Speranza
We can appreciate the earliest Whiffenpoof repertoire through a number of
vintage recordings as well as written accounts.The 1915 recording of the Varsity
Quartet (though a Glee Club unit, they were the core of the Whiffenpoofs of that
year) is a remarkable source, not only for its age, but also for the quality of
the singing and recording technology. Digitally re-mastered selections from this
recording are included on the fourth CD of this set. Other than this recording,
accounts of what Whiff groups actually sang during the first twenty years are
rare, although the group’s close connection with the Glee Club implies a
commonality of material. As if to emphasize the strength of this connection, the
Glee Club issued a set of 78 rpm records in the mid-1940s that includes the full
chorus singing The Whiffenpoof Song under the direction of Marshall Bartholomew.
It was not until the 1960s that the Whiffenpoofs tapped significant numbers of
singers who were not also members of the Glee Club.
A second historical
source is the remarkable two-volume collection of Whiff Songs assembled in 1948
by Bill Oler ’45m, affectionately called the Whiff Blue Book. This collection of
nearly two hundred arrangements includes all of the songs sung over the prior
fifteen-year period, plus certain earlier selections characterized by Dudley
Miller ’43, in his Foreword to Volume II, as having ‘special merit.’ What then
did the Whiffs sing in their first twenty-five years and under what conditions?
We know from contemporary accounts that groups before World War II performed
songs we can classify in three broadly-defined groups:
1. College songs,
whether sung at Yale or having Yale as their theme;
2. Songs with Negro
roots; and
3. Vaudeville/Burlesque/Tin Pan Alley songs.
The earliest Whiff
repertoire carried on the tradition of college songs, but of a more substantial
kind, as the songs chosen in the 1915 recording show - Beta Theta Pi, Mother of
Men, Wake, Freshmen,Wake and Bright College Years.The tradition of college songs
was bolstered by the John Oxbridge Heald Prize, a competition held around the
turn of the century for songs capturing the Yale spirit. Mother of Men was the
first and only winner, in 1907.
Songs with Yale themes were augmented by
traditional college songs, some with lyrics in Latin (Integer Vitae, Gaudeamus
Igitur, and Amici), as well as by ballads drawn primarily from European sources
(Mavourneen, Shall I, Wasting In Despair, Drink To Me Only With Thine Eyes,
Graceful and Easy, and Annie Laurie), and by assorted sea chanteys, drinking
songs, and patriotic airs. Highly popular among these songs were yodels (Matin
Bell) and whistling songs.These arrangements wereavailable in song books dating
back a full fifty years prior to the first modern Yale song book in 1918 (in
which The Whiffenpoof Song was first published), each book claiming to include
songs popular on campus that had never been previously published.
Because
songs drawn from Yale song books were the standard fare of the Whiffs until a
repertoire of arrangements written specifically for the group could accumulate,
the Whiffenpoofs of the 1910s and 1920s could rightly be considered an extension
of the Glee Club. Basil Duke Henning ’32, former Whiff, professor of history at
Yale, and namesake of the Duke’s Men singing group, commented on this connection
in a ‘Yale Reports’ radio broadcast on March 9, 1958, in answer to a question
about whether the purpose of early singing groups was singing for fun:
Oh,
entirely .We would meet each Monday night at a table at Mory’s and sing to amuse
ourselves, then we would go out, if the weather was fine, and serenade the
Freshmen. At that time we were also singing entirely songs out of the Yale song
book; we had none of the fancier arrangements that have come into being since.We
would sometimes go to girls’ colleges and serenade, but there again, we were
singing pretty standard stuff: And I doubt very much if my group could - it
certainly didn’t - sing the kind of thing you now hear in the fifties - a song
like this, for example [excerpt from Bermuda Buggy Ride - 1952 Whiffenpoofs], or
the even more elaborate arrangement Summertime (excerpt from Summertime - 1952
Whiffenpoofs).
Along with the college and popular songs, the repertoire
relied heavily on Negro songs in arrangements that range from evocations of a
peculiarly American folk heritage to race parodies that are offensive to modern
sensibilities, but which were the stock in trade of minstrel shows from the 19th
century and of their successor, vaudeville. Negro dialect played an important
part in these settings and themes were often racy. Songs like Kentucky Babe
appear relatively innocuous, while songs like Get You a Kitchen Mechanic, Rufus
Rastus Johnson Brown, and Tear It Down play on racial stereotypes that were
commonly accepted at the time.
Related but wholly different in spirit were
Negro spirituals, sung by both the Whiffenpoofs and the Glee Club. Marshall
Bartholomew was instrumental in bringing these songs to light; his De Old Ark’s
a Moverin’ and Humble were arrangements sung by the Whiffenpoofs exemplifying
the most haunting essence of this musical tradition.Two songs of a similar
nature appear on the 1915 Whiff recording, Roll Dem Bones and When Pa, the
latter an original composition by Elmore McNeill Bostwick, Glee Club president
and Whiffenpoof.
In the 1930s the traditional college repertoire began to
share the spotlight with a newer, but not necessarily current, type of music:
vaudeville and burlesque.These settings exhibited a nostalgic character that
hearkened back to innocent times before World War I.The settings were cast in
barbershop style and the lyrics concentrated on romance, but of a quaint kind
that, even in those days,must have seemed almost camp. Examples of this type
(which are seemingly obliged to begin with the word ‘Down’) include: Down By the
Old Mill Stream, 1910; Down in the Old Cherry Orchard, 1907; Down Among the
Sheltering Palms, 1915; and Way Down in My Heart, 1904.
Not all songs sung by
the early Whiffenpoofs fell into these categories, however. One notable
exception, Velia, comes directly from operetta - a now famous work by Franz
Lehar, The Merry Widow, that premiered in New York in 1907, only two years
before the founding of the group. The following letter from James Howard to
Marshall Bartholomew validates the importance of this song and explains its
revival for the fiftieth anniversary reunion.
I’m glad to know that this
year’s Whiffenpoofs are such a good group. That encourages me to push a request
about which I wrote to George Vaill some time ago, that the 1959 Whiffenpoofs
revive, at least for the anniversary celebration, two or three of ‘the songs we
love so well’ which have entirely dropped out of sight. Two are arrangements of
mine, one made originally for the Growlers at their request: The Sleepy Canal
from Miss Hook of Holland; and Velia from The Merry Widow. Both were great
favorites at Whiffenpoof gatherings in 1909. The third is Dudley Buck’s
arrangement of Annie Laurie, which was sung by the Glee Club in 1908-09, I
think, and which our quartet, who later became the Whiffenpoofs, sang the
following year wherever we went.
Another song with surprising roots is
Mavourneen.Together with Shall I,Wasting, this was one of the two songs
celebrated in the 1909 Whiffenpoof Song lyrics as ‘the songs we love so
well.’
Now assumed by all to be a traditional Irish ballad, Mavourneen is, in
fact, the tag for Barney O’Flynn from Babes in Toyland, written by Victor
Herbert only six years earlier in 1903.Together, Velia and Mavourneen show a
different, more contemporary aspect of the Whiffenpoof repertoire, influenced by
the musical theatre of the day and promptly transforming new songs into
classics.
Perhaps the truest indication of the character and variety of
singing that took place in the early years is the report given by Carl Lohmann
to James Howard, who had been unable to attend the 30th anniversary party in
1939 (See v1.1939). Here is one founding father recounting the evening’s
festivities to another, drawing on a perspective informed by years of service as
the Secretary of the University.
The party was a good one, no speeches, an
abundance of sentiment and constant song. About 115 came. . . Thanks to Basil
Henning’s skillful job as master of ceremonies, we carried on for several hours
singing just one song at a time. Many old favorites (and some new to me) come up
for air. Tommy Hewes whistled The Yellow Bird in perfect pitch. Beebe produced a
ballad in the original Icelandic - magnificent. Later came Songs of Araby.
Johnny Winterbotham did Joe Cawthorne’s story of capturing the Whiffenpoof in
Cawthorne dialect. Lanny Ross was on hand, there were three or four yodelers.
Paul Sterrett ’28 produced a symphonic ensemble from a ukulele; the Howard twins
played the piano; Pres Bush’s quartet (Bush ’17, Kimball ’22, Dole ’23, Spofford
’24) shared first honors of the evening with the present undergraduate
Whiffenpoofs. About half past eleven we moved to Mory’s where the party was
still going with a couple of quartets in each room when Hewes and Roome came
home with me at about two in the morning.We wish you could have been
there.
Although vintage Whiff groups did not perform with ukuleles, the use
of whistling and yodeling is authentic and represents a tradition that carried
forward past World War II.
There is, moreover, no mystery about how well the
earliest Whiff groups sang. Ironically, we can authenticate the quality of
singing from the group’s founding until the late 1920s in a way that is not
possible for groups from the 1930s, there being only one surviving recording of
a group between 1931 and 1942. Specifically:
1909 Bartholomew and members of
the original Whiffs testify to the talents of the original singers (ie, those in
the Varsity Quartet). 24
1913 None other than Cole Porter recalls that,
unlike the Glee Club, his 1913 Whiffenpoof group was respectable. ‘I was in the
choir, and what a rotten choir it was, and the Glee Club.That was rotten
too.Yes, I was a Whiffenpoof, and we were reasonably good.’ 25
1915, 1927,
and 1928 Recordings reproduced in this set demonstrate the skill of these
groups.The attention to blend is obvious, even with only four voices singing, as
in their 1915 recording. [NOTE Future professional singer and radio star Lanny
Ross sang in both the 1927 and 1928 groups.]
These recordings are not just a
valuable historical source; they document a true ‘golden age’ that can now be
appreciated with the assistance of audio technology. In fact, the recording of
The Whiffenpoof Song from 1928 rivals the performance of any of the modern
groups.
Tuesday, September 17, 2013
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