Nathaniel Shilkret - Early Career

Early Career

Shilkret was born to a musical family. His father played almost every instrument, and made certain that Nat and his three brothers were all accomplished musicians at an early age. Older brother Lew Shilkret was a fine pianist, but also worked in the insurance industry. Younger brother Jack Shilkret had a career that paralleled Nathaniel's career: he played clarinet and piano, recorded extensively, and conducted and played piano on the radio and in motion pictures. The youngest brother Harry Shilkret was a medical doctor, who worked his way through school playing trumpet, and continued to play trumpet frequently in Nathaniel's orchestras, particularly for radio broadcasts, long after he was a practicing allergist. Nathaniel Shilkret's brother-in-law, Nathaniel Finston, was violinist in many organizations in his youth and was musical director for Paramount and later for MGM, at one time being Nathaniel Shilkret's boss.

Shilkret was a child prodigy, touring the country with the New York Boys' Orchestra from the ages of seven to thirteen as their clarinet soloist. From his late teens to mid-twenties he was a clarinetist in the best New York music organizations, including the New York Philharmonic Society (under Vassily Safanov and Gustav Mahler), the New York Symphony Orchestra, the Metropolitan Opera House Orchestra, the Russian Symphony Orchestra, Victor Herbert's Orchestra, Arnold Volpe's Orchestra, Sousa's Grand Concert Band, Arthur Pryor's Band, and Edwin Franko Goldman's Band. He was also a rehearsal pianist for Walter Damrosch, playing for stars that included dancer Isadora Duncan.

He joined the Foreign Department of the Victor Talking Machine Company (later to become RCA Victor) around 1915, and soon was made manager of the department.

In 1926 he became "director of light music." He made many thousands of recordings, possibly more than anyone in recording history. His son Arthur estimated the sales of these records was of the order of 50 million copies. He was the conductor of choice for many of Victor's innovative recordings. He conducted the first record made by the "electric method," the first commercial Victor LP (in 1931!) and was the first conductor to successfully dub an electrically recorded orchestra background over the recordings of Enrico Caruso, Victor's star artist, who died before the vastly superior electrical recording method was developed. The premiere recording of George Gershwin's symphonic poem An American in Paris, in 1929, was one of five conducted by Shilkret that eventually earned Grammy Awards.