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Mantovani

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Welcome to one of the largest fan websites on the internet. Mantovani, the "Grand Master"* of light orchestra music  wanted his large string orchestra to sound as if it were playing in a cathedral. Avoiding echo chambers or electronic gadgetry of any kind, he achieved this unique majestic and elegant sound using nothing but his arrangements, orchestrations, and his amazing leadership. There were no electronically amplified strings or other instruments atypical to a large concert or recording orchestra. The orchestrations used the natural acoustics of the concert halls and recording studios. The arrangements simply achieved the absolute best from the instruments used and the talent of virtuoso musicians. Nothing "easy listening" came from Mantovani and His Orchestra. The presentations required careful listening as any dedicated fan will tell you. The delicate and poignant renderings, harmonies, and amazing counterpoints are legendary and are still appreciated by music lovers around the world. Even simple themes were dressed up to classical, concert worthy, and heart touching performances under the baton of Mantovani. This site is dedicated to perpetuating his legacy and that of the talented virtuoso musicians also responsible for the music.

Mantovani heard something in melodies that made them better and then interpreted what he heard into elegant orchestra arrangements. He made melodies sweeter and more touching than imagined even by the composer. For instance, check out this link to Strauss Blue Danube to support this opinion. You will not hear the Blue Danube played more beautifully even in Vienna.

About the opening theme: "Greensleeves" was Mantovani's favorite composition -- in fact he named his home in Bournemouth "Greensleeves." This magnificent tone poem was arranged by Ronald Binge, the developer of Mantovani's signature sound. To many Mantovani fans there may have been no more creative music collaboration than Mantovani and Binge and Greensleeves is proof.  There are many other examples such as "Charmaine" and "A Scottish Rhapsody". To hear the piece again, click here.

To hear other examples of the outstanding orchestrations by Mantovani and His Orchestra, visit the website Jukebox.

Leo Birnbaum Passes at 97
From the Telegraph (UK)

"Viola player and youngest founding member of Beecham's LPO who also worked with Vera Lynn and the Beatles

Leo Birnbaum

Birnbaum playing viola with Sir Thomas Beecham's London Philharmonic during a tour of Germany in 1936

Leo Birnbaum, who died on April 20 aged 97, was for many years principal viola with the London Philharmonic, and the last of its founder members; as a freelance he played with Mantovani, Vera Lynn, Rachmaninov, Perlman, Heifetz, Sinatra and the Bee Gees and transcribed orchestral arrangements for the Beatles.

Leo Birnbaum was born in the Caledonian Road, near King's Cross, in London on February 9 1911 to Polish Jewish parents who had moved to England some five years earlier. His father, Abraham, was a fiddle maker and Leo, like his two elder sisters, was immersed in music from his earliest days.

After school at West Hampstead, he won a scholarship to the Guildhall, where he studied under Ernest Yonge and switched from violin to viola. To support himself in the evenings he played at Gatti's restaurant in the Strand. "

In 1932 Ernest Yonge introduced him to Frederick Laurence, who was recruiting for Sir Thomas Beecham's new London Philharmonic Orchestra, and at just 21 Birnbaum became its youngest founding member. He took part in Beecham's famous opera season at Covent Garden and continued to study with Yonge until, in 1936, he moved up to the first viola desk.

Beecham's eccentricities led to some odd moments – as when he discovered Black Velvets and insisted his orchestra sample the drink. Birnbaum, unused to drink, fell asleep during the subsequent rehearsal and woke to find the conducter and entire orchestra gathered round him laughing.

With the LPO Leo took part in concerts and recordings with Kreisler, Heifitz and Rachmaninov, and played to members of the Royal Family (and Mrs Simpson).

Although Birnbaum was reluctant to tour Germany, Beecham insisted, and he thus played to Ribbentrop, Goering and Hitler. Waiting for Hitler to arrive on one occasion, Beecham – not realising a microphone had been left switched on – demonstrated his characteristic diplomacy by complaining: "The old b----r's rather late getting here."

In 1938 Birnbaum resigned from the LPO and briefly joined the London Symphony Orchestra, before playing with Mantovani in the band for the West End show Lady Behave, and in 37 wartime recordings, many with Vera Lynn.

Birnbaum then joined the Coldstream Guards with the rank of "musician". As well as playing in the string band (the task for which he had really been recruited), he had to learn the clarinet – over a weekend. He became "last third clarinet".

He freely admitted that his mastery of the instrument was so incomplete that he would often mime, and that the bandmaster's idea of entertainment was to call on him for a B flat for the rest of the band to tune to.

With the string band, however, he played much chamber music to dignitaries and troops – as well as to the public at the National Gallery lunchtime concerts. He greatly enjoyed the camaraderie of the Guards and made several lifelong friends.

After the war he played with many different orchestras, including appearances at the opening of the Festival Hall and a tour of America with the Philharmonia in 1955. By the end of the decade he decided to go entirely freelance and was much in demand as a perfect sight reader for lucrative recording work.

This led to occasional deputising with major orchestras including a tour of the Soviet Union with the Royal Philharmonic Orchestra and the London Symphony Orchestra's seasons at Daytona Beach, Florida. The highlight of the 1968 season was playing with the young Itzak Perlman and Pinchas Zukerman.

Birnbaum was in the backing orchestra for the Beatles' first studio recording of Hello Goodbye at Abbey Road studios, and from 9pm until 2am each night transcribed Paul McCartney's piano-playing to provide the string parts for the musicians the next morning.

He was also a regular in Saturday morning children's concerts at the Festival Hall with Robert Mayer and Ernest Read.

He retired in 1986 (osteoporosis made playing too painful), sold his viola (thought to have been a Guanarius, and previously owned by William Primrose) and took up the piano. He and his wife bought a flat on Malta, where she had been a Wren during the war, and made frequent visits to it.

Birnbaum married Brenda Heimann, on the condition that he change his name to the more English-sounding Birney and that if things were not working out after seven years they would divorce. He agreed to both conditions (though he continued to use Birnbaum as his professional name), and the couple celebrated their 61st wedding anniversary two days before his death.

Leo Birnbaum is survived by his wife and their daughter. "

On a personal note: I had the honour of maintaining a correspondence with Mr. Birnbaum over the years that I operated this website. Leo was very kind to me,  humorous, and friendly in spite of his great talent and accomplishments. I will miss seeing notes from him in my email In-Basket. He was truly a great character and a man of considerable talent. Please visit the Leo Birnbaum web page on this website to learn more about this virtuoso musician. I know that his family will miss him dearly.

Wes

 

New Release Announcement From Vocalion (double album)

Continental Encores

and

Mantovani Manhattan

Announcement courtesy of our Dutch friend Theo Gelderblom. Theo was also kind enough to supply the cover graphics.

Some of the tracks in our listing are linked to samples from our Jukebox. They are not equal to the sound quality of  Vocalion remastering.

This offering is from the UK Amazon site. The USA organization is typically slow in including such offers.

Mantovani - Continental Encores
The original LP SKL 4044 (1959) STEREO
 

More than Ever Come prima (Panzeri; Taccani;

Di Paola) La Vie en Rose (Louiguy)
Under Paris Skies Sous le ciel de Paris (Giraud)
O Mein Papa (Burkhard arr Milner)
April in Portugal Avril au Portugal (Ferrao)
Arrivederci Roma (Rascel arr Shaw)
Anema e Core To be or not to be (D’Esposito)
La Mer (Trenet)
I Only Know I Love You Na voce, na chitarra, e’o poco e’luna (Rossi)
Autumn Leaves Les feuilles mortes (Kosma arr Milner)
Answer Me Mutterlein (Winkler arr Milner)
Poppa Piccolino Papaveri e papere (Mascheroni) 

Mantovani - Manhattan

The original LP SKL 4561 (1964) STEREO

Give My Regards to Broadway from ‘Little Johnny Jones' (Cohan arr Milner)
Autumn in New York from ‘Thumbs Up!’ (Duke arr Shaw)
The Bowery from ‘The Sidewalks of New York’ (Gaunt; Hoyt; Gilbert arr Milner)
Harlem Nocturne (Hagen arr Shaw)
Slaughter on Tenth Avenue from ‘On Your Toes’ (Rodgers arr Milner)
Manhattan Serenade (Alter; Adamson arr Shaw)
Take the ‘A’ Train (Strayhorn arr Milner)
Manhattan Lullaby (Mantovani)
Maria/Somewhere from ‘West Side Story’ (Bernstein; Sondheim arr Mantovani)
The Belle of New York from the musical comedy (Kerker; Morton arr Milner)
Tenement Symphony from the film ‘The Big Store’ (Borne; Kuller; Golden arr Shaw)

 

 I always enjoyed both albums contained in this release. I believe they include tracks that are among my favourites of all time. While I think Vocalion did an excellent job of selecting releases of genuine Mantovani And His  Orchestra recordings, personally I would have included Continental Encores among the first. I have not heard the CD yet but I suspect that Vocalion (Dutton Laboratories) did an outstanding job of Digitally re mastering the original recording tapes. I have listened to the CD and it is beyond my expectations -- what a treat! Wes
CONTINENTAL ENCORES / MANTOVANI MANHATTAN (Vocalion CDLK 4370) 73:04
 
The reissue program of Mantovani albums goes on unabated, it seems, and on this occasion we can enjoy two of Monty's best albums, from 1959 and 1964. "Continental Encores" is, arguably, in the top three of all Mantovani album issues. Recorded in September 1958 at a period when the maestro of light music was at his very best, it's one of the best albums for introducing the newcomer to the stereo "Mantovani Sound". The choice of material is truly admirable; there were so many good European hits around at the time and Monty made sure we were going to hear them. You realise that you are going to get something really good on hearing the opening bars to the so-romantic "Come Prima" (More Than Ever) which kick starts this marvellous collection. So many highlights: the lovely versions of the perennial "La Vie En Rose" and "Arrivederci Roma", a hugely enjoyable "Under Paris Skies" with accordionist Emile Charlier sounding as if he is playing three accordions at
once, a breezy arrangement of "April In Portugal", a lovely Italian charmer "Anema E Core" and the old favourites "La Mer" and "Answer Me". "Autumn Leaves" is a really memorable arrangement by orchestrator Cecil Milner, and worth looking for, too, is the unusual "I Only Know I Love You" with its changes of pace.
 
"Mantovani/Manhattan" looks at the vibrant music emerging from New York and celebrates the musical history of that great city. Two of the outstanding melodies are a sensitive rendition of "Autumn In New York", featuring a lovely trombone solo by Jock Bain, and the evocative "Harlem Nocturne" with its saxophone flourishes, both arranged by Roland Shaw. On the grander side, there is a Milner arrangement of "Slaughter on Tenth Avenue" and a Shaw interpretation of "Tenement Symphony", both showing how varied the "Mantovani Sound" was, clearly not just a case of so-called "cascading strings". Other delights include "The Belle Of New York", "Manhattan Serenade", "Take The 'A' Train" and a lovely duo from "West Side Story". And we shouldn't overlook Monty's own composition "Manhattan Lullaby" which reminds us of the gentle dawn that gradually brings this great city to life.
 
As usual there are extensive and informative sleeve notes to enjoy - whereas the original LP issues had none - in a collection which comes with the highest recommendation.
 
More Than Ever/La Vie En Rose/Under Paris Skies/O Mein Papa/April In Portugal/Arriverderci Roma/Anema e Core/La Mer/I Only Know I Love You/Autumn Leaves/Answer Me/Poppa Piccolino // Give My Regards To Broadway/Autumn In New York/The Bowery/Harlem Nocturne/Slaughter On Tenth Avenue/Manhattan Serenade/Take The 'A' Train/Manhattan Lullaby/Maria-Somewhere/The Belle of New York/Tenement Symphony (Vocalion CDLK 4370)

Colin MacKenzie 

Who did the arrangements for Mantovani's hundreds of recordings. 

The following table provides information supplied by Mantovani expert Don Southwell.  An arrangement is merely one of many steps to bring a composition from concept to a complete orchestration. He may have occasionally used other arrangers to bring a composition from the concept to the details necessary for an orchestra score, but rest assured, nothing and no-one stood between this maestro and his vision of how the music should sound. There is quite an interpretation, directing gap between the arrangement and the presentation. The gap resulting in the final performance is directly related to the director's ability to draw what he/she wants from the musicians. As Don Southwell will tell you, this directing ability is not something you acquire in your music education. It is something you are born with. Monty had it for sure.

There are 737 Mantovani titles identifiable to an arranger either by the identification of the composer, or by direct callout of the arranger. The arrangement distribution is described in the table below:
 
Arranger

Number of Arrangements

Percentage of All Defined Arrangements

Mantovani

339

 (45%)

Cecil Milner

222 

(30%)

Roland Shaw

134 

(18%)

Ronnie Binge

42

(6%)

 

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A Recording with Annunzio Paulo Mantovani on the Podium and Without. There IS a dramatic difference. (Regarding bogus Mantovani Recording Offers). Please help stop this fraudulent use of the name. Check the discography and recent releases on this site to verify before you buy. Email us if you are unsure:

Given the recent releases of Mantovani recordings on CD I thought that it would be helpful for fans and visitors to be able to distinguish between the "Mantovani" recordings with Mantovani on the podium and those produced without. This site is dedicated only to the recordings with A. P. Mantovani on the podium. Other than the exceptions noted below, these are all mentioned somewhere in the site either in the discography, or in the catalog. No other recordings ("Mantovani" by name but without A. P. Mantovani on the podium) are described or noted. Regardless of the labeling on the CD, unless the album is named or described in this website, it is not a recording with Annunzio Paulo Mantovani on the podium. 

 

Remember, original Mantovani recordings were produced only with arrangements by Mantovani, Ronald Binge, Cecil Milner, or Roland Shaw. No-one else was engaged for arrangements by Mantovani.

Fans and visitors are encouraged to submit information on other such CD releases and to submit their opinions or comments on such recordings.

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Why was Mantovani So Successful ? (and some music lessons from Don Southwell) 

"His remarkable humility, i.e., he never took his music or his success for granted; and (2) he used classically styled color chords rather than pop which made his harmonies more unique and his sonorities more colorful."

    Everything is right on the mark, and the referrals to me are accurate. The vibraphone issue is quite unique in that no one used one the way he did and it added so much warmth and color to his orchestrations. In a communiqué from Colin (MacKenzie) not too long ago, he said that he has listened again to so many pieces now knowing what he does about the use of the instrument, and it's remarkable how often it's there without being distinctly heard. I told Colin that for the longest time before I saw Mantovani in person, I heard something unique that added warmth and color to the music, but that I couldn't tell what it was. It was a thrilling experience during my first concert to discover that it was Charlie in the background gently touching the vibraphone (and I do mean gently touching).

   "I would add two things: (1)

The difference between classically styled color chords and pop color chords. Starting with the pop chords, the principle chords in a key are the triads ( C, F and G for example in the key of C), or the seventh ( G7 in place of the G triad). Any chord above a 7th is a color chord, a 9th, an 11th or a 13th (perhaps even a 15th but usually not).

 These color chords are mostly used in jazz which is what gives music a "jazz" sound. They can be used in a ballad orchestrations, but the result is still a jazz oriented sound rather than a "peaceful" sound. Gershwin's use is an example. In classical music, the principle chords plus a seventh are the same as in pop. However; in classical music the color chords are principally augmented 6th's only. There is the Italian 6th, the French 6th, and the German 6th. These chords each have an interval of an augmented 6th. What makes each sound different is the intervals within the augmented 6th (If you want a further explanation of this, I'll do it in a followup). Another color chord in classical music is the Neopolitan 6th. This one is very complicated to explain and make it understood by a non-music person. For our discussion here lets just say that it has an even more distinct sound; and it, like the other 6th's, when voiced correctly in popular music, will give the music a very warm, pleasant and unique sound, classical in nature without disturbing the popular flavor. This is one of the remarkable aspects of Mantovani's orchestrations that made them so unique and enjoyable to the listener. Everyone likes a listenable classical piece with beautiful color don't they? Mantovani knew this and had the talent to give it to them in his music, even though the listener knew there was something so different, but had no idea of what it was that made it so unique and beautiful."
Are Cascading Strings all that Mantovani is about? I think NOT...

Mantovani's music is often recognized by one element the (so-called) 'Cascading Strings'. Please see the Dynamics page for more information.). The "Cascading Strings"  was only one technique employed by the Maestro. He used a vast variety of musical techniques depending upon the need of the composition as he imagined it. Monty used the simple elegance of a clarinet, saxophone, or the orchestral lushness of his large string section and he steadfastly maintained the composition's melodic line and the composer's intent. The colors of his arrangements went from heart felt melodies of Stephen Foster, to Berlin, to Bach.

He would fill stadiums (Toronto 11,500 tickets sold, 10,000 seats) or theatres to standing room only capacity with fans who would become mesmerized by this man and his music. The man introduced more people to a concert hall than any other in history.

And make no doubt about it, it was His music. Learn more about how Mantovani achieved his musical uniqueness from Musicologist, Don Southwell on  The Dynamic Page (click the hyperlink or use The Dynamic at the top of this page. Don explains Mantovani's music technique  like no other person. 

Please see the wonderful story of Trumpeter, Stan Roderick provided by Colin MacKenzie with the assistance of Alan Dixon, Friends and Family. Stan's story on his own brief biography page. 

A much expanded Mantovani Composition page has been included today through the great help of Colin MacKenzie and the kind assistance of Kenneth Mantovani. 

PETITION TO RECOMMEND A DAMEHOOD FOR PETULA CLARK – WHICH IS LONG OVERDUE

Currently close to 1000 UK citizens have signed a petition requesting that international legend Petula Clark receive her Damehood.

It is now 65 years since Petula Clark found fame. She has
sold 100 million records, made 35 films and has won accolades the world
over. Throughout her career she has constantly supported and worked hard
for charities and supports work with Children with Cerebral Palsy,
UNICEF, CRUISAID, Alzheimers Society and the British Fire Service
Benevolent Fund as well as many others. It seems very unjust that as she
is still touring, composing and recording and that she has not been made
a Dame.

Please visit the online petition and add your name. Thank you.
http://petitions.pm.gov.uk/Damehood/
For further assistance, please visit Petula Clark's website: http://www.petulaclark.net 
You must have a UK mailing address to sign the petition.
 

A note of appreciation and thanks: I would like all visitors to know that this vast site wouldn't be possible without the contribution of Colin MacKenzie, Donald Southwell, Richard Cox, Alan Dixon, Akima Toru, Doctor Hidehisa Habe, Matuo Tosimine, Scott Raeburn, and Norbert Costello. The spectacular amount of information that we Mantovani fans relish would not have been available without their selfless contribution. They are all my friends and I am a very lucky man because of this friendship. Sincere thanks to all.

We get over 2000 visitors monthly from *(please note the growing list of visitor countries)

0

 United Kingdom, 

Japan, 

Canada, 

the Netherlands, 

Republic of Korea,  

Cocos Island

Cyprus, 

Portugal

Luxembourg

Austria, 

Belgium,

Germany, 

New Zealand, 

Singapore, 

Romania

Togo

Saudi Arabia

Lebanon

India

Greece, 

Estonia, 
 Israel, 

Trinidad and Topago, 

Argentina,

Spain, 

South Africa, 

Niue

Brazil, 

Sweden, 

France, 

Australia, 

Uruguay

Pakistan

Switzerland, 

Croatia,

Iceland

Italy

Malaysia

Equador 

Slovakia

Ivory Coast

Bulgaria

Aruba

Finland, 

Poland, 

Ireland,

Costa Rico

Ghana

Mauritius

Venezuela

Lithuania

Norway

Iran

Indonesia

Luxembourg

the Russian Federation

Honduras

China

Hungary

Vietnam

Mozambique

Sri Lanka

Slovenia

Taiwan, 

Afghanistan, 

Botswana, 

Yugoslavia, 

Columbia, 

Philippines, 

Peru,

Turkey

Malta,

Egypt

Latvia

Denmark, 

Norway, 

Chile, 

Italy, 

Guatemala, 

Czech Republic, 

Dominican Republic, 

Mexico, 

Qatar

Benin

Cuba

Sao Tome and Principe

United Arab Emirates

USA, including territory of Puerto Rico

and 

 Our Ladies and Gentleman in Uniform. God Bless Them All!

Please note: if you consider the list of countries within which Mantovani music is popular, it truly transcends all faiths and beliefs.

One-world, Many Faiths.  

Above is the San Antonio-class amphibious transport dock, USS New York . It was built from 24 tons of World Trade Center Steel. May God bless this beautiful ship and all who serve on her.

Let it be known to the world that we Americans will never forget 9/11.
This site was produced and is maintained in the United States of America. Half of our visitors have just discovered the Mantovani Fan Website, the remainder are return visitors. To help offset expenses, please consider purchasing your Mantovani CDs from Amazon through our Catalog.  If you have any issues, comments or concerns, please contact the webmaster, . Please don't forget to include "Mantovani" in the subject area of your email.

Thank you, 

Wes StillwagonReturn to Top

 

Significant Mantovani Music Collection Available

Due to retirement I am offering my vinyl record collection:

1 12" Mono 78 RPM
34 10" Mono 78 RPM
115 7" 45 RPM
3 10" Mono 33 1/3 RPM LP
61 12" Mono 33 1/3 LP
111 12" Stereo 33 1/3 RPM LP
11 12" Stereo 33 1/3 RPM LP (Sealed, never opened)
6 Cassette Tapes
6 Reel to Reel Tapes
4 Rare 7" Stereo  33 1/3 RPM
 
The above are all listed by title and number in his personal discography. All items have been stored vertically in 5 Closets in his home which is climate controlled all year long with humidity averaging 50%. The 12" LPsall have soft inner-liner (mostly original) plus an outer vinyl cover. The 78s and 45s are in heavy beige or green covers. EP 45s are in original picture sleeves.

Serious collectors or institutions should contact: bbandd1@verizon.net

 

Classified advertisements from Fans (free to non-commercial advertiser/fans):

 EMail to:   Please, if you email me, put "Mantovani" in the subject line. With thousands of junk mail or spam messages flooding the internet, this would help me sort the more serious stuff. 

To learn more about Wes Stillwagon, click on this link. Use your browsers Back button to return to this site (if you haven't fallen to sleep as a result of learning more about Wes Stillwagon). 

Wes Stillwagon

 

 

 
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