Just popped up in my queue: bonny John makes a new appearance in my Marquee.tv subscription.
Above: Eric Coates’s “Cinderella: A Phantasy” recorded by my darling John Wilson with the Royal Liverpool Philharmonic Orchestra, 2006.
- Arthur Sullivan: Overture from Iolanthe
- Frederick Delius: Summer Nights On the River
- Eric Coates: Cinderella A Phantasy / This one’s a real dilly. Download John and the Royal Liverpool Philharmonic doing it in 2006 here [https://bit.ly/coatescinderella]
- Edward Elgar: Chanson de Matin
- Edward Elgar: Chanson de Nuit
- Haydn Wood: London Landmark Suite / John conducts “The Horse Guards” segment on YT [https://bit.ly/haydnwood]; download audio here [https://bit.ly/woodwhitehall]
MY BELOVED JOHN SPEAKS AT 46:00!
John: I think with Light Music generally one of its primary requirements is to ‘land in the listener’s lap’. It has to have a direct route to the listener’s emotions. You mention the Haydn Wood London Landmark Suite… In the 1930s from about 1933 onward, with Eric Coates’s London Suite, there was a sudden vogue for London—it was an illusory London, but it was very useful for these composers who wanted to express these sort of picture-postcard scenarios in music… Eric Coates did that very effectively with his London Suite in 1933. Now, why did people suddenly start copying Coates? It’s because it was enormously successful… It sold 400,000 copies of the 78 [record] and suddenly of course dollar signs started flashing in front of the publishers’ eyes.
And these three that we’re going to hear tonight are incredibly different individually. What should the listeners be expecting to hear?
John: The tunes are good. Particularly the last movement, “The Horse Guards—Whitehall” which was used as a signature tune for a long-running radio show [Down Your Way, 1946-92]… That’s obviously got a jaunty, horsey aspect to it… The first, “Nelson’s Column”, has a sort of quality nautical aspect to it… And the middle movement, “Tower Hill”, has a sort of thread of tragedy running through it. It’s never profoundly tragic, it’s all a kind of…as I keep saying earlier, a kind of picture postcard, a sort of 1930s-1940s sort of illusory version of what these places represent.
What are the sort of challenges you come across as a conductor when conducted and preparing music like this?
John: You know, there are a time when there was no division between light music and serious music. But with the advent of broadcasting and seaside orchestras there was a new market for composers who specialized in that field.. And the challenge as a conductor is that you have to get off the page the immediacy of the music, the directness of the melodies and the rhythms, so I think on common levels of snap, articulation, fervor, all those things to bring these pieces to life… It’s, I think, from a player’s point of view, it’s often more than you might actually think. Part of the secret of this music’s success is that it never outstays its welcome. Which means as a player you have very little time to establish yourself. You’ve got to be in the zone and you’ve got to kind of deliver immediately. I mean, you know, I’ve been doing this stuff here with this orchestra for a lo’ of years, so they’re quite familiar with not only the style but what it is I like, so it’s all very happy music making.
- “The Story So Far, with Conductor John Wilson”
- “The Story So Far; Or, Conductor John Wilson—His Limits”