John Francis McCormack was born in Athlone, Ireland, the fourth of eleven children of Andrew and Hannah Watson on 14 June 1884, and was baptised in St. Mary's Church, Athlone on 23 June 1884. His father was employed in Athlone Woollen Mills.
John received his early education from the Marist Brothers in Athlone, and later attended Summerhill College, Sligo. In 1903 he won the coveted gold medal in the Dublin Feis Ceoil and it was this event which set him on his climb to success. John married Lily Foley in 1906 and the couple had two children Cyril and Gwen.
Fundraising enabled his voice to be trained under Sabbatini in Italy. In 1907 John McCormack made his first important operatic appearance at Covent Garden in Mascagni's Cavalleria Rusticana. By 1912 he began to turn his attention to the concert stage, where his voice quality and charisma ensured that he became the greatest lyric tenor of his day.
He made numerous recordings, the first on phonograph cylinder in 1904. His most commercially successful series of records were those for the Victor Talking Machine Company in the 1910s and 1920s. He was the first artist to record It's a Long Way to Tipperary, in 1914. He also regularly broadcast on the radio and appeared in a number of sound films.
In 1917 he became a naturalized citizen of the United States.
To many people the highlight of McCormack's Irish career was his singing of CĂ©sar Franck's Panis Angelicus to the thousands who thronged Dublin's Phoenix Park for the 1932 Eucharistic Congress.
He was much honoured and decorated for his services to the world of music. His greatest honour came in 1928, when he received the title Count from Pope Pius XI in recognition of his work for Catholic charities. Although he often came to be referred to as "Count John McCormack" in his professional life, this title was officially recognised within only the Catholic Church ever.
McCormack retired in 1944, and died the following year at his home in Glena, Booterstown, Dublin.
Morning
John Mccormack Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
We've danced the whole night through
And daylight soon will be dawning
Just one more waltz with you
That melody so entrancing
Seems to be made for us two
I could just keep on dancing forever dear with you
My heart keeps beating in time
Sounds like an old sweet love tune
Say that there soon will be a honeymoon
It's three o'clock in the morning
We've danced the whole night through
And daylight soon will be dawning
Just one more waltz with you
That melody so entrancing
Seems to be made for us two
I could just keep on dancing forever dear with you
The song "The O in 2-3" was originally written by lyricist Dorothy Fields and composer Arthur Schwartz in 1935. It was later popularized by Irish tenor John McCormack. The song is a romantic ballad that describes a couple that has danced the night away and wishes to have one more dance together. The time is three o'clock in the morning and the couple is experiencing a sense of timelessness and enchantment that is heightened by the melody playing in the background. The lyrics emphasize the couple's connection and the feeling that the melody was made especially for them.
The first verse establishes the setting -- it's three in the morning and the couple has been dancing all night. The second verse focuses on the melody and its entrancing quality. The third verse brings in the sound of the chime, which keeps time with the beating of the singer's heart. It increases the romantic tension by suggesting that the couple will soon be married ("there soon will be a honeymoon"). Finally, the fourth verse circles back to the beginning, repeating the first verse.
McCormack's performance of the song captures the dream-like quality of the lyrics through the use of his smooth, emotive voice. The melody is simple and timeless, with a waltz rhythm that invites the listener to be swept away by the romance of the lyrics. The song became popular during a time when waltzes were a popular form of ballroom dance, and its lyrics would have resonated with people who enjoyed the romantic atmosphere of ballroom dancing.
Line by Line Meaning
It's three o'clock in the morning
The night has gone on really long and it is getting quite late.
We've danced the whole night through
We have been dancing and enjoying each other's company all night long.
And daylight soon will be dawning
The night is almost over, and soon it will be morning.
Just one more waltz with you
I want to dance one last dance with you before the night is over.
That melody so entrancing
The music we're dancing to is beautiful and captivating.
Seems to be made for us two
The music sounds like it was written just for us, like it belongs to us.
I could just keep on dancing forever dear with you
I am so happy dancing with you that I could do it forever and never tire of it.
There goes the three o'clock chime, chiming, rhyming
The chime of the clock at three o'clock sounds like it is rhyming with the music we are dancing to.
My heart keeps beating in time
My heart is beating in time with the music and the rhythm of our dance.
Sounds like an old sweet love tune
The music we are dancing to sounds like a classic love song.
Say that there soon will be a honeymoon
The music and the magic of the night make it seem like we will soon be going on a romantic honeymoon together.
Lyrics © Wixen Music Publishing, BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: JULIAN ROBLEDO, DOROTHY TERRISS
Lyrics Licensed & Provided by LyricFind
@Aditiyan
John McCormack - One of the greatest tenors of all time. Thanks for uploading.
@irishmike3514
You are very welcome and thank you for watching!!
@garylynch9809
It is wonderful to see him in technicolor.
@josefinabiele6194
Thanks 🙏 you for the music 🎶. I played to remember my husband who passed away and loved MC and do also ❤
@jimdrake3436
His role in this early color film is essentially a musical interlude in a plot about horse-racing. Perhaps because the early Technicolor process was a challenge to edit, two errors were left in the film rather than edited or re-shot: his fumbling with his little book when he mounts the apron of the stage (he has to turn the book right side up because it was upside down when he retrieved it from his coat), and the mistake in his reply to Fonda about the selection he’s chosen: he says “Believe Me if All These Endearing Young Charms” rather than “… Those Endearing Young Charms,” which he sings—and, of course, sings exquisitely.
@appletongallery
There’s one thing you missed. The FIRST color movie was The Wizard of Oz which was released in 1939. This is a Mandela Effect. Reality and history keeps morphing.
@jimdrake3436
@appletongallery: You’re incorrect on two counts: “The Wizard of Oz” was by no means “the FIRST color movie” (the first color movie filmed in the USA was “The Gulf Between” in 1917), nor was it even the first Process 4 three-strip Technicolor film shot with the Wescott-Ball and the Mitchell prismatic three-color cameras which made Process 4 Technicolor so successful. (We’ll leave aside the fact that “The Wizard of Oz” in not an “all-color film,” since the first 19+ minutes were shot in black-and-white and then sepia-toned.) “Wings of the Morning” was filmed in what 20th Century Fox called “Natural Technicolor,” a process that differed from MGM’s, which yielded the richly saturated colors in “The Wizard of Oz.” “Wings of the Morning” was the first Technicolor film shot in the U.K.
@jguenther3049
You mean that's not his cell phone?
@jimdrake3436
@@jguenther3049: Yes, but it was a corded cellphone, and he had accidentally stepped on the power cord and disconnected it. (Heaven forbid that anyone would believe either of us!)
@jguenther3049
@@jimdrake3436 SnOL!