Showing posts with label Marylhust. Show all posts
Showing posts with label Marylhust. Show all posts

Tuesday, June 11, 2019

Brahms' German Requiem expressions translated.

As done before, here are translations for

Brahms' German and Italian Expressions in English.

Ein Deutches: A German (Brahms would have gladly called it "Human" ref.)


Requiem: [from Latin requiem, "rest"] Service for the time of death.


#1
Ziemlich langsam:  quite slow

und mit Ausdruck: and with expression

legato:  smoothly
dim.: diminuendo  softening

espress.:  espressivo:  expressively  
dolce:  sweetly

#2
Langsam:  Slowly
marschmäßig:  March moderately

Etwas bewegter:  Somewhat moving

un poco sostenuto:  a little sustained.

Allegro non troppo:   moderately fast.

tranquillo:  tranquil

#3
Andante moderato:  moderately slow.

#4
Mäßig  bewegt:  Moderately animated (in tempo)

#5
Langsam:  Slowly.
m.v.:  (mezza voce: half voice) quiet, retrained

#6  
Andante:  Walking tempo.  Slow  
sotto voce:  whispered.  Literally "under the voice"
Vivace: lively tempo

Allegro:  happy tempo.

#7
Feierlich:  Solemnly.




Saturday, January 27, 2018

Preparing Pirelli: Finishing The Hat.

Happily, I enjoy the research you have to do when writing or preparing songs, and discovering obscure surprises as you work out what's what.  While preparing to play "Pirelli" in Marylhust University's production of Stephen Sondheim's Sweeney Todd, I dug out my copy of Finishing the Hat, Sondheim's collected lyrics (1954-1981) with, as the author names it "attendant comments, principles, heresies, grudges, whines and anecdotes".

Steve writes a long comment on page 345 about avoiding the typical monolithic opera/musical chorus, where all the singers seem to have exactly the same thought at the same time.

Finshing the Hat cover     "The tradition of the chorus as one voice persists even today,but surely no two people in a crowd being exhorted by a seller of what is essentially snake oil have the same degree of sales resistance.   Thus the overlapping voices in the lyric above.  Every single chorus member is characterized as an individual and the director can decide how to treat each one specifically; at the very least he has something he can say to each of the performers which may help them distinguish themselves from their fellow spectators.  (When the chorus is presented as a Greek Chorus, however, commenting on the action or telling the story directly to the audience, as in the case of "The Ballad of Sweeney Todd," it's both justifiable and and necessary that they all sing the same lyric.)
     "The problem of writing for choruses like this is that what you gain in the realism of individuality you lose in concerted choral power, and therefore you have to find a line, or preferably lines, that they can all sing without violating the principle.  In "Pirelli's Miracle Elixer," for example, "Give us back the money" and "where is this Pirelli?" tie the garbled counterpoint on the simultaneously different musical lines together and allow for a joyful noise, which is not only expected, but welcome."

A few other surprising nuggets not in the script or the score are in Finishing the Hat:

- SPOILER ALERT - SEE THE SHOW FIRST - 
  • London 1849.  (The score says "Nineteenth century."  After researching "Shelley" and "Botany Bay" from the libretto,  before reading "Finishing the Hat", I'd calculated 1846.)
  • "Called an opera... a song cycle... a musical play...  'Dark operetta' is the closest I can come, but... what Sweeney Todd really is is a movie for the stage." 
  • British Playwright Peter Schaffer spotted every word of slang Steven had invented in a draft.   Producer David Land helped, but more than a few expressions are still Sondheimisms, not Cockeyisms.  
  • Steve says he's a slow reader. (Compared to whom?)
  • Toby is slang for "boy", "beer stein", "road", or "highway robbery".  "Tobias" is Hebrew for "God is Good" 
  • "Beedle" or "Beadle" (either spelling is okay) is a a minor official's title, like "aide" or "officer", not a first name.
  • Lovett's "Worst Pies in London" irregular form portrays her "a glitteringly disorganized, chatterbox,  switching moods mid-thought and thought mid-subject".  The repeated and grounding phrase "worst pies in London" are only there to relax and fool the audience...
  • "She is indeed the true villain of the piece"  (Yes, I'm surprised!)
  • A tooth pulling contest and the Judge's song were both cut in the original 1979 Broadway production to tauten Act 1.    New York City Opera's 1984 production, with the same director and sets, suffered no sag while including the Judge's song, but not with tooth-pulling.
  • Sweeney's schizophrenic breakdown in "Epiphany" alternates between rhythmic rhymed sections showing his determination, free-flowing un-rhymed sections for his grief, and even breaking the fourth wall for his true madness.  
  • Alas, no applause for the actor: the unreleased tension in the audience makes what follows explosively funny.
  • Writing in 2010, Stephen would change a dissatisfying, unnecessary and clumsy," lyric in "A Little Priest" from "Last one really sold/wasn't quite so old" to "Last one that we sold / Wasn't quite so old." 
  • Ditto, he'd change  Todd: "we'll serve anyone-" Both: "meaning anyone- and to.. " to (and did for the movie in measure 351) Todd: "we'll serve anyone-"  Lovett: "we'll serve anyone-" Both: "and to...
  • In "God, That's Good" (again a chorus of demanding, envious, freeloading, drunk, etc. individuals), the British expression for "Knock on wood" is "Touch wood", but needs three syllables to match "God, that's good".  Stephen is still open to suggestions. 
  • When Sweeney premiered in England, Stephen discovered by happy coincidence how sly a punster Lovett is in "By the Sea": "chopper" was slang for penis.
  • In the "Wigmaker/Letter Sequence", the stage directions are longer than the lyrics. 
  • Madhouses were indeed places where wig-makers got supplies.  Despite reforms and government oversight in 1816, London's Bedlam i.e.  Bethlehem Hospital  wasn't modernized until 1888.
  • Christopher Bond's 1973 play Sweeney Todd (and the basis of this 1979 operetta) has a scene where Mrs. Lovett tries to poison the Beadle, glasses get switched, and she almost poisons herself, distracted by Toby's singing. Steve wanted to write the disorganized trio, "but I never got around to it."
  • Whether the audience figures out the Beggar Woman's past from the start, in the middle, in her mad scene, or not at all, doesn't matter:  "Sweeney's reaction to the revelation is what counts, and everyone gets that at the same time."
  • John Lahr panned the show scathingly in Harpers Magazine after having read a script draft, but not hearing the show.  Sondheim wrote the critic and publisher that "he ought to see it first."   Lahr's response: "I guess you're right".
He's right.   It's bizarre, bloody, dark, idiosyncratic, and it's genius.  See the show first.

Sweeney Todd Feb 2018 poster
 

Wednesday, July 19, 2017

Wednesday, June 21, 2017

Insomnia vs. "Yeomen of the Guard"

When I get insomnia, usually triggered by doubts and worries in real life, my creativity takes weird turns, both in the dreams and visions that come at night and the ideas I get during the day.   Lots of remedies, such as the ones here, https://greatist.com/health/cant-sleep-advice-and-tips are helpful.   I've only recently started using #25, journaling worries when the mind is too anxious and active to rest, adding items to my to-do list and calendars and notebooks, and giving the things that are running around in my head a time to be addressed.

Here's an example from early June when I was uncertain about how much more work I'd have to do to memorize and play Fairfax, my part in Marylhurst University's production of Gilbert and Sullivan's "Yeoman of the Guard".   The memorization techniques that worked perfectly for me 30 years ago left me blank and going up on my lines in rehearsal, so I had no idea how much more work I'd need to do to catch up.   Yikes.  Most of my sleep-deprived dreams were about the lines and scenes of the play, but many of them were about the characters actions after the play.   Here they are, organized as a fan-fiction narrative. I make no apologies for continuity or dramatic errors, since this is, essentially, a delirium.


SPOILER ALERT:  see the opera, read the script or a synopsis first.   I'm told by attendees that they found the opera's end too tragic, so here's a small consolation:

Yeoman of the Guard, Act III


Precis:

To free his children from a detestable marriage and life-long anonymity, Sergeant Meryll confesses to releasing Fairfax two months earlier.  He and Leonard are sentenced to beheading in half an hour.  Dame Carruthers-Meryll, newly wed to the Sergeant,  leaves to arrange their rescue.  

Wilfred reveals a living but apathetic Jack Point.   Phoebe jilts Wilfred.  Jack refuses to teach Wilfred jesting.  Kate,  having no sense of smell and respect for Wilfred's care of injured prisoners, mollifies Wilfred and cleans him up nicely.

Phoebe, with Jack's help, stalls the beheading until Dame Carruthers-Merryl appears with proof that Sergeant and Leonard Meryll are innocent of treason.  They are restored to their due positions to everyone's joy.

Numbers:

3.1   Trio "A Fate Worse Than Death",  Phoebe, Leonard, Meryll
3.2   Aria:  "My Own Name", Leonard
3.3   Ensemble: "Hail the Wedded"  
3.4   Aria:   "Not today",  Dame Carruthers-Meryll
3.5  Aria:  "Dear Jack", Kate
3.6  Duet:  "'Every Dirty Job", Kate and Wilfred
3.7  Song:  "Alas, my love",   Jack
3.8  Chorus:   "The Pris'ner's come"
3.9  Duet with Chorus:  "Brave Men of England",  Meryll, Leonard 
3.10  Duet with Chorus:   "Alas My Love", (reprise)  Phoebe and  Jack
3.11  Scene:  "These two scrolls"  Dame, Lieutenant, and Ensemble
3.12  Ensemble:   "Joy Unalloyed"


Synopsis, Act III

Two months after Act II, on the Tower of London green, Phoebe, Leonard and their father, Sergeant Meryll lament "A Fate Worse Than Death": to keep their secret, Leonard may not claim his own name or position, Phoebe must marry a man she loathes, and the Sergeant is to be wedded this hour to the old Dame Carruthers.

Kate gives the Sergeant an envelope addressed to Sergent Meryll's son, Leonard and fetches Sergent Meryll and Phoebe to the wedding.  Leonard, not invited to the wedding, finds a letter inside to Jack Point and another to himself from Colonel Fairfax granting him a thousand marks and an offer of employment.  Leonard still wants "My Own Name" and the Yeomancy he'd earned.

Sergeant Meryll returns with Dame in wedding gown.   Leonard congratulates them while the Dame reminds him to keep his true identity the secret, since everyone has concluded the real Leonard Meryll ran away with a broken heart when Fairfax claimed Elsie as his bride.   Phoebe returns, pursued by and fending off Wilfred, to warn Leonard and the couple that their guests are coming and eager to congratulate them.  Phoebe insists that Jack is dead, but Wilfred says he is not:  he cared for Jack after the collapse, using the healing skills an assistant tormentor must ply.  Wilfred exits to fetch Jack as proof. 

The Lieutenant, Kate and crowd enter to "Hail the Wedded"  Sergent and Dame.  The Sergeant, desperate to resolve his children's sorry fates, turns to the Lieutenant and resigns his post as Sergent and confesses to freeing Colonel Fairfax himself two months ago.  Sergent Meryll claims that Leonard simply stayed away as asked, while Pheobe accepted his word that Fairfax was her brother Leonard.   Leonard steps up to confess that he himself knew of his Father's deception and is equally guilty. Phoebe lets them.  Dame Carruthers-Meryll berates her new husband for this foolish act of sacrifice, but the man is adamant he will have no more deception.

The Lieutenant reluctantly condemns the two men of high treason and the required penalty of death by beheading in one-half hour.  After warning the Yeomen and crowd that aiding their beloved Sergent will bring further deaths, he disperses the crowd and Yeomen, and himself escorts the two men to the tower for their final confessions.

Dame Carruthers-Meryll entreats Phoebe to delay the beheading because she has a plan to free both men, but it will take every minute available and more to prepare it.  The Dame proclaims she will not become a widow,  "Not Today" on her wedding day,  and heads off on her mission.

Wilfred brings a listless, sour shell of the jester Jack Point.  Kate reveals she put a note about Wilfred tending Master Point into Dame Carruthers' bill to the Fairfax family for the cost of their wedding.  Jack has no interest in anything, but allows Kate to read the letter from Elsie aloud. In "Dear Jack", Elsie thanks Jack for caring for her mother, teaching her manners, and prays for Jack's future well-being. 

Phoebe tells Wilfred she needn't marry him, since her father's confession exonerated her.  Wilfred reminds her that he knows of her actual guilt, but Phoebe rants that she will not we wedded, but would rather be beheaded or banished instead, even with Jack: since they don't love each other and both know what lost love it, they're perfect for each other.  Jack then tells Wilfred he cannot now teach jesting, it's not in him to teach the jailer to jest. 

Angered at the loss of a tutor and a wife, Wilfred declares he'll be a great tormentor and accosts Kate, who accepts his advances willingly.  After all,  Kate says, she admires his gentle care for the wounded prisoners. Further, she has no sense of smell and Wilfred isn't half as dirty as the chamber pots and "Every Dirty Job" that needs doing.  They exit to give Wilfred what he needs most: a bath.

Phoebe asks Jack for help in stalling the beheading.  Jack says he's no good for jesting, only composing melancholy rhymes and melodies, and sings a verse of his newly made "Alas My Love", but quips some nobleman will likely steal it away, too. ("Greensleeves" was anonymously written about 1510 and dubiously attributed to Henry VIII.) 

The funeral bell chimes.  While the people chant "the Pris'ners come", the block and headsman arrive.  The Lieutenant with Yeomen lead in Leonard and Meryll.    Asked for last words, Meryll at the block praises "Brave Men of England", joined by Leonard, then the Lieutenant,  the Yeoman and finally the crowd.

To stall, Phoebe speaks of their love of family and love of duty, then begins to sing "Alas, My Love", but falters. Jack completes Phoebe's chorus and carries on, improvising verses.  As the listeners join in and Jack is starting yet another verse, the Dame returns.

The Dame shows the Lieutenant "These Two Scrolls": the June tenth order for Fairfax's execution on July tenth, 1517, and the July tenth order for his immediate freedom.  The Lieutenant agrees that he'd gladly have complied had the second reached him that day.   The Dame argues that since the Sergent was following legal orders when he freed Fairfax on July the tenth, her husband and step-son are innocent of treason.  The Lieutenant agrees, cancels the execution, restores Meryll's rank and freedom, and orders that the real Leonard Meryll be inducted into the Yeoman of the Guard this very minute.

As all share "Joy Unalloyed", the block and the ax-man leave, Phoebe thanks and embraces Jack for his life-saving performance, and Kate escorts in a surprisingly clean Wilfred, with flowers in his hair and beard.   Leonard, now dressed as a Yeoman, receives his halberd and sword from his father, then thanks the Dame for saving his life.  Sergent Meryll finally, admiringly, embraces his new wife .

End.