Ashley Camp Music 1010 Spring 2012 Andrew Lloyd Webber Ashley Camp Music 1010 Spring 2012

Introduction Early years Accomplishments Composition History Listening Guides One of the most influential people in musical theatre has to be Andrew Lloyd Webber. He has received numerous awards, titles, and nominations for his work; however, none of those things are needed to prove how talented he really is. There are few people on this planet who have not heard and been touched, in one way or another, by his work.

Early Years Family Born March 22, 1948 in South Kensington (London, England). Oldest son of William Lloyd Webber and Jean Johnstone. Musical family Father- composer, organist, director of London College of Music Mother- violinist, pianist Brother (Julian)- solo cellist Accomplished organist by age 9. Accompanied his father in performances. Constructed a toy theatre (to scale) where he and Julian would put on “productions”. Andrew Lloyd Webber was born on March 22, 1948 in South Kensington, a district of London, England. Webber comes from a very musical family; he is the oldest son of William Lloyd Webber, a composer and organist, as well as the director of the London College of Music, and Jean Johnstone, a violinist and pianist. Julian Lloyd Webber, his younger brother, is a distinguished solo cellist. Webber began learning to play various musical instruments as well as composing music at a very young age. By the age of 9 he could play the organ and actually accompanied his father in performances. It was also at the age of 9 that Lloyd Webber had his first musical composition published. During his childhood years, Andrew and Julian would put on “productions” in their toy theatre, which Andrew Lloyd Webber constructed himself.

Early Years Interests Dreamed of becoming chief inspector of ancient monuments in Britain. Many other childhood interests/pastimes have been incorporated into his work. Starlight Express- childhood fascination with trains. As a child, Lloyd Webber dreamed of one day becoming the chief inspector of ancient monuments in Britain. Many of Lloyd Webber’s other childhood pastimes and interests have been incorporated into his work. Much of his staging stems from his work with his toy theatre, which was built to scale. The production Starlight Express has connections to Lloyd Webber’s childhood fascination with trains.

Accomplishments Early Work Attended Oxford for 1 term. Met Tim Rice at age 17. The Likes of Us (never produced) 1968- Joseph and the Amazing Technicolor Dreamcoat 1971- Jesus Christ Superstar 1976- Evita In 1965, he began studying history at Oxford University, but only attended there for 1 term. It was at this time, at age 17, that Andrew Lloyd Webber met and began working with lyricist Tim Rice. The duo’s career together started with work on the musical The Likes of Us, which was never produced. From there (1968), they expanded Joseph and the Amazing Technicolor Dreamcoat from concert piece into a two-act production. The score of this production shows the range of Lloyd Webber’s work (jazz, country, rock and roll, and calypso, to name a few). The Lloyd Webber-Rice tradition of recording first began in 1971 with Jesus Christ Superstar. Another of Andrew Lloyd Webber’s and Tim Rice’s successes was the musical production of Evita, which made its debut in 1976.

Accomplishments 1980s 1982- Father passed away. Requiem Mass written for and dedicated to William Lloyd Webber. The 1980s only brought more fame and success to Andrew Lloyd Webber. His father passed away in 1982, and he wrote a Requiem Mass dedicated to him.

Accomplishments 1980s 1981- Cats Longest running musical in London. Longest running show on Broadway, for a time. Began trend of putting on an enormous display on Broadway. It was the production of Cats in 1981 that really marked Lloyd Webber’s personal and professional breakthrough. This show is based on a collection of children’s verses by T.S. Eliot, and song lyrics were again written by Tim Rice. It was Cats that began the trend of “putting on an enormous display” in order to be successful in London and on Broadway. Cats became the longest running musical in London, and was the longest running show on Broadway, until another of Lloyd Webber’s productions broke that record.

Accomplishments 1980s 1986- The Phantom of the Opera Starred Sarah Brightman (Andrew Lloyd Webber’s wife at that time.) Highest grossing entertainment event of all time. Longest running Broadway musical of all time. Most financially successful Broadway musical of all time. Lloyd Webber’s most successful musical production debuted in 1986, starring his wife (at that time) Sarah Brightman. The Phantom of the Opera not only became the highest grossing entertainment event of all time, but also the longest running Broadway musical of all time. It also became the most financially successful Broadway show in history.

Accomplishments Recognition 7 Tony Awards 3 Grammy Awards 1996- Academy Awards for Best Music and Original Song (Evita) and 2 Oscar nominations. 2006- Kennedy Centre Honors One of London’s biggest theatre owners (7 restored theatres). Andrew Lloyd Webber has made many great achievements throughout the course of his career. He has won a total of 7 Tony Awards and 3 Grammy Awards, to date. In 1996 he won Academy Awards for Best Music, and Original Song (Evita), as well as receiving 2 Oscar nominations. In 2006 Lloyd Webber received the Kennedy Centre Honors, which is an annual event that gives recognition to individuals in the performing arts for their lifetime contributions to American culture. Andrew Lloyd Webber is one of London’s biggest theatre owners; owning 7 theatres, all of which he had restored. An opera is currently in the works for Lloyd Webber.

Accomplishments Personal Life Married 3 times Sarah Hugill (1972-1983) Sarah Brightman (1984-1990) Madeleine Lloyd-Webber (1991-present) 5 children 2 from first marriage 3 from current marriage 1992- Knighted by Queen Elizabeth II 1997- Honorary life peer as Baron Lloyd-Webber of Syndmonton in Hampshire County Aside from his professional career, Andrew Lloyd Webber leads an interesting personal life. He was been married 3 times and has 5 children, 2 of which are from his first marriage to Sarah Hugill, and 3 from his current marriage to Madeleine Lloyd-Webber. Lloyd Webber was married to Sarah Brightman for a time during the 1980s. In 1992 he was knighted by Queen Elizabeth II. His wife Madeleine became Lady Lloyd Webber during this same occasion. Later, in 1997, Andrew Lloyd Webber was created an honorary life peer as Baron Lloyd-Webber of Syndmonton in Hampshire County. One of Lloyd Webber’s non-musical hobbies is collecting art, specifically Victorian art and Pre-Raphaelite paintings.

Composition History “The Music of the Night” The Phantom of the Opera Music by Andrew Lloyd Webber and lyrics by Charles Hart Originally written for Sarah Brightman Michael Crawford was the first Phantom to perform the song on Broadway and the West End. Performed and recorded by many artists. “The Music of the Night” is a beautiful song from one of Andrew Lloyd Webber’s biggest musicals of all time; Phantom of the Opera. Of course, the music was written by Andrew Lloyd Webber, himself, and the lyrics by Charles Hart. The song was made famous by Michael Crawford, who played the role of the Phantom during the show’s first performances on Broadway, as well as the West End. Crawford, along with Barbara Streisand, recorded this song in 1993 for Streisand’s “Back to Broadway” album. It is said, by Sarah Brightman, that the song was originally written by Lloyd Webber for her, regarding the first time they met. Sarah Brightman has performed and recorded “The Music of the Night” a number of times as a solo. There are a couple different versions of the song (lyrically) as Lloyd Webber had written the piece before Charles Hart began working on the song. The original song was performed a year before the show’s debut, at one of Lloyd Webber’s theatres.

Composition History “Superstar” Jesus Christ Superstar Written with Tim Rice Recorded 2 years before the musical made it to Broadway. Topped the charts in many countries, leading to success of the musical. 1971- Performed live on Broadway. 1972- Performed on the West End. “Superstar” is one of Lloyd Webber’s earlier pieces written with lyricist Tim Rice. The song is one of the showstoppers from hit musical Jesus Christ Superstar. The single “Superstar” was actually recorded (sung by Murray Head, who played the role of Judas) and released towards the end of 1969, two years before the musical made its way to Broadway. In 1970, Lloyd Webber and Rice produced a concept album, on which “Superstar” was included. The song topped the charts in a number of countries, which lead to the ultimate success of the production. It wasn’t until 1971 that the song was performed live on Broadway. A year later, the musical began being performed on the West End.

Composition History “Close Every Door” Joseph and the Amazing Technicolor Dreamcoat Lloyd Webber’s and Rice’s first musical (as a duo). Contains references to the Holocaust. First performed at a schools and festivals. Sung by David Daltry on the concept recording. Also made famous by Gary Bond, David-James Carroll, Jason Donovan and Donny Osmond. “Close Every Door” is also a Lloyd Webber/Rice song. It is from their first musical (as a duo); Joseph and the Amazing Technicolor Dreamcoat. The song is sung near the end of the show’s Act I by Joseph, having just recently been imprisoned by Potipher. Interestingly enough, the song not only voices Joseph’s despair for being innocently accused of a crime, but appears to contain references to the Holocaust during World War II. Nazi practices are reflected in the lyrics: “Just give me a number/Instead of my name…Destroy me completely/Then throw me away…” Joseph was performed at a variety of schools and festivals before it made its way to Broadway, and the role of Joseph (who sings “Close Every Door”) has been played by a number of actors since the show was written in the late 1960s. British performer David Daltrey first sang “Close Every Door” on the concept recording of Joseph. Other stars who helped make the song famous are Gary Bond, David-James Carroll, Jason Donovan, and our very own Donny Osmond. A film version of the show was created in 1999, starring Donny Osmond as Joseph.

Composition History “Sunset Boulevard” Sunset Boulevard Written with Don Black and Christopher Hampton. Based off of 1950s film Sunset Blvd. First performed in 1990s in London. Sung by Alan Campbell in 1993 LA production “Sunset Boulevard” from the musical Sunset Boulevard was written by Andrew Lloyd Webber, with book and lyrics by Don Black and Christopher Hampton. It is based off of the 1950 film Sunset Blvd. Lloyd Webber was inspired to write a theatrical adaption after seeing the film in the early 1970s. However, it wasn’t until the 1990s that the production opened; first in London, followed by runs in a number of countries. The song opens Act II, and is sung by Joe, who was originally played by Alan Campbell in the LA production in 1993.

Listening Guide “The Music of the Night” 5:09 2:03 –Verse 3 begins. Dynamics and tempo return to volume and speed of verse 2. Many instruments can be heard added soft, beautiful harmony as the vocalist continues to convince the listener to let themselves have a musically moving experience. Texture is added to the piece by added more instruments with each verse. 2:40 –Momentum builds with the strings and brass playing an ascending scale and increasing volume to forte (f). A cymbal is also played, adding to the building feelings of urgency and persuasiveness, causing the listener to consider ‘giving in to the music’. 2:43 –Chorus 2. The music is the same as chorus 1, but the lyrics are different. The brass section plays a variation of the melody, while the strings continue to play scales. This gives the music more texture. 3:02 –Climax of the song. The music has been building to reach this point. The note played at this time is held for about 6 counts by both the vocalist and the instruments. The vocalist is louder than the orchestra and demonstrates amazing control and vibrato. 3:07 –Slight pause. 3:08 –Vocalist enters at a softer dynamic (piano (p)) and the tempo is slowed immensely. The string section can be heard softly (pianissimo (pp)) behind the vocalist. 3:24 –Verse 4. Tempo is increased slightly. Strings play the melody along with the vocalist. “The Music of the Night” 5:09 0:00 -Verse 1 begins right away with the vocalist singing softly, like a lullaby. The timbre allows us to recognize the string section accompanying the vocalist. The strings allow the vocalist some freedom to create his own musical phrases. He uses crescendos and decrescendos to accomplish this. 0:19- Dynamics increase slightly to a mezzo piano (mp) level. 0:29 –The string section plays a portion of the melody, while the singer prepares for Verse 2. 0:41 –Verse 2 begins and is musically the same as verse 1, except for the addition of a harmony played by the flute. 1:15 –The transition from verse to chorus is made as the singer invites the listener to “Listen to the music of the night.” 1:22 –Chorus 1. Tempo picks up and volume is now mezzo forte (mf). Strings can be heard playing ascending scales as harmony. Instruments from the brass section can also be heard.

Listening Guide “The Music of the Night” 5:09 3:40-3:55 –Musical phrase (similar to the end of each verse) begins with a crescendo as the vocalist sings “let your darker side give in” and ends with a decrescendo, which allows the listener to feel the delicate yet strong “power of the music that [he] writes”. 4:04 –Instrumental section. Tempo and dynamics build once again. The string section takes over the melody and the brass and woodwind instruments add texture through harmonies. This section is quite moving and demonstrates to the listener the true power of instrumental music. The phrases created by the use of crescendos and decrescendos give the music a story-like quality, despite the lack of lyrics. 4:29 –Vocalist re-enters. Vocalist and strings sing/play the melody in unison. Tempo begins to slow. 4:39 –Vocalist repeats his simple plea for the listener to “help [him] make the music of the night” acapella. 4:50 –Strings re-enter as the vocalist sings “night”. The vocalist’s note is held and becomes softer. The strings slowly play a minor scale, which resolves during the last couple of notes in order to leave the listener with a calm, contemplative feeling. Both the singer and string section decrescendo until they can no longer be heard.

Listening Guide “Superstar” 4:16 1:24 –Drums enter the chorus, increasing the tempo slightly and bringing back the rock n’ roll feel. 1:41 –Short instrumental section transitions into verse 2. Brass section is featured. 1:49 –Verse 2. Tempo is maintained by the drums. The vocalist keeps the same regimented rhythm, however, the music would allow for a syncopated rhythm if desired. 2:28 –Same transition from verse to chorus, with women’s choir and main vocalist echoing. Again, tempo slows and instruments stop playing. Timbre lets us differentiate between the women’s and man’s voice. 2:44 –Transition continues with addition of drums and saxophone. 3:00 –Different harmonies are sung by the women and the male vocalist. The vocal and instrumental harmonies overlap, creating an intriguing variety of lyrics and rhythms. The women begin on the down beat while the male vocalist begins singing on different beats (almost like freestyle), which carry on the edgy rock n’ roll feel. 3:47 –Vocal “free styling” continues. Brass section not plays louder, and can be heard above the other instruments. This adds a more jazz-like feeling. 4:00-4:16 –Song fades out. I have heard other versions of the song where the song ends very loudly with all instruments playing melody in unison with the vocalists as they sing the final “Are you what they say you are?” “Superstar” 4:16 0:00 –Introduction is played by the full orchestra. The melody of the chorus is played with harmonies behind it. Timbre allows us to differentiate between the percussion instruments; cymbals and drums create a feeling of power that will continue throughout the song. Tempo is moderate and volume is quite loud, but soft enough to allow dynamics to build. 0:28 –Drums play a 2 beat introduction to verse 1. Tempo increases, and a rock n’ roll feel is brought to the song. 0:30 –Verse 1. Vocalist enters; his tempo is quite regimented. The singer’s voice is a little raspy, which adds to the rock n’ roll feel of the song. Drums and saxophone play backup harmony. 0:52 –Women’s ensemble joins repeating the line “Don’t you get me wrong” and “I only wanna know” while the main vocalist echoes. These lines are the transition from verse to chorus. Fast paced tempo is maintained. 1:09 –Chorus. Tempo is slowed. Women’s choir begins the chorus with a simple question, “Jesus Christ. Jesus Christ. Who are you? What have you sacrificed?” Piano accompanies with a chord on the down beat of each measure.

Listening Guide “Close Every Door” 3:49 2:04 –Orchestra continues playing. Strings, woodwinds, and brass sections alternate between the melody and a variation of the melody. Volume and tempo build in a crescendo, bringing back the feeling the vocalist portrayed in the chorus; reminiscing about a happier time. 2:19 –Verse 3. Vocalist sings with a sense of urgency, causing the listener to really feel for him and his situation. Strings play with this same urgency; emphasizing the first beat of each measure. 2:37 –Verse 4. There is a certain tone to the singer’s voice that lets the listener know that despite his hardships, he will remain strong. Strings have added notes to their harmony. 2:51 –Chorus. Vocalist does a beautiful job of using crescendos and decrescendos to create musical phrases. With each phrase then crescendos build less and less. Timbre allows us to recognize that the strings continue playing a simple harmony. 3:08 –Children’s choir join the second part of chorus, singing the alto line. Volume builds, beginning with cymbals, showing that Joseph is brave and ready to welcome his trials. Tempo is regimented and is kept steady with the drums. “Close Every Door” 3:49 0:00 -Introduction. Because of timbre, we know that the strings begin the song by playing a chord on the downbeat. The tempo is quite slow and volume quite soft. From the very first note there is feeling of sorrow and somberness. 0:10 –Verse 1 begins with the vocalist singing softly (p). Strings continue playing chords on the downbeat while flutes hold notes for the duration of each measure. 0:27 –Verse 2. Same as verse 1; tempo and volume remain constant. 0:42 –Chorus. Vocalist’s volume increases slightly. He uses crescendos and decrescendos to create musical phrases; sharing his feelings with the listener. Strings and woodwinds accompany with harmony. 1:32 –Children’s choir repeat verse 1. Rhythm is regimented; a note sung on every beat. Chimes play melody along with the children. Strings softly play harmony in the background. 1:48 –Children sing “la la la…” as percussion instruments take over the melody.

Listening Guide “Close Every Door” 3:49 3:23 –Vocalists (consisting of lead and ensemble) now sing a cappella. Volume has built to fortissimo. 3:32 –Lead vocalist continues singing “For we have been promised”. Violin joins in with vocalist, followed by the other orchestra instruments. 3:37 –Ensemble joins, singing “A land of our own”. Tempo is slowing, but volume still increases. 4 part (SATB) can be heard being sung by the ensemble; the lead has the melody. The last note (“own”) is sung loudly and held by vocalists and instruments. The song ends with cymbals building and then softening slightly. The lead cuts off his note with a bit of a gasp/exhale which signifies his new feelings of courage and empowerment; a complete contrast to the beginning of the song.

Listening Guide “Sunset Boulevard” 2:54 1:03 –Chorus begins with crashing of cymbals, which begins the building of dynamics and volume. Lyrics are different than the first chorus, but music is the same. The vocalist tells of other disappointments and hard feelings toward “Sunset Boulevard”. 1:21 –Bridge. Volume starts out soft and gradually builds with a loud bass chord on the downbeats. Vocalist emphasizes the first note of each measure. The music becomes more dark and full of emotion. 1:38 –Verse 3. Same as previous verses. The end of the verse builds and all instruments increase volume. 1:54 –Chorus. Bass drum crashes to begin the chorus. Vocalist’s volume has increased. Brass section can be heard more than previously in the song, which adds to the feelings of urgency and upset tone of the vocalist. 2:10 –Verse 4. Volume decreases as the majority of the instruments cease playing. Chimes and string section continue playing behind vocalist. Instruments are gradually added as the verse continues, which builds up to the final chorus. 2:25 –Chorus. Volume has increased from the previous verse. Stings and brass sections play harmonies. The vocalist’s voice is more forced and is full of emotion. 2:40 –Vocalist repeats “Here on Sunset Boulevard”. Tempo is maintained and the last note (“-vard”) is held by vocalist while brass section plays notes in unison on the beats 1, 2, 3, and 3+. The volume is loud (ff) and the song finishes very powerfully. “Sunset Boulevard” 2:54 0:00 –Introduction. Piano and flutes play arpeggios descending scales. Tempo is moderate and dynamics are softer (mp). 0:08 –Piano plays chords a couple octaves lower than originally played. Timbre allows us to recognize the addition of woodwind instruments playing a tune similar to the melody of the verses. The shift from higher pitch at the very beginning of the song to a lower octave sets a mysterious mood. 0:16 –Verse 1. The vocalist sings low and the tone of his voice is almost angry, but he has amazing control of his instrument. Singer is given freedom to create his own rhythm, and establishes a more syncopated rhythm (holding the downbeat longer and rushing the last 3 notes of the measure.) Orchestra plays harmonies; string section can be picked out over the other instruments. 0:31 –Chorus. Vocalist begins telling the audience about some of the disappointments he experienced at “Sunset Boulevard”. His tone, pitch, and volume are the same as verse 1. Each instrument in the orchestra can be heard (via timbre!) playing. Even though each individual instrument is heard, the orchestra blends well, conveying mystery and the feelings of the vocalist. 0:47 –Verse 2. Tempo picks up very slightly. There is more urgency in the vocalist’s voice. Bass note played on each downbeat rings through and percussion (drums and chimes) also keep the rhythm steady.

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