The Letters of Cole Porter
Page 25
Your music is played so much on the air that it seems to me it is wicked for you not to compose more.
All my best
[unsigned]
1 September 1944: Cole Porter to Sam Stark91
Dear Sam:
How nice you were to send the three cups and saucers, one for Linda, one for Sturges and one for me. We look forward to them on our toes.
The glue certainly did arrive and Linda spent the whole week-end restoring her albums. Bless you for it. I realize what a tough request that was as they tell me that it is the essence of rubber.
Have you a photograph of the Eugene Berman picture?* If so, kindly forward it to me.
I can’t write you any more as I am now having my hair-cut while a doctor sticks a needle in my behind.
Love,
[signed:] Cole
dictated August 31st
The Hays Code† posed problems for Night and Day. On 6 September 1944, Arthur Schwartz wrote to ask for any additional lyrics Porter might have written for ‘Me and Marie’ and ‘I’m Getting Myself Ready For You’ – he anticipated problems with the line ending ‘when first you see me in my so to speak’. ‘Love For Sale’ – controversial when it was first performed in The New Yorkers (1930) for its portrayal of prostitution – was a particular concern and in the absence of a ‘cleaned-up’ radio version, Schwartz suggested using the song instrumentally. Porter replied on 8 September, addressing Schwartz’s concerns about several specific songs:
8 September 1944: Cole Porter to Arthur Schwartz92
Dear Arthur:
I’m just off to the country where I can be reached from Friday evening at 7 p.m. and Tuesday up to 11:00 a.m. My telephone number is Williamstown, Massachusetts 742.
In answer to your two letters of September 6th. I have already written to Danny Kaye but have had no reply.*
I have left word for Mary Martin to call me in the country.
I will do my best to get hold of Betty Hutton next week. I shall attack Fred Astaire the moment he returns from abroad.
Miss Moore is tracking down “I NEVER REALIZED”. It was published in England and until I made a row about it, was published as having been written by Melville Gideon, who had appropriated it.†
Miss Moore will send you the patter of ME AND MARIE.‡
Regarding I’M GETTING MYSELF READY FOR YOU§ and the line ending with “When first you see me in my so-to-speak” there was never a radio version, or a second version for the stage. I hope you’re not using that old dud tune.
Miss Moore will send you complete lyrics of “LET’S NOT TALK ABOUT LOVE”.¶
Regarding LOVE FOR SALE,* I never wrote a radio version. Lately, however, June Knight had some one write for her a new lyric and she sings it on the slightest provocation in the camps. The title is BONDS FOR SALE. Miss Moore will also send you complete lyrics for
LET’S DO IT
YOU’RE THE TOP
FRIENDSHIP
MY HEART BELONGS TO DADDY†
Regarding the Beard, I talked to him last night. He is most anxious to be in our picture.‡ His contract with Fox calls for ten weeks beginning October 10. He asked whether it would not be possible for you to shoot all of his scenes together in the latter part of your shooting, in which case he will be free.
If this is not possible, he will be willing to work at night. Therefore, you can have him if you want him.
The Billy Rose show§ is my pet in years. What a man!
All my best, dear Arthur,
Sincerely yours,
[signed:] Cole
P.S. Mr. Miles White¶ is very anxious to do the NIGHT AND DAY costumes. Could you let me know as soon as possible whether you would like him or not and I will let him know.
Schwartz’s reply of 12 September is revealing of both the casting and legal arrangements that had to be made for the film: ‘Cary [Grant] looks practically certain . . . As to Monty [Woolley], I think that dates can be arranged so that he can do both his picture at Fox, and ours. . . . I consider Fred [Astaire] most important of all . . . One of our clearance problems may be Ethel Merman. In spite of the fact that she has been so closely identified with your shows, I don’t think it would be practical to have her appear in the picture. I say practical, first, because Ethel is going to open in a show very soon,* and won’t be available; and, secondly, if she were available, she photographs pretty badly.’ There was also, Schwartz noted, a potential legal problem since if Merman was represented as singing a song in any particular show, Warner would have to get her consent to be ‘impersonated’ by someone else. ‘. . . One way out, of course, would be to have those songs that she introduced sung in night clubs or at parties and thereby not be legally involved . . . One more clearance problem, and I’m through for the day: If we are to make “production use” (as distinguished from “incidental” or “visual-vocal”) of any songs belonging to stage properties, we must get the consent of your book collaborators and stage producers . . . I wonder about Vinton Freedley† since I recall some reports of differences between you and him.’93
About this time, Porter also wrote letters to Jean Howard and to Sam Stark, before returning to his correspondence with Arthur Schwartz concerning Night and Day:
8 September 1944: Cole Porter to Jean Howard94
Dear Bob-Cat:
Your beautiful photograph arrived. Certainly it’s by far the best you have ever had taken. I have substituted it for the one that you gave me and you have no idea how much people admire it.
I’m way over my head on the Billy Rose show, but liking the job a great deal. I shan’t ask you when you are coming to New York as I know perfectly well that none of your plans ever materialize.
Sturge and I go every Friday to Williamstown and return every Tuesday. Now and then he is untrue to us and can’t resist Newport and Narragansett. He still works in the bowels of Pennsylvania Station and how he survives I don’t know, as he gives large fashionable luncheons every day at the Colony.
Linda is in wonderful form in spite of almost constant butler trouble. The last one who left said “I’m giving you notice, Madam. I’m tired of the mountains and want to work on the seashore from now on for several months.”
Bea Lillie arrives September 10th and we go into rehearsal October 2nd.
I can’t tell you how much I miss your beautiful face. Give my love to that big Swede* and ask her whether she ever received a book from me, or not. You might add that it’s the custom in this country to acknowledge gifts.
A big kiss from
Cole
14 September 1944: Cole Porter to Sam Stark95
LINDA IS VERY WELL INDEED AN[D] I AM NOT AT ALL XUSY [sic] SO CAN YOU CHANGE YOUR PLANS AND STAY UP IN THE COUNTRY UNTIL TUESDAY WHEN I USUALLY COME DOWN? IF THIS TAKES UP TOO MUCH OF YOUR TIME OKAY BUT THE LONGER YOU STAY WITH US UP THERE THE HAPPIER WE SHALL BE. PLEASE LET ME KNOW AT ONCE ON ACCOUNT OF DIFFICULTY GETTING RESERVATIONS LOVE=COLE
20 September 1944: Cole Porter to Arthur Schwartz96
Dear Arthur:
I am sending you a copy of “I NEVER REALIZED”.
I wrote only the refrain but I wrote both the words and music of the refrain. The verse must have been written by Melville Gideon.†
All my best,
Sincerely,
[signed:] Cole
[typed note at bottom dated 9/30/44:] gave Mr. Schwartz a new refrain, dictated by Mr. CP-while Mr. S. in 41-E.‡
Shortly afterwards, on 23 September, Jack Warner sent a telegram alerting Porter to an impending visit to New York by Mike Curtiz and Arthur Schwartz: ‘DEAR COLE. MIKE CURTIZ [AND] ARTHUR SCHWARTZ WILL ARRIVE NEW YORK ON MONDAY OR TUESDAY FOR CONFERENCES WITH YOU . . . IT WILL GIVE US ALL A CHANCE TO GET THE ULTIMATE OUT OF A GREAT STORY OF WHAT I CONSIDER A VERY IMPORTANT AMERICAN GUY.’ A note typed at the bottom of this telegram, almost certainly by his secretary, Margaret Moore, records that ‘Mr Porter wired “Dear Jack – Your swell wire received. I shall be here to cooper
ate in every way. My love to you both[.] Cole”’.97
2 October 1944: Cole Porter to Hal Wallis98
Dear Hal:
In regard to the portable piano which goes all through the early part of NIGHT AND DAY, I happened to run across Charlie Munn last night. It was he who gave it to me as I was sailing in 1916. It is officially called a Pianotina. It’s really a Zitherharp with a piano keyboard, and was made to order for Charles A. Munn, by Lyon & Healy of Chicago. He is one of the owners of Lyon & Healy, in case you want a duplicate or a model of the original.*
It was awfully nice seeing you in New York and I am sure that under your guidance things will work out beautifilly [sic].
All my best,
Sincerely yours,
[unsigned]
About this time, William Skipper apparently wrote to Linda Porter, to enquire about Cole, and she answered him on 7 October: ‘You are very sweet to worry about Cole – you know, when he is busy with a song he is thinking the whole time about music and lyrics to the exclusion of everything + everybody, which does change him from his usual gay charming self. His health is excellent . . .’99 And Porter himself wrote to Jean Howard – apparently he was keen to meet up with Greta Garbo.
9 October 1944: Cole Porter to Jean Howard100
DEAR LITTLE JEANIE, WHERE IN NEW YORK CAN I TRACK DOWN THAT BEAUTIFUL SWEDE BE A GOOD GIRL[.] LOVE=
COLE
Although Night and Day took up much of Porter’s time in the autumn of 1944, the opening of Seven Lively Arts was approaching and the choice of music director, Maurice Abravanel,* was apparently questioned by Igor Stravinsky, whose Scènes de ballet was also written for the show. Porter wrote to Catherine d’Erlanger† with information about Abravanel to be passed on to the composer:
13 October 1944: Cole Porter to Baroness Catherine d’Erlanger101
Dear Catherine:
Thank you so much for your note. Please give the following information to Igor Stravinsky regarding the orchestra director for THE SEVEN LIVELY ARTS:
EUROPEAN
1930–1932
Berlin State Opera Unter den Linden
1932–
Grand Opera Paris (Don Giovanni)
1932–33
Sala Pleyel Symphony Concert
1933–
Musical director with Balanchine’s British Opera Co.-
Australia, (Sydney and Melbourne)
BROADWAY PRODUCTIONS & OPERA
Once conducted 7 operas in 9 days at Metropolitan
METROPOLITAN OPERA - - - -
1936–1938
CHICAGO OPERA - - - - - - -
1940
KNICKERBOCKER HOLIDAY - -
1938–1939
LADY IN THE DARK - - - - - -
1940–1943
ONE TOUCH OF VENUS - - - -
1943–1944
I think we are very lucky to have him.
All my love,
[unsigned]
Not only was Stravinsky apparently unacquainted with Maurice Abravanel – who in the end did conduct Seven Lively Arts – but from Billy Rose’s point of view, there were also problems with both the length and scoring of his ballet. In asking Stravinsky to pare down his orchestration in order to reduce production costs, Rose may also inadvertently have antagonized Stravinsky by noting the scoring of Porter’s songs; possibly Stravinsky recalled his unsatisfactory encounter with Porter in the early 1920s: ‘Except for your composition,’ Rose wrote, ‘there is nothing in the Cole Porter score that requires a forty-piece orchestra. Robert Russell Bennett assures me he can reorchestrate the Porter music very effectively for twenty-eight men. This will mean a saving to me of $60,000 on the year. As a practical man of the theatre I hope you can appreciate my problem and reorchestrate your composition for this smaller number of men. Otherwise I would have no choice but to replace it with other music. I would very much like to retain it and if you are willing to do this will wire you the new instrumentation.’ A compromise was reached by eliminating the tuba, one of the trombones and seven strings.* Two weeks later Porter again took up his correspondence with Arthur Schwartz concerning the casting for Night and Day:
25 October 1944: Cole Porter to Arthur Schwartz102
Dear Arthur:
When Fred Astaire returned from Europe, I talked to him regarding the NIGHT AND DAY picture. He wants to do it just as much as we want him to do it. I told him to take the angle at Metro that they MUST allow him to do it. The only thing that he asks is that you arrange time with him between pictures. Until I spoke to him, he thought he would have to run through the whole picture, so he was greatly relieved when I told him it was only for the song and dance. I think he intends to get Louise Bremner [sic].* I should talk to him but not on the basis that he is SURE. Simply say how happy I am that there is a good chance of his doing it, and that I would never get over it if he didn’t do it, to think my having written the song for him† and he having had such great success with it.
How about that transcription of the “Wrong syllable” song?‡ I’ve waited with frency [sic] to get it.
Goodbye, dear Arthur, and love from 41-E.§ Your old friend
One letter concerning Seven Lively Arts provides insight into an aspect of performance practice in Porter’s music that is otherwise not well documented – tempo:
6 November 1944: Cole Porter to Jack Donohue¶
Dear Jack:
To lessen the difficulty of your understanding the master work which you will receive tomorrow, entitled “OPENING ACT 1 SCENE 1”, the following layout may be of help to you. In the first place it’s all in galop tempo. Played in its proper tempo the whole thing should last for one minute and 36 seconds, not including the introduction which comes before rise of curtain. Therefore, each 16 bars equals 12 seconds.
LAYOUT OF OPENING ACT I, SCENE I
PART A
SECTION I
16 bars
SECTION II
16 bars (middle)
SECTION III
8 bars (reprise of last 8 bars of Section I)
PART B
TRIO – 32 bars written in 16 bars. hurdy-gurdy effect (waltz & galop tempi)
PART C
SECTION I
8 bars (with reprise of Section III of Part A)
SECTION II
16 bars – Coda
I can’t tell you how happy we all are with your swell work.
Best,
[unsigned]
Porter’s comment, ‘TRIO – 32 bars written in 16 bars’, is explained by the conductor’s score for the number:103 whereas the rest of the movement is written in 2/4 time, the trio is notated in 4/4 time. Accordingly, the 16 bars of the trio are the equivalent of 32 bars in the rest of the Introduction. Porter’s comment that the whole should last for one minute and thirty-six seconds means that the tempo must be a crotchet = 60.
The Porters’ considerable involvement with modern art, already apparent in the 1920s, is further documented in the 1940s through Cole’s interest in the works of Grandma Moses (Anna Mary Robertson, 1860–1961). An undated letter from her to Porter records the sale of twelve paintings: ‘Eagle Bridge Dec 7. Mr Cole Porter Dear Sir, am shipping out the twelve paintings. Now if there are some that you do not like ship them back. COD. They are $7.00 each. Thanks for the order, pleas [sic] remember me to Mrs Cole Porter . . . Yours in haste Moses’.104 And in November 1944 Porter purchased two other pictures from Grandma Moses, as a receipt dated 6 November shows:
EagleBridge, Nov. 6./44
Mr Cote [sic] Porter Dear Sir,
am ship[p]ing out your two paintings in the morning.
They are [:] Cambridge valley in winter
$ 50,
Over the river to Grandmas [sic] house
$ 65,
-------
115
I will try to get some of your Christmas paintings done if not all, will send on what I have in time,
with best wishes,
mother moses105
The New York Times took special notice of one of these pictures, Cambridge Valley in Winter, in an article dated 16 January 1949: ‘Cole Porter is a trim, slight man, groomed with subdued, elegant taste. The only bright touch in his get-up when he was visited a few days ago in his apartment on the forty-first floor of the Waldorf Towers was a white carnation. The most colorful thing in the room was a big painting by Grandma Moses, full of her naively gay whites and blues, which hung in a place of honor over the piano’*. Porter was offered another seven paintings in late November, including Catching a Turkey, That Is a Fine Turkey, The Old Bake Oven and Catch Him Rover.†
In November, Porter wrote to Stanley Musgrove, far more intimately than he had in his letter the previous month concerning ‘My Heart Belongs to Daddy’:
19 November 1944: Cole Porter to Stanley Musgrove106
My dear Stan
If you have in mind anyone who needs cheer & charm & the warmth of a thinking full heart, write to this person. Your letter arrived & put me on the top of all the hills of Elysium. No matter the topography yours was my first letter since many a moon. In answer to your question about the gentlemen present when we dined at Le Pavillon the elder was Ollie Jennings.* He was several years after me at Yale. He is embarrassingly rich but does so much good with his money that his inherited wealth is no weapon for Mr. Browder.† The other one was Benhur Baz. His first name is the result of his papa reading the original Wallace novel & falling in love with the title. Ben is a Mexican. All his family are artists & Ben is a fine painter in oil & tempera & I believe he will go far . . .