Transcript Andrew Lloyd Webber

Andrew Lloyd
Webber
Ashley Camp
Music 1010
Spring 2012
Introduction
• Early years
• Accomplishments
• Composition
History
• Listening Guides
Early Years
Family
• Born March 22, 1948 in South Kensington (London, England).
• Oldest son of William Lloyd Webber and Jean Johnstone.
• Musical family
• Father- composer, organist, director of London College of Music
• Mother- violinist, pianist
• Brother (Julian)- solo cellist
• Accomplished organist by age 9.
• Accompanied his father in performances.
• Constructed a toy theatre (to scale) where he and Julian would
put on “productions”.
Early Years
Interests
• Dreamed of becoming
chief inspector of ancient
monuments in Britain.
• Many other childhood
interests/pastimes have
been incorporated into his
work.
• Starlight Expresschildhood fascination with
trains.
Accomplishments
Early Work
• Attended Oxford for 1
term.
• Met Tim Rice at age 17.
• The Likes of Us (never
produced)
• 1968- Joseph and the
Amazing Technicolor
Dreamcoat
• 1971- Jesus Christ
Superstar
• 1976- Evita
Accomplishments
1980s
• 1982- Father passed
away.
• Requiem Mass written for
and dedicated to William
Lloyd Webber.
Accomplishments
1980s
• 1981- Cats
• Longest running musical in
London.
• Longest running show on
Broadway, for a time.
• Began trend of putting on an
enormous display on
Broadway.
Accomplishments
1980s
• 1986- The Phantom of the
Opera
• Starred Sarah Brightman
(Andrew Lloyd Webber’s wife
at that time.)
• Highest grossing
entertainment event of all
time.
• Longest running Broadway
musical of all time.
• Most financially successful
Broadway musical of all time.
Accomplishments
Recognition
• 7 Tony Awards
• 3 Grammy Awards
• 1996- Academy Awards
for Best Music and
Original Song (Evita) and
2 Oscar nominations.
• 2006- Kennedy Centre
Honors
• One of London’s biggest
theatre owners (7
restored theatres).
Accomplishments
Personal Life
• Married 3 times
• Sarah Hugill (1972-1983)
• Sarah Brightman (1984-1990)
• Madeleine Lloyd-Webber
(1991-present)
• 5 children
• 2 from first marriage
• 3 from current marriage
• 1992- Knighted by Queen
Elizabeth II
• 1997- Honorary life peer
as Baron Lloyd-Webber of
Syndmonton in Hampshire
County
Composition History
“The Music of the Night”
• The Phantom of the Opera
• Music by Andrew Lloyd
Webber and lyrics by
Charles Hart
• Originally written for Sarah
Brightman
• Michael Crawford was the
first Phantom to perform
the song on Broadway and
the West End.
• Performed and recorded by
many artists.
Composition History
“Superstar”
• Jesus Christ Superstar
• Written with Tim Rice
• Recorded 2 years before
the musical made it to
Broadway.
• Topped the charts in many
countries, leading to
success of the musical.
• 1971- Performed live on
Broadway.
• 1972- Performed on the
West End.
Composition History
“Close Every Door”
• Joseph and the Amazing
Technicolor Dreamcoat
• Lloyd Webber’s and Rice’s
first musical (as a duo).
• Contains references to the
Holocaust.
• First performed at a
schools and festivals.
• Sung by David Daltry on
the concept recording.
• Also made famous by Gary
Bond, David-James Carroll,
Jason Donovan and Donny
Osmond.
Composition History
“Sunset Boulevard”
• Sunset Boulevard
• Written with Don Black and
Christopher Hampton.
• Based off of 1950s film
Sunset Blvd.
• First performed in 1990s in
London.
• Sung by Alan Campbell in
1993 LA production
Listening Guide
“The Music of the Night” 5:09
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0:00 -Verse 1 begins right away with the
vocalist singing softly, like a lullaby. The
timbre allows us to recognize the string
section accompanying the vocalist. The
strings allow the vocalist some freedom to
create his own musical phrases. He uses
crescendos and decrescendos to accomplish
this.
0:19- Dynamics increase slightly to a mezzo
piano (mp) level.
0:29 –The string section plays a portion of the
melody, while the singer prepares for Verse 2.
0:41 –Verse 2 begins and is musically the
same as verse 1, except for the addition of a
harmony played by the flute.
1:15 –The transition from verse to chorus is
made as the singer invites the listener to
“Listen to the music of the night.”
1:22 –Chorus 1. Tempo picks up and volume
is now mezzo forte (mf). Strings can be heard
playing ascending scales as harmony.
Instruments from the brass section can also
be heard.
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2:03 –Verse 3 begins. Dynamics and tempo
return to volume and speed of verse 2. Many
instruments can be heard added soft,
beautiful harmony as the vocalist continues to
convince the listener to let themselves have a
musically moving experience. Texture is
added to the piece by added more
instruments with each verse.
2:40 –Momentum builds with the strings and
brass playing an ascending scale and
increasing volume to forte (f). A cymbal is
also played, adding to the building feelings of
urgency and persuasiveness, causing the
listener to consider ‘giving in to the music’.
2:43 –Chorus 2. The music is the same as
chorus 1, but the lyrics are different. The
brass section plays a variation of the melody,
while the strings continue to play scales. This
gives the music more texture.
3:02 –Climax of the song. The music has been
building to reach this point. The note played
at this time is held for about 6 counts by both
the vocalist and the instruments. The vocalist
is louder than the orchestra and demonstrates
amazing control and vibrato.
3:07 –Slight pause.
3:08 –Vocalist enters at a softer dynamic
(piano (p)) and the tempo is slowed
immensely. The string section can be heard
softly (pianissimo (pp)) behind the vocalist.
3:24 –Verse 4. Tempo is increased slightly.
Strings play the melody along with the
vocalist.
Listening Guide
“The Music of the Night” 5:09
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3:40-3:55 –Musical phrase (similar to the end
of each verse) begins with a crescendo as the
vocalist sings “let your darker side give in” and
ends with a decrescendo, which allows the
listener to feel the delicate yet strong “power
of the music that [he] writes”.
4:04 –Instrumental section. Tempo and
dynamics build once again. The string section
takes over the melody and the brass and
woodwind instruments add texture through
harmonies. This section is quite moving and
demonstrates to the listener the true power
of instrumental music. The phrases created
by the use of crescendos and decrescendos
give the music a story-like quality, despite the
lack of lyrics.
4:29 –Vocalist re-enters. Vocalist and strings
sing/play the melody in unison. Tempo begins
to slow.
4:39 –Vocalist repeats his simple plea for the
listener to “help [him] make the music of the
night” acapella.
4:50 –Strings re-enter as the vocalist sings
“night”. The vocalist’s note is held and
becomes softer. The strings slowly play a
minor scale, which resolves during the last
couple of notes in order to leave the listener
with a calm, contemplative feeling. Both the
singer and string section decrescendo until
they can no longer be heard.
Listening Guide
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“Superstar” 4:16
0:00 –Introduction is played by the full orchestra.
The melody of the chorus is played with
harmonies behind it. Timbre allows us to
differentiate between the percussion
instruments; cymbals and drums create a feeling
of power that will continue throughout the song.
Tempo is moderate and volume is quite loud, but
soft enough to allow dynamics to build.
0:28 –Drums play a 2 beat introduction to verse
1. Tempo increases, and a rock n’ roll feel is
brought to the song.
0:30 –Verse 1. Vocalist enters; his tempo is quite
regimented. The singer’s voice is a little raspy,
which adds to the rock n’ roll feel of the song.
Drums and saxophone play backup harmony.
0:52 –Women’s ensemble joins repeating the line
“Don’t you get me wrong” and “I only wanna
know” while the main vocalist echoes. These
lines are the transition from verse to chorus. Fast
paced tempo is maintained.
1:09 –Chorus. Tempo is slowed. Women’s choir
begins the chorus with a simple question, “Jesus
Christ. Jesus Christ. Who are you? What have you
sacrificed?” Piano accompanies with a chord on
the down beat of each measure.
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1:24 –Drums enter the chorus, increasing the
tempo slightly and bringing back the rock n’ roll
feel.
1:41 –Short instrumental section transitions into
verse 2. Brass section is featured.
1:49 –Verse 2. Tempo is maintained by the
drums. The vocalist keeps the same regimented
rhythm, however, the music would allow for a
syncopated rhythm if desired.
2:28 –Same transition from verse to chorus, with
women’s choir and main vocalist echoing.
Again, tempo slows and instruments stop
playing. Timbre lets us differentiate between
the women’s and man’s voice.
2:44 –Transition continues with addition of
drums and saxophone.
3:00 –Different harmonies are sung by the
women and the male vocalist. The vocal and
instrumental harmonies overlap, creating an
intriguing variety of lyrics and rhythms. The
women begin on the down beat while the male
vocalist begins singing on different beats (almost
like freestyle), which carry on the edgy rock n’
roll feel.
3:47 –Vocal “free styling” continues. Brass
section not plays louder, and can be heard
above the other instruments. This adds a more
jazz-like feeling.
4:00-4:16 –Song fades out. I have heard other
versions of the song where the song ends very
loudly with all instruments playing melody in
unison with the vocalists as they sing the final
“Are you what they say you are?”
Listening Guide
•
“Close Every Door” 3:49
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0:00 -Introduction. Because of timbre, we know
that the strings begin the song by playing a
chord on the downbeat. The tempo is quite
slow and volume quite soft. From the very first
note there is feeling of sorrow and somberness.
0:10 –Verse 1 begins with the vocalist singing
softly (p). Strings continue playing chords on
the downbeat while flutes hold notes for the
duration of each measure.
0:27 –Verse 2. Same as verse 1; tempo and
volume remain constant.
0:42 –Chorus. Vocalist’s volume increases
slightly. He uses crescendos and decrescendos
to create musical phrases; sharing his feelings
with the listener. Strings and woodwinds
accompany with harmony.
1:32 –Children’s choir repeat verse 1. Rhythm is
regimented; a note sung on every beat. Chimes
play melody along with the children. Strings
softly play harmony in the background.
1:48 –Children sing “la la la…” as percussion
instruments take over the melody.
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2:04 –Orchestra continues playing. Strings,
woodwinds, and brass sections alternate
between the melody and a variation of the
melody. Volume and tempo build in a
crescendo, bringing back the feeling the
vocalist portrayed in the chorus; reminiscing
about a happier time.
2:19 –Verse 3. Vocalist sings with a sense of
urgency, causing the listener to really feel for
him and his situation. Strings play with this
same urgency; emphasizing the first beat of
each measure.
2:37 –Verse 4. There is a certain tone to the
singer’s voice that lets the listener know that
despite his hardships, he will remain strong.
Strings have added notes to their harmony.
2:51 –Chorus. Vocalist does a beautiful job of
using crescendos and decrescendos to create
musical phrases. With each phrase then
crescendos build less and less. Timbre allows
us to recognize that the strings continue
playing a simple harmony.
3:08 –Children’s choir join the second part of
chorus, singing the alto line. Volume builds,
beginning with cymbals, showing that Joseph
is brave and ready to welcome his trials.
Tempo is regimented and is kept steady with
the drums.
Listening Guide
“Close Every Door” 3:49
• 3:23 –Vocalists (consisting of lead and
ensemble) now sing a cappella. Volume
has built to fortissimo.
• 3:32 –Lead vocalist continues singing
“For we have been promised”. Violin
joins in with vocalist, followed by the
other orchestra instruments.
• 3:37 –Ensemble joins, singing “A land of
our own”. Tempo is slowing, but
volume still increases. 4 part (SATB) can
be heard being sung by the ensemble;
the lead has the melody. The last note
(“own”) is sung loudly and held by
vocalists and instruments. The song
ends with cymbals building and then
softening slightly. The lead cuts off his
note with a bit of a gasp/exhale which
signifies his new feelings of courage and
empowerment; a complete contrast to
the beginning of the song.
Listening Guide
•
“Sunset Boulevard” 2:54
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0:00 –Introduction. Piano and flutes play
arpeggios descending scales. Tempo is moderate
and dynamics are softer (mp).
0:08 –Piano plays chords a couple octaves lower
than originally played. Timbre allows us to
recognize the addition of woodwind instruments
playing a tune similar to the melody of the verses.
The shift from higher pitch at the very beginning
of the song to a lower octave sets a mysterious
mood.
0:16 –Verse 1. The vocalist sings low and the tone
of his voice is almost angry, but he has amazing
control of his instrument. Singer is given freedom
to create his own rhythm, and establishes a more
syncopated rhythm (holding the downbeat longer
and rushing the last 3 notes of the measure.)
Orchestra plays harmonies; string section can be
picked out over the other instruments.
0:31 –Chorus. Vocalist begins telling the audience
about some of the disappointments he
experienced at “Sunset Boulevard”. His tone,
pitch, and volume are the same as verse 1. Each
instrument in the orchestra can be heard (via
timbre!) playing. Even though each individual
instrument is heard, the orchestra blends well,
conveying mystery and the feelings of the vocalist.
0:47 –Verse 2. Tempo picks up very slightly. There
is more urgency in the vocalist’s voice. Bass note
played on each downbeat rings through and
percussion (drums and chimes) also keep the
rhythm steady.
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1:03 –Chorus begins with crashing of cymbals,
which begins the building of dynamics and
volume. Lyrics are different than the first chorus,
but music is the same. The vocalist tells of other
disappointments and hard feelings toward “Sunset
Boulevard”.
1:21 –Bridge. Volume starts out soft and gradually
builds with a loud bass chord on the downbeats.
Vocalist emphasizes the first note of each
measure. The music becomes more dark and full
of emotion.
1:38 –Verse 3. Same as previous verses. The end
of the verse builds and all instruments increase
volume.
1:54 –Chorus. Bass drum crashes to begin the
chorus. Vocalist’s volume has increased. Brass
section can be heard more than previously in the
song, which adds to the feelings of urgency and
upset tone of the vocalist.
2:10 –Verse 4. Volume decreases as the majority
of the instruments cease playing. Chimes and
string section continue playing behind vocalist.
Instruments are gradually added as the verse
continues, which builds up to the final chorus.
2:25 –Chorus. Volume has increased from the
previous verse. Stings and brass sections play
harmonies. The vocalist’s voice is more forced
and is full of emotion.
2:40 –Vocalist repeats “Here on Sunset
Boulevard”. Tempo is maintained and the last
note (“-vard”) is held by vocalist while brass
section plays notes in unison on the beats 1, 2, 3,
and 3+. The volume is loud (ff) and the song
finishes very powerfully.
References
• (2012). The Really Useful
Group. Retrieved
February 10, 2012, from
http://www.reallyuseful.
com/.
• LyricsFreak. (2012).
LyricsFreak. In Lyrics,
Song Lyrics. Retrieved
February 10, 2012, from
http://www.lyricsfreak.c
om/.
• BBC. (2012). BBC. In
Music. Retrieved
February 10, 2012, from
http://www.bbc.co.uk/m
usic.
• (2012). Andrew Lloyd
Webber. In Encyclopedia
of World Biographies.
Retrieved February 3,
2012, from
http://www.notablebiog
raphies.com/Ki-Lo/LloydWebber-Andrew.html.
• Steve Shelokhonov.
(2012). Andrew Lloyd
Webber. In International
Movie Data Base.
Retrieved February 3,
2012, from
http://www.imdb.com/n
ame/nm0515908/bio.