A FIFTH GARLAND OF ENGLISH LIGHT MUSIC COMPOSERS
Several of the composers to be discussed here are little known
nowadays though they were quite popular fifty or sixty years ago.
One exception is Arthur Hutchings who died as recently
as 1989, aged 83 and was probably only marginally a light music
composer, being more of an academic, with books published on Schubert,
Edmund Rubbra, Delius, Mozart, the Baroque Concerto and 19th Century
Church Music, although many of these were aimed as much at the
general reader as at the musical scholar. Hutchings was Professor
at Durham University 1947-68 and at Exeter from 1968 to 1970.
Not many people realise he was also a significant composer. Some
of his work was for the church, settings of the Mass and the Anglican
services, anthems, like Give Me The Wings of Faith, hymn
tunes, St Oswald's Music (i.e. for parish communion; unison
choir and congregation) and a set of Seasonal Preludes
for the organ. But he wrote also for orchestra - a set of Variations
and an attractively light Suite for strings - for secular choir
(the cantata Heart's Desire) and for the stage. His opera
after Dryden's Marriage à la Mode was helped by
his great knowledge of 18th Century music; in lighter vein still
was the operetta The Plumber's Arms.
Michael Mullinar and Raymond Loughborough were
primarily song composers of the "superior ballad" type and while
their dates are not readily to hand, both their "floreat" periods
were from around 1925 to around 1955. Mullinar's dates were in
fact 1895-1973. Mullinar's songs included, unfortunately, for
him, several titles set by more popular figures: I Will go
with My Father a-Ploughing (1951), The Smuggler's Song
and To Daffodils. Others were The Daisies (1950),
Cotswold Love, An Epitaph (1956), The Seas are
Quiet (1947), The Vagrant, Wine and Water and
the early Cider (1924). Also popular in style were the
Four Old French Airs and the nursery rhymes entitled Pippen
Hill. He produced a few folk-song arrangements for chorus,
plus the carol In the Bleak Midwinter - again the settings
by Holst and Darke are so much more popular and there is scarcely
room for another. His interest in music for children was underlined
by his short cantata The Princess and the Swineherd (1930)
and a five movement suite for piano, Grimm Fairy Tales,
plus an independent piece, Jorinda and Jorindel, on another
Grimms story, dating from 1959.
Loughborough's songs, of which I have discovered a note of more
than 40, covered a fair range. Their publication dates span the
period 1922 (Captain Danny) to 1952 (Snowfall).
Most popular were At Sundown, The Homing Ship and
The Lover and The Song. A Song in the Night had
a violin obbligato; it was aired by the great baritone singer
Topliss Green in Doncaster in 1934. Many titles have a feel of
the sea: The Tune the Bos'un Played, My Haven, Mortenhoe,
The Little Ships, inspired, as were so many British composers
at the time, by the Dunkirk evacuation, and the four song sequence
Old Ships. Like so many others at that period he turned
to making arrangements of 18th Century English songs. A few choral
songs like The Farmer's Lad (AATB) appeared and the BBC
Catalogue includes some orchestral works by him, though all of
it, like the Jevington Suite, Passing Shadows, Sea
Dreams and Summer Noon (for violin, saxophone, cornet
and orchestra) is actually orchestrated by other hands: Sidney
Baynes, Arthur Wood and H.M. Higgs, perhaps from piano originals
in each case. Loughborough also dabbled in the light genre piece
for chamber ensemble, Mirage and Song of Sunset,
both for piano trio, appearing in 1927 and 1938 respectively.
Another who produced music of that type and at exactly the same
period was F. Percival Driver, whose Three Little Trios
of 1927 were entitled The Song of the Clock, Harvesting
Time and Slumber Song. The latter has been revived
in Doncaster during the past few years. Other Driver instrumental
music included the Dainty Dance for violin and piano and,
for piano solo, All-in-a-Ring (four movements: 1936), Four
Sketches (1926) and, revealing Driver's considerable gift
for pastiche, An Old Style Measure, the Three Dance
Measures of 1926 (Gavotte, Saraband and Passepied)
and a Little Suite (Prelude, Saraband and
Gigue). A more ambitious piece for keyboard was the Variations
on an Original Theme for two pianos. But few play his music
now.
Two who were better known as arrangers than as composers may
here share a paragraph. First of them in point of time was H.M.
Higgs, who made, among other arrangements, many orchestral
selections of popular songs by Eric Coates, Montague Phillips,
Haydn Wood, Guy d'Hardelot and others. But there were original
orchestral compositions, too, from his pen. Two of them derived
inspiration, Ketèlbey-like, from the exotic climes of Japan:
the "musical story" In a Japanese Garden and, a six movement
suite Life in Japan. And occasionally he published vocal
pieces like the partsong (SATB) Oh Say Not Women's Heart is
Bought (1915) and organ pieces like Allegro and Miniature.
Felton Rapley came a generation or more later. Both his
arrangements and his original compositions were very numerous
and very diverse. Best known of the former was Portrait of
Clare, arranged, for orchestra or piano, from Schumann's song
Devotion. The latter included many pieces for orchestra
- the overture Down the Solent, A Highland Vision,
An Irish Legend, Twilight Meditation, Evening
in Capri, Elegy for Strings, String Prelude and
the march Metropolis - church music (the anthem Angel
Voices Ever Singing, The Lord is My Light, Though
I Speak, Ye Holy Angels and If The Lord Himself)
and many unison songs doubtless intended for young voices with
titles like Cat!, Cradle Hymn, The Crooked Man,
The Midnight Sun and The Pilgrim Song. Rapley was
an accomplished performer on both piano and organ and he published
solos for both instruments, those for the former included Fabiola
and Lugano; examples of the later were Pastoral Improvisation
and Postlude For a Joyful Occasion.
George Frederick Norton is connected in the minds of
music lovers with just one work, the musical comedy Chu Chin
Chow, produced at His Majesty's Theatre on 3rd August 1916
and which ran for five years and a total of 2238 performances,
then a record. This remarkable show was described as a combination
of musical comedy and pantomime. The Era said Norton's
music had "a touch of the East but for the most part it was on
a level with the tender melody of musical comedy" and "hardly
inspired". Be that as it may, many of the songs became hits and
The Cobbler's Song in particular entered the repertoire
of ballad singers for at least three or four decades. Norton himself
took the role of Ali Baba in some performances. Its American production
in New York notched up 208 performances in 1917-1918, A revival
in England in 1940 yielded a further 238 performances and there
was a Chu Chin Chow "on ice" in 1953. The show was filmed
in 1923 and, with George Robey, Malcolm McEachern ("Mr Jetsam"),
Francis L Sullivan and Anna May Wong, again in 1934. Norton had
been born in Salford on 11th October 1869 and lived until December
1946. He studied singing with Tosti and joined the Carl Rosa Opera.
By the early 1900s he was appearing on the variety stage delivering
monologues. He published many songs, most of them light in character
(examples are The Camel and The Butterfly, Madcap Marjorie
and The Elephant and the Portmanteau) and soon was being
engaged to provide music for London stage shows. The first was
The Water Maidens in 1901; he had something of a success
with Pinkie and the Fairies, a play for children produced
at His Majesty's Theatre in 1908, and he provided additional music
for Orpheus in the Underworld (His Majesty's, December
1911), which was a version of Offenbach's Orphée aux
Enfers. In the years before Chu Chin Chow really made
his name as a composer he provided the music for the Tivoli revue,
What Ho! Daphne (1913) and additional songs for The
Passing Show of 1915. After 1916 he never quite recaptured
the spark which had fired Chu Chin Chow. Pamela
(1917) was coolly received, although several of the songs from
it were separately published, and The Stone of Destiny,
the score of which has been highly spoken of, was not staged at
all. He contributed to Flora (1917) and The Willow Pattern
Plate; while Teddy Tail, a children's fantastic musical
play (1920), was a return to the mood of Pinkie and the Fairies
of twelve years before. He was also responsible for a few independent
orchestral pieces, of which we may mention the "characteristic
intermezzo" Funeral of a Spider and the barcarolle La
Siesta. At the time of his death Norton was described as of
"a whimsical and fantastical quality of mind", loveable and "a
man of culture". His gifts of telling Lancashire stories and of
extemporising at the piano were recalled. For my own part, The
Robber's Chorus from Chu Chin Chow still stirs my blood
forty-odd years after I heard it first.
© Philip L. Scowcroft.
Enquiries to Philip at
8 Rowan Mount
DONCASTER
S YORKS DN2 5PJ
Philip's book 'British Light Music Composers' (ISBN 0903413
88 4) is currently out of print.
E-mail enquiries (but NOT orders) can be directed to Rob
Barnett at rob.barnett1@btinternet.com
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