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Singing In The Rain 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. 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. 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. 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 Screenplay by Betty Comden & Adolph Green Songs by Nacio Herb Brown & Arthur Freed Based on the classic Metro-Goldwyn-Mayer film, by special arrangement with Warner Bros. Theatre Ventures, Inc. Overview / Synopsis The "Greatest Movie Musical of All Time" is faithfully and lovingly adapted by Broadway legends Betty Comden and Adolph Green from their original award-winning screenplay in Singin' In The Rain JR. Hilarious situations, snappy dialogue, and a hit-parade score of Hollywood standards make Singin' In The Rain JR. a guaranteed good time for performers and audience members alike. Singin' In The Rain JR. has all the makings of a Tinseltown tabloid headline - the starlet, the leading man and a love affair that could change lives and make or break careers! In silent movies, Don Lockwood and Lina Lamont are a hot item, but behind the scenes things aren't always as they appear on the big screen! Meanwhile, Lina's squeaky voice might be the end of her career in "talking pictures" without the help of a talented young actress to do the talking and singing for her. Three extraordinary roles for young dancers and a tour de force comedic turn make Singin' In The Rain JR. a perfect choice for any group with an abundance of talent ready to shine. Audio Sampler - HL00151890 $10.00 ShowKit - HL00151881 $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 00151882 - Director's Guide $100.00 00151883 - Piano/Vocal Score $40.00 00151884 - Actor's Script $10.00 00151885 - Actor's Script 10-pak $75.00 09971451 - Perf/Accomp CD $75.00 00151886 - Student Rehearsal CD $10.00 00151887 - Student Rehearsal CD 20-pak $100.00 00151888 - Choreography DVD $50.00 00151889 - Media Disc $10.00 00151890 - Audio Sampler $10.00 Hear A Sample SCENE 1 Fit As a Fiddle [Cosmo, Don, Crowd] SCENE 3 All I Do is Dream of You [Kathy, Kathy's Girls] SCENE 4 Make 'Em Laugh [Cosmo, Stagehands, Chorus Girls] Lucky Star [Kathy] You Were Meant For Me [Don, Kathy] SCENE 5 Moses Supposes [Don, Cosmo, Students] SCENE 6 Good Morning [Kathy, Cosmo, Don] Singin' in the Rain [Don, Ensemble] SCENE 7 Lina's Film Would You [Lina] Kathy's Film Would You [Kathy] What's Wrong With Me [Lina] SCENE 8 Broadway Melody [Broadway Melody Host, Dancers, Chorus] SCENE 9 Lina's Would You [Lina, Kathy, Cosmo] Lucky Star (Reprise) [Don, Kathy, Ensemble] Bows [Cast] Dora Bailey Always first on the scene for any major film opening, and she has the Hollywood scoop. This is a perfect non-singing role for a student with a great speaking voice who isn't quite ready for a lead. Gender: Female Don Lockwood Hollywood's leading man in silent film. Charming and charismatic, Don has no shortage of female admirers. Don is smart and levelheaded; he likes being a famous Hollywood actor, but he doesn't let the celebrity hype go to his head. Cast your best male singer and actor in this role, and someone who pairs well with Kathy. Gender: Male Vocal Range: Eb4 - Bb2 Lina Lamont A glamorous star of Hollywood's silent films. She believes everything amazing she reads about herself in the gossip magazines, including that she and Don Lockwood are madly in love. Your actress will have to work to accomplish the right amount of exasperating ditz to bring this character to life. Cast a confident, comedic actress who is not afraid to take positive risks and can keep Lina's nasal, grating voice consistent throughout the entire show. Gender: Female Vocal Range: Db5 - Bb3 Cosmo Brown Often serves as the comic relief in the show. Quick-witted and sure-footed, Cosmo is fast with a one-liner to lighten the mood. Cosmo is Don's right-hand man, and it's great to cast someone who physically contrasts with Don. Cast someone with great comedic chops and a strong musical sense as he leads many numbers in the show. Gender: Male Vocal Range: Eb5 - Bb2 Roz Always by Lina's side, or trailing after her. As Lina's manager, Roz works hard to make sure nothing upsets her. This non-singing character is a great supporting role for a promising young actress. Gender: Female R.F. Simpson The studio producer in charge of "Lockwood-Lamont" films. R.F.'s first and foremost goal is to make money, and if that means doing a talkie film that's fine with him. Cast a character actor who can show off R.F.'s anxious boss persona. This is a great non- singing role for a physically smaller actor with a big voice. Gender: Male Dexter The studio's director for Lamont and Lockwood films. He's loud and blustery, and he's easily frustrated with his assistants and Lina. This is a perfect non-singing role for an actor with a big voice who can show his frustration as he works to complete his first talkie. Gender: Male Dexter's Assistants Dexter's 1st, 2nd and 3rd Assistants are great featured roles for ensemble members who are new to the stage. Gender: Both Kathy Selden Wants to become an actress. She takes her career as an artist seriously and is embarrassed that she has to take jobs like singing and popping out of a cake just to get by. Cast your strongest singer and actress who can easily portray an honest likability as well as a tough exterior. An actress who pairs well with Don is also important as they have many scenes together. Gender: Female Vocal Range: Eb5 - G3 Miss Dinsmore and the Teacher The vocal coaches hired to turn Lina's voice into cultured perfection and to work with all of the other actors in the show. Tough, proper and slightly overworked, these characters are great roles to feature your hard-working ensemble members. These are non-solo singing roles. Gender: Female Zelda Lina's right-hand gal, who informs her that Kathy's voice is being dubbed over hers. Zelda can be dramatic and over-the-top like Lina, but at her core, she cares about her friend. This is a fantastic featured role for a confident performer who is unafraid to make bold choices. Gender: Female Sam A sound engineer, should be all business. Cast a young person who is comfortable taking charge onstage. Gender: Both Broadway Melody Host A natural leader. This role can be male or female and should be one of your stronger singers. This actor doesn't need to be an excellent dancer, but he or she needs to command the stage with an air of confidence. Gender: Both Vocal Range: F5 - Bb2 Broadway Dancers Broadway Dancers #1 and #2 are featured in "Broadway Melody" and should be excellent singers and dancers. Gender: Both Vocal Range: F5 - C3 Chorus Girls The Chorus Girls #1, #2, #3 and #4 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Female Vocal Range: D5 - C4 Stagehands Stagehands #1, #2 and #3 are great featured singing roles in "Make 'Em Laugh." They don't need to be great singers as long as they can convey character and are able to be heard. Gender: Both Vocal Range: C5 - F4 Ensemble The ensemble roles in Singin' In The Rain JR. are comprised of the Crowd, Pedestrians, including Pedestrian #1 and Pedestrian #2, Stars, Fans, including Fan #1 and Fan #2, Policeman, Party Guests, including Young Lady, Kathy's Girls, Chorus Girls, Broadway Chorus, Guests, a Sound Engineer, Stagehands, Students, Sound Crew, Screening Guests, a Passerby, the Butler, Orchestra Leader and Audience Members. They really make the 1920s Golden Age of Hollywood come alive and are essential to this romantic light-hearted comedy. These ensemble groups are filled with named characters that have lines, so many of your ensemble students will have featured moments. Depending on your cast size, these ensemble groups can all be double or triple cast. Even if you have actors playing three or four different ensemble roles, emphasize the importance of character, and make sure your young performers make consistent character choices when they step onstage. Gender: Both

Disney's Beauty And The Beast 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. 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. 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. 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 Howard Ashman and Tim Rice Book by Linda Woolverton Overview / Synopsis Based on the original Broadway production that ran for over thirteen years and was nominated for nine Tony Awards, and the Academy Award-winning motion picture, Disney's Beauty and the Beast JR. is a fantastic adaptation of the story of transformation and tolerance. Disney's Beauty and the Beast JR. features some of the most popular songs ever written by Alan Menken and the late Howard Ashman, along with new songs by Mr. Menken and Tim Rice. Audio Sampler - HL00403278 $10.00 ShowKit - HL00403279 $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 00403269 - Piano/Vocal Score $40.00 00403268 - Director's Guide $100.00 00403273 - Libretto/Vocal Score $10.00 00403274 - Libretto/Vocal Score 10 Pak $75.00 00403278 - Audio Sampler $10.00 Hear A Sample MUSICAL NUMBERS Prologue Belle Maurice's Entrance Into the Forest Stranger in the House Maurice and the Beast Belle (Reprise) You Follow Me! Home Home (Tag) Gaston Gaston (Reprise) Be Our Guest Something There Human Again Beauty and the Beast The Mob Song The Battle Fight in the West Wing Home (Reprise) Transformation Finale Bows Cast of Characters Cast Size: Medium (11 to 20 performers) Cast Type: Star Vehicle Female Dance Requirements: Standard Belle Belle is a smart, confident young woman from a small village. You will want a strong singer and actress who is able to stand up to Gaston while showing compassion for Maurice, the Servants and eventually the Beast. If there are several female students in your school who could perform the role, consider casting two girls to play Belle on alternating nights. Gender: Female Vocal range top: F5 Vocal range bottom: G3 Beast The Beast is a young prince who was hideously transformed by the Enchantress's spell. Casting for size is not as important as choosing a student who can handle this complex character: a dictator, a hurt child, a hero, a defender and a smitten prince. Cast an actor who can deliver a range of conflicting emotional states. Although the Beast does sing a small bit during "Something There" and the "Finale," this is truly an acting role (and his lyrics can be spoken if you cast a non-singer). If you choose to cast the Prince separately from the Beast, the Prince would end up singing the Beast's lines in the "Finale." Gender: Male Vocal range top: E5 Vocal range bottom: B3 Narrators The Narrators provide great opportunities to involve students who are more comfortable speaking than singing. The script is written to feature four Narrators, but you can incorporate more students (or fewer) depending on the size of your cast. Be sure the students you choose for these roles can enunciate and project, as they guide the focus and pace of this beautiful tale. These roles are non-singing, but the actors can also be a part of your ensemble. Gender: Any Old Beggar Woman/Enchantress The Old Beggar Woman/Enchantress should be portrayed by an actor with a flair for the visually dramatic as this is a non-speaking role. Her transformation in the Prologue needs to entice the audience into the story. After the Prologue, this student may join the ensemble as a Villager or castle Servant. Gender: Female Gaston Gaston is pompous and dim-witted and will do whatever it takes to win Belle's hand. Gaston has all the confidence in the world but lacks the humility to balance it. Finding a strong singer and actor is more important than physical size and stature for this role. He has to be able to sell his big eponymous number with gusto and arrogance as well as lead the Villagers in "The Mob Song." Biceps can be added to the costume, but the bravura needs to come from within. Gender: Male Vocal range top: F5 Vocal range bottom: A3 Maurice Maurice is an aging and eccentric inventor, but more importantly, the adoring and protective father of Belle. This non-solo singing role is perfect for the student who can have fun interpreting this crazy old man while conveying some very strong emotions: fear and fatherly love. Gender: Male Lefou Lefou is Gaston's equally dim-witted lackey. This character needs to be Gaston's foil and should double the laughs for them both. Consider auditioning Lefou and Gaston in pairs to find the right chemistry. Lefou should be able to sing, act and dance. Choose a student who has some gymnastics training if you wish to embed tumbling into Lefou's movement. Gender: Male Vocal range top: E5 Vocal range bottom: B3 Les Filles De La Ville Les Filles De La Ville are in love with Gaston and will do almost anything just to be near him. Look for three girls who can portray the comic nature of these roles and enjoy playing off each other. Les Filles De La Ville sing together in three numbers and their sound should mix well. Gender: Female Vocal range top: F5 Vocal range bottom: C4 Lumiere Lumiere is a confident, charming French mâitre d who (under the enchantress's spell) is becoming a candelabra. He has an incessant bickering rapport with Cogsworth, so consider auditioning in pairs to find a good fit. Lumiere should be a strong singer who can light up the stage in "Be Our Guest." If you have a student who can handle the French accent, fantastic! This role covers a range of emotions (from charming entertainer to brave soldier) and requires prominent song and dance, so try to cast a strong, versatile performer.is a self-confident, charming, French mâitre d' who (under the Enhantress's spell) is becoming a candelabra. He has a never-ending give-and-take with Cogsworth, so the student playing Lumiere must work well with the child you cast for that role. Consider auditioning in pairs. Lumiere should be a strong singer who can "light up" the stage in "Be Our Guest." If you have a child who can handle the French accent, fantastic! This role covers a range of emotions (from charming entertainer to brave soldier) and requires prominent song and dance, so try to cast a strong, reliable performer. Gender: Male Vocal range top: D5 Vocal range bottom: A3 Cogsworth Cogsworth is the British major-domo of the castle who is becoming a clock. Like all of the castle's Servants, he shows a fatherly compassion for Belle yet is perfectly submissive to the master, the Beast. Cogsworth enjoys feeling like the boss and has no problem getting into it with Lumiere. Cast a strong actor and singer who can act in charge. Gender: Male Vocal range top: E5 Vocal range bottom: A3 Mrs. Potts Mrs. Potts is the castle's endearing cook who is becoming a teapot. The actor you cast needs a strong, sweet voice and should be able to convey comforting, maternal qualities amidst the chaos that is breaking out in the castle. Look for a student who can play a loving mother figure to all the characters. Gender: Female Vocal range top: E5 Vocal range bottom: F3 Chip Chip is Mrs. Potts's son who is becoming a teacup. You may cast a younger student for this role, but it is not imperative. Chip has a wonderful naïveté that endears him to all of the Servants. Cast an actor who can portray the honesty and spirit of a child and is comfortable trying to sing Chip's few solo lines. Gender: Male Vocal range top: D5 Vocal range bottom: D4 Madame De La Grande Bouche Madame De La Grande Bouche is an opera singer who is becoming a wardrobe. Madame is larger-than-life in everything she does, including her singing and dancing. Look for that student who can portray the ultimate diva with a heart with an outsized personality and voice. Madame has some harmony lines with Mrs. Potts and Babette, so cast a singer who can hold her own but knows when to pull back in order to sound good with the others. Gender: Female Vocal range top: C5 Vocal range bottom: A3 Babette Babette is the maid of the castle who is turning into a feather duster. She misses the finer things in life. Babette is happy to be at Belle's service at a moment's notice, but her true heart comes through in Human Again. Look for a good actor with solid vocal skills to handle Babette's harmonies. Gender: Female Vocal range top: B4 Vocal range bottom: A3 Monsieur D'Arque Monsieur D'Arque is a sinister townsman who works for Gaston. Cast an actor who can believably exude his sinister personality. Although Monsieur D'Arque has few lines of solo singing in "The Mob Song," this is primarily a non-singing role, so look for a solid actor first. Monsieur D'Arque can double as a Servant in the rest of the show. Gender: Male Servants The Servants of the castle can include Statues, a Dust Pan, Flatware, Plates, an Egg Timer, Napkins, a Carpet, Salt & Pepper Shakers and any other household (or castle hold items) you and your cast can imagine. These enchanted characters are the Rockettes of the castle. They should be able to handle a potentially awkward costume while singing and dancing in two big production numbers. These roles can also accommodate multiple ages if you are looking to augment your cast with some young students. Gender: Any Villagers The Villagers are the inhabitants of Belle's town. There are some featured solos and lines that will come from this ensemble (Bookseller, Baker, etc.). The group must provide vocal power throughout the show and dance in the production numbers, so be sure to cast performers with a wide base of ability. These actors can double as the castle Servants if needed. Gender: Any

The Big One-Oh! 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. 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. 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. 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 Doug Besterman Lyrics by Dean Pitchford Book by Timothy Allen McDonald Overview / Synopsis Charley Maplewood has never been one for parties - that would require friends, which he doesn't have. Well, unless you count his monster friends, but they're only imaginary. But now that he's turning ten-the big one-oh-he decides to throw a birthday party for himself, complete with a "House of Horrors" theme. Of course, things don't work out as he plans. Will Charley be able to pull it together before the big one-oh . . . becomes the big OH-NO!? Based on the beloved book, The Big One-Oh! JR. features lyrics by Academy Award-winner (Fame, Footloose) Dean Pitchford, the author of the novel; music by three-time Tony-winner Doug Besterman (The Producers, Fosse, Elf, Young Frankenstein), and a book by iTheatric's award-winning playwright Timothy Allen McDonald (Roald Dahl's Willy Wonka, James and the Giant Peach). Audio Sampler - HL01132729 $10.00 ShowKit - HL01132730 $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 01132730 - ShowKit $695.00 01132725 - Director's Guide $100.00 01132726 - Piano/Vocal Score $40.00 01132727 - Actor's Script (Single) $10.00 01132728 - Actor's Script (10 Pack) $75.00 01132729 - Audio Sampler $10.00 MUSICAL NUMBERS Happy Birthday From Scotland Monsters & Maniacs (Part 1) Monsters & Maniacs (Part 2) The Birthday Card Some Sort Of Celebration So Lame (Part 1) So Lame (Part 2) So Lame (Part 3) Delicious Can You Call This Person A Friend? (Part 1) Can You Call This Person A Friend? (Part 2) A Perfect Party Jennifer Is Gonna Have A Birthday So Lame (Reprise 1) Better Than A "Boo!" Making Invitations Lullaby The Invitation Making Special Effects So Lame (Reprise 2) This Is Big This Is Big (Encore) That Could Be Me Better Than A "Boo!"(Reprise 1) We've Got Each Other House Of Horrors Better Than A "Boo!" (Reprise 2) This Is Big Finale Cast of Characters Cast Size: Large (21 or more performers) Cast Type: Children Charley Maplewood The hero of our story. he's a nine-year-old about to turn ten with no clue about how to celebrate his upcoming birthday. His family has recently moved, so he's in a new school where he feels friendless. To cope with his loneliness, Charley has conjured up three imaginary friends - his Monsters - from the pages of his favorite comic book series, Monsters & Maniacs. Cast an actor who can sing, move, and act very well. The single most important quality to look for in an actor, however, is likeability. You want a Charley with whom your audience will fall in love and cheer for from the start. Gender: Male Vocal range top: D5 Vocal range bottom: A3 Boing Boing Charley's dog, his most patient and supportive friend. Without words, Boing Boing communicates with a whimper or a bark, a turn of the head, a scowl, the lifting of a paw, or the raising of an eyebrow. Cast an actor with good physicality and a sense of playfulness. A clever and agile performer can improvise moments beyond those in the script. Mrs. Cleveland Fresno's biggest snoop and the neighborhood busybody. Cast an actress with a BIG speaking voice who's unafraid to overact - someone who can dominate the stage whenever she enters. She has no solos but should be able to contribute to ensemble numbers. Gender: Female Dad Charley's father, lives in Scotland but pops up whenever Charley refers to him. He's big-hearted and upbeat, even though he never seems to get the date of Charley's birthday right. He's a chef - a really good one, according to Charley. Look for an actor with a good voice, a strong sense of rhythm, and a big smile. Gender: Male Vocal range top: F5 Vocal range bottom: C4 Zombie King, Swampy, and Alien Charley's imaginary friends - his 3 Monsters. When Charley is feeling frazzled or friendless, his Monsters appear to talk him through any dilemma. To play these fantastical creations, cast actors who can give their own special spin to these characters, starting with quirky speaking voices that will differentiate them. Look for actors who are physically adept, since these 'creatures' might squat or slither or jump or roll as they weave their way around Charley. They sing together a lot, so be sure your actors are good with harmonies. Vocal range top: C5 Vocal range bottom: A3 Garry Quarky Charley's puzzling next- door neighbor. He starts out seeming like a scatterbrained mad scientist, but eventually reveals himself to be a talented creator of special effects who shares many of Charley's interests - not only in Monsters & Maniacs but in all sorts of scary and ooky stuff as well. Their friendship is one of the most surprising in Charley's young life. Cast an excellent actor and singer with improvisational and comedic skills who is also able to handle props with ease. Gender: Male Vocal range top: G5 Vocal range bottom: C4 Mom A nurse with a challenging work schedule, patient and supportive of both her children, always trying to figure them out as best she can. She goes out of her way to say good things about her ex-husband (Dad) whenever he comes up. Cast a steadfast actress with a calm demeanor and a ready smile whom we'll believe can weather the obstacles facing a single mother of two. She has a very small solo ("Lullaby"), but sings in group numbers. Gender: Female Vocal range top: C#5 Vocal range bottom: A3 Lorena Charley's eye-rolling older sister who works at a fast-food restaurant. Because she is always tossing her hair and scoffing in exasperation, look for an actress who's not afraid to be funny. Lorena carries one number ("So Lame"), which is deceptive in its difficulty. Cast an actress with a good sense of timing who can hold her own when singing harmonies with others. Gender: Female Vocal range top: C#5 Vocal range bottom: A3 Lillian, Lilith, and Leilani (The 3 L's) Lorena's friends who sing backup for her during "So Lame." Cast performers who can match Lorena's teenage attitude and are comfortable singing tight harmonies. Gender: Female Vocal range top: E5 Vocal range bottom: F#4 Donna Pointer The most popular girl in school. She's a bouncy social butterfly who has lots of friends and a very full calendar. She has important solo lines in several numbers, so cast someone with a solid singing voice who can exude effervescent enthusiasm. Gender: Female Vocal range top: B4 Vocal range bottom: F#4 Dina and Dana Donna's best friends. These three go everywhere together, so cast actors who can match Donna's high energy. Gender: Female Vocal range top: Bb4 Vocal range bottom: F4 Darryl Egbert The smartest boy in fourth grade. He's also a bit of a mess. His brain - and his mouth - are constantly running at a hundred miles an hour as he obsesses and processes every little thing. The role requires an actor who can explode with energy while also accurately delivering some challenging Gender: Male Vocal range top: E5 Vocal range bottom: D4 Cougar Together with Scottie - Fresno Elementary School's resident bad guys. Cougar (whose real name is Leland, but don't call them that!) enjoys swaggering through the school hallways, acting tough but never following through on their threats. Cast any actor with an imposing physicality - someone with a lot of bark but no bite. Like all of Charley's classmates, Cougar must sing with conviction and power and be able to harmonize Vocal range top: D5 Vocal range bottom: A3 Scottie Cougar's sidekick - a bully without a mean bone in their body. Scottie, lacking Cougar's inventiveness, is always ready to go along with whatever shenanigans Cougar suggests. Cougar and Scottie together form a comedy duo, so cast two actors with strong voices who can make us (and each other) laugh! Vocal range top: C5 Vocal range bottom: A3 Jennifer Mobley New to Fresno Elementary School and having trouble making friends. But because they both share an interest in Monsters & Maniacs, Jennifer has targeted Charley with her aggressive excitement, dashing into every scene she's a part of and interrupting whatever else is going on. Her indomitable high spirits seem indestructible... until Charley fails to invite her to his birthday party. She carries one of the most important songs in the show - the only ballad! - so cast an actress with a strong voice and a good vocal range who can portray manic energy as well as wounded introspection Gender: Female Vocal range top: E5 Vocal range bottom: A3 Vince Champagne A back-slapping, loud- talking party planner who's unafraid to speak his mind, no matter whom he offends in the process. Vince is dating Mom, which is how he comes to offer Charley "Vince Champagne's three basics of a good birthday party." Cast an actor who - with his voice, personality, and physicality - can fill up a stage and mow down anyone who gets in his way. Gender: Male Vocal range top: D5 Vocal range bottom: B3 Assistant Andy and Assistant Annie Vince Champagne's assistants in "A Perfect Party." They each have brief featured solo lines in the song and sing with small groups too. These are great roles for young performers who are newer to the stage. Vocal range top: B4 Vocal range bottom: B3 Stacy Garry's ex-girlfriend. She has no sung solos but can shine during her brief breakup scene with Garry. This is a good role for a fantastic actor who can do a lot with a cameo. Gender: Female Ensemble Consists of Company, Monster Chorus, Students (Popular Kids, Bullies, Nerd Herd), Lion King Performers, Lion King Soloist, Jennifer's Mom, Jeffrey Stovall, Motorcycle Cop, and Garry's Community Theater Friends. These are great spots for anyone who'd like to be involved in your show! Note that Jennifer's Mom, Jeffrey Stovall, and Motorcycle Cop are non-singing.

Fiddler On The Roof 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. 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. 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. 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 Jerry Bock Book by Joseph Stein Lyrics by Sheldon Harnick Based on Sholem Aleichem's stories by special permission of Arnold Perl Overview / Synopsis Fiddler On The Roof Junior is a special adaptation of the classic Broadway musical, which tackles the universal theme of tradition in ways that reach across barriers of race, class, nationality, and religion. Set in the little village of Anatevka, the story centers on Tevye, a poor dairyman, and his five daughters. With the help of a colorful and tight-knit Jewish community, Tevye tries to protect his daughters and instill them with tradition in the face of changing social mores and the growing anti-Semitism of Czarist Russia. The show features a star turn in Tevye, among the most memorable roles in the musical theatre canon. Its celebrated score, by Jerry Bock and Sheldon Harnick, features songs loved the world over, including "Tradition," "If I Were A Rich Man," and "Sunrise, Sunset." Fiddler On The Roof Junior is a great introduction to the world of musical theatre. Young performers will love its humor, warmth, and honesty. Directors will love the opportunity to direct a large cast with a good balance of male and female roles. Audio Sampler - HL00147642 $10.00 ShowKit - HL00147640 $695.00 This ShowKit includes: Production Guide Director's Guide P/V Vocal Score 30 Actor's Scripts 2 Rehearsal CDs 2 Accompaniment CDs Media Disc Choreographic DVD Cross-curricular Guide 30 Family Matters Booklets 60-Minute JR. Request Individual Components 00147631 - Director's Guide $100.00 00147632 - Piano/Vocal Score $40.00 00147633 - Actor's Script $10.00 00147634 - Actor's Script 10-pak $75.00 00147635 - Perf/Accomp CD pack $75.00 00147636 - Student Rehearsal CD $10.00 00147637 - Student Rehearsal CD 20-pak $100.00 00147638 - Choreography DVD $50.00 00147639 - Media Disc $10.00 00147642 - Audio Sampler $10.00 Hear A Sample Prologue Tradition [Tevye, Golde,Villagers] SCENE 1 Matchmaker [Hodel, Chava, Tzeitel] SCENE 2 If I Were a Rich Man [Tevye] SCENE 3 Sabbath Prayer [Tevye, Golde, Villagers] SCENE 4 To Life [Tevye, Lazar Wolf, Men] SCENE 8 Sunrise, Sunset [Tevye, Golde, Perchik, Hodel, Villagers] Wedding Dance [Villagers] SCENE 10 Do You Love Me? [Tevye, Golde] SCENE 11 Far from the Home I Love [Hodel] SCENE 13 Chava Sequence [Villagers] SCENE 14 Anatevka [Golde, Yente, Lazar Wolf, Mendel, Avram, Tevye] Tevye Tevye is the heart and conscience of Fiddler on the Roof. Tevye is generally cast as a larger young man, but his stature really comes from his integrity and zest for life. Tevye's emotional range runs from strong patriarch to gentle father. He should be robust. He understands his role as leader of the family, but knows his place as his wife's husband. Your Tevye should be able to show the wide range of conflict, joy and pain that his character feels throughout the story. The actor playing Tevye needs to be comfortable speaking directly to the audience, and being the spiritual leader of your production. He does not necessarily need to have a great singing voice, but he must have a strong, easily projected voice that can fill your performance space. Tevye must develop an easy-going, comfortable rapport with the audience. Vocal Range: Ab3 - D Golde Golde is the backbone of the family. She has a rather gruff exterior, but in her heart is sheer dedication to her family. When casting Golde, remember that she must be able to frighten Tevye. She runs the household and keeps Tevye's more emotional side in check. Conversely, she should be able to show a softer side when dealing with Chava and Tevye's rift. Golde lives that her daughters will be married. She, like Tevye, need not be the greatest singer in the world, but she should have a commanding voice. Vocal Range: G3 - Db5 Tzeitel Tzeitel is the oldest daughter of Tevye and Golde. She is the first to be matched by Yente and sets the plot of Fiddler into action by pleading with her father to let her marry Motel the Tailor, to whom she has pledged her love. When casting Tzeitel, keep in mind that she is the oldest daughter. She is determined to marry Motel and knows how to manipulate her father. Vocal Range: Bb3 - Cb5 Hodel Hodel is a strong, independent middle child of the three older daughters. She is outspoken, but respectful. She has her eye on the Rabbi's son at the outset of the story, but she is taken with the revolutionary Perchik from the moment she meets him. Hodel proves that her dedication to and love for Perchik is real as she follows him to Siberia after his arrest. Hodel's melancholy lament, "Far From the Home I Love," demands a good singer/actor. Vocal Range: Bb3 - Db5 Chava Chava is the third youngest daughter. She is an introspective, rather shy young woman who seems to favor books over other pursuits. Her love for the young Russian, Fyedka, tests her father's love to the limit and provides the largest conflict in the story. The actor playing Chava must be able to display a wide emotional range. Vocal Range: Bb3 - Cb5 Motel Motel is the young tailor enamored of Tzeitel. He is an endearing sort of Woody Allen type. He needn't be a great singer, but should be able to dance at his wedding. A young man with good comic timing and a vulnerable quality is ideal. Perchik Perchik is a young student who leans toward a revolutionary, or as Tevye calls him, "A radical." Your Perchik should be able to hold his own with Tevye. Being a strong character, he clashes with Tevye idealistically, but is likable, charming, and ultimately, a member of the family. Vocal Range: Bb3 - Bb5 Lazar Wolf Lazar Wolf is, by trade, a butcher. Lazar should probably be a large boy, but, frequently, opposites are funny. A kid of any size can pull off this part, but must be a little bit repugnant. Tzeitel is frightened to marry Lazar Wolf and she should have reason to be so. Lazar Wolf has featured singing in, "To Life" and must be able to sell the song. Vocal Range: A3 - C5 Constable The Constable is the local sheriff representing the anti-Semitic Russian government. Take care to cast an actor who can provide a sense of threat, foreboding, and conflict. The Constable is a complex character who is conflicted over his relative goodwill toward individuals in the Jewish community and his duty to harass them. This is a non-singing role that requires a good, strong actor. Fyedka Fyedka is a young Russian soldier who falls in love with Chava. Look for a young man who might look distinctly Russian, trying to contrast his look as a Gentile who enters the Jewish world as an outsider. He should be a strong actor, but needn't be a singer. Shprintze and Bielke Shprintze and Bielke are the youngest daughters of Tevye and Golde. They are considerably younger than the three "matchmaker" daughters. They have only a few lines, but are featured in quite a few scenes. They need to be able to carry a tune in the group songs. The Fiddler The Fiddler must be a young person who can hold the attention of an entire audience with movement, facial expression, and dance. As the title character, the Fiddler must be the physical embodiment of the theme of the show. Freedom of movement and expression are the keys to casting your Fiddler. The Fiddler is a silent, lead role. Yente Yente is your matchmaker. Try to cast a young woman who can capture the quintessential feel of the Jewish matchmaker, without necessarily making her a stereotype. She should be able to play older. She's not elderly, but mature. The Villagers The Villagers group can be as large as your stage can safely accommodate. They are the faces of Anatevka. This character group insures that you can cast any young person who auditions, regardless of their talent level or experience. The Russians The Russians are soldiers under the command of the Constable. This is a good group to case your least experienced auditioners. One, Sasha, has two lines. They needn't be singers, but can sing in a group numbers from offstage if they are able.

The Pirates of Penzance 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. 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. 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. 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 Sir William Schwenck Gilbert Music by Sir Arthur Seymour Sullivan Lyrics by Sir William Schwenck Gilbert Overview / Synopsis Set sail with this classic comedy that boasts one of the most famous patter songs in musical theatre history. The wit and whimsy of Gilbert and Sullivan's classic score is suffused with a modern sensibility in The Pirates of Penzance JR, a swashbuckling musical journey! Set on the rocky coast of Cornwall, England, The Pirates of Penzance JR begins with a group of pirates who are celebrating the birthday of one of their own, Frederic, who has reached his 21st year. Finally having served the full length of his required time with the pirates, he decides to strike off on his own and become an upstanding citizen - which may even mean bringing the pirates to justice. Thus turns out to be a tricky prospect indeed, especially when Frederic's freedom is called into question! The Pirates of Penzance JR is a light, comic introduction to the work of Gilbert and Sullivan, featuring opportunities for singing as an ensemble or in small groups, with vocal parts written in unison or simple two-part harmony. Audio Sampler - HL00160203 $10.00 ShowKit - HL9971456 $695.00 This ShowKit includes: 30 Student Books Director's Guide Piano/Vocal Score 2 Accompaniment CDs Media Disc Choreography DVD 60-Minute JR. Request Individual Components 9971459 - Director's Guide $100.00 9971458 - Piano/Vocal Score $40.00 9971457 - Student Book $10.00 9971461 - Student Book 10-pak $75.00 9971408 - Performance/Accomp CD pack $75.00 9971463 - Student Rehearsal CD $10.00 9971464 - Student Rehearsal CDs 20-Pak $100.00 9971460 - Choreography DVD $50.00 9971462 - Media Disc $10.00 00160203 - Audio Sampler $10.00 Hear A Sample Pour, O Pour the Pirate Sherry [Pirates, Samuel] When Frederic Was a Little Lad [Ruth] Oh, Better Far to Live and Die [Pirate King, Pirates] Oh, False One, You Have Deceived Me [Frederic, Ruth] Climbing Over Rocky Mountain [Daughters, Edith, Kate] Stop, Ladies, Pray! [Frederic, Edith, Kate, Daughters] Oh, Is There Not One Maiden [Frederic, Daughters, Mabel] Poor Wandering One [Mabel, Daughters] Stay, We Must Not Lose Our Senses [Frederic, Daughters, Pirates] I Am the Very Model of a Modern Major-General [Major-General, Chorus] Oh, Men of Dark and Dismal Fate [Major-General, Samuel, Pirate King, Pirates, Mabel, Daughters] Oh, Dry the Glistening Tear [Daughters] When the Foeman Bares His Steel (Tarantara!) [Peter, Tiger Lily, Brave Girls, Lost Boys, Children] When You Had Left Our Pirate Fold (Part 1) [Ruth, Frederic, Pirate King] When You Had Left Our Pirate Fold (Part 2) [Ruth, Frederic, Pirate King] Tarantara! (Reprise) [Sergeant, Police] A Rollicking Band of Pirates We [Pirates] With Cat-like Tread, Upon Our Prey We Steal [Pirates, Police] Now What Is This, and What Is That [Daughters, Pirates, Major-General, Mabel, Frederic] Finale [Sergeant, Pirate King, Police, Daughters, Major-General, Ruth, Pirate King, Mabel, Frederic, Edith] Samuel Samuel is a pirate and serves as the second in command to the Pirate King. Where the Pirate King is self-assured, assertive, and strong, Samuel is more bookish. Think of him as the accountant to the Pirates. Samuel has some featured solos and it is a good role for a performer who is showing good promise, but needs to nurture their skills a bit. Vocal range: Bb3-Eb3 Pirate King The Pirate King is a great comic lead for a boy who is self assured, a bit of a ham, and great at physical comedy. Cast someone who is inventive, fearless and willing to take positive risks. The Pirate King should sing reasonably well, but he doesn't need to be a polished singer. Consider casting someone who is athletically inclined and a natural leader-this is a great role for the star soccer player, or captain of the football team. Vocal range: B3-Eb5 Frederic Frederic is the male ingï¿½nue of the show. He should have a great voice that is polished. Frederic should also have looks that qualify as "dreamy" if at all possible. Think Davy Jones, Luke Perry or anyone who may be worthy of the cover of Teen Beat or Teen People. Frederic can be a better singer than an actor, but it's great if he can be both. Vocal range: B3-F5 Ruth Ruth is a humoristic tour-de-force for a young comedian. She should be able to play matronly but still be vibrant and full of energy. An actress who is physically different from Frederic is a great choice. For example, if your Frederic is tall and thin, consider a short and stocky Ruth. Ruth transforms from old matronly, to a knock-out beauty when she returns with the Pirate King in "When Fred'ric Was a Little Lad", so it's great to cast an actress who is versatile. Ruth has a featured solo, but doesn't have to be a polished singer. Cast a comedian who is naturally funny, and can be bigger than life. Someone who played Miss Hannigan in Annie Junior, or Mrs. Paroo in The Music Man Junior would make a great Ruth. Vocal range: G3-Eb5 Kate, Edith, and Isabel Kate, Edith and Isabel are the leaders of General Stanley's wards, with Edith serving as the leader among the three. Of the three, Kate and Edith have solos, although you could break-up their solos to provide Isabel with a solo as well. These three should be good singers, good dancers, and reasonable actresses. Traditionally, Edith wears glasses and is more bookish, Kate is aggressive and tomboyish, while Isabel is younger and more naï¿½ve. However, these three roles are open to interpretation. Consider having your actresses create their own character types as long as the characters are specific and can be sustained throughout the entire production. These are great roles for actresses you are nurturing for future lead parts. Vocal range: G3-F5 Mabel Mabel is the female ingï¿½nue to Frederic's male ingï¿½nue. She must have a polished, operatic or legitimate voice. Mabel should be attractive and a reasonable actress, but doesn't need to be an accomplished actress. She's the female star of the show, and the character who takes the biggest risk. Vocal range: G3-G5 Major-General Stanley Major-General Stanely is one of the signature character types in any Gilbert and Sullivan show. For Pirates the Major-General is the character who delivers the rapid fire patter song. An excellent part for a young performer who may not have great pitch, but has great rhythm. Cast that kid who listens to hip-hop and rap; they'll be a natural as the Major-General. Personality is primary in this part; acting, singing, and dancing are a definite second thought. Vocal range: A3-Eb5 Sergeant The Sergeant of Police should be a good singer and a great dancer. Don't hesitate to cast a girl in this role; simply slap on a handlebar moustache and you'll be good to go! Think "Key Stone Cops" as your inspiration. Vocal range: C4-E5 Police Chorus For this chorus, you can cast your best dancers and singers and mix boys and girls, or just girls if that's your best option. The police are traditionally portrayed as "Key Stone Cops"; so performers who are physically adept will be a great addition to your show. Vocal range: E3-F#5 Daughter Chorus These are the wards of Major General Stanley and can range in type and talent as broadly as required. Consider casting Daughters who are accomplished dancers and letting them take the lead in the dances. Cast singing Daughters to lead the singing; throw in some kids who can neither sing nor dance but are great character actresses and encourage them to be funny. Mix it up and your Daughter chorus will be an outstanding addition to your Pirates company. Vocal range: F3-G5 Pirate Chorus If you didn't read the Daughter chorus description, do so now. Everything that applies to casting the Daughters, applies to the Pirates. Don't hesitate to mix boys and girls as Pirates. (In fact sometimes girls make the best pirates!) You can have your chorus of Police play Pirates in the early numbers to give everyone more to do. Vocal range: Bb3-F#5

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).

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.

Hairspray 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. 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. 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. 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 Hairspray Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Credits Book by Mark O'Donnell & Thomas Meehan Music by Marc Shaiman Lyrics by Scott Wittman & Marc Shaiman Based on the New Line Cinema film written and directed by John Waters Overview / Synopsis One Act, Book Musical, Rated G Broadway Junior Version You can't stop the beat in this big and bold musical about one girl's inspiring dream to dance. (60-MINUTE VERSION FOR YOUNG PERFORMERS) The 1950s are out and change is in the air! HAIRSPRAY JR. the family-friendly musical piled bouffant high with laughter, romance, and deliriously tuneful songs is adapted from the Original Broadway Version which won 8 Tony Awards including Best Musical. It's 1962, and spunky plus-size teen Tracy Turnblad has one big dream -- to dance on the popular Corny Collins Show. When she finally gets her shot, she's transformed from social outcast to sudden star. In balancing her new-found power with her desire for justice, Tracy fights to dethrone the reigning Miss Teen Hairspray, Amber von Tussle, and integrate a TV network in the process. With the help of her outsized mom, Edna, and guest DJ Motormouth Maybelle, the rhythm of Tracy's new beat just might prove unstoppable. HAIRSPRAY JR. is filled with a host of parts for a wide cross-section of students and an abundance of energetic production numbers. HAIRSPRAY JR. is a show that will celebrate your students' diversity and bring audiences to their feet with its positive message and uproarious sense of humor. - See more HERE. Early on a Monday morning in early June, 1962, Tracy Turnblad wakes up to face another day, full of hope and big dreams (Good Morning Baltimore). After school, Tracy and her best friend Penny Pingleton race home to watch "The Corny Collins Show," a local teenage music and dance show on TV (The Nicest Kids in Town). On the show, teen idol Link Larkin pledges his love to Amber Von Tussle by giving her his Council Member ring, and Corny Collins announces auditions for new Council Members. Seeing her chance at stardom, Tracy plans to cut school and audition for the show, but her mother Edna Turnblad does not approve. Elsewhere, Penny and Amber also argue with their mothers (Mama I'm a Big Girl Now). Tracy goes to the audition, but is ridiculed by the girls on the show and sent away by Amber's mother and show producer, Velma Von Tussle. Sitting in detention, a frustrated Tracy learns some new dance moves from Seaweed J Stubbs, a black student whose mother is Motormouth Maybelle - the DJ who hosts the monthly Negro Day on "The Corny Collins Show." The next evening there is a school dance and there, Tracy is able to impress Corny with the new moves she picked up in detention, earning her a spot on "The Corny Collins Show." During her debut, Link Larkin sings a song just for Tracy (It Takes Two). Now a local star, Tracy gets an offer to be the spokes-girl for Mr. Pinky's The Hefty Hideaway, a clothing store, gets her mother out of the house for the first time in years as the duo heads to the store to update their wardrobes (Welcome to the Sixties). At school, Tracy continues to be teased by Amber and becomes the target in a dodgeball game. After the game, Link, Penny, and Seaweed stay behind to help Tracy, and there Seaweed invites them to join him at his mother's record shop (Run and Tell That). The Von Tussles barge in and spoil the party with their bigotry, however, this gives Tracy the idea to integrate "The Corny Collins Show" by having Motormouth and her daughter, Little Inez, crash Mother/Daughter Day on the show. Fears of police and jail don't stop Tracy from moving forward with the plan. Unfortunately, the plan for integration lands all of the mothers and daughters in jail (The Big Dollhouse). Everyone gets out, except Tracy who is denied bail (Baltimore - Reprise). Link comes to the rescue and professes his love for Tracy, while elsewhere Seaweed and Penny reveal their feelings for each other too (Without Love). The kids hatch a plan to get Tracy on the nationwide Miss Teenage Hairspray broadcast, and bring the news to Motormouth, who expresses that she will never stop fighting for equality (I Know Where I've Been). Corny Collins begins his nationwide broadcast ((It's) Hairspray) and introduces Amber for her dance (Cooties). Just before Amber is crowned Miss Teenage Hairspray, Tracy and her friends storm in and take over the show (You Can't Stop the Beat - Part 1). Corny declares Tracy as the new Miss Teenage Hairspray 1962, and Tracy declares that "The Corny Collins Show" is officially integrated. Edna makes a grand entrance, and even the Von Tussles can't resist the celebration (You Can't Stop the Beat - Part 2). Audio Sampler - HL00123343 $10.00 ShowKit - HL09971731 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs 60-Minute JR. Request Individual Components 09971732 - Director's Guide $100.00 09971733 - Piano/Vocal Score $40.00 09971734 - Actor's Script $10.00 00123341 - Actor's Script 10-Pak $75.00 09971735 - Rehearsal/Accompaniment CD $75.00 09971737 - Student Rehearsal CD $10.00 00123342 - Student Rehearsal CD 20-Pak $100.00 09971736 - Choreography DVD $50.00 09971738 - Media Disc $10.00 00123343 - Audio Sampler $10.00 Hairspray Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Hear A Sample Good Morning Baltimore The Nicest Kids In Town Mama, I'm A Big Girl Now The Nicest Kids (Reprise) It Takes Two Welcome To The Sixties Run and Tell That The Big Dollhouse Baltimore (Reprise) Without Love I Know Where I've Been (It's) Hairspray Cooties You Can't Stop The Beat (Part 1) You Can't Stop The Beat (Part 2) Hairspray Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. AMBER VONTUSSLE A prom queen nightmare! She is definitely "The Corny Collins Show" favorite, but she is competitive and has a bad attitude. Range: C4-E5 CORNY COLLINS The host of "The Corny Collins Show," and a Baltimore celebrity. Foremost, Corny is a charmer. Range: C3-G4 COUNCIL MEMBERS- BRAD, TAMMY, FENDER, SKETCH, SHELLEY, IQ, BRENDA and LOU ANN The famed teenage performers on "The Corney Collins Show." EDNA TURNBLAD Tracy's loving mother who doesn't spend much time outside the house. She works days and nights as a laundress in her home, and her lack of social interaction has made her a bundle of nerves. Range: Bb3-Eb5 LINK LARKIN Baltimore's biggest heartthrob, and Tracy's dream guy. Link is considered the best performer in town. Think of any teenage idol who is able to reduce girls to tears - there's your guy! Range: G2-A4 LITTLE INEZ STUBBS Seaweed's little sister and a great breakout role for a black actress. Range: Bb3-E5 MOTORMOUTH MAYBELLE MOTORMOUTH MAYBELLE is the face of the Civil Rights Movement and sings the beautiful anthem, "I Know Where I've Been." Range: F3-F5 MR. PINKY Owner of a ladies' clothing shop and is a salesperson inside and out - he is always the first to give a compliment. Range: C3-C4 PENNY PINGLETON Tracy's fun and sheltered sidekick. She is a young lady caught between her mother's very strict rules and her own wants and desires to be just another teenage girl. Range: C4-E5 PRUDY PINGLETON Penny's eccentric but loving mother, who wants the best for her daughter but is extreme in her means. SEAWEED J. STUBBS The object of Penny's affections, and together, they are determined to defy the segregation laws of the 1960s. Range: Gb2-Bb3 THE DUNAMITES (JUDINE, KAMILAH & SHAYNA) A dynamic musical trio, iconic of the Motown era and the 1960s. Think the Supremes. Range: E4-A5 TRACY TURNBLAD A young lady with big hair and an even bigger personality! She is the hero of our story and she is sweet but also strong in her convictions. She is bigger in size than the other girls, but she isn't shy about it - she can still dance with the best of them! Range: G3-C#5 VELMA VON TUSSLE A carbon copy of Amber - just twenty years older and meaner! She is most concerned with making sure her daughter wins Miss Teenage Baltimore. Range: C4-E5 WILBUR TURNBLAD Edna's loving husband and Tracy's supportive father who just wants the best for his girls.

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. 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. 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. 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

Shrek Jr. - Broadway Junior | Hal Leonard Menu LEARN MORE About Broadway Junior What Comes With the Showkit®? How to License a Broadway Junior Musical Order an Audio Sampler Frequently Asked Questions 60-Min.ute Musicals [JR.] 60-Minute Musicals 13 Jr. 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. 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. Thoroughly Modern Millie Jr. Willy Wonka Jr. (Roald Dahl) Xanadu Jr. 30-Min.ute Musicals [KIDS] 30-Minute Musicals 101 Dalmatians KIDS (Disney) Aladdin KIDS (Disney) Annie KIDS Aristocats KIDS (Disney) Dinosaurs Before Dark KIDS (Magic Tree House) Finding Nemo KIDS (Disney) Frozen KIDS (Disney) The Jungle Book KIDS (Disney) The Knight at Dawn KIDS (Magic Tree House) The Lion King KIDS (Disney) The Music Man KIDS Pirates Past Noon KIDS (Magic Tree House) Seussical KIDS Willy Wonka KIDS (Roald Dahl) Winnie the Pooh KIDS (Disney) A Year with Frog and Toad KIDS Product Information Musical Numbers Cast of Characters Credits Music by Jeanine Tesori Book and Lyrics by David Lindsay-Abaire DreamWorks Animation Motion Picture and the book by William Steig Overview / Synopsis One Act, Book Musical, Rated G Everyone's favorite ogre is back in the hilarious stage spectacle based on the Oscar-winning smash hit film. (60-MINUTE VERSION FOR YOUNG PERFORMERS) It's a "big bright beautiful world" for everyone's favorite ogre in Shrek The Musical JR., based on the Oscar-winning DreamWorks Animation film. Adapted for young performers and featuring a host of over-the-top roles for an expandable cast, there's a part for everyone in this dazzling adventure story. In a faraway kingdom, the green ogre Shrek finds his swamp invaded by banished fairytale misfits, runaways who've been cast off by Lord Farquaad, a tiny terror with big ambitions. When Shrek sets off with a wise-cracking donkey to confront Farquaad, he's handed a task - if he rescues feisty Princess Fiona from the Dragon-guarded tower, his swamp will be returned to him. But, a fairy tale wouldn't be complete without unexpected twists and turns along the way. Part romance and part twisted fairy tale, Shrek JR. is an irreverently fun show for the whole family. With abundant opportunities for imaginative sets and costumes and familiar characters that prove that beauty is in the eye of the ogre, Shrek JR. is a great choice for young performers. The curtain opens on a trio of Storytellers sharing the tale of a little ogre named Shrek. Papa and Mama Ogre sit Shrek down and have a coming-of-age talk with their son, telling him that since he is now seven years old, it is time for him to make his own place in the world, and he must leave home ("Big Bright Beautiful World"). As the years pass, Shrek transforms into an adult and finds contentment living alone in a swamp on the edge of the kingdom of Duloc. Suddenly, the Captain of the Guards appears, leading a large group of Fairy Tale Creatures into the swamp, including Pinocchio, the Big Bad Wolf, the Three Little Pigs, the Wicked Witch, Peter Pan, the Ugly Duckling, and the Three Bears. The characters have been exiled from the kingdom of Duloc and banished to live in the swamp ("Story Of My Life"). Shrek returns home to find his once private swamp now teeming with the new inhabitants and angrily sets off to confront the leader of Duloc about the injustice. As Shrek makes his way through a dense forest, he encounters a screaming Donkey under pursuit by more Guards from Duloc. Shrek scares off the guards, and, having lost his way, reluctantly agrees to let Donkey be his guide, despite his better judgment. Meanwhile, in Duloc, the Guards sing of the "gentrification" of the kingdom ("What's Up, Duloc? - Part 1"). Lord Farquadd appears, questioning the captive Gingy as to the whereabouts of an available princess that Farquaad could marry in order to become king and justly gain control of all of Duloc. Threatened with torture, Gingy relinquishes the information - there is a princess in a tower guarded by a dragon and surrounded by boiling-hot lava. Just as Farquaad and the residents of Duloc begin to celebrate their future queen ("What's Up, Duloc? - Part 2"), Shrek and Donkey arrive. Shrek demands the swamp be rightfully returned to him, and seizing an opportunity, Farquaad agrees to find a new home for the Fairy Tale Creatures if Shrek retrieves the princess for him. High in her tower, Young Fiona dreams of being rescued by a handsome prince and living the idyllic fairy tale dream ("I Know It's Today"). The years pass, and Fiona grows more anxious day after day, nervous that the stories she's read have misled her. Despite her frustrations, she remains hopeful. Meanwhile, Donkey passes time on the long journey by singing ("Travel Song"). Shrek and Donkey arrive at the castle, and, donning a knight's helmet he finds in the castle for protection, Shrek tells Donkey to wait while he rescues the princess. Shrek climbs Fiona's tower while she excitedly prepares for the arrival of her prince. The meeting doesn't go quite as Fiona had planned, and she mistakes Shrek for a brave knight due to his helmet. Shrek doesn't have time to correct this oversight, as Donkey is now being pursued by the Dragon. Cornered in the dungeon, four imprisoned Knights warn Donkey that he may wind up like them. The Dragon, frustrated that no one ever pursues her, sings of her loneliness ("Forever"). Falling madly in love with Donkey, the Dragon spares his life, but attacks Shrek when she sees he's freed Fiona. The two battle, and Fiona finally gets her storybook adventure ("This Is How A Dream Comes True"). Having escaped the dragon, the group sets off for Duloc. Shrek reveals to Fiona that he is actually an ogre and has rescued her for Lord Farquaad. As the sun sets, Fiona demands to set up camp and disappears into a cave for the duration of the night. The Storytellers reveal that Fiona has been placed under a curse causing her to live "by day one way, by night another." The next morning, Fiona is chipper and highly caffeinated ("Morning Person"). She greets the woodland creatures, including the Pied Piper and his disorderly Rats, with cheerful optimism. The group continues their journey and Shrek and Fiona bond over their horrible lives thus far ("I Think I Got You Beat"). The song ends in a gassy display of bravado, and the two become friends. Donkey is convinced that their relationship is actually a budding romance ("Make A Move"). Having reached Duloc, Fiona postpones meeting Lord Farquaad for one more night, and retires to a nearby barn to sleep as the sun sets. That night, Donkey stumbles into the barn and discovers Fiona's secret - she has transformed into an ogress. Fiona explains that she has been cursed to live by day as a human and by night as an ogre, and sees Lord Farquaad as her only chance for happiness because no one could ever love an ugly ogre. Shrek, who has worked up the courage to tell Fiona how he feels about her, overhears only the last part of Fiona's conversation with Donkey from outside the barn, and thinks she is talking about him. The next morning, Shrek admits to Fiona the he heard everything she said. Fiona now thinks that he knows her secret and is unable to love her because of it. Just then, Lord Farquaad arrives to claim Fiona. He hands over the deed to Shrek's swamp, and makes plans to marry Fiona that night. Hurt, Fiona accepts and leaves with him. The Fairy Tale Creatures drudge on, having been evicted from the swamp. Donkey pleads with Shrek to try to win back Fiona, and the Fairy Tale Creatures agree that he must be proud of who he is rather than ashamed by it ("Freak Flag"). With a sense of empowerment and a plan of action, the group decides to return to Duloc. Just as the Bishop is about to marry Fiona and Lord Farquaad, Shrek and the Fairy Tale Creatures burst in. Shrek professes his love for Fiona ("Big Bright Beautiful World - Reprise"), and the Fairy Tale Creatures reveal Lord Farquaad's father - a grumpy Dwarf. The discovery that Farquaad is actually a "freak" like the Fairy Tale Creatures he condemned shocks and surprises everyone. During this, the sun has gone down and Fiona has transformed into an ogress. Disgusted, Lord Farquaad claims that the marriage is binding - he is now king and shall lock Fiona back in the tower forever and rule Duloc himself. Just then, the Dragon crashes through the castle wall and heaves a fiery breath at Farquaad. Afterward, all that's left of him is his scorched crown. Shrek and Fiona finally share "true love's kiss," and although the spell is broken, Fiona doesn't turn back into a human. Shrek convinces her that she is beautiful just as she is, and everyone celebrates their individuality ("Finale"). Audio Sampler - HL00127656 $10.00 ShowKit - HL00127646 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00127647 - Director's Guide $100.00 00127648 - Piano/Vocal Score $40.00 00127649 - Actor's Script $10.00 00127650 - Actor's Script 10-Pak $75.00 00127651 - Rehearsal/Accompaniment CD $75.00 00127652 - Student Rehearsal CD $10.00 00127653 - Student Rehearsal CD 20-Pak $100.00 00127654 - Choreography DVD $50.00 00127655 - Media Disc $10.00 00127656 - Audio Sampler $10.00 Hear A Sample Big Bright Beautiful World Story of My Life What's Up, Duloc (Part 1) What's Up, Duloc (Part 2) What's Up, Duloc (Reprise) I Know It's Today Travel Song Dragon Roar Forever This Is How A Dream Comes True Morning Person (Reprise) Freak Flag Big Bright Beautiful World (Reprise) Finale I'm A Believer Cast Size Large (over 20), Flexible Cast Type Ensemble Cast - Many featured roles, Star Vehicle - Female, Star Vehicle - Male, Strong/Large Chorus Dance Requirement Standard (Musical Staging/Some Dance/Optional) DONKEY A talking donkey who joins Shrek on the run from Farquaad's guards. Quite the chatterbox, he is not deterred by Shrek's looks and practically forces himself into his good graces. Easily frightened and pushy, but also an optimistic with heart. DRAGON A dragon that has been charged with guarding Princess Fiona in her isolated castle. She eventually falls in love with Donkey and attempts to keep him there forever. Imposing and flirtatious, but tired of her job as the glorified baby-sitter. ENSEMBLE Fairytale Creatures(Big Bad Wolf, Three Little Pigs, White Rabbit, Fairy Godmother, Peter Pan, Wicked Witch, Ugly Duckling, Three Bears, Mad Hatter, Humpty Dumpty, Elf, Dwarf, Three Blind Mice); Angry Mob; Happy People; Guards; Knights; Rats FIONA The beautiful princess of Far Far Away, she transforms into an ogre every night when the sun sets. Rescued by Shrek and eventually falls in love with him. Quirky, blunt, and multitalented, she is not an ordinary princess. GINGY A gingerbread man initially kidnapped by Lord Farquaad. His wit and resolution help him both avoid trouble and inspire the rest of the fairytale creatures. Puppet. Can be operated by actress appearing as Sugar Plum Fairy. LORD FARQUAAD The comically short, ruthless ruler of Duloc. He is in search of a princes to marry so that he can become king. Has an intensely unfair bias against fairytale creatures that stems from a resentment of his father. Self-absorbed, lonely, and cruel. PINOCCHIO The leader of the fairytale creatures. He is an animated puppet whose nose grows every time he lies. Plenty of sass with a penchant for lying. SHREK Our story's title character. A big, green, terrifying ogre who lives alone on a swamp. He embarks on a journey to rid his land of fairytale creatures and, along the way, falls in love with Fiona. Begins as a grumpy hermit, but reveals his layers and eventually becomes the hero.

Thoroughly Modern Millie 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. 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. 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. 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 Thoroughly Modern Millie Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Credits Book by Richard Morris and Dick Scanlan New Music by Jeanine Tesori New Lyrics by Dick Scanlan Overview / Synopsis Thoroughly Modern Millie is the zany new 1920's musical romp that will have everyone dancing the Charleston! Taking place in New York City in 1922, Thoroughly Modern Millie tells the story of young Millie Dillmount, who has just moved to the city in search of a new life for herself. It's a New York full of intrigue and jazz - a time when women were entering the workforce and the rules of love and social behavior were changing forever. Filled with frisky flappers, dashing leading men and a dragon-lady of a villainess audiences will love to hate, you'll present a perfectly constructed evening of madcap merriment. Songs include: Not for the Life of Me / Thoroughly Modern Millie, Not for the Life of Me (Tag), Not for the Life of Me (Reprise), The Speed Test, What Do I Need With Love, Jimmy, Back at Work, Forget About the Boy, Ah! Sweet Mystery of Life / I'm Falling in Love with Someone, I Turned the Corner, Muqin, Long As I'm Here With You, Gimme Gimme, The Speed Test (Reprise), Ah! Sweet Mystery (Reprise), Finale. Audio Sampler - HL08750921 $10.00 ShowKit - HL09971362 $600.00 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 09971364 - Piano/Vocal Score $40.00 09971365 - Director's Script $50.00 09971363 - Libretto/Vocal Book $10.00 09971367 - Libretto/Vocal Book 10 Pak $75.00 09971358 - Performance/Accompaniment CD $75.00 09971366 - Choreography DVD $50.00 09971369 - Student Rehearsal CDs $10.00 09971370 - Student Rehearsal CDs 20 Pak $100.00 08750921 - Audio Sampler $10.00 Thoroughly Modern Millie Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Hear A Sample Not for the Life of Me/Thoroughly Modern Millie Not for the Life of Me (Tag) Not for the Life of Me (Reprise) The Speed Test What Do I Need with Love Jimmy Back At Work Forget About the Boy Ah! Sweet Mystery of Life / I'm Falling in Love with Someone I Turned the Corner Mugin Long as I'm Here with You Gimme Gimme Gimme Gimme (Tag) The Speed Test (Reprise) Ah! Sweet Mystery (Reprise) Finale Bows Thoroughly Modern Millie Jr. is not available for licensing at this time. MTI and the authors are refurbishing the materials, please check back for updates. Millie Millie is the sweet, classic ingï¿½nue with pluck. The role requires excellent vocal chops; in fact, no other character in the Broadway Junior collection of shows sings as much as Millie. The role of Millie is the perfect star turn for that extra special performer. Cast a young woman with an excellent Broadway style voice with lots of stamina. Millie must also have charisma, a great sense of comedy, good acting skills and be able to hold her own as a dancer. Jimmy Jimmy is our male counterpart to Millie. Self-assured and cocky, cast a Jimmy who is charming, a great singer, a reasonable mover and who has a good sense of comic timing. Jimmy should be attractive in a cute, goofy sort of way. Mrs. Meers Mrs. Meers is the villain of our story. Think Cruella DeVille meets Miss Hannigan. Cast an over-the-top "scenery chewer" who has an excellent sense of comedic timing. Miss Dorothy Miss Dorothy is the perfect role for a young lady with a voice that is more classical than Broadway. She should be attractive, a good actress and should contrast physically with Millie. Miss Flannery Miss Flannery is the office manager. She's uptight (think librarian) and stern, a real no-nonsense kind of gal. Cast an up-and-comer who's not quite ready for a huge lead, but is definitely ready to break out of the chorus. Having tap skills and a good sense of comedy are definite pluses for this gem of a role. Ching Ho and Bun Foo Ching Ho and Bun Foo are brothers and emigrants from China. These two are working to bring their dear mother to the United States from China. While it's nice to cast performers of Asian descent in these roles, it is not always possible. These characters must learn some Chinese, so cast kids who live for great challenges and have a keen sense of adventure. Ching Ho must be played by a boy and is the more demanding role; Bun Foo can be played by a girl. These characters sing, dance, and act, all in Chinese. Trevor Graydon Trevor Graydon the Third is Millie's boss and she's determined to marry him. Cast your best-looking singer who's not afraid to be a bit of a goof ball. The Hotel Priscilla Girls The Hotel Priscilla Girls, are the fellow boarders at the Hotel Priscilla. If possible vary them widely in size, shape, color and attitude. They should be good singers and actresses. The girls with solo lines include: Ruth Gloria Rita Alice Cora Lucille Ethel Peas Mama Mama is Ching Ho and Bun Foo's mother from China. She makes a surprise cameo appearance during the finale of the show. This is a great walk-on part for the principal, a local celebrity or parent. No singing, no dancing involved. Ensemble The cast can be expanded in many ways and in many places. You can augment the ladies staying at the Hotel Priscilla. Street scenes, the speakeasy, the jail scene, etc. offer innumerable opportunities for many, many students to participate.

Xanadu 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. 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. 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. 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 Douglas Carter Beane Music and Lyrics by by Jeff Lynne and John Farrar Based on the Universal Pictures film with a screenplay by Richard Danus & Marc Rubel Overview / Synopsis One Act, Book Musical, Rated G Broadway Junior Version A Greek muse inspires love, laughter and the world's first Roller Disco in this 1980s glitter explosion. (60-MINUTE VERSION FOR YOUNG PERFORMERS) This Tony Award-nominated hilarious, roller skating, musical adventure about following your dreams despite the limitations others set for you, rolls along to the original hit score composed by pop-rock legends Jeff Lynne and John Farrar and has been adapted for the MTI Broadway Junior Collection. Based on the Universal Pictures' cult classic movie of the same title, which starred Olivia Newton-John and Gene Kelly, XANADU JR. is hilarity on wheels for adults, children and anyone who has ever wanted to feel inspired. The year is 1980. Somewhere along the beach in Venice, California, Sonny Malone becomes frustrated with the mural he has painted of the nine muses of Greek mythology. After he storms off in frustration, the Muses come to life (I'm Alive) and Kira (a.k.a. Clio), Sonny's Muse, hatches a plan to inspire Sonny to artistic greatness. Kira disguises herself as a regular mortal from Australia and arrives at the Santa Monica pier just in time to rescue Sonny. Kira begins her work (Magic), and Sonny reveals his dream to open a roller disco. Inspiring Sonny brings Kira one step closer to being granted the gift of Xanadu. This infuriates sister Muses, Melpomene and Calliope, who hatch a plan to curse Kira so she falls in love with Sonny, a mortal, which is forbidden (Evil Woman). Sonny and Kira meet again in front of a rundown theater and receive a sign that things are coming together to fulfill Sonny's dream (Suddenly). Sonny meets with Danny, the owner of the theater, who is not interested in Sonny's plan until Kira enters and reminds him of someone he knew long ago (Whenever You're Away From Me). In a flashback, we learn that Kira once came to Danny disguised as the southern belle, Kitty, and inspired him to build the old theater. Melpomene and Calliope hide in the abandoned theater and await the arrival of Kira and Sonny so they can curse them and make them fall in love. Danny and Sonny run into each other at the theater, which is named Xanadu, and share their individual visions for its restoration (Dancin'). Danny agrees to give Sonny the theater if he can fix it up by the end of the day. Kira arrives, and they begin planning, providing Melpomene and Calliope with the moment they have been waiting for (Strange Magic). Left with only one hour to restore the theater, the Muses enter and help with the job (All Over The World). With the theater restored, Danny is back in show business, and Sonny's dreams are coming true. The two of them admire the Xanadu sign, while Kira receives a message via Hermes from Zeus reminding her of the rules she must live by. Realizing her feelings, Kira tries to leave, but Sonny begs her to stay (Don't Walk Away). Kira gets away and her evil sisters talk Danny into selling them the theater. Kira returns to Venice Beach to re-enter the mural, having failed in her quest to inspire Sonny and achieve Xanadu for herself. Confronted by her sisters and Sonny, the truth comes out, and she leaves, flying on Pegasus, back to Mount Olympus (Suspended in Time). Kira is brought before Zeus, Aprhodite, Thetis, and Hera to answer for what she has done. Zeus proclaims his sentence, but the others beg his mercy (Have You Never Been Mellow). Zeus pardons Kira, and Sonny arrives at Mount Olympus to profess his love. Zeus decrees that Kira shall return to Earth as a mortal to be with Sonny. He grants her the gift of Xanadu. XANADU JR. is a moving, electrifying tale of endless fun that will keep audiences in stitches, while the original, legendary chart-topping tunes lift them out of their seats. Filled with 80s nostalgia, students will love to strap on their roller skates and perform this silly comedic gem. With a flexible cast size, XANADU JR. is a great choice for groups looking to use a smaller cast size but can easily be expanded for larger groups. You'll want to keep the music in your head, and XANADU JR! in your heart, forever. Audio Sampler - HL00114416 $10.00 ShowKit - HL00114406 $695.00 This ShowKit includes: 30 Actor's Books Choreography DVD Director's Guide 30 Family Matters Booklets Media Disk 2 Performance/Accompaniment CDs Piano/Vocal Score 60-Minute JR. Request Individual Components 00114407 - Director's Guide $100.00 00114408 - Piano/Vocal Score $40.00 00114409 - Actor's Script $10.00 00114410 - Actor's Script 10-Pak $75.00 00114411 - Rehearsal/Accompaniment CD $75.00 00114412 - Student Rehearsal CD $10.00 00114413 - Student Rehearsal CD 20-Pak $100.00 00114414 - Choreography DVD $50.00 00114415 - Media Disc $10.00 00114416 - Audio Sampler $10.00 Hear A Sample Pure Imagination I'm Alive (Part 1) I'm Alive (Part 2) Magic Evil Woman Suddenly Whenever You're Away From Me (Part 1) Whenever You're Away From Me (Part 2) Dancin' Strange Magic All Over The World Don't Walk Away Suspended In Time Have You Never Been Mellow Xanadu Cast Size Large (over 20) Cast Type Children in Cast, Ensemble Cast - Many featured roles, Star Vehicle - Female, Star Vehicle - Male Dance Requirement Heavy (Extensive Dance Sections/Solos) APRHODITE The Goddess of Love. Range: E3-C4 CALLIOPE Muse of Epics, is Melpomene's "Wing-Muse". She is equally devious and listens closely to her sister's direction. Range: G3-E5 DANNY MAGUIRE A real estate magnate and owner of the Xanadu theater. He goes from being guarded about protecting the theater to becoming partners with Sonny and then betraying him. Range: G2-C4 ENSEMBLE Eros, Cyclops, Centaur, Medusa, and the Greek Chorus HERA Zeus' wife and is known for her comparable status to her husband. Range: E4-C5 HERMES A hilarious cameo role for a performer with excellent comedic skills. KIRA The Greek heroine and loveable, young ingï¿½nue. She begins the play as Clio, the youngest and the most idealistic of the Muses. With the addition of leg warmers and an Australian accent, she quickly becomes Kira to help Sonny realize his dreams. She is ambitious, smart and like Sonny, pure of heart. Range: G3-E5 MELPOMENE Muse of Tragedy, is the eldest of the Muses and is most responsible for plotting against Kira. Range: G3-F5 OTHER MUSES Erato, Euterpe, Polyhymnia, Terpsichore, Thalia, Urania SIRENS Melpomene's nine alluring daughters. SONNY MALONE The young male lead from the beaches of California. He is wide-eyed, full of dreams and can be a bit sensitive; after all, he is an artist! While Sonny may not be the brightest, he is very sincere and earnest. Range: G3-Bb4 THE ANDREWS SISTERS (Maxine, Patty and Laverne) An exact duplicate of the Andrews Sisters that were famous in the 1940s. Range: B3-Eb5 THE TUBES An iconic, hard-rockin' new-wave band of the 80s. Range: A3-G#4 THETIS The Goddess of the Sea who tells the pivotal story of Achilles and his vulnerable heel, which in turn, changes Kira's perspective about really loving Sonny. Range: C4-E5 ZEUS The King of the Gods Range: E3-D4

Magic Tree House: Pirates Past Noon 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. 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. 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. 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 #4: Pirates Past Noon by Mary Pope Osborne Overview / Synopsis Magic Tree House: Pirates Past Noon KIDS is an adaptation of the fourth of Mary Pope Osborne's award-winning fantasy adventure books from the Magic Tree House book series, which has sold more than 100 million copies and is available in more than a hundred countries around the world. This time around, Jack and Annie's tree house takes them to an exotic island with pirates, where the two discover the power of friendship and the simple pleasures in everyday life. The two siblings return to visit the magic tree house on a dreary, rainy day. They find a book where the sun is shining and the waves are crashing, so they wish to travel to this tropical place. They realize that they are in the eighteenth-century Caribbean, the time of pirates! The siblings meet Captain Bones, a mean old pirate who captures the two and forces them to help him find buried treasure. It's up to Jack and Annie to find their way back to the tree house and make their way home. Magic Tree House: Pirates Past Noon KIDS is a great first pick for new directors, or if you have students who are new to the performing arts. The cast can be expanded to include plenty of pirates and island creatures, and students always enjoy a musical that takes place in a fantasy setting. Audio Sampler - HL00196012 $10.00 ShowKit - HL00196002 $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 00196003 - Director's Guide $100.00 00196004 - Piano/Vocal Score $40.00 00196005 - Student Book $10.00 00196006 - Student Book 10-pak $75.00 00196007 - Performance/Accomp CD pack $75.00 00196008 - Student Rehearsal CD $10.00 00196009 - Student Rehearsal CD 20-pak $100.00 00196010 - Choreography DVD $50.00 00196011 - Media Disc $10.00 00196012 - Audio Sampler $10.00 Hear A Sample Pirates Putting on a Play Spinning to an Island The Tropical Island Song Row, Dogs, Row How Do You Do, I'm Captain Bones (Part 1) How Do You Do, I'm Captain Bones (Part 2) Bones, Bones, Bones Every Pirate Needs a Parrot Reading a Book Gold (Part 1) Gold (Part 2) Spinning Home Treasure Pirates Putting on a Play (Reprise) Bows 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 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. Gender: Male Vocal Range: C4-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 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. Gender: Female Vocal Range: C4-E5 Morgan/Polly Morgan is an ageless librarian enchantress. By the end of the play, Jack and Annie learn that the Magic Tree House belongs to Morgan. Morgan magically turns herself into Polly so that she can try to help the kids on this adventure, so for most of the show, Morgan will be costumed as a parrot. Look for an actor who can move easily in a more elaborate costume for most of the show. Although she doesn't speak or sing until the end, this large and important part requires one of your most mature female performers with both strong singing and acting skills. Gender: Female Vocal Range: A3-C5 First Mate The First Mate enjoys being in charge of his crew and must jumpstart the play with a commanding first line. He has solo singing lines and also helps to narrate the story, so cast an actor with a strong speaking and singing voice. This character can be played by a male or female actor. Gender: Both Vocal Range: Bb3-D5 Captain Bones Captain Bones is the epitome of a fearsome, odious pirate. He enjoys being vile and mean. Look for an actor who isn't afraid to really put himself out there - one who has both a physical and vocal swagger. Consider casting your strongest comic performer for this role - the absurd comedic tone of the play is highly dependent on Bones. If possible, it would be fun to cast an actor who is smaller in stature than his minions to highlight the comedy of his bullish ways. Although Bones does sing a solo part on "How Do You Do, I'm Captain Bones (Part 2)," those lines can be spoken, so if you have a kid who is a talented actor but a less-experienced singer, this role would be good for him. Captain Bones can be played by either a girl or a boy as long as the actor has a commanding stage presence and great comedic timing. Gender: Both Vocal Range: B3-C#5 Pinky, Stinky, Blinky and Slinky Pinky, Stinky, Blinky and Slinky are henchmen for Captain Bones. Though these pirates are devoted to Bones, they are not nearly as clever or mean. These large speaking roles all require good comedic timing. These roles are good for kids who will relish being able to dress and talk like a pirate in front of their peers. Look for strong actors who can carry a tune, are good at focusing and taking direction and who are capable of working together as a team. Cast males, females or both. Gender: Both Vocal Range: C4-B4 Jonah Jonah is a cabin boy who wants to help Jack and Annie escape from Bones. In stark contrast to the Pirates, he is kind, soft-spoken and tender-hearted. While being held captive, Jack and Annie teach Jonah how to read. Jonah's solo parts in "Reading a Book" require a strong singer, and the role requires an actor capable of quiet subtlety, so if possible, cast one of your strong performers in this role. If you are short on boys, cast a girl to play a boy. Gender: Both Vocal Range: C4-D5 Billy, Molly, Nathaniel, Wilhelmina, Peter, Pirates Billy, Molly, Nathaniel, Wilhelmina, Peter, and additional Pirates are the often funny and spirited Pirates under the command of Captain Bones. The named Pirates should be the strongest actors and singers of this group. If you don't have enough boys to play Billy and Nathaniel, cast girls who would have fun playing a boy. Casting extra Pirates is a good way to round out the chorus and to utilize performers who are less experienced. Gender: Both Vocal Range: B3-B4 Teeki the Seagull Teeki the Seagull is a jubilant bird with a need to express her joy for life. She is the matriarch of the Island Creatures on this particular Caribbean island. Cast an actor who enjoys the spotlight and who is physically uninhibited - someone who has good vocal and movement skills and isn't afraid to "get into the groove" of the "Tropical Island Song." Gender: Female Vocal Range: Bb3-Eb5 Pedro the Pelican Pedro the Pelican is a prim and proper pelican. Although not a large role, Pedro has a few solo lines. It might be comedic to watch this rather rigid, self-conscious bird get lured into the groove of "The Tropical Island Song" until he or she is the most enthusiastic dancer of them all. Cast an actor who can play shy but who isn't afraid to dance and let loose on stage. Gender: Male Stella the Starfish Stella the Starfish is a sweet, happy starfish who loves to dance. Stella has a few solo lines, so look for an actor who has a strong voice and can lead the other Starfish in a dance. Gender: Female Island Creatures Island Creatures including Pelican #1, Pelican #2, Pelican #3, Lizard #1, Lizard #2, Lizard #3, Corey the Crab, Starfish Partner, Additional Crabs, Lobsters, Starfish and Jellyfish sing "The Tropical Island Song" and "Treasure." Cast as many performers as your stage and program will allow. As long as you have a few strong performers representing each group of creatures, casting extra creatures is a great way to give additional children experience without the pressure of a large role. Feel free to assign character names to match the number of performers you cast. If needed, you can double-cast your more experienced Island Creatures as Pirates as well. Gender: Both