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Posted: |
Jul 2, 2013 - 12:02 AM
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By: |
philiperic
(Member)
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Regie-
I think that I would have enjoyed being in your classroom - I had only a few teachers that always made learning a pleasure - they helped instill in me a love of music, theater, art, literature, and films -- for which I am eternally grateful!
Im glad you started this thread - it motivated me to pull out a dvd compilation entitled "Can't Help Lovin' That Man - The Melodies of Jerome Kern" a friend had sent me. I never watched all of it -- two hours of musical numbers from television and film all by Kern -- a lot from TIL THE CLOUDS ROLL BY but a number of hard to find ones - sung by the likes of Deanna Durbin, Marilyn Miller, Jeanette MacDonald, Fred Astaire, Irene Dunne, Ann Miller, Patricia Routledge, Elaine Stritch, Teresa Stratas, Rebecca Luker, and many more. It was created by Clive Hirshhorn , author of the wonderful book - THE HOLLYWOOD MUSICAL.
I had forgotten that Kern composed the songs for SWING TIME starring Astaire + Rogers - is it better than TOP HAT(Irving Berlin) or SHALL WE DANCE(George Gershwin)? Some fans and scholars pick it as their best! No wonder all three films are such classics with those composers .
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Posted: |
Jul 2, 2013 - 12:46 AM
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By: |
Regie
(Member)
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I'm afraid I've got myself into hot water over my comments about British film on another thread. I hope I've redeemed myself with Jerome Kern.
Well, you're certainly a connoisseur of the music of these giants of musical theatre. Endless joy. And they are artefacts from another time when romance was idealized and a world away from music in which, as Woody Allen once said, "singers look like they are going to take their mothers as hostages"!! ("Hannah and Her Sisters").
I wonder if you liked Bobby Short? Heaven in half-steps!!
I tried to inculcate in my high-school students a love of film, music and literature and I had SOME success. My 3-unit Extension English class (matriculation) had just 5 students in it and I set for study "The Red Shoes" in a unit entitled, "The Make-over" (which I completely devised myself and which looked at the Svengali figure who made a woman over into an image of perfection, starting with Ovid's poem "Pygmalion and the Statue", AD45). You know, none of them laughed at "The Red Shoes", its ripe 3-strip Technicolor saturation and that matron who described Lermentov as a "handsome brute!" (who was, in fact, the incomparable Anton Walbrook - be still my beating heart!). The students enjoyed the film on its own terms and then they sat through "My Fair Lady" right after that!! It was looking at how texts "appropriate" other texts from the past, giving them a new context and set of values: in the case of my unit, it was Shaw's 'appropriation' of Ovid's poem, "Pygmalion", plus "My Fair Lady", "The Red Shoes" and, YES, "Vertigo". My students got a crash-course in fabulous film. (When I left the school the parents of one of those students wrote me the most magnificent letter - I dare not repeat what they said. Very moving.)
(Once you've got students' trust and respect they'll walk over hot coals with bare feet for you!!)
I have a Mel Torme and George Shearing version (Concord Jazz Festival recording, 1981) of "Pick Yourself Up" from "Swing time". It is magnificent!! (Remember Mel singing "Blue Moon" in "Words and Music"?!!!) Here's a 1994 version of "Pick Yourself Up" with Mel Torme, without George Shearing:
http://www.youtube.com/watch?v=TFczWMwzvns
Patricia Routledge from "Keeping Up Appearances"?? Don't tell me "the Bucket woman" is a singer too??!!
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Posted: |
Jul 2, 2013 - 2:45 PM
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By: |
philiperic
(Member)
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I'm afraid I've got myself into hot water over my comments about British film on another thread. I hope I've redeemed myself with Jerome Kern.
Well, you're certainly a connoisseur of the music of these giants of musical theatre. Endless joy. And they are artefacts from another time when romance was idealized and a world away from music in which, as Woody Allen once said, "singers look like they are going to take their mothers as hostages"!! ("Hannah and Her Sisters").
I wonder if you liked Bobby Short? Heaven in half-steps!!
I tried to inculcate in my high-school students a love of film, music and literature and I had SOME success. My 3-unit Extension English class (matriculation) had just 5 students in it and I set for study "The Red Shoes" in a unit entitled, "The Make-over" (which I completely devised myself and which looked at the Svengali figure who made a woman over into an image of perfection, starting with Ovid's poem "Pygmalion and the Statue", AD45). You know, none of them laughed at "The Red Shoes", its ripe 3-strip Technicolor saturation and that matron who described Lermentov as a "handsome brute!" (who was, in fact, the incomparable Anton Walbrook - be still my beating heart!). The students enjoyed the film on its own terms and then they sat through "My Fair Lady" right after that!! It was looking at how texts "appropriate" other texts from the past, giving them a new context and set of values: in the case of my unit, it was Shaw's 'appropriation' of Ovid's poem, "Pygmalion", plus "My Fair Lady", "The Red Shoes" and, YES, "Vertigo". My students got a crash-course in fabulous film. (When I left the school the parents of one of those students wrote me the most magnificent letter - I dare not repeat what they said. Very moving.)
(Once you've got students' trust and respect they'll walk over hot coals with bare feet for you!!)
I have a Mel Torme and George Shearing version (Concord Jazz Festival recording, 1981) of "Pick Yourself Up" from "Swing time". It is magnificent!! (Remember Mel singing "Blue Moon" in "Words and Music"?!!!) Here's a 1994 version of "Pick Yourself Up" with Mel Torme, without George Shearing:
http://www.youtube.com/watch?v=TFczWMwzvns
Patricia Routledge from "Keeping Up Appearances"?? Don't tell me "the Bucket woman" is a singer too??!!
Totally redeemed - perhaps that's too strong a word - I enjoyed your posts from the start - even if my opinions might be different .
I always liked smaller classes although I had them mainly in college - one I had was a Seminar on 20th Century Drama and I learned a lot - only three of us.
Your class on Pygmalion sounds terrific - I learned some things just from your description. THE RED SHOES - oh my - what a rich , dazzling experience - that yields new pleasures on every viewing - Moira Shearer is perfection & Anton Walbrook is the most handsome Svengali ever - swoons for both ! This film changed many lives and it is easy to see why -- few films have the effect a first viewing can have on someone(receptive).
Oh yes I liked Bobby Short - a great talent . And Mel Torme too - love listening to his vocals - his voice stayed so amazing until the end -
I was not sure who Patricia Routledge was until I checked the credits - she sings a ditty "I want to sing in Opera" - I had never heard it before - very funny - I see that it is on youtube.
Oh - what a great quote from Woody Allen - and thats over 25 years ago -- wonder how he would express that idea now ?!
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A lovely thread -- thank you Regie for starting it! John McGlinn was a friend of mine going back to when we were students at Northwestern University in the mid 70's. His best friend at Northwestern became my best friend -- so inevitably in the scheme of things John and I became friends, too, before we graduated. It was clear back then that John was in love with Mr. Kern's music. I treasure the recording of "Showboat" -- it was one of the delights of my life to watch from afar as someone I knew brought a dream project to life in such a spectacular way.
There is something magical about Jerome Kern's music. "The Way You Look Tonight" is probably my all time favorite song. I think I will listen tonight to Ella Fitzgerald's "Jerome Kern Songbook" and add in a couple of John's recordings which I've neglected for a while.
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Posted: |
Jul 2, 2013 - 4:30 PM
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By: |
Regie
(Member)
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@John McMasters:
Wow, that connection to John McGlinn is very powerful. I'm just so happy we have these musicians who will take an interest in and cherish a wonderful musical legacy which, honestly, I fear about. Not to mention a message-board where we can TALK about all this.
The white hot period of American musical theatre from "tin pan alley" and George right through to the sophisticated music and lyrics of the incomparable Cole Porter; what more can one say? Only this: I could never feel antipathy for the USA - never - when they are capable of this kind of culture. True, many of these composers were from immigrant families but the USA was the crucible which forged such talent and we in the western world are all the richer for it.
I have to say this - I'm bursting at the seams. Polemic alert! Andrew Lloyd-Webber doesn't come within the proverbial (Australian) bull's roar of any of these earlier American composers.
Ella Fitzgerald! Her voice was the musical instrument par excellence and she was 'born' to sing those songs. The great thing about this heritage is that any singer can perform Kern et al and it works. I'm thinking (not of Kern this time, but Porter) of Sheryl Crow's fabulous version of "Begin the Beguine" in the film "De Lovely". Heart-breaking. At first I was resistant, then I said, "oh wait; this is wonderful"!! (And the arrangement!!!!) For instance, in the lines in the song below, "down by the shore an orchestra's PLAYING" sounds like it's in one key, and then Porter modulates to "even the PALMS seem to be swaying". I've capitalized the points of modulation in these lines (I don't have the music in front of me). In short, not according to the scansion of the lines, but off-beat.
http://www.youtube.com/watch?v=AuUFdWiumkU
For me, Kern and Porter both used harmony and modulation in the most sophisticated way. Last night I was singing "All the Things You Are" to my husband (spoiler alert!) and with each line I indicated how Kern had modulated to a new key.
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Posted: |
Jul 7, 2013 - 11:54 PM
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By: |
Regie
(Member)
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Thank you for that. I read the Champions' bio on Wiki (I hope it's accurate) and did note that Marge was still alive and, well, kicking!! Gower died at 61 of a rare blood cancer, the poor man. It seems he and Marge were divorced in 1973. Weren't they also in "The Barkeley's of Broadway"? Perhaps I'm wrong about that.
I wanted to share this with Kern enthusiasts. I'm just about to finish reading "MGM's Greatest Musicals - The Arthur Freed Unit" by Hugh Fordin. Here is a section, in a chapter about "Till the Clouds Roll By", on the death of Kern and the eulogy delivered by Oscar Hammerstein, using film is a metaphor:
"I have promised myself not to play upon your emotions - or on your mind.
We, in this chapel, are Jerry's "family". We all knew him very well. Each of us knows what the other has lost...
At the moment, Jerry is playing "out of character". The masque of tragedy was never intended for him. His death yesterday and this reluctant epilogue will soon be refocused into their properly remote place in the picture. This episode will soon seem to us to be nothing more than a fantastic and dreamlike intrusion on the gay reality that was Jerry's life.
His gaiety is what we will remember most - the times he has made us laugh; the even greater fun of making him laugh. It's a strange objective to apply to a man, but you'll understand what I mean: Jerry was "cute". He was alert and alive. He "bounced". He stimulated everyone. He annoyed some. He never bored anyone at any time. There was a sharp edge to everything he thought or said...
We, in this chapel, will cherish our special knowledge of this world figure. We will remember a jaunty, happy man whose 60 years were crowded with success and fun and love. Let us think, whatever God we believe in, that we shared some part of the good, bright life Jerry led on this earth".
Here's a gorgeous scene from "Showboat" with the incomparable Joe E. Brown, who is dancing with a little girl. This scene is terribly affecting to me and is somehow everything which typifies American popular culture - the melody and rhythms and the complete showmanship:
http://www.youtube.com/watch?v=kkDU1ai5P1I
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Posted: |
Jul 9, 2013 - 11:50 PM
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By: |
philiperic
(Member)
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Thank you for that. I read the Champions' bio on Wiki (I hope it's accurate) and did note that Marge was still alive and, well, kicking!! Gower died at 61 of a rare blood cancer, the poor man. It seems he and Marge were divorced in 1973. Weren't they also in "The Barkeley's of Broadway"? Perhaps I'm wrong about that.
I wanted to share this with Kern enthusiasts. I'm just about to finish reading "MGM's Greatest Musicals - The Arthur Freed Unit" by Hugh Fordin. Here is a section, in a chapter about "Till the Clouds Roll By", on the death of Kern and the eulogy delivered by Oscar Hammerstein, using film is a metaphor:
"I have promised myself not to play upon your emotions - or on your mind.
We, in this chapel, are Jerry's "family". We all knew him very well. Each of us knows what the other has lost...
At the moment, Jerry is playing "out of character". The masque of tragedy was never intended for him. His death yesterday and this reluctant epilogue will soon be refocused into their properly remote place in the picture. This episode will soon seem to us to be nothing more than a fantastic and dreamlike intrusion on the gay reality that was Jerry's life.
His gaiety is what we will remember most - the times he has made us laugh; the even greater fun of making him laugh. It's a strange objective to apply to a man, but you'll understand what I mean: Jerry was "cute". He was alert and alive. He "bounced". He stimulated everyone. He annoyed some. He never bored anyone at any time. There was a sharp edge to everything he thought or said...
We, in this chapel, will cherish our special knowledge of this world figure. We will remember a jaunty, happy man whose 60 years were crowded with success and fun and love. Let us think, whatever God we believe in, that we shared some part of the good, bright life Jerry led on this earth".
Here's a gorgeous scene from "Showboat" with the incomparable Joe E. Brown, who is dancing with a little girl. This scene is terribly affecting to me and is somehow everything which typifies American popular culture - the melody and rhythms and the complete showmanship:
http://www.youtube.com/watch?v=kkDU1ai5P1I
Regie-
sorry for the late response -
What a lovely eulogy for Jerry Kern -- maybe Robert Walker was a good choice to play him - onscreen he had humour and joie de vivre -- thanks for posting that .
That is touching moment from SHOWBOAT, thanks to Joe E Brown's playing and, of course, the music.
I did not realize that was the cause of Gower's death - it was so sudden I thought it was heart related. A real pity -- opening night of 42ND STREET on Broadway.
I think one of us should start a seperate thread on Marge and Gower !
Philip
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You've read, I hope, the wonderful Hugh Fordjn book about all the Freed unit films, A WORLD OF ENTERTAINMENT. There's a great little story about Arthur Freed with Kern at the MGM studio, discussing casting for TILL THE CLOUDS ROLL BY and who might play Kern. At one point, when Freed mentioned young Robert Walker as one possibility, the songwriter phoned Mrs. Kern at home and asked, "What do you think of Robert Walker to play me?" She replied, "You stay there and send Robert Walker to me."
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Posted: |
Jul 10, 2013 - 2:56 AM
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By: |
Regie
(Member)
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You've read, I hope, the wonderful Hugh Fordjn book about all the Freed unit films, A WORLD OF ENTERTAINMENT. There's a great little story about Arthur Freed with Kern at the MGM studio, discussing casting for TILL THE CLOUDS ROLL BY and who might play Kern. At one point, when Freed mentioned young Robert Walker as one possibility, the songwriter phoned Mrs. Kern at home and asked, "What do you think of Robert Walker to play me?" She replied, "You stay there and send Robert Walker to me."
Yes, thanks, I have heard that story!! It was in the Fordin book, I think.
I hope you are feeling better now.
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