When you dine at a fancy dinner party, a common practice is to “cleanse the palate” between courses with a simple satisfying sweet, like lemon sherbet. Well, that’s what the music of Bob Rafaelson’s creation, The Monkees, is to my sessions of listening+studying music at the table of my beloved English conductor John Wilson: lemon sherbet between John’s more complex courses of Tchaikovsky or Ravel. My personal jukebox:
NOTES: 1) Now isn’t this THE quintessential Laurel Canyon Sound? 2) Music and lyrics by Boyce & Hart (“Last Train to Clarksville”); Carole King & Gerry Goffin (“Pleasant Valley Sunday”); Neil Diamond (“A Little Bit Me”, “Love to Love”); Mann & Weil (“Shades of Gray”); Carole Bayer Sager & Neil Sedaka(!) (“When Love Comes Knocking”); Ben Gibbard (“Me and Magdalena”); Mickey Dolenz (“Randy Scouse Git”) and Mike Nesmith (“Circle Sky”). 3) “Circle Sky” is from Head, that trippy 1968 Monkees movie produced by Bob Rafaelson, written and directed by Jack Nicholson(!!!) and available on YT. 4) As you can read from the above titles, I never got over my special crushy (though surprisingly nonsexual) affection for Davy Jones (“A Little Bit Me”, Love to Love”, “When Love Comes Knocking”).
Which brings us to the Bob Rafaelson-Carole Eastman classic, Five Easy Pieces, which is celebrating its 50th anniversary in September. If you want to talk about The Alienation of The Artist, this film is the perfect jumping-off place. Solid, solid script, one of the best to come out of 70s Hollywood. And then of course Jack Nicholson. A good geeky essay by filmmaker Kent Jones on Five Easy Pieces exists at Criterion.
At around the same time of life the oh-so-kissable John Wilson was a wee bairn in Gateshead falling out of his high chair in excitement over the brand-new BBC news theme, I was in my playpen in the living room of the old one-bedroom apartment in South Minneapolis jumping up and down in excitement to the theme of Captain Kangaroo on TV.
The program: “The Devil’s Galop” (Dick Barton Special Agent,Monty Python) / Charles Williams; “Portrait of a Flirt” / Robert Farnon; “The Lion and Albert” (comic verse) / Marriott Edgar; March from “Little Suite” (Dr Finlay’s Casebook) / Trevor Duncan; “Barwick Green” (The Archers) / Arthur Wood; “The Typewriter” (The News Quiz) / Leroy Anderson; “Roses of Picardy” / Haydn Wood; “Calling All Workers” (Music While You Work) / Eric Coates; “By the Sleepy Lagoon” (Desert Island Discs) / Eric Coates; “A Canadian in Mayfair” / Angela Morley; “In a Party Mood” / Jack Strachey; “Sailing By” (The Shipping Forecast) / Ronald Binge; “Charmaine” (Monty Python) / Erno Rapee; “Puffin’ Billy” (Captain Kangaroo!!!) at 47:00 / Edward White; “Birdsongs at Eventide” / Eric Coates; “The Dam Busters” March (from the 1954 film) / Eric Coates. Janis Kelly, soprano. Roy Hudd, host.
There must be something in the English character that enables the better artists among them to depict situations of unassuming, steady bravery with superior deftness, which is probably why their World War II pictures are better than ours. One of them, The Inn of the Sixth Happiness (20th Century Fox, 1958), doesn’t technically qualify either as a UK picture—Fox produced it; or as a WWII picture—it’s set during the Sino-Japanese War of 1938; but it does have unarmed peasantry scattering to the hills under Japanese gunfire, which is a theme that ran through my mother’s life starting with Pearl Harbor and ending in March, 1945 when American troops marched through the rubble-strewn streets of Manila, hunky victorious good guys. My mother’s first teenage romance was with a private in the 31st Infantry Regiment named Kelly, come to think of it.
Now, when I refer to better artists of English character I don’t mean the film’s producer, director, writer (American, American, American), or stars (Swedish, Austrian). But it’s because of: one, the true-life heroine the story was based on; two, the location shooting; three, the non-lead casting; and four and most importantly, the music, that I think of Sixth Happiness as an English film. The true-life heroine of the story was English-born, not to mention the film has Snowdonia standing in for the daunting terrain around Yangcheng and pretty near the entire Chinese heritage population of Liverpool standing in for Chinese nationals, with supporting roles portrayed by stalwarts of UK stage and screen. This is the first thing I ever saw Burt Kwouk in.
But to the music. This is not Malcolm Arnold’s finest score—Bridge On the River Kwai (Columbia, 1957) really is a superior composition—but it rates higher with me becauuuse, you guessed it, The Inn of the Sixth Happiness has a gorgeous Love Theme, which you can hear below as the Royal Academy of Music performed the suite back in 2014. You’ll also hear the bright, high fanfare brass that Arnold used in a few other of his movies, River Kwai and the one below, for examples. Also, I’m starting to develop a theory to satisfy myself that certain intervals, played with conviction, are the real sinews of English music: they make for that sound of “rightness”, which you can take one way or another, depending on the mood—or your mood, for that matter. Sixth Happiness has plenty of those.
Besides the satisfying fanfare brass, Sixth Happiness shares with the satirical The Belles of St Trinian’s (British Lion, 1954) a bit in the score where there’s a song meant to be sung by children—in Sixth Happiness it’s “This Old Man”; in St Trinian’s it’s the school’s hilarious “Battle Cry”. I’m not posting the lyrics here, so click on the link in red to listen to those cheerfully bloodthirsty oaths. But can you imagine what a liberating tonic this ferocious roar from the depths of The Untamed Female Soul was to a little girl in the Catholic part of Minneapolis, watching this on Saturday matinee TV (a tonic, incidentally, I would not imbibe again till I heard Bernadine Dorhn mouth off a few years later)—?
Here’s the BBCCO doing the St Trinian’s suite at the Proms (Timothy West, narrator) bringing back almost all the familiar, funny-music leitmotifs to smile at, like George Cole’s character’s “Flash Harry”, a loping, rattling kind of tune (although lamentably there’s no sign of Joyce Grenfell’s scurrying “Ruby Gates”) before returning to that ghoulish school pageant march, lyrics I believe provided by Arnold himself.
In contrast, “This Old Man” is meant to be a “found” song, purportedly a children’s counting song, heard on the playground since the 19th century, and in a way that’s right, as the first time I heard “This Old Man” was on the playground—but only because it had become a hit on US radio first in 1959. It’s still impossible for me not to hear “This Old Man” and not think of the climactic scene in Sixth Happiness: the hundred children crossing the Yellow River into safe territory, ragged and exhausted but alive, marching into the unoccupied city to cheering crowds, loudly singing this song. Invariably it brings tears to my eyes, immigrants’ daughter that I am, and I remember the first time I watched—and heard—this film on TV with my mother, my mind nearly forming the question I never asked her, not then, not ever: “What happened to you in the war, mom?” Because the music was so ravishing, the love story was so satisfying, and my mother just wanted to enjoy an Ingrid Bergman film.
My beloved John conducted the National Youth Orchestra of Great Britain (who The Guardian described as “a fearless young army on the move”) in “The Pines of Rome” by Respighi in Leeds in 2015; and in Glasgow, where he’s been the Associate Guest Conductor for several years, with the BBC Scottish Symphony Orchestra in 2018. Now he’s rounding out his association with this perennial orchestra piece with a wonderfully crisp and sparkling new recording from Chandos with the new Sinfonia of London.
I classify this under My First Music because I first heard this symphonic poem in a broadcast of a Young People’s Concert. Leonard Bernstein conducted, the NY Philharmonic played. Listen for the feet of Roman soldiers along the Appian Road, my affectionately-remembered rabbi of music suggested. I think I was 11.
Lastly, a word about the strings in the fourth movement. Yup, there was that “John Wilson Orchestra shimmer”, that famous wrist vibrato anyone who’s ever picked up a fiddle recognizes and has to have come to terms with fairly early in training. We used to wonder if it made our playing actually sound better, and it depends. The Russians and Mittel Europeans used it a lot a hundred years ago. Some call this type of playing now “period playing”. My old boss, Rouben Mamoulian, called this style of playing “crying violins”. He claimed it was his idea to use it in the musical Love Me Tonight, in the “Isn’t It Romantic” sequence.
I was twelve when The Forsyte Saga (all 26 episodes available on YT here) was first shown on American TV and I thought it was the coolest series ever.* It was about a large, rich and, though unconnected, influential family living in late-capitalist England circa 1879, who keep getting into pretty heated conflicts with each other—which at the bottom are really about, more or less, the value of art and the inner life vs commerce—all the while being beautifully attired and beautifully well-spoken. Hearing this royal fanfare from “Halcyon Days” that opened the show was enough to get me all excited with anticipation on a Sunday night, but it wasn’t until last year around May when I finally discovered the composer of the piece, Eric Coates, plus the rest of this ravishing movement, when I fell in love with conductor John Wilson and developed a raging need to get close to the music he’s close to.
Soames played by Eric Porter—The Man of Property, Noted Art Collector, and about as Mr Wrong as you can get—mistook his wife for a soulless mannequin and, in novelist John Galsworthy’s sardonic words, “asserted his marital rights and acted like a man” in this scene, in which the BBC made shocking good use of Nyree Dawn Porter’s lovely embonpoint.
The traditional closing number for any formal dance (the orchestra played this at every Rizal Day dance I ever attended in Minneapolis as a girl), the tender song “Goodnight, Sweetheart” was written in 1931 by the English composing team of Ray Noble, Jimmy Campbell and Reg Connelly. In the recording used in Star Trek it was played by the Ray Noble Orchestra and sung by Al Bowlly, that darkly good-looking singer who, at the height of WWII, was found in the rubble of his London flat after a blitz attack, dead, but without a mark on his handsome face.
If you could, my bonny John Wilson, imagine me wearing a Maria Clara (like great-grandmother Aberin below) and you wearing a barong, I’d be singing you this song:
Verse: Sa buhay ko’y labis Ang hirap at pasakit, ng pusong umiibig Mandi’y wala ng langit At ng lumigaya, hinango mo sa dusa Tanging ikaw sinta, ang aking pag-asa.
Refrain: Dahil sa iyo, nais kong mabuhay Dahil sa iyo, hanggang mamatay Dapat mong tantuin, wala ng ibang giliw Puso ko’y tanungin, ikaw at ikaw rin
Dahil sa iyo, ako’y lumigaya Pagmamahal, ay alayan ka Kung tunay man ako, ay alipinin mo Ang lahat sa buhay ko, dahil sa iyo
“Dahil Sa Iyo” Mike Velarde Jr music (1938), Tom Spinoza, lyrics Cora and Santos Beloy, vocalists Tri-World Records (1964)
My mother’s lola, my great-grandmother, the spitting image of my mother the way Georgiana Drew is the spitting image of Drew Barrymore. I have no documentation for my assertion—my gran’s house and possessions were completely destroyed during the Japanese Occupation. But whenever we came across this picture in the media—in an article in Time, for example—my mom would always point her out and tell me the story of how my great-grandfather came over from Ireland and, upon discovering he was meeting fellow Catholics in a sea of Asians, stayed, changed his name from O’Brien to Aberin, and married the local beauty. How the Dutch photographer found her is anybody’s guess.
According to composer Duning, Picnic director Joshua Logan insisted on using the old standard “Moonglow” (Hudson-Mills-DeLange, 1933) in a critical scene, as had been done in the Broadway play, but demanded that Duning’s love theme be added at a specific point. Columbia’s music director Stoloff and Duning complied, creating a unique arrangement of the song and the movie theme, and it became an iconic moment in 1950s cinema, a pairing of tunes that would thereafter seem inextricably intertwined. [Read more on George Duning from the Film Music Society here.]
I’m not going to talk about the Tinikling here as it brings back unpleasant memories of having my ankles banged with bamboo poles, but I will mention the Pandanggo (from the Spanish word “fandango”). This is very elegant dance where dancers wear not the formal Maria Clara, which is hard to get around in, but the patadyong, which is a simple cotton dress with butterfly sleeves. My aunt Wilhelmina looked very nice doing this dance, with the candles on the backs of her hands and the candle on her head. You try balancing that. I almost started a fire.
Pandanggo traditionally is danced to rondalla music, which is a sort of serenade played by an ensemble of guitars and mandolins and other stringed instruments. It originated in Spain during the Middle Ages. You can also hear the rondalla sound in Mexican and Central and South American music, which should show that Filipinos are more cultural kin to the Hispanic world than the mainland Asian. But we claim both.
The first song ever taught to me I think when I was five. My mother sang it to me in English, just once, and I pretty much got it. Here’s the Mabuhay Singers doing the somewhat tedious all-English version I remember growing up, and below is the fantastic Filipino post-punk rock group The Dawn doing it in Tagalog.
Fernando Amorsolo y Cueto (1892 – 1972) was a portraitist and painter of rural Philippine landscapes. This is one of his many, many depictions of rice planting and it’s the one I think hung in our house when I was little, next to the shield of bolo knives, the oversized mahogany fork and spoon set, and the pictures of Pope John XXIII and John F Kennedy. If you’re an American-born pinoy, you’ll know what I mean.
Hastily conceived as a one-act filler for an evening’s entertainment with Offenbach’s La Périchole, Trial By Jury quickly established itself as the real hit of the production. Although this was not Gilbert & Sullivan’s first collaboration, it was the work that established the partnership for good. The first performance of Trial By Jury was on 25 March, 1875.
From Bachtrack.com: The Orchestra of the Age of Enlightenment has always gone its own way, choosing its own repertoire and collaborators and pioneering a now established framework for ‘historically informed’ performance. So what would happen when its players alighted upon WS Gilbert and Arthur Sullivan, alongside the vivacious and intrepid John Wilson, king of 20th-century popular repertoire? Wilson drew miraculous playing from the OAE, which seemed completely at home among the clouds of meringue and piles of whipped cream that Gilbert & Sullivan offer their audiences. The overture to The Gondoliers is rather boilerplate stuff, lacking Sullivan’s flair for pastiche and relentless tunefulness we find in say, Iolanthe, whose wispy opening enchanted later. But Wilson offered us a generous cone of creamy gelato, coaxing sumptuous and effulgent warmth from the OAE strings… ~Benjamin Poore