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Very nice indeed, thanks for sharing it with us.
I should mention that, surprisingly, although this piece mentions an upcoming John Wilson and Orchestra tour, nothing is said (unless I missed it) about Wilson's newest CD, "Cole Porter in Hollywood." I'm sure it will be first rate, as are all of his previous albums.
By the way -- there's no reason why you shouldn't post this thread on the General Discussion board. If, as the article indicates, classical music is finally accepting Porter, then certainly film music must follow suit.
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Posted: |
Aug 10, 2014 - 2:50 AM
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By: |
Regie
(Member)
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Richard Rodgers, in his autobiography "Musical Stages", wrote the following about Cole Porter after his first meeting with that composer in Venice:
"What's more he (Porter) said he had discovered the secret of writing hits. As I breathlessly awaited the magic formula, he leaned over and confided, 'I'll write Jewish tunes'. I laughed at what I took to be a joke, but not only was Cole dead serious, he eventually did exactly that. Just hum from 'Night and Day' or any of "Begin the Beguine' or 'Love for Sale' or 'My Heart Belongs to Daddy', or 'I Love Paris'. These minor-key melodies are unmistakably eastern Mediterranean. It is surely one of the ironies of the musical theater that despite the abundance of Jewish composers, the one who has written the most enduring "Jewish" music should be an Episcopalian millionaire who was born on a farm in Peru, Indiana" (p.88).
I've long been fascinated by this Jewish connection of Porter and I'm sure John Wilson would have plenty to say about it.
Thanks for your comments, PNJ.
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You're very welcome, Regie, and thanks for the Rodgers quote. I've beard before about Porter's stated intention, but Rodgers' recollection with commentary is probably the best possible version of this part of the Porter legend.
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