You know that feeling when a melody just crawls into your brain and refuses to leave? That’s basically the entire Stephen Schwartz experience, but songs from Pippin the musical take it to a whole different level. It’s not just catchy. It’s haunting. It’s weird. It’s sort of existential in a way that most musical theater just isn't.
Most people recognize the opening chords of "Magic to Do" immediately. It’s that slinky, Bob Fosse-infused invitation into a world that feels both glamorous and a little bit dangerous. But when you actually sit down and listen to the full score—from the 1972 original cast recording with Ben Vereen to the high-flying 2013 revival—you realize there’s a lot more going on than just jazz hands and sequins.
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The Hook: Why "Magic to Do" is More Than an Opening Number
"Magic to Do" sets the tone for everything. It’s an invitation. It’s also a warning. Stephen Schwartz wrote this while he was still quite young, and you can feel that raw, hungry energy in every note. The song isn't just about a show starting; it’s about the Leading Player luring Pippin (and us) into a specific narrative trap.
The orchestration matters here. In the original production, the sound was thin, sharp, and very 70s pop-rock. By the time we got to the Diane Paulus revival, it turned into this massive, orchestral circus anthem. But the core remains: that vamping bass line. It’s hypnotic. If you’ve ever tried to play it on piano, you know it’s all about the syncopation.
Honestly, the "Magic to Do" lyrics are kind of meta. When they sing about having "parts to perform" and "hearts to warm," they aren't just talking to the audience in the theater. They’re talking about the roles we all play in real life. It’s clever songwriting that manages to be a bop while also being deeply cynical if you look at it too closely.
"Corner of the Sky" and the Burden of the "I Want" Song
Every musical has an "I Want" song. Think "Part of Your World" or "The Wizard and I." But "Corner of the Sky" is the gold standard. It’s the ultimate anthem for anyone who has ever felt like they were meant for something bigger but couldn't figure out what that "something" actually was.
Pippin sings this early on. He’s a prince. He’s educated. He has everything. Yet, he’s miserable.
- "Everything has its season..."
- "So many men seem destined to settle for something small..."
The melody is soaring. It reaches for notes that feel just slightly out of reach, which perfectly mirrors Pippin’s own struggle. Interestingly, many people don't realize that Michael Jackson actually covered this song. Yeah, the King of Pop took a Stephen Schwartz showtune and turned it into a Motown-style hit with the Jackson 5. It works because the sentiment is universal. You don't have to be a Holy Roman Emperor's son to want your life to mean something.
The Complicated Legacy of "No Time at All"
Then we have Berthe. Oh, Berthe.
"No Time at All" is the big audience participation number. It’s usually played by an older actress—Irene Ryan originated it, and Andrea Martin famously won a Tony for it while doing a literal trapeze act at age 66. It’s a "carpe diem" song. It tells us to live in the moment because time is fleeting.
But here is where the songs from Pippin the musical get tricky.
Is Berthe’s advice actually good? She tells Pippin to stop overthinking and just enjoy the "warmth of the sun." On the surface, it’s a sweet grandmotherly moment. But in the context of the show, it’s another distraction. It’s another way to keep Pippin from finding real substance. The song is catchy on purpose. It’s meant to make you forget the darker themes for a few minutes.
The bounce of the music is almost like a vaudeville hall tune. It’s designed to get you clapping along. And it works every single time.
"Glory" and the Sound of War
If you want to talk about tonal shifts, look at "Glory." This is the song that accompanies the battle scene. It is arguably one of the most brilliant pieces of musical irony ever written.
The lyrics describe the horrors of war—blood, guts, screams—but the music is a jaunty, upbeat march. It’s sarcastic. It’s mocking the idea that war is "glorious." When Fosse choreographed this, he had the dancers doing these precise, mechanical movements that looked almost skeletal.
Schwartz uses a lot of dissonance here. The notes clash just enough to make you feel slightly uncomfortable, even though the rhythm makes you want to tap your feet. It’s a masterclass in using music to subvert what’s being said.
The Quiet Power of "Love Song" and "I'll Be There"
A lot of people dismiss the second act songs because they aren't as "flashy." That’s a mistake.
"Love Song" is a weird one. It’s a duet between Pippin and Catherine. Unlike most Broadway love ballads, it’s not particularly grand. It’s actually kind of awkward. They talk about how they aren't "special" and how their love isn't "the kind that poets write about."
It’s incredibly human.
By this point in the show, Pippin is exhausted. He’s tried war, sex, revolution, and politics. He’s failed at all of them. "Love Song" represents the mundane reality of being a person. The melody is simple, repetitive, and almost folk-like. It strips away the "magic" that the Leading Player promised at the beginning.
Then you have "Extraordinary." Pippin is still fighting the idea of being "ordinary." He sings this fast-paced, frantic number about how he has to be special. The contrast between the quiet "Love Song" and the manic energy of "Extraordinary" shows exactly where Pippin’s head is at. He’s tearing himself apart trying to find a purpose that might not even exist.
Why the Finale is One of the Best (and Most Terrifying) Closers
The "Finale" isn't just a song; it’s a psychological breakdown set to music.
Throughout the show, the ensemble has been building toward the "Grand Finale." They’ve been promising Pippin a moment of total "glory." But when we get there, we realize the "glory" they're talking about is Pippin lighting himself on fire.
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The music becomes frantic. The "Magic to Do" theme returns, but it’s distorted. It’s aggressive now. The Leading Player is no longer a charming guide; they’re a conductor demanding a performance.
When the music finally stops—and it literally stops, leaving the stage in silence—the effect is jarring. Pippin chooses "ordinary" life with Catherine. The ensemble is furious. They strip away the lights, the costumes, and the orchestra.
The final "song" isn't a song at all. It’s Catherine’s son, Theo, singing a few bars of "Corner of the Sky" alone in the dark. It suggests the cycle is starting all over again. It’s chilling. It’s perfect.
The Evolution of the Sound
If you’re diving into these tracks, you’ll notice a huge difference between versions.
The 1972 recording sounds very much of its time. It’s got that specific "70s musical" reverb. The 2013 revival cast recording, however, is much richer. They added a lot of circus-inspired instrumentation—more brass, more percussion.
Some purists prefer the original because it feels grittier. Others love the revival because it feels like a massive wall of sound. Honestly, both are worth a listen. You can hear how Schwartz’s writing is sturdy enough to handle completely different arrangements.
What to Listen For in the Arrangements
- The Bass Lines: Seriously, the bass in Pippin is some of the best in Broadway history. It drives the entire show.
- The Harmonies: In "Morning Glow," listen to how the vocals build. It starts as a solo and turns into this massive, choral awakening. It’s meant to feel like a sunrise.
- The Tempo Changes: "On the Right Track" is a great example of how the tempo reflects the characters' anxiety. It’s a dance number that feels like it’s constantly trying to outrun itself.
How to Appreciate Pippin Today
If you're looking to really get into these songs, don't just listen to them as a playlist. Listen to them in order. The story is told through the musical progression. You start with the high-energy "Magic to Do," hit the existential crisis of "Corner of the Sky," deal with the cynical "Glory," and end in the silence of the finale.
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It's a journey.
Next Steps for Musical Fans:
- Compare the "Morning Glow" performances: Listen to John Rubinstein (1972) and then Matthew James Thomas (2013). The vocal choices are wildly different—one is more sincere, the other more desperate.
- Watch the Fosse choreography: You can find clips of the original "Manson Trio" dance from "Glory." Seeing the movement helps you understand why the music sounds the way it does.
- Check out "Simple Joys": It’s a song often overlooked, but it’s the Leading Player’s philosophy condensed into three minutes. It’s pure funk-influenced musical theater.
The songs from Pippin the musical aren't just relics of the 70s. They are a masterclass in how to use pop and rock sensibilities to tell a story that is deeply uncomfortable and profoundly human. Whether you're a theater nerd or just someone who likes a good melody, there’s something in this score that will stick with you long after the final note fades out.