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William - re the Richard Addinsell / Roy Douglas Question -
With all the other examples you cite, the arrangers you mention - Kostalanetz, Farnon, Rose, etc.,
are generally given full credit for their work. In the case of Addinsell, he took total credit for the
composition of the Warsaw Concerto, and Roy Douglas's very considerable - and indispensible-
contribution to the work was effectively 'airbrushed' out of the equation. Addinsell made a fortune from that piece - Douglas only received a relatively small fee and virtually no recognition for his labours. The same thing happened, of course, with Mantovani's rather cavalier treatment of Ronald Binge, from whose work Mantovani also made a huge fortune, and Binge gained very little financial reward.