The Lost Transcriptions – Volume 3
GUILD LIGHT MUSIC GLCD5184
The Lost Transcriptions – Volume 3
MANTOVANI AND HIS ORCHESTRA
1 Ad Infinitum (Kenneth Sydney Baynes, arr. Ronald Binge)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-136A 1952
2 Dear Little Soldiers (from the show "Conversation Piece) (Noel Coward)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-135B 1952
3 Heykens' Serenade (Jonny Heykens)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-142B 1952
4 So In Love (from the show "Kiss me Kate (Cole Porter, arr. Ronald Binge)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-115B 1952
5 Elizabethan Serenade (original title Serenade) (Ronald Binge)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-146A 1952
6 Prima Donna (Paolo Cortese, pseudonym for Mantovani)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-146A 1952
7 The Deserted Ballroom (Morton Gould)
MANTOVANI AND HIS ORCHESTRA
Lang-Worth Feature Programmes PC-123B 1952
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8 Hallelujah (from "Hit The Deck) (Vincent Youmans; Leo Robin; Clifford Grey)
AL SACK AND HIS ORCHESTRA
Standard Radio Transcription Services Z-219-3 1945
9 Turkey In The Straw (trad. arr. Van Phillips)
VAN PHILLIPS AND HIS ORCHESTRA
BBC Transcription 12PM-18889 1943 or 1944
10 Malaguena (from "Boabdil) (Moritz Moszkowski)
THE ORCHESTRA OF H.M. ROYAL MARINES (PORTSMOUTH DIVISION) Conducted by Captain F VIVIAN DUNN, MVO ARAM RM
ORBS Cut 3080 (2EN 12169) Issue MK 6337 1940s
11 Lizards In The Lounge (Peter Yorke)
PETER YORKE AND HIS CONCERT ORCHESTRA
World Programme Service 370 c. 1952
12 Prunella (Leslie Bridgewater)
ARMY SALON ORCHESTRA Conducted by ERIC ROBINSON
ORBS Cut 2791 (2EN 10537) Issue MK 5509 1944
13 Stairway To The Stars (Park Avenue Fantasy) (Mitchell Parish; Matt Malneck)
CAPTAIN ROBERT FARNON Conducting THE CANADIAN BAND OF THE A.E.F. featuring DENNY VAUGHAN, piano
Overseas Recorded Broadcasting Service for ENSA taken from "Canadian Caravan Broadcast on BBC Light Programme 27 August 1945
14 Handley's Seaside Holiday (based on It's That March Again : Michael North, arr. Hal Evans)
BBC VARIETY ORCHESTRA Conducted by CHARLES SHADWELL
BBC Transcription c.1947
15 Flower Of Love (Dave Dreyer; Herman Ruby; Harry Akst; David Mendoza)
CARL CHANDLER ORCHESTRA [real name EMIL CADKIN] Standard Radio Transcription Services Z-253-4 1949
16 Espanita (Edwin Franko Goldman)
HARRY HORLICK AND HIS ORCHESTRA (as 'Rene Savard' on disc label)
Standard Radio Transcription Services T 234-9 1945
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DAVID ROSE AND HIS ORCHESTRA
17 Just A Memory (from the 1927 musical "Manhattan Mary) (Buddy De Sylva; Lew Brown; Ray Henderson, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
Standard Radio Transcription Services Z-160-1 c.1942
18 A La Bien Aimée (Eduard Schutt, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Program Service 179 c. 1945
19 Green Moods (Raymond A. Bloch, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
Standard Radio Transcription Services Z-154-5 c.1942
20 Puppet Serenade (David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Programme Service (Australia) 012 c. 1945
21 Trees (Joyce Kilmer; Oscar Rasback, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Program Service 8419-8422 c. 1945
22 Won't You Be Mine (David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Programme Service (Australia) 012 c. 1945
23 There's A Small Hotel (Richard Rodgers; Lorenz Hart, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Programme Service (Australia) 639 c. 1945
24 Rose Of Bel-Air (David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Program Service 8419-8422 c. 1945
25 You Stepped Out Of A Dream (Gus Kahn; Nacio Herb Brown, arr. David Rose)
DAVID ROSE AND HIS ORCHESTRA
World Programme Service (Australia) 006 c. 1945
The notes accompanying previous Guild collections of 'Lost Transcriptions' have explained in some detail what these recordings actually were. On this occasion suffice it to say that many of them were produced by broadcasters, although a large number came from commercial companies specialising in meeting the needs of radio stations. Others were produced for the Armed Forces during and after the Second World War, but they all had one thing in common: they were not available to private purchasers, and it was assumed that they would eventually be destroyed after they had served their initial purpose.
Happily for us some of them fell into the hands of enthusiasts and collectors, and in many cases they offer unique examples of work by leading composers and orchestras which was never made available in commercial recordings. The second "Lost Transcriptions CD (Guild GLCD5181) contained nine tracks from the Mantovani Orchestra, and from the same source we can enjoy seven more this time. Annunzio Paolo Mantovani (1905-1980) was the conductor of one of the most famous light orchestras in the world from the 1950s onwards. Born in Venice, his family came to England when he was aged four and he was something of a prodigy on the violin by the time he reached sixteen. But he leaned more towards popular music, and fronted many different kinds of ensembles before long-playing records (especially when stereo arrived) brought him universal acclaim.
In the immediate post-war years his Concert Orchestra was, in effect, a traditional light orchestra, similar to his peers such as Sidney Torch, Charles Williams and George Melachrino. Before Ronald Binge (1910-1979) created the now famous 'cascading strings' effect, Mantovani could be relied upon to produce superior performances of many light music 'standards', as well as original works that were 'missed' or 'neglected' by his contemporaries.
The first track Ad Infinitum was composed by Kenneth Sydney Baynes, one-time Head of Light Music at the BBC who was the son of Sydney Baynes (1879-1938), famous for his Destiny waltz (Mantovani's version is on GLCD5110).
Noel Coward (1899-1973) was a major force in British theatrical circles and his musical "Conversation Piece (1934) was just one of many similar productions. It was less successful than some of his other works, managing only 177 performances at His Majesty's Theatre. The big hit from the show was I'll Follow My Secret Heart, and the track on this CD is a comparative rarity. Mantovani was Coward's musical director after the war for "Sigh No More" (1945-46), "Pacific 1860" (1946-47) and "Ace of Clubs" (1950-51). His choice of Dear Little Soldiers is from an earlier era and must have been a particular favourite, although he did not record it for Decca. For the most part, he got on well with Coward and gave him great support in those ventures mentioned above. Coward was the only person who called him affectionately "Manti"; everyone else referred to him as "Monty."
Jonny Heykens (1884-1945) was a Dutch composer who was particularly popular in Germany. His most successful work became known as Heykens' Serenade (Ständchen) - the traditional Marek Weber version is on Guild GLCD5120, but Ron Goodwin also made a fine recording for the small British company Polygon in 1953 (on Guild GLCD5101).
So In Love hardly needs an introduction. It was just one of many hit songs in "Kiss Me Kate by Cole Porter (1891-1964). The version heard here is a completely different arrangement from Mantovani's Decca recording of the same tune, recorded in the summer of 1960.
Another hit follows, but this took some while to become one of the best-known pieces of light music from the past century. Mantovani's one-time chief arranger Ronald Binge wrote a melody he called Serenade, and the maestro made its first recording for Lang-Worth before the title was changed to Elizabethan Serenade – possibly at the time of the Coronation of Queen Elizabeth II. It seems that this transcription recording was used as a signature tune by AFN in Germany, which probably led to the popular vocal recording by the Gunter Kallmann Choir. Strangely Mantovani didn't make a commercial recording for Decca, leaving the field wide open to Ron Goodwin (1925-2003) whose 1957 Parlophone single (reissued on Guild GLCD5162) was a steady seller for many years.
Mantovani demonstrates his skill as a composer in Prima Donna for which he used the pseudonym 'Paolo Cortese'. It also bears strong influences of Ronald Binge's work, suggesting that he may also have had a hand in it.
Another landmark piece of light music from the 20th century was The Deserted Ballroom by the highly respected American composer Morton Gould (1913-1996). Among his best-known works were the ballet Fall River Legend and American Symphonette No. 3, which became better known as Pavanne (the mis-spelling was deliberate); versions have already appeared on Guild by Jay Wilbur (GLCD5139) and Percy Faith (GLCD5181). His distinguished career was crowned with a Pulitzer Prize (for his Stringmusic, commissioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington) just a year before his death at the age of 82. This Mantovani version is longer than his commercial recording for Decca.
Before David Rose takes centre stage for the third part of this CD, we feature a varied selection of orchestras and composers from both sides of the Atlantic. Al Sack (1911-1947) was an American arranger and conductor whose promising career was cut short when he died aged only 36. He was also an accomplished violinist and composer, and when he left his home town of Cleveland to settle in California he worked with the likes of David Rose and Paul Whiteman. As well as his own instrumental recordings (Hallelujah is one he made originally for Black and White Records), he also accompanied leading vocalists such as Tony Martin, Fred Astaire, Dinah Shore and even Gracie Fields.
The American Van Phillips (1905-1992) was a respected member of London's dance band fraternity from the late 1920s onwards, and for a while was Dance Music Director for Columbia Records. He had a gift for arranging (as evident in his whimsical Turkey In The Straw), and after the Second World War he discovered a new talent for writing background music for publishers' libraries. When this failed to satisfy his creative instincts he eventually became a highly regarded professional photographer.
Malaguena features the Orchestra Of The Royal Marines (Portsmouth Division) conducted by Captain F.Vivian Dunn (1908-1995). He was their Director of Music from 1931 to 1953, in which year he was promoted to be Principal Director Of Music, Royal Marines, with the rank of Lieutenant-Colonel. In later years his conducting duties included tours on the Royal Yacht, and he became the first military musician to be knighted when he became 'Sir Vivian' in 1969.
One of the benefits of transcription recordings is that they regularly contain material not available elsewhere – which seems to be the case with Lizards In The Lounge by Peter Yorke (1902-1966). Leslie Bridgewater's (1893-1975) charming Prunella did find its way into the Paxton Mood Music Library, but Eric Robinson (1908-1974) offers us a slightly longer version.
Born in Toronto, Canada, Robert Farnon (1917-2005) had a distinguished career in Canadian Radio during the 1930s including a spell as first trumpet player in Percy Faith's CBC Orchestra. When Faith went to the USA in 1940, Farnon picked up the baton, but the Second World War was to make a major impact upon his life and career. As Captain Robert Farnon, he was posted to Britain in the summer of 1944 conducting Canadian Band of the Allied Expeditionary Forces, working alongside Glenn Miller and George Melachrino, who fronted the American and British bands. Farnon made numerous broadcasts for the BBC's AEF Programme, under such titles as 'The Canada Show', 'Night Cap', 'Canada Swing Show' and 'Canadian Caravan', which is the source of Stairway To The Stars. The piano soloist is Denny Vaughan (1922-1972) who also hailed from Toronto. He replaced Dick Misener as the band's pianist in April 1945, and also doubled as a vocalist. After the war he became known as the 'English Sinatra' through his work with Geraldo. He returned to north America in the early 1950s and made a successful career in radio and television. The Canadian Band's broadcasting schedule regularly involved around five new shows each week and, although Farnon did many of arrangements, the sheer volume of new music performed meant that he needed reliable orchestrators and copyists. The arranger of Stairway To The Stars wasn't credited on the original broadcast: it doesn't bear the usual hallmarks of a Farnon score, so it may have been the work Dick Misener, or possibly one of the regular team of arrangers which included Gary Hughes and Tony Braden.
During the Second World War comedian Tommy Handley's "ITMA ("It's That Man Again) BBC radio programme lifted the nation's spirits, and Charles Shadwell (1898-1979) (conductor of the BBC Variety Orchestra) was regularly featured to chat about the special orchestral interludes that became a popular part of the show. The programme actually continued until Handley's death in January 1949, and arrangers like Clive Richardson, Gordon Jacob and Charles Williams (to name just three) became better known as a result. Hal Evans took the show's signature tune It's That March Again as the theme for his Handley's Seaside Holiday, which amusingly traced the comedian's trip by train to the seaside, where he seems to have had difficulty finding somewhere to stay ('digs' being another word for a guest house). In the end Handley realises that 'there's no place like home' – maybe because he had to sleep on the beach with seagulls for company!
'Carl Chandler', the conductor of Flower Of Love, masks the true identity of Emil Cadkin (believed to have been born in 1920 – various references to his age differ), a prolific American musical director whose name crops up in films, television shows and as a composer of stock music, sometimes in collaboration with others such as Harry Bluestone (1907-1992) and William Loose (1910-1991). The Americans sometimes favour 'stock' as a description of production or mood music.
Russian-born violinist Harry Horlick (1896-1970) was the conductor of one of early American radio's most popular salon orchestras, largely due to his regular appearances on the long-running "A & P Gypsies show from 1924 to 1936. When this series ended, Decca signed him for almost twenty sets of 78s featuring what has been described as 'musically sturdy, if somewhat careful, albums, with a number devoted to popular and theatre music'. Such descriptions certainly apply to the recording of Espanita by a prolific American composer of band pieces, Edwin Franko Goldman (1878-1956), which Horlick recorded for Standard Radio Transcription Services in 1945, using the pseudonym 'Rene Savard'.
Finally the spotlight falls on David Rose (1910-1990) who needs no introduction to regular friends of Guild Light Music. Born in London, his family moved to the USA when he was four, and during his prolific career he became one of the biggest names in radio, films, television and – of course – records. Holiday For Strings (on Guild GLCD5120) gave his career a sudden boost in the early 1940s, and it proved to be one of the first in a string of memorable compositions that kept flowing from his fertile inspiration. During his very long career he made numerous commercial records, initially with RCA but mainly with MGM and, from 1967, Capitol. But at one time he was also active making transcription recordings, and these provide the final nine tracks in this collection.
To begin with he creates a distinctive brisk string sound (echoes of his famous Holiday For Strings) in his arrangement of Just A Memory, in contrast to some other arrangers who have tended to treat it as a slow, romantic ballad. Less familiar will be A La Bien Aimee and Green Mood, while Trees will bring back memories of rather strait-laced vocal versions by tenors long ago – happily it is reinvigorated in Rose's new 'canopy'.
The standards There's A Small Hotel and You Stepped Out Of A Dream complete the familiar titles in this collection, just leaving three original Rose compositions which may be less recognisable to many of his admirers. Puppet Serenade is hardly a serenade, sharing an affinity more in line with Parade Of The Clowns (the Charles Williams version is on GLCD5104). Won't You Be Mine certainly tears at the heartstrings; surely it deserved to be better known? It seems to be omitted from the list of his compositions on the David Rose Publishing website. Rose Of Bel-Air did become more familiar through later versions, although this early (was it the first?) version possesses its own special 1940s' ambience. The question arises: was this a self-portrait, or did David have another 'Rose' in mind when he composed it?
David Ades