Orchestral Sgt. Peppers

Sgt. Pepper's Lonely Heart Club Band is accepted universally as a bench-mark in the history and development of popular music - a veritable icon of the 60's. It was inevitable that at some time or other an orchestral version would be produced and in so doing, raise the question "Why?" One simple answer is that it was an enjoyable thing to do. There are. indeed, innumerable examples of similar practice about which the same question could be asked, only to be met with the same simple reply.

For instance, Handel's "Messiah" (another icon of earlier times) sufficiently interested Mozart for him to re-orchestrate it. Ravel produced orchestral versions of works by Satie and Debussy and also provided us with a masterpiece of orchestration in his arrangement of Mussorgsky's "Pictures at an Exhibition" In fact the production of alternative versions of established works has been a healthy feature of the output of many musicians throughout the ages, and the songs from Sgt. Pepper likewise have not escaped the attention of other aspirant admirers: Joe Cocker conceived a 3/4 version of "With a little help from my friends" which launched his career, and several other titles

from the album have been seen in a new light by internationally acclaimed singers and arrangers.

Having produced orchestral versions of the sometimes complex music of the elitist groups of the 70s - Jethro Tull. Genesis, Pink Floyd, Yes, etc, I was reminded, on a closer examination of the more universally appealing music of Sgt Pepper, just how transparent the textures are: certainly more Mozartian than Moody Blues, the album presented a provoking challenge in its transfer to a convincing symphonic setting.

The result is truly orchestral, i.e. led by the melodies rather than by a dazzling array of electronic effects or by the guitar, bass and drums, whose role here (though not perfunctory) is simply to provide an accompaniment, just as on the original.

In inviting the Symphony Orchestra of the Royal Academy Of Music to record the piece, an opportunity was made for these gifted young players to enter into and experience the world of studio recording - the goldfish bowl of life for any musician, young or old - with its attendant

pressures, demands and all of that… Moreover, the Royal Academy of Music will receive royalties from the sales of this recording enabling them to provide bursaries for aspiring young musicians (players and writers alike) who need sponsorship that they cannot obtain elsewhere.

But, enough of writing and talking about music: the best always was to listen and enjoy - just as we did in recording it. — DAVID PALMER