Three Hungarian Folk Songs: I.

The Handsome Butcher

Mátyás Seiber
Lily Zhou
MUS_CLAS 205 Conducting 1 Spring 2021

Overview
Composer
Mátyás György Seiber was a British composer born in Budapest in 1905 (Bayer, 2007, p. 253). He started
learning cello at the age of ten and studied music at the Budapest Academy of Music from 1919 to 1924
(Wood, 2001, para. 1). During this time, his studies of Hungarian music under Kodály greatly influenced
his compositions (Bayer, 2007, p. 253). He was in the circle of students under Kodály that wanted to
create music that combined folk music and “innovations in contemporary concert music throughout
Europe” (Silverman, 1982, p. 12). After completing his studies, he travelled as a cellist on a ship’s
orchestra, then became a teacher at the Hoch conservatory in Frankfurt from 1926-1933 (Wood, 2001,
para. 1).

According to Bayer (2007), Seiber was one of the first teachers to integrate jazz into the classroom. His
class in the theory and practice of jazz achieved “succès de scandale” (Bayer, 2007, p. 253), which is
when a scandalous action during that time ends up being successful. His advocacy for jazz education
would continue even after he left Frankfurt. He settled in England in 1935, spending his early years as a
freelance composer (Wood, 2001, para. 2). During this time, he was a music adviser to a publishing firm,
a composer of film music for animated films, and a lecturer of jazz as a subject of intelligent analysis
(Wood, 2001, para. 2). In 1942, he began to teach Morely College; he spent 15 years mentoring a
generation of young English composers, many noticing his attention to detail in his teaching (Wood,
2001, para. 2). Seiber often attended and presented at festivals and lectures abroad that not only included
performances of his music but brought him closer to continental music life (wood, 2001, para. 3).
Unfortunately, during one of these visits in 1960, Seiber was killed in a car accident in the Kruger
National Park in South Africa.

Composition
“The Handsome Butcher” is the first movement in Three Hungarian Folk Songs. In the version printed in
the G. Schirmer (1963) Five Centuries of Choral Music book, the piece is written for mixed voices which
are divided into soprano, alto, tenor, and bass (pp. 64-68). This piece should be performed acapella, and
the piano accompaniment is meant for rehearsal only, replicating the vocal parts (Five Centuries, 1963,
pp. 64-68).

Written in 1950, Three Hungarian Folk Songs were based on different melodies by Bela Bartok and the
words were written by A.L Lloyd (Silverman, 1982, p. 12). The piece was published by G. Schirmer Inc.
in New York as well as J. Curwen & Sons Ltd in London in 1955 (Five Centuries, 1963, p. 64).
According to JW Pepper (2021), “The Handsome Butcher” also exists as a two-part arrangement. The
title does not have any particular implications except that it is related to the text.
Historical Perspective
Seiber’s musical style was wide-ranging because it combined traditional ideas of Hungarian folk music to
newer innovations in European classical music (Silverman, 1982, p. 12). Embracing influence from
serialism, Hungarian folk music, Bartok, Schoenberg, and film music, he aimed to master all forms of
music around him rather than focusing on just one style (Silverman, 1982, p. 12).

Bartok’s ideas about Hungarian folk music were very prevalent in “The Handsome Butcher.” He argued
that composers needed to have the “spirit” of Hungarian folk music, not just an idea of what the melodic
and rhythmic formulas are (Ota, 2006, p. 33). While he never actually specified what the having the
“spirit” really meant, Mineo Ota (2006) observed that “in Bartok’s theory the spontaneity of expression
found in every performance of melodies does not contradict the uniformity of the style” (p. 36). This is
reflected in “The Handsome Butcher” because while the melodies are repetitive and uniform, the
expressions, dynamics, rhythms, and articulations will cause the performance to have the “spirit” Bartok
argued for.

Certain works that reflect his style are the “Third String Quartet” and “Ulysses” cantata (Silverman, 1982,
p. 13). Both pieces use the 12-tone method as “one of many devices, used like Baroque ‘figures’ to
represent attitudes and states of mind” (Silverman, 1982, p. 13). “Ulysses” was also widely admired for
Seiber’s poetic imagination tied with the technicality of the piece. Wood (2001) admires how “his
response to Joyce’s text, his sure feeling for choral writing, and a gift for glittery effective orchestration…
successfully marries large traditional forms… to other passages of… Expressionist freedom” (para. 5).

Score Analysis
Melody
“The Handsome Butcher” has two melodic themes that are repeated three times throughout the piece with
different lyrics each time (Figure 1). The tessitura of the voice parts is typical for the soprano (E3-E4),
alto (E3-C4), and tenor (E2-E3) parts, but on the higher side for basses (E2-E3). The sopranos have the
melody the entire time. The melody has an ascending contour in the first theme, then always descends in
the second theme (Figure 1). This contour relates to the lyrics in its ability to build up John Brown’s
appearance in ascension of the first theme, only to reveal the reality of the narrator’s lack of feelings for
him in the descension in the second theme. The second theme is often repeated to reaffirm the truths
behind the second theme’s lyrics. The melody is very repetitive, but the lyrics, articulations, tempi,
dynamics tell the story and give the melody more contrast.

Figure 1. The melodic line has an ascending contour in the first theme (red), then comes back down for
the second theme (blue).
Harmony
“The Handsome Butcher” is in E major throughout the entire piece. The harmonies never occur for longer
than two beats. The piece is SAT until the bass part joins in measure 19. The cadences in the piece are all
imperfect authentic cadences, perfect authentic cadences, or plagal cadences. Plagal cadences are the
second most common cadence in the piece. The plagal cadences conclude each four-measure antecedent
of the A section (Figure 2). In measures 4-8, the antecedent is answered with a consequent with similar
melodic material but ending in an imperfect authentic cadence. This is the only imperfect authentic
cadence used in the piece. The cadential point is weak due to the nature of an imperfect authentic cadence
neglecting a So-Do motion, along with the tenor line continuing a steady pulse of eighth note E’s (Figure
2).

Figure 2. The voices move from the predominant to tonic in measures 3-4 (red). The tenor creates an IAC
when resolving the vii° to tonic with a Ti-Do motion in measures 7-8 (blue).

Similar to the consistency in the key, the remaining cadences are perfect authentic cadences. These
cadences are approached two different ways depending on the chords leading to the dominant. The first
way is through the ii7-V-I progression at the end of the B and A’ sections (Figure 3). This progression
occurs rapidly, and the harmonies change every beat. It should be noted that the basses have a descending
walking bassline twice prior to the cadence.

Figure 3. PAC (red) using a normal T-PD-D-T format (blue) over five beats.
The second lead into a perfect authentic cadence found at the end of the B’ section and is as follows: iii-
ii6/5-vii°7/V-V-I. The second way includes a stronger feeling of the dominant as it includes a secondary
dominant chord (Figure 4). The predominant, dominant, and tonic relationship is extended to one measure
per chord, compared to one chord per beat in the previous example. This cadence is also recognizable by
the ascending chromaticism in the bass part. The PAC gives each verse a conclusory feeling. Especially in
the B’’ section, it helps to indicate the very end of the story and the decision the narrator makes about
John Brown.

Figure 4. This PAC has a longer harmonic rhythm and begins on a very weak predominant chord, iii, and
includes a secondary dominant chord.

Rhythm
The piece is in simple duple meter in 2/4 time at a marked tempo of Allegretto and quarter=138. Seiber
uses both specific metronome markings and descriptive words to indicate the varying tempi throughout the
piece. On a macro lens, Seiber also shows contrast between the first and second theme through note length.
The first theme has more accented and marcato quarter notes, whereas the second theme has lighter eighth
notes. This contrast helps to establish the mood behind the story, showing the juxtaposition of appearance
versus reality in the text.

In the first and second verse, Seiber briefly diverts from the starting tempo by using words like “poco
pesante” in measure 12 & 17 and “poco ritardando” at measure 35. He shows a return to the original tempo
by placing “a tempo” at measure 13 and “Tempo I” at measure 19. The temporary transition to a new tempo
not only indicates the end of a theme, but also places more attention and emphasis on the name and robust
appearance of John Brown. This emphasis is also apparent in Seiber’s use of accent and legato marks over
the name John Brown.

In the third verse, Seiber changes the marked tempo to “piu pesante (quarter=104)” in measure 37, then to
“presto (half=104)” in measure 45. There is a relationship between the two tempi, where the piece
transitions into a double time metric modulation. This tempo change is especially important in expressing
the dialogue of the person speaking to John Brown. Seiber marks the final tempo change in measure 50 as
“allegretto moderato (quarter=112).
The last verse also includes two fermatas, one between measure 49-50 and another between measures 51-
52. Because both fermatas are over a bar line, they act as a caesura. Overall, these pauses indicate the end
of the story and bring a sense of conclusion to the entire piece. These pauses could also show how the
speaker in the piece is cutting off or breaking any relationship they might have had with John Brown.

Dynamics
There is a wide dynamic range in “The Handsome Butcher,” ranging from a pianissimo to forte. The
dynamics are intentionally divided by each section to strengthen the contrast between the two themes
mentioned in the rhythm section. The first theme is always forte, and the second theme is always a quieter
dynamic. To keep this contrast more distinct, the dynamic inside each theme should stay consistent--there
should not be any crescendos or decrescendos. The descriptive words do not affect the dynamic of the
phrase but just change the articulation. Whereas usually words like “meno” can sometimes allude to a
softer dynamic, in this case it will only affect the articulation.

The piece itself is essentially the A and B section repeated three times with different lyrics. The
dynamics, however, keep the piece interesting and story more engaging. The contrast between the loud
and soft dynamics gets more intense through each repetition. The first verse (measures 1-18) goes from
forte, mezzo forte, then piano. The second verse (measures 19-36) start forte, stay in forte, then goes to
piano. The third verse (measure 37-54) starts forte, goes to pianissimo, then ends with mezzo forte. The
increasing differences in the dynamics create more depth to the story.

Form and Structure

“The Handsome Butcher” follows an ABA’B’A’B’ form. While the melody is the same throughout, the
harmony in the alto, tenor, and bass lines is what makes A and B different from A’ and B’.

SECTION MEASURE EVENT AND SCORING

A 1 Theme 1: Allegretto; marcato; soprano melody
2 Altos join with a similar two note motif the sopranos began with
3-6 Tenors with a bassline to accompany the upper voices while mimicking
the rhythm the soprano sang in measures 1-4
6-8 Tenors sing up the major scale and create an IAC
B 9-11 Theme 2: Leggiero; S+A sing eighth note pulses in thirds; tenors begin
one measure later with the same constant eighth note pulse
12-13 Poco pesante and alto line splits into thirds
14-18 Theme 2 repeated
A’ 19-26 Theme 1: Same melody, new harmonies; basses join with a descending
bassline
B’ 27-36 Theme 2: Tutti with eighth notes; bassline ascends chromatically
A’’ 37-44 Theme 1: Slower tempo; più pesante; same melody and harmony
B’’ 45-49 Theme 2: Double time of slower tempo; pianissimo rapido; ends with a
fermata over the bar line
50-52 Theme 2: Allegretto moderato; fermata over the bar line
53-54 Continuation of the melody with a ritardando into a sustained finalis
Orchestration
“The Handsome Butcher” is a piece written for mixed voices which are divided into soprano, alto, tenor,
and bass (SATB). This piece should be performed acapella, and the piano accompaniment is meant for
rehearsal only, replicating the vocal parts. The tessitura of the voice parts is typical for the soprano (E3-
E4), alto (E3-C4), and tenor (E2-E3) parts, but on the higher side for basses (E2-E3).

The piece starts with the sopranos singing the melody, the alto and tenor parts come in on measures two
and three, respectively. The staggered entrances cause the A section to be polyphonic. In the B section,
the sopranos and altos are homophonic, and the tenors are homorhythmic. The lack of the bass part in the
first verse makes the density of the piece thinner than the following verses. The clear difference of the
first verse compared to others sets the scene for the story to be told in the next two verses.

The remainder of the piece is generally homophonic, where the sopranos have the melody and the altos,
tenors, and basses support the melodic line. There are two instances where bass line breaks rhythmically
in measures 20 and 38 (Figure 5). The basses come in for the first time in the A’ section, which is when
the lyrics begin describing John Brown’s appearance. The entrance and highlighting of the bass in
sections A’ and A’’ adds to the text painting of John Brown’s masculine appearance.

Figure 5. The bass (red) comes in half a beat earlier than the rest of the parts (blue), making their part
much more exposed.

Stylistic Considerations
As mentioned in the historical perspective section, Hungarian folk music depends on the “spontaneity of
expression” (Ota, 2006, p. 33). While the melodies in “The Handsome Butcher” are repetitive, the
expressive terms and articulations Seiber included throughout the piece will make the performance
interesting if they are accounted for. These terms are:

Tempi: Articulations:
➢ Allegretto: quite lively, moderately fast ➢ Marcato: with distinctiveness & emphasis
➢ Poco pesante: a little firm, heavy, vigorous ➢ Leggiero: light, airy
➢ A tempo: in time ➢ Meno: less
➢ Poco ritardando: growing a little slower
➢ Piu pesante: more firm, heavy, vigorous Dynamics:
 ➢ Presto: fast, rapid ➢ Forte: loud
➢ Rapido: rapidly ➢ Mezzo-forte: half-loud
➢ Allegretto moderato: moderately fast ➢ Piano: soft
➢ Ritardando: Growing slower ➢ Pianissimo: very soft

Many of the articulations and expressions are matched with the words and what is going on with the
story. The first theme is very marcato and heavy, and the second theme is light and airy. Seiber shows this
using not only through terms like “marcato” and “leggiero,” but also by using accent, legato, and staccato
marks (Figure 6). Therefore, the conductor must be clear and dramatic with their gestures.

Figure 6. The accent marks in the first system (red) and the staccato in the tenor part (blue) in measure 7-
8 bring more attention to the SAT staggered entrances and make the polyphony of the A section more
noticeable. The accent and legato marks (orange) in measures 12-13 and 17-18, respectively, bring
attention to the name “John Brown.”

Textual Analysis and Text Interpretation

The text of “The Handsome Butcher” was written by A. L. Lloyd. The lyrics tell the story of a man
named John Brown from the perspective of a not-so-potential love interest. Because the melody of the
piece is sung by the soprano, the person narrating the story is likely a female character.
 Seven locks upon the red gate,
Seven gates about the red town.
In the town there lives a butcher
And his name is Handsome John Brown.
In the town there lives a butcher
And his name is Handsome John Brown.
The first stanza sets the scene for the entire piece.
The lyrics establish a red theme that continues
throughout the song. The color red is a symbol of
both love and danger. The first stanza
immediately connects the color red to John Brown
by describing the environment that he is in.

John Brown's boots are polished so fine,
John Brown's spurs they jingle and shine.
On his coat a crimson flower,
In his hand a glass of red wine.
On his coat a crimson flower,
In his hand a glass of red wine.
The first two lines of the second stanza portray
describe the appearance of John Brown’s clothing.
The boldness of the music behind the lyrics
indicate that John appears confident and macho.
However, the last lines describe him holding two
red-colored items, contrasting the first two lines
by indicating that he is in love.

In the night. the golden spurs ring,
In the dark, the leather boots shine.
Don't come tapping at the window,
Now your heart no longer is mine.
Don't come tapping at the window,
Now your heart no longer is mine.
The last stanza does the same thing as the
previous, describing the shine and quality of John
Brown’s appearance in the nighttime. However,
the last lines are dialogue coming from the
narrator. It is clear that they are not interested in
John Brown. The tempo of the piece in the third-
and fourth-line sound frantic. Because John
Brown’s appearance is recognizable in the
nighttime, he might have a bad reputation, which
is why the narrator want him to stay away from
her window.

Interpretation and Rehearsal Preparation

Interpretation
The most important idea to consider when conducting “The Handsome Butcher” is to tell the story. Seiber
was very specific about where he wanted certain tempos and expressions, so the conductor must be sure
to use these details to bring out the meaning behind the lyrics. For the entire piece, the conductor will pay
close attention to the accent, staccato, and legato marks. The accent and legato marks over certain notes
(see Figure 6) bring emphasis to entrances or help characterize John Brown. Dynamics are also important
in showing contrast between the two themes and in showing difference between the appearance of John
Brown versus his intentions. It also helps the audience realize that someone is speaking to John Brown in
the third verse. The tempi written in the score is especially important in verse three, where the first four
measures of Section B” go into double-time from Section A”. During the double-time portion, the
conductor will conduct in one instead of two to get the desired tempo. By being very intentional with their
gestures and actively communicating with their ensemble, the conductor will keep the piece very light-
hearted and engaging.

Anticipated Conducting Challenges

A potential challenge a conductor might have is making a clear distinction between the styles of different
themes. If the conductor’s gestures are not clear enough, the story will be a lot harder to understand and
each verse will sound too repetitive and redundant. The conductor might also accidentally hold out the
rests for too long, especially at the end of any cadence. If there is no fermata or caesura in the music, the
conductor cannot cut off the ensemble or wait too long to cue in the next section. If the conductor keeps
the piece moving forward in the beginning, the ritardando and fermatas towards the end of the piece will
be a lot more effective in sounding more conclusive.

The conductor might also have trouble conducting in double time because of the transition from
conducting in 2 to conducting in 1. The conductor should practice going into double time with a
metronome.

Rehearsal and Preparation

Musicians should be prepared to have a grasp of their notes and to be able to sing independently
so that they don’t get lost in another voice part’s notes. Because the entrances are staggered in
the beginning, the musician must be able to hear their starting pitch before coming in. Since all
the parts start on the same note, it should not be difficult for the ensemble to find their starting
pitch.

Rehearsal Plan:

Essential Question: How can a conductor use effect rehearsal techniques to improve a choir’s
entrances, cut offs, and phrasing?

Context:

➢ Gettysburg College Conducting I: 30-minute rehearsal.

➢ Students have parts prepared for “The Handsome Butcher” to follow the conductor.

Materials:

➢ The Handsome Butcher (5C Book)

➢ Piano & Accompanist
➢ Baton
➢ Conductor Stand

National Standards:

➢ MU:Cr2.1.E.8a Select and develop draft melodies and rhythmic passages that
demonstrate understanding of characteristic(s) of music or text(s) studied in rehearsal.
 ➢ MU:Pr4.2.E.5a Demonstrate, using music reading skills where appropriate, how the
setting and formal characteristics of musical works contribute to understanding the
context of the music in prepared or improvised performances.

➢ MU:Re7.1.E.8a Explain reasons for selecting music citing characteristics found in the
music and connections to interest, purpose, and context.
➢ MU:Cn10.0.H.8a Demonstrate how interests, knowledge, and skills relate to personal
choices and intent when creating, performing, and responding to music.

Learning Objectives:

➢ Students will maintain eye contact with the conductor for cues.
➢ Students will shape phrases appropriately with the conductor.
➢ Students will respond to different tempos with the conductor.
➢ Students will cut off when cued by the conductor.

Procedure:

1. Students will open their 5C book to page 64.

2. Students will be standing in SATB from left to right.
3. Conductor will give an introduction about “The Handsome Butcher.”
4. Conductor will ask the accompanist to provide opening pitch for sopranos.
5. Conductor will run through “The Handsome Butcher.”
a. Listen for:
i. Entrances with cues
ii. Dynamic phrasing
iii. Tempo/rhythms
iv. Proper diction/articulation
6. Conductor will ask the group what measures were the most challenging. Conductor will
ask what was challenging about the specific section.
a. Anticipated trouble areas
i. Page 68: fast tempo in the first system & fermata in the second system
ii. Dynamic markings throughout the entire piece.
iii. Cues and fermatas
 7. Conductor will conduct under-tempo on pg. 68 and have students speak the words and
rhythms in the first system, repeating the section until students feel comfortable with the
tempo, then adding pitches.
8. Conductor will then add the second system of pg. 68 to go over tempo changes and
fermatas.
9. Conductor will have the choir memorize the words on page. 68 to practice looking up for
the fermatas and tempo changes.
10. Entire class will sing pg. 68 together. Once they perform it successfully, teacher will ask
if there is another part of the piece the class would like to go over.
11. The class will sing the piece from the beginning to end.

Assessments: Group assessments are more for conductor’s use

➢ Conductor will visually assess students’ eye contact with an Always, Sometimes, Never
scale
➢ Conductor will aurally assess students’ phrasing with an Always, Sometimes, Never scale
➢ Conductor will aurally assess students’ response to different tempos with an Always,
Sometimes, Never scale
➢ Conductor will aurally assess students’ cut off when cued by the conductor with an
Always, Sometimes, Never scale.

Assessment Always, Sometimes, Never (A, S, N)

Students are actively looking up for cues and coming
in at the right times
Students are accurately following the conductor’s
dynamics and phrasing
Students are singing accurate rhythms and following
the right tempo
Students cut off together and at the right time

Extensions:

➢ If time allows, conductor will go over cues in the beginning of the piece.
 ➢ If time allows, conductor will ask the students why the piece is so repetitive, eventually
leading to the lyrics and text painting throughout the piece.

Recordings and Additional Resources

Seiber, Matyas. The Handsome Butcher. The Big Sing National Finale choir. David Squire, conductor.
2014.

Seiber, Matyas. The Handsome Butcher. Choir of the 21st Century. Howard Williams, conductor. 2014.

Seiber, Matyas. The Handsome Butcher. Fuglset Mannskor. 2003.

References
Bayer, B. (2007). Seiber, Mátyás György. In M. Berenbaum & F. Skolnik (Eds.), Encyclopaedia Judaica
2nd ed., Vol. 18, p. 253.
https://link.gale.com/apps/doc/CX2587517968/GVRL?u=gett36723&sid=GVRL&xid=b608dd82

G. Schirmer. (1963). Five Centuries of Choral Music for Mixed Voices. G. Schirmer.

Keller, H. (1960). Mátyás Seiber 1905-1960. Tempo, (55/56), 4-5. http://www.jstor.org/stable/944337

Ota, M. (2006). Why is the "spirit" of folk music so important? on the historical background of Béla
Bartók's Views of Folk Music. International Review of the Aesthetics and Sociology of
Music, 37(1), 33-46. http://www.jstor.org/stable/30032183

Silverman, J. (1982). Some Thoughts on Mátyás Seiber (1905-1960). Tempo, (143), new series, 12-14.
http://www.jstor.org/stable/945625

Wood, H., & Cooke, M. (2001). Seiber, Mátyás. Grove Music Online.
https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/o
mo-9781561592630-e-0000025337.