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The Lighter Classics in Music by David Ewen

1884. He acquired his musical training in Prague and with Felix Mottl in

903 words  |  Chapter 3

Munich, after which he devoted himself to light music by composing operettas. While residing at different periods in Vienna, Berlin, and Switzerland, he wrote the scores for over ninety operettas and 250 motion pictures, besides producing about five thousand songs. His most successful operettas were _The Laughing Triple Alliance_, _My Sister and I_, _Love in the Snow_, _Axel at the Gates of Heaven_, and _The White Horse Inn_. He came to live in the United States in 1940, but after World War II returned to Europe. He died in Zurich on October 17, 1957. _The White Horse Inn_ (_Im weissen Roess’l_) is not only Benatzky’s most celebrated operetta, but also one of the most successful produced in Europe between the two world wars, and possibly the last of the great European operettas. It was first performed in Berlin in 1930, after which it enjoyed over a thousand performances in Europe. Its première in America in 1936 (the book was adapted by David Freedman, lyrics were by Irving Caesar, William Gaxton and Kitty Carlisle starred) was only a moderate success. The operetta book of the original—freely adapted by Erik Charell and Hans Mueller, from a play by Blumenthal and Kadelburg—is set in the delightful resort of St. Wolfgang on Wolfgangsee in Austria, in the era just before World War I. Leopold, headwaiter of _The White Horse Inn_, is in love with its owner, Frau Josepha, who favors the lawyer, Siedler. In a fit of temper she fires Leopold, but upon learning that Emperor Franz Josef is about to pay the inn a visit, she prevails upon him to stay on. Leopold makes a welcoming speech to the Emperor, during which his bitter resentment against Frau Josepha gets the upper hand. Later on, when Frau Josepha confides to the Emperor that she is in love with Siedler, he urges her to consider Leopold for a husband. Leopold then comes to Josepha with a letter of resignation, which she accepts, but only because she is now ready to give him a new position, as her husband. Selections from this tuneful operetta include the main love song, “_Es muss ein wunderbares sein_,” the ditty “_Zuschau’n kann ich nicht_,” and the lively waltz, “_Im weissen Roess’l am Wolfgangsee_.” It is mainly the worldwide popularity of this operetta (even more than the natural beauty of Wolfgangsee) that brings tourists each year to the White Horse Inn at St. Wolfgang, for a sight of the operetta’s setting, and to partake of refreshments on the attractive veranda overlooking Wolfgangsee. The inn is now generously decorated with pictures in which the two main songs of the operetta are quoted, supplemented by a portrait of Benatzky. Souvenir ashtrays also carry musical quotations from the operetta. Arthur Benjamin Arthur Benjamin was born in Sydney, Australia, on September 18, 1893. His music study took place at the Royal College of Music in London. After serving in World War I, he became professor at the Sydney Conservatory, and in 1926 he assumed a similar post with the Royal College of Music in London. Meanwhile in 1924 he received the Carnegie Award for his _Pastoral Fantasia_, and in 1932 his first opera, _The Devil Take Her_, was produced in London. For five years, beginning with 1941, he was the conductor of the Vancouver Symphony. He has written notable concertos, a symphony, and other orchestral music, together with chamber works and several operas including _A Tale of Two Cities_ which won the Festival of Britain Prize following its première in 1953. He also wrote a harmonica concerto for Larry Adler. Though many of his compositions are in an advanced style and technique, Benjamin was perhaps best known for his lighter pieces, particularly those in a popular South American idiom. He died in London on April 10, 1960. The _Cotillon_ (1939) is a suite of English dances derived from a medley entitled _The Dancing School_, published in London in 1719. Presented by Benjamin in contemporary harmonic and instrumental dress, these tunes—popular in England in the early 18th century—still retain their appeal. A short introduction, built from a basic motive from the first dance, leads to the following episodes with descriptive titles: “Lord Hereford’s Delight” for full orchestra; “Daphne’s Delight” for woodwind and strings; “Marlborough’s Victory,” for full orchestra; “Love’s Triumph” for strings; “Jig It A Foot” for full orchestra; “The Charmer” for small orchestra; “Nymph Divine” for small orchestra and harp solo; “The Tattler” for full orchestra; and “Argyll” for full orchestra. A figure from the final tune is given extended treatment in the coda. Benjamin’s best known piece of music is the _Jamaican Rumba_ (1942). This is the second number of _Two Jamaican Pieces_ for orchestra. A light staccato accompaniment in rumba rhythm courses nimbly through the piece as the woodwinds present a saucy melody, and the strings a countersubject. Consecutive fifths in the harmony, a xylophone in the orchestration, and the changing meters created by novel arrangement of notes in each measure, provide particular interest. The _Jamaican Rumba_ has been transcribed for various solo instruments and piano as well as for piano trio. The _North American Square Dances_, for two pianos and orchestra (1955), is a delightful treatment of American folk idioms. The work comprises eight fiddle tunes played at old-time square dances. The native flavor is enhanced in the music by suggestions and simulations of feet-stamping, voice calling, and the plunking of a banjo. In the
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1. Chapter 1 2. introduction, random phrases bring up the image of various attitudes and 3. 1884. He acquired his musical training in Prague and with Felix Mottl in 4. Introduction there appear fragments of the first dance; these same 5. 1894. He began his music study in Kansas City: piano with his mother; 6. 1803. As a young man he was sent to Paris to study medicine, but music 7. 1918. Early music study took place with private piano teachers, and 8. 1833. He was trained in the sciences, having attended the Academy of 9. introduction or coda, originated as a piece for piano duet: the 10. 1886. While attending the Royal Academy of Music in London, where he 11. 1899. He made his stage debut in 1911 in a fairy play, and for the next 12. 1884. In the compositions written in Rome under the provisions of the 13. 1836. After attending the Paris Conservatory from 1848 on, he became an 14. 1873. The plot revolves around a peasant boy whom a Marquis is trying to 15. episode depicts a pair of lovers in a secluded corner; the principal 16. 1931. He died in Worcester, England, on February 23, 1934. 17. 1902. The opening brisk, restless music is recalled after a full 18. 1916. He was graduated with honors from the National Conservatory in his 19. 1865. As a boy he studied music privately while attending a technical 20. 1612. During the struggle between Russia and Poland, Romanov becomes the 21. introduction, a vigorous Mazurka melody unfolds. This leads to a second 22. 1870. A prodigy pianist, he attended the Berlin High School for Music, 23. 1878. He came from a distinguished musical family. His uncles were Sam 24. 1875. The _Bacchanale_ takes place at the beginning of Act 3 in which a 25. 1872. After studying music with private teachers in New York, he 26. introduction, the cellos and violas in unison offer the strains of 27. 1734. After receiving some music instruction in his native town, he came 28. 1755. The general belief is that it was used by a certain Richard 29. introduction in which a stately idea is offered by the woodwind. In the 30. 1882. After receiving some piano instruction from his mother he was sent 31. introduction. The second, “The Cowherd’s Tune,” begins with a slow, 32. 1930. It is not quite clear who actually wrote this song. It was 33. 1832. Hérold died of consumption in Paris on January 19, 1833 before 34. 1854. He attended the Cologne Conservatory where his teachers included 35. episode in which is described the descent of the fairies who provide a 36. 1859. He was graduated from the St. Petersburg Conservatory in 1882 37. 1885. Precocious in music he completed a piano sonata when he was only 38. introduction and the coda came the succession of lilting, lovable, 39. 1895. The son of a choirmaster, he himself was a boy chorister, at the 40. 1809. His grandfather was the famous philosopher, Moses Mendelssohn; his 41. 1756. The son of Leopold, Kapellmeister at the court of the Salzburg 42. 1858. While studying medicine, he attended the Berlin High School for 43. 1920. Ochs died in Berlin on February 6, 1929. 44. 1834. For nine years he attended the Milan Conservatory where he wrote 45. 1916. He continued to develop his own personality, formulating his 46. 1900. It was a blood and thunder drama set in Rome at the turn of the 47. 1873. He attended the St. Petersburg Conservatory for three years, and 48. 1909. He also distinguished himself as a conductor, first at the Bolshoi 49. introduction are amplified and developed. A brilliant coda leads to the 50. 1829. He studied the piano with Alexandre Villoing after which, in 1839 51. episode now appears in woodwind and violins after which the folk song 52. 1897. In 1897 Sousa was a tourist in Italy when he heard the news that 53. 1899. A century was coming to an end, and with it an entire epoch. This 54. 1898. Between 1876 and 1881 he was principal of, and professor of 55. 1889. After the operatic pretension of the _Yeomen of the Guard_ which 56. 1887. Because the Murgatroyd family has persecuted witches, an evil 57. introduction after which comes the brisk melody for woodwind followed by 58. introduction—with forceful chords in full orchestra—leads to a beautiful 59. introduction. The second aria is Philine’s polonaise, “_Je suis 60. 1843. “The Flying Dutchman” is a ship on which the Dutchman must sail 61. 1896. After completing his music study at the Prague Conservatory, and 62. 1872. After attending the Royal College of Music, he studied composition 63. episode. A third popular orchestral excerpt from this opera is the 64. 1809. Little is known of his career beyond the fact that his music 65. 1901. Zeller died in Baden near Vienna on August 17, 1898.

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