STROLLING HOME
(Farnon)
Analysed by Robert Walton

It was in 1959 that the original Gang Show producer Ralph Reader wrote Strollin’, the song most associated with Bud Flanagan. Two years later in 1961 Robert Farnon composed the mood music equivalent, Strolling Home.

A one-finger piano in the style of Gordon Jenkins (sometimes in octaves) plays with a small string section. This laid back 1930’s type tune has a rhythm reminiscent of the clip clopping of a slow horse in a western. It clearly calls to mind Laurel & Hardy’s unhurried approach to Brushwood Gulch accompanied by a mule in “Way out West”. It’s also the sort of tempo associated with the Ink Spots.

The opening two notes of the intro are identical to Willie Nelson’s song Crazy made famous by Patsy Cline. After a short lead-in (the first of many sustained string passages), the actual melody starts out as if it’s going into These Foolish Things. As the piece progresses the ghost of Carroll Gibbons pervades the performance, though not in the decorative sense. In this case the piano fills owe more to ragtime. And then to end the phrase, Farnon’s melody once more quotes from Crazy while the harp wraps things up. Then something highly unusual happens. Normally after 16 bars you’d expect the tune to go into the bridge but Farnon repeats the last 4 bars of the chorus.

Now it’s really time to go to the bridge in a new key with the laid back strings now in the driving seat. After a suggestion of Have You EverBeen Lonely, the delightful middle melody provides the perfect contrast to the earlier sleepy piano, although even this section isn’t going anywhere fast! And waiting in the wings our soloist is gently awakened for a rerun of the opening. Again the harp finishes the phrase. Then the strings join the piano that eventually modulates twice, before going into Tom and Jerry mode for a soft landing/ending.

This is yet another example of Robert Farnon’s ability to turn his talent to almost any kind of music. Unlike his established compositions, this utterly simple instrumental is a rarity. Despite that, any perceptive Farnon fan will soon sus out the identity of the composer from those little touches he never lost. So whether you’re Strolling Home after walking the dog or returning from the pub, what emerges is an air of total tranquility. In other words, perfect retirement music!

The Chappell recording of Strolling Home is available on the Guild CD “Holidays for Strings” (GLCD 5189)

Submit to Facebook

Radio Times Light Music 1957. This is still an experimental page.

Click on thumbnails to open photos, click on arrow for next.

04 Jan

Wagon Lit

Written by

WAGON LIT
(Sidney Torch)
Analysed by Robert Walton

There can’t be many arrangements which are defined by a constant brass interjection, but that’s the very thing that attracted me to Wagon Lit . It’s a typical Torch touch on which the whole composition rests and is perfectly in keeping with his strict policy of crispness. This syncopated feature is first heard just after the third beat of the opening bar of the tune; in fact the second quaver of the third beat. Yes, I know it’s an unlikely component of a chart to choose, but this accentuation, part and parcel of the rhythm of a train, is somehow crying out to be noticed. You may have spotted the composition is slightly more subdued than most instrumental train records, perhaps giving consideration to the passengers in the sleeping compartment of this European railroad car!

Read the entire article here...

Submit to Facebook

WAGON LIT
(Sidney Torch)
Analysed by Robert Walton

There can’t be many arrangements which are defined by a constant brass interjection, but that’s the very thing that attracted me to Wagon Lit . It’s a typical Torch touch on which the whole composition rests and is perfectly in keeping with his strict policy of crispness. This syncopated feature is first heard just after the third beat of the opening bar of the tune; in fact the second quaver of the third beat. Yes, I know it’s an unlikely component of a chart to choose, but this accentuation, part and parcel of the rhythm of a train, is somehow crying out to be noticed. You may have spotted the composition is slightly more subdued than most instrumental train records, perhaps giving consideration to the passengers in the sleeping compartment of this European railroad car!

Starting out on a bright and breezy note, Wagon Lit quickly gets into its stride with a perky little tune punctuated by the said staccato insertion that only Torch, a master ‘painter’ of mood music could create. Although the orchestration is basically lighthearted, there’s an element of drama and excitement too. And then taking a brief break from all this musical sandwiching, the brass takes over the tune in a new key. Before returning to the original key, Torch brilliantly brings the orchestra back down to earth free falling no less than nine times caught very neatly in a safety net by the harp. But no sooner has the first chorus finished, than Torch retains this wonderful sense of fun and freedom with brass and pizzicato strings darting about. Finally a French horn heralds the middle section.

For once we can quite legitimately call this a ‘bridge’, the word not unconnected to a train. But an engineer called Rose who just happened to be very keen on trains himself originally designed this one! After that monumental moment in light orchestral history with his Holiday for Strings, subdivisions like this provided the perfect contrast to busier openings. Of course Torch made them entirely his own, like this one which sort of creeps in with nothing to indicate its about to start. But when it does, this gentle song-like tune provides the perfect causeway. Halfway through, the maestro can’t resist one of his favourite sounds, pizzicato strings. After the brass job-share an upwardly mobile broken chord, arco strings with more feeling and tension, leave us in no doubt that the main melody is about the return.

Which means of course we’re back to that delightful opening with those persistent trumpets slotting in at the exact moment with the now familiar exclamation. Torch never wasted a good idea so it was no surprise that he ended Wagon Lit in the same way as he embellished it. His imagination and arranging skill could well have been acquired from his organ playing days when he was required to improvise on occasions. Incidentally in that early part of his career he also caught the baton-waving bug.

Wagon Lit might not have been such a high profile number in its day, probably because it wasn’t available commercially, but after having been neglected for so long, I would thoroughly recommend you to give it a listen. The art of Sidney Torch is a wonder to behold. And with the legendary Queen’s Hall Light Orchestra conducted by the composer it’s a bonus.

The original Chappell recording of Wagon Lit is available on the Guild CD "The 1940s" (GLCD 5102)

Submit to Facebook
04 Jan

Moira Ades, R.I.P.

Written by

It is with profound sadness that we report the death of Moira Ades, wife of the late David Ades, on 27th December 2015.

Moira was admitted to hospital in mid-December to undergo an emergency surgical procedure. Whilst initially this appeared to have been successful, she then developed post-operative complications, which unfortunately her doctors were unable to resolve.

It is hoped to publish a fuller tribute to Moira in due course.

Our sincere condolences are extended to her daughter Fenella, her two grandsons James and William, and her son-in-law Barry.

Tony Clayden
30 / 12 / 15

David and Moira Ades
David and Moira Ades
Submit to Facebook
16 Dec

CD REVIEW ‘BEGUINE AND BUGATTI STEP’- THE ASPIDISTRA DRAWING ROOM ORCHESTRA

Written by

Tony  Clayden has written a CD review of the album.

Read it here...

Submit to Facebook
11 Nov

New Vocalion Catalogue

Written by

An exciting selection of new CDs will be available in time for Christmas and include Easy Listening, Light, Latin, Film Soundtracks/LibraryMusic, Jazz/Soul and Dance Bands/Big Bands.

Artistes  featured  include Henry Mancini, Floyd Cramer, Paul Mauriat, Caterina Valente, Cleo Laine, Neal Hefti, John Dankworth,  Victor Silvester, Ted Heath, Jack Hylton and Geraldo.

The listings also include a number of back catalogue re-issues, featuring, among others, Roy Fox, Carroll Gibbons, Henry Hall, Ray Noble, Ambrose, Ted Heath and the Queen’s Hall Light Orchestra.

In addition, there is a huge range of existing titles all still available.

The catalogue can be obtained from Vocalion - or by telephone 01923 803 001. The company operates a mail-order service – their postal address is PO Box 609  Watford WD18 7YA England.

Submit to Facebook
29 Oct

Notes and Suggestions on a Performance of Leroy Anderson's SleighRide

Written by

An article by William Zucker

At this time of the year, the air waves are bombarded with broadcasts of Christmas carols almost non-stop, which of course we have come to expect as part of the holiday season. With some of this material or at least manner of presentation in some cases, the material is of such a quality that one could mildly regret that we do not get to hear some of it at other times of the year. The symbolic connotations, of course, is the raison d' etre for what we are hearing, not so much the actual material.

Read the article here...

Submit to Facebook

An article by William Zucker

At this time of the year, the air waves are bombarded with broadcasts of Christmas carols almost non-stop, which of course we have come to expect as part of the holiday season. With some of this material or at least manner of presentation in some cases, the material is of such a quality that one could mildly regret that we do not get to hear some of it at other times of the year. The symbolic connotations, of course, is the raison d' etre for what we are hearing, not so much the actual material.

Certainly in the case of certain classical works, such as Tchaikovsky's Nutcracker or Rimsky-Korsakov's Christmas Eve, one could ask that question. Regarding the Nutcracker, it is entirely possible that we might hear the familiar suite from time to time at concerts; however, it is almost certain that dance companies will not pick it up during the year at large when the seasonal presentations have become almost obligatory.

One item which has fallen into such a category, although such was apparently not always the case, has been Leroy Anderson's Sleigh Ride. One of its composer's finest pieces, I would venture to say that it was composed as an individual picture or vignette in exactly the same manner as many of his other such pieces, without any thought whatever being given to the holiday season and that holiday season only. But because we are nowadays bombarded with it in presentations that are thoroughly bowdlerized, even when the original version appears, it is desirable to take stock of what is happening with this piece compared to what it was when it first came out, and probably not written, let alone conceived, during the holiday season.

We hear many of Leroy Anderson's pieces at open air concerts of light music, and they have been amply and frequently recorded, albeit with variable results. Hearing what I am now hearing every day from PA and sound systems in restaurants, etc. makes me extremely desirous to discard this and return to the original conception from the early 1950s.

I will add, however, that the adding of words such as supplied by Mitchell Parish, appears harmless to me in that sense. What I'm concerned about is the composer's original conception being turned into something not originally indigenous to the piece.

I would appear to be contradicting myself when I repeatedly say that I'm no authenticist, that I insist on taking serious works in the manner that has been accepted over the years, regardless of what original audiences might have heard. But I take each piece of music on its own merits, as I find it, and approach it accordingly to attempt to make it sound better as I see it. In the present case we are dealing with a period of 60 or so years, well within a lifetime, where one can actually be witness to some of the as I see it unwelcome changes that have occurred, actually not only with this piece, but with many others of Mr. Anderson's. It is a special issue here because it has been detached from its original settings and made to serve a totally different function during the holiday season. We are not dealing with "Jingle Bells," "Silent Night," or "Adeste Fidelis" here, even though Mr. Anderson has turned out some really wonderful arrangements of carols, along with a medley I refer to as the Christmas Festival Overture. This latter is a totally separate issue, although one can still judge those from the point of view of Leroy Anderson rather than Christmas.

With Sleigh Ride, the subject of this essay, I would like to return once and for all to the original presentation when the work was first recorded by the Boston Pops Orchestra under Arthur Fiedler. I should hasten to add that in most cases regarding Leroy Anderson presentations, I would recommend the composer's original - not subsequent - recordings, but in a few instances including this one I would instead recommend the recordings as made by Mr. Fiedler as better presenting the composer's own wishes and ideas.

The matter of music for the holiday season is a matter in itself outside the scope of this essay. My concern is with the particular piece under consideration, and to return it to the setting within which it was originally conceived, as a separate vignette in itself possibly having no connection with the holiday season originally, but rather as part of a group of light orchestral novelty numbers.

To begin with, the whole needs to be taken in a far more relaxed, leisurely tempo than is commonly done today, and the tempo once established in this manner must be held throughout. Following the introduction, the main idea gets its full due as usual, but the inner tenor voice should be clearly heard, not in a melodic sense but rather as a means of filling in the very cogent harmonic movement. This is a characteristic feature of this composer, and one would do well to give it attention in that aspect. There is a slight swelling at the end of the phrase coincident with the harmonic progression prior to the repetition of the idea.

On the second strain, it must be seen to that the clippety clop of the wood blocks must never be permitted to overtake or drown out the melodic elements taking place. Looking once again at the inner tenor voice, it is to be noted that on the repetition the line skips upward by a seventh into the higher octave. This is a very witty effect and may be brought out by a very subtle dynamic inflection.

When the first idea returns on this occasion, responding to the use of enhanced forces, it is to be given with plenty of dynamic energy, even though the compositional substance of the original remains the same. The tempo of course remains constant.

After a short transition with an accompanying diminuendo, we arrive at the middle section. In order for the main idea, admittedly not an ambitious one as it mainly consists of a repeated note before arriving at its culmination, to which there should be a slight dynamic increase. The percussion effects, including the clop-clop of the wood block and the whip effect, must never be permitted to obtrude the melodic effect; however, the held tenor note in tenuto may be swelled somewhat in approaching the culmination of the phrase, exactly as with the top part.

At the end of this section, the declamation on a D dominant (from G Major) changes to an F dominant as preparation for the return. I would configure the harmony at this latter point so that the F is more prominent, in view of the return to the principal key of B Flat Major.

The original idea, when it returns, is given a rather jazzy, swing type rhythm, an effect that Mr. Anderson frequently throws into his conceptions, with varied results; however, in this case it works splendidly. The most should be made of this novel version, with the rhythms fully accentuated. On the repetition, we have a more muscular version of the same idea, with a B Flat-D-E Flat-E Natural-F ostinato (the last two in half time eighth notes), the effect of which is even more successful than the first version. And the conclusion of this phrase ends on an off beat with emphasis, another typical effect employed by Mr. Anderson to good purpose.

The second strain now follows, in a condition precisely as on the first occasion; however, when the main idea returns, it is this time presented very delicately, and in a continual diminuendo. On the last phrase, we reach to a key remotely distant - a tritone away - and then proceed from that point forward by fifths (always in diminuendo) until at the end of the phrase we arrive punctually at the original tonic.

Following the expansion of same (reminiscent of the opening accompaniment at the outset before the original idea began), the harmony changes momentarily to a Neapolitan chord C Flat-E Flat-F over which we hear what is evidently meant to imitate the whinnying of a horse; however, whatever the intent, it should never sound too strident, as the overall effect should be that the piece is winding down.

On the resolution back to B Flat, the final emphasis should be directed at the two last B Flat unisons which conclude the piece.

This piece really does deserve greater respect on its own terms than it has received in more recent years. I have read that Mr. Anderson, in his work, has brought in some novel instruments to add color and spice to his work. All power to those who can enjoy this sort of thing, but I must say, my view of his work is totally different. I do not wish to see or hear him spoken of as though he were Spike Jones, and though he apparently was diffident about it, his music really is strong enough to stand on its own, to speak on its own terms for itself, without the need for any extra-musical elements that at times really do spoil what he has set out to accomplish. The inherent quality of the music is far above what even he himself may have thought of it, whether he wished it or not - perhaps "overqualified" would be a good word to describe what I am attempting to describe. There is far too much refinement in the music for an excess of these sound effects to be absorbed in the basic conception to any great extent, and I consider this as a compliment of his work in the most sincere sense, regardless of whether he might have agreed had I ever been able to convey my thoughts directly to him.

As usual, I welcome all comments; as much with commentary in this music as well as with those on more involved pieces that I have written on.

William Zucker

Submit to Facebook
27 Oct

Nooks and Crannies in the Field of Light Music

Written by

An article by William Zucker

In the course over the years of collecting recordings of light music, reading books on the subject, or looking at YouTube postings, I became aware of the fact that exactly as with serious music, there are segments of this repertoire that remain unknown even to interested specialists, for which there are historically many reasons.  Before going into these, I have to first point out that all forms of music, whether light or serious, are received by their recipients in widely divergent manners.

Some listen to these selections of whatever genre very attentively, carefully noting the various features and details along the way while others simply submerge themselves in a wash of sound without attending any further to the source, and be it noted, this latter method of reception, for want of a better word, may occur in more serious forms of music as well, particularly with the more impressionistic variety, exemplified by such composers as Debussy and Delius but not  necessarily limited to those.

Read the entire article here...

Submit to Facebook
Page 14 of 58

Login Form RFS

Hi to post comments, please login, or create an account first.
We cannot be too careful with a world full of spammers. Apologies for the inconvenience caused.

Keep in Touch on Facebook!    

 If you have any comments or questions about the content of our website or Light Music in general, please join the Robert Farnon Society Facebook page.

Contact Geoff Leonard - editor of the RFS website
Contact Geoff Leonard to submit new articles only, please.

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.