I don't think that word should be applied to Bernadette. GROSS: There's a beautiful song in "Merrily" that's sung twice and I'm thinking of "Not A Day Goes By" and both versions – each version has a different meaning because one's at the beginning of a love affair and the other is during a divorce. SONDHEIM: Thank you, Terry. SONDHEIM: The line - I paraphrase slightly, but the line that she's telling her father off, and she's angrier and angrier, and she ends it by saying - I'm getting my kids, and I'm getting out. The audience, in awe, applauds for a full thirty-seven seconds. So getting to the "Jet Song, " the opening song from your first Broadway musical - you know, a lot of people mock "West Side Story" for being about gangs singing and dancing to show tunes. I know there are those who will blast me for blasphemy, for even considering to like anything that Andrew has written. GROSS: OK. Well, let's just hear the song. Nearly everyone with a marvelous voice has sung this song, but I'd recommend Barbara Cook and Bernadette Peters as the more remarkable of its interpreters. And simpler and freer. Did you come here for a pie, sir? Can we talk a little bit about your process of songwriting? And my guest is Stephen Sondheim.
Track 14: "Amazing Grace". Not a Day Goes By Lyrics. That's OK for some people who don't know they're alive. I'm much too constrained. We heard Anne Bobby, Malcolm Gets, and Amy Ryder.
From that point on, Peters shows just how good she is at selling a song. GROSS: The 1981 Stephen Sondheim musical "Merrily We Roll Along" is being revived for a two-week run by the Encore! Freely flows the blood of those who moralize. Well, he's a songwriter manque.
You are the breathless hush of evening that trembles on the brink of a lovely song. You're going to love tomorrow. This text may not be in its final form and may be updated or revised in the future. He had also been a musician and was head of the music department at Universal. There is no introduction, the curtain simply rises and there they are in bed, singing at each other. And she wouldn't sing it because in that verse, she - meaning Rose - tells her father to go to hell because she's trying to get $88 from him and he won't give it to her. So it was their problem to get the show and believe me, it was not an easy show to get on. And that was largely the pleasure of the songs that people went to see in the musical theater in the 1920s and '30s and even into the '40s, even after "Oklahoma! " As the liner notes by no less than Arthur Laurents tell us, this was recorded during an AIDS benefit concert for GMHC, the Gay Men's Health Crisis (certainly a better way of raising money than sponsoring a circuit party, in my opinion). The arrangement is too low for her voice. Johnny cash – old chunk of coal lyrics. SONDHEIM: There were two that were written and then another one that - which was to replace the "Jet Song" that we wrote in Washington. One character, composer Franklin Shepard, heads in a commercial direction, which ruins the friendships and turns him cynical and self-centered. And the chances of finding somebody like that were slight.
Because we knew we had this good thing going. What I would call, like, reprises, really, of thoughts, of moments in your life that happen in different contexts. So is the part autobiographical where the producer complains that it's not a song you can hum, give me a melody?
You see "Guernica. " And you say that that's an example of how God is in the details, which is one of your prime rules of lyric writing. Stephen Sondheim's musical, "Merrily We Roll Along, " ran for only 16 performances after opening on Broadway in 1981. And then let Herbie, her lover, and Louise, her daughter, whom she's focusing on, react like - as if they were in front of, I don't know, a cobra, I mean, just completely terrified and motionless and cowering. Don Sebesky: Orchestration. Yes, the transition from the opening section of "Someone who" to the concluding section of "Somebody" has to be one of the most difficult in the Sondheim songbook, but it is also one of the most gut-wrenching. Don't get me wrong, it's a great song, and Buckley is wonderful singing it. One who keeps tearing around, one who can't move. They can't just be self-contained. Use the citation below to add these lyrics to your bibliography: Style: MLA Chicago APA. But I think what put people off on "Sweeney" was that it had a semioperatic feeling to it.
And you and me, We'll be singing it like the birds, Me with music and you the words, Tell 'em things they don't know! Same thing is true of "Pirelli's Miracle Elixir. " She is blessed by a shimmering, gossamer orchestration. And that's not always a good thing. What's wrong with letting 'em tap their toes a bit? The song breaks the dramatic fluidity and obstructs the overall pacing and climactic arc which derails the very intent and momentum that makes this work so compelling... - Mark Bakalor. Still, she has a lot of fun singing it. SONDHEIM: Well, it's not that. Explore the rest of the Finishing the Chat Community Forum.
And turning and reaching. Beginning with the breakdown of dozens of decades-long relationships, going on to examine the past to show us why it all took place. Larson says Churchill told his citizens the truth and inspired them to resist. Mainly I learned something about courage. Was it fun, in a way, to write in a style that wasn't yours?
"Over You" is a pretty song pretending to be a great country classic. So we wrote something called "This Turf Is Ours. " From: Instruments: |Voice, range: D4-F#5 Piano, range: D1-D6|. And richer and clearer. I told him, and he got that wide-eyed look on his face. MICHAEL CALLAN: (As Riff, singing) When you're a Jet, you're a Jet all the way from your first cigarette to your last dying day.
Performer: Julie Andrews, private concert, "One on One, " 1992. You know, I love the opening line - some people can get a thrill knitting sweaters and sitting still. Her performance here also suggests that she would be perfect in a full-scale revival of the show. To be honest, I've always had a problem with the original cast recording of this song. GROSS: Now, you studied with the avant-garde composer Milton Babbitt. I'm not one of them. And I'm telling you them pussycats is quick. I mean, we knew that anyway. GROSS: But you've talked about George Gershwin and Harold Arlen as great influences on you and they were both very influenced by jazz. She talks to her audience.
SONDHEIM: Oh sure, oh sure, oh sure, sure. I'm just in a quandary about her motives here. Reading) This turf is ours. And then I wanted not to have any open vowel sounds at the end of the opening line so that it wouldn't seem like she couldn't sing. SOUNDBITE OF BILL CHARLAP TRIO'S "BE COOL"). Buckley's tendency for self-indulgence pushes through again. The book's title, "Finishing The Hat, " refers to a song in his show "Sunday In The Park With George. " You might recall my "second song theory" from my earlier column on Gypsy, where I stated that the first song in a show sets the show's musical style, and the second song tells you what the show is really all about. Gives you the shivers, Makes you think There's so much stuff to sing!
I've never been a big fan of this song, but I am a fan of how she sings it. GROSS: No taping it? She may wish she could be the great interpreter of Sondheim, but it is Andrew's music that is best served by her voice. And I have to say if you do, I'll die. GROSS: Now, the song ends with, you know, we're going to beat every whole buggin' gang on the whole buggin' street, on the whole buggin' ever-loving street.
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