Back in June (JIM 188, page 11) we wished our good friend Nick Farries well in his future endeavours, following the sale of Carlin Music. At our recent London meeting we learned from David Farnon that Nick is setting up again in London, and David’s son Tom is also getting involved with him. Nick has promised to let us know more about his exciting plans next year!

In our last issue Jim Palm asked if anyone knew the date of a broadcast in celebration of Sidney Torch’s 80th birthday (page 18). David Daniels was quick off the mark with the information that the date was 10 July 1988 – around six weeks after his actual birthday which was 5 June.

Boosey & Hawkes Production Music has now been rebranded as Imagem Production Music. Their address is still: Alywych House, 71-91 Aldwych, London, WC2B 4HN.

In David Ades’ report of his "Light Fantastic" experiences in our last issue (page 64) he mentioned I Concentrate On You which had been arranged by Robert Farnon. We have now learned that this did not come from the libraries of Ted Heath or Geraldo, but was one of two scores that Bob did for the publishers – it was intended that there would be a whole series of such numbers, but in the event only two were completed.

Many readers will have discovered Brian Reynolds' website http://www.mastersofmelody.co.uk/ which gives accounts of the careers of many musical directors, often accompanied by actual radio programmes by their orchestras, to which you can listen. Now Brian has a YouTube channel http://www.youtube.com/user/MastersofMelody1 which features hundreds of his video recordings made at bandstands - brass bands, military bands and a considerable amount of light orchestral material from three orchestras which used to play on bandstands until fairly recently. Of particular interest to members of this society will be Romando and his Gypsy Orchestra whose vast repertoire of music from the turn of the last century to the early sixties will reveal many long forgotten delights. In similar vein are the repertoires of the Ladies' Palm Court Orchestra (Ann Adams) and the London Theatre Orchestra (Peter Civil). You can either type the names of these orchestras in to Google or go to the above URL and type the orchestra/ band name into the search box, whereupon you will have all their videos at your fingertips. There is everything from the Brighouse and Rastrick Brass Band and the Grenadier Guards to the Charleston Chasers!

Andre Leon, boss of UK LightRadio is still working to hard to launch his internet radio station on a permanent basis, and his latest press release announces further progress. From 6 November two hours of UKLR output have been broadcast by Radio Six International on Sunday afternoons, from 4:00pm GMT onwards. Hopefully these will still be available by the time this magazine is published; the site to visit is– www.radiosix.com

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Following the great success of his “MGM Prom” last year, John Wilson and his hand-picked orchestra of top musicians will performing again at London’s Royal Albert Hall on the afternoon of Sunday 22 August commencing at 4:00 pm. This time John turns the spotlight on the musicals of Rodgers and Hammerstein with selections from great shows such as “The Sound Of Music”, “Carousel”, “The King And I”, “Flower Drum Song” and “Oklahoma!” The concert will be broadcast live on BBC Radio 3, and will be recorded by BBC Two for a television broadcast on Saturday 28 August. The concert is expected to last around 90 minutes, and singers will include Kim Criswell, Anna Jane Casey, Julian Ovenden and Rod Gilfry with the Maida Vale Singers.

If you live in or around London you may want to be at the Cadogan Hall on Tuesday 22 June at 7.30pm. Three of our leading composer/conductors will be on the podium in front of the Royal Philharmonic Orchestra in a concert which includes the premiere of Adrian Sutton’s Suite taken from the music for the play “War Horse”. Other highlights include Geoffrey Burgon’s “Brideshead Revisited”, Nigel Hess’ Suite “The Food of Love” and Christopher Gunning’s “Oboe Concerto”, with the solo performed by his daughter Verity. Nigel Hess, Christopher Gunning and Gavin Sutherland are the distinguished conductors, and the box office is 020 7730 4500.

On 5 February “Friday Night Is Music Night” was devoted to the music of Angela Morley. The BBC Concert Orchestra was conducted by Keith Lockhart, who is the current principal conductor of the Boston ‘Pops’ Orchestra, which often commissioned special arrangements from Angela. Several from the orchestra’s library were included in the programme. Another special feature was extracts arranged by Angela for the musical “The Good Companions” by Andre Previn and Johnny Mercer. Among the works featured were: Tara theme from “Gone With The Wind”, A Canadian In Mayfair, My Funny Valentine, themes from “The Quiet Man”, Music Of The Night, Keehar’s theme from “Watership Down”, Main title and love theme from “Superman” (Angela assisted John Williams on several of his most famous film scores), Lover, Christmas Song, Oblivion, Love Is A Many Splendoured Thing, Laura, No One Is Alone and Waltz from “Slipper And The Rose”. Angela’s partner. Christine Parker, heard the broadcast via the internet and she told us: “You can imagine my pride in this latest grand homage covering so much of the gamut of her work, and of course I wept a bit; just the grandeur of the orchestra sound in Tara got me going, and I was happy they chose the Slipper and the Rose Waltz as a finale. When you think how her career went from Geraldo through Dusty Springfield, Noel Coward and Mel Torme all the way to Yo Yo Ma and Itzhak Perlman, it's staggering, isn't it! They just couldn't resist quoting Harry Secombe's tasteless joke again unfortunately. Still, it was gratifying to hear the tremendous applause after certain items, like Oblivion. It was quite a coup getting Keith Lockhart to conduct: that way they could have access to the Boston Pops Library. I'm so glad the Beeb pulled out all the stops!” A short while after the concert, Keith Lockhart sent a personal message to Chris: “Bridget Apps, the BBC producer, was kind enough to forward me your email. I'm glad you enjoyed the tribute to Angela's music (except for the Harry Secombe line, which I was shocked that they used, honestly). I didn't have the privilege of knowing Angela well, but was the beneficiary of her beautiful creations, both of my own commissions with the Pops and through my associations with Mel and John Williams. It was an honour to bring all of those beautiful settings together on one programme.”

Although we are sure that many RFS members have read and enjoyed publications from Reader’s Digest over the ages, it is perhaps their light orchestral records that have delighted us the most. In their most productive period from the 1960s onwards, conductors and arrangers such as Robert Farnon, Angela Morley and many others using pseudonyms created some beautiful music, often recorded in London. Therefore the news earlier this year that Reader’s Digest was in serious financial difficulties will have saddened many of us. Did it mean the end of those lovely recordings, and the frequent letters telling us that we might have won £300,000 in their latest draw (even if we didn’t buy the products they were trying to sell us)? It seems that the huge hole in their pension fund was the main reason for the financial meltdown. It seems that someone has come to their rescue – at least the British operation; surely there must be some real value in all that Reader’s Digest has achieved during its long history.

Kevin Stapylton has reminded us that the Decca versions of Robert Farnon’s "Portrait of a Flirt" were different on the “Journey into Melody” 10 inch LP and the later 12 inch "Melody Fair". The latter version is the most widely known, and is the same as on the original Decca 78 by the Kingsway Symphony Orchestra conducted by Bob. The other version (on the 10” LP) would have drifted into obscurity were it not for Mike Dutton who has put the lesser-known take of this piece on to his bargain-price CD "Fingerbustin’”. Presumably it was an alternative take at the same session. If RFS members want to ensure that their Farnon collections are as complete as possible, they should know that the Dutton CD is an essential ‘must have’ - if only for that rare track!

A shock ran through the music business in February when it was suggested in the press that the famous Abbey Road studios might be sold by EMI, who are trying to reduce their considerable debts. The story was quickly denied, but the situation – as they say – is ‘fluid’. There was one report that the National Trust might launch an appeal to buy the famous studios. No doubt this story will surface again, and goodness knows what the position will be by the time this news appears in print. One headline ran: “Abbey Road for sale – zebra crossing not included”!

Terence Gilmore-Jones writes to say that the 2009 Centenary of his wife’s father, Mansel Thomas (1909-1986) went well, and in response to suggestions from friends and admirers special events are being extended into June this year. Ideally they would like to see some of his compositions appear on a CD, particularly the Six Welsh Dances, Breton Suite and Variations on a Nursery Rhyme – Polly Put The Kettle On. They are part of a popular group Mansel wrote for the BBC Welsh Orchestra when he was their Principal Conductor following the Second World War.

Members will recall reading about Nicola Farnon in previous magazines. In a recent message she updates us on her current activities: “I was regularly in touch with Robert Farnon - on the phone and in letters - until his death and he really was fantastically encouraging and brilliantly enthusiastic as ever - right up until the end. I'm still gigging and recording up and down the country and people can still get to see what I'm up to on my website - www.nicolafarnonmusic.com. I also have a new project that might interest some members.... It is entitled Nicola Farnon and The Divas of Song and basically covers the wonderful ladies of swing (Ella, Anita, Bessie Smith, Peggy Lee, Nina Simone and many more - and touches slightly on soul with Aretha Franklyn and Dusty Springfield) and spans from the 1930s to the 1960s and includes the hits they had, some anecdotes and wonderful arrangements for a six piece band (which of course includes me on double bass and vocals!). It has a website with more information at www.divasofsong.co.uk. I'm still ‘oop Narth’ in Sheffield(!) and the girls are now eleven and nine years old and blossoming into beauties.... of course I am biased! But I do get down south most holidays to visit mum in Wiltshire. At most gigs I get people coming up to ask if I'm related to the late great Bob Farnon and the more I hear and learn about him and listen to his wonderful music the more proud I feel that he is a relative (my dad's cousin to be precise - their fathers were brothers who left Ireland at the turn of the century for Canada and my dad's father came back to England) and that he must be somewhere in my genes!”

Thanks to Philip Farlow (who seems to know all the right people!) another ‘lost’ recording of a “Canada Show” broadcast is now safely tucked away in the RFS archives. Members heard an extract at the recent London meeting. The show actually dates from just after the end of the Second World War – it went out live from the Queensbury Club on the AEF Programme on Monday 9 July 1945. Captain Bob Farnon and the Canadian Band of the AEF were joined by the harpist Mario ‘Harp’ Lorenzi, with comperes Gerry Wilmot and Wilf Davidson: the announcer was Dick Misener and the featured vocalists Paul Carpenter, Joanne Dallas and Gerry Travers.. The programme included Trolley Song (Chorus), Idaho, Robin Hood (Paul Carpenter), Poet and Peasant (Mario Lorenzi), Cherokee, Too Much In Love (Joanne Dallas), Stairway To The Stars, The Men of Harlech (Mario Lorenzi), Loch Lomond (Mario Lorenzi), Poinciana (Gerry Travers and chorus).

We hope our UK members noticed the schedules for BBC Four on Easter Sunday. In one of the rare treats, for which this channel is now becoming recognised, was a tribute to American songwriter Johnny Mercer, who wrote the lyrics to around 1,500 songs – many of them among the finest of the last century. Even if you didn’t watch just for Johnny himself, the never-ending film clips and interviews with the stars were sheer bliss for those of us of ‘a certain age’. The producers must have had a real headache securing the rights and no doubt paying substantial fees for all the vintage recordings used – but how it was all so worth while! This BBC co-production (Clint Eastwood was the main producer) included British material, and it was good to see snatches of interviews with Michael Parkinson and Humphrey Lyttleton. As a bonus the following programme was a repeat of a BBC show from 1974 in which Johnny was ‘In Concert’ with the Harry Roche Constellation.

On 16 April “Friday Night Is Music Night” had an Indian theme, and the BBC Concert Orchestra wanted to perform Robert Farnon’s Taj Mahal. Unfortunately it was not possible to locate the score; possibly it may have been one of those lost in the disastrous Chappell fire in 1964.

If you attended our London meeting in April 2009 you will have had the pleasure of meeting Marjorie Cullerne and Gilles Gouset. They are understandably excited about new CDs of Haydn Wood’s music, and we recently received the following report from them. “It is with great confidence that we announce the long awaited CD release of Haydn Wood's Violin Concerto (1928). Many of you will remember the thrill you had listening to Haydn Wood's Violin Concerto on BBC Radio 3 in 2008, with soloist Tasmin Little, and Gavin Sutherland conducting the BBC Concert Orchestra. At last, the concerto has been recorded by Dutton Epoch in October 2009, with soloist Lorraine McAslan, and an ever-so-devoted Gavin Sutherland and the BBC Concert Orchestra. The CD includes yet another thrill – Haydn Wood's long-forgotten Adagio for Violin and Orchestra (1905), the manuscript of which we found languishing at the BBC Music Library. If you love Haydn Wood's light music, you'll love his serious music. He always remained true to his own style – beautiful melody, consummate orchestral writing, with sophisticated and elegant harmonies floating easily one into the other. He was from his early twenties totally at home writing big forms; the Adagio dates from 1905, around the same time he wrote his symphony and his piano concerto. Lorraine McAslan's grand and sweet-toned virtuosity admirably suits the Violin Concerto, and her sensitivity captures the dreamy, caressing mood of the Adagio. The CD also includes Lionel Sainsbury's Violin Concerto (1989). You can read all details about the Dutton Epoch CD on the Dutton web page. And if you love Haydn Wood's songs, you still can purchase our CD ‘A Breezy Ballad’, 24 songs and ballads of Haydn Wood.”

Tony Bennett was featured in several UK newspaper articles in mid-April. The Daily Telegraph included a reference to his work with Robert Farnon: “The rock and pop revolution of the Sixties eclipsed the jazz music he loved and the kind of songs that had defined Bennett’s career, and Columbia Records pressurised him to record contemporary pop hits. The final straw was his 1970 album Tony Sings the Great Hits of Today! - a commercial and artistic catastrophe. It prompted a split with Columbia, and while Bennett experimented with his own label, Improv, and cut a pair of well-received albums with jazz pianist Bill Evans, the end of the Seventies found him without a record deal and facing career burn-out. A cocaine habit didn’t help. Bennett strenuously plays down this low period now, insisting that he came to England and found a new lease of life collaborating with composer and arranger Robert Farnon. ‘Columbia promoted the idea that my career went down and my records stopped selling,’ he claims. ‘I had the greatest time of my life in England for a couple of years, and Robert Farnon made some of the best music I’ve ever been around.’ 'Tony Bennett Sings the Ultimate American Songbook Vol. 1’ was released on Sony on Apr 19.”

Geoff Sheldon. Chairman of the Eric Coates Society tells us that they are now working on a follow-up concert in view of the success of last year’s “Eric Coates – The Man and his Music”. On October 16th a concert entitled “Eric Coates and Other Music” will feature Peter Dempsey and Guy Rowlands, The Nottinghamshire Police Band and the Eastwood Collieries Male Voice Choir. Geoff is especially looking forward to hearing the Police Band play Men of Trent, which Eric Coates composed for them. They still have the original manuscript supplied by Coates. The venue will again be the Central Methodist Chapel in Hucknall, some 500 yards from ‘Tenter Hill’, the house where Eric Coates spent his formative years and began his music lessons.

The Editor is always delighted when RFS members make suggestions for new features in our magazine. A recent note from Philip Farlow certainly rekindled happy memories for him of buying precious 78s 60 years ago. At the time David Ades was a schoolboy living in Leigh-on-Sea, and ‘his’ record shop was Hodges and Johnson, although you had to weave your way through the pianos to reach the small room at the back where the records were kept. If you wanted to hear them an elderly gentleman would put them on a record player, often managing to skate the pickup over the first few grooves! Were your experiences similar? Here’s what Philip suggests: “How about appealing in Jumping Bean for readers to write about their early days of record collecting; not so much what was bought but from the angle of where they actually bought records from. All the original type of record outlets like music shops, radio TV and electrical stores and other unlikely places that retailed records have now all but disappeared. These places were often full of original character, many going back to the twenties and before, employing a whole variety of respected (or otherwise) characters of largely varying vintages. The larger chains and music shops generally had a proper record department with permanent knowledgeable staff - whilst in smaller towns and particularly in radio, TV and electrical stores one often found records resigned to a corner, upstairs, downstairs or anywhere they could be shuffled to, with just a Saturday assistant dealing with all and sundry - perhaps not very well. Being even in my early days of technical inquisitiveness it never ceased to intrigue me the different number of ways there were to audition records. I recall converted radiograms playing 'out loud' into the department, record players on counters, corridors leading to quite large separated rooms connected to record players under the control of the counter staff and of course record booths, some self operative and others operated from the counter. I always thought that the ultimate sophistication was the 'Record Browserie', one of which operated with a fair degree of success on the premises of radio and TV dealer Wisehill and Field in my home town of Andover, Hampshire. This was opened in the mid 1950's by none other than the then BBC Showband pianist Bill McGuffie who afterwards entertained patrons of the White Hart Hotel late into the evening with his unique jazz/cocktail style of the time. All kinds of self operative record playing was of course open to mis-use. In Record Browseries you had at your disposal all of the stock and if unobserved you could spend a good long time 'wearing out' your favourites and not being obliged to buy anything. I also know of stories connected with records being bought at smaller stores and, dying to hear one's latest purchase before the journey home they were taken into much larger stores where they could be played in self operated booths without anyone being any the wiser!”

Members of the RFS who live in the area of North-West England served by BBC Radio Cumbria will know that Harry King hosts a regular programme devoted mainly to music from the middle years of the 20th century. For his evening show on bank holiday Monday, 3 May, he invited three Robert Farnon Society members to join him. Alan Bunting explained the mysteries of digital sound restoration, with some fascinating examples of ‘before and after’; Brian Reynolds recalled the glory days of ‘Music While You Work’; and David Ades talked about Robert Farnon and other light music personalities. David’s contribution was recorded at the BBC studios in Taunton on 21 April, but it is hoped that it sounded like he was actually in the Cumbria studio with Harry. There was plenty of light music throughout the show, which could be heard live throughout the world on the internet on the BBC website. The programme was also available via the ‘Listen Again’ facility for seven days after the original broadcast. We hope that many members will have spotted the news in advance on our own website on the ‘Latest News’ page. If you have internet facilities, you should regularly visit www.rfsoc.org.uk to pick up any latest news items.

JOHN FOX : MY MUSICAL WORLD
Published by Eloquent Books (USA) Hardback 375 pages ISBN 978-1-60860-302-2
We know that this autobiography has been a labour of love for John Fox stretching back several years. The fact that it has now been published should be a measure of great satisfaction for him, since it represents a considerable achievement. John has documented the trials and tribulations – as well as the many highs – of being a musician during the 20th century. Not many people have managed to make a career out of music, and it is immeasurably more difficult today since the many broadcasting orchestras around the world have all but disappeared. Once upon a time professional musicians represented a significant number of the workforce, but not any more. As well as being a fascinating study of life as a musician, John has also allowed us into his personal life, and his ‘Wishes’ and ‘Hopes’ towards the end of his book indicate that he is being honest with his readers. Warmly recommended!

British RFS Members Hear One Of Robert Farnon’s Last Works
Members at our 2010 Spring meeting in London were the first outside North America to hear one of the last works composed by Robert Farnon.
In Journal Into Melody 165 (September 2005) Dr. Stanley Saunders, in his article “Robert Farnon – Genius and Humility: A Canadian Perspective”, gave the background details of how the work “American Wind Symphony – The Gaels” was commissioned by Professor Darryl Bott, Assistant Director Of Bands at Rutgers University, New Jersey, USA on behalf of the award-winning Honors Wind Symphony at Roxbury High School, New Jersey..
Dr. Saunders explained: “In several discussions with me about instrumentation, musical clefs, notation and so on regarding this new multi-movement work, Robert was particularly enthusiastic about the use of the Celtic drums that play an important part in the ‘Finale’ of the Wind Symphony. The knowledge that Robert played percussion in the Toronto Symphony Junior Orchestra at the age of twelve, and that he was a drummer in his brother Brian’s band for three years, clearly demonstrated his passion and continued interest in percussion.”
The premiere of this work took place at Roxbury High School on 25 May 2006 with RFS member Dr. Stanley Saunders conducting the Wind Band. It is this performance that RFS members heard on 28 March. The programme notes for the occasion were printed in JIM 170 (December 2006) so need not be reprinted here. However Dr. Saunders has kindly sent us a Review of the premiere, from which you will note that Robert Farnon’s inspiration was the many Scots and Irish who immigrated to the USA, taking their musical heritage with them.

Review
The world premiere of the American Wind Symphony: The Gaels composed by the celebrated composer, Robert Farnon, was presented on the evening of Thursday, May 25, 2006 in the 1500 seat Roxbury High School Auditorium at Succasunna, New Jersey. The composition and the performance received a standing ovation that demanded the final section of the Symphony to be repeated. The Gala Celebration Concert was the culminating event of the weeklong highly successful Artist in Residence biennial programme that is an essential part of the Arts Festival.
American Wind Symphony: The Gaels is dedicated by the composer to Dr. Stanley Saunders, the 2006 Artist in Residence, who conducted the premiere performance. The work is scored for piccolo; Flutes 1 and 2; Oboes 1 and 2; Clarinets 1, 2, and 3; alto clarinet; bass clarinet; bassoons 1 and 2; alto saxophone I and 2; tenor saxophone 1 and 2; baritone saxophone; French horns 1, 2, 3, and 4; Trumpets 1, 2, and 3; trombones I, 2, and 3; euphoniums I, 2, and 3; tubas; string bass; and a percussion section that consists of piano, vibraphone, xylophone, glockenspiel, celeste, bells, chimes, wind chimes, tambour, triangle, tambourine, tam-tam, small and large cymbals, snare drum, bass drum, sand block, finger cymbals, and Scottish side drum.
The Roxbury High School Honors Wind Symphony, Roxbury High School, Succasunna, New Jersey, USA, Director, Mr. Todd Nichols, commissioned the work. Professor Darryl Bott, Former Director, who now teaches at Rutgers University, New Jersey, made the arrangements.
The Honors Wind Symphony consisting of fifty-seven chosen instrumentalists has earned an outstanding reputation over the last decade and is regarded as one of the foremost wind ensembles in the United States. The ensemble has been selected as the Grand Champion Winner at Festivals in many States including Virginia, Ohio, Washington, D.C.as well as International Festivals including Toronto, Ontario, Canada—the birthplace of the composer. In addition, the Ensemble has performed at the Avery Fisher Hall at the Lincoln Center, the Carnegie Hall in New York City and other prestigious performing venues.
The opening section of the composition, Introduction, started with a crescendo roll throughout the percussion section, which heralded a spirited and delineated fanfare-like section in the brass based on a phrase from Scotland the Brave. A lyrical, flowing melody followed in the low reed and brass instruments above which a florid woodwind counterpoint was woven that was complimented by percussion colourations. A ‘lento’ section that featured the keyboards and mallet instruments along with solo flute and bassoon, led to the second section, The Warriors. A quiet, solo timpani roll introduced this ‘Allegro’ section with pyramid-like entries in the muted brass in triple metre. This triple-metre passage increased in volume and intensity as other instruments made their entries. This portion of the work subsided both in tempo and in dynamics with a flute solo followed by a keyboard link that transformed the mood from one of tension to a feeling of peace that continued throughout section three, The Lament: Emerald Isle. This moving melody was presented in antiphonal four-bar phrases throughout the wind ensemble. The modulating sequences played by the clarinets and saxophones continued with a quickening of pace. This passage was followed by a sudden change of mood that illumed Farnon’s great skill and ingenuity in orchestration as the high woodwinds floated breezily along while the whole percussion section provided shimmering and scintillating contrapuntal embellishments. The whole ensemble then made a spirited entry with staccato utterances from the low brass and tam tam [gong] leading into section four, Battle Cry. This rousing ‘presto’ section clearly depicted the Warriors as they prepared for action. A soft roll in the percussion followed by a sustained tone in the French horns and low reeds led to section five, The Lassie. During this part of the composition, one could almost see and smell the heather of the Highlands as the solo piccolo quietly played the main theme in brisk fashion accompanied by the captivation rhythm of the Scottish side drum. The work increased in excitement and intensity as other sections of the wind ensemble joined in. Section six, Bluebells, was announced in an unusual 5/4 metre, while the contrasting The Lassie theme continued in the piccolo, flutes, oboe, and keyboards as a dancing filigree counterpoint. The main theme, Bluebells, continued but has now reverted to its more familiar quadruple metre. The Introduction music now reappeared in full dress and section seven, Scotland the Brave, was announced in ‘vivace’ fashion by the trumpet section against an invigorating triplet figure in the high woodwinds, mallet, and keyboard instruments. The dance-like figure made its final, furious appearance at a ‘presto’ tempo and the thrilling build up concluded in stirring fashion with solo timpani and full ensemble presenting a dramatic climax.
Robert Farnon’s seven-part composition, An American Wind Symphony: The Gaels is a perfect symphonic wind ensemble setting that reflects the history of The Gaels both at Roxbury High School and throughout the ages. The composition has programmatic aspects that are reflected in the Celtic melodies upon which the work is based, yet it still retained an overriding sense of formal splendour and majesty.
The performance received an exciting and passionate reading by both conductor and performers that not only brought to life the musical history of the past but also reflected the greatness and the versatility of the genius of the composer, Robert Farnon.
(The author of this review has not been disclosed to us).

Following the great success of his “MGM Prom” last year, John Wilson and his hand-picked orchestra of top musicians will performing again at London’s Royal Albert Hall on the afternoon of Sunday 22 August commencing at 4:00 pm. This time John turns the spotlight on the musicals of Rodgers and Hammerstein with selections from great shows such as “The Sound Of Music”, “Carousel”, “The King And I”, “Flower Drum Song” and “Oklahoma!” The concert will be broadcast live on BBC Radio 3, and will be recorded by BBC Two for a television broadcast on Saturday 28 August. The concert is expected to last around 90 minutes, and singers will include Kim Criswell, Anna Jane Casey, Julian Ovenden and Rod Gilfry with the Maida Vale Singers.

If you live in or around London you may want to be at the Cadogan Hall on Tuesday 22 June at 7.30pm. Three of our leading composer/conductors will be on the podium in front of the Royal Philharmonic Orchestra in a concert which includes the premiere of Adrian Sutton’s Suite taken from the music for the play “War Horse”. Other highlights include Geoffrey Burgon’s “Brideshead Revisited”, Nigel Hess’ Suite “The Food of Love” and Christopher Gunning’s “Oboe Concerto”, with the solo performed by his daughter Verity. Nigel Hess, Christopher Gunning and Gavin Sutherland are the distinguished conductors, and the box office is 020 7730 4500.

On 5 February “Friday Night Is Music Night” was devoted to the music of Angela Morley. The BBC Concert Orchestra was conducted by Keith Lockhart, who is the current principal conductor of the Boston ‘Pops’ Orchestra, which often commissioned special arrangements from Angela. Several from the orchestra’s library were included in the programme. Another special feature was extracts arranged by Angela for the musical “The Good Companions” by Andre Previn and Johnny Mercer. Among the works featured were: Tara theme from “Gone With The Wind”, A Canadian In Mayfair, My Funny Valentine, themes from “The Quiet Man”, Music Of The Night, Keehar’s theme from “Watership Down”, Main title and love theme from “Superman” (Angela assisted John Williams on several of his most famous film scores), Lover, Christmas Song, Oblivion, Love Is A Many Splendoured Thing, Laura, No One Is Alone and Waltz from “Slipper And The Rose”. Angela’s partner. Christine Parker, heard the broadcast via the internet and she told us: “You can imagine my pride in this latest grand homage covering so much of the gamut of her work, and of course I wept a bit; just the grandeur of the orchestra sound in Tara got me going, and I was happy they chose the Slipper and the Rose Waltz as a finale. When you think how her career went from Geraldo through Dusty Springfield, Noel Coward and Mel Torme all the way to Yo Yo Ma and Itzhak Perlman, it's staggering, isn't it! They just couldn't resist quoting Harry Secombe's tasteless joke again unfortunately. Still, it was gratifying to hear the tremendous applause after certain items, like Oblivion. It was quite a coup getting Keith Lockhart to conduct: that way they could have access to the Boston Pops Library. I'm so glad the Beeb pulled out all the stops!” A short while after the concert, Keith Lockhart sent a personal message to Chris: “Bridget Apps, the BBC producer, was kind enough to forward me your email. I'm glad you enjoyed the tribute to Angela's music (except for the Harry Secombe line, which I was shocked that they used, honestly). I didn't have the privilege of knowing Angela well, but was the beneficiary of her beautiful creations, both of my own commissions with the Pops and through my associations with Mel and John Williams. It was an honour to bring all of those beautiful settings together on one programme.”

Although we are sure that many RFS members have read and enjoyed publications from Reader’s Digest over the ages, it is perhaps their light orchestral records that have delighted us the most. In their most productive period from the 1960s onwards, conductors and arrangers such as Robert Farnon, Angela Morley and many others using pseudonyms created some beautiful music, often recorded in London. Therefore the news earlier this year that Reader’s Digest was in serious financial difficulties will have saddened many of us. Did it mean the end of those lovely recordings, and the frequent letters telling us that we might have won £300,000 in their latest draw (even if we didn’t buy the products they were trying to sell us)? It seems that the huge hole in their pension fund was the main reason for the financial meltdown. It seems that someone has come to their rescue – at least the British operation; surely there must be some real value in all that Reader’s Digest has achieved during its long history.

Kevin Stapylton has reminded us that the Decca versions of Robert Farnon’s "Portrait of a Flirt" were different on the “Journey into Melody” 10 inch LP and the later 12 inch "Melody Fair". The latter version is the most widely known, and is the same as on the original Decca 78 by the Kingsway Symphony Orchestra conducted by Bob. The other version (on the 10” LP) would have drifted into obscurity were it not for Mike Dutton who has put the lesser-known take of this piece on to his bargain-price CD "Fingerbustin’”. Presumably it was an alternative take at the same session. If RFS members want to ensure that their Farnon collections are as complete as possible, they should know that the Dutton CD is an essential ‘must have’ - if only for that rare track!

A shock ran through the music business in February when it was suggested in the press that the famous Abbey Road studios might be sold by EMI, who are trying to reduce their considerable debts. The story was quickly denied, but the situation – as they say – is ‘fluid’. There was one report that the National Trust might launch an appeal to buy the famous studios. No doubt this story will surface again, and goodness knows what the position will be by the time this news appears in print. One headline ran: “Abbey Road for sale – zebra crossing not included”!

Terence Gilmore-Jones writes to say that the 2009 Centenary of his wife’s father, Mansel Thomas (1909-1986) went well, and in response to suggestions from friends and admirers special events are being extended into June this year. Ideally they would like to see some of his compositions appear on a CD, particularly the Six Welsh Dances, Breton Suite and Variations on a Nursery Rhyme – Polly Put The Kettle On. They are part of a popular group Mansel wrote for the BBC Welsh Orchestra when he was their Principal Conductor following the Second World War.

Members will recall reading about Nicola Farnon in previous magazines. In a recent message she updates us on her current activities: “I was regularly in touch with Robert Farnon - on the phone and in letters - until his death and he really was fantastically encouraging and brilliantly enthusiastic as ever - right up until the end. I'm still gigging and recording up and down the country and people can still get to see what I'm up to on my website - www.nicolafarnonmusic.com. I also have a new project that might interest some members.... It is entitled Nicola Farnon and The Divas of Song and basically covers the wonderful ladies of swing (Ella, Anita, Bessie Smith, Peggy Lee, Nina Simone and many more - and touches slightly on soul with Aretha Franklyn and Dusty Springfield) and spans from the 1930s to the 1960s and includes the hits they had, some anecdotes and wonderful arrangements for a six piece band (which of course includes me on double bass and vocals!). It has a website with more information at www.divasofsong.co.uk. I'm still ‘oop Narth’ in Sheffield(!) and the girls are now eleven and nine years old and blossoming into beauties.... of course I am biased! But I do get down south most holidays to visit mum in Wiltshire. At most gigs I get people coming up to ask if I'm related to the late great Bob Farnon and the more I hear and learn about him and listen to his wonderful music the more proud I feel that he is a relative (my dad's cousin to be precise - their fathers were brothers who left Ireland at the turn of the century for Canada and my dad's father came back to England) and that he must be somewhere in my genes!”

Thanks to Philip Farlow (who seems to know all the right people!) another ‘lost’ recording of a “Canada Show” broadcast is now safely tucked away in the RFS archives. Members heard an extract at the recent London meeting. The show actually dates from just after the end of the Second World War – it went out live from the Queensbury Club on the AEF Programme on Monday 9 July 1945. Captain Bob Farnon and the Canadian Band of the AEF were joined by the harpist Mario ‘Harp’ Lorenzi, with comperes Gerry Wilmot and Wilf Davidson: the announcer was Dick Misener and the featured vocalists Paul Carpenter, Joanne Dallas and Gerry Travers.. The programme included Trolley Song (Chorus), Idaho, Robin Hood (Paul Carpenter), Poet and Peasant (Mario Lorenzi), Cherokee, Too Much In Love (Joanne Dallas), Stairway To The Stars, The Men of Harlech (Mario Lorenzi), Loch Lomond (Mario Lorenzi), Poinciana (Gerry Travers and chorus).

We hope our UK members noticed the schedules for BBC Four on Easter Sunday. In one of the rare treats, for which this channel is now becoming recognised, was a tribute to American songwriter Johnny Mercer, who wrote the lyrics to around 1,500 songs – many of them among the finest of the last century. Even if you didn’t watch just for Johnny himself, the never-ending film clips and interviews with the stars were sheer bliss for those of us of ‘a certain age’. The producers must have had a real headache securing the rights and no doubt paying substantial fees for all the vintage recordings used – but how it was all so worth while! This BBC co-production (Clint Eastwood was the main producer) included British material, and it was good to see snatches of interviews with Michael Parkinson and Humphrey Lyttleton. As a bonus the following programme was a repeat of a BBC show from 1974 in which Johnny was ‘In Concert’ with the Harry Roche Constellation.

On 16 April “Friday Night Is Music Night” had an Indian theme, and the BBC Concert Orchestra wanted to perform Robert Farnon’s Taj Mahal. Unfortunately it was not possible to locate the score; possibly it may have been one of those lost in the disastrous Chappell fire in 1964.

If you attended our London meeting in April 2009 you will have had the pleasure of meeting Marjorie Cullerne and Gilles Gouset. They are understandably excited about new CDs of Haydn Wood’s music, and we recently received the following report from them. “It is with great confidence that we announce the long awaited CD release of Haydn Wood's Violin Concerto (1928). Many of you will remember the thrill you had listening to Haydn Wood's Violin Concerto on BBC Radio 3 in 2008, with soloist Tasmin Little, and Gavin Sutherland conducting the BBC Concert Orchestra. At last, the concerto has been recorded by Dutton Epoch in October 2009, with soloist Lorraine McAslan, and an ever-so-devoted Gavin Sutherland and the BBC Concert Orchestra. The CD includes yet another thrill – Haydn Wood's long-forgotten Adagio for Violin and Orchestra (1905), the manuscript of which we found languishing at the BBC Music Library. If you love Haydn Wood's light music, you'll love his serious music. He always remained true to his own style – beautiful melody, consummate orchestral writing, with sophisticated and elegant harmonies floating easily one into the other. He was from his early twenties totally at home writing big forms; the Adagio dates from 1905, around the same time he wrote his symphony and his piano concerto. Lorraine McAslan's grand and sweet-toned virtuosity admirably suits the Violin Concerto, and her sensitivity captures the dreamy, caressing mood of the Adagio. The CD also includes Lionel Sainsbury's Violin Concerto (1989). You can read all details about the Dutton Epoch CD on the Dutton web page. And if you love Haydn Wood's songs, you still can purchase our CD ‘A Breezy Ballad’, 24 songs and ballads of Haydn Wood.”

Tony Bennett was featured in several UK newspaper articles in mid-April. The Daily Telegraph included a reference to his work with Robert Farnon: “The rock and pop revolution of the Sixties eclipsed the jazz music he loved and the kind of songs that had defined Bennett’s career, and Columbia Records pressurised him to record contemporary pop hits. The final straw was his 1970 album Tony Sings the Great Hits of Today! - a commercial and artistic catastrophe. It prompted a split with Columbia, and while Bennett experimented with his own label, Improv, and cut a pair of well-received albums with jazz pianist Bill Evans, the end of the Seventies found him without a record deal and facing career burn-out. A cocaine habit didn’t help. Bennett strenuously plays down this low period now, insisting that he came to England and found a new lease of life collaborating with composer and arranger Robert Farnon. ‘Columbia promoted the idea that my career went down and my records stopped selling,’ he claims. ‘I had the greatest time of my life in England for a couple of years, and Robert Farnon made some of the best music I’ve ever been around.’ 'Tony Bennett Sings the Ultimate American Songbook Vol. 1’ was released on Sony on Apr 19.”

Geoff Sheldon. Chairman of the Eric Coates Society tells us that they are now working on a follow-up concert in view of the success of last year’s “Eric Coates – The Man and his Music”. On October 16th a concert entitled “Eric Coates and Other Music” will feature Peter Dempsey and Guy Rowlands, The Nottinghamshire Police Band and the Eastwood Collieries Male Voice Choir. Geoff is especially looking forward to hearing the Police Band play Men of Trent, which Eric Coates composed for them. They still have the original manuscript supplied by Coates. The venue will again be the Central Methodist Chapel in Hucknall, some 500 yards from ‘Tenter Hill’, the house where Eric Coates spent his formative years and began his music lessons.

The Editor is always delighted when RFS members make suggestions for new features in our magazine. A recent note from Philip Farlow certainly rekindled happy memories for him of buying precious 78s 60 years ago. At the time David Ades was a schoolboy living in Leigh-on-Sea, and ‘his’ record shop was Hodges and Johnson, although you had to weave your way through the pianos to reach the small room at the back where the records were kept. If you wanted to hear them an elderly gentleman would put them on a record player, often managing to skate the pickup over the first few grooves! Were your experiences similar? Here’s what Philip suggests: “How about appealing in Jumping Bean for readers to write about their early days of record collecting; not so much what was bought but from the angle of where they actually bought records from. All the original type of record outlets like music shops, radio TV and electrical stores and other unlikely places that retailed records have now all but disappeared. These places were often full of original character, many going back to the twenties and before, employing a whole variety of respected (or otherwise) characters of largely varying vintages. The larger chains and music shops generally had a proper record department with permanent knowledgeable staff - whilst in smaller towns and particularly in radio, TV and electrical stores one often found records resigned to a corner, upstairs, downstairs or anywhere they could be shuffled to, with just a Saturday assistant dealing with all and sundry - perhaps not very well. Being even in my early days of technical inquisitiveness it never ceased to intrigue me the different number of ways there were to audition records. I recall converted radiograms playing 'out loud' into the department, record players on counters, corridors leading to quite large separated rooms connected to record players under the control of the counter staff and of course record booths, some self operative and others operated from the counter. I always thought that the ultimate sophistication was the 'Record Browserie', one of which operated with a fair degree of success on the premises of radio and TV dealer Wisehill and Field in my home town of Andover, Hampshire. This was opened in the mid 1950's by none other than the then BBC Showband pianist Bill McGuffie who afterwards entertained patrons of the White Hart Hotel late into the evening with his unique jazz/cocktail style of the time. All kinds of self operative record playing was of course open to mis-use. In Record Browseries you had at your disposal all of the stock and if unobserved you could spend a good long time 'wearing out' your favourites and not being obliged to buy anything. I also know of stories connected with records being bought at smaller stores and, dying to hear one's latest purchase before the journey home they were taken into much larger stores where they could be played in self operated booths without anyone being any the wiser!”

Members of the RFS who live in the area of North-West England served by BBC Radio Cumbria will know that Harry King hosts a regular programme devoted mainly to music from the middle years of the 20th century. For his evening show on bank holiday Monday, 3 May, he invited three Robert Farnon Society members to join him. Alan Bunting explained the mysteries of digital sound restoration, with some fascinating examples of ‘before and after’; Brian Reynolds recalled the glory days of ‘Music While You Work’; and David Ades talked about Robert Farnon and other light music personalities. David’s contribution was recorded at the BBC studios in Taunton on 21 April, but it is hoped that it sounded like he was actually in the Cumbria studio with Harry. There was plenty of light music throughout the show, which could be heard live throughout the world on the internet on the BBC website. The programme was also available via the ‘Listen Again’ facility for seven days after the original broadcast. We hope that many members will have spotted the news in advance on our own website on the ‘Latest News’ page. If you have internet facilities, you should regularly visit www.rfsoc.org.uk to pick up any latest news items.

JOHN FOX : MY MUSICAL WORLD
Published by Eloquent Books (USA) Hardback 375 pages ISBN 978-1-60860-302-2
We know that this autobiography has been a labour of love for John Fox stretching back several years. The fact that it has now been published should be a measure of great satisfaction for him, since it represents a considerable achievement. John has documented the trials and tribulations – as well as the many highs – of being a musician during the 20th century. Not many people have managed to make a career out of music, and it is immeasurably more difficult today since the many broadcasting orchestras around the world have all but disappeared. Once upon a time professional musicians represented a significant number of the workforce, but not any more. As well as being a fascinating study of life as a musician, John has also allowed us into his personal life, and his ‘Wishes’ and ‘Hopes’ towards the end of his book indicate that he is being honest with his readers. Warmly recommended!

British RFS Members Hear One Of Robert Farnon’s Last Works
Members at our 2010 Spring meeting in London were the first outside North America to hear one of the last works composed by Robert Farnon.
In Journal Into Melody 165 (September 2005) Dr. Stanley Saunders, in his article “Robert Farnon – Genius and Humility: A Canadian Perspective”, gave the background details of how the work “American Wind Symphony – The Gaels” was commissioned by Professor Darryl Bott, Assistant Director Of Bands at Rutgers University, New Jersey, USA on behalf of the award-winning Honors Wind Symphony at Roxbury High School, New Jersey..
Dr. Saunders explained: “In several discussions with me about instrumentation, musical clefs, notation and so on regarding this new multi-movement work, Robert was particularly enthusiastic about the use of the Celtic drums that play an important part in the ‘Finale’ of the Wind Symphony. The knowledge that Robert played percussion in the Toronto Symphony Junior Orchestra at the age of twelve, and that he was a drummer in his brother Brian’s band for three years, clearly demonstrated his passion and continued interest in percussion.”
The premiere of this work took place at Roxbury High School on 25 May 2006 with RFS member Dr. Stanley Saunders conducting the Wind Band. It is this performance that RFS members heard on 28 March. The programme notes for the occasion were printed in JIM 170 (December 2006) so need not be reprinted here. However Dr. Saunders has kindly sent us a Review of the premiere, from which you will note that Robert Farnon’s inspiration was the many Scots and Irish who immigrated to the USA, taking their musical heritage with them.

Review
The world premiere of the American Wind Symphony: The Gaels composed by the celebrated composer, Robert Farnon, was presented on the evening of Thursday, May 25, 2006 in the 1500 seat Roxbury High School Auditorium at Succasunna, New Jersey. The composition and the performance received a standing ovation that demanded the final section of the Symphony to be repeated. The Gala Celebration Concert was the culminating event of the weeklong highly successful Artist in Residence biennial programme that is an essential part of the Arts Festival.
American Wind Symphony: The Gaels is dedicated by the composer to Dr. Stanley Saunders, the 2006 Artist in Residence, who conducted the premiere performance. The work is scored for piccolo; Flutes 1 and 2; Oboes 1 and 2; Clarinets 1, 2, and 3; alto clarinet; bass clarinet; bassoons 1 and 2; alto saxophone I and 2; tenor saxophone 1 and 2; baritone saxophone; French horns 1, 2, 3, and 4; Trumpets 1, 2, and 3; trombones I, 2, and 3; euphoniums I, 2, and 3; tubas; string bass; and a percussion section that consists of piano, vibraphone, xylophone, glockenspiel, celeste, bells, chimes, wind chimes, tambour, triangle, tambourine, tam-tam, small and large cymbals, snare drum, bass drum, sand block, finger cymbals, and Scottish side drum.
The Roxbury High School Honors Wind Symphony, Roxbury High School, Succasunna, New Jersey, USA, Director, Mr. Todd Nichols, commissioned the work. Professor Darryl Bott, Former Director, who now teaches at Rutgers University, New Jersey, made the arrangements.
The Honors Wind Symphony consisting of fifty-seven chosen instrumentalists has earned an outstanding reputation over the last decade and is regarded as one of the foremost wind ensembles in the United States. The ensemble has been selected as the Grand Champion Winner at Festivals in many States including Virginia, Ohio, Washington, D.C.as well as International Festivals including Toronto, Ontario, Canada—the birthplace of the composer. In addition, the Ensemble has performed at the Avery Fisher Hall at the Lincoln Center, the Carnegie Hall in New York City and other prestigious performing venues.
The opening section of the composition, Introduction, started with a crescendo roll throughout the percussion section, which heralded a spirited and delineated fanfare-like section in the brass based on a phrase from Scotland the Brave. A lyrical, flowing melody followed in the low reed and brass instruments above which a florid woodwind counterpoint was woven that was complimented by percussion colourations. A ‘lento’ section that featured the keyboards and mallet instruments along with solo flute and bassoon, led to the second section, The Warriors. A quiet, solo timpani roll introduced this ‘Allegro’ section with pyramid-like entries in the muted brass in triple metre. This triple-metre passage increased in volume and intensity as other instruments made their entries. This portion of the work subsided both in tempo and in dynamics with a flute solo followed by a keyboard link that transformed the mood from one of tension to a feeling of peace that continued throughout section three, The Lament: Emerald Isle. This moving melody was presented in antiphonal four-bar phrases throughout the wind ensemble. The modulating sequences played by the clarinets and saxophones continued with a quickening of pace. This passage was followed by a sudden change of mood that illumed Farnon’s great skill and ingenuity in orchestration as the high woodwinds floated breezily along while the whole percussion section provided shimmering and scintillating contrapuntal embellishments. The whole ensemble then made a spirited entry with staccato utterances from the low brass and tam tam [gong] leading into section four, Battle Cry. This rousing ‘presto’ section clearly depicted the Warriors as they prepared for action. A soft roll in the percussion followed by a sustained tone in the French horns and low reeds led to section five, The Lassie. During this part of the composition, one could almost see and smell the heather of the Highlands as the solo piccolo quietly played the main theme in brisk fashion accompanied by the captivation rhythm of the Scottish side drum. The work increased in excitement and intensity as other sections of the wind ensemble joined in. Section six, Bluebells, was announced in an unusual 5/4 metre, while the contrasting The Lassie theme continued in the piccolo, flutes, oboe, and keyboards as a dancing filigree counterpoint. The main theme, Bluebells, continued but has now reverted to its more familiar quadruple metre. The Introduction music now reappeared in full dress and section seven, Scotland the Brave, was announced in ‘vivace’ fashion by the trumpet section against an invigorating triplet figure in the high woodwinds, mallet, and keyboard instruments. The dance-like figure made its final, furious appearance at a ‘presto’ tempo and the thrilling build up concluded in stirring fashion with solo timpani and full ensemble presenting a dramatic climax.
Robert Farnon’s seven-part composition, An American Wind Symphony: The Gaels is a perfect symphonic wind ensemble setting that reflects the history of The Gaels both at Roxbury High School and throughout the ages. The composition has programmatic aspects that are reflected in the Celtic melodies upon which the work is based, yet it still retained an overriding sense of formal splendour and majesty.
The performance received an exciting and passionate reading by both conductor and performers that not only brought to life the musical history of the past but also reflected the greatness and the versatility of the genius of the composer, Robert Farnon.
(The author of this review has not been disclosed to us).

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‘Jumping Bean’ has heard a rumour that Light Music might feature as "Composer of the Week" on BBC Radio 3 next summer, possibly in June? Let’s hope the rumour is right! 

We are delighted to report that RFS member James Beyer is now feeling better following his recent health problems, and he is planning to be back on the podium for the Edinburgh Light Orchestra’s next concert on Saturday 6 November. As usual the venue is the Queen’s Hall in Clerk Street, and the box office opens on 13 September – telephone 0131 668 2019. We know that our members in the Edinburgh area look forward to these excellent concerts, and if anyone else is planning a visit to Scotland’s beautiful capital city later this year then you owe it to yourself to ensure that your stay includes Saturday 6 November! 

Philip Farlow has been sharing some more recollections with us, and his childhood experiences may well strike a familiar chord with some RFS members! Philip writes: How incredible that we have all lived throughout such a period of world changing music fashions. When the Robert Farnon [Appreciation] Society was founded in 1956 I was 11 (until November 1st). At first in 1951 my music was played on a wind-up gramophone but about 1954 it was fitted with an Emston pick-up and played into a Murphy A92 'Stationmaster' radio. By 1956 I was quite an experimenter and had devised methods of 'broadcasting' my records from another room via a long run of bell flex. About the same time I also had a small Dulci carbon microphone kit and via a volume control wired in a balance fashion used to announce my records to my (long suffering?) family. By the time I had left school in 1959, and via a Saturday job at Lovell's Dairy, Andover (Hampshire, England) a Dairy/Grocery & Provisions shop my sister managed, I had saved up enough pocket money to buy a BSR UA8 'Monarch' record changer. In some ways I was quite late into 45s EP's & LPs. My music continued to be played into the radio, but also at this time I was getting interested in tape recording and 'hi-fi' in its widest sense so shortly after I started down the road of separate amplifiers and speakers as well as starting tape recording in 1960. My very first machine was a Gramdeck. Those you could say were my formative years of amateur interests, later to be developed in all sorts of - and not least professional - fashion. Jumping Bean invites other members to share their experiences of early collecting and tape recording. 

It seems that John Wilson’s MGM triumph continues, this time with the backing of Classic FM. He's about to do tour later in the year and if you go to Classic FM's website, click on ‘events’ and the detail is there; click on ‘book tickets’ and there is a list of venues; it's also being "trailed" during the daily programmes. By the time this appears in print, this year’s John Wilson Prom devoted to Rodgers and Hammerstein will already have taken place, and we have learned that all tickets were sold within four hours. It was broadcast ‘live’ on BBC Radio 3, and recorded for television. Surely the BBC will not keep us waiting eleven months for the DVD this time? 

Forrest Patten reports that advertisers in America have been told to stop ignoring the over 50s. The main trade body which measures such things is saying that it is advertisers' continued focus on younger customers that's out of date, thanks to a massive and aging population of baby boomers as well as changes in consumers' lifestyle sparked by new technology. The next few decades may see a shift in how consumers spend, with younger Americans facing smaller salaries amid a tough economy and choosing to have smaller families. Meanwhile, the baby boomer generation will start to retire, with more money saved and the ability to spend more, the story goes. And while the TV market is aimed at viewers 49 and under, the average age of a prime-time broadcast viewer is almost 51. The big networks need to find a way to establish the relevance of older consumers if they want to continue to draw the manufacturers that support TV so heavily. In Britain it is becoming possible to guess which channel you are watching, simply by the kind of advertising carried. No one should fail to notice the difference between adverts on ITV2 and ITV3! 

Finally a report from RFS Canadian Representative, Pip Wedge:

On Thursday June 24th, over 250 devoted lovers of the music of Rob McConnell gathered at the Old Mill in Toronto to hear a Tribute to the music of this talented Canadian composer/arranger/musician, via a recreation of the Rob McConnell Tentet. Rob died in Toronto on May 1st 2010 (see Obituary in this issue). The original unit was founded in 1997, when the economics of getting gigs for Rob’s Boss Brass were becoming too daunting, and the smaller outfit was to be heard widely in Canada for more than ten years. Led by original Tentet trombonist Terry Promane, the reconstituted group included four other founder members – Alex Dean and Mike Murley (tenor Saxes), Steve McDade (trumpet) and Dave Restivo (piano). Because of conflicting engagements, Guido Basso (trumpet & flugelhorn), Terry Clarke (drums), Steve Wallace (bass) and P.J. Perry (alto sax) were unavailable, but other former Tentet alumni who stepped in most ably were Brian O’Kane, Barry Elmes, Pat Collins and John Johnson respectively, with Alastair Kay handling Rob’s own trombone book. It was an evening of joyous music and warm nostalgia. And at the end, after leader Terry Promane had wondered out loud whether this would be the last time these charts would be performed before a live audience, most of us were pretty damp-eyed as we heard the Tentet do what had become their standard closer: For All We Know (We May Never Meet Again). Rob McConnell was a creative, one of a kind Canadian musician. His legacy should live forever.

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Heinz Herschmann is now in his 87th year, and showing no sign of slowing down. In addition to his ‘day job’ running Apollo Sound, Heinz is also a very keen chess player with an international reputation. Visit any of the main chess sites on the internet, and you will discover how high he now is on the World and British Chess Grading Lists! We congratulate him on his many achievements playing this testing game. Heinz is hoping to meet up again with his many friends at our forthcoming London meeting.

And further congratulations are due to our member Philip Lane, the busy composer, arranger and record producer who has been involved with so many excellent recordings of Light Music. In a ceremony in Gloucester Cathedral on 19th November, Philip was made an Honorary DMus (Doctor of Music) by the University of Gloucester ‘for services to music and Cheltenham’.

Sarah Mohr-Pietsch announced towards the end of September that there would be a Light Music slot on her BBC Radio 3 Breakfast Show every Thursday. The first piece she chose was Arthur Benjamin's Jamaican Rumba.

During the summer David Ades has been working for the Imperial War Museum on providing a musical soundtrack for silent war films. The first production to be completed covers the Battle of Ypres during the First World War. Alongside some wartime footage there are scenes from a documentary made in 1922. Authentic acoustic recordings from that period would have been hard to locate, and could quickly become tedious for a production approaching two hours long. To make the music soundtrack more acceptable for today’s ears it was decided that material appropriate for general war scenes should be used. Some people object to background music, and they obviously have the option of watching the film (being released on DVD) with the volume turned off. Others can hear the music, plus sound effects, and among the composers chosen by David are Trevor Duncan, Charles Williams, Dolf van der Linden, Peter Yorke, Robert Farnon, John Ansell, Roger Roger, Clive Richardson, Hubert Clifford, Len Stevens, Bruce Campbell, Cecil Milner, Ronald Hanmer, Ronald Binge and Allan Gray.

We do not usually report the passing of members in our magazine, but we make an exception this time with one of our American friends, Richard Jessen. Readers will be familiar with his articles for JIM in recent years, and particularly his admiration for the singer Vikki Carr. Sadly Richard lost a battle with cancer and died in October at the tragically young age of 56.

John Wilson has a busy conducting schedule ahead of him. He is going on tour in the UK with his MGM Celebration, which was such a hit at the 2009 Proms. You can join the audience at the following venues (telephone booking numbers are shown): 26 November, Manchester (0161 907 9000); 27 November, Gateshead (0191 443 4661); 28 November, Glasgow (0141 353 8000); 29 November, Birmingham (0121 780 3333); 1 December, Cardiff (02920 878500); 3 December, Bournemouth (0844 576 3000); and 5 December, Nottingham (0115 989 5555). If you live in or near Liverpool, there are two events with the Royal Liverpool Philharmonic you may not want to miss: on 31 December John conducts a New Year’s Eve Concert Celebrating Frank Sinatra; and on 15 January he conducts "Puttin’ On The Ritz" – A Celebration of Fred Astaire and his Leading Ladies.

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Our very special member Rosemary Squires, MBE, received another unexpected honour recently. The packed audience at the at the prestigious Concorde Club Eastleigh on Wednesday 4 March was delighted when the proprietor, Cole Matheson, jumped on stage during the second half of her gala celebration of ‘Sixty Years of Song’ to award an equally surprised Rosemary Squires with ‘The Freedom of the Concorde’! Congratulating Rosemary on her "diamond jubilee of making music" Cole thanked her for "her singing, her smile, and for her ‘royal presence’ so often lighting up the stage which has given so much pleasure worldwide over so many years". Cole explained that in addition to having her photograph displayed in a place of honour in the Club, the award entitled Rosemary to drive her sheep through the Moldy Fig bar, to sleep overnight in the car park, to paddle in the brook and to have her first drink on the house whenever she calls!" For once lost for words, Rosemary said "This is an emotional moment - I suppose I’ve got to go out and buy a flock a sheep now!" For this gala evening Rosemary called on world famous musicians from her past, Brian Dee piano, Colin Green guitar, Bobby Worth drums, Jim Richardson bass, Alan Barnes saxes/clarinet, and Ronnie Hughes trumpet; the concert closed appropriately with a lively ‘I’ve got Rhythm’, which they certainly had! The perfect ending to what was acclaimed by members of the audience as "a memorable occasion".

Joan Osborne-Walker recently sent us a cutting from the Daily Telegraph headed "Why joyful music is good for the heart". It seems that scientists have discovered that stressful or disturbing music has the effect of narrowing the arteries, and may be harmful to the heart. On the other hand a cheerful favourite tune has a beneficial effect on blood vessels, widening them and protecting against heart disease. After listening to joyful music, volunteers’ arteries opened 26 per cent wider on average than they did when no music was played. So if you want to keep fit, healthy and happy – put on your favourite CD … of light music, of course!

Rod Rizzo also sent us a cutting – this time from the New York Daily News. It mentions that 29 years after the death of Andre Kostelanetz his personal chronicle of his long and distinguished career has been donated to the Library of Congress. It comprises 73 cartons of personal papers, recordings, photographs, transcriptions and correspondence. It had all been stored in a warehouse because his brother, Boris, felt emotionally unable to deal with it after his death. When Boris died, their nephew Bob Frank arranged for the donation. Included are transcriptions of the live radio programmes Kostelanetz hosted on CBS radio from 1932 to 1946. They are widely considered to have played a major role in making classical music accessible to pop music fans.

Gene Lees recently completed his new biography on the career of Artie Shaw. We will let you know as soon as we are advised of its publication.

The Australian composer Grant Foster has been very busy just recently. In a special message toJournal Into Melody he told us that he had been in Dubai on 13 March for discussions regarding the performance of "The Pearl of Dubai". He then left for Nice, France where his Piano Sonata was premiered on 21 March by Mira Yevtich along with his Ballad for Two Pianos also performed by Mira and a very fine Russian pianist. Grant is currently working on an Opera which he describes as an exciting work, one that he feels could be well received.

"You’re-Never-Too-Old-To-Learn" department: Dave Bernard in Cambridge (USA) recently told us that the Alec Wilder composition In The Blue Of The Evening is predominantly known as Footnote To A Summer Love and it was thus titled when Wilder himself recorded it with his Octet on Vox in 1947. It appears on the Robert Farnon Decca LP "Presenting Robert Farnon", and there is another Wilder piece on the other side of the album which also has two titles:  on the UK release (LK 4067) it is "Dawn to Dusk" but on the same LP issued in the USA (London LL 812) it is called "Rhapsody for Piano and Orchestra". Alec Wilder seems to have been greatly admired by musicians. Even Frank Sinatra is reported to have used his own money to conduct and record some of his music back in his Tommy Dorsey days.

Paul Clatworthy has drawn our attention to a recent CD issued by El Records featuring the LP "Sounds In The Night" by Russ Garcia (ACMEM 160 CD). To fill the rest of the CD they have included the "Mother Magoo Suite" by Dennis Farnon (featuring Marni Nixon on some tracks) which was on one side of an RCA LP in the 1950s. The booklet notes for the new CD by Christopher Evans are particularly interesting. He tells us that Dennis Farnon "made a good living through composing and arranging for the movies (including Captain Hornblower RN and Spring In Park Lane) and as a jazz bandleader, Farnon also aspired to be a classical composer and even had the first of his two symphonies composed before the war premiered by the great conductor Eugene Ormandy etc…" Does anyone know who Christopher Evans is? He needs to be told a thing or two about Dennis and Robert!

David S. Brookes is running an Eric Coates ‘Come and Play Day’ at Polesworth Abbey on Saturday 3 October 2009 and he and his team are looking for instrumentalists who would be interested in taking part. For more information contact David S Brookes 54 Kiln Way, Polesworth, Tamworth B78 1JE. Tel. 01827 704410; Email:

BBC-2 screened a 90-minute documentary devoted to Tony Bennett on a Saturday evening last February. It was produced and compered by Clint Eastwood, and showed that Tony can still hold an audience in the palm of his hand. The one ‘wrong note’ was the omission of any reference to his work with Robert Farnon. We know that such shows suffer at the hands of editors when they are being put together after filming, but considering that Bob and Tony were responsible for some landmark LPs – as well as memorable concerts at Carnegie Hall, The Royal Albert Hall and the Royal Festival Hall, as well as a Thames TV series – how could all that be ignored? Show business ‘documentaries’ like this can be entertaining, but it seems they should never be relied upon as an accurate representation of the subject’s real achievements.

Ann Adams and The Ladies’ Palm Court Orchestra will be playing again in a London Park this summer, but the venue has changed to St James’s Park from 2:00 to 4:15pm on Sunday 26 July. Her regular fans are bound to turn out in force … just pray for a warm, sunny day!

Richard Cochrane is a jazz player, based in The Netherlands, but his reason for contacting us recently is that he is the nephew of the composer Joyce Cochrane. Richard had noted that several of her pieces have been reissued on Guild CDs, and David Ades explained to him that it is very difficult to discover much about her career. He has promised to pass on what he knows, although he admits that he regrets not having asked her more about her work during a period towards the end of her life when she was living with him. However Richard believes that a mistake has been made in crediting "Call Of The Casbah" (on "Going Places" Guild GLCD 5151) to Joyce Cochrane. The label of the original disc (HMV 45-POP 404) states simply ‘Cochrane’, but this work is not listed on any of the papers in Richard’s possession. He wonders if it may be written by Peggy Cochrane, since he has found a reference to her working on the TV series "Destination Downing Street" (where the music was used) although Peggy is not listed specifically as the composer. It seems highly likely that Richard is right; this is another example of the annoying habit of record companies often only crediting composers by their surnames (there are even examples where no composers are mentioned at all). It also illustrates that even the best educated guesses are not always correct!

On Easter Monday Colin Berry introduced a 2 hour programme of Light Music – "A Little Light Music" - on BBC Three Counties Radio. We included details in the ‘Latest News’ section of our website, so we hope that many RFS members around the world will have heard Colin via the BBC Website. Colin presented a similar programme last Christmas, and the success of the Easter show prompted a further two hours of Light Music on the May Day Bank Holiday. Let’s hope that this becomes a regular feature for Colin.

Leslie Julian Jones is known to light music enthusiasts as the composer of Postman’s Knock, but he created a body of music which has been unfairly neglected. Former BBC Producer Anthony Wills is working hard to make his music better known, and he recently provided us with an update on the restoration of Jones’ ‘lost’ musical "Queen For Sunday". Anthony reports: After many setbacks and delays we are finally ready to go into the studio and record a demo of Leslie Julian Jones’ Lost Musical for circulation to music publishers, musical theatre academies and operatic societies. The vocal score (running to 220 pages!) is finished and has been checked and re-checked. We are particularly thrilled to have secured the services of Richard Suart to play the role of Hi-Tee. Richard has just finished touring with Opera North in their productions of George Gershwin’s "Of Thee I Sing" and "Let ‘Em Eat Cake". He has a wealth of experience in Gilbert & Sullivan and other character roles. His latest CD, which he has recorded with soprano Catherine Bott and the New London Orchestra & Chorus under Ronald Corp, features the songs of neglected British composer Lionel Monckton (of "The Arcadians" fame) and is available on Hyperion Records. The 16-piece chorus is being drawn from the ranks of Capital Voices — Annie Skates’ first-class vocal ensemble, whose skills have been featured in such diverse settings as the Royal Variety Performance, The X Factor and Britain‘s Got Talent on TV, Radio 2 concerts with Andrew Lloyd Webber and Jerry Herman, recordings with Michael Ball and Elaine Paige, and Christmas concerts for Raymond Gubbay in the Royal Albert Hall. Other roles are being taken by Matt and Annie Lower and members of the English Concert Singers, who have just celebrated their 20th anniversary with a gala concert of works by Brahms and Vaughan Williams in the newly restored Birmingham Town Hall. The pianist is Alexander Wells who is the official accompanist to the London Chorus and the Highgate Choral Society. The Musical Director is the former Principal Conductor of the BBC Radio Orchestra and City of Glasgow Philharmonic lain Sutherland, who has conducted West End shows as well as a series of classic Broadway shows recorded for BBC Radio 2. Recording will take place in Resident Studios London NW2 later this month (April 2009). The engineer is Mark Tucker who has worked in studios such as Lansdowne and CTS and is now freelance. Mark’s experience encompasses film soundtracks, jazz, West End cast and pop recordings. Even though the recording is with piano accompaniment rather than orchestra the costs are working out at approximately £32,000 so we have had to seek donations from sponsors.

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In 1967-1968 more than 300 of Britain’s biggest names in the entertainment world were interviewed by Bernard Braden for a proposed television series that never came to fruition. At the time Braden (one of our Society’s original Vice-Presidents) was a leading popular television presenter, and we have not (yet) been able to discover why the project was dropped. The good news is that the British Film Institute has been able to acquire this valuable resource, which is being made available for educational use – subject to the necessary rights clearances being obtained. Robert Farnon was one of the people interviewed, and thanks to David Farnon we now have a copy (unedited, and in pristine colour) in the RFS Archives. 

On 11 May BBC-2 screened a concert from the Royal Albert Hall featuring the comedian Bill Bailey with the BBC Concert Orchestra conducted by Anne Dudley – "Bill Bailey’s Remarkable Guide To The Orchestra". The event actually took place last October, and somewhat surprisingly it has been announced that a DVD will be released on 23 November later this year. This will feature the entire concert, not just the excerpts screened by the BBC, although TV viewers did see (and hear) the BBC Concert Orchestra playing David Rose’s Holiday For Strings and John Malcolm’s Non Stop. Unfortunately the music was punctuated by Bailey’s ‘witticisms’, but some people may have been sufficiently attracted to want to explore further. Thanks to Roger Mellor for this report. 

Thanks to the enthusiasm of his daughter Michele, there are many releases on CD and DVD featuring Matt Monro, and a recent package from Odeon Entertainment called "The Ultimate Performer" includes an extract from Tony Bennett’s Thames TV show on 18 October 1972 from London’s Talk Of The Town featuring Robert Farnon and his Orchestra. This was a series featuring many top singers with Tony Bennett (all featuring the Robert Farnon Orchestra) and as far as we know this is the first time that anything from this source has appeared on DVD (if you know differently, please tell us!)

 Spotted for sale on the Amazon website in July - copies of the following deleted Robert Farnon CDs: Living Era "Portrait of Farnon" on offer at over £110; Vocalion "Two Cigarettes In The Dark" £100; "Out Of My Dreams" £145.73; "Hoagy Carmichael/Victor Schertzinger Suites" a staggering £214.50! 

On 24 June the London Daily Telegraph featured an interview with RFS member John Wilson. In the newspaper it was headed: "Conductor who saw the light". On the Telegraph’s website the same article appeared as: "John Wilson’s plight for ‘light music’". The sub-heading was more explicit: "John Wilson is on a crusade to bring light music and classic film scores back to our concert halls". It seems that the interviewer Ivan Hewett was slightly confused in suggesting that "Workers’ Playtime" was once a home of light music on the radio (no doubt he meant "Music While You Work") but at least the article will have alerted some readers to the fact that light music is still alive and kicking, and all the indications are that it is gradually making a comeback. In a resumé of John’s impressive career to date, Hewett reported: At 16 he founded the Newcastle Symphony Orchestra; at 18 he went to the Royal College, where, as he puts it, "I could form a different orchestra every week." By the age of 22 he was out in the world arranging music for Radio 2’s ‘Friday Night Is Music Night’, and scouring libraries and archives for music for his newly formed John Wilson Orchestra. "I was determined to get that wonderful Fifties sound you hear on those great MGM musicals, so I booked the best players. It’s the same now. You wouldn’t believe how many section principals and orchestral leaders I’ve got in the string section!" he says proudly. "And we did top-quality repertoire – Gershwin, Cole Porter, all in fabulous arrangements." By 2002, the orchestra had its first Queen Elizabeth Hall concert, and in 2004 Wilson conducted his first MGM Live concert. Talking about this brings a crusading gleam to his eye. "I realised that an awful lot of this music had disappeared. It turned out that MGM threw out all the scores for their great musicals like ‘Singin’ in the Rain’ and ‘Seven Brides for Seven Brothers’. They were used as landfill for a car park. So I had to track down the short scores and parts. It’s been a 10-year project." Getting the style right involved studying a man who, for Wilson, is a neglected master of 20th-century music. "Conrad Salinger was a house orchestrator for MGM, and he was really in the Ravel class. André Previn reckons he’s the greatest who ever lived. I’ve learned lots of tricks from him." Would he describe himself as a perfectionist? "Oh, it’s got to be right. I once spent a whole Sunday morning on just four bars from ‘The Wizard of Oz’." We’ve been talking about American film composers, but it’s only when I ask Wilson about future plans that the truth finally comes out. "People think I’m a film music nerd, but my real passion is English music. What I’d really like to do is conduct all the Vaughan Williams symphonies." What makes English music special for him? "Oh, I can’t explain it. It’s that wistfulness and longing and melancholy. Elgar’s symphonies I think are in the Beethoven class. I have fights with people in the pub about that." The idea of Wilson getting in a fight is wonderfully improbable; but then so is his charmed life-story, which is the stuff of a good musical itself. 

The Summer edition of The Light Music Society Newsletter includes Ernest Tomlinson’s last Chairman’s Letter at the helm. He explains that health considerations have forced him to come to terms with the fact that the time is right to hand over to a younger person. This year the LMS Annual Concert and AGM has moved from Ernest’s home at Lancaster Farm, and is taking place in Cheltenham with Gavin Sutherland waving the baton. The date is Sunday 30th August, and a new Chairman will be elected. As we go to press nominations are being received, and we will announce the name of the new chairman in our December issue. Ernest has been a splendid ambassador for light music. His involvement with the Light Music Society goes back to the mid-1950s when it was supported by the BBC; Ernest became Chairman in 1966. Soon afterwards the BBC’s interest in light music faded, and for many years the LMS became a dormant non-membership organisation. The Library of Light Orchestral Music was established in the 1980s when Ernest became aware of the large amounts of manuscripts that were being destroyed. The LMS was re-launched, and it became fully operational once again in 1996 when the Newsletters were reintroduced. Ernest’s successor will have a hard act to follow, but ET promises to remain active in the background to give advice when needed! 

Several members have written to tell us that it is now possible to view a rare film containing music by Robert Farnon on the internet. The title is "This Is London" and it was made to encourage foreign visitors to London during the 1950s. Rex Harrison narrated, and Robert Farnon contributed the score. It is all new music – not a rehash of existing compositions. Courtesy of Alan Willmott we have screen this film at our London meetings many years ago, but if you have internet access we strongly recommend that you spend an enjoyable 20 minutes or so viewing it. You need to input:www.britishpathe.com/record.php?id=78588 While on the site take time to look at some other shorts from the same period – you’ll recognise a lot of the music!

 On Sunday 8 November Debbie Wiseman will be conducting the Royal Philharmonic Orchestra at London’s Cadogan Hall in a Concert of music, poetry and song in aid of the Breast Cancer Campaign. The programme includes Debbie’s own scores for My Uncle Silas, Wilde and Tom & Viv, plus works by Bach, Borodin, Britten, Tchaikovsky and Holst. Telephone bookings: 020 7730 4500. Online bookings: www.cadoganhall.com

 2009 is the centenary of the birth of Mansel Thomas (1909-1986), one of the foremost Welsh composers of the last century. He was a well-known conductor, and became Head of Music at the BBC in Wales. His vocal and instrumental music is performed worldwide by choirs and artists, including Bryn Terfel and the BBC National Chorus and Orchestra of Wales, and is featured regularly on radio and television. Awarded the OBE, he composed Rhapsody For A Prince for the Investiture of The Prince of Wales in 1969, and this is one of his many works currently available in print. For more information please contact the Mansel Thomas Trust at: Ty Cerbyd, Station Road, Ponthir, Newport, Wales, NP18 1GQ – website: www.manselthomas.org.uk 

Another notable centenary this year is De Wolfe Music, which was founded in 1909 by Meyer De Wolfe at premises in 20 Noel Street, Great Marlborough Street, London, W1. In a special centenary publication called "Nitrate/Bit-Rate" the company makes the proud boast that it has the longest running, and most important film and television music library resource in the world. Originally the music was provided in the form of sheet music, but as each new advance in sound recording has come along it has been fully embraced. Some readers of this magazine will have De Wolfe 78s, LPs and CDs; but even these are now being consigned to history, with computer technology now the norm. Happily the business is still controlled by the family: James de Wolfe is Chairman, and his son Warren de Wolfe is Managing Director. The Robert Farnon Society has enjoyed a very friendly relationship with De Wolfe for over fifty years, and we are delighted to send our very best wishes to them in celebrating this milestone. For a fuller report on this enterprising music publisher (which also owns the famous Angel Recording Studios) please refer to the article in Journal Into Melody issue 140, September 1999.

 Malcolm Powell is well-known to RFS members through our London meetings and his splendid photos which have regularly appeared in our magazines for more years than we care to admit! But he is also a familiar voice to listeners of Meridian FM where he presents a regular programme "Looking For Yesterday". Why not join him by visiting www.meridianfm.com 

A Canadian note from Pip Wedge

BOSS BRASS BOWS OUT

Seven months after Rob McConnell’s famed Boss Brass had made a welcome return to the Toronto music scene with three sold-out concerts at Toronto’s Old Mill in December 2008, Rob and the group made what was announced as positively the band’s final appearance on Canada Day, July 1st, with a lunchtime performance at the Toronto Jazz Festival’s Mainstage in Toronto’s Nathan Phillips Square.

Apart from Rob himself, the only Boss Brass veterans who appeared on the final gig were Don Thompson (vibes, piano), Steve Wallace (bass) and Bob McDougall (trombone). Yet so strong is the pool of musicians available to draw on in Toronto, that Rob’s distinctive award –winning charts sounded every bit as crisp and exciting as when we first heard them, from the Strike Up the Band opener to the All The Things You Are closer, with Rob’s unique version of Oh Canada appropriately bringing the set to a close - and ensuring a standing ovation!

Bob made some comments about having a bonfire of all his charts, but no-one took him seriously. There are many universities around the city – and the country – that would be delighted to house them.

In JIM 169 in September 2006, reporting on Rob’s appearance with his Tentet at this same Toronto festival, I noted that Rob had been having health problems, and expressed the hope that his choice for their final number, For All We Know (We May Never Meet Again) was in no way prophetic. What a difference three years have made, thank goodness!

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Our last issue was just closing for press when we learned that our good friend Malcolm Laycock had decided to quit his Sunday evening show on BBC Radio-2. The news was mentioned briefly in our Stop Press feature, ‘And Finally’ (JIM181, page 97). Little did we imagine at the time that Malcolm’s departure would cause such a furore. The BBC attempted to pretend that his decision was a big shock and they had tried to persuade him to stay. But journalists on several national papers ensured that the real reasons would be disclosed, and the resultant publicity certainly made many people wonder exactly what goes on at the BBC. Some other music magazines have been quite vitriolic in their condemnation of the Corporation, reinforcing the widely held belief among many of the older generation that the BBC is no longer interested in providing them with the kind of entertainment they would really like to enjoy on radio. Sooner or later this anti-BBC feeling will have to result in changes being made to their music policy, otherwise a groundswell of public opinion could well result in far more serious consequences. How many more times do we have to remind the BBC that we all pay a licence fee in the expectation that they will provide a service for all the population, not just under 40s and vociferous minorities? They are removed from the pressures of advertisers wanting large audiences, and can concentrate on quality, rather than dumbing-down to try to compete with the competition. But to return to Malcolm Laycock: it is now clear to many of us that the BBC had been making life intolerable for him, in many subtle and underhand ways, because they no longer wanted his show on Radio-2. It didn’t fit in with the soft-rock image fostered in recent years, even though similar fare is already available from countless other radio stations. David Jacobs, Desmond Carrington and Russell Davies should be very worried. As technology progresses there will be an increasing number of ways in which to listen to one’s favourite music – if you need further proof read Brian Stringer’s feature on page 46 of this issue. If the BBC doesn’t do the decent thing, and bring Malcolm back without any strings as to what music he can play, surely another enterprising broadcaster will be glad of the services of a friendly and experienced broadcaster with a large, loyal following. Sadly this report had already been printed, and the December 2009 issue of ‘Journal Into Melody’ was being distributed, when the news of Malcolm Laycock’s sudden death on Sunday 8 November shocked all his many friends and admirers.

However it is only fair that praise should be given when it is due, and the BBC deserves a massive pat on the back for the John Wilson MGM Prom. We won’t repeat what is in our report on page 50, but if you missed it please keep a watch on radio and TV listings during the coming weeks because we understand that it is likely to be repeated over the festive season.

It is always a particular pleasure to pass on news of RFS members’ music making, and we are glad to learn that Greg Francis (Musical Director of the National Concert Orchestra of Great Britain) continues to wave the baton for light music. In a recent letter he reports: "I thought I might send an update on a couple of Royal Liverpool Philharmonic Orchestra popular music concerts I’ve conducted recently. Last year, we managed to get a commission from the Liverpool Culture Company to find as many good local singers as possible, the idea being that they perform live on stage with the RLPO. The concert went ahead last November (2008); it played to a full house and the local press reported that the bar had taken more money than ever before in the history of the Philharmonic Hall. This was interesting to learn, because it perhaps indicates that there is a wide market out there of people who will attend an orchestral concert of light and popular music, but who might never perhaps consider going to sit through a classical performance. So successful was the venture, that Liverpool Council asked us to present the same concert again, which features 18 singers (of the widest styles imaginable) plus the superb Liverpool Philharmonic Orchestra and a small group of my own players to add a popular feel. And so, the latest concert was duly performed on July 31st in a spectacular marquee along the new pier head at Liverpool dock. The concert was attended by about 8,000 people, which speaks volumes for the popularity of both the orchestra and the musical content! Fortunately, having written the 36 new scores for the concerts, I was also invited to conduct the orchestra on both occasions, and I have to say that the RLPO orchestra musicians are an outstanding example of the versatility and professionalism of British musicians. It is now being discussed that we might perhaps take the orchestra, the singers and the concert to New York next year as a cultural exchange project. There are of course strong links between Liverpool and New York. So, all in all, we seem to have proven that there is a very wide market for light and popular music played by a professional orchestra of the high calibre of the RLPO. Wouldn’t it be nice if other regional orchestras would consider widening their repertoire a little? I really believe it is essential that we keep the barriers down between classical and light popular music. Other good news is, that the ‘Bat – the Symphony’ tours I conducted this year, with the National Concert Orchestra of Great Britain, were a resounding success. The Orchestra has been re-booked for a 20 date tour of the UK again next year, plus a 12 date tour of Scandinavia. Although this definitely doesn’t fall into the ‘popular light music’ category, the orchestra was the main attraction for a lot of people. Not only did it elicit many requests for recordings by the orchestra, but it gave me the opportunity to debut live some of the music written by my 26 year old son (Paul E. Francis) for Sky TV movies, and also those he wrote last year which were recorded by the City of Prague Orchestra. Anyone who wished to hear some of his music, can visit his website at www.PauleFrancis.com"

Like many RFS members, Kevin Stapylton from Lithgow, NSW, Australia, is involved with community radio and he tells us that during the week of Robert Farnon’s birthday, 24 July, he presented a daily feature where in each case the orchestra backing each vocalist was under Bob's direction. He had no listener response but – as he says: "at least I had the personal satisfaction of paying tribute to a great friend and one of the world's finest composers of all time."

One of our Australian members, Graham Miles, has sent the following information which will be of interest to brass band fans. Those of you who appreciate brass band music may like to know there is a website radio station streaming non-stop brass music. To be found at www.allbrassradio.com , it is the brainchild of Dr. Jim Fox who set it up several years ago. He says content of nearly 400 CDs, with more being added all the time, play randomly 24 hours a day. Although based in the USA, All Brass Radio plays many British recordings including those by The Corey Band, Foden's, Black Dyke and many others. Worth a listen if this genre appeals. Dr. Fox also welcomes comments and suggestions by email to ."

It has been almost eighteen months since the Edinburgh Light Orchestra performed a programme of Light Music in Scotland's beautiful capital city. The reason for the absence has been the illness of its conductor James Beyer, for many years a member of the RFS. The good news is that James is now recovering well, and he was back on the podium at the Queen's Hall, Edinburgh, on Saturday 7 November. As well as the usual varied selection of top composers (Robert Farnon, Richard Rodgers, John Williams, Eric Coates, Haydn Wood and Ivor Novello - to name just a few) there was a special Tribute to Angela Morley, who died last January. The news of the concert came too late for inclusion in our September magazine, but we hope that many members will have discovered the details well in advance in the Latest News section of our website.

"Nostalgic Journey" (for small orchestra), the piece written by David Barton for the 50th anniversary of the Robert Farnon Society is now ‘in print’ and available to order from the publisher’s website at http://stores.imaginemusicpublishing.com/ and costs $40.00 (approximately £24.00) for the score and set of parts. It was recently included in a preview of new works at the Texas Orchestra Directors Association (TODA) Convention in San Antonio.

Paul Clatworthy mentioned the Robert Farnon Society in a letter published in the October issue of Jazz Journal. He explained that he reviews jazz CDs for JIM, and went on to praise the Metropole Orchestra. It is always helpful when our society gets a mention anywhere, because it tells those interested that we are still alive and kicking!

ROBERT FARNON’S SECOND SYMPHONY

Judging by the messages received by the Secretary, many RFS members spotted in Radio Times that BBC Radio 3 included Bob’s Symphony No. 2 in their ‘Afternoon on 3’ programme on Friday 25 September. A few days before the broadcast producer Neil Varley invited David Ades to say a few words about the symphony, and a telephone interview took place on the Thursday. This was edited to a little over two minutes and was placed immediately before the music was heard. The recording was taken from the Dutton Epoch CD (CDLX 7173) with John Wilson conducting the BBC Concert Orchestra. Happily there was time at the end of the programme for a short encore, so listeners were also treated to Seventh Heaven from the same album.

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In February it was announced that the major British commercial broadcaster G-Cap was closing down a number of its digital radio channels including "The Jazz" and "Our Kind of Music" – the station for which RFS member Albert Killman had provided many recordings of quality popular music including, of course, Robert Farnon. It appears that the lunatics appear to have finally taken over the asylum as far as decent popular music on radio is concerned. Perhaps one day future generations will wake up to what they have lost and do something positive about it. At least the music is being preserved on CD, so it will be available if anyone has the good taste to rediscover.

We are sorry to report that Raymond Elgar Beaver, the son of composer Jack Beaver, died on 25 January 2008. Some years ago we had the pleasure of his company at one of our London meetings, when he spoke about his talented father whose music is still finding a new and appreciative audience through its reappearance on CDs.

Bev Mastin has alerted us to a music website which contains (in his words) ‘a phenomenal selection of Farnon et al’. Bev is right – you will be astonished at the number of often rare records that are offered for sale, and you will probably be surprised and delighted to discover how much some of your own treasured LPs and 45s are worth. The site is: www.gemm.com . As an example, when Jumping Bean looked recently he found a less than perfect copy of the Philips "Shalako" LP on sale at £154 [$303]!

If you can get to London, here’s an important date for your diary! Ann Adams and The Ladies Palm Court Orchestra will be playing in Kensington Gardens earlier this year – on Sunday 29 June from 2:00 to 3:30 pm. On our back page you can see pictures from last summer’s event, which was greatly enjoyed by all present, including many RFS members. If you want up-to-date information please contact our committee member Brian Reynolds.

We hope that RFS members wishing to complete their collection of Living Era CDs took heed of our warning in JIM 174, page 82. Many of these titles are now becoming hard to find, and prices are rising. It is not uncommon to find some dealers asking more than £30 for second-hand copies.

Jim Entwistle recently went into his local HMV store in the north of England and asked the assistant behind the counter for a Naxos catalogue. "What’s Naxos?" came the reply.

Last year Greg Francis formed The National Concert Orchestra of Great Britain. The orchestra is presently being registered with the ABO, and it performed its inaugural concert last December. The remit is to play ‘light popular music’, and for Greg this is probably the realisation of a lifetime’s dream – to create a new orchestra ‘specifically’ to play this music. The first of the Leroy Anderson Centennial Celebration Concerts is on Sunday 21st September 2008 at St George’s Hall, Liverpool. Greg would like this to be an annual event; he regards Leroy Anderson as a ‘master’ in the art of bringing popular light music to the fore, and he influenced many of the composers (including John Williams) who followed him. Greg says: "we can’t allow his music to go unheard and un-noticed, and it dismayed me to find that only one other orchestra (The Scottish Festival Orchestra) has planned any kind of tribute to him in this Centennial year."

Alan Wright recently published his final edition of "Nelson’s Notes", dedicated to that fine American arranger and conductor Nelson Riddle. In his last Editorial, headed "Time To Call It A Day" Alan explained that the pressures of producing regular newsletters (the last was his 51st) were starting to become too great, not helped (in Alan’s own words) "…due to those twin protagonists dodgy health and the march of time combining to take their toll." He felt that it was best to stop before standards went into serious decline. However the good news is that Nelson’s music will still be remembered through several websites dedicated to his memory. Alan is one of that elite group of people who has felt compelled to share his love of music with others by keeping alive the memory of those they admire. We wish him many happy years of enjoying Nelson’s music; since his collection numbers over 200 CDs he shouldn’t worry about being bored!

Warmest congratulations to our Australian member Philip Brady who, on 8 April, celebrated 50thyears working on Australian TV and Radio. In his long career Philip has been a newsreader, game show host and foil for the barbed comments of several comedians! He now co-hosts one of the country’s most popular radio shows, and is regarded as something of a broadcasting elder statesman – as well as a celebrity. British RFS members have had the pleasure of welcoming Philip to our London Meetings in the past, and we hope it will not be too long before we see him again. In the meantime we wish him many more years of successful broadcasting ‘down under’!

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James Beyer and The Edinburgh Light Orchestra treated the good citizens of Scotland’s capital city to another fine concert in the Queen’s Hall on Saturday 24 May. James tells us that they had an almost capacity audience of 744 – around 30 more than their normal summer average, and he was particularly pleased to note quite a number of younger people in the audience. As usual the programme commenced with Robert Farnon’s Journey Into Melody and among other treats were Philip Lane’s arrangement of Over the Rainbow, In Sherwood from Frederic Curzon’s ‘Robin Hood’ Suite, Clive Richardson’s Shadow Waltz (composed under his pseudonym ‘Paul Dubois), and an exciting finale provided by Robert Russell Bennett’s arrangement of Richard Rodgers’ melodies from ‘Oklahoma’. As the music critic in the Edinburgh Evening News reported: "under the experienced baton of James Beyer …the orchestra were tempted back to perform the Can Can twice. Clearly the audience couldn’t get enough".

London-based members interested in forgotten Gaiety Musicals may like to know that Ken Reeves is presenting two talks (with audience participation in songs) at Westminster Reference Library. The first is on 23 September, with a second spotlighting "Our Miss Gibbs" on 21 October. Seat reservations can be made on 0207 641 5250, or contact Ken Reeves direct at 232 Rainham Road North, Dagenham, Essex, RM10 7EA.

The centenary of Sidney Torch (1908-1990) was celebrated in "Friday Night Is Music Night" on 6 June. The enthusiastic audience enjoyed many of his arrangements, plus some examples of his earlier distinguished career as a theatre organist. Sadly only two Torch compositions were featured –On A Spring Note and All Strings And Fancy Free - but it was a memorable occasion with Robin Stapleton conducting the BBC Concert Orchestra in superb form. RFS member David Daniels reminds us that events such as this are becoming all too rare on the BBC. It is essential that we let the ‘powers that be’ know how much we value them, and want many more. As David says: ‘if we don’t support FNIMN, who can?’

On Tuesday 24 June BBC Radio-3’s daily "In Tune" programme was a live broadcast from the Maida Vale studios featuring the BBC Symphony Orchestra. For part of the programme the orchestra regrouped to form ‘The BBC Light Orchestra’ conducted by John Wilson. John was also interviewed by presenter Petroc Trelawny, which gave him the opportunity to talk about his work with Light Music and the reconstruction of film scores. The ‘light’ section of the programme included Lonely Town(arranged by Angela Morley); Knightsbridge (Eric Coates); Melancholy Baby (arr. Richard Rodney Bennett); Westminster Waltz (Robert Farnon); and Nell Gwyn Overture (Edward German). If you think that John’s richly deserved international reputation now restricts his activities to big prestigious events you couldn’t be more wrong. Your Editor had the great pleasure of attending a concert in Martock, Somerset, church on 12 July, when John was conducting a group of twelve extremely talented young string players known as Sinfonia Westminster, in a programme including lighter works by Mozart, Delius, Elgar, Grieg, Percy Fletcher, Vaughan Williams, Tchaikovsky and Mascagni – all in aid of the church’s bells appeal.

JESSE KNIGHT SPREADS THE WORD ABOUT LIGHT MUSIC

On 29 June Jesse Knight, one of our keen US members, gave a presentation on light music in Portland, Oregon, at the Atlas Society's 19th Annual Summer Seminar. The Atlas Society is an international group of intellectuals who meet every summer to discuss a wide range of topics — everything from current events to economics to politics to philosophy to literature to, of course, music. Ages range from students upwards. There were around 300 – 400 people attending the conference, and Jesse anticipated an audience in the region of 50 for his piece. Not a particularly large number, but as he told us "it’s a start!"

Jesse’s presentation was meant to be an introduction to light music for those not familiar with the genre and consisted of a lecture along with numerous musical examples. Among the familiar pieces he included were Robert Farnon’s "Jumping Bean"; "Serenade for Youth" and "Montmartre March" by Haydn Wood; "Golden Tango" by Victor Silvester (played by the Palm Court Light Orchestra); "Dusk" by Cecil Armstrong Gibbs; "Woodland Revel" by George Melachrino; "Serene Place" by Bill Worland; "Busy Streets" by Roger Roger; "Skyline Concerto" by Charles Kalman; "Gentle Rains" by Adam Langston; and finally "Festa Day" by Matthew Curtis.

The idea behind the presentation was to introduce a group of intellectually curious people to light music, a genre with which they may not be familiar. Hopefully it would encourage them to explore the field of light music further. He discussed such issues as the importance of melody in light music; the music’s immediate accessibility; the absence of angst; and other issues. He traced a bit of the history of light music, discussing its demise, and now its recent renaissance. In addition, he provided a list of resources for those interested in delving into light music more, the Robert Farnon Society.

When asked for some personal information, Jesse replied:

"I have listened to classical music since a youngster. I have for some time been interested in what might be called the pops repertoire—composers such as Ferde Grofe and Erich Wolfgang Korngold. A decade or so ago I happened to attend a Pops Concert conducted by Portland’s Norman Leyden. Among the items on the program was Robert Farnon’s "Jumping Bean". I was completely delighted by the music, and I said, "Who is this Robert Farnon?" I began to look around on the internet and elsewhere. It didn’t take long to uncover the Farnon Society and the broader range of light music. Since then, I’ve written an article on light music and done some minor reviewing."

ADAM SAUNDERS : A YOUNG COMPOSER WITH A BRIGHT FUTURE

RFS member Adam Saunders is already well-known to us through his compositions such as Comedy Overture (1993) and The Magic Kingdom (2003). Adam studied at the Royal Academy of Music and London University, winning several prizes for composition. Since leaving he has established a career composing music for the concert hall and for worldwide television, film and other media.

In addition to a period as composer-in-association with the East of England Orchestra, Adam has had his works performed and recorded by the Royal Philharmonic Orchestra, English Chamber Orchestra, BBC Concert Orchestra, City of Prague Philharmonic Orchestra and Choir, Royal Ballet Sinfonia, Academy of Ancient Music, London Mozart Players, Bournemouth Symphony Orchestra, Odense Symphony Orchestra, Orchestra of the Renaissance and the Brighton Festival Chorus amongst others.

As well as his work as a composer, arranger and conductor, Adam also regularly performs as a jazz pianist with his own group, and as a pianist has performed at venues including Wembley Arena and the Royal Albert Hall. He is an Associate of the Royal Academy of Music.

Since 1997, Adam Saunders and Mark Cousins have enjoyed a fruitful creative partnership writing music for worldwide television, film, radio and other media. They are regular contributing composers for some of the world's leading production music companies including Universal, Focus and Amphonic, working on tremendously varied projects - ranging from cutting-edge electronica to sumptuous orchestral scores and big band jazz. Whether they're working in front of a 90-piece orchestra, or in a completely electronic production environment, Adam and Mark produce music with consistently high production values and musicality.

To hear examples of Adam and Mark’s work, visit their website at: www.cousins-saunders.co.uk

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Some JIM readers might be interested in the recently published third edition of the 'Encyclopedia of British Film' (published by Methuen in 2008, 885 pages, paperback), available for £16.99 from amazon.co.uk [ISBN: 9780413776600]. This is not a book listing films like Halliwell's Film Guide, but covers people that contributed to their making, a kind of 'Who's Who' of the British film industry from its beginnings (before Mitchell and Kenyon) to Harry Potter and beyond. It features over 6,000 articles, varying in length (up to to 1,000 words for major figures) plus articles covering genres and themes in British film. Articles are researched from a wide range of sources and lists of film credits are kept to a minimum, for there would be little point in such a book if most of the material was readily available on the internet. There is an excellent introductory essay by Observer film critic Philip French, a Preface from Dame Judi Dench, suggestions for further reading, and a listing of British film award winners. The articles cover star actors and character players, directors, producers, cinematographers, editors, screenwriters, studios and production companies, costume designers, and, of course film music, composers and musical directors. Before 1960 light music (in its broadest sense) was the basis of most British film scoring, just as it dominated the radio airwaves. Jazz and pop scores were rare, but became more common with the rise of composers like John Barry, though classic orchestral scores were still being written by the likes of Ron Goodwin and Angela Morley. There are articles on these and many other film composers, which relate exclusively to the subject's contribution to British film. Apart from Robert Farnon, light music legends such as Louis Levy, Philip Green, Stanley Black, Laurie Johnson, Charles Williams and George Melachrino all feature, as well as William Alwyn, Malcolm Arnold, Eric Coates, Ralph Vaughan Williams, John Addison, William Walton and Richard Addinsell, together with bandleaders [Ted Heath, Jack Hylton], singers [Dame Vera Lynn, Jill Day, Jeannie Carson, Frankie Vaughan] and songwriters [Noel Gay, Vivian Ellis, Noel Coward, Ivor Novello, Paddy Roberts, Harry Woods]. There are articles on classical, jazz, and popular music in films, the 'Denham Concerto', and other music related topics, such as 'cinema orchestras and organists', with suggestions for further reading where this is available. So, for example, if you are a fan of the 1953 classic "Genevieve", you can discover that Kay Kendall's trumpet solo was played on the soundtrack by the legendary Kenny Baker and that the band musician who hands Kay the trumpet is none other than that familiar lived-in face from numerous 'B' movies, Michael Balfour (though we are sure many JIM readers will know this anyway !) 

With so many fascinating websites now available on the internet (among all the rubbish that is best ignored), it can be somewhat bewildering when a simple question on a search engine produces so many results. If you want to find other music sites where would you start? With the name of the composer or artist is one obvious example, but this can involve a lot of time-consuming cross-referencing. Wouldn’t it be nice if there was just one place you could visit to see a vast number of links to all kinds of composers, record companies, publishers, radio stations etc… Well, the good news is that such a place does exist … on our very own website! Just visit www.rfsoc.org.uk and click on ‘links to other music sites’ where you will discover "The most comprehensive Links page on the Web for beautiful/ light music/ pop orchestral music." The man responsible for compiling this valuable feature is RFS member Christopher Landor, and we are most grateful to him (and our webmaster Ruud) for all the hard work involved in keeping it up to date and reliable. 

RFS member Gareth Bramley has recently told us about a new book which should appeal to many in our Society. Unfortunately its publication this autumn was due just too late for a review to appear in this issue, but we look forward to including a full report on the contents in the March magazine. The new book is called "John Barry – The Man With The Midas Touch" and it is being published to coincide with Barry’s 75th birthday. Gareth writes: "Whether or not you purchased ‘John Barry - A life in Music’, ten years ago, you can look forward to a book that has been thoroughly re-written and completely updated. We have spent a lot of time on the picture content and this too has been extensively updated and includes a good selection of rare photos, both colour and black and white. There are approximately 300 pages including two photo sections of 16 pages each of colour and b & w. In addition to this, a photo introduces each of the thirty chapters, and, of course, the discography has been updated to include everything that’s happened since 1998. It’s a book that does full justice to a glittering career. We want to emphasise that this project is basically a self-publication by people such as Geoff Leonard and myself in that we have commissioned a publisher to act on our behalf. All the work has been done by a team of dedicated Barry fans, much of it voluntarily." To order this new book contact: Gareth Bramley, 3 Newland Close, Toton, Beeston, Nottingham, NG9 6EQ, England. The price for UK is £19.99 and cheques should be payable to ‘G. Bramley – Book A/C’. RFS members outside the UK should contact Gareth direct for more information re price and postage. Alternatively you can visit the website: www.johnbarry.org.uk/bab.php  

Jan Eriksen is well-known to RFS members who regularly attend our London meetings. He has been responsible for keeping Light Music to the fore in Norwegian broadcasting for many years, and produced concerts featuring ‘greats’ such as George Shearing and – of course – Robert Farnon. In a recent message he told us about his meetings with Iain Sutherland, who will be the Society’s Guest of Honour at our meeting on 30 November. Jan writes:

"Iain Sutherland was a very popular guest conductor during the 27 years I was responsible for light music here in Norway. It is a rather sad story that the Broadcasting Orchestra no longer plays light music in our sense of the word. It’s either serious like Mozart, Beethoven etc, or pop music with sustained notes in the strings and a noisy percussion in the middle. In 1985 we put on a light music concert at an event called the Elverum Festival 120 km north of Oslo with the Norwegian Youth Symphony Orchestra, a group of gifted young people aged from 15 to 25 years old. Bob Farnon should have conducted, but due to health reasons was unable to appear. So I had to phone this Scotsman [Iain!]; he came and was a great success as usual. The programme included: 76 Trombones Wilson arr R. Farnon; Symphonic Suite from "My Fair Lady" arr R. Farnon; Journey into MelodyTo a Wild Rose arr R. Farnon; Portarit of a FlirtState OccasionAviator David Reilly with his father Tommy as soloist; Westminster Waltz again Tommy’s version for mouth organ and orchestra;Toledo J Moody with Tommy solo; and last Jumping Bean. Iain Sutherland conducted our Broadcasting Orchestra on several occasions, including its 40th Anniversary Concert in Oslo Town Hall live on television!" 

News reached us during the summer of several broadcasters who went out of their way to honour Robert Farnon’s birthday in July. Paul Barnes on BBC Radio Norfolk, and Ted Nunn on Angel Radio are just two who have been complimented by RFS members who appreciated what they did. No doubt there are many more around the world. 

On 20 September John Wilson was in Germany to conduct the WDR Rundfunkorchester in a concert of British Light Music in Cologne. The concert was broadcast a week later on WDR Radio. 

Andrew Davis has written and produced a radio documentary about Woolworths record labels, and we understand that he has interviewed Johnny Gregory about his work for the Embassy label. "The Wonderful Sound of Woolies" is scheduled for 10.30pm on 16 December – BBC Radio-2. The presenter is Brian Matthew. 

You could be forgiven for thinking that the music industry is out of touch with the realities of present-day technologies and their likely effect upon the availability of music in the future. The long-running saga over sound copyright in Europe is an example of over-protectionism at its worst, yet surely there is no point in passing draconian laws which many people will ignore and find ways of circumventing. If laws are respected as being sensible and fair they will be obeyed by the large majority. With music available worldwide via the internet, and many third world countries producing pirate CDs and DVDs in ever increasing numbers, stricter and unpopular rules in the ‘old world’ (for want of a better term) will simply drive more business away from honest manufacturers. Roger Mellor recently sent us a report which indicates that some sanity may eventually prevail. In the USA new fees set by the Copyright Royalty Board for playing music online by internet radio stations were so unrealistically high that it would have put them out of business. A public campaign has forced a Webcaster Settlement Act to be approved by the House of Representatives, and as we go to press it is confidently expected to be passed by the Senate. This will allow each internet broadcaster to make separate arrangements with SoundExchange, the body which collects royalties in the US, according to their size and ability to pay. This replaces a standard fee which was going to be more than doubled, with many internet broadcasters on the point of ceasing operations. Apparently there was some suspicion that the attempt to force a massive increase in fees was encouraged by traditional radio stations, who are likely to lose out as more and more people start turning to the internet for their radio entertainment. 

In our June issue (JIM 176) we reported that Alan Wright had published his last edition of "Nelson’s Notes", dedicated to that fine musician Nelson Riddle. We are pleased to report that our good friend David O’Rourke has decided that the newsletter should not be allowed to die, and the first issue of a new volume of "Nelson’s Notes" reached us at the end of September. It is a quality publication, nicely printed on gloss paper with plenty of photographs. The President of the Nelson Riddle Appreciation Society is Mrs. Rosemary Acerra (Nelson’s daughter), and membership enquiries should be sent direct to her at: 186 Enclave Boulevard, Lakewood, New Jersey, 08701, USA. You can also join online at: www.NelsonRiddleMusic.com. 

Although the compilers of various editions of our Robert Farnon Discography undertook considerable detailed research, previously unknown recordings still occasionally come to our attention. Gilles Gouset recently wrote from Canada to say that he had discovered the following 78s featuring the soprano Ada Alsop asccompanied by Robert Farnon and his Orchestra:

London R.10014: Pale Moon; At Dawning
London R.10015: A Brown Bird Singing; Morning
London R.10016: I Hear You Calling Me; Homing
Previously we had only been aware of:
Decca F 8988 Bring A Torch, Jeanette, Isabella; O Holy Night

Presumably the three London 78s were also released in the UK, and if any readers can supply catalogue numbers will they please let us know. We hope to be able to play Ada Alsop singing A Brown Bird Singing at our London meeting next April, when Gilles and Marjorie Cullerne will be presenting a special tribute to Haydn Wood. 

Rosemary Squires recently signed a contract to produce a CD with the Brussels Philharmonic, and she was in the Belgian capital 18th-24th November to make the recordings. She is the star guest on a ten-day tour of major UK venues with the Glenn Miller Orchestra beginning immediately after Christmas: 27th December – Royal Philharmonic Hall, Liverpool; 28th/29th December - Royal Concert Hall, Glasgow; 31st December - Barbican, London; 2nd January - Symphony Hall Birmingham; 3rd January - Conference Centre Harrogate; 4th January - Bridgewater Hall Manchester (2 shows). In additional Rosemary continues to charm audiences with her one-woman shows, and you can catch her at: 4th December - Life is Song - Village Theatre, Carthorps; 5th December - Gigs,Giggles and Gossip, Bowhill House Theatre, Selkirk; 6th December - Gigs, Giggles and Gossip, Wynd Theatre, Melrose; 7th December - Westovian Theatre, South Shields; 19th December - Life is a Song, Burleigh Academy, Newport. Rosemary was honoured in 2004 with the MBE for services to music and charity, and she is now in her sixth decade as a performer. We are proud that she is a member of the Robert Farnon Society, and wish her continued success as a top attraction for many years to come. 

A recent brochure from Reader’s Digest includes details of a new 3-CD collection called "British Light Music Favourites". The accompanying publicity blurb mentions just two orchestras - Mantovani and Robert Farnon! Just a few tune titles are given, but we would be interested to know a little more about this collection if any readers have purchased it. The reference number is 0349623, and the price is £29.99 which makes it considerably more expensive than similar amounts of music currently available from labels such as Vocalion and Guild. 

We are getting a steady stream of recommendations for radio stations (mostly local or internet) which offer ‘our kind of music’. Rod Rizzo (USA) has told us about Rich Conarty who presents "The Big Broadcast" on Sundays 8:00pm-midnight on WFUV (90.7 FM) – a programme dedicated to music from the 20s onwards he has been hosting for 35 years.

Many of you with internet access have probably already discovered the "Whirligig" site, which covers vintage UK radio and television broadcasts – www.whirligig-tv.co.uk. Brian Reynolds has recently been contributing information on various programmes to the site. As he told us: "Whirligig covers many interesting facets of early TV and radio, but its details of music programmes is sparse. I’m trying to redress the balance!" 

RFS Committee member Tony Foster entertained Cheltenham Big Band Society with a varied programme of music on 29 August, in which he included no less than five Robert Farnon recordings –Jumping Bean, Theme from ‘Captain Horatio Hornblower’, Portrait Of A Flirt, Wave and Canadian Caravan.  

André Leon, the boss of UK LightRadio, tells us that response to the initial set of test broadcasts in August was very encouraging. More tests will be available during December, so do try to visitwww.uklightradio.co.uk Events are moving fast, and there could be some exciting news in the New Year. In the meantime please pay a visit to our own website every so often and check the ‘Latest News’ section on the RFS Information page. 

Sound Copyright has been in the news on and off in recent months, and you may like to refresh your memories as to what is at stake by reading again the article on page 5 of JIM 176 (June 2008). As we go to press the stage has been reached where Members of the European Parliament are starting to consider the proposals. From what we have been able to discover as we go to press (mid-October), a report is scheduled for adoption in committee at a first or single reading on 19 January. This will then go forward to the full European Parliament at a Plenary Sitting on 1 April (note the date – April Fools Day).

As you read this report there may still be time to make your MEPs aware of your views. Professional Lobbyists for term extension are making the case to MEPs inside the European Parliament right now. But your voice is stronger than any lobbyist. We can't overstate it: the most important thing you can do to stop term extension is to let your MEPs know your concerns so they see and hear your side. In the meantime the Directive is also being discussed by representatives of Member States in the Council of Ministers. And criticism of the Commission's proposal is emerging all over Europe. The world leading Max Planck Institute for Intellectual Property Law in Munich, has released a statement concluding that prolonging the term of protection "cannot be justified from any point of view." Professor Bernt Hugenholtz, Director of the Institute for Information Law in Amsterdam, and one of the Commission's own advisers, has accused Commission President Jose Manuel Barroso of intentionally misleading policy-makers with the proposal. Pekka Gronow, sound archivist, author of "An International History of the Recording Industry", and adjunct professor of ethnomusicology at the University of Helsinki, has written and concluded that performers benefit very little from the proposed extension ("in most cases the resulting sums will not even cover bank charges"). You are urged to add your own voice to the growing opposition against this ill-conceived set of proposals. 

We are pleased to report that Ray Crick (previously in charge of the much-missed Living Era) label is now involved in an exciting new project. Details were still secret as we went to press, but we hope to have some positive news in our March issue. 

Looking ahead to next April, plans are now being made for the Spring RFS Meeting which will include live music in honour of the 50th Anniversary of Haydn Wood’s passing. Members of his family will be with us at the Park Inn (formerly Bonnington Hotel), and this will be a special event that you won’t want to miss! Naturally full details will appear in our March magazine, together with a special feature on Haydn Wood – one of the great composers of the last century. Make a note of the date now: Sunday 5 April 2009. 

A Society in honour of Eric Coates has been formed by the District Council in Hucknall,

Nottinghamshire, where he was born. Anyone wanting more information should contact the Secretary: Mr P.Butler, 47 Farleys Lane, Hucknall, Nottingham, NG15 6DT Tel 0115 9537393.

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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.