AN EIGHTH GARLAND OF BRITISH LIGHT MUSIC
I began these "garlands" as a kind of sweeping-up operation
to mention in summary form composers who did not seem to me to
merit a full-length article to themselves or (which is as least
as likely!) those composers of whom my knowledge was too slight
to extend to such an article. Eight articles - and many years
- further on, I am still sweeping up. Literally hundreds have
composed what may be regarded as light music in this country during
the past century or more. Some are now remembered primarily for
just one piece, like Angela Morley, one of relatively few
ladies in the light music field, for the attractive A Canadian
in Mayfair; or George Miller (1877-1960), conductor
of various military bands during the first four decades or so
and most notably that of the Grenadier Guards between 1922 and
1942, whose "Grand March" Galatea was once popular; or
Quentin Maclean (1896-1962), a London organist (in both
church and theatre), whose charming Parade of the Sunbeams,
later orchestrated by Herman Finck, I heard recently of Edward
Mitchell, composer of a Fantasy Overture for an orchestra
including no fewer than six horns. The fairly recent (I write
in 1996), death of Sir Vivian Dunn (1908-1995), sometime
Director of Music to the Royal Marines, should remind us that
among his many talents he was an able composer; most famously
of the march Cockleshell Heroes for the celebrated 1950s
film, but also of other marches like Globe and Laurel,
The Pompey Chimes, dedicated in 1949 to Portsmouth Football
Club, and the Canadian National Exhibition March.
Herbert Ivey is a name worth remembering, especially
for his suite Glimpses of London, less well known and perhaps
less individual than the London Suites of Eric Coates and
Haydn Wood but surely meriting occasional revival - its movements
bear the titles In the Park, A Day's Shopping, Father
Thames by Night (a barcarolle) and the regulation concluding
march London en Fête.
Ivor Slaney is worth a mention, too, for the tuneful
orchestral genre pieces, most of which date from the 1950s: Three
Irish Reels (1950), the sprightly Reveille for Toy Soldiers
(1952), Hi Fiddle Diddle (1953, for strings and celesta),
Whistling Wallaby (1954, almost a piece for Rolf Harris
to set lyrics to), Georgian Rumba and Three Irish Jigs
(both 1956), An Edwardian Entr'acte (1957) and The
Swanee Whistler (1959).
Nor should we forget John Crook, who flourished in the
early years of this century and whose fields of activity, if his
published material is any guide, seem to have been the musical
theatre and Cockney songs. The latter included I Must 'ave
been a joy, The Johnnies' Serenade, Tink-a-Tin,
Who'll Buy, Love of my Heart, Coster's Serenade,
Jerusalem's Deal! and, most notably, 'Appy Ampstead
(or Oh! Hampstead). With Charles Godfrey he arranged
Chevalier's Coster Songs. His work for the theatre included
at least parts of the 'topical burlesque' King Kodak, the
musical plays The New Barmaid, The County Councillor,
The House of Lords, Claude Duval, Jaunty Jane
Shore and, most famously, music for J. M. Barrie's Peter
Pan in 1905. This latter featured some gorgeous melodies including
the Wendy Theme, also Indian Dance, Children's
Dance, and Ostrich Dance. A selection from it was recorded
late in the 1920s and gives a good idea of Crook's tuneful muse.
A separate Polka and a Maypole Dance were published
and may have emanated from a theatre production but I have not
been able to confirm this.
"Leslie Stuart" or Thomas Barrett to give him
his real name, was born in Southport in around 1868 and died in
1928. He is primarily remembered as the composer of the musical
comedy Floradora (1899, revived in 1915 and 1931); his
later shows The Silver Slipper (1900), The School Girl
(1903), The Belle of Mayfair (1906), Havana
(1908), Captain Kidd (1909) and Peggy (1911) were
much less successful. Several of his 65 or some songs especially
Soldiers of the Queen, The Bandolero, Little
Dolly Daydream, Lily of Laguna and a number of "coon
songs", became hits. His instrumental pieces included at least
one Cakewalk.
"Anthony Burgess" (Really John Anthony Burgess Wilson),
born in Manchester in 1917, may claim a place here, although he
is better known as an author, of such books as "A Malayan Trilogy"
and "A Clockwork Orange". He did however begin his adult life
as a professional; musician, largely self taught, playing the
piano in jazz combos. His musical output is largely "serious"
in idiom: three symphonies (1937; 1956, based on Malayan themes,
recalling that he taught in Malaya 1954-61); 1975) a Sinfonietta
for jazz combo; the symphonic poem Gibraltar (1944); concertos
for piano and flute; Song of a Northern City, for piano
and orchestra (1947); Partita for string orchestra (1951);
Concertino for piano and percussion (1951); a Cantata
for a Malay College (1954); Passacaglia for orchestra
(1961); sonatas for piano (1946, 1951); and cello (1944); Ludus
Multitonalis for recorder consort (1951); three guitar quartets
(No. 1 is entitled Homage to Maurice Ravel) which have
recently been recorded and songs. But we may perhaps nominate
him as a light music composer on the strength of the incidental
music he wrote for plays, the Ballet Mr. W.S. and the tuneful
operetta Blooms of Dublin.
Greta Wilens, German born, but long domiciled in England
and a founder member of the Composers' Guild of Great Britain,
may be included in this Garland on account of her ballad-like
song Isola Bella conceived for Tauber, and the march The
Albatross, which has acquired considerable popularity since
its premiere in 1986.
In an earlier Garland I discussed the work of Sydney Baynes
and Charles Ancliffe; but we should not let this series finish
- if it ever does! - without mention of England's other, and arguably
much more famous "Waltz King" Archibald Joyce. Born in
London in 1873, Joyce was a boy chorister, then a dance band pianist,
then a leader of his own enormously popular Archibald Joyce (dance)
Orchestra. His first original waltz composition for this was Sweet
Memories. In 1909 he toured as a conductor for Ellen Terry
but after the Great War until he died, at Sutton in Surrey on
22 March 1963, he mainly devoted himself to composition. His waltz
compositions ran into dozens, maybe even hundreds. Dreaming
(1911), surely the most famous of them all, Songe d'Automne
(1908), Vision of Salome (1909) Remembrance (1909),
Vision d'Amour, Entrancing, Love's Mystery,
Blue, Paradise, Bohemia, Sweet William,
Skating on the Ice (a parallel to Les Patineurs by
Waldteufel, whose waltzes Joyce's often resemble), Violetta,
A Night in Vienna, One Night of Love, Dreams
of You, Dream of the Ball, the "waltz militaire" Victorious,
dedicated to Winston Churchill in 1945, Just a Memory,
Always Gay (he would surely retitled this were he living
now!), Charming, Sweet Love and Life,
A Thousand Kisses, A Maiden's Blush, Let All
the World Go By, I Could Dance For Ever With You, Song
of the River written for the BBC (1946), Fidelity and
Great Waltz Imperial. He is reputed to have been the first
British waltz composer to have had his compositions published
on the Continent, but he by no means confined himself to composing
waltzes. Dance numbers on other rhythms included: Iris: Danse
de Ballet, Tangle Toes, Premiere Danseuse and
Novelty Dance, the polkas Café Colette and
Frou-Frou, the Spanish Tambourine Dance and the
two-step Brighton Hike plus the genre pieces Wedding
Bells and Sleeping Water, The Caravan Suite,
surely Ketèlbey-inspired, and the marches The Palace
Guard, The Recruit, The Queen's Guard, Colour
Sergeant, The Old Grenadier, The Coon Drum Major,
in American style, Royal Parade, Prince of Wales (introducing
God Bless the Prince of Wales as its trio section), Royal
Standard, Homage to the RAF and the ceremonial march
Britannia. His solo instrumental items included the cello
solo Spanish Bolero and a xylophone solo, Vienna Café.
He contributed to musicals, notably Toto, produced at the
Duke of York's Theatre in 1916 and Gabrielle and he published
songs like I'm Skipper of a Submarine, God's Greatest
Gift, The Rogue of the Road, Dreams of Bohemia,
Friends Dear to Me and The Modern Girl. Little of
this large output - and I am far from claiming exhaustiveness
- is heard today although Dreaming at times still flies
the Joyce flag and the Marco Polo CD reviewed in News 70 should
help his cause.
Frederick Nicholls, active especially between the two
wars, was noted for his songs to quality lyrics, like Tears,
Idle Tears, Elaine's Song, As Through the Land,
Thy Voice is Heard, Blow, Bugle Blow, Eldorado
and especially popular, the five songs from A Child's Garden
of Verses; but he published instrumental miniatures as well
like the Two Short Pieces (Meadow Dance and Dancing
Midges) of 1938 for piano solo.
Most of the composers featured in this series have been dead,
often for many years, but I would like to conclude this Garland
with three composers all of whom are perhaps even better known
as arrangers and conductors and who at the time of writing are
still very much alive. First of them is Eric David Wetherell
born on 30 December 1925 in Tynemouth and educated at Carlisle
Grammar School, Queen's College Oxford and (1948-9) the Royal
College of Music. After ten years as an orchestral horn player,
he occupied the successive positions as répétiteur
at the Royal Opera House, Covent Garden (1960-63), Assistant Music
Director to Welsh National Opera (1963-96) and Chief Conductor,
BBC Northern Ireland Orchestra (1976-81). He lives near Bristol
and at least two of his works reflect this: the overture Beau
Nash (Nash was pre-eminent in the 18th Century development
of Bath) and Bristol Quay for string orchestra. Other orchestral
items include Welsh Dresser and Airs and Graces;
a chorus Your Gift to Man was published and he is also
credited with music for films and television. His Three Shakespeare
Sonnets for medium voice are jazz influenced.
My remaining two figures were Directors of Music with the Royal
Marines who, on retiring from the Service, took up posts in musical
education with Doncaster Metropolitan Borough Council in the mid-1970s,
posts which they held for many years before retiring for the second
time, although both remain very active in music in one form or
another.
Peter Sumner M.B.E. (b. 1929) whose two careers embraced
31 years in the Royal Marines (18 of them as Director of Music,
latterly of the C-in-C Fleet Band) and about eighteen years in
the Doncaster Peripatetic Music Service, studied conducting at
the Royal Academy of Music and is a respected arranger and composer,
of marches for band (The Blue Light was written for a police
training centre), short instrumental solos include Water Nymph
for oboe (his principal instrument) and most recently a suite
Celebration to mark Doncaster's 800th anniversary celebration
of its first charter in 1994 and available in military band, brass
band and orchestral versions. Its use of historical pastiche recalls
Coates - and it ends with a March! Barcelona (a pasodoble)
shows Spanish colour, An Alpine Frolic is described as
a "Tyrolean waltz", while Soliloquy, written for a British
Legion Festival of Remembrance in 1973, has Elgarian overtones.
Ray Woodfield (b. 1931), also for many years, from 1974,
a teacher in the Doncaster Peripatetic Service, and before that
also a Director of Music with the Royal Marines is an even more
prolific arranger and composer than Sumner and his arrangements
are often astonishingly inventive. His main instrument was the
clarinet and his long list of compositions includes a number of
miniatures for it, but he himself regards his best original works
as the two euphonium solos Varied Mood (an anagram of the
name of its dedicatee, David Moore) and Caprice, also for
Moore, the marches Walkabout (originally written for Woodfield's
student band in Doncaster) and Amsterdam a military march
often played in Holland, Trumpet Eclair, a virtuoso solo
item, and a Concerto in E flat, also for trumpet.
There must be many more "light music" figures whom I have not
so far covered. Eric Ball, another brass band man, deserves a
profile to himself. Robert Farnon has his thriving society to
research him in depth. Several "classical" composers have produced
light music in profusion - Elgar, Walton, Malcolm Arnold, Gordon
Jacob, Armstrong Gibbs, Richard Rodney Bennett, Percy Whitlock
(who wrote a Spade and Bucket Polka; appropriate for a
man who worked in Bournemouth!) and so on. But eight garlands
of such pleasure-givers is perhaps enough - for the time being!
© 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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