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HLSPL Testimonials | Hal Leonard Hal Leonard Student Piano Library What makes the Hal Leonard Student Piano Library so popular? We believe that comments from teachers around the country best answer this question for us. Here's what teachers are saying about the Hal Leonard Student Piano Library. "I enjoy the Hal Leonard curriculum immensely and have been especially impressed with the patriotic music that has been published. I have converted all my students to the HL series…my students are delighted with the music available in your series. And that is the reason we are teaching - so students can enjoy playing music. Thank you for making teaching a pleasure for me and a joy for the children." - Sandi Denklau, Lisle, IL "I gradually made the switch a couple of years ago to your books as my 'method'…My students LOVE the duet accompaniments!!! I am especially impressed with Book 5 with its inclusion of so many standard repertoire pieces along with excellent jazz/pop arrangements and excellent 'today's sounds' pieces, all using good pedagogical principles. Congrats on a great series!" - Susan Engle, Ann Arbor, MI "What I like most about the HLSPL is the variety of music. All of the pieces are beautiful, with or without the CD. I teach a lot of young beginners, and most method books start out on the black notes, as yours does. The big difference is that the pieces in your method are artistic right from the beginning. The children love the illustrations. And I love seeing results." - Karen Ferguson, Coquitlam, BC Canada "Your method is terrific! After 35 years of teaching you have made my job more exciting. My beginning students feel like they are really playing the piano when I accompany them with your innovative harmonies and rhythms. Even your new lyrics to familiar melodies are so clever and updated they make me and the students laugh." - Connie Garbo, Lake Charles, LA "I am enjoying using your materials tremendously! I've been teaching for almost 30 years and have tried many different methods, but I like yours the best! … I look forward to every new addition you make to the line and am confident that each one will be of the same high quality that I've come to expect from you. Thank you for developing such a MUSICAL way to teach children to play the piano. The duet parts are simply the best!" - Sylvia Eastwold, Montgomery, AL "I just love the accompaniment CDs that correspond to the different method books. I am purchasing these CDs from Level 1 on up and using them with all of my students who use the Hal Leonard method books. I have noticed a significant improvement in the students working with the CDs. Rhythm, timing, and ear training are all gradually improving as I have my students play along with the CDs. I have used most of the other methods available and prefer the Hal Leonard one because of the easily understandable explanations and repetitive drills on new concepts." - Heidi Meves, Green Bay, WI "I came on your website specifically to write you and let you know that I have been using your piano method books from the time that you introduced them. I love them so much. … I wish you could hear some of my students some time. They play so beautifully and learn so much faster and more thoroughly since I started using your method. … Finally, I just want to say thank you for combining your lesson books and CDs at such an affordable price. It has to be the absolute best value in the market today." - Kristi McIntyre, Franklin, TN HAL LEONARD STUDENT PIANO LIBRARY What makes the Hal Leonard Student Piano Library so popular? We believe that comments from teachers around the country best answer this question for us. Here's what teachers are saying about the Hal Leonard Student Piano Library. "I enjoy the Hal Leonard curriculum immensely and have been especially impressed with the patriotic music that has been published. I have converted all my students to the HL series…my students are delighted with the music available in your series. And that is the reason we are teaching - so students can enjoy playing music. Thank you for making teaching a pleasure for me and a joy for the children." - Sandi Denklau, Lisle, IL "I gradually made the switch a couple of years ago to your books as my 'method'…My students LOVE the duet accompaniments!!! I am especially impressed with Book 5 with its inclusion of so many standard repertoire pieces along with excellent jazz/pop arrangements and excellent 'today's sounds' pieces, all using good pedagogical principles. Congrats on a great series!" - Susan Engle, Ann Arbor, MI "What I like most about the HLSPL is the variety of music. All of the pieces are beautiful, with or without the CD. I teach a lot of young beginners, and most method books start out on the black notes, as yours does. The big difference is that the pieces in your method are artistic right from the beginning. The children love the illustrations. And I love seeing results." - Karen Ferguson, Coquitlam, BC Canada "Your method is terrific! After 35 years of teaching you have made my job more exciting. My beginning students feel like they are really playing the piano when I accompany them with your innovative harmonies and rhythms. Even your new lyrics to familiar melodies are so clever and updated they make me and the students laugh." - Connie Garbo, Lake Charles, LA "I am enjoying using your materials tremendously! I've been teaching for almost 30 years and have tried many different methods, but I like yours the best! … I look forward to every new addition you make to the line and am confident that each one will be of the same high quality that I've come to expect from you. Thank you for developing such a MUSICAL way to teach children to play the piano. The duet parts are simply the best!" - Sylvia Eastwold, Montgomery, AL "I just love the accompaniment CDs that correspond to the different method books. I am purchasing these CDs from Level 1 on up and using them with all of my students who use the Hal Leonard method books. I have noticed a significant improvement in the students working with the CDs. Rhythm, timing, and ear training are all gradually improving as I have my students play along with the CDs. I have used most of the other methods available and prefer the Hal Leonard one because of the easily understandable explanations and repetitive drills on new concepts." - Heidi Meves, Green Bay, WI "I came on your website specifically to write you and let you know that I have been using your piano method books from the time that you introduced them. I love them so much. … I wish you could hear some of my students some time. They play so beautifully and learn so much faster and more thoroughly since I started using your method. … Finally, I just want to say thank you for combining your lesson books and CDs at such an affordable price. It has to be the absolute best value in the market today." - Kristi McIntyre, Franklin, TN Hal Leonard Online - HLSPL Testimonials
Benjamin Britten Article | Hal Leonard Distributed by Britten Home YouTube Festival Biography Choral Publications Article: Explore the Choral Music of Benjamin Britten by Paul Spicer Benjamin Britten (1913-1976) was a unique force in British music. Of the fine composers among his contemporaries, none wrote such a wide variety of music across such a broad spectrum of genres and for such a range of ages and abilities. In many ways, though he might have been surprised by the comparison, he was the natural successor to Vaughan Williams, whose instincts for community and the nurture of amateur musicians brought him an almost cult-like status in Britain. Britten did not devote himself so wholeheartedly to these things, but a sizeable proportion of his choral music is easily within the reach of a good ordinary choir, another part is well within the grasp of a reasonable church choir, and there is, of course, all the music he wrote specifically for children. Among the 60 or so non-operatic choral works there are also works which are exceptionally demanding and perhaps best left to professionals and outstanding amateurs. The range of this output and the frequency of performance of the better-known works underline Britten's ubiquity in the world of choral singing, not just in the English-speaking community but far beyond. As with many composers who have devoted themselves to writing a large corpus of music for one particular genre, Britten has suffered from being too well-known for a few familiar pieces. Rejoice in the Lamb, A Ceremony of Carols, Hymn to the Virgin, Hymn to St Cecilia, Jubilate Deo in C and others have tended to obscure the fuller picture of Britten's choral output and, if nothing else, I hope that choral directors will look beyond their favourites and explore the rich variety of music which is still almost undiscovered. Schools, or choirs of upper or lower voices, will find music here of wonderful quality which rarely sees the light of day. Similarly, there is a genuine mix of sacred and secular and some useful blurring of the edges where words can be equally appropriate in either context. I hope that the corresponding online guide will also be of real practical help to those who aim to build programmes which may be structured in specific ways - thematically, by voice type, by religious or non-religious setting, or by the balancing of a well-known piece by a less-familiar or almost unknown work. It is a spirit of discovery and adventure which should fire the imagination, and it is a love of all this music which has inspired the commentary writing. Britten was a practical composer. He knew that the music he wrote was performable because he himself was an accomplished professional musician. This is, again, where the Vaughan Williams analogy holds true. To be there, in among those doing the singing, directing the performance, advising other conductors and acquiring great expertise and experience over a creative lifetime, gave him an unusual insight into what choirs enjoy singing. He discovered what levels were attainable by different types of group, and did much to encourage that sense of ambition which has led to a genuine rise in the quality of amateur choral music-making. Britten was also a practical composer because he gave his performers all the information they need to deliver a convincing and 'authentic' performance - his scores have clear and unambiguous performance directions throughout. He is known to have remarked that, if musicians follow his instructions to the letter (and can play or sing the notes in an accurate and musical fashion), they will give a performance of which the composer would approve. So the principal instruction to choral directors is to prepare the score thoroughly prior to embarking on rehearsals. Read the words in order to understand Britten's setting of them, and mark, learn and inwardly digest Britten's clear instructions about speed, dynamics, phrasing, and, often most importantly, articulation. The mood of a piece so often comes from the composer's approach to the text. Britten tended to choose texts which were not widely set by other composers. But to compare, for instance, his two connected settings of Gerard Manley Hopkins' "God's Grandeur" in A.M.D.G. and "The World of the Spirit" with Kenneth Leighton's version is to clearly demonstrate the point. No two responses could be more different and yet each excitingly shows the composer's individual reaction to the poem. To examine Britten's popular Jubilate Deo in C alongside Howells' Collegium Regale setting of the same words written some fifteen years earlier is, again, to emphasize how their idiomatic interpretations of the text helped shape each piece. Britten's style grew out of the English choral tradition he knew so well. He had not been a cathedral chorister but had boarded at Gresham's School from the age of 14. There he was exposed to the standard repertoire of the Anglican Church and his earliest well-known piece, "A Hymn to the Virgin," was written when he was only 16 and still a schoolboy. It unequivocally shows his feeling for the beauty and potential of choral sound, so it is no wonder that such precocious talent should develop to the extent it did. While there are pieces from his output which are more stylistically searching, this early gem sets the scene for a choral output that is essentially approachable, tonal, lyrical, and pleasing to both performer and listener. It is a remarkable legacy.
Mark Hayes | Hal Leonard Mark Hayes As a beginning piano student of ten years of age, Mark Hayes had little idea of the foundation he was laying for his future career in music. From those inauspicious beginnings in northern Illinois, his career has blossomed into international tours to Europe, the Far East, Australia, New Zealand, Singapore, and Brazil. Now an internationally known writer, his music can be found in the music libraries of the finest churches and universities in the country and he is in increasing demand for choral clinics and concerts. Two exceptional piano teachers who encouraged Mark to develop improvisational skills within the first year of lessons guided his early musical training. His musical talents grew through the support of his family and through playing at church and school events. He earned a Bachelor of Music degree in piano performance, magna cum laude from Baylor University, but his degree was only a small part of what he gained from those four years. During his college years his dream to become a composer and arranger of contemporary Christian and sacred music was born and nurtured. Today Hayes' vocal and instrumental writing is widely acclaimed and performed across the nation. He is well known for his unique choral settings which draw from such diverse styles such as gospel, jazz, pop, folk, and classical to achieve a truly ""American sound."" The popularity of his music is evident in the numerous offers of commissions he receives from universities and churches throughout the country. Mark first conducted his Te Deum and Magnificat at Carnegie Hall in New York in May 2007, with additional performances in 2008 and 2009. Hayes conducted the Community and Church Honor Choir at 2008 MCDA Convention and led the Community and Church Honor Choir at the SWACDA Regional Convention in 2010 featuring his Gloria. Mark will be conducting the world premiere of his new work for chorus and orchestra, ""The American Spirit"" at Lincoln Center in May 2011. His personal catalog, compiled since the late 1970s, includes well over 700 published original compositions and arrangements, which are distributed by several leading publishers. Hayes has produced and arranged over 50 recordings for various artists and publishers, 50 keyboard folios, and 21 vocal solo collections. ""Empowering church musicians has always been one of my goals,"" says Hayes. He lives this out by regularly serving as a clinician at arranging, orchestration, and piano improvisation workshops throughout the country. Because of his creative arranging approach, his performance expertise, and his ""hands on"" experience as a church pianist for so many years, Hayes is able to give fresh insights into improvisation, accompanying, and congregational hymn playing for the church musician. He is also a co-creator of a multi-level piano method series designed for young church pianists, “Keys for the Kingdom.” To further educate and encourage new arrangers and composers, he served as an adjunct composition instructor at Midwestern Baptist Theological Seminary in Kansas City, Missouri from 1991-1993. Hayes often incorporates a piano concert featuring his own arrangements into a weekend choir clinic. His warm, sensitive style at the keyboard and behind the conductor's podium makes him an instant favorite among all age groups. In addition to his involvement in the sacred and secular choral music fields, Hayes is increasingly sought after as an orchestrator and record producer. Mark Hayes is a recurring recipient of the Standard Award from ASCAP, and his album, “I've Just Seen Jesus,"" received the Dove Award, the equivalent to a Grammy in gospel music. In 2010, Mark received the Award for Exemplary Leadership in Christian Music from Baylor University Center for Christian Music Studies.
Shrek Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Jeanine Tesori Book and Lyrics by David Lindsay-Abaire DreamWorks Animation Motion Picture and the book by William Steig Overview / Synopsis One Act, Book Musical, Rated G Everyone's favorite ogre is back in the hilarious stage spectacle based on the Oscar-winning smash hit film. (60-MINUTE VERSION FOR YOUNG PERFORMERS) It's a "big bright beautiful world" for everyone's favorite ogre in Shrek The Musical JR., based on the Oscar-winning DreamWorks Animation film. Adapted for young performers and featuring a host of over-the-top roles for an expandable cast, there's a part for everyone in this dazzling adventure story. In a faraway kingdom, the green ogre Shrek finds his swamp invaded by banished fairytale misfits, runaways who've been cast off by Lord Farquaad, a tiny terror with big ambitions. When Shrek sets off with a wise-cracking donkey to confront Farquaad, he's handed a task - if he rescues feisty Princess Fiona from the Dragon-guarded tower, his swamp will be returned to him. But, a fairy tale wouldn't be complete without unexpected twists and turns along the way. Part romance and part twisted fairy tale, Shrek JR. is an irreverently fun show for the whole family. With abundant opportunities for imaginative sets and costumes and familiar characters that prove that beauty is in the eye of the ogre, Shrek JR. is a great choice for young performers. The curtain opens on a trio of Storytellers sharing the tale of a little ogre named Shrek. Papa and Mama Ogre sit Shrek down and have a coming-of-age talk with their son, telling him that since he is now seven years old, it is time for him to make his own place in the world, and he must leave home ("Big Bright Beautiful World"). As the years pass, Shrek transforms into an adult and finds contentment living alone in a swamp on the edge of the kingdom of Duloc. Suddenly, the Captain of the Guards appears, leading a large group of Fairy Tale Creatures into the swamp, including Pinocchio, the Big Bad Wolf, the Three Little Pigs, the Wicked Witch, Peter Pan, the Ugly Duckling, and the Three Bears. The characters have been exiled from the kingdom of Duloc and banished to live in the swamp ("Story Of My Life"). Shrek returns home to find his once private swamp now teeming with the new inhabitants and angrily sets off to confront the leader of Duloc about the injustice. As Shrek makes his way through a dense forest, he encounters a screaming Donkey under pursuit by more Guards from Duloc. Shrek scares off the guards, and, having lost his way, reluctantly agrees to let Donkey be his guide, despite his better judgment. Meanwhile, in Duloc, the Guards sing of the "gentrification" of the kingdom ("What's Up, Duloc? - Part 1"). Lord Farquadd appears, questioning the captive Gingy as to the whereabouts of an available princess that Farquaad could marry in order to become king and justly gain control of all of Duloc. Threatened with torture, Gingy relinquishes the information - there is a princess in a tower guarded by a dragon and surrounded by boiling-hot lava. Just as Farquaad and the residents of Duloc begin to celebrate their future queen ("What's Up, Duloc? - Part 2"), Shrek and Donkey arrive. Shrek demands the swamp be rightfully returned to him, and seizing an opportunity, Farquaad agrees to find a new home for the Fairy Tale Creatures if Shrek retrieves the princess for him. High in her tower, Young Fiona dreams of being rescued by a handsome prince and living the idyllic fairy tale dream ("I Know It's Today"). The years pass, and Fiona grows more anxious day after day, nervous that the stories she's read have misled her. Despite her frustrations, she remains hopeful. Meanwhile, Donkey passes time on the long journey by singing ("Travel Song"). Shrek and Donkey arrive at the castle, and, donning a knight's helmet he finds in the castle for protection, Shrek tells Donkey to wait while he rescues the princess. Shrek climbs Fiona's tower while she excitedly prepares for the arrival of her prince. The meeting doesn't go quite as Fiona had planned, and she mistakes Shrek for a brave knight due to his helmet. Shrek doesn't have time to correct this oversight, as Donkey is now being pursued by the Dragon. Cornered in the dungeon, four imprisoned Knights warn Donkey that he may wind up like them. The Dragon, frustrated that no one ever pursues her, sings of her loneliness ("Forever"). Falling madly in love with Donkey, the Dragon spares his life, but attacks Shrek when she sees he's freed Fiona. The two battle, and Fiona finally gets her storybook adventure ("This Is How A Dream Comes True"). Having escaped the dragon, the group sets off for Duloc. Shrek reveals to Fiona that he is actually an ogre and has rescued her for Lord Farquaad. As the sun sets, Fiona demands to set up camp and disappears into a cave for the duration of the night. The Storytellers reveal that Fiona has been placed under a curse causing her to live "by day one way, by night another." The next morning, Fiona is chipper and highly caffeinated ("Morning Person"). She greets the woodland creatures, including the Pied Piper and his disorderly Rats, with cheerful optimism. The group continues their journey and Shrek and Fiona bond over their horrible lives thus far ("I Think I Got You Beat"). The song ends in a gassy display of bravado, and the two become friends. Donkey is convinced that their relationship is actually a budding romance ("Make A Move"). Having reached Duloc, Fiona postpones meeting Lord Farquaad for one more night, and retires to a nearby barn to sleep as the sun sets. That night, Donkey stumbles into the barn and discovers Fiona's secret - she has transformed into an ogress. Fiona explains that she has been cursed to live by day as a human and by night as an ogre, and sees Lord Farquaad as her only chance for happiness because no one could ever love an ugly ogre. Shrek, who has worked up the courage to tell Fiona how he feels about her, overhears only the last part of Fiona's conversation with Donkey from outside the barn, and thinks she is talking about him. The next morning, Shrek admits to Fiona the he heard everything she said. Fiona now thinks that he knows her secret and is unable to love her because of it. Just then, Lord Farquaad arrives to claim Fiona. He hands over the deed to Shrek's swamp, and makes plans to marry Fiona that night. Hurt, Fiona accepts and leaves with him. The Fairy Tale Creatures drudge on, having been evicted from the swamp. Donkey pleads with Shrek to try to win back Fiona, and the Fairy Tale Creatures agree that he must be proud of who he is rather than ashamed by it ("Freak Flag"). With a sense of empowerment and a plan of action, the group decides to return to Duloc. Just as the Bishop is about to marry Fiona and Lord Farquaad, Shrek and the Fairy Tale Creatures burst in. Shrek professes his love for Fiona ("Big Bright Beautiful World - Reprise"), and the Fairy Tale Creatures reveal Lord Farquaad's father - a grumpy Dwarf. The discovery that Farquaad is actually a "freak" like the Fairy Tale Creatures he condemned shocks and surprises everyone. During this, the sun has gone down and Fiona has transformed into an ogress. Disgusted, Lord Farquaad claims that the marriage is binding - he is now king and shall lock Fiona back in the tower forever and rule Duloc himself. Just then, the Dragon crashes through the castle wall and heaves a fiery breath at Farquaad. Afterward, all that's left of him is his scorched crown. Shrek and Fiona finally share "true love's kiss," and although the spell is broken, Fiona doesn't turn back into a human. Shrek convinces her that she is beautiful just as she is, and everyone celebrates their individuality ("Finale"). Audio Sampler - HL00127656 $10.00 ShowKit - HL00127646 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00127647 - Director's Guide $100.00 00127648 - Piano/Vocal Score $40.00 00127649 - Actor's Script $10.00 00127650 - Actor's Script 10-Pak $75.00 00127651 - Rehearsal/Accompaniment CD $75.00 00127652 - Student Rehearsal CD $10.00 00127653 - Student Rehearsal CD 20-Pak $100.00 00127654 - Choreography DVD $50.00 00127655 - Media Disc $10.00 00127656 - Audio Sampler $10.00 Hear A Sample Big Bright Beautiful World Story of My Life What's Up, Duloc (Part 1) What's Up, Duloc (Part 2) What's Up, Duloc (Reprise) I Know It's Today Travel Song Dragon Roar Forever This Is How A Dream Comes True Morning Person (Reprise) Freak Flag Big Bright Beautiful World (Reprise) Finale I'm A Believer Cast Size Large (over 20), Flexible Cast Type Ensemble Cast - Many featured roles, Star Vehicle - Female, Star Vehicle - Male, Strong/Large Chorus Dance Requirement Standard (Musical Staging/Some Dance/Optional) DONKEY A talking donkey who joins Shrek on the run from Farquaad's guards. Quite the chatterbox, he is not deterred by Shrek's looks and practically forces himself into his good graces. Easily frightened and pushy, but also an optimistic with heart. DRAGON A dragon that has been charged with guarding Princess Fiona in her isolated castle. She eventually falls in love with Donkey and attempts to keep him there forever. Imposing and flirtatious, but tired of her job as the glorified baby-sitter. ENSEMBLE Fairytale Creatures(Big Bad Wolf, Three Little Pigs, White Rabbit, Fairy Godmother, Peter Pan, Wicked Witch, Ugly Duckling, Three Bears, Mad Hatter, Humpty Dumpty, Elf, Dwarf, Three Blind Mice); Angry Mob; Happy People; Guards; Knights; Rats FIONA The beautiful princess of Far Far Away, she transforms into an ogre every night when the sun sets. Rescued by Shrek and eventually falls in love with him. Quirky, blunt, and multitalented, she is not an ordinary princess. GINGY A gingerbread man initially kidnapped by Lord Farquaad. His wit and resolution help him both avoid trouble and inspire the rest of the fairytale creatures. Puppet. Can be operated by actress appearing as Sugar Plum Fairy. LORD FARQUAAD The comically short, ruthless ruler of Duloc. He is in search of a princes to marry so that he can become king. Has an intensely unfair bias against fairytale creatures that stems from a resentment of his father. Self-absorbed, lonely, and cruel. PINOCCHIO The leader of the fairytale creatures. He is an animated puppet whose nose grows every time he lies. Plenty of sass with a penchant for lying. SHREK Our story's title character. A big, green, terrifying ogre who lives alone on a swamp. He embarks on a journey to rid his land of fairytale creatures and, along the way, falls in love with Fiona. Begins as a grumpy hermit, but reveals his layers and eventually becomes the hero.
Frequently Asked Questions - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Frequently Asked Questions about Broadway Junior Musicals How long can we perform this show? Your Performance License is good for 12 months. You can keep all the materials after the 12 month period, but the materials are not reusable. Can I perform the same show the next year and just purchase the rights since I already have the materials? You will need to purchase a new kit and sign a new performance license if you would like to perform the show again at another time. The materials are not re-useable, refundable or transferable. Can I videotape the performance? The shows that can be videotaped with the purchase of a Video License at $75 include: Disney's 101 Dalmatians KIDS Disney's Aladdin JR. Disney's Aladdin KIDS Disney's Alice In Wonderland JR. Annie JR. Annie KIDS Disney's The Aristocats KIDS Disney's Beauty and the Beast JR. The Big One-Oh! JR. Dear Edwina JR. Magic Tree House: Dinosaurs before Dark KIDS Dot and The Kangaroo JR. Elf The Musical JR. Fame JR. Disney's Finding Nemo JR. Disney's Finding Nemo KIDS The Musical Adventures of Flat Stanley JR. Disney's Frozen JR. Disney's Frozen KIDS Guys and Dolls JR. Disney's High School Musical JR. Honk! JR. Roald Dahl's James and the Giant Peach JR. Disney's The Jungle Book KIDS Magic Tree House: The Knight at Dawn KIDS Disney's The Lion King JR. Disney's The Lion King KIDS Disney's The Little Mermaid JR. Madagascar - A Musical Adventure JR. Mary Poppins JR. Disney's Moana JR. Disney's My Son Pinocchio JR. Disney's Newsies JR. Peter Pan JR. Magic Tree House: Pirates Past Noon KIDS Seussical JR. Seussical KIDS Shrek The Musical JR. Singin' in the Rain JR. Disney's Winnie the Pooh KIDS Main restrictions: video recordings are for cast/crew/families only, can't be sold and can't be broadcast in any way including on the Internet. The remaining shows do not allow videotaping. Parents cannot tape, even just for their own personal in-home use. It has nothing to do with how the tape would be used, not being sold, etc. It all comes down to legal copyright rights. Here is how Music Theatre International explains it: Unfortunately, the rights to videotape are not available. Copyright law gives authors the exclusive right to control the reproduction of their work. When a license is granted for a live stage production of a show, that license does not include the right to tape it because the authors retain the sole right to decide when or if their work is recorded in any way. Even a videotape made for classroom use, as a personal memento or as an archival school record violates the authors' separate right to reproduce their work. In most cases, the authors have already granted such rights exclusively to film or television companies, in which case videotaping this show would also be infringing upon the rights granted by the authors to a third party. Can I post a video of our performance on YouTube? There is no broadcasting of the show in any way, even if you've signed a video license. The license specifically restricts the right to broadcast your performance on YouTube, any school channel, etc. I have a few students who were in the 9th grade last year and are going into the 10th grade, can I still allow them to perform in the show? No. All performers are required to be in the 9th grade or under when the show is performed. Can I perform only certain musical numbers from the show? No. The show must be performed exactly as it has been provided to you in the ShowKit™ materials and you cannot delete, alter or make changes of any kind in the text of the play, the musical numbers, characters or characterizations. I have a question that's not listed. How do I contact a person? Please email other questions to broadwayjunior@halleonard.com or call us at 800-554-0626.
Matilda Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Tim Minchin Book by Dennis Kelly Overview / Synopsis Rebellion is nigh in Matilda JR., a gleefully witty ode to the the anarchy of childhood and the power of imagination! This story of a girl who dreams of a better life and the children she inspires will have audiences rooting for the "revolting children" who are out to teach the grown-ups a lesson. Matilda has astonishing wit, intelligence... and special powers! She's unloved by her cruel parents but impresses her schoolteacher, the highly loveable Miss Honey. Matilda's school life isn't completely smooth sailing, however - the school's mean headmistress, Miss Trunchbull, hates children and just loves thinking up new punishments for those who don't abide by her rules. But Matilda has courage and cleverness in equal amounts, and could be the school pupils' saving grace! Packed with high-energy dance numbers and catchy songs, Matilda JR. is a joyous girl power romp. Children and adults alike will be thrilled and delighted by the story of the special little girl with an extraordinary imagination. Audio Sampler - HL00300117 $10.00 ShowKit - HL00300118 $645.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 00300108 - Director's Guide $100.00 00300109 - Piano/Vocal Score $40.00 00300110 - Actor's Script $10.00 00300111 - Actor's Script 10-pak $75.00 00300117 - Audio Sampler $10.00 Miracle Naughty Acrobat Story (Part 1) School Song The Hammer Naughty - Superglue (Part 2) The Chokey Chant This Little Girl Bruce (Part 1) When I Grow Up The Smell of Rebellion Quiet Revolting Children Matilda Wormwood The hero of the show. She's brilliant, resilient, creative, and kind, despite growing up in difficult circumstances. Her parents treat her poorly, but Matilda escapes into a world of books, which puts her reading level far above the other children in her class, and she develops a bit of magical power in an effort to defeat Trunchbull. Cast a fantastic singer and great actress in this role who can embody both Matilda's cleverness and her kindness. Gender: Female Range: D5 - Bb5 Eric A student at school with Matilda. He has the very first solo line of the entire show, so make sure to cast a good singer in this role. He also has some featured moments as one of Matilda's schoolmates, so it's helpful if Eric is also an expressive actor. Gender: Male Range: Eb4 - C3 Amanda A student at school with Matilda. She has a few solos and lines, but her most featured moment is when Trunchbull throws her through the air using her pigtails. Cast a good singer and mover in this role. Gender: Female Range: Eb5 - C4 Bruce One of Matilda's schoolmates. He has the bad luck to get caught after eating Trunchbull's cake. Bruce goes through quite a transformation throughout the show and has some important solos, so cast an excellent singer and actor. Keep in mind that just because Bruce eats the cake, it doesn't mean he has to be physically larger than the other children - just cast an actor who can portray Bruce's journey throughout the show. Gender: Male Range: F#4 - C3 Hortensia Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos, and Hortensia has a few lines. These roles are great for good singers and movers who may be newer to the stage. Gender: Female Range: D5 - C4 Alice Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos. These roles are great for good singers and movers who may be newer to the stage. Gender: Female Range: D5 - C4 Tommy Alice, Hortensia, and Tommy are classmates of Matilda who each sing solos. These roles are great for good singers and movers who may be newer to the stage. Gender: Male Range: Eb4 - C3 Lavender One of the kids at school with Matilda. She is kind and bright (though not as brilliant as Matilda) and quickly decides that Matilda is her best friend. Cast an actress in this role who can portray Lavender's likability and friendliness. Gender: Female Range: D5 - C4 Nigel One of the kids at school with Matilda. He is enthusiastic, sweet, and always in a bit of a panic. Nigel has a few solos and some great featured moments in the show, so cast a strong actor and singer in this great supporting role. Gender: Male Range: D4 - C3 Mr. Wormwood Matilda's father. He is egotistical, rude, and not very bright, not to mention a liar. Though Mr. Wormwood is not a good person and he is mean to Matilda, his harebrained schemes can be hilariously funny, so cast a fantastic character actor in this role who can really land the comedy and isn't afraid to play an unlikeable character. It's helpful if Mr. Wormwood reads as older onstage and makes a dynamic pair with Mrs. Wormwood. Gender: Male Mrs. Wormwood Matilda's mother. Like her husband, she dislikes Matilda and does not understand why her daughter loves to read. Mrs. Wormwood is selfish, obsessed with her own appearance, and believes everything she sees on TV. Her dancing lessons with Rudolpho are the most important part of her day. Cast a great actress who can portray Mrs. Wormwood's nastiness but also play up her ridiculousness and lean into the comedy. Gender: Female Michael Matilda's brother. He is not very bright, though he is the apple of his father's eye. This is a hilarious supporting role for a younger actor with comedic timing, as Michael's contributions to the scene usually function as deadpan one-liners. Gender: Male Mrs. Phelps The kindly librarian who loves hearing Matilda's stories. This is a great featured role for a stronger actress who reads as older than Matilda onstage. Gender: Female Escapologist A character of Matilda's creation. Everything this character does is grand and exaggerated - he's performing for the cheap seats! Cast a solid actor and mover in this fun featured role. Gender: Male Range: F3 - E3 Acrobat A product of Matilda's imagination. Cast an actor in this featured role that can give their all! Gender: Female Range: A4 - D4 Miss Honey A teacher at Matilda's school. She is kind, is generous, and really cares about the children despite her own desperate circumstances. Cast an excellent actress and singer who can portray Miss Honey's sweetness and her strength. It's helpful if the actress reads as older than the kids from onstage. Gender: Female Range: D5 - Bb3 Agatha Trunchbull The quintessential terrifying tyrant. As headmistress, she runs her school like a dictator, making up arbitrary rules to suit her every whim and dreaming up creative punishments. The Trunchbull can be played by a male or female (though the character is female). It's helpful if Trunchbull is physically larger than the actors playing children. Cast a fantastic character actor and singer who can command the stage and embody Trunchbull's larger-than-life villainy. Gender: Female Range: F#5 - C4 Rudolpho Mrs. Wormwood's self-obsessed dance teacher. This is a hilarious featured role for a comedic performer who moves well. Gender: Male Sergei A custoner swindled by Mr. Wormwood. Though he shows up looking for payback, Matilda has had quite enough of revenge, and Sergei lets the Wormwoods escape. This is a great featured role for an actor who can embody Sergei's intimidating presence. Gender: Male Ensemble Ensemble roles include Russians, Little Kids, Big Kids (including Big Kid 1, Big Kid 2, and Big Kid 3), Kids, Mums, Dads, the Cook, and the Mechanic.
Disney's Frozen KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Book by Jennifer Lee Overview / Synopsis Do you want to build a snowman? Designed for elementary school students, Frozen KIDS is a 30-minute adaptation of the 2018 Broadway musical, which was based on the 2013 Walt Disney Animation Studios film, written by Jennifer Lee and directed by Chris Buck and Jennifer Lee. The production features all of the songs from the animated film, with music and lyrics by the creators of the film score, Kristen Anderson-Lopez and EGOT-winner Robert Lopez. You'll love this fanciful and heartwarming stage adaptation of the celebrated animated film. Join Anna, Elsa, Olaf, Sven, and all of your favorite characters as they embark on an epic, ice-filled journey of self-discovery, camaraderie, and the real meaning of true love. Adapted for young performers, this musical includes favorite Frozen songs such as "Love Is an Open Door," "Do You Want to Build a Snowman?," and "Let It Go," as well as wonderful new songs from the Broadway production. This production of Frozen KIDS is sure to prove that "some people are worth melting for." Audio Sampler - HL00291810 $10.00 ShowKit - HL00291821 $545.00 This ShowKit includes: 30 Student Scripts Director's Guide Piano/Vocal Score Guide Vocal/Accompaniment CD Media Disc Choreography DVD Digital Guide Vocal & Performance Tracks 30-Minute KIDS Request Individual Components 00291801 - Director's Guide $100.00 00291802 - Piano/Vocal Score $40.00 00291803 - Actor's Script $10.00 00291804 - Actor's Script 10-pak $75.00 00291805 - Rehearsal/Accompaniment CD $75.00 00291806 - Student Rehearsal CD $10.00 00291807 - Student Rehearsal CD (20-pak) $100.00 00291808 - Choreography DVD $50.00 00291809 - Media Disc $10.00 00291810 - Audio Sampler $10.00 Let the Sun Shine On A Little Bit of You Do You Want to Build a Snowman? For the First Time in Forever Love Is an Open Door Let It Go In Summer Fixer Upper Finale Young Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-A3 Middle Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-A3 Anna Young Anna, Middle Anna, and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy, and love, Anna is a hopelessly optimistic extrovert at all ages, but longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once the actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: D5-G3 Young Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: B4-B3 Middle Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: F#4-A3 Elsa Young Elsa, Middle Elsa, and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, Elsa becomes anxious and withdrawn before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for strong singers who can portray Elsa's restrained nature. Once the actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: D5-G3 Hans Hans is the ambitious Prince of the Southern Isles and overlooked thirteenth son of a king. He boasts an exceedingly charming facade that fools everyone - including Anna and, ideally, the audience! - into believing he's Prince Charming, when really, he's just a jerk. Cast an actor who can play both sides of this two-faced prince with relish as well as confidently sing "Love Is an Open Door." Gender: Male Vocal Range: C5-G3 Kristoff Kristoff is a hardworking ice harvester with a sarcastic veneer and a rough-around-the-edges exterior that hides a big heart. Taken in by the Hidden Folk when he was young, he loves Pabbie and Bulda dearly, but is a bit of a loner - until he meets Anna. Look for a performer who can balance a cynical sense of humor with charming banter. Gender: Male Olaf Olaf is a magical snowman created by Anna and Elsa when they were young and is endearingly delighted by everything - especially the idea of summer. Goofy and sweet, Olaf should possess a childlike innocence and excellent comic timing. Gender: Male Vocal Range: D5-F#3 Sven Sven is Kristoff's loyal best friend and a reindeer of few words. Look for a performer with terrific physical acting skills who can devise a strong movement vocabulary to bring this furry charmer to life. Consider auditioning potential Svens and Kristoffs together as the two should share a visible bond. King Agnarr King Agnarr is the warm-hearted ruler of Arendelle. He is committed to protecting both his family and his townspeople from his eldest daughter's powers. With no singing solos, focus on casting an actor who can play this father figure convincingly. Gender: Male Queen Iduna Queen Iduna possesses a sense of rightness and kindness that guides her in her protection of her two young girls. Born with her own powers, this queen has the ability to communicate with the Hidden Folk of the mountains and so understands Elsa more deeply; look for an actor who can portray this sense of compassion. Gender: Female Bishop The Bishop officiates the coronation and crowns Elsa. This spiritual supervisor must communicate to the townspeople of Arendelle in a serious and formal manner. Weselton Weselton is an overbearing visiting duke who possesses a huge inferiority complex. Look for an actor who can portray the narrow-minded naysayer with over-the-top gusto. Gender: Male Pabbie Pabbie and Bulda are the open and warm- hearted mystical leaders of the Hidden Folk. Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Bulda Pabbie and Bulda are the open and warm- hearted mystical leaders of the Hidden Folk. Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Ensemble The Ensemble is your show's primary group of performers from which you will pull the featured roles and other, perhaps smaller, ensembles. Be sure to select strong singers - as few or as many as your production requires - as all ensembles require group singing. Ensemble roles include: Storytellers, Townspeople, Snow Chorus, Castle Staff, Housekeeper, Butler, Handmaiden, Cook, Steward, Guard, Summer Chorus
Finian's Rainbow Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Finian's Rainbow Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Credits Lyrics by Yip Harburg Book by Fred Saidy and Yip Harburg Adaptation by Deena R. Harburg Overview / Synopsis On a spring day in Rainbow Valley, the Sheriff is about to auction off a parcel of land for non-payment of taxes. Property owner Susan Mahoney, who was born silent, delays the auction until her brother Woody can arrive ("This Time of the Year"). Susan heads off to meet Woddy's train as Finian and his daughter Sharon arrive from Ireland ("How Are Things in Glocca Morra?). Finian reveals that he has "borrowed" a leprechaun's gold and plans to bury it so it will grow into more money. Finally Woody arrives (Woody's Entrance) and, with a little help from Sharon, pays off the debt. To show his thanks for the help, Woody gives Sharon and Finian a share of the land. Finian now has a place to bury his gold. Sharon tells the people of Rainbow Valley about her home ("Look to the Rainbow") and soon she and her father are welcomed in like old friends. That evening Og, the leprechaun, shows up demanding that Finian return his stolen gold. Og is scared away when Sharon and Woody arrive looking for Finian ("Old Devil Moon"). The next morning, knowing that gold has been found in Rainbow Valley, the Senator tries to buy the land now owned by Finian, but Finian will not sell. Before leaving, the Senator disparages the workers on the land for "looking different" than him. Sharon is washing clothes ("How Are Things In Glocca Morra? - Reprise") when she is approached by Og, who is quite smitten with her (Something Sort of Grandish). Og hides as Woody approaches. The lovers begin to quarrel, but they are interrupted by the arrival of friends. Finian has hatched a plan to get Woody betrothed to his daughter ("We're Havin' a Party", "Sharon's Getting Betrothed", "Woody's Getting Betrothed"). Woody and Sharon tries to buy the land again, he makes bigoted comments about the "rainbow-colored" Sharecroppers. Sharon is not happy and wishes the Senator looked just like the Sharecroppers and, because she is standing over the buried gold, the wish comes true. A Sharecropper announces that gold has been found in Rainbow Valley ("That Great Come-And-Get-It Day"). Finian and Woody convince the Sharecroppers not to dig for it, but once Susan is alone, she discovers Finian's gold and moves it ("Dance of the Golden Crock"). A few weeks later, the people of Rainbow Valley are rejoicing ("When the Idle Poor Become the Idle Rich"), and Finian has convinced Sharon and Woody to marry. The Sheriff enters and threatens a murder charge on Susan if the Senator, who has not returned since Sharon "changed" him, is not found by Tuesday. In the woods, Og encounters the transformed Senator and realizes that what he really needs is a new inside ("Fiddle-Faddle"), not outside. The "cured" Senator is happy again and is soon welcomed as a member of the Passion Pilgrim Gospeleers ("The Begat"). Just before the deadline, Finian finds Og and pleads with him to change the Senator back. Og doesn't know where the gold is, but when he mistakes SUsan for Sharon ("When I'm Not Near the Girl I Love") he falls in love with her. As Og searches for his gold, he wishes Susan could speak as she might know where the gold is hidden. His wish comes true, and Og realizes where his gold is buried. Og decides to stay mortal so he can be with Susan, and uses the last wish to change the Senator back. Sharon and Woody are saved and the Senator returns a changed man. Finian sets off to keep hope alive throughout the world ("Look to the Rainbow (Reprise)", "Finale Ultimo/How Are Things in Glocca Morra?", "Curtain Act II/That Great Come-And-Get It Day"). Audio Sampler - HL00102724 $10.00 ShowKit - HL09971486 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Performance/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00102717 - Piano/Vocal Score $40.00 00102716 - Director's Guide $100.00 00102718 - Actor's Script $10.00 00102719 - Actor's Script 10 Pak $75.00 09971610 - Performance/Accompaniment CD $75.00 00102722 - Choreography DVD $50.00 00102720 - Student Rehearsal CD $10.00 00102721 - Student Rehearsal CD 20 Pak $100.00 00102723 - Media Disc $10.00 00102724 - Audio Sampler $10.00 Finian's Rainbow Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Hear A Sample This Time of the Year [The Rainbow Valley Sharecroppers] How Are Things in Glocca Morra? [Sharon] Look to the Rainbow [The Rainbow Valley Sharecroppers] Old Devil Moon [Woody, Sharon] Necessity [The Rainbow Valley Sharecroppers, Henrietta, Howard] How Are Things in Glocca Morra? (Reprise) [Sharon] Something Sort of Grandish [Og, Sharon] We're Havin' a Party [The Rainbow Valley Sharecroppers] Sharon's Getting Betrothed [The Rainbow Valley Sharecroppers] Woody's Getting Betrothed [The Rainbow Valley Sharecroppers] If This Isn't Love [Woody, Sharon, The Rainbow Valley Sharecroppers] That Great Come-And-Get-It Day [Lucy, Howard, Henrietta, The Rainbow Valley Sharecroppers] Dance of the Golden Crock [Susan] When the Idle Poor Become the Idle Rich [The Rainbow Valley Sharecroppers] Fiddle-Faddle [Og] The Begat [Company, Gospeleers, Senator] When I'm Not Near the Girl I Love [Og] Look to the Rainbow (Reprise) [The Rainbow Valley Sharecroppers] Finale Ultimo / How Are Things in Glocca Morra? [The Rainbow Valley Sharecroppers] Curtain Act II / That Great Come-And-Get-It Day [The Rainbow Valley Sharecroppers] Finian's Rainbow Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Ensemble Workers 1 and 2, Geologist, Gospeleers and Rainbow Valley Sharecroppers FINIAN MCLONERGAN An Irishman hoping to make his dreams come true in America. He has a big personality and a plan for everything, including getting his daughter married. Gender: Male Range: Ab3 - Db5 GOSPELEER 1 One of three spokespeople for a group of traveling singers. They are larger than life as they spread joy throughout Rainbow Valley with their songs. Gender: Both Range: C4 - F5 GOSPELEER 2 One of three spokespeople for a group of traveling singers. They are larger than life as they spread joy throughout Rainbow Valley with their songs. Gender: Both Range: C4 - C5 GOSPELEER 3 One of three spokespeople for a group of traveling singers. They are larger than life as they spread joy throughout Rainbow Valley with their songs. Gender: Both Range: Bb3 - Eb5 HARRIET A formidable, opinionated woman. She's a Sharecropper and Henrietta's mother. Gender: Female Range: C4 - Bb4 HENRIETTA A happy child who has befriended everyone in Rainbow Valley. Gender: Female Range: Eb4 - F5 HOWARD A Sharecropper who bids his time until he can go away to college. He has a quiet strength. Gender: Male Range: G3 - Eb5 LUCY A dreamer looking forward to the day when the Sharecroppers' lives will be better. Gender: Female Range: Ab3 - Db5 NARRATOR A Sharecropper who keeps the audience up-to-speed on what is happening. Gender: Both OG A leprechaun who's desperate to retrieve his stolen gold because without the gold, he will turn into a human. Og's emotions and thoughts are always transparent, and he can be overly dramatic. Gender: Both Range: B3 - F#5 ROSA Lucy and Harriet's friend. Gender: Female SENATOR RAWKINS A self-righteous politician who openly dislikes anyone different than himself. He pretends to be kind and gracious to get what he wants, but quickly drops that pretense once he achieves his goal. During the show, the Senator magically changes into a different man (on the outside), and by the end of the show, even though his appearance changes back to his original form, the Senator learns to be a kind and caring person. Gender: Both Range: Eb4 - D5 SHARON MCLONERGAN Finian's daughter. A strong woman who is generous of heart. While she is homesick for her beautiful Ireland, she believes that she will build a happy life in America. Sharon stands up for her beliefs and is willing to fight for what is right. Gender: Female Range: Ab3 - E5 SHERIFF The Senator's right hand man and as closed minded as his boss. Gender: Both SUSAN MAHONEY Woody's mute sister. She is well liked by everyone and communicates through "foot-talk" instead of typical American sign language. Gender: Female WOODY MAHONEY The charming leading man of the story. Woody is a landowner in Rainbow Valley who does everything he can to take care of his freinds and neighbors. Gender: Male Range: C4 - G5
Disney's 101 Dalmatians KIDS - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music and Lyrics by Mel Leven, Randy Rogel, Richard Gibbs, Brian Smith, Martin Lee Fuller and Dan Root Book Adapted and Additional Lyrics by Marcy Heisler Music Adapted and Arranged by Bryan Louiselle Based on the Screenplay by Bill Peet Based on the Novel "The Hundred and One Dalmatians" by Dodie Smith Overview / Synopsis Based on the classic animated film, Disney's 101 Dalmatians KIDS is a fur-raising adventure featuring Cruella De Vil, Disney's most outrageous villain, and 101 of the most adorable heroes to set their paws onstage. With a high-spirited score and lovable characters, this stage adaptation is certain to charm and delight all audiences. Pet owners, Roger and Anita, live happily in London with their Dalmatians, Pongo and Perdita, stalwart dogs devoted to raising their puppies. Everything is quiet until Anita's former classmate, the monstrous Cruella De Vil, plots to steal the puppies for her new fur coat. The Dalmatians rally all the dogs of London for a daring rescue of the puppies from Cruella and her bumbling henchmen. The show's adorable spotted dogs and larger-than-life villainess provide ample opportunities for creative costuming. With a highly expandable chorus, your stage could easily be filled with 101 budding performers. Audio Sampler - HL00839432 $10.00 ShowKit - HL00839431 $545.00 This ShowKit includes: 30 Student Scripts Piano/Vocal Score Director's Script Rehearsal/Accompaniment CD Choreography DVD 30 Family Matters Booklets 30-Minute KIDS Request Individual Components 00839419 - Director's Guide $100.00 00839420 - Piano/Vocal Score $40.00 00839421 - Libretto/Vocal Score $10.00 00849422 - Libretto/Vocal Score 10-pak $75.00 00839432 - Audio Sampler $10.00 Hear A Sample Dalmatian Conga [All, Cruella, Roger, Anita] Thunderbolt Adventure Hour [Groups 1-2] Kanine Krunchies [Pups, All, Cruella] Cruella De Vil [Roger, All] Cruella's Scheme [Cruella, Horace, Jasper] Kanine Krunchies (Reprise) [Cruella, Jasper, Horace] The Fur Vault [Narrators] Twilight Bark [Boxers, Scotties, Poodles, Chihuahuas, All] My Beautiful Coat [Cruella, Horace, Jasper, All, Puppies, Sgt. Tibbs] The Chase [Jasper, Puppies, Horace, Cruella] Dalmatian Plantation & Finale [All] Bow Wows [All] Cast of Characters Cast Size: Medium (11 to 20 performers) Cast Type: Children Dance Requirements: Standard Roger Roger, married to Anita, is the soft-spoken yet confident composer and owner of Pongo and Perdita. His relaxed form of leadership acts as a contrast to the frenetic Cruella. He should be a strong actor, singer, and mover with an adult bearing that sets him apart from the more immature puppies. Gender: Male Vocal range top: B4 Vocal range bottom: A#2 Anita Anita, wife of Roger, is a sweet and nurturing painter whose kind disposition acts as a stark contrast to Cruella's cruelty. As she has only a single line to sing, cast an actor with strong acting skills who is comfortable portraying an adult. Gender: Female Vocal range top: C5 Vocal range bottom: D4 Perdita and Pongo Perdita and Pongo, the puppies' parents, have similar dispositions to their owners, Roger and Anita. These roles do not require solo singing, so focus on casting strong actors capable of projecting a more mature presence than their pups. Gender: Any Cruella De Vil Cruella is the rich, fashion-forward antagonist of the story who harbors a penchant for puppy fur. Ruthless and impulsive, she should command the stage with dramatic flair and brassiness. Cast an actor who can sing with a strong, authoritative presence and who can move with a high, captivating energy. Gender: Female Vocal range top: C4 Vocal range bottom: Ab3 Horace and Jasper Horace and Jasper, Cruella's two henchmen for hire, provide the show's comic relief a la Abbott and Costello or Laurel and Hardy. Though they sing together often, look for actors with strong comedic timing who can excel at physical comedy. While not necessary, these two can speak with Cockney accents if you have actors that are capable and willing. Gender: Male Vocal range top: B4 Vocal range bottom: Ab3 Nanny Nanny is the warm yet outspoken housekeeper to Roger and Anita. This is a small role that requires a strong speaking voice (no singing required). Gender: Female Boxer Narrator, Scottie Narrator, Poodle Narrator, and Corgi Narrator Boxer Narrator, Scottie Narrator, Poodle Narrator, and Corgis Narrator help to tell the story and are part of your Dogs of London ensemble (see above). Because the clarity of the plot relies on them, cast performers with excellent diction and projection. You need not only have four narrators feel free to split up the narration between ensemble members as best suits your production. Gender: Any Lucky, Patch, Penny, and Pepper Perdita and Pongo's funny and spirited pups, can be cast from your larger puppy ensemble. Cast the group's strongest actors that can project their solo lines articulately and are comfortable using their bodies to portray dogs. If you have a large pool of actors, feel free to cast other puppies as brothers and sisters to these four; just remember that the audience needs to see a far greater number of Dalmatians at the end of the show than at the beginning. Gender: Any Freckles and Spotty Freckles and Spotty, two Dalmatian puppies stolen by Cruella, can be cast from your ensemble of additional Dalmatians. Each puppy has one solo line of dialogue. Gender: Any Police Officer The Police Officer arrests the villains at the end of the show. Cast an actor who can convey a no-nonsense attitude in this gender-neutral role. Gender: Any Sergeant Tibbs Sergeant Tibbs is the army cat that rallies the Dogs of London to rescue the puppies. This role is gender neutral just be sure to cast an actor with a strong voice that can project an authoritative air. This cat has a short, but sweet solo, so make sure vocals are strong. Gender: Any Vocal range top: Bb4 Vocal range bottom: G4 Other Puppies Dognapped by Cruella, these Dalmatian pups come in halfway through the play and can be double-cast as your Dogs of London ensemble. Include as many puppies in this group as you would like the more the better! Gender: Any Dogs of London The Dogs of London include the Boxers, Scotties, Poodles, and Corgis that assist Perdita and Pongo in saving their puppies. All should be comfortable embodying the physical movement of their particular breed. Within the ensemble numbers, there are some opportunities for solos, though these can be sung by pairs or small groups depending on your production's needs and the abilities of your cast. Gender: Any Dogcatcher The Dogcatcher appears at show's end to dramatically remove Cruella from the scene. This role is gender neutral, so cast any student who might excel at creating a few moments of physical comedy with Cruella. Gender: Any
Curtains - Young @ Part | Hal Leonard Menu LEARN MORE About Young @ Part Showbox/Added Resources Order a Perusal Pack Online License Request 60-Min.ute Musicals [Young@Part] 60-Minute Musicals Addams Family All Shook Up Curtains Monty Python's Spamalot We Will Rock You Wind In The Willows 30-Min.ute Musicals [Younger@Part] 30-Minute Musicals Addams Family All Shook Up How I Became A Pirate Miss Nelson Is Missing Product Information Musical Numbers Cast of Characters Credits Book and Additional Lyrics: Rupert Holmes Music and Additional Lyrics: John Kander Lyrics: Fred Ebb Original Book and Concept: Peter Stone Overview / Synopsis It's the brassy, bright, and promising year of 1959. Boston's Colonial Theatre is host to the opening night performance of a new musical. When the leading lady mysteriously dies on stage the entire cast & crew are suspects. Enter a local detective, who just happens to be a musical theatre fan! Packed with glorious tunes and a witty, charming script filled with delightful characters, CURTAINS Young@Part® is a hilarious journey for both performers and the audience. Print Perusal - HL00237281 $19.95 ShowBox - HL00237276 $675.00 This ShowBox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD Young @ Part Request Individual Components 00251192 - Director's Script $50.00 00251193 - Cast Script/Vocal Book $10.00 00251201 - Piano/Vocal Score $40.00 00251202 - Guide Vocals CD $50.00 00251203 - Performance Tracks CD $100.00 Hear A Sample Wide Open Spaces What Kind of Man? Show People In the Same Boat Thataway! He Did It Kansasland A Tough Act to Follow Transition to Stage A Tough Act (Finale) Lieutenant Frank Cioffi Sweetly endearing local Boston detective who idolizes the world of musical theatre and has reveled in the thrill of performing in community theatre. Called upon to solve the murder of the star of "Robbin' Hood" (a musical intended for Broadway that is currently out of town in Boston), Cioffi is very good at his job and, lamentably, married to his work. He is instantly smitten with ingénue Niki Harris. The undisputed central character of the musical. Requires deft and charming comedy, good singing, solid dancing in one extended "Fred and Ginger" number. Gender: Male Vocal Range: Ab3-G5 Niki Harris Pretty, almost too innocent ingénue, a local performer in a small role hoping "Robbin' Hood" will be the Boston production that at last takes her to Broadway. Love interest for Lieutenant Cioffi, apparently reciprocated. Requires a legit soprano and strong dancing in an extended "Fred and Ginger" number. Gender: Female Vocal Range: C4-E5 Georgia Hendricks Female half of our show-within-a-show's songwriting team on the lyric-writing side. Ends up taking on the leading lady role. Must sing and dance extremely well. Gender: Female Vocal Range: G3-E5 Carmen Bernstein Brash and brassy Broadway producer. Terrific comedic actress with a belt. Gender: Female Vocal Range: Bb3-E5 Aaron Fox The composer of the show-within-the-show. His songwriting partner, Georgia, is also his wife, from whom he's separated but for whom he still pines. He's a handsome, intense, somewhat tortured artist-type. Requires a strong vocalist with comedy. Gender: Male Vocal Range: Bb3-E5 Christopher Belling English director. Very camp. Very droll. Noel Coward meets Addison DeWitt meets Clifton Webb. Requires a superb comic actor. Gender: May be cast male or female Vocal Range: B3-E5 Bambi "Bernét" Performer in the chorus, daughter of Carmen, step-daughter of Sidney. Genuinely brassy and artificially blonde. Hungry to work her way out of the chorus; many think she was only hired because of her mother. She surprises everyone, however, when she shows genuine dancing and singing talent when at last called upon. Requires great dancing, strong "street-smart dumb blonde" comedy, and singing. Gender: Female Vocal Range: C4-E5 Oscar Shapiro From the garment district and sole investor in "Robbin' Hood." A likeably gruff man who knows nothing about theatre and frets over every dime of his that's spent. Requires good "rough around the edges" comedy and singing. Gender: Male Vocal Range: Bb3-E5 Bobby Pepper The Gene Kelly of "Robbin' Hood," its choreographer and male star, and a handsome rival to Aaron for Georgia's affection. Requires strong dancing, singing, comedy. Gender: Male Vocal Range: A3-E5 Johnny Harmon Stage Manager of the show-within-the-show, and both drill sergeant and mother hen to the cast. Barks orders but has a pleasant side as well, he keeps the company in line and on their toes throughout the rehearsal process. Comic actor who can sing. Gender: May be cast male or female (using the name Jenny Harmon) Vocal Range: E4-Eb5 Jessica Crenshaw Faded Hollywood star, a grand diva with no right to be one, and a plague to the show-with-the-show and to her cast. An absolutely dreadful singer and inept actress who stars in the show-within-a-show and gets murdered on its opening night in Boston. Must be skillful enough to sing hilariously out-of-tune and ineptly, and adroit enough to dance perfectly out of step with the rest of the cast. Appears only in the first minutes of the musical; on Broadway, this performer then adopted a different look and became part of the ensemble. Gender: Female Vocal Range: G4-D5 Randy Dexter A member of the singing & dancing ensemble featured in "Kansasland," pleasant but with a sensitive side. Gender: Male Vocal Range: A3-E5 Harv Fremont A member of the singing & dancing ensemble who bears a bouquet. Gender: Male Vocal Range: A3-E5 Ensemble
Legally Blonde Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Laurence O'Keefe & Nell Benjamin Book by Heather Hach Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer motion picture Overview / Synopsis One Act, Book Musical, Pop / Rock, Rated G Broadway Junior Version  Harvard's beloved blonde takes the stage by glittery pink storm in this fun and upbeat musical. (60-MINUTE VERSION FOR YOUNG PERFORMERS) A fabulously fun international award-winning musical based on the adored movie, LEGALLY BLONDE JR., follows the transformation of Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. Adapted for younger performers and based on the popular movie, this show features an upbeat original score that's sure to leave cast members and audiences alike seeing pink! When Elle's high school boyfriend Warner dumps her and heads to Harvard, claiming she's not "serious" enough, Elle takes matters into her own hands, crafting a showy song-and-dance personal essay and charming her way into law school. Befriending classmate Emmett and spunky hairdresser Paulette along the way, Elle finds that books and looks aren't mutually exclusive - in fact, law may be her natural calling after all as she quickly begins outsmarting her peers. LEGALLY BLONDE JR. features a large, expandable cast, lead and supporting roles for male and female actors, as well as energetic production numbers. The show's sense of humor, as well as its themes of self-empowerment and open-mindedness, make LEGALLY BLONDE JR. ideal for young performers. At the Delta Nu sorority house, word is out that Elle Woods is going to dinner to get engaged to her beau Warner Huntington III ("Omigod You Guys"). Margo, Serena and Pilar lead the other Delta Nus to the mall, where Elle is having trouble choosing the right dress for the occasion. Later at dinner, just when Elle is sure Warner is going to propose, he breaks up with her, explaining that with his departure for Harvard Law School, it's time to get serious ("Serious"). Devastated, Elle locks herself in her room. Twelve days later, the Delta Nus finally get Elle to emerge ("Daughter of Delta Nu"). Elle realizes the only solution to her heartache is to get into Harvard Law and prove to Warner she's serious enough for him ("What You Want"). Sorority sister Kate helps Elle study for the LSAT, and after several attempts and a lot of hard work, Elle's application comes upon Harvard Admissions. Lowell, Winthrop and Pforzheimer, three Harvard admissions coordinators, decide to admit Elle after a very extravagant song and dance (which she submits in lieu of a personal essay) citing love as her main motivation.  On the first day of class, Elle meets her fellow first-year law classmates, Aaron, Padamadan and Enid, as well as Warner, who is shocked to see her on campus. Callahan (the most feared teacher at Harvard) kicks Elle out of class for being unprepared at the suggestion of classmate Vivienne Kensington. Callahan's TA, Emmett, tries to console Elle, but her mood only worsens when Warner confesses to Elle that Vivienne is his new girlfriend. Elle finds the nearest salon and meets Paulette, who commiserates with her situation ("Ireland"). Afterward, Elle runs into Vivienne who invites her to a costume party. Elle attends, hoping to see Warner, but is dismayed to discover she is the only one who wore a costume - much to Vivienne's delight. On the way home, Elle meets Emmett, who tells Elle how hard he's worked to get where he is and encourages her to do the same ("Chip On My Shoulder"). Time is passing quickly at law school and Elle is working harder than ever, eventually winning her first court case in class and receiving a recommendation to apply for Callahan's internship. With her newfound confidence, Elle helps Paulette win her dog back from her estranged boyfriend, Dewey. Back at Harvard, Warner and Vivienne win two of Callahan's coveted internship positions, and Warner proposes to Vivienne on the spot right in front of Elle. Before her heart can break, Emmett shows her the internship list, and Elle is ecstatic to discover her name is on it as well ("So Much Better").  The interns quickly jump into the case of fitness video guru Brooke Wyndham, who is accused of killing her wealthy husband. After watching her fitness video ("Whipped into Shape"), the interns meet her at a correctional facility where she refuses to give her alibi to anyone but Elle, thanks to their Delta Nu sisterhood ("Delta Nu Nu Nu"). In confidence, Brooke shares with Elle that she was getting liposuction the day her husband was killed, so there is no way she could be guilty, but no one can know because her fitness empire would be destroyed. The other interns demand that Elle give up Brooke's alibi, but Elle refuses to go against her Delta Nu pledge.  Back at the salon, Paulette has eyes for the UPS delivery man, Kyle, but isn't confident enough to go after him. Elle teaches her a guaranteed move to win any guy's affections - the Bend and Snap ("Bend and Snap"), but when Paulette tries it, she accidentally breaks Kyle's nose. Elle returns to the case, but Callahan has a different agenda and tries to kiss her, just as Vivienne returns, unnoticed. Elle rejects Callahan's advances and is fired. Defeated, she prepares to go home convinced she was only ever seen as a joke, even though Emmett asks her to stay, finally realizing that he is in love with her ("Legally Blonde"). Elle stops by the salon to say goodbye to Paulette, but Vivienne - who witnessed what happened to Elle in Callahan's office and finally understands her - convinces her to keep fighting. The entire salon rallies behind Elle as she heads back to the courtroom ("Legally Blonde - Remix") where Brooke fires Callahan and hires Elle to continue her defense.  Everyone is present to witness Elle's first day in court, including Paulette and Kyle (now a couple), Margo, Serena, Pilar and the other Delta Nus. Brooke's stepdaughter Chutney takes the stand, testifying that when she got out of the shower, she witnessed Brooke standing over her father's body, covered in blood. When asked what she had been doing earlier that day, Chutney reveals she had gotten a perm, and Elle realizes a flaw in Chutney's alibi - she couldn't possibly have showered the same day as receiving a perm or her hair would be flattened. Since her perm is still intact, she has obviously lied about her alibi. Under some intense questioning from Elle, Chutney accidentally reveals that she killed her father, mistaking him for Brooke. Elle wins the case and Brooke is set free. Warner tries to propose to Elle, but she gently refuses, having gained her independence and a desire to be the best she can be ("Find My Way"). Three years later, Elle is made valedictorian of her class, and in her commencement speech she proposes to Emmett, who accepts. Everyone celebrates their legally blonde friend and heroine, Elle Woods ("Finale"). Audio Sampler - HL00125163 $10.00 ShowKit - HL00125152 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00125153 - Director's Guide $100.00 00125154 - Piano/Vocal Score $40.00 00125155 - Actor's Script $10.00 00125156 - Actor's Script 10-Pak $75.00 00125157 - Rehearsal/Accompaniment CD $75.00 00125158 - Student Rehearsal CD $10.00 00125159 - Student Rehearsal CD 20-Pak $100.00 00125160 - Choreography DVD $50.00 00125161 - Media Disc $10.00 00125163 - Audio Sampler $10.00 Hear A Sample Omigod You Guys (Part 1) Omigod You Guys (Part 2) Serious (Part 1) Serious (Part 2) Daughter of Delta Nu What You Want (Part 1) What You Want (Part 2) What You Want (Part 3) Ireland Chip On My Shoulder (Part 1) Chip On My Shoulder (Part 2) Chip On My Shoulder (Part 3) Run Rufus Run!/Elle Reflects So Much Better Whipped Into Shape Delta Nu Nu Nu And Snap Bend And Snap Legally Blonde Legally Blonde Remix (Part 1) Legally Blonde Remix (Part 2) Legally Blonde Remix (Part 3) Scene Of The Crime (Part 2) Find My Way/Finale Cast Size Large (over 20), Flexible Cast Type Ensemble Cast - Many featured roles, Mainly Women, Showcases trained dancers, Showcases trained singers, Star Vehicle - Female, Teenage Roles Dance Requirement Heavy (Extensive Dance Sections/Solos), Standard (Musical Staging/Some Dance/Optional) AARON SCHULTZ, SUNDEEP AGRAWAL PADAMADAN and ENID HOOPES Three law students with academic credits that would intimidate anyone. BROOKE WYNDAM An exercise video mogul who is also a former sorority girl. She is energetic and charismatic, yet currently on trial for murder. Range: A3-D5 CHUTNEY WYNDHAM Brooke's unhappy stepdaughter with a really bad perm and an even worse attitude. DEWEY Paulette's brash ex-husband who lives in a trailer and holds her dog captive. ELLE WOODS The quintessential Valley Girl may appear like a typical blonde California sorority girl, but don't count her out. She is hardworking, optimistic and tenacious. Range: F#3-Eb5 EMMETT FORREST A smart and sensitive law student who takes Elle under his wing. He is charming, quirky, loveable, and friendly. Range: C3-F#4 ENSEMBLE WAITERS, DELTA NUS, FRAT BOYS, GREEK CHORUS, STUDENTS and INMATES. GAELEN, JUDGE, JET BLUE PILOT, SALESWOMAN, STORE MANAGER, PRISON GUARD, BOOKISH CLIENT and SABRINA Featured roles for young performers who may have less experience on the stage but have vibrant personalities. GRANDMASTER CHAD A fun cameo role for a young guy who is a great musician but may be less experienced onstage. Range: D3-D4 KATE A featured Delta Nu sister - the acedemic of the bunch. Range: Bb3-Db5 KIKI THE COLORIST, CASHIER and STYLIST Part of Paulette's entourage at the salon who are very adept at the "Bend and Snap." Range: C4-A4 KYLE The delivery man who Paulette has her eyes on each time his job brings him to the salon. MARGOT, SERENA, and PILAR Elle's trio of best friends and Delta Nu sisters. Range: F#3-C#5 PAULETTE A brash, caring, optimistic hair stylist who is friends with Elle and longs to find a man for herself. Range: A3-Bb4 PROFESSOR CALLAHAN The most-feared professor at Harvard Law School. Range: Bb2-F#4 VIVIENNE KENSINGTON A smart, savvy, and uptight law student and Warner's fiancee who initially dismisses Elle, but grows to be her friend. Range: A3-Eb5 WARNER HUNTINGTON III A good-looking but shallow and pompous guy who breaks Elle's heart and heads off to Harvard Law. He is caught between his former life with Elle and his newfound serious East Coast life with Vivienne. Range: D3-F4 WHITNEY Vivienne's law school friend and partner in mischief when it comes to bringing down Elle. WINTHROP, LOWELL and PFORZHEIMER Three admissions officers of Harvard Law School who eventually admit Elle into the program after some critical evaluation.
Disney's Frozen Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Book by Jennifer Lee Based on the Disney film written by Jennifer Lee and directed by Chris Buck and Jennifer Lee Overview / Synopsis The enchanting modern classic from Disney is ready for your Broadway Junior stars! Frozen JR. is based on the 2018 Broadway musical, and brings Elsa, Anna and the magical land of Arendelle to life onstage. The show features all the memorable songs from the animated film, with music and lyrics by Kristen Anderson-Lopez and Robert Lopez, plus five new songs written for the Broadway production. A story of true love and acceptance between sisters, Frozen JR. expands upon the emotional relationship and journey between Princesses Anna and Elsa. When faced with danger, the two discover their hidden potential and the powerful bond of sisterhood. With a cast of beloved characters and loaded with magic, adventure and plenty of humor, Frozen JR. is sure to thaw even the coldest heart! Audio Sampler - HL00284884 $10.00 ShowKit - HL00284886 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 00284870 - Director's Guide $100.00 00284871 - Piano/Vocal Score $40.00 00284872 - Actor's Script $10.00 00284874 - Actor's Script 10-pak $75.00 00284876 - Rehearsal/AccompanimentRehearsal/Accomp. CD $75.00 00284879 - Student Rehearsal CD $10.00 00284882 - Choreography DVD $50.00 00284883 - Media Disc $10.00 Hear A Sample Let the Sun Shine On A Little Bit of You Do You Want to Build a Snowman? For the First Time in Forever Dangerous to Dream Love is an Open Door Reindeer(s) Are Better Than People In Summer Hygge Let It Go Fixer Upper Colder by the Minute Finale Young Anna Young Anna, Middle Anna and Anna are all the young Princess of Arendelle at different ages. Filled with a tremendous amount of light, energy and love, Anna is a hopelessly optimistic extrovert at all ages, but as she grows older, she longs for connection with others, especially her sister, Elsa. Each version of this warm and determined princess requires a strong singer with great comic timing. Because Anna and Elsa share such a close bond, consider auditioning these roles together to get a sense of the performers' chemistry. Once your actors playing Young Anna and Middle Anna are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: A3 - D5 Middle Anna Gender: Female Vocal Range: A3 - B4 Anna Gender: Female Vocal Range: G3 - D5 Vocal range Bottom: G3 Young Elsa Young Elsa, Middle Elsa and Elsa are all the elder Princess of Arendelle at different ages. Next in line for the throne, Elsa has been born with magical powers that can overwhelm her when she becomes afraid and harm others if not handled with care. Fearful of hurting anyone, especially her beloved sister, Anna, Elsa becomes anxious and withdrawn as she grows older, before eventually learning to take control of, and become confident in, her powers which she masterfully uses to manipulate the Snow Chorus. With the exception of Middle Elsa, who has only one lyric, look for very strong singers who can portray Elsa's restrained nature. Once your actors playing Young Elsa and Middle Elsa are finished with these roles, consider adding them to the ensemble for the remainder of the show. Gender: Female Vocal Range: A3 - C#5 Middle Elsa Gender: Female Vocal Range: A3 - F#4 Elsa Gender: Female Vocal Range: F#3 - D5 King Agnarr The warm-hearted ruler of Arendelle is committed to protecting both his family and the Townspeople from his eldest daughter's powers. With only one singing solo, focus on casting an actor who can play this father figure convincingly. Gender: Male Queen Iduna The queen possesses a sense of rightness and kindness that guides her in her protection of her two young girls. A daughter of the Northern Nomads, this queen has the ability to communicate with the Hidden Folk of the mountains and so understands Elsa's powers deeply; look for an actor who can portray this sense of compassion. Gender: Female Pabbie Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd-pleaser, "Fixer Upper." Gender: Both Bulda Pabbie and Bulda are the mystical leaders of the Hidden Folk who have a soft spot for "strays." Ever-benevolent, these parental figures want what's best for Kristoff, even if they are a bit misguided in their efforts. Look for amiable performers who will endear themselves to the audience in the crowd- pleaser, "Fixer Upper." Gender: Both Bishop The bishop officiates the coronation and passing of the crown to Elsa. This spiritual supervisor must communicate to the Townspeople of Arendelle in a serious and formal manner. Gender: Both Kristoff Kristoff is a hardworking ice harvester. Kristoff has a sarcastic veneer and a rough-around-the-edges exterior that hides a big heart. Taken in by the Hidden Folk when he was young, he loves Pabbie and Bulda dearly, but is a bit of a loner with a reindeer for a best friend- until he meets Anna. With only a few short singing solos, focus on casting a performer who can balance a cynical sense of humor with charming banter. Gender: Male Vocal Range: G2 - A3 Sven Sven is a reindeer of few words, fiercely loyal pal to Kristoff, and loves giving the ice harvester a hard time. Look for a performer with good comic timing and terrific physical acting skills who can devise a strong movement vocabulary to bring this furry charmer to life. Consider auditioning potential Svens and Kristoffs together as the two should share a visible bond. Gender: Both Vocal Range: A3 - A4 Hans The ambitious Prince of the Southern Isles and overlooked thirteenth son of a king. Hans constantly strives to find a way to make good and stand out. He boasts an exceedingly charming facade that fools everyone - including Anna and, ideally, the audience! - into believing he's Prince Charming, when really, he's just a jerk. Cast an actor who can play both sides of this two-faced prince with relish as well as confidently sing the moments of harmony in "Love Is an Open Door." Gender: Male Vocal Range: G2 - B3 Weselton A visiting duke who possesses a huge inferiority complex. A bombastic, overbearing sycophant, Weselton's sole purpose is to hobnob with influencers and royalty. Look for an actor who can portray the narrow-minded naysayer with over-the-top gusto. Gender: Both Olaf The magical snowman created by Anna and Elsa when they were young. Olaf is endearingly delighted by everything - especially the idea of summer. Goofy and sweet, Olaf should possess a childlike innocence and excellent comic timing. Gender: Male Vocal Range: F#2 - D4 Oaken An exceedingly cheerful and convivial wandering salesperson and ardent devotee to all things cozy and comfortable. Oaken's "Hygge" is a showstopper, so cast an actor who can portray the peppy peddler's infectious warmth with flair and good humor. Gender: Both Ensemble Includes the following roles: Townspeople, Snow Chorus, Hidden Folk, Castle Staff, Housekeeper, Butler, Handmaiden, Cook, Steward, Guards, Summer Chorus, Oaken's Family Gender: Both
Disney's My Son Pinocchio Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Lyrics by Stephen Schwartz Book by David Stern Overview / Synopsis My Son Pinocchio: Geppetto's Musical Tale is a light-hearted spin on the classic Pinocchio story. Once the Blue Fairy grants Geppetto his wish for a new son, the new father finds his parenting skills are a bit rough. With a book by David Stern, Academy Award®-winning composer Stephen Schwartz creates an original score expanded from Disney's Geppetto, the live-action TV movie starring Drew Carey, and paired with much loved songs from Disney's animated feature Pinocchio. Audio Sampler - HL00112989 $10.00 ShowKit - HL00113001 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Performance/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00112980 - Piano/Vocal Score $40.00 00112979 - Director's Script $100.00 00112981 - Actor's Script $10.00 00112982 - Actor's Script 10 Pak $75.00 00112984 - Performance/Accompaniment CD $50.00 00112987 - Choreography DVD $50.00 00112985 - Student Rehearsal CD $10.00 00112986 - Student Rehearsal CD 20 Pak $100.00 00112988 - Media Disc $10.00 00112989 - Audio Sampler $10.00 Hear A Sample When You Wish Upon A Star (Part 1) [Rosa, Viola, Arancia, Sue, The Blue Fairy] When You Wish Upon A Star (Part 2) [Rosa, Viola, Arancia, Sue, The Blue Fairy] Toys [Geppetto, Town Children, Town Mothers, Town Fathers] Empty Heart [Geppetto] Rise and Shine (Part 1) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 1) [Geppetto, Pinocchio] Geppetto and Son (Part 2) [Geppetto] Rise and Shine (Part 2) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 3) [Geppetto, Pinocchio] Rise and Shine (Part 3) [Rosa, Viola, Arancia, Sue] Geppetto and Son (Part 4) [Geppetto] When You Wish Upon A Star (Reprise) [Pinocchio] Geppetto's Music Box [Geppetto] I've Got No Strings [Pinocchio, Marionettes] Bravo Stromboli [Stromboli, Marionettes] Just Because It's Magic [The Blue Fairy, Rosa, Viola, Arancia, Sue] Satisfaction Guaranteed (Part 1) [Talia, Maria, Professore Buonragazzo] Satisfaction Guaranteed (Part 2) [Boy 1] Satisfaction Guaranteed (Part 3) [Boy 2, Junior, Professore Buonragazzo, Company] Bravo Stromboli (Reprise) [Stomboli, Marionettes] Pleasure Island (Part 1) [Ringleader, Roustabouts] Pleasure Island (Part 2) [Ringleader] Geppetto and Son (Whale Reprise) [Geppetto, Pinocchio] Since I Gave My Heart Away (Part 1) [Geppetto,Fairies in Training] Since I Gave My Heart Away (Part 2) [Geppetto,The Blue Fairy, Company] Bows [Company] ANIMALS Animals (Pig, Foxes, Horse) serve as voices of reason for Geppetto's journey. Performers cast in these roles do not have to sing; however, comic timing and deadpan delivery are essential. These performers should be comfortable inhabiting the mismatched animals they portray. BERNARDO & MARIA Bernardo & Maria are married residents of Idyllia who are looking to purchase a "perfect" daughter from Professore Buonragazzo. These roles require group singing only. These performers can become part of the ensemble in other group numbers. THE BLUE FAIRY The Blue Fairy is convinced of her own perfection and does not like having it called into question. The performer you cast should have good comedic instincts and a solid singing voice. This role does not require excessive dancing. Range: G3 - E5 BOY 1 Boy 1 is one of three spokespeople for a group of traveling singers. They are larger than life as they spread joy throughout Rainbow Valley with their songs.Boy 1 is the first replacement for Pinocchio, created by Professore Buonragazzo's machine. Find an actor who can mimic a comedic version of the famous puppet. Range: C3 - C4 BOY 2 Boy 2 is the second replacement for Pinocchio. He should be even more wooden than Boy 1. Range: C3 - C4 CHILDREN OF IDYLLIA Children of Idyllia (Amelia, Salvatore, Carla, Lucia, Giuseppe, Boy 1, Boy 2) are the perfect children created by Professore Buonragazzo. Performers cast in these roles should be able to sing in groups, with featured speaking lines. There are great opportunities for movement and dance. DELINQUENTS Delinquents (Malvolio, Brutto, Sporco, others) can expand to include more performers and are great roles for non-singers. Also, they must be comfortable turning into donkeys. GEPPETTO Geppetto A Sharecropper who bids his time until he can go away to college. He has a quiet strength.Geppetto is a lonely toymaker who longs to be a father. Look for a mature performer who feels comfortable playing a parent to Pinocchio and isn't afraid of showing emotion. Cast a strong singer, as Geppetto has several solos. Range: Bb3 - F5 JUNIOR Junior is Professore Buonragazzo's mirrorimage assistant, created using the child-making machine. The performer in this role will need to work closely with the performer playing the Professor to mimic his movements. A short solo is required, but it can be spoken if necessary. Range: Bb3 - C#5 MARIONETTES Marionettes are the stringed puppets in Stromboli's show. There are solos available for marionettes, if you choose to separate their voices from Stromboli. Marionettes can be added as need to the ensemble. Range: Bb3 - E5 PINOCCHIO Pinocchio is a wooden puppet who doesn't know where he belongs. Look for a performer who can handle the lively personality of a little boy while also capturing tender moments. Although Pinocchio is a boy, the role can be played by a boy or girl. Pinocchio has a few solos, but a strong character actor can easily act through them. Range: G3 - E5 PROFESSORE BUONGRAZZO Professore Buongrazzo is a passionate, mad scientist obsessed with building perfect children. While some solos are required, character work is most important for this role. Range: Bb3 - C#4 THE RINGLEADER The Ringleader runs Pleasure Island. The performer playing this role should have a real sense of showmanship. This role requires some singing and is a great opportunity to showcase a dancer. The Ringleader can be played by a boy or a girl, but be sure to cast a performer who can commit to the character's mischievous ways. Range: A3 - E5 ROSA, VIOLA & ARANCIA Rosa, Viola & Arancia, fairies in training, are sweet and kind. The performers in these roles should be expressive observers since they often oversee the action occurring onstage during flashbacks. They sing as a group, often alongside the Blue Fairy. Their individual distinctions from one another can be discovered during rehearsal. ROUSTABOUTS Roustabouts are the sidekicks to Pleasure Island's Ringleader. When performing these roles, personality is key. Group singing is required. SIGNORA GIOVANNI Signora Giovaani is Pinocchio's teacher. The role can be a great opportunity to feature a performer who doesn't sing. If needed, this performer can become part of the ensemble in other group numbers. STROMBOLI Stromboli is a bumbling, loud, incompetent puppeteer who has at least a few screws loose. Cast a versatile performer who can create silly voices to take this character and his marionettes over-the-top. Stromboli's songs are challenging, so look for someone who is comfortable with his solos and doesn't shy away from silliness. Range: Bb3 - F5 SUE Sue is a fairy in training who marches to the beat of her own drum. She isn't your typical fairy, as sweetness isn't in her nature. The performer in this role can be brooding or brash, but certainly a contrast to Rosa, Viola and Arancia, although vocally she should blend in. TALIA Talia is the "perfect child" created for Maria and Bernardo by Professore Buonragazzo's machine. Talia sings and dances to impress her parents, so this is a great role to feature a dancer. Range: C3 - C4 THE TOWN CHILDREN The Town Children (Dante, Agata, Fiorello, Francesca, Adriana, Luigi, Gina, Lia, Rico) love the toys in Geppetto's shop. The performers cast in these roles should be able to create individual personalities for their characters. There are opportunities for solos, but performers can sing in groups. TOWN PARENTS Town Parents (Signora Lisi, Signore Fucito, Signora Mancini, Signor Alcamo, Signora Sommelia, Signora Contrastana, Signora Rosati, Signore Proto, Signore Marino) are the beleaguered mothers and judgmental fathers of the town children. The performers cast in these roles should be able to create individual personalities for their characters. There are opportunities for solos, but performers can sing in groups.
Disney's Newsies Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Alan Menken Lyrics by Jack Feldman Book by Harvey Fierstein JR. Script Adaptation by David Simpatico Overview / Synopsis Disney's Newsies JR. is a 60-minute version of the 2012 Broadway musical, based on the 1992 film. Inspired by the rousing true story of newsboys in turn-of-the-century New York City, Newsies JR. features a Tony Award-winning score by Alan Menken and Jack Feldman and a book by Tony Award winner Harvey Fierstein. When powerful newspaper publishers raise prices at the newsboys' expense, the charismatic Jack Kelly rallies newsies from across the city to strike against the unfair conditions. Together, the newsies learn that they are stronger united and create a movement to fight for what's right. Including the now-classic songs "Carrying the Banner," "Seize the Day," and "Santa Fe," Newsies JR. is a timeless story full of spirit and heart. Audio Sampler - HL00326616 $10.00 ShowKit - HL00326617 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Script Performance/Accompaniment & Guide Vocal Audio (Digital Only) Choreography Videos (Digital Only) Downloadable Media Resources (Digital Only) Digital Delivery Update Now you can receive digital access to many of the ShowKit components you know and love. Look forward to easily distributing these crucial components to your cast and creative team: Performance Accompaniment Tracks and Guide Vocal Tracks (Formerly Accompaniment CD & Rehearsal CD, respectively) will now be delivered together as a digital download and easily shared with your entire team, cast, and crew Choreography Videos (formerly the Choreography DVD) will be available to stream directly from mtishows.com. Now not only your choreographer but the entire cast will have access to fantastic step-by-step instruction for every Broadway Junior title! Downloadable Resources (formerly the Resources (or Media) Disc), including Audition Materials, a customizable press release, program and other helpful templates, and more can all be accessed with a click of a button 60-Minute JR. Request Individual Components 00326612 - Director's Script $100.00 00326613 - Piano/Vocal Score $40.00 00326614 - Actor's Script $10.00 00326615 - Actor's Script Book 10 Pak $75.00 00326616 - Audio Sampler $10.00 MUSICAL NUMBERS Santa Fe (Prologue) Carrying the Banner Carrying the Banner (Reprise) Just A Pretty Face The World Will Know Watch What Happens Seize The Day (Part 1) Seize The Day (Part 2) Santa Fe / Letter from The Refuge King of New York Brooklyn's Here Seize The Day (Reprise) Once and for All Finale Cast Size: Large (21 or more performers) Cast Type: Ensemble Cast Dance Requirements: Standard Jack Kelly The charismatic leader of the Manhattan newsies, is an orphaned dreamer and artist who yearns to get out of the crowded streets of New York and make a better life for himself out West. Fiercely protective of his best friend, Crutchie, and very loyal, Jack isn't afraid to use his voice to attain better conditions for the working kids of New York City. Look for an actor who can command the stage with ease, possesses strong vocal abilities, and can exude Jack's tough-guy exterior and his big heart. Gender: Male Vocal range: F5 - B3 Katherine Plumber An ambitious young reporter, works hard to make a name for herself as a legitimate journalist in a time when women aren't taken seriously. Quick, funny, and resourceful, Katherine should be a strong singer with excellent diction for her showstopping number, "Watch What Happens." Because Katherine and Jack possess a strong bond, consider auditioning these roles together to get a sense of the performers' repartee. Gender: Female Vocal range: D5 - A3 Crutchie/Casey Jack's best friend and a dedicated newsie with a "bum leg" from polio that causes pain, but helps sell more papers. Walking with the assistance of a crutch doesn't define the ever-positive newsie, so look for an actor who can portray Casey's goofy-sweet sense of humor and optimistic resilience. Crutchie is accustomed to modifying daily activities for their disability, so consider both the character and actor's abilities when blocking and choreographing. Gender: Both Vocal range: F5 - A3 Davey Les's straight-laced, bright big brother, starts selling newspapers to help his family earn a living but becomes swept up in the fervor of the strike. A leader in his own right, who is learning to use his voice to uplift others, cast a strong actor and singer who can lead "Seize the Day" while smartly portraying the brains of the resistance. Gender: Male Vocal range: D5 - B3 Les Davey's cheeky younger sibling, is excited by the newsies' freedom and loves their independent lifestyle. This pint-sized charmer should present as younger than the other newsies. Gender: Both Vocal range: F4 - B3 Medda Larkin Inspired by the African- American vaudeville performer, Aida Overton-Walker, A big-voiced singer and star of the Bowery (see the "Dramaturgy" document in Downloadable Resources). A proud supporter of the newsies, she offers her theater as a safe haven for their revolution. Look for a performer who can portray this astute entertainer with great comic delivery, while standing firmly behind the newsies in their fight for justice. Gender: Female Vocal range: D5 - G3 Joseph Pulitzer A pompous businessman through and through, owns the World and is concerned solely with the bottom line. Katherine's no-nonsense father, Pulitzer doesn't sympathize with the strikers, but he does eventually - and grudgingly - respect Jack. For this non-singing role, cast a strong actor with a sharp and imposing presence. Gender: Male Wiesel Aka "Weasel". A disgruntled paper-pusher who uses the Delancey brothers as his muscle, runs distribution for the World and has little patience or sympathy for the newsies. Feel free to incorporate this actor into the newsies ensemble when possible. Gender: Male Newsies The hard-working kids of New York City who go on strike for a livable wage. Find moments to showcase any talented tumblers or dancers within this group. Given the nature of this show, most other characters can double as newsies to help fill in the musical numbers. Within the newsies ensemble, consider dividing the group into featured dancers and singers in order to play to the strengths of your performers. These include the following roles: Race, Albert, Muriel, Nancy, Specs, Pigtails, Hazel, Buttons, Tommy Boy, Romeo, Jo Jo, Scabs, Brooklyn Newsies, Spot Conlon Darcy A photographer who works with Katherine. Dorothy Katherine's upperclass friend whose parents own the New York Tribune and help the newsies print the Newsies Banner. Gender: Female Bill Katherine's upperclass friend whose parents own the New York Journal and help the newsies print the Newsies Banner. Gender: Male Working Children Featured in "Once and For All," they represent all of the other child laborers who receive the Newsies Banner and ultimately become a part of the children's crusade. These working kids can be pulled from your larger newsie ensemble. Seitz The editor of the World who advises Pulitzer, but ultimately admires the kids' newspaper. Bunsen Pulitzer's bookkeeper who helps Pulitzer come up with the idea to raise the newsies' price per paper. Hannah Pulitzer's secretary who is a clever advocate for the newsies. Gender: Female Snyder The crooked warden of The Refuge. A filthy and horrible juvenile reformatory, is concerned only with catching enough kids to keep their government checks coming. Look for an actor who can evoke an imposing and sinister presence. Governor Teddy Roosevelt A well-respected lifelong public servant who inspires Jack to stand up to Pulitzer. Cast an actor with the ability to portray the maturity and stature of this well-respected leader. Gender: Male Bowery Brigade Includes the roles of the upbeat and charming Ada, Olive, and Ethel. A group of vaudeville performers in Medda's act. While only three performers have solos, feel free to make this ensemble group as big or small as best fits your production. Gender: Female Police Officers Includes the role of the Police Chief. They intimidate the newsies and arrest Crutchie. Cast as many officers as suits your production. Pat An efficient stage manager who introduces Medda's act. Woman A newspaper customer. Gender: Female
20th Century French Art Songs | Hal Leonard Hal Leonard Online - French Art Songs 20th CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968). 20TH CENTURY FRENCH ART SONGS Mélodies française du XXe siècle Edited by Carol Kimball Published by Éditions Durand DF 16250/HL 50565798 High Voice edition DF 16251/HL 50565799 Medium/Low Voice edition Distributed in Europe and Asia by Hal Leonard MGB Distributed in North and South America by Hal Leonard Distributed in Australia and New Zealand by Hal Leonard Australia Download & Print Introductory Notes Complete Online Introductory Notes, Unabridged copyright © 2015 Editions Durand An abridged version of editor Carol Kimball’s “Introduction” appears in the High Voice and Medium/Low Voice publications. Her complete length “Introduction” appears below. See the publications for the poetry texts in French and translations in English. GEORGES AURIC CLAUDE DEBUSSY HENRI DUTILLEUX GABRIEL FAURÉ REYNALDO HAHN ARTHUR HONEGGER JACQUES LEGUERNEY OLIVIER MESSIAEN DARIUS MILHAUD FRANCIS POULENC MAURICE RAVEL ALBERT ROUSSEL ERIK SATIE DÉODAT DE SÉVERAC GEORGES AURIC (1899-1983) George Auric was something of a child prodigy, performing a piano recital at the Musicale Indépendante at the age of fourteen. The following year, the Société Nationale de Musique performed several songs he had composed. He studied composition at the Paris Conservatoire with Georges Caussade, and later with Vincent d’Indy and Albert Roussel at the Schola Cantorum de Paris. Before he was twenty, Auric had orchestrated and written incidental music for several stage productions and ballets. He composed a significant amount of avant-garde music during the years between 1910-20. Around 1914, he widened his acquaintances to include members of Les Six, a group of composers informally associated with Erik Satie and Jean Cocteau, and became a part of their group. Auric and Francis Poulenc became fast friends and remained so for life. Music criticism was an important part of Auric’s career; his writing focused on promoting the ideals of Les Six and Cocteau. He was also especially known for his film scores, which are consistently imaginative. He forged a major career in the English movies of the 1940s and ’50s. Among his most well-known scores is the music for the film Moulin Rouge. Other popular film titles with scores by Auric include The Lavender Hill Mob, Roman Holiday, Beauty and the Beast, and Bonjour Tristesse. In 1962 he became the director of the Opéra National de Paris and later, chairman of SACEM, the French Performing Rights Society. Auric continued to write classical chamber music until his death. Le Jeune sanguine (1940) from Trois Poèmes de Louise de Vilmorin poem by Louise de Vilmorin (1902-1969) This mélodie is the second song in Auric’s cycle titled Trois poèmes de Louise de Vilmorin. Vilmorin’s poetry reverberates with sensitivity to affairs of the heart. She was one of Poulenc’s preferred poets; he set her poetry when writing specifically for the female voice, such as in Fiançailles pour rire. A sort of veiled humor is at the heart of this text that describes a young hussy whose lover departs early with the dawn’s first light, leaving her weeping disconsolately. Auric provides a prelude and postlude for formal balance as the miserable young woman mourns her loss. He also inserts several unexpected and amusing measures of a tango as the young man arches his back and leaves the sound of her sobbing. For his three Vilmorin songs, Auric used the style of a chansonette, or more popular song. Printemps (1935) Poem by Pierre de Ronsard (1524-1585) Auric composed this lilting waltz song for a play by Edouard Bourdet titled La Reine Margot (1935). The celebrated musical theatre actress-singer Yvonne Printemps created the role of Queen Margot of Navarre at Théâtre de la Michodière. Auric and Francis Poulenc collaborated on the incidental music for this play; Poulenc took the second act, Auric the first. Poulenc composed the Suite française and the song “A sa guitare”; Auric’s contribution was “Printemps.” Yvonne Printemps sang both songs in the play. Both composers used texts by Pierre de Ronsard, and the musical style of each is reminiscent of the Renaissance. Ronsard’s original poem had twenty-three stanzas. Auric set only the first three. BACK TO TOP CLAUDE DEBUSSY (1862-1918) Claude Debussy wrote expertly for the voice and was acutely responsive to transforming poetic nuance into musical expression. Possibly no other French composer was as attuned to blending poetry and music. His literary taste was highly refined and he maintained a visible and active role in the literary and artistic circles of his time. He chose to set poetry of his contemporaries, notably Verlaine and Mallarmé. Verlaine’s verse with its inherent musical qualities, provided Debussy with poetry for numerous works. For Debussy, poetry as poetry was the paramount determinant of the musical texture. His ability to detect the essence of a poem and perfectly transform it into musical expression makes his mélodies unique in the history of French song. Le promenoir des deux amants (1904, 1910) poems by Tristan l’Hermite (c. 1601-1656) “Auprès de cette grotte sombre,” the first song, made its first appearance with the title “La Grotte,” song two of Trois chansons de France of 1904. In 1910, it was retitled and combined with two other poems by Tristan l’Hermite (“Crois mon conseil, chère Climène” and “Je tremble en voyant ton visage”) to form the miniature cycle Le Promenoir de deux amants, which has been called the finest of all Debussy’s works for voice and piano. It is also the least-often performed. Debussy chose the texts from Les Amours de Tristan, a collection by the seventeenth-century poet Tristan l’Hermite. The poems are set close to a grotto, secluded and silent. The transparent, barely stirring waters mingle with the silence of the cloistered spot, creating a dreamlike atmosphere. Debussy establishes an intimate, tender mood immediately and maintains this fragile mix of sound and color throughout the three mélodies. The interplay of resonance and texture in voice and piano results in an exquisite blend of light and shade, perfectly complementing l’Hermite’s poetic images. Subtly inflected vocal phrases are key to recreating the infinite calm and Pelléas-like atmosphere of the poetry, a perfect fusion of stillness and sensuality. Fêtes galantes II (1904) poems by Paul Verlaine (1844-1896) Debussy’s fascination with the work of the French Symbolist poet Paul Verlaine resulted in his setting to music no fewer than seventeen of Verlaine’s texts. He composed two sets of three songs each, both titled Fêtes galantes, the first in 1892, and the second in 1904. Fêtes galantes II, Debussy’s last setting of Verlaine, closely following the composition of his opera Pélleas et Mélisande, is representative of the composer’s mature vocal works. It is marked by sparser textures, freer tonalities and a more concentrated compositional style than the first set; but like the first set, Fêtes galantes II presents three unrelated songs. None of the Watteau-like scenes are found here; rather, these three poems are filled with mystery, and are without sentimentality. The theme of time appears in each of the poems: the first, sentimental youthful remembrances; the second, inexorable fleeting time; and finally in the last song, time never to be reclaimed. “Les Ingénus” recalls the first awakenings of sexual attraction, and deals with the breathless awe with which a group of unsophisticated young men of the mid-nineteenth century view their similarly naïve female companions. The scene unfolds in a highly chromatic texture, skillfully balanced to preserve the delicate, poignant images in Verlaine’s verse. Debussy’s free-floating harmonies are carefully contrived to complement the uncertain emotions and repressed sensations of the youths in the poem. “Le Faune” begins with a prelude; time unravels in an inflexible dance featuring a rhythmic, hypnotic figure in the piano, imaging the traditional reed pipe and “tambourin,” a small drum played with a stick. The old terra-cotta statue in Verlaine’s poem is probably the woodland god Pan, playing a monotonous rhythm that is both sensual and slightly menacing, matching the mood of the two mélancolique pélerins. Mesmerized by the repetitive rhythms of drum and reed flute, the dejected travelers are caught in the whirlpool of passing time, which spins past as they watch helplessly. “Colloque sentimental.” Colloquial (colloque) refers to ordinary speech or conversation. This disturbing poem is the touchstone of one of Debussy’s great mélodies. It is the last poem in Verlaine’s collection titled Fêtes galantes, and provides a chilling climax. It blends themes of despair, death and disillusion. In this extraordinary song, the ghosts of two lovers meet in a wintry park. As they speak of their former love, their words match the setting: glacial and detached from feeling. Throughout the song their wintry words are enhanced by Debussy’s simple and subtle vocal treatment: one voice urgent and persistent, the other stonily indifferent. Debussy’s manipulation of musical texture between voice and piano is masterful. The sparse vocal lines are almost speech-like, and the piano figures mirror the frozen landscape in which this conversation–equally cold–takes place. The song’s kinship to Debussy’s opera Pélleas et Mélisande is unmistakable. The listener becomes one with the poem’s narrator, straining to see and hear the couple’s conversation in the icy cold of the deserted, frozen park. Debussy reaches back to “En sourdine” (the first mélodie of Fêtes galantes I), takes the wistful song of the nightingale, and inserts it into this song at various points. The nightingale’s melody (“voix de nôtre dessespoir, le rossignol chantera”) provides a touching and melancholy association, linking the two sets of Fêtes galantes together symbolically and musically, foreshadowing the disenchantment of love hinted at in “En sourdine” with the lovers’ conversation in “Colloque sentimental,” and unifying the two sets by a subtle musical component. This panel of three mélodies was Debussy’s last setting of the poetry of Paul Verlaine. Noël des enfants qui n’ont plus de maisons (1915) poem by the composer This is Debussy’s last song, written to his own text, a Christmas carol for children made homeless by World War I. Its intensity comes from its simple sincerity. Debussy composed it on the eve of his first operation for the cancer that would end his life two years later. It was his personal protest against the invasion of northern France by the German armies. When asked for permission to orchestrate the song, Debussy refused, saying, “I want this piece to be sung with the most discreet accompaniment. Not a word of the text must be lost, inspired as it is by the rapacity of our enemies. It is the only way I have to fight the war.” Originally composed in 1915 for piano and voice, Debussy also created a version for children’s chorus, and in 1916, a version for piano and two sopranos. BACK TO TOP HENRI DUTILLEUX (1916-2013) Henri Dutilleux studied at the Paris Conservatory with Maurice Emmanuel. He received the Prix de Rome in 1938 at age twenty-two, and went on to work at the Paris Opéra and the French Radio. France’s musical institutions defined his career: in 1961, he joined the faculty at the école Normale de Musique, teaching composition. In 1970, he taught at the Paris Conservatoire. He destroyed many of his early works, considering them derivative of Ravel, the preeminent composer in France during his youth. His music that had been published avoided demolition. After World War II, Dutilleux concentrated almost exclusively on instrumental and orchestral music, much of which has been widely programmed and recorded. His songs are not well known. In the chronological catalogue of his compositions, beginning in 1929, the Quatre mélodies for mezzo soprano or baritone is only the eleventh entry. It also exists in an orchestral version. The collection is dedicated to the French baritone Charles Panzéra and his wife, pianist Magdeleine Panzéra-Baillot, prominent interpreters of French song in the interwar years. Gabriel Fauré dedicated his last cycle, L’horizon chimérique, to Panzéra. Quatre mélodies (1942) uses poems by four different poets and presents a delightful collection of moods, although it must be admitted that the level of the poetry is not uniformly high: “Féérie au clair de lune” (poem by Raymond Genty), a graceful scherzo of dancing fairies that evokes Shakespeare’s A Midsummer Night’s Dream; “Pour une amie perdue” (Edmond Borsent); “Regards sur l’infini” (Anna de Noailles); and “Fantasio” (André Bellessort). The last mélodie is the most successful of the set and is one of two songs from the set (the other being “Pour une amie perdue”) that Dutilleux acknowledged. He wanted to exclude the first and third songs because their poetry was relatively mediocre. Fantasio (1942) from Quatre Mélodies poem by André Bellessort (1866-1942) “Fantasio” (the original title of Bellessort’s poem is “Les funérailles de Fantasio”) is a colorful poem that chronicles the funeral of the titled character, who has expired before the text begins. The poem, set in Venice during Carnival, is full of glittering and compelling imagery that changes quickly, following the pace of the Carnival. Musical textures are skillfully handled and exhibit some of Dutilleux’s developing style. “Pauvre Fantasio,” is heard several times during the text, acting as both a funereal chant that unifies the proceedings and perhaps as well, keeping the mourners’ footsteps marching together. BACK TO TOP GABRIEL FAURÉ (1845-1924) Gabriel Fauré was one of the great composers of French song who, with Duparc and Debussy, perfected the mélodie as a true art song form. He composed about a hundred songs, all original in conception, constantly developing in style, and pointing the way to future works. His songs express a broad range of emotion and a great variety of musical textures, extending the musical parameters of the genre and inspiring new techniques of song compositions. His songs are often divided into three compositional periods for purposes of study and definition. Fauré has been characterized as a skillful watchmaker; with great precision his songs, which overflow with subtle nuances and delicate detail. His approach is in keeping with the French musical aesthetic: elegant and rational, dealing with sentiment rather than literal sensation. He was able to capture the entire poetic mood of each poem he set and to create an aura around it with his musical setting. Dans la fôret de septembre, Op. 85, No. 1 (1902) poem by Catulle Mendès (1841-1909) This touching poem symbolizes the onset of old age. Mendès was among the founders of a literary magazine, La Revue fantaisiste, which published many poems of the Parnassian poets. Fauré’s musical style perfectly suited this style of poetry: elegance of style, richness of rhyme, regularity and symmetry of rhythm. The Parnassians avoided the excessively romantic and aimed for “art-for-art’s sake.” Fauré was nearly sixty years old when he composed this mélodie, and his reaction to this poem is beautifully poignant. The words describe the poet’s reflective walk through a quiet, somber forest, capturing the chill of mortality and the overall mood of the turning point of life. The ancient forest, sensing a kindred spirit, provides the walker with a sign of friendship and understanding. Fauré set this contemplative poem in a rich harmonic musical texture with a vocal line that borders on quasi-recitative-like shapes. The solemn thoughts of old age call forth a melancholy, but it is a subtle melancholy. It is almost hymn-like in the fusion of words, emotions, and musical texture. This mélodie may be considered as marking the threshold to the final period of Fauré’s compositions. Accompagnement, Op. 85, No. 3 (1902) poem by Albert Victor Samain (1858-1900) This mélodie is a beautiful barcarolle–a nighttime scene, silvery and hazy, alluring but unreal. The image of the poet rowing on the lake is reflected in the musical texture. Fauré had a lifelong fascination with water imagery in music; this poem offers a little reel of unfolding pictures of a moonlight journey a dark lake. The words “dans le rêve” tell us that this is all a dream. This is a rarely sung Fauré mélodie that yields great rewards for the performer. Chanson, Op. 94 (1906) poem by Henri di Régnier (1864-1936) This poem has a gentle charm and a calm simplicity. It is the last of Fauré’s madrigals that include delicate love songs such as “Lydia,” and “Clair de lune.” It has a wonderful fluidity that is a perfect foil for the poetic images The text is a simple set of variations on one theme: nothing on earth has any meaning unless the beloved somehow touches it. Fauré’s reaction to the words called forth a musical setting of delicate transparency and limited range. It is not well known; like “Le Don silencieux,” “Chanson” was published as a single song and therefore not widely disseminated. It is an example of exquisitely planned musical economy, and definitely belongs in Fauré’s third period of musical compositions. Le Don silencieux, Op. 92 (1906) poem by Marie Closset (1875-1952), under the pseudonym Jean Dominique Here is another little known Fauré song, a rarity because it was published separately and was never included in any of the Fauré recueils. The poem has a gentle melancholy–the plea of a timid lover, a mixture of hope and imagined disappointment. The words are tender and flowing, but the overall mood is one of unrelieved sadness. This song marks the beginning of Fauré’s third compositional period, which includes the cycles La Chanson d’Eve, Le Jardin clos, Mirages, and L’Horizon chimérique. Writing of this mélodie in a letter to his wife, Fauré said, It does not in the least resemble any of my previous works, nor anything that I am aware of; I am very pleased about this...It translates the words gradually as they unfold themselves; it begins, opens out, and finishes, nothing more, nevertheless it is unified. 1 NOTES: Quoted in Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Guildhall School of Music and Ashgate Publishing Ltd., 2009), 291. Quotation from Jean-Michel Nectoux, Gabriel Fauré: A Musical Life, trans. Roger Nichols (Cambridge: Cambridge University Press, 1991), 304. This is a translation of Fauré’s letter to his wife of 17 August 1906. BACK TO TOP REYNALDO HAHN (1875-1947) Reynaldo Hahn, Venezuelan by birth, came to Paris with his family at age four and made a brilliant career. In addition to his career as a composer and singer, he was director of the Paris Opéra, music critic for the newspaper Figaro, and conductor of the Salzburg Festival. He was enough of a scholar to edit some of the works of Rameau. He maintained close friendships throughout his life with actress Sarah Bernhardt and writer Marcel Proust. During the Belle époque, French mélodie was at the height of its development. Hahn was a habitué of the most fashionable salons, where he was in demand as a performer. On these occasions, he usually sang and played his own accompaniment, often with a cigarette dangling from his lips. The art of singing was one of his major passions, and he wrote three books on singing (Du chant, Thèmes varies, and L’oreille au guet), as well as a memoir of Sarah Bernhardt. Hahn’s songs are models of French restraint–devoid of overt display, with beautiful melodies in a modest vocal range. They reflect the style of his teacher, Jules Massenet. Hahn composed approximately ninety-five works for solo voice: eighty-four mélodies, five English songs to texts of Robert Louis Stevenson, and six Italian songs in the Venetian dialect. After 1912, Hahn composed in larger forms: opera, operetta, and film music. Perhaps his most famous work is his operetta Ciboulette (1923), which is still performed. À Chloris (1916) poem by Théophile de Viau (1590-1626) “À Chloris” is No. 14 in Deuxième volume de vingt mélodies, the last major publication of Hahn’s songs during his lifetime. In many of his later songs, he turned to a deliberately archaic style. “À Chloris” features an elegant vocal line above a piano texture that features Baroque musical characteristics; it is its own piece, with ornamented melody and chaconne-like bass. Vocal line and piano piece are woven into a musical tapestry that is both declarative and intimate. Poet Théophile de Viau was considered one of the most influential libertin poets during Louis XIII’s reign. The libertins’ verses had a unique charm that is instantly appealing, but somewhat artificial. Despite this, de Viau’s love poetry is not bland, but full of suggestive passion and elegant wit. BACK TO TOP ARTHUR HONEGGER (1892-1955) Arthur Honegger composed over forty mélodies for voice and piano. Taken as a whole, they are diverse and imaginative. For his texts, he favored contemporary poets such as Jean Cocteau, Guillaume Apollinaire, Paul Claudel, and Paul Fort. He also chose to set unrelated poems by a single poet, such as his Poesies (Cocteau) and Alcools (Apollinaire). Poetry with strong imagery appealed to the dramatist in his personality. For Honegger, as for most successful mélodie composers, the word provides the starting place. He is quoted as saying: For me, the music a song is always dependent upon the poetic model. It must join so closely with the poetry, that they become inseparable and one can picture the poem in wholly musical terms. This is not to say that the music becomes subservient. It must be so crafted that it can stand on its own merits, playable without the text, logical and complete. 1 Born of Swiss parents in Le Havre, France, Arthur Honegger initially studied for two years at the Zurich Conservatory, but enrolled in the Paris Conservatoire from 1911 to 1918, studying with Charles-Marie Widor and Vincent d’Indy. Some of his more familiar large vocal works include the dramatic psalm Le roi David (King David), composed in 1921 and still in the choral repertoire; and his dramatic oratorio of 1935, Jeanne d’Arc au bûcher (Joan of Arc at the stake), with text by Paul Claudel, considered to be one of his finest works. Between the world wars, he composed nine ballets and three vocal stage works, among works in other genres. His total compositional catalog is an impressive list of music: orchestral works, chamber music, concertos, ballets, operas, operettas, and oratorios. Widely known as a train enthusiast, he was passionately interested in locomotives, to which he attributed almost human characteristics. His “mouvement symphonique,” Pacific 231, gained him early acclaim in 1923. Honegger’s musical style is a fascinating mixture of impressionistic effects peppered with penetrating dissonances. He had a fondness for mixing tonalities and using modality. His compositions for the voice display an eclectic focus of coloristic harmonies and architectural clarity. He was a member of Les Six, but unlike most of that group, did not share their overwhelming reaction against German romanticism. Honegger’s musical style is fuller and more serious than his colleagues. He and Darius Milhaud were close friends. Honegger’s generous body of song has proved of enduring interest to contemporary performers. His was a distinctive voice in the vocal music of the twentieth-century French mélodie. Trois Psaumes (1940-41) from the Huguenot Psalter Psaumes XXXIV and CXL translated by Théodore de Bèze (1519-1605) Psaume CXXXVIII translated by Clément Marot (1496-1544) The spirit of Bach shines in the first psaume, “Psalm 34,” in which a chant-like vocal line alternates with a gently moving episodic keyboard part. This call and response continues until the last three vocal phrases, when the vocal line merges with the instrumental texture in a psalm of praise. The second song is “Psalm 140,” “ô Dieu donne-moi la déliverance de cet homme pernicieux” (O God, deliver me from this evil man). Honegger’s biographer, Harry Halbreich, suggests that the “evil man” who was oppressing Europe in those last days of 1940 might be the reason for Honegger’s text choice. This piece was composed before the first and third songs. Its emotional mood peaks with the chorale tune “I know that my Redeemer liveth.” 2 The last song in the set, “Psalm 138,” has the Latin title “Confiteor tibi, Domine” (I thank thee, O Lord) and is a paraphrase by Clément Marot, one of the greatest of the French Renaissance poets. It contains a familiar chorale tune, which is used in canon between voice and piano. NOTES: Arthur Canter and Rachel Joselson, Liner notes, The Songs of Arthur Honegger and Jacques Leguerney. Rachel Joselson, Réne Lecuona , piano. Albany Records, TROY691, 2004. Harry Halbreich, trans. Roger Nichols, Arthur Honegger (Portland, OR: Amadeus Press, 1999), 165. BACK TO TOP JACQUES LEGUERNEY (1906-1997) Most of Jacques Leguerney’s sixty-eight mélodies were composed and published from 1940 to 1964. Many were commissioned and premiered by French baritone Gérard Souzay, his sister, soprano Geneviève Touraine, and pianist Jacqueline Bonneau. Early songs are comparable in mood and style with Ravel or Roussel (who encouraged Leguerney’s composition); later songs have been compared to those of his contemporary, Poulenc. Leguerney writes virtuoso piano parts–often dramatic, and with such an individual sense of harmonic style and color that Pierre Bernac reportedly described them as “mélodies de pianist.” 1 When asked about Leguerney’s songs, Gérard Souzay wrote, “How does one describe this music which is, at the same time, classic and modern? It is pure, but colorfully nuanced; it speaks to the heart as well as the mind–at times calm at times witty–wise, yet sensual...” 2 Many of Leguerney’s songs deal with themes of love and nature, expressing a huge range of emotions from deeply felt meditation to wild, ribald humor. Leguerney stopped composing in 1964, and his songs became neglected. The quality of Leguerney’s text setting, lyrical beauty, and harmonic innovations all call for his songs to be better known and more widely performed. Jacques Leguerney was drawn to the work of Renaissance poets, notably Ronsard. There are eight collections titled Poèmes de la Pléaide, representing settings of sixteenth and seventeenth-century French poetry and totaling thirty-two songs. Additionally, there are cycles and other collections [for a complete listing of Leguerney’s songs, see Dibbern, Kimball, and Choukroun, Interpreting the Songs of Jacques Leguerney]. 3 They may be thought of as the last in the great mainstream of twentieth-century French song. La Caverne d’écho (1954) from Poèmes de la Pléiade, Volume 7 poem by Antoine Girard de Saint-Amant (1594-1661) Dedication: Josiane and Jean Cier. First performance: Bernard Kruysen, baritone; Jean-Charles Richard, pianist. 29 May 1965, Radio France Culture. Marc-Antoine Girard, sieur de Saint-Amant, wrote poetry of great descriptive power, and his use of language set him apart from the other seventeenth-century poets. He was also an adept musician and skillful lute player, writing verses that often describe musical sounds linked to visual images. The poem takes place in a dark cave, home of the nymph, Echo; it is a charmed place, absolutely still and peaceful. The poet’s lute resounds inside the cavern as he tries to soothe the inconsolable Echo, who mourns for her lover Narcissus. Leguerney creates the grotto’s mysterious resonance with bitonality. Piano figures illustrate the strumming of the lute. The text contains many sounds with the consonant “r.” The rolling quality of this speech sonority re-creates the cavern’s resonance. The closing measures of the mélodie produce a striking effect as the singer’s voice echoes eerily in the cavern, blending with the piano’s resonance and creating a remarkably realistic echo. À son page (1944) from Poèmes de la Pléiade, Volume 2 poem by Pierre de Ronsard (1524-1585) Dedicated to Gérard Souzay. First performance: Gérard Souzay, baritone; Jacqueline Robin (Bonneau). 3 May 1945, Salle Gaveau, Paris. This is a lusty scene with four characters: a nobleman tipsy from drink, his page, and two women, Jeanne and Barbe. Carpe diem is the theme here. The singer philosophizes on this idea while enjoying his wine and the tender companionship of the two beautiful women. Leguerney evokes the crackling staccato of a stylized harpsichord with rhythmic accents in the piano. The text is brilliantly set with jagged vocal lines and driving rhythms that illustrate the singer’s intoxication. It ends with Leguerney’s repetition of the last poetic line and the addition of nonsense syllables which fit beautifully into the imagery and mood of Ronsard’s colorful characters. Je me lamente (1943) from Poèmes de la Pléiade, Volume 1 poem by Pierre de Ronsard (1524-1585) Dedicated to Geneviève Touraine. First performance: Paul Derenne, tenor; Jeanne Blancard, pianist. 29 March 1944, Salle de l’Ecole Normale de Musique, Paris. This is one of Leguerney’s most beautiful songs, setting Pierre de Ronsard’s text from his collection of love poems for Marie Dupin, a country girl from a small village in southern France. She was half his age and probably represented the youth he constantly pursued. It has been suggested that the Marie in question was probably Marie de Clèves, passionately adored by Henri III. 4 Leguerney called this mélodie a constant crescendo from beginning to end. 5 Ronsard’s anguish is captured with a texture of stark chords, crowned by a regal and sustained vocal line. As the song progresses, the poet’s anguish is embodied in a more expansive texture, bidding Marie a happy resting place near God or in the Elysian fields. NOTES: Liner notes by Mary Dibbern. Mélodies sur poèmes de la Renaissance (Jacques Leguerney).Harmonia Mundi France. LP recording HMC 1171. Letter to the author. Quoted in Mary Dibbern, Carol Kimball, and Patrick Choukroun. Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001), 3. Ibid., 289-295. Ibid., 69. See note 20. Ibid., 70. BACK TO TOP OLIVIER MESSIAEN (1908-1992) Olivier Messiaen was born in 1908 in Avignon, France, into a literary family. He grew up around words and absorbed their shapes, colors and sounds naturally. His father, Pierre Messiaen, was a well-known translator of Shakespeare, and his mother, Cécile Sauvage, was a poet. As a youngster, before beginning to compose music, he had an especially perceptive ear attuned to the unique prosody of the French language. Early in his compositional career, he published a book titled Technique de mon langage musical (1944). About his musical setting of words, Jane Manning observes: ...the syllables themselves create a glittering mosaic of sonorities and subtle resonances, in addition to their actual meaning (many of the poems do not translate at all satisfactorily). The composer’s awareness of the minutiae of verbal enunciations and articulations is miraculous. Each vocal sound can be precisely placed as intended, all dynamics are scrupulously plotted, and the performer’s involvement and intimate connection to the music is enhanced by the sensual nature of words projection... 1 He often used stained glass to explain his music. When viewed from a distance, the myriad details blend into a single entity, whose purpose is to dazzle the listener. Understanding is not necessary, feeling is the prime requisite. The music of Olivier Messiaen is a skillfully designed and unique language, with meaning and form kept separate. Its meaning is unchangeable, harkening back to Gregorian chant, culminating in instruments that are able to prolong sound (organ, strings, or the ondes Martenot). Messiaen’s musical language is defined by its rhythms and tone colors. His uncanny instinct for associating sound with color produced works unique in their concept of the combination of sounds. He said that when he heard or read music, his mind’s eye saw colors that move with the music; he sensed these colors, and at times he precisely indicated their arrangements in his scores. His fascination with birdsong was lifelong; he referred to himself as an ornithologist and tracked birds and their songs all over the world. He considered their resonances as songs and not merely sounds. He notated these on manuscript paper and they found their way into his music. Trois mélodies (1930) poems by Olivier Messiaen, Cécile Sauvage (1883-1927) This little cycle of songs is Messiaen’s first recognized work for voice and piano. The songs are modest in length and not typical of Messiaen’s later style, but show influences of late Fauré and Duparc in the overall musical texture. There is only one song in his vocal compositions in which Messiaen set the poetry of another poet. It is found in this cycle, which uses the text of his mother, the poet Cécile Sauvage, who died three years before the composition of this work. The three movements form a warm and delicate little triptych. Two of Messiaen’s own poems stand on either side of the poem by Cécile Sauvage, throwing that charming little poem into high relief. “Pourquoi?” introduces a litany of the pleasures of nature: birdsong, the unfolding seasons, and water images. The poet becomes emotional, asking why all these bring him no joy. “La Sourire,” the shortest song of the set, is a beautiful microcosm of intimate and spiritual understanding between two people. It is a delicate example of musical economy and word setting in a quasi-recitative style. The last song, “La fiancée perdue,” offers fleeting hints of Messiaen’s cycle to come, Poèmes pour Mi–most specifically, the final song. Here, the poet prays for divine blessing on the soul of the “fiancée” in the title. The fervent incantation illuminates and affirms man’s connection to a higher authority. Examining the poetic content of the three texts, we are struck by the images that underlie the words: the emotional outburst “pourquoi,” (why?), perhaps questioning the death of Cécile, followed by Cécile’s tender affirmation of love, and finally, the prayer asking for Divine grace and the blessing of the soul of the departed. NOTES: Jane Manning, “The Songs and Song Cycles,” in The Messiaen Companion, ed. Peter Hill (Portland, OR: Amadeus Press, 1995), 107. BACK TO TOP DARIUS MILHAUD (1892-1974) Darius Milhaud was probably the most prolific composer of the group known as Les Six (Francis Poulenc, Louis Durey, Arthur Honegger, Germaine Tailleferre, Georges Auric, and Milhaud). The group was unified by friendship rather than a single musical style. Championed by influential writer Jean Cocteau and composer Erik Satie, Les Six often presented their works at the same concerts and met with great regularity–often at Milhaud’s house–to make music and exchange ideas. Louis Durey observed that it was the wide diversity in their personalities and musical styles that gave the group its rich depth and permitted its development. Embodied in the credo of their musical thought was relative sparseness of texture and clarity. Turn-of-the-century France offered popular entertainments that drew the French to an environment of merry-go-rounds, shooting galleries, outdoor concerts, circuses, and a jumble of excitement. Milhaud was fascinated by Parisian street life, and could hear the sounds of the Montmartre fair from his apartment. Often on their group outings, Les Six went together to the Cirque de Médrano to see the Fratellinis, a famous family of clowns of that day. Milhaud observed that their acts were worthy of the Commedia dell’arte. 1 Trois Poèmes de Jean Cocteau, Op. 59 (1920) poems by Jean Cocteau (1889-1963) Trois poèmes de Jean Cocteau is like lyric fragments. The small-range vocal lines have a sparse lyricism–one of emotional mood rather than overt melody. The little mélodies are skillful studies in brevity. These match Cocteau’s rather enigmatic poems that exemplify the style termed dépouillé (stripped to the essentials), his aesthetic creed. Milhaud dedicated the songs to Satie. The three miniatures are a colorful kaleidoscope of the circus and the outdoor fairs that entranced the French during this period. “Fumée” describes the equestrienne of the Cirque Médrano atop a horse, jumping through hoops, captured in Toulouse-Lautrec’s familiar painting titled “L’écuyère au Cirque Fernando (1888); “Fête de Bordeaux” is a description of the merry-go-round at the Bordeaux fair; and “Fête de Montmartre” evokes the nighttime boats and sailors, possibly having to do with a game involving camouflaged ships found at the Montmartre fair. Milhaud infuses stylistic and melodic elements of folk songs and children’s tunes into the tiny pieces, tying the innate excitement of these popular destinations to simple, childlike reactions. NOTES: Laurence Davies, The Gallic Muse (New York: A.S. Barnes and Co., 1967), 164. BACK TO TOP FRANCIS POULENC (1899-1963) Francis Poulenc’s 150 mélodies form the largest body of songs to be added to French vocal literature in the twentieth century. Poulenc’s flair for the dramatic, combined with his superb skill in mixing poetry and music, produced songs that singers find immensely gratifying, not only for their musical value, but for their heightened sense of drama. Poulenc’s mélodies reflect concern and feeling for declamation, inflection, breathing, and above all, show extraordinary warmth of feeling for the human voice. He was fond of saying, “J’aime la voix humaine!” The sophistication of Poulenc’s songs spring from their poetic inspirations. Poulenc was quite knowledgeable about poetry, and chose his texts carefully. His gift of divining the inner life of the texts he set produced songs that do more than merely illustrate the poems. His gift for melody is at the very heart of all his songs and seems to assert itself naturally in shaping the color, weight, and meaning of the texts he set. Ce doux petit visage (1938) poem by Paul éluard (1895-1952) Paul Eluard was one of Poulenc’s three main poets. This is a beautiful introduction to Eluard’s poetry, lyrical and passionately intense. The simplicity of Poulenc’s setting allows the poem to shine. It is one of Poulenc’s tiny gems, and he admitted his partiality to the short song. Eluard’s skill at evoking nostalgia and melancholy are seen here, linked to lost youth. The mélodie is dedicated to the memory of Raymonde Linossier, Poulenc’s most intimate childhood friend, who influenced his literary taste and musical tendencies. He said: “I have a great liking for this short song. Raymonde Linossier was my best advisor for the music of my youth. How many times, during the years since her death, I would have liked to have had her opinion on this or the other of my works.” 1 La Grenouillère (1938) poem by Guillaume Apollinaire (1880-1918) “La Grenouillère” is an outstanding example of Poulenc’s romantic lyricism. This is a text by Guillaume Apollinaire describing the Ile de Croissy, an island in the Seine on the outskirts of Paris, frequented by artists and their models, and celebrated in paintings by Monet, Manet, and Renoir. “The Froggery” was a restaurant on the island. The overall images of happy days that cannot be relived can be seen in Pierre Auguste Renoir’s paintings Les Déjeuner des canotiers (The Boatman’s Luncheon), or La Grenouillère. In this lament for boating parties on the Seine, vocal phrases are sustained and languid, floating over a slowly rocking piano accompaniment. The lazy piano figures mirror the empty tethered boats rocking on the water, bumping against each other, and give expression to the sweet melancholy of the poet’s words. Montparnasse (1945) poem by Guillaume Apollinaire (1880-1918) Apollinaire’s poem is dated 1912. Poulenc writes in his journal of songs that it took him four years to complete “Montparnasse,” almost phrase by phrase, and that he had no regrets about the length of time it took because “it is one of my best songs.” 2 It is a sentimental and heartfelt tribute to Paris. Both Apollinaire and Poulenc loved the city and it played a continuing role in their work. “Montparnasse” is about the idyllic artistic existence lived at the edge of Paris. Poulenc wrote in his diary: “Let us imagine this Montparnasse all at once discovered by Picasso, Braque, Modigliani, Apollinaire.” 3 The mélodie has a carefree nonchalance about it; it is not sad, but thoughtful– a beautiful blend of poetic and musical lyricism. Poulenc’s vocal and harmonic textures are full of surprising harmonic details that bind this song–which he composed in fragments–together into a touching and expressive picture of Paris in the early years of the twentieth century. Bleuet (1939) poem by Guillaume Apollinaire (1880-1918) Guillaume Apollinaire was one of Poulenc’s preferred poets. This is a wartime poem that Apollinaire penned in 1917 in Paris in convalescence after a head injury; both Apollinaire and Poulenc served in World War II. There are several word plays at work here. “Bleuet” was the nickname for French soldiers in World War I, because their uniforms were blue, like the color of a little cornflower, which is a “bleuet.” Also, “Un bleu” was the term used for a raw recruit. “Bleuet” is one of Poulenc’s most moving songs– agonizing in its emotional content yet noble in its message. It is a quiet and private moment in which a twenty-year-old boy who does not yet know all that life can be, is characterized–and addressed–by the poet in a sweetly serious speech. Poulenc wrote that for him, the key to the poem were the words, “It is five o’clock and you would know how to die.” 4 This song is simple, intimate, and poignant. Les Chemins de l’amour (1940) poem by Jean Anouilh (1910-1987) Poulenc composed this valse chantée as incidental music for Léocadia, a play by Jean Anouilh. Within the play, the song was described as a pseudo Viennese waltz, and functioned as a leitmotiv in the plot. Sung by Yvonne Printemps, one of France’s most celebrated musical theatre stars, “Les Chemins de l’amour” became a popular success. It embodies the relaxed elegance of a self-styled Viennese waltz style, encased in one of Poulenc’s haunting melodies. Banalités (1940) poems by Guillaume Apollinaire (1880-1918) Banalités is not a cycle, but a group of five songs. The poems have no connection with each other; however, their order provides a well-constructed recital group. They may be performed separately. The work is one of Poulenc’s most popular vocal works, and deservedly so. Poulenc chose contrasting poems, placing them so that the collection begins briskly and ends with lyrical gravity. “Chanson d’Orkenise” is Poulenc’s title for the poem contained in the strange mixture of prose and poetry that Apollinaire called Onirocritique. Orkenise is a road in Autun leading to the Roman gate of the same name. The musical setting has the feeling of a popular folk song. The narrator sings of a tramp leaving the city and a carter who is entering it - one leaving his heart there, one bringing his heart to be married. There is a word in the poem with a double meaning: “grise” can be translated as “gray” or “tipsy.” The merry quality of the song opens the set with gaiety, but both Apollinaire and Poulenc offer a little food for thought. “Hôtel” is a poem that immediately represented for Poulenc a hotel room in Montparnassse, where the idle poet wants only to bask in the sun’s warmth and smoke. Pierre Bernac referred to it as “the laziest song ever written.” 5 The piano figures are fashioned of Poulenc’s luxuriant chromatic harmonies, stacked as if to cushion the lethargy of the singer. “Fagnes de Wallonie” is set in the gloomy, desolate uplands of the Ardennes with a terrain of vast heaths, twisted trees, and peat bogs, swept by winds of considerable force. Its gloomy setting complements the melancholy mood of the poet. Poulenc’s spiky musical setting is a whirlwind that sweeps from beginning to end in a turbulent texture that demands precise articulation from singer and pianist. Sandwiched between Songs 3 and 5 is a tiny bonbon, “Voyage à Paris.” It resembles a little commercial jingle about Paris–“which one day love must have created”–an invitation to the pleasures of that beautiful city, away from “the dreary countryside.” Poulenc sprinkles his quicksilver setting–a valse-musette–with indications of “amiable” and “avec charme.” The composer referred to it as having “deliciously stupid lines...Anything that concerns Paris I approach with tears in my eyes and my head full of music.” 6 The cycle concludes with “Sanglots”, one of Apollinaire’s finest poems about the universality of lost love, a theme that Poulenc matches with exquisite modulations in a setting that embodies the essence of the words. The vocal lines are eloquently lyrical. The poem is difficult to understand because of the juxtaposition of the main narrative and the interior “asides,” that in effect form a poem within a poem. 7 The song has an elegant serenity that culminates in a stunning climactic point at the words: “Est mort d’amour ou c’est tout comme/ Est mort d’amour et le voici.” The ending lines of the song sustain the profoundly calm mood, bringing Banalités to its close. La Courte Paille (1960) poems by Maurice Carême (1899-1978) The last song cycle Poulenc composed was La Courte paille, on seven poems of Belgian poet Maurice Carême. Poulenc composed the songs for soprano Denise Duval, creator of leading roles in his three operas, hoping that she would sing them to her young son. Poulenc considered the mélodies very poetic and whimsical; unfortunately, Duval disliked the music and never did sing the cycle. Poulenc asked Carême to provide an overall title for the work and requested permission to change the titles of several selected poems: the original title of “Quelle aventure!” is “Une puce et l’éléphant”; “Le Reine de cœur” is “Vitres de lune”; “Le carafon” is “La carafe et le carafon.” For the cycle’s title, Carême chose La Courte Paille (The Short Straw), referring to drawing lots by the method of a short straw. Poulenc was delighted, saying the title symbolized his little musical game exactly. He also wrote in his diary, “They must be sung tenderly; that is the surest way to touch the heart of a child.” 8 The cycle is full of child-like innocence, whimsy and imagination, with a few shadowy undertones. The first song, “Le Sommeil,” is a beautiful lullaby to a restless child who cannot go to sleep, tossing and turning in his small bed. He seems ill, crying and perspiring, but hopefully will finally surrender to slumber. In “Quelle aventure!” the child describes an absurd happening: he saw a flea driving a carriage with a small elephant in it. The story grows more bizarre but the rhythmic pace never wavers, careening to the end of the song when the child wonders how on earth he’ll ever be able to persuade “Mama” that it really happened. The verses are witty, yet the shrieks of “Mon Dieu!” are laced with a feeling of childish terror. “La Reine du cœur” is a beautiful, languid melody that paints a picture of the mysterious Queen of Hearts, beckoning to visitors from her frosty castle, where she reigns over a court of lovers, including the young dead. In “Ba, Be, Bi, Bo, Bu...,” the child is chided “on all sides” about studying. The title of the song presents the French vowels, and the text contains words that make their plural with an “x” (“pou, chou, genou, hibou”). The formidable cat of the poem’s opening lines is none other than that tricky feline Puss-in-Boots! The entire song is a little tongue-twister, an exercise in diction and accuracy. “Les anges musiciens” are none other than the school children staying home on Thursday, the half-day school holiday in France in Poulenc’s time, practicing Mozart on their harps, just like good little angel musicians should do. “Le carafon” is a crazy little story of a carafe that longs for a baby carafe (carafon) just like the giraffe at the zoo, who has a girafon. This is a ridiculous rhyming game like those that children love to play. The text is full of whimsical characters: the carafe, a giraffe, a sorcerer astride a phonograph, Merlin, and finally, a carafon. “Lune d’Avril” is another lullaby, very slow and otherworldly, which serves as an epilogue. Bound together in a musical texture that features a syncopated pedal point, it is filled with enchanted images the child wishes to dream about: a land of joy, light, and flowers where all guns are silent. The ending leaves the listener suspended in a mood of unfinished magic. La Courte Paille is the last vocal music Poulenc composed. NOTES: Quoted in Pierre Bernac, Francis Poulenc: The Man and his Songs (New York: W.W. Norton Co., 1977), 125. Francis Poulenc, Journal de mes mélodies, trans. Winifred Radford (London: Victor Gollancz, 1985), 75. Ibid., 75. Ibid., 57. Bernac, 72. Poulenc, 67. The English translation of “Sanglots” has parentheses that delineate the “asides” so that both “poems” may be seen. These may be found in Pierre Bernac’s books Francis Poulenc: The Man and his Songs, page 75, or The Interpretation of French Song, pages 284-85 Poulenc, 109. BACK TO TOP MAURICE RAVEL (1875-1937) The songs of Maurice Ravel represent a transition between the mature mélodies of Debussy and the vocal literature that followed, notably the songs of Les Six. Debussy dominated the French musical scene from the turn of the century until his death in 1918. It was Ravel who was regarded as the leading musical spokesman for France following World War I. He was a skillful craftsman and his songs have a sense of evenness of rhythmic structure and flow that call for scrupulous execution. The fusion of music and text into a logical whole was of utmost importance to him. He composed elegant and subtle mélodies, using classical phrase structure. His melodic phrases often tend toward modality. His songs range from those with a folk-like style to more to those that are more speech-like, and those that encompass a melodic romanticism. He was precise in his thought and his scoring, and scrupulous in his musical execution. His music encompassed some of the fascinating influences of the post-Wagnerian era. Ravel’s musical contributions were of utmost importance to this exciting and new era in French cultural history. He made notable contributions to musical literature for the piano, the French art song, opera, chamber music, orchestral literature, and the ballet. Sur l’herbe (1907) poem by Paul Verlaine (1833-1896) This mélodie is Ravel’s only setting of Verlaine. It has often been suggested that this poem was probably inspired by Watteau’s painting L’île enchantée. There is also a reference to a famous eighteenth-century dancer, Marie-Anne Cuppi, known as (La) Camargo, who was immortalized on canvas by the painter Nicolas Lancret. The scene is an outside gathering, elegant and artificial. A number of people are there, chief among them, a licentious abbé, slightly tipsy from a bit too much Cyprian wine. He exchanges a few disconnected gallantries with the ladies–innocent conversations on the surface, but sensuous in undertone. The conversation is disconnected; we do not know exactly who is speaking. Ravel shapes very flexible vocal phrases, in keeping with the abbé’s intoxicated state, underscored with graceful piano figures that evoke an eighteenth-century dance. In a letter to Jean-Aubrey, Ravel commented on “Sur l’herbe”: “In this piece, as in the Histoires naturelles, the impression must be given that one is almost not singing. A bit of preciosity is found there which is indicated moreover by the text and the music.” 1 Noël des jouets (1905) poem by the composer This is the only solo song for which Ravel wrote the text. It describes a Christmas manger scene, replete with the Virgin and Christ-child, animals, and angels. It embodies Ravel’s delight with tiny mechanical toys and figures, and his fascination with the unspoiled world of child-like experience. His genius for text painting is displayed in the delightful mélodie. The mechanical toys come to life in the piano figures. Ravel’s charming text creates the images around and over the crèche, with not a word wasted. Ravel commented that the music is “clear and plain, like the mechanical toys of the poem.” 2 This little song foreshadows other Ravel settings of make-believe, beginning with the song cycle Histoires naturelles and culminating with his opera L’Enfant et les sortilèges. The music of menacing dog Belzébuth foreshadows the music of the Beast in the Mother Goose Suite (Ma Mère lOye). Rêves (1927) poem by Léon-Paul Fargue (1876-1947) The poetry of Léon-Paul Fargue has been described as reflecting the union of dream and memory. This mélodie has a tender lyricism within a sparse musical texture. The text is fashioned of a series of miniature images that pass by rather quickly, unrelated, like the images found in dreams. For all their differences, they have a simplicity about them that seems timeless, existing together, as the poet says, “in a vague countryside.” When the dreamer finally awakens, the little fleeting pictures “die quietly.” The piano postlude perpetuates the dream state, creating an ethereal little microcosm that continues to draw the dreamer to it. Ronsard à son âme (1924) poem by Pierre de Ronsard (1524-1585) In his Abrégé de l’art poétique français (1565) Pierre de Ronsard advocated the union of poetry and music, and Renaissance composers frequently set his poems. 3 In this strikingly simple mélodie, Ronsard speaks to his soul, calling it by a series of diminutives: little soul, dainty little one, sweet little one. Ravel uses a series of parallel fifths in the piano figures to invoke a Renaissance mood. This is Ronsard’s last poem, and Ravel’s last adaptation of Renaissance poetry. Ravel’s setting recalls the elegance of his early mélodie, “D’Anne qui me jecta de la neige,” to a poem of Clément Marot. Manteau de fleurs (1903) poem by Paul Barthélemy Jeulin (1863-1936) The poem notes everything in the garden that is pink–all the flowers that will become a beautiful cloak to complement the beauty of the lady of the poem. Ravel usually had very sophisticated taste in choosing texts; this particular poem is an unusual choice. It is a simple text, somewhat banal, but Ravel’s shimmering musical texture imparts a dramatic character for each flower in the poem. The overall piano texture suggests orchestral colors. The last section of the mélodie changes course slightly, with the piano harmonies creating a slightly wistful mood. Clearly, Ravel lavished a beautiful musical setting on a rather ordinary set of words. Don Quichotte à Dulcinée (1932-33) [Medium/Low Voice edition only] poems by Paul Morand (1888-1976) This miniature cycle was Ravel’s last vocal work. His musical portrait of the noble Spanish knight, Don Quixote, is embodied in three mélodies, all based on characteristic Spanish or Basque dance rhythms: (1) the guajira, alternating 6/8 and 3/4 meter; (2) the zorzica, a Basque dance in quintuple meter; and (3) the jota, a lively triple-metered Spanish dance. “Chanson Romanesque” presents the chivalrous idealist Don Quixote, confidently promising to rearrange everything in nature to his lady Dulcinea’s liking in order to win her favor. Dulcinea is in reality a poor farm girl, but the Don’s illusion will not be shaken. He remains authoritative and focused in his quest for her love. “Chanson épique” is Quixote’s reverent prayer to Saint Michael and Saint George, beseeching them to bless his sword and his Lady. Ravel creates a beautifully sustained and prayerful vocal line over a simple accompaniment. “Chanson à boire” is a exuberant drinking song. Although the Don’s tippling has made him overly boisterous, he never oversteps the bounds of his noble bearing. His robust laughter is heard in the piano figures and even a hiccup intrudes between “lorsque j’ai” and “lorsque j’ai bu.” NOTES: Maurice Ravel, in a letter to Jean-Aubrey written in September, 1907. Quoted in Arbie Orenstein, Ravel: Man and Musician (New York: Dover Publications, 1991), 165-66. Quoted in Orenstein, 161. Orenstein, 192. BACK TO TOP ALBERT ROUSSEL (1869-1937) In 1894 Albert Roussel left a highly successful career as a naval officer to pursue music. After completing his studies, he became professor of counterpoint at the Schola Cantorum in Paris. Satie and Varèse were among his students. Roussel was one of the most prominent French composers of the interwar period. He composed almost forty mélodies as well as chamber music, ballets, and operas. His style is eclectic but highly individual. Early works show the influence of Vincent d’Indy, works dating from 1910 to 1920 exhibit influences of Debussy and Ravel, but he turned to neoclassicism in his later compositions. His love for the sea was almost a spiritual attraction and continued to influence his music throughout his career. He had a fascination for distant places; his extended tour of Southeast Asia in 1909 had a tremendous influence on his composition. “Sarabande” and “Cœur en peril” are mélodies to texts of René Chalupt, a close friend. They are found in op. 20 and 50, respectively. Roussel’s overall musical catalogue is not extensive, but its quality is of an extremely high level, and his vocal writing in particular contains some mélodies of great delicacy and style, squarely in the French tradition. For Roussel, the word held primacy in his mélodies, being both transformed by its musical setting and merging with it to create a perfect union. Commenting on the quality of Roussel’s songs, composer Charles Koechlin is quoted as saying: “The sense of austerity pervading them, stemming simply from the composer’s natural reserve, heightens their expressiveness and further embellishes them; in language and content they are absolutely personal. This collection of songs is one which will last because its essence is undying sensitivity.” 1 Sarabande (1919) from Deux mélodies, Op. 20, No. 2 poem by René Chalupt This is surely one of Roussel’s most delicate and magical creations. His writing for the piano is particularly outstanding, placing Chalupt’s poem in an overall texture of elegance and veiled sensuality. There is an Oriental delicacy in Roussel’s musical evocation of the fluttering doves, feathers drifting into a pool, and the gentle drift of chestnut blossoms onto bare flesh. Cœur en péril (1933-34) from Deux mélodies, Op. 50, No. 1 poem by René Chalupt This mélodie is much different in mood–witty and flirtatious. It is the narrative of a young man eager to convince his ladylove of his fidelity. Vocal phrases are tuneful, with a spirited piano texture of Iberian flavor. NOTES: Liner notes, Dom Angelico Surchamp, trans. Elisabeth Carroll, Roussel Mélodies, Colette Alliot-Lugaz, Mady Mesplé, Kurt Ollmann, José Van Dam; Dalton Baldwin, Patrick Gallois. EMI Digital. CDS 7492712, 1987 BACK TO TOP ERIK SATIE (1866-1925) Erik Satie wrote very few songs and most of them date from late in his life. The eccentric father figure of the French avant-garde of the twentieth century had a wildly independent spirit that found its way into his musical compositions. Throughout his life, he kept a great deal of childlike inquisitiveness and innocence. He was a curious personality of unconventional habits whose sense of the absurd and whimsy permeated both his life and his music. Quintessential Satie compositions are laconic and witty. It was Satie who named Les Nouveaux Jeunes, soon known as Les Six, and influenced the early development of the group. La Statue de bronze (1916) from Trois Mélodies poem by Léon-Paul Fargue (1876-1947) This is Satie’s first setting of the poetry of Léon-Paul Fargue, the “Bohemian poet of Paris.” Satie used Fargue’s witty verses again for Ludions. The scene is a garden game–the jeu de tonneau. A bronze frog, perched atop a cabinet with numbered chambers, grows impatient of being the target of the game where metal disks are tossed into her mouth. She dreams of being freed from her pedestal and being able to use her wide-open mouth to utter “LE MOT.” 1 She wants to be free to join the other frogs gathered near the rust-colored washhouse “blowing musical bubbles from the soapy moonlight.” But the game continues, the disks rattle through her mouth into numbered compartments and at night, insects sleep in her mouth. This mélodie can be linked musically to “La Grenouille américaine,” found in Ludions. Both songs share piano figures derived from the café-concert chanson. Ludions (1923) poems by Léon-Paul Fargue (1876-1947) Ludions is the last of Satie’s purely vocal works, composed two years before his death, and is perhaps his finest set of songs. It epitomizes his lifelong quest for musical simplicity and his irreverence for the intricate compositional techniques and overactive emotions of the Impressionists. Ludions is translated as “bottle imps” (a ludion is a little figure suspended in a hollow ball, which descends or rises in a vase filled with water when one presses down on the elastic membrane covering the mouth of the vase). The cycle is a kaleidoscopic set of musical miniatures, riddled with puns and illogical phrases. Fargue’s nonsensical verse complements Satie’s musical aesthetic, and the two friends’ personalities closely matched one another. All the mélodies in Ludions are short, like tiny cameos. They are colorful, saucy, fantastic, and defy translation. “Air du rat,” “La Grenouille américaine,” and “Chanson du chat” are right out of the music hall, and Satie uses with a mock-serious “tongue-in-cheek” treatment for “Spleen” and “Air du poète.” Je te veux (1902) poem by Henry Pacory (1873-?) The valse chantée, or sung waltz was a favorite of the café concerts, for which Satie composed a number of works. Café concerts were a form of Parisian popular entertainment in the late nineteenth and early twentieth century. The all-musical programs were held outside; French popular singers presented repertoire that catered to lower and middle-class audiences who came to talk, eat, drink, and observe the long informal programs, for which there was no admission charge. “Je te veux” was composed for Paulette Darty, dubbed “the Queen of the slow waltz.” It was one of her signature musical presentations for the caf’conc (café concerts), and one that Darty remained associated with throughout her career. A statuesque blonde with an ample figure, Darty was a commanding performer who kept the most boisterous of the Saturday night audiences enthralled. Lyricist Henry Pacory’s rather explicit poem was watered down at Satie’s request before the song was published. La Diva de l’Empire (1904) poem by Charles Bessat, named Numa Blès (1871-1917) The “Diva de l’Empire,” 2 one of Satie’s café-concert songs, was another work written for and performed by Paulette Darty. It was composed for a Bonnaud-Blès music-hall revue called Dévidons la Bobine (Let’s Unwind the Bobbin) that toured several seaside resort towns. The British “diva” is a femme fatale performer who enchants all who see her. The song is a syncopated cakewalk describing her seductive beauty as she struts her stuff “showing the wiggling of her legs and some pretty frilly underwear.” Interspersed at points along the way with English words: Greenaway, baby, little girl, etc. The piano provides a jaunty ragtime rhythm throughout that melds perfectly with the suggestive text. NOTES: ”Le mot” has a double meaning. It was the title of a broadsheet published by Jean Cocteau between 1914-15 and is short for “le mot de Cambronne,” a polite way of saying “merde.” Cambronne was a famous French general who replied “Merde!” when asked to surrender. In Steven Moore Whiting, Satie the Bohemian: From Cabaret to Concert Hall. (New York: Oxford University Press, 1999), 43. Empire refers to the Empire Theatre of Varieties, Leicester Square, London. BACK TO TOP DÉODAT DE SÉVERAC (1872-1921) Déodat de Séverac, of aristocratic lineage, was born in the Languedoc region of southwest France in Saint-Félix-Caraman (now Saint-Félix Lauragais), near Toulouse. After studies in Paris with Vincent d’Indy at the Schola Cantorum, he returned home and remained there. He was a contemporary of Fauré, Debussy and Ravel, but was considered a petit maître in their company, possibly because of his return to Languedoc at the completion of his musical studies. Séverac composed piano and orchestral music, operas and songs. The culture of his native Languedoc figured prominently in his music, which is highly descriptive. He often wrote parts for regional folk music in his scores. Many considered him provincial and unsophisticated, but his music displays his skill in integrating folk elements–and often, regional folk instruments–of his native Languedoc into his works. He often referred to himself as “the peasant musician.” Influences of Debussy, Mussorgsky, and Bizet may be found in his mélodies. Although his music is rather conservative in style, Séverac fused folk elements with the musical styles of the day in a unique and individual manner. Ma poupée chérie (1914) poem by the composer Composed in 1914 (and published in 1916) for his daughter Magali and dedicated to her, this little cradlesong is probably de Séverac’s best loved and most performed mélodie. Séverac’s fresh musical setting contains just the right combination of simplicity and delightful childlike honesty. Despite the subject matter, the composer’s heartfelt poem avoids an overly cloying atmosphere. BACK TO TOP OTHER SOURCES CONSULTED: Jane Bathori, On the Interpretation of the Mélodies of Claude Debussy, transl. and with an introduction by Linda Laurent (Stuyvesant, NY: Pendragon Press, 1998). Pierre Bernac, Francis Poulenc: The Man and his Songs, transl. by Winifred Radford (New York: W.W. Norton, 1977). Pierre Bernac, The Interpretation of French Song, transl. by Winifred Radford(New York: W.W. Norton, 1978). Elaine Brody, Paris: The Musical Kaleidoscope 1870-1925 (New York: George Braziller, 1987). Mary Dibbern, Carol Kimball, and Patrick Choukroun, Interpreting the Songs of Jacques Leguerney (Hillsdale, NY: Pendragon Press, 2001) Alan M. Gillmor, Erik Satie (New York: W.W. Norton Co., 1992). James Harding, The Ox on the Roof: Scenes from musical life in Paris in the Twenties (New York: Da Capo Press, 1986). Peter Hill, ed., The Messiaen Companion (Portland, OR: Amadeus Press, 1995). Graham Johnson, Gabriel Fauré: The Songs and their Poets (London: Ashgate Publishing Ltd. and the Guildhall School of Music and Drama, 2009) Graham Johnson and Richard Stokes, A French Song Companion (Oxford: Oxford University Press, 2000). Carol Kimball, Song: A Guide to Art Song Style and Literature (Milwaukee, WI: Hal Leonard Corp., 2005). Carol Kimball and Richard Walters, eds., The French Song Anthology (Milwaukee, WI: Hal Leonard Corp., 2001). Timothy LeVan, Masters of the French Art Song (Metuchen, NJ: Scarecrow Press, 1991). Barbara Meister, Nineteenth-Century French Song (Bloomington, IN: Indiana University Press, 1980). Wilfrid Mellers, Francis Poulenc (Oxford: Oxford University Press, 1993). Arbie Orenstein, Ravel: Man and Musician (New York: Columbia University Press, 1975). Nancy Perloff, Art and the Everyday: Popular Entertainment in the Circle of Erik Satie(Oxford: Clarendon Press, 1991) Caroline Potter, Henri Dutilleux: His Life and Works (Brookfield, VT: Ashgate Publishing Co., 1997). Francis Poulenc, Moi et mes amis: Confidences recueilles par Stéphane Audel (Paris: La Palatine, 1963). Francis Poulenc, Diary of my Songs [Journal de mes mélodies] transl. by Winifred Radford (London: Victor Gollancz, Ltd., 1985) Marie-Claire Rohinsky, ed., The Singer’s Debussy (New York: Pelion Press, 1987) Roger Shattuck, The Banquet Years (New York: Vintage Books, 1968).
Music Man Kids - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. Alice In Wonderland Jr. (Disney) Aladdin Jr. (Disney) Annie Jr. Beauty and the Beast Jr. (Disney) The Big One-Oh! Jr. Bugsy Malone Jr. Chitty Chitty Bang Bang Jr. Dear Edwina Jr. Doctor Dolittle Jr. Dot & The Kangaroo Jr. The Drowsy Chaperone Jr. Elephant & Piggie's "We Are In A Play" Jr. Elf The Musical Jr. Fame Jr. Fiddler on the Roof Jr. Finding Nemo Jr. (Disney) Finian's Rainbow Jr. Flat Stanley Jr. Frozen Jr. (Disney) A Ghost Tale for Mr. Dickens Jr. (Magic Tree House) Godspell Jr. Guys and Dolls Jr. Hairspray Jr. High School Musical Jr. (Disney) Honk! Jr. Into the Woods Jr. James and the Giant Peach Jr. (Roald Dahl) Junie B. Jones Jr. Legally Blonde Jr. The Lion King Jr. (Disney) The Little Mermaid Jr. (Disney) Madagascar - A Musical Adventure Jr. Mary Poppins Jr. (Disney/Cameron Mackintosh) Matilda Jr. (Roald Dahl) Mean Girls Jr. Moana Jr. (Disney) The Music Man Jr. My Son Pinocchio Jr. (Disney) Newsies Jr. (Disney) Oliver! Jr. Once on This Island Jr. Peter Pan Jr. (Broadway) The Phantom Tollbooth Jr. The Pirates of Penzance Jr. Rudolph The Red-Nosed Reindeer Jr. Schoolhouse Rock Live! Jr. Seussical Jr. Shrek Jr. Singin' In The Rain Jr. Sister Act Jr. Something Rotten Jr. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Book by Meredith Willson Music and Lyrics by Meredith Willson Based on a story by Meredith Willson and Franklin Lacey. Overview / Synopsis Based on Meredith Willson's six-time-Tony-Award-winning musical comedy, The Music Man KIDS features some of musical theatre's most iconic songs and a story filled with wit, warmth and good old-fashioned romance. The Music Man KIDS is family entertainment at its best � a bold, brassy show that will have the whole town atwitter! Master showman Harold Hill is in town and he's got "seventy-six trombones" in tow. Can upright, uptight Marian, the town librarian, resist his powerful allure? The story follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys' band he vows to organize. The catch? He doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, whose belief in Harold's power just might help him succeed in the end in spite of himself. The Music Man KIDS is the perfect vehicle for your young cast, a toe-tapping crowd-pleaser, featuring a soaring soprano ing�nue part and a leading role for a charismatic actor, as well as plenty of roles for kids of every level. Audio Sampler - HL00118347 $10.00 ShowKit - HL00118337 $545.00 This ShowKit includes: 1 - Accompaniment and Guide Vocal CD 1 - Choreography DVD 1 - Director's Guide 1 - Media Disk 1 - Piano Vocal Score 30 - Student Books 30-Minute KIDS Request Individual Components 00118338 - Director's Guide $100.00 00118339 - Piano/Vocal Score $40.00 00118340 - Actor's Script $10.00 00118341 - Actor's Script 10-pak $75.00 00118342 - Perf/Accomp CD pack $75.00 00118343 - Student Rehearsal CD $10.00 00118344 - Student Rehearsal CD 20-pak $100.00 00118345 - Choreography DVD $50.00 00118346 - Media Disc $10.00 Hear A Sample Rock Island [Salesmen, Charlie] Iowa Stubborn [Townspeople] Ya Got Trouble (Part 1) [Harold, Townspeople] Ya Got Trouble (Part 2) [Harold, Townspeople] Piano Lesson [Marian, Mrs. Paroo, Amaryllis] Goodnight, My Someone [Marian, Mrs. Paroo, Amaryllis] Seventy-Six Trombones [Harold, Townspeople] Pick-a-Little, Talk-a-Little [Alma, Ethel, Maud, Mrs. Squires, Eulalie] The Wells Fargo Wagon [Townspeople, Winthrop] Shipoopi [Marcellus, Kids] Gary, Indiana [Winthrop, Mrs. Paroo, Marian] Bows [Cast] Harold Hill Harold Hill is a huge role and the essence of The Music Man KIDS. Cast an actor who has charisma and charm and is not afraid to take a positive risk onstage. He should be a good singer and mover and also have excellent acting chops. It is ideal if he has an excellent sense of rhythm. Your harold should pair up well with Marian, and the two together should exude a spark of excitement. Gender: Male Vocal Range: B3-G5 Marian Paroo Marian Paroo begins as an uptight librarian and transforms into a beautiful, trusting young woman. Marian should be a strong singer and actor, and also be able to move well. She must have an air of cofidence that draws Harold to her. Take some time during auditions to try different pairs of Harolds and Marians together until you reach the perfect combination. Gender: Female Vocal Range: G3-G5 Charlie Cowell Charlie Cowell is a Traveling Salesman, and is one of the premium acting-only roles in The Music Man KIDS. If you decide to have the actor playing Charlie also perform in the ensemble, take note to make sure he is not playing Charlie in those scenes. Cast a strong actor with a loud voice. Charlie should have a sense of confidence and love being onstage! Gender: Male Mayor Shinn Mayor Shinn should be able to perform his role as proud politician very seriously, yet have a sense of comic timing. This actor does not have to sung or dance, but is responsible for a great deal of pacing and line pick-ups in the show. Don't be afraid to cast a physically small acotr in this role, provided he can authoritative - it can bring down the house! Gender: Male Eulalie Mackecknie Shinn Eulalie Mackecknie Shinn is a great role for a comic actress! If Eulalie takes herself seriously your audience will find her hysterical. She does have some singing and some moving, but creating a "larger than life" character that works with your Mayor Shinn is essential. Consider contrasting your physically small Mayor Shinn with a tall Eulalie for even more comic brilliance. Gender: Female Vocal Range: D4-D5 Marcellus Washburn Marcellus Washburn is the classic sidekick to Harold. His big number is "Shipoopi," so he should be a good singer, a great actor and be able to dance. Cast a kid who is natually funny and you will have a terrific Marcellus. Gender: Male Vocal Range: E4-D#5 Mrs. Paroo Mrs. Paroo is a good mother, stands up for what she beieves and gently pushes Marian to think of her future. The role requires an actress who can sing and act. However, she deosnt need to have a polished voice - the more character the better! Take into consideration your actress's ability to look maternal with Winthrop and Marian. Gender: Female Vocal Range: Ab3-Eb5 Winthrop Paroo Winthrop Paroo is Marian's shy younger brother who hardly talks because of his pronounced lisp. This is a great role for a young performer who is a good actor. Winthrop transforms from shy to outspoken, and not only sings but dances! Gender: Male Vocal Range: C4-Eb5 Amaryllis Amaryllis is Marian's slightly bratty, young piano student who has a crush on Winthrop. This is a great place to feature a young actor who is not quite ready for a large part, or who doesn't have a strong singing voice. Cast a girl who is a good actor and similar in size to Winthrop and Gracie. Gender: Female Tommy Djilas Tommy Djilas is the teen heartthrob in the show and a non-singing role. Cast a boy that can dance and create a strong character. Tommy's love interest is Zaneeta, so make sure the two characters have chemistry between them. Gender: Male Zaneeta Shinn Zaneeta Shinn is the oldest and slightly daffy daughter of the Mayor and Eulalie. Cast a girl who is a strong dancer. Although this is a non-singing role, a well-ast Zaneeta will gain mileage out of her classic "Ye gads!" line. Gender: Female Gracie Shinn Gracie Shinn is Zaneeta's little sister and the youngest daughter of the Mayor and Eulalie. The actor has few lines of dialogue, and if she is a good singer, she would be a fine choice to sing the first solo in "The Wells Fargo Wagon." Gender: Female Vocal Range: B3-Eb5 Ethel Toffelmier Ethel Toffelmier is Marcellus's girlfriend. She's described by Marcellus as "a nice comfortable girl and the bosses' niece." Ethel has some acting, some singing, and some dancing. Ethel is also one of the solo Pick-a-Little ladies. Make sure she and Marcellus look good together, think Ethel and Fred from I Love Lucy! Gender: Female Vocal Range: D4-D5 Pick-a-little Ladies Pick-a-little Ladies Alma Hix, Maud Dunlop and Mrs. Squires are the gossip queens of River City. These characters need to act, sing and move well. Cast girls with strong voices and a good sense of cominc timing. The supplemental Pick-A-Little ladies are ideal parts for your abundance of girls. Gender: Female Conductor The Conductor has the first line in The Music Man KIDS. This is a non-singing role and perfect for an actor that can be loud and energetic but is not quite ready for a larger part. Gender: Both Constable Locke Constable Locke is River City's chief law enforcement officer. He is a quiet, wise man who sees through Harold, yet doesn't seem to take Harold's antics too seriously. No singing or dancing is required for this role. Gender: Both Townspeople The River City Townspeople are the heart and soul of The Music Man KIDS. The story is about a community of people so assigning your cast into family units is key. Ask each grouping to create a family history, including details of their lives. This will create an ensemble that is engaged and energized. Plan on separating your cast into three groups: aduts, teens and kids. You will immediately recognize that some actors clearly "read" as adults onstage. Try to separate your groups into categories to create a realistic town. Gender: Both Traveling Salesmen The Traveling Salesmen are non-singing roles suited for performers that have a strong rhythmic sense. "Rock Island" is te rap of its time! If you find you need to cast girls as Traveling Salesmen, make sure they play the roles as men. These actors can ouble as ault members of the River City Townspeople. You will need a minimum of five salesmen in addition to Charlie. Gender: Both Wan Tan Ye Girls The Wan Tan Ye Girls are featured during Eulalie's "Spectacle" in Scene 4 prior to "76 Trombones." Cast students who aren't afraid of acting silly. Gender: Female Boys' Band All of your little boys can be in the Boys' Band if you have enough uniforms. If you need to fill out this Boys' Band ensemble with girls, be sure they appear as boys in uniform. Gender: Both
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