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Stephen Sondheim has won seven Tonys, an Academy Award, seven Grammys, a Pulitzer Prize and the Kennedy Center Honors. His career has spanned more than half a century, his 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 Ge***e —Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable producti***.

Along with the lyrics 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-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relati***hip with his mentor, Oscar Hammerstein II, and his collaborati*** 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 observati*** and intimate details—transport us back to a time when theate***as a major pillar of American culture. 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 ***iring songwriters for years to come.

Accompanying Sondheim’s sparkling writing are behind-the-scenes p***ographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection.

Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same li***ry shelf as Moss Hart’s Act One and Arthur Miller’s Timebends . It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with Ge***e .

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Stephen Sondheim has written award-winning music and lyrics for theater, film and television. He is also the coauthor of the film The Last of Sheila and the play Getting Away with Murder. Sondheim is on the council of the Dramatists Guild of America, having served as its president from 1973 to 1981. He lives in New York City.

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Lyrics, even poetic ones, art not poems. Poems are written to be read ... Some lyrics (...) present themselfves as poetry, but music only underscores the self-c***ciousness of the effort. In theatrical fact, it is usually the plainer and flatter lyric that soars poetically when infused with music.

Oh, what a beautiful mornin',

Oh, what a beautiful day.

I got a beautiful feelin'

Ev'rythin's goin' my way!

Poetry is an art of concision, lyrics of expansion ... Every reader absorbs a poem at his own pace, inflecting it with his own rhythms, stresses and tone ... All of us (...) slow down, speed up, even stop to reread (a poem) ... The poet may guide us with punctuation and layout and seduce us with the subtle abutment of words and sounds, but it is we who supply the musical treatment.

Poetry can be set to music gracefully ... but the music benefits more from the poem which gives it structure than the poem does from the music … Music straitjackets a poem and prevents it from breathing on its own, whereas it liberates a lyric. Poetry doesn't need music; lyrics do.

Lyrics are not light verse, either. Light verse doesn't demand music because it supplies its own … Light verse is complete unto itself. Lyrics by definition lack something; if they don't, they're probably not good lyrics.

Performers can color a lyric with phrasing and rubato (rhythmic fluidity), but it's the melody which dictates the lyric's rhythms and pauses and inflecti***, the accompaniment which sets the pace and tone. These specific choices control our emotional resp***e … For the songwriter, it's a matter of what phrase, what word, he wants us to focus on … An actor singing "Oh, what a beautiful mornin' " might want to emphasize "beautiful," but Rodgers forces him to emphasize "mornin' " by setting the word on the strongest beat in the measure and the highest note in the melody.

书籍介绍

Stephen Sondheim has won seven Tonys, an Academy Award, seven Grammys, a Pulitzer Prize and the Kennedy Center Honors. His career has spanned more than half a century, his 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 Ge***e —Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable producti***.

Along with the lyrics 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-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relati***hip with his mentor, Oscar Hammerstein II, and his collaborati*** 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 observati*** and intimate details—transport us back to a time when theate***as a major pillar of American culture. 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 ***iring songwriters for years to come.

Accompanying Sondheim’s sparkling writing are behind-the-scenes p***ographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection.

Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same li***ry shelf as Moss Hart’s Act One and Arthur Miller’s Timebends . It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with Ge***e .