Sidney Torch: London Transport Suite (1957)

Commissioned by the 1957 BBC Light Music Festival, Sidney Torch’s London Transport Suite is a little bit of whimsy. Although not approaching the wit of Gerard Hoffnung’s legendary concerts at the Royal Festival Hall, it is certainly fun. Three short movements notice long vanished aspects of the Capital’s transport system. The Suite was premiered on BBC TV on the evening of 4 August 1957, at 10pm.

Sidney Torchinsky, known professionally as Sidney Torch, was a prominent British composer, conductor, and pianist born on June 5, 1908, in London. Early study began with his father, Morris Torchinsky, a professional trombonist. Torch studied piano at the Blackheath Conservatoire and quickly gained recognition as an accompanist to violinist Albert Sandler.

Torch's career took a significant turn when he became an organist at various London cinemas, including the Regal, Marble Arch, and the Gaumont State Cinema. During World War II, he served in the Royal Air Force, where he was able to pursue his career as a conductor and arranger for the RAF Concert Orchestra. After the war, he began to write light orchestral music, as well as conducting the Queen's Hall Light Orchestra and the New Century Orchestra.

The liner notes for the Marco Polo (see below) recording of the London Transport Suite explains that Torch was “inspired by the withdrawal from service of 'The Brighton Belle', a much-loved train running between London and Brighton, a fashionable seaside resort on the south coast of England. The three movements therefore describe modes of transport no longer with us.”

The first movement portrays an old Hansom Cab, seen on the streets in the early twentieth century. This is no ‘Blask Cab’ but a horse drawn vehicle that could accommodate two people, three at a squeeze. Torch has created a musical portrait of a ‘day in the life’ of the horse. From leaving the stable, to an early morning clip-clop down a quiet London street. Suddenly a motor car backfired, and the poor old horse bolted, causing damage in a China shop. All turned out fine, and the piece ends with a “whinny.” The ‘big’ tune here is a classic ‘light music’ creation. And it is reprised at the end.

The second movement pays respects to Rosie, The Red Omnibus. She was the precursor of the Routemasters and Boris’s Buses. Torch has portrayed Rosie by the tuba and comes complete with an old-fashioned horn. There is lot of wheezing as it progresses along The Strand. Once again, a splendid melody is introduced, suggesting that the bus finally gets moving.

The last movement, The 5.52 from Victorloo is a clever bit of ‘railway music’ so beloved of light music composers. Combining two of London’s busiest main line station, the piece opens with steam train sounds from the band, before a big tune emerges supported by a chuffing accompaniment.

Sidney Torch’s London Transport Suite (1957) can be heard on YouTube, here. The BBC Concert Orchestra, conducted by Barry Wordsworth. It was released in 1996 on the Marco Polo label, 8.22443, as part of their British Light Music series.

Sidney Torch: Shooting Star

I am not sure that I agree with David Ades’ liner notes for the Guild Light Music Series ‘The Hall of Fame Volume 2’ (GLCD 5162) when he writes that ‘Shooting Star’ is probably the best-known work from Sidney Torch’s pen. I would have suggested the equally delightful ‘On a Spring Note’ as the favourite.

Certainly, ‘Shooting Star’ has all the attributes of a successful piece of light music – ‘a strong, catchy main theme, supported by a melodic middle theme with contrasting tempi…’ Add to that, a truly professional orchestration, a surprisingly challenging work for performers and the creation of a happy and delightful mood.

The work was composed shortly after the end of the Second World War and was issued by Chappell’s in 1947. The piece was released the following year on Columbia DB 2456 played by the Queen’s Hall Light Orchestra, conducted by the composer. The ‘flip’ side was the equally popular ‘The Dance of the Ostracised Imp’ by Frederick Curzon.

One of the things that is not clear is to what the title refers to. Train enthusiasts will recall the eponymous Britannia Pacific Locomotive No. 70029, built in Crewe in 1952 and scrapped in 1967. Too late to have inspired this piece, alas. I did see it, in 1967 at Carlisle Kingmoor loco shed. It is also unlikely to be the old Great Western locomotive, 'Shooting Star', which was scrapped in 1871.

I am inclined to ignore the influence of the obvious meaning of ‘Shooting Star' as a meteor. The music just does not seem to be ‘cosmic’ in its design and effect. Finally, USAF jet trainer aircraft of that name were in service when the piece was penned, but there is something about this music that is decidedly English and un-military.

I see it as a celebration of a ‘star’ of stage and screen, one who recently risen into public view, but still must secure a reputation. It is a romantic piece, full of verve, energy and optimism for the future. 

Soon after ‘Shooting Star’s’ release the piece was used as a theme tune on BBC Television for their ‘Kaleidoscope’ feature. Out of interest, this was a successful light entertainment series that ran from 1946-53. Initially, it was a half-hour programme, but owing to its popularity, it was latterly increased to an hour. There was an ‘collector’s corner’ with antique expert Iris Brookes, a ‘How-to’ feature, ‘Meet you Favourite Author’ and a series of short detective plays, designed to test the listener’s skill in solving a mystery.  Kaleidoscope was where comedian Tony Hancock had his first television success.

Sidney Torch’s ‘Shooting Star’ can be heard on Marco Polo 8223443 and on Guild GLCD 5162.. 

Sidney Torch: On a Spring Note

I recently heard a recording of an unidentified cinema organist playing Sydney Torch’s On a Spring Note. This is one of these pieces that seem to have fared better at Blackpool Tower Ballroom than it does on the radio or in the concert hall. With the demise of ‘pier end’ and ‘spa’ orchestras there is little opportunity for works such as this to be given an airing. There are a fair number of recordings of this piece on CD; however it never seems to be played on Classic FM. Perhaps it is given an occasional outing on Radio 2’s long running Friday Night is Music Night?

On a Spring Note opens on a sustained note, before a short pizzicato figure leads into the main rondo theme played by the woodwind. This is a typically jaunty theme that suggests a play on words of the title. Not only is this a musical picture of the landscape in the first flush of sprig, but also suggests that the composer has a definite ‘spring’ in his step. After a short bridge passage the first episode is given to the brass before the main tune is repeated. Shortly before the halfway point Torch gives a big romantic tune that implies that the composer may not be alone on his ramble through the fields or woods. After an extended bridge passage the main tune is repeated before the brass episode is given one again in diminished form. The work ends quietly after a final reiteration of the jaunty tune.
This is surely one of Sidney Torch’s best known pieces: it always makes me think of a walk through Epping Forest on a warm may morning.

Interestingly this music was used in a Pathé pictorial film Dave & Dusty (1949). This can be seen of the Pathe website complete with the soundtrack!

Sidney Torch: Radio Romantic

I guess that they said that once television came on the scene that it would be the end of radio. However, this has proved not to be the case. But what has happened is that very few radio stations play ‘light’ music any more. What was once the preserve of the great tracts of the ‘Light Programme’ has been reduced to virtually a single programme – Friday Night is Music Night. Even Classic FM barely touches this genre of music – instead it tends to concentrate on film music when it deviates from the ‘purer’ classics.

Radio Romantic is an excellent example of what has been lost from the airwaves: it typifies so much music that was written in the 1940’s and 1950’s.
The short piece opens with a fanfare which builds up to a climax before a harp glissando leads to the principal romantic theme. This is quite definitely parodying film music: the mood is one of despair and suppressed longing. The music quietness down a little but is still heart-achingly romantic. There is a short bridge passage which is followed by figures for cello and woodwind. The intensity builds up again and after another fanfare the string reprise the love theme. Yet this time there is an air of optimism about it: it is no longer despairing. The mind’s eye can see two lovers meeting on the station after a long separation. As they walk down the platform the credits roll and you know they are going to live happily ever after!

It is strange that no-one seems to write about these short, but extremely attractive pieces of music. It is as if they are deemed not to be worthy of serious attention. Of course, they are not Tchaikovsky’s Romeo and Juliet or Rachmaninov’s Second Piano Concerto, but in their class they are often attractive and immediately approachable.
Radio Romantic is a case in point. It is a lovely romantic piece that never fails to conjure up black and white, tear-jerking films and the time when music like this was heard every day.

Radio Romantic can be heard on Dutton Vocalion CDEA 6021