Kim Palmer
Music -1010
Semester Project
Biography- Richard
Rodgers
Overview
The sound of "His" music has been beloved for
over 80 years and will continue for many years to
come. The legendary Richard Rodgers is one of the
all time greatest composers of American Musical
Comedy. (biography.com )His inspiring work with two
of America's great lyricists', Oscar Hammerstein and
Lorenz Hart brought forth a melodious revolution.
Theirs was an era of artistic exploration that permitted
an art form to come into its own. His name is rarely
heard by itself, and people might even say, "Richard
Rodgers who?" But when heard together with his partners as "Rodgers & Hart" and "Rodgers &
Hammerstein" his name is legendary. His lifetime commitment, innovation, and sharing his love of
composing has forever impacted the field of Broadway Musical as we know it today. His
accomplishments are 42 Broadway Musicals, a Broadway play, 3 London musicals, 10 original movie
musicals, 2 television musicals, the scores of 2 television documentaries, a ballet, 34 Tony Awards,
15 Academy Awards, and 2 Pulitzer Prizes. His shows have been performed more than 30,000
times.(Zollo) Rodgers extraordinary career spanned for more than 60 years.
In the Beginning with Hart
On June 28, 1902 Richard Rodgers was born in
the city of New York. His parents, Dr. William Abraham
Rodgers and Mamie Levy Rodgers encouraged him as
they both had a great love of music. When he was just a
lad of 4 he would "play by ear" a tune with just one
finger on the piano. He composed his first song at 14,
Auto Show Girl for an amateur boys club show. At 15
he composed his first full score for an amateur show
called One Minute Please.(Zollo) Little did he know that
just 2 years later he would meet the man that would
change his life. While attending Columbia University he
met Lorenz Hart. Their work on a variety show, Fly with
me sparked a friendship and began the partnership that
spanned over 2 decades with music that would live on
for many years to come.(biography.com) His love for the musical theater continued as he left
Columbia after a year and a half to compose music full time. He went on to attend the Juilliard School
of Music and continued to produce amateur shows with Hart. Their friendship continued for many
years and Rodgers later related how he discovered "a career, a partner, a best friend and a source of
permanent irritation."( Zollo)
His first professional credits began with The Garrick Gaieties(1925). It ran for 211
performances. He wrote a series of musicals and even composed the score for a Circus called
Jumbo. He continued to collaborate with Lorenz Hart on many projects through the years including,
Babes in Arms (1937), the songs “My Funny Valentine” and “The Lady Is a Tramp”; I Married an
Angel (1938); and The Boys from Syracuse (1938), adapted from Shakespeare's The Comedy of
Errors. Their Pal Joey (1940), adapted by John O'Hara from a series of his short stories, turned away
from purely escapist entertainment to serious drama.(Biography.com) In 1943, Hart passed away at
only 48. His death may have closed one door, but another door would soon be opened..
The Dynamic Duo- Rodgers & Hammerstein
The dynamic duo of Rodgers and Hammerstein
began with the musical, Oklahoma!. They continued to
write exclusively together for the next 17 years. The two
joined forces to create Broadway history that would be
celebrated as one of the most successful teams ever
known. These creative geniuses brought forth some of
the all-time favorite musicals: Carousel (1945), South
Pacific (1949), The King and I (1951) and their final show,
The Sound of Music (1957). All of these were made into
movies and have become a "must have" in movie
collections today. The next step for them was to write the
musical made directly for the silver screen, State Fair.
Together Rodgers and Hammerstein have earned
an amazing 34 Tony Awards, 15 Academy Awards, 2
Pulitzer Prizes, 2 Grammy Awards and 2 Emmy Awards.
(Zollo) Three of the four longest running musicals in
Broadway history are Rodgers & Hammerstein's hits. In 1998 they were named by Time magazine
and CBS news as "among the 20 most influential artists of the 20th century." If you are a stamp
collector you may want to add the 1999 U.S. postage stamp commemorated for the great Rogers and
Hammerstein to your collection!
The Art of giving back
Rodgers was also known as a collector of Art. Collecting art earned the him well over $100
million dollars. His love for the arts willed him to give back to the community in many ways. His
generosity brought a million dollar recreation center, a 1,932 seat theater in Harlem, where he grew
up, and scholarships at various institution supporting the Arts. "As his legend grew over the years, his
name became a household word." (Whitman) Over the years there have been many countless
articles written about him and his work, including an autobiography, "Musical Stages."
An Artist who becomes Legend
Richard Rodgers was very versatile. He could write music before lyrics were even fashioned,
or oppositely after they were written." In either event, he could compose at any hour, anywhere, with
or without a piano"(Whitman) Rodgers final shows were Two by Two,1970, Rex 1976, and I
Remember Mama 1979. Only 8 months after his final work, he passed away at his home in New York
City on December 30, 1979 at the age of 77 with his wife Dorothy, leaving two daughters Mary and
Linda.
He is an artist whose works of art are the notes he scribed on sheets of paper, the songs
created to fill our hearts with joy, the stage productions that make our toes tap the floor, and the
movies that will stand the test of time. Alec Wilder stated, "It has also been heard that legend has it
that somewhere amongst the many radio stations of the United States, a song by Richard Rodgers
may be heard at any time, day or night, the year round." (Wilder) On March 27, 1990, he was
honored with Broadway's highest honor when the 46th Street Theatre, was renamed The Richard
Rodgers Theatre. In the lobby there is permanent exhibit that showcases his life and works named
The Richard Rodgers Gallery. American Musical Theater will forever remember the influence and
extraordinary contributions of Richard Rodgers. He is the "stuff" that legends are made of.
Bibliography
1. " Richard Charles Rodgers." 2012. Biography.com 06 Feb 2012, 08:43
http://www.biography.com/people/richard-rodgers-37431
2. "Richard Rodgers." 2012. Performing Songwriter.com January 2002, Issue 59 by Paul Zollo;
http://performingsongwriter.com/richard-rodgers/
3. Alec Wilder, American Popular Song: The Great Innovators- 1900-1950 (New York: Oxford
University Press, 1972)
4. Alden Whitman, "Richard Rodgers Is Dead at Age 77", The New York Times December 31, 1979
Composition Guide
The Sound of Music (2:44)
The Sound of Music was composed by Richard Rodgers to lyrics by Oscar Hammerstein II for the
1959 stage musical, The Sound of Music. Rodgers and Hammerstein shared a home in Jamaica
where they wrote many of the lyrics for this song. With its ascending chords that builds to a dramatic
opening lyric, you can feel as if you are right there with Maria on the top of the Hills of Austria. It is a
breathtaking and magical moment that sets the stage for story of the Von Trapp family.
The song is sung by Mary Martin for the stage musical and Julie Andrews in the movie. The children
sing this as they bring back music to the house for the first time since their mother had died and
opens their fathers heart once again. This songs leaves us believing that our "hearts will be blessed
by the sound of music."
The American Film Institute's ranked this song 10th in 100 Greatest Songs in Movie History At the
turn of the 21st century, an entirely new phenomenon-SINGALONG SOUND OF MUSIC has begun.
The world's largest sing-along is held at the legendary Hollywood Bowl every summer where the fans
bring the Hollywood Hills alive with the sound of music. This song has also been performed by the
artists Carrie Underwood, Renee Zellweger, and many more.
Edelweiss (2:16)
Edelweiss is has a simple sweet melody. The melody was written by the composer Richard
Rodgers, and the lyrics by Oscar Hammerstein. (Songfacts) At the time when this song was created,
Hammerstein was recovering from stomach cancer surgery but still in great pain. He went to take one
last look at the show and just felt like there was something missing in Act II. He felt there needed to
be an emotional connection with the family and the land they were leaving, their beloved Austria.
Thus Edelweiss was born. Originally this song boasted only 12 lines, a small song boasting a big
heart.
It is sung by Captain Von Trapp showing a deep abiding love for his homeland and the sorrow he
feels because he is forced to leave. During the movie, the song is sung twice. Not many know that
Christopher Plummer's performance of this song was actually the dubbed in voice of Bill Lee.
Plummer was not known for his musical abilities, but had asked if they would give him a chance to
sing the song. He recorded it in a studio, but in the end the decision was made to dub the song in as
his voice just wasn't quite good enough.
Do-Re-Mi (5:32)
Do-Re-Mi was published in 1959 by writer Oscar Hammerstein and composer Richard Rodgers. This
song is sung by the character Maria in both the film and stage production of The Sound Of Music. In
the original stage production it was called "the first singing lesson" and was listed as the "happy song"
with the texture to be uplifting. In the stage production the song helps to bond the children and Maria
together when she takes her guitar out and begins to sing after they first meet. During the movie they
begin on the hills where Maria shares this song with the children and shows them just how fun music
can be. You see them sharing the song with each other, while they share the city of Salzburg with us.
The song was based on the French term, solfege' which means a word associated for each note on
the Major scale. When you hear the part, "Fa- a long, long was to run," think about the family that
has a long, long was to run to gain safety and security. Nothing is by accident when Rogers and
Hammerstein are involved.
My Favorite Things (3:14)
My Favorite Things may be one of the most important songs written for musical theater in the 1950's
and 1960's. It has become a standard and is from the 1959 Rodgers and Hammerstein musical The
Sound of Music. It was written specifically for the characters and with its 3/4 time it has a magical way
about it, that lifts people up. The imagery makes it so fun to listen to you can't help but to join along
and sing!
The song was first sung by Mary Martin in the original Broadway production, followed by Julie
Andrews for the movie. In the stage production it is in the First Act just before Reverend mother
sends Maria to be the governess for the Von Trapp Children. During the movie the children come to
Maria's room one by one to find comfort from the thunderstorm. Maria sings to the children to help
them remember that if they just sing about their favorite things, then you don't feel so bad!
”My Favorite Things” has also been used in advertising, been performed by countless artists, and
even used as a book title of a book Richard Rodgers wife Dorothy wrote. It was not about their life,
but about her passion, Interior Decorating.
Bibliography
1. Song Meanings at Songfacts. Web. 4 Feb. 2012. <http://www.songfacts.com/>.
2. Jack Doyle, “The Sound of Money, 2009,”PopHistoryDig.com, June 24, 2009.
3. Richard Charles Rodgers." 2012. Biography.com 07 Feb 2012, 12:51
http://www.biography.com/people/richard-rodgers-37431
Listening Guides
Listening Guide for the Sound of Music 2:46
0-0:30
0:30-1:00
1:00-1:30
1:30-2:00
2:00-2:30
2:30- 2:46
The prelude is in common 4/4 timing and begins Molto moderato, meaning tenderly
with the dynamics of p- softly. The timbre is bright as you hear the sound of birds
chirping in the wind as if you are on the hill with the character Maria. At 0:13 the
orchestra enters with flutes I believe in high trill and horns in unison to introduce the
prelude with flutes mimicking the sound of birds chirping. At :25 the prelude slowly
builds as the dynamics crescendo to f-stronger
0:36 the horns continue to build and crescendo as the texture becomes polyphonic
when more brass, winds, strings and percussion all join to build the introduction of
vocals at 0:48 when Julie Andrews comes in with "The Hills are Alive with the Sound
of music". The texture of the clarinets mimic in a descending 4 notes imitation to
Julie Andrews after each section of singing, like a bird mimicking a person. The
melody is very conjunct, simple and smooth.
1:02 begins the 2nd musical phrase . The form is repetitious of the first phrase and
the melody repeats with the same descending contour with a small change in words
from "are alive" to "fill my heart". It is rhythmically the same as the first phrase. At
1:19 the melody changes with the range narrowing and the dynamics are mezzo
piano, medium soft. It begins to feel more lively and happy.
1:44 cadence begins "to sing through the night". This phrase begins the gradually
crescendo and the dynamics of f-forte with the phrase ending at "pray". The
orchestra continues in harmony with the vocals. The contour is ascending to the
Climax when Julie sings "I go to the hills "at 1:53. This begins the return of the familiar
melody with the timbre a slight feeling of sadness with the descending contour and
the dynamics mp.
2:04 The form repeats itself again with the clarinet playing the 4 notes descending
imitation of the voice. At 2:10 the dynamics begin to crescendo to mf- medium strong
to 2:14 coda when she sings "My heart will be blessed" the harp plays softly in the
background a glissando ascending to imitate the vocals ending on the C at 2:17.The
orchestra is also playing harmony with a triad, or triplets with the words "music"
2:29 begins the final phrase "And I'll sing once more" The words "sing and once" are
all held for the full 4 counts with the rhythm's tempo being very slow. The final word
"more" is held for a full 6 counts while the form of repetition plays the familiar 4 notes
descending imitation heard from the clarinets brings this piece to a close with a feeling
of completion at the end 2:46 .
Listening Guide for Edelweiss 2:16
0:00-0:30
0:30-1:00
1:00-1:30
1:30-2:00
2:00-2:16
The Introduction in 3/4 time or triple meter/simple division with a guitar playing a
chord p-softly and moderato or moderate for 4 measures. The texture is monophonic
with only the guitar playing. At 0:10 the first phase begins with the Captain singing
"Edelweiss, Edelweiss" The melody is arch contour meaning 1st word going up, and
2nd word coming down. The Harmony is consonance, very simple and pleasing. at
0:18 violins join in p-softly in harmony with "every morning you greet me" with o:24
The second phrase/verse "small and white, clean and bright" begins with the same
form, repeating the arch contour.
The dynamics continue with mp-moderately soft. At 0:40 the timbre of the
background violins coming in pp-very soft and gradually crescendo to p-soft in unison
with the vocal. The melody is arch contour at 0:46 the cadence of "Bloom and Grow,
forever" has a crescendo from mp-medium soft to P-soft then decrescendo back to
mp.
1:09 the verse ends with "Bless my homeland forever" at 1:11 the song is repeats a
second time at the beginning with the same words, "edelweiss" The captain repeats
the song and is joined in harmony by his daughter at 1:13 in a duet now with
imitation, or repetition of the melody phrase in a different key for the words
"Edelweiss". At 1:22 they sing in unison the following phrase. The form of repetition
continues with the same imitation and unison in the 2nd verse. The texture is also
homorythmic as it moves together in the same rhythm.
1:39 the captain sings solo again in harmony with the guitar and violins in the
background. The dynamics are still p-soft and the melody continues to be conjunct.
Coda 1:53 starts the final phrase. The tempo slows considerably with the word
forever being broken up with "for" as one beat and "ev" and "er" are the full 3 beats
of the measure. The harmony of the guitar and violins continue in unison with the
voice and are consonance, pleasing. The final chord is played arpeggio, one at a time
to bring the song to an end at 2:16
Listening Guide for Do-Re-Mi (5:32)
0-0:30
The song is in 2/4 timing or duple meter/simple division. It begins with an introduction
of 4 measures of 1/8 notes with an octave span going back and forth. First Verse
begins at 0:04 and is joined in harmony by violins. The melody is conjunct, with small
intervals of movement. The rhythm is allegretto, which is moderately quick. at 0:19
the children sing in unison with imitation, repeating the same phrase as Maria. "do-remi". The dynamics are still p-soft.
0:30-1:00
1:00-1:30
1:30-2:00
2:00-2:30
2:30-3:00
3:00-3:30
3:30-4:00
4:00-4:30
0:30 begins the ascending Major scale with "Do-re-mi-fa-so-la-ti-do" The texture
continues in unison with the clarinets and vocals and the dynamics crescendo to mfmezzo forte. At 0:38 the violins descend back down the major scale with a light
tempo to begin the refrain or chorus at 0:41 it is sung in a spirited tempo and forte or
strong. The timbre changes with the orchestra coming in to join the vocals in the
chorus. You can hear a tuba in the background that adds to the depth of the timbre.
1:13 begins the chorus again with the children shouting the words" Do!" before
Maria sings each corresponding phrase until at 1:28 the timbre and texture change
with the children joining her singing in unison the rest of the chorus. The dynamics
show a poco crescendo as it increases little by little to mf- mezzo forte.
1:42 the dynamics are still mf- medium loud and begins all the children singing in
unison the chorus again for the 3rd time. The harmony is still consonance and the
and the texture is polyphony with many voices and instruments playing the melody
and the timbre changes with a triangle tinging after each exclamation of the pitch
with it name. 1:55 Climax-as the dynamics change to ff - very strong and loud with
the pitch of "So" with full orchestra playing in harmony with the lyrics.
2:09 The pace continues to increase to the final assention of the G major scale by
pitch with a soft pinging of the triangle . The texture is polyphonic with many
instruments playing. At 2:12 the timbre changes as the music stops with Maria
speaking to the children about the notes and mixing them up to build a song. at 2:28
she begins singing A ccapella- without instrumental music the words in a different
order-chorus variation-to show how you can make music.
2:31- the children sing in unison an imitation- repeating what Maria just sang. The
dynamics remain f-loud and the melody in conjunct with the rhythm still in duple
meter and the tempo is moderate. At 2:50 they all sing in unison a repeat of the last
phrase. The timbre changes with the being joined by the orchestra again. The
texture is polyphonic and the dynamics increase to mf very loud and are very bright
and lively.
3:11 Maria begins singing a word for each note that begins the next phrase. The
form is repeated as the same melody is sung with the words that make a new verse.
The texture changes with the sound of flutes and snare drums in the background
fluttering with the tempo of vivace- lively and fast.
3:28 a descending cadence of percussion to end the phrase joins in to end this verse.
3:40 The chorus is sung for the 4th time. The texture is polyphonic with many
instruments and the dynamics are mf-very loud. The timbre remains the same.
4:07 begins the phrase of the pitches "do-re-mi…" in an arch contour, first ascending
up, then descending back down in the same fashion. The harmony and dynamics
remains the same. At 4:15 the timbre changes when you hear the xylophone played
in unison with each note that is sung while the rest of the instruments continue
playing more softly in the background. The combination of notes are different than
before and not in order which brings texture and contrast to this verse. The rhythm
is allegro- fast and lively.
4:30-5:00
5:00-5:32
Coda -4:39 begins with the chorus sung for the 5th time. The melody is repeated
with the continued dynamics of ff- very loud with a polyphonic sound. The
background of the orchestra continues to build the intensity of the piece. The
trumpets play in unison with the voices. at 4:54 they sing "so..." and the timbre
changes when the trumpets follow each phrase with 3 ascending notes in arpeggio.
This adds to the crescendo and dynamics of this final verse.
5:07 the dynamics change when the tempo slows slightly and the sound changes to
f-strong/loud, with the repeat of the chorus variation that crescendo slowly back to
mf. The familiar repetition of the orchestra continues in harmony with the vocals.
At 5:25 the final crescendo to C to sing "Do!" is ff very loud. to end at 5:32.
Listening Guide for My Favorite Things (2:19)
0-0:30
0:30-1:00
1:00-1:30
1:30-2:00
2:00-2:19
The song is in three four time/perfect time or triple meter. The tempo is allegro
animato- played lively and animated. Verse 1 begins with only Maria's voice saying
"raindrops on roses..." followed by violins plucking the three quarter notes in
imitation. 0:07 the 2nd phrase begins and the timbre changes with the addition of
more instruments entering in consonance harmony with the melody. 0:18 verse 2
begins with same dynamics.
0:31 verse 3 begins with the same dynamics and rhythm until the cadence at 0:42
marks the crescendo to mf-very loud . At 0:46 Verse 4- the timbre changes as the
horns play in unison with the phrase "When the dog bites…" is sung as the contour
descends from a B to an E . There is a slur on the second measure of each phrase of
the third verse, which means they are sung in one single breathe.
1:02 timbre changes as the orchestra is playing the melody without vocals. The
texture remains polyphonic. 1:12 repeat of Verse 1. The tempo is still allegro
animato and the dynamics are forte-loud. The orchestra is still playing in the
background in C major in harmony with the vocals.
1:41 the horns sound off in unison in prelude to the next verse for 4 measures 1:44
repeat of verse 3 begins. 1:58 Coda- Final Verse 4 dynamics change to in mfmedium strong, the horns again play in unison with the vocals to emphasize the first
phrase of this verse.
2:03- final phrase begins and the dynamics crescendo to fortissimo-very strong.
2:07- trumpets sound off again with 5 ascending 1/8 notes to bring the vocals to
the last "so bad". " bad" is held for a final 9 measures while the orchestra does the
finale of triads in 4 inverted arch contours with the final two triads ascending an
octave for the final note of sf-subito forte which stands for the sudden or strong
loud end at 2:19.