About the Composer

This may be of interest to very few regulars, but here it is for the future Kodály googler.

More YouTube trolling has turned up this footage of Zoltán Kodály himself interviewed on Hungarian Television in 1953. It was around this time that the ideas about music education he had been putting out in his writings for decades were just starting to be put into practice officially in Hungary’s education system.

I’ve never seen footage of Kodály before, or heard his voice, so this is a real gem for me. Below, I’ve translated the essential part of Kodály’s comments in the interview.

Yes, on a trial basis, the Ministry of Education has allowed about ten schools to teach singing six hours a week. So, we don’t have a lot of experience yet, but we’re seeing a surprising result in these schools. The students are improving in all areas. Their speech has improved; their writing has improved; their reading has improved. They’re learning to read earlier.

All of this goes back to music. For example, writing music down requires such precision that, if the written note is too high up or low down, it means something completely different. So, that influences their penmanship. Math is also going a lot better for them. Music involves constant counting, so it becomes useful to arithmetic as well.

But the most important thing is the effect it has on discipline. We complain about how hard it is to teach children discipline. Generally, in these schools things go a lot more smoothly. Ensemble singing gets them used to discipline and a feeling of responsibility.

Some of this may seem a little forced, but the epilogue is that Kodály’s notions on singing in schools were put into practice in Hungary in the 50’s and 60’s with the well-documented results that Hungarian students excelled in a number of areas as compared with those of other countries.

It is well known among Sondheim kooks such as myself that Stephen Sondheim’s favorite among his own songs is “Someone in a Tree” from the 1976 musical Pacific Overtures. I love this song too, but it’s never been clear to me exactly why it stands out in particular for Sondheim.

Briefly, the song attempts to deal with a particular event that’s important to the piece, but not particularly dramatic. Sondheim even calls it a “song about nothing” (which is very interesting in these post-Seinfeld times). What’s interesting about the song is the reciter’s setup line: “No one knows what happened in the treaty house.” The solution is to tell the story from three points of view: 1) An old man who remembers watching from the top of a tree when he was a boy; 2) That same old man as a 10-year-old boy; and 3) A soldier hiding under the floorboards of the treaty house.

The old man and the boy report what they’ve seen. The soldier reports what he’s heard. It’s a brilliant use of time and space in a theatrical moment.

The first video below is a very young Frank Rich interviewing Sondheim and his collaborator John Weidman in Sondheim’s house, presumably during the (extremely brief) run of the original Broadway production. In this video discusses in depth how the song came about and why he loves it so much. He also talks about the repetitive accompaniment figure, and how it came about.

The second video is a continuation of the first, where Sondheim accompanies the four cast members involved in a reading of the song.

Now, here’s the song as it looked in it’s full production.

Just a personal note about all this. I’m literally kvelling that YouTube has made it possible to see all of this. I had once before seen the second video, with the actors in Sondheim’s house, at a Sondheim-kook event here in San Francisco many years ago, but I did not know of the existence of the first part. I used to think I’d seen every Sondheim interview that exists on video. I also have to say that it’s really fun to see what the inside of his house looks like (or at least what it looked like in 1976).

Happy new year! I just found this and had to share.

This is Kodály’s “Esti Dal” (Evening Song) performed by the King’s Singers. It is possibly my favorite piece of choral music. Here’s my own translation of the text:

As I lay down for the night by the edge of the woods,
I pull my blanket up to my chin.
I put my hands together,
Thus imploring you, my good Lord

My Lord, grant me a place to stay,
For I’ve grown tired of wandering,
Of hiding,
Of living in a foreign land

My Lord, grant me a good night
Send me your blessed angel
To give courage to the dreams in our hearts.
My Lord, grant me a good night