25 May—Two Birthdays: My Dad’s and My Beloved English Conductor John Wilson’s

My father, who was born on the 25th of May 1905, went to the movies with me only a couple of times. The first was for Taras Bulba (United Artists, 1962). I remember him getting a particular kick out of the ride of the Cossacks scene, thrilling Franz Waxman music and all.

The second time was for Tora! Tora! Tora! (20th Century Fox, 1970). The movie house in Columbia Heights, just over the city line from Northeast Minneapolis, was within walking distance, I walked it all the time, and could still get in for 50 cents because at 15 I still looked 12. For some reason my father ended up not only driving me the few blocks, but after I’d found my seat and the lights went down I was astonished to notice him come in and sit down beside me.

“Dad, what are you doing here?” I whispered loudly. “You know, the Japs win in this.”

“Not for long,” he answered cheerfully, which is about as close as anyone in our family got to talking about the 7 December 1941 attacks and the general brutality my mother, then a teenager in Bangar in the province of La Union, had to face in an occupied country.

Bangar in those days was rather like Nouvion in ‘Allo ‘Allo—a little town situated a ways from the capital but near the sea, a hotbed of resistance. When you read about Bangar here, just remember: that kid who escaped, which resulted in occupying troops burning down the place, was one of my cousins. When the guards marched him to town to be executed, his family, through looks and gestures from a distance, pretty much gave him the word that they expected him to “take one for the team” i.e. let himself be shot; but at the last moment, as family legend goes, he grabbed the officer’s sword and in the confusion was able to get away into the forest. And so as feared came the reprisals.

A shadow still hangs over the de la Peña family.

Fil-Am 1941Taken at a banquet of an old Filipino-American association my dad was part of (that’s him under the picture on the right; keep forgetting he still had hair before I was born), one of about a hundred around at the time. Note the date: only a couple of weeks before Pearl Harbor. Note also the Philippine flag on the wall. The Philippines wasn’t yet a sovereign nation but a Commonwealth and didn’t achieve independence till 1946. More at “To My Beloved John Wilson, Who Shares His May 25th Birthday with My Dad; Or, Don’t Call Me a Person Of Color, I’m a Product Of Empire, 2”


Meanwhile in California my dad, who had come to the States a young man in 1927, was engaged to a woman from St Louis he eventually COULD NOT MARRY because—are you ahead of me on this?—HE WASN’T WHITE!!! Yes! The MISCENEGATION LAW of the State of California—which by the way was NOT REPEALED UNTIL 1948—prohibited them and God knows how many other California couples from legally joining, forcing them to travel to other states where they could. Recently read this happened to, among others, that fine actor Dean Jagger (here seen with Danny Kaye and Bing Crosby in White Christmas, 1954 Paramount) and his Chinese-American fiancee; and the Oscar-winning cinematographer-director James Wong Howe (Picnic, 1955) and his white fiancee, author Sanora Babb. I‘d be curious to hear other people’s stories.

How my dad, residing at last in Minneapolis, eventually found and married my mother in Manila is another story, and it’s a doozy. I’ll tell it one of these days. Here it is:


“To My Beloved English Conductor John Wilson, Who Shares a Birthday With My Dad; Or, Don’t Call Me a Person of Color, I’m a Product of Empire”

Part 1 here | Part 2 here | Part 3 here | Part 4 here


Now for John, who was born the day of my father’s final birthday, in 1972. John, I’m not saying we’re psychically linked, but about a month ago in the middle of defrosting the refrigerator I think I got a weird emotional flash from you where you were being right annoyed over some flap over a booking… I got the impression it might’ve been for The John Wilson Orchestra. [UPDATE: It wasn’t, it was the Sinfonia of London. 4 September 2021.] You were waiting for some kind of answer re your orchestra, whichever one it was, and not getting it, and I actually felt your annoyance… As I say, it was weird, like listening in on a party line…

That’s all I could make of it. But it’s enough to make me want to give you something special for your birthday. So…I’ve tried this only once, with an old boyfriend, and I think because I was really, really into him it worked. On the actual day of your birthday, John, I’m going to try to send you an energy shot. [UPDATE: Just did it. Think I got through. 25 May 2020 2AM UK time.] Until then, Happy Birthday, light of my life, fire of my loins. And if you and I ever meet up, tell me if it worked.

[More About My Dad]


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My Beloved John Wilson’s Concert Schedule 6 March Through 16 July 2022, Plus an Update on That E-album About an English Conductor

To those of you patiently awaiting the completion of John Wilson An English Conductor: I’m taking the time to refine my observations about John’s artistic path. Anyone who knows me from A Poet from Hollywood: Love, Insanity, Stephen Gyllenhaal, and the Creative Process knows this is my real bag.

[JOHN’S PAST AND PRESENT CONCERT SCHEDULES]

Ah, there’s the man whose every gesture makes my heart beat faster.


Meanwhile, here’s his concert schedule—including his appearance with the Royal College—for the next few months (with links to music):

John’s schedule for 5 November 2021 to 18 February 2022 can be found on my posting here.


Sun 6 March 2022 20:00
Berliner Philharmonie
Berlin, Germany
DSO Berlin

___

Thu 17 March 2022 19:30
Royal College of Music
London, UK
Royal College of Music Symphony Orchestra

(Note: John ill, replaced by Martin Andre)

___

Fri 8 April 2022 19:00
Sheffield City Hall
Sheffield, United Kingdom
BBC Philharmonic Orchestra
Louis Lortie (piano)

___

Sat 9 April 2022 19:30
The Bridgewater Hall
Manchester, United Kingdom
BBC Philharmonic Orchestra

___

Thu 21 April 2022
The Bridgewater Hall
Manchester, United Kingdom
Halle Orchestra

___

Fri 20 May 2022 19:30
Usher Hall
Edinburgh, United Kingdom
Royal Scottish National Orchestra
Louis Schwizgebel (piano)

___

Fri 21 May 2022 19:30
Glasgow Royal Concert Hall
Glasgow, United Kingdom
Royal Scottish National Orchestra
Louis Schwizgebel (piano)

___

Sat 16 July 2022 18:30
Royal Albert Hall
London, United Kingdom
Sinfonia of London
Adam Walker (flute)


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For Valentine’s Day, 2022: My Desired and Beloved John Wilson Conducts the Sinfonia of London in Maurice Ravel’s Bolero, 1928 (Chandos, 2022)

Imagine Ida Rubenstein, who commissioned this late work from the old man, dancing to it in private…not to her lover, but to the portrait of her lover, to which she can be just as revealing as she pleases…

I can be as revealing as I please, John (remember what I used to do for a living?). Happy Valentine’s Day, mi amor.

I see you like this, John, and I’m a puddle of goo. Above: My number one stroke song. In case you missed it, you mooks, that’s Bolero up there, Maurice Ravel’s 1928 one-movement orchestral piece, played by the Sinfonia of London and conducted by the man of my dreams, John Wilson, for Chandos records, February 2022.

Additional texts in PDF:


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Following My Beloved John Wilson’s Concertizing 5 November, 2021 Through 18 February, 2022

Including his appearance at the Royal Academy and his January tour with the National Youth Orchestra of the Netherlands:

[JOHN’S PAST AND PRESENT CONCERT SCHEDULES]


Fri 5 November 2021 19:30
National Concert Hall
Dublin, Ireland
RTE National Symphony Orchestra
Peter Moore, trombone

[full audio of this concert here and below—click any title]

[program notes here]

Sat 20 November 2021 19:30
Snape Maltings, United Kingdom
Sinfonia of London
Pavel Kolesnikov, piano

The Arts Desk in their review of this concert described the Sinfonia as “bold John Wilson’s latest super-orchestra, an army of technicolor generals”.

Sat 21 November 2021 19:30
Snape Maltings, United Kingdom
Sinfonia of London

Wed 1 December 2021 14:15
Birmingham, United Kingdom
City of Birmingham Symphony Orchestra
Nina Feng, violin

Sat 22 January 2022 20:15
De Doelen
Rotterdam, Netherlands
National Youth Orchestra of the Netherlands

Sun 23 January 2022 15:00
Concertgebouw De Vereeniging
Nijmegen, Netherlands
National Youth Orchestra of the Netherlands

Tue 25 January 2022 21:00
Muziekgebouw Frits Philips Eindhoven
Eindhoven, Netherlands
National Youth Orchestra of the Netherlands

Wed 26 January 2022 20:00
Theater & Congres Orpheus
Apeldoorn, Netherlands
National Youth Orchestra of the Netherlands

Thu 27 January 2022 21:00
TivoliVrendenburg
Utrecht, Netherlands
National Youth Orchestra of the Netherlands

Fri 28 January 2022 20:15
TivoliVredenburg
Utrecht, Netherlands
National Youth Orchestra of the Netherlands

Sat 29 January 2022 20:00
Theater Kerkrade
Kerkrade, Netherlands
National Youth Orchestra of the Netherlands

Sun 30 January 2022 14:15
Amare
Den Haag, Netherlands
National Youth Orchestra of the Netherlands

Wed 9 February 2022 19:30
St David’s Hall
Cardiff, United Kingdom
Philharmonia Orchestra
James Ehnes, violin

Wed 10 February 2022 19:30
Royal Festival Hall
London, United Kingdom
Philharmonia Orchestra
James Ehnes, violin

Fri 18 February 2022 19:30
Royal Academy of Music
London, United Kingdom
Royal Academy of Music Symphony Orchestra

Click on any of the titles below to access/download the entire audio of John’s 18 Feb 2022 RAM concert. Find the compete video on YT here.


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Conductor John Wilson, the Sinfonia of London, and Classic Composer Erich Korngold: My Beloved John’s 4 September 2021 Concert at the BBC Proms, London

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.)


John and Sinfonia

Above: Erich Korngold’s Symphony in F, Conducted by John Wilson and played by the Sinfonia of London, BBC Proms, September 2021.


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, you in your tailcoat, me in my sarong), 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 fuller orchestra. I’d also get a kick reading your markings for Strauss’s Die Fledermaus Overturehave never quite heard those musical values brought out before. Very yummy.


NOTES for Korngold: Symphony in F (Chandos, 2019) can be found here.


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]

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John Wilson Conducts the Sinfonia of London, 4 September 2021 at the BBC Proms in the Royal Albert Hall in a Debut of Erich Korngold’s Symphony in F-sharp

For you fans, here’s the program for my bonny‘s 4 September, 2021 concert:

Francesca Chiejina, vocalist

John Wilson in PicadillyAbove Mister Personality: The Big Band medley from the BBC’s Swingin’ Christmas with The John Wilson Orchestra. List of tunes in the medley can be found on my blog posting, “My Beloved John Wilson Conducts The John Wilson Orchestra in a Swingin’ Christmas on BBC2, Christmas Day 2010”.


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My Beloved Conductor John Wilson and His Hottest Recordings for Chandos, Plus a Few of His Signature Tunes Recorded with The John Wilson Orchestra

Recorded for the Chandos label:


Recorded with The John Wilson Orchestra:


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John Wilson Conducts the Royal Academy of Music Symphony Orchestra in Barber, Delius and Ravel, July 2021

Recorded at the Duke’s Hall, Royal Academy of Music, 2 July 2021. Found the donation window, incidentally. Back in January, 2020 after we heard John conducting them in Tchaikowsky I said to Mister Grumble, ‘That was as good as any small-city orchestra in the US. I’d’ve paid cash money for this,’ and darned if the RAM didn’t just make my life a little easier. Here it is.

Chocolate kisses for my John and a promise to teach him how to make s’mores when the time is right. Above: 2 July 2021 concert at the RAM, in full.


To continue from my earlier posting, “My Beloved John Wilson Appointed to the Henry Wood Chair of Conducting at the Royal Academy of Music and Conducts the RAMSO in Arnold Schoenberg’s ‘Verklärte Nacht’ (1899) at Snape Maltings, 6 June 2021”: We talked over beers, Mister Grumble and I, about John’s energy, among other things, a couple of weeks ago. After we toasted Bloomsday, he gave me his take on John and John’s music. Mister G isn’t as enamored of John Wilson’s enormous and varied repertoire—from Broadway tunes to Rachmaninoff to Turnage—as I am, but he has many good things to say about my beloved conductor’s basic character. I described to him (my angel baby is blind) how differently John looks and acts when he’s with the RAM, or the Sinfonia of London or the Royal Northern Sinfonia. Less tense, more in control, more in his element—happier. Plus he doesn’t sweat as much as on the stage of the Royal Albert. ‘Then this is where he belongs,’ said Mister Grumble.

EXTRA! Download PDF of Feb 2020 issue of Gramophone with John’s interview that mentions the Sinfonia of London here.

Program:

Cassandra Wright, soprano


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On BBC Radio 4 Front Row, 21 August 2019: Conductor John Wilson and Biographer Brendan Carroll on Korngold

An excerpt from my bonny John‘s comments:

Front Row: What’s so enthralling to you about the music of Erich Korngold?

John: It’s very much his own style… You hear two seconds of music and immediately you know it’s by Korngold because by the way he was 13 or 14 he had a fully developed late-Romantic Austro-German style and, you know, had it not been for the Nazis and the Second World War he would have continued to develop his operatic skills, his symphonic skills, and he would now be as established as Richard Strauss…

John and the Sinfonia of London Do KorngoldAbove John, Andrew Haveron, John Mills, and other members of the Sinfonia of London: Front Row Interviews John Wilson at the top half.


Front Row: What made you choose the particular pieces [for the Chandos recording] that you did?

John: I think the Symphony, Korngold’s Symphony in F-sharp, is the last great Austro-German romantic symphony and…it was written 1947 to 52, it took 5 years, and…I think it was the piece that Korngold spent, lavished the most time on. I think it was the piece that he felt was he felt he really had to write because it was a labor of love… And you know, he couldn’t get a satisfactory performance out of it during his lifetime because he was considered old hat…and in 1972 I think it was, it was discovered in the Munich orchestra’s library and the first recording performance given… And I just felt that the time had come for a revised sort of conception of this symphony of Korngold’s.

I Moderato
II Scherzo Allegro
III Adagio Lento
IV Allegro Finale

NOTES for Korngold: Symphony in F (Chandos, 2019) can be found here.


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My First Music: John Wilson Conducts the National Youth Orchestra of Great Britain in 2015, the BBCSSO in 2018, and the Sinfonia of London in Ottorino Respighi’s “The Pines of Rome” (Chandos, 2020)

My beloved John conducted the National Youth Orchestra of Great Britain (who The Guardian described as “a fearless young army on the move”) in “The Pines of Rome” by Respighi in Leeds in 2015; and in Glasgow, where he’s been the Associate Guest Conductor for several years, with the BBC Scottish Symphony Orchestra in 2018. Now he’s rounding out his association with this perennial orchestra piece with a wonderfully crisp and sparkling new recording from Chandos with the new Sinfonia of London.

I classify this under My First Music because I first heard this symphonic poem in a broadcast of a Young People’s Concert. Leonard Bernstein conducted, the NY Philharmonic played. Listen for the feet of Roman soldiers along the Appian Road, my affectionately-remembered rabbi of music suggested. I think I was 11.

john-wilson-and-the-nyogb2NOTES for “Respighi: Rome” on Chandos available here. John rehearsing the NYOGB in The Appian Road, summer 2015. Above John: The Villa Borghese.

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My First Music: On Conductor John Wilson and His Thing About Percussion, Plus Emmanuel Chabrier’s “España” (1883), John’s New Recording with the Sinfonia of London from Chandos

Self-taught French composer Emmanuel Chabrier wrote this enduringly scrumptious piece in the early 1880s, the orchestration sounding more like something post-WWI. Yet it was composed during the height of La Belle Epoque. This was the last piece (a reduction, of course) I ever played on the violin in my junior high school orchestra, before switching a couple years later, at 16, to Voice at the University of Minnesota.

As for my beloved Johns own especial sensitivity to percussion: Listening to and viewing John conduct the RAM student orchestra last Friday in Tchaikovsky’s 6th—in particular watching John’s very visible reaction to the cymbals in the third movement—gave me some insight into his musical values, which never fail to impress me. I understood the kind of sound he was trying to bring out from that young cymbalist and, had it worked, would indeed have sounded sooo nifty, it would have been John Wilson Orchestra nifty, but alas…

(The sound aspired to, incidentally, was that “snap” I heard the JWO achieve in Beyond the Sea about 16 years ago.)

Lastly, a word about the strings in the fourth movement. Yup, there was that “John Wilson Orchestra shimmer”, that famous wrist vibrato anyone who’s ever picked up a fiddle recognizes and has to have come to terms with fairly early in training. We used to wonder if it made our playing actually sound better, and it depends. The Russians and Mittel Europeans used it a lot a hundred years ago. Some call this type of playing now “period playing”. My old boss, Rouben Mamoulian, called this style of playing “crying violins”. He claimed it was his idea to use it in the musical Love Me Tonight, in the “Isn’t It Romantic” sequence.


John Chabrier EspanaNOTES for Escales (Chandos, 2020) can be found here.


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Leonard Bernstein Hears Korngold’s Symphony in F-sharp for the First Time

I created this posting just for John Wilson, Conductor fans (and as a lagniappe for the lad himself). By the way, the third movement is the one you want if you want to hear violinist Andrew Haveron shine:

In 1988, I brought a recording of Erich Wolfgang Korngold’s Symphony in F-sharp to Leonard Bernstein’s country home in Fairfield, Connecticut. It was a rare event to have dinner with him and no one else. After dinner, I asked if he would be willing to hear something I had discovered and found particularly interesting.


Erich Korngold

I played the first movement of the symphony. Bernstein only knew that it was a symphony and therefore might have expected it to be in four movements. After intently listening to the twelve-minute movement, he had no idea who the composer was, but he liked the music enough to ask to hear the second movement. And so it went, after each movement I gave him a chance to beg off. The symphony’s third movement—its emotional climax—inspired him to jump to the piano and repeat its opening motif and the devastating substitution in its harmonic structure that happens twenty seconds into it. After the last movement, I told him who had composed it. I also told him that though the piece was completed in 1952, its concert premiere did not take place until 1972, fifteen years after the composer’s death.

On first hearing, Bernstein thought the symphony should have ended with the third movement, which would have made it a very tragic symphony indeed. I suspect he heard it in terms of Mahler, which is appropriate enough. He had not predicted—or perhaps wanted—its upbeat finale that takes the gentle second theme of the first movement and transforms it into a positive march, albeit with a dark warning before its conclusion.

Be that as it may…I am sure that he would have turned his attention to Korngold had he not passed away in 1990. Ironically, one of his mentors, Dimitri Mitroupoulos, had stated in 1959 that he had finally found “the perfect modern work” and planned to perform the Korngold the next season with the New York Philharmonic, but his death intervened.

from For the Love of Music:
A Conductor’s Guide to the Art of Listening
by John Mauceri (Knopf, 2019)


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The Story So Far, with Conductor John Wilson

From August, 2018. Cantara, former ASCAP solfeggist and 70s porn actress turned memoirist, has fallen hopelessly in love with a man at the other end of the world, an English, middle-ranking orchestra conductor—who plays, on the side, Golden Age of Hollywood music and The Great American Songbook—by the name of John Wilson.

The Queen of Heaven has her eye on you, John

Not because he’s a fellow creator (he doesn’t create, but reconstructs, orchestrates and arranges the music of others)—not because of his looks (he’s peaky, scrawny, blinky; his gray-green eyes lack luster; he’s got a facial tic, pores like craters, lousy posture, enormous feet, the limbs of a stick insect and the hands of a hod carrier; his nose is an equilateral triangle; his famous cleft chin, supposedly his best feature, always looks slightly askew; his ultra-short mousy hair can’t conceal the fact he’s already going gray; he sweats like a stevedore on the podium; and for the past few years he’s taken to wearing geek glasses)—and certainly not for his intellect (his fatuous pronouncement about the needlessness of lyrics in The Great American Songbook makes me want to smack the back of his head like the whippersnapper he is and send him home with a note).

So what is it about him?* I’ve only been aware of his existence since 30 April and in love with him since 4 May, 2018; since then my feelings have been an insane mixture of tenderness, gratitude, annoyance, and lust. The tenderness I understand: I’ve spent enough time in Hollywood to understand the position he’s in… As far as gratitude, here’s his concert version of “The Trolley Song” using the original 1944 orchestration(!)— thank you thank you thank you, John. Even the raging lust I get.

But whenever John gets himself in the way of the music it drives me nuts. It’s crystal clear to me the times he does this because I’m in love with him, dammit, and because he’s a musician I pay attention to the music. Truth to tell, the only times John really gets himself in the way are when he’s conducting his own hand-picked group which is dedicated mostly to music from Golden Hollywood & The Great American Songbook, and cannily named The John Wilson Orchestra.


Listen to John’s new orchestra the SINFONIA OF LONDON here


Whether he gets himself in the way indeliberately or on purpose I cannot entirely tell, but I’m starting to. With a little patience he isn’t that hard to read, my bonny John Wilson. After countless times listening to his recordings and broadcasts; pouring over his interviews; watching him conduct (in video clips, mainly from the annual BBC Proms); watching him conduct other orchestras besides his own (ditto); and, most important, learning to separate the showman from the musician, I’m starting to understand his type of intelligence and his musical capability, which is actually pretty sizeable. His ear (the way he hears things, not his purported perfect pitch) is intriguing and his industriousness is admirable. I am definitely not buying into the PR excess—he is not “a superstar”, “a guru”, “charismatic”, “legendary”, “a conducting icon” or, God help us, as proclaimed by the BBC, “the nation’s favorite” (!!!). But his musicianship at times is kiiind of brilliant.

* Update 10 August 2019: I’ve just read up on what it is about him, and now I’ve got science to back me up. It’s John’s fault.


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To My Beloved Conductor John Wilson on His 50th and 51st Birthdays and Beyond; Plus John+His Sinfonia of London Play British Classics at the BBC Proms, 2022

John dear,

Above this 2023 NYT news shot of my shining, desired one: The entire 2022 BBC Proms concert at the Royal Albert Hall, John and his Sinfonia of London performing British Classics: Ralph Vaughan Williams – Fantasia on a Theme by Thomas Tallis; Huw Watkins – Flute Concerto; Arnold Bax – Tintagel; William Walton – Partita for Orchestra; Edward Elgar – Enigma Variations Oh John, you and Elgar together again…


On three out of your last five birthdays, awful things happened in my country that couldn’t be ignored (the worst happening on your 48th in my own old neighborhood) so I’m sorry I didn’t have anything amusing to post after your 47th. Because you share the same day of birth as my father (you were born the year he died) I had thought what I’d be doing is alternating birthday congrats to you with memories of my dad, like this one

Well, that didn’t work out. Things and events are crowding so fast…and I can’t catch up to the connection—association—context of it all fast enough…

But there is one thing I want you to remember through all this global mishegoss: I’m still in love with you as much as I ever have been. In fact the more I learn about you, the more it makes me love you. Even through your clunkers, John, John / Glorious John.

If you were my boyfriend and you had a struggling rock group, there’d be posters on every lamppost in San Francisco. But you (and your people) must have figured that out by now.


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