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In comparing the piano scores from the two times I music directed this show, I noticed both times I needed to give a note to myself to play slower, and that in measures 11-13 I wrote in chord symbols: C#m/E and Ab/Eb for measure 11, E7/D and A/C# over measure 12 and Ebm/Gb for measure 13. Secondly, the melody is very Lydian, with a prominent #4 scale degree that conveys Amalia's aspirations well. Elsewhere, he's cautious and less colorful, more cerebral than celebrational, shortchanging that potential. In the second matched pair, Ilona is again seduced, but this time by a better man, and she makes good her resolve, which reveals Kodaly's true, embittered self. A distinctive feature of She Loves Me, one that resonates well with a modern audience, is the way each of the characters has to face the invasion of a public persona by a private reality. In the New York Times Review of the recent Broadway revival, Ben Brantley perceptively wrote: "…from the moment the show begins, with a salutation to the working day by the employees of a perfume shop in 1930s Budapest, "She Loves Me" is a sustained reminder of the pleasures of exalted ordinariness. "I didn't like her", he answers, but then using the two notes that represented her confusion, he adds: "Now I do! We call this connection of song to story integration. There's an odd notation at the top of the piano vocal score that Amalia says, 'well, well…' and then Georg saying, 'well! ' Sound Advice Reviews. That splashy song and dance gets a back-and-forth "dialogue" between snatches of rat-a-tat-tat dance steps and sung lines that squarely puts focus on wanting a relationship, not merely a dance partner for an act. He had no ego about salvaging scenes, lines, jokes, his attitude, which became our unified attitude was to absorb most of that play into music. I was unable to find any source where Bock says unequivocally that he did no musical research on She Loves Me specifically, but Bock and Harnick were sketching She Loves Me and Fiddler on the Roof simultaneously, and we know from several sources that Bock was not researching Jewish music for Fiddler, relying instead on memories from his childhood. The third time they sent us what we actually needed.
Wicked (Song: One Short Day) +. Man of No Importance. Strong compensation are the generous swaths of instrumental music reinforcing the late Jerry Bock's sturdy melody lines that prove versatile when sampled and re-shaped in incidental reappearances, and the mighty bonus track of excerpts from "Fiddler on the Roof Variations and Cadenza" created by John Williams and featuring the great classical violinist Itzhak Perlman as our superstar stand-in for the show's titular Fiddler. No wonder I feel so depressed. It's used in a very unorthodox way, but here it is in Where's My Shoe? Your favorite songs on request.
I think it's safe to assume that he was also drawing on memories for the Hungarian aspects in She Loves Me, not on research. In his disarming patter and unjaded singing, and even the liner notes, coming through without a doubt are gentlemanliness, work ethic, gratitude, and appreciation for finding his professional success and finding his soul mate. Anything Goes - Beaumont Version. And, that is, you know, very general, mind you, but it gave me a sound, a shape, the period, the feeling that I began to string melodic notions and guesses around that kind of instinct. "Russian-Hungarian-German Jew, mostly Russian. Note also how Bock has provided the most delightful and unusual accompaniment imaginable.
Into the Woods, Jr. Iolanthe +. Merrily We Roll Along +. This is justifiably one of the most talked about numbers in the history of American Musical Theatre: Will Friedwald wrote: "Ice Cream is one of the theater's best songs of self-exploration and discovery, the kind usually given to leading men in Rodgers and Hammerstein musicals, such as the King of Siam puzzling out A Puzzlement and Billy Bigelow contemplating parenthood in Soliloquy. Philip Lambert goes into some great detail in his chapter about She Loves Me regarding Jerry Bock's use of the 5th and 6th scale degrees for expressive purposes. There is a pickup to measure 1 in the parts (A in the trumpet). Jerry Bock uses a delightfully jaunty left hand figure reminiscent of what he would do later in Oh, To Be A Movie Star from The Apple Tree. It was astonishing because nobody was coming to see it.
But not in the Piano Vocal Score) It'd be nice to know that when rehearsing the number, no? Today Vanilla Ice Cream's operatic flavor at the end reads to general audiences as a fanciful touch, even a little loopy. Wedding Singer, The. The final version is very harmonically active. Good Morning, Good Day. You may also find that the passage beginning at measure 64 will come out wrong at the sitzprobe 2 or 3 times before your rhythm section understands what's happening. But in the original production, this reveal must have been wonderful.
More than the aforementioned Crosby and Como, Norm Drubner's voice reminds me of early Rod McKuen's records, if you know and recall that kind of appealingly distinctive "foggy" sound. It has also remained a staple in the canon of community and school productions due to it's accessible nature and widespread appeal. 2, which is probably the most popular 'Hungarian' piece in classical music. Grand Knowing You is a traditional showtune that drops its classic melody like a hot potato after one iteration for a series of flamboyant burns in a Hungarian style, only to return to to the earworm melody for a final pass so blisteringly fast it can't really be processed by the listener. Also covered this time are some solo CDs from singers covering mostly familiar fare, much going back even more years, as some of the same writers keep coming up: Kern, Fields, the Gershwins, Ellington, Berlin, Van Heusenso showtunes and movie songs are often represented. George is much more grounded; his melody is a single note when it isn't a perfectly rounded phrase or a simple scale. 19, which are criminally bad. West Side Story - MTI +. I found it oddly difficult to memorize, considering its relative simplicity. This is marked Fast Chase, but I chose to do it slower, which made the rit at 8 much easier to handle from the keyboard.
Even though he's the man in the primary couple, this show is really about Amalia. His "Pure Imagination" has a true sense of joy and awe. This number is not so terribly difficult to prepare, the trick is to make it feel like it's going off the rails without it actually going off the rails. As bookwriter Joe Masteroff put it: "She Loves Me has probably gotten the best reviews of any show I've ever written. I found about 114 to the quarter note worked pretty well.
The writers establish the detail of the everyday world in beautiful and extravagant simplicity and specificity. In this set, which includes other turns honoring groundbreaking moments from legends she calls "The Ancestors, " she brings dignity and majesty to the late songwriter/performer Abbey Lincoln with two of her philosophical statements (the opener, "Wholly Earth" and "Throw It Away"). You may need a little more music here, in which case I suggest you repeat the first 16 bars. Here it is in Try Me. This information again comes from Philip Lambert's terrific book). Which isn't the case; it's covered in the clarinet) Having said all that, I can't figure out what the orchestrator was going for with the division of measure 12. In the parts, there's accompaniment. It's far more meaningful to watch Amalia try to get enough courage to believe she still has a chance than it is to watch her wallow for 5 minutes. All these features serve to reinforce the world of the piece and deepen our sense of its reality. The underscore that sits here now is simple and perfect. After a true 'string of pearls' of fantastic character songs, Act II give us its last major number with a chorus feature, exactly the opposite of what most musicals would do in Act II. Little did I know our views would so correspond.
How do they conduct without it? A Few Things to Note About the Music Director's Materials: I belong to a Music Director's forum online, and every so often someone posts about She Loves Me's materials. The many hues of Natalie's voice and personality gleam on the 12-track disc. Make it shorter than you would ordinarily, because we're going to have to fill in the time with songs and with dances. In keeping with the show's themes of public breaks and private connections, there are many ingenious points of connection between musical numbers; not in the way of leitmotivs, but in much subtler ways, sometimes using musical motives in similar ways, at other times placing numbers as matched pairs in the story, and at several points even literally bridging two numbers with a single gesture. His "If I Were a Rich Man" feels like a poor relative of other versions, not going for the glee when potentially wallowing in wealth (getting lost in the escapist "If" of the fantasy) and also perfunctory rather than blissfully relishing the reverent extended attendance in synagogue, the lyric calling that "the sweetest thing of all. " At the end of Vanilla Ice Cream, Bock uses that idea pretty clearly, even though he isn't alternating octaves.