EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes


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  1. says: READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Look I'm a music theater buff and a Sondheim freak So it was preordained that I would love this book Actually I was expec

  2. says: EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim Stephen Sondheim Æ 6 FREE READ CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim wrote all of FINISHING THE HAT covering roughly the first half of his musical career 1954 81 He reprints the lyrics and offers side remarks as to what was going on at the times these shows were composed This period embraces WEST SIDE STORY for which he wrote the lyrics; also A FUNNY THING HAPPENED ON THE WAY TO THE FORUM words and music both; ditto that daring pair COMPANY and FOLLIES ca 1970 Also in this volume are A LITTL

  3. says: CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes So much of what I could say in a review of Sondheim's lovely book of lyrics Finishing the Hat is touched upon by singersongwriter Paul Simon in an article he wrote for The New York Times will only add my own thou

  4. says: EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim There is nobody like Sondheim Much as I love Cole Porter and the Rogers and Hart and Rogers and Hammerstein musicals it's Sondheim who sings to meThis collection of lyrics to his musicals from West Side Story in 1957 to Merrily We Roll Along in 1981 is enlightening Sondheim introduces each show includes the lyrics to songs that were cut and e

  5. says: EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes I poked away at this for years dipping in and out before finally finishing this week Sheer genius Can't wait to crack Volume 2

  6. says: CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim Stephen Sondheim Æ 6 FREE READ

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes When I first heard about this book I wasn't too excited For some reason I was under the impression that it was just a collection of the lyrics Nice to have but really not that necessary since ahem I already know them all by heart I dutifully ordered the book from the library though this is Sondheim we're talking about after all When it came in and I took a closer look at it I realized how wrong I'd been and immediately sat down an

  7. says: EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

    CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim I mean yeah I don't know how else to rate this It's on a totally different scale than a novel or whatever If you are interested in musical theater in general and in Sondheim in particular then obviously this book is for you But also if you are interested in learning about how a writer who is EXTREMELY GOOD at what he does actuall

  8. says: EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes What does it mean to make art? Does the artist create and nurture his work or does it feed on him consuming his life until he is forever “finishing the hat”? Paging through Stephen Sondheim’s recent memoircommentaryanthology I couldn’t help wonderingIn his book Sondheim discusses the “principles” and “here

  9. says: CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim

    EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes I'm fascinated by people who love their work and take it seriously so even if I wasn't a musicals fan I probably would've enjoyed this book T

  10. says: CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes Stephen Sondheim Æ 6 FREE READ

    READ ↠ PDF, eBook or Kindle ePUB Æ Stephen Sondheim EBOOK DOWNLOAD Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes A Bow for Mr SondheimStephen Sondheim Will probably forever be regarded as the finest lyricist the musical stage has known w

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CHARACTERS Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

FREE READ Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes î PDF, eBook or Kindle ePUB Stephen Sondheim has won seven Tonys an Academy Award seven Grammys a Pulitzer Prize and the Kennedy Center Honors His career has spanned than half a century his lyrics have become synonymous with musical theater and popular culture and in Finishing the Hat titled after perhaps his most autobiographical song from Sunday in the Park with George Sondheim has not only collected his lyrics for the first time he is giving readers a rare personal look into his life as well as his remarkable productionsAlong with the lyrics for all of his musicals from 1954 to 1981 including West Side Story Company Follies A Little Night Music and Sweeney Todd Sondheim treats us to never before pub. Look I m a music theater buff and a Sondheim freak So it was preordained that I would love this book Actually I was expecting to find it redundant if not nostalgia inducing inasmuch as I have long owned and adored copies of his scores and libretti and near memorized recordings of every Sondheim show save the unloveable mess that is Road Show about which you can read my review elsewhere on Goodreads However I can confidently tell you that ANYbody with even a PASSing interest in theater would delight in reading this book It kicks off with an extended and fascinating essay on what distinguishes song lyrics from poetry proceeds chronologically through Sondheim s writings including lyrics to cut and rewritten songs from the chamber piece Saturday Night it took than 50 years to see produced through to 1981 s Merrily We Roll Along Unlike the Golden Age collections of lyrics edited by Robert Kimball Sondheim s is heavily interlarded with both contextualizing plot synopses he thanks the efforts of his liner notes authors for their ahem inspiration and Sondheim s own annotations witticisms and criticisms It is the latter of these that make this such an invaluable book it s chock full of insight not just to Sondheim s work ethic but to his attitudes about lyric writing in generalBut wait there s In addition to collecting lyrics from thirteen different shows Finishing the Hat is full of great examples that illustrate his principles from various writers including Dorothy Parker as well as constructively critical assessments of his professional predecessors Oscar Hammerstein Noel Coward Alan Jay Lerner Ira Gershwin Frank Loesser et al Best of all the book is rich with photostats of handwritten early drafts and you can thereby see the master at work it s all about filling the margins with a brainstormed thesaurus of useable phrases and coupletsSondheim makes no bones about being both opinionated and rigid when it comes to the subject of lyric writing I ve already written about this in the comments to GoodReader Trevor s typically excellent review of Jay Parini s Why Poetry Matters In the context of Parini Trevor uotedRoyal Society of Literature Fellow and OBE Don Paterson s distinction between poetry and song lyrics which I found to dovetail uite nicely with Sondheim s opinionsFrom pp xvii xviii of the Introduction Sondheim writesMusical theater Lyrics even poetic ones are not poems Poems are written to be read silently or aloud not sungPoetry is an art of concision lyrics of expansion Poems depend on packed images on resonance and juxtaposition on density Every reader absorbs a poem at his own pace inflecting it with his own rhythms stresses and tone The tempo is dictated less by what the poet intends than by the reader s comprehension All of us as we read poetry prose too slow down speed up even stop to reread when overwhelmed by the extravagance of the images or confused by the grammatical eccentricities The poet may guide us with punctuation and layout and seduce us with the subtle abutment of words and sounds but it is we readers who supply the musical treatmentPoetry can be set to music gracefully as Franz Schubert and a long line of others have proved but poetry doesn t need music lyrics doLyrics are not light verse either Light verse doesn t demand music because it supplies its own All those emphatic rhythms ringing rhymes repeated refrains the poem sings as it s being read This is why The Pied Piper has never been set well take away the singsong and you destroy the poem keep it in the music and you bore the listener mercilessly with rhythmic repetition Music tends to hammer light verse into monotony or shatter its grace Light verse is complete unto itself Lyrics by definition lack something if they don t they re probably not good lyricsHowever to cite but one counter example I ve always thought that Samuel Coleridge Taylor s setting of Longfellow s Song of Hiawatha was both fun and also true to the light verse original without being sing songy So notwithstanding Sondheim s incredible talent vast experience and estimable success as against my utter non entitude I m not sure I m prepared to agree with the man 100%Examples of his extreme fussiness abound Take this line from Silly Peoplea contemptuously chromatic song cut from A Little Night Music p 279 When now it smilesIt smiles for loversWhen next it smilesIt smiles for foolsThe last it smilesIt smiles for themThe othersThe rememberersThe truly silly people There s probably some Hammerstein influence here Hello Young Lovers from The King and I and perhaps a bit of Lorenz Hart as well Bewitched Bothered and Bewildered from Pal Joey Sondheim s rightfully proud of the song as a whole which was cut for reasons of pacing and character but then he finds it necessary to addOne point in the lyric worth noting the unfortunate juxtaposition of lovers and others When a musical parallel seems to call for a rhyme and either none is available or it would neaten the structure too much the solution is to use two words which sonically have nothing to do with each other so that the ear doesn t register them as a near miss That had been for me anyhow a problem with Together Wherever We Go in Gypsy where at the end of the chorus Together and Wherever were sung slowly sounding as if they should rhyme In that case the fogginess of the near rhyme was partly mitigated by the two words coming together in the title so that it seemed part of the fabric of the lyric Here the word others was the only word that I wanted to use and I couldn t avoid the juxtaposition Much as I like this song the sound of others still makes the word a wrong choice Given comments like this one might suppose that Sondheim would accede to the idea that a computer program could be devised which through algorithm and dictionary alone as opposed to databases of exemplars could consistently churn out original and emotionally resonant works with few if any boners No doubt there are AI s out there that produce good facsimiles of poetry and song I ve heard some great MIDI fractal generators which fed enough pieces to analyze can occasionally mimic music composition fairly well and no doubt either that eventually a Kurzweill will produce a program that devises one or pieces which an educated musicologist cannot distinguish as automated in origin though I would nonetheless credit the programmer for the output I don t ultimately see a distinction between the creative abilities of human versus artificial intelligence I just think that any effective artistic statement reuires variation among a set of one or many factors including changeable rules and input while strict adherence to a one size fits all approach will be sterile While I don t dare dispute that good works can be found to adhere to articulatable principles and that craft can be found in the consistent application of those principles I guess I would take issue with Sondheim s view that there is an invariable RIGHT way to compose lyrics music or what have youSondheim even goes so far as to argue that each of his shows respective sets of lyrics has an essence and existence distinct and independent from one another as opposed to displaying a uniue personal style with the homogeneity of voice and tone he finds within the works of Cole Porter Irving Berlin Lorenz Hart Ira Gershwin and Dorothy Fields According to Sondheim his songs individuality arises by circumstances of plot and character uniue to each production I find this to be an arrogantly myopic and unnecessary conceit Nor am I alone in this Sondheim s works are sufficiently self similar that they have been successfully re assembled into multiple reviews at least two of which Marry Me a Little and Putting it Together have complete books with plots unrelated to the songs original settings Putting it Together is the remarkable as a Sondheim meta musical in that it could credibly serve as a musical version of Who s Afraid of Virginia Woolf At one point in the second act Sondheim sLive Alone and Like It which while cut from Dick Tracy sounds much of a piece with the songs of Saturday Night is sandwiched so neatly between companion songs from A Little Night Music and Company it s clear it could have been inserted as unobtrusively in any of those three other worksIronically given Sondheim s apparent contempt of self similarity he prides himself on his capacity for mimicry both of the writing styles of his librettists and of the compositional styles of his peers Deliberate pastiche abounds in his work especially in his lush score for Follies although the line between period piece mimicry and competent fulfillment of genre expectations is a murky one In any case I m not sure why it would be a bad thing for a talented artist to demonstrate a recognizable personal style For me the lyrical tic most evident from reading this collection is Sondheim s constant contrast of life as an emblem of love meaning and fulfillment with its opposite a time honored operatic tradition in the context of eros as brilliantly documented by Peter Conrad s A Song of Love and Death The Meaning of OperaIn fact there s not a show in this book that doesn t have at least one lifedeath lyricSaturday Night And when you re alone On a Saturday night You might as well be deadWest Side Story Make of our vows one last vow Only death will part us now He ll murder your love he murdered mineGypsy Anybody that stays home is dead Some people can sit around Under glass till they re underground That s perfect for some people Who don t know how to liveA Funny Thing Happened on the Way to the Forum If you start to feel a tingle And you like remaining single Stay home don t take a breath You could catch your death Cause love is around Anyone Can Whistle Crazy business this this life we live in Don t complain about the time we re given With so little to be sure of in this world Anyone can whistle that s what they say easyJust once I ll do it Just once before I dieDo I Hear a Waltz She s nice and sweet and dead He s tall and ineffectual They look delicious they re gonna be all rightCompany Somebody crowd me with love Somebody force me to care Somebody let me come through I ll always be there As frightened as you To help us survive Being alive Someone to hold you too close Someone to hurt you too deep Someone to bore you to death Happily ever afterFollies Dreams you didn t dare Are dead In Buddy s arms On Buddy s shoulder I won t get older Nothing dies One kiss before we part Not with tears or a sigh All things beautiful must die Learn how to laugh Learn how to love Learn how to live That s my styleA Little Night Music Soon I ll be Ninety and Dead Do I fear Death Let it Come to me Now If I m Dead I can Wait How can I Live until Later Every day a little death In the parlor in the bed Every move and every breath And you hardly feel a thing Brings a perfect little deathThe Frogs All aboard Club Dead Straight ahead What with the dancing and the eating And the laughing and the drinking There s no problem in retreating From the awkwardness of thinking And that ever present smidgin of dread Down here among the dead Like up there among the deadPacific Overtures Life and death are but verses in a poem The word stops the heart dies The wind counts the lost goodbyesSweeney Todd Because the lives of the wicked should be made brief For the rest of us death will be a relief We all deserve to die Not a thing to fear My love What s dead Is dead And life is for the alive my dear So let s keep living itMerrily We Roll Along Dreams don t die So keep an eye on your dream But I just go on Thinking and sweating And cursing and crying And turning and reaching And waking and dying And until I die I ll die day after dayAfter dayAnd that s but a smattering Sondheim s perpetual elevation of love and personal fulfillment to a mortal struggle a metaphorical if not literal matter of life and death is clearly his favorite themeSondheim may be oblivious to his own id e fixes but I don t think he s correct to find fault in them Personally I find the obsession fascinating in its variation and no less effective a metaphor for all its repetition from show to show With a bit of familiarity Sondheim s work can be spotted a mile away And so what s wrong with a bit of style Anyone who can toss off lines as clever as In the movies life is finerLife is cleanerBut in Brooklyn it s a minorMisdemeanor In the Movies from Saturday Night p 9orHyphenated HarrietThe nouveauFrom New Ro Chelle sitsAt the RitzWith her splitsOf Mumm sAnd starts to pineFor a steinWith her village chumsBut with a SchlitzIn her mittsDown in Fitz Roy s BarShe thinks of the Ritz ohIt s soSchizoUptownDowntown cut from Follies p 236deserves to be celebrated not condemned Sondheim claims that collections of song lyrics are superfluous given the existence of performable shows and extant recordings Neither this work nor its anticipated seuel Look I Made a Hat would have been written had not his publisher goaded him into it Well good on his publisher I m hard pressed to imagine a curmudgeon I d rather read Norman Thomas Early Civil Rights Activist us to never before pub. Look I m a music theater buff and a Sondheim freak So it was preordained that I would love this book Actually I was expecting to find it redundant if not nostalgia inducing inasmuch as I have long owned and adored copies of his scores and libretti and near memorized recordings of every Sondheim show save the I'm a Dirty Dinosaur unloveable mess that is Road Show about which you can read my review elsewhere on Goodreads However I can confidently tell you that ANYbody with even a PASSing interest in theater would delight in reading this book It kicks off with an extended and fascinating essay on what distinguishes song lyrics from poetry proceeds chronologically through Sondheim s writings including lyrics to cut and rewritten songs from the chamber piece Saturday Night it took than 50 years to see produced through to 1981 s Merrily We Roll Along Unlike the Golden Age collections of lyrics edited by Robert Kimball Sondheim s is heavily interlarded with both contextualizing plot synopses he thanks the efforts of his liner notes authors for their ahem inspiration and Sondheim s own annotations witticisms and criticisms It is the latter of these that make this such an invaluable book it s chock full of insight not just to Sondheim s work ethic but to his attitudes about lyric writing in generalBut wait there s In addition to collecting lyrics from thirteen different shows Finishing the Hat is full of great examples that illustrate his principles from various writers including Dorothy Parker as well as constructively critical assessments of his professional predecessors Oscar Hammerstein Noel Coward Alan Jay Lerner Ira Gershwin Frank Loesser et al Best of all the book is rich with photostats of handwritten early drafts and you can thereby see the master at work it s all about filling the margins with a brainstormed thesaurus of Il pendolo di Foucault useable phrases and coupletsSondheim makes no bones about being both opinionated and rigid when it comes to the subject of lyric writing I ve already written about this in the comments to GoodReader Trevor s typically excellent review of Jay Parini s Why Poetry Matters In the context of Parini Trevor The Cobra ueen Pandora English #4 uotedRoyal Society of Literature Fellow and OBE Don Paterson s distinction between poetry and song lyrics which I found to dovetail Lord of the Dragon uite nicely with Sondheim s opinionsFrom pp xvii xviii of the Introduction Sondheim writesMusical theater Lyrics even poetic ones are not poems Poems are written to be read silently or aloud not sungPoetry is an art of concision lyrics of expansion Poems depend on packed images on resonance and juxtaposition on density Every reader absorbs a poem at his own pace inflecting it with his own rhythms stresses and tone The tempo is dictated less by what the poet intends than by the reader s comprehension All of Dr Simon Forman A Most Notorious Physician us as we read poetry prose too slow down speed Lost Cities 50 Discoveries in World Archaeology up even stop to reread when overwhelmed by the extravagance of the images or confused by the grammatical eccentricities The poet may guide The First 20 Hours: How to Learn Anything . . . Fast! unto itself Lyrics by definition lack something if they don t they re probably not good lyricsHowever to cite but one counter example I ve always thought that Samuel Coleridge Taylor s setting of Longfellow s Song of Hiawatha was both fun and also true to the light verse original without being sing songy So notwithstanding Sondheim s incredible talent vast experience and estimable success as against my Room and Board utter non entitude I m not sure I m prepared to agree with the man 100%Examples of his extreme fussiness abound Take this line from Silly Peoplea contemptuously chromatic song cut from A Little Night Music p 279 When now it smilesIt smiles for loversWhen next it smilesIt smiles for foolsThe last it smilesIt smiles for themThe othersThe rememberersThe truly silly people There s probably some Hammerstein influence here Hello Young Lovers from The King and I and perhaps a bit of Lorenz Hart as well Bewitched Bothered and Bewildered from Pal Joey Sondheim s rightfully proud of the song as a whole which was cut for reasons of pacing and character but then he finds it necessary to addOne point in the lyric worth noting the Les Bracelets des Larmes (Fils des brumes, Tome 6) (Fils-des-brumes, 6) unfortunate juxtaposition of lovers and others When a musical parallel seems to call for a rhyme and either none is available or it would neaten the structure too much the solution is to La discipline positive pour les adolescents: Accompagner et encourager nos ados avec fermeté et bienveillance (Famille-Education) use two words which sonically have nothing to do with each other so that the ear doesn t register them as a near miss That had been for me anyhow a problem with Together Wherever We Go in Gypsy where at the end of the chorus Together and Wherever were sung slowly sounding as if they should rhyme In that case the fogginess of the near rhyme was partly mitigated by the two words coming together in the title so that it seemed part of the fabric of the lyric Here the word others was the only word that I wanted to Дни и ночи use and I couldn t avoid the juxtaposition Much as I like this song the sound of others still makes the word a wrong choice Given comments like this one might suppose that Sondheim would accede to the idea that a computer program could be devised which through algorithm and dictionary alone as opposed to databases of exemplars could consistently churn out original and emotionally resonant works with few if any boners No doubt there are AI s out there that produce good facsimiles of poetry and song I ve heard some great MIDI fractal generators which fed enough pieces to analyze can occasionally mimic music composition fairly well and no doubt either that eventually a Kurzweill will produce a program that devises one or pieces which an educated musicologist cannot distinguish as automated in origin though I would nonetheless credit the programmer for the output I don t The First 20 Hours: How to Learn Anything... Fast! ultimately see a distinction between the creative abilities of human versus artificial intelligence I just think that any effective artistic statement reuires variation among a set of one or many factors including changeable rules and input while strict adherence to a one size fits all approach will be sterile While I don t dare dispute that good works can be found to adhere to articulatable principles and that craft can be found in the consistent application of those principles I guess I would take issue with Sondheim s view that there is an invariable RIGHT way to compose lyrics music or what have youSondheim even goes so far as to argue that each of his shows respective sets of lyrics has an essence and existence distinct and independent from one another as opposed to displaying a Gynarchy Rising unnecessary conceit Nor am I alone in this Sondheim s works are sufficiently self similar that they have been successfully re assembled into multiple reviews at least two of which Marry Me a Little and Putting it Together have complete books with plots Return Of Derrick Fergusons Movie Review Notebook (#2) unrelated to the songs original settings Putting it Together is the remarkable as a Sondheim meta musical in that it could credibly serve as a musical version of Who s Afraid of Virginia Woolf At one point in the second act Sondheim sLive Alone and Like It which while cut from Dick Tracy sounds much of a piece with the songs of Saturday Night is sandwiched so neatly between companion songs from A Little Night Music and Company it s clear it could have been inserted as Programming Typescript unobtrusively in any of those three other worksIronically given Sondheim s apparent contempt of self similarity he prides himself on his capacity for mimicry both of the writing styles of his librettists and of the compositional styles of his peers Deliberate pastiche abounds in his work especially in his lush score for Follies although the line between period piece mimicry and competent fulfillment of genre expectations is a murky one In any case I m not sure why it would be a bad thing for a talented artist to demonstrate a recognizable personal style For me the lyrical tic most evident from reading this collection is Sondheim s constant contrast of life as an emblem of love meaning and fulfillment with its opposite a time honored operatic tradition in the context of eros as brilliantly documented by Peter Conrad s A Song of Love and Death The Meaning of OperaIn fact there s not a show in this book that doesn t have at least one lifedeath lyricSaturday Night And when you re alone On a Saturday night You might as well be deadWest Side Story Make of our vows one last vow Only death will part Diary of Steve the Noob 1 (An Unofficial Minecraft Book) (Minecraft Diary Steve the Noob Collection) us now He ll murder your love he murdered mineGypsy Anybody that stays home is dead Some people can sit around Under glass till they re Orkworld Rpg underground That s perfect for some people Who don t know how to liveA Funny Thing Happened on the Way to the Forum If you start to feel a tingle And you like remaining single Stay home don t take a breath You could catch your death Cause love is around Anyone Can Whistle Crazy business this this life we live in Don t complain about the time we re given With so little to be sure of in this world Anyone can whistle that s what they say easyJust once I ll do it Just once before I dieDo I Hear a Waltz She s nice and sweet and dead He s tall and ineffectual They look delicious they re gonna be all rightCompany Somebody crowd me with love Somebody force me to care Somebody let me come through I ll always be there As frightened as you To help Deja Food us survive Being alive Someone to hold you too close Someone to hurt you too deep Someone to bore you to death Happily ever afterFollies Dreams you didn t dare Are dead In Buddy s arms On Buddy s shoulder I won t get older Nothing dies One kiss before we part Not with tears or a sigh All things beautiful must die Learn how to laugh Learn how to love Learn how to live That s my styleA Little Night Music Soon I ll be Ninety and Dead Do I fear Death Let it Come to me Now If I m Dead I can Wait How can I Live Intimate Adventures of an Office Girl until Later Every day a little death In the parlor in the bed Every move and every breath And you hardly feel a thing Brings a perfect little deathThe Frogs All aboard Club Dead Straight ahead What with the dancing and the eating And the laughing and the drinking There s no problem in retreating From the awkwardness of thinking And that ever present smidgin of dread Down here among the dead Like Her Cowboy Prince Once Upon a Western #1 up there among the deadPacific Overtures Life and death are but verses in a poem The word stops the heart dies The wind counts the lost goodbyesSweeney Todd Because the lives of the wicked should be made brief For the rest of A Baby for Our Babysitter us death will be a relief We all deserve to die Not a thing to fear My love What s dead Is dead And life is for the alive my dear So let s keep living itMerrily We Roll Along Dreams don t die So keep an eye on your dream But I just go on Thinking and sweating And cursing and crying And turning and reaching And waking and dying And Global Search and Seizure The Us National Interest V International Law until I die I ll die day after dayAfter dayAnd that s but a smattering Sondheim s perpetual elevation of love and personal fulfillment to a mortal struggle a metaphorical if not literal matter of life and death is clearly his favorite themeSondheim may be oblivious to his own id e fixes but I don t think he s correct to find fault in them Personally I find the obsession fascinating in its variation and no less effective a metaphor for all its repetition from show to show With a bit of familiarity Sondheim s work can be spotted a mile away And so what s wrong with a bit of style Anyone who can toss off lines as clever as In the movies life is finerLife is cleanerBut in Brooklyn it s a minorMisdemeanor In the Movies from Saturday Night p 9orHyphenated HarrietThe nouveauFrom New Ro Chelle sitsAt the RitzWith her splitsOf Mumm sAnd starts to pineFor a steinWith her village chumsBut with a SchlitzIn her mittsDown in Fitz Roy s BarShe thinks of the Ritz ohIt s soSchizoUptownDowntown cut from Follies p 236deserves to be celebrated not condemned Sondheim claims that collections of song lyrics are superfluous given the existence of performable shows and extant recordings Neither this work nor its anticipated seuel Look I Made a Hat would have been written had not his publisher goaded him into it Well good on his publisher I m hard pressed to imagine a curmudgeon I d rather read

READ ↠ PDF, eBook or Kindle ePUB Æ Stephen SondheimFinishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes

FREE READ Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes î PDF, eBook or Kindle ePUB For years to come Accompanying Sondheim’s sparkling writing are behind the scenes photographs from each production along with handwritten music and lyrics from the songwriter’s personal collection Penetrating and surprising poignant funny and sometimes provocative Finishing the Hat is not only an informative look at the art and craft of lyric writing it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends It is also a book that will leave you humming the final bars of Merrily We Roll Along while eagerly anticipating the next volume which begins with the opening lines of Sunday in the Park with George. What does it mean to make art Does the artist create and nurture his work or does it feed on him consuming his life until he is forever finishing the hat Paging through Stephen Sondheim s recent memoircommentaryanthology I couldn t help wonderingIn his book Sondheim discusses the principles and heresies of lyric composition at the level of a technical master analyzing himself and his deceased contemporaries with all the precision of his own best lyrics He writes as he is a curmudgeonly veteran of the stage who spares nothing and no one from criticism Having performed Sondheim musicals on the stage I am familiar with the challenge his work presents to performers and audiences but it was only by reading Sondheim s own meticulous notes that I discovered an inkling of his true genius His lyrics are simple even conversational and elaborate each syllable and consonant contending with and complimenting the score By some strange alchemy Sondheim reconciles the maxims Less is and God is in the details And yet these clear true beautiful lyrics are from a man with a bleak loveless childhood a gay man who has never sustained a long term relationship in his 20 plus years out of the closet The book offers no bridge to that gap except to invite the conclusion that Sondheim like George of Sunday in the Park is always finishing the hat distracted from real life by the art he draws it from All in all a fascinating read that like its author both illuminates and fascinates The Tree Man until he is forever finishing the hat Paging through Stephen Sondheim s recent memoircommentaryanthology I couldn t help wonderingIn his book Sondheim discusses the principles and heresies of lyric composition at the level of a technical master analyzing himself and his deceased contemporaries with all the precision of his own best lyrics He writes as he is a curmudgeonly veteran of the stage who spares nothing and no one from criticism Having performed Sondheim musicals on the stage I am familiar with the challenge his work presents to performers and audiences but it was only by reading Sondheim s own meticulous notes that I discovered an inkling of his true genius His lyrics are simple even conversational and elaborate each syllable and consonant contending with and complimenting the score By some strange alchemy Sondheim reconciles the maxims Less is and God is in the details And yet these clear true beautiful lyrics are from a man with a bleak loveless childhood a gay man who has never sustained a long term relationship in his 20 plus years out of the closet The book offers no bridge to that gap except to invite the conclusion that Sondheim like George of Sunday in the Park is always finishing the hat distracted from real life by the art he draws it from All in all a fascinating read that like its author both illuminates and fascinates

Stephen Sondheim Æ 6 FREE READ

FREE READ Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes î PDF, eBook or Kindle ePUB Lished songs from each show songs that were cut or discarded before seeing the light of day He discusses his relationship with his mentor Oscar Hammerstein II and his collaborations with extraordinary talents such as Leonard Bernstein Arthur Laurents Ethel Merman Richard Rodgers Angela Lansbury Harold Prince and a panoply of others The anecdotes filled with history pointed observations and intimate details transport us back to a time when theater was a major pillar of American culture Best of all Sondheim appraises his work and dissects his lyrics as well as those of others offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters. When I first heard about this book I wasn t too excited For some reason I was under the impression that it was just a collection of the lyrics Nice to have but really not that necessary since ahem I already know them all by heart I dutifully ordered the book from the library though this is Sondheim we re talking about after all When it came in and I took a closer look at it I realized how wrong I d been and immediately sat down and started reading This is the book Sondheim fans have been waiting for and it was a great great pleasure to read it Far from being just the lyrics the book has a wealth of material about the songs the productions and musical theater in generalIncluded are a brief preface in which Sondheim outlines his mantra for lyric writing a general introduction and a short essay on rhyme After the introductory materials come the lyrics for all the shows from Saturday Night in 1954 to Merrily We Roll Along in 1981 Threaded throughout the lyrics are Sondheim s notes about specific songs and the conditions of their writing as well as how and why he made certain creative decisions Along the way Sondheim gives us critical commentary about many of the great lyricists He comments on none who are still living though speaking ill exclusively of the dead seems to me the gentlemanly thing to do he writesIt s fascinating to hear Sondheim mention Noel Coward as a writer whose lyrics I cordially but intensely dislike and to find out why later in the book or to learn that he is bored by Gilbert and Sullivan or that he considers Dorothy Fields the most underrated of the major lyricists Irving Berlin Cole Porter Ira Gershwin Lorenz Hart and Oscar Hammerstein among others all come in for close examination Even interesting are Sondheim s views of his own work as well as the insights he offers into how he writes For instance he says of The Road You Didn t Take from Follies In the interest of full disclosure I should add that the last two lines make me glow with self satisfaction There is a detailed explanation of how he had to just make up many of the vulgar words in the Beggarwoman s song from Sweeney Todd since he couldn t figure out how to find a source for authentic 19th century Cockney slang He also includes a bowdlerized version of the verse that he wrote for school and sueamish regional productions Elsewhere he comments on his annoyance when people mistakenly assume that the title song from Anyone Can Whistle is autobiographical To believe that it is my credo is to believe that I m the prototypical Repressed Intellectual and that explains everything about me Later in the book he tells us that The only song I ve written which is an immediate expression of a personal internal experience is Finishing the Hat from Sunday in the Park with GeorgeThe book ends with Merrily We Roll Along leaving all of the musicals from 1981 onward including all of his collaborations with James Lapine for a promised second volume With a great sense of drama Sondheim concludes this volume with the words then I met James Lapine What a cliffhanger I ll be waiting outside the doors of the bookstore when volume two is due to come out The Undefeated us back to a time when theater was a major pillar of American culture Best of all Sondheim appraises his work and dissects his lyrics as well as those of others offering Po Wieku Teatru Wybrzeze unparalleled insights into songwriting that will be studied by fans and aspiring songwriters. When I first heard about this book I wasn t too excited For some reason I was 404 - Documento non trovato under the impression that it was just a collection of the lyrics Nice to have but really not that necessary since ahem I already know them all by heart I dutifully ordered the book from the library though this is Sondheim we re talking about after all When it came in and I took a closer look at it I realized how wrong I d been and immediately sat down and started reading This is the book Sondheim fans have been waiting for and it was a great great pleasure to read it Far from being just the lyrics the book has a wealth of material about the songs the productions and musical theater in generalIncluded are a brief preface in which Sondheim outlines his mantra for lyric writing a general introduction and a short essay on rhyme After the introductory materials come the lyrics for all the shows from Saturday Night in 1954 to Merrily We Roll Along in 1981 Threaded throughout the lyrics are Sondheim s notes about specific songs and the conditions of their writing as well as how and why he made certain creative decisions Along the way Sondheim gives Hearing Before the Committee on the Judiciary of the House of Representatives us critical commentary about many of the great lyricists He comments on none who are still living though speaking ill exclusively of the dead seems to me the gentlemanly thing to do he writesIt s fascinating to hear Sondheim mention Noel Coward as a writer whose lyrics I cordially but intensely dislike and to find out why later in the book or to learn that he is bored by Gilbert and Sullivan or that he considers Dorothy Fields the most Shadowspell Academy The Culling Trials underrated of the major lyricists Irving Berlin Cole Porter Ira Gershwin Lorenz Hart and Oscar Hammerstein among others all come in for close examination Even interesting are Sondheim s views of his own work as well as the insights he offers into how he writes For instance he says of The Road You Didn t Take from Follies In the interest of full disclosure I should add that the last two lines make me glow with self satisfaction There is a detailed explanation of how he had to just make Alligators, Monsters & Cool School Poems up many of the vulgar words in the Beggarwoman s song from Sweeney Todd since he couldn t figure out how to find a source for authentic 19th century Cockney slang He also includes a bowdlerized version of the verse that he wrote for school and sueamish regional productions Elsewhere he comments on his annoyance when people mistakenly assume that the title song from Anyone Can Whistle is autobiographical To believe that it is my credo is to believe that I m the prototypical Repressed Intellectual and that explains everything about me Later in the book he tells Prime Suspect The True Story of John Cannan the Only Man Police Want to Investigate for the Murder of Suzy Lamplugh us that The only song I ve written which is an immediate expression of a personal internal experience is Finishing the Hat from Sunday in the Park with GeorgeThe book ends with Merrily We Roll Along leaving all of the musicals from 1981 onward including all of his collaborations with James Lapine for a promised second volume With a great sense of drama Sondheim concludes this volume with the words then I met James Lapine What a cliffhanger I ll be waiting outside the doors of the bookstore when volume two is due to come out

  • Hardcover
  • 421
  • Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes
  • Stephen Sondheim
  • English
  • 15 April 2020
  • 9780679439073