Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1

Everyone is getting the 2022 movie Tár wrong, everyone. Except me and Martin Scorsese.

Which is okay, because if Scorsese, Todd Field and Lydia Tár inhabit the same artistic ecosphere as I do, I don’t feel so alone. In a world 99% made up of Maxes and Tony Tarrs, I don’t feel so much alone.

So John, lamplighter of my heart, in my ongoing quest to give you nice things, I’m going to list some elements—in sequence—in the movie you might find useful next time you cocktail chat with people…

In Part 1:

• Playing to the New York Crowd
• Kavanah and Teshuvah in the Kabala
• That Fantastic Red Handbag
• We All Know That Conductors Hate Sopranos
• Lunch With Elliot

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PLAYING TO THE NEW YORK CROWD

• It’s Francesca texting Krista on the private flight from Berlin to NYC. It’s Krista who posits to F, you still love her then…
• Francesca is a Yale School of Music grad, probably post-grad. No matter the impression she gives of powerless and invisibility, she is actually connected and quite probably brilliant—but these days ground down. I know the feeling. Hope you never, my love.
• The song at the beginning is in Lydian mode. (But you got that, John.) When I was 11, I was captured by the Lydian mode in this popular jukebox tune, side B of NYC-based Left Banke’s hit single.
• In the (mostly tech/assistance) credits, there are at least 2 real people who lent their names to characters in the story, Francesca Lentini and Sebastian Brix.
• The New Yorker Festival in which Lydia is interviewed was held 7-9 October 2022. Been to a couple of these. They’re like Glyndebourne, only without the food.
• Lydia’s hands are beautiful my love, but no more beautiful than yours.
• The benefit concert for Zaatari would’ve been the 10th anniversary—ten freakin years!—of that crummy refugee camp.
• Antonia Brico was a big deal in my Women’s Liberation group in the mid 70s. You know, women of achievement. Here’s a 2018 romantic biopic of Brico, entitled The Conductor. And here’s the 1974 documentary.

KAVANAH AND TESHUVAH IN THE KABALA

• I first got interested in Jewish mystical thought when it kept popping up in Leonard Bernstein‘s writing. The more advanced ideas, I got into at Bar-Ilan University in Ramat Gan near Tel Aviv. I had a crush on Neil Horowitz so I followed him to Israel, after having won a CUNY scholarship to go. We learned about Maimonides, the Kabala and how to read Hebrew. Then on the way home we did it in the washroom of the El Al.
• Kavanah means intent, just like Lydia says. She expands on this, simply and forcefully, in the master class scene.
• Teshuvah is another matter. Teshuvah is the more important, more complex idea and it arrives close to the end of the movie so I’ll explain it more fully at the right time. Teshuvah has to do with the inevitability of creation. So you want to stick around for that.
• You know John, this stuff is taught at the yeshiva up in Bensham, a couple miles from your childhood neighborhood of Low Fell. I know about Gateshead Talmudical College because a stateless Jewish refugee (from Cuba, he escaped, they took away his citizenship) we knew in Quito, a brilliant scholar downstairs, applied to this school so I got to read all the brochures they sent him.

THAT FANTASTIC RED HANDBAG

• This scene was so spot on I can’t believe a man wrote it. This is the first scene in the movie that made Scorsese start to sit up in his seat and believe again.
• Field pulled out all his AFI grad stuff for this scene. Check out Whitney’s enormous rock as she flirts with Lydia. I’m engaged, but that’s no problem. They talk about Stravinsky. Lydia throws in a really, really esoteric Kabalistic reference that goes right past this pretty Smith alum.
• Lydia points at Whitney’s handbag, which is luscious, and with a price tag of around US800-1200 I’d say. Now, this is where most women (and certain men) in the audience call out with awed recognition, You bitch! We know you’re angling for that bag! And you know that you’re gonna get it! Because you know that rich tramp is gonna call Bergdorf’s and have one sent to you “in token of our meeting” or other bullshit… But in the end, it’s just another cheap trophy you toss to Sharon…
• And all the while Francesca is the background, texting.

WE ALL KNOW THAT CONDUCTORS HATE SOPRANOS

• I grew up with the story in music school, probably false, that the legendary Otto Klemperer made Kirsten Flagstad cry in rehearsals, which I suppose was the beginning of my conviction that there exists a natural antipathy between vocal artists and orchestra conductors.
• So when Francesca texts Krista a shot of Lydia’s digs at the Carlyle, dubbed the “Placido Domingo Suite” and K quips, she thinks she is being ironic, you wonder in passing what the deal is between conductor Lydia and tenor Domingo.
• But that remark is actually meant to alert us to the recentness of Francesca’s and Krista’s relationship with Lydia. Later in the movie Lydia makes a disparaging remark about the excellent mezzo Samantha Hankey—who rode to prominence quickly in 2018 after winning prizes at Gyndebourne and Placido Domingo’s own star-making Operalia (which he also conducts, by the way)—that clarifies this.

LUNCH WITH ELLIOT, OR TOSKER, MAN!

• Tosker, man!
• Mostly Norman Lebrecht-type stuff but we get a few necessary pieces of information, for example the Accordion Fellowship doesn’t simply place fellows in residencies, it fosters (funds?) entrepreneurship. This will figure in the Krista part of the story.
• Elliot is a banker/lawyer/amateur conductor with biiiig pretensions. Lydia doesn’t notice his predatory tendencies because he’s gotten her fat and complacent.
• Lydia brings up Max Bruch to affirm her place in Elliot’s society.
• That bit about Turing Machine (a math rock group) doing Chopin’s Piano Concerto #1 in Japan, conducted by (who we later see is a dodderer) Sebastian Brix rubato has to have gotten a laugh from somebody in the audience.
• One last one! This is the first time in the movie an Asian is clearly and lengthily shown in the background. Well dressed, middle-aged Chinese lady. You think I don’t notice these things, do you? Gwilo mooks.

Next: The Master Class

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2

I’ve been saying for years that I long to get into your head, John. Now here’s a movie that shows me the inner workings of a fellow creator so consider the pressure off. I still want to sleep with you though.

Reminder: These crib notes are all meant for you and you alone, my love. Fold them up and put them in your wallet till you need them!

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Part 1: Playing to the New York Crowd; Kavanah and Teshuvah in the Kabala; That Fantastic Red Handbag; We All Know That Conductors Hate Sopranos; Lunch With Elliot, or Tosker, Man!

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In Part 2:

• The Master Class
• Rules of the Game
• Vita’s Novel

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THE MASTER CLASS

• 11-minute continuous single sweeping shot. Field just outdid Renoir.
• This is the scene that made Scorsese murmur to himself with satisfaction, That’s my girl.
• Sarah Chang the prodigy—yes, she would now be an elder to these younglings.
• René Redzepi! That quip is sooo Frasier.
• I think she’s referencing Stockhausen in the Punkt Kontrapunkt remark. But who am I to know? They were barely getting over post-“Verklärte Nacht” Schoenberg, the boys in composition class.
• Olive is a composition student as well as conducting. Max is not.
• Max is doomed from the start. He chose as his jury piece a composition by the last master class teacher. Because he was inspired? wanted to play it safe/go with the trend? didn’t know any better/has a limited scope? Have these limitations on his scope been imposed by a racist society? These questions except the last go through Lydia’s brain like Mr Spock processing info bytes.
• Lydia hates the modern atonals, John Cage et al. Pleads for the younglings to invest emotionally in the classics.
• Man, I can’t wait to get to Olive Kerr. In fact, it’s either her girlfriend in the top row up there who’s shooting this or someone in Max’s support/political group, whatever the fuck that is.
• Okay, here’s the Olive Kerr thing: one, consider the audience arrangement, John. And I’m really asking because I don’t know if you’ve ever given a master class. Because Lydia really, really pays attention to who’s sitting in front. Mostly it’s girls, and girls of a particular type she finds attractive. Fresh, bright, round faced. And she’s got aural instincts! And she’s a composition student!
• Without breaking her stride, she subtly shifts her talk toward connecting, in subtle but undeniable ways, with Olive. Some people find this creepy. Some people are gwilo morons. I talk about this subtlety in the “The God Drug Tribe” so stay tuned.
• When Lydia decides she’s given up on Max, which is early but not too, it’s then she goes all out lesbo commando. I mean, superhot in a Waldorf teacher kind of way!? Manages to bait Max and enchant Olive in the same breath! I know, I know the kid was humiliated but he sooo had it coming.
• One more! This is the second time Asians are shown in a clear and lengthy shot. And in a strangely apt position. Field uses Asians like David Mamet uses Asians in The Spanish Prisoner, and that’s okay.

RULES OF THE GAME

• All that talk about composer-muse Alma Mahler leaving Gustav Mahler for architect-and-founder-of-the-Bauhaus-movement Gropius and there goes Lydia back to her Bauhaus apartment in Berlin.
• Oh, and remember the character who’s at the center of Renoir’s 1939 movie, The Rules of the Game? Octave the failed conductor. Played by the director himself.
• Metoprolol! breathes the woman who was hospitalized twice for congestive heart failure, the first time at Hospital Eugenio Espejo, Quito.
• Who Killed Cock Robin? sings Petra loudly. It was the sparrow with his bow and arrow, don’t you know? Klezmer. Sheesh.

VITA’S NOVEL

• The book is Vita Sackville-West’s novel, Challenge. It was Lydia’s gift to Krista, who has returned it.

• The love affair between Virginia Woolf and Vita is the kind of story that helps define you, if you’re a high-minded yet passionate lesbian who needs to have those two facets of your personality merge in a single narrative. Challenge is Vita’s love letter to Virginia, and a challenge. It’s about a dynamic artist-hero named Julian who claims a beautiful artist-heroine named Eve to be by his side as together they scale the Parnassus of Art. It’s filled with prose like this:

[T]he poet, the creator, the woman, the mystic, the man skirting the fringes of death—were they kin with one another and free of some realm unknown, towards which all, consciously or unconsciously, were journeying? Where the extremes of passion (he did not mean only the passion of love), of exaltation, of danger, of courage and vision—where all these extremes met—was it there, the great crossways where the moral ended, and the divine began? Was it for Eve supremely, and to a certain extent for all women and artists—the visionaries, the lovely, the graceful, the irresponsible, the useless!—was it reserved for them to show the beginning of the road?

• Vita cast herself as Julian and Virginia as Eve. Lydia went through some cost and effort to find this 1923 first edition to give to Krista. Lydia cast herself as Julian. Remember that when you see that dream sequence late in the movie, that’s a memory of when things went waaay the wrong way and the deepest part of Lydia’s wasn’t just challenged, it was threatened. Drawing the curtain here.

Next: The God Drug Tribe

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

---

• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3

Ever forward, hope to finish by the end of the week.

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Part 1: Playing to the New York Crowd; Kavanah and Teshuvah in the Kabala; That Fantastic Red Handbag; We All Know That Conductors Hate Sopranos; Lunch With Elliot, or Tosker, Man!

Part 2: The Master Class; The Rules of the Game; Vita’s Novel

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In Part 3:

• The God Drug Tribe
• Jacqueline du Pré (1945-1987) and Olga Metkina (2002?-????)
• John Mauceri and the You-Don’t-Belong-Here Blues

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THE GOD DRUG TRIBE

• Shipibo-Conibo, of course. But first I want to tell you about my first musicology professor, Dr Johannes Riedel (1913-1993). What do he, I, and the tribe all have common? Ecuador.
• When Dr Reidel was about 25 or so and in school in Berlin, he found out he was about to be deported back to his native Poland, which would’ve been bad for him of course, but for his young wife Judith as well, who surely would’ve ended up in Auschwitz. So to save his wife from being murdered in the ovens, he took a job in a faraway Catholic high school on the coast of Ecuador, teaching choir while studying the region’s Hispanic-based music in preparation for his longed-for-in-the-distance postgraduate work, hopefully in a free country.
• When I met Dr Reidel I was 14, in a citywide high-school student arts program run by the city of Minneapolis, they were that rich in those days. The Minnesota Opera. The Minnesota Orchestra. Skrowaczewski, man! In college, my dorm (F only) was right across the common from Northrop Auditorium, so I ushered every week to get into the concerts free. Skrowaczewski brought us Karol Szymanowski’s Song of the Night.
• I wish you and I had been in the Urban Arts Program together John, conductor of my heart. We would’ve had such fun together.
• But back to the Shipibo-Conibo. More than once while Mister Grumble and I were hanging out in the Mariscal we’d run into hippie backpackers who’d ask us if we knew where the tribe with the god-drug—ayahuasca—could be found. When we told them they’d have go down south, way south, most of them balked and opted just to score crappy weed from the local dealers, which ironically all came down from Mexico anyway.
• So—ayahuasca+the Shipobo-Conibo is a known thing among the heads among us, one of whom is, at it turns out, Lydia Tár herself.
• LYDIA IS A HEAD—AND A HEALER. Pay close attention to how she treats Sharon’s dickey heart. I know all about this.
• Pay attention too to her particular awareness of the energies of those people surrounding her, especially the ones she’s attracted to.
• This is not a topic fit for the gwilo robots in our “civilized” places and Lydia is smart enough to know she’d be derided and condemned if she talked about it. So let me talk about it because I’m nobody so this won’t get back to me.
• Ayahuasca is a psilocybin that comes in liquid form. Under close supervision by a shaman (that guy in the photo and in her dreams), you drink it from a bowl and it makes you throw up all the bad stuff in your body/spirit. Then when you’re nice and clean the channels are open and you are confronted with not only your true self, but the Divine.
• This confrontation can break lesser minds but Lydia has a great, strong mind. I can understand her desire to share her experience with those she considered her equals, going up the Ucayali with Francesca and Krista. I’m sorry it didn’t work out for her. Some rivers you have to travel alone.

more soon…

Next: The Bernstein Tapes

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

---

• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

Copy to come…

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Part 1: Playing to the New York Crowd; Kavanah and Teshuvah in the Kabala; That Fantastic Red Handbag; We All Know That Conductors Hate Sopranos; Lunch With Elliot, or Tosker, Man!

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Part 2: The Master Class; Rules of the Game; Vita’s Novel

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Part 3: The God Drug Tribe; Jacqueline du Pré (1945-1987) and Olga Metkina (2002?-????); John Mauceri and the You-Don’t-Belong-Here Blues

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In Part 4:

coming…

copy to come…

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

---

• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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Things I Did for Love of Geordie John Wilson, 1: Watched Get Carter (British MGM 1971, Mike Hodges Director) and Sarah Millican; and Listened to, But Didn’t Watch, The Orville

This is all to do with my beloved John Wilson, Conductor being from Gateshead. Except for that Seth MacFarlane show.

Sarah Millican first. Tried listening to this fast-talking comedienne from nearby South Shields the middle of 2019 but could not keep up with her pace or her accent. Later I started watching old episodes of Auf Wiedersehn Pet, The Likely Lads, Byker Grove (which starred BGT presenters Ant & Dec when they were kids), and now one of my favorite shows ever on television, Our Friends In the North (all episodes here) etc etc but they’re just so…masculine, you know? Which I suspect probably pretty much characterizes Geordie culture anyway… So I started alternating watching that show with When the Boat Comes In, which was more successful for me, as the estimable Northumbria-born actress Jean Heywood provided a good model of what a feminine northeast accent sounds like. After her it was a snap to follow Millican.

Second, The Orville, Seth MacFarlane’s Star Trek-like TV series. Like the 70s folksinger says, “I’m a stoner, I’m a trekker, I’m a young sky walker…” So yeh, I’d be interested in watching this show just to see if it measures up to the standards of my youth. Unfortunately, none of MacFarlane’s (post-Family Guy) projects ever sound interesting enough for me to overcome my intense personal dislike for him. So…maybe later. I did, however, listen to the show’s theme music, which was written by Andrew Cottee, the same young man who wrote some arrangements for The John Wilson Orchestra over in England. The theme does everything expected of it.

Third, Get Carter, starring Michael Caine and the City of Newcastle. Made this movie last on my list because it deserves two paragraphs, being the British noir classic that it is…

Sidebar: As we all now know from film school, existentialism is the engine of noir, which means that petty details like Michael Caine speaking in a thick Cockney accent* when his character’s supposed to be from Newcastle-upon-Tyne oughtn’t to matter to the sophisticated auditor. But I had a problem. I’m sorry. Three years ago I wouldn’t have cared, one Brit being the same as any other. Then I fell in love with John Wilson, a Low Fell lad, and individuality suddenly became a very important thing to me.

The Movie Overall: Not quite sure why the filmmakers transplanted novelist Ted Lewis’s story from his original setting in Lincolnshire (Lewis’s birthplace), to Tyneside, but since it’s the classic story of the Anti-Hero’s Revenge, which works anytime, anyplace, it does fine here. Michael Caine’s a little podgy but quick with his reflexes and still a treat for the ladies. Lots of sex and violence, lots of local atmosphere, local faces, and landmarks like Tyne Bridge, the Newcastle Racecourse and, of course, the carpark across the Tyne River.

The Carpark in Gateshead Scene: By a stroke of luck Get Carter was just streamed on Criterion so I watched the entire movie, then to make sure, watched the carpark scene twice more in order to understand why it so sticks in the mind. Because it does, you know, even though I’m not a fan of movies like this. I guess it’s because there’s rather a high elegance to this scene that contrasts with all the mundaneness and phony poshness around it… Very arty, but a genuine statement. Or maybe it’s just because I like watching Michael Caine get all riled up.

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The now torn-down carpark at Trinity Square in Gateshead in this famous scene was a dreary piece of English Brutalist architecture that, according to its creator, was never meant to stand the test of time anyway. That’s the theme to The Orville above.

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*I understand that a stage version of Get Carter was recently performed in Newcastle, with Carter’s accent spoken correctly.

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

---

• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
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Ravel’s Piano Concerto for the Left Hand in D Played by the Royal College of Music Symphony Orchestra Conducted by John Wilson, October 2018

The 19th episode of the 8th season of the long-running Korean-wartime sitcom M*A*S*H entitled “Morale Victory” (clip available on my YT channel) is mostly pretty silly—but! Get through all the A-story shenanigans and there’s a surprisingly tight and moving B-story about a wounded soldier/concert pianist which culminates in a 3 1/2 minute scene that always makes me cry. David Ogden Stiers (Juilliard, ’72) plays Dr Winchester and James Stephens plays his patient.

Above: Maurice Ravel’s Piano Concerto for the Left Hand in D Major (1938) performed by the Royal College of Music Symphony Orchestra conducted by John Wilson, with piano solo by Nikola Avramovic. Plus watch the clip on my YT channel here.

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(Winchester wheels David into the squalid hut that is the officers+enlisted club)
David: What are we doing here, doctor? I don’t want a drink.
Winchester: Good. Because you’re not gonna get one.
(Wheels him close to the piano)
David: What the hell is this all about?
Winchester: Please, David. (from manila envelope takes out sheet music) I’m sure you’ve heard of these, eh?
David: (glances at them) Pieces for the left hand. Of course I’ve heard of them. What are you suggesting now? That I make a career out of a few freak pieces written for one hand?
Winchester: Not at all. I won’t make any pretense about your physical ability to play concerts. That’s not my point. Are you familiar with the story behind the Ravel?
David: No, and I don’t really—
Winchester: It was written for an Austrian concert pianist named Paul Wittgenstein. He lost his arm during the First World War. He embarked on a long search to commission piano works for the left hand alone. Composer after composer turned him down. But he refused to give up. Finally, he found Ravel who, like him, was willing to accept this great challenge.
(Beat; David considers this)
Winchester: Don’t you see? Your hand may be stilled, but your gift cannot be silenced if you refuse to let it be.
David: Gift? You keep talking about this damn gift. I HAD a gift! And I exchanged it for some mortar fragments, remember?
Winchester: Wrong! Because the gift does not lie in your hands! I have hands, David. Hands that can make a scalpel sing. More than anything in my life I wanted to play. (sighs) But I do not have the gift. I can play the notes, but I cannot make the music. You’ve performed Liszt, Rachmaninoff, Chopin. Even if you never do so again, you’ve already known a joy that I will never know as long as I live! Because the true gift is in your head and in your heart and in your soul. Now, you can shut it off forever, or you can find new ways to share your gift with the world, through the baton, the classroom, the pen. (points to sheet music) As to these works, they’re for you, because you and the piano will always be as one.
(Winchester sees a spark of interest in David and moves him closer to the keyboard. With a look of determination, David begins to play the Ravel. Winchester’s face registers intense emotions, including joy)

---

• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

---

• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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“We John Wilsons, we can be busy little beavers when we need to be” ~ Novelist-Composer Anthony Burgess (Dick Cavett, ABC-TV 1971)

Anthony Burgess, my Number One Language Guy, was on Dick Cavett’s talk show late one evening during my first year at music school. The host had brought up the oft-told story of how Burgess, when in his 40s, was diagnosed with a brain tumor and told he would be dead in a year; consequently he returned home to England (he’d been in the civil service in Brunei) and was seized by a mania of writing that resulted in his completing a half dozen intriguing novels, all of which are still in print. Oh, and he didn’t die in a year. Referring to his name at birth—he was christened John Wilson, Anthony being his Catholic confirmation name and Burgess being his mother’s maiden name—Burgess commented, “We John Wilsons, we can be busy little beavers when we need to be.”

Dick Cavett and Anthony Burgess on my old B&W portable, a US knockoff made by the same company that cornered the 70s East Coast market in prepackaged noodle soup, Pho King. Above the interlocutors: A full audio recording of Burgess’s ’71 appearance on Cavett (the first half-hour) wherein he does an Ovaltine commercial as Shakespeare would have truly sounded.

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Which is a remark that came to mind when I fell in love with John—my John, John Wilson the Conductor—and read how he spent 15 years transcribing the “lost” scores of MGM musicals, toting his Sibelius-programmed laptop around, listening to tracks in off moments, plugging in those thirds and fourths and damned glissandos as he heard them, passing on pub crawling or watching the telly to keep working on this gorgeous music…

First fruit of my beloved’s efforts: The MGM Jubilee Overture, which was performed for its 50th anniversary by The John Wilson Orchestra at the Royal Festival Hall in 2004. (More information on the Overture plus tune credits here.)

• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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A Sexy NYC Memory to Celebrate the 3rd Anniversary of Falling in Love with Conductor John Wilson; Plus the BBCSO Doing Elgar’s Bach Fantasia; and Theatre of Blood (United Artists, 1973)

In one of my old postings (“On Conductor John Wilson’s Full Dress and The First Porn Movie I Ever Did, 1”) I said something about a certain hot tub party being only the second time a man ever gave me his business card before we had sex… Well, this was the first.

It happened one evening in July, 1973. I was 18. I had just gotten that job as night solfeggist at ASCAP only a couple of weeks earlier, which is in itself a very interesting story I’ll have to tell you one of these days. Only now let’s get back to me walking down Broadway from 63rd. I loved walking home to the Village after work on a summer evening, when all of midtown was still buzzy with life and good times. After the night shift, some of my fellow solfeggists would go across the street to O’Neal’s Balloon to drink with the fancy Lincoln Center crowd (here’s my own favorite table showing up in Annie Hall), but I got a bigger kick being below 54th with all the theater people. On this particular evening I was approaching 46th…and right there on the corner of 46th stood a really good-looking guy, tall and blond and nicely dressed, who seemed to be scoping out one by one all the passers-by. For some reason he lit upon me. He got my attention. Then he asked me if I knew where a good jazz club could be found, the way you might ask any passer-by about a mailbox or the way to the Empire State Building… I told him I was new in town. Then he suggested we (“we”!) buy a newspaper and sit down somewhere and check the listings together. Oh, I was game. My first New York adventure! We went across the street to Howard Johnson’s where he bought me a hamburger and told me about himself. He told me he was an agent. He’d just put his client on the plane that day—his client having just been on The Dick Cavett Show promoting his new film, a comedy-horror flick that’s now a classic—and he himself was going back to London in the morning. He told me his client’s name, which I recognized at once, and then he gave me his card, which I kept for years until I gave it to an actor friend who said he was “looking for a UK rep”… Then he asked me about myself, all the nice polite questions a man’ll ask you beforehand… But we also talked about show business, shows, show music. I told him I liked Man of La Mancha. Having found no jazz clubs worth going to that night, we left HoJo’s and walked over to 5th Avenue, where we strolled back to his hotel room at the St Regis. I was ready for anything, expecting nothing. Even when he pulled the line, “Let’s get out of these hot clothes, shall we?” with that gorgeous limey accent of his, I still wasn’t sure we were on the road to making it…until we started making it. At that point we hadn’t even kissed. But oh, how he made up for it! I wasn’t a virgin, but here was the first man I ever slept with who actually knew how to take his time pleasuring a woman. By the time I was under him, gazing down at the back of his incredibly sexy legs, an electric shock went through me, and for the first time in my life, I orgasmed. So that’s the story of my first New York hookup. We parted in the morning, wishing each other well, and I even made it back to the boarding house in time for breakfast. A perfect sexual encounter with a happy ending.

I’m telling you this, John, because what Michael Linnit made me feel that night is nothing compared to how you made me feel when you conducted Elgar’s Bach Fantasia in Sydney three years ago. I’m not kidding. I had just fallen in love with you when I saw you shimmy to a Jule Styne tune in some video… But this time (it was about 2 weeks later) there was only you and the music on the radio. I’m not even crazy about Elgar, I was waiting for your Prokofiev. But I was so keyed up—for the past couple of weeks I had been vibrating with love for you—that when a certain chord was played in the Elgar, a wave rolled through me, it was just so yummy… But that wasn’t all. As I lay there gasping, a little voice in my head went, You fool! Don’t you remember who’s doing this? And so I came again, this orgasm coming over me like a wave meant to drown…and I reached for you and knocked the lamp off the night table.

One day I’ll tell you about the other times (Vaughan Williams, Richard Rodgers). But I just wanted to let you know now how much you’ve meant to me, how much you still mean, even when you’re not wearing full dress.

Above 46th and Broadway c 1972, a year before I hit town (note the marquees for Bock+Harnick+Yellen’s The Rothschilds and the No, No Nanette revival): Elgar’s Bach Fantasia played by the BBCSO under Leonard Slatkin. And here’s the score.

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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Rodgers & Hammerstein’s Cinderella Starring Julie Andrews, CBS-TV 1957

We all need a visit from the Empress of Delight every so often. So—here she is in all her youthful splendor, about to be kissed by handsome Jon Cypher.

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Above Dame Julie and her Prince Charming: The entire audio of R+H’s 1957 original TV musical, Cinderella.

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
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Lalo Schifrin’s Other Theme; Armenians in California; Black Actresses on 60s TV; a Seminal American Stage Work; and LA PI Beefcake

Mannix (1967-1975) was a long-running private-eye American TV show from the dynamo team of Geller-Link-Levinson. It was popular for several reasons, one being Mike Connors’s Hirsute Sex Appeal (here pictured); not to mention the show’s viscerally satisfying action scenes (Mister Beefcake gets beaten up a lot); its swingy, sexy theme composed by none other than Lalo “Mission: Impossible” Schifrin; and, not least, for Joe Mannix’s lovely secretary, Peggy Fair.

Peggy Fair (Gail Fisher) was a character very much in the tradition of capable cool-headed female helpmeets to the main investigator guy (think Della Street or Effie Perrine). In the mid-60s there was a bouquet of gorgeous black actresses in regular roles on prime time: Fisher; Diahann Carroll starring as Julia; and of course, Nichelle Nichols as Uhura in Star Trek. Not to mention there were frequent small-screen guest appearances by stage stars like Ruby Dee and Diana Sands and TV stalwarts like Mimi Dillard. And you know, looking back, I think I noticed these actresses particularly because they all reminded me of one particular black girl I had a crush on from her photos and her work, who’d died in the mid-60s only a few years after her historic stage triumph:

Above sweet Lorraine Hansberry (1930-1965), playwright, author of the seminal American stage drama, A Raisin In the Sun: Lalo Schifrin’s tuneful syncopated 6/8 that’s the theme for Mannix, played by his orchestra.

Remembering the TV show Mannix also brings me back to something I quickly realized after moving to the Golden State: When you come to California, more sooner than later you will run into an Armenian. Heck, one of my first secretarial jobs in LA was for Tbilisi-born Rouben Mamoulian. Connors (1925-2017), who was born Krekor Ohanian in Armenian-strong Fresno, claimed to be a distant cousin of William Saroyan, author of The Time of Your Life and The Human Comedy, among other classic dramas of mid-20th century America.

Saroyan once made a memorable statement, “Wheresoever two Armenians meet, there is Armenia.” Which is something I’d like to apply to Filipinos as well.

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
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Four Themes By Jerry Goldsmith: Room 222; Patton; The Sand Pebbles; Star Trek TNG

Was thrilled to find on YouTube the full first season [https://bit.ly/room222season1] of a TV show I adored in high school, Peabody Award-winning Room 222; was doubly thrilled to hear again prolific Hollywood composer’s Jerry Goldsmith’s sweet simple theme in ear-catching 7/8 time.

A few more of Goldsmith’s best-known themes:

• Star Trek: The Next Generation [https://bit.ly/startrektnggoldsmith]
• Love Theme from The Sand Pebbles orchestrated by Arthur Morton, David Tamkin [https://bit.ly/sandpebblesgoldsmith]
• Room 222 [https://bit.ly/room222goldsmith]
• Patton [https://bit.ly/pattongoldsmith]

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
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Two TV Theme Songs by Jack Keller and Howard Greenfield with the Brill Building Sound: “Gidget” (1965) and “Bewitched” (1964)

Here’s a treat for the weekend. Below are two show theme songs I remember note for note, word for word from the golden days of unpretentious woman-power television:

Bewitched, bewitched
you've got me in your spell
Bewitched, bewitched
you know your craft so well...

If you're in doubt about angels being real
I can arrange to change any doubts you feel
Wait'll you see my Gidget
You'll want her for your valentine...

• “Bewitched” / Steve Lawrence
• “(Wait’ll You See) My Gidget” / Johnny Tillotson

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America’s Sweetheart, two-time Oscar-winner Sally Field plays 15-year-old surfing-crazy, boy-crazy Francie “Gidget (girl+midget)” Lawrence in her first sitcom, which was based on the enormously successful eponymous 1957 novel by Oscar-nominated screenwriter/novelist Frederick Kohner, who in turn based the heroine on his own surfing daughter. Above Gidget, her theme song.

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If you hear the Brill Building sound in Jack Keller’s easy, swingy tunes you’d be right—Keller worked in the Brill in NY the 50s, along with Neil Sedaka and Carole King, two of the many, many songwriters from that legendary song factory. And thanks Howard Greenfield, for the nifty phrasing in “Gidget”.

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
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•  

By Grabthar’s Hammer: The Soundtrack Suites from Star Trek IV (Paramount, 1986) by Leonard Rosenman; and Galaxy Quest (Dreamworks, 1999) by Yet Another Newman, David

To my mind, Star Trek IV and Galaxy Quest are the two movie scores which best convey the whole Star Trek ethos: the jaunty energy of military adventure + the thrilling, life-changing mix of wonder and belief… A very 1960s spirit and I doubt we’ll ever be able to return to it, but anyway. Leonard Rosenman, incidentally, was a pupil of Schoenberg.

Above Missi Pyle, Tony Shalhoub, Tim Allen, Alan Rickman, Ted Rees, Sigourney Weaver, Sam Rockwell, and Darryl Mitchell: Galaxy Quest Soundtrack Suite played by the City of Prague Philharmonic Orchestra.

Soundtrack Suite
from Star Trek IV: The Voyage Home
Leonard Rosenman, composer

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
• Follow me on MEDIUM to read my memoirs and cultural pieces (free)
• Follow me on MASTODON for real conversations and deeper connections (free)
• Follow me on YOUTUBE to watch my pick of classic Hollywood movies (free)

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A Great American Songbook Song for My Beloved John Wilson, Conductor: “Where Or When” by Richard Rodgers & Lorenz Hart from Babes In Arms (1937), Sung by Ellen Burstyn in Martin Scorsese’s Alice Doesn’t Live Here Anymore

Another love song to you, John Wilson my darling, my bonny, my Tyneside lad. In Alice Doesn’t Live Here Anymore (Warner Bros 1974), Scorsese’s fourth feature, my favorite actress in the world Ellen Burstyn plays Alice Hyatt, a New Mexico housewife suddenly widowed and left without means of support, who decides to try to return to her childhood home of Monterey, California and make a go of it again as a professional singer.

When you’re awake
The things you think
Come from the dreams you dream
Thought has wings
And lots of things
Are seldom what they seem

Weak and breathy as her voice is, she keeps the tune and the beat throughout the entire song—Scorsese has her sing the entire song, with intro—and something about the way Edna Rae (Burstyn’s original name) sings (imitating Peggy Lee above) appeals to me so much I come back to this scene again and again. Maybe it’s that her through-line is surprisingly strong. By the way, you do notice the sheet music for Oklahoma! on the piano…

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• “The Story So Far, with Conductor John Wilson”
• “The Story So Far; Or, Conductor John Wilson—His Limits”

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• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 1
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 2
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 3
• Cantara Christopher Gives Her Beloved Conductor John Wilson Crib Notes on Todd Field’s Screen Masterpiece, Tár: Love, Teshuvah and Filipinos Will Save Western Music, Part 4

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• Follow me on DEVIANTART for my erotic stories and pictures (free)
• Follow me on MEDIUM to read my memoirs and cultural pieces (free)
• Follow me on MASTODON for real conversations and deeper connections (free)
• Follow me on YOUTUBE to watch my pick of classic Hollywood movies (free)

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