Self taught so far, it was during this period that I started to study harmony, counterpoint and composition with a Hungarian composer, resident in London, Matyas Seiber. I also was an enthusiastic participant in a conducting course taught by the German born conductor, Walter Goehr. Both Robert Farnon and Tommy Dorsey arranger Bill Finegan had written many of the arrangements in our repertoire, and I fell under the spell of both of these great talents and remain, today, greatly indebted to them.
At age twenty-six I decided to give up playing to concentrate on writing. I was busy from the start and three years later, at age twenty-nine, a lot of good things happened to me. I became musical director of the newly launched Philips Records (UK), arranging and conducting every week for all the contract artistes and occasionally for American ones like Rosemary Clooney and Mel Tormé as well as recording several instrumental albums of my own. I started to score films under my own name (I had ‘ghost'-written two scores the previous year) and was writing all the cues for a top BBC comedy show: Hancock's Half Hour, and doing the same, plus conducting, for The Goon Show, which was probably the most successful BBC radio comedy show of the 1950s. The same year, 1953, I started to score films for Associated British Picture Corporation at Boreham Wood Studios where Louis Levy was Music Director.
The 1950s was a very exciting time to be recording, because not only had tape taken over from direct to disc recording and advanced German microphones were in every studio, but stereo had magically added a new dimension to sound. However, these advances had not found their way into film studios and to go to a cinema to hear one's latest score was absolute torture. I was so depressed by these experiences that by the time I was thirty-six (1960), I started to turn down any offers to score films.
During the 1960s, although I had a very busy and interesting musical life, including doing a lot of recording for Readers Digest Records, writing arrangements for Benny Goodman, Nelson Riddle, arranging and conducting some Mel Tormé TV Specials and scoring some documentary films about art for television, I regretted having turned my back on feature film scoring and tried my best to get back into it. Finally, starting in 1969, I scored The Looking Glass War (from a John Le Carré spy novel featuring a very young Anthony Hopkins), When Eight Bells Toll (another Anthony Hopkins movie) and Captain Nemo and the Underwater City. This led to my writing adaptation scores for The Little Prince (collaborating with songwriters Lerner & Loewe) and The Slipper and the Rose (collaborating with Robert & Richard Sherman). In 1977, I scored almost all of Watership Down. I was officially credited as the composer of this score but I had taken over the commission from indisposed composer Malcolm Williamson, who had written six minutes of very high quality music that is the first six minutes of music in the film, and who was given the not very satisfactory credit: Additional Music by Malcolm Williamson! In between scoring films I was also a regular conductor of the now, alas, defunct BBC Radio Orchestra and, from time to time, helped John Williams with the orchestration of his scores for Star Wars, Superman and The Empire Strikes Back.
I had been nominated for an Academy Award for The Little Prince and The Slipper and the Rose, and went to California on both occasions to attend the Oscar ceremonies. The wonderfully warm and generous way that I was made to feel at home there by my American colleagues and friends resulted in my being rather seduced by the California lifestyle and I soon returned with the intention of staying, if not forever, at least for some time. I rented an apartment in Brentwood and set about getting permission to work. With this, I was soon scoring television at Warner Bros.
By 1980, I had bought a house and became further involved with American TV. In the years from 1979 to 1990, I scored several TV films and many episodes of TV series like Dallas, Dynasty, Hotel, Falcon Crest, Cagney & Lacey, Emerald Point, Wonder Woman, Island Son, Blue Skies and McClain's Law. I conducted at most of the Hollywood studios such as Warner Bros., Paramount, M.G.M., Universal and 20th Century-Fox. During the summer, I used to write many arrangements for the Boston ‘Pops' Orchestra during the fourteen years that John Williams was that orchestra's conductor, in addition to helping him with his scores for E.T., Hook, Home Alone I & II and Schindler's List. I was nominated six times for an Emmy Award for TV composing and won three Emmy Awards for arranging. In addition, I wrote many arrangements for Julie Andrews and Mel Tormé and occasionally some for opera stars like Frederica von Stade, Barbara Hendricks and Placido Domingo.
I never really tried very hard to find feature film commissions. In Hollywood your recent track record is all-important, and, in my case, on my arrival from England, what had it been? A film about ‘a little prince'; one about ‘Cinderella' and an animated one (animated films were, at this time, something that children watched on Saturday morning TV) about ‘some rabbits'! No sex, violence, explosions! There had been lots of those things in my earlier films but they had not been recent or high profile enough to count. In short, I couldn't ‘get arrested' as they say. In addition to a lot of scoring for TV, I worked on many feature films for some very good composers like John Williams, Richard Rodney Bennett, John Mandel, Miklos Rosza, David Raksin, Alex North, Bill Conti, William Kraft, André Previn, Sol Kaplan, Pat Williams, David Shire, Lyn Murray, John Morris and Ernest Gold.
Big changes were taking place in film music. 20th Century-Fox was the only remaining studio that had a music department head, Lionel Newman, who regularly conducted music scoring sessions. A far cry from the ‘golden years' of Hollywood when brilliant musicians like Victor Young, Alfred Newman, John Green, Ray Heindorf etc. etc. ran the music departments at all the studios. They had great power on the studio lot and used it to promote and to protect composers in their charge. I experienced this with Lionel Newman. With his passing, music department heads are now, generally, former producers or executives from the ‘pop' record industry. Another big change has been the coming of synthesizers. Producers long, and understandably, frustrated by their inability to look into what the composer was up to and having to wait until the scoring session to find out what the music was going to sound like, discovered that the composer could make a synthesizer demo and play it with the picture. Today, composers are given far less time to write their scores than has been the practice in the past, and to be distracted by the constant requirement to make demos of everything must be a giant headache.
In the last six or so years, life in Los Angeles had became less and less appealing to me. As soon as the Cold War came to an end, we had a bad recession in L.A.'s biggest industry, aerospace. Then we had race riots followed by fires, then floods and great demographic changes caused by immigration. Finally, on Jan. 17th 1994, we had a big, very scary earthquake centered only six miles from my house. I decided that I simply had to go and live somewhere else. The ‘somewhere else' had to be out of California because there are earthquake faults all over the state. I took a look at Scottsdale, Arizona (only one hour's flight time to L.A.) where there has been no history of earthquakes and loved what I saw. Several months later, I bought a house here.
Almost end of story. John Williams still seemed to like my arrangements. I wrote three for a CD that he recorded with the LSO in London called The Hollywood Sound, and three more that he recorded conducting the Pittsburgh Symphony with Itzhak Perlman playing the violin solos on a CD called Cinema Serenade. I wrote five more scores for Itzhak Perlman a year later for a sequel called Cinema Serenade II. I've also continued to write occasional scores for the Boston ‘Pops' under their new conductor Keith Lockhart. In March of 2001, I was asked to arrange a medley of the five nominated film scores for Itzhak Perlman & Yo Yo Ma to play at the Academy Awards ceremony. I'm very happy to be in that sort of company!
In 1998, I founded, in Scottsdale, the Chorale of the Alliance Française of Greater Phoenix (www.afphx.org). I have written, so far, over 30 arrangements of French songs, which the Chorale sings in impeccable French and a cappella as well! We've made two CDs of this répertoire, respectively called Joyeux Noël & La Belle Chanson. All these scores were published in 2001 by the Alliance des Chorales de Québec (www.chorale.qc.ca). Also in 2001, London's John Wilson Orchestra recorded sixteen of my previously recorded older arrangements at Abbey Road Studios for a CD entitled Soft Lights & Sweet Music. November 2003 saw the release of The Film and Television Music of Angela Morley.
