Liner notes from original albums and CDs for proofreading
Ever since the days of sound, music on the screen has occupied an important, if sometimes overlooked position. From the early times when the soundtrack overwhelmed the audience to the present, when the music has become an integral part of screen entertainment, musicians of all kinds have composed scores for the movies. Sometimes the musicians were men of the stature of Aaron Copland, Virgil Thomson and similar composers, at other times they were simply songwriters hired to string together some borrowings from classical composers. It is only lately that the screen has developed its own group of musicians, men who have studied the art of the film as well as the art of music, and who have brought new concepts into their writing for movies. These men have written dramatic and exciting scores, and at the same time have not neglected the melodic themes that spill over into popular music.
Many scores for the movies these days forge far into the advanced guard of music, without the public ever quite knowing it. The uses of dissonance and thoroughly modern concepts in film music is far greater than is generally recognized, but these ideas go to point up dramatic concepts rather than demonstrate a musical philosophy. Along with these techniques, however, Hollywood composers have not abandoned the memorable themes that have consistently spread through their work. Not too long ago almost every dramatic film had a theme song that wound its way through the reels, changing in its mood and orchestration as the story progressed. Many of these themes gained popularity in their own right, and it is today’s counterpart of those themes that Percy Faith presents so winningly in this collection.
From the film “Return to Paradise” comes the theme music by Dimitri Tiomkin, one of Hollywood’s foremost composers. This music is colorful and exotic, as befits the score of a film about the south seas, based on James A. Michener’s book of the same name. Mr. Tiomkin, with a thorough training in classical music in Europe and America, has contributed the scores to a large number of notable movies, including “Duel in the Sun,” “Quo Vadis,” and the more recent “High Noon,” for which he won an Academy Award. His remarkable assimilation of the music of the west is brilliantly demonstrated in the title song of “High Noon,” which threaded its way throughout the film with fine dramatic effect, and in “Return to Paradise” he conjures up a provocative picture of island paradises without ever directly quoting native music; he works here by suggestion toward a more powerful result. And the result is one of the most enchanting themes to come from Hollywood in a long time: rich, vibrant and tuneful.
Like Mr. Tiomkin, Heinz Roemheld has a solid classical background. After initial training in the United States, he studied with masters in Berlin and made his debut as a pianist with the Berlin Philharmonic. From there he moved to supervision of music for German films, finally coming back to the United States to direct the scoring for such memorable films as “Yankee Doodle Dandy” (an Academy Award work), “Down to Earth” and “Valentino.” His most recent work is the music for “Ruby Gentry,” translated into popular music as Ruby. This theme is deep and warm, with a minor cast that gives it a hint of the blues, altogether in keeping with the setting and motivation of the film. Taken out of its context, the theme retains its quality as an individual idea, and contributes much to the current return to the ballad in popular music. In Percy Faith’s fine setting, Ruby is another shining example of the beautiful themes currently in use in Hollywood.
One of the most charming melodies from recent movies has been The Song from Moulin Rouge, a remarkably lovely French waltz used to introduce Jane Avril in the picture. This song was not only the first from a film score to attain wide popularity in recent years, it was one of the few waltz ballads to become a popular success in many months. The score for the film was written by Georges Auric, one of France’s most gifted composers, and a member of the celebrated Les Six, composed of six famous French composers. M. Auric, a pupil of Vincent D’Indy, has written many ballets and a large number of works for piano and for orchestra, as well as an opera-comique. His music is heard frequently in English and French films, and his score for “Moulin Rouge” is an excellent example of his sparing use of music in a film, music that makes its point swiftly and immediately and then subsides for the actual drama itself. It was Percy Faith’s recording of The Song from Moulin Rouge that began the song’s climb on the best-seller lists; a new, extended version of the arrangement was prepared for this collection.
David Raksin, who wrote the music for “The Bad and the Beautiful,” a theme known as Love Is for the Very Young, is one of Hollywood’s most talented composers. A student of such diverse composers as Arnold Schonberg and Harl McDonald, Mr. Raksin began his Hollywood career arranging the score for the first Chaplin sound film, “Modern Times.” Remaining there ever since, he has written many notable scores, for a wide variety of movies, including “The Secret Life of Walter Mitty,” “Forever Amber,” “The Magnificent Yankee,” “Whirlpool,” and “The Next Voice You Hear.” Perhaps his best-known work was the music for “Laura,” which in turn became on of the most popular songs of 1945. In addition to his film work, Mr. Raksin has written music for the ballet, for stage plays, chamber groups and for musical comedies. In the theme presented here, he expertly reflects the polished sophistication of the film, overlaid with a wistful, haunting minor quality. Percy Faith’s arrangement underlines the poignant note in the music in a splendid concert setting.
Ever since the days of sound, music on the screen has occupied an important, if sometimes overlooked position. From the early times when the soundtrack overwhelmed the audience to the present, when the music has become an integral part of screen entertainment, musicians of all kinds have composed scores for the movies. Sometimes the musicians were men of the stature of Aaron Copland, Virgil Thomson and similar composers, at other times they were simply songwriters hired to string together some borrowings from classical composers. It is only lately that the screen has developed its own group of musicians, men who have studied the art of the film as well as the art of music, and who have brought new concepts into their writing for movies. These men have written dramatic and exciting scores, and at the same time have not neglected the melodic themes that spill over into popular music.
Many scores for the movies these days forge far into the advanced guard of music, without the public ever quite knowing it. The uses of dissonance and thoroughly modern concepts in film music is far greater than is generally recognized, but these ideas go to point up dramatic concepts rather than demonstrate a musical philosophy. Along with these techniques, however, Hollywood composers have not abandoned the memorable themes that have consistently spread through their work. Not too long ago almost every dramatic film had a theme song that wound its way through the reels, changing in its mood and orchestration as the story progressed. Many of these themes gained popularity in their own right, and it is today’s counterpart of those themes that Percy Faith presents so winningly in this collection.
On of the most charming melodies from recent movies has been The Song from Moulin Rouge, a remarkably lovely French waltz used to introduce Jane Avril in the picture. This song was not only the first from a film score to attain wide popularity in recent years, it was one of the few waltz ballads to become a popular success in many months. The score for the film was written by Georges Auric, one of France’s most gifted composers, and a member of the celebrated Les Six, composed of six famous French composers. M. Auric, a pupil of Vincent D’ndy, has written many ballets and a large number of works for piano and for orchestra, as well as an opera-comique. His music is heard frequently in English and French films, and his score for “Moulin Rouge” is an excellent example of his sparing use of music in a film, music that makes its point swiftly and immediately and then subsides for the actual drama itself. It was Percy Faith’s recording of The Song from Moulin Rouge that began the song’s climb on the bestseller lists; a new, extended version of the arrangement was prepared for this collection.
Not strictly from Hollywood but nevertheless from one of the most amusing films of recent years is the delightful Genevieve, from the British comedy of the same title. The music, written by William Engvick and Larry Adler, provides not only a charming theme but points up the situations in the film throughout. Music as a commentary has been especially notable in British movies, where it is frequently used to give special significance to story movement. Here, however, Percy Faith presents only the theme, a melody of immediate and lasting appeal.
David Raksin, who wrote the music for “The Bad and the Beautiful,” a theme known as Love Is for the Very Young, is one of Hollywood’s most talented composers as Arnold Schonberg and Harl McDonald, Mr. Raksin began his Hollywood career arranging the score for the first Chaplin sound film, “Modern Times.” Remaining there ever since, he has written many notable scores, for a wide variety of movies, including “The Secret Life of Walter Mitty,” “Forever Amber,” “The Magnificent Yankee,” “Whirlpool,” and “The Next Voice You Hear.” Perhaps his best-known work was the music for “Laura,” which in turn became one of the most popular songs of 1945. In addition to his film work, Mr. Raksin has written music for the ballet, for stage plays, chamber groups and for musical comedies. In the theme presented here, he expertly reflects the polished sophistication of the film, overlaid with a wistful, haunting minor quality. Percy Faith’s arrangement underlines the poignant note in the music in a splendid concert setting.
Next, Percy Faith presents on of his own compositions, written for the movie “Starlift.” Long interested in Latin American rhythms, he has here created a sinuous theme that brilliantly conjures up all the excitement and magic of a Caribbean Night.
From the film “Return to Paradise” comes the theme music by Dimitri Tiomkin, one of Hollywood’s foremost composers. This music is colorful and exotic, as befits the score of a film about the south seas, based on James A. Michener’s book of the same name. Mr. Tiomkin, with a thorough training in classical music in Europe and America, has contributed the scores to a large number of notable movies, including “Duel in the Sun,” “Quo Vadis,” and the more recent “High Noon,” for which he won an Academy Award. His remarkable assimilation of the music of the west is brilliantly demonstrated in the title song of “High Noon,” which threaded its way throughout the film with fine dramatic effect, and in “Return to Paradise” he conjures up a provocative picture of island paradises without ever directly quoting native music; he works here by suggestion toward a more powerful result. And the result is one of the most enchanting themes to come from Hollywood in a long time; rich, vibrant and tuneful. Another lovely sample of theme music is the melody written for “Invitation” by Bronislaw Kaper. One of the busiest of Hollywood composers, Mr. Kaper’s scorings are most frequently heard in M-G-M films, adding much to their dramatic and romantic impact.
Like Mr. Tiomkin, Heinz Roemheld has a solid classical background. After initial training in the United States, he studied with masters in Berlin and made his debut as a pianist with the Berlin Philharmonic. From there he moved to supervision of music for German films, finally coming back to the United States to direct the scoring for such memorable films as “Yankee Doodle Dandy” (an Academy Award work), “Down to Earth” and “Valentino.” His most recent work is the music from “Ruby Gentry,” translated into popular music as Ruby. This theme is deep and warm, with a minor cast that gives it a hint of the blues, altogether in keeping with the setting and motivation of the film. Taken out of its context, the theme retains its quality as an individual idea, and contributes much to the current return to the ballad in popular music. In Percy Faith’s fine setting, Ruby is another shining example of the beautiful themes currently in use in Hollywood.
As a finale, Percy Faith presents The Loveliest Night of the Year from “The Great Caruso,” an especially interesting example of the use made of classic themes. The basic material here is an old Viennese waltz called Over the Waves, by Waldteufel, adapted by Irving Aaronson with lyrics by Paul Francis Webster, and the resulting re-creation enjoyed a spectacular success not only as a theme melody, but as an independent popular song. The music presented here by Percy Faith not only gives a cross-section of Hollywood’s striking use of music, but provides rewarding listening for anyone interested in lovely themes in brilliant orchestrations. This is music from Hollywood, arranged and played for your pleasure by Percy Faith and his Orchestra in a stimulating and provocative collection.
One of the happiest openings in recent memory occurred at the Ziegfeld Theater in New York on December 3, 1953 when Kismet raised its curtain on a display of rarely equaled magnificence and color. As it happened, New York’s newspapers were not publishing that week, thanks to an engraver’s strike, and the next morning there were no reviews. However, radio and television critics leapt into the breach with eagerness and goodwill, and were shortly followed by magazine critics, all of them passing along the word that Kismet was a show that delivered everything it promised, which was considerable.
The concern of this collection is not the many glories of Kismet, but its newest and brightest, the score adapted from the music of Alexander Borodin by Robert Wright and George Forrest. As classical music lovers know, Borodin was one of the greatest Russian composers, leaving behind him a comparatively small but nevertheless fascinating body of work, rich in long, spacious melodies and exciting rhythms. From this thematic treasurehouse, Wright and Forrest have constructed a brilliant score glowing with the colors of old Bagdad and the exotic atmosphere of the Arabian Nights. From its overture to the finale, Kismet tingles with the blare of brasses, the sound of cymbals and triangles, the roll of drums, all of them adding immeasurably to its excitement.
This re-construction of a score, the building of new music on the themes of old, may not perhaps please the purists, but it gratifies the huge audiences that squeeze themselves into the theater, and those who hear it on records, either in Columbia’s superlative recording by the original Broadway cast, in this orchestral presentation by Percy Faith, or in the first hits of 1954, Stranger in Paradise. Moreover, it gives a consistent texture to the fabric of the show, pointing up situations, underlining romantic exposition, creating, in fact, its own special atmosphere. As it happens, the editing has been done by a pair of experts, the same who adapted the music of Grieg for Song of Norway, with a success that is still remembered. In Kismet, the listener will find familiar themes mingled with unknown and interesting material from Borodin’s works. Not unnaturally, the larger portion of the score comes from Prince Igor, an opera immense in size and intent that is rarely produced in this country.
From the short orchestral piece “In the Steppes of Central Asia” comes Sands of Time, an evocative ballad that opens and closes the show. Stranger in Paradise, the unquestioned hit of the show, is adapted from the exciting “Polovtsian Dances” in Prince Igor. One of the loveliest melodies in the whole of music forms the base of And This is My Beloved, which has been adapted from the Third Movement of the Quartet No. 2 in D Major, while Fate comes from the Symphony No. 2 in B Minor. The lilting Rhymes Have I, and Not Since Nineveh is another adaptation from the “Polovtsian Dances,” as are Bazaar of the Caravans and He’s in Love. A little-known piano composition called “Serenade” provides Night of My Nights.
All these have been arranged by Percy Faith in a sumptuous series of settings that evokes Kismet as surely as its rich trappings and notable performances. One of the most gratifying aspects of his arrangements is that they have been conceived for records with the result that only music pertinent to the mood has been included. Again, effects are possible in the recording studio with gongs, bells and similar instruments that are impossible to obtain in a theater and might even distract from visual action. Here the action is all auditory, and a wonderful panoply of sound it makes. As he has endlessly demonstrated in his recordings of Latin American music, popular ballads and favorite standards, Percy Faith can color a melody as few can, and this instrumental presentation of Kismet makes it abundantly clear that the music of the Arabian Nights is highly congenial to him. Listen, then, to Kismet, one of the biggest hits of the 1953-54 season, and one of the most enchanting scores of any season.
The music of Christmas is a thing unto itself: so lovely, so inextricably woven with the season it celebrates, that it is impossible to assess. This collection of Christmas music, presented by Percy Faith and his orchestra, is not only a survey of some of the finest melodies, it is also one of the few programs of Christmas music that does not offer the words. So familiar are they, that they come to mind as the notes are played. In each of these presentations, Percy Faith has attempted not only to convey the surging power of the songs, but to conjure up the time and atmosphere that produced them.
Joy to the World
The music for this hymn was arranged by Lowell Mason in 1830, from Handel’s Antioch from the Messiah. One of the most exultant of Christmas hymns, it is a favorite everywhere. The words of the song were written by Isaac Watts in 1719, and were not intended to pertain to any particular part of the church calendar. They were originally included in a book called the “Psalms of David,” and were later set to a relatively plain tune. But with the Handel melody, later added, it became one of the greatest songs of Christmas.
Silent Night, Holy Night
One of the gentlest and loveliest of carols, beloved in both the English and German versions, Silent Night, Holy Night is one of those rarities, a genuine inspiration. One Christmas Eve Franz Grüber, a church organist, and Joseph Möhr, the chirch vicar, wrote the song in only a few hours. The church organ was in disrepair, and special music was needed for the Christmas services. Möhr, therefore, wrote the verses, and Grüber set them to music; the carol was first heard as a three-part arrangement accompanied by a guitar. The happy church was that of St. Nicholas, in Oberndorf, Bavaria, and the year was 1818, and the carol is one of the world’s treasures.
Deck the Hall with Boughs of Holly
The origins of this carol have been lost in time; all that is known is that it is based on an old Welsh air. It celebrates the customs of Yule, a winter festival that pre-dates Christianity in England, and was in fact incorporated into Christmas festivities later. A secular carol, it does not deal with the religious significance of the season, but explains customs that have continued into the present.
It Came Upon the Midnight Clear
The words, by Reverend Edmund Hamilton Sears, were published in 1850, in the “Christian Register.” After its publication, Dr. Sears sent the poem to a friend, asking that he set it to music, and this tune is still occasionally heard. The melody most favored, however, was composed in 1851 by Richard Willis, a Boston composer, who read the poem in a reprinting, and hastened to write his own music for it. One of the few widely-sung carols of American origin, it is loved the world over.
Good King Wenceslas
Another carol that has little direct relation to the religious aspects of Christmas, this is nevertheless one of the most famous and popular songs of its type. The story it tells is that of an incident in the life of King Wenceslas who was ruler of Bohemia in the tenth century. The words are credited to Dr. John Mason Neale, and the music has been adapted from a Swedish Lutheran Hymnal, Piae Cantiones, dating back to 1582.
Hark! The Herald Angels Sing
This spirited work began its history in 1739, when Charles Wesley, brother of the founder of the Methodist Church, wrote the ringing words. One hundred and one years later, in Leipzig, Felix Mendelssohn presented his cantata Festgesang, in which this melody was heard. And in after fifteen years, the words and music were joined by Dr. W. H. Cummings, organist of Waltham Abbey in England. Presented for the first time thus on Christmas day, it became immediately popular and replaced the original setting that had been made for Wesley’s poem.
The First Noël
Whether in the French noël, or the English nowell, this is one of the simplest and most charming of carols. It is genuinely a folksong, and its origins are obscure, although most scholars believe it began in France sometime near 1500. It was familiar in Europe during the seventh century, but did not appear in print until 1833.
Lo, How a Rose E’er Blooming
Like The First Noël, the origins of this song are lost in history, although it is certainly of German origin. It was first published in 1600, and nine years later was harmonized by Michael Praetorius. It has been pointed out that the meaning of the carol arises from a passage in Isaiah 11, 1: And there shall come forth a rod out of the stem of Jesse and a Branch shall grow out of his roots.
O Little Town of Bethlehem
Another American carol, the poem was written by a young rector named Phillips Brooks, out of his experiences in the Holy Land one Christmas season. He wrote the words for the children of his Sunday School, who loved it so much that they prevailed upon Lewis Redner, organist of the school, to set it to music. The story is told that Redner promised to deliver the music within a week, but that on Saturday night he had still not written it. Suddenly awakening during the night, he felt rather than heard the melody, and wrote it down at once, presenting the song the next morning to the Sunday School. The year was 1868, and the church was that of the Holy Trinity, in Philadelphia.
O Holy Night
One of the most beautiful of carols, this is also known as the Cantique de Noël, and was written by Adolphe Adam, the celebrated French composer who is remembered today chiefly for his ballet Giselle and for this carol.
The Holly and the Ivy
Many old English carols are primarily concerned with nature and its symbolism, and it must be admitted that some of the finest of them have their origins in pagan rites. The mixture of Christianity with ancient memories is especially noticeable in this charming carol, which was first published in 1861, although the melody goes back into old French music of the earliest centuries. In many such carols, the holly represents young men, and the ivy young women.
Here We Go A-Caroling
Sometimes called Here We Come A-Wassailing, this is a very old English song sung when groups of Yule revelers went about offering drinks from the Wassail bowl in exchange for gifts. In present-day practice, carols are offered instead of the Wassail bowl, but the practice is still one of the most hallowed of Christmas traditions.
God Rest Ye Merry, Gentlemen
This fine old English carol is marked “gioioso” in its score, and thus signals its evocative celebration of Christmas festivities. The words are attributed to anonymous poets of about 1600, and there are two melodies, although the tune known as the “usual” version is most familiar and popular. Many times the true meaning of the carol is altered somewhat because of a tendency to misplace the comma in the opening line, making a reference to “merry gentlemen,” which, however apposite, is wrong.
O Come, All Ye Faithful (Adeste Fideles)
The first known manuscript of this great melody dates from 1751, although the song is probably much older. The translation in general use in English-speaking countries was made in 1852. Sometimes known as the “Portuguese Hymn,” it has nothing to do with Portugal itself, but is believed to have earned this association from the Portuguese Chapel in London. Whatever its origins, it remains perhaps the greatest of Christmas hymns, truly joyful and triumphant, and one of the most popular ever written.
The music of Christmas is a thing unto itself: so lovely, so inextricably woven with the season it celebrates, that it is impossible to assess. This collection of Christmas music, presented by Percy Faith and his orchestra, is not only a survey of some of the finest melodies, it is also one of the few programs of Christmas music that does not offer the words. So familiar are they, that they come to mind as the notes are played. In each of these presentations, Percy Faith has attempted not only to convey the surging power of the songs, but to conjure up the time and atmosphere that produced them.
Joy to the World
The music for this hymn was arranged by Lowell Mason in 1830, from Handel’s Antioch from the Messiah. One of the most exultant of Christmas hymns, it is a favorite everywhere. The words of the song were written by Isaac Watts in 1719, and were not intended to pertain to any particular part of the church calendar. They were originally included in a book called the “Psalms of David,” and were later set to a relatively plain tune. But with the Handel melody, later added, it became one of the greatest songs of Christmas.
Silent Night, Holy Night
One of the gentlest and loveliest of carols, beloved in both the English and German versions, Silent Night, Holy Night is one of those rarities, a genuine inspiration. One Christmas Eve Franz Grüber, a church organist, and Joseph Möhr, the chirch vicar, wrote the song in only a few hours. The church organ was in disrepair, and special music was needed for the Christmas services. Möhr, therefore, wrote the verses, and Grüber set them to music; the carol was first heard as a three-part arrangement accompanied by a guitar. The happy church was that of St. Nicholas, in Oberndorf, Bavaria, and the year was 1818, and the carol is one of the world’s treasures.
Deck the Hall with Boughs of Holly
The origins of this carol have been lost in time; all that is known is that it is based on an old Welsh air. It celebrates the customs of Yule, a winter festival that pre-dates Christianity in England, and was in fact incorporated into Christmas festivities later. A secular carol, it does not deal with the religious significance of the season, but explains customs that have continued into the present.
It Came Upon the Midnight Clear
The words, by Reverend Edmund Hamilton Sears, were published in 1850, in the “Christian Register.” After its publication, Dr. Sears sent the poem to a friend, asking that he set it to music, and this tune is still occasionally heard. The melody most favored, however, was composed in 1851 by Richard Willis, a Boston composer, who read the poem in a reprinting, and hastened to write his own music for it. One of the few widely-sung carols of American origin, it is loved the world over.
Good King Wenceslas
Another carol that has little direct relation to the religious aspects of Christmas, this is nevertheless one of the most famous and popular songs of its type. The story it tells is that of an incident in the life of King Wenceslas who was ruler of Bohemia in the tenth century. The words are credited to Dr. John Mason Neale, and the music has been adapted from a Swedish Lutheran Hymnal, Piae Cantiones, dating back to 1582.
Hark! The Herald Angels Sing
This spirited work began its history in 1739, when Charles Wesley, brother of the founder of the Methodist Church, wrote the ringing words. One hundred and one years later, in Leipzig, Felix Mendelssohn presented his cantata Festgesang, in which this melody was heard. And in after fifteen years, the words and music were joined by Dr. W. H. Cummings, organist of Waltham Abbey in England. Presented for the first time thus on Christmas day, it became immediately popular and replaced the original setting that had been made for Wesley’s poem.
The First Noël
Whether in the French noël, or the English nowell, this is one of the simplest and most charming of carols. It is genuinely a folksong, and its origins are obscure, although most scholars believe it began in France sometime near 1500. It was familiar in Europe during the seventh century, but did not appear in print until 1833.
Lo, How a Rose E’er Blooming
Like The First Noël, the origins of this song are lost in history, although it is certainly of German origin. It was first published in 1600, and nine years later was harmonized by Michael Praetorius. It has been pointed out that the meaning of the carol arises from a passage in Isaiah 11, 1: And there shall come forth a rod out of the stem of Jesse and a Branch shall grow out of his roots.
O Little Town of Bethlehem
Another American carol, the poem was written by a young rector named Phillips Brooks, out of his experiences in the Holy Land one Christmas season. He wrote the words for the children of his Sunday School, who loved it so much that they prevailed upon Lewis Redner, organist of the school, to set it to music. The story is told that Redner promised to deliver the music within a week, but that on Saturday night he had still not written it. Suddenly awakening during the night, he felt rather than heard the melody, and wrote it down at once, presenting the song the next morning to the Sunday School. The year was 1868, and the church was that of the Holy Trinity, in Philadelphia.
O Holy Night
One of the most beautiful of carols, this is also known as the Cantique de Noël, and was written by Adolphe Adam, the celebrated French composer who is remembered today chiefly for his ballet Giselle and for this carol.
The Holly and the Ivy
Many old English carols are primarily concerned with nature and its symbolism, and it must be admitted that some of the finest of them have their origins in pagan rites. The mixture of Christianity with ancient memories is especially noticeable in this charming carol, which was first published in 1861, although the melody goes back into old French music of the earliest centuries. In many such carols, the holly represents young men, and the ivy young women.
Here We Go A-Caroling
Sometimes called Here We Come A-Wassailing, this is a very old English song sung when groups of Yule revelers went about offering drinks from the Wassail bowl in exchange for gifts. In present-day practice, carols are offered instead of the Wassail bowl, but the practice is still one of the most hallowed of Christmas traditions.
God Rest Ye Merry, Gentlemen
This fine old English carol is marked “gioioso” in its score, and thus signals its evocative celebration of Christmas festivities. The words are attributed to anonymous poets of about 1600, and there are two melodies, although the tune known as the “usual” version is most familiar and popular. Many times the true meaning of the carol is altered somewhat because of a tendency to misplace the comma in the opening line, making a reference to “merry gentlemen,” which, however apposite, is wrong.
O Come, All Ye Faithful (Adeste Fideles)
The first known manuscript of this great melody dates from 1751, although the song is probably much older. The translation in general use in English-speaking countries was made in 1852. Sometimes known as the “Portuguese Hymn,” it has nothing to do with Portugal itself, but is believed to have earned this association from the Portuguese Chapel in London. Whatever its origins, it remains perhaps the greatest of Christmas hymns, truly joyful and triumphant, and one of the most popular ever written.
One of the most-treasured collections of Christmas melodies has been Percy Faith’s “Music of Christmas,” (CL 588), a magnificent orchestral setting of many of the loveliest hymns and carols of that season. As a companion volume, Mr. Faith now presents a second collection, arranged and played with the same joyous reverence and majestic beauty. Here he presents a number of carols that have been sung down the centuries, along with others that are comparatively new, all of them deeply a part of the Christmas celebration. Carolling, in fact, is a is perhaps the most widely kept custom of Christmas, and these splendid orchestrations echo that unique combination of devout worship and merry good fellowship that is one of the enduring aspects of Christmas.
Hallelujah Chorus
This jubilant passage from Handel’s Messiah represents some of the greatest pages in music. Composed in 1741 by George Frederick Handel, a German who made England his second home, Messiah was first performed in Dublin in April of the following year and shortly thereafter in London. According to legend, King George II was so moved by the fervor of the Hallelujah Chorus at the first performance that he rose to his feet, thus forcing the rest of the audience to arise, a custom that has carried down to this day.
Away in a Manger
Widely known as Luther’s Cradle Hymn, this carol is believed by many to have been written by Martin Luther for his children. There are many different musical settings for the words, of which the one played here by Mr. Faith is the most popular and—like the melodies of so many carols—by an anonymous hand. Almost as well known is the version employing Flow Gently, Sweet Afton for its tune.
We Three Kings of Orient Are
This beloved carol was written during the nineteenth century by John Henry Hopkins, Jr., son of the second Bishop of Vermont. In its portrait of the Magi it employs ancient musical styles with telling effect. Hopkins, himself a clergyman of note, was an accomplished musician and poet, although most of his work, apart from this carol, is now unknown.
Gesu Bambino
This melody is one of the most recent of all those included in the collection, having been composed in 1917 by the famous organist Pietro Yon. Its lovely simplicity placed it at once among the lasting carols, and it has been increasing in popularity ever since its publication.
Angels We Have Heard on High
Like those of so many other beloved carols, the origin of this work is obscure even to musicologists. Its French origin is betrayed by another title, Les Anges dans nos campagnes, and most authorities feel that it dates from some time about the eighteenth century.
Bring a Torch, Jeanette Isabella
Also French, and also traditional, this carol appears to have originated in Provence some three hundred years ago. A translation, by Edward C. Nunn, was made during the last century, suggesting the carrying of torches to the cradle of the Infant Jesus, a custom popular during medieval times.
Good Christian Men, Rejoice
This stirring melody has been traced back as far as the fourteenth century, and has since been edited by many composers, among them Sir John Stainer. In character it has much of the quality of the old English carols.
Carol of the Bells
Another carol of surprisingly recent origin is this joyous selection, published in the United States in 1936. The melody itself mirrors the lively ringing of the bells of Christmas. It is a Ukrainian carol, composed by M. Leontovich.
I Wonder as I Wander
One of the most beautiful of all Christmas songs is this touchingly simple folksong from America. Discovered by John Jacob Niles in North Carolina, it has now taken its place a as a classic song of Christmas and appears frequently in concert programs as well. Like so many other folksongs, it echoes in its music the England of early times.
I Saw Three Ships
This merry tune comes from England, where it has been known for more than five hundred years. Its traditional choruses describe the sailing of three ships, bearing Mary and the Christ Child, to Bethlehem on Christmas Day, in the morning. “And all the bells on earth did ring.”
What Child Is This
William Chatterton Dix wrote the lyrics that transposed the melody Greensleeves into a charming carol sometime during the last century. Before that, the tune, dating from the sixteenth century, was among the best known and loved in all folk literature, and even today enjoys a renewed popularity, both in its original form and in its Christmas guise.
Angels, from the Realm of Glory
As the preceding carol reflects the tenderness of the Christmas story, so this one displays the joy and cheer of the season. The melody was composed by Henry Thomas Smart during that fruitful period of the Christmas carol, the nineteen century, to words written several years earlier by James Montgomery.
O Tannenbaum
An early and enduring symbol of the Christmas season is the fir tree celebrated in this ancient German carol. Again, neither the author nor composer is known, and the melody itself has been used for many varying purposes.
Christians, Awake!
As in the case of O Little Town of Bethlehem, the words of this carol were written as a Christmas present, in 1749. John Byrom was the author, and the next year his friend John Wainwright composed the music, arriving at the Byrom household with carolers to present his splendid gift.
More and more the enchanting melodies and rhythms of European composers are gaining favor in America, and Percy Faith has had as much to do with this as anyone. Two of his biggest and earliest hits were adapted from French sources — All My Love from Bolero and The Song from Moulin Rouge — and a splendid collection called “Continental Music” remains one of the most popular albums in the country. The distinctive flair that Percy Faith has for rich, sonorous arrangements is in large part responsible for this, for, however colorful the sound, he never lets the melody get lost or distorted.
In this program, he presents a variety of continental themes, each with its own special attraction. Madeira, with its unusually catchy phrase, delineates the atmosphere of those charming islands belonging to Portugal, while Merry-Go-Round brings with it the excitement and sweep of a Parisian carousel. This particular melody is also known as La Complainte de la Butte, and is derived from the movie “French Can-Can.” Next comes Bonjour Tristesse, suggested by the best-selling book of the same name and carrying, under its Latinistic rhythm, reflections of the worldly wistfulness of the novel. Moritat, recently one of America’s biggest hits, was written in 1928 by Kurt Weill as part of his music for “The Threepenny Opera,” and even years later suggest the strange, haunting atmosphere of Berlin. The Faith setting underlines its odd melodic contagion. Coeur de mon Coeur is the original French title of Heart of Paris, which Percy presents in a persuasive setting that enhances its sentimental waltz tune. In Bread, Love and Dreams, Italy is represented by a theme from the memorable comedy starring Gina Lollobrigida, a theme as merry and lusty as the film.
In the second half of the program, Germany appears again on the passport, with Glocke und Glocken, Americanized as Little Bells and Big Bells, a light-hearted piece based on chime sequences. The Little Lost Dog returns the program to France, with a selection from the “Chiens perdus sans collier.” Here the skillful Faith arrangement points up the sweetly wistful line of the song; few countries are as productive of charming waltzes as France, almost all of them delightful. Again the musical journey travels to Italy for the moody Scalinatella, a richly brooding song played over a Latin rhythm, a combination especially popular in Italian music. Returning to France, the program next offers Portuguese Washerwomen, a song which helped Jacqueline François to win a Prix du Disque in 1955. Despite its title, it is a typically jaunty French tune, such as one might readily hear along the boulevards. In Portugal once more, Percy Faith presents a sumptuous tango called Sierra Madre, or Luna Gitana, and concludes the program with still another tango, Sombra, wherein the vivid, spirited playing belies the implication of the title.
As in his many other fine Columbia collections, Percy Faith offers these numbers in colorful, exciting arrangements. Whether he is conducting music such as this, or waltzes, Latin favorites or the instrumental scores of such Broadway shows as “Kismet,” “My Fair Lady” or “House of Flowers,” he brings to them all a flavorsome interpretation that has made him one of America’s favorite conductor-arranger-composers. Moreover, in his accompaniments to popular vocalists, the same sure taste is at work. With this collection, he provides everyone with a passport to romance, to melody and to listening pleasure — sit back and enjoy the journey.
Rock ‘n’ roll is generally presumed to be a young person’s game, so it may come as a surprise to learn that the best-selling instrumental of the rock era was a lush, richly orchestrated ballad credited to a 52-year-old conductor. Percy Faith was the conductor and his hit was The Theme From “A Summer Place.” It sold well over a million copies and topped the Bilbaord pop chart for nine weeks in early 1960.
Born in Toronto, Canada, April 7, 1908, Faith learned to play the violin by the time he was 7. He went on to study at the Toronto Conservatory of Music. He also played piano in a silent movie theater and the violin with several Canadian orchestras.
When Faith was 18 he severely damaged his hands trying to put out a fire at a clothing store operated by his sister. His violin-playing days were over but he continued in music, working as a conductor and arranger, joining the Canadian Broadcasting Company in 1933. He had his own show – “Music By Faith” – that was so popular in Canada it was picked up for broadcast in the U.S. by the Mutual Broadcasting System.
Faith relocated to the United States in 1940 as musical director for a radio series called “The Carnation Contented Hour.” In 1950, he was hired by Columbia Records’ head Mitch Miler to serve as an arranger and conductor for the label’s staff orchestra.
The Faith touch was soon heard on huge pop hits for Tony Bennett, including Because Of You (1950), Cold Cold Heart (1952) and Rags To Riches (1953). Faith also worked on big singles for Guy Mitchell, Rosemary Clooney, Frankie Laine and Doris Day.
Miller also encouraged Faith to record on his own and his first success came in 1950 when I Cross My Fingers, with a vocal by Russ Emery, was a Top 20 hit. All My Love, also issued in 1950, went Top 10. Faith closed out the year with Christmas In Killarney, which was a Top 30 song.
The hits kept coming in the early ‘50s. In 1951, he went Top 10 with On Top Of Old Smokey which sported the voice of Burl Ives. He also did well with When The Saints Go Marching In. Delicado, issued in the spring of 1952, went to No. 1 for a week.
In the spring of 1953, Faith’s recording of Swedish Rhapsody went on the charts where it would peak at No. 21. It’s flip side, Song From ‘Moulin Rouge’ (Where Is Your Heart), with a sweet vocal by Felicia Sanders, went on the Billboard list a month after Swedish Rhapsody. It would stay there for 24 weeks – 10 at No. 1 – and be cited as the best-selling record of 1953.
Later in ’53 Faith had a Top 20 record with Return To Paradise. Many Times was also popular that year. In 1954 he charted with Dream, Dream, Dream and The Bandit.
While Faith’s singles were being challenged by Elvis Presley and his pals, the conductor was doing well on the album charts. Adults were taken with his lush arrangements of standards and “Passport To Romance” was a Top 20 in the summer of 1956. “My Fair Lady,” with songs from the enormously popular Broadway musical, did even better, going Top 10 in 1957. A collection of songs from “Porgy And Bess” did well in 1959. In 1960, both “Bouquet” and “Jealousy” were Top 10 sellers.
In the early fall of 1959, Faith – who continued to release an occasional single – recorded the them from Warner Bros.’ “A Summer Place.” It was a steamy story of young love starring teen sensations Sandra Dee and Troy Donahue and adults Dorothy McGuire, Richard Egan and Arthur Kennedy. The single took almost six months to edge into Billboard’s Hot 100 in January 1960.
Once it got on the charts, the record moved quickly, and, after less than two months, it settled in at the top of the rankings for a nine-week run. It also won a Grammy as Record of the Year.
Despite his massive hit, Faith didn’t release an album based on the single. But he didn’t seem to need to as his albums of lush mood music continued to sell very well. In 1961, he was back in the Top 10 with music from “Camelot.” That was followed by popular collections featuring the music of Mexico and Brazil.
In 1963, Faith slightly altered his musical direction. He was still doing lush collections of instrumentals, but he switched from standards as his source to the Top 40. “Themes For Young Lovers” featured his 1960 hit of the same name and string-filled arrangements of teen hits like Go Away Little Girl, All Alone Am I and On Broadway. The sparkling sound of the album pushed it to Billboard’s Top 15 and eventual gold record status.
Faith continued to offer his versions of pop hits on “Shangri-La” and “Great Folk Themes.” In 1964, he was back with “More Themes For Young Lovers.”
Through the early ‘70s, Faith continued to record popular albums featuring his orchestra and chorus, including “Love Theme From Romeo And Juliet,” for which he received a 1969 Grammy for Best Contemporary Performance by a Chorus.
In all, Faith had 30 albums on the Billboard charts between 1956 and 1972. Three of them went gold.
Faith died of cancer February 9, 1976. He left a huge legacy of great music during his years on Columbia and Collectables is pleased to present some of the best of that work on this tribute to a man who spent more than 40 years bringing fine music to the work.
– Mark Marymount
"The orchestra and I enjoyed the experience of recording this concert "LIVE" at Kosei Nenkin Hall in Tokyo on May 19, 1974." - Percy Faith
The gentleman to your left, who thinks he knows Continental music because he can hum a few bars of La vie en rose, is in for an agreeable surprise. Because here Percy Faith, fresh from his delectable expositions of American waltzes, carnival rhythms and assorted music from Hollywood, offers a collection of songs from Europe that survey a wide range of emotions, with some of the suavest melodies of the season. Not until very recently has the European song had much success in America; every year or so some English-language adaptation makes a strong bid for fame, but on the whole the tempos and moods of Continental music have been too special for domestic tastes. However, with the success of The Song from Moulin Rouge, April in Portugal and Anna, at substantially the same time, an increased interest in European songs sprang up, and the portfolio presented here by Percy Faith is a fascinating survey of the best of these songs.
The collection opens with two French numbers, Mademoiselle de Paris, a typical French waltz with its light, nostalgic touch, and Symphony, an attractive fox trot that gained considerable success in this country in 1946-7. Vola, Colomba proves to be another fox trot of smooth, easy charm, and In Love (Fiorin Fiorello) explores the Italian mutation of the rhumba with some interesting Faith coloration. Listeners will find Suddenly an enchanting slow waltz, whose melody is as familiar as its title is comparatively unknown. The Petite Bolero is an exceptionally catchy variation on the bolero rhythm, with a strong, sure beat.
The second half of the program with Oscar Straus’ waltz, La Ronde, for the controversial French film of the same name, presenting a charming waltz with carousel overtones and the lightness that should accompany a story of easy amours. Many Times, which follows, is a suave, rich waltz, while If You Said Goodbye (T’ho Volute Bene) from the film “Anna” is an expressive fox trot. Percy Faith’s arrangement of April in Portugal is arresting an unusual, in that it slides over the customary tango setting and reverts to the original conception, with an interesting role assigned to the percussion. Under the Bridges of Paris (Sous les ponts de Paris) brings back the ever delightful French waltz, and the program concludes with a brilliant Spanish-type selction, Sympatico (Chi Lo Sa Perche!) in the vein of current Italian composers.
The arrangements of the songs presented here are in the Faith tradition, rich and resonant, but entirely free of the distortion of the melody that often accompanies concert arrangements of popular numbers. The Faith touch can be velvety, as in the aforementioned Moulin Rouge, or full of abandon, as in his best-selling Delicado, but no matter which mood the song brings forth, a mastery of the material is always evident. These relatively little-known songs which comprise “Continental Music” offer a superb show-case for the Faith style, and at the same time a fine show-case for Continental composers. The grace and sophistication, the cheerful zest, the sweet nostalgia of these songs show that for years Americans have been overlooking a rich and inexhaustible source of melodic refreshment. In presenting them here, Percy Faith not only offers a program of exceptionally pleasant listening, but brings some new notes to the popular musical scene in songs that are destined for wide popularity.
