Broadway Legend Joined: 9/16/07
I don't like using that word in that sentence, so it's kind of like a hesitation/'signalling unusual usage' (but I think it can still convey the message so I use it anyway). I didn't meant to imply he has a 'contribution' rather than a contribution kind-of-thing (like, negative connotations), if that's what you mean.
I tend to use inverted commas for any word I find a little cringeworthy in a particular sentence but use it anyway (I've probably inconsistently used it without inverted commas too, but meh) - I'm not crazy, I swear :P.
Broadway Legend Joined: 12/31/69
No I think the piano vocal scores are much more simple than what Sondheim would work out for or with Tunick togh there's some indication there. Banfield's book on Sondheim (called Snheim's Broadway Musicals or mething bla) is also very good at giving examples about this though the book itself is insanely dense and academic--I've done tons of music theory and found it hard going (thought orth it)
Since this is a Sondheim thread, I will go a bit off topic to ask your opinions. I am looking to buy some more Sondheim music. I can't decide between "Saturday Night", "Bounce", "Road Show" or "Frogs/Evening Primrose". I can't believe I don't own any of these but I don't. I have everything else, pretty much!
if you're only getting one, make it Saturday night.
there are some really great tunes and early gems in the score that, while not displaying the full sondheim genius of his later years (company and on), there are fun little hints of where he was starting out in his craft, and where he would ultimatlely be headed.
But get the version recorded off-broadway. Not the west End version.
"can't decide between "Saturday Night", "Bounce", "Road Show" or "Frogs/Evening Primrose"."
- I would say get ROAD SHOW, it's his newest complete score. But if you want hear his earliest, then check out SATURDAY NIGHT.
SATURDAY NIGHT, all the way. Don't waste your time with BOUNCE and ROAD SHOW.
Broadway Star Joined: 12/31/69
Saturday Night all the way from me too, but as mentioned get the SECOND recording, the Off Broadway cast. Not only is it more complete, with full Tunick orchestrations but it's just miles better than the original semi pro British recording. At the time I was thankful for what we got but the show never really connected for me--hearing the New York recording changed that drastically--I've heard other Sondheim fans who don't think much of the score till they hear the second CD as well.
I honestly think Saturday Night comes off similar to, and compares favourable score wise with, the similar urban themed musical comedies that hit Broadway in the mid 50s--Wonderful Town, Pajama Game, those shows. Its a great little gem IMHO (well score wise...)
As for the others shows, if you're a fan there's stuff there, but... I only recently picked up Road Show but admit I've not been compelled to find the time to really sit down with it so can't comment. Bounce isn't bad really, but it's a show I never have the desire to put on (which is basically unheard of when it comes to me and Sondheim)--when I do play it I'm always surprised at how much I do like it, but then it's over and back on the shelf and I probably won't be playing it again anytime soon.
I assume you mean the recording of the original version of Frogs which is combined with a recording of EVening Primrose. I LOVE the short score of Evening Primrose, but I much prefer the original TV cast and orchestrations to a too eager sounding Neil Patrick Harris.You can find that on the Sondheim box set and on the Kirtzerland TV soundtrack (which may now be out of print, it was a limited edition). The Frogs score is really beautiful actually, some amazing and atypical chorus work from Sondheim but it's slight (and is basically all used on the longer Frogs score he made, recorded as its own cast album even if the new material on that has never grabbed me at all really).
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