musings, ramblings, and the occasional curmudgeonly rant
from an incurable romantic and semi-reformed web luddite
Thursday, August 6, 2015
Franz Allers
...from a photographer's (and music lover's) notebook
August 6, 2015
Sometimes, there is a very special kind of serendipity when
some long-procrastinated-over cleaning up reveals amidst the mostly disposable
detritus…a color slide, long unseen, but fortunately protected in a sleeve,
from years earlier…
During the years I was a fine arts/classical music
broadcaster, especially from around 1980 to 1986, I probably had more fun than
was legal. Certainly, more fun than would be possible now given the current
state of radio.
I still sort of pinch myself at the recollection that I was
actually getting paid to present the
music I so loved and to meet and interview so many of my musical idols –
composers, lyricists, performers, and conductors, many of whom were legends in
their time. And, you know something else? Most of them were lovely individuals,
genuinely nice to talk to. And talk at length we did, face-to-face with my
trusty Sony TC-D5M capturing every word and nuance picked up by my pair of
Beyer M-500 ribbon mics, as we’d sit across a table. No Skype back then, of
course. And no sticking some handheld device in somebody’s face. I like to say
I did it right and with the respect my guests deserved.
No, this is not going to be a recitation of all the famous
figures in music and the arts that consented to spend time with me for in
depth, on-location interviews whose purpose was never to merely generate “sound
bites.”
Just one very special gentleman, who (and here's where that serendipity comes in) was born exactly one hundred
ten years ago today.
The station I was working for during this period, WETA-FM in
Washington, gave me uncommon latitude in terms of programming. OK,
it was only for two hours, every Sunday and a few times during the week; the
rest of the time, our bread and butter in terms of music was purely classical. But
that was fine – I love much classical music and actually built my “first
career” as a classical music host/presenter.
But the thing was, I had an equal love and passion for some
other forms of quality music that were “just outside” the often hidebound
strictures that say classical is the only “serious” music. Areas like the Great
American Popular Song Standards, Musical Theater, Symphonic Film Scores,
Gilbert & Sullivan…and (great gemütlich sigh, here!) Viennese and German
Operetta. All of it good music…just not quite “classical.”
The man I’m going to write about here once delighted me with
a story, related in his wonderfully mittel-Europa raconteur-par-excellence
style.
Said he: “…and you know, Steve, even Beethoven wrote some
music that wasn’t so serious. A group of village musicians once came to him and
said ‘Great Master, wouldn’t you write something for us [to perform]. He was
working on one of his great serious masterpieces at the time, but he said “Ja,
sure I’ll write something for you. And the result was the Dances from Mödling, which
is a suburb of Vienna…”
His point in telling me the story was to relate his absolute
disdain – as a classically trained musician – for the often arbitrary
classifications and snobbery surrounding what can be called “classical” music.
This man made his career in ballet conducting, opera houses
in Europe and elsewhere, the Broadway Theater, and in theaters, opera houses,
and festivals presenting the operettas of Johann Strauss II, Franz Lehar, Carl
Millöcker, and so many others in Viennese operetta’s gold and silver ages.
Of all my musical idols, my admiration for this man was the
earliest to begin and, consequently, the longest running.
As a young teenager, in 1961, I had the great good fortune
to attend a performance of Lerner and Loewe’s musical “Camelot” on Broadway.
The original cast was still intact – that is to say Richard Burton as King
Arthur, Julie Andrews as Guinevere, and Robert Goulet making his Broadway debut
as Lancelot…to say nothing of Robert Coote, John Cullum, and Roddy McDowell.
Not only that, but my seat was dead center in the
Orchestra, only three or four rows from the pit.
I’ll always remember the excitement transmitted by the
opening notes of Frederick Loewe’s stunning overture and all of the soaring
melodies contained in it, and being so immersed in it from being so close to
the orchestra. But there was an added visual treat, as, from my magical seat, I
had a clear view of the lively and distinguished looking gentleman conducting the orchestra and bringing forth such an engaging sound.
I am a writer, photographer, and voice actor. No particular order - depends on which of those activities I might be engaged in at the moment.
Unabashedly romantic and unapologetically sentimental. Old enough to remember Walter Cronkite reporting the death of JFK, as well as when popular music was good...and good music was popular.
I share my digs with a big, sturdy gray and white, very conversational cat named Mewer, who tolerates my proclivities toward Kaempfert, Rachmaninoff, Mahler, and movies with explosions.
I love being anywhere Alpine. I enjoy trains and airplanes, and get attached to my cars. I love quality music and good movies.
Need a versatile, seasoned voice-actor? Please visit SteveEmber.com. Like to see more of my photography? Easy - same place, and click on the photography link.
Oh, and if something I write here strikes your fancy, do feel free to comment, or e-mail me at emberphoto(at)hotmail(dot)com
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