VCE Music Performance (Part 2 of 3)

Section C: Analysis of Prescribed Ensemble Works

Work 1: 'Somewhere'

Interpretation in Performance 1: West Side Story – Original Cast Recording

Interpretation in Performance 2: Blue Valentine – Tom Waits

 

Somewhere:
A musical ballad/love song by Leonard Bernstein and lyricist Stephen Sondheim. It is from the Musical 'West Side Story' composed in the 1950s.

Context

Bernstein was known for his really complex, but highly accessible music; He loved Jazz, which often influenced his work. He was from a middle class 'New York' family, and he later went on to Harvard. Tom Waits on the other hand was the son of teachers, from a lower class family; Waits went on to be a club doorman.

Musically, Bernstein and Waits are both similar, as they both tried to find an individual voice, by breaking free from conventions and stylistic traditions. I.e. Bernstein: Classical to Jazz and American sub-culture influences; Waits: Blues, Jazz and Irish Roots to Indie style prominence.

Composition

There are always compromises in Musicals, especially with the relationship between the orchestra (in the pit) and the singer (projecting ones voice from a stage to a large audience). The capacity for subtle changes in dynamics and phrasing are limited.

A typical characteristic of musical ballads is a large melodic range with an undulating melody. The melodic line is used to exaggerate the lyrics – which is quite unique for a musical.

'West Side Story' – Original Cast Recording

Leonard Bernstein has carefully sculpted intervals as well as ascending and descending phrases for optimum grunt in conveying the meaning of the lyrics for example, he starts down on a Bb and climaxes on a top treble F, then later moves form a major to minor tonality, which adds to the distress of the piece. Being a bit of a rhythm freak, he uses triplets to great effect, to enhance the lyricism of the piece, even though the piece is in cut common time.

The score is played straight, at a slow pace. Bernstein is conducting and one feels that this is what he wants. Carol Lawrence uses little rubato in her interpretation of the rhythm, but her vibrato is measured and constant. There is little dynamic change throughout the piece, except the climax, in which the orchestra is used for build. A poignant chord progression is used throughout the melody based upon Cb Major to Ab minor to the tonic Eb.

Tom Waits – Blue Valentine

Tom Waits version is simply a ballad, a love song. Being a studio recording 'the sky's the limit'- so long as long as you can pay to get the sound you want. He has everything is at his disposal- such as layering, multi recording etc.... and all the parts fit 'tightly' together.

Waits approach is a bit different; he tends to split most of the phrases into two, and tends to gloss over conjunctions and prepositions leaving only pivotal words. Strings are also used as backing; however he brings in a trumpet, to give a boozy pub effect.

 

Work 2: 'Small Town' – Peter Sculthorpe

Interpretation in Performance 1: Eternity – The Timeless Music of Australia's Composers: Sydney Symphony Orchestra and Stuart Challender (conductor).

Interpretation in Performance 2: The Best of Peter Sculthorpe, Tasmanian Symphony Orchestra

 

Small Town: The piece comes from the third movement from 'The Fifth Continent' (TSO, 1963) which stands on its own as a piece (SSO, 1976.)

Peter Sculthorpe: (born 1929, Launceston, Tasmania.) Award winning composer, recipient of APRAs, ARIAs, an OBE and MBE; began piano studies at the age of 8 and was often in trouble for making up his own music, rather than following the score in front of him. Sculthorpe completed his Doctorate studies in England and later returned to Sydney to work as a lecturer in composition) and solely as a composer. He is an activist for other Australian Composers.

Context

Small Town is based on the text of 'Kangaroo', an autobiography by D.H Lawrence, who was a friend of Sculthorpe. In 'Kangaroo', Lawrence describes the seaside town of Thirroul on the New South Wales coast, upon which Small Town is (possibly) based.

Composition

Small Town contains (two main) contrasting melodies – one being, the representative of Thirroul ('Small Town'.) The bass line from the very popular piano piece: 'Heart and Soul' has been used and 'Hoagy Carmichael' – which has an 'oomph-cha-cha' feel'. The melody over the top of this bass line has a very broad melodic range and captures the essence of the 30s and 40s. 'The Last Post' is used frequently throughout the piece. It gives the sense of a rural community in the crisis of war.

There is an initial phrase (all in Bb) of low foreboding (tubular bells, strings, timpani, harp) that contrasts beautifully with the laid back, but poignant melody (oboe) and counter melody (cello) that are established over the bass line (harp). The verses are punctuated with a short phrase replicated in the important refrain; following the second verse, (which takes us into the minor key). Sculthorpe refers to a 'lonely figure in the landscape,' which is quite possibly represented by the oboe. The melody has few key changes mostly between Bb, C and Gb. (both Major and minor keys)

SSO: Sydney Symphony (1976)

This is the stand-alone version of Small Town; not part of 'The Fifth Continent'. It works hard to convey its meaning from the first note as it does not have the spoken introduction. Instruments are much more in the background – a choice of conductor, rather than composer. The tone colour of the trumpet is more 'bugle like' and warm in timbre. The canon (effect) created with the second trumpet is a feature of this version. It creates a sense of distance in the echo effect it sets up, both geographical and distance in the time.

TSO: Tasmanian Symphony Orchestra (1963)

This version (from 'The Fifth Continent') begins with Sculthorpe narrating. The harp quietly accompanies this with 'The Last Post'. The structure of this piece is quite different from the SSO being: Verse, refrain, verse, 'The Last Post', two further verses, refrain and return of the verse. All played similar to the SSO version. The Last Post is abrupt and goes from the tonic to sub-dominant (C to F). It is worth noting that the SSO version finishes on E (mediant).

There is a slight change of melody by the oboe/cello/violin, based on the key of D returning to the original key in the final verses. The Cello is given greater prominence in the counter-melody. All instruments, particularly percussion and harp have a more even balance in sound, rather than prominence being given to the main instruments. The texture of the piece seems to be abrasive, sometimes bright and brilliant in effect. The lone trumpet is brighter lending a more 'military' sound (although 'The Lat Post' is often played on bugle ethic has a slightly more muted tone than trumpet.)