Vocals

Sorry, but we are posting just a few now to illustrate the limitations of synthesized vocals. More selections with better audio may be available as we upgrade later in 2026.  There are also *many* novelty songs in a more popular vein that could be added here someday.

“Gloria” from 1895 by John J. McClellan, Tabernacle organist from 1900 to 1930. This selection was originally for chorus and orchestra, then later published in a version for chorus and organ. This is a single movement from his larger five-movement “Mass in E-flat”. The full Mass was performed in Michigan where the composer went to college to study in a music conservatory. He then returned to Utah where the Tabernacle Choir performed this single movement, with the lyrics translated from Latin to English by Evan Stephens. Note that this recording is only the first half of the piece, due to the complexity and the time (many hours!) required to do the notation. And it does not include the many organ voicings suggested in the score for instruments with stops to simulate brass, flutes, etc., due to the limitations of the software used. I’ll probably finish this recording someday when it can include real vocals to better reflect the original concept. (Audio only, click to play.)

There’s Love in her Bright Blue Eye, a song for Tenor and chorus from 1877 by the prolific Joseph J. Daynes. The tenor sings the verse solo, then is joined by an s.a.t.b. quartet for the short chorus. This demo recording presents just one verse/chorus. (Audio only – click to listen.)

Lullaby from 1917 with music by Charles Frederick Carlson and lyrics by Bertha Kleinman. Kleinman was a published poet and an officer in the LDS Church’s youth programs. Carlson may just be the most interesting “unknown” Utah composer of the early decades of the 1900s. He was born in Utah, studied in the Midwest and Europe, and was on university music faculties in Colorado and Utah. He wrote at least four grand operas, several cantatas, piano pieces, and over 100 songs. This one is for Sopranos (synthesized here) and piano, and might reflect an awareness of the French Impressionist composers. (Audio only -click to play.)

The Marching Song of the Utah National Guard by the popular and populist Evan Stephens.  Published in 1917 as a song with some extra touches.  It starts with a solo trumpet fanfare imitating a bugle call, then into the song for full choir  (male and female voices), before finishing with some whistling by the men’s voices.  Something for everyone!  (Audio only – click below to hear it.)

“Behold, A Star Appeareth” – A Christmas Anthem  by Leroy J. Robertson was published in 1926 , with the composer dedicating it to his father.  This recording presents only the first 90 seconds because the use of synthesized voices frankly fails to reflect the full effect of the score.  We might delve a bit deeper into this one if recording vocals become more available.  Or might we try to transcribe the vocals to a brass choir, just to see if that is a rewarding sound?  (Click below to hear this short demo.)

“Marshes of Glynn” by Jay Welch.   This 1959 composition was originally for orchestra, chorus and soloist, but this recording is a reduction for piano and solo voice.  Welch was a wonderful musician with stints as the director of the Mormon Tabernacle Choir, his own independent professional chorus, and many years as a music instructor at the University of Utah. (I took a class from him there!) The text for this work was from celebrated Southern poet Sydney Lanier, and obviously was meaningful to the composer.  The full work with orchestra was recorded at the U. of U., but my copy is buried somewhere in storage, so I was glad to find and share this alternative version.  (Click the title to hear it on YouTube, posted by someone else – not me.)

“Lilly Dale” needs a bit of explanation as far as why it is on this list. This sentimental ballad about a young woman struck down in her prime was in the general style and time period as Stephen Foster songs.  The composer was H.S. Thompson (not from Utah) and this song was a big hit in 1852.  (Note that some versions spell the title as “Lilly” while other use “Lily.”) There were endless arrangements, sequels, and imitators.  One with a Utah connection was that in 1854 Charles W. Penrose “borrowed” the tune for his song/hymn “Oh, Ye Mountains High.”   The original version by Thompson was scored for piano, solo vocal on the verses, and s.a.t.b. quartet on the chorus. I’ve swapped in a string quartet for the voices, and it is presented here in just a single verse as a demo of the style.  (Audio only, click below to play.)

Really? Just SEVEN vocal recordings?  Sorry – we are actively looking for better ways to present vocals works as well. But without access to live performers there is not yet much chance of having good quality vocal recordings here. We are looking into the various A.I. singing software options to see if they might yield results which can closely honor the original intent. Something might work out by mid-2026. Yes, there are MANY songs, serious and satirical, which would fit nicely here, and we have quite a few examples of sheet music on hold for that time.

But for now, please accept my apologies. If you are interested in performing vocal music that fits the themes of this site please let us know. We would love to have some better vocal recordings to share here. We can even suggest or supply sheet music that is on point.

Same if you already have audio or video recordings you would be willing to share. I could link to your own YouTube videos to ensure that you get full credit and “clicks,” if permission is granted to link from here. Selections would (usually) need to be pre-1930, or have other ways of navigating the issues of Copyrights and Public Domain status.

Thanks!