John Wilson Conducts the Royal Academy of Music Symphony Orchestra in Barber, Delius and Ravel, July 2021 Live/Streamcast on YouTube

Recorded at the Duke’s Hall, Royal Academy of Music, 2 July 2021. Available on YT here.


Found the donation window, incidentally. Back in January, 2020 after we heard John conducting them in Tchaikowsky I said to Mister Grumble, ‘That was as good as any small-city orchestra in the US. I’d’ve paid cash money for this,’ and darned if the RAM didn’t just make my life a little easier. Here it is.

Chocolate kisses for my John and a promise to teach him how to make s’mores when the time is right. Above: 2 July 2021 concert at the RAM, in full.

To continue from my earlier posting, “My Beloved John Wilson Appointed to the Henry Wood Chair of Conducting at the Royal Academy of Music and Conducts the RAMSO in Arnold Schoenberg’s ‘Verklärte Nacht’ (1899) at Snape Maltings, 6 June 2021”: We talked over beers, Mister Grumble and I, about John’s energy, among other things, a couple of weeks ago. After we toasted Bloomsday, he gave me his take on John and John’s music. Mister G isn’t as enamored of John Wilson’s enormous and varied repertoire—from Broadway tunes to Rachmaninoff to Turnage—as I am, but he has many good things to say about my beloved conductor’s basic character. I described to him (my angel baby is blind) how differently John looks and acts when he’s with the RAM, or the Sinfonia of London or the Royal Northern Sinfonia. Less tense, more in control, more in his element—happier. Plus he doesn’t sweat as much as on the stage of the Royal Albert. ‘Then this is where he belongs,’ said Mister Grumble.

EXTRA! Download PDF of Feb 2020 issue of Gramophone with John’s interview that mentions the Sinfonia of London here.

Program:

  • Samuel Barber / Knoxville: Summer of 1915, op 24
  • Frederick Delius / A Song Before Sunrise
  • Maurice Ravel / Ma mère l’oye, m.62

Cassandra Wright, soprano



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My Beloved John Wilson Appointed to the Henry Wood Chair of Conducting at the Royal Academy of Music and Conducts the RAMSO in Arnold Schoenberg’s “Verklärte Nacht” (1899) at Snape Maltings, 6 June 2021

O sieh, wie klar das Weltall schimmert! / Es ist ein Glanz um alles her / Du treibst mit mir auf kaltem Meer / doch eine eigne Wärme flimmert von Dir in mich von mir in Dich… ~Richard Dehmel

Look, how brightly the universe shines! / Splendour falls on everything around / you are voyaging with me on a cold sea / but there is the glow of an inner warmth from you in me / from me in you…

John InterviewAbove my beloved: Leopold Stokowski conducts the 1943, final and most popular composer’s edit of the string orchestra version of this exquisite one-movement sextet based on Richard Dehmel’s poem. (The 1924 version was conducted by Edward Clark of the BBC in Newcastle that year.) Find the Hollywood String Quartet’s version here.

I adore John and his O at the BBC Proms. Honest I do. All that thrill and spectacle. That fetching full dress. And a third of the numbers he’s plucked from The Great American Songbook no one could do better. But last January 2020 I got my wish when my bonny conducted a program of Dean, Prokofiev and Tchaikovsky at London’s Royal Academy of Music and for the very first time I got to watch him work entirely as a conductor rather than a showman. (The cover of JOHN WILSON: AN ENGLISH CONDUCTOR is himself preparing for the 4th movement of the RAM’s rendition of Tchaikovsky’s “Pathetique”. The magazine picture above is from the 23 October concert at RAM.)

It was not a revelation, I knew John was going to be wonderful and the orchestra was going to be wonderful. I’d heard the “Mars” part of Holst’s The Planets that he conducted in Leeds with the National Youth Orchestra of Great Britain (see John above wearing the bright blue NYOGB hoodie) and was impressed with its energy. RAM trumpet Rebecca Toal (heard in Brett Dean’s “Komarov’s Fall”) had this to say about my dear one:

John is particularly generous with his energy and he’s so committed. I think I’ve done one project with him before, and both times he’s just thrown himself into the projects. It’s so nice to have people come in from the outside and completely splash their energy everywhere and leave you feeling on a high and motivated, even after they’ve left.”

And I think this young player has hit it. John [continued at “John Wilson Conducts the Royal Academy of Music Symphony Orchestra in Barber, Delius and Ravel, July 2021 Live/Streamcast on YouTube”]


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My Beloved Conductor John Wilson’s Lockdown Listening List: Keely Smith, Teddy Wilson, Walton, Elgar, Brahms, Ireland, Debussy, Peter Ackroyd; Plus Yusef Lateef

From the London-based Philharmonia’s website, July 2020: my beloved John Wilson’s public musical choices. Audio downloads in red.

*I am astonished that John actually, correctly, described Teddy Wilson as a Swing musician rather than put him into the catchall Jazz bag, which I’d have expected him to do, considering who was his teacher. His teacher was Richard Rodney Bennett. My teacher (at CUNY) was YUSEF LATEEF (download his 1957 album Jazz Mood here in full).

**John, are you conflating song with melody, or what? Another reason I’m dying to have a chat with you



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On BBC Radio4 Front Row, 21 August 2019: Conductor John Wilson and Biographer Brendan Carroll on Korngold

An excerpt from John’s comments:

Front Row: What’s so enthralling to you about the music of Erich Korngold?

John: It’s very much his own style… You hear two seconds of music and immediately you know it’s by Korngold because by the way he was 13 or 14 he had a fully developed late-Romantic Austro-German style and, you know, had it not been for the Nazis and the Second World War he would have continued to develop his operatic skills, his symphonic skills, and he would now be as established as Richard Strauss…

John and the Sinfonia of London Do KorngoldAbove John, Andrew Haveron, John Mills, and other members of the Sinfonia of London: Front Row Interviews John Wilson at the top half.


Front Row: What made you choose the particular pieces [for the Chandos recording] that you did?

John: I think the Symphony, Korngold’s Symphony in F-sharp, is the last great Austro-German romantic symphony and…it was written 1947 to 52, it took 5 years, and…I think it was the piece that Korngold spent, lavished the most time on. I think it was the piece that he felt was he felt he really had to write because it was a labor of love… And you know, he couldn’t get a satisfactory performance out of it during his lifetime because he was considered old hat…and in 1972 I think it was, it was discovered in the Munich orchestra’s library and the first recording performance given… And I just felt that the time had come for a revised sort of conception of this symphony of Korngold’s.

I Moderato
II Scherzo Allegro
III Adagio Lento
IV Allegro Finale

NOTES for Korngold: Symphony in F (Chandos, 2019) can be found here.



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John Wilson Conducts the Royal Academy of Music Symphony Orchestra in Richard Strauss’s “Metamorphosen” and Gives Me a Perfect Screenshot, 23 October 2020

I don’t know what I’ve done to please the gods but this morning, somehow, I took a perfect screenshot of John conducting, while watching the (UK time) 7:30pm performance of the Royal Academy of Music (Finzi, Strauss). This I gladly release to the world. Only, people, if you let him know about this picture will you also let him know who took the shot?

John Wilson Conducting the RAM Oct 2020 Above perfectly rendered John: Herbert von Karajan conducts the Berlin Philharmonic in Strauss’s “Metamorphosen” (1983).


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Aaron Copland’s Quiet City, Played by the Royal College of Music Symphony Orchestra and Conducted by My Beloved RCM Alumnus, John Wilson, 2013

Distressing to learn that John’s 5 November concert at the Royal Festival Hall with the Philharmonia Orchestra has been cancelled. So as a small consolation, here’s John conducting this lovely and familiar Copland piece. Recorded on 13 November 2013 in the Amaryllis Fleming Concert Hall at the Royal College of Music in London.

John Wilson RCM Copland 2013.pngAbove: Katie Potts on cor anglais, Adam Stockbridge on trumpet, as my bonny John conducts.

Originally drawn from music composed as incidental accompaniment to a play, Copland’s “Quiet City” has gained much more popularity as a concert work for orchestra.

John recorded this and other Copland standards for Chandos a couple of years ago but this rendition, performed by the next generation at RCM, is closer to my heart.


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Marquess of the Gardens of Aranjuez, His Finest Work in the 1995 UK Film, Brassed Off

As I once pledged, I will go almost anywhere my beloved conductor John Wilson leads me; and so it was a remark of his that led me to this movie, which in the mid-90s was an estimable hit in the UK, though not so much here in the States. When asked by The Telegraph about his early musical influences, said John, “Brass bands. Coming from a working-class background, the tradition of amateur music-making was important to me…”

brassed-off.jpegIn this scene where the ensemble plays the famous Adagio of the Concierto, Tara Fitzgerald shows the lads her superior proficiency on the flugelhorn, inspiring their conductor, played by Lancashire-born Peter Postlethwaite, to consider taking the band on a competition tour and win some desperately needed prize money for their out-of-work members. Above: Joaquin Rodrigo’s entire Concierto de Aranjuez (1939), Richard Gallen, guitar, Moscow 2012.

There’ve been a couple of other, better known (in the US) British films, The Full Monty and Billy Elliot, which also address the economic/unemployment crisis in Britain that, back in the 80s, did its part to whittle away at arts education throughout the country, particularly in the north. Like I said, my beloved conductor’s remarks in recent interviews about his early influences started me thinking not only about his musical but general education growing up in Gateshead in the 80s. I’ll take this on in an upcoming post. The contrasts / similarities between his musical influences and school training—as a northern Brit through most of the 80s—and mine—as a midwestern American through the mid 60s-early 70s—I find worth examining, and not just because I’m hopelessly in love with the bloke.

For now, this is what I take away from anecdotal evidence like Brassed Off and John’s childhood memories: The British, in general, seem to be more used to the sound of brass ensembles than Americans. Now, we like to think we know all about brass ensemble music because, being Americans, military marches and Sousa seem to stalk us everywhere we go in this great land of ours. But really, it’s not the same kind of music. I’ll discuss this in my review.

But let me just say this here: I will try to cut John a little more slack when it comes to his choices in orchestration for The Great American Songbook. I mean, if that’s really the way he hears it in his head…


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Easter Greetings 2020 to My Beloved English Conductor John Wilson and All the Souls of the World; English Harpsichordist Matthew Halls Plays Bach’s Goldberg Variations

Just had an interesting daydream of my beloved John Wilsonnow shag-headed and fully bearded (he grows it fast)—conducting a chamber orchestra on Zoom. Hmm… Wonder if he might actually be planning something like that right now…

Meanwhile, those of us who are still earthbound can treat our heads and ears to Oxford-trained harpsichordist Matthew Halls’s rendition of the complete Goldberg Variations of Johann Sebastian Bach (for which exists a cute story why it’s called that I won’t get into right now, although if you know/like the Variations you probably know it anyway).

This is a sparkling 2011 recording done by Linn Records of Glasgow, who also recorded that great jazz album by vocalist Claire Martin I mentioned in an earlier posting.

Matthew Halls ConductorMatthew Halls guest conducting the Kansas City Symphony back in February, his last public appearance to date.


Aria IVariation 1 / Variation 2 / Variation 3 First Canon / Variation 4 / Variation 5 / Variation 6 Second Canon / Variation 7 al Tempo di Giga / Variation 8 / Variation 9 Third Canon / Variation 10 Fuguetta / Variation 11Variation 12 Fourth Canon / Variation 13 / Variation 14 / Variation 15 Fifth Canon / Variation 16 Overture / Variation 17 / Variation 18 Sixth Canon / Variation 19 / Variation 20 / Variation 21 Seventh Canon / Variation 22 / Variation 23 / Variation 24 Eighth Canon / Variation 25 / Variation 26 / Variation 27 Ninth Canon / Variation 28 / Variation 29 / Variation 30 Quodilibet / Aria II



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Sexual Fantasies in a Time of Pandemic; Mamoulian’s Crying Violins; and Korngold’s Violin Concerto in D Played by the RTE Concert Orchestra, Andrew Haveron Soloist, with John Wilson Conducting

Before we get to what I think will be a nice and fair assessment of John Wilson’s new recording, a word to some people.

I have always been aware of the tacit agreement that exists between my screen persona Simona Wing and her fans, but let me now take this apt opportunity to state my position clearly: You all have my blessing to do whatever you want with me in your fantasies.

Because whatever you want to do with me in your fantasies is nothing compared to what I want to do with John Wilson in mine. So, go for it.

Now on to Korngold.

I didn’t realize this was still a thing in the music world, but apparently opinions continue to be strongly divided as to whether Erich Wolfgang Korngold—a true heir, by the way, to The Great Mittel European Romantic Tradition—deserves inclusion in the canon some snooty farts call the Classic Repertoire. You know, the one that has Bach and Beethoven and all those other cats. It’s no secret that when you mention the name Korngold, the average music lover’s first thought is of upmarket movie soundtracks (Anthony AdverseThe Adventures of Robin HoodThe Sea HawkCaptain Blood) and likely never gets around to the fact that Korngold wrote, among other things, the most luscious symbolist opera of the 20th century, Die Tote Stadt, in 1920, and a hell of a gorgeous violin concerto 25 years later:

(Click here to subscribe to the RTE Concert Orchestra channel and support them.)

So it seems like every generation there has to be one nut who comes along and says, Let’s run Korngold past the hoi-polloi again and see if he’ll fly—and if you think I’m talking about you, John Wilson, you’ve got a swelled head. Because the nut I’m talking about is the nut in the CIA. The anonymous nut who got The Company to fund an enterprise back in the early 70s called “The Golden Age of Hollywood Music” and hence to elevate Korngold to the status of Hollywood Royalty—but through his film scores and his film scores only.

But that story later.

We’re here right now not just to size up a new Korngold recording, but to honor the decades-long musical relationship of Andrew Haveron, violinist, former Leader of The John Wilson Orchestra, current Leader of the Sydney Symphony Orchestra, and conductor John Wilson, whose career in orchestra building started at the age of 22 and hasn’t stopped since.

Korngold’s Violin Concerto in D, their latest Chandos release, was going to get my attention with or without the Winsome Lad of Low Fell anyway, as I’m a sucker for this particular style and era of music. But I was glad to learn about their actual friendship as well; for me it explains why the perfect communication that’s so evident here between Haveron and my John (and through him, to the estimable RTE Orchestra) has some of the magic of Barenboim+du Pré, back in the brief days when those two were cooking hot with Elgar.

This is soloist Haveron’s star turn: a warm, fresh, intimate—revelatory even—rendition of a piece that, let’s face it, is kind of like the “Nessun Dorma” of violin concertos. But this is John’s success too. So much of my bonny’s gift for conducting Korngold, as we know, has to do with his insistence on a technique his PR people call “shimmer” but is actually wrist vibrato on strings, a technique in fingering I learned about and taught myself when I was 14 because I liked the sound it made, although when the orchestra teacher put it down for sounding cheap and sloppy I quit it.

But I know the sound of shimmer and you do too. The John Wilson Orchestra practically patented it. John himself still calls for it whenever he conducts Tchaikovsky. It’s in all the high-toned movies of the 1930s (examples above). It’s also in Rouben Mamoulian’s classic film musical Love Me Tonight (complete film here) courtesy of Paramount’s musical director Nat Finston, who understood what he was talking about when, in a certain musical scene, he said he wanted “crying violins”. I could tell what he was talking about when he told me this story 46 years later.  

Korngold Violin Concerto String SextetNOTES for Korngold: Concerto & Sextet (Chandos, 2020) can be found here.


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Shostakovich’s Symphony No 1 and the Japanese Attack, 7 December 1941

Serge Koussevitsky, Leonard Bernstein’s mentor, was on the podium conducting the first symphony by the “new young Soviet composer” Dmitri Shostakovich in the CBS radio Sunday afternoon broadcast of the New York Philharmonic when, in the middle of the first movement, none other than famed NY correspondent John Charles Daly broke in with the news of Pearl Harbor. The Japs bombed the naval base at Pearl twice that morning, first at 8am Hawaii time, then again at 9:30am…then went on that same day to bomb the fuck out of Singapore, Hong Kong, Burma, Guam…

Dmitri Shostakovich.jpg

Then about 6pm they finally got around to Clark Air Base and the RCA transmitter on the outskirts of Manila where my mom was living


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