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I am currently selling a series of great Richard Wagner and classic European 78 rpm orchestral recordings on all the great European labels:
The rarest of the Chicago Premium Scheme Companies is the Boldly Named D&R Double & Reversible Record.
It even came with a regular spindle hole. Guess that\'s why they are so rare, people took the free phonograph, and then stopped buying D&R records.
Also - most sides come from Columbia, Columbia preferably gave old recordings or cut out items to the scheme companies, so many sides are either unpublished on Columbia or were superseded by newer recordings
Rare early recording of Miss MERLE TILLOTSON = married MERLE ALCOCK
THESE ARE HER FIRST TWO RECORDINGS. Alcock would later record quite a bit on Diamond Discs
CompanyMatrix No.Take NumberDateTitle/Artist
Columbia42132ca. 1909Bonnie sweet Bessie / Merle Tillotson
Columbia42142ca. 1909Sweet Genevieve / Merle Tillotson
Primary Performers:
Merle Tillotson (vocalist : contralto)
10\" Record
Condition:BETTER THAN EXCELLENT this record may be unplayed plays E+ EXCEPTIONALLY quiet faintest ticks
A CHOICE COPY
Merle Alcock (Contralto) (Andover, Missouri 1890 - Phoenix, Arizona 1/3, 1975)
She was born Merle Tillotson. She studied singing at the Drake Conservatory in Des Moines and later with William Wade Hinshaw, Paul Savage and Herbert Witherspoon. Under her real name she made her debut in 1914 in a concert in London. In 1914 she married the tenor Bechtel Alcock and since then sang under this name. In 1915 she appeared in New York as a soloist with New York Symphony Orchestra and now became a known oratorio contralto. In 1915 she appeared at the festival in Worcester, in 1918 she had a triumphant success in a concert with the New Yorker Philharmoniker. She counted as an excellent interpreter of the works of J. S. Bach and G. Fr. Händel. Only in 1923 she made her debut at the operatic stage. In 1923 she appeared at the Metropolitan Opera in New York as Beppe in ‘’Amico Fritz’’ by P. Mascagni. Till 1929 she had at the Metropolitan Opera a huge success and among other things her repertoire included Maddalena in ‘’Rigoletto’’, Cieca in ‘’La Gioconda’’ by A. Ponchielli, Lola in ‘’Cavalleria Rusticana’’, she sang also in ‘’Le Roi de Lahore’’ of J. Massenet, ‘’Le Coq of d\'or’’ by N. Rimsky-Korsakov, in U. Giordano’s ‘’La cena delle beffe’’ and in ‘’La Vida breve’’ by M. de Falla. In 1929 she appeared in the première of the opera ‘’Fra Gherardo’’ by I. Pizzetti. In 1924 she sang at the festival of Ravinia the part of Ortrud in ‘’Lohengrin’’. In 1930 she undertook an America tour with the San Carlo Opera Company as Carmen. After her retirement she taughtsinging in New York. The soprano Eileen Farrell and the tenor George Maran belonged to her pupils.
Chronology of some appearances
1923-1929 New York Metropolitan Opera
DOUBLE AND REVERSIBLE
The D & R Record Company was the last significant new entrant in the Chicago premium-scheme market. Launched in 1908, it was advertising nationally by December of that year. The acronym stood for “Double and Reversible,” a strong selling point at a time when double-sided discs were making their first inroads. Early D & R ads promised that a “splendid talking machine” would be given away to advertise the new records:
We are not selling talking machines, but actually giving them away, without money and without price. We are doing this to quickly advertise and introduce our wonderful D&R (Double and Reversible) Talking Machine Records in every home. … Bear in mind that you simply agree to buy “D&R” Records as you need them — and the machine becomes yours without once cent of cost…. We are absolutely independent. Hence this remarkable offer. Our business is selling records — not machines.
D&R’s early advertising was often vague, with no mention of the strings attached to the free machine. Later D&R advertisements were more forthcoming, disclosing that the machines were indeed free, but only to customers who signed agreements to purchase from twelve to twenty D&R records, depending upon the model of phonograph desired.
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Quick noteon grading:
The Grade (Excellent to Poor, I don\'t give Mint) refers to the WEAR of the record. Any other defects are stated separately
When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
\"EXCEPTIONALLY QUIET\" is close to noiseless, like a vinyl pressing.
\"VERY QUIET\" is anabove averagequiet record for a given pressing.
\"Quiet\" is a record that is a great example with some noise.
These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.
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