Category: Daily Dispatch

  • John Williams Birthday Radio Tribute

    John Williams Birthday Radio Tribute

    In common with just about everyone of a certain age, I fell in love with John Williams’ transporting, often inspirational music through repeated listenings to the soundtracks for a string of blockbusters he scored, primarily from the late ‘70s, through the early ‘80s – “Star Wars,” “Superman,” “Raiders of the Lost Ark,” “E.T.,” and so forth.

    This week, on “Sweetness and Light,” to mark Williams’ 93rd birthday (he was born on February 8, 1932), we’ll hark back to some of these, but we’ll also hear a surprising number of “B-sides,” as they were once called. You know, like on a classic 45-RPM, with the hit tune on side A, and a lesser-known number on the flip-side. Yes, I’m dating myself, but if you’re old enough to have seen those movies in the theater, you know just what I’m talking about.

    One of the things I absolutely love about Williams’ music is that, even in his most intense scores, he’s always able to find moments of light, warmth, and humanity. When you listen to John Williams, you remember how wonderful it is to be alive, in a world of limitless possibility. Moreover, he’s introduced countless people (I among them) to the delights of the symphony orchestra.

    At the peak of his influence – a period of decades – he basically defined the sound of the movies. Sadly, Hollywood has given it all up to save a few pennies in settling for a computer-manipulated shorthand of ominous drones and heart-pounding but anonymous chase rhythms.

    I hope you’ll join me in saluting the Last of the Movie Music Lions. It’s a John Williams’ miscellany – 15 selections in all, ranging from the 1960s to the 2000s – as we wish the composer a very happy birthday, on “Sweetness and Light,” this Saturday morning at 11:00 EST/8:00 PST, exclusively on KWAX, the radio station of the University of Oregon!

    Stream it, wherever you are, at the link:

    https://kwax.uoregon.edu/

  • Spielberg Hitchcock Herrmann Williams Radio

    Spielberg Hitchcock Herrmann Williams Radio

    When Steven Spielberg was introduced to Bernard Herrmann during a scoring session for Martin Scorsese’s “Taxi Driver,” he wound up going all fan-boy.

    “Oh, Mr. Herrmann!” Spielberg gushed. “I’m such an admirer of your work! You’re such an amazing genius!”

    Herrmann, who was notoriously prickly, looked him up and down and scowled, before replying, “So why do you always hire John Williams?”

    Interestingly, not long before, Spielberg, buoyed by the box office success of “Jaws,” worked up the courage to meet Herrmann’s one-time employer, Alfred Hitchcock, on the set of Hitch’s final film, “Family Plot” (which, coincidentally, Hitchcock also hired Williams to score).

    Before Spielberg could say anything, Hitch had him escorted off set, commenting to actor Bruce Dern, “Isn’t that the boy who made the fish movie?”

    The very night Spielberg met Herrmann (albeit briefly), the composer wrapped-up recording his music for “Taxi Driver,” went back to his hotel and died of a heart attack, in his sleep, in the wee hours of December 24, 1975. Hitchcock would follow his erstwhile collaborator in 1980.

    I establish these connections, because two of my three radio shows this weekend focus on the music of Bernard Herrmann and John Williams.

    In the mid-1950s, Herrmann and Hitchcock came together for a string of commercial, critical, and artistic successes, including, most notably, “Vertigo,” “North by Northwest” and “Psycho.” But the two collaborated on no less than nine films, if we count “The Birds,” on which Herrmann acted as sound consultant.

    Today, on “Picture Perfect,” we’ll have selections from the other five – among them, “Marnie,” “The Trouble with Harry” and “The Wrong Man.”

    Herrmann’s reworking of Arthur Benjamin’s “The Storm Clouds Cantata” was used at the climax of the 1956 version of “The Man Who Knew Too Much,” as a frantic James Stewart attempts to thwart an assassination plot at Royal Alert Hall. (In the film, Herrmann himself appears on the podium.)

    We’ll also hear a portion of the rejected score for “Torn Curtain,” the project that ended the Herrmann-Hitchcock association. Hitchcock fired Herrmann, when the composer ignored his instructions to write something light and popular, under studio pressure. John Addison was hired as his replacement, and the film was a failure at the box office.

    In recent years, Herrmann admirers have had several opportunities to sample the composer’s original thoughts. Quentin Tarantino is obviously a fan. He used some of Herrmann’s “Torn Curtain” music in “Once Upon a Time in Hollywood.”

    I hope you’ll join me for lesser-heard Herrmann-Hitchcock, on “Picture Perfect,” music for the movies.

    But wait – there’s more!

    Tomorrow is John Williams’ 93rd birthday. To celebrate, I’ve assembled a miscellany of the composer’s music for film, television, and the Olympic Games for “Sweetness and Light.” Among the offerings will be selections from several scores written for Spielberg and one (“Family Plot”) written for Hitch.

    Hitch yourself to Herrmann, this Friday at 8:00 EST/5:00 PST; then send well-wishes to Williams, this Saturday morning at 11:00 EST/8:00 PST, on “Picture Perfect” and “Sweetness and Light,” respectively – exclusively on KWAX, the radio station of the University of Oregon!


    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

    SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EST/8:00 AM PST

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

  • Amadeus & Mozart Rock Princeton

    Amadeus & Mozart Rock Princeton

    Add “Amadeus” to “The Godfather” and “Jaws” for films guaranteed to sell-out the Princeton Garden Theatre. Fortunately, I bought my ticket weeks ago, when I went to see “Nosferatu.” It didn’t hurt that the theatrical cut had been unavailable, apparently, since 2002, usurped by the inferior “director’s cut.” I think there are several posts I could spin out of this (my impressions of the film after all these years, the qualities of the film itself, how movies have changed over the years, and my dislike of director’s cuts, especially when they cause the originals to be pulled from circulation), but I’ll save those for another time.

    For now, I will say the Garden Theatre ALWAYS does a superb job with its repertory showings and that there are great turn-outs even for what one might expect to be niche films (e.g. “The Gunfighter” with Gregory Peck, “Eyes without a Face”). When I went to see “Grand Illusion” some months back, that too must have been very close to sold-out. Forget “2001: A Space Odyssey” and “Seven Samurai.” The sound and projection for “Raiders of the Lost Ark” was the best I’d ever experienced.

    I will say, “Amadeus,” which was presented in partnership with the Princeton Symphony Orchestra (violinists Rautao Mao and Iris Chen played a half-hour of Mozart prior to the screening), still holds up, and in fact, if such a thing is possible, I may have enjoyed it more yesterday than I ever have. It’s a movie that, for me personally, just gets richer with the passage of time. I found two things particularly sobering: (1) that a film of the stature of “Amadeus” seems to have required such an extensive restoration, drawing from several sets of elements; and (2) that seeing this 41 year-old movie in a theater today is the equivalent of my going to see a 1943 film in 1984. That’s how much time has passed.

    But a lot of this is digression and preamble to my point: that while you might not have been able to get in to see “Amadeus,” you may still be able to snag a ticket for this weekend’s hot-selling all-Mozart program with the Princeton Symphony Orchestra.

    Even for a hard-bitten classical music radio announcer who’s heard it all way too many times, the repertoire is enticing: the buoyant and energetic ballet music from the opera “Idomeneo,” the rich and dramatically expressive Piano Concerto No. 20 in D minor, and possibly my favorite of the last three, great symphonies – all of them composed over a period of just two months in the summer of 1788 – the masterfully inventive, joyous, and ultimately life-affirming Symphony No. 39.

    The soloist in the Mozart concerto – the very same played over the end credits of “Amadeus,” as a matter of fact, and one of only two piano concertos Mozart composed in a minor key – will be Orli Shaham, whose Mozart credentials are unimpeachable. Hers has been a lifelong love affair with the composer. (Hearing the Piano Concerto No. 20 as child is what made her want to take up the piano.) She’s just finished her recorded survey of the complete Mozart piano sonatas for Canary Classics. With her husband, the conductor David Robertson, she’s also recorded the Concertos Nos. 17 & 24.

    The conductor for this weekend’s concerts will be Gérard Korsten, who trained with another esteemed Mozartian, Sándor Végh. Korsten was concertmaster and then assistant music director of Végh’s Camerata Salzburg (based in Mozart’s hometown). He also served as concertmaster of the Chamber Orchestra of Europe, in which capacity he worked with such conductors as Claudio Abbado, Nikolaus Harnoncourt, and Heinz Holliger. He himself has conducted over 100 orchestras. From 2010 to 2014, he was principal conductor of the London Mozart Players. His repertoire in the opera house has encompassed all three Da Ponte operas, “The Magic Flute,” “The Impresario,” and yes, “Idomeneo.”

    The program will be presented twice at Princeton University’s Richardson Auditorium – located right up the street from Princeton Garden Theatre – this Saturday at 8:00 and this Sunday at 4:00. For tickets and information, visit princetonsymphony.org.

    Rock me, Amadeus!

  • John Williams Birthday Salute on Sweetness and Light

    John Williams Birthday Salute on Sweetness and Light

    I just finished producing a salute to John Williams, to be broadcast on the occasion of his 93rd birthday on “Sweetness and Light.” It turned out to be quite the miscellany – 15 selections – and I assure you, they’re not all the usual suspects, as you will divine from the CD on the top of the pile!

    If you’re a Williams fan – and who isn’t it? – I hope you’ll join me this Saturday morning at 11:00 EST/8:00 PST. I’ll be lighting an awful lot of candles on KWAX, the radio station of the University of Oregon!

    Stream it, wherever you are, at the link:

    https://kwax.uoregon.edu/

  • Remembering Teri Noel Towe, Princeton Radio Legend

    Remembering Teri Noel Towe, Princeton Radio Legend

    Oh no! I opened my laptop this morning to learn that Teri Noel Towe died.

    Teri was a larger-than-life personality, who was a Princeton fixture for a half-century, as a graduate of the university, a personal friend of philanthropist (and fellow Bach enthusiast) William H. Scheide, and the host of a long-running show on the university’s radio station, WPRB, on which he shared innumerable rare and sometimes perhaps not wholly authorized recordings.

    He was an exemplar of a fading generation of radio hosts whose presence were as outsized as the masterworks they presented. Listeners tuned in to hear Teri expound, as much as for anything he actually programmed. He developed personal connections with many in his audience and was unabashed about devoting entire segments of his shows to shout-outs and inside jokes.

    Needless to say, he was also a fount of anecdotes about the great performers. He was a friend of Rosalyn Tureck, among others, and had seen seemingly everyone in concert. I remember him telling me once about the reel-to-reel he carried in his brief case, with which he surreptitiously recorded Pablo Casals when the legendary cellist played in New York.

    Teri was a commanding storyteller, and oh my, how he could pontificate! Outspoken would be an understatement. I can understand how some might consider him to be an acquired taste. Unquestionably, he had a high opinion of himself. But once that taste was acquired, there was no letting go. Teri was grand and lively, as colorful as he was indispensable.

    In person, his features and facial expressions were strong and invited caricature. What a marvelous subject he would have been for Hirschfeld. (For all I know he could have been!) The widow’s peak, the expressive brows, the eyes that squinted when he smiled, the Cheshire grin – and always the bow tie. When he wanted to, he could also project self-importance.

    He was bigger than life. But beyond that, his knowledge of performers, performances, and recordings will never be replicated. His astonishing record collection was eclipsed only by his extraordinary erudition.

    He had many musical friends, and his reputation extended over the Atlantic. He was namedropped in Gramophone magazine (published in the U.K.) in April 2024. As part of a survey of recordings of Handel’s “Messiah,” an article he wrote in 1991 for Alan Blyth’s “Choral Music on Record” was referenced, in which he proclaimed Christopher Hogwood’s 1976 recording of the masterwork “Quite simply, one of the finest accounts of ‘Messiah’ ever recorded.”

    Handel would have been right in Teri’s wheelhouse. He had a phenomenal knowledge of Baroque music and recordings and for many years participated in WKCR’s annual Bach Fest.

    He was recognized with numerous awards and honors. He was twice the recipient of the ASCAP Deems Taylor Award for his writings, which also encompass not only liner notes and criticism, but two critical discographies of the works of Handel and Bach.

    Teri was born in Greenwich, Connecticut, in 1948. He always spoke fondly of his parents, cultivated people who instilled and encouraged his early passion for the arts. He graduated from Deerfield Academy in 1966. At Princeton University, he majored in History of Art, graduating in 1970 with departmental honors and winning a prize in History of Architecture. He continued his studies at the School of Law of the University of Virginia in Charlottesville, which allowed him the means to earn a living. For many years, he handled intellectual property cases, including trademarks, copyrights, and fine arts law, for Ganz & Hollinger on Manhattan’s Upper East Side.

    But music was ever his passion.

    From 1974 to 1986, he hosted a weekly classical music and talk show on WBAI, for which he adopted the pseudonym “The Laughing Cavalier,” a nod to both his law school alma mater and his Princeton degree in art history. (It’s also the title of a painting by Frans Hals.) Radio was one of the mottos of his existence – I use motto in the musical sense, as a recurring phrase of significance – as he also broadcast on WPRB, WKCR, and toward the end of his life, WHDD. On one of the three Facebook pages he maintained, he billed himself as “America’s Oldest College DJ.”

    I first met Teri on December 10, 2014, to interview him in connection with a radio documentary I was commissioned to produce for WWFM. The title, “William H. Scheide: A Job Well-Done,” was lifted from one of Teri’s observations about his late friend, which I used to cap a montage that opened the program that aired on what would have been Scheide’s 101st birthday, January 6, 2015.

    For his weekly radio show “Towe on Thursday,” Teri would take the train down from New York on Wednesday nights for (“God willing and if the creeks don’t rise”) a 5 or 5:30 a.m. start time. Naturally, this was quite a commitment, and one he loyally adhered to for many years. But in May 2015, he reached out to me to see if I would be interested in covering for him as he took a 14-week sabbatical. Of course, I was both thrilled and humbled. Thrilled to be on the air at WPRB and humbled to be stepping into his shoes. However, I knew there could be only one Teri, so I resolved to very much make the show my own, while, I thought, I was basically keeping the chair warm for him until his return. Well, the sabbatical was extended – in the end indefinitely – and eventually it became a regular shift for me.

    Teri got my foot in the door at a time when WWFM was weathering one of its financial shortfalls. (I had been on the air there since 1995.) I continued at WPRB until WWFM’s finances improved to the point that they could bring back its local hosts. In the meantime, I also wound up picking up a shift at WRTI in Philadelphia. At a point, I was on all three stations at once, in addition to writing my weekly music column for the Trenton Times. It would be the peak of my little vagrant empire. I would remain at WPRB for three years, before I foolishly reined it in and put all my eggs back into the WWFM basket. Of course, when COVID hit, I was out of a job. Silly me, I thought the layoff would only be temporary.

    Although Teri made it a point to return to Princeton for its annual Reunions celebrations – appearing in the P-rade in his period “Governor Jonathan Belcher” attire (in 1747, Belcher founded the college that became Princeton University) – the last time I saw him in person was at a concert featuring Jordi Savall and Les Concerts de Nations at McCarter Theatre in 2019.

    Teri suffered from ill health in recent years. Heart surgery in 2018 left him looking pallid and his voice weakened, but his spirit remained undiminished, as did his penchant for posting photos of cheese-laden, often fried foods and red meat. No question, the man knew how to enjoy life. He retired to rural Dutchess County, where he continued to prepare recorded broadcasts of his shows.

    When he shared obituaries on his Facebook pages, he usually added “Ave atque vale” – Latin for “Hail and farewell.” On May 28, 2015, following what turned out to be the last installment of “Towe on Thursday,” we enjoyed a memorable lunch at the Princetonian Diner on Route 1, at which I was introduced to both Kenneth Hutchins and Alan Lesitsky. The Princetonian now, alas, is also no more. Teri, who was always taking pictures, documented the event. Characteristically, he made careful note of what we all ordered. (I had the Greek omelet; Teri had the cheeseburger deluxe.) When he posted about it, he described it as “an ‘Ave atque Vale’ lunch.”

    In all, Teri did radio, sharing the music he loved, for nearly 60 years. His last Facebook posts were committed on February 2. I can’t claim to have known him well, but I knew him some. At the time of his death, he was 76-years-old.


    Teri from the WKCR archive

    https://www.cc-seas.columbia.edu/wkcr/archives/Classical%20Archive/artist/Teri%20Noel%20Towe?fbclid=IwY2xjawIQcXNleHRuA2FlbQIxMAABHXk584LE8cvgkfYsf8yfDl_Kt1oZTmQCp-bG7BJ1TupkZTpBbEXRxBNUjA_aem_8xo_BAwLDWG-uQz5nLMOZg

    Further podcasts

    https://www.ffrcc.org/weekly-broadcast?fbclid=IwY2xjawIQcZhleHRuA2FlbQIxMAABHU7Qxc1ADl_mdKfSV1lo-w-SeYvyt__TiKK1UzS5rwrzSnakZ0buR-zHzA_aem_sLAZbfBLgJ6Utrls0B_Igg

    At the Princetonian


    PHOTOS (counterclockwise from top): our last meeting at McCarter Theatre; in the P-rade as Governor Belcher; caricature by David Ritchie that ran in the University of Virginia’s The Cavalier Daily in 1973; Teri being interviewed at WWFM

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