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Swan_Knight
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« on: 16:51:24, 28-08-2008 » |
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Ol' Reggie certainly has his admirers, doesn't he? To read Michael Tanner, you'd think he and Bill Furtwangler were the only conductors capable of doing Wagner any kind of justice at all.
But whenever I read Goodall hagiography, my mind returns to one central question: namely, if he was really that good, why did he spend his whole career working with orchestras that were not -to put it politely - of the very first rank?
There's one very persuasive explanation for this, I'd argue: a 'Jewish mafia' among London orchestras successfully blackballed him and prevented him from working with the big bands. There was no way they were going to play for an apparently unrepentant fascist. Though I seem to recall he did at least one Prom with the LSO.
Other than that, I can only assume that he wasn't highly rated among musicians. Which wouldn't be the first instance I know of of a 'big name' with the public not having an equivalent reputation among players (Klemperer was disparaged privately by several and publicly by at least one - namely, Hugh Bean).
Anyone know anything I don't?
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...so flatterten lachend die Locken....
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David_Underdown
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« Reply #1 on: 17:16:43, 28-08-2008 » |
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Well the wikipedia article says he was liked and respected by musicians and sources it to a Musical Times appreciation. Grove doesn't comment. |
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« Last Edit: 15:09:43, 29-08-2008 by David_Underdown »
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David
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makropulos
Posts: 29
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« Reply #2 on: 19:27:23, 28-08-2008 » |
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There's one very persuasive explanation for this, I'd argue: a 'Jewish mafia' among London orchestras successfully blackballed him and prevented him from working with the big bands. There was no way they were going to play for an apparently unrepentant fascist. Though I seem to recall he did at least one Prom with the LSO.
Other than that, I can only assume that he wasn't highly rated among musicians. Which wouldn't be the first instance I know of of a 'big name' with the public not having an equivalent reputation among players (Klemperer was disparaged privately by several and publicly by at least one - namely, Hugh Bean).
Anyone know anything I don't?
Didn't Britten speak of RG very highly (not just re Grimes, but also Rape of Lucretia)? I think it's unlikely that he was not rated by musicians - although I'm sure some found his rehearsal methods unorthodox, to say the least. You may well be right that people - and not just those you dub a "Jewish mafia" - will have had much bigger problems with his politics. |
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autoharp
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« Reply #3 on: 19:34:33, 28-08-2008 » |
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Swan_Knight
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« Reply #4 on: 20:06:44, 28-08-2008 » |
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There's one very persuasive explanation for this, I'd argue: a 'Jewish mafia' among London orchestras successfully blackballed him and prevented him from working with the big bands. There was no way they were going to play for an apparently unrepentant fascist. Though I seem to recall he did at least one Prom with the LSO.
Other than that, I can only assume that he wasn't highly rated among musicians. Which wouldn't be the first instance I know of of a 'big name' with the public not having an equivalent reputation among players (Klemperer was disparaged privately by several and publicly by at least one - namely, Hugh Bean).
Anyone know anything I don't?
Didn't Britten speak of RG very highly (not just re Grimes, but also Rape of Lucretia)? I think it's unlikely that he was not rated by musicians - although I'm sure some found his rehearsal methods unorthodox, to say the least. You may well be right that people - and not just those you dub a "Jewish mafia" - will have had much bigger problems with his politics. The term 'Jewish mafia' is used light-heartedly in this context, though I'll concede it can have unpleasant connotations; I've heard the term 'gay mafia' bandied about in similar ways, with reference to conductors who get ahead (or are held back) by reason of their sexuality. I've read the overgrown paths piece and that gave me the idea that Goodall might have been blackballed by orchestral musicians and possibly administrators as well. |
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...so flatterten lachend die Locken....
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perfect wagnerite
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« Reply #5 on: 21:33:38, 28-08-2008 » |
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Part of the answer may be found in Lord Harewood's comment that "Reggie has genius, but absolutely no talent."
His working methods, with his insistence on enormous quantities of rehearsal time, must have driven orchestra and opera house managements to distraction; the fact that in his early days at Covent Garden he was required to conduct Verdi and Massenet and, according to Lucas, displayed an attitude that clearly showed that this was below him, can't have helped. It's difficult to see much attraction to orchestral managers in bringing in a guest conductor of such demanding methods for what would probably have been uncertain results in anything but a quite restricted repertory. Goodall was notoriously chippy, but in certain circumstances could and did produce the goods; there was a famous performance of Die Walkure in Croydon (of all places) in about 1951 that acquired legendary status (an old friend of mine, sadly no longer with us, was there and confirmed that the legend was absolutely justified). But, from the point of view of orchestra managers there were plenty of competent crowd-pleasers who could do the job on a lot less rehearsal time.
It is true that he and Solti never got on during the latter's tenure at the Royal Opera and, given Solti's reputation in Wagner (a reputation that remains a complete mystery to this listener, in whose opinion Solti wasn't really fit to carry Goodall's baton-case, but that's for another thread), Goodall was never going to get any performances. How much of that was due to Goodall's anti-Semitism is difficult to guess, but of course Solti's and Goodall's working methods were about as far apart as it is possible to get.
Interestingly, in the light of S-K's remark about Klemperer, Goodall was often his studio warm-up man, rehearsing the band before Klemperer took over for the actual takes.
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
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Swan_Knight
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« Reply #6 on: 21:56:16, 28-08-2008 » |
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I believe the Wotan's Farewell with Norman Bailey that was recorded as a makeweight to Klemperer's Walkure Act 1 is the work of Goodall, rather than Klemperer - though this may be an urban myth. Goodall's perceived anti-semitism is cited as the reason he had to be sidelined under Solti by Norman Lebrecht in his book on Covent Garden - which inclines me to believe that this wasn't the true reason. The point pw makes about the differing styles and temperaments of the two men is probably nearer the truth: it's on record (though not from the horse's mouth) that the Goodall way of doing things was never appreciated by Solti. And those who've seen Humphrey Burton's 1984 Omnibus programme will recall a delicious moment where Goodall pretends to forget Solti's name.  |
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...so flatterten lachend die Locken....
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Stanley Stewart
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« Reply #7 on: 22:44:39, 28-08-2008 » |
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I spent the earlier part of this evening, before the Prom, browsing through John Lucas's biography, Reggie - The Life of Reginald Goodall (1993): Julia MacRae Books. His painfully shy and retiring persona was further complicated by a vague or cantankerous defensiveness, yet viewing Humphrey Burton's 1984 documentary for OMNIBUS: The Quest for Reginal Goodall, he assumed a warm disposition when engaged in coaching his singers, Anne Evans or Gwynne Howell, at his 'Valhalla' Covent Garden eyrie, or taking the WNO orchestra through an early rehearsal of Wotan's farewell and the magic fire music. Burton had also questioned a whole range of singers all of whom expressed appreciation for his teaching. He was also circumspect on a leading question surrounding Goodall's controversial pre-war 'chip on the shoulder'. Reggie understood, smiled, and retorted with charm, "There are a different kind of chips."... Even after conducting Die Walkure more than 40 times, "I still haven't got the ending right."
Peter Pears was fulsome in his praise and added that Goodall delivered the best performances of 'Peter Grimes' and his Act 3 manhunt was hair-raising. "Ben was a composer conductor; Reggie was a professional conductor." They also discussed his later work on 'The Rape of Lucretia".
Burton spoke to teacher, Maisie Aldridge, about 'The Mastersingers'. To her, the performance passed in minutes. " But wasn't he inclined to be slow?" "He may have been but he delivered the music".
His reticence came to the fore when he was given a small celebration (I forget the circumstances) when he arrived at Covent Garden and was diverted to a reception room. A full spread was laid out and Reggie was greeted, looking totally bemused, by Geraint Evans and Constance Shacklock (so heart warming to see them again) and he quickly relaxed and engaged in reminiscence.
Do read the biography for the dark corners but I hope you remain to remember a man of quite exceptional talent and rare humility.
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« Last Edit: 23:19:11, 28-08-2008 by Stanley Stewart »
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Ron Dough
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« Reply #8 on: 23:20:26, 28-08-2008 » |
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Memories (ca. 1977) mainly of this rather nondescript, retiring character shuffling around the Coli in suit and slippers.
I wasn't aware of any ill-feeling towards him: perhaps more the gentle respect accorded a slightly eccentric maiden aunt. This was a house where feelings weren't concealed, either: there was very little love for one very talented but business-like genius, whilst a younger lion was known almost universally by the nickname 'The Ayatollah' (these were the days of Khomeini, so the title was in no way flattering).
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