He was also musical director for a large number of musicals and other plays, including ones by Noel Coward. After the war, he concentrated on recording, and eventually gave up live performance altogether. He worked with arranger and composer Ronnie Binge, who developed the "cascading strings" sound (also known as the "Mantovani sound").[citation needed] His records were regulars in stores selling hi-fi stereo equipment, as they were produced and arranged for stereo reproduction. In 1952 Binge ceased to arrange for Mantovani, but his distinctive sound remained.
He recorded for Decca until the mid-1950s, and then London Records. He recorded over 50 albums on that label, many of which were top-40 hits. These included Song from Moulin Rouge and Cara Mia, which reached No. 1 in Britain in 1953 and 1954, respectively. The latter was also Mantovani's first U.S. Top Ten hit.
In the United States, between 1955 and 1972, he released over 40 albums with 27 reaching the Top 40 and 11 the Top Ten. His biggest success was with the album Film Encores, which made it to No. 1 in 1957. Similarly, Mantovani Plays Music From 'Exodus' and Other Great Themes made it to No. 2 in 1961 and sold over one million albums.
In 1959, Mantovani starred in his own syndicated television series, Mantovani, which was produced in England and which aired in the United States. 39 episodes were filmed.[1]
Mantovani made his last recordings in 1975.[citation needed]
[edit] Music style and influences
The cascading strings technique developed by Binge became Mantovani's hallmark in such hits arranged by Binge as "Charmaine". Binge developed this technique to replicate the echo experienced in venues such as cathedrals by arrangement alone, in an echo-free surrounding.
Author Joseph Lanza describes Mantovani's string arrangements as the most "rich and mellifluous" of the emerging light music style during the early 1950s. He stated that Mantovani was a leader in the use of new studio technologies to "create sound tapestries with innumerable strings", and that "the sustained hum of Mantovani's reverberated violins produced a sonic vaporizer foreshadowing the synthesizer harmonics of space music."[2]
In 1958 Mantovani and his family bought a holiday home in Bournemouth in Durley Chine Road, then in 1961 acquired a new property in Burton Road (now part of Poole). He moved, finally, to a new home in Martello Road in Poole.
Since his death at a care home in Tunbridge Wells, Kent, in 1980, his music has enjoyed a minor revival,[citation needed] with much of his catalogue reappearing on CD and an orchestra bearing his name performing concert tours. The saleability of the Mantovani name is underscored by new recordings being made as the Mantovani Orchestra. Unfortunately[neutrality is disputed], a large number of CDs are also available of unauthorized recordings, billed as Mantovani or Mantovani Orchestra.[citation needed] There have also been CDs released under the Mantovani name of recordings made by others while Mantovani was still alive.[citation needed] Thus, consumers of this music are advised to familiarize themselves with the conductor's discography. Material with the London Records logo on it is apt to be genuine Mantovani, while other recordings are less likely to be actual Mantovani recordings.[citation needed]
The continued popularity of Mantovani's music is evident by the number of original albums which are being released, on labels such as Dutton-Vocalion, and by the many compilations available throughout the world. In 2008, as a result of successful, ongoing CD sales, amongst other contributing factors, the Mantovani Orchestra (performing from the original scores) was recreated for a tremendously successful historical tribute concert, sponsored by Bentley Motors, held at the Lighthouse, in Poole, England, on 27 January, conducted by Sam Newgarth, MBE. Much critical acclaim has led to the planning of a second concert, to take place in January 2009, at the same venue. There are four Mantovani websites in honour of the maestro, a written biography by Colin MacKenzie entitled Mantovani - A Lifetime In Music (ISBN 1-905226-19-5). For further information, please visit http://www.hallowquest.com/mantiindex.htm; http://members3.jcom.home.ne.jp/torumonty; http://www.lighthousepoole.co.uk (re. ticket sales for 31 January 2009). A ten CD set 'The Wonderful World of Mantovani' was released in November 2008 in Japan (a link to the website in Japan may be found by visiting www.hallowquest.com/mantiindex.htm), featuring many rare tracks which have never been released on CD before, in a superbly remastered format, and, following the success of the Mantovani Orchestra's 2008 concert, 'More MANTOVANI Magic' took place at Lighthouse in Poole, England, on 31 January 2009, again conducted by maestro Sam Newgarth MBE. The concert was sponsored by Poole Audi, and also with the generous support of Richard Cox.
Never on a Sunday
Mantovani Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A Monday, a Monday is very, very good
Or you can kiss me on a Tuesday
A Tuesday, a Tuesday, in fact I wish you would
Or you can kiss me on a Wednesday
A Thursday, a Friday and Saturday is best
But never, never on a Sunday
A Sunday, a Sunday, 'cause that's my day of rest
Most any day you can be my guest
Any day you say, but my day of rest
Just name the day that you like the best
Only stay away on my day of rest
Oh, you can kiss me on a cool day, a hot day
A wet day, which everyone you choose
Or try to kiss me on a gray day, a May day
A pay day, and see if I refuse
And if you make it on a bleak day
A freak day, a week day, why you can be my guest
But never, never on a Sunday
The song "Never on Sunday" by Mantovani & His Orchestra talks about a woman who is willing to be kissed on any day of the week, except for Sunday, which is her day of rest. The lyrics convey the idea that Sunday should be a day of peace and tranquility, and that it should be reserved for rest and reflection. The woman in the song is portrayed as someone who has a lot of love to give, but who also values her own personal time and space.
The song reflects the cultural and religious significance that Sunday has in many countries around the world. In Christianity, Sunday is considered a holy day, and many people attend church services and refrain from work and other activities on this day. The lyrics suggest that the woman in the song also values her Sunday as a day of spiritual reflection and rest.
Overall, the song is a romantic and lighthearted ode to the importance of taking time for oneself and respecting the traditions and values of others.
Line by Line Meaning
Oh, you can kiss me on a Monday
I enjoy a kiss on Mondays, it's a great start of the week!
A Monday, a Monday is very, very good
Mondays are highly enjoyable for me, a great day to kiss.
Or you can kiss me on a Tuesday
How about a kiss on Tuesdays? I'd love that too!
A Tuesday, a Tuesday, in fact I wish you would
I really do hope you kiss me on a Tuesday, it's a great day for it!
Or you can kiss me on a Wednesday
Let's not forget about Wednesdays, they're a great day for kisses as well.
A Thursday, a Friday and Saturday is best
I must say, the best days for kisses are undoubtedly Thursday, Friday and Saturday.
But never, never on a Sunday
Whatever you do, please don't kiss me on a Sunday, it's my day of rest.
A Sunday, a Sunday, 'cause that's my day of rest
I greatly value Sundays as a day of rest, so I'd like to refrain from kissing then.
Most any day you can be my guest
I'm happy to welcome you for a kiss most any day!
Any day you say, but my day of rest
I'm open to kissing any other day but my beloved Sunday.
Just name the day that you like the best
Which day do you prefer for kissing? I'm open to your suggestions!
Only stay away on my day of rest
Please don't come around for a kiss on Sundays, it's important to me to rest on those days.
Oh, you can kiss me on a cool day, a hot day
Temperature doesn't matter, you can kiss me on cool or hot days, I don't mind!
A wet day, which everyone you choose
Rainy days are fine as well, you can kiss me on any day you like.
Or try to kiss me on a gray day, a May day
Maybe you can try and kiss me during a gray day or even on May Day?
A pay day, and see if I refuse
Or how about payday? You can try and kiss me then and see if it's a day I refuse.
And if you make it on a bleak day
Even on bleak days, you're welcome to try and kiss me.
A freak day, a week day, why you can be my guest
And freak days or common weekdays are no exception, you can be my guest for a kiss then.
But never, never on a Sunday
Once again, please refrain from kissing me on a Sunday. It's important to me to rest on those days.
Lyrics © Sony/ATV Music Publishing LLC
Written by: Manos Hadjidakis, Billy Towne
Lyrics Licensed & Provided by LyricFind