SPRING TONIC
Meeting of the Robert Farnon Society at the Park Inn, London on 28th March 2010
reported by BRIAN REYNOLDS

Once again the months had rolled by, during which time we had experienced one of the coldest winters that many of us could remember - but it was now spring - but only by a week, as our meeting was taking place earlier to avoid Easter Sunday. As usual, an impressive number of people had decided that as there was nothing much on the telly, an afternoon wallowing in the glorious melodies of yesteryear would be worthwhile - and as usual, they were right!

We took our seats to Farnon Farrago played by the BBC Concert Orchestra, conducted by Robert Farnon.

Albert Killman welcomed us to the show and informed us that, once again, David Ades was unable to attend, as his younger grandson had been rushed to hospital for an emergency operation. Happily, the operation was a success and the boy has now recovered. I know that David was particularly disappointed to have missed two consecutive meetings, having formerly had an unblemished attendance record since the society was formed.

The show opened with The Trolley Song arranged and conducted by Robert Farnon - a recently discovered excerpt from the AEF "Canada Show" featuring the Canadian Band of the AEF. This was followed by 'Oh! What Love has Done to me' by Gershwin played by the John Wilson Orchestra and taken from the much acclaimed MGM Prom and was in fact, the second finale from the show - the piece that the BBC didn't broadcast! Next we were treated to an arrangement of the Black Bottom played by the Robert Farnon Orchestra.

We continued with a tribute to Sir John Dankworth, who died earlier in the year. First, we heard his Widespread World, composed for Associated-Rediffusion Opening Music and played by the Royal Philharmonic Orchestra under the direction of Gavin Sutherland. Then followed Further Experiments With Mice in which the London Symphony Orchestra play 'Three Blind Mice' in the style of classical composers. The Dankworth tribute concluded with part of the theme from the film Sapphire composed by Phil Green and played by the Pinewood Studio orchestra, and featuring the saxophone of Johnny Dankworth.

Readers will recall that our previous meeting had taken the form of a tribute to Angela Morley. However, time did not permit us to include some pieces which she had sent to Paul Clatworthy. After a spoken introduction from Angela Morley we heard Mary's Theme from Summer Girl, Diana and Hillary from Emerald Point and At the Beach from Summer Girl.

Now it was time to take a look at the new releases and Albert commented on the new Sinatra re-releases and played us The Gypsy from the sessions with Bob Farnon. Next came a piece called Cecilia from the Dennis Farnon Orchestra, which is featured on the Guild CD 'Orchestral Gems in Stereo'. This piece is, incidentally, also featured on a new Vocalion re-issue of two Dennis Farnon albums 'Enchanted Woods/Caution Men Swingin'.

Next came a Stanley Black arrangement of I Love Paris featuring the BBC Concert Orchestra conducted by Roderick Dunk. This comes from the recent Dutton Epoch CD 'Showtime', sponsored by the BBC Concert Orchestra Supporters Club to celebrate their 25th anniversary. This was followed by Let's Beguine written by Otto Cesana and played by his orchestra. This is a track from a new 'Guild' CD called 'Strings in Rhythm' - a good title for a CD, as indeed it was a good title for a 1950s orchestra under the direction of Henry Croudson! Our final new release was Passepartout from the Victor Young film score for Around the World in Eighty days. It takes the form of a medley of familiar tunes, and was recently released on 'Vocalion'

It was now coming up to teatime and Albert drew our attention to a light music programme to be broadcast on Good Friday on Three Counties Radio, and presented by former Radio Two announcer, Colin Berry. This was to be the fifth in a series of occasional light music specials which has compered.

We broke for tea to the accompaniment of John Dankworth's theme for Tomorrow's World.

PART TWO

We returned to our seats to Robert Farnon's The Big Night played by the Queen's Hall Light Orchestra.

It was now time to meet our special guest for the afternoon, Iain Kerr, a pianist and organist who first came to my attention in the sixties, when Iain Kerr and his Keyboards were sometimes featured on 'Music While You Work'. I had discovered his extensive website whilst 'surfing the net' some months earlier and as it was apparent that he had enjoyed a long and varied career in the world of entertainment and knew Robert Farnon personally, I decided that he would make an ideal guest and invited him to address us. We are most grateful to him for agreeing to share his experiences with us.

Having 'found' Iain, it was felt that I should interview him. I'm no Jeremy Paxman (not that I want to be) so I confined myself to simply guiding Iain into the areas which would be of interest. Iain kindly provided a cue sheet, suggesting aspects of his career to be covered.

Iain Kerr, (pianist, organist, conductor, composer, writer, comedian, radio and television personality) told us that whilst he was born in Edinburgh, much of his early life was spent in New Zealand. A child prodigy, his first broadcast - a fifteen minute programme of Schumann, was at the age of four!

Iain told us how, in 1958, he went to Australia, chalking up hundreds of radio and television performances. Returning to the UK in 1962, Iain played piano and organ at the Mayfair Hotel; he is a Fellow of the Royal College of Organists and a Batchelor of Music. During this period he met many famous people, including Bob Hope, Tony Hancock, Errol Garner and Margaret Rutherford. BBC executive, Kenneth Baynes heard him and invited him to do 'Music While You Work' as 'Iain Kerr and his Keyboards' which consisted simply of Iain, seated at the Hammond Organ, with a piano keyboard to his right, accompanied by a drummer. All of the broadcasts were performed from memory, without a sheet of music in sight!

Iain told us that he was commissioned to write a piece of music to celebrate the launching of a new tractor, produced by Massey Ferguson, and a recording of the work was provided to the workers in their Coventry factory. When Iain subsequently played the piece on 'Music While You Work' all the factory workers downed tools and cheered! The Managing Director commented to the effect that he thought MWYW was intended to boost production not to stop it! Excerpts from one of Iain's broadcasts were interspersed throughout the presentation, as well as a recording of Iain playing at the Mayfair Hotel.

Iain told us how he toured the world for ten years, with his comedy partner Roy Cowen, with a double act called Goldberg and Solomon in a show called 'Gilbert and Sullivan go Kosher', depicting how G and S songs might have sounded, had their composers been Jewish.

Iain then went to the piano and played Misty for us. He followed this by singing a hilarious parody of My Way - well it certainly was Iain's way!

Sadly, Roy Cowen died in 1978 and Iain returned to the Mayfair Hotel in London, where he continued to entertain the likes of Debbie Reynolds, Larry Adler, Marlon Brando, Woody Herman, Phyllis Diller and Robert Farnon - who took a particular interest in Iain's compositions.

Just over an hour was not enough to fully cover Iain's long and fascinating career, but everybody seemed to really enjoy his presentation. We are most grateful to him for giving up a Sunday afternoon to come and talk to us. Full details of his career can be found on his website http://www.kerroy.com/

Following the raffle, it was now time for our second interval and we heard the Queen's Hall Light Orchestra playing Robert Farnon's 'Holiday Flight '.

PART THREE

We returned to our seats to the accompaniment of Robert Farnon's 'Huckle Buckle' from the QHLO followed by a member's request - April in Paris from the John Wilson Orchestra.

It was now time for an old friend of the Society to come to the top table - John Fox, who then proceeded to tell us about his newly published autobiography, which I am sure will interest many of our members. He also played us his arrangement of Day by Day played by the BBC Radio Orchestra, under his direction. Finally, he played us 'Morning Air' from his 'Countryside Suite'

Next, we heard a piece called 'Twinkletoes' by Don Gillis and featuring the Sinfonia Varsova conducted by Ian Hobson. This was played as a special request for our own Malcolm Osman and it was followed by the first movement of 'An American Wind Symphony:The Gaels' by Robert Farnon and played by the Roxbury High School Honors Wind Symphony (performed on May 26th 2006 under their conductor Stanley Saunders).

It was now time for my 'Radio Recollections' spot. I say 'my' with reservation because, although I chose most of the music, I did not present it on this occasion. It was felt that as I had been at the top table, talking to Iain Kerr for over an hour, members would have had quite enough of my ugly mug so I suggested that the more photogenic (but not much) Tony Clayden should take my place on this occasion - well, what do you expect for nine quid, Adonis?

Tony commenced with a rather uptempo arrangement of Toytown Trumpeters by the brilliant organist and pianist, William Davies. It was played by the BBC Midland Light Orchestra under their conductor Jack Coles. We then turned to Fredric Cooper and his Tipica Orchestra (a very popular broadcasting orchestra from Light Programme days) for a piece that is usually played as a samba - Cascade of Stars by Oscar Moderna. This tango arrangement seemed to suit the piece admirably. The next item was chosen by Tony and was Caprice for Strings by Edward White (of Runaway Rocking Horse fame) and was played by the orchestra of the British Forces Network in Germany. Back to my selection for a piece which Tony and I regard as one of the best light music pieces ever written - Edelma by the little-known Torag Tucci. This was played by pianist Maurice Arnold and his Sextet. Maurice Arnold had taken over this string ensemble from Norman Whiteley when he retired in 1959. To conclude Radio Recollections, Tony played us a samba by Ronald Binge - The Red Sombrero performed by Bernard Monshin and his Rio Tango Band. This gave Tony the opportunity to tell us that his late mother used to go out with Bernard Monshin when she was young, and had things turned out differently, he might have been Bernard's son!

Tony commented that it was unusual to hear Bernard Monshin play anything other than a tango - not so! Bernard rarely played more than three tangos in a broadcast, the other items were boleros, rumbas, pasodobles - indeed everything Latin with perhaps the odd waltz or novelty number for contrast.

That brought our afternoon of melody to a close, and it just remained for Albert (who did a splendid job, holding everything together) to thank all of those who took part and to wish us well until we next meet up in November.

SPRING TONIC
Meeting of the Robert Farnon Society
at the Park Inn, London on the 5^th April 2009
reported by BRIAN REYNOLDS

It was a beautiful, sunny Spring day in London - too good to be sitting indoors listening to music - but that is what a hundred or so people chose to do. After all, this was the Robert Farnon Society meeting, an all too infrequent opportunity in this day and age to hear some quality music in the lighter vein!

We took our seats to the accompaniment of some Robert Farnon pieces; then,at 2.00pm. David Ades welcomed the congregation and played I feel a song coming on - sung by Edmund Hockridge accompanied by the BBC Radio Orchestra conducted by Robert Farnon. This served as a tribute to Edmund, a vice-president of the RFS from its inception, who died on March 15th, aged 89.

We then heard the Royal Philharmonic Orchestra, conducted by Bob, playing his own composition A Promise of Spring.

It is the intention of the Society to do a full tribute to the late Angela Morley, who died in January, during our November meeting but in the meantime it was felt appropriate to do a short tribute to someone who, like Edmund Hockridge, had been a vice-president of the RFS. The tribute commenced with Noel Coward's famous London Pride from the Wally Stott Orchestra. This was followed by Leonard Bernstein's LonelyTown, arranged by Angela Morley and played by the John Wilson Orchestra. As members are aware, Angela's original fame was as Wally Stott and it was under this identity that our next recording was made - Cole Porter's I’ve got you under my skin - featuring the golden voice of another friend of the Society, Rosemary Squires. We concluded this short tribute to Angela Morley with her own composition Reverie played by Gavin Sutherland and the Royal Ballet Sinfonia - a private recording.

Tony Osborne (1922-2009) was the subject of our next tribute and we listened to one of his many catchy compositions Lights of Lisbon featuring Tony Osborne and his Dancing Strings. It does seem that we have lost rather too many of our favourite artists in recent months and we had one more tribute to include - bandleader Vic Lewis (1919-2009) who died on 9th February. For this we featured Vic Lewis conducting the Royal Philharmonic Orchestra in Robert Farnon's composition Mauve (originally entitled Irina).

In our meetings we always make a point of remembering anniversaries, and Clive Richardson (1909-1998) was born one hundred years ago on 23rd June 2009. Clive, who was a member of the RFS for many years and who came to our meetings, was known as one of the finest composers of light music in the twentieth century as well as being an accomplished pianist - remember 'Four Hands In Harmony' with Tony Lowry? We listened to an excerpt from his London Fantasia in which Clive is featured at the piano with Charles Williams and his Concert Orchestra (from a Guild CD "Hall Of Fame Volume 1" GLCD5120).

George Melachrino (1909-1965) was born one hundred years ago on 1st.May 1909. He was a wartime colleague of Bob and they sometimes arranged each other’s compositions. In return for arrangingWinter Sunshine, George arranged Bob's My Song of Spring, otherwise known as The Sophistication Waltz to which we then listened, in a performance by the Melachrino Orchestra on HMV.

At this point, David introduced our special guests for the afternoon, Marjorie Cullerne (great-niece of Haydn Wood) and Gilles Gouset who had both come over from Canada to present the Haydn Wood extravaganza that was to occupy the second and third sections of our meeting. Giving us a taste of what was to come, David then played Haydn Wood's Soliloquy in a recording by the Queen's Hall Light Orchestra conducted by Robert Farnon (from the Guild CD of Haydn Wood's music GLCD5121)

Next we heard Sleepy Time Girl from Singers Unlimited accompanied by Robert Farnon and featuring the trumpet of Kenny Baker. This was followed by some 'parish notices' in which attention was drawn to forthcoming concerts by the Aspidistra Drawing Room Orchestra, The Ladies' Palm Court Orchestra and the Light Music Society's annual concert, held this year in Cheltenham on the August Bank Holiday.

2009 marks the fiftieth anniversary of the death of Billy Mayerl, one of the finest light music pianists of the twentieth century, and whose radio performances gave me much pleasure in my youth. So it was appropriate that we should play one of his compositions. Reno Runaway was the chosen item in a recording by the New Century Orchestra conducted by Eric Borshel - and which is included on a new Guild CD 'Light and Lively' (GLCD 5160). This was followed by Laurie Johnson conducting hisMasquerade from The Four Musketeers.

Drawing attention to the many CDs which could be purchased, David then played Could it be You?from another new Guild CD - 'Melodies for Romantics' (GLCD5155). This featured the orchestra of Robert Farnon - curiously credited as 'Jack Saunders' on the LP label!

David then gave us the good news that, following many adverse comments, the proposed extension to the sound copyright period had been 'put on a back-burner'. I wonder if that will still be the case when you read this report!

We were now approaching the end of part one, and we concluded with an Eric Coates composition from 1941 entitled Rhythm from his Four Centuries Suite. This was from a CD of Eric Coates's music compiled by Peter Dempsey for 'Bygone Days'. Albert Killman commented that this was probably the nearest Coates had ever come to writing jazz!

This concluded the first part of the afternoon's entertainment. What was to follow, after the interval, was to be very different from a normal RFS meeting, and quite ground-breaking for the Society!

PART TWO

Suitably refreshed, we took our seats for the next part of the afternoon's entertainment. The seating had been arranged in a different way on this occasion in order to accommodate the larger than usual congregation and also to incorporate a large platform which would be necessary for the live music in part three.

David then welcomed us to what had now become 'The Haydn Wood Society'. Discussions had taken place for some time with our special guests Marjorie Cullerne (Haydn Wood's great-niece) and Gilles Gouset as to the best way that we could mark the 50^th Anniversary of Haydn Wood’s death, and make this an occasion to remember; it was decided that Gilles would give us an account of Haydn Wood's life, illustrated with pictures and musical extracts. We were shown some pictures of the sheet music and covers of some Haydn Wood pieces and photographs of several of his residences. At one such residence, we were told, a neighbour became so fed up with Wood's constant playing that she complained - however, she ended up marrying him!

The audio aspect of the presentation included the following pieces: 
- The middle movement of Phantasy Concerto (1905)
- Serenade by Pierne (violin solo accompanied by Haydn Wood at the piano)
- First ever recording of Roses of Picardy
- A Brown Bird Singing sung by Ada Alsop with the Robert Farnon Orchestra
- A 1934 recording of Heather Bells (1923) - Reginald King Orchestra
- Excerpt from The Manx Rhapsody (1931) - Charles Williams with the Queen's Hall Light Orchestra
- A 1934 recording of Thorpe Bates singing The Sea Road
- Haydn Wood conducting The Doctor, this being the 2nd movement from his suite Three Famous Pictures
- The Little Ships (1941) - to reflect Haydn Wood's patriotic nature during the second world war
- Some archival film of Haydn Wood walking in a garden - accompanied by Bird of Love Divine

Gilles concluded his presentation with part of an interview (Haydn Wood with Peggy Cochrane) from 1954, during which she played part of Wood's piano concerto.

PART THREE

After a short break, we returned to our seats for a live concert. Whilst we have had live music for the occasional dinner, this was to be the first occasion for a long time that a live orchestra played during one of our meetings. At the request of Marjorie Cullerne, the Aspidistra Drawing Room Orchestra were invited to play for us, and we are grateful to Dr. Adam Bakker for providing their services. Quite a few members of the Society are familiar with this ensemble through their recordings as well as their concert appearances. Although technically an amateur group, 'Aspidistra's' standard of performance is comparable with a professional ensemble.

They began with Haydn Wood's Dreaming (1924) and were then joined by soprano, Camilla Cutts for a waltz entitled Love Me (1926) and then the orchestra played Thistledown (also from 1926). To conclude their first set, they were joined by Camilla for a song from 1919, I love your eyes of grey.We then welcomed the well-known David Snell to the platform to play the piano in a piece entitled A Bell for Andano (1945). He followed this with Humoreske from 'Three Cinema Stars' - this particular item being dedicated to Charles Chaplin. The orchestra's flautist, Roy Bell then took the stage for a flute solo Barcarolle (1912) in which he was accompanied by David Snell. Our special guest, Marjorie Cullerne was the composer of the next item, Casey the Fiddler, a song featuring Camilla Cutts with David Snell at the piano and Marjorie (violin obligato). This was followed by Haydn Wood's The Stars look down (1943) featuring Camilla and David.

The next four items featured the violin of Marjorie Cullerne, accompanied by David Snell. They werePrelude (1934) and Caprice (1917), followed by Melodie Plaintive (1918) and Elfin Dance (1911).

It was now time for the second and final set from the Aspidistra Drawing Room Orchestra and they played firstly a 1913 composition, Pleading after which they were joined by Camilla Cutts forPretending (1921). To conclude the programme, everybody took the stage for what is probably Haydn Wood's most famous composition Roses of Picardy, written in 1916.

We had overrun by at least a half hour but I didn't hear anybody complain. It only remained for David Ades to thank Marjorie and Gilles, Adam Bakker and the Aspidistra Drawing Room Orchestra, Camilla Cutts and David Snell, not forgetting Tony Clayden, who had introduced the items in the concert, and spent much of the day 'twiddling the knobs' to ensure that we had the best possible sound in this our tribute to Haydn Wood.

SPRING IN PARK INN
Meeting of the Robert Farnon Society
Sunday 6th April 2008 at the Park Inn London
by Brian Reynolds

Once again the time had come for our annual Springfest and the usual collection of dropouts, screwballs and crackheads were in attendance - but enough about the committee! We really had to look at the calendar to remind ourselves that it was Spring, because after several hours of heavy snow and temperatures barely above freezing, it sure didn't feel like it!

Outside central London snow was two or three inches thick and this fact undoubtedly put off a few of the regulars, nevertheless there was a good, healthy attendance. Because of the fact that the name-change of the hotel was known too late to be mentioned in the latest journal, some of those attending, unable to find the Bonnington Hotel, thought that they had gone the wrong way and had to ask directions. I must say that the new name seems more than a little strange as the establishment is certainly not an "inn" and is nowhere near a park! I'm sure that it is only a matter of time before the graffiti merchants insert the word NO in front of the sign outside!

Those present took their seats to the accompaniment of Here Comes the Band. As David Ades had chosen to take a less prominent part on this occasion due to pressure of other commitments, Albert Killman opened proceedings with a Robert Farnon 'lollipop'- Manhattan Playboy - played by the John Wilson orchestra - It is felt by the London Committee who plan these events that Farnon originals need to be featured more frequently.

This was followed by a tribute to the legendary pianist Oscar Peterson who had died recently. This took the form of the soundtrack of part of a 1969 television interview in which Robert Farnon talked with Peterson. We then heard Bob’s composition The Pleasure of your Company in which Oscar Peterson was accompanied by the Robert Farnon Orchestra.

My Radio Recoll-ections spot came next. At the risk of seeming to be biased, I feel that this is an important part of the programme as it enables listeners to once again enjoy the music of the many orchestras that used to be featured regularly on radio forty or fifty years ago but rarely visited the recording studios, and consequently have tended to be forgotten, despite having given hundreds of broadcasts.

As 2008 marks the centenary of the birth of Leroy Anderson, I decided that his music should feature prominently in my selection. So my first item was a medley consisting of Forgotten Dreams, Belle of the Ball, Blue Tango and Fiddle Faddle played by Ronnie Munro and his Orchestra. In an extremely varied career, Munro had led a dance band during the twenties and thirties, becoming the first conductor of the BBC Scottish Variety Orchestra in 1940. After a further spell with a dance band he formed his light orchestra for radio in the fifties, concluding his BBC career with a sextet which he led between 1962 and 1967. When radio broadcasts dried up, he emigrated to South Africa, where he reformed his orchestra, subsequently becoming Head of Light Music for S.A.B.C.

Next I played (as a request) Reginald Tilsley's novelty Young Dandy played by The Sidney Sax Strings. I met Sidney on several occasions and found him quite charming. But apparently those who worked for him in his capacity of a "fixer" soon found that he demanded the highest standards and there are many stories of quite notable musicians being 'given the boot' by him for the most trivial of reasons.

My next item was Fiesta in Brazil, an exciting Spanish waltz, played by Anton and his orchestra. Anton (real name Arthur Sweeting) had broadcast and recorded with the Paramount Theatre Orchestra in the thirties and had formed a smaller orchestra for broadcasting in the forties. For the next twenty odd years he gave hundreds of broadcasts, but sadly made no more records. He was a reserve conductor to the BBC Staff Orchestras.

To conclude my 'spot' I returned to the Ronnie Munro orchestra for another Leroy Anderson medley, this time including Serenata, Sleigh Ride and Plink,Plank,Plunk.

Ronnie Munro's string orchestra featured William Davies on electronic organ and it was he that played the pizzicato in the final item, probably because the BBC discouraged the use of plucked strings onMusic While You Work (from which the recording came) as they were considered inaudible in the factories.

I was asked to give some 'parish notices' whilst on stage and I drew particular attention to a concert by Ann Adams and the Ladies' Palm Court Orchestra at London's Kensington Gardens bandstand on 29th June (2.00pm to 3.30pm). This 22 piece orchestra's programmes are the highlight of the year for me, as they include so many of the neglected light pieces that were so much a feature of the old Light Programme. I also mentioned a concert on 26th May in Lauderdale House, Highgate Hill by the Aspidistra Drawing Room Orchestra. Both orchestras usually attract some RFS members.

There then followed our customary look at the new releases which, on this occasion, might have been subtitled the 'Peter and Albert show' as Peter Burt alternated with Albert in presenting a selection of newly available recordings. From a new recording of the BBC Concert Orchestra conducted by John Wilson, Albert played us Eric Coates' Sound and Vision, commissioned by ATV in 1955.

Peter then played Zip-a-dee-doo-dah from a new CD featuring Arthur Fiedler and the Boston Pops Orchestra, entitled Stars and Stripes - An American Concert. Next followed some TV nostalgia as Albert played 'Scherzetto for Children' by Fred Hartley from the new Guild CD Childrens' Memories Vol 2. This item consisted of lots of traditional tunes such as Polly put the Kettle on, Tom Tom, the Piper's Son, Bobby Shaftoe etc - played by Eric Robinson and his Orchestra. Peter's next contribution wasMephistopheles Serenade from The Damnation of Faust by Berlioz, played by Frank Chacksfield and his Orchestra on a new Vocalion CD Immortal Serenades.

Albert then played some music by Laurie Johnson, now 81 years old - the popular theme from the cult TV show The Avengers which comes from a new 3-CD set. Then came something rather unusual on the Naxos label as Peter played a previously unrecorded work by Leroy Anderson - The GovernorBradford March recorded by The BBC Concert Orchestra conducted by Leonard Slatkin. This came from the album Anderson Orchestral Music. Albert's next item was Robert Farnon's Scenic Grandeurplayed by the Danish State Radio Orchestra - again from a new Guild CD. Peter Burt's final contribution was Wunderbar from a Vocalion CD of Mantovani and his Orchestra entitled Song Hits of Theatreland.

Before his final item in this section, Albert conveyed to the congregation the good wishes of RFS President David Farnon and Alan Bunting. He then went on to play The Cat from Coos Bay which, I must confess, was a new one to me, but I am assured that it was a big hit in its day. It came from a recent Vocalion CD of the singles of Wally Stott.

It was now time for the first interval and we went to our refreshments to the accompaniment of Eric Coates' march Sound and Vision.

PART TWO

It was now time to meet our special guest for the afternoon and Robert Habermann introduced composer Nigel Hess. So as to remind the audience of his work our attention was directed to the video screen for a selection of opening titles from a host of television series for which he wrote the music. Many were astounded at his versatility, as a succession of pieces were played which we knew so well but had perhaps been unaware of their composer! Let's face it - most title sequences are confined to a quarter of the screen with a continuity announcer chattering about something totally irrelevant!

Featured were the following:

WYCLIFFE - HETTY WAINTHROP INVESTIGATES - SUMMERS LEASE - DANGERFIELD - JUST WILLIAM - MAIGRET starring Michael Gambon- A WOMAN OF SUBSTANCE - CAMPION - TESTAMENT and VANITY FAIR

During his conversation with Robert, Nigel Hess revealed a fact that was probably not known to many present - that the famous Dame Myra Hess was his great aunt. Nigel recounted to us that he took up the piano at the age of two and a half and that his first favourite piece of music as a child was The Dambusters March.

As a professional musician one of his first engagements was as Musical Director for the Lloyd Webber musical Jesus Christ Superstar. Subsequently he wrote the title music for Let's be Friends. He was also asked to write a piece of music for an up and coming comedy duo on the lines of Morecambe and Wise's Bring me Sunshine. These hitherto unknown entertainers were Cannon and Ball. Nigel Hess has written much music for Shakespearean plays and, as an example, he played music from the Coronation Scene from Henry VIII. Nigel has always had an interest in music for Concert Band - or Wind Band as it is called in America, which he illustrated with a movement from his East Coast Pictures.

We then turned to the big screen to see a clip from Ladies in Lavender, and the presentation was brought to a conclusion with part of a Concerto - a movement entitled The Love. In view of its regal connections this work involved discussions at Clarence House with Prince Charles no less!

Before thanking Nigel Hess for a very interesting presentation which, incidentally was very well received, Robert Habermann asked him who were his biggest influences. Perhaps not surprisingly he said: Korngold, Steiner and John Williams.

Following the raffle, the meeting paused for the second interval.

PART THREE

We returned to our seats to the accompaniment of Chopin's Les Sylphides. Albert opened proceedings with a tribute to the late Gene Puerling, who we heard in conversation with Robert Farnon, to the accompaniment of The More I See You.

It was then time for ‘Cab's Swing Session’. Cab Smith started with a Robert Farnon original: Johnny's Dive. His second item (also by the maestro) was a jazz piano feature from Bill McGuffie - Poodle Parade. It's amazing how this light orchestral piece adapts so easily to jazz piano! Cab concluded with Robert Farnon conducting his own arrangement of Sunny Side Up which also happens to be the title tune of a recent 'Guild' CD.

Albert then played us Happy Go Lively by Laurie Johnson.

At long last it was time to welcome David Ades to the top table. As mentioned earlier, David had chosen to adopt a lower profile on this occasion. For his first item, David played us David Rose'sDance of the Spanish Onion from a 1967 Columbia 'Studio Two' LP. This was included at the special request of Norman Grant. Then, from a Thames TV series recorded at the 'Talk of the Town' in 1972, we heard the opening titles and Tony Bennett with the Robert Farnon Orchestra in Baby Dream your Dream.

David then introduced us to something rather special and certainly unique. Alan Bunting, who is responsible for the excellent sound restorations for the 'Guild' recordings, had obtained (at considerable cost to himself) a film of a studio session by Percy Faith and his orchestra, performed supposedly in front of a small audience - they actually sounded like a huge audience, but in reality there was no audience and the applause was dubbed!

The video was all the more special because it featured Faith's recording orchestra rather than the session musicians which he used for most television shows. I gather from David that the musicians for his Best of Both Worlds shows for the BBC in the 1960s were largely drawn from the Robert Farnon Orchestra. Percy Faith was born 7^th April 1908 and died 9th February 1976 aged 67 We then watched and listened to the following items: Mucho Gusto: Moulin Rouge: There's a boat that's leaving for New York: Tenderly:a samba La Mattchiche (Nazareth) and, finally, The Sound of Music.

This brought the meeting to a close and Albert conveyed his appreciation to Alan Bunting for making the Percy Faith material available to us; he also thanked all who had participated in the meeting - not forgetting Tony Clayden who brings a considerable amount of equipment with him and twiddles the knobs to ensure that we get the best sound. Albert also told us that next April we shall be having a Haydn Wood special, involving Wood's grand niece. It will also include some live performances of his works.

The next meeting is on November 30th when we shall be honoured with the presence of Iain Sutherland, one of the few remaining links with the 'Light Programme' who many of us remember for his conductorship of the BBC Scottish Radio Orchestra as well as many programmes with the Concert Orchestra and Radio Orchestra. It was Iain, incidentally, that said: "Light music isn't dead - the BBC are in the process of burying it alive!" The meeting closed with Robert Farnon's Melody Fair.

As the audience slowly dispersed we were serenaded with some Farnon arrangements played by the BBC Radio Orchestra.... Waltzing with Richard Rodgers; Dream Theme; As Time Goes By and from the George Mitchell Glee Club with the Robert Farnon Orchestra Love is Such a Cheat (Decca F9655).

"ON A SPRING NOTE"
Report of RFS London Meeting held at the Bonnington Hotel on Sunday, 1 April, 2007
by VERNON ANDERSON 

As soon as one enters through the double doors of the Derby Suite, our venue for the afternoon’s entertainment, the senses are immediately alerted by the strains of a familiar piece of light music and the welcoming smiles of our three ladies on "reception", where we sign in, attend to the usual formalities and may be drawn by what’s on offer in the Raffle.  For those arriving between 1.30 pm and 2.00 pm there is the added attraction of the musical gems available from the RFS Record Service. 

But it’s rapidly approaching 2.00 pm and already the air is buzzing with animated conversation as friends greet each other, discuss new releases and exchange pleasantries as the strains of our "settling in" music is heard.  Today it’s the Overture In My Memoirs from "Mike Todd’s Broadway" and already our programme presenters are settled at the top table.

PART ONE

 At 2.00 pm precisely, Robert Farnon’s "Proscenium" announces the opening of the afternoon’s proceedings and David sets the scene by welcoming everybody to this, The Robert Farnon Society’s 100^th Meeting, a milestone in the society’s history, and introduces fellow presenters Albert Killman and Andre Leon who we will be hearing from a little later. 

David sets the pace with a selection from a Robert Farnon film score of the 1950s which, as most of us remember, was the last of the "Road" Films.  Albert back announces "The Road to Hong Kong" by the Robert Farnon Orchestra.  The film starred Bing Crosby, Bob Hope and Dorothy Lamour, with a young Joan Collins as the "love" interest and gave Robert Farnon just one word to "dubb in" as Bing and Joan went into that memorable embrace.  (The Programme at this point has Albert remembering Don Lusher, but that is now held over to Part Three). 

David now introduced Andre Leon who presented an Appreciation of Eric Coates who died 50 years ago this year (1886-1957). 

Andre’s selection was taken from the following Eric Coates compositions/recordings available:- 

• Halcyon Days from Pure Classics British Legion.
• Knightsbridge March played by Eric Johnson & His Orchestra.
• Sleepy Lagoon – Harry James
• By the Sleepy Lagoon by the East of England Orchestra
• The Dam Busters – March, by the Royal Liverpool Philharmonic Orchestra
• Music While You Work (BBC Programme – Intro. 3.8.1963)
• Springtime (1) – by the Slovak Radio Symphony Orchestra, conductor Andrew Penny
• At the Dance by the Light Symphony Orchestra
• Television March with the composer conducting the London Symphony Orchestra
• Sleepy Lagoon by Frank Chacksfield and His Orchestra
• Last Love by the Slovak Radio Symphony Orchestra conducted by Andrew Penny
• Music Everywhere by the Band of Her Majesty’s Royal Marines, and
• Eighth Army March by the Queen’s Hall Light Orchestra.

(It was here that your reporter made his entrance as Andre’s presentation came to an end).  However, Andre acknowledged what a privilege it was to present his selection at the 100^th RFS Meeting.  Albert thanked Andre for his presentation which received a warm appreciation from the audience.  Albert then introduced a glowing tribute to Bob Farnon from Vera Lynn, who celebrates her 90^th birthday this year.  It included Bob’s arrangement of Arthur Schwartz’s lovely Something to Remember You By (Vocalion CDLK 4108) which this writer found particularly poignant. 

Next we came to Latest Releases in which David and Albert play some of the new Light Music CDs currently available through the RFS Record Service.  Number one on the "turntable" was Frank Chackfield’s Singing Strings playing the McCann/Bolesworth collaboration Pulling Strings from the Living Era CD "Frank Chacksfield in the Limelight" – introduced by David who then handed over to Albert.  He selected a highlight from the new Jasmine CD – Robert Farnon Orchestra with Beryl Davies singing You Keep Coming Back Like A Song.  A lovely arrangement typical of Bob. 

Next David introduced a piece by Trevor Duncan, here as our special guest 3 years ago and sadly no longer with us.  We heard his A Waltz for Terry – a lovely reflective piece which (for some) had "Farnonesque" undertones.  This comes from the Boosey & Hawkes 3 CD Digipack of 1950s 78s on the Polygon label.  Albert then played an arrangement by Laurie Johnson of the Song of the Pearl Fishers in "beguine" rhythm by his orchestra, with the accent on bass, which became one of his trademarks.  This comes from the new Guild Light Music Series, Volume 4 – Cornflakes.  David commented that the sound quality is very good for that piece considering its age and noted on reflection that Laurie celebrates his 80^th birthday this year. 

David followed this with a piece from the new Naxos CD whose theme is Vintage TV and Radio Classics – Cyril Watters’ Willow Waltz – a particular favourite. 

Albert – "And at only £6.00 it’s excellent value".  He then went on to introduce the CD of Lena Horne’s "Lena – A New Album" recorded in 1976 with Robert Farnon and His Orchestra.  David Snell also makes a contribution on this album together with (amongst others), Phil Woods on saxophone, adding some special touches to Bob’s great charts.  From this recording Albert selected My Funny Valentine.    The CD becomes available thanks to Mike Dutton in negotiations with RCA who recorded the original album.  The CD also features the original artwork.  David remarked that Lena was superb on this album and noted that Bob and Lena were born within a few months of each other (1917) so she’ll soon be 90, which is remarkable.  There was a well deserved spontaneous response of appreciation from the audience.   

Next David played the opening track from a new Guild CD titled Continental Flavour – Cole Porter’s The Last Time I Saw Paris arranged and played by Ron Goodwin and His Orchestra. 

Albert’s next selection came from David Rose and His Orchestra playing Harold Arlen’s classic Last Night When We Were Young.  This features on another new Guild CD called Amor Amor in the Music for Romance vein.  The original title of the collection was Cocktails for Two, which is the opening track played by the Robert Farnon Orchestra.  But we couldn’t find a suitable picture for the CD cover, so the name had to be changed! 

David then introduced us to the latest release from Jasmine Records of Robert Farnon’s Orchestral and Film Music – They Wanted His Big Hits, so this CD, the first of two, includes four film sound tracks including Maytime in Mayfair which closes the album.  And so we launched into that lovely Dream Dance sequence and closing titles music.  A real joy to hear again.  As this piece was playing we were graced by the arrival of harpist David Snell, who quietly found a seat and settled in to enjoy the rest of the programme. 

The second CD in the collection includes Robert Farnon and his Orchestra accompanying singers on UK Decca.  (A full list of the pieces on both these CDs appears in the review on pages 78 and 79 of JIM 171, March, 2007). 

In giving the Parish Notices, David made an appeal to anyone who felt they would like to take over the responsibility of Magazine Editor as he felt, after many years in this capacity, he would like to stand down.  Could they see him during the next interval. 

Next came the matter of the increasing costs for the hire of the hotel room for our meetings.  David asked for a show of hands for an agreement in principle to a minimal increase in members’/visitors’ contribution in the future, to enable us to continue our meetings at the Bonnington Hotel.  This was greeted with almost total support for which David offered his special thanks to the meeting. 

And last, (but by no means least) David announced that a special DVD would soon be available of Bob’s 1971 concert at the Royal Festival Hall.  Derek Boulton has been the prime mover in obtaining the video recording in colour of Bob Farnon conducting the London Philharmonic Orchestra in a concert of his orchestral music and so is quite unique. 

David also highlighted the special souvenir 2 DVD set celebrating the Society’s first 50 years, produced by Geoffrey Richardson (which every member should have in their collection).  (These new DVDs were subsequently reviewed in JIM 172 June 2007). 

David passed on a message received from fellow members Malcolm and Iris Frazer who are due to be grandparents again.  And at this point David sent us off for a welcome Tea Break to the Thomson Holidays theme music. 

During the interval the writer noted yet another celebrity quietly reading the latest copy of JIM, pianist/composer Eric Parkin, who amongst his other attributes has transcribed many of Bob’s pieces for pianoforte in his own inimitable style. 

And so we were called back to our seats for the 3.30 pm kick-off for PART TWO with Albert at the helm (if you’ll pardon the mixed metaphors). 

Albert back announced the Thomson Holiday Music which was a "35 second download", and set the ball rolling with Bob Farnon and the George Mitchell Glee Club’s rendition of The Village Fair (from Music in the Air). 

Albert then handed over to fellow presenter Tony Clayden (who had left the control desk in the capable hands of Andre Leon) who now introduced our special guest of the afternoon, Matthew Curtis. 

He began by noting that it was indeed a privilege to be a guest on the occasion of the 100^th Meeting of the Robert Farnon Society.  Unlike the Bank of England, who have elected to remove Edward Elgar from the £20.00 note in time for the 150^th Anniversary of his birth (1857-1934).   Matthew’s first piece was Tarantella (from the Little Dance Suite) played by the London Symphonia conducted by Gavin Sutherland, (Cameo 2035). 

Matthew praised the society for supporting the work of living composers and noted that "Nostalgia" plays into the hands of those people who would destroy this "style of music".  His next piece was called At Twilight for strings and harp and is his latest recording (on Cameo 2055).  A very evocative and atmospheric piece (certainly for this writer). Matthew continued:- "An occasion like this presents a good cue for a reliable rant;  and to define exactly what light music is.  The key is that a lot of composers not here today would be able to show examples in many of their pieces – the likes of Shostakovich wrote some good examples, as did Franz Lehar.  Programme makers on BBC Radio 2 and Radio 4 seemed to have subconscious prejudices as to choice of music, as does Classic FM".  Matthew also cited Eric Coates’ and US composer Jessie Knight’s definitions of light music and orchestration. 

His next selection was a miniature overture, composed for small orchestra titled On the Move (again from Cameo 2055).  "The xylophone is painfully sharp, as the recording was made on a very hot day, but it can’t be helped".  "One is always aware that one’s selection of pieces may be shorter than the booked time, which is tantamount to paying for the musicians to go home early". 

Next followed Irish Lullaby.  "This was played in New Zealand about 2 weeks ago for   St. Patrick’s Day".  (Cameo 2035).  "Charity Butler (clarinet) is featured on these recordings, and is married to Gavin Sutherland".

Matthew’s next selection was Divertimento Concertante in three movements.  We heard the last movement.  (Cameo 2055).  Matthew’s latest recording project is Cameo 2060 which he said "sounds like a brand of Mexican Lipstick".  "It has Gavin Sutherland at Piano with vocal by Maria Vacsiliou (soprano).  It’s a setting of poems by Ann Harriett, a friend of Matthew’s mother, who died about 20 years ago".  The piece is titled Distant Memory and is very reflective and beautifully sung – "a glorious voice" (overheard). "And so it’s back to where it all started, with acknowledgements to Alan Langford and the BBC". 

On introducing his last selection, Matthew said "this one was not commissioned – titled Festive March from a private recording of 1983 with Ashley Lawrence conducting the BBC Concert Orchestra".  Tony confirmed that this is not available on CD at the moment.  

In conclusion, Matthew said he was not involved with library music and prefers concert performances of his works.  Of the composers who have influenced his music he exclaimed "You tell me", but in all conscience he acknowledged the works of Rossini, Eric Coates and last, but not least, Ron Goodwin, and thanked everyone for listening. 

Albert thanked Matthew for a thought provoking and entertaining presentation which received a very warm appreciation from the audience. 

Albert now introduced Tony Clayden for a review of recent reissues of note.  Tony said he felt like the dust cart after the Lord Mayor’s Show and began with a: 

• Guild CD – Track 9 – Harry Engleman’s Children’s Playtime Suite – Marbles – which he hadn’t heard for nearly 50 years.
• Homeward Bound by Adam Carse.  Philip Lane recording of Gavin Sutherland conducting the Royal Ballet Symphonia.  Winton Suite 3^rd Movement. Tony noted that Lyrita, successor to Nimbus, back catalogue is being released.
• Ralph Vaughn Williams – Aristophonic Series – Suite The Wasps.  March of the Kitchen Utensils.  New Philharmonica conducted by Sir Adrian Bolt, and
• Guild Series – Soloists Supreme.  Edward Rubach, piano.  Last Rhapsody theme by Rena Reeford.  Alassio Orchestra at a recent performance at Worthing.

Albert thanked Tony and then asked Matthew and Tony to engage in the "lucky dip" for the Raffle Draw.  Then Come on In by Sid Dale Orchestra (John Dunn’s signature tune) took us into the next interval.  

PART THREE:  Back to seats music (not noted) and with everyone comfortably settled Albert paid tribute to the much regarded jazz trombonist Don Lusher who sadly died last year.  Don is well remembered for his great playing with the Ted Heath Band which he later took over to much acclaim.  He could also be found among the top session men on many of Robert Farnon’s recordings.  To celebrate that association, Albert played Carlos Jobim’s Wave with Don soloing with the Robert Farnon Orchestra, conducted by Bob, which was much appreciated by the audience. 

To present the selections for the last part of the Programme, Albert had been joined by Cab Smith and Brian Reynolds.  And he now introduced Cab for his "Swing Session" which this time began with Bob’s From the Highlands suite;  from which we heard Charlie is my Darling.  (Sadly this was cut short due to a ‘technical hitch’) so we went straight into Globe Trotting, which Bob recorded in Hamburg in 1975.  Cab closed his session with Hoagy Carmichael’s My Resistance is Low which Bob Farnon recorded at Kingsway Hall in May 1952 – Orchestra with the Johnston Singers.  This one comes from the new Jasmine CD 2 (15). 

Albert thanked Cab, to a round of applause and then handed over to Brian Reynolds and, in so doing, made an announcement concerning the BBC Trust (formerly the BBC Board of Governors) regarding consultation documents on the website.  This is an opportunity to submit our views.  Public consultations end on 10 April, 2007.  Brian then introduced his first number in his "Radio Recollection" spot: 

• Issy Geiger’s Jaywalker, orchestrated by Maurice Green.
• BBC London Studio Players – (augmented in 28 different aliases), playing L’ondell  (The Swallow) by Henry Krein, conducted by Reginald Kilby.
• Baccia by Isabel Brandez orchestrated by Jack Salisbury and played by his orchestra.
• William Hill Bowen’s Chansonette played by the BBC Northern Light Orchestra conducted by Ian Lovatt, and
• Band of the Royal Artillery Regiment playing Marching Orders by Brian Reynolds, arranged by Cyril Watters, making a rousing close to Brian’s selection.

Albert thanked Brian for his contribution which was much appreciated. 

Albert then drew our attention to the honour bestowed on George Shearing (the "Boy from Battersea") whose services to the field of jazz has now been recognised with a knighthood.   Albert mentioned his long association with Bob Farnon and, as a tribute to Sir George, played a piece from their collaboration on the "How Beautiful is Night" album, recorded at CTS Wembley (9/92), George Gershwin’s Oh Lady be Good in a lilting waltz tempo, and ending with George’s little figure from Bob’s Portrait of a Flirt which brought a few appreciative smiles and a well deserved round of applause from the assembled company. 

During the playing of this piece Cab and Brian left the top table and Albert was joined by David for the next presentation, who having been introduced by Albert led us into his final selection of music beginning with a Special Request from Norman Grant, for Clive Richardson’s Melody on the Move with the Queen’s Hall Light Orchestra conducted by Charles Williams.  This comes from the Guild Light Music Series on which 1,000 pieces of music is now available (and increasing).  David then made mention of John Fox’s latest composition with the title A Surrey Rhapsody which David allows Brian Kay to introduce (from his BBC3 Radio Programme).  The piece opens with the rich sound of birdsong, a dawn chorus which leads into a reflective pastoral scene, played by the Royal Ballet Symphonia.  As the composer was present with us today David invited him to stand for the ovation, especially as he is celebrating his 83^rd birthday this month.  John graciously acknowledged the warm response.  David then introduced a gem from the past – Robert Farnon introducing his Mid Ocean arranged and played by Douglas Gamley (piano) and orchestra conducted by Bob, from the "Best of Both Worlds" Series on BBC2.  Recorded at BBC Television Centre on 18 October, 1964, and transmitted on    20 December that year. 

David’s closing piece was Pia Zadora with the London Philharmonic Orchestra arranged and conducted by Robert Farnon in End of a Love Affair/How about Me from the unreleased 3^rd album (13-15/11/90, CTS Studios, Wembley) – from the RFS Archive. 

And on that note David brought the Society’s 100^th Meeting to a close, with thanks to our Guest of Honour, Matthew Curtis, to the Presenters, Andre Leon, Tony Clayden, Cab Smith and Brian Reynolds;  all the helpers on reception and for arranging the Raffle.  Everyone helping with the RFS Record Service and special thanks to Tony Clayden for all his technical support facilities.   But, most important, the appreciative audience who came to today’s special meeting.  "Wishing everyone a great summer and looking forward to seeing you in November". 

Closing music – Robert Farnon’s evergreen Melody Fair etc. 

Footnote: 

In completing this Report I acknowledge with thanks the assistance I received from Malcolm Powell who kindly provided me with notes and additional material clarifying some aspects of the presentations but, more especially, the early part of the meeting, missed because I was unavoidably delayed.