One of the pleasures of light
music is being able to make-up stories around any particular piece. Many of
their titles seem to encourage this self-indulgent elaboration that the
listener would avoid whilst listening to a Beethoven Sonata or a Dvorak String
Quartet.
Shopping Spree has been described as being ‘very Bob Farnon-ish’:
it is an ideal evaluation of the mood of this piece of music which describes a
day ‘In Town’ at the shops. Perhaps I have a vivid imagination, but I can picture
a vivacious lady walking purposefully down a leafy avenue to a suburban
Surrey station before taking the electric train up to Waterloo. Then, hopping
onto the Bakerloo Line she travels across to Oxford Circus tube station before
heading off down Regent Street.
Perchance, she called in at Dickins and Jones for a morning coffee? Maybe met up with a friend? As the day wears on, more and more parcels are accrued and eventually it is time to return home, this time by taxi to Waterloo. This was in 1956, long before credit cards. Any payments would be cash or cheque and in proper money, £.s.d.
Perchance, she called in at Dickins and Jones for a morning coffee? Maybe met up with a friend? As the day wears on, more and more parcels are accrued and eventually it is time to return home, this time by taxi to Waterloo. This was in 1956, long before credit cards. Any payments would be cash or cheque and in proper money, £.s.d.
The music opens with a short
introduction suggesting a bustling street. After a short jazzy passage it drops
into something with a romantic sweep. The middle eight is a lot slower and much
more relaxed than what has gone before. Soon the scurrying music returns and
the day’s shopping is finally done. Bill Worland (1921-2011) makes good use of
brass and percussion in this piece. Vibrant and rhythmically exciting, this makes
a perfect miniature. The work was first broadcast on a BBC Radio Breakfast Special
programme. It later featured as
background music to the film We Think the
World of You (1988) which starred Alan Bates and Max Wall. It was
uncredited.
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