NPR’s music critic Tom Manoff had a few choice observations in this week’s Oregon Arts Watch having to do with the firing one year ago of respected English conductor Matthew Halls : “Oregon Bach Festival: Lacking a Coherent Artistic Vision, Venerable Festival Flounders“. I think the title of this piece says it all.
See my blog posting from 25 September 2017.
I can’t sufficiently convey to you how miserable that hippie graveyard (Eugene, Oregon) is for musicians—in fact for artists of all types. I ran a cabaret show there several years ago and the arts infrastructure was non-existent then as it is now—not to mention they still lack an acoustically decent concert hall. And the pretension! And the hypocrisy! And the narrow-mindedness! And—gasp—the racism! (Yes, there’s still plenty of it there. Don’t get me started. Two stores refused to serve me because of my race.) I am never, never bringing a show to that city again.
Now, before I go into a couple of my bonny’s more recent musical missteps that have done their part to annoy the hell out of me, I think it’s only fair to share the best clips available of John Wilson’s own 24-year-old orchestra—cannily named, as I have mentioned, the John Wilson Orchestra—which, out of over 200(!) on YouTube in nine years, come down to about three, maybe four of those clips spread out through 2009-2017.
So in no particular order: This is from their 2012 show “Broadway Sounds” at the BBC Proms in the Royal Albert Hall in London, which seats 5200, with standing room for 1300 on the ground floor (tickets for which go for only 6L and for which people camp out overnight at the box office like it was goddamn Winterland). This is pertinent, because it seems like the JWO only does its best work when it can blast the roof off a barn.
I had the old Ben Bagley recording and the 1983 Broadway revival recording (conducted by John Mauceri) of the Rodgers & Hart show On Your Toes—which of course includes the climactic ballet “Slaughter on Tenth Avenue”—but both producer Bagley as well as musical theater preservationist Mauceri put on disc the 1936 Robert Russell Bennett orchestration rather than the 1954 one by Don Walker. Our John, being John (I’m starting to get into his “ear”), chose the Walker score to play in Albert Hall, and for once he was entirely right.
Counted among one of the greatest cellists in the Golden Age of String Players, George Neikrug is still with us at 99(!), teaching and playing—all the more remarkable for the fact that two years ago he was completely bedridden due to compression fractures in his back. Wonderfully his students, past and present, have rallied around him with financial help and words of encouragement, gratitude and praise. A student himself and chief proponent of the revolutionary string methods of DC Dounis, Neikrug’s students consider him to be the Einstein of string teachers.
Here he is performing “Schelomo: Rhapsodie Hébraïque”, the final work in Swiss composer Ernest Bloch’s 1916 Jewish Cycle. Stokowski recorded it with him and called Neikrug’s work “unforgettable”. (Part 2 here.)
Thanks to old friend, violist Vivi Erickson, for remembering her former Boston University teacher for me.
Co-composer Blaine once said that he’d been glancing at a picture book he’d found at the Beverly Hills Public Library, landed on a page about early streetcars captioned “Clang, Clang, Clang, Went the Trolley”, and bang was off to the races. The song’s unusual structure, which Martin based on 19th century tunes, was a showcase for Garland’s strong voice. “The Trolley Song” was nominated for a 1944 Academy Award for Best Original Song.
Orchestrator for this song—as well as the entire MGM Judy Garland musical Meet Me in St Louis—was Conrad Salinger. “He had a very individual, sophisticated sense of harmony,” said our John in a 2013 interview. “It was those very subtle and exclusive touches that he gave to those numbers that set him apart… Little touches of instrumentation, like alto flutes and French horns, that gave those pictures a sound world all their own. His specialty was that high-class production number, the theatrical presentation of a popular song, or a balletic development of a number. In the hands of Salinger, you could be listening to Debussy or Ravel. He’s never going to be a household name, but that doesn’t diminish his stature.”
Orchestrator/arranger/conductor Jack Campey pointed to this clip highlighting Salinger’s orchestration, sans vocals. Cheers, Jack.
And…here’s Stokowski, international maestro (and, like John, a Royal College of Music graduate) in my second favorite Deanna Durbin movie: 100 Men and a Girl. 1937, Henry Koster, Universal.
And if you want Bugs Bunny as Leopold in “Long-Haired Hare”, click here.
I’m a pot of joy for a hungry boy,
Baby, I’m cookin’ with gas.
Oh, I’m a gumdrop,
A sweet lollipop,
A brook trout right out of the brook,
And what’s more, baby, I can cook!
The queen of Broadway Bernadette Peters entices conductor John Mauceri with her many, many assets, courtesy of Leonard Bernstein and the great lyric team of Adolph Green and Betty Comden. “I Can Cook, Too” from On the Town. Fun starts here at 4:45.
I had this album back in the 70s, the prize of my collection. In fact I had nearly all of the 14 movie score albums conducted by the much-esteemed orchestrator/arranger Charles Gerhardt (1927-1999).