Англия композиторы және дирижері Аңгела Морли өмірі мен шығармашылығы

English composer and conductor

Angela Morley (born Walter Stott; 10 March 192414 January 2009) was an English composer and conductor who became familiar to BBC Radio listeners in the 1950s under the name of Wally Stott. Morley notably provided incidental music for The Goon Show and Hancock's Half Hour. She attributed her entry into composing and arranging largely to the influence and encouragement of the Canadian light music composer Robert Farnon. Morley transitioned in 1972 and thereafter lived openly as a transgender woman. Morley won three Emmy Awards for her work in music arrangement. These were in the category of Outstanding Music Direction, in 1985, 1988 and 1990, for Christmas in Washington and two television specials starring Julie Andrews. Morley also received eight Emmy nominations for composing music for television series such as Dynasty and Dallas. She was twice nominated for an Academy Award in the category of Best Original Song Score: first for The Little Prince (1974), a nomination shared with Alan Jay Lerner, Frederick Loewe, and Douglas Gamley; and second for The Slipper and the Rose (1976), which Morley shared with Richard M. Sherman and Robert B. Sherman. She was the first openly transgender person to be nominated for an Academy Award.

Morley was born in Leeds, Yorkshire on 10 March 1924 under the name of Walter "Wally" Stott. or 1944. and was also the musical director for The Goon Show from the third series in 1952 to the last show in 1960, conducting the BBC Dance Orchestra. The next hits she worked on were Robert Earl's "I May Never Pass this Way Again" and Frankie Vaughan's "Tower of Strength". In 1961, Morley provided the orchestral accompaniments for a selection of choral arrangements made by Norman Luboff for an RCA album that was recorded in London's Walthamstow Town Hall. The New Symphony Orchestra (an ad hoc recording ensemble, not to be confused with the Bulgarian New Symphony Orchestra), was conducted by Leopold Stokowski, and the professional British choir, namely the Ambrosian Singers as rehearsed by Luboff, performed such favourites as "Deep River", Handel's "Largo", Bach's "Jesu, Joy of Man's Desiring", Rachmaninoff's "Vocalise", under the album's title Inspiration (also later reissued on a BMG Classics CD). In 1962, she arranged and conducted the RCA Red Seal debut album Romantic Italian Songs for Italian born tenor Sergio Franchi, and later did the arrangements and conducting for Franchi's 1963 RCA album, Women in My Life. Some of her other notable works in the years before transitioning include the composition and arrangement for the films The Looking Glass War, released in 1970, and she travelled to California for the award ceremony. She was again nominated for the Academy Award for Best Original Music, Original Song Score and Its Adaptation or Best Adaptation Score for this film along with the Sherman Brothers and again was present at the award ceremony. At this time, she was a regular guest conductor of the BBC Radio Orchestra though in an uncredited capacity. Morley continued to work in television until 1990. She chose the new surname Morley as it was her grandmother's maiden name. Her death was a result of complications of a fall and a heart attack. 1977 is a semi fictional account of the year in which Morley was enlisted to complete composition of the musical soundtrack to the film Watership Down in three weeks, after Master of the Queen's Music Malcolm Williamson left the project. noting that:

text=Most of the time, making films and videos is a collaborative endeavour. Despite the many creative contributions of writers, cinematographers, producers, editors, actors, and others, we too often credit films to the director alone. This habit fundamentally misrepresents the filmmaking process, as film scholars Berys Gaut and C. Paul Sellors have argued. If we want to trace a history of trans and gender variant people's audiovisual creativity, we should look for them both in and beyond the director's chair.|author=Laura Horak|title=Tracing the History of Trans and Gender Variant Filmmakers|source=p. 10

Horak includes Morley among her selected list of trans and gender variant filmmakers as a composer, noting in particular her work on The Little Prince and Watership Down alongside the film works of other transgender and gender variant people in Classical Hollywood cinema such as Dorothy Arzner and Christine Jorgensen. and also by a blue plaque at her birthplace in Kirkstall.

Morley's work was influenced by a number of genres and styles. She initially played in British dance bands, and spent much of her career composing music that was labelled as light and easy listening, as well as film scores and television soundtracks. Light music and easy listening were generally not taken seriously or given much respect at the time that Morley was composing, which Dubowsky credits partially to misogyny, due to the genre's association with femininity. Dubowsky acknowledges that the genre has been seen as derivative, bourgeois, and (in America) racially exclusionary, but calls for the genre and Morley's work to be reconsidered for its influence on film music and the technical skill required in its production. He also, in the conclusion to his chapter on Morley and Wendy Carlos, questions whether Morley was drawn to light music for its perceived feminine qualities. Beyond her light and easy listening work, Morley collaborated with many kinds of artists at Philips Records, from folk music to rock and roll, produced her own recordings of music from Christmas music to show tunes, and later focused her attention on orchestral, classical and choral arrangements that went beyond the scope of light music and easy listening. Morley credited her eventual turn away from film scores to technological changes: tape recording, new types of microphones, and the advent of stereophonic sound had reached the wider music industry, but not film. She wrote that "to go to a cinema to hear one's latest score was absolute torture." Nevertheless, she continued to work intermittently in film until 2002.

Her music for The Goon Show stood out as having "a jazz flavour, rather than the standard comedy show music of that time." From some of her earliest composition works, Morley used instruments to represent characters, such as the tuba notes in the theme to Hancock's Half Hour which represented Tony Hancock. While Morley was working with Johnny Franz at Philips Records, Robert Earl noted that Morley and Franz "didn't believe in fade out endings so all those ballads end on big notes". Her work on film scores is noted for her "mastery of orchestration and gift for evoking moods and atmospheres" (in reference to The Slipper and the Rose and Watership Down) and "her strengths in swing, classical, and romantic period styles" (in reference to Watership Down). For Watership Down, Morley created a character theme for Kehaar, voiced by Zero Mostel. On "Kehaar's Theme", Dubowsky notes the influence of Claude Debussy and comments that:

text=For this theme, Morley takes a fragment of the opening flute motive of Debussy's 'Prélude à l'après midi d'un faune' [ ] and spins it into a majestic, soaring, romantic swing waltz, an amalgamation of her work in French romantic style orchestral scoring and big band swing. Alto sax takes the tune; the surrounding orchestration has a rich, symphonic, romantic, classical Hollywood sound, not unlike the orchestrations Morley did for John Williams. In addition to this mastery of style and technique, the opening I–bVI progression is fresh and contemporary; the 'borrowed' bVI chord had been used in earlier psych rock but would become prominently featured in the 'new wave' popular music of the time. [ ] Morley's handling of 'Kehaar's Theme' and its orchestral accompaniment shows a technique well honed not just from film work, but from years of working in 'light music' where romantic accompaniments and swing tunes were frequently employed. While not an 'easy listening' version of Debussy, 'Kehaar's Theme' nevertheless suggests how one might conceive of such a thing and execute it with finesse.|author=Jack Curtis Dubowsky|title=Intersecting Film, Music, and Queerness|source=p. 125 126

He also notes that "Kehaar's Theme" incorporates polyrhythms and has an emphasis on string instruments, and that it draws from many of the genres Morley worked in: "classical, swing, jazz, light music, concert music, and film scoring". Speaking more broadly about the Watership Down score, Dubowsky also notes the effectiveness of "Violet's Gone" and "Venturing Forth".