Geeky OBCR Funny Girl Overture question

This is something I've always wondered, but I sat down and listened to the OBCR for Funny Girl for the first time in a long time. (How I wish Barbra's mono take of "Cornet Man" was included as a bonus track, since it includes a different version of her final bars, including her immortal "We're goin' home!".

But back to the question. Musician friends, when the Overture is transitioning from the final bars of "People" and is about to segue into "Don't Rain on My Parade," the prominent xylophonist sounds like he's in the wrong key for a few bars, including when the orchestra joins him/her. Then, if you listen carefully, the xylophonist sounds like he shifts back into the proper key. Can anyone confirm whether it's a mistake or what is meant to be happening in those bars? I've listened to the part over and over again, and it always sounds wrong to me. Anyone?

It's happening at the 2:43 mark.

Updated On: 9/3/16 at 08:25 AM

I had always assumed it was an intentional modulation, but I think you're right.

Well, Barbra didn't crack at the end of "Don't Rain on My Parade" during her final performance in Broadway's FUNNY GIRL on December 26, 1965.



Here's a live audio of it:

https://youtu.be/_A2ANWTStbE

There are errors all over many cast recordings. Because of time, expense, and union regulations, they are recorded very quickly. You can hear many small errors here and there, but the type of thing like what seems to be happening in the Funny Girl Overture is still a bit unusual, where a musician seems to be in the wrong key for two measures. I think what you said is true brass kazoo - he seems to be playing the figure at 2:52 at 2:43.

The recent recording that blew my mind was The Producers OBCR. For what was the major show of the moment, it's riddled with errors - big, blatant obvious ones - that I don't know how they were missed.

It's not a mistake. It's a transition.

Thanks Chewy. Looking at the score, there are the two measure of solo xylophone at measures 100-101, then the saxes and strings join at 102-103. Listening closely to the YouTube track of the OBCR, it sounds like the xylophone adjusts to the proper notes in 102-103, because the xylophone and the orchestra are at odds for almost a measure, then the orchestrate modulates in 108 to prepare for that chromatic climb and key change into the main "Don't Rain On My Parade" section of the Overture at 112.

Demtri, yes, I remember jumping out of my skin when the 110 in the Shade Overture was added to the CD issue, trumpet clam and all. It's a beautiful, exciting piece of writing. A few bad notes also kept off the "Sadie Hawkins Day" ballet from the Li'l Abner cast recording, but that was another happy inclusion. That orchestra otherwise plays the ballet with so much excitement and style. And Abner is one very difficult score. I'd rather have the music, errors and all, but the Funny Girl xylophone might be the only one that makes my teeth itch for that measure of discord with the rest of the orchestra.

For the record, I love the "crack" in the end of Barbra's "Don't Rain On My Parade." In the years that have followed Funny Girl, her every album is polished to a sheen to the point of utter flawlessness. That catch in her voice feels like a moment of unbridled emotion, and I love hearing it.

God, I would die to hear this overture live in a Broadway house someday. Funny Girl revival stat, please.