Collins and Spurgin may be ranked among the "production music" composers of the 1950s and 1960s, which, like light music composers generally, have been making something of a comeback on CD recently. We have mentioned a few in previous Garlands and here are a few more names: BRUCE CAMPBELL, exemplified by Skippy, adopted as the music for "seeing sport", Green Hills and Cloudland, Dudley Glass, whose Will o'the Wisp was used as interlude music in "In Town Tonight"; GEORGE CRUIKSHANK (e.g. Banbury Cake); CHARLES KENBURY (eg Channel Ferry); and DONALD THORNE, composer of Rippling Waters, adopted for a BBC TV programme. Thorne was also concerned jointly with TONY LOWRY in a suite Lights o'London, whose individual movements are entitled: Dawn, Kew Gardens; Noon, Oxford Street and Hyde Park; Dusk, Limehouse; and Midnight, Piccadilly. They were doubtless inspired by the earlier light suites on London penned by Eric Coates and Haydn Wood. Lowry appears to have collaborated, actively or passively, with several other British light music "greats". The Russian march, Samovar, was a joint production with Clive Richardson, who died late in 1998. The piece for piano and orchestra, Running Commentary, was arranged by Arthur Sandford. Seascape was adopted as the title music for the BBC programme "The Windjammers" in an arrangement by Robert Farnon; Landscape, by contract, also The Last of the Dandies, was arranged by Ronald Hanmer. Other Lowry titles include Hippodrome Memories and Willow Pattern. He did a fair bit of arranging on his own account and Hippodrome Memories certainly sounds like a potpourri.
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