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Earlier in this exhibition, we mentioned the many,
diverse types of events presented at Royal Albert
Hall, throughout the past century, including those
continuing to be showcased there today, and the
accompanying programme pages from its 1937, Ford
Motor Exhibition not only provide marvelous examples
of their unique ability to combine various forms
of corporate-, music-, and arts-related events,
but also serve as indelible documents of London
history.
In conjunction with its European headquarters in
Great Britain, and as part of the Ford Motor Company's
unveiling of its 1937 line of automobiles, a symphonic
programme was presented including such renowned, American, orchestral
works as "Rhapsody In Blue" and music from the film
"Shall We Dance" by George Gershwin, as well as
music from the enormously popular, Broadway musical
"Roberta" and the film "Swingtime" by Jerome Kern.
Nearly ten years earlier, in April of 1928, Henry
Ford (and his wife Clara) had arrived in Southampton,
meeting with the King and Queen and other British
leaders, to appoint Sir Percival Perry as head of
the Ford Motor Corporation's European activities.
Following Sir Percival's appointment, the new, British
operations would then serve all of the American
car manufacturer's plants in Antwerp, Barcelona,
Berlin, Copenhagen, Cork, Helsinki, Istanbul, Manchester,
Rotterdam, Paris, Stockholm, and Trieste.
Also included in the Ford Exhibition's, week-long
series of events, as explained in a later page of
the programme (not shown), was a clever form of
visually-themed entertainment involving a popular
artist referred to simply as "The Silver-Masked
Caricaturist." The Royal Albert Hall programme announcement
read "Also for Your Entertainment; Every Evening
at 5:15 pm and 8:30 pm (Approx.); Lightning sketches
of World Famous Personalities (and others only slightly
less renowned); by The Silver-Masked Caricaturist.
The Silver Mask hides the identity of a well-known
black and white artist, who will execute his sketches
on the platform in full view of the audience. His
caricatures will include personalities at the Ford
Motor Exhibition."
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As the featured, musical attraction
of the Ford Exhibition, Britain's Royal Artillery Band,
conducted by Lieutenant O.W. Geary, would perform each
afternoon and evening, throughout the week, with an additional,
orchestral concert at the conclusion of each day's activities.
Combined with the American orchestral and cinematic works
previously mentioned, the programme would also include
compositions by such renowned British and European composers
as Belton, Coates, Mozart, Puccini, Ravel, Saint-Saens,
Sibelius, Strauss, Tchaikovsky, Verdi, Wagner, Weber,
and numerous others, with the close of each performance
marked by the playing of the Royal Artillery Slow March
"God Save the King."
Included in the text of the accompanying programme page,
the description of the Royal Artillery Band states "The
Band of the Royal Regiment of Artillery will need no introduction
to most visitors to the Ford Exhibition, for it has a
reputation second to none. The records of the Band date
back as far as 1762, when it was formed, and it is doubtful
if there is another band in the Army with so long a continuous
history. At most of the important functions held in the
City of London the presence of the Royal Artillery String
Band is a traditional feature, and among their engagements
of this nature is included the Lord Mayor's Banquet at
the Mansion House." It goes on to add "The Band is one
hundred in strength, and almost every musician doubles
a wind instrument in addition to his stringed instrument,
so that it is possible to produce a first-class Military
Band and a Full Symphony Orchestra from the same personnel.
Conforming to present-day requirements, the Royal Artillery
Band possesses two complete dance bands, which, combined,
had the honour of providing the music for the two State
Balls held at Buckingham Palace during the Coronation
Period."
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As the final image selected
for this exhibition, the accompanying, 1926, Paul
Whiteman programme cover represents not only an
exceptional, historical document from the history
of Royal Albert Hall, but also provides a brief
glimpse into one of the most important performances
of what was only Whiteman's second European tour
of his career. Following his previous, 1923, British
appearances, where the Whiteman Orchestra would
perform as many as four times for the Prince of
Wales, and six times for the Duke of York, as well
as for both Lord and Lady Mountbatten and Lord and
Lady Curzon, Paul Whiteman would later receive the
additional honour of being included in a leading,
British encyclopedia devoted to the study of classical
music.
Upon his return to London, in 1926, the British press would describe Whiteman's landmark, April 11th performance at Royal Albert Hall by stating "The 8000 who got seats were lucky, and the 1000 or more who stood on each other's feet in the vast circular promenade area at the top of the building, from which they could not have thrown a stone at the stage, evidently thought they were recompensed for their hardships. One of the professional critics who disapprove of Mr. Whiteman admitted that the house was full and estimated that 5000 were turned away from the door."
The article would go on to provide the following, marvelously descriptive account of the evening's success "There is one isle which reaches straight across the vast arena of Albert Hall. This affords a view along the line of feet belonging to the occupants of one whole row of high price seats. On other occasions, these seats are wont to be occupied by the elite of the musical set of the metropolis. Who were in their shoes, so to speak, on the occasion of Mr. Whiteman's concerts one would hesitate, in view of the pronouncement of the critics, to declare. But this is certain: those feet enjoyed the Whiteman concert. There were beautifully polished lace boots and dainty patent shoes, tans, and suedes and kids in fancy colors, shapely toes, and good, solid masculine heavies, but all tapped in unison, under the inspiration of Paul Whiteman's 'St. Louis Blues'."
Two weeks later, on the afternoon of April 25th, the Whiteman Orchestra would once again perform at London's renowned Royal Albert Hall, for a specially added engagement scheduled to accommodate the thousands of British fans previously turned away.
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