Angela Morley

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Angela Morley
Morley in 2004
Morley in 2004
Background information
Birth nameWalter Stott
Born(1924-03-10)10 March 1924
Leeds, West Riding of Yorkshire, England
Died14 January 2009(2009-01-14) (aged 84)
Scottsdale, Arizona, U.S.
GenresEasy listening, classical, jazz, big band, film music
Occupation(s)Composer, arranger, orchestrator, conductor
Instrument(s)Alto saxophone, flute, clarinet, bass clarinet, piano
Years active1940–2008
Websitewww.angelamorley.com Edit this at Wikidata

Angela Morley (born Walter Stott; 10 March 1924

transgender woman.[3] Later in life, she lived in Scottsdale, Arizona.[4]

Morley won three

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.[5]

Early life and education

Morley was born in

ukulele-banjo, and the family lived above their jewellery shop.[6] Her mother also sang.[6] Morley was a fan of dance music before being able to read the labels on the records, listening notably to Jack Payne and Henry Hall as a child,[6] and began learning the piano at the age of eight on a Challen upright piano.[6] Morley's father died of angina[3] in 1933[4] at the age of 39, after which the family moved to Swinton and she ceased piano lessons.[6][3] She then tried playing violin at age 10 and the accordion at age 11, including in competitions, before choosing the clarinet and alto saxophone as primary instruments, taking clarinet lessons and playing in the school orchestra.[6] Morley then played in the semi-professional band led by Bert Clegg in Mexborough.[6]

As a mostly self-taught musician able to sight-read, Morley left school at age 15 to tour with Archie's Juvenile Band, earning a weekly wage of 10 shillings,[6] and also worked as a projectionist.[3] Her mentor at this time was the pianist Eddie Taylor.[6] Morley continued to play saxophone in British dance bands during the period of World War II, joining the Oscar Rabin Band as lead alto in 1941, at age 17.[6] With this band, she began writing arrangements for pay[6] and made a recording debut with the tracks "Waiting for Sally" and "Love in Bloom".[4] She later joined Geraldo's band, which performed for BBC Radio several times a week,[6] in 1942[1][7] or 1944.[2][6][4] With Geraldo's band Morley gained experience arranging for bands of many sizes and styles.[6] She studied harmony and musical composition in London with the British-Hungarian composer Mátyás Seiber and conducting with the German conductor Walter Goehr.[6] Morley's early work was also influenced by Robert Farnon and Bill Finegan.[2]

Career

Pre-transition work

At the age of 26, Morley stopped playing in bands to instead work solely as a writer, composer, and

arranger,[6] and would go on to work in recording, radio, television, and film.[1] She was originally a composer of light music[2] or easy listening,[3] best known for pieces such as the jaunty "Rotten Row" and "A Canadian in Mayfair", the latter dedicated to Robert Farnon.[4] Morley also worked with the Chappell Recorded Music Library and Reader's Digest.[4][6]

Morley is known for writing the

Associated TeleVision (ATV), in use from the introduction of colour television in 1969, until the demise of ATV in 1981. By 1953, Morley was also scoring films for the Associated British Picture Corporation under music director Louis Levy.[6]

In 1953, Morley became

UK Singles Chart in January 1959,[3] and "Kiss Me Honey Kiss Me" (1958).[4] She was the head of an orchestra and a chorale at this time, releasing records as "Wally Stott and His Orchestra" and "The Wally Stott Chorale" respectively.[3] She also worked with artists such as Noël Coward and Dusty Springfield[7] and on the first four solo albums by Scott Walker.[2][9] The next hits she worked on were Robert Earl's "I May Never Pass this Way Again" and Frankie Vaughan's "Tower of Strength".[4]
In 1962 and 1963, Morley arranged the United Kingdom entries for the Eurovision Song Contest, "Ring-A-Ding Girl" and "Say Wonderful Things", both sung by Ronnie Carroll.[4] The former was conducted on the Eurovision stage in Luxembourg. She was also credited with a rhythmic drum solo in the 1960 horror film Peeping Tom, which a dancer plays on a tape recorder.[2][10]

In 1961, Morley provided the orchestral accompaniments for a selection of choral arrangements made by

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,[1][10] and When Eight Bells Toll, released in 1971.[1][10] She stepped back from the music and film industry between 1970 and 1972[3] in order privately to undergo gender transition.[7] During this time, Morley studied clarinet chamber music at the Watford School of Music for eighteen months.[3]

After transitioning to living publicly as a woman in 1972,

Academy Award for Best Original Music, Scoring Original Song Score and/or Adaptation[2][11] and she travelled to California for the award ceremony.[6]

Morley was also the composer, conductor, arranger and orchestrator for the

Master of the Queen's Music, who left the project.[1][2][14] At this time, she was a regular guest conductor of the BBC Radio Orchestra[2] and BBC Big Band
.

Work in the United States

Following the success of Watership Down, Morley lived for a time in

20th Century Fox Television.[6]

Thanks to a mutual friend,

Boston Pops Orchestra under Williams' direction and working on films such as Star Wars, Superman, The Empire Strikes Back, E.T. the Extra-Terrestrial, Hook, Home Alone, Home Alone 2: Lost in New York, and Schindler's List,[6][15] though in an uncredited capacity.[10] She also collaborated with André Previn,[7] Lionel Newman,[7] Miklós Rózsa,[2][7] and Richard Rodney Bennett.[2] Later, she would work with soloists such as Yo-Yo Ma and Itzhak Perlman.[7] She was nominated six times for Emmy Awards for composing[2] and won three times for music direction,[2] notably of two Julie Andrews television specials.[16]

Morley continued to work in television until 1990.

Disney film The Hunchback of Notre Dame II in 2002, where she worked as an additional orchestrator and composer of additional music.[10]

Personal life

Morley was a

sex reassignment surgery in Casablanca in June 1970 and publicly came out as a woman in 1972.[3][Footnotes 1] She chose the new surname Morley as it was her grandmother's maiden name.[2][3]

Morley was twice married.[2] Her first wife, Beryl Stott, was a singer and choral arranger who founded the Beryl Stott Singers, also known as the Beryl Stott Chorus or Beryl Stott Group.[2][3] Beryl Stott died prior to Morley's gender transition.[1][7] Morley met Christine Parker, also a singer, in London,[3] and they married on 1 June 1970.[2] Parker was a major support to Morley through her transition. Morley stated that: "It was only because of her love and support that I then was able to deal with the trauma, and begin to think about crossing over that terrifying gender border."[1][2][3]

The couple moved to Los Angeles in 1979 following the success of Watership Down, and owned a house in the San Fernando Valley.[3] They moved to Scottsdale, Arizona in 1994.[4] As of November 2015, Parker was still living in Scottsdale.[1]

Morley had two children with her first wife Beryl Stott: a daughter, Helen, who predeceased her in 1986, and a son, Bryan,[3] who was living as of January 2009.[2][7][17] She also had grandchildren and great-grandchildren at the time of her death.[17]

Morley had many friendships with fellow musicians and industry colleagues. While working on The Goon Show, she made the acquaintance of Peter Sellers, and would eventually share fond memories of him to his biographer Ed Sikov.[2] She and Max Geldray continued to be good friends following her transition.[2] She also noted that she was lifelong friends with Herbert W. Spencer from 1955, while working on Gentlemen Marry Brunettes, until his death in 1992.[3]

Death

Morley died in Scottsdale, Arizona[4] on 14 January 2009 at the age of 84.[1][2][3][17] Her death was a result of complications of a fall and a heart attack.[17] Her death was almost exactly 50 years since her no. 1 hit with Shirley Bassey, "As I Love You".[3]

Legacy

Memorial plaque at the BBC building in Leeds

Morley's talent was noted by many of her peers. Arranger Tony Osborne said that she was "at the top of the range [...] second only to Robert Farnon, and it was a pretty close run thing at that", while Scott Walker compared working with Morley to working with Frederick Delius.[4]

Morley was interviewed for the biography of her Goon Show colleague Peter Sellers by his biographer Ed Sikov prior to the book's publication in 2002.[3] When asked by Sikov how she should be identified in the book, she told him: "It's a judgement you'll have to make and I'll have to accept".[3] Sikov chose to refer to her as Wally Stott in the context of her past work but as Angela Morley in the present;[3] most posthumous writing about her follows a similar pattern.[1][2][4][3][7]

In 2015,

Master of the Queen's Music Malcolm Williamson left the project.[1] The radio drama, starring Rebecca Root, was rebroadcast in 2018.[18]

Morley's work has been compared to that of

film history,[20]
noting that:

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.

— Laura Horak, Tracing the History of Trans and Gender Variant Filmmakers, 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.[20]

Morley is commemorated by a

BBC Leeds building,[21] and also by a blue plaque at her birthplace in Kirkstall.[22]

Genre

Morley's work was influenced by a number of genres and styles. She initially played in

television soundtracks. Light music and easy listening were generally not taken seriously or given much respect at the time that Morley was composing,[3] which Dubowsky credits partially to misogyny, due to the genre's association with femininity.[3] 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.[3] 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.[3]

Beyond her light and easy listening work, Morley collaborated with many kinds of artists at Philips Records, from

choral arrangements that went beyond the scope of light music and easy listening.[6]

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.[6] She wrote that "to go to a cinema to hear one's latest score was absolute torture."[6] Nevertheless, she continued to work intermittently in film until 2002.[10]

Characteristics of her compositions

Her music for The Goon Show stood out as having "a jazz flavour, rather than the standard comedy-show music of that time."[2] 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.[2] 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".[4]

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)

Kehaar, voiced by Zero Mostel.[3] On "Kehaar's Theme", Dubowsky notes the influence of Claude Debussy
and comments that:

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.

— Jack Curtis Dubowsky, Intersecting Film, Music, and Queerness, p. 125-126

He also notes that "Kehaar's Theme" incorporates

film scoring".[3] Speaking more broadly about the Watership Down score, Dubowsky also notes the effectiveness of "Violet's Gone" and "Venturing Forth".[3]

Selected discography

Credited as Wally Stott

As leader

  • Great American Show Tunes (1953), Epic
  • There's No Business Like Show Business (1954), Epic
  • A Merry Christmas (1958), Philips
  • Music of the City....London under Columbia (1958), Philips (also released as London Pride and London Souvenir (A Musical Souvenir Of London Town) by Philips in the UK)
  • Christmas in Stereo (1959),
    Warner Bros.
    (Christmas by the Fireside in the UK)
  • Max Steiner's Complete Original Score Gone With The Wind (1967), Pickwick, conducting the London Symphonia

Contributing work

  • Shirley Bassey, Love For Sale (1968), Philips (as arranger)
  • Roy Castle, Castlewise (1961), Philips (as arranger)
  • Noël Coward, I'll See You Again (1954), Philips (as arranger)
  • Diana Dors, Swingin Dors (1960), Pye (as arranger)
  • Roy Castle, Castlewise (1961), Philips (as arranger)
  • Robert Earl, Robert Earl Showcase (1959), Philips (as arranger)
  • Susan Maughan, Sentimental Susan (1964), Philips (as arranger)
  • St. Paul's Choir, The Sounds of Christmas (1971), Golden Hour (co-billing)
  • Harry Secombe, Film Favourites (1964), Philips (as arranger)
  • Harry Secombe, Christmas Cheer (1966), Philips (as arranger) (also released as White Christmas)
  • Harry Secombe, Italian Serenade (1966), Philips (as arranger)
  • Anne Shelton, Songs from the Heart (1958) Philips
  • Scott Walker, Scott (1967), Philips (as arranger)
  • Scott Walker, Scott 2 (1969), Philips (as arranger)
  • Scott Walker, Scott 3 (1969), Philips (as arranger)
  • Spellbound (2008), Vocalion Records (reissue)

Credited as Angela Morley

Selected filmography

Awards and honours

Awards

Nominations

See also

Footnotes

  1. ^ Dubowsky (2016) notes and attempts to correct inconsistencies in the circumstances surrounding Beryl Stott's death and Morley's transition that were reported in various obituaries at the time of her death. His facts are based on personal correspondence with Christine Parker.

References

  1. ^ a b c d e f g h i j k l m n o p q r s t u v "Writing '1977' for BBC Radio 4, and why it's about so much more than 'a transgender woman in the 1970s'". BBC. 30 November 2015. Archived from the original on 7 March 2019. Retrieved 30 March 2020.
  2. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af "Angela Morley Obituary". The Guardian. London. 23 January 2009. Archived from the original on 14 July 2014. Retrieved 11 December 2016.
  3. ^
    ISBN 978-1-349-68713-8
    . Retrieved 6 February 2021.
  4. ^ a b c d e f g h i j k l m n o p q r "Angela Morley: Composer and arranger who worked with Scott Walker and scored 'Dynasty' and 'Dallas'". Obituaries. The Independent. 22 January 2009. Archived from the original on 18 June 2018. Retrieved 31 March 2020.
  5. ^ Betancourt, Manuel (20 January 2016). "Angela Morley: The Story Behind the Two-Time Oscar-Nominated Trans Composer". HuffPost. Archived from the original on 23 September 2020. Retrieved 31 March 2020.
  6. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab "Career Autobiography of Angela Morley". www.angelamorley.com. Archived from the original on 15 September 2008. Retrieved 31 March 2020.
  7. ^ a b c d e f g h i j k l ."Angela Morley". The Daily Telegraph. London. 25 January 2009. Archived from the original on 2 May 2019. Retrieved 9 October 2019.
  8. ISBN 978-1-84854-195-5
    .
  9. ^ "BBC Wales – Music – Shirley Bassey – "As I Love You"". Archived from the original on 12 January 2020. Retrieved 20 December 2019.
  10. ^ a b c d e f g h i j k l m n o p q r s t "Angela Morley". IMDb. Archived from the original on 14 December 2019. Retrieved 30 March 2020.
  11. ^ The Little Prince - IMDb, archived from the original on 12 July 2009, retrieved 30 March 2020
  12. ^ The Slipper and the Rose: The Story of Cinderella (1976) - IMDb, archived from the original on 30 March 2016, retrieved 30 March 2020
  13. ^ The Slipper and the Rose: The Story of Cinderella - IMDb, archived from the original on 29 August 2011, retrieved 30 March 2020
  14. ^ "How the music score for the 1978 feature film Watership Down came together" Archived 8 April 2018 at the Wayback Machine. Angela Morley's website, retrieved 26 March 2018.
  15. ^ "Angela Morley". IMDb. Archived from the original on 14 December 2019. Retrieved 31 March 2020.
  16. ^ "Emmy Winning and Oscar Nominated Arranger Angela Morley Passes Away at 84", Broadway World, 18 January 2009, archived from the original on 27 August 2009, retrieved 24 January 2009
  17. ^ a b c d "Emmy Winning and Oscar Nominated Arranger Angela Morley Passes Away at 84". BroadwayWorld.com. Archived from the original on 8 December 2020. Retrieved 31 March 2020.
  18. ^ a b "Drama: 1977" Archived 10 November 2018 at the Wayback Machine. BBC online, 3 December 2015.
  19. ^ "Sarah Wooley, writer for radio, TV, film, theatre" Archived 26 March 2018 at the Wayback Machine. Wooley's website, retrieved 26 March 2018.
  20. ^ a b Horak, Laura (2017). "Tracing the History of Trans and Gender Variant Filmmakers". The Spectator. 37 (2): 9–20.
  21. ^ "The Rainbow Plaque Trail" (PDF). Leeds Civic Trust. 2018. Archived (PDF) from the original on 22 October 2020. Retrieved 31 March 2020.
  22. ^ "Goon but not forgotten - a blue plaque for Leeds musician Angela Morley". Yorkshire Post. Leeds. 15 June 2017. Archived from the original on 7 October 2021. Retrieved 7 October 2021.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Angela_Morley&oldid=1217999200"