Classic Ross Amico

Tag: Edward German

Lost Music Treasures Florence Smithson’s Charm

Yesterday, I was all set to post something fun for a Sunday morning, but now everything feels rather ominous. I’m hoping that’s thunder I’m hearing on this grim, overcast morning. How many times do we have to adjust to just how horrible everything is, only for it to get worse?

But life goes on, at least for the time being. And there’s something to be said for escapism. What is art, after all (or at least the art I choose to embrace), but the pursuit of beauty, order, and affirmation of the better parts of ourselves.

In preparation for yesterday’s broadcast of one of my radio shows, “Sweetness and Light,” I constructed a playlist around the theme of summer reading. One of the candidates, which would have been a shoe-in, was this recording, by Florence Smithson, of Sophie’s Waltz Song (“For Tonight”) from Edward German’s operetta after Henry Fielding’s “Tom Jones.” I fell totally in love with it and was crestfallen not to be able to locate it anywhere as a digital download. The few recordings I could find all left me cold – Joan Sutherland may have been a fabulous singer, but her version lacks the charm, personality, and diction Smithson conveys in her recording, made all the way back in 1912. Since the few modern recordings I could find all paled in comparison, I had to settle for an orchestral arrangement by Ernest Tomlinson.

This is not the first time I’ve fallen in love with a recording, only to discover it never made it to CD. So much is lost every time we change formats. Let this be a lesson to you, folks. Hang on to your physical media!

Florence Smithson, beguiling in 1912

June 22, 2025
Henry VIII Composer King Musician

When Henry VIII wasn’t occupied with upgrading spouses or downgrading churches, he happened to be a skilled composer and performer.

Not sure that it’s anything to lose your head over, but here’s one of Henry’s greatest hits:

It’s got a good beat, and you can dance to it.

More about Henry and his music here:

https://www.classical-music.com/features/articles/musical-life-king-henry-viii/?fbclid=IwAR2bJbrwqC5i5jhEWIC2l7LpEm4LBuwHq6JVvtcDCH7DZPxsihAXINYuwsE

And yes, “Greensleeves” is also frequently attributed to him. He probably didn’t write it, but it’s always prudent to side with the king.

Some other composers inspired by Henry:

Edward German, “Henry VIII: Three Dances”

John Foulds, “Henry VIII: Suite”

Sir Arthur Sullivan, “Henry VIII: Incidental Music”

Camille Saint-Saëns, opera “Henry VIII”

One of the commenters was kind enough to post the performers and a synopsis beneath the video.

From the same opera, Henry and Anne Boleyn

It’s good to be the king! Happy birthday, Sire.

Hans Holbein, Portrait of Henry VIII (doing his best Charles Laughton impression)

June 28, 2022
Pronouncing Composer Names The Announcer’s Dilemma

The discussion of the pronunciation of Rued Langgaard’s name (July 28 entry) reminds me of a blog entry I had written for the station a few years ago and never submitted. It’s always a quandary for the radio announcer: do you strive be scrupulously correct, or to be understood?

In the case of Langgaard, I feel I always have to spell his name after I say it. If I’m feeling particularly self-conscious that day and don’t want to try everyone’s patience (since I would need to elucidate both before and after the piece), I just say “LAHN-gourd.” It’s not strictly Danish, perhaps, but at least listeners have a chance of remembering the name and maybe hunting down some of the recordings.

That’s not to say I’m not in favor of authenticity! But I don’t know that I would use “Langoh” in regular conversation, just as I would tend not to clear my throat on the “ch” when I say “Bach.”

On a related matter, you have a composer like Jean Françaix. You would think the “x” would be silent, since he’s French, but allegedly he preferred the “x” to be sounded. Yet English speakers almost always say “Fron-SAY,” and that extends to classical music radio announcers.

I have over the years used the “x” on most occasions, but again since it requires an explanation so that listeners don’t think I’m a complete idiot, sometimes I just say screw it and go with the flow.

And what’s the consensus on Edward German: soft or hard “G?” He’s English, so I generally use the former, but then I got an email once that it’s supposed to be the other way.

Let’s call the whole thing off!

https://www.youtube.com/watch?v=zZ3fjQa5Hls

August 3, 2014

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