I sometimes get letters, “Do you have any source for the Blackwings?”Stephen Sondheim: Yeah, they’re extinct. Our editors will review what you’ve submitted and determine whether to revise the article.Sondheim, an enthusiast for games and puzzles, cowrote two nonmusical mysteries: the film I loved all the buttons and the gadgets, because I’ve always been a gadget man. The Award is not run for profit and any excess funds raised from entrance fees will be returned to future prize pools. And then make up your own story and make it into a musical.” He said, “By the time you get all those four done, you’ll know something.” And that’s exactly what I did.Stephen Sondheim: Well, it went on for six years, but nevertheless.When I was 17, it was their third show. I’ll buy 12 pads. And he’s right. And this was the scene to do it in. Sondheim combined the roles of composer and lyricist for works of technical and intellectual sophistication, including
They had a huge organ. We finally woke up to the fact that we should have no plot at all. It’s exactly like improvisatory acting. Something might not fit in the show. Prior to that, I listened to pop records or band records, ’cause my father liked that kind of music.
Though he was, by jazz standards, a very square composer, he was, by musical theater standards, a not square composer, and he taught me to be less square. So the director isn’t suddenly stuck with saying, “I need eight more bars.”Stephen Sondheim: I did my junior thesis in college on the Ravel left-hand piano concerto. It was my mother’s ambition to be a celebrity.Stephen Sondheim: Her maiden name was Janet Fox. I think she was in love with him, but I don’t think he felt about her the way she did about him.Stephen Sondheim: No, and it’s all speculation. And then my memory is that Judy Collins picked it up, but she recorded it in England. They just sat there as at a temple. And I particularly liked watching… We had a Capeheart phonograph, which was a very elaborate mechanism in which 78s — which recorded three minutes on a side, and so you had to turn them over by hand — but this machine turned the record over by a very clever mechanical device, and I used to just watch it, and I think that’s how I got into music. She’d been the putative producer for over a year. There was never any overt hostility at all. Again, the puzzle murder mysteries, the Agatha Christie kinds of things where you know that it’s all going to be neatly wound up at the end and everything’s going to make logical sense. I have no idea. So the only music he ever heard of mine on the stage was Stephen Sondheim: Yes.
I took piano lessons when I was six and seven, but that’s what every nice, upper middle class Jewish boy did in New York City. And the fact that it didn’t transfer on Broadway is exactly indicative. Otherwise, why are you doing it? I don’t know how else you do it, unless you’re the playwright who created the character in the first place. My music probably has less evidence of Copland than it does of Ravel. That’s really hard, and usually it doesn’t come out quite the way you want it. You must not edit until you get it all on paper. You get used to the exact amount of space between lines, because you write a word and then you write an alternate word over it. But my father was indeed proud of me, although he had been not terribly supportive when I first started. So there are a series of circumstances that come together. Rodgers was the producer, so he had the whip hand.
Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox.Articles from Britannica Encyclopedias for elementary and high school students. The sound of conversation.
Sinatra heard it and recorded it. Not always, but generally they do, because the language is too rich. I thought, “This is the kind of song that’ll be played in Stephen Sondheim: No, not really.
I started listening to classical music when I was in my early teens. And then, when I met Leonard Bernstein, he and his family played cut-throat anagrams, and that’s how I got into that.Stephen Sondheim: I’m sure that’s part of it.
I take off from what the book writer has written, sometimes using a line of his as a springboard, and ad lib, and improvise as that character.
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