Tom Lehrer’s satirical songs are familiar to many of you, I’m sure. Not many of you will have heard of another satirical songwriter, Georg Kreisler, if only because he wrote in German. If you’re American and have heard of him, it’s probably because of the striking similarities between two of his songs and two of Lehrer’s. Let’s take a look at them.
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A couple of days ago I was saddened but not surprised to learn that Tom Lehrer had died. He was 97 years old, after all. He remarked many years ago that “It is sobering to consider that when Mozart was my age he had already been dead for a year,” but he went on to surpass the lifespans of nearly every well-known writer of music. Irving Berlin and Elliott Carter broke the century mark, but that’s about it. His songwriting career was only a short interlude in a long academic career, but his fans know nearly all of his thirty or so songs.
The lyrics of those songs are widely quoted and discussed, but not as much is said about his music. He set his satirical lyrics to tunes that are inventive, catchy, and full of solid musicianship. I’d like to say a few things about that music, to restore a bit of balance.
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I failed terribly last night when showing The General. I don’t know what I did wrong.
As I’ve said before and told the audience before the showing, The General is a complex movie. It’s a comedy, but it’s also a war movie. A train collapses into a gorge. Soldiers die on screen. I expect people to laugh at the funny parts. I don’t expect them to laugh at the deaths. I tried to underscore the mood of each scene, as I always do. It didn’t work.
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In my latest YouTube video, Yearning to Breathe Free, I try something new. Rather than accompanying an existing silent film, I’ve created a ten-minute history of immigration to the US in still images and added my improvised accompaniment. It’s been a learning experience in a lot of ways. First was the selection of images to combine into a coherent story. It consists of several sequences, each covering a different historical period from 1607 to the present. The first version didn’t make the structure nearly clear enough. Thanks to Virginia Taylor for catching this problem. I thought about inserting a summary before each segment and adding captions and ended up doing both. Then there was the timing. Before adding the music, the pacing felt slow, yet some images hold a lot of text, and test viewers didn’t always spot the important parts in time. I lengthened the time for some images and drew visual attention to the important text in one image.
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Classical music lovers know that in the late eighteenth and early nineteenth centuries, composers shifted from seeking patrons to support them to becoming freelance composers and performers of their own work. This was partially because of cultural changes, but I learned recently that legal factors also played a role. A key decision in British law was Bach v Longman, where judge Lord Mansfield ruled in 1777 that printed music was protected by copyright.
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