The Folks Back Home
Some of the war-era songs produced by Tin Pan Alley looked at the issues affecting people back home—situations such as rationing and changes in the workplace. But most of the hits of the early 1940s were sentimental, or what the Music War Committee disparagingly called “slush.” Still, these songs spoke to people’s hearts, often serving as a catharsis—a way of releasing tension from the ever-present worry and grief. Separation and loss were never easy, but music often helped to ease the pain. Music also could express hope for the future, and this, too, was an essential service.
Some of the war-era songs produced by Tin Pan Alley looked at the issues affecting people back home—situations such as rationing and changes in the workplace. But most of the hits of the early 1940s were sentimental, or what the Music War Committee disparagingly called “slush.” Still, these songs spoke to people’s hearts, often serving as a catharsis—a way of releasing tension from the ever-present worry and grief. Separation and loss were never easy, but music often helped to ease the pain. Music also could express hope for the future, and this, too, was an essential service.
Wartime separation of families was difficult, but the absence of loved ones was often felt most sharply at holidays. This lead to the overwhelming success of several wartime Christmas tunes. Despite his Jewish heritage, Irving Berlin wrote the best-selling of these sentimental melodies. His “White Christmas” remains the most valuable copyright in the world. The ever-modest Berlin once declared, “Not only is it the best song I ever wrote, it’s the best song anybody ever wrote.” Although he did not write the song to address wartime conditions, “White Christmas” was a perfect distillation of holiday dreams both at home and among the troops.
Musical Theater during the War
The New Team in Town
Oklahoma! (1943) was adapted by the new team of Richard Rodgers and Oscar Hammerstein II. The story was a fairly simple one, despite its darker undertones, and it was set in America’s heartland—part of the vision of the United States that was “worth fighting for” in many soldiers’ minds. Despite the timely subject matter, there were many people who were pessimistic about its chances. Besides the untested partnership, Rodgers and Hammerstein had seen Agnes de Mille’s choreography for Rodeo (1942) and hired her to design dances for their show—but she had never choreographed for Broadway before. The day after opening night, glowing newspaper reviews were published and excited word-of-mouth began to spread. Oklahoma! quickly sold out for years to come, and listeners across the nation were soon able to enjoy the musical’s songs due to the release of a recording of its original cast.
The New Team in Town
Oklahoma! (1943) was adapted by the new team of Richard Rodgers and Oscar Hammerstein II. The story was a fairly simple one, despite its darker undertones, and it was set in America’s heartland—part of the vision of the United States that was “worth fighting for” in many soldiers’ minds. Despite the timely subject matter, there were many people who were pessimistic about its chances. Besides the untested partnership, Rodgers and Hammerstein had seen Agnes de Mille’s choreography for Rodeo (1942) and hired her to design dances for their show—but she had never choreographed for Broadway before. The day after opening night, glowing newspaper reviews were published and excited word-of-mouth began to spread. Oklahoma! quickly sold out for years to come, and listeners across the nation were soon able to enjoy the musical’s songs due to the release of a recording of its original cast.
Listening Companion - Listening Example 8:
“Surrey with the Fringe on Top” from Oklahoma! (1943) Richard Rodgers
“Surrey with the Fringe on Top” from Oklahoma! (1943) Richard Rodgers
|
Oklahoma! is set early in the twentieth century, when the Oklahoma Territory was just about to become a state. There is tension between farmers—who want to fence their fields—and cowmen—who want their cattle to be able to range freely. Still, the cowboy Curly is attracted to the farm girl Laurey, although they aren’t willing to admit their feelings. Early one morning, Curly arrives at the farm where Laurey lives with her Aunt Eller and a brooding farmhand named Jud. Curly invites Laurey to go to the community’s box social (a type of fundraiser and courtship ritual, since young women prepare box dinners that are auctioned off; the winner of each box gets to eat it with the woman who prepared it). Laurey wonders what kind of transport Curly plans to provide. She certainly isn’t going to ride on the back of his horse in a party dress!
In the subsequent song, Curly starts describing a surrey (a type of buggy) that seems to be the perfect vehicle, and Laurey grows increasingly entranced by the idea of the surrey and the evening that lies ahead. Even Curly seems to get caught up in his description of the surrey. We can call this type of piece a vision song. In a vision song, music enhances a verbal description to the extent that something imaginary seems to “come to life” in the minds of its singers—something that might not easily happen if the words were just spoken instead of being sung.
Laurey has been completely mesmerized by Curly’s vivid description of the surrey, so she is outraged when he reveals that he invented the whole thing. In revenge, she chooses to go to the box social with Jud instead, thus—unwittingly—setting in motion the jealousy that will lead to a death before the musical has ended. Like Show Boat, the story is a long way from light-hearted musical comedy, and it has been revived many times; the 1998 London production starred Hugh Jackman (b. 1968).