12 Oct

Flowing Stream

Written by

(Joyce Cochrane)
Analysed by Robert Walton

For me the name Joyce Cochrane has always been synonymous with just one composition, her beautiful Honey Child immortalized in Robert Farnon’s arrangement for the Queen’s Hall Light Orchestra. So it was a nice surprise to come upon one that almost got away. Flowing Stream is included in the Golden Age of Light Music series in “A First A-Z of Light Music”. (Guild GLCD 5169).

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(Joyce Cochrane)
Analysed by Robert Walton

For me the name Joyce Cochrane has always been synonymous with just one composition, her beautiful Honey Child immortalized in Robert Farnon’s arrangement for the Queen’s Hall Light Orchestra. So it was a nice surprise to come upon one that almost got away. Flowing Stream is included in the Golden Age of Light Music series in “A First A-Z of Light Music”. (Guild GLCD 5169).

With no intoduction the opening immediately calls to mind two great light orchestral classics - Clive Richardson’s Outward Bound and Benjamin Frankel’s Carriage and Pair. But this is Flowing Stream of 1958 played by the New Century Orchestra conducted by Erich Borschel. It was used in the same year as the theme for a British Southern Television series called “Mary Britten, MD”, starring Brenda Bruce. The juxtaposition of the two tunes works remarkably well in quite a different arrangement from the originals. Flowing Stream has a lighter textured treatment with a lovely feeling of peace and calm in a troubled world guaranteed to make you smile. Pure nostalgia you might say from a vanished era. Each time the strings go into a holding pattern, flutes ripple their way over the chord.

After 16 bars we go into 8 bars of a contrasting tune perhaps suggesting a change of scenery but with more tension. Listen to a descending string bass before the main theme repeats and completes a 32 bar chorus with a definite finish. In fact it’s a double closure of the first section.

And now the bridge. Modulating to a new key, a pleasant melody played by a horn provides clear echoes of the theme with a slightly bluesy effect but quickly returns to the delightful main strain. And then the tune (more laid back) is repeated yet again in two keys before going into that earlier 8 bar passage. Finally after a gentle restart the haunting Flowing Stream gradually builds up to a truly triumphant ending. By now it has become a fast moving river!

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12 Oct

Classic FM celebrates 60 Years of the Light Music Society - on 12th October

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Classic FM is celebrating 60 Years of the Light Music Society, of which Robert Farnon was such a committed member

Thursday 12th October on Classic FM at 8.00pm Catherine Bott will present a celebration of the Light Music Society's work and the music that it preserves.

Tonight, Catherine Bott champions this important body by featuring two hours of music by composers who have had connections with the Society and helped make it grow into the organisation it is today.

http://www.classicfm.com/…/full-works-conce…/upcoming-shows/…/full-works-conce…/upcoming-shows/

Ron Goodwin
633 Squadron – Main Theme

Eric Coates
Three Elizabeths SuiteA

rthur Bliss
Things to Come – March

Cecil Armstrong Gibbs
DuskErnest Tomlinson
Suite of English Folk Dances

Albert Ketelbey
Bells Across The MeadowHaydn Wood
London Landmarks

Billy Mayerl
Marigold

Edward Elgar
Chanson de Nuit Opus 15 No.1

Gustav Holst
A Moorside Suite

Percy Grainger
Handel in the Strand

Emile Waldteufel
Les Patineurs

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29 Sep

Light Music Matters - David Mellor talk

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On Monday November 6th, the  broadcaster and vice-president of Putney Music – David Mellor – will deliver a talk entitled:

'LIGHT MUSIC MATTERS'

He will explain why the music of Eric Coates, Leroy Anderson and many others merits an audience today.

The venue is the Dryburgh Hall, Putney Leisure Centre – corner of Dryburgh Road and Upper Richmond Road, London SW15 1BL.

Admission is free to members of Putney Music, guests will be charged £8.00 on the night.

For further details, call 07900 491 470.

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21 Sep

Royal Air Force 100th Anniversary

Written by

Various Performers
Chandos 10973(2) x

For those who love band music of the military variety this is a fine buy, as there are two albums – each of around 60 minutes duration – for about the price of one.

Read the review here...

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20 Sep

Going for a Ride

Written by

(Torch)

Analysed by Robert Walton

In the early 1950s when most people were requesting the top pop hits of the day, I was unashamedly asking for light orchestral numbers on the “Listeners’ Request Session” at our local radio station, 1ZB Auckland. I always signed my name “Blue Eyes of Remuera”. Anyhow, the very first record I requested was Going for a Ride by the Queen’s Hall Light Orchestra.

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(Torch)
Analysed by Robert Walton

In the early 1950s when most people were requesting the top pop hits of the day, I was unashamedly asking for light orchestral numbers on the “Listeners’ Request Session” at our local radio station, 1ZB Auckland. I always signed my name “Blue Eyes of Remuera”. Anyhow, the very first record I requested was Going for a Ride by the Queen’s Hall Light Orchestra. Incidentally Torch’s Radio Romantic was the programme’s signature tune.

I’m amazed I hadn’t already analysed Going for a Ride in one of my JIM articles, but it’s never too late I guess. This Sidney Torch classic happens to be the second item on David Ades’ introductory compilation of “Golden Age of Light Music” on Guild (GLCD 5101).

Going for a Ride starts straight in with nine identical bright staccato notes played by a mellow flute with the orchestra. Keeping up the interest and making sure the listener is concentrating, this catchy tune repeats itself in a higher key. Now comes what we’ve all been waiting for, the first of those thrilling Torch fillers. It’s almost as if the main tune is purely a prop inspiring a whole chorus of connecting passages - like a delayed introduction. It’s those crisp incidental interludes that are the lifeblood of these light orchestra gems. The reason we know them so well is that they were heard constantly as production music on newsreels, radio and television. To us light music enthusiasts, they were the soundtrack to our lives.

Analysing the aforementioned, the strings keep us on tenterhooks with some dramatic bow gestures. Woodwinds offer up some wonderfully rapid phrases answered by the strings and then we’re in true Torch territory with the brass blazing away in preparation for an imminent return of the opening tune.

Now it’s bridge time with first off, the Torch brass and strings enlivening things up, before an oboe’s plaintive tone adds its colour to the mix. Gradually the orchestra builds while Torch in his element is doing what he does best, exciting us with more of those imaginative ideas in his orchestrations. Never had light orchestral music been proclaimed so powerfully within a composition. Though the actual melodies might have acted as props they were extremely tuneful and appealing.

There’s no doubt the two top light orchestral talents in the 1940s and 50s in Britain were Sidney Torch and Robert Farnon. They were both original and prolific and towered above the rest. It’s a pity Torch didn’t arrange more music for the “Great American Songbook”.

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11 Sep

The Story of The Light

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A series of two programmes entitled 'The Story of The Light' are to be aired on Mondays 18th and 25th September at 10pm on BBC Radio 2 commemorating the 50th anniversary of the end of 'The BBC Light Programme'. Former JIM correspondent Brian Reynolds will be participating in the second of these programmes talking about 'Music While You Work' and light music programmes in general with comparisons to today's radio.

BBC link to info about the programme:

http://www.bbc.co.uk/mediacentre/proginfo/2017/38/the-story-of-the-light

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05 Sep

Moonglow/Theme from “Picnic”

Written by

(George W. Duning)
Analysed by Robert Walton

One of the most romantic scenes in cinematic history has just got to be the moment William Holden sensuously dances with Kim Novak in the 1955 film “Picnic’. From a laid-back piano/guitar quartet playing Will Hudson’s 1934 standard Moonglow, emerges George Duning’s glorious melody of the theme song from “Picnic”. This is one of the most effective musical juxtapositions of all time. The haunting orchestration was by Arthur Morton.

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(George W. Duning)
Analysed by Robert Walton

One of the most romantic scenes in cinematic history has just got to be the moment William Holden sensuously dances with Kim Novak in the 1955 film “Picnic’. From a laid-back piano/guitar quartet playing Will Hudson’s 1934 standard Moonglow, emerges George Duning’s glorious melody of the theme song from “Picnic”. This is one of the most effective musical juxtapositions of all time. The haunting orchestration was by Arthur Morton.

On the flipside of a Brunswick 78rpm disc No 05553 is the full version of the Theme from “Picnic” featuring the composer conducting the Columbia Pictures Orchestra. Although you’re getting your money’s worth in its completed form, to hear it with Moonglow is an experience not to be missed, particularly the constant jazzy phrase first heard in bars 7 and 8. The atmosphere is electric especially when the strings make their 6-note entry in ascending thirds in the key of C on the chord of A minor 9,11. So let’s take a closer look at this double whammy of keyboard and orchestra with Morris Stoloff conducting the Columbia Pictures Orchestra.

It’s the contrast of small group and orchestra that is the perfect musical balance for underscoring the action. The first time I heard the strings creep in was a total surprise and revelation. If the quartet with its Teddy Wilson-type piano had just continued playing while they were dancing it would have been satisfactory, but the bonus of strings added an extra ingredient to the mix, making it special. George Duning was spot on. This very lyrical strain was perfect for the job but Steve Allen’s words for the McGuire Sisters’ didn’t exactly catch on. The romantic aspect had been sealed with a “smooch of strings” which seemed to go on forever. The George Cates million seller wasn’t a patch on the other George’s version.

It’s difficult to explain why, but this is a typical Hollywood sound. Couldn’t be anything else. The ultimate in schmaltz you may say. Part of the explanation I think is the simplicity and yet the modernity of the melody. Perhaps it’s because it’s based on a song. After all, As Time Goes By literally made “Casablanca”. There are very few English movies that fall into that category. One that comes to mind was Malcolm Arnold’s “Whistle Down the Wind” theme but it didn’t have the American touch. The Los Angeles string sound is nothing like London’s. You just know when you hear it. It’s perhaps more alluring.

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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.