07 Aug

Auber Overtures ● 1

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AUBER Overtures ● 1
Orchestre de Cannes – conductor: Wolfgang Dörner

Naxos 8.573553

Daniel-François-Esprit Auber – a name to be conjured with, but not nowadays! Even a classical music presenter recently said on air that he had never heard of him...

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02 Aug

Cinema Classics The Piano At The Movies

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See Siang Wong
Sony 8985353612
The world of film music is a rich repository of good tunes and this new two-disc album has 24 mostly memorable themes played by See Siang Wong, a 37-7year-old Netherlands born Chinese pianist...

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01 Aug

Film Music Classics Vaughan Williams

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FILM MUSIC CLASSICS Vaughan Williams Naxos 8.573659 RTE Orchestra conducted by Andrew Penny. 

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24 Jul

Just William’s Luck

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(Robert Farnon)
Analysed by Robert Walton
Soundtrack music compilation from the first “Just William” film.

For many years discerning light music lovers often wondered what influenced those light orchestral classics of Robert Farnon.

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(Robert Farnon)
Analysed by Robert Walton
Soundtrack music compilation from the first “Just William” film.

For many years discerning light music lovers often wondered what influenced those light orchestral classics of Robert Farnon. My own theory is that from a very early age he was a virtual living, breathing sponge, possessing an innate ability to absorb all kinds of music from classical, through jazz to popular. Everything was fair game. Of course there were obvious borrowings from bebop, Bartok, Debussy, Rachmaninov, Ravel, Eric Coates and David Rose. But we mustn’t forget those incidental ingredients that went into his creative cauldron to be called upon when needed. (Australian composer Ron Grainer was a stickler for keeping any good ideas that came to him on file for possible future use). But it was Farnon’s early serious works like his symphonies that contained clear evidence of an original style developing. He may not have realized it then, but little by little he was edging towards a new kind of music that in the mid-40s would suddenly blossom into a full-blown genre influencing a whole generation of arrangers and composers.

It was just Robert’s luck to hitch a ride to England courtesy of the Army during the latter days of WW2, who as Captain Bob Farnon conducted and arranged for the Canadian Band of the AEF. To suddenly find himself in London, one of the world’s important centres for music must have been something of a culture shock. However the British capital, apart from picking itself up after hostilities, was also the hub of a burgeoning light orchestral industry. Knowing he had a talent for this very specialized music, Robert had clearly come to the right town, so he stayed. The problem was he badly needed an element of luck, despite being well known through his broadcasts.

And then quite out of the blue an offer to write some film music came up. What he didn’t know was that this would lead to something completely unexpected - his dream of composing orchestral miniatures. Two “Just William” movies provided exactly that. The first, “Just William’s Luck” in 1947, gave him the perfect opportunity to release all that material which had been cooped up and lying dormant. It was quite enough to be in a position to compose and arrange a soundtrack, but to have some of the world’s finest orchestral players was the icing on the cake. All he had to do now was come up with the goods. Although it was a light-hearted film, the scope it provided for different moods was vast. It was his big chance to dig deep into his musical baggage and show the powers that be what he was really capable of.

For starters the impressive opening credits of “Just William’s Luck” proved he could easily create a big orchestral sound. Listen to those string flourishes anticipating a certain Flirt. Then we go straight into William’s cheeky theme that probably inspired Willie The Whistler. Farnon was a born orchestrator and like a kid in a toyshop was having fun and doing exactly as he fancied. Then back to that majestic start with the strings already pre-empting “Spring in Park Lane” and “Maytime in Mayfair”.

His ideas were never corny, just right for the action and jam packed with atmosphere. Had he been in Hollywood he would, I believe, have been immediately grabbed for “Lassie!” Did you notice a certain bean, ripe for development, jumping up and down trying to get noticed? And Farnon’s flare for tiptoeing tension sounded like an English “Tom and Jerry”. He was a master of the ‘wrong’ note which was absolutely right in a Farnon context and discords which might have jarred the untrained ear were pure joy to the converted. Playful woodwind didn’t know it, but were ‘rehearsing’ for what would soon become the norm in Farnon’s world. He might have even influenced the mystery and intrigue of the music for Lustgarten’s “Scotland Yard”. In fact there was music for every conceivable type of mood and occasion.

In effect this tightly edited soundtrack is a sneak preview of all the minutiae that would become the building blocks for those magnificent miniatures - little journeys of self-discovery. Remember they were still in the gestation period. Multiple births were expected very soon ..........Jumping Bean, Portrait Of A Flirt, Journey IntoMelody and most appropriately A Star Is Born!

“Just William’s Luck” and “William Comes Town”
are both from “MELODY FAIR” on Jasmine Records
JASCD 661.

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15 Jul

Mind If I Make Love To You

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(Cole Porter)
Pete King’s arrangement analysed by Robert Walton

For many years now my Guild collection of the “Golden Age Of Light Music” has been providing me with a perfect soundtrack for afternoon tea. But more than that, it has become something of an everyday quiz for country folk, in my case living on a farm at the edge of Europe in the far west of Ireland. I try to identify the tunes, composers, arrangers and orchestras from a vast treasure trove of titles. This virtual ‘university’ of music helps to maintain the brain as well as entertain.

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(Cole Porter)
Pete King’s arrangement analysed by Robert Walton

For many years now my Guild collection of the “Golden Age Of Light Music” has been providing me with a perfect soundtrack for afternoon tea. But more than that, it has become something of an everyday quiz for country folk, in my case living on a farm at the edge of Europe in the far west of Ireland. I try to identify the tunes, composers, arrangers and orchestras from a vast treasure trove of titles. This virtual ‘university’ of music helps to maintain the brain as well as entertain.

One afternoon during a catnap, my ears were suddenly alerted to what I thought was Nelson Riddle. Imagine my surprise when I looked down the mystery menu and saw it was Pete King’s Orchestra playing Mind If I MakeLove To You. Without words I’d completely forgotten it came from “High Society” sung as a rumba by Frank Sinatra to Grace Kelly, probably arranged by Riddle. It’s a very good song but somewhat overshadowed in the film by Who Wants To Be A Millionaire, True Love and Well, Did You Evah, and not typical Porter. But the irresistible slow-paced, relaxed King arrangement had me completely hooked. Incidentally Peter Dudley King (1914-1982) arranged the original mood music albums for Jackie Gleason as well as charts for Bing Crosby, Eddie Fisher, Dean Martin, Julie London and Kay Starr.

This spellbinding tune featuring the strings could easily have come out of a Dmitri Tiomkin film score like Return To Paradise. On the second phrase at bar 9 it goes unexpectedly up a semitone giving it an even more exotic flavour, placing it firmly in Polynesia or Asia. The melody then moves quite conventionally to a natural cadence. On the repeat it sounds even more magical with the woodwind in control.

The bridge, with a haunting violin solo, isn’t really a bridge as we know it, more a filler using material from the main tune in preparation for the final thrust. The strings erupt into one of most exciting climaxes and endings ever. In the coda the familiar Riddle tremors are once again strongly felt. I am almost tempted to declare Mind If I Make Love To You has out-melodied Night andDay! (By the way there are suggestions of two other songs in Mind If I Make Love To You - Mack TheKnife and Morecambe & Wise’s theme tune Bring Me Sunshine).

Miind If I Make Love To You is available on the
Guild CD “Melodies For The Starlight Hours “ (GLCD 5196)

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13 Jul

Caprice for Strings

Written by

(Edward White)
The London Promenade Orchestra version
Analysed by Robert Walton

I first heard Caprice for Strings quite by chance in 1953 on a radio programme in New Zealand from 1YA Auckland. Because there was no back announcement, it remained unknown until I wrote to the station for information.

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(Edward White)
The London Promenade Orchestra version
Analysed by Robert Walton

I first heard Caprice for Strings quite by chance in 1953 on a radio programme in New Zealand from 1YA Auckland. Because there was no back announcement, it remained unknown until I wrote to the station for information. Until then, the only Edward White composition I knew was TheRunawayRocking-Horse, the first ever light orchestral number that hit me for six in 1947. For me it was the most important composition in the genre since the million selling hit Holiday forStrings burst upon the scene in 1943. Caprice for Strings on the other hand, was recorded in 1946 but because it wasn’t commercially released, remained something of a ‘dark’ horse! Compared to TheRunawayRocking-Horse, it seemed almost classical in style but I had no idea it was the work of White. (Strangely enough, 1953 was also the year of another string-only feature Scrub,Brothers, Scrub, a clone of Caprice for Strings. According to the composer Ken Warner, Scrub, Brothers, Scrub refers to articulating repeated notes by means of a back and forth movement of the bow across the string. Hence the word “scrubbing!”)

The caprice or capriccio was a term first applied to some 16th century Italian madrigals but is now usually free in form and of a lively character. A typical capriccio is fast, intense and often virtuosic in nature. That seems to describe Caprice for Strings in a nutshell. It’s one of the classiest busy busy tunes in the light orchestral canon. So join me as I attempt to dissect it, trying to keep up with this frantic melody.

The first thing that occurred to me about such a ‘serious’ composition is the unexpected use of the rhythm guitar throughout the piece - virtually unheard of in the London Promenade Orchestra’s repertoire. To be honest I never noticed it the first time, possibly because of the poor quality of primitive wireless, which no doubt accounts for my original impression of a more classical arrangement. Anyway, the very presence of a guitar immediately reveals White’s dance band credentials in much the same way that Robert Farnon’s jazz roots are evident in his music. It’s a very demanding workout for strings, calling for absolute precision. No resting on one’s laurels and certainly no room for any “dead wood” amongst the players, which would have stuck out like a sore thumb. Just one player not pulling his or her weight can totally ruin a recording.

Of all the hyperactive compositions in light music, Caprice for Strings has to be one of the most difficult to get your head around. With all those fast notes in such a restricted range, the melody takes a bit of figuring out, but as soon as you’ve got the general idea it stays with you. In the key of G, this tight tune sounds to all intents and purposes like the rhythm of an automatic weapon. The note, which gives the phrase its character, is that of the constantly recurring E flat. Come to think of it, with appropriate words it could almost be adapted into an early form of rap! Heaven forbid, I hear you cry!

In the first break, arco violins go into pizzicato mode whilst the lower strings still bowed answer from below with some vital punctuation. Away we go again with all strings restored to arco, but before we know it, yet another break. (And I promised there would be no idleness in this exercise!)

Now for some welcome light relief from all this labour intensive concentration as the violins come up with three lots of beautiful broad downward brushstrokes, each time heading for the heights. This was the undoubted highlight of Caprice for Strings, the moment the piece came to life. Like The Runaway Rocking-Horse, Teddy White could always be relied upon to dress up his compositions freshly and imaginatively. As ever, the eager strings are in the wings waiting to dive in at the exact moment.

Then, serving as a complete contrast, the strings are given a new lease of life with a lovely lyrical tune of their own providing its own decorations as well as bending the melody when it takes their fancy. Finally it’s back to the start for a rerun of the wizardry of White bringing this brisk Bach-ish blend of bustling busyness to an abrupt close.

You may have noticed 2016 happens to be the 70th year of the creation of Caprice for Strings. So let’s celebrate the birth of one of the early masterpieces from the Light Orchestral Hall of Fame by simply giving this pioneering piece of pure poetry in motion an extra listen!

"Caprice For Strings" is available on "The Golden Age of Light Music: Grandstand: Production Music Of The 1940s” -- Guild Records GLCD 5220

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29 Jun

Notes and Suggestions on a Performance of Rutter's Requiem

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I have been covering quite a wide range when writing these Notes and Suggestions essays, but I must say, I never imagined that I would be writing such an essay on this particular work.  Of course, it comes from the fact that I attended a performance of it recently at Carnegie Hall as part of the Mid-America series where it is very often presented, usually conducted by the composer himself.  And subsequently, I listened to a few performances of it on YouTube as I sometimes do when a work makes a sufficient impression on me so that I might want to partake of it further.

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About Geoff 123
Geoff Leonard was born in Bristol. He spent much of his working career in banking but became an independent record producer in the early nineties, specialising in the works of John Barry and British TV theme compilations.
He also wrote liner notes for many soundtrack albums, including those by John Barry, Roy Budd, Ron Grainer, Maurice Jarre and Johnny Harris. He co-wrote two biographies of John Barry in 1998 and 2008, and is currently working on a biography of singer, actor, producer Adam Faith.
He joined the Internet Movie Data-base (www.imdb.com) as a data-manager in 2001 and looked after biographies, composers and the music-department, amongst other tasks. He retired after nine years loyal service in order to continue writing.