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Kim André Arnesen Arnesen's music is lovely and worth hearing… Sacred and secular, there is much to admire.– American Record Guide Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. Kim André Arnesen Born in 1980, Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys’ Choir, later being educated at the Music Conservatory in Trondheim. With an interest in baroque music, contemporary classical music, and popular music, Kim could have taken many roads, but choral music became his greatest passion. As a composer, he had his first performance at the age of 18 with the boys’ choir. Since then he has written music that has been performed and recorded by choirs all over the world. In 2015–16, Kim was Composer-in-residence for the Denver-based choral ensemble Kantorei and Artistic Director Joel Rinsema. The residency concluded with the recording of Kim’s second CD album released in early 2018 on Naxos Records. He continues to enjoy a busy international schedule of commissions. I denna ljuva sommartid (In this sweet summertime) SSAA (with divisi) a cappella Duration: c5 minutes 48024604 $2.50 More Info Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor Commissioned by Kvindelige Studenters Sangforening, Oslo, Norway, and Marit Tøndel Bodsberg Weyde, conductor I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Arranger's note Arranger's note I denna ljuva sommartid (In this sweet summertime) is a well-known traditional summer psalm in Sweden. The text is of German origin, written in 1653 by Paul Gerhardt (1607-76) with the title Geh aus, mein Herz, und suche Freud and also called Sommerlied. The Swedish version is sung with different melodies, including one that is part of the Swedish Hymnal Songbook and sung in schools before the summer holidays. In this arrangement, I’ve used a traditional melody from Malung in Sweden and three of the eight verses of the psalm, which describe summer as a gift from God. As a composer, arranging songs that can be regarded as a national treasure in another country is something that is done with great respect. But also, working with another country’s traditional music, music that is not in one’s own blood, can hopefully result in a fresh and new take on the original. Falling into Mercy SATB (with divisi) & optional piano (maximum divisi SSAATTBB) Text by Euan Tait Duration: 4 minutes 48024608 $2.50 More Info Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir Commissioned by the Stangeland Family Youth Choral Academy of the Oregon Bach Festival, in honor of the Academy’s 20th Anniversary; and St. Olaf College and Anton Armstrong, Professor of Music and Conductor of the St. Olaf Choir This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” Notes from the Poet and Composer Notes from the Poet and Composer This work comes from amazement – that the encounter with divine love, our relationship with the sacred, is to be constantly astonished by the endlessness of the depths of love. Love's persistence, again and again, whatever our failures to be people of love, is our reassurance of our precious and limitless value in the eyes of our Creator. And this mercy, this depthless mercy, frees us to become ourselves most fully, uncertain, but tenacious pilgrims. The music should be driven forward with particular attention to phrases and the detailed dynamics. For a piece like this, the various possible dynamic choices are endless and, as long as they substantiate the text and the performance remains fervent, the dynamics may be altered at the discretion of the conductor. As a composer, I always try to give each work its own identity, and this piece is characterized by first inversion chords. It is fascinating how nothing is really changed, and yet everything has changed. If one tries to move the bass to the root note it is a completely different work; the first inversion chords give a feeling of something endless, and from a musical image echoing the text, “to keep falling, endlessly.” The Gift to Sing SATB (with divisi) & piano (maximum divisi SSAATBB) Text by James Weldon Johnson Duration: 4:30 48024607 $2.50 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! Composer’s note Composer’s note If there is one thing anyone who has sung in a choir (or other context) knows, it is how singing can “turn the gloom to a cheerful day,” as James Weldon Johnson writes in his poem. We know it from our own experience, but it is even scientifically proven. There are many reasons to sing, and one of them is to bring light into our surroundings powered by our very own voices. And if someone does not think of themselves as a singer, I feel quite confident that Johnson’s poem will make them want to sing at the top of their voice! The Holy Spirit Mass Mixed Voices with Organ or Strings and Piano Vocal Score 48024610 $19.95 Release date in the US: May 2019 Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. Composed to commemorate the 500th anniversary of the Reformation, The Holy Spirit Mass interweaves the familiar Mass texts with English translations of the 9th-century Veni Creator Spiritus (‘Come Creator Spirit’) and Martin Luther’s hymn Come Holy Ghost, God and Lord. This major new choral work encourages unity and reconciliation in the world and celebrates hope for its future. Arnesen’s characteristic rich harmonies and memorable melodic lines combine to create an inspirational and uplifting work suitable for concert performance. This vocal score, which includes accompaniment for organ, can also be used for performing the versions of The Holy Spirit Mass with orchestral accompaniment available on rental from Boosey & Hawkes. I will light candles this Christmas SATB (with divisi) & piano (maximum divisi SSAATTBB) Text by Howard Thurman Duration: c4 minutes 48024571 $2.95 More Info Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Commissioned by Celia Ellington through LutheranArts in honor of Gary Aamodt’s 80th birthday, and dedicated to the annual St. Olaf Christmas Festival. Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) Composer’s note Composer’s note Advent and Christmas are times of excitement and celebration. However, it is difficult not to see the darkness of the world. Where the treetops glisten and behind the toys and goodies it can be cold and unsafe. And it is in darkness that we need light. The candle can light our hope and remind us that we are much more than what is darkest in our lives. Therefore this time of the year can be one of light over darkness. I hope the message in this carol can guide us to become carriers of a light that brings joy, hope, courage, peace, grace, and love, now and when the star dims. “Let your light shine before others.” (The Sermon on the Mount) My flame the song SATB (with divisi) & piano (maximum divisi SSATBB) Text by Euan Tait Duration: 5 minutes 48024605 $2.95 More Info Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers Commissioned in honor of Dr. H. Morris Stevens Jr., music educator, conductor, church musician and founder of the St. Edward’s University Masterworks Singers We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Composer’s note Composer’s note We share a fierce, impassioned singing of the life of love. We sing in the lives we lead, by the way we respond to the cry in the human heart. Our lives unfold the powerful potential of love that lives in each one of us, as friends, parents, siblings, partners, colleagues. In making music, singing together lights an extraordinary process in us: we connect from the depths of our beings with each other, with this shared spiritual flame within us, we connect to those we have lost, to those who have sung the same music, we connect to the eternal singing of that vast eternal chord of being human. In performing this work, you will pass on the flame to others. You become its music, its words: your spirit cries out, here. Ubi caritas et amor Duration: 4 minutes Release date in the US: March 2019 SATB (divisi) a cappella (maximum divisi SSAATTBB) 48024606 $2.50 More Info SSAA a cappella 48024609 $2.50 More Info Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. Commissioned by the Athens Master Chorale, Athens, Georgia, for Joseph S. Napoli, founder and conductor, in honor of his 50 years of loving devotion to the art of choral music. The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried. Composer’s note Composer’s note The actual origin of the text Ubi caritas et amor is unknown, but it has been dated to some point between 300 and 1100 AD. The text is typically sung during the Washing of the Feet at the Mass of the Last Supper on Maundy Thursday (Holy Thursday). The word “caritas” has many shades of meaning, and there are some nuances that seem to be lost in its translation. While the word “charity” is mostly used about voluntarily giving, the word “caritas” also means honesty, heartfeltness, dearness and tolerance. In a world with a lot of tension and disunity I wanted to write a piece that sings about the commandments to love one another. As ever, choirs performing this work should aim for a good balance between the voice parts, and the music should always be flowing but never hurried.

Disney's & Cameron Mackintosh's Mary Poppins 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 Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman Book by Julian Fellowes New Songs and Additional Music and Lyrics by Anthony Drewe and George Stiles Co-Created by Cameron Mackintosh A Musical based on the stories of P.L. Travers and the Walt Disney Film Overview / Synopsis Delight your audience with a show that's supercalifragilisticexpialidocious! Follow Jane and Michael Banks on fantastical adventures with their new nanny as she helps the Banks family in more ways than one. Based on the books by P.L. Travers and the classic Walt Disney film, Mary Poppins JR. includes a score filled with timeless classics as well as charming new songs written especially for this adaptation. Audio Sampler - HL00239827 $10.00 ShowKit - HL00239815 $695.00 This ShowKit includes: 30 Actor's Scripts Director's Guide Piano/Vocal Score 2 Rehearsal/Accompaniment CDs Choreography DVD Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00239816 - Director's Guide $100.00 00239818 - Piano/Vocal Score $40.00 00239819 - Actor's Script $10.00 00239820 - Actor's Script 10-pak $75.00 00239821 - Rehearsal/Accompaniment CDs $75.00 00239822 - Student Rehearsal CD $10.00 00239824 - Student Rehearsal CD 20-pak $100.00 00239825 - Choreography DVD $50.00 00239826 - Media Disc $10.00 00239827 - Audio Sampler $10.00 Hear A Sample Prologue Cherry Tree Lane (Part 1) The Perfect Nanny Cherry Tree Lane (Part 2) Practically Perfect Jolly Holiday Winds Do Change A Spoonful of Sugar Precision and Order (Part 1) Precision and Order (Part 2) A Man Has Dreams Feed the Birds Supercalifragilistic- expialidocious Twists and Turns Playing the Game / Chim Chim Cher-ee Brimstone and Treacle (Part 1) Let's Go Fly a Kite Brimstone and Treacle (Part 2) Step in Time Anything Can Happen (Part 1) Give Us The Word Anything Can Happen (Part 2) Goodbye Then, Mary Anything Can Happen (Finale) Bert The narrator of the story, is a good friend to Mary Poppins. An everyman, Bert is a chimney sweep and a sidewalk artist, among many other occupations. With a twinkle in his eye and a skip in his step, Bert watches over the children and the goings-on around Cherry Tree Lane. He is a song-and-dance man with oodles of charm who is wise beyond his years. Cast your strongest male singer, dancer, and actor in this role. Gender: Male Vocal range: B2-F4 George Banks Husband to Winifred and father to Jane and Michael, is a banker to the very fiber of his being. Demanding "precision and order" in his household, he is a pip-and-slippers man who doesn't have much to do with his children and believes that Miss Andrew, his cruel, strict childhood nanny, gave him the perfect upbringing. George's emotional armor, however off-putting, conceals a sensitive soul. A baritone, George may speak-sing as necessary and should be among your strongest male actors and singers. Gender: Male Vocal range: Bb2-F4 Winifred Banks George's wife and Jane and Michael's mother. She is a loving homemaker who is busy trying to live up to her husband's social aspirations while striving to be a model wife and mother. Cast an actor who can portray a great warmth and depth of feeling. Winifred should have a pure vocal tone and be one of your stronger actors and singers. Gender: Female Vocal range: A3-Eb5 Jane Banks The high-spirited daughter of Mr. and Mrs. Banks, bright and precocious but can be willful and inclined to snobbishness. Cast a wonderful actor and a strong singer who can take the audience on an emotional journey. Gender: Female Vocal range: A3-Eb5 Michael Banks The cheeky son of Mr. and Mrs. Banks. Excitable and naughty, he adores his father and longs desperately for his attention. Both he and Jane misbehave in order to get the attention of their parents. Michael should be a great actor and singer. Ideally, he reads onstage as younger than Jane. Gender: Male Vocal range: A3-E5 Mrs. Brill The housekeeper and cook for the Banks family. Overworked, she's always complaining that the house is understaffed. Her intimidating exterior is a cover for the warmth underneath. She does not have to be a strong singer, but she should be a solid actor. Gender: Female Robertson Ay The houseboy to the Banks family. Forgetful and clumsy, he often bungles simple tasks. He doesn't do a lot of singing, but he should be a good comedic actor. Note: his last name is pronounced like "eye." Gender: Male Mary Poppins Jane and Michael Banks's new nanny. She is extraordinary and strange, neat and tidy, delightfully vain yet very particular, and sometimes a little frightening, but she is always exciting. She is practically perfect in every way and always means what she says. The role calls for an excellent singer and actor who should be able to move well. Since she carries a majority of the show, precision and diction are key. Gender: Female Vocal range: G3-F5 Ensemble Groups & Featured Roles All ensembles require group singing; featured roles require either solo singing or solo acting, or both. For each featured role, the pages showcasing the character's lines or vocals are listed. Ensemble & Featured Characters include: Katie Nanna, Park Strollers, Statues, Neleus, Bird Woman, Honeybees, Clerks, Miss Smythe, Chariman, Von Hussler, John Northbrook, Vagrants, Buskers, Passerby, Mrs. Corry, Customers, Miss Andrew, Kite Flyers, Chimney Sweeps, Policeman and the Messenger. Katie Nanna Katie Nanna is Jane and Michael's nanny at the beginning of the show. Overwhelmed and upset, she has absolutely had her fill of the Banks children. This role is perfect for a performer who is not quite ready for a larger role. Gender: Female Park Strollers The Park Strollers are citizens of London who go from drab and dreary to bright and colorful as they get swept up in Mary Poppins's adventures in the park. Gender: Both Statues The Statues are stone sculptures. Thanks to Mary Poppins, these works of art come alive and dance with Bert and the Park Strollers. Gender: Both Neleus Neleus is a statue who, once brought to life by Mary Poppins, is very happy to befriend Jane and Michael. This role is a wonderful opportunity to feature one of the strong dancers in your ensemble. Gender: Both Vocal range: Bb4-Eb5 Bird Woman The Bird Woman is covered in a patchwork of old shawls, her pockets stuffed with bags of crumbs for the birds. She tries to sell the crumbs to Passersby, who ignore her as if she doesn't exist. While she should be a good singer, there can be a gruff, folksy quality to her voice that reflects the difficulties of her situation. Gender: Female Vocal range: G3-D5 Honeybees The Honeybees are conjured by Mary Poppins to help teach the children the benefits of "A Spoonful of Sugar." These roles require good movers who can sing. Gender: Both Clerks The Clerks, like George, are employees at the bank. These roles require actors who can sing. Gender: Both Miss Smythe Miss Smythe is the bank Chairman's humorless secretary. This smaller role is great for a performer who is new to the stage. Gender: Female Chairman Chairman, the head of the bank where Mr. Banks is employed, is an Edwardian stuffed shirt. He does not need to be a strong singer, but he should be a good actor with great stage presence. Gender: Male Von Hussler Von Hussler is a businessman seeking a loan from the bank for a shady business deal. This is a great character role for a fantastic actor who can command the stage with pomposity. Gender: Male John Northbrook John Northbrook is an honest businessman seeking a loan to build a factory for his community. This is a great role for a good actor and solid singer who may not be ready to tackle a large part. Gender: Male Vocal range: C3-D4 Vagrants, Buskers, and Passerby Vagrants, Buskers, and Passerby are citizens of London passing by the cathedral during "Feed the Birds." They can also be played by the Park Strollers earlier in the show. Gender: Both Mrs. Corry Mrs. Corry owns a magical Talking Shop. She is a mysterious woman of indeterminate age, but has plenty of spirit and is sharp as a tack. Cast an excellent actor who's not afraid to be over the top in this fun role. Gender: Female Miss Andrew Miss Andrew is George's overbearing and scary childhood nanny. With her bottle of nasty- tasting brimstone and treacle to keep naughty children in line, she is a bully who only knows one way of doing things: her way. Cast one of your stronger singers in this featured role. Gender: Female Vocal range: G#3-D5 Kite Flyers Kite Flyers consist of families flying kites in the park. They can also be comprised of the same ensemble members as the Park Strollers, the Passersby, and Mrs. Corry's Customers. Gender: Both Chimney Sweeps Chimney Sweeps (including Sweep 1, Sweep 2, Sweep 3, and Sweep 4) are Bert's cheerful, friendly, and agile friends who keep London's chimneys in working order. These actors should be great dancers and good singers, capable of bringing the show-stopping number "Step In Time" to life. Gender: Both Policeman and the Messenger The Policeman, a neighborhood patrol officer, and the Messenger, who delivers a summons to George from the bank, are great roles for students new to the stage that might not be ready for a large role. Gender: Both

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).

What's In A Show Box - 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 SHOWBOX COMPONENTS A Showbox for each title is available. Young@Part Showboxes cost $675.00 and Younger@Part Showboxes cost $525.00. Individual components are also available for purchase. Each Showbox includes: 30 Cast Script/Vocal Books Director's Script 2 Piano/Vocal Scores Guide Vocals CD Performance Tracks CD Logo Pack CD PRODUCTION RESOURCES Add these essential tools to your license for a seamless and spectacular production Choreographic Guide by TOP TOP Choreographic Videos provide step-by-step instruction from Broadway choreographers, giving you and your cast the training to execute each number in the show. Whether you use the choreography as is or adapt it for the unique needs of your cast, this thorough teaching tool is a framework for bringing memorable dance numbers to your show. TOP not only breaks down the dance sequences, but also examines the history and development of each style of movement in the show. Teachers consistently share with us how TOP has helped challenge and motivate their students, provide development for their choreographers, and bring a "wow factor" that thrills their audiences. Digital Backdrops by BMO Young@Part® Digital Backdrops from BMD are created by professional designers to suit the needs of school and youth productions. They include an instructional help guide along with the digital projections for iPad, PC or Mac platforms. As the first company to make projections commercially available to the performance art community, BMD continues to be the most innovative and customer-oriented company of its kind, proudly partnering with TRW to include this exciting new resource for all Young@Part® productions. Additional Add-Ons T-Shirts: TRW now offers top-quality t-shirts from our partners to commemorate your successful production. Whether your company was down, down underground in Memphis, dancing in the graveyard in the The Addams Family or doing the "Alabama stomp" in Big Fish, this is a great way to keep the memories alive. You can even add the dates and the name of your school or organization. Contact licensing@theatricalrights.com to place your order today! Transposition Express: Sometimes you've got just the right song in just the right show... but the key is not suited to your singer. TRW offers Transposition Express, our lightning-fast key change service. Simply choose your desired key and we do the rest! Please visit https://www.theatricalrights.com/resource/transposition-express/ to fill out your form. Customizable Show Posters: An easy-to-use online tool lets you create and download a professionally designed, license-compliant poster and suite of marketing materials for your show in just minutes. Contact licensing@theatricalrights.com to order!

Robert Buckley | Hal Leonard Robert Buckley Robert Buckley has a diverse career as a composer, arranger, performer, producer, recording artist and conductor. In the pop world, he created several albums and hit songs with labels such as CBS and A&M. The number one single “Letting Go” won him a gold record. He conducted and arranged for major artists such as Michael Bublé, Bryan Adams, Celine Dion, Our Lady Peace, Simple Plan and Aerosmith, to name a few. In the film and television world, he scored numerous award-winning shows for Disney, Alliance, ABC, FOX, CBS, PBS, CBC and the Cartoon Network. In the live stage world, he composed music for contemporary dance, musicals and large-scale worldwide television events including the Calgary Olympics, the Victoria Commonwealth Games, the Vancouver Olympics and the FIFA World Cup Opening Ceremony with Cirque Du Soleil. He composed “This Is My Home” for the Canadian Pavilion at the World Expo – a song that has been performed at every Canada Day since and has become a Canadian tradition. In the concert world, his symphonic compositions have been performed worldwide. Robert has served as composer-in-residence at several universities and for many years at the Con Brio Whistler Music Festival. He has recorded several CDs of his symphonic wind music: “Continuum”, “Undercurrents”, “Seas Of The Moon” and most recently recorded his Third Symphony “Quebec Mosaic” with the Royal 22nd Regiment Band in Quebec City. His composition “Undercurrents” had its US premier with the world-renowned “President’s Own” US Marine Band. Robert is a proud member of the American Band Association, the Canadian Music Centre, and the Screen Composers Guild of Canada. He lives in Vancouver, BC, Canada with his wife, choreographer and director, Marlise McCormick. www.bobbuckley.com Publications by Robert Buckley

Bugsy Malone 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 Book by Alan Parker Music and Lyrics by Paul Williams Overview / Synopsis Based on the hit 1976 film starring a preteen Scott Baio and Jodi Foster and featuring a catchy, swinging score by the composer of The Muppet Movie, Bugsy Malone JR. is good, clean, comedic fun! Two gangs comprised completely of children, square off in a 1920's rivalry of Capone-ian standards. Dandy Dan's gang has gotten the upper hand since obtaining the "splurge" gun (a weapon that shoots whip cream). Now Fat Sam and his bumbling buffoons are in real trouble! Bugsy Malone, a one-time boxer, is thrust not-so-willingly into the gangster limelight, when he becomes the last chance Fat Sam's gang has of surviving. All Bugsy really wants to do is spend time with his new love Blousey; but that just isn't in the cards for our hero. Bugsy Malone JR. includes a chorus, which may be expanded by adding as many members to Dandy Dan's and Fat Sam's gangs as your stage can accommodate. The Grand Slam Girls can also be expanded to incorporate more singing and dancing girls! Audio Sampler - HL00114404 $10.00 ShowKit - HL00114394 $695.00 This ShowKit includes: 30 Actor's Scripts Piano/Vocal Score Director's Guide 2 Rehearsal CDs 2 Accompaniment CDs 1 Choreography DVD 1 Media Disc 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00114394 - ShowKit $645.00 00114395 - Director's Guide $100.00 00114396 - Piano/Vocal Score $40.00 00114397 - Actor's Script $10.00 00114398 - Actor's Script 10-pak $75.00 00114399 - Rehearsal / Accompaniment CD $75.00 00114400 - Student Rehearsal CD $10.00 00114401 - Student Rehearsal CD 20-pak $100.00 00114402 - Choreography DVD $50.00 00114403 - Media Disc $10.00 00114404 - Audio Sampler $10.00 Hear A Sample SCENE 1 Bugsy Malone [Chorus Girls] Fat Sam's Grand Slam [Chorus, Maitre D's, Candy Cigarette Girls, Male Gamblers, Tallulah's Girls] SCENE 3 That's Why They Call Him Dandy [Dandy Dan, Hoods] Tomorrow [Fizzy] SCENE 4 Show Business [Lena, Chorus] SCENE 5 Bad Guys [Fat Sam's Gang] Ordinary Fool [Blousey] My Name is Tallulah [Tallulah, Tallulah's Girls] SCENE 6 Down and Out [Down and Outs] SCENE 7 Fat Sam's Grand Slam (Reprise) [Chorus Girls] You Give a Little Love [Bugsy, Fat Sam, Dandy Dan, Tallulah, Blousey] Bugsy Malone Bugsy Malone is the hero of the story. Cast a handsome young man who can sing and act. This role is equal parts Jimmy Stewart, James Bond and Gene Kelly. Bugsy alternates as the narrator and the star of the show. A young performer comfortable in front of an audience, who radiates a sense of charm and sincerity as well as a street-wise sensibility, will take your show a long way towards success. Blousey Brown Blousey Brown is at first a typical young, wide-eyed, would-be star, just off the bus from a small town. However, we find out that Blousey is a force to be reckoned with and is certainly nobody's fool. This is a large role that requires good singing and acting, but the key to casting Blousey is finding a young actor who is at home with comedy. A young Carol Burnett type is recommended. Tallulah Tallulah is the classic gangster's moll. Cast a young woman who is self-confident and can deliver the role with deadpan sincerity and droll appeal. Tallulah is a Mae West type with a talent for performing. She needs to be a strong singer for her self-titled number. Fizzy Fizzy is an employee of Fat Sam's at the Grand Slam, whose duties mostly involve cleaning up the place. To cast Fizzy, find an actor who can really delivery the song "Tomorrow." It is a difficult song that requires emotional singing and a significant range. Hopefully, you'll find a singer who can delivery Fizzy's sad-eyed hopes and dreams as he sweeps up. Fat Sam Stacetto Fat Sam Stacetto is the baddest of the bad guys, whose biggest rival is Dandy Dan. Fat Sam should be an adept physical comedian with a commanding stage presence. He sings, so make sure you've got an actor who can carry a tune, but moreover, finding an experienced actor with good projection and diction skills is important. Fat Sam carries much of the dialogue of the show. Note that Fat Sam does not need to be fat. You can dress him in a fat suit or cast a realty small kid with a booming voice for comedic effect. Dandy Dan Dandy Dan is the unflappably stylish, debonair, underworld businessman who outwits Fat Sam every step of the way. Your Dan should be comfortable singing his song, "That's Why They Call Him Dandy." Find an actor with just the right sense of style and grace. Lena Marelli Lena Marelli is the star of the "Lena Marelli Show!," and she lets everyone know it. Cast a young performer who can TAKE OVER THE STAGE with a strong singing voice. An affected character voice is practically a requirement to delivery this role. Lena is not very bright, but she is very loud. Think Lina Lamont from Singin' in the Rain. Fat Sam's Gang Fat Sam's Gang includes Roxy Robinson, Angelo, Snake Eyes, Ritzy, Shake Down Louis and Sam's right hand man, Knuckles. You may add as many ensemble members to the gangs as your stage can accommodate. These fellows are bumbling, funny, non-threatening hoodlums. They should be able to sing with gusto (if not in tune) and be willing to work on the rigors of physical comedy. Many productions have successfully cast girls in these roles. Dandy Dan's Gang Dandy Dan's Gang members are really bad guys. Also known as The Hoods, they sing a little, but they splurge a lot! Cast suave-looking types who can pull off slicked-back hair and double-breasted suits. Many productions have successfully cast girls in these roles. The Hoods include Bronx Charlie, Shoulders, Benny Lee, Yonkers, Laughing Boy and Doodle. Tallulah's Girls The Tallulah's Girls perform at the speakeasy, and they include Tillie, Loretta, Dotty and Bangles. These girls should be very at home singing and dancing and should work well as ensemble singers. They are basically Tallulah's gang! Bangles has the most dialogue of these girls, so you might want to put your best actor in that role. Oscar De Velt Oscar De Velt is the stage equivalent of Cecil B. DeMille. A strong, confident actor will fit the bill here. Kiki the Colorist, Cashier and Stylist 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 Marbini the Magician Marbini the Magician and The Ventriloquist are two wonderfully funny smaller roles in the audition scene with Oscar De Velt. Both of them are convinced that they are world famous. Cast performers who can really sell these roles for all they are worth. The Opera Singer and the other bits in this scene are all great cameos. Down and Outs The Down and Outs are representative of out-of-work, Depression era men and women of the soup kitchens, which include the Cooks serving in the kitchens. The Down and Outs are ready for a cause, and helping Bugsy bring peace between Fat Sam and Dandy Dan is just what the doctor ordered. Additional ensemble roles in this scene include the Priest, Clipboard Willy and two Delivery Guys. If you have a smaller cast, you can use the splurged from early scenes (Fat Sam's Gang!). Other Roles Other standout ensemble roles include: the Radio Announcer, Paperboy (or girl), Razmataz, Maiter D's, Elegantly Dressed Lady, Waitress, Louella, The Butler, The Trumpet Player on Roller Skates, the Line of Auditionees at the Bijoux, Pop Becker, the Barber and Flash Frankie. These are all good comic roles for young performers. In a smaller ensemble you can double many of these parts. Additionally, students can be case as Speakeasy staff and customers, including a Waiter, Candy Cigarette Girls, Lena's Bodygaurds, Male Gamblers, additional Chrous Girls, Splurge Attendants, Speakeasy Customers, and Members of Fat Sam and Dandy Dan's Gangs.

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

Magic Tree House: A Ghost Tale For Mr. Dicken's 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 Book by Jenny Laird and Will Osborne Lyrics by Randy Courts and Will Osborne Music by Randy Courts Based on Magic Tree House #44: A Ghost Tale for Christmas Time by Mary Pope Osborne Overview / Synopsis What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? The magic tree house whisks Jack and Annie back in time to the foggy streets of Victorian London, where they must help Charles Dickens. But the famous author has everything he could possibly want. How are they supposed to help him? It's not until Mr. Dickens rescues them from being thrown in jail that they discover his secret past and the sad memories that haunt him. Jack and Annie will need all their magic-and help from three ghosts - to save the great writer. Magic Tree House: A Ghost Tale for Mr. Dickens is an adaptation of book #44 of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. Audio Sampler - HL00149057 $10.00 ShowKit - HL00149047 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00149048 - Director's Guide $100.00 00149049 - Piano/Vocal Score $40.00 00149050 - Actor's Script $10.00 00149051 - Actor's Script 10-pak $75.00 00149052 - Perf/Accomp CD pack $75.00 00149053 - Student Rehearsal CD $10.00 00149054 - Student Rehearsal CD 20-pak $100.00 00149055 - Choreography DVD $50.00 00149056 - Media Disc $10.00 00149057 - Audio Sampler $10.00 Hear A Sample Prologue Christmas In the Air [Carolers, Merlin, Morgan] How Far Can You See? [Carolers, Merlin, Morgan] SCENE 1 Two Gentlemen of Means [Annie, Jack, Carriage Driver, People at Inn, Theatre Folk, High Society, Olive, Emma] Trading Places (Parts 1 & 2) [Colin, Harry, Annie, Jack] SCENE 2 Faces In the Mirror [Mr. Dickens, Pickwick, Oliver Twist, Nickleby, Dickens' Characters] SCENE 3 Stop Thief! [Jack, Annie, Olive, Emma, Crowd] SCENE 4 Right This Way [Mrs. Pinch, Mr. Pinch, Waitstaff, Jack, Annie, Fans] Bah! Humbug! (Part 1 & 2) [Mr. Pinch, Restaurant Workers, Mr. Dickens, Jack, Annie, Tiny Tim] SCENE 5 Who Will Hear My Song? [Orphans, Jack, Annie, Mr. Dickens] Come Three Ghosts [Jack, Annie, Ghost Chorus] The White Ghost [White Ghost, Mr. Dickens, Ghost Chorus, Young Dickens, Mrs. Dickens] The Green Ghost [Annie, Green Ghost, Ghost Chorus, Miss Twigby, Class] Enter the Black Ghost [Annie, Ghost Chorus, Mr. Dickens] Who Will Hear My Song? (Reprise) [Ghost Chorus, Mourners] SCENE 6 You Must Give Your Gifts (Part 1 & 2) [Mr. Dickens, Jack, Annie, Dressmaker, Baker, Mrs. Tibbs, Harry, Colin, Policeman, Emma, Olive, Miss Twigby, Henrietta, Newsies, Mr. Pinch, Chorus] Bows [Entire Cast] Jack Jack is a young boy. He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the Magic Tree House help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. This is a big role and requires a strong singer and actor. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Annie Annie is Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Like Jack, this role requires strong singing and acting. When auditioning, you might mix and match your Jack and Annie hopefuls to see which ones have the best brother-sister chemistry. Vocal Range: A3 - D5 Mr. Dickens Mr. Dickens is a man in his prime and has a flair for the dramatic, both in writing and speech. His public persona is that of a charismatic celebrity, but privately he is deeply depressed by the suffering he sees all around him in Victorian England, particularly the suffering of children. This leading part requires your most mature male performer with strong singing and acting skills (and a changed voice). Vocal Range: Bb3 - E5 Merlin Merlin is a wise old magician who joyfully introduces the play to the audience and sends Jack and Annie on their mission to help Mr. Dickens. Look for a lively actor with a commanding speaking voice. Merlin has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be a good role for a strong actor who may not be an experienced singer. With clever costuming, this role could be played by a girl if necessary Morgan Le Fay Morgan Le Fay is an ageless librarian enchantress. Merlin and Morgan are dear old friends and are playful with one another. Like Merlin, Morgan also has the option of singing (or not) on the choral parts of the opening and closing songs, so this would be another good role for a strong actor who many not be an experienced singer. Vocal Range: Speaking Role The Carolers The Carolers, including Caroler #1, Caroler #2, Caroler #3 and Young Caroler, can be as small as a handful of performers or as large as your stage and theater can accommodate. If your cast is large enough that you are not double-casting your carolers as other named characters, consider assigning Dickensian-sounding names to your Carolers, or even have them invent backstories so that they feel more connected to their roles. Vocal Range: Caroler 1: C4 - C5 Caroler 2: F4 - C5 Young Caroler: F4 - C5 Carriage Driver Carriage Driver is a cheerful, friendly character who is especially impressed by his well-to-do patrons. Costuming would allow for this role to be played by a girl if necessary. Look for an actor who is outgoing, has a strong voice and can move well, as driving a pretend horse-drawn carriage will require some miming and choreographed blocking. Vocal Range: B3 - Eb5 People At Inn, Theatre Folk and High Society People At Inn, Theatre Folk and High Society are non-speaking roles with only a small bit of singing (unless they are double cast), so these are good roles for beginning actors who can sing. Cast as few or as many actors in these roles as your production allows. Emma and Olive Emma and Olive are orphans who must resort to petty thievery to survive on the streets of London. Olive targets Jack and Annie when she notices their expensive-looking bag, and Emma follows her lead in a plot to steal it. These characters do not need to sing much, so these are good roles for younger actors who might want to build confidence before taking on larger singing roles. Vocal Range - Emma: B3 - D5 Vocal Range - Olive: D4 - C5 Harry and Colin Harry and Colin are young chimney sweeps who agree to trade places with Jack and Annie for a day. These comedic characters sing a duet and need to be able to change a few items of clothing (jackets and hats) during their song, so look for actors capable of moving and singing at the same time. Costuming (faces smudged with ashes, etc.) would allow for these roles to played by girls if necessary. Cast two strong actors who get along well onstage and off. Vocal Range - Harry: F3 - C5 Vocal Range - Colin: Gb3 - Eb5 Mrs. Tibbs Mrs. Tibbs is the peculiar and proud housekeeper of the Dickens estate. Look for a strong actor who understands comedy. She does not need to sing if she is not double cast in a singing role, so this is a good part for an actor who may not possess the strongest singing voice. Vocal Range: F4 - A4 Pickwick, Oliver Twist, Nickleby and other Dickens Characters Pickwick, Oliver Twist, Nickleby and other Dickens Characters are the "faces in the mirror" Dickens sees when he is in his office trying to write. These characters have little dialogue, so you can use these roles to cast kids who are more experienced singers than actors. Since the "other Dickens characters" only sing choral parts, you can cast as large a number of kids as you like/ need. For fun, you could assign all of the kids in the chorus names from a variety of books by Dickens - or let them research and pick out their own. If you have a smaller cast, all of these actors could also be double cast as Carolers, High Society, Street Vendors, and Restaurant Workers. Vocal Range: Speaking Roles Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 Newsies, Newsie #1, Baker, Butcher, Bootblacks, Dressmaker, Street Person, Cabbie, Hawkers, Hawker 1 are small acting parts, but these roles are essential for creating the feel of Victorian London. Look for actors who can pull off a cockney accent and who can also handle the kind of choreographed blocking required in "Stop Thief!" Vocal Range - Baker: G4 - A4 Vocal Range - Dressmaker: G4 - A4 Policeman The Policeman arrests Jack and Annie, believing they have stolen their own bag. He is chastised by Charles Dickens, and when he realizes his mistake, quickly and humbly apologizes. This is a small role that does not require a lot of subtlety, and singing is optional, so it would be good part for a beginning actor and/or singer. Vocal Range: E4 - F4 Mr. Pinch Mr. Pinch is the mean and miserly owner of the Purple Peacock Inn who refuses to give food scraps to a hungry Tiny Tim and his mother. He is the prototype for Dickens's Scrooge. While the song "Bah! Humbug!" is meant to be comical, the actor playing Pinch doesn't need to be comedic; instead, he should be confident enough to play a shameless misanthrope without needing to wink at the audience. Look for someone who is both a strong actor and singer, but if there is a tough call, lean toward the stronger actor, as much of his solo can be sung/spoken. Vocal Range: G3 - D5 Mrs. Pinch Mrs. Pinch is nothing like her ill-tempered husband; she is warm, hardworking and high-spirited. Though she is not onstage for much of the play, this role requires a good actor/singer who has a strong, energetic, mature presence. Vocal Range: C4 - C5 Francois the Chef Francois the Chef is the chef at Pinch's Purple Peacock Inn. He is proud and passionate and highly sensitive to criticism. This is a small, fun role that does not require any singing, so it would be a good part for an inexperienced singer. Vocal Range: Speaking Role Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans Waitstaff, Restaurant Workers, Restaurant Patrons, Waitress, Dishwasher, Women Fans and Men Fans are the employees and patrons of Mr. Pinch's Purple Peacock Inn. These roles have little or no spoken dialogue, but "Right This Way" has solo lines as well as choral work and some fairly intricate movement/choreography built into the song, so look for strong singers who can also move/dance. Vocal Range - Waitstaff #1: Bb3 - D5 Vocal Range - Waitstaff #2: Bb3 - E5 Vocal Range - Waitress: Bb3 - Bb4 Vocal Range - Dishwasher: Eb4 - Bb4 Tiny Tim Tiny Tim is a poor and sickly child who will not survive without the charity of others. Though his body is weak, his spirit is robust, and though his family is impoverished, he is rich in love and is remarkably cheerful and good-natured. As the name implies, try to cast your smallest child in this role. A girl dressed as a boy would work. Vocal Range: Speaking Role Roberta Roberta is Tiny Tim's humble, yet proud, mother. This is a small role and singing is optional, so, unless double or triple casting the actor in this role, this would be a good part for a beginner looking to gain some confidence and experience onstage. Vocal Range: Speaking Role Orphans Orphan #1 and the Orphans are street urchins who 'haunt' Mr. Dickens after his disheartening encounter with Mr. Pinch. These are non-speaking roles, so this is a great opportunity to cast singers who are interested in exploring what musical theatre id all about without the pressure of having to memorize lines, etc. However, these roles do require kids who are able to "mime" factory workers during a lengthy speech by Mr. Dickens and who must stay focused and "in character" on stage even when they are not singing. Consider double casting as the Mourners who will sing a reprise of "Who Will Hear My Song?" Vocal Range: Orphan 1: A3 - Bb4 White Ghost, Green Ghost, and Black Ghost White Ghost, Green Ghost, and Black Ghost are conjured by Jack and Annie's magic violin in order to convince Mr. Dickens to keep writing by showing him meaningful scenes from his past, present and future. All three can be played by girls. Although the Black Ghost doesn't speak or sing, the actor needs to have a strong stage presence and must be able to stay focused and in character through the lengthy "Come Three Ghosts" segment. The GHOST CHORUS is made up of your entire ensemble - no need to cast a separate group of students. Vocal Range - White Ghost: C4 - Bb4 Vocal Range - Green Ghost: D4 - Bb4 Mrs. Dickens Mrs. Dickens is the mother of Charles Dickens. This is a small acting role and unless the actor is cast in other roles, requires no singing, so if you have a large pool of actors to cast, this would be an ideal role for a beginner. Vocal Range: Speaking Role Young Dickens Young Dickens is Charles as a small boy who is conjured by the White Ghost to remind Mr. Dickens of his love of reading, his passion for stories and the importance of The Arabian Nights in igniting his imagination as a boy. This is a small speaking role, with no singing required. Consider casting the same actor who plays Tiny Tim. Vocal Range: Speaking Role Miss Twigby, Sara, and the Class Miss Twigby, Sara, and the Class are characters conjured by the Green Ghost to show Mr. Dickens how teachers in Victorian classrooms are using his stories to impart important lessons to their young students. These roles require memorizing and delivering in quick succession actual lines written by Charles Dickens, so cast some of your more confident performers. Vocal Range: Speaking Role Queen Victoria and her Lady in Waiting Queen Victoria and her Lady in Waiting are characters conjured by the Green Ghost to show Mr. Dickens that even the Queen is being moved to make social reforms based on his stories. These are small, speaking-only roles, so look to double cast these actors if they want to sing, or use the roles for beginners who want to be part of the process but don't want a lot of responsibility. Vocal Range: Speaking Role Bookseller, Henrietta and Barber Bookseller, Henrietta and Barber are more characters conjured by the Green Ghost to show how much the "common" people of London are enlivened and changed by the stories of Charles Dickens. Consider casting with the same group of actors who play the Street Vendors, etc., especially the actors capable of pulling off a Cockney accent. Vocal Range: Speaking Role The Mourners The Mourners, including Mourner #1, sing a reprise of "Who Will Hear My Song?" gathered around the gravestone of Charles Dickens and create a mournful tableau during Mary's monologue. Consider using the same actors who played the orphans. If you have a large enough cast that you don't want to double cast, these are good parts for strong singers. Vocal Range: Speaking Role Mary Dickens Mary Dickens is the grown daughter of Charles Dickens. She has a fairly large monologue at her father's gravesite, so look for a strong, confident actor with good memorization skills. Vocal Range: Speaking Role

Godspell 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 Conceived and Originally Directed by John-Michael Tebelak Music and New Lyrics by Stephen Schwartz Originally Produced on the New York Stage by Edgar Lansbury, Stuart Duncan and Joseph Beruh Overview / Synopsis Godspell JR.* is the young performer's edition of John-Michael Tebelak and Stephen Schwartz's groundbreaking and unique reflection on the life of Jesus, with a message of kindness, tolerance and love. Godspell is an engaging, innovative show that draws from various theatrical traditions, including clowning, pantomime, charades, acrobatics and vaudeville. Originally conceived for a cast of ten, the Broadway Junior version of Godspell is designed to allow you to expand your cast to include as many student performers as your stage can accommodate. Each of the parables and songs used in Godspell can be cast with a different group of students and can be rehearsed separately, allowing groups to rehearse simultaneously. If you choose to add the optional Godspell JR. Choir, you can use nearly everyone from your school or group who wishes to participate. Godspell can be performed virtually anywhere with the simplest of sets, costumes, lights and music. This show will be a favorite of performers and audiences alike! The Broadway Junior Collection now offers this John-Michael Tebelak story and Stephen Schwartz score in an adapted format perfect for young performers! Audio Sampler - HL00103055 $10.00 ShowKit - HL09971784 $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 * Godspell JR. is not available in Canada Individual Components 09971786 - Piano/Vocal Score $40.00 09971785 - Director's Guide $100.00 09971787 - Actor's Script $10.00 09971788 - Actor's Script 10 Pak $75.00 09971789 - Performance/Accompaniment CD $75.00 09971790 - Choreography DVD $50.00 09971676 - Student Rehearsal CD $10.00 00103054 - Student Rehearsal CD 20 Pak $100.00 09971791 - Media Disc $10.00 00103055 - Audio Sampler $10.00 Hear A Sample Act 1 Prepare Ye the Way of the Lord [John the Baptist, Company] Save the People [Jesus, Company] Day by Day [Solo, Company] Learn Your Lessons Well [Solo1, Solo 2] O, Bless the Lord, My Soul [Solo, Company] All for the Best [Jesus, Judas, Company] All Good Gifts [Solo, Company] We Beseech Thee [Solo, Company] Light of the World [Solo 1, Solo 2, Company] Act 2 Beautiful City [Female Solo] On the Willows [Orchestra] Finale [Jesus, Company] Bows [Company] Exit [Orchestra] Jesus Jesus is first and foremost a teacher. He should come off very naturalistic, not high and mighty or judgmental. He should be charismatic with being affected; serious, but with a good sense of humor; somebody who everybody likes and wants to have as a friend. While he doesn't have to sing a lot, his first song, "Save the People," should sound beautiful, clear and unaffected. John the Baptist/Judas John the Baptist/Judas is a role played by one person. It is important to note that in the original production of Godspell, the actors all used their own names and the original script did not include characters designated as "Judas" or "John the Baptist." As you cast this role, remember it is not really two different roles, just one actor embodying the actions of these two biblical figures. The character is charismatic, but also headstrong and sometimes acts in rash ways. Be daring in your casting - this role does not necessarily have to be played by a male performer. SOLO SINGERS "Day by Day" The singer who leads "Day by Day" doesn't need to have a wide range, but the song should sit in a place where they can sing it out strongly and with conviction. "Learn Your Lessons Well" The two soloists for "Learn Your Lessons Well" should be your singers who can enunciate expertly - the song is less about the melody and more about getting the words out quickly and so the audience can understand them. "O Bless the Lord, My Soul" This is a big song with several changes in tempo and tone. It requires your singer with the biggest, most dexterous voice. Even though the tempo becomes very bright during the song, don't worry if you don't cast your best dancer: letting the soloist stand and sing while the ensemble moves around them works just fine. "All Good Gifts" The slow, beautiful ballad of Godspell. Of all the songs in the show, this one demands your most beautiful voice. "We Beseech Thee" Here's one for the class clown! It can be almost spoken and still work well, as long as your performer has personality plus! "Light of the World" Another song that can almost be spoken - but remember, it's a song about making sure your light shines throughout the world - the singer has to really "sell" the song! "Beautiful City" Beautiful and sincere, the singer must be able to let the audience know that they understand the message Jesus has been teaching. FEATURED ACTORS/ACTRESSES Narrators Most of the parables have a narrator or two. Your narrators should be among your best speakers. You should be confident that they can handle longer sections of dialogue. Players Some of the players have lines and some do not. All players should be encouraged to develop larger than life characters.

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 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

The Phantom Tollbooth 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 An adaptation for the Musical Theatre of Norton Juster's novel The Phantom Tollbooth Music by Arnold Black Lyrics by Sheldon Harnick Book by Norton Juster and Sheldon Harnick Overview / Synopsis Norton Juster's beloved children's book is given full musical treatment in this Broadway Junior version of the modern tale of a boy who must save the princesses Rhyme and Reason and reunite the brother Kings who rule over the cities of Dictionopolis and Digitopolis. Aided by a trusty time-keeping dog, Tock, Milo successfully brings harmony to the Land of Wisdom and learns many things about words and numbers along his journey. Audio Sampler - HL08753361 $10.00 ShowKit - HL09971585 $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 09971586 - Piano/Vocal Score $40.00 09971587 - Director's Guide $100.00 09971588 - Actor's Script $10.00 09971589 - Actor's Script 10 Pak $75.00 09971590 - Performance/Accompaniment CD $75.00 09971591 - Choreography DVD $50.00 09971592 - Student Rehearsal CD $10.00 09971593 - Student Rehearsal CD 20 Pak $100.00 09971594 - Media Disc $10.00 08753361 - Audio Sampler $10.00 Hear A Sample Another Boring Afternoon Gotcha The Birth of the Booth The Whether Man (Part 1) The Whether Man (Part 2) The Lethargarian Shuffle Tock's Narrative (Part 1) Tock's Narrative (Part 2) At the Market Do I Dare? Hail, Digitopolis (The Number Miners' Number) Subtraction Stew Gotcha (Reprise) Milo Finale Milo Milo is a boy who is completely understimulated by everything around him. Cast an extremely likeable actor who has a solid voice and acting chops. This actor should be able to remain focused over a long period of time as the character almost never leaves the stage. The Toolbooth The Tollbooth is the perfect role for an excellent singer who has solid musical skills. The role can be performed equally successfully by a male or female performer. Select a performer who has a powerful and confident voice. The role is usually performed offstage and unseen by the audience, but it does have two large feature moments in the show. This is a great place to feature a student who is studying opera. Demons Demons: (The Terrible Trivium, The Senses Taker, The Demon of Insincerity) are dark and scary entities that persuade Milo into not doing anything. They are sinister and love to be in control. They should all be good physical actors with strong acting skills and terrifying, evil laughs! Whether Man Whether Man is an eccentric individual not to be confused with a "weather man"! This is a great part for an actor with good physical comedy chops. Narrators Narrators are non-singing parts that require focus and good public speaking skills. They are a great way to feature ensemble members! These boys and girls are neighborhood kids that want to play with Milo. They are all non-singing roles. Lethargarians Lethargarians are slow motion, unmotivated, incredibly lackadaisical beings. That said, make sure you use ensemble members with lots of energy or risk your audience falling asleep with them! Tock Tock is an extremely energetic, lovable dog with an alarm clock in his or her belly. Cast a very physical actor comfortable crawling and sliding across the floor on his or her knees. The actor should also have a solid voice and a strong ability to focus onstage. Azaz Azaz is the king of words! While he deeply misses the Princesses, he doesn't want to work with his brother, the Mathemagician, to save them. Cast an actor with a classic "king" presence and strong acting chops. Mathemagician Mathemagician is the king of numbers. Much like Azaz, he secretly misses the Princesses but refuses to save them with his brother. This is a great part for an energetic actor with a good sense of rhythm and comedic timing. Rhyme and Reason Rhyme and Reason are the Princesses banished to the Castle in the Air. They are great classic ingenue roles and require actresses with strong voices. Page, Advisors and Lackeys Page, Advisors and Lackeys are all subjects of the royal kingdom of Dictionopolis, led by King Azaz. These roles are a great opportunity to feature your ensemble members who have strong physical comedy skills. They are all non-singing roles. Miners Miners are the subjects of Digitopolis. These are great physical comedy roles! Cast ensemble members who aren't afraid to be ridiculously silly onstage. Vendors Vendors are marketplace sellers of all types of words in Dictionopolis. These are great roles to feature your ensemble members with solo singing, and they require excellent character work. These are non-speaking roles.

Rudolph The Red-Nosed Reindeer 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 Overview / Synopsis The holiday classic soars off the screen in this Broadway Junior, 60-minute musical adaptation of the beloved television special. Filled with holiday hits like "Rudolph the Red-Nosed Reindeer" and "A Holly Jolly Christmas," Rudolph the Red-Nosed Reindeer™ JR. features all of your favorite characters including Santa and Mrs. Claus, Hermey the Elf, Bumble the Abominable Snow Monster, Clarice, Yukon Cornelius and, of course, Rudolph. It's an adventure that teaches us that what makes you different can be what makes you special. Audio Sampler - HL00295321 $10.00 ShowKit - HL00295322 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 60-Minute JR. Request Individual Components 00295313 - Piano/Vocal Score $40.00 00295310 - Director's Guide $100.00 00295314 - Libretto/Vocal Score $10.00 00295315 - Libretto/Vocal Score 10 Pak $75.00 00295321 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS A Holly Jolly Christmas Rudolph Intro Jingle, Jingle, Jingle When Santa Claus Gets Your Letter We're A Couple Of Misfits (Intro) We're A Couple Of Misfits (Continued) There's Always Tomorrow We Are Santa's Elves We're A Couple Of Misfits Fame And Fortune Silver And Gold The Most Wonderful Day Of The Year (The Island Of The Misfit Toys) There's Always Tomorrow (Reprise) Rockin' Around The Christmas Tree We Are Santa's Elves (Reprise) A Merry, Merry Christmas To You Rudolph The Red-Nosed Reindeer Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Sam The story's narrator - and a snowman! Sam remembers the winter of "the big storm" - so well, in fact, that he decides to tell the whole story. Sam should be a strong singer and actor. As the narrator, the audience should understand every word Sam says! Choose an actor with a warm and welcoming stage presence for this important role. Vocal range top: C5 Vocal range bottom: B3 Santa Claus Needs no introduction! Choose a more mature actor with a great stage presence who can act, carry a tune, and completely embody this significant character role. Vocal range top: D5 Vocal range bottom: B3 Mrs. Claus Another classic Christmas character. Cast an actor in this role that can make strong character choices and can be kind but firm with her husband. Donner Rudolph's father and a proud member of the team who pulls Santa's sleigh on Christmas Eve. Donner does not sing a solo but should be a strong actor. It's great if he reads as older onstage and pairs well with Mrs. Donner. Mrs. Donner Rudolph's mother. She loves her son and even sets off to find Rudolph after he runs away. Mrs. Donner does not sing a solo, so cast a good actor who reads as older onstage and pairs well with Donner. Young Rudolph The hero of the story! This lovable misfit struggles to fit in due to his glowing, red nose. Young Rudolph should be a good actor and ideally appear younger onstage. Gender: Male Vocal range top: B4 Vocal range bottom: G#3 Rudolph The hero of the story! This lovable misfit struggles to fit in due to his glowing, red nose. Rudolph should be an excellent actor and singer, and he should be able to embody the emotional heart of the story. Gender: Male Vocal range top: D5 Vocal range bottom: A#3 Bumble The Abominable Snow Monster can either be a few students operating a puppet or one student costumed as the monster. Bumble does not sing a solo, so this role should feature an actor with a great stage presence. Hermey A bit of an odd elf - he doesn't want to make toys; he wants to be a dentist! Like Rudolph, Hermey is a misfit, and they become close friends over their shared outsider status. Cast a talented actor who can sing, act, and bring this dentist elf to life! Gender: Male Vocal range top: D5 Vocal range bottom: G#3 Boss Elf A great role for a student who is a natural leader and has good comedic instincts. Boss Elf grumbles about Hermey's interest in dentistry at first, but it's only because he cares so much about making perfect toys for Santa - he doesn't mean any harm. Cast a good actor in this role. Gender: Male Fireball One of the yearlings. He is not particularly nice to Rudolph after his glowing nose is revealed. Fireball does not sing a solo, so this is a great role for a good actor who may not have the strongest singing voice. Gender: Male Clarice A doe who takes a liking to Rudolph in spite of his glowing, red nose. She is kind to him and even goes to look for him after he runs away. Clarice sings "There's Always Tomorrow," so cast an actor with a great singing voice who is able to portray Clarice's kindness, patience, and gumption. Vocal range top: C5 Vocal range bottom: B3 Elves The Elves (including Elf 1, Elf 2, Elf 3, Elf4, and Aviator Elf) are Santa's helpers and the choral backbone of the show. Elves 1 - 4 sing solos, and Aviator Elf has a featured spoken line. Be sure to cast strong singers as Elves 1 - 4, and feel free to add as many additional Elves as students who want to be involved in your production! Gender: Female Vocal range top: B4 Vocal range bottom: A3 Coach Comet The coach in charge of training the yearlings. He is good at his job, even if he is a little gruff, and doesn't take kindly at all to Rudolph's glowing red nose. Coach Comet doesn't sing a solo, so cast a good actor in this role who will read as older onstage compared to the yearlings. Gender: Male Clarice's Father A great role for a newcomer to the stage. Although he does not sing a solo, his brief cameo really drives home that Rudolph is an outcast in Christmastown. Gender: Male Yukon Cornelius A prospector in the hunt for silver and gold, Yukon has a big personality and is not afraid of anything, including Bumble. Yukon sings "Fame And Fortune," but keep in mind that this song can be done in a character voice. The most important qualities for this performer are a commanding stage presence, the ability to make strong character choices, and a willingness to chew the scenery! Gender: Male Vocal range top: D5 Vocal range bottom: C4 King Moonracer A great cameo role. This character does not sing a solo but should embody a regal, authoritative presence onstage. King Moonracer cares about the Misfit Toys on the island and wants to help them find real homes. Cast a good actor in this role who can command the stage. Gender: Male Charlie-In-The-Box The sentry on the Island of Misfit Toys. Sad to be named Charlie instead of Jack, Charlie-in-the-Box has several important lines and a few solos. This is a great role for a good actor and singer who can project and speak clearly onstage. Vocal range top: B4 Vocal range bottom: C4 Dolly Lives on the Island of Misfit Toys. This small role includes a solo and a few lines - ideal for a talented new performer who's not quite ready for a lead role. Vocal range top: G4 Vocal range bottom: E4 Cowboy One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Vocal range top: G4 Vocal range bottom: E4 Train One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Plane One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Bird-Fish One of the Misfit Toys. They have a few featured lines and are perfect for younger performers who may be new to the stage. Spotted Elephant Lives on the Island of Misfit Toys. This role is perfect for a new performer. Ensemble Roles include: Herald Reporter, Chicago Reporter, Daily Mail Reporter, Daily News Reporter, Chronicler Reporter, Reindeer (including Reindeer 1, Reindeer 2, Reindeer 3), Elves (including Elf 1, Elf 2, Elf 3, Elf 4, and Aviator Elf), Yearlings, Misfit Toys

Seussical 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 Stephen Flaherty Lyrics by Lynn Ahrens Book by Lynn Ahrens and Stephen Flaherty Co-Conceived by Lynn Ahrens, Stephen Flaherty and Eric Idle Based on the works of Dr. Seuss Music Supervised, Adapted and Produced by Bryan Louiselle Overview / Synopsis After all those years being stuck on a page, Did you ever imagine you'd see me onstage?" So says the mischievous Cat in the Hat at the onset of this fantastical, magical, musical extravaganza! All of our favorite Dr. Seuss characters come to life in this delightful Seussian gumbo of musical styles, ranging from Latin to pop, swing to gospel, and R&B to funk! So let your toes tap, your fingers snap, and your imagination run wild for "Oh, the thinks you can think, when you think about Seuss!" Audio Sampler - HL00257760 $10.00 ShowKit - HL00257761 $695.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Script 2 Performance/Accompaniment CDs Choreography DVD 30 Family Matters Booklets Production Handbook Cross-Curricular Book 60-Minute JR. Request Individual Components 00257751 - Director's Guide $100.00 00257752 - Piano/Vocal Score $40.00 00257753 - Actor's Script $10.00 00257754 - Actor's Script 10-Pak $75.00 00257755 - Performance/Accompaniment CDs $75.00 00257756 - Student Rehearsal CD $10.00 00257757 - Student Rehearsal CD 20-Pak $100.00 00257758 - Choreography DVD $50.00 00257759 - Media Disc $10.00 00257760 - Audio Sampler $10.00 Hear A Sample Oh, The Thinks You Can Think! Horton Hears a Who Biggest Blame Fool Biggest Blame Playoff / Gertrude McFuzz Here on Who Meet JoJo the Who How to Raise a Child Oh, The Thinks You Can Think! (Reprise) It's Possible (Pt. 1) It's Possible (Pt. 2) Alone in the Universe The One Feather Tail of Miss Gertrude McFuzz / Amayzing Mayzie Amayzing Gertrude (Pt. 1) Amayzing Gertrude (Pt. 2) Monkey Around / Chasing the Whos Notice Me, Horton How Lucky You Are Mayzie's Exit / Horton Sits on the Egg / Dilemma / Hunters Egg, Nest and Tree Sold / Mayzie in Palm Beach Mayzie at the Circus Amayzing Horton Alone in the Universe (Reprise) Solla Sollew Gertrude / Espionage (Pt. 1) Gertrude / Espionage (Pt. 2) All for You The Whos Return / The People Versus Horton the Elephant (Pt. 1) The People Versus Horton the Elephant (Pt. 2) Yopp! Alone in the Universe (Reprise) Oh, The Thinks You Can Think! (Finale) Green Eggs and Ham (Finale Bows) Exit Music The Cat in the Hat The Cat in the Hat is the essence of mischief, fun, and imagination. The Cat stirs things up, causes trouble, but always sets things right again, helping JoJo to discover the power of his own imagination as they create the story for the show together. Look for a physically adept actor (male or female) to play THE CAT, one who will be able to play many comic cameos and is comfortable improvising with an audience. The Cat does not need to be your strongest singer, but should still have good rhythm and timing. JoJo JoJo is a "Thinker", a smart child with a wild imagination. He can be played as being a little bit awkward, a little bit of a loner, or simply a rambunctious kid whose Thinks get him into constant trouble. By the end of the show, he learns what it means to be a responsible member of his world, using the power and possibilities of his own Thinks. He should be one of your stronger singers. Horton the Elephant Horton the Elephant is a gentle giant. Think of him as a big-hearted blue-collar guy who is steadfast, responsible and always tries to do the right thing for his friends. He is imaginative and receptive to the world around him. He is very unselfconscious. Horton's view of the world never changes - he believes in its goodness. By the end of the show, without even realizing it, he is ready to become a parent. Gertrude McFuzz Gertrude McFuzz is very self-conscious and aware that her one-feather tail isn't perfect. Gertrude changes during the show from a neurotic, nervous and shy bird into one with the power to protect and care for a baby elephant bird and commit herself to Horton. In other words, she stops worrying about her looks and grows up. Mayzie La Bird Mayzie La Bird is self-centered, selfish, and vain. Mayzie will never admit to her own flaws. She manipulates anyone she can into doing what she wants. But Mayzie isn't all bad. In giving up her egg to Horton once and for all, she has a moment of generosity: she realizes she isn't the kind of person who would be a good parent, and she does the best thing she can for the egg. Sour Kangaroo Sour Kangaroo isn't really sour at all. She's just got a lot of attitude. She's loud, brassy, and a lot of fun. The Wickersham Brothers The Wickersham Brothers are not bad guys! They're simply a lot like kids who tease, play pranks, and get a kick out of making mischief, although often at others' expense. They enjoy hanging around with one another, making music together on the street corner, and playing off on another. Encourage each of your actors to find their own Wickersham persona. The Whos The Whos are a lot like you and me, only so small as to be invisible. Don't think of them as weird little aliens. They should be played for their inherent humanity. Encourage everyone playing a Who to try and create his or her own unique character. Mr. and Mrs. Mayos Mr. and Mrs. Mayos are Whos who are parents trying hard to raise a difficult child in a difficult world. They may get aggravated with JOJO, but they love him dearly and try to do the right thing, even if it turns out to be a mistake. The Jungle Creatures The Jungle Creatures are real people at heart, just like us, even though they may be described as animal characters. We discourage masks and literal "animal costumes." Each student should be encouraged to create his or her own individual character with human characteristics.

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

Magic Tree House: The Knight at Dawn 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 Jenny Laird Music and Lyrics by Randy Courts Additional Lyrics by Will Osborne Based on Magic Tree House #2: The Knight at Dawn by Mary Pope Osborne Overview / Synopsis Based on the best-selling book series, Jack and Annie journey to the Middle Ages and learn the power of hope. (30-MINUTE VERSION FOR YOUNG PERFORMERS) What would you do if a tree house in your neighborhood could transport you anywhere you wanted to go? Two siblings, Jack and Annie, return to visit the Magic Tree House filled with a magnificent collection of books that can transport the reader to the wonderful faraway settings featured in their pages. As they read a book about knights and the Middle Ages, Annie is intrigued by the Black Knight and the mysterious quest he says one must successfully complete before becoming a knight. When she wishes to visit the castle in the book, the siblings are whisked away to medieval times and set off to learn more about the Black Knight and his quest. Through their adventure, the two discover the power of hope and the true meaning of gallantry. MAGIC TREE HOUSE: THE KNIGHT AT DAWN KIDS is an adaptation of the second of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series. The books are number one New York Times bestsellers - more than 100 million copies have been sold in North America alone. The series has been translated into many languages and is available in more than 100 countries around the world. As the curtain rises, a Jester takes the stage and tells the tale of a magic tree house full of books that will transport the reader to wonderful faraway settings ("Prologue, How Far Can You See?"). Jack and Annie discover a book about knights and castles. In it, there is a bookmark with a strange inscription from the Black Knight, encouraging them to be brave and gallant if they wish to be knights ("You Must Pass My Test"). Inquisitive about the Black Knight and his quest, Annie wishes to visit the castle in the book. Before Jack can intercede, the tree house begins to spin and the two are whisked away to the medieval castle ("A Spin Before Dawn"). At the entrance to the castle, three guards - Mustache, Squinty and Red - stand watch while a grand feast is being held inside to win the favor of the Black Knight. The rumor of the Black Knight's presence has attracted a crowd of commoners, all wanting to catch a glimpse of the elusive hero. The guards let only the nobility into the feast and toss the Commoners out ("Mustache, Squinty and Red"). Finally, the Black Knight arrives, and the guards, star struck, scramble to show him in. Just as the drawbridge is about to be pulled up, Annie and Jack slip through the castle gate. Inside the Great Hall, the Jester and other minstrels are entertaining members of the Royal Court. The Duke requests a song about his favorite subject - himself. The Jester and Minstrels oblige, performing a song about the Duke and his brother, Harry ("The Apple Song"), whom the Duke imprisoned in the dungeon after Harry criticized the Duke's crop of apples. Just as the Black Knight is about to enter, Jack and Annie are discovered by Yates, Rikki, Baxter and other kids whose parents work in the castle kitchens. Convinced that Jack and Annie are thieves, the kids run off to tell the Duke. Before they can return, Jack and Annie hide in a dark room. Annie clicks on her flashlight and discovers rows and rows of shining Suits of Armor. With some help from the Suits of Armor, Jack and Annie imagine what it would be like to be a knight ("To Be A Knight"). Accidentally, Annie leans against a Suit of Armor, causing the whole line to topple like dominoes. Mustache, Squinty and Red appear and believe Jack and Annie are thieves or spies and are lying about their connection to the Black Knight. Keenan, the dungeon master, and the Keepers of the Dungeon welcome Jack and Annie to their new home ("Welcome to the Dungeon"). As they are shown around the premises, they are introduced to Harry, the Duke's brother, now a sad old man who won't speak to anyone, and many other Vagrants who the Duke has had imprisoned for questionable reasons. Keenan and the Keepers leave, and Jack and Annie implore Harry to reveal the location of a secret passageway that might lead them to freedom. The other Vagrants say it's no use - Harry has given up hope and will speak to no one. Annie and the others encourage him to look deep within to find a glimmer of hope ("A Light In the Dark"). Encouraged by the youngsters' moving message, Harry offers to draw a map leading to the secret passages of the castle. Jack clicks on the flashlight so Harry can see better, and everyone gasps - "Is it a wand? Like the wizards carry?" Realizing the power she has, Annie summons Keenan and the Keepers of the Dungeon. When they appear, she shines the flashlight on them and threatens to use her magic wand. With the guards stunned, the prisoners make their escape to the orchard, while Jack and Annie run toward another secret exit that leads to the moat and back to the tree house. The steps they are climbing suddenly come to an end and the two must jump into the moat and swim to safety ("The Legend Begins"). The Black Knight appears on the shore, helps Jack and Annie out of the moat, and praises them for passing his test - they helped the innocent without sword or might, but with their brains and their hearts. He dubs them knights, and thanks them for their service ("You Have Passed My Test - Reprise"). Jack and Annie climb back into the tree house and wish themselves back to Pennsylvania ("Spinning Into Dawn"). As the sun starts to come up, the two start to imagine all the places they can go and the adventures they'll have in their magic tree house ("How Far Can You See? - Epilogue"). Audio Sampler - HL00124950 $10.00 ShowKit - 00124940 $545.00 This ShowKit includes: 2 Accompaniment & Guide Vocal CDs Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk Piano/Vocal Score 30 Student Books 30-Minute KIDS Request Individual Components 00124941 - Director's Guide $100.00 00124942 - Piano/Vocal Score $40.00 00124943 - Actor's Script $10.00 00124944 - Actor's Script 10-Pak $75.00 00124945 - Rehearsal/Accompaniment CD $75.00 00124946 - Student Rehearsal CD $10.00 00124947 - Student Rehearsal CD 20-Pak $100.00 00124948 - Choreography DVD $50.00 00124949 - Media Disc $10.00 00124950 - Audio Sampler $10.00 Hear A Sample How Far Can You See? You Must Pass My Test A Spin Before Dawn Mustache, Squinty and Red The Apple Song To Be A Knight (Part 1) To Be A Knight (Part 2) Welcome To The Dungeon (Part 1) Welcome To The Dungeon (Part 2) A Light In The Dark The Legend Begins You Have Passes My Test (Reprise) Spinning Into Dawn How Far Can you See? (Epilogue) Bows Cast Size Medium (11-20), Large (over 20), Flexible Cast Type Children in Cast, Ensemble Cast - Many featured roles, Strong/Large Chorus, Teenage Roles Dance Requirement None/minimal, Standard (Musical Staging/Some Dance/Optional) Annie Annie Jack's younger sister and, in many ways, his opposite in terms of personality. She is a risk-taker who often follows her heart instead of her head. She sometimes teases Jack about his careful attitude toward life and often encourages him to be more adventurous. She loves animals of any kind and has a very loving heart. Range: G3-Bb4 Black Knight Black Knight A mysterious figure who sends Jack and Annie on their quest. In the Duke's kingdom, the Black Knight is something of a legend and a celebrity. Range: Bb3-Ab4 Commoners Commoners The common members of the kingdom who try to talk their way into the castle feast so that they can catch a glimpse of the Black Knight. Duke Duke A pompous bully who enjoys being the center of attention and wielding his power. Elf Elf Keenan's right hand man/woman and another big fan of dungeon life. Range: A3-D5 Harry Harry The Duke's brother and although he has been in the dungeon for forty-seven years, he has retained his quiet dignity and nobility. Range: F3-G4 Jack Jack He is bookish, careful and thoughtful, but he is NOT a nerd! Jack has tremendous curiosity about the world around him and loves to take notes about his observations. Jack tends to be very cautious in new situations, and his adventures in the tree house help him develop his confidence. He has a good (and protective) relationship with his younger sister, Annie, though her more impetuous nature often gets on his nerves. Range: Bb3-Bb4 Keenan Keenan The head honcho for all things concerning the Duke's dungeon. Range: A3-D5 Keepers of the Dungeon Keepers of the Dungeon The servants of Keenan and Elf who enjoy every moment of their lives in the dungeon. Range: A3-D5 Minstrels Minstrels The castle musicians and singers. Range: G3-G4 Mustache Mustache One of the main Castle Sentries/Guards. Mustache is a tough guy type and most of what he says and does is done in an effort to impress his boss, Red. Range: G3-C5 Red Red One of the main Castle Sentries/Guards. Red is the ringleader, a bit of a braggart, and the most ambitious of the three guards. Range: G3-G4 Rikki, Baxter, Yates and other Castle Kids Rikki, Baxter, Yates and other Castle Kids The children of the castle servants. They are spunky and adventurous and highly competitive with one another. Squinty Squinty One of the main Castle Sentries/Guards. Squinty is more childlike than the others, and his guilelessness helps provide much of the comic relief in their scenes. Range: G3-C5 Suits of Armor Suits of Armor The Suits are housed in the armory and brought to life by the song "To Be A Knight." Range: Bb3-Bb4 The Jester The Jester A professional entertainer/performer whose job it is to amuse the Duke and his guests, and he or she is the only person allowed to criticize or make fun of the Duke. Range: A3-C5 Vagrants Vagrants The prisoners of the dungeon being held for the "crime" of being orphaned. Range: F3-A4

Disney's Winnie the Pooh 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 Robert B. Sherman, Richard M. Sherman, Robert Lopez and Kristen Anderson-Lopez Music Adapted & Arranged and Additional Music & Lyrics by Will Van Dyke Book and Additional Lyrics by Cheryl Davis Based on the stories of A.A. Milne and the 2011 Disney Animated feature film Overview / Synopsis Disney's Winnie the Pooh KIDS is a delightful show based on the beloved characters of A.A. Milne and the 2011 Disney animated feature film. Featuring favorite songs from the film, as well as new hits by the Academy Award-winning Robert and Kristen Lopez (Frozen), this honey-filled delight is as sweet as it is fun. Welcome to the Hundred Acre Wood, where Winnie the Pooh is once again in search of honey. Along the way, he meets his pals, Tigger, Piglet, Rabbit and Owl, but soon discovers that Christopher Robin has been captured by the mysterious Backson! As they prepare for a rescue operation, the animals learn about teamwork, friendship and, of course... sharing snacks. Filled with all of their favorite characters, Disney's Winnie the Pooh KIDS is a favorite for children to perform. There is ample opportunity for adding a large ensemble and filling your stage with as many creatures of the Hundred Acre Wood as possible. Audio Sampler - HL00609284 $10.00 ShowKit - HL00609223 $545.00 This ShowKit includes: 30 Libretto/Vocal Books Piano/Vocal Score Director's Guide Choreography Videos Guide Vocal Tracks Performance Accompaniment Tracks Logo Pack (Coming Soon!) 30-Minute KIDS Request Individual Components 00609219 - Piano/Vocal Score $40.00 00609218 - Director's Guide $100.00 00609220 - Libretto/Vocal Score $10.00 00609221 - Libretto/Vocal Score 10-Pak $75.00 00609284 - Audio Sampler $10.00 Hear A Sample Winnie the Pooh Winnie the Pooh (Playoff) The Wonderful Thing About Tiggers (Part 1) The Tummy Song The Wonderful Thing About Tiggers (Part 2) The Wonderful Thing About Tiggers (Part 1) Pooh and Piglet Honey! The Backson Song Honey Two! Piglet's Picnic Rabbit's Fall Tigger Bounces In Roo's Bounce Down Kanga's Tumble The Backson Song (Reprise) All in the Trap How to Capture a Backson Halfway Down Out of the Trap Honey Three! Hip Hip Pooh Ray / Winnie the Pooh (Finale) Exit Music Exit Music All in the Trap Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Winnie The Pooh Winnie the Pooh is a bear with very little brain. His good heart and love of honey will capture your audience's hearts as he helps his friends find Christopher Robin. Cast a performer who is a strong singer, as Pooh has several solo lines. Gender: Male Vocal range top: D5 Vocal range bottom: B3 Piglet Piglet is a shy and quiet pig. They are often afraid of their own shadow but are also incredibly smart and noble and a great problem solver. Cast a performer who can portray the timid side of Piglet while projecting their voice and personality to the audience. Piglet's solo lines are perfect for a singer with a sweet voice. Gender: Any Vocal range top: B4 Vocal range bottom: C4 Tigger Tigger is a tiger and a bundle of energy. He is fiercely loyal, never stops bouncing and is always up for an adventure. Cast a student who can bring a big personality and a lot of excitement to the role. While a good singer will have a fun time with Tigger's song, it is most important that the personality of this character comes through. Gender: Male Vocal range top: C5 Vocal range bottom: D4 Eeyore Eeyore is a gloomy but loyal donkey. He can never seem to shake his bad luck and is constantly losing his tail. Despite his gloomy attitude, he always wants the best for his friends. While Eeyore has one solo singing line, this is primarily an acting role that requires a disciplined actor with good diction. Eeyore's lines are a treat for the audience, and can lead to a case of the giggles. Gender: Male Vocal range top: Bb4 Vocal range bottom: C4 Rabbit Rabbit is a worrisome rabbit who means the best for his friends but is not always sure how to help. The actor playing this role should be able to find variety in the ways to portray Rabbit's nervousness. Rabbit primarily sings as part of the ensemble with only one solo singing line, so cast a strong actor in this role. Gender: Male Vocal range top: Bb4 Vocal range bottom: A4 Owl Owl is a well-educated, slightly pompous owl. He is quick to explain or lecture, even when he isn't sure of the right answer. Still, the other animals look up to Owl and come to him when Christopher Robin has gone missing. Owl's solos in "The Backson Song" are some of the most challenging in the show but can be spoken if necessary. Cast an actor with a good sense of rhythm and pitch in this role. Gender: Male Vocal range top: C5 Vocal range bottom: B3 Kanga Kanga is a gentle kangaroo and mother to Roo. She is good-natured and always ready to take care of the other animals. This role has one solo singing line and is perfect for a performer with a lot of heart. Consider casting a performer who is taller than the actor playing Roo. Gender: Female Vocal range top: Bb4 Vocal range bottom: A4 Roo Roo is a kangaroo and the youngest animal in the wood. They are boisterous and playful and always look up to their friend Tigger. This is a great role for a student new to theater. You may want to audition Kanga and Roo at the same time, since they will always be together onstage. Gender: Any Vocal range top: A4 Vocal range bottom: E4 Seven Narrators The Seven Narrators - Red, Orange, Yellow, Green, Blue, Indigo, Violet - introduce us to the Hundred Acre Wood and help tell our story. These non-singing roles are perfect for your strong actors who can speak clearly and make good eye contact with the audience. Gender: Any Animal Chorus The Animal Chorus is the ensemble of animals in the Hundred Acre Wood, including Squirrels, Frogs, Beetles, Gophers, Chipmunks, Birds, Raccoons and any other animals you want to add! For added fun and ownership, you can let the students of the Animal Chorus decide which animals they want to be. This ensemble sings in almost every song and is critical to the storytelling. Gender: Any Word Chorus The Word Chorus sings "Halfway Down" and helps all of the animals out of the Backson pit. This group is great for your strong choral singers. If you do not have enough performers to support this number, the Narrators and the Animal Chorus can double as the Word Chorus. Gender: Any Vocal range top: C5 Vocal range bottom: A3 Christopher Robin Christopher Robin is a kind boy who plays with his animal friends in the Hundred Acre Wood and leads by example. While his disappearance creates the scare of the Backson, his return sets everything right again. This non-singing role is a wonderful opportunity for an actor who can deliver spoken lines loudly and clearly. Gender: Male Pooh's Tummy Pooh's Tummy is the endearing - but very hungry - part of Pooh! This role can be one or more performers who are onstage, offstage or any way that fits your production. The Tummy does not have any spoken lines and may be a great role for performers new to theater. While not necessary, you may want to find performers who are shorter than your actor playing Pooh. Gender: Any Vocal range top: C5 Vocal range bottom: A3 Bees The Bees are a flashy, energetic group who ultimately help Pooh get his honey. They pop in and out through the story and can be a ton of fun for the performers. The more bees you have, the more volume you'll get in the Honey songs, so cast as many as you can handle! Gender: Any Vocal range top: C5 Vocal range bottom: Eb4

A Year with Frog and Toad 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 and Lyrics by Willie Reale Music by Robert Reale Based on the books by Arnold Lobel Overview / Synopsis Adapted from the three-time-Tony-nominated Broadway hit comes A Year with Frog and Toad KIDS. Based on Arnold Lobel's well-loved books, the jazzy, upbeat score bubbles with melody. Part vaudeville, part make-believe, and all charm, this musical tells the story of a friendship that endures throughout the seasons. This whimsical show follows two great friends - the cheerful, popular Frog, and the rather grumpy Toad - through four fun-filled seasons. Waking from hibernation, Frog and Toad plant gardens, swim, rake leaves, go sledding and learn life lessons along the way. Throughout the year, two best friends celebrate and rejoice in the differences that make them unique and special. A Year with Frog and Toad KIDS is a great first choice for young performers, with plenty of ensemble roles, accessible music and minimal sets and costumes. Audio Sampler - HL00200524 $10.00 ShowKit - HL00200511 $545.00 This ShowKit includes: 30 - Student Books 1 - Director's Guide 1 - Piano/Vocal Score 1 - Accompaniment CD 1 - Choreography DVD 1 - Media Disc 30-Minute KIDS Request Individual Components 00200515 - Director's Guide $100.00 00200516 - Piano/Vocal Score $40.00 00200517 - Student Book $10.00 00200518 - Student Book 10-pak $75.00 00200519 - Performance/Accomp CD pack $75.00 00200520 - Student Rehearsal CD $10.00 00200521 - Student Rehearsal CD 20-pak $100.00 00200522 - Choreography DVD $50.00 00200523 - Media Disc $10.00 00200524 - Audio Sampler $10.00 Hear A Sample A Year with Frog and Toad The Letter #1 Getta Loada Toad The Letter #2 Cookies Leaves: A Year with Frog and Toad He'll Never Know The Letter #3 Down the Hill Merry Almost Christmas Merry Almost Christmas (Reprise) Finale: A Year with Frog and Toad Frog Frog is a friendly, confidant, positive and caring character. This leading role requires a strong actor and singer. He should always seem comfortable solving Toad's problems and reacting to Toad's traumas. When auditioning, mix and match your Frog and Toad hopefuls into different pairs and determine the best chemistry. Gender: Male Vocal Range: B3-D5 Toad Toad is serious, irritable, self-conscious yet an oddly charismatic character. The friendship that he shares with Frog must appear loyal through and through. This role requires a good actor and singer and should be one of your stronger students. Auditioning several pairs of Frogs and Toads will enable you to cast actors that can have fun with this "tight yet quirky" friendship. Gender: Male Vocal Range: Bb3-D5 Turtle Turtle is a "rabble-rouser" and loves to get the whole gang to tease Toad in fun! This actor should be a strong singer and be able to be a comedian at the same time. He (or she) only has a solo in one number. Audition this student along with Mouse and Lizard to achieve a good trio for "Getta Loada Toad". There are solo singing lines for this role. Gender: Both Vocal Range: B3-C5 Mouse Mouse is always able to ask all the right questions like a talk-show host. Mouse, like Turtle, is full of fun and they should have a good chemistry because of their call/response dialogue and song. This could be a good place to use a smaller child that can perform with mouse like qualities. Gender: Both Vocal Range: B3-C5 Lizard Lizard is definitely the most confused of the Turtle, Mouse, Lizard trio, but eventually joins in the fun. He (or she) should be able to confidently sing the short solo and be a strong addition to the ensemble as an actor and singer. Gender: Both Vocal Range: B3-C5 Snails The Snails are simply unflappable. They will deliver without fail "in the rain or sleet or snow." Cast actors that can deliver their songs with personality, confidence and musical accuracy. They have few spoken lines but their singing entrances are the comedic relief of the show. Gender: Both Vocal Range: C4-D5 Birds The Birds communicate the passage of time (seasons) and set the stage for the story to follow. This is a great opportunity to cast children that have a good sense of musical timing and can sell their songs like cabaret singers! Have visual fun with your "bird family" and cast all size actors. Enjoy the "diva moments!" Gender: Both Vocal Range: B3-D5 Moles The Moles should have expressive faces to convey the excitement in "Down The Hill" as well as sincerity in their angelic solo "Merry Almost Christmas". The Moles should be singers more than actors as their lines are few. A good choral blend sets them apart! Gender: Both Vocal Range: Bb3-D5 Squirrels The Squirrels are full of mischief and the actors should be comfortable moving, talking and singing with squirrel like qualities. Cast actors that have good diction, as their soft shoe rendition of "He'll Never Know"" is wordy and quick. Play up the wonderful contrast between the Squirrels and Frog and Toad in this ballad! Gender: Both Vocal Range: Bb3-C4

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.

Hal Leonard Vocal Competition - 2021 Winners | Hal Leonard THE 2021 HAL LEONARD VOCAL COMPETITION WINNERS Complete List ART SONG WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Liliy Yezdanian (age 12) Clifton, New Jersey Lacordiare Academy Pianists: Liliana Sotrova, Glenn Gordon Voice Teachers: Amelia DeMayo, Lilana Sotirova Second Place (tie) Heidi Hager (age 10) Herndon, Virginia Navy Elementary School Recorded Accompaniment Voice Teacher: Ingrid Lestrud Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Liliana Sortirova Voice Teachers: Amelia DeMayo, Glenn Gordon, Liliana Sotirov Third Place (tie) Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Diya Koul (age 11)) Lexington, Massachusetts Maria Hastings Elementary School Recorded Accompaniment Voice Teacher: Elizabeth Sterling) Honorable Mentions Kayla Cochamiro (age 11) Short Hills, New Jersey Joseph Kushner Hebrew Academy Recorded Accompaniment Voice Teacher: Rebecca Thompson-Galecki Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Recorded Accompaniment Voice Teacher: Nichole Jensen Juliet Lee (age 10) Vienna, Virginia Harmonia School of Music and Art Recorded Accompaniment Voice Teacher: Sonia Yon Madison Miller (age 12) Ooltewah, Tennessee Homeschooled Recorded Accompaniment Voice Teacher: Nichole Jensen Luke Reimer (age 12) Coralville, Iowa Recorded Accompaniment Voice Teacher: Mia Fryvecind Chelsea Sun (age 11) University Park, Texas McCulloch Intermediate School Recorded Accompaniment Voice Teacher: Yixuan Han Gloria Wang (age 11) Johns Creek, Georgia Wilson Creek Elementary School Pianist: Jungkyu Han Voice Teacher: Qian Li Finalists Rayna Batreja (NJ) Juliet Besch-Turner (NY) Isha Bhandari (NJ) Claire Butler (TX) Davna Ceron (NJ) Alera Cetrulo (CA) Maya Cheng (IA) Chloe Ding (CA) Scarlett Diviney (NY) Charlotte Dugan (NH) Jacqueline Foley (AZ) Agustya Harsh (NJ) Daphne Hatzigiannis (MA) Lucia Hendricks (WI) Ashley Hua (GA) Anjali Kandur (GA) David Kupchenko (IL) Audrey Lee (NJ) Josephine Martin (NY) Donna Megules (NJ) Maggie Miao (NY) Brooke Naznitsky (NJ) Shreya Philips (TX) Katherine Pottkotter (TX) Rebekah Rogstad (CA) Kendall Sorenson (NY) Ainsley Sorenson (NY) Savannah Swiatkowski (AZ) Carmen Tarajano (NC) Madeline Thach (TX) Matthew Vallero (CA) Brynn Walker (CA) Ainsley Zauel (VA) C’nai Zecharya (PA) Semi-Finalists Anika Agrawal (VA) Lyla Eve Bauer (TX) Lilia Bernstein (CA) Cadence Bleakley (CA) Theodore Burke (CA) Bekah Calaway-Habeck (IL) Kaitlin Cho (CA) Montanna Coil (AZ) Lilliana DeBoer (NJ) Rudrani Ghoshal (NC) Ellivia Gold (NY) Jianna Gutt (NY) Tilly Haselhuhn (CA) Trinity Hu (MA) Rei Huston (NH) Joyce Huynh (CA) Marcy Elizabeth Ip (GA) Catherine Ji (GA) Sid Kamat (NJ) Julia Kartvelishvili (IA) Chloe Kim (NJ) Mady King (AZ) Charlie Kratz (PA) Jiaxuan Li (GA) Elina Ma (GA) Olivia Ma (GA) Sally Marlin (IN) Brittany McGraw (NJ) Lily Mei (NJ) Lily Morgan (VA) Anh-Thu Nguyen (CA) Kaia Olberg (IL) Saisha Pal (VA) Katherine Purdy (NY) Ryan Rahman (CA) Lillian Rogers (TX) Aanya Santosh (IL) Akiv Shah (NJ) Anna Smith (TX) Sophia Toncich-Mandel (NJ) Kate Walker (CA) Reed Walker (CA) Grace Wang (GA) Owen Wang (ON) Ava Whytsell (SC) Claire Xiao (NH) Audrey Zelkovic (NY) Lindsey Zhao (TX) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Kennedy Percival (age 15) Upland, California Homeschooled Pianist: Desireé Bryner Voice Teacher: Camille Waage Second Place Lia Zheng (age 15) San Diego, California Canyon Crest Academy Recorded Accompaniment Voice Teacher: Zeping Cai Third Place (tie) Evelyn Hsu (age 14) San Jose, California Lynbrook High School Pianist: Dmitriy Cogan Voice Teacher: Haruna Shiokawa Andrea Nalywajko (age 15) New York, New York Stuyvesant High School Pianist: Mun Tzung Wong Voice Teacher: Catherine Mazzone Honorable Mentions Jude Frazier (age 13) Orlando, Florida Osceola County School for the Arts Recorded Accompaniment Voice Teacher: Jeanai LaVita Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Avery Nokes (age 13) Arlington, Virginia Sidwell Friends School Recorded Accompaniment Voice Teacher: Tricia Grey Lukas Palys (age 13) Dallas, Texas St. Mark’s School of Texas Pianist: Rami Palys Voice Teacher: Nili Riemer Evan Shidler (age 15) Short Hills, New Jersey Millburn High School Recorded Accompaniment Voice Teacher: Ronald Cappon Finalists Emelia Aceto (OH) Elisabeth Baer (GA) Zoey Blackman (NJ) Gabrielle Brayman (NJ) Elizabeth Cho (MD) Alicia Chu (DE) Grace Chung (NJ) Henry Cornell (NY) Eva Crichton (NY) Janie du Pont (DE) Ciela Elliott (NY) Wesley Geary (AZ) Anushri Ghoshal (NC) Shayla He (CA) Michaela Hieb (CO) Amelie Kaufman (NY) Estella Sky Keyoung (CA) Meghan Linnington (OK) Bridget Lomax (NJ) Gianna Macedon (VA) Brianna Nita (ON) Adithi Nythruva (AZ) Maxine Park (CA) Hasitha Putcha (TX) Aashna Rana (CA) Rachel Rogstad (CA) Viveka Saravanan (CA) Jocie Schnee (VA) Erin Schumacher (AZ) Elena Skirgaudas (WA) Gina Vicari (VA) Ashley Wang (CA) Roger Wang (CA) Andreas Warren (IA) Sophia Welch (VA) Samantha Wu (CA) Eddie Yin (WA) Sabrina Zhu (CA) Semi-Finalists Mithra Ajoy (CA) Alexandra Bae (NJ) Ty Brennan (WI) Max Budowski (CA) Mary Campbell (CA) Silvan Friedman (CT) Ashmita Ghosh (NC) Sophia Holmgren (MA) SangHoon Jung (NJ) Erin Kazmierczak (NY) Alex Kim (NC) Morgan Lomax (NJ) Stephanie Lopez (NY) Salina Mu (TX) Violet Pasmooij (CA) Renna Popli (CA) Raghav Ramgopal (CA) Kirby Rosplock (FL) Csepke Sallai (VA) Michelle Skylar (FL) Skye Stauffer (TX) Sarah Traphagan (TX) Sindhu Vemulapalli (CA)) Julia Wall (MA)) Xinpei Wang (TX)) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Joseph Murphy (age 17) Brooklyn, New York) Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Second Place (tie) Bradley Boatright (age 18) Smithville, Texas Smithville High School Recorded Accompaniment Voice Teacher: Michelle Haché Katherine Ramirez (age 17) San Antonio, Texas New Trail Homeschool Academy Pianist: Daniel Zamora Voice Teacher: Crystal Jarrell Johnson Third Place (tie) Eloise Fox (age 16) Landenberg, Pennsylvania Avon Grove High School Pianists: Katelan Tran Terrell, Mathew Odell Voice Teachers: Lorraine Nubar, Cynthia Sanner Saman de Silva (age 16) Los Altos Hills, California Henry M. Gunn High School Recorded Accompaniment Voice Teacher: Jace Witti Honorable Mentions Avni Kamat (age 16) Lexington, Massachusetts Lexington High School Recorded Accompaniment Voice Teacher: Noune Karapetian Alison Kessler (age 17) New Rochelle, New York The Leffell School Pianist: ? Voice Teacher: Lorraine Nubar Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lizi Kvernadze (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Dmitry Glivinskiy Voice Teacher: Christine Moore Vassallo Audrey Michael (age 17) Traverse City, Michigan Traverse City West Senior High Pianist: Jamie Hardesty Voice Teacher: Jayne Sleder Ella Rescigno (age 18) Columbia, South Carolina Spring Valley High School Pianist: Luke Fang Voice Teacher: Rachel Calloway Aida Skaraite (age 17) Lemont, Illinois Lemont High School Pianist: Lisa Kristina Voice Teacher: Rachel Olson Finalists Mia Baron (CA) Ellie Brenner (WI) Mina Brooks-Schmidt (AK) Alexandra Cook (CA) Matthew Danforth (NJ) Miriam Friedman (IL) Ethan Hardyk (PA) Erin Hess (NY) Samuel Higgins (MA) Emilia Jurzyk (IL) Paige Klemenhagen (MN) Mary Julia Lashley (OH) Natalie Mastali (FL) Emily Mulva (TX) Alyrie Silverman (NJ) Thalia Suleymanov (NY) Kirsten Tierney (VA) Cherie Uyanik (CA) JoEllen West (TX) William Yang (TX) Peggy Yin (NY) Flora Yuan (CA) Anna Zavelson (TX) Semi-Finalists Arya Balian (MD) Benjamin Barham-Wiese (NY) Anushku Basu (CA) Ellina Bolster (MI) Chelsea Cannon (AZ) Karly Cahn (NY) Olivia Dubay (NC) Andie Earl (NJ) Grace Finke (CA) Katrina Franco (CA) Sydney Horan (FL) Henry Hsiao (NJ) Lexi Lanni (RH) Beau Leavenworth (IA) Wyatt McDaniel (NY) Murphy McDermott (NY) Keely McNab (TX) Kylie Merrill (AZ) Tiffani Mezitis (NY) Cassie Miller (AZ) Kyubin Moon (IL) Shikta Mukherjee (NJ) Ashwini Narayanan (IL) Abby Olson (CA) Bria Petrella (NJ) Reatan Plank (AZ) Aanya Pramanik (TX) Melody Prater (KS) Tanisha Pulla (CA) Sanjna Rajagopalan (NJ) Akash Raman (MI) Olivia Roberts (OR) Soren Ryssdal (CA) Emma Stamper (FL) Abigail Sundahl (MO) Mayu Tayama (CA) Gabriella Treutle (FL) Jessica Wastchak (AZ) Amelia Williams (FL) Amy Yan (TX) Damla Yesil (NY) College/Univeristy Voices Ages 18-23 (as of February 1, 2021) First Place Sophie Naubert (age 22) Conservatoire de musique de Montréal Pianist: Chloe Dumoulin Voice Teacher: Aline Kutan Second Place (tie) Adam Catangui (age 20) Eastman School of Music Recorded Accompaniment Voice Teacher: Nicole Cabell Dalia Medovnikov (age 19) Curtis Institute of Music Pianist: Emily Olin Voice Teacher: Emily Olin Third Place (tie) Colin Aikins (age 21) Curtis Institute of Music Pianist: Lisa Keller Voice Teacher: Julia Faulkne Kaya Giroux (age 20) Carnegie Mellon University Pianist: Rosie Irwin Voice Teacher: Maria Spacagna Honorable Mentions Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Madison Miller (age 22) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Madelin Morales (age 20) Eastman School of Music Pianist: Seoyeon Park Voice Teacher: Kathryn Cowdrick Rachel Schlesinger (age 18) Purchase Conservatory of Music Pianist: Djordje Nesic Voice Teacher: Sherry Overholt MUSICAL THEATRE WINNERS Children's Voices Ages 12 and under (as of February 1, 2021) First Place Katherine Berdovskiy (age 11) Davis, California Sutter Peak Charter Academy Recorded Accompaniment Voice Teacher: Irina Leykina Second Place (tie) Ayla Collins (age 12) Alexandria, Virginia Carl Sandburg Middle School Recorded Accompaniment Voice Teacher: Aimee Barnes Charlie Russell (age 11) Alexandria, Virginia Belle View Elementary School Recorded Accompaniment Voice Teacher: Aimee Barnes Third Place (tie) Agustya Harsh (age 12) Edgewater, New Jersey homeschooled Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Caitlin Hayles (age 12) Brooklyn, New York Medgar Evers College Preparatory School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Honorable Mentions Anna Burnham (age 11) Georgetown, Indiana Highland Hills Middle School Recorded Accompaniment Voice Teacher: Katherine Maras Haulter Ryan Coglianese (age 11) Western Springs, Illinois McClure Junior High Recorded Accompaniment Voice Teacher: Tracey Ford Amelie Cruz (age 12) Chicago, Illinois Urban Prairie Waldorf School Recorded Accompaniment Voice Teacher: Rachel Olson Elsa Dees (age 12) Greenwich, Connecticut The Brearley School Pianist: Shane Schag Voice Teacher: Jeanai La Vita Baylee Horvath (age 12) Gilbert, Arizona Christ Greenfield School Pianist: Jenn Crandell Voice Teacher: Nichole Jensen Ashley Hua (age 10) Marietta, Georgia Mount Bethel Elementary School Recorded Accompaniment Voice Teachers: Tina Cui, Madison Zahorsky Maya Louise Joshi (age 11) Cresskill, New Jersey Cresskill Middle School Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova, Glenn Gordon Anna Smith (age 11) Austin, Texas Zach Performing Arts Academy Recorded Accompaniment Voice Teacher: Laura Mehl Addison Valentino (age 11) Buchanan, New York Blue Mountain Middle School Pianist: Glenn Gordon Voice Teacher: Amelia DeMayo Lily Yezdanian (age 12) Clifton, New Jersey Lacordaire Academy Pianist: Glenn Gordon Voice Teachers: Amelia DeMayo, Liliana Sotirova Finalists Chloe Aldrete (CA) Ava Barabasz (IL) Lilia Bernstein (CA) Adrish Bhattacharyys (CA) Alyse Biukians (PA) Lydia Bogdonovitch (MA) Gabriella Bozan (OH) Angelina Bubel (NY) Ryan Buggle (NJ) Theodore Burke (CA) Jack Burns (WA) Claire Butler (TX) Melanie Caplan (FL) Amelia Carlson (CA) Davna Ceron (NJ) Alera Cetrulo (CA) Karolina Coelho (FL) Elle Cohen (NC) Grace Coon (MS) Catherine Copland (NC) Adeline DeFeo (MA) Alaina Fernando (IL) Hadley Fugate (AZ) Anne Gao (VA) Liam Garrett (AZ) William Goldsman (NY) Delilah Grad (TX) Ashley Hansen (CA) Natalie Hartung (WI) Annabel Hightower (VA) Nicole Hodges (TX) Veronica James (NJ) Felice Kakaletris (NJ) Sid Kamat (NJ) Sudhisksha Kamatham (TX) Chris Khourty (MA) Diya Koul (MA) Audrey Lee (NJ) Bella Leybovich (AZ) Ruthie Manasseh (CA) Embry Marcum (IN) Carter Meza (CA) Grace Millar (OR) Madison Miller (TN) Yifan Monroe (WA) Ruchira Mukherjee (CA) Brooke Naznitsky (NJ) Mollie Pedersen (NH) Shreya Philips Komattu (TX) Elliot Roa (OR) Rebeka Rogstad (CA) Agneya Roy (NC) Gemma Schleper (NJ) Akiv Shah (NJ) Amelia Shunaman (ON) Molly Kate Skupien (LA) Olivia Bee Sposa (NJ) Charlotte Storm (TX) Ailey Tetrault (FL) Lydia Tracy (TX) Emilie Tseng (CA) Ella Valente (FL) Mariela Vazquez (FL) Ansley Wadle (TX) Brynn Walker (CA) Reed Walker (CA) Angela Xiao (WA) Ainsley Zauel (VA) Samantha Zell (AZ) Semi-Finalists Nethania Ajan (TX) Anna Athungal (NJ) Anne Frances Atkinson (MS) Jennifer Augusta (CA) Nevena Aurelius (FL) Ella Bailey (AZ) Eunice Bang (NJ) Gwendolyn Bartow (OR) Gabriela Bashir (VA) Alisha Batreja (NJ) Luna Baxter (WA) Cadence Bleakley (CA) Leticia Bromley (TX) Lexi Brown (TX) Olivia Bucci (IN) Catalina Chang (NY) Amber Chen (GA) Maya Cheng (IA) Vinya Chhabra (NJ) Annabelle Chung (VA) Sua Chung (VA) Phoebe Rose Claeys (GA) Montanna Coil (AZ) Kayla Colchamiro (NJ) Valerie Combs (CA) Zoe Cook (WA) Maliyah Cooper (IN) Lucy Cox (GA) Savannah Cox (AL) Aja Crockett (MA) Lucia Cunningham (CA) Amelie Curry (CT) Avery Davis (CT) Brenley Day (TX) Lilliana DeBoer (NJ) Aerina DeBoer (NJ) Peyton Deignan (PA) Katelyn Dempsey (IL) Chloe Ding (CA) Scarlett Diviney (NY) Olivia Dulik (IL) Vince Ermita (NJ) Maya Eswaran (VA) Jacqueline Foley (AZ) Kathleen Gahagen (IN) Yiqing Gao (TX) Rudrani Choshal (NC) Riley Glenn (MD) Ellivia Gold (NY) Heidi Hager (VA) Olivia Haller (AZ) Hazel Hay (VA) Ella Hebeisen (MD) Lucia Hendricks (WI) Avital Hermann (NJ) Cassandra Herrador (NY) Amelia Holly (IL) Rei Huston (NH) Anjali Kandur (GA) Sahana Karthik (TX) Adhya Karukurichi (MN) Katelyn Kieninger (IL) Mady King (AZ) Niyati Kotagal (GA) Frederick Kranenburg (OR) Faith Krieger (PA) Farrah Lane (AL) Juliet Lee (VA) Noa Levin (IL) Nola Linder (VT) Tatum Littlejohn (AZ) McKenzie Lopezlira (AZ) Ethan Ly (LA) Mark Ma (GA) Eve Manasseh (CA) Josephine Martin (NY) Brittany McGraw (NJ) Donna Megules (NJ) Maggie Miao (NY) Aubrey Morgan (TX) Lily Morgan (VA) Ena Mujakic (ON) Elina Nartates (WA) Braylen Nelson (TX) Elsa Newbower (MA) Danica Nolasco (AZ) Kaia Olberg (IL) Sophie Ostrovski (ON) Elise Pacheco (MA) Joshua Parecki (CA) Danielle Parsons (PA) Katherine Pottkotter (TX) Mackenzie Pressley (FL) Anna Przybylko (NJ) Katherine Purdy (NY) Nikila Rajan (TX) Charlotte Raynor (PA) Guy Riskind (FL) Lillian Rogers (TX) Ruby Sachs (NY) Shea Sanders (IA) Clara Seay (IN) Samaira Singh (NJ) Ainsley Sorenson (NY) Kendall Sorenson (NY) Savannah Springer (AZ) Aditi Sridhar (VA) Sienna Stoll (AZ) Jacob Sturgis (PA) Chelsea Sun (TX) Kailey Sunwoo (NJ) Sofia Swade (NC) Savannah Swiatkowski (AZ) Madeline Switzer (OR) Carmen Tarajano (NC) Madeline Thach (TX) Sophia Toncich (NJ) Karstyn Traylor (TX) Sofia Trompeter (FL) Renee Tse (TX) Ciana Tzuo (NY) Matthew Vallero (CA) Clara Visser (IA) Alice Wade (IN) Gloria Wang (GA) Claire Xiao (NH) Savannah Zeis (NY) Kacey Zhang (ON) April Zhong (WA) Chloe Zittel (NY) Early Teen Voices Ages 13-15 (as of February 1, 2021) First Place Lizzie Gill (age 15) Dublin, Ohio Dublin Coffman High School Pianist: Amy Pottkotter Voice Teacher: Stephanie Henkle Second Place (tie) Christine Kelly (age 15) Geneva, Illinois Geneva High School Pianist: Clare Chenoweth Voice Teacher: JoEllyn Caulfield Rachel Parsons (age 15) Clairton, Pennsylvania Thomas Jefferson High School Recorded Accompaniment Voice Teacher: Erin Kesser Third Place (tie) Emelia Aceto (age 15) Hinckley, Ohio Highland High School Recorded Accompaniment Voice Teacher: Denise Milner Howell Callie Chae Pyken (age 13) Los Angeles, California Colburn School Pianist: Nick Wilders Voice Teachers: Julia Gregory, Cassie Okenka Honorable Mentions Sienna Gasparrelli (age 13) Mentions Escondido, California homeschooled Pianist: Pam Revitte Voice Teacher: Pam Revitte Morgan Greco (age 15) Camas, Washingtoon homeschooled Pianist: Elizabeth Morris Voice Teacher: Teresa Schnell-Hochanadel Shayla He (age 14) Saratoga, California The Harker School Recorded Accompaniment Voice Teacher: Alison Collins Clare Keman (age 13) Southlake, Texas Regina Caeli Academy Recorded Accompaniment Voice Teacher: Laura Melson Christopher Kranenburg (age 15) Central Point, Oregon St. Mary’s School Recorded Accompaniment Voice Teacher: Andrea Hochkeppel Camryn Malo (age 14) Barrie, Ontario The Melody in Me Pianist: Katie Pergau Voice Teacher: Margot Hamilton Aurna Mukherjee (age 14) Austin, Texas Liberal Arts and Science Academy Pianist: Sunkyong Park Voice Teacher: Stella Yoon Amanda Swickle (age 15) Jericho, New York Jericho High School Pianist: Nicholas Ferla Voice Teacher: Allie Brault Ananya Yadati (age 13) Beachwood, Ohio Hathaway Brown School Recorded Accompaniment Voice Teacher: Helen Todd Finalists Audrey Barr (NJ) Maddie Basich (CA) Lydiia Berckley (TX) Ainsley Buice (CA) Nana Castle (NC) Henry Cornell (NY) Halina de Jong-Lambert (NY) Juliana Dees (CT) Keely Donlan (NJ) Ciela Elliott (NY) Hadley Fitton (MA) Patrick Ford (MD) Macy Gabel (NY) Anika Ganesan (VA) Aleah Garcia (AZ) Julianna Gutekunst (PA) Michael Hieb (CO) Isabel Hoch (NY) Whit Jury (IA) Ellie Kim (TX) Alex Kim (NC) Sofia Lee (GA) Meghan Linnington (OK) Stephanie Lopez (NY) Grace Martin (NJ) Avery Mattison (CA) Alysia McCarthy (NV) Mia McFarland (AZ) Sarah McKinley (TX) Ellie Michaels (MI) Avery Nokes (VA) Adithi Nythruva (AZ) Maxine Park (CA) Kennedy Percival (CA) Gabe Ponichter (NY) Jennifer Ribble (TN) Frida Ruiz-Berman (TX) Ava Saba (AZ) Devin Sadler (IL) Sydney Safarik (TX) Joelle Sellers (TX) Milan Shetty (WA) Amelia Silberman (NC) Elena Skirgaudas (WA) Nandu Sreekanth (FL) Lauren Sun (NY) Marget Tenters (MA) Cooper Turk-Gagel (IN) Roger Wang (GA) Sophia Welch (VA) Claira Williams (FL) Samantha Wu (CA) Semi-Finalists Sneha Arya (TX) Madeline Austin (IA) Madeline Ayala (TX) Elisabeth Baer (GA) Anneliese Baum (NY) Kaitlin Black (TX) Zoey Blackman (NJ) Eillie Brower (MI) Vivian Brown (OH) Gracie Butt (AZ) Lilly Carroll (OR) Kate Clemetson (NV) Gianna Codispoti (FL) J.C. Colella (NJ) Eva Crichton (NY) Maeve Cunningham (NJ) Amelie Damseaux (FL) Jordan Daniels (CA) Zoe Dempsey (IL) Sophie DeOliveira (MA) Franziska Diefenbach (NY) Aniela Egan (MD) Elizabeth Babiar (GA) Jacquelyn Erickson (CO) Francesca Falbo (CA) Silvan Friedman (CT) Lucia George (MI) Ashmita Ghosh (NC) Anushri Ghoshal (NC) Ava Haller (AZ) Jessica Holliday (NJ) Kaelynn Jackson (NJ) Amelie Kaufman (NY) Jocelyn Knorr (PA) Vanessa Li (MMD) Bridget Lomax (NJ) Morgan Lomax (NJ) Cassidy Loria (VA) Aden Hayhew (IL) Elizabeth McDonald (LA) Libby McDonald (WA) Alex Metivier (OH) Sierra Milone (NJ) Lara Miranda (FL) Henley Nance (MS) Sean Nesamoney (CA) Joon-Hyung Daniel Noh (CA) Violet Pasmooij (GA) Lena Racelis (AL) Anastasia Ramirez (CA) Andrew Rickey (NJ) Kylan Ritchie (TN) Rachel Rogstad (CA) Himawari Rueff (CA) Katherine Ryan (NY) Jocie Schnee (VA) Erin Schumacher (AZ) Cole Seevers (VA) Darcy Serenbetz (NJ) Jayla Shedeed (CO) Jessica Smith (PA) Abigail Springer (AZ) Skye Stauffer (TX) Sydney Steiner (NJ) Grace Stoltzfus (PA) Addison Stout (IN) Charlotte Teeples (VA) Annabel Tew (PA) Naomi Thuren (OR) Donatella To (CA) Josh Townshend (MD) Hailey Tramonte (OH) Aaryahi Vaidya (CA) Ella Vakiner (IA) Isabella Vazquez-Janik (PA) Gina Vicari (VA) Lila Wagner-Gleeson (OH) Sydney Wechsler (NJ) Katie Wylie (MA) Margaret Zhang (NY) High School Voices Ages 16-18 (as of February 1, 2021) First Place Aliyah Douglas (age 16) Oro Valley, Arizona Ironwood Ridge High School Recorded Accompaniment Voice Teacher: Stephanie Fox Second Place (tie) Matthew Danforth (age 17) Demarest, New Jersey The Dwight Englewood School Pianists: Glenn Gordon, Steve Marzullo Voice Teachers: Amelia DeMayo, Liliana Sotirova Alyssa Sunew (age 17) Katy, Texas Seven Lakes High School Pianist: Jeannine Rowden Voice Teacher: Jeannine Rowden Third Place (tie) Ellie Brenner (age 16) Durand, Wisconsin Interlochen Arts Academy Recorded Accompaniment Voice Teacher: Elizabeth Gray Katrina Franco (age 16) San Francisco, California San Francisco University High School Recorded Accompaniment Voice Teacher: Heidi Moss Honorable Mentions Serena Dailey (age 17) Brooklyn, New York Edward R. Murrow High School Pianist: Thomas Hodges Voice Teacher: Christine Moore Vassallo Amelia Gibbons (age 16) De Pere, Wisconsin West De Pere High School Recorded Accompaniment Voice Teacher: Kaara McHugh Rachel Ginn (age 17) Pewaukee, Wisconsin Catholic Memorial High School Pianist: Kaoko Miyazawa Voice Teacher: Christine Flasch Evelyn Hecht (age 17) Maple, Ontario Westmount Collegiate Institute Pianist: Narmina Efendiyeva Voice Teacher: Miriam Eskin Ava Kuntz (age 17) Santa Ana, California Orange County School of the Arts Pianist: John Henri Voice Teacher: Kathleen Martin Lauren Marchand (age 16) Jericho, New York Jericho Senior High School Recorded Accompaniment Voice Teacher: Giuseppe Spoletini Kylie Merrill (age 17) Chandler, Arizona Perry High School Pianist: Jenn Crandall Voice Teacher: Nichole Jensen Janessa Minta (age 17) Corvallis, Oregon Corvallis High School Pianist: Joy Ueng Voice Teacher: Beverly Park Josh Pike (age 16) Peoria, Arizona Arizona Conservatory for Arts and Academics Recorded Accompaniment Voice Teacher: Susan Washburn Alexa Reeves (age 17) Mentions Cherry Hill, New Jersey (continued) Paul VI High School Pianist: Melissa Daniels McCann Voice Teacher: Melissa Daniels McCann Ty'Ria Rounds (age 17) Alton, Illinois Alton High School Voice Teacher: Eddie Hitchcock Emma Wallace (age 17) Austin, Texas McCallum High School Recorded Accompaniment Voice Teacher: Michelle Haché Finalists Maya Baijal (NY) Mia Baron (CA) Shayne Barrett (NJ) Skyy Brooks (PA) Mina Brooks-Schmidt (AK) Alison Bruner (PA) Caitlin Callahan (OR) Nicole Campos (TX) Amelie Chaouat (TX) Joceyln Coburn (NY) Hadley Connor (MA) Alexandra Cook (CA) Giorgia Dallasta (MD) Lucy Daniels (IL) Meghna Das (NJ) Andrew Dlugosch (TX) Andie Earl (NJ) Natalie Evans (AB) Eniya Fields (IL) Grace Finke (CA) Isabella Fisher (NY) Karli Fisher (TX) Sarah Fountain (CA) Francesca Gamba (NY) Alexis Gearty (MI) Ainsley Gilbert (TX) Matthew Gordon (WA) Seth Greene (NC) Grace Hahn (CA) Julia Hancock (MD) Jasmine Harrick (WA) Isabel Hernandez (IL) Hannah Hess (NC) Eveyln Izdepski (VA) Jessica Jang (TX) Nicole Jones (VA) Grace Kang (VA) Zy’Miracle Kearney (NC) Alison Kessler (NY) Erika Kessler (NJ) Rachel Lewiski (PA) Annie Martin (NJ) Zoe Martinez (CA) Wyatt McDaniel (NY) Hannah McLaughlin (NC) Olivia Miniuk (VA) Libby Mullins (VA) Kyla O’Deay (LA) Alexandra O’Farrell (ON) Abby Olson (CA) Emily Orlowski (NJ) Olivia Ostlund (CA) Marius Pearson (NJ) Bria Petrella (NJ) Samantha Phat (NC) Reagan Plank (NC) Sara Porjosh (VA) Melody Prater (KS) Tanisha Pulla (CA) Alexa Pupich (IL) Ava Jolie Savino (NJ) Madi Shaer (MA) Rose Shyk (PA) Ethan Staver (WI) Yumeko Stern (CT) Madalyn Stevens (MA) Peter Sunseri (CA) Jillian Swartout (CA) Julia Taglang (PA) Kirsten Tierney (VA) Hannah Tramonte (OH) Julisa Veron (CA) Nick Vitale (CA) Vanessa Vu (CA) Jessica Wastchak (AZ) Natalie Wiley (IL) Alaina Wilkins (NJ) Amelia Williams (FL) Bethany Yeh (MD) Peggy Yin (NY) Isabel Young (WI) Amelia Zakroff (NJ) Anderson Zoll (TX) Semi-Finalists Marissa Abbott (WI) Marina Adel (CA) Yara Afifi (VA) Cayman Alatalo (WI) Lottie Arnold (OH) Kristin Barker (MD) Bella Birdsley (TX) Sophia Bogdanovitch (MA) Mariella Boudreau (WI) Eliza Brennan (NY) Carolyn Calbeck (IL) Julia Campion (AZ) Elizabeth Crawford (MA) Samantha Croco (IA) Deborah Cusnir (FL) Jackson Daley (MA) Kathryn Dooley (TX) Olivia Dostal (AZ) Giovanni Faltz (NJ) Emersen Fitch (NC) Arijana Florez (NY) Oliva Fortuna (NJ) Simone Gelety (AZ) Jared Gibson (WI) Madeline Giebels (OR) Lauren Goldsborough (NJ) Katie Jo Graham (KY) Avery Horn (IL) Corrine Jones (IL) Faith Kirkland (AZ) Nicole Kirshy (MA) Jadyn Krouse (NJ) Sophia Kumagai (IL) Elizabeth Larabee (MA) Beau Leavenworth (IA) Cassie Miller (AZ) Kieralynn Moshier (AZ) Emma Myers (PA) Ashwini Narayanan (IL) Annemarie Pongonthara (ON) Lou Ponticiello (IL) Audrey Pottkotter (TX) Ella Reidway (VA) Leah Rettig (TX) Katya Sacharow (MA) Mackenzie Schubert (NJ) Paige Shanks (AZ) Clare Shannon (VA) Caleigh Sheehan (NY) Daniel Shirk (WI) Lillian Slater (IL) Sarah Smith (NJ) Kate Tomson (IA) Olivia Ustinovich (MA) Kavya Vandavasi VA) Ariana Velasquez (NJ) Lucy Walter (TX) Sasha Warm (NY) Skie Weaver (WA) Avery Woods Weber (CT) Kayla Xu (CA) Young Adult Voices Ages 18-23 (as of February 1, 2021) Enrollment in a school is not required in this category, nor is a voice teacher, but if the singer provided that information it appears below. First Place Morgan Mastrangelo (age 22) Northwestern University Recorded Accompaniment Voice Teacher: Pamela Hinchman Second Place (tie) Ashlyn Combs (age 21) Nashville, Tennessee Recorded Accompaniment Sarah Juliano (age 22) University of Michigan Pianist: Eric Banitt Voice Teacher: George Shirley Third Place (tie) Benjamin Perkinson (age 19) University of Mary Hardin – Baylor Recorded Accompaniment Voice Teacher: Michelle Haché Piero Regis (age 23) Boston Conservatory at Berklee Pianist: Lindsay Albert Voice Teacher: Victor Jannet Honorable Mentions Margot Frank (age 22) Millikin University Pianists: Roberta Duchak, Cameron Burgess Voice Teacher: Roberta Duchak Shavon Lloyd (age 23) SUNY Potsdam Crane School of Music Recorded Accompaniment Voice Teacher: Lonel Woods Madison Miller (age 23) University of Michigan Recorded Accompaniment Voice Teacher: Scott Piper Sabrina Shah (age 18) Recorded Accompaniment Voice Teacher: Jeanai LaVita Finalists Sarah Allbrandt Sarah Duren Katelyn Farebrother Sophia Fortuna Charlie Grass Joanna Heneveld Sam Joseph Renee Kauffman Sarah Lambert Tate McElhaney Katie Murphy Madison Raef Emma Robinson Ayaka Shimada Abigail Storm Will Upham Back To Top