You mean the memoir Rodgers didn't write, but took full credit for?
I'm a fan of Rodgers' work as much as you are After Death, both of the Hart AND Hammerstein eras, but he was not beloved in the community as a kindhearted and even-tempered man. Not even by his own daughters.
But why bother arguing with you? It's like having an argument with Michele Bachmann.
--"Company" (original Broadway) --"Sunday in the Park with George" --"Anyone Can Whistle" (concert version with the inimitable Madeline Kahn) --"A Gala Benefit for Carnegie Hall Honoring Stephen Sondheim and his Music" --"A Stephen Sondheim Evening" (with a hearbreaking rendition of "With So Little to Be Sure Of") And if you enjoy jazz: --"Color and Light: Jazz Sketches on Sondheim"
His original lyric for "We're Gonna Be Alright" is one of the best comic lyrics ever written. It was certainly Rodgers who was the problem on that number. (Or Mrs. Rodgers, if one believes the rumors.)
I agree, ChiChi, particularly with regard to PASSION.
But I took it that the OP was fairly new to the Sondheim cannon. I wouldn't insist he collect those scores initially unless I knew his ear was fairly sophisticated.
I don't know if I could have appreciated them if I hadn't been memorizing Sondheim scores for decades before they appeared.
A great overview of Sondheim's early years as both a composer and lyricist can be heard in the 2 Cd set of the concert SONDHEIM: A MUSICAL TRIBUTE with many original cast performers on hand to recreate showstopping moments. hear Ethel Shutta play up to the crowd with her "Broadway Baby", Angela Lansbury getting a huge ovation as she walks onstage to lead "Me and My Town." The concert also gave many a chance to hear cut songs "Pleasant little Kingdom" from FOLLIES, "Silly People" from NIGHT MUSIC and the original version of "We're Gonna Be All Right" from WALTZ. SONDHEIM: A Musical Tribute
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
@GavestonPS I was always familiar with some of Sondheim's more popular of his major works and those that had major revivals in the past decade or so. Shows like INTO THE WOODS, COMPANY, FOLLIES, WEST SIDE STORY (lyr), GYPSY (lyr), et al. but somehow I seemed to have missed shows like SUNDAY IN THE PARK..., ASSASSINS and PACIFIC OVERTURES. Then when I recently picked up the new MERRILY recording, I was wondering about these other works that I had never heard the score from before, like MERRILY.
Jason, as a true fan of musical theatre you will find all of Sondheim's scores well worth exploring, along with the HAT books which will give you a lot of background on how each show was created.
From Sondheim you can branch out into the works of his collaborators (Bernstein, Rodgers, Styne) and in turn to their other co-writers (Comden & Green, Hammestein.)
Enjoy your journey!
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
I did get the HAT books a couple of months ago and that's another thing that got me so interested in the shows and scores I didn't know about. His lyrics are genius and really move their respective stories forward, and I can only imagine what their music and orchestrations further provide. I just want the right recordings with enough of the scores that will be my first listening experience of. This really is a journey. :)
@GavestonPS I was always familiar with some of Sondheim's more popular of his majhor works....
My misunderstanding then, Jacob: SUNDAY and PASSION are glorious.
I'll probably be banned for admitting this, but SATURDAY NIGHT, ROAD SHOW and FROGS are my least favorite scores. However I'd never tell anyone NOT to buy them.
I doubt you'd be banned. Those shows are almost never performed and are almost never talked about here. I bet those three shows would make the bottom of many lists.
Give me claws and a hunch, just away from this bunch.
I have honestly not been able to get through all of THE FROGS in its entirety. I have both recordings on my iPod, but I just can't get into it. I was just thinking today that I should give it a chance. It really is like his least discussed score. I do think ROAD SHOW is an excellent score.
I listened to Nathan Lane's FROGS during a road trip where I couldn't escape from the car. Also, I wanted to hear the few tunes from EVENING PRIMROSE at the end.
To me, almost every melody and motif in ROAD SHOW is one I can identify from another Sondheim show. Listening to the recording is like playing "Name That Tune" in my head.
SATURDAY NIGHT is just, well, young.
But all these shows have their champions here, and there's nothing wrong with that.
ROAD SHOW worked really well at The Public. I know that's not the majority opinion, but I really thought it was excellent. I like the score a great deal. "Isn't He Something!" is one of my favorite Sondheim songs. Period.
THE FROGS has one really lovely song, "Ariadne", but the rest doesn't thrill me.
"SATURDAY NIGHT is just, well young" And mayhaps the best score by a youngster. It's full of amazing tunes and witty lyrics, it also is Steve's most positive score, so full of hope. And you can hear the Future too, WHAT MORE DO I NEED is a young positive step toward ANOTHER HUNDRED PEOPLE, and SO MANY PEOPLE reminds me of TOO MANY MORNINGS in style melodically. After SAT NIGHT, Sondie almost never wrote such a less cynical song as ONE WONDERFUL DAY. The Original New York Cast CD has so many wonderful vocals, Lauren Ward, David Campbell, Andrea Burns, Chris Fitzgerald, Clarke Thorell, Natascia A. Diaz, Kirk McDonald, and the whole cast. And Tunick's work is sublime, as always.
On a similar note, I've been listening to the original Night Music recording and I'd forgotten how wonderful it is. Now/Later/Soon has some of his best lyric work, especially Now.
I agree with FrontRowCentre about SONDHEIM: A MUSICAL TRIBUTE.
There have been many tribute and celebration albums in the years since, but none of them have as many of the original performers providing exciting live performances, which augment your experience of their performances on the original cast albums and, in some cases, provide performances that were never otherwise recorded.
And--for Sondheim's sake!--get Sunday in the Park and memorize it! The man won a Pulitzer for that one and, as far as I'm concerned, should have won the Nobel Prize for Literature for it!
""Oh and Do I Hear a Waltz is a surprisingly gorgeous score,"
The expert opinion of an expert."
AfterEight, where did I even SUPPOSE that I was an expert. You gave that title to me--thank you, I guess. If it upsets you that someone loved R&H and also loves Sondheim, I'm sorry.
Curtain--I completely agree. I admit, I gave the show no credit, so I stand by what I said. I think it holds up with, for instance, Wonderful Town and I recommend Gaveston give it another listen.
The Frogs, on the other hand... (though I love the chorus work)