s Carol for His Son (Henry Cowell, 1897-1965)Band 3. A Stopwatch and an Ordinance Map(Samuel Barber, b. 1910)Gordon Gottlieb, TympanistIn 1940 ELLIOTT CARTER wrote two tremendous worksfor male chorus. “Emblem” and “Defense of Corinth.” “De-fense of Corinth” utilizes, in addition to a male chorus,piano four-hands and a narrator. The text is from Rabelais.The title is extremely misleading for the poetry itself isreally satirical and does not describe a battle of any sort,but rather the mocking preparations by one Corinthian. Dio-genes. What is most important is the way Elliott Carter hasused the tumble of words as vehicles for a whole string ofunique, exacting and exciting rhythmic settings. The greatdrive, which is continuous throughout this ten-minute work,shows us Carters tremendously infallable rhythmic sense.His immagination for chorus is equally as strong with bril-liant word-color and speaking sounds—using words in themost imaginative way throughout this extraordinary work.HENRY COWELL was a most prolific writer of choralmusic—one of the most prolific of any of the composers inthis collection, with the possible exception of William Schu-man. His work is not always even, but when he does achievehis best, the results can be extremely beautiful, as in- thislovely setting of an early English carol text. Cowell not onlycreates a sonority for the male chorus, but employs beauti-ful modal harmonizations and an unwavering sense of linethroughout this short but lovely work.SAMUEL BARBER wrote “/I Stopwatch and an OrdinanceMap" during World War II. He used a setting of a war poemof Stephen Spender—poetry which tells through exacting pic-torial references the death of one soldier, Employing theunique combination of tympani and male chorus, Barbermanages to convey a sense of the military, but at the sametime and more importantly to create a most tender andlyrical evocation of the horror of war, and the death of asoldier.Side V The Gregg Smith SingersGregg Smith, ConductorBand 1. The Choral New Yorker (Irving Fine, 1914-1962)The Hen PartyPatricia Price, SopranoCaroline MillionLinda Eckard. Priscilla Magdamo, AltosPianola d’AmorcDesign for OctoberRichard Muenz, BaritoneBand 2. Let’s Touch the Sky(Louise Talma, h. 1906)Anyone Lived in a Pretty How TownLove is More Thicker Than ForgetIf Up’s The WordRebecka Troxler, FluteGerard Reuter, OboePeter Simmons, BassoonOne of the greatest losses to American music was the un-timely death of IRVING FINE back in 1962, who succumbedto a heart attack in his mid-40s. Fine was what one mightcall a composer's composer ... . an elegant craftsman, sensi-tive, refined. One might even liken him in terms of finely-wrought craftsmanship to Maurice Ravel, although cer-tainly in style he was very American. Although his choraloutput was not as large as some of the other composers inthis album, nevertheless he created several very importantworks for chorus, namely the “Hour Glass Suite,” one of themonumental choral works in 20th-century literature, and thecharming suites based on Alice in Wonderland texts. “TheChoral New Yorker” is a setting of four poems taken fromvarious New Yorker periodicals. The notable things about thesuite are not only the mastery of Fine’s choral writing but theextraordinary piano accompaniments which arc like littleconcerti in themselves. In fact, the third work is entitledPianola d' A more and really features the virtuoso pianist asmuch as the chorus itself.LOUISE TALMA is one of the most important women com-posers to come out of this generation of American music.Over the past few years her music has not received nearlyenough attention. The three settings of E. E. Cumming’spoems, called “Let's touch the Sky,” are written for chorusand three wind instruments. As in Irving Fine’s work, thereis tremendous craftsmanship involved, not only in the writ-ing but in the sonorities themselves. Certainly one of themost delightful works, the third, ‘7/ Up’s the Word,” showsnot only strong American influences but also the delightfulrhythmic sense inherent in American jazz.Side VI The Gregg Smith SingersGregg Smith, ConductorBand 1. Choruses from The Lark (Leonard Bernstein, b. 1918)Three French ChorusesLinda Eckard, Alto • Rosalind Rees, SopranoLatin ChorusesLinda Eckard, AltoBand 2. Two Madrigals (George Gershwin. 1898-1937)The .Jolly Tar and the Milk MaidCatherine Aks, Soprano • Jeffrey Meyers, TenorSing of SpringBand 3. Two Election Songs (Charles Ives, 1874-1954)William WillFay Kittelson, Alto • Patrick Mason, BaritoneVote for NamesCatherine Aks, SopranoIn the mid-1950s, LEONARD BERNSTEIN wrote someincidental music for the Lillian Hellman translation of JeanAnouilh's “The Lark,” a play about Joan of Arc. Bernsteinattempted to recreate within his own style the renaissanceflavor of the play itself. There are two parts—the settingsof choruses which are French chanson texts, and the Latinchoruses. Although very much in the Bernstein compositionalstyle, the music nevertheless manages to capture a renais-sance flavor in intriguing ways. Bernstein drew upon chan-son texts, including the famous Revecy venir du printempsof Claude Lejeune. Bernstein even employs the same rhyth-mic scheme, 6/8 followed by the hemiola 3/2, which alter-nates throughout. The Latin choruses are more complicatedin sonority and style and draw upon various parts of theLatin mass. There is a Sanctus, Gloria and Requiem, buteach piece is short in duration, usually using only one or twophrases from these famous Latin texts. Bernstein also em-ploys the use of percussion—the drum in the first set ofFrench choruses, and later bells in two of the Latin choruses.In 1937 GEORGE GERSHW IN was in Hollywood, wherehe decided to include some ensemble choruses in the score ofa picture called “Damsels in Distress.” He was a little tiredof having just the voices of Fred Astaire and Ginger Rogerssinging all of his songs. So he composed two charming so-called madrigals, which are an intriguing combination ofEnglish madrigal style, Gilbert and Sullivan, and a littleHollywood film-score flavor. The pieces nevertheless showthat Gershwin, as usual, knew exactly what he was doing.The choral writing is exemplary and the resulting two pieceshave very great charm and wit. The texts, incidentally, werewritten by Ira Gershwin.CHARLES IVES’ two election songs cover a span of closeto 20 years. “William Will” is one of Ives’ very early efforts,still written while he was at Yale University. It was composedfor William McKinley in 1896 and is possibly the first pub-lished work of Ives. It is treated humorously; a kind ofschottish rhythm is the basis of the singing; but the mostinteresting moment is a piano interlude which borders onthe virtuoso. “Vote for Names” shows what happened toIves' style within a 20-year period, for it is an extremely mod-ern piece, written in two versions incidentally, for one pianoand for three. The work indicates either voice or voices andso we have decided to incorporate a combination of both.Noles By Gregg SmithRecorded in 1976Engineer: David HancockWorks by Schuman, Carter, Sessions, Piston & BarberRecorded under Ford Foundation SubsidyCover VOX PRODUCTIONS, INC.TMK(s)“ VOX PRODUCTIONS, INC. • Marca(s) Registrada(s) • Printed in U.S.A.(p) 1977 VOX PRODUCTIONS, INC., 211 E. 43rd St., N.Y., N.Y. 10011 LP2358
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Artist: Leonard Bernstein, Aaron Copland, Lukas Foss, Gregg Smith Singers, Texas Boys Choir, Columbia University Men's Glee Club, Peabody Conservatory Concert Singers
Speed: 33 RPM
Record Label: Vox
Release Title: America Sings 1920-1950
Case Type: Box
Material: Vinyl
Inlay Condition: Very Good Plus (VG+)
Edition: First Pressing
Type: Box Set
Record Grading: Very Good Plus (VG+)
Format: Record
Sleeve Grading: Very Good Plus (VG+)
Release Year: 1977
Style: Chorale, Classical, Contemporary
Record Size: 12"
Features: Original Cover
Genre: Classical
