12 Feb

Once Upon A Dream

By  Robert Walton
(6 votes)

(Bruce Campbell)
Analysed by Robert Walton

I can’t believe I have only analysed one Campbell composition. That was Cloudland for the 186th edition of JIM. Disgraceful! So it’s high time I rectified the situation and wrote another one. There’s no doubt Robert Farnon’s music had a huge influence on Campbell’s creations but at the same time over the years Campbell developed an instantly recognizable style. Like Farnon, he inherited the elements of good taste, mainstream modernity and above all quality.

Just to remind you of Bruce Campbell’s connection with this highly specialized music. He was a fellow Canadian who came to Britain some years before Farnon and played trombone with well known British dance bands during the 1930s. Later as an arranger, Campbell assisted Farnon on radio, films and recordings and as composer became a regular contributor to mood music libraries. So let’s dissect one of Campbell’s most beautiful waltzes. He obviously had a knack for unusual titles too. Of course the idea for this title was borrowed from the traditional start to ‘fairy’ stories that has existed as a phrase for centuries. One of the first times it was used was in George Peele’s 1595 play “The Old Wives’ Tale”. 360 years later Campbell coined the phrase Once Upon A Dream.

There are two ways of introducing this piece. Either go straight from the top, or supply a few gentle warm-up bars to meet and greet the tune. The latter was Campbell’s wise choice. Judging from the gorgeous 4 bar opening, the harmonies suggest he was a jazzman at heart. Although basically a dance in three-quarter time, Once Upon A Dream is taken strictly in rubato tempo which does full justice to this laid-back hypnotic melody. It almost has overtones of church bells. Sensitivity is the name of the game here. The sheer lack of a steady “Silvester” beat is the very thing which brings it to life. This is purely rural music with not a hint of people, vehicles or cities. I know because I live in the country. So all those requirements are fastidiously taken care of by Bruce Campbell. Perhaps it was his Celtic DNA kicking in. The tune has a similar opening shape to Give A Little Whistle.

The melody gives the distinct impression it wrote itself. Calmly wending its way over the musicscape, the listener can easily trace the tune in what seems like a familiar strain. I vividly recall hearing the strings for the first time and getting the same feeling. There’s an undeniable freshness about the orchestration too, especially its simplicity. In fact it shows there’s no need to score intricate harmonies for such a basic tune. At bar 25 of a standard 32 bar chorus, listen out for a sublime moment before the tune first comes to a halt. This is in fact is the climax of Once Upon A Dream. Producing such an effect is like the magic emanating from the pages of a children’s story. I find it difficult to contain myself at this point.

Meanwhile manning the middle section, a flute forages in the leafy undergrowth of the woodwind section. This is answered by the rest of the orchestra. Eventually a horn and flute bring us neatly back to the beginning for some more glorious sounds. Once again we can wallow in those beautiful undulating string phrases. I just can’t wait to hear a repeat of that burst of brilliance just before the coda.

With a little help from Farnon, Campbell has again not only written some excellent production music, but also captured our hearts in one of his most radiant of miniatures.

Available on New Town:

Production Music of the 1950s
Guild GLCD 5224

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1 comment

  • William Zucker posted by William Zucker Tuesday, 13 February 2018 00:36

    My first reaction, upon noting the title of Bob's latest essay, was to be reminded of a 1949 film of that name starring Googie Withers, Guy Middleton and Griffith Jones, in which Googie, happily married to Middleton, falls in love with their manservant as played by Jones. It's a rather light plot but still very pleasant, and I hold fond memories of it. Sadly for me, this selection has no connection whatever with that film.

    I recall in one of my conversations with David having asked for more information about Bruce Campbell, as hitherto he was merely a name for me, although I recognized it amongst the various light music selections I encountered during the years I was avidly collecting recordings of this music. The titles that I was and am most familiar with would be "Cloudland," "Main Line" and "Adrift," I was informed that Campbell too was an expatriate from Canada who emigrated to the UK to furnish his own contributions to the light music field, and from this point, I will defer to Bob's article as providing for me and others more complete background information for this figure.

    At the time I was collecting light music recordings, Robert Farnon was one of my idols, and I could not help noticing the similarity of styles between the two individuals, although there was no explanatory or corroborating material available to me to account for this. As it is, other figures in the light music field have succumbed to the various mannerisms of Robert Farnon - Douglas Gamley in his arrangements of standards is one unmistakable example, and we have heard many times of how Wally Stott/Angela Morley was mentored by Farnon. More selections by these figures reached me through the various YouTube uploads in recent years, to enable me to become better acquainted with their work. Nevertheless, with my advanced age, my tastes have inevitably become more conservative to the point where I have gravitated away from the work of those mentioned above, and more towards men like Charles Williams, Felton Rapley, Peter Yorke, Montague Phillips, and many others with more conservative approaches.

    I am not at all familiar with the selection that Bob has written on this time around. Upon listening, I may have more to say, but I will comment that once again, I have to approach the piece in my own manner and form my own images for myself to make any sense out of it, which is my procedure when acquainting myself with any unfamiliar selection, whether in the light or serious field, and take off from there. Bob's account is certainly an improvement over others of his I have read in that it gives a better overview, at least in my opinion, but even then, I have to proceed in my own manner.

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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.