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CARLI Digital Collections ---- -,.., ' thesis Presented to Chicago Musical College in Partial Pulfillment of the requirements for iviaster of l1.usic Education by James Hiram Patrenos November 21, 1950 -- - ' \ Thesis M 782.6 P314 c.1 't $£p J. 0 1958 ~- TABL2 OF COHT~N'l'S I. Introduction II. Background and development in nmerica III. Down in t:ie Valley IV. The Forest Prince V. The use of the operetta in the high school l THE HIGH scaooL OP~H.E:TTA Introduction This thesis will deal mostly with a compari­ son of what I consider an ideal operetta for high school use, and an ©peretta that I believe to be a typical example of what so many schools are using. This will not be a survey of operettas in the high school category, but rather a singleing out of two certain works tha_t to me will tri_J_thfull;/ represent the two types of operettas to be discussed in this thesis, For the ideal operetta, I have selected Down in the Valley, by Kurt i'/eill, 'l'his was originally planned for college performances, but I am c~nvinced that high school groups can successfully use Down in the Valley and gain from it more musical benefits than from the usu~l run of works written or arranged for them, The Forest Prince, an operetta from a book by Paul Monroe, lyrics by .ci:di th Sanford Tillotson, with music by Tschaikowsky as arranged by Ira B. Wilson, I 2 will be used as an example of a cheaply constructed work, that do3s not give proper musical experiences because it is a misrepresentation of music thut is great(a l:~.sting. \..., _____ .....- ii general background and developmsnt of the Light Opera or Operetta in ,.merica will be given. also, I will give educ&tional views on op"'rettas in the high school. 3 CHAPTER I 3efore beginning the comparison of these works I would like to b~ly give a general b2ckground of the light opera or operetta in nmerica, No effort will be devoted to the early beginninbs of the light 00era in Europe, f~r it is understood that opera exsisted befiore the country was inh.:.bi ted by a civilized group of people. Our concern is what has happened to this form of music here in America, The term 'Operetta' co~es to us from Italy, meaning 'Little Opera'. In the eighteenth century it was used for any short opera, but soon the word was used to denote a theatrical piece of light and sentimental character in simple and popular style, with spoken dialouge, music, dancing, and etc, ·~-·,/ Victor Herbert and Reginald de Koven were the first noted composers in i-<merics to cultivate this medium rr-~ musical fDDm, l__ We have to go back to Vienna during t:'.le time of von Suppe (1819 - 1895) to find the first of what we call the 'Jviodern Operetta', Our Victor Herbert is in many ways comparable to van Suppe. Of. course opera in America exsisted before 4 Victor Herbert. In fact there is a recorded opera performance as for back as 1730 in South Carolina. This was Flora, one of the oallad Operas of Cibber. This type of opera cont~ined a~ncins and pbntomime, and was brought over here from ~ngl<cnd. lilusic in America was at first considered a luxury, and by many as being frivolous. The wealthy / ."'\ set~~) were about the only ones w:10 made any effort to maintain music in their culture as they had known in Europe. The first light opera composer in America was probably ,fra.mes halph, who was born in Philadelphia in 1698. However, his works w~re really a product of England and were first productea in London. They were mostly concerned with satire and social life there, One can find a close resemblance of halph's f'irst two operas, The Fashionable Lady and •raste of the Town, with the Beggar's Opera by Gay. Francis Hopkinson (1737 - 1791) is credited by some historians as having been our fir·st native composer. It is only f'rom circumstdntial evidence we are able to determine who may have been our first native composer. We must remember that several American born composers returned to Europe and did 5 most of their composing there. 11 A work that was brobably the most import~nt of Hopkinson's efforts was, The l'emple of Minerva-­ undoubtedly from his penT- although no record has been found of the music,,l setting. Since this 'or&- torical entertainment' was somewhat operatic in type, it has claim to consideration as the first American opera. ( '0ratorial 1 in the usage of that day, was derived from Oratory and not from Oratorio.) The libretto was first printed anonymously in .Freeman's Journal in Philadelphia , December 19, 1781, ar~ the work was performed in the same year 'by a company of gentlemen and ladies' in the Hotel of the Minister of France in the presence of his Excellency, General Washington and his Lady. " 1 The Temple of ~inerva was an allegorical­ poli tical opera, or dramatic cantata, containing an overture, arias, ensembles, and choruses in Praise of the American Hlliance with .France. I am reasonably sure that even back in these early days of America, most of the people were content to be without the grand opera of Europe. '.Chey looked 1 John Tasker rloward. Our American Music. p. 38. 6 towards the lighter works for relaxation and ent9r­ tainment. 1~merican people are reE, lly not very ser­ ious minded, They work hfird durinr: the d y, and then look for frivolity and entertain~ent at night. ~o with this condition prevailing ti was nhtural for the composers in this country to work at the light opera; and even at what musicians term as a step-sister to light opera, the musical comedy. ..n observation made by Deems Taylor several years ago is still pertinent - all the more so since he has been both interpreter and composer of operas in the more serious vien, Mr, Taylor says: '' The one class. of composers that the American people do take seriously is the writer of musical comedy and popular songs. That, perhaps, is why our light music is the best of its kind in the world. The self-styled :'!Usie-lover in this country too often brings little genuine comprehension to music, He is likely to be a highbrow with all the mental obtuseness and snobbishness of his class, He divides music into 'popular' meaning light, and clctssical, meaning pretentious. Now there is good music and bad, and the composer's pretentions h~~ve little to do 7 with the case. Comp•.re, for example, the first-act finale of Victor Herbert's 'Mlle. ~odiste' with . I such vulgar rubbish as Donna ~ mohl(_ie. Yet because the last is sung by members of the .-1etJfopoli tctn , the highbrow solemnly catalogues it as 'classical', abolishing the work of Herbert, Berlin, and ~ern, with the adjective 'popular'." 2 I There seems to be a defference of opinions by historians on the eaP.liest opera performances and composers in nmerica. However, it is not the purpose of this thesis to establish de1inite facts and dates concerning early beginnings of opera in America. mr. ~ouis C. ~1son states in his bJok , American i•iusic, "The earliest opera tic performc;nces in America were deJic:ed, not from Itctlian, but from English sources. The beggar~ Opera, which caused such a furoW in Gretit 3ritain was probably the first entertainment of this kind given in the colonies, being performed in New ¥ork as early as December 3, 1'750, and innumerable times thereafter. " 3 2 Walker McSpadden. Light Opera and J\Usi.cal Comedy. 3 Louis C. ~lson. The History of nmerican Music. P. 95. 8 ~r. ~lson also st••ted that the first nmerican opera was The Vintage, composed by Victor Pellisier, a horn player in an operatic orchestra. But enOilf;h of t.iis controversial listing of first perform&nces and works. Let us pick up the development of op~rettas and light operas about mid-way in the last century. '1his w1ots the beginning of the light operas and operettas thot have 1 sted up to present times. L~onora, an opera by William H. Fry, was pro­ duced in 1858, and mHrked the beGinning of note­ able il.merican op~ras. William H. Fry is considered the earliest American composer of re.l prominence. He spent some time in /eris studying, and was very friendly with derlioz, bnd many youpg French com­ posers. In 1863, Notre l..Jame de Paris was completed und performed in Philadelphia. The libretto was fu:cnished by his brother., J. Fl. Fry. However, we must admit t~.t Fry's works did not achieve l •. sting success, He certairily put forth time, energy, effort, and money in an endeavor to give to the public what he thought to be the beauty of the Italicn school. And although he will not be 9 rem~~bered with the great composers of the world, kmerica should certainly ke~p him in high est3em; for he made his like beneficial to hmerican '"usical 1855 gave us another "'merican opera, rtip Van Winkle, by George .t-. Bristow, who was of snglish descent. Bristow received his training in ~ngland, and seems to have been a well rounded musician, leaving symphonies, overtures, oratorios, and string quartettes as well as his opera hip Van Winkle. Willard Spenser ( 1852 - 1933 ) was one of the ,, first American composers to wirte successful light // opera.
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