What are some of your favorite musical theatre songs that use counterpoint in melody/lyrics (i.e. singers singing different melodies at the same time)? Mine would be Hello 12, Hello 13 (with the quirky discord of the ensemble that gradually becomes lush and warm) and Soon (Now/Soon/Later all going at the same time), Phantom's "Prima Donna," "For Good" (Wicked) and many others. I love when musicals use this device and find it to be unique and refreshing.
"You're Gonna Love Tomorrow / Love Will See Us Through" from Follies. "Now / Later / Soon" from A Little Night Music Kiss Me Quartet from Sweeney Todd Not nessesarily counterpoint, but the finale reprise of "I Wish I Could Forget You" from Passion gives me chills.
"Sticks and stones, sister. Here, have a Valium." - Patti LuPone, a Memoir
The Tea Party (Dear World) An Old-Fashioned Wedding (Annie Get Your Gun) Coney Island Boat/In the Good Old Summertime (By the Beautiful Sea) Pine Cones and Holly Berries/It's Beginning to Look a Lot Like Christmas (Here's Love) When You're Far Away Frim New York Town (Jennie) Love Let Me Know (Let It Ride) Playing Croquet/Swinging/How Do You Do? (Little Mary Sunshine)
There are some good ones mentioned in the old thread linked below. I'd also add 'If Only' (The Little Mermaid) and 'All The Things You Are' (Very Warm For May). Old thread
I can't remember my music theory. Is counterpoint just numbers where two or more things are sung on top of each other? If so, then some stuff in Gilbert and Sullivan operettas, like When the Buds are Blossoming in Ruddigore.
Also it is not from a cast recording but there is an arrangement of I Dreamed a Dream that Julia McKenzie did on her Broadway Album and the violin counter medley/counter point is stunning. Gets me every time.
"Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love. If you look for it, I've got a sneaky feeling you'll find that love actually is all around."
Oh, my favourite are "By Strauss" from Nice Work if you can Get it, Prima Donna from Phantom, Johanna Quarter from Sweeney, Soon from a ALNM, Another Winter in a summer town from Grey Gardens
The beautiful Love Changes Everything, I Do't Know How to Love Him, Unexpected Song Medley by Audra MacDonald, Judy Kuhn and Marin Mazzie for Women of Braodway at Carnegie Hall https://www.youtube.com/watch?v=hViI7ioC-5c
"You're Just in Love" from Call Me Madam is probably my favorite "Tonight" quintet from West Side Story "Pick-a-little, Talk-a-little/Good Night Ladies" from The Music Man "Goodnight My Someone/76 trombones" from The Music Man "All for the Best" from Godspell "In The Same Boat" from Curtains "An Old Fashion Weddin" from Annie Get Your Gun
In point of fact ""Goodnight My Someone/76 Trombones" are NOT sung in counterpoint In THE MUSIC MAN. Instead, Harold and Marian alternate lines in the second act reprise (each singing lines from the other's song).
Now, obviously, the two songs were written to be performed as counterpoint, but there was so much counterpoint in the show--in addition to "Pick a Little"/Good Night Ladies", there is "Lida Rose"/"Will I Ever Tell You"--it was decided to not perform "Someone"/"Trombones" as originally intended.
Songs with counterpoint are total ear porn to me. Here are some favourites:
It All Comes Back - Fun Home Parade of Souls - Eastland On My Way - Violet Hey Good Lookin' - Dogfight Hundred Story City- Ordinary Days Rooftop Duet - Ordinary Days That's What He Said - Parade Where Will You Stand When the Flood Comes? - Parade The Party - Adding Machine Blackout - In the Heights Into the Night - A Minister's Wife
In addition to "Prima Donna," Phantom has other contrapuntal pieces. The song in the cemetery has two or three melodies, depending on whether Raoul joins in early (as in the West End) or later in the song (as on Broadway, except since Norm Lewis has been playing the Phantom.) Additionally, the final lair scene has a contrapuntal section, where Raoul is asking for Christine's forgiveness (for what reason, I've never figured out -- maybe for failing to rescue her) and Christine is singing that the Phantom is her false friend and fallen idol. Since my brain is currently fried, I can't remember whether the Phantom is singing at the same time -- I think he is.
Audrey
Audrey, the Phantom Phanatic, who nonetheless would rather be Jean Valjean, who knew how to make lemonade out of lemons.