Stephen Sondheim has won seven Tonys, an Academy Award, seven Grammys, a Pulitzer Prize and the Kennedy Center Honors. His career. Written By Stephen Sondheim. Cover By. Finishing the Hat (From “Sunday in the Park with George”) by Josh Groban · Finishing the Hat by Kelli O’Hara. “A printed collection [of lyrics],” says Stephen Sondheim at the beginning of Finishing the Hat, “is a dubious proposition.” Indeed: like making a.
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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 for years to come. I’ve moved on to the second volume. Light verse is complete unto itself. For what’s the sound of the world out there? Feb 01, Bruce rated it it was amazing Shelves: A simply superb insight into songwriting.
Far from being “just” the lyrics, the book has a wealth of material about the songs, the productions, and musical theater in general. Content dictates form, less is more, and god is in the details. With, or without his privates? It was a lucky moment for me, finishjng, when “Attend the tale of Sweeney Todd” swam into my consciousness. Have a little priest. But] ev’rybody goes down well with beer!
I learned about assonance and consonance, and what a pure rhyme is, and how syllable stress is important. Overall this is a great lesson in the importance of constraints in writing. Sondheim only discusses the works and styles of lyricists and composers who have died, for he states that he does not want to personally hurt anyone or ruin their reputation.
But when, the year after CompanyGypsy finally arrived in London and he stood awkwardly on the stage with the composer Jule Styne as the applause went on and on at the triumphant first night, we realised that he was no guerrilla waging war on the musical, but someone deeply plugged in to its great tradition.
If you love musical theatre but are indifferent toward Sondheim you still ought to read this book. Bus’ness never better using only pussycats and toast! At one point in the second act, Sondheim’s “Live Alone and Like It” which while cut from Dick Tracysounds much of a piece with the songs of Saturday Night is sandwiched so neatly between companion songs from A Little Night Music and Companyit’s clear it could have been inserted as unobtrusively in any of those three other works.
This is a book for die-hard Sondheim fans, budding lyricists or lyric aficionados only. Blurb – In Finishing the Hat – a title borrowed from one of his most autobiographical songs Sondheim has not only collected his lyrics for the first time, but has provided a forensic account of the lyric-writing process.
He sojdheim think much of Lorenz Hart, who he cites as gifted but lazy, or Ira Gershwin, who he thinks may have tried too hard to keep up with his fniishing brother George.
How it used to be, how it is, and how it might be one day. The main lesson is that this particular genius is dead practical.
Dec 05, Grady rated it it was amazing.
Thank you for your patience. I loved that you had to listen to the music several times to understand the structure.
Is that squire, On the fire? Never mind — even the digressions are worthwhile. There are a bunch of parts where Sondheim points out egregious errors in his work. Seems an awful waste Lovett, and desperate measures are called for! Sondheim provides an account of how and why each sondhem came to be, problems he encountered, problems he caused, analyses of other composers and lyricists, commentary on theatrical trends, and much more, all of which resulted in my improved understanding of music, musicals, and Mr.
LitFlash The stepyen you want at the lowest prices. When it came in and I took a closer look at it, I realized how wrong I’d been, and immediately sat down finishinng started reading.
Then again, they don’t commit sins of the flesh, So it’s pretty fresh.
Along the way Sondheim gives us critical commentary about many of the great lyricists. Sondheim introduces each show, includes the lyrics to songs that were cut, and explains the dynamics between him and the producer, director, writer of the book, choreographer, and composer if he was writing only the lyrics, as in West Side Story.
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-you.
But fortunately, it’s also clear BOTH: Thanks for telling us about the problem.