MISSING RECORDS FROM WEBSTER BOOTH/ANNE ZIEGLER DISCOGRAPHY.

If anyone has any of the recordings listed below, I would be very glad to have an MP3 of any one of them so that I can add it to the list of recordings in this group.

Missing Recordings

I read a post in The Golden Age of British Dance Bands by Javier Soria Laso about a data bass on the internet: (http://www.kellydatabase.org/Entry.aspx). I discovered a number of recordings by Webster Booth which I had not seen before – some of them had never been released. He featured in recordings by the HMV Light Opera Company and the Light Opera Male Chorus, sometimes in the chorus and sometimes as a soloist. I have included these recordings in my original list of missing recordings.

I wonder whether the unreleased recordings are still in circulation or whether they were discarded by HMV. I have a recording of Beauty’s Eyes (Tosti) which is marked as unreleased, also Anne Ziegler’s test recording of the Waltz Song from Merrie England. Possibly they were obtained from the Booths’ private record collection.

If anyone has any of the recordings listed below, I would be very glad to have an MP3 of any one of them so that I can add it to the list of recordings in this group.

WEBSTER BOOTH: Test recordings Serenata, Macushla Webster Booth, Reginald Paul, C Studio, Small Queens Hall, London, 20 November 1929.

Here Comes the Bride Selection (Schwartz) Light Opera Company with Alice Moxon, Stuart Robertson, Webster Booth, George Baker/Ray Noble/Studio C, Small Queens Hall, London/Cc18897-4, 25 March 1930.

C1890 Three Musketeers: Vocal Gems (Friml, Grey & Woodhouse),  Queen of my heart, Your eyes, March of the Musketeersparts 1 and 2, C Studio, Small Queen’s Hall, London, 7 April 1930. LIGHT OPERA COMPANY, ORCHESTRA: RAY NOBLE,  ALICE MOXON soprano, BESSIE JONES soprano, NELLIE WALKER contralto, ESSIE ACKLAND contralto, WALTER GLYNNE tenor, WEBSTER BOOTH tenor, GEORGE BAKER baritone, STUART ROBERTSON bass-baritone.

C1920 C B Cochrane’s 1930 Revue: Vocal Gems, parts 1 and 2 : Piccadilly, With a song in my heart,  Heaven, All the things you do,  Part 2: Bakerloo, Just as we used to do, The wind in the willows, What became of Mary? C Studio, Small Queen’s Hall London,  16 May 1930.  LIGHT OPERA COMPANY, ORCHESTRA: RAY NOBLE,  BESSIE JONES soprano, Alice MOXON soprano, NELLIE WALKER contralto, ESSIE ACKLAND contralto, WEBSTER BOOTH tenor, WALTER GLYNNE tenor, GEORGE BAKER baritone, STUART ROBERTSON bass-baritone.

Decca K630 HMS Pinafore Vocal Gems/Gilbert and Sullivan, Anne Welch, Victor Conway, Doris Owens, Webster Booth (1931)

I’m alone because I love you (Joe Young)/ When it’s sunset on the Nile (Ray Ellison & Ted RenardKensington Cinema, London, 6 March 1931. WEBSTER BOOTH tenor, W. BRUCE-JAMES organ Not released by HMV.

C2229 White Horse Inn: Vocal gems (Benatzky-Stolz), parts 1:   White Horse Inn, My song of love, Your eyes; Part 2 Ho-Dri-Ho, Goodbye, Sigesmund, It would be wonderful, Small Queen’s Hall London,  8 May 1931/14 May 1931, LIGHT OPERA COMPANY, Orchestra: RAY NOBLE,  BESSIE JONES soprano, NELLIE WALKER soprano, ESSIE ACKLAND contalto, GEORGE BAKER baritone,  STUART ROBERTSON bass-baritone,JOHN TURNER tenor,WEBSTER BOOTH tenor.

I have this recording. Webster must feature in the chorus for his solo voice cannot be heard.

C2501 Musical Comedy Marches, No 2 Studio, Abbey Road London,  7 November 1932,
LIGHT OPERA COMPANY Orchestra: RAY NOBLE, JOHN TURNER tenor, WEBSTER BOOTH tenor, WALTER GLYNNE tenor, LEONARD GOWINGS tenor,  GEORGE BAKER baritone, STUART ROBERTSON bass-baritone, EDWARD HALLAND bass.

C2511 Robert Burns Medley, parts 1 and 2: My love is like a red red rose,Green grow the rashes-O, Afton Water, No 2 Studio, Abbey Road London, 5 December 1932, 
LIGHT OPERA COMPANY (orchestra: LAWRENCE COLLINGWOOD)  ALICE MOXON soprano, BESSIE JONES soprano, NELLIE WALKER soprano, ESSIE ACKLAND contralto, WEBSTER BOOTH tenor, WALTER GLYNNE tenor, GEORGE BAKER baritone, DENNIS ARUNDEL baritone.

C2716 Ballad Memories, Light Opera Company, including Peter Dawson, Webster Booth, Walter Glynne, George Baker, Gladys Peel, Essie Ackland. Date unknown.

Columbia DB 1658 ORCHESTRE RAYMONDE, with Webster Booth, tenor and Angela Parselles, soprano, Cond. George Walter (real name Walter Goehr) Date unknown.

B8078 A dream of paradise (Claude Littleton & Hamilton Gray)/The old rustic bridge by the mill (Joseph P Skelly) Kingsway Hall, London, 23 October 1933, WALTER GLYNNE tenor, CHORUS, organ HERBERT DAWSON (orchestra Lawrance COLLINGWOOD)  WEBSTER BOOTH tenor, JOHN TURNER tenor, EDWARD HALLAND baritone, PETER DAWSON bass-baritone, GEORGE BAKER baritone.

B8071 Sweet Genevieve (Tucker), solo STUART ROBERTSON;  At Trinity Church (Fred Gilbert), solo GEORGE BAKER; The honeysuckle and the bee (Fitz & Penn), solo STUART ROBERTSON; b) If you want to know the time (E W Rogers), solo GEORGE BAKER  Studio No 1, Abbey Road London England,  7 November 1933 LIGHT OPERA MALE CHORUS (orchestra: CLIFFORD GREENWOOD) WEBSTER BOOTH tenor, JOHN TURNER tenor, EDWARD HALLAND bass, LEONARD HUBBARD baritone.

This recording may be heard on Clypit: https://clyp.it/fjwbx5vs Thanks to Robert Godridge.

B8081 The saucy Arethusa (trad.), solo STUART ROBERTSON; The Bay of Biscay (Davy) Studio No 1, Abbey Road, London,  7 November 1933,
 LIGHT OPERA MALE CHORUS (orchestra CLIFFORD GREENWOOD)  WEBSTER BOOTH tenor, JOHN TURNER tenor, EDWARD HALLAND bass, LEONARD HUBBARD baritone

B8105 The glory of the Motherland (McCall); England (Besly); No 2 Studio, Abbey Road, London ,11 January 1934  PETER DAWSON bass-baritone (orchestra: CLIFFORD GREENWOOD), MALE QUARTET  JOHN TURNER, tenor, WEBSTER BOOTH tenor, GEORGE BAKER baritone, STUART ROBERTSON, bass.

C2814Neapolitan Nights, Selection sung in English: O sole mio; Torna; Funiculì Funiculà  Studio 1, London, 20 December 1935, LIGHT OPERA COMPANY, Orchestra: WALTER GOEHR,  INA SOUEZ (sop), WEBSTER BOOTH (ten) Chorus 8 men

C2827 Tosti Medley Part 1: Parted; Marechiare; Vorrei morire; Part 2: L’ultima canzone; Ideale; Mattinata; Goodbye, Studio 1. London 11 February 1936, LIGHT OPERA COMPANY Orchestra: WALTER GOEHR,  INA SOUEZ (sop), WEBSTER BOOTH (ten) Chorus 8 men (as La Scala Singers) Released1938?  

C2834 Spanish Medley, part 1 – Perjura; Lolita; La paloma; part 2 – La partida, El relicario; Ay ay ay, Studio 1, London, 10 February 1936 (as Sevillian Serenaders)
 LIGHT OPERA COMPANY (orchestra: WALTER GOEHR) INA SOUEZ (sop), WEBSTER BOOTH (ten) Chorus 8 men.

Waltz song (German)/Indian love call (Friml) Studio 3, London ,10 March 1936,
 ANNE ZIEGLER (sop)(p) Test recordings.

B8476I’m all alone/May; I’ll wait for you/ May, Webster Booth, Conductor: George Scott-Wood, Studio 2, London, 21 July 1936, released December 1936, deleted July 1939.

September 1936Gramophone. Webster Booth is a little off colour this month in two songs by May and Feiner, I’m All Alone and I’ll Wait for You, both with orchestra on HMV B8476 (2S. 6d.), but this does not detract from the fact that Mr Booth is probably the finest light tenor before the public to-day. 

CARELESS RAPTURE Selection (Ivor Novello) Side 1.   Why Is There Ever Goodbye?/Music In May,   Side 2.   The Manchuko/Finale – Music In May. 23 October 1936.

Released in December 1936 and deleted in April 1941.

C2878 Memories of Lehár, part 1: You are my heart’s delight, Love’s melody, Smokeland, Gipsy love; part 2: Foreign Legion, Count of Luxembourg, Love’s melody  Studio 2, London, 23 October 1936, LIGHT OPERA COMPANY, soloists ERIKA STORM, WEBSTER BOOTH (ten), BBC Male Voice Quartet (orchestra: WALTER GOEHR)

Gems from Glamorous Night (Novello) Webster Booth, Muriel Barron (number and date unknown)

My star/Little Son (Bassett Silver),  Studio 1 London  10 February 1937 
 WEBSTER BOOTH (ten) (orchestra: CLIFFORD GREENWOOD) Unissued.

I was sent these recordings by Bassett Silver’s son.

You’re mine (Sievier, de Rance) Studio 1, London, 10 February 1937
 WEBSTER BOOTH (ten)(orchestra WALTER GOEHR) Unissued.

Lakmé: O fair vision (Delibes, trans Claude Aveling) London,3 March 1939 
WEBSTER BOOTH (ten), LONDON PHILHARMONIC ORCHESTRA (WARWICK BRAITHWAITE) Unissued.

Soft and pure fraught with love (Flotow, trans Claude Aveling) London,  3 March 1939, 
WEBSTER BOOTH (ten), LONDON PHILHARMONIC ORCHESTRA:WARWICK BRAITHWAITE. Unissued.

Ave Maria/Schubert, Webster Booth (tenor) Ernest Lush (piano) 11 August 1939 Unpublished

DB 1877 MELODY OF THE WALTZ – Part 1: Waltzes by Gung’l; MELODY OF THE WALTZ; Part 2 : Waltzes by Gung’l, THE BOHEMIANS: light orchestra with Al Bollington at the Abbey Road studio Compton organ and Webster Booth, tenor. Released in October 1939 and deleted in February 1944.

B9030 Rosita (Kennedy/Carr)/When you wish upon a star (Harline & Washington)(Pinocchio)  Studio 1, London, 28 February 1940, WEBSTER BOOTH (ten) (orchestra CHARLES PRENTICE) Released April 1940. Deleted February 1944.

Rose of England: Crest of the Wave (Novello)/Beauty’s Eyes (F Paolo Tosti; F J Weatherley) Studio 3, London,27 March, 1941.
WEBSTER BOOTH (ten)(piano GERALD MOORE) Unissued.

I have Webster’s recording of Beauty’s Eyes by Tosti.

Merrie England: Come to Arcadie (German) Studio 3, London, 19 October 1941,

ANNE ZIEGLER (sop), WEBSTER BOOTH (ten) (orchestra: DEBROY SOMERS) Unissued.

July 1945 – War records Webster Booth, Sydney Burchall and Clarence Wright, sang in Songs Our Boys Sang and Marching Times.

These records were not for sale to the general public, but sets were available at most of the 5300 National Savings Centres throughout the Country. Further information was available from the National Savings Committee, Sanctuary Buildings, Great Smith Street, SW1.

Oft in the stilly night (trad; Tom Moore)/There is no death (O’Hara; Johnstone) St Mark’s Church, Hamilton Terrace, London , 11 January,1946 , WEBSTER BOOTH (ten) (organ HERBERT DAWSON) Unissued. Webster also made a recording of There is no Death for HMV which was issued.

B9502All Soul’s Day/ Richard Strauss; Memory Island/ Harrison/ Gerald Moore, 27 February 1946. Released October 1946. Deleted March 1952. OEA10882/3

October 1946 Gramophone Webster Booth (tenor), Gerald Moore (piano): All Soul’s Day, opus No 8 (Bernhoff/Richard Strauss); Memory Island (Askew/Harrison) HMV B9502 (10”)

Richard Strauss’s setting of All Soul’s Day calls for singing of considerable emotional stress, and when Webster Booth gets impassioned his voice loses the easy charm that is its chief characteristic. His words are a model of distinctness and the accompaniment of Gerald Moore is perfect, but the song is not a very happy choice.

The singer is more at home in Memory Island, in which a sailor home from the sea for good, casts his memory back, Masefield-wise, to the blue lagoons, coral islands and what not of the rover. It is a nice song with, for its type, an unusually good accompaniment.

Without a song (V Youmans; W Rose and E Eluscu)/ My song goes round the world (E Neubach; English version K J Kennedy, ?Hans May) London,8 January 1948, 
WEBSTER BOOTH (ten) Orchestra: ERIC ROBINSON Unissued.

If my songs were only winged (Reynaldo Hahn) London, 11 July 1950,  WEBSTER BOOTH (ten) Orchestra: MARK LUBBOCK Unissued.

Countess Maritza: Komm Zigeuner (Kalman; McConnell)  London,20 December 1950,
WEBSTER BOOTH (ten) Orchestra: MARK LUBBOCK Unissued.

Decca F9921 Sanctuary of the Heart (Ketelby)He Bought My Heart At Calvary (Hamblen) with choir of St Stephen’s Church Dulwich, Fela Sowande (organ) June 1952

Jean Collen Updated: 10 September, 2019

WHY THE BOOTHS MOVED TO SOUTH AFRICA IN 1956.

From the moment Webster and Anne started singing together regularly, they were very popular with the public. Few remembered Webster’s acrimonious divorce from Paddy Prior in 1938 when Anne had been named as the co-respondent. The public was happy to accept the glamorous couple who sang beautiful songs and duets together so melodiously and with such feeling as glamorous sweethearts in song. Unlike ordinary couples whose marriages settled down after a year or two, Anne and Webster’s marriage was seen as one filled with the constant romance and passion of a permanent honeymoon.

Anne and Webster 1938

Anne and Webster before their marriage. (1938)

When they took their act to the Variety circuit in 1940 Webster still managed to carry on singing at more serious concerts and in oratorio, but it was probably at this time that people began to regard him as a “romantic duettist” instead of one of the “elect” and one of the finest British tenors of the century as he had been regarded in the thirties. During this time they made their name on the stage in productions of The Vagabond King, Sweet Yesterday and And So to Bed, and in several films.

Webster as Francois Villon in The Vagabond King (1943)

e8a0cef9b8106dd6b221b0b74c3dc54b_976bdf42-554a-4dc3-a2cf-43734d44cbe3

The Laughing Lady film in 1946 with music by Hans May was a starring vehicle for them both as singers and actors although it was not generally liked by critics. They did many concerts for the impresario, Harold Fielding and must have known every place in Britain like the back of their hands as they went from place to place to fulfill engagements.

Their concert tour of New Zealand and Australia in 1948 was very successful indeed, although some of the Australian critics did not always give them good reviews. I sometimes wonder whether their glamorous stage act, complete with crinolines, sparkling jewellery, and gardenias in the buttonhole of Webster’s immaculate evening dress did not become slightly tedious to them after a while. They had a limited repertoire – possibly a repertoire demanded by their many fans who did not want to hear any new or innovative material. 

In 1952 their recording contract with HMV was cancelled and although they made several recordings for Decca this did not result in a steady stream of recording dates. By the fifties Harold Fielding was enlarging the number of performers he employed for his concerts; post-war audience preferred American performers on the stage of the London Palladium, and as the fifties progressed rock ‘n roll was appealing to younger audiences.

Through no fault of their own, they received a very large tax demand for unpaid American recording royalties which Webster could not afford to pay at that time. He told me that he had been foolish and should have offered to pay the tax off gradually, but because he had flatly refused to pay, there was talk of the Inland Revenue seizing their property. The satirical revue Airs on a Shoestring made a mockery of their act, and of Hiawatha, the work with which Webster was closely associated. Perhaps that was the last straw for them.

30 April 1953 Airs on a shoestring

They had made a successful short tour of the Cape Province of South Africa in November of 1955 and although they were not short of work in the UK they decided to move to that country in July of 1956.

JEAN COLLEN –  13 OCTOBER 2018.

 

RECORDING DISCUSSIONS

DUET Recently published
Paperback,
314 Pages 

Price: $12.50
Prints in 3-5 business days
Duet, the autobiography of famous British duettists, Webster Booth and Anne
Ziegler, was originally published by Stanley Paul in 1951. Sixty-five years
later I have digitised the book and made it available as a paperback, epub and
pdf book. My sincere thanks to John Marwood who proofread the book most
painstakingly for me. Webster and Anne tell the exciting story of their rise to
fame, and their sensational romance. After Webster’s divorce from Paddy Prior,
his second wife, he and Anne married and became the most popular duettists of
their day, earning them the deserved title of Sweethearts of Song.



The book is also available as an ebook at My Duettist’s Bookstore
RECORDING DISCUSSIONS
Top of Form

Anne Ziegler and Webster Booth were versatile singers so it is difficult to
name just one duet or solo as an all-time favourite. Webster recorded far more
solo recordings than he did duets with Anne, although he is largely remembered
today because of the duets.

In Webster’s case there are light songs with British Dance Bands led by
Jack Hylton, Carroll Gibbons, Debroy Somers, Ray Noble, as the anonymous “with
vocal refrain” with the accordion band of Carlos Santana (one of the many
pseudonyms adopted by the equally versatile musician, Harry Bidgood), and the
popular Fred Hartley’s Quintet or Sextet. He also sang in medleys, sometimes on
his own or with singers like Janet Lind, Garda Hall, Magda Neeld, Marjorie
Stedeford, Stuart Robertson, Sam Costa, Olive Groves, and Nora Savage.

As his singing career progressed he began recording more serious songs,
and arias from opera and oratorio. In operatic ensembles he was partnered with
singers like Norman Walker, Dennis Noble, Joan Hammond, Joan Cross, Noel Eadie,
Nancy Evans, Arnold Matters and Edith Coates. Conductors of these recordings
included Warwick Braithwaite, Laurance Collingwood and Malcolm Sargent, and
accompanists included Gerald Moore, Herbert Dawson (organ), and John Cockerill
(harp).

The duets recordings were generally of musical comedy, operetta and
popular songs of the day arranged as duets such as Dearest
of all
 by Vernon Latham Sharp and Too
tired to sleep
 by Alan Murray. There were also duet
arrangements of instrumental pieces by Chopin and Liszt, and a charming duet of
Mendelssohn’s lied “On Wings of Song”.

Which ones are my favourites ? Why does the God of Israel sleep? from
the oratorio, Samson by Handel is one of my favourites. It
illustrates Webster’s amazing vocal technique and dramatic power. He was a
prolific recording solo artist and a highly regarded oratorio soloist.

 

Excerpt from an Australian newspaper – March 11 1950

 


Shortly after Webster began recording for HMV in 1929, critics in Gramophone magazine
praised his voice but thought he should be singing songs more worthy of
it. In April 1937, a critic wrote, “Gradually Webster Booth is finding his
rightful place as a member of the solo quartet in our concert halls, when the
choral masterpieces are given. Only the other day a severe critic of
English singing singled out Mr Booth as one of the very few elect.

Most people remember Webster Booth  for the romantic duets he sang
with Anne Ziegler on record, stage, screen and radio but several
derogatory comments have been made about his duet partnership with Anne, most
people claiming that he would be better regarded as a serious singer today had
he not formed the Variety Act with Anne in 1940.  Anne was the first to
admit that she had a “ten-a-penny” soprano voice while his voice was in a
different category from hers. She was aware that many people thought she had
“brought.him down”.

They went into variety because it paid far better than more serious
forms of entertainment and they had expensive family financial commitments.
Within a very short time they became very popular with those who enjoyed
hearing operetta and musical comedy duets sung by a very handsome and charming
couple. Anne and Webster were a romantic pair and their variety act took the
public’s mind off the daily grind of war for an hour or two. While Anne’s voice
might not have been in the same class as Webster’s, one cannot deny that they
sang the duets musically and their voices complemented one another. 

Webster did not drop his oratorio singing and it was while he and Anne were
singing in Variety and Harold Fielding concerts that he made some of his finest
serious oratorio recordings. 
He was one of Sir Malcolm Sargent’s favourite tenors
and was chosen by Sir Malcolm to sing at his sixtieth birthday celebration concert
in 1955.

Webster was a lyric tenor with excellent diction and a wide vocal range.
Although his voice was light it filled the Albert Hall, a hall with a
notoriously difficult acoustic for singers. He had a pleasing baritonal quality
in the lower range of his voice and, in later years, fulfilled a long-held
ambition to sing the baritone solos in a performance of Elijah in Knysna, South
Africa.

If one listens to his recordings of Mozart operatic arias and the
operatic duets with baritone, Dennis Noble  in Puccini’s La
Bohème 
and Rossini’s The Barber of Seville, and the extracts from Bizet’s 
Carmen with Dennis Noble, Nancy Evans, Noel Eadie and the Sadlers Wells
chorus, he more than held his own among the foremost operatic singers
of the day. Perhaps he would not have managed heavier operatic roles on
stage but he had a voice ideal for Mozart, Rossini, Gounod, and Handel.

At that time it was the convention to record everything in English on
the HMV plum label, but I have a recording of him singing in an Italian which
sounds quite acceptable to me, so I don’t think singing in a foreign language
would have presented a problem to him. He was also a highly competent musician,
so he would have had no difficulty learning an operatic role. As a young man he
was keen to sing in opera, but opera did not pay as well as lighter forms of
entertainment. In 1926 Sir Malcolm Sargent told him that if he did not have a
private income he should leave opera alone. Webster’s older sister, Doris
(known as Nellie) was very disappointed that he did not make a career in opera.

I have an LP called Famous British Tenors in my collection. Webster sings the rather
obscure aria, O,Vision Entrancing from Esmeralda by Goring Thomas, while his peers
are heard in more popular arias. Despite this he still sounds very much better than most
of those who are spoken off in hallowed tones, while Webster is dismissed as a
light-weight, a mere romantic duettist!

Webster managed to set the appropriate mood for each song he sang, 
whether it was a light ballad or a profound aria. One only has to contrast
Total Eclipse from Handel’s Samson with Percy French’s Phil the Fluter’s Ball 
to see a complete change of mood. He certainly was a versatile singer, but far from
being “A jack of all trades, master of none,” I suggest that he was a master in
command of every song he sang.

 


Once Anne and Webster’s recording contract with HMV was cancelled in 1951 they made a few recordings
for Decca and gradually their 78s were deleted from the record catalogues. 

But in the late fifties several long playing records were issued, comprising their popular duet
recordings. 
Love Duets from Theatreland was issued by EMI in the UK, while, in South Africa, a similar
record, entitled 
Sweethearts of Song was issued, with sleeve notes by their friend, Leslie Green.

 

In 1959 they made an LP of their popular duets. The words had been
translated into Afrikaans and, instead of the orchestral accompaniment on the
78s, there was organ and piano accompaniment by Jack Dowle and John Massey.
This record was entitled 
Net Maar ‘n Roos (Only a Rose).


In 1963 they
made 
Nursery School Sing-Along (No 2). This time Heinz Alexander was the accompanist and
the Nazareth House Children’s Chorus was conducted by my piano teacher, Sylvia
Sullivan. Webster thought highly of Mrs Sullivan’s conducting and insisted that
she conducted all the songs for the record.

 

A recording of
Webster’s was included in 
Famous British Tenors issued in 1972.  Webster sings the rather obscure aria, O,
Vision Entrancing
 
from Esmeralda by Goring
Thomas, while his peers are heard in more popular arias. He was rather put
out about this as he thought the powers-that-be might have chosen a more
popular aria for his recording. Perhaps recording techniques had not been very
advanced for some of the other tenors on the recording sound rather thin.
Webster’s recording sounds very much better than most of the other
recordings by those who are spoken off in hallowed tones, while Webster is so
often dismissed as a light-weight, a mere romantic duettist!




Meanwhile, a solo recording called simply Webster Booth was issued by Rococo, Canada in
the late sixties. All the recordings had been taken from the collection of
Scott Sheldon. Webster played me this record when I visited the Booth home in
Knysna in 1973 and I was delighted to hear some songs I had not heard
before. 


He told me that EMI would never issue an LP of his more serious work until he was dead, but in
1977, just such a recording was issued. He was very pleased that he was alive to see it, 
but was rather put out because it was recommended that the record should be filed under the historical section of the catalogue!

 

The Booths returned to England in 1978 and EMI issued two duet LPs in the late seventies and early
eighties. 
Sweethearts in Song included the same recordings as those from the late fifties, while
the other, 
Music for Romance was a more interesting collection of their lesser-known
duets.
 

Webster Booth died on the day before Anne Ziegler’s birthday, 21 June 1984 in Penrhyn Bay, North Wales. A year or so later EMI issued The Golden Age of Webster Booth. 

 

 At about the same time the LP entitled The Golden Age of Ballads and Parlour
Songs
, featuring Webster and some of his contemporaries was issued. Webster
sang Tosti’s 
Parted on this LP.

 

 He was also featured in the Irving Berlin Centenary Celebration  by the  great British dance bands, singing two songs in a Waltz Medley, with Ray Noble conducting the New Mayfair Orchestra.

 

By 1989 Webster’s earlier recordings were coming out of their fifty-year copyright and solo and duet CD
compilations were issued by EMI and independent companies during the nineties.
Because these recordings were out of copyright, Anne did not receive any royalties from their sale.


Jeannie C
2010

Rehearsing for a broadcast with Sydney Jerome (1938)

AZ/WB RECORDINGS ON YOUTUBE

Most of the videos featuring Anne Ziegler and Webster Booth have been
uploaded by me. My channel is at http://www.youtube.com/duettists

I was interested to see the BBC4 archive on Desert Island Discs. Webster Booth was a
castaway on 3 April 1953. Unfortunately this episode is not yet available
as a podcast, but I am hoping that it might be added some time. Webster’s
choice of discs were, as follows:

Jean Sibelius: Finlandia, Philharmonia Orchestra

Irving Berlin: You Can’t Get A Man With A Gun (Annie
get your gun), Ethel Merman

Franz Liszt: Liebesträum
No. 3 in A flat major
: vocal version sung by Tito Schipa

 Charles N. Daniels: Chloe (Song of the Swamp):Spike Jones and His City Slickers

Frances Allitsen: The Lute Player, Harold Williams (baritone)


Gilbert and Sullivan: The Yeoman of the Guard, Royal Liverpool Philharmonic
Orchestra Conductor: Malcolm Sargent

 George Frederic Handel: Ombra mai fu (Largo) (from Xerxes): Kathleen Ferrier (contralto)London Symphony Orchestra Conductor: Malcolm Sargent

George Frederic Handel: Comfort ye my people (from Messiah) Webster Booth,
London Philharmonic Orchestra


Luxury item: ivory pig


The Tito Schipa recording of Liebestraum was
the same arrangement as Webster himself had recorded. 


Webster considered Australian baritone, Harold Williams to
be one of the finest singers of the role of Elijah in
Mendelssohn’s oratorio of the same name.

 

     Kathleen Ferrier lived opposite the Booths in Frognal, Hampstead. Webster and Anne often visited her when she was
confined to her bed due to illness. Webster had admired her voice greatly and had been looking forward to singing a Messiah with her as
contralto soloist. Sadly she had to cancel this engagement due to ill health and she died less than seven months after this broadcast, on 8 October 1953. 

 


At that time the copyright on Gilbert’s words was still in place, so it would only have been possible to play the overture of The
Yeomen of the Guard
.

  

 The BBC website lists the soloist in Comfort ye/Ev’ry Valley as Walter Booth rather than Webster Booth!

  

   A number of the recordings Webster chose were conducted by Sir Malcolm Sargent. Sargent was Webster’s champion and chose him for many oratorio performances. In 1955, on the occasion of Sir Malcolm’s sixtieth birthday, he personally requested that Webster should be the soloist at the concert to commemorate this event.

Castaways who chose recordings by Anne Ziegler and/or Webster Booth. Click on the Castaway’s name to listen to the broadcast (if available)

David Croft (writer) 14 March 1993: When
We are Married
 from The Belle of New York (Kerker)


Miriam Rothschild (Conservationist, biologist) 23
April 1989: 



Right Honourable Lord Denning (Master of the Rolls, Politician,
Lawyer) 17 May 1980: 
 Roses of Picardy (Haydn
Wood) With Fred Hartley and his Quintet


Rosina Harrison (Lady Astor’s lady’s maid, writer) 20 March 1976:  BLESS
THIS HOUSE: BRAHE


Noel Streatfeild (Writer) 17 January 1976: The Faery Song from The
Immortal Hour
 (Rutland ghton)


 

Percy Press (Punch and Judy man, puppeteer) 28 December 1974: 

BarryHumphries (Comedian) 24 November
1973: 


Bill Shankly (Manager Liverpool FC, athlete, football manager) 26 April
1965: 

 
Percy Merriman (Musician, Concert Performer, Roosters Concert Party) 17 August 1964: Roses of Picardy (Haydn Wood) With Fred Hartley and his Quintet

Lord George Sanger (Circus, circus proprietor) 22 December
1962: I’ll see you again  from Bitter
Sweet 
(Noel Coward)

Ursula Bloom (Novelist, writer, journalist)
 14 November 1960: 

WEBSTER BOOTH: HOMING (DEL RIEGO)

 

Dr W.E Shewell-Cooper (Horticulturalist) 10 April 1965: Passing by (Purcell)



*Dennis Noble (Baritone) 19 November
1956: The Long Day Closes (Sullivan) by Tommy
Handley Memorial choir, which included Webster Booth


*R.C. Sherriff (Playwright and writer) 23 August
1955: Miserere from Il Trovatore (Verdi) with
Joan Cross, Webster Booth




*Fred Perry (Tennis
player, athlete) 8 July 1952: WEBSTER BOOTH: THE LOST CHORD

 

 


*Leslie Henson (Comedy actor) 18 July
1951: Olive Gilbert, Peter Graves, Webster Booth, Helen Hill

NOVELLO MEDLEY


*Anona Winn (actress and singer) 4 April 1951:MADAM BUTTERFLY: LOVE DUET

There was a break in broadcasting Desert Island Discs between 1946 and 1951


*Signalman Henry Wheeler (soldier, navy signalman) 24 November 1945: If You Were the Only Girl in the World

*Joan Edgar (Light Programme announcer) 1 September 1945: 
MADAM BUTTERFLY: LOVE DUET


*Ralph Reader (Theatre director) 12 February 1944: 
BLESSTHIS HOUSE: BRAHE

*Alan Dent (Drama critic) 8 January 1944:WEBSTER BOOTH: WHERE E’RE YOU WALK
(HANDEL)

                                                                   
Barrington Dalby (Boxing referee, Athlete) 20 August 1942: WEBSTER BOOTH: THE ENGLISH ROSE (GERMAN) 


Nathaniel Gubbins
(Norman Gubbins)
by Howard Coster
half-plate film negative, 1940
NPG x19712
© National Portrait Gallery, London 
Nathaniel Gubbins (Humorous writer) 6 August  1942: The Faery Song from The Immortal Hour by Rutland Boughton

 


*Beatrice Lillie(Actress and revue star) 9 July 1942: The Lord’s Prayer (Malotte)
*Arthur Askey (Comedian) 2 April 1942: Serenade (Schubert)


*Pat Kirkwood (Actress) 

26 February 1942: Serenade (Schubert)

*Desert Island Discs marked with an asterisk do not have podcasts available in the BBC4 Archives search. 

Top of Form

Bottom of Form

Recordings not in my collection
Someone asked me the other day how many Booth-Ziegler recordings I had in my
collection. Rather than count them up, I compiled a list of those which are not
in my collection. If anyone has any of these recordings, I would be delighted
to receive an MP3 of it and will gladly send them an MP3 of one of mine in
exchange. 


Decca F9921
Sanctuary of the Heart/Ketelby; He Bought My Heart At Calvary/Hamblen with
choir of St Stephen’s Church Dulwich, Fela Sowande (organ) June 1952


Test recording
Serenata, Macushla Reginald Paul, C Studio, Small Queens Hall, London, 20
November 1929

Recently acquired: Love Passes By and As I sit here

B8476 I’m all alone/May; I’ll wait for you/ Feiner, September 1936

B9030 When You Wish Upon a Star/Pinocchio/ Harline; Rosita/Kennedy/Carr, 1939

B9271 Will You Go with Me?/Brandon-Park/Murray,Gerald Moore 
JG282 Songs our boys sang/National savings sing-song/Sydney Burchall, Clarence Wright, Webster Booth

B9502 All Soul’s Day/ Richard Strauss; Memory Island/ Harrison/ Gerald Moore, September 1946

C2814 Neapolitan Nights, Light Opera Company with Webster Booth

C2827 Memories of Tosti/La Scala Singers with Webster Booth

Ave Maria/Schubert, Ernest Lush (unpublished) – Also recorded on 11 August 1939

Here Comes the Bride Selection/Schwartz/Light Opera Company with Alice Moxon, Stuart
Robertson, Webster Booth, George Baker/Ray Noble/Studio C, Small Queens Hall,
London/Cc18897-4, 25 March 1930 (Number unknown)



 

Bibliography

Collen, J.
(Compiler)
 Webster Booth
and Anne Ziegler: Excerpts from Gramophone and Discography
 MY LULU
STOREFRONT

Plomley, R (with Derek Drescher) Desert
Island Lists
, Hutchinson, 1984


Most of the recordings on clypit.com were restored by Mike Taylor.

Join: The Golden Age of Webster Booth-Anne Ziegler and Friends on Facebook.

 


Jean Collen

Updated: 16 January 2017.



Picture Window
template. Powered by Blogger.
Preview