Finger Prints: British Light Music for Piano

The ethos of this pot-pourri is predicated on an old Viennese adage of “taking serous music lightly and light music seriously.” Here the listener will find an “eclectic” selection from a wide cross section of composers. These include pieces by so-called “classical” masters such as Frank Bridge, John Ireland, Roger Quilter, and Lennox Berkeley. These men were able to cross the boundaries between art music and a more “popular” touch. The recital gets off to a great start with Harry Engleman’s Finger Prints. This is the epitome of the novelty piano solo made so popular by Billy Mayerl (more of him later in the review) and the American Zez Confrey. Later in the programme we hear Engleman’s Golden Chain, another challenging piece for “dizzy fingers.”

Haydn Wood is usually remembered for his First World War hit, Roses of Picardy. Capable of working in both light and classical genres, he wrote accomplished piano and violin concertos, as well as attractively evocative orchestral suites. Longing is delightfully sentimental, poignant, at times passionate and always engaging. Written in 1917, it well reflects the emotions of wartime lovers.

I enjoyed Cecil Macklin’s The Cockney Crawl, which was originally danced at the Alhambra Theatre, London by Phyllis Monkman and Clyde Cook. Basically, a one or two-step with knobs on!

All enthusiasts of so-called light music will know Jack Strachey’s In Party Mood, used for many years as the theme tune for the radio programme Housewife’s Choice. Equally popular is his Theatreland, so reminiscent of London’s West End. Anna’s Polka is a lovely little number that combines the Bohemian dance of the title with a beguine. Paul Guinery adds a little “quirky” magic of his own in the concluding bars.

When I inherited my late grandparents’ upright, there was a copy of Amy Woodforde-Finden’s Indian Love Lyrics in the piano stool. I struggled to battle my way through the Kashmiri Love Song from an early age, never quite getting it right. The mood is of lost love, nostalgia, and despair, as seen through the eyes of an Edwardian lady’s enthusiasm for things ‘Oriental.’ It is heard here in Stephen Hough’s transcription.

Billy Mayerl was an English pianist and composer, popular in the 1930s. He is best remembered for his syncopated novelty piano solos like Marigold and Bats in the Belfry. His music was “highly crafted,” often cunningly difficult to play and always entertaining. He is represented on this disc by four arrangements of songs written for Hollywood by the British born songwriter, Harry Revel. Most popular is the jazzed-up version of Did You Ever See a Dream Walking? Equally attractive is I Feel Like a Feather in The Breeze with its lush opening and bouncy middle sections. With My Eyes Wide Open I’m Dreaming appeared in film about a successful nightclub singer and radio star. Once again Mayerl creates a balance between a slow foxtrot and an up-tempo section marked “with much rhythm.” The final transcription is the well-crafted You Hit the Spot from the film Collegiate (1936). The one original composition is The Shy Ballerina, which is a wistful celebration of a bashful girl who was asked to dance for Mayerl, but “nothing would persuade her to pirouette for him.” All are marked by rhythmic dash, memorable melodies, abundant caprice, and a touch of sheer sentimentality.

Edward German was an English composer of Welsh descent. He is known for his extensive output of incidental music for the stage. His light operas, including Merrie England, hold a place still in the repertoire. German also wrote symphonies, orchestral suites, and some piano pieces. The Polish Dance nods to the Chopin’s Mazurkas and is none the worse for that. It balances high spirits with more reflective moments.

Frank Bridge’s Berceuse was dished up in several editions, including for small orchestra, violin or cello and piano, violin and strings, and a late addition in 1929, as a piano solo. This exquisite lullaby features a delicate, calming tune that perfectly lives up to its title. In true Frank Bridge fashion, it transcends the boundaries of mere salon music, revealing layers of subtlety and elegant craftsmanship.

Two works are heard by cinema pianist and broadcaster Jack Wilson. Phantom Fingers ticks all the boxes of “novelty, syncopated or rhythmic piano solos.” It is his only published piece. The second, still in manuscript, is the undated Shadows on the Moon. It fairly swings along, with little gloom in these pages.

Cavatina by John Ireland has had numerous incarnations. Originally produced in 1904 for organ, and violin and piano, it “shows that Ireland had a gift for melody in the style of say Elgar’s Salut d’amour or Chanson de Matin”.

Transitioning from violinist to rhythm pianist, Peggy Cochrane, wrote Busy Day in 1941. This lively item highlights a jazzy left hand and a delightful, almost mischievous, flurry of notes in the right hand.

Roger Quilter is recalled for his incomparable songs. There are a few pieces for piano, including Three Studies and Three English Dances. The present Country Dance is from incidental music for the 1921-22 Old Vic production of Shakespeare’s As You Like It. Grainger-esque, it uses “off beat rhythms” and “teasing counter melodies.”

Arthur Sullivan is usually paired with W.S. Gilbert in peoples’ minds. Yet in recent years, his non-Savoy-Opera music has gained a hearing, especially in the recording studio. He did not produce many piano works: the liner notes state that there are only nine original pieces published in his lifetime. The two Thoughts here date from 1862 and clearly have a debt to Felix Mendelssohn. They are full of melodic charm and pianistic delight.

One work that may surprise the listener is Lennox Berkeley’s Java. This parody was written in 1932 and was originally part of an unrealised ballet score. Lots of wrong notes and chords here (think Les Dawson!) and a good impression of the “salacious” dance that was the rage in post war Paris in 1919. The arrangement here was made by composer, historian, and pianist, the late Peter Dickinson.

The final track on this charming CD is Richard Addinsell’s Blithe Spirit Waltz, taken from the eponymous 1945 film starring Rex Harrison, Kay Hammond, and Constance Cummings. This was a supernatural, black comedy derived from Noel Coward’s stage play. The Waltz is a wonderful evocation of Elvira (Hammond), Charles’s (Harrison) first wife, who is summoned at a seance.

The CD booklet is a model in design. Beginning with a brief outline of each composer, in alphabetical order, this is followed by succinct comments on each work in batting order. They are clear to read. Illustrations of sheet music covers enhance the impact of this insert. A note on the soloist is included.

This is the third CD in Paul Guinery’s exploration of light music classics. In 2020 he released Dicky Bird Hop (reviewed, here, and here) and two years later Chasing Moonbeams. (Sadly, not yet assessed for MusicWeb International).

Tremendous playing by Paul Guinery, an outstanding recording, and splendid packaging contribute to the success of this CD. Each piece is played with love and enthusiasm, and is never condescending, which is the way that light music ought to be performed.

Track Listing:
Harry Engleman (1912–2002)
Finger Prints (1936)
Haydn Wood (1882–1959)
Longing (1917)
Cecil Macklin (1883–1944)
The Cockney Crawl (1914)
Jack Strachey (1894–1972)
Anna’s Polka (date unknown)
Amy Woodforde-Finden (1860–1919)
Kashmiri Song (1902) (Trans. Stephen Hough, b.1962)
Harry Revel (1905–1958)
Did You Ever See a Dream Walking? (1933) (Trans. Billy Mayerl)
I Feel Like a Feather in The Breeze (1936) (Trans. Billy Mayerl)
Edward German (1862–1936)
Polish Dance (1891)
Harry Engleman
Golden Chain (1937)
Frank Bridge (1879–1941)
Berceuse (1901)
Jack Wilson (1907–2006)
Phantom Fingers (1934)
John Ireland (1879–1962)
Cavatina (1904)
Peggy Cochrane (1902–1988)
Busy Day (1941)
Harry Revel
With My Eyes Wide Open I’m Dreaming (1934) (Trans. Billy Mayerl)
You Hit the Spot (1936) (Trans. Billy Mayerl)
Roger Quilter (1877–1953)
Country Dance (1920)
Arthur Sullivan (1842–1900)
Thoughts, op. 2 No. 1 (1862)
Thoughts, op. 2 No. 2 (1862)
Jack Wilson
Shadows On the Moon (date unknown)
Billy Mayerl (1902–1959)
Shy Ballerina (1948)
Lennox Berkeley (1903–1989)
Java (1932) (Trans. Peter Dickinson, 1934-2023)
Richard Addinsell (1904–1977)
Blithe Spirit Waltz (1945)
Paul Guinery (piano)
rec. 4-5 January 2024, St John the Evangelist Church, Oxford
EM Records EMR CD088

Eclogue: a rewarding cornucopia of British music

Latin students will tell you that the word Eclogue is usually taken to refer to a poem in the classical style and is invariably on a pastoral subject. Many poems in this genre are referred to as ‘Bucolic.’  Sometimes, they were devised as a dialogue or even as a singing competition between two shepherds or goatherds. This literary device is helpful in appreciating much of this captivating, but not demanding CD. 

The above noted shepherds often seemed to have played wind instruments (pan pipes and flutes) so it is appropriate that the opening work is written for that most pastoral instrument, the oboe. The Devon born composer Clive Jenkins penned his Three Pieces for oboe and strings as recently as 2021. That said, there is a timelessness about this music that defies stylistic categorisation. The three contrasting movements are, Pastorale (naturally!), Air and Scherzo.

The best known number on this disc is Gerald Finzi’s eponymous Eclogue. Originally the slow movement of an abandoned piano concerto dating from 1927, it was given its present title by his friend, Howard Ferguson. A contemporary reviewer stated that the Eclogue’s “…calm serenity…[was] typical of Finzi’s slow movements...there is a rare mood of tranquillity – it unfolds in a Bachian manner [an aria?]”  It is a perfect synthesis of English pastoralism with an older baroque style. The other movements of the “concerto” would appear as the Grand Fantasia and Toccata, op.38, in 1953.

I have not knowingly come across any music by Don Shearman. The two tracks on this CD come from a charmingly titled (but undated) suite Eine Kleine Leichtmusik. Venice in the Rain celebrates the composer’s “favourite holiday destination.” As the liner notes state, it is only a passing shower and not a downpour. The piece is presented as a gentle barcarolle, the song of the gondoliers, which is often used to evoke the Serenissima. Shearman’s other contribution is Seventeen going on Eighteen. This has nothing to do with celebrating the rite of passage from holding a driving license to being allowed to drink alcohol! The fact is that it is all to do with time signature mathematics. It is characteristic of 1950s light music. It is delightful and has all the hallmarks of that genre. There are obligato passages for solo violin and harp.

Alan Ridout’s Concertino for flute and strings was completed in 1978. It is one of a series of concerted works that he wrote between 1974 and 1979. This Concertino is in three movements with the Scherzo being the second. The heart of the composition is the slow, and pensive, finale. Despite being the most “advanced” item on this CD, there is nothing challenging. This is my big discovery on this album.

Two arrangements follow. In 1960, William Lloyd Webber wrote a series of six Country Impressions for a variety of wind instruments with piano accompaniment. Unfortunately, only two of them have been recorded – Frensham Pond and Mulberry Cottage. The former is one of the loveliest things that Lloyd Webber wrote. Even the title of this little piece for clarinet and piano will inspire the lover of English music. Frensham itself is down near Farnham and is now a beautiful mix of woodland, heath and water. It is small wonder that Lloyd Webber was attracted to this place. Yet this is no rambling pastoral whimsy. It is controlled, economical and straight to the point. Peter Cigleris has provided the present arrangement for clarinet and string orchestra. It is a minor desideratum that someone will issue the full set of Impressions.

No introduction is needed for Ronald Binge’s ubiquitous The Watermill dating from 1955. Readers of a certain vintage will recall its use as an interlude on TV. Slightly more recently it was heard in the BBC television adaptation of Frances Hodgson Burnett’s evergreen The Secret Garden (1975). This is a lovely pastoral piece that makes an accomplished use of the solo oboe and strings. Included in the score is a harp which lends weight to the cascading effects of the water. It is music to soothe even the most troubled mood.

The only piece dating from the nineteenth century on this disc is the surprisingly fresh and timeless Romance from Concertino for Harp and Orchestra, op. 34 (1847) by Elias Parish Alvars. Alvars was regarded as one of the “greatest and certainly one of the most significant classical harpists of his day.” This slow movement is quite simply gorgeous in its gentle exposition of musical material. It would be ideal if SOMM could revisit this composer and record the entire work, with the present soloist and band. After all, it did get Hector Berlioz’s “enthusiastic endorsement” when published in Paris.

The poignant Y Deryn Pur was written in 2007 for that year’s Presteigne Festival of Music and the Arts. It was scored for oboe, violin, viola and cello. Souped up for full string band for this recording, it is an exquisite bit of impressionism. The title translates as The Gentle Dove. It is another of my “big” discoveries on this album.

Joseph Horowitz is surprisingly ignored by broadcasters and record companies. Born in Vienna in 1926, he emigrated to Britain in 1938. He remained here until his death in February 2022. Not beholden to any particular “school,” he wrote much approachable music. The present Concertante for clarinet and strings was completed in 1948: it was his first acknowledged orchestral work. This short piece encompasses many different moods – from infectious rhythms to moody introspection. It is grateful to the soloist and is balanced by effective string writing.

Originally one of a set of piano duets, Robin Milford’s Mr John Peel Passes By was arranged for string orchestra around 1930. It was the first of Two Orchestral Interludes. It is a short, but subtle, adaptation of the well-known Cumberland Hunting Song. The other Interlude was Ben Jonson’s Pleasure which was an adaptation of the famous melody to his song, Drink to me Only. It is a pity that this could not have been included on this CD. But what to omit?

The final work is the Piano Concertino by Clive Jenkins. This was finished in 2018 and dedicated to the present soloist, Margaret Fingerhut. The liner notes are correct in celebrating the fact Jenkins is “unafraid in the teeming world of contemporary art to write music that communicates itself to the…listener.” It is certainly a gratifying score. The opening and closing movements are vivacious and are balanced by a beguiling Moderato. This latter could easily become a Classic fm favourite.

This enjoyable album is well played in its entirety. The soloists and the Chamber Ensemble of London under Peter Fisher are clearly enthusiastic about this cornucopia of British music. The liner notes by Robert Matthew-Walker provide a satisfactory introduction to all this repertoire. The usual CVs of the performers are given. Best of all is the cover graphics: Wassily Kandinsky’s redolent Painting Impression III (Concert, 1913).

Track Listing:
Clive JENKINS (b. 1938)
Three Pieces for Oboe and strings (2021) [9:09]
Gerald FINZI (1901-56)
Eclogue, op. 10 (1929) [11:01]
Don SHEARMAN (b.1932)
Venice in the Rain (Eine Kleine Leichtmusik)(?) [2:32]
Alan RIDOUT (1934-96)
Concertino for flute and strings (1978) [7:45]
William LLOYD WEBBER (1914–82)
Frensham Pond (arr. Peter Cigleris (b.?) (1960) [2:56]
Ronald BINGE (1910–79)
The Watermill (1955) [3:41]
Elias Parish ALVARS (1808-49)
Romance from concertino for harp and orchestra, op. 34 (1847) [4:57]
Cecilia MCDOWALL (b.1951)
Y Deryn Pur (2007) [8:10]
Don SHEARMAN (b.1952)
Seventeen Going on Eighteen (Eine Kleine Leichtmusik) (?) [3:20]
Joseph HOROVITZ (1926-2022)
Concertante (1948) [8:10]
Robin MILFORD (1903–59)
Mr John Peel Passes By (c.1930) [1:58]
Clive JENKINS
Piano Concertino (2018) [12:05]
Chamber Ensemble of London/Peter Fisher
Margaret Fingerhut (piano), Gabriella Dall’Olio (harp),
Peter Cigleris (clarinet), Judith Hall (flute), Michael Stowe (oboe)
rec. 9 September 2020, Henry Wood Hall, London; 1 December 2009 (Finzi, Jenkins Piano Concertino), 6 December 2015, (Lloyd Webber, McDowall), Kingston University
SOMM RECORDINGS SOMMCD0653 [75:54]

The Golden Age of Light Music: The Runaway Horse & Other Library Lollipops

The eponymous track written by Edward White is surely a favourite of all those people who love magic and fairy tales. Many children wanted a rocking horse: most enjoyed a ride on a carousel. The course of the music makes it very easy imagine a wooden horse jumping off his rockers (or cranks) and going for a canter into some romantic English landscape. The music describes the diminutive horse playing by himself. He gallops and trots and jumps. But soon he begins to tire. There is one last frolic and then, as if by magic, he is back on his wooden frame. The piece ends with a little sigh.

There are a few trips abroad with this CD. Harry Dexter takes us for a little jaunt into France with his lady friend – ‘La Compagne’: more a stately dance really.  I have not come across Julius Steffario before (actually a pseudonym for Amsterdam born composer Jan Stoeckart). ‘Mexican Serenade’ is a lovely laid back little piece, but I think musically researched from books rather than a visit to that country. We can include Archibald Joyce’s ‘Vision of Salome’ in the ‘travel section’ of this review. The composer is concentrating on her performing a decorous dance rather than the ‘Seven Veils’ or the foolishness that led to the beheading of John the Baptist. A very suburban Salome, indeed. From the Middle East to Bonnie Scotland is an eight hour journey flight. However, the setting of Charles Williams ‘Highland Lament’ predates international flight. This beautiful tune has all the emotion of Bonnie Prince Charlie surveying the wreckage of his dream after Culloden and all the romance of Flora MacDonald aiding his escape. A truly evocative piece.

Now, I do not imagine that Frederic Curzon travelled much farther east than Tilbury to get the inspiration for his ‘Chinese Scene’. It is definitely Shanghai seen through the lens of Southend Pier.  ‘Flametta ‘sounds like a girl’s name –or it could be simple a ‘flame’ seen by night. Quite definitely Anthony Collins found his lady or fire in Sunny Spain. Sandalwood comes from many parts of the world – including Pakistan, Japan and Hawaii. Trevor Duncan has opted for something quite oriental – complete with snake charmer type music in his ‘The Scent of Sandalwood’. I was not quite sure what the title of Stephen Fenora’s (probable pseudonym of an unidentified composer) ‘Viva Villa’ implied. Was it a tribute to Aston Villa FC? There was a 1934 film of that title set and filmed in Mexico. Let us just say it is a lively piece that does not reflect Aston Villa’s positon in the Premier League (as of December 2015).

Sports and out-of-doors pursuits are not forgotten. I loved the sheer liveliness of Gilbert Vinter’s ‘Water Ski Ride’.  Mood pieces such as Harold Smart’s quirky ‘Peek-a-Boo’, with the instruments almost ‘vocalising’ the piece’s title and presenting a lovely romantic ‘middle eight.’  I do wonder what the ‘Circus Lad’[s] job was. Perhaps he was a trainee lion tamer, or maybe led the horses. A zippy little tune by Phillipe Pares that fairly bounces along. Maybe he was an acrobat?

As a child I used to hate table-talk when visiting family. I used to try and escape and read a book. Looking back from nearly sixty years of age, I wish I had paid more attention – I might have learnt a lot about my family that has now passed into the mists of time. Dolf Vander Linden’s ‘Table Talk’ seems fairly reserved and not at all ribald or boisterous.  I am not sure what ‘Patterns’ Ken Warner is suggesting in his short piece, but it is a pleasant little number with some clever orchestration.  King Palmer suggests that we ‘Pull Up your Socks.’ Small boys at my primary school used to have garters with a little flash to avoid this problem developing. I never did.

Ronald Binge’s ‘The Liberty Boat’ seems to be a play on words or notes. Allusions to John Philip Sousa’s well-known ‘Liberty Bell March’ may conceal a vote of thanks to the USA for the 2,710 examples of this class of ship built during the Second World War. They contributed towards replacing the British merchant fleet lost to German U-boat attacks.

The lady imagined by Bruce Campbell as being ‘Pert and Pretty’ seems to epitomise a mid-nineteen fifties lady about town. Equally attractive is William Davies ‘Melody Maid’, which opens the proceedings on this CD.  And the ‘Girl on the Calendar’ by Clive Richardson is more likely a ‘deb’ than a pin-up. One of my favourite pieces on this CD.

Anthony Mawer takes us to some candlelit, open-air restaurant somewhere on the Mediterranean coast with his ‘Starlight Concerto’. Written for piano solo and orchestra this is a fine sub-Warsaw Concerto bit of romantic persiflage.

It is good to have a piece by the classically-trained Billy Mayerl. Still best known for his syncopated novelty piano solos and his theme tune,’ Marigold’, some of his music has been transcribed for orchestra. ‘Maids of Honour’ may well refer to a wedding or possibly cakes. This is one of his gentler pieces that nods towards something a little more classical.

Walter Collins is a regular on this series of CDs, also known as Billy Mack he is still recalled as one-time musical director at the famous Art-Deco Pavilion at Bexhill-on-Sea. ‘Team Spirit’ is one of those jolly pieces that suggest Boy Scouts at their jamboree, all pulling their weight at some project such as fording a river.  Another jolly hockey sticks type of piece is Leslie Bridgewater’s ‘Spirit of Youth’. I guess that even in 1946, youngsters would have found this a wee bit tame and possibly patronising. Not a whiff of jive or swing.

I was delighted that Tony Claydon and Alan Bunting chose to round of this enjoyable programme with three numbers from the late Ernest Tomlinson, who died this year.  I did look up the internet to see what imagery the composer wished to portray with his vivacious ‘Sheerline’. It seems that it refers to a luxury Austin car. This was designed before the Second World War but did not go into production until 1947.  Certainly this music exudes luxury, happy times and good living.  Picnic at the races sort of idea. The next piece, ‘House of Horrors’ is really not quite as terrifying as the title might imply. The inhabitants seem mischievous rather than wicked. Some effective and spooky woodwind that sounds a bit avant-garde at times! Tomlinson’s final contribution is exactly as it says ‘on the tin’ – ‘Gay and Vivacious’.  In mood we are more or less back on board the Austin, only this time out for a spin in the South Downs and maybe an evening in Brighton. 

A great selection of light music drawn from the music publisher’s libraries. Lots to interest the enthusiast of this genre. A few favourites and lots of new discoveries. It never ceases to amaze me that all this music is still available, and just keeps on coming from Guild. Long may it continue!

Track Listing:-

William DAVIES (1921-2006) Melody Maid, Connaught Light Orchestra (1960) [2:29]  

Harry DEXTER (1910-73) La Compagne, New Century Orchestra conducted by Erich Borschel (1958) [2:06]

Gilbert VINTER (1909-69) Water Ski Ride, Louis Voss & his Orchestra (1961) [2:20]   

Leslie BRIDGEWATER (1893-1975) Spirit of Youth, New Century Orchestra conducted by Sidney Torch (1946) [2:51]  

Edward WHITE (1910-94) The Runaway Rocking Horse, New Concert Orchestra conducted by Jay Wilbur (1946) [3:40]  

Ken WARNER (1902-88) Patterns, New Century Orchestra conducted by Erich Borschel (1961) [2:28]

Julius STEFFARO (b.1927) Mexican Serenade, Hilversum Radio Orchestra conducted by Hugo De Groot (As Hugh Granville) (1957) [2:56]    

Clive RICHARDSON (1908-98) Girl on the Calendar, Queen’s Hall Light Orchestra conducted by Robert Farnon (1956) [2:26]

King PALMER (1913-99) Pull Up Your Socks, Westway Studio Orchestra (1960) [3:07]

Anthony MAWER (1930-99) Starlight Concerto, Hilversum Radio Orchestra conducted by Hugo De Groot (as Hugh Granville) (1961) [3:16]      

Bruce CAMPBELL (?) Pert and Pretty, Lansdowne Light Orchestra (actually Stuttgart Radio Orchestra conducted by Kurt Rehfeld) (1957) [2:53]   

Archibald JOYCE (1873-1963) Vision of Salome: Waltz, New Century Orchestra conducted by Sidney Torch (1946) [2:50]    

Ronald BINGE (1910-79) The Liberty Boat, Lansdowne Light Orchestra (actually Stuttgart Radio Orchestra conducted by Kurt Rehfeld) (1956) [2:31]   

Dolf Van Der LINDEN (1915-99) Table Talk, Dolf Van Der Linden & his Orchestra (1954) [2:40]

Phillipe PARES (1901-79) Circus Lad, Grosvenor Studio Orchestra (1957) [2:35]

Charles WILLIAMS (1893-1978) Highland Lament, Queen’s Hall Light Orchestra conducted by Charles Williams (1945) [2:44]

Harold SMART (1921-80) Peek-a-boo, The Bosworth Orchestra (1962) [2:21]    

Frederick CURZON (1899-1973) Chinese Scene, New Century Orchestra conducted by Alfred Matchat (1962) [2:29]  

Anthony COLLINS (1893-1963) Flametta, New Century Orchestra conducted by Erich Borschel (1958) [2:55]

Trevor DUNCAN (1924-2006) The Scent of Sandalwood, New Concert Orchestra: conductor not named (1962) [3:50]  

Stephen FENORA (?) Viva Villa, Crawford Light Orchestra (1962) [3:02]          

Billy MAYERL (1902-59) Maids Of Honour, Lansdowne Light Orchestra (actually Stuttgart Radio Orchestra conducted by Kurt Rehfeld) (1957) [3:29]           

Walter COLLINS (1892-1956) Team Spirit, London Promenade Orchestra conducted by Walter Collins (1949) [2:50]  

Ernest TOMLINSON (1924-2015) Sheerline, Crawford Light Orchestra  (1962) [2:44]  

Ernest TOMLINSON House of Horrors, New Century Orchestra conducted by Eric Borschel (1959) [2:32]           

Ernest TOMLINSON as Alan Perry Gay and Vivacious, Louis Voss & his Orchestra (1961) [2:08]

All track in mono.

Dates refer to recording, not composition.

Guild Light Music GLCD5232 

With thanks to MusicWeb International where this review was first published.

The Golden Years of Light Music -Grandstand: Production Music of the 1940s

I was interested to understand what the subtitle ‘Production Music of the 1940s’ of this new CD in the Guild Light Music series implied. The liner notes state that it was music ‘provided by publishers for use by professionals mainly in the entertainment business.’ Very often this music was specifically composed for the purpose and may have lasted only for a few seconds. I once discovered a CD of music for this purpose containing a number of very brief pieces by Edward White (of ‘Runaway Rocking Horse’ fame) and Trevor Duncan. These included ‘City to Suburb’ (20 sec.) ‘Bright Lights’ (34 sec.) and ‘Bound for the Country/Coast’ (38 sec.) I guess that none of these would be viable for general listening, but I imagine that they would be of great use to someone making a documentary film or newsreel. Some of these ‘production’ pieces have become popular over the years and fortunately are usually slightly longer. This present CD explores a wide variety of this ‘mood music’ from some of the very best of light music composers. 

The CD gets off to a great start with Robert Farnon’s ‘Grandstand’ which was sometimes also listed as ‘Holiday Party Time’. It is an enervating tune that certainly gives a good impression of a day at the races. Jack Beaver’s ‘Radio Theatre’ is a little bit more romantic in its mood, suggesting a quiet night-in listening to the wireless.  Edward White provides a bouncy little ‘Caprice for strings’ that is neat, tight and written with pure craftsmanship.  I am not sure what ‘Horse Feathers’ are, unless it refers to the Marx Brother’s film, but Philip Green’s tune of that name is a lugubrious little canter down a country lane. I wonder who ‘Tricksy’ was. Frederick George Charrosin is not specific about the source of his melody. Yet this is a happy-go-lucky person who is accompanied on his/her peregrinations by some lively music and clever orchestration. ‘Eunice’ by the well-regarded Charles William’s is an attractive little waltz that is full of summer sunshine.

I have long admired the music of Montague Ewing and have a fair number of his piano works on my shelves. However the ‘Phantom Piper’ is one of the few orchestral works from his pen that I have heard. It would appear to have begun life as a ‘novelty’ piano solo. I guess the ghostlike bells make this into a kind of spooky piece. But somehow I do not think this piper is too scary.  We all enjoy visiting Sunny Spain: Robert Busby has given a delightful impression called ‘A Refrain from Spain.’ Whether he had been there or not is immaterial: it is a kind of romantic picture of the Iberian Peninsula seen through the eyes of an Englishman. Jack Strachey presents a naturally bubbly account of ‘Pink Champagne’ which after a ‘big’ introduction launches into a vivacious waltz.  I had to check out who ‘Shock Headed Peter’ was. Seemingly, it derives from a German children’s book published in the 1840s. These morality tales included a character who was rather like Edward Scissorhands with spiky ‘electrified’ hair. Ronald Hammer gives a good musical picture of this character, with wayward music. Just occasionally a little waltz tries to establish itself. However, Peter never really gets the girl. It is one of the cleverest and most subtle pieces on this disc.

Jack Beaver has given us a fine impression of a ‘Mannequin’. In this case I think it is a beautiful lady displaying a new dress rather than the more prosaic three-dimensional display dummy in Dickins and Jones.

It is almost certain that the plans for the first British motorways were being developed in the late 1940s. However, Frank Tapp’s music probably refers to something a little less ambitious. The Germans had their autobahns: the first opened between Cologne and Bonn in 1932. More likely it was the Great West Road in London which was opened by King George V in 1925 as Britain’s very first dual-carriageway that inspired Tapp.  Frederic Curzon presents a good ‘Capricante’ which has an oriental feel to it. ‘News Reel’ by Len Stevens seems to suggest good news as opposed to something nasty. This ‘news’ is something positive, possibly describing a sporting event or a royal walkabout. The ‘trio’ is a really good tune that deserves to be heard more often. Philip Green has gone to Africa or the West Indies for his ‘Voodoo’ inspired piece. Alas, it sounds more like a day trip to Casablanca than something more mysterious.

‘Holiday Parade’ by Walter Collins is my favourite piece. It takes me back to the annual trip to Morecambe. All the delights of the seaside are presented to the mind’s eye. There is walk on the beach, a stroll along the pier, Punch and Judy and the high diving board at the lido.  And the journey was made behind a British Railways express locomotive.

The next piece calls to mind pantomimes at Christmas. ‘Tinkerbell’ from J.M. Barrie’s Peter Pan was basically a good, if occasionally naughty, fairy. But the audience is always happy to help Peter bring her back to life. King Palmer’s music squares the circle of her wayward character. Yet it is a piece of music that I seem to know from somewhere, but where?

I have not consciously heard anything by Geoffrey Henman. His ‘Charmeuse’ has a delightfully romantic French mood to it. This is a late night waltz with a very special lady. Equally romantic is Tony Lowry’s ‘Valse d’Amour’.

I am not sure if Michael North’s ‘Coliseum March’ refers to the ancient monument in Rome or to the Theatre in London. Certainly, it seems to suggest a night out at the shows rather than succumbing to the violence of the gladiators or the lions’ teeth.  I cannot fathom what mood music Eric Winstone is creating with his ‘Chinchilla.’ My dictionary defines the title as a ‘crepuscular rat’ so there must be some symbolism here that I do not understand. However, he does sound as if he is a romantic little fella at heart. Alfred Nieman’s ‘Parade of the Chessmen’ is a shrewd little piece. This is a military parade with a little bit of syncopation and not too much in the way of preparation for battle.

Clive Richardson is one of the better known writers of light music with famous numbers including ‘Beachcomber’ and the wartime hit, ‘London Fantasia’. His ‘The Theme for Romance’ could also be set in London, however this time it is more likely to be in the ballroom of the Dorchester Hotel or the Savoy Grill with the one you love, rather than an ‘ack-ack’ position on Hampstead Heath.  The Spanish mood is recreated by Mark Lubbock’s ‘Fiesta’. This is a rip-roaring piece that is full of sunshine and castanets.  The final work on this CD is another of my favourites – ‘Golden Arrow’ by Jack Beaver. I could elaborate on the image behind the title for many pages, however it fair to say that this is a railway piece ‘par excellence’. The Golden Arrow was the luxury boat-train initiated by the Southern Railway in 1929 between London Victoria and Dover, where passengers transferred to the cross-channel ferries bound for Calais and then onward to Paris.  It ceased in 1972. Beaver creates all the excitement that this journey would have generated. 

Once again Guild Light Music have presented listeners with a pot-pourri of musical material with something to appeal to everyone. The liner notes by David Ades are excellent and include a detailed analysis of the genre of ‘production music’. All the tracks have been beautifully restored, bearing in mind that they are between 65 and 75 years old. Something tells me that there will be more volumes of this particular genre of light music waiting in the wings. I look forward to reviewing them when they are released. An album to be highly recommended to all enthusiasts of light music.

Tracklisting:-

Robert Farnon (1917-2005) ‘Grandstand’ Queen’s Hall Light Orchestra conducted by Robert Farnon (1948)  

Jack Beaver (1900-1963) ‘Radio Theatre’ New Century Orchestra conducted by Sidney Torch (1947)             

Edward White (1910-1994) ‘Caprice for Strings’ London Promenade Orchestra conducted by Walter Collins (1947)    

Philip Green (1911-1982) ‘Horse Feathers’ Queen’s Hall Light Orchestra conducted by Sidney Torch (1947)   

Frederick George Charrosin (1910-1976) ‘Tricksy’ West End Celebrity Orchestra (1942)     Charles Williams (1893-1978) ‘Eunice’ Queen’s Hall Light Orchestra conducted by Charles Williams (1946) 

Montague Ewing (1890-1957) ‘Phantom Piper’ Louis Voss Grand Orchestra (1944) 

Robert Busby (1901-1952) ‘A Refrain from Spain’ Queen’s Hall Light Orchestra conducted by Robert Farnon (1947)    

Jack Strachey (1894-1972) ‘Pink Champagne’ West End Celebrity Orchestra (1947) 

Ronald Hanmer (1917-1994) ‘Shock-Headed Peter’ Harmonic Orchestra conducted by Hans May (1949) 

Jack Beaver ‘Mannequin’ New Century Orchestra conducted by Sidney Torch (1947) ]

Graeme Stuart real name Frank TAPP (1893-1953) ‘New Highway’ Regent Classic Orchestra (1947)   

Frederic Curzon (1899-1973) ‘Capricante’ New Concert Orchestra conducted by Jack Leon (1948) [3:28]           

Len Stevens (?-1989) ‘News Reel’ New Century Orchestra conducted by Sidney Torch (1947) 

Philip Green ‘Voodoo’ Louis Voss and His Orchestra (1947)         

Walter Collins (1892-1956) Holiday Parade’ London Promenade Orchestra conducted by Walter Collins (1946) 

Cedric King Palmer (1913-1999) ‘Tinkerbell’ London Promenade Orchestra conducted by Walter Collins (1946)

Geoffrey Henman (b.1896-?) ‘Charmeuse’ Queen’s Hall Light Orchestra conducted by Charles Williams (1946) 

Michael North (1902-1960) ‘Coliseum March’ Queen’s Hall Light Orchestra conducted by Charles Williams (1946)    

Tony Lowry (1888-1976) ‘Valse D’amour’ Queen’s Hall Light Orchestra conducted by Philip Green (1946) 

Eric Winstone (1915-1974) ‘Chinchilla’ New Century Orchestra conducted by Sidney Torch (1947)     

Alfred Merlin, real name Alfred Nieman (1914-1997) ‘Parade of the Chessmen’ London Promenade Orchestra conducted by Walter Collins (1947)           

Clive Richardson (1909-1998) arr. Adrian FOLEY ‘Theme for Romance’ Queen’s Hall Light Orchestra conducted by Robert Farnon (1947)    

Mark Lubbock (1898-1986) ‘Fiesta’ Queen’s Hall Light Orchestra conducted by Robert Farnon (1947) 

Jack Beaver ‘Golden Arrow’ New Century Orchestra conducted by Sidney Torch (1948) 

All tracks ‘Mono’

Dates refer to recording, not composition.

Guild Light Music GLCD5220 

With thanks to MusicWeb International where this review was first published. 

The Golden Age of Light Music: Non-Stop to Nowhere

Guild Records could have easily sold me this latest CD on the strength of the cover alone. The former London, Midland & Scottish Railway poster entitled ‘Scot passes Scot’ by the artist Bryan De Grineau is a definite bonus. For many years the named train ‘The Royal Scot' departed simultaneously from Glasgow Central and London Euston stations at 10am. The journey would have taken some seven hours. Just quite where the two trains passed I leave to railway enthusiasts, but I guess it must have been somewhere north of Crewe.

This present CD does have a few fine railway-inspired pieces included in the track listings, however the basic premise of this release is to include a pot-pourri of all kinds of ‘light’ music.

Beginning with the travel-themed pieces, the album’s title track refers to a bouncy number by Tony Hatch. Older listeners will readily associate his name with Petula Clark and Jackie Trent. Hatch has had a long successful career writing a wide variety of ‘popular’ and ‘light’ music, including a huge number of TV theme-tunes. His work as a producer included the ‘fab’ Merseyside group, The Searchers. ‘Non-Stop to Nowhere’ was written under the pseudonym of Mark Anthony. 

I enjoyed George Siravo’s musical picture of a taxi journey through the streets of New York or Chicago. ‘Hey Taxi’ makes use of motor horns and muted trumpets to give it that frenetic mood. We are back on the railways again with Ernest Tomlinson’s (Alan Perry) ‘Starlight Special’. Not too sure whether this train leaves from Crewe or Clapham Junction, but progress seems smooth and uninterrupted by red signals or leaves on the line. It is a classic piece of transport music. I must confess I expected something a little more romantic: Tomlinson has actually given us a jaunty dash along the tracks by night.

I am not sure if Arnold Steck’s (Leslie Statham) ‘Ten to One’ is meant to refer to a train time or good odds on a horse. In actual fact it is a worthy march tune. But as Major Statham was director of The Band of the Welsh Guards, it is safe bet that this tune certainly makes the running.

Alec Rowley is best known for his massive output of piano music, much of it designed for teaching purposes. But there is serious side to this composer. Listeners may be aware of his Piano Concerto released on Naxos a number of years ago. Then there is a fine corpus of organ music that warrants exploration. Included in his output are a number of orchestral suites and overtures. ‘Down Channel: Overture’ is a nautically inspired piece: it makes use of two or three shanties including ‘A-Roving’ and ‘Shenandoah’. This overture is an attractive work that cries out for a modern day recording. Certainly there are a number of other striking pieces in Alec Rowley’s repertoire that could form part of a ‘retrospective’ CD of orchestral music –these include the evocative sounding ‘From a Devon Headland’, ‘Miniatures in Porcelain’, and the ‘Nautical Suite’.

The opening track on this CD is a big romantic piece that reflects what it is like to be ‘On the Side of the Angels’. I have not heard of Sheldon Harnick (and the other co-composers) however this American is quite capable of writing great film music. Alas, this is what this piece never was. Made up from cuttings from a projected movie score it makes use of orchestral and big band pyrotechnics.

Another American is the well loved Andre Previn who presents the darkly named 'The Four Horsemen of the Apocalypse.’ It is not quite as dramatic as the title suggests. A good, well written piece that is just a little different to most of the works on this CD.

The CD contains a good clutch of breezy, jolly tunes that largely epitomise the world of light music in the 1950s and 60s.  Peter Dennis’ (Dennis Arthur Berry) ‘Candy Floss’ most likely describes a vivacious lady at the Opera House in Blackpool rather than the delicious spun sugar served along the Golden Mile. This mood is repeated in Van Phillips’ ‘Twinkle Toes’. This certainly does not refer to my attempts at the foxtrot or the tango on the floor of the Tower Ballroom. Yet there is something warm and comforting about this carefree music.  In the same vein is Onslow Boyden Waldo Warner’s (quite a mouthful and better ‘kent’ as Ken) ‘Poppet’. She is very definitely a classic example of a late ‘fifties miss.

Florian ZaBach hailed from the good ole’ US of A and gave the world considerable pleasure with his fiddle playing. He had a million selling hit in 1951 with ‘The Hot Canary’. The present ‘Harum Scarum’ defies analysis – it is just a good romp with a superbly challenging violin part.

‘Frantic Fiddles’ by Johnny Gregory is exactly what is written ‘on the tin’ – there is a definite touch of Leroy Anderson here; I am not quite sure if they are Scottish or bluegrass fiddles.  Cyril Watters is a name that crops up quite frequently in the annals of light music and ‘Folies Parade’ is typical of his ‘bright and breezy’ compositional style. ‘Folies’ I guess refer to theatrical ‘types’ specialising in variety – I think of Caitlin’s Folies in Llandudno. Not convinced that there is a Parisian connection here…

‘Badinage’ means playful of frivolous repartee or banter. Roger Roger’s piece fits the bill. Lots of twittering woodwinds, good string tunes and the occasion blue-note gives the piece pizzazz. I enjoyed the Netherlands composer Dolf Van Der Linden’s ‘Pennsylvania Dutch’ – this is lovely hoe-down music that crosses the ‘herring pond’ in its mood and is certainly appealing. Equally diverse is Ray Martin’s ‘Piccadilly Hoe-Down’ which balances the American exemplar with a lush romantic tune more appropriate to the West-End by night. Look out for ‘Oranges and Lemons’ and ‘London Bridge is Burning Down’.  A great piece. Still in The Smoke (I assume) is Roger Barsotti’s ‘Metropolitan March’. This is hardly ‘pomp and circumstance’ but a good tune that could have been used as a TV Sports theme. In fact it was used in the BBC series ‘Blott on the Landscape’.

Novelty pieces include the anthropomorphic ‘Poor Butterfly’ by Raymond Hubbell and John Golden. This is lovely romantic little number with sweeping strings and electric guitar obligato.  Herbert W. Spencer’s ‘Grasshopper’ is a skittish little number. I have never really studied the habits of grasshoppers but I guess this is probably the kind of music they will party to.

A couple of Latin American inspired pieces include the fine ‘The Awakening of Pedro’ by Mitchell Ayres – sounding a bit like Henry Mancini’s voluptuous strings and comes complete with choral backing. Jacques La Rue takes the listener down to the Dutch ‘Antilles’ in the Caribbean with a catchy little number. Still on the briny is Joe Reisman’s ‘Ballad of the Sea’: it is a little bit of a mixed bag. Nothing to do with nautical types, Bantockian seascapes or ‘jack the lad’. This is mermaids singing in a summer night somewhere quite unspecified. ‘Desiree’ by James Kriegsmann is just a pen portrait of a lovely lady that composer must have met. Pleasant music.

Clive Richardson is well-known to light music fans. Best recalled for his ‘London Fantasia’ depicting the war-torn Capital, the present ‘Jamboree’ seems to have little to do with boy scouting. More likely a trip to the seaside with a lot of fun, fish and chips and fresh air.  It certainly zips along at a fair pace.

Gilbert Vinter is best recalled for his contributions to the world of brass bands. His early ‘Salute to Youth’ and ‘Fancy’s Knell’ are still played. From his orchestral works his ‘Waltzing with (Arthur) Sullivan’ is one of my favourites. ‘Toward Adventure’ is a big powerful number. What the adventure is, I am not sure, but it is definitely some ‘Boy’s Own’ type of heroics.

The final number on this CD is Percy Fletcher’s ‘All the Fun of the Fair’ from his ‘Rustic Revel’s Suite’. It is a cheerful piece that gloriously lives up to its title.

It seems superfluous to say that I enjoyed every bar and every moment of this CD. All the pieces are designed to give pleasure, raise the spirits and make the listener feel optimistic, if sometimes just a little sentimental for past times. The quality of the sound is superb. I hardly realised that I was listening to a so-called historical recordings. The liner notes are outstanding and give all the information that the listener requires.  Once again Guild, the recording engineer Alan Bunting and producer David Ades have dipped into the vast treasure store of light music, In fact, it is more a cornucopia: it never shows any sign of drying up – thank goodness! 

With thanks to MusicWeb Internatioal where this review first appeared. 

The Golden Age of Light Music- Here’s to Holidays

For better or worse, I have always associated ‘light music’ with travel and holidays. The first piece I consciously became aware of was ‘Coronation Scot’ by Vivian Ellis. I can recall that even as a youngster, I could imagine one of Sir William Stanier’s powerful pacific locomotives pounding up Beattock Bank or Shap Summit. I could picture the passengers in the first-class dining car enjoying their lunch as the hills of the Lake District rolled past.  All this was before I got into philosophical arguments about ‘programme’ and ‘absolute’ music. However, the feeling has remained. I can easily settle into a holiday mood whilst listening to any number of ‘light music’ tunes – even if the title does not necessarily imply carefree days at the seaside.

Now, the present CD is a cornucopia of delight for me – and I guess for many others. To be sure, not all the pieces are evocative of a stroll along the prom at Morecambe or watching Punch and Judy at Fleetwood or going for a dip at Blackpool’s long departed and lamented Derby Baths. Nevertheless there is a lot tease the imagination in these tracks. 

The proceedings open with the first of the ‘transport’ numbers – ‘Skyways’. This is an impressive, gutsy piece by Wally Stott with a big, romantic tune complete with swirling harps and bells and whistles but then the mood changes to something a little more up tempo. It is power all the way. I am tempted to say that the first, in this case, is the best.  We are certainly well and truly airborne before our next mode of travel appears on the scene. Alain Nancey’s ‘En Bateau Mouche’ is not a quiet drift down the Seine: it more of a party.  Malcolm Lockyer has taken the concept of ‘holidays’ out of this world with a trip to ‘Venus and Back’ - even Sir Richard Branson is not currently offering that particular vacation. It is a great up-beat piece.  ‘Transcontinental’ is a real railway piece complete with whistles, the rhythms of the rails and the hiss of steam.  Robert Docker is obviously an enthusiast. Something, perhaps the ‘cowboy’ tune, tells me that this piece is inspired by railroads of the good ole’ US of A.  The song ‘The Only Way to Travel’ from the knockabout Crosby/Hope/Lamour film, The Road to Hong Kong is given a romantic turn of phrase by its arranger Robert Farnon.  Steve Race has produced a slightly more exotic feel with his ‘Camel Train’; I was reminded of Latin America rather than Libya with this tune’s rhythm.  I do not know if the purist would regard ‘Water Skiing’ as a mode of travel, but Toni Leutwiler has contributed a wonderful, skittish little tune in the best tradition of light music.  Mantovani has elected to go for a trip on a ‘Rickshaw’. This piece has all the clatter and bustle of Shanghai or Hong Kong.  Finally, on the travel front, Anthony Mawer has penned a lovely piece called ‘Holiday Highway’. It is exactly the kind of tune that I was referring to at the start of this review – I can see in my mind’s eye my father driving the old Hillman Minx down the A6 past (or hopefully stopping at) ‘The Jungle’ transport café on the way to Blackpool.

Part of any holiday is visiting places – some new and some old favourites. Anyone who has been to Rome is always sad to leave: most will have thrown ‘three coins in the Trevi fountain’ but it eventually comes time to say ‘Arrivederci Roma’ and head out to the airport. It is a great song whether sung by Dean Martin or played here by Richard Hayman’s orchestra.  Many years ago the ambition of many British holiday makers was to leave the wet seaside resorts of Clacton and Cleethorpes and head for the ‘Costa Brava’. Philip Buchel has painted a somewhat sophisticated portrait of this long stretch of coast: it is full of atmosphere, only lacking castanets and flamenco guitar.  I am not sure how many people visit ‘Indiana’, but James Hanley and Ballard MacDonald have painted a cool image – complete with electric guitar and sweeping strings.  Heading further east we get into a sultry mood with Dolf Van Der Linden’s ‘Jamaica Road’. This is not to be confused with Jamaica Street in Bermondsey. It begins as a dark, moody work, but suddenly bursts into the light.  Still in the Caribbean, there is Joseph Kuhn’s image of ‘Haiti’. This is such a gorgeous, evocative picture of an island that has such a tragic history. So the message is a wee bit confused. Call it ‘Martinique’ and the imagery is perfect. I enjoyed the South Seas piece ‘Tiara Tahiti’ by Philip Green with all the composers tricks for creating the required mood. Sounds like the score of an Elvis Presley film. I did wonder if I would be bored by ‘The Olive Grove’ by Trevor Duncan: nothing much seems to happen in those sorts of places. This is a dishy little tune; it has a decided Mediterranean feel to it.  The same composer’s ‘The Wine Harvest’ is a number with zing –it has a melody that one seems to already know. It could be anywhere, but Spain seems the best bet: it is more to do with the celebrations rather than the actual harvest and ‘treading’ of the vintage.  The final ‘place’ tune is Werner Richard Heyman’s evocation of ‘Monte Carlo’. All the pizzazz is here: all the opportunities to spend money and dance or bet the nights away. And there is a touch of romance too. It is really a little tone poem. 

Holidays can mean other things than transport and places. It refers to anticipation, reflection and people met. Clifton Johns has given us a classic piece of light music called ‘Holiday Bound’ – it is the enthusiasm engendered in the days before your hols. It does not describe the queues at the airport, the traffic jams on the Brighton Road or the discovery that the tickets were left on top of the piano.  Ivor Slaney has written a short, but big in intention, piece for piano and orchestra – ‘Midsummer Madness’.  I guess that love is behind this tune. O how wonderful and how hurtful can a holiday romance be!  Maybe the cause of the lover’s grief was John Carmichael’s ‘French Flirt’ who no doubt leaves a trail of broken hearts behind.  This is a lovely, lively cheeky piece that lacks French colour – no accordions! Sidney Torch has also meditated on the Gallic mood with his ‘Oo La La’. In spite of this little bit of stereotyping this is full of fun and panache. Anyone would be sorry to have to leave all this gaiety behind. Or maybe the lover’s regret is because of some athletic ‘Beachboy’. Peter Dennis has painted a charming picture of a lively fella’ who is also a pure gentleman.

The classic tune ‘Volare’ (To Fly) by Domenico Modugno is given a fine reworking by William Hill Bowen.  This is a master-class in orchestration with beautiful brass and string passages. The main melody is important, but is surrounded by attractive subsidiary material.

The whole holiday enterprise can be summed up by Ian Sutherland’s ‘Here’s to Holidays’ which is the eponymous track of this CD. This is an exuberant tune that exudes all the excitement of holidays past and present.  Fortunately this composer is still alive –let us hope he is still knocking out tunes as good as this one.

I think, on this hot, sultry, sunny London day I will jump on a train to Eastbourne and have a walk along the pier, listen to the brass band and finish off with fish and chips (and mushy peas) on the prom…

I have raised this issue about Guild recordings before: I wish that they would provide all the composer dates in the track listings or a least in the liner notes. I believe that this is important, even on a ‘light music’ disc.

Like all the previous releases in this series that I have reviewed, I was impressed with the sound recording which is excellent. In spite of my comment about dates, the liner notes are fulsome and give many interesting details about the composers and the artists.

Needless to say, I enjoyed this wonderful selection of ‘holiday’ music. It brought back many happy memories and filled me with new enthusiasms as I picked my way through these tracks. I never listen to Guild CDs end to end, as I enjoy concentrating at least a little bit on each tune.  It is how I suggest that listeners approach this excellent and enjoyable disc. 
Guild Light Music GLCD5205 
With thanks to MusicWeb International where this review was first published.

The Golden Age of Light Music- Melodies for the Starlight Hours

The proceedings get off to a great start with a smoochy, smoky little number by Robert Katscher – ‘When Day is Done’. I guess that this piece epitomises the selection of music on this disc. This Laurie Johnson arrangement emphasises it as a late-night piece. There is a particularly moody break for trumpets before the music closes with a violin solo.

Many of the numbers derive from various ‘shows’ or ‘films’. There is a fine arrangement of ‘I could have danced all night’ from My Fair Lady. The beautiful ‘I’ve told every Star’ comes from the Hammerstein/Kern musical Music in the Air which was premiered in Broadway in 1932.  The Bob Hope and Bing Crosby knockabout comedy The Road to Morocco has given the world the romantic ‘Moonlight becomes you’.  The classic Kurt Weill number ‘Speak Low’ comes from the largely forgotten ‘One Touch of Venus’, whilst ‘During One Night’ is the eponymous title from the 1961 film staring Susan Hampshire and Don Borisenko with a musical score by Bill McGuffie. I am not sure that the harmonica quite supports the mood of Starlight!

I am always pleased to find a number of ‘classic’ British (Commonweath) light music composers represented in these Guild CDs. This disc is no exception.  Steve Race’s ‘In Paris, In Love’ opens with a vamp that could be an introduction to an Adam Faith song! Later, the Parisian mood takes over this well-constructed little tone-poem. A little closer to home Robert Farnon has painted a picture of a ‘typical ‘Home Counties’ evening with his thoughtful ‘How Beautiful is the Night.’ Equally ‘English’ in its mood is Cecil Milner’s ‘Melody for Lovers.’ This composer, who lived in Wimbledon for much of his life, deserves to be better known.  Angela Morley can always be relied upon to deliver an effective and romantic piece of mood music and ‘A Tender Mood’ is quietly restrained and probably reflects lost love rather than an evening of romance.  More positive is Peter Yorke’s ‘Cocktails by Candlelight’. This hints at the magic of two lovers sipping Snowball’s or Cosmopolitans in the Dorchester or Claridges.

Our American allies are well represented here too. ‘Manhattan in Satin’ by Willis Schaefer is evocative of the lamented Rainbow Room in the Rockefeller Center – an elegant lady sitting by the picture windows with all the lights of Manhattan behind her.  Cole Porter’s standard ‘Mind if I make love to you’ is near perfect, whilst up the road Harry Revel has painted a picture  of an evening ‘Underneath a Harlem Moon’ which is a little edgier with a few blue notes, muted trumpets, big band-style breaks and a good part for clarinet. Further south ‘Moon over Miami’ by Edgar Leslie and Joe Burke is Mancini-like with its use of sweeping strings. Over in the Caribbean, David Rose has scored a hit with his ‘Night in Trinidad’. This has the trappings of calypso worked over by a London-born, but Chicago-raised composer. There is a Latin mood in ‘Midnight Tango’ by Hiller, Hiller and Newman: this is the most lively and least starry piece on this CD. I am not sure what the balalaika is doing in the Argentine though?

Balalaikas and accordions inform Hubert Giraud’s attractive ‘Sweet Surrender Waltz’ – something between a music box and a Paris café scene. ‘Orchid’s in the Moonlight’ by Vincent Youmans has a sinister beat, yet the romantic strings play down any suggestion of ‘things of the night.’ Other tunes include the wistful ‘Thinking of You’ by Harry Ruby that makes such effective use of sweeping strings. ‘Take my Lips’ by Teo Usuelli is an upbeat little tune whilst ‘Stranger in Town’ by Malcolm Lockyer reflects on the dichotomy of its title – lonely but full of possibilities. Adolph Deutch’s ‘Lonely Room’ is not quite as sad as the title would imply. ‘Love me if you wish’ penned by Vittorio Mascheroni’s is quite simply beautiful and contains a luxurious trumpet solo.

The final number has gained a double entendre – ‘After Hours Joint’ by J. George Johnson. But perhaps to the innocent all things etc… For me this piece epitomises my idealised view of a nineteen-fifties night club down some half-lit, back street in Fitzrovia. Drum and bass gently supporting strings and piano give just the right atmosphere for a late night hang-out. It is a good place to conclude this exploration of music inspired by the ‘Starlight Hours’.

There is only one issue I have with this CD: I do wish that Guild would provide all the composers’ dates. It is important that the listener is able to ‘contextualise’ these pieces, even although they are ‘only’ light music. I do not expect the dates of composition to be given as I imagine that in many cases this will be well-nigh impossible.

As always with the Guild Light Music series the recording is superb: all the pieces have scrubbed up well.

I enjoyed this relaxed selection of music designed to be heard during the ‘starlight hours.’ It is to be hoped that many more ‘chilled’ tunes are available and will duly be presented in this hugely impressive series of recordings.

Guild Light Music GLCD5196

With thanks to MusicWeb International where this review was first published.

More Exciting Light Music from Guild

What better way of opening the proceedings than with Eric Coates masterpiece (and I do not use that word lightly) the ‘London’ Suite.  I understand that many folk may regard this work as hackneyed. I accept that there will be enthusiasts for RVW’s superb ‘London’ Symphony and for Edward Elgar’s Cockaigne Overture. For me, Eric Coates comes nearest to describing the sights and sounds of the Capital as we find it today – in spite of the fact that it was written 80 years ago. What defines London? Well, I guess that there are three fundamental things – the Red London Bus, the Black Taxi and the London Underground Symbol. And, for me there is Eric Coates.

The ‘London’ Suite was originally called the ‘London Everywhere’ Suite and was composed in 1933 when the composer was 47 years old. There are three movements which portray various facets of the city’s complex and fascinating life.  The first movement is a delightful representation of the old fruit market at Covent Garden. This is presented as a ‘tarantelle’, which allows the composer to create a vivacious sense of hustle and bustle. Counterpointed against this is the lovely old English tune ‘Cherry Ripe’. The middle movement is a dreamy nocturne or meditation on the River Thames at ‘Westminster’. It comes complete with the inevitable chimes of Big Ben. This is not sentimental or trite: it is actually a fine, symphonic slow movement. Finally the well-known ‘Knightsbridge March’ concludes the Suite. I have always imagined this music as depicting a cold winter’s night, a taxi has pulled up outside Harrods, and there are Christmas lights everywhere...  It is hardly surprising that this tune was used in the long-running BBC Radio Programme In Town Tonight.  

I look forward to hearing a complete edition of the orchestral version of Haydn Wood’s ‘Moods’ Suite: there is currently one for piano. Meanwhile we have to make do with the ‘Prelude’ played by the Queen’s Hall Light Orchestra conducted by Charles Williams. It is a striking piece music that conjures up romance with its big broad tune.

I always feel sorry for Frederic Curzon’s Ostracised Imp. I cannot imagine what the poor little fellow must have done to deserve such treatment. Fortunately, Curzon’s delightful score suggests that he has not been sent to Coventry for too long.

The ‘Ballet for Children’ from Arthur Bliss’ superb film score to Things to Come is a very clever piece of music. The mood seems to be one of innocence polluted by menace. Or is it the other way round? The music was used in the film to accompany a group of children at Christmastide playing with ‘weapons of war.’

Blithe Spirit is one of my favourite films. Honest, it has nothing to do with the gorgeous Kay Hammond! The other stars of this 1954 film include Rex Harrison and Margaret Rutherford. The script was written by Noel Coward and the music by Richard Addinsell. The London Symphony Orchestra was conducted by Muir Matheson. What more can a boy ask for?  The ‘Prelude’ and the ‘Waltz’ provide good musical support to this quirky tale.

Back to London again for the excellent ‘Bank Holiday’ composed by Albert Ketèlbey. It is the final movement from the composer’s ‘Cockney’ Suite. This has all the fun of the fair which was held on Hampstead Heath. It is a pity that this work is not quite a well known as his ‘In a Persian Market’ or ‘Bells Across the Meadow’.

Poor old Edward German suffers from being known largely for Merrie England, which is a charming sub-Sullivan-esque operetta that has never quite gained the popularity of the Savoy Operas. However, German has many facets to his career as has been re-discovered in recent releases of symphonic music on Dutton Epoch. Nell Gwynn was written as incidental music for the stage play which was produced in 1900.  Two dances are given here – the Country and the Pastoral. They are good examples of a kind of William Morris medievalism.

Jack Beaver’s Cavalcade of Youth was first heard in a 1950’s radio play called ‘The Barlow’s of Beddington.’ It became an instant hit.  This is music that seems to take its keynote from Walton – without the ‘dissonant bite.’  The only downside is that this ‘fifties music’ does not relate to the present iPod and Games box generation of youth!

I have never heard of John Ansell’s ballet The Shoe. It is something I will investigate and possibly report back on. Ansell is little known these days save for his two attractive overtures The Windjammer and Plymouth Hoe. However, his catalogue would appear to be of considerable size.  I do not know if The Shoe was used for dancing or whether it is simply a musical confection designed for the concert hall or pier-head pavilion. There are three short movements: the first introduces the ‘shoe’. This is followed by an ‘Eastern’ tinged piece representing the sandal as maybe worn by Scheherazade? The final section is ‘The Brogue’ which is good Celtic music that has the skirl and drone of the pipes and a Maccunn-like ‘Mountain Flood’ swagger.

I have not heard Len Stevens’ Caribbean Caprice before. This is a fun work that does not try to be too faithful to West Indian rhythms, but we get the picture. It is a ‘bright and breezy’ work that makes one glad to be alive.  Stevens’ main musical contribution would appear to be writing ‘mood music’ for various libraries. This was then used as and when required in newsreels and documentaries.

The most haunting (and serious) piece on this CD is the ‘ballet impression’ The Unwanted’ by Trevor Duncan. It is a temperamental piece that seems to transcend any concept of ‘light’ or ‘serious’ music. It imagines a boy who is quite definitely ‘not wanted’ with all the emotional turmoil of being unloved. I wonder if this is an extract of a longer work?

Clive Richardson is well-known for a number of well-crafted pieces of music – especially the London Fantasia for piano and orchestra and the miniatures Melody on the Move and Holiday Spirit. The present piece, White Cliffs was used as the theme music for the BBC Children’s Television Newsreel and is a broad march that glorifies the nautical achievement of the nation rather than being descriptive of the landscape.   The Children’s Newsreel was introduced in April 1950 and was shown on Saturday afternoons.

The big discovery for me on this CD is the ‘Holiday’s Abroad’ Suite by Vivian Ellis. Ellis is best known for his incomparable ‘Coronation Scot’ which has inspired generations of railway enthusiasts and composers wishing to write train music. However, Ellis’ achievement is considerable. The main focus of his work was musical shows and revues, in spite of beginning his career as a concert pianist.  Two of his hit songs ‘Spread a Little Happiness’ and ‘This is my Lovely Day’ are still recalled today. 

The ‘Holiday’s Abroad’ Suite has five descriptive movements –more like postcards really. The first is ‘Reunion in Vienna’ which is a delightful waltz that is both energising and reflective in equal measures.  Then follows a picture from Spain’s ‘Costa Brava’: it is an engaging tone-poem describing the sights and sounds of this lovely part of Sunny Spain – just before it was discovered by teeming holidaymakers.  The third movement is a gentle evocation of the piazza around the ‘Leaning Tower of Pisa’. I guess the composer must have had the early morning in mind, as I have never seen it this quiet. The most evocative music comes next: ‘Paris Taxi’. Anyone who has endured a trip in one of these vehicles at ‘rush hour’ and has negotiated the Place de Concorde will empathise with Ellis’ ‘take.’ Lots of scurrying, screeching brakes, horns and even hints of a frayed temper and the odd police whistle. The finale is a relaxing ‘Swiss Air’. I have never been to Switzerland, but have often flown over the Alps. This present ‘air’ imagines a pasture rather than a mountain peak. There is a suggestion of lovers walking hand-in-hand here on a cool, clear day. Monia Liter (1906-1988) was responsible for the subtle orchestrations of these delightful mood pieces. This is one of the best pieces of light music I have heard in a while. It is worth the price of the CD just to own this work.

The White Knight from Lewis Carroll’s Alice Through the Looking Glass has always been my favourite character in the book. This Don Quixote-like character immediately gains our sympathy. Is this because Carroll himself is the character behind the Knight? The poor old gentleman is chivalrous, kind and sympathetic but tends to fall off his horse. He does not quite have a grip on the everyday accomplishments of life. He sees everything in ‘topsy-turvy’ fashion. It has been noted that of all the characters that Alice met during her two adventures, the White Knight is the only one who appears to be truly fond of her. Even as a child I was moved by his farewell to Alice.

Charles Williams has responded to this dichotomy by providing music that is on the one hand ceremonial and jaunty, yet on the other hand something sad lingers here. There is a welcome touch of Korngold in these pages. Maybe the literary analogy reflected Carroll’s ‘farewell’ to the real life Alice Liddell as well as the fictional one.  

Guild has once again excelled themselves with this latest release in their Golden Age of Light Music series. The sound quality is a little mixed but that is to be expected when one realises that the tracks date over a twenty year period from 1942 to 1962. They have been splendidly re-mastered. The liner notes are as helpful as usual with lots of details about composers, performers and the music. This is a splendid addition to the series with some pieces that will be new to most listeners. I look forward to receiving ‘Great British Composers’ Volume 2!

The Golden Age of Light Music Great British Composers Volume 1

Guild Light Music GLCD5195 

For full track listing please see Guild Light Music Webpage