6 September, 2021. Labor Day. (Bosses 2 – Labor 1) I suspect a few people in the UK might lately be visiting here as part of their Monday morning getting-into-gear ritual, so apologies for the lateness of this new posting, but I had to make the potato salad. Mister Grumble likes my potato salad.
Another reason for the delay: I needed to see what John was wearing for this radio concert, because the work clothes my bonny chooses to wear for any particular program always convey a meaning to me—so I had to wait for his picture (forget the bullshit reviews) to come out in The Guardian or The Independent… As you can see below, he was attired in a simple concert tuxedo, which I truly hope was comfortable. (Still wore his lucky cufflinks, though.)
Above: You know this tune, John. UK-based jazz singer Sara Creeney sings this Jerome Kern-Dorothy Fields enduring number from The Great American Songbook, “The Way You Look Tonight” (Swing Time, RKO 1936).
The importance of John Wilson’s white tie and concert tailcoat. This is what I couldn’t determine during the early days of my passion for John: Whenever he wore the tailcoat at the Proms conducting The JWO, his fancy showtunes orchestra, I wondered, was it because he was following in the historically deep tradition of maestros (Bernstein, Barbirolli etc) in dignified full dress…or was it just part of the show? So when John eschewed the tailcoat for his very important 4 September “Viennese” concert at the Royal Albert—where he could have so easily camped it up—this is what his choice said to me:
This music is serious. This presentation is serious. Spectacle doesn’t apply here. Sentimentality doesn’t apply here. Pay attention to the music! An assured, masterful bit of programming—not just some splashy entertainment, but a true, potentially life-changing encounter with Art. For only ten bucks a bottom-price ticket, I understand. I hope you Brits appreciate what you have.
John, dearest: It was only quite recently that I decided the satisfaction I get, devising interesting fantasies about making love to you in full dress (in my imagination we’re both in our work clothes), belongs best in a particular narrow stream of writing that has nothing to do with the way I regard you in real life: as a fellow artist I’d enjoy exchanging energies with. So, hooray for your concert blue suit, your concert tuxedo, your rehearsal T-shirt, all of which remind me that an actual human being strives and pulses behind the baton to create something beautiful.
Which brings us to the concert program. I don’t know the Berg so I’ll let that one alone, except to say the soprano has a nice strong tone. The Zemlinsky encore? You clever lad. Your Ravel waltz is as tight as when you conducted it at the Royal College, here even more ravishing coming from a full orchestra. I’d also get a kick reading your markings for Strauss’s Die Fledermaus Overture—have never quite heard those musical values brought out before. Very yummy.
The third movement of Erich Korngold’s Symphony in F. The Mister and I have exchanged a few strong words on this subject; however, since one cannot talk reason to a woman in love, I’m not going to include his remarks here. It’s a wonder that this single movement can bring out such contentiousness among people, even in someone like Mister Grumble, who wouldn’t’ve given a fig for Korngold if I hadn’t rediscovered Korngold through my wanton passion for conductor John Wilson and all the music that surrounds him. Even Leonard Bernstein and his protegee, John Mauceri, couldn’t agree: read my earlier post ”Leonard Bernstein Hears Korngold’s Symphony in F-sharp for the First Time”… [going off to make dinner, spaghetti with chicken-tomato sauce, back asap]
- “The Story So Far, with Conductor John Wilson”
- “The Story So Far; Or, Conductor John Wilson—His Limits”
- Kindle ebook of my Hollywood comedy-mystery COLD OPEN here.
- Free pdf of my book JOHN WILSON: AN ENGLISH CONDUCTOR here.
- Free pdf of my memoir re the Gyllenhaals A POET FROM HOLLYWOOD here.