By Mark Eden Horowitz
Stephen Sondheim is largely considered as an important composer and lyricist of musical theater within the moment half the twentieth century. Celebrating his eightieth birthday, this new version of Sondheim on song unearths him in those guided interviews expounding in nice intensity and element on his craft. As a ordinary instructor, considerate and opinionated, Sondheim discusses the artwork of musical composition, lyric writing, the collaborative strategy of musical theater, and the way he thinks approximately his personal paintings. the place the 1st version concentrated rather on six shows_Passion, Assassins, Into the Woods, Sunday within the Park with George, Sweeney Todd, and Pacific Overtures_this moment variation provides a brand new bankruptcy that discusses Sondheim's complete occupation. numerous exhibits that weren't mentioned formerly are explored right here, together with A humorous factor occurred in an effort to the discussion board, Merrily We Roll alongside, corporation, Follies, somebody Can Whistle, and a bit evening track, in addition to innovations in regards to the fresh movie edition of Sweeney Todd. The publication additionally gains a complete bankruptcy on jump: the former incarnation of his most up-to-date musical, highway convey. as well as Sondheim's checklist of 'Songs I want i might Written,' the Songlisting and Discography has been tremendously increased and up-to-date to incorporate all works composed and recorded during the last six years.
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Additional resources for Sondheim on Music: Minor Details and Major Decisions
So that when they’re on a horizontal line it means: If I choose this then that follows, if I choose this other one then that follows. Usually the top one is the one that’s going to work, and I probably ended up using the E-flat, C-minor, et cetera. I was also screwing around with the melodic outline and deciding whether I wanted to use four sixteenths or an eighth and two sixteenths, and sometimes that makes a huge difference. MH: You asked: How else are you going to notate those chords? But in your mind are you also thinking of it as a modulation to that key?
Clearly, what I’m doing is I’m trying to figure out how to have her sing against the Chopin. Because there are two things going on here: there’s the piano piece and her vocal. That’s what I obviously am trying to work out. Let’s see, we’re in the key of . . we’re sort of in the key of D, but not really. MH: Usually, the audience thinks it’s her playing piano upstairs. SS: I’ve established that earlier, so I know that I want to use that. What goes on before the entrance is that we hear the music earlier.
She often gets a manuscript from me that’s full of erasures. Incidentally, one of the small, practical problems of writing music today is that in the old days I used to have a messenger come to the house and pick up the manuscripts and take them to the copyist. Ever since the fax machine was invented, we send faxes. ” You can read my manuscript okay in person, because I write very heavily with a pencil (and I write also with Blackwing pencils, which smudge very easily). I try to write very dark for the copyist to understand it, hoping that she won’t have to call me.