Guild Light Music
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2012-05-12 | GLCD 5182 | E1 | A Second A-Z Of Light Music Just as two economists usually disagree, it would be difficult to find two music lovers who acknowledge where the exact boundaries of Light Music actually lie. The repertoire covered in this collection would certainly provide food for some serious arguments, but does it really matter? If music is enjoyable, then why do some people get so uptight about labels? At Guild we simply want to offer a varied selection that is pleasing upon a first encounter, and can become increasingly rewarding when it becomes better known, like a good friend. |
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2012-05-12 | GLCD 5184 | E1 | The Lost Transcriptions - Volume 3 The previous two Guild ‘Lost Transcription’ collections (GLCD 5174 & 5181) have confirmed that a vast amount of light music was once recorded that was never intended to be purchased by the public to add to their private collections. It was offered to radio stations around the world, but some other uses included educational projects and the entertainment of the armed forces. |
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2012-05-12 | GLCD 5187 | E1 | Light And Easy This collection is simply - and unashamedly - meant to be enjoyable! The term ‘Light’ implies that the music is not serious, but equally it is far from frivolous because it features delightful melodies by some of the finest composers of the last century. Names such as Leroy Anderson, Cyril Watters, Angela Morley, Clive Richardson and Laurie Johnson are evidence of the pedigree of the composers. |
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2012-05-12 | GLCD 5188 | E1 | The Art Of The Arranger - Vol. 1 The arrangers are some of the most important people in the music business, yet all too often their work is taken for granted and usually ignored. But without the skill of the arranger, the glorious sounds that any musical ensemble can create might never emerge. The arrival of the LP around 1950 ushered in a period when top arrangers would find themselves in demand from the light music conductors whose albums were to prove so popular. |
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2012-05-12 | GLCD 5189 | E1 | Holidays For Strings As the title of this CD clearly suggests, the emphasis in this collection is on strings, although in the interests of variety the other sections of the orchestra also get their opportunity to shine. That immensely talented American composer Leroy Anderson sets the tone with his landmark Belle Of The Ball, leaving the equally gifted David Rose to complete a selection of 28 light music cameos with an extended version of his famous Holiday For Strings. Rose is widely credited as the man who injected short, bright pieces of instrumental music with an infectious string sound in the 1940s that would be emulated by many musicians during the following decades. |
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2012-05-12 | GLCD 5190 | E1 | Continental Flavour - Vol. 2 There is a slight shift in emphasis in this second volume of music associated with the Continent of Europe, compared with the first selection issued in 2007 on GLCD5132. Previously the intention was to create the impression of melodies reminiscent of various countries, often as perceived by musicians far distant from those foreign shores. This time all the tracks are played by orchestras resident in Europe, and there are examples of them performing some standard works from the light music repertoire. |
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2012-05-12 | GLCD 5191 | E1 | Strings Afire This collection takes its title from an attractive composition composed and played by the American maestro Herman Clebanoff, who was usually known only by his surname. He heads a roster of fine orchestras from the USA, including Frederick Fennell, Pete King, David Rose, Richard Hayman, Les Baxter, Xavier Cugat, Percy Faith and Paul Weston. But British orchestras are also well represented with great performances from two 'Cyrils' - Stapleton and Ornadel, plus Ray Martin, Robert Farnon, Norrie Paramor, Tony Osborne and Charles Williams. |
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2012-05-12 | GLCD 5192 | E1 | Stereo Into The Sixties By the time the 1960s arrived most conductors and record companies had just about learned to forget about the 'ping pong' effects that the arrival of stereo had offered. Instead the new medium was employed in demonstrating that the extra sound channel sometimes allowed the listener to hear the more delicate nuances that had previously been difficult to detect among the wall of sound fighting to emerge through just one loudspeaker. |
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