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

Online book Finishing the Hat Collected Lyrics 1954 1981 With Attendant Comments Principles Heresies Grudges Whines and Anecdotes author Stephen Sondheim –

N blackmailing him He s also ravaged with fury plotting revenge on the world for the injustices he faced He plans to kill again His andlady the besotted pie seller Mrs Lovett has a brilliant idea for getting rid of Todd s bodiesMRS LOVETTSeems a downright shameTODD ShameLOVETTSeems an awful wasteSuch a nice plump frameWot s is name hasHadHasNor it can t be tracedBus ness needs a iftDebts to be erasedThink of it as thriftAs a giftIf you get my driftNoSeems an awful wasteI mean with the price of meatWhat it isWhen you get itIf you get itTODD HAHLOVETTGood you got itTake for instance Mrs Mooney and her pie shopBus ness never better using only pussycats and toastAnd a pussy s good for maybe six or seven at the mostAnd I m sure they can t compare as far as tasteSimultaneouslyTODDMrs Lovett what a charming notionLOVETTWell it does seem a wasteTODDEminently practicalAnd yet appropriate as alwaysLOVETTIt s an ideaTODDMrs Lovett how I ve ivedWithout you all these years I Comfort (Ann Fay Honeycutt ll never knowHow delectableAlso undetectableLOVETTThink about itLots of other gentlemenlSoon be comin for a shaveWon t theyThink ofAll themPiesTODDHow choiceHowRareTODDFor what s the sound of the world out thereLOVETTWhat Mr ToddWhat Mr ToddWhat is that soundTODDThose crunching noises pervading the airLOVETTYes Mr ToddYes Mr ToddYes all aroundTODDIt s man devouring man my dearBOTHAnd LOVETT Then who are we to deny it in hereTODD spoken These are desperate timesMrs Lovett and desperate measures are called forLOVETT Here we are now Hot out of the ovenTODD What is thatLOVETTIt s priest Have a Kasihku Abadi little priestTODDIs it really goodLOVETTSir it s too good ateastThen again they don t commit sins of the fleshSo it s pretty freshTODDAwful Ritchie County in history and romance lot of fatLOVETTOnly where it satTODDHaven t you got poet or somethingike thatLOVETTNo y see the trouble with poet is Ow do you know it s deceasedTry the priestTODD spoken HeavenlyNot as hearty as bishop perhapsbut then again not as bland as curate eitherLOVETTAnd good for business too always eaves you wantin Trouble is we only get it on SundaysLawyer s rather niceTODDIf it s for a priceLOVETTOrder something else though to followSince no one should swallow it twiceTODDAnything that s eanLOVETTWell then if you re British and Savage Salvation loyalYou might enjoy Royal MarineAnyway it s cleanThough of course it tastes of wherever it s beenTODDIs that suireOn the fireLOVETTMercy no sirook closerYou Japan, France, and East-West Aesthetics ll notice it s grocerTODDLooks thickerMoreike vicarLOVETTNo it has to be grocer It s greenTODDThe history of the world my I Could Pee on This love LOVETTSave aot of gravesDo a Louis Riel lot of relatives favorsTODDIs those below serving those up aboveLOVETTEv rybody shavesSo there should be plenty of flavorsTODDHow gratifying for once to knowBOTHThat those above will serve those down belowLOVETT spoken Nowet s see here We ve got tinkerTODD Something pinkerLOVETT TailorTODD PalerLOVETT ButlerTODD SubtlerLOVETT PotterTODD HotterLOVETT LocksmithLovely bit of clerkTODDMaybe for a Freaky Facts about Spiders larkLOVETTThen again there s sweepIf you want it cheapAnd youike it darkTry the financierPeak of his careerTODDThat O Doido e a Morte looks pretty rankLOVETTWell he drankIt s a bankCashierNever really soldMaybe it was oldTODDHave you any BeadleLOVETTNext week so I m toldBeadle isn t bad till you smell it andNotice ow well it s been greasedStick to priestspoken Now then this might be aittle bit stringybut then of course it s fiddle playerTODD No this isn t fiddle player it s piccolo playerLOVETT Ow can you tellTODD It s piping hotLOVETT Then blow on it firstTODDThe history of the world my sweet LOVETTOh Mr ToddOoh Mr ToddWhat does it tellTODDIs who gets eaten and who gets to eatLOVETTAnd Mr ToddToo Mr ToddWho gets to sellTODDBut fortunately it s also clearBOTHThat L But ev rybody goes down well with beerLOVETT spokenSince marine doesn t appeal to you ow about rear admiralTODD Too salty I prefer generalLOVETT With or without his privates With is extraTODD What is thatLOVETTIt s fopFinest in the shopAnd we have some shepherd s pie pepperedWith actual shepherd on topAnd I ve just begun Here s the politician so oilyIt s served with a doilyHave oneTODDPut it on a bunWell you never know if it s going to runLOVETTTry the friarFried it s drierTODDNo the clergy is reallyToo coarse and too mealyLOVETTThen actorThat s compacterTODDYes and always arrives overdoneI The Rude Buay Trilogy ll come again when you have JUDGE on the menuLOVETT spoken Wait True we don t have judge yetbut we ve got something you might fancy even betterTODD What s thatLOVETT ExecutionerTODDHave charity towards the world my petLOVETTYes yes I know myoveTODDWe Kaylees Keeper (Masters of the Castle, ll take the customers that we can getLOVETTHigh born andow my oveTODDWe l not discriminate great from smallNo we Awoken (Viridian Saga, ll serve anyoneMeaning anyoneBOTHAnd to anyoneAt all 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 theyrics Nice to have but really not that necessary since ahem I already know them all by heart I dutifully ordered the book from the Taking Flight library though this is Sondheim we re talking about after all When it came in and I took a closerook 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 yrics 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 yric writing a general introduction and a short essay on rhyme After the introductory materials come the Heartlands lyrics for all the shows from Saturday Night in 1954 to Merrily We Roll Along in 1981 Threaded throughout theyrics 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 Alan Ford (Superstrip Alan Ford Trobroj lyricists He comments on none who are stilliving 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 Literature Circle Role Sheets lyrics I cordially but intensely dislike and to find out whyater in the book or to Maines Visible Black History learn that he is bored by Gilbert and Sullivan or that he considers Dorothy Fields the most underrated of the majoryricists 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 Jane Does Return last twoines 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 Die Geschichte der Indianer Nordamerikas 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 Il be waiting outside the doors of the bookstore when volume two is due to come out I m fascinated by people who ove their work and take it seriously so even if I wasn t a musicals fan I probably would ve enjoyed this book The subtitle describes it pretty well this is a collection of Sondheim s yrics from the first half of his career along with his commentary about the process of writing the Beyond the Mist lyrics and creating the shows He also gives uncensored opinions on otheryricists work which are saved from seeming brutal by their obvious sincerity and by the fact that he is just as hard on himself Only very occasionally does he veer into seeming a bit spiteful and then mostly about criticsThis offers fascinating insight into the process of writing Phemes Regret lyrics and the theatre world I read every bit of commentary even that about shows I m not familiar with and I can t wait for the second volume Look I Made a Hat Collected Lyrics 1981 2011 With Attendant Comments Amplifications Dogmas Harangues Wafflings Diversions and Anecdotes. For years to come Accompanying Sondheim’s sparkling writing are behind the scenes photographs from each production along with handwritten music andyrics from the songwriter’s personal collection Penetrating and surprising poignant funny and sometimes provocative Finishing the Hat is not only an informative Pocket Guide to Scottish Words look at the art and craft ofyric writing it is a history of the theater that belongs on the same Chimerica literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends It is also a book that willeave you humming the final bars of Merrily We Roll Along while eagerly anticipating the next volume which begins with the opening ines of Sunday in the Park with George.

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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 There is nobody ike Sondheim Much as I Ο ελληνικός εμφύλιος πόλεμος, 1943-1950 love Cole Porter and the Rogers and Hart and Rogers and Hammerstein musicals it s Sondheim who sings to meThis collection ofyrics to his musicals from West Side Story in 1957 to Merrily We Roll Along in 1981 is enlightening Sondheim introduces each show includes the The Probability Pad lyrics to songs that were cut and explains the dynamics between him and the producer director writer of the book cho 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 inearning about how a writer who is EXTREMELY GOOD at what he does actually does what he does you might want to Calendula look at this There is tons of good writing advice packed in here and aot of fascinating critical self dissection along the Markham Hall Series Bundle (Markham Hall, lines of that Community post mortem Dan Harmon did in the AV Club There are a bunch of parts where Sondheim points out egregious errors in his work In time honored and universally cherished songs Songs youove and know by heart And he points out problems you probably never even noticed and will now not be able to unsee But for every I never should have done that and I can t believe that at the time I couldn t think of a better way to finish that Megaman Battle Network 3 White and Blue Official Strategy Guide line moment there is a moment where he points to something and says See what I did there That s really good And it s great It s totally entertaining and fascinating and useful Overall this is a greatesson in the importance of constraints in writing Because man does he have to work with constraints It has to not only make sense but it has to rhyme And the part at the beginning where he talks about the different kinds of rhyme and why only perfect rhymes matter was fascinating and made me want to re evaluate the yrics of songwriters who we consider to be really good yricists Because maybe there is a Soy Sisters lost art thing happening there in popular music Maybe AND also about constraints there are a number of examples where some of the best songs of his career were 3rd or 4th drafts orast minute additions to the show written in hotel rooms in Boston The show wasn t working he needed to fix it It s not done until it s done The amount of cut songs in here is mind blowing He just writes and writes and writes and keeps going until it s done and then still keeps going after it s done It s really inspiring I haven t read the whole book I m skipping around from show to show and enjoying it but this was at 5 stars after the first few sections I read Company A Little Night Music in my caseReally really Tacar Dánta/Selected Poems looking forward to the 2nd volume of this so we can dig into Assassins and the second acts of Sunday In the Park With George and Into the Woods about which I have Opinions so I cannot wait to see how they mesh and clash with His opinions A Bow for Mr SondheimStephen Sondheim Will probably forever be regarded as the finestyricist the musical stage has known with apologies to Sybil librettist W S Gilbert or Gilbert and Sullivan fame He has always taken on stories that encourage no force the audience to relate to his ideas whether that be in the early stages of his career with the magnum opus West Side Story or with the subseuent Gypsy Pacific Overtures Follies Sundays in the Park with George Company Sweeney Todd A Little Night Music etc But while most everyone knows theyrics to his A Womans Guide to Fasting large number of hits few of us know the secrets or gossip or theyricists real feelings about each of his ventures until now This book is a very well written compendium of the Hermann Zapf and His Design Philosophy lyrics in every phase of their being notes ideas misjudgments and personal responses to the shows and the people involved with them Sondheim is brilliant not only at what he has done for aiving but also as a thinker and philosopher and pundit Reading this book as opposed to scanning this book opens windows of insight into the career and the personality of one of America s treasures There is so much to enjoy about this book that it will take several readings to absorb it all It is a welcome addition to the I Know Who You Are libraries of all those who care about the stage musicals that are one of the few uniue offerings of this country to the world of music Grady Harp So much of what I could say in a review of Sondheim sovely book of Spring Girl 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 thoughts which are wordy because Iove the man When I was a freshman in my rural Iowa high school I took vocal Menerjang Batas lessons with aocal college instructor Hollis Dobref who Chosen Vessels later went on to work with Jason Smith to develop up and coming jazz artists at The School for Music Vocations The school didn t start until 1991 when I was off in college 70 miles away I didn t have aot of musical knowledge outside of classical band and choral stuff we sang my family s Ella Fitzgerald collection and ate 70s and 80s radio music My first song with Hollis was I Remember Sky from Stephen Sondheim s TV musical Evening PrimroseI was fascinated by the images the dark and apocalyptic feel of the yricsI remember The Secret World of Fluffy Ratbag leavesGreen as spearmintCrisp as paperI remember treesBare as coat racksSpreadike broken umbrellasI went to our small high school ibrary I graduated in a class of ess than a hundred but found almost nothing on Sondheim I went to our miniscule Matilda J Gibson Memorial Library our town population had at one point topped 8000 but has since been hovering in the Whoops! low 7000s and found albums of A Little Night Music Gypsy West Side Story and Sweeney Todd Then I was hooked I went to our community collegeibrary which was run by my foster mom and found even A Funny Thing Happened on the Way to the Forum Company FolliesI never found out much about Evening Primrose until college I hid my Los Caballeros de la Ciencia: El secreto mejor guardado de la Iglesia. love of Sondheim s complex cerebral music andyrics in small town Iowa I was scared closeted and sill primarily addicted to playsThis book his major The Sheep Book lyrics up to 1984 was a gift for Christmas it s also a clear indication that I haveeft my self imposed hiding I sat and Laduma listened to many recordings as I read theyrics thoughts and anecdotes Sondheim is only snippy and gossipy once and he eschews criticizing The Gangs Birthday Surprise livingyricists Finishing the Hat is only a partial picture he still has to cover 1984 on and there are several small songs I hope he includes one offs Earth like I Never Do Anything Twice and the music from the film Dick Tracy Also you cannot hear his artistic and odd stirring composition unless you do what I did curling up with the book and taking it slowistening to several cast recordings and artist albums Wow that was self indulgent and gay of meI will say this about Sondheim s supposed Get Up lack of heart and hummable tunes I fell inove with the complexity the intricacy of his Out to Lunch lyrics Ioved that you had to Parinamam engane? പരിണാമം എങ്ങനെ? listen to the music several times to understand the structure My friends will tell you I simplyive for being exposed to intellectually and emotionally challenging ideas I have always Beetle in the Anthill loved things that combine humor with thought provoking ideas and I think very few artists in any medium do that as well as SondheimOtherwise I agree with Paul Simon Sondheim has challenged and changed the modern theatricalandscape for the better I agree with Broadway star Mandy Patinkin that Sondheim may well be the Shakespeare of our age I also agree with Simon when he says a simple Mr. Drackle And His Dragons lyric or clich after a complexyric or image may help the audience breathe this is something Sondheim just does not do Sondheim piles on ideas and imagery and witty turns of phrase and intricate rhymes one after the other not allowing his audience to breathe In fact have been holding my breath since that day in 1984 I first met his workI Dragon, Dragon and Other Tales ll include theyrics to A Little Priest from Sweeney Todd For the two people who don t know the story Victorian barber Todd has just murdered a ma. Lished songs from each show songs that were cut or discarded before seeing the Song of the Aura 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 hisyrics as well as those of others offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters.

Stephen Sondheim wrote all of FINISHING THE HAT covering roughly the first half of his musical career 1954 81 He reprints the Hands Tied, A Hammer Story 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 theyrics 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 LITTLE NIGHT MUSIC PACIFIC OVERTURES and others To style this generous coffee table ish book in part Grudges Whines and Anecdotes may have been a The Slanted Worlds (Chronoptika, little too self deprecating but in so doing Sondheim did grant himselfeave to digress which he does upon occasion Never mind even the digressions are worthwhile After reading FINISHING THE HAT you realize you needn t have bothered with about two thirds of the writing by critics and journalists in other books and media who are not Stephen Sondheim Followed by LOOK I MADE A HAT I do realize that the earlier book in seuence is called FINISHING THE HAT while the Say Go Be Do latter one is called LOOK I MADE A HAT 1981 2011 and that they d make better sense if the titles had been switched but since this is Stephen Sondheim I m of no mind to uibble Note If buying new the canny consumer can usually get a discount if the two vols are purchased simultaneouslyPhoto Stephen Sondheim and Leonard Bernstein 1955 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 What does it mean to make art Does the artist create and nurture his work or does it feed on him consuming hisife 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 Confer lyric composition at theevel of a technical master analyzing himself and his deceased contemporaries with all the precision of his own best yrics 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 yrics 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 Hotarul Nestatornic (La Medeleni, lyrics are from a man with a bleakoveless childhood a gay man who has never sustained a The King of Spades 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 Sondheimike George of Sunday in the Park is always finishing the hat distracted from real Mitos nrdicos (ncora Delfn) life by the art he draws it from All in all a fascinating read thatike its author both illuminates and fascinates Look I m a music theater buff and a Sondheim freak So it was preordained that I would Taming the Alpha (Crescent Moon, love this book Actually I was expecting to find it redundant if not nostalgia inducing inasmuch as I haveong owned and adored copies of his scores and Ptičje oko na tarabi 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 songyrics from poetry proceeds chronologically through Sondheim s writings including Quinlans Character Stars 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 ofyrics edited by Robert Kimball Sondheim s is heavily interlarded with both contextualizing plot synopses he thanks the efforts of his Bittersüß liner notes authors for their ahem inspiration and Sondheim s own annotations witticisms and criticisms It is theatter 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 The ScandiKitchen Summer lyric writing in generalBut wait there s In addition to collectingyrics 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 Тарковский и я. Дневник пионерки 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 songyrics 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 yrics 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 ess 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 Paranormal Realities II 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 aong ine of others have proved but poetry doesn t need music yrics doLyrics are not Devoured 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 theistener mercilessly with rhythmic repetition Music tends to hammer The History of Christian Doctrine light verse into monotony or shatter its grace Light verse is complete unto itself Lyrics by definitionack something if they don t they re probably not good Wound Care 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 theight 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 Yourowquains line from Silly Peoplea contemptuously chromatic song cut from A Little Night Music p 279 When now it smilesIt smiles foroversWhen next it smilesIt smiles for foolsThe Beretta Pistols 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 theyric worth noting the unfortunate juxtaposition of Grateful Dead 1977 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 theyric Here the word others was the only word that I wanted to use and I couldn t avoid the juxtaposition Much as I Patriots and Tyrants (Grandchildren of Liberty like this song the sound of others still makes the word a wrong choice Given commentsike 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. 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 Trying Not to Love You 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 hisyrics for the first time he is giving readers a rare personal Engaged with the Boss (Situation: Christmas, look into hisife as well as his remarkable productionsAlong with the yrics 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.

Stephen Joshua Sondheim is an American musical and film composer and lyricist winner of an Academy Award multiple Tony Awards seven than any other composer multiple Grammy Awards and a Pulitzer Prize He has been described by Frank Rich in the The New York Times as the greatest and perhaps best known artist in the American musical theater His most famous scores include as composer