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Solomon and Sinatra: The Song of Songs and Romance in the Church Robert Case A Sunday School Class Faith Presbyterian Church Tacoma, Washington 2016 Part 8 The Christian commentator believes that while the Song sings about sexual love, it also sings of a love between a man and a woman that is more than physical. It is important to see the Song celebrating the non-physical aspects of love – peaceful walks in the country, quiet times together, loving and intimate conversations, and more. “All the Things You Are” In 1939 Jerome Kern wrote, perhaps his treasure piece, “All the Things You Are” for his Broadway show, Very Warm in May, which was the great Kern’s last Broadway musical. The song was written for a man to be sung to a woman. It is said to have one of the most perfect blending of words and music in the American musical theater and many believe that it to be the greatest song in the American Songbook canon. Oscar Hammerstein’s lyric is enthrallingly romantic (“you are: the promised kiss of springtime, the breathless hush of evening, the angel glow that lights the air”). Mr. Kern wrote the odd but effective key and tempo changes for his own satisfaction and later stated that he never thought the song could become popular because it was too complex for the layman’s ear (Alec Wilder, American Popular Song, 1972). But it was on the Hit Parade for weeks, and in 1964 a poll of American composers chose this song most often as their all-time favorite. Here is Curly from Oklahoma!, Gordon MacRae, singing, “All the Things You Are” with an arrangement and orchestration of the terrific Van Alexander band. “Time and again I’ve longed for adventure, something to make my heart beat the faster. What did I long for? I never really knew. Finding your love, I’ve found my adventure. Touching your hand, my heart beats the faster. All that I want in this world is you. You are the promised kiss of springtime that makes the lonely winter seem long. You are the breathless hush of evening that trembles on the brink of a lovely song. You are the angel glow that lights the star, the dearest things that I know are what you are. Someday my happy arms will hold you and someday I'll know that moment divine when all the things you are, are mine.” (“All the Things You Are” performed by Gordon MacRae)(3:15) https://www.amazon.com/All- The-Things-You- Are/dp/B00AO5S6HU/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1474673642&sr=1- 1&keywords=All+the+things+you+are+gordon+macrae Four hermeneutical facts to keep in mind when reading the Song of Songs: 1) A little more than half of the love songs are sung by the woman to the man, which tends to counter the Church’s view that the man is the sexual initiator and the woman is the responder. Note the woman’s “seductive words” in other parts of the Bible: *Judges 14:15, “they said to [Delilah], ‘Coax your husband into explaining the riddle for us” *Judges 16:5, “The rulers of the Philistines went to Delilah and said, ‘See if you can lure him into showing you the secret of his great strength;” *Proverbs 5:3, “For the lips of an adulteress drip honey and her speech is smoother than oil” *Proverbs 7:5, “[my words and my commands] will keep you away from the wayward wife with her seductive words.” In the Song, the love ballads are sung to each other. The Song has at least 8 duets (SS 1:7-8; 1:15-17; 2:1-3; 2:8-13; 4:12-5:1; 6:13-7:5; 8:8-10; 8:13-14)(cf, Falk, Love Lyrics from the Bible, 1976). Here is mutual marriage edification and seduction on display. The marriage between two believers is so special that when judgment in announced by Yahweh, the giving of a man’s wife to another man as punishment is seen in the same vein as the destruction of his crops, the taking of his farm and orchards, even the raising of the cities, and the very killing of the people (cf, Jeremiah 8:10, “Therefore I will give their wives to other men and their fields to new owners.” “You’re Just in Love” The intoxicating effect of love is given popular expression in several American Songbook ballad duets, one of the most enduring is Irving Berlin’s 1950 duet, “You’re Just in Love” written for his musical Call Me Madam. The duet is considered by some to be Mr. Berlin’s last great song. It is surely his most famous counterpoint duet, and sings of the exhilarating and unsettling effects of initially being in love. Newcomer Russell Nype was doing so well in the previews of the Broadway play that Mr. Berlin wanted to give him a song to sing, but he was afraid of what the show’s temperamental star, Ethel Merman, would think. So Mr. Berlin wrote this duet for both of them. The song, was such a Broadway show-stopper that it got 7 encores in the middle of the 2nd act (usually it is in the 3rd act that show-stoppers appear). It continued to stop the show for its entire run and when it was transferred to the screen it became one of the most lively duets in the American Songbook canon. Here is the bombastic mighty Ethel Merman answering the love- struck Donald O’Conner from the 1953 movie, as O’Conner sings for Bob Case as I fell in love a half a century ago with Kathy Rhoda: “(He) I hear singing and there’s no one there. I smell blossoms and the trees are bare. All day long I seem to walk on air - I wonder why, I wonder why. I keep tossing in my sleep at night. And what’s more I’ve lost my appetite. Stars that used to twinkle in the skies are twinkling in my eyes, I wonder why. (She) You don’t need analyzing. It is not so surprising that you feel very strange but nice. Your heart goes pitter patter, I know just what’s the matter, because I’ve there once or twice. Put your head on my shoulder, you need someone who’s older, A rubdown with a velvet glove. There is nothing you can take to relieve that pleasant ache. You’re not sick, you’re just in love.” (“You’re Just in Love” performed by Ethel Merman/Donald O’Conner)(3:08)(2:13) https://www.amazon.com/Youre-Just-in- Love/dp/B008U8GVKW/ref=sr_1_2?s=dmusic&ie=UTF8&qid=1474673877&sr=1- 2&keywords=You%27re+just+in+love+merman “I Love Being Here With You” “I Love Being Here With You” is a 1961 Tin Pan Alley duet written by jazz great, Peggy Lee, and William Schluger. The lyrics of this song exemplify the most culturally clever list songs of the American Songbook. Within a couple of minute Ms. Lee’s words tell us she loves the north, south, east, west, the sea, the shore, the rocks, the shower, good wine, fine food and candle light dinners, Fred Astaire, Marlon Brando, Yul Brynner, Cary Grant, Count Basie, Ella Fitzgerald, Jimmy Durante and Broadway plays. But the lovers would still rather be with each other! “I love the East, I love the West and North and South, their both the best But I only want go there as a guest 'Cause I love being here with you. I love the sea, I love the shore I love the rocks and what is more with you there, they'd never be a bore 'Cause I love being here with you. Singing in the shower, laughing by the hour Life is such a breezy game Love all kinds of weather, long as we're together I love to hear you say my name. I love good wine and fine cuisine And candle light, I like the scene But baby if you know what I mean I love being here with you I love being here with you. I like a dance by Fred Astaire And Brando's eyes, Yul Brynner's hair But I think to tell you's only fair That I love being here with you. And Cary Grant, oh do-dah-day His utter charm takes me away But don't get me wrong, how do you say I love being here with you. Basie's band a-swinging, I like Ella's singing Because there's something else, you know They know how to say it, they know how to play it They wind it up and let it go. I love the thrill of New York shows I'd love to kiss Durante's nose But I'd like to say before I close That I love, and is love, I love being here with you.” (“Love Being Here With You” performed by Bette Midler and Barry Manilow)(2:46) “Isn’t it a Pity” In 1933 George and Ira Gerhwin wrote the captivating show tune, “Isn’t it a Pity” for their failed Broadway musical Pardon My English. This duet has the singers regret not having met and falling in love years before. George Gershwin’s tune is simply enchanting and Ira Gershwin’s lyrics are wonderfully conversational. What love ballad offers such genteel Noel Coward-like sophistication where “China” is rhymed with the German writer “Heine” and “sour” is rhymed with the German philosopher “Schopenhauer? The great jazz singers Mabel Mercer and Mel Torme loved the song, but it wasn’t until Michael Feinstein and Rosemary Clooney sang it as a duet in 1987, over 50 years after it was written, that the song gained its deserved recognition.

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