Hot off the presses! The Betsy-Tacy Songbook is now available at Willard’s Emporium!
Join Betsy Ray and her Crowd as they gather around the piano and sing the popular hits of their day.
The Maud Hart Lovelace Society has lovingly and painstakingly researched the songs mentioned (and sung, and danced to) in the Betsy-Tacy books and assembled a “greatest hits” list of songs for your musical enjoyment.
The book is 212 pages long, spiral bound in green, and contains 40 songs mentioned in the Betsy-Tacy books, with scanned original vintage copies of the sheet music covers and the sheet music itself. There is information about each song and where it appears in the Betsy-Tacy books, as well as biographical information about two of the musical stars of Betsy’s day, Chauncey Olcott and Joe E. Howard.
[Harry] started coming to the Rays’ regularly. He brought Julia flowers and candy. He brought her the score of The Red Mill, and he and Julia sang a duet from it:
“Not that you are fair, dear
Not that you are true…”
He lifted his eyebrows and puffed out his chest. He quite eclipsed poor Hugh.
—from Betsy in Spite of Herself
by Maud Hart Lovelace
The Red Mill, an operetta by Victor Herbert and Henry Blossom, opened on Broadway in 1906. Among Herbert’s other works are Babes in Toyland (1903) and Naughty Marietta (1910).
Here’s the score of The Red Mill, including “Because You’re You,” the song Julia sang with the chest-puffing Harry.
Love is a queer little elfin sprite,
Blest with the deadliest aim!
Shooting his arrows to left and right,
Bagging the rarest game,
Filling our hearts with a glad surprise,
Almost too good to be true!
And still can you tell me why do you love me?
Only because you are you, dear!
Not that you are fair, dear,
Not that I am true,
Not my golden hair, dear,
Not my eyes of blue,
When we ask the reason,
Words are all too few!
So I know I love you, dear,
Because you’re you!
In 1906, producer Charles Dillingham made theatrical history by placing in front of the Knickerbocker Theater a revolving red windmill powered and lit by electricity. This was Broadway’s first moving illuminated sign.
“I’ve a new waltz I want Mamma to hear. She talks so often of the great Strauss. Here is a piece as good as any of his and it is also by a Viennese.”
He began to play.
The opening phrases were short and artless. They sounded like a rocking horse. But the swing began to grow longer, the rhythm stronger. The waltz began to ask questions, wistful, poignant. It took on a dreamier sweep.
Then a gayer theme sent Uncle Rudy’s fingers rippling over the keys. The melody wove in and out. It circled, swayed, as though it were music and dancer in on. It was irresistible.
—from Betsy in Spite of Herself
by Maud Hart Lovelace
It just freaked me out a little to realize that the Happy Birthday song on Tom Chapin’s Moonboat CD—Wonderboy’s favorite CD, hands down—is set to the tune of the Merry Widow waltz.
In case you missed this at the bottom of a long post earlier this week: A hilarious performance of Rossini’s Cat Duet by sopranos Felicity Lott and Ann Murray. This is the same duet that Betsy and Tacy performed in the school concert every year to the delight of their friends. Easy to see why!
Announcing the Betsy-Tacy Songbook
He began to play.