Isle Of Innisfree
(Richard Farrelly)
Analysed by Robert Walton

Most folk songs are the work of unknown composers or instrumentalists but because they are part of our ancient heritage many names which existed are now long forgotten. Perhaps its got something to do with having been passed on orally from generation to generation unaccompanied. They originally had a rural background before reaching towns and cities via a ‘musical’ landline.

Occasionally along comes a new song which has all the qualities of the real McCoy. Inspired by Yeats’ poem The Lake Isle of Innisfree, Richard Farrelly wrote the words and music of a beautifully spiritual song called The Isle of Innisfree which even though it was 1950, automatically entered the hallowed halls of the folk-song world. If ever a song deserved such an upgrade it was The Isle of Innisfree. The director of “The Quiet Man” John Ford liked it so much he included it in the opening of the film, but unbelievably neglected to mention Farrelly by name on the screen credits. At least Victor Young redressed the situation with a brilliant orchestration for the soundtrack as well as arranging Bing Crosby’s independent recording. That certainly helped with the advertising! I’m sure the ghost-like Londonderry Air hovered somewhere in the ether as Farrelly skillfully sculptured his little piece of pure magic. He got the idea for The Isle of Innisfree on a bus journey from his native Kells, County Meath to Dublin where he was a policeman.

Let’s take a closer look at the music and find out what makes this song so special. It’s important to note that never before have words and music gelled together quite so tightly. Farrelly had hit upon the perfect match. Essentially it’s a simple song in G, but the harmony has elements of ‘frozen’ dissonance at times like White Christmas. In the third bar on the first part of the word “dream(er”) there’s a momentary clash of F sharp against C but in reality the F sharp is only a passing melodic note leading on to the “er” of “dream”. The repetitive 4 quaver notation might weaken some songs, but in the case of The Isle of Innisfree was absolutely vital. Have you noticed the ditty has a very small range? It never leaves the treble clef. No big leaps to create a climax. It just doesn’t need it. One of the most natural songs ever composed, as if it wrote itself. It was ideal for Vera Lynn who recorded it, because her range was limited to an octave.

Irish songwriter, policeman and poet Richard Farrelly wrote over 200 songs and poems. No composer/lyricist (serious or light) ever came up with such a sublime song of hymnal simplicity and the irresistible call of home. Genius!

Robert Walton

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(Ellington & Parish)
Queen’s Hall Light Orchestra
Analysed By Robert Walton

When I first noticed the names of Edward Kennedy ‘Duke’ Ellington, Sidney Torch, Charles Williams and the Queen’s Hall Light Orchestra all together on a record, I thought I must have been seeing things! Here was one of the most influential figures in jazz in the same genre as two top English light orchestral composer/conductors as well as one of the greatest orchestras in light music. The unusual assemblage of such a list was unbelievable. You couldn’t get a more unlikely group. And to think that Ellington led the most famous jazz band of all time.

When Sidney Torch became involved with light orchestras he seemed to have given up arranging popular songs. Maybe he’d got tired of them in his organ playing days or was commissioned to concentrate on his own music. So it was an unexpected pleasure to discover him arranging an Ellington tune for the Queen’s Hall Light Orchestra conducted by Charles Williams. (BBC London Transcription Service). So let’s have a listen to Torch getting into the mind of a jazz musician.

If ever a melody was given the full treatment it was Sidney Torch’s 1945 arrangement of Duke Ellington’s 1933 standard Sophisticated Lady. Written in the key of A Flat, the release goes to G, but the clever bit is the way it returns to A Flat. All the orchestral ingredients of Torch’s DNA are featured, both dramatic and light. The introductory attacking strings give the piece a huge build-up merging into those familiar downward chromatic notes of the song, followed by a long simmering chord helped by the harp before reaching the main theme. The “David Rose” sliding effect in the bridge proved most effective. Sophisticated Lady is hard enough to sing, let alone play, so it’s just as well the Queen’s Hall Light Orchestra was on hand. Actually it sounds better played instrumentally. In fact it began life as an instrumental but I believe possesses the seeds of a piano concerto.

And again the orchestra repeats another exciting run-up, this time sounding almost like an organ. I wonder if that was deliberate or co-incidental? Then the sound of background music from an imaginary blockbuster biblical movie, complete with solo violin. And that haunting Ellington tune returns. Did I hear a touch of Torch’s Radio Romantic?

A single bell tolls Torch’s moment of freedom when the song gets everything the arranger can throw at it. Pure Torch. And then into waltz time. But how is this masterpiece going to end? Quietly. I wonder what the Duke would have said? Guild Light Music GLCD 5223

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(Joseph Kuhn)
Analysed by Robert Walton

It must be highly unusual for a three minute composition on a 78 rpm disc to actually supply music for each scene like a film soundtrack. I can’t recall such a thing.

In this case the location is Paris (familiar to the composer) when we are picked up by a limousine. One’s mind immediately turns to Gershwin whose reputation for describing big cities is well established as An American in Paris, but the opening sound of Acquaviva is more appropriate (remember New York in a Nutshell?) This is followed by a lush welcoming string passage when we are ushered courteously into a humble café. You may say this is a little over the top, but this is no ordinary restaurant. You can tell by the music and the decor. A haunting Mancini-like waltz greets us as we step down from this classy automobile and enter a warm and friendly establishment.

Now seated at a table, you know you’re in for the ultimate in French cuisine or just a drink, because right on cue the sound of an accordion joins the orchestra. We’re in Paris alright! Made to order music just like the food. Yes, they’ve thought of everything. It’s the kind of café where you can have anything you like, and you won’t get annoyed glances from the staff, even if it’s just a coffee! After more string sounds, solos from the piano, guitar and woodwind provide the perfect atmosphere. Before we know it we’re back to the accordion but not for long because our limo has arrived and awaits us. That was a quick drink! Acquaviva is again on hand to whip us away into the traffic of the French capital’s most famous thoroughfare.

In conclusion a word or two about our esteemed composer, Joseph Francis Kuhn. I have to admit I was totally ignorant of him until a little research put me right. He was an American symphonic composer, arranger and conductor known for his sweeping rhapsodies. The Paris Theatre 0rchestra was one of the many groups connected with the American Miller Company one of which was the 101 Strings. Sadly Kuhn died at the tragically young age of 37 in 1962 from a spinal cord injury. Look out for four of his other works on Guild CDs.

Catch Champs Elysees Café on “Confetti” Guild GLCD 5175

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Bees-A-Buzzin’
(Edrich Siebert)
Analysed by Robert Walton

The most recent volcanic eruption in Auckland, New Zealand took place about 800 years ago. It created Rangitoto Island at the mouth of the Waitemata Harbour. Fast forward to the 20th century and during WW2 a 6 year old boy was walking barefoot in the sand on the mainland opposite Rangitoto along Takapuna Beach, when he suffered his own personal ‘eruption’ - a nasty bee sting! Yes, it was me! There were no EpiPens in those days. By the time we got home my face was completely swollen and unrecognizable but the combination of a doctor and a brandy seemed to do the trick. I gather it was touch and go for a while. Luckily I have never experienced another. All the more reason to always carry an EpiPen. So hearing this composition brings it all back. I can’t help feeling sorry for my attacker though.

I never saw or heard the actual bee, but anytime Dolf Van Der Linden’s Orchestra happens to be playing Bees-A-Buzzin’ I’m straight back to the scene of the crime! There’s absolutely no doubt about the title of this piece, which enters instantly. The opening busy busy section is a good test for an orchestra especially one as good as this. Up, down and around goes the scale-like tune delivering the appropriate mood.

And so to a short secondary theme giving us just the right contrast to the main melody, which is standing by to rejoin the piece. And then we’re immediately into the bridge for a third tune adding yet another building block to this brief journey of continuous rhythm. The listener somehow feels freer (if that’s possible in this context) and slightly relaxed but as soon as the bee returns to its normal work of sipping the nectar, the melody takes on a more business-like tension.

Of course the most famous ‘bee’ tune is Rimsky-Korsakov’s Flight of the Bumble-bee from his 1900 opera “The Tale of Tsar Saltan” with a more oriental flavour containing 50,000 notes! It’s intended to evoke a chaotic and rapidly changing flight path of a bumblebee. It certainly succeeds.

And in its own way so does Seibert’s Bees-A-Buzzin’ if somewhat less frenetic. It’s a sort of gentle entry preparing you for the hard chromatic world of Rimsky-Korsakov!

Heard on Guild Light Music
Confetti GLCD 5175

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By Robert Walton

Rawtenstall is the largest town at the centre of the Rossendale Valley in Lancashire, England. With a population of 22,000, it’s situated 15 miles north of Manchester in the ancient Forest of Rossendale.

Whenever I saw genial Rawtenstall-born Ernest at the Robert Farnon Society meetings, he always gave the impression of being a country person. He won a scholarship to Manchester Cathedral Choir School and Manchester University where he graduated in 1947. This solid musical

background paid off because the following year he was a staff arranger for a London firm of music publishers as well as becoming organist for a Mayfair church.

He was essentially a light music composer sometimes credited as ‘Alan Perry’. I first became aware of him through Little Serenade, a piece that was never off the air when I came to England in 1962. Because of that, I tended to associate Tomlinson with compositions of a rural nature perhaps relating to his roots.

Here’s one that is definitely not from that ilk but with an undeniably city feel about it - Sheerline. In fact it doesn’t sound typically Tomlinson at all but demonstrates he could turn his hand to any style should the mood or commission take him. If anything there’s a touch of Farnon about it. But it shows he’s right at home writing a busy rhythmic theme.

The introductory 4 bars don’t burst in like some compositions but sort of enter gently to join up with the waiting, catchy meandering melody. As well as being in a pleasant category it’s also ideal material for what it was designed for. Light orchestral music at its finest. There’s still so much of his music hidden away and demanding to be discovered.

The tune starts climbing immediately but not for long. With a mind of its own and sensing a journey ahead, it begins to dart about wherever the fancy takes it and keeps the listener on his/her toes. (Fred Astaire would be tempted). The harmonies are tailor made for the tune.

The middle 8 provides a perfect link, momentarily taking your eye off the ball. But it’s this constant caper as the melody twists and turns, creating one of the most perfect arrangements/compositions in this specialized art of production music. Ernest Tomlinson has created a classic, which would have been quite at home in the Chappell library.

And talking of libraries, when London publishing houses were throwing away skip loads of music, it was Tomlinson to the rescue as he saved tons of tunes for posterity. All devotees of light music owe him an incalculable debt of gratitude. As a footnote, actress Jane Horrocks (“Little Voice”) was also born in Rawtenstall. Guild GLCD 5232.

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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.