For most of the second half of the 20th century, Canadian-born Robert Farnon was generally regarded as the greatest living composer of light orchestral music in the world. Farnon was also revered as an arranger of quality popular songs, having influenced most of the top writers on both sides of the Atlantic during the second half of this century.

He was born on July 24, 1917 in Toronto, Ontario, the third of four children. The eldest was his sister Norah; the other three were boys who also all made their careers in music. While still in his teens, Farnon became a household name in Canada through his many radio programs, especially the long-running Happy Gang. He was the lead trumpeter for Percy Faith’s Canadian Broadcasting Corporation’s Orchestra, and also contributed vocal arrangements for the show. In 1940 when Faith decided to leave for the United States, Farnon was invited to take over the baton. This provided an opportunity to develop his arranging skills and brought him to the attention of Paul Whiteman and Andre Kostelanetz.

Like so many young writers, he yearned to create more serious works, and by 1942 he had composed two symphonies which were performed by leading orchestras in North America. As conductor of the Canadian Band of the Allied Expeditionary Forces, Farnon came to Britain in September 1944, working alongside Glenn Miller and George Melachrino, who fronted the American and British bands. At the end of the war Farnon remained in England, finding the musical scene more suited to his talents. He discovered what was referred to as ‘light music’ and embraced its possibilities. He had been working on a series of symphonettes which were later to form the basis of compositions such as Willie the Whistler and Jumping Bean.

Farnon’s inventive ideas were soon noticed by English bandleaders such as Lew Stone and Ted Heath who began to add Farnon scores to their libraries. The Robert Farnon Orchestra began to broadcast regularly on BBC radio and television, both on its own programs and also supporting big stars such as Vera Lynn and Gracie Fields. Decca signed Farnon as a house conductor and arranger, and his name appeared on numerous 78s providing backings for singers. Vera Lynn’s first big U.S. hit You Can’t Be True Dear featured the Farnon Orchestra.

Naturally he was anxious to bring his own music to the public’s attention. Thanks to his radio broadcasts, British listeners were starting to notice the bright, fresh Farnon sound. Toward the end of 1948 Decca released one of the finest light music 78s ever recorded: Jumping Bean coupled with Portrait of a Flirt. These two Farnon originals have influenced a generation of composers in this genre.

Although it has been said that he never received the promotional support he deserved from his record company, his contract with Decca produced many fine albums which became models of orchestration. These recordings were copied by leading arrangers on both sides of the Atlantic. Andre Previn called Farnon: “The greatest living writer for strings.” John Williams acknowledges his debt to Farnon, as did the late Henry Mancini. Other top writers to cite Farnon’s influence include Johnny Mandel, Don Costa, Patrick Williams, Angela Morley, Marty Paich, Quincy Jones, Marion Evans, and others.

By the end of the 1940s he had established himself as a name in England. For the next 20 years he composed hundreds of pieces, mostly for Chappell’s Recorded Music Library. During this period he also arranged countless popular songs for broadcasts and recordings, conducted his orchestra in numerous radio and television programs, and made a series of LPs that have become prized collectors’ items. Notable works in this area included The Frontiersmen, Rhapsody for Violin and Orchestra, Prelude and Dance for Harmonica and Orchestra, and Saxophone Tripartite.

As the end of the 1960s approached many of Farnon’s colleagues found that broadcasters and recording companies no longer needed so many of them. But Farnon’s international reputation ensured that his career would take a new -- and perhaps even more illustrious -- direction. In 1962 Farnon was musical director on The Road to Hong Kong with Bing Crosby, Bob Hope, Dorothy Lamour, and Joan Collins. In June of that year, Farnon arranged and conducted Frank Sinatra’s one and only British album Great Songs from Great Britain. The next year Farnon was in Copenhagen recording an album for Sarah Vaughan, Vaughan with Voices which also featured the Danish Svend Saaby Choir.

Farnon’s long and fruitful association with Tony Bennett began in 1968 with the recording of Bennett’s first Christmas-themed album, Snowfall. Together they made several classic albums, a television series, and appeared in many concerts, notably a charmed occasion on 31 January 1971 when Farnon conducted the London Philharmonic for Bennett at the Royal Albert Hall as part of the building’s 100th anniversary celebrations.

For 46 years Farnon lived on the Channel Island of Guernsey, where he continued to compose and arrange until the end of his life. During his 80th year several concerts of his music took place, both in England and in Canada. BBC Radio-2 broadcast a special tribute to him in its Arts Program just a few days after his birthday in 1997.

in 1998 he was awared the Order of Canada. In the Spring of 2003, the British record company Vocalion, in association with the Robert Farnon Society, completed a major project to reissue Robert Farnon’s Decca albums from the 1950s on new CDs. His music is also appearing on other labels, mainly thanks to the efforts of The Robert Farnon Society. Early in 2004 Robert Farnon completed a new Symphony – his third – which he dedicated to Edinburgh, having been captivated by the city on a visit to the Edinburgh Festival. Sadly, Robert Farnon died in Guernsey on April 23, 2005, just three weeks before the premiere of his symphony.