A

AFTER DINNER MUSIC
Sketch from Charlot's 1924 Revue and Charlot's Revue of 1926  (New York) containing three songs (see separate entries for further details of these titles):

 

1. A LITTLE SLUT  OF  SIX   
2. THE ROSES HAVE MADE ME REMEMBER
3. THE GIRL I AM LEAVING IN ENGLAND TODAY

ALAS THE TIME IS PAST

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(Nov./Dec)1928 (while in NY?)
Bitter Sweet  1929 (Act III opening sequence, ladies chorus)
VS (music No.22)
Concerted number for Sextet (characters Victoria, Harriet, Effie, Gloria, Jane and Honor - all ladies' voices), whose precise voicing of harmonies may well owe something to the arrangement skills of Elsie April.  It is a relaxed, quietly-ending number on the theme (a favourite one of Coward's) of regret for the lost innocence and manners of the past - "things were simpler then".  The sextet in ONR 01 is a bit distant, but they give a good, simple madrigalic account, which is what the piece needs.
ONR 01: New Sadler's Wells Opera 1988

ALICE IS AT IT AGAIN

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(May-June 1946, 'White Cliffs', Kent)
Cut in rehearsal from Pacific 1860, 1946
Cabaret performances, 1951-55
Sep. publ. 1955, SA2 STA VS CC NCG2
Cabaret Song/Point Number. Its original title was 'Sweet Alice'.  It was composed along with most of the music for P 1860. However, Mary Martin refused to sing it. NC later rewrote the lyrics of the last verse to make them more “modern” as opposed to the original “period” lyrics for P 1860,  and inserted it into his Cabaret performances.  It became well-known as a result of the Las Vegas cabaret recording and was published that year. It's an unusual comedy number in that it does not have the "normal" rumpty-tumpty firm rhythmic setting. The two verses and first refrain, despite more than tolerably suggestive lyrics, are set mainly to a rather wistful and gentle melodic line largely in flowing 6/8 rhythm. Only when the second refrain is reached is there any  steady rhythmic impetus, and  the song 'takes off' with a new, snappy melody after its first phrase, and builds to a firm ending restating the title. NC demonstrates in NCR 37 how he envisaged the first section as needing to be taken in relaxed two-bar phrases.  The NCR 37 orchestration was clearly Matz’s model for NCR 38.
NCR 37:  + Wally Stott Orch., acc.Hackforth (1954)
NCR 38: + C. Hayes orch./acc. Peter Matz (1955)
ONR 07:Tudor Davis/Una Stubbs (Cowardy Custard, 1972)
ONR 16a: Courtney Kenny (2001)

ALL MY LIFE AGO

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1946 (White Cliffs, Kent)
Orig. intended for Pacific 1860, but unused.  Then in score of After The Ball 1954 (Mary Ellis)
MS VS for After the Ball (Hackforth’s)
& Robb Stewart's  MS + lyric specifying number for 'Rosa'
Romantic Ballad A good deal of the lyrics were changed for the song’s use in After The Ball  and the original intro. was dropped.
A 16-bar Verse leads into Refrain 'cantando e molto legato' - a gently reminiscent number sung by Mrs Erlynne to Lady Windermere on the theme of 'may you be happier than I - go your own way, but please remember me'.
It's probable that what survives is a cut down version of a longer original. What survives is also lush but rather formless.  One is almost tempted to say that it is mercifully short.  Mary Ellis on OCR 15 is really rather execrable – her tuning gets worse as the number progresses and she ends the piece nearly a semitone flat. Fortunately (for it has grace and poise) there is now a new and less execrable recording of this song, on ONR 00 - where for some reason it is listed under the title 'Remember Me'
OCR 15: Mary Ellis (1954)
ONR 00: Mary Illes acc. Mark Hartman (2005)

ALL THE FUN OF THE FARM 
(FUN ON THE FARM) 
(Orig. working title was simply 'FARM')

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(1922)
Cavalcade,1931: Act I Scene 4 (part of 'Mirabelle' sequence)
Unpubl. MS, which is written out in the same hand as that for WHEN WE WERE GIRLS TOGETHER (London Calling! 3rd Edn. 1924), SIX and TEMPERAMENTAL HONEYMOON. This unknown hand is assumed to be pre-Elsie April.  The MS has the lyric added by  a later hand.
Point Number - a pastiche of a 1900-style musical comedy number with a very silly lyric.  The song, rhythmically a bouncy 6/8, is directed to be "nice and bright", and starts sensibly enough with a girl expressing her delight at being able to leave a cosmopolitan world of travel and settle for a deeply rural life, but degenerates towards the end into a cacophony of animal noises. cf. DEVON. 

ALL THINGS BRIGHT AND BEAUTIFUL
See Appendix 1.b

ALLA MARCIA 1
(POLKA ALLA MARCIA)
(SENTRIES' DUET)

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Sept/Oct 1958 (Bermuda) [NCD]
London Morning  (Ballet) 1959
Publ. pno. score No.2
A sprightly little march in Eb.  The music is based on 'The British Grenadiers'.
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLA MARCIA 2
(THE CHANGING OF THE GUARD)

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Early Dec. 1958, NY [NCD]
London Morning  (Ballet) 1959
Publ. pno. score No.13
A strong, extended march in 6/8 time, reminiscent of 'A Life On The Ocean Wave'.  There are two good melodies.
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLEGRETTO
(AMERICAN GIRL)

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Sept/Oct 1958 (Bermuda)
London Morning  (Ballet) 1959
Publ. pno. score No. 8
origin ascription NCD 5.10.57  - if indeed this piece is the "light waltz" that NC refers to here.  It is only fourteen bars long and doesn't seem substantial enough to be worth remarking upon.
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLEGRO 1
(SCHOOLGIRLS AND NUNS)

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(late1958)
London Morning  (Ballet) 1959
Publ. pno. score No. 11
The middle section of this strong vivace in 4/4 shows NC experimenting with the melody pitched below the accompanying harmonies and figurations.
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLEGRO 2
(THE BATHCHAIR)

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(late 1958)
London Morning  (Ballet) 1959
Publ. Pno. score No.14
One might expect a number featuring an elderly person in a bathchair to be sedate, but it isn't.  A strong and extended allegro in 2/2 tempo, it features passages of helter-skelter quavers.
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLEGRO VIVACE 1
(SAILOR)

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(Late 1958)
London Morning  (Ballet) 1959
Publ. pno. score No. 9
A little hornpipe leads to a passage in elegant rising-and-falling two-bar phrases, which has some thematic links to the PAS DE DEUX No. 1 which follows  
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALLEGRO VIVACE 2
(JUVENILE DELINQUENTS)

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(Late 1958)
London Morning  (Ballet) 1959
Publ. pno. score No. 17
This is substantially the same music, in different keys, as ALLEGRO 1 (see above).
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ALWAYS BE NICE TO FATHER
see Appendix 1.c

ALWAYS BE NICE TO THE GENTLEMEN

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(1943)
Unused
A music only MS in the Mander and Mitchenson Collection in the hand of Robb Stewart. For him, it is remarkably clear and well laid-out, and as his MSS deteriorated markedly in clarity after 1945 to something bordering on the chaotic by 1950, one guesses that this was among the earliest transcriptions he made for NC. 
Point Number for a mother-and-daughter, well worked-out with two long verse sections and three long refrains, and not entirely dissimilar in mood to MOTHER AND DAUGHTER which cropped up in Sigh No More in 1945. Details gleaned from unpublished bits of the Noel Coward Diaries show that this song was “finished” on October 31 1943, and that NC thought that “it is good, but [I’m] not quite satisfied with the last line.”
NC  thought  enough of it to include it in the 'miscellaneous' 1940's section of NCL in 1965, despite its non-use. The arrangement of the refrain melody notes is faintly reminiscent of those for HIS EXCELLENCY REGRETS, though the pieces are rhythmically quite different.

AMERICAN GIRL
See ALLEGRETTO

ANDANTE
(RAIN MUSIC)

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Early Dec. 1958, NY [NCD]
London Morning  (Ballet) 1959
Publ. pno. score No. 18
Shimmering tremolandos illustrate the rain, over a rather good, sweeping melody in legato phrases.  It is the penultimate number of the ballet, and leads into the FINALE.    
OCR 17: LPO Cond. Corbett (1959)
ONR 11: Prague Phil. Cond. Robin White (1995)

ANDANTINO
See BALLET (THE LEGEND OF THE LILY)

ANNA THE AUCTIONEER
See Appendix 1.b

ANNOUNCEMENT

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(1932)
Words and Music, 1932 (various incl.chorus)                
WAM VS      
Same introductory music for BALLETS (Music No.15, Act II), THE HALL OF FAME (Music No.8, Act I) and JOURNEY'S END (Music No.10, first-half closer). This is a chorus girls' sung introduction to what follows, addressed direct to the audience.  The words are different and the music is in a new key each time. See also OPENING CHORUS, which establishes the 'Chorus-direct-to-Audience' style of the show generally.
see ONR 22 under HALL OF FAME    

ANY LITTLE FISH

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Christmas 1930 (Goldenhurst)
Cochran's 1931 Revue (Ada-May); The Third Little Show  (USA) - on tour only
Sep.publ., NCSB, VS of Cowardy Custard
This is a mature revue-type point number, where Coward is really at the peak of his 20's comedy dance-song powers. Good interior rhyming, and nicely general so it doesn't date easily. Interesting to note that NC might have lifted his title line from Gershwin's CAN'T HELP LOVIN' DAT MAN which includes the lyric 'Fish got to swim and birds got to fly', and which was a UK popular success in mid-1928.   
NCR 06: +Orch./acc. Ray Noble (1931)
NCR 09: (in medley) +orch. cond. Ray Noble (1932)
NCR: 32 (in medley) pno.acc. Norman Hackforth (1951)
ONR 07: Anna Sharkey & P. Gale (Cowardy Custard, 1972)
ONR 09a: Michael Law (2002)

AS LONG AS YOU LOVE ME A LITTLE
see Appendix 1.c

ASTONISHED HEART, THE

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1950
Music for film suite
Publ. 1950, in four parts, for piano solo.  Also an archive MS copy which shows considerably more complexity and length than the published version. [A rather similar situation exists with the MS archives for In Which We Serve (q.v.)] There's also a MS 'Theme for Piano' in ink, same on reverse in pencil with violin obb. part above, all in Robb Stewart's hand. Also RS MS of opening passage of second section which is more or less the draft for the printed version, but with thicker texture, "tidied up" a bit and very slightly expanded. The RS MSS includes another version showing a vocal or instumental line separately.
The music still earns respectable amounts in broadcasts royalties (see Appendix 3 for details).

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