She Loves Me: A Rough Guide for the M.D.

Before You Start:

1. Listen to the 1963 original cast album with Barbara Cook. This is truly the definitive version. Listen to the 1993 revival with Boyd Gaines and Sally Mayes. Avoid the most recent revival, not because it’s bad, but because it’s a different orchestration, and if your production team gets those ideas in their head, you will wind up doing more work. If you want some major nerd points, listen to this crazy 1964 Original London Cast
2. Watch The Shop Around The Corner (1940) with Jimmy Stewart. Even though the show is purportedly based on the original play, the authors really based the show on the film. Masteroff even claimed he never read the play, although Harnick did. Watch You’ve Got Mail (1998) with Tom Hanks and Meg Ryan. It has some nods to The Shop Around The Corner in it, which is fun. Watch In the Good Old Summertime (1949) with Judy Garland. And watch this little gem, a 1978 filmed version for the BBC. https://www.youtube.com/watch?v=db_HreIe5pY  At the end there is a terrific interview with Bock, Harnick, and Barbara Cook that I quote in a few places in this blog.
3. If you have access to inter-library loan, or a few extra bucks to spend, grab To Broadway, To Life!: The Musical Theater of Bock and Harnick by Philip Lambert. This book is just wonderful; extremely well researched and sourced, with great insight into the score and the genesis of the work that can’t be found elsewhere. I am tempted to quote the chapter on She Loves Me extensively, but I encourage you instead to seek out the book itself and read the chapter.

Some Background:

She Loves Me is a perennial favorite among true devotees of musical theatre: It doesn’t enjoy a high name recognition among audiences, but among connoisseurs, it is widely considered one of the best constructed musicals ever written. New York Times Reviewer Frank Rich, for example says that the first time he ever walked out of a Broadway musical was when he left another play to rush over and catch part of the original production of “She Loves Me” one last time after it had posted its closing notice.

Since She Loves Me opened, reviewers have fallen all over themselves comparing the musical to food:

Richard P. Cooke wrote

“It is as nice a dish of its kind as a theatergoer is likely to get for a long time.”

Leonard Hoffman called it a

“warm, appealing story dripping of sentimentality like a chocolate drop.”

Howard Taubman wrote,

“A bonbon of a musical has been put on display, and it should delight who knows how many a sweet tooth. She Loves Me has been assembled by confectioners… they have found the right ingredients of sugar and raisins and nuts to add to their fluffy dough and have created a taste surprise.”

George Oppenheimer called it a

‘rich plum cake’,

Henry Hughes said it was

‘filled with all the rich Mittel-European pastry-stuffing of a bygone day.

John Chapman called it a

‘delicious pastry decorated with wonderful intricate dabs and curls of musical frosting’

Ben Brantley called it

“a tasty tale of love lost and found at the workplace”

Maybe the reviewers are clueing in to something Harnick himself was thinking. He said that converting the story into song was “like looking at a raisin cake and plucking out pieces of fruit.”

When people aren’t calling She Loves Me a dessert, they’re praising its jewel-box craftsmanship and elegance:

John Chapman wrote that She Loves Me is

“so charming, so deft, so light, and so right that all the other music-shows in the big Broadway shops look like clodhoppers.”

Whitney Bolton wanted to put it

“under a glass bell and look at [it] with pleasure for a long time”

Norman Nadel called it

“that rare theatrical jewel, an intimate musical that affectionately enfolds an audience instead of shouting it down.”

In 1993, John Simon wrote in a review in New York Magazine:

“The creators of She Loves Me have fashioned the perfect intimate musical. (Perfect? Yes, damn it, perfect)”

Jesse Green managed to combine both threads in two adjacent sentences in his Vulture review:

“I’ve seen She Loves Me, that nearly perfect 1963 jewel box, only four times — it’s not often done professionally — but have listened to the sublime OCR over and over for years. In some ways I know its voice better than I know my own, having learned to hear the world, in part, through its witty, melancholy, and whipped-cream accents.”

To the point we’ll explore in a moment, theatre historian Stanley Green said that She Loves Me

“…will stand as a model in its use of songs as an indispensable adjunct to the plot.”

And yet the original production closed comparatively quickly. As bookwriter Joe Masteroff put it:

“She Loves Me has probably gotten the best reviews of any show I’ve ever written. Reviews constantly would come in from all over the country from distinguished critics; ‘This is the best musical I’ve ever seen.’ It was astonishing because nobody was coming to see it.”

Why does this little musical, which only ran a little over 300 performances, command so much respect? I think it boils down to the extraordinary level of integration, made even more singular by Bock and Harnick’s unusual method of writing, which I’ll explain below. The way the songs function in She Loves Me illuminates character and moves plot forward in extraordinary and specific ways.

But first, some key concepts from the late Golden Age:

Experimentation, Adventurousness, and Opera

The late 1950s through the early 1960s saw the flowering of great ambition and adventurous experimentation on Broadway.  Writers had been flirting with Opera, as Rodgers and Hammerstein did writing roles for opera singers, starting in 1949 casting Ezio Pinza in South Pacific and then Helen Traubel in 1955’s Pipe Dream. Leonard Bernstein was thinking operatically for Candide in 1956 with his wacky American take on European operetta, just as Frank Loesser did that same year writing The Most Happy Fella for opera singer Robert Weede. That score is partly in Italian, and has very little dialogue.

In that spirit, She Loves Me includes one number, Vanilla Ice Cream, that has become a standard song for Opera singers looking for Musical Theatre repertoire. Further, She Loves Me attempts an operatic kind of immersive musical storytelling several times, and situations get musical treatment that would not normally be set to music, like trying to find one’s shoe. In a traditional musical, a scenario like that would not be significant enough to be told musically. But in the experimental world of this era, composers and lyricists were trying to find ways to musicalize anything and everything.

She Loves Me includes lots of examples of the innovations typical of the era, but what keeps us talking about this show is the way the musical aims all the innovation toward the specificity of the characters. We call this connection of song to story integration. The goal of integration is that every song is specific to character and story, that no song is ‘just a song’, and ideally no song could be switched from one character to another or from one show to another.

In She Loves Me, this integration extends musically into every area of each character’s expression, illuminating and informing us about their nation, their city, their occupations, and their states of mind. We hear their most mundane activities put into colorful and specific musical language that reveal character. Again, this phenomenon is not totally unique to She Loves Me. In 1954’s The Pajama Game, a character sings a duet with himself recorded on a Dictaphone in his office. In The Music Man (1957), We hear some salesmen on a train becoming the sound of a train through their chatterbox patter, we hear a young girl’s piano lesson become the accompaniment for her teacher’s yearning song, and we hear a group of gossips turn for all intents and purposes into clucking chickens. Here in She Loves Me, the store sells a music box that becomes the accompaniment for the main character’s desperate attempt to make a first sale and be hired, we hear a 4 note doorbell every time a customer leaves the shop, which becomes a recurring musical motive, and a group of Christmas carolers singing popular seasonal songs help underscore a comic sequence which shows the mania of holiday shopping while simultaneously telling the story of the growing love between Georg and Amalia. These musicalizations ground us in the world of the characters, and that’s very special. But that’s really just one instance of a major feature of the work; a concerted effort to depict the total lives of the characters.

In the New York Times Review of the recent Broadway revival, Ben Brantley perceptively wrote:

“…from the moment the show begins, with a salutation to the working day by the employees of a perfume shop in 1930s Budapest, “She Loves Me” is a sustained reminder of the pleasures of exalted ordinariness.”

Commentators often neglect this aspect of She Loves Me. These characters don’t lecture the audience about who they are in the manner of modern musicals, they simply inhabit their world, arriving at work, filling tubes of cream, selling items and taking returns, managing, hiring, and firing employees, serving wine and waiting tables. They talk about their clothes, shoes, glasses, soap, bubble baths, shampoo, perfume, weight loss, cartons, boxes, bottles, eyebrow pencils, lipstick, snoring, cracking knuckles, male pattern baldness, their schedules, and their sisters kids.  We see the weather change, the leaves and snow fall, we hear a man shoot himself, a kid on a bicycle nearly runs somebody down, trays are dropped in a restaurant, and a bunch of merchandise falls off a table. The writers establish the detail of the everyday world in beautiful and extravagant simplicity and specificity. It’s worth noting that one reason they can afford to craft all this detail is that they don’t have an enormous chorus and giant production numbers to use up all the oxygen. Conventional wisdom tells us this is one of the reasons why the original production failed; it didn’t meet the expectation of the audience for spectacle.

Showing, Not Telling

In contemporary musical theatre, characters would tell you about how they’re cultured or not, but these characters show you. Amalia mentions as asides the following cultural figures in her lyrics, casually during the course of conversation: George Bernard Shaw, Gustave Flaubert, Friedrich Chopin, Pierre-Auguste Renoir, Jonathan Swift, Johannes Vermeer, Claude Debussy, Guy DeMaupassant, Alexandre Dumas, Paul Dukas, Raul Dufy, Guilliame Dufay, Daniel Defoe, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde and Dante’s Inferno. We in the audience discover through her everyday conversation that she is even more cultured than Marian Paroo, who is after all only interested that her beau ideal like Shakespeare and Beethoven.

George and Amalia talk about Tolstoy’s War and Peace, Anna Karenina, Thomas Mann’s The Magic Mountain, Stendahl’s The Red and The Black, and even Ritter mentions Samuel Butler’s The Way of All Flesh.

Making the Experience of Love Specific

One of the most difficult tasks for the lyricist is the love song. It’s been done countless times, and it’s hard to find fresh ways to express love. Oscar Hammerstein, the lyricist who helped start the trend of integrating musicals, had an oblique solution. (one I’ve talked about elsewhere on this blog) He would write a kind of speculative or hypothetical lyric that doesn’t say, “I love you”, but talks all around it:

People Will Say We’re in Love (Oklahoma! 1943)

If I Loved You (Carousel, 1945)

Some Enchanted Evening (South Pacific 1949)

Or occasionally, Hammerstein would write a lyric that is a philosophical question about love:

Why Do I Love You? (Show Boat 1927)

Do I Love You Because You’re Beautiful? (Cinderella 1957)

Sondheim’s answer to the question is usually to draw a detailed portrait of a very intelligent person’s neurosis about being in love, in the form of a flow chart.

But these two approaches intellectualize the experience of love, and abstract the question into the head. Harnick’s approach, especially in She Loves Me, keeps drawing love lyrics into the realm of the physicality of the character and describing the situation the character is living:

Physicality of the Characters:

In the freezing weather of December I’ll be warmly waiting for our date…

I know I’ll drop the silverware, but will I spill the water or the wine

More and more I’m breathing less and less…

My teeth ache from the urge to touch her.

I’m tingling, such delicious tingles. I’m trembling, what the hell does that mean?

My head was beginning to spin and my forehead was covered with cold perspiration

Describing the Scene:

As I sit here looking out the window…

When I am in my room alone…

The flowers, the linen, the crystal I see…

Couples go past me, I see how they look…

I sat there waiting… you were outside…

All these features serve to reinforce the world of the piece and deepen our sense of its reality.

To What End?

So the musical is spending a lot of time showing us a world. What do we see in that world? Why should we care about these people? A distinctive feature of She Loves Me, one that resonates well with a modern audience, is the way each of the characters has to face the invasion of a public persona by a private reality. George and Amalia must reconcile the disparity between their public selves and their literary romantic selves. Ilona must find a way to actualize her resolution to ‘be a different girl’ by leaving the place where she has publicly expressed her workaday identity to explore the romance of a public space of literature and then the intimacy of the private apartment of a man of literary taste. Kodaly is driven only by ego and a possessive sexuality, expressed in a flattering public persona. But when his secret betrayals become public, the flattery is suddenly converted into cutting insults, and we see a dark reality; Kodaly despises everyone. Arpad has a journey of self-revelation; the inquisitive errand boy hides the would-be adult, and his sudden opportunity to be considered for a promotion unmasks a young man who has been scrupulously attentive to all the most arcane workings of the shop. This is most delightfully revealed not in ‘Try Me’, but in the first “Thank You, Please Come Again” in his new position, where Arpad is the perfect ‘swing’, able to seamlessly assume the role of the disgraced Kodaly. Even the Head Waiter in his brief scene has to balance a public persona against a private hell. And finally, Maraczek’s heartbreaking journey in the piece takes us from a friendly and well liked boss to a bitter tyrant, through suicidal cuckold to contrite friend. His journey culminates in a man rediscovering who he actually is, having finally put aside the illusions of his wife’s fidelity and embraced his true self among his real friends as mentor and benefactor. In this way, the secondary characters are beautifully expressing and illuminating facets of the same critical themes the primary couple is exploring. This function of the secondary characters was once the mark of strong musical theatre writing, and She Loves Me is one of the finest constructions along these lines.

The basic superstructure of the story laid out in the original play provides the framework for beautiful storytelling, but it’s notable that almost every instance I’ve mentioned above is expressed musically, and with a great deal more specificity than the source material. Bock and Harnick understand the function and beauty of these interlocking narratives, and they employ sustained and specific integration to execute the storytelling that elevates it above the already excellent source material.

Behind this deeply impressive outer skin is the musical’s superstructure that plays out these same dynamics at the skeletal level.

Interruptions and Connections

As if mirroring the disjunct public and private personas of the characters, many of the numbers in She Loves Me are interrupted mid-idea. Sounds While Selling is of course a screwball assemblage of odd bits of conversations interrupting each other, but that’s only the beginning. Tonight at Eight is interrupted by a table of music boxes being knocked over, Romantic Atmosphere is continually sidelined by crashes and asides, Vanilla Ice Cream is ostensibly a letter aria, but the letter begins 3 times, interrupted fantastically by a meditation on frozen dairy dessert. Grand Knowing You is a traditional showtune that drops its classic melody like a hot potato after one iteration for a series of flamboyant burns in a Hungarian style, only to return to to the earworm melody for a final pass so blisteringly fast it can’t really be processed by the listener. A friend remarked after seeing the production, “Are any of the numbers full length?” That’s by design.

Other numbers are an assemblage of wildly disparate elements. Perspective has 4 distinct (and disjunct) musical sections, Try Me has 6 as I count them, A Trip To The Library only has 3 sections, but they are from different worlds; a Spanish Bolero, a Hungarian cadenza, and a swinging Broadway soft shoe.

These schizophrenic breaks and frenetic pacing threaten to make the piece burst into pieces, but another dynamic is at work. In keeping with the show’s themes of public breaks and private connections, there are many ingenious points of connection between musical numbers; not in the way of leitmotivs, but in much subtler ways, sometimes using musical motives in similar ways, at other times placing numbers as matched pairs in the story, and at several points even literally bridging two numbers with a single gesture.

I attempted to chart below the connections and disconnections in the score. Some of these are just the run-of the mill reprises and scene changes, but other connections are more deliberate and structural.

(I’m having a little trouble embedding images in wordpress. Right click anything that you can’t read and open the image in a new window)

How Did They Do It?

So how did Bock and Harnick achieve this level of sustained integration, and why does this score sound so distinctive?

After their 1960 musical Tenderloin went through terrible book problems, Bock and Harnick made a concerted effort to be more involved in the book end of the writing process. Joe Masteroff was enlisted to write the book, and although he had written plays, this was his first musical. (He would later write the books to Cabaret and 70, Girls, 70) The collaboration, and Masteroff’s willingness to work closely with Bock and Harnick pushed an already very collaborative process even further.

From a 1978 Interview with Craig Zadan:

ZADAN

Did the show break any new ground for you? From what you had done in the past in musical theatre?

BOCK

I think very much so. Compared to the shows we’d written, She Loves Me was a totally new adventure. We had always instinctively felt like writing the so-called integrated musical, and this was an opportunity for us to really explore that in depth, thanks a great deal to Joe Masteroff, who once finished the book, said, “take it over, do as much, musicalize it as much as you possibly can. “

He had no ego about salvaging scenes, lines, jokes, his attitude, which became our unified attitude was to absorb most of that play into music.

HARNICK

He had never done a musical, and he said, “How do I do it?” And since we didn’t know how to give him specific directions, we said, “Why don’t you just write a play?” Make it shorter than you would ordinarily, because we’re going to have to fill in the time with songs and with dances.

So he did, he just wrote it, and said, “I don’t know where the songs are, but use whatever you want, and partly because of the nature of Joe’s writing and partly because of the nature of the story itself, the show just called for music all over the place, and in fact, we wrote too much, and  on the road, if you remember, we had to cut, Am I right in remembering about 45 minutes of music?

It’s the process of arriving at that music that I find fascinating. Later in the same interview:

HARNICK:

He gave me a tape with a lot of music on it. And by the time I got the tape, I had been studying both the original play by Miklos Laszlo, and I knew the film, which I loved. Joe Masteroff had given us certain scenes, and by going through that, I knew there were certain moments which appealed to me so much, I wanted to start with them, I thought they’d be great fun to work on, I don’t remember what they were. But when Jerry gave me a tape with music on it, I listened to the tape and as almost invariably happened there were moments on the tape that coincided with the moments that I wanted to try and work on…

ZADAN:

Is that unusual for your collaboration, up to that point?

HARNICK:

No, invariably

BOCK:

No, That’s how we worked together.

HARNICK:

At a certain point, when there was no existent music yet for something I wanted to say, Then I would write lyrics first, and Jerry…

BOCK:

To the question, What comes first, the music of the lyrics. In our case for the first half of the adventure, the music comes first. For the probably most important part, the lyrics begin to come first because the requirements become more specific: The needs are words to shape the rest of the characters to express the characters, We manage, fortunately, to be able to work both ways.

Many years later, in a Fresh Air interview, Bock explained how he found the sound world for Fiddler on the Roof:

TERRY GROSS:

Jerry Bock, when you were writing the music for “Fiddler On The Roof,” how – how Jewish did you want the music to sound? How much did you want it to sound like Klezmer music and how much did you want it to sound like Broadway music?

BOCK:

It never entered my mind in either case. I knew the ambiance was going to be Russian and that it took place in a shtetl. But I had no compulsion to research either early Klezmer or, particularly, Russian music at the turn of that century or just before the turn of the century. The music that I hadn’t been able to write with all our shows was something that I had silently deposited in my creative mind. And the opportunity to now express myself with that kind of music just opened up a flood of possibilities for me.

GROSS:

What did you listen to when you were writing the show? Did you listen to much music?

BOCK:

Not really. Somehow, as I said, I had unknowingly, unwittingly stored a lot of the sound of it without having been able to express myself with it. I love Russian music. I love Romanian music. Minor is my major key.

Harnick said in another interview about Fiddler:

“Jerry Bock, on the other hand, was afraid to do research. He was afraid some of the music might work its way into what he was doing, so he just called on his own emotions and his own memories of when he was growing up.”

I was unable to find any source where Bock says unequivocally that he did no musical research on She Loves Me specifically, but Bock and Harnick were sketching She Loves Me and Fiddler on the Roof simultaneously, and we know from several sources that Bock was not researching Jewish music for Fiddler, relying instead on memories from his childhood. I think it’s safe to assume that he was also drawing on memories for the Hungarian aspects in She Loves Me, not on research.

One source I found claims Bock’s father was a Hungarian salesman, and he called himself.  “Russian-Hungarian-German Jew, mostly Russian.”.

So Jerry Bock was drawing on his memories of Hungarian music for the flavor of the material he was writing, recording, and sending to Harnick. From that 1978 interview about She Loves Me:

ZADAN:

Jerry, how did you decide what kind of music you wanted to write for this score?

BOCK:

Well, the key was Hungarian. The word Hungarian. And, that is, you know, very general, mind you, but it gave me a sound, a shape, the period, the feeling that I began to string melodic notions and guesses around that kind of instinct.

Europeans, particularly Hungarian. Not that all the songs are Hungarian, but that gave me a platform from which to take off.

HARNICK:

I would also imagine that, whether this was a conscious decision or not, The word romantic must have entered, because it’s a highly lyrical, highly romantic score…

BOCK:

Well, I equate Romantic with Hungarian.

As to what came first, Bock said in that same interview,

“Our answer has become ‘the book.’ That is the fountainhead. We could work both ways, but the book predominated our thinking.”

In a 2004 interview, BOCK said:

“I, along with Sheldon, I just bury myself in the book, and start to gravitate toward the period, particularly. That gives me a head start in each show. And then imagining the characters in terms of what they might sing, who they are, where they are and what they might sing under certain circumstances. I have no idea in writing of a style because I’m too immersed in the content of what we’re doing, really, and that’s why when I said She Loves Me was our first Romantic show considering The Body Beautiful, considering Fiorello, and Tenderloin, particularly Fiorello and Tenderloin, period pieces, She Loves Me gave me an opportunity to write a Romantic Score, but equally important, a Hungarian Romantic Show.”

I know that’s a lot of source material to quote, but I hope the point comes across: Bock and Harnick saw that the story was set in Budapest, and so began with the idea of Hungarian music, Jerry Bock drawing from his own memories of Hungarian music.

How Hungarian is the Score?

Having established that Bock was relying on his memories and existing conceptions of Hungarian music for the flavor he was seeking out; it’s worth asking the question, what was that conception? What ideas were part of Bock’s experience of Hungarian music? How are those ideas expressed in the musical?

My answers here will be speculative, of course. Bock is no longer around to ask, and in interviews he seems never to have been any more specific than in the passages I quoted above. He was above all, an intuitive composer in both method and execution. (it was his great strength)

In Philip Lambert’s book, he makes a great deal of the famous Russian (not Hungarian) folk song Otchi Chorniya, which was used by Werner R. Heyman in The Shop Around the Corner as the tune played by the music boxes, and by the orchestra in the cafe. He makes the case that a typical ‘chromatic double neighbor tone’ melody as found in Otchi Chorniya appears frequently in the score. I encourage you to check out that chapter. For anyone who hears a similarity between the Russian music in Fiddler and the Restaurant scene in She Loves Me, you’re really hearing the overlap between Romani music and Russian music. (Klezmer ideas overlap here as well)

For our purposes here, I want to look at other ‘Hungarian’ musical ideas that crop up in the score, ideas that would have been commonly known by Americans in the early 60s.

The Style Hongrois

The style hongrois is a vocabulary used by composers in the European classical tradition to evoke the culture of the Romani. (formerly known as Gypsies) Before Bartok and Kodaly reclaimed a different kind of Hungarian music in the first half of the 20th century, this set of musical ideas would have been synonymous with Hungary to the rest of the European world. Composers as far back as Schubert and even Haydn used this musical vocabulary, but it reached a kind of flowering with the music of Franz Liszt, who was Hungarian himself. (although not Romani) Any casual classical music fans in the mid 20th century would also have been very familiar with Brahms’s take on this music, which included his Zigeunerlieder and Hungarian Dances, Sarasate’s Zigeunerweise, and the innumerable Hungarian characters in Viennese Operetta, especially the Cszardas from the second act of Strauss’s Die Fledermaus, which is sung by a character pretending to be Hungarian. Die Fledermaus is the only the most enduring operetta of many that would have been commonly known by the theatre going public, including Operettas by Herbert, Friml, and Romberg, but the trope of the exotic Hungarian was even current enough that it appeared in 1956 in My Fair Lady in the character of Zoltan Karpathy. More on his musical depiction shortly.  

I’m just going to identify 3 basic style hongrois ideas and show you examples from various places in classical music, especially as they appear in Liszt’s Hungarian Rhapsody No. 2, which is probably the most popular ‘Hungarian’ piece in classical music. Then I’ll  show how these ideas appear in the musical:

The first idea is a repeated short-long pattern, often followed by a melodic idea. This rhythm is related to the natural rhythm of the Hungarian language.

As it appears in Liszt’s Hungarian Rhapsody No. 2:

As it appears in Strauss’s Die Fledermaus, sung by a character pretending to be Hungarian:

 

As it appears in My Fair Lady, after Higgins has just told the Zoltan Karpathy story:

As it appears in Perspective:

The second idea is a slow polka that speeds up gradually.

As it appears in Liszt’s Hungarian Rhapsody No. 2:

As it appears in Strauss’s Die Fledermaus (it’s not marked in this score, but this passage is always performed getting gradually faster)

As it appears in Perspective

As it appears in Romantic Atmosphere:

As it appears in Vanilla Ice Cream (with apologies for the hole punch in my score, which eliminated the treble clef)

And a third idea, a very fast scale passage. Liszt loved alternating octaves between the hands, perhaps in imitation of the Cimbalom, common in Hungarian music. Observe this most famous passage of the Second Hungarian Rhapsody; appearing in innumerable cartoons.

At the end of Vanilla Ice Cream, Bock uses that idea pretty clearly, even though he isn’t alternating octaves.

Non-Hungarian Threads

At some point, Harnick used up all the music Bock had written on spec, or would need to move in another direction not compatible with the music he had provided ‘on spec’ at which point, Harnick would write a lyric first, for which Bock would provide music. I think this is where most of the more conventional Musical Theatre tunes in the show originated.

One way of spotting these pieces is looking for a ‘thumb-line’, longer, slower moving notes held by the thumb of the accompanist within a more active oom-pah accompaniment. This style of accompaniment had become very common in musical theatre in the early 60s.

Here it is in Tonight at Eight:

Here it is in A Trip To The Library

Here it is in Try Me

In Grand Knowing You

It’s used in a very unorthodox way, but here it is in Where’s My Shoe?

There is a very small bit of more ‘mod’ musical theatre in the show as well: a one-two-three, one-two-three, one-two rhythm that would have felt more up-to-date, even perhaps self-consciously pointing toward youth culture.

Here it is in 1961’s How To Succeed In Business Without Really Trying (watch the accents):

And here in 1963’s Funny Girl:

In both of those cases, they would have read to the audience as being in a modern style. So it shouldn’t surprise us to find it in She Loves Me in the rhythm of the younger characters in moments of drive and energy:

Here in Try Me, sung by the youngest character:

Here in the title number:

And here in the music of the newly liberated Ilona:

If you’ve followed my argument this far, you won’t mind a closing idea linking these threads:

When writing teams started working hard in the ‘40s and ‘50s to integrate the songs with the story, the position of the lyricist was elevated. After all, songs are integrated in content, which is mostly found in lyric. When the writing process begins with lyric, many structural decisions are made before music enters the equation, unless the lyricist and composer are one and the same person. In this dynamic, composers are left to establish the musical world of the piece as a secondary concern while they try to do justice to the parameters laid out by the lyricist. I think this is one of the reasons the ‘showtune’ has such a strong identity in music of this era. Oddly the drive to make songs specific to character in the lyrics makes them more generic in the music.

But Bock and Harnick’s unusual method of working flips that dynamic on its head. The very first element in their creative process is the development of a musical and tonal world, pulled from Bock’s memories of sounds that evoke time, place, and energy. Harnick, being himself an exceptional musician, molded and shaped that raw material, always aiming it at the specifics of character. Only when these building blocks had been exhausted did they set their sights on more traditional musical theatre fare. This is why each of their shows sounds so distinctive, and why their most popular songs could never have been written by anyone else.

What about the disconnect between the connoisseur and the layperson? I’ll let Jerry Bock have the last word. An interviewer once asked him what the problem was with She Loves Me, why it hadn’t been a success with its original audience. He said,

“There was no problem with the show. I mean it was everybody else’s problem. Sometimes you do the best you can, and you think you’ve done well- you know you’ve done well- and other people don’t agree with you. So be it.”

As You’re Casting:

ARPAD

One of the greatest roles ever written for a young tenor. A very physical role for a good actor with a wonderful song and some great scene work. Requires good musicality and the ability to play comedy well. Should be sung without a lot of pop-musical-theatre mannerisms, something that is unfortunately rarer and rarer these days. This is as good a place as any to note that Sheldon Harnick is a master at writing the young person on the brink of their future. (see Motel’s Wonder of Wonders or Matchmaker for further proof) Bock and Harnick have created a deeply funny and human portrayal, far more sympathetic than the character appears in The Shop Around The Corner. You should hear some of the middle of Try Me at callbacks. 

Range:

SIPOS

A wonderful character role for a comic baritone. Needs excellent diction and good comic timing. Could be played by many kinds of acting singers. You should hear the patter section of Perspective at callbacks. 

Range:

ILONA RITTER

She’s referred to both as Ilona and as Ritter throughout, so get used to both names. This role is often played as a floozy, which is a big mistake. Ritter is no dummy, she has a wonderful character arc that’s fun to play, and the music is more difficult than it sounds. We’ve come a long way from Ado Annie and Miss Adelaide. Cast an actress with a sensual side, but be sure you cast someone who can deliver a complex character.

You should hear your Ilona candidates sing the following passages:

1. The opening of A Trip To The Library
2. The very end of I Resolve
3. The “If he isn’t too handsome” section of I Don’t Know His Name

If your Ilona can’t get through those, you’ll have a tough time getting this show up.

Range:

KODALY

Harnick said in an interview that Kodaly was kind of fun to write because he was ‘totally immoral’. In The Shop Around The Corner, Kodaly has few redeeming qualities, but in the musical he is terribly charming and has a quick wit. Your Kodaly should be a charming flirt, but one with a bit of an edge.  At auditions, be sure to give him a chance to sing the middle of Grand Knowing You (for comic timing, diction and ability to stay with you as a pianist) and the end (for the high note!)

Range:

GEORG

Needs to be cast with a likeable baritenor. Likeable because we need to still root for him when he acts like a cad midway through the show. Even though he’s the man in the primary couple, this show is really about Amalia. Georg delivers a great story arc, but the main point is that he can play exasperated without seeming unredeemable, to give Amalia something to play against.

Range:

CUSTOMERS/CAROLERS

The three part chorus of women in Sounds While Selling is potentially a little tricky, but the remainder of the number is not terribly difficult. Only 3 customers are necessary for that number, although if you’re looking to expand your cast, you can double or triple up those parts without damaging the number.You’ll want dancers for the Romantic Atmosphere scene, (but nowhere else) and you’ll want people with some choral chops for the Christmas Sequence. (but nowhere else) These features are part of what makes She Loves Me ideal for a university or small theatre company, but less of a draw for large community groups that rely on the chorus participating fully in the production.

MARACZEK

Maraczek should be played by an older actor whenever possible. The number he sings is not difficult, and could even be spoken. But the monologue delivered on the phone, along with the scene at the top of Act II require a really fine actor. And as a corollary to my earlier remarks about Arpad, Bock and Harnick have also given us the greatest portrayals in the literature of middle aged people. Sondheim gave us many examples of bitter, cynical adults. Bock and Harnick give us adults trying hard to make sense of a changing world, but finding a way toward acceptance and grace. Tevye and Maraczek are worlds apart, but are both men who are finding their places in the world of the young.

Range:

AMALIA

This is one of the finest legit roles in Musical Theatre. Complex, funny, and tragic, she needs to have a terrific instrument capable of singing Vanilla Ice Cream, and the comic timing to sing Where’s My Shoe. (probably while hefted over the shoulder of Georg) Don’t program this show unless you know you have a very fine Amalia prospect.

Range:

WAITER

A tenor, but could be mostly spoken, and the high note could be falsetto or changed. Should certainly be able to play an imperious taskmaster, but also has a rather subtle exchange with Amalia that is tricky to play.

Range:

A Few Things to Note About the Music Director’s Materials:

I belong to a Music Director’s forum online, and every so often someone posts about She Loves Me’s materials. Then follows a litany of complaints in the comments about the shape of the score. A lot of Golden Age scores have been restored and re-engraved at this point, but for this show, the score you get in the mail is the same one MTI sent out 15 years ago, which I believe emerged from the 1993 revival. Having spent the last couple of months with these materials, I’ll summarize what I found here.

Most of the score comes from the original production, in a copyists handwriting, with markings that reflect the original orchestration. That orchestration had (as far as I can tell) 5 reeds, 5 brass, full strings, harp, accordion, and percussion. The handwritten score is sometimes cramped or poorly aligned, but everything is there, and it’s pretty easy to read. The orchestration that comes with the rental material is extremely well reduced for a smaller ensemble, but the piano vocal is sometimes miscued now for the larger instrumentation. If the whole score were like this first bit, it would be fine.

Another chunk of the score is professionally engraved, and fairly well! Short passages of Three Letters, Tonight at Eight, I Resolve, Romantic Atmosphere, the Entr’acte, Twelve Days, Thank You Bells, a few scene changes, and the entire Vanilla Ice Cream are executed on Finale or Sibelius. These sections look pretty, but are sometimes frustratingly misspelled, and worse yet, they are not cued at all, so conducting from them requires a lot of comparing parts and score. And if you’re conducting from the keyboard, you have no idea what you’re supposed to play and what is being covered by others.

A third part of the score is simply not at a professional level of copying. It looks very much like it was made on Encore or a lower level copying software in the 90s, and printed on (I’m not exaggerating) a dot matrix printer. What we’re seeing here is a copy of a copy of a copy of something that wasn’t great to begin with. Most of the places where the score does not correlate with the parts come in these passages. In some spots it’s tough to even piece together what is supposed to be happening, the parts will have a whole note and the score a quarter or vice versa; score and parts have scales or arpeggios that go in opposite directions, or parts and score have different ways of numbering the pickup measure, causing the whole song to be mis-numbered. These passages simply have to come from the ’93 revival, because these are also the pages where scene change or underscore sounds like good ‘90s musical theatre, and not like classic 1963.

The orchestra parts are very well done, with the exception of the reed parts in No. 19, which are criminally bad. There are a handful of other mistakes, which I’ll point out where I can. The rest you shouldn’t have trouble catching. On the plus side, these parts are clean and easy to read. As I said before, the reduction is also excellent; everything is covered tastefully. The reed books contain options for every kind of doubling; if you don’t have the alto flute or the oboe or whatever, there’s a transposition right there for an alternate. This is ideal! One word of warning though, from experience; there’s a 2 reed version and a 3 reed version. They send you all those books with your pack. But MTI sent me 2 books for Reed 1 (2 reed version) and forgot to send me Reed 2. We sent that book back, requested the replacement, and a week later, we got a second copy in the mail of Reed 2 (3 reed version). The third time they sent us what we actually needed. Make sure when those books arrive you carefully check which books you received to allow plenty of time to correct it if they’ve sent you the wrong thing.

As I go through the score, I’m going to explain what I found where I can. At one point what they sent is so bad that I’ve posted my mocked up accurate version to help people out. One wishes that the show had been enough of a success in its original incarnation to warrant a mass market vocal score. For now we have to wait for MTI to find it in their hearts to hire a few NYU grad students to fix it.

Going Through the Score Number by Number:

1A. Overture

This Hungarian overture-into-opening scene seems to have been conceived by Bock. Harnick describes the tape in an interview:

“[Jerry Bock] had done the music for the opening, which was an Overture which segued, which just flowed right into the first scene. And it was so charming I had an idea for it that I started, I think that  was the first thing I started working on. But that was a wonderful way for me to get started because I didn’t have to shape the lyrics, the music was there to determine the shape.” 

The first section is really an set of cadenzas followed by a passage of Perspective. First for the trumpet, then the accordion, then the violin.

1B. Opening: Act I

The bass book has an error in measure 45. The last beat should read F, not Bb.

1C. Good Morning, Good Day

If you watched “The Shop Around The Corner”, (and I hope you did!) you’ll note that this song is a musicalization of the opening sequence of the film. To my mind, though, the authors have clarified the action and accomplished much more effortless exposition and character work right off the bat. Arpad conveys a wide eyed innocence and desire to please, although it’s clear he’s very green and naive, Sipos is doing the bare minimum to stay employed, we find out he’s married and happy to have a job, Ilona’s relationship with Kodaly is crystal clear, her insecurity about her age and Kodaly’s expensive tastes and George’s charm is clear. We’re aware of the weather and the work, we immediately know these people. This is the way Golden Age musicals used to show you character. Ironically, it would be She Loves Me’s original director Hal Prince who would revolutionize the opening number with Bock and Harnick’s next show, Fiddler On The Roof, by having all the characters simply introduce themselves and tell the audience who they were and what they did. From Sweeney Todd to Ragtime to Hamilton, that method of ‘tell-don’t-show’ has become very common. But here we’re seeing the new masters at work in the old style.

To Broadway, To Life!: The Musical Theater of Bock and Harnick has a brief but interesting little analysis of the melodic material in this number centering on the use of the 6th scale degree; which will become a central feature of the musical material. I don’t want to steal that chapter’s thunder; you should go look it up. 

Reed 2 (2 reed version) has an error in measure 78. That figure should come on the downbeat of the measure, not halfway through. The Bass book has an error on the downbeat of measure 85, which should read an F again, not a G. The fermata in measure 92 you can see in the piano score is not in the parts. In measure 97, the last eighth in Violin I should read E natural. The rit. In measure 139 does not appear in the parts. Give your players some word cues to get out of measures 55, 66, 82, 98, and 108 in case an actor fumbles.

2. Opening the Shop

The piano reduction for this number is so inaccurate in 2 or 3 places that I redid it. If MTI sends me an e-mail telling me I have to take it down, I’ll do so, but I can’t imagine anyone using it for any purpose other than as a scene change in a production of the show, so I don’t feel any qualms about violating intellectual property. MTI is also welcome to use this reduction in the score themselves if they like.

3. Sounds While Selling

I’ll come out and say that I think this number doesn’t really work in the way it was intended, at least not with modern ears. It seems to want film treatment, where we can see flashes of each part of the conversation. But the music itself can’t draw the eye around the stage, so the joke wears thin. Your mileage may vary.

The ending introduces the doorbell- thank you idea, which Philip Lambert points out as another example of the prominence of the  6th scale degree, this time functioning as a part of a planing 6/9 chord.

I would teach the entire melody of Sounds While Selling to everyone and then split the tune up among the singers after everyone knows it. It may help as you teach measures 35-43 to play some chords for context. (not during performance, of course) Db works from 35-39, then play Bbm on the downbeat of 40, and Db again on beat 3. Play Gb on the downbeat of 41, F#m on the downbeat of 42, F#sus on beat 3, A on the downbeat of 43, and B7 on the downbeat of 43. I don’t need to tell you that the doorbell motive gives you each of the pitches the actors need, and that they then plane up and down stepwise from their first note. It may be wise to make that clear from the beginning. I also made every fermata on ‘Madam’ a dotted half note, (basically a 4/4 measure) just to eliminate confusion and coordinate cutoffs.

If you’re trying to expand the ranks of your female chorus, you can double or triple up the parts in the canon and distribute the solo lines among more singers.

The Doorbell idea grew out of a line in Masteroff’s script, where Good day-Thank You-Please Call again appears 4 times. In the original play, “Goodnight, Madam, Thank You Very Much, Call Again” appears 9 times. (This information again comes from Philip Lambert’s terrific book)

4. Reading The Letter

This beautiful underscore is best with just the strings. Our violin/cello combo along with keys 2 playing a string patch sounded terrific.

5. Days Gone By

Amid all the experimental and even operatic storytelling in this musical, it’s easy to forget that Bock and Harnick were also very good at writing traditional musical theatre songs; here given to the oldest member of the cast. We will see shortly that more contemporary musical ideas are deliberately assigned to younger members of the cast.

At the lyric ‘around, around, around’ we hear another example of the prominent 6th scale degree.

Measures 83-102, where the engraving suddenly gets computerized and rather poor, we also get some conflicting signals in parts and score. The piano vocal score has a jazz waltz accompaniment pattern from 87-97, and from 99-102, but the strings (and the drumset I think) are playing old fashioned quarters. Better change them while you’re in rehearsal because it alters the groove the choreographer is working from.

6. Music Box #1

The music box figure should be recorded and played as a sound cue. Our sound designer built a bluetooth speaker into one of the boxes so the sound could be localized. During rehearsals you’ll need to play. I found it oddly difficult to memorize, considering its relative simplicity. If you can memorize it, though, I would, so you can watch the actors open and close the box.

7. You Will Pay Through The Nose

It really doesn’t matter if Maraczek is in key here. Let him pick whatever starting pitch he likes.

8. Music Box #2

See notes above

9. Doorbell #1

Our pit was situated directly above the action in a loft, which made it very easy for me to time my doorbells to the door openings. A sight line is great.

10. Music Box #3

See notes above

11. Amalia’s Entrance

See notes above

12. Thank You Madam, #1

See notes above

13. Music Box Surprise

Note that the key has changed here. If you pre-recorded this one too, be sure you’re in D flat now. The enharmonic spelling is nasty, but it’s not particularly hard to play. Because No More Candy should really be slower than the other iterations, it may be a good idea to start this version a little slower than before to ease the transition.

14. No More Candy

How wonderful that this odd little music-box theme accompanies the simplest of melodies in AABA form, the A sections completely constructed from descending and ascending three note phrases.

Don’t forget that the celesta sounds an octave higher than written, so if you’re playing this on the piano, you may want to play up the octave.

In comparing the piano scores from the two times I music directed this show, I noticed both times I needed to give a note to myself to play slower, and that in measures 11-13 I wrote in chord symbols: C#m/E and Ab/Eb for measure 11, E7/D and A/C# over measure 12 and Ebm/Gb for measure 13.

I think it’s a nice touch to treat the last measure like the music box is winding down somewhat.

15. Thank You, Madam #2

See notes above.

16. Three Letters

This brilliant number was originally a more complicated number called Seasonal Changes. It was extended in the London Cast to include the ensemble more. You can hear that version here at 8:24:

https://www.youtube.com/watch?v=ImTLernORzs

Boy it’s interesting! But not, I think, an improvement.

Jerry Bock uses a delightfully jaunty left hand figure reminiscent of what he would do later in Oh, To Be A Movie Star from The Apple Tree.

A true understanding of the charm of Bock’s writing involves appreciating this flavor; a composer like Jerry Herman has a strong harmonic sense, and his melodies are nearly always built around arpeggiating the chords and emphasizing the tendency tones of the very sensible harmony. (hum Hello Dolly and you’ll see what I mean) Accompaniment patterns are just strumming in most of Herman’s songs, though. Richard Rodgers had a stronger sense of what the accompaniment could do to set off the melody, as chromatic interior lines undergird simple and self referential melodic patterns. And Sondheim creates elaborate webs of interlocking ideas in his accompaniments in a dizzying display. But compare Bock’s effortless chromaticism in the accompaniment here. It’s wildly active, but somehow doesn’t distract from the melody, which is only a sing song; something you’d hum to yourself. In fact, the harmony is almost completely static. When you learn to hear this quality in Bock’s music, you’ll marvel at the effortless fecundity that never draws attention to itself.

Reed 2 (two reed version) has an error in measure 41, which should read F# half note, F natural quarter note, and E natural eighth note. (compare piano vocal) Your score also doesn’t have a vamp in measure 50, but the parts do! It makes sense there. Near the end, the drum book has a 3 measure rest that should be a 4 measure rest.

By now everyone knows when they get to their seats that the two co-workers are penpals and aren’t aware of it. But in the original production, this reveal must have been wonderful. The conclusion of 3 letters is such a clever device to make that plot point!

17. Tonight at Eight

According to Harnick, this number nearly killed him.

“I was working on a number for She Loves Me. It was called Tonight at 8. I was walking around New York singing the melody to myself, trying to write the lyrics, and I stepped in front of a truck. The driver slammed on the brakes, honked his horn. I looked up, startled, and then kept right on walking, working on the song. Jerry told me to be more careful.”

There is one pronunciation problem in this lyric, because tete-a-tete doesn’t rhyme with eight if you pronounce it in correct French. So you have a choice: you can say “tate ah tate” at “ate” or “tet a tet” at “et” Otherwise it sounds like Harnick doesn’t care if it almost rhymes.

For (and on) the record:

1963 Original cast: tate a tate, eight

1964 London Cast: tate a tate, eight

1993 Revival: tet a tet, et

1994 London Revival: tet a tet, et

2015 Prince of Broadway: tet a tet, ate

2016 Revival: tet a tet, ate

So as you can see, people have cared more about the correct French pronunciation over time and less whether the thing rhymes or not. I sort of think it should.

I thought I had found a rare Harnick near-rhyme in this lyric until I realized I had mis-identified the structure of the rhyme scheme. Ape does not rhyme with Eight, obviously, but they’re not supposed to. Because the lyric is actually:

In my imagination

I can hear our conversation

Taking SHAPE

Tonight at eight

 

I’ll sit there saying ab-

Solutely nothing or I’ll jab-

Ber like an APE

Tonight at eight

And it goes by so effortlessly, maybe you missed the impressive triple double rhyme at the end:

If it goes

Alright

Who knows

I might

Propose

Tonight

 

At eight.

You might also notice there’s a cute little closing figure under the last word 3 measures from the end. It’s a prefiguring of the opening of I Don’t Know His Name.

 

Since the lovers’ aspirational numbers are back to back, this tiny connecting fiber is a nice touch.

In the Piano Vocal Score, measure 71 is blank. In the parts, there’s accompaniment. I suggest you make that measure tacet in the band for the sake of bringing the ensemble in cleanly.

18. Tonight Tag

In the parts, this is called Shop To The Back Room. Might want to change that title in the Piano Vocal so if you call the number, they know what you’re talking about. One of the reeds has an instrument switch, so you may want to wait a sec before starting…

19. I Don’t Know His Name

There’s a lot to unpack here. Firstly, it’s a canon followed by a quodlibet. Secondly, the melody is very Lydian, with a prominent #4 scale degree that conveys Amalia’s aspirations well. In fact, the Fi-Sol idea so prominent here will turn out to be the main idea in Will He Like Me! Lydian melodies tend to inflect the piece toward the subdominant. But this progression modulates DOWN instead, starting in G, then tonicizing F#. When the B section begins, the progression is even more unusual, using a descending sequence to work from IV through iii through ii through I in F# major, but then overshooting the I chord to cadence in Bb major, of all keys! A very deft modulation allows us to return to F# major and repeat the process, this time cycling back into F. After the underscore of Amalia’s Monologue, the B section repeats a half step lower than before with Ilona singing the bass line up the octave! The number concludes with a return to the original canon, now a whole step lower than originally. As in the other numbers, Bock has also written an extremely active accompaniment that manages not to feel busy. Oddly, none of this unusual modulation or figuration feels forced or unusual; we accept it as listeners that it’s a perfectly ordinary tune.

Finally, it’s worth noting the similarities and differences with Marry The Man Today from Guys and Dolls. Both are canons, both are about two women dealing with men. In each case, one of the women is a soprano with high ideals and the other an earthier belter who’s seen some things. Marry the Man Today has some nice character touches, as when Sarah corrects Adelaide’s grammar. But I Don’t Know His Name is a far higher level of storytelling. Ilona doesn’t sing any of Amalia’s music until she’s taken Amalia’s side. The canon is a musical depiction of Ilona’s agreement, a dramatic shift which happens during the song. Good musical theatre song placement lands on the point of decision, in this case Ilona’s decision that she should get a library card and expand her horizons. Marry the Man Today takes place after the two already agree. Amalia and Ilona also have deeply distinctive lyrics. Amalia shows herself extremely literate and articulates one of the most important ideas of the musical: You don’t need to physically meet someone to fall in love with them. Ilona’s lyric is far more grounded, but not in the cliches of ditzy chorus girls. Ilona’s concerns are practical. What if he’s horrible to be around? What if he’s terrible in bed? When Ilona finally agrees, she doesn’t parrot Amalia’s lyric wholesale. Her echoing phrases are a realization that she’d fallen into a misconception.

There are some awfully strange errors in the reed books here. I’m referring to the 2 Reed version here. I don’t know if these problems are in the 3 reed version. The first issue is kind of hard to describe: Reed I is supposed to play Alto Flute. If they don’t, a regular flute part is provided. Reed II is supposed to play regular flute. If they don’t, a clarinet part is provided. If there isn’t a Reed II, there’s a bit that the orchestrator has moved into an optional Reed I flute part. So far so good. But it sort of looks from the Reed I book that the optional flute part might be for when Reed II just can’t play flute. (which isn’t the case; it’s covered in the clarinet) Having said all that, I can’t figure out what the orchestrator was going for with the division of measure 12. Also in the last beat of measure 12, 3rd sixteenth of beat 4, Reed I needs a concert E sharp, which you can see in beat 3 of the optional flute part, but which didn’t make it into beat 4. Reed 2 clarinet part is just wrong from 14-16. Wrong key signature to begin with, (should be A major) and then the clarinet part should be a whole step higher than the Flute part is, from 14-16. In measure 19, the last note in the Bass book should be G, not a D. In Reed I, measure 22, the third sixteenth of beat 2 should be a concert B, not a concert C in both Regular and Alto Flute parts. I think beat 3 in Reed II should be a concert C#, not a concert E flat, which wouldn’t make harmonic sense. In measure 31, in Reed II, the first 2 notes should be D flats (concert C flats), and the 3rd and 4th notes should be B flats (concert A flats) These reed parts need a redo.

One last thing:

When I undertook this correspondence

Little did I know I’d grow so fond

Little did I know our views would so correspond.

That’s magical.

20. Back Room To Shop

This is one of the pages that looks newer, but has a dreadful spelling! The last measure is a G6 chord, but the C flat makes it look like some kind of C/G thing. Write a G6 symbol or rewrite the chord.

21. Thank You, Madam

See notes above

22. Perspective

The piano accompaniment doesn’t play easily, but it’s perfection. Sipos has what is surely the most Hungarian music in the show, and he expresses a philosophy you’d find in no other character in any other musical. Obviously, the most difficult passage is the middle section, but I’ve coached it many times and found most people can find their way through it. The trick is to ignore the note values and focus on lining up the stressed syllables with the big beats:

I am only ONE

OF

SEVERal in a rather small per-

FU-merie.

And so forth.

23. Doorbell #2

One of these doorbells has been cut each time I did this show. Not sure if that’s a score/script discrepancy or what.

24. Thank You Madam #4

See notes above

25. Doorbell #3

See notes above

26. Doorbell #4

See notes above

27. Goodbye, Georg

Note how we are 27 numbers into the score at this point, and there have only been 4 normal songs where characters simply express their thoughts. All the other numbers have been people shopping or reading letters or doorbells or music boxes. Here the authors have dipped backward into the score to add a layer to an existing number, as the staff mournfully wish Georg good luck.

I think this long stretch of musical shop interactions is the last vestige of a bigger scheme which was ultimately dropped. Sheldon Harnick said in an interview:

“This is a piece that’s not going to be hard to find music for. In fact, we found too much. Everything wanted to be sung. Our initial mistake, which I think we rectified was that we decided we were going to have musical bits. We were going to have songs and developed pieces, but we were also going to have a lot of musical fragments. What we discovered was that it’s hard enough on first hearing to absorb all that music. Then if you deluge audiences with additional bits, eventually the mind will stop hearing. The audience just gives up.”

The trick with Goodbye George is finding the right tempo. I found about 114 to the quarter note worked pretty well. Even though the content is sad, it shouldn’t descend into a dirge. The customer melody is essentially the same as Songs While Selling, down a half step, with a new countermelody for the staff. You’ll have to decide for yourself if you want to try and line up the dialogue with the music as it appears in the score. We found that if you begin in measure 12, it timed out okay without trying to line up measure 33. I didn’t want to have to hassle with conducting the caesuras in 75 and 76, so I counted 2-3 after the first So Long, 2-3-4 after the second So Long, and then on to the end as in all the other times.

28. George’s Exit- Will He Like Me

I found measures 9-12 easier to get through in 4 than in 2, but you may feel it differently.

29. Will He Like Me

Thanks to the internet, we can look at some of the writing and editing process for this show. Will He Like Me is an expansive ballad in the classic Late Golden Age style, a cousin to My White Knight, also sung originally by Barbara Cook. But this wasn’t the first number Bock and Harnick wrote for this moment. Originally there was a number entitled Tell Me I Look Nice, which is much more in the vein of I Could Have Danced all Night or I Look Pretty, although it begins in 5/4!

https://open.spotify.com/embed/track/5K9bv1iRf5Il5RskFWbr8M

It’s a lovely number, and it must have been difficult to cut! In fact, Sondheim lists it as one of the “Songs I wish I’d written”. But as delightful as the song is, its replacement is much better. Will He Like Me is vulnerable and specific, and it helps earn the difficult sentiment of the end of the first act. Harnick said in a 1983 interview,

“I never mastered the knack of getting the right idea the first time around. In fact, what I found out about myself was that each draft acquainted me with another level of a character’s personality, so successive drafts made the character more real to me, more three-dimensional, which in turn affected the show as a whole. I always took to heart the truism, “Shows are not written, they are rewritten.”

Philip Lambert goes into some great detail in his chapter about She Loves Me regarding Jerry Bock’s use of the 5th and 6th scale degrees for expressive purposes. I’d like to make some similar points here, with an acknowledgment of Lambert having arrived here first in analysis. I think this is, in fact, where the 6th scale degree idea functions most beautifully. The melodic content of the song is as sophisticated as what Sondheim would be doing decades later. The melody is, in fact, a master class on how to shape melodic contour rhetorically to reinforce the dramatic moment. 

Consider what’s happening in this melody: for the first 4.5 measures of the tune there are only 2 notes; Sol and La. We are hearing a rumination; Amalia is thinking through the most important idea in the show so far: Will she live up to his expectation? When she breaks out of this stasis, she finally ascends the scale up to Mi, (…the girl that he’s imagined me to be?) then on the title of the song, a yearning Fi (#4 scale degree) leading to Sol. (scale degree 5) She’s in the same Lydian mode she was in for I Don’t Know His Name. The second A section is a direct repeat, again breaking free of the Sol and La at the critical line, “…there’s more to me than I may always show”

The B section begins a full octave above the A section. Sol La is again the key idea, but now it’s urgent, and an octave higher, with an expressive dip down to Re. The idea is then sequenced at Fa Sol, dipping down to La, then closing with a descending scale that again sets up Sol and La.

The return of the A section is identical to the first two, except that it has an extension Do Do Do Re (…He’s just got to) which is just heartbreaking. This is the kind of thing Andrew Lloyd Webber keeps trying to make happen in his tunes but far less effectively. Think of Don’t Cry For Me Argentina, when the tune goes “I kept my promise… Don’t keep your distance.” or “Where am I going to… where am I going to…” in Another Suitcase in Another Hall or the weird “We taught the world new ways to dream” that comes out of left field at the end of As if We Never Said Goodbye

But this little echo phrase does its job wonderfully, perfectly closing the old idea while inaugurating the new one, a bridge that is just as active as the main body of the song was ruminative. “When I am in my room alone” sounds inevitable, because it’s appeared in the accompaniment already in measures 20, 28 and 44. Again the sharp 4th scale degree gives the melody a yearning quality, and when the melody gets sequenced, it moves from G flat major to E flat minor, and takes on a melancholy quality, which quickly passes as we head to a thrilling approach to D flat, a dominant that will bring us to the original B section.

The last A section, beginning at measure 76 takes us through familiar territory, and our two note idea is still the main course, but the melody ends on a very daring La Ti, a beautiful, but dissonant major 7th against the root.

Amalia has unfinished business at the end of this song. (and just to pique your interest, the unfinished business will be payed off in Georg’s big song in act II) This kind of melodic sophistication is worthy of Jerome Kern and prefigures what Sondheim would be doing in the ‘70s and ‘80s.

Next time I music direct this, I’m going to build a new Music Director part for this song from the parts, because this one is a real mess. There are many places where the note lengths on long notes don’t match the conductor score or one another, so it’s tricky to know when the players will cut off. I didn’t anticipate this being an issue, but I should have gone through and at least checked each part against my score so I had some sense of it. (particularly in measure 85) The piano vocal is also pretty poorly spelled, as in the end of measure 55, where D minor is spelled with Ebb and Bbbs, (surely the left hand should have them too?), and the second half of 64, which really should be spelled A7, not Bbb7, however harmonically correct that may be. You need a courtesy F natural in measure 70 in the first violin, by the way. The reed entrance halfway through 76 comes in on the and of 2, which I think is an error. It doesn’t do that anywhere else in the score.

29. Will He Like Me Scene Change

I wonder whether this is from the 90s. The top of the scene change feels very right, but the ending sounds like the bumper from a cop show, and the quote in the bass clarinet from I Don’t Know His Name feels harmonically odd. Come to think of it, there may be some typo in the parts I never identified. Have a look.

30. Ilona

This number is also a second draft! You can hear the original number, Merry Christmas Bells here:

https://open.spotify.com/embed/track/4RpAtE0WrrTGGIHKtGVx7R

It’s easy to see why Ilona is a better thought for this moment, but more intriguing is how Bock and Harnick kept the basic idea in the old number as an interlude in the new version. The old version was about the sentiments of the whole room simultaneously, as in Sounds While Selling. But the new version solves a key problem; we need to understand why Kodaly is attractive to Ilona. The old version is also musically static, relying on mode mixture for variety. The final version is very harmonically active.

I have to point out that Kodaly’s melody obsessively (and rather mindlessly) traces an Ebsus chord for quite a long time. This pattern is related to the shop idea, only in 4ths instead of 5ths.

 

Some of this interlocking 4ths idea is also present in the title song of the show, but Georg abandons the idea immediately to explore other avenues. To Kodaly, this is another in an endless stream of sales pitches. We only see him start to think outside the box when he’s mercilessly ripping everyone apart in Act II.

I found the number works best when you take it at a very fast clip. A moderate tempo requires a surprising amount of breath support from the singer.

31. I Resolve

Bock and Harnick replaced I Resolve with a new number for Rita Moreno in the Original London Cast called Heads I Win. You can hear that song at 22:13

https://www.youtube.com/watch?v=ImTLernORzs

The number isn’t available to use in production, but it paints a much more complicated mental state for Ilona! It’s a terrific lyric with some very subtle double entendre.

There’s something very odd in the score; Lines for Kodaly in measures 6 and 8 that there actually isn’t any time for. The revival solves this problem by eliminating the accompaniment and adding caesuras. If you want to do that, play a Bb minor chord on the downbeat of measure 3, then tacet unil the downbeat of measure 5, where you play another Bbminor chord. No accompaniment after, Caesura following measure 6. Bbmajor on the downbeat of measure 7, then nothing through measure 8. Caesura after 8, Bb major on downbeat of 9. No accompaniment through the downbeat of 10, then play from beat 2 of measure 10 through the rest of the number as written. I do wonder how the original cast did the thing; the lines don’t appear on any of the early recordings.

The off-beat accompaniment is tricky for some singers, and the last 4 measures of accompaniment are very counterintuitive. You’re playing in F minor (?) until you suddenly cadence in G minor. It takes some work.

Again, note how just like Amalia did, Ilona often vacillates between 2 notes as she works through her issues. Note also how Bock has provided the most delightful and unusual accompaniment imaginable. And note how empowered and active Harnick’s women are. As woke as our current musical theatre is, so many of the female characters written in today’s musicals simply wallow in self pity. Ilona’s sexuality gets her in trouble, but she’s nobody’s fool.

32. Ilona’s Exit

Write some courtesy c naturals in for yourself in measures 10, 13, and 14.

33. Street To The Shop

Both times I played this I needed to write naturals next to some Cs here as well.

34. Goodbye Love

I read that there was originally a number called Hello Love that was cut which was in this spot. (I think) I would very much like to hear that number, although it must have been cut for length. The underscore that is currently here strikes me as a 1993 confection. The music is really beautiful, but this way of using Lydian repeated ideas everywhere and the elevated repeating phrases somehow don’t feel like 1963 to me at all. They feel like they came from a Maltby-Shire show….

That’s not an insult, I’m just saying it doesn’t really fit here.

35. A Romantic Atmosphere

There’s a problem here for a modern production, particularly if a) you don’t have a proscenium stage or b) you staged Goodbye Love on the set instead of in front of the curtain. I believe what’s supposed to have happened here is a gunshot/crash, after which the curtain immediately opens and we see a waiter looking down on a fallen platter. ‘Did we hear a gunshot?’ we think, but we won’t find out until act 2. Unfortunately, this complicated set change is probably going to take a while, which means you have some choices to make. If you add music between 34 and 35, it can be either more of the Goodbye Love music, which seems like a pretty depressing choice, or Romantic Atmosphere music, which will just make us tire of this new number before it even starts. We opted to use 37.Tango Tragique as a scene change.

Looking at the PV, it sure seems like there was a full measure of rest after 5 and after 8 at some point; and that tends to work out most of the time, if you want to just time out the fermatas instead of cueing out of them. I think the ‘Victor Hugo’ line comes from the 1993 revival, where I want to say it reads as though two men are lovers. (although I can’t be sure) The original Broadway and London casts have someone giggling in the second rest.  

The dance break is rather difficult to play, particularly from 71-78, which is wild. Don’t ask me what Hotsy Hungarian Jazz Style means. Tell your players to feel free to klezmer it up a little, particularly around 89.

36. The Cafe Imperiale

This number is so fun to play.

37. Tango Tragique

This delightful and brief vocal version of this number doesn’t appear in the 1964 London production or the 1993 or 2016 revivals, being replaced by a monologue with essentially the same material over an underscore of the original tune. The first act is long, but by my calculation, putting the number back into the show adds only one minute to the act.

If you want to include it, everything is actually already there, you just have to reassemble it correctly. You can find the singer’s version of the number in the Singer’s Musical Theatre Anthology Tenor Volume 2. https://www.amazon.com/Singers-Musical-Theatre-Anthology-Piano-Vocal/dp/0793523311

Measure 1 should be played by the Piano or Accordion. The orchestration of measures 2-37 are measures 2-37 of 36 The Cafe Imperiale as it currently exists in underscore form. Measures 38-46 are measures 55-63 of 37 Tango Tragique. Measures 47-49 are measures 39-41 of 36 The Cafe Imperiale.

I suggest you play 37 as written in underscore form, timing it so that the end of the dialogue lines up with one of the open G chord cadences, such as measure 26, or best of all 49, which has a nice dead stop. If you have trouble lining that up, start the number later, or cut passages until it lines up properly.

37 as written as a scene change has one error in the Piano Vocal (that I noticed) The right hand downbeat of measure 10 should be a C, not a D.

38. Mr. Nowack, Will You Please

This is a shorter version of a much longer original. (or so I’m led to believe) It’s a rather operatic moment, in a mock Viennese style. I adored playing it.

39. Dear Friend

Of course this number is perfection. On the other hand, it’s troublesome to stage today, since the comedy of watching a woman at the lowest point of her life trying to muster some hope while being insulted by the waitstaff reads differently now than it did in 1963. We found leaning into the uncomfortability was helpful, so the crash right at the top of the number was useful in establishing that this is a tragi-comic moment.

I could make a tenuous case that the first gesture in Amalia’s melody (…flowers, the) here uses the exact three pitches as her first melody in the show, (we become) drawing a connection between the insecurity of the woman afraid of overeating in her sales pitch and the insecurity of a woman waiting for a man who might not show. That seems like a bit of a stretch, though. This melody is built of thirds and sequences just as No More Candy, and it has a prominent Lydian moment as the chorus begins, which in the vocabulary of this piece is aspirational.

Note the subtlety of the rhyme scheme here, and note how Amalia drops her Dufy-Dufay-Defoe wit and trick rhymes as she goes, opting for a simpler and more heartfelt expression. In fact at the end, the trick rhymes almost disappear:

The flowers, the linen, the crystal I see

Were carefully chosen for people like me

The silver agleam and the candles aglow

Your favorite songs on request.

 

Each colorful touch in the finest of taste

And notice how subtly the tables are spaced

The music is muted, the lighting is low

No wonder I feel so depressed

 

(AABC, DDBC, and reader please note agleam-aglow, music muted, lighting low wordplay)

 

Charming, Romantic, the perfect cafe

Then as if it isn’t bad enough a violin starts to play

Candles and wine, tables for two

But where are you,

Dear friend

 

Couples go past me, I see how they look

So discreetly sympathetic when they see the rose and the book

I make believe nothing is wrong

How long

Can I pretend?

 

Please make it right, don’t break my heart, don’t let it end

Dear friend

(AABBC, DDEECC)

 

You sort of need a violinist on stage. Obviously a real violinist actually playing is ideal. Fake violin playing is atrocious. Also, for any potential Amalias out there, you must play against the tragedy in the number. It’s far more meaningful to watch Amalia try to get enough courage to believe she still has a chance than it is to watch her wallow for 5 minutes.

All measure numbers are wrong, because the parts list the pickup measure as measure 1. Both times I music directed this, the section beginning at 76 wasn’t anywhere near enough underscore for the entire dialogue. For one production I played painfully slowly through the underscore. If you need to get people offstage before intermission (as we did in our thrust space) you can play the last page again, giving the melody to a violin or a trumpet.

40. Entr’acte

Considering the length of the show, I can’t imagine playing this Entr’acte, but it’s a good one. I suggest starting Act II with 41 Opening Act II.

ACT II

Both productions I’ve music directed were directed by the wonderful Matt Decker, who commented in rehearsal about the incredible string of numbers that opens Act II. If you’ve ever written a 2 act musical, you know that the beginning of Act II is the toughest nut to crack. If you’ve ended Act I in such a way that the audience wants to come back, Act II must drop the audience back into the action, delaying the resolution of the story without making the audience feel like they’ll be there forever, and getting across new information without getting bogged down in book scenes. At this critical juncture, Bock and Harnick deploy 5 of the best numbers in American Musical Theatre, one after the other. It is a tour de force.

41. Opening, Act II

This quirky little opener is similar to 2. Opening the Shop, except the Piano Vocal seems to be error free!

42. Try Me

Arpad and Motel the Tailor from Fiddler are clearly cut from the same cloth. With the possible exception of Tulsa in Gypsy, I think they’re the two finest roles for young men ever written, and again, the attention to detail of character here is astonishing.

After the opening lick, which reminds one of I Could Have Danced All Night from My Fair Lady, Arpad launches us into a wonderfully declamatory verse that keeps ratcheting up, from C to D to E to F to G to A, always major, finally dropping into a very ‘mod’ sounding groove which contains the hook. As is typical of this show, the catchy tune appears only briefly before an extended retail fantasy, which hits so many marks and wanders so far afield, it’s a wonder the number still holds together before returning for a final pass of the chorus.

A few performance tips: It is possible to play the glissando with two fingers of the right hand in measure 13. It’s kind of fun; it just takes a little practice. Some tenors have trouble hearing the D in measures 60 and 81, especially as the piano so clearly plays a C. The G in the right hand in measures 135 and 136 may be an error; it certainly fights that F in the woodwind line above it. I think you want to play D minor 7 for those 2 measures. 

43. Maraczek’s Memories

You may need a little more music here, in which case I suggest you repeat the first 16 bars.

44. Where’s My Shoe?

I live in one of those odd houses where 6 different people actually sing this song whenever looking for shoes. What else would one sing? Only in a Bock and Harnick musical could such an oddball story moment result in such an outside-the-box number, and one of the highlights of the show at that!

Musically it’s a wonder! The accompaniment is a romp, with a chromatic interior line and an oom-pah passage that can’t seem to decide if it’s in 3 or in 6. Melodically, Amalia is utterly unhinged, arpeggiating the tonic chord, but veering off into sharp 5, twice, then snaking up from Fi to Ti chromatically. 3 seven note scales sequence over a circle-of-fifths progression twice, then the arpeggiated A section begins all over again. George is much more grounded; his melody is a single note when it isn’t a perfectly rounded phrase or a simple scale.  

This number is not so terribly difficult to prepare, the trick is to make it feel like it’s going off the rails without it actually going off the rails. Traditionally it’s staged with a lot of acrobatic chasing and throwing Amalia over Georg’s shoulder, which is not conducive to beautiful singing. Either you have to get used to the idea that it will be funnier than beautiful, or you’ll need to get involved with the staging so that Amalia isn’t supporting the weight of her head with her neck muscles while singing the G, for example. Keep in mind that she needs to play a scene, then sing Vanilla Ice Cream in about 4 minutes.

The lick in the last 5 measures is a bear to play. I recommend leaving the left hand out.

45. Vanilla Ice Cream

This is justifiably one of the most talked about numbers in the history of American Musical Theatre:

Will Friedwald wrote: “Ice Cream is one of the theater’s best songs of self-exploration and discovery, the kind usually given to leading men in Rodgers and Hammerstein musicals, such as the King of Siam puzzling out A Puzzlement and Billy Bigelow contemplating parenthood in Soliloquy. Ice Cream repeatedly changes keys, tones, melodies- the works- mirroring the thought process even more ambitiously than Adelaide’s Lament in Guys and Dolls in a way that seems completely random but is obviously carefully concocted.”

The number replaced an earlier song, The Touch of Magic, which was converted back into a monologue.

In Jennifer Packard’s interesting book A Taste of Broadway: Food in Musical Theater, she points out that Joe Masteroff’s insertion of Ice Cream into the scenario is more related to his childhood in Philadelphia than any Hungarian roots. She also observes that it was Masteroff who introduced the Pineapple into the romantic story between Fraulein Schneider and Herr Schultz in Cabaret 3 years later.  

The ‘Ice Cream’ part of the melody once again embraces the 6th scale degree, and again I’ll refer you to Philip Lambert’s excellent  book for an analysis along those lines. I’ll work my analysis here along broader lines.

The famous opening letter passage combines the two most compelling Amalia ideas from Act I. A celesta plays a music box idea; different from the cigarette boxes near the beginning of Act I, but tonally reminiscent, while below, a we hear the melody of Dear Friend from the end of Act I.  

Amalia’s letter is interrupted by a Hungarian idea once again looping around neighbor tones, with another Lydian inflected Fi. Just as this Csardas seems to be going off the rails, Amalia regains her composure and starts the letter again, this time with no countermelody from the restaurant! She has already started to move on, and spectacularly so, culminating in a tiny bit of coloratura in thirds with a flute, which I’ve always heard as a callback to the Mad Scene in Lucia di Lammermoor..

America’s conceptions about Opera have changed quite a bit over the years. Today Vanilla Ice Cream’s operatic flavor at the end reads to general audiences as a fanciful touch, even a little loopy. But for Barbara Cook, who played this part originally, Opera was meaningful on its own terms. She said once to an interviewer:

“Opera was such a huge part of my growing up. I don’t quite know how it happened because nobody cared about opera in particular. When I was a little girl, I would always ask my mother or my grandmother to call me when the Saturday afternoon broadcast was beginning. It was a beautiful, beautiful part of my life.”

In the 1960s American audiences had a much higher level of Opera literacy than they do today, and for audiences familiar with operatic tropes, the end of Vanilla Ice Cream signified more than just whimsy. Mary Ann Smart wrote in an oft quoted passage from a 1992 article in the Cambridge Opera Journal:

“Trills, melismas, and high notes suggest hysteria, an unbearable pitch of emotion; they liberate music from text, allow it to escape from the rational, connect it with pre-symbolic modes of communication. In a sense coloratura is free from the confinement of music an of language; a syllable stretched beyond recognition is an escape from signification, the emergence of irrationality and madness.”

Smart was writing generally about coloratura in an article specifically about Donizetti’s opera Lucia Di Lammermoor, and it’s the mad scene that most opera fans would have thought of upon hearing the very brief moment of coloratura at the end of Vanilla Ice Cream. Both are accompanied by a flute after the orchestra has dropped out, although Amalia’s ascent into the stratosphere isn’t anywhere near as long or complicated:

The mad scene from Lucia is only the best known of a long list of soprano arias accompanied by flute, including examples from almost every important French Opera composer of the mid-19th century. Lucia is by far the most famous example. As of this season, it is the 15th most performed opera at the Met, with 611 performances, more than any opera by Mozart or Strauss.

So is Amalia going mad? Of course not. But as the number veers toward opera, she is in a very real way liberated from language, which had up until this point been not only her character’s interest as a reader of books, but her mode of expression; wordy, articulate, reasoned. We are seeing an ecstatic moment that sets her character on another course.

I don’t have much in the way of words of wisdom as you coach this number, except to encourage your soprano not to overdo the difference between the vocal quality of the two sections; the lower part should not really be belted. And then the portamento between the High B and the E is important. To do it in a quasi-operatic style, use vibrato as you descend; it’s a great effect.

Most of the parts have only 1 fermata in 96, not 4, so your players may need clarification. If you are conducting from the piano, your trumpet players and others who have a similar rhythm may have trouble figuring out your tempo, since what you’re playing sounds like triplets. Show them your part and all will be well.

Should you need a playoff, you can go back to 74, 82, or 98.

46. She Loves Me

 

When David Gordon asked Joe Masteroff and Sheldon Harnick if they would change anything about the show, Masteroff said:

“I must say the one thing I didn’t like… I like the song She Loves Me, I hate it as the title for the show. It seems so cliche. It seems like every other title you’ve ever heard.”

Harnick then suggested it was probably Hal Prince’s idea, and Masteroff continued:

“I’m sure it was Hal. He never asked me about anything. There ought to be something like ‘She Loves Me?’ with a question mark, which is more effective as a title, I think. It gives the audience something to wonder about.”

In an interview for the 1993 book Creativity: Conversations With 28 Who Excel, Harnick said:

“ I was very pleased when I wrote a song like ‘She Loves Me’. I thought, ‘Oh, good, the analysis is working.’ I’m able to say things that really come right out of me, unselfconsciously. For instance, there’s a line, ‘My teeth ache from the urge to touch you.’ [sic] And that was because there have been moments when I’ve been with a girl and the back or my teeth hurt.”

There’s an odd notation at the top of the piano vocal score that Amalia says, ‘well, well…’ and then Georg saying, ‘well!’ before launching into the song. Those lines don’t appear in the script at all, and I have no idea how they would! But this makes me think that at one point, the authors had attempted a seam between the previous scene and this song similar to the seam between Maraczek’s suicide attempt and A Romantic Atmosphere! But even without this glue, there’s plenty of connecting material between this number and other material in the show, beginning with “Will wonders never cease?”, a clear callback to the previous number. Amalia just sang that 4 times.

The ‘well well’ passage slips chromatically and hilariously from Le down to Do, as Georg nearly abandons language himself, but the “I didn’t like her” section jumps spastically up from E flat to Bb, Db, C, Eb, Fb, Georg is wildly attempting to ground a tonality before finally settling on the same 2 pitches (Db and Eb) Amalia was vacillating between at the top of Will He Like Me!

Let me put too fine a point on that: Georg is answering her question. “Will he like me?”, she asks. “I didn’t like her”, he answers, but then using the two notes that represented her confusion, he adds: “Now I do!”

It took me far too long to notice that Georg’s lyric refers back to itself:

I didn’t like her But now I do

Didn’t like her? I couldn’t stand her! And I could

Couldn’t stand her? I Wouldn’t have her! And I would

I wouldn’t have her I never knew her! And I know…

Melodically, we are also once again hearing the prominence of the 6th scale degree (the song ends on the 6th!) Georg’s main melody begins similarly to Kodaly’s in Ilona, except that Georg’s accompaniment is actually going somewhere. In fact, the melody pays off the exploratory jumps and descents of the introduction, this time climbing the scale in a very satisfying way!

Note also that Georg has taken the ‘mod’ rhythm from Try Me as his new motif. He is a younger man as a result of this revelation.

When accompanying with piano, it is possible to follow the singer through all the ‘well’s. But when conducting, it’s far more difficult. I suggest the singer follow you, or work out a very consistent pattern of speeding up.

In measure 14, reed I needs an F flat.

47. She Loves Me Playoff

There is a pickup to measure 1 in the parts (A in the trumpet). Yet another example of the shoddy copywork in this strata of the vocal score.

48. A Trip To The Library

Philip Lambert shrewdly notes that just as Ilona forms a matched pair with I Resolve, A Trip to the Library matches with Grand Knowing You. In the first matched pair, Ilona is seduced, then finds a new determination in rejection. In the second matched pair, Ilona is again seduced, but this time by a better man, and she makes good her resolve, which reveals Kodaly’s true, embittered self.

It has always been a go-to for audition material and for the discerning actor-singer, because the material is so character driven, and the actress gets to sing 3 characters: the one telling the story, herself, and Paul! It’s a number for a belter that doesn’t go terribly high, relying on characterization and comic timing rather than vocal fireworks.

The first section is a bolero with the rhythm played on the flute, a clear nod to Maurice Ravel. Ravel’s 1928 Bolero is a sinuous, sexy kind of piece with a dramatic finish, and any theatregoer in the 60s who was mildly literate in classical music will have had some contact with it. Older people today would associate it with a particular scene in the movie 10 that made Ravel’s Bolero the bestselling classical piece in the world.

Bock’s melody is amazingly even more repetitive than Ravel’s, which perfectly illustrates Ilona’s nervous energy.

Four measures of very dramatic Hungarian music follow, as Ritter’s low-key nervousness explodes into melodrama. But then we find ourselves in a classic early 60s show tune. As far as I can make out, this is the longest time in the whole show we hear a classic showtune. Embedded in this part of the tune is some of the most exquisite timing in any musical. We hear this kind of thing between Golde and Tevye in Fiddler, but it’s extremely rare, particularly in a straight ahead tune. I’m talking about pauses and placement in the bar that emphasize intention and depict the speed of thought in the character’s mind.

…quietly said to me…. “Ma’am”

I said “No”….. (off the beat, as if suddenly changing her mind)”Yes I am!”

 

What happens if things go wrong?

It’s obvious he’s quite strong….. (the longer the pause, the funnier the payoff)

He read to me all night long.

Under this perfectly constructed musical storyline is the wittiest imaginable orchestral accompaniment, alternating a seductive thumbline against jaunty chromatic punctuating phrases, culminating in that ‘mod’ rhythm we see whenever the story is aiming at the storylines of younger people.

After another bolero and Hungarian passage, the second chorus of the ‘tune-proper’ has a saucy woodwind counter-melody that is worthy of Nelson Riddle.

Here are a few things I’ve noticed, having coached this song for dozens of singers over the years:

1. Some singers struggle with the timing of the first entrance, since that bolero rhythm is repetitive and easy to get lost in. I tell singers to listen to the bass, which is far easier to latch on to. Tell your drummer to play in the bolero as quietly as possible and emphasize the double bass part.  
2. I rarely hear the correct notes in measure 18. Measure 19 is easy to hear, but the starting note for “and there was this…” is surprisingly hard. Drill that a bit at the beginning of your process. That passage happens a couple further times, including after a fairly subtly voiced key change. Make sure we get that first starting note correctly each time, and aim for a bright tone so the voice cuts down there so low.
3. Most people can sing the passage “A trip to the library has made a new girl of me”, but singers have more trouble with the chromatic “I can see.” Keep those half steps small, or the following passage will also be wrong. This applies all four times that passage is heard.
4. For some reason the text in the second bolero trips up singers more than the first. Learn it slow at first.

49. Sipos’s Exit

There is no repeat in the parts. (that’s written on the bottom of the PV page, but it’s easy to miss) I only mention this because if you need more time, you may accidentally ask your players to make the repeat into a vamp and they don’t have the repeat.

50. Dorbell #5

See above

51. Doorbell #6

See above

52. Thank You, Madam #5

Arpad’s part in measure 8 is wrong, and I’m pretty sure the parts are mislabeled in the vocal books. 

53. Grand Knowing You

There was a different, and very successful song in this spot originally, called My North American Drug Store, written to get Kodaly offstage after being fired. (imagine the moment without a number for a quick laugh, Kodaly simply slinking off! Impossible)

https://open.spotify.com/embed/track/5wudJFlHscAczmaO1Ae5Kb

It was hard to make this cut, since the number was doing well with audience and performer. According to Harnick:

“I was never happy with it. I got to know Jack [Cassidy] and realized he needed to be bitchy and terribly funny- but there was an innocence to the bitchiness. It was witty rather than mean, and I thought, ‘this is the kind of song to try.’ We came up with Grand Knowing You. Jack was very reluctant at that point to do a new song, because North American Drug Store was stopping the show. You couldn’t argue with that, but we showed it to him and said, ‘Jack, this is a better song. It’s a character song… it was a combination of his character, his personality, and the character of the show.’  

The rewritten version is not only a better tune, but much better written to character, with a bitterly cruel and very funny middle section that paints Kodaly beautifully. It’s another example of Harnick’s rewrites getting closer to the truth of the characters.

Of the 6 numbers in She Loves Me that speed up from slow to fast, this is the first that doesn’t sound ‘Hungarian’. I might have said the ‘only’ number, but the number that follows is actually built as one enormous gradual accelerando, and it doesn’t sound Hungarian at all. The main melody is deceptively difficult to sing well; it requires a good deal of breath support. Choose your tempo for the first section based on what your singer can sustain, leaving room, of course, for it to get much faster at the end.

The middle section is very fun, and something of a bear to play and coordinate. If you listen to a few recordings, you’ll hear that the tempo is extremely fluid, but oddly consistent. That is to say that it speeds up and slows down, but in the same way every time. Because there is so much crazy style hongrois passage work in the orchestra, you will have to work out with the singer when to wait for the band and when to go on. And ideally it should always feel like the singer is driving those choices, not just waiting for the band. That’s hard! Finally, you’ll have to let the orchestra know how to get through those passages, which is really very difficult if you’re conducting from the piano.

You may also find that the passage beginning at measure 64 will come out wrong at the sitzprobe 2 or 3 times before your rhythm section understands what’s happening. In fact that’s a spot you may want to address before you even begin running it with the band.

54A. Christmas Sequence

After a true ‘string of pearls’ of fantastic character songs, Act II give us its last major number with a chorus feature, exactly the opposite of what most musicals would do in Act II.

This is marked Fast Chase, but I chose to do it slower, which made the rit at 8 much easier to handle from the keyboard. I don’t know how you could possibly slow down from the previous number’s speed to that fermata gracefully using only your head nodding to indicate tempo.

54B. A Christmas Carol

Measure 23 has a poco rit. in the parts. (but not in the Piano Vocal Score) It’d be nice to know that when rehearsing the number, no?

If you were very short on chorus guys, you could make the chorus all female, either by treating the parts as a true canon, all in the same range (which does mostly work) or by putting every F# from measures 10-23 up the octave and eliminating the lowest notes in measures 24-33. But truthfully, you only need 1 tenor and 1 bass.

54C. Twelve Days To Christmas

I like a little crescendo in measures 32-33.

Be sure you choose your tempo at the top of 54C with some room to speed up. After all, that’s the name of the game here. If you start slower, the speedup will be more dramatic.

The last note in the vocals in measure 45 should be an A.

Measures 119 and 120 have the left hand a whole step high. If you can’t figure out what the measure is actually supposed to be by this time in the show, I don’t know what to tell you. The left hand in measure 121 is missing a quarter note rest, and all the parts have a half note on beat 2 with a fermata on it. Again, super important information missing from the conductor score.

Keep an ear out for the rhythm change in measures 166-168. I suggest converting measure 171 into a 4/4 measure, especially if you’re conducting with your head and playing. The original cast recording has something else here, and in the 1993 recordings and following, it’s sloppy and unclear. It’s hard to establish that new tempo for just one bar or to relate the 2/4 tempo to the 6/8 tempo. For my money, we lose nothing by changing it to 4/4 and treating the new 6/8 dotted quarters with the same pulse of the old quarter. Trust me, it can still feel ‘off the rails’, it just won’t actually be off the rails. And that, incidentally, is the principle that should guide you: As fast as you can go without being sloppy.

Your players may find themselves wanting to slow down in the last 6 measures, but I think you want to just plow through.

55. The Invitation

The underscore that sits here now is simple and perfect. Should you need more music to cover the scene, I suggest repeating 25-32 and 41-44.

56. Closing the Shop

There was a lovely Christmas number that was cut from the show in previews called Christmas Eve that you can hear here. (I’m guessing at the placement in the show, although someone will surely correct me)

https://open.spotify.com/embed/track/2X1LzP0j3m96BF4tc4aa9L

The cue for this number is, “You’re right, my boy. You won’t get it.”

57. Finale, Act II

Many writers have commented on the brilliance of repurposing the Vanilla Ice Cream thematic material with a new lyric here. This stroke of genius apparently occurred in the Philadelphia tryout. Originally it had been a reprise of No More Candy..

This is also a kind of a bookend to Three Letters at the top of the show. Three Letters revealed to the audience that the main characters were writing one another when Amalia reads Georg’s letter. The Finale reveals to Amalia that Georg is her pen-pal when Georg quotes Amalia’s letter. And how wonderful that when they sing together, nothing rhymes and there is no attempt to allow the audience to process their separate thoughts. The lovers are so excited that they drop their carefully curated facades of language in favor of a stream of consciousness. As Amalia said: “There’s no hiding behind my paper and pen.”

We opted to have the accompaniment begin in measure 3 in our production, so that Georg could take more ownership of the moment. I suppose if you like that thought, you could even begin even later.

58. She Loves Me Bows

The first measure is in 2 in all the parts, but in 3 in the score. All the measure numbers in the piano vocal are wrong following measure 41, (renumber your book continuing from 41) and from 54 to the end, the clarinet part in Reed I is mis-transposed.

Other than that, this is a nice Bows.

59. Thank You Bows

26-45 makes a decent repeat if you need one.

60. Exit Music

Measure 95 is marked Allegro Con Brio in the parts, but not in the Vocal Score, and the metric modulation is wrong, I think. If you take a reasonable tempo for She Loves Me at 53, and you treat the new half like the old quarter, it’s so fast, the orchestration doesn’t make sense. If you take the old meaning of the metric modulation, where the new quarter is the old half, it’s painfully slow. I think you gotta treat the new quarter like the old quarter and just switch up the groove. OR pick a new tempo for the Allegro con Brio that has nothing to do with the old one.

Pit Orchestra Considerations:

A few instruments are essential: The trumpet and violin have important cadenzas right away. It helps to have a violinist who doesn’t mind being onstage during Romantic Atmosphere and Dear Friend. You need to pick between the 2 reed version and the 3 reed version. The 2 reed version is very good, so I can’t imagine a situation where somebody has enough money to hire the extra reed instead of another player elsewhere, but perhaps you have a bigger budget than me.

I used violin 1, cello, reeds 1 and 2, Trumpet, bass, drumset, and keys 2. Keys 2 really helps fake a string section, especially if you have real strings on the outside of the texture. I cued up my vocal score using the keys 1 book, and played mostly a somewhat french sounding accordion patch, harp, and piano sounds.

Enjoy your production of She Loves Me! I sure did!

 

 

 

Richard Rodgers: Turnarounds

Some of Rodgers best turnarounds.

Richard Rodgers: Johnny One Note

I’m going to do a few videos on Richard Rodgers. Here’s the first of what I think will be 3.

Gilbert and Sullivan’s Iolanthe: A Rough Guide For The M.D.

A Word About the Piece:

Iolanthe is a wonderful operetta. It has many of the qualities Gilbert and Sullivan fans admire in other operettas; a ravishing overture, hilarious plot complications, scathing commentary on class distinctions, pointed and very funny dialogue, and some extraordinary music.

It also represents a few steps further down some avenues Gilbert and Sullivan had been exploring for several operettas now:

Copyright Protection

Gilbert and Sullivan were irked by the revenue they lost by pirated productions of Pinafore, and in the operas that followed, they worked diligently up front to put a stop to the copycats. They took the Pirates of Penzance to America itself, establishing copyright by premiering it simultaneously in the UK, although the UK performance was not a real production. Here they would actually open an American and an English Iolanthe on the same day, the American production conducted by Sullivan’s right hand man Cellier. Here, to pull a fast one on anyone trying to steal their work, Gilbert and Sullivan actually operated with a false title for nearly the entire rehearsal process, changing the name of the operetta and the title character at the last moment, just as Verdi had kept La Donna è Mobile under his vest until the last moment in the first production of Rigoletto.

Topicality

HMS Pinafore had referenced living public figures, Pirates is, I believe, an elaborate in-joke on copyright piracy, and Patience had been a satire of the Aesthetic Movement. In fact, G&S and D’oyly Carte had been concerned that American audiences wouldn’t know enough about the Aesthetic Movement to get the joke, so they sent Oscar Wilde on a lecture tour of the states to fill people in. Here in Iolanthe, Gilbert has chosen a topic of great interest in the Victorian era: they loved fairies. And within the piece itself, public figures of the day are satirized. At one point, a character breaks the fourth wall and addresses a real celebrity audience member, Captain Shaw.   

Technology

Patience had been the first Gilbert and Sullivan operetta to appear at the newly completed Savoy Theatre, the first public building in the world lit entirely by electricity. But Patience hadn’t opened there, so it wasn’t written to take advantage of the newest technology. Iolanthe didn’t pass up the chance to use newfangled electrical wizardry. The fairies each had a battery pack that lit stars in their hair and the tip of each wand.

A contemporary cartoon from Punch, December 9, 1882

In that spirit, our 2018 Savoy Company production in Philadelphia equipped each of the fairies with transparent wings that lit up in various colors reflective of their mood. The wings were each connected to the wifi in the venue, and could be controlled by an app on a cell phone. Our production staff is pretty amazing. 

Photo courtesy Susan Weinman

Photo courtesy Douglas Smith

Elise Bjordammen, Kara Beck, Amber Englebert in the Savoy Company’s Iolanthe Photo By Helga Yang

Sullivan and Wagner

We often read that Iolanthe is the operetta in which Sullivan most references Richard Wagner. But to most fans of his work, Sullivan is the precise opposite of Wagner; witty, economical, allergic to pomposity, and never ever dull. So what did Sullivan think of Wagner? And how Wagnerian is Sullivan in Iolanthe, anyway?

An 1878 cartoon in The Musical World entitled In Purgatory shows Sullivan beset by demons, including Anton Rubinstein and Richard Wagner

When the teenaged Arthur Sullivan went to study at the Leipzig Conservatoire as the first recipient of the Mendelssohn Scholarship, English culture was in the grip of a Mendelssohn Mania. There was an expectation that Sullivan would return to become the English Mendelssohn, and Sullivan came home with a suite of incidental music to Shakespeare’s The Tempest, an obvious nod to Mendelssohn’s wildly popular Midsummer Night’s Dream music, also written by a composer in his teens.

In Leipzig, Sullivan had encountered the music of Schumann, Schubert, and also music of the New German School: Wagner, Liszt, and Von Bulow, who were not well known in England at that time. It is telling that when he returned to England, he told everyone who would listen about Schumann, and in December that year, he sought out Rossini in Paris and played through his Tempest score for the Italian master. 5 years later, he and George Grove traveled to Vienna to track down some lost scores of Schubert. These friendships and enthusiasms confirm the young Sullivan’s musically conservative tastes. He remained ambivalent about Wagner his whole life, interested in the new work and ideas, but skeptical of the execution of those ideas in the operas themselves. (Sullivan adored Die Meistersinger, but we’ll save that discussion for next year when I cover Yeomen of the Guard)

Audiences have identified many Wagnerian threads in Iolanthe, but I have only found a couple of places where Sullivan’s music is specifically referencing Wagner.

There is a Wagnerian flavor to Sullivan’s music accompanying the Fairy Queen near the beginning and the end of the opera. Here’s the queen’s explanation of Iolanthe’s banishment:

And here’s a very similar bit of music in Act III, Scene I of Wagner’s Die Walküre as Brünnhilde gives the broken pieces of the sword Nothung to Sieglinde:

Another place that seems to be a Wagner quote is the end of Phyllis’s very sad commitment to give herself away to any old Peer at the end of Act I:

Which seems to be a rather silly quote from the Prelude to Tristan Und Isolde:

Entire books have been written about the daring first chord in Wagner’s version. The chord has its own Wikipedia page. Sullivan harmonizes it with a simple Italian Augmented 6th chord.  

Other places people have identified as potentially Wagnerian seem like a stretch to me. Many of the spookier passages, including the fairy “Aiaiah!” passages might just as easily be from Weber’s Der Freischütz, and Sullivan had already covered that ground in The Sorcerer. The oboe solo when Iolanthe rises from her prison doesn’t really remind me musically of Die Alte Weise from Tristan und Isolde, the downward scale of the Chancellor’s fugue doesn’t really sound like Wotan’s spear motive at all, and Iolanthe’s scene with the Lord Chancellor isn’t musically anything like Wotan’s farewell. Many have also pointed out that Sullivan gives ‘signature tunes’ to many of the characters in the opera, and he includes them in the overture to tremendous effect. But Sullivan had been doing that for several operas now, and he seems determined not to develop the ideas in the orchestra during the piece, only in the spectacular transformation of the Captain Shaw motive into the gem at the center of the overture. One way of describing it is that Sullivan uses motives symphonically, but in a pre-Beethoven symphonic method, in arriving back at a familiar musical idea after some time away, as when Sonata Allegro form arrives at a recapitulation. By contrast, Wagnerian drama uses motives the way a post Beethoven symphonic development would, where the excitement arrives by just how many possible permutations of a tune a development can reveal. .

Gilbert had many years of experiences writing burlesques of opera, and Iolanthe has many spoof connections, not least of which are the costumes. The Fairy Queen’s costume, for example was a carbon copy of Brünnhilde’s in the Ring Cycle, which had only that year reached  England.

Amalie Materna, Bayreuth’s first Bruenhilde

Alice Barnett, the first Fairy Queen

And “Willahallah! Willaloo!” is a hilarious replacement for “Weia! Waga! Woge, du Welle, walle zur Wiege! Wagalaweia! Wallala weiala weia!” even if the music isn’t anywhere near what those ridiculous Rheinmaidens sang.

What Sullivan had to say about Wagner gives us a wonderful insight into his mind and should make us very happy that he was not a Perfect Wagnerite.

Sullivan wrote in his diary after seeing Das Rheingold:

“It is difficult to know how Wagner could have got up any enthusiasm or interest in such a lying, thieving, blackguardly set of low creatures as all the characters in his Opera prove themselves to be.”

He wanted to empathize with his characters so that he could make them musically compelling and distinct from one another, a distinction he did not hear in Wagner. He wrote after seeing Parsifal in 1884:

“There is nothing characteristic in the music sung by each individual. The music of one individual would do just as well for any other.”

(Five days after writing that line, he would start work on The Mikado)

He liked the idea of musical themes returning to connect the evening together, but he found Wagner’s use of continuous motives tiresome and boring. After attending Götterdämmerung at Bayreuth, he quipped:

“1st Act 4 to 6 Dull and dreary. 2nd act 6:30 to 8. Just as dull and dreary. 3rd act 8:45 to 10 Very fine and impressive.”

He wanted the Orchestra to be subordinate to the voices, telling the San Francisco Chronicle in 1885, “[Wagner] has shown us the combination of the drama and the opera, but deviated from his theory or was at fault in practice in concentrating all the dramatic effects in the orchestral portions of his work, and subordinating the stage and its action to the orchestra. He has shown us a picture that can be painted, but has not painted it himself.”  (emphasis mine)

In the same interview, Sullivan laid out his own vision of opera, which he did not think he had yet achieved:

“The opera of the future is a compromise. I have thought and worked and toiled and dreamed of it. Not the French school, with gaudy and tinsel tunes, its lambent lights and shades, its theatrical effects and clap-trap; not the Wagnerian school, with its sombreness and heavy ear-splitting airs, with its mysticism and unreal sentiment; not the Italian school, with its fantastic airs and fioriture and far-fetched effects. It is a compromise between these three – a sort of eclectic school, a selection of the merits of each one.

Yet that is exactly what he had already done with Gilbert, his music combining Mendelssohn’s grace, Rossini’s tunefulness, Offenbach’s genial humor, Schubert’s creativity of accompaniment, and just enough Wagner to give us a good laugh at ourselves.

Gilbert and the Politics of Encore verses in 2018

We presented Iolanthe in the Spring of 2018 in America and in the Summer at the International Gilbert and Sullivan Festival in Harrogate, during a particularly fraught political climate in both countries. In each venue we included some encores that poked a little fun at the Trump administration and at the Brexit negotiations. Both at home and abroad, we experienced both delight and dismay, with the thought occasionally expressed that potentially polarizing political opinions were perhaps inadvisable. On one of the facebook Gilbert and Sullivan forums, a festival attendee pointed out that a great number of the amateur companies had made allusions in their productions to current political situations. (the only other one I saw was a very pointed Trump impersonation in the second act of The Gondoliers by a Canadian company. It made me laugh) The aforementioned Facebook poster questioned the wisdom of inserting such material, especially given the unpredictable politics of the audience attending the festival. The responses to that post were generally in favor of such insertions. For my part, I understand and partially sympathize with the view of those who want the theatre to be a place where people of broad political outlooks can agree at least on their love of G&S. But I think it’s also worth noting that Gilbert’s lyrics and scenarios had some real teeth in their contemporary world. It’s only our temporal distance from Victorian concerns that make them seem tame. They were not. I offer these quotes from contemporary reviews of Iolanthe from the original production:

“He…[Gilbert] tries to prove that members of the House of Lords are a collection of amorous and senile do-nothings, scarcely removed from idiocy, and that the members of the House of Commons are dull and stupid, the mere creatures of party… Thus we find, within the compass of a two-act piece, derision of the judicial system, of the Peers and Commons, and of Love, Truth, and Friendship… As a moral lesson, I prefer ‘Punch and Judy’ to Iolanthe.”

-Bell’s Life in London and Sporting Chronicle, December 2, 1882

Others were more positive in their assessment. The barbs were funny because they were true:

“The witty playwright has shown us the ridiculous side of many things before now, and we can only suppose that the umbrage taken in the present instance is because the cap happens to fit better than usual.”

-The Weekly Dispatch, December 3, 1882

And to the precise point that our contemporary audiences expressed, using remarkably similar language, The Globe questioned whether the Comic Opera was the place for such observations:

“Mr. Gilbert’s cynical allusions to the House of Peers may be prompted by strong political convictions, but are surely out of place in the libretto of a comic opera, produced before an audience of presumably varied political opinions”

-The Globe November 1882 (emphasis mine)

“When therefore, a first night’s audience, prepared to laugh itself sore, and in great measure consisting of Mr. Gilbert’s avowed admirers, finds that gentleman exhibiting a tendency to import pathos and politics into a ‘book’ like that of ‘Iolanthe’, it may be excused for expressing disappointment as well as surprise- the more so because the pathos smacks of anger, a passion altogether out of place in a ‘fairy opera’, and his politics are bitterly aggressive. Anything like a moral, pointedly recommended to public attention in connection with ingenious buffoonery and put into the mouth of such a character as Mr. Gilbert’s hero- a diverting monstrosity, half fairy, half mortal, whose only raison d’etre is the wealth of comic contrasts suggested by his dual nature- is calculated to exercise a depressing effect upon people who went to laugh, not to cry; to be tickled into complacency, not roused to indignation. The libretto of ‘Iolanthe’ has been utilized by its author as the vehicle for conveying to society at large a feeling of protest on behalf of the indigent, and a scathing satire upon the hereditary moiety of our legislature. Advocacy and denunciation of this sort are all very well in melodrama, where telling ‘points’ may always be made with the unmerited wrongs of the poor and the reprehensible uselessness of the aristocracy. But they jar upon the ear and taste alike when brought to bear upon us through the medium of a song sung by half a fairy in a professedly comic opera.”

-William Beatty Kingston The Theatre, January 1, 1883

(I am indebted to the new critical edition for my access to these reviews)

In light of that, I think the most Gilbertian thing to do is to point the satire wherever the barbs will land best. Another way of putting it: If you are among those who think politics should stay out of G&S performance, you would probably have been among those deeply disappointed at the premiere of Iolanthe.

Before You Start:

A great place to start with any G&S Operetta is the Gilbert and Sullivan Archive page.The page for Iolanthe is pretty extensive, including interviews and reviews of early productions. It seems to be missing an errata list. I’ll cobble one together as I go.

The most commonly used edition is the Schirmer vocal score, edited by Bryceson Treharne. It’s perfectly acceptable. I linked to Amazon here, because most people these days buy from them. But do be aware that they sometimes lump together more than one edition of the same score, so you might accidentally get a rival edition when you order.

When it comes to the full score, you’re in a major bind. The old Kalmus Full Score is, as of my typing these words, about $140 with shipping and handling. But this score is infamously awful, and paying that much for something that’s widely loathed seems like rewarding something we don’t want to encourage. Fortunately, there is now a magnificent Broude Brothers 3 volume Full Score, with a critical source report, all the available cut material and fragments you can’t find anywhere, like the original banda parts. It’s a smorgasbord; it literally has everything, it’s handsomely bound, and the layout is easily legible. Unfortunately, this full score set is over $400. Unless you are a spectacularly well endowed company and can afford to accumulate a library of critical editions, or perhaps you are a wealthy music director who is doing this for fun, this edition is not financially feasible. I am fortunate enough to work at a University through which I was able to borrow the score through interlibrary loan, and perhaps that is the best option. As wonderful as the new Broude Trust edition is, though, it is not without its own errors. I will point out the handful that I discovered while I was using the score. What this score needs is an Oxford University edition, like the Yeomen that recently came out, edited by Colin Jagger. That comes in under a hundred dollars, and seems to be pretty good, if not completely exhaustive.

I believe in conducting chorus rehearsals from the vocal score until the chorus is off book, and then switching as early as practicable to the full score to conduct rehearsals. There is a real wealth of detail in the orchestration that you as a music director need to be aware of that is simply not present in the Piano Score. If you are renting parts, do check to see if you can get your hands on the score that goes with them to use as you rehearse. It goes without saying that conducting the operetta in performance with an orchestra from the Piano Vocal Score is an unpardonable infraction unless it is absolutely unavoidable.

Recordings:

As always, the OakApple Press page laying out all the major recordings is complete and fantastic. Many of these recordings are available on Spotify, but I encourage you to buy a hard copy. Looking to D’Oyly Carte for style or pronunciation help is a good idea, but I’m sorry to say that even in the case of vowels, you will find very little uniformity from one D’Oyly Carte recording to the next. 1960 D’Oyly Carte is the one to have.

If you’re going to be Music Directing Gilbert and Sullivan, you’ll want to begin building a library of reference materials. I recommend getting these, as you are able:

The Complete Annotated Gilbert and Sullivan by Ian Bradley. You should probably get this one ASAP. There is a very expensive new edition I have not yet read. If it’s anything like its predecessors, it’s indispensable.

A Most Ingenious Paradox: The Art of Gilbert and Sullivan by Gayden Wren: Good stuff, especially seeing the shows in the context of the whole output. I come back to this book again and again.

The Gilbert and Sullivan Lexicon by Harry Benford: in which you will find the definitions of all those words you don’t understand.

After you have procured some of these, set aside a number of hours to do the following:

1) Listen to the soundtracks with the score in hand, marking things that strike you as interesting. I also made a pass at one point with a metronome and marked the tempi of all the sections from several recordings so that I would have a benchmark of speed. When a singer complains about a tempo, it helps to be able to check and say, “Ah, yes, we’re too slow” or: “This is within the range of generally accepted tempi.” or yet again, “I’d like to take it this fast, but currently our diction won’t allow it.” Sullivan doesn’t always notate phrasing or articulations, and while it’s easy to say, “Let’s just leave it up to the taste of the players”, it’s sometimes necessary to actually make clear decisions as a conductor so that the ensemble is telling the same musical story. I have developed a system with colored pencils, where I listen to a recording of a particular year with, say, a red pencil in hand and just mark interesting articulation, dynamic, or tempo choices for the key moments. Then I go back with a different color and enter another recording’s take on the same moments. Pretty quickly one begins to realize what is standard, what is done almost every time, and what is open to interpretation. You will also find your own preference in those places where there appears to be a wide range of opinion. To me, this is the beginning of discovering your own voice as a conductor; finding where the limits of expression have been in the past, and deciding what you are drawn to in answer to the points that are vague.

2) Take the Lexicon book and copy in pencil all the definitions into the score where you don’t already know the meanings.

As You’re Casting:

The Lord Chancellor

This is one of the great patter roles in the repertory, primarily because he sings one of the greatest patter songs ever written, the Nightmare Song in the second act. He also has some dialogue and monologues about conflicts of interest that are a hilarious rough draft for Pooh Bah in The Mikado. If you run a Gilbert and Sullivan company, your candidates for this role will be the same people who play the Major General and Joseph Porter. That is to say, terribly high class, fast talking Baritones or Tenors who don’t mind not having any high notes.  

 

Lord Mountararat

Mountararat is a baritone, the more prosaic of the two principal peers, and sings an important patriotic (?) song near the top of Act II. If he has a high E, there is an ossia note at the end of his song that is nice. Otherwise it is a very ordinary baritone role, playable by your Chief of Police from Pirates, your Corcorans from Pinafore, or your Pooh Bah’s from the Mikado. (The Broude edition mistakenly identifies Mountararat as the tenor and Tolloller as the baritone)

Lord Tolloller

Tolloller is a great role for a comic tenor. The most beautiful moment for the character comes in No. 8 My Well Loved Lord, in which he sings ‘Of All The Young Ladies I Know” His lyrics are much more poetic than Mountarrarat’s, and Sullivan’s melodies for him far more lyrical. If played in this way, the dialogue between the two men in Act II is even funnier, as Mountarrarat plays on Tolloller’s sentimentality to try to goad him into giving up on Phyllis’s affections. Without this distinction, (and the distinction of their vocal ranges) the two are basically identical, and we’d agree with Phyllis that “There’s really nothing to choose between you.”

 

Private Willis

Willis is a wonderful role for a bass or a baritone who doesn’t mind standing at attention for the better part of an act. In exchange, he can sleep through Act I entirely, unless your production is so short on men that he is required to be a peer as well.

Strephon

Strephon is the kind of character type that would normally be a tenor, but Strephon is really more of a lyric Baritone, playable by the same kind of actor that plays the Pirate King in Pirates. As I’ll mention when I get around to discussing Phyllis, I think Sullivan is making a choice to simplify the romantic leads in the operettas, having experienced particular difficulties casting Frederic in the American premiere of The Pirates of Penzance, he wrote a far less demanding tenor role in Patience, and here a role with a low G that tops off at an E flat.

Queen of the Fairies

This role is best sung by a true contralto, if you have one. And for once, Gilbert doesn’t spend the entire opera mocking her, she’s a strong, assertive woman, playable by the same type of actress that plays Ruth, Lady Jane or Buttercup. Our Queen aptly described her as a ‘cougar’. You will want to hear the passage on 118-119 in the Schirmer Score, which tracks both the higher end of the queen’s register, and also the mock-Handelian runs she has to navigate in the Act I Finale.

Iolanthe

Gilbert and Sullivan are so wonderful in the way they distribute interesting parts for different ranged voices of different ages. Iolanthe is nominally a soprano, but rangewise more of a mezzo, a mother, and a very young woman. (otherwise the plot doesn’t work) This makes her a really interesting part to play, and she has the most moving aria in the opera.

Celia

Celia is the higher voiced part of the two featured chorus Fairies, although there are alternate notes that make her somewhat more manageable if you wish to cast a lower voiced singer. Gilbert in his planning thought of Celia as the ‘first fairy’, or the higher part, but Sullivan thought of Celia as the higher of the two. The higher part on page 16 of the Schirmer score is the one Sullivan wanted; the lower version is his rewrite when the original Celia couldn’t hit the high notes.

Leila

Leila is the lower voiced part of the two featured chorus Fairies. The Broude edition has swapped the voice types of Leila and Celia in the Dramatis Personae, becauset originally Celia was supposed to be the higher of the two voices, and the authors quibbled on this point They also swap the solo lines in the opening number. . Figuring that most productions are going to use the conventional Schirmer score, I’m listing them as they normally appear. The lines are fairly evenly distributed between Celia and Leila. Leila had a number near the beginning of Act I, “Five and Twenty Years Ago”, which was cut for pacing reasons.

Fleta

Fleta is a non-singing role, and a wonderful role to assign to a deserving company member who is not always among the competitors for the important roles.

Phyllis

Phyllis is the soprano lead in Iolanthe, but one gets the sense that Sullivan was holding back somehow in his writing for her. There is one rather challenging Offenbachian moment and a dramatic descending passage in the first act finale, but none of the fun or pyrotechnics of Mabel or even Patience here. She is the first soprano lead in the G&S canon who does not have a stand-alone aria. (and I believe Iolanthe and Utopia Limited are the only two G&S operas with no proper Soprano arias at all, although surely someone will correct me if I am mistaken) There were two numbers for her in Act II, which were cut. I suspect that the authors had encountered so many headaches casting and recasting the spectacular sopranos and tenors for touring productions that they wanted to tailor a few parts that could be more easily filled, or perhaps Leonora Braham wasn’t quite up to the task. (although that seems unlikely given what they wrote for her subsequently) Even so, your Phyllis should be able to sing in tune the descending diminished arpeggio on page 119 in the Schirmer score and the passage on pages 103 and 104 convincingly. They are by no means easy.

Chorus

Gilbert had developed many formulas by the time he wrote Iolanthe, and one of his most basic conceits is the presentation of normal English life, turned upside down by a chaotic force. In Trial by Jury, it had been a faithless fiancee, in The Sorcerer, the power of magic. In Pinafore, it had been a young couple’s desire to marry outside their stations. In Pirates, the Pirates are a force of chaos, and in Patience, it is, of course, the two poets. This is the first time Gilbert gives us a story in which the women are the force of chaos, and in which the chaos isn’t English. As such, this women’s chorus is one of the most delightful to sing.

Your sopranos have an A flat above the staff, your altos an E above treble C, going down to the G below middle C.

The need for a substantial men’s chorus is also pronounced in this operetta, if for no other reason, because of the March of the Peers. They have four way part splits frequently, so you will need strong voices in each subdivision.

First Tenors sing up to the A above the staff, second tenors to G flat above the staff, but hopefully also the A. (this lady’s his what?) Baritones and basses sing up to the E flat above middle C, and ideally down to the E flat below the bass staff. (although some baritones can probably get away with only the low G)

General Pronunciation Advice:

I copy here general note from earlier G&S posts, with some slight emendations.

I am still no expert on RP English pronunciation, but I offer here a couple of basic pointers, to which I intend to add as I learn more:

1) Be aware of the Trap-Bath split. A fellow Savoyard in my tenor section made me aware of this chart, which is very helpful: trap-bath

2) ‘R’s that begin a word are tripped or rolled. ‘R’s that come before a vowel are tripped. ‘R’s that come after a vowel are generally dropped. At no point is the ‘r’ pronounced as we Amerrricans pronounce it. (although you may encounter different kinds of Rs if characters have regional British accents)

3) Mary, Merry, and Marry employ three different vowel sounds. Where I come from, they are pronounced identically. In Philadelphia, they are pronounced as three different vowels, but they aren’t the same vowels. Interesting chart on this matter:http://www4.uwm.edu/FLL/linguistics/dialect/staticmaps/q_15.html In G&S, you’ll want to say Mary with an eh as in air, Merry with eh as in get, and Marry with an ah as in cat. (someone will certainly correct me on this)

4) Many u vowels will need a y sound before them: duty becomes dyewtee, tuning becomes tyooning, new becomes nyoo, and institution becomes instityooshun.

5) Been becomes bean.

6) For words which in American English replace ‘t’s with a d sound, a true ‘t’ sound should be used. “Water” is not pronounced “wadder”, and certainly not wooder, my Philadelphia friends. But be careful not to overcompensate. I have noticed that some Americans are so anxious to Britishify their speech that they change to ‘t’ sounds that are truly ‘d’s. Lady should not be Laty, as I’ve heard people say when attempting to posh up their language. Not every ‘d’ needs to become a ‘t’, only the ones that are truly ts to begin with!

7) As I continue to conduct these pieces, and after continuing encouragement from the English members of our American company, I am beginning to become fixated on words like “all”, and the second syllable of “Doctor”, “Major” and “Sailor”. The British “all” has a darker vowel than the Americans use, almost to the point of sounding like ‘ole’, and the second syllable of the ‘or’ words is pronounced like ‘or’, not ‘er’, as Americans would say it. I am still conflicted about that particular one, because the D’Oyly Carte recordings are by no means consistent on that point, and especially at speed, it is very difficult to articulate a tall ‘o’ vowel in such a word. It is something to keep one’s ears open for.

This video may be of use to you.

That is by no means exhaustive, and I’ve probably gotten some of it wrong, but that’ll get you started. There are some places in this show where pronunciation will be governed by a rhyme. I will try and hit each of those points as we go.

Going through the show number by number:

Overture

This overture is by far the best of those written up to this point in the operas. The Sorcerer’s overture had been assembled by Hamilton Clarke. Sullivan Sketched the overtures to HMS Pinafore and Pirates and Alfred Cellier completed them. Eugen D’Albert wrote the overture to Patience, which is, I think, the second best of the batch so far. In the case of the overtures with Cellier, it appears they worked together to assemble the medley of tunes, and the job was considered so last-minute and perfunctory that it was something of a waste of time for Sullivan to do it, the understanding being that Cellier would simply pull the orchestrations from their positions in the opera, connecting them as competently as Sullivan knew he would. When we think of it in terms of composers like Rossini, Mozart, or even Carl Maria Von Weber, this practice seems like cheating. Can we imagine Mozart pawning off the overture to Figaro to Süssmayer? The recits, yes. The overtures, no.

But it’s helpful to remember that Mozart is not particularly the model for these affairs. Offenbach is. Offenbach also handed over most of the overture duties to his assistants, and seemed to have preferred just jumping right into the action. Particularly when his operettas hit Vienna, Offenbach was required to add an overture, because the Viennese expected one, rather in the same way Verdi had to add dances whenever his operas made it to Paris. The reason D’Albert’s Patience overture is so good is that Sullivan gave him a little room to develop the material, which is exactly what an arranger under pressure can’t do. Cellier was working too fast on the one hand to really say anything interesting in the overtures beyond what Sullivan had already done elsewhere in the opera, and on the other hand, creatively altering the material of your boss is the kind of license that could lose you your job.

Sullivan seems to have worked hard on the Iolanthe overture. There were two productions opening simultaneously, one in England, and the other in America. On October 29th, 17 days before the opera opened, Sullivan sent instructions about the overture to Cellier who was conducting the American premiere: “Write one yourself.” If we allow a week for the boat carrying the mail to get to America and for the mail to arrive to him, that leaves about 3 weeks for Cellier to write the overture and assemble the parts, and that’s while conducting rehearsals. In this case, the length of the transatlantic journey of an overture made the composition of a second one infinitely easier. (as far as i know, Cellier’s version is lost) Sullivan himself was a bit rushed, rewriting the overture several times and finishing 2 days before Iolanthe opened. Incidentally, people frequently marvel at composers finishing overtures at the very last second, forgetting that there is very little reason to finish one any earlier.

I often think about Sullivan’s mindset as he wrote, frustrated by his inability to make headway as a serious composer, yet having this amazing platform with Gilbert to have his music before the public. I can’t help but think he must have realized he was leaving to his assistant one of the only places where his musical imagination could run unhindered by Gilbert’s Topsy Turvy constrictions. And as many people have remarked, this overture develops the thematic material beautifully! Sullivan’s treatment of the Iolanthe theme is exquisitely treated in the opening 48 measures, and I think this is probably where listeners begin to think Sullivan is going to give us a leitmotiv score. As I explain above, Sullivan doesn’t really fulfil that expectation. At Letter Q, Sullivan gives us a magnificent riff on Mendelssohn’s Italian Symphony that manages to sound like very good Tchaikovsky as well. We discover after this texture is established that Sullivan is going to elevate the most trivial moment in the entire opera (the queen’s stepping out of the plot and breaking the fourth wall to address a famous audience member) to what can only be described as sublimity.

Sullivan also begins to play rhythmic games here that he will explore throughout the opera, as the piece keeps threatening to slip from 6/8 back into 2/4. It’s a little silly to say that he begins doing that here, since this is quite literally the last thing he wrote, but I don’t think it’s a stretch to say that Sullivan is making the audience aware of rhythm here. I’ll try and make that case more strongly later.

The Schirmer score is missing a trill on the last note before E and a fermata on the downbeat of the 28th measure of rehearsal Z. The tempo indications beginning at rehearsal Y in the Schirmer score were not in any of the parts I saw. (and I saw 4 sets of parts) I rather like them!

The Broude Trust critical edition has what I believe are errors in measure 234, 2nd violin must surely be a G sharp mid-measure, and 236 2nd violin downbeat must be E.

ACT I

1.Chorus: Tripping Hither, Tripping Thither

Choose your tempo at the beginning from your ideal tempo when the quarter notes enter. It’s faster than you might expect.

See if you can really draw a distinction between the chorus music with eighth rests and the passages with true legato. Many people don’t know that the conventions of music notation demand that the text be separated by syllable as the words would appear in the dictionary. Thus Trip-ping and Hith-er, rather than Tri-pping and Hi-ther as we might prefer when singing. Americans, be sure you have a very tall vowel on ‘dance’ and ‘entrancing’, that you flip the ‘r’s that appear internally in words like ‘fairy’ (rather like very short ‘d’s) and that you eliminate the many ‘r’s that appear at the ends of words like ‘hither’, ‘thither’ and ‘our’.

The line ‘yes we live on lover’ is odd. I agree with those who say it’s meant to be  a kind of shadow vowel after ‘love’, which trick rhymes with ‘discover’, but of course, you have to leave the ‘r’ off the end of the word discover to make that rhyme work. You were, to be sure, doing that anyway.

Note at rehearsal G that the chorus is singing, “We are dainty little fairies” fortissimo, Sullivan’s loudest dynamic marking. I think this is meant to be a joke. Do observe the rests, though, even as you portray these stomping dainty fairies.

The last page has two similar phrases that are maddeningly not identical. ‘Most’ is only one note the first phrase, and two notes in the echoing phrase. This will not happen automatically, I assure you.

2. Invocation: Iolanthe! From Thy Dark Exile…

The orchestral accompaniment in this number is simply exquisite, and one of several places where orchestral reductions of the wind section are most inadequate.

At the entrance of the fairies, I really don’t see much use in saving the altos for the second phrase; I had mine sing right along from the first ‘come to our call’. Your director will have thought of some way to get Iolanthe on stage, perhaps covered in seaweed. You will have to balance your inclination to indulge the oboist in a languid tempo against the time it takes for Iolanthe to enter, otherwise, she will perhaps be left on stage looking bewildered for quite some time before opening her mouth to sing.

I can’t imagine why the Animato marking in the Schirmer vocal score at the top of page 26 appears in the middle of the measure. Surely it belongs at the beginning of the 2nd measure before rehearsal F. Watch for a clean cutoff at the end. You may want to adjust the location of the end of that note to make for a more uniform conclusion of the choral part.

3. Solo and Chorus: Good Morrow, Good Mother

The introductory open 5th in the bass with a lilting 6/8 melody in reeds above shows us that even at this late date, English audiences knew the markers of pastoral music, and associated them with shepherds, as they do in Handel’s Messiah, Bach’s Christmas Oratorio, Corelli’s Christmas Concerto, and innumerable other pieces referencing shepherds.

The left hand in the closing figure is oddly clumsy to play, but surprisingly effective in its orchestral context!

4: Solo and Chorus: Fare Thee Well

Note that near the end, the word “We” in the last phrase comes on beat 3, not beat 2 where it had appeared earlier.

4a. Duet: Good Morrow, Good Lover

The number is almost exactly the same as 3. To those who suggest this as one us Sullivan’s Wagnerian leitmotiven, I say that this is really nothing more than a reprise. The idea is never developed further than a key change the next go around. Again, that’s not a knock on Sullivan. Not every thread needs to be woven into a tapestry to make a compelling piece of music theatre.

5. Duet: None Shall Part Us From Each Other

There are some odd errors in the Schirmer score. The easiest one to clarify is that the accompaniment in the first ending on page 39 should read exactly as the accompaniment in the first measure of the second ending. I keep finding sources that say the repeat should go back to the 3rd measure and not to the beginning. The major recordings follow this practice. But the new critical edition does not list that correction, and includes no notes clarifying the discrepancy. Your guess is as good as mine, but my preference is to go back to the beginning as notated. Going back to measure 3 feels very odd to me, and the number doesn’t overstay its welcome. The critical edition has an error in the 2nd clarinet in measure 10. It should read F#. Also of note is the fact that your violins may wonder in the second and fourth measures of rehearsal B whether the third note should be marked C# again. I don’t think so, and a courtesy natural is probably in order. The critical edition lists these measures with a C# (I think erroneously)

Sullivan wrote to Cellier that the number should be “sprightly and lightly”, which I think is a fine mood to strike.

Our Phyllis put her last 2 notes up an octave, which is a lovely touch, but rankled the adjudicator when we did it at the International Gilbert and Sullivan Festival. (I’ll write a post on my thoughts on altered pitches another time)

6. Entrance and March of the Peers: Loudly Let The Trumpet Bray

This is surely the high point for men’s chorus writing in G&S, or at the very least among the top 2 or three such moments. In addition to its anthemic memorability, there are several other unusual features I will call your attention to.

Traditionally there is a drum roll at the top of this number. Have a look at your parts: some editions include the roll, others don’t. It’s worth a look before you begin working with your orchestra to be certain you’re all on the same page.

I found 2 errors in the Broude Trust critical edition in this number: The third note in measure 23 in the piccolo must be an A natural, and the 2nd note in measure 29 in the double bass is surely a C natural, as in the cellos. In measure 155 and 173, the critical edition also has the double basses on a low E flat, which strikes me as unlikely for Sullivan.

A few things to notice in the choral parts:

You will likely find that the low E flat at a bar before Rehearsal E, and in the fourth measure of F is simply too low for your basses. They can jump up to the Tenor E flat easily there. Before G, and throughout that stanza, you do not have that option, because the basses are on their own. They’ll have to open their mouths and emote the note they’re not actually singing.

In the 11th and 12th bars of rehearsal F, be sure your tenors are singing very small half steps. That passage has a tendency to go flat.

Be very careful to play the passage beginning at letter G slowly and deliberately as you learn it, for accuracy of pitch. You may also find that your tenors will tend to slow down and your basses speed up. Tell the basses not to breathe in every single rest, because that will lead to hyperventilation and rushing. And be sure the tenors and your orchestra observe the dotted eighth-sixteenths properly, without letting it devolve into triplets. Both groups should work hard to remain exactly in the center of every beat.

At letter H, you may discover some of your choristers wanting to sing a B flat harmony note that doesn’t appear in the score. This note sounds fine at first, but will subsequently be harmonically confusing to resolve on the fly. To facilitate discovery of the G the baritones are meant to sing, I suggest having the baritones sing the tenor A flat one note before H, then going down the half step to secure that G.

The composer half of my brain puzzles at the tenor line in the 9th measure of rehearsal J and the similar passage 4 measures later. The tenors drop down to the low B flat while the baritones jump up to the high B flat. When I suggested to my group that we simply leave the tenors on the high B flat, they strenuously objected. And then as we rehearsed it, I began to hear the effect Sir Arthur must have been going for. I can’t say that I understand it; on paper, it just seems very ineffective. But in practice, it brings out a new color for the end of the phrase, and he certainly knows better than I do what he wanted.

Before I leave rehearsal J, I just have to tip my hat to Sullivan and say that the passage is harmonically absolutely extraordinary.

At rehearsal K, in the name of all that’s holy, carefully go over the words the tenors are singing. They are not uniform.

At the eighth measure of rehearsal K, we meet one of Sullivan’s unusual experiments with phrase length, in which he upends the binary phrasing he’s established, and combs everyone’s hair backward for about two pages. Let me try to explain what I mean:

We’ve had 2 measure phrases very consistently through the whole number, as befits a march. But here Sullivan introduces a rocketing E flat major scale which drops us off mid-measure in the beginning of a new phrase a measure and a half later. The new perceived downbeat occurs on a structural upbeat, and that sets the chorus off by half a measure from the metric stress of the bar. This is why your chorus will initially miss that entrance until you drill it. If you are conducting from the piano in rehearsal, you will discover that it is very difficult to cue a phrase beginning on an upbeat with your head while simultaneously playing an E flat major scale in octaves and then continuing to play offbeats against the new tune. When I had to cover the accompaniment in a rehearsal or two, I proved myself wholly inadequate to this challenge.

Sullivan could easily have simply inserted a measure of 2/4, allowing us to reorient ourselves toward the new perceived downbeat. But instead, he rather perversely leaves us beating the bar the opposite way with upbeats for downbeats and downbeats for upbeats until the 7th measure of rehearsal L. This is where your chorus will also sing it wrong for the first 2 weeks, because Sullivan has to extend the phrase by half a measure to make up the difference and land the downbeat on the correct part of the measure. You will have to experiment with ways for the chorus to remember how many times they say tan-tan-ta-ra. I found that different people needed different memory aids, and that a strong choreographer can be of great assistance in tying the words to the movement where possible. Of course, they can always just watch you. (ahem.)

Because of the prominence of the brass, this is a number which feels most empty in orchestral reduction. After all, we have a complete onstage banda part for an early production, so we know that Sullivan himself was not even satisfied with the sound of the full orchestration!

7. Song and Chorus: The Law Is The True Embodiment

The fugato entries here are really ingenious, but present some trouble for pick-up orchestras, since the first entrance is by the cellos and basses, who are perhaps not accustomed to playing this fast in this context. They are followed by the violas, who are also not famed for playing quickly or decisively. (I say these things with fondest affection) By the time you reach the group of strings capable of driving the tempo forward, (the violins) you will probably have settled on a tempo that is slower than you or your Lord Chancellor may have preferred. (I did not have this problem in Harrogate, where the festival orchestra knew perfectly well how to execute the passage) After struggling with this for a while initially with an American orchestra, my concertmaster spoke to me confidentially:

“I think I see your problem. I have noticed that you are giving the cellos and basses the tempo you expect them to play.”

“Yes, good.” I replied.

She said, “No. Give them a tempo a third again faster than what you want and you stand a chance of getting the tempo you want.”

I did so, and the results were indeed better. Obviously the effectiveness and advisability of this method is contingent upon your performing ensemble, but I offer it here for your potential use.

The number itself is fairly straightforward, but here are a few thoughts anyway:

In the third verse, as Gilbert instructed Cellier in a letter for the American Company that premiered Iolanthe on the same day as the English company, it is customary to to slow down around letter C, and to in fact come to a full, brief pause after “one for Ye”, “One for Thou,” “One for Thee”, “Never, oh Never”. In measures 84, 85, and 86, the first violin should only play beats one and 4. Some engravings of the orchestral parts will include this as a separate third verse; others incorporate the alteration in a notation included over the music read for all three verses. You might have a look at the parts there, so you know how to talk to your players if confusion arises.

Finally, the last 4 measures are in C major. Sullivan indicates ‘Major!’ in the full score, because he knows the copyists and the players are likely to want the C minor they’ve been playing up until this point. Just be prepared to politely say, “Major, please” in the first orchestra read when you hear an A flat four measures from the end.

8. Trio and Chorus: My Well Loved Lord and Guardian Dear

The number begins with the shepherd theme moved up to F# as an introduction to a brief arioso for Phyllis, punctuated by one of Sullivan’s signature unison male chorus phrases celebrating the heroine.

Tolloller’s subsequent melody over a gentle barcarolle is one of Sullivan’s most exquisite and exotic, the B sharp adding a piquant and dissonant touch to the F# minor tonality. (Is he singing one of the Lord Chancellor’s F# minor 6/8 Andante judgments Mountararat mentions in Act II?)

Note that when the men sing “of birth and position he’s plenty”, their line is full of rests, but that Tolloller’s remains legato. Don’t let them throw one another off. Conducting the rallentando in 6 may out to be somewhat tricky. The thing is in 2, naturally, but it will slip into 6 at letter C, then back out again in the third measure of C. Also observe the delightful details in the violas, as the descending two note sighs set off the rhymes.

Mountararat’s verse is lyrically more prosaic, and his legalese text culminates in a clever pun. Accordingly his music has modulated into D, and Sullivan has given him a much more pedestrian vocal line to sing.

Phyllis’s verse returns to F#minor, with all the flavor of Tolloller’s verse, and yet she manages to one up him with a spectacular flute obbligato as she mentions ‘pipes and tabors’. When this passage is well played, it is just breathtaking. The tune is so distracting that one is likely to miss the point of the words; Tolloller has offered grammar and spelling for two and blood and behaviour for twenty, with plenty of birth and position. Using his melody, she strikes him down on each point: She spells all the words she uses, (presumably all she needs) her grammar is as good as her neighbors, and she’s born the same way everyone else was. To Mountararat’s rather too fine point about the party preferences of the house of Peers, she turns his pun back on him, saying that she knows where to look when she wants to find somebody, implying that it isn’t them. It’s a really lovely lyric.

Coming around the tail end of the number, the chorus parts require some attention. Get that ‘look’ 2 before letter H to be quite short, help your tenors and basses count the ‘ah’s they have to get to, and practice conducting the six pattern to get you through the acappella section.

One of my favorite Sullivan touches appears at H; a melody built around hopping thirds that seem to trace out two planes, one higher, and one lower. Other examples include the opening of “My Name Is John Wellington Wells” from The Sorcerer and the transition between verses in “If Saphir I Choose To Marry” from Patience.

If I may commit a minor heresy, I must say that I find the transition back into the closing ritornello awkward, and I wish Sullivan had overlapped the instrumental melody with the last chord. But we must do as he says, mustn’t we?

9. Recitative and Chorus: Nay, Tempt Me Not

The Schirmer score has an extra measure up top, which was cut early in the performance history of the piece. Begin in measure 2. When the orchestra is there, be sure you have the attention of your cellos and bass as you begin, or you’re dead in the water. The indication ‘recit’ in the second measure makes no sense. Ignore it.

Americans, the words are pronounced ‘des-ti-tyoot’. and ‘ver-tyoo’.

You may wonder why these 10 measures are a single number. Evidently this was once a much longer set of couplets.

10: Song and Chorus: Spurn Not the Nobly Born

Tolloller’s solo is a typical lovely lyric tenor solo, but the Tenors and Basses of the echoing chorus can prove somewhat difficult to manage, having different rhythms than one another, and plosive closing consonants, which are unforgiving. Be sure the first time through we do not slow down much. Save that for the second time. I also suggest everyone cut the word ‘Flood’ short, and have the basses and baritones cut their second to last ‘blood’ short, giving the tenors a catch breath before their last ‘ah, Blue Blood’. This way the ‘d’ sounds all arrive in a coordinated fashion, and it should be fairly clear exactly where they go. The last time the men echo, the rallentando makes the problem of coordinating them more acute, especially when you add in the tenor, who will naturally want to sing the A flat for some time. This will take some practice to get right.

There appears to be some controversy about the rhythm of “Hearts just as pure and fair”. The downbeat rest we find in the Schirmer score appears to be an authentic correction; Singing it as a quarter matches Sullivan’s original take on that measure. I think that means both versions are basically legitimate.

Sullivan’s modulation to G major is gorgeous.

11. Recitative and Chorus: My Lords, It May Not Be

We can see by the rehearsal letters and by the lack of closing cadences that 9, 10, and 11 are meant to be one continuous unit.

Be sure your men make the last syllable of ‘horror’ in the 4th measure of D very short. This is a good general rule for G&S, and the word appears frequently enough to require the rule. The two chords before the Lord Chancellor’s recit are usually played before he begins singing, not as written. He should wait. Note also that your chorus echoes “A shepherd He…” and so forth are meant to be pianissimo. (they’re hiding!) The written C for Strephon 3 measures before rehearsal F is sometimes sung as an E a sixth lower (in the 1960 D’oyly Carte recording, for example)

3 before rehearsal G for the chorus should read “betrothed are they, and mean to be”.

My chorus baritones and basses had a tendency to sing the second measure of H as the 4th measure, beginning on E flat. Keep your ear out for that.

The problems at the end of the number are identical to the ones at the end of The March of the Peers, with different words. Whatever strategy got you through that will work as well here.  

Once again the Broude Critical Edition has a low E flat for the Contrabasses in measure 89. I doubt Sullivan’s basses had the note. Probably this was a spot where Sullivan had indicated the basses to double the cellos and simply wasn’t taking the range into account.

12. Song: When I Went To The Bar as a Very Young Man

If there’s one spot in Iolanthe where we most feel our writers treading familiar waters, it is here. The Judge’s Song from Trial by Jury, and When I Was A Lad from Pinafore are virtually indistinguishable musically or in content from the Lord Chancellor’s “How I got this way” number. We can overlook it, though, because in Act II, the Lord Chancellor will sing the most original patter song in the canon.

The Broude Critical edition has inverted the lyrics of verses 2 and 3. I’m a little surprised nobody caught that.

In measures 32 and 33, when the Lord Chancellor sings, “The Army, the Navy, the Church, and the Stage”, the strings traditionally only play beats 1 and 2, omitting the upbeats. It’s all much slower there.

13. Finale: When Darkly Looms The Day

This is the longest single number in Gilbert and Sullivan. It won’t feel like it for the audience, but it will feel like it during rehearsal. You’ll be blocking the first act Finale for most of the rehearsal process.

In an interesting article called Tonal and Structural Designs in the Finales of the Savoy Operas, with Some Suggestions as to Derivation by John C. Nelson, (one which is surprisingly difficult to get your hands on), the author tracks Sullivan’s finales section by section. After carefully comparing the finales, he observes that Sullivan’s Finales are constructed more like Offenbach or Rossini than Mozart. Mozart’s finales are a marvel of construction, partly because they seem to be oriented around a careful tonal plan, actually showing adhering in a broad sense to Sonata Form. This tonal planning shows the strong evidence of enlightenment thought. In Sullivan’s music, and in other romantic era music, the need to ground large scale movements in opera is secondary to the moment-by-moment drama of each dramatic transition. In other words, it is Gilbert’s job to make certain there are plenty of twists and turns in the plot, and Sullivan’s job is to make each plot twist land harmonically and melodically, and no one is watching the store when it comes to getting back to the starting key. At several points in this Finale, Sullivan makes hilarious detours at critical moments, and he also plays disorienting games with phrase length that I’ll examine below. These moments break any sense of classical unity in the finale, not only pulling the work further away from the high classical models, but pulling even away from the Comique composers Sullivan clearly admired. More on that later. I think when we examine Iolanthe, Gilbert and Sullivan have left far behind the concerns I plotted out in my Pinafore Guide. Gilbert is exceptionally free with his lyric material, trusting that Sullivan’s depth of invention is sufficient to create as much material as will be necessary to get through it all, and indeed, Sullivan rises to the occasion.

I’m going to combine my rehearsal suggestions with my thoughts on the writing, and then leave the Broude errata for the end.

The fermatas in the first few pages of the finale were tough to get out of until I realized that I didn’t need any fermatas at all. Just beat time straight through those measures and there’s well more than enough time for Phyllis’s asides.

Saint James’s park is pronounced something like ‘sint’ James’s pok. Cut off ‘remark’ and ‘dark’ on beat 4 for the men with a strong ‘k’ consonant and no ‘r’ sound. The same goes for the extremely brief madrigal.

Sullivan indicates a long cadenza ad lib after the Allegro Agitato, but he didn’t write one, and there aren’t a lot of recorded options either. The problem is this: The chord implied at the fermata is a G dominant 7 chord, which might be simple enough, except that in the previous measure an A flat places the mode squarely in C harmonic (not melodic) minor. So any cadenza you place here will have to battle the augmented second between A flat and B natural, an exoticism not normally encountered in cadenzas like this. Here are a few ideas to get you started. Put the A flat and the B on opposite sides of a run, like so:

Or some sopranos will prefer an even bouncier one, like this:

Others may want something just as flashy but more legato. This one just converts the scale to a melodic minor and lands the a flat at the end to get us thinking minor again. 

Or write your own. Remember she’s angry.

I hope your tenors can all hit the high A. “This lady’s his what?” It is often shouted, which I suppose is preferable to hearing the entire tenor section crack at once. I also prefer the ‘ha ha ha’s throughout the finale to be sung, not shouted, and in time, not out.

I hope you don’t mind a digression here into a very odd rhythmic game Sullivan begins right after rehearsal E. By inserting two half notes into an otherwise square phrase of quarters and eighths, Sullivan creates a 9 measure phrase, which throws the symmetry off in a disorienting way. If you are thinking in terms of balanced phrases as you conduct, you will feel strange at the tail end of each of these phrases, as though you have somehow lost a beat somewhere.

It’s easy to dismiss this passage as just a funny anomaly, but if you take into account that Sullivan has already played this exact game twice in the Peers music, it begins to feel intentional. My knowledge of 19th century operetta is not exactly encyclopedic, but when I noticed these odd phrasings, I got curious and threw on a bunch of Offenbach and Johann Strauss operetta recordings, and I kept an ear out for odd numbered phrasings. I didn’t hear any at all. I suppose Offenbach was just too busy cranking out the tunes to bother being creative with phrase length, and Strauss was too connected to the dance to play games like this.

2 further points and then I’ll get back to the play by play:

1. We know that Sullivan was very careful not to allow the meter of a text to circumscribe his rhythmic creativity. He often plotted out several possibilities for a given text before choosing one, and at his most inspired, Sullivan found ways of reordering the rhythm of a text to stunning effect. This is almost exclusively found in the solo material, though, not in ensemble work. He might just be branching out here.
2. It’s just possible that Sullivan was trying to be disorienting in these very specific spots to make a subtle dramatic point; never so jarring as to stop the proceedings, but just odd enough to cause a minor sense of, “what just happened?”. A glance at where these moments appear in the opera almost justifies this hypothesis.

The one scenario that doesn’t hold water is that Sullivan wasn’t paying attention.

The passage beginning “My Lord, of evidence I have no dearth” is bel canto lite for Strephon, containing declamatory phrases, and a legato melody over a Donizetti or Early Verdi accompaniment. A few pages later he’ll get a more dramatic moment when he calls the fairies in. Note that even though Sullivan is very clearly referencing Bel Canto style vocal writing here, Strephon’s range is extremely limited, even for a Baritone.

Make sure your Strephon sings e-vi-dense, not e-vi-dunce.

On page 100 of the vocal score, change the didn’ts to ‘did not’s.

The passage leading up to the Allegretto after J (not a word, you did deceive, you did deceive her) is the first of Sullivan’s brilliant left turns.  The chorus part is rather thrilling, and Sullivan must have liked it very much. He uses it here and then drops it for the remainder of the Finale, but it appears as a transitional passage before Q in the Overture, and in that guise it sounds like a rather fine chunk of the development passage of an early Romantic Era symphony. But having stoked that fire up here in the finale, Sullivan drops us without ceremony (without even a full introduction) into a simple, pretty tune for Phyllis that snidely quotes the prelude to Tristan and Isolde. It makes the head spin a little. In an even more bewildering touch, the vamp is twice as long on the repeat of the tune as it was in the initial hearing, which goes against normal rules of musical construction. Generally one uses longer preliminaries on the first time through, and trims them on the second pass. For all the talk of Gilbert’s topsy-turviness, Sullivan here employs more than a smattering of his own.  

Conducting the end of this passage gave me a little grief. The tune begs to slow down and luxuriate right at “I turn to you”, speeding up after breaking. (at least that’s how I hear it) But having slipped into 6/8. It proves very difficult to bump back into 2 mid-measure for the upbeat to the measure after ‘breaking’. My orchestras were very forgiving there, and somehow things came out alright, but it wasn’t due to my beat pattern, I can assure you.

The Allegro Con Brio is so Offenbachian, we seem transported to La Belle Helene. As originally written, the chorus actually took a turn at her melody, and as I look at it in the Broude edition, I can imagine the sounds the chorus made as they sang it; I feel pretty sure they were not up to the task.

At L, Phyllis can sing a third higher on ‘if you but choose’: F,E,F A,G#A, That is in fact the original intention for the line, I believe. Following the phrases that appear around it, the printed version looks very much like a compromise. Is this evidence of a soprano not quite up to the task in that original production? Maybe so.

In the passage at N, Strephon actually gets some excitement, and an E flat to sing. Be sure he sings D flat and not D natural in the measure before O.

Your fairies have been offstage for a while. Be sure they observe the rests as well this time as they did at the top of the show.

Strephon’s “The Lady of my love…” tune is a great one. The Schirmer score has an error at the top of page 112. The first measure should read “Fairies”, not Chorus. At the first measure of 113, that should read ‘only’ five and twenty.

Sullivan plays 2 more rhythm games here:

1. In his normal vein, he moves up the second iteration of “Tho’ she is seventeen and he is only five and twenty” by 2 beats. Your chorus will want to learn this detail earlier rather than later in the process.
2. In his newly absurdist vein, he arrives by ascending scale at the new tonic a full beat early on a sforzando, turning a pickup into an ersatz downbeat on the entrances of Tolloller and Mountararat. Once you clue into it, it’s wild fun.

If you’re looking for a chorus diction warmup, you can do no better than the text for the full chorus that begins on page 114: “To say she is his mother is an utter bit of folly”. Learn the tune very slowly, and insist on a quiet dynamic until Sullivan indicates at the third measure of rehearsal W. It’s a nice effect. You’ll like it.

At the Allegro vivace, come to a full stop after beat 3, and then cue the Lord Chancellor to inaugurate the new section.

This melody is in a minor mode, which is uncharacteristic for Sullivan’s finales, and it’s surely one of his most inspired passages. If you find the right speed and execute it well, it should get an applause break before the Fairy Queen leads us into the ending. The theme has been compared to Beethoven’s Egmont Overture and Tempest Sonata, and the main motive of Verdi’s La Forza Del Destino.

Go Away Madam

Beethoven Egmont Overture Op. 84 passage, reduced to piano and transposed for comparison

Beethoven Tempest Sonata Op.31 no. 2, (transposed, meter altered for comparison)

Verdi, Forza Del Destino primary motive (transposed, meter altered for comparison)

What they all have in common, aside from genius, is a minor mode, a triple meter, and 4 measures of tonic, followed by 4 measures of dominant.

The Fairy part at rehearsal X is tricky, particularly where the altos split off into their own part. Note also that Sullivan has simplified the line slightly at ‘Brazen Faced’ from the Lord Chancellor’s version of the tune. It becomes more complicated again when the quodlibet comes together after AA (second rehearsal A in the Schirmer score)

My only quibble with this glorious passage is that Sullivan wound up in a key that prevents Phyllis and the Queen from properly contributing to the proceedings. When they enter at AA, they are not in a strong part of their ranges, and only a true piano dynamic lets them be heard in this texture. When Phyllis sings “Should repent…”, Sullivan seems to know that it isn’t flashy enough, since he marks it Fortissimo and adds 3 other Sopranos to the line. This passage is the classic Sullivan exotic harmony moment we often encounter in his First Act Finales. As far as they go, this one is mild, an F natural pointing us in an Aeolian descent, but my gosh is it hair raising when it happens! The Fairy Queen joins the line when it comes in range. The piano reduction at CC is not an accurate version of what is happening in the orchestra, but it probably doesn’t matter all that much. This is more like what’s really going on:

At letter DD, we know from Sullivan’s letter to Cellier that he wanted the 2 beats of the new tempo to equal one bar of the previous section.

Note that ‘respectful speech’ for the Queen and ‘with dames unknown’ are not identical to the previous phrases. Note also that before rehearsal HH, the men come in a full measure later than they do at rehearsal FF. Also, be sure that the last syllable of ‘proprietor’ rhymes with ‘for’.

You may find the brass entrance before JJ is hard to cue. Beat quickly through the recit measures, then pause and address the brass for each entrance in preparation for the answering phrase. When you get to the final one, give a strong ONE downbeat as a pickup. Pros will be fine. Amateur orchestras will probably mess that entrance up the first couple times you run it.

I found it effective to put a crescendo in the word “Oh…” leading to “spare us”, with “us” being quite short.

This is the second moment in the finale where Sullivan leads us to a climax, only to make a quick left turn into a goofy non sequitur. There is a very traditional change to the second time through the chorus part, right after “He’ll command a large majority”:

Here as elsewhere, the word is pronounced Pah-lee-uh-ment.

During the curse section, conduct beats 1 and 2 quickly, then use beat 3 to cue BOTH the last beat of the measure and the men. When you get to the 3 measures before the key change, conduct beats 1,2,and 3 quickly and then use beat 4 as an upbeat to land the next measure.

The Allegro Molto may take you a couple times to get right. Be sure the last syllable of Horror is super short. (as always) I would also alter the Fairy ‘they’ to a quarter note, which is what nearly all recordings do. The eighth note is awkward, hard to cue, and makes the word unintelligible. For ease of singing, allow your altos to drop the octave on “nor hide the” rather than dropping a minor 7th mid-phrase. And no sliding from ‘trem’ to ‘ble’, for goodness sake.

Then follows the third and funniest non sequitur. The crazy tremolando curses, and the diminished and dominant harmony of the 10 measures of response from the chorus is as dramatic and legitimately scary as anything since the shades in the Sorcerer, and after all that buildup, Sullivan drops us right into the bounciest, frothiest closer imaginable, an earworm that won’t quit.

As you start teaching this passage, clear up the difference between the soprano line at “who shall say what evils may result in consequence” and the one at “oppose his views or boldly choose to offer him offence”

Since there are so many mid-word rests, this is also a good place to clear up which side of the rests the consonants go. Ex: hi-deous, ven-geance. Etc.

Before rehearsal NN is a landmine for your chorus: the women sing a B natural on “The” at the beginning of the line ‘the word prestige is French’, then an A natural on the repeated phrase. Your chorus will want to sing an A again on the pickup to rehearsal NN, not a low D. That octave is important.

Note that the sopranos sing the first lyric “who shall say what evils may…” to the second melodic variant formerly applied to “oppose his views”.

The word ‘cannaille’ is here pronounced Kun-eye.

The little “That word is French” and “A Latin word” echo phrases are somewhat hard to hear, especially in the lower parts.

How great is this little detail in the Broude critical edition?

Make sure the countermelody in the basses and tenors at rehearsal SS has rests in the first phrase, and is legato the second.

After the Second World War, all the recordings have ”Away We Go” for sopranos and altos just as the Basses and Tenors at rehearsal UU.

If you’re not competing in the International Festival, let one of your sopranos pop the high B flat 2 before VV. Only one, though.

Cut off the last note on the downbeat, not a half a beat later.

The Broude edition has a couple fishy moments, including an earlier lyric variant around measures 199-202 that isn’t generally done in performance, and which I advise against. At measure 200, the second note in the first and second violins is E flat, not F, I believe. I believe that the traditional pickup to R in the first violins and in other similar places is probably right, even if it isn’t in manuscript. (although the commentary is silent on this point) Whatever rationale Sullivan may have had for leaving the upbeats out would surely have applied to the flute and oboe around 257 as well, and they have the pickup.  In measure 269, I believe the Second Violin should read E flat in the third beat. F is certainly wrong. At the fourth measure of letter D, the Broude critical edition has a D for the Queen in the fourth beat, contradicting the Schirmer score, which has a G there. I suspect the Schirmer is correct.

In the last 3 measures , a rallentando is in order, but my brass players taught me something important here: don’t take the rall. before the last 2 measures, or the sixteenth note pickups will be sloppy.

ACT II

14. Song: When All Night Long a Chap Remains

Private Willis opens Act 2, and stays onstage for a great deal of the action. His opening ritornello is almost long enough to be considered an Entr’acte. Because Willis’s melody at B is almost l’istesso tempo from the earlier passage, it can be a little odd to switch into 4, but Sullivan knows what he’s doing. It also gives a little bump to the new tempo at rehearsal C.  Singers generally slow WAY down at ‘Fa La La’. It’s almost worth telling the orchestra to put a fermata on the rest.

An interesting side note about this number: When he was in England, Stravinsky often stayed at the Savoy hotel which was built by Richard D’Oyly Carte next door to the Savoy theatre at which Gilbert and Sullivan’s operas premiered and ran in repertory. In fact, in 1921, He thought of the idea of writing his opera Mavra there.

This photograph was taken at the Savoy hotel in 1921

Stravinsky actually attended some G&S there, which he seems to have enjoyed. We know that like a lot of Russians, Stravinsky delighted in puns and word games, so his thoughts on Private Willis’s aria should come as no surprise:

“What immediately fascinated me was the way the music adjusted to the rhyme. (no foreigner can be in England more than five minutes without immediately learning two words- ‘liberal’ and ‘conservative’), recognizable even when they are pronounced ‘liberAL’ and ‘conservaTIVE.”

I have to wonder what Stravinsky thought about Sullivan’s phrasing games in Iolanthe, especially since he was then in his neo-classical phase, where he combines smaller orchestral forces and classical tropes with his trademark mind-game-phrase-length-jujitsu.

15. Chorus: Strephon’s a Member of Parliament

In our production we had a talented dancer fairy dance the opening, and we repeated the first 10 measures to leave more room for her to dance.

The third measure of E, second note, sopranos is wrong in the Schirmer score. It should definitely be a D, as elsewhere.

Note again that ‘parliament’ is pronounced ‘pah-lee-a-meant’, that ‘all’ is pronounced rather like ‘ole’, and that ‘shake in their shoes’ and ‘kettle of fish’ are not identical in pitch.

It became something of an obsession for me to get the women to cut off the word ‘shoes’ and the men to cut off ‘fish’ at the downbeat of the following measure. In fact, I would occasionally shout out “FISH, TWO, OFF!” three or four times in a row during lulls in rehearsal. I don’t know whether the cast found this endearing or not, but in our brushup rehearsal, the men held ‘fish’ as a joke for the remainder of the number. They tell me the look on my face was indescribable. It was, in point of fact, a ‘pretty kettle of fish.’

The little meter change near the end is easy, but choruses have a tendency to rush near the end.

The Broude Edition has an interesting variant at the end of measure 42, in which the last 3 notes of the measure in the violins and violas arpeggiate the opposite direction from the way they do in the vocal score and other editions of the full score. No mention is made in the critical apparatus. I rather like it, but I don’t know if it’s legitimate, since I can’t find it anywhere else.

16. Song and Chorus: When Britain Really Ruled The Waves

When he was asked permission to use the third verse for political purposes, Gilbert apparently said, “I cannot permit the verse from Iolanthe to be used for electioneering purposes. They do not at all express my own view. They are the views of the wrong-headed Donkey who sings them.”

It takes a surprising amount of breath to get through the verses, so you might want to take that più lento marking literally at the chorus entrance, and move the verses at a good fast clip, slowing down for the choral responses.

In the last verse, Mountararat often sings a high E on the final ‘glorious’ with the Chorus. If your Mountararat doesn’t have that E, Tolloller can perhaps oblige.

Horace Mather Lippincott

This number holds a particular significance for the company I conduct. In 1904, the Savoy Company of Philadelphia, then in its 4th year, produced their first production of Iolanthe. This was also the year Gilbert himself wrote an encouraging letter to Savoy president Horace Mather Lippincott, still a treasured relic of the organization. Lippincott wrote the following lyric to be sung to the choral response music at the end of When Britain Really Ruled The Waves: “Let every heart be filled with joy and sing the praise of old Savoy.” Since 1904, we remove our hats and sing it at the close of every rehearsal, and before and after every performance.

17. Soli and Chorus: In Vain To Us You Plead

Note that the indication of who is singing in the Schirmer score has omitted the Peers. They only sing two notes, but they do in fact sing!

In most of the historical recordings, the “Don’t go!”s are spoken. Pay attention to the dynamics though, it’s funnier as an aside! Be sure Celia sings ‘laws’ with a dark vowel, and that the word ‘because’ actually rhymes with it; don’t say ‘becuz’. This goes for the chorus too. All the responses should have short final notes. Maybe even put a staccato on them to be sure.

This piece is beautifully orchestrated on a knife edge. The likety-split obligatto is in the pizzicato violins, (both first and second) which can prove a little tiring, particularly if you mistakenly read Sullivan’s Allegretto indication as Allegro. Pizzicato strings are generally quieter than we imagine they’ll be, because we’re spoiled by souped up studio pizz. we hear on recordings. At the end of the pizz section there’s a quick switch to arco and back again, and your section may decide they want to plan out some staggered rest stops to facilitate this and to avoid fatigue. The festival orchestra in Harrogate did it like it was child’s play. (It’s not like it’s Tchaik 4 after all…) The rest of the orchestra is trying to stay under the pizz sound, the cellos and violas divided up and playing harmonies, and the flutes, clarinets and bassoons working as hard as they can to play sotto voce. Flutes are nearly inaudible anyway in that register, but the clarinets and bassoon may need a reminder. The reduction I rented and abandoned made this problem worse by eliminating one of the violas and one of the cellos, which meant that the Double Bass was commandeered to play 2nd cello, and the second desk of the second violins was pushed into service as first viola. The bass is far too thick in that register, and there were fewer violins on the melody, which made the balance issues worse. Reduction is a tricky business, folks.

At rehearsal L, the Broude Critical Edition leaves out a low A traditionally played on the downbeat (in addition to the printed F#) in the second violin. I’m not sure which is right.

18. Song and Chorus: Oh Foolish Fay

I first want to put something out there that has confused me; perhaps you can all enlighten me: Gilbert clearly intended the verses to be a triple double rhyme throughout:

Fay

Because

Array

Thaws

Disobey

Laws

And so forth.

So should we not sing ‘tendensigh?’ Is this one of those words that was in the midst of a pronunciation shift when Gilbert set them? Is it intended to be humorous? (in which case maybe we should sing it ‘sigh’?) I found no recording of anyone pronouncing it so that it actually rhymed.

Interestingly, the beginning of this tune comes back as the beginning of “If You Go In”.

The song is straightforward. Slowing down a little on your way from the verse into the chorus is perfectly acceptable, as is the addition of an E natural the second time through on your way up to the F, but please don’t be too indulgent on either count.

19. Quartet: Though P’rhaps I May Incur Your Blame

After what is surely one of the funniest passages of dialogue in Gilbert and Sullivan, there follows this short, beautiful quartet. Sullivan shrewdly plans the first phrase in a key that shows off the most beautiful part of the tenor’s midrange, modulating en route into the dominant, where the baritone can sing very nearly the same melody down a fourth. The end of Mountararat’s phrase allows Phyllis a third, altered iteration in B flat minor that somehow cadences just as Tolloller’s did, dropping us off in a mini-madrigal. The composer part of me marvels at how well Sullivan writes a cappella passages for mismatched vocal ensembles. Tolloller and Phyllis have melodic material in thirds and sixths, which are so charming that we don’t miss an alto part, Mountararat is playing the pedal point, performing the function of a french horn, as it were, and Willis provides a bassline which would not be out of place in an Anglican hymnal. Willis’s cadenza (which in our production he addressed lovingly to his rifle) is a loony non-sequitur, reminding us that this quartet about friendship is sung by two men who are too much rivals to be friends, a woman who has no feeling whatever for the others, and a man who is not involved at all in the proceedings. Getting OUT of the cadenza is trickier than you might think. A strong downbeat will get Tolloller going, then Willis comes in beat 3, then the other two add their two cents in beat four. Note that Sullivan has asked for a tempo there. I think the key to staying in tune during the a cappella section lies with that insistent A flat Mountararat keeps articulating, and everyone else orienting themselves to him. He needs to stay right in the center of that pitch, and everyone else needs to truly be listening.

The Broude Critical edition has the last 2 notes for of measure 31 a step low for Sergeant Willis!

20. Recitative and Song: Love Unrequited Robs Me Of My Rest

This is the greatest patter song in the English language. If you require further of my potentially inane thoughts about the development of Gilbert and Sullivan’s patter writing, see my commentary on My Name is John Wellington Welles in my guide to The Sorcerer. As in all other aspects of their writing, Gilbert and Sullivan begin by essentially writing parodies of French, Italian and German models, quickly mastering the basic technical necessities, then finding fluency, and finally leaving the models behind. In the case of these patter roles, the initial models are Italian. (Rossini, Donizetti, and the other Buffa composers they in turn inherited their forms from) Gilbert quickly develops a way of building lyrics for these kinds of numbers that is a marked improvement on the content of the historical models, and Sullivan figures out a way to avoid monotony by embedding motivic ideas in the long string of syllables. Here in the second act of Iolanthe, the Lord Chancellor uses the tiniest sliver of a connection to the plot (I had a bad dream because she doesn’t love me) to tell a wild shaggy dog story. This freedom gives Gilbert free rein to indulge in ideas that would not at all be out of place in Monty Python’s Flying Circus. For his part, Sullivan is freed from the kind of square formal construction he customarily uses; we hear repeated passages, but each repeated passage is full of new detail, there are few closed cadences, no feeling of, ‘here we go again’, and the singer gets almost no time to breathe; it is a true tour de force. It’s also critically important to note that unlike the Italian models of the bel canto era, Sullivan’s baritones are almost never given anything vocally impressive to do. Figaro et al. must sing fast and rather high for baritones, but Gilbert and Sullivan’s patter baritones are allowed to focus on the articulation and on the comedy. In addition to the formal freedom the authors have allowed themselves, there are in Gilbert’s lyrics some moments of his most inspired lunacy, and at least one moment where Sullivan gives us music of totally unnecessary beauty and surprise, words we frankly do not associate with patter arias.

The recit is inaugurated with the Lord Chancellor’s fugato. Sullivan uses fugue ideas in his concert works in various contexts, but in the operettas, he prefers to use fugue ideas to express the workings of the legal system or a lawyer’s mind. The chorus in Trial By Jury sings a fugato at “He’ll tell us how he came to be a judge” In All Hail, Great Judge! In that context, we’re clearly meant to hear Handel. It’s really interesting to look at Sullivan’s method here in Iolanthe though. In The Law Is The True Embodiment, he was working up the Lord Chancellor’s entrance, so he has time to get most of a fugal exposition out. When he appears in the first act Finale, Sullivan has no plans to be in 6/8, so he cleverly adds an eighth note here and there to the figure to shoehorn it into 4/4. A more self-indulgently learned composer would have taken this third iteration in act 2 to finally pay off the fugue and give it a development. But Sullivan is ever a dramatist, so he gives us the same exposition we began with in Act I, cutting 7 measures from the opening and leaving us on a wonderfully pregnant half cadence. The measures of orchestral commentary in the recitative are mini-developments of the possibilities of this little fugato idea, but they really exist to get us into d minor and to emphasize the descending chromatic interior line over a dominant pedal which is the unifying feature of the end of the work.

The opening of the aria proper is simplicity itself, tracing chords as a simple accompaniment elegantly modulates from D minor to F, then pointing itself back toward D minor just before rehearsal F. We then get the first vocal example of the descending chromatic scale Sullivan will make so much of later.

At rehearsal G, Sullivan returns to the tune and harmonization of the aria’s opening, but the flutes have given the proceedings a decidedly queasy pall, the descending chromatic line is harmonized rather daringly, and at rehearsal L, Sullivan is in two meters at once, a trick we haven’t heard since How Beautifully Blue The Sky in Pirates. This device in Pirates is depicting the disparity between chorus and principals. Here it seems to be depicting a disordered mind at cross purposes with itself.

At Q, we hear some of the more daring harmonic writing Sullivan ever attempted. The vocal line now ascends chromatically while the bassline descends in 4 note chromatic phrases, each beginning a whole step above the last. At the apex of this ascent, the balloon deflates, the vocal line turns around, and over a pedal G, diminished chords slip half step by half step into 4 measures of G#diminished 7. This unexpectedly drops us into D major, but with the tonic chord in a 6/4 position. With the ever-so-delicate scoring of violins and flutes, it is a moment of totally unnecessary beauty. Over this orchestral dawn is a vocal line suddenly stripped of chromaticism, and now becomes all Ds and As.

And just as he did at the end of Strephon’s a Member of Parliament, Sullivan switches abruptly to 2/4 just to be more emphatic, the Chancellor sings a very un-spooky D major descending scale, and the orchestra rounds the proceedings off with a lickety split codetta.

Note that the new idea at the end of the aria is in a way a kind of extension of the Fugato theme. I don’t call this a development really, Sullivan’s mind doesn’t seem to work that way. The ideas do not fundamentally change, they simply reappear in different contexts.

The Broude Critical edition is missing F sharps in the 2nd A clarinet in the second measure of J.

I have to share with you a terrific parody poem I found in a book called “How to be Tremendously Tuned in to Opera” from the late 1980s. It’s Mark Holtby’s summary of the plot of Iolanthe to the meter of the Nightmare song:

When your mother’s a fay,

someone’s certain to say,

on observing her looks and agility:

‘Your assertion that this

is your Ma we dismiss;

such a statement has no credibility.’;

When your filial embrace

is pronounced a disgrace

by the girl you’re expecting to marry you,

And she flirts with the peers,

and together their jeers

are combining to mock you and harry you;

You may feel some relief

from your fury and grief

when the Queen of the Fairies enlightens them,

And, a Member ‘elected’,

at last you’re respected-

nay more, your omnipotence frightens them-

You’ve regained your lost bride,

and the fairies decide

they will after those nobly-born gentry go,

While the Queen of them all

is in amorous thrall

to the private she’s spotted on sentry go.

But you haven’t won through

For though Phyllis loves you,

The Lord Chancellor’s scored,

He will marry his Ward,

And is deaf if not dumb

To the pleas of your mum,

Till she’s forced to unveil

The astonishing tale

That the husband she had

Is this Lord, he’s your Dad!

So he can’t marry Phyl,

But your mother is still

As a mere mortal’s wife,

Under threat to her life,

Till the queen mends the flaw

In this Fairyland Law

And makes weddings that were

Disallowed, de rigeur,

So the peers will explore terra nova.

And with wings on their backs

Make immediate tracks

For the Chamber above-

And this triumph of love

Is the sign that the opera’s over.

The book is chock full of hilarious things like that. Go buy a used copy.

21. Trio: If You Go In, You’re Sure To Win

First things first: I don’t know what happened with the Schirmer vocal score, but maybe it went something like this: Bryceson Treharne: Tolloller’s line should go on top, since he’s the higher voice type. But Mountararat gets the first verse. Hmm. Well, what if we very clearly mark that Mountararat is verse 1, and Tolloller is verse 2? Great! *enter editor* Aha! The top line is He Who Shies. That must be the title!

…or something like that. My point: the title is, If You Go In, You’re Sure to Win.

There is a tendency to relax the tempo at B, which is fine, but pick it back up again when the melody comes back in, or you’re sunk.

What a wonderful tune.

21a. Song: Fold Your Flapping Wings

This number does not appear in the Schirmer Score, but you can download it here. One of the reductions I looked at was not based on the original orchestration, which is available in the Broude edition appendix. It seems to be meant for Strephon’s initial entrance in this scene, but we placed it  after “…fool that I am” and it worked well there. The number didn’t land in the original production, and it was cut. It’s the most politically incendiary, borderline revolutionary text I can think of in G&S, but I don’t think that’s actually what caused it to fall flat. Sullivan doesn’t seem to have a take on the idea musically. The recitative lacks forward momentum, and when the aria proper begins, it’s strangely discursive. The orchestral interjections seem to promise an excitement the aria itself isn’t providing.

All that by way of saying, if you do reinsert it, Strephon has to sell it, with some bite. He can’t wallow in self pity, you have to point the number out at the world’s injustice.

22. Duet: If We’re Weak Enough To Tarry

After an adorable dialogue comes this extremely brief and to-the-point duet, once intended for Act I. It’s actually has more measures in its form in the overture than it does in the actual opera, where it goes by so fast, it almost seems perfunctory. It is traditional for Phyllis to slow down at Rehearsal B, then pick things up again in the 5th measure.

Watch that ‘tire’ is a single syllable, not Ti-yrrr.

23. Recitative and Ballad: My Lord, A Suppliant at Your Feet

This is the heart and soul of the operetta. It’s deadly serious; Sullivan wrote Iolanthe’s aria pretty soon after losing his mother, and people often speculate (I think rightly) that this beautiful and simple melody is infused with his deep loss. Gilbert gave him an oddly metered text, which Sullivan made short work of.

Behold the placement of the word ‘tears’ in the meter. The Master at work.

It is customary to separate the orchestral interjections from the vocals; begin them after the vocal ends on the first page until the bottom line “Hear me tonight”, when you play them as written.

In Sullivan’s letter to Cellier, he instructed that the first verse should be sung with ‘simple pathos’, and the second ‘more passionate’ The exquisitely simple accompaniment in strings only works at several speeds, and I think you choose the speed based on the tone of the singer. To put it delicately, we want to hear a beautiful tone and legato all day, a less exquisite tone we will want to keep moving…

24. Recitative: It May Not Be

You should get applause after Iolanthe’s aria. If your audience is composed of unfeeling rubes, just plow ahead. Sullivan’s instructions about the tempo are very clear and easy to follow.

In my score I wrote ‘ugh’ in my score above the fairies first ‘forbear’, because cueing offstage choruses is usually a mess. Hopefully you can find a way to get a sight line for them somehow.

There’s an extremely odd rhythmic wrinkle in the Aiaiah! parts: The first time through at rehearsal D, we’re in 2. At F, and at H, we’re in 6. The figure is extremely similar, but not rhythmically or lyrically the same. The first time it’s ‘willaloo!’. The other times it’s ‘whillahalla, willaloo” Do have a careful look at the rhythms. They’re not the same. Spend some time teaching the two versions. Oddly, it all works out in the wash as soon as the fairies block the thing.

Keep the Queen’s Andante moving, and don’t let things get indulgent at G.  The Ds in the final right hand chord are D sharps. The chorus only sings an octave though. (I had some sopranos trying to add other notes there)

25. Finale: Soon as we May, Off and Away

This reprise of If You Go In, You’re Sure To Win is supposed to be a touch faster than the original. ‘Peris’ rhymes with ‘series’ The pronunciation that confused me was ‘beaux’. The French pronunciation is correct; ‘bow’, even though one historical recording sings what sounds like ‘bows’, and there are English pronunciation guides I found that list beaux in English with a z sound at the end, because English sometimes needs the Z sound to indicate plural. I think the non-z way is the best way.

You can add a high B at the fermata for one soprano, unless you’re at the International Festival…

Your Orchestra:

With modern musicals I sometimes counsel music directors not to hire all the players, but with G&S, you’re dealing with a true orchestral color, so I think it best to hire as much of the orchestra as you can afford with good players. The original orchestrations are available from Tams, but I can’t imagine why you’d use that when there are available here at a reasonable price or here for free. Reductions can be found here, or here or here for example. (incidentally I think we can now stop reducing this one, fellas)

A reduction of this particular score is not ideal for two reasons: The exquisite Tchaikovsky style flute writing in the overture is already commandeering a clarinet to play third flute. Reducing it further means you either have two clarinets joining your flute or a flute, oboe, and clarinet, which is simply not quite as magical. Further, the March of the Peers is weak sauce when you only have single brass and some woodwinds trying to sound like a full brass band.

I had a rather unfortunate experience renting a reduction that was riddled with hundreds of errors. Instrumental lines were missing completely, measures were inexplicably omitted, melodic lines were missing their final pitches, and in the full score, vocal lines were sometimes gone or in the wrong staff. Fold Your Flapping Wings was included, but the orchestration bore no resemblance to Sullivan’s original, and was presented without comment. I spent a great deal of time locating and correcting the errors in the parts, but we ultimately decided the better solution was to find another edition rather at the last moment. The Richard Balcombe reduction suited our purposes very well. The other edition had tried to solve the reduction problem by moving the missing brass into the clarinets and bassoon and using the trombone as second horn and occasional second trumpet. Balcombe’s edition was far more artful in the use of the the horn to augment some of the missing woodwind passages, and using the oboe as a second trumpet occasionally. While preserving the character of the original instrumentation where possible, Balcombe is also very shrewd in subtly revoicing chords where necessary to preserve the balance among the sections.

I want to also add that it is possible in most G&S to get away with 2 or 3 first violins, 2 seconds, 2 violas, a single cello and a double bass. But in Iolanthe, there are a few places where two cellos is really quite essential, the most prominent being at the Allegro non Troppo of No. 11 My Lords It May Not Be, where full chords below the violins low G are necessary, and there are not enough other instruments capable of playing down there to fill out the critically important introductory passage.

Better that you do G&S than that you ignore it, but do try and do it properly if at all possible, with Sullivan’s magnificent orchestration in full color! Have fun with your production of Iolanthe! I will be including more G&S as I music direct them! Yeomen appears to be next.

 

Godspell (original version): A Rough Guide for the M.D.

The lobby card from the production I music directed at Villanova, beautifully directed by Matt Pfeiffer

Before You Start:

1. Listen to the 1993 Godspell Recording. The recording has its drawbacks, including a pretty underpowered Jesus, but unlike the OBC it is a complete recording. Listen to the Original Broadway Cast recording, which will give you some sense of the original cast, whose performances clearly shaped the formation of the piece. (and are perhaps not to be emulated)
2. Read the Gospel of Matthew. Read the Chapter Religious Experience as Musical in Joseph Swain’s book The Broadway Musical. Read Harvey Cox’s The Feast of Fools
3. There is a pretty comprehensive blog called The Godspell Experience that has a lot of info about the show, and this Schwartz themed page is full of information. Schwartz’s own website has a good FAQ and this pdf for directors and music directors is also very exhaustive. You can watch some interesting interviews from the time of the filming of the movie in 1973. Start around 2:53 for John Michael Tebelak and Stephen Schwartz. Scott Miller has an excellent essay here.
4. Your production team will need to decide which version of Godspell you want to do. My preference is the original version, even though the 2001 version has some spectacular arrangements by Alex Lacamoire, who is one of our living treasures. This is a question that relates back to your production’s basic concept of the show. The 2001 version attempts to update many of the cultural references in the piece, with varying levels of success. But in 2018, (and later, as you may be reading this) some things that were current in 2001 are now themselves almost 2 decades old. The insertion of Trump for example, into the prologue reads wildly differently today. Furthermore, the revival arrangements are pretty slick, and have traded the folky simplicity of the original version for a much more showbiz flavor. Do read both scripts and make the decision together as a production team. And then I would encourage you not to mix and match, that is; once you’ve made your decision, don’t listen to any of the other versions until your show closes.

Some Background:

The story of the inception of Godspell has been told many other places, so I don’t feel a need to relay yet another version of those events. The Wikipedia article will give you the bare essentials well.

Because this blog is aimed at Music Directors, I will focus my attention on Schwartz’s portion of the work. He finished his score in 5 weeks, which is astonishingly fast, and when a piece is written that quickly, we are by necessity hearing the composer at his least guarded or filtered. There are many qualities about Godspell that will follow Schwartz through his long career, and we can see interesting things that set him apart from his contemporaries and from his followers. Schwartz is not shy in speaking about his process and his influences, so there is a deep well to pull from in looking at this curious work. In fact, since his death in 1985 John Michael Tebelak’s original conception has been relegated to something of a foot-note, because Schwartz has so fully curated the public memory of the creation of the piece. One wonders whether Tebelak would have fully agreed with Schwartz’s framing of the work as a piece about community in the notes which accompany the script today. Tebelak seems to have been after a more explicitly spiritual aim in his original concept than Schwartz gives the piece credit for.

But that is perhaps one of the things Godspell has going for it. The biblical material is odd and compelling in its original form. Tebelak felt a sense of joy at engaging with the material, and wondered why it felt sterile in Church. His attempts to pull that joy into a theatrical work rooted in clowning brought the show a good deal of the way toward ‘clearing the cobwebs’ from the liturgical text. Schwartz brought a totally different perspective to the work, since he came to the piece never having engaged with this biblical material before. Somewhere in the cross-purposes of the Gospel story, Tebelak’s clowning with it, and Schwartz’s attempts to wrestle it into a form that employed some traditional musical theatre tools, a wonderful hybrid form emerges that cannot be satisfactorily described entirely in the language of any one of its collaborators alone.  In some way it is a religious experience put on the stage, a prospect which bears great potential for disaster as anyone who has attended religious drama can attest. Serious religious plays are often humorless and lacking in irony, speaking meaningfully to the converted, but falling flat on the ears of those who aren’t already believers. The heroes aren’t often well drawn, the villains lack depth, and the conclusions can be seen a mile away. But Godspell is also an improvisatory clowning experience. Such affairs are potentially amusing but often formless and lacking direction. The beats in clowning are small and circumscribed. Is it even possible to tell a dark and serious story? To quote Ethan Mordden’s typically dismissive take:

“Godspell was the opposite of Jesus Christ Superstar in all respects. Small. Reverent. Idiotic. Jesus wears a Superman T-shirt, the girls look like Raggedy Ann and the boys look like Stephen Schwartz. It’s the joyous world of ‘Hey, we’re gentle clowns doing our comic yet so very touching little show!’ Once, American girls dreamed of growing up to be Ziegfeld stars, or later, Julie Andrews. Now they dream of growing up to be Godspell’s Day by Day clown.”

Or to let Joseph Swain say it more gently:

“Alas for You is rhythmically and harmonically imaginative, and appropriate for its rather harsh text, but can such passion come from a clown?”

It’s difficult to draw anything with a clowning form that keeps interest and tells a serious story over a long period of time.

Finally, Godspell is in some ways a traditional musical, and traditional musicals run the risk of being predictable and empty. Each of these 3 qualities (religious drama, clowning, and traditional musical theatre) avoids common pitfalls because the other 2 qualities work to balance them. As we examine Schwartz’s contribution to the project, we will see that he counterbalances the religious tone of the work by essentially avoiding traditional religious musical gestures, substituting ideas from the more sophisticated singer/songwriters who were working at that time. The older and more creaky the religious text he’s given, the more smart-folky Schwartz runs with it, so audiences leave Godspell in the curious position of singing catchy 70s hippy pop to archaic English texts, without even being aware of it.

“…to see thee more clearly, love thee more dearly, follow thee more nearly Day by Day…”

Does it occur to anyone how high flown that lyric is? Not to most people; Schwartz has completely disarmed them with his compelling and contemporary pop musical language.

Schwartz also gives direction to the clowning by engaging in some strong characterization, using the tools of traditional musical theatre. The Prologue tells a compelling narrative and paints a world of philosophical chaos into which the figure of Christ comes to bring order and Joy. He accomplishes this with careful musical portrayal of characters, and deftly portrays chaos in a way that only a shrewd musical craftsman could manage. All For The Best gives characterization and an opposing viewpoint to the principal characters, and Alas For You gives Jesus his strongest musical statement, bringing a much needed point of gravity to the proceedings exactly where the show needs it. In these places, Schwartz uses traditional musical storytelling devices to ground the clowning in a narrative structure. These areas are where I think I can bring the most insight, and I’ll leave it to others to explore some of the other important elements that ground the work.

One further area of potential interest for Musical Theatre mavens revolves around the way Musical Theatre comes to terms with and assimilates popular styles. The most recent style Broadway has successfully assimilated is Hip Hop, so I’ll lay out my concept in that more recent trajectory, then superimpose it into the 1950s-1970s for comparison. (neither is meant to be comprehensive)

1970s Roots of Hip Hop are formulated, hip hop culture develops

1980s Hip Hop becomes diversified, develops wide vocabulary and public awareness

1987 Established Musical Theatre Composer Stephen Sondheim uses a passage of rap (awkwardly) in Into The Woods

1990s Hip Hop is a mainstream popular art form

1995 Bring In Da Noise, Bring in Da Funk is an attempt to approach musical theatre from the other angle, the Revue form allowing it to bring more convincing elements of Hip Hop into the theatre, but not attempting a broad synthesis.

1996 Jonathan Larson uses rap in Rent.

2008 Rap is used in a non-embarrassing way throughout In the Heights

2015 Lin Manuel Miranda is a native to both Hip Hop form (in many varieties) and Musical Theatre Form and finds a way to effortlessly synthesize both genres convincingly in Hamilton, because he understands the requirements of both forms and has learned from the earlier missteps of others

 

Now compare a very limited trajectory of Rock into Musical Theatre

1940s Roots of Rock and Roll are laid in Rhythm and Blues, Gospel, Jump Jazz, Race Records, etc.

1950s Rise of Rockabilly, Popularity of Elvis

1957 The final edition of the Ziegfeld follies in 1957 contains a spoof of a rock number

1960 Traditional Musical Theatre team Strouse and Adams write Bye Bye Birdie, which uses a Rock persona in a musical. (but the show doesn’t really rock convincingly)

1960s Rock becomes diversified, develops wide vocabulary and public awareness, becomes a mainstream art form.

1967 Hair is a groundbreaking show that approaches musical theatre from the other angle, the Revue form allowing it to bring convincing elements of Rock into a Musical Theatre framework, but not attempting a broad synthesis.

1970 Jesus Christ Superstar basically begins as a rock album, becoming a musical only later.

1971, Stephen Schwartz is a native to both Folk-Rock (in many varieties) and Musical Theatre Form and manages to combine functional versions of both convincingly in Godspell because he understands the requirements of both forms and has learned from the earlier missteps of others.

 

Similar things happen with the fusion of Jazz and Rock, and the Americanization of the Musical Theatre by including ideas from Black Music in the first place.

Viewed from this framework, Schwartz can be seen as one of the trailblazing writers who finally manages to fulfill the storytelling requirements of Musical Theatre using a musical language derived from Rock.

Joseph Swain says that “Godspell is not really a ‘rock musical’… for its diversity of popular styles is far too broad for that label to do it justice.”

But I think that’s precisely the point. Schwartz understands such a diverse variety of popular styles that the term Rock Musical is not simply a musical with a lot of snare on two and four in it, but a musical that does its job using the tools of many different kinds of rock music. When Leonard Bernstein was asked if shows like Godspell were an indication that rock and roll would be taking over more and more of the theatre, he answered,

“If you can explain what rock and roll music is, I can answer your question”
In describing his process, Schwartz clearly values both the old Musical Theatre tropes and the newest sounds from Folk Rockers. I’ll try and draw some of those influences clearly below. Joseph Swain notes that Godspell is an unusual success, in that the authors did not have years of experience writing shows. But in the case of Schwartz, you had someone with a pretty deep knowledge of how show music works, even very early in his career.

My Biases:

I feel like I need to tell my readers here that I am a practicing Christian, and that I am a huge fan of the person and teachings of Jesus. That probably colors my thoughts on this musical, and if you want a kind of dispassionate take, there might be another blog somewhere that will do that better. I am a casual Stephen Schwartz admirer, but not a fanatical one, and I am not by nature delighted by rock musicals. If you feel as I do about these matters, we will find many things to agree upon here! If you are of a different mind than I am, I do hope you’ll still find my observations interesting even after correcting for my point of view.

As You’re Casting:

In Joseph Swain’s chapter on Godspell, he remarks of the characters: “…it is important to Godspell that the characters other than Jesus are drawn with much more anonymity than is usual in a musical play. They do not have stage names; rather, they carry their own real names, but only first names, so as not to specify their characters too much. They could be anybody. But each gets his own solo music, his own response to conversion. Listeners recalling the play remember the individuals not by who they are, but by what they have sung.”

In that spirit, I would suggest you choose the actors primarily by the songs they sing, and be open to moving speaking lines around among the non-Jesus/Judas troupe as needed. They do not have much in the way of individual throughlines or character superobjectives. They do need to be able to sell their individual songs, though.

Prologue Players:

I go over these parts individually. If you’re in a production that is trying to expand the cast, this would be a good place to do it.

John The Baptist/Judas:

Again, if you were looking to expand your casting to include more people, you could easily split this to 2 actors. Both characters need to be strong, attention grabbing people; John The Baptist starts the whole series of events with Prepare Ye, and the show doesn’t make very explicit the relationship between Jesus and Judas, who is as close as the show comes to an antagonist. So think of your John the Baptist as needing to sing the top of Prepare Ye, to be able to sell the vaudeville of All For the Best as Judas, and being able to have the gravity as an actor to convincingly play the ending.

Jesus:  

Your Jesus grounds the show. Jesus doesn’t sing all that much, and you can transpose some numbers to find the right range for a few different types of people to play the part. Whoever you choose, the Jesus must be able to hold the stage for the entire show, to be charismatic, warm, charming, funny, and wise, the ear and timing to sing Alas for You, and it helps if there’s a little traditional showbiz skill for All For The Best. If you have this actor, you have a show! If not, no amount of casting elsewhere can save you.

After auditions, our creative staff determined that casting a female Jesus was the very best use of the actors we had. We also felt casting a female John the Baptist/Judas made the most sense. I imagine there will be some out there whose feathers will be ruffled by such a casting choice, but I found it incredibly revelatory, even though I myself think there are viable theological arguments to be made for the necessity of Jesus being gendered as male in the Biblical narrative. As our faculty New Testament Scholar noted on Speaker’s Night, the Bible presents Jesus in ways that challenged 1st century ideas about gender, and the presentation of Jesus using a female actor gives the audience a chance to reflect on the qualities of God that transcend gendered expression. The director and I agreed that the presentation of a female Jesus and Judas would have been much more problematic in a piece like Jesus Christ Superstar, which presents a more traditional narrative structure. But in Godspell, parable after parable are presented using gendered names and pronouns, and female actors often play men in those parables without any explanation or even acknowledgement. We simply see all actors as actors, and all characters as universal or non-gender specific. This is part of the way the play works, a kind of dramatic manifestation of Galatians 3:28: In Christ there is no longer Jew or Gentile, Slave or Free, Male or Female.  For my part, one of the beautiful things about the process was the removal of the part of my thought process where I asked myself whether this Jesus matched my mental picture of Him. A female Jesus allowed me to relax about that, to get over my hangups about the physicality or portrayal of the historical Jesus, and to simply allow the parables and the message to reach me on their own terms. This made the process a profoundly spiritual one for me, and I think I would not have been able to access that with a traditional Jesus casting. You will have to determine for yourself what suits your production, but I can vouch for the fact that it worked very well in ours, and that it is possible to present a respectful and beautiful representation of a female Jesus that honors the Biblical text as presented in the book of the musical.

Robin

Robin is the first in the tribe to express her belief, and that makes her a kind of unnamed Peter in the group. Cast the person who can best and most sincerely sing Day by Day

Gilmer

Gilmer’s vocal part is probably the least taxing vocal track of the show. Cast the person who can sing Learn Your Lessons Well. You can rewrite this moment, but you might want to check to see that your actress can get into measure 67 of By My Side and hold that minor second.

Joanne

Joanne’s O Bless The Lord, My Soul has the most rocking female singing of the evening.  

Lamar

Lamar’s simple All Good Gifts requires a folk singer with a high baritone or tenor range. The original Lamar has a unique voice which your actor should probably not try to emulate.

Peggy

Peggy sings By My Side, which is not terribly difficult, but you should, of course, have an actress who can match pitch. As I mentioned earlier for Gilmer, you might want to check to see that your actress can get into measure 67 of By My Side and hold that minor second. Peggy and Jeffrey sing Light Of The World, but in a pinch you could split that song up among the rest of the cast.

Jeffrey

Jeffrey sings Light of the World, but again, you could give that song to the rest of the cast easily. We Beseech Thee is another matter. As the show is written, the role is best cast with a strong Gospel/R&B singer. You could divvy the number up among the other actors effectively as well, if you find yourself running low on strong male singers.

Sonia

Traditionally this role is given to the ‘sexy’ actress, because of Turn Back O Man. As written, her number is very low, but it can be transposed effectively.

 

An enterprising creative team can easily expand or contract the show to fit the abilities of your pool of actors.

A Few Things to Note About the Music Director’s Materials:

There are a number of places in the re-engraved parts that I feel confident are errors. I don’t have access to the original books, but I’ll try and catch the errors I think I’ve found, and perhaps an astute reader will correct me if I’m wrong here and there.

It seems as though some of the things in the score are transcriptions of things arrived at by ear in rehearsal. For me, the aesthetic of the show musically shouldn’t be too studio-crisp, but should have a little looseness around it. As bewildering as the original cast recording is in terms of pitch and ensemble, it does have a kind of campfire kumbaya truth about it that would be sorely missing if you cleaned and polished every inch of it. Additionally, the original cast brought very personal vocal styles to the table, and as an MD, I think it’s part of the job to try and find places for your actors to embody these songs in personal ways that draw on what makes them unique.

Trouble Spots and Advice:

No. 1 Prologue

When Stephen Schwartz was brought on to the project, the opening was a long scene with dialogue pulled from the work of famous philosophers. This was one of the places where Schwartz suggested a brand new musical number. He has spoken about it numerous times, saying of the scene it replaced: “It was reeeally long! That thing went on forever.” Many people come to the show having no familiarity with the number, since it doesn’t appear on the original cast recording or in the filmed version. (although it does appear on the 1997 recording supervised by Schwartz) If you poke around the internet, you’ll find exasperating threads where people talk about whether the number was in the original production or not, (it was) and whether it needs to be there. (it does)

The Prologue is a complicated number, and by design it doesn’t have the same flavor as the rest of the show, but it’s very important, and even if Schwartz hadn’t very explicitly stated that he doesn’t want the number cut, it would be a mistake to remove it from the show. As Schwartz says,

“within the context of the show, the Prologue is vital. Because Godspell is essentially about the formation of a community, it is necessary to see what the individuals are like when there is no community — how lost they are and how easily they descend into violence and chaos.”

Elsewhere, Schwartz says, “…we deliberately did a number that was different from the rest of the show. We thought of it as the black-and-white section of The Wizard of Oz. We wanted to set up a world and a sound that we could break out of, so when the drums came in and the colored lights and the colored costumes came out, there was a freshness and a relief without going to another place”

So the Prologue is really the world before the transformational event happens. We encounter a group of people who present wildly disparate views of the universe, and although the ideas seem intriguing, we are not meant to find them compelling. Schwartz takes great pains to make the philosophers’ musical material match their content, and the bedlam resulting from the combined versions of their melodies is meant to be impressive and annoying simultaneously.

At each place where Schwartz introduced a brand new idea to the original conception of the work, we find him working ambitiously in complicated forms. (more on that later) This one is a quodlibet; a musical form in which many melodies are presented separately and later combined. The form is almost 500 years old, and is common in Gilbert and Sullivan, but we know it in Musical Theatre principally because of Irving Berlin. Schwartz makes it clear that the Quodlibet in All For The Best is inspired by Berlin’s work. The melodies in the Prologue sit on top of a very contemporary and somewhat unusual progression:

E     F#/E   D#m7 G#

C#     Eb/Db Cm7     F

G     Gmaj7 Cmaj7     F

E   F#E Am7 B7/E      E

The first phrase starts in E, then the F#/E chord seems to be pointing us toward B. But then D#m7 and G# act as a ii/V heading toward C#. That whole unusual idea then repeats a minor third lower, and we hear those as a pair, two A sections in two keys. The third phrase acts as a B section, G seems like a tonal center, headed toward the IV chord of Cmaj7, then, abruptly, an F, which either feels like bVII in the key of G or a continuation of a circle of 4ths progression. But when we drop back to E for the last phrase, we come to hear that F chord as some kind of Phrygian idea, dropping us from bii back to I, only to encounter that same raised 4th scale degree, then in quick succession, minor iv chord, followed by a conventional V-I cadence. (if you can follow all that, you get a gold star)

The progression feels ‘normal’ very quickly as you work on it, but I think it’s worth noting that it’s quirky and odd. Schwartz comes back to this Phrygian #4 a number of times in the piece, and the minor iv chord is also a standby in the score. There are strong directionally oriented harmonies, like ii-V-I cadences, but they contradict what came just before them, and the three tonal centers, E, C#, and G are worlds away from each other. We are meant to be disoriented here, and this repeated oddball progression gives the listener the sense that yes, these philosophers make sense, but this is not a narrative we care for very much, because it is essentially ungrounded harmonically. Prepare Ye will thus be a very nice change, and that’s the effect the authors were going for! You can’t cut it.

I’ll combine my practical advice with my overview here:

Introduction: (measures a-d)

Work for even sixteenths in the left hand, try to capture the crescendo-decrescendo idea. The number isn’t all that difficult, but you have no help from the pit: they don’t come in until song No. 3. (and when they do come in, the audience is meant to feel that something important has changed) The #4 scale degree (A#) will come back so many times, it’s clearly a motif. I have a suspicion in the back of my mind that the falling third idea is literally a motive. When I run across it, I’ll label it doorbell motive, so we can spot it.

Socrates:

The text is adapted from Plato’s Apology of Socrates, at which Socrates defends himself against charges of corrupting youth.  The melody here opens with the doorbell motive, and for the most part it traces the root to third of each chord, sometimes playing in the area from the 3rd to the 5th. The entire passage works within the range of an augmented 5th, and so Socrates can be sung by anyone in your cast who can match pitch. In the 1997 Godspell recording, which was supervised by Schwartz, it sure sounds like he plays a D natural in the right hand on beat three of measure 15, making that Bm7/E. But maybe I’m hearing things.

 

Thomas Aquinas:

I believe this text is pulled from Aquinas’s Summa Theologiae. Aquinas is a fitting post-Socratic thinker, since he values the Greek philosophical tradition, but he’s also a provocative person to place at the top of the show as an example of the pre-Christian world, since he is one of the greatest Christian philosophers. The relative simplicity of Socrates’s melody is gone, and in its place are a patter section (which proves rather difficult), and an expansive passage tracing up and down the chords of the progression. Use the singer in your cast who can manage the patter; that’s the hardest part. Spend extra time teaching the last phrase as well, the descending passage is tricky.

 

Martin Luther:

Luther’s text comes from his Temporal Authority: To What Extent It Should Be Obeyed. Again, by placing Luther in the pre-Christ portion of the piece, the show is signalling to the audience that both Catholic and Protestant dogma will not be a part of the show’s discussion. Luther’s music is accompanied by a kind of a polka, and his melody is bombastic, as befitting the firebrand of the German Reformation. The ending should get you your first laugh of the night. (pronouncing it ‘ze cherman vay’ is an obvious joke) If you don’t get a laugh here, you’re in for a long night. It’s the rangiest melody of the lot, so you should give it to a singer with a strong voice and an engaging stage presence.

Da Vinci/Gibbon:

The DaVinci portion appears to come from his notebooks,although very loosely, and the Gibbon naturally comes from his Decline and Fall of the Roman Empire. Gibbon’s argument is pretty coherent, DaVinci’s part of the text seems to be a kind of basic humanist perspective. The ranges are moderate, so you can choose an ordinary singer for the part, but levitable can be something of a tongue twister. The C# in the left hand in measure 57 is clearly meant to be an E.

Nietzsche:

What Is Noble is title of the 9th chapter of Nietzsche’s Beyond Good and Evil. I don’t think the words really say much about Nietzsche’s philosophy, but the line will get a laugh, especially if the singer needs to take a breath in the middle of the line somewhere.

 

 

Jean Paul Sartre:

Sartre is, among other things, the brain behind Atheistic Existentialism. His words here are taken from his 1947 L’existentialisme est un humanisme, variously translated as Existentialism and Human Emotions, or Existentialism is a Humanism. The published version has nearly this exact wording; the online free version is translated differently.

 

 

Buckminster Fuller

He was, at the time of the piece’s writing, the contemporary thinker of this batch. In fact, the book from which his lyric comes, I Seem To Be A Verb was written in 1970, although there is a slight misquote. The score reads, “patterns, of processes”, the 1997 cast recording sings “patterns and processes”, but Fuller’s original phrase is “patterns or processes” The fourth eighth note in measure 87 is clearly wrong. The F should be a G. In the recording Schwartz supervised, the eighth note in beat 3 is played as an Eb and a Bb, I think, not a G. Note that “patterns, of processes” has slightly different pitches in each iteration. The ’97 recording has a variant low E for the last 2 notes of 97. He repeats this in the Babble section as well.

No. 2 Tower of Babble

This is demarcated as show number 2, but it’s really part 2 of the Prologue, as the measure numbering makes clear. In the 1997 recording, Schwartz takes 109 really fast, which is great, but makes the figure in 120 impossible. The pianist leaves it out. The ragtime right hand pattern against the left hand waltz is somehow very Bernsteinian. After you’ve gotten it into your hands, do your best to get out of your head and let it play.

Each of the singers is singing the same thing they sang before, although Nietzsche’s melody is twice as long, and Schwartz seems to think the ‘t’ in ‘what’ is audible if you really punch it. You might want to time the whole business to the fastest speed Thomas Aquinas can manage. At measure 145, there will be a danger of going out of sync, a danger you can avoid by having the cast walking on the beat, or assigning a cast member to pound on a drum (or the set) in time. Certainly, the piano punctuations are places to realign.

You’ll have to decide what the ending means. The last 2 measures, F# and D# are a return to the opening piano phrase. (the doorbell motive) As written, those two notes blunt the effect of the shofar cutting through the exasperated last note of the Tower of Babble section. Consider getting rid of those last two notes and interrupting measure 166 with the shofar.

No. 3 Prepare Ye

The shofar is harder to play than you might imagine. If you’ve been to services on the High Holy Days, you can attest to the fact that there are people who do it well, and people who can’t seem to play it at all. In an ideal world, John the Baptist physically plays the note, but in reality, a sound cue will be far more reliable and easier to cue musically. This is normally staged with John the Baptist entering from somewhere in the theatre. If you pre-record the sound, you should make sure the sound is coming from the direction your John The Baptist is coming from, or the effect will be lost.

If you have not made the mistake of cutting the Prologue, the musical materials of this ‘true’ opening number will be a welcome relief, with their simplicity and sense of direction. The melody is 2 measure repeated phrase, and the phrases are identical except for the final 2 notes. The bass line is even simpler, tracing only the ascending first five notes of the scale, ending once on the dominant and once on the tonic. The score isn’t marked, but at measure 9, the keyboard is clearly supposed to be on a gospel organ patch, with a good fake Leslie style vibrato.

Measure 16 is marked Faster, but I’d make it Much Faster. I can picture in my head a version in which this new section is exactly twice as fast as the opening. If your singers are good at riffing, you can give them free reign after the first time through to go places with it. Perhaps you can select the actors you want to dress things up, or another idea would be to let people embellish the parts after each of them are baptized, one at a time.The second ending is a little tricky to coordinate with the band; measure 36 is twice as slow, the sixteenth note rhythm in the guitar culminates in a fermata, and when you get out of that, your riffiest female cast member has one last riff. Have a look at the individual band parts, and then make a plan of attack so that you as the MD know how you’d like that to go, and how to convey that to your band.

No. 4 Save The People

It is tricky to establish a great tempo up top in this number. You might want to have a conversation with your director before you get too far in, just to see what kind of vibe you’re going for. The piano figure at the beginning is just a placeholder for fingerpicked guitar, which may or may not play what you’re playing. Keep that in mind. If you strum this pattern with hammer-ons, it has a very different feel than the kind of picked groove laid out in the Piano Vocal. Schwartz connects this guitar groove with a song he wrote for the play Butterflies Are Free. (his Broadway debut as a composer,later made into a film with Goldie Hawn) I can’t imagine Save The People this slow, but I do see the family resemblance.

Measure 53 should be significantly faster. For our production, we landed on a tempo which was basically as-fast-as-I-could play-it, which was easy to remember when I got it into my head. Measure 87 needs a tempo marking. It’s significantly slower than the previous passage, but it isn’t one long ritard. We are in a new, more dramatic tempo. Measure 95 needs an a tempo mark. We’re right back at the old speed.

The drums drop out in the orchestration in measures 113 and 114, which has to be an error. It just doesn’t make sense. In the 1997 version, there’s a 2 measure fill. Also in the ’97 version, the guitarist replaces 135-136 with a mellower flourish.

We transposed this number for our female Jesus into Bb. It required the choral parts at the end to be revoiced, but not drastically, just a basic inversion. It was actually a very interesting discussion. In a female head voice, the song has a touching vulnerability. In chest voice, it seems more assertive. We went with more assertive.

No. 5 Day By Day

FUN FACT: This is apparently the last showtune to chart as performed by the original cast.

Paul Laird’s book The Musical Theater of Steven Schwartz: From Godspell to Wicked and Beyond  lists What The World Needs Now (1968) and Society’s Child (1967) as songs that inspired Schwartz. They lyric is attributed to St. Richard of Chichester in the 1200s. What the World Needs Now also has a shuffly midtempo waltz feel, Society’s Child is a harder influence to hear until you get to the last third of Day By Day. where the harmonic world is somewhat similar, hypnotically back and forth from ii to V.  But as Laird points out, that progression is pretty common in pop music of the late ’60s. I hear a lot of Carole King in this song, and her greatest hits come right in this time period. I like Joseph Swain’s observation that the repeated seventh chords make each tonal center “just credible without the harmonic commitment of a cadence” He compares this quality to impressionism, and notes that it contributes to the feeling that the song is a centering prayer or mantra.

The rhythm of Robin’s melody in measure 1 is not how the melody is normally sung, and I think the singer should keep the feel pretty free, although the melodic contour should have some integrity, since this is the first time we’re hearing it.

When you get to measure 25, a second set of Ahs comes in, which looks like it’s marked for 6 other girls. You have some flexibility here, it sounds good that way. But I’m pretty sure it should be marked with the 8vb treble clef, or marked for the tenors and basses. In fact, all the vocals near the end are flexible, so you can give singers whichever parts suit their ranges. The trick will be to remember how many times you repeat before the thing stops. You want a nice crisp downbeat on 105, so Robin’s last line comes out clearly.

The last note in the chorus has a tritone leap, which I eliminated. The major 7 in the chord is covered in the band very clearly, there’s no need to introduce it in the chorus and run the risk of being out of tune. (unless you have some people with excellent ears, in which case, have at it)

In measure 109, the Chord is supposed to be Cmaj7, obviously. Correct it in the guitar book as well. Then in measure 110, the left hand should have an F, not a C. I also think that awkward eighth note C against the vocal D in both hands at the end of 110 is ill advised. Just leave it out. The band doesn’t have the button at the end, I added the Bass and a kick, just to make it sound like we actually intended the button.

No. 6 Learn Your Lessons Well

This number was added because Schwartz felt too much time had gone by without a song. It has a half-a-number sort of feel to it, which actually serves it well. The inspiration comes out of the previous scene.

Coming after such strong folk-rock material, this music sounds like a throwback to more traditional musical theatre, and of course it does deliberately play in old-timey musical clichés, but it must also be noted that this kind of number is also very common both in Musical Theatre in the time, but also in singer-songwriter style rock albums. King Herod’s Song has a similar vibe. And if you picture Randy Newman singing this song, you’ll hear that this is not a pastiche as much as an idealized showbiz style that is also a part of 70s culture. This soft-shoe kind of writing particularly appealed to Bob Fosse, who uses this facet of Schwartz’s toolbox to great effect in Pippin.

No. 7 O Bless The Lord, My Soul

Kara Krichman and company in Villanova’s production of Godspell (photo by Paola Nogueras)

Schwartz’s website and tempo markings in some editions makes the Laura Nyro connection clear for this song, particularly “Save The Country”

The text is adapted from Scottish Hymnodist James Montgomery’s 1819 versification of Psalm 103.

I want to pick up and develop a theme Joseph Swain points out in the clever way Schwartz has dealt with modality here. The verses are in A minor and the choruses in A major, but at measure 81, as the tempo quickens, he alternates between the major and minor modes every 2 measures, finally truncating it to A major in one measure, A minor in the next at 101 before the coda. The audience feels this harmonic quickening viscerally, and when Joanne sings her C natural over the accompaniment’s C# in 114 and 115, it acts not only as a blue note, but as a reconciliation of the two modalities.

The word ‘abate‘ is very unusual, and most singers don’t really land the final ‘t’, which leaves the audience thinking ‘ready to obey‘, since that’s the sentence that makes most sense grammatically. (although not particularly in the context) I recommend putting that ‘t’ very strongly on beat 3 of measure 40.

If you’re leading from the piano, I would suggest having the drummer drop out from 81-84 so you can establish the new tempo, which really comes out of nowhere. At 85, most people miss the G#, and at 87, they leave out the A. Try and get that there and where the same figure recurs. At 89, the second staff is a women’s part, and the Group 2 on the following page is a male part. There is riffing to be done near the end if your singer is equipped in that way.

No. 8 All For The Best

Mina Kawahara as Jesus in Villanova’s production (photo by Paola Nogueras)

Schwartz says in this video “There were a couple of things, most specifically All For The Best, that I said, ‘You know, if we’re telling this story, and the major relationship is between these two characters of Jesus and Judas, if you were doing a traditional musical where nobody knew the story when they walked in and nobody had any investment in these characters, they’d have to do a number together, so you establish their friendship so when the friendship changes or dissolves or evolves at the end and Judas betrays Jesus, there’s some investment you’ve made in that relationship’  So we found a spot and I wrote All for the Best as a sort of Irving Berlin number. I basically took the idea from something I’ve always admired, like the Irving Berlin song, You’re Just in Love, in Call Me Madam, where someone sings ‘I hear music and there’s no one there’ and then Ethel Merman sings, ‘You don’t need analyzing’ and then magically they go together and they sing them at the same time, which I just always thought was the coolest thing ever, so I basically just stole that idea and did it for Jesus and Judas.”

If this lyric is supposed to be a paraphrase of the Beatitudes in Matthew 5, I think Schwartz has missed the point somewhat. And as much as this moment uses the tools of traditional Musical Theatre to build a relationship between Jesus and Judas which has more distinct substance than the one established between Jesus and the other unnamed disciples, one wishes Schwartz did a little more foreshadowing in the text for what will come in Act II. Again, the director is critical in forcing the song to do dramatic work, instead of functioning merely as a vaudeville number.

As a Music Director, be careful to pace your tempos so the last iteration is the fastest you and your cast can do with clarity.

The last measure is awkward and ineffective on the piano. I wasn’t good at landing the figure to begin with; if you play the E flat with your pinky, you can’t land the whole C chord, and if you try and grab the chord with your left, that’s a lot to track while trying to cut off the band. When I could manage it, I found it very difficult to get it loud enough to cut through the cast and the band; it’s in a weak part of the piano. No suggestions here, only confessions. 

No. 9 All Good Gifts

Schwartz’s website lists “Fire and Rain” and Elton John’s “Your Song” as inspirations for the chord progressions and accompaniment of All Good Gifts. Both All Good Gifts and Fire and Rain go from the tonic chord to the minor dominant right off the bat, which is very distinctive. Schwartz uses almost the same set of chords, but uses a V/V chord and a minor iv chord to inflect the progression not just toward G, as Taylor’s progression did, but also toward A and toward D minor:

From the very beginning, Schwartz shows a propensity for piano accompaniments that sound like finger-picked guitar, and they come straight out of the 70s singer-songwriter toolbox. This particular pattern comes from Elton John’s Your Song. 

Notice how Schwartz has retained the rhythm in the right hand exactly, but has expanded the left hand to fill out 2 and a half octaves to John’s single octave, and how his harmony is much more adventurous; Elton John, especially in this period, tended to use simple primary chords. Schwartz has some bigger fish to fry.

The recorder solo was written to take advantage of the original Jeffrey’s playing abilities. Unfortunately, the recorder solo is in real danger of drowning out the monologue that it accompanies. If the player tries to play very quietly, he/she is liable to go pretty flat. Be aware of that from the outset. Perhaps you have an actor who plays another, quieter instrument capable of playing that passage.

The drop in measure 7 (and elsewhere) from the F natural to the G is often out of tune. You might want to assign the riff at 80 to Lamar and not everyone together; it can be messy. I also think the cutoffs tied to eighth notes are fussy. Cut off 71, 75, and 87 and so forth on the downbeat.

I like this song a lot, but there’s one chord I can’t get behind. One of the sophisticated things about the song is how the melody hits some non-chord tones or 9th or 11th of the chords, such as the D in “breezes and the”, over the F#m chord, and in the following measure, “sunshine” is tracing the 11th and the 9th of the G chord. But on “soft, refreshing” in the next measure, I feel like the melody is actually insinuating a totally different chord: E major. That’s not quite different enough from the G# minor chord to play as a higher chord tone color. It just feels like you’re playing the wrong chord. I suppose it’s really the same move as in measure 13, but when I got there, it always felt like I’d mixed up the salt and the sugar somehow. Play it the way it’s written; nobody will complain.

No. 10 Light of the World

I gotta say, this one comes very close to being great, but somehow just isn’t funky enough, particularly compared to the re-orchestrated revival versions. A wah pedal helps in the guitar, and you should tell your players that if they hear something better in their heads they ought to try it out. This is one of the numbers where the other production staff may look to you to make the thing pop a little more.

At the top of the number is really a rap, although it’s tough to get from the script. Listen to a recording to see how it should go; we went with something like this:

The Keys part should really be marked Organ. Choose a dirty, funky one with a lot of bite. But probably you’ll want to play it on the piano until the pit comes in, because it’s really hard to assert the groove all by yourself with the organ sound.

Measures 5 and 6 are tough to coordinate.  Someone will correct me perhaps, but I think the last 2 notes in measures 17, 21, 33 and 37 are probably in the wrong order. (should be swapped, Eb, E) I’ve been using the 1993 studio recording as a reference because Schwartz supervised it, but the recording doesn’t clarify there, because the bass player is playing a much funkier James Jamerson riff there.

If your singers are good enough, encourage them to improvise the solo passages. If you’re going to have the cast use the vibraslap, get it into the process early. It’s a little odd. 

The playout for this number wasn’t interesting enough for me to solo over on a single chord, so I took us back to measure 25, and we took turns soloing through 48. Hopefully you’ve got players with some imagination and they can raise the roof a little here.

No. 11 Learn Your Lessons Well Reprise

If you have instrumentally talented cast members, it is customary to have them play and sing this at the end of the intermission to inaugurate the second half.

No. 12 Turn Back O Man

The text here was written by Clifford Bax, the brother of the very underrated English composer Sir Arnold Bax as a response to World War I. It was set to music by Holst, who requested the text to replace another for a motet he had written. It is not difficult to find fusty Hymnologists complaining about Schwartz’s setting, which deliberately plays against the stern tone and is modeled musically on a style associated with performers like Mae West. Again, though, this is a place where Schwartz’s theatrical instincts perform a course correction that keeps the piece from slipping into sanctimony at a critical juncture. Incidentally, Schwartz rejects the idea that the singer is Mary Magdalene, who has often been associated with promiscuity, even though the bible does not make that connection. The vampy music creates some odd double entendres like ‘their tragic empires rise’ Indeed, the most interesting thing about the number is the way the lyric plays against the grain of the tune.

Mae West typically came on to people in her songs, so she may not actually be the best model for your actress, should she be unaware of this kind of song. You might turn instead to Peggy Lee as seen here in Why Dont You Do Right? This sort of song is also sexy, but the point of the song is to teach the guy a lesson, not to ‘come up to my place’. That sentiment is more consistent with the message of the text. Jessica Rabbit would be taking things too far, I think.

I have this sense that the right and left hand were played in independently of each other without regard to how they work together. There are places where the left leaps higher than it needs to in the stride, and actually collides with what the right is playing.

There is an error in measure 96 in the bass part. Have a look. Be careful to emphasize the correct pitches in the last phrase of the chorus right near the end. D, E flat, E natural, dip down to C, then F sharp. There are many incorrect ways to sing that, it turns out.

Because we had a female Jesus and a Sonia with a higher belt, I changed the key for both singers, which required a slightly different modulation. It sits very low for Sonia. Your singer may have also heard the revival version, which is in a different key and has a lot of vocal pyrotechnics. It is stylistically totally okay to dress this number up, but those particular riffs function much better in the other key. (you can find the other version easily by googling)

No. 13 Alas for You

Schwartz musicalized a section of dialogue. he says in this video “..The scene where Jesus drives the money-changers from the temple, it was this big long speech, a big harangue, and so I basically just took the what the words were and kind of made them rhyme and gave them a little bit of song structure and that became Alas For You.” Elsewhere Schwartz has called this ‘very Leonard Bernstein’.

My personal preference is that the singer work for great clarity and intention and allow the meter changes and percussive nature of the accompaniment do the work without adding a lot of ‘rock’ mannerisms to the mix. There are a few recordings available that make this number sound as though it belongs in Rocky Horror, which is fun, but distracts from one of the only moments of real gravity in this musical; this is where we begin to sense that the show is taking a darker turn.

One point worth clarifying with your Jesus early on is the fact that measure b and measure 37 are in 7/4, but measures 5, 18, and 42 feature a very similar rhythm in 6/4. To make matters ever so slightly more confusing, measures 61 and 62 function as essentially an 8/4 measure of the same idea.

There is an error in the score in measure 24 and 48, which should read the same as measure 11 in the left hand. The Bass book and the chord symbols in the piano score have it correct, I think.

We cast a female Jesus, so I had to move this number. We played around with various options for keys and settled on G major, a third higher, with our Jesus singing it basically a sixth lower. It was important for the gravity and intensity of the song for her to be able to access her chest register.

One final thought: Tenors seem to struggle with the last note, and I have a workaround if the high G is impossible. The simplest solution if to just sing an E flat instead. In the original cast, Stephen Nathan just stops on ‘Alas’ and leaves out “for you” entirely. Victor Garber in the film gets through it well, having gone pretty sharp on the F at the end of the previous phrase. A slightly more interesting solution is to begin the arpeggio one note lower in the chord. So instead of Eb,G,Eb,Bb,G,Eb,Bb,G, you would sing Bb,Eb,Bb,G,Eb,Bb,G, Eb. That preserves the shape of the phrase.

No. 14 By My Side

This is the only song in the show not written by Schwartz, and indeed, it seems not to have been written for Godspell, but a totally different play at Carnegie Mellon.

Schwartz says: “I could try to write a new song for this spot, and maybe I would write a song as good as this, but why bother if we have this wonderful song?”

I think what we have in the score here is an attempt to transcribe what was originally figured out organically. That’s why the rhythm of the lead doesn’t quite match the recorded vocal. The big choral sections also don’t quite work as written (in my opinion), and you can’t make out what was actually happening on the original recording because they wash over it with cymbal rolls. I wonder whether this was a decision in the studio to mask something else. I recommend you prune some of  that harmony based on the singers you have. I eliminated the top note throughout, and added one particularly tricky note myself into the mic they gave me for On The Willows.

The line that descends from C to A through B natural in the piano as in measures 7-8, 11-12 and elsewhere is not reflected in the guitar book (which doesn’t have the descending line) or the bass book, which actually has Bb near the end. I think you want to go through and make the instrumental parts match the vocal score.

No. 15 We Beseech Thee

Schwartz says the opening rhythm of this number is influenced by “Where Did Our Love Go?‘ by the Supremes. It’s the last moment of pure joy in the show before we reach a pretty dark and/or subdued section, so really go full bore here.

If you want to open the number up to the cast, it’s very easy to divide up the calls in the call and response sections to various cast members. It’s also possible to give an instrumental part to anyone who plays in the cast, if you have the skills to write one. The ‘instrumental’ section only has 2 chords over and over again.

Villanova production, Photo by Paola Nogueras

For the passage beginning at measure 41, a 4 note chord is not necessary, you should voice it according to what you have available to you. At 49, I gave the top line to the altos, the second line to the sopranos, and the lowest line to the tenors and basses. at 53, I gave the top line to the sopranos, the second line to the altos, and kept the Tenors and Basses on the bottom. At 57 I switched the Altos back to the top line, the sopranos to the middle, and again, left the tenors and basses where they were, and finally, I switched them one last time at 61: Sopranos on Top, Altos in the Middle, Tenors and Basses on the bottom. If you choose to sing it as written, I think your Jeffrey can feel free to riff a little, if he/she is gifted in that area.

No. 16 Day By Day Reprise

This reprise combines the earlier version with an ending that will be used later in the bows. I’m not so sure this is the best way to work this moment in the piece, and I think Beautiful City helps the rest of the show land better. (see below)

Potential Addition: Beautiful City

Mina Kawahara as Jesus, me on piano in Villanova’s production. (photo by Paola Nogueras)

Schwartz says in this video: “I did write a new song for the film, called Beautiful City, which replaced We Beseech Thee because the director of the film David Greene felt that We Beseech Thee was too theatrical a number, he wasn’t quite sure how to translate that to film. I’m not sure he was correct, but nevertheless, so I wrote this new song called Beautiful City, and I had some reservations about the way the song is in the film, and then several years later, maybe 10, 15 years later whenever the L.A. riots were, there was a production of Godspell, like a benefit concert that was being done to raise money to benefit the victims of the L.A. riots, and I rewrote Beautiful City, I just completely rewrote the lyrics from this sort of like cheerful, happy, flower-strewing song into much more of a reflective song and that’s the version that now gets done, and now it gets interpolated into the show a lot, and of one of the fun things for me is that people put Beautiful City in the show,  but they put it in different places so it’s always interesting to me to see if they’ve put it in and where they’re using it and how they’re using it and who’s singing it, so that’s been kind of fun.”

The original lyric, which Schwartz disavows somewhat above read:

Come sing me sweet rejoicing/Come sing me love

We’re not afraid of voicing/All the things we’re dreaming of

Oh, high and low/and everywhere we go

The newer lyric (Out of the ruins and rubble…) really lands at the moment formerly occupied by the Day By Day Reprise. But that’s a decision to be made with your director based on the vision they have of the piece.

If your production staff is concerned about copyright, the FAQ page from Schwartz’s own website makes his approval clear for performances of Godspell.

If you buy the version from musicnotes.com, you can choose the key that works the best for your Jesus. I wrote a simple orchestration for my production, but it’s the kind of number your band can improvise an orchestration for on the spot if you give them sheet music, or better yet, a lead sheet.

No. 17 On The Willows

The lyric here comes from verses 2-4 of the 137th Psalm, a lament about the Babylonian captivity in the late 7th century BCE. In High Church Christian traditions, it is recited on the fourth Sunday of Lent, so it’s a liturgically appropriate text for this moment. Schwartz claims the text was chosen “because it was about ‘believers’ isolated and persecuted by a hostile society”The word ‘lives’ was originally ‘lyres’ (harps), which proved confusing and was switched.

The song is traditionally sung by the band, and that’s indicated in the piano score, but the melody is not in the parts. You will need to figure out a way to teach it to them if that’s what you’re doing. We chose to have a few actors who played well come in and out of playing with the band, so that at this moment they would simply step back toward the onstage band and join us. As before, the top staff seems to be for a woman’s voice, the bottom for men (and an octave lower) It does split into 4 parts, although you can trim that back if you find it too difficult. Alternately, you can give the melody to the tribe to sing together. It’s important that it strike the right mood, because it helps get our audience to a place where we can accept the last beat of the show.

I have a soft spot for this song. My wife Allison sang it in the 2006 production at the Walnut Street Theatre. I saw it as many times as I could.

No. 18 Finale

This is the place in the show where a director’s taste and vision make all the difference. The more traditional storytelling in Jesus Christ Superstar helps that musical earn this moment, but Godspell has had so much clowning up to now that it’s difficult to work up to the pathos necessary to get across an execution, especially one that’s sort of figurative. The heavy rock guitar approach also reads campy now in a way that it didn’t in the early 70s. Swain puts it this way:

“Unfortunately, when the crucifixion music in the Finale tries to be explicit, it falls far short of expressing anything of the complexity of what should be the central event in the narrative. The use of rapid harmonic rhythm seems no different than in other, happier songs, and the jamming of electric instruments is but a superficial substitute for dramatic expressions drawn from more essential musical elements. The lyrics here are too absurdly simplistic.”’

Evidently the earlier version, before Schwartz came in was worse. The lyric originally read; “Oh, God, I’m busted.” According to Schwartz:

“I just said to John-Michael, ‘You can’t. That’s a really bad idea.’, and he got it right away.”

We went back and forth about whether to change the key for our female Jesus, and ultimately decided not to; she just sang it at pitch. It’s an awkward line for a male voice; I think intentionally. We’re supposed to be seeing Jesus at his most vulnerable.

It’s unclear how the MD is supposed to execute the top of the number. Technically the three staves are playable by one person, (kinda) but not on two instruments as indicated. Perhaps a cast member plays the organ staff. The transition from the first section into the Long Live God passage needs to be finessed, because it’s the payoff of the entire piece; where the tribe takes the message out into the world; Some productions will put a kind of resurrection in here somewhere, others just imply that the excitement of the clowns radiating out to today is how we know about this story. Both approaches are very much workable. Again, this is one of those places where the director decides what this show means.

Measures 38-41 should have the chord symbols of 42-45 and vice versa. Note that the last 4 measures differ slightly from the earlier version of Prepare Ye.

No. 19 Bows

Pretty straightforward reprise with a slightly different, but very easy ending.

Pit Orchestra Considerations:

The original pit orchestra in 1971 was Schwartz on piano, Rick Shutter on Drums, and Jesse Cutler, both 19 years old at the time, and Richard LaBonte. Shutter played by ear, not a lead sheet. This may be why the guitar book lays out on Alas For You. If you expect the band to sing On The Willows, you might indicate that as you’re hiring. Some players might balk at that. (others might be excited!)

This is not a terrible difficult show for the pit to play, and pretty much every pit budget can handle 3 players. As always, it helps a great deal to have players who are well versed in several styles of playing and who are sensitive to playing under singers.

Godspell is a tried and true crowd pleaser, with lots of options to tailor it to the specific needs of your space. Have a great time with it!

Practice.

I’m not very good at practicing.

I remember when I was just starting to look into the idea of being a musician. I began to realize that there were these different facets to playing proficiently. There were some people who could play by ear. For these people, music just seemed to happen on command. Then there were these other people who could play anything you put in front of them the first time they saw it. This was a different kind of fluency. They didn’t often happen in the same person. Both of these skills seem superhuman to the non-musician, but even then I had this sense that both of these skills were probably obtainable by practicing.

I must have been thinking about the two skills seriously, because I have a memory of asking my band director Mr. Jeske which was more important: being able to play by ear or being able to sight read. My director hedged; both were important. But he added that working musicians needed to be able to read.

At that point I knew how to read a lead sheet; even a lead sheet with complicated chords. In fact, my ability to read a lead sheet allowed me to pretend to be a much better pianist than I actually was; people could throw music in front of me, and I could get them a decent approximation of what was on the page, only on my terms, at my technical level. In retrospect, this was a sign I was more cut out to be a composer. I had not been a particularly good piano student. I would start fascinating discussions with my teacher to delay the inevitable revelation that I had not put in the time to learn how to play the music I was assigned. The secret that I didn’t really know how to play the correct way was a shame known only to myself and my longsuffering teacher Ellen Southard. Everyone else thought I was pretty good.

At one point, I played a Schumann piece in a master class at the local community college. As I recall, I made a hash of it. My playing was stiff and frightened; I was worried I would miss the chords in the jumping left hand, and my fears were well founded. Those jumps weren’t in my muscle memory. When I finished, Frederick Moyer, the kind and brilliant concert pianist who was in town to play Rachmaninoff’s 3rd concerto asked me what kind of music I liked to play. Perhaps he sensed that there was a musician hiding in me who was at that moment out of his depth. I said that I liked to play jazz out of a fakebook. He asked what appealed to me about that, and I said that I liked the freedom to play difficult things when I felt I could accomplish them and to alter my pace when I felt I couldn’t. He shrewdly pointed out that classical musicians do that too. They simply disguise their necessary tempo alterations as artistic choices. The audience laughed. I think he probably was trying to tell me that musicians all face the same kinds of problems. Jazz is not really a place to hide from technical problems, and classical music is no place to hide from personal expression. I don’t think I caught his meaning. My takeaway was that I might not have what it takes to tackle classical repertoire. Later that night I would get hopelessly lost in rehearsal playing 4th horn in the orchestra that accompanied him.

I started school as a voice major, then changed majors and schools to pursue composition. I’ll pick up the narrative at the age of 20 or so, when it became clear to me that to be taken seriously as a musician, or even to hold down a job as a working musician in any way, I would have to learn to sight read. So I went to the library and checked out a stack of books a couple feet high, brought them back to a practice room and played straight through them without stopping to fix anything. I then brought the books back, checked out more, and repeated the process. Within a year or so, I was able to crash through quite a bit of music in a halfway convincing manner. Not long thereafter, I started accompanying a voice studio. I recall my deep embarrassment when one student was a better pianist than I was and noted that I was not playing the page correctly. If I was going to be paid to accompany, I would have to play better than the singers. Somehow I managed to get a job playing cocktail piano at a restaurant where the waiters sang arias and musical theatre songs for bored travelers waiting to catch the next flight out of San Francisco. That was its own invaluable education.

I had been fortunate enough to stumble across situations where people were patient as I learned to read as quickly as I could, in high stress situations. So when I took my first job music directing a show for kids, I floundered a little, but I didn’t make a fool of myself, and more importantly, I didn’t need to spend hours in the practice room to get the show under my fingers. I knew what the notes meant the first time I saw them. But that doesn’t mean I could play them all. There was a new kind of curse: I could see exactly what the composer wanted the first time. If I couldn’t do what the composer wanted, that was too bad. It was as good as it was going to be the very first time I played it. I still hadn’t learned how to practice technique. I had only learned to practice my sight reading.

Incidentally, if you are not a good sight-reader, this is how to become one: Read a whole lot of music, as many kinds as you can get your hands on, and play it at a moderate tempo, never stopping to fix anything. Stopping to fix blunts the urgency of looking ahead and getting that information approximated very fast. You want to activate the part of your brain that decodes it quickly and sees 2 or 3 measures ahead. Additionally, the sound of your inevitable uncorrected mistakes will bother you so much, it will act as a kind of immediate and painful punishment. This will motivate you to be more observant next time. Pretty soon your brain will have sorted out what to look for, and how to find it fast.

These are skills the world needs from a musician, particularly a collaborative musician. The world does not want to hear you stop and figure out a passage. It needs you to get to the end of the measure with everyone else, preferably with an eye left over to cast a sidelong glance at the conductor.

But recently I spent many hours in the studio, recording a project that was really right at the edge of my playing ability. If you’ve ever spent any time in the studio, you know that it brings into sharp contrast the hard facts about your playing. They can do magical wonders with pro-tools, but they need something to start with. The studio is in some ways the opposite of the rest of the world. You will stay here until we get it right, and it will cost someone a lot of money if you get it wrong. 

I know the basics about how to practice: Play it slow. Too slow, really. Find a fingering that works. Play it every single time with that fingering. Be expressive. Find the meaning of the phrasing and incorporate it. Don’t let your mind turn off. Be engaged. Take a break when you can’t stay engaged. Memorize it if possible. Gradually increase the tempo at increments so small you can’t tell the difference. Master musicians often really don’t ever play it up to tempo until the gig is upon them. That’s terrifying, but the greats trust that the slow practice will get them what they need.

It’s kind of like Tai Chi, something I have only a tiny amount of experience with from a vocal intensive I took one Summer in High School. The movements are very slow and fluid. You are learning how your body and your balance work and interrelate. There is an aspect of the discipline where you would actually use the movements in self defense, but that’s not how the practice works on a daily basis. Technical practice on an instrument is slow and exploratory, not a contact sport.

Like everybody else, I instinctively want to increase the speed the very moment I find myself able to play it correctly. I suppose everyone is like this. Then when we increase the speed, we lose the fingering, or we improvise a new fingering on the fly, we barely make it through, we miss the point of the phrase, we become frustrated. We lose our focus and mindlessly bang out the phrase. But we console ourselves: “Nobody will notice”, we think. “Listen to how fast I’m playing it!”

Yesterday morning, before I went back into the studio for one final round of fixes, I had an interesting thought:

Musical practice is like spiritual practice. 

Normal life asks you to think and act quickly. Especially in our modern world. What’s that phrase I’m seeing everywhere? Life Comes At You Fast, generally followed by two contradictory tweets that reveal a sudden change in circumstance. People around you don’t want to wait while you figure your responses out. That’s like sight reading. Being a functioning adult means you need to know how to talk to people and speak intelligently and with humor no matter what happens. You have to know how to read a room and how to adjust your words and actions to avoid offense and to have a productive interaction with other people. Life is like chamber music.

But getting along with people and being productive is only one part of your life. Spiritual practice takes more time. Spiritual practice is the cultivation of the kinds of things you aren’t automatically going to do. Just like choosing your best way to get through a passage, spiritual practice is how you train yourself to behave with kindness toward people with whom you disagree. It’s training yourself to question your self-righteousness, to have courage to speak when others might disagree, to have the grace to disagree with kindness. And just as in my piano practice, I have the tendency to pass myself to the next level too early, wrongly assuming I have this tempo figured out. “Nobody will notice”, I think. “Listen to how quickly and wittily I responded.”

The spiritual practices that are a part of my religious tradition, like prayer and occasional fasting, reading, reflection, giving, among many others, are a kind of slow-motion living, where I can discover the tiny habits I have picked up that impede my playing in my daily life and correct them. It takes discipline and patience to incorporate that kind of work into your schedule and into your life. But the human experience is empty at the constant breakneck speed of the 21st century. You have to slow it down.

I think total musicianship requires a multifaceted approach aimed at quick thinking and also deep, transformative practices. So do our lives. Without a determination both to listen and live in the moment and to pursue deeper growth, we’ll miss out on the full spectrum of life and musical expression.

 

 

 

 

 

 

 

 

 

Gilbert and Sullivan’s HMS Pinafore: A Rough Guide for the M.D.

Gilbert and Sullivan’s HMS Pinafore: A Rough Guide for the M.D.

A Word About the Piece:

The internet does not need me to provide a comprehensive history of HMS Pinafore. Along with The Mikado and The Pirates of Penzance, it sits at the very top of the Gilbert and Sullivan pantheon, beloved almost since the first performance. It is the piece which transported Gilbert and Sullivan from being an interesting potentiality to being a global phenomenon. The tunes and catch phrases from the operetta have become part of the lexicon, and as such, the operetta is among Gilbert and Sullivan’s crowning achievements.

It is by no means perfect, however. When the operetta first hit the boards, audiences must have felt the shock of discovery as they saw the first version of the G&S formula operating on all cylinders. Cutting social commentary, far more incisive than we had seen in The Sorcerer, memorable tunes worthy of comparison to Rossini and Offenbach, and a host of other details combine to make this operetta a truly English confection, not merely a parody of more respectable shows from the continent. But as time has passed, and Gilbert and Sullivan continued to hone their craft, audiences can see Pinafore as a brilliant step in a journey not quite completed. Commentators have sometimes noted that HMS Pinafore seems like a rough draft of The Pirates of Penzance. Arguments to that effect tend to cluster around the way Pirates is constructed, the way it reuses the most interesting character devices and plot contrivances of Pinafore, but in a smarter and more intentional way. While Sullivan may have taken part in those developments, the characters and construction of the plot are clearly Gilbert’s domain. In this post, I hope to demonstrate Pinafore as a musical step forward for Sullivan as well, one in which he started to draw thematic connections across the entirety of the piece, and in which he began to really come to terms with the way an effective finale is constructed.

It is no mark of shame to say that Gilbert and Sullivan were learning as they wrote. They did not spring fully formed from the head of Zeus. The fact that Sullivan was in excruciating pain while writing this operetta due to a kidney stone makes his achievement almost superhuman. (when I had a kidney stone, I sincerely wanted the doctors to have me put down) So while I may quibble with some choices here and there, I may beg the indulgence of the Gilbert and Sullivan community by reiterating that we composers can only hope to achieve what these two men did while ill, distracted, or otherwise indisposed.

Writing Operetta is a tricky business, but Gilbert and Sullivan found the elements of their success remarkably quickly. Their first collaboration, Thespis (the music sadly now lost) was an extravaganza, not a standard opera, and Trial By Jury is quite short. The Sorcerer, their third piece for the stage, had thus given them their first chance to present a full length piece with real character development. The Sorcerer had established the familiar patter baritone, a particular style of writing for the primary couple, ensemble work full of character and humor, and the broad satire of British cultural mores for which Gilbert and Sullivan are so famous.

With their 4th collaboration, HMS Pinafore, the writers began to tackle larger scale problems, particularly musical unity and pacing, and they began to find their stride in one of the most difficult areas of writing for the lyric stage; the finale. Their progress in these areas make HMS Pinafore a more successful operetta than its predecessors, paving the way for even more spectacular writing in the future.

In The Sorcerer, Sullivan had experimented with two different tunes for a single lyric, “with heart and with voice”, which were later unexpectedly combined. The irrepressible tune, “Now to the banquet we press” also made a second appearance at the end of the show. But in HMS Pinafore, there are a plethora of lyrics and tunes to which we return for a second (or even third) hearing:

We sail the ocean blue

What never? Well, hardly ever…

His sisters and his cousins and his aunts

For a British tar is a soaring soul

He Is an Englishman

Oh, joy, Oh rapture unforeseen

The return engagements of these melodies not only help us recall them to mind after the operetta has ended, they help unify the work musically. This operetta is not merely a collection of beautiful tunes, but a carefully thought out whole. I hope to draw connections between all these tunes below.

Another marvelous and enviable feature of Pinafore is its unending well of melody, much of which is flavored strongly with sea chantey. Not enough is made in the literature of just how well Sullivan matched his musical ideas to the topics of his operettas. Along these criteria, HMS Pinafore is basically perfection.

Before You Start:

A great place to start with any G&S Operetta is the Gilbert and Sullivan Archive page.The page for Pinafore is pretty extensive, including interviews and reviews of early productions, an extensive list of errors in the common scores, etc.

The most commonly used edition is the Schirmer vocal score, edited by Bryceson Treharne. It’s fine, but you will want to take time to correct the errors in the score before you begin rehearsing. I linked to Amazon here, because most people these days buy from them. But do be aware that they sometimes lump together more than one edition of the same score, so you might accidentally get a rival edition when you order. There are a few errors in the Schirmer score that are not on the errata list, and I will cover those below.

There is also a Dover edition, which I have not really looked through. I believe it goes with the full score they also printed, and includes some corrections and an alternate passage in the second act. I seems not to be paginated the same way as the Schirmer score, which may be an issue if your company is using the Schirmer version. The Dover edition also has measure numbers, which is great if somebody is calling them out, but again if anyone is using the Schirmer, that won’t be helpful. I wound up writing measure numbers into my Schirmer version and copying my notes into the Dover full score.

The Dover Full Score is quite good. Sadly, I believe it’s out of print, which may account for the preposterous price of $180 on Amazon. (someone is even selling it for $675!) By sheer luck, I found mine on the shelf at my favorite local music store and spent precisely $19.95. I will not sell it to you. As with the two other Dover G&S scores, the scholarship seems to be very good, but the lyric font size is very small, and I did find several errors, which I will list below. I believe in conducting chorus rehearsals from the vocal score until the chorus is off book, and then switching as early as practicable to the full score to conduct rehearsals. There is a real wealth of detail in the orchestration that you as a music director need to be aware of that is simply not present in the Piano Score. If you are renting parts, do check to see if you can get your hands on the score that goes with them to use as you rehearse. It goes without saying that conducting the operetta in performance with an orchestra from the Piano Vocal Score is an unpardonable infraction.

Recordings:

As always, the OakApple Press page laying out all the major recordings is complete and fantastic. Many of these recordings are available on Spotify, but I encourage you to buy a hard copy. Looking to D’Oyly Carte for style or pronunciation help is a good idea, but I’m sorry to say that even in the case of vowels, you will find very little uniformity from one D’Oyly Carte recording to the next. 1960 D’Oyly Carte is the one to have.

If you’re going to be Music Directing Gilbert and Sullivan, you’ll want to begin building a library of reference materials. I recommend getting these, as you are able:

The Complete Annotated Gilbert and Sullivan by Ian Bradley. You should probably get this one ASAP. There is a very expensive new edition I have not yet read. If it’s anything like its predecessors, it’s indispensable.

A Most Ingenious Paradox: The Art of Gilbert and Sullivan by Gayden Wren: Good stuff, especially seeing the shows in the context of the whole output. I come back to this book again and again.

The Gilbert and Sullivan Lexicon by Harry Benford: in which you will find the definitions of all those words you don’t understand.

After you have procured some of these, set aside a number of hours to do the following:

1) Listen to the soundtracks with the score in hand, marking things that strike you as interesting. I also made a pass at one point with a metronome and marked the tempi of all the sections from several recordings so that I would have a benchmark of speed. When a singer complains about a tempo, it helps to be able to check and say, “Ah, yes, we’re too slow” or: “This is within the range of generally accepted tempi.” or yet again, “I’d like to take it this fast, but currently our diction won’t allow it.” Sullivan doesn’t always notate phrasing or articulations, and while it’s easy to say, “Let’s just leave it up to the taste of the players”, it’s sometimes necessary to actually make clear decisions as a conductor so that the ensemble is telling the same musical story. I have developed a system with colored pencils, where I listen to a recording of a particular year with, say, a red pencil in hand and just mark interesting articulation, dynamic, or tempo choices for the key moments. Then I go back with a different color and enter another recording’s take on the same moments. Pretty quickly one begins to realize what is standard, what is done almost every time, and what is open to interpretation. You will also find your own preference in those places where there appears to be a wide range of opinion. To me, this is the beginning of discovering your own voice as a conductor; finding where the limits of expression have been in the past, and deciding what you are drawn to in answer to the points that are vague.

2) Take the Lexicon book and copy in pencil all the definitions into the score where you don’t already know the meanings.

As You’re Casting:

ROLE

The Rt. Hon. Sir Joseph Porter K.C.B.

Sir Joseph is the patter role, and could easily be played by a tenor or a baritone, but probably someone older than the other principals, because of the life experience he lays out in his signature aria. His lowest note is an A below Bass C, his highest the E above middle C. He should have strong comic timing and be able to play imperious. He was played originally by George Grossmith, the first Major General in the D’Oyly Carte Pirates and the first Koko anywhere.

Fortunately for us, Gilbert wrote a book for children elaborating the story of HMS Pinafore, and in it he describes the characters upon their first appearances. Since these descriptions were written decades after Gilbert’s inception of them, they are often different and sometimes clearer than they are in the actual script. His description of Porter is as follows:

“One of the most important personages in the Government of that day was Sir Joseph Porter, the First Lord of the Admiralty. You would naturally think that the person who commanded the entire Navy would be the most accomplished sailor who could be found, but that is not the way in which such things are managed in England. Sir Joseph Porter, who had risen from a very humble position to be a lawyer, and then a Member of Parliament, was, I believe, the only man in England who knew nothing whatever about ships. Now, as England is a great maritime country, it is very important that all Englishmen should understand something about men-of-war. So as soon as it was discovered that his ignorance of a ship was so complete that he didn’t know one end of it from the other, some important person said, ‘Let us set this poor ignorant gentleman to command the British fleet, and by that means give him an opportunity of ascertaining what a ship really is.’ This was considered to be a most wise and sensible suggestion, and so Sir Joseph Porter was at once appointed, ‘First Lord of the Admiralty of Great Britain and Ireland.’ I daresay you think I’m joking, but indeed I am quite serious. That is the way in which things are managed in this great and happy country.”

“Sir Joseph was a gentleman of great refinement, who was very easily shocked, and as he knew that the society of charming ladies had the effect of making everybody polite and considerate, he never travelled any great distance without them.”

Later he writes: “I’m afraid that Sir Joseph, though a very distinguished man, was, like a good many other very distinguished men, a bit of a goose.”

Captain Corcoran

Gilbert describes him thus: “…a very humane, gallant, and distinguished officer, who did everything in his power to make his crew happy and comfortable. He had a sweet, light baritone voice, and an excellent ear for music, of which he was extremely fond, and this led him to sing to his crew pretty songs of his own composition, and to teach them to sing to him. To encourage this taste among his crew, he made it a rule on board that nobody should ever say anything to him that could possibly be sung, a rule that was only relaxed when a heavy gale was blowing, or when he had a bilious headache. Harmless improving books were provided for the crew to read, and vanilla ices, sugar-plums, hardbake and raspberry jam were served out every day with a liberal hand. In short, he did everything possible, (consistently with his duty to Her Majesty) to make everybody on board thoroughly ill and happy. “

It sure seems like Sullivan was a little unsure of Corcoran’s fach. At times he seems like a tenor. In fact, in the original higher key of his Act 2 aria, it would take a tenor or a very impressive lyric baritone to do it justice. In many other moments, Corcoran is a real Bass Baritone. In almost all the numbers he’s in the treble clef, but in number 8 he’s in the bass clef. (When he appears in Utopia Limited 15 years later, he’s listed as a Bass) Then there’s the issue of him needing to be the same age as Ralph, but also the age of the father of Ralph’s love interest. Most productions ignore this, which makes the ending more ludicrous, and that’s probably okay. I would encourage you to cast a tenor with a full bodied sound. His lowest pitch is the B below Bass C. If you do Fair Moon in D, as it was written, and as it appears in the vocal score, his high note is F# above middle C or perhaps A, if he goes for the high note. If you do it in C, his high note is F above middle C, or perhaps G if he goes for the high note.

Rutland Barrington originated the role. He would also originate the role of the Sergeant of Police in the first D’Oyly Carte Pirates and the role of Pooh Bah in The Mikado. 

Ralph Rackstraw

Ralph is a traditional leading male tenor, although you have a good excuse to cast somewhat older, if you hope to explain away the baby swapping with Corcoran.

It helps if your Ralph has a flair for the dramatic, because he has some very purple lines and an over-the-top suicide attempt to pull off. His low note is E flat below middle C, and his high note A above middle C. The A needs to be pretty solid, Ralph hangs up there. There is an optional high Bb for those who are able.

Gilbert says this about him in his Pinafore Picture Book:

“One of the smartest sailors on board Her Majesty’s Ship Pinafore was a young fellow called Ralph Rackstraw, though, as will be seen presently, that was not his real name. He was extremely good-looking, and, considering that he had very little education, remarkable well-spoken. Unhappily he had gotten it into his silly head that a British man-of-war’s man was a much finer fellow than he really is. He is, no doubt a very fine fellow indeed, but perhaps not quite so fine a fellow as Ralph Rackstraw thought he was. He had heard a great many songs and sentiments in which a British Tar was described as a person who possessed every good quality that could be packed into one individual, whereas there is generally room for a great many more qualities than are usually found inside any sailor… So, although Ralph had gathered up many excellent qualities, there were still some that he had not yet added to his collection, and among these was the appreciation of the fact that he hadn’t got them all. In short, his only fault was a belief that he hadn’t any.”

As early as possible, train yourself to pronounce the name Raif, not Ralf. You will save yourself a great deal of embarrassment among the seasoned Savoyards.

Dick Deadeye

Gilbert describes him as follows: “…one of the ugliest persons who ever entered the Navy. His face had been so knocked about ans burnt and scarred in various battles and from falling down from aloft that not one feature was in its proper place. The wags among the crew pretended that his two eyes, his nose, and his mouth, had been playing ‘Puss in the Corner’, and that his left eye, having been unable to find a corner that was unoccupied, was consequently left in the middle. Of course this was only their nonsense, but it shows what a very plain man he must have been. He was hump-backed, and bandy-legged, and round-shouldered, and hollow-chested, and severely pitted with small-pox marks. He had broken both his arms, both his legs, his two collar bones and all his ribs and looked just as if he had been crumpled up in the hand of some enormous giant. He ought to have been made a Greenwich pensioner long ago, but captain Corcoran was too kind-hearted to hint that Dick Deadeye was deformed, and so he was allowed to continue to serve his country ad a man-o-war’s man as best he could Now Dick Deadeye was generally disliked because he was so unpleasant to look at, but he was really one of the best and kindest, and most sensible men on board the Pinafore, and this shows how wrong and unjust it is to judge unfavorably of a man because he is ugly and deformed.”

Deadeye was originated by Richard Temple, who was the first person to play roles in 8 different D’Oyly Carte original productions. He was the first Sir Marmaduke, Pirate King, Mikado, and many others. He must have been an extraordinary singer and actor. Deadeye is a strange sort, as a character, and as a piece of writing. He is clearly meant to be a kind of villain in the piece, but he lacks real agency. Although his revelation to Corcoran in the second act does precipitate the chain of events that allows the play to conclude, it is unclear what his motivation is, or what he is capable of doing to thwart the lovers. The type has fallen somewhat out of use over the years, but Deadeye is an example of a character outside the community who is dangerous but speaks the truth, as when he says, “When people have to obey other people’s orders, equality’s out of the question.”. This is a thought provoking sentiment even now, and is an unusually cutting and open statement of the general principle behind much of G&S. But as he also says, “From such a face and form as mine, the noblest sentiments sound like the black utterances of a depraved imagination.” He is rather like Jigger and Judd combined, with a dash of Richard III or Iago. Vocally, the role is fairly demanding, particularly in the first act finale, where Deadeye has to sing very quick and rangy patter, some of which is rather hard to hear and  to place. He has a Bb below Bass C and an Eb above middle C within a beat and a half, for example. In the second act, he has a few measures of ensemble work which need to be floated. You should keep these things in mind while casting. The low note is G below Bass C and the high note Eb above middle C.

Bill Bobstay (The Boatswain)

This character is never referred to by name in the piece, only as Boatswain, (pronounced Bosun) Very important minor Baritone principal, he introduces the He Is An Englishman melody and has a great deal of dialogue.

Gilbert says precious little about him, except that he was “One of the most tenderhearted creatures living…”

When you audition this part, you simply must have someone who can carry the middle part of a trio. His low note is the G below Bass C, and his high note the E flat above Treble C.

Bob Becket (Carpenter)

Bob Becket has no lines, but he has a very important Bass part in A British Tar. Requires a good ear and a clear, well placed true Bass voice, because at the end of the Glee, before the chorus comes in, Becket is the one leading the Rallentando, which ends on an important low E. His low note is that E below Bass C, his high note the E flat above middle C.

Bob does not appear in the Children’s book Gilbert wrote. Incidentally, Deadeye, Bobstay, and Becket are named for parts of a ship.

Deadeye

Bobstay

Becket (near bottom of diagram)

Josephine

Josephine is the classic Gilbert and Sullivan soubrette, well suited to a light soprano, but also potentially for a richer-toned soprano who has access to the Bb. Mabel in Pirates has some coloratura, Josephine has none. The two arias require some long line, but the duet and many moments in Act II also require some faster diction and clarity of execution. She should have a good ear; some of the chromatic passages can easily go out of tune.

Gilbert describes her: “… a beautiful young lady with whom every single gentleman who saw her fell head-over-ears in love. She was tall, exquisitely graceful, with the loveliest blue eyes and barley-sugar coloured hair ever seen out of a Pantomime, but her most attractive feature was, perhaps, her nose, which was neither too long nor too short, nor too narrow, nor too broad, nor too straight. It had the slightest possible touch of sauciness in it, but only just enough to let people know that though she could be funny if she pleased, her fun was always gentle and refined, and never under any circumstances tended in the direction of unfeeling practical jokes. It was such a maddening little nose, and had so extraordinary an effect on the world at large that, whenever she went into Society, she found it necessary to wear a large pasteboard artificial nose of so unbecoming and ridiculous a description that people passed her without  taking the smallest notice of her. This alone is enough to show what a kind-hearted and self-sacrificing girl was the beautiful Josephine Corcoran.

Her range is Middle C to high Bb. (optional and highly recommended High B and C)

Cousin Hebe

One wishes Gilbert had written a few words in his children’s version about Hebe, to clarify her character, but sadly, she does not appear. She is a principal chorus member with two important story moments, but other than that, we have very little information of the specificity of her character. It comes out of left field that she wants to marry Sir Joseph, because it had until that point not been entirely clear whether she was a sister, a cousin, or an aunt. Like the rest of the end of the show, we simply shrug and think, “Oh, sure.”

She was played originally by Jessie Bond, who would go on to create many of the Mezzo roles in future G&S shows, such as Iolanthe, Pitti Sing, and Tessa. She was apparently a good actress, but Pinafore caught her at the very beginning of her career, and she felt uncomfortable speaking onstage, so nearly all her dialogue was cut.

In a trio in the First Act Finale, she needs to have sufficient midrange volume to compete with Ralph and Josephine in a higher tessitura. Her range is from the A flat below middle C to the F above treble C.

Buttercup

Buttercup is the Mezzo of the piece. You could go a number of ways with the part. Unlike many other G&S Mezzos, it’s not entirely clear what the joke of her character is. Gilbert seemed unclear what exactly to do with her, and even her presence on the boat seems to be problematic for the book, because Gilbert keeps making her leave without reason only to return immediately afterward to deliver some piece of information. He would rectify the problem in Pirates by making her counterpart Ruth an active crew member who stays on and is integral to the action.

To put a positive spin on that, there are many ways a director could push the character. She could be hideous or sexy, an outsider or one of the boys. Since Gilbert hasn’t bothered to give her many distinguishing characteristics, you are more free to invent your own.

Buttercup should be able to play old enough to have been a ‘Baby Farmer’ during the infancy of Corcoran and Ralph, but of course the math on that is fishy to begin with. Her low note is G below middle C, her high note the E above treble C.

Gilbert describes her: “…a rather stout but very interesting elderly woman of strikingly personal appearance. She was what is called a ‘bum-boat woman’, that is to say, a person who supplied the officers and crew with little luxuries not included in the ship’s bill of fare. Her real name was Poll Pineapple, but the crew nicknamed her ‘Little Buttercup’, partly because it is a pretty name, but principally because she was not like a buttercup, or indeed anything else than a stout, quick-tempered, and rather mysterious lady, with a red face and black eyebrows like leeches, and who seemed to know something unpleasant about everybody on board. She had a habit of making quite nice people uncomfortable by hinting things in a vague way, and at the same time with so much meaning (by skillful use of her heavy black eyebrows) that they began to wonder whether they hadn’t done something dreadful, at some time or other, and forgotten all about it. So Little Buttercup was not really popular with the crew, but they were much too kind-hearted to let her know it)”

Later in the book, Gilbert gives a really elaborate backstory of Buttercup and Corcoran.

Midshipmite/Tom Tucker 

Sometimes there is a small boy cast, to whom Buttercup gives a lollipop after her opening number.

Chorus

Sopranos should have the A above the staff and if possible the A below Middle C, although they have help on that note. There is a spot where a high Bb might be helpful, but Josephine also sings it at the same time.

Altos should have the A below middle C, and the treble clef 4th space E.

The Tenors bottom out at Bass C and have an A above Middle C for the top.

The Basses have the low G and top off at the D above middle C, although 2nd basses drop as low as Eb below Bass C.

 

I appreciate how the Gilbert and Sullivan choruses allow for the potentiality of many ages and body types, and also how singers can age through character types in the operas. Not everyone needs to look like the very first flower of youth to participate!

General Pronunciation Advice:

I copy here general note from earlier G&S posts, with some slight emendations.

I am still no expert on RP English pronunciation, but I offer here a couple of basic pointers, to which I intend to add as I learn more:

1) Be aware of the Trap-Bath split. A fellow Savoyard in my tenor section made me aware of this chart, which is very helpful: trap-bath

2) ‘R’s that begin a word are tripped or rolled. ‘R’s that come before a vowel are tripped. ‘R’s that come after a vowel are generally dropped. At no point is the ‘r’ pronounced as we Amerrricans pronounce it. (although you may encounter different kinds of Rs if characters have regional British accents)

3) Mary, Merry, and Marry employ three different vowel sounds. Where I come from, they are pronounced identically. In Philadelphia, they are pronounced as three different vowels, but they aren’t the same vowels. Interesting chart on this matter:http://www4.uwm.edu/FLL/linguistics/dialect/staticmaps/q_15.html In G&S, you’ll want to say Mary with an eh as in air, Merry with eh as in get, and Marry with an ah as in cat. (someone will certainly correct me on this)

4) Many u vowels will need a y sound before them: duty becomes dyewtee, tuning becomes tyooning, new becomes nyoo, and institution becomes instityooshun.

5) Been becomes bean.

6) For words which in American English replace ‘t’s with a d sound, a true ‘t’ sound should be used. “Water” is not pronounced “wadder”, and certainly not wooder, my Philadelphia friends. But be careful not to overcompensate. I have noticed that some Americans are so anxious to Britishify their speech that they change to ‘t’ sounds that are truly ‘d’s. Lady should not be Laty, as I’ve heard people say when attempting to posh up their language. Not every ‘d’ needs to become a ‘t’, only the ones that are truly ts to begin with!

7) As I continue to conduct these pieces, and after continuing encouragement from the English members of our American company, I am beginning to become fixated on words like “all”, and the second syllable of “Doctor”, “Major” and “Sailor”. The British “all” has a darker vowel than the Americans use, almost to the point of sounding like ‘ole’, and the second syllable of the ‘or’ words is pronounced like ‘or’, not ‘er’, as Americans would say it. I am still conflicted about that particular one, because the D’Oyly Carte recordings are by no means consistent on that point, and especially at speed, it is very difficult to articulate a tall ‘o’ vowel in such a word. It is something to keep one’s ears open for.

This video may be of use to you.

That is by no means exhaustive, and I’ve probably gotten some of it wrong, but that’ll get you started. There are some places in this show where pronunciation will be governed by a rhyme. I will try and hit each of those points as we go.

Going through the show number by number:

Overture

It is a little unclear exactly how the Pinafore overture came to be. In their preface to the Dover Pinafore full score, Carl Simpson and Ephraim Hammett Jones speculate that the overture may not have been written by the time the show opened, which may account for the unusually long introduction to the opening number. This sounds right to me. More on that introduction later. Sullivan often had help with the completion of his overtures, but the authorship of the overture we have is also somewhat mysterious. It’s part of the standard legend of Pinafore that the initial box office for the operetta was poor, partly because of a heat wave. The nasty experience of seeing Pinafore in a gas lit, poorly ventilated theatre in a sweltering heat almost led to the operetta’s closing, until (as the story goes) Sullivan conducted a medley from the operetta prepared by Hamilton Clarke at the Proms, and everyone fell in love with the music, leading to international success. Clarke had also helped with the Sorcerer Overture  This story has led to speculation that the Overture is a set of selections Hamilton Clarke arranged. But as Simpson and Jones have pointed out in the preface to the Dover edition, we have a set of Overture instructions in the score in Sullivan’s own hand, so while he may have referred to Clarke’s work in some way, he went to the trouble to write a good deal out himself. If you’d like to play armchair musicologist, the manuscript score is available here at the Morgan Library website:

You’ll notice the timpani part is notated, and the tutti chords, but then Sullivan has written the melody in the violins, with the understanding that the copyist will fill in the passages from the places where these passages occur elsewhere in the opera.

First page of Sullivan’s autograph of the Overture

The overture is then, a pretty straightforward medley of the most memorable passages heard elsewhere. I only note one error in the Dover Full Score, and that’s in the pickup to measure 65. The Cello and Double Bass should really switch to arco there. With a good oboist and a sprightly, well articulated style, the overture packs a nice punch and is a great opening to the operetta.

ACT I

1.Introduction and Chorus: We Sail The Ocean Blue

The Introduction is long; it took the place of the overture missing from the first performances.

Melodically, it covers the upcoming men’s chorus, Sorry Her Lot, I’m Called Little Buttercup, and I am the Captain of the Pinafore. Sullivan signals from the outset that he intends to develop his material this time around, and although HMS Pinafore is not as thoroughly woven a musical tapestry as we shall see in subsequent operettas, Sullivan uses ideas thematically and returns to older ideas much more intentionally than he had in Trial By Jury or The Sorcerer. In fact, we hear these tunes for the first time in radically altered forms: Josephine’s aria is prefigured in the oboe at a much faster tempo, and in 6/8 instead of 9/8. Buttercup’s aria is in 2/4, not 3/4. Corcoran’s entrance aria appears as a canon, moved into the minor mode. If this is in fact, a proto-overture, it does not behave as an overture at all; it’s acting more like a tiny symphonic development section.

 

G&S’s 2 previous operas Trial by Jury and The Sorcerer had opened with the entire chorus singing. But as I mentioned earlier, Sullivan had employed an interesting device midway through Act I in The Sorcerer. The gentlemen and the ladies of the chorus sang With Heart And With Voice in two different melodies, which finally joined together in a quodlibet. Sullivan must have found the device effective. In Pinafore, the show opens not with the full chorus, but with the men on their own in a memorable introductory tune we shall discover fits perfectly with the introductory tune of the women. Putting this tune at the very opening of the opera draws a connecting thread across the first 40 or so pages of the opera. By the time we hear the men’s tune and the ladies tune combined to complete the development of the thought, many more melodies have been introduced, which will in turn thread through the remainder of the show.

Starting with the men alone also turns out to be a great way to differentiate the members of the chorus from one another, and in 7 of the 10 subsequent operas, Gilbert and Sullivan would open with a men’s or women’s chorus. In Pirates, they would discover that involving the opposing groups of men and women romantically was even more interesting, and that it is even possible to split the chorus three ways, dividing tenors and basses into two. Thus the device of the gendered chorus is put to its traditional G&S formulation essentially for the first time here.

Gilbert’s narration of the story for children indicates that Corcoran has taught the men this song. Of course, in the Operetta proper, Sir Joseph is the only composer on board that we are made aware of.

 

Now to more mundane matters for the music director:

A practical consideration and an error present themselves immediately here.

Firstly, your timpanist may need a moment to tune from E flat to C. It’s kind of unfortunate timing.

The error in the Piano Vocal Score is not in the errata list on the G&S Archive page. On page 7, in measure 4, the eighths in the left hand are wrong; that measure should look like the previous measure’s left hand, and the eighths begin in the following measure.

Your pianist will be tempted to play the canon figure at the 2nd system of page 8 (Schirmer Vocal Score page numbers referred to here and elsewhere) forte, but it is in fact, piano, part of a long crescendo to the tutti statement of the melody on the 4th system.

Bruce Miller remarks in a G&S discussion group that the writing for the men is not ideal here. The basses lie somewhat low, so their part doesn’t project until the tenors arrive, and when the tenors do come, much of their part is also somewhat low. In No. 7, the tenors are up the octave occasionally, which is more effective. Be sure your singers sing the dotted rhythms faithfully. “dyootee”, not “dooty”, please. You should also decide what to do on the words “Portsmouth tide”, where the vocal part is similar, but not the same as the accompaniment. Not all recordings observe this difference. Watch the balance between Tenors and Basses on the word ‘ahoy’, a mild fp will keep rambunctious tenors from drowning out the basses. It’s customary to crescendo on the long ‘day’ before the final statement of the melody.

2. Recitative and Aria: I’m Called Little Buttercup

I’m afraid I’m not so crazy about this number lyrically, for the same reason Gayden Wren lays out in his book:

“I’m Called Little Buttercup is a virtual clone of My Name is John Wellington Wells, simply a list of items for sale, except that Wells’s items were funny, while Buttercup’s are commonplace and uninteresting. Many performers have found it hard to memorize, simply because there’s no order to it beyond the rhyme scheme, nor any real structure.”

The melody, however, is a winner all around. The melodies in The Sorcerer often played around with rising and falling three note motives, but never with this kind of economy. It almost sounds like a folk song, and like most good folk music, the melody refers back to itself constantly, so it coheres in a closed vocabulary. If Gilbert gives us a fairly pedestrian lyric, Sullivan the melodist is beginning with a bang.

What a beautifully constructed melody; a subtle execution of a sophisticated idea! The second section of the melody modulates to the relative minor, adding new ideas to the ones already in play:

The third portion introduces some chromatic ideas and rhythmic variety before closing with the opening melodic material to complete the circle.

Aside from what Wren says about the lyric being hard to memorize, the number is not difficult to perform, nor conduct, but do keep it on the sprightly side.

2a. Recitative: But Tell Me, Who’s the Youth…

Compared to the dismal recitative in The Sorcerer, Buttercup’s short recit with the Boatswain is just right; brief, expressive, and easy to manage. As you conduct your orchestra, be sure to beat through the whole measure so they know where you are. For example, in the opening measure, cue the downbeat, then quickly beat through 2 and 3, holding at three until Buttercup sings feet, then give 4 as an upbeat, after which she’ll sing With, and you’ll be right there to land the downbeat of the next measure. It takes practice, but you can do it!

3. Madrigal: The Nightingale

I’ve been puzzling somewhat over why this arietta is called a Madrigal, since it’s not particularly polyphonic nor choral. Lyrically, it does play with tropes of the Renaissance Madrigal. The Nightingale sings at night, and is consequently symbolic of other nocturnal happenings like love, grief, and insomnia.

“Ah Well a-day” is one of those mournful phrases Gilbert liked to return to that sound vaguely Elizabethan, like Willow Willow Waly, Heighdy Heighdy, Misery Me, Lack-a-day-dee! or Tit Willow, Tit Willow. Shakespeare uses Ah Well-A-Day in Romeo and Juliet, when the Nurse tells Juliet that Tybalt is dead, and it seems to have been fairly popular in literature of the 18th century. Maybe the most famous use of “Ah, well-a-day” comes from the early English Romantic poet Samuel Taylor Coleridge, who used it in a passage of The Rime of the Ancient Marriner to describe the dismay of the title character at having to wear a dead albatross around his neck:

Ah! Well a-day! What evil looks
Had I from old and young!
Instead of the cross, the albatross
About my neck was hung.

Ralph’s opening aria lyric is deliberately archaic and high-flown. He’s singing about a bird who is himself singing, forlorn, in the moonlight. In Act 2, his counterpart Corcoran will also sing, forlorn to the moon, but there is little poetry in Corcoran’s lyric. He’s petulantly concerned with his own affairs. So while others have carped that Ralph’s lyric here is full of cliches, I think Gilbert was actually starting a thread he would follow through the entire opera: Ralph is very poetic for a sailor, and in his dialogue, he will frequently sound like one of the poets from Patience. I like to think perhaps Gilbert was foreshadowing the fact that Ralph is in the wrong station.

It’s a shame that when we music direct these pieces, we often learn them via the vocal score. The Nightingale is a delightful little arietta when accompanied by the piano, but I missed until well into the performances the lovely orchestrational detail that the clarinet Nightingale is answered a step higher by the flute echo. I had internalized these things by melody only, and happily discovered their meaning as echos when I had the orchestra in front of me.

The first part of the aria is straightforward for the tenor and chorus. the echoing phrases in the men’s chorus end with “day” a different duration each time. Be sure your chorus knows that.

The pun at the end, “a lass” vs. “alas” will alas be lost on your audience if your Ralph does not observe the little rest after the word “love”. That sixteenth rest really makes the “alas” sound like an exclamation and not a noun.

3a: Ballad: A Maiden Fair To See

This is really the second half of the same aria, and like most early Gilbert and Sullivan introductory tenor arias, this one is in 3, with a long line and a couple of lovely high notes. The orchestral introduction is very chromatic, with 11 of the 12 chromatic pitches represented. Ralph’s melody is also very chromatic, with the first 2 phrases covering all the notes between B and F in a tune that floats down like a feather. The third phrase balances by climbing to the high A with again, nearly every pitch represented.

If the Madrigal section of the double aria was about storytelling, this is about the beauty of the line. There is maybe a little flexibility possible with regard to tempo, to let the tops of the phrases bloom, but think of this second half of the aria as the faster half.

The men of the chorus have a similar task to the one they just accomplished in their echo phrases, with the exception of the ending. My suggestion is to have Ralph’s “Oh pity pity me” be only slightly slower the first time, and then really observe the fermatas the second time. Then you’ll want to cue through the chorus as follows:

And he, (have the chorus catch a breath, line up and with Ralph’s me) Follow Ralph’s lead as he sings Our to line up his Captain with:

He, (again have the chorus catch the breath, to line up that with Ralph’s she) Follow Ralph’s lead as he sings And to line up his I with:

Lowly (no breath, connect the Suitors together)

They will have to watch you so that you don’t get a bunch of SSSSSSS at the top of the last word.

Buttercup leaves here for no reason at all that I can tell, except that she has nothing to sing and Gilbert doesn’t know exactly why she is on board.

4. Recit and Song: My Gallant Crew, Good Morning

Corcoran’s entrance aria is marvelous, beginning with the opening exchange. If your chorus is well rehearsed, we get a great sense of the order that Corcoran brings to the ship. Gilbert’s retelling for children indicates this charming detail:

This was how he greeted his crew every day:

“My gallant crew, good morning!”

and they would reply:

“Sir, good morning!”

Then he would say:

“I hope you’re all quite well.”

And they would answer:

“Quite well, and you, Sir?”

And he would reply:

“I am in reasonable health, and happy

To see you all once more.”

And they would sing:

“You do us proud, Sir!”

Of course, when he was not quite well, he would alter the words to suit his condition, like this:

“I have a dreadful toothache, yet I’m happy

To see you all once more!”

Or

“I have a housemaid’ knee, yet I am happy

To see you all once more!”

And so forth, for Captain Corcoran never intentionally said anything that was not strictly true.

If you track down the book online, you’ll also read Gilbert’s charming way of softening the Big Big D to “Bother!” for the sensitive ears of the children.

In the Dover full score, you’ll notice that measures 18 and 19 have 2 readings. In the autograph and in the other sources, the 2 chords appear on beats one and two of measure 18. In the Schirmer Vocal score, they appear on the downbeats of 18 and 19. Probably your orchestral parts will match the Schirmer score, but it would be worth having a look to see what your parts say. Incidentally, the autograph score, and the 1880 and 1882 English and German versions have the two chords in one measure. It isn’t until the Metzler 1920 Vocal score that the other version seems to have appeared. It seems like the two notes were originally in one measure, then fermatas in the rests were sanctioned, and finally, someone determined it was easier to notate it as it now appears.

A frustration of this score in particular is the inconsistency of similar passages as they appear throughout the score. Where possible, I suggest that you standardize similar passages for the sake of memorization and clarity. This means that “What, never?” is always short the first time and carried to the downbeat in the following measure the second time. When this passage reoccurs at the end of the show, you should ignore the other lengths and do it precisely as you did it here. “And a right good captain, too” ends on beat 2, not on the and of 1 as it is notated at the end of the show. If you try to do the end of the show as written, you’ll be very frustrated to no conceivable purpose.

Traditionally there are no fermatas the first time through, and the second time through, you do them. I never got that first one quite right; the tenors need to be the link between the fermata and the next passage, it’s difficult for them to connect the old idea with the new section, even if you don’t breathe between the notes. Plan to spend some time there. Conducting the second fermata is hard, since you have to land beat 2, then suspend it, then reiterate it so you can get out into the next measure.

Everyone leaves except the Captain. Buttercup re-enters to talk to him, having done whatever took her off the stage. See what I’m saying? Gilbert doesn’t know what to do with her.

4a. Recit: Sir, You Are Sad…

This can somewhat tricky to conduct through if you’re not accustomed to conducting recits. (see my note to 2a) At measure 12, we are in tempo. The recit. is pretty good, if not inspired, but since Buttercup is so awkwardly brought off and back on, the exposition seems pretty hamhanded. She then leaves again, having fulfilled her function of getting the information out.

5. Ballad: Sorry Her Lot

There is a wonderful thread of detail in the orchestration of Pinafore that begins here, and it involves the use of the woodwinds in opposition to the strings, as a metaphor. Generally speaking, in traditional writing for the orchestra, the strings are the backbone of the ensemble, and the woodwinds are used to provide warmth, color, or melodic material above or behind the strings. The strings are the main course, and the woodwinds provide flavor, as a kind of musical garnish. Generally, Sullivan sticks to that approach. But beginning here in Josephine’s entrance ballad, Sullivan begins setting off the woodwinds in relief on their own, as in measures 3 & 4, and 32 & 33. It is a very small detail here, but it is significant nonetheless. This is the first place in the score where any winds play without the strings accompanying. With the exception of a few measures of very comical doubling of Dick Deadeye’s snide commentary in the First Act Finale, the next time the winds play without help from and in opposition to the strings is in Josephine’s other major aria a full act later, “The Hours Creep On Apace“, where they will represent a very clear metaphor. When we get there, I’ll elaborate. The metaphor extends into the trio Nevermind The Why And Wherefore, which also has this effect, and makes its final appearance as a device in Buttercup’s revelation that she swapped the Captain and Ralph in infancy. To make my point clear: Sullivan uses the family of winds alone in opposition to the string family in only 5 places in the score, and in each place, the subject at hand is the precipitous distance in station between Josephine and Ralph. If you are unconvinced, I hope to win you over presently.

There is much to say about the Ballad apart from that detail of orchestration.

Firstly, this is a fine example of Sullivan’s genius for unexpected text setting. If you were a composer and saw the lines:

Sorry her lot who loves too well

Heavy the heart that hopes but vainly

you might place the first three syllables on upbeats in 9/8 as Sullivan did, although likely you’d choose something more pedestrian, like a waltz. Then for the next line, if you saw:

Sad are the sighs that own the spell

Uttered by eyes that speak too plainly

you’d probably notice that those lyrics scan the same way, and you’d set them rhythmically identically. But Sullivan sets Sad not on the upbeat, but on the downbeat, which gives it a tragic emphasis, on the minor 6th scale degree over a half diminished ii7 chord. If you’re at a piano, sing Sad and play that chord. Is there anything more tragic? After bringing the phrase to a wonderful half cadence, Sullivan modulates to the relative major and reuses the first two lines, placing the first note of each phrase on the downbeat this time. In doing so, Sullivan has completely reoriented Gilbert’s lyric, just as Mozart often did to DaPonte’s libretti. Verdi and Puccini would have asked for an amended lyric. Note also that Sullivan’s setting basically ruins Gilbert’s internal rhyme; you don’t even notice it anymore. I think Gilbert meant:

A) Sorry her lot who loves too well

A) Heavy the Heart that hopes but vainly

B) Sad are the sighs 

C) That own the Spell

B) Uttered by Eyes 

A) That speak too plainly

But because Sullivan phrases it over many measures, we hear the second part like this:

Sad are the sighs that Own the spell

Uttered by Eyes that Speak too plainly.

The second part of the aria is in a faster F major, and just as the first half had been tracing gently descending scales, the F major portion traces chords up and down the range before ending on a chromatic melisma. On the repeat, Josephine gets a lovely cadenza up to the B flat.

Sullivan had set texts unusually in the previous operas, but this is a tremendous step forward, and he would continue in that direction in Pirates. 

 

I went into some detail in my Pirates Rough Guide into the way Sullivan shortens his connecting passages to build excitement. I think I called it ‘sawing the end off the diving board’ Here, Josephine’s opening music is shortened the other way, by cutting off the front! In measure 29 and 59, Sullivan moves the beginning of the phrase from beat 1 to beat 2. You can certainly see why he did this; the melody begins on the third, which would spoil Josephine’s cadence. (note also the bold descending tritone in the melody!)

Melody at the Opening

Introduction as it appears the second time

Sullivan would pull the same trick years later in the 3rd Act of Princess Ida in the title character’s aria: I Built Upon a Rock, which is also an Andante in 3/4 time.

I don’t find Josephine’s arias as convincing as Mabel’s in Pirates, but they are very strong. It is important to treat her arias as serious moments; the piece must be grounded and beautiful to work. The situations these characters find themselves in are by nature preposterous, but to make them work correctly, these few moments of sheer beauty must be sincere.

6. Barcarolle: Over The Bright Blue Sea

This sequence is where the opening number pays off! Many people have pointed out the wonderful orchestrational detail of the pianissimo bass drum strikes on “Bang Bang”. And again Sullivan’s melodic fecundity is amazing.

Performance details:

Be sure you are clear about where to breathe at the ladies entrance, and observe the dynamics. The last note on K.C.B. is tied to an eighth note in the next measure. The English have a way of notating cutoffs that I don’t completely understand, except that it’s inconsistent and doesn’t make sense to me. I do hope one day someone will enlighten me further on this. Conversations with colleagues have just led to mutual bewilderment. Cut off that B on the downbeat of measure 20.

7. Sir Joseph’s Barge Is Seen

By rights this should be 6a. The first portion is an elaboration of the opening number, with better voicing for the chorus and a truncated ending. It leads to one of the most delightful passages of delicate woodwind frothiness in the canon. Compare Climbing Over Rocky Mountain, which was originally written for Thespis, and was repurposed for Pirates. That’s quite a nice little tune, but it has nothing on this beautifully filigreed passage. The end of this number completes the musical idea that began in our opening number, and the number that immediately follows will inaugurate a new set of melodies that will be peppered through the show.

In your Schirmer vocal score, the tenors go up the octave for the lines, “And its crowd of blushing beauty” and for “and attentive to our duty.” The original orchestral score doesn’t have this, and neither does the 1878 Metzler, the 1890 Ditson Vocal Score, the 1920 Metzler, or the Dover full score. Only in the Schirmer does this variation occur. The Dover score is pretty good about noting these discrepancies, but it doesn’t make any note about this one. The higher version is much better for the tenors. If it’s an authorized change, I do wonder why it wasn’t incorporated into the version earlier in the show, when Sullivan was alive.

Apparently there is also some confusion about whether the lyric is“duties” and “beauties” or “duty” and “beauty”. Either is good, just don’t mix and match. Be certain your tenors sing fee-are, not feeer. It does, in fact, rhyme with we are.

The ladies vocal line here is fun, but tricky. You have to observe the staccato, and to float as much as possible that top A, which in amateur choruses runs the risk of being somewhat screechy. But the hardest part is to make the low A actually speak at the end of the passage. The alto line in “Sailors sprightly, always rightly Welcome ladies so politely” is rather unreasonable for the amateur, and will require extra care. Recordings often include a crescendo in the lines, Flags and guns and pennants, All the ladies love, Ladies who can smile, and Sailors welcome most politely, and I thought that was an effective choice. In measure 67, when the ladies parts meet the two gentlemen’s parts, it will come off best if we have already established differing character in the 3 sections. The bass part should be separated, even staccato, the women’s part light and dainty, and the tenors as full bodied as possible. If the three parts are all rather characterless, we won’t get much excitement when the parts are combined. The descending chromatic line in measures 78-83 has a potential of going flat. Be sure the half steps are small. Observe the written diminuendo and be sure to admonish your chorus to keep a strong breath support to help with tone and intonation. There are a number of ways to get the last 6 measures across. Often people come to a full stop before Sailors, then switch to 4/4 or a subdivide 2/4 in much slower tempo. Sometimes you hear a break between Ladies and Most politely. Whatever you choose, be sure you’re back in tempo when the orchestra comes in and be clear where you are cutting off. I think amateur choruses will have trouble cutting off on the and of 2 as it appears in the score. Better on 2 itself, or even the downbeat of the following measure.

8. Now Give Three Cheers

If you’re only working from the Schirmer Vocal Score, you may not know that there’s a traditional snare cadence after the first 6 measures and before the Vivace that acts as entrance music for Sir Joseph. It can be heard on a number of recordings. Just as No. 7 closed the loop on the first number, Joseph’s entrance music will reprise many times through the show, evidence of the determination of the authors to further integrate the musical material. Unfortunately for the sake of performance, there are several versions of the Sisters, Cousins, and Aunts refrain, and they are dissimilar in voicing and execution. You will do well to point this out early in your rehearsal process so that your cast can begin differentiating them immediately.

The closing Aunts of the chorus end on beat 4 the first two times in this iteration, and on the 3rd beat of the second measure on the final pass. You should drill in this cutoff as early as possible. It also, one hopes, goes without saying that these are Onts, not Ants. 

9. Song: When I Was A Lad

This patter song is a good deal simpler than My Name is John Wellington Wells in The Sorcerer. It is, in fact, a very close cousin to When I, Good Friends Was Called To The Bar from Trial by Jury. Wells’s number was based on traditional Bel Canto patter songs, but this has the classic Gilbert and Sullivan flavor. In Pirates, they would find a way to marry the simplicity of form they explore here with the melodically complex writing of The Sorcerer. 

As with all patter numbers, the most difficult hurdle is simply remembering the words. There is a notational puzzle in the Schirmer score that is liable to confuse your chorus members who are dogmatic about stem direction. For some reason, there are always one or two chorus members in every group I direct who hold rigidly to the rule that when stems on a staff with two parts go down they are for Altos or Basses, and when stems go up, they’re for Sopranos or Tenors. When the exigencies of some passage require stems to orient based on another consideration, this causes great confusion for some people. On each page of this number in the Schirmer score, there are stems pointing up for the first time through and down for the second, to indicate different rhythms. It’s as simple as can be, but on page 49, the rhythms of the choral echo are so different that the measures look truly awful. Teach the rhythm by rote, or you’ll wind up explaining what’s going on many many times, as I did!

There are a lot of words here, many to mis-pronounce if you’re not careful. “Clerk” is pronounced “clark“. “Poss examination“, not “PAAS examination”, “so syooted me/he“, not “so soooted me/he“, “Pah-lee-uh-ment“, not “parlumint“. That’s a start.

In verse 4, Sir Joseph sings “the only ship that I ever had seen”, and the chorus echoes: “the only ship he ever had seen”, with no “that“.

It is traditional to perform the end of the 5th verse and the entire 6th verse slightly slower. Be sure when you get to “…by making me the ruler…” and “…and you all may be rulers…” that the tempo picks up again, or you’ll have a devil of a time coordinating your chorus entrance.

SIDEBAR: In May 1945, George S. Kaufman’s Hollywood Pinafore, or The Lad Who Loved A Salary opened at the Alvin Theatre. It was a spoof of Pinafore that took place in a motion picture studio. That may sound off to you, and it is a little goofy, but consider this dream team: It was written and directed by Kaufman, who had written for the Marx Brothers, the plays Merrily We Roll Along, The Man Who Came To Dinner, and would later win a Tony directing the original Guys and Dolls. Buttercup was played by Shirley Booth, who would win a Tony, an Academy Award, and a Golden Globe in the 1950s. And William Gaxton and Victor Moore would play Dick Live-Eye and Joseph W. Porter, they had starred together in the original casts of Cole Porter’s Anything Goes,  Gershwin’s Let ‘Em Eat Cake and Of Thee I Sing. They were the powerhouse comic team of Broadway in the 1930s and 1940s. The story goes that Kaufman ad libbed part of Joseph Porter’s lyric for this number, and a friend suggested he write the rest of it.

My favorite parts of Kaufman’s Porter lyric run like this:

When I was a lad I tried my hand

At every business in the land

My list was most diversified-

I sold umbrellas and insecticide.

(He sold umbrellas and insecticide)

But I could not make Anything go,

So now I am the ruler of the Studio

(But he could not make anything go,

So now he is the ruler of the studio)

I drove a truck and I worked in a bank

And at both those jobs I really stank;

I also made asbestos pies

And I manufactured artificial butterflies

(He manufactured artificial butterflies)

But in all that time I never said “no”,

So now I am the ruler of the studio

(But in all that time he never said no,

So now he is the ruler of the studio)

9a: For I Hold That On The Seas

There is again a drum roll/cadence that traditionally goes between the 9 and 9a that is not in the vocal score.

This reprise of the Sisters, Cousins and Aunts is in Bb this time, so all the voicing is completely different in the chorus parts. Thanks, Sir Arthur.

10. Glee: A British Tar

This is the first of two major patriotic pieces in Pinafore. Another sidebar here: when Gilbert and Sullivan were in their first full flush of success, they made a concerted effort to consolidate their gains and push into America and the continent. In their American effort, they supervised an authorized Pinafore and gave us The Pirates of Penzance, the history of which I elaborated on last year. But their effort to connect with Germany wasn’t as successful. It did produce an 1882 German vocal score, which you can still look at on IMSLP. It’s really a wonderful translation, and there are some places where the translator is actually funnier than Gilbert! (for brief moments) I bring it up here, because in the German version Amor am Bord, the sailors are not English. And in this number, they’re just sailors:

Der Seeman ist gar ein leichtes Blut

And if you were wondering how the Kaufman rewrite went, they are writers:

A writer fills the lowest niche

Of the entire human span

He is just above the rat

And should always tip his hat

When he meets the garbage man

His lips should tremble

And his face should pale

His steps should falter

And his eyes should quail

He should live somewhere

In a ‘dobe hut

And he always should be ready for a sal’ry cut.

In the Kaufman spoof, when that section is reprised in the first act finale, it really has a nice punch, because it’s reiterating how low Ralph’s position is as a writer instead of his high status as an Englishman.

If your 3 principal singers are good enough, you should let them sing the a cappella sections without you managing them from the podium. Beat the measures for the sake of the orchestra, then begin directing everyone 2 measures before the Piú vivace for the sake of the rall. and the fermata.

I’m sorry to say that I find the orchestration at the Piú vivace somewhat ineffective. It’s thinly scored at measure 21 for the strings with no double bass at a piano dynamic, which makes it difficult to use the orchestra to help establish the new tempo coming out of the a cappella section. By the time the double bass and winds join in, you have had perhaps a devil of a 4 measures trying to coordinate things. It is not at all clear in the piano vocal, but if you bring the chorus in at a real piano dynamic, they stand a fighting chance of being together with the orchestra.

It’s a testament to Sullivan’s interest in developing his material over the course of the operetta that he does not give this tune its full due here. He is saving something for later, as we shall see.

11. Duet: Refrain, Audacious Tar

This is one place where I most feel Pinafore is a rough draft of Pirates. Stay! Frederic Stay! follows strongly the outline of Refrain, Audacious Tar!: In both numbers an allegro chromatic opening gesture in the orchestra leads to two octaves establishing a minor key. An exciting and declamatory allegro is followed by a slower passage in 3 in the parallel major, even though it’s a melancholy sentiment. But that’s where the comparisons end. Stay! Frederic Stay! then follows with a plot-driving recitative and a thrilling Allegro vivace in the relative major. It’s very close to perfection. By comparison, Refrain… doesn’t pack as strong a punch. Without Pirates to compare it to, though, we have to marvel at how far Gilbert and Sullivan have come since The Sorcerer. The classic G&S situation for duet between the romantic principals is one in which a character is of two minds, a public and a private one. the resolution of the plot comes when the two minds are somehow reconciled. In The Sorcerer, Alexis and Aline reach their most conflicted state in Act 2 over the matter of whether Aline will take the potion as Alexis demands. His expression of his sentiment comes in an Aria, and her decision to acquiesce later also happens in a brief aria. That critical juncture between the two characters had happened in individual moments, not jointly. Here in Pinafore, the authors have finally figured out how to bring the music to bear on the dramatic situation, and how to depict the conflict using all the forces at their disposal.

You will need to make some decisions together about the way the ending works. Since the duet goes somewhat out of time, you can sing the grace note a number of ways successfully, provided you all agree on the approach.

12 Finale: Can I Survive This Overbearing

In Pinafore Gilbert and Sullivan made striking headway in writing finales, an area that has stymied composers and librettists for centuries. Lorenzo Da Ponte, who wrote the words for Mozart’s greatest operas wrote the following in his memoirs:

“This ‘finale’, which has to be closely connected with the rest of the opera, is a sort of little comedy in itself and requires a fresh plot and a special interest of its own. This is the great occasion for showing off the genius of the composer, the ability of the singers, and the most effective ‘situation’ of the drama. Recitative is excluded from it; everything is sung, and every style of singing must find a place in it-adagio, allegro, andante, amabile, armonioso, strepitoso, arcistrpitoso, strepitosissimo, and with this the said finale generally ends. This in the musician’s slang is called the chiusa or stretta- I suppose because it generally gives not one twinge, but a hundred to the unhappy brain of the poet who writes the words. In this finale it is a dogma of theatrical theology that all the singers should appear on the stage, even if there were three hundred of them, by ones, by twos, by threes, by sixes, by tens, by sixties, to sing solos, duets, trios, sextets, sessantets; and if the plot of the play does not allow of it, in defiance of his better judgement or of his reason, or of all the Aristotles on earth; and if he then finds his play is going badly, so much the worse for him.”

Trial By Jury had the virtue of being so short as not to require a complicated Finale. After the main problem of the piece is solved, the operetta reprised a bit of the judge’s tune and we were on our way.

Act I of The Sorcerer had ended with a number of the elements DaPonte laid out in his memoir: The cast was assembled, we heard a very memorable drinking song, an ominous and brief trio, a beautiful duet, and a full ensemble of confusion, such as one might typically find in a standard Offenbach operetta. Act II began with 3 pages of a comical scene, and then an exact reprise of the song that closed Act I.

The Act I Finale of HMS Pinafore integrates solos, duets, trios, and large scale ensemble work with constant commentary by the chorus in an amazing balancing act that shows absolute mastery from composer and librettist. It incorporates declamatory solo work, moments of pathos, threats, and patriotism, a near suicide, a patter song for the chorus and principals at breakneck speed, a sea shanty, and finally, a restatement of “A British Tar” which does not merely repeat the previous iteration, but is a major expansion and rethinking complete with one of Sullivan’s delicious harmonic left turns. The fleshing out of A British Tar feels less like a reprise and more like a payoff, as though this is the way this tune was always meant to be played out, and we are only at that moment hearing it properly.

As usual, the First Act Finale is the most difficult piece to manage as a conductor. I’ll give you some tips on managing the complicated factors at play here.

Be sure your chorus is clear on the rests in their first entrance, and make sure the word “cheer” has no ‘r’ in it. There are a lot of ‘t’ cutoffs here, it’s a great place to create real precision in your chorus.

Deadeye’s part is quite rangy. Have a listen to some of the historical recordings, and you’ll hear some options of sections to potentially speak, if the notes prove impractical for your actor. Incidentally, Deadeye’s passage “You must submit, you are but slaves” is one of the handful of passages I alluded to earlier where the winds are playing opposite the strings. Deadeye tells them they are slaves to the accompaniment of clarinets, bassoons and horns, and that she is a lady to the accompaniment of strings.

When Ralph sings his “My friends, my leave of life I’m taking…”, note that the chorus echoes with slightly different words than Ralph sang. Note that “faithful” is 2 eighths, not a dotted eighth-sixteenth pattern. Also somewhat problematic is the fact that only the sopranos sing the word “that” in the last phrase. This will be super counter-intuitive for your altos, tenors, and basses.

The way the vocal score lays out the chorus passages, “Ah, stay your hand…” and “Yes, Yes, ah Yes!” is potentially confusing. The sopranos and altos are meant to sing the higher note in the normal treble clef, the tenors and basses the lower note as notated, not the octave lower as might be notated with the tenor 8va basso treble clef. I hope that makes sense. Of course, altitude challenged altos may sing the lower note with the tenors if necessary.

The Allegro vivace “Oh, joy, oh rapture…” is an extraordinary passage in a style that Sullivan had explored several times in Act II of The Sorcerer, and an orchestral texture he would return to many times again in the future. The effect is achieved with a very quiet arpeggiated accompaniment in the violins and violas activated into sixteenth notes, the 2nd violins, cellos and basses punctuating the pattern in 2 measure pizzicato phrases. Over this very exciting but very quiet texture, the winds emphasize the most beautiful parts of the melody in a subtle legato. It’s simple, but very sophisticated, worthy of Rossini or Offenbach, for sure. And when Deadeye’s material is introduced and then applied into that texture, the horns begin playing offbeat octaves as the pizzicato portion of the texture speeds up. One gets the sense that Sullivan is holding some forces in reserve; there’s more to do here, and indeed he’ll get to that later. As you’re rehearsing this passage, keep the dynamic quiet, so that you can achieve all that subtlety in executing it with the orchestra.

The passage that follows is the nail-biter for the conductor, sitting, as such passages always do near the conclusion of the First Act Finale. Choose your tempo wisely, because you’ll be stuck with it when everything is happening at once. In truth, Sullivan wants this tempo to be exactly the same as the previous tempo, so you’ll really need to be thinking very long term to get that speed just right. As the principals begin to introduce the theme, make sure you observe the rests. When the chorus is introduced, again reiterate the importance of the rests, and decide where the consonants go when a rest comes between two halves of a word. For example, I chose: “this ve- ry”, not “this ver- y” as it’s written. I think “mu-ffled” is particularly important. Incidentally, you may not know that music engravers are required by the conventions of their craft to break up words as they are broken up in a standard dictionary, not by where the consonants lie artistically for the singer. In the US in the 50s and 60s, there was a move to overthrow this convention in choral music, but the results looked preposterous, and so now we’re back to the old way. You are not breaking the composers intention by moving consonants tastefully to the next syllable.

You will probably find that the bass part in this passage lies too low for some of your singers. Truthfully the alto part is low as well, but the bass part is actually going to be out of range for some of your basses. The tenor part is available for use at that point, and some of your tenors can pop up and help those altos if necessary, although most altos I know are proud of their low Gs and will resent the offer of assistance. Honestly no one will hear any of your low basses on those E flats in context. The bassoon is perhaps going to be mistaken for a bass at that point, which is all the same, frankly.

When the meter switches to a big 3/2 and everyone is singing, I have to confess that the choral scoring is not ideal. In our production, we did it as is, but there is potentially a way to alter it to make it lie better in terms of range and balance. Let me show you what I mean:

It’s clear Sullivan wants the melody to come out strong, since he’s marked it forte and all other parts pianissimo. In the autograph score and the other early sources, Deadeye sings the Boatswain’s part here and The Boatswain takes the Carpenter’s line. But let’s assume for the sake of discussion that we have a chorus of 24, and let’s assume the fantasy that there are exactly 6 on a voice part. (yes, I know this is ludicrous, but one has to start somewhere) This means that there will be 13 people singing the rather difficult melody, including Altos who will be singing a G above the staff in the measure following this excerpt. There will be 7 people on the very bottom part and 1 person on the Baritone part. (sung in the above score by the Boatswain) The finest tenor onstage, Ralph, will be singing essentially a second tenor part alone, while 6 other tenors and one principal Mezzo will sing a first tenor part just slightly higher. One mezzo alone will sing what is essentially a standard alto part. So counting from the top to the bottom, this would be the distribution of parts: 13, 1, 7, 1, 1, 7. This strikes me as kind of silly. If you have the time, you might redistribute things thus: All sopranos and Josephine on the melody, Forte. (that’s 7 people) Half the altos and Hebe on the top part, second line from the top, piano. (that’s 4  people) The other half of the altos and Buttercup on the lower note of the second line from the top, piano. (that’s also 4 people) All the tenors and Ralph on what used to be Ralph’s line, pianissimo. (that’s 7 people) The baritones, the Boatswain, and Deadeye on the Boatswain’s old line, piano. (that’s 5 people) All the 2nd basses and the Carpenter on the Carpenter’s old line mezzo piano. (that’s 4 people) This distribution is 7,4,4,7,5,4. If people are paying attention to dynamics, especially those tenors, I think this works better, and you still have a principal grounding every part. In reality, you probably don’t have as many chorus tenors anyhow.

However you manage this passage in terms of the voicing, you will need to observe some important precautions to get a good ensemble.

1. When you teach this melody, take a lot of time clarifying the 3 versions of the descending passage slowly, or you will never ever get it in tune.
2. In any passage like this, be very clear what each part is doing. The choral/chordal parts are not the main event, they are a texture below the melody. They should be piano, and extremely short, all rests being observed. This melody is also marked staccato, but it has no rests, so we should hear a long stream of delicate filigree. If the two parts have the same character, we lose the effect.
3. There is a danger for each of these two musical components: The melody part has no place to breathe. If the singers try to catch a breath and jump back in, they will muddle the line and slow things down. Those singers need to drop a note or two whenever they catch a breath and sneak back in. The accompanimental part has rests. The notes after the rests will likely want to rush. Amateur singers also often breathe during each rest. In a passage like this, that’s a recipe for hyperventilation and also contributes to rushing. These tendencies lead to a strong potential for the singers falling out of sync with one another and the orchestra.
4. Gilbert’s lyric here is wonderful, with an incredible double triple rhyme scheme: ABC ABC DEF DEF. Point that out, and drill the words without the music at half speed, a quarter speed and full speed, eliminating American Rs and clarifying plosive consonants as you go.
5. Take a little time to get the group to watch you. I like to conduct speeding up and slowing down preposterously to get the group responsive to my beat, then I tell them to watch me as though I’m going to do that, even though I won’t. Try that, I bet it’ll work wonders. Incidentally, (and this is kind of important) it’s good to remind your singers that when they’re watching the conductor well, it will sometimes feel like the conductor is speeding up or slowing down erratically. That’s because when the conductor is trying to correct an out of control tempo, you should feel an adjustment. If you don’t feel the reins, maybe you’re not connected to the chariot.

Incidentally, the German version of this section has an impressive and difficult translation which has an easier rhyme scheme. If your German is good enough, try this on for size:

In dieser Nacht,
wenn Niemand wacht
nahn leise wir
wir sind schon hier,
Still schleicht ihr fort
zum Kirchlein dort,
sie wird als Braut
ihm angetraut!
Ihr werdet sehn,
es wird schon geh’n
und Niemand kann
sie trennen dann.

In dieser Nacht wenn Niemand wacht…

At the tail end of this passage are 2 problems. At the final “none, none”, the chorus will probably want to hold the second “none” as though it had a fermata. The fermata is on the rest, not the note. Then when the whole thing opens out into half notes, there is usually a tendency to rush. Try to get the chorus to feel the big 3 beat in the previous passage and maintain that throughout. There is no ritardando here.

I also feel the need to point out that the 5 measures that connect this passage to Deadeye’s final outburst are exquisite, and the chromatic descending line in the bassoon and horn combined with the chromatically altered melody would be the envy of many a Romantic composer.

Deadeye has an ominous recitative here, which is right where it would need to be to deliver a piece of information that ruins everything. In the same spot in Pirates, Ruth has a section of Recitative where she begs not to be abandoned. In Patience, this is the place where Grosvenor comes to ruin Bunthorne’s fun. There are analagous places in the First Act Finales of every subsequent Gilbert and Sullivan operetta, but probably the best of these is Katisha’s entrance in the First Act Finale of The Mikado, where she truly rains blight on our festivities. Here, I can’t help the sense that Deadeye is not much of a threat to these goings on, and one wishes Gilbert had given Deadeye the agency to insinuate he’d tell on the pair. As it stands, we simply laugh to see him ignored.

The orchestra parts have some more dynamic variety than the Vocal Score lets on in the following Allegro. When the Tra las begin, the strings drop out, and the winds are marked piano, it’s suddenly very rustic. You might instruct your chorus to drop in volume there. The strings reenter forte when the sopranos have the melody alone. The dotted half note ‘La’s in that passage in the Altos, Tenors, and Basses should be sfzps, to let the melody clear, and do be careful not to rush that passage.

The British Tar reprise that begins here is really interesting, because Sullivan has written a brand new melody on the lyric of the original Glee for the women to sing. I found it more difficult to manage the lyric in this tune at speed than the mens part is 16 measures hence. I think you will want to get that women’s part as quick as you can manage, or the following passage will feel a bit soggy and slow.

The final stretto of the Finale is brilliantly done. Again, enforce a clarity of differentiation between the principals, who are putting across a very legato line, and the chorus, who are punctuating the line with little bursts of excitement. It’s easy to miss the Stringendo at the bottom of vocal score page 92, which speeds up to the Più vivo at the top right corner of page 93. At the bottom of 93, right on time, is one of Sullivan’s signature harmonic left turns. The one near the end of Trial by Jury heads toward the key area of VI major. The WOW moment harmonically at the end of the first act of The Sorcerer is an absolute shocker, a left turn toward flat III major, from the key of B, briefly into the key of D major. Sullivan must have sensed he was onto something, because this one also points toward flat III, from an E flat major tonality into G flat major. Bel Canto composers sometimes do this trick, but Sullivan manages to make it seem effortless and inevitable. Rather than seeming like a ‘predictable surprise’, I always feel like when I get near the end of Act I, the master is going to step up the plate and is always going to hit a homer.

I don’t know why Buttercup doesn’t have a line with the principals. She might sing with Hebe if you need the line fortified. Or perhaps you could create a line that incorporates Ralph’s higher notes. Or have her sing with the chorus. Or she could hold up a sign that says, “Gilbert forgot I was on stage.”

One further thing before I conclude the first act here: Your sopranos are all going to want to pop that high B flat at the end. You really only need one or two up there. Say that in your rehearsals when you’re learning the piece, and then when you get off book and on stage, periodically remove some chorus sopranos from the high B flat. It’s like cleaning a fish tank.

ACT II

Entr’acte

The Entr’acte is really quite short! I conducted the first 5 measures in 3, including the pickup to the 6th measure. Then I switched to a beat per bar, moving back to 3 for the rall. moments.

13. Song: Fair Moon, To Thee I Sing

It’s going to take a little time to unpack this one. Rutland Barrington, the original Corcoran, disliked the song, and asked to have it replaced. It seems to have been removed and then put back. It’s rather a difficult aria to sing well. We were fortunate to cast an exceptionally good tenor, who sang it in the original key of D. You should know right off the bat that the song was originally in D, but is often performed in C. When you get your parts, check the key. A whole step makes a huge difference here.

The vocal score is also misleading in another respect. The first measure is a horn, marked mp, not p, and the f chord in measure 2 is a pizzicato pluck from the strings. Banging that staccato chord at a forte on the keyboard is not at all the effect of the string section playing it pizz. When you see the accompaniment figure that follows in the piano score, you’re liable to use pedal and pretend it’s Schubert. It isn’t. That accompaniment is also pizz, very dry, an imitation of the mandolin he’s playing onstage. Pedal from measures 14-16, when the winds come in and play chords, and pedal from the second half of measure 28 through the downbeat of 38, where the winds add warmth and pathos to Corcoran’s lament. Note also the piano marking at measure 34. (which doesn’t make it into the orchestral parts in every edition by the way) If your singer can pull off that line at a quiet dynamic, it’s exceptionally beautiful, but quite difficult in that register, which sits right in most people’s passaggio.

Singers with Bel Canto experience will recognize this type perhaps more readily than the general public. If the text were Italian, a listener would likely peg this as Donizetti or maybe Bellini. Think Quanto è bella or Spirto Gentil for example. You’ll want a somewhat flexible rubato around the important cadences, an unobtrusive accompaniment, and a long beautiful, well supported line that culminates in the final phrase. The more beautiful the singing, the funnier the goofy lyric will be. After all, the template for these pieces are very serious love songs, and Corcoran is just annoyed by his job and his daughter’s inconvenient love life.

14: Duet: Things Are Seldom What They Seem

The simple duets between secondary characters that appear in the second acts of G&S are uniformly delightful. Along the lines of Wells and Lady Sangazure’s duet in The Sorcerer is this oddball list of truisms.

In his children’s book, Gilbert writes:  “though very uneasy at her portentous utterance –– was rather disposed to pat himself on the back for having tackled her on her own ground in the matter of stringing rhymes, and (as he thought) beaten her at it. But, in this he was wrong, for if you compare her lines with his, you will see that whereas her lines dealt exclusively with people and things who were not so important as they thought themselves to be, his lines were merely chopped-up proverbs that had nothing to do with each other or with anything else.”

Performance wise there is not much to say about this duet. The verses are fun and well scored. You need to train your singers to watch for your entrances after the fermatas and to be sure the phrasing of the sections they sing together are lined up to match. The last 9 measures are marked p in the full score, with a slow diminuendo to the pp in the 3rd measure from the end, but these details do not appear in the vocal score.

Gilbert has a few other wonderful and telling comments in his children’s retelling of this number.

The Captain replied:

“Yes, I know

That is so.”

Then, beginning to feel his feet, as the saying is, he ventured into deeper water:

“Though to catch your drift I’m striving,

It is shady- it is shady.”

(He repeated ‘it is shady’ to give him time to think of the next rhyme, though he pretended that the repetition was part of the structure of the verse)

The Hollywood Pinafore version of this has a funny parody lyric:

Hollywood’s a funny place

Big stars little starlets chase

Little girl Ermine wraps

Till a multitude of laps

(Very true

So they Do)

Somehow all the weekly checks

Definitely hinge on sex.

One man fills another’s shoes

Hard to tell whose baby’s whose.

(So they be

Frequentlee)

Then later:

Though I’m anything but clever,

I could talk like this forever;

Films about a Chinese sleuth

Play to millions in Duluth.

15: Scena: The Hours Creep On Apace

After a bit of very funny dialogue between Sir Joseph and the Captain comes Josephine’s wonderful scena, in which we catch more glimpses of G&S greatness to come. Gilbert has provided a lyric full of unselfconscious character development mixed with real pathos, and for his part Sullivan gives Josephine a real Bel Canto aria, complete with sighing motives, a declamatory recitative, and some very impressive high work near the end. This is head and shoulders above anything Sullivan has written for soprano before.

Sullivan isn’t blindingly obvious about the way he uses winds vs. strings as a metaphor, but we are clearly hearing them at the beginning being used oppositionally against one another. Just as Josephine is weighing in her mind the two warring stations available to her, should she follow her heart or her head.

The recitative section is difficult to conduct through. Give the downbeat, and beat 2, and wait to give beat 3 until the word that rhythmically allows you to set up beat 4 for the orchestra. For example, in the first fermata, Beat One and Two, she begins singing. Line up beat 3 with “armor”, and by the time she gets through ‘and old’, you’ll be right on track to get the orchestra in on ‘brasses‘ on beat 4. The trickiest one is ‘pillows‘. Make sure your singer knows not to put any pause between ‘pillows‘ and the words that follow, because the next measure comes in time hot on the heels of the one before. This difficulty may not occur to you until you bring in the orchestra, so keep your ears out for it early in the process. “Luxurious” is pronounced lugzyoorious. (as I hear it), and “papa” is pronounced with the accent on the second syllable.

Incidentally, the German version is stupendous here:

I had a tendency to start the Allegro con spirito with a little too much spirito. Make sure you’re in the tempo you want the sung section to be in.

At measure 63, on the word “duty“, watch that the two half notes bear some relation to half notes, even with the rallentando and the turn involved, otherwise you’ll find it tricky to know when to resolve the chord in the next measure.

The dynamics in the number are clearly and carefully laid out in the full score, and largely absent from the piano vocal. They really help shape the number. For those of you who don’t have access, I’ll lay them out by measure from the top where they’re missing from the pv. (all dynamics in orchestra, not vocal)

m. 9 sfz m 11, sfz, m. 12 p, m. 14 f, m. 17 p, m. 23, beat 3 f, m. 24 p, m. 26 cresc. m. 28 implied mp in strings, p in winds. crescendo to f as it appears in vocal score. m. 32 p, then dynamics as they appear in piano score until m. 77 cresc. m. 80 beat 2 f, m. 82 p as written, then dynamics are correct for the rest of the number.

16: Trio: Nevermind The Why And Wherefore

If this isn’t one of the catchiest tunes ever written, I’d like to see what is. It’s also pretty shockingly chromatic! The first part of the tune hits every note except C and D as it sequences a descending turn, ratchets up by interlocking thirds and finishes off with a few descending tetrachords and a modulation to the dominant. There’s quite a lot going on there, and it’s amazing how effortlessly it plays out.

The second part of the tune reduces the melody to a simple drone, while the woodwinds pipe away at a shanty. The end of that section is an example of that motif of woodwinds alternating with strings that’s been running subtly through the operetta. As the three characters toss back and forth a list of the characters in the love triangle complete with social station, the winds and strings play their own game of back and forth. Sullivan is musicalizing the dichotomy at the center of the story. Added to that clever instrumentation is the traditional association of a highly chromatic melody with the upper class and the association of simpler music over a drone with a more modest social station. Contemporary audiences would I’m sure have recognized the two musical worlds at play here. When Mozart does these things, we write papers about them. When Sullivan does them, academia yawns….

There isn’t anything particularly difficult about performing the number if you’ve cast the right people. The vocal score doesn’t clarify whether the top or the bottom line is the Captain or Sir Joseph when the two are notated on the same staff.  In the Dover full score, the Captain takes the high part, but the other way would work as well.

17: Duet: Kind Captain, I’ve Important Information

I really envy Sullivan’s restraint. In my own writing, I tend to throw everything and the kitchen sink at every problem. (rather the same way I write these posts!) But Sullivan knows that all you need to pull off a number like this is the full string section and a piccolo.

Incidentally, the part seems to have been written for flute and then switched to piccolo at some point before the part was engraved. The little solo is somewhat tricky to get in tune on the piccolo; be wary.

This is also the spot where Deadeye actually does something to advance the plot!

This post is not aimed at directors, but if one happens to be reading, it is important to actually have a cat-o-nine-tails on stage here, so that modern audiences are aware of the instrument of discipline about which they are speaking. If you don’t, the bald-faced pun in the next number will fall somewhat flat. Fortunately the cat-o-nine-tails has been phased out of our cultural experience.

18: Soli and Chorus: Carefully on Tiptoe Stealing

This is actually the third longest passage in the opera without dialogue interrupting. It’s the meat of the second act.

Again, if you’re at all familiar with Pirates, you’ll hear this and immediately think of “With Catlike Tread”, which takes this exact joke, adds a pinch of Verdi and turns up the volume. I imagine Gilbert got a sense of how funny it was to see sailors cowering in fear at a loud noise and realized it would be even funnier if the scaredy-cats were policemen.

In the Hollywood Pinafore version, they bump into the microphone:

Goodness me!

What did we strike?

Silent be!

It was the mike!

The Dover full score indicates that the original autograph has the dynamic pp from the beginning, but a f dim. to pp over the first 2 measures marked in crayon. That’s a more effective opening, for sure. Be sure your men observe rests and staccati, and when your orchestra arrives, let them know to really bang out the fortissimo tutti chords without you having to telegraph them, so that the audience can really get a nice jolt. Also work to line up your chorus cutoffs, especially when they close on the letter ‘t’. That’s a nice moment to show choral uniformity.

The full score breaks at the Allegro before the Captain’s “Hold!” into 18a, and the orchestral parts we used broke up other numbers in yet other ways. Try to obtain the full score of the version you’re using or a first violin part at the very least and compare number by number, measure by measure to save yourself much rehearsal time. A very important error to correct in the piano score: violin and flute join Corcoran on his pickup “Pretty” on the way into the Vivace section.  This is important because without it, you’ll rehearse with Corcoran thinking he’s in charge of the entrance, which actually needs to coordinate with the orchestra.

To continue the theme of Sullivan’s use of musical motives to connect the piece, many have remarked on the fact that Josephine and Ralph are accompanied in their duet “humble, poor and lowly born” by a flute playing Corcoran’s angry melody. It’s a witty touch, perhaps depicting Corcoran’s simmering rage.

The ‘He is an Englishman’ that follows is the second and more famous patriotic moment of the piece, and although it’s customary to say that the melody is Handelian, I hear Elgar. No matter, just be sure to have long, legato lines with tall vowels. There is a canon in the clarinet at measure 109 that you will need to look up in a full score (or perhaps the clarinet book on imslp, remembering to transpose) to write into your vocal score. Much has been made of this elsewhere on the internet, and I’ll add that if your singer isn’t used to hearing the countermelody, he is liable to think he’s missed a cue and come in wrong. Your Boatswain will have to manage his breath; these are really very long phrases indeed. This may have some bearing on the speed you choose for the passage.

The captain’s sputtering reply, “In uttering a reprobation…” is a stroke of genius, and you must observe the goofy rhythms and pauses to get the full effect of his exasperation.

In Gilbert’s retelling for children, he softens Corcoran’s curse to the milder, “Hang it!”

The chord the chorus sings on “Oh!” often becomes a shout, but the chord is an effective diminished outburst. The soprano, alto, and tenor notes can be pulled from the prior melody. The bass note needs to be drilled, it’s a tritone from the F that’s so prominent around there.

Note also that the “he said Damme” passages are marked pp, which came as a shock to American audiences when the first English company brought it to the US. All the bootleg companies had been singing it in full chest voice.

There are some conducting pattern issues in the passage that follows. At the Moderato when Sir Joseph comes back in, you should really conduct in 2, despite the common time marking. The Captain’s phrase, “My Lord, one word” should really go back into 4. Then when Sir Joseph sings “I will hear of no defense”, you should go back into 2. When the chorus reenters at the bottom of Vocal Score page 142, you could be in 2 or 4 based on your own preference for that passage. I think both options are potentially effective. Thanks to Bob Binkley for pointing all that out to me early in rehearsal.

We haven’t heard the sisters-cousins-aunts thing for 86 pages, and Sullivan reverts to the original key and voicing we saw on page 44-45 of the vocal score. There is an error in the piano vocal on page 144; the cousins and sisters have been swapped on the second system. This error is perpetuated in the Dover full score. The inverted version spoils the rhyme. One further detail; the stringendo molto, the sempre stringendo, leading to the vivace of that passage are not normally observed. I don’t think it works all that well. You can try it for yourself if you want to be more authentic.

The reprise of He Is An Englishman is in a higher key now and fully harmonized. Fortunately, this harmonization is identical to the one at the very end of the opera, so you don’t have to learn this particular one twice. Choosing the places to breathe in this passage is tricky. Make a good faith effort at aligning breaths or just tell everyone to stagger their breathing and go for the longest possible legato.

The full score has 2 extra measures of the same chord at the end, which were apparently in the autograph, but have since been deleted. They are not worth reinstating. If your full score has extra, just cross them out.

19: Octet and Chorus: Farewell, My Own

The opening of this Octet comes off a little oddly, since the dialogue has gotten us to a fairly fraught state, and Ralph’s peaceful C major farewell seems really out of left field. Perhaps it’s a joke I don’t get. It leads, however to a miniature madrigal in Sullivan’s best style. How charming that there is a telephone in the lyric. At that point, the telephone was quite new.

Sir Joseph’s entry should pick up the tempo slightly, I think.

Deadeye’s part in the Quartet is hard to find and to sing at a quiet dynamic. You can perhaps add Buttercup to the part and move Deadeye to one of the two lower parts without doing violence to the score or the situation.

When the chorus enters, be certain your sopranos aren’t ‘helping’ Josephine on the high C. The chorus soprano part is low, but Josephine is all you need up there. (provided you casted well)

Someone may object that in measures 54-57 the winds play without the strings, which muddles my earlier argument, to which I point out that the strings are in some versions of the orchestration, and that the passage was not in the original production and is not in Sullivan’s handwriting.

At Sir Joseph’s entrance “my pain and my distress”, establish the new tempo with those two quarters, and conduct in 2. At the chorus entrance, be sure to trip the ‘r’ in ‘terrible’. Also, note that the last quarter in the right hand after Buttercup says, “Hold!” should really be tremolando 16ths in the right hand as in the following measure. In that tremolando measure, the left hand should have eighths, not a tremolo. If you get used to it the other way, it will strike you and the cast oddly when the orchestra joins you.

20: Song: A Many Years Ago

What a magnificent number this is! And how clever of Gilbert to bookend the entire operetta with Buttercup’s songs!

The opening orchestral introduction is about as German as you might want. It sounds like Carl Maria Von Weber to me. But you may hear Schubert’s Erlkönig as well. Whatever is about to happen, there’s Schrecklichkeit afoot.

When you rehearse your chorus, you must take great pains to observe Sullivan’s rests, which are based on the needs of the text and not an arbitrary pattern. Crystal clear diction, a slightly breathy, quiet, supported piano, and deadly serious clarity will make the choral parts very funny.

In his children’s version of the story, Gilbert hilariously makes fun of his rhyme by inverting the necessity of it. He footnotes ‘upper crust’ as follows:

“A vulgar expression intended to imply that one of them belonged to a family of some social importance. It is not an expression that I can recommend for general use, but Little Buttercup wanted a rhyme for ‘nussed‘, and there was no other word handy that would do.”

The Schirmer vocal score is missing the accompaniment in the last measure of page 153, and the first 3 measures of 154. The same passage is missing in the 2nd through 5th measures of 156. I don’t believe this error is listed in the standard errata. Both passages should be accompanied as follows:

Insert this missing passage into the accompaniment of your Vocal Score at measures 29-32a and 64-67a

This is also the final payoff of the winds vs. strings thread that’s been running through the show. The winds play rustically here in opposition to the string family just as Buttercup unravels the main problem of the piece.

Before I move on to the Finale Ultimo, I have to share the German version of Buttercup’s reveal, which I have to say is funnier than the original. (Please, no hate mail)

Und nun, damit ihr’s wisst:

Ralph ist der kleine Feine,

Der Captain aber ist

der ganz gemiene Kleine

Which translates roughly:

So now you know:

Ralph is the little fine one.

But the Captain is

the very common little one.

The rhyme and the wordplay there are ganz und gar fantastisch.

There is a cut recitative that goes between 20 and 21. It’s fine, but it’s just as good spoken. The Dover score has reconstructed it should you want to use it.

21: Finale: Oh, Joy, Oh Rapture Unforeseen

The Finale Ultimo is less ambitious than the first Finale, but as if to hammer home the point of thematic unity of the operetta, the closing number of Pinafore includes no fewer than 4 reprises of previous numbers. It is what we might call a ‘megamix’ in today’s parlance, one final chance to catch these melodies before leaving.

There is an error in the Schirmer vocal score in measure 26, where the Captain should have “For he” with two E flat sixteenths and “is” in the following measure on the downbeat. The Autograph full score, and all the early Vocal scores have it that way.

Again, alter the chorus echo cutoffs here and on the next page so that they match the earlier versions as they appeared in the first act. There is no conceivable value in arbitrarily changing these note values for the end of the show simply to remain true to what was probably a memory lapse.

Traditionally there is a pause after “But wherever I may go”

The final version of sisters-cousins-aunts is harmonized differently than any of the other versions. You’ll have to learn and probably drill each individual version to keep them straight.

At the very end of the show, there is a rather ineffective original ending that appears in the Schirmer score. It is likely not the version your orchestra parts will have, and it’s not the version commonly used. The ending used since, apparently 1914 goes like so:

There is one other ending with Rule Britannia which was added in 1887 to celebrate Queen Victoria’s Golden Jubilee. It was not in use at D’Oyly Carte by 1924, when I believe it had fallen out of fashion.

A hand copied conductors score from this time period was recently given to me by a dear friend. It includes the Rule Britannia ending (and no other).

Should you require music for Bows, I suggest beginning the Overture at the Allegro Vivace, measure 72 and playing to the very end.

Your Pit Orchestra:

With regular musicals I sometimes counsel music directors not to hire all the players, but with G&S, you’re dealing with a true orchestral color, so I think it best to hire as much of the orchestra as you can afford with good players. The original orchestrations are available from Tams, but I can’t imagine why you’d use that when there are available here at a reasonable price or here for free. Reductions can be found here, or here or here for example. (incidentally I think we can now stop reducing this one, fellas)

Better that you do G&S than that you ignore it, but do try and do it properly if at all possible, with Sullivan’s magnificent orchestration in full color! Have fun with your production of Pinafore! I will be including more G&S as I music direct them!