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Starting in the mid-1930s, Wilder essentially lost focus on the varieties of concert music that had so impassioned him back in Rochester. Instead he devoted more and more attention to pop songwriting, as he had since parting company with Eddie Brandt around 1930. ”16 His lyrics in these songs are simple and direct and consistent with current songwriting practices. “Just One” is typical: A Just One Under the sun Gives me such devotion Just as deep as the ocean No wonder, I am in love. A Just One Under the sun To my heart keeps bringing Love that makes it keep singing Just One.
25 The trend especially flourished in 1939, in swing versions by the Raymond Scott Quintette of the first movement of Mozart’s C major piano sonata, K. ” Wilder remembers making swing arrangements of Bach’s Little G Minor Fugue (which “kept every note but had everyone play dance style”), Ravel’s “Pavane pour une infante defunte,” Debussy’s “Golliwogg’s Cake-Walk,” and Kreisler’s “Tambourine Chinois” for the CBS radio show (The Search, 90; Life Story, 72; Letters I Never Mailed, 103). These efforts only enhanced his reputation for oddity and iconoclasm; they drew a “flood of perplexed letters” and “made the players very happy but elicited black frowns from the men handling the advertising account” (Letters I Never Mailed, 103).