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SELECTED CHAMBER OPERAS OF CESAR BRESGEN ADAPTED FOR USE IN AMERICAN SCHOOLS

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Authors Smith, Harvey Keith

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Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 74-20,262

SMITH, Harvey Keith, 1936- SELECTED CHAMBER OPERAS OF CESAR BRESGEN ADAPTED FOR USE IN AMERICAN SCHOOLS.

The University of Arizona, A.Mus.D., 1974 Music

I University Microfilms, A XEROX Company, Ann Arbor, Michigan

HARYEY KEITH SMITH

THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. SELECTED CHAMBER OPERAS OF CESAR BRESGEN

ADAPTED FOR USE IN AMERICAN SCHOOLS

Harvey Keith Smith

A Dissertation Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

19 7 4 THE UNIVERSITY OF ARIZONA

GRADUATE COLLEGE

I hereby reconinend that this dissertation prepared under my direction by Harvey Keith Smith

entitled SELECTED CHAMBER OPERAS OF CESAR BRESGEN

ADAPTED FOR USE IN AMERICAN SCHOOLS

be accepted as fulfilling the dissertation requirement of the

degree of Doctor of Musical Arte

O. in. Dissertation Director

After inspection of the final copy of the dissertation, the

following members of the Final Examination Committee concur in

Its approval and recommend its acceptance:*

1mr/$/£cS' '/trLfs Q.-ArfivuHn<-s if- /, hf

[A, ^ H I I ill

*1IKls approval and acceptance Is contingent on the candidate's adequate performance and defense of this dissertation at the final oral examination* The inclusion of this sheet bound into the library copy of the dissertation is evidence of satisfactory performance at the final examination. STATEMENT BY AUTHOR

This dissertation has been submitted In partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited In the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this dissertation are allowable without special permission, provided that accurate acknowledgment of source la made. Requests for permission for extended quotation from or repro duction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: ACKNOWLEDGMENTS

The writer expresses sincere appreciation to those who have assisted in this study: Professor Cesar Bresgen who has supported this study through correspondence and personal Interview, Dkm. Edgar Bognar who assisted in gathering information In Austria and Switzerland, members of the 1969 Phoenix Boys Choir who participated in the first production to be sung in English of The Old Locomotive, and University of Arizona Professor 0. M. Hartsell, whose professional standards have been a constant challenge and source of inspiration

iv filmed as received without page(s)

UNIVERSITY MICROFILMS, ABSTRACT

The study and performance of opera can and should be a part of the musical experiences of children in the elementary school* To date, however, opera performed by young people has not been an Important area of the school music curriculum This limitation results from the fact that very few operas suitable for children's voices are available in English. Conse quently, the purpose of this dissertation is to prepare for use in American elementary schools selected operatic repertoire written especially for presentation by children by the Austrian composer, Cesar Bresgen*

The point of view expressed in this dissertation is that opera can offer a unique combination of artistic experiences for the student. The effectiveness of using such materials with children will be contingent upon the qualities of the literature chosen* The overall musical content of the opera should merit the place it can have in the curriculum. The score of the work should lie within the cspabilltles of young voices and provide opportunities for participation by students at various stages of their musical development.

The three Bresgen operas which comprise the major portion of this study are Die alte

Lokomotlve (The Old Locomotive), Armer, klelner Tanzbar (Poor Little Dancing Bear) and

Schlaraffenland (Lazyland)* In addition to the complete score for each opera, ideas for school production have been Included. Information concerning Cesar Bresgen as a composer and music educator will be found in Chapter 1. It is hoped that the availability of these materials might encourage American music educators to discover the multiple rewards of opera performance with children.

vi CHAPTER 1

INTRODUCTION

The study and performance of opera can and should be a part of the musical experiences of children in the elementary school. To date, however, opera perform ance per se has not been an important area of the music curriculum In American schools. Undoubtedly, the principal reason why performance of opera by children has been so limited, Is that few composers have written operas to be sung in English, planned specifically for children's voices. A number of school operas or youth operas have been written by contemporary Austrian and German composers but their music has not had extensive use In schools in the United States because English translations have not been available. Consequently, the purpose of this study is to prepare for uee in American elementary schools selected operatic repertoire written especially for the performance of children by the Austrian composer, Cesar Bresgen.

The composition of operas for sctiool performance is not an Innovative con cept. Joslah Priests' Boarding School for Young Ladies and Gentlewomen in Chelsea Is often credited with the 1689 premiere of Purcell's Dido and Aeneas.* Kurt Weill 2 designated Per Jasager (The Man Who Always Said Yes) as a "School Opera" In 1930 and

Paul Hindemlth composed Vilr bauen etne Stadt (We Build a Town) as an example of oper atic literature "intended for children to practice and learn from, rather than for the entertainment of a grown-up audience.As early as 1928 Carl Orff experimented in Munich schools to better understand the basic qualities of music and drama. The growth in awareness of speech and its relation to music and movement formed the basis of his Schulwerk. Fifteen years later, Cesar Bresgen began writing works which he designated as "youth operas." During the last thirty years, additional materials of a similar nature have been provided for German-speaking schools. The Second

Hurricane, written for the Henry Street Settlement School by a former member of Its faculty, Aaron Copland, is one of the few American examples of this genre. However,

It was designed for high school age youth rather than children.

Although there Is historical tradition for the composition of operas to be performed by students, there are only a few such works now available in English--

1. The Arts Council of Great Britain, A Report on Opera and Ballet In the United Kingdom 1966-69 (Colchester, Essex: Benham and Company Limited, 1969), p. 9.

2« Hellmut Kotschenreuther, Kurt Weill (Berlin: Max Hesses Verlag, 1962), p. 96.

3* Paul Hindemlth, Wlr bauen elne Stadt (Mainz: B. Schott's Sohne, 1930), p. 2.

1 2 particularly for presentation by elementary school students. It le Interesting to note that recent repertoire projects have neglected this potentially significant area.

The study and performance of opera offers a unique combination of artistic experiences for the student. Such works can carabine nraslc, movement, language and design with the child's world of imagination and play. During the years when he is in the elementary school, music and movement are still deeply connected with each other in the mind of the child. Carefully structured opera presentations are viewed as a logical extension of this connection and can link a valuable learning situation to the child's subtle sense of fantasy.

The current emphasis on comprehensive musicianship in teaching has caused many educators to reassess the role of musical performance in the curriculum. The study of opera should offer a successful combination of singing experience, use of

Instruments, involvement with rhythmic movement and development of dramatic expres sion. The understanding of a larger musical form, setting standards of musical taste and the widening of cultural horizons can all be positive outcomes of experiences with opera.

The effectiveness of using opera with children will be contingent upon the qualities of the selected work. The overall musical content of the composition should merit the place It will occupy in the curriculum. The work selected should lend itself to the study and understanding of musical form, melodic shapes, varieties of rhythmic figures and contrasting textures. In short, the opera written for young voices must not lack musical integrity simply because its technical aspects are appropriate for young performers.

The score of the opera should lie within the musical capabilities of the students. The young participants need to experience success from the accomplishment of realistic goals. These achievements should be based on the students' potential in solo and part singing, the correct use of voices in suitable ranges, and their ability to memorize the literature in the allotted preparation time. The properly selected work can help young people not only to enjoy and understand opera through their own performance but also to enhance their overall education In music.

Since the scope of this study deals with opera related to elementary schools, it seems relevant to suggest that the musical score provide opportunities for student participation at all levels of achievement. Each of the works found in Chapters 2,

3, and 4 includes some instrumental parts which can be effectively performed by students with limited technical backgrounds* firesgen believes that all students can share In the productions-even those who are underdeveloped musically. He suggests 3 the latter group take pert Initially as instrimentalists and, ae they become aware of other facets of the music, the teacher can assign them to different roles in the production*^

Another important factor in the selection of an opera for performance by students is the potential vlthin the work for Improvisation and creativity. The compositions selected for this study offer such flexibility in the execution of sections of the instrumental accompaniment, in the recitatives and, certainly, in the dramatic movement. Bresgen states that there is little educational validity in children merely imitating the dramatic interpretation of adults*^ Creativity is most often an outgrowth of the student*a understanding and interpretation of the text and music of the opera. Performance can thus be a creative act, with the student involved and encouraged to make personal choices, to use insights and initiatives and to try to convey his own individuality as a performer.

Cesar Breegen--Cmnposer and Music Educator

The creative arts were a vital part of Cesar Bresgen's childhood development.

His father was August Bresgen, a famous painter of rellgloue subjects, and a descend ant of wine farmers from FIamen and the Rhineland. Five years after his birth in 1913 he began piano study with his mother, Maria Podhorsky Bresgen, who was a pianist as well as a painter. She doubtless passed on to her young son accounts of Liszt and

Bruckner, who had taught her own teacher, August Gollerlch.

Bresgen grew up in Munich and Zell am See, settling In the former in 1925.

Both of these places, rich in natural beauty and within close proximity to the countryside, Influenced him greatly. As a young student he was Intensely Interested

In nature (hiking and collecting mushrooms) and the natural sciences. During this period he composed such works as the "Waldlieder" ("Songs of the Woods") in 1927 and later the "£lchendorff Songs*" Other early titles indicate the folk-like quality and naturalness which are characteristics of his music—some of which are "Melting Snow,"

"Crying Children," "Railroad Cars in the R*in," and "Telegraph Wires."

The inspiration of fine teachers and composers can be traced throughout his life. In 1929 an association with Heinrich Kaspar Schmid at the Munich Academy

Influenced young Bresgen to devote his life to composing and performing* The

Austrian folk song became one of his early and continuing fascinations because of his study with Gottfried Rudlger who emphasizes this form. The outgrowth of this

4. Cesar Bresgen, Die Improvisation (Heidelberg: Quelle and Meyer, 1960), p. 26.

5. Ibid. 4 interest la apparent In later publications of his folk song collections such as Una

1st kocinen eln1 llebe Zelt (Wow Has Arrived a Dear Time) and Uber die Berae Welt (Far

Over the Mountains)* It Is also evident in the operas selected for adaptation and discussion in this study* Undoubtedly, this quality caused musicologist Erich

Velentln to comment that the works of Breegen are characterized by "a certainty of form and clarity of expression*11^

In his second year at the Munich Academy, Bresgen began organ study with

Emanuel Gatscher and soon was appointed organist at St. Rupert Church In Munich. It vas here he studied and performed the great church music of Palestrlna, Mozart and

Bruckner. Bresgen'e strong identification with church music is reflected throughout his catalog in numerous sacred organ and choral compositions.

In 1933 Bresgen travelled to London where he was associated with the choreog rapher, Mary Ulgmann. His improvisations and original music for ballet composed during this time offered useful background and experience for the compositions he produced in the years which followed.

While in London, he had an opportunity to become acquainted with Stravinsky.

Erich Valentin comments on the influence which the Stravinsky Symphony of Psalms later had on Bresgen in hie unpublished Symphony in C Sharp. Valentin suggests that

Bresgen combines hie own Interest in Gregorian Chant with the Stravinsky style to form an organic whole that has remained characteristic for the Austrian composer.^

Returning to Munich, his studies with Josef Hats in the master class for composers at the Academy came to an end with his graduation in 1936. On this occa sion he was awarded the Felix-Mottl Prize*

Bresgen wrote several radio plays for broadcast on Bavarian radio stations during his student years in Munich* After graduation he became associated with

Munich Radio where this writing continued* During this period he also served as musical director of the Children's Radio Choir. This valuable choral experience has been demonstrated throughout his career in hie perceptive composing for young voices.

This style shows careful attention to vocal tessitura and voice leading as well as a sensitivity to accompaniment textures.

Following his graduation from the Academy he met Carl Orff and observed the activities Orff directed at the Guentherschule--a school for gymnastics, dance and music in Munich. The German music educator Fritz Jode influenced his concepts of

6* Erich Valentin, "Cesar Bresgen," in Pie Muslk In Geschlchte und Ceftenwart* ed* by Frledrlch Blume. II (Kassel und Basel: Barenrelter-Verlag, 1952),

7. Ibid. 5 music for the young. The Interest and concern Bresgen expressed in this area brought him an Invitation In 1939 from Clemens Krauss, director of the Salzburg Mozarteum, to join the Mozarteum faculty as professor of composition and music for the young*

Bresgen's teaching at the Mozarteum was Interrupted by World War II, during which time he served as a radio technician. At the end of the war, the Mozarteum remained closed and firesgen lived in Mltterslll where he was choirmaster and organ ist. It was at this time he experienced the tragic death of his neighbor, Anton

Webern.

In 1947 Bernhard Paumgartner called Bresgen back to the Mozarteum to teach.

The composer strongly believes that his constant contact with youth has been a motivating factor in his continuing Interest in writing music for them. Certainly the numerous performances of his works throughout Europe indicate their popularity.

In an account of the successful premiere at the Nuremberg Opera House of Per Igel als BrMutlgam (The Hedgehog as Groom) the reviewer writes that such works " . . . did not spring out of a vacuum. They bespeak the ability of the creator to have a con- g nectlon with youth."

Purlng the summer of 1961 Bresgen spoke at the Vienna meeting of the Inter national Society for Music Education. His work attracted the attention of the Ameri can visitors and he was invited to serve as visiting professor during the next summer at the University of Oregon in Eugene as well as at the State University of New York at Potsdam.

In his native country, Bresgen holds a place of honor as a composer and music educator. Ke has been awarded the City of Munich Music Prize, the City of Salzburg

Cultural Award and the Austrian State Award. In 1970 a documentary concerning his

life was released over the Austrian Educational Television Network. On this telecast

Bresgen reflected that he considered himself to be a composer for youth and his com positions for them were not merely "wood shavings swept up from the floor of the 9 craftsman's shop."

It was the writer's privilege to visit with Cesar Bresgen at the Mozarteum

during the Spring of 1973 and discuss with him his philosophy and views concerning

the composition of music for performance by children and specifically the three

operas included in this doctoral study* He was a gracious host at that time, and one

could sense in his manner the depth and naturalness also found in his music. The

8. Karl Foesel, "Cesar Breegens Marchenoper Per Igel als BrMutlgam," Melos, January, 1952, 27-28.

9. Franz Blasl and Eberhard Wuerzl, "Zu Besuch bel Cesar Bresgen" (unpub lished television script, Oesterrelchischer Rundfunk Fernsehen, Vienna, December, 1970), p. 9. composer has lived In Grossmain, just outside Salzburg, since 1956. He continues to teach at the Mozarteum and compose.

In the major portion of this disaertation which follows, the reader will find three of Cesar Bresgen's operas for children. Chapter 2 is devoted to The Old Loco motive, Chapter 3 presents Poor Little Dancing Bear and Chapter 4 completes this trio of operas with Lazyland. Each chapter includes a synopsis of the plot, the criteria for selecting the opera, vocal ranges used by each character, information concerning costuming, suggestions for staging and the lnstrumentstlon required for performance.

Finally, other operas and similar works by Bresgen suitable for adaptation are listed in the Appendix* CHAPTER 2

THE OLD LOCOMOTIVE

Introduction of the Opera and Criteria for Its Selection

It was the writer's pleaaure to direct a performance of The Old Locomotive at the 1969 Western Division Convention of the Music Educators National Conference which met in Honolulu, Hawaii* Both the vocal and instrumental parts, with the exception of the piano accompaniment, ware performed by members of the Phoenix Boya Choir* Two years later The Old Locomotive was successfully produced by an elementary school In the Phoenix area, this time by boys and girls In the fifth and sixth grades. In both of these performance situations, music educators In the audience cooinented about the interest evidenced by the young musicians and the ease with which they performed the relatively complex literature* In all performances to date the opera has been well received by young audiences as well as by adults*

The Old Locomotive has many qualities which make it an Ideal Introduction to opera both from the standpoint of the young performer as well as children in the audience. Bresgen has tailored the work to fit the specific musical requirements of elementary school singers and lnstrumsntallsts. In addition, the vocal lines are written in ways which encourage a musical Interpretation rather than the triteness sometimes found In works of lesser stature written for children*

Since the subject of trains has a natural attraction for children, especially

boys, a plot concerning the mysterious disappearance of an old locomotive is likely

to be highly motivating. Although the melancholy theme that "all things in the world have their own time" is found throughout the opera, the comedy of the three deter mined policemen and the frustrated museum director offers sufficient contrast.

Particularly worth noting In this opera Is the distribution of musical responsibilities. Every character is musically and dramatically Important to the

opera; there are no "stars#11 The score provides for extended use of ensemble singing

throughout the opera—the group of farmers, the three policemen, the courtroom chorus

and the choral sections which sing the narration. A feature of this opera as well as

the other two works prepared for this study Is the inclusion In the score of instru-

mentel parts which can be performed by students not singing In the opera. Most of

the instruments listed in the score are those usually associated with the Orff plan

of musical Instruction. In school situations where all of these instruments are not

available, some substitutions will be necessary. If Instruments other than those

suggested by the composer are used the music teacher must take care to select

7 8 substitute Instruments which will keep the texture of the ensemble from sounding too heavy thus causing the singers to force and perhaps sing out of tune.

Synopsis of the Opera Plot

The beloved Old Locomotive is exhausted after forty years of continuous service* His many friends call the "locomotive doctor" who makes an examination and recoranends that the Old Locomotive be retired. The chorus (which is used for com ments about various episodes in the story) agrees. Since the Old Locomotive was the last train in service to Magdalenenberg, he is retired to a special place of honor in the museum.

Late one evening after he has been in the museum for a long time, the Old

Locomotive becomes especially homesick for the glittering tracks and the open countryside. He carefully avoids the guard and creeps out of the museum to begin a special trip.

The Old Locomotive has a difficult journey over the bent and rusty tracks to

Magdalenenberg. There Is a sudden storm and he slips off the tracks into a potato field.

A traffic patrolman detains him for having left the tracks. The chorus demands that the Old Locomotive be set free and allowed to enjoy the countryside but the patrolman refuses* Encouraged by the chorus, the Old Locomotive moves slowly about the field but soon falls exhausted.

The next morning at the museum, the director discovers that the Old Loco motive's place is vacant. He is very much upset and calls the police to investigate the situation.

When the local farmers go to work in the sugar beet fields, they are amazed to find the Old Locomotive lying on his side* With great effort they raise him to an upright position and then go back to digging sugar beets.

The museum director comes to the sugar beet field and accuses the farmers of stealing the Old Locomotive. They deny the accusation. The director leaves to get the police.

Three policemen appear and sing of their notability. They insist that the farmers accompany them to the judge.

In the courtroom the judge hears the confusing testimony of the farmers and the patrolman. The judge stands and proclaims that indeed, "all things In the world have their own time." He rules that the Old Locomotive must obey this law and return to his assigned place in the museum. 9

Vocal Ranges. Costuming Information and Performance Suggestion*

The Narrator ^ * t*) - Vocal Range:

Costume: There are no specific requirements for the narrator's

costume. The writer suggests conservative dress, perhaps

contrasting In color but not in style from the members of

the chorus.

Performance The part of the narrator tnay be sung by a boy or a girl. Suggestions; Bresgen Indicates that the narrator could also sing the

part of the Judge. In this case, it would be necessary

for the performer to exit during the song of the three

policemen and return when the chorus announces the

entrance of the judge*

The Doctor

Vocal Range: ij,

Costume: The writer recommends that the "locomotive doctor" wear a

white intern's Jacket. His properties should Include an

oversized stethoscope, which may hang about his neck or be

taken from his black bag at an appropriate time* He could

also wear a head-mirror band.

The Traffic Patrolman

Vocal Range?

Costume: Proper dress for the traffic patrolman should include a

bright yellow raincoat to which is pinned a large official

badge. He carries a red warning lantern. 10

The Museum Director

Vocal Range: ft t* 1

Costume; The writer suggests that the museum director's attire

project an linage of dignity bordering on stuffiness. If

obtainable* a cutaway coat would be appropriate. He

might also have a mustache.

Performance The museum director uses an cnorraous telephone to call Suggestion*: the police. The construction of this prop of paper-odche

or cardboard could be an Interesting art class project for

children.

The fanners '$

Vocal Ranges:

Alto

Costumes: The farmera should wear overalls, straw hats and brightly

colored neckerchiefs or scarves*

Performance Field baskets and hoes could be useful props for the Suggestions: fanners.

The Policemen 11

Costumes: The policemen may be dressed in blue uniforms with white

military belts. Dark shirts and trousers could be sub

stituted for official uniforms*

Performance Billy clubs, whistles and large note pads will be helpful Suggestions: Items In the characterization of the policemen*

The Judge

Vocal Range:

Costume: The Judge should wear a black or dark colored robe. A

long white wig and half glasses might add other special

touches of solemnity.

Performance Bresgen suggests that the judge ring a bell to call the Suggestions: court to order. Perhaps the use of a large gavel might

be more appropriate for American audiences*

The Chorus

Soprano I

Vocal Ranges:

^Soprano II

Alto

Costumes: Since members of the chorus participate as part of the

scenery and are also characters In the opera, their cos

tumes should present a visual unity without an unnatural

regimentation* The person responsible for this area of

the production may choose costumes with various intensi

ties of the same color or a combination of various colors*

It has been the writer's experience that solid colored

tunics worn over matching trousers achieved the desired

effect. 12 The Old Locomotive

Construction The representation of the Old Locomotive should be three- Design: dimensional. In designing this box-like property, the

inside of the engine needs to provide sufficient space for

one child to guide the train, and another to move about at

the rear of the train* The construction of the locomotive

should offer maximum freedom In moving it about the stage*

This Is particularly Important when It Is necessary for

the engine to topple In the sugar beet field*

Instrumentation of the Opera Score

The majority of the accdmpanylng instruments are those associated with the

Carl Orff Instructional method. The reader Is referred to Chapter Two of Music for

Children* for additional Information concerning these Instruments. The Instruments

Included In the score of The Old Locomotive are:

Two Soprano Recorders

Alto Recorder

Soprano Glockenspiel

Alto Glockenspiel

Alto Metallophone

Soprano Xylophone

Alto Xylophone

Triangle

Small and Large Cymbals

Wood Block

Hand Drum

Small Drum

Bass Drian

Timpani

Piano

Bresgen states that the soprano and alto glockenspiels are absolutely necessary. He goes on to suggest that while the alto metallophone Is strongly recoomended, It may be replaced by the alto glockenspiel. The soprano and alto xylophones are also necessary and the absence of the alto xylophone will be especially noticeable. The technical requirements of the recorder parts are minimal. If possible a full

1. Carl Orff and Gunlld Keetman, Music for Children, Teacher's Manual, prepared by Doreen Hall (Mains: B. Schott's SOhne, i960), pp. 8-11. 13 ensemble of recorders should be used as the Inner voices are particularly Important.

Besides the Instruments called for In the score, pizzicato playing of a cello or string bass can reinforce the bass line of the piano accompaniment. If further addi tions are made to the instrumental ensemble, there is a danger that the transparency of the accompaniment will be lost or perhaps intonation problems will appear*

Scenery and Other Production Information

The composer has prepared a detailed list of stage directions for this opera.

His directions have been translated and numbered to correspond with the rehearsal numbers In the musical score. They are listed below. These directions are helpful as a guide in the general staging of the work but the music teacher is likely to dis cover that the story and music of the opera suggest a more innovative and less tradi tional style of production. While rehearsing this work the writer was Impressed with the valuable suggestions concerning the production of the opera which were made by the young performers themselves. Consequently, one of the educational values of student opera participation is the opportunity for children to develop and Incor porate their own Ideas about staging and performance.

This opera lends itself to a multi-dimensional style of presentation. Young audiences especially enjoy seeing the Old Locomotive move about the aisle* of the auditorium. Entrances of performers--the chorus of farmers, the three policemen, and especially the judge—can effectively be made by using the aisles and having these singers come through the audience. The size of and the facilities available In the production area will determine other staging possibilities. The music teacher must assume the responsibility for seeing that staging techniques are judiciously employed and do not distract from the total dramatic and musical effectiveness of the opera.

Bresgen's Stage Directions • The narrator and the chorus form the curtain. s The Old Locomotive (breathing heavily) enters and the scenery in the background keeps moving until the train stops.

• A group of the children try to move the Old Locomotive. • Two children go to get the ''locomotive doctor." By the final chord before m the choir has again formed a single line and then moved

into two groups. 14

The "locomotive doctor1' enters with a large stethoscope and other

Interesting equipment*

The Old Locomotive Is checked by the "locomotive doctor."

The chorus again forms a single line to screen the acting area.

The chorus divides and moves to each side of the stage revealing the entrance to the museum* On one side of the entrance 1s a sign with the words "30 pennies to enter." In front of this, roped off from the public, stands the Old Locomotive. Close by Is a sign with the words

"The last remaining steam locomotive to serve on the line to

Magdalenenburg. Dangerous! Do not touch!"

A chorus member holds a picture representing the sun. It is mounted on a Atick and held in the air. When the chorus sings "Then one night

• . ." thla figure is lowered and a similar picture of a moon is raised by a chorus member on the other side of the stage.

After the chorus begins singing, the scenery In the background begins to move and the Old Locomotive moves with much effort. There Is tre mendous effort by the back wheel to move the engine faster.

The Old Locomotive now moves at full speed.

Adjusting to the imisic, the movements of the Old Locomotive become

slower and more regular as the chorus speaks 'touch too heavy." This

rhythmic speech continues through 12

A storm begins. The first two measures of this section may be drawn

out extensively. Representations of dark clouds, thunderbolts and

falling rain which have been mounted on sticks may be carried quickly

about the stage. Lighting effects may also be helpful. The choir

again has taken its position on either side as the traffic patrolman

enters. He Is wearing a raincoat and is carrying a lamp. He moves to

the front of the stage. By the last note of this section the Old

Locomotive and the moving scenery have stopped. 15

13 There it a dispute between the children and the patrolman* When the

children threaten the patrolman, he quickly exits.

0 The Old Locomotive and the moving scenery begin to move slowly* Fol lowing the music, the Old Locomotive moves with great difficulty and

finally falls over at the back of the stage where it remains.

15 The chorus again forms a single line across the front of the stage. As

the narrator sings "And in the morning • • • ," the choir separates

revealing again the inside of the museum. There is a gigantic and

grotesque telephone on stage*

16 The museum director paces the floor.

17 He goes to the telephone, picks up the receiver and dials.

18 He departs and again the chorus forms a line.

19 As the singing begins, three peasants wearing straw hats and carrying

buckets appear in front of the chorus. As the narrator begins to sing,

the chorus separates and the audience sees the overturned locomotive.

20 The chorus sighs sympathetically for the Old Locomotive.

21 The fanners lift up the Old Locomotive, but this time it falls to the

front of the stage.

The farmers begin digging sugar beets.

23 There is a dispute between the museum director and the farmers.

24 The farmers continue digging and the museum director leaves*

25 Three outraged policemen appear.

26 The mussum director returns and the policemen make notes carefully. 16

27 The chorus again forma a line across the front of the stage* Behind

them the Old Locomotive and the moving scenery are removed. When the

chorus divides, the audience can eee the seated judge with the three

policemen on one side and the farmers, traffic patrolman and museum

director on the other.

28 The part of the farmers may be sung by solo voices or the entire

chorus* If the entire chorus is used, a few farmers will pantomime

the dramatic action.

29 The traffic patrolman continues to wear a raincoat and carry a

lantern.

The judge rises.

31 The chorus again forms a single line across the front of the stage.

Behind them the museum signs and the Old Locomotive are returned to the

same places they occupied at

During the Introductory measures, the Old Locomotive mysteriously

coughs and inhales noticeably and sings with the chorus. The wheels

seem to be turning and the locomotive is dreaming and resigned to its

fate. By the repetition of the final scene, the chorua returns to its

line at the front of the stage, hiding the Old Locomotive from view.

Musical Score for The Old Locomotive

The full musical score adapted for use in American elementary schools com prises the remainder of this chapter and will be found on the pages which follow. 17 - TWs OJ.P Laco/-ior/US' "

m T^encefulLy Cesar 3re6j&K. mf Narrator

Thcro war, on old lo-co-^u-t-vo. .-.xl

Gong -G-*- +f •K- 'Pea.c.efLUif m Piano m

Narrator

through for— t • 1 faith-fill t

Gong

Piano Id

Narrator

V X8V 8 f through lone-some prai-ries

Chorus

-ver moua— tains and val—leyB, pasa-mc

zf-' O ^ Piano

Lt^ ^ 1 ~^~S '

Narrator

he would 00 to Mag-da—1^-nen—fcurg. He cough'd in morifr-ings. Chorus i towno arid iion-leta he cou^h'd in Small Cymbal

m Piano 19

Narrator

but all the peo-ple were vei*-y kind. On ly the

Chorus ip

ev'o-ings, wero vcr-y kind,

Small Ban* Triangle * j Gong Small Drm ff

Piano

PED.

barrator

bud-teo-per'd bus was wait-uu; anx-iou^ly for the day when at last the poor oic

Saall Drum

Piano 20

mel4» , P Narrator

flmaH Bros %

Piano

Narrator

Chorua

Piano 21

| £ I iiovjLy , you.jP

Chorus $ma.({er group Lo-co-mo—tive so bent and lame

tsch. tach tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch

Alto Xylo phono WW |,f

Baas Drun or Timpani

$ Lowly j Acce»teJ

Piano

?•> p J~3 j p

Chorus runb no more. Woe is ae! Old laid him lov.

J if W iE3= i=£

tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch

Alto Xylophone $ 'ii 'ii' I'iJ. ;i ' ua

Bass Drum or Timpani t ' * - T-^ 1t > f

Piano 22

B Chorua He can move no stops to catch his breathy oh, poor thing, old thing, t J" •• •n t r .. n , ,n

tsoh tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch tsch

Soprano Xylophone i • J J* • n h» i ^ «J Mf

Alto Xylophone j i ^ 7 mm Base Drum or Timpani T^" i c ? * iiiie Piano mi 2

I Chorus lit-tie -tive. poor old en - •• -gine, poor old thing. run $ t r w ri I tsch tsch tsch tsch tsch tsch tsch tsch tach tsch tsch tsch

Soprano lylophono

Alto Xylophone

Baas Drum or Tiapanl I r - - - \rr^ f

Fin no 23

Siowef © tn 3 Qroi*ff r '#1

Cough, COUgh,

_2 Chorua m hm,-

#= 1 i

tsch tsch tsch tsch

Alto Xylophone I 9 4 rj J » ^ P •4 Tambourine > f ' ^ * > *> ' , ff V r~t> i • 1 1* J Slater ® * * m Piano *i= W m m

y j j i J rnr # #

cough, cough, cough. cough. cough, poor old en-gine, poor old thing, Chorus $ hm,- $ Jj 1 tsch tsch tsch tsch tsch tsch tsch tsch

Alto Xylophon* i <#— J I > J J J Tambourine +- -^-rr >-r—r r

y- -r^-fr ii# M Piano

W- m 24 Sempre t nesc i cough, cough, cough, cough! He's los-ing his breath and. can't go one step far-ther, now

Chorua 3= % 17 m 5P IP hm,— % M tach tsch tsch tach tsch tsch tsch tsch

Alto Xylophon* ^ J* i t I*-* Toabourin* -% ' f- —f—*~ ^ * l I i I srk I ' simpleI I aresc. y - r;i A * It m m m Piano r m w © * £ i i —^ call for the Doc——tor take him right home! How hone!

O Chorus * i k hm,- ~¥ rs $ tsch tsch tsch tsch o Alto Xylophone

j » •*•—? Small $ m Cymb&l Tinbourlnc •*—r © —r n a. sfeS | Ml * t - T * Piano / S P *w Chorua home, home, lit-tle old lo-co—lao-1ive, home. home,

home, home, lit-tle old lo-co—mo-tive, home. home.

Soprano Recorder

Alto Recorder

Timpani in C or Baea Drsn

Piano ©

Chorus lit-tle old lo—co—n*>—tiva! Bs»th>«n and aia-tera long be—fore have per-iah'd

lit-tle old lo—co—mo—tive! Ql *P Iwtt IK and slo-ters long be—fore have pei^ish14

Piano 27

aee them ruat-iog all a-long the tracks home. home. home!

see them ruat-iag all a-lon& the tracks, home. go home. home!

Timpani 1a C or Bass Drum

m 28

5 6orH£i&h&£ lcv£Cy

Sootor

I an the lo lo

Soprano Ji \ Zylophoa* •f+-7, ~ —« — f"P

Alto Xylophone fit* ?

\ ~ 4 in L_—1 jgM&uthiLtJ * Uue.{y r i n

Piano

W 1 {• * ^

Dootor P

Soprano XylophMM

Alto Xylophoa*

Sootor

tlve hla old age pen Bion!

Soprano lylophona

Alto Xylophono 29 @ f

fi v > w Help him, lie coughs! Help him, lie coughs! He can-not climb an—y—more hills* ifi

T > — r—#—* *—+~t /J) if

£ i 1* ¥

IR >

lljj J J nJl

can't caivry peo—pie, can't ven caiwry coal up the hills an-y—more!

j. **-

\ —r

I 30

Chorus

Help nlm, help Mm, help him, good Boo—tor!

3opM» XriojtoM I

Alto Jylophona £ i * small Dzvii X J- *r Boaa Dr

Piano T _2"L i

£ ^"<45^

Dootor fH—=l

Soprano J .1 _=q 31oolc«naplel J J ^ r Alto Metalloffcone j J. ^ £ * ^ ' Timpani or - * Basa DriM - / < H—> J ^ i r v ^ r

l k £&fy — . . . . ijp-fc-'i r * > ' f j r— -; 1 }_I r *J r~i-r—'-f _j—— f— ro * Piano

*>:k^ t* ^ f=f= f f » f : i-f—i-f- 1 f r } 'r f '1 Dootor

rust! The drive wheels all dem

Timpani or Bass Drum

Piano

>ed. Down there in the boil-

Timpani or Bass I)rial

$ VA

Piano 32

Doctor

there's great- big leak!

0 va

Piano

in * 7 m Help him, help him, help him, help him! Hake him well a-gain!- y Chorus

Help hin, help him, help him, help him! Hake him veil a-gain!-

1 J J n J f: " / 7- Help him, help him, help him, help him! Make him veil a-gain!-

Small and Large Cymbtl P Piano 33

Doctor e> 0 9 <7 ' Find him an old folka home,

Soprano ; i—b= Qloakenopi*}. (4 9 / * ' *— J J ^ - Alto 1 ) 1 MetaUajhos* I , IL%- •p-J J -J J Timpani or Baaa Drum ^^— i . y 1 v i f 1 [ T * ? 1 f C , r \ [ T 0 r \ [ Z_*__r_l p ©

» C (* f— -i--0 1 r IL h^r J r-rTfT+T-T—*- hi—1=— rr i v 1*1— Piano

l«rtf f f f =j\t fit if===i —L—f"J— ir p 4-4=3

Dootor

he1 s- aim—ply all worn out.

Soprano Oloolcoapial i=i

Alto Katallayhoa* i m Timpani or Baaa Drua

8-r*

» » , •#• 0-0 j T > • |f- -\0 ! 0 —# J*

Piano

It-f < f =MM Hf- *=r=JN * Tf 1 —^ r 1 r | ir 54 ©

Doctor

All things in the world have time,

Piano

Doctor

all things in the world have their own time,

Tlispanl or Basa Drum

Piano 35

4a.»iC Tempo chorus in 3 yreu.py

All things in the world have

Chorus

Woe' s voe's me, me, woe18

me, woe's woe' me, woe's

Soprano and Alto Recorder*

Timpani ox Bass Dm m

Piano 56

thei: can know ex- •act

Chorus

woe's me, woe's me, me, woe's

woe's

Soprano and Alto Seooxdax*

Small Dim

Piano

T 37

vhen his hour will strike. Birds nov are •ins

Chorus

voe1 me, me.

voe's voe's

Soprano and Alto Recorder*

Piano 38 © r f »r r sweet- • and- clear, may by— evo ning Chortia i woe1 s i

(SJ Soprano and Alto Raoorder* p

Alto Hatallophon*

Alto Xylophone

Timpani or Baas Drua

Plane 39 ^ r"> "i' si——— lent be. All things in tho world have Chorus i ifoe'D—

IV' sr, me. woe- ff 3 So piano and Alto Reooxdexa

Alto Metallophona =2=

Alto Zjlophont Ji J ^ J mm i i—r i T r Tiepanl or Bass Dru« > J 1 t feiH

3g= S^l

Piano ¥ t i > =r=^i 40 ©

their own time*- All things in the world-

Chorus m "2? woe,- woe#-

i•a- — voef- woe,-

Soprano and Alto i i i Recorder*

Alto Het&llophos* -y =— 9 ^ 1

Alto Xylophone ••J ^ ^ ^ J-1 * j- J J- ^ J.J J-1

Timpani or i ; l 1 Baas Srua "S1I 7—i 1—— r > f V J v W v ? —i— L-*—I— ' & fi. - m =i Piano 41

Chorus §

§ woe.

Alto Hetallopbon*

Alto Xylophone 3PPP PPPP1

Timpani or Bass Drum

Piano 42

X'eV too s^caJ

Narrator

So the old lo-co-oo-tive vent to the nufc-a^-um,

Alto Hstallophons

Cons ±- 6 A)e>t too

f. Narrator n i i j.ji # W W W i r I C-f where for thir-ty pen nlea you get a tick— et to 2 Chorus ri i i J .!

thli^ty pen——aies you get a tick—at to

Piano 43

Narrator

aeo him. Dp—on his bel—ly they hung a no tloe Chorua I i aeo him. Gong

Piano V

Narrator %

Chorua j jnrrjjs

"the last rr mnin--inc steam lo-co-mo——tive to serve up—on the line to Mag-da- Gong t

Piano

>— 44

Narrator

Tor now one tra-vels there

for now by mo-tor^bus

Gong

Piano

Narrator

Then oni the old en-gine was

Chorua

when all was still'

Piano 45 © as rh n -»— m 1 r aud—dan—ly veiv—y homo aick for his rail-way tracks, for his

4^ ¥

<2. ieitifo if

long and glit-ter-ina trades. II and the o——pen coun--- -try

ri£- a. "6e*nfo 46

Narrator

through which for for ty years—— he'd tra-vel'd to and fro.

Chorus

Alto Xylophone

Piallo

Narrator

sly—lyf to keep the nu—ao—un Chorus II

Alto Xylophone I

Snail Cyakal

Large Cynbal

Timpani la E or Bass Drum

Piano 47

Harrator

guard from no—tio-lng

ho rat on his

Tiapani in E or Drum

Piano

i 48

!H T^fui mm , £ Chorus Dear old lo CO" -no—tive, roll a- -long— your— 0 m Dear old lo co- -tive, roll a——long— youi*—»

Soprano Recorder

Soprano Glockenspiel

Small Cynbal and Trlangl« 4 zJr dtr

\H Joyful l=i Piano m wj f _pj IJI j. ^ 49

Chorus tracks a stops

tracks a gain,

Soprano Recorder

Soprano Glockenspiel

Smalland Trlangl* Cymba.1.

Piano 50 ©

Dear old •tive. roll .long—— yom^—

Dear old -co- •mo< •long^— your—

:g—

Piano 51

Chorua down!

down

Soprano Recorder

Soprano Qlookeoopiel I

1 CJmbal and rriin^l#

V ff r it r if f |f~f~yf

Piano 52

Soprano Beoordar

tv«,

_2 S_ T h Fleao J s »# t r 7} TcLii r J J ^ " l»

To) 4 4 LevJt^r

-# + -0 # #• 0 w ^

Chorufl Much too heay j9 much too hea*—y. much, too hed> «y# much too hean jrt

1 i i -* *— » ^ ^ * # 4 4

Much too heu^'»j> much too heaTN j$ much too hen* i j» much too heal* • y. tfood Bldoli fc < >—*— —

Small Dna C i J t J - ti 'J - C J - c * f t ' 7 ' Bass Drw C J f J 4 -

^36;/7N /tI tutir!' ii / ?u>wfc'*/ - - JP P y 1 l£—'— —f—\—t —* 1 1 - 4 _—4,—(— v v ? i ' •# Piano * \ f J i- f i ' * —7»—J—/ ^if —^— / fi Jjs+—S— " im i 4 4 iC t tj r i r Lr r t ^1

•i 53

sure it should work, sure it should work, sure it should work, sure it should, work,

sure it should work, sure it should work, sure it should work, sure it should work,

T £ f~ -+ r

$ 54

sure— ly, auro—ly, sure—ly, sure -iy. sure -ly, sure—ly, sure—ly should vork!

> y euro—ly, sure—ly, auro—ly# aura—ly, sure—ly, sure—ly, sure—ly should worki

y—tteicS-— . ¥—<£——1 * —?—£—*—«£—f—i—

& y ettfe • + # /r ?r 4- y t * * "t *t 'illf r f f *dL '\ fI 1f /r '- r_f ft1 ft f f tf | > f —=— —=^—1ig 4 5—4 5=— —1—M " C-esc . / y l?«V ^> f C> -Jf—r cJ f -F#=l>cJ 1'* ^r f ~ ^—tJ—> f "T~in14 -f- Repeat •from CEJ t> then TT~] 55

1. S.P Soprano Recorder ii m

Soprano Olookanapltl w

3 Triangle rr £ £ j*

Large Cynb*l "f

Small Drum -f-f T t-t

Piano

mm 1 56

Cheer up, lit-tle lo-

Soprano Reoorder

Alto Recorder

Bass Drua

Piano bl

TP i1 i1 T m Chorua co mo -tlve, cheer up, lit-tle lo- -tive,

m p ' f lit-tle lo co no tlve,

Soprano Heoordcr

Alto Reooider §

Soprano Clockanaplel

Alto Clookanaplel i

Soprano * f- Xylophona i

Alto XflophoiM

Triangle J. -6-

3mall CymhLL

Baaa Dnm 4 r—*—r •i—r T—^—r r—*—r

Piano @ ®

Chorua roll on to Mag-da- non—hurg. tach tsoh Bent and- rue—ty

roll on to Mag-da— 1o nen—burg. tech tach tach tach Bent and- rus— ty

Alto Heoorder

Triangle

Flaso 59

Chorus are the tracks, di .ssxt—ed now the ita-tioii Cheer up

are the tracks, d< •eert— ed now the eta—tion etands* Cheer up an-y-way

Soprano Recorder

Piano 60

lit-tie lo- •co- mo. • i tive, Roll on to Nag-da -1e—nen-bur |g

lit-tle lo co mo tive. Roll on to Mag^-da—le—nen-burg!

mm jt. —J—^—J- J+. i J { J r r—r + ft ( u 61

21 f (it*etcrtj in tpeteh tone.) Chorus i i—i—J i—i—i 7—r

Much too t much too njy much too yt much too Snail Drm

Bass Drua T ^ f * f i

Piano / wd r

Chorus ~9 * / 9 9 9 much too law—ft much too much tot aw y. much too h Small Drun

Bass Drua -^r 1"^ it * *1 Piano $ » 1 •jc i'vfy ti< t)

Chorus

sure it should work, aure it should work, sure it should work, sure it should work, Snail Drun fP Bass Dnaa

§ Piano 62

Chorus

ft j j j 7—r t-J"? —/ #'—r sure it should work, euro it should work, sure it should work, sure it should work

Small Drum

Bass Drum

$ m Tf Piano ¥

f ¥m

Chorus * 7 P * 7 0 0 /' # 7 7 9 7 9 sure it should work, sure it should work, sure it should work, sure it should work,

Small Drua

Bass Drum

'r t* »*

'c+ij c* <./* *p£Ctht uiiiboaX (fit€ve# dicrt*rja the •faU^vcrtq pAT*toifVia./i j 00*4}

Chorus

much too heev—y, much too much. too » much too hitT—*7,

Large Cymbal

Bass Drua 63

(Sounds of a violent storm to be heard here) Traffic Patrolman

What is this? It's an old lo-co-mo-tive! All anionsI

Piano

It's turn'd off in-to the po-ta—to field! What a dis-aa-ter! It's off the trade]—

Not sign of guards! Not sign of gates or warn Ing Big"—nalB!

Piano // broidil

It's off th* txacltl' It's off tli* traokl Stopl Stopl Stop I

IS Ltvt-Cy // Trafflo Patrolman i f c i lt r -so lute-ly not!

Choxua Let him go! U

Let Mm go!

Alto Xylopboa* mmf» Timpani In C T > > > or Baaa Dnm c fr' itsr rf TT i5 Lt'vely

1 J-nj i" ! t—r Piano r > > > rm W=r r >? f > * > > 65 ©

•ao-lutf>-ly not! inti J Chorus Let him go I Let the poor thing have his good time,

Let him go! Let the poor thing have his good time,

Timpani or Bass Drum

Piano

J 66

c U r i i Ab——ao-lut&-ly not! What mlB-for-tune

he's not do-—ing an—-y dan>—— age!

he's not do——-ing an—y data-—age! $ $ pp¥ S

-*—?—*—f-

Ir?j >j #» ;gr /ware - 67 baffle Patrolnan

this will lead to, what mis—for- -tune this will lead to!

Soprano Xylophone

Alto Xylophone

6*1 * i >, J Piano tr4

ip= I

Chorus j ij j | j j"] bj j | j. j"

No mis-fox^—tune can this— lead to, for he knowB the

Soprano * r-O. _^2 Xylophone r

Alto Xylophone pmm

i""# Piano 68

Iraffio Fatrolnan

Still, mio—for*—tune this will— lead to!

Chorus

way quits— well!

Soprano Xylophone

Alto Xylophone

$ if f Piano f m 4 d 69

Chorus Let him go or we will beat you black and blue! i

Let him go or ve will beat you black and blue! > Soprano Xylophone

> Alto Xylophone i m

Large Cymbal / > > > i V r r X" Bass Drum f P 5 ! j i Piano i if f £SS 70 © > Soprano i» Beoorder ^—t f f—t If f f fr v r f \f } - - =i rLJ LJ uJ // > Alto St f ? f t. . > > l -zY Reoorder p-—f-f ijfc rUyL/L1 1 U LI uM=l 7* 1—" • • r H > Soprano if ^ * j—h-i Sloclcanaplcl y r f y=j=n 0 \ » + IIif ; ; m .TTii 1 | J—d. t * lr f - - fos1 r 1 r r «• r r i > > > T Ht=: #

Soprano Xylophon* j-= L; f - - -£ J ft*/ *• r // > Alto Xylophone ,03 ^ ft- = - - Ay f f //

Large Cyabal 5 5 31 —+—m, ,m- ,

======:: Vood filook 3*1 J - - J J - - j ; - ~ ft.. Z r r y * y » Small Dm . >1 ' Z ^ 5 - - Baaa Drua 3 f" >A.. >/ ©i v*. • • • • 0r«. • • gfA • • *kl ll JTT - - 1 ™ "" ff?=: —L-7 4 4' '» f1 Piano ft "K 4.* 'a- jf j 1 f 4 f r -tff-^-P- + 7- 1 ' 1 r 71 !• 1 l1 ' - n7. * * ?fcr * ^ • 71 14 Stovttj (CAujttuciit) approaching" )

Much too hea* • jp much, too hom* » ji with fcKjer&pi f h t HovLy y wj UU'il'ii'i i P ZffSiitvg

tsch tsch tech much too heav—y much too heav—y. 72

x (

-* *< *• i —*• 1 4 * much too heaT' • y, much too heaT y. much too hed>- y, nuoh too hea»—y.

J * 1 r—*-

5jp w $va.

"iJ * * I J -# * #-

much too hoav—y, much too heav—yt

(fait ivi(h i. -pUyers 7i~I777^ off )

>1 f J fiVA. 73

Chorus § ~W w -m 1 ~9 * -9 r m

ft -*(1 Soprano Raoorder §

Snail Dim y 7 r r r * f r r r r f t t r t

Bass Drua C * f * T *—"T >n!f

* a * * * * f-f-t-f-ft Piano v

T > . * r . r , 0 •»» • *

^r»*nLaj "-"d i(ju)e.r )

Chorus [[& j j J J J j j j > w—*—r—1 1 * *

much too heav—y9 much too heav y, much too heav—-y, much too heav-—y I m(i4)« Soprano Recorder

Small Drui f ?—f- 1rr r r r y r r r Bans Drua i—*- t *—r * * * * * * t±±zl±j Piano

i •r > * . > 0V**' 74

Chorus

can no more, can no store, can no more, can no more, can no more, no more.

Small Dr

Baaa Drum

Piano

Chorus

tsch. tsch

Small Dm

n't Ks

Piano 75

Il\6Lc u) 4 lanator r m n rra

So the old lo-co—mo—tive lay in the o-pen field,

Alto GlooJcanapial r Alto Xylophone Ir - v * ¥—1— T Cong _ * r v -J1- $louJ o I , - SP : Piano

Narrator ?—r and in the Dora-ing, when the mu- Chorua 1# j r Ji for he had— no more strength left,

Alto r\ Oloolcanipiel

Alto •fc Xylophone

Gong zk % Piano t 76

Barrator § M a^-um o-pen'd its doors on—ly an em-pty was seen

Alto Xylophone

Flaao i ft

(nictated J Husdum Director

Where is, vhere is, Is ay own*. • Hand Drta l.iu t * cxr t-Lf r

Museum Director "? y-T > * where is, where is, whore is my own where ia my own dear lo—co-mo-tive!?—

Hand Dim

3 S Kuaeua Director

•lice help me,

Hand D: r r r r r r~rrr

Hallot Thla is the museua. Liotenl Last night_ our locomotive, our unique famous loconotice •tolanl Hallo I Hallo? Don't you uadantaml? I'll oin£ it to youI— 78

Museum & Director i m i Hel—lol- Thie is the mu so um. lie—ten to

Soprano Xylophone i ~~zr

Alto Xylophone

Piano

Museum Direotor

me! In the night our trea-aure, the old lo—co—mo—tive, our one and on-ly one,

Soprano Xylophone § Alto Xylophone

Museum Director i .'H.riini f mm the world r^-nown'd lo—co-mo—tive was stol-en a—way I Hel—lo) Hel—lo?

Soprano i Xylophone i

Alto Xylophone 79

HUH mm Director Don't you understand? Ag&inl What?? Sine loud«r??

Soprano XyiopJiono

Alto & Xylophone

* Piano i

> TcJ.

Kus«um Director

This is the mu-—BO urn. Lis-ton to me! In the night our trea-sure, the old lo-co—

Soprano Xylophone

AX to Xylophone i ao

Husaua Direotor

mo—tivo, our one and. on-ly u-ni^ue lo-co-ao-tivo, was eto-len a-way. Hel—lol-

Soprano Zylophona

Alto Xylophone p

Bass Drat

Piano

Museum Director What?? You don't understand? Hello? Hello!I Xhis la saddening! We've teen disconnected! I'n going to the police myaelf! 81

1& 6omewk*'t broadly

Soprano Rooordar

Alto Record*r

Alto Xylophone

Timpani la S or Boas Dxui 13 6omsuka.t broa.c/(.Lj

U r j j Flano r*0Lrt.

pVA-'

O 5-pttdj

Soprano '^ i-. Recorder m mm

Alto Reaorder 1 m £=p J ] !'7i i m LS' /

Alto lylophOM ^ ^ ^ ~i~ * i—*--J——j—<'^1—*—~i—'—a - ~r~*~ V ~lj\ $pee.dy X X

Piano * Sopzano Recorder

Alto Recorder

Alto Xylophone

Piano

Soprano Recorder

Alto Recorder

Alto Xylophone

Bass Drum

Flano 83

Chorus

And so the fan>—oro go In the raora ing I5 the fields

Alto Xylophone

Triangle ^^—\r^~ •J—J—I4J—J—U- ©

Piano

Chorua £3=

Soprano Recorder

Alto / Recorder IP p

Alto Xylophone

Triangle j—j-fj—j—i 1/ J —;

Flano 84

fcea £ i 7 * m £ ¥ Chorus In the beet fields, they plan on dig-glng, tbay plan on dlg-glng all day i £ In the beet fields, they plan on dlg-ging, they plan on dig-gin# all day

Alto Xylophone Triangle t ^ j * * l/l- * ^^ff

Piano

Harrator t/l -frr-i £ j ^ ^J r un'i. But they ill lit sheet'd ana eeu'd, rj»?] ^ =?= Chorus K%=f^=^=±= lOUge

Soprano Recorder jf/? -il *fr?r ' il j j j ^ ft 4 >^lu/=^= 4—^==—

Alto Recorder .j 1 ^LLU U

Alto > Xylophone i J i J—/- g -i/ J ' 1, * ; j 1 Triangle j J J i J J J v- i; * ' ®i 4 A f f •f , ^ I v 4 ' r.—C— -ff—f- -4—*—h— Flaoo ; t" rf -tf 4 4 l'/r?3 f 4-H=*=H=-=f=- 'F r f 65

Barrator i for there lies * >. Chorus i i i1 i-r But they all are shook'd and a—nac'd,- done =f $ Piano m w w

Qt/A.

Barrator I

Piano

2,0 $ Cower Baas Driat J T •*t_f -pihgtrtip}c_Lf ic_r C-C_rIr r rrrrlr r ttt i Plana

*W f r ? ? * Q6

Chorus Poor thing, poor thing, poor old wreck*d lo-oo •mo tlve. P-**f

Poor thing. poor thing. poor old wreck'd lo-oo—no tlve.

Alto Hetallopbona

~i f f \i t f Tf f Piano

I i I „l

rit- r$'$P r m Chorus End-ed now. end-ed now*— is your dream. End-ed now— is your i End-ed now, end-ed now— is your dream. End-ed now— is your

Alto Hetallopboou

ret. p

Piano w 87

» dream!

dream!

Alto Hetallosbona

r r 7 r r r 1 r r 7 r r r I r r 7 r. f r I r r 7 r r r & t6* i

/—y ? f f t! frf f t * . ' - • /

But since the farm-era were ver-y strong, at once they tried to raise the old lo-co- 88

®tUwer

f } 1I =^E 4 u m If" ( =

mo—tive up a-gain. Three tlmea, three times they gave a yell: £ * If P Zhree tines. they gave a yells

+T1 *

( fat, firexj )

i -y—i—r Ho—up? Ho-—up! It18 up! Ait alnoa tlup- had no aon tlaa to mate,

• i •

Ho—up! Ho—up! It'8 up I <1 T Large Cymbal T= r * * % f—

"3*7 //

tP 7 . > * Bvd- • 6** 89

Barrator

they just left it there and vent to digging Id the eu©—ar beet fields, •Tit. o

Piano

It Br/ik. p w m 1, Sugt-ar beets, bm&^&v beets, plant them In all the wide— Choiua 2, Sug-ar sweet, sug-ar sweet, we need to sweet—en our—

1. Su^-ar beets, su^-ar beets, plant them in all the wide—- 2. Sug^ar aweet. sugwir sweet. we need to sweet—en our—

Soprano Reoorder p

Alto Recorder

Soprano Olockenapleil m Alto Xylophon®

$rit>kr

Piano 90 ©

fields, Su£—ar beets, aug^-ar beets, plant them In Su^—ar sweet: aug^—ar sweet, we need to

fields, Sug—ar beets sua—ar beets, plant them In deed*, Sug*—ar sweet. sue—ar sweet, we need to

Alto Recorder

Piano ©

fields, all the wide Sweet—est aug-ar beets will bring to Chorus sweet—en our deeds. (1.-2.)

all the wide fields. Sweet—est sug-ar beets will bring to sweet—en our deeds. (1.-2.) Soprano Reoorder

Alto Recorder

J* J* J* J* J* J* J* J* J*

Flano 92 i Chorus us good mon—ey too, five and two make aev en. If the i 4 * ¥ us good moi>—ey too, five and two make aev en, if the

Soprano Recorder -* *- r lj 8vx. Alto Recorder m ; j J j J

Soprano Sloclcanaplal. j j ^ m r f

Alto Xylophone j? j> J» ^ J»

i Piano

P P •v *- 93

Chorus mar chant'a count ia true

aexw_Mc2i£U}t'0 count is true.

Soprano Eeoorder

Alto Reooitler

Soprano 01ock

Alto Xylophon*

i Piano * 94

Museum Director: Farmers t Museum Directors There's the locomotive! Stop that singing! No! 1 tell you, Ton stole it! Tou stole it! you stole it!

Large Cymbal and Sells

Gong

• •

(begiaa speaking) _2 2- «• did aat I'll have you steal it. It ns Just lying tfcere. ted I I'll have you thztDU in-to the deep-est dun-goon! $ / -JSl. -Ol.

#»••• 95

Tou'r* lying! P«y da attention! i m H«'» tOMjl MHi UtMttrt You stupid peas I'll have you thrown In-to the deep—est dun-geon! ants, just wait! I'm calling the # police!

0" t> Vfi •

14 Ti,flf*po A*

Alto Metallophon* $ ii i i i j1 i J i 'fi I ~f

Piano

SI P=F rill73i=p laHr ppft 4 * J -• *—' * 4 > -f—zr-r * z 96

Chora* Poor thing, poor thing, poor old wTeck'd lo-c

Poor thing poor thing, poor old wreck*d lo-co

Alto HotaXXopfaoM 1 & + j U '• i i Ij. I?

V r Piano |ir

-* -Tf w— ~w—-r~r ^3*

Chorus end—ed now, end—ed now is your dream. ¥ m end—ed now, end—ed now---- is your dream.

Alto Xetallopbme i f if.f f f f =i=*

i'T I ) 4k Piano l • \L l'"T j jl 97

Chorus end-ed is your dream.

end-ed no' is your dream.

Piano

Snail Oria c Ur cur ;r iI,ft-T tLir r ;r rmcu/, ,r r 98

Three fin-eat of po-

XhrM Poliotnan

Three fin-est of po-

1 i jjfll

tChrdtt fin-eat of po-

Bslla J J—J—I j ; j J i i J i

Baas Drua T £ f—f" ~t—i—f—£ -f—f—f

mm Piano ¥ Hj • • IJ •r" 4/r' • IJ •'r' w • •' IJ ^ @

-llco—man, we are known, far and wide in ev'r-y town,-

-lico—men, ve are kOOHQ, far and vide in ev'r-y tovm-

-lioo—aea, ve are known, far and wide in ev'r-y town-

Bells

Baas Drum

Piano 100

ev'r—y—vheret-

Thr»« Folio«a«n

ev * r——y where!-

i zr ev1 r——y -where!-

Soprano Gloolcensplol J i f r r

Alto Metallophon* t j j J

Bella

Baas Drua

j r 'f f <* x& Plane "f *,j j J J j J ) J i|J 11 igm 101

/. A»y £

* n .tJ1 J

Xhras i FoIIooma Nignt-ly, In dark—est al—leys, we eaten the rob—bers for you.

t * —f*—» 1 r r—p f JUfbMy, in daily m% 1*1». *• oatoh the at >w for j««, Bells n rt J m ic n y; j ; i{ j—j £•

Bass Dm T *—f—*~ Ttr 6-c—*—f—f £

Piano

Thraa Polio® 'ir'rri I7T7 * * /«•» w'rt tin iim —t of p»-lip> mm. It's mlI4Be«l

Bells -e—?

Basfl Dria

Piano 102

\1. fltpt* /• and Z- - ^=i jtJ j i" —r- Three Policemaa Bar&—ly has something hap-pen'd, at the scene of crime you'Jl find us*

Bar»—ljr has something hap-pen'd, at the scene of crime you'll find us,

Bella n7n J it ,i~~j CJ J J— 4 n 4-

Bass Bra t i—f—f- Ttzr —* f i liLJ

j 7 I Piano ± ^ -11 pf hp

/ > rnnnna r t > yes, we're the finest of po-lic^-men, that's for sure!

Bella -e—£ -f-f- #• Bass Dria c/r * - r r r *'

i>J J 5 P* Piano # • >r f>fm $v+- 103

Museum Director % w This locomotive was stolen last night by these fathers from the

Larga Cjabil 6- r S

Police:

Museum Director [ft r u m r •' It"\ 1' U 'i-fej T

r\ Large CyahU. A

Farmers: Follcei Fanners! Ho! lou den; It? Test /7\ Large CJnbal 1 | £ 1

Polioei

Fanners

As we were going to work it was al—read^—y there "...al—read—y there" 104

BDllomni

It is a rid- .le, "It la a

Firat Policeman: I oan't arrest you, but you'll have to appear before the judge. Cone with nel

V / >

Large Cjgwbal _ hrr

Piano

Chorus r- - • I - f TJ|J VJ_ TJ|^ ^,| V ^ The Judge, the Judge, the might—y— Judge!

Alto Ketallophon* I • 4 J- J- 0%f* Large Cfcn*bal •pv^ ^ r r i i

Chorua T—r

What ia to hap-pen here wo do not know as yet.

Alto Hat&llophon*

Largo Gyahall

i Piano

Judge

Lack

Snail Cynbal

Piano

Judge

Nov you farm- Btand Speak up

Small Cymbal

Piano 106

Soprano Heooxdar iu is

Soprano aioaJMnqiiai

Alto Ketallofliono m

Alto Xylophccw mm

$ a Ctaorua «r Two Jkiaero 1. We were dig-ging, we were dig^glng sug—-ar beets, sud-doo—ly,—» aud-den-ly— 2. Hard-ly had we start-ed In to work a-gain, there came run-ning up to us this

m mf 1. we «are die-ging, we were &ig-ging suff—ar beets, sud-derw-ly,~ sud-den-ly— Alto 2. Hard-ly had we start-ad in to work a-gain, there came nm-ning up to us this Metallojihonei j i 1 i miw Plans w i •# 107

Chorua or Tuo Fanaar wo— saw there be-fore us thia- lo-co-mo—tive, and It aeem'd to be call—lng to ua, vicJc-ed man) he re-fua— ss to— bo liovo ua, of our free—dom he would relieve

/ II wo saw there be-fore us thia- lo-co—mo—tive, and It aeem'd to be call—lng to us, wick>-ed oan| he re-fua—es to— be—lieve ua, of our free—dom he would re-lleve ua,

Soprano Heoorder

Soprano Oloolunapltl

Alto Hetallophone 108

f ft second iCme)

Chorus or Two luurg though it could not— move, though it could not— more Judgei though ve all aay the aame, though ve all aay the aame la that all you know?

though It could not— move, though It could not— move, though ve all aay the aame, though ve all say the same. Alto XjriophoH 4 'P' a ' r ' =* ' pf

Swii Dim

Piano

U- Chorufl (i m m m The Judge, the Judge, the mlght-y— Judge!

Sm*n Drtai CTrrr^rfrhrrryrrrlr i

y . . .

FIAHO * w f ' 109

Judge $ Let this hear-ing now con- Chorum if bp What's now to happen here we do not know as yet.

Saall Qyrihal

Snail Oxm Jl ^^

(i i piano

Judge

trol—man nov may havo the floor

Small Qjnbal

Piano 110

l^l Li'vtCij

Vood Blook

Piano

f fat'y ereiiiJ) Trafflo Patrolman

1• 1 am ohafc—ing yet with dread, 2. TJwn I froM • gain with faar,

Vood Blook + -4—f—4—T ~i—f—i—r—i—r Timpani in 1) or Baas Drill —*—f—* f~

+ i f > -f > 1 ; * ; f- u u U-u CJ iJ U* Piano $1 p.ppp.fl. \pppi p. p. p. 111

Trafflo Fatrolmui

thrw o' elook la the Bljht, thare oraa—y folk, droT» m out

Uood Bleak

Piano

Trafflo Fatrolaan

wok* mm rtai^-tld from aj alsap, from aj Ml—p, lflth thalr and thalr about—lnc from iqr bed, from ay bad.

Uood Biook + i—r r r Timpani lii D or Basa Drua 1—r T -f r

LA.}1 • f l f * • * u u1 i—** J Piano *0 I 112

Lir r u- Cff i r rj r IP

In alaap, np I laap, than • taut, craa*-]r black oaaa tha from m? bad. my poor haad'a In a apall I should jail, but no

-4—r—£—r •f—f—f—f~ —f—£—f

-f—f—f-r f—r1 * f i-—f f f- KUP)-s\ * uftltX j'J iliS tS itl t,f [J*" *1

antra, oouod,

Vood Blook

Timpani In 0 or Baaa Dm

Piano 113

smoke from the old 1o— cq—*ia0—— tive, from the old lo—co—mo—tive, sound cooes frost oy ter-ror etriclfr-en throat, from my fright-en'd throat,

W Wf 0

Traffio Patrolman i jiif t from the old lo—co •tive1a stack! from my ter— ror— atrial: en throat! Alto Xylophone m

Leurga Cynb^L and Trlan#l>»

Mf f Lf I Piano U J iJ v r

i 114

Alto Xylophone

Lars' Cyakal and TAangla

Vood Blook

Baaa Dm

Piano

(bfOAdU) Judge

Thie Is vor-y atrange ln-desd. Could it have been the dev-il him-eelf? C\

P1 nnn

Judge

Thia to^ti-no-ny tells us noth—ine, and no one, Qong and Large Cymbal 7^ 1 Piano 115

rii. Judge $ r i ( r knoii the truth.

Piano w

A vt •

Now hoar ye the sen-tence:

Soprano Recorder

Alto Saooid.er

Snail CystoU 116

3roa,dly

Soprano Eeoorder [Meltf r &\ r — Alto Reoordar *9 0 71kf^n ,#^4 f 'I If f 1 l " v. r T Soall CynbaJ. i j I J J IL - 1 L1 • II - 1- ~ 1

JTU —m—M ft fS* ,$f , "iPf tin S * * r Sfc J—1 t 41 r [_r f• Piano

frf-J =MfcJ fTJJ i&r Li—t J J 2J

Judge § All things In the world have their own tim it ia eenfl^-leas

Soprano Reoordar

Alto Recorder

Soall Cymbal

Plana 117

to re-aiat un-chang-ing The

Piano

Judge

old lo—Co- tbis in-

piano 118

-cap a ble law and sure—ly should, lie pun-ish'd. But he has glv'n

Plaao

nai>—y, man—y long years of 8err—Ice, so I will not puiv 'Ish

Alto Hetallophone 119

Judg*

but he must go back to the mu—

Alto Hetallejbone

Triangle

n * Piano

Jixlge

Take him back there at once

Alto Ketallophoae

Piano 120

Soprano r 0 Raoozdn —4—J—^ J J J —d ^ |J 4 - 1 - " > > >

Alto I > - - > . Saeozdar * 4" 1 *

Soprano Olookanaplol Tf-r—f f r ? y rfq. f r r y -r f— mf i ^

Alto Metallofbona •to-"—lr 1> —1* —?—I J=1*— Jy 3i _ —Hit —a!9 ^^—J V 4-39 9 -— r * r r r r r rT r^ Alto r lylophosa -WH»kr ''7—* i >—•—c=H ., JJ VJ „ ~tr *J 3f—Jr ® •'Jv *39 _— T T r r r > r'r > > Boas Drua f -i s I s f ? - ^ J- V r 1 > r r f * f * f r r I y r f 3Z 6» limrx

glbC i J J ,- j. j Piano

tnc c . i ,= 121

( mf, f J

Chorus r r l m " ~ '• ' All tilings in the vorld have their own time, none can know ex—act——ly

Soprano Raooriar m i (<*f , Ind time Ip ) m

Alto m. Reoordcr m $ (nf, T^ihte -p)

> Soprano Olookanapiel I' * (mP, hid &t*e J-p) m

Alto Qlookw>- •pi«l Kith ma r m j. f MetallophM* mm $ (mP, %mJ limeP)

Violin, Truapat or mi ;i J 1 f Clarinet ^

Baas Drum t—r—r r ir r r r ir—r—r—r

n f i if Piano t'iln/i' P) J 1 i [• U i H 122

Chorus when his hour will strike. So there-fore, you, too, must o- •bey the law!

whan his hour will strike. So therefore, you, too, must •bey the law!

Alto Recorder

Bass Drum

Piano 123 ~Pt4Le«fiLC, holding J>*-clc. JL

Chorus Km,

z_ m & n 1 n

Soprano fiooord«r

Alto Haooriar i

Sopiaao OlooioBapUft p rt»J iirw 'pp )

Alto 01oakmapt«l TP \ -f —1 3 -T=I * ( j A-J ' ) ^—£ f (1*J it'me ff>)A -4 i

Sopnno Xylophone 'i <• = %—|-f (%*J time ff) o 0

Alto Xylophone Sh-is A f^ ft*J ,, ZLfi*€ ffj Small Qyatal

}

Baaa Drun i. * It / r ^ - * J f r r * f * f ' r

^ A ^ II 7 Piano f i" "P (.%*J £'*e pp) 124 f'it.

Soprano Recorder

Alto Xylophone

Baas Drum

Piano 125

1, i. (tomeuktt turner) Tit, CfUaltj **J clenrC] ipoke*J Cborustnw. 1—w—r That na the hallwi m w of ths old loooao- All things In the world hare their own time. tlY*.

-o /O

(>) A ——

ret. 1& CHAPTER 3

POOR LITTLE DANCIMG BEAR

Introduction of the Opera and Criteria for Its Selection

As In The Old Locomotive, composer Cesar Bresgen again chooses a subject of universal Interest to children--the circus and its performers. Particularly impor tant to American music educators who must often contend with the lack of an audi torium having traditional stage facilities, the subject lends itself to effective presentation in a multi-purpose room, cafetorlum or even an outdoor performance situation* The brevity of the opera (approximately fifty minutes) is an important consideration if one is concerned with the attention span of a younger audience as well as sustaining the Interest of young performers.

In contrast to the opera found In the preceding chapter, the musical score of Poor Little Dancing Bear provides for several sections of choreography. This activity could be expanded or minimized without disturbing the plot and simulta neously communicate the concept of opera as a complete musical form.

The work would seem to provide for maximum participation for students at various levels of musical and dramatic achievement. Of the three operas selected for this study, Poor Little Dancing Bear is unique in the use of traditional orchestral instruments. These parts for traditional instruments are well within the performance abilities of the elementary school instrumentalist. The involvement in the total presentatlon--as accompanists, singers, actors, dancers--offers a concept of unity Important to the understanding and enjoyment of opera. In addition the instruments usually associated with the Orff plan of instruction are Included.

The vocal requirements for this opera are appropriate for elementary school singers. Awkward intervals are avoided; singing ranges are not restricted but the use of extremely high or low pitches is minimized. The textures of the Instrumental score offer contrast and support without unnecessarily duplicating the voice parts thereby avoiding a heavy sound and ..minimising intonation problems.

The remainder of this chapter will present a synopsis of the opera plot, a

listing of the opera characters with the vocal ranges used by each, suggestions con cerning costuming, information about scenery and production, a listing of the instru ments used in the full score and finally the complete score of Poor Little Dancing

Bear, translated and adapted for performance In American schools.

126 127

Synopsis of the Opera Plot

The little bear wanders alone through the dark woods singing of his unhappy

past as a circus performer. Mistreatment by the circus master has taught him not to

trust any human.

Children are heard singing through the forest. They are looking for the

bear. When they find him, he asks them to go away and let him rest. Instead, the children tell of the sadness in their village since he has left the circus. They sing that no one cares to go to the performances and the circus master and his family have no money for food. The children plead with the bear to return to the village with them. He explains his determination never to go back to the circus because of

its cruel circus master. Noting their disappointment, he suggests that he perform

for them in the forest. The children are delighted but concerned because they have no money with which to pay him. The bear tells them that money is not necessary and

his dance begins. The children sing happily about the bear's antics. The bear then

sings for them and performs tricks on his bicycle. He next executes handstands,

somersaults and cartwheels as the children dance around him.

At the end of the dance, the children again plead with the bear to return

with them to the village. They offer to share their money and food with him and

promise to speak to the circus master about treating him in a better way. The bear

finally agrees to the children's request and they all hurry back through the woods.

As they approach the village, the children and the bear hear the angry voices

of the Fat Circus Family arguing over the bear's disappearance. The children and the

bear remain out of sight as the Fat Circus Family enters unhappily—eating con

stantly* They sing of all the good food they enjoy and finally admit that they eat

only "so no one else will get it." The Circus Family continues quarreling and self

ishly worries about getting more food. The children observe this unhapplness and

remark that they have returned with the bear just at the right time.

The circus master is pleased to see the bear but the children tell him that

the bear will not stay unless the Circus Family is willing to share their food with

him. When they hear this, the Fat Children from the Circus Family protest loudly

but are quickly silenced. The circus master asks the bear to forgive him for the

unfortunate way he has been treated in the past. The Fat Children know that this

means they will now have less to eat and again begin complaining. The Fat Circus

Father again silences them and agrees to the requests. The bear reminds everyone

that "no man should believe that he has everything alone for himself" and that

dancing can help everyone to keep in good shape* 128

With this the final chorus begins and all join In the fun.

Vocal Ranges. Costuming Information and Performance Suggestions

The Bear

Vocal Range: 1=

Costume: The composer suggests that the Bear's costume consist of

a fur coat or a dark brown terry cloth costume. Care

should be exercised In the selection of this costume since

this charactcr is particularly active*

Performance Perhaps more Important than the costume is the ability of Suggestions: this performer to move in an animal-like manner throughout

the drama, to ride a bicycle and do the appropriate acro

batics.

The Children $ Soprano I

Vocal Ranges: b-zr Soprano II

Al to

Costumes: The dress for these children is simple and In the style

of peasants. In contrast to the circus children, their

clothes are basically dark In color. Perhaps the girls

could wear shawls and a few of the boys carry back packs

for the journey into the forest. 129

The Fat Circus Children

Soprano I

Vocal'Ranges: i * Soprano II

0 r- Alto

Costumes: The attire of the Fat Circus Children mirrors their

untidiness and slovenly manner* Their clothing should

not fit well* Wherever possible gaudy combinations of

brightly clashing colors and patterns should be selected.

Performance Professor Bresgen reconvnends that the group of Fat Circus Suggestions: Children consist of four boys and two girls. They should

seem to be overweight and are eating constantly. Their

manner is unpleasant and quarrelsome*

The Spectators

if Q a ft ^ Soprano I

Vocal Ranges:

Soprano II

® kv A1 to

Costumes: These costumes may be similar to those suggested for The

Children* 130

Performance This group may sing the chorus part throughout the opera Suggestions: or may participate in singing and acting only In the

Finale* The number of performers used In this ensemble

la contingent upon the available acting space* Some

singers will be required to dance aa well* Professor

Bresgen suggests that many of the percussion instruments

may be played by the children while they are on the stage

or in the acting area* The playing of the violin may be

pantomimed by one of the children on stage during the

dancing scenes*

The Circus Master (Father)

Vocal Range:

The Circus Master should appear very obese and be attired

in a fancy red jacket*

Performance Properties for the Circus Master Include a stool and whip. Suggestions:

The Circus Master's Wife (Mother)

Vocal Range:

Costume. The Circus Master's wife Is dressed flamboyantly* Her

accessories Include many furs and feathers* She should

seem to be very thin.

Performance This character should move In a very artificial and Suggestions: affected manner*

Scenery and Production Information

The requirements for staging Poor Little Dancing Bear are most flexible*

Professor Bresgen states that a formal stage is not necessary and explains that an

outdoor performance area decorated to suggest a forest or marketplace would be

effective* Certainly the bicycle riding and acrobatics would be much less inhibited

in an outside setting*

In place of traditional theatrical scenery, the composer suggests that the

movement of the Spectator Chorus be used to focus the attention of the audience on

the acting area. He goes on to say that this larger chorus could enter singing at 131

the performance. The movement of this group may be limited so that they stand during only a few dramatic hlghlighta—the departure of the bear with the children, the return of the bear and the beginning of the Finale.

Instrumentation of the Opera Score

The majority of Instruments in the accompanying ensemble are those designed by Carl Orff and especially adapted to the physical requirements of children. For additional information concerning these instruments the reader is referred to

Chapter Two of Music for Children.^" If these instruments are not available substitu tions will be necessary* Care should be taken, however, to maintain the light texture of the ensemble* The instruments included in the opera score are:

Two Soprano Recorders

Violin

Piano

Two Soprano Glockenspiels

Alto Glockenspiel

Two Soprano Xylophones

Metallophone

Small to Medium Sl2e Hand Drum

Bass Drum

Small and Large Cymbals

Bells (Sleigh Bells suggested)

Triangle

Wood Block

Gong

Optional instruments such as clarinet, oboe or trumpet may be used as indicated in

the score*

Musical Score for Poor Little Dancing Bear

The remainder of this chapter is devoted to the full score for Poor Little

Dancing Bear. This material has been especially prepared for children's performance

either in the classroom or at a public program*

1. Orff and Keetman, Mualc for Children, pp. 8-11. 132

Ltrn.£ DA/UC/VG 3SA/Z -

Preiuc/e Ma./*ch of "the Ma.tn Chorui Ce*a.r 3ret>$en And&nit (T\ Soprano Recorder HE,, y - - - - i v J J=d=

Soprano and Alto Glockan- spiel

Bass Drum Ilt err fir r\u ar rir

u*urJlr *r M Piano

Soprano Recorder jlj J IJ J I % UH f r Uftil *• i r ' 1

Soprano and Alto Glooken ^ rm 'j 'j- , j J J j 111 j j i i j rm ]] aplel 9 111/ H 1 ^rrrfr

Baas Drum f—0*4 * * . . . . Li Li if r r f r Li U ( f f f r r uat rl

r*r r * r*r rJ rJ1 Piano 133 (^) i6rt 3^ Soprano Recorder 3r m

Soprano and Alto Glocken spiel * f m

Base Drum 1 * Mr 1 cc/f r U r r rlcjuf r If t r r © S'^T^T^TirlfrJ r-*r rj ILf'cjrJ Piano

ufltS.

Chorus

There

Soprano Recorder Hjf j / i1 ru

Soprano ft»d j — i j — -j—^— j j rm —| . , Alto Gloal:«n hi J J api«l r i § t t? • •/' f1 1-1 Baas Drua - - . j I u ut t f f r r 1 LfLTf r f r r f r r r > I

* —j— ftr y (* "f IP" » # ; / i*tf 1r Af r J i1 f fn; i ^ u [jr=^y r* \—r ^ LTTJ r ' r*r ryd Piano i r - T * ' 134

Chorua

la a bear, a lit-tle brown bear in the for-est cool, runH-te—ta-ta-tum, a

if f f f Piano m

Piano ( \ f e

lit—tl» toon bMt la the foiw«at oool. U^tli ton batr( lit-tl» iron bear.

Small CyrtaL

Bui Drua U LJf U Uf i wwu f Flano m m iff] 135

ft* y 7 ? £r~

Chorua What is he do—ing in the deep, dark woods? Ah, BO _«==— jp* n i i -f==!—, , !(f J J J J ===l N ^ J J ** i J

llt-tle brown bear, lit-tle brown bear, lit-tle brown bear, Saall Cymbal / J - j > ^ 7/ £J —

Boas Drum LJ LJ f LJ LJ f LJ LJ f > .'Mh i- ..»f1r 1 1 >—i— Piano j-J n j 1 * J '• J;

3 j.

Chorua dark and cold! There is a bear, a lit-tle brown bear in the —J- pm n ..j j c-j w f lit-tle brown bearl Share is a bear, a lit-tle brown bear in the Small Cymbal L

Bass Dm LJ LJ R—R t—r—r—*r t^rrrrr

Piano 136

Chorua (I m M 11 n 1 I n'^; 1 ' 1 tor mt cool, rm^ta taf • f, a lit-tle brown baar In tha for»aat oooll

Baas Dra 1 t—f r * Ic_f u f c1 c_r u r r If r r

Sf^pn i i 1* Piano

fly'J /J J w=& J i nP P j_l i

Chorua '(•/hat is he do-ing in the deep, dark woods? Oo-

Si f\ ' J Mhat does he do?-

Kat&Xlopkona or Alto Olookmapiel ©

Piaao 137

Chorua cold

There is a bear, a lit-tle brown bear in the Metallophone or Alto Qlockanspiol i

Baas Dria —If r r tf. I r f r £ © jf Flazio JUL

f ifi

n 1 itn— j a ^ j f Chorua Run^ta-ta-ta-tum! A lit-tle brown bear in the for-eat cool!

it, iii . | ) ,T J 4 J j r ffp f tf' f >— r • ^ * i J LP; 4 1

for—est cool! Ruo-ta-ta-ta-tum! A lit-tle brown bear in the for-oat cool!

Baas Drua f f f !• cj' l_t r 7c u U ( f 1 err*

kf t j-J , i kj 4 j*— J^-d- 1—i— § (r = -I r—*—£— Piano

U« f i*r f d r yr-fl —fl ^ f j j 4 J J r *r r 6-1M - r T J J i r i i 1 138

yr i r r ^ 1 [ 1 r "

What ia he do—ing? What is he do-ing? What is he do-ing in the

ft n i =f=—-n i— — p=T—,— Op J J J 1 J ' J J ** * i=J

Llt-tle bronn baar, UV-tla bxown baar, llt-tl* brom

Small Cyabal I J if" J — > N '7 tJ

C_j* Li f £ f f f f f ^ LJ LJ *

_ W IL1 «< |\ r » ^ 'J ^ U jf J-—' tJ ^ r ^ T

" • •— • J j " J > ji> ""J •J f*L K ^ -j ?!1 ' * J >- ' 4 J

cold, dark woods? There bear, a lit-tie brown bear in the for—est cool! * *

baar. Biaia la a baar, a llt-tla brown baar In tk* for—aat oool!

? t—f—r r r r c Lf cjf r r r r ? 139

5atij af the £$ca-f>c J Se-a-t*

*=== Bear i

Alto Xylophone

Piano 140

i K I do not trust unite or yel^-lov, black or tan. 2. J)ay and night there Do you see why I pro—teat?

-+ 4 * #- -0- 0- ^#i; Fat nan, thin nan, rioh Ban, poor Ban, thay are Juat a nortb—lsaa clanl Day and night, ym, dark and light, oh, what a Bight, there was no reat!

^ ^3= t "if?t —i it it~ r r r r r

^ f JM 1 hi—*f^-r—

A I 141

Bear

Let me rest with out the pranc—Ing; no more 'round in cir-olea dano-ingt Wmb at last it's time for diiv-nar, sons for ••! I'» gro»-iag tbln-narl

P Piano i \ \

Bear & i mm ^ * J \ & •

Let then oatch ne if thtj oaa, but I'll not truat •j aan! Let then oatch me if th«y can, but I'll not trust nan!

Alto Xylophone

xjqtiI O X_f ^ Piano I* 77 Ml i J" '*Fr 142

Bat I mat b« on ay way now. Biara'a no time for aa to play now. Joat give mm bob* meat wild, hon—«yt lat aa drlalc cool •a tar run-nlng.

Ho no re ail ly ooa—tuaa aw^-ing while the olr—ou« band Is play—ls£. I would rath—ar dig for roots than hear the noia-y clr—cub toots. 143

Cliorua warn1'/1 i-0-^04 1 •-2. Tra-la— la-la—»la*—— la tra»— •• 'la— ""la, dear— good— brown bear, please

Soprano Recorder

Glockenspiel

Alto Xylophone *. Mr f U, U/ r Wf#

Chorua Use" Lf 0 I ~f—^ f Hf' r do— not— harm us, lis—ten to us go od brown tear!

Soprano Recorder Hi.i4-i i i j ii 1 l 1 i WJ ( W U i iy -r

Grlockeziapiel. hi i J J —=—: ; §4 r 4 • { f r f = = = = =^^: Alto Xylophone \i j j j j j i j ji= § ' f T ' f e f —r—* ^ —f p f ^ 144

Bear (sniffing): I smell something— I smell people! i ±= • Piano mf »' /7\ 6 v*

Chorus ^ j i n i ' i > n i ri f\ J •ft (.£-C-r -f—F—L f—r r w 'iL/ t/ f r 1 Tra-la—la—la—la —..-la tra la la, dear— good- brown bear, please

Soprano 1 J j Recorder ^—i- J n 11 i ii i i i ft f I1 f i1 r t f r u 'f iW if r r 1 1 ^ Gloolranapial J Jr i v 1 J J. J ?=l| JJ rI MJ ^ ^ f V ' r f ^ v r r i* " rnf Alto Xylophone f—j 1 1 1 ^ ^ ^ Z ^ 1 f |» *^ T^frTr 145

Batii I stall people I Thara are hunans nearby!

do— not— harm us, lis-ten to ufl, good brown bear!

QlodtcanaplaJ. t m

$ LitlAJU. , k* - =1 ri—r-rpi ft Piano / 'J* ' J -

&VI.

Song And7)aucc of ihi Children- 6C»u/L*j f Chorus fr1'"' lit I f I IJ H i I r1 r -f r

1. Qood brown bear, •luce you left our Til Ingn are lone—ly, 2. Qood trown tear, aloes you left our *11—lage are cry—lag,

Soprano and Alto Oloekenaplel i » m

Triangle •S—Hr1—i—H J^—J—\+

^>*10 I I i j t m> j j Piano '^LC J f J I j r j f j f Jf

Chorus ,6* / ,J ^ )QZ7 r1 / i,J 0 ^nfl

0»od bzovn bear, alnee you left ewr ril-lage on*— face to the good broim bear. •lnoe you left our Tll-lage there la no oor*«-

Soprano and Alto Qlockanaplel f==^: i i

Triangle -*f—J—^—J—|—- J ^—J—|—£ J——^ J-

^ j j *^ j ni g *4 $ Piano "ih. J f ^ t jilt j f j t 147 © i DC)1 / olp •. erual Bov the oilKnu 'tar la ao Tap—y diTiO"' 1ngf Bow the oiiwrua tar la ao Ttx—y

Soprano J 1 and Alto Oloclcsnapli)! i j * i i

Xylophone

-f—y—^—J—j-f—J—^—J—j-^—/-

_i_j fj 3 * •

j- r J r ——f f—r— i i

fi'"111 l< / fl ##«» and the aiv—oua la Mtf ty and Md. Xov th« oi»-oui n tr but the peo—pla Juat don't iMi to oar*. Vov the ei**eus i—i trr

Soprano and Alto Qlockansplel

j - 5 £ =j *- ^ ^ f ^ * J £ J - ^Hf—J—M-l @ j j j J"*"! J JTl 1*- ^ -i f ? ** t ' «

^-h j { rj 1 f | —f 1 < - f — 1 1 ' •

a I 148

la ao Tar—y 1 tij, and tha olr cua la «M|i ty and aad. la ao v«r—y liuii gij, but tha pao pl« Juat don't aaaa to eara.

Soprano and Alto f J J / «| | •• -1 •< \ =|V j V j OlockonaplaL (?P r 3 V J 3 J—3— ••-

UP ^ J *• * -0- y J y J < J -tf J 7 * 7 ' 7 J ^r *J r r 1

Lj? L,h J J j J I J i j n i -r*H •j j -J =1 yV j i j i i—i— i i A ^ i • / ' * i til

Wl J f J M U r J r 1

iip J J 3 r ts f T~r~r r t_r 1 .-2. D«ar liVtle baar, Pl« ooaa «Mli us, dear lit—tla baar.

r r r r

j J J j J iiii ; j j j r rr r 149

r r r r r t f plMM oomm vltb usl Brlac as Joy and

£ip—- f =h 1 r r t r f f f—j;— %=t=t=t=£=Ll-r 1 r r r j

t J J J J ® r r r r

y r j y r=g=ih" —f^j J- V- j- j * 3 LLcJ r 1 • 1

1 M'l ii—r^— 1—j— A J J J , J L— l|j^j f j. NlJ. 3 Lfc—J—£—J— «

1, Soprano r, l Hecordar 4 J Ipj t=M=bj i-i-i , t • ' -

Soprano n and Alto j J ] t ] —t b1 1 L J 1 . Oloolcanspial

/O Xylophon® tP- J*-—* :/•—# —3*—^—bj # < »—A-/— f r ? 11 %— r r > r *T r r r »

Wood Blook . J V J > J_ L J z i y J J J 'J J., | lf. 1 • r • ' ' r • r : - ; - V i

" I. V rs \ii fi\ fpNM' ^ Piano 7 rs

=•=±=3 =±=L^j —g —£ u 1 ' i •1 z: WJ 150

Boors I nhrtll never go bade to the olrcua because of the cruel director. Navert

One Child! And i&at If we bag you?

Beer• Hot area then.

One Child: Then we shall never have a circus again. Va *111 never he happy again!

Sears ind ihj not? Stay here with me in the forest airt we'll have our own elroua.

Childratu Will you. dance just for ua? Really?

Bears Tea, reallyI

Childreni Just for ua, even thou£i we have no money?

Bears Money won't he necessary.

Children: Really?

Bear: Really I

Children: Juat for uaf even tfrmigh we have no money at all?

(Die fiddler Jumpe up and etarta the dance.)

a Cinrfu.1 a.*J bright, nit hlt-rn'ti/ f f r t fir r f f fif f r t fi

$ =#=? 1 % gj p of

1 j r r r r1 r r r r r r r rrr r rrrrr r rr ^ J J j1 d '•* ^ i-J J—J-J J—

•5 I f

1 151

Violin p itotfll 1 or Alto Olookmaplel

Soprano and Alto Xylojhoaa r f r r r1 r r c r._r r c Hand Dhb ^ J—J—^ J |-d

Chorua

lit—tl« no

Violin 152

Chorua

This ahov's a. pri—rate- on*! -tie Hia qro left be——hind he'i

Violin

ffawH Tlw

Basa D: 153

Chorus

W ll •»* Mill wtgh, to tmm M Jo.tr for*- u«l

Soprano Eooorder & , r r r r r ' r r r r r 1 r—r—r-J r—r J

Violin. Mg-i i-i m 1 1. 1 1 11 1 1 ,-j n ™ /

Soprano > Qloekanapial k \ V g =1~i—? ^—hf—^—f— —j * V •nd Kat&llo- > \ f phone & h > > h * | r f r Soprano -^r-3—>-4-J— —J— -J 4 aJ = and Alto J i ,, a 5 y s 7 • J Xjrlophona Syr—1—r—' —r- •* r r r 1 r 1 1 Hand Inn — ?# •#1 yj 1 ^^ • —r—#j j *1^ •-#•'•i rj • *j #J #—1J —#i #—r—#rn j Baas Drum / / t < ? f ? r 7 f > f <• r > r @ 1 • 1 ! 1t T > • • ^— ! * Piano f 1 1 vrtfc&t 1—i J € l=\ j j i=\ y J / l>¥f j 9 '* } [l 7 f 1 154

Chorus J •III warn r r 1 r ¥ elaa «U1 aatah, no-aaa alaa »

Soprano Haoorder

Violin

Soprano Olockanapial and Xstall*. p phona ( t ' f

Soprano and Alto Xylophona r r r $ Eand Drua i i i i 1 rm J J

Baaa Drua > —r—*—r -4—r—f- t—*—r t i

Piano -i—> •># f * j 155

® n V ^ _ . . n i * l '

Violin itttifif ft t t\'. ft ft \T ft

Metallophene 4-—-) A— -j i— I j —f—=f— fly i }• \i i \fJ 9 Id i—= $ i

Soprano and Alto j i Hi XylopboiM I i iiii N M ^ ~r r rrr f rrrr-r~cuj 1 rrrr r rrrr

Hand Drum J ! 1 A1 A1 i J J J i \ 1 J I

888 ,©

Chorus irffc* , i ri . m'i ' i ' r r *=1 r r r 1 ip > Dance, dance* Soprano Recorder 4 .— 4^ [_ ri $ T 1

ifriil ,<"l J w r Violin M if r J n i -fc-t— teL_ I1-1 u 1— *+h- f t J i > >

Soprano Qloaksnopt » J J -j 4—+—i 1— Wi and H«talli ^ J J— $ i4 1 phono :P T r*

Soprano o—J— and Alto •j—J i J d d m Xylophona ^ r rrrr r rrrr r r-ff 1 r ' 1 Trlwngla m t y ft Cynbal L

Band Dria j j j ) J J 'in) rj ^ri #—#— j >• <.' ' Baaa Drw ^ ' r > W - -f—t—1~ -f—^—*— T ? ? Piano \

- •i f r 156

Chorua / /1/ A,11?' 1 K 11' i111 for us a lone lit-tle bear. Dance, for ua a-

Soprano Reooriar -V 1—f f '1—f—M "-i

Violin M m'.J ,1 ,* vy - ; ; ; ; j J ; 1 ^ ; ;; 1^ ; j J 1 J j i i ji w » / / * >

Soprano Oloolcanaplal -&L—^—i—•iJ— j—r-1— M itj1 j ) 1 and Natmllo- $ 1 r r phone ~T—f—*4 f— t— ^ r c r Soprano and Alto g X7I0phone %—= * 7 r > C ' Triangle 1 Cyabal —^J. >

Drum ) y ) ) } j n J ; n) - #j " ^n )' W" J J77J >

Baas Brum » £ £ £ 9* A' yf( I f r r r / t / r r -.- \M —=j r-?' y y '» -J-—J— rr1 F * 4=^ Piano

'>#j f 1 tpp 1 •*- V' 157

Chora* y*t< ig/fli/ > -lone I Fa-la-la la-la la la-la-la, dance, dance,

Soprano Haooidar 1|| $

V fln j.mr nY-.rt t —1 » •V ' t I TV n TV '> i Violin m tJi tin uf ij ,i,ij ij

r Soprano Olookaoaplal sail Metalls- phona r

Sopiane and Alto J; ^ i Xylaphon* # r r lt r r cj r Triangle Cymbal j.

TTnrwt J J j j"3 J n j n J j n J j nj B&sa Diw r Ift!

Piano w for us a lone lit-tle "bear. Danoe, dance, danoe lit-tl© bear!

r rrrr rrrr

j rm

Dtub

Piano 159

The dear Tirformj Trick6

5 itugitj

Bwur > i £

Nov I will ahov you

L., j J J J J J J /• J * *=*3

T i- Piano & - J T. p

r ^ : y- y* 7 -a > 5 5 "T

^ ^ i J J J W -X 1±-T** * •' J '

all the things which I can do! How I will ahov you all t] ie things vhich I can do!

m. J * * * A J J J \ •< J J

u pi-««* J jr J— -

7 7 1 m m 1 5 5 * 4 i r f ^ 160

"fiery $Lou> &A.J J s J (fat a. da.nee J

Bear

f—r

1. Vh«n you're In the air—au» dancing's lit—tie fun •ban old "fat b»l-ly" 2. Hhan you're in the cix»—cue dano-in^'e just a peULn, 17- oru-«l Jail or»

Wood Biook or Oong

Baas Dm -f—it—*—r •+T m Usui# Piano

yl O

Bear $ m keeps you on the run* Than, Khan you're so tired, held BO with a chain. There in a big cage,

Vood BioOk or Gang 5

Baas Drum 1r

Piano

f & 161

Baar

hia «H1 kMp you Boy I *111 ahov you I ma k«pt Wood Blook or Oooc

Basa Drua >r j j j Piano ff 9 n

all the things which I can do! Now I will show you 162

mf (hand c(jLf>)

Chorus 64NM=^=j / t i Uli 0^=^ Lit—tie bear, you are so ver-y iHnd to— an— ter tain us,

Soprano Saoordsr hi 1 <1 ^ j j i H \ i n i j=f 1 rj -—i $F r f ••? r f f eJ'r kH=f^-H 1 r >

Oloolcanaplal $ k—t if 77 -*—-—l—P=J—1 . « .—f-= —I 1 = T ' r f1 —i r r « i ^• » u r ' mf iy i> -

Trlangls and Cymbal v j / j i j <. J f ) ) } nf r ' r ' « > TTptkI T^ww i ) J J i J i J i ) i J I J J ) mf ' e ' c * Bass Drta r ? r c ( i f i r r f r r * r r <&* h t j < n i i t V=\-i —1 1—t— —**--• i J d * i * f -^—7 ^ j. } X f j. j Piano ' /> 1 -i : + j J J[ J J / | j| J 4 1 < i t J > —<* 71 —'* 71 1 i ' ( ' r ' i •1 5: 163

Chorua 8' / / i"' it t It T—^ lit—tie boar, for your lcind—nose we are grate—-f ul!

Soprano Heoorder Hii if I U -^-zr

Glookenapi«l jg 1 ? ^ j ^ j i S i i TT

Trlangl* and Cjnbal . 1—J f J 4 Hand Drun 4—l—M-

Bags Drun T—*—f—^ r

4' '' i 3^ i Piano mf a & f

I 164

/./vtlt

Soprano Racordar

- •

Hetalloptaoie I If I I i ,i ui j i -3 3,i 1'—s»— ft V ''

Alto Xylophone i "" 1 1 p ;r f f r r r r r f r ~r t [r r f r 1 r f r r1

Hand Drua —J—^— — *•' f J f H-H-H1 J r ^ r ; r j r i

Soprano F=f=F Recorder l£fe } } f t §ll—C— ——j n » ' |

Het&llophojie jf 4 a i ,i -i 14 ^ | J ,| | ,| 1 vy S —!?-—— ar it rf —r*

Alto Xylophone £ f r f r 'f1 f"f f1 f f'^f Lf-r-tt f r~r r1

Hand Eru» —j rj r i J f J r 1 J r J f HLr-j-fi ; r J f 1 165

Soprano Recorder vuni ) J —

n „ Violin * u - - "• rn , «h> +-4- T -W 1—J £ /

Ketallophone -3»J J»i 1 J ,1 1

Alto Xylophone g "l 1 1 ft r r r f r"r r f f r r tft\ll1 I1 I1 f11

Hand Drua j ,{ j if ) t } t ) r 1 r f f r r -

**—-—i -a- A ,j ,j — 41 5— T Piano T / •f 1* 166

Soprano Recorder

n y j n .—- V 11 V i . Violin * r t r

Metallophooe ft J •< !k=^ f-t-

Alto Xylophone 4—| 4—f- j i I I J I J I _J—| I i J i 9 ft f I 11 i H1i H~hJ{ H~HJ

Hariri DrtUI

- ( ( 1

Piano r / ^ r 167

Soprano Recorder

i - _U3_

Olookanaplal I V 1

Matallophozu #

Alto Xylophone &^ / / w r w wm It h

Cymbal -j. j— n*ni^ Drua -J—i*—i- j , J J , J j i -J

Piano i=i 168

Soprano Reoorder J J J J1I • I-—e—

Violin T" ' J ^ ^

Glockenspiel

Alto Xylophone Hi | J =F J ) J I = J I J I i i i i J | J p ft if! f Lf-n-r f 1 r i'

Cymbal J J J J J J •?J w'J ^J i?J ••

Hand Dma J J J J J J -FJ ^J

Basa Drum ^ ^ ^> f 4. i i t < i < i < i < r r f ( * f > r > r * r * f ' r ' r

Piano

• i 7- r * ^ £ . * 169

Violin

Cymbal

Hand Drua

Baas Drum

Piano 170 clever trsc-ae

J Hi f j jli i

j j u jtj j j j j l*j"3j I j n j J ,ru 4 I J n j j nj

X 4 r u r r-trr 4

£ ri f

V ' > " > ' - > >• >

¥" IP"' ' ' y 171

Soprano Reoordar JLii* j j J J J 1^ | j I? - i - ii / |A> i y ' V v Violin J i» J I \&—i ,—1-3-— —l 1 J i 1 £d*= <4 i J • 4 ^

Bella 3 t 5 J J1 J j D ) 4 4 4 * > 5 Hand Drue 3 Z ) nj J f~D J 4 A 4 > > > Baaa Ddb 3 1 4 4 4 r L/ r i r w r

LPub-g—i i i j j 1 , 3 - 1 - * - *4= ^ \ J— 4 -j Piano

t>ii^-I I M J M u, , 5 1— |— vri j j J ^y=U-J— * * * U- f f * — j?- >• 172

Chorus

One, two, three, danc-lng lit-tie brown bear joy—ful—ly, One, tvo, three. (1.-2.) Soprano Recorder

Violin

Triangle and Large Cymbal

Bella

Baas Drum

Piano 173 t * Chorua wnu dano-lng lit-tie "brown bear joy—ful—lyTm Soprano Recorder

j. XL Violin #=F*

Soprano and Alto Gloakanapitl * e_Lg_f I

Soprano Xylophoaa & luu

Bass Drun * f lif f f

i F> Piano m 4 & & ft 174

Chorus

•prlBff-lag In tha air, Pa—ljk—la-l*-la, dano—lng lit-tle baar, doaa-o't hor« a care.

Soprano or Alto Eaooidar

Violin

Piano 175

Chorus II

1* 1* wl Ijr tm, •print 1n« In th« air. la 1* la Tit dano-iag llfe-tl« baart dew n't taava a cars.

Soprano or Alto Recorder pS & Liu ,r 1 J

Violin i ff i niji, ^ I & p

Alto Olookaooplal

Triangle

l^P Piano ^ ^ £ i- i- WW ik m m

ujht $1~led

Chorus f cuficLff ifmfiLfr

Soprano and Alto Qlockansplal $ pm Band Drum J—i—i—[—J ?—^ f '—•f - 4- j-* i ^—f~ ®r

i 1 Piano p- "*£ b T7— V 4\*f ^> V' — {• , 176

Chorua

Violin

>, Soprano and Alto Glooksnaplal

Wood Biook

Band Drua

Bass Drua ttrr

Piano 177

Soprano Recorder

Violin

j—j- Wood Blook 4-J—^L * n J <*

Bella v Hand Drum Jii. 4'r // Base Drun rr tttt r~r lllt r //

Piano fflj, JTJ] 1 i U Jl f ?• 176

Cborus

Here we come, pi-di—pi—di-pum, dano—Lag 'round oiuv- bear we come,

i, m v » , j,^ ^ n, > Violin i • J i/TJ J j hi j j / gj i J J j ft ¥ /

Triangle -J j- i. j- j- 5_ 4 Bells c i J i ± ; J ; J 5_ i 1 1 i f i i i 4

Hand Drum c f J 4 J t J O i i t i ^—/- X 4 Base Drum jL T+ "f-f 4

i ^ f ^ j* * i Piano

ili! 179

Chorus

ial—la—la-la-la— la la—la. a—la—la-la—la—la—la. Soprano Recorder iW r rrlf Jf

*n 1 . . . **?.—v v fn Violin m /1 c f f

Soprano and Alto Glockenspiel f ry \f * Triangle ant Snail Cymbal

Bells

TTwwrt I)run

BasB Druu

Piano

•*, I { / -=f jj ,f ^ =y 1 ' £ 180

la-la—la-la—la-la—la—la—la» la la—la—la—la—la-

Soprano Recordor

Violin

Bells

Baas Brum

Piano 181 © m Hero we come, pi—di—pi—di—pum, danc—log 'round our— bear we

Here we come, pi-di-pi-di-pum, deno-iug 'round our- bear we come, m y—f "C^ it p f f r r f frfl

c i J i J i } I J 1 ) / J j J y J

C4 )i i) { I * 7 r r *J r r '74 ' J

I Chorus pi-di-pi-di- -pum, pi-di-pi—dl — pum, dano-ing in the voods we come.

\ t) '•"H" ' * —

p i-d i-p i-di-pua, pi-di-pi-dl-pum, dano-ing In the mods we come. Soprano Record »r JLu ,..= 1 r"1 1 J: Jfr 1 1 1J M I'U J ^

n 4 n n 1 1 . Violin h\> rrri 1 -• m h r -f r 1= fr)P ' f 4 ± •—* ' *> 4 J 1—7 1 7 L—J—!——i?f r rl—i. J * " f

Soprano and Alto P 11 1 r~l te± \Sr Glookanaptal g LL^ '4T ^ ' =

— / Triangle cad Small Cymbal •i. J J < 4 ) J < 5 4 Balla / J J / 4 I J ( 3 V* 4 n-T^TT n j { M 1 ^ J J 5 ' ' ' r f-mp y > 4 Baaa Drun 3 r r f ' r f f r 4 r-V >

(P Piano

tefeat 60 183

t Cliorua

Dear friend bear. come with us! We will speak to the

m jl I Piano

olrcua master and he Mill treat you much bet—tar now I 184

Solo Volae from Choir

i will save ny aon—ey to buy you

1 » 1 Piano 1 i f 1 i 1 , \

ua . 1. > g' ^

»{l Choir (I ...... spoken: We will all share our money because you have made ua ao hap-py!— Please come with us!

Piano Bear

Piano

Bear

Piazio 186

\/Vot husried

Soprano Recorder ( J J (j\{ 1 J iJ J J en r J J fhf jtlcg can ftrd 11 1 1 1 Violin i 'i'I'I i Tii[ I mf J»Ue

Alto Hetallophoiie {ft I J* J 5^^ mf

tpfttr f T f f f f f f Piano

^J I J UjJf JJ Jj J Uj J 1 ilJ Uj r—r * w »—iH -j / w—r t w r r ^/r ye*!'

1 I 187 @ Cot,-]Ct#fLy )

Chorus

1. Hov bs h«j>-py— lit tie bear, this good will •us, 2, Ho mors haav—y-— chains, you see, come vlth us •dom!

Soprano Recordor

Violin

Piano

J? I

/ 4 :< notb—lng al»* *3.11- h&m you there, and we'll all go you. At the Til—lag® soon ire'11 be, old trees will nave

Soprano Recorder

Violin 189

Chorus i- J J J i j J J J i 4 W P V 'N P "J p 1 /I 1N\ 1 Jj gA =» T ' r r r f f r r r r T I R 1.-2. You oaa liv« with out a oara, wa will all ba— with you thara.

Soprano Record or . j j i j~)i i i i i I ) rii i i i i 'LP RRU'R F F—T r r U r f r

1. 1 IV > i i r-ii" , .=»=& ! Violln —J f —fr r ' ' ^ j ^ •r ' -^vr ~J—*—

Soprano =f= Oloolcenapiol < i 4* | v J|. f j.... j , r > j. i_J_

Alto Metallophore 1 | | | J | J-f -i—I -33- #= • 4^0 0*0 j J i J #i J1 ; $ 1 J j J i J L 0 J J ' J—i-1 MC

Piano MF ,^ w—ff—= -t -V J = hZlf— / (f — ^ ff = r i> r >• r 1 -f -

1 190

T, I *.

Chorus \t*t ; i" * 4 i; |i now ooae hoawl nov coae home!

Soprano Recordor "t$ J J la •—r i i r5 y r r -• r £

—=i , ^ 1- ^ i <\ Violin =y==L==£^r±j f —f—jf—rr J —1 rr

Alto J Metallophon# T1Jl' 1 * 1 irm. jm p-, J J J— J J J J - t * t'

Soprano K\ Xylophone k j J J ^ 1—*—i— ~t 1—= g y 1 * ^1 ' J j"-- J_j •V J + Large Cymbal - 1 ft 'r ' 1. i1 t. * 1 — —j a • SUJ- hF$ AF £1 [f-1—-I f f

Piano fS 4 f .]lit r 4 191

171 6Uwl

Hand Drtn —7$ i ) J J- 4f FT- i—r?rm y ^ mf Cf e* refea1) Baas Drun c rrrr-r tr err r—tt^h mftt (f Cfrepeat) t

2=£ P=S Piano *f

Chorus i! a 1 J *J J w Owrs Is • boftTf a II.t-- • tie brown boor g^ing Hand Drum -J J—J—{

Bass Drun

Piano 192

Choiua

Mlk on through tba nooda.

Bub Drua

Piano

Chorus (» m 1 7 J

Ihey huti ry quiofc-ly, thay Imr—ry auiato-ly on the wide

Bass Drum T~+

m Piano r^ f

W 193

Chorus sp

Piano

Chorufl 1$

Look! Here ooma the bIi bad chll-dran and the fat clr-cua master and his wife! Shh!

ftbyerti'yd Baas Drum r r r r Ir r t f r r t I r t r r r-+ P *f*cc

i|j Piano j i i I i i |l 1 ii b la 194

Chorus p i n i rrrWk

Um-tm to than «g gu-> tog whss* fault it la that th« bear haa m a-wy,

Base Drum r r f r e_f f l f c_r f c_f I l T+\

17 Piano \H i i l T ' * 4 » ( tttl hi 1')

Chorua

for now the clx*—ous caa not play *ith—out hla.

Baas Dna 7 r t ( r r f I f r t r r—h-f /

Piano IN i i I i ) i 5 j a 1 j !l 1 1 '1 & 195

S-ntimvce aP-{he fad" Ct'rcu6 Pa/Mtfy

Soprano Recorder

*=m m L II 1 I r jt* • W- Piano

3 \m§ W- r • '* 'r~V Wm V • +

Soprano Recorder

m •0—*

Piano r=i r t r r r

I1"' J 4 } ^ nil 1 J.j ^ j. J 1J ^ jW ^ ^ 1 J J ^ j, t96

i 197

@ A/*t (i'vety /

v. _ /-

The Fat 1. We op 3jr Mt,— ob—ly Mtf- ao Children 2. Stop all thle oon-aaBaa! Off vlth the pr*-tanaet tfe

ma i

1. We on—ly oat, we on—ly eat. BO 2. stop all this non-eansel- Off vlth the pr*-tenael- We

Soproso Recorder i^gi1 n.' t O >' I

Xylophone & m7 J jr T T /i/^t (tvtiy

PIalio

ittcc. Filmed as received without page(s) 198

UNIVERSITY MICROFILMS* 199

/tt7. m f m o

The Fat wm - o»—ly eat- 00 no—one else vlll— get it! We eat Children Off vlth tha pr»-t«aae!- Ve oa—ljr eat it'a good foodl We aat

$ 7 W

we on—ly eat- BO no—one else vlll— get it! We eat Off vlth the pra-tanae!- Ve o»—ly eat whan it'a good food! We eat

Soprano Recorder

(rlockensplel

Xylophone J J J J

Piano 200

She Fat Mr — lade and hen «y, Children »tra»-bej>-ry( ba—ca DM., •cloua

ohtin • »"• 'lata ao nrMt,~— ao rich and goo oy ic» craaa, da- •cloua

Xylophone

Piano 201

'am t H i H H Ci TH i i

The Fat good to aat, yea, choc o late eo aireet*—— nar ma Iwrie aad hoa ey, Childrm aI oond oaJcss, yes. rich aad goo ay Ice cream, atraw-bezwy, ba-na nay

a i

0»od to eat, yea* nhon • o late ao BtNt,— it mm lade and hoa—ey, al——aoDd cakea, yea, rich and goo—ey Ice cream, atrav-bex»-ry, "hni nn nn.

-J X J J ' Oloakanapial & * / /

j J J J J ' J Xylophone i r r r r rrr r r r rr

0 fA

Flaao 202

She Pat fin* good.- leal If Children roaat ba«f bak'd haul If

ft o r> mm m

ak- fine if ro&et beef ami bafc'd haul -van if

Glockanapial

Xylophona i

Piano 203

Tho Fat we — i plode, •ven if ve •ven If ve ex—plode! Chlldran (1.-2.)

ex—plode. •ven if •plode. •ven if ve ex—-plode!

Xylophone

Piano 204

Chorus ly eat. we ly eat, no—one else will get it. Ve

Soprano Recorder

Xylophone

Cymbal

Bass Drua

PI a no

m m* •* * , 205

Chorua on ly eat so no——one else will get it!

Soprano Reoorder

Cy*b*l ~€—^^^—J- j J j j j J j i 3_ i j. 4 / Bass Drun -e-4 r~r i m r r r r V 4 t I ii f f i i ¥ Piano £ f i 206

Soprano Recorder

Piano

j 207 ©

Soprano Recorder

Soprano i- j ^ _ Glockenspiel

fii j~7i i—;— \Ji r *f r r ir'r t m- i •? I I J i J ^ J jj— <• I- I-UJ 1 : Lf H- Piano

I "1 I, =T=P * r \f r s _ y 5 f_fT f=d 1 'i I'm

Soprano Xylophone 208

Father: Ve can't go on like this! The children have eaten up every thing! (to Mother)

Mother: For days the circus has been closed, only because the bear ran avay. Ve have no money and nothing to eat.

Father: That's because you always indulge the children • • •

Mother: . . • you indulge . • .

Father: • • • you do!

(Pantomine of Argument)

At this point the children start singing the second stanza "stop all this nonsense."

Father: Quiet now! You'll just have to go hungry! (Thundering)

Mother: Starve! Why did you eat all the food and leave none for the bear? (Wailing)

First Child: You never gave him anything! Second Child: Who—me?

Third Child: I meant to give Mm sugar.

Second Child: . . • but you ate it yourself

Fourth Child: • . . and you didn't share either!

Fifth Child: Tou were much worse! You stole his money!

Fourth Child: That's not sol

Second Child: You lie!

Fourth Child: You do!

First and You! Third Child: (Everybody argues fights ond the parents try to intervene• As the music starts, the good children and the bear appear on the scene and watch.) 209

fceiurn of -the Bear

I *7 1

(ie*ja ier/)| V Violin m wm m Triangle aad Snail Cjahal J- 4-WL -l ++-.ir •i—*L Baes Ira •Hr t +-f- r

1 w Piano

W- ¥ $V4.

V •

Violin

Trlangla aai Snail Cymbal

Baas Drua

Piano

tvx 210

HUtf • Chorus j. ' r r r Nov look good chil——dren— and see their de——spalr! It _B V f V 4 " Violin $ ¥ j- ^ J- i j ^ j

Soprano aioolcenaplal & > It

Triangle and Small Cymbal -s ^

Baas Drum J—t r f r ~^7> "f ,J . . j i m Piano 4 m

Chorua «! ^ U JT.J. 'l* ^

vt've come just in time, bring lag the bear!

_a A Q > Violin ¥ ^ J- J- J- ^

Soprano . Glockenspiel

Triangle anil Small Cyabal -r--^ y—4

Base Drum 1 T -Jf j? t Piano f tva 211

• ? y Violin i wm p

Soprano Glockenspiel j

Triangle and Snail Cymbal j i f ; ; ; Bass Drum 4—r •>—i"—r —c—r +—TT

Piano \¥m i

=£

V ^ V.V > »n Violin »r r rjiii f ui^

Soprano Crloclcanapial i rriangls and Small Cymbal 4 i—i- —-l

BasB Drum -#—r-r ^~r—r -^-M-

mpm i i f Piano < p

0t>A . 212

Father: Enough!! Be quiet this minute!

large Cymbal * and Bass Drui

Piano

Father: It was very good of you to bring the dancing bear back to ua!

Good Children: But he will stay only as long as you care for him and give him

plenty of good food!

Bad Children: (nhistling and howling) We nuat starve now! We oust starve)

All Percussion Instruments

Piano 213

Father

Quiett

All Percussion Iaatruaanta

Piano

Father

They are

r J M r r Piano / ma.re.

i i Pp 214

Father v — —?— ItA i 1 r J + J 4 \ j r— —J

right, rigbt, right, so ver—y right, right,

i *Vck—f i—'—±— f??r-7 — r v g v | \hLn r r ' > j —f f >=4 r r p r_, Piano 2 f , i f f= =-f—H ^-r- ^, j.—i ^ ' r > r

here and stop that

•1 I 215

The 3a.C(a.

M. (£$) ffeJe-rn'to

1^1 Piano Tff

Father i f cr J ir ^

1 • for too wuh eat-in* —*r— you fat and wide, so fat and vide that flab, avlm In the va ter, the va— ter, they

Violin r [ r v 1 r

-M -<-j, Piano

r ''•! i P 216

Father ^'l, fl Jli || j f w j i i t 'h you cazv-not ollab~ to heav-«n. The lad dT In to heav ep will are bo— alln and cool.— I think that we can lwrn a lot, yes,

Violin

j ^''ll> 1 > ^ Piano w p

Father

fall and break if— too much fat ia your tnuv-don. So— drinking and- loorn a lot froa the fish svisHulng 1a the pool.— They drink vci tor and«

Violin r r. r ir tiit W m

Piano 217

tU, 1itnpe Father ^ O O w

wUii too i Ton aiok. Im( tip J aldkl Bov n km o>th>li( Ifaia la tba : th*r ara «1>" my well. Thar don't dxag m-zouad a big fat bal-lj-.

Violin

mm. P Piano

frVl, f j tr f f

Father

mora to oat, so lot'• ba thank tha Lord, let bouno-inp like Jel-lr. So that's tha *hjr. Tea, yea, tha

Violin ft'". J J J • J | J J |

\§*%> ii f i Piano

ip 218

Father My j J J J k'ip^

ua bt glad and thank the Lord] raft-son why, the

1 \ 1» Violin w]*j.• i1 i j mm m

ijldL hhf 1 Piano ff ? h ? .1 j pf

Father =r 6 The why!

Violin £ i* ^ j p /

Plane

w'^ lj ^ ^ 219 11

PI®**® stay with us lit—tie bear! Please fox*—give what *e have done to you! m & *

l'ather: Bear: $ I ¥P=g= X will &{£ree, but you must prom-iee... yes, I vill prom-ise... to give me hon-ey. t* ¥X' '' • *

S# / mf o

4m f i $VA ..

Father: Bear:

to give you hon-ey ouch hon-ey much hon—ey eveet grapes £va *' - (i 220

Beari lather: Bwii ratheri

Father 4 f j. i| , ni tImijji ijj

street grapes and ba-con so ten—ier,.. ami ba-oon ao t«-a«r.. for M, for you.

Piano i

(The Pat Children again conplain loudly.) Fath«» Tou children nothing more to say! All Percusalon Instruments

Piano

i t V4t < ' 221

Bear I Lis-*ten to me and re men^—berl Let

Soprano " ' 1 Recorder

pi^yyvwrwv»^y^i^/^s y 1 n Violin 1 5 ~w: J. JL ^T r

Piano

Bear ft j n j j j= J J J J \i J' N j - ao—one bt^—lieve that he can Have it all! Ev—» • ry—thins, all things, »-» 7-v.V 7- i Violin A * I—II J|=F1 — i" i i i* i*i i" r ; - i r ==3 & j i i *- - ; ; j * * **= ^ ^ ; i=pp & 1 > *7^==-1 r" | > > Piano —f—'1 f - 4)1 .J / "tJ| 4= = »irrto jr hjilj.} |j/ 1 i" J =#=*=•J j.i3 222 ©

Bsar — j bJ ^j~

no has a—lone for hio——self, let no—-one bo----—lieve that

f . . t "f f f i r , il . i Violin g U-1-' ' =!==l

h-i- i =\ ^ 1 j —f f— T» — —-J f- Piano t*- \>t 0 -J-Ji ff f V J

% rn n-j—t jJ __r l.rji L 1 1 J -h==—=".-i " ' ' ' 1 LEH he can have ev—'ry—thing, he can have ev-*ry-thing, ev-'ry-thing a—lone for hio- v ff y n tbl J-1 J 1 L J 1 ••—aJ 1 — t 19 - - m m fmPr—y—«—e j. T J.,. j f r

' 'A.(• § # /* w Xf * i* H j J|W J I NT* C-T » 1 C-T g =J^^ 1 .rr„ b/ - r <— e-f-f-^ M f 'f r r (§) brcghtly

Bear

-self!

Chorus

Lit—tie good brown bear, yea, you are

Soprano Recorder

Violin

Soprano and Alto Glockenspiel

Xylophone

Triangle aid Small Cymbal

SasB Drum

Piano 224

Chorus

no—one ev— er think that he a lone haa ev— 'ry-thing, let no one think that

Soprano Recorder

Violin m , f I l ,

Soprano and Alto Glockenaplel ¥ m ff

Xylophone farm J 3 r r f tr r r ft H7—1 tr f r r r f=f 5 Large Cymbal pr B&bb Drum t—c_rr—CTrrr--1:juli Ir—r—r

Piano

1 225

he >loae has—

Soprano Recorder

Violin

Soprano and Alto Glockenspiel

Large Cymbal

Baas Drum

Piano 226

dance ttwpo

ing, then rt v v n I i 2 9 / i > i (i m 77777 mm V = : v = : &-> > if** C r4 >

you will nav-or be too big and fat! If you are dano- * n 227

Bear i then you will nev—or be too big and fat!

Chorua

Yea, keep on danc

Violin

Baas Drum f—f—Hf—r—r r

Piano J

Father and Mother

Yes,

Chorua

then we will nev— er be too biff fat!

Violin

Baaa Drum

Piano Father and Mother

'greet What you

-UJ

Piano

Father only: Father and Mother

aay true! But now come on! The bear is back a-gain!

Violin

Piano

v 229

Chorua

the bear ie back •gaint Let the

Soprano Recorder

Violin

Piano

^ L Chorus \ f r 'r / now!

Soprano Recorder

Violin

All Percussion 5 > 3 Instruments ~5t 1* €z , 1 f—f f f U' *f ifeS Piano ji i f J 4

EI Ft'n AL& livibf

Violin

Triangle t3 j—J J —j—J \j -i—i mf

j J J rnnp mm Piano tf} ft 0 Itfl jH p. mmmt 0

Violin

Triangle J J ' J—J—J—1 H—^—1 Baa a Drum i ..—# +-

p- *—i—#— tfe#4 kjtk±±A.--^

Piano flf » * * r*Vlt isf ' f"' ~f"H ££-•-' > ^ • —7 " 7 "-I V r r 1 • T 231 % 1 9 1 f 9 ~ Violin i*) J jJ .'in 3 'J J'1 11 1' '•

Baas Drun i. .• - i- . r r r r r r r r r i

kk—bs—i—b±j—jMf f ftt-T — Piano Wtfl fl 0k tf~l 3=112= rrr

Soprano Baoorder

Violin

Soprano Xylophon*

Large Cyabtl 4 Baaa Drum * t f r r f f r f r i Bva..

Piano 2J2 @

Chorus

Our bear ie hap—py and la huzwgry no our bear is

Soprano Recorder

Violin

Soprano and Alto Qloakenspiel

Belle

Piano 223

r"f r~i, Chorus I m hap—py and is hun—gry no aore!- Our bdar is hap-—py and is --—7 . ..nnrw-j-,- Soprano «* p= Recorder 2 •&—> f ^ J B H t jJ 1 1 Vf LJ 1 f • • '

Violin

Soprano and Alto Glockenspiel 5 i & s r r r—r )xfcu t—r

Soprano Xylophone $ m

•c # Bella o * Piano Hi.

Si 23+

Chorua

our •bear 1B ha] •py and

Soprano and Alto Olookanaplal

Soprano Xylophone

Bella

piano 235

Chorus W i' II 1 ' more!

Soprano t* >' - 1 Mli f—31 Reoorder 4 ' ' f r=± g Lr1 n^»y * '"i ' ~ n v _ . T1fJ rr-fr^-f Violin ^ s

Soprano q1J - ^ and Alto I 4 3*=== = Slookenspitl $—3 —

Soprano y - =4 Xylophone 1 1i $ J

Small Cental ? / / /

Piano 4'V7: *)»» ££f —^rgir ^u [—[ ^: = i: ± i- j. i 236

Soprano Recorder

'j U_l m 1 - ' - 1 - 1

Violin

Soprano 0 fl f p_ - . Xylophone

Small Cymbal # / J, 1 1 1 1 Bass Drum r1 rV r r r rVr r r\ ; ' r

—t—tt

Piano \§ J ^

l -0—f——0— > > i rrff•r -r •* m.Ul 237

Chorus

1 • Qood hep py bear is not hun gry now. Ve 2. Bo one eha! be hun-gry in this world Let er« 5, ilia., -ten and you will a> gree with me. Ho one

Soprano Recorder

Violin

Soprano and Alto Glockenspiel

Piano 238

Uhl1.

Ut tie on* •"•P—W •Ing 1ng or b* all la

Soprano Recorder

Violin

Soprano and Alto Glookazusplal

Bass Drum

piano 239

Chorus

V«'r« ao iMf—tr T*— •tuzn'dl for th« t»—fcl»'s set for funl ao join In, tbs fun's to— •gnnl

*^ A I " V '"N Y—«— Violin fftfitJt ,fj££fe

EaBS Drum

Plane

• h $ 240

Soprano Recorder

\ ""x. £ "A ^ ' ti Violin

Soprano sad Alto Qlockanopltl

Alto Xylophona rrm

Piano 241

mikch

Soprano Recorder

• n ?_ i » i ft Jfc'risf O , V I 11 t •p ,~ . s* . r^c ' f f Violin t j j J w y f r {j f ^ j -T » * »f

Soprano Xylophone

m rr rrf Piano 4? f i* PPWPP

Soprazio Recorder y urLrT iCfCjf i[jI4

Violin

Soprano J < M. Xylophone JiLLSJ' Lfl/ ICjLjLr ILCU Large Cymbal r-rr rrr r-rr Baas Drum ^rr r r r rrr rrr r r r

Piano f tt (g) -fia>rtceli£e

Our bear is hap—py and is hun-gry no more, our bear is

Violin

Soprano and Alto Glockenspiel

Bells

Piano

$ 3

4 243

fatter 7

Soprano Recorder j n jin) i i i t"f

ji Violin $• £

Soprano and Alto Glockenspiel =?=? m t r fibf. 7—r

Soprano Xylophone $ 9 ** fiuf. Belle x X s— x

t f ^ frcttier H — ft

1* Piano

|ft? f f r si 'ij1

Chorus

hun— gry no Our bear is hap-py and la cw*—— Soprano Recorder

Violin

Soprano and Alto Crlockenapiel

Bella

B&SB Drum

Piano

$ i % 'x I 245

r ft if tf Chorus

more!

Soprano ReoOrder j* > n 1-T - I - = irnn/Ji —0 m - +-M —k-E.J *—^—14 t n V a 1' /Vi '"V ^ " a^ .mfjf"rfty ilj trrrr— 1 L Tiolin C_E=i rLTv ^t^ 1 V <•

Soprano a - ==i and Alto if—"I Sloclcenapiel ir

Soprano Xylophone jfc—i 7^= § J > =j T y I > // J Triangle J J I ) ) J J J Bells f • • ; J ) J J ) } ) V Small Cynbal 3 J- J- J- > > !H rV Baas Drum /^ / //

» * f t g r v g -f-i g f g —j—i—in —7 *—»- * p— p Piano ^ —= * «t r 7T7 S. .£. 2 s. J. -£. r tF t ?• r ? 7 246

Soprano f '0 Recorder W m U Li luj ni $VA *J(itf Jr Violin

Soprano and Alto Olockanaplel i

Soprano Xylophone I Triangle and Bella

Small Cymbal

Bass Brum

Lf Lf Mff Piano 247

coda

Soprano ^ ^ Recorder it* \% r f i'= // n n n \/ n v ^ V > Violin i* \ • 1? br=i= § H ; 1 i ;i a j[ H- // Soprano

- & <\

Soprano JCylophone I ? ^r-— 1 -S —^ ± # // y o

Triangle 3 - f Y 1 > 7 Large and ffn\ Small Cynb 3 ^ * 4 - r Gong { XI I' r c\ Baas Drun 3 > v X c. y Very 3voaJ : p 1* f -f—| £, a H I y Piano A * JIj j tit IK LD — ± t J > V. CHAPTER 4

LAZYLAND

Introduction of the Opera and Criteria for Its Selection

Of the three operas selected for this study, Lasyland offers the greatest variety in performance possibilities. Many of its choruses would be musically and dramatically effective using the added dimension of dance. Since the singers could remain stationary throughout the performance, the number of students participating

Is not as limited as is the case In the two preceding works. Sections of the musical score could be sung by smaller ensembles thus offering additional variety in the musical texture as well as ensemble experience for the students* These qualities suggest that this opera is appropriate for a festival presentation by a large number of students as well as for informal classroom performance. Bresgen believes that the children should draw and paint the various scenes and design the puppets which could be used for the actors. Whichever type of production is selected, the writer believes that the fantasy of this opera combined with the active imagination of the young performers will be an experience of lasting value for them.

Synopsis of the Opera Plot

After seven hundred and eighty-five years as monarch, the King of Lazyland began to thlnkl Since thinking is against the laws of the kingdom, he was suddenly transformed Into a walnut and swallowed by pigs. The Guardian Elf, who is the only inhabitant of Lazyland allowed to think, Is busily seeking a new ruler so supremely lazy that he is worthy of the country.

Two travelers from Hungerville enter. They are pleased to discover this land of good food and plenty of sleep. The Guardian suspects that one of them might be lazy enough to qualify as the new ruler. The travelers are told that in order to enter Lazyland they must spend three days eating through a mountain of solid sugar.

After making their way through the mountain, both travelers are weary and anxious for some good food. They spy savory eggs dancing about. The first traveler catches enough eggs for both to enjoy and is anxious to explore more of Lazyland.

The second traveler has no desire to move and expects all good things to come

to him. Indeed, a group of polka-dancing pretzels accompanied by apples, pears, dates and bananas move in his direction* He enjoys a delicious feast and, to his pleasure, discovers that when he Is thirsty, he need only to look up to the sky and water will drop into his mouth. Happily, he bids good night to the remaining delicious food about him.

248 249

As he Journeys about Lazyland, the first traveler again meets the Guardian

Elf. The Elf admonishes him not to think or his fate will be that of the former king. A large group of walnuts suddenly passes by followed by a herd of pigs. The terrified traveler rushes back to his sleeping friend. The lazy friend is not anxious to be disturbed and continues sleeping.

The Guardian Elf happily observes that the sleeping visitor Is & fine candi date for the crown. He advises the first traveler to stop asking questions and learn to sleep.

Vocal Ranges, Costuming Information and Performance Suggestions

First Hungervllle Visitor

Vocal Range; Since this part is spoken, there is no required singing

range

Costume: The clothing of the two visitors should reflect their

poverty as well as their weary condition from traveling.

Performance The first visitor must give the impression that he is Suggestions: constantly tired. His posture is slouched and he moves

lazily:

Second Hungervllle Visitor

Vocal Range: This part Is also entirely spoken.

Performance The second visitor constantly moves about inquisitively Suggestions: He seems anxious about everything and cannot relax.

The Guardian Elf

Vocal Range: No singing range is required for this performer.

Costume: The clothing of the elf should suggest the fantasy of the

opera. 250 The Chorus i Soprano I

rifhP-

Soprano II Vocal Range: m Pip Alto II

Costumes: While costumes are not necessary, the writer suggests that

members of the chorus could wear costumes representing

various characters found in Lazyland. These might Include

the eggs, the pretzels, the walnuts and other items.

Instrumentation of the Opera Score

The Instrumentation of Lazvland is similar to the preceding works in this study. While the piano is not Included in the score, the composer states that it may

be used with discretion. The Instrumentation of the ensemble includes:

Soprano Recorder

Alto Recorder

Violin

Metallophone

Alto Xylophone

Hand Drum

Bass Drum

Cymbal

Triangle Bells (Sleigh Bells recoimended)

Musical Score for Lazyland

This chapter concludes with a full score of Cesar Bresgen's Lazyland. This opera makes extensive use of dramatic dialogue which is used as an integral part of

the total work. 251

~ lazy lamp ~

ct^a-r 3re*yen

Soprano Recorder i J

Alto Recorder $

Violin i j. ^ J IN l ± i I J I ± / r">*

Alto Xylophone J j^J J_J J J u jJ JJ J J lit j jj J_J j j i j J~J JTS

Soprano — i y j. » F Recorder f m J- ijj J j jJ ->—•_£

?•

Alto Recorder rf ffftf f

Violin. si. ii i i i

w j. ± * •*

Alto Xylophone jjjpu

Cyabal tf=l

3 %'% $ 252

Soprano Recorder 1 I'! rm I1 U.J J. J -H' J :

Alto =*=£*= Recorder 7 jM f f f f p 1* -F*—f-m J J * f—n r i ±±= ii~JLr y J =ir m ii

Violin L? j==iII. f — : J =^=p |J 11 ft w ^ |j ± # J %i

Alto Xylophone _l 1 1 ll i i ii i j r 1 i j I j= -1 j : it J rJ l 11 ftj IJiJ J ' vr * • " J.' iJ JJ i 4 i- Cymbal i——4

unaoh er tel# voice Chorus p i r I J J^lXII J 1 I J

1. 1 • * If you there, your

Alto Xylophone 255

Au i i t

Id j J /> ,ri j j j —j—^ -J.—4—^ m J U

i - = ft =- i n J i i'i* rl«bt tie Mnrt wt «r •oim Jnat go and aak the om djr elTi

Soprano ud Alto Reoordars m

Alto lylophons

Chorus r1 r 11' / OS Thoy stand g—bout su£-ar crys—tal- gates and on ly vor—y hun-gry

Soprano and Alto Recorders

Alto Xylophone 254 I rni , 0/

Chorus peo——pie con get in. On-ly ver-y hiin-gry peo-plo are let in. )

On-ly veivy hun-gry peo-plc are lot in.

Soprano ami Alto Reooxilers m m r rr

Alto Xylophone

»£>k.? yt'lc

They aalc you xher»- you've- Then the lwd er

Soprano and Alto Recorders

Alto Xylophone 255

Chorus j j^nis

Jour aey'd tnm, and lAat good things- 70a iiould Ilk* to Mt. of the elves to take you to the sveet— moun tain.

Soprano Reoordar m

Alto Xylophone

' £ AlC & j n i =£ > Chorus Take you to Sug* ar Mour tain.

in j i ibt w vy Take you to Sug ar Moun-.—tain, ief- ft. Soprano fl*"* mh . _2. Alto Recorders / '''4 * *

Alto Xylophone 256

Elf: Oh, sorrow I Our King, the leader of Northern Lazyluid 1 He Is no morel Such a Lord we shall nerer have again, for he Has the laziest In all the land! Then came the day, the horrible day, whan he started to THINK! He began wondering and worrying, trying to figure out how long he had been King. I tell you, we have a law, and according to that lav 1 alone an allowed to think. Only X may remember figures and do some arithmetic. If anyone else does this besides me, he will be turned into a walnut and devoured by pigs. Oh, poor King! Be became a walnut and a pig swallowed him! Danger, serious danger, lies ahead! Where in the world can we find a King so super laqr that there is no one la&ier in the world? There is even danger that the King from the South will take over our kingdom and do away with laziness. Yet, lasiness is our supreme law! If only we could find a new King who is worthy of this country! The King of Lazyland! (Two people from Hungerville enter.) Halt! Who goes there? The two: We are looking for Lazyland. Elf: Right over here, by thie mountain. I am the guardian. Where did you come from? Both: From Hungerville. First: And what are you guarding?

Elf: I am the guardian of laziness. 1 protect the slesper. Second: (yawning) That's a great idea! I wish that we had such a guardian in Hungerville. Elf: Perhaps you've come Just at the right time. Our King has Just died and we are looking for a new ruler. First: And what can we do to help?

Elf: You may compete for the crown, but you must be as lazy as the nlgfat Is

dark! Second: Vail, if that is all ... Elf: Say, what did you eat in Hungerville? First: On Monday we had water without dumplings. Second: Tuesday, there were bones left over from Monday, Firstt Wednesday, spoiled mushrooms in milk. Second: There were the stones from plums on Thursday. First: On Friday we fasted. Second: There were herring fins witU pepper on Saturday. 257

First< Sunday . . . dumplings loft oTer from Monday. ElfI That la not enough for grown nan suoh as youI In this country you may eat as much as you want. Since there are some people for whom it la too difficult to thlslc about eating, we make up this menu: Monday: roast beef Tuesday: roast real Wednesday! roast pork Thursdayi sausage Fridayi trout and lobster Saturday! turkey and pheasant Sunday: layer aake and shipped orearn, and before that—baked ham . . . First: Stopl % mouth is watering already! Elf: I'm glad you like to eat. Do you sleep veil? Second: (long and loud) Teaaaaahhhhhl Elf: Well, if you want to eater here, you must first eat your vay through the sugar mountain. It is made of solid sugar.

First: HA, that vould be something! Ve have eaten our nay through worse. Second: Fine, let's get started. Tou go first. First: Vhy me? Second: Because you're stronger. First: And you're lazierI Elf: Ah, I have good hopes for a new King] Now, go ahead and do the job well. As soon as you come out on the other side, I'd say In about three days, someone will bring you something to eat. 258

Z. The 3tcj Mou.n"£(Lc'jrt

$orne whox bro - * Alto * ^ L Xylophone t * * w j 1 < 1 J Baas Drum i v [. r f.r r r r iL' L"r r ' < 1 s i f. r i '' '\ |u,i*h cymkd (l°»l d 6£-)\

f utitert

Chorus i

1 rihe aom» ts1a is three nil**— long, 7 tyou will eat through it, do not fear.J 2 (The first mile quick>—ly pas»-ea by, ? ?then cone the trees with brandies high,) _ fThe trees are made of can—dy sweet.? *IFor three long days you'll have to eat! >

Violin $ i.p-"ma mVuuuM

Alto Xylophone

Bass Drum r.r r.rred I Ijf f ll: 71r lr f r 7:il 259

Chorua I unrn j i rJiUJj/ I r 1. Tou aill aat through It, do Mt fearl Tou will sat through it, do net 2« Than tmw the traaa with bnoolMi high. !Bie& oone the trees with brssol^aa 3. For three full days you'll hare to eat I Pop three full days you'll har* to

Violin

Alto Xylophone P

Bass Drum •Hr +r t—r—I

Chorus

f«arl If this is done suo-

Violin n

Alto Xylophone

Baas Drtm Iltr trrrrkr cfrffl I11 *1^ P.C. f. 260

ceaa ' • ful ly, sue—ceso ful ly, you then will see a lit-tle town. On

t r r J f—r p ev ••1 ry ta—ble aIn the town are scrambled egga and pan caJcea. doce-l-

% ^==p m. 261

Tit Soprano Reoorier f" V l p V11 r f iir j Mljp

Violin

Alto Xylophone ^LUTluT'^J Hwnri Drm r +r r

Metallophone

(Speaking begins after the music ia completed. Qie two have eaten thoir way through the mountain.) First: So, that is over! Second: That was really boring, nothing hut sugar! I'm glad to be finished* I still feel that crunching nnd cracking. First: You should complain, I had the hardest part. I almost choked in the powdered sugar, You only had rock candy!

Second: And didn't I skin both my knees on the rock candy? First: You'd better thank me for saving your life. You alaost fell asleep in the middle of the mountain! Second: (yawning) So vhat? Now X want something decent to eat. Look over there! What's that hopping around? i First: Those are eggs! They run around here just like little chickens. Second: Go catch one for me. First: Catch your own, (fie runs and catches one.) Ah, that tastes delicious! 262

3, The £Jf* (b) ww'y Soprano and Alto Heoordtrs

Violin

Alto Xylophone

Chorus

1. If eggs plM«» your •P- -p» tlt«, ohm brine fork ani- 2. Tou will need ealt iir>d pep-per too. The pep-per boi will run right

Violin I P J. X

Alto Xylophone 8 UJiUJi'Jp 253

Chorua

take a bite! Juat aaa then aa they aourwry, thay al—-wya to hui»-rj. Ton 1 up to you. With fresh bread e*- ry—wharet— oriaa—•croaking hare and there.- Tou

Violin 'H'; rmi l 1)

Alto Xylophone i

rit.

' jP u $ f f fl 1 1 1 j ; j 4. y r r r *—y i t' » * -r—^ •_» t i iJ J=J

Chorus on ly need to— call and thay aoaa quiei-ly. You oc-ly need to- call and they will come. (1.-2.) * ^—=* At J— J- J J- J J J J J- J J- J on—— ly need to— call and they come quick-ly. Y01x on-ly need to- call and they will come. (1.-2.) rit. Violin i y. 1

Alto nt Xylophone «J H 1 J; J_-* J. i A. 1-4 J 1 "—" 264

3acondi Hot bad. I've never eaten eggs like that In Hungerville. Firsts If I hadn't caugit one for you, you would atlll be hungry- But that was the laat tiJne. Erom now on take care of yourself or we'll be on sugar mountain forever. I want to go on! Second: What for? We're already in Lazyland. First: But 1 want to explore and get to know every part of it. Second: Much too bothersome. Wherever 1 am, there is Lazyland. If someone wants something from me, let h-tm come here. ?irat: All wrong! If I want something from someone. I have to go to him.

3econd: Go wherever you want. I'm staying here. Xhere's some funny company coming—looks like pretzels! They're even dancing a $olka! Vow! There with apples, pears, dates, bananas—the whole place is full of then.

I'm staying right here! Firsti Oh, stay then, you lazy bum! I'm going to look around.

LOQU& * n't. n't. m iPPPP

n't Metallophona m 265

4. The "Pretzel6

8riiU u iuiuiuii ijL*iij ' H I H 1 f H I llfW ^—c - / 4 9999 w ft 9 9 r *T— :=f=3= ^5--"7*—^—1 " If"!71 T 4 r r f f f c ( r '( f P r r ' r Bella ad lib. i '( f f ' ^ • 0 0-0- 4 - LIIS

1. Bm 2. Bm fnilt

1. 9m prat-tala, tha 2. Bm fruit,— tha

Violin

Alto Xylophona

Baas Drua and Cymbal r r r r T~r-rr-r~H f ^ r # Bells > t . f f f f (((( LL'J f'r r LLLf / f f 4* 266

Chorus pret—sels run •bout the street, and dano—in*, and fruit that through th• year will fall down, right

§ pret—xel» run a bout the street, •T>^ dalio—lug, and fruit that rip——ena through the year will fall doim, right

Alto Xylophone $ J i J Bass Drum / and lumbal T Bells t f-

Chorus flsnn 1ng Is a ope-cial feat, Bwy fall doim, they to your mouth vtaa you are aear, there pick it, there

dano—Lilfj is a spe-cial feat, 'Ilioy seen to al ways fall down, they to your mouth when you are near, there is no need to pick it, there

Violin »p Alto Xylophone $ Pi* Bass Brum and Cymbal

Bells 267

[('I n-i j wm

Chorus soon to &1—ways fall dovnt la no n««d to . pick It!

P seem to al—¥ays fall dora! la no need to pick it!

Violin

Alto Xyloplione

Baas Drum and Cymbal t—r Bells V tl. -f f- ^ t—p- "f

V to llu ftr r r.

Alto Xylophone % Cymbal r r f r r r r r • Bells r ' LJ 268

tf+k - =1 rr-rrf-iy i a i f ^7 7 *r 1 —r , 7v 7v *f 1 T r f r| Chorue 3. 3o dance, come on, the pol-kaa start—ed

Ifc - •>. i—i J ! LL^UM SF 1 J J

3* So dance, come on, the pol kaa

Violin l 1 "" —f- '-J-J-l—J—J—1—J—1 i J J—J—J— ' < * * ' y

Alto Xylophone i if .^ i«N; $ f) r 1I7 > 'J 7 1—C— —J Bass Drum with Carfg, dru m and Cymbal t—r r—r i—f- Belle vtj -f—f- -f—f-

ffHTTJ £ 5^

Chorus and the fun be gins now! Come join the pret—zels while they dance!

1 + >—*•

startled now! Come join the pret —— zels while they dance! Violin §

Alto Xylophone & cj"J ^ Bass Drum and Cymbal i—*- -h+ Bells r-+ 269

Icve i<

Soprano Recorder

Violin

Alto Xylophone

Bells lr r f f Ir 270

Soprano Becordar

Violin

Alto Xylophone j*1 J j iJTJJ ii' j j,l j, -j» j, j, Ij, j,j, J»

Bells

Secondi Mm—, that was delicious! Ripe bananas, sweet cherries, strawberries left caid right, and all without moving a flngerl Everything gets to ay mouth by itself. If I v&nt no mora, they disappear. Isn't that thoughtful? If I think a little bit, a tiay bit about being thirsty, presto—some sweet drops fall into ay open mouth, I look up at the sky and there ifl a cloud ready to give me a drink. I don't even get vett the rain falls right into my mouth. My friend is so stupid! He runs around and maybe by now he is thirsty, but no cloud comes to him and no rain falls into his mouth,

(yawning) Now I think I will sleep a while. Go away, thoughts. I believe I'm already asleep. Good night, you pretzels, bananas, strawberries, good night. 271

S. The 3uiee£ fcotld 'pea^efl.lcy Alto Recorder

Violin ' ifrr irrKir'Vr iu 1 iu i iff5

Alto Xylophone $ p iiju tji,

Hetallophone i r j l*r j uiurj

Chorus [^n.Mgijj i jf tQjj

i i In the thar* blooa freah sv*et roll* at nl«h.t, Bio HMt roll* fill'd «itl» choo n lata ao brovn,

Alto Recorder m

Violin

Alto Xylophone $

Hetallophone $ ii1 j f 272

fresh sv«et rolls at n1 ght, and mois-lag to you all, Rood ohoo o late so brown, their all alio •round,—

they call, "Hel-lo, good morn-lng to you all, good fra-grance vel-comea- all who pass •round,— Alto Recorder

Violin 273

Chorus noxn-ing to you all!" the rolls fall to—olde a fill'a Kith mllfcand »n nbo pass a-romd, and soma-times the rain should dropa of hoiv—ay

morn-ing to you all!" The sweat rolls fall be—side a stream fill'd with milk and all who pass a-rouiui, and if some-times the rain should fall, drops of ho ii—oy Alto Recorder

Violin

Alto Xylophone 274

Alto Recorder

Violin

Alto Xylophona

Violin

Alto Xylophone

A 'i j 275

Elf; Hi there, I think we've net. But where 1b your friend from flungerville? First: Oh, he's somewhere, just eating and sleeping. I don't know where. Sift He's doing the ri£it thing. First: Why do you say that? Slfs Because it is Important to achieve supreme laziness. First: But how can he ever be King if he doesn't learn to govern? If he doesn't even know his future kingdom? Elfi You ask too much, my friend. You haven't learned yet not to think. First: I don't mean to think, however . . . Elf; You see, this "however"—that is it, that is itl Our previous King was in the seven hundred anil eighty-fifth year of his reign. Every year he became lazier, 00 lazy that he forgot to count the years of his reign, only I have the right to remember figures. If anyone else does this, he will be punished. First: How? Elf: He is turned into a walnut, and that is very unpleasant! First: How does this happen? Elf: Be glad that you are not yet a citizen of our country, or I would turn you into a walnut now. In a few minutes you shall see such walnuts, They always run in groups of three because they are afraid. Pigs in this country love to eat walnuts more than anything else. Once a walnut is swallowed by a pig there is obviously no way to help. This is the reason that all people here are afraid of mathematics, if you know what I mean, (pausing) You don't know? It's probably better anyway. Beware of all computing! Remember no figures! Oh, here come the walnuts now. Haybe even the pigs. There, you shall see how it goes. You don't see that every day, and I hope it will be a lesson to you. Beware of figuring! 276

k. k/a.tnu.^6 Tkrk

/Vot tea -fadt umi.

Chorus t ,. • 1 II— •— 1 —|

. The lm They

Soprano Reoorder

Alto Hecoxder

Violin

Alto Xylophone

Bass Druta sad TTftWfi Drum I r r r f \(—c~^ (mtitf e-ymbaLJ 277

«Bl-BUta run in groups of three, groups of three, on*, two, tliiM, they caiwxy their oni nut-cmelo . or, rat—crack— er, nut—-crack—or, there

i m n

"i*—i I f 7 c *

> r

^ Q i LjlJLJ i HW dare not «alk t> lonel If you should see then run—nln# by, they're is no cause to have one. So eat as much as you can hold! We'll

Bass Drum aocl TTqnrl Dtiiq ~r r c_rr t r~rx A**>$ rta^e 278

Choruu i

vejv-y fast don't trust your eye, you nigit think there are nine. not run out so I've been told. Dieir fla Tor is do II ciouu!

Soprano Recorder

Alto Recorder

Violin

Bass Drum nnA Hand Drum

i- Soprano 0 f r Recorder ' if • r \ ' t 1 J m ; ^ * • /

Alto Recorder tnUTT 'T ^ u 1' f

0 n -— Violin JC ~ '

Alto Xylophone

Bass Drum 279

Chorus 1 n 1 v r | L?

1. Bie pig® grow fat ter all the year, with hot— baa an£ tr. con 2. A round the house ia built a fence Kith tuu—saga— of rare

Violin

Alto Xylophone

Triangle — r r r ir r r r if r r el

Chorus it I Q .f rr they run near, they con .BO- •—quence Violin

Alto Xylophone

Triangle and Cymbal t— r—r"T—' • i—f 280

a.lh> Jiv

Chorus £ r & i i t i ~r—r 1 i {l I t cone &—quipp'd with knife and fork. Yea, slice some and eat some, they

-2 1 '* t r * \ Violin %

Alto Xylophone

Cymbal I T > > 1 4- i < \ \ 1 ( f r ' r r 1

Chorus Ml J J J 1 ^3 J : - ^ " } ' f f r r1

come o—quipp'd with knife and fork. Soprano -7^ 1. • 0 . ' f Recorder [rmn ^11 —jji *40Ad* ' r f-

Alto Recorder fa T - r

1 Violin L ll r ; - . ri rn M 1 1 HP a <0-11 -x \ ^ L. f j*'—-—24M-I niiW- — ? 3

Alto Xylophone * m 0 m 4 tJ > > 9 -rrrrrrr f~~z—

Cymbal f-f—M- 281

Seconds No, no, no, no, no!!

First: Vill you finally get up? 1 came all the way back to help you and you

won't even get up.

Second: Why did you disturb say sleep? I sleep veil, eat well and enjoy being lazy.

Never in Hungerville did 1 have it so good.

Firsts Listen to me and pay attention! One of us is supposed to become King, We

must go around to gather experience. I've already learned very much.

First, there vere walnuts who ran away from the pigs because they were

afraid, then • . •

Second: Please stop all your noise. Listening makes me tired, much more than Just

opening my mouth.

Firsts How you tell me! After I have run for hours to find you because I wanted

to help. I wanted to warn you about the pigs that run about with knives anA the milk river that is so deep I almost fell in. Listen! Aren't you

even listening? What's the matter?

(second snores loudly)

He sleeps! Oh, it's impossible!

Sirs (well pleased) I think. I think we will soon have a new King in this

land!

First; (excited) Really? Bid you find someone who knows this country better than

1 do? Is there someone who has had more experience?

Elf! Take it easy! 1 am sorry that you feel that you have to ask so much. Look

at your friend, he doesn't ask anything, (snores of the second are heard)

First! Big deal!

Elf: Yes, indeed it is a big deal. Be is doing his job very well, for he sleeps,

Second: (half asleep) Who is disturbing my sleep? Ah, the elf guard comes for his

inspection. That's fine with me. Just one thing, if 1 am thirsty, please

wake me up, but not before! (continues to snore)

must prove himself for one year* Once a year I shall inspect and see if he

iB still asleep.

First: And what about me?

Elf: (slowly) Tou shall never learn! Again, you keep asking questions. Please try to stop that, it gets on my nerves. Learn to sleep! Maybe I can use

you at some later time, when we polish the handle on the old sundial, but

there's no hurry. Learn to sleep, sleep, sleep . . • 282

7, ; The Klhj Zutte

Alto" Recorder

Violin

Hetallophone

Chorus He, who is the la-zi—est, ah&ll be king*— o ver *11 this land, La—ey eer-vante, i—die aaids, this is what the Icing de- -aires the moat.

m w 1. He, who 1b the la-~i—est, shall bo kin#— o—v.r all this land. 2. La—«y servants, i—die naiis, thio ia what the king de sires the wet. Alto Xylophone JJJJlU] J J * J.N ^4^ 283

\fa Slf, if^§i n j \n 3^ i f-

Chorus Shall "be king,- thall be Icing*— of this land. all this ih&t the ]£lng»- vhat the king »aires the moat. King of all this

Shall be Jcinc,- shall be kinj of this land, L-—.—vcr all this What the icing,- what the king de- •sires the moat. King of all this Alto Xylophone m m l 'r rj.H

j | i

Chorus land, o—ver all this land, land, kin^j of | all thia land.

Alto Recorder rrrf r

Violin 3= HH m Alto Xylophone

OtA-ter J 284

Soprano Recorder

Alto Recorder

Violin

Metallophone

Very -f-a.z>C

£ i**i* * t k- ft¥ it t i m i

Chorus Pe-ter, Eu-san, Qre-tel, Ste-ven, hur-ry to the riv-er-aidel I Cone ev-1 ry—one with

JJ;;; ,,pgpff

Pc— tor, Su-3an, Grc—tol, Sto-ven, hur-ry to the riv-- :-.,ide'. Come ev-'ry— "me "with

Violin jjjj JJ i

Alto Xylophone jji-Ljl f / Triangle 285

Chorus

wife and child, Milk Riv—er flows by sweet and mild.!

Violin

Alto Xylophone

Triangle

dl'v. i J J J J till Chorua Drink un—til the riv——or runo- dry, There's fre3h nilk in J CJIS Drink un——til the riv—or runo- dry. There's fresh

Soprano Recorder m

Violin

Alto Xylophone "2~

Triangle —i 286

good- Milk bun—Ian t— ly

milk in good- sup ply. Milk a bur.—dant—ly

~rr

JLauiCi

If per*—hapa •now should rail

If per—iiapo snow uhoulu fall gent—ly to the earth

Metallopliona

Triangle t! * *—ttT* *—r*XT~* 287

iAHi j •

It will bring us rich al-mond can—dy once

it vd.ll bring us •li—cioua al-aond can- once

Triangle

/y Jltr, O ^ r m r > !i i1 h

Chorus Then a fresh, new nuun—tain »h«»n rlae up! All men, all those Utti*. 0'J- - , do,itx OlC\ )7 />O n •fr ± i J J I 'I >> i ^ i lr m

Then a fresh, now moun—tain shall rise up! All men, all those o r> Violin $

/?> ffnnH Drum i—— 268

who would Joup—noy on—ward, yea, 9-ven those who caiv ••not sea

who would jour—ney on ward, yea, o-ven those who can—-not see

t f r t i f \i r *r r\t -f f~ •r—f-

Chorus shall know the way to the And e—van those who

shall know the way to the mo un—tnin Ana o—von those who /3 Violin

Metallophone

TTanrf Drum r—LJ—f" c r J ^ r ^ f I * r r r 11 r 269

Sam iim

Chorus can-not speak wHaII tell the Hay, the way,

$ u i i J.' * "

con-not apoak shall toll the way, the way, t Violin $ ^ ^ cJ I ^ jj P

Metallophone m 2 1

Hand Drum f c_r ~r—r T^'IH

U**j

jj n i .i , > > > "Z* 3^~

Chorus and show the way to the I aoun—tain, and all shall lcncw-

and show the vjay to tho noun—— t^in., and all sJiall know

Violin

Metallophone

Hand Driua i 7 uu r r~- tfrrri H 290 ulii •

Chorus

way, and all shall kno

Violin

Alto Xylophone

Hariri Drum

ipeCu Soprano Recorder J J r'' icXi'u t

Violin i r -7—r ~r 9—»—r

Alto Xylophone n I ¥ r u u mf. Triangle r r r r t r-r~r™r+ 291

Chorus

Yee, this ic the

Soprano Recorder — 0

Alto Recorder if r rti W

Violin m CJ\P f If / > - _ mf // > > *

Alto Xylophone

HnnH Drum

Bass Brum rrrrtrtr and Cymbal

Chorus j? + J J ^ J ~J=^ -?r W

lax—ing lane5., no tax ing land. La— peo- —plo Violin. | i J J ^ i ] / I i J J J J i M'

Alto Xylophone Honri Drun r err Bass Drum r r r t r r r r r r r and Cymbal r r r r r r r r 292

•s A Chorus F=1 L.... Tf— ISM f —P-* laiow it well, yea, know it well. So now you know the land with

Soprano Recorder

Alto Recorder

Violin

Alto . Xylophone

Hand Brum

Baas Drum and Cymbal

Chorus

won—arous beau—tie3 fill'.., and if one would be rul er there. he Soprano Recorder

Alto Recorder

Violin

Alto Xylophone ? 1—1—i r fi'. fLaUi tn the shJ TTflnH Drun

Bass Drum ^ f U—r—i—r dru*i with Chorus

Alto Recorder f epf-reni'" ue€l J

Violin & j (

Alto Xylophone

Band Drum and Baas Drum Jr~T—i f Iff H-f K~r 1

Chorus

Alto Recorder

Violin i

Alto Xylophone

Hani Drum and , rr Bass Drum h-rrrmfrrrTrlr rCttrl r r rcrlr+crri"—+fH ^ tt> r APPENDIX

A LISTING OF CHILDREN'S OPERAS AND CANTATAS BY CESAR BRESGEN

Artner kleiner Tanzbdr (Poor Little Dancing Bear). Mainz: B. Schott's Stthne, 1961.

Bettlerhochzelt (Beggar's Wedding). Mainz: B. Schott's Sfchne, 1962.

Briiderlein Hund (Little Brother Dog). Mainz: B. Schott'a Stthne, 1953.

Per ColdvpRel (The Golden Bird). Mainz: B. Schott'a Sohne, 1960.

Per Igel ala BrUutlgam (The Hedgehog as Croom). Mainz: B« Schott's Sohne, 1951.

Per Mann lxn Mond (The Man In the Moon). Mainz: B. Schott'a S6hne, 1959.

Per Struwelpeter (Title does not lend itself to translation). Mainz: B. Schott'a Sohne, 1953.

Pie alte Locomotive (The Old Locomotive), Mainz: B. Schott's S&hne, 1960.

Die Schattendlebe (The Shadow Thieves). Unpubllahed manuscript, 1962. Es let ein Hob entsprun&en (There la a kose Blooming). Mainz: B. Schott's Srthnft. 1962.

Havel Hahne (Title does not lend itself to tranalatlon). Kassel and Basel; B&renreiter Verlag, 193B.

Jagkantate (Huntera' Cantata)• Kassel and Basel: Barenrelter Verlag, 1960.

Laternc> Laterne (Lantern, Lantern). Kasael and Basel: Bfirenrelter Verlag, 1938.

L'Europe curleuse (Interesting Europe). Mainz: B. Schott's SOhne, 1970. Travelogue using European Folk Songs.

Lumpengeslndel (Bums). Kasael and Basel* Barenrelter Verlag, 1938.

Rlesensplel (Giant'a Play)- Mainz: B. Schott's Sohne, 1954.

So trejben wlr den Winter au3 (Thus We Chase Winter Away). Kasael and Basel: Barenrelter Verlag, 1949.

Tra-rl-ro (Title does not lend Itself to translation). Kaseel and Basel: Barenrelter Verlag, 1938.

Wlr slngen den Malen an (We Are Singing in May). Kassel and Basel: Barenrelter Verlag, 1949.

In Preparation

Trubloff» the Mouse Who Wanted to Play the Balalaika.

Planned

Das grosse El (The Huge Egg).

294 SELECTED REFERENCES

Ade«, Havley. Choral Arranging. Delaware Water Gap, Pennsylvania: Shawneft Press, Inc., 1966.

Asmer, Christine* Musician*s Handbook of Foreign Terms. New York: G. Schirmer, Inc., 1971.

Apel, Willi, ed. Harvard Dictionary of Mualc. 2nd ed. Cambridge: The Belknap Press of Harvard University Press, 1969.

The Arts Council of Great Britain. A Report on Opera and Ballet In the United Kingdom 1966-69. Colchester, Essex: Benham and Company Limited, 1969.

Bakers Biographical Dictionary of Musicians. Edited by Nicolas Slonlmsky. 5th ed., revised. New York: G. Schlrmer, 1958; Suppleasent, 1965.

Berges, Ruth. Opera Origins and Sidelights. New York: Thomas Yoseloff, 1961*

Bethea, Sara Kathryn. "Opera for Children: An Analyals of Selected Works." Unpublished Ph.D. dissertation, University of Kansas, 1971.

Blasl, Franz, and Eberhard Wuerzl. "Zu Besuch bel Cesar Bresgen" ("As a Guest with Cesar Bresgen.") Unpublished television script, Oesterrelchlscher Kundfunk Fernsehen, Vienna, December, 1970.

Blume, Friedrlch, ed. Die Muslk In Geschlchte und Gegenwart. Vol. 2. Kassel und Basel: B&renrelter Verlag, 1952.

Bresgen, Cesar. "Anton Webem In Mltterslll," Oesterreichlache Muslkzeitschrift, (Hay, 1961), 226-228.

. Armer, klelner Tanzbar. (Poor Little Dancing Bear.) Full score. Mainz: B. Schott's Sohne, 1961.

. Das Schlaraffenland. (Lazvland.) Full score* Mainz: B. Schott's Sbhne, mr.

. Das Schlaraffenland. (Lazyland.) From Pre! Singsplele fur Kinder recording* Hellodor Klnderland 2578 Oil.

. Die alte Lokomotlye. (The Old Locomotive.) Full score. Mainz: B. Schott's Sohne, I960.

. Die Improvisation. Heidelberg: Quelle and Meyer, 1960.

• Fein seln, belnander bleiben. (Be Good. Stay Together.) Salzburg: Otto Mueller, 1947. 1 1 *

. "Internationale Konferenz der Komponlsten In Stratford, Kanada," Muslkerzlehung. Vol. 14, No. 2 (1960), 115-116.

. Uber die Berge welt. (Over the Distant Mountain.) Bad Godesberg, Germany: Voggenrelter Verlag, 1965.

Brlggs, Thomas H. Operaand Its Enjoyment* New York: Teachers College, Columbia University, I960.

Caldwell, Sarah. "The Future of Opera In the United States," Music Educators Journal (February, 1968), 56-57.

Dace, Wallace* "A Survey of Opera In Modern Translation, With Short Production Notes," Educational Theatre Journal, Vol. 8, No. 3 (October 1956), 229-245.

Davis, Josephine K. R. "Young Opera in Young America," Music Journal (October, 1963), 30-32.

Dent, Edward J« "The Translation of Operas," Proceedings of the Musical A«»ocl«tlon. Vol. 61 (1934-35), 81-l5£

295 Dwyer, Terence. Opera In Your School, London: Oxford University Press, 1964.

Eaton, Quaintance. Opera Production* Minneapolis; The University of Minnesota Press, 1961.

Ewen, David. The New Encyclopedia of the Opera. New York: Hill and Wang, 1971,

Foeael, Karl. "Cesar Erasgens Mirchenoper Per Igel als Br'autlgam," Melos (January, 1952), 27-26.

Frank, Paul L. "Improvisation as a Teaching Device." Triad, 29 (December, 1961), 5-17.

• "Orff and Bresgen as Music Educators," Music Educators Journal (February-March, 1964), 58-64.

Grout, Donald Jay. A Short History of Opera. 2nd ed. New York: Columbia University Press, 1965.

Hamn, Charles. Opera. Boston: Allyn and Bacon, Inc., 1966.

Iiindemith, Paul. Wlr bauen elne Stadt. Mainz; D. Schott'a Sohne, 1930.

Hoffman, Burton Ray. "Opera for Children: A Study Guide for Two Selected Operas." Unpublished Ed.D dissertation, Columbia University, 1970.

John, Malcolm, ed. Music Drama in Schools. London: Cambridge University Press, 1971.

Knapp, J. Merrill. The Manic of Opera. New York: Harper and Row Publishers, 1972.

Kotschenreuther, Hellmut. Kurt Weill. Berlin: Max Hesses Verlag, 1962.

Kraus, Egon. "School Music Education in Germany." Music Educators Journal (April- May, 1956), 25-70.

Larese, Dlno. Cesar Bresgen--Elne Lebenssklzze. Amriswil, Switzerland: Amrlswiler Buecherel, 1968.

Leuchtmann, Horst and Philippine Schick. Langenscheldts Fachwortebuch Muslk-- Engllach. Berlin and Munich: Langenscheldt Verlagsbuchhandlung, 1964.

Harek, George R. "Is Opera Worth It?" Opera Newa (September 21, 1963), 9-11.

Nye, Robert Evans and Vernice Trousdale Nye. Music in the Elementary School. Englewood Cliffs, New Jersey! Prentice Hall, Inc., 1964.

"Opera in the Elementary School," Music Educators Journal (April-May, 1951), 57-59.

Orff, Carl and Gunlld Keetman. Music for Children. Teacher's Manual. Prepared by Doreen Hall. Mainz: B. Schott'a Stthne, I960.

Pitts, Lilla Belle. "Young People and Opera," Music Journal (January, 1953), 29.

Read, Gardner. Music Notation. 2nd ed. Boston: Allyn and Bacon, Inc., 1969.

Ross, Nancy S. "Growing Up with Opera," Opera News (December 12, 1969; January 3, 1970), 7.

Schoep, Arthur. "Opera, the Translator's View," National Association of Teachers of Singing Bulletin (May, 1962).

Szmolyan, Walter. "Staatspreistrager Cesar Bresgen," Oesterrelchlache Mualkzelt- schrlft (April, 1969), 250-251.

Tuggle, Robert A. "The Student Onstage," Opera News (February 17, 1968), 14-16.

Valentin, Erich. "Cesar Bresgen," Zeitacrift fur Muslk (August, 1938), 841-847.

. "Cesar Bresgen,1' Oesterrlchlsche Musikzeltschrlft (January, 1958), 21-22. Westmorland, Vernon. "Opera In the Sixth Grade," Music Educators Journal (September-October, 1960), 96-97.

Personal Interview

Professor Cesar Bresgen* Mc^arteum, Salzburg, Austria, May 30, 1972.