One thing is according to amazon.com all the original cast albums on RCA of Sweeney, Into the Woods, Sunday and Merrily (so not their original cast of Assassins or Pacific Overtures) are out of print and some, like the two disc Sweeney are going for insane prices on amazon marketplace used.
This is I think cuz at one point (for over a year) these recordings were all set for remasters with bonus tracks (as usual Pacific Overtures was getting short shift--I can only imagine the reason POvertures isn't getting its due is because it doesn't sell nearly as well as sonically it's the only RCA recording that really does need a remaster--especially compared to DDD recordings like Sunday, the first digital cast album I believe, and ITW)--looks like RCA deleted them even though the remasters are on indefinite hold. I can't see this lasting long--either we will finally get the bloody remasters or they'll reissue the original pressings as most of these were relatively popular CDs so I wouldn't pay anything above $25 for any of them (I'm almost tempted to try to sell Sweeney for instance for over $100 like some on there are and then just buy it when it comes back out but I'm such a Sondheim freak I can't risk it)
Anyway my take on each score major score he did lyrics and music for:
Forum--not one of the essential SOndheim scores but an underated gem especially if you've seen or been in it. The Nathan Lane revival cast recording reflects the current orchestrations and is more complete and better recorded and is the way to go though the Zero Mostel original holds a soft spot for me (and their Miles sings his song in the original key which is how I performed the role)
Anyone Can Whistle--start with the original cast undoubtedly
Company--OBCR, probably one of the most essential original cast albums of all time.
Follies--Papermill is probably the place to start. It's competently performed, has all the music including a great appendix of cut songs etc... However the OBCR recording has stunning performances (that come with sound that sounds like it was recorded in a parking garage and about 40+ minutes of edits and outright cuts) You can usually find it cheap though and I find it essential
(I also find a lot I enjoy in the London recording even if the show has a rather different feel--it'd be my third choice. I know many adore the concert recording but I find it a mess really--although I tend to not favour concert recordings anyway but it would DEFINETLY be my final choice, most of the casting is off, few of the cast sing the songs with any feel of context or character, there are still way too many cuts within songs, etc)
ALNM - OBCR as well though the 1994 Royal National Theatre version with Judie Dench is gorgeous if you can find it--goes for huge prices now (I also have an odd soft spot for the much maligned film version's soundtrack. I own two copies of it on vinyl in case one breaks--I thinkt he performances are tighter than on the original cast and I like the improved Tunick orchestrations and Henrick/Erick singing in a new key as well as the new songs but it does miss most of the original gorgeous score)
Pacific Overtures--one of my top scores although it's a tough sell and I get why many don't list it highly or even know it. But it's *beautiful*. I think the original recording is flawless even if it has some minor edits to fit on one vinyl disc. The ENO complete recording is interesting but unessential and the Roundabout revival is more complete but lacks the atmosphere for me. (when can we get the original production of this out on DVD??)
Sweeney Todd--hands down the original cast. Of the others I actually prefer the unreleased Royal National Theatre version from the early 90s which aired on BBC radio--undoubtedly the most scary recording.
Merrily we Roll Along--this is a score that a lot of Sondheim novies really love I find, maybe cuz Sondheim was trying to be his most "Broadway". The original cast recording shows the spirit and energy these kids injected into the production my one complaint being it's a rushed recording--a few notoable recording flaws and orchestral flubs. the York Theatre New York Revival reflects the score the way it's performed now and there are a LOT of changes, so it's essential for that reason and the performances are good but it lacks ennergy and the paired down synthy sounding orchestrations are almost as disappointing as the 1994 Roundabout Company orchestrations were. I actually never heard the British 90s recording except I know it reflects basically all the modern changes and I believe includes all dialogue.
Sunday in the Park with George you don't have many options but the OBC is essential. It's a great recording and was carefully done (they even added and subtracted new musicians as the recording went on to give a sense of the canvas getting bigger and more complete). the new London album is a surprisingly good recording though and has the fun bonus of the cut song The One on the Left. This is a show though that I think is best experienced for newbies on DVD first--just to really get it.
INto the Woods is a hard choice. I became a Sondheim nut when I was 10 from an audio tape I found at the library of the London recording. Now many fans HATE this recording--but I listened to it for 3 months day and night. I find it gorgeous and a very dark take on the score, and the British accents help with the mood--the tempos are breakneck at time though and you lose some great lyrics (you do get the great song Our Little World not done originally). the OBC is a safe choice though and is a classic though I enjoy the cast more on DVD. the new recording from the Broadway revival is a miss for me--I don't like ANY of the changes to the work but I may be biased.
Assassins I still massively prefer the OffBroadway original recording (for Unworthy of Your Love alone--I just think it comes off that much more creepily when it's *really* nicely sung) the performances are definitive for me--but the revival cast is undeniably talented and it's a good recording with the newer song Something Just Broke and and all the other minor revisions....
I'll end this with Passion (though Bounce and Frogs are interesting worthwhile score) which like POvertures may not be a huge fan fave but is in this case maybe my fave Sondheim score. it's just lush and gorgeous and haunting--but it's not very "shobizzy" or a show for clever rhymes. Like with Sunday I'd actually recommend experiencing this show more on DVD first than on CD--the score is pretty fragmented and I think context helps a lot. The London recording I believe is now out of print--it was a live concert recording but done by most of the cast who performed in it on stage in London (ie Friedman and Michael Ball) and it's nice but something'smissing for me though, like most secondary Sondheim discs, it does have the new brief song for Giorgio.
Hope that helps
JVLsaid:
>If you want to hear a masterful reduction of an orchestration, >also buy the London Revival Album of Sunday in the Park. Peters >and Patinkin are better, but the orchestrations on the revival >album are great.
Ya it's interesting that one works so well (although Starobin's original stage orchestrations for Sunday weren't made for too large an orchestra--the recording upped the strings a lot for key songs) when I find Tunick's reductions of his orchestrations for Merrily and Company SOOO disappointing and sterile. (and yes I LOVE that very 1970s analog synthesizer used in the original Company--I never get why people want to update that show) That said I think Tunick's new orchestrations for Forum were flawless and don'thear much of a reduction unlike others have said on here though they're less quirky than the original's
E
Updated On: 12/30/06 at 07:17 AM
