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Tracklist

A1	Oklahoma!
A2	Oh, What A Beautiful Morning
A3	People Will Say We're In Love
A4	June Is Bustin' Out All Over
A5	If I Loved You
A6	You'll Never Walk Alone
B1	Hello, Young Lovers
B2	Getting To Know You
B3	Shall We Dance?
B4	Almost Like Being In Love
B5	There But For You Go I
B6	Brigadoon

Companies, etc.

• Manufactured By – Columbia Transcriptions

Notes

A PRODUCT OF COLUMBIA TRANSCRIPTIONS
MASTER HIGH-FIDELTIY

OKLAHOMA! is one of the great landmarks of the American Theatre. Opening in New York City on the evening of March 31, 1943, OKLAHOMA!swept into the theatre with the clean freshness of an ocean breeze. Critics and public immediately recognized its superlative qualities, its uncommon literacy, its melodic originality and charm, its bounding vitality. It was, all agreed, an authentic and flavorsome bit of Americana, a real triumph for composer Richard Rodgers, lyricist Oscar Hammerstein II, choreographer Agnes de Mille, and cast.

Another great Rodgers and Hammerstein musical play opened in New Haven on March 22, 1945 and moved on to Boston for three weeks. The reception was decidedly cool, but New York, on April 19, embraced CAROUSEL warmly and kept it running for 108 weeks, and the National Tour lasted another year and a half. London enjoyed the production for nearly two years, and a special company toured the provinces. The score rivaled that of OKLAHOMA! in popularity, and there are many critics who consider CAROUSEL the finest work of the celebrated authors, glowing brightest in a list that includes not only OKLAHOMA! but SOUTH PACIFIC, THE KING AND I, and THE SOUND OF MUSIC.

On March 29, 1951, THE KING AND I opened at the St. James Theatre in New York. It was the general consensus that the team of Richard Rodgers and Oscar Hammerstein II had once again triumphed on the Great White Way. THE KING AND I was something more than a musical; it was a musical which was both serious and humorous. Originally, the plot came from a book called "Anna and the King of Siam," by Margaret Landon, which was made into a movie with Irene Dunne and Rex Harrison. Gertrude Lawrence felt the story could be made into an unusual musical, and prevailed upon writers to attempt the work. With its beautiful scenery, affecting story and splendid score, the musical at once took its place as one of Broadway's finest, and delighted audiences for three years. The richness of the music illuminates the play and is an integral part of it. The melodies of THE KING AND I are amongst the warmest and happiest ever created by Richard Rodgers.

In that remarkable group of musicals that burst forth shortly after the war, the enchanting BRIGADOON of Allen Jay Lerner and Frederick Loewe stands out as a particularly appealing example of the lyric theatre. It opened March 13, 1947 and ran for well over a year, toured extensively and wound up in a motion picture version some years later. It has also been revived in New York and summer festivals throughout the country, and has taken place as one of the major classics of the popular music theatre.

There is a special charm about BRIGADOON in its music, its story and its dances that arises in part from its heathery setting, but in even greater part from the masterful blend of those elements. Indeed, it was the memorable score for BRIGADOON that established Allen Jay Lerner and Frederick Loewe as important artists in the theatre.