Megamusicals of Andrew Lloyd Webber - Essay Example

THE ROLE OF STORY AND SCORE IN WEBBER MUSICALS Introduction. Musical Theater is an art form that combines the basic elements of speaking, acting, singing and dancing. It is a play that may have all the four elements together in varying proportions or it may utilize pure singing and dancing only and is considered as pure-music or sung-through form. Jesus Christ Superstar, Evita, Cats and Phantom of the Opera are almost sung-through musicals, a trademark of composer Andrew Lloyd Webber. When story and music are put together, the synthesis is an extremely powerful, expressive and stimulating work of art that is very effective in communicating a message and eliciting a warm response from the audience.1 The Story. All the ingredients of a story including the setting, characters, the plot, the conflict, the resolution and the message contribute to make a good story. It provides a time and place which may be real or imaginary; while a real-life setting is determined by historical facts, an imaginary setting however can make a story very interesting. Jesus Christ Superstar and Evita are based on real-life persons and events while Cats and Phantom of the Opera on fictional stories. A story also provides characters whose personalities, background and visions become the basis of songs. Information about the character becomes the source of the content of the lyrics and the basis of the styles to be used for the music. In Webber's musicals, songs have been written for and about the characters like Jesus, Mary Magdalene and Judas in Jesus Christ Superstar; Old Deuteronomy, Grizabella and Macavity in Cats; Evita, Juan Peron and Che in Evita and the Phantom, Raoul, and Christine in The Phantom Of The Opera.2 A story also layouts the plot, that is, the series of events arranged in a logical sequence and meaningful format that progresses interestingly to bring a clear conveyance of the musical's idea. The plot provides the structure or outline for the sequencing or ordering of songs and music for the musical while the context of the scene helps the composer to determine the type of melody, rhythm, tempo, dynamics or style of music to be used to suit the scene. Considerations like whether to use vocal or instrumental music, solo or choral; sad or happy music, for example, are influenced by the nature and meaning of the scene. Webber is very successful in this aspect which may be appreciated in some of his works especially in his musical Jesus Christ Superstar.3 The conflict is the core of a story, for without it a story becomes uninteresting and unrealistic. Human life is full of conflict and it is this aspect of a story which people relate and respond to. It is then a rich source of material for lyrics and music; conflict leads to the composition of intense songs and powerful music. Webber's song "I Don't Know How To Love Him" and the Overture of Jesus Christ Superstar are just some of his great works that manifest conflict. The resolution of conflict in a story is also a source of material for score writing. Conflict resolutions create wonderful, victorious and inspiring song and music. "Hosanna" and "Superstar" are examples of inspirational songs written by Webber.4 Lastly, the message of the story is a very important source of material and content for the making of song and music for a musical. A story without a message is useless and a song without a message is devoid of significance and meaning. Webber's musicals have great meanings and messages including love for fellowmen, romantic love, love for country and love for life. His musicals contain deep values like hope, love and loyalty.5 In musical theater, the Story is the ingredient that provides meaning and essence. It is the core and substance that endows the musical its development and evolution. It is the component that carries the message to the audience in a forward movement and making the play comprehensible; it is the constituent of the musical play that makes the mind think. Because of the story, actors and actresses have something to say, act, sing and dance about; the performers then become significant and meaningful to the listeners and watchers. The story is indeed the brain, the mind, the intellectual facet of a musical play. Without a story, a musical can not be created.6 In Webber's musicals, therefore, the elements of a story serve as the basis for the lyrical content and the musical style of the score. The lonely setting of the story and the plot's dizzying series of events leading to the crucifixion explains the eerie and furious music in the Overture of Jesus Christ Superstar. The character and role of Mary Magdalene in Jesus' life has inspired the lyrics of "I Don't Know How To Love Him." The biblical arrival of Jesus in Jerusalem and the reaction of the crowd is the basis of the song "Hosanna." The mocking of Jesus by Herod in the bible story is the basis of Webber's use of a playful ragtime musical style. The Biblical question "Are you the messiah" is paraphrased in the lyrics "Who are you, what have you sacrificed" in the song "Superstar." The Gospel of John is the source of inspiration for the final music piece "John 19:41". These are some examples of how the story becomes the basis of Webber's musical score.7 The Score. Lyrics are words that have meaning and when put together in coherent and logical manner, words make a language that carries ideas. Thus, the lyrics contain the meaning and message of a song. It is the part of s song that makes people think. Through lyrics, a song acquires intellectual significance and mental value; lyrics communicate thoughts and ideas. It is the aspect of a song that reaches out to the listener's mind. Without lyrics, a song has no message. In Webber's works for example, the song "Superstar" conveys the message of the greatness of Jesus; "I Don't Know How To Love Him" implies the message of love for fellowmen; "All I Ask of You" is about romantic love; "Don't Cry For Me Argentina" shows loyalty and love for country; and "Memory" expresses hope and love for life.8 The other component of the score is Music. All the basic music elements must contribute to making a good musical work. Melody, tempo, dynamics, harmony, timbre, instrumentation and style must produce a synergy to produce a most powerful musical composition. Each element must be developed effectively by the composer to render music that justifies a beautiful and great story. The melody must be appealing and consistent with the theme and setting; its structure of step-wise and skip-wise notes must be utilized properly to create smooth or jagged, rising or dropping melodic lines that create the suitable emotions the play requires. Webber uses plenty of stepwise motion of notes to create smooth lines in songs and music for warm and intimate scenes while rhythmic melodies are usually for scenes with confrontation and conflict. "Don't Cry for Me Argentina", "I Don't Know How To Love Him", "All I Ask Of You" and "Memory" are all examples of melodic music while the lines of Judas in "Superstar" and some lines of Herod in "Herod's Song" are very rhythmic.9 The use of high and low pitches also adds to emotional tone coloring. The individual vocal ranges of the singers must also be considered by the composer. For loving and tender scenes, Webber normally uses low keys or medium vocal range while he uses the higher pitches and higher vocal ranges to highlight important words or intense scenes.10 Tempo must be consistent with the feeling the play wants to convey; varying use of slow, moderate and fast tempos establish the ebb and flow of emotions. Webber uses slower tempos for passionate, intimate scenes and faster tempos for scenes with conflict or joy. Interesting tempo contrast may be heard in "Herod's Song" and "Superstar".11 Dynamics must be used fittingly to create the needed impact of the music; the interplay of soft and loud volumes can create relaxing and exhilarating moods. Webber uses soft dynamic level for intimate, warm scenes while he utilizes more volume for conflicting and climactic moments. A wide range of dynamic levels is present in the Overture of Jesus Christ Superstar.12 Timbre must be explored daringly to generate many tonal colors and textures appealing to the ears. Vocal or instrumental harmony must be used now and then in different situations to create varying timbres and tonal qualities. Musical instruments must be used actively to make the musical sound interestingly varied and rich. Use of unison and choral singing is employed for necessary effects while different musical genre is utilized to produce desired musical results. To create a variety of interesting musical timbre, Webber uses solo, duet and choral singing; chordal and contrapuntal music; instrumental and vocal music; and various musical instruments in different combinations in his musicals. We can appreciate rich and thick choral singing in "Hosanna" and "Superstar"; in contrast a full orchestral or instrumental texture may be heard in "John 19:41." Solo and duet vocal textures are heard in "All I Ask Of You". 13 The use of different musical styles also produces interesting and appealing musicals. Webber employs different period music styles for his musicals, styles like Gregorian chants, classical, ragtime, pop, jazz and rock music. While there is plenty of pop style and semi-pop/classical singing, ragtime music may be heard in "Herod' Song" while Gregorian music is heard in a scene in Evita and a short operatic delivery in "All I Ask Of You".14 A most basic function of music is to give emotion to a song and to a scene. It is the part of the song that makes people feel. Music is the emotional aspect of a song; a composer uses it to express emotion. It acts as the heart and soul of a song; it is the part of a song that touches the listener's soul because the soul is the seat of a person's emotion. It is music that communicates love and affection in a song; it is music that communicates joy and happiness through song; it is music in song that conveys peace and harmony to men. Without music, a song could be without passion and sentiment; without music, a song has no emotion. Some of Webber's emotional and tender songs are "I Don't Know How To Love Him", "Don't Cry For Me Argentina", "All I Ask Of You" and "Memory." A moving instrumental or orchestral music is "John 19:41". 15 Music is the emotion of the whole musical; it infuses the musical with warmth; it creates feelings that both performers and audience sense and appreciate. It arouses sentiment and empathy; it is the element that makes the heart feel. Without music, a story could devoid of the warmth that emotion brings. Music is the emotional ingredient of a musical play; it speaks the language of the spirit. Because of music, the actors and actresses speak, act, sing and dance with passion; because of music, the characters become warm bodies on stage. With music, a musical becomes an affectionate and tender representation of life! Some of Webber's more inspiring songs include "Memory", "Don't Cry For Me Argentina", "Hosanna" and "Superstar". "Herod's Song" is an entertaining piece of music. 16 The Score therefore is a blending of lyrics and music. The role of the score in a musical is vital. It narrates the events in a story through songs; it expresses the thoughts and emotions of characters in the story in song style; it enables the characters in the story to dialogue with each other through singing; it highlights important and intense dramatic parts of the story; it infuses the story with emotion to enhance the characters, events and scenes in the musical. Finally and most importantly, the score communicates the whole message of the story through music and song. 17 JESUS CHRIST SUPERSTAR. The biblical story of Jesus' crucifixion provides the setting, characters, plot, conflict, resolution and the message of the play. The setting is Jerusalem during Jesus time. Based on the 1973 film version, the events take place in and around an old, isolated and abandoned stone temple ruin. The main characters are Jesus, Mary Magdalene and Judas. The plot begins with Judas talking about Jesus Christ; the conflict of the story revolves in the person of Jesus who is considered a threat to the authorities; the conflict is resolved in Jesus' crucifixion. 18 Overture. The Overture begins with a very soft and slow melodic line played by different instruments one after another. The melody expresses an eerie lonely feeling and very aptly describes the setting which is a creepy and ghostly place. The chilly sound of the music describes the setting fittingly. 19 The tempo is slow and volume increases creating a tense feeling that suggests something is about to happen. The melody of the electric guitar is accompanied with a subdued drone in the background while the piccolo is interspersed by the sound of a beating drum that contributes to the heightening of emotion. At the end of this melodic line is a crashing sound followed by a seemingly disturbing rhythmic music (agitato) 20 What follows is a fast noisy percussive type of music while the sound of the bus is now beginning to be heard and soon the sounds of people as they come out of the bus. 21 The same music continues to increase in intensity while the members of the cast are putting costumes, making-up and bringing out their props. The noisy music appropriately continues as the tormentors of Jesus like Herod, Caiphas, Annas, the Priests and Judas are being shown. The music changes to a rhythmic fast music when the cross is prominently carried and shown. 22 The music aptly changes again though briefly to a glorious sound when Jesus Christ is shown 23 and finally ends with a sad foreboding music when the enemies of Christ are shown once again. 24 The overture gives a preview of the whole story. It describes briefly in music the story's setting, the characters, the general theme and emotional tone of the story. It also introduces the various musical themes or motifs that will be used and reprised throughout the musical. Webber appropriately uses the proper combination of melody, tempo, dynamics and instrumentation to indicate the scene changes and he employs music fittingly to express the emotion of each sub-scene. Except for that momentary glorious part, the whole music of the Overture expresses the conflict present during the last moments of Christ.25 "I Don't Know How To Love Him" This is a song by Mary Magdalene who is alone thinking and talking to herself; she is bothered and confused about her feelings for Jesus. The music is very melodious and tender with smoothly connected notes in step-wise motion. An example, as shown next, is the smooth line in the first measure for the lyrics "I don't know how to " where the step-wise ascending and descending notes are broken only by a leap of 6th interval up the next measure obviously to emphasize the word "love." 26 It is written in key of D-major with no key change and set in a medium vocal range comfortable to the singer: the lowest note is low A and the highest note is high C. 27 There are no high notes to hit and there is no need to belt out the notes which could destroy the character of the love song and disturb the quiet of the scene. Tempo is slow as shown in the figure previously; the tempo is consistent with the scene when everything is asleep and no soul is moving. Volume is moderately soft as shown next creating a calm and peaceful sense. 28 The song exudes a sad emotion and is about Mary's feelings for Jesus. It is a moving and touching song and one deeply feels for Mary. It is a soulful song that is very pleasant to hear and which fits the setting of the scene because it is night time and everything is peaceful and quiet while Jesus is serenely sleeping. Through the song Mary expresses her love for Jesus. This is a great example of Webber's skill in blending artistically story and music: the scene determines the song and the song describes the scene.29 "Herod's Song" This is a song by King Herod addressed to Jesus. He is asking Jesus to prove himself by performing miracles but Jesus does not respond. When Herod is infuriated, he mocks and makes fun of Jesus. It starts with a rhythmic speaking-like recitative style of singing. 30 The music is very upbeat and bouncy. The tonal pitch ranges from low B to high G. It is sung in falsetto style to create light and playful singing, as shown the following figure. 31 The song starts in slow free-time manner until the 10th measure when it shifts to a moderate tempo in Ragtime style, shown next. 32 Volume is moderate until measure 85 when Herod becomes mad and sings in shouting style. Main instrument used is the piano which is consistent with ragtime music; full instrumentation appears only in measure 85 to emphasize Herod's anger. 33 The song is playful and comic and conveys the message that Jesus is insignificant and irrelevant; he must not be taken seriously and must be rejected. By using ragtime style music, Webber effectively creates a light, entertaining and enjoyable piece of music that one carelessly forgets the object and victim of the scorn and derision is Jesus! Again, Webber successfully uses the story to determine his music score and his song fittingly describes the scene.34 "Hosanna" This is a song by the crowd with a short line by Caiaphas and some solo lines for Jesus; he sings with them once in a while. People are walking with Jesus while praising and hailing him. Jesus tells the people that they are blessed. The song is generally melodic especially the crowd line, shown below. It starts in unison 35 until measure 22 when chorus in three voices for male and female are sung chordal fashion. 36 The melodic range of Jesus' lines range from middle D to high F, shown below. 37 It is in moderate tempo slowing down only for the solo parts. Dynamic levels range from soft parts for the solos and loud volumes for the chorus. Webber composes an interplay of solo part and choral singing to make a light, interesting music. It creates a joyful and happy mood by the employment of choral singing. A moderate tempo and dynamics for the chorus also helps to establish jubilant singing. Here again, Webber makes story and music consistent with each other. The biblical context of the song is the presence of a crowd welcoming and acclaiming Jesus. To be consistent with that story setting, he uses choral singing in his composition.38 "Superstar" This is a song by Judas directed at Jesus. He is asking Jesus who he is, why he came at such a time and what is the meaning of his sacrifice. Judas' lines are very rhythmic as shown in the next figure. 39 It is written for high tenor with the lowest note at middle G and the highest note is high B. 40 It starts with a slow majestic instrumental tempo (maestoso) and changes to a fast upbeat tempo when Judas' solo line is sung beginning in measure 9, see previous figure. The rhythmic and fast tempo adds tension to the scene where Judas confronts Jesus with his questions. Tempo shifts to slow tempo when the angels come in singing the choral refrain in unison. 41 The tonal quality of the angelic sopranos is clear and brilliant creating a glorious and majestic effect. The use of unison for the choral refrain which contains the main theme plus the sudden shift to slow from a fast tempo contributes greatly to emphasizing the theme of the refrain. Dynamic level is generally loud, forte (f) to fortissimo (ff) until it reaches a very loud level in measure 85 when Judas sings with the angels and the soul girls in full choral and contrapuntal style, shown next. 42 It is generally a powerful and inspiring song. Through full choral music in majestic style, Webber succeeds in capturing the whole message of the play that in spite of dying on the cross, Jesus is a great man - a superstar! This is a biblically inspired scene, a product of Webber's creative imagination to be able to pose the philosophical question "Who is Jesus Christ" He chooses Judas to express man's greatest question. A simple idea, that is, a simple question from a real-life story becomes the source of a powerful song and a song is created in fitting music style to express that question. Again, Webber imaginatively blends story and score in a musical.43 "John 19:41" This is the final piece of music played with Jesus on the cross without life. It is very short having only 30 measures but very melodious and slow; the musical line is smooth and connected (legato) with ascending and descending notes. 44 Tempo is very slow throughout the piece. It starts from a very soft volume, pianissimo (pp), shown above, gradually doing a crescendo until it reaches its peak full volume, fortissimo (ff) on the first beat of measure 18 after which it gradually does a diminuendo. 45 The music is in full orchestra and the sound texture is broad, full and rich. This is a very stirring and moving music which Webber uses to describe the last moments of Jesus. One truly feels a deep sense of sadness and loss; Jesus as a human being becomes real at the moment. Thus, a real moment in history becomes the source of music, and music in return, recreates that historical moment; once again, story and score fused in art in Webber's work. Webber uses the same melodic theme or motif in his closing measures of the Overture (measure 109 to the end) 46 47 in the closing measures of this final piece (measure 24 to the end). 48 By ending this way, one feels a full cycle has been completed. Through this poignant piece of music, Webber creates a feeling that something has been resolved; one senses a humble, dignified and peaceful feeling that truly, as in Jesus' last words - "It is finished."49 EVITA. The story is about Evita Peron, wife of President Juan Peron. The setting is in Argentina; the characters include Evita, Peron and Che as the narrator. The play begins with the announcement of Evita's death, makes a flashback on her life and ends with her asking forgiveness before dying.50 "Don't Cry For Me Argentina" The song is sung by Evita as she addresses the crowds explaining to her supporters about the circumstances of her past life. She articulates her affection for them and expresses her hope that they love her back. Based on the 1996 film version sung by Madonna, the song is very melodic and sung in medium pitch range. Tempo is very slow and the dynamic level is moderate; the volume picks up during the refrain the second time it is sung. The rendition of the song is calm and tender. The song expresses a sad emotional tone where Evita expresses her love for her country Argentina and her people. It is a very soft and touching song and Webber is able to show Evita's sincerity while asking for the people's understanding and acceptance. Webber uses a real person with a life-story revolving around Argentinean politics as the basis of his song. Using a shapely melodic contour, moderate dynamics and a deliberate tempo to create a very serious music, Webber is able to capture the true inner core of Evita Peron at this time of her life: turning away from the pleasures of a careless and loose life, she is back because she is loyal and loves her country genuinely.51 CATS. The story is based on T. S. Eliot's book and poem about cats. The setting is an imaginary place where a tribe of cats called Jellicle Tribe live. Some of the characters are Old Deuteronomy, the patriarch of the Jellicle Tribe; Grizabella, an old glamour cat; Macavity, the evil cat and Munkustrap, the narrator. The story begins with the cats explaining about the Jellicle Tribe and ends with Old Deuteronomy giving a speech. The conflict of the story revolves about who will be chosen to go to the Heaviside Layer. Macavity captures Old Deuteronomy who has to make the choice. The conflict is resolved when Old Deuteronomy is returned and Grizabella is chosen.52 "Memory" This is a song by Grizabella, an old and lonely cat past her prime who has lost her previous beauty and glamour. She sings the song to the other cats that resent and reject her. It is a very melodious song characterized by plenty of stepwise ascending and descending notes, measures 6 - 7, see Appendix A. The vocal range is medium with a slow regal tempo. Although the song exudes a sad sentimental feeling for days gone by, the message of the song is one of hope as expressed by the lines " I am waiting for the day And soon it will be morning Another day is dawning And a new day will begin!" It is a very touching yet very inspiring song about loving life by Webber.53 THE PHANTOM OF THE OPERA. The story is about a man who terrorizes an opera house in France. The setting is in Paris, 1911 and the main characters are the Phantom, Christine and Raoul. The plot begins at an opera where an auction is underway and ends with the disappearance of the Phantom. The conflict involves the Phantom who is in love with Christine but is rejected by her because of his face. The conflict is resolved when the Phantom gives Christine freedom to love Raoul instead.54 "All I Ask of You" This is a duet song by Raoul and Christine singing to each other. Christine is a chorus singer whom the Phantom teaches to sing and falls in love with. Raoul is Christine's childhood friend and sweetheart. Based on the singing in the film version, the song is very melodious and with stepwise notes in ascending and descending motion as seen in measure 2 and 4 of the piece in Appendix B. The vocal range is wide with some high soprano and tenor level notes in the refrain portion which requires an operatic bel canto technique. Tempo is moderately slow and dynamics ranging from soft in verse parts and shifting to loud level in the refrain due to the presence of high notes. It is once again a tender music, it being a love song, an expression of two person's romantic love for each other. It is a pleasing love song that reveals Webber's flair for composing very romantic songs.55 Conclusion. A Story provides the basis of a musical score. The setting, characters, plot, conflict, resolution and message provide the basis for the lyrics and are the source of a composer's musical inspiration. Each story element gives the composer information and guide how to effectively use the musical elements for the composition. The same elements in the story will suggest to the composer the emotional tones and colors that will enhance the beauty and intensity of the musical. The Score therefore is a musical representation and reflection of the story. It expresses the elements of the story in musical form, re-enacts the events in musical fashion and conveys the message in musical style. Using a combination of music elements which include melody, tempo, dynamics, timbre, instrumentation and style, Webber is able to create touching, tender songs for characters and moving, inspiring music for scenes in his musicals. The great works cited here attest to the immense, creative mind and imagination of Andrew Lloyd Webber. It is the artistic skill and genius of this brilliant composer to create an intricate fusion and synergy of Story and Score that has produced his great musical masterpieces! 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