ANDRE KOSTELANETZ AND HIS ORCHESTRA
"Music of Fritz Kreisler": Tambourin Chinois, Caprice Viennois, Stars In My Eyes, The Old Refrain, Liebesleid, Liebesfreud. "Music of Richard Rodgers": My Heart Stood Still, The Most Beautiful Girl In The World, It Might As Well Be Spring, Blue Moon, Johnny One Note, If I Loved You, The Girl Friend, There's a Small Hotel, Where Or When, Lover, Slaughter On Tenth Avenue. "Jerome Kern": Mark Twain - Portrait for Orchestra.
VOCALION CDUS
Trevor Duncan:
20th Century Express; Little Suite: March, Lullaby, Jogtrot; High Heels; Children In The Park: Dancing For Joy, At The Pool, Hide And Seek; Maestro Variations; The Girl From Corsica; Meadow Mist; Valse Mignonette; Wine Festival; Sixpenny Ride; Enchanted April; St. Boniface Down; La Torrida; The Visionaries Grand March; Little Debbie.
Robert Farnon:
Portrait Of A Flirt; How Beautiful Is Night; Melody Fair; A la Claire Fontaine; The Peanut Polka; In A Calm (No. 2 of Three impressions for Orchestra); Gateway To The West; Jumping Bean; Pictures In The Fire; Little Miss Molly; Colditz March; A Star Is Born; The Westminster Waltz; Manhattan Playboy (No. 3 of Three impressions for Orchestra); Lake Of The Woods; Derby Day; State Occasion.
Ernest Tomlinson:
Little Serenade; An English Overture; Fairy Coach; Cinderella Waltz; Kielder Water; Silverthorn Suite: Alla Marcia, Canzonet, Concert Jig; 2nd Suite of English Folk-Dances: Kettledrum, Chipping Lane, Newcastle, Up Goes Ely, Love-in-a-mist, Catch Me If You Can; Nocturne; Hornpipe; Gaelic Lullaby; Nautical Interlude; Sweet and Dainty.
Frederic Curzon:
The Boulevardier: Characteristic Intermezzo; Punchinello: Miniature Overture; Spanish Suite: In Malaga: No. 1 Spanish Ladies, No. 2 Serenade To Eulalie, No. 3 Cachucha; Dance Of An Ostracised Imp; Saltarello for piano and orchestra; Capricante: Spanish Caprice; Galavant; Pasquinade; Simonetta: Serenade; Cascade: Waltz; La Peineta; Robin Hood Suite: No. 1 In Sherwood, No. 2 Maid Marian, No. 3 March Of The Bowmen; Bravada: Paso Doble.
Sidney Torch:
London Transport Suite; All Strings And Fancy Free; Barbecue; Trapeze Waltz; Concerto Incognito; On A Spring Note; Bicycle Belles; Comic Cuts; Mexican Fiesta; Petite Valse; Samba Sud; Shortcake Walk; Slavonic Rhapsody; Cresta Run; Shooting Star; Going For A Ride; Duel for Drummers.
On the following pages (click on the links in the navigation menu) you will find biographies and photos of some of the other 'Legends' of light music. These pages will be continuously updated so if you have any suggestions for inclusion, please let us know in the comment box. Just as importantly, a photo and a biography of any contenders would be very much appreciated!
Or Contact Geoff Leonard, Editor: through the RFS Facebook page only.
On the following Legends:
Leroy Anderson 1)
1) : weblink gone
Ronnie Aldrich was one of Britain’s most popular recording pianists during the 1960s and 1970s. He ultimately developed his own distinctive style which made him instantly recognisable to his countless admirers around the world. His technique could be deceptively simple: often he would begin by picking out a melody in single notes, before eventually revealing that he could make his two hands sound like many more. Added to this was a carefully chosen supporting orchestra, frequently providing a lush and sophisticated backdrop through the use of strings, but on other occasions he allowed the percussion to come to the fore. He liked to surprise his audience from time to time, but in his heart he knew what they really enjoyed and he always ensured that they would not be disappointed.
John Barry was arguably Britain's best-known composer of film music. He emerged at a time when the score of a movie was seldom recorded for the album market, and when the musical arranger, for all his importance to the end product, was a comparatively anonymous part of the film-making process. Barry's career has spanned the years in which there has been this increasing awareness of the importance of this role.
LES BAXTER, AN AMERICAN IMPRESSIONIST
by Enrique Renard
Late in 1936, British composer Harry Revel had a chance meeting with an attractive Frenchwoman at the bar of the Hotel George V, in Paris. "The fragrance of her perfume", stated Revel, "transposed itself in my mind to a melodic theme". When asked, the lady indicated that she was wearing a scent from Corday called ‘Toujours Moi’. "It occurred to me then", continues Revel, "that if one fragrance could inspire melody there must be others that can do the same".
