On the occasion of the concert of the Tribute to Cole Porter Band with Klara Schwabe, Till Marschewski, Marcus Demel, Dominik Meyer and Sarah Mysegaes: The story of a not always happy life full of immortal songs.
When Klara Schwabe, Till Marschewski, Marcus Demel, Dominik Meyer and Sarah Mysegaes pay tribute to American songwriter Cole Porter on Wednesday, September 28 , you can look forward to wonderful, upbeat pieces from the classic American Songbook. Porter takes a prominent role because his personal resume and professional career diverge widely.
Porter was born in 1891 in Peru, Indiana, USA, into wealthy circumstances. There he learned to play the violin at the age of six, and the piano from the age of eight. As early as 1900, just in time for the turn of the century and his ninth birthday, he worked on his first own pieces.
Europe as a new home
At 14, it’s off to an academy in Massachusetts, at 18 to Yale University in New Haven, Connecticut, again four years later to Harvard. According to his family’s will, he was to become a lawyer, but he himself preferred music, dropped out of law school and soon studied composition. However, his studies were abruptly interrupted by the First World War: a momentous decision took him to the French front. But unlike his peers, for whom wounding or even death awaited, for him it was Paris and its cultural life that changed him permanently. He remained in Europe after the end of the war, tossing and turning his evenings and nights, and met his future wife, Linda Thomas.
Crutches as constant companions
After a tidy inheritance, he was well provided for anyway. This gave him enough time to get one, two, three, four feet in the door, first in Europe and then again in the USA. From then on he wrote for groups, big bands, theater, musicals. The friendship with Irving Berlin was the door opener, if it ever took longer. But the name Porter had long had its own luster. Glory was not only to await in the performance arts; film, which had just acquired soundtracks, became another playing field.
For Hollywood, Porter composed, among other things, the immortal classic “Anything Goes.”
A year after the success of “Anything Goes,” Porter’s life would change forever – not for the better. After a fulminant riding accident his legs are badly injured; the doctors want to amputate, Porter refuses the measure: he did not want to give up playing the piano. The conservative treatment method did not cost him his life, but his strength was never to return – despite several operations. Crutches and a wheelchair became constant companions.
A musical as a huge success
He still had plenty in his quiver: after the horrors of World War II, American society is intent on hedonism and drifting away. The Broadway musical “Kiss Me, Kate” is taking the country by storm. Music and lyrics by Cole Porter, of course.
Five years later, the next stroke of fate: his mother died in 1952; less than 20 months later, his wife Linda also died. The two women had been the great trusted figures of his life, although at the same time he made comparably little secret of his homosexuality. After that, Porter was a broken man.
Artistic footprints like craters
The situation around his legs changed abruptly, the amputation could no longer be prevented. After years of agony, he died in Santa Monica in 1964. His legacy, his musical one, nevertheless cannot be erased from America’s history. His footprints deep craters full of songs, hits, popular songs. “Night and Day” and “Cheek to Cheek” are two of the most famous songs of the 20th century. Standard repertoire for all crooners and entertainers; for Juilliard School aspirants as well as Frank Sinatra and Dean Martin.
Text: Lars Fleischmann
According to the motto “Onstage & Online – Every Day Live” we will also show the full concert program in the video stream in the future. We remain hyprid. Everyone can continue to be as close as possible – for a fee.
Jazz and culture should take place – despite Corona. Jazz is a live experience – and it has to stay that way. Live concerts are always exclusive and unique. Acoustically, visually, artistically – especially in the atmosphere of our jazz club King Georg – and this will also remain unchanged.
To date, the King George team has done everything technically possible to reduce health risks to the public on site. Any physical encounter that is legally permissible can be facilitated with a clear conscience thanks to our comprehensive voluntary hygiene concept. But an end to the impairments and restrictions caused by Corona remains unforeseeable.
So we have to be very serious about the future of our jazz club, the club bar and the people involved, whether artists or staff. And this future is – at least also – digital.
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Our motto is: “Onstage & Online -Every Day Live”. Every day we want to offer new content – whether live on stage or on the homepage. In the form of articles, podcasts and live streams. We are on the way to becoming a “Digital Club”.
But that also means that our exclusive program costs money. Not only is technology expensive, we pay artists and staff to ensure their survival – government aid is a drop in the bucket.
Despite all donations so far, for which we thank you and you very much: In order to make the “Digital Club” sustainable, we need support through a contribution for our streams. From now on, the previously free video streams (the vast majority of which are broadcast live) can be obtained for a one-time fee or on a monthly or – best of all – annual subscription basis. Interested parties can quickly sign up for a subscription here. Select offer, create profile. Numbers. Our Live Abo Trio is clear and affordable.
The annual subscription: An investment in the future
All subscribers achieve several things with their commitment: they support jazz culture locally and beyond, they enable the survival of the artists and the “people around them” – and nourish the hope of a “real” live experience in the club in the future. You can directly enjoy jazz culture “as close as possible”. And, through the digital program, make it possible for those who cannot be present in analog form due to age, illness, or their place of residence to enjoy the content.
Often digital content is free: We will not be able to do that in the long run and in the future with our high-quality and exclusive video streams without you and you: Just as it is natural to pay admission for a live concert – it should be natural to pay for a streamed concert.
As the name Live Abo Trio suggests, there are three different variants. We especially recommend the annual subscription to all those interested: it costs 120 euros, the equivalent of five to six concerts in the club – and the return is more than 100 exclusive concerts per year and access to our archive, which also already includes more than 100 concerts since April 2020.
King Georg 2.0 + King Georg 2.1 = King Georg 2021 (= King Georg 2022)
The articles on the website and the podcasts from the King Georg Jazzcast and Klubcast series are still freely available. All music lovers can also support the continuation of this program by taking out a subscription. The offerings of our website have been developing rapidly for a good year. King George 2.0 quickly became King George 2.1. As a result, and with your support, we were well equipped for the demands of 2021 – and are well equipped for 2022.
We love jazz, and we want to give it to all of us live and experience it. There is no more intense musical experience than a jazz concert. Straight Ahead & more. We don’t want to miss that. We want to offer the best entertainment on a permanent basis. With the many jazz concerts during the week, an ambitious club bar program on the weekends including DJ sets and readings – and with the possibility to enjoy all this analog and digital.
Welcome to the “Digital Club” King Georg, which will open its analog doors again as soon as possible.
We look forward to your visit
Your King George Team