#2
Posted: 9/12/13 at 8:13am
"I Dreamed a Dream" (the late, great Laurie Beechman's version is my favorite) is the first one that pops into my head.
#3
Posted: 9/12/13 at 8:29am
The ending of Another Winter in a Summer Town is absolutely haunting.
....but the world goes 'round
#4
Posted: 9/12/13 at 9:00am
Love Don't Need a Reason (THE BOY FROM OZ)
What's the Use of Won'drin' (CAROUSEL)
What's the Use of Won'drin' (CAROUSEL)
#5
Posted: 9/12/13 at 9:48am
Even though it ends on the highest note of the song, I love when Amalias don't forcibly project the end of "Will He Like Me?". If they do, it takes away from the parts that are projected and disrupts the arc of that song.
Also, "How Could I Ever Know" ends pretty softly
Also, "How Could I Ever Know" ends pretty softly
#7
Posted: 9/12/13 at 10:17am
morosco-How could I forget that! And it's a gorgeous, gorgeous ending after the crescendo just before it.
Memory is another that pops into my head with a quiet ending. (I find it neat after the big 'money notes' there on "Touch me..." how the song ends so quietly-and yet the note is very high for a soft note (it's really difficult to do correctly).)
Memory is another that pops into my head with a quiet ending. (I find it neat after the big 'money notes' there on "Touch me..." how the song ends so quietly-and yet the note is very high for a soft note (it's really difficult to do correctly).)
#11
Posted: 9/12/13 at 11:54am
While it has a nice crescendo right before the end, the very end of “Unusual Way” (NINE) is the first thing I thought of.
#12
Posted: 9/12/13 at 12:14pm
I think there are lots of examples. Here are two that leapt to my mind:
Mamma Look Sharp
I'm Not My Father's Son
Mamma Look Sharp
I'm Not My Father's Son
#13
Posted: 9/12/13 at 12:37pm
Not every song deserves a thunderous climax, it is absolutely true. Many songs are all the more effective for their refusal to bend to that moment.
For example, RAGTIME, the score loaded with epic climaxes (many of which are among my favorites), also boasts "Your Daddy's Son" and "Sarah Brown Eyes," two songs that gorgeously resolve without triumph and fanfare, but sorrow and remorse.
"The 'I Love You' Song" from SPELLING BEE ends with it's hauntingly soft rejoinder to the wildly fanciful eruptions of melody towards its end... stunning and gorgeous way to finish that particular fantasy.
"Falling Slowly" from ONCE ends the way it beguilingly began, only now with both its piano and guitar playing in sync (god, the orchestrations for that show are genius.) There are a number of songs in that score ("Gold" and "Sleeping" as well) that have similar structures, but the acoustic style of music there lends itself to softer endings far more easily than your typical Broadway fare.
Another acoustic favorite: "I Chose Right" from BABY.
The title number from THE LIGHT IN THE PIAZZA ends softly, gorgeously, perfectly.
For all its pomp and parade, "Is Anybody There?" from 1776 ends with a ponderous anxiety, as befits its night-before-the-vote climactic placement.
Respecting the known proclivities of the OP, I will group all of my Sondheim mentions together at once:
"Move On"
"A Bowler Hat"
"No More"
"No One Is Alone"
And, since I'm me, I have to mention "Quiet" from MATILDA here, which folds softly in on itself in its gorgeous second half.
My list is by no means comprehensive, but I'm glad After Eight brought up the other side of this coin.
For example, RAGTIME, the score loaded with epic climaxes (many of which are among my favorites), also boasts "Your Daddy's Son" and "Sarah Brown Eyes," two songs that gorgeously resolve without triumph and fanfare, but sorrow and remorse.
"The 'I Love You' Song" from SPELLING BEE ends with it's hauntingly soft rejoinder to the wildly fanciful eruptions of melody towards its end... stunning and gorgeous way to finish that particular fantasy.
"Falling Slowly" from ONCE ends the way it beguilingly began, only now with both its piano and guitar playing in sync (god, the orchestrations for that show are genius.) There are a number of songs in that score ("Gold" and "Sleeping" as well) that have similar structures, but the acoustic style of music there lends itself to softer endings far more easily than your typical Broadway fare.
Another acoustic favorite: "I Chose Right" from BABY.
The title number from THE LIGHT IN THE PIAZZA ends softly, gorgeously, perfectly.
For all its pomp and parade, "Is Anybody There?" from 1776 ends with a ponderous anxiety, as befits its night-before-the-vote climactic placement.
Respecting the known proclivities of the OP, I will group all of my Sondheim mentions together at once:
"Move On"
"A Bowler Hat"
"No More"
"No One Is Alone"
And, since I'm me, I have to mention "Quiet" from MATILDA here, which folds softly in on itself in its gorgeous second half.
My list is by no means comprehensive, but I'm glad After Eight brought up the other side of this coin.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Updated On: 9/12/13 at 12:37 PM
#14
Posted: 9/12/13 at 5:06pm
"Marta" - KISS OF THE SPIDER WOMAN
"She's a woman" - KISS OF THE SPIDER WOMAN
"There's a fine fine line" - AVENUE Q
"Somewhere that's green" - LITTLE SHOP OF HORRORS
"A little fall of rain" - LES MIS
"She's a woman" - KISS OF THE SPIDER WOMAN
"There's a fine fine line" - AVENUE Q
"Somewhere that's green" - LITTLE SHOP OF HORRORS
"A little fall of rain" - LES MIS
#15
Posted: 9/12/13 at 5:48pm
Miracle in Matilda tapers very quickly down to nothing.
Finale (everything you ever) in Doctor Horrible ends almost silent, a cappella.
Finale (everything you ever) in Doctor Horrible ends almost silent, a cappella.
#16
Posted: 9/12/13 at 6:23pm
When Benadette Peters sang SEND IN THE CLOWNS it ended with a whisper. Loved her performance.
Give me claws and a hunch, just away from this bunch.
#17
Posted: 9/12/13 at 6:27pm
Sunrise Sunset, Anatevka and Sabbath Prayer from Fiddler On The Roof
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Updated On: 9/12/13 at 06:27 PM
#18
Posted: 9/12/13 at 7:27pm
"Rosie" from BYE BYE BIRDIE.
"You Are Love" from SHOW BOAT originally ended softly, but I believe that the soft ending is rarely used nowadays.
The Finale from CABARET also ends somewhat softly, if you excuse the cymbal crash.
"You Are Love" from SHOW BOAT originally ended softly, but I believe that the soft ending is rarely used nowadays.
The Finale from CABARET also ends somewhat softly, if you excuse the cymbal crash.
#19
Posted: 9/13/13 at 12:37am
I'm a little prejudiced, I am sure, but when I directed PIPPIN years ago, I worked with our amazing Catherine (Lisa Dyson, in case anybody reading this knows her) to sing "I Guess I'll Miss the Man" so surely, with all the little jokes intact, that when she held......the last note....down to a whisper, it stopped the show. I like Mister S's small stuff, and this song is just beautifully constructed.
#20
Posted: 9/13/13 at 12:59am
"A Quiet Thing" from FLORA THE RED MENACE
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Tony Kushner: You can sing it at my funeral.
#23
Posted: 9/13/13 at 1:06pm
"Gethsemane" in Jesus Christ Superstar, pre-1996. Most recordings and live productions tend to try to give it a big finish even without the added tag, but I've never cared for that. The 1972 Australian cast recording gives it the nice slow send-off it needs. I believe the Indigo Girls "Resurrection" recording also does so.
Formerly gvendo2005
Broadway Legend
joined: 5/1/05
Blocked: After Eight, suestorm, david_fick, emlodik, lovebwy, Dave28282, joevitus, BorisTomashevsky, Seb28
Broadway Legend
joined: 5/1/05
Blocked: After Eight, suestorm, david_fick, emlodik, lovebwy, Dave28282, joevitus, BorisTomashevsky, Seb28
#24
Posted: 9/13/13 at 2:10pm
"I Hate the Bus" blends softly into the next song. It's lovely.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#25
Posted: 9/13/13 at 2:32pm
I know the truth:
http://www.youtube.com/watch?v=Dw0yt8it134
Loose Ends:
http://www.youtube.com/watch?v=CAs2-VF_2bc
http://www.youtube.com/watch?v=Dw0yt8it134
Loose Ends:
http://www.youtube.com/watch?v=CAs2-VF_2bc
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