Happy St. Paddy’s Day! I hope you’ll join me for a pint of stout over this vintage footage of the Emerald Isle, set to the John McCormack favorite “The Garden Where the Praties Grow.” McCormack was one of the great tenors of his day, by all accounts a weak stage actor, but with a clarion voice and superior diction that pleased in both the opera house and in recital. For the latter, he was always sure to include Irish songs, many of which he recorded. These feature prominently in my St. Patrick’s Day playlist.
Category: Daily Dispatch
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Tom Jones & The Genius of John Addison
If I hadn’t watched the Academy Awards the other night, one of the movies I would have had in my watch pile would have been “Tom Jones,” Best Picture winner of 1964, totally inappropriate – if it ever WAS appropriate – for these days of Twitter-propelled outrage. Let’s just say there is plenty of wenching in evidence and also a fox hunt that, though not excessively graphic, I confess is hard to watch. I think that’s the point, actually, but it does kind of wipe the smile off one’s face, coming as it does in the middle of a bawdy farce. The film also features a memorable eating scene, surely one of the most prolonged and comically eroticized in the entire history of cinema.
“Tom Jones” was also the recipient of awards for Best Director (Tony Richardson) and Best Adapted Screenplay (John Osborne), after the picaresque novel of Henry Fielding.
Also nominated were Albert Finney for Best Actor (the first of his five nominations), Hugh Griffith for Best Supporting Actor (his antics would be so “cancelled” in 2023), and Diane Cilento, Edith Evans, and Joyce Redman for Best Supporting Actress. “Tom Jones” is the only film in the history of the Oscars for which three actresses in the same movie were in competition for Best Supporting Actress. (The award went to Margaret Rutherford for “The V.I.P.s.”)
In addition, it received a nod in the category of Best Art Direction.
Freewheeling is one of the most fitting adjectives I can think of for “Tom Jones,” which is also vivacious, versatile, and virtuosic. The same could be said for Richardson’s direction, which at times reverts to silent movie style slapstick. It can certainly be said of the hand-in-glove score by John Addison, who was born on this date in 1920.
Addison too was awarded an Oscar. His music is a brilliant mix of unusual instrumentation (harpsichord, well-worn upright, banjo, accordion) and music hall brio.
Later, he provided the memorable music for “Sleuth.”
And, for television, “Murder She Wrote.”
Addison was the composer to whom Alfred Hitchcock turned, notoriously, after his falling out with Bernard Herrmann over the scoring of “Torn Curtain.” The studio was pressuring Hitch for a more “popular” sound. Ironically, Addison just wound up trying to conjure Herrmann – as did every one of Hitch’s collaborators thereafter.
Addison also provided music for “The Entertainer,” “A Taste of Honey,” “The Loneliness of a Long Distance Runner,” “Start the Revolution Without Me,” “Luther,” “The Seven-Per-Cent Solution,” “A Bridge Too Far,” and the television miniseries “Centennial.”
A student of Gordon Jacob at the Royal College of Music in London, he wrote a number of concert works, though he remarked, “If you find you’re good at something, as I was as a film composer, it’s stupid to do anything else.”
Here is Addison’s Trumpet Concerto in three movements:
I. https://www.youtube.com/watch?v=z9kX_RyXhac
II. https://www.youtube.com/watch?v=SrW_Tj8Pkw4
III. https://www.youtube.com/watch?v=GOJTZ2cnPLcOver a half century before Warren Beauty and Faye Dunaway got caught up in the infamous “La La Land” snafu, Sammy Davis Jr. was bitten by “Tom Jones”:
Happy birthday, John Addison!
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Louis XIII’s Blackbird Ballet & Bird Feeder Woes
Anyone who’s been following my posts the past few weeks knows of the frustration I’ve been experiencing at the inundation of blackbirds at my feeders. In a kind of early spring ritual, a veritable biker gang of red-wings, grackles, cowbirds, and starlings rolled in on their choppers in mid-February and are now holding the entire bird community in terror, like Lee Marvin and company in “The Wild One.”
Today I am reminded that Louis XIII’s favorite pastime was hunting the blackbird. The reason I say reminded is because I happen to adore Alexandre Dumas, and “The Three Musketeers” is set during the reign of Louis. While I don’t condone the killing of anything, especially for “sport,” Louis’ obsession yielded a ballet, “La Merlaison,” which was performed at the feast that concluded the hunt. The feast is referenced in the “The Three Musketeers.”
For the ballet, the roles were acted and danced by those for whom Louis composed it – that is to say the king himself, his half-brothers, his grand equerry, his favorite (Louise de La Fayette), and his group of companions, hunters, soldiers, pages, and dancing masters. For several days, between two estates, Chantilly and Royaumont, they celebrated mid-Lent, hunted, and publicly assumed the roles of farmers, peasants, Gascons, Flemings, Lorraines, and curious birds.
The ballet was positively received at its debut on this date in 1635. But what are you going to do, tell the king his ballet stinks?
I am indebted for the subject of this post, given the Classic Ross Amico treatment, to today’s installment of Composers Datebook, at composersdatebook.org.
https://www.yourclassical.org/episode/2023/03/15/king-louis-xiiis-blackbird-ballet
I don’t know that the original choreography survives, but here’s a modern take on one of the dances by Christine Bayle.
https://www.numeridanse.tv/en/dance-videotheque/le-ballet-de-la-merlaison
And a teaser for the complete production. Would that it was posted somewhere online!
More music from the ballet, with a slideshow of hawks, falcons, and eagles:
I’m hoping that soon the blackbirds will disperse or move on. Then, no doubt, it will be time to address the spring indoor ant invasion!
PORTRAIT: Louis XIII Crowned by Victory. Big man, beating up on blackbirds.
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Einstein Anderson Friendship Defied Racism
Anyone remember the time Marian Anderson spent the night with Albert Einstein?
If that sounds sordid, it absolutely is, but unfortunately in all the wrong ways.
Anderson, the contralto whose voice no less than Arturo Toscanini gushed was of a kind that comes once in a hundred years, was notoriously barred from performing at Constitution Hall in Washington, D.C., by the Daughters of the American Revolution because of the color of her skin. In the ultimate example of turning lemons into lemonade, Anderson sang instead from the steps of the Lincoln Memorial – to 750,000 people on the mall and a national radio audience estimated in the millions. That was on April 9, 1939, which, as it turned out, was Easter Sunday.
Two years earlier, after a performance at Princeton’s McCarter Theatre – a performance that drew a packed house and elicited glowing reviews – Anderson had been denied accommodations at the Nassau Inn.
Fortunately, Einstein happened to be in the audience. Learning of Anderson’s dilemma, he extended the invitation for her to stay with him in his home at 112 Mercer Street.
Anderson recollected, “I remember thanking him from the bottom of my heart and he seemed just sort of to brush it aside…. Dr. Einstein greeted one warmly and said, ‘We are very happy that you can come and welcome into our home.’”
For the next 18 years – through 1955, the same year she made her belated debut at New York’s Metropolitan Opera and the last year of Einstein’s life – Anderson made it a point to stay with Einstein whenever she was in Princeton.
In 1946, Einstein received an honorary degree from Lincoln University. In his acceptance speech, he stated, “There is a separation of colored people from white people in the United States. That separation is not a disease of colored people. It is a disease of white people. I do not intend to be quiet about it.”
Einstein himself was no stranger to racism. It was antisemitism that drove him to renounce his German citizenship, at a time it was still within his power to do so. The Nazis barred Jews from holding official positions, including professorships, they repeatedly raided his home, they sold his belongings, they burned his books and – though it seems superfluous under the circumstances – one German magazine put a $5000 bounty on his head. “Jewish intellectualism is dead,” proclaimed Goebbels.
Hitler’s loss was our gain. Though there were Jewish quotas in place at universities even here in the United States, including at Princeton University (unofficially, but understood), Einstein accepted a position at the newly-formed Institute for Advanced Study – which in its early days, kept offices on Princeton’s campus while its own facilities were under construction. Einstein would become an American citizen in 1940.
Einstein embraced America’s system of meritocracy. He extolled the “right of individuals to say and think what they pleased,” without social barriers, a right he found conducive to creativity and innovation. At the same time, he condemned America’s racism, which he found to be the country’s “worst disease… handed down from one generation to the next.”
Einstein joined the Princeton chapter of the NAACP. When he put himself forward as a character witness for civil rights activist W.E.B. Du Bois at a trial in 1951, the judge dropped the case.
In 1959, Anderson herself received an honorary degree from Princeton University. Although by then Einstein had passed, again she stayed at his home.
There are a lot of reasons to share this story, but I do so today in conjunction with Pi Day (3.14), always a big deal in Princeton. Find yourself a seat at an integrated lunch counter and order yourself a celebratory slice in honor of this extraordinary friendship.
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