Brian Reynolds reports on the recent London Meeting of the Robert Farnon Society on 28th November 2010
I wondered whether I should head this report 'Winter Wonderland' in view of the bitterly cold weather which much of the country had been experiencing. Certainly our decision to move the dates of our future meetings was well and truly vindicated. Little did we know what was in store for us, weather-wise, in the coming weeks! At least we could look forward to the warm and cosy ambience of the Park Inn. However, we arrived at the hotel to find it completely changed, with warm reds and gold replaced by cold greys and mauve. There was a minimalist feel about the refurbishment which left the hotel looking marginally more welcoming than a morgue!
The elegant opulence of the hotel had certainly given way to "progress" and we even found ourselves in a different room, just until refurbishment is completed.
However, regardless of surroundings, one thing that will never change is the high quality of the music at our gatherings.
To our delight, David Ades, who had been unable to attend the previous two meetings, was back on the top table and proceedings got under way with Robert Farnon's Canadian Caravan played by Leslie Jones and his Orchestra of London, and this was followed by Bob's super march Colditz - very appropriate as the fine drama series for which it was written had recently been rebroadcast. From a 1976 session with Bob, we then heard Lena Horne sing Softly As I Leave You and this was followed byTear It Up, a piano novelty written by the recently deceased Derek Boulton, under the pen-name of Derek Nelson.
David Ades then handed over to yours truly for my customary "Radio Recollections". As there was a lot to fit in today's programme, I chose three short and lively pieces from yesterday's radio. To open, I played a fast and furious string number, wittily called Bow Jest, by its composer, Eric Jupp and played by pianist, Norman Whiteley and his Sextet. Next, a foot-tapping little opus by the well known conductor Norrie Paramor, Taverna played by Jack Salisbury and his orchestra, who were for many years resident at the De La Warr Pavilion, Bexhill. To conclude, we heard a samba by an old friend of the society, Cyril Watters, entitled Pancho From Peru. This was played by Anton and his orchestra, one of the best of the session music orchestras from the days of the Light Programme. I don't think any of these pieces have been commercially recorded. So many light pieces that were written primarily for radio never found their way on to disc and are now forgotten - a pity, as some are really good.
Next, David played Eddie Fishers' recording My Shining Hour - once again accompanied by Bob. This came from the 1995 sessions that have not, so far, been released.
It was then André Leon's turn to come to the top table - with a feature which he called "Big Screen, Little Screen." He began with the Newsnight theme by George Fenton (real name George Howe). We then heard a recording of the composer explaining how he came to write it. This was followed by theGandhi closing titles - apparently Fenton collaborated with Ravi Shanka). Next we heard the theme from The Blue Planet and the signature tune from the TV series Shoestring.
Some music by Geoffrey Burgon was then featured. Firstly, the title music from Brideshead Revisitedwith talkover by Jeremy Irons. This was followed by the Choir of Chichester Cathedral singing Nunc Dimitus, the music from Tinker, Tailor, Soldier, Spy.
Our meetings always try to reflect anniversaries and deaths in the months since we last met - and there were really quite a few to consider on this occasion but time is always our enemy and some had to be omitted. However, we could hardly ignore the 100th birthday of Edmundo Ros on the 6th December. So to celebrate this legendary bandleader's centenary we played one of his biggest hitsThe Coffee Song.
Time now for some new releases, beginning with Strike Up The Band from the RAF Concert Orchestra conducted by Sidney Torch (Guild). Next we heard the Phil Green orchestra playing She's My Lovelybelieved to feature the trumpet of Kenny Baker. This is from a new Vocalion CD called 'Moments In Mayfair'.
Back to Sidney Torch and the RAF Concert Orchestra for some film music arranged by Len Stevens - the title of which is unknown. We were lucky to have this as it was from a transcription disc discovered by Philip Farlow. Finally, in this section we listened to Philip Lane's London Salute.
This brought us to the end of part one and it was time for some refreshments.
Our special guest for the afternoon was former BBC Producer Anthony Wills and it was decided that the best way to present him was by way of an interview. Robert Habermann was the interviewer and the conversation was punctuated with pieces of music of Anthony's choice.
By way of an introduction we listened to a 1989 performance of I Hear Music played by the BBC Radio Orchestra conducted (appropriately, in view of his recent death) by Neil Richardson. Anthony had considerable dealings with the Radio Orchestra over the years and went on to tell us of the various constituent parts of the orchestra. It was often broken down into smaller ensembles (the Radio Big-Band being the best known), but over the years other combinations such as The Radio Players and other, often short-lived titles such as the Saturday Showband and the Swinging Strings were utilised. The Radio Orchestra was of course formed in 1964 by combining the BBC Variety Orchestra and Revue Orchestra and at its peak had 75 players.
We listened to the Geoff Love Orchestra playing Leslie Julian Jones's Postman's Knock and to Sarah Vaughan singing Robert Farnon's How Beautiful is Night.
Many will associate Anthony Wills with 'Friday Night is Music Night' but during his long career he also produced 'Marching And Waltzing', 'Glamorous Nights' and the John Dunn, Gloria Hunniford, and Brian Matthew shows. His association with 'Listen To The Band' came about when he was approached with the line "You like jazz, don't you - how about producing 'Listen to the Band!' - This was, of course,NOT a jazz show but a feature for brass and military bands. Anthony told us that whilst Charlie Chester presented the show, the script was actually written by Brian Matthew as 'Cheerful Charlie' was not an authority on brass and military bands. He was however, an accomplished composer and a fine artist.
We then listened to Rosemary Squires with the Eric Winstone Orchestra playing Sea Breeze.
Anthony then told us about a music series which he produced, called 'The Golden Days Of Radio' which ran for about six months. He also made documentary programmes on David Whitfield, Michael Holliday, Fred Astaire and Ethel Merman. We then listened to a comedy song from Ronald Frankau.
Anthony told us of his involvement with the BBC's Religious Broadcasting Department, when he produced some editions of 'Songs of Praise'. He also produced a series called 'The World Dances' and we heard a medley of tunes from that series, which included The Charleston, I Wonder Where my Baby is Tonight, Black Bottom, in a recording conducted by Stanley Black. (Perhaps that's why he included Black Bottom!)
Anthony told us of his work with Alan Dell on various shows, including 'Sounds Easy', which he illustrated with the concluding item of a selection from Stella by Starlight, followed by the closing signature tune of the programme. From 'Steve Race Presents...' we heard Salena Jones with Neil Richardson and the Radio Orchestra. Anthony, who also produced 'The David Jacobs Show' concluded his presentation with a selection from 'Oklahoma' featuring the Steven Hill Singers with the BBC Radio Orchestra conducted by Stanley Black.
After the raffle, it was now time for another interval.
The third part of our extravaganza opened with the ever-enthusiastic Paul Barrett giving us a Mantovani tribute. Paul's concerts with the new Mantovani orchestra have had an enthusiastic reaction and we were also pleased to welcome his producer, Franck Leprince (who was in the audience.) With the aid of video, Paul played us excerpts from the third concert, which included The Count of Luxembourg Waltz, Delilah and Around the World (featuring the trumpet of Mike Lovett).
Next to come to the top table was an old friend of the Society, Tony Foster, whose theme today was the 70th Anniversary of the Battle of Britain. Tony commenced with Spitfire Prelude (Walton) played by the Central Band of the Royal Air Force conducted by Barry Hingley, their Director of Music who, I think, held the rank of Wing Commander at the time. This was followed by Ron Goodwin's Luftwaffe March (sometimes known as Aces High) and lastly the Battle of Britain Theme (Goodwin) - the end title music.
David Ades then played the final section of a fourteen minute work by David Rose - Le Papillon. This was one of Rose's last compositions.
To conclude, in more serious style, David played us Robert Farnon's American Wind Symphony (The Gaels) conducted by Dr. Stanley Saunders.
That brought to an end a very full programme (so full that we had to leave many scheduled pieces of music out). Earlier in the programme, David read apologies for absences from David Farnon, Peter and Ellen Burt, Peter and Silvia Rix and conveyed the good wishes of Alan Bunting in Scotland (wouldn't it be nice if he could come and talk to us one day?). It just remained for David to thank everybody who taken part and we went on our way to Bob's Melody Fair.
This report first appeared in ‘Journal Into Melody’ issue 187, March 2011.
REMEMBERING THE MUSIC OF ANGELA MORLEY
The Robert Farnon Society London Meeting Sunday 29th November 2009
by Brian Reynolds
Once again the months had rolled by and it was time for our 'Autumnfest' featuring the best in light and popular music, with the emphasis this time being on the music of Angela Morley (Wally Stott) who had passed away early in the year.
As there was a lot of music to get in, we started a few minutes early and the audience took their seats to the accompaniment of the BBC Radio Orchestra conducted by Iain Sutherland, playing a selection of Irving Berlin melodies arranged by Robert Farnon.
It was then time for Albert Killman to welcome everyone to the meeting. One thing that was immediately noticeable was the absence of David Ades, who was in bed with the lurgi (not that it any of our business who he goes to bed with!) To be serious though, David had a chest infection and had been ordered by his doctor not to travel. I am sure that he was most disappointed to miss his first meeting in 45 years - some record! Let's hope that he is now fully recovered and will be his usual sparkling self at the next meeting.
We were then treated to a DVD of the opening overture from John Wilson's magnificent and highly successful Promenade Concert featuring the MGM musicals. After this Robert Farnon (in a Canadian interview) introduced 'Scherzando for Trumpet and Orchestra' played by the CBC Winnipeg Orchestra, conducted by Eric Wilde.
It was now time for my regular Radio Recollections spot. I had been asked to play something by Steve Race, by way of a tribute to this artist who had died earlier in the year. I chose 'Nicola' which Steve had written in honour of his newly-born daughter and which was probably his best known composition. It was played by Michael Freedman and his orchestra and featured the two pianos of Edward Rubach and Robert Docker. To continue, I played a very exciting paso doble by pianist Albert Marland entitled ‘Bandarilla’, performed by Harold C.Gee and his Maritza Players. Harold C. Gee is largely forgotten today but he had a thirty year career of regular broadcasting and was part of the fabric of the old Light Programme. He died in 1973. Next I played two consecutive pieces from a 'Music While You Work' by Ralph Elman and his Bohemian Players - Ralph was the nephew of the well-known classical violinist Misha Elman. The two pieces were 'Miss Melanie' by Ronald Binge and 'Silly Billy' by Norrie Paramor who, in his last years, conducted the BBC Midland Radio Orchestra. To conclude my section of the programme I played an exciting piece by Yvoire entitled ‘Cresta Run’featuring the BBC West of England Light Orchestra under their conductor Frank Cantell.
We then heard a piece called 'Estate', pronounced 'Eshtaty' - meaning 'Summer' - arranged by Robert Farnon and played by the BBC Concert Orchestra, with featured trombonist Gordon Campbell. At this point, Daniel Smith, featured soloist in Bob's Concerto for Bassoon, talked to us and played a recording of his performance of Break out Blues by George Shearing.
A Farnon original was next – ‘Manhattan Playboy’ played with great panache by Rawicz and Landauer with orchestral accompaniment under the direction of the composer.
Paul Barrett was then invited to the stage to talk about his third Mantovani Concert Spectacular, which will take place in the Spring.
To conclude the first part of the programme, and perhaps give us a taste of what was to come in the second part of the show, Albert played us a Wally Stott arrangement of ‘Oranges and Lemons’ played by the Wally Stott orchestra.
Suitably refreshed, we returned to our seats to the strains of ‘Angel Cake’ by Wally Stott. The tribute to Wally/Angela began with Albert reading out an appreciative letter from Angela's partner, Christine. This was followed (on DVD,) by an excerpt from John Wilson's televised 'Friday Night is Music Night' of a few years back, in which he played 'A Canadian in Mayfair' - written by Angela Morley as a tribute to Robert Farnon. It was, of course, performed by the BBC Concert Orchestra with an introduction from Roy Hudd.
Phil Farlow then took the stage to talk about the early career of Wally Stott and played excerpts from 'Tip Top Tunes' with Geraldo and his orchestra, featuring Dick James, The Geraldtones and Carole Carr, who sang ‘All Alone’. Wally Stott was, in fact, a member of Geraldo's orchestra, which then played the Stott arrangement of 'Adios'. We then saw (on DVD) some archival film of Angela Morley speaking at our past meetings and this was followed by excerpts from the films 'The Slipper and the Rose’ and 'Watership Down' featuring Angela's score for these films. We continued with the themes from 'Hancock's Half Hour' and 'The Goon Show'.
It was now the turn of harpist/pianist/conductor David Snell to take the stage and tell us of his association with Angela Morley. He then played us the end titles from ‘Captain Nemo and the Underwater City’, in which he had participated, but not underwater!
Albert then introduced ‘County Fair' featuring Mel Torme with the Wally Stott orchestra.
It is always a pleasure to welcome the ever-youthful Rosemary Squires to our meetings. She presented some recordings which she had made with Wally/Angela. First we heard ‘Junior and Julie’which was followed by ‘Thou Swell’ and an Angela Morley arrangement of ‘All Too Soon’ which featured Kenny Baker (flugelhorn) and Keith Bird (saxophone). Rosemary then played us Angela'sReverie for piano and violin and concluded with a selection of Christmas Waltzes (arranged Morley).
It was now time for the second interval, and we went to our refreshments to the accompaniment of the John Wilson Orchestra playing Wally Stott's ‘Snow Ride’.
We returned to our seats to the accompaniment of Robert Farnon playing ‘Get me to the Church on Time’.
It was then back to the big screen to watch a DVD of an interview with Bob Farnon - the interviewer being Bernard Braden.
This turned out to be very illuminating as Bob pulled no punches when it came to expressing his opinion as to what he thought of modern pop and its perpetrators! This was followed by a recording of Alan Dell talking to George Shearing and Angela Christian, who then performed Bob's ‘How Beautiful is Night’.
André Leon then came to the stage to report on the latest situation with UK Light Radio, which has been off the air for some months. André is, however, hopeful that further test transmissions will start early in the new year, and outlined the proposed format. We then heard a part of the ‘Miss Marple Theme’ (which will be the background theme to various trailers) and Leroy Anderson's ‘Sleigh Ride’which will be the conclusion to a presentation by David Ades, scheduled to be broadcast in 2010.
Albert Killman then gave a tribute to Malcolm Laycock, an old friend of the Society, who had recently passed away. It will be recalled that, upon Alan Dell's death, Malcolm took over his dance band programme and had been presenting it since1995. There was quite an outcry a year ago when the BBC in its infinite wisdom (or lack of it) decreed that the vintage British dance bands should no longer be featured in the programme. This, together with other differences with the BBC led to Malcolm's resignation in July 2009. To conclude his tribute to this respected broadcaster, Albert played the final part of one of his shows, which ended with ‘Just One of those Things’.
At the request of Norman Grant, Albert played ‘Have Yourself a Merry Little Christmas’ featuring Tony Bennett with the Robert Farnon Orchestra after which he thanked everybody who had contributed to the show. It goes without saying that Albert did a first rate job of presenting the afternoon's programme, but I know that a few people felt that it wasn't quite the same without David, whose presence we look forward to on the 28th March, when our special guest will be pianist and organist Iain Kerr.
WALLY STOTT – THE "TIP-TOP TUNES" YEARS
BY Philip Farlow
When it was decided to dedicate part of the November 2009 Robert Farnon Society meeting to the work of Angela Morley, I swiftly communicated a wish of mine that the very important formative years playing and arranging for Geraldo’s orchestra should be included in a special ‘cameo’ presentation. The vehicle for this early work was a BBC programme called Tip-Top Tunes and the idea here would be to illustrate briefly all the main elements of a typical programme with a particular focus on the early arranging skills of Wally Stott, later Angela Morley.
Back in May 2009 David Ades had fully supported the idea which was duly accepted by the London Meeting Committee allowing me to set to work on a presentation that I’d suggested to do at least minimum justice to the subject would be no less than ten but not more than fifteen minutes long.
Such often necessary constrictions certainly focuses one on what you really want to say and play and so on and off, over the next few months, I set to with a small but rare selection of broadcast material working out just how the dickens I was going to fit everything into my allotted slot.
Over the years my various presentation experiences with such projects has hopefully taught me the important patterns of how to start, how to finish and how to create and maintain narrated and musical contrast and interest in between.
More recently I discussed with David Ades the fact that perhaps many including worldwide members not able to attend last November’s meeting may be interested in a more detailed description of the final result. So here are my ‘almost verbatim’ notes interspersed with detail of music used and its source.
I started by explaining that as ... (P.F.): "Walter or Wally Stott was the name by which Angela Morley was known until the early 1970’s – and as certainly during the mid 1940’s period I’m dealing withhere, to keep things chronologically correct I’d like to refer to that name during my presentation.
"Bandleader Geraldo’s BBC Radio series ‘Tip-Top Tunes’ started in 1946 and quickly caught on, not only as a ‘must listen’ for the general public, but its very high standard of musicianship ensured a good audience by the dance band and light music profession as well.
"It’s interesting to note that ‘Tip-Top Tunes’ filled the spot previously occupied by Bob Farnon’s Canadian Army Radio orchestra’s series ‘Soldier Serenade’. There were certain similarities in the two programmes’ style as well, which were juggled, modified and added to, to become this new cocktail of the best in the widest sense of popular music entertainment of the period, as presented by this bigconcert sized orchestra of Geraldo’s.
"The ‘Tip-Top Tunes’ signature tune was written by Wally Stott. How it developed to be used is unclear – but what is very evident is that Wally delivered just exactly what was required.
"To set the mood, here’s an example of a programme opening sequence from 1947".
Cue Insert: BBC Light programme identification ‘Oranges and Lemons’ (Charles Smart – Novachord & Celeste) into continuity announcement (Jean Metcalfe) into ‘Tip-Top Tunes’ theme and part voiced over announcement by Peter King.
I then went on to explain (P.F.): "And now some brief examples of the kind of things heard in a typical ‘Tip-Top Tunes’ programme. "There were ballads by solo singers, a vocal group, there was small group swing, the big band with and without strings and of course the tour-de-force of the whole large concert orchestra. This is the musical climate in which Wally Stott was working at the time, (Cue music under) and it was in fact as far as I can see, his first foray into string writing. "Amongst the singers handling the ballads in the early ‘Tip-Top Tunes’ series were Archie Lewis, Sally Douglas, Denny Vaughan (recently Bob’s of course) – and here in a ‘Songs with Strings’ spot, Carole Carr.Fade up music: ‘Blue Bayou’ – Carole Carr and strings
This was the start of a five minute carefully constructed, timed and edited music sequence which I voiced over explaining all the various elements of the ‘Tip-Top Tunes’ programme that I had chosen. Carole Carr was followed by (P.F.): "... and another singer with the whole orchestra here, Dick James" Fade up music: ‘Along the Navajo Trail’. Then (P.F.): "there was always a vocal spot by Gerry’s resident vocal group, the Geraldtones" Fade up music: ‘Little Jack Frost get lost’followed by (P.F.): "and how about this for a lineup during a little quite boppish jazz spot" Faded up Peter King announcement & music: ‘Get Happy’ played by ‘The Tip Toppers’ (King’s announcement, ‘..swing arranged for small combination..’) demonstrating the very high standard of personnel within only a part of Geraldo’s Tip-Top Tunes orchestra namely Freddy Clayton – trumpet, Dougie Robinson – clarinet, Keith Bird – tenor sax, Laddie Busby – trombone, Jack Collier – double bass, Denny Vaughan – piano, Ivor Mairants – guitar and Eric Delaney – drums. Finally during this sequence I explained that (P.F.): "... a spot called ‘Swingtime’ presented the big band, sometimes without strings – and sometimes like here – with" Fade up music: ‘Cherokee’. (Ending the five minute voiced over sequence).
(P.F): "The backbone to this wonderful musical aggregation was of course some very talentedarranging skills – and in the early days of Geraldo’s ‘Tip-Top Tunes’ programme Bob Farnon was amongst these – together with a young man – still in his early twenties also occupying a place in Geraldo’s sax section – and that was Wally Stott. And like Bob Farnon, and listening to Bob’s arranging skills at work, Wally was developing a very quick ear as to exactly what to deliver in both big band – and now in string writing – because there’s no doubt about it that Wally’s arranging work within Geraldo’s ‘Tip-Top Tunes’ series shone like a very bright beacon – and particularly within those many exotic production type arrangements of which one was included in nearly every programme. Things like ‘Cherry Ripe’, ‘Oranges and lemons’, ‘April in Paris’, ‘The Kerry Dance’, ‘The March of the Toys’ and in this archive broadcast piece, Wally’s work reached perhaps an all-time high" Cue faded up Peter King announcement & music: ‘Adios’ arranged by Wally Stott for the full orchestra and vocal group, the Geraldtones, followed by (an only example from an earlier programme), a ‘Tip-Top Tunes’ programme close sequence part voiced over by the programme’s original producer and presenter David Miller.
So ended my presentation at last November’s R.F.S. special Angela Morley meeting. In the course of researching for it I noted, though didn’t mention the fact that apart from Wally Stott and Bob Farnon, over the years a whole host of arrangers were used throughout the ‘Tip-Top Tunes’ series including Alyn Ainsworth, Eric Jupp, Roland Shaw and Bob Sharples. ‘Tip-Top Tunes’ ran into the 1950s but became shorter and more infrequent as the decade wore on.
Further notes: Having had access to some of the surviving original radio excerpts of the ‘Tip-Top Tunes’ series (see below) it was interesting to note how a typical programme included carefully ‘written in’ linking modulations by (say) harp, celeste, or even the whole or parts of the orchestra to accompany equally carefully timed announcements for changes of programme tempo, mood and key. Hearing some of these often intricate and quite beautiful ‘compositions in miniature’ certainly indicates the presence of both Wally’s and Bob’s additional work on certainly the parts of the series heard.
On a technical note the sources used for the archive links were either directly or indirectly from a combination of Geraldo’s own circa 1946 to 1948 original off-air acetates some of which had been poorly used in the mid 1970’s Pickwick 2-LP set ‘Hits of the naughty Forties’. In the course of carrying out later work for Manja Geraldo-Leigh’s Family I was, with permission, able to retain some elements of that which I had worked on. Although the company that ‘cut’ these for Geraldo (Gui de Buire, New Bond Street, London) was capable of producing excellent ‘balanced landline’ quality, a combination of speed variations between sides or sets of sides and other non ideal local conditions meant that the received sound often needed tidying up in various ways. I carried out some minimal work on the versions used at the November meeting and felt it paid off producing an overall smooth technical end result. Geraldo archive: It is thought that Geraldo’s unique collection of surviving radio reference recordings is held by the Royal College of Music. An equally unique collection of original music scores and band parts are certainly known to be deposited at the R.C.M. and have been actively drawn on by John Wilson for specialised broadcast, recording and other performance occasions.
Editor: some of Wally Stott’s arrangements for Geraldo’s "Tip Top Tunes" Orchestra were recorded by Parlophone, and the following have been reissued on Guild Light Music CDs:
The Kerry Dance GLCD5162 Of The Toys GLCD5124
AUTUMN CONCERTO - 2008
Meeting of the Robert Farnon Society
Sunday 30th November 2008
at the Park Inn, London
by Brian Reynolds
Well, it was that time of year again. The leaves had fallen and a chilly autumn was about to give way to an even chillier Winter.
It was damp and miserable outside but warm and cheerful inside as light music lovers gathered together for another feast of melody.
We took our seats to the accompaniment of They Called the Wind Maria. Well, call it what you like, it was better than snow - remember last April ?
At two o'clock Albert Killman opened the meeting with the World Traveller March, written by Robert Farnon and Tim Wills and performed by the BBC Concert Orchestra conducted by Iain Sutherland - our special guest of the afternoon. David Ades then welcomed other visitors, including Richard Tay from Sepia Records. It was then time for Albert, joined by Peter Burt to present a selection of new releases.
The opening two items were from the BBC Concert Orchestra conducted by Leonard Slatkin, the first being Lazy Moon (from Goldilocks) and that was followed by Little Children (from Suite of Cards for woodwind). Next, a track from the new CD 'Mel Torme meets the British' - A Nightingale Sang in Berkeley Square. This was followed by a Laurie Johnson arrangement for the Ambrose orchestra entitled Vuelve, after which we heard The Embassy Waltz from ' My Fair Lady' - played by Percy Faith and his Orchestra. Peter Burt then turned to a new CD entitled 'Mantovani Memories' and played usThe Trolley Song.
Some real nostalgia came next, with the BBC Television Orchestra conducted by Eric Robinson playing the Test Card music which used to precede the opening of TV programmes in the fifties; this took the form of a selection of traditional tunes arranged by Max Saunders, under the title Fantasy on National Airs. There then followed two pieces from a recent Guild CD, 'Going Places' - firstlyRendevous by Bernie Wayne and then The Girl with the Spanish Drawl from the Percy Faith orchestra.
Next, we heard Ring Round the Moon by Richard Addinsell, performed by the BBC Concert Orchestra under the baton of Roderick Dunk. This came from an album in the series 'British Light Music Premieres'. We then turned to a Vocalion CD 'Soft Lights and Sweet Music' to listen to the George Melachrino Orchestra play The Sword and the Rose (Spielman). After this, the Emile Deltour Orchestra played Spring Fever by Rene Costy and Rene Heylbroeck. This is the title track of the 50th light music CD from Guild - a truly remarkable achievement in less than five years, with no sign of an end in sight!
Haydn Wood's popular march Montmartre was next and it gave Albert the opportunity to mention that, as 2009 is the 50th anniversary of Wood's death, our next meeting in April will feature his music prominently. We shall be honoured with the presence of his Great-niece, who will also be playing live music with the Aspidistra Drawing Room Orchestra, directed by Dr. Adam Bakker. Adam was present in the audience and our appreciation was conveyed to him for kindly agreeing to provide his ensemble.
Albert then reminded us of the recent death of Neil Hefti by playing his incidental sountrack music from Barefoot in the Park. This brought to an end an unusually long, but very enjoyable 'new releases' section of our programme.
It was then time for some 'Parish Notices'. Albert drew our attention to a new book on the life and career of John Barry. He also kindly mentioned my book Music While You Work - An Era in Broadcasting, the rights of which have now returned to me. I brought some copies with me which attracted a few buyers. Albert also told us of the formation of a new society for those who appreciate the music of Eric Coates. No doubt we shall hear more details of this in due course. We were also told the quite shocking news that the BBC have put another nail in the coffin of quality light and popular music by banning from Radio Two any music over fifty years old - which is a very high percentage of worthwhile material. Albert suggested that rather than send a petition (which the BBC would ignore), individuals should write and complain, telling the Society what sort of response they get. From personal experience, I have to say that I doubt if it will be positive, as the self-righteous BBC have always given me the impression that they don't give a damn what the listener thinks.
The final section of the first part of the programme was my Radio Recollections spot in which I play recordings from the days when the BBC really did care. As part of the 'choreography' of these meetings, it is required that a presenter comes to the top table well in advance of his or her presentation (thus avoiding distracting those listening). So I was able to observe that some people had fallen asleep during the playing of the new releases. I know from personal experience how relaxing music can easily send you to the 'land of nod'. Indeed I can recall an occasion when I fell asleep in the front row of a concert by one of my favourite military bands and my 'friends' took a photo of me and presented it to the conductor! Anyway, back to the present - I was fervently hoping that the 'sleepers' would wake up in time for my presentation. They didn't - so they will just have to read about what they missed!
My first item was from the BBC West of England Light Orchestra - conductor Frank Cantell, the well-known Majorca (L. Gaste) in an arrangement by Ernest Tomlinson. Next came Raymond Agoult and his Players in a tongue-in-cheek arrangement of The Clanger March from the comedy film 'The Night we dropped a Clanger'.
I then turned to a 1967 'Music While You Work' broadcast by the BBC Scottish Radio Orchestra - conductor Iain Sutherland, for an Ernest Tomlinson original - The Merry Go Round Waltz. To conclude my section - at the same time giving our guest a big build up - I played Iain's excellent marchEdinburgh Castle. This came from a 1983 broadcast which I actually attended. During the interval that followed, a selection of Iain's recordings (which he had kindly provided) were played.
In part two, Tony Clayden introduced Iain Sutherland and invited him to talk to us about various aspects of his career. He told us that, as a boy chorister he had won a contest and that, as part of the prize, he got to appear on 'Children's Hour'. He later took up the violin, won another contest and again got to perform on the aforesaid programme. After studying in London with the famous Sasha Lasserson, he did three years of freelancing and played with the Grenadier Guards for two years. He joined the Philharmonia, playing for such eminent names as Boult, Sargent, Groves and Solti.
Responding to questions from Tony, Iain told us that he first became attracted to light music through film music sessions. Having expressed a wish to conduct light music, Iain told us that he was given a test date, by the BBC, with an orchestra of quite distinguished session musicians in ' Music While You Work'. (I think that Iain will find that it was actually the BBC Scottish Variety Orchestra - I've got the broadcast on tape. He did some recordings with London session men for 'Breakfast Special' a few months later in 1966.)
Iain went on to become Musical Director of the London production of 'The Music Man' starring Van Johnson and after several more dates with the SVO, he was appointed conductor of that orchestra, following the retirement of Jack Leon. It would have been good to have heard more from Iain concerning his work with that orchestra, which, at his suggestion, was renamed the BBC Scottish Radio Orchestra but time was marching on and we needed to hear about other things. The interview was punctuated with musical items, all conducted by Iain. Anthony Collins' Vanity Fair was, in Iain's view, a perfect example of a piece which generates its own rhythm, without the need for drums and guitar. We also heard the Galop from Masquerade, and Kurt Weil's September Song, this being a cue for Norwegian broadcaster and producer Jan Eriksen to join Tony and Iain at the presenter's table, to talk to us about his associations with Bob Farnon and, indeed Iain Sutherland.
We then listened to Say it with Music and Seventy-six Trombones (arr.Farnon) from a broadcast by the Norwegian Symphony Orchestra, conducted by Iain Sutherland, deputising for Bob who, we are told, was unable to fly (talented as Bob was, he could no more fly than the rest of us!). Iain spoke of his many encounters with Bob Farnon who had every intention of conducting his third symphony, but ill health had overtaken him and the rehearsal was conducted by Iain but with Bob at the other end of the telephone, advising where necessary! We then heard one final item, especially requested by Iain - a part of From the Highlands by Robert Farnon. Tony then thanked Iain Sutherland for his contribution to the programme and asked him to draw the raffle.
Iain Sutherland proved to be one of our most popular guests to date - a truly eloquent and articulate speaker, with a much longer story to tell than time permitted and many felt, as I did, that he should be invited back as soon as possible. During the interval, Iain talked with members of the audience and signed copies of a new CD of his, featuring Scottish music.
Part three of the afternoon's entertainment opened with Paul Barrett publicising his next Mantovani concert in Poole on 31st January. As an illustration we heard Give my regards to Broadway. It was then the turn of Tony Foster to take the stand, presenting three of his favourite recordings. First came the Syd Lawrence Orchestra with (appropriately) My Favourite Things (arr. Roland Shaw); then the Robert Farnon Orchestra played The Sophistication Waltz from the 'Pictures in the Fire' CD. Finally we heard Tony Bennett sing Christmasland by Brian Farnon (arranged by Bob).
We then welcomed Mr. UK Light Radio himself to the stand, in the person of André Leon, with a new feature entitled 'The Farnon Connection' - a tribute to the Farnon Family - although the twist was that not all of the pieces were by who he said they were! In other words, there was a deliberate mistake! In addition to an excerpt from the radio serial No place to hide we heard Robert Farnon's Outer Space, Dennis Farnon's Coast Road North and Bob's Newsreel March and his Horatio Hornblowermusic.
The final part of the programme was, as usual, presented by David Ades. He commenced with an excerpt from 'Canadian Caravan' in which Bob conducted the Canadian Band of the AEF. The music was I Got Rhythm and then the band was joined by Paul Carpenter for I Wish I Knew. This broadcast was an ORBS production for Britain's forces. Next came Bob's arrangement of the overture to The Girl in Pink Tights (Romberg) from the original cast recording 'discovered' by the late Don Furnell, from the short period in which Bob lived and worked in the States. David then went on to play the berceuse from Alliance Variations, played by the BBC Concert Orchestra during the BBC Light Music Festival on 6th June 1959.
The Light Music Society (whose meetings were held at the Alliance Hall in London, hence the title) held a competition for an original amateur work to be orchestrated by eleven leading composer/arrangers, namely Anthony Collins, Ronald Binge, Robert Farnon, Ronald Hanmer, Trevor Duncan, Gilbert Vinter, Harry Dexter, Ernest Tomlinson, Clive Richardson, Billy Mayerl, and Lt.Col. Douglas A. Pope (at that time Director of Music of the Coldstream Guards band). Next we heard Bob's arrangement of Lucky in the Rain from the Everest LP 'Mike Todd's Broadway' - one of the tracks from the new Guild CD ' Strings and Things Go Stereo. Finally, David played us Maybe this Time (arr. Robert Farnon) and sung by Tony Bennett with the Robert Farnon Orchestra - one of our late member Neal Hefti’s favourite Farnon arrangements.
It just remained for thanks to be conveyed to all involved - Peter Burt, Tony Foster, André Leon and Tony Clayden for his interview with Iain Sutherland. Tony then came to the microphone to convey his appreciation for the assistance of the London Meetings Committee and to remind members of the Haydn Wood 'special' in April.
MEETING OF THE ROBERT FARNON SOCIETY: SUNDAY 25TH NOVEMBER 2007 AT THE BONNINGTON HOTEL, LONDON
By BRIAN REYNOLDS
To paraphrase the well—known September Song ‘It’s a long long time from April to November’ and the congregation attending this year’s ‘Autumnfest’ were as keen as always to wallow in another four hours of glorious melodies. As usual, many of those attending were ‘regular’, and those who weren’t were taking tablets for it!
Proceedings began as members took their seats to the accompaniment of the BBC Theatre Orchestra (conducted by Harold Lowe) of Oranges and Lemons - arranged by Spike Hughes.
At 2.OOpm with Albert Killman, David Ades and Vernon Anderson at the presenters’ table, the meeting officially got underway with Robert Farnon’s Proscenium.
The year 2007 being the 90th anniversary of Robert Farnon’s birth, it was felt appropriate that his music should feature more prominently than usual and David, paying tribute to Patricia Farnon, who had recently passed away, felt that something should be played in her memory. Having consulted David Farnon, it was decided that his own arrangement of Bob’s Country Girl would be appropriate - retitled Country Boy on this occasion - the recording being by that fine singer Sheila Southern with the Royal Philharmonic Orchestra under the direction of Robert Farnon. (I seem to recall Sheila Southern being the wife of broadcasting pianist Derek Cox).
Albert then introduced a piece as a tribute to Ronnie Hazlehurst who had recently died. He chose a recording by the Ronnie Hazlehurst Orchestra — Robert Farnon’s theme from the fine television series "The Secret Army", after which we were treated to a DVD featuring Dolf van der Linden conducting The Metropole Orchestra in a 1961 performance Il fait des bonds. Robert Farnon was the guest conductor of the Metropole Orchestra on many occasions.
It was then the turn of Vernon Anderson to present a tribute to Angela Morley (formerly Wally Stott); the items chosen were Limehouse Blues from the Sounds of Paradise Orchestra (Stott), Embraceable You featuring Rosemary Squires, then an item from "The Missing Battleship" - an edition of "The Goon Show". This was the closing theme Ding Dong The Witch Is Dead from "The Wizard of Oz". Finally, Vernon played us Angela’s private recording of one of her latest compositions entitled Reverie.
It was now time for Albert and David’s usual selection of new releases which were as follows:
Young Man in Love (Ernest Tomlinson) from the 1974 suite "Aladdin" played by the Royal Ballet Sinfonia conducted by Gavin Sutherland from ‘British Light Music Premieres Vol. 4 (Dutton Epoch).
Theme from the ‘Glenn Miller Story’ by Henry Mancini arr.Stott and played by the Wally Stott Orchestra - a Philips 78 on a new Dutton Vocalion CD. David criticised the complete lack of booklet notes.
Legend by Henry Croudson, who was a popular cinema organist and musical director of the ‘Strings in Rhythm’ on radio, this recording being by the London Promenade Orchestra conducted by Walter Collins from the new Guild CD ‘Musical Kaleidoscope’ Vol.1
Ladies of Lisbon by William Hill Bowen who wrote under the pen names of Luis Tristan and Don Versey - a fact that could have been mentioned in the booklet notes, if there had been any! This piece (a particular favourite of mine) was played here by the George Melachrino Orchestra and is from a new Vocalion CD entitled ‘Our Man in London’ & Highlights from ‘Lisbon at Twilight’. David pointed out that some titles are missing from the second LP, and Roses of Picardy is credited to Haydn instead of Haydn Wood!
Pioneer Trail (Charles Williams) - signature tune for the annual BBC Sports Personality of the Year - played by the Danish State Radio Orchestra conducted by Robert Farnon -a Chappell recording on Guild CD ‘Musical Kaleidoscope Vol 2.
To conclude the first part of the afternoon’s entertainment David introduced (on DVD) excerpts from our 50th Anniversary souvenir.
A thirty minute interval followed, introduced by one of Angela Morley’s play-out themes for "Hancock’ s Half Hour".
The audience returned to their seats to the accompaniment of the Associated British Studio Orchestra conducted by Louis Levy in a performance of the title music from the soundtrack of "Laughter in Paradise" by Stanley Black - this being a subtle clue as to what was to come.
For our main feature we were honoured by the presence of Stanley Black’s son Jeffrey Black who, together with his daughter Jacqueline gave a lucid, affectionate, yet frank account of Stanley’s career. Tony Clayden introduced the Blacks to the audience drawing attention to the fact that several other members of the Black clan (including his widow, Edna Kaye) were also present to give support. In what he described as a ‘senior moment’ Tony managed to forget Jacqueline’s name, but saved the day by turning it into a running joke. To illustrate their talk, the Blacks played the following pieces, some of which had to be shortened because of time:
Music from the 1949 film "Third Time Lucky" featuring Edna Kaye
It’s a Raggy Waltz (Brubeck) - Piano feature
Rhapsody in Blue (Gershwin)
Quiet Night of Quiet Stars (Jobim)
Mood Mambo from "The Young Ones"
Three Blind Mice (arr. Black)
Music from the Australian film "Strictly Ballroom"
Honeysuckle Rose — featuring Coleman Hawkins
That Old Black Magic
Tony Clayden thanked Jeffrey and Jacqueline Black for their excellent presentation and continued with a couple of tributes of his own. Firstly, he played part of The Selfish Giant as a tribute to its composer, Eric Coates, whose death occurred fifty years ago, in December 1957. Afterwards, he played Elgar’sSalut d’amour. The year 2007 was, of course, the 150th anniversary of the birth of Sir Edward Elgar — as most people are aware, apart from the Bank of England who, as a mark of disrespect, chose this year to remove his picture from our banknotes!
Tony also took the opportunity to inform us of a recital on 16th December by our own Robert Habermann (accompanied by Geoff Eales) and a concert by the London Salon Ensemble at the Royal Festival Hall on December 30th.
It was then back to the big screen again, as we watched Robert Farnon, on a DVD, conduct the London Philharmonic Orchestra at the Royal Albert Hall in his Farnon Fantasy.
Tony then took control if the raffle, with the assistance of Jeffrey and Jacqueline Black, heralded by Edmund Hockridge (a long time Canadian colleague of Robert Farnon) singing Luck Be a Lady. The interval was announced by Stanley Black’s March of the Goons.
We returned to our seats to the accompaniment of Bert Kaempfert’s Las Vegas — from a new Guild CD due for release in January and no doubt available by the time you read this.
Albert opened up the third part of the show by introducing Cab Smith and his familiar ‘Swing Session’. This comprised the following:
Button Up Your Overcoat played by the Robert Farnon Orchestra from a Philips LP
The Very Thought of You sung by Carol Kidd
Swing Hoe (Farnon) — Leslie Jones and his orchestra of London.
Albert thanked Cab for his presentation and then introduced Paul Barrett who had come along to tell us about a forthcoming concert which he was promoting by the newly reconstituted Mantovani Orchestra — the concert venue being ‘The Lighthouse’ in Poole. This presentation was accompanied by the famous Mantovani recording of Charmaine. Afterwards Albert played Mantovani’s Tanya - the Moulin Rouge Theme. Albert went on to play Gabrielle which comes from the film "Paris when it Sizzles" and was played by Vic Lewis and the strings of the London Philharmonic Orchestra.
As usual, David presented the final section of the programme and commenced with Robert Farnon’sSea Shore - a big hit in those distant days when real music sometimes made the ‘Charts’. It was played by Rawicz and Landauer with the Wally Stott Orchestra.
We were then given an opportunity (via DVD) of watching and listening to Robert Farnon talking about his early career.
This was followed by an old favourite ‘Winter Sunshine’ by George Melachrino, arranged by Robert Farnon, who was conducting the BBC Radio Orchestra.
With Christmas just a few weeks away, it was appropriate to close the meeting with Have Yourself a Merry Little Christmas in a Bob Farnon arrangement - performed by Tony Bennett with the London Symphony Orchestra conducted by Don Jackson (recorded at Abbey Road, August 2002 for Hallmark Cards).
It just remained for David to thank everyone for their contributions - the Stanley Black Family (who had to leave early), Vernon Anderson, Tony Clayden, Cab Smith, Paul Barrett not forgetting the helpers on reception. Special thanks were also given to Tony Clayden for his technical services which require a lot of time and effort, and of course, the indefatigable Albert Killman.
The meeting dispersed to Robert Farnon’s Melody Fair, followed by Carioca (from a radio broadcast by the Robert Farnon Orchestra), Canadian Caravan from Leslie Jones and his Orchestra of London, and finally, a Christmas Medley from Tony Bennett accompanied by Robert Farnon.
"Chasing The Blues Away"
Report of RFS London meeting held at the Bonnington Hotel on Sunday 26 November 2006 by VERNON ANDERSON
While everyone was settling in we were treated to the sounds of Robert Farnon’s overture for Pia Zadora including many of the pieces Bob had arranged for her albums and concert tours back in the mid 1980’s.
With the strains of Robert Farnon’s "Proscenium" still ringing in our ears David opened the meeting with a warm welcome to everyone, especially having braved the storms encountered during the morning. Thankfully the weather had now settled and it was good to see so many attending, especially those people here for the first time. We were in for a real treat.
David then introduced the other presenters at the top table, Albert Killman and Robert Habermann. Albert then paid tribute to fellow member Brian Coleman who sadly died in May this year (obit. JIM 169 Oct, 2006). Brian joined the society back in the 1950’s and was a great lover of light music but especially Bob’s compositions. One of his favourite pieces was Bob’s "Concorde March", which Albert now played in Brian’s memory.
Albert introduced Robert Habermann for his tribute to Sir Malcolm Arnold who died in September (obit. JIM 170 Dec, 2006) which commenced with "Colonel Bogey March" from the film "Bridge over the River Kwai" (1957) which highlighted his own excellent march theme which he used as a counterpoint. This was followed by Sir Malcolm’s charming "Whistle down the wind" of 1961. Robert related many aspects of Sir Malcolm’s life, focussing on his composing for films and documentaries. In 1948 he had the opportunity to write a full score.
He composed hundreds of films scores but also many overtures and dances for orchestra. Robert’s third selection was Sir Malcolm’s "English Dance". He was a prolific composer; 9 symphonies, 2 operas, 17 concertos, 5 ballets and many notable pieces covering various genres and all of them memorable. However he did suffer some notable rejections. The MGM film "Invitation to the Dance" with Gene Kelly, for which he wrote a modern jazz sequence was not used in the score and this was one of several major disappointments (Robert Farnon’s contribution to the same film suffered a similar fate). However his output was rewarded with Honorary Doctorates from a number of music universities.
Robert’s last selection was the music from the "St Trinians" films, which highlighted Sir Arnold’s very keen sense of humour. Albert thanked Robert for a fitting tribute to a highly talented man, which was well received.
Albert then handed over to David for the first of his New Releases. David held aloft the new Epoch CD from Michael Dutton containing, among other well known and much loved Robert Farnon pieces, the World Premier Recordings of Bob’s symphony No.2 in B major (Ottawa) and the Scherzo from his symphony No.1 in D flat Major. David introduced us to the first movement of symphony No.2. This has a dramatic opening which (for this listener) reflected on a world threatened by war, but soon develops into a more patriotic or "homeland" style, perhaps the Canadian landscape and its indigenous people, city life in more care-free days and then like Bob, feeling the need to join the fight for freedom and the sacrifices that that might entail. The movement ends in tranquil mood. This piece was well received on this its first hearing in over 60 years. David confirmed that copies of the CD were available from the RFS Record Service at the meeting. He mentioned especially the brilliant playing of the BBC Concert Orchestra under the direction of John Wilson, recorded at The Colosseum (formerly know as Watford Town Hall) in June 2006. (A full page advert appears on page 4 of JIM issue No. 170, and a full description of the Sessions is to be found on page’s 48 to 51 including illustrations in JIM issue No. 169).
Albert picked up the theme of the last piece adding that he CD opened with a marvellous interpretation of Bob’s Suite from the 1951 film "Captain Horatio Hornblower RN." Albert went on to introduce the second piece from the Guild Series, presenting "The Golden Age of Light Music" all of which are on sale at today’s meeting. This comes from the CD with colourful themes "Beyond the Blue Horizon" and he highlighted Angela Morley’s 1954 arrangement of "Deep Purple", played by Wally Stott and his orchestra, in which she provides us with a lush string sound. After which David gave us the news that Angela is presently having treatment for cancer, and voiced the thought of all present in wishing her a speedy recovery.
David followed this with a request from fellow member Peter Burt, who with his wife Ellen had been unable to attend today’s meeting due to a flood in their house. David played piece No. 3 - Roland Shaw’s arrangement of Charlie Chaplin’s "The Toy Waltz" from his 1936 film "Modern Times", by the Mantovani Orchestra, from the "A Song for Christmas" Vocalion CD - the piece ends in the manner of a clock winding down.
No. 4 - David’s next selection was composed by fellow RFS member, Paul Lewis and titled "Rosa Mundi". Inspired by the loss of someone special, when he noticed on a single flower on his favourite rose; the only bloom this year was on "that bush". A calm reflective piece, played by the Royal Ballet Sinfonia conducted by Gavin Sutherland on the recent Naxos CD "English String Miniatures - Vol. 6".
No. 5 - David introduced another Guild CD this one titled "Light Music While You Work" and exclaimed that "Brian Reynolds would be interested in this one". Harry Fryer and his Orchestra recorded it for the Decca Label series of 78s ‘MWYW’ but it wasn’t released until 1951 on an early Decca LP. David mentioned the marvellous work which Alan Bunting has done in restoring these old recordings for transferring to C.D format. The composer was believed to be an American named William Wirges and he gave the piece the title "Fascinatin’ Manikin".
No. 6 - Albert introduced a new Eric Coates collection and noted that Eric’s son Austin had given his father’s watch to John Wilson, which John proudly wore during the session for the new Robert Farnon CD in June this year. This is a Living Era re-issue of the ballet suite "The Jester at the Wedding" of 1932, from which Albert played the fourth movement "Dance of the Orange Blossoms". All the pieces on this 2 CD set are conducted by Eric Coates.
No.7 - Albert then introduced us to a new Epoch release courtesy of Mike Dutton titled "Concertino for Celeste" by Roderick Elms, with the Royal Philharmonic Orchestra conducted by Stephen Bell. Roderick Elms is playing Celeste on this recording. He wanted this instrument to be better appreciated, but it has achieved greater acclaim thanks to John Williams’ score for the Harry Potter films.
Albert highlighted a new Sinatra Album - "Sinatra Vegas", a 4 CD set and DVD containing all new material. This is on the Rhino Label and will be available from 27 November, 2006.
David’s "Parish Announcements" then bought our attention to the Petition which has been prepared re. the demise of Brian Kay’s BBC Radio 3 Programme, scheduled to be axed early in 2007. Several copies of the petition were displayed around the room and members were encouraged to add their name if they so wished. Alternatively they should write to Michael Grade at the BBC, to the address on the sheets. (Ironically Michael Grade has now resigned from the BBC).
David gave advance notice of the Society’s 100th meeting at which two gentlemen, Matthew Curtis and Adam Saunders, will be presenting music in April 2007 - two young composers who very much support the Light Music tradition. They were both well received at David’s introduction. We look forward to hearing from them at our next meeting.
David sent us off to the first interval for tea, coffee and biscuits, not forgetting the raffle draw, with Bob Farnon’s "Jockey on the Carousel".
Back to Seats Music - "Seventh Heaven" by Bob.With (practically) everyone returned to their seats, Albert introduced a popular regular presenter to the top table, Rodney Greenberg, who received a warm response from the floor. Rodney then introduced today’s special Guest of Honour, veteran BBC Radio and TV producer Trevor Hill to great applause.
The first point made was reference to the article in the Daily Telegraph on the Gowers Report. Result: "No reason to extend the 50 year ruling". This announcement was received with a round of applause.
Trevor then set the mood by putting his own "interference" on the mike to check the sound system, to much laughter from his audience.
This conversation went at a cracking pace and began with Trevor’s early BBC years with Margaret Potter at Manchester Piccadilly where Rodney first met Trevor. Trevor considered himself exceptionally lucky. While living at 21 Holmwood Grove, N7 he heard some piano music - a neighbour was playing, which got him interested in singing. He won a scholarship to St Paul’s Choir School under the direction of Dr. Field-Hyde where Trevor had to sight read a piece of music. It soon became evident that he required the removal of his tonsils and adenoids. He was keen to listen to the wireless and in particular national programmes of the BBC, through which he was introduced to a gentleman call Sid Walker. Following further exchanges Trevor referred to Rodney as "a walking (seated) encyclopaedia".
Trevor referred to the BBC’s "Band Wagon" programme with Arthur Askey and Richard Murdock which he attended at Mr Walker’s invitation. Trevor got a job at the BBC – one example ITMA door noises!
Music - "Marching On" by Walter Groer - composer/ musician who owned a printing press. Trevor involved with Radio Newsreel, from No. 200 Oxford Street (in the basement of a premier store). Broadcasting House was bombed in 1940.
We heard tape of Dunkirk Evacuation Day. The next day the AEFP was launched. From the BBC Record Library came the signature tune of Forces Favourites which became Two-way Family Favourites from Hamburg - Andre Kostelanetz’s "With a Song in My Heart". Cliff Michelmore, then squadron leader was interviewed; left message to Jean Metcalfe - her response "He’s quite a smoothy, your squadron Leader M!"
Margaret Potter produced her own version of Children’s ( Hour) Magazine, serials etc. Trevor played extracts from "Robin Hood", "Calling All children" 1947 Auditions. Playback of cast of Robin Hood which included many well known celebrities including Cliff Michelmore and Roger Moore etc. Colonel Warren was the first "Ovaltiney". Ivy Benson and her Band, who, following certain escapades with Roger Moore were known as Ivy Bunsen and Her Burners!
Trevor worked for a time with BBC West Region and was then posted North of England to Manchester, worked with Cpl (later Sgt) Ray Martin at base camp in Germany, involving Hamburg Symphony Orchestra. Hugh Garston-Green NWDR. Hamburg Philharmonic.
Other reminiscences included Violet Carson and a whistling postman. The BBC commissioned composer Ray Martin to score music for "Pied Piper" for which Margaret and Trevor wrote the script.
Many other memories followed with names such as Jimmy Edwards, David Hughes, Wilfred Pickles bringing smiles of recognition. Trevor worked with Harry Corbett and his famous glove puppet Sooty for 12 years, and we saw film of Roger Moffat introducing the BBC Northern Dance Orchestra. Other famous animals to rub shoulders with Trevor included Pinky and Perky.
Trevor also knew "Leonard Trebilco", young Bob Farnon and Ted Hockridge. Working on the AEF Programme of the BBC meant acting as sound engineer for Glenn Miller, who wanted individual microphones for each instrument. During a lunch break more were hastily found to satisfy his ego, but it was not possible to connect them to the mixer. Miller didn’t notice, but praised Trevor for the improved sound!
Trevor reflected on further memories from the early days, involving such well known people as Max (Maxwell) Davies - Master of the Queen’s Musik, Julie Andrews, C.S. Forrester and the "Hornblower" books, composer Johnny Pearson which brought the conversation to a close and a special appreciation and thanks from Rodney Greenburg followed by spontaneous applause from the audience.
Albert thanked Rodney and asked Trevor to draw the raffle. We then broke for the Second Interval and returned to the strains of "Sleigh Ride" arranged by (Wally Stott) Angela Morley.
Albert back announced the last piece and then reminded us that Ralph and Geoffrey had videod Trevor’s presentation for our archives. He then introduced our last guest speaker, Peter Worsley.
Peter told us he was formerly a Headmaster at a Secondary School, and now working for "This England" magazine. His first selection was Charles Williams’ "The Old Clockmaker" on the Grasmere label which introduced the BBC Children’s Programme "Jennings at School". Second selection from "London Fields Suite" by Phyllis Tate - "Rondo for Roundabouts". The suite also included "Hampstead Heath".
Peter has produced 3 volumes of TV and radio themes on sale at today’s meeting. He also edited This England’s "Book of British Dance Bands" (from the twenties to the fifties) and the "Second Book of British Bands" - (the Singers and smaller bands) and more recently "London Lights" - A History of West End Musicals.
Peter’s third selection was "Giocosso" by Issac Casabon and so "signed off". Albert thanked Peter for an interesting selection and recommended his books (on display) to us, with Christmas approaching.
Albert then introduced our regular presenter Brian Reynolds who proudly reported that his book "Music While You Work" has gone into reprint (interrupted by general applause). The book has bought family members of many of the artists to Brian, seeking more information.
Brian highlighted the music of Cecil Norman (1907-1988), selecting first "Whistling Cowboy" played by the Gilbert Vinter Orchestra (BBC Midland Light Orch); "Bubble and Squeak"; "Fancy Free" played by the Gerald Crossman Players -Brian confirmed that Gerald Crossman is still alive and well. Next followed "Out and About" with the composer and The Rhythm Players. Final number in recognition that Cecil Norman always used to get up at 5 o’clock in the morning - "Up with the Lark" by Harold Collins and his Orchestra. And a final note. In 1967 Cecil Norman ceased broadcasting - on his 70th birthday. Albert thanked Brian for his tribute to a warm reception.
Albert introduced Cab Smith who decided to present extracts from Robert Farnon’s "Canadian Impressions" Suite commencing with the opening piece "Gateway to the West" (the album was your reporter’s 1st LP bought while serving in Aden in 1956 and one of his treasured possessions!).
Next followed Bob’s impression of the main route through NW Canada - "Alcan Highway" and finally that great piece that forms the grand finale to the album - "Canadian Caravan". Cab’s selection was of course taken from Mike Dutton’s Vocalion CD which really brought out the atmosphere in the music. Sadly this has now been deleted.
Albert thanked Cab for a great selection and then asked David to present a short selection to close the meeting.
David chose a piece from the Hallmark album with Tony Bennett, a real seasonal number - "The Christmas Song" (Chestnuts Roasting on an Open Fire). And we came to the end of a great afternoon of music and narrative with lots of humour for good measure.
David thanked all the presenters by name and especially our Guest of Honour Trevor Hill.
Then a word of thanks to the ladies at the front table and for arranging the raffle etc. And finally Tony for his great technical support.
David and Albert wished everyone a Happy Christmas/New Year, a safe journey home and looked forward to our next meeting, April 2007.
Closing music -"Melody Fair" (Robert Farnon), Manhattan Playboy (RF)
In November 2005 the Robert Farnon Society welcomed one of Britain’s foremost film and television composers to its London meeting. As Peter Burt reports, DEBBIE WISEMAN captivated everyone present!
For those of us visiting London and using its public transport for the first time since July 7th, there may have been some anxiety in travelling to the refurbished Derby Suite at the Bonnigton Hotel on November 27th. As we joined in a moment’s silence to remember the passing of Robert Farnon and two past stalwarts of the Society, Edna Foster and Peter Bunfield, I am sure our minds also turned to those whose lives had been so tragically cut short or been maimed in the atrocities.
Movingly, the lights were dimmed as we listened to Bob’s recording of Peacehaven. What happened in July may also have deterred some of us attending Bob’s Memorial Service, so it was good to have Albert introduce a video of short excerpts from the eulogies, including one by our indefatigable Secretary. David himself told us there was a CD of the eulogies available for sale. He then spoke briefly about the acclaimed BBC Four programme ‘Music for Everybody’ and introduced excerpts featuring Robert Farnon. Albert followed this by introducing extracts from two exclusive Society DVDs: recordings of recent visits to our meetings by Trevor Duncan and Ernest Tomlinson, both of whom we were sorry to hear were currently in poor health. [We have, of course, subsequently lost Trevor, as reported elsewhere in this issue]. These events had been expertly recorded and edited by Ralph Thompson with assistance from Geoffrey Richardson.
The popular New Releases spot was next with an interesting Ron Goodwin arrangement of The Stripper [Vocalion]; Silverheels by the Palm Court Orchestra conducted by Charles Job [Canada]; Castles in the Air - Celebrity Symphony Orchestra [Guild]; First Meeting from John Fox’s "The Love of Joy" -Royal Ballet Sinfonia [Campion], and What Kind of Fool Am I? sung by Lance Ellington with the John Wilson Orchestra [Vocalion]. David was hugely enthusiastic about the last disc but this listener would have preferred Andrew Cottee’s arrangement without the vocal! Wearing my CD seller’s hat, I still think that with so many noteworthy new releases it is pity room can only be found for four tracks. Stanley Black’s closing theme from ‘The Naked Truth’ sent us to the first interval and a welcome cuppa.
We resumed our seats for what was without any doubt whatsoever the highlight of the meeting. This was an extended interview conducted by Rodney Greenberg with our Guest of Honour, Debbie Wiseman MBE. Debbie is one of our finest composers whose work has been widely praised by critics and music lovers. She discussed her career with Rodney and gave us a fascinating insight into writing and recording music for television and movies. Her words were enhanced by video clips from ‘Arsène Lupin’, ‘Freeze Frame’, ‘Tom’s Midnight Garden’ and ‘Wilde’. Albert voiced the appreciation of all present for a "most delightful hour".
Debbie drew the raffle and we broke again for another interval and a further opportunity to gladden Ellen, Paul, and myself [not forgetting the Treasurer] by buying more CDs.
Bob’s Trumpet Talk brought us back to our seats for Cab Smith, eschewing his usual Swing Session, to play three more Farnon compositions all connected with transport: En Route, Main Street, and Rush Hour. Paul Clatworthy was then welcomed to the platform and brought us Con Alma played by Dizzy Gillespie accompanied by Mr Farnon and his Orchestra. Back, then, to Albert who introduced two selections from Canadian radio programmes marking Bob’s death.
Firstly from Robert Harris’s CBC Radio 2 programme ‘I Hear Music’, an hour long tribute to Bob, came I Got Rhythm with Bob and the AEF Band. Interestingly Robert’s father had worked with Bob when he first came to this country. Secondly from a weekly radio show presented by RFS member Glenn Woodcock on Jazz FM [Toronto], which devoted the whole of its 5-hour time slot to Bob, we heard the closing music from the AEF ‘Canadian Caravan’ show that Bob later re-orchestrated for Canadian Impressions.
DVD excerpts had been a feature of the afternoon and David appropriately brought proceedings to a close by introducing two more from TV: the thought to have been long lost ‘The Best of Two Worlds’ presenting Robert Farnon and his Orchestra with Douglas Gamley and Petula Clark; and the more recent BBC4 showing of a ‘Friday Night Is Music Night’ with John Wilson conducting the BBC Concert Orchestra in Portrait of a Flirt, March from A Little Suite, and A Canadian in Mayfair.
David’s customary closing thanks all round included the welcoming ladies who take our money for admission and the raffle, and the tireless Tony Clayden who not only supplies and operates the technical facilities but leads the team responsible for devising the meeting. On Advent Sunday it was a shame there was no seasonal music, but it had been an afternoon reassuring us that some things are still right with our world.
ONE OF THE MOST ENJOYABLE Peter Burt reports on the latest London meeting at the Bonnington Hotel on Sunday 28th November 2004
As usual some glorious Farnon sounds regaled the ears of members and friends as they took their seats for our 95th London meeting. The choice as our overture this time was Robert Farnon's Hollywood Stars played by the Bratislava Radio Symphony Orchestra conducted by Peter Breiner, on the Vocalion CD "The Wide World of Robert Farnon".
Instead of occupying the co-compere's chair, we were sorry to hear that Albert Killman was languishing in a hospital bed in deepest, darkest Essex. We wished him well as we welcomed his replacement at the music players, André Leon, "literally off the plane from South Africa". The meeting had begun with a few moments of silence in memory of that lovely lady, Joy Fox, who had died in August - and the first music we heard was of her singing Send In The Clowns, accompanied by husband John at the piano. There was to be more of John later.
The programme proper kicked off with Hey There, the title track from the new CD featuring Bob's sensitive settings of familiar compositions and arrangements, especially for Jane Pickles on flute, with Jack Parnell conducting the Royal Philharmonic Strings. This was followed by the opening titles from Bob's music for the film 'Maytime in Mayfair', which David Ades told us had never actually been put out on record.
And so to John Fox. It was a pleasure to be celebrating his 80th birthday and he [very bravely, I thought] shared with us some of his memories and choose some of the music Joy loved. He was introduced with his familiar theme for the BBC Radio Orchestra series 'String Sound': String Magic. He said how his life in music had been a marvellous time playing, composing and arranging the music he loved.
After more String Magic, John told us that he loved fairy tales and played Beautiful Princess and Gallant Prince [two of his 'Characters from The Fairy Tales'], from the CD 'British Light Music Premieres Vol.1' on Dutton Epoch. We then heard Love Walked In, his own favourite of all the songs sung by his beloved wife, who sang professionally as 'Joy Devon'. This was followed by another of his own compositions, Strings in 3/4 [also on the above CD], which caused him to say: "It is a composer's glory to hear his music played just like that. It makes you feel good".
John then reminded us that he was deeply fond of the English countryside and played his A Pastoral Reflection from 'British Light Music Discoveries Vol.5' [ASV White Line]. John's last choice was a real showstopper that brought a smile to our faces: his terrific arrangement of London Pride, a medley of tunes taken from a radio broadcast introduced by Steve Race. John finished by telling us that he was working on an orchestral suite to be called 'The Love Of Joy'. Thank you, John; we hope to see you at our meetings for many more years to come.
The recent CDs section of the programme was a bit short considering the number of new titles on sale. We heard Robert Farnon's Mauve from Vocalion's 'Colours' album featuring Vic Lewis and the Royal Philharmonic Orchestra; Gary Williams singing You're Sensational from his sensational new album with the John Wilson Orchestra, 'Alone Together', on full-price Vocalion; and Dancing In The Dark, a track from Guild's 'Light Music From The Silver Screen', with the MGM Studio Orchestra conducted by Adolph Deutsch. This conjured up the memorable scene from 'The Band Wagon' of Fred Astaire and Cyd Charisse in New York's Central Park - what Denis Norden has described as "one to steam up your bi-focals".
As we came to the first interval and a welcome "cuppa", we learnt that we had in our audience Matthew Curtis [with a new CD out], Eric Parkin, Philip Lane and David Snell. It was David Snell playing the harp on Robert Farnon's Walkin' Happy which accompanied us to the refreshments, anticipating his starring appearance at our next meeting in April 2005.
Our "back to seats" music of segments from Fairy Coach, Concert Jig, Dick's Maggot and Waltz For A Princess gave us the clue that the next presentation was to be another celebration of an octogenarian: the engaging Ernest Tomlinson.
Recalling his appearance at one of our meetings two years ago, Ernest said that this time he wanted to introduce us to some of the lesser-known aspects of his output. So we heard Fantasia On North Country Tunes, commissioned by the Hallé Orchestra in 1978; I'm Late and a vocal version of Little Serenade, from broadcasts in 1959 by the Ernest Tomlinson Music Makers; Cornet Concerto, Concerto For Five [saxophones] and his own favourite self-penned composition, Pastorella from 'The King and the Mermaid'.
Each piece was prefaced by stories of how and why they came to be written. Ernest also talked at some length about Library or Mood music. He told us how it was unpopular with performers because they were only paid for it once, how for 25-30 years the Musicians Union insisted that all recordings of it must be made abroad, and how even such a luminary as Frederic Curzon was blacklisted for conducting it abroad.
From Ernest's own extensive catalogue of Library music we heard Gay And Vivacious and a selection from 'Cartoon Capers': Trickie Quickie, Flitting Along, Enter Villain, Pride And Fall, Cccrash, Quick Ending, Fast Asleep, Flickering Flames and Busy Chatter.
David asked about Ernest's recent broadcast interview with Brian Kay, which prompted him to tell us about how in 1962 he had won prize money of one million liras for writing Symphonica 1962. Ernest admitted that he did not like listening to other music very much as he found that what he heard influenced his own music too much.
One of his many stories was of the lady who, on seeing his name under "Music Arrangers" in the local Yellow Pages, had phoned him to ask whether he could arrange to sell her deceased husband's double bass that she had in the attic. It had been a wonderful hour or so of entertainment from a man whose many styles of music we could only marvel at.
After another interval, and opportunities to investigate the many tempting offers on the RFS Record stall, we were welcomed back to our seats with Robert Farnon's lush arrangement of Do I Hear a Waltz - one of the titles he recorded around 40 years ago for Reader's Digest, which have gradually reappeared piecemeal on various compilations over the years. It would be nice to have all of them on just one CD, supplemented, of course, with some similar material to fill the disc.
Brian Reynolds, is invariably good value for money with his "Radio Recollections" and this time he brought us an Ernest Tomlinson arrangement of a Leroy Anderson Potpourri played in 1958 by Joseph Muscant and his Orchestra; James Warr's Little Lisa played by the BBC Midland Light Orchestra in a Harold Rich [with us in the audience] arrangement conducted by Sverre Bruland, taken from an early morning programme 'Bright and Early' complete with mid-music time check; George Scott Wood and his Music playing Don Roberto by accordionist Albert Delroy; and Pretty Trix written by jazz violinist Joe Venuti and played by the Sidney Sax Strings.
It was good to have the Request Spot again as this used to be a regular feature of our meetings. Have Yourself A Merry Little Christmas, a Farnon arrangement sung by Tony Bennett, was played for Norman Grant. Peter Luck's choice was Oranges and Lemons, arranged by Spike Hughes for the BBC Light Orchestra conducted by Vilem Tausky, and used around 50 years ago at the start of broadcasting on the BBC Light Programme. This came from Tony Clayden's impressive collection of early radio and television memorabilia, into which he has promised to delve deeper for one of our future meetings.
Another highlight of the afternoon - [not!] - was yours truly playing tracks from three releases possibly in the running for "CD Of the Year 2004": Love's Dream After The Ball - Mantovani [Guild], Deep River - Frank Chacksfield [from 'Beyond the Sea'] [Vocalion] and Serenade To A Lemonade - David Rose [Living Era].
Once again David had only time to play two of his own choices: Max Geldray, who had died in October, playing Crazy Rhythm with the Wally Stott Orchestra; and extracts from the forthcoming Guild issue '1950s Volume 2' - Midnight Matinee [Len Stephens], Postman's Knock [Angela Morley], The Magic Touch [Hugo Winterhalter] and Moonlight Fiesta [Winifred Atwell with the Cyril Ornadel Orchestra] with its wonderful horn whoop at the end.
The Leslie Jones Orchestra of London's recording of Melody Fair brought to an end a meeting that, in my opinion, was one of the most enjoyable of recent times. All credit to David and especially André for handling the controls so efficiently, and to Tony Clayden, sound technician extraordinaire, and the London committee.
For most of the second half of the 20th century, Canadian-born Robert Farnon was generally regarded as the greatest living composer of Light Orchestral music in the world. Farnon was also revered as an arranger of quality popular songs, having influenced most of the top writers on both sides of the Atlantic during the second half of this century. He has also produced some memorable film scores, and could have earned considerable fame and fortune had he decided to settle in Hollywood. But it is our good fortune in Britain that he chose to make his home with us.
He was born on 24 July 1917 in Toronto, Ontario, the third of four children. The eldest was his sister Norah; the other three were boys who all made their careers in music. Older brother Brian (born 27 November 1911) has enjoyed a glittering career on the US West Coast - at one time with Spike Jones and more recently at resorts such as Lake Tahoe. Younger brother Dennis (13 August 1923) achieved universal fame through his quirky scores for the "Mr. Magoo" cartoons. He also wrote a great deal of music in later years for London publishers’ background music libraries.
While still in his teens, Bob Farnon became a household name through his many programmes on radio, especially the long-running "Happy Gang". He occupied the lead trumpet chair in Percy Faith’s Canadian Broadcasting Corporation’s Orchestra, also contributing vocal arrangements for the show. In 1940 Faith decided to leave for greener pastures in the USA, and Farnon was invited to take over the baton. This provided a wonderful opportunity to develop his arranging skills, bringing him to the attention of Paul Whiteman and Andre Kostelanetz.
Like so many young writers, he yearned to create more serious works, and by 1942 he had composed two symphonies which were performed by leading orchestras in North America. He tended to be somewhat dismissive of these works (to the disappointment of his admirers), and all suggestions that they should be polished for new performances were politely, but firmly, declined. Perhaps his reluctance was due to the fact that he has "borrowed" some of the themes from both symphonies for his later works.
As conductor of the Canadian Band of the Allied Expeditionary Forces, Farnon came to Britain in September 1944, working alongside Glenn Miller and George Melachrino, who fronted the American and British bands.
At the end of the war Farnon took his discharge in Britain, finding the musical scene more suited to his talents, so that he could work in films, radio and the recording industry. In Britain he had discovered an area of music previously little known to him. We call it Light Music (not an entirely satisfactory title for a musical form which can embrace many different styles). In North America it tends to be labelled "Concert Music", but during Farnon’s adolescence it rarely entered into his musical ambit.
But that is not to say that he was ignorant of its possibilities. He had been working on a series of "symphonettes" which were later to form the basis of compositions such as "Willie The Whistler" and "Jumping Bean". One valuable musical aspect of World War II was that musicians conscripted into the forces were no longer subjected to commercial pressures, so they could develop their ideas to test public reaction, without having to worry about the financial consequences of any failures. Farnon revelled in the freedom that this offered, but he need not have worried about disappointing his public: they were delighted with each and every one of his innovative ideas.
Which brings us neatly back to the British musical scene, as discovered by Captain Robert Farnon. For the first time he heard the music of Eric Coates, Haydn Wood, Charles Williams and the other exponents of Light Music ... and he realised just how closely his own ideas had, unknowingly, been moving in their direction. Of course, he brought a virile, north American freshness and approach which might have seemed to be at variance with the slightly more "genteel" British style. In truth, the work of Farnon and his young contemporaries breathed new life into a musical form which could well have faded away during the 1950s.
Farnon did not confine himself to Light Music. After all, he had been brought up in an atmosphere of big bands and show music. While living in Toronto he made frequent visits to New York, where he would call in at Minton’s, generally regarded as the birthplace of "bebop". It was not rare for him to be asked to join a jam session. His close friends at this time included Dizzy Gillespie and Oscar Peterson; those friendships were to endure throughout their lives.
Despite a very demanding schedule of broadcasts for the Allied Expeditionary Forces Programme of the BBC, Farnon managed to do some "moonlighting". His colleagues remember how he used to listen to American broadcasts on short wave radio, writing down the notes of the latest hits as they were being performed. During his spell in Faith’s orchestra he had learned how to "switch off" from his surroundings and work on a score -- something that did not always endear him to Faith!
Farnon’s inventive ideas were soon noticed by our own bandleaders. Lew Stone, Ambrose and Ted Heath were not slow to add Farnon scores to their libraries, and soon after taking his discharge Farnon joined the Geraldo Organisation as an arranger. When Geraldo travelled to the USA in 1947, for a while Farnon took over the Band for its broadcasts and recordings. It is perhaps surprising (as well as disappointing) that more Farnon scores from this period did not find their way on to commercial recordings - after all, the afore-mentioned bandleaders all had good recording contracts. Just recently researchers cataloguing the Geraldo library have been amazed at the amount of Farnon material it contains.
The Robert Farnon Orchestra began to broadcast regularly on BBC radio and television, both in its own programmes and also supporting big stars such as Vera Lynn and Gracie Fields. Decca signed Farnon as a ‘house conductor and arranger’, and his name appeared on numerous 78s providing backings for the likes of Vera Lynn, Gracie Fields, Denny Dennis, Paul Carpenter, Beryl Davis, Reggie Goff, Dick James, The Johnston Brothers, Scotty McHarg, Donald Peers, Ronnie Ronalde, Norman Wisdom, Anne Shelton .. and even the Ilford Girls Choir. Vera Lynn’s first big US hit - "You Can’t Be True Dear" - also featured the Farnon Orchestra.
Naturally he was anxious to bring his own music to the public’s attention. Thanks to his radio broadcasts, British listeners were starting to notice the bright, fresh Farnon sound, and towards the end of 1948 Decca released one of the finest Light Music 78s ever recorded - "Jumping Bean" coupled with "Portrait Of A Flirt". These two Farnon originals have become part of the folk lore of British Light Music, and they undoubtedly influenced a generation of composers in this genre.
Although it has to be said that he never received the promotional support he deserved from his record company, his contract with Decca produced many fine albums which became models of orchestration, often copied by leading arrangers on both sides of the Atlantic. Andre Previn called Farnon: "The greatest living writer for strings". John Williams (writer of "Star Wars" and many of Hollywood’s best scores during the past 30 years) happily acknowledges his debt to Farnon, as did the late Henry Mancini. Other top writers who are not ashamed at being labelled "Farnon sound-alikes" include Johnny Mandel, Patrick Williams, Don Costa, Patrick Williams, Angela Morley, Marty Paich ... the list is almost endless.
Over 40 films have benefited from a Farnon score, notably "Spring In Park Lane", "Maytime in Mayfair" and "Captain Horatio Hornblower R.N.".
From the 1940s onwards Farnon has produced a steady stream of Light Music cameos, which have been used regularly by radio and television stations around the world - often as signature tunes (eg. "Colditz", "The Secret Army"). Pieces such as "Jumping Bean", "Portrait Of A Flirt", Journey Into Melody, "A Star Is Born" and "Westminster Waltz" have become standards, instantly recognisable, even if the title may sometimes elude the listener. His more serious works have included "A La Claire Fontaine", "Lake Of The Woods", "Rhapsody For Violin and Orchestra" and "Cascades To The Sea".
By the end of the 1940s he had established himself as a "name" in Britain. For the next 20 years he composed hundreds of pieces of Light Music, mostly for Chappell’s Recorded Music Library. During this period he also arranged countless popular songs for broadcasts and recordings, conducted his orchestra in numerous radio and television programmes and made a series of LPs that have become prized collectors’ items. His concert tours took him to many parts of Europe and Canada; he worked briefly in the USA and was always in demand for film scores. Commissions flowed in from the BBC and others. Notable works in this area included "The Frontiersmen", "Rhapsody For Violin and Orchestra", "Prelude and Dance for Harmonica and Orchestra" (for harmonica virtuoso Tommy Reilly), and "Saxophone Tripartite", commissioned by the Musicians’ Union for another Canadian musician, Bob Burns.
In other words, Farnon was a busy working conductor / composer / arranger who was fortunate to be around at a time when radio stations, in particular, were still actively supporting live music. This helped to gain him the public recognition which made many of his other activities possible.
Inevitably nothing stays the same, and as the end of the 1960s approached many of Farnon’s colleagues found that broadcasters and recording companies no longer needed so many of them. But Farnon’s international reputation ensured that his career would take a new -- and perhaps even more illustrious -- direction.
In 1962 Farnon was musical director on "The Road To Hong Kong" with Bing Crosby, Bob Hope, Dorothy Lamour and Joan Collins. ("They blamed me for killing off the series!" he joked recently. "It was the last ‘Road’ film they ever made!")
Then in June of that year, Farnon arranged and conducted Frank Sinatra’s one and only British album "Great Songs From Great Britain". It had a mixed reception at the time, partly due to Sinatra’s voice sounding a little tired - not surprising, because he was just completing a world tour when the sessions (in the middle of the night) took place. In fact Sinatra refused to let one track "Roses of Picardy" be included, and it was many years before the album was released in the USA, although it had been available in the rest of the world. A few years ago the CD issue included "Roses of Picardy", and contemporary criticisms now seem harsh. Even if Sinatra does struggle occasionally to hit the top notes, the Farnon scores stand out.
The next year Farnon was in Copenhagen recording an album for Sarah Vaughan - "Vaughan With Voices" which also featured the Danish Svend Saaby Choir. Clearly he had secured his place among the elite of top arrangers for the biggest stars.
Farnon’s long and fruitful association with Tony Bennett began in 1968. Together they made several classic albums, a television series and appeared in many concerts, notably a charmed occasion on 31 January 1971 when Farnon conducted the London Philharmonic for Bennett at the Royal Albert Hall as part of the building’s 100th anniversary celebrations.
During the past 25 years many other top singers and instrumentalists have expressed the wish to have Farnon arrange and conduct for them. Clashing commitments and problems over contracts have prevented some from proceeding, the most disappointing being on-off projects with both Dizzy Gillespie and Oscar Peterson. Although they’ve performed in concerts and on television, Farnon never managed to achieve his ambition to record with either of these long-standing friends.
But the following list of some collaborations which have taken place is impressive: Tony Coe, saxophone (recorded 1969); Singers Unlimited ("Sentimental Journey" in 1974, and "Eventide" in 1976); Lena Horne (for "Lena - A New Album" in 1976); Ray Ellington (1978); George Shearing ("On Target" 1979/1980 and "How Beautiful Is Night" 1992); Jose Carreras (1983); Pia Zadora ("Pia and Phil" 1984, "I Am What I Am" 1985); Sheila Southern (1986); Eileen Farrell ("This Time It’s Love" 1990/1991, "It’s Over" 1991, "Here" 1992/1993, "Love Is Letting Go" 1994/1995); Joe Williams "Here’s To Life" (1993); J.J. Johnson ("Tangence" 1994); Eddie Fisher in 1995 - yet to be released; and with Carol Kidd in 1998.
Farnon’s work has often been recognised by his peers. In Britain the foremost awards for the music (as opposed to the entertainment) industry are the Ivor Novello Awards. Farnon’s tally: "Westminster Waltz" in 1956; "Sea Shore" 1960; "Colditz March" 1973; and "Outstanding Services to British Music" in 1991. Across the Atlantic Farnon received Grammy nominations for arrangements in 1976 for "Sentimental Journey" (on a Singers Unlimited album) and in 1992 "Lush Life" (sung by Eileen Farrell). He finally reached the top for Best Instrumental Arrangement of 1995 - "Lament" on the J.J. Johnson album "Tangence".
For 46 years Farnon lived on the Channel Island of Guernsey, where he continued to compose and arrange until the end of his life. During his 80th year several concerts of his music took place, both in Britain and in Canada, and BBC Radio-2 broadcast a special Tribute to him in its Arts Programme just a few days after his birthday - on Sunday 27th July 1997 at 11.00 pm. Earlier on the same day Bob was in London at the Bonnington Hotel for an afternoon and evening of celebrations (including a Dinner) arranged by the Robert Farnon Society, at which many of his friends and colleagues from the music business were present.
Perhaps the most memorable celebrations for Robert Farnon’s 80th year took place in his own homeland. In October 1997 he was invited to Toronto, where he met many fellow writers at a special gathering organised jointly by the Guild of Canadian Film Composers and the Society of Composers, Authors and Music Publishers of Canada. He then went on to Ottawa, to attend three concerts at the National Arts Centre on 30, 31 October and 1 November. The National Arts Centre Orchestra was conducted by Victor Feldbrill in a splendid programme of original compositions and arrangements by Robert Farnon, one of the notable highlights being a performance of his "Rhapsody for Violin and Orchestra". During this visit Farnon was the centre of attention from the local media, with many reports of his visit appearing on radio and television programmes, and in the local and national press.
During his Canadian visit, Farnon was commissioned to compose a major work for piano and orchestra. The result is his ‘Concerto for Piano and Orchestra - Cascades to the Sea’ (1998), which has already been broadcast in Britain and the USA. It was issued on a commercial CD by Vocalion in 2002.
The general resurgence of interest in Light Music has meant that Robert Farnon’s true genius as one of the major composers of the 20th Century is now being fully recognised. His importance was finally acknowledged by his homeland: he was awarded the Order of Canada early in 1998.
In the Spring of 2003, the British record company Vocalion, in association with the Robert Farnon Society, completed a major project to reissue Robert Farnon's Decca albums from the 1950s on new CDs. His music is also appearing on other labels, mainly thanks to the efforts of The Robert Farnon Society.
Early in 2004 Robert Farnon completed a new Symphony – his third – which he dedicated to Edinburgh, having been captivated by the city on a visit to the Edinburgh Festival. Appropriately the first performance of this importance work was programmed at the Usher Hall on 14 May 2005, with the National Symphony Orchestra of Scotland conducted by Iain Sutherland.
Sadly Robert Farnon died in Guernsey on Saturday 23 April 2005, just three weeks before the premiere of his symphony. He was 87, and incredibly was still working on new compositions. His last major work was a Bassoon Concerto, which Farnon composed especially for the American virtuoso Daniel Smith. Entitled "Romancing the Phoenix", Robert had been discussing the finer points of the score at the beginning of April.
With his passing the world of Light Music has lost one of the greatest composers and arrangers of the last century.
Copyright: David Ades, 24 April 2005
The incredibly successful series of "Golden Age of Light Music" CDs produced by Guild Music has already passed the magical figure of 100, but the series still continues. These are the latest releases:
Guild Light Music CDs are sold by all good retailers, and they are distributed in many countries of the world. If you have difficulty in finding them, they are readily available from the major internet mail order sites such as Amazon.