Queen’s Hall Light Orchestra
Analysed by Robert Walton
It may not have occurred to you, but Sidney Torch and Nelson Riddle have something in common. They both had a special “feel’’ for music and when the opportunity arose they couldn’t resist the temptation of maximizing the rhythm with a staccato effect, especially in three quarter time. The phrasing of the opening tune of My Waltz for You has two beautiful silences indicating the wonderfully appropriate cut-off points on the second beat of bars 2 and 6. These are both excellent examples of the Torch touch probably first captured by Johann Strauss Junior.
Nelson Riddle in his string arrangement of Vilia (Guild GLCD 5120) played as a waltz, gets every ounce of feeling out of the melody he could possibly find - living every natural nuance. He allows the notes to do the talking. It’s very similar to the Torch approach and gives the tune a whole new boost. They may be modern masters of music but it’s decidedly an “old fashioned” dance feel. In spite of their varied backgrounds, trombonist Riddle from the world of swing and organist Torch from popular music, both seem quite at ease with the same sort of phrasing. In no way is anything ever corny.
So let’s follow My Waltz for You in detail to find out what drives it. Johann Strauss Junior may have been the “Waltz King”, but Sidney Torch was perhaps the “Schmaltz King”, if that tiny intro with a violin solo is anything to go by. Listen to the satisfying way Torch writes for flutes. The first thing you’ll notice is what an exquisite but slightly sad melody it is, caused entirely by the strings arranged in close harmony like a jazz musician might score it. At the same time you couldn’t get a more relaxed waltz if you tried. It’s almost asleep! The first haunting 16 bars include all those staccato breaks, which build up quite logically to a song-like climax.
And so we arrive at the middle section with the tempo just a little faster. The lower strings are followed by flutes, clarinet and violins that shortly take a sudden dramatic dive. An oboe supported by the same flutes, hands back to the strings that ascend to produce a lovely Torch-like symphonic crescendo. Assorted solo brass and harp bring us gently back to the top, with the orchestra providing a positive finish. The tiny intro we heard earlier becomes the coda. The only grumble is that we aren’t treated to any orchestral “improvising” which we get in Torch’s faster pieces. However My Waltz for You is classic Torch with just the right amount of rubato and is given a perfect performance.
“The Queen’s Hall Light Orchestra”
Vocalion CDEA 6094
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