The World of DECCA Post 11 Elizabethan Music, Composer Round-up, Spain, Overtures and Conductors

Foreword

As Emerson Lake and Palmer might have said, 'Welcome my friends, to the show that

...' hmm ... will end, actually … but not just yet! The thing that this post does herald the end of is Classical Music. It's been quite a long song but I think I did mention at the beginning that this genre is by far the largest section in our record collection and, anyway, I hope that you have enjoyed the journey. So, let's climb aboard the funky bus one more time to Classical City. Just a quick warning that towards the end of our bus ride, we'll be checking in with the conductors so have your tickets handy!

Finally, we'll have a round-up of the THE WORLD OF YOUR HUNDRED BEST TUNES records.

ELIZABETHAN MUSIC

There is but one record in our collection devoted to music from the time of Queen Elizabeth I and it is called, not terribly surprisingly, THE WORLD OF ELIZABETHAN MUSIC (SPA 335). Pretty much everybody in the Elizabethan age went to church and so were used to a bit of a sing-song. They sang sacred songs in church and secular tunes at work in the field. Apparently, Shakespeare refers to music more than 500 times in his work (go on, count 'em) so that would seem to be a good measure of the importance of music at this time. During this period, the development and diversification of musical instruments trundled on apace. More and more people were getting access to viols, hautboys and spinets and keeping the neighbours awake with their incessant caterwauling … probably. Composers off of our LP that may have fallen into this category are Thomas Tallis, William Byrd and Thomas Weelkes, all of whom are discussed in earlier posts, plus:

THOMAS MORLEY, FRANCIS CUTTING, JOHN WILBYE, GILES FARNABY, JOHN DOWLAND, ANTONY HOLBORNE, JOHN BULL AND THOMAS TOMKINS.

Thomas Morley composed ‘It was a Lover and his Lass’, the opening track on SPA 335 and it is sung by two pages in Act Five, Scene Three of Shakespeare’s As You Like It. Morley is considered to be the first of the important English madrigalists and he wrote a text book on music composition called, A Plaine and Easie Introduction to Practicall Musicke1. Francis

Cutting’s fame, on the other hand, most probably came as a result of his lute-playing when most other musicians played keyboard or sang. Very little is known about Cutting’s life but we have more information on the song that he has a go at on the LP; ‘Greensleeves’. If you like the idea of Henry VIII having composed this piece for his love (that week) Anne Boleyn, prepare to be disappointed. Its first outing is thought to have been around 1580 with Henry having passed away 33 years before-hand. Musicians of various genres have tinkered with it over the years maintaining its omnipresence and it is no surprise whenever or wherever it crops up whether it be a classical concert at the opera house or by a pop group on TV.

Another madrigalist on the record is John Wilbye and his thing was the ‘serious’ madrigal. ‘Miserable’ more like it. Deary me! I should hide the knives before you listen to his song ‘Weep Weep Mine Eyes’. Much happier, however, is his tune ‘Sweet Honey Sucking Bees’ though even here there’s a dire warning at the end … after singing us to a false sense of lazy, sunny, bee-buzzingly Summer afternoons, there is a sharp warning not to upset a special one for fear of receiving a flaming dart from her eye, and, as the song do tell us, there was never a dart so sharp, Ah, then you die! A sting in the tail if you will. There is a little more mischievous whimsy in the work of Giles Farnaby as evidenced by ‘His Toye’ and ‘Tower Hill’ – two keyboard tunes which show up on SPA 335. It appears that he never became ’professional’ and he always stated his occupation as cabinet maker, a trade he entered into after his father who was a carpenter. This, even though, at about the age of 30, he achieved his Bachelor’s degree in music at Oxford. In fact, he graduated the same day as John Bull.

Bullish John Bull was a bit feisty by all accounts. He was argumentative and quite happy to resort to violence when the need was perceived. … as it was when a man of the cloth upbraided him for committing adultery. The news soon reached the Archbishop of Canterbury who recorded his thoughts in a letter2 declaring that the man had more music than honesty and ‘is as famous for marring virginity’ as he is for playing musical instruments. Still, back to the music – that of John Bull, ironically, because of the later connotations of his name and its associations with Britishness, may sound a little less English than other pieces on SPA 335 as he was wont to travel whilst young and a European influence may be detected in ‘Regina and Myself’. Go on. You know you want to. Have a listen.

John Dowland was a lutenist and composed songs as well as instrumental pieces. We get to compare his work in both genres here with ‘I Saw my Lady Weep’ sung by Peter Pears and the lute version of the ballad ‘My Lord Willobye’s Welcome Home’ on THE WORLD OF ELIZABETHAN MUSIC. Dowland also found himself abroad, taking a post in the court of King Christian IV of Denmark though he failed to ingratiate himself there by failing to make timely returns when he travelled back to England for musical reasons. It wasn’t long before he was given a pink slip. He stayed home this time.

The cittern is a stringed instrument along the lines of a lute but it has a flat back and was generally smaller which made it attractive to all and sundry and, with it being a bit cheaper, more available too. As well as the lute, Antony (or Anthony) Holborne (or Holburne) played and composed for the cittern. The tune on SPA 335 is ‘Heigh Ho, Holiday’ and is played by Musica Reservata, a modern day (1950s) music group dedicated to the style of the Elizabethan era. ‘Heigh Ho …’ is a coranto, a jauntily, spry dance and, I would say, best attempted when drunk. Not the state to find oneself in when listening to the work of our final Early musician, Thomas Tomkins. Tom was into the more sacred end of the music spectrum. A bit of a fuddy duddy. Check out the title of his one tune here: ‘When David Heard that Absolom was Slain’. Dance to that if you can! He was a student of William Byrd and stuck closely to this style even as it went out of fashion. All joking aside, though, this is lovely stuff.

CLASSICAL COMPOSER ROUND-UP

There are a few composers who have yet to feature above and who appear just once or twice in the whole WORLD OF collection and it feels only fair to give them a mention if only to list them with their work. So, in alphabetical order, these are they:

· Adams: The Holy City THE WORLD OF SACRED SONGS (SPA-R 219) and THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 8 (SPA 356)

· Addinsell: Warsaw Concerto THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 10 (SPA 400)

· Alison: Dolorosa Pavane THE WORLD OF EARLY MUSIC (SPA 547)

· Alstone: Valse d’Été THE WORLD OF IMMORTAL CLASSICS (SPA 176)

· Altenburg: Concerto for Seven Trumpets THE WORLD OF THE TRUMPET (SPA 260)

· Arnold, Dr: Hist! Hist! THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Azzaiolo: Sentemi la Formicula THE WORLD OF EARLY MUSIC (SPA 547)

· Bach, CPE: March THE WORLD OF THE GREAT CLASSICS: TRUMPET VOLUNTARY (SPA 556)

· Bach, JC: Overture No. 2 in D Major THE WORLD OF BAROQUE ORCHESTRA (SPA 544)

· Badarzewska: The Maiden’s Prayer THE WORLD OF JOSEPH COOPER VOL. 2 (SPA 473)

· Bartók: Music for Strings, Percussion and Celeste: 2nd Mov. THE WORLD OF THE ACADEMY VOL. II (SPA/A 163)

· Benedict: The Gypsy and the Bird THE WORLD OF THE FLUTE (SPA 394)

· Boccherini: Minuet and Trio from Quintet in E, Op. 13 No. 5 THE WORLD OF THE GREAT CLASSICS: CLASSICAL FAVOURITES (SPA 510) and THE WORLD OF THE GREAT CLASSICS: AIR ON THE G STRING (SPA 568)

· Boellmann: Toccata from Suite Gothique TOCCATA (SPA 583)

· Boughton: The Immortal Hour – Faery Song (No. 93) THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 9 (SPA 373)

· Boyce: Symphony No. 5 in D Major THE WORLD OF THE GREAT CLASSICS: TRUMPET VOLUNTARY (SPA 556)

· Braga: Serenade (Angel’s) THE WORLD OF IMMORTAL SERENADES (SPA 298)

· Busnois: Je Ne Fay Plus THE WORLD OF EARLY MUSIC (SPA 547)

· Caccini: Amarilli THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Caldara: Sebben Crudele THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Canteloube: Bailero THE WORLD OF YOUR HUNDRED BEST TUNES THE NEW CHARTS VOL. 3 (SPA 565) and COMMERCIAL CLASSICS (SPA 581)

· Cimarosa: Concerto for Two Flutes in G Major THE WORLD OF THE FLUTE (SPA 394)

· Compere: Virgo Celesti THE WORLD OF EARLY MUSIC (SPA 547)

· Dalza: Pavana and Piva Ferrarese THE WORLD OF EARLY MUSIC (SPA 547)

· Davis: World at War Theme, Red Star, G.I. Blues and Blood Sweat and Tears THE WORLD AT WAR (SPA 325)

· de la Torre: La Spagna and Adoramos Te, Senor THE WORLD OF EARLY MUSIC (SPA 547)

· di Capua: O Sole Mio COMMERCIAL CLASSICS (SPA 581)

· Dohnanyi: Rhapsody No. 3 in C major from Four Rhapsodies, OP. 11 THE WORLD OF JOSEPH COOPER (SPA 473)

· Drigo: Serenade from Les Millions d’Arlequin THE WORLD OF IMMORTAL SERENADES (SPA 298)

· Dubois: Toccata TOCCATA (SPA 583)

· Dukas: The Sorcerer’s Apprentice THE WORLD OF THE GREAT CLASSICS: DANSE MACABRE (SPA 175)

· Edwardes? Where Grypinge Griefs THE WORLD OF EARLY MUSIC (SPA 547)

· Fayrfax: I Love, Loved THE WORLD OF EARLY MUSIC (SPA 547)

· Forster: Vitrum Nostrum Gloriosum THE WORLD OF EARLY MUSIC (SPA 547)

· Geminiani: Concerto Grosso in E Minor Op. 3 No. 3 THE WORLD OF BAROQUE ORCHESTRA (SPA 544)

· Gershwin: Rhapsody in Blue and An American in Paris FANFARE FOR THE COMMON MAN (COPLAND): AN AMERICAN IN PARIS (GERSHWIN): RHAPSODY IN BLUE (GERSHWIN) (SPA 525)

· Giordani: Caro Mia Ben THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Gliere: Russian Sailor’s Dance (The Red Poppy) THE PHASE 4 WORLD OF SPECTACULAR DANCES (SPA 338)

· Godard: Berceuse de Jocelyn THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Grainger: Scotch Strathspey & Reel THE WORLD OF THE SEA (SPA 396)

· Gretchaninov: The Russian Creed Op. 29 No. 8 THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 10 (SPA 400)

· Gretry: Pantomime and Finale from Zemire et Azor THE WORLD OF YOUR HUNDRED BEST TUNES THE NEW CHARTS VOL. 3 (SPA 565)

· Guami: La Brillantina THE WORLD OF EARLY MUSIC (SPA 547)

· Guridi: Viejo Zortzio THE WORLD OF THE HARP (SPA 348)

· Herold: La Fille Mal Gardée (Clog Dance) THE WORLD OF BALLET (SPA 55) and Zampa THE WORLD OF THE GREAT CLASSICS: THE MERRY WIVES OF WNDSOR (SPA 184)

· Heuberger: Im Chambre Separee THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Hoffstetter: String Quartet in F THE WORLD OF THE GREAT CLASSICS: AIR ON THE G STRING (SPA 568)

· Honegger: Pastorale d’Été THE WORLD OF THE GREAT CLASSICS: CLAIR DE LUNE (SPA 570)

· Horovitz: Two Majorcan Pieces: No.1 Paguera and No. 2 Valdemosa THE WORLD OF THE CLARINET (SPA 395)

· Hubay: Hejre Kati THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Hummel: Trumpet Concerto 3rd Mov. Rondo THE WORLD OF THE ACADEMY VOL. II (SPA/A 163) and Trumpet Concerto in E Flat THE WORLD OF THE TRUMPET (SPA 260)

· Humperdinck: Witches Ride from Hansel and Gretel THE WORLD OF THE GREAT CLASSICS: DANSE MACABRE (SPA 175)

· Hupfeld: Let’s Put Out the Light and Go to Sleep AN EVENING WITH JOSEPH COOPER (SPA 542)

· Ibert: The Little White Donkey THE WORLD OF THE GREAT CLASSICS: ANIMALS IN MUSIC (SPA 366)

· Ireland, J: Sea Fever THE WORLD OF THE SEA (SPA 396)

· Irvine: The Lord’s My Shepherd THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 10 (SPA 400)

· Isaac, H: La La Hö Hö THE WORLD OF EARLY MUSIC (SPA 547)

· Josef Strauss: Village Swallows from Austria THE WORLD OF THE GREAT CLASSICS: BIRDS IN MUSIC (SPA 367)

· Katchaturian: The Adagio of Spartacus & Phrygia THE WORLD OF TV THEMES (SPA 217) and THE WORLD OF THE GREAT CLASSICS: CLASSIC TV THEMES (SPA 580)

· le Jeune: Fière Cruelle THE WORLD OF EARLY MUSIC (SPA 547)

· Lecocq: Le Coeur et la Main THE WORLD OF OPERETTA FAVOURITES (SPA 466)

· Liddle: How Lovely are Thy Dwellings THE WORLD OF SACRED SONGS (SPA-R 219)

· Lidón: Sonata de I. Tono THE WORLD OF THE GREAT CLASSICS: HEAR MY PRAYER (SPA 543)

· Lotti: Pur Dicesti THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· MacDowell, E: To a Wild Rose Op. 51 No. 1 and To a Water Lily Op. 51 No. 6 THE WORLD OF JOSEPH COOPER VOL. 3 (SPA 519) and AD MDCXX (1620) Op. 55 No. 3 AN EVENING WITH JOSEPH COOPER (SPA 542)

· Malotte: The Lord’s Prayer THE WORLD OF SACRED SONGS (SPA-R 219) and THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 7 (SPA 355)

· Martini: Plaisir d’Amore THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Mayerl: Marigold Op. 78 THE WORLD OF JOSEPH COOPER VOL. 3 (SPA 519) and Parade of the Sandwich-board Men AN EVENING WITH JOSEPH COOPER (SPA 542)

· Meyerbeer: Les Patineurs (Entrée): THE WORLD OF BALLET (SPA 55)

· Minkus: Pas de Deux from Don Quixote THE WORLD OF THE GREAT CLASSICS: PAS DE DEUX (SPA 487)

· Monk: Abide With Me THE WORLD OF SACRED SONGS (SPA-R 219) and THE WORLD OF YOUR HUNDRED BEST TUNES (SPA 316)

· Monti: Czardas THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Mulet: Toccata Tu Es Petrus TOCCATA (SPA 583)

· Obrecht: Ich Dragh de Mütse Clütse THE WORLD OF EARLY MUSIC (SPA 547)

· Orff: O Fortuna Velut Luna from Carmina Burana CLASSIC COMMERCIALS (SPA 555)

· Pacoloni: La Belle Franceschina THE WORLD OF EARLY MUSIC (SPA 547)

· Paisiello: Chi Vuol La Zingarella THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Parry, Joseph: Jesu, Lover of my Soul THE WORLD OF SACRED SONGS (SPA-R 219)

· Pierné: Impromptu Caprice Op. 9 THE WORLD OF THE HARP (SPA 348) and Serenade THE WORLD OF IMMORTAL SERENADES (SPA 298)

· Ponce: Estrellita THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Raff: La Fileuse Op. 157 No. 2 THE WORLD OF JOSEPH COOPER VOL. 3 (SPA 519)

· Reger: Toccata and Fugue Op. 59 Nos. 5 & 6 TOCCATA (SPA 583)

· Rezniček : Donna Diana THE WORLD OF THE GREAT CLASSICS: THE MERRY WIVES OF WNDSOR (SPA 184)

· Romberg: Serenade from The Student Prince THE WORLD OF IMMORTAL SERENADES (SPA 298)

· Binge: Elizabethan Serenade THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 2 SPA 155

· Rontani: Nerinda Bella THE WORLD OF EARLY MUSIC (SPA 547)

· Rubenstein: Melody in F THE WORLD OF THE IMMORTAL CLASSICS (SPA 176)

· Salzedo: Chanson de la Nuit THE WORLD OF THE HARP (SPA 348)

· Sarasate: Zigeuner Wiesen THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Satie: Gymnopedie I CLASSIC COMMERCIALS (SPA 555)

· Scarlatti, A: Gavotte JOHN WILLIAMS PLAYS BACH & SCARLATTI (SPA 592)

· Scheidt: Canzon Cornetto THE WORLD OF THE TRUMPET (SPA 260) and Galliard Battaglia TRUMPET VOLUNTARY (SPA 556)

· Sermisy: Las Je My Plains THE WORLD OF EARLY MUSIC (SPA 547)

· Sinding: Rustle of Spring Op. 32. No. 3 THE WORLD OF JOSEPH COOPER VOL. 2 (SPA 473)

· Stamitz: Symphony in D Major Op. 3 No. 2 THE WORLD OF BAROQUE ORCHESTRA (SPA 544)

· Stanford: Drake’s Drum THE WORLD OF OWEN BRANNIGAN (SPA 321)

· Stanley: Trumpet Tune in D THE WORLD OF THE GREAT CLASSICS: TRUMPET VOLUNTARY (SPA 556)

· Sternhold: Fetes Tzigane THE WORLD OF THE GREAT CLASSICS: MEDITATION FROM THAIS (SPA 571)

· Suk: Serenade for Strings in E flat Major Op. 6 2nd mvt. THE WORLD OF THE GREAT CLASSICS: SERENADE (SPA 323)

· Telemann: Trumpet Concerto in D THE WORLD OF THE ACADEMY (SPA/A 101)

· Tiburtino: Ricercare ‘La Sol Fa Mi Fa THE WORLD OF EARLY MUSIC (SPA 547)

· Tosti: Marechiare THE PHASE 4 WORLD OF WERNER MULLER (SPA 136)

· Tromboncino: Ostinato Vo’ Sequire and Hor Ch’el Ciel e la Terra THE WORLD OF EARLY MUSIC (SPA 547)

· Waldteufel: The Skaters’s Waltz THE WORLD OF YOUR HUNDRED BEST TUNES VOL. 5 (SPA 299)

· Weckerlin, JB: C’est Mon Ami THE WORLD OF THE GREAT CLASSICS: DAVID HUGHES: SONGS OF LOVE (SPA 287)

· Williamson, M: Bonny at Morn and Captain Bover THE WORLD OF OWEN BRANNIGAN (SPA 321) and Ding Dong! Merrily on High THE WORLD OF CHRISTMAS VOL. 2 (SPA/A 164)

· Wirèn: Serenade for Strings Op. 11 4th mvt. THE WORLD OF THE GREAT CLASSICS: SERENADE (SPA 323)

· Wyatt Blame Not My Lute THE WORLD OF EARLY MUSIC (SPA 547)

SPAIN

There are two LPs in the ‘WORLD OFs’ that appertain to Spain (‘CAPRICCIO ESPAGNOL’ SPA 182 and ‘SPAIN!’ SPA 204) but of the eight composers involved, only one, De Falla, is actually Spanish. There are three French, two Russian and one German. The most obvious contribution to a record called ‘Spain!’ is Bizet and his Carmen which takes up the first three tracks on side 1. This is probably the most widely known of works associated with the

warmth and vigour of the Mediterranean and was actually written before Frenchman Georges Bizet had visited Spain, if indeed, he ever did! Early performances were sung in Spanish and you might think that this would be quite correct but audiences were used to hearing opera being sung in Italian and it was later presentations sung in French and Italian that were the most successful. The cymbal crash of ‘Prelude’ begins the programme and you’d have to be pretty cold-blooded to resist the temptation to move to the joyful stomp of this introduction to the work. Assuming you have then given way to the sway of ‘Habanera’ and jigged through ‘Danse Bohéme’ you might be demanding of the next track, ‘Follow that!’ Well, if you’ve not heard ‘Espana’ by Emmanuel Chabrier, you may rest assured that the record continues in capable hands. You will find here a combination of spirited moods with more than a hint of Spain about them and afterwards, may be ready to siesta whilst allowing the cooling ‘Boléro’ of Maurice Ravel to wash over your glowing body.

Manuel de Falla, on side 2, provides four pieces including parts of ‘The Three-Cornered Hat’. This is a story of an amorous magistrate trying to get jiggy with a Miller’s wife. It’s actually a quite convoluted story but the gist is that the Miller and his mates teach the official a lesson he’ll never forget – they toss him in a blanket! Well, you have to admit, that episode would be quite memorable. Such a lesson wouldn’t necessarily stop a person dallying with someone else’s wife but, it’s true, one would quite

likely never forget the embarrassment of it!

Maurice Ravel features on ‘Capriccio Espagnol’ as well as 'Spain' and his ‘Rapsodie Espagnole’ was written at a time when European composers had become aware of the different styles of the writing of music in other parts of Europe. During the mid to late 1800s, Spanish influence was on the radar of many composers and all pieces on this collection were written in this period. To be capricious, incidentally, is to flit from one mood or activity etc. on a whim. Giving these pieces a casual listen, it may not strike one that there is too much flitting from one style or theme to another but they must be taken in context. Towards the end of the nineteenth century, audiences that were used to traditional performances were beginning to reject styles that strayed a little too far from the conventional and, of course, French, Russian and German music fans might not have been ready for the influence of Spanish music. Frenchman, Ravel, like the other composers on this LP, was maybe asking for trouble with the Spanish title of this piece but he needn’t have worried about the destruction of a promising musical career – he was soon to come up with the monster hit, Boléro.

OVERTURES

OTTO NICOLAI, EMIL VON REZNIČEK, LOUIS HEROLD, ADOLPHE ADAM

Before the main action of an opera begins; usually before the singers even come to the stage, a piece of music is customarily played to introduce the audience to the themes that they may look forward to as the gig evolves. This is the overture and because it contains the greatest hits of the upcoming show and, therefore, the most memorable tunes, it often stands on its own as the most popular section. The Merry Wives of Windsor (SPA 184) introduces overtures of some less well-known composers. The album’s eponymous track

was written by Otto Nicolai who founded the Vienna Philharmonic Orchestra. If one is playing in the VPO, one is amongst illustrious company. Members of this orchestra have to have proved their ability over something like three years playing in the Vienna State Opera and I imagine that one cannot simply walk into this band of musicians, either. The Vienna Philharmonic does not feature on this record but the above story serves to demonstrate the credentials of a composer that may be new to you. Early in Otto’s career he was librettist to Giuseppe Verdi who was not well-respected due to slave-driving his singers. Nicolai didn’t like his music, either. He reckoned that Verdi ‘scored like a madman’ and must have had the ‘heart of a donkey’3! Otto didn’t seem to qualify these assertions but it’s easy to assume that he wasn’t keen on Mr Verdi.

The second track here is ‘Donna Diane’ by Austrian Emil von Rezniček. Another Austrian, Franz von Suppé has three tunes which takes up most of side B, the first of which, ‘The Light Cavalry’, features the galloping theme after about 2½ minutes which most listeners would recognise, maybe from cartoons such as those of Disney. Also on this LP is Zampa by Frenchman Louis Joseph Ferdinand Hérold who was tutored in piano by Louis Adam, the father of another contributor, fellow countryman, Adolphe Adam. Adam was considered the leading composer of music for ballet following the early demise of Hérold of tuberculosis at age 42 but probably his most popular piece was the overture for the opera, If I Were King, which is presented here.

CONDUCTORS

ADRIAN BOULT

There is a memorial stone in the North Choir Aisle of Westminster Abbey for conductor Sir Adrian Cedric Boult who was a bit of a cranky grump when young and his parents used the name of ‘Brooks of Sheffield’ when discussing him in his presence so as not to pique his ire. When a little older, however, he conducted the first performance of The Planets by Gustav Holst. So, you see, don’t give up on your grumpy kid. See in him, the grown up conductor waving his baton over a 60-piece orchestra! Boult was not a year old when his temper was noted but perhaps ‘temperamental’ goes with the musical territory as he was only eight

months old when he used to stop what he was doing and listen if he heard music and before he was two years old he was able to pick out tunes on the piano. His mother’s diary records that when he was three years old, he could play two duets by Reinecke with her but on this one occasion was a bit tetchy and didn’t want to do so in the conventional style by sitting side-by-side with his mum. He took up a central position whilst his patient mother danced from one end of the keyboard to the other, berating herself for playing a bum note. This did not go unnoticed by Master Boult who, when they’d finished, told her that she’d played a white note instead of a black one! One can imagine little Adrian jumping from his piano stool and storming out of the room muttering something about being surrounded by idiots! Anyway, SIR Adrian features on 11 WORLD OF records including, THE WORLD OF THE GREAT CLASSICS: TCHAIKOVSKY (SPA 168) on which he conducts the first and second movements of Concert Fantasia in G Minor and ‘Rhapsodie on a Theme of Paganini Op. 43’ on THE WORLD OF THE GREAT CLASSICS: RACHMANINOV (SPA 505) along with all music on THE WORLD OF THE GREAT CLASSICS: KATHLEEN FERRIER SINGS BACH AND HANDEL (SPA 531).

ERNEST ANSERMET

Swiss Ernest Ansermet’s conducting appears on 36 WORLD OF LPs including THE WORLD OF THE GREAT CLASSICS: BRAHMS SYMPHONY NO. 4 etc. (SPA 381), THE WORLD OF THE GREAT CLASSICS: FINGAL’S CAVE (SPA 552), THE WORLD OF THE GREAT CLASSICS: PROKOFIEV (SPA 226) and ‘Symphony No.3 in C Minor’ by Saint-Saëns on THE WORLD OF THE GREAT CLASSICS: SAINT-SAËNS etc. (SPA 228). Before hitting the big time as a conductor, Ernest Ansermet wrote military marches for the Swiss army but his big break came when he was aged 32 years. He became an acquaintance of Igor Stravinsky and was able to look over his shoulder as he created The Rite of Spring amongst other works. He also met up with Russian choreographer, ballet dancer and songwriter, Sergei Diaghilev who also founded the Ballets Russes, resulting in Ansermet’s public debut as conductor of the Ballets Russes orchestra in a first performance of Rimsky-Korsakov’s Soleil de Nuit. He went on to conduct several performance debuts of works by Stravinsky, Erik Satie, Manual de Falla and Prokofiev. Soon, he had founded the Orchestre de la Suisse Romande and the Argentine National Orchestra and was the principal conductor for these and that of the Ballets Russes until 1967 when he would have been 84 years of age, spending most of those years living in Geneva during the Winter months and Buenos Aires in the Summer.

ATAULFO ARGENTA

Ataúlfo Experio Argenta gave his first musical performance at the age of 12 years on piano, a recital comprising five pieces including works by Albeniz, Chopin and Rossini. He was soon also presenting tunes on the violin as accompaniment to another pianist playing along to silent movies in the local theatre. He continued to study piano and violin until attaining top marks in both whilst being awarded a position of tenor to the Choral Mass of Madrid and all before his fifteenth birthday. At age 17, he took part in and won a piano competition, the prize being a shiny new grand piano but with the family finances under serious strain, he decided to sell it and he made a few shillings playing to the customers of the local tea houses. It wasn’t until he was 20 years of age that he actually conducted the student orchestra but still his thoughts were aimed at achieving a career as a pianist. Through the Spanish Civil War and World War II, through lean times and good, Argenta and family, which by now had grown to five with the addition of three daughters, managed, through times of separation, to stay true to each other whilst Ataúlfo’s career went from strength to strength. Aged 31, he was delivered of a fourth child and he was also named second conductor of the National Orchestra as his potential in this direction began to be noticed. He was soon considered with acclaim and held in high regard until his death at just 44 years of age. The conducting of Ataúlfo Argenta features on at least five WORLD OF records. He conducts: Chabrier’s ‘España’, ‘Capriccio Espagnol (Excerpt)’ by Rimsky-Korsakov and ‘Symphonie Fantastique, Opus 14 by Berlioz on THE WORLD OF STEREO ACTION (SPA 125); ‘Spanish Dances Book 1 Op. 12 Nos. 1 to 5’ on THE WORLD OF GREAT CLASSICS: CAPPRICIO ESPAGNOL (SPA 182); Tchaikovsky’s ‘Violin Concerto in D Major, Op. 35’ on THE WORLD OF THE GREAT CLASSICS: TCHAIKOVSKY: VIOLIN CONCERTO: PAGANINI: VIOLIN CONCERTO NO. 1 (SPA 183); on THE WORLD OF THE GREAT CLASSICS: RODRIGO: GUITAR CONCERTO (SPA 233), the ‘Guitar Concerto: Concierto De Aranjuez’ and the whole LP, THE WORLD OF THE GREAT CLASSICS: LISZT: PIANO CONCERTOS (SPA 318).

NEVILLE MARRINER

Next is Neville Marriner who crops up on six WORLD OF LPs including THE WORLD OF THE ACADEMY (SPA-A 101), THE WORLD OF THE ACADEMY VOL. 2 (SPA-A 163) and he

conducts five pieces from THE WORLD OF HANDEL (SPA 448). Mariner is well remembered as a foremost conductor but it wasn’t until he reached 34 years of age that he

picked up the baton. Until then he was a fine violinist in a chamber orchestra, becoming principal second violin of the London Symphony Orchestra at the age of 32 years and continued in post for 12 years. He held many important posts as music director and principal conductor around Europe and the US over the years and was still performing with the Academy of St Martin in the Fields, which he founded in 1958 until he died aged 92. It is said4 that his Bach, Vivaldi, Haydn, Mozart and Handel were buoyant and graceful so it may amuse you to listen to SPA 448 above and compare his style with other conductors on the record.

KARL MUNCHINGER

German conductor Karl Munchinger of the Romantic period was most closely associated with the music of Bach, having had fine interpretations of many of the composer’s works recorded under his baton, and amongst the seven selections from the WORLD OF catalogue that Munchinger participates upon are two LPs of Bach music: THE WORLD OF THE GREAT CLASSICS: JS BACH: BRANDENBURG CONCERTOS NOS. 1-3 (SPA 382) and THE WORLD OF THE GREAT CLASSICS: JS BACH: BRANDENBURG CONCERTOS NOS. 4-6 (SPA 383). Also under his authority is more Bach along with some other pieces by Baroque composers, namely Vivaldi, Gabrieli, Corelli and Pergolesi on THE WORLD OF BAROQUE (SPA 129); there is also THE WORLD OF THE GREAT CLASSICS: VIVALDI: THE FOUR SEASONS (SPA 207). As well as conducting, Karl Munchinger could hold his own as an organist in times of financial strife such as two years during the Second World War when he was without a position. It is interesting to note how much control over the interpretations of pieces of music conductors have. One of the major aspects of Munchinger’s work that was appreciated by critics and peers of the time was that elements of the Romantic period, some 200 years later than the Baroque period, which had been creeping into other conductors’ readings were being eliminated by our man in favour of an essence of the earlier period. Characteristically, Baroque music is embellished unemotionally with twiddly bits, which are often most noticeable when played on harpsichord during this pre-piano period. The Romantic period, however, via the Classical era, introduced a more expressive and emotional ambience to proceedings. The composers, though, did not always get the final say on matters; not with conductors like Munchinger about!

LEOPOLD STOKOWSKI

Stokowski was a one-time acquaintance of thirties actress Greta Garbo and he advised GG that the two of them would enjoy a romantic relationship similar to that of Wagner and Cosima. Well, as you might imagine, the enigmatic Garbo, famous for apparently saying that she wanted to be alone, was not one for settling down and, after a platonic liaison, things began to fizzle. Leopold Anthony Stokowski, or perhaps you’d prefer Leopold Antoni

Stanislaw Boleslawawicz Stokowski, was British and has sole conductorship for three WORLD OF records: THE PHASE 4 WORLD OF LEOPOLD STOKOWSKI (SPA 159), THE WORLD OF THE GREAT CLASSICS: HANDEL: MESSIAH SELECTIONS (SPA 284) and THE WORLD OF THE GREAT CLASSICS: STOKOWSKI CONDUCTS WAGNER (SPA 537). SPA 159 features pieces by five great composers over the seven tracks, Tchaikovsky taking pride of place with three selections. Also to be found are works by Ravel, Stravinsky, Mussorgsky and Wagner, the latter of whom is represented by his The Ring of Niebelung. Not all of it,

obviously. That would take 15 hours! I should say, however, for pedants everywhere that, technically this would depend upon the tempo induced by the conductor. On SPA 284, Stokowski has a go at selections of Handel’s Messiah, the whole 57 parts of which, at a mere two and a quarter hours, could be conducted all the way through, at a leisurely pace, before breakfast! Any road up, Leopold Stokowski shunned the humble baton and went free-hand to whip up the individual members of large orchestras to produce the one splendidly luscious voice for which he was known. Our man also conducted the music for a bunch of films and even appeared in some. If he was more of an actor he may have been concerned about being type-cast as he was seen waving his arms in front of an orchestra most of the time. Still, he wasn’t and he wasn’t (an actor or concerned about being type-cast, that is) in fact, check out his appearance in Disney’s Fantasia. He is clearly enjoying himself chatting to Mickey Mouse, and all. This film was originally prepared as a Silly Symphonies short production called The Sorcerer’s Apprentice but conversations between Walt Disney and Stokowski resulted in it being rejigged as a full length feature. His other appearances include The Big Broadcast of 1937, one of a four-movie series, 100 Men and a Girl and Carnegie Hall.

COLIN DAVIS

Young Colin Davis grew up listening to his father’s classical music record collection and it was after listening to a Beethoven symphony that he made the decision to become a conductor. Whilst he could not play the piano, however, he was not permitted to join the class for conductors and so spent ten years in training as a clarinettist instead with a little conducting on the side. Eventually, he fell into a position as assistant conductor of the BBC Scottish Orchestra and got his break at the expense of Otto Klemperer, who fell ill prior to an engagement to perform Mozart’s Don Giovanni with, amongst others, Joan Sutherland of WORLD OF fame. His performances were not always appreciated by the orchestras, who found him a little hot-headed and abrasive, or the audiences, who sometimes booed and heckled. Davis makes three appearances amongst the WORLD OF collection: Rachmaninov’s Concerto No. 2 in C Minor for Piano and Orchestra, Op. 18 on THE WORLD OF THE GREAT CLASSICS: RACHMANINOV (SPA 169), Grieg’s Concerto in A Minor along with Litolff’s ‘Scherzo’ from Concerto Symphonique No. 4 for Piano and Orchestra, Op. 102 on THE WORLD OF THE GREAT CLASSICS: GRIEG (SPA 170) and Berlioz’ ‘Shepherd’s Farewell’ from Childhood of Christ on THE WORLD OF SACRED MUSIC VOL. 2 (SPA 297).

ØIVIN FJELDSTAD

Øivin Fridtjof Fjeldstad was a Norwegian composer, violinist and artistic director but his main job was as conductor, in fact, he was the principal conductor of the Norwegian Opera from 1958 to 1959 and of the Oslo Philharmonic for seven years from 1962. Øivin found himself performing in public on violin at the age of 12 but his first professional appearance occurred at age 17. He was about 28 years of age when he made his conducting debut but it wasn’t until some 14 years later after the Second World War that his conducting career really took off. After a long, important career in Norwegian music, Øivin Fjeldstad died, aged 80, whilst conducting works by Brahms. Way to go! Fjeldstad conducted three WORLD OF pieces: Grieg’s Peer Gynt-Suite No. 1 on THE WORLD OF THE GREAT CLASSICS: GRIEG (SPA 170), Grieg’s ‘Homage March’ from Sigurd Jorsalfar on THE WORLD OF THE GREAT CLASSICS: MARCH (SPA 173) and Sibelius’ Violin Concerto in D Minor, Op. 47 on THE WORLD OF THE GREAT CLASSICS: SIBELIUS/DVORÁK (SPA 398).

JEAN MARTINON

French conductor Jean Martinon studied the violin and won first prize at graduation at age 18 years but, for the next ten or so years, he was more of a composer than anything else. At the

start of the Second World War he took accommodation in a German prisoner of war camp and during his two year stay, wrote Stalag IX (Musique d’exil) along with several sacred pieces. Following his release, whilst continuing to write, he began his career seriously as a conductor and not until 1960 at age 50, did he pick up as a composer in earnest once again. Martinon appears on seven WORLD OFs including THE WORLD OF THE GREAT CLASSICS: SAINT-SAËNS (SPA 228) on which he conducts Le Rouet d’Omphale, THE WORLD OF THE GREAT CLASSICS: BORODIN (SPA 281) and, on THE WORLD OF THE GREAT CLASSICS: ADAM (SPA 384), Adam’s ballet Giselle, on the cover of which, we see the boyfriend of the Principal female dancer watching her smiling face as she dances in the arms of another and thinking, 'It's all cod-piece, you know!'

ALEXANDER GIBSON

Alexander Gibson was a Scottish conductor who was internationally recognised for his work with the Scottish National Orchestra and he features on four LPs in the WORLD OF collection including: THE WORLD OF THE GREAT CLASSICS: DANSE MACABRE (SPA 175) on which he conducts selections of Saint Saëns, Humperdinck and Mussorgsky, selections from Bizet’s Carmen on THE WORLD OF THE GREAT CLASSICS: BIZET (SPA 220) and the theme to TV show This Week on THE WORLD OF TV THEMES (SPA 217). Gibson was an important champion of music in Scotland, founding the Scottish Opera which soon moved to the Theatre Royal in Glasgow which demonstrates the esteem in which it was held. He achieved many awards and honorary university doctorates and was knighted to become Sir Alex in 1977 aged 51 years. Alexander Gibson’s musical affinity was revealed early on in school when, at 14, as he revelled in playing the Major-General in Gilbert & Sullivan’s Pirates of Penzance. Three years later, he was organist at the local church and even when World War II arose and he was drafted into the Royal Signals, it wasn’t long before he was playing with the Royal Signals Band on piano. Three or so years after the war, Gibson was awarded a scholarship to the Royal College of Music but was advised that he was not learned enough in the theory of music to be accepted onto the conducting class. No problem! He formed his own orchestra and soon won recognition along with the Tagore Gold Medal at age 24. His career went from strength to strength from then on.

JEAN MOREL

When French conductor Jean Paul Morel became a tutor at the American Conservatory, he was just 18 years of age, the same age as some of his students. During his 15 year tenure at the conservatory, he gained much experience in conducting with top French orchestras and others but as well as earning accolades for his baton work, he became a revered teacher using mantras such as, ‘You serve your art. It does not serve you.'5 Five WORLD OF records host Morel’s work. they include THE WORLD OF THE GREAT CLASSICS: CAPRICCIO ESPAGNOL (SPA 182) on which Jean Morel conducts Ravel’s Rapsodie Espagnole, THE WORLD OF THE GREAT CLASSICS: BIZET (SPA 220) where ‘Suite Nos. 1 and 2 of Bizet’s L’Arlesienne receives the Morel treatment along with highlights of Tchaikovsky’s Swan Lake on THE WORLD OF THE GREAT CLASSICS: TCHAIKOVSKY (SPA 224).

ISTVÁN KERTÉSZ

Hungarian István Kertész died when he was only 43 years of age – he went swimming and drowned. Cause unclear. Still, there is much to celebrate looking back over his life as a revered conductor of opera as well as orchestral music. He led the cream of America’s orchestras along with that of the London Symphony and other European orchestras. During the Second World War, as a Jewish family, István and his family kept a low profile but Kertész, who was about ten years of age at the start of the war, managed to continue his studies in music composition, piano and violin at age 12. After the war, István went back to his regular schooling and it was not long before he decided upon conducting as a career after watching baton wielders at the many concerts that he had begun to attend. Before his 25th birthday, he was selected to be principal conductor of the Philharmonic Orchestra at Gyór after which he began to compile a fine CV. All of which renders István Kertész’ early demise all the more tragic. We can still enjoy his work on THE WORLD OF THE GREAT CLASSICS: BOHEMIAN RHAPSODY (SPA 202) on which he conducts five of Dvorák’s Slavonic Dances and Smetana’s The Bartered Bride and ‘Vltava (Moldau)’, THE WORLD OF BRAHMS (SPA 315) which features the 3rd Movement of Symphony No. 2 in D Major, Op. 73 and THE WORLD OF TV THEMES (SPA 580) which has Kertész’ version of Respighi’s Prelude to The Birds which was used for BBC TV show, Going for a Song. This was a light-hearted antiques quiz which ran from the mid-sixties for about ten years in which celebrities and antique experts all had stabs at describing items, guessing their age and their worth. And for those of you trying to remember His name, it was Arthur Negus and I seem to remember that ‘ormolu’ cropped up quite a lot.

PIERRE MONTEUX

Stravinsky’s Rite of Spring caused a riot on its debut performance. Why, is still under debate. It seems that from the audience, a shout went out for a doctor and then there was a call for a dentist. A gossipy buzz began amongst the people and scuffles broke out. It could be that the music inflamed passions causing a little more excitement than some could cope with. The awkward, introductory melody, the pulsating rhythms, the discord, the convulsive jarring of the accompanying dancing – any or all could have set off the disturbance. Quite an event in the history of classical music. And who was the conductor? Pierre Benjamin Monteux, of course. Monteux began in music as a violin and viola player and spent ten years as a member of an orchestra until, in 1907, when he was about 32 years of age, he began conducting in earnest as his talents in this department developed. Before this, however, whilst a member of the violin squad for a piece by Saint-Saëns, La Lyre et la Harpe, the composer, who was conducting for the occasion, began to get bad vibes about the organist for this tricky work. Since he was pretty handy on the keys himself, Saint-Saëns decided to look after organ duties. When a request was put out to the orchestra as to whether there was anyone who could handle conducting duties in his stead, the cry went up for Monteux. At about 20 years of age, this must have been quite an onerous task, what with the celebrated author of the piece following his every gesture and all, but our hero negotiated baton duties with creditable success. A fine career was forecast as you may be able to hear on the six WORLD OF LPs on which his work features including THE WORLD OF THE GREAT CLASSICS: BRAHMS: PIANO CONCERTO NO. 1 (SPA 395), THE WORLD OF GREAT CLASSICS: BERLIOZ: SYMPHONIE FANTASTIQUE (SPA 222) and THE WORLD OF RAVEL (SPA 392) on which he conducts two pieces, he drives his orchestras through major works and they sound OK to me even though Monteux did not enjoy recording as he considered it the enemy of spontaneity.

FRANCESCO MOLINARI-PRADELLI

Italian Francesco Molinari-Pradelli turned out to be one of his country’s leading opera conductors but he started his musical life studying piano and music composition before being tutored in conducting. He was about 27 years of age when he graduated and following some concert conducting experience, his debut opera was L’Eliser d’Amore by Donizetti. Throughout his conducting career, he did not forget his piano playing past and often took the chance to play lesser known pieces. Away from music, Molinari-Pradelli took advantage of his many professional trips around the world to establish an internationally respected art collection. His taste in art leant towards Baroque still lifes which, at the time were not very popular and thus marked our man out as someone who knew what he liked. The Baroque period in art ran from around 1600 to 1750, much the same as Baroque music. He gets three pieces amongst our LP collection; there are two Verdi songs on THE WORLD OF JOAN SUTHERLAND (SPA 100), which is quite a coup because all of the other 11 tunes are conducted by Sutherland’s husband, Richard Bonynge. His third piece of work can be heard on THE WORLD OF SACRED MUSIC VOL.2 (SPA 297).

YOUR HUNDRED BEST TUNES To finish off this bit about classical music, mention must be made of a sub-series of 13 albums of the music of various composers. One of these has the title THE WORLD OF YOUR HUNDRED BEST TUNES suffixed with THE TOP TEN, three claim to be THE NEW CHART VOLs. 1-3 and nine of which are titled THE WORLD OF YOUR HUNDRED BEST TUNES VOLs. 2-10, a title, I feel, that could be improved by substituting the word ‘best’ with ‘favourite’. Still, pedantics aside, this bunch of records would be a fine starter source for the uninitiated in the joy of classical music. There is a further volume of THE WORLD OF YOUR HUNDRED BEST TUNES late on in the collection suffixed, ALAN KEITH CHOOSES A PROGRAMME (SPA 598). The covers of this splendid bunch of records largely depict scenes of sitting room relaxation – save that no-one really looks very relaxed … except maybe on the first LP here (SPA 112) which shows a young lady reclining, blissed out and in touch with the music apparently emanating from her tape cassette player/transistor radio. Literally in touch, as her hand rests gently on the music box. To her side lies a copy of what looks like The Radio Times; an edition of early 1971 judging by the programmes listed (deduced with a little research6):

0935 Square Two – a mathematics schools programme 1000 Si Dice Cosi – an Italian language programme 1030 Closedown – they used to have a little rest around this time 1140 Can’t quite make this one out 1240 Weatherman 1245 Grandstand – an afternoon of sport so it begins to look like a Saturday

Surely, however, it was not Saturday afternoon TV entertainment that our subject was

perusing. Surely she was looking for the start time of Alan Keith’s Your Hundred Best Tunes Sunday evening radio show from which this sub-series of LPs stemmed. Your Hundred Best Tunes started when presenter Mr Keith (born Alexander Kossoff, brother of actor David and uncle of Paul, the guitarist of the band Free) selected his ‘best’ tunes and played them for his devoted audience. Of course, different strokes suiting different blokes, there was some good-natured disagreement about the merits of each piece and listeners were invited to contribute to the show by suggesting their own ‘best’ tunes. The programme compiler’s job was done! The signature tune to this long-running show was the ‘Londonderry Air’, better known probably as ‘Danny Boy’. Beginning transmission at the end of 1959 and running for 47 years, the programme was fronted by Alan Keith until his death in 2003 at the age of 94 after which, Richard Baker took over, assisted by various guest presenters.

The front cover of Volume 2 (SPA 155) is graced by the man himself, Alan Keith, who is seen perusing the cover of Volume 1. The trusty transistor is back on show on Volume 3 (SPA 205). It lies in the foreground on the floor along with a young lady who rests on her cushioned elbow whilst reading a magazine and listening to Your Hundred Best Tunes on the radio. Her aged parents sit, maybe a little impatiently going by the expression on their faces,

in front of a roaring open fire perhaps waiting for that darn show to finish so that they can go, at last, to bed. A King Charles spaniel sits upon the ol’ feller’s knee trying to raise a smile by putting out its tongue but Dad ain’t having it. It looks like Ma may just have sent Pops one of those shrugging tuts behind the girl’s back. You know. A sort of, ‘Kids of today, eh?’

Number 4 (SPA 264) features a cuddling couple in a room uncomplicated by furniture. If it wasn’t for the lighted lampstand we wouldn’t even be able to see the almost ever-present

portable boogie box. Your Hundred Best Tunes Volume 5 (SPA 299) features the first, in this Best Tunes series, of two outdoor shots on the cover. Two youngish lovers are seen not really relaxing on grassy pasture beside a flowing stream upon which, against the bank, lies their conveyance, a punt with pole, from, I suspect, a much more comfortable environment. The young lady stares nervously at a transistor radio whilst, and I’m just guessing here, anticipating with trepidation the moment soon to come, when she’ll have to stand and stroll towards the waiting punt, exposing the grass stains on the backside of her pink dress. I’m not sure that she’ll have to worry too much that her beau may notice and tell her to sling her hook on the strength of it as he appears to have cares of his own. He reclines beside her but it is the bloodshot eyes of a grey mare that stands behind them that attracts his anxious gaze. His left hand hovers all atremble (possibly) with the index finger in the early stages of a point towards safety. ‘Er, darling, I wonder if we might …. HIT THE PUNT! NOW!!

Anyway, I reckon that one or other of our fearful friends is the offspring of Mr Alan Keith

because they seem to be using the same radio as Alan who is found having a listen in his home library on the covers of Volume 8 (SPA 356) and SPA 598 (discussed later). If he’d have known where the youngsters were taking it and of the nervous disposition of the fellow, he might have had second thoughts about lending them his prized possession. It could have been left behind in their haste and trampled to destruction at the horse’s leisure. You know what they’re like. Ah well, all’s well that ends well.

Another scene of fireside Sundayness is presented on the cover of Volume 6 (SPA 316). It

must be Sunday because we see two kids who look clean and they are visiting Grandma! Eye-contact between humans is avoided by the natural distraction of a cute little Jack Russell terrier. Ha! Cute indeed. Check out the perky glare shooting from our canine friend towards the lanky youth seated at left. Now, if I know Jacks (and I do) this one is daring said youth to issue the smallest twitch in preparation for standing because at that point, Mr J Russell will almost certainly launch himself from the cosy nest provided by the caress of said youth’s sister – activity dial fully turned to ‘Destroy’ – at those unnecessarily wide bell-bottoms at which his jean legs terminate. Tragic but I think that we can all agree that he WAS asking for it! Anyway, check out the hardware that Granny has produced on this occasion of the weekly visit. I do believe that we are looking at the very latest in sound technology – the Tape Cassette Player/Radio combination. This would become very handy because, as well as being able to listen to Alan Keith’s radio show, one would now be able to play the WORLD OF series wherever one was as most of the early LPs were also available in the tape format.

Volume 7 (SPA 355) takes us back outside in the sunshine where we see two young lovers, the hat-wearing lady of which perches on the carved, concrete promontory jutting over a

lake, untroubled by the mid-afternoon sun of late-Summer. Her hat-less beau, on the other hand, who stands at her side, squints towards the object that interests them both and lies off-camera. The ambience manifest by the couple suggests that the shot used here is not the one originally intended for the album cover as neither seem to be displaying felicitous cheesy grins normally reserved for such pieces of art. In fact there is nothing of their demeanour that conveys anything other than that this was simply a test shot to assess the lighting. Still, perhaps the most important item in this picture is the near-ubiquitous radio and this looks absolutely just right.

The front cover of Vol. 9 (SPA 373) reveals a doting mother smiling at the back of her

delightful daughter who sits enthralled on the floor at her mother’s feet, mesmerised by the rotating disc in front of her. On show are five WORLD OF record covers but what are the happy pair listening to? Of all the various labels seen to decorate the centre of these records, I’ve yet to stumble on a black one with yellow motif like the one in this 1970s front room. How very dare they purport to be listening to The WORLD OF Your Hundred Best Tunes Volume 8, the cover of which lies on the lap of the young listener, when actually they are jiving to Bye Bye Baby by the Bay City Rollers!

Staying indoors with some seventies sepia is Volume 10 (SPA 400). The transistor radio sits on the floor in front of an electric heater with plastic logs installed. In his snug polo-neck woolly and shiny black shoes, either the heater is not terribly effective or the fellow in the arm chair is ready to go home to his waiting wife after the radio show has finished ...

So, anyway, that concludes the ten volume set of THE WORLD OF YOUR HUNDRED BEST TUNES. There now remains the three volumes of THE WORLD OF YOUR HUNDRED BEST TUNES: THE NEW CHART LPs. Now here is a befuddlement for those of you prone to bemusement. That’s me for a start, then! Volume 1 is

numbered SPA 491 and Volume 2 is 488! It looks like No. 2 came before No. 1. Surely some mistake. I’m inclined to think though, that if we can’t think of anything else to worry about, perhaps we should get out more. Still, for those who find it difficult to shake themselves free of this disorientating issue, check out the cover for NEW CHART VOL. 1 for some dazzling distraction. On the left-hand margin you will see a splendid example of elegance exclusive to the late sixties and seventies. Yes, the Trimphone. Phone fans will notice that this is an earlier model as it still has the rotary dial whereas push buttons began to feature on the new-fangled later

ones. Also, making a first appearance on the covers of this HUNDRED TUNES collection, within a wood-veneered cabinet, is … it is, isn’t it? A television. Good grief! It must have at least five knobs on the front. How on earth are we expected to be able to remember how it works with all those gizmos? Oh well, the canoodling couple are too interested in the lick of flame in the open log fire to worry about such confusing complexity.

Now, THAT’S a fire on the cover of THE NEW CHART VOL. 2 but with such a blazing conflagration to warm the toes, the shiny outdoor shoes that the couple seated either side of it are wearing are, as previously suggested, a tad incongruous. It is only the older couple on Volume 3 of the regular HUNDRED BEST TUNES LP that are set for an evening in with their slippers on. It renders a quirkiness to the records rather than the warm serenity that one might feel ought to be portrayed. I ain’t knocking quirky, though. Get some quirk in your life, I say.

Moving on to THE NEW CHART VOL. 3 on which we see three apparent generations of the family all joyfully gathered for a session of classical music. All, that is, except for the Dad of Generation 3, that is, son of Generation 1 … and I think we know where he is don’t we? Yep, the cover of Volume 10! You can tell that Mum of Generation 3 is not very pleased about something and it seems to be troubling the little ickle baby who sits on the sofa between her and Granny. ‘Why are you so unhappy Mummy? You’d only be yelling at Daddy if he was here, anyway’. So, whose house are we in? Well, the clue, I believe is at the ends of the legs of the young feller seated at right. There be slippers and it’s not cool to be taking them with you when visiting friends and family so I reckon Granny and Grandad are visiting and he’s at home ... which is more than his Dad is!

Observations of note from the above then, are that we have eight transistor radios, seven standard/table lamps, six open fires, one record player, one TV, one Trimphone, two dogs, a cat and a baby. And yes, we are still talking about LP covers.

Regarding the music, lest we forget, the pieces that we find on Volumes 1 to 10 are those voted as the top 100 favourites of the listeners to Alan Keith’s Sunday night radio show, Your Hundred Best Tunes. Most of the big hitters feature regularly of course but rather frustratingly, we don’t seem to be let in on who was the overall winner. The notes on the back cover of SPA 112, the first in this mini-series, tells us that the ten pieces of music here landed in the top ten places but tantalises us by saying no more. On the other hand, Volumes 2 to 10 all state, rather more helpfully, which position the included pieces on each record fell. So here is your Top 100, pop-pickers! 1-10 Sibelius: Finlandia Johann Strauss II: Casanova – Nun’s Chorus Mascagni: Cavellaria Rusticana – Intermezzo Zeller: Der Obersteiger – Don’t Be Cross Beethoven: Symphony No. 6 ‘Pastoral’ – Shepherd’s Thanksgiving after the Storm Beethoven: Piano Sonata No. 14 ‘Moonlight’ – Adagio Verdi: Nabucco – Chorus of the Hebrew Slaves Bruch: Violin Concerto No.1 – Adagio Bach: Cantanta No. 147 – Jesu, Joy of Man’s Desiring Elgar: Enigma Variations – Nimrod 11 Handel: Largo – from Xerxes 12 Johann Strauss II: The Blue Danube 13 Allegri: Miserere - Abridged 14 Widor: Toccata – from Organ Symphony No. 5, Op. 42 15 Tchaikovsky: 1812 Overture – End 16 Binge: Elizabethan Serenade 17 Mendelssohn: Hebrides Overture – Fingal’s Cave 18 Johann Strauss II: Tales from the Vienna Woods – Waltz, Op. 325 19 Massenet: Thaïs - Meditation 20 Dvorák: Symphony No. 9 in E minor ‘From the New World’ 21 Bach: Cantata No. 208 – Sheep May Safely Graze 22 Puccini: Turandot – None Shall Sleep (Nessun Dorma) 23 Schubert: Symphony No. 8 in B minor – ‘Unfinished’ 1st Movement 24 Toselli: Elken – Serenata No. 1 25 Handel: Water Music Suite – Finale 26 Handel: Messiah – I Know that My Redeemer Liveth 27 Waldteufel: The Skater’s Waltz 28 Elgar: Pomp and Circumstance March No. 1 (Land of Hope and Glory) 29 Rossini: William Tell Overture – Finale 30 Gilbert & Sullivan: The Gondoliers 31 Mozart: Eine Kleine Nachtmusik, K 525 – 1st movement 32 Weber, arr. Berlioz: Invitation to the Dance, Op. 65 (Le Spectre de la Rose) 33 Johann Strauss II: Roses from the South – Waltz 34 Liszt: Liebestraum No. 3 in A flat 35 Debussy: Claire de Lune – from Suite Bergamasque 36 Bach: Toccata and Fugue in D minor 37 Mozart: Horn Concerto No. 4, K. 495 3rd movement, Rondo 38 Mozart: The Marriage of Figaro – Overture 39 Tchaikovsky: Capriccio Italien 40 Sullivan: The Lost Chord 41 Handel: The Arrival of the Queen of Sheba 42 Tchaikovsky: The Nutcracker – Dance of the Sugar Plum Fairy & Waltz of the Flowers 43 Handel: Messiah – Hallelujah Chorus 44 Roberton: All in the April Evening 45 Gretchaninov: The Russian Creed, Op. 29 No. 8 46 Grieg: Peer Gynt – Morning 47 Bach, arr. Gounod: Ave Maria 48 Trad. English: Blow the Wind Southerly 49 Tchaikovsky: Swan Lake – Scene and Dance of the Little Swans 50 Clarke: Trumpet Voluntary 51 Beethoven: Piano Concerto No. 5 in E flat major, Op. 73 ‘Emperor’ – 3rd movement 52 Offenbach: Tales of Hoffman – Barcarolle 53 Walford Davies: Solemn Melody 54 Tchaikovsky: Symphony No. 6 in B minor, Op. 74, ‘Pathetique’ – 1st movement 55 Beethoven: Symphony No. 5 – 1st movement 56 Dvorák: Rusalka – O Silver Moon 57 Schubert: Ave Maria 58 Mascagni: Cavalleria Rusticana – Easter Hymn 59 Verdi: Aida – Grand March 60 Parry: Jerusalem 61 Monk: Abide With Me 62 Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23 63 Beethoven: Symphony No. 7 – 2nd movement 64 Bach: Suite No. 3 – Air on the G String 65 Mendelssohn: Hear My Prayer – O for the Wings of a Dove 66 Malotte: The Lord’s Prayer 67 Liszt: Hungarian Rhapsody No. 2 68 Adams: The Holy City 69 Irvine: The Lord’s My Shepherd – Crimond (Psalm 23) 70 Tchaikovsky: Romeo and Juliet Fantasy Overture 71 Ponchielli: La Gioconda – Dance of the Hours 72 Vaughan Williams: Fantasia on Greensleeves 73 Gluck: Orfeo ed Euridice – What is Life to me Without Thee? 74 Beethoven: Symphony No. 9 in D minor, Op. 125 – Choral 75* Puccini: Madame Butterfly – One Fine Day 76 Rachmaninov: Piano Concerto No. 2 – 1st movement 77 Grieg: Piano Concerto in A minor, Op. 16 78 Wagner: Tannhäuser Overture – Excerpt 79 Mendelssohn: Elijah – O Rest in the Lord 80 Sibelius: Karelia Suite – Alla Marcia 81 Saint-Saëns: Samson and Delilah – Softly Awakes my Heart 82 Schubert: Rosamunde – Overture 83 Mendelssohn: Symphony No. 4 in A major, Op. 90 – Italian’ 84 Mendelssohn: Violin Concerto – 2nd movement 85 Ravel: Bolero 86 Addinsell: Warsaw Concerto 87 Handel: Semele – Where’er You Walk 88 Wagner: Die Walküre – The Ride of the Valkyries 89 Gounod: Faust – Ballet Music 90 Rossini: The Thieving Magpie – Overture 91 Borodin: Prince Igor – Polovtsian Dances 92 Ketèlbey: In a Monastery Garden 93 Boughton: The Immortal Hour – Faery Song 94 Trad. Londonderry Air 95 Tchaikovsky: Andante Cantabile 96 Beethoven: Bagatelle, ‘Fur Elise’ 97 My Love is like a Red Red Rose 98 Debussy: Prelude L’Apres-Midi d’un Faune 99 Sibelius: Lemminkainen Legends – The Swan of Tuonela 100 Handel: Ptolemy – Silent Prayer *Oops! I discovered an error here. Both Gluck and Puccini were assigned No. 73 on their relative record back covers but no works were given No.75. I therefore, used the time-honoured system known as Alphabetical Order to decide who dropped down to No. 75. Puccini lost. So, the composers who featured most times in this Top 100 are: Tchaikovsky (8) Beethoven (7) Handel (7) Bach (5) Mendelssohn (5) Johann Strauss (4) Mozart (3) Schubert (3)

Mr Keith held several of these listener polls throughout the duration of this long-running show and the three New Chart records assemble some of the new works voted into the top 100 in around 1976 when the new Number 1 was The Pearl Fishers by Bizet. The results of the final poll were collated in 1997 and of those in the Top Ten in the above poll of around 1970, Finlandia and The Nun’s Chorus can still be found.

Refs:

1. https://www.britannica.com/biography/Thomas-Morley

2. https://www.bbc.co.uk/music/artists/ca013e83-6a0a-4ce1-9b35-baaad4e697e0

3. Steen, Michael. The Lives and Times of the Great Composers. 2003. Icon Books, London.

4. https://www.theguardian.com/music/2016/oct/02/sir-neville-marriner-obituary

5. http://www.anstendig.org/morel_tribute.html

6. Keith, A. 1975. Your Hundred Best Tunes. J. M. Dent & Sons Ltd., London

Other references available on request

Regarding the LP cover images, they are photographs of the records in my own collection and are taken by my own hand. All images are, however, copyright of Decca.

Any redistribution or reproduction of part or all of any image in any form should be considered prohibited.

Any redistribution or reproduction of part or all of the text in any form is prohibited, restricted by permission of the author.

Phew! Are you ready for a change now, my friends? So am I. How's about we jump back to a more recent period of nostalgia in the next post? I declare it time For The Children where we take a look at a bunch of WORLD OF LPs of spoken word children's stories including Thomas the Tank Engine. Then we'll hang around in Yesteryear for a bit of Stars on Sunday and then hitch a ride with the Forces Sweethearts, oh yes. This and more, not to mention finishing off Easy Listening … oops! I wasn't going to mention that ...