The three pieces of music required for this play are as follows:
"The Sleep of the Child Jesus" part song for mixed voices by F.A.
Gevaert.
Eightfold Alleluia composed for "Why the Chimes rang" by Percy Lee
Atherton.
These two pieces come published together in a special edition for use
with this play by The Boston Music Company. Price 15 cents per copy,
postpaid.
The bell movement (in five flats) (Postlude) by J. Guy Ropartz.
Published by The Boston Music Company. Price 30 cents per copy,
postpaid.
For all the music, address The Boston Music Company, 116 Boylston
Street, Boston, Mass.
The pieces by Ropartz and Gevaert were chosen for the Workshop
production by Dr. A.T. Davison, organist at Appleton Chapel, Harvard
University, and are admirably fitted to the play. Mr. Atherton's
Alleluia is also just what is needed, both in length and in the
triumphant crescendo which carries the piece fittingly and dramatically
to its close. It would be difficult to replace this finale except by
other music written for the purpose.
The music is perhaps the most important single element in the play. In
the original version the scene in the chancel was carried by dialogue
but production showed the mistake. From the time that the music begins,
it, with the pantomimic action of the actors is all sufficient to
interpret the mood and meaning of the scene.
A small parlor organ is practically a necessity and can probably be
procured for the cost of the cartage.
A choir of men's and women's voices is best for the singing but a good
quartette will serve.
For the bells, the long tubular chimes which are suspended by one end
and struck with a wooden hammer are the most satisfactory. If they seem
too metallic, try covering the head of the hammer with folds of chamois
skin. If such a set of chimes is not to be had a substitute can be found
in the phonograph, for which there are a number of chimes records.--The
tune played on the phonograph must not be a modern one; Luther's Hymn
"Great God, what do I see and hear?" (A Columbia record) is the best.
The tune can be disguised by lifting the needle occasionally and setting
it down gently on another part of the record. As far as I know, no
phonograph record presents chimes pure and simple. It should be
remembered however that the phonograph record lacks the vitality of tone
and the note of jubilant triumph which a good musician can bring from
the bells themselves.
With the exception of the crescendo at the end of the Alleluia, the
music is kept soft and dreamy throughout. It is a temptation to try to
achieve this effect by placing singers and organ back, off stage, so
that the sound may come from a distance but it has been found that the
whole performance gains immeasurably if the organist is in front where
he can watch every movement of the actors and interpret them in his
playing.
The music begins on Holger's speech: "Oh thou art warm" and continues in
one form or another throughout the play.--The organist commences in the
middle of the Ropartz "Sortie," at the top of page 6 and continues this
until the back of the hut is withdrawn when he drifts into the
accompaniment of the Gevaert song, and plays it through once without the
voices. As Holger cries "Dame!"--and sinks back against the woman's
knee, this verse should end, and the voices of the choir take up the
song with the organ.
From this point on every movement in the chancel is paced to the rhythm
of the music. It has been found that a verse of the Gevaert song is just
long enough to fit the following action.
A person in the procession enters the chancel, walks to the center
before the altar, kneels and presents his gift to the priest. The priest
accepts the gift, turns, goes up the steps to the altar, and raises the
offering high above his head holding it there a moment waiting for the
chimes to ring, then brings his arms down, lays the gift on the altar,
turns back to the kneeling figure, and raises his hand in blessing. The
person then rises, and steps back to his appointed place to the left or
right of the altar, coming to a standstill just as the music ends. As
the next verse begins, the next person enters the chancel. The movements
should be made with deliberation and dignity and so thoroughly rehearsed
that keeping time to the music becomes instinctive, that the actor's
mind may be on the expressing of the emotions of assurances that his
gift will ring the chimes, and later disappointment that the chimes do
not ring.
When it comes Holger's turn to offer the pennies, the music begins again
as with the others and accompanies the action through to the moment when
the priest holds the pennies high above his head,--here the organ and
singing break off abruptly, the chimes ring out and keep pealing for a
moment, without other music.
On the first note of the chimes the priest wheels swiftly and with a
commanding gesture signals the people grouped about the altar to their
knees. He kneels also. The organ begins again, softly playing the final
Alleluia. The angel enters from the right side, stands on the step of
the altar, the central figure,--all about still kneeling awestruck. As
the music continues the angel half sings, half chants the speeches, and
underneath her voice, which should be as lovely as possible, come in the
voices of the other singers very softly at first, like an echo from
afar. As the angel's voice stops, those of the other singers grow into
the great triumphant crescendo of the finale. Do not be afraid of
holding this tableau while the music finishes.--Indeed none of the
chancel scene should be hurried. Take it with great deliberation and
give whatever element is holding the scene at the moment, (whether the
action or the music) plenty of time to make its effect. The Alleluia is
played through twice, once softly during the angel's singing the second
time in the triumphant climax. As this second singing ends, the lights
on the chancel are blotted out, the back wall of the hut is replaced,
the old woman disappears, the lights in the hut go up again revealing
Holger standing spellbound staring at the wall where the vision had
been. As he turns to speak to the woman and during his final speeches,
the organ plays softly as though from a great distance and the chimes
ring again but not so loudly as before. This music continues till the
front screens are brought together and the play is over.