De Montfort Hall, Leicester – Friday 24th March 2017
Philharmonia Orchestra conducted by Nicholas Dodd
Presenter: Henry Kelly
It had been the best part of a year since I had booked my tickets for this event – one of two concerts in the ‘Philharmonia at the Movies’ series with the Philharmonia Orchestra conducted by Nicholas Dodd. The second was to be held two days later at The Anvil in Basingstoke. I had not seen a concert of John Barry music since the Nottingham event in February 2014 so was thoroughly looking forward to it. On that occasion Dodd had conducted the Royal Liverpool Philharmonic Orchestra and, upon examination, the set list here was exactly the same, though two tracks in the first half had been reversed. This said, each performance always has something new to offer with a different orchestra involved and Dodd’s conducting was as immaculate as the orchestra’s playing. Compère for the evening was TV and radio presenter, and good friend of Barry, Henry Kelly – who had interviewed him at length for an issue of Classic FM in October 2001.
‘Goldfinger’ (1964) opened the proceedings and I was thrilled from my front row seat on the balcony to be able to see the whole of the orchestra, concentrating on certain sections where relevant. The rousing main title from ‘Zulu’- also from 1964 - followed and I recall this being played at a slighter faster pace than the soundtrack version. The timpanist Adrian Bending looked so confident and professional. The third title was another Bond theme – a charming instrumental version of ‘We Have all the Time in the World’ from ‘O.H.M.S.S.’ (1969), always a favourite of mine in its instrumental form.
Kelly reminded us that both of Barry’s parents had died a year or two before the 1980 film ‘Somewhere in Time’ and that these events had influenced his writing of the score. Also, that its co-star Jane Seymour – another good friend of Barry’s – had recommended him for the score. It’s certainly a very moving piece of music, especially when heard in its concert form.
Kelly also explained that the following selection was not from a film, though it was originally written for one. Not withstanding that, ‘Moviola’ (1991) was well received by the audience. After all, it is such a majestic theme, from beginning to end, and made a fine title for the album on which it appeared in 1995.
I couldn’t wait for the next selection – one that’s been a favourite of mine since I heard it played live at his comeback concert in 1998. ‘The Persuaders!’ (1971) is still one of my all-time favourite TV themes and programmes. I looked for the musician playing the keyboards but couldn’t see him - but realised later that he was slightly hidden behind his piano. Another great performance by the orchestra and solo pianist Ben Dawson. Many of the audience appreciated and remembered this theme.
‘Mary Queen of Scots’ (1971) was next, followed by the charming ‘Midnight Cowboy’ (1969) theme with a nice harmonica solo by Philip Achille. Side one ended with the usual cues from the Oscar-winning ‘Dances With Wolves’ (1991) – Kelly described this as being in ‘four movements.’ ‘The John Dunbar Theme’ gave us another opportunity to hear the fine playing of the harmonica player.
Some 20-25 minutes later the orchestra leader appeared, followed by the conductor; and programme two began with another Oscar-winning theme – ‘Born Free’ (1966). This has always been a firm favourite at John Barry concerts and one of the most-recorded themes ever. Presenter Kelly failed to refer to the next title by its correct name ‘All Time High’ but Barry’s main theme from ‘Octopussy’ (1983) has also been a regular feature in recent John Barry concerts, despite it not being that well-known. I’ve always liked the arrangement that hasn’t changed since I first heard it played in concert. Though it hadn’t got the energy of the vocal by Rita Coolidge, it still sounds great in concert form.
It was Oscar time again with the main theme from ‘Out of Africa’ (1986); followed by another personal favourite of mine ‘Body Heat’, which I recall seeing three times when it first appeared in 1981. This tune always brings forth a gorgeous alto sax solo and Nick Moss did a fantastic job with a slight variation on previous versions I’d heard.
I don’t dislike ‘Chaplin’ (1992) – it’s a great piece of music - but I’d much prefer to hear another incidental cue from this film, which is laden with some great music. Kelly reminded the audience that this film score had been nominated for an Oscar – looking back it is sad to think that both this and Jerry Goldsmith’s score to the hugely-popular ‘Basic Instinct’ lost out to Alan Menken’s ‘Aladdin’.
Another ‘blast from the past’ – with the emphasis on ‘blast’ - was up next. This was another of my favourite pieces of music that couldn’t have been more fitting to the sequence it accompanied in ‘You Only Live Twice’ (1967). ‘Space March’ was immaculate, but the ending seems to have been toned down somewhat since Barry blasted us in 1998! You can’t have a Barry concert without this title.
Barry had conducted ‘The Knack’ (1965) at his concerts in the early 70s. It’s a great theme but it never really gets going and it’s over all too quickly – a bit like ‘Wednesday’s Child’, which, sadly, wasn’t on the agenda. To me, it lacks the great organ solo played on the soundtrack and film by the late Alan Haven. Nevertheless it’s a nice laid-back theme, giving the audience time to catch their breath after the rousing ‘Space March’.
Sadly, the concert was nearing a conclusion but, as always, the ‘James Bond Medley’ ended the proceedings. As Kelly explained, all the themes were from Connery’s Bond films except one and that explanation suited me fine. Dodd furiously conducted the orchestra, which was going full tilt right to the very end. Tremendous stuff.
It had been another immaculate performance from Nicholas Dodd and the Philharmonia Orchestra - no mention of ‘the other fella’ who played Bond or some guy who composed a certain Bond theme; and rapturous applause from the audience who had thoroughly enjoyed the evening. Only one thing remained – an encore – as always ‘The James Bond Theme’.
Thank you Nicholas Dodd for a great concert and for signing my flyer after the concert. Here’s to the next one – hopefully in Nottingham.
Zulu – Main Title
We Have All the Time in the World
Somewhere in Time
Mary, Queen of Scots
Dances with Wolves – Suite:
John Dunbar Theme / Journey to Fort Sedgewick / Two Socks-The Wolf Theme /
Farewell & Finale
Octopussy (All Time High)
Out of Africa
Space March (From ‘You Only Live Twice’)
James Bond Suite:
James Bond Theme / From Russia With Love / Thunderball / 007 /
You Only Live Twice / O.H.M.S.S. / Diamonds Are Forever
Encore: James Bond Theme
© Gareth Bramley – March 2017
Lancaster Gate underground station is closed until July while they replace the lifts.
Many of our attendees use the station to get to our meetings.
LLMMG MAY 2017 Meeting (complete PDF file)
Our next Spring meeting will take place on Sunday 7th May 2017
and our special guest will be Sigmund Groven,
world famous virtuoso Norwegian harmonica player.
Laughter In The Rain / Love Will Keep Us TogetherWritten by Peter Burt
Laughter In The Rain / Love Will Keep Us Together
Vocalion CDLK 4602
Conniff (1916-2002) – another Vocalian lists debutant – his orchestra and chorus of 12 women and 13 men turned out immaculate albums like this 2-on-1 for years. It was back in 1956 that he began experimenting with voices as an integral part of the orchestra and his LPs developed the old swing era formula he had used as an arranger with Artie Shaw, Harry James and others.
CHINATOWN / LOVE THEME FROM ROMEO AND JULIET
Vocalion CDLK 4599
It is good to welcome Percy Faith to the Vocalion catalogue – the home of the world’s best light orchestral recordings. Whilst, for me, neither of the albums on this 2-on-1 would rank in the top echelon of the Faith discography, they are both interesting.
CASCADES TO THE SEA
Analysed by Robert Walton
I first found the title Cascades to the Sea quite by chance while searching for information about Robert Farnon in K B Sandved’s superb 1954 encyclopedia “The World of Music”. It was then described as a tone poem. Also mentioned were Farnon’s first two symphonies, some études and several comedy symphonettes that at the time were all a complete mystery.
CASCADES TO THE SEA
Analysed by Robert Walton
I first found the title Cascades to the Sea quite by chance while searching for information about Robert Farnon in K B Sandved’s superb 1954 encyclopedia “The World of Music”. It was then described as a tone poem. Also mentioned were Farnon’s first two symphonies, some études and several comedy symphonettes that at the time were all a complete mystery. However the aforementioned Cascades to the Sea (1944) from which came In a Calm, bears little resemblance to a later composition of the same name. In fact the two Cascades were composed more than half a century apart. The second completed in 1997 emerged as a piano concerto or to be exact, a tone poem concerto for piano and orchestra.
Before we take an in-depth look at Cascades to the Sea, allow me to provide you with Farnon’s description and inspiration for the work:
“The music begins at the spring above a mountain stream which makes its way downhill, gradually gathering in quantity and speed to the edge of a waterfall. From there it plunges down, giving the river its own rhythm and currents as it follows a route created millions of years ago. Carving its way through mountains, meadows, rapids and deltas, it finally arrives at the open sea joining forces with an outgoing tide, flowing to the tranquility of a distant horizon”.
So let’s make a closer examination of Cascades to the Sea. The opening spellbinding (“waiting for something to happen”) chord has Farnon’s DNA written all over it. Pianist Peter Breiner tickles the ivories with the harp and together they trace a tapestry of trickles in the treble from a subterranean source. Some solid brass chords reminiscent of Stan Kenton, quote the start of Debussy’s Nuages. Throughout the work, the piano’s constant presence never lets you forget who’s in charge. An oboe keeps things moving towards what sounds like the first chord of Laura.
Then after some exciting piano, from the depths of the earth the Farnon strings rise up majestically making their presence felt in no uncertain terms with all the controlled intensity they can muster. It’s a unique sound in music. For the first time in the work, Farnon has laid down his format. After more sparkling piano, the strings and brass again powerfully push upwards, supported by the horns. The piano plays a thrilling scale passage with a touch of classically trained Carmen Cavallaro. In fact right through Cascades to the Sea you’ll hear more showy embellishments in the Cavallaro manner.
Then suddenly the orchestra sounds an alarm warning the listener of possible trouble. Don’t worry, not a problem. I suspect we’ve just reached the edge of the waterfall. All part of the grand plan. Now it’s become calm again and displaying another facet in the Farnon firmament is the seductive flute. This is followed by the oboe accompanying the piano. The strings, horn and piano play a lovely joyous melody that we’re going to hear a lot more of.
After a distinct break, (mind the gap) the piano has a short solo passage. It’s all so beautifully pianistic but not surprising as Farnon’s ability for writing for any instrument is legendary, though this is the first time I’ve encountered such an extensive work of his for the keyboard. After two more pauses, the piano plays some Bach-ish runs. Just after the catchy tune receives its most prominent exposure from the orchestra, listen for a simply gorgeous symphonic moment. The soloist echoes some of Farnon’s early decorative devices before the composer with tongue in cheek deliberately cuts short some phrases. After all this activity we eventually arrive at a typically peaceful Farnon passage with the piano, strings and woodwind. It’s back to more Farnon tremors with a further quote from the now familiar melodic fragment followed by an exciting mix of brass and strings. The solo piano plays the merest suggestion of All the Way. Some Debussyian bell-like chords soon attract the attention of the strings.
Then the penultimate Farnon surge with brass, strings and an ominous oboe while the piano continues to exercise its authority. The orchestra very gradually builds up to an absolutely thrilling ending with a difference - more an afterthought really. With single notes, the piano gently leads you to a totally unexpected experience. It’s the last thing you’d expect at the end of a piano concerto - a violin solo! The most moving moment in the entire work. In Farnon’s world that means one thing - a sublime weepy affair. It succeeds admirably and depicts a consummate convergence with the sea, where fresh meets salt. Also it’s probably one of the longest codas ever heard in a Farnon composition.
From a lowly spring to the mighty ocean, we have completed our fourteen minute journey with our guide, the piano. I hope the various signposts along the way have been helpful in identifying approximately where you are in the music at any given moment.
When I first heard Cascades to the Sea I must admit I found the piano part a bit hard to assimilate, but now after repeated playings, I have completely changed my mind. It has grown on me so much that it is unquestionably one of Robert Farnon’s finest creations and one of the most unusual piano concertos in the repertoire.
Finally, I must congratulate the Slovak pianist Peter Breiner on his brilliant interpretation of a very demanding work. And equal praise must go to the composer’s son David, who did a magnificent job conducting the Bratislava Radio Symphony Orchestra and keeping the whole thing flowing. Cascades to the Sea deserves to be heard and performed much more!
Cascades to the Sea from
“The Wide World of Robert Farnon”
Vocalion (CDLK 4146) Also on Google.
British Tone Poems Volume 1 Chandos CHAN 10939Written by Edmund Whitehouse
BBC National Orchestra of Wales conducted by Rumon Gamba. Spring (Frederic Austin); Blackdown - from the Surrey Hills (William Alwyn): The Witch of Atlas – after Shelley (Granville Bantock); A Gloucestershire Rhapsody (Ivor Gurney); A Berkshire Idyll (Balfour Gardiner); The Solent (Vaughan Williams).
By Tony Clayden
Jan Stoeckart (November 1927 – January 2017) was a Dutch composer, conductor and radio producer, who often worked under various pseudonyms,
Jan Stoeckart (November 1927 – January 2017) was a Dutch composer, conductor and radio producer, who often worked under various pseudonyms, including Willy Faust, Peter Milray, Julius Steffaro and Jack Trombey. Graduating from the Amsterdam Conservatory in 1950, he began his career as a trombone and double bass player, and as a music producer for various radio shows. He composed and arranged for Dutch films and brass bands, and worked with the Metropole Orchestra and the Dutch Promenade Orchestra.
In the early 1960s, the conductor Hugo de Groot introduced Stoeckart to the de Wolfe music publishing house in London, and he obtained a contract to compose library music for that company. He wrote in excess of 1200 works; his biggest success was with Eye Level, the theme tune to the British TV series Van der Valk in the early 1970s, penned under the name of Jack Trombey.
The piece became a big hit with viewers and record buyers, and the recording – made by the Simon Park Orchestra – reached no. 1 in the UK singles charts in 1973.
As Julius Steffaro, Stoeckart composed theme and music for the famous Dutch TV series "Floris", 1969, starring Rutger Hauer and directed by Paul Verhoeven.