Francais, Francais, The World Is A Circle, Last Tango In Paris, Vivaldi, I Love You, My Love, The Gondolas Of Venice, Vado Via, Forever And Ever, Quatre Saisons Pour Un Amour, Theme From The Film Papillon, Sunrise, Sunset, Clo Clo, Imagine, L’avventura
Listen to Franck Pourcel’s instrumental version of Paul McCartney’s “My Love“
…lush strings, sweeping strings totally beautiful and eminently David Rose strings…
“The Stripper” — David Rose composed it. “Holiday for Strings” — David Rose composed that, too.
David Rose, in fact, composed 11/12ths of the music in this bedazzling David Rose showcase. For most composers, the above would represent a professional lifetime. With David Rose, however, there’s a hitch! Specifically, composer David Rose is also the famed arranger and conductor David Rose, whose arrangement helped to establish “Like Young” as a “standard” instrumental hit.
“The Stripper”, “Holiday for Strings” and “Like Young” — nearly everyone can whistle the melodies of these favourites upon request. But what of the other tunes in the album? Well, just about everyone could whistle those melodies, too . . . if only the titles were as familiar as the tunes.
How did this situation come about?… the answer is as grand as the David Rose talent itself. Briefly, David Rose has been enjoying the business of music-making since the mid-thirties when, as a Chicago radio staff pianist and arranger, he was responsible for adapting and performing the music which backdropped the voices of radio’s top stars. His sounds were so successful that Hollywood came calling in 1938 and persuaded him to vent his talents over Hollywood-based air waves. Radio fame led quickly to screen acclaim which in turn led to TV pre-eminence (like musical directorship s on “top 10” shows “Bonanza” and “The Red Skelton Hour”). The result is a repertoire of magnificent music that’s been heard and enjoyed via the three major entertainment media —fine music whose audience favour rests more with the melodies than the titles.
And here are sumptuously new David Rose presentations of those beautiful David Rose compositions—each one intended strictly for listening pleasure, whether it be of the com-forting background type or of the more intense and rewarding full-attention variety. No matter what, complete enjoyment is there when familiar “California Melodies” and “Gay Spirits” are given lyrically sweeping interpretations . . . when the equally familiar “Dance of the Spanish Onion” along with “Wig-Warn” and “Taco Holiday” are caught in a lighthearted intermingling of violins, brass, woodwinds and percussion . . . when the almost classically familiar “Four-Twenty A.M.” romances the senses with a kind of New York-on-a-drizzly-morning mood.
This is truly a HOLIDAY FOR STRINGS — pizzicato strings, sweeping strings, totally beautiful strings . . . rich strings delicately accented with just the right dash of an entire orchestra of instruments. And it’s all by a complexity of talents named David Rose.
Princess Leia’s Theme From “Star Wars”, Il Cielo In Una Stanza, When I Need You, My Thanks To You, The Ways Of Love, Noche De Ronda, Scheherazade, Mi Sono Innamorato, Di Te, The Poldark Theme, You Light Up My Life, Fantasy, Cuanto Le Gusta
It is difficult to pinpoint exactly when that delightfully frivolous, melodic genre of operetta first blossomed as an offshoot of the great opera tradition. When, indeed, is an opera not an operetta—or vice versa? If pure entertainment value and tunefulness are the criteria then Mozart and Rossini might well be included in an operetta collection; certainly Donizetti with a light-hearted work like The Daughter of the Regiment; certainly the writers of a long string of opera-bouffe like Adam, Boieldieu and Auber. But most certainly Offenbach who most clearly made operetta a distinctive art-form in his little Parisian theatre Les Bouffes-Parisiens and is said to have whispered in the ear of Johann Strauss the younger, on a visit to Vienna in 1863—”You ought to write operettas”.
It was all these things that led to the writing of the greatest operetta ever penned—Die Fledermaus in 1874; and all the other riches of the Viennese operetta scene that are included on this record.
In Der Zigeunerbaron, first heard at the Theater an der Wien on October 24th 1885, Strauss found at last a first-rate libretto and, although the score has not the sustained perfection of Die Fledermaus many consider it his most substantial and best-constructed. The composer was sufficiently impressed by its possibilities to take great care with the writing, contrary to his usual carefree methods. A true Hungarian atmosphere is sustained, the story based on a charming book Saffi’ written by Maurus Jokai, the great Hungarian national writer whom Strauss had met in Budapest. Ignaz Schnitzer adapted the book well and inspired great romantic songs such as ‘So elend and treu’. Also first heard at the Theater an der Wien, on January 10th 1893, was Furstin Ninetta, possibly the weakest of his operettas but, as usual, containing items of the quality of Einst traumte mir’ to keep it in memory.
Karl Zeller (1842-1898) was a civil servant, artistic adviser to the Austrian Ministry of Education, and an amateur composer. Nevertheless, in Der Vogelhiindler (The Birdseller) he produced one of the freshest and most memorable of Viennese operettas, first performed at the Theater an der Wien on January 10th, 1891. Among its special delights the song Schenkt man sich Rosen in Tirol’ which is sung by Adam in gratitude for a bouquet of roses from his heart’s delight Christel.
Strauss was not the only composer to be inspired by Offenbach. Franz von Suppe was similarly led toward operetta by hearing Offenbach in Vienna and wrote Fatinitza with Zell & Genee, first produced at the Carl Theater on January 5th, 1876. Its famous march-trio was an immediate best-seller and at the time he rivalled Strauss in popularity. The setting of Fatinitza is Bulgarian but the music is indestructibly Viennese.
Emmerich Kalman (1882-1953) was a Hungarian whose operettas from title to content were generally full of the Magyar gypsy strain—especially Die Cscirdcisfiirstin (The Gypsy Princess) first performed at the Johann Strauss-Theater in Vienna on November 13th, 1915, with the celebrated Mizzi Guenther in the title role. London saw a production in 1921 at the Prince of Wales Theatre with Sari Petras starring. Eduard Kiinnecke (1885-1953) came from Lower Saxony and studied music in Berlin with Max Bruch, later becoming chorus-master at the Neues Operettentheater. He wrote over twenty-five operettas, Die blonde Liselott, produced in Berlin being one of the less well-known but producing an item that should become another operetta favourite. Karl Millocker (1842-1899) was a true Viennese-born writer of operettas, who intended to be a goldsmith but found his true bent in the theatre. He was encouraged by Franz von Suppe and had his great success with the work that Johann Strauss might well have written—Der Bettelstudent (The Beggar Student) first produced at the Theater an der Wien on December 6th, 1882. A sturdy, well-constructed score with an involved story set in Cracow, Poland in 1704. Leo Fall (1873-1925) was the son of a bandmaster and set out on a musical career at the age of 5, studied at the Vienna Conservatory and became conductor at theatres in Berlin, Hamburg and Cologne. Der fidele Bauer (The Merry Peasant) was first heard at an operetta festival in Mannheim on July 27, 1907. In the song ‘Red Lizzy’, a cowherd has taken her little boy Heinerle to a fair, but she has no money for the sweets and toys that he wants to buy. Oscar Straus (1870-1954) set out to be an academic composer but gradually drifted into the musical theatre and became a prolific and highly successful writer, still working hard at 80 when he wrote music for the film La Ronde. Ein Waltzertraum CA Waltz Dream’) was his best work, first heard at the Carl Theater, Vienna, on March 2nd, 1907. ‘Leine, ganz leise’, in which two young soldiers dream of Vienna and its pleasures, is one of its best-loved songs. Paul Lincke (1866-1946) was a Berliner whose musical experiences included a spell at the Folies Bergere in Paris. Of his many operettas Frau Luna, produced in Berlin in 1899, is one of those remembered for an enchanting waltz. It was heard in London in 1911 as Castles in the Air.
Robert Stolz (b. 1886) is the last great representative of the Viennese operetta tradition and has kept the genre alive with a prolific output of works in days when operetta is no longer a fashion. His greatest success was when he joined forces with the German composer Ralph Benatzky (1887-1957) to produce that sumptuous spectacular operetta Im weissen Ross! (‘The White Horse Inn’), first produced at the Grosses Schauspielhaus in Berlin on November 8th, 1930 and a tremendous success at the Coliseum in London the following. year. Robert Stolz was the conductor of The Merry Widow in its early days; which aptly brings us to a figure not yet mentioned. Johann Strauss, founder, and Franz Lehar (1870-1948), perfector of the Viennese operetta tradition make ideal end pieces to our story. Not even Die Fledermaus caused a greater furore than The Merry Widow as it enchanted the world after a shaky start in Vienna in 1905. If Lehar never equalled its sustained sparkle he was still to write a series of magnificent works. Friederike was produced at Berlin at the Metropol Theater on October 4th, 1928—one of the later works in which Lehar struck up a stimulating partnership with the great tenor Richard Tauber. In ‘O Madchen, mein Madchen’ the poet Goethe sings of his love for Friederike—but, alas, contrary to a strong tradition, the story ends sadly with unrequited love.
In a sadder and wiser world, operetta no longer thrives or is created. But its music, gay, sentimental and nostalgic, survives to bring moments of surreptitious enjoyment to those who like to escape now and then to a world of pleasant unrealities.
Music from the unforgettable 50’s. That’s 20 years ago, and yet musically it can seem like yesterday, for memories are evoked so easily with a melody.An album that contains 12 such nostalgic themes as these is a treasure-chest of romance and happiness. The sparkle that enhances each tune is the magic touch of Joe Henderson.
He was born in Scotland and although his early musical studies never actually embraced the bag-pipes Joe was soon to realize that the crotchets and quavers he longed for were the professional ones in the Mecca of Music London. Since his early days there, he has been immersed in the creation and dispensing of romantic melody and this album is the very latest to benefit from his wealth of talent, charm and superb musical taste.
An impressive array of arrangers have given their all to support this master of the keyboard and these inspirations have produced a sound that is nostalgically faultless.
If you are of an age to remember these tunes from the 50’s and if they really mean something to you then drift into the mists of time and let your senses become saturated. If music be the food of love then, Joe Henderson, play on. As he might say himself “Come a little closer It’ll do you good”.
The first time I met Norman Newell he was selling sheet music in a music publisher’s store in Charing Cross Road. Our first conversation was related to my asking him to run out and get me a packet of cigarettes and his first words to me were to ask my advice about song writing. We have been great friends ever since and today he is one of our top lyric writers.
I knew immediately I met Norman that he would go a long way in show business; he seemed to be so essentially a part of it. It was not long after we met that he ‘graduated’ from the shop to become, what is termed in the song writing world, a ‘promotion manager’, a rather glorified name for a travelling salesman in songs, but he soon got tired of selling other people’s songs and decided to write his own. He achieved early hit parade status with such songs as NICE TO KNOW YOU CARE, OUR LOVE STORY and MY THANKS TO YOU and it was about this time that E.M.I. Records asked Norman to join them as a recording manager. The list of artists he has since recorded sounds like the Command Performance of all time they include: Julie Andrews, Noel Coward, Marlene Dietrich, Gracie Fields, Norman Wisdom, Judy Garland, Johnny Mathis, Russ Conway, Ken Dodd, Margaret Rutherford, Joyce Grenfell, Paul Anka, Tommy Steele, Mary Martin, Richard Burton, Elizabeth Taylor, Johnny Ray, Dora Bryan, Frankie Howard, Errol Flynn, Anna Neagle, Stanley Holloway, Petula Clark, Shirley Bassey, Eartha Kitt, etc., etc. Although he is undoubtedly one of the best recording directors in the business, Norman still manages to find time to concentrate on his writing career, which he insists is his first love. He has written lyrics for hit parade songs like BELLE OF THE BALL, THE SHADOW WALTZ, MORE THAN EVER, JEANNIE, BY THE FOUNTAINS OF ROME, SAILOR, PROMISES, MORE THAN LOVE and SAY WONDERFUL THINGS.
Norman has written songs for over forty movies and this facet of his career was highlighted when he became the first English lyricist to be awarded a Hollywood Academy Award Nomination for his song MORE from “Mondo Cane”, written with Riz Ortolani. This song is now one of the most recorded numbers in the world, having over three hundred different versions in the English language and countless others throughout the world. MORE has earned Norman a BMI Award and the coveted American GRAMMY Award. The lyric for PORTRAIT OF MY LOVE, with music by Cyril Ornadel, was described by famous American columnist Walter Winchell as poetry. This song also earned Norman a BMI and an Ivor Novello Award. Ivor Novello Awards were also given to him for BY THE FOUNTAINS OF ROME and JEANNIE, and last year, he and Riz Ortolani won the Hollywood Golden Globe Award with their song FORGET DOMANI from “The Yellow Rolls-Royce”.
Included on this album are MORE and PORTRAIT OF MY LOVE and also the new film titles that Norman has recently written, WHO CAN SAY, with Riz Ortolani, from the forthcoming film “Africa Addio” and AMANDA, written with Brian Fahey and included in the film “The Alphabet Murders”.
Norman Newell has appeared on television on several occasions and recently undertook a series of interview programmes for the B.B.C. in which he interviewed Laurence Harvey, Paul Newman, Rachel Roberts, Carroll Baker, Peter Ustinov, Anthony Perkins, Tony Curtis, Jean Simmons, Stanley Holloway, and for ABC Television, a highly successful interview with the late Sophie Tucker.
Norman told me that he called this album MORE THAN MEMORIES because his career has so many wonderful moments to remember that memory to him is part of the present as well as the past. His selection of melodies on this L.P., so beautifully orchestrated by Brian Fahey, are personal, and I am sure they will appeal to many people.
MICHAEL CARR (writer of South of the Border and Dinner for One Please James).
The sound of Manuel and his Music of the Mountains – a distinctive blend of lyrical romanticism and exotic Latin-American rhythms – first captivated British record buyers via a hit single in the shape of The Honeymoon Song. More hits followed, including a brilliant interpretation of the film theme Never On Sunday, and the out rapidly established itself among the nation’s top light orchestral favourites. Through ingenious usage of strings and a wide variety of Latin percussion instruments, Manuel creates and sustains a mood that can be soothing one moment and exciting the next. In short, he has perfected a style that he can really call his own no mean achievement in these days of stereotyped pop singers and beat groups. And unlike out-and-out pop. Manuel’s music has a durable quality that will ensure its popularity and acceptance with the general public well into the next decade.
No other form of music benefits from the advantages of stereophonic sound like the Latin-American idiom, and this present set a collection of proven standards and lesser-known songs is an admirable showcase for the Latin-based arrangements of Manuel. The added clarity brought about by the use of stereophonic techniques emphasises the compelling urgency of the complex rhythmic patterns which are the very backbone of all twelve tracks on this album. Tico Tico, La Vie En Rose, Autumn Leaves and Forget Domani are some of the hits of bygone years brought bang up to date and made as fresh as this morning’s milk in the talented, creative hands of Manuel. Cherry Pink And Apple Blossom White, a smash hit on both sides of the Atlantic during the mid-fifties. gets a new lease of life, too. Coupled with eleven other outstanding tracks, it completes a memorable recital that proves conclusively that Manuel’s Music of the Mountains is a unit with a sound and style second to none in the world of Latin-flavoured light orchestral music.