Peter Worsley adds to this existing review:
The Aspidistra Bank Holiday Afternoon Concert this year is planned to take place on the27th May 2019 at Lauderdale House, Highgate Hill, London N6 5HG, starting at 2:30 pm.
The programme has not been fixed as yet, but details will be added as soon as they are.
BMG 5053844533 (54:26)
How Great Thou Art, Where Have All The Flowers Gone / Here’s To The Heroes, Cinema Paradiso, You Raise Me Up, Mattinata, Volare, Silent Night, and seven other tracks.
Czech Philharmonic Orchestra ● Philip Ziegler
Sony 19075871612 (54:43)
14 tracks incl. Somewhere in My Memory (from ‘Home Alone’), Hedwig’s Theme (from ‘Harry Potter and the Sorcerer’s Stone’), First Aid (from ‘Gremlins’), Walking in the Air (from ‘The Snowman’), Papa Elf (from ‘Elf’), Bless Us All (from ‘The Muppet Christmas Carol’), Have Yourself a Merry Little Christmas (from ‘Meet Me in St Louis’), and White Christmas (from ‘Holiday Inn’)
ROMANTIC MOMENTS ll
Decca Classics (CD+DVD) 2640791
Around the World, Sunrise Sunset, Strangers in the Night, Sail Along Silvery Moon, Evening Prayer (from ‘Fiddler on the Roof’), Gem hab’ ich die Frau’n gekűsst (from ‘Paganini’), Dorfschwalben aus Österreich, Du schwarzer Zigeuner, Morning Hymn (from ‘Sound of Music’), Red Roses for a Blue Lady, El cóndor pasa, Träumerei, The Way Old Friends Do, Vilja Song, An der schönen blauen Donau [On the Beautiful Blue Danube], Amazing Grace...
conducted by John Wilson
Warner Classics 9029555123 (123:00)
Although he is now a big name in classical circles, I am guessing that for John Wilson our kind of music is still his first love. This is the charismatic conductor in lighter mode. His 70-piece orchestra, with its big band element, specialising in numbers from the golden years of Hollywood and Broadway musicals, has been wowing BBC Proms audiences every year since 2009 and must be one of – if not the best – orchestras of its kind in the world.
Written by Peter Burt
BBC Philharmonic ● John Wilson
Chandos CHSA 5222 (66:09)Aaron Copland (1900-90) devotees will no doubt have been waiting for this release – the last in a series – recorded in March this year at MediaCityUK, Salford. I favourably reviewed the first here in January 2016, devoted as it was to the composer’s popular ballet music.
Robert Farnon’s arrangement
Analysed by Robert Walton
These days we’re constantly bombarded with attractive specials from supermarkets and shops like “buy one and get one free”. In a Robert Farnon arrangement you get “three for the price of one”. The song comes first (often from the “Great American Songbook”) followed by the actual arrangement and then to top it all it’s full of elements of his own compositions both serious and light. There is no musician on earth who has the ability to mix and match with a sound that is completely unique. He re-invented the word taste. Wherever you happen to land on any of his recordings, even briefly, it’s unmistakably Robert Farnon and often all under 3 minutes. To hear Farnon is to hear an open-minded composer who has absorbed such an enormous amount of music, put it all together and created his own universe. In fact every time I listen to a Robert Farnon arrangement I can’t help feeling Hollywood lost out to his talents (similar to those of MGM’s Conrad Salinger). It’s understandable though because Farnon fell on his feet in so many ways when he came to England and stayed. Of course he was a remainer!
It’s unusual for a songwriter to praise a specific arrangement, but Arthur Schwartz did just that when he personally corresponded with Farnon, singling out Louisiana Hayride from the album “Something To Remember You By” as one of the finest orchestrations and performances he’d ever heard.
Starting straight but soon let loose into swing mode, the first thing I noticed about this brassy piece of big band/light orchestral music is that Farnon keeps the whole thing under control. It could have so easily descended into chaos under another conductor. Also there’s always a temptation with this kind of material to show off. The fact that he kept his cool and made it simple was the very reason that made it attractive.
After a chorus, things begin to warm up with a little Bach-ish like polyphony between the brass and saxes and snatches of the sort of tricky woodwind one might hear in a light orchestral Farnon score. And keeping things moving, a touch of the Ted Heath sound from the saxes. The strings enter for the last time before the drummer (remember Farnon in his youth was one?) keeps the orchestra under strict order with his sticks. There are some echoes of Pete Rugolo in this final section.
Robert Farnon has always been associated with strings but let’s not forget his brilliance with brass and wizardry with woodwind. In fact the whole orchestra is his world.
GEORGE GERSHWIN (1898-1937)
AN AMERICAN IN PARIS, PIANO CONCERTO, etc.
Leopold Godowsky lll, piano / Royal Scottish National Orchestra / Josė Serebrier, conductor
SOMM - Ariadne 5003 (67:22)
This is an interesting historical re-issue – first appearing on Dinemec Classics 20 years ago – in celebration of the composer’s Centennial...