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Sondheim on Music
Minor Details
and Major Decisions

Second Edition

Mark Eden Horowitz

The Scarecrow Press, Inc.

Lanham • Toronto • Plymouth, UK
In Association with
The Library of Congress
2010
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Published by Scarecrow Press, Inc.

A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706
http://www.scarecrowpress.com

Estover Road, Plymouth PL6 7PY, United Kingdom

Copyright © 2010 by The Library of Congress

All rights reserved. No part of this book may be reproduced in any form or by any
electronic or mechanical means, including information storage and retrieval
systems, without written permission from the publisher, except by a reviewer who
may quote passages in a review.

British Cataloging in Publication Information Available

Library of Congress Cataloging-in-Publication Data

Horowitz, Mark Eden.
Sondheim on music : minor details and major decisions / Mark Eden Horowitz.
— 2nd ed.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-8108-7436-7 (cloth : alk. paper) — ISBN 978-0-8108-7437-4 (ebook)
1. Sondheim, Stephen—Criticism and interpretation. 2. Musicals—United
States—Analysis, appreciation. 3. Sondheim, Stephen—Interviews.
4. Composers—United States—Interviews. I. Sondheim, Stephen. II. Title.
ML410.S6872H67 2010
782.1'4092—dc22 2010016747

⬁ ™ The paper used in this publication meets the minimum requirements

of American National Standard for Information Sciences—Permanence of
Paper for Printed Library Materials, ANSI/NISO Z39.48-1992.

Printed in the United States of America

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Contents

Preface to the Second Edition v

Acknowledgments xi
Introduction xiii

Part I: The Interviews 1

1 Passion 3
2 Assassins 57
3 Into the Woods 81
4 Sunday in the Park with George 91
5 Interlude 119
6 Sweeney Todd 125
7 Pacific Overtures 155
8 Finale 165
9 Bounce (pre–Road Show) 169
10 Encore 187

Part II: Songs I Wish I’d Written (At Least in Part) 245

Part III: Song Listing, Discography, and Publishing Information 255

Explanatory Notes 257
Song Listing 263

iii
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iv Contents

Primary Sondheim Recordings 485

Music Acknowledgments 551
Index 555
About the Author 567
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Preface to the Second Edition

Stephen Sondheim became my teacher long before we met. His work

taught me about psychology, behavior, history, language, ambivalence,
and irony. It helped me understand the world, gave me a vocabulary to
discuss it, and provided music to accompany it and add emotional depth.
The work itself was also an example of the notion that art is most effective
when coupled with craft. Given the opportunity to interview Sondheim, I
became his actual student, though I thought of myself as a surrogate for
whoever might someday have access to the interviews in one form or an-
other.
This second edition of Sondheim on Music features two new interviews
with Sondheim. Unlike the first set of interviews, which had not been con-
ducted with any intention that they would be published, I hoped from the
beginning that these would be, and the most recent interview was done
specifically for this edition and is its primary justification. Combined,
they add about sixty percent to the interview portion of the book. The
“Song Listing, Discography, and Publishing Information” section has also
been updated and expanded.
The first new interview focuses entirely on the show Bounce (2003),
which subsequently found its final form in the significantly altered Road
Show (2008). The interview was conducted to inform an article I was writ-
ing for The Sondheim Review on the show’s evolution and birth. Based on
the real-life Mizner brothers, Bounce/Road Show has a long and compli-
cated history. Sondheim first considered musicalizing the story in the
early 1950s, but abandoned the project when he learned that Irving Berlin
was working on a musical on the same subject—a show that never mate-
rialized. When he took up the idea again, it was first realized as a reading

v
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vi Preface to the Second Edition

at the New York Theatre Workshop in the fall of 1999 under the title Wise
Guys (directed by Sam Mendes). Work progressed slowly, until the show,
now named Bounce—and directed by Harold Prince—had a limited run at
the Goodman Theatre in Chicago in the summer of 2003. After a hiatus of
a couple of months, that evolving production opened for a limited run at
the Kennedy Center in Washington, D.C., in the fall of 2003.
In preparation for my article and the interview with Sondheim, I at-
tended the production in Chicago and exchanged emails with him about
that version. I also conducted interviews with John Weidman, the show’s
author, and Jonathan Tunick, its orchestrator (a frequently rescheduled in-
terview with Prince never took place). The interviews with Weidman and
Tunick informed my interview with Sondheim, and excerpts from all
three interviews were included in the article. I also attended the Sitzprobe
in Washington on October 16—a rehearsal where the musicians and cast
play and sing the show together for the first time (held in this case, as is
typical, in a rehearsal hall)—and saw the second preview on October 22.
The interview with Sondheim took place on the afternoon of October 29
in his rooms at the Watergate Hotel, and the show opened the following
evening.
It had always been my hope that the interview with Sondheim would
someday be published in full, but it has taken several years for that to
happen. The Bounce version of the show was not well received and failed
to reach Broadway as its creators had hoped. After some time, Sondheim
and Weidman returned to work on the show, to a degree reverting to an
amalgam of earlier versions combined with the New York Theatre Work-
shop one, now with John Doyle as their collaborating director. I first ap-
proached Sondheim about publishing the complete interview in 2006, but
as he was already in the throes of reworking the show, he felt his com-
ments about the earlier version were no longer relevant; I think he also
feared that publishing it then might confuse or mislead. So I let the mat-
ter drop. After the show reached its final approved version under the title
Road Show, I reexamined the earlier interview and, though the show was
indeed different, much of the score remained the same, and Sondheim’s
comments struck me again as not only instructive and fascinating, but un-
usually revealing about the process of putting a show together. Of all the
interviews I’ve done with Sondheim, this is the only one to catch him in
the middle of working on a show, which gives his responses a rare imme-
diacy. And since a commercial cast recording was made of the Bounce ver-
sion of the score, readers can follow this interview with that recording. In
November 2009, I asked Sondheim again whether I could include this in-
terview in this book, and after a quick reread he said yes. At the time he
was working on his own book, and my sense from his response was that
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Preface to the Second Edition vii

he particularly appreciated the value of an interview that was contempo-

rary with the work being discussed.
When Scarecrow Press asked if I was interested in working on a second
edition of Sondheim on Music, my immediate thought was, only if Sond-
heim would agree to a new interview. A comment I had received repeat-
edly from readers revealed some frustration that the book only focused on
Sondheim’s later shows. There was a reason for that (explained in the
original introduction), but it seemed this was an opportunity to at least
partially correct that imbalance. Also, Sondheim, ever the generous
teacher, always gave me the benefit of the doubt in our initial interviews,
saying things like, “As you know . . . ” or simply assuming that I did. The
reality is (I’m somewhat embarrassed to admit) I didn’t always immedi-
ately understand or appreciate the significance of everything he said. A
new interview would be an opportunity to follow up on some of our ear-
lier discussions, and, I hoped, benefit from a clearer understanding of
how Sondheim worked.
He agreed to a new interview in January 2009, and we ultimately sched-
uled it for the afternoon of May 13, again in his New York home. Prepar-
ing for the interview, as I had the first time, I solicited input and sugges-
tions from several musicologists and musicians. This time, presumably
because people now had a better sense of the notion behind the inter-
views, I received many responses. I also received additional scans of some
of his manuscripts from his archivist, Peter Jones.
This new interview, here titled “Encore,” is in some way the mirror im-
age of the initial interviews. Those sessions worked backward from Sond-
heim’s then most current show, Passion, going as far back as a chapter on
Pacific Overtures (1976). For reasons that mostly escape me now, I skipped
over Merrily We Roll Along (1981). (I’m not sure it was entirely conscious,
but I think I was concerned that Sondheim’s experience with that show
had been so disappointing that I feared upsetting him.) This new inter-
view works forward from Sondheim’s first Broadway show as composer
and lyricist, A Funny Thing Happened on the Way to the Forum (1962) and,
with a bit of skipping around, even touches on his latest work, Road Show.
Of course there are tangents, so not everything is strictly chronological.
After transcribing the interviews and performing some modest editing,
I sent them to Sondheim for his comments and corrections. In addition to
a few specific corrections and clarifications, one telling suggestion he
made was, “You might comb out a few redundancies.” I’ve tried to do
that, but it is a painful task. One of the things I like about these transcripts
of interviews is that they reveal a mind at work. One reader pointed out
to me how often Sondheim begins a response one way, only to immedi-
ately begin the process of refining and rethinking his answer, sometimes
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viii Preface to the Second Edition

to the point of coming to an opposite conclusion. The fact that he puts so

much thought and internal debate into his responses will, I hope, make
readers take them that much more seriously.
The expansion of the “Song Listing, Discography, and Publishing In-
formation” has mostly been in the discography. Not only have there been
many new recordings of Sondheim works since the initial edition of this
book was published, but recent Internet and other resources have pro-
vided hundreds of additional citations for earlier recordings or reissues
that were missed. Readers should be warned that inaccuracies abound at
some major Internet sites (particularly where programs seem to automat-
ically assume that identical song titles indicate identical songs), but with
the benefit of audio clips and other clues, I have attempted to verify and
correct all entries.
When I conducted the original interviews with Sondheim, I had no idea
that they would one day form a book, and when the book became a real-
ity I assumed its primary readership would be musicologists, conductors,
scholars, and fans of musical theater in general and Sondheim in particu-
lar. But I have learned that it has found another readership that I had not
anticipated, but that makes me happiest of all—songwriters and com-
posers. I hope that its influence there will be significant. And though it is
perhaps presumptuous for me to suggest what lessons others should take
from it, I feel compelled to make some comments.
I wish more people wrote like Stephen Sondheim. Not to sound like
him or to copy him, but to invest their work with the same kind of care
and intellect. Some of his approaches are overarching, such as his interest
in experimentation with form and style and structure, and in trying and
finding different ways to use music and lyrics in a dramatic context. Still,
he believes in certain fundamental principles, such as “content dictates
form,” “less is more,” and “god is in the details.” He believes in the power
of the subconscious to make connections and provide solutions, and for
that reason tries to limit his work to the universe of one score at a time.
Some notions are very specific, such as using the natural inflection of lan-
guage to inform the rhythm and shape of the melodic line. Some goals are
opposites in tension—structure versus looseness, surprise versus in-
evitability, clarity versus subtext. Yet, though each score is unique, his un-
mistakable voice shines through. Not cluster chords, changing meters,
wide-ranging melodies, or unusual rhythmic entrances—things that are
typically (if misleadingly) parodied.
Sondheim has a rare combination of talents, not only as a composer and
lyricist, but also as a dramatist. Although he does not author his own li-
brettos, his musical numbers are character- and plot-driven, imbued with
subtext, conceived to be staged, and invariably serve a dramatic purpose.
A few others are also unusually talented as both composers and lyricists,
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Preface to the Second Edition ix

and to some degree dramatists (Irving Berlin, Cole Porter, Frank Loesser,
Meredith Willson, Jerry Herman, Stephen Schwartz, and William Finn
come to mind), but none, I think, at as consistently an impressive level
with all three aspects. While talent, even genius, must account for much
of what makes Sondheim’s work special, it is the degree of craft and in-
tellectual rigor he applies to the process that truly seems to set him apart.
At the Library of Congress, I have been the archivist for collections that
include the manuscripts and papers of Jerome Kern, Vincent Youmans,
Oscar Hammerstein II, Cole Porter, Richard Rodgers, Vernon Duke,
Arthur Schwartz, Frederick Loewe, Leonard Bernstein, and Jonathan Lar-
son, and have an intimate knowledge of several others, including Irving
Berlin, George Gershwin, Alan Jay Lerner, Burton Lane, and Harold
Rome. All of them have impressed me, and I consider myself a fan of their
works. However, none of them has shown evidence of the painstaking
working out of ideas I have seen among Sondheim’s music and lyric man-
uscripts. For the music there are the long-line sketches; the page after
page of accompaniment figures, alternative melodic lines, rhythms, and
harmonic progressions to consider; the conceiving of themes and motives
and how they might evolve or relate to one another. And though this book
focuses on Sondheim’s work as a composer, it is worth noting that, while
all lyricists seem to make lists of rhymes, lists of synonyms, and often gen-
erate page after page of draft lyrics, Sondheim’s lyric sketches also focus
on the underlying ideas of the songs, their structures, and the psychology
of the characters who sing them. Some might argue that this kind of at-
tention to detail robs the works of spontaneity and tunefulness, but to this
listener it creates scores of unparalleled depth and intensity.
Whatever your purpose in reading this book, I suggest that you read it
not just for the specifics—the how-tos and whys—but step back and read
it for its view of a creative mind at work. Sondheim as a teacher provides
guideposts not just for the writing of songs, but arguably for any artistic
or intellectual pursuit. And how often do we have the opportunity to
learn from the best?

* * *

There are additional acknowledgements and thank-yous to be made for

this new edition. Many of the same people who were acknowledged in
the first edition continued with their gracious assistance, but to be added
to that list are the following. From Sondheim’s office, archivist Peter Jones
provided invaluable guidance and scans of manuscripts. The most recent
interview was recorded by sound engineer Ray Romano (recommended
by my dear friend Amy Asch). At the Library of Congress, the current
chief of the music division, Susan Vita, and the head of its acquisitions
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x Preface to the Second Edition

and processing section, Denise Gallo, proved unflaggingly supportive

and encouraging. From the Library’s publishing office, neither edition of
the book would have happened without the support and attention of
Ralph Eubanks, director of publishing, while Susan Reyburn acted as an
enthusiastic editor of the new material, and my new editor at Scarecrow
Press was old friend and previous colleague Renée Camus. Also with
Scarecrow Press, my production editor Jayme Bartles Reed. Brian Eisen-
berg was the copyist for the new musical examples and proved to be ex-
traordinarily careful and caring. Several people suggested questions that
I might ask Sondheim. Some were unasked because of time constraints
and others because they didn’t quite fit within the parameters of this proj-
ect, but among those whose questions I was able to use or adapt were
Stephen Banfield, Rick Freyer, Charles Joseph, Andrew Killick, Kim
Kowalke, Paul Laird, Carol Oja, and Bruce Pomahac.
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Acknowledgments

There are many people to thank—people without whom this book either
would not have happened, would have been less than it is, or would have
been less gratifying to work on. They include:

My wife, Loie Gardiner Clark, for her constant love and encouragement,
her extraordinary skills as a grammarian and editor, and her gracious re-
linquishment of the dining room table.
My parents, judy and Terry Horowitz, for raising me with the arts, sup-
porting me in my choices, loving me unconditionally, and exemplifying a
good and meaningful life.
Steve Clar for his efficiency, hospitality, and insight.
Copyist, Chuck Gallagher, for his accuracy, ingenuity, and care.
My musician friends, who helped, explained, suggested, and understood:
Rob Fisher, Jon Kalbfleisch, Michael Lavine, Bruce Pomahac, Larry
Moore, Jeff Saver, and Russell Warner.
Many at the Library of Congress who in various ways made possible and
supported this project: Abraham and Julienne Krasnoff, members of the
James Madison Council, for the grant that made the initial interviews pos-
sible; James W. Billington, Winston Tabb, Diane Nester Kresh, Jon New-
som, Elizabeth H. Auman, and Vicky Risner for being far-sighted profes-
sionals who genuinely care about the work the Library does and believe
in the importance of projects like this one; Iris Newsom for being both a
careful and caring editor; my colleagues and friends Raymond White and

xi
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xii Acknowledgments

Loras Schissel who generously shared their knowledge and expertise; and
Samuel Brylawski, a friend who has been my mentor at the Library and a
touchstone in my life.

I thank—fundamentally—Stephen Sondheim, for his work and the many

ways it has informed and enriched my personal and professional life, and
the precious gift of his time.
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Introduction

While Sondheim and James Lapine were creating Sunday in the Park with
George, the two went to the Art Institute of Chicago and stood with three
of the museum’s curators before the miraculous canvas of Seurat’s A Sun-
day on La Grand Jatte. “What is that object up there?” they asked, pointing
to an indistinct object in the middle distance. Instantly and simultane-
ously, the curators gave three different responses: a stove, a waffle iron, a
. . . whatever. Sondheim and Lapine would eventually reimagine this
comic incident in their musical’s second act.
Similarly, such disagreements are common among musical scholars in
deciphering composers’ manuscripts. What does this piece of marginalia
mean? How should that symbol be interpreted? How was that chord sup-
posed to function? Rarely do we have the composer’s direct commentary
on how he approached his work and what his notes—both musical and
textual—literally mean. After Stephen Sondheim generously agreed to be-
queath his manuscripts to the Library of Congress, a series of videotaped
interviews with the composer was proposed with the intention of antici-
pating the questions of future scholars. As such, and unlike the many,
many interviews Sondheim has granted to date, these were never in-
tended for publication but rather to serve as a complementary crib to the
manuscripts. On that basis the project went forward with Sondheim’s co-
operation and the support of a grant from the Library of Congress.
What makes these interviews unique is their exclusive focus on Sond-
heim’s work as a composer. Even so, the interviews became far more
wide-ranging than I had imagined, with Sondheim discussing not only
the nitty-gritty of how to interpret his sketches and manuscripts, but how
he goes about the process of writing and composing—in short, his

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xiv Introduction

thoughts and observations about the art and craft of the musical. It was
only after the interviews were completed and I began transcribing them
that I realized they would be of interest and use to a broader audience;
hence, this volume. Using clarity as my guide and goal, I edited the ver-
batim transcripts—eliminating verbal tics, false starts, and some repeti-
tions; completing sentences where their endings seemed obvious; occa-
sionally reordering clauses within a sentence and adjusting grammar
accordingly. I am grateful for Sondheim’s willingness and care in going
through this edition to clarify his meaning even further.
After many months of planning, preliminary examination of Sondheim’s
manuscripts, and consultation with scholars, musicians, and some of Sond-
heim’s associates, the interviews were recorded over three days in October
1997 in Sondheim’s Turtle Bay home—with his manuscripts close to hand.
These manuscripts include sketches, drafts, and fair copies for individual
numbers, and general sketches for each show where he experiments with
thematic material, accompaniment figures, and other musical ideas. We be-
gan by looking at the manuscripts for Passion, at the time Sondheim’s most
recently completed score. Assuming there to be an evolution in his work as
a composer, I wanted to make sure we captured where he was at that mo-
ment as opposed to where he began. I also assumed the details of the later
works would be freshest in Sondheim’s mind, and that many of the ques-
tions and answers would reflect backward on earlier shows.
As a result, we spent far more time on Passion than any other score,
though this first long chapter includes many digressions about other
shows. From there we worked backward through Assassins, Into the
Woods, Sunday in the Park with George, Sweeney Todd, and Pacific Over-
tures—each show becoming a chapter here. Merrily We Roll Along was
skipped because of limited time, but most of the questions raised by my
examination of its manuscripts were effectively answered in the context of
other shows. His earlier work, although often alluded to, was excluded by
the constraints of tightly budgeted time and resources. However, the
chapters “Interlude” and “Finale” cover a number of more general ques-
tions that I felt were important to ask but that did not easily fit into our
discussions of the specific shows.
The fact that we paused every half hour for the cameraman to reload
tape cartridges might explain some seemingly odd breaks or disjointed
moments. Also, this is the record of a freely flowing conversation; there-
fore, it is not as structured as an entirely scholarly book would be. Early
on I decided not to attempt to direct the conversation too much but to sim-
ply enable one thing to lead to another. If Sondheim had something he
wanted to say, I wanted to hear it.

* * *
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Introduction xv

The following chapters tend to start with details about musical composi-
tion and become more general as they continue. One of the benefits of this
book over the videotapes is that it includes excerpts from the musical
scores and sketches under discussion. Some of you picking up this book
might be discouraged by the fact that it begins talking about music on a
fairly technical level. Be reassured that there is much that follows that re-
quires no musical expertise at all. And to those pleased by the initial fo-
cus, it too reappears throughout.
For those unfamiliar with “figured bass” or “classical” musical notation
who wish to understand more clearly those examples and portions of the
discussion that deal with it, let me offer a few explanatory notes. Roman
numerals are used to represent the various chords corresponding with
each tone of a scale—I through VII. Thus, in the key of C, I is a chord
based on C, II is a chord based on D, III is a chord based on E, et cetera.
This allows progressions to be rooted in any key. While some composers
who use this method differentiate the notation of major and minor by us-
ing upper case Roman numerals for major chords and lower case for mi-
nor, Sondheim does not. What he does do, which is more rare, is to pre-
cede most Roman numeral chords with an upper case or lower case letter
indicating on which key (or temporary “tonicization,” as he puts it) the
chord is based. Sondheim’s “gII7” indicates a 7th chord based on the sec-
ond step of a G-minor scale, or A-C-E -G. Subscript numbers 6, 7, 9, 11,
and 13 indicate the color or type of chord, whereas numbers that begin in
the superscript indicate the inversion. Thus, in the key of C, a I6 indicates
a C-major chord with a 6th: C-E-G-A. And a I6 indicates a C-major triad in
6
1st inversion: E-G-C. A 64 is a triad in 2nd inversion, 53 is a 7th chord in first
6 6
inversion, 43 is a 7th chord in 2nd inversion, and 42 is a 7th chord in 3rd in-
version. These numbers indicate the intervals between the top notes to the
lowest note in descending order. Thus, an E-major 7th chord in second in-
version reads down: G-E-D-B, B to G being a 6th, B to E being a 4th, and
B to D being a third. All notes of a chord are not necessarily to be
sounded, though that usually cannot be determined in the sketches.
As Sondheim states clearly in these interviews, he views himself as a
very tonal composer. The notations in his sketches are basically a short-
hand for spelling chords quickly during the compositional process and do
not necessarily reflect how he thinks of the chords functioning. The
sketches often include alternate harmonizations that he wishes to con-
sider, with alternatives either written below or in parentheses.
Sondheim is a rare, if not unique, composer in the world of musical the-
ater and songwriting. He creates a discrete musical language and vocab-
ulary for every one of his musicals. He invests enormous intellect and ef-
fort into each melody, harmony, and rhythm; each spelling of a chord; the
accompaniment figures and in which registers they are placed; and every
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xvi Introduction

dynamic. He plans how extended numbers will develop and evolve so

that they hold together and are satisfying without becoming relentless or
boring. As his own lyricist and as a dramatist who collaborates with li-
brettists and directors, he writes music that is true to his characters and
their situations. He is impeccable in his prosody, matching music and
lyric in intent, inflection, and stress. Yet as individual as each score is, the
unmistakable Sondheim voice sings through even his cleverest pastiches.
One of the pleasant surprises of these interviews was Sondheim’s re-
flections on the work of some of the musical theater composers who came
before him. No other composer has been more fortunate in his personal
connections to the tradition. Sondheim’s mentor was Oscar Hammerstein
II, and his musical collaborators included Leonard Bernstein, Jule Styne,
and Richard Rodgers. Dorothy Fields was a family friend, and we know
he admired and communicated with talents as diverse as Bernard Herr-
mann, Cole Porter, and Frank Loesser. Stepping back another generation,
among Hammerstein’s collaborators were Vincent Youmans, Rudolf
Friml, Jerome Kern, and Sigmund Romberg—his mentor, in turn, having
been Otto Harbach. Sondheim is connected as directly as possible to the
entire history of the musical—in far fewer than “six degrees of separa-
tion.” That unbroken chain makes his insights and perceptions all the
more valuable and rare.
During breaks in the interviews, Sondheim made two comments to me
of which I am particularly proud. As these were not taped, I cannot swear
to his exact words, but their sense resonates in my memory. First: “A lot
of the questions you’re asking, no one’s ever asked me before.” And later:
“I’m saying things in these interviews I didn’t know I thought, until you
asked the question and I had to ask myself: What do I think about that?”
I am grateful to Sondheim for the thought he put into these interviews
and his permission to share them with you.
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Part I

THE INTERVIEWS
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Chapter 1

Passion

MH: I’d like to start with your sketches for the opening number of Passion,
“Clara/Giorgio I,” which in the published score is “Happiness (Part I).”
You wrote “Big X” above this sketch and it reminded me of Gershwin
writing “GT” for “good tune” on his sketches. Is there any similarity in
meaning?

Example 1.1

SS: No, that mark usually means that I want that idea to go with an ac-
companiment. This is from a sheet of vocal ideas for Clara and Giorgio,
and probably the “X” means that it corresponds with an “X” someplace
else in an accompaniment figure or a few bars of accompaniment. So that
I know that I want this to go with that accompaniment figure as opposed
to another. The “Big” means it’s to be the big statement. Each of the lines
is a separate vocal idea. I separate them, as one does, between staves, with
little parallel lines. And I sketch in little words that come from the lyric
sheet to remind myself that this theme is for that particular set of lyrics.

MH: If you’re working on the same section, why would you have alter-
nate sketches in different keys?

3
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4 Chapter 1

SS: I probably have outlined a harmonic scheme someplace else. And

sometimes I change because I realize that it’s going out of a vocal register
or that it’s something that’s awkward. For example, suddenly the melody
will get too low, and yet if it’s still within an octave-and-six or an octave-
and-five—something that a singer can do—I’ll leave it in that key. But if
the tessitura gets too low or too high I’ll switch the keys around before I
get the key that I’m working in locked in my head. So, if I’m writing
something in E-flat, and I realize the melody’s getting too low, before it
gets too entrenched in an E-flatness in my head, I’ll take it up to a G ma-
jor and rewrite the accompaniment in G major (or sketch out the accom-
paniment in G major) and then start the melodic flow going in G major.

MH: Once you’ve completed a song, and it’s in a show, and the key has
been changed to suit the performer, do you still think of it in the original
key?

SS: Yes, if I’m asked to play it at the piano, I’ll play it in the key I wrote it.
Often, I will write in a key that I can sing. You’ll notice in the manuscripts
over the years the keys get lower. I used to be able to sing up to an E, even
on a full stomach, and now I cannot get up above a C and my voice has
darkened. I can sing lower now, but I’m essentially a bass-baritone. So, for
demonstration purposes, I have to write in something that I can play and
sing—to play to producers, directors, collaborators, et cetera.

MH: Do you think of different keys as having different feelings?

SS: There are a number of things I feel about keys. Flat keys are easier to
read and play in; I don’t know why, but that’s generally true—you’ll find
most musicians will say that. I switch keys from song to song—I try to,
unless I’m deliberately making a large scheme of key relationships which
I did in some of the longer pieces in Passion. If I’m just doing a score of
songs, I will deliberately write in a key that I haven’t written in for a
while. I write partly at the piano and partly away from the piano. In the
early days, particularly my first six or eight shows, I would write mostly
at the piano, and my fingers would fall—my muscle memory getting too
habituated—I found myself writing the same chords. I’m not very good
at keyboard harmony. I never took keyboard harmony, I only took theo-
retical harmony. That serves me well, because if I have to make a modu-
lation from C to E-flat, I have to find my way, and in finding my way, it
gets some kind of personal statement, some freshness, in it. It may not be
the way that other people would do it, and sometimes its very clumsiness
will become part of that. Somebody who’s got keyboard harmony can just
glibly (that’s both good and bad) get from one to the other in sixty-four
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Passion 5

different ways. But, if I want to get from C to E-flat, in the key of E-flat,
and I write another song in E-flat and I want to get from C to E-flat, then
my fingers are likely to go in the same places. So I deliberately will write
it in E major. When I feel I’m getting stale I go into sharp keys because
they’re so foreign and scary.

MH: When you were writing these sketches for Passion, would you have
been at the piano, or could you have been either at the piano or away?

SS: Generally I feel my way into an accompaniment figure at the piano. I

know in this case (this is the opening of Passion) I wanted to use bugle calls
throughout the show because it takes place mostly in a military post, and
a bugle, as you know, is just the triad. So I wanted to start with that. Since
it starts with Giorgio, who’s an army man, in bed with his mistress, it also
has to be a romantic piece—a post-coital piece. In order to do that and not
make it just sound military, I put in a dissonant accompaniment in the left
hand, but I kept the bugle idea in the right hand. So you get this, which

Example 1.2

doesn’t sound like a bugle exactly, but it becomes a major motif during the
whole show. But I had to find with my fingers, as opposed to my head, the
dissonant pattern in the accompaniment in the bass in the left hand. Once
I found that, I could then proceed to write melodically about it and against
it. What’s very interesting here is I see it’s in A-flat (it’s deceptive because
it sort of starts with an E-flat tonality, but it’s in A-flat), so that once the
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6 Chapter 1

accompaniment gets going I will then start working out the melodic idea.
That’s generally the pattern. Sometimes a song will start with a melodic
idea; particularly the more pretentiously composed pieces start with an
accompaniment.

MH: What do you mean by “pretentiously composed”?

SS: What I mean is ambitious. “Pretentious” has a pejorative flavor to it,

though not in my head. What I mean is extended—extended writing. Pas-
sion is composed not so much of songs, but of arioso passages that some-
times take song form. The opening is sort of a song form, but it’s fairly ex-
tended, and it’s fairly loose. The idea of Passion, for those who don’t
know, is that nothing comes to a conclusion.

MH: Musically?

SS: Musically. Musically the idea is to make it one long rhapsody so the
audience will never applaud. There are some perfect cadences in it, but
not very many. The audience is never encouraged to think that something
is over, because I didn’t want the mood broken and the audience being
made conscious it was in a theater.

MH: In retrospect do you wish you had?

SS: No, I’m glad. It’s right for the piece. Applause would be entirely
wrong for it. The piece is a rhapsody; a rhapsody is what it is. It’s just
wrong to break the flow with applause; it was always conceived as a long
song.

MH: On this sketch, you have “penult.” and a natural above with the
question mark. What did you mean?

Example 1.3

SS: I’d want to do this at the piano, but this is the climax before the end—
that’s what “penult.” means—and this is the harmony I wanted to reach.
And I think, although this is written in five flats, I didn’t know whether I
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Passion 7

wanted an A-flat on top or an A-natural, because there’s a B-double-flat in

the bass. Obviously, I wanted a clash between what looks like a B-major
triad over what looks like an A-major tonality in the bass.

MH: And things in parentheses indicate an alternate?

SS: Everything in parentheses indicates an alternate. For example, in

this first chord, I didn’t know whether I wanted the C-flat in or not, so
I put two D-flats in as an alternate, which makes essentially the same
sound, but makes it much more of an F-sharp minor chord. Because—
look at that—it’s a first inversion of an F-sharp minor chord if you read
these notes from the top as C-sharp, F-sharp, C-sharp, A, C-sharp, A.
And I suspect I found that . . . because obviously I didn’t want it to end
(that’s why it says penultimate), I didn’t want it to feel as if it really
reached a cadence, but I suspect I settled for that. I’d have to compare
this sketch with the final manuscript, but I suspect I did not settle for
something quite so bare.

MH: If you were working on this away from the piano, would you then
take it to the piano to make the decision?

SS: You got it exactly. Usually I’ll check it at the piano and say, ugh, no,
that’s not what I meant. But most chordal stuff I work out at the piano. If
I have a chord, and a chord, and a chord, and I want to work out some
contrapuntal passage, I might work on the couch and then take it to the
piano and check it. But if I’m looking for the chordal structures, I’ll gen-
erally do that with my fingers at the piano.

MH: What do the red arrows throughout your sketches mean?

SS: That means what I like. As you’ll see, there are a lot of pages of ac-
companiment figures, and after I’ve written down as many ideas as I can,
and I feel as though I’m ready to give birth, I’ll go back over it and decide
what it is that I really want to remember and try to preserve. When some-
thing is the basis of the piece, I don’t need a red arrow for that, and it may
be surrounded by variations on it. But where I had another idea, I wanted
to be sure that I considered it.

MH: Do you mean another idea for the same moment?

SS: Well, for the same piece, though perhaps another place in it.

MH: After you’ve done all the sketching, is that when you play every-
thing through and decide what to arrow?
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8 Chapter 1

SS: Yes, when I think I’ve exhausted the possibilities—at least for that mo-
ment. I’ll have a set of ideas, and I don’t want to bore the listener. Then I
will look through and see, because all of these are related to each other, ei-
ther harmonically, or in terms of melodic outline, or in terms of rhythm.
So it isn’t like it’s an idea for another song—it comes out of the same net-
work of ideas, but it does offer contrast and variety. The trick always—
well, in any art, I guess, but particularly in any art that takes place over a
period of time—is how to give it variety yet make it hold together. How
do you prevent it from becoming an add-a-pearl necklace? At the same
time you don’t want to just repeat ideas. It’s the whole business of long-
line development.

MH: Has it become any easier?

SS: I recognize the dangers of boredom more now than I did at the begin-
ning.

MH: With an audience?

SS: No, I can’t judge. The reason a lot of people complain the music is
difficult is because it does tend to change. It’s something I picked up
partly from Cole Porter and partly from Leonard Bernstein. One of the
things about Lenny’s music that I like is he keeps surprising you—
particularly rhythmically. Just when you think something is going to be
a 3/4 bar, it turns out to be a 4/4 bar, or when you think it’s going to be
a four-measure phrase, it turns out to be a three-measure phrase. So
you rarely get a chance to get ahead of the music, and that keeps the
music fresh—because it’s full of surprises. He used to say—it’s not his
phrase, but he’s the first person I heard it from—that music should be
inevitable but fresh. And when you listen to Jerome Kern, you know ex-
actly what he meant. Anybody who studies a Cole Porter song is due
for a lot of surprises, because what looks like a simple AABA form,
turns out to really be A-A prime-B-A double prime—he does not repeat
the A section. It’s almost repeated, but not quite. And the result is the
ear is constantly freshened, and that’s what keeps music alive over a
period of time. People who like my music and say they discover new
things in it the more they listen to it, it’s because there are these little
surprises scattered throughout. So that what is jolting on first hearing,
on the second hearing you start to see more how it’s part of the
pattern—even if it’s not a conscious process.

MH: But Porter wouldn’t do it through the rhythmic changes that Lenny
would?
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Passion 9

SS: No, Porter did it melodically and harmonically. You look at “Just One
of Those Things” and see the tiny variations, and yet, it’s so close to the
standard form that it could become popular. He’s the great experimenter
from that point of view. Kern is the great harmonic experimenter. With
Porter, it’s really in terms of melodic line and how he keeps spinning it
out in little tiny variations and, of course, the harmonic sophistication.
And Lenny has a lot of harmonic surprise, but primarily the thing that
surprises you is rhythmic structures, I think.

MH: Did you ever talk to him about that, or do you just know?

SS: No, I just know.

MH: And you actually did write “long-line” in this example.

Example 1.4

SS: Ah, well. These two chords represent the entire progression of this
passage, so it’s the spinning out of these two—they’re written as whole
notes, but that means nothing. I write long-line stuff in either whole
notes or half notes; a whole note could represent four bars, eight bars,
twelve bars, sixteen bars. And the half note underneath means: say you
have a C on the top—there’s the “C-ness” of it. (I’m beginning to sound
like Lenny—Oy.) There’s the C-ness on top, but then there’s a G and an
F, which means that for the first couple of bars it will have G as a tonal
center, next F as a tonal center. And to be able to visualize that is of
great help when you’re writing extended pieces—as opposed to a song
form, which, as I say, is either AABA or ABAB. I rarely use long-line
stuff when I’m just writing a thirty-two-bar song, although there is an
aspect of that. I know in “Too Many Mornings” I did that, but that’s a
longish song. Usually I don’t bother, but if I’m writing extended pas-
sages like this—most of the stuff in Passion is extended—then to hold
it together, the glue has to be harmonic and has to be spinning out the
triad and spinning out the harmony.

MH: But the reason you would actually write “long-line” there?
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10 Chapter 1

SS: Is to remind myself where I’m going. One of the things I loved when
I went to the Library of Congress and saw the Gershwin sketch for the trio
at the end of Porgy and Bess was he knew where he was going. He would
just put little thumbtacks all along the way to remind himself: Okay, I
gotta reach the C-major chord over here. And he’s spinning out the
melodic line and then he thinks: I’ll fill in the harmony later, I won’t worry
about how I get from here to here, I just want to be sure that I get there.
That’s, in a sense, what these are—these are bedposts. Oscar Hammer-
stein used to talk about “thumbtacks” in terms of lyric writing—laying
out the carpet, and then putting in the other tacks along here: Here’s point
A, here’s point B, here’s point C. You can see it in his lyrics, they develop
like little plays because of that. It’s not just repetition, there’s develop-
ment. He gets from point A to B to C. I’m not talking about it in terms of
dramatic action, I’m talking about it in terms of idea. I thought: Well why
not do that musically too? And then when I studied with Milton Babbitt,
I found out there’s a nice tradition dating back at least to Mozart that
spins things out that way.

MH: When you start “spinning out the melody,” do you ever get to a
point where you realize, because of what the melody’s done, that you
want to go back and change a “thumbtack”?

SS: Usually what happens is that I’ve worked on it so much that the uncon-
scious takes over, and I arrive where I want to arrive. I’m sure there are times
when, of course, I bend it. I’m not rigid about it, and I realize that the melody
itself will imply something. But since I’m somebody who believes that the
heart of music is harmony, as opposed to melody, it’s very important for me
to have the sense of where the harmonies are going. And the harmonies im-
ply the melody. And quite often the long-line will turn out to be of melodic
value. I’m sure at a certain point I took this opening business and the lower
voice, and used that, because what’s implied here is you have here an E-flat
tonality in the left hand and a C-major tonality in the right hand. I’m sure I
used that juxtaposition throughout. Even if it’s not C major and E-flat, but
that relationship. And the E-flat isn’t entirely resolved because it’s got an un-
resolved fourth in it. So again, it will hold the piece together.

MH: What also interested me in this sketch, is that it looks like you di-
vided what was originally one measure into two measures—15A and 15B.
How do you decide the amount of breath or time that a moment needs?
Is it for the actor?

SS: I have an instinct, and it may not be accurate, but it’s true, that when
Lapine heard this he said to me: I would like to have a little more time
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Passion 11

Example 1.5

there. Not necessarily for staging, but emotional time, because this looks
to me like it was squeezed in later. However, it may be that I just decided
that I didn’t want to get to what would have been bar 16 so quickly. It just
may be that. There’s this whole thing: I wanted so much to get that post-
coital sense of relaxation, and that means that there should be pauses.
Everybody has a different way of dealing with that moment, but in this
case, I wanted Clara to be both a little coy with him and at the same time
she’s relaxing—the balloon is deflating. And that meant that I put in little
passages of rest that ordinarily I wouldn’t do. If this was just a ballad I
would try to keep it going, but being a post-sex ballad, I wanted to have
places where she would just breathe. I do know there was some place in
this opening number where Lapine asked for more time, but it’s probably
later on. This is only the sixteenth bar, and the music starts with an or-
gasm. She’s only been singing four bars here, and I just didn’t want it to
go on so quickly. That’s why that extra measure’s there. And I think what
happened was I played it over and I thought: No, no, she needs more
breathing space here.

MH: There’s so much thought behind your choices, do you ever wonder
how the performances of actors in future productions might be affected
by not having information about the intentions that were behind these de-
cisions?

SS: I wish they would be. I had a nice experience with Alun Armstrong.
He played Sweeney in the Declan Donnelan production we were doing of
Sweeney Todd at the National Theater in London. I was rehearsing Alun
and the quintet in the letter-writing scene in the second act. I worked out
with him when he dipped the pen in the inkwell, and when he wrote and
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12 Chapter 1

when he signed, when he grunted and when he giggled—all that to go

with the quintet singing—because I work out everything in detail. He’s an
aggressive fellow, and he actually turned and he said: “You mean you
thought these things out when you were writing this down?” He thought
that that kind of stuff—when you dip a quill pen—is worked out during
rehearsal. I said: “Yes, of course, every single dip.” Now the director may
change it, but I know exactly when I want him to dip the pen in and when
I want him to cross out a word and repeat a word. There are moments
during “The Letter” where he writes a word, and then he thinks, and he
kind of slavers over the word because he likes it so much because it’s go-
ing to draw the judge into his trap. That’s all worked out. I don’t know
what a director who doesn’t know this will tell an actor when he asks:
“Why does he repeat that word?” I know why he repeats it.

MH: Do you write it down anywhere?

SS: There’s no way to do that. Though, actually, I do write stage directions

down. I think probably on that one I wrote something like “He muses.”
So the answer is: Yes, I work out all these things in detail. It’s a knee-jerk
reaction from an experience I had with Jerome Robbins when we were
writing West Side Story and I played him “Maria.” Lenny was off some-
place, and I was the one who played it for him. And he asked me: “Well,
what do you see happening on the stage?” I said: “Well, Tony is singing
this love song. . . .” Jerry said: “Well, what’s he doing?” I said: “He’s
singing . . . he’s full of emotion.” He said: “You stage it!” We started talk-
ing, and I learned then that it is of great value to a director to stage every
song you write within an inch of its life. They can use it as a blueprint, or
depart from it entirely, but they have something to go from. So I stage
everything. And I tell my collaborating director what I intend, but he
doesn’t have to, and often won’t, pay any attention to it. I worked out the
whole opening to the second act of Sweeney—the beer garden scene,
“God, That’s Good!”—where Mrs. Lovett is serving twenty-seven people
at once. I worked out what each customer was doing—the one that was
underpaying, the one that was drunk, the one that was a glutton, et
cetera—and I had them at different tables. And Hal Prince said: “I think it
would be much better if they were all at one table.” So Hal completely
changed my basic scheme, but the details are still there for him to tell the
actors. I had the guy who’s sneaking away with trying not to pay at that
table while Mrs. Lovett’s back is turned over here, and I had him trying to
sneak out and Tobias catches him. Hal had them all at one table, so he had
to work out how someone could try to sneak out—because at a big table
everybody sees everybody—it’s not so easy to work out. But he wanted a
big table because he wanted that sense of Dickensian stomping. When it
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Passion 13

was done in a revival at the Circle in the Square, there were different lit-
tle tables, and that was the way I intended it. Hal’s production had much
more of a kind of vigor, but that production had much more detail in it.

MH: Did you have to change the score because of it? Did Hal need more
or less time because of the changed staging?

SS: No. That sometimes does happen in revivals. That happened just re-
cently for the concert of Into the Woods. Somebody said: “Could I get some
more bars here?” And I said: “Absolutely.” We needed more time to get
people onto the stage so I allowed extra vamps.

MH: In some of your sketches and drafts for “Happiness (Part II),” you
have it opening with the word “Christ” instead of “God.” What was be-
hind your decision to change it from one to the other?

Example 1.6

SS: I love the word “Christ.” I love the sound of it. It seems to be more
agonizing. “God, you are so beautiful” has a kind of sentimental feel-
ing to it. “Christ, you are so beautiful” has a sense of shock. “Christ” is
a shocking word. I prefer “Christ” and my guess is that Lapine per-
suaded me to change it, not to make him a villain or anything like that.
It also has to do of course with the fact that “God” can be extended as
a note, and “Christ” cannot. You can’t go “Chr-i-i-ist”; it loses all its
value. But you can go “G-aaahd.” You can sing a love song with that
single word. So I can’t tell you definitely what the reason was, it may
have been Lapine, or I may have heard this sung and I thought: It’s a
little too shocking. To say “God” on the stage forty years ago was
a shock. Now it’s not such a shock. To say “Christ” still is a shock. It
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14 Chapter 1

really is, to quote, taking the Lord’s name in vain. I’m not just talking
about to the Christians in the audience, it just has that feeling—it’s a
real [loud clap].

MH: Would the fact that Passion takes place in Italy—a Catholic country—
have anything to do with your choice?

SS: I didn’t even think of that. Of course James and I talked a lot about
that, so it’s conceivable that character wouldn’t have said “God.” I don’t
know what the Italian word would be that would be an equivalent. When
you say “God, it’s hot outside,” you’re not really swearing. But if you say
“Christ, it’s hot outside,” that’s got real force. I just wanted one of those
expletives that isn’t an expletive.

MH: Would you elaborate on the erasures in your sketches?

SS: When I start writing a piece out in detail—making real copy—and

then I turn against it, or I decide to change something, but it’s not worth
erasing most of a page, I’ll rewrite the bars I want to keep on a fresh page.
Then on the original I’ll lightly erase the page and bar numbers, but not
so thoroughly that I can’t see them. Then I know that this was a discarded
page, and I don’t end up with two page twos with two bar eights, and say:
“What . . .?” Because erasures don’t mean anything, I erase all the time.
And often, my so-called completed copy will have a lot of erasures in it.
It’s not a fair copy. I have the luxury of giving it to a copyist who will then
write it out in neat form. She often gets a manuscript from me that’s full
of erasures. Incidentally, one of the small, practical problems of writing
music today is that in the old days I used to have a messenger come to the
house and pick up the manuscripts and take them to the copyist. Ever
since the fax machine was invented, we send faxes. But if you send faxes
of erased notes, you get a call from the copyist asking: “Is that an E-natural,
or is that a D-natural?” You can read my manuscript okay in person, be-
cause I write very heavily with a pencil (and I write also with Blackwing
pencils, which smudge very easily). I try to write very dark for the copy-
ist to understand it, hoping that she won’t have to call me.

MH: Do you always work with the same copyist? Do you request some-
one in particular?

SS: For many years I worked with a well-known copyist around town
named Mathilde Pinchus. After she died I worked with her assistants for
a while, and now I work with a woman named Peggy Serra. She’s very
quick and very smart. Because of the kind of harmony that I use, she
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Passion 15

doesn’t make assumptions. She doesn’t assume that just because I’m in F
major, that a note’s an A-natural.

MH: In this sketch, I’m struck by the layers of harmonies that you’ve in-
dicated and the way that you use Figured-Bass—the fact that for almost
every harmonic change, you also imply a key change. So, as I read it, it
looks like you’re starting with a II chord in the key of G minor, going to a
I chord in the key of A-flat.

Example 1.7

SS: Well, if you have an A-flat chord, how are you going to notate the A-flat
if you’re in a G-minor tonality? You can’t, because in G minor, the bass of
the II chord’s going to be an A-natural. So, if you’re going to go to an A-flat
chord you have to change the tonality first. If all the notes are going to be
within the G-minor tonality then I’ll just go: II-III-IV-V—whatever it is. But
if you’re going to change, how else would you notate it? There’s no other
way to do it. I was not brought up on Guitar Notation; I was brought up on
so-called Figured-Bass, or Classical Notation. I find Guitar notation useless
because you don’t get enough information about the positions of the chords
and the building of the notes. You get what the notes are, but not what the
bass is and what the basis of the chord is. So I use this rather elaborate form
of notation, but also to remind myself. Here I have an idea for an accompa-
niment, and now I want to carry it out harmonically, and I know I’m going
to use this little passage in bar 10, which I’ve just sketched in. That’s going
to be the rhythm of the accompaniment. So, quickly, while I’ve got the har-
monic scheme in mind, I will write out the harmonies. What’s interesting
here is these are all alternates for the passages.
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16 Chapter 1

MH: So you don’t mean this to be read as chords superimposed on each

other?

SS: No, not at all. Because you have so many choices. Particularly if you’re
using any kind of dissonant harmonies—in terms of musical theater, not
Alban Berg. Since there are so many choices, and since, whether you use
E-flat-G-B-flat and D, or E-flat-G-B-flat and C is an enormous difference.
And those have entirely different notations, I have to have the alternates.
There isn’t an awful lot of difference between E-flat I6 and E-flat I7, but
there is a difference. And I want to remind myself: Don’t settle for one
without examining the other very carefully. And then when you see them
on a level—if it’s going to be a G-minor I6 it’s going to go to an F-major I6.
6
If, however, it’s an E-flat I7 it’s going to go C-minor I42. So that when they’re
on a horizontal line it means: If I choose this then that follows, if I choose
this other one then that follows. Usually the top one is the one that’s going
to work, and I probably ended up using the E-flat, C-minor, et cetera. I was
also screwing around with the melodic outline and deciding whether I
wanted to use four sixteenths or an eighth and two sixteenths, and some-
times that makes a huge difference.

MH: You asked: How else are you going to notate those chords? But in
your mind are you also thinking of it as a modulation to that key?

SS: No, no, no, no. First of all, I never think in terms of modulation, par-
ticularly in this kind of music. It’s constantly changing—within chord to
chord—keys, so to speak. No, I know what the tonality is—I write very
tonal music. But to go from chord to chord, where there are changes of the
center of the tonality? No. This just means for these four notes, that’s go-
ing to be an A-flat tonality. Even though one could notate it, if you
wanted, as C minor. That could very well be a C-minor-VI6, but it’s an A-
flat chord simply because in between I’ve gone to something else. So, it’s
much easier for me to refer to these and read each chord as a separate
chord. Rather than think: All right, shall I write this in A-flat with a flat-
ted fifth? No. I’d rather write it in whatever other notation I want to use—
depending. An F-minor I6 (if that’s what I was doing), if it’s going to be A-
flat-C-D-F, as opposed to an A-flat chord with a sixth on top and a flatted
fifth. That’s all. It’s just whatever’s easier for me to read.

MH: The inversions that you chose here—what is it about them . . .?

SS: Well, I learned a long time ago, and I try and use it more and more,
that—particularly in music that you want to keep moving—most com-
posers of songs and in musical theater tend to use block harmonies. That
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Passion 17

is to say, everything’s based on the root position—generally. And certainly

that was the tradition, with the rare exception of Kern and sometimes
Porter. Rodgers wrote mostly root positions. And yet, inversions are ex-
actly what gives something variety while you’re holding it together
with glue. Assume you’re in C major and you want to get to a I chord.
You know a lot of stuff is written over a pedal point in musical theater;
I write with a lot of pedal point, but it isn’t just a matter of writing
wrong notes in the right hand while you constantly have your ostinato
bass; it’s a question of how long do you want that bass to pound into
your listener’s ears? Musical harmony, as you know, moves by bass
line. That is the motive that changes things. And it doesn’t matter how
you screw around with the notes on top; if the bass remains solidly con-
sistent, it’s going to sound that way throughout. So, if you want to stay
in C major, and you want some variety, why not go to a C I6? Now the
instability of first inversions is something that’s very hard to deal with
when you’re so used to block harmony. I get scared sometimes when I
use a I6 that it’s all going to fall apart. Because, you know, it’s so easy
and satisfying to pound away at the I-V-I-V-I-V, as most songs do. But
when you get to the I6 chord, it becomes a little more interesting. Be-
cause the I6 chord tends not to want to go back to the V, but to lead to
a IV or even, sometimes, to a VI chord. So, if you’re in C major, the E
will pull toward an F in the bass or pull toward an A in the bass. I’m
talking in the simplest possible chordal terms. But at least you’re get-
ting away from that C-G-C-G-C-G. So, that’s why I try to give myself as
many opportunities as I can. I see there are a lot of first inversions in
this passage, and clearly I wanted the passage to move—I wanted it to
be liquid—and one way of doing that is inversions. Look at that, for
two bars you’ve had a pedal tone underneath, and it’s about time to get
off the pot, so to speak. That’s why I try to use inversions.

MH: Do you go for a bass line that you think will give you melodic
counterpoint?

SS: That’s what long-line composition is: What’s going on on the top,
and what’s going on in the bottom, and how they do that, and how do
they then make the music stay within F major, before you get to the sec-
ond movement, so to speak, which goes to the A-flat major. I often will
make long-line with just two lines—the top and the bottom—because
that’s how you make music move. And sometimes, if I’m trying to be
clever, the melodic line will be the inversion of the bass and vice versa.
There are all those kinds of things. But they’re more than being clever,
they really hold the music together. I’m a firm believer that the ear hears
things that the mind does not know, particularly in non-musicians, but
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18 Chapter 1

even in a musician. That, if it’s there, it’s there. You look at a sidewalk,
you don’t see the grouting, but the grouting is there. If you’ve built
sidewalks, you see the grouting. You say: Gee, that’s bad grouting over
there. (This is a terrible metaphor and I’m going to pound it into the
ground.) The whole point is that what cements music is a musician’s
business, and the idea is not to make it effortful for the listener—to
make it effortless for the listener. But that cement is what makes the
piece hold together, and if you put too much cement in, it absolutely
rigidifies it and it becomes boring. Actually, “grouting” is a very good
metaphor now that I come to think of it, because it holds it together, but
allows it to expand and contract and prevents it from breaking. That’s
exactly what should be going on with the business of an inversion: An
inversion is to allow the music to expand a little bit—instead of just go-
ing I-IV, why not go I-I6-IV? I remember, there’s an inversion in “Losing
My Mind”—which is an absolutely traditional thirty-two-bar song—
but I used an inversion, and when I got to it, I thought: Gee, that’s
good, that’s something Kern would have done. It’s very simple, the
song’s mostly based on root position harmonies, and then there’s this
one inversion—I think it’s in the sixth bar of each eight—and it just

Example 1.8

gives real . . . air. It’s a tiny thing, but it gives real air. You have this
desert and a tiny little oasis in the middle. I think it pays off in terms of
letting the listener off the hook, and giving the listener a breath—the
ear a breath—to go on and not fall asleep. Unfortunately, in musical
theater, particularly in the last forty years, audiences like to fall
asleep—they like to know what’s happening next, they don’t want to be
surprised. But I think what makes a song last—or music last, or art
last—is surprise; particularly narrative art—music, in the sense of nar-
rative art that exists in time.

MH: When you hear other people’s work, can you hear those subtleties
consciously?
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Passion 19

SS: No. Absolutely not. All I know is that my ear is surprised. I’ve been
around the block so many times that I tend to be ahead of the chordal
structure of most music that I hear in the musical theater. So when it sur-
prises, it really surprises. Sometimes, as in a score like Adam Guettel’s
Floyd Collins, which I think is a great score, I want to study the music
when it’s published. I really want to see how he did it. I’ve heard the
recording three times. The music’s not all that dissonant, it’s just that
he’s got a fresh mind; he doesn’t go where you expect him to and yet it
sounds inevitable. You know that’s what Lenny meant: It mustn’t
sound “dump-bump-be-um-pump, ump-eem” [sings “shave and a hair-
cut” with a wrong final note]. It shouldn’t be arbitrary, it should be in-
evitable. You get that in Kern, and you get that in Adam Guettel’s work
too. And that’s the mark of a good composer, because he’s surprising
without going: Nyah nyah, nyah nyah; you thought I was going to G,
nyah nyah, I’m going to F-sharp. Anybody can do that, and they do it
all the time. Lenny criticized the score of Forum. He said there was a lot
of wrong-note music in it, and I bristled when he said that, but he was
right. A song like “Pretty Little Picture” has absolutely unnecessary dis-
sonances in it because I was so afraid of writing a triad. When you’re
young and you’re trying to make a style for yourself (it’s true of every
composer I know), you decorate the music so that it doesn’t sound like
anybody else’s. And, of course, the real point is, if you try to make it
sound like everybody else’s and it’s yours, it’ll come out your own. So,
it’s ironic, but every young composer has to go through that. I went
through it with Forum. There’s some stuff in Forum that is natural to me,
but there are other things where I can just hear myself being ashamed
of what I was writing.

MH: Ashamed at the time, or subsequently?

SS: It was unconscious. It was: How do I make this interesting? And one
of the ways you don’t make something interesting is adding a tritone on
the top, and yet everybody does it—you write: C-E-G-F-sharp.

MH: Do you feel restricted writing for musical theater? Based on

what you’ve been saying, do you wish you had pursued other types of
music?

SS: That’s a hard question. As you know—as you know—I don’t like
opera, but I have a feeling that I wish I did. Because, I’ll tell you some-
thing, it’s much more satisfying and easier to write something like Passion
than it is to write something like Merrily We Roll Along. To write a thirty-
two-bar song that has freshness and style to it and tells the story is really
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20 Chapter 1

hard. And nobody does it anymore. Everybody writes so-called “sung-

through” pieces, and it’s because anybody can write sung-through pieces.
It’s all recitative, and they don’t develop anything, and it just repeats and
repeats and repeats. And that’s what most shows are. I don’t even go see
the shows; it’s so boring to me. But it’s really hard to write a song, and no-
body writes songs anymore in the musical theater—they write extended
pieces. And I know from Passion, it’s much easier to write extended arioso
stuff than it is to write songs.

MH: Then do you have more pride in Merrily as a musical accomplishment?

SS: I don’t want to compare, because I’m very proud of Passion, but,
yeah, I’m very, very proud of Merrily. Merrily was the hardest score I
ever had to write, and it was partly because I was trying to recapture
what I was like when I was twenty-five without making a comment on
it. It’s about two young songwriters, and I wanted to convey what they
would have written back in the late fifties, early sixties, without mak-
ing it a takeoff or a parody. And they’re supposed to be talented. Writ-
ing it was like pushing a pea up a hill with your nose. What I like
about it is it sounds effortless to me now—it just sounds like a nice
score—and I know what went into it. And it tells the story in thirty-
two-bar songs. I mean some of the songs are 108 bars, but they’re sec-
tions of thirty-two bars—and by thirty-two bars I mean the whole
thing is based on modules of four-bar and eight-bar phrases. Whereas
Passion is all: Oooh, I think, yes, she’ll sing a little longer here, now
. . . Aaah, I’ll give her a little rest here . . . Now maybe I could bring that
theme back in here. I see why opera composers had a good time: it’s
much easier.

MH: What about non-vocal music?

SS: I haven’t written enough to have any wisdom on that.

MH: The desire?

SS: I would love to write ballet music. I’m square enough that I like the
“Dance of the Hours.” When I first played my music for Jerry Robbins, he
said: “You ought to be writing ballet”—that I write dance music. It had
never occurred to me, but he was right. If I wrote any concert music it
would be ballet.

MH: We’re looking at “Fosca’s Entrance I, 2.” I was just intrigued by these
few notes here.
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Passion 21

Example 1.9

SS: When I write—when I start—if I have an immediate idea, before I start

a sketch sheet, I’ll put down some kind of basic idea. Where it says
“Chopin in C” alludes to how I was imitating Chopin for Fosca’s piano
piece. “Bar 19, bar 14, bar 26” looks to me like a later notation. But the
point was the range was going to be from C to G.

MH: The vocal range for that character?

SS: Yes, exactly. And here I’ve written “verse” over the E-natural.

MH: Why would you think that? What would make you say her verse
should be in E-natural?

SS: I have a feeling this is her actual entrance. And the numbers in circles
mean bar numbers—in this case, bars 5 and 7. So, let’s see if there’s a D-
sharp in bar 5 in some remarkable way . . . and of course there isn’t. This
is the Chopin thing. Clearly, what I’m doing is I’m trying to figure out
how to have her sing against the Chopin. Because there are two things go-
ing on here: there’s the piano piece and her vocal. That’s what I obviously
am trying to work out. Let’s see, we’re in the key of . . . we’re sort of in the
key of D, but not really.

MH: Usually, the audience thinks it’s her playing piano upstairs.

SS: I’ve established that earlier, so I know that I want to use that. What
goes on before the entrance is that we hear the music earlier. And now
this is in the orchestra, and it’s an echo of what we heard before. So this
is the orchestral version of the piano, which I’ve done with sustained
chords and with an occasional whiff of the accompaniment figure from
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22 Chapter 1

Example 1.10

the piano piece. What’s interesting here is the flat signature above
where it says “4th letter.” I remember vaguely now, I was making a
transition from Clara’s song—you know she has this sort of waltz “. . .
our little room. . .” et cetera—and against it, in comes dissonant music
which is Fosca. Clearly what I was doing was making a relationship be-
tween F major and D major. D major being what Fosca’s going to get
into here. This may be the long-line of it, because look, it returns to F
major.

MH: Fosca’s keys became lower in the actual show, so how do you deal
with key relationships for different sections with different singers when
the keys change with the casting?

SS: Unfortunately, unlike opera, in musicals you cast for the people. In
opera you force: it’s a five-hundred-pound soprano and she’s forty years
old and she’s playing Juliet—that’s what you do. Because the suspension
of disbelief that audiences bring to opera is so much greater than what
they bring to so-called musical theater. I’ve rarely had to change musical
structure to suit voices. Fosca’s entrance, for example, is a solo; Giorgio’s
is speech, so it doesn’t matter what key it’s in. There is no over-arching de-
sign to the score of Passion—it is not one long piece like Wozzeck or Lulu.
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Passion 23

Sections are done that way, but I’m too practical to force people into some
kind of scheme that. . . .

MH: There’s no score like that of yours?

SS: No, none. There are sections, there are sections. But where the indi-
vidual sections are set is arbitrary in the sense that you accommodate the
singer. So I never think in terms of an overarching musical structure. One
of the reasons I don’t like opera is it’s so full of longueurs and recitative; in
musical theater what you want is the ability to cut things. If you’ve built
an entire structure, and you suddenly decide that the center, the capstone,
which happens to be this beautiful aria in E major and it’s what every-
thing has accumulated to is E major, and then you decide it’s boring and
you want to cut it out, there goes your structure. I argue: You know op-
eras have intermissions, so what the hell’s the point of writing one—un-
less it’s a one-act opera like Wozzeck. Would Tosca really suffer if the entire
second act were a half-tone lower? Would the design go out the window?
Would we be bored to death? Would we feel a thing wasn’t working? I
don’t think so.

MH: In an ideal world, say, fifty years from now, somebody’s doing a pro-
duction of any of your scores, as opposed to going to the published piano-
vocal scores, would it be preferable if they went back to your original
manuscripts and used the keys that pieces were composed in?

SS: That would be fine. I don’t think it would make any difference. It’s all
in the color of the voice. As long as they don’t change anything within the
piece I don’t think it matters, I really don’t. I once had to change the struc-
ture within a piece. It was Mrs. Lovett’s first song in Sweeney Todd—”The
Worst Pies in London.” I had it quite worked out in terms of its own har-
monic design and the long-line, and Angie couldn’t handle it. Because,
though she can sing in head, it has an entirely different effect—it’s a comic
effect particularly—and so I had to take the whole second half of it and
switch things around to accommodate her voice. I think the song turned
out fine anyway, but ideally it would have been the other way, because I
had a specific harmonic plan.

MH: So when New York City Opera did their production of Sweeney Todd,
did you think of going back to the original version?

SS: It never occurred to me to go back. Also, that would mean to re-

orchestrate. All those practical considerations.
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24 Chapter 1

MH: This is a moment that’s just impressed me a lot because of how

quickly yet subtly it changes the mood.

Example 1.11

SS: It’s probably by chance.

MH: It’s the end of the first section, where Fosca has the breakdown, and
then very quickly the transition to the “have you explored the town” sec-
tion. What do you try to do musically to create a transition like that—for
both the audience and the actor—and to give them something to play?

SS: It’s an hysterical woman who has realized that she’s talked too much,
and she may be chasing away the man of her dreams whom she theoreti-
cally just met, but whom she’s been spying on, and she suddenly decides
to become charming. But Fosca’s idea of charming is our idea of hysteri-
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Passion 25

cal. And so that’s what’s behind the change in music. So what I want to
do is find something that’s chattery and chirpy and slightly annoying.
That is the intention musically. Now, if you say: Why did I choose chords
like that? That’s all it’s doing—to echo the moment.

MH: Do you do things musically to help the actor make emotional

transitions?

SS: No, make the character. When Donna Murphy auditioned for us we
gave her this piece. Her audition performance could have gone on stage
that night. She’s intelligent. There’s something in her that identified with
the character right away, and I write careful scenes. I say this with no
modesty at all: When I’m writing dramatic stuff, I’m a playwright. This is
a worked-out scene, and I can instruct the actress how to play this scene,
and the music is part of the dialogue. I can tell her why the music gets
quick here, why it gets slow here, why there’s a ritard there, why there’s a
so-called key change here, why it suddenly goes up and down—all of
that—because I have reasons. Now the actress may choose to ignore them,
but Donna, who was just auditioning, did not have a chance to ask me,
but she understood it. And this piece is psychologically very well laid out,
and all it takes is a good actress to understand it exactly. It’s one of the rea-
sons why actors like to sing my stuff—because I’m essentially a play-
wright in song, and I’m not asking them to sing songs, I’m asking them to
play scenes. It doesn’t matter whether they’re in thirty-two bars, or thirty-
three bars, or a hundred-and-nine bars, or six minutes. One of the reasons
it convinces you is because psychologically it’s true. If I were writing this
as a play—as a monologue—I would do the same thing: She would get
grinding, grinding, and suddenly start stirring her coffee and get chirpy
without any music at all. That’s all. And notice there’s only one bar where
she gets to breathe before she changes tone.

MH: Why would making it one bar be noteworthy?

SS: Because ordinarily when you go into a new rhythmic section you give
the audience a chance to hear the rhythm for a couple of bars. Not in
opera obviously, but in a musical.

MH: Why didn’t you give her the chance here?

SS: Because I think she’s too hysterical. I think everything’s got to be off-
beat. I think Fosca’s one of those people who, when you think she’s going
to be quiet, she screams; and when you think she’s going to scream, she’s
quiet; and when you think she’s going to cry, she laughs. She’s completely
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26 Chapter 1

out of control—she’s a loose cannon. What I wanted this opening number

to do was to make the audience really frightened of her—to say: Oy,
there’s a bundle. And I think it does. I think at the end of this song they’re
ready. Because, you know what happens right after this song: she has this
screaming, hysterical fit, which is one inch away from making the audi-
ence laugh, but because of the song that precedes it, they don’t laugh.
There was a tendency to giggle a little bit—to have a woman watching a
funeral procession and suddenly scream and have an epileptic fit—be-
cause they’re not prepared for it. But they are prepared for it because of
this—because of that transition.

MH: My assumption is that this is one of your “long-line” sketches.

Example 1.12

SS: It sure is. I have to refresh my memory on this. Obviously I wanted to

start with a nice B-flat. I must have had an idea, because this is odd—go-
ing to an A and an E there (or a B-double-flat and F-flat as I wrote it.)
When I do a long-line sketch, I divide things into sections. The first sec-
tion is clearly the “intro” before she enters. And obviously this B-flat ei-
ther comes from the Clara section or from the Chopin music, but the point
is this is where she comes in. Now I had devised a 7/4 arpeggio [see
m. 12, Ex. 1.13]—and from what that implied, I started to work out the
harmonic structure. The second section leads up to the lyric about the
flower—”There is a flower . . .”—where there is a change of music both
in texture and in register: it goes up into the upper octave, and also has
a light waltz flavor which I wanted to use later at some point. So the
second section of the sketch is really the first section of the song. Now,
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Passion 27

Example 1.13
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28 Chapter 1

Example 1.13 (continued)

where you see the half-notes, it doesn’t really mean a half-note, it’s just
for notation purposes—half note, C-sharp-half note, D-half note, F-sharp,
and then to G-natural—and means that these sections are functioning as
an outline.

MH: Is that melodically or harmonically?

SS: Harmonically. Because you notice all the thirds. And what interests me
here is why I put the B minor at the bottom, because it doesn’t really . . . with
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Passion 29

the A-natural above, it doesn’t really sound, but that’s what that means. I
wanted the Bs to be here. Obviously the scheme is to go from B-flat to B-nat-
ural to B-flat. So it has some kind of arc effect that way. And then, you think:
What do those notes have in common? You see it leads to a G—it’s G minor,
but in fact G minor/major—and G minor has B-flat and G major has B-nat-
ural. So, that the whole passage is built on the alteration of B-flats and G. The
“recap” I put in G minor for some reason, and went from G minor to B mi-
nor. Half-notes represent the inner motion of the harmonies. Quarter notes
are sections within that. Let’s compare this to the later manuscript and see if
I’ve written it in a key where we can make some sense of what I intended.
Oh dear, the later manuscript is in D minor. Obviously what I did was I
worked this out and then I transposed it. I must have done that for range or
register purposes. So, unfortunately, what we have is D minor. The way the
sketch went from B-flat to B minor—the full copy goes from D major to D
minor, I mean B-flat to B-flat minor, but . . .

MH: I thought it was a B-natural minor.

SS: B-natural minor. Sorry, in the sketch it is B minor. But the progression
in this later version is from D major to D minor. D major being the verse.
Now why did I change it? Let’s see: it clearly opens with the Chopin—it
starts out with a nice triad. And then it goes into D minor, but look, it’s
got a G-C-E [see m. 10 of Ex. 1.13]. And in the sketch it’s B minor, but it’s
got an E-A-C-sharp. It’s the same thing, it’s just transposed. In other
words, the first three notes in the arpeggio outline D minor, but on top of
it I’m laying in another chord. If you hold your foot on the sustaining
pedal down and play those first six notes you’ll get that chord. It’ll be
transposed, but you’ll get that chord. So clearly what I want to do is relate
the major chord in the Chopin to this minor version of it. It softens it by
bringing in the flatted seventh. I’m sorry it’s transposed, because other-
wise we could watch how the thirds move in the accompaniment figure.
. . . I’m moving those thirds up and down, and the C and the E become a
D and an F. The C-sharp and A become a D and B. They’re parallel. The
whole idea is to build it on thirds.

MH: To relate back to the military figure?

SS: No, I don’t think so. I think it’s because it’s my favorite chord.

MH: What is?

SS: The kind of chord in which you take a triad and lay on top of it another
triad and it’s all within the same key. It’s sort of a jazz chord is really what
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30 Chapter 1

it is. And it’s unresolved which is what’s nice about it. Ordinarily, in D mi-
nor, that would be a C-sharp, but by making it a C-natural it has a softer
more fluid sound. And it’s just something I like a lot.

MH: Do each of those subtleties—whether it’s a C or a C-sharp—do they

mean something to you intellectually, or is it emotional feel?

SS: It depends. Sometimes it’s because of the way I’ve worked out the long-
line, and sometimes it’s just I like that sound better. A lot of music’s chosen,
I think—at least by me—just because I like it better. Because it fits the emo-
tion better. And when you talk about: If you’re writing the character, and I’m
writing the character, a chord that suits you might not suit me and vice
versa. A chord that conveys to you the essence of her character might not
convey it to me. It’s Rachmaninoff melancholy; this is a chord you find all
the way through his music. It’s that kind of Russian melancholy that has an
“Oy . . . oy . . . oy” kind of feeling. And Fosca’s feeling sorry for herself. As
a matter of fact, I remember, I was worried about this becoming sentimental,
because I wanted her to feel sorry for herself, but to be fierce. And that is
why (if you want to talk about intellectual) I chose the melodic line to start
with sixteenth notes instead of something slower. And this is against the
eighth-note accompaniment. Ordinarily, one would match the melodic idea
to the rhythm of the accompaniment. But here, I deliberately did not, be-
cause I wanted her to have these stuttering phrases over this melancholy
Russian music. Now I didn’t mean it to be Russian of course, but that’s my
idea of melancholy. So, that’s the reason for the choice of that kind of stut-
tering melody as opposed to a flowing melody. Because she’s sorry for her-
self, but she’s pretending to be angry—not pretending, but she’s sharp-
tongued and short, and she’s being contemptuous of him. And she says: “I
do not read to think” because it’s the only way she knows how to behave.
She doesn’t want to get soppy, I think. And she’s fierce. But as the song goes
on and she becomes more and more passionate about what she’s saying,
you’ll notice the melodies change from sixteenth notes to eighth notes . . . as
it gets to “search for truth, I know the truth” as opposed to “I do not read to
think,” which is the way it starts. And then, when she gets to “I read to
dream. I read to live,” she starts to become kind of Puccini-esque, expansive,
because she’s getting passionate. And it’s precisely by falling into that that
she realizes what she’s doing. That’s why she does that second part in that
chattery attempt at charm. So what the long-line sketch is is a scheme of how
I’m going to get from point A to point B—these transitions in her. Because
when you make an emotional transition, it probably—I don’t want to say
that this is dogma—it should probably be accompanied, I think, by a har-
monic transition of some kind—whether it’s a transition from major to mi-
nor, or to a whole other key; what you call a modulation. It’s interesting, Mil-
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Passion 31

ton Babbitt never uses the word “modulation,” he uses the word “toniciza-
tion.” It means: We’re going to make a new tonal center. And it’s a much bet-
ter word than modulation. There’s something transitional or temporary
about modulation. And maybe that’s the way to use the word. For instance:
We’re going to modulate to E major before we go back to C major. But if you
tonicize E major, you’re really making a whole new statement in E major. I
know this kind of harmony, which I’ve used before for a kind of melancholy,
is something I like a lot. It’s very pleasant and it’s still sad.

MH: What would be behind the specific choice of the B-flat to the B-minor-
natural to the B-flat to the G?

SS: It’s because, if you look at the whole passage, all those bass notes are
in a key and one passage even has an F in the bass. Some things I put in
parentheses because I don’t know if I’m going to state the note. But the
point is it’s a B-flat-V chord, and what I’m doing is alternating between B-
flat and B, B-flat and B. The G is an attempt to find an accumulation which
encompasses both those notes. Now, if I wanted to end the piece earlier—
if I didn’t want it to go on—I would have ended up with the B-flat. But I
didn’t. At the same time, I just don’t want to go to another key in an arbi-
trary way—to go to A major or something like that. So the G is an attempt
to sum up the statements in B-flat and B-natural. It’s related—it’s in-
evitable (well, I like to think of it as inevitable), but fresh. The point is, it
is related, but it’s new. It’s not arbitrary. The fact that it goes into G minor
is also not arbitrary. It somehow relates to the scheme—at least that’s the
intention. It may not work, but that’s the intention.

MH: So, for instance, to go to C-sharp would not be related?

SS: No, of course not. Because C-sharp doesn’t relate to both B-flat and
B-natural. If I say: Include B-flat and B-natural. What do they have in
common?

MH: But it could have been a D.

SS: It might have been, but a third is so much more powerful a statement
than . . . well, a fifth would be okay, but then it would have to be . . . and
then if you have D and D-flat you would have had a tritone in there—im-
plicit. So that it wouldn’t make the G quite as satisfying, I think.

MH: But if it’s B minor and B-flat major, they share the same D.
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32 Chapter 1

SS: Oh, I see, you’re suggesting that the D be the bass that it goes to. I sup-
pose you could make a case for that. Sure, I see what you’re saying. The
trouble is the key of D minor has both an F and an A in it. The key of G
minor has the B-flat. The key of G major has the B-natural. So the bass has
both those notes in it. I hasten to add, it’s only in extended pieces like this
where I work things out in such detail.

MH: This is a sketch for “Scene III, Part III—Fosca,” and what intrigued
me here was the rhythmic notation above.

Example 1.14

SS: That’s an alternate for whatever I was writing there lyrically—it’s not
a basic rhythm, it’s a melodic rhythm.

MH: So it’s just an alternate way of writing that same moment?

SS: That’s an echo of Fosca’s entrance theme—what leads into “to feel a
woman’s touch.” What I’m doing here is trying to develop the melody
and deciding whether I want it to be one way or the other. In other words,
do I want a melodic grouping of notes to be at the end of one bar or the
other? I think it comes out to the same number of notes so that whatever
lyric I was writing would fit either of these schemes. The rhythm above is
merely an alternate for me to consider. Obviously, whatever the lyric is, if
I want it to be more pushed, I would use the rhythm which is a beat less.
If I want it to have more breathing space, not for the singer, but for the
emotion, I would use the other. But, you’ll notice, they’re really the same
rhythm—rhythmic groups—it’s just that one has been shoved over.

MH: How would you would make the final decision?

SS: I would have to see what the lyric was, and it would be based on: Does
the thought really push itself ahead, or does the thought need a little air?
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Passion 33

MH: So these are not primarily musical decisions?

SS: But based on the emotion of the lyric.

MH: Do you ever want to do one thing musically, but something else for
the lyric?

SS: Yes. If that happens, then I change the lyric. But here, because this is a
very arioso, very free passage, it’s just as satisfying musically, I think—
whether it comes in a beat earlier or not. It’s still the same downbeat
feeling—I mean when the downbeat occurs, I don’t mean downbeat as an
adjective. Whenever the downbeat occurs, it’s still the same feeling. And
also, sometimes it has to do with the emphasis on a word, because if it
comes in on the second beat of the bar, it’s a much weaker beat. So, if I
don’t want to emphasize that word, I would use one; if I do want to em-
phasize that word, I would use the other. So, sometimes it’s determined by
emphasis. Bear in mind, this is always in terms of arioso writing, it is not
in terms of songwriting. Because songwriting has many more rigid rules—
or it doesn’t feel like a song. You can’t just keep changing rhythms in a
song and expect it to maintain its shape, because it is only thirty-two bars.

MH: Increasingly, I’ve noticed that you tend to change meters more fre-
quently within a song than you used to.

SS: But that’s because most of the shows I’ve written recently aren’t song
shows. The last song show I wrote, really, was Merrily. Sunday in the Park
with George and Into the Woods have songs in them, but they’re not prima-
rily song scores. Into the Woods is full of fragments that drift off. Sunday in
the Park has extended sections. Assassins has a lot of songs in it.

MH: The “Ballad of Booth” includes a lot of meter changes.

SS: Really? I wouldn’t say there are a lot of meter changes. Are you talk-
ing about the sentimental section or the Balladeer’s section?

MH: Where the Balladeer sings “Johnny Booth was a happy fella . . .”

SS: I guess there are. But the feeling of that is square. Even though there
are some meter changes, the feeling is fairly square. I know it changes oc-
casionally from four to three, and maybe even five. But the feeling is
square, because it has that steady rhythm in the accompaniment.

MH: Next is your sketch called “Scene IV,” which is “I Wish I Could For-
get You.”
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34 Chapter 1

SS: When you said “Scene IV” it confused me, because ultimately this be-
came “Scene VII”— which is how I think of it.

MH: What interested me here was the evolution of the melody, and I’ve
done a chart that tracks your various sketches through to the final version.

Example 1.15

SS: As you know, this melodic idea is the basis of the show. That in-
cludes: “I do not read to think”; and that whole thing, rhythmically of
[sings] or [sings] exists all the way—”to feel a woman’s touch”; and in
the opening lyric with [sings] “I’d die right here in your arms.” I use
this melodic motif, this germ, this cell, as they say, throughout the
show, in many, many guises. Both rhythmically and in terms of the out-
line of the melody. Sometimes the note goes up and sometimes the note
goes down, but, essentially, it’s stepwise motion with a third at the end
[sings] or [sings]—”To feel a woman’s touch.” Essentially, these open-
ing notes are the same all the way through the show. Much of the score
is a study in variations on those six notes. And it was conscious on my
part to do that so that there would be some sense of repetition without
its being repetitious—some sense of development, some sense of hold-
ing it together so it wouldn’t just be a tapeworm—because I loathe
recitative—so there would be some sense of melodic cement, or glue,
holding the thing together. So much of what Fosca sings, and much of
what Clara sings when they are in their love moods, is based on that
motif. And Giorgio too. There are significant differences in harmony,
but not in melodic outline.
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Passion 35

MH: Going through the sketches, I was interested to note that the first
three versions were in 6/4, which changed, alternating between quarter
notes and half notes, before you got to the final version, which is all eighth
notes. I assume that final decision relates to the kind of thing you were
just talking about.

SS: I think I decided to relate it more closely to the opening and to “I do

not read to think.”

MH: And it wasn’t until the third sketch that you got the F-sharp on “my.”

SS: Oh, that’s interesting. . . .

MH: Do you remember how you found that note?

SS: Sometimes one does that just because a melody sounds boring.

MH: But that’s not the “wrong-note” thing?

SS: No. I just think it makes it a better tune. The whole idea of melodic
writing—for me—is similar to what I was talking about earlier regarding
harmony, which is: How do you keep it inevitable but fresh? How do you
say you think this is going to be the next note, but at the same time it isn’t
arbitrarily out of the ballpark?

MH: How do you do that?

SS: I don’t know. It’s a matter of personal decision, and there would be
other composers who would solve it differently. One composer who
would say: Gee, I think that’s a very boring way to end that little tune.
And another composer would say: Gee, I think that’s perverse. But for
me, it’s the right combination of perverse and non-perverse. But it re-
quires trying out all these versions—the reason for all these sketches is
precisely that. It’s also: How do words sit on the music? Let’s not ignore
lyrics here. If you take this line: “I wish I could forget you,” and sing it in
that rhythm: [sings] “I wish I could forget you.” It doesn’t work quite as
well as: [sings] “I wish I could forget you.” Also, look at the difference in
tone, even if I keep the rhythm exactly the same, just by taking the “you”
down instead of up: [sings] “I wish I could forget you.” It has a finality to
it, as opposed to: [sings] “I wish I could forget you,” which prompts us
that something further is going on. At least to my ear. A lot of it has to do
with being very careful not to end your melody before you want it to, or
not to darken a tone of a lyric, because just the direction of one note can
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36 Chapter 1

completely change the tone of a sentence (although this is not a particu-

larly vivid example). Even when the lyrics fit, even when they sit on the
notes the way they should—and inflection is all-important to me, all-im-
portant—so it really is what the emotion’s about. It’s another reason ac-
tors like to sing my stuff; I inflect for them very well. Inflection’s every-
thing. Stress is another aspect: It’s very hard to make things so they’re not
misstressed. I’m hardly impeccable on this, but I try to be. Most lyric writ-
ers, except for the very best, don’t even bother—it doesn’t bother them, it
doesn’t bother the audience—but it bothers me terribly when things are
misstressed. You don’t sing “nightmare” you sing “nightmare,” and if the
accent’s on the mare it just bothers me dreadfully. But inflection is a sub-
tler matter and very much a choice of course, because, again, there would
be another composer who would say: Gee, I think this is exactly the
wrong way to set “I wish I could forget you,” I think that last note should
not be a stepwise motion; I think it should be “I wish I could forget you”
[sings a leap up]. The minute you go off stepwise—even if it’s on an off-
beat—you give a distinct emphasis to the word. If I go up a third: [sings]
“I wish I could forget you,” right away there’s more accent on the “you”
than [sings] “I wish I could forget you” is different than [sings alternate
melody] if you set those words to it. It delays the rhythm by making those
quarter notes. I think the reason I changed the meter from 6/4 to 4/4 was
to echo more the sixteenth notes when she sang: “I do not read to think.”
And by making them eighth notes—instead of a quarter, two eighths, and
two quarters—it relates the themes. And, I think, it’s more conversational.
It did mean that there was much more space between because the illusion
of space in between those two bars is greater than just holding a note—
even though this may be the same number of beats—when the tune is
stretched out that waaaaaayyyy, and then the next phrase comes in there,
it’s much closer than [sings phrase], even if you hold the note [continues
singing]. There’s more air there, so you have to be sure that the lyric is go-
ing to accommodate that. In other words, you don’t want a run-on sen-
tence. Actually, each one of those phrases, ideally, should have almost a
period; each one should be a separate sentence. But these clauses, “I wish
I could forget you, Erase you from my mind” for me, tremble on the brink
of too much space between a subordinate clause and a main clause. But I
wasn’t able to get two sentences. It fits the music much better if you come
up with something like: “I wish I could forget you. I wish you’d go away,”
as opposed to “I wish I could forget you, Erase you from my mind.”
Where’s the subject of the second one? Gone with the wind. So suddenly
it’s songwriting, as opposed to conversation. And for this show, particu-
larly, I want it to seem conversational. It’s a subtle thing, but it’s things
like that that lose kingdoms.
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Passion 37

MH: How do you approach the whole process? If you’re writing a song or
an extended piece, you have your script pages, you know what’s sup-
posed to happen there. Do you then start with your harmonic long-line
outline before the lyric, or does something else come first?

SS: It depends. I would say two-thirds of the time, maybe three-quarters, I

will sit with a lyric pad first and just jot down notions that could, but not
necessarily, be refrain lines but are central thoughts or things I want to say.
Then I will often take the dialogue—because I usually write after the libret-
tist has written the scene—and I will often set the dialogue on the piano and
“let my fingers wander idly over the organ keys.” [Note: Sondheim is re-
ferring to a poem by Adelaide Ann Procter (1825–1864)—’Legends and
Lyrics: A Lost Chord’: “Seated one day at the organ,/I was weary and ill at
ease,/And my fingers wandered idly/Over the noisy keys.”] More often I
will get a melodic shape in my mind from what I’m writing lyrically, and
that will often be the first musical notes on that piece. It will often not end
up to be the actual tune that I use, but it has a set of stresses and inflections
which echo or support what I’m trying to do. I am very helped if I can find
either a harmonic accompaniment or a rhythmic accompaniment that will
evoke what I’m trying to say. That’s the reason to sit at the piano. And
sometimes it’s harmonic and sometimes it’s rhythmic. The long-line is re-
ally about the harmonic progression. I don’t really use that unless I have a
long piece and I want to hold it together—something like the opening of the
second act of Sweeney Todd or the opening of this.

MH: But the final melody comes from the lyric? And to get to that point,
do you speak a line of lyric to get the inflection that you know you want,
and do you use that to determine whether you want your melody to go
up or down or whatever?

SS: Absolutely. Quite often, if you listen to the musicality of the

language—the melody: “If you listen to this sentence. If you listen to this
sentence. If you listen to this sentence,” right away there’s a melody.
[Sings] “Badadadadadadum.” You don’t go: “Badadadadadadum.”
[Sings with downward inflection] “If you listen to this sentence?” It’s: “If
you listen to this sentence.” Right away that phrase suggests a melodic
outline and it suggests a rhythm. And if I were trying to set that—if I de-
cide that that’s an important line: “If you listen to this sentence”—I’ve got
“Badadadadadadadum,” and I try to work out something from that. It’s
the musicality of the language itself that suggests the music—for me. The
land of opera is filled with the reverse, in which you take: [sings with
wide leaps] “If you listen to this sentence.” But that’s not for me.
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38 Chapter 1

MH: There are the various “Soldier’s Scenes”—numbers 2, 4, 8, 10, and

11. . . .

SS: The idea was to use one tune over and over and over again.

MH: But I was intrigued by this one sketch for “Scene 10 for Soldiers.”

Example 1.16

SS: “Scene 10” was my attempt to give some variety to this repetitive
joke. This is where the soldiers are gossiping about what happened on
the cliff when Fosca and Giorgio were caught in the rain. (Incidentally,
the bugle calls I used throughout the show are authentic. I got the music
for some Italian Army music bugle calls, and I also stole one from the
movie because I figured that was authentic too.) This sketch shows a se-
ries of sixths, and a seventh and a fifth. What is that? This does not look
like long-line to me. What this does look like is a series of chords over a
pedal point. Let’s see what I did here. I don’t think I ended up really us-
ing this. This scene leads into the nightmare and I think what I did was,
knowing from previous soldier scenes that they included these sustained
whole-note chords, I wanted somehow to break them up so that we could
fragment them and suddenly get into the nightmare which follows. This
segues immediately into the nightmare music. So instead of going [he
sings] “dum-baum-baum,” it’s “dau, dau, bau, dau.” By holding the half
notes over the whole notes you get dissonances, so that you know we’re
going to something dissonant. It starts off fairly consonant with sixths,
and suddenly there’s a seventh there, and then the fifth which is very dis-
sonant with what’s around it. So this is merely a sketch for an idea
I had.

MH: To become more and more dissonant over the pedal point?

SS: Absolutely, yes. It starts with a sixth, goes to a seventh . . . And notice
how quickly it goes out of the key—we’re in G major, and there’s an E-flat
minor in the middle of it.

MH: You raise two points. First, authenticity: When you’re doing period
pieces, how much research do you do?
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Passion 39

SS: What do I know about Italian bugle calls? Nothing. And granted the
audience wouldn’t know the difference either, but why should I invent
them when they’re in public domain? When they’re authentic, why make
one up? I listened to a lot of bugle calls—a lot, three dozen. I got a record-
ing of military bugle calls by the Italian Army. Don’t ask me how; I think
Paul Gemignani, the show’s conductor, might have gotten them for me.
And there are four or five different bugle calls in the movie, and I figured
if anybody knew what the bugle call for retreat and the bugle call for
reveille would be, it would be Ettore Scola who directed the movie. So I
assumed that he had done research and gotten some military advisor to
say, “This is what you want.” So I figured why not use them? And they
became valuable because I utilized them; I didn’t just use them as deco-
ration. I took little rhythmic ideas from them and little melodic skips from
them. Granted, it’s always 1, 3, 5, and 1—I mean it’s just triadic—but it’s
very useful. [Sings] “Bump-ad-y-ump-ump-ad-y-ad-y-ump.” I wouldn’t
think that up, but that becomes useful. It suggests things. Not necessarily
that I echoed that in a melody, but to use that against a melody. To know
that that’s the rhythm: “bump-ad-y-ump-ump-ad-y-ad-y-ump” is impor-
tant or useful. So authenticity not for the sake of authenticity, but because
it gives me something that I can steal from that is part and parcel of what
I’m trying to do. I wouldn’t take a Sousa bugle call; I would take an Ital-
ian bugle call.

MH: When you have a show that’s set in a certain time and place, do you
worry that certain chords or harmonies wouldn’t have been done then?

SS: It depends. Pacific Overtures is a perfect example. I went and I studied

for two weeks in Japan. I also got some records of the various Japanese in-
struments that I knew nothing about. From that I decided that we’d use
the shakuhachi, the sho, and the samisen. And I listened to them, and lis-
tened to the Japanese scales which are essentially pentatonic minor
scales—as opposed to the Chinese which are major. And then I tried to de-
vise music that essentially used those elements, but was, of course, tonal
music—Western tonal music. You can’t imitate Japanese music, because
the intonation is everything in Japanese music—it has nothing to do with
the notes. So in the first act of Pacific Overtures—when the music is, for the
most part, Eastern—it feels like the music belongs in that show, in that mi-
lieu, in that country, as opposed to a show set in New York in 1960. That’s
my idea of the uses of authenticity. I think authenticity is useless other-
wise. If I were writing a novel, that would be a whole other thing. In
preparing for Pacific Overtures, I got a sort of daybook of various Japanese
customs, traditions, and superstitions from John Weidman, some of which
I used in the lyrics. They are authentic, such as a spider on the wall being
a sign of success. At least it’s authentic according to this daybook which
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40 Chapter 1

was printed in the early twentieth century, or maybe even later, by some-
body who lived there, and so I have to assume it’s authentic. And that’s
useful. It doesn’t matter whether it’s true or not, it suggests something ex-
otic—in the real sense of the word. I think that’s how authenticity can be
useful. When I’m dealing with the old tunes from the Ziegfeld era, as I did
in Follies, you listen to authentic Victor Herbert and Jerome Kern and uti-
lize what they were doing. The same thing is true with language. One of
the things we did with Sunday in the Park with George was that James La-
pine very carefully wrote it so it sounds like a translation from the French.
There are very few contractions in it—people usually say “cannot.” It’s
slightly clumsy, and it’s slightly stilted, and it seems to me just right. It
prevents it from being colloquial in the wrong way.

MH: Did you follow that through with your lyrics?

SS: I tried to. Again, if your ear is sensitive, and mine is, to the nuances in
the language, you can tell when something sounds twentieth century and
when it doesn’t. And I’m not talking about “ain’t,” I’m talking about
something subtler than that. There are aspects of the lyrics that are
slightly stilted—and deliberately so.

MH: In the song “Johanna” in Sweeney Todd there’s a surprising blue note.
Was it a tough decision to use that sound?

Example 1.17
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Passion 41

SS: Yes. And I’m not sure I made the right decision. Sometimes, you make
a choice, because all the other choices seem less good. It may not be ideal;
and maybe, if I’d searched longer, I would have found the right note
there. I was aware of that blue note, but everything else sounded either
repetitious or boring or expected—expected in the wrong way, meaning
flat, meaning anti-climactic. That note sounded slightly startling, and
you’re not the first person to point it out. It may have been a mistake.

MH: It’s my favorite moment.

SS: Maybe that’s because you’re perverse. Seriously, can you explain why
it’s your favorite?

MH: I remember sitting in the theater the first time I saw Sweeney Todd (the
recording hadn’t come out yet), and I literally got chills up my spine at
that moment.

SS: That’s great, but it’s partly because you were startled. If you’d heard
a saxophone in the middle of it, it might have done the same thing.

MH: But for that point in the show too, it made me nervous—it just
played out with everything else that was going on on the stage.

SS: One of the things that blue note does is it makes the next phrase re-
ally telling: [sings] “da-da-da-da-da-da DAH-dah, da-da-da-da-da-da
DAH DAAHH.” Suddenly the sun comes up with the change from mi-
nor to major (or “major to minor” as Cole Porter said, better than I). In-
cidentally, that happens in lyric writing quite often: you know that
you’ve got a really good third line, and you can’t make the second line
so good, but it isn’t so bad, because the second line’s being a little weak
makes the third line stronger. There’s a lyric of Cole Porter’s in Kiss Me
Kate in “Where’s the Life That Late I Led?” where he says: “It’s lucky I
missed her gangster sister from Chicago.” That line simply doesn’t be-
long in any way, shape, or form in that lyric, and I thought: I wonder if
he deliberately did that to make the rest of the lyric brilliant? Which is
by having one terrible line, all the other lines say: Wow! I don’t know. I
don’t think he was that devious, but I wouldn’t put it past him—that he
might have written that and thought: Gee, that line doesn’t belong in
this song, but what the hell, it’ll make the ones that are really elegant
sound more elegant.

MH: When you write something that’s intentionally startling, do you ever
worry about the fact that over time, it won’t be startling anymore?
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42 Chapter 1

SS: No, I never think about that. And incidentally, I didn’t use the note to
startle. It’s because I was looking for something warm and something that
wouldn’t anticipate the B-natural. (I remember it was a B-flat.) [Note: The
published version is a third lower.] I didn’t want to use the B-natural in
front of it. And at the same time, if I used an A it was too flat; and I wanted
it to be below the note that was coming. You know you don’t have a lot of
choices. You’ve got a B there you want to get to. Well, you’ve got a B-flat
and an A and then you’ve got an A-flat and a G. What else? Now you
know Kern was notorious for finding exactly the right note. (Was it
Flaubert or Stendhal who talked about le mot juste?) Oscar Hammerstein
used to describe listening to Kern play the first eight notes of the chorus
for “All the Things You Are” and trying each possibility for the ninth note.
Kern would try every single note of the scale, and once he hit it, go on to
the next phrase. And that’s what I did, I tried every note and I couldn’t
find one. Kern might have found a way of starting the phrase differently
so it could have a different resolution.

MH: Do you often do that?

SS: Oh, yeah! Absolutely. Every possibility. First I look at what the scheme
is that I’m using and what belongs. Usually the scheme will dictate it. But
sometimes it’s just dramatically unsatisfying—it’s the right note, but it’s
not fresh. It’s inevitable, but it’s not fresh.

MH: So in “Opening Doors,” in Merrily, when you have the character of

the composer trying out the thirty-two different harmonizations of his
theme, is that really how you approach it?

SS: You got it. That’s what I do. That’s my big autobiographical number;
everything in that number is me. That’s exactly what he’s doing—he’s try-
ing everything out until he gets it. I don’t know how many other com-
posers work that way (I’ve never talked about it to any other composer of
my own generation, and I haven’t read enough about composers in the
past), but I’m sure that Kern was not the only one to do this. He can’t have
been. I remember Oscar describing how it would drive him crazy, being
in the next room, trying to write lyrics, and he just kept hearing this thing
go over and over again, day after day after day, until it sounded fresh.
Which is what’s so great; you hear “All the Things You Are,” and you
can’t imagine that he worked on it at all!

MH: Getting back to the “Soldier’s Number,” there’s one other thing I
want to bring up: It seems that as your work evolves, your textures
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Passion 43

seem to be becoming thinner and thinner. Obviously not all the time,
but this is a good example of a number where the textures are very thin.
I know “less is more” is one of your favorite quotes, and I wonder if
that idea is behind it.

SS: I think the older you get, the fussier you get about “less is more.” I
think that’s why so many classical composers end up writing string quar-
tets. It’s called: I don’t need the oboes and I don’t need the trumpets; let’s
just do the music. Let’s do a piece and limit the colors to black, white, and
blue—no reds and no greens and no oranges. I found it happening to me.
In the score I’m writing now for Wise Guys, I’ve got my usual five- and six-
note chords in there, and I’m thinking: Do I really need five notes? How
about four? How about a triad—just D, F-sharp, and A—no C-sharp, no
inner voice—just D, F-sharp, and A? I’m not the first person to use it, but
it doesn’t matter. How about a little less? And it’s hard, because (I have to
speak for myself) the older I get, the less confident I get in what I do. And
yet, I think: Don’t cover it up with either wrong or extra notes. What’s
necessary? Don’t have so many wrong notes. What’s wrong with a
straight V chord? It doesn’t have to be a V7. I just made a third revision on
a song to make it simpler—simpler in this sense of taking out the under-
brush, or the overgrowth, whatever you want to call it. I think that hap-
pens in a big way over a period of time. At least it has to me.

MH: How does it affect how you think of your old scores?

SS: I like the old scores fine. It seems right to me that Sweeney Todd is thick,
whereas Sunday in the Park with George is very spare. And that seems right,
because look what Seurat did—the score echoes the subject.

MH: When, because of the dictates of character and script, it calls for you
to write music that doesn’t call for 7th chords, is it as satisfying to write
without them?

SS: In a way not. I like 7th chords—I live on 7th chords. (Ravel gave us
that gift.) And when a piece doesn’t call for them I try not to use them, but
it’s hard. If you’re writing something like Passion, you can afford to have
all these big dissonances and these big 9th chords and 11th chords and
13th chords, because it’s all about huge stuff. But if you’re trying to write
lean. . . .

MH: Of all the numbers I’ve looked at, at least for Passion, I saw more al-
ternate versions of that very simple melody—what you called “Train
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44 Chapter 1

Song, scene 11” in this sketch, but is what we now think of as “Loving
You.” [Note: The following examples were selected from eleven pages of
sketches, ending with 8 measures from the final version.]

Example 1.18
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Passion 45

Example 1.18 (continued)

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46 Chapter 1

SS: This was written late in the show. The older I get, guess what takes
the most effort in the world? Simplicity. It’s what we were just talking
about. This is really simple, and it cost me an arm and a leg to get this
simple. The problem with simplicity is it’s really hard to do. There’s
this awful term “simplistic,” and I’m not sure I even know what it
means. There’s simple-minded, and there’s simple, and there’s a big
difference. Most pop music is simple-minded, and most show music is
simple-minded—when it’s not pretentious and over-complicated, or
long-winded. “Simple” is really hard to do. That’s what makes me ad-
mire the best of Kern so much—how “simple” it is. The best of
Rodgers, how “simple” it is. Cole Porter’s never simple, and when he
tries to get simple, like “True Love” or something like that, it embar-
rasses me. I think it’s terrible. He needs to be fussy, because his lyrics
are fussy. But with the simple composers like Harold Arlen, it’s really
so admirable when a song is simple but still has character, like “Sleepin’
Bee”—when it’s not bloodless, when it’s not just simple. And that’s
very hard to do. It took me a long time to accept this song because of
that. With “Loving You” I thought: Oh, come on, there’s so little going
on in this song. But I was really encouraged because Lapine loved it,
and Scott Rudin, who produced the piece, loved it. And I thought: All
right, we’ll put it on the stage if you like it that much. I thought: Oh gee,
they like it because they can hum it. But what they liked was that Fosca
was making a simple statement simply. And I tend, like many com-
posers, not to be simple. Because it’s hard—it’s much easier to hide be-
hind a lot of chocolate sauce—and I kept thinking: I’m trying to please
people instead of do the right thing for the character. And I realized
that’s what she’s doing—it’s right for her. This is not right for anybody
earlier in the show. This is right for her at this point, because she’s been
reduced to this. And it is the simplicity of what she says that starts to
change Giorgio’s heart. This is the key moment in the show. I used
to think it was “I Wish I Could Forget You.” And it isn’t. It’s this mo-
ment. It’s this moment where Giorgio first starts to hear her and hear
what she’s really saying to him. And as such, it’s very moving. And I
thought: Well, that calls for simplicity. It doesn’t call for an aria, and it
doesn’t call for 9th chords (although it does have plenty of them in it,
but you know what I mean); it doesn’t call for decoration. But it’s really
hard to write. Not all moments call for this kind of thing, but when they
do. . . .

MH: Did you always know there was going to be this song there?

SS: No, originally it was a song for Giorgio, as I remember it. I don’t re-
member exactly, but there’s a history to this song. I may have written
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Passion 47

something else—for her, or something for Giorgio, or a duet—and then

James (as I remember it) kind of pushed me to write something simple for
her. Ah, here in my notes, here’s what was cut. This is Fosca explaining
herself with a repeat of that “They hear drums . . .” melody, but against it
the little musical theme from the garden. And here she is explaining her-
self: “You were right, I was wrong, I must learn to wait. You were right all
along. Now I know, and I shall be there waiting, day and night. . . .” That’s
not simple. That’s called “explaining yourself,” instead of just saying
what’s in your heart. Now I’m talking about the lyrics, but that echoes

Example 1.19
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48 Chapter 1

itself musically. Ah, and here’s Giorgio, he sang in the train: “Do you
know what I feel?” This was a whole duet between them—a discursive
duet—and it never got into rehearsal. I don’t even think this got copied.
As you can see, it’s a fair copy, but I don’t think it ever got to the copy-
ist. I think that this is what the song evolved from. I don’t know if
James used the word “simpler,” or if he said, “I would just like some-
thing for her to sing to him at this point in the scene.” But that’s what
it was.

MH: It sounds like the story about the inspiration for “Send in the
Clowns.”

SS: Exactly. It came out of the scene. It came directly out of the scene in-
stead of being discursive. That’s really what “less is more” is about—it’s
about being less discursive both musically and lyrically.

MH: When you were talking about other composers, such as Arlen, I was
reminded that you’ve done a lot of pastiche work in some of your shows.
Do you study their scores first, or is it just that you know them so well?

SS: I listen to the records to refresh my memory. On Follies, I just listened

again. I had, as a kid, of course, played all their songs. They each have a
distinct harmonic style, and that’s what you imitate—the harmonic style.
Arlen’s harmonic style is immediately recognizable, so is Gershwin’s, so
is Kern’s, so is Porter’s, so is Rodgers’. If you play me a song that I’ve
never heard from their mature years, I’ll tell you who wrote it. Not from
their early years, because in their early years everybody sounds like
everybody else. But if you give me middle-period Arlen, or middle-
period Rodgers, I’ll tell you which is which.

MH: In Follies, how did you decide which composers to emulate?

SS: I just wanted the gamut—just everybody I liked.

MH: “Losing My Mind” is obviously Gershwin . . .

SS: “The Man I Love.”

MH: But why wasn’t it based on Arlen’s “The Man That Got Away,”
which would seem to have made as much, if not more, sense there?

SS: First, “The Man That Got Away” I wouldn’t believe in a Ziegfeld Fol-
lies—that’s too sophisticated a song.
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Passion 49

MH: And in Pacific Overtures, as part of “Please Hello,” you wrote your
own version of a Gilbert and Sullivan song and a Sousa number, but in
Assassins, instead of doing your version of Sousa, you decided to use an
actual Sousa piece?

SS: Because that’s what they were playing when the assassination attempt
on Roosevelt took place. That’s authentic—that’s exactly what they were
playing.

MH: Also in “Please Hello,” what’s the Dutch Admiral’s music based on?

SS: It’s just a clog. I did thought association. What do you think of when
you think Dutch? You think: the boy with his finger in the dike with the
clog shoes and the little hat and the tulips. And you think clogs, and that’s
what you think of. That’s all, so I was doing a clog dance.

MH: In the liner notes you wrote for Paul Weston’s Jerome Kern album,
you wrote one-sentence descriptions of the music of Rodgers, Kern, and
Porter: “In Rodgers’ music, deceptive simplicity is the trademark. Sudden
surprising shifts of spare block harmonies under essentially diatonic, of-
ten repeated note melodies with occasional unexpected chromatic leaps.
The impressive feature of Porter’s songs is their sophistication, the fre-
quent use of Latin-American rhythms, the lush chromatic harmony and
the lengthy extensions of standard chorus forms.” How would you de-
scribe your . . . style isn’t exactly the right word. . .?

SS: I don’t know how I would describe myself because I’m so eclectic.
People say they hear my style. I’m not sure I would recognize something
I’d written. I’m not sure—musically. I know there are certain chords I use
over and over and over again, but I’m not sure I would recognize some-
thing I’d written. Because I write in a lot of styles, because often I’m imi-
tating a milieu or something like that. And yet, people I respect say they
can tell something of mine; and people I don’t respect say it. But I’m not
sure I would recognize it. I do recognize when people are imitating me,
but usually it’s an imitation of my lyric style. And I recognize when
they’re doing a takeoff on my music by using lots of wrong notes, and
thick chords, and that sort of thing—I recognize what they’re parodying.
But I’m not sure that I would recognize a piece of mine that I hadn’t heard
before.

MH: Certainly, in the same way you described Porter’s lengthy forms, I
can’t think of anyone else who’s done such extended musicalized scenes
as you have.
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50 Chapter 1

SS: Ah, but you’re talking about form now, I thought you were talking
about musical style.

MH: But that’s one of the things that you mentioned.

SS: Okay, fair enough. I think I could tell that—as a musical-dramatist, I

think I could tell my style. But as a composer, I’m not sure I could. I’m not
sure.

MH: What do you look for in other peoples’ work? How do you judge it?

SS: Surprise.

MH: That’s it?

SS: Surprise. Just don’t tell me something I already know. And I’m not
talking about lyrically, I’m talking about musically too. Let me hear a
voice, and let me be surprised. (As well as, of course, because I’m inter-
ested in theater music, somebody who knows how to dramatize things.)
Very few people know how to make people laugh, but that I always
admire—when somebody makes me laugh. Freshness and an individual
voice. Somebody you haven’t heard before. That’s rare.

MH: Is there anything you can suggest for people of how they can get to
that point—how they study, what they look at?

SS: Oh sure, of course: keep writing. How do you tell somebody to be-
come a grown-up person? That’s all. You develop. If you don’t develop,
you don’t become a grown-up person. The same thing is true of an artist.
You find your voice. One of the most startling and thrilling things I ever
saw in a museum was a Mondrian exhibit at the Museum of Modern Art.
In his early days, like everybody else, he was imitating others and that
sort of thing. He was drawing representative things, and then, you turn
the corner, and there was a painting of a cow, and a second painting of a
cow, and it started to break apart, and a third painting of a cow, and by
the time of the fifth painting, he was almost at Broadway Boogie Woogie. He
had found his voice. And the same thing happened in a Matisse exhibi-
tion a few years ago. You turned the corner, and you saw where and with
what painting he found his voice. But prior to that he imitated other peo-
ple. And you could see all the influences coming in. He found his voice.
It was always very clear in Lenny’s music where his influences are. The
one influence in Lenny’s music that nobody ever acknowledges, includ-
ing Lenny, is Paul Bowles. That’s really who he was influenced by. But
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Passion 51

you can hear the Copland. But you can hear Lenny! It’s Lenny. I don’t care
if you can hear strains of the other people. He had a voice. And that’s
what you listen for in music, is a voice. Even if you hear where it comes
from. I’m eclectic the way Lenny was eclectic. But I’ve a voice, I’ve a voice.

MH: Was there a score where you found your “cow”?

SS: Curiously enough, you can hear it as early as Saturday Night. (You
know, that’s finally going to be done.) It’s just little peeps through the
marshland, but you can hear the voice starting to sound. And then in Fo-
rum you can start to hear it develop more. Company is the first full-blown
score I wrote that’s really me and nobody else. When I say “nobody else,”
it’s everybody’s influence, but it’s me.

MH: Have you ever solicited musical help? Did you ever go to Lenny and
say: I don’t know how to get from here to here.

SS: No, not in terms of composition. I did that when I wrote the back-
ground music for a play called Invitation to a March, because I was or-
chestrating for the first time in my life, and I had never studied instru-
mentation, and he helped me with that. And he helped me make
transitions from instrument to instrument. But I don’t ever remember go-
ing to him with a specific piece of music and saying: What do I do here?
I don’t remember that.

MH: In your sketches for the “Flashback Sequence,” I was struck by a mu-
sical quotation from the “Emperor Waltz” you wrote at the bottom of one
of the pages. I assume for some reason that piece resonated with you at
that point in the score. Do you remember why?

Example 1.20

SS: No, there must have been a specific reason. Obviously it was meant to be
source music of some sort. Originally, Jim Lapine wanted this whole flash-
back sequence to be done as a mini-operetta. He wanted somehow to en-
capsulate and perhaps make it of a different style. When he used the word
operetta, it must have had something to do with that. I don’t know why I
picked the actual “Emperor Waltz,” except there is the little sequence in the
flashback where Fosca dances with the Count. And it may have been that,
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52 Chapter 1

thinking of it as a mini-operetta, I wanted to use a waltz that would suggest

the period. I don’t think I chose it for its melodic value, but for something
that would immediately suggest a costume operetta. That’s the only thing I
can think of. I had no intention of utilizing it as music, but merely as source
music. I was brought up on movies, and what do you associate with when
you see costume dramas that take place in the late-ish nineteenth century?
First of all, it seemed to me that what she would be doing would be waltz-
ing with him, because that suggests the period—whether it’s in Italy or
France or England or America. But particularly in Italy and France—I don’t
mean that they waltzed in Italy, but just that feeling of costume.

MH: I’m curious about your musical memory. How you store other mu-
sic and are able to write it out from having heard it.

SS: Well, in this case the tune is so well known that it is in my head. This
is obviously some free association; that’s why it’s written at the bottom of
the page. I usually start writing at the top of the page when I’m collecting
thematic ideas, and I usually put at the bottom, either something that
need not be stated—except that I want to write it down—or a quotation
from something.

MH: I came upon this letter with your manuscripts—a letter to Jeremy
Sams in 1996, presumably as he was preparing to direct the London pro-
duction. You wrote: “J is under the impression that you intend to cut the
echo chorus of ‘to feel a woman’s touch’ after the train sequence. If so, I
hope you’ll reconsider. It may not be necessary to make the scene change
in your version of the staging, but I like the sonic texture of it in the
place.” I found the concept of sonic texture fascinating. What did you
mean by it? [See example 1.21 “Transition (Scenes 10–11)”; note: It is clear
that Sondheim’s letter is referring to “Transition (Scenes 10–11)” as pub-
lished in the piano-vocal score, although this precedes rather than follows
the train sequence. According to Sondheim, this discrepancy is because
the placement and order of some of the transitions changed over time.]

SS: It feels like a lonely solo. It feels a cappella (even though there is, in
fact, orchestra going on) and it feels distant, and there’s an ineffable sad-
ness about it when it’s sung that way. And I didn’t want to lose that color.
So perhaps I meant color rather than texture. But the texture is about a very
vehement beautiful solo voice against a simple vocal chorus—vocal set of
chords. It’s a color and texture—it’s a texture really, that’s not used else-
where in the show. I think, as a matter of fact, that was not my invention,
I think that was the invention of Lapine and Paul Gemignani, the music
director in New York, when James was looking for a scene change. I think
he conceived that, because I don’t ever remember utilizing that.
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Passion 53

Example 1.21

MH: But there are a fair amount of them through the show.

SS: Yes, but that’s very often the director and, particularly, Gemignani,
who has a first-rate theatrical imagination for the use of music. Much of
the connecting material in shows I’ve written, meaning scene-change
stuff, has been devised by Gemignani and either Hal Prince or Lapine.
Then I go over it and maybe make emendations. But the feeling is some-
thing that arises during rehearsals. Lapine will say: “I’d love to have
something very kind of distant and mysterious here.” And Paul will
come up with something. Or, for some of the percussion used in Pacific
Overtures, Hal would say: “I’d love to have something harsh here.” And
Paul, who had a massive array of percussion instruments, would devise
something on a percussion instrument. That’s quite often how it hap-
pens, because directors don’t really like to have writers around while
they’re making. Lapine is less self-conscious about that than most, but Hal
is quite fierce about it. And I can’t blame him; he doesn’t want someone
looking over his shoulder while he’s making, and Lapine’s the same way.
So I stay away until they’re ready “to show me something”—which is
usually one act. In order to make the act hold together, they have to de-
vise some kind of what film composers call a scratch track. Gemignani’s
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54 Chapter 1

instincts are so much like mine, and also so sharp, and he works so well
with his directors, that I rarely change things—except, maybe, picking
a different piece of music. But the texture of this, I think, was devised
by them.

MH: As long as you’ve brought up the role of musical directors, for future
generations of musical directors, are there general points that you’d want
to make about how your work should be conducted, and how it should
be taught to performers and musicians?

SS: No. The older I get, the more meticulous I am about notation, in terms
of things like metronome markings and dynamics. In the first few shows
I wrote, I would just put mezzo forte and just leave it alone. But when I
started working with Jonathan Tunick, who orchestrates most of my
shows, he always wants me to play the score, no matter how meticulously
notated it is, because he says he gets so much, both dynamically and in
terms of tempo and rubato and all that, from the way I play it. And quite
often it’s different than what I’ve written, because I don’t realize that I’m
getting louder or softer. When I’m preparing the manuscript for re-
hearsals, I’m quite meticulous. Once we’re in rehearsals I don’t do any-
thing until the show is open; and then, when I’m ready to get the score
published, I add further details that arose out of the performance. I will
realize that the singer slowed down, because I told her to, but I hadn’t no-
tated it in the score. So, by the time it goes to the publisher, it’s fairly
meticulously notated, and I would like people to follow those notations as
much as possible.

MH: Do you use a metronome when you’re composing?

SS: Yes, absolutely. And sometimes it’s off because, when I’m playing at
home and singing to myself, it often is faster—sometimes it’s slower, but
usually faster—than the metronome marking I meant. In other words, I
make the metronome marking, and then, when they get it into rehearsal,
it’s too fast or too slow.

MH: Do you find that once something is orchestrated, the tempos need to
be changed because of differences between the orchestra and the piano?

SS: No. It happens during rehearsal. You know, orchestrations in musical

theater are done during the rehearsal period, so if Jonathan hears some-
thing that’s too fast for a certain texture of instruments, he’ll adjust. In
other words, the cast doesn’t adjust to the orchestra, the orchestra adjusts
to the cast.
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Passion 55

MH: When your work is orchestrated outside the original production of

the show, or when—as with the recording Symphonic Sondheim—people
do things with the music, what are your wishes regarding what they
should or shouldn’t change?

SS: When they’re going for free interpretation, let them do whatever they
want. I remember when I was working with Dick Rodgers on Do I Hear a
Waltz?, and he heard a recording of “Lover” that was played in four, and,
of course, it’s a waltz, he was berserk. And I could understand it, but that
was an interpretation—everybody knew what the song was. When a song
is first heard, I want it done exactly the way I intended it. When it’s heard
a second time, in another arrangement, another singer, something like
that, fine, let them do anything they wish with it. You can’t ask perform-
ers not to interpret. I don’t like them changing lyrics, and I don’t like them
changing notes. But if they want to change tempi, if they want to even
sometimes change from three to four, that’s . . .

MH: When you say “notes” you mean melody, but what about harmony?

SS: I don’t want them to change the harmonies either. But they do, they do.

MH: And you never find their changes intriguing, or interesting?

SS: No, it’s awful. “Send in the Clowns” was made popular by two
singers: Judy Collins, for whom Jonathan Tunick orchestrated it, so the
chords are correct, and Frank Sinatra, for whom Nelson Riddle* orches-
trated it and who made one chord change. It was unwitting, but, of
course, Sinatra’s recording has been copied by everyone. People who
make records, I fear, do not look at the sheet music, they listen to other
recordings. And the result is, that chord has been copied—it’s in the mid-
dle of the release, where he dropped a suspension—and it just kills it for
me, it just kills it. But because that was such a popular record, most peo-
ple do that, and it’s awful. You know, you spend hours choosing a chord,
or working something out contrapuntally. And to have it dismissed like
that, because somebody has a tin ear, is awful.

*After the first printing of the text, it was determined that the actual arranger
for the Sinatra recording of “Send in the Clowns” was Gordon Jenkins.
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Chapter 2

Assassins

MH: Moving on to Assassins.

SS: Or moving back.

MH: Or moving back. I guess this is the Merrily version of This Is Your Life.

SS: Right—This Was Your Life.

MH: We’ve discussed your long-line plans a bit already, but there are a
couple of them for Assassins, and I’d like to start by talking about them a
little more.

SS: Assassins is very much a collection of songs. Some motifs are used over
and over again, particularly “Hail to the Chief” and a couple of others, I
think. This is really, in the old-fashioned sense, a musical comedy—
whether people think it’s a comedy or not, it’s a collection of songs.
There’s no attempt here to make a “score” except insofar as it relates to the
characters. It’s eclectic—different kinds of styles, reflecting the periods
and reflecting the characters. So if there’s any kind of long-line stuff, it’s
within some of the pieces themselves.

MH: I only meant for individual numbers. In particular, these sketches

for the “Ballad of Booth” are intriguing for the kind of work you were
doing.

57
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58 Chapter 2

Example 2.1

SS: Wow! One of the things about the “Ballad of Booth” is, I have a feel-
ing it didn’t end up this long. But my guess is that these are two differ-
ent versions (mostly because one is in B-flat, and one is in G), but it may
have been—you know, what he sings is in two sections. As I remember
it, the “Ballad” itself is in B-flat, and I’m surprised that I made a long-
line out of the Balladeer’s version, but apparently I did. The problem
with this number, or the task I set myself, was that I wanted to combine
two entirely different songs and yet make them feel as if the Balladeer’s
version—which is supposedly a kind of banjo song—would act as a
framework for a very romantic middle section and that they should
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Example 2.1 (continued)

somehow be related. And my guess is that’s why I worked out these

various long-line things, but it would take me a while to go back over
this and figure out exactly what I was doing. I notice, however, that
there’s a great deal of interplay between the fifth note of the scale and
the sixth note of the scale, and I see that’s both in the harmony and in
the melody. And I see that it’s reflected in the bass line in G major—the
D-E-D-E—so, it looks like I was hovering around the relationship be-
tween five and six. You’ll notice that, at least in the first part of this,
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60 Chapter 2

there are very few accidentals, which means this must be the Bal-
ladeer’s section, because he didn’t deal much in accidentals. The reason
there’s so much work on this is that I knew that I had to somehow keep
these two songs separate but glue them together in some way. I suspect
the long-line of the Balladeer’s section both reflects and is reflected by
the long-line of Booth’s section. And yet Booth’s section is rubato and
free-flowing, and the Balladeer’s is rhythmic and steady.

MH: Most of your manuscripts are for piano accompaniments, but this
one was obviously conceived for a ukulele or banjo.

SS: I know. Once we invented the character of the Balladeer, we figured he

would have a guitar or banjo slung over his shoulder—sort of Woody
Guthrie style. When I say banjo, “Oh Susannah” was what I was thinking
of. Those repeated chords at the beginning are much more banjo chords,

Example 2.2
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Assassins 61

or banjo-style, than guitar-style. I rarely think instrumentally, but in this

case it seemed important that the Balladeer always have some sort of gui-
tar or banjo accompaniment.

MH: So when you write those chords, what are you thinking?

SS: I’m thinking of three notes that can be strummed on the banjo. That’s all.

MH: This is your only show I can think of that didn’t have a full orches-
tration until the recording session.

SS: Yes, this show was done with three instruments originally.

MH: What was that process like—since you didn’t get to work out the or-
chestration in rehearsal?

SS: I just trusted Michael Starobin by then because he’d done such a sen-
sational job on Sunday in the Park with George. When it came time for the
orchestra rehearsals, I went there and went over some stuff with him—
whatever objections I had. It was taking a big chance, but I didn’t mind
taking it with Michael at all. You always want to hear the orchestrations
in advance in case there are any egregious, I won’t say errors, but choices
that you disagree with.

MH: For the Hinckley/Fromme number, “Unworthy of Your Love,” there

are a lot of fairly significant differences among your sketches. For in-
stance, in this version it has a much higher tessitura.

Example 2.3

SS: I don’t know why I wrote it so high up. I have learned over a period
of time not to take singers over a D or D-sharp, even if they’re sopranos.
The soprano sound is not my favorite sound anyway, and you get up
around an F. . . . When I’m singing, I’m singing an octave below and it
doesn’t matter, but boy, when you start to hear them up there it gets
hard to understand the lyrics and, for my money, it’s not a pleasant
sound. There are, of course, exceptions—if you have Barbara Cook
singing an F, that’s a different matter. My guess is here I started to work
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62 Chapter 2

out everything, and I thought: Oh dear, it’s all too high. You’ll notice I
wrote “transpose as needed.” Instead of putting it into another key, I’m
sure I said to Paul Gemignani: Tell me what key you want it in, and if
there’s any problem with the relationship of the two voices, I’ll fix it.
That’s my guess, because ordinarily I would never give this to a copyist
without a specific transposition saying, “take this down,” before hand-
ing it to the singer.

MH: This song is an example of what Stephen Banfield calls, “diegetic

music”—meaning in the show, the character of Hinckley is actually writing
and performing it as a song. And it’s my understanding that you did
some things musically in this song to indicate a naive composer.

SS: There’s one place in the opening vamp—in the accompaniment—that

is like he’s making an error while he’s playing. That should be another
F-sharp in bar 6.

Example 2.4

MH: Is that hard for you to do?

SS: No, I thought it was fun. I was wondering if anybody would catch it.
It’s for me. As I told you before, I think that an audience’s ear, no matter
how uneducated it is, I think they sense it—I think they sense that some-
thing’s out of the pattern there. It’s as if he made a mistake playing the
guitar.
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MH: Would this be a rare example of, if somebody does do a pop record-
ing of the song, you would actually prefer the F-sharp be used?

SS: I probably would, but it doesn’t matter because it’s merely an

eleventh in the chord instead of a third. I never think about pop record-
ings. If I published it as a separate number I suppose I would prefer it
with the F-sharp. Something else that I notice is that I had an earlier
percussive accompaniment that would have had the orchestra come in
more heavily.

MH: Do you remember why you changed it?

SS: My guess is that either it happened before the notion that he actually
was writing the song, or I didn’t think of his actually playing and writing
on the guitar until the second thought. That’s all I can think of, because
there’s a complete piano copy that I wrote with the percussive, orchestral
accompaniment, so there must have been a real reason to change it. I must
have thought better of it. I know it never went into rehearsal—it was al-
ways guitar in rehearsal.

MH: In your sketches for “Another National Anthem,” you’ve written out
these series of chords that are labeled “cadences.” The piece begins with
that choral sequence; am I right in assuming that’s what these sketches
were for?

Example 2.5a

SS: That’s what these are. I’m trying out different cadences, because that
whole lament idea is two chords, but I also knew that this was going to be
a dissonant piece. Originally, I must have intended for the song to end, as
opposed to fade out, because usually when I write cadences I really am
talking about stopping points—usually at the end, or sometimes in the
middle if there’s a demarked section. But since this is one continuous
piece, interrupted by the Balladeer, my guess is those cadences are the
choral sections. On the other hand, those vocals were set fairly early, so
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64 Chapter 2

Example 2.5b

it’s possible that these were cadences that I wanted to use to end, let’s say,
a section of “Another National Anthem,” and then to transition into the
Balladeer’s section. That’s another possibility.

MH: And where you’ve written “final cadence”?

SS: That means, obviously, I really meant the piece to end. But now that I
look at it, that’s not really a very consonant chord, so maybe by that time
what I meant was: That’s the last chord I wanted to hear before the fade-
out as people wander off the stage. But certainly that’s the last chord I
wanted to have.
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Example 2.5c

MH: So when you refer to cadences, in some cases it’s literally the end of
the song, but sometimes there are internal cadences that you’re talking
about.

SS: Yes, usually to end a section. And it’s sometimes to avoid a straight
V-I, but without, again, being “wrong note”—something that’s built into
the harmony, or a variation. If I’ve used another cadence before, then I
want to use that.

MH: Why did you think the vocals at the beginning should be pre-
recorded?

SS: Just to give that distant effect. I wanted it disembodied—I wanted that
disembodied lament.

MH: A number of twentieth-century composers have worked extensively

with using pre-recorded sounds, and I’m curious if that’s something
you’ve explored, or thought much about.

SS: No, not at all. These are usually practical matters. The cast in Assassins
is made up of the Assassins plus the group that plays the bystanders—
five people. The five people are the ones who did that choral part, but it
was taped, so it became part of the orchestra. But that was to keep it reg-
ular; I wanted to be sure that it was absolutely regular.

MH: Is it mourning?
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66 Chapter 2

SS: Absolutely. That’s exactly what it’s supposed to be.

MH: The added number for the London production, “Something Just
Broke,” also utilized that choral effect.

Example 2.6

SS: In fact, that’s why I had written it originally. I’d always intended to
write “Something Just Broke,” and there just wasn’t time. We opened the
show off-Broadway, and we thought we would have it transfer. I assumed
by the time it transferred I’d be able to write this extra number, but then
it never transferred, so I wrote it for London. It was always intended that
there would be a moment in Assassins about what happens to the country
when a president gets assassinated. Most people don’t know, but the
country went into just as deep mourning for McKinley and Garfield as
they did for Lincoln. Kennedy was different because, by that time, the
communications revolution had happened, and everybody knew it all at
once. But in Lincoln’s case, McKinley’s case, and Garfield’s case, it took a
while for the news to get across the country. But the trains carrying the
bodies of the presidents were greeted with just as much weeping and
wailing in the case of two minor presidents as in the case of Lincoln. It’s
a constant when the country goes into a convulsion like that, and that’s
what that number’s about—the country’s convulsion. “Something Just
Broke” deals with the deaths of all four presidents. It starts with one, but
then you gradually realize you’re hearing from a farmer in 1893, and then
somebody’s talking about Dallas, Texas, in 1963.
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Assassins 67

MH: It seems one of the through lines of your work has been history
through the eyes of the bystander. Such as the numbers “How I Saved
Roosevelt,” “Someone in a Tree,” and “Four Black Dragons.”

SS: It’s more than a coincidence, those are shows with John Weidman. The
socio-political shows I’ve written are all—all: Pacific Overtures, Assassins,
and the one I’m writing now with him, Wise Guys—they all involve that
double facet of the observer and the observed. I don’t think any of the
other shows do.

MH: Is it a technique that intrigues you musically?

SS: No, it’s John’s doing. “Someone in a Tree” is his invention. He gets full
credit for that notion of history as prisms through different time zones.
That’s absolutely his. And “Something Just Broke” is something we dis-
cussed. I thought: How do I get the whole country onto the stage? “How
I Saved Roosevelt” is a good example of one of the things that’s nice about
Assassins: Everything in it is actually true and happened—not when peo-
ple meet across a hundred years, that didn’t happen—there were five by-
standers, each of whom claimed that they had saved Roosevelt’s life.

MH: Of all of your shows, Assassins is the only one I can think of where
there are not only characters who really lived, but who are alive today.
How did that affect your writing for them?

SS: Well, the only one who’s alive is Gerald Ford, isn’t it?

MH: Well, Squeaky Fromme and Hinckley and Moore.

SS: Gosh, you’re absolutely right. No, it didn’t occur to us. I ran into a lady
who was a great-niece of Czolgosz, and unfortunately told me that the
family pronounced the name “Solegosh,” and we’d gone through the
whole show pronouncing it Czolgosz. I told John, and we just cocked our
eyebrows and left it as it was. As a matter of fact, it was even farther away
than “Solegosh,” it was “Solegoak,” or something like that, but really a
different pronunciation. And we didn’t know whether it was Bick or
Bike—B-Y-C-K—and we had no way of finding it out. I still don’t know.

MH: Do you have any sense that, from now on, the history of how these
things are viewed will be affected by the show?

SS: No, the show wasn’t that popular.

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68 Chapter 2

MH: In the MTI piece that you did on Assassins you say that you “chose
to emulate Stephen Foster for his poignancy,” and you described Booth’s
section of the “Gun Song” as “seductive, almost evil.” Can you talk about
what it is in music that makes it emotional—that makes a piece of music
poignant or evil?

SS: It’s impossible. That’s like talking about programmatic music and say-
ing: Oh, that’s the sea. And then you say: No it isn’t, it’s the sky. You can’t
use literary terms about music—that’s the whole point of music. The
whole idea of the MTI piece is to give an indication to people who are go-
ing to put on the show. (I think that whoever is listening or looking at this
should know that MTI is the firm that leases these shows to groups that
want to perform them, whether they’re amateur or professional. And in
order to give an indication of how the pieces should be approached from
the author’s standpoint, Freddy Gershon of MTI had the bright idea—and
a very bright idea—of having the authors videotaped talking about the
works.) So I’m on that tape demonstrating things at the piano in terms of
tempi and approach, but also trying and give them a color that they can
relate to. To say “Stephen Foster” immediately sets up some kind of algo-
rithm in the head, and they’ll go ahead and at least try to approximate it.
If I said “Cole Porter,” they would do it a whole different way. “Poignant”
is a word I would ordinarily never use, because it has to do with reaction,
not with the piece itself. What strikes you as poignant might strike me as
laughable, so I don’t think you can give affect to music. If I say a piece is
poignant, all I mean is, it’s poignant to me. In this case I was saying: The
notion behind this has the plaintive quality of Stephen Foster. But it’s
strictly “music appreciation” guidelines—it’s to be taken seriously, but
not too seriously.

MH: Are there certain obvious things that you do when you want to gen-
erate certain emotional reactions in an audience or character? Things like:
tritones mean this. . . .

SS: No. There are people who associate keys with emotions—the way Seu-
rat associated colors with certain emotions. I don’t. There is a tendency—
and I don’t know whether it’s because of the relation of the fingers to the
eye to the brain to the piano—to think of sharp keys as bright and flat
keys as romantic or, I don’t want to say sad, but soft. Whereas there’s a
kind of bright (no pun intended) sharpness about sharp keys—at least in
my mind. If I were writing a lament it would occur to me to write it in a
flat key or a white key; it would not occur to me to write it in a sharp key.

MH: What about major keys, minor keys, or the modes?

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Assassins 69

SS: Well, you see, it took a long time for me to write in minor. I happen to
love minor modes, but for some reason I wrote show after show after
show without writing a song in a minor mode. I can’t really remember the
first time I did it consciously, but I do know that Pacific Overtures was full
of minor modes because the Japanese pentatonic scale is a kind of minor
pentatonic. But prior to that, you’d be hard put to find a lot of minor stuff
in my work. It’s hard for me to think of any. I mean I’m sure I did write
something in Forum or Follies or Company or Whistle in a minor mode, but
offhand I can’t think of them. I do know that the verse of “Miller’s Son” I
remember as one of the very first times I thought: Oh look, I’m writing in
a minor mode.

MH: So it wasn’t a conscious decision to write it in the minor?

SS: No, it wasn’t. I don’t know why that is, because as a kid I used to play
“Aase’s Death” and lots of things in minor keys. For some reason I didn’t
write in them for some time. Most people associate minor with sad, and I
think there’s a reason probably; I don’t know what it is, but one generally
does. But “Losing My Mind” is a sad song, and it’s in a major key.

MH: Looking through the Assassins manuscripts, I was surprised—par-

ticularly given the smaller scale of the show—how many song ideas you
worked through. There were eight pages just listing possible titles and
ideas for songs.

SS: Well, there were also many other scenes. The show first started with
the idea of assassination through the ages, starting with Julius Caesar.
Then we realized that was unwieldy, so we decided to restrict it to Amer-
ican assassinations, but we included ones like Harvey Milk. John wrote a
whole Harvey Milk scene. Then we decided that was unwieldy and we
would restrict it entirely to presidents, which was a wise choice. Because
the incubation period was a long time, many of those ideas were for other
versions of the show. I’m reminded of one idea that John had—a won-
derful idea and I’m sorry we never did it. It was a trio for three of the vice
presidents—Lincoln’s vice-president, Garfield’s vice-president, and
McKinley’s vice-president—when they get the phone call (we took the lib-
erty of having phone calls): “Excuse me, sir.” “What! Me?!” You know,
three people totally unprepared for what’s been thrust on them. It would
have been very funny. But there were a lot of ideas.

MH: Tell me about the process of making those choices and decisions. I
know you work very much from what the librettist gives you . . .

SS: Very much.

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70 Chapter 2

MH: . . . but do you subtly pressure them, and say: “I’d really love to write
this number”?

SS: It’s not what they give me, it’s what we work out together—what we
decide would be effective musically. Obviously, in talking about the scenes
I get lots of ideas and I jot them all down. Sometimes I will try an idea and
I can’t make it work, so I’ll go on to another idea. That happens frequently,
where, given a situation, I will have four or five central ideas, and if I can
combine them and make them one piece without packing the trunk too
tightly, I will use them and just find a refrain line that is the central idea.
But if it comes to: Shall we have a song for the three vice-presidents, or
shall we have a song for the three presidents’ widows? Then I have to de-
cide, do I want a comic song or do I want a serious song? (Because I don’t
think you can make a comic song out of the widows.) That would be one
way of making the decision. And then I would probably think to myself:
Well, maybe I could use the same music and have the three widows at the
beginning of the show, and then, two-thirds of the way through the show,
the three vice-presidents with the same music with a comic lyric. All those
ideas, you start to juggle them. Ideas are fun to think of, the execution is:
Oy, Got in himmel! But getting the ideas is always fun.

MH: It raises the question of plotting the score.

SS: “Routining.”

MH: How does that process happen—where the up tempos, the ballads,
the . . .?

SS: I don’t think as much about up tempos and ballads as I do about—a word
we used earlier—textures. That is, I don’t mind having three ballads in a row,
but I don’t want three ballads sung by a male voice in a row. Because by the
time of the third song, the male voice has outstayed its welcome. So if I were
writing a show, for example, that only had men in it, I would just see to it that
one number was a solo, one was a trio, and one was an ensemble, or some-
thing like that, to give it variety. There used to be an old rule that you don’t
put ballads back-to-back, but that dates back to the Rodgers and Hammer-
stein era. Nowadays you can do anything. It’s a question of how the dramatic
arc of the show progresses and where the music is required. And it’s a mat-
ter of where is music necessary to the show? The really hard part about rou-
tining a musical is where is music necessary. You can sing about anything.
We could sing this conversation, but does music enhance it? Is music neces-
sary to it? Or is music merely a decorative way of our talking to each other?
And you have to decide if decoration—I mean generally I’m against decora-
tion, but every now and then. . . . In Forum, for example, I had a terrible time
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Assassins 71

writing that score (Next to Merrily, it was the hardest score I ever had to
write.) because I had been brought up by Oscar Hammerstein to think of
songs as being little scenes and necessary to telling the story. And Burt
Shevelove said: “But there’s a whole other way to write songs—the way the
Greeks did it, and the way Romans did it, and the way Shakespeare did it—
which is, to savor the moment.” And that, in fact—up until Rodgers and
Hammerstein—was precisely the way all songs in the musical theater were
written, except for Oscar’s. Take, for example, “Let’s Do It”— it’s taking an
idea and playing with it for four minutes. It doesn’t move from A to B, it’s
certainly not necessary, even to the light texture of the show—to that kind of
story. But, the point is, songs had a different function in those days. I like to
say Rodgers and Hammerstein spoiled it for all of us, because you can’t write
those frivolous songs anymore. But Forum was one of the last gasp attempts
to do this. You can take the songs, most of them, if not all, out of Forum, and
you haven’t hurt the story at all. I used to complain to Burt and grumble that:
“The script is so brilliant, these songs are just going to hold things up.” He
said: “No, this script will be relentless without the relief and respite of songs
that just take little moments and play with them and give them air.” And so
I gradually got to accept that. But, with that exception, in all the shows I
write, the songs are plotted based on where they are necessary to tell the
story and where the story can be told better by song. There’s an old cliché
that when a character reaches a peak of emotion, and it’s too great for speech,
he has to sing. There’s some truth to that, but not a lot, because characters
don’t often reach that peak of emotion. Yes, for “Everything’s Coming Up
Roses” the character reaches a peak of emotion where she can’t contain her-
self anymore. But for most of the songs in most shows, it’s not the peak of
emotion, it’s where does music explode the emotion? Where does the music
enlarge, or even sometimes, I suppose, diminish and make crystalline, what-
ever the notion is, at the same time it carries the story forward?

MH: You’ve been using more and more underscoring in your shows. How
is that music used?

SS: It’s interesting you say that, because the person who’s fondest of un-
derscoring is James Lapine, and if you trace it back, the underscoring
plague started with Sunday in the Park with George.

MH: I thought that in Sweeney you consciously used continuous

underscoring.

SS: Ah, but that was for a different reason, which is that I wanted to write a
horror movie, and the way a horror movie gets written is that you keep the
music going all the time. John Williams is responsible for Jaws, not Steven
Spielberg. That’s not to put down Spielberg, just that I remember sitting in
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that theater, and the screen lit up, and there was this underwater shot, and
those double-basses started, and I was terrified. I didn’t even know what I
was looking at. Music can do that. Music doesn’t have any particular liter-
ary context, but it does have the ability to stir a certain kind of emotion. Also
we associate things with music—we’ve been exposed so much to instru-
mental colors defining things, particularly in movies. You always hear a bas-
soon accompanying a drunk coming home in the movies of the thirties, for-
ties, and, I suppose, into the fifties too. And growling double-basses do
suggest a beast of some sort. We have those thought associations that I don’t
think a nineteenth-century audience would respond to in the same way—
they wouldn’t hear a bassoon and associate it with a drunk. You hear a sax-
ophone, it’s usually a sexy girl. It’s from years of inculcation through the
movies. So there are connotations that come with music, but it’s usually in-
strumental colors. All I know is that John Williams frightened me to death
with that. Horror movies and suspense movies are very much co-created.
Bernard Herrmann is Alfred Hitchcock; that’s why Hitchcock used him all
the time. What happens in Psycho in the orchestra is just as frightening as
what happens on the screen. And not just the shrieking birds, but those un-
resolved chords that keep going on so that nothing ever reaches a cadence,
and so you’re constantly upset, because it’s all a kind of—”irresolution” is
the best I can say. But it promises something else: You’re not through yet . . .
you’re not through yet . . . something else is going to happen . . . it’s not over
yet. Herrmann was the master of that, but many composers do it. I tried to
do it in Sweeney. Sweeney is an homage to Bernard Herrmann. I even used a
chord in the show that’s what I call my Bernard Herrmann chord, and that
is one of the basic building blocks of the whole piece. But I realized that as
soon as the music stopped, I didn’t want to give the audience too much of a
chance to remember where they were—which is watching a lot of stage
blood, and a lot of over-acting—that’s not a criticism of the actors—but
larger than life. What makes Sweeney effective—if it’s effective—is that
everybody is over the top, because if they’re not, it’s really silly. But if they’re
over the top, it’s silly unless you can keep the tension going, so I wanted to
keep the music going, so I wrote a lot of underscoring. And that’s a case
where all the underscoring is mine—that was not devised by anybody else
but me.

MH: And underscoring that you’ve done subsequent to Sweeney?

SS: I did a lot of underscoring for Lapine consciously, and a lot of under-
scoring for Into the Woods.

MH: How do you approach it as a composer?

SS: Usually you’re developing themes and vamps—rhythmic ideas—that

are associated with either that character. . . . I’m very much a leitmotif
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Assassins 73

man—I really like the notion that an audience will register certain tunes,
or rhythmic ideas, or even harmonies, with given characters. And you can
build on that. It’s very convenient. I don’t know why more people don’t do
it. If I have a theme for you, and a theme for her, then when the two of you
get together, I don’t have to wonder about what I should write: I’ll take
your music and her music and combine them. So you’re building up a
bank for yourself. I made motifs for Sweeney, and for Mrs. Lovett, and for
the Beggar Woman; and when everything starts to collide towards the end,
I have all the material to build on. If you set those things up, it’s effective
for the audience. That’s what dictates the underscoring. When Sweeney
comes on we get the Sweeney motif. I try to keep it a little less obvious than
that, but I’ve got the motif to work with. Also, again from Bernard Herr-
mann, I picked up how to create suspense. I don’t know that I can really
articulate it, because it’s more of a feeling than anything else—when you
use skittering music to create nervousness and that sort of thing. It’s fairly
literal stuff, it’s not very subtle, but then in a melodrama, subtlety is not
what you’re after. Incidentally, underscoring is easy and fun to write, and
if I were not in musical theater, I would enjoy writing movie music. The
trouble with movie music is you’re not in charge of it—eventually the di-
rector or the producer throws half of it out, or changes something. But
given autonomy, I think it would be really fun to write movie music.

MH: How was writing the Stavisky score?

SS: Alain Resnais, who directed it, really respected it, but half of it is not in the
movie, because he decided to take everything that had to do with Trotsky out.

MH: How did it open you up musically—the fact that you weren’t limited
by the range of the voice?

SS: It’s great. That’s why I talked before about how I’d like to write ballet
music if I ever wrote so-called concert music. Lyric writing is, for me, hell.
It’s genuinely unpleasant, even though I often end up proud of what I’ve
done. But it’s really, really, really hard. Particularly with this language, which
is a great language, but there are certain aspects of it that are hard to sing—
as opposed to Italian, where virtually every word is singable. And when I
don’t have to write lyrics, I feel it’s really fun; it’s a picnic. Now working out
music involves a lot of hard work, and choosing and trying to make things
fresh and trying to be inventive. That’s true of lyrics too, but you’re free,
you’re not restricted by a language; you’re only restricted by the fact that
there are only twelve notes in the scale, that’s all you’re restricted by.

MH: When you were talking about having motives for different charac-
ters before, I started thinking about the score for Anyone Can Whistle.
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74 Chapter 2

You’ve discussed before that the score is about the real music as opposed
to the show business music—that is, the music for Fay versus the music
for Cora. So when you then write a duet for those two characters—
”There’s Always a Woman”—how do you approach the music?

SS: That was just musical comedy. I didn’t take it that seriously, I didn’t
think that deeply. The thing was to distinguish between the two styles,
that was all. I think when it came to the duet—well; it’s a show-biz duet,
in the sense that there are punch lines.

MH: And it was cut.

SS: It was cut. It was cut because it wasn’t very good.

MH: There’s one last long-line sketch from Assassins—it’s the “Opening
Shooting Gallery.” [Note: When asked about this example later, Sondheim
explained: “The lines under the whole notes are the equivalent of double
whole notes in printed music—that is, they indicate demarcation points
more important than the plain whole notes.”]

Example 2.7
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Assassins 75

SS: Unfortunately, this is undiscussable because this is the original version

of the number. The original “Shooting Gallery” number was a good deal
longer than the Mahler Resurrection, and complicated, and, oh my God, the
counterpoint, and. . . . Anyway, this is the sketch for that, and it’s literally
now a third of what it was, and much better, and it’s still pretty long. But
I like it very much now; I think it’s the right proportion. “Less is more” is
a hard lesson to learn. You know, I’ve discovered recently—to my horror
(and I think I’m going to have to do it on Wise Guys too)—that my open-
ing numbers tend to be much too long. Now I know that it’s because I’m
setting all the ground rules up—for the rest of the show, for myself—and
so it’s harder for me to be economical. And I wish I could say I’m just let-
ting myself go and intended to draw back, but it’s unconscious. I’m sur-
prised when I end up with a twelve-minute number that should have been
four minutes long. I’m surprised, and they’re not only long, but they gen-
erally tend to be overly complex at the beginning, which is, of course, ex-
actly the wrong message to send to an audience. Wise Guys opens with
four songs—four vaudeville songs—that then start colliding with each
other. At the moment, I suspect that it’s about a quarter too long. It may
not be, but I may have to reconceive it for three vaudeville songs. This is
something that recently occurred because we had a reading two weeks
ago. I finished the number a couple of years ago, and we had a reading of
the whole show in March, but with only two of the numbers. But now that
almost half the score is written, and now that I really heard it at the recent
reading, it didn’t stand up. Because the second number is also quite long.
So it just sounded like a show with a lot of long numbers. But it shouldn’t
be. And even though it’s a medley of four numbers, it just started to feel a
little overweight and overlong. And I realized: Oh my God, I do this all the
time. You know the opening number of Sunday—Dot’s number—is also
quite long. I set up almost all the music in the show in it, but it holds to-
gether okay, and I don’t think I cut much of that from its original. It is long,
but I don’t think it’s too long. But this was much too long, much too long.

MH: Do you tend to think it’s important to compose a score chronologically?

SS: Absolutely. For me it is. I almost always do it. There are exceptions in
the composing, but it’s hard for me at the moment to think of a score since
Forum that I haven’t composed from the beginning to the end. Company is
an exception, and I remember the last song I wrote was “You Could Drive
a Person Crazy,” because I couldn’t figure out how to make a song work
in that scene. And I remember that I wrote “It’s Hot Up Here” almost right
off—I think it the was the first number I wrote, maybe the second, for Sun-
day—because I just thought it was such a good idea, and I couldn’t wait
to write it. But otherwise, Sunday was composed chronologically. I know
Sweeney was, and I know Into the Woods was, and I know Assassins was.
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76 Chapter 2

MH: I have the impression that Follies was composed by the chronology
of the musical styles of the pastiche numbers, rather than the chronology
of the show—that you started with “One More Kiss.”

SS: No, you have to remember, Follies’ gestation period was over a period
of five years, so there were a lot of things that were replaced, and the char-
acters changed, so there’s no way to tell. When I started to write Follies, I
wrote it from the beginning, but then it got interrupted by other things—
another show, and then Hal came in, and we decided to change from re-
alism to surrealism. That meant some songs had to be thrown out—so the
whole process was screwed up. Luckily it doesn’t matter so much in Fol-
lies, because there are the two styles, as you say. The first song I ever wrote
for Follies was “One More Kiss,” but that was because I was feeling my
way around pastiche, because I wasn’t sure I could do it. Certainly with a
real plotted show, absolutely. Follies is a sort of revue, and so is Company.
But Company was pretty chronological. Follies was less so as it turned out.
But the storytelling shows from A Little Night Music and Pacific Overtures
on, all were composed chronologically.

MH: We won’t discuss your sketch for “Opening Shooting Gallery” in de-
tail, but could you tell me what the A, B, and C mean?

SS: Those are sections. Remember this number is introducing various peo-
ple. The A is probably the proprietor. It’s preceded by “Hail to the Chief.”
The B is introducing Czolgosz. The second A is the proprietor again. I
knew that I wanted to hold the number together by having the proprietor
keep coming back in the scene to sing the refrain.

MH: Do you remember what the “Coll.” stands for?

SS: It might be one of the characters, but it also might have been a bit of
business. I don’t know what that is for sure, but if what it is is something
to remind myself of what that section deals with, it may have been “col-
lecting money”—it may stand for “collection.” It probably indicates an ac-
tion, and I wanted to remind myself that that action occurred during that
section. [Note: A later examination of the manuscript led me to believe the
abbreviation is actually “call.,” standing for “calliope.”]

MH: When I was looking at the MTI videotapes for Assassins and Into the
Woods, I noted that in both of them you ended up talking about the im-
portance of getting the audience’s attention right away in the opening
number. In Into the Woods you do it musically with the “I Wish” on the off-
beat, and in Assassins it’s with the lyric, “Come here and shoot a Presi-
dent.” How do you think of an audience and how do you write for them?
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Assassins 77

SS: To get their attention, the thing is to surprise them—not to let them get
ahead of you. “Once upon a time—BOOM!” takes the wind out of them.
Because an audience hears “Once upon a time” and by the time you’re on
the third word, already they’re starting to relax—”Once upon a time there
was a little girl.” But give them “Once upon a time—SMASH!”—with a
chord, and it’s “Uh, oh,” and then they know not to expect anything—that
their expectations are going to be upended. They’ll never know when mu-
sic’s going to come in, and they’ll never know when it’s not going to come
in. Whereas with Assassins, I was trying to shock them with the lyric idea.
“C’mere and kill a President”—for an audience who doesn’t know what
the show is about—is a shocker. And then they know. It’s, again, setting
up ground rules—what Oscar taught me—set up the ground rules. It tells
them: This is going to be a shocking show.

Example 2.8
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78 Chapter 2

MH: When you’re working, you’ve spent so much preparation time

thinking about the show and talking with your librettist, how do you back
out of the process when you go to write and think: What does the audi-
ence know at this point? What don’t they know? And how am I trying to
tell them?

SS: That’s an unanswerable question. And more shows have foundered

on the shoals of that, and I’ll give you one: Anyone Can Whistle. One of the
reasons for its failure—if not the major reason—is that we never made
clear to the audience in the first fifteen minutes what we were talking
about. Are these loonies? They’re called “Cookies,” but, in fact, they’re
non-conformists. But they’re in an asylum. What is going on here? Now, I
think, it wasn’t clear to us. We could talk about it, but that’s not the same
thing as being clear. And the result is the audience never felt settled. Now
granted, they might not have liked the show anyway because there are as-
pects of archness in the show and things like that, but I do know that we
didn’t have a chance, and it’s because of that opening. It’s hard to gauge.
One of the major things one does during what they call previews or out-
of-town tryouts is you sit with the audience. If you’re real smart, you pay
no attention to applause, you pay no attention to coughing. You pay at-
tention to concentration. Are they getting what you’re saying? If they
don’t like it, there’s nothing you can do about that, because you can’t, at
least, I don’t believe in pandering (you don’t just go up a half-tone and
make a bigger second chorus; some people do, but I don’t). But are they
getting it? And are they understanding, not only what you’re about, but
what the story is? Do they know that he’s her father? Do they know that
she is this? You’ve got to be very careful about exposition. Now you don’t
want to just lay it out dully, but you want to make absolutely clear to an
audience what the ground rules are—what kind of a show it’s going to
be—and who these people are. The opening of West Side Story is wonder-
fully effective because you see six juvenile delinquents standing around
and then they start to dance, and you say: Oh, I see, it’s about ballet delin-
quents! You’ve got to know that. Really. There’s an anecdote I like to tell,
so I’ll tell it here for posterity. West Side Story was my first Broadway show
and, even though I got slammed in the reviews, I was very pleased to
have a show on. It was the second night, and I was standing in the back,
and the curtain went up and you saw the guys standing there, and they
start snapping their fingers, and you hear “Da dadada da, da dadadada
da-da” and suddenly they went into what Jerry called “the sailing step,”
where they spread their arms out to show they own the turf (which is
about a minute into the number). Three rows from the back a man got up
in the middle of the row, put his coat over his arm, and said: “Excuse me,
excuse me, excuse me, excuse me.” And he made his way out of the row,
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Assassins 79

came up the aisle and, of course, I was standing there, aghast. And he
could tell from the fact that I was standing at the back, and I was slack-
jawed, that I was connected with the show, and he just looked at me bale-
fully and said: “Don’t ask.” And I got the whole picture: This is a guy
who’s had a hard day at the office, he’s on his way home, he thinks:
Maybe I’ll stop and see a musical, there’s this new musical that just
opened. So he sits there. He thinks it’s going to be a musical—there’s go-
ing to be a lot of pretty girls, and there’s going to be lots of lively music—
and he sees six ballet dancers being juvenile delinquents to dissonant mu-
sic, and he thought: Oh, no, no, no. I suspect he went to the nearest bar
and poured himself three martinis. But this was not what he wanted. And
I thought: That makes the opening—we told him what it was going to be
like, and he knew he would hate it. And he would have hated it. And
that’s why I know that’s a good opening—he knew he would hate it.

MH: Today, after we leave, presumably you’re going to go work on a

number for Wise Guys.

SS: I hope.

MH: Do you try and see it from a fresh perspective? Do you imagine it
from the audience’s eye?

SS: I’ve discovered over a period of years that essentially I’m a playwright
who writes with song, and that playwrights are actors. And what I do is I
act. So what I’ll do is, I’ll go upstairs, and I’ll get back into the character
of Wilson Mizner, and I’ll start singing to myself. It’ll take me a while to
make that transition, because it’s been a couple of days since I’ve been
Wilson, but I’ll get upstairs, and I’ll be Wilson.
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Chapter 3

Into the Woods

MH: I’d like to start with this series of motives that you had sketched out.
[Note: See Examples 3.1 and 3.1 (continued).]

SS: Right, these are absolutely traditional leitmotifs. Before you even ask
your question, let me tell you: Originally I was going to have each char-
acter personified by an instrument and by a theme. So this is literally my
master sheet. You’ll notice how neatly this is written, even though it’s got
some erasures; that’s because this is a compilation of things I’d worked
out on other sheets. And this is my master list, with each character no-
tated at the left hand, or over each motif. So that “B & BW” means Baker
and Baker’s Wife. (“BW” were also my initials for “Beggar Woman,” so
every now and then I look at that and think: Wait a minute!) But that’s
what these things are, and “W” is Witch, “CM” is Cinderella’s Mother, et
cetera. So I determined I was going to have a whole series of themes and
then utilize them, so that’s what this sheet is.

MH: Aside from the bean theme, which we’ll talk about a little later, what
surprised me when I looked through all of your motifs, I realized that vir-
tually all of them started with an interval of a major second or, in a few
cases, a minor second. It struck me as rather extraordinary.

SS: It all came out of “I wish.” I just decided that okay, you’ve got ten char-
acters here—I’m making it up, there may be eleven, there may be nine—and
each one’s going to have a theme. And then there’s the bean theme, and so
how do you utilize these—in tandem—and why bother to write themes un-
less they’re going to somehow relate to each other? So, just as most of the

81
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82 Chapter 3

Example 3.1

themes in Passion relate to those first five notes, or the bugle call, in this case,
again, it seemed to me that I could relate the themes by beginning them each
with the same motif. It makes it easier to write if you have a character come
on and a theme that you’ve heard starts and then goes into another direc-
tion—it holds it together. So, if Cinderella goes “da-dum,” and the next
character goes “da-dum, da dah,” and the next character goes “dadadada-
dum,” you can then interweave them so much more easily—as opposed to
having to change the opening interval. Because the opening of a theme is
like the opening of a show—it’s the identifying moment. It’s: How do the
notes start? In Shostakovich’s Fifth Symphony, the octave leap in the slow
movement says everything, and then everything comes out of that.
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Into the Woods 83

Example 3.1 (continued)

MH: So, rather than restricting you, it opens you up in a way.

SS: Yes. It also makes it easier. It gives you a bank to draw on when you
get stuck.

MH: Why did you chose a second—why not a fourth, why not a fifth?

SS: How would you set “I wish”?

MH: “I wish.” [said with an inflection and a shrug]

SS: Ah, well, that’s the Jewish version. Yes, and for the Jewish Cinderella
it would actually be a minor second—”I wish.” Or it would actually go
down—”I wish.” But it is about inflection. I mean, if you want to get pre-
tentious about it, I suppose I picked a second because she’s a repressed
girl. She’s too repressed to sing a third, or a fourth, or a fifth. That’s one
way to look at it, isn’t it? “I wish.” Cinderella would never raise her voice,
she would never go “I wish”—that’s raising. . . .

MH: But in a way then, Cinderella’s the key character, not the Baker.

SS: The show begins and ends with. . . . Ah, no. Everybody in the show has
a wish—wishing is the key character. Of course the Baker’s the key character,
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84 Chapter 3

but wishing is the key character. James didn’t want me to end with “I wish.”
James wanted to end with “Children Will Listen” and have me build it up
into a large kind of vocal ode. I thought that was too sentimental and I said
this is a show about wishing—whether it’s wishing for a child, or wishing
for freedom, or wishing for the world to be better. So, that’s why. At any rate,
it was my choice to have this inflection—a step up. And once you do that, it
dictates a lot. And I found the most useful motive, although it’s used mostly
in accompaniment, to be the one that Jack’s mother sings: “ba dum, ba dum,
ba dum, ba dum. . . .” [see motif labeled “JM”], which relates, of course, to
the title tune: “dadada dum da dum da dum da dum.” [see motif labeled
“Woods”] They all have little echoes of each other. This turned out to be a
very valuable decision, because Lapine really wanted many of the songs not
to end, but to drift into dialogue. So to prevent a truly frustrated feeling of
coitus interruptus, when you hear something you’ve heard before there’s a
certain satisfaction, even if it doesn’t end. At least that was the rationale I
had.

MH: So it was a rationale, but not from the beginning?

SS: No, it wasn’t, but that’s what I mean. This was a valuable choice, be-
cause when it turned out he wanted to truncate numbers and to keep
them fragmentary, the fact that they all were related meant that you
weren’t listening to a new tune truncated, you were listening to a varia-
tion of an old tune truncated. And that made it less unpalatable.

MH: On the subject of the “bean theme”: You said on one of the MTI
videotapes, “The story is in a sense about the bean theme.” You go on to
explain that the story is, to some degree, about how the bean theme
evolves through the course of the show, and that in “No One Is Alone” the
bean theme finally becomes calm.

SS: Again, this is for the MTI thing. Talking about intervals of a second is
not going to be of much help to somebody doing the show, but to indicate
to people: Look below the surface and see how this theme is twined into
the show throughout, and how it’s reflected in so many ways. That will
help not only the musical director, but the director, I hope, and maybe
even the actors, to understand the process of the composition of the show.
So what I said is an exaggeration, although not entirely untrue, because
the bean theme is the most prominent theme, except for the title theme
which evolves out of these others, and is, in fact, utilized as a theme in dif-
ferent disguises. These things we were just talking about are all variations
of one idea, but the bean theme remains the bean theme whether it’s in an
inversion or not, or whether it’s an augmentation or not. It remains the
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Into the Woods 85

bean theme. Whether it’s used in the accompaniment, or in a melody, or

as a piece of underscoring, it’s always: Yump, bump, bumbum, bump.
Obviously, anybody who’s in any way sophisticated musically is going to
understand this and hear it, but the MTI videotapes are for people who
are not musically sophisticated. But once they understand some of these
things, their eyes open, and they say: Oh!, and they start to become aware
that everything is related. And just that awareness will affect how they
approach the show, even if they don’t utilize it in any way. I mean, how
are you going to utilize that knowledge if you’re an actor, or whatever?
But to know it is very important. They then know that things are not ar-
bitrary in the show, and I’m going to guess that it helps them unify the
show in terms of acting styles, in terms of scenic approach, whatever. If
they know the music is conceived, not “bitsy-piecy,” but that it has some
kind of overarching notion—or set of notions—maybe that will reflect it-
self in the work they do. I really believe that. Now I may be full of it, that
may not happen at all—but it can’t hurt, as they used to say in the old
Jewish joke.

MH: You mentioned just now inversions of the theme, and I know there’s
one in “No One Is Alone” during the lyric “People make mistakes.”

Example 3.2
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86 Chapter 3

SS: That’s the big one.

MH: What was behind the decision that that’s a place to hear an inversion
of the bean theme? What does that say?

SS: Nothing. Thanks to Hammerstein, I had a nice moment with Richard

Rodgers—this was in my late teens before I worked with him, maybe it
was later. I went up to his office and I said: “One of the things I admire so
much is how the release of `People Will Say We’re in Love’ is the inver-
sion of the main theme.” He looked at me as if I were crazy. He had no
idea that it was—it had been instinctive on his part. It was something Mil-
ton Babbitt taught me when he analyzed “All the Things You Are” and
went through all the subtleties of what Kern had done. And I said: “You
mean he thought all these things up?” Babbitt said: “Some of it was con-
scious, but some of it was unconscious, like when you learn to drive a
stick-shift car—eventually all that coordination becomes unconscious.”
Or riding a bicycle, which is my version of it. It becomes unconscious—
all that coordination. In Rodgers’ case, he instinctively went for the inver-
sion. In this case, I just went for it because I was looking for a release—it
was conscious—and I knew that I was using the bean theme constantly in
this song, and I thought it would be fun to invert it here, and it makes for
a nice chordal effect—that kind of Ravel chord there—that’s very nice.

MH: But too much shouldn’t be read intellectually into that decision?

SS: Intellectually? No. But certainly the utilization of the bean theme in
that song, even when it’s not an inversion, is certainly deliberate.

MH: Have you discovered later that you’ve done things unwittingly that
you had no idea you had done?

SS: Only during the writing. Not later, but during the writing I will make
sudden discoveries. I believe that the unconscious is what writes and that
the way to write a song—or anything, I suppose—is to live, eat, and
breathe it all the time, and that when you go to sleep the work is done for
you. For me, if I interrupt it too much with social life, with distraction, or
with other work, it dissipates and I have to get back into it. That’s why I
work on one thing at a time. I believe if you inundate yourself with what
you’re working on, the brain starts to put all these things together. So I
find it not just a coincidence that the next day I will write a new passage
of music and say: Hey, that has the same relationship harmonically that
the first section has; isn’t that interesting? It’s because of what’s going on
in the back of your brain unconsciously. Now sometimes it’s a conscious
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Into the Woods 87

decision, but often it’s unconscious, and I have these little moments of de-
light where I realize that I’m still holding the piece together, that some-
thing is not irrelevant, that the idea—whatever musical idea came—was
not by chance. You know, the fact that I took the melody from E to C, in-
stead of C to E, means it’s an inversion of something in the first section,
and I didn’t even know what I was doing, but the mind is doing that sort
of stuff. Often, if you’re stuck on something—everybody who ever writes
and, I’m sure, paints or anything else creative, knows this—when you go
to bed, in the morning, you suddenly have “fresh” ideas. It’s what hap-
pened overnight that makes those fresh ideas. And if you’re working on
one piece, those fresh ideas are germane to that piece. I do not get a late
idea for Follies while I’m writing Passion. No, the ideas all belong in the
Passion score—they belong in that style, and they belong with those char-
acters. I’m a firm believer in that.

MH: When you do go back to revise Follies, or something like that, how
hard is it to get back into that world?

SS: Very, very hard. I wrote “Country House” for the 1988 Follies in Lon-
don, but it belongs in Company. It’s not a bad song, but it’s the wrong
style. I knew what I wanted to say, but I couldn’t get back into the Follies
style. The other three new songs for that production were pastiches, and
they were easy to get back into, because you can say: All right, instead of
this composer, I’ll pastiche that composer. But “Country House” was a
book song, and I couldn’t get back into the style. I just couldn’t do it.

MH: How did you try to do it? Did you go back and look at your sketches?

SS: I listened to the score again, and I tried to inculcate myself into it. I
couldn’t do it. It’s very hard. But it’s partly because I’m one of those peo-
ple who writes an entirely different show each time—as opposed to a
Rodgers and Hammerstein who, if they wanted to, could recycle stuff.
Lenny recycled stuff all the time, and a lot of stuff from Candide went into
West Side Story, and a lot of West Side Story went into Candide. It fools the
eye and fools the ear, but I can’t do that; I just can’t. The shows are too dif-
ferent in my own head. What is useful in one show, is not in another. And
therefore, it means, that if I’m working for a year on Passion, and then I
suddenly have to do a revival of Follies, I can’t do that—I can’t get back
into it, it’s going to come out like Passion.

MH: In looking at your sketches for Into the Woods, I noticed that some of
your thematic material was not just melodic but harmonic; you even have
chords that are themes.
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88 Chapter 3

SS: Absolutely. And they generally relate to the title song, because, again,
I wanted a kind of “Follow the Yellow Brick Road” to go through the
show. Because Into the Woods presents the problem of three or four major
plots going on at the same time, and eight or nine major characters going
on at the same time, you have to be careful. How do you carpet tack it—
how do you keep the score from just riding madly off in all directions, like
a Stephen Leacock character? And one of the ways to do it is to keep re-
minding the audience through chords. Again, because the characters have
different themes, you can’t use reprises very much, so I reprised chords.
But most of those chords show up in the title tune.

MH: There are some chordal sketches that are labeled “bean theme.”
What does that mean?

Example 3.3

SS: I’d have to see the sketches, and my guess is that if you take those five
notes—which can be harmonized in many, many ways, at least as many
ways as a Bach chorale theme—and so my guess is I was trying out dif-
ferent harmonizations. You can take that and it can go into at least three
keys that I can think of offhand. So right away you’ve got three entirely
different territories. And within those territories, you’ve got a I chord, and
a I6 chord, and all that sort of stuff. There are a lot of variations you can
do there. I wanted a theme that was versatile, that’s why I picked it.

MH: I think my favorite song from Into the Woods is “On the Steps of the
Palace.” It may be a little obvious to comment on, but it seems to me that
the constant back-and-forth between two notes in the bass line reveals a
lot about the character of Cinderella.

SS: Well, but it really comes out of “Very Nice Prince”—that’s really
what this accompaniment figure is from. So it’s really for Cinderella
and the Baker’s Wife. I wanted something liquid and running—it’s two
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Example 3.4

girls getting together and dishing a ball. I wanted something that felt
like conversation flowing. That’s really what this sort of vamp is about.
Also, that bass blurs the harmony, so you’re never quite sure where you
are. You don’t know whether this is a tonic chord or a dominant chord,
and the unsettled quality was what I was working for. I thought: All
right, two ladies have differing reactions to the ball—one is jealous be-
cause she would love her life to be more tidy and glamorous, and she
thinks the other one is a princess of some sort; and the princess has just
had both a wonderful and terrible time and feels like a fraud. They’re
two very unsettled ladies. It’s like “Lucy and Jessie”—each one wants
the other one’s life. One of them says: It must be wonderful to go home
to a baker every night and know where you are. And the other one says:
It must be wonderful to be a princess and go to a ball. And each one
says: Yeah, but. . . . So that unsettled quality, I’m sure, is what suggests
it. I don’t even know if this was conscious, but it’s my instinct as to why
I chose that. So what you get is this blurred, not demarked, uncertain,
harmonic flux. In “On the Steps of the Palace” I don’t know if you ever
know where you really are until bar twenty-three when it says: Oh, I
see, we’re in D major. In “Very Nice Prince” I don’t think you ever
know where you are.

MH: How do you compose a song where the harmony itself is so uncer-
tain—if you can’t be sure if you’re in the dominant or the tonic. . . ?

SS: I just think it’s up to the audience—let them worry about it. There
was a nice phrase in my counterpoint book in college—it was a very
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90 Chapter 3

conservative little book on counterpoint—and the author disapproved

of a certain technique and said: “This is the refuge of the destitute.”
And I think this is the refuge of the destitute—it could be viewed that
way. I don’t think I felt that way, but. . . . Actually, it’s easier not to make
up your mind, isn’t it?—as Cinderella points out. It reflects her state of
mind.
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Chapter 4

Sunday in the
Park with George

MH: Sunday in the Park is an extraordinary score, and unlike anything else.

SS: It’s an extraordinary show—it’s a show that’s unlike any other.

MH: I wanted to start with one page of your sketches that you’ve labeled
“George Painting,” but in its final form is known as “Color and Light, Part
I.” You’ve written yourself a little note at the top of the page. [See exam-
ple 4.1.]

SS: “Pointillism is in the instrumentation and accompaniment.” Origi-

nally, I had a schematic idea. I’m German by ancestry, and I have a Ger-
manic neatness sense, and I make lists. So, just as it had occurred to me to
assign a different instrument to each character in Into the Woods—an idea
which I jettisoned fairly quickly—in the same way I thought: Isn’t it in-
teresting that Seurat had, on his palate, eleven colors and white. And I
thought, eleven and one make twelve. And how many notes are there in
the scale? Twelve. And I thought, ooh, isn’t that interesting. So I thought
I would utilize that in some way, shape, or form. You know the way he
never mixed a color with a color that wasn’t next to it on the color
wheel—so he would never mix yellow with blue; he would mix yellow
with yellow-orange, or he would mix blue with blue-violet, but he would
never mix yellow and blue.

MH: When you say mix, do you mean literally, or next to each other?

SS: Literally. That is to say, if he was to make a dot, he would either use a
color—augmented, or mixed with white—or a color mixed with the color
91
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Example 4.1

next to it. But he would never mix the two colors, because the idea was to
let the eye mix the colors. If the painter mixes the colors, then the eye
doesn’t get a chance to, does it? If you take yellow and red and make your
own orange out of it, it’s not going to be the same thing as putting a yel-
low dot next to a red dot then letting the eye mix it. So I thought, wouldn’t
it be nice to do the musical equivalent, and then I realized it would make
all the score minor seconds. This is not a good thing, because I would
never be able to mix C with E; I’d have to mix C with D-flat, or C with B.
I realized this was a dead end fairly soon, so I didn’t do it. But this is
clearly early on, and this is the first painting song from George. So then I
thought, what I would do is use pointillism—and that’s what this is
about—in the rhythm. I looked at the painting; you know everybody
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Sunday in the Park with George 93

thinks that Seurat painted in dots—he didn’t, they’re dabs. And there’s a
big difference. If you look at the strokes closely in the painting, he could
only have applied them fairly slowly and meticulously. Well, that’s fairly
boring on a stage. People think of it as dots, so I thought: I will take the
liberty of having him do it like that—stipple. You know he never used
lines: all the outlines in all the pointillist paintings that he did are the re-
sult of putting a line of yellow dots next to a line of blue dots, and the eye
mixes them and makes its own illusion. You get up close to it, there are no
lines! It’s a series of dabs next to a series of dabs. It’s a complete illusion.
And that was his point—no pun intended. But I thought, on the stage you
can convey that—this is called taking liberties—by having him applying
dots fairly rapidly and rhythmically. And I thought: Okay, if I’m going to
do that, then I’m going to have a rhythm in the accompaniment that’s go-
ing to echo that, so it’s [sings “Color and Light” accompaniment]. You
know he had a square palette, not the usual free-flowing palette, because
he was very organized and every color had to be next to every color with
a little white or not. And if you listen to the alternation—which becomes
very important in the score—between the major and the minor [sings
phrase], it’s because I was holding on to that notion of the minor second.
The alternation between a major third and a minor third, if you juxtapose
them, is exactly like juxtaposing yellow with yellow-orange or red with
red-orange. It’s exactly the same thing. And that juxtaposition is the point
of this score. The opening arpeggio is two major chords, one juxtaposed
with the other. In the same way, this is the juxtaposition of major and mi-
nor. And it pays off in “Move On.” You know, “Move On” is a compila-
tion of all the themes in the show in one song. You hear that alternation of
major and minor in the accompaniment there; it’s an echo of this. And it
comes from that notion that I had and threw out—of two notes right next
to each other and the ear would blend them into one note. And you want
to know something? I really believe that in “Move On” when that alter-
nation occurs—[sings phrase] that little major/minor alternation—that
the ear blends those two things and it comes out to be this unsettled, but
very poignant chord. At least it does to me. I really hear it that way. Not
here, but in “Move On.”

MH: Why not here?

SS: In “Move On,” because it’s legato. Here it’s staccato, so you hear very
distinctly the separations. But when you’re hearing “ . . . you have to
move on,” under the “on,” after the cadence there, you hear the major and
the minor and they alternate. And what you get is a sense of moiré. And I
think it tells. I think it makes it satisfying. Because, ordinarily, that kind of
uncertainty between major and minor would unsettle the audience. In
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94 Chapter 4

Example 4.2

“Move On,” I think it feels like a cadence. And I think it’s because it’s been
set up here.

MH: Did you think of that at this point, before you started to write “Move
On”?

SS: Oh, no. When I got to “Move On,” I thought: Okay, here’s the cul-
mination, what’ll I do? I know, I’ll take all the themes and put them to-
gether. And that’s what I did. No, I had not planned it. When I started
to write “Move On,” I thought: Hey, how about using that opening
arpeggio as your accompaniment arpeggio? And the minute I thought
of that, the doors flew open. Once I knew that [sings arpeggio phrase]
would become [sings accompaniment phrase]—that it would become
the whole pillar, and all the building blocks of the accompaniment.
Once I knew that, it started. Everything feeds in. This is what I mean
by the unconscious—all these things coming in, all those themes, all
those rhythmic themes, the moving thirds that she does with George
and his painting in her solo, and it becomes the moving thirds accom-
paniment of “Finishing the Hat.” That all plays into it. Everything. It’s
because for a year I’d been in this one country, and I’d spoken this one
language. When it came time to write “Move On,” I used my entire vo-
cabulary. I hadn’t quite finished it when we had our first reading for the
Shuberts. I remember they were sitting there, and I thought: Oh, I’ve
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Sunday in the Park with George 95

got to play an unfinished song, but I’ve got to let them know there’s
gonna be this big love song at the end of the show. I still had a couple
of songs to write, but I wanted to get the climactic song done. My mem-
ory is that it was not hard to write—nothing’s easy to write, but not
hard compared to uphill struggles I’ve had before. And it was because
of all of this. I tell you, if you prepare your table, the meal is easy to
cook.

MH: I’m embarrassed to say that it wasn’t until you were talking a few
moments ago that I realized the lyric is “red, red-orange,” I’d always
thought it was “red . . . red . . . orange.”

SS: Have you ever seen the painting?

MH: No.

SS: Go! First of all, it’s the most magical experience. I can’t talk about it
without crying. It has such stillness in it. All the colors are faded now. He
got bad advice from his good friend Pissarro. The only nice one in that en-
tire group of Impressionists was Pissarro—as you probably know, they
were all awful people, particularly to Seurat—but Pissarro supported
him. Pissarro, in fact, did some pointillist painting. Pissarro said: “Listen,
there’s this new kind of paint and it has a real shimmer to it.” And that’s
what Seurat was always after—shimmer. What he didn’t know was it was
the kind of paint that fades. By 1891 when Seurat died, the painting was
only eight years old, and the colors had already started to fade. It’s now
behind glass at the Art Institute of Chicago so that no sunlight’s hitting it
and all that sort of stuff. It’s still pretty vivid, but when you go up close
and see what this man did, it’s thrilling. Each one of those is a choice.
Three million choices—however many dabs there are. It’s a transitional
painting; it’s not pointillism entirely. He started to paint it with the kind
of short strokes that he’d used on Bathing at Asnières, and then halfway
through somebody—I think it was Pissarro—said to him: “Why don’t you
use this technique you’ve been trying these seascapes with—the little dot-
ting techniques?” And he said: “All right.”

MH: Getting back to “Move On,” I’d like to talk about my favorite, re-
markable page from the score.

SS: As you can see, all this stuff you’ve heard before is in the score. The big
harmonic change—which I suspect is what you like—the big, rhapsodic,
harmonic change has no intellectuality behind it at all. It wasn’t thought out,
it sort of came to me, and it’s because of my admiration for Rachmaninoff.
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96 Chapter 4

Example 4.3

It’s a Rachmaninoff change. I don’t mean it comes from anything specific,

but if I heard this passage, and didn’t know I’d written it, I’d say: I know
who wrote that. It seems to me to be his harmonic style. I guess my fa-
vorite piece of his is the “Rhapsody on a Theme of Paganini.” His rhap-
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Sunday in the Park with George 97

sodic style and his rhapsodic harmonies are . . . Though I’m not a Russian,
I feel like a Russian when I listen to him. All the figuration is from other
places in the score. There’s nothing on this page that you haven’t heard
before, in terms of the way the notes [sings a phrase] . . . you’ve heard all
that before. This is a case of where an inversion counts for a million
bucks—at bar 119 at the lyric “and the care”—the fact that that’s an in-
version makes that whole chord work. If you put the root position under
that, it lands like a wet washcloth, and I thought: I’m actually using an in-
version—great! And because of the inversion—which is a first inversion
of a B-flat chord, so you’ve got a D in the bass—what it does is lead to a
dominant G. It’s a fake dominant which leads eventually—because that’s
really a five of C—leads eventually to a huge C-major climax in bar 127, and
it just feels like you’ve entered a new kingdom—which you have. And I did
something smart: When I entered the new key, I reinstated the [sings alto
line from m. 127]—because that’s a very sweeping theme when it’s arpeg-
giated legato that way. And, of course, “life” is a great word to sing. I’ll tell
you another thing, you’re asking a singer to leap up to a high G there, when
he’s been singing fairly low: Mandy Patinkin’s voice helps that a lot, too.
But I must say, when I sang it to myself, I thought: Hey, that’s good. I re-
member thinking: I hope I don’t have to compromise on this because of
whoever sings it. No, I take it back, Mandy had been cast already. I initially
wrote George as a bass-baritone and I wrote Dot as a soprano. And, of
course, it turns out we cast Bernadette Peters, who has got a bass-baritone,
and Mandy, who’s a soprano, and the duets didn’t quite work. You’ll no-
tice, throughout the score, there are very few times when their voices actu-
ally go together, because their ranges are quite different. Though there are
many notes that overlap, their tessitura’s are so different that where you’re
hitting one person’s strong voice, you’re hitting the other person’s weak
voice, and that makes for very bad duet writing. If you’re asking both of
them to give a real zest, and only the man can do it because she’s in her
wrong register or vice versa, you’re in trouble. There are notes in the scale
where the two of them have equal power—because they both have strong
voices—but not all the way through the register. Mandy is a little wider
than Bernadette, but Bernadette is really powerful in the low notes.

MH: So would you have written “Move On” as it is, if you hadn’t cast
Mandy?

SS: No. It’s just that in writing it I thought: Well, if anybody can handle this,
Mandy can. Actually, the range for George is not that great. It’s a wide range,
but this G-natural is the top note, and he may go as low as B-natural. An oc-
tave-and-six is not a lot to ask of somebody singing a semi-operettaish score.
But there aren’t an awful lot of singers on Broadway who have enough
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98 Chapter 4

strength so that the low notes sound like something more than a pickup.
Anybody can have a two-octave range if the low notes are just pickups.

MH: Would this song have been as exciting written down a fourth?

SS: Gosh, I can’t tell you. I think what makes it exciting is what happens
with the harmony, I don’t think it’s about the register—I don’t think it’s
about the highness of it. It’s just when Mandy does that it’s so thrilling, be-
cause when he takes his baritone and puts it in the tenor range it’s really
terrific. I love this page too. But it’s because of that Rachmaninoff change,
and that’s not analyzable, that was merely I got the idea, and I just did it.

MH: And your use of thematic material—because you’ve prepared your

palette, you have the option of so many choices.

SS: Absolutely. It’s just that that particular chordal progression is some-
thing that’s not used elsewhere in the show; that just happened that
Thursday, that’s all.

MH: One of the things about the score of Sunday that hasn’t received much
comment is the set of parallels between the first act and the second act. I’ve
tried to plot them out, and according to my eyes and ears, “Sunday in the

Example 4.4
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Sunday in the Park with George 99

Park with George” in the first act is closely related to “It’s Hot Up Here”
in the second.

SS: Absolutely. And they also both deal with the same subject, which is
posing.

MH: “Color and Light” and “Chromolume #7.”

SS: Absolutely.

MH: “Finishing the Hat” and “Putting It Together.”

SS: Are the same tune. You’ll be happy to know that Mandy had been in
the show about a year and a half, and we were having a farewell party. I
don’t know what it was that I said, but he replied: “What do you mean
they’re the same tune?” I said: “Mandy, you’ve been singing it for a year
and a half. You didn’t know that ‘Finishing the Hat’ and ‘Putting It To-
gether’ are the same tune?” And he looked at me as if I had taken his
Christmas away. He had no idea that for a year and a half he’d been
singing the same tune in both acts.

MH: I must confess, it took me a while to realize it.

Example 4.5

SS: It’s vaguely disguised. And also, as we say, the tone is different. In
fairness to Mandy, he sings other stuff in between. It isn’t like one song
follows the other. On the other hand, the entire “Day Off” sequence is
mirrored in the entire art gallery sequence.

MH: It looked to me like “The Day Off” and “Children and Art” share
similarities.

SS: No, really? Well, yes, there’s a little thing. “Children and Art” really is
a sui generis. There may be parallels. Again, when you’re thinking in one
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100 Chapter 4

language, it comes out there are going to be similarities. I usually have

one Arlen song in every show, and “Children and Art” is my Arlen song
in Sunday. And there’s a reason for it; George’s grandmother is talking
about how she was brought to America into the deep South, and that’s
where she grew up as a child. So I wanted to echo that, and when I think
of the deep South, I think of Arlen. It’s unfair since he comes from Buffalo
or someplace in New York State and was the son of a cantor, but still, he
wrote those bluesy songs. You listen to “Blues in the Night” and you
think: Gee, that guy must have been born in Georgia. But he wasn’t. So be-
cause she is brought over from France as an infant and is brought to Car-
olina, or somewhere in the deep South, I decided to use this sort of blues
structure. I know you’re talking about the actual tune of “The Day Off,”
and there is a relationship there, but I think of the whole “Day Off” sec-
tion with all the little vignettes in it and the art gallery section with all the
little vignettes in it are more related to each other. “Finishing the Hat”
comes at the end of the “Day Off” section, and “Putting It Together” op-
erates through the entire art gallery section, so the parallel is not ab-
solutely rigid. But then I’ve learned not to make rigid parallels, but to sug-
gest them. I think it would have been a mistake to just have “Putting It
Together” at the end, the way “Finishing the Hat” is.

MH: When you were working with Lapine on the score in general, was
there some plotting out that there would be certain parallels between the
two acts?

SS: No, because the second act was entirely different. The second act was
originally supposed to be what happened to the painting and how it af-
fected people’s lives after it left France. There’s a mystery about what hap-
pened to that painting for about twenty years. It was rolled up in Seurat’s
studio, and you can tell it when you look at Les Poseuses, because he’s got
the canvas leaning in the corner. Then, according to what I know, it ended
up rolled up in a room over a café in Paris. Somehow—I think it was a rich
American woman—she found it there, or it got into her hands, and it didn’t
cost that much, but she brought it to America and presented it to the Art In-
stitute of Chicago in, I think, 1924. I had thought it would be fun to do a
contemporary “Sunday in the Park” by going to Central Park and having a
replica, so to speak, of “The Day Off” at the opening of the second act—only
today it’s Sunday in Central Park, with kids skating and baseball players
and people strolling and Joe Papp’s theater, and all of that—a parallel of the
whole “Day Off” section. I think we started the second act with that, as op-
posed to “It’s Hot Up Here”—although we may have started with “It’s Hot
Up Here”—and James kept shifting back and forth in time. The central sec-
tion in the second act was the painting hanging in the museum and people
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Sunday in the Park with George 101

coming up, and how it affected their lives. And James had couples, and sin-
gle people, et cetera, to parallel the whole “Day Off” section—a flirting cou-
ple, a married couple. We spent two days in Chicago looking at the paint-
ing and sitting and listening to people saying such things as, and I quote
exactly: “Why, it’s all made up of little dots.” Another woman came in and
said: “It looked so much better in the other gallery.” All kinds of reactions.
And we just stood there looking. We also had a nice moment when we went
to the curators—there were three of them—and asked them to tell us what-
ever they knew. And we asked: “What is that object up there?” This is in the
show. And the three of them had different answers, and they all looked at
each other as if they’d been betrayed. Nobody knows what that object is. Is
it a stove? Is it a waffle iron? Nobody knew what it was, but it was hilari-
ous to have three scholars all saying completely different answers at the
same time. And James echoed that. And then he had a really interesting
idea; the penultimate climax of the second act was a flashback: Dot came up
to George’s studio to say good-bye, and he was painting. He had persuaded
the two Celestes to pose for him—they were thrilled—and then they dis-
covered they had to pose nude, and they wouldn’t do it. So he got Dot to
pose nude, and he used three visions of her—which is, of course, what Les
Poseuses is. It’s the same model from three angles, with the painting of Sun-
day rolled up in the back. That was the farewell scene. I remember James of-
fered the script to Bernadette when we did it at Playwrights Horizons and
she read it and she wanted to do it. I met her over the phone; she called me,
saying she was thrilled. She said, “But I have to tell you one thing, I don’t
do nude.” She thought she was going to be asked to pose naked on the
stage. Which, of course, she wouldn’t have had to do. The whole thing was
more surreal and almost documentary-like. So there was no musical plan
for the second act. I just wrote the first act, and then we changed it and
made the act the way it is now. And I thought, okay, these two acts are so
different, and I know people are going to be discombobulated by the fact
that the first act seems like the end of a play; and then we’ve got this whole
other show to give them. And I thought one way to tie the two acts together
would be to make—this is a word I learned from Milton Babbitt, and I loved
it—architectonic similarities. And that’s what it is. So that’s the reason for
this—to make two disparate acts hold together. In Into the Woods, which has
a similar structure, there’s a story—there’s a real plot that goes on—which
is a result of the first act. So the two acts string together because the second
act depends on the first act. But in Sunday, the second act is an entirely sep-
arate entity—it’s another ship—so the way to link them together, it seemed
to me, was to make it some kind of parallel structure. So “It’s Hot Up Here,”
even though it may relate to Dot’s opening number in the fact that it’s pos-
ing, and she’s also central to it, is essentially a prologue to a reiteration of
the structure.
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102 Chapter 4

MH: There were a lot of things I noticed in the show that I’ve never seen
referred to in the reviews. For instance, the fact the Boatman wears an eye
patch, and in the painting you never see that side of his face. There are a
lot of cute, fun things like that. And there’s the man with the horn or
trumpet, and I always assumed that the sixth of “Sunday”—the bugle
call—absolutely grew out of you seeing that character in that painting.

Example 4.6

SS: Absolutely correct. And, in fact, in the Playwrights Horizons production

it was a trumpet. We had only three instruments: we had rhythm, keyboard,
and trumpet in the original. And that trumpet was used for just that pur-
pose. You’re absolutely right, that’s where it came from.

MH: And the Celestes?

SS: The two Celestes? That’s James’s whim. I’ll tell you another one that’s re-
ally interesting is the lady who we have as the mother—the lady sitting next
to the nurse. If you look closely, you don’t know whether it’s a lady or a man.
It could be an old man. In fact, Randall Jarrell wrote a whole poem about this
man who’s sitting under the tree. To Randall Jarrell that was a man, to James
it was a woman. And he made her George’s mother. I remember vividly
when we first got the notion. James went home, and he took a piece of trac-
ing paper, and he made little outlines of the seven main characters—the ones
in the foreground. And he drew an arrow—George’s mother, question mark;
George’s mistress, question mark; painter, question mark; and boatman, and
all that. Some critics—critics, meaning commentators—have thought that
the boatman is a jockey. Nobody knows, nobody knows. What interested
Seurat is in that painting, and apart from the technique and the geometry of
it, it’s the social commentary. He was also a social satirist. You know, he’s al-
most like a Daumier. And he was very interested in how costume delineated
character. There are many clues in the costumes—the fact that a monkey was
often the symbol of a whore; so it tells you that a gentleman has a whore
with him, that sort of thing.

MH: I heard Lapine give a talk in which he said that he found out after
the show that the fishing rods associated with the women meant that they
were prostitutes; and if he’d known before the show it probably would
have changed the characters of the Celestes.

SS: Absolutely. But who in the audience knows that? But you think about
“fishing,” and what that means. Which brings up the Mizners, as a mat-
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Sunday in the Park with George 103

ter of fact, because Addison Mizner always referred to his evening clothes
as his fishing costume, because he wore them when he was fishing for
dowagers and money. So it persisted in the twentieth century. But every-
thing in that picture is completely calculated: the colors are calculated, the
geometry is calculated, the costumes are calculated. There’s not a single
spontaneous thing in that picture; that’s called: “I’m working something
out,” and also, “I’m making a comment, and this is what this means.” It’s
full of codes, some of which I’m sure we don’t understand.

MH: As a composer, how much did you identify with Seurat? Did you
want to try and emulate that intellectualism?

SS: No. In the design of the show, and the design of the music, sure. But
you know the point is music—whether it’s frozen architecture, or archi-
tecture is frozen music, it doesn’t matter—it’s about structure. And, of
course, this is the perfect painting for somebody like me to musicalize be-
cause it is all about design, and it’s all about echo, and it’s all about the ef-
fect of this next to that, or this apart from that. It’s so musical. The more I
got to know the painting, the more musical I felt. Anyway, you must go to
Chicago to see the painting. You’ll just die. It’s great.

MH: Back to your sketches for “Color and Light.” On this one you wrote
a note “alternate pointillism”; what does it mean?

Example 4.7
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104 Chapter 4

SS: This looks like something I never used. These little fragments of two
sixteenth notes next to each other separated by space [sings phrase]. And
what I’m doing is: George is deciding [sings phrases, mimes painting].
These are all echoes of what he’s doing with his hand. The whole number
is about what he did with his hand. When I say “pointillism,” I’m talking
about his hand motions exclusively.

MH: Did you actually plot out where on the painting each stroke was sup-
posed to be—so when George sings “red, red-orange” you knew where
on the painting that was? And, if so, did you tell Mandy?

SS: Every single one. When the lyric says “diagonal,” I really mean he’s
doing a diagonal. Because I looked at the painting and I saw these de-
marcations that are made entirely by complimentary colors. I mean, you
look at that painting—I could not believe it—there is no line. That’s a
painting without a single line in it! And yet you see everything—there are
fifty people in that painting. Fifty people! The other thing Lapine pointed
out is, nobody’s looking at anybody else. Nobody! Fifty people are not
looking at each other. Why? They’re very clearly people, and yet there’s
not a line in it. I was clearly trying to find a rhythm here. This is obviously
one of the early sketches. Before this I thought: All right, if this gets too
boring, or [sings phrase], then maybe I’ll use that. In other words, let’s say
the first section will be [sings phrase]. And then George thinks: Gee,
maybe that’s not right. So he goes [sings phrase]. And I tried to think:
How did he do it? Well, I’m sorry to say, unfortunately, because they’re
not dots, he did it more deliberately and slowly, which doesn’t have a lot
of rhythmic vitality to it.

MH: This fascinated me, where you have a note that says the “colors are
talking.” [See example 4.8.]

SS: The “colors are talking” may have been a lyric I wrote. The little “x”s
instead of notes relate somehow to—I’ve never done anything like that
before—it looks to me like those are chordal structures and I don’t know
what the notes are going to be. Usually when I do that I put stems on the
“x”s. This may be a time when I didn’t put stems on the “x”s. It says
“strokes”; this is entirely about painting strokes. So clearly what I’m doing
is relating these as chordal structures. Or, conceivably, these are different
rhythmic ideas. Maybe I wanted to go [sings rhythm]. I ended up going:
[sings phrase]. This is obviously what I chose to do. And here’s “Sunday”
[sings phrase]. One line here is clearly what I ended up with, but in be-
tween I’m suggesting alternates. These may be accompaniment rhythms,
in other words I’m going [sings phrase]; but I’m going [sings phrase while
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Sunday in the Park with George 105

Example 4.8

knocking in a different rhythm]. Those could very well be rhythmic ideas,

and, why I didn’t put stems above them, I don’t know. Usually when I do
that kind of sketching, and I put an “x” with a stem above it, it means: I
don’t know what the notes are, but I do know what the rhythms are.

MH: I showed a copy of this sketch to a musicologist, and his assumption

was that you were working out possible patterns. That, if you have a
melodic theme, you would then select the different notes that correspond
with the rhythms above as a way of evolving your thematic material.

SS: No, it’s more likely simpler than that. I’m sure it’s about rhythmic em-
phasis. If I was doing what you suggested—which, curiously enough, I
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106 Chapter 4

have done—I wouldn’t notate it that way. I’d write an alternate line; I’d
actually write the notes out. I’d write: “G-B-G.” I wouldn’t go: “X, X, X”—
that’s what I think I would do. No, I know what I’d do. I’d write stems
down—I’d write a quarter stem there, two eighth stems there. So I’d say
it’s gonna go [sings phrase]. And I do that quite often—when I don’t
know whether I want all the beats spoken or not—I’ll do an alternate with
the same notes with a stem down. If it’s a different tune, I’ll write it on a
different line.

MH: Can you think of an example?

SS: You’ll find it throughout. You’ll find many sketches where there are
stems down as well as stems up. They might not be here, because in Sun-
day—you can see how clean these pages are—I pretty well knew where I
was going and what I was doing, so there wasn’t an awful lot of alternate
stuff. But that’s how I do alternate stuff: I put stems up and stems down. An-
other thing I might do is put parentheses around notes. Here we have G-C-
B-G, and if I didn’t know whether I wanted all four, and just the first, third,
and fourth, I would put parentheses around the C. That’s what I usually do.

MH: In the song “Sunday,” what you did chorally is unlike any other
choral writing that I’m aware of that you’ve done, and I can’t think of a
work by another composer in which the vocal lines build with the ac-
companiment. What brought you to that point—how did you find that?
[See examples 4.9a and 4.9b.]

SS: I don’t know. Of course, the notion of dropping the orchestra out for
that one bar is a steal from the end of Candide, because I think that is one
of Lenny’s greatest moments when the chorus takes over and the orches-
tra drops out. But, as for the build, it’s just a build. With the possible ex-
ception of “Our Time,” I think “Sunday” is the only anthem I’ve written.
By anthem I mean one of those choral things. Usually when I have a cho-
rus they’re all treated differently, because I don’t like that kind of conven-
tion. I love the sound of a chorus, but it’s hard for me to justify eighty peo-
ple singing the same thought. Here, because they’re all figments of
George’s imagination, I can justify the fact they’re all singing the same
thing. So this is one of the few anthems I’ve written, which may be what’s
causing your comment, but maybe I’m not understanding your question.

MH: For instance, on the word “trees,” the way the voices fill in the chord
over time.

SS: My guess is that Paul Gemignani did that.

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Sunday in the Park with George 107

Example 4.9a

MH: Really?

SS: Yes. Because my guess is I just wrote “trees” as the melody. I’m not sure,
because, of course, that descending line is very important. Often I will
write choral stuff and then Paul will call me and say: “Listen, we’re a little
low on sopranos, a little heavy on basses, so do you mind if I invert . . .?”
I say, “No,” because his ear is very good. This particular bar I don’t re-
member whether I wrote that or not. My guess is that Paul did that, but I’m
not sure. I hate to take your Christmas away, but I’m always honest.
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108 Chapter 4

Example 4.9b

MH: How do you approach choral writing?

SS: I approach it with great trepidation because I know nothing about it.
For somebody who’s been around the block as long as I have and who has
made a living out of it, I know less about the human voice and how
singers produce the sounds they produce than I should. I could have
joined the choir in college, and I should have, because Jonathan Tunick
once told me that the way you learn orchestration is to sit in an orchestra.
I could have learned something about the human voice by sitting in a
choir. But I don’t sing particularly well, though I sing vaguely on pitch.
And I had no interest in being in a choir, and now I’m sorry, because I
thought songwriting was: You wrote a melodic line you sang, and you
had an accompaniment. It never occurred to me that one day I would be
writing choral stuff. The first choral stuff I ever wrote was the opening of
Company. I was terrified, and I said to the conductor, Hal Hastings:
“Here’s this, do anything you want with it; this may sound ghastly.” Be-
cause, you know, I had canonic entrances and it had choral bits. To my
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Sunday in the Park with George 109

surprise, he said: “No, most of it works very well.” He did say: “Here’s a
passage where I think there’s too much spread in the voices,” et cetera. So
I got a little more confidence as a result of what he did with Company. So
now I write my choral stuff, but I always tell Paul: “Do anything you
want.” This, what you call the “spread” there, that is unusual, but he
knew what I was going for. But it may be mine, I would have to take a
look. I do not have enough confidence in choral writing, so I write very
simple choral music. I thought, if I just gave Paul the tune at the climax of
Sunday, that it would end with the orchestral accompaniment spread-
ing—which I had written—and that would work. And Paul devised a line
that goes down, that follows the harmony, for the lower voices, that gives
the chorus the feeling of spread, and that’s the thing you love so much.
That’s his doing, not mine. What I do chorally that has some sophistica-
tion to it is the contrapuntal stuff—like the opening of Company. I re-
member, for example, writing the barbershop chorus in “The Gun Song,”
and I literally got a book of barbershop songs to see how they created that
kind of close harmony. My only instrument is the piano, and the spread
on a piano and the spread of four voices are entirely different; and you
have to understand how a baritone and a tenor interact vocally. I had no
experience doing that, because I’ve never sung in a group. As I said be-
fore, Jonathan Tunick said you learn orchestration, not just through books,
but by sitting in an orchestra. That’s how he got to be what he is—he
played the clarinet in an orchestra. In the same way, if I’d sung in the choir
at college, I would know more about how Gustav Holst creates his effects.
I did listen to choral music, but until you’ve done it. . . . I now know more
than I used to, just the way I know more about registers than I used to. I
wrote this elaborate chorus for The Frogs, and it sounded squeaky and
thin, and yet there were like twenty-five voices; and I said to Jonathan Tu-
nick: “There’s no point. . . .” And he said: “No. First of all, the key was a
little too high, and you’re doing it in the swimming pool at Yale, and the
reverberation’s muddied all the harmony. It’s not your fault as much as
you think it is.” But I should have known: if you’re writing for a chorus
in a swimming pool, you’ve got to thin out the harmonies. It didn’t occur
to me. I thought, if the notes are there, they’ll come out. Wrong. The same
thing here. I thought if I just have a crescendo on this line—holding up be-
fore the orchestra drops out—it would work. And Paul just enriched it by
taking the harmony, and taking the lower voice down, and that’s exactly
what thrilled you.

MH: You write a lot of numbers for large groups of people. They’re not al-
ways singing chorally, but how do you plot out the structure of a number
like, in Sweeney, where Tobias is singing “Ladies and gentlemen . . .” and
then Todd and Mrs. Lovett are interjecting comments and asides?
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110 Chapter 4

SS: That’s crossword-puzzle work. That’s the kind of thing I can do. That’s
what I mean by contrapuntal writing—I can look at a page and I can work
out lines so you can see the patterns on the page. It’s texture. What Paul
did was, he took a texture, and he spread the texture of the voices. That’s
what I don’t know how to do. I can make a choral piece for all the people
in this room with everybody having a different line. I can do that, because
that’s working things out. But I can’t tell whether it will be a full sound or
a thin sound. I mean, I can tell, but I may be wrong. I don’t have enough
. . . the way someone who’s experienced can say: “No, you’ve got to get
them all together on this moment, and then you’ve got to have the basses
go this way and the sopranos go that way.” That’s where it would be
guesswork for me. I just don’t know.

MH: When you have different things happen vocally on top of each other,
like the layered sections of “Opening Doors,” how do you decide: These
are the key things I want the audience to hear and pick up on, and the rest
of it is just texture?

SS: It’s problematical. Generally, if you want things heard by an audience,

it has to be solo or tutti—all together. Audiences cannot distinguish be-
tween two tunes, two melodic lines, or two different lyrics going to-
gether—unless they’ve heard each one before.

MH: So why do you do it? What’s the point of those moments?

SS: Well, it’s usually a mistake, but sometimes it is a case of: They don’t
have to understand the details of what’s going on, all they have to under-
stand is what’s going on. So, if we decided to have a riot in this room, it’s
not necessary that they hear every individual line; all they have to hear is
all the different kinds of anger and the different kinds of hysteria.

MH: Do you try and make sure that certain words are the ones that get
telegraphed through?

SS: Sometimes you clear the undergrowth and somebody comes

through specifically. But when all the people are singing at the climax
of “Opening Doors,” and they’re excited because they’re going to put
on the show, the audience doesn’t have to understand anything, be-
cause the number has built up to that. By that time, we know what it’s
about, so no, details are not important. But generally, I’m getting
cleaner about that, because it does tend to unsettle an audience if they
can’t distinguish what’s going on. Even if they know what the general
idea is, it’s not quite as comfortable as if they really understood. That’s,
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Sunday in the Park with George 111

again, justification. It’s a lot easier to just put all the lines together and
say it’ll work.

MH: Knowing that there are those people who will get the recordings and
the scores and follow the lyrics they couldn’t catch in the theater, and they
will get some gratification at finding that out, does that play at all into
what you do?

SS: I suppose. But I’m afraid it’s all justification. And I think sometimes it
is justified. Sometimes they don’t have to understand what’s going on,
but I think you have to be careful about that. It’s very hard for me, be-
cause I really hate the “peasants on the green” form of operetta and opera
writing, where suddenly everybody is singing the same thought. But, no,
they’re not. Unless it’s revolution, of course—if it’s “up the Democrats,
down the Republicans”—yes, you can do that.

MH: “Wintergreen for President”?

SS: “Wintergreen for President.” That makes sense doesn’t it, because it’s
supposed to be the entire country. But if, as the case with “Opening
Doors,” everybody has a different agenda and they’re all singing at once,
I don’t know how to make them all sing the same thing.

MH: “Please Hello”?

SS: No. Because each one has a different agenda. But also, in “Please
Hello,” by the time all the voices go together, you have just heard the in-
dividual things. In other words, you hear an individual admiral, and then
a second individual admiral overlapped by the first individual admiral,
who, even though the words are different, you know what he’s doing. It’s
just important to know the two people are arguing—just to know that the
two are each asking for a specific kind of treaty. And then the third admi-
ral comes in, and he gets an entire solo, and then he asks for a treaty, and
we know. . . . It probably would have been more comfortable for the au-
dience if, each time there’s an overlap, I’d repeated the same lyric, but I
get bored doing that. It’s wrong, because that is a convention. But I think:
Why would anybody repeat themself? It’s foolish thinking—it’s realistic
thinking in an artificial form, and, even as I’m speaking, I think: Well,
what’s the point? But, it’s what I do.

MH: On this sketch for “Sunday,” below the D-I6 chord, you’ve written
“progression up.” What does that mean?
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112 Chapter 4

Example 4.10

SS: I want to keep the progression going that way. I had an alternate—see
above where it goes from I6 to B-flat V? Here it goes to an entirely differ-
ent harmonization. So, obviously I wanted to keep a rising line going, be-
cause that’s an A-natural—so G, A-natural. Then there’s the I64, which
would be, again, an A-natural in the bass. I think what that means is a ris-
ing line in the bass, but I’d have to look at it again. I use dotted lines when
I have alternates, but I notice there’s a double line, and I’m not sure what
that’s about. A double line usually means the end of. . . . I think this G
didn’t go anywhere, I think that’s the end of whatever I wanted to do.

MH: One of the most fascinating sets of sketches for Sunday were the ones
marked “Miscellaneous Notes.” I’d like to start with what you wrote on
the cover.

SS: This “long-line” is the opening. It’s a juxtaposition of two triads, and
those are the two triads—in this case, an A-major triad and a D-major
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Sunday in the Park with George 113

Example 4.11

triad, all in the same key. But if you look: [sings] “dah-dah-dah-dah, dum;
yah-dah-dah-dah, dum, ya-da, dum.” If you look at it, it’s always A ma-
jor and D major juxtaposed together. That became the basic idea—to go
from A to D to A, but juxtapose them.

MH: Speaking of the figures that begin the show, it surprised me that
there wasn’t a different figure associated with of each the words: “order,
design, composition, balance, light, and harmony.” Is that too obvious?

SS: No, it just didn’t occur to me. There’s no particular pictorial idea of this
juxtaposition; it really has to do with the notion of what he did—which is
juxtapose one color next to another. So I’m juxtaposing one major triad next
to another, and here, these are what the results are—those are the “baskets.”
That is to say, you take these six notes and then you put them together, and
that’s what you get. And those are distillations of the opening arpeggios. The
trick in the opening arpeggios of Sunday is that the bass is never stated. The
first chord goes C-sharp-B-E-A-E; the bass A is never stated. The second one
goes C-sharp-E-D-A (that’s where the D major comes in). Again, it’s either
the third of A major or the seventh of D major that’s in the bass. So that none
of the chords feels like a cadence until we get to “harmony.” And then—
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114 Chapter 4

boom!—an A comes in in the bass. So the idea again is to keep putting the
colors together and juxtapose them until finally they lock in on the word
“harmony” and it becomes very clear what they are. [See example 4.12.]

MH: Were those Seurat’s real words or was that a creation of yours?

SS: Oh, no. That’s all James.

MH: In the little sketch for the “Sunday” theme, when you get to the sec-
ond measure, is that a chord, or are those possible alternate notes of where
the melody might go? [See example 4.11.]

Example 4.12
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Sunday in the Park with George 115

Example 4.12 (continued)

SS: Possible alternates—and it’s not that I “got there.” The double line
means the first idea is over. I wanted to use this and this and this; proba-
bly to juxtapose them together, I’m not sure.

MH: D and C, against E and B?

SS: Exactly—D and C-sharp.

MH: Right. Sorry.

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116 Chapter 4

SS: Well, that’s important, because the seventh is what counts. The fact
they’re in between these double lines means that’s the end of one idea;
here’s another idea. It’s possible—and there’s no way of knowing—that I
meant this as an alternate. I usually put parentheses around an alternate,
but I might not have. The fact that they’re all whole notes, and they’re not
close together, implies that it is an alternate, but I’m not sure. I probably
would have put a stem if I meant them to sound together.

MH: On this page of the sketches, it looks to me like you’re trying to come
up with a tone row.

Example 4.13

SS: Yes it does, doesn’t it? This is probably for the Chromolume.

MH: But it also surprised me that you had two E-flats in it.

SS: That is odd, isn’t it? Also, there are only eight notes there, so clearly
something happened. I have no idea what I was doing there.
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Sunday in the Park with George 117

MH: This brings up the subject of different musical techniques and theo-
ries: atonalism, twelve-tone music, Schenker, et cetera. What musical the-
ories have you looked at, thought of, studied?

SS: I haven’t studied atonal music. When I studied with Milton Babbitt I
asked him if I could study atonalality, and he said: “You haven’t ex-
hausted tonal resources for yourself yet, so I’m not going to teach you
atonal.” And he was absolutely right; I’m still in tonal.

MH: Do you listen to atonal music?

SS: Oh, I listen—the same way I listen to all kinds of music—but I’m not
particularly fond of atonal music. I’m very tonally oriented. I’m very old-
fashioned—I’m about 1890. I’m still early Ravel—that’s my idea of ter-
rific. I know something about these things, but I rarely use them. I have
no idea why I would use the tone row this early, because I don’t think the
Chromolume thing was ready. I can’t tell where this is, but the fact that
this says “4th Sunday” implies that I was thinking of the second act. I’m
not sure what all these notations mean.

MH: Well, that was my next question. Obviously the initials are the dif-
ferent characters—”G, D” is George and Dot, and “G, OL” is George and
Old Lady. But how do the initials relate to the music to the left of them?

SS: These are various variations of the arpeggio, and I guess I wanted to.
. . . What’s interesting is—I’ve checked off the two Celestes twice and
George and Dot once. You know, what I may have been doing is taking
variations on that opening arpeggio—four sixteenths and a dotted half
note—and utilizing different ones for different characters. It may have
been that I was trying to make leitmotifs for each of the characters based
on the same rhythmic figure. That’s what it looks like to me, but I have no
memory of this.

MH: Did you ever have the idea—we sort of touched on it earlier—that
during a number like “Color and Light,” the twelve tones and the twelve
colors on a palette would be linked? So, for instance, when George says
“blue,” there’s a note that’s blue; when he says “green,” there’s a note
that’s green.

SS: Exactly. Absolutely right.

MH: But it didn’t end up working?

SS: I realized that I would straitjacket myself.

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118 Chapter 4

MH: Not necessarily through the score, but in one moment.

SS: In that moment—in that number. I think it’s for that number where
that notion occurred to me. I may be wrong—it may have occurred to me
early on—but, absolutely.

MH: On the next page, it looks a lot like you were taking thematic mate-
rial, and working a lot with inversions and rows.

Example 4.14

SS: Clearly, what’s above are in diatonic moments. Below, however, is

some kind of attempt at a row. I think this is exactly what you just asked
me—which is—I was experimenting with using tone rows to respond to
the colors. These are early sketches where I’m feeling my way into the
score. I think I’m doing exactly what you just asked about—I’m trying to
find a way of utilizing twelve colors equals twelve notes.
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Chapter 5

Interlude

MH: Since we’re of running out of time today, I just had some generic
questions I’d like to get in; first, the dating of your manuscripts as they
come from your copyist. I notice that there are a lot of dates throughout a
work.

SS: It means revision. Each page that has a date has been revised. There is
the date at the top of the manuscript, or, if there’s no date, it means this is
the first version that the copyist has copied. Then, if you turn to page three
and there’s a date on it, it means this page was revised on this date. I do
that, because I do revisions all the time as I’m writing—even before re-
hearsal, or sometimes during rehearsals, but mostly before rehearsals. I
make my fair copy, and I give it to the copyist to copy, and it comes back,
and it’s printed; it has a whole different thing to it—it’s like a writer when
a piece comes out of the typewriter. And I prop it up on the piano, and I go
over it to proof it, and in the proofing I think: Geeze, did I really write that?
I’ll check my original manuscript and say: I really wrote that; it sounds
awful. Or: That sounds flat; I’m going to change that to a D-flat. But it’s al-
ready been copied! So I’ll tell her: Change the D-natural in bar thirteen to a
D-flat; and take the quarter note . . . change this rhythm. . . . Sometimes I’ll
dictate whole bars over the phone; I just did a lot of this last week to a song
in Wise Guys. So, when she prints it out again, it’s going to have a different
date. Then, as in the case with Wise Guys, I’m on my third revision of some
pages. I played it over again after a two-week hiatus and I thought: That’s
not good, that’s not right. So each page tells when. If you went through
my—what they call rehearsal copies—you would find the original versions,
but you’ll also find the April 3rd version of page thirteen, and the April 9th

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120 Chapter 5

version of page thirteen. And each one has some red pencil—and I always
do it in red pencil—because that’s the only way you can tell, from the ink
marks. And the reason I save each of these is, I may say after the fourth
revision: You know, the first one was better; what was it? And I can then
go back and see what the earliest version of that passage, or that chord, or
even that note was, because I may have forgotten. It’s a diary.

MH: To me, who’s not a singer, your music is hard to sing. In terms of
writing for voices, how does that affect your choices—knowing that it’s
hard for somebody to come in on the “and” of the fourth beat or to sing
the major seventh in a chord?

SS: I’ve had mixed reactions about that. Some singers say: I don’t know
why people say your stuff is so hard, because for me, anyway, it’s very
logical. I’ll have others say the opposite—particularly when melodic lines
skip, particularly when they go down a seventh, or something like that.
That’s quite hard for people to get. Also, throughout everything I’ve writ-
ten, I have too often—and I think the key word is too often—utilized
something in the accompaniment that directly clashes with the voice. And
part of the reason for that is I work at the piano. And at the piano, that
hidden C-sharp sounds okay when you’re singing a D. But when it’s ex-
posed in the orchestra, and that C-sharp is played by a clarinet, and the
singer’s supposed to sing a D, they get really upset, because they tend to
sing the C-sharp if their ear hears that particular instrument. On the
piano—particularly when you put your foot on the sustaining pedal—
God forgives you everything. Anything works—anything. You can sing
any note and, no matter how dissonant, it’s fine against the piano. But I’ve
learned. And that’s why I say: I’m taking out the wrong notes in Wise
Guys. I catch myself. A passing tone will go: F-E-flat-D-flat, but the singer
is being asked to sing an E-flat when the F sounds. Now I hear the E-flat
in the passing tone, but the singer hears the F, and I thought: No, don’t do
that, have the E-flat in the accompaniment occur when the singer sings E-
flat. Well, it completely screws up my figuration, so I have to rewrite the
figuration. It can no longer be [sings one version]. I’ve got to start on the
second note [sings second version]. And that’s a whole other thing. I have
to rewrite the passage so that the E-flat in the accompaniment will fit the
E-flat in the melody. That’s what I’ve been doing lately. I’m trying to learn
to do that. The older I get, the more I try to do it, and the harder it gets,
because you’re screwing things that really struck you. When you write at
the piano, and just to go [sings figure], and somebody has to come in, it’s
different than when you sing it yourself. Because I don’t have to sing on
pitch, and nobody’s listening to me, and it’s a piano, and I have a sus-
taining pedal. You have to get on the stage, sing it, sing it accurately, and
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the clarinet is playing an F while you’re singing an E-flat. On the other

hand, I remember Larry Kert telling me, “Someone Is Waiting” from Com-
pany was the hardest song he’d ever had to sing—and he’d sung many
difficult songs. Now, on the surface of it, “Someone Is Waiting” uses step-
wise motion—there are very few leaps in it—and I didn’t know why it
was so hard to sing; and he couldn’t tell me why either. There’s something
about the movement in that song, because there are no open dissonances
like I’ve been talking about. It’s a mystery. But I know, when he told me it
was difficult, that it must have been difficult to sing. And of all the songs
in Company that people sing, that’s the one they never sing. There’s got to
be something hard about that song, but when you look at it on paper,
there are almost no dissonances, and there are virtually no accidentals. I
don’t know what it is, and neither did he, but something is wrong. But I’ve
had mixed reactions from singers, so I don’t know. I think there are times
when my melodic lines have leaps in them that are hard for people, and
perhaps they could be written better. Maybe the melodies shouldn’t leap
the way they do.

MH: I don’t think of it as being melodic difficulties, I think of it as being

either the clashing or rhythmically knowing when to enter.

SS: Well, generally when there are rhythmic tricks—if I’m not writing a
kind of standard thirty-two-bar song, say, where I want the melodic line
to be fairly even and strike the mind as a melodic line—I will use my
rhythms according to the rhythm in the inflection of the speech. And
when I say the rhythm and the inflection [sings]: “Rhythm and the inflec-
tion of the speech.” It’s that. It’s to echo the rhythm of how we talk. And
that sometimes means that you have a dotted eighth note, and then a six-
teenth rest, and then you come in on the downbeat. It’s all about the
rhythm of the lyric. I try, when I’m writing, to make those rhythms as easy
to read as possible, but I will always be pulled toward the rhythm of the
speech. And that makes for some very peculiar notation.

MH: Quote: “I also hear registers; I spend a lot of time at the piano choos-
ing registers.”

SS: That has to do mostly with accompaniments. I find it very difficult.

(Milton Babbitt claimed that I think orchestrally, but I think I think pi-
anistically.) And it’s a question of where do you put the register? Do you
have the accompaniment figure in the middle octave, or the octave above,
or two octaves above? For somebody who writes orchestrally, those
choices become much more clear-cut, because—if you choose a flute, that
means a flute; if you choose a bassoon, that means a bassoon. But it’s hard
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122 Chapter 5

for me because if you’re on the piano, you can go anywhere. And it’s also
variety, because I have a tendency, again, to choose piano registers that are
in the middle and are compromised—just the way I tend to write mezzo
forte instead of really taking a stand and saying either forte or piano.
There’s nothing like mezzo forte to cover all territories. Similarly, if you
put all the accompaniment in the middle two octaves, who can throw
stones at you? But it’s not always the best. And over a period of time it be-
comes oatmeal—it blands out. So, I think registers are very important for
accompaniments. When it comes to registers for voices, of course, that’s
just a matter of choosing a voice.

MH: To what degree can people, looking at your manuscripts, use cut ma-
terial to inform their characters?

SS: Fine, if they want to study it. Just don’t put it in the show. There’s a very
good reason we’ve cut everything. Every time I’ve ever cut anything from
a show there’s a good reason. I can’t stand when people restore stuff and
want to restore stuff. There’s a very good song in Night Music called “Silly
People,” sung by Frid, the servant. It says what the show’s about—and I
like the song a lot—but the reason we cut it is because it’s a character you
don’t care about at that point in the show. And, of course, I get requests
quite often from companies asking to restore this song—partly because it
gives the actor who plays this tiny part a chance to sing, and partly because
it’s a pretty song and it seems relevant. But, no—one of the reasons that
George Furth and I have never—until last year—allowed the script for Mer-
rily We Roll Along to be published was that we were not satisfied with it.
Then, because of Jim Lapine’s production in 1985 and then our subsequent
changes—not very many, because that was the big change—we finally com-
bined two scenes into one. We did it in Leicester in England; we looked at
each other and said: Okay, that’s the best we can do now; this is good now;
this is what we want it to be. And then we allowed it to be published. When
I publish a vocal score, it means: All right, I’m willing to let this go for pos-
terity, which is why I insisted that the Judge’s song be in the vocal score of
Sweeney Todd—because I wanted it for the future. It’s in the appendix,
where it becomes optional, but I wanted it printed. Meaning: If you want to
do this song, here it is. I think I may have put the tooth-pulling sequence in
too, but, again, it says, “optional.”

MH: “Marry Me a Little” is back in recent productions of Company.

SS: Right. And so we’ve been talking about the reprinting of the vocal
score.
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Interlude 123

MH: So you feel good about that?

SS: Yes. I think Company is better with “Marry Me a Little” at the end of
the first act, and no “Tick-Tock” dance in the second act. I think it’s better.
So I would love to republish that.

MH: The two Follies?

SS: Oh, I prefer the first one. And there’s going to be a big production out
at Paper Mill Playhouse this spring, and it’s the original. There are some
changes in the script, but it’s the original score.

MH: How would you feel about the original, except for “Ah, But Under-
neath” instead of “Lucy and Jessie”?

SS: Leave it the way it was meant to be. All that stuff was compromised.
Musicals—this will sound terribly kind of self-serving and modest, but—
you write a show with your collaborators. I didn’t want to change Follies.
I always liked Follies. I liked the book of Follies better than Jim Goldman
did, and so did Hal. Jim Goldman and Cameron Mackintosh wanted to
change it for London, and make it more real and less surreal, and have all
kind of changes. I didn’t want to do it, but I think it’s unfair to stamp your
foot when somebody offers you another production and say: No, no, I
won’t let you try something new. Who knew? It might have turned out
better. It didn’t. And when it didn’t, I said: I don’t want this show ever
shown in America, and I made it legally certain that the London version
can never be shown here. I don’t want it shown again in England either,
but Cameron has the right to do it. But Cameron’s given in now too, and
there was just a production in Leicester last year, and it’s the original.

MH: And in the new Night Music, they’ve put in the “Glamorous Life”
from the film and inserted portions of “My Husband the Pig.”

SS: Yes. That’s for England. I don’t want to change that. It was perfectly
okay, but I prefer the original.
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Chapter 6

Sweeney Todd

MH: As we’ve been talking, you’ve occasionally mentioned how you’ve

started pursuing an idea but then couldn’t figure out how to get it done.
I’ve also read quotes from you discussing Sweeney Todd—that there were
eight scenes that originally you couldn’t figure out how to musicalize,
and then later you figured out how to musicalize five of them. What is it
you figured out? Does that reflect your growth as a composer? Have you
figured out any of the other three yet?

SS: No. I sort of figured out the five, but I’ve never gotten around to do-
ing them. I thought I would do them for the National Theatre produc-
tion in London, but Julia McKenzie said: “Oh, please don’t give me
anything new to learn. Please don’t give me anything new to learn.”
That was all the incentive I needed not to work, so I didn’t do it. One of
the scenes involved the trio in the second act, which I’d always wanted
to do, where Mrs. Lovett tries to poison the Beadle. It’s the scene, in the
original, that Hugh Wheeler avoided. But I think it’s a wonderful scene
and would be very singable: she gets a packet of rat poison with a great
big skull and crossbones, and you see her pouring it into the beer, and
then she puts the poison away; and while she’s doing it, he switches the
beer unknowingly, so we know she’s going to drink the poison. Mean-
while, he’s singing the parlor songs, and she’s coming on with him and
shmeicheling him. It’s a really funny trio scene. I’m sure Rossini would
have loved it. The dialogue passages in Sweeney, for the most part, are
fine, but there are aspects of them I would change—the whole scene in
which she sings the song I like least in Sweeney, which is “Wait.” It
doesn’t work the way I intended it to, and I don’t think it’s the actor’s

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126 Chapter 6

fault; I think it’s mine. I would like to have another go at musicalizing

that whole scene, because there are things Sweeney could sing that
echo things he’s sung before; and then she could have a moment in the
middle where he goes crazy, and she calms him down, and it would
work very nicely.

MH: But your mastery of techniques—do you see an evolution in what

you’re able to accomplish because you’ve done it so much and tackled dif-
ferent things?

SS: No. I think each show is equally hard and equally easy. It’s easy,
when you’re not writing thirty-two-bar songs, and you’re just pouring
the sauce all over the place, and just having people go in to a kind of
semi-recitative; as I say, I loathe recitative. But a semi-recitative like the
“There’s a hole in the world” section of Sweeney Todd—that kind of
thing.

MH: It’s never been clear to me whether the final version of the “Prelude”
for the organ is yours—the recording and the score are different.

SS: I wrote different kinds, but they’re all mine. And they’re all clumsy,
and they’re all academic. It’s funny, because I was trained on the organ
when I was ten years old and went to New York Military Academy. I just
loved the gadgetry of it. It was a four-manual organ, and a very large
one. In fact, I think at the time it was the second largest organ in New
York State—second only to Radio City Music Hall’s, and bigger than the
Roxy’s. I was so small, my feet could hardly touch the pedals. But I loved
the whole thing. I took one year of organ when I was there, so I thought
I’d be able to manage this, but, in fact, I really don’t know the organ—
what makes the textures, and what makes effectiveness. So it’s quite an
academic overture, no pun intended to Mr. Brahms. I was really sorry
that I didn’t study the instrument more before writing the piece. It just
doesn’t have . . . all I wanted was mystery. What I intended was that the
theater should be covered entirely in black—like the inside of a coffin—
and that all the seats and all the upholstery should be in black; and that
on the stage you would see, with his back to the audience, this sort of
Phantom of the Opera organist playing. And at various points in the story
he would pound away with all stops open—something I used to do to
scare people at military school and at college also, where there was a
chapel and you could make it dark and scare people. Then Hal Prince
had the idea of the steam whistle—which turned out, I think, to be a
much better idea. The grating sound of the whistle is much more un-
nerving and upsetting than just big, loud, sting chords. So the organ idea
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Sweeney Todd 127

eventually was scrapped as a presence on the stage, and, of course, the

theater was never covered in black. But we wanted some kind of non-
overture music, the way, again, a horror film would have—just to get the
audience into the mood. Unfortunately, what I wrote is about as scary as
an academic exercise—it doesn’t have any atmosphere. I just failed. The
sketches are attempts at utilizing themes from the show to make a pre-
lude that would get an audience in the mood. It’s no good; I prefer the
show just starting dry.

MH: So for future productions, you’d prefer no organ prelude?

SS: It’s not that. If people feel they can do it, fine. If not, not. Maybe there’s
a way that utilizes certain stops so that it would sound better. It’s too
thick-textured; it’s too contrapuntal; it doesn’t have enough sustained
chords in it. I don’t know.

MH: Do you think the fact that you played the organ when you were
younger affected you as a composer? For instance, do you use more pedal
points than you might do otherwise?

SS: No, not at all. I don’t think that had any lasting effect at all.

MH: In this set of sketches, you’ve labeled a chord as the “Sweeney

chord,” but it’s not what I think of as the “Sweeney chord”—among other
things, I don’t see the minor third.

Example 6.1
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128 Chapter 6

SS: No, it’s a slightly different one. What now says F-flat would ordinar-
ily be a G-flat—that’s what I mean by the “Sweeney chord.” However, this
is the Bernard Herrmann chord, and I used this elsewhere in the piece, but
I don’t remember where.

MH: The chord that I think of as being the chord that’s wedded through
Sweeney is a minor chord with a major seventh, in an inversion.

SS: That’s right, with the seventh in the bass. That’s why I say, if you
change that F-flat to a G-flat you’ll have exactly that. You’ll have the D-
natural, and then E-flat, G-flat, B-flat.

MH: But it also appears in other inversions, at times.

SS: Absolutely, but I don’t want to make too much out of it. I didn’t use it
as consciously as I have said. It’s just that the sound of it underlay the mu-
sic, and so it informed the music. I mean, if you look at the “Ballad of
Sweeney Todd” and the way the harmony moves in there, that chord—
not this one—occurs in many variations. As I said earlier about how
something lodges in your head while you’re working on a given show, it
just kept turning up. But you’re absolutely right. It’s fascinating to me that
I changed that F-flat to a G-flat.

MH: Still looking at one page of your sketches for “Opening I-I,” which
begins with Anthony’s “I have sailed the world . . .,” there’s a note that
reads “memory of ship bells.” [See example 6.1.]

SS: Oh, yeah. I was going to use that. I didn’t, eventually. Look, there’s
that “Sweeney chord” again—I was obsessed with it. And that doesn’t
look very bell-like to me—that’s what I call my “Stravinsky motif”—so I
think what that must have meant is that I was going to overlay bells on it.

MH: When you say “Stravinsky motif,” what do you mean?

SS: The kind of eighth-note motion that usually occurs when Sweeney is
about to murder somebody. It’s a series of seconds alternating with
fourths, fifths, and sixths, all steady eighth-note motion, and it’s chro-
matic. In fact, it arises out of the opening vamp of the “Ballad of Sweeney
Todd”—that sets up all the stuff. But then I had developed that, in the
opening, into thirds. It presages Sweeney’s madness. And I call it
“Stravinsky” because it has a Stravinsky texture—it has a high, wood-
wind, dry, dissonant texture to it. It’s not that it’s taken from Stravinsky
or has any kind of Stravinskian particularities—either motivic or har-
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Sweeney Todd 129

Example 6.2

monic. But it feels like Stravinsky to me. I associate a lot of Stravinsky

with dry, woodwind chromaticism.

MH: When you gave the score to Tunick to orchestrate, did you say: I
want a dry, woodwind, Stravinsky sound?

SS: No, I rarely say anything—particularly to Jonathan. But here is an ex-

ample of where register counts. The reason it’s up there is precisely be-
cause I hear it in my head as woodwinds. When Milton Babbitt said I hear
orchestrally, he wasn’t entirely wrong. I think I hear pianistically, but I
knew that the color of this had to do with that skittering thing—I knew
that this was not a string sound. And when Jonathan says that he likes to
hear me play, I can assure you that when I play that, I don’t play it legato.
I don’t play staccato, but I play non-legato. And that tells him, without my
saying it, that I don’t hear it as a string sound. So if you heard me play
this, you’d know it wasn’t strings; and yet it’s up in the string register, and
it seems like strings.

MH: Another thing I noticed in the sketch was that the lyric reads “But
there’s no place like home,” as opposed to “But there’s no place like Lon-
don,” which is the final lyric. Why did that change?

SS: I think it’s because “no place like home” is so American—that’s the old
sampler song. I think that’s why I did it. I like “London” a lot better.

MH: It also gives you two syllables. Does that play into it?

SS: That’s interesting, because, yes, it makes it less square. With “there’s
no place like home,” there’s a finale to something like that. But not, “no
place like London.” Also, one of my favorite things about British music is
where you hit the downbeat and then follow it with an eighth note; I don’t
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130 Chapter 6

know if you’d call it an appoggiatura on the downbeat. That, to me, is

characteristic of British music, and it shows up a lot in Walton and in Brit-
ten. So when I heard “London,” I thought: Yeah, that’s very British.

MH: We touched on this a little earlier; this is your original manuscript for
“The Worst Pies in London,” and the interesting thing is the difference in
the modulation and the melody here, as opposed to the final version.

Example 6.3

SS: Well, you see, the original version would take her up to an E-flat. And
when Angie gets up there, she has to change into her head voice. You’ll
notice in Anyone Can Whistle, there’s a place in the “Miracle Song” where
she uses it for comic effect. But here, I really wanted her to say: “These are
probably the worst pies . . .” in the same chest sound. That’s why I
changed it. This song, as originally written, would be within Angie’s
range. It’s just that she would have to switch, because her chest range is
really only about an octave-and-two; and I’d rather have her cheat on the
low notes than cheat on the big ones. If this were written as an opera for
opera singers, I wouldn’t bother, because opera singers know how to ne-
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Sweeney Todd 131

gotiate that sort of thing, but this is going to be sung mostly by musical
theater people.

MH: When it was done at New York City Opera, do you remember which
version they used?

SS: The compromised version is the published version; that’s the one
that’s orchestrated.

MH: And it’s because of the orchestration?

SS: Yes. Two things occur to me. One is the climax of Sweeney when Mrs.
Lovett sings “I love you,” just before he kills her. Angie could not hit that
in chest, and when you hear it, her voice thins out. Dorothy Loudon, who
took over for Angie, virtually has no head voice, but she has a large chest
voice that goes up high enough. And when she belted “I love you,” it was
horrifying. When Angie did it, it thinned out and it made Mrs. Lovett less
desperate, and less crazy, and less—I want to say menacing, except she
isn’t being menacing at the moment—less, well anyway, less. So it’s nice if
it can be all a mezzo sound up to there. Another mistake I made, or a mis-
take I made, was in A Little Night Music. I wrote the part of Anne for an
octave-and-six. But Anne has to be beautiful, young, and be able to play a
selfish girl without being a bitch, as well as have an octave-and-six. Vic-
toria Mallory, who played the part originally, could handle all of it. Her
voice is light, but she could handle all of it, and she was beautiful. So I
used her low register and I used her upper register. Ever since then,
there’s never been a girl who could do all that, until the girl who just did
it in London, Joanna Riding. But all these years: either they can act, and
they’re not pretty, and they can negotiate it; or, they can act, and they’re
pretty, but they can’t negotiate all the octave-and-six throughout the
show. She’s got to go real high in “A Weekend in the Country,” and she’s
got to go real low elsewhere. I really utilized the versatility of Vicky’s
voice, and screwed myself by doing that, because it meant that I strait-
jacketed all subsequent singers into this rare combination.

MH: But did you really screw yourself? That was what you wanted, and
that was the premiere production.

SS: Yes, but for that one production. That’s the advantage of writing an
opera for opera singers. Unless, of course, operas do the same thing. I’m
sure there are operas where the coloratura can only be handled by the Joan
Sutherlands of the world—one every generation. And I think those operas
probably suffer as a result. Because they’re either done with people who
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132 Chapter 6

are inadequate, or aren’t done at all, because they can’t find a soprano—
she’ll say: “I’m not going to sing five high E-flats in a row.”

MH: On to “My Friends,” and your sketch with the arrows and “strum”
written above. Obviously, those are where the accompaniment chords are
to be struck. What was the decision-making process behind that?

Example 6.4

SS: If you look, it’s periodicized every seventh beat—after every seven
beats it occurs. What I did was, I wanted to take the squareness out of it.
I didn’t want a regular emphasis on the downbeat, so it would keep a lit-
tle surprise going in the bass.

MH: Why seven, as opposed to, say, five?

SS: Well, I don’t know. But if you take five, you’re doing it on a sustained
note. In that sense, it’s an arbitrary choice. There’s no mystique to the
number seven in this; nor does it come in seven-note phrases or anything
like that. It’s just, that’s what I chose. Nor is it consistently seven, but
that’s the way it starts. The point is to keep it off the beat. I utilize this
technique all the time—it’s all the way through Sunday—because I’m so
self-conscious about being square. I will deliberately do that sort of thing
in the bass, and deliberately do syncopations in the accompaniment fig-
ure, even though I’m writing in four-bar phrases. I don’t change meters
that much, and this is my way of keeping things fluid and liquid. And this
is a perfect example of that.

MH: With “Green Finch and Linnet Bird,” the first question is about the
bird calls and where they came from. Did you research them?

SS: I listened to birds up in Connecticut and jotted them down. I sat there
and I listened. I thought: Where am I going to hear birds?—I know. Where
I live in Connecticut, there are a number of songbirds. Not too many, and
they don’t screech a lot, and they’re the same birds—because they have
little homes around there—and they call to each other, and they really are
doing it. Hugh Wheeler was a birder, and he once came up there to visit,
and he’d listen and he’d say: “That’s a wren, or a starling”—whatever.
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You could hear one calling to another, so the motifs are quite consistent.
And there aren’t that many of them, so I was able to discern one from an-
other. So these are all mostly authentic; not all of them.

MH: Do you know if they’re authentic for Britain, or that didn’t matter—
it’s too pretentious?

SS: Oh, Mark, no! There’s a limit to research. Although, I’ll tell you some-
thing about this show and Britain. I wanted the Beggar Woman to have a
lot of dirty Cockney slang. I have a couple of books on language that in-
volve Cockney and slang, but I couldn’t find what I wanted, because, un-
fortunately, they’re dictionaries, and it’s hard to look it up and find things.
So I made things up—this is in New York—and I gave it to my friend, the
playwright Peter Shaffer, and I said sort of smugly: “Listen to this, and tell
me what you think is authentic and what’s inauthentic.” And he picked
every single inauthentic out! And I said: “Please don’t tell anybody.” And
that’s the way it was on Broadway. When I got to London for the London
production, I spoke to somebody there who was brought up Cockney, and
he gave me phrases out of his own experience—although he’s now a big
music publisher—and I was able to incorporate those. Because the score
was not printed until later, the stuff that’s now in the score is the authen-
tic Cockney.

MH: The accompaniment to “Green Finch” has always intrigued me—the

last eighth note of most measures is always where the change happens—
does that relate to the bird calls?

SS: No.

MH: Do you know how that figure evolved?

SS: I have a feeling that’s a little trademark of mine. This may have been the
first time I’ve used it, but I have a feeling that has occurred a lot in subse-
quent things. But maybe not. If anything, it echoes the opening. At the mo-
ment, you know my stuff better than I do. The whole idea of the “Ballad of
Sweeney Todd” is: [sings accompaniment figure]—it’s that leaning. You
know there are stress notes, and you lean into the piece and come back
[sings]. So everything has this little yearning, wavelike feeling. And I think
this is an echo of that [sings]—so there’s a little dying fall at the end of each
of these things—so the phrases have a little yearning and a little leaning. If
you don’t change the chord, you’re not yearning for anything, because
you’re not looking for resolution. Incidentally, this is the kind of thing I was
talking about that’s—it’s probably unconscious—but it’s knowing that this
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134 Chapter 6

Example 6.5

is a girl who’s yearning for something. So this is characterizing by music. It’s

very hard to talk about how you musicalize character. When people talk
about characterization in song, they’re really talking about lyrics most of the
time. It’s rare—I mean, we could sit down with a Puccini score, and I swear
he knows how to characterize musically—but there are not many composers
who know how to characterize musically. The characterization usually
comes from the lyric. This kind of thing is musical characterization. This
would not be the right accompaniment for the Beggar Woman; this would
not be the right accompaniment for Mrs. Lovett—even at one of her most
balladic passages. It’s wrong for her, because it haaas a kind of ooohhh, ooohhh,
oohhh feeling. And that’s why I chose it.

MH: When you do write for character, do you find that you write more
complex textures in the accompaniment, the more complex the character
is—somebody like Ben or Giorgio, as opposed to a Petra or Anne?

SS: No, it’s just that the moods vary according to what the scene is. In the
case of Ben: there’s the glib Ben; and then there’s the heartbroken Ben; and
then there’s the regretful Ben; and then there’s the bitter Ben. When you
have scenes that have that color, you can put that color in the music. So
you don’t use a light-hearted waltz when he’s bitter—unless you’re—

MH: —doing “Could I Leave You?”

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SS: Yes, which is not his song. I just said “light-hearted waltz,” out of the
blue. Obviously, one of the reasons he sings “The Road You Didn’t Take”
the way he does, is that he’s trying to be charming. But he’s actually
falling into the pattern. As opposed to singing it contemplatively, he could
sing it contemplatively: “Oh, it’s interesting, you grow older, and these
things pass you by.” You could write that kind of song, but the kind of
feverishness that’s in that song is, it seems to me, very important for the
character of Ben. That’s something I’m good at and that I’m sensitive to—
musical dramatization, musical playwriting.

MH: You’ve commented that the Witch in Into the Woods is the one char-
acter in that show who doesn’t lie. Would you do anything musically to
reflect that?

SS: No, that’s all in the lyric; I wouldn’t know how to do that. What I
wanted was to make her always either very fierce or very tender.

MH: Here’s what I assume is a long-line sketch for “Green Finch and Lin-
net Bird,” but it struck me that this long-line is virtually the melody of the
song, which is unlike other sketches of yours I’ve seen. [Note: When later
asked about the meaning of the fermatas in this example, Sondheim said
that “they signify echoes, not the main note.” See example 6.6.]

SS: Wow, right. Well, the other long-lines haven’t been worked out in such
detail. Look how many notes there are in this line. Nothing you’ve shown
me so far has this many. But you see, that is exactly what Milton Babbitt and
I did with the Mozart 39th. He was showing me the long-line structures of
the 39th and how it reflected itself in the shorter sections, and even in the lit-
tle melodic motifs. That’s what holds the piece together. That’s exactly what
happened here: in working out the long-line, and working out the melody,
they came together, so that they reflect each other. So, in fact, the melody is
the long-line. This is a very good synthesis. And my guess is, if you really
took apart the other long-lines I had—the ones we’ve been going over,
which are sort of shorthand—if you really examined the melodic structure,
you would find that they do echo what’s going on; it’s just that I haven’t put
the details into the long-line sketch. Here, I was putting in the details.

MH: What surprises me is that this is a fairly standard song, as opposed

to one of your more complex musical scenes.

SS: Yes, I know. It may be—I’d have to really analyze this and go over it—
but maybe this was too long, and it turned out to be shorter. But as I look
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136 Chapter 6

Example 6.6

at it, it is a standard song, but it’s fairly long. It’s hard to remember the
creative process.

MH: Judge Turpin’s “Johanna.”

SS: This song is often cut.

MH: Yes—which, I understand, is something that upsets you. You feel

strongly that it should be kept in the show.

SS: Yes—he’s the only character who’s not musicalized. If this song isn’t
in the show, he doesn’t have anything to sing that is his alone. All he sings
is the duet of “Pretty Women,” and it seemed to me very important. Hal
Prince was extremely offended by this song—or he thought the audience
would be, anyway—because of what seemed to be a kind of masochistic
self-flagellation. But in Victorian terms, and considering the Judge, and
his guilt about his lechery, it’s far from it. And I tried to incorporate a cer-
tain comic aspect into it, in the fact that he couldn’t take his eye off the
keyhole, looking at Johanna on his knees. I think it works very well. And
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when we did it at City Opera, I persuaded Hal to reinstate it, because by

that time the show had reached its shape. There’s another reason, too.
When we started previews, I thought the show was in very good shape—
Hal says to me that it wasn’t in as good shape as I think it was, but I
thought it was in fine shape—but there was a sense of longeur in the mid-
dle of the first act. It was because we had just gotten interested in Sweeney
and Mrs. Lovett, and then we went to “Green Finch and Linnet Bird”
where we got involved with Johanna and Anthony and the Judge, and
then we went into the town square—which is really about Pirelli and To-
bias, although Sweeney and Mrs. Lovett are on the outside—and then we
went to the Judge’s chambers, and it was the Judge and Johanna, then we
got back to the pie shop. In other words, there were about fifteen to
twenty minutes there where we were separated from our main characters,
and then picked up the thread of the story. And the story is about
Sweeney and Mrs. Lovett—it’s not about Johanna and Anthony; that’s the
subplot. So we felt we should cut something. The first thing I cut was half
of the challenge song between Pirelli and Sweeney—well, it’s Pirelli’s
song—”The Contest.” I took out all the tooth-pulling stuff. And, I think,
with the same fell swoop, we took out the Judge’s song. Hal, I think, was
very relieved to take out the Judge’s song, but there was a dramatic rea-
son to take it out. Once the show had found its shape—it seems like a
paradox—reinserting the Judge’s song after all this time didn’t interrupt
it as much. I don’t know why that is, but somehow, the globule that held
it together still held it together, even with the insertion of the Judge’s
song. So in future productions, I hope the Judge’s song is included, be-
cause I don’t think it breaks the tension. When we did it in London, the
guy playing Pirelli thought he would be singing both parts of “The Con-
test.” When we decided to cut the second half—because, again, we
thought, maybe now it would work and the shape would be okay—it still
seemed we were spending too much time with Pirelli. The actor wanted
to quit, but Hal persuaded him to stay in the show. There’s a BBC docu-
mentary that shows it.

MH: I’m curious, were you making any parallels between the Judge and
Sweeney, with “My Friends” and the Judge’s “Johanna,” in that they’re
both ritualistic, self-hypnotic numbers?

SS: No. I see what you’re saying, but no. This is merely a musicalization
of the Judge. Every character in the show gets a moment when you get to
know that person. So this is the equivalent of “My Friends,” the equiva-
lent of “Green Finch and Linnet Bird,” the equivalent of “Ah, Miss” or
“There’s No Place Like London,” the equivalent of “The Worst Pies in
London”—those are all solo numbers. I determined that in a piece like
this, because it’s so much about plot, I better give each one a solo.
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138 Chapter 6

Ordinarily, I wouldn’t put so many solos in a row, just because I would

worry about texture. But if you really look at the first twenty-five minutes
of this show, it’s a series of solos. Even though Johanna and Anthony are
on the stage at the same time, she sings a solo, then he sings a solo. In the
square, there are a lot of people, but Tobias has a song—with a lot of
people—then, essentially, Pirelli sings a solo. Mrs. Lovett sings a solo.
And even “My Friends” is mostly Sweeney. And then, “Poor Thing”—
solo! And I thought: Oh god, this is going to be a series of—you might as
well have people come out in “one” with a microphone and do a concert.
But I determined that it was much more important, for the audience’s
sake, that everybody should be very clearly characterized.

MH: I found this sketch for the Judge’s “Johanna” confusing—with the Ds
in parentheses, and the lines between them, and then the dots on top.

Example 6.7

SS: Well, the dots at the top just mean staccato. The lines are a repeat of the
chord; that’s just my shorthand. I write a four-note chord and I repeat it three
times. Instead of writing the four notes every single time, I write out the four
notes and then I draw vertical lines. The D that’s in parentheses, I would
have expected that to be D-natural or something—in other words, I would
have thought it would be an alternate choice. But I think, maybe, I was de-
ciding whether it should be quarter-note rhythm or eighth-note rhythm. Ex-
cept that I ordinarily would have put little eighth stems there. I don’t know.
The other thing it may be is: Maybe I want the D on top—maybe I don’t
want the F. The point is, it’s an alternate. In the second measure, the first
quarter-note D is in parentheses, and then there are only three beats left, so
it looks like I was considering having a rest there.

MH: Just below it, where your sketch has “(augment?),” what does that
mean?
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Sweeney Todd 139

SS: That just means take each rhythmic duration and double it. In other
words, it’s an alternate accompaniment that, instead of going: [sings], I
might go [sings alternate].

MH: In your sketches for “Todd’s breakdown”—”Epiphany”—there were

a number of things in just these four measures that intrigued me. First,
where you’ve written “(or D-flat V for exaltation).”

Example 6.8

SS: We’re in the key of D-flat, and in the second measure what I have is a
II chord. The II chord is like a mild version of a V—the II chord doesn’t
have that immediate need to be resolved into a I; it usually goes to a V. But
a II chord, particularly as it’s used in a lot of songwriting, is really a V on
the second inversion. So, in this case, instead of being an A-flat bass for a
V sound, it’s an E-flat bass, but it’s the same chord. I’ve got some disso-
nances there, but essentially, the bassline, if it’s the II, then it’s not as
strong a pull as it is to the A-flat. Usually, for exaltation, they use 6/4
chords, but, over the years, I’ve used 6/4s less and less and less, because
there’s something slightly corny about hitting a climax on a 6/4. So I tend
to hit it on a V now—going straight to the V—instead of going 6/4-V.
When I plot a piece like this, which requires a certain emotional journey
for the character and the performer, I like to know where I’m going to
end—not just lyrically, but musically. Will it be a big statement of the
theme at the beginning? Will it be a chordal hold? That sort of thing. You’ll
notice that at the top I’ve written: “The work The work!,” because I
thought his insanity would be wonderful if I could somehow make it so
that Sweeney thought that he now knew what he should do in the
world—which is to kill everybody—and that, in his mind, it was work.
Like Michelangelo painting the Sistine Chapel, it was his calling. And the
word “work” is great—if it’s a speech—but sing the word “work,” and
you are in serious trouble, which is why there are rests there. It doesn’t
have a feeling of climax. If it was “The wooork!” you could do it, but hold-
ing that “e-r” sound in “work” is not a good thing. So, obviously, I opted not
to do that. But clearly what I’m trying to do here is to arrive at the climax of
the piece. I had this little counter theme [sings], and I could feel that,
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140 Chapter 6

because that’s the kind of motif that you can build and build and build,
and think of how you can get [sings]. It’s like Ravel—it’s like “Dawn” in
Daphnis and Chloe. Obviously, I try to find what kind of chord I wanted to
reach for the big statement of his yearning for his dead wife that would
lead into “The work, the work, the work!” All for naught.

MH: And “(urgent)/March theme”?

SS: The whole point of this piece at this time, is that you’re dealing with
a schizophrenic personality: He alternates between his fury at the world
and his yearning for his dead wife, and his frustration at just having
been cheated of his revenge. And since the show is about revenge, it’s
the major thing. It’s like Othello discovering the handkerchief—it’s the
same thing. So I thought: What I have to do is find a way of holding a
piece together where a guy is going to go through the Three Faces of Eve.
He’s got to keep switching personalities, and yet somehow it’s got to
hold together and not just be a tapeworm. And this theme turned out to
be extremely useful throughout; I’m not sure whether this arises from
an earlier theme or not. I thought: All right, what is the climax? It’s his
determining that he’s going to kill everybody. And it should be a pas-
sionate declaration—like Love or something like that. But for the anger,
I wanted to use a chugging sound. And that’s what the second idea is—
an attempt to find a chug. And then I got the idea of utilizing the Dies
Irae here, so that you get the Dies Irae in the accompaniment [sings
again]. And once I got that, I didn’t need this. But this is an attempt to
find it. I just thought of the urgency as a march. It’s not really a march—
I mean you can’t march to it—but it’s a chug theme. It’s a steady four,
and every beat has the same emphasis so that it’s locomotive, or some-
thing like that. “March” is not really the word for it, but I’m doing
shorthand here to get the ideas on paper. But that’s the idea; and what
that became is the Dies Irae statement. [See example 6.9.]

MH: In a case like this, is the music internal or external? Does the music
help drive him mad, or is it a reflection of his madness—as if he’s hearing
voices or something?

SS: Reflection. It never has occurred to me that music affects the char-
acter. I’ll think about that now. But to me, always, I’m characterizing
mood. I’m characterizing urgency, then I’m characterizing tenderness,
then I’m characterizing anger, then I’m . . . it’s playwriting. In a scene,
the character does not get affected by the words, the words get affected
by the character.
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Example 6.9

MH: One of your sketches for “Ladies in Their Sensitivities,” at the top has
“V-G/Ch-D,” et cetera. I assume that means: “Verse in G, Chorus in D.”

SS: Absolutely correct.

MH: But do you remember your reasoning behind the plotting of that?

SS: No, I don’t really know why I want to go from G to D, because that
sounds to me like one of my reductions—where I’m reflecting something
in the theme and vice versa. In other words, the tonicization of G, and
then the tonicization of D, and then each one of those going up a tone, has
some kind of significance. “Ladies in Their Sensitivities” doesn’t have a
very tonal feeling to it.

MH: Do you remember how you came up with the 5/8 meter for this
song?

SS: No, I don’t. I don’t write a lot of fives and sevens. Probably what hap-
pened was the score was starting to feel square to me—that’s a guess—
and starting to feel like it was compounded too much of twos, fours, and
threes. This is instinctive reaching for variety. It certainly has no dramatic
significance. I’m very concerned, always, with writing conversational
songs. And conversation tends not to be as square as two, three, and four.
Conversation tends to divide itself up into units of two and three and four
and five and six and seven. And since this is a very conversational song—
as opposed to a statement song—I think that may have led me to that.
That’s the best I can offer.
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142 Chapter 6

MH: I understand dramatically the point of the song is to get the Judge to
go see Sweeney, but I’ve often wondered why this particular song,
“Ladies in Their Sensitivities.” Why not, for instance, have the Judge have
a toothache and have Beadle say: “Oh, I know this great guy to pull
teeth.” What was it about the idea of “Ladies in Their Sensitivities” that
made that the topic of the song?

SS: Oh no, no, no, no, no. The Judge is trying to make himself attractive to
his ward—he’s trying to be sexy. It’s all about: “You don’t look delicious
enough, sir.” The whole thing starts with the Judge announcing that he in-
tends to ask his ward to marry him, and the Beadle says: “Oh, but sir, you
look a little slovenly and you need a shave.” A toothache wouldn’t have
anything to do with that.

MH: So, it’s more than just plot for getting the Judge to Sweeney?

SS: Well, there’s more to it than that. The real plot is that Anthony and
Johanna are making love—or about to make love—in the Judge’s house.
Unfortunately, because of the abstract nature of the set, there was no
suspense. I wanted to put the audience in suspense and watch him go-
ing home, and be about to enter his house when they’re making love—
or about to make love—and then be diverted by the Beadle—to go that
way and go to the barbershop. If this were a movie (and I hope it will
be), I would try to convince the director to make this a suspense se-
quence in which you have the young couple about to be discovered by
the villain and killed, and, at the last moment, diverted because of van-
ity. The Beadle is harping on the Judge’s vanity, and the Judge has that
opening speech that Hugh Wheeler wrote: I’ve decided to offer my
ward marriage and I’m going to bring her a little gift, and strange. . . .
He intends to marry her, he’s already proposed to her, and she’s been
horrified. So the whole aspect of the Judge’s attractiveness to a young
girl—this middle-aged lech’s attractiveness—is the key, so that’s why
it’s there.

MH: Along the same line, the Parlor Songs—”Sweet Polly Plunkett” and
the “Tower of Bray”—why those songs?

SS: That’s the scene in Chris Bond’s script that I wanted to transform into
a trio—into a duet—where she’s trying to poison him, and she’s going to
poison herself. The point is, the plot calls for him to come into the place
when she isn’t there, and then she discovers him and gets completely pan-
icky. So I thought: All right, what’s he going to do? And, of course, he
would go into the room and sit around, or yell for her, or something like
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that. But it’s a musical, and there’s the harmonium there. Also, there
wasn’t anything for the Beadle to sing in the second act, and that’s an im-
portant character. And, I thought: Here’s a chance to get him to sing. At
the time, I didn’t know we were going to get a countertenor like Jack Eric
Williams—it was just going to be a high voice, but not a countertenor. I’d
already written the songs, but particularly after we’d hired Jack, I was
glad, because I wanted to give him a chance to show off.

MH: My question is not so much the fact of the songs, but why those
songs? For instance, did you choose the “Tower of Bray” because there’s
a sort of bell motif that goes through the score, and you wanted to echo
that?

SS: No, I went through a book of English folk songs and tried to figure
out: All right, do one about a maiden; and then do one about something
that has many choruses—like “Oranges and Lemons, say the Bells of St.
Clemens.” That’s really what that is. I thought the fun of it is, it’s got to be
a song where he gets her to agree to sing with him, and then there turn
out to be endless verses, and she doesn’t know how to get rid of him—
that’s all. Also, there was to be much more of a scene. When I said trio ear-
lier, if I’d written that she poisons him, the idea was that it would also be
a trio with Toby in the basement, so that we would have the three voices
going at once. I still wanted to use Toby in the basement. I thought: All
right, the way to make this more functional is to have them sing a song
that Toby knows. So Toby starts to sing from the basement, and in the dis-
tance the Beadle hears this other voice joining in and says: “What was
that?” “Oh, it was just the wind.” You know, one of those scenes. It’s got
to be a classic melodrama scene. I wanted something that sounded like
the kind of song that you sit around singing, and you go to verse after
verse after verse after verse after verse. That’s why it called for two songs:
the Beadle comes in; he sits and sings something for himself; then, he
says: “Why don’t you join in?” And she says: “Oh, all right,” because
she’s trapped. And, of course, it’s now a song that Toby knows. So the sec-
ond song is the danger song, in which she’s panicky because he’s going to
hear the voice in the cellar and then go down and discover and blah blah
blah. And then they get interrupted by Sweeney just in time.

MH: You mentioned the idea of a film of Sweeney . . .?

SS: Apparently, Tim Burton fell in love with the show when he was in
London in 1981 and saw it ten times. And so he wants to do it. At the mo-
ment, it’s been optioned by, I think, Columbia, and Burton still wants to
do it. Although I now hear he’s doing Superman Twelve, so. . . .
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144 Chapter 6

MH: You stated before that you think film musicals usually don’t work,
unless they’re the Astaire/Rogers style, or something like that.

SS: Absolutely.

MH: Do you conceive of Sweeney as being something that could work?

SS: I don’t think it’s going to work for two seconds. (This is not to be
shown until 2099.) No, I don’t know. The only time a musical on the
screen’s ever been sung through, because it’s a whole opera, is The
Medium. No, there’s the Umbrellas of Cherbourg, which I don’t think works
for a second. It’s just Burton’s enthusiasm; and I thought: Well, why not
try it, what’s to lose? I used to think that if you put out a bad movie of a
show, it’ll hurt the show, but it doesn’t. I won’t mention chapter and
verse, but there have been many, many bad movies of musicals, and the
musicals still keep playing in summer stock, and it doesn’t hurt. I can
mention one, because all the people are dead and it won’t hurt anybody:
Guys and Dolls. It’s a terrible movie musical. It hasn’t hurt the show one
ounce. So, if this works, then I’m wrong; I’ll eat my words—happily. And
if it doesn’t work, I’ll say: You see—well, I told you so. So I can’t lose.

MH: The “Final Scene.” You’ve discussed before that part of the point of
the score is Mrs. Lovett and Sweeney’s themes clashing, which happens
in this number. On your fair copy for this number, there’s a note.

SS: This is to the copyist who was a sweet lady, but very square. Her name
was Mattie. I wrote: “Mattie, I know this looks weird, but it’s the clearest
layout I can think of.” The idea was to have two songs that have nothing
to do with each other going together. One is one meter, and the other is in
another, and, in order to make it clear to the singer, I arbitrarily divided
things into 5/8 and 6/8, so I could draw lines down so the singers would
know where to come in. Actually, it did not take Angie very long to learn
this. Angie is very musical, but she’s not really an experienced singer of
stuff like this. I thought: Oh my God, it’s going to be so hard for her to
learn. Not at all. And it’s partly because, if each singer sticks to his or her
part, it’s very clear. You have to turn your ear off to what the other person
is singing—that’s the trick. So, actually, this is not a very complex passage;
it’s the rhythmic equivalent of polytonality—it’s Milhaud putting the
right hand in E-flat and the left hand in E—each one is simple in itself; it’s
just, when they clash, it makes for dissonance. So this is very simple-
minded business. It’s just, on paper, Mattie, having copied so many scores
in which, if the vocal is in 4/4 then the accompaniment is in 4/4, I just
thought: If I do it the way I would ordinarily do it—which is dotted lines
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Example 6.10

(well, there is a dotted line here; that’s to show where the downbeat is)—
she’ll go crazy. So I devised this method.

MH: A friend of mine conducted the show and told me it was a nightmare
to conduct this section.

SS: I don’t know why it should be, because the accompaniment is fairly
square.

MH: I think it was trying to cue in the singers for their entrances.

SS: Aaahh! That’s the point. If the singer is insecure, of course there’s a
problem. I don’t think Paul Gemignani ever had to cue Angie—once she
started, once she got the downbeat, she went. I don’t think he had trou-
ble. First of all, he would have told me. He would have come to me and
said: “Look, can we simplify . . . ,” or something like that, because you
would always defer to the performer in something like that. Not that he
would distort the music, but, as he does with registers, he would come to
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146 Chapter 6

me and say: “Look, this is difficult for her; is there anything you can do—
have you considered this?” or something like that. And, of course, you’re
writing for performers—I almost always defer, which, incidentally, is not
true of Lenny. For example, when we wrote West Side Story, he was bound
and determined that Tony should sing a high C in the obligato section of
“Maria.” The only people we could find to play Tony and could sing a
high C were fat tenors, who were forty years old and from operetta and
opera. Lenny actually tried to push one of them on us; it was just ridicu-
lous. We ended up with Larry Kert, whose top note, when he started to
sing the show, was an F. He was primarily a lyric baritone, not a tenor, and
Tony had been conceived as a tenor. We could not find any. Tenors tend to
speak on the stage like capons; it’s difficult to find one, particularly if
you’re going to ask him to be a gang leader. So we ended up with a lyric
baritone. And Larry, when he entered the show, sang up to an F, and when
he finished, he sang up to an A. The high C is still written as an alternate
in the score, but Lenny agreed to relax and let Tony just go up to an F or
an A. He did not do the same thing in “A Boy Like That,” and Carol
Lawrence was forced to sing higher than her voice because he wouldn’t
make that compromise. You can hear on the record, she goes into a squeak
at the top of “I Have a Love.” Now granted, in subsequent performances,
in subsequent productions, they find ladies who can do that, which is
great, so maybe Lenny was correct in doing it. The same thing is true here.
I could have simplified this, but I thought, if Angie can handle it, then she
can handle it. How much do you demand of a performer? If Angie
couldn’t have handled this, I would have simplified it; I would, because
you’ve got to defer to the performer.

MH: Since you write chronologically, and this is the very end of the show,
did you know from the very beginning that this moment was going to be
about the clash of those themes and meters?

SS: No, I just knew that I was going to have a clash. Actually, I think I con-
ceived of it as a sort of duet. And I decided: You know something, if it’s a
duet, then they’re together—just the fact the two voices are together im-
plies that they’re together. But the whole idea is she’s thinking one thing,
and he’s thinking another, and they have different agendas. He’s intend-
ing to kill her, and she’s intending to marry him, and those are called . . .
in some instances, the same, but not in this one. Also, I wanted to echo her
nervousness. She knows something’s wrong. She knows she’s made a
slight mistake by not telling him that the woman that he killed was his
wife. She knows she’s made a slight error, so she’s a little nervous. And he
is focused and rigid. Well, if you have a guy who’s like that, and a lady
who’s nervous, how do you put the two things together? Answer: you
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Sweeney Todd 147

don’t! You just have them occur simultaneously. This was so easy to write,
because I didn’t have to do any work! It’s just: You sing your part, darling;
you sing your part, darling. I don’t care whether you’re together or not.
The whole point is, don’t be together. It was hard to notate; it was not
hard to write.

MH: And worked like a . . .?

SS: Oh, it worked like a dream! Incidentally, it worked like a dream be-
cause of the two hours that preceded it.

MH: I’d like to discuss “City on Fire” and the “Asylum Song,” because
your sketches include a fairly lengthy section here that’s been cut.

SS: Yes, this is part of a whole chase sequence I had going. It actually
comes from something else—Hal got worried that the audience had no-
body to “root for” in Sweeney Todd, so he wanted to make Johanna and An-
thony the people the audience would identify with. So I devised a chase
through the cellars when Sweeney is after them with a razor. And I said
to him: “You know, if people aren’t rooting for Sweeney, then there’s no
show.” But I wrote this extended chase anyway for “City on Fire.” And
Hal did stage it. This was actually in, at least, the first preview, where they
ran across the bridge. So that’s what this is, but I haven’t seen it since.

MH: It makes Johanna less of a heroine. It makes her more ditzy and
crazy.

Example 6.11
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148 Chapter 6

SS: I still have that one line where she says: “You said you’d marry me
Sunday, that was last August”—I still got that. The interesting thing to me
about the plotting that Christopher Bond did is that she’s the one who
shoots Jonas Fogg. Anthony’s too tenderhearted, so she said: “Oh, come
on, let’s get out of here, enough of this.” And she takes the gun and she
shoots him. I love that idea of a heroine—that she’s ditzy, but she’s capa-
ble of killing people. That struck me as a really swell idea. This is also an
echo of Johanna’s “Kiss Me.”

MH: There’s a cut section of “By the Sea” where Todd has various coun-
terlines, such as: “God the woman’s mad/This is very bad/Anything you
say.” Obviously, you cut it because you didn’t want it there, and that’s
fine, but an actor playing Todd who looked at that would say: At this
point in the show, Todd is just agreeing to agree, but he really thinks this
woman is mad.

SS: Right.

MH: Can he look at your sketches and think that?

SS: He can, but you know, that’s in the stage directions. It’s very clear that
Todd is completely distracted. The whole point of the song is Mrs. Lovett
is trying to wake him up, so to speak. It’s very clear that’s what she’s do-
ing. And he’s a guy who’s got to be distracted. There are still shards of
that left in, where he sings: “Anything you say, anything you say.” And
that’s enough, that’s all. Originally, I was going to make that a full-
blooded duet, and I thought: No, the idea is, when you are brooding, you
don’t talk; you think, and you brood, and you’re sullen, and you’re glum,
and you’re glowering. And she’s trying to make you cheerful. And you
don’t want to rock the boat, and say: “Yeah, yeah, it’s fine.” And that’s the
way the scene should be—it calls for silence.

MH: I have a couple of general questions about Sweeney. One of the things
that surprised me is, it’s such a huge score, and yet there is much less
sketch material proportionally than there is for the other shows.

SS: It was such an easy show to write, I can’t tell you. It just wrote—as
Barbra Streisand would say—”like buttah.” The first twenty minutes,
the first seven songs—right up to Pirelli—I just had a good time, be-
cause I was writing a horror movie and that’s one of the things I love.
Then the Pirelli sequence was a little more difficult. I was afraid that the
show was going to get too long. When I started it, there was no Hugh
Wheeler; there was just me and the Christopher Bond text. Then I real-
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Sweeney Todd 149

ized, Christopher Bond’s entire play was thirty-five pages long in act-
ing form, and I was only up to page three—or something like that—and
the show was twenty minutes long. The point was, it was going to turn
out to be the Ring if I didn’t cut it down. And I got panicky. I wish I
hadn’t—I wish I’d stuck to my guns and just done it myself, but I
couldn’t. And Hugh had written murder mysteries under a pseudonym
for a long time; and we’d worked together very happily; and he was
British—he knew what Sweeney Todd was as a legend and all that. And
I’m very glad, because he made some changes that are very important
and very good for the show. But it was at that point that the show be-
came not quite so easy to write because I got worried about length.
Then, with Hugh aboard, I felt confident again, and it was fine until I
got to the “Epiphany”—or to that moment. In Bond’s script, it’s the one
weak moment: I never believed why Sweeney would turn from frus-
tration at an individual killing, to wanting to kill the human race. In
Bond’s script, he literally just says: “I have tasted blood.” I may be par-
aphrasing, but it’s about tasting blood and wanting more—that’s all it
said. And I thought: Boy, in something as operatically melodramatic as
this, that’s not enough. Hugh wanted to make it a religious turn—he
wanted to bring in the whole religious thing. And I said: No, let me
think about it. And so, it took me a month to write the “Epiphany,” and
ordinarily a song of that length takes me—if I’m writing at my top
speed—about two weeks. But the real problem was to find: What is it
that turns him—exactly what is it? Working that out was difficult. Hal
always used to complain—and, I think, with justification—that I wrote
so much at the last minute. I have this reputation for incomplete scores.
They’re not that incomplete—Night Music excepted, and there are rea-
sons for that—but the fact is that I do tend, as the deadline approaches,
to write more and more. So the director and the choreographer don’t
get a chance to digest the material. And Hal had never really made it
clear that by shoving him three songs in the last two weeks, I was hob-
bling him, because he doesn’t get a chance to think about what he
wants to do with them. Hal recognized my rhythm on this, so even
though we went into rehearsal without the final scene—without, really,
the last fifteen minutes—I said: “I’m sorry, but. . . .” He said: “I’m not
worried; it’s fine. I know where I’m going. I know where you’re going;
it’s no problem.” The show wrote that easily. So the answer is: This was
an easy show to write.

MH: I noticed musical similarities between “Not While I’m Around” and
“No One Is Alone”—the use of seconds and things like that. They’re also
similar in that they’re lullabies and used by one character to calm another.
Any reactions or thoughts about that?
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150 Chapter 6

Example 6.12

SS: No. The thing that makes them different is what’s going on in the bass.
In “No One Is Alone,” the bass goes [sings bass line], as opposed to [sings
other bass line] in “Not While I’m Around.” Otherwise, they are similar.
One of the things I notice here is that the melodic line is four eighths and
then a half note, and four eighths and then two quarters, although one is
on the downbeat and one is on the third beat, but still. . . . Actually, when
you come to think about it, you just said it: the function dramatically is
similar, isn’t it? It’s an older person calming a younger person.

MH: But the use of seconds, for instance; do you think of that as being a
calming sound?

SS: No. I’m a fan of suspensions and, rather than use thirds, I’ll always use
a second and theenn resolve it.

MH: Among your manuscripts, I found a copy of a letter you wrote to

Declan Donellan for a London production of Sweeney. You wrote, in part:
“I’m working on an accompaniment to ‘Wait’ that will be a little less Ser-
gio Mendes.” And here’s a copy of your revised version.
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Sweeney Todd 151

Example 6.13

SS: I always fall into South-American rhythms. I don’t know why. In every
show, and quite often, whether the songs are relevant or not. Here, I just
thought: What are South-American rhythms doing in the middle of Victo-
rian England? So I made something with less [sings rhythm]. Actually,
there’s an influence in “Wait”; the chord structure is influenced by a
South-American lullaby—Montsalvatge’s “Lullaby to a Negro Baby.” I
stole those chords from him, and first used those chords for “Don’t Look
at Me” in Follies. And then I used them here, and I’m afraid that the rhyth-
mic idea crept in while I was asleep, while I wasn’t noticing. It’s always
bothered me. This is the song that’s the least satisfactory in Sweeney (and
it’s not because of me and Montsalvatge), it’s because I wasn’t able to find
the proper expression of . . . again, you talk about lullabies; this is Mrs.
Lovett trying to calm a completely berserk person. He’s not younger, but
it’s a lullaby. It’s: How do you calm somebody down who’s having a hys-
terical fit? Well, his hysterical fit is he’s jumping up every time the door-
bell rings and grabbing his razor. And she doesn’t want him going berserk
waiting for this guy to come so he can kill him. It’s not the right song; and
if the movie goes ahead, I’m going to find something else for this. This
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152 Chapter 6

will be on tape, and the movie will go ahead, and it’ll be the same damn
song, but. . . . I would like to find something else. I would like to find a
way of expressing it. This was another scene that I intended to rewrite.
Maybe it should be a duet—maybe it’s: He says something rash, and then
she calms him down, then he says something rash. Of course, that’s going
to be the same rhythm as the “Epiphany,” which is coming up—where it’s
rash and then calm, and then rash and then calm. Maybe I can make cap-
ital out of that—it didn’t occur to me until just this minute. Maybe there’s
a way of echoing that—that the changes he goes through in the
“Epiphany” are the changes he goes through—or that they go through—
in this song. But something’s got to be done. At any rate, this is an attempt
to take out the South Americaness of it. Although, I notice I’ve still got the
dotted rhythm in the bass.

MH: If one does do this song, is this new accompaniment the one you’d
prefer them using?

SS: I’d have to hear it again. Probably, but I don’t know how I would do
that now—with the score published the way it is. Also, this was reorches-
trated for London; in this version, it’s for a nine-piece band, so it’s im-
practical.

MH: One of my favorite memories, from the original production, was

when Angela sang the line: “Now goes quickly. See, now it’s past!” Never
had I seen time so concretely expressed. I saw that moment. It was breath-
taking.

SS: Mark, you’re the only person who got it. That moment justified the
song for me, and I don’t think anybody but you ever got that moment.
You’re the first person. And when I realized that nobody was getting it, I
thought, it doesn’t work.

MH: Well, for me, thank you.

SS: Thanks for noticing, because I thought that was a terrific moment.

MH: You’re quoted as saying: “‘A Little Priest’ is going to be too fast for-
ever and ever, and it’s my fault for not slowing it down.” I believe you
were talking about the road company production with Angela Lansbury
and George Hearn that was videotaped and shown on PBS.

SS: It is conducted too fast. There are aspects of the conducting that I
didn’t pay enough attention to when we were out there taping the show.
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Sweeney Todd 153

We didn’t have an awful lot of time, because the budget constraints were
terrible. So I let this too fast version go by. On records, it’s different. On
records, Goddard Lieberson—the father of the show album—said: “Gen-
erally, on records, you have to speed things up because there’s no eye in-
terest as there is on the stage.” I remember, I was in charge of the West Side
Story recording, because Lenny was away conducting, and when he came
back he was shocked at the tempi, because many of the songs were much
faster than they were on the stage. But they’re exactly right for the listener.

MH: How much work do you do on the recordings? How do you prepare
for them?

SS: A lot. When you have a record producer, you sit around with the
record producer and determine: What are you going to cut? What transi-
tional material are you going to cut? Are you going to include any dia-
logue, et cetera? And the most important thing to do is to determine what
is the shape of the recording.

MH: Do you determine specific new timings? Do you sit with a metronome
and say: “Okay, for the recording we’ll do this number at . . .”?

SS: No, the producer will come to me and say: “Okay, here the total score
is eighty-four minutes; we’ve got to cut seven.”
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Chapter 7

Pacific Overtures

MH: Pacific Overtures.

SS: Same period. Different country.

MH: In your lyric sketches for the opening number, “The Advantages of
Being Set in the Middle of the Sea,” in the upper right hand corner of the
first page you wrote a little note to yourself which fascinated me: “Hymn
to order/(nature).” Did you mean that as a continuum? As opposites?

SS: No, as a continuum. Japanese haiku so often deal with things like plum
blossoms and moon through the willows, and stuff like that. They’re al-
most Oscar Hammerstein poems, now that I come to think of it. The order
of nature is basic to Japanese philosophy. Nature tells you what to do, and
nature is the overriding spirit of everything—it’s what is natural. It isn’t
just pretty flowers, it’s order. The whole Japanese structure—just until the
last forty years—has been all about order. And it’s the orderliness that they
get from nature. The passing of the seasons is key to the way they think.
And I tried to cover that in the lyric of the opening number.

MH: How would this note help you in the writing of that number?

SS: When I start a lyric sketch—as you can tell from all these little sketches
here—you get the philosophy of the number. In this case, it’s the philoso-
phy of the country, because that’s what I’m trying to set up in the open-
ing number. I often start my lyrics with just making a list—free associa-
tion—of what the song is about. Not necessarily the point of it, but the

155
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156 Chapter 7

atmosphere of it, and what it’s dealing with. Here I’m trying to, in one
song, establish an entire culture—for an audience that’s completely unfa-
miliar with that culture. Not just the culture that they may know from
anti-Japanese movies of the war, but the culture that existed in 1852 when
things were in order—before chaos arrived in 1853.

MH: The West.

SS: Right. So the idea here is to paint the picture—like a Japanese screen—
that is completely calming. Or a Japanese rock garden. If I were doing a
movie, I would show a Japanese rock garden first, because that’s the ulti-
mate of simplicity and order in nature—but then how man adapts that
and makes a kind of tranquil art out of it. It’s also a way of living—a way
of life. I happen to admire it, too.

MH: Before you started this show, were you aware of Japanese culture?

SS: No, not really. I was brought up on movies, so I thought the Japan-
ese were a lot of little people with buck teeth and glasses who tortured
Americans. It was Weidman—being a sinophile, and having written
this play—who introduced me, in that sense, to Japanese culture. Al-
though, I think, he’s really more interested in the socio-political aspect
of it. It wasn’t until I went over to Japan with Hal for a couple of weeks
and that I saw it for myself. Not that it was in any way an epiphany, but
just to be there, and see the ladies with obis in the department stores,
and see the contrast between what was and what is now. To see a Japan-
ese woman in an obi buying Chanel in a department store is something
very weird. And you think: Oh, I see, this is a show about discombob-
ulation. We tried to do that with an image at the end, during “Next”—
the big contemporary number where the vaguely rock music occurs—
and in the middle of it comes, from a hundred years ago, the samurai
and his wife. That is what I was trying to capture. The whole point of
an opening number is to not only lay out the ground rules for the au-
dience, but to tell them where they are. Just like Oklahoma! did—famously,
“the shot that was heard ’round the world”—when Curly comes on,
singing that solo, and you see a woman with a butter churn, and a cy-
clorama with a windmill on it, and a prairie, and nothing else. You
know where you are. You know you’re not in New York. The same
thing is true here. So it seemed to me that the thing to emphasize . . .
actually, I was probably thinking of singing a hymn. When I put some-
thing on a yellow sheet, up in the right-hand corner, that is usually the
key idea. Following that are lists of ways to carry it out. I just start fill-
ing stuff out on the yellow pad that way. I always write on lined paper.
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Pacific Overtures 157

Up in the upper right-hand corner—if I’m writing a song particularly—

is: Keep this in mind; this is what the song’s about.

MH: And it never changes?

SS: Well, sometimes it does, of course, but we’re talking about the initial im-
pulse. This is probably the first yellow sheet I wrote for Pacific Overtures.

MH: Actually, this is the second version of the opening number.

SS: “The Advantages” is essentially the same number with a different

lyric. For some reason, Hal didn’t like the original. I happen to love the
line: “The advantages of being set in the middle of the sea/Some advan-
tages of being set in the middle of the sea: Kings are burning somewhere
. . .”—but he missed the sentence structure. I mean those as paragraph
headings: “Some advantages of being set in the middle of the sea:” Colon!
And he couldn’t accept that, so I had to change it. And I changed it to: “In
the middle of the world we float/In the middle of the sea . . .” And so it
now has a statement to make. It’s the same song. It’s interesting that I see
I was going to make something of the “four”—there are four islands and
four floating cherry blossoms. “Floating” was always in this. That’s what
happened. I still prefer “Advantages,” but that’s one of those compro-
mises. [Note: The first draft of the lyric begins with “Four islands, four
floating cherry blossoms/Let us paint a picture for you. . .”]

MH: Regarding “Someone in a Tree”—there’s very little that happens har-

monically in that number.

SS: Until the so-called chorus.

MH: So, how do you sustain interest in the listener with that kind of re-
lentless music?

SS: What I discovered about Japanese art, what I finally cottoned on to, is
they’re the ultimate culture in “Less is more.” They are the minimalist cul-
ture—look at a Japanese screen . . . You know, fortuitously, I went to an ex-
hibition of Japanese art at the Met. And I remember stepping out of the el-
evator, and there was a three-panel screen. And I couldn’t believe it! The
first panel was absolutely blank; the second panel was absolutely blank
except for the end of a bird’s tail; and the third panel had the rest of the
bird and a tree. And I thought: I can’t believe it—two blank panels, and a
third, and it’s a three-panel screen! Click. I thought: Ohhhhh, it’s all about
less is more. So I wanted to echo musically the whole cultural idea of less
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158 Chapter 7

is more. Meaning, we’re just going to take this one chord and, by making
tiny little variations on it, we’re going to gradually build it up and sustain
it so that the audience never gets bored. But it’s sixty bars of one chord.
But the rhythm keeps changing, and the texture keeps changing, and
where the chord keeps getting placed just changes a little bit at a time—
maybe every four bars, or every eight bars. It is not insignificant that,
when I met Steve Reich, he told me how much he loved this show—not
just because he had a lot of training. It’s similar to his own music, because
so much of it is influenced by oriental music, which is influenced by ori-
ental art. It’s all part of the same cycle, isn’t it? And that’s what the verse
of “Someone in a Tree” is—it’s minimalist music. Nothing’s going on, but
everything’s going on. It’s phase music—in a very, very, very simplified
form, of course. His version is far more sophisticated, but it is the same
thing. And it works very well, because when you finally settle down to
the chorus, and it finally hits the tonic chord, there’s that sense of,
pheeeww! I think it’s terrific. So that’s what that is: It’s an attempt musi-
cally to echo the visual—and the literal—of Japanese art. What do you
think haiku are about? It’s called: How simple can you make a poem? Simple.
Simple, meaning less. Less is more. Think of shoji screens. Think of
tatami. There’s only one size for a tatami mat. Only one size! You just
gotta make your floor out of that size. You can make any kind of domino
setup you want. One size! But within that, infinite variation—depending
on how you place them. But six-by-three is six-by-three.

MH: Talking about “Someone in a Tree” and the harmonic speed of it, it
occurs to me that a lot of your work is very language-based and idea-
based—there’s a lot of lyric there—and that must have an impact on your
music. By necessity, your harmonic changes have to take place over a
longer period of time—more subtly—because you have so much lyric to
get through, your chord changes are more subtle over time.

SS: It’s true that when a lyric hits a different tone, or I want to bisect some-
thing or demark something, that I will change the harmonic structure. But
I write a lot over pedal tones—the way a lot of people do in the musical
theater—and have ever since time immemorial. But it’s less reflective of
the lyric than it is of, maybe, lack of invention. Or, maybe the fact that
there’s a wonderful tension that occurs, both in ostinato rhythms and in
pedal points—the waiting for the release. (No pun intended, but that is,
incidentally, why the middle parts of songs are called releases.) “Someone
in a Tree” is an extreme example of that—where the ear is held in a cer-
tain amount of suspense for sixty bars, as opposed to four, before it’s re-
leased into the resolution. In the same way, for example, I use pedal tones
in “Send in the Clowns.” Almost all of it is over this tonic drone, but there
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Pacific Overtures 159

are, as you say, subtle chord changes, but it’s to keep the kaleidoscope go-
ing while you’re anchored. Because a pedal tone is like an anchor—you’re
always there, tethered, like a goat tethered to a pole. The goat can wander
around, but always, in the center, is this immovable tonic chord. I was ex-
perimenting with it, deliberately, in Pacific Overtures—in which I made the
chord smaller, so there was less territory to go away from the center. In the
same way, I use that often, and I’m afraid that it’s a reductio ad absurdum if
you studied most music—certainly most music since the fifties. . . . I’m
not sure that this would be true of the composers in musical theater in the
thirties and twenties and forties; I think their harmonies were more fluid
and richer in terms of where the harmonies moved. The business of pedal
tones came very much into vogue in the fifties, I think. I haven’t actually
articulated this before, but it occurs to me—and I bet I’m right—that if
you look at the scores of the fifties and the sixties, the scores of my peers
and contemporaries, you’ll find there’s much more pedal tone than there
was in the thirties and forties, and twenties before that. I can think of
specifics about Kern’s stuff. You know, often a song will start with I-V-I-
V-II-V-II-V-I. And Kern went: I-V-I-V-VII-V-VII-V. You don’t find that in
me or my contemporaries—we always go to II. And that tiny little varia-
tion makes for a big difference. Now, again—I shouldn’t speak for my
contemporaries, so I’ll speak for myself—I tend to go I-V-I-V-I-V-I-V, but
over it things are changing. Things are becoming liquid and there are little
dissonances. You can get away with a lot of murder when you’re over a
pedal tone. You can put in a lot of dissonance because the audience’s
ear—the listener’s ear—is firmly anchored in that basic first step of the
scale, so they don’t feel lost—they don’t feel Schoenberged into anything.
They just feel set in cement. It makes for more static, less interesting mu-
sic, but it also makes for tenser music. And, as I’m spouting on now, it oc-
curs to me that, because of the Rodgers and Hammerstein revolution—
when songs had to tell more of a story—that that tension becomes
dramatic. In other words, it may be more poverty-stricken to utilize a
pedal tone over and over and over again, but it makes for more drama—
or helps to make more drama. I think I could make a case for that, but I
better not this afternoon, because I may be skating on thin ice; but I have
an instinct that I’m right.

MH: “Prayer.”

SS: “Prayer” was the first thing I wrote for this show, to find a Japanese
. . . I’ve told the story before, but I’ll tell it for posterity if you like. I dis-
covered a style. This is like the “Enigma Variations.” This is the tune on
which the show was based, and I threw it out. But it’s also a technique. I
had my little revelation on this show. I was up at Lenny’s for dinner. It
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160 Chapter 7

Example 7.1

was just the two of us, and he was called to the phone. While he was on
the phone, I had nothing to do, so I started to fiddle with the harpsichord
he had there. I don’t know how I got into it, but there were two manuals
to the harpsichord, and I folded my arms across one another, and I
started—because of the plucking thing—I started very, very, very gently
to lean on the manual. And I heard this oddly rhythmed series of “plink,
plink, plink, plink-plink-plink, plink, plink.” Perhaps because I was work-
ing on Pacific Overtures at the time, I thought: Gee that sounds oriental.
Wow, there’s a texture here, now I’m getting—it may be Hollywoodized—
but I’m getting an oriental feeling here. So I decided to write a song with
a prepared piano—à la John Cage. And I wrote this song called “Prayer.”
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Pacific Overtures 161

When I played it for Hal, I put paper and thumbtacks into the harp of the
piano, and then proceeded to play these kind of vaguely pentatonic
things, although there’s a good deal of dissonance in this song. And, sure
enough, it sounded right. Then, it turned out, at least for me, that dra-
matically “Prayer” would hold up the action. That what we wanted was
an opening number, which said: This is the milieu, this is the territory, and
now we’re going to go to Kayama and Tamate—the samurai and his
wife—and we’d better get into the action. “Prayer” held up the action. So
that’s what happened, and this is what started it all. I was able to utilize,
however, some of this for the sequence in “Chrysanthemum Tea,” where
they try to pray the Americans out of the harbor.

MH: But musically, the score grows, to some degree, out of that number?

SS: Right.

MH: This page of your manuscript is labeled “Miscellaneous Ideas, Num-

bers and Notions,” and it struck me that this page is probably the heart of
your working out the score. [See example 7.2.]

SS: I bet I wrote this the day after I got back from Japan. I bought some
records in Japan—a three-LP set which illustrated all of the Japanese court
music, particularly gagaku. Within the album was a booklet which was,
unfortunately, all in Japanese, but I had it translated. It explained every-
thing about Japanese scales and Japanese intonation—all the specific tech-
nical stuff about how Japanese music is produced. And the scale turned
out to be this minor pentatonic. Usually, when one thinks of oriental
scales—when you do your sort of Charlie Chan/”Chopstick” music—you
just play on the black notes. It’s 1, 2, 3, 5, and 6, and it’s [sings clichéd Chi-
nese-sounding phrase]—you know, that sort of thing. That’s major penta-
tonic. But I discovered that the Japanese seem to be about minor penta-
tonic. In this case, it’s C, D, E-flat, G, and A-flat—as opposed to C, D, E, G,
and A, which it would be if it was Chinese. I thought, whether this is au-
thentic or not, it makes a big difference. So I made a list here of various
ways to utilize that. Here, for example, these are chords that you can play
on the sho. The sho is the little instrument that looks like a gourd with lit-
tle pipes. It’s like a little mouth organ, except the base of it is round and it
has little pipes coming out of it; it looks like a planter. You blow into it, and
it makes these various sounds with these five-note, six-note, seven-note
chords, all of which are chord clusters. I love chord clusters, because, again,
as with pedal tones, you can get away with anything with a chord cluster.
It doesn’t matter what the notes are and it sounds great. This is clearly out
of this booklet, because here’s stuff about Japanese drumming—rhythms
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162 Chapter 7

Example 7.2

that the Japanese use. Here are the biwa tunings. I never used a biwa,
which is a plucked instrument. I ended up with a shakuhachi, which is a
flute; a shamisen, which is plucked; and the sho, which is blown. Clearly
these rhythms and the patterns are from this booklet, because it literally
says “patterns.” I wouldn’t write “patterns” unless it was out of some par-
ticular scholarly or analytical text. This says “dom” for dominant, I guess.
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Pacific Overtures 163

These are all patterns and scales. And here are tonal systems that obvi-
ously I came across. Because, as in Greek modes, the Japanese have tonal
systems—different ones for different court purposes, for different times of
the day, for different emotions—just the way the Greek modes worked,
but they’re Japanese modes.

MH: I love this at the top: ”Noise + music.”

SS: Exactly. I’m not sure what I meant by that, but there is that whole thing
of whistles and bells and the fact that the intonations are not Western in-
tonations—you don’t hit a note exactly. In fact, part of the art of playing
instruments and singing in Japan is how the performer hits the notes. It
also says “Noh”—meaning Noh theater—”prolonged beats.” So clearly I
was listening to some Noh underscoring. Ah yes, look, it says even here
“first, confero, side 3,” so that means side three of the record. That’s what
this is; this is my distillation of what I learned from the pamphlet.

MH: Have you ever wanted to go back and write an Asian score?

SS: No. A large Asian conglomerate tried to get John and me to do that last
year. But, no.

MH: I noticed in the lyric sketches for the Admiral’s number—”Please

Hello”—that the word “extraterritoriality” was originally part of the
British Admiral’s section. Do you remember how it got changed to the
Russian? [Note: The lyric sketch for the British Admiral began “Extrater-
ritoriality/I think that we can guarantee/Your territoriality/You mustn’t
think it sinister/If we should send a minister . . .”]

SS: No, I don’t. Clearly, it’s such a British word. One of the things I like
very much about the Admiral’s number is that it’s accurate historically.
That is exactly how things happened—the order in which the countries
came and what they demanded. And it has, I am proud to say, been used
as a history lesson in schools. And the notion of extraterritoriality, I think,
was a Russian idea. But it’s such a Gilbert and Sullivan word, that is prob-
ably why I was thinking of using it there, although I don’t think the
British demanded extraterritoriality. They may have; maybe every coun-
try that ever goes into another country demands that, because it’s a sub-
set of diplomacy—of diplomatic immunity. I don’t remember now, having
read the history, why it was so heavily emphasized in the Russian section.

MH: In Banfield’s book he says, and I quote: “Sondheim’s masterly way

with repetitive accompaniment figures and the ’Hymnos’ from Frogs is
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164 Chapter 7

tremendous in its cumulative effect—an achievement without which the

still greater achievement of Pacific Overtures, written the following year,
would probably not have been possible.”

SS: I have no idea what he’s talking about. I really don’t know. Do you
know what he’s talking about?

MH: I think it’s something we touched on earlier, which is, how you grow
as a composer and how your ability, by tackling something once, enables
you to go further the next time.

SS: I see. It’s certainly possible, but that’s an overview, and, as you know,
overviews are anathema to me.

MH: Here’s a quote from you. . . .

SS: Uh, oh. I’ve changed my mind, whatever. . . .

MH: “But if people can’t hear the romance and passion of say Pacific Over-
tures, they’re not listening. There’s a lot of anger there too. There’s a great
deal of lyrical music in that score.” What particularly interested me is the
use of the word “anger,” which is something that I wouldn’t have associ-
ated with that score.

SS: No, I’m surprised, it doesn’t sound relevant to me. I wonder what I
was referring to. I think of a number like “Four Black Dragons.” . . . You
know what it is? I think I know what it is; it’s the anger of the reciter. The
reciter is outraged at what happened to the country, and particularly as
played by Mako who is such a fierce personality. I think it’s less in the
score than in the attitude of the show. This is a man who is telling us with-
out ever saying it: “We were raped.” And they were, though it was highly
controlled and ritualized. When Meiji becomes the emperor, at the penul-
timate moment—you know, when the puppet grows, becomes a person
and breaks the sticks—and he becomes a real emperor and he says: “We
will do to the West what they have done to us.” That’s anger. And they
did it. And they were right. They were wrong, but they were right.
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Chapter 8

Finale

MH: I’d like to end with some general, quick questions. In Forum, there’s
really no “Free” song at the end.

SS: Oh my God, it never occurred to me till now. Why didn’t you tell me
in 1960? Jesus, you’re absolutely right. No, he just comes out and sings a
happy ending. That’s interesting. Incidentally, he does have: “Free, Free,
Free,” and so it did occur to me. . . . But it wouldn’t have occurred to me—
no, you can’t stop the action at that point. You know, when all the plot el-
ements are tied together neatly at the end—with the brother, and the sis-
ter, and the marriages, and all that sort of thing—you just want to get out
of the thing, just get out.

MH: Overtures. Very few of your shows have them, but for the few that
do, did you actually arrange them, or make the decisions about what
would be used?

SS: Let me think. No, I think I consulted with the orchestrator. Certainly, I
consulted with Jonathan on Merrily. I’m trying to think, which ones have
overtures? Follies doesn’t. Company doesn’t. Night Music has a vocal over-
ture, which was Hal’s idea—the idea of a sung overture.

MH: But you wrote the vocals?

SS: Yes, but the notion. . . . Usually, overtures, in the standard and tradi-
tional musical comedy sense, are put together by the arranger. The most
famous—Gypsy—was put together by Red Ginzler. That’s what they do.

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166 Chapter 8

MH: Did you look at Schillinger at all—did you ever study him?

SS: No, but I bought the books when I was seventeen. I was so fascinated
by the idea of the systematic composition.

MH: Did you read them?

SS: Oh, yeah. I still have them.

MH: Did you understand them?

SS: No, I didn’t understand them. And I didn’t read them all the way
through. I just looked at them and I thought: Gee, the idea of graphing
music—what a great idea.

MH: Another quote from you—this one is about the interrogation scene in
Whistle: “It holds up very well. It has one severe, and not quite fatal, flaw
in it, which is the tune isn’t good enough. . . .”

SS: It’s terrible! It will haunt me forever. It’s a real jerry-built tune. It’s just
a functional tune, that’s all. I still feel the same way, if that’s what you’re
going to ask. Or, that’s not what you were going to ask?

MH: I guess, I’m asking about inspiration, or the idea of a “good tune,”
and what that means.

SS: Ah. For me, a good tune is a tune I like to listen to. You might not con-
sider it so. A tune that I like, you might not like it. And that tune is a tune
I don’t like and I just couldn’t find a better one—one that I liked more. So
much of this now blurs in that territory about not what is good, but what
one likes. And music is full of that. I don’t like it.

MH: So much of what we’ve talked about here is “craft.”

SS: Yes, exactly.

MH: But to what degree does inspiration play a part? You’ve men-
tioned before, the concept of the “muse sitting on the shoulder”—that
it doesn’t happen that way. But every once in a while, does a tune, does
a phrase . . .?
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Finale 167

SS: Oh sure, absolutely. That page that you love from “Move On”: that’s
exactly the “muse sitting on the shoulder.” I don’t know where that came
from. It just is right and terrific, and I knew it when I wrote it.

MH: “Windows.” I may be crazy, but it’s the one recurring image in your
scores where that word not only recurs, but every time it recurs, it’s a mu-
sically significant moment, which makes me want to read something into
it as it relates to you.

SS: I don’t know. It is about observation, isn’t it? The first time I used it
was in a song that I never put into Forum, called “The Window Across the
Way.” Now, of course, that was literal, because Hero is looking at Philia
through his window to the house next door, but no. . . . The word I use
most in my lyrics is “little” because it’s a great. . . .

MH: But that’s functional.

SS: Yeah, that’s functional. No, I understand what you’re saying. No, I
don’t think it has any specific thing. In the case of Sweeney, again, it’s a lit-
eral window; in the case of Sunday in the Park with George, it is a metaphor-
ical window.

MH: In Passion, it’s a literal window.

SS: Yeah. They tend to be. It’s also a great word. It’s one of the great words
of the language. The sound of it is so terrific—it’s romantic, and it’s sad.
No, that’s for archaeologists.

MH: Okay. I wanted to give you a few moments to respond to a couple of

quotes of yours. “You can sweat a lot over music, but it’s very fulfilling. I
was trained and started out as a composer, and I fell into lyric writing, so
to speak. I wanted to do both, but music was my joy.” And then: “Oh
gosh, the privilege of being able to write music is just—that’s a gift from
God.”

SS: I still feel it. No, I can’t go beyond that, that’s just it. Every musician
knows what I’m talking about—anybody, even non-musicians. Music . . .
it’s a magical art. I don’t know how the human mind ever got to it, be-
cause everything else is somehow representational and literal, including
painting. But not music. How did that happen? Is it from the birds? What
is that from? How did we learn—how did we make music? I can under-
stand, vaguely, how man learned to speak because he had to communi-
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168 Chapter 8

cate things; but what is this? How did man learn to whistle, and where
does the twelve-tone scale come from, and blah, blah, blah. I’m ill-edu-
cated this way, so you could probably answer, but it seems to me miracu-
lous. To me it’s as mysterious as astrology but, unlike astrology, com-
pletely believable. I don’t know, I don’t get it.

MH: Does it surprise you that you’re a composer?

SS: Yes, because it really isn’t in my family. My father was musical in that
he played the piano by ear and he loved music. But I think what he really
loved was musicals, because there was no music in my house—there were
musicals. He was in the dress business and came from a world of enter-
taining buyers and taking them to shows. But there was no classical mu-
sic or anything like that. My mother wasn’t musical at all. And I never
knew my grandparents, but I asked my dad, and he didn’t seem to think
so. So I don’t know where it comes from. I do think it’s genetic. I think it’s
not a coincidence that Mary Rodgers is a composer and Adam Guettel,
her son, is a composer—Mary Rodgers being Dick Rodgers’ daughter. I
don’t think that’s a coincidence. I don’t think it’s because they were
brought up with the sounds in the house; I think it’s a genetic matter.

MH: Is there anything you want to say to posterity about your music—
listening to your music?

SS: No, no, of course not. It’s just, like all art—it’s to be discovered by sam-
pling, by listening. No, there isn’t anything, except this: The way for writers
who want to write is just listen to a lot of music and figure out how people
wrote what they wrote. There is a lot of craft, and it’s underestimated, even
in a frivolous—I shouldn’t downgrade it by saying frivolous—but even in a
commercial profession, like musical theater, there’s a great deal to be learned.
To analyze a Kern tune or to analyze an Arlen tune is not more than a rung
below analyzing the Mozart 39th; it’s the same process. And without craft, I
think art is nonsense—it’s a sort of masturbation. Whereas, with craft, it’s a
form of teaching, which, I have said innumerable times, is the noblest pro-
fession on earth. What’s nice about these interviews is it’s about the craft, in-
stead of about: How did you get to be a composer, and what was your edu-
cation? But it’s noble stuff. And the great thing about music is, if you’re a
musician and you’re a composer, it’s just fun—particularly if you’re a piano
player. It’s just fun to sit and make sounds and say: “Ooh, that’s good.” And,
if you have a purpose, to write them down, it’s really fun.

MH: Thank you for teaching us.

SS: Thanks, Mark; my pleasure.

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Chapter 9

Bounce (pre–Road Show)

MH: I’d like to ask you about specific songs from Bounce in show order,
alternating with more general questions. But first, are there any broad
things you can say about the character of the score, such as your use of
thematic material—building blocks—the harmonic language—that kind
of thing?

SS: It’s a 1950s score in the sense that it’s primarily in eight-bar, sixteen-
and thirty-two bar chunks. Many of the songs are, in fact, thirty-two bar
songs, or variations thereof, in AABA or ABAB form. The harmonic lan-
guage is very tonal, with the kind of moderately simple key relationships
that I was writing in the late 1950s—before Broadway—and when I was
writing things like Forum in the early 1960s. It’s what I was recapturing
when I did Merrily We Roll Along—it’s a Merrily We Roll Along kind of
score. I wanted it to be crisp and bright and simple and direct and made
up of primary colors. We first started to write the show in a rather car-
toony style. It was to be a Hope–Crosby kind of musical like the “Road”
pictures, and that suggested to me this kind of music. It has turned out to
be a hybrid of Hope–Crosby and a more serious kind of musical play. But
the tone of it, though halfway between, is still primarily that of a musical
comedy. By traditional, I mean post–Rodgers and Hammerstein. And
swiftness is a major element—not that all the songs are fast, but all the
songs make their point and get off. At least that’s the intention. There are
very few extended pieces in it.

MH: When we did our interviews in 1997, you were working on the
show—then titled Wise Guys—and you were describing the songs as being

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170 Chapter 9

in a vaudeville style. You elaborated that vaudeville numbers don’t call for,
in the most part, sevenths and ninths and thirteenths, and, as a result, they
tend to be less gratifying to write. The score now seems richer than that.
Has it been more enjoyable? Has it been more gratifying?

SS: Yes, it is richer, and it has been more fun writing, because writing
vaudeville numbers and vaudeville-style numbers, you’re always flirting
with pastiche—which I enjoy writing—but writing pastiche also gets
fairly boring after a while—not necessarily to listen to, but to write—be-
cause you’re constantly using other people’s musical language. As it is
now, there’s only one vaudeville number in the show—it’s the title num-
ber, which opens and closes the first act, and closes the second act. Every-
thing else is in a musical comedy frame, even when there are thirty-two
bar songs, they’re not vaudeville. That is to say, they don’t intend to be a
pastiche of anybody else’s style; they’re my own.

MH: Starting with the overture: I spoke to Jonathan Tunick recently, and
he said you told him which songs to include and the order in which you
wanted them. I’m curious, why those songs and why that order?

SS: Because I wanted to announce to the listener—to the audience—that it

would be the kind of a show we’ve just been talking about. Which meant
I wanted to pick four songs. Because I figured what I really wanted was
to open with something fast, then something light and not quite as fast,
then a ballad, and then something fast. It’s not unlike a symphonic out-
line, except that I put the scherzo second. I also wanted them to be tradi-
tional songs, not the extended pieces in the show, but the ones that had
very recognizable forms. The major difference between what we did in
Chicago and what we did here is some of the songs were truncated in
Chicago, and I expanded them so that every song gets a full statement in
the overture as it stands now. Last night we added an entr’acte of one
number that occurs in the second act.

MH: I have a couple of questions about “Addison’s Trip.” First of all, in

the lyric, do you remember how you came up with the word bilious?

SS: No, but I had heard the phrase bilious green before. Curiously enough, as
far as I know, green is the only color that the adjective bilious applies to. And
whether that has to do with the digestive system or not, you never hear any-
thing described as bilious red or bilious blue. Bilious green, however . . .

MH: Did you have green first, and then you were looking for an adjective
to modify it?
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Bounce 171

SS: Yes and no. I was rhyming, and I wanted to get a triple rhyme in there
with the stuff he picked up in China; so I thought of Ming tureen, and
Coromandel screen (I ended up using lacquered screen instead). Using my
trusty rhyming dictionary, green popped out at me, and I thought: Okay,
he’s talking about decorative household objects, something that has a
color in it would be suitable as opposed to magazine, I guess.

MH: Just that one word seemed to me to say a lot about Addison’s char-
acter.

SS: It’s nice that you think so, but it was not a subtlety I intended.

MH: I know you very, very rarely reuse material from one show in an-
other, but didn’t “Addison’s Trip” grow out of the number “Lunch” from
Singing Out Loud?

SS: Yes, it did. As far as I know, that’s the only time I’ve consciously taken
that much material from something else I’d written. “Addison’s Trip”
uses the same thematic material (although with a different structure) as a
number called “Lunch.” It occurred because I was looking for a nervous
theme to start the whole thing out, not a song theme (which is the five-
note phrase that, in fact, introduces the song now) [see example 9.1], and
as I started to work with it, I thought: Well, I can’t do better than aspects
of that tune I wrote for the movie, and since the movie is unlikely ever to
get made, why not go ahead with it?

MH: So it immediately came to mind?

SS: Well, I was fiddling to try to find something as an accompanying

theme, and that’s exactly what occurred to me.

MH: You have arguably written more numbers for this show than any other.

SS: Not arguably.

MH: Based on the research I could do, this is the list I came up with, al-
though I think some of these titles probably represent the same song. [See
example 9.2.]

Example 9.1. Opening Accompaniment Figure from “Addison’s Trip”

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172 Chapter 9

“Addison’s City” “Make It through the Night”

“Addison’s Trip around the World” or “Matrons & Patrons”
“Addison’s Trip” “My Two Young Men”
“Alaska” “New York Sequence”
“Benecia” “Next to You”
“The Best Thing That Ever Happened “On My Left”
to Me” “On My Way”
“Boca Raton” “Opening”
“Bounce” “Opportunity”
“Brotherly Love” “Paradise”
“Damon and Pythias” “Paris’s Dream”
“Dowagers” “Potpourri”
“Florida Land Boom” “Someone to Trust”
“The Game” “Souvenirs”
“Get Out” “Stay Right Where You Are”
“Get Rich Quick” “Talent”
“Gold!” “What’s Next”
“The Good Life” “What’s Your Rush?”
“I Love This Town” “Where Have You Been All My Life”
“Isn’t He Something!” “Willy—King of New York”
“It’s in Your Hands Now” “Wise Guys”
“Last Fight” “You”
“A Little House for Mama” “You Don’t Want Me to Go”

Example 9.2. Songs Written for Bounce (and Its Previous Incarnations as Gold and
Wise Guys)

SS: Some of them are variations. But no, I’ve never written this many
shows to get to one show. We’ve had four absolutely distinct scripts and
scores for this show. Some of the songs have obviously been maintained
and even some moments in the scenes. Although I daresay if you went to
John Weidman’s first draft, and then compared it to this draft, my guess
is there are probably less than two or three pages that they would have in
common. There are maybe two to four songs that have lasted. I’ve never
counted them, but not many. Because the show has gone through four
radically different incarnations, it’s also gone through four radically dif-
ferent scores. And if you consider that the average score has thirteen to fif-
teen numbers in it, it could be as many as sixty songs. Some songs have
persisted from the second to the third draft, and then from the third to the
fourth, so I’ve probably written a total of about forty songs.

MH: You’ve told me in the past that you like to compose a score chrono-
logically. Obviously with these four different incarnations you haven’t
been able to do that here. Has that aspect been difficult or frustrating?
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Bounce 173

SS: Not really. The sequence of events has generally remained the same be-
cause it’s a historical piece. And though the first draft was interrupted by a
number of vaudeville numbers, nevertheless it started out in Benicia, Cali-
fornia, and went to the Gold Rush, and went to New York, and then went
to Florida. That structure was always there. So even when a number would
be replaced, it would be in a similar spot. And so, even though one could
hardly say it was composed chronologically, it was essentially composed
chronologically, and merely the spots changed as the tones changed. The
number called “Gold!” in Alaska was always there (though in a different
form than it is now) and was the second number. What I had originally
written as the opening vaudeville was four separate songs. It’s now one
song, which is not one of the four originals that were in a group. Three of
the four originals lasted through the third incarnation of the show, which
was the workshop in New York, but now they have all been replaced by the
title song. It’s still a vaudeville number, and the tone I wanted to be in the
show remains the same. So it hasn’t been as disruptive as it might seem.

MH: In the workshop the two brothers were played by Nathan Lane and
Victor Garber, and now they’re being played by Richard Kind and
Howard McGillin. When I interviewed John Weidman, he mentioned that
you really sparked to something in Richard Kind’s audition—that you
seemed inspired. Has the new casting affected your writing, either for
their voices or their personalities?

SS: John’s memory is much better than mine, so I suspect I said some-
thing, but I don’t remember it now.

MH: You’ve said before that it’s easier for you to write when you know
who you’re writing for.

SS: Absolutely.

MH: So has that happened with the new leads in Bounce?

SS: No, I don’t think so. As a matter of fact, going through the score, I’ll
be damned if I can think of anything I wrote for Addison that wasn’t in
the Nathan Lane version.

MH: I know “A Little House for Mamma” was in that version.

SS: No, but I’m talking about what’s in, not what’s out, and offhand I can’t
think anything except the reprise of “Bounce” at the end of the first act.
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174 Chapter 9

MH: Were “Last Fight” and “You” in it?

SS: Yes, those were all in the New York workshop. And no, I don’t think I
wrote anything for Richard that hadn’t been there before.

MH: And Howard McGillin?

SS: Well, “The Game” was in the workshop, but in a different place and in
a different form. And the last song was there. The Boca Raton sequence
has a new song called “Get Rich Quick,” which is a song that wasn’t in the
Nathan Lane–Victor Garber production. No, I don’t think there’s anything
else.

MH: To the best of my knowledge, the musical director, David Caddick,

and the dance arranger, Robert Lindsey-Nassif, are new to you. Did you
audition or interview either of them?

SS: No, I know David’s work because he was Cameron Mackintosh’s mu-
sic director for so long. Rob Nassif writes shows and songs, and I know
his songs and like his stuff very much. There isn’t that much incidental or
dance music in Bounce—just a few additional passages—so Rob didn’t
have that much to write.

MH: Did you find that you had developed a shorthand with Paul
Gemignani over the years, that makes this new collaboration different?

SS: No, it’s exactly the same. A smart conductor is a smart conductor.

MH: Steve Swayne, in his article on Bounce in the Sondheim Review, de-
scribed “The Best Thing That Ever Has Happened” as your Arlen-
inspired song from the score. Do you agree?

SS: No, it has one blue note in it. Beyond that, it’s an absolutely standard
1950s romantic ballad that, I daresay, could have been written by Bock
and Harnick, or Kander and Ebb, or anyone of my generation. That’s my
generation’s type of ballad.

MH: It’s a beautiful song, but having seen the show in Chicago, at the
Sitzprobe here in Washington I was pleasantly shocked and surprised at
the lyric changes—where Nellie now responds to Wilson’s line with
“Bullshit.”

SS: Well, that was because we decided to restructure the first act and take
the song out of the “morning after” sequence in New York. Initially, it was
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Hal who wanted the morning after sequence—where Wilson and Nellie
wake up in bed together—and John and I didn’t. Then, as John and I got
used to it, Hal turned against it, and then John also. We wanted to shorten
the first act and make the action swifter, so we didn’t know what to do. I
felt that if they sang the song in the Belmont sequence, which is where it
is now, you’re going to get increasingly bored with it. Whereas, what it
used to be is a kind of musical coitus interruptus, in which every time Wil-
son started to sing it to Nellie, they would be interrupted by either the re-
porters or the prizefighters or the playwright or the jockey. And then
eventually, on the morning after, as their marriage was consummated, the
song would be consummated. That was the notion. But the act was too
long, and even though everybody loved the song, the consummation just
seemed to be, “Come on, come on, let’s get on with the story.” And
though I offered to throw the song out, Hal didn’t want me to. We had an-
other song in the Belmont sequence called “Alaska.” It was essentially
spoken to orchestral accompaniment, and it was very elaborate, and it
took me a long time to write, but it seemed long-winded and it never
quite worked. And then I got the notion of how to use “The Best Thing
That Ever Happened” in that spot, by making it essentially a comic bal-
lad. And I knew it would get a straightforward statement when it was
reprised in the opening of the second act, so I wasn’t going to lose it as a
straightforward ballad. And so I was able to adapt the song to the atti-
tudes that they have when they first meet each other, which is very la-
conic and sarcastic. So that’s how that came about. But I was despairing,
because I thought I’d have to write another song for the Belmont sequence
and throw out “The Best Thing That Ever Happened.” The other problem
was, if I threw it out of the show entirely, then I couldn’t use it at the open-
ing of the second act in the bar, where the whole idea is to be nostalgic—
it’s supposed to be a moment they’ve shared together. So it was a real
dilemma. Then I got the notion of bullshit, and as soon as I got that re-
sponse to the line, I knew what I could do with the song.

MH: And your collaborators immediately understood?

SS: Yes, they loved it. I called Hal, and said, “I know how to do it.”

MH: A friend of mine—who saw the show here recently—was curious

about the moment in the reprise when she sings: “You are the best thing
that ever has happened to me. Still are.” He wondered what moment it
was that he had been the best thing that ever had happened to her—what
justified that in her mind?

SS: Well, there’s a logic question, there. If he believed it in the first act,
then he’s got to believe it in the second act. Why would it have changed?
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176 Chapter 9

If she feels that way in the first act, then of course she would still feel that
way in the second act, because all she’s done since then is go to Paris and
sleep around with a lot of gigolos and that sort of thing. Nellie hasn’t had
any serious relationship since their brief marriage, and she has a thing for
Wilson, which is why she permits him to stay in her house in the second
act. If your friend accepted it in the first act, then I don’t know why he
wouldn’t accept it in the second act, because nothing has happened in the
interim that would cause her to change her mind. That’s my logic any-
way.

MH: You mentioned before that one of the inspirations for the style of the
show had been the Hope–Crosby “Road” pictures, and I’m curious
whether you looked at any of the Johnny Burke and Jimmy Van Heusen
songs?

SS: No. That’s a different style. That’s a movie-pop style, which is not the
same as musical comedy style.

MH: Do you like Jimmy Van Heusen’s music?

SS: Very much.

MH: But not, I assume, Sammy Cahn’s lyrics.

SS: Some of the Cahn–Van Heusen stuff is terrific. I’m not a Cahn fan per
se—he’s too glib for me, and nothing seems really felt. However, it’s a pop
style. But I love Van Heusen’s music.

MH: Some people have mentioned that this show has epic qualities, if
nothing else, because it covers thirty years and wide geography. There
aren’t many musicals like that, and probably the most notable one is Show
Boat. Did you do anything in this score to show the evolution of musical
styles over time?

SS: No, not at all. I’ve often thought: Gee, I want to do a Citizen Kane mu-
sical. And John pointed out when we got the vaudeville idea that, coinci-
dentally, vaudeville started in the 1880s and died in the 1930s, and the
Mizners started in the 1880s and died in the 1930s. And so it was curiously
appropriate, although that wasn’t the reason that we chose to do it that
way. But it was never meant to be an epic sweep, à la Gone with the Wind.
It was meant to have an epic sweep in that it covers a number of eras.
Show Boat has much more epic feeling to it, because it’s a big show with
many people in it, whereas this is an intimate show, and one doesn’t think
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Bounce 177

of an intimate show as being epic. I mean, one doesn’t think of The Four-
poster as being an epic, but it’s the same kind of show.

MH: Watching the number “I Love This Town” (also known as the “New
York Sequence”), I think it’s functioning in two time zones simultane-
ously. For Wilson and Nellie, it’s sort of in real time on their wedding
night, while for Wilson and everybody else in New York, it covers several
weeks or months. Did you do things in the structure of the song, or in the
music, to make it clear to the audience what’s going on?

SS: No, I just hoped that the audience would get it. It’s a surreal number,
and we just hoped that the audience would get it. Interestingly, it’s dif-
ferent now than when you saw it. We made a big change last night, and
much for the better. We cut out the reporters, except for their third en-
trance, so that the first interruption is the prizefighters. And somehow it
conveys and makes much clearer what’s going on. I could rationalize as
to why that’s true: because reporters bursting in on two people who have
just gotten married implies that that’s the action that happens next. And
that’s what you would expect: a very famous rich lady marries a penni-
less upstart and, of course, the tabloids are going to go and interview
them. So that when the reporters came right in as the first interruption, it
implied a time continuum—implied but didn’t state. So that when the
prizefighters then entered, you thought: What’s going on here? Now, the
prizefighters enter immediately, so right away it’s surreal, and you set up
the two timeframes right at the beginning. For me, as a member of the au-
dience last night, it was very clear what was going on—much clearer than
it had ever been before. And when I thought about it, I thought, that’s
why. I cut the reporters out, which had been a holdover from our very
first script. We had taken it from the fact that Mizner had courted the
press a lot. He made a lot of wisecracks for the sole purpose of being
quoted in the newspapers. And that had been a major part of the New
York sequence. I even wrote a song called “Journalists.” But as time has
progressed, the real point of the New York sequence changed. When it
was originally done, it wasn’t really about a marriage. Mrs. Yerkes was
there, but she was a joke character and a drunk—closer to what she was
in real life. But now that it’s a character you’re supposed to take seriously
it makes for an entirely different dynamic. So now what the sequence is
really about is how Wilson doesn’t pay any attention to his wife and just
uses her money for all these enterprises. And his relationship with the
press is absolutely minimally important now. That’s what prompted me
to make the cut, because it had always bothered me and, I thought,
they’re not meaningful anymore. And yet, since I like structures of three,
I used them as three punctuations. Also in the version that played in
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Chicago, Addison kept coming in on all of the more flamboyant and bad
incidents—the murders and things like that. That’s no longer true. We cut
back to him, but he doesn’t enter their world until the final moment. And
by taking the reporters out, I think it somehow makes what you call the
two timeframes much clearer to the audience.

MH: Did you sense that the audience was responding differently?

SS: I would like to say I did, but I sense that I responded differently. But
I’ve got to tell you, before last night, I never felt they were confused.

MH: “Talent” is my favorite song from this score.

SS: Most of the people who like my stuff, that’s their favorite song.

MH: Do you know why?

SS: Sure, it’s the one that doesn’t belong in the fifties.

MH: Just style-wise?

SS: Yeah.

MH: What were you doing in the accompaniment?

SS: [sings] “Bromo-Seltzer . . . Bromo-Seltzer . . . Bromo-Seltzer.” It’s just

a train. [See example 9.3.]

MH: And it was just because they were on the train that you echoed that
in the accompaniment?

SS: Of course. Nothing more complicated than that. That’s exactly what I
meant by the simple approach to the score—it’s on the nose.

MH: Have you known people like Hollis, and did that make the song any
easier to write?

Example 9.3. Accompaniment from “Talent”

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Bounce 179

SS: No, it’s just a character.

MH: I’m curious whether you did things with the language in the show.
For instance, four of the characters are from the same family. Or did you
use language to differentiate class or education?

SS: No, I followed John’s styles. I would like to have used more period
slang throughout the score, and even in the script. But you’ve really got
to be familiar with the argot. Things like, in the twenties they’d say,
“That’s the kind of hairpin I am.” It’s hard, but I know if we really put our
minds to it, we could have found substitutions to words and phrases that
would have been more turn-of-the-century, and then, more twenties, be-
cause the colors of the language are entirely different. When I see old
movies, meaning from as recently as the thirties, they use all kinds of
slang. I have an entire page of words and phrases to use that I picked up
from looking at the movies of the period—say 1930 to ’35—because that
kind of language was also used in the twenties when there were silent
films. But it didn’t make its way into the script.

MH: We were talking just briefly before about audience reactions. When
the show played in Chicago, what did you learn from the audiences and
the reviews?

SS: Nothing. I just spoke to a couple of friends. It’s very hard. The audi-
ences enjoyed it in Chicago. And they particularly enjoyed it by the end
of the run. We all left immediately after we opened—just after we’d had a
couple of previews and the actors were still finding their footing. By the
time John and I got back, two months later—at the end of the summer—
the performances were sure-footed and the audiences were enjoying it.
An audience always smells confidence from the stage. I think it happens
from the minute they enter the theater, but certainly once the curtain goes
up—everything from the way the lights work to the way the orchestra
sounds, but particularly the way the actors perform—the audience either
feels that they’re confident or they’re not. And if the actors aren’t com-
pletely confident, then neither is the audience—whether they like it or
not. They feel better, they’re more receptive, and they enjoy it more when
they sense they are in a show where everyone on stage knows what
they’re doing and is pleased with what they’re doing. So the audiences at
the end of the Chicago run were more receptive it seemed to me. And
that’s certainly true here right now. The performances right now are con-
fident, and they know what they’re doing, and they’re having a good time
doing it. And it conveys itself to the audience.
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MH: So the changes you’ve made subsequent to Chicago weren’t based

on audience responses, but things you had already noticed or intended to
work on?

SS: Absolutely. We knew before we opened what we needed to work on, but
we didn’t have time to change it. The problem was we had no rehearsal
time in Chicago after the opening because of the limitations of the budget.
So there was no point in rewriting while we were in Chicago, because there
was no time to rehearse it. All we could do is what we did, which is get it
in as good a shape as we could by opening night. And then we looked at it,
and we knew the Boca Raton sequence was endless and wore out its wel-
come in about one-third of its length, and we knew the New York sequence
was completely confusing. Those were the two major things that we set
our minds to over the summer. I thought the most important scene—or
moment—to fix was the scene with Papa’s death that starts the show off.
That’s usually where a show gets in trouble—right at the beginning. The
opening number worked fine, but as soon as the story started, you didn’t
know what the story was about. A friend of mine said in Chicago: “The
problem is, I don’t know where the train is going, and it makes too many
stops.” And I thought, that’s a really smart remark. The way it was written
and, particularly, the way it was performed in Chicago, you didn’t know
what kind of show you were in for, because the father was played as a com-
pletely comic-strip character, but the mother and the boys were not. So
you’re off on the wrong foot already. Now, it’s all of a piece, and it makes a
huge difference. There has been a little rewriting of the scene, and I cut about
a quarter of the song, and I took out the silly jokes I had in there—things
like having the father saying “tooneroppity” when he meant “opportunity,”
because his mind is going. That kind of stuff, it’s all decoration. It’s what
George Kaufman said: “Take out the improvements.” Take out everything
that isn’t necessary. And that’s what we did. And as far as I’m concerned,
that makes more difference to the show than anything else we did.

MH: And in Washington, has it just been a matter of making those changes?

SS: Oh, we’ve made them. The Boca Raton section has even changed from
what it was when we opened here. What we’ve done with the end of the
Boca Raton sequence is really good now. And that was the final touch. I
had a really good idea on Sunday, and we did it last night.

MH: A lightbulb just went on?

SS: Absolutely. Simple. But you’ll see. I actually had done the cutting in
the New York sequence by the weekend, and we just had to wait until we
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had a day to rehearse it, which was yesterday. The New York sequence
was in pretty good shape even before last night. Now it’s in first-rate
shape.

MH: With a show that has changed as much as this one has—both over
the years and over the last few weeks—how do you keep track of this is
the current version of the script; this is the current version of the score?

SS: You don’t keep track. On Sunday, we all just looked at each other and
agreed: this is the show we mean. There were still those two changes to
do, but Sunday we put in most of the changes to the Boca Raton sequence,
and last night we did our thing with the New York sequence, and now
we’re just an inch away from smug. But if the critics kill us, they kill us.
There’s nothing we want to do to the show. I mean, there are tiny details,
but nobody knows them but me—there are some lyrics I want to change.
But this is the show we meant. After Chicago it was not—it was on its way
to being the show we meant, but it wasn’t the show we meant—yet. And
now it is. And we’ll see on Saturday, when they all tell us whether they
like it or not.

MH: At the Sitzprobe, I overheard you say to David Caddick, and I think
it was referring to the opening of “Boca Raton,” that the accompaniment
was too much like “Losing My Mind,” and you wanted to change it. Is
that something that you’re conscious of, listening for signs of earlier
scores?

SS: It rarely happens. The whole point was I didn’t write that accompani-
ment. I had a sustained chord accompaniment to that. Then we decided
to change the whole number and started, not with the solo vocal as it was
in Chicago, but with the four girls coming out. So I told them to ad lib a
vamp and when I get down there I’ll find you one. Meanwhile, it was
much more important to fix the end of the number, and that’s what I was
working on all last week. So by the time the Sitzprobe came around, I re-
ally didn’t want to turn my mind to that, because sometimes writing an
accompaniment, you can get it in a couple of minutes and sometimes you
can’t. I knew what I wanted, and I described that to the pianist (I don’t
think it was Rob who did that accompaniment, I think it was Kristen
[Blodgette], the rehearsal pianist). Then when I heard it, I thought, oh, for
God’s sakes, it’s the same harmonic chord progression. It’s actually only
two chords, but in my mind it’s distinctive as “Losing My Mind.” But
Jonathan had to get something to orchestrate, so I said, “Do it and I’ll
change it later.” So that’s what it is now. It’s on my list of things (perhaps)
to change. I’m less bothered by it now, because I’m used to it.
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MH: I know you don’t tend to do musical jokes, or inside jokes in your
scores . . .

SS: I don’t.

MH: . . . and this might be my fantasy, but . . .

SS: Before you ask the question, I can assure you it is. But what’s the ques-
tion?

MH: During “Addison’s City,” there’s the lyric “Not so much a city, a pa-
rade!” and I thought the accompaniment might have been intentionally
reminiscent of when Miles Gloriosus sings “I am a parade!” in Forum.

SS: No, it wasn’t. But I gotta tell you, every time I hear him say that, I’m
immediately thrown back to Forum. (As you know, that’s the only line
from Plautus in the play.) It is a great word, and it comes at the end of a
phrase, and it comes at the end of a rising phrase. I haven’t even looked
at whether the music compares or not, but I’m sure that’s what sparks
you. Your memory of it, and the way that the word is used at the end of a
phrase, and the way it rises—there’s a similarity in feeling.

MH: The idea behind “Boca Raton” surprised me—the fact that it focuses
on the public’s gullibility and crowd psychology, instead of Wilson’s ma-
nipulation, and his getting carried away by his own schemes.

SS: Guess what . . . Now, wait till you see how we’ve changed it. The whole
point was to do both. What was wrong with it in Chicago was that it was
about Wilson, but it wasn’t about the crash. I said, “We have to explain to
the audience what happened down there, and that means we have to use
numbers.” I wanted to have a thermometer on stage to mark when they
sell things—something to give a visual representation. I talked with Hal
about this a lot, even before we went to Chicago, and Hal couldn’t figure
out any kind of visual representation of the balloon . . . BALLOON . . . BAL-
LOON . . . BURST! And we actually talked about a big balloon at one point.
So it had to be done verbally. And then once we’d done that, as of last
week, we realized that Wilson dominated it only up to a certain point and
then the people took over. I’ve restructured it and you’ll see. So now we
think we can have our cake and eat it, too. It certainly seemed that way last
night. He became Elmer Gantry, and he went completely hysterical.

MH: In the songs “The Best Thing That Ever Has Happened” and “You,”
it may just be the emphasis on the word you in both songs, but I wondered
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whether you were trying to make parallels between the two couples or
their relationships?

SS: No. You’re stepping on a nerve, because I thought, Oh, Christ, they’re
too similar. But each song is exactly what I wanted it to be. So what am I
going to do? I’m sure there will be people who criticize me for that—who
say that’s just a repetition of the other song—but there’s nothing I can do
about it. But no, there’s absolutely no intention whatsoever to connect the
two. It’s called: I didn’t know how to get out of using the word you.

MH: There’s something about the finale, during the reprise of “Bounce,”
that made me wonder whether you believe that Wilson and Addison are
better off by being in each other’s lives?

SS: Oh, gosh, I’ve never thought about that. No, they’re stuck with each
other, is what it is. They’re two sides of the same coin. It’s the two sides of
America—the destroyer and the builder—they go together, they’re linked.
I don’t think it’s better or worse, they just are. I suppose one could make
out the case that Addison would be a lot better off if he weren’t in love
with his brother. But if you’re in love with somebody, you’re in love with
somebody. You’re stuck with them. So I don’t think it’s a matter of better
or worse. I could make out a case for both sides, I guess. It never occurred
to me to even consider it before, if you want to know the truth. They’re
just stuck with each other. The symbiotic relationship they had is what in-
terests me. When I first started the show (thirty years ago) I was interested
in Wilson, and Addison was part of the story. John became interested in
the piece because he became interested in the relationship and in that
symbiosis. And how can you say whether a symbiosis is better or worse?
It’s a symbiosis. Period.

MH: Between you, and Hal, and John, you have something over one hun-
dred years of experience. [SS laughs.] Why do you think it isn’t easier?

SS: I don’t think it’s about experience. I don’t think it gets easier for any-
body, whether you’re a writer, novelist, painter, composer, whatever. If
anything, it gets harder because you’re so much more aware of the dan-
gers. You’re worried about repeating yourself; you’re worried about your
inventive powers deteriorating (which they do with age); you’re worried
about being out of touch with the zeitgeist. There are sixty-four reasons
why it gets harder as you get older. Shaw was too arrogant to admit it, but
his late work is not very good either. Verdi is an exception, but I don’t
think his late work is any better than his early work, but that’s just me.
There are rare, rare examples of people who really flower in their old age.
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Shaw and Verdi kept working right up until the end, but most people’s
output diminishes in quantity and, perhaps even always, in quality. Cer-
tainly anything that relates to commercial art, anything like musical the-
ater, where so much has to do with what else is going on in music and in
theater. Keeping up with the young folk is hard. And it’s virtually impos-
sible. Nothing’s more embarrassing than Lenny trying to write rock in
Mass. Burt Shevelove had a wonderful phrase (I can’t remember who he
was describing; it may have been Lenny), he said, “He’s Rip Van With-It.”
And we’re all in danger of that. That’s one of the things that makes it
harder the older you get. Particularly if you’re in commercial art.

MH: Are you still enjoying the process?

SS: Yes. I like sitting down at a piano and writing. It does get harder, be-
cause I think: I’ve used that chord before . . . I’ve used that chord before
. . . I’ve used that chord before . . . and I’ve got to find . . . One of the dif-
ficulties is trying to write this kind of score. Don’t forget, I started this in
the fifties. And just like Merrily, which is probably the hardest score I ever
had to write, maybe with the exception of Forum, trying to recapture
something that was already thirty years old, and even I had moved be-
yond that, is hard. And that’s what this is—trying to get back there. And,
of course, as soon as you go back, you’ve written it before. So you’re
trapped. It’s a circle. The more honest you are about the score, the more
you’re likely to be repeating yourself. I’ve finally decided the only thing
is to try not to repeat myself in the score—chords and words. But there’s a
lot of repetition in this score, I’m sorry to say.

MH: I’ve been a bit haunted by a comment I heard you make. At the end
of the Sitzprobe, David Caddick said, “Steve, are you happy?” And at first
you said, “Yeah,” and then you replied, “Never!” It was obvious you were
making a joke, but I wondered if there was an aspect of truth to it.

SS: I’ve made that joke all my life. No, it has no seriousness to it at all.
However, if you want to take any serious aspect of it, nobody is ever com-
pletely satisfied with their work—that I know, anyway. As Valéry said, “A
poem is never finished, it is abandoned.” That’s what that reflects. It also
reflects the Jewish gloom that I like to make fun of. You know: Oy, God,
life is so difficult. That’s also in there. But it’s also a joke on my tendency
to see the dark side of things. No, not the dark side, that’s not fair, I actu-
ally don’t, I tend to see what is problematic and what is flawed, rather
than what is good about my own work. Curiously enough, not about
other people’s work. I’m a very good receiver of other people’s work, be-
cause I really look for what’s good, and I respond to what’s good. And if
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what’s good is good, then I right away forgive the flaws. If it’s all bad, or
I don’t like it, if it’s bogus, that’s a whole other matter. But that’s what that
means. You know what I should have said is, “I’m pleased with
Jonathan’s work.” That’s what I should have said.

MH: I wonder not just about the work, but life. Are you a happier person
than you were as young man? Are you proud of what you’ve accom-
plished?

SS: I get proud of what I accomplish in retrospect—never while it’s there.

Usually, it’s a couple of years later. I’ve gotten to like this score better, and
I now like the show a lot—not that I ever disliked it. But I will like this
score better (or perhaps not) in a couple of years. But I have to get away
from it.

MH: Do you have any sense of how the Stephen Sondheim who got in-
terested in this show thirty years ago would react to seeing this show?

SS: No, not at all. I’ve never thought of it. And if I think of it, I think I
would have liked it if I’d seen it. Yeah, I think I would have liked it.

MH: Those are my questions. Is there anything you think I should have
asked you or you’d like to say?

SS: No, not at all. They’re all interesting questions. As you know, I’m only
stimulated by questions. Overviews are simply not my thing. It’s not
modesty, it’s not shit-kicking. As I think I’ve told you frequently, the word
career is not in my vocabulary.
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Chapter 10

Encore

MH: I have specific questions regarding different shows and scores which
I’d like to ask about chronologically, starting with A Funny Thing Happened
on the Way to the Forum, which we barely touched on in our initial inter-
views. Did you do things in that score to suggest a faux ancient Roman
sound—perhaps through using modes?

SS: No, because Burt [Shevelove] and Larry [Gelbart] didn’t either. That
was just musical comedy. I mean Burt and Larry used a number of kinds
of formal locutions that help anchor the dialogue so it doesn’t become
George Abbotty, so it has its own flavor. The situations may be perennial
burlesque, but the flavor of the dialogue isn’t. One of my favorite phrases
is “Hide that girl behind that clump of myrrh.” Then there’s the phrase,
“mare’s sweat.” Some of the best jokes were cut, such as, when they’re
passing the wine around, “Ah, Two . . . that was a good year” and
“Pseudolus, you’re stupid . . . S-T-V-P-I-D, Stupid.” But with the songs, I
merely tried occasionally to imitate the rhythm of their dialogue, or
rather the tone. But most of the time it’s just colloquial songwriting. And
certainly there was no attempt whatsoever, except for maybe a fanfare or
something like that, to imitate a Roman sound. “The Funeral March” is
vaguely modal, but it’s a musical comedy score. I was hamstrung in Fo-
rum, because, as you’ve probably heard many times, when Jim Goldman
said: “The script is great. The score is great. They don’t go together,” I re-
alized that I had been attempting to write a sort of arty salon score, and
Burt and Larry had done an elegant low-comedy musical, and it was the
wrong score. But the reason it was the wrong score is because I lean to-
ward writing arty salon songs—that’s what I like to do—and I should

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have known better for Forum. Jule Styne would have been a better com-
poser for Forum. It needed grounding in elegant vaudeville, which is
what the book is. And these songs are clever. And though indeed the
book is clever beyond belief, it doesn’t bespeak cleverness, it bespeaks
low comedy.

MH: Is “Everybody Ought to Have a Maid” exactly the right kind of

song?

SS: “Impossible” is the right kind of song.

MH: That’s not too clever then?

SS: A certain amount of cleverness is fine, but it’s based on a basic low-
comedy emotion: each guy thinks the other one is fucking the maid.

MH: And “My Bride”?

SS: Yes, although the music of “My Bride” leans a little towards operetta.
“Impossible” was sung by Davy Burns; that’s the point, it’s a Davy Burns
song, and Davy Burns is the essence of Forum. “Everybody Ought to Have
a Maid” is, too, and it’s no coincidence that it’s the only song that worked
when we opened in New Haven. It was one chorus when we opened
there, but it was the only song that worked, so I wrote two encores. And
I think it worked for just the reason we’re talking about.

MH: I read somewhere that you said Anyone Can Whistle was sort of your
music student score. There was something about it that was based on a
chord progression or two—that there’s some kernel of something that
holds that score together?

SS: It could be, but I don’t remember what it is, if anything. But if I said
that about the Whistle score, I’m afraid I was—”There Won’t Be Trum-
pets”—I’m afraid I was blowing my own horn. It’s possible. Certainly,
Sunday in the Park with George is very much developed out of the opening
chords, and certainly Sweeney Todd is developed out of the opening mate-
rial, but I don’t remember if Whistle was or wasn’t. I wouldn’t be sur-
prised if I did, because I was still very heavily under the influence of Mil-
ton Babbitt, and this was going to be a moderately pretentious show. So
it’s very possible that I tried to do that. But when I look back on the score
as you speak, I don’t really see anything going on among the songs that
has any kind of consistency. It seems to me Cora’s numbers are entirely
different than Fay’s, and I don’t think Cora’s numbers are related to each
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other very much. And the fact is a number of numbers were replaced, so
I don’t think it was very much of a conceived score.

MH: The interrogation scene, “Simple” is the first huge number of yours
that I’m aware of. Did you know upfront that you were going to be writ-
ing a number like that?

SS: No, I didn’t know. When we got to it, Arthur had the idea for the
scene, and since it’s one long mad sequence that gets madder and mad-
der, it seemed right that it should somehow be encapsulated musically—
even though there was a lot of dialogue in it. As a matter of fact, we ad-
libbed some of that at the piano. I remember, he would sit on the end of
the piano bench, and I would be playing some musical material I had in-
vented—or developed—for it, and he would ad-lib dialogue. Then I’d say,
“And then she can take over and sing . . . ” and I’d ad-lib a lyric on that.
So it was often worked out together. But we didn’t know it was going to
be there when we sat down to write the show. It just arose; it just seemed
like it was right to make the whole thing a musical sequence.

MH: Were you intimidated by it at all?

SS: No, I was excited. I love that kind of stuff, because it’s puzzle-doing.
That’s my favorite kind of song to write.

MH: I didn’t know that.

SS: Oh sure, plotting songs. Always the best times I’ve had are writing
songs like that: “God, That’s Good!,” “Someone in a Tree,” “Chrysanthe-
mum Tea,” the “Trio” in Passion. Working things out that encompass plot
is my favorite pastime. Which is why I know I should be writing opera
. . . but I don’t like it that much.

MH: You rewrote Whistle’s “With So Little to Be Sure Of.” And I’m curi-
ous about the process of rewriting a song that’s obviously based on an
earlier version. Is that hard to do?

SS: I don’t remember. I know I did rewrite it, but I don’t remember exactly
why, and I vaguely remember how I did it. No, it’s not hard. The thing is
you do have to make a decision: If you’re going to rewrite a song, why are
you rewriting it? Is it because the basic idea is bad? Because if that’s so,
then you have to throw the whole thing out. Sometimes you get fond of
an idea that is exactly what the disease is, and it takes a lot of reworking
before you decide: You know, I’ve got to start all over. But quite often
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there is a salvageable idea that you’ve just taken too far off the rails one
way or another. I’m in the middle of writing my chapter on Into the Woods
[for the forthcoming book of my complete lyrics], and I got to Jack’s orig-
inal lyric for “Giants in the Sky” (both versions are called “Giants in the
Sky”). I rewrote it because, in the first version of “Giants in the Sky,” he
was just describing his adventures, and I thought: Everybody knows this,
but I’ve got to describe what went on in the sky, what am I going to do?
And Sarah Kernochan said, “It should be what the adventure means to
him, not what the adventure is.” Because the idea of Into the Woods is that
the characters—Cinderella, Little Red, Jack, and eventually the Baker’s
Wife—each has a soliloquy to the audience about their adventures. So
that’s exactly what I did for Little Red, and I think Jack was the first one I
attacked. I rewrote it, keeping parts of the adventure, but making it all
about him and his mother and his relationship to his home, and the feel-
ing of being back on earth, so that it was meaningful in terms of Jack. The
same thing is true of Cinderella. Instead of just being, “I left my shoe at
the ball,” it’s all about making decisions. And all three songs are about be-
ing in between—liking and disliking the adventure. That whole ambiva-
lence that they feel toward what they’ve been through helps tie them to
the Baker and the Baker’s Wife, because eventually it’s the Baker’s Wife
who has to decide if she’s going to dally with the Prince or not, and makes
her realize how valuable her marriage is. So there’s a case where, though
I didn’t maintain much of the lyric in the rewrite beyond the idea of the
adventure, I just compressed it a lot. The first lyric was quite descriptive
of the world of the Giant and what Jack actually encountered up there,
and it ended up still with the Giant’s Wife taking him to her breast—that
was still the climax of the song. But the description of the stone roads, and
the grayness of the kingdom and all that sort of thing, was more elaborate
and more detailed, and I compressed that and simplified it, so that I
could, without making the song twenty minutes long, include what it
meant to Jack and make that the central core of the song.

MH: Who’s Sarah Kernochan?

SS: Sarah Kernochan is James Lapine’s wife.

MH: Was she heavily involved in the show?

SS: No. I don’t think James shows her his stuff as he’s writing it, but he
may have. Maybe what happened was that I called James and said, “I
don’t know what to do with this—something’s wrong.” And I read it to
him, and he said it sounded fine—because it’s a nicely written lyric, and
the tune is okay, and the accompaniment is the same accompaniment.
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And he may have said something to her. But I remember he conveyed

what she said to me, and that was an eye-opener and very valuable.

MH: In the case of “With So Little to Be Sure Of,” I’ve heard that you ac-
tually preferred the first version, but that something about it wasn’t work-
ing with the audience, or the idea wasn’t clear. Does that ring any bells
with you?

SS: No, I don’t know that we ever performed the other version in front of
an audience. I’d have to go back over the files and look, but I don’t think
we performed another version. I’m not even sure we went into rehearsal
with another version. I think that was rewritten before we went into re-
hearsal. I can’t say that for sure, but that’s my memory. On the other hand,
I do remember futzing around with the ending in Philadelphia, so maybe
I was futzing around with the song, too.

MH: The “Interrogations” is certainly a huge and complex number, but it

seems to me that Company really marked a sea change in your writing—
the structure of songs, their size, the fact that they didn’t have verses—
they just weren’t traditional musical theater in the way they were put to-
gether.

SS: I think my breakout score was Whistle. When I got to Whistle, I had my
hands on a pretentious idea, so I thought, I can be pretentious, and that’s
exactly what happened. Company was the first time I got good notices. But
no, I think finding my own voice happened in Whistle. The “Interroga-
tions” is my voice; Cora’s songs—those Kay Thompson numbers—and
“With So Little to Be Sure Of,” those are my own voice . . . long before
Company.

MH: I think I’m talking more about structure—the Company songs tend
not to have a thirty-two-bar feel, they tend not to have verses. . . .

SS: Well, you know, they don’t in Whistle, except for Cora’s songs, and
even “Parade in Town” is split up with the march and that sort of stuff.
But you know, though there’s some conventional writing there, there’s
also some conventional writing in Company. But most of the score of Whis-
tle is, in a sense, my experimenting with things. “There Won’t Be Trum-
pets” is an experiment in form. And I’m not just talking about when it
turns into a waltz, I’m talking about the structure of it, and the constant
acceleration, that sort of stuff. That’s me. And that’s finding my voice, I
think. So I’d say I found my voice in Whistle, and my voice was accepted
in Company.
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MH: In Company, I’m just curious, why is “The Ladies Who Lunch” a
bossa nova? Do you remember?

SS: No, but look, if I had my choice, in every show I write, there would be
one bossa nova and one Harold Arlen tune, because those are my two fa-
vorite modes. I love bossa novas, and I love Harold Arlen. In almost every
show I write there’s a Harold Arlen tune, but not a lot of bossa novas. I
have no idea why this one, it just seemed natural. Now that you bring it
up, you think: God, of all of the things that don’t characterize the charac-
ter. But on the other hand, she goes to a lot of nightclubs, and you know,
these are the days when they were popular.

MH: In my mind, I wondered if it was her trying to be “with it”?

SS: No, you’re reaching. You’re admiring me too much, I’m not that sub-
tle. But it may be because I knew it was taking place in a club, and there
was dancing going on in the back. I don’t know. On the other hand, the
first song I wrote for her was going to be much more staid. I didn’t finish
the song, I just started it, and I was talking to George [Furth] about it and
he said, “No, it’s wrong for the character.”

MH: I read some period interviews with you when you were writing Com-
pany, and you mentioned both Hellzapoppin’ and Hair as being influences
on the show. With Hair it was that it wasn’t really a book musical, but sort
of a combination of a musical and a revue—a stylistic thing. But some-
body else asked me about Jacques Brel, which opened in 1968, and there
seems to be some similarities in tone. Do you remember if that influenced
you at all?

SS: No. I fell in love with Jacques Brel’s music long before that revue. In
fact, I got all the French records. It was Judy Prince who introduced me to
Brel’s stuff, and I just bought every record I could get, which included
some ten-inch LPs. As a matter of fact, when I went to see Jacques Brel Is
Alive and Well and Living in Paris, I loathed the lyrics, and that would have
turned me off, if anything. Even though I don’t understand Flemish or
French very well, I’m so glad that I heard it first with him singing his
lyrics, and read a translation on the LP albums, or had Judy translate them
for me. That had the real flavor. I don’t think the English lyrics carry the
flavor well at all. So I don’t think I would have been so influenced if I
hadn’t listened to those records. As far as direct influence, no, I can’t say
that there’s any direct influence in Company. I just liked his stuff, so I may
have plagiarized; I don’t know; it’s possible.
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MH: I didn’t mean plagiarism.

SS: No, I know you didn’t, but been influenced.

MH: With Follies, I want to start by talking about one of your long-line
sketches. I think when we first talked about this I didn’t really understand
when, where, and how often you decided to use them. I thought you typ-
ically did them for long complicated numbers with sections. But when I
asked your assistant, Peter Jones, for copies of your long-line sketches for
“A Weekend in the Country” or “A Little Priest,” it turned out they didn’t
exist. An example he suggested was “Too Many Mornings.”

SS: Well, that was one of them. But some of those long numbers had them.
He may have looked through all the papers—it’s too long ago for me to
remember exactly which ones I did in detail—but I did much longer num-
bers than “Too Many Mornings” in long-line.

MH: How do you make the decision—at what point in the process do you
say: I should probably do a long-line sketch for this number?

SS: It’s when I think there are going to be so many sections that the thing
has a chance of falling apart. However, I’ll bet you I had a long-line sketch
for the interrogation sequence, “Simple.” It seems to me I did it for the
opening of Into the Woods, and it seems to me I did it for “God, That’s
Good!” It’s where the refrain, so to speak, is so separated in its recurrences
that the sections of music between the refrains can tend to be add-a-pearl.
And so I try to take from the refrain an implication—a harmonic implica-
tion, or a linear implication—and work it out so that the sections echo it
or somehow reflect it—so that you feel unconsciously that the sections are
part of the structure or, maybe vice versa, that the refrain is a distillation
of the entire structure of the piece. If that makes sense.

MH: Would you already have done lyric sketches?

SS: Maybe.

MH: Would you already have done some music sketches?

SS: No, what I would have done is a structural sketch. I would decide the
A section is going to deal with her, the B section is going to deal with him,
and the C section, whatever. Actually, I don’t call it A, B, and C; I use Ro-
man numerals I, II, and III. This is on the lyric pages—on the outline of
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the lyric—and you can find those quite often. Then within the Roman nu-
merals I will have subsets, like IA and IB, and IIA, and IIB, et cetera, or as
complex as IA, IB, IIA, IIC, IIIB, and IIIC. The As, the Bs, and Cs are sep-
arate little units of anywhere from eight to twenty-four bars, or maybe
even forty-eight, and they echo and relate and reflect. So again, the ear
gets a chance to hear things more than once and, by the sense of repeti-
tion, a structure emerges for the ear. Come to think of it, sometimes the
long-line sketches are not on music paper. Sometimes I put the IA and the
IB, and the IIA and the IIB, on the lyric sketches, and I’ll write “A”—
meaning A major or something—on the side of the page so that there is
some sense of where the harmony is going.

MH: I’d like to go over your long-line sketches with you for “Too Many
Mornings.” [See examples 10.1a and 10.1b.]

SS: God, it’s been so long. The major thing about “Too Many Mornings”
is that I let it unfold based on a dissonance in the harmony. I wrote it in B
major, and I decided that the first E-sharp or F-natural should be in some
way reflected in the song. The final cadence is in F-major, so that E-sharp
prefigures where the song eventually is going to go. [See examples 10.2a
and 10.2b.]

MH: Getting back to the two long-line sketches, I’m assuming that they’re
in order, that this one came first. [See examples 10.1a and 10.1b.]

SS: It’s hard to tell. Typically, one would have been written on the back,
but since they’re each on their own page it looks like one was written first
and then used as a folder for the other. What also makes it difficult is at
first glance the sketch with the phrase marks looks more detailed, but as
I look closer the other sketch seems to be an expanded version and it does
seem to include more of the melodic line. So one appears to be the origi-
nal sketch, and the other is the workout.

MH: What confused me a little bit about it is it seemed to coincide with

basically one refrain of the song. It’s a very long number with different
sections, but as far as I could tell it just seemed to go through the first it-
eration of the song.

SS: It could be. It’s more likely however that the D-flat section is the in-
terlude. It seems to me that this goes up to the interlude, or the bridge,
whatever you want to call it, at [sings] “How I planned: what I’d wear
tonight and when should I get here . . . ” You’ll also notice the expansion
of the first D-flat in the initial sketch, which is just a dot. The fact that I
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Example 10.1a. First Long-line Sketch for “Too Many Mornings”

Example 10.1b. Second Long-line Sketch for “Too Many Mornings”

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Example 10.2a

made it a whole note in the second sketch means it’s going to be a section
as opposed to just a passing thing there. So what I obviously did was I
reached that there and then I decided I was going to make a section out of
it. That’s what it looks like to me.

MH: When you say a section, you mean?

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Example 10.2b. Final Cadence for “Too Many Mornings”

SS: Four bars, eight bars, twelve bars . . .

MH: And an emotional idea will happen during this period of the song?

SS: That’s right. I changed what amounts to a quarter-dot into a whole-

note-dot. That indicates how long the section is going to be. When they’re
quarter-note dots they could be as little as one bar or two bars. But when
it’s a whole note, I think it means it’s at least four whole bars.

MH: You mentioned the conflict in the music. Your accompaniment figure
is often a whole tone or a half tone from the melody note. This section is
for Ben, so the vocal is actually an octave lower, which is less jarring.
Would you have done the accompaniment differently if it was for a female
character and the notes would truly sound against each other?

SS: No. Because I always view clashes of accompaniment as passing

tones, even if they’re not actually passing tones. I figured that this is not
going to sound terribly dissonant when it’s sung. I don’t think anybody
hears this dissonance under “reach.”

MH: Is the dissonance used to point up certain words? So the fact that the
clash with the accompaniments starts with a whole tone and then on
“reach” it’s a half tone?

SS: I think it’s to give some suspension—or suspense even—to this. What
I hear in my ear there is the E-major under that, even though I hear this as
just a continuation of the pattern. Because that’s a melodic pattern, the E
to D-sharp [sings the accompaniment figure from m. 3 of example 10.2a].
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So what I’m hoping is that the audience hears that as a melodic pattern
rather than as a suspension.

MH: But you do want there to be a sense of dissonance?

SS: I don’t know that it was that conscious. Let me think . . . No, I don’t
think that was an emotional decision. I think I was most anxious to keep
the pattern going of a step down at the end of each of these phrases. I
think that’s what that’s about. I’m afraid it’s more of an ostinato than any-
thing else.

MH: One of the things you said to me in our first interviews was “I’m
somebody who believes that the heart of music is harmony as opposed to
melody.”

SS: Right.

MH: Can you expound on that a bit: are you talking about the vertical har-
mony of individual chords? Or to what degree is it also the progres-
sions—how one harmony leads to another?

SS: It’s both. And it’s merely that that’s what characterizes music as far as
I’m concerned. That’s how you can tell Brahms or Beethoven. It is the per-
sonality. It’s exactly like the face—how you tell two people apart: you tell
them apart because of something you see. Here you tell it because of
something you hear. Yes, I suppose you can also tell two people apart by
how they move their face. So movement is part of it. Obviously an E-flat
major chord doesn’t define Brahms any more than it does Beethoven; it’s
where the E-flat major chord goes. And it’s not just one chord or chordal
progression, but there are accompaniment figures, registers and all that
that distinguish Brahms and Beethoven. A chord by itself obviously
doesn’t have an individual identity any more than a note does, or even
three notes in succession. It’s when it’s part of a landscape and when the
harmony moves. Then you say: “Ah, that’s Copland.” Or, “Ah, that’s
Satie.” It’s the movement.

MH: As I was looking at your songs, it struck me more than it had pre-
viously that your harmonic rhythm is different from most Broadway
composers. With others there’s perhaps a chord change every measure.
But you tend to keep your bass harmony much longer, but the color of
your chords tends to change every measure. Is that part of your personal
voice?
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SS: No, what that is, that’s fear that it’s going to fall apart unless I keep a
pedal tone going. Because I have so many quirky things I want to say har-
monically in any given piece that I worry that if I keep changing the bass
line it will become incoherent. If I had the courage of Shostakovich, there
wouldn’t be a problem, but I don’t, and therefore quite often I will put a
pedal tone underneath so that I still get the coloristic changes but I don’t
run the risk of its going off the rails as far as the audience is concerned.
Also songs—particularly theater songs—tend to be over pedal tones, or
over a fairly simple bass line. As soon as you move away from those you
get a little closer to the feel of art song. And since I write shows as op-
posed to art songs, I think that’s another reason that I will opt for the easy
solution, which is to keep some kind of steady bass going, so that there’s
an anchor always for the listener. I think it’s cowardice.

MH: It also seems that when there’s a change of thought is when your
bass tends to change.

SS: I believe absolutely in the coordination between lyric and harmony in

that sense: That you change chords, you change texture, you change
rhythms when you’re changing thoughts. They can be subtle changes, too.
And it doesn’t have to be big thoughts; it can be little thoughts, little turns
of phrase in the lines. I do set up harmonic rhythms and try to keep them
moderately consistent because, again, I worry about the song going off
the rails. On the other hand—every now and then—I will speed up the
harmonic rhythm or slow it down, having to do sometimes with the lyric,
but often with variety. Because that’s the other thing you have to take into
consideration when you’re writing: to keep it varied enough for the ear,
but not so varied that it loses its structural stability. Again, one can do that
in art songs, but for theater songs, which are particularly encapsulated
songs, no matter how complex they are, or how many sections there are,
the sense of some kind of stable structure is, I think, preferable to what I
would call art song writing. Now you know there are a lot of art songs
that do that too, but they’re chances I don’t think I want to take with songs
in shows—chances that I might take if I were writing a song cycle.

MH: How do you determine how long a song should be?

SS: It sort of determines its own length. I firmly believe in “less is more.”
I don’t, unfortunately, always follow that principle, but I believe in fol-
lowing it, and trying to. And when you’ve got nothing more to say, then
shut up, is really what I think. That’s musically, too. You know, there are
just so many times you can repeat your theme or just so many times you
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can repeat your chord progression before it gets boring. And I have a
pretty good ear for when it gets boring. I have a pretty good ear for when
it’s time to change the chord, or to change the tone of the lyric, or the
rhythm, particularly. That’s another thing, to prevent songs from becom-
ing singsong—knowing when to change the rhythm. The melodic line is
also about keeping variety going. But it’s all in the interest of variety.

MH: But when you have your chart of Roman numeral IA, et cetera, do
you say to yourself: “For this idea, this thought, I’m going to give myself
thirty seconds to say that”?

SS: No. I don’t think of it in terms of time, I think of it in terms of sections:

I need six sections to say what this song has got to say . . . I only need three
sections to say what this song has got to say. For “Too Many Mornings,” I
probably didn’t even put down sections, because I knew it was going to
be an ABA form. He was going to sing to her, she was going to scream at
him, and then they’d sing together. That gives you an ABA form, right? I
knew I didn’t want to do an AAA form, because that’ll get boring. So
there’s a B section, also it’s her and she’s hysterical, and he is in a roman-
tic fantasy. Right away you have two contrasting sections. So the A is go-
ing to be the romantic fantasy—some kind of long mellifluous line—and
the B section is going to be: twitter, twitter, twitter—the way Sally would
twitter. And then try and combine the two at the end. That dictates a lot,
so then all you have to do is determine how long the A is going to be, how
long the B is going to be, and how long the recapitulation and the coda’s
going to be. And that has to do with how much has to be said. Also, the
A is a song form—it’s not exactly conventional, but it’s pretty conven-
tional.

MH: In the scans of the sketches and fair copy I saw for the song, I never
saw anything related to “Pleasant Little Kingdom,” which I thought had
been conceived as part of “Too Many Mornings.”

SS: It was a verse, pure and simple, not a song in itself.

MH: I think I counted nine key changes throughout “Too Many Morn-
ings.”

SS: There could very well be.

MH: Generally, are the key changes simply to accommodate the voices
and their registers and accomplish what you want to do musically, or is it
organic to a song?
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SS: We’re talking slightly different language here. Milton Babbitt never
used the word “modulation,” but “temporary tonicization.” And that’s
what they are. So you can have [sings quickly “Too Many Mornings” from
the beginning to “All the time . . . ” (see example 10.2a)]. That’s a key
change, in a way, but it’s really just a passing key change to take you back.
In that sense, most songs have key changes, maybe every four bars; there
are very few songs that just stay with one bass line.

MH: I think these are actual key changes, not just changes of bass har-
monies. Sometimes they seem to be to accommodate the different regis-
ters of their voices.

SS: That could be. You say there are nine. I would assume the second one
is when Sally comes in. Is that right? Is that the way you count it? Cause
that’s the way I would count it.

MH: It starts in B. Then the first change is at “All the days . . . ” [See ex-
ample 10.3.]

SS: Yes, I suppose. But you see, that’s really still in B, because it’s going to
A-flat minor—which is the relative minor of B. And this is merely what he
would call the “temporary tonicization” of A-flat minor. But I would call

Example 10.3. From “Too Many Mornings”

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Example 10.4. From “Too Many Mornings”

this in B. There’s a real key change at “All the nights, with another day to
spend. . . .” That’s a real key change, except it’s on its way to something
else. I’d call this a key change because it’s an entire section on “All the
nights,” which is in F and it’s going to B-flat. At “ . . . up to see” it goes to
F major and is sort of the next big statement with a big tonic note. [See ex-
ample 10.4.] And of course it’s a 6/4 chord. But I’d really call it an F-
major transitional passage.

MH: This may just be a bad question, but if you had somebody whose
range was enormous, would you tend to have fewer key changes? It’s not
just to accommodate voices?

SS: No, it’s usually for the melodic line. It’s almost never just to accom-
modate a voice. I do try to keep melodic lines within an octave-and-four.
It’s a real good trick if you can write a really good tune—like the classics
by a Kern, Rodgers, or an Arlen—that’s only a tenth, or an octave-and-
three. Generally, I try to keep within an octave-and-four. If the tessitura is
not all over the place, I’ll go to an octave-and-five, particularly if there are
pick-up notes. Quite often a song will really be an octave-and-three—let’s
say it’s in C major, and the melodic line is C to D, but it’s got pick-ups of
a low G, I’ll include that. It makes it an octave-and-five, but the tessitura
is still an octave-and-one. And that’s the difference. I suppose if I were
writing opera I would consider it, but no, I never think of the voices per
se. I never think, “Is this going to be sung by a baritone?” I may think of
it as a baritone, but that’s a fool’s game because, as you know, I wrote Sun-
day in the Park with George for a bass-baritone, and Mandy Patinkin came
in and was a soprano. But the tessitura of all his songs and the ranges re-
mained exactly as is. The keys just went up a third, that’s all.

MH: I know accompaniment figures are very important to you, but we

just touched on them before. Could you just talk a bit about how you ap-
proach them?
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SS: Quite often the accompaniment figure may be the first thing that
comes. For example, I remember for “Not a Day Goes By,” I invented the
accompaniment figure before the tune came. I remember going [sings the
“Not a Day Goes By” accompaniment; see example 10.5]. And then some-
how that suggested the tune, but I began with the so-called vamp, the ac-
companiment figure, and that’s a simple one. Accompaniment figures
don’t have to be elaborate arpeggiated figures, they can be something as
simple as that, that expresses a mood. Quite often, I’d say probably more
often than not, the thing that comes first in the music is either the accom-
paniment figure or some kind of harmonic progression. You know, the
two chords in Sunday in the Park with George came before many of the
songs [sings a suggestion of the two chords with a whole-step fall]. But
usually it’s a combination of rhythm and harmony in the accompaniment
figure that is the seed of the song. I rarely start with just a melodic line
without some kind of harmonic underpinning. Sometimes, if I hear some-
thing in my head, I may hear the harmony, and not know exactly what it
is until I go to the piano and try it out, as opposed to writing it down on
paper. But I try to write on paper, the more I write, so that I don’t get
hemmed in by muscle memory at the piano or the difficulty of playing
something. But I do use the piano, and quite often it will be for inventing
an accompaniment figure. I sometimes have a rhythm in my head, but I
don’t think I’ve ever written a real accompaniment figure in my head,
only the rhythm of it, or the harmony of it, but not the whole thing. Usu-
ally it’s worked out with my fingers.

MH: Where does it relate to the lyric sketch or the plot outline of the song?

SS: That varies depending on the situation. Let’s take Amy at the end of
the first act of Company. Here’s a hysterical girl: that certainly implies that
you don’t write [sings the “Not a Day Goes By” accompaniment figure;
see example 10.5]. You write something that has nervous energy to it. And
because I want her to spout off at the mouth, it seemed that it should be a

Example 10.5. Opening of “Not a Day Goes By”

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very self-contained, tight figure, as opposed to arpeggiation. And it also

seemed to need a kind of motor energy, because she’s a motormouth.
That’s the rhythm of the dialogue that George [Furth] has written. And so
the rhythm of the dialogue suggests that [sings melodic phrase, see ex-
ample 10.6]. And the tightness of the figure was suggested to me by the
fact that she is completely hysterical and talking about one subject, and is
emotionally tied up, emotionally bound, emotionally confined. That gives
you that little kind of mingy figure. You know, nothing goes more than a
half-tone off [sings accompaniment figure; see example 10.6]—a half-tone
flutter. Putting all those things together, my guess is that I worked out a
few bars of the accompaniment on the piano and then started the lyric af-
ter that. But in a sense, I knew what the lyric was going to be. I may even
have written “Pardon me is everybody here?“ I may have started to write
it that way, and thought: rhythmically, I’m just going to keep it going un-
til she runs out of breath. In a sense it all came together, but it was dictated
by the rhythm of the dialogue and the character of the person singing it,
both of which were givens to me—I didn’t invent those. And that’s fairly
typical of what I do: find the rhythm of the person talking and find the
emotional color of the person talking, put them together and make an ac-
companiment figure. Sometimes it will be a harmonic progression, or
sometimes a melodic idea—particularly if a refrain line strikes me. I’m
trying to think of a case where I had an idea for a lyric—a refrain line—
and that’s what dictated the rhythm. Because if you have a refrain line it
will suggest its own rhythm. If you write “Just One of Those Things,” the
way Cole Porter did, he wrote it without the melodic values, he wrote
“It—was—just—one—of—those . . . ”—he wrote that rhythmically on the
paper, and then he filled in the notes. So I will do that quite often. If I think
of a line that I want—either an opening line or a refrain line—that will of-
ten suggest a melodic idea, particularly if you take the inflection of the
way it’s spoken; because I write often for inflection of sentences that will
suggest by inflection what you want sung.

Example 10.6. From “Getting Married Today”

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Encore 205

MH: I noticed one thing you do somewhat frequently in your accompani-

ment figures is a three against a four, where you’ll have a pattern of a
three-note pattern over a four-metered rhythm.

SS: Are you talking about a triplet or are you talking about a syncopated
three?

MH: A syncopated three.

SS: Yes, I do that quite often.

MH: Is the point of that just to keep the ear fresh and give surprise?

SS: That’s part of it. Sometime it has to do with the lyric. When you have
a very square rhythm in the melody it squares the lyric, and sometimes
you want that, but more often you want little bits of surprise or supple-
ness. Also, that’s sort of a standard musical comedy sound. That’s been
going on for seventy years. So that sort of comes with the territory.
Whether we’re talking about thirty-four bars or thirty-three bars, we’re
talking about thirty-two-bar songs and we’re talking about a tradition of
songwriting. Now, that kind of rhythm is more likely to show up in more
so-called contemporary pieces like Company and Follies than it is in Pacific
Overtures. You may say, “Ah, but it is in Pacific Overtures.” If it is, it doesn’t
feel that way. Typically, it feels jazzy, it feels twentieth-century—it even
feels American—it feels musical comedy. So, I suspect you’ll find fewer of
those rhythms in Pacific Overtures or in Passion than you will in Company
or Forum or Follies. That’s my guess.

MH: Is it too simplistic to suggest that generally in your songs the music
represents the emotion of the character while the lyrics are their thoughts?

SS: Yes, I think it’s simplistic, because it’s not consistent. The thing is that
lyrics, like dialogue, should have some subtext. Sometimes you want the
music to supply the subtext and sometimes you want the music not to
supply the subtext. So, it’s not so much about emotion as it is about sub-
text—about what the character is saying behind the lyric, and if he’s say-
ing anything behind the lyric. If you take a song like “Multitudes of
Amys,” both the lyric and the music express emotion. Now you can’t say
that one is about thought and one is about emotion. One is verbal, because
language is verbal, and music is not, but otherwise they’re the same cloth
as far as I’m concerned. They’re both rhapsodic. Whereas, you take some-
thing like “The Road You Didn’t Take,” where there’s a conflict going on
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206 Chapter 10

between the music and the lyric in terms of tone and dissonance, it’s dif-
ferent. Then again, with “The Road You Didn’t Take” or “In Buddy’s
Eyes,” you’ve got a character lying to him- or herself, and that is to be dis-
covered by the audience—possibly discovered in the music. It depends on
whether you want to point it up. If you hear “In Buddy’s Eyes” without
knowing what the character is, it sounds like a perfectly straightforward
song, but when preceded by the verse, and when you’ve gotten to know
the woman, then you know that there’s something else going on. Which
is exactly what would happen if she were an actress doing it as a speech.
If you get to know her and she starts to say, “Oh, I love Buddy a lot,” you
know right away that she’s lying. The same things happen in the kind of
songs I write, which are like dialogue—conversational songs.

MH: In Follies, do you think of the non-pastiche songs as being a score?

Some of the non-pastiche songs seem related to me, but others I’m less
sure about.

SS: No. There’s no attempt at score-writing in Follies, it’s just two different
kinds of songs. No structural attempt whatsoever. It didn’t occur to me.
And if I were writing it now it wouldn’t occur to me, because it seems to
me that Follies is about eight different characters. Granted that Buddy and
Sally and Phyllis and Ben sing about three songs apiece, but everybody
else gets to sing one song, so it is by nature a scrapbook or a revue. It’s:
You do your number, he does his number, and then I have my love scene.
It seems to me, it would be wrong—or useless—to try and conceive that
as a score. So it never occurred to me.

MH: The introduction that Sally sings for “Don’t Look at Me” and then
Ben’s introduction to “The Road You Didn’t Take” are the same. Was that
intended to make a point?

SS: Yes, I’m obviously trying to connect the two characters. Sure, she’s
making a tentative hello to Ben, and now he’s going to tell her about his
life. So it seemed right to use the same verse. Yes, I wanted to keep those
connected. And isn’t some of that music also used for “In Buddy’s Eyes”?

MH: In “In Buddy’s Eyes,” I noticed that in the first half there’s a section
where the meters alternate between 5/4 and 4/4—at “Living like a shut-
in/Yes I haven’t got cooks and cars. . . .” Then in the second half it alter-
nates between 5/4 and 6/4—at “All I ever dreamed I’d be/The best I ever
thought of me.” I wondered whether by stretching out the meters, you
were intending to show her becoming lost in her own fantasy?
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SS: Yes, but one is a verse, and one is the chorus. That’s the difference. The
point is they are not related in any way. The verse is the verse and the
chorus is the chorus, and the reason I extended this is probably because
the rhythm of the song is very monotonous, and this is her emotional cli-
max. It’s like the moment in “Anyone Can Whistle” where she takes the
pause before “learn to be” . . . pause . . . “free.” There’s an emotional rea-
son; this is in a sense, the same thing. She’s going on, and going on, and
it’s very even, and she reaches the moment of emotion where she’s one
inch away from declaring herself. So that seemed right to expand the mo-
ment. That’s all.

MH: Why the relentlessness?

SS: I’m not sure, I think it relates to “The Road You Didn’t Take,” which
also has a relentless repeated note, I think it relates to that, but not so
much consciously. My guess is it was unconscious when I came to it, but
it seemed right that there should be a steady relentless beat in it.

MH: Is she imprisoned by it? Trapped by it? Self-hypnotizing?

SS: I was going to say it’s a dream. I think self-hypnosis is pretty close to
what it’s about. She’s making a dream.

MH: “Waiting for the Girls” has so many musical aspects. The musical in-
troduction alone has something like four major thematic ideas that feel
important. I don’t want to read into it, but do they have particular signif-
icances, such as indicating going back in time?

SS: No, I just found that nice chord progression: “Yadadaddum.” [See ex-
ample 10.7.]

Example 10.7. From the Opening of “Waiting for the Girls Upstairs”
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208 Chapter 10

Example 10.8. From “Waiting for the Girls Upstairs”

MH: And then the “Hey, up there!”?

SS: That’s because I wanted to start it with them speaking to the ghosts,
and that seemed like you would do a sort of canyon call—you know a
“Yoo-hoo.” That’s what you would do in a “Is there anybody there?” kind
of phrase; and that’s just what suggested itself musically. [See example
10.8.] Remember, that song was written originally for two people.

MH: I didn’t know that.

SS: Yes, the whole thing was a duet. I played it for Jerry Robbins once, and
he said, “You should use all of them,” and I said, “All four?” He said, “All
eight.” It was a song for Phyllis and Buddy. She told about the women,
and he told about “Me and Ben.”

MH: Are there plans for a Follies film?

SS: No, it’s been talked about, but that’s all.

MH: You’ve mentioned that the pastiche songs were not only musical pas-
tiches, but lyric pastiches as well, such as of Dorothy Fields in “Losing My
Mind.” I have a sense of how one writes a musical pastiche, but I’m not
sure how you approach writing a lyrical pastiche. I’m just wondering how
you did it.

SS: Boy, it’s impossible . . . I think if you sang me any first-rate Dorothy
Fields lyric—that I hadn’t heard before—I’d say, “That’s Dorothy Fields.”
The same thing if you sang me a first-rate Frank Loesser; I’m using first-
rate, meaning echt. Because, you know, Dorothy Fields was just as capable
as anybody else of writing a fake Oscar Hammerstein song. If you sang
“April Snow” to me, no, I would not know that was Dorothy Fields, be-
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Encore 209

cause she was writing with Sigmund Romberg, and she was writing like
Oscar Hammerstein. But if you sang me any lyric from A Tree Grows in
Brooklyn and I hadn’t heard it before, I’d say, “I know who wrote that.” Just
the way we can tell Copland from Bernstein—people that are in vaguely the
same territory, but there’s a difference . . . there’s a big difference. If you hear
eight bars of Copland and eight bars of Bernstein, there’s a big difference,
even though they share characteristics. The same thing if you hear a lyric of
Fields and a lyric of Loesser. They both deal with colloquialisms that sit on
the music so naturally you can’t believe that a lyric writer ever wrote it.
And yet there’s a flavor, there’s a tone, that’s different—they’re both urban,
they both write what sounds effortless, and they use argot and colloquial-
ism, and all that, but there’s a difference. So that’s my answer to you. I
couldn’t do that for all lyric writers, but I can do it for some—certainly for
my favorites. Harburg, certainly. And I can tell you the difference between
Ira Gershwin and Larry Hart, even though they’re both masturbating with
words. I can tell you which one is which. Again, if it’s an echt song.

MH: When you emulate them, is there a process?

SS: No, it’s just in my bones. I just know the literature, because I love it.
Again, like you could do it with music, because you love it, so you’ve lis-
tened to a lot. If I play you two pieces, you’ll say that one’s Beethoven,
that one’s Brahms. So that’s it. It’s easier with music, because you can say,
“Ah, you see that harmony?” You can imitate Kurt Weill so easily by just
using those same old chords he keeps using over and over again. You can
say, “Yeah, that’s Weill; I know that’s Weill.” But it’s harder with lyrics, be-
cause they’re not chord progressions, they are words that everybody uses
in everyday speech—there’s no equivalent of a chord progression . . . ex-
cept, I can assure you, if there are bird images, it’s Oscar Hammerstein.

MH: Have you ever tried to emulate Oscar?

SS: Not consciously. But the first lyrics I ever wrote Oscar said, “You’re
trying to write like me.” He said, “You don’t think like me. Write your
own.”

MH: “One Wonderful Day”?

SS: There may have been stuff in Saturday Night. Not even that. It may
have even been an earlier show than Saturday Night, it may have been one
of the college shows. I think it was a show called Climb High. I had a lot of
what Arthur would call airy-fairy lyrics—you know, things about trees
and wind.
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MH: What about the college anthem at the beginning of Merrily?

SS: No, that’s just every hopeful college song you ever heard in your life.
That’s just a pastiche of uplift school songs, that’s all. It’s not Oscar. I
might have trouble imitating Oscar, because, in order to imitate—in order
to do a really good pastiche—you have to love what you’re pastiching. I
don’t love Oscar’s lyrics the way I love Dorothy Fields or Yip Harburg or
Frank Loesser, so it would be hard. I would probably make fun of it—you
know, there would be one too many birds.

MH: Did you love them when you were younger?

SS: No. Well, I can’t tell back when I was thirteen. I do know I loved
Carousel; I do remember loving “What’s the Use of Wond’ring?” And I re-
member disliking, even at the age of fifteen, “This Was a Real Nice Clam-
bake.” But no, I was drawn to Oscar, much more than to his work. But
again, it’s an unanswerable question, because in my teens I wasn’t really
aware of anybody. I was aware, but I didn’t know anybody else’s songs.
I’d heard Cole Porter songs, and I’d heard other people’s songs, but I never
listened to them with the same care, because I was exposed to Oscar. It was
when I got to college and I was starting to write shows that I started lis-
tening to the literature. But you have to remember, there was no way to lis-
ten to the literature before the show albums were invented, which came in
1943. And for a few years after that there were still a limited number of
shows on record, and none of the old shows. Nobody put out an album of
Jubilee, or even Anything Goes. That archival work came with the invention
of the LP in the fifties. Then people like Goddard Lieberson said, “Let’s do
an LP of Cole Porter’s show,” or “Let’s do an LP of the Gershwins.”

MH: Looking through your sketches, I’ve seen how much the tunes come
out of the lyric—where the accents are, that they start giving you a
rhythm and things like that. In the case of Night Music, where you knew
you wanted everything to be some kind of triple meter, did that affect the
other way around how you worked out the lyrics?

SS: Not really. Not that I remember. My guess is that a lot of that score was
written vamp first, as opposed to lyric first—I mean lyric idea first. Now
you say you’ve seen the lyric sketches and it seems that the music comes
out of the lyrics. I don’t know how you divined that. I’m not sure you’re
right.

MH: A lot of times you’ll have a lyric line and you’ll write a rhythm
above it.
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SS: Ah, that is true. Whenever you see that, and if that’s the basic line, then
you’re probably right. If it’s the refrain line, then you’re probably right,
which means I got the refrain line and I probably did what Cole Porter
did, which is to notate it rhythmically. But of course you’ll find a lot of
lines that have the notes written over them that aren’t used in the song. It
may be the majority of songs were written that way. At any rate, no. The
fact is you can take almost any lyric and put it in four or three. I remem-
ber when I’d had a particularly difficult moment with my mother, and I
went to the Hammersteins to cry my eyes out. At the time, Oscar was
working on King and I, and he wanted to calm me down, so he gave me
the lyric of “We Kiss in a Shadow.” He said, “See how you’d set this.” And
I thought, of course it’s a waltz, isn’t it?

We kiss in a shadow,
We hide from the moon,
Yap-a-da-da

Was I surprised when I heard that tune, because it’s got nothing to do
with three at all. But if I looked at that lyric, that seems to me a waltz lyric
if ever I heard one.

We kiss in a shadow,
We hide from the moon,
Our meetings are few,
And over too soon.
Yap-a-da-da

It’s in three. It’s clearly in three! Not to Dick Rodgers. By putting those
pauses in . . . So my point is that any lyric could strike you as being in
three and me in four and him in two.

MH: Was it brilliant of Rodgers to do what he did?

SS: No, not brilliant. It’s just his choice. He was one of the waltz kings.
He could have written a gorgeous waltz, but he chose not to. Obviously,
if I’d written it as a waltz I wouldn’t have made it as square as I’m mak-
ing it to you now. But it would have been in three. So the answer is, any
lyric can be set as one or the other. So my guess is that in Night Music,
whatever lyric I was writing, the tune might have sprung from the lyric
or not. Now that I’m thinking of it, I could take any lyric there and put it
in four.

MH: It’s funny that you just mentioned that you think in Night Music the
vamps tended to come first, because something else I noticed in that score
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212 Chapter 10

was so many of the accompaniments were more than literally accompani-

ments, they almost become duets with the voices—in “Later,” in “In
Praise of Women,” in “It Would Have Been Wonderful.” Was that a con-
scious decision?

SS: I can tell you right now, “It Would Have Been Wonderful” started with
a vamp. I remember in the Boston hotel room when I got the [sings the ac-
companiment figure; see example 10.9], because I wanted something that
had these two peacocks strutting. Initially, it was called “Thoughts on the
Terrace,” and my image was of these two people passing—”Sir.” “Sir.”—
then soliloquizing to the audience. I tried to picture them walking, and I
thought, I know what that walk should be: [again sings example 10.9].
From there I got to that particular form of the lyric, but that’s one song
where I know I started with the vamp. “The Miller’s Son” started with a
vamp.

MH: For the fast section?

SS: Also for the song. I wanted one of those Sibelius twilight waltzes.
“Send in the Clowns” started with “Isn’t it rich/Are we a pair,” but as
soon as I got that, I got the Rachmaninoff vamp immediately.

MH: People kept talking about this was your operetta, so one would have
assumed you would have done pastiches of Herbert and Romberg and
Friml, but you didn’t do that at all.

Example 10.9. From “It Would Have Been Wonderful”

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SS: No, but it wasn’t meant to be pastiche, I was stealing. That’s quite a
different thing.

MH: So many of the songs seem to have been inspired by Ravel, or

Scriabin—composers like that.

SS: Once you decide you’re going to do it in three: Ravel! Come on, Valses
Nobles et Sentimentales is one of my half-dozen favorite pieces in the
world. You do a waltz, you think Ravel. Actually, I love the Rachmaninoff
Two Piano Suites, which have some great waltzes in them, but it’s the har-
monic language of Rachmaninoff that I was using there. But these were
not pastiches, this was theft. And that’s quite different. At any rate, I do
remember that with “Send in the Clowns” I started there with the short
lyric phrases.

MH: Was it theft just to give the sense of a time period?

SS: No, it just came. I started to fiddle at the piano, and I thought, oh, I
know what this is, it’s Rachmaninoff. Well, what the hell. In my opinion,
the greatest tune ever written is the Eighteenth Variation of the “Rhap-
sody [on a Theme of Paganini].” I thought, well why not. I did the same
thing with “The Ballad of Sweeney Todd.” I thought, oh, I know what this
is, it’s the middle of the Ravel Left-hand Piano Concerto—which I wrote my
Junior thesis on. I thought, all right, use them—use! You’re going to take
from Ravel, take. It’s very clear if you listen to the middle of the Left-hand
and then you listen to “The Ballad of Sweeney Todd”—you say, “What?!
Excuse me?! Hello?!”

MH: In “Now,” I’m curious about the chattery oboe line that mimics Anne
talking. [See example 10.10.]

Example 10.10. From “Now”

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214 Chapter 10

SS: That’s Jonathan’s doing. I wanted imitation but I didn’t write the notes
out, any more than I did the bird calls in Sweeney—that’s Jonathan. He
wrote those chattery things. But Hugh’s dialogue was there, and I wanted
it. I’d have to look at the original manuscript to see if I just notated that or
whether I actually wrote something out in those little dialogue interrup-
tions. I know I accounted for them; I know I intended them.

MH: I’m still amazed by “A Weekend in the Country,” and I can’t figure
out how you did it. It’s 423 measures . . .

SS: Odd number, wouldn’t you know.

MH: . . . and the main tune repeats, god knows how many times, and yet
it just gets more and more exciting, and it never wears out its welcome.

SS: It’s partly the lyric. There again, that’s my favorite kind of song to
write—a plot song. And because the plot’s really fun, and you know that
it’s reaching this conclusion where everybody’s going to the country and
they’re all going at cross-purposes, it has its own excitement built in. I’m
not sure that what you feel has to do with the music where all the voices
come in. And Henrik’s entrance is exactly right: that’s a really smart piece
of writing—to interrupt the flow by having this zonk, three-square (if you
can say four-square, can you say three-square?) tune in the middle of all
the 6/8 and 9/8. But I think you’re responding at least as much to the de-
light (and I’m using the word carefully) of the lyric, as you are to what’s
going on musically. When I hear that piece I think, Oh boy, that’s good.
Because it’s really funny and it’s really fun. And each scene is just long
enough. It’s a little play.

MH: There were a couple of things in the music that strike me as being
part of what gives it its magic. For instance, I love the way you evolve
your accompaniment or vamp so that there are constant slight surprises
and shifts. And then at the fourth measure of the main tune the melody is
a D-flat, which is, I think, one of those great unexpected notes. [See ex-
ample 10.11a, m. 44.]

SS: Really?! It seems natural to me. Let me hear it through your ears.

MH: It just gives that moment something unexpected, that chromaticism.

SS: I guess you’re right. I guess it’s just inspired. But obviously it’s just one
of those whimsical variations.
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Example 10.11a. From “A Weekend in the Country”

Example 10.11b. From “A Weekend in the Country”

MH: And I find it even more effective when you again go to the D-flat but
from a different approach at “be such a fool.” [See example 10.11b, m. 64.]

SS: Wait a minute, go back to that first D-flat. It seems to me that a D-nat-
ural would be wrong. It’s not only a choice. Let me see why. There’s some-
thing implicit in the harmony.

MH: You’ve just had a D-natural in the harmony.

SS: I know. But even melodically—maybe I’m just used to it. It may be that
what I’m hearing is the F-minor there, and that’s why the D-flat is there?
I’d have to go to a piano. But oddly enough that doesn’t strike me now as
being brilliant. It strikes me as the only note to go to.

MH: And going to the later D-flat?

SS: You would expect a D-natural? I think not. As I listen to it now, it

sounds natural. No pun intended.

MH: And as the section ends, the high E-natural at “Here!”? [See example
10.11c, m. 70.]
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216 Chapter 10

Example 10.11c. From “A Weekend in the Country”

SS: That’s a good note. It sounds unexpected to you?

MH: It’s just a slightly heart-stopping moment in the best sense.

SS: Maybe. But I can’t tell you where it comes from. Whatever I did, I just
got the idea.

MH: Do you think of this chord as a B-seventh with the E as a suspension?

SS: B-seventh doesn’t mean anything to me.

MH: Okay, a B minor chord with a suspended fourth?

SS: Wait a second, you said “B minor,” where’s the F-sharp? That’s an F
natural, isn’t it?

MH: You’re right, it’s diminished.

SS: Exactly. What I hear there is a form of the dominant of C. If you put a
G underneath it, you’d hear that entirely as a dominant ninth, or a domi-
nant thirteenth actually with the E on top. If you put a G under that, you’d
see what’s there. So what you’re really hearing instead is the B going to C.
That B-natural resolved to the C; that is a chord leading to C.

MH: I’m curious about “The Night Waltz” with that running eighth-note
figure in the accompaniment.

SS: Which “Night Waltz” are we talking about?

MH: The main one.

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Example 10.12

SS: The Sibelius one. That’s the first thing I wrote for the show.

MH: That figure! [SS nods.] Really?!

SS: Mmm-hm. [Sings: “Ump, da-da-dump.” See example 10.12.] That’s

the first thing I wrote. I wrote four. I remember, I played it for Hal. I said,
“Okay, you got your choice of four waltz figures here.” I played him four
accompaniments. He said, “I like that one.” I said, “Okay.” That was one
of four. You’ll probably find that one on the front cover of the first
sketches, or certainly one of the first pages of that piece of music.
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218 Chapter 10

MH: I was particularly interested in that running eighth-note figure—that

sort of counter line running throughout the song. I can’t think of another
song of yours that features something like that. In fact, the only other song
that came to mind that has something similar is “Summertime.” And
knowing that you’re such a big fan of Porgy and Bess, I wondered if that
was what influenced or inspired you here?

SS: No, it has nothing to do with that. I was inventing a vamp—it’s a

vamp—for this opening waltz that would not be Oom-pah-pah, Oom-
pah-pah. I thought, jeez, if I start with Oom-pah-pah, not only does Oom-
pah-pah get boring very quickly, but it’s wrong for the show—the whole
show has a mellifluousness to it. And so I thought: a running figure. This
is obviously not conscious, but it led me to it. I was going to say that all
the vamps I played for Hal, all had running vamps, but I don’t think they
all did. But at any rate, that’s what struck me as right, and maybe that’s
what struck him as right. It has a kind of dreamlike . . . , never stops—it’s
a wave. And that seemed right, as opposed to [sings an “Oom-pah-pah”
figure].

MH: I know you’re concerned about textures and that a score not have too
much of the same thing against each other, so when you composed the
score for Night Music, realizing that they were all going to be variations of
triple meters, did you do anything to plot out the score so that you would
have a mazurka followed by something else?

SS: No. What I did do was I made a list of all the variations of three I could
think of. And then I called Jonathan, and I said, “Can you think of any
other variations of three besides mazurka, polonaise, et cetera?” I don’t re-
member if he added to the list or not, but I made a list of all the possibil-
ities, so that as I approached each song, I’d say, “Okay, I’ve just had a
polonaise, so now . . . ” “I’ve had two waltzes before that, so now . . . ” I
didn’t necessarily say, “Okay, I’m going to select this,” but I knew what to
avoid. When you get to something like “It Would Have Been Wonderful,”
you think, well, it’s got to be a 1-2-3, 1-2-3, but how can I vary it? I don’t
even know what you’d call that; it’s neither a polonaise nor a mazurka,
but it’s somewhere in between. And of course I allowed for six; and as we
all know, six is essentially two anyway. So the idea that this score is in
three is nonsense. It’s in three and it’s in two and it’s in four. It’s just the
two and the four are composed of threes. But you know “A Weekend in
the Country” is not in three, it’s in two or four. Any musician would un-
derstand that. Incidentally, you do know there are eight bars of four in the
score? I make people search for it.
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MH: Regarding Sweeney Todd, one question came to me from a musicologist.

SS: My stomach is tightening as you say that . . . but go on.

MH: He is convinced that “The Ballad of Sweeney Todd” was a late addi-
tion to the score, possibly suggested after Hugh Wheeler came on board
with the show.

SS: No. It was the very first thing I wrote; absolutely. Once I decided that
there was going to be some kind of storytelling thing, then I went right for
it. And then the rest of the score was pretty well composed in sequence,
starting with Anthony’s entrance. But it started with “The Ballad of
Sweeney Todd.” Absolutely. The very first thing I wrote.

MH: You’ve gone on record before as being not a big fan of the Brecht and
Weill collaborations.

SS: To put it mildly.

MH: Does the fact of the “Ballad” itself suggest some influence from
them?

SS: It has nothing to do with it. When people started to say, “Oh, well,
that’s Brecht,” I thought, oh, God, it’s no more Brecht than . . . I remember
seeing a show called Shootin’ Star in Philadelphia [1946]. It was about Billy
the Kid. And a well-known folk singer who was making her debut on the
stage, whose first name I believe was Susannah [Susan Reed]; she came
out, sat on a stool, took out a guitar and sang, “Well, this is the story of
Billy the Kid/Who da da da da . . . what he did.” Curtain up. Dance num-
ber. And every now and then during the show she would come back and
sing another section of it. It was a completely conventional musical, ex-
cept it had a little ballad that went through it. Now I was not thinking of
that consciously. What I’m saying is, that’s a technique that had been done
hundreds of times before. And I decided to use it. It seemed right to tell
the audience, “Don’t take this seriously, darlings. This is just a melo-
drama, just a folktale. Please do not laugh at how ridiculous things are go-
ing to get.” Because if you don’t do that, when he starts slitting throats
people are going to scream with laughter. I mean, it’s so over the top. So,
how do you prevent something from being over the top? You couch it. I
don’t mean that I was reasoning this out. My instinct was, I want to tell
this as a folktale. I want to tell this as “Once upon a time,” which is what
the opening number is.
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220 Chapter 10

MH: But then you didn’t feel “The Ballad of Sweeney Todd” was neces-
sary for the film?

SS: Ah, no, but for a very good reason: it interrupts the action. And what
[Tim] Burton had chosen to do, which is very smart, is to not have any of
the chorus people singing, what I call “peasants on the green”—like the
Pirelli crowd or “God, That’s Good!” Because that’s acceptable (though
not very acceptable to my taste, as you know), but it is somewhat accept-
able on the stage to have everybody sing “Oklahoma!” But not if it’s go-
ing to be on the screen and you’re going to try to involve an audience in
the story, as opposed to say, “Oh, isn’t this a fun musical?” Then you don’t
have that kind of thing. We actually had rehearsed the number and John
Logan [the screenwriter] had a wonderful idea, which was start the piece
with blood spreading on a floor, and then the camera would pull back and
suddenly we cut to, in this case, Christopher Lee, who would be dressed
as a general, and he would sing, “Attend the tale of Sweeney Todd . . . ”
(off-pitch, but he would sing it anyway), “Attend the tale of Sweeney
Todd/His skin was pale/And his eye was odd. . . .” Then you would cut
to a student, then you’d cut to a peddler, et cetera. And they would sing
this, and you don’t know why they’re singing it to you. Then, during the
course of the movie, they would reappear in odd places, passing Sweeney
on the street, and he would see them out of the corner of his eye. And there
would be a little gash here . . . and over the course of the film you realize
these are the people he killed. So they became a chorus of his victims, in-
terspersed, like the “Ballad,” throughout the movie. And just before shoot-
ing, Tim called and said, “I think it’s not a good idea; I think it’s going to
interrupt the story.” I said, “Cut it. I understand exactly what you’re say-
ing.” The whole idea of the movie is so different from a stage piece. And
he wanted to tell the story as intensely as he could, knowing that the au-
dience had to suspend a huge amount of disbelief—to have people singing
a melodrama, as opposed to singing songs. Even more daring, he opened
it with Anthony singing. No dialogue. So the audience immediately said,
“What the hell is this?!” And I’ve heard from people who attended the-
aters all over the United States that the audience—which, you know, con-
sists of popcorn kids—started to giggle. They thought, “This is ridicu-
lous.” And some of them accepted it and some of them didn’t. But I think
cutting “The Ballad” was absolutely the right choice.

MH: Was it hard to make musical edits within songs to shorten them for
the film?

SS: No. It wasn’t hard. I mean, one had to do it. I had to do it in “Green
Finch.” I had to do it in a number of places. No, but that kind of editing
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I’m good at. I just had to do some of West Side Story. I edited some music
there to make it smoother in “One Hand, One Heart.”

MH: For the 2009 revival?

SS: Yes, because Arthur wanted to cut a certain piece of business, and add
a piece of business. I made a very Wagnerian transition. I think Lenny
might turn in his grave, but he’d know I tried my best.

MH: Speaking of influences again, Stephen Banfield asked me to ask you

in relation to Sweeney whether you were familiar with Peter Maxwell
Davies’ Eight Songs for a Mad King?

SS: I am familiar with it. It had nothing to do with anything I wrote. That’s
a difficult piece. I listened to it twice on record. Certainly it had no con-
scious influence, and it’s hard for me to believe it had an unconscious in-
fluence. What did he think happened?

MH: He wrote me: “The insanity in the ‘Epiphany’ and the crazy chorus
work made me think of it, and even more the intro to Johanna’s ‘Green
Finch and Linnet Bird,’ where she’s teaching the birds to sing in their
cages like George the Third in the Eight Songs, with the aleatoric chirp-
ings.”

SS: Guess what? I didn’t hear Eight Songs for a Mad King until after I had
written Sweeney Todd. I remember hearing that many years later. I find
Maxwell Davies’s music very difficult, and because it was either in a cat-
alog, or something like that, I thought, maybe I ought to hear this. Believe
me, I didn’t hear it before.

MH: He was also impressed with how much British history seemed to
imbue a lot of the songs and wondered how much research you had
done, if any.

SS: None. I’m an Anglophile, that’s all. And I love Benjamin Britten. I
think what he’s hearing is Benjamin Britten.

MH: This wasn’t musical. Again quoting: “He mentions things about
nineteenth-century London—little details about labor history, the chapel
burning in ‘City on Fire.’”

SS: Yes, I did indeed read a famous book about London in the nineteenth
century, it’s the most famous, and I cannot remember the name of it, and
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222 Chapter 10

I have it downstairs [H. Mayhew’s London Labour and the London Poor].
And I did read it. You know for Forum I read a book called Daily Life in
Ancient Rome [by Jérôme Carcopino, translated by E. O. Lorimer,
1940/41]. And for this, there’s an equivalent book about daily life in Lon-
don. Yes, I did do that kind of research. Because I wanted to find out what
peddlers did—you know, the kind of thing Gershwin did when he went
down to that island and saw how they sold strawberries. It was the equiv-
alent of that.

MH: You’ve gone on record that you felt that most film musicals didn’t
work. You’ve also said that you were very pleased with the problems they
solved in turning Sweeney into a film. Do you feel like you learned things
in this process that would translate to other film musicals?

SS: No, I think what Burton did is exactly what I would have said direc-
tors should do before I met Tim Burton. He’s the only director who has
thought of a stage musical as a film; the others have thought of a stage
musical as ways to film them. It’s a big, big difference. I don’t even know
that he could articulate it, but he understands instinctively the difference
between a realistic and a poetic medium. And though it sounds weird to
say, Sweeney Todd is a realistic film.

MH: Merrily was a unique score for you, where the actual structure of the
score was also so much a part of what the show was about: a central char-
acter who’s a songwriter, and the show goes backwards in time. How did
you approach writing that score—what was the process of working out
the jigsaw puzzle-ness of it?

SS: I was imitating Kaufman and Hart’s jigsaw puzzle. Once we decided
to do it, I thought, okay, here’s a musical comedy score about two guys
who write musicals (but what it’s really about is friendship, and it’s about
memory), and I thought, I know, wouldn’t it be fun to have a tune unfold
in the reverse way than it usually does? Instead of stating it and then do-
ing a truncated reprise—since it’s going backwards in time—wouldn’t
they be reprising it emotionally, like: “I loved you back then, I don’t love
you anymore.” So, ordinarily you would write the love song: “I love you.”
And then the second act is: “I don’t love you anymore and I’m leaving
you, darling.” But here it’s: “I don’t love you anymore and I’m leaving
you, darling” followed by “I love you.” So as soon as you start to think
that way, then you start to get this notion, or I did anyway, that the vamp
of one song—which means what the undercurrent is—was actually stated
a number of years ago when it was the theme of the relationship. Now it’s
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the undercurrent of the relationship, which is what a vamp is. So the

whole thing was devised out of the idea of the plot. And as you know,
content dictates form. So once I got that, I thought this will be fun to do,
and it’ll also hold the score together because I will build it out of just a few
themes. Some of them will become vamps, or will start as vamps and then
become themes, others will be themes that will become vamps, et cetera.

MH: Did you create a cheat sheet of themes?

SS: No, because obviously there are some songs which are not applica-
ble that way. Most of them are. Even the opening anthem (which is no
longer in the show) is “Good Thing Going” and becomes in itself a
memory piece. I had other versions of “Good Thing Going.” For exam-
ple, there was a number to the audience, called “Thank You for Com-
ing,” that opened and closed the nightclub routine. And guess what the
theme is? “Thank You for Coming” is [sings the “Good Thing Going”
theme].

MH: One of my favorite examples is the “We’re bringing back style to the
White House” section of “Bobby and Jackie and Jack.”

SS: That’s right. In a way, everything’s interwoven with a few themes.

Also, when Lapine suggested in 1985 that we needed a song for Frank in
the middle of the first act that told us where he was and made us more
sympathetic to him (because the problem with the show, as you know, has
always been that everybody finds these characters so shallow and un-
pleasant for the first half hour that they’re not interested in listening to the
rest of the story), I wrote “Growing Up.” And that became another thread
that worked through the show, and I was even able to tie it into the
threads that were already there. Merrily We Roll Along is a planet of op-
portunity for this kind of puzzle-making writing that I love to do. And it’s
compositional, although it’s “chunk compositional”—it isn’t long-line
composition—but it’s making the most out of the least, which is one of my
mantras. So there are a few themes, and they’re used both melodically
and in accompaniment, and sometimes as counterpoint. And therefore
they lend meaning to all the characters.

MH: One song that doesn’t really evolve, other than getting a reprise, is
“Not a Day Goes By.”

SS: “Not a Day Goes By” is a brand new theme. But it gets developed as
a reverse reprise in the second act.
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224 Chapter 10

MH: But I also see similarities between that song and “Good Thing Go-
ing,” in that they’re both songs that become more daring musically as the
choruses repeated. You hit certain unexpected notes, and the tension of
the chords gets thicker and more difficult, though it’s more pointed in
“Not a Day Goes By.”

SS: Yes, “Not a Day Goes By” gets pretty elaborate.

MH: But even in “Good Thing Going,” there are moments when the har-
mony gets a little tenser.

SS: I know, in the release and the end of the release. There’s something
moderately conscious about that, which is, I thought: These two guys
who are young, what is it that they write that attracts producers and peo-
ple like that? It’s got to have a little distinctive flavoring that would dif-
ferentiate it just enough from their peers or the other people who write
songs. So I thought, it’s got to have a little (forgive me), a little of me in it.
Because that’s what I did. So I tried to keep it conventional fifties, but with
a little (forgive me, I hate to talk about myself in the third person, but I’ll
do it now) a little Sondheim in it. And that’s what’s going on there in the
release. And in fact there’s this little delay at the end of the release where
the music plays before they come in again. That’s something I suggested
to Jule for the end of the release of “If Momma Was Married.” That’s why
the music plays a little bit, and then “Oh, Momma say yes” comes in later.
At the end of the release of “If Momma Was Married,” you expect them
to sing, and they don’t, and the orchestra plays. And I thought, I’m going
to use that here. So I did. That’s one of the little touches—that and the har-
mony—that make Frank and Charlie stand out from the other people that
Joe Josephson, or Gussie, or anybody, would hear. So that’s the reason for
that. “Not a Day Goes By” really has nothing to do with the rest of the
score. In that case I was trying to find a song for Beth to sing on the court-
house steps. I knew what I wanted it to be about, and one night I got to
the piano and my fingers “wandered idly over the organ keys,” and I
played, “Um-ba-da, ba-da-da, da-da-da-da” [sings accompaniment
theme, see example 10.5]. I wrote it down. And I woke up in the morning,
and it was very good, and I thought, okay, that should be the basis of this
song.

MH: Where does that noodling figure in the “Overture” come from? [See
example 10.13.]

SS: That was the basis of a tune called “Darling.” That became the basis of
a number of songs, some of which were cut. But that was primarily writ-
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Example 10.13. From the “Overture” for Merrily We Roll Along

ten for the second scene, which took place in the Polo Lounge, and Gussie
was trying to avoid Joe, and a friend of hers came in and they started to
dish. And they started to dish Joe, and it became a song called “Darling.”

MH: The only place I found where it survived in the score is under “The
Blob.”

SS: That’s right. “Darling” was the beginning of “The Blob.” “The Blob” is
about all the cognoscenti, and that tune or theme or vamp was part of it.

MH: Did you tell Jonathan to feature it in the “Overture,” or was that his
idea?

SS: No. It was his idea. It was more prominent in the show when origi-
nally written. It was a major theme that I had, not just in “Darling”—I
used it in other places, too.

MH: Then, when you added “Growing Up” to the show, it became part of
the tune.

SS: That’s right; I thought I could use it then.

MH: In “Live Alone and Like It” from Dick Tracy, the harmony strikes me
as different from any other song of yours: it’s almost all made up of
fourths, tritones, and fifths, with hardly a third in it. [See example 10.14.]

SS: Really?

Example 10.14. From “Live Alone and Like It”

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MH: Was that a musical representation of what the song is about, where
a third would represent togetherness or a connection, whereas the other
intervals feel separate?

SS: I’m afraid it’s coincidental. I was trying to write what I thought they
would be hearing over the radio in the 1930s, and I thought it should have
a little swing to it. I don’t think I knew that Mel Tormé would sing it, but
it’s supposed to be a kind of a Sinatra swinging tune. That’s all. He [War-
ren Beatty] wanted something playing over the car radio.

MH: In our first set of interviews we spent a fair amount of time talking
about Sunday. You talked a lot about how Seurat had the eye mix colors
that were right next to each other and how that influenced the alternation
between major and minor in the score. But I recently found a quote of
yours that I wish I had known at the time; you say you were “excited by
parallels you saw between Seurat’s use of complementary colors to the
use of dominant and tonic in music.” You were excited by the idea, but
did anything come of it?

SS: That is different. It’s the opening vamp. It’s the opening arpeggios,
which juxtapose two major harmonies against each other—let’s call them
D major and A major [sings approximation of sequence; see examples 4.11
and 4.12]. We’re working with A major and D major, with no bass (the
ninth is the bass, but nevertheless). The juxtaposition of those two things
makes for a kind of, as far as I’m concerned—pretentious or not—shim-
mer. And I thought, yeah! The idea is to put two basic harmonies to-
gether—not a 9th chord and an 11th chord, but a triad and a triad. And of
course that immediately suggests, though it wasn’t conscious, Benjamin
Britten, who does a lot of that. Once I’d abandoned the idea of color next
to color next to color next to color—which would have been minor sec-
ond, minor second, minor second (which would not have made for a very
attractive score)—but once I decided I could use complementary colors in
the harmonies, that gave rise to a number of moments. “Color and Light”
uses it: [sings; see example 4.8]. That combines the two things, doesn’t
it?—the minor second and the two harmonies. Because you’ve got G mi-
nor and G major (depending on how you look at it), or G minor and C ma-
jor. But the real juxtaposition is that first [sings; see example 4.12].

MH: So it doesn’t have to be two triads that are specifically a fourth or

fifth apart?

SS: No. The only time it’s consciously used is the opening. I didn’t con-
sciously use it elsewhere. I just thought, yeah, this sets up what I want—
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this kind of harmonic language. Because you know Sunday, unlike the
other shows, is based more on chordal thematic ideas than on melodic or
rhythmic thematic ideas, and there are a number of chord structures—
two, three, maybe four—that are utilized over and over and over again in
the show and eventually pay off, I think, in “Move On.” So the answer to
your question is, yes, that was conscious. The dominant/tonic stuff was
conscious. Red and blue. Absolutely. But red and blue abutting each other
the way Seurat abutted complementary colors.

MH: With most of your accompaniments, I think I understand why you

did what you did, or at least have some visceral sense. But there’s one
from Sunday where I just can’t figure out your reasoning.

SS: I probably can’t either.

MH: It’s the title tune, “Sunday in the Park with George.” The opening
section makes sense to me, and the part when Dot’s almost fainting that
becomes a theme throughout the score, but then there are all these other
sections where it’s very wide-ranging and full of cluster chords, and the
accompaniment shifts through so many different things. [See example
10.15.]

SS: You’re talking about “-ection” and “-ention” rhymes, right? You’re
talking about those sections? Cluster chords, I use throughout the show—
I use a lot of cluster chords. But what you’re talking about was to echo the
mercurial aspect of her mind. She is a lady with a short attention span and
so that was meant to reflect her mercurial nature. The whole thing is: I
wanted to jerk the audience around, because that’s what she does with
George. One of the problems they have as a couple is he’s dogged and
she’s all over the place. It’s the hedgehog and the fox—he’s a hedgehog
and she’s a fox. He’s going that way, and she’s going all over the land-
scape.

Example 10.15. From “Sunday in the Park with George”

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MH: That makes perfect sense. About the show variously known as Wise
Guys, Bounce, and Road Show, I did an interview with you when Bounce
was at the Kennedy Center, just before it opened there. And at the time
you said, “This was the show we intended, I’m happy with this now, this
is what I wanted.” Obviously . . .

SS: I shouldn’t have opened my mouth.

MH: Are you happy with it now?

SS: Oh, am I ever! Road Show is what we meant. And it took John Doyle
and Oskar Eustis to help us find what we meant.

MH: Oskar Eustis?

SS: He’s the artistic director of the Public Theater and Shakespeare in the
Park; you know, the theater founded by Joe Papp downtown. He recently
directed Hamlet in the park. He dignifies the word dramaturg—which is a
word I find poisonous, but he is the exception. He really helped channel
and focus us. And then, so did John Doyle. So, yes, the answer is we both
love Road Show just the way it is. No improvements. There’s nothing I
want to change. As you know, it got reviewed as usual—dismissively and
condescendingly—but that’s what every show I write with John Weidman
gets, so it’s par for the course. And not to sound too cynical about it: it will
be revived in five or ten years and everybody will say it’s really good.
And when you hear the record, which comes out in about a month,
you’ve got a treat ahead; it’s really good.

MH: I want to ask about orchestrations. When you compose a score do

you have an orchestra in mind? [Sondheim shakes his head no.] No
thought of either size or particular instruments?

SS: Milton Babbitt always claimed that I think orchestrally. What he meant
was, I think contrapuntally. I do not think in terms of clarinet versus trum-
pet. I really don’t. I don’t hear those instruments. I hear piano. Occasion-
ally I hear something being sung, but mostly what I hear is piano, not
even voices. And one of the reasons Jonathan has liked to orchestrate my
stuff is, because it’s contrapuntal, he knows where the lines are going. So
he knows, if he assigns a clarinet to that line, it’s going to end up there. Be-
cause I’m writing linearly as well as vertically. Each time we come to-
gether—when he comes down to rehearsals and sees a number that he’s
going to orchestrate—we then go off into another room afterwards, and
he says, “Now, do you mean this B to resolve to the C, or do you mean the
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B to resolve to the B-flat?” And I will say what I intended. And that allows
him to know where he’s going. But I do not hear instruments individually.

MH: Have you ever heard an orchestration and asked for something to be
changed in it?

SS: Oh, sure. Michael Bennett said something very smart to me the first
time I worked with Michael Starobin. James asked if Michael Starobin
could orchestrate Sunday in the Park with George because we were going to
do it at Playwrights Horizons, and James had worked with Michael there
and Michael was sort of the house orchestrator. It would have been
slightly awkward to ask the producers to let Jonathan Tunick do it. They
would have done it, but luckily Jonathan was busy, and I went to
Jonathan and I said, “Look, they would like. . . . ” He said, “It’s okay, I
think Starobin is good, and also I have X, Y, Z to do.” Then I mentioned it
to Michael Bennett, and he said, “If I were you I would ask the producers
to give Michael Starobin one or two songs to score and just go into a re-
hearsal studio. It’s extra money, but you know you have such a working
relationship with Tunick.” And sure enough, I did it, and it was
overorchestrated. And the reason it was is that Bill Finn does not write out
complete piano copy, and Michael was so used to filling things out—
contrapuntal lines and even harmonies, that Bill Finn did not supply—
that he did it to me. And I said, “No, no. Just stick with what I wrote,
okay?” And he slimmed down, and then he did this brilliant job. But it
was very smart. Because even though I didn’t know a trumpet from a
flute, I knew when there were too many notes and when there was too
much orchestration. He was honoring the harmonies and honoring the
counterpoint, but adding his own stuff. I said, “That’s not necessary.”
When Jonathan adds something it’s because it’s necessary. He will add
one long sustained line in the string section, because I hear things on the
piano and I put my foot on the sustaining pedal. As we all know, that’s
not the same thing. You’ve got to sustain it with a bow going across a
string. So Michael was overdecorating, because he’d had to fill out so
many things so many times at Playwrights Horizons. So, that’s the an-
swer.

MH: A few years ago I did a series of interviews with Jonathan Tunick for
the Library. I have a quote from him that I’d like to read to you: “a simple
triad, C, E and G, it sounds like dishwater—it’s the dullest thing in the
world. But take those same three notes and score them for three French
horns and it sounds thrilling. The result is that a pianist composer will
write a lot more notes than the orchestrator needs and we learn to jettison
them in huge amounts and to substitute for those notes an organic rhythm
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in the orchestra. Or sometimes even that isn’t necessary, just the effort of
the breath keeping the note going is all the energy that’s needed.” So, in
working with Jonathan over the years, has that influenced you to make
your writing sparer?

SS: No, it hasn’t influenced the writing, but it has made me aware. How-
ever, I still write for the piano. If the note dies after four bars because the
pedal doesn’t sustain, I hit it again. I don’t need to, but I’m playing it for
you, and so . . . But I’m fully aware. So sometimes I will—more often than
sometimes—I will write a long sustained note, knowing that I can’t hold
it on the piano, but that the orchestrator will. I guess the answer to your
question is a qualified yes.

MH: With the reduced scores that have happened in more recent vintage,
do you sense that it affects the audience at all? Such as when they did Sun-
day in the Park at the Chocolate Factory with three or four instruments?

SS: Well, the whole thing is “ignorance is bliss.” If you don’t know what
you’re missing, you don’t miss it. But if you do know what you’re miss-
ing then you say, “Gee, it sounded good, but I wish that big climax had
occurred.” You’re going to hear it again with Night Music in the fall, be-
cause it’s for seven instruments, maybe eight if we can persuade the pro-
ducers. Now Night Music is a moderately lush score. It sounds pretty good
as a chamber piece, but you’re going to miss certain things. But if you
don’t know, you might not, because it’s very well orchestrated, by a guy
named Jason Carr—in fact, he’s the one who did Sunday in the Park with
George, too. Yes, I do think there is a thrilling experience to an audience,
as South Pacific has proved, as West Side Story has proved, that when you
hear thirty players play something, it’s simply a lot more thrilling than
seven. It just is. But whether it’s necessary for the total effect of the show,
no, I don’t know. Probably not. At any rate, one of the great things about
being raped is there’s nothing you can do about it.

MH: I’m curious about music in general. Not your music, but listening
and exposure and influences. You were a huge record collector and you
gave us your record collection. You clearly started collecting fairly young.
Did you have a plan about how you were going to find things? Did you
take survey courses in music?

SS: No, I’m just omnivorous, or whatever the word is. The freshman course,
or actually it was the sophomore course, in college was called Music Ap-
preciation. And indeed, one of the things that made me fall in love with the
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music professor [Robert Barrow] and decide to major in music was he was
Mary Poppins—“spit-spot.” And one of the things he said, “I’m going to
play you a piece,” and he played us the Debussy La Mer, and he said, “What
does that sound like to you? Some people say it sounds like the sea. It
doesn’t sound like the sea to me.” And the whole idea was that program-
matic music is nonsense. And so the whole idea of music appreciation he
blitzed out immediately and went into “Okay, now let’s talk about what a
leading tone is . . . now let’s talk about what the diatonic scale is.” And that
of course turned me on like that, and I became a music major. I just listened
to everything I could listen to, because I loved listening to music.

MH: Do you still?

SS: Oh, sure. Except when I’m working, I have music—so-called concert
music—on all the time. And not familiar pieces. I order records from all
over the world, and hear stuff I’ve never heard before. Because that’s
where you steal.

MH: How do you decide what to listen to when?

SS: I order through a company called International Records, Inc. (which is

about to go out of business), based on the West Coast. They send out a
brochure every month, and it contains about forty recordings of pieces
from all over the world written in the last two hundred years. And then
another thirty that are from the eighteenth, seventeenth, and sixteenth
centuries. But they’re from all countries; they’re from everyplace—from
Chile to Finland to you name it. And they very carefully have a little blurb
about each record. They use the word “tonal” a lot, to be sure that people
like me aren’t turned off by “atonal”: “A very tonal piece.” Which means:
it’s pretty atonal, but not entirely, don’t worry about it. So I judge from
those. Of course then there are the obscure pieces by composers. . . . Every
second month there’s a piece by d’Indy I’ve never heard of before—you
know, the Chamber Concerto for Flute, Bassoon, and Jew’s Harp—and I order
that because it sounds interesting. So I listen to a lot of that stuff. At any
rate, music is going on all the time—when I read the newspaper, or when
I do anything but writing. I use my carousel, and I’ve got five or six
records on it, and I play each one twice. And if something suddenly
strikes me, I listen to it carefully.

MH: Do you ever get scores in order to follow along with the recordings?

SS: No, never. I just listen.

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MH: It was surprising with your record collection that you didn’t keep the
jackets with the records and we had to rejoin them.

SS: That was to save space on the shelves.

MH: Did you read liner notes?

SS: Oh yes. I read about the pieces, sure—records then and CDs now.
That’s not quite true. If the piece interests me at all, I read about it. Quite
often I will know a lot about the composer—because I have listened to an
awful lot of stuff and I know a lot of obscure composers—but particularly
if the piece strikes me—sure.

MH: Are you also a fan of particular musicians or conductors?

SS: No, they’ve never meant anything to me. As far as I’m concerned the
best recording of the Ravel Left-hand Piano Concerto is played by Alfred
Cortot. Why? It’s the first one I heard. I’m sure that there are others that
are better—both interpretive and the recording.

MH: When you hear something that you like, do you sort of laser it onto
your brain?

SS: Yes.

MH: Do you make associations for later use, such as, to me that evokes
tender sadness?

SS: No, it’s just I want to hear it again . . . or I want to steal from it.

MH: The stealing part: do you think of certain chords or chord progres-
sions and say, “Oh, that would be perfect here.”

SS: No, it’s not conscious. Obviously, I’m sort of making fun of myself.
No, it just lodges somewhere back here and it will probably show up. Oc-
casionally, I have consciously used something. I remember with the
[Gösta] Nystroem Sinfonia del mare, I did get the score, and I looked at it
because there’s this five-minute passage that I thought was so extraordi-
narily beautiful, and I thought: I’ve got to use that. So I looked at it, be-
cause I don’t have a lot of keyboard harmony. Meaning, if you play me
something unusual and striking, I can’t reproduce it on the piano unless I
look at the score. So if you play me something and I want to play it on the
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piano or use it, I would get the score out—I would have to find the score.
And I was able to find the Nystroem.

MH: Did you end up using it somewhere?

SS: Are you kidding? Half the music I’ve written. Let’s see, “Too Many
Mornings” is based on it. Gosh, what else have I used. I’ve used it two or
three times. Another one is a composer named Montsalvatge.

MH: I know you’ve used the “Lullaby for a Negro Baby” in “Wait” and
“Don’t Look at Me,” as I recall.

SS: Exactly so. So you know that example. If you don’t know the Nys-
troem Sinfonia del mare, listen to it. It’s a two-movement symphony and a
voice comes in at the end of the first movement and it’s just electrifying.

MH: I suspect no one in the history of musical theater has seen as many
first-class revivals and productions of their own works as you have—both
here and in London. And I’m just wondering, having had that experience,
what do you think about what makes a revival work? How far should one
go in creating a new show—rethinking it?

SS: I have no opinions on that. I do know that most of the shows I’ve writ-
ten were probably underappreciated or condescendingly dismissed the
first time around. So that when they occur the second time, if they’re any
good, people tend to say, “Ooh, isn’t that wonderful.” I don’t think it has
to do with the production so much, I think it has to do with the fact that
it’s done a second time. Granted, Joe Mantello’s production of Assassins
was brilliant, but I think the fact that it was done a second time and peo-
ple were able to see it without the Gulf War, without whatever was going
on the first time, they said, “Gee, this is a much more interesting show
then we thought.” And that’s my feeling about what’s going to happen
with Road Show.

MH: How rigidly should revivals follow the original production?

SS: Oh gosh, there’s no rule to that. I think the whole idea of theater is
that, unlike movies, the whole idea is to do it in a different way with a dif-
ferent generation. If you do Hamlet, even if you still keep it in Shake-
spearean costume, you’ve got a new actor; a new actor has a new ap-
proach; a new director has a new approach to acting. So, it doesn’t have
to do with the fact that, “Oh, we’re going to put it in Civil War costumes,”
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it has to do with the fact that it’s still live. The great thing about theater is
what keeps it alive, which is that every generation can do it again—either
in a traditional way or a nontraditional way. And it’s just as true of musi-
cals. The current revival of South Pacific isn’t a big radical rethink of South
Pacific; it’s pretty much what was done the first time, except staged dif-
ferently, but there’s no radical rethink. And because audiences liked it
originally, they like it again. I’m trying to think of something that’s bene-
fited from rethinking; well, I guess Assassins is a wonderful example.
Mantello’s production made everybody sit up and say, “Hey, this isn’t the
shit show we thought it was. This is a pretty good show.” If James ever
gets his chance to put his production of Merrily on the stage in New York
(which is a chance that comes and goes), I think people will reassess that
to its benefit. I may be wrong, but I think so. Some shows are worth see-
ing twice.

MH: My sense is if somebody had just told you about what John Doyle
was going to do with Sweeney you would have said, I don’t want that to
happen.

SS: No. Somebody did tell me, and I said, “Let me see a tape.”

MH: Right. But presumably your initial response on hearing about it was,
“Ooh, that doesn’t sound good”? Or am I assuming too much? I don’t
want to put words in your mouth.

SS: No. My initial response was, “That sounds weird.” I don’t think I ap-
proved or disapproved. In fact, the only thing I disapproved of was cuts
he took without asking me. But no, I just thought, that sounds weird. No,
I’m very open to new interpretations. Richard Jones’s reinterpretation of
Into the Woods when it was done in London is one of the best things I ever
saw in my life. And, as you probably know, it took place in a room: “Ex-
cuse me, Into the Woods takes place in a room?!” It all took place in a room.
And it was wonderful. He had a real idea. And it’s completely unlike the
original. And you know Lapine and I have both said, “If you’re going to
take something we’ve done, make it entirely different. Give us some-
thing—for our purposes—give us something fresh. Something Woo!”

MH: It seems to me that period pieces are much easier to revive than
something that was done as a contemporary piece at the time, and now,
what wasn’t intended to be dated, now seems dated.

SS: Well, that’s true. But then you think of Company and the way Doyle
did it, and the fact is, of course you can say the pot scene is dated, because
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the idea of people being shocked by pot is quaint (to say the least), but
since that’s not what the scene’s really about, it works.

MH: How do you feel about specific changes to accommodate? For in-
stance, you changed the word “fag” to “gay” in “You Could Drive a Per-
son Crazy.”

SS: That’s because you are writing for an audience. And you are writing
for a contemporary audience, so you think about things like that. One of
the problems with West Side Story is they’re saying “frackadatrack” and
“rigatigatum,” and it’s just not very scary. And so, yes, language does
date. There’s no question. Now, if you let enough time go by, then, like
Shakespeare, it doesn’t matter that it’s dated because it’s of its period. But
if it’s recent, if it’s something like Company that’s so recent that most of the
language is still contemporary, but then every now and then you get a
word like “fag” that has gone out of vogue, then you’re pointing attention
to that word—unintentionally—but that’s what you’re doing. That’s now
a condescending word, the way “nigger” is. And now you can’t use a
word like “Negro” without it being condescending—unless you’re mak-
ing a point about using the word.

MH: What about the line like, “Or my service will explain” from “Another
Hundred People,” if nobody has phone services anymore?

SS: Well, ah, that’s different. That’s not about language, that’s about fact.
No, because when you said “fag,” we’re talking about the weight and in-
fluence of language, which is huge. Because that’s about tone, and tone is
everything.

MH: You’ve been heavily involved with the Dramatists Guild, and I know
that you were involved in meetings with Congress about certain issues,
and I don’t know whether you’re a fan of YouTube and things like that,
but I know you’re aware of them.

SS: I’ve seen it.

MH: At the Library, I find I’m constantly dealing with both sides of the
rights issues and copyright—the interest for accessibility and preserva-
tion and people being able to see things they’d never been able to see be-
fore, and the various estates and performers wanting to have their con-
trols. And I’m just wondering where do you fall on the issues?

SS: I have no answer because it’s a very complicated question . . . when

we finally persuaded the unions to let people film shows so that they
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could go up to the library and people could see them, I was all in favor of
that. As far as I’m concerned, I’d be in favor of those things being sold.
The unions of course would have none of it. I think that kind of thing
should be available to everybody. Everybody should be able to see a tape
of Pacific Overtures who never saw Pacific Overtures. They should just be
allowed to see it if they want to see it. At the same time, I believe in intel-
lectual property rights—being ex-president of the Dramatists Guild. So
it’s a very complicated question. And therefore I have no answer for you.
I do not know the solution. I’m not even sure a solution will be found, be-
cause every day it gets easier and easier to access and to put up material.
On the other hand, if everybody takes my stuff and puts it on YouTube,
I’m going have to sell the house. So I have very mixed feelings on it. Cer-
tainly no stand.

MH: How do you feel about things that are done that don’t hurt you fi-
nancially? You know, the parody where somebody took “The Ballad of
Sweeney Todd” and did the [mash up with The Andy Griffith Show]?

SS: I find that flattering. Actually, when they’re adapted for things like
commercials I sometimes insist that the lyric be cleaned up, because I hate
promulgating the rhymes of “home” and “alone,” that sort of thing. So I
get my little uptight professorial thing going.

MH: I know you’re doing your own book on lyric writing, and I hope not
to repeat questions here that you’ll cover there.

SS: You will, because there isn’t that much to say. So of course you will.

MH: I can’t think of another lyricist who is not only as brilliant at rhyme
as you are, but what amazes me as much as your breathtaking rhymes is
when you hide rhyme. I don’t know how you know how to hide a
rhyme—so that it’s in the line but the audience doesn’t notice it, so it
doesn’t shock them or take them out of the moment—such as “I acquired
a chateau/extravagantly o-/verstaffed” from “Liaisons.”

SS: Every case is different. Sometimes you want to hide it and sometimes
you want to show it. And sometimes you want to not rhyme. One of the
little sections in my book is about times not to rhyme. Like the last line of
“Move On.” What makes it so moving is that, not only does it not rhyme,
it doesn’t sound anything like the rhymes that have been set up. If you’re
not going to rhyme—if you’re going to make a feature of not rhyming—
don’t not rhyme let’s say home and go, you’ve got to not rhyme home and
be. It’s got to be so shocking to the ear when you expect the rhyme that,
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when it comes out, there’s no question that it’s not supposed to rhyme.
What makes the line “Give us more to see” so effective is that it follows
“Anything you do, let it come from you”—it’s “Ooo . . . ooo . . . ooo . . .
E!” So there are times not to rhyme. There are times when you want to
hide the rhymes. Nobody ever gets all those hidden rhymes in “The
Ladies Who Lunch”—unless a lyric writer is looking at it or you are.

MH: But you don’t have any special technique to hide them?

SS: No, of course not. Sometimes you just do it. And sometimes the best
way to hide a rhyme, obviously, is to make it so natural within the
speech—as it is in the better parts of “The Ladies Who Lunch”—so that of
course you don’t hear it, it’s just in there.

MH: In Candide, in “Life Is Happiness Indeed,” was it your joke that the
women just sing “-piness . . . -piness.” [Sondheim shakes his head no.] Do
you know what I’m talking about? [See example 10.16.]

SS: No. Oh, I’m so embarrassed. “Penis”?! Oh, I’m sorry, no. Completely
unconscious. Or, not even unconscious, I think it’s another Horowitzean—

MH: It’s the vocal arrangement. The women, Paquette and Cunegonde,
only sing the last two syllables. The men sing “Hap-” and they go “-pi-
ness” . . . And I just thought it was probably your joke.

Example 10.16. From “Life Is Happiness Indeed”

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238 Chapter 10

SS: All I can say is, that’s either Lenny’s idea or Paul Gemignani’s idea; it
ain’t mine. Oh, my goodness gracious. Oh, would I not do that!

MH: I know clarity in lyrics is important to you, which makes me ask

about a few lines that I don’t understand. In “Now You Know,” what does
“put your dimple down” mean?

SS: Oh, you don’t know what dimpling is? You know, I had a feeling when
I wrote that, that it might be too old-fashioned. I don’t even know where
I picked that up. To dimple is, if you have a dimple in your chin, to go
[twists index finger in chin while looking innocent], you go, “Who, me?
No, I didn’t steal the cake.” It’s a form of innocence. It’s a form of naïveté.

MH: So she’s telling him to stop pretending?

SS: Exactly.

MH: And in “Old Friends,” can you explain what you mean by the line,
“Well, what’s the point of demands you can meet”?

SS: Oh, my goodness. That’s about a subtle aspect of human relationships.

If you make a demand that somebody can meet . . . Okay, let me put it this
way. My idea of a good friendship is somebody who will go out of his
way to pick you up at the airport because it’s a demand, or request, that’s
difficult to meet. You have to give up your day to drive out to the airport.
Whereas a demand like, “I’m getting divorced, come over and talk to me,”
that’s very easy. There are demands that are difficult to meet, and I think
mostly it’s the little demands, and I think most relationships are based on
demands that are easy to meet. Not based on—it’s a large topic. But de-
mands that are difficult to meet are the true test of friendship or love, I
think. There are demands that are difficult to meet, as opposed to, “Will
you please hang your socks up?” You know, that’s easy (or sometimes
not). I’m sorry to be so, kind of, bouncing the ball around but, at any rate,
that’s what it’s about—it’s about the fact that there are demands in a rela-
tionship that are easy to meet and demands that are not easy to meet. And
demands that are easy to meet don’t cost you anything and therefore they
don’t count. That’s all Charley’s saying. Whereas for Frank, the demand
that he can’t meet is: “Don’t sell out. Don’t sell us out.” Frank is a guy who
does not meet hard-to-meet demands. He’s too selfish.

MH: You’ve talked about your interest in writing a musical version of the
film Groundhog Day, but I recently read that you decided not to continue
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Encore 239

with it because it called for a contemporary score, and you just didn’t
want to write that kind of score.

SS: That’s right. I don’t think I’d be good at it, is the real problem. Of
course I could imitate contemporary music, but it’s not in my gut. And I
don’t think it’s right to set it back in the fifties or the forties, but I think
these people speak in contemporary language, and that means musical
language. And it’s just something that would not only be difficult for me
to write, but imitative. It’s not my language.

MH: And part of the initial appeal was you liked the idea of theme and
variation as a form?

SS: Oh sure.

MH: You’ve often talked about, “Why musicals?” What is it about that
story that you thought music would add to it?

SS: Oh, my gosh. Think of a love song in which you sing a love song to
her, and then you discover something about her because you’re going to
relive the day, so you sing the love song the second day—because the first
time she doesn’t respond to you at all—the second day you add a little bit,
maybe an extra phrase, just something. Or maybe, what was lighthearted
[sings] suddenly becomes [sings], and so the song suddenly becomes
more of a ballad. Let’s say the first day it’s a lighthearted love song; the
second day, same love song, but it’s got a little stuff going on. She still
doesn’t get it. So the third day, you do that plus you add some interlude.
But you watch the song develop the way your attitude develops towards
her—because you’re living the romance over and over again—and you’re
learning more about: how to get to her, how to get to her, how to get to
her. So by the time you finally seduce her, the song has gone through a set
of processes. That’s my idea of really fun songwriting.

MH: Ooh, I want to hear that.

SS: So do I.

MH: What is it that makes a character—that defines them—that then you

use to musicalize them?

SS: Gosh. It’s the bookwriter. It’s why I work with good bookwriters. You
read eight lines of George Furth, two people talking to each other, and you
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240 Chapter 10

know exactly who they are. That’s because he’s an actor. He knows how
to characterize in two sentences. You know exactly who these people are.
You don’t know all the subtleties, you just know who they are. The same
thing is true with Weidman. And Lapine, too. Lapine’s subtler though, be-
cause the characters in Lapine’s shows are often subsumed into Lapine.
But that’s a different kind of playwriting; it’s a poetic kind of playwriting.
Weidman and Furth deal with sharp—sharply drawn—immediately rec-
ognizable—I don’t mean stereotypical—immediately recognizable char-
acters. With lots of subtleties, but you know you can cast them. You read
a Furth scene, and you have ideas for casting. I mean, I don’t particularly
have ideas for casting, but I would know what was wrong casting. The
same thing is true of Weidman’s work. Lapine is different. Lapine’s a lit-
tle more mysterious. But yeah, it’s about who the bookwriters create and,
as you know, I’ve boasted many times, I’m an actor when I write and I get
into the characters, I just get into them. So, it’s not about being judgmen-
tal, it’s about acting. Because obviously a good actor does not pass judg-
ment on the character he’s playing either.

MH: There are certainly some cases where you’ve written songs where in
essence you’ve almost created the characters. For instance, in “Please
Hello,” the different admirals, and in your notes you write descriptions
like “sly”—you have one-word characterizations.

SS: Yes, but you just used the key thing: one word. These are cartoon char-
acters: the sly, the dumb, the aggressive, et cetera. These are cartoon char-
acters, these are farce characters, these are melodrama characters. Yes, I
can do that. Absolutely, of course, I can do cartoons. But that’s a different
kind of thing. I call them caricatures, although it’s not making fun of
them, but it is about—phew—broad strokes.

MH: With audiences, have you found that you’ve had to adapt to changed
attention spans? Because of television, movies, video games, the speed
with which audiences expect things to happen?

SS: No. I always assume that audiences are medium-speed—that if you

explain enough to them, it’s okay. I know that with a show like Assassins
we assumed that the audiences would catch up to us. That the confusion
about the time travel and that sort of thing, we assumed that they would
be smart enough to catch up. I think if we had written that show in 1950
it would have been spelled out more. That’s a guess. I’ve never discussed
this with John. But otherwise, no, I don’t adjust to the speed of the audi-
ence. The important thing with me with an audience is to be a little bit
ahead of them. If they’re a little bit ahead of you, they tend to get bored.
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Encore 241

Now that’s not quite true, because a lot of the big hit shows are shows in
which the audience is indeed coddled enough so they’re ahead of the
show. That’s not my kind of show. The kind of show I’m interested in,
you’ve got to keep one step ahead of the audience.

MH: Are they useful to you during previews?

SS: Oh, yes indeed. Sure. It’s mostly about understanding. It isn’t that you
wait for an audience to like a show, but you can feel in an audience if
they’re with you. They may be with you and dislike the show, but you can
feel bafflement, or confusion, or lack of focus, or dissipation of interest.
And those are the things you have to pay attention to. You don’t judge
that so much by applause, although that does sometimes help, but by
punctuations of laughter, by the quality of the applause. You can sort of
tell: What are they discerning and what are they not? That’s the important
thing. Does the audience know she’s his mother?

MH: Very few of your musicals have included dance. Is it something you
just don’t like or think about?

SS: It’s just, when dance is useful, fine. When it isn’t, it doesn’t occur to
me to dance, because dance is mostly interludes in shows. Now, if you’re
writing West Side Story, no. Because, in fact, West Side Story is not about
dance, it’s about choreographed action. There are dances, but most of the
dances in West Side Story are either traditional, like “America,” or, that
word that I can’t find in the dictionary, diegetic, like “The Dance at the
Gym.” No, it’s just when it’s useful. . . . I have an idea for a show that
would use dance quite a lot. And it’s something I had, unfortunately,
thirty years ago, and it probably should have been done thirty years ago,
but I’ve been nibbling at it with Weidman. And if I can bring myself to de-
cide that it’s not too old-fashioned. . . . It’s a gimmick idea, but it’s a good
idea.

MH: Would you do dance arrangements?

SS: Oh, my goodness. You know what I did with Anyone Can Whistle, for
the third-act ballet I wrote a series of, I guess they were waltzes, and then
Betty Walberg took them and worked with Herbie Ross, and in some
cases expanded them and in some cases just did the work to accommo-
date. But I wrote the waltzes and then let her work with the choreogra-
pher. Because the problem is you can’t write dance music unless you
work with the choreographer, and when are you going to do that? Lenny
did not write the ballet music for West Side Story with Jerry. He wrote out
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242 Chapter 10

themes and ideas and sections and gave them to Betty. Betty worked with
Jerry, then brought them back to Lenny, and Lenny reworked them to suit,
because there’s no time. You can’t be down at rehearsal every day.

MH: The recent production of West Side, I don’t want you to make a value
judgment over it, but it’s a show I know you have said to me you’re at
least embarrassed about your part of it. If you were writing West Side
Story from scratch today, do you know things that you would do differ-
ently?

SS: No. Well, it depends. Because a lot of it was the weight of Lenny who
was pushing me to do what he called poetic lyric writing, and so it’s an
impossible question to answer. If I were twenty-five years old and Lenny
was thirty-seven, and we were doing it again, no, it would come out the
same way. But it has nothing to do with what I know; it has to do with
how forcefully I could impress my ideas on him.

MH: I’m not just asking about your work, but also things like the style of
the script?

SS: Oh, well the style of the script, I would have to argue that with Arthur.
Well, I think Arthur’s choices were right for fifty-seven; I think they’re
wrong for today. But I don’t know how he’d rewrite it, because you can’t.
Arthur wants to make it contemporary; in effect, he wants to smell the
menace of real street gangs. But even in 1957, the real street gangs didn’t
say “rickytickytum,” they said fuck, shit, and cunt. Well, you put that on
the stage, it doesn’t go with the score. One of the things I said to Arthur
is: “So I’ll say, ‘When the shit hits the fan,’ instead of ‘When the spit hits
the fan.’ And I’ll say ‘Fuck you,’ instead of ‘Krup you.’” But you know
something, that would be wrong. That doesn’t go with the script. So there
they are. And Arthur wants to be menacing, and they’re saying “Krup
you.” That’s not a gang today, or a gang even in fifty-seven. That’s not a
gang, that’s a musical comedy gang. I don’t know the solution. And nor
does Arthur. I spoke to him about it a couple of times, but I had no con-
structive suggestion to make, because he can’t use real street argot. You
can use it on the stage today. In those days, you know I wrote “Fuck you”
for the end of “Krupke,” and nobody would let me use it. I wanted to be
the first person to say a four-letter word on the musical comedy stage. You
know nobody ever used a four-letter word besides damn until Cat On a
Hot Tin Roof, when Burl Ives said “bullshit” in the middle of the second
act. It was the shot heard ‘round the world. The audience jumped out of
their seats. They couldn’t believe they heard the word “bullshit” on the
stage. Twenty years later everybody’s saying “shit” and “fuck.”
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Encore 243

MH: You’ve also said that Maria and Tony aren’t real characters.

SS: No, they’re not.

SS: Would you rethink that, or do you think that’s right for this piece?

SS: No. There’s so little time.

MH: So it’s right for this show.

SS: Oh yeah, I think Arthur developed the characters absolutely as best he

could. There’s no more room to develop it any more richly.

MH: Can you be both right and wrong? You’ve talked about how you’re
particularly embarrassed by what you sometimes refer to as the “A
Song”—”There’s a place for us . . . ” [In “Somewhere,” the most promi-
nent note, because of the height and the fact that it’s reached from a large
leap, lands on the comparatively insignificant word a.] But in many ways
it is clearly a song that, over a couple of generations now, has meant some-
thing to people, and is among your most recorded, most known songs.

SS: What can I say?

MH: So though it may not be ideal, are audiences right that the song
works, even though there are things about it that bother you?

SS: Oh, I don’t think it’s about right or wrong. The fact is, it works in the
show. Although, you’ve seen this production, right?

MH: I saw it in Washington, D. C.

SS: Okay. Well, when that little kid comes out, I just go under the chair and
I hide until it’s all over. [In the 2009 Broadway revival, a young boy sings
“Somewhere” center stage.]

MH: Is he supposed to be what Tony and Maria’s child would have been
if the tragedy had been averted?

SS: [whispered] Yes, yes. I can just feel my body curdling. I find it so
deeply embarrassing. But that’s exactly what it’s supposed to be. It’s
Arthur’s idea.

MH: Do you have any regrets?

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244 Chapter 10

SS: Oh, you’re talking about shows.

MH: Not in your personal life.

SS: No, I’m making a joke. No, no regrets. Only one thing springs to mind,
which is I wish when David Merrick had done Carnival he’d asked me to
write the score, because that score I could have written. But otherwise, no.
Yes, I regret spending a year of my life on Do I Hear a Waltz? I regret that.
I did that as a favor to Arthur and a favor to Oscar, and it was wrong.
That’s not why you write; you don’t write for favors, you write for love.
And that was a mistake. It’s a perfectly respectable show; it’s just dead.
It’s dead in the water, but it’s respectable. But no, otherwise no, I don’t re-
gret Anyone Can Whistle or the shows that didn’t work out the way they
should have.

MH: I know you don’t like overviews, but is there anything you’re par-
ticularly proud of, or what you see your influence as having been?

SS: No. It’s hard. I know that people have said that I have an influence. I
can occasionally hear it in a score or in a show. But it’s neither good nor
bad, I just hear it, I think, oh my god.

MH: You don’t think that you’ve changed musical theater, and that you’re
part of the evolution of it?

SS: I guess I have. I guess I think I have. It’s a hard question to answer be-
cause I read that I have, and I can see the reasoning, and I guess I believe
it. The way, you know, Oscar influenced me and I influenced others. The
way Oscar changed the theater is the way I’ve changed the theater. Or
changed the thinking about how to write scores and how to write shows.
It’s not about changing the theater, it’s about ways of approaching scores
and ways of approaching the writing of shows. Yeah. And, in that sense I
think I was, if not a pioneer, at least the baton was passed on. Because Os-
car was an experimental writer and I’m an experimental writer, and that’s
all there is to it. And I learned that from him. And that’s why it was so
lucky that I was his gofer on Allegro, because I learned how to write an ex-
perimental flop. That’s important. That’s very important.
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Part II

SONGS I WISH I’D WRITTEN

(AT LEAST IN PART)

On May 22, 2000, the Library of Congress produced a concert in honor of

Sondheim’s 70th birthday. The concert, conducted by Paul Gemignani and
directed by Kathleen Marshall, opened with the songs from Sondheim’s
1974 The Frogs, with new orchestrations by Jonathan Tunick. This rarity
was followed by a number of Sondheim’s favorite songs by other com-
posers and lyricists. Sondheim spoke briefly, introducing these; a tran-
scription of his comments follows. Also reprinted here from that evening’s
program are the introduction and complete list of “Songs I Wish I’d Writ-
ten (At Least in Part),” and the birthday messages from Sondheim’s fellow
composers and lyricists as well as colleagues Gemignani and Tunick.
Sondheim’s comments:

To say why I picked each of these songs would take much too long. The
fact is, when Mark Horowitz of the Music Division of the Library of Con-
gress, suggested this notion, he said: Just make a list of songs that you like.
I made a list of fifty; I could have made a list of 150. But out of those fifty
we selected about fifteen or sixteen to be performed this evening. Part of
the reason behind them is that, as you all know, it’s such a pleasure to
share your enthusiasms with people. I wanted to include a lot of songs that
most of you wouldn’t know. I actually listed reasons for each, but for now
will just give you some of them. I wanted to make an eclectic group. There
are some, for example, that I find emotionally moving, like Adam Guet-
tel’s “Riddle Song” from Floyd Collins. Some songs I chose because they
have enormous freshness and invention, for example, “Silverware,” which
I suspect most of you don’t know, but which is one of the most extraordi-
narily unusual songs ever written. Some I chose because of their sheer skill
and delight, like the song “Better,” by Ed Kleban, and “When in Rome,” by

245
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246 Songs I Wish I’d Written (At Least in Part)

Carolyn Leigh and Cy Coleman, which I suspect some of you know. For its
tenderness, I chose Maury Yeston’s “New Words.” Some I selected because
they contain favorite lyric lines in them: “When Did I Fall in Love?” and
“The Eagle and Me.” Some because they tell wonderful stories, like “The
Golden Willow Tree.” “Bambalelê,” which is a South American folk song,
because of its joy. I chose a couple that are very familiar. One, “You Can’t
Get a Man with a Gun,” because most people, I think, don’t appreciate
how brilliant Irving Berlin was as a comic lyric writer. People think of him
as sort of four-square and very simple, but he was right up there with Cole
Porter, or any of the rest of them. There are, I think, sixteen jokes in “You
Can’t Get a Man with a Gun,” all on the same subject, and every single one
is a surprise, and every single one has a fresh rhyme that you don’t see
coming. It’s remarkable. Finally, I included “My Man’s Gone Now,” I
guess because it’s the best song I ever heard, and it moves me. It’s got a
lyric by DuBose Heyward, whose lyrics for Porgy and Bess are, I think, the
best lyrics in the musical theater. [Sondheim was visibly moved at this
point.] So, having emotionally destroyed myself: “But first. . . .”

From the Program:

Songs I Wish I’d Written (At Least in Part)

As various ideas for this evening’s concert were discussed with Sond-
heim, he latched on to one which we had titled “Sondheim’s Desert Is-
land.” It was Sondheim who suggested the title “Songs I Wish I’d Written”
and then later insisted on the addition of “(At Least in Part).” It should
come as no surprise that “At Least in Part” has many meanings: foremost
among them is that this is not intended to be a complete list. Rather, these
are the songs that “first occurred” to Sondheim as being not only songs he
wishes he’d written, but also songs that (again, for the most part) he
thought in danger of being forgotten or dismissed. He also included songs
by composers that he felt people, wrongly, supposed that he did not like or
respect. From the 55 songs which he requested to be printed in this pro-
gram (again, he wishes to emphasize, only a partial list), he selected the
ones to be performed this evening.

STEPHEN SONDHEIM:
SONGS I WISH I’D WRITTEN (AT LEAST IN PART)

Music by Milton Ager; Lyrics by Jack Yellen, Bob Bigelow, and Charles Bates
“Hard Hearted Hannah, the Vamp of Savannah” (1924)

Music by Harold Arlen; Lyrics by Johnny Mercer

“Blues in the Night” from the film Blues in the Night (1941)
“I Had Myself a True Love” from St. Louis Woman (1946)
“I Wonder What Became of Me” from St. Louis Woman (1946)
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Songs I Wish I’d Written (At Least in Part) 247

Lyrics by E. Y. Harburg
“Buds Won’t Bud” from Hooray for What (1937)
“The Eagle and Me” from Bloomer Girl (1944)

Music and Lyrics by Irving Berlin

“I Got Lost in His Arms” from Annie Get Your Gun (1946)
“Let’s Face the Music and Dance” from the film Follow the Fleet (1936)
“You Can’t Get a Man with a Gun” from Annie Get Your Gun (1946)

Music by Leonard Bernstein; Lyrics by Richard Wilbur

“Glitter and Be Gay” from Candide (1956)

Music by Jerry Bock; Lyrics by Sheldon Harnick

“Ice Cream” from She Loves Me (1963)
“Tell Me I Look Nice” cut from She Loves Me (1963)
“When Did I Fall in Love?” from Fiorello! (1959)

Music and Lyrics by Johnny Burke

“Sad Was the Day” from Donnybrook! (1961)

Music by Moose Charlap; Lyrics by Eddie Lawrence

“I’ll Never Go There Anymore” from Kelly (1965)

Music by Cy Coleman; Lyrics by Carolyn Leigh

“The Best Is Yet to Come” (1959)
“The Other Side of the Tracks” from Little Me (1962)
“Real Live Girl” from Little Me (1962)
“The Rules of the Road” (1961)
“When in Rome (I Do as the Romans Do)” (1964)

Music adapted by Aaron Copland

“Golden Willow Tree” from Old American Songs II (1954)

Music arranged by Luciano Gallet

“Bambalelê (Brazilian Song of the Northern Interior)”

Music by George Gershwin; Lyrics by DuBose Heyward

“My Man’s Gone Now” from Porgy and Bess (1935)

Music and Lyrics by Adam Guettel

“Riddle Song” from Floyd Collins (1994)

Music by Ray Henderson; Lyrics by B. G. De Sylva and Lew Brown

“Birth of the Blues” from George White’s Scandals of 1926

Music and Lyrics by Peter E. Jones

“Bluellow” from Peyton Place (1994)
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248 Songs I Wish I’d Written (At Least in Part)

Music by Walter Jurmann and Bronislau Kaper; Lyrics by Gus Kahn

“San Francisco” from the film San Francisco (1936)

Music by John Kander; Lyrics by Fred Ebb

“Home” from 70, Girls, 70 (1971)

Music by Harold Karr; Lyrics by Matt Dubey

“Silverware” from We Take the Town (1962)

Music by Jerome Kern; Lyrics by Oscar Hammerstein II

“I Am So Eager” from Music in the Air (1932)
“The Song Is You” from Music in the Air (1932)

Music and Lyrics by Edward Kleban

“Better” (1973)

Music by Michael Leonard; Lyrics by Herbert Martin

“I’m All Smiles” from The Yearling (1965)

Music and Lyrics by Frank Loesser

“Make a Miracle” from Where’s Charley? (1948)

Music and Lyrics by Hugh Martin (*with Ralph Blane)

“Ev’ry Time” from Best Foot Forward (1941)*
“Gotta Dance” from Look, Ma, I’m Dancin’! (1948)
“I Wanna Be Good ‘n’ Bad” from Make a Wish! (1951)
“The Trolley Song” from the film Meet Me in St. Louis (1944)*

Music and Lyrics by Bob Merrill

“On the Farm” from New Girl in Town (1957)

Music by Xavier Montsalvatge; Text by Ildefonso Pereda Valdés

“Canción de Cuna Para Dormir a un Negrito” from Cinco Canciónes Negras
(1958)

Music by Lewis F. Muir; Lyrics by L. Wolfe Gilbert

“Waiting for the Robert E. Lee” (1912)

Music and Lyrics by Cole Porter

“Every Time We Say Goodbye” from Seven Lively Arts (1944)
“Let’s Be Buddies” from Panama Hattie (1940)
“Let’s Not Talk about Love” from Let’s Face It (1941)

Music by Richard Rodgers

“What’s the Use of Wond’rin’?” from Carousel (1945); Lyrics by Oscar Ham-
merstein II
“Why Can’t I” from Spring Is Here (1929); Lyrics by Lorenz Hart
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Songs I Wish I’d Written (At Least in Part) 249

Music and Lyrics by William Roy

“Charm” from Maggie (1953)
“What Every Woman Knows” from Maggie (1953)

Music by Arthur Schwartz

“By Myself” from Between the Devil (1937); Lyrics by Howard Dietz
“He Had Refinement” from A Tree Grows in Brooklyn (1951); Lyrics by
Dorothy Fields
“There’s No Holding Me” from Park Avenue (1946); Lyrics by Ira Gershwin

Music by David Shire; Lyrics by Richard Malby, Jr.

“Travel” from Starting Here, Starting Now (1977); originally written for the
unproduced musical The River (1960)

Music by Charles Strouse; Lyrics by Lee Adams

“You’ve Got Possibilities” from It’s a Bird, It’s a Plane, It’s Superman (1966)

Music by Jule Styne; Lyrics by Betty Comden and Adolph Green

“When the Weather’s Better” from Hallelujah, Baby! (1967)

Music and Lyrics by Maury Yeston

“New Words” from History Loves Company (1989)

The following comments were solicited by the Library from the living composers
and lyricists whose works were included in Stephen Sondheim’s “Songs I Wish
I’d Written” list. On hearing about this, Messrs. Gemignani and Tunick re-
quested the opportunity to include comments of their own.

There are dozens of Stephen’s songs I wish I had written. His work is an inspi-
ration and a challenge to us all.
Lee Adams

Dear Steve,
After reading your insightful, intimate and ultimately moving profile in
The New York Times, allow me to rewrite (as all musicals are) the caption un-
der your shtetl-like photo on the cover, to whit:
YOU DON’T STOP WRITING BECAUSE IT’S GONE
IT’S GONE BECAUSE YOU STOP WRITING
Don’t stop!
Jerry Bock

In a very gracious act of generosity, Stephen Sondheim has chosen fifty five
songs he wished he had written to be performed at a concert celebrating his
70th birthday. Imagine that, it’s his birthday and I’m getting a present because
among the songs he chose are five written by Carolyn Leigh and myself.
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250 Songs I Wish I’d Written (At Least in Part)

Stephen Sondheim is a towering figure in the theatre and musical worlds

who has put his personal imprint on a few generations of writers. He has le-
gions of devoted fans and as many imitators.
Happy Birthday, Stephen. Congratulations on your seventy years of cre-
ative accomplishments and wishing you many more.
Cy Coleman

Working with Stephen Sondheim over the years, I have learned so much.
He challenges one, both musically and intellectually. He never takes the easy
way out and does not expect you to, while all of the time allowing you your
creative freedom. Working with Steve has always made me thankful and
proud to be a musician.
Regards,
Paul Gemignani

Twenty years ago I sat down at Steve’s piano and played what I hoped
he would think was the best music he’d ever heard. My music. The next
day, I must have written him the world’s most passive-aggressive thank
you note, because this was his response, which I still have, framed in my
studio.

Dear Adam,
Thanks for the letter, but I didn’t mean to be “not very encouraging.” In fact, I
hoped I was being quite the reverse: for me, true encouragement consists not so
much of burbling as of detailed attention.

And then:
Just keep writing as we all do—or should. With love, Steve

Two months ago, I played Steve several songs from my current project. It
was “cut this, move that, too poetic, too prosaic, excellent, not so excellent,
etc.” It was wonderful. It was liberating. It was, above all, loving, because a
real mentor never burbles, and a mentee learns if he’s lucky, that the point is
not to be good, but to improve. It doesn’t matter that I’ve played for Steve
only twice. The lesson will span my life. And of course, there is his own
work, never ever burbling, unsurpassed.
Adam Guettel

I was delighted to be included in Stephen Sondheim’s list of “Songs I Wish

I’d Written.” But I’m somewhat bewildered because I’m fairly certain that
Mr. Sondheim actually did write some of the lyrics he attributed to me. I re-
member writing “When Did I Fall in Love?” but I’m not too sure of “Ice
Cream.” And I can say with absolute certainty that he wrote “Tell Me I Look
Nice.” At least, I think so. As to the lyrics I wrote which he claims to have
written, I would be happy to discuss them but I’m rather pressed for time. I
will say, however, that whoever wrote them they’re lovely.
Sheldon Harnick
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Songs I Wish I’d Written (At Least in Part) 251

A recollection, apropos: 1991. A study, with ten thousand recordings dom-

inating the west wall, save a nook, housing a hi-fi with a modest reel-to-reel
deck. Included are one god of the theatre, and one neophyte. Minds bub-
bling, hearts burgeoning. Wine pouring. I’m showing great interest in his col-
lection of reel-to-reel tapes of obscure show demos.
P: “WE TAKE THE TOWN? I love HOW DOES THE WINE TASTE!” S:
“HOW do you know that? You’ve gotta hear SILVERWARE. S: “Gee, I wish
I’d written that! What else do I ha . . . OH! You’ve gotta hear this one from
KELLY—it’s seven minutes long!” P: “When was the last time you cleaned
these heads?” “I’LL NEEEEEEEEEEEEVER GO THERE ANYMORE!,”
Moose Charlap screams from the most distorted recording I’d ever heard in
my life. S: “Isn’t that terrific?” P: “Yeah, but I’ve gotta eat something.” “ON
THE FARM” I was not, and did “I WANNA BE GOOD ‘N’ BAD!” More wine,
more favorites, more fun, and the evening flew by, as, indeed, the years have.
Now, many people will be treated to an evening of these gems as I once was.
The feeling of that evening never leaves me, and neither does my love for the
gem most precious to me.
Happy 70, Steve!
Peter E. Jones

Dear Stephen,
Congratulations on this celebration of your brilliant contribution to the
American musical theatre. We are so proud that our song “Home” was in-
cluded in your list. We are prouder still that you are our friend.
With many, many bravos for you and your work and much love,
John Kander and Fred Ebb

A writer I knew greeted people with names of theatre greats. Instead of

“Hello” he’d say, “Luigi Pirandello!” “See you later” was, say “Oscar Wilde
. . .,” or, if he were in a rush, “O’Neill!” Going in to see Company I waved over
at him and he called back, “Euripides!” During intermission we ran into one
another in the lobby and both of us shouted, “Steve Sondheim!”
Hockney said Picasso was his main man because Pablo gave him the
permission and courage to go all the way. Sondheim did it for lyricists,
composers, and playwrights. What a dandy thing to discover our number
from the original Kelly among his list of “Songs He Wishes He’d Written.”
(Such a generous notion.) If Moose Charlap were around we’d have taken
an ad.
Eddie Lawrence

Stephen Sondheim’s unique talent, extraordinary craftsmanship, and enor-

mous “ears” have changed musical theater forever and set the standard for
everyone who follows.
Happy Birthday!
Michael Leonard
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252 Songs I Wish I’d Written (At Least in Part)

Dear Steve,
We couldn’t be more delighted to have one of our songs on your wish list,
since there is no song of yours we wouldn’t want on ours. Your mentorship
when we were fledglings, your encouragement, the inspiration of your work
throughout our entire career—for all this we are profoundly grateful. You
have always shown us what was possible and what to reach for.
Happy, happy birthday! Don’t ever stop singing.
With Love,
Richard Maltby, Jr., and David Shire

Fond I’m
Of Sondheim
He’s my muse-ical God!
For where would the world be
Without Sweeney Todd?
Where would it be
Without Gypsy or Forum?
For those two alone
I’ll forever adore’m!
And with Story, Night Music
And Follies and Passion,
It’s a sure bet
S. Sondheim
Won’t pass out of fashion!
Yes, where would the world be
Without Sundays with George?
Or the fact that Steve’s written music
On which we happily gorge?
He’s let us keep
Company
With his ingenious styles
Which accounts for the reason
Most days, “I’m All Smiles”!
Now with just a word
Or two more
I’ll finally end this epistle:
Happy Birthday,
Steve Sondheim

Please keep on making us

Whistle
Herbert E. Martin

When I saw Anyone Can Whistle during its pre-Broadway tryout period, I
seemed to hear History whispering in my ear, “I’m getting ready to send in
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Songs I Wish I’d Written (At Least in Part) 253

a new era of the American Musical Theater.” When I saw Company, I whis-
pered back, “Don’t bother, it’s here.” By the time I saw Sunday in the Park with
George and Into the Woods, the whispers had turned to shouts of joy.
Thank you, dear Stephen, for a never-ending stream of new beginnings.
Your grateful fan,
Hugh Martin

As for a comment on Stephen, I can only say that since “Anyone Can Whis-
tle” I have been an unswervable fan of his work, musically as well as lyri-
cally, and in the unlikely event that someone should ask me for a list of fifty-
five songs I wish I had written, I could easily fill the list with songs of
Stephen’s, with no effort at all. As a composer, the pleasure for me has been
in not only discovering his words and his music, but also in learning from
them.
William Roy

I’ve known Stephen Sondheim for longer than either of us would like to admit.
He said to me a long time ago, that “writing music was, for him, relatively
easy, but lyrics he sweated and sweated over.”
That remark still gets me crazy.
Happy Birthday Stephen.
Love,
Charles Strouse

Steve’s misfortune is to be an Apollonian artist set down in a Dionysian

era; despite this he has established himself as our theater’s preeminent mu-
sical dramatist, and it has been my privilege to have served him as orches-
trator these many years.
In my more wistful moments I’ve considered a few items that I wish that
he had written:
1. Phantom of the Opera (what happens when the writers take over the the-
ater)
2. Sunset Boulevard (what happens when the actors take over the theater)
3. La Cage Aux Folles (as Rossini remarked regarding a good melody writ-
ten by an otherwise unworthy composer: “Troppo buone per questo
coglione!”—Too good for that bastard!)
4. Les Miserables (just for the money)
Steve’s graciousness towards me is of long standing—to him I owe a ca-
reer, my sanity, and an appreciation of his ability to observe with a knowing
chuckle, the human condition. Thanks for all that, Steve, and for always
treating me as an Old Friend.
Jonathan Tunick

Things I wish I’d written: “Ode to Joy,” “Lovely” (Funny Thing), “Lullaby”
(Brahms), “The Ladies Who Lunch” (Company), “I’m Still Here” (Follies), “In
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254 Songs I Wish I’d Written (At Least in Part)

the Still of the Night” (Porter), “In the Still of the Night” (Doo Wop), “Send
in the Clowns,” “Aba Daba Honeymoon,” “Back in Business” (Dick Tracy), A
Little Night Music (Mozart), A Little Night Music (Sondheim), “Smile” (Chap-
lin), “Children Will Listen” (Into the Woods), Winterreise (All), Sweeney Todd
(All), “A Little Priest” (this one gets a special mention), “Please, no grass . . . the
theater is a temple, not a class!” (The Frogs, Yale Pool), “Someone to Watch
Over Me” (Gershwin), “Not While I’m Around,” Sunday in the Park (All), etc.
etc.
Living national treasure. Member of the Pantheon. Thanks for saving the
last quarter of the century . . .
Maury Yeston
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Part III

SONG LISTING,
DISCOGRAPHY
AND PUBLISHING
INFORMATION
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Explanatory Notes

I have tried to make the following song listing as useful, informative,

and easy to use as possible, but some further clarification is necessary.
First, “song listing” is slightly misleading, as all of Sondheim’s known
musical works, not just songs, are listed. All works (published and un-
published) are listed in alphabetical order, ignoring initial articles
“The,” “A,” and “An.” Works with commonly used alternate titles, such
as “Buddy’s Blues” and “The God-Why-Don’t-You-Love-Me Blues,” are
cross-referenced. Particularly in his later scores, such as Into the Woods
and Passion, published scores reflect titles such as “Opening (Part IV),”
whereas recordings refer to these sections with titles like “Jack, Jack,
Jack.” I have attempted to cross-reference as many of these as seemed
useful, or at least include the score information parenthetically with the
more commonly known title. “See also” references refer to a related
song, often a later or earlier version of the same song, or to indicate
songs that are usually linked, such as “Love Will See Us Through” and
“You’re Gonna Love Tomorrow.”
Each song title is followed by its source—be it a stage musical, film, or
television show. “From” is self-explanatory. “Cut from” generally means
that the song was not used in the final version of the show, but in some
cases, the song may never have been rehearsed. However, the difference
between “cut” and “unused” seems either too subtle, or too difficult to
track down, to be worthy of the distinction. Songs that were written for
revivals of shows, or, as in the case of Saturday Night, decades after the
majority of the score was written, are described as being “written for the
[year given] production of [show title].” “For” generally means that the
show was unproduced or the song was unfinished.

257
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258 Explanatory Notes

Most show titles are clear and unambiguous, but one unproduced show
that Sondheim worked on as lyricist to Leonard Bernstein has been vari-
ously known as A Pray by Blecht, The Exception and the Rule, and The Race
to Urga; the second option is the title I have decided to use here. His most
recent show, Road Show, was produced in an earlier version under the ti-
tle Bounce, and before that had workshops and readings under the titles
Gold! and Wise Guys. Songs that are on both the Bounce and Road Show
recordings may be slightly different, but are here considered the same
song.
After a show’s title is a year in parentheses. For produced shows, this is
the year that the show opened; for unproduced works this is the year or
years in which the show was predominantly written. Unproduced shows
are described as “unproduced” after the date. Any composer and lyricist
collaborators are noted after the date information. Other notes or points
of interest follow in square brackets.
For songs that have been published, that information is conveyed in the
next line. At the end of this section are the definitions of the codes that in-
dicate the title of the published vocal scores, vocal selections, and song-
books referenced. Not all of these are in print, but between libraries and
various auction catalogs, used bookstores, and music websites, all should
be available to the determined collector. The codes for the published
songs are usually followed by information on the vocal range. If no range
is given, it is either described as a “company number,” meaning for mul-
tiple voices, or “instrumental.” The ranges are given using the standard
designation of middle C as “c1,” the C an octave above as “c2,” and an oc-
tave above that as “c3”; the C below middle C is “c,” and the C below that
is “C.” Most songs are written in the treble clef, even if they are specifi-
cally for men and sung an octave lower than written. The primary excep-
tion is in Sweeney Todd, in which Sweeney and the Judge are written in the
bass clef in the piano-vocal score, and are so designated here. The range
information is given here for two primary purposes: to inform singers if
they have the range for a given song, and, in the cases where a song has
been published in various keys, to determine which publication best suits
the singer’s tessitura. For instance, there are versions of “Being Alive”
listed here in which the lowest note is F, G, B, or D. When ranges are given
for duets, or trios, the information is given in the order that the voices are
heard in the work, separated by slashes. Not included here are Sondheim
songs published in general collections of songs, most individual sheet
music, and instrumental or choral arrangements.
Next appears the discographical information. This includes only pub-
lished, commercially available recordings—not personal or pirated
recordings, which abound. It also includes only vocal recordings of songs
with lyrics by Sondheim but music by another composer—wherever it is
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Explanatory Notes 259

possible to distinguish them (with the exception of a listing at the end of

some major instrumental albums of West Side Story, Gypsy, and Do I Hear
a Waltz?).
The listings under each title are divided into two sections. First are the
show recordings (in the broadest sense) in chronological order—as
closely as can be determined. For these, the album title is followed by the
performer’s name, followed by the recording information. Second are
the recordings by singers, singing groups, and instrumentalists, listed al-
phabetically by lead performer or group name. This list includes the per-
former’s name, followed by the album title, followed by the recording
information. For recordings that contain three or more songs by Sond-
heim, a code is given (in SMALL CAPS) to direct the reader to the recording
information found in the section at the end of this guide (beginning on
page 485). In essence, those pages contain the heart of what would be the
most significant collection of Sondheim recordings. For recordings
which contain only one or two Sondheim songs, all the available infor-
mation for the recording is listed under the individual songs. There are
a few show recordings that are out of chronological order, as I discov-
ered their existence after codes had already been used throughout the
song listing. There are also a few cases where a recording includes fewer
than three Sondheim songs, but it was included in the second portion of
the discography in order to display, for instance, all known Candide
recordings together. I hope these examples are clear and will cause no
confusion.
As of 2010 there are seven albums that comprise collections of (mostly)
previously recorded Sondheim songs: A Collector’s Sondheim, The Stephen
Sondheim Songbook, The Sondheim Collection, The MUSICality of Sondheim,
Send in the Clowns: The Ballads of Stephen Sondheim, Comedy Tonight!:
Stephen Sondheim’s Funniest Songs, and Stephen Sondheim: The Story So Far
. . . (see page 546). Cuts included in these are indicated in the body of this
discography with the superscript numbers 1, 2, 3, 4, 5, 6, or 7 appearing after
the title of the source recording. Not included in this discography are pre-
viously issued recordings that are included in non-Sondheim collections,
usually with titles like “Broadway’s Greatest Hits.” On the other hand,
when a singer recorded a Sondheim song on one album that was later re-
leased as part of another—particularly a compilation album of the
singer’s work—frequently both recordings are included. Reissues, partic-
ularly of LPs subsequently released on CDs, are often but not consistently
cited. Knowing that a particular performer has recorded a particular song
should be enough information to seek out a more recent reissue (or, these
days, a downloadable file).
Credit must be given to the appendix to Stephen Banfield’s book, Sond-
heim’s Broadway Musicals, which proved to be an invaluable starting point
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260 Explanatory Notes

for much of the title and show information. There were dozens of sources
for the discographical information and I am grateful to all who con-
tributed citations and missing pieces of information. The section is greatly
expanded in this edition, not only with new songs and recordings that
have come out since the first edition, but the Internet (particularly sites
like www.allmusic.com, castalbumcollector.com, and foreign-language
sites like the German www.soundofmusic-shop.de), has made it easier to
find information on more obscure, out of print, and foreign recordings.
Any compilation of this type is inevitably incomplete and dated by the
time it is printed, but it is hoped that the benefits will outweigh the im-
perfections. My fervent wish is that Sondheim will write many more
shows and all of his works will continue to be published and recorded.
Annotate this listing as you see fit, and for those obsessive-compulsive
types, I shall try to correct it and keep it updated for future editions.

CODES FOR PUBLISHED MUSIC

ACWPVS Anyone Can Whistle piano-vocal score, Hal Leonard 312012

ACWVS Anyone Can Whistle vocal selections, Hal Leonard 312010
APVS Assassins piano-vocal score, Warner Bros. VF1765
ASI All Sondheim vol. I, Warner Bros. VAL2023
ASII All Sondheim vol. II, Warner Bros. VAL2024A
ASIII All Sondheim vol. III, Warner Bros. VAL2025A
ASIV All Sondheim vol. IV, Warner Bros. 0283B
ATGVS All That Glitters vocal selections, Broadcast Music Inc., 1949
AVS Assassins vocal selections—revised, Warner Bros. VF1928
BOB Bernstein on Broadway, Amberson/G. Schirmer
BSBA Barbra Streisand The Broadway Album, Hal Leonard
HL00358239
BSBB Barbra Streisand Back to Broadway, Cherry Lane Music/Hal
Leonard 02502132
BSC Barbra Streisand The Concert, Cherry Lane Music/Hal
Leonard 02502164
CaPVS Candide piano-vocal score, Macmillan/Schirmer Books; cur-
rent edition, Boosey & Hawkes M051966103
CaVS Candide vocal selections, Amberson Enterprises/G.
Schirmer; current edition, Boosey & Hawkes M051922338
CFC The Complete Follies Collection, Author’s Edition, Hal
Leonard HL00313306
CPVS Company piano-vocal score, Hal Leonard HL00362136
CVS Company vocal selections, Valando Music, 1970
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Explanatory Notes 261

CVS2 Company vocal selections, 25th Anniversary Edition, Hal

Leonard HL00359494
CVS3 The Complete Company Collection, Author’s Edition, Hal
Leonard HL00359494
DIHPVS Do I Hear a Waltz? piano-vocal score, Hal Leonard 312116
DIHVS Do I Hear a Waltz? vocal selections, Hal Leonard 312115
DTVS Dick Tracy vocal selections, Hal Leonard HL00490516
FLVS Follies London vocal selections, Carlin Music Group/IMP
89042/Hal Leonard HL00359869
FPVS Follies piano-vocal score, Hal Leonard 362215
FTPVS A Funny Thing . . . Forum piano-vocal score, Hal Leonard
312152
FTVS A Funny Thing . . . Forum vocal selections, Hal Leonard
312151
FVS Follies vocal selections, Charles Hansen
GPVS Gypsy piano-vocal score, Hal Leonard 312188
GVS Gypsy vocal selections, Hal Leonard 312187
HTSS Hansen Treasury of Stephen Sondheim Songs, Charles Hansen
Music & Books, Inc.
ITWPVS Into the Woods piano-vocal score, Warner Bros. VF1544
ITWVS Into the Woods vocal selections, Warner Bros. VF1445
LNMPVS A Little Night Music piano-vocal score, Warner Bros.
VAL2014A
LNMVS A Little Night Music vocal selections, Warner Bros.
VAL2013A
MWRPVS Merrily We Roll Along piano-vocal score, Revelation Music &
Rilting Music/Tommy Valando
MWRVS Merrily We Roll Along vocal selections, Warner Bros.
VAL2015A
POPVS Pacific Overtures piano-vocal score, Warner Bros. VAL2017
PPVS Passion piano-vocal score, Warner Bros. PF9608
PRSM Phinney’s Rainbow sheet music, Broadcast Music Inc., 1948
PVS Passion vocal selections, Warner Bros. VF2164
SCCH Sondheim: A Celebration at Carnegie Hall, Warner Bros.
VAL2022A
SNVS Saturday Night vocal selections, Hal Leonard HL00313107
SPGPVS Sunday in the Park with George piano-vocal score, Warner
Bros. VAL2019A
SPGVS Sunday in the Park with George vocal selections, Warner Bros.
VAL2018A
SSFTS Stephen Sondheim Film and Television Songs Warner Bros.
0098B
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262 Explanatory Notes

SSS The Stephen Sondheim Songbook, Chappell & Company/Elm

Tree Books, London, 1979
STPVS Sweeney Todd piano-vocal score (revised), Warner Bros.
VAL2021B
STVS Sweeney Todd vocal selections, Warner Bros. VAL2020A
WSSFS West Side Story full score, Boosey & Hawkes MO51211760
WSSPVS West Side Story piano-vocal score, Boosey & Hawkes
MO51970209
WSSVS West Side Story vocal selections, Boosey & Hawkes
MO51933457
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Song Listing

“A-1 March” from Anyone Can Whistle (1964) [also known as “Hooray for
Hapgood”]
ACWPVS d1-g2
Anyone Can Whistle Original Cast (Ensemble) [part of “A Parade in
Town”], see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Ensemble), see ANYONE2

“Act I Prologue” from Pacific Overtures (1976)

POPVS d-b1

“Act Two Opening” added to Merrily We Roll Along (1989) [includes “He’s
Only a Boy” and a modified version of “Good Thing Going”]
Merrily We Roll Along Revival Cast (Michelle Pawk), see MERRILY2
Merrily We Roll Along London Cast (Louise Gold), see MERRILY3

“Ad” from Mary Poppins (1950, unproduced)

“Addison’s City” from Bounce (2003) and Road Show (2008)

Bounce Original Cast (Gavin Creel, Howard McGillin, Richard Kind,
Michelle Pawk), see BOUNCE1
Road Show Original Cast Recording (Claybourne Elder, Michael
Cerveris, Alexander Gemignani, Company), see ROADSHOW1

“Addison’s Trip” from Bounce (2003) and Road Show (2008), [see also
“Lunch”]
Bounce Original Cast (Richard Kind, Ensemble), see BOUNCE1

263
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264 Song Listing

Road Show Original Cast Recording (Alexander Gemignani, Company),

see ROADSHOW1

“The Advantages of Floating in the Middle of the Sea” from Pacific Over-
tures (1976)
POPVS company number
Pacific Overtures Original Cast (Mako, Company), see PACIFICOVER1
Pacific Overtures English National Opera (Richard Angas, Company),
see PACIFICOVER2
Sondheim (Book-of-the-Month) (instrumental), see SOND1
A Gala Concert for Hal Prince (The Munich Radio Orchestra), see GALA1
Pacific Overtures New Broadway Cast (B. D. Wong, Company), see PACI-
FICOVER3
East West Players/East West Overtures (Mako, Tim Dang, & Ensemble),
see EASTWEST1
New York City Opera Orchestra/Broadway’s Best (instrumental) [“Pa-
cific Overtures Suite, First Movement”], see NEWYORKCITYOP1

“Advice” from Climb High (1950–52, unproduced)

“After All” from By George (1946)

“Afternoon in Benicia” for The Legendary Mizners (ca. 1953, unproduced)

“Agony” from Into the Woods (1987)

ITWPVS duet b-e2/c1-e2, reprise b-e2/c1-e2, ITWVS duet d1-f2 [both]
Into the Woods Original Cast6 (Robert Westenberg, Chuck Wagner), see
INTOTHE1
Into the Woods London Cast (Clive Carter, Mark Tinkler), see INTOTHE2
Symphonic Sondheim (instrumental) [part of the “Into the Woods Suite”],
see SYMPHONICSON1
No One Is Alone . . . (Greg Hart & Kynan Johns), see NOONEIS1
That’s What Friends Are For (Peter Land, Robert Meadmore), First Night
CAST CD52, 1996 [in medley with “It Takes Two” & “Love I Hear”]
Into the Woods Revival Cast (Gregg Edelman, Christopher Sieber), see
INTOTHE3
Into the Woods Accompaniment CD (Jonathan Castillo, Paul Frac-
calvieri), see INTOTHE4
Simply Sondheim (Steve Rhyne, Tom Orr), see SIMPLYSOND1 [in medley]
Into the Woods/Boscos Endins Original Barcelona Cast (Sergi Albert, Car-
los Gramaje), see INTOTHE5
East West Players/East West Overtures (Scott Watanabe, Andrew
Djang), see EASTWEST1
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Song Listing 265

“Ah, But Underneath . . .” from London revival of Follies (1987)

ASIII f-b1, CFC f-c2, FLVS f-e2 + chorus
Follies London Cast (Diana Rigg), see FOLLIES03
Putting It Together (Julie Andrews) [incomplete], see PUTTINGIT1
Follies, The Complete Recording (Dee Hoty, Gentlemen of the Ensem-
ble), see FOLLIES05
Moving On (Company), see MOVINGON [with “Pretty Women”]
Simply Sondheim (Kelly Ground, Kim Larsen, Tom Orr, Steve Rhyne),
see SIMPLYSOND1
Eichorn-Young, Susan/Taking My Turn, see EICHORNS1
Kreutz, Michael/Since You Stayed Here, Blue Moon Music, [n.n.], 2001
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Young, Susan Eichorn/Taking My Turn, see YOUNGSU1

“Ah, Miss” from Sweeney Todd (1979)

STPVS c1-f2
Sweeney Todd Original Cast (Victor Garber, Sarah Rice, Merle Louise),
see SWEENEYT1
Sweeney Todd Barcelona Cast (Pep Molina, Ma. Josep Peris, Teresa Valli-
crosa), see SWEENEYT3
Sweeney Todd Live at the NYP (Davis Gaines, Heidi Grant Murphy, Au-
dra McDonald), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Benjamin Magnuson, Lauren
Molina, Diana DiMarzio), see SWEENEYT5

“Ah, Paree!/Ah, Paris!” from Follies (1971)

CFC c1-f2, FLVS, FVS, HTSS g-c2, FPVS c1-g2 [for “montage” ending
low note of a]
Follies Original Cast (Fifi D’Orsay), FOLLIES01
Side by Side by Sondheim1 (Millicent Martin), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman), see SIDEBYS2
Follies in Concert (Liliane Montevecchi), see FOLLIES02
Follies London Cast (Maria Charles), see FOLLIES03
Follies, The Complete Recording (Liliane Montececchi), see FOLLIES05
Singers Unlimited/A Little Light Music (Beryl Korman), see SINGERSUN1
[with “Parisian Pierrot” & “The Last Time I Saw Paris”]

“Airport at Biarritz” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Alarms,” see “Four Black Dragons”

“Alaska” cut from Bounce (2003)

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266 Song Listing

“All Aboard” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (John Byner), see FROGS2 [also reprise]

“All for You” from Saturday Night (1954)

SNVS d1-g2
Unsung Sondheim (Davis Gaines), see UNSUNGS1
Saturday Night Bridewell Cast (Anna Francolini), see SATURDAYN1
Saturday Night Original New York Cast (Lauren Ward), see SATURDAYN2
Stephen Sondheim: The Story So Far . . .7 (Cast) [from original backer’s au-
dition]

“All I Need Is the Girl/Boy” from Gypsy (1959), music by Jule Styne
GPVS, GVS2 e1-g2, GVS c1-e2
Gypsy Original Cast (Paul Wallace), see GYPSY01
Gypsy Film (Paul Wallace), see GYPSY02
Gypsy London Cast (Andrew Norman), see GYPSY03
Gypsy Revival Cast (Robert Lambert), see GYPSY04
Gypsy TV Cast (Jeffrey Broadhurst), see GYPSY05
Celebrating Gypsy . . . (Tim Flavin), see CELEBRATGYP
Kay Medford in “Gypsy” (Richard Fox), see GYPSY09
Gypsy 2003 Revival Cast (David Burtka), see GYPSY10
Gypsy 2008 Revival Cast (Tony Yazbeck), see GYPSY11
Baker, Darrin/What’s A Nice Girl Like You . . . , Car-Jam Records/2die4
99012, 1999 [in medley with “Hundreds of Girls”]
Broadway Theatre Chorus/Fiddler on the Roof; Gypsy, Stage and Screen
Productions Cassette: XSSC 704, 1983
Burnett, Carol/Carol Burnett Sings, Decca (S)7-4437, 1967 [reissued on
CD as Let Me Entertain You, Decca 012 159 402-2, 2000]
Chakiris, George/George Chakiris, Capitol (S)ST-1750, 1962
Connick, Jr., Harry, and His Orchestra,/Swinging Out Live, Sony Music
Distribution 49116, 1991
Damone, Vic/Don’t Let Me Go, United Talent/Buddah (S) UTS-4501,
1960–69
Damone, Vic/ . . . Live in Concert, Classic World # 12A, 2000 [?]
Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see FE-
INSTEIN1
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Malmberg, Sue/Musical Theatre Classics: Tenor, H. Leonard Pub. Corp
HL00660152, 1990 [cassette]
Manilow, Barry/Showstoppers, Arista 18687-2, 1991
Marcovicci, Andrea/Andrea Marcovicci Sings Movies, DRG 91405, 1991
[in medley]
McKechnie, Donna/Inside the Music, see MCKECHNIED1 [in medley]
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Song Listing 267

Myles, Meg/Meg Myles at the Living Room, Mercury MG-20686, (S)SR-

60686, 1963
Ringuette, Don/American Songbook, [n.l.] 70844, 2004
Ross, Annie/Gypsy, see ROSSANNIE
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Sinatra, Frank/Francis A. Sinatra & Edward K. Ellington, Reprise 10242-
2, 1967
Sinatra, Frank/The Reprise Collection, Reprise 9 26340-2, 1990
Singing Hoosiers/Twentieth Anniversary Concert 1970, Century Records
38142, 1970
Styne, Jule/My Name Is Jule, see STYNEJ1
Tormé, Mel/Tormé Swings Shubert Alley, Verve (S)6-2132, 1960, Verve
821 581-2 YH [MGM 1960, reissued by PolyGram 1984]
Tormé, Mel/’Round Midnight: A Retrospective, Stash Records ST-CD-4,
1988
Wangesteen, Eric/It Had to Be You, [n.l.] 10829, 2009
Williams, Gary/Swingin’ on Broadway, Bos CDSA6816, 2008

“All Things Bright and Beautiful” cut from Follies (1971), [see also “Pro-
logue”]
ASII, CFC duet e1-f2/e1-g2, FPVS instrumental as “Prologue”
Marry Me a Little1 (Craig Lucas, Suzanne Henry), see MARRYME1
A Little Sondheim Music (Los Angeles Vocal Arts Ensemble), see LITTLES1
Follies, The Complete Recording (Laurence Guittard, Donna McKech-
nie), see FOLLIES05
Dow, Judith/Regards to Broadway, see DOWJ1
Green, Simon/Take Me to the World, see GREENS1 [with “Take Me to the
World”]
Mayes, Sally/Boys and Girls Like You and Me (with Brent Barrett), see
MAYESS1 [with “Your Eyes Are Blue”]
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“All’s Fair” from By George (1946)

“Alma Mater” from Phinney’s Rainbow (1948)

“Alms . . . Alms . . .” from Sweeney Todd (1979) [included in “No Place Like
London”]
STPVS a-d2
Sweeney Todd Original Cast (Merle Louise), see SWEENEYT1
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268 Song Listing

Sweeney Todd Barcelona Cast (Teresa Vallicrosa), see SWEENEYT3

Sweeney Todd Live at the NYP (Audra McDonald), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Diana DiMarzio), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Laura Michelle Kelly), see
SWEENEYT6

“Alumnum’s Song” from Phinney’s Rainbow (1948)

“America” from West Side Story (1957), music by Leonard Bernstein

BOB, WSSPVS duet + company, WSSVS c1-e2
West Side Story Original Cast7 (Chita Rivera, Marilyn Cooper, Reri Grist,
Shark Girls), see WESTSIDE01
West Side Story film (Bety Wand, George Chakiris, The Sharks, Their
Girls), see WESTSIDE02
West Side Story Studio Cast (Louise Edeiken, Tatiana Troyanos, Chorus),
see WESTSIDE03
Sondheim: A Musical Tribute (Chita Rivera, Pamela Myers), see SON-
DAMUST1
Jerome Robbins Broadway (Charlotte d’Ambrosia, Debbie Shapiro, Bar-
bara Yeager, Nancy Hess, Elaine Wright, Renée Stork), see JEROMER1
West Side Story Studio Cast London (La Vern Williams, Mary Carewe,
Jenny O’Grady, Lee Gibson), see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Caroline O’Connore,
Julie Paton, Girls), see WESTSIDE05
West Side Story Studio Cast Leicester Haymarket (Caroline O’Connore,
Nick Ferranti, Sharks), see WESTSIDE05 [Alternate Motion Picture Ver-
sion]
West Side Story, The Songs of (Natalie Cole, Patti Labelle, Sheila E.), see
WESTSIDE06
West Side Story, Dave Grusin presents (background vocalists), see WEST-
SIDE07
West Side Story London Studio Cast (Mary Preston, Venita Ernandes,
Lorraine Hart, Lorraine Smith), see WESTSIDE09
West Side Story Original Score (Marianne Cooke, Joanna Chozen, Girls),
see WESTSIDE10
West Side Story Broadway Revival (Karen Olivo, Jennifer Sanchez, Shark
Girls), see WESTSIDE11
Bentley, Alison/Songs of Leonard Bernstein and Irving Berlin, Slam 248,
2002
Blackwell, Harolyn/A Simple Song: Blackwell Sings Bernstein, see BLACK-
WELL1 [duet with Vanessa Williams]
Darin, Bobby/West Side Story, see DARIN1
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Song Listing 269

Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
Kaufmann, Anna Maria/Spotlight—Musical Moments, Polydor, 1999[?]
La Lupe/They Call Me La Lupe, Fania 130135, 1971/2006
Lopez, Trini/Trini at PJ’s, Reprise (S)6093, 1968 [reissued on dozens of
albums & collections]
Lyman, Arthur/Many Moods of Arthur Lyman, Hi-Fi (S)SL-1007, 45rpm
5057, 1962
Martin, Denny/Taste of Honey, Liberty LRP-3237, (S)LST-7237, 1962
O’Connor, Caroline/What I Did for Love, JAY Records CDJAY 1314, 1998
Schlongs/Punk Side Story (Melissa MacArthur), see SCHLONG1
Stephens, Dave/Broadway Originals, Cameo (S)CS-4006, 1962

“Another Hundred People” from Company (1970)

ASI, CPVS, CVS [2 versions], CVS2, CVS3, HTSS, SSS c1-e2
Company Original Cast7 (Pamela Myers), see COMPANY01
Sondheim: A Musical Tribute (Pamela Myers), see SONDAMUST1
Side by Side by Sondheim (Julia McKenzie), see SIDEBYS1
Side by Side . . . Australian Cast (Geraldene Morrow), see SIDEBYS2
A Stephen Sondheim Evening (Judy Kaye), see STEPHENSE1
A Broadway Extravaganza (instrumental), see BROADWAYEX [in medley]
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company Revival Cast (La Chanze), see COMPANY05
Second City Divas (Kathy Santen), MAM Records, 1996
Company London Revival Cast (Anna Francolini), see COMPANY04
Sondheim Tonight (The West End Chorus), see SONDTON1 [with “Being
Alive” & “Sunday in the Park with George”]
The Stephen Sondheim Album (Alice Ripley), see STEPHENSA1
Moving On (Company), see MOVINGON
Company Brazilian Cast (Sabrina Korgut), see COMPANY06
Company Accompaniment CD (Liz Donathan/accompaniment), see
COMPANY08
Company Second Revival Cast (Angel Desai), see COMPANY09
Beechman, Laurie/Time Between the Time, DRG 5230, 1993
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (sung by Malcolm
Gets), see COOKB1 [with “So Many People”]
Cook, Barbara/Barbara Cook at the Met, see COOKB2 [with “So Many Peo-
ple”]
Dartmouth Aires/Colors, Dynamic Recording XPL-1026 [Men’s Cho-
rus]
Di Novi, Gene/Softly, Di 123 Pedimega, 1977 [solo piano]
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270 Song Listing

East West Players/East West Overtures (Deborah Nishimura), see EAST-

WEST1
Gillies, Jodie/Jodie Gillies, TVD 93371 (Festival Records), [n.d.]
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Lemper, Ute/City of Strangers, see LEMPER1
Michuda, Marie/It’s a Grand Night for Singing, Southport S-SSD 0074,
1999
Mitchell, Brian Stokes/Brian Stokes Mitchell, see MITCHELLBS1 [with
“Take the ‘A’ Train”]
New York City Gay Men’s Chorus/Love Lives On, see NEWYORKCITYGAY2
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Phillips, Miles/Might As Well Be . . . , [n.l., n.n., n.d.] [with “Eleanor
Rigby”]
Ralston, Teri/I’ve Gotta Get Back to New York (with Pamela Myers), see
RALSTONT1
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Swingle Singers/1812, Swing CD4, 1989 [reissued on Virgin Classics
CDC 5 45134 2, 1995]
Toro, Natalie/Natalie Toro, see TORON1
Turner, Geraldine/Old Friends, see TURNERG1
Wilk, Oystein/Too Many Mornings, see WILKO1

“Another National Anthem” from Assassins (1991)

APVS company number
Assassins Original Cast (Company), see ASSASSINS1
No One Is Alone . . . (Company), see NOONEIS1
Assassins Broadway Cast (Company), see ASSASSINS2

“Another World” from The Lady or the Tiger (1954, unproduced), music by
Mary Rodgers

“Any Moment” from Into the Woods (1987)

ITWPVS duet b-e2/c1-d2
Into the Woods Original Cast (Robert Westenberg, Joanna Gleason), see
INTOTHE1
Into the Woods London Cast (Clive Carter, Imelda Staunton), see IN-
TOTHE2
No One Is Alone . . . (Kynan Johns), see NOONEIS1
Into the Woods Revival Cast (Gregg Edelman, Kerry O’Malley), see IN-
TOTHE3
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Song Listing 271

Into the Woods Accompaniment CD (Jonathan Castillo, Nadiene

Jacques), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Carlos Gramaje,
Annabel Totusaus), see INTOTHE5
Peters, Bernadette/Sondheim, Etc., see PETERSB1 [with “Hello Little
Girl”]

“Anyone Can Whistle” from Anyone Can Whistle (1964)

ACWPVS g-c2, reprise g-d2, ACWVS, ASI, HTSS, SCCH, SSS b-e2
Anyone Can Whistle2, 7 Original Cast (Lee Remick), see ANYONE1
Anyone Can Whistle Original Cast (Stephen Sondheim), see ANYONE1
Sondheim: A Musical Tribute (Stephen Sondheim), see SONDAMUST1
Side by Side by Sondheim (David Kernan), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
Songs of Sondheim Irish Cast (Tony Kenny), see SONGSOFSOND1
Sondheim, Book-of-the-Month Records (Betsy Joslyn), see SOND1
A Broadway Extravaganza (instrumental), see BROADWAYEX [in medley]
Sondheim: A Celebration at Carnegie Hall (Billy Stritch), see SONDACELATC1
Color and Light: Jazz Sketches . . . (Nancy Wilson), see COLOR1
Anyone Can Whistle Live at Carnegie Hall (Bernadette Peters), see ANY-
ONE2
A Little Light Music (Beryl Korman and/or Julia Meadows), see LITTLEL1
The Stephen Sondheim Album (Jane Krakowski), see STEPHENSA1
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
The Broadway Musicals of 1964 (Tom Anderson), Bayview RNBW022,
2003
Wall to Wall Stephen Sondheim (Michael Cerveris), see WALLTOWALLS1
Side by Side . . . Brazilian Cast (Claudio Botelho), see SIDEBYS3
Simply Sondheim (Tom Orr), see SIMPLYSOND1
Ballingham, Pamela/Magical Melodies, Earth Mother Productions
EMPD06B, 1991
Benzali, Daniel/Benzali, Rio Kat 95623, 2005
Barrowman, John/Reflections from Broadway,4 see BARROWMAN1
Barrowman, John/The Essential John Barrowman, Metro 69845812332,
2008
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Breach, Joyce and William Roy/Love Is the Thing, Audiophile ACD-314,
2001
Buckley, Betty/heart to heart, KO Productions 0001-2, 2000
Buckley, Betty/Quintessence, see BUCKLEYB4
Campbell, James, Gene Di Novi, Dave Young/Manhattan Echoes, Mar-
quis Records 81267, 2000
Campbell, Mike/My Romance, Audiophile 287, 1997
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272 Song Listing

Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . ., see

CLARYR1
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
Corral, Roz/Telling Tales, Blujazz 3335, 2005
Crowley, James/Being Alive!, [n.l., n.n.], 2008
Day, Courtenay/State of Bliss, LML Records LML CD-151, 2002 [with
“Take Me to the World”]
Desmond, Trudy/Tailor Made, The Jazz Alliance TJA-10015, 1992
DiMarzio, Diana/Diana DiMarzio, Dina Dimarzio 800718, 2001 [with
“There Won’t Be Trumpets”]
Ellis, Anita with Ellis Larkins/A Legend Sings, Orion ORS 79358, 1979
Ellis, Anita/Look to the Rainbow, Audiophile ACD-310, 2000
Gaines, Davis/Against the Tide, LAP Records 76628 2, 1996
Haskins, Jim/Cocktail Piano Does Show Tunes, JFH 396, [n.d.] [piano]
Hateley, Linzi/True Colours, Dress Circle, 2001 [with “The Girl I Meant
to Be”]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Henstock, Leslie/Defying Gravity, Leslie, [n.n.], 2009
Intimate Broadway/With One Look, Intersound 8309, 1996
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Laine, Cleo & James Galway/Sometimes When We Touch, RCA ARL1-
3628, 1980
Laine, Cleo/Cleo Sings Sondheim5, see LAINEC2
Malmberg, Sue/Musical Theatre Classics, see MALMBERGS1
Markey, Enda/Another Place and Time, see MARKEY1
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
[with “See What it Gets You”]
Patinkin, Mandy/Mandy Patinkin, see PATINKIN1
Prowse, Juliet/What Are You Afraid Of?, Columbia 454-43016, 1965
Ringuette, Don/American Songbook, [n.l.] 70844, 2004
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Saxe, Emily/Whistling: Broadway to Berk’ley Square, see SAXEE1
Schneider, Helen/A Voice and a Piano, see SCHNEIDERH1
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Everybody Says Don’t”]
Seelig, Tim/Everything’s Possible, see SEELIGT1
Shearing, George/Favorite Things, Telarc 83398, 1997 [piano]
Singers Unlimited/A Little Light Music (Julia Meadows), see SINGERSUN1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01
Straight Out/Long Black Flat White, [n.l.], 2000 [Australian]
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Song Listing 273

Tormé, Mel & George Shearing/A Vintage Year, Concord Jazz CJ-341,
1988 [solo piano by George Shearing]
Turner, Geraldine/Old Friends, see TURNERG1
Warlow, Anthony/Midnight Dreaming, Polydor 523612-2, 1994
Wilk, Oystein/Too Many Mornings, see WILKO1
Williams, Bob/And at the Piano . . ., Bob Williams, [n.n., n.d.] [piano]
Wopat, Tom/the still of the night, Angel CDC 7243 5 23623 2 5, 2000
York, Joe/My Favorite Year, see YORKJ1

“Ariadne” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Nathan Lane), see FROGS2

“Arlette and Stavisky” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Arlette by Day” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Arlette by Night” from Stavisky (1974)

Stavisky7 (instrumental), see STAVISKY1

“Art Isn’t Easy,” see “Putting It Together”

“Arts and Crafts” from Evening Primrose (1966) [reprise of “(If You Can
Find Me) I’m Here”]
Evening Primrose Original Television Soundtrack7 (Anthony Perkins),
see EVENPRIM1

“Atom Bomb Baby (Mambo)” cut from West Side Story (1957), music by
Leonard Bernstein

“Auto da fé (What a Day)” from 1974 revival of Candide, music by

Leonard Bernstein, lyrics also by John LaTouche and Richard Wilbur
CaPVS company number
Candide Revival Cast (Company), see CANDIDE01
Candide New Broadway Cast (Company), see CANDIDE05
Candide Royal National Theatre (Company), see CANDIDE05

“Auto Show” from Stavisky (1974) [based on “Beautiful Girls (Bring On

the Girls)” cut from Follies]
Stavisky1, 7 (instrumental), see STAVISKY1

“Ave alumnum” from Phinney’s Rainbow (1948)

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274 Song Listing

“Baby June and Her Newsboys” from Gypsy (1959), music by Jule Styne
GPVS e1-e2, GVS e1-e2 [as intro to “Let Me Entertain You”]
Gypsy Revival Cast (no credits), see GYPSY04
Gypsy TV Cast (Lacey Chabert, Elisabeth Moss, Joey Cee, Blake Arm-
strong, Teo Weiner), see GYPSY05
Gypsy 2003 Revival Cast (Heather Tepe, Addison Timlin, Eamon Foley,
Stephen Scott Scarpulla, Jordan Viscomi), see GYPSY10
Gypsy 2008 Revival Cast (Sami Gayle, Emma Rowley, and Newsboys),
see GYPSY11
The Broadway Kids/The Broadway Kids Sing Broadway, Lightyear 54174-
2, 1994

“Back in Business” from Dick Tracy (1990)

SCCH, SSFTS g-e2
Sondheim: A Celebration at Carnegie Hall (Liza Minnelli, Billy Stritch, En-
semble), see SONDACELATC1
Putting It Together (Company), see PUTTINGIT1
Sondheim—A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1
Sondheim at the Movies (Alet Oury with others), see SONDATTHEM1
Simply Sondheim (Hannah Rose Kornfeld), see SIMPLYSOND1
Stephen Sondheim: The Story So Far . . .7 (Janice Siegel, Cheryl Bentyne,
Lorraine Feather) [taken from Dick Tracy soundtrack]
Kitt, Eartha/Back in Business, DRG 91431, 1994
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “What Can You Lose?”]
Tichenor, Charles/Moviola, Original Cast 9550, 1996

“Back to the Palace” cut from Into the Woods (1987)

Into the Woods Original Cast (Kim Crosby), see INTOTHE1 [on 2007 reis-
sue only]

“Balcony Scene” cut from West Side Story (1957), music by Leonard Bern-
stein [an early version of “Tonight”]

“The Ballad of Booth” from Assassins (1991)

APVS, AVS, SCCH duet c1-a2/f-f2
Assassins Original Cast7 (Patrick Cassidy, Victor Garber, Marcus Olson),
see ASSASSINS1
Sondheim: A Celebration at Carnegie Hall (Patrick Cassidy, Victor Garber),
see SONDACELATC1
No One Is Alone . . . (Michael Denholm & Kynan Johns), see NOONEIS1
[with “The Ballad of Sweeney Todd”]
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Song Listing 275

Sondheim: A Celebration (Patrick Cassidy, Scott Waara), see SONDACEL2

Assassins Broadway Cast (Neil Patrick Harris, Michael Cerveris, Bran-
don Wardell), see ASSASSINS2
Mendelssohn Choir/Mendelssohn Sings Sondheim (Robert Shoup), see
MENDELSSOHN1

“The Ballad of Czolgosz” from Assassins (1991)

APVS, AVS d1-g2 + company
Assassins Original Cast (Patrick Cassidy, Company), see ASSASSINS1
Assassins Broadway Cast (Neil Patrick Harris, Marc Kudisch, James
Barbour, Ensemble), see ASSASSINS2

“The Ballad of Guiteau” from Assassins (1991) [part of lyric setting of

Charles Guiteau poem]
AVS duet a-g2/c1-g2
Assassins Original Cast (Jonathan Hadary, Patrick Cassidy), see ASSAS-
SINS1
Assassins Broadway Cast (Denis O’Hare, Neil Patrick Harris), see AS-
SASSINS2

“The Ballad of Sweeney Todd” from Sweeney Todd (1979)

ASI, SCCH, STVS solo version f-c2, STPVS company number
Sweeney Todd Original Cast7 (Len Cariou, Company), see SWEENEYT1
A Little Sondheim Music (Los Angeles Vocal Arts Ensemble), see LITTLES1
Symphonic Sondheim (instrumental) [part of the “Sweeney Todd Suite,”
see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (instrumental), see SONDA-
CELATC1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
No One Is Alone . . . (Company), see NOONEIS1 [with “The Ballad of
Booth”]
Sweeney Todd Barcelona Cast (Constantino Romero, Company), see
SWEENEYT3
Sweeney Todd 2005 Broadway Revival (Benjamin Magnuson, Lauren
Molina, Diana DiMarzio), see SWEENEYT5
A Gala Concert for Hal Prince (Len Cariou, Company), see GALA1
Sondheim: A Celebration (James Matthew Campbell, Leo Daignault,
Larry Raben, George Miserlis), see SONDACEL2
Sondheim Tonight (Len Cariou, The Soloists), see SONDTON1
Sweeney Todd Live at the NYP (George Hearn, Company), see SWEENEYT4
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTH-
ESONGS2
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276 Song Listing

Sweeney Todd 2005 Broadway Revival (Manoel Felciano, Michael

Cerveris, Company), see SWEENEYT5
City of Prague Philharmonic Orchestra/Music from the Films of Tim Bur-
ton, Silva America 1261, 2008
DeLaria, Lea/Play It Cool, see DELARIA1
East West Players/East West Overtures (Robert Almodovar & Ensem-
ble), see EASTWEST1
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
His Master’s Fish1, featuring Gordon Grody, RCA “Red Seals Disco”
12” single PD-11687 (S) [later included in A Collector’s Sondheim]

“Bang!” cut from A Little Night Music (1973)

ASIII duet a-f2/b-f2
Marry Me a Little1 (Craig Lucas, Suzanne Henry), see MARRYME1
Putting It Together (Michael Rupert, Rachel York), see PUTTINGIT1
Orquestra De Cambra Teatre Lliure/Stephen Sondheim, see
ORQUESTRADECAM1

“The Barber and His Wife” from Sweeney Todd (1979)

STPVS A-d1
Sweeney Todd Original Cast (Len Cariou), see SWEENEYT1
Sweeney Todd Barcelona Cast (Constantino Romero), see SWEENEYT3

“Barcelona” from Company (1970)

CPVS, CVS2, CVS3, HTSS, SCCH, SSS duet b-f2/c1-f2
Company Original Cast2 (Dean Jones, Susan Browning), see COMPANY01
Side by Side by Sondheim (Julia McKenzie, David Kernan), see SIDEBYS1
Side by Side . . . Australian Cast (Geraldene Morrow, Bartholomew
John), see SIDEBYS2
Songs of Sondheim Irish Cast (Tony Kenny, Loreto O’Connor), see SONGS-
OFSOND1
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (instrumental), see SONDA-
CELATC1
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company Revival Cast (Boyd Gaines, Jane Krakowski), see COMPANY05
Company London Revival Cast (Adrian Lester, Hannah Jones), see COM-
PANY04
Sondheim: A Celebration (Patrick Cassidy, Joely Fisher), see SONDACEL2
Sondheim Tonight (Julia McKenzie, David Kernan), see SONDTON1
Company Brazilian Cast (Claudio Botelho, Patricia Levy), see COMPANY06
Company German Cast (Felix Powroslo, Anina Doinet), see COMPANY07
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Song Listing 277

Side by Side . . . Brazilian Cast (Caludio Botelho, Ivana Domenico), see

SIDEBYS3
Company Accompaniment CD (Miles Phillips, Christina Bianco/accom-
paniment), see COMPANY08
Company Second Revival Cast (Raúl Esparza, Elizabeth Stanley), see
COMPANY09
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
East West Players/East West Overtures (Alvin Ing, Jennifer Paz), see
EASTWEST1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1

“Bargaining” from Do I Hear a Waltz? (1965), music by Richard Rodgers

DIHPVS b-e3
Do I Hear a Waltz? Original Cast (Sergio Franchi, Elizabeth Allen), see
DOIHEAR1

“Beautiful” from Sunday in the Park with George (1984)

ASIII, SPGPVS, SPGVS duet f-b1/c1-f2
Sunday in the Park . . . Original Cast (Barbara Bryne, Mandy Patinkin),
see SUNDAYIN1
No One Is Alone . . . (Michelle Burgan, Craig Weatherill), see NOONEIS1
Sunday in the Park . . . 2006 London Cast (Gay Soper, Daniel Evans), see
SUNDAYIN2
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“Beautiful Girls” from Follies (1971)

ASIV, FLVS, FVS, HTSS c1-e2 [g2 opt. in ASIV], CFC e1-g2, FPVS solo +
company e1-a2/d1-f2
Follies Original Cast (Michael Bartlett, Company), FOLLIES01
Sondheim: A Musical Tribute (Ron Holgate), see SONDAMUST1
Side by Side by Sondheim1 (David Kernan), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
Follies in Concert (Arthur Rubin, Company), see FOLLIES02
Follies London Cast (Paul Bentley, Company), see FOLLIES03
A Gala Concert for Hal Prince (Robert DuSold, Company), see GALA1
Follies, The Complete Recording (Vahan Khanzadian, Company), see
FOLLIES05
Sondheim Tonight (Michael Ball, Company), see SONDTON1
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . ., see
CLARYR1
McMahon, Ed, Capitol 45rpm 3213, [n.d.]
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
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278 Song Listing

Wilson, Julie/Julie Wilson at Brothers & Sisters Vol. Two, see WILSONJ1
[with “[The Story of] Lucy and Jessie,” “Losing My Mind” & “Could
I Leave You”]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Beautiful Girls” see/a.k.a. “Bring On the Girls”

“[Beggar Woman’s] Lullaby” from Sweeney Todd (1979) [lyric added after
original production]
Sweeney Todd Live at the NYP (Audra McDonald), see SWEENEYT4 [in-
cluded in the “City on Fire” segment]

“Being Alive” from Company (1970)

ASI, CVS, HTSS, g1-a2, BSBA b-d2 [f-e2 optional], CPVS f1-g2, CVS2,
CVS3, SCCH, SSS d1-e2
Company Original Cast2, 7 (Dean Jones, Company), see COMPANY01 [the
Larry Kert recording, overdubbed for the original London cast, is in-
cluded on the 1998 reissue]
Sondheim: A Musical Tribute (Larry Kert), see SONDAMUST1
Side by Side by Sondheim (David Kernan, Millicent Martin, Julia McKen-
zie), see SIDEBYS1
A Stephen Sondheim Evening1 (Judy Kaye), see STEPHENSE1
Everyone’s A Love Song, see EVERYONE1
Songs of Stephen Sondheim/You Sing the Hits, see SONGSOFSTEP1
Putting It Together (Company), see PUTTINGIT1
Sondheim: A Celebration at Carnegie Hall (Patti Lupone), see SONDA-
CELATC1
Being Alive!—The Art of German Musical Stars (Paul Kribbe), Sound of
Music Records SOMCD 001, [n.d.], [with “No More”]
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company London Revival Cast (Adrian Lester), see COMPANY04
Company Revival Cast (Boyd Gaines), see COMPANY05
Sondheim—A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1
Hey, Mr. Producer! (Bernadette Peters), see HEYMRP
Celebrating Sondheim (Claire Moore), see CELEBRATSON
Showstoppers from Broadway4 (Stephen Bogardus), JAY Records, CDJAY
1266, 199[?]
Sondheim Tonight (The Soloists, The West End Chorus), see SONDTON1
[with “Another Hundred People” and “Sunday in the Park with
George”]
Company Brazilian Cast (Claudio Botelho), see COMPANY06
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Song Listing 279

Company German Cast (Felix Powroslo), see COMPANY07

Forbidden Broadway: 2001 a Spoof Odyssey (Christine Pedi), DRG 12627,
2001
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Side by Side . . . Brazilian Cast (Claudio Botelho, Company), see SIDEBYS3
Broadway Unplugged 2 (Deven May), Bayview RNBW037, 2006
Company Accompaniment CD (Miles Phillips/accompaniment), see
COMPANY08
Company Second Revival Cast (Raúl Esparza), see COMPANY09
Andrew, Leo/Sweet Dreams, Dress Circle ALAVW2, 2008
Bali, Vandana/With You, [n.l., n.n.], 2001
Barrowman, John/Reflections from Broadway, see BARROWMAN1
Barrowman, John/Another Side, Sony Music 886971883824, 2007
Beavis, Richard/In the Spotlight, Silverword [n.n.], 2001
Beechman, Laurie/No One Is Alone, see BEECHMAN1
Bennett, Tony/The Art of Romance, RPM Records/Columbia 092820,
2004
Billings, Alexandra/Being Alive, Southport S-SSD 0080, 2000
Billings, Alexandra/The Story Goes On, LMG Kidsource Music [n.n.],
2004 [with “Overture” & “Let the River Run”]
Bogart, Matt/Simple Song, JAY Records CDJAY 1363, 2002
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Budd, Julie/If You Could See Me Now, After 9/Sindrome 8946, 2000
Burton, Paul/Songs on a Steinway, Imperial Digital Limited IDID1, 1996
Byrne, Debra/New Ways to Dream, see BYRNED1
Callaway, Liz/Passage of Time, PS Classics CD84, 2009
Cerna, Jo-Jo de la/Trust the Wind, Dress Circle JJDLC9901, 1999 [with
“No More”]
Combo fiasco/here, italic entertainment [n.n., n.d.] [with “Not a Day
Goes By” & “Not While I’m Around”]
Connelli, Judi/Judi Connelli Live in London, see CONNELLI2 [with “In
Buddy’s Eyes”]
Crawford, Michael/With Love, Atlantic 82430-2, 1989
Crawford, Michael/The Phantom Unmasked, Quality CDL-15105-2/4XL-
15105-4, 1990
Crowley, James/Being Alive!, [n.l., n.n.], 2008
Crawford, Michael/Michael Crawford in Concert, Atlantic 83131, 1998
D*Note featuring Beth Hirsch/Laguna, New World Records 798, 2006
De Ferranti, Margie/Margie De Ferranti, see DEFERRANT1 [with “It Only
Takes a Moment”]
Dore, Michael/Simply, [?], 2002 [with “Not a Day Goes By” & “Take Me
to the World”]
Dow, Judith/Regards to Broadway, see DOWJ1
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280 Song Listing

Ellery, Lloyd/In Whatever Time We Have, Pathfinder 5050693165925,

2007
Ford, Anne Kerry/Something Wonderful, see FORDA1
Freeman, Ethan/Is This Home?, Sound of Music [n.n.], 2008
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see HELLERM1
Hickland, Catherine/ . . . Sincerely, Broadway, After Nine, 1997; Original
Cast Records 3333, 2001 [with “Send in the Clowns”]
Jahana, Raishel/Sondheim Songs, see JAHANA1
Joseph, Alexander/Being Alive!, 1999[?]
Keegan, Ted/Ted Keegan Sings, LML Music 142, 2001
Ken Rhodes Trio/Live at the Reynolds House Museum of American Art, Sea
Breeze 3045, 2001
Kostelanetz, Andre and his Orchestra/Everything Is Beautiful, Colum-
bia, 1970 [instrumental]
Kostelanetz, Andre and his Orchestra/Moon River, Sony Special Prod-
ucts 15897, 1995 [instrumental]
Laine, Cleo/Cleo Laine Return to Carnegie, see LAINEC1
LaRosa, Julius/Words, Metromedia 1036, [n.d.]
Lemper, Ute/City of Strangers, see LEMPER1
LuPone, Patti/Patti LuPone Live!, RCA Victor 09026-61797-2, 1993
Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANS-
FIELDM1
Markey, Enda/By Popular Demand in Dublin, Naxos [n.n.], 2002
Mason, Karen/Right Here, Right Now, Zevely Records 604755954221,
2008 [with “Help”]
McDermott, Sean/My Broadway, see MCDERMOTTS1
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Mitchell, Brian Stokes/Brian Stokes Mitchell, see MITCHELLBS1
Mitchell, Keith/Keith Mitchell Sings Broadway, Spark SPA-03, 1972
O’May, John/Unusual Way, MEM-004, 2000
Ost, Martha/Something New, Something Blue, Kendroit Productions,
1979
Patinkin, Mandy/Dress Casual, see PATINKIN2
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Prince, Peter/Being Alive, RP Media, 2001
Rossen, Stig/Love Changes Everything, see ROSSENS1
Rotz, Corey Evan/Keep the Music Playing, see ROTZC1
Ruffelle, Frances/Frances Ruffelle, Dress Circle DRESSCD05, [n.d.]
Salonga, Lea/The Broadway Concert, see SALONGAL1 [with “Something
Wonderful”]
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “The Ladies Who Lunch”]
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Song Listing 281

Smith, Martin/A Handful of Keys, MSCD001, 1993 [with “No More”]

Streisand, Barbra/The Broadway Album, see STREISAND1
Streisand, Barbra/Timeless, see STREISAND3 [with “Something Wonder-
ful”]
Turner, Geraldine/Old Friends, see TURNERG1
Vernon, Millie/ . . . Sings Old & New Shoes, Audiophile Records 178,
2008
Warlow, Anthony/On the Boards, Polydor 513 402 2, 1992 [also included
in Warlow’s The Best of Act One, Polydor 533152-2, 1996]
Whiting, Margaret/The Lady’s in Love with You, Audiophile ACD 207,
1985, 1989
Williams, Darren/Showtime, see WILLIAMSDA1
Williams, Gary/Recipe for Love, [n.l., n.n., n.d.]

“Benicia” cut from Bounce (2003)

“The Best Thing That Ever Happened” from Bounce (2003) and Road Show
(2008)
Bounce Original Cast (Howard McGillin, Michelle Pawk), see BOUNCE1
Road Show Original Cast Recording (Claybourne Elder, Alexander
Gemignani), see ROADSHOW1

“Birthday Prayer” (1962) [piano piece written for Bernstein, contains

cryptic message]

“Bitterness” from By George (1946)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [piano solo; incomplete]

“The Blob” from Merrily We Roll Along (1981)

MWRPVS company number
Merrily We Roll Along Revival Cast (Michelle Pawk, Company), see MER-
RILY2
Merrily We Roll Along London Cast (Louise Gold, Company), see MER-
RILY3

“Bluebird Incidental 1 & 2,” see “I’m Like the Bluebird”

“Bobby and Jackie and Jack” from Merrily We Roll Along (1981)
MWRPVS quartet
Merrily We Roll Along Original Cast (Lonny Price, Sally Klein, Jim Wal-
ton, David Loud), see MERRILY1
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282 Song Listing

Merrily We Roll Along Revival Cast (Adam Heller, Anne Bobby, Malcolm
Gets, Danny Burstein), see MERRILY2
Merrily We Roll Along London Cast (Evan Pappas, Michael Cantwell,
Jacqueline Dankworth), see MERRILY3

“Bobby-Baby” from Company (1970) [also referred to as “Overture” or

“Opening” & is used as a leitmotif throughout the score]
CPVS company number
Company Original Cast (Company), see COMPANY01
Company London Revival Cast (Company), see COMPANY04
Company Revival Cast (Company), see COMPANY05
Company Brazilian Cast (Company), see COMPANY06
Company German Cast (Ensemble), see COMPANY07
Company Accompaniment CD (Company/accompaniment), see COM-
PANY08 [as “Overture”]
Company Second Revival Cast (Company), see COMPANY09 [as “Open-
ing”]

“Boca Raton” from Bounce (2003) and Road Show (2008)

Bounce Original Cast (Ensemble, Richard Kind, Michele Pawk, Gavin
Creel), see BOUNCE1
Road Show Original Cast Recording (Company), see ROADSHOW1

“Bolero d’Amour” from Follies (1971) [theme by Sondheim and a dance

development by John Berkman]
FPVS instrumental
Follies, The Complete Recording (Orchestra), see FOLLIES05

“Boom Crunch!” cut from Into the Woods (1987)

Into the Woods Original Cast (Maureen Moore), see INTOTHE1 [on 2007
reissue only]

“The Bordelaise” from All That Glitters (1949)

“Bounce” from Bounce (2003) [three versions in the score; the second a
solo; became “Waste” in Road Show]
Bounce Original Cast7 (Howard McGillin, Richard Kind), see BOUNCE1
Simply Sondheim (Kim Larsen, Steve Rhyne), see SIMPLYSOND1

“A Bowler Hat” from Pacific Overtures (1976)

POPVS g-e2
Pacific Overtures Original Cast (Isao Sato), see PACIFICOVER1
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Song Listing 283

Pacific Overtures English National Opera (Malcolm Rivers), see PACIFI-

COVER2
Pacific Overtures New Broadway Cast (B. D. Wong & Michael K. Lee),
see PACIFICOVER3
Wall to Wall Stephen Sondheim (Telly Leung), see WALLTOWALLS1

“The Boy from . . .” from The Mad Show (1966), music by Mary Rodgers
HTSS a-c2
The Mad Show2, 7 (Linda Lavin), Columbia Records OL-6530, OS-2930,
1966; reissued DRG 19072, 2005
Side by Side by Sondheim (Millicent Martin), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman), see SIDEBYS2
Songs of Sondheim Irish Cast (Gemma Craven), see SONGSOFSOND1
Hey, Love (Faith Prince), see HEYLOVE1
Hollywood Fashion Revisited (Maura M. Knowles), LML CD-020, 2003
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Side by Side . . . Brazilian Cast (Ivana Domenico), see SIDEBYS3
Barnett, Peter & Julia Early/In So Many Words, see BARNETTEARLY1
McKenzie, Julia/The Musicals Album, see MCKENZIEJ1
Phillips, Sian/And So It Goes, Mosaik MMCD01, 2003
Prince, Faith/A Leap of Faith, DRG 91460, 2000
Prior, Marina/Somewhere, see PRIORM1
Soper, Gay/Flying Fish and Fallen Angels, see SOPERGAY1

“A Boy Like That” from West Side Story (1957), music by Leonard Bern-
stein
WSSPVS duet f-d2/d1-b2 [leads into “I Have a Love”]
West Side Story Original Cast (Carol Lawrence, Chita Rivera), see WEST-
SIDE01
West Side Story film (Betty Wand), see WESTSIDE02
West Side Story Studio Cast (Tatiana Troyanos, Kiri Te Kanawa), see
WESTSIDE03
Side by Side by Sondheim (Millicent Martin, Julia McKenzie), see SIDEBYS1
West Side Story Studio Cast London (Barbara Bonney, La Vern Williams),
see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Caroline O’Connore,
Tinuke Olafimihan), see WESTSIDE05
West Side Story, The Songs of (Selena), see WESTSIDE06
West Side Story London Studio Cast (Mary Preston, Jill Martin), see
WESTSIDE09
The 3 Divas (Judi Connelli, Suzanne Johnston, Jennifer McGregor), 2000
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284 Song Listing

West Side Story Original Score (Betsi Morrison, Marianne Cooke), see
WESTSIDE10
Side by Side . . . Brazilian Cast (Marya Bravo, Ester Elias), see SIDEBYS3
[with “I Have a Love”]
West Side Story Broadway Revival (Karen Olivo, Josefina Scaglione), see
WESTSIDE11 [in Spanish]
Ashe, Rosemary/The Killer Soprano, Dress Circle [n.n., n.d]
Blackwell, Harolyn/A Simple Song: Blackwell Sings Bernstein (duet with
Vanessa Williams), see BLACKWELL1
Callaway, Ann Hampton & Liz/Sibling Revelry, see CALLAWAYA&L [in
medley]
Garrett, Lesley/Travelling Light (duet with Denyce Graves), EMI/Angel
Classics 5T20Z, 2002 [with “I Have a Love”]
Prior, Marina/Somewhere, see PRIORM1 [in medley]
Schlongs/Punk Side Story (Melissa MacArthur), see SCHLONG1
Singers Unlimited/A Little Light Music (Beryl Korman & Julia Mead-
ows), see SINGERSUN1
Vroman, Lisa/Broadway Classics, Offplanet 59057 02602, 1999 [with “I
Have a Love”]

“Bright Star” from Climb High (1950–52, unproduced)

“Bring Me My Bride” from A Funny Thing Happened on the Way to the Fo-
rum (1962)
FTPVS b-f2 + company
A Funny Thing . . . Original Cast (Ronald Holgate, Zero Mostel, Com-
pany), see FUNNY01
A Funny Thing . . . London Cast (Leon Greene, Frankie Howerd, Com-
pany), see FUNNY02
A Funny Thing . . . Film (Leon Greene, Company), see FUNNY03 [listed as
“My Bride”]
A Funny Thing . . . Revival Cast (Cris Groenendaal, Nathan Lane, Com-
pany), see FUNNY05

“Bring On the Girls” cut from Follies (1971) [a.k.a. “Beautiful Girls”; mu-
sic used as “Auto Show” in Stavisky]
CFC a-f2/a-c2
Follies, The Complete Recording (Vahan Khanzadian, Peter Davenport),
see FOLLIES05

“Broadway” from Gypsy (1959), music by Jule Styne [most recordings un-
der “Dainty June and Her Farm Boys”]
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Song Listing 285

GPVS company a-g1, solo e1-d2

Gypsy 2003 Revival Cast (Kate Reinders, Matt Bauer, David Burtka,
Benjamin Brooks Cohen, Joe Dudding, Brandon Espinoza, Tim Fed-
erle), see GYPSY10
Gypsy 2008 Revival Cast (Leigh Ann Larkin, Laura Benanti, Pearce We-
gener, Steve Konopelski, Tony Yazbeck, John Scaachetti, Geo Seery,
Matty Price), see GYPSY11

“Broadway Baby” from Follies (1971)

ASI, HTSS, SSS c1-e2, CFC, FLVS, FVS, SCCH c1-e2, FPVS g-b1 [with
medley ending]
Follies Original Cast (Ethel Shutta), FOLLIES01
Sondheim: A Musical Tribute (Ethel Shutta), see SONDAMUST1
Side by Side by Sondheim1 (Julia McKenzie), see SIDEBYS1
Side by Side . . . Australian Cast (Geraldene Morrow), see SIDEBYS2
Songs of Sondheim Irish Cast (Gemma Craven), see SONGSOFSOND1
Follies in Concert7 (Elaine Stritch), see FOLLIES02
Follies London Cast (Margaret Courtenay), see FOLLIES03
Sondheim: A Celebration at Carnegie Hall (Daisy Eagan), see SONDA-
CELATC1
A Gala Concert for Hal Prince (Debbie Shapiro Gravitte), see GALA1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOL-
LIES04
Hey, Mr. Producer! (Maria Friedman, Julia McKenzie, Bernadette Peters
& The Broadway Babies), see HEYMRP
Follies, The Complete Recording (Kaye Ballard), see FOLLIES05
Showstoppers from Broadway4 (Carolee Carmello), JAY Records, CDJAY
1266, 199[?]
Sondheim Tonight (Michael Ball), see SONDTON1
The Stephen Sondheim Album (Lea Delaria), see STEPHENSA1
Moving On (Company), see MOVINGON
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Bravo Broadway II (Jan Horvath), see BRAVOBROAD2
Wall to Wall Stephen Sondheim (Judy Kaye), see WALLTOWALLS1
Side by Side . . . Brazilian Cast (Sabrina Korgut), see SIDEBYS3
Simply Sondheim (Company), see SIMPLYSOND1
Argent, Monique/Moonfall, see ARGENTM1
Blaine, Vivian/For You, see BLAINEV1
Broadway Kids, The/Back on Broadway, Lightyear 54268, 1998/Koch
Records 5058, 2008
Campbell, David/Yesterday Is Now, Philips 522714-2, 1996
Criswell, Kim/Back to Before, JAY Records CDJAY 1317, 1999
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286 Song Listing

Florida Symphonic Pops/The Phantom of the Opera, see FLORIDA1 [in-

strumental]
Friedman, Maria/Now and Then, see FRIEDM2
Hagenberg, Tenja/Just Singing My Song, Tenja Hagenberg
844667010152, 2008
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Jahana, Raishel/Sondheim Songs, see JAHANA1
Laine, Cleo/Cleo Laine Return to Carnegie, see LAINEC1
Loudon, Dorothy/Broadway Baby, DRG CDSL 5203, 1986
Markey, Enda/Another Place and Time, see MARKEY1
Paige, Elaine/Essential Musicals, Universal 602517097896, 2006
Paige, Elaine/ . . . Live—Celebrating a Life on Stage, EP Records
B002N7N9NI, 2009
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Perryman, Jill/Leading Lady, EMI EMC 2524, 1975 [in medley]
Peters, Bernadette/Bernadette, MCA MCAD-10612, 1992 [LP 1980–81]
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Ripley, Alice & Emily Skinner/Raw at Town Hall (Alice Ripley), see SKIN-
NERRIPLEY01
Rochester Pops Orchestra/Opening Night, see ROCHESTERP1 [instrumental]
Schneider, Helen/A Voice and a Piano, see SCHNEIDERH1
Scott, Jacqui/Jacqui Scott, Highnote [n.n.], 2003
Singers Unlimited/A Little Light Music (Beryl Korman), see SINGERSUN1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01
Stritch, Elaine/Elaine Stritch at Liberty, see STRITCHE1

“Brotherly Love” from Road Show (2008) [“Brotherly Love” was also the ti-
tle of the end phrase of the “Damon & Pythias” section of the open-
ing that was cut from Bounce]
Road Show Original Cast Recording (Alexander Gemignani, Michael
Cerveris), see ROADSHOW1

“Buddy’s Blues” from Follies (1971) [also known as “The God-Why-Don’t-

You-Love-Me Blues”]
FLVS, FVS, HTSS, SSS solo version c1-e2, CFC, FPVS trio version d1-
f2/d1-a2 [both women’s voices later range]
Follies Original Cast (Gene Nelson), FOLLIES01
Sondheim: A Musical Tribute (Larry Blyden, Donna McKechnie, Chita
Rivera), see SONDAMUST1
Side by Side by Sondheim1 (David Kernan, Millicent Martin, Julia McKen-
zie), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
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Song Listing 287

Sondheim, Book-of-the-Month Records (Bob Gunton, Betsy Joslyn, Deb-

bie Shapiro), see SOND1
Follies in Concert (Mandy Patinkin), see FOLLIES02
Follies London Cast (David Healey), see FOLLIES03
Sondheim—A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Celebrating Sondheim (Tudor Davies, Claire Moore, Rosemary Ashe), see
CELEBRATSON
Follies, The Complete Recording (Tony Roberts, Pamela Jordan, Danette
Holden), see FOLLIES05
Side by Side . . . Brazilian Cast (Claudio Botelho, Sabrina Korgut, Ivana
Domenico), see SIDEBYS3
Forbidden Broadway: 2001 a Spoof Odyssey (Danny Gurwin), DRG 12627,
2001
Borchert, Thomas/Strictly Musical Live, SoulMadeRecords, 2009
Bork, Johann Sebastian/Fugue You, Orchard 802532/Electric Lemon
0103, 2003
Brussell, Barbara/patterns, see BRUSSELL1
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
McMahon, Ed, Capitol 45rpm 3213, [n.d.]
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Turner, Geraldine/Old Friends, see TURNERG1

“By the Sea” from Sweeney Todd (1979)

ASI, STVS a-e2, STPVS duet g-e2/G-b
Sweeney Todd Original Cast (Angela Lansbury, Len Cariou), see
SWEENEYT1
A Little Sondheim Music (Janet Smith, Michael Gallup), see LITTLES1
Stephen Sondheim’s Sweeney Todd . . . In Jazz3 (The Trotter Trio), see
SWEENEYT2
Sweeney Todd Barcelona Cast (Vicky Pena, Constantino Romero), see
SWEENEYT3
Sondheim—A Celebration (Millicent Martin), see SONDACEL1
Sweeney Todd Live at the NYP (Patti Lupone, George Hearn), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Patti LuPone), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter,
Johnny Depp), see SWEENEYT6
Paige, Elaine/ . . . Live—Celebrating a Life on Stage, EP Records
B002N7N9NI, 2009
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288 Song Listing

“The Cadys” from All That Glitters (1949)

“Can That Boy Foxtrot!” cut from Follies (1971)

CFC, HTSS b-e2
Side by Side by Sondheim6 (Millicent Martin, Julia McKenzie), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman, Geraldene Morrow), see
SIDEBYS2
Marry Me a Little1 (Craig Lucas, Suzanne Henry), see MARRYME1
The Birdcage (Nathan Lane), see BIRDCAGE
A Little Light Music (Beryl Korman and/or Julia Meadows), see LITTLEL1
Sondheim: A Celebration (Carole Cook), see SONDACEL2
Follies, The Complete Recording (Ann Miller), see FOLLIES05
Side by Side . . . Brazilian Cast (Ivana Domenico, Marya Bravo), see SIDE-
BYS3
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)
Alexander, Roberta/With You, see ALEXR1
Ameling, Elly/Sentimental Me, Phillips 412 433-1, 1984
Fuller, Mark/Songs About Adam, see FULLERM1
Orquestra De Cambra Teatre Lliure/Stephen Sondheim (Nina), see
ORQUESTRADECAM1
Singers Unlimited/A Little Light Music (Julia Meadows), see SINGERSUN1
Soper, Gay/Flying Fish and Fallen Angels, see SOPERGAY1
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Candide’s Lament,” see “This World”

“C’est moi,” see “Operetta”

“Charley Prince Birthday”

“[The] Chase” cut from A Funny Thing Happened on the Way to the Forum
(1962)
A Funny Thing . . . Film (instrumental), see FUNNY03

“Chéri” cut from Follies (1971)

“Children and Art” from Sunday in the Park with George (1984)
SPGPVS g-d2, SPGVS g-d2
Sunday in the Park . . .1 Original Cast (Bernadette Peters, Mandy
Patinkin), see SUNDAYIN1
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Song Listing 289

Color and Light: Jazz Sketches . . . (Holly Cole), see COLOR1

Sunday in the Park . . . 2006 London Cast (Jenna Russell, Daniel Evans),
see SUNDAYIN2
Blake, Seman/Echonomics, Criss Cross (Netherlands) 1197, 2001 [saxo-
phone]
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Friedman, Maria/Now and Then, see FRIEDM2 [accompanied by Sond-
heim on the piano]
Michaels, Marilyn/A Mother’s Voice, MEW MEW10002, 1998

“Children Will Listen (Finale, Part III)” from Into the Woods (1987)
BSBB g-d2 [extended], ITWPVS company number, SCCH g-f2 [ex-
tended; also in sheet music Warner Bros. VS6207]
Into the Woods Original Cast7 (Bernadette Peters, Company), see IN-
TOTHE1
Into the Woods London Cast (Julia McKenzie, Company), see INTOTHE2
Symphonic Sondheim (instrumental) [part of the “Into the Woods Suite”],
see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (Betty Buckley), see SONDACE-
LATC1
No One Is Alone . . . (Michelle Burgan), see NOONEIS1
Sondheim: A Celebration (Loretta Devine), see SONDACEL2 [with “Not
While I’m Around”]
Out on Broadway (Tracy Collins, Company), see OuOB [with “You Are
the Light”]
The Stephen Sondheim Album (Ruthie Henshall), see STEPHENSA1
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Into the Woods Revival Cast (Vanessa Williams, Company), see INTOTHE3
Simply Sondheim (Kelly Ground), see SIMPLYSOND1 [in medley with “Not
While I’m Around”]
Into the Woods/Boscos Endins Original Barcelona Cast (Mone, Company),
see INTOTHE5
Anthony, Julie/Lush, MHM [n.n.], 2001 [Australian]
Beechey, Annalene/Close Your Eyes, SimG Records 5065001707001, 2009
[with “No One Is Alone”]
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Byrne, Debra/New Ways to Dream (with Hugh Jackman), see BYRNED1
Callaway, Liz/Passage of Time, PS Classics CD84, 2009
Catenacci, Richard with Bob Egan at the Piano/The Colors of My Life,
[n.l., n.n., n.d.] [with “Carefully Taught”]
Cincinnati Pops Orchestra, Erich Kunzel &/On Broadway, Telarc CD-
80498, 1999
Clark, Petula/here for you3, see CLARKP1
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290 Song Listing

Combo Fiasco/Live At the Adelaide Cabaret Festival, 2002 [with “One Tin
Soldier”]
DeVito, Michael/Take Me to the World, [n.l.] 6022, 2007
Dow, Bruce/Lucky to Be Me, Independent 625989511424, 2005 [with “No
More”]
Guest, Rob/Unmasked, Thom 488648-2 (Sony/Australia), 1998 [piano
solo]
Hanley-Millman, Trés/Tres Broadway—Songs from the Stage, Evergreen
[n.n.], 2005
Jahana, Raishel/Sondheim Songs (instrumental), see JAHANA1 [with
“Everybody Says Don’t]
Mathis, Johnny/Mathis on Broadway, Columbia CK 63892, 2000 [with
“Our Children”; duet with Betty Buckley]
Merle & Larry/Love & Daughter, [n.l.] 30591, 2008
McCormick, Andrea/Broadway, Andrea McCormick 634479183164, 2005
McGovern, Maureen/Works of Heart, 2003 [with “You’ve Got to Be
Carefully Taught”]
McKinley, Bill/Everything Possible, Everything Possible EPCD922-0, 1992
Oliver, Lorri/Lullabies & Love Songs, All of Her Arms 1318, 2000
Patinkin, Mandy/Oscar and Steve, see PATINKIN4 [in medley]
Peters, Bernadette/Sondheim, Etc., Etc., see PETERSB2
Rose, Jodi/Hope for the Future, see ROSEJ1 [in medley]
Streisand, Barbra/Back to Broadway, see STREISAND2 [additional music
and lyrics by Sondheim]
Streisand, Barbra/Streisand Live in Concert 2006, Columbia 88697019222,
2007 [with “Carefully Taught”]

“Chris and David I (Stars Give Light)” cut from Climb High (1950–52, un-
produced)

“Chris and David II (No Star of Night)” cut from Climb High (1950–52, un-
produced)

“Christmas Carol” from I Know My Love (1951)

“Christmas Island at Christmas Time” written with Mary Rodgers

Anderson, D. C./All Is Calm, All Is Bright, LML CD-136, 2001

“Chromolume # 7” from Sunday in the Park with George (1984)

SPGPVS (instrumental)
Sunday in the Park . . . Original Cast (instrumental), see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (instrumental), see SUNDAYIN2
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Song Listing 291

“Chrysanthemum Tea” from Pacific Overtures (1976)

POPVS d1-f2 + company
Pacific Overtures Original Cast6 (Alvin Ing, Mako, Mark Hsu Syers,
Timm Fujii, Gedde Watanabe, Patrick Kinser-Lau, Conrad Yama, Jae
Woo Lee, Ernest Harada, Freda Foh Shen), see PACIFICOVER1
Pacific Overtures English National Opera (Edward Byles, Simon Master-
ton-Smith, Ian Comboy, Harry Nicoll, Gordon Christie, John Cash-
more, Terry Jenkins, Richard Angas), see PACIFICOVER2
Pacific Overtures New Broadway Cast (Alvin Y. F. Ing, Hazel Anne Ray-
mundo, Joseph Anthony Foronda, Eric Bondoc, Telly Leung, Scott
Watanabe, Yuka Takara ), see PACIFICOVER3
Yoshida, Fusaka/Koto Recital Classical and Modern Works, Major TJV
FY1/2 (S), [n.d.] [instrumental for Koto, played by Yoshida—
Shamisen in original cast]

“Cinderella at the Grave” from Into the Woods (1987)

ITWPVS duet c1-e2/f1-f2
Into the Woods Original Cast (Kim Crosby, Merle Louise), see INTOTHE1
Into the Woods London Cast (Jacqueline Dankworth, Eunice Gayson),
see INTOTHE2
Into the Woods Revival Cast (John McMartin, Laura Benanti, Pamela
Myers), see INTOTHE3
Into the Woods/Boscos Endins Original Barcelona Cast (Gisela, Maria Del
Mar Maestu), see INTOTHE5

“City On Fire” from Sweeney Todd (1979)

STPVS company number
Sweeney Todd Original Cast (Merle Louise, Company), see SWEENEYT1
Sweeney Todd Barcelona Cast (Teresa Vallicrosa, Company), see
SWEENEYT3
Sweeney Todd Live at the NYP (Audra McDonald, Company), see
SWEENEYT4

“Civilization” cut from Pacific Overtures (1976)

“Class” from Saturday Night (1954)

SNVS [primary voice] b-e2
Saturday Night Bridewell Cast (Sam Newman, Company), see SATURDAYN1
Saturday Night Original New York Cast (David Campbell, Company),
see SATURDAYN2
Stephen Sondheim: The Story So Far . . .7 (Jack Cassidy, Ensemble) [from
original backer’s audition]
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292 Song Listing

“Climb High” from Climb High (1950, unproduced)

“Cocktail Party” cut from Climb High (1950, unproduced)

“Color and Light” from Sunday in the Park with George (1984)
SPGPVS duet b-g2/b-e2 [-c2 optional]
Sunday in the Park . . . Original Cast (Mandy Patinkin, Bernadette Pe-
ters), see SUNDAYIN1
Color and Light: Jazz Sketches . . . (Herbie Hancock, piano), see COLOR1
No One Is Alone . . . (Craig Weatherill), see NOONEIS1 [with “Sunday in
the Park with George”]
Sunday in the Park . . . 2006 London Cast (Jenna Russell, Daniel Evans),
see SUNDAYIN2
Quast, Philip/Philip Quast Live at the Donmar, PQD 1, 2002
Starobin, David/New Music with Guitar, Volume 3 (Patrick Mason), see
STAROBIND1

“Come Over Here” music by Jule Styne (1960)

“Come Play Wiz Me” from Anyone Can Whistle (1964)

ACWPVS duet a-d2/a-e2, ACWVS solo version b-e2
Anyone Can Whistle Original Cast (Lee Remick, Harry Guardino), see
ANYONE1
Anyone Can Whistle Original Cast (Stephen Sondheim), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Bernadette Peters, Scott
Bakula), see ANYONE2
Simply Sondheim (Shay Oglesby-Smith, Kim Larsen), see SIMPLYSOND1

“Comedy Tonight” from A Funny Thing Happened on the Way to the Forum
(1962)
ASI, FTVS, HTSS, SCCH, SSS solo version a-e2 [-g2 optional], FTPVS
company number
A Funny Thing . . .1, 7 Original Cast (Zero Mostel, Company), see
FUNNY01
A Funny Thing . . . London Cast (Frankie Howerd, Company), see
FUNNY02
A Funny Thing . . . Film (Zero Mostel, Company), see FUNNY03
Side by Side by Sondheim (Millicent Martin, Julia McKenzie, David Ker-
nan), see SIDEBYS1 [with “Love Is in the Air”]
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John, Ger-
aldene Morrow), see SIDEBYS2 [with “Love Is in the Air”]
Songs of Sondheim Irish Cast (Company), see SONGSOFSOND1 [with “Love
Is in the Air”]
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Song Listing 293

Sondheim, Book-of-the-Month Records (Bob Gunton, Company), see

SOND1
Jerome Robbins Broadway6 (Jason Alexander, Scott Wise, Joey McKneely,
Michael Kubala, Company), see JEROMER1
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (instrumental), see SONDA-
CELATC1
A Gala Concert for Hal Prince (Company), see GALA1
A Funny Thing . . . Revival Cast (Nathan Lane, Company), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Sondheim—A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1 [incomplete]
Celebrating Sondheim (Ensemble), see CELEBRATSON
More West End the Concert, see MOREWEST
Sondheim Tonight (The Soloists), see SONDTON1
Amor al Reves es Roma [A Funny Thing . . . ] Mexican Cast, see FUNNY06
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Live at the Commander Boardwalk Cabaret, [n.l.] NR11810, [n.d.]
Side by Side . . . Brazilian Cast (Company), see SIDEBYS3 [with “Love Is in
the Air”]
The Broadway Musicals of 1962 (Company), see BROADWAYMUS62
Boston Pops/Music of the Night/Pops on Broadway, see BOSTON2 [instru-
mental]
Ferrante & Teicher/A Man and a Woman: The Other Motion Picture
Themes, United Artists UAL 3572, 1967 [two pianos]
Florida Symphonic Pops/The Phantom of the Opera, see FLORIDA1 [in-
strumental]
Hanna, Roland/Everything I Love, IPO 1002, 2002 [piano]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Holloway, Stanley/’Ello Stanley, MGM E 4284, 1965
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Keene Cheshiremen Chorus, The/Ahhh . . . Cappella!, [n.l.] 10555, 2008
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Moore, Wayne & Brenda Silas Moore/What’s a Brayne & Wenda? Ducy
Lee Recordings DLR900103, 2000 [2 versions]
Nagano, Jerry/Meet Jerry Nagano, Jerri-Co Productions, 1978 [Organ]
Pot Pourri/Something Familiar, Something Peculiar, Move MCD086, 2000
Pot Pourri/Friends for Life, [n.l.] 006, 2002 [Australian, dist. by Middle
Eight Music]
Rochester Pops Orchestra/Opening Night, see ROCHESTERP1 [instrumen-
tal]
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294 Song Listing

Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see

SCHÜRMANN1 [with “I’m Calm”]
Tony Hatch Singers and Swingers/Showcase, Marble Arch MALS
1399,/(s) MST-21, 1967
Will Bronson Singers/Best of Broadway, Solid State SS 17011, (S) SS
18011, 1967

“Company” from Company (1970)

CPVS, CVS [2 versions], CVS2, CVS3 company number, HTSS g-d2 [f-
optional]
Company Original Cast (Dean Jones, Company), see COMPANY01
Side by Side by Sondheim (Millicent Martin, Julia McKenzie, David Ker-
nan), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John, Ger-
aldene Morrow), see SIDEBYS2
Sondheim: A Celebration at Carnegie Hall (The Tonics), see SONDACELATC1
Stephen Sondheim’s Company . . .In Jazz (The Trotter Trio), see COMPANY03
Company London Revival Cast (Adrian Lester, Company), see COM-
PANY04
Company Revival Cast (Boyd Gaines, Company), see COMPANY05
More West End the Concert (Kim Criswell, Graham Bicley, Simon Bow-
man), see MOREWEST
Sondheim Tonight (The Soloists), see SONDTON1
Company Brazilian Cast (Claudio Botelho, Company), see COMPANY06
Company German Cast (Ensemble), see COMPANY07
Side by Side . . . Brazilian Cast (Company), see SIDEBYS3 [with “You Could
Drive a Person Crazy”]
Company Accompaniment CD (Miles Phillips, Company/accompani-
ment), see COMPANY08
Company Second Revival Cast (Raúl Esparza, Company), see COM-
PANY09
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Laine, Cleo/Cleo Laine Return to Carnegie, see LAINEC1
Nero, Peter, Columbia 45rpm 4-45167, 1970
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1 [in medley]
Winterhalter, Hugo/Applause, Musicor (S)3190, 1970

“The Contest” from Sweeney Todd (1979) [“Part II” is optional in score]
STPVS b-c3 [part II is a duet with the 2nd voice c-a2, or alternate c3]
Sweeney Todd Original Cast (Joaquín Romaguera), see SWEENEYT1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
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Song Listing 295

Sweeney Todd Barcelona Cast (Esteve Ferrer, Muntsa Rius), see

SWEENEYT3
Sweeney Todd Live at the NYP (Stanford Olsen), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Donna Lynne Champlin), see
SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Sacha Baron Cohen), see
SWEENEYT6

“Cool” from West Side Story (1957), music by Leonard Bernstein

BOB, WSSVS c1-e2, WSSPVS solo + company & dance c1-e2
West Side Story Original Cast (Mickey Calin, The Jets), see WESTSIDE01
West Side Story film (Tucker Smith, The Jets), see WESTSIDE02
West Side Story Studio Cast (Kurt Ollman, The Jets), see WESTSIDE03
Bernstein on Broadway (Peter Hofmann), see BERNSTEINON1
Jerome Robbins Broadway (Scott Wise, The Jets), see JEROMER1
West Side Story Studio Cast London (Christopher Howard, Boys), see
WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Nicholas Warnford,
Jets), see WESTSIDE05
West Side Story, The Songs of (Patti Austin, Mervyn Warren, Bruce
Hornsby), see WESTSIDE06
West Side Story London Studio Cast (Franklyn Fox), see WESTSIDE09
West Side Story Original Score (Robert Dean and Jets), see WESTSIDE10
West Side Story Broadway Revival (Cody Green, Jets), see WESTSIDE11
Bentley, Alison/Songs of Leonard Bernstein and Irving Berlin, Slam 248,
2002
Brecher, Kayle/Spy Music, Penchant Four Records 104428, 2005
Carroll, David/Showstoppers from the Fabulous 50s, Mercury MG-20411,
(S)SR-60060, 1960
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
DeLaria, Lea/Play It Cool, see DELARIA1
Denny, Martin/Another Taste of Honey, Liberty LRP-3277, (S)LST-7277,
1964
Fasano, Barbara/The Girls of Summer, Human Child Records hcr400,
1998
Grace, Kathleen/Sunrise, [n.l.] 05665, 2005
Kalin Twins, Decca 45rpm ED-2641, 1960
Kalin Twins/Top Teen Hits, Decca (S)ED7-2661, 1960
Natal, Nanette/Is Love Enough?, Benyo Music Productions 3338, 2002
[with “Jet Song”]
Nelson, Oliver/Full Nelson, Verve (S)V6-8508, 1964
Schlongs/Punk Side Story (Ken Sanderson), see SCHLONG1
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296 Song Listing

Wood, Charlie & Jim Shearer/The Memphis Hang, Summit Records 502,
2008

“Cora’s [The Cookie] Chase (Ballet)” from Anyone Can Whistle (1964)
ACWPVS a-e + quartet & soprano b1-d3
Anyone Can Whistle Original Cast (Angela Lansbury, Don Doherty,
Gabriel Dell, Lee Remick, Ensemble), see ANYONE1
A Little Sondheim Music (Los Angeles Vocal Arts Ensemble), see LITTLES1
[listed as “Waltz I”]
Anyone Can Whistle Live at Carnegie Hall (Madeline Kahn, Walter Bob-
bie, Chip Zien, Ken Page, Harolyn Blackwell, Ensemble), see ANY-
ONE2

“Could I Leave You?” from Follies (1971)

ASI, FLVS, FVS, HTSS, SSS b-e2, CFC, FPVS f-b1
Follies Original Cast (Alexis Smith), FOLLIES01
Sondheim: A Musical Tribute (Alexis Smith), see SONDAMUST1
Side by Side by Sondheim1 (David Kernan), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
Songs of Sondheim Irish Cast (Gay Bryne), see SONGSOFSOND1
Follies in Concert (Lee Remick), see FOLLIES02
Follies London Cast (Diana Rigg), see FOLLIES03
Putting It Together (Julie Andrews), see PUTTINGIT1
Songs of Stephen Sondheim/You Sing the Hits, see SONGSOFSTEP1
Sondheim—A Celebration (Julia McKenzie), see SONDACEL1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOL-
LIES04
Follies, The Complete Recording (Dee Hoty), see FOLLIES05
Company German Cast (Andreas Ziemons), see COMPANY07
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Side by Side . . . Brazilian Cast (Claudio Botelho), see SIDEBYS3
Connelli, Judy/Back to Before—A Life in Song, ABC 461 883-2, 2001
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Brindley, Susan/With So Little to Be Sure Of, see BRINDLEYS1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Hastings, Ruth/Ruth Hastings Plays the Geary, see HASTINGSR1 [in medley]
Kitt, Eartha/Eartha Kitt Live in London, Ariola 353825, 1990
Lear, Evelyn/Evelyn Lear Sings Sondheim and Bernstein, see LEARE1
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Malmberg, Sue/Musical Theatre Classics, see MALMBERGS1
Turner, Geraldine/Old Friends, see TURNERG1
Wilson, Julie/Julie Wilson at Brothers & Sisters Vol. Two, see WILSONJ1
[with “Beautiful Girls,” “[The Story of] Lucy and Jessie,” & “Losing
My Mind”]
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Song Listing 297

Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see

WILSONJ2

“Country House” from the 1987 London revival of Follies

ASIII, CFC, FLVS duet a-e2/a-f2
Follies London Cast (Diana Rigg, Daniel Massey), see FOLLIES03
Putting It Together (Julie Andrews), see PUTTINGIT1

“Cow Song” from Gypsy (1959), music by Jule Styne [recordings under
“Dainty June and Her Farm Boys”]
GPVS company c1-f2

“Crazy Piano” for Reds (1981) [unused]

“Crickets,” see “Not Quite Night”

“Crime Doesn’t Pay” cut from The Lady or the Tiger? (1954, unproduced)

“Cross Questions” cut from Anyone Can Whistle (1964)

“Cuckoo” cut from Do I Hear a Waltz? (1965), music by Richard Rodgers

“Dainty June and Her Farmboys” from Gypsy, music by Jule Styne
GPVS company a1-a2
Gypsy Original Cast (Company), see GYPSY01
Gypsy London Cast (Company), see GYPSY03
Gypsy Revival Cast (Company), see GYPSY04
Gypsy TV Cast (Jennifer Beck, Jeffrey Broadhurst, Peter Lockyer,
Michael Moore, Patrick Boyd, Terry Lindholm, Gregg Russell, Cyn-
thia Gibb), see GYPSY05
Gypsy 2003 Revival Cast (Kate Reinders, Tammy Blanchard, Matt Bauer,
David Burtka, Benjamin Brooks Cohen, Joe Dudding, Brandon Es-
pinoza, Tim Federle), see GYPSY10
Gypsy 2008 Revival Cast (Leigh Ann Larkin, Laura Benanti, Pearce We-
gener, Steve Konopelski, Tony Yazbeck, John Scaachetti, Geo Seery,
Matty Price), see GYPSY11

“Damon and Pythias” cut from Bounce (2003)

“The Dance at the Gym” from West Side Story (1957), music by Leonard
Bernstein
WSSPVS instrumental

“Darling (Kissing Song)” cut from Merrily We Roll Along (1981)

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298 Song Listing

“Darling!” cut from Merrily We Roll Along (1981)

“Dawn” for Singing Out Loud (1992–93, unproduced)

ASIV a-f2 [for multiple voices]
Sondheim at the Movies (Jolie Jenkins, Bryan Batt, Sanny Burstein, James
Hindman), see SONDATTHEM1

“The Day Off” from Sunday in the Park with George (1984)
SPGPVS company number, but “Part I”—the Spot & Fifi sequence—
ranges a-g2
Sunday in the Park . . . Original Cast (Mandy Patinkin, Barbara Byrne, Ju-
dith Moore, Nancy Opel, Brent Spiner, Melanie Vaughn, Mary D’arcy,
Robert Westenberg, William Parry), see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (Daniel Evans, Gay Soper,
Joanne Redman, Lauren Calpin/Natalie Paris, Steven Kynman, Anna
Lowe, Simon Green, Alasdair Harvey), see SUNDAYIN2

“Delighted, I’m Sure” completed for the 1999 Pegasus Players production
of Saturday Night
SNVS company number
Saturday Night Original New York Cast (Andrea Burns, Rachel Ulanet,
Clarke Thorell, Christopher Fitzgerald, Michael Benjamin Washing-
ton, Kirk McDonald, Greg Zola, Joey Sorge), see SATURDAYN2

“Delta Iota Mu” cut from Climb High (1950–52, unproduced)

[Dick Tracy]
Jenson Publications/New Music for Concert Band: Vol. 27, Jenson Publi-
cations, HLP-74, 1990 [Dick Tracy soundtrack highlights]

“The Dim Dinner” from Phinney’s Rainbow (1948)

“Dinner Table Scene,” see “Night Waltz II”

A Little Night Music Royal National Theatre (Company), see LITTLEN05

“Distant Past” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Do I Hear a Waltz?” for Do You Hear a Waltz? (1963, unproduced TV show)
ASIV a-d2

“Do I Hear a Waltz?” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
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Song Listing 299

DIHPVS a-d2, DIHVS, SSS b-d2

Do I Hear a Waltz? Original Cast (Elizabeth Allen, Ensemble), see DOI-
HEAR1
Sondheim: A Musical Tribute (Dorothy Collins), see SONDAMUST1
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed), see
DOIHEAR2
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Simply Sondheim (Kelly Ground), see SIMPLYSOND1 [in medley]
Andrews, Julie/The Music of Richard Rodgers, Philips 442 603-2, 1994 [in
medley]
Barr, John/A Small Affair, Dress Circle MBJB 1, 1996
Bennett, Tony/If I Ruled the World: Songs for the Jet Set, Columbia CL
2343, 1965
Carroll, Barbara/ . . . Live at Birdland, Harbinger HCD 2301, 2005 [with
“The Jitterbug Waltz”]
Christy, June/Something Broadway Something Latin, Capitol ST 2410,
1965[?]; Something Latin/Something Porter, DRG 8507, 2009
Christy, June/Through the Years, Hindsight HCD260, 1995
Connelli, Judi & Suzanne Johnston/Perfect Strangers, see CONNELLI3 [in
Rodgers medley]
Davis Jr., Sammy/Sammy’s Back on Broadway, Reprise 6169, 1965; Col-
lector’s Choice Music 491, 2005
De Lorenzo, Brian/Found Treasures, see DELORENZ1 [in “A Waltz Med-
ley”]
Dow, Judith/Regards to Broadway, see DOWJ1
Eastman, Madeline/Speed of Life/Madkat 1009, 2003
Gorme, Eydie/After You’ve Gone, Columbia 45rpm 4-43225, 1965
Gorme, Eydie/The Golden Encore: Hit Tunes that Sold Over a Million, Co-
lumbia Special Products, CSP-248, 196[?]
Gorme, Eydie/ . . . Sings Great Songs from The Sound of Music and Other
Broadway Shows, see GORMEE1
Green, Simon/Take Me to the World, see GREENS1 [with “Isn’t It?” and
“Falling in Love with Love”]
Hamza, Luqman/When a Smile Overtakes a Frown, Catalyst 2000, 2000
Herman, Jerry/Hello, Jerry, United Artists UAL 3432, (S)6432, 1965
Jolly, Pete/Too Much, Baby, Columbia CL-2397, (S)CS-9197, 1967
Kennedy, Graham/Graham Kennedy Sings the Shows, Warner Brothers
WS 20013, 1973
Lee, Peggy/2 Shows Nightly/Live at the Copa, EMI 2070, 2009
Lee, Peggy/Disc Jockey Sampler: November 1968, Capitol Records
SRRO/4651, 1968
Lee, Peggy/Peggy Lee in Concert, The Entertainers CD 346, 1996
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
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300 Song Listing

Myers, Pamela/The Chance to Sing, LML CD-162, 2003

Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Sherman, Daryl/A Hundred Million Miracles, Arbors Records, ARCH
19279, 2003
Stafford, Jo/Do I Hear a Waltz?, Dot DLP 3673, (S)25673, 1967
Stevens, Kaye/Feelin’ Good, Capitol 45rpm 5393, 1965
Sullivan, KT/Sings the Sweetest Sounds of Richard Rodgers, DRG 91462,
2000 [with “When You’re Dancing a Waltz”]
Tichenor, Charles/Rodgers & I, Original Cast 9551, 1996
Whitfield, Wesla/Livin’ On Love, Highnote HCD 7152, 2006
Woodfield, Ann/Shades of Reflection, Guild Music Ltd/Zah Zah ZZCD
9805, 1998 [with “Lover”]

“Doctor” from The Jet-Propelled Couch (1958, unproduced)

“Dogma Nu” from Phinney’s Rainbow (1948)

“Don’t Ballet,” see “Everybody Says Don’t”

“Don’t Give It a Thought” cut from The Exception and the Rule (1968, un-
produced), music by Leonard Bernstein

“Don’t Laugh” from Hot Spot (1963), music by Mary Rodgers, lyrics with
Martin Charnin
The Broadway Musical of 1963 (Julia Murney), Bayview RNBW036, 2006
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)
Newman, Phyllis/The Mad Woman of Central Park, DRG CDSL 5212,
1990

“Don’t Look at Me” from Follies (1971)

CFC, FPVS duet a-b1/c1-c2
Follies Original Cast (Dorothy Collins, John McMartin), FOLLIES01
Follies in Concert (Barbara Cook, George Hearn), see FOLLIES02
Follies London Cast (Julia McKenzie, Daniel Massey), see FOLLIES03
Follies, The Complete Recording (Donna McKechnie, Laurence Guit-
tard), see FOLLIES05
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SONDSINGS01

“Dowagers” cut from Bounce (2003)

“Dream Ballet” from Phinney’s Rainbow (1948)

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Song Listing 301

“Dress Big” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Burke Moses, Nathan Lane, Roger
Bart), see FROGS2

“Drink to Zee Moon” from All That Glitters (1949)

“Dueling Pianos” from Hey, Mr. Producer! (The Musical World of Cameron
Mackintosh), 1997 [contrived from “Send in the Clowns” and An-
drew Lloyd Webber’s “Music of the Night” with new lyrics by Sond-
heim]
Hey, Mr. Producer! (Stephen Sondheim & Andrew Lloyd Webber), see
HEYMRP

“Easy Life” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“[The] Echo Song (Questions)” cut from A Funny Thing Happened on the
Way to the Forum (1962)
A Stephen Sondheim Evening (Liz Callaway, Steven Jacob), see
STEPHENSE1

“The Emperor of Japan” cut from Pacific Overtures (1976), [see also “Civi-
lization”]

“The Emperor’s New Clothes” cut from Do I Hear a Waltz? (1965), music
by Richard Rodgers

“Epiphany” from Sweeney Todd (1979)

STPVS B-f1 [2nd voice for 2 m. d1-c2]
Sweeney Todd1 Original Cast (Len Cariou), see SWEENEYT1
Sweeney Todd Barcelona Cast (Constantino Romero), see SWEENEYT3
Sweeney Todd Live at the NYP (George Hearn, Patti LuPone), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Michael Cerveris), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Johnny Depp), see SWEENEYT6
Lee, Christopher/Christopher Lee Sings Devils, Rogues & Other Villains,
Wolfslair [n.n.], 1996
Terfel, Bryn/Bad Boys (with Anne Sofie von Otter), Universal/Zoom
4778091, 2009

“Erna” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1
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302 Song Listing

“Erna Remembered” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Eulogies” from Sunday in the Park with George (1984)

SPGPVS instrumental

“Ever After (Finale, Part IV)” from Into the Woods (1987)
ITWPVS company number
Into the Woods Original Cast (Tom Aldredge, Company), see INTOTHE1
Into the Woods London Cast (Nicholas Parsons, Company), see INTOTHE2
Into the Woods Revival Cast (John McMartin, Company), see INTOTHE3
Into the Woods/Boscos Endins Original Barcelona Cast (Ferran Frauca,
Company), see INTOTHE5

“Every Day a Little Death” from A Little Night Music (1973)

ASI, LNMVS, SSS duet a-c2 [both], LNMPVS g-b1 [both]
A Little Night Music2 Original Cast (Patricia Elliott, Victoria Mallory),
see LITTLEN01
A Little Night Music London Cast (Maria Aitken, Veronica Page), see LIT-
TLEN02
A Little Night Music Film (Diana Rigg), see LITTLEN03
A Little Night Music Studio Cast (Susan Hampshire, Janis Kelly), see LIT-
TLEN04
Putting It Together (Julie Andrews, Rachel York), see PUTTINGIT1
Color and Light: Jazz Sketches . . . (Grover Washington Jr., tenor sax), see
COLOR1
A Little Night Music Royal National Theatre (Patricia Hodge, Joanna
Riding), see LITTLEN05
A Little Night Music Barcelona Cast (Mireia Ros, Alicia Ferer), see LIT-
TLEN06 [and reprise by the Quintet]
A Little Night Music Broadway Revival Cast (Erin Davie, Ramona Mal-
lory), see LITTLEN07
Buckley, Betty/An Evening at Carnegie Hall (with Carol Maillard), see
BUCKLEYB3
Byrne, Debbie/Caught in the Act, Mushroom Records [Australia]
RMD53342/TVD93342, 1991
Callaway, Ann Hampton & Liz/Sibling Revelry, see CALLAWAYA&L [in
medley]
Day, Courtenay/Courtenay Day Live at Don’t Tell Mama, see DAYC1 [with
“Pretty Women”]
Ferreri, Michael/Sweet Dreams, see FERRERI1 [with “I Don’t Want to
Know”]
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Song Listing 303

Hastings, Ruth/Ruth Hastings Plays the Geary, see HASTINGSR1 [in med-
ley]
McLaren, Morag/I Never Do Anything Twice, see MCLAREN1
Randwyck, Issy van/It’s Oh So Issy, Dress Circle IVR-CD-1, 1996 [with
“My Husband the Pig”]
Skinner, Emily & Alice Ripley/Duets3, Varese Sarabande VSD-5958,
1998
Skinner, Emily & Alice Ripley/Raw at Town Hall, see SKINNERRIPLEY01
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Everybody Loves Leona” cut from Do I Hear a Waltz? (1965), music by

Richard Rodgers
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed), see
DOIHEAR2
Stephen Sondheim: The Story So Far . . .7 (Rose Mary Jane)

“Everybody Loves Louis” from Sunday in the Park with George (1984)
SPGPVS a-c2
Sunday in the Park . . . Original Cast (Bernadette Peters), see SUNDAYIN1
Sondheim: A Celebration (Sally Mayes), see SONDACEL2
Celebrating Sondheim (Mary Carewe), see CELEBRATSON
Sunday in the Park . . . 2006 London Cast (Jenna Russell), see SUNDAYIN2
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Molaskey, Jessica/A Kiss to Build a Dream On, Arbors Records 19384,
2008

“Everybody Ought to Have a Maid” from A Funny Thing Happened on the

Way to the Forum (1962)
FTPVS quartet c1-e2 [all voices], FTVS, SSS solo version b-d2
A Funny Thing . . . Original Cast (David Burns, Zero Mostel, Jack Gil-
ford, John Carradine), see FUNNY01
A Funny Thing . . . London Cast (“Monsewer” Eddie Gray, Frankie
Howerd, Kenneth Connor, Jon Pertwee), see FUNNY02
A Jolly Theatrical Season (Robert Morse, Charles Nelson Reilly), Capitol
(S) ST 1862, 1963
A Funny Thing . . . Film (Michael Horderm, Zero Mostel, Jack Gilford,
Phil Silvers), see FUNNY03
Side by Side . . . Australian Cast (John Laws, Bartholomew John, Ger-
aldene Morrow, Jill Perryman), see SIDEBYS2
Putting It Together6, 7 (Stephen Collins, Christopher Durang, Michael Ru-
pert), see PUTTINGIT1
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304 Song Listing

A Funny Thing . . . Revival Cast (Lewis J. Stadlen, Nathan Lane, Mark

Linn-Baker, Ernie Sabella), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Sondheim: A Celebration (Michael Jeter), see SONDACEL2
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
The Broadway Musicals of 1962 (Scott Coulter, Danny Gurwin, Brad Os-
car, Will Taylor, Eric Stretch), see BROADWAYMUS62
Lorin & the Robins, Capitol 45rpm 4775, 1964
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Everybody Says Don’t” from Anyone Can Whistle (1964)

ACWPVS, ACWVS, ASIII, HTSS, SSS g-e2, BSBB f-d2, BSC [special
lyrics; in medley with “I’m Still Here” and “Don’t Rain On My Pa-
rade”]
Anyone Can Whistle Original Cast (Harry Guardino), see ANYONE1
Side by Side by Sondheim (Millicent Martin, David Kernan, Julia McKen-
zie), see SIDEBYS1
Side by Side . . . Australian Cast (Geraldene Morrow, Jill Perryman,
Bartholomew John), see SIDEBYS2
Sondheim, Book-of-the-Month Records (Timothy Nolan), see SOND1
Anyone Can Whistle Live at Carnegie Hall (Scott Bakula), see ANYONE2
The Stephen Sondheim Album (Liz Callaway), see STEPHENSA1
Moving On (Company), see MOVINGON [with “Move On,” “I Know
Things Now,” and “Take Me to the World”]
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Side by Side . . . Brazilian Cast (Ester Elias, Ivana Domenico, Marya
Bravo, Sabrina Korgut), see SIDEBYS3
Simply Sondheim (Steve Rhyne), see SIMPLYSOND1
Broadway Unplugged 4 (Andrea McArdle), see BROADWAYUNPL4
Argent, Monique/Moonfall, see ARGENTM1
Barr, John/A Small Affair, Dress Circle MBJB 1, 1996
Beechman, Laurie/Listen to My Heart, DRG 5216, 1990
Bogart, Matt/Simple Song, JAY Records CDJAY 1363, 2002
Brussell, Barbara/patterns, see BRUSSELL1
Connelli, Judi & Suzanne Johnston/Perfect Strangers, see CONNELLI3
[with “Our Time”]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
Hardin, Melora/All the Way to Mars, LML Music LML 249, 2010
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
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Song Listing 305

Herman, Avigail/Avigail Herman, Totally Vocal [n.n], 2003

Herman/Avigail/Hey World Here I Am—The Streisand Story, Totally Vo-
cal [n.n], 2003
Hill, Rosena M./If You Believe, Rosena M. Hill. [n.n.], 2008
Hubbard, Bruce/For You, For Me, EMI/Angel CDC 7 49928 2, 1990
J’s/Jamie, Columbia 45rpm 4-43017, 1964
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Jahana, Raishel/Sondheim Songs, see JAHANA1 [with “Children Will Lis-
ten”]
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
McKechnie, Donna/Inside the Music, see MCKECHNIED1
O’Connor, Grace/A Time for Love, [n.n., n.n.], 2000 [with “With So Little
to Be Sure Of”]
Patinkin, Mandy/Kidults, Nonesuch 79534-2, 2001 [with “The King’s
New Clothes”]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Rose, Jodi/Hope for the Future, see ROSEJ1
Schneider, Helen/A Voice and a Piano, see SCHNEIDERH1 [with “Move On”]
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Anyone Can Whistle”]
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SONDSINGS01
Starr, Lynn/Lynn Starr Live! “It’s Only Love,” Original Cast 2011, 2000
Streisand, Barbra/Back to Broadway, see STREISAND2
Streisand, Barbra/The Concert, Columbia C2K 66109, 1994
Ventura, Carol/Carol!, Prestige PRST 7358, 1964[?]
Victor, Larry/Our Time Will Soon Go By, Original Cast Records OC 9330,
1993

“Everybody’s Got the Right (Finale)” from Assassins (1991) [also included
in the “Opening”]
APVS, AVS company number
Assassins Original Cast7 (Victor Garber, Terence Mann, Debra Monk,
Jonathan Hadary, Eddie Korbich, Lee Wilkof, Greg Germann, Annie
Golden, Jace Alexander), see ASSASSINS1
No One Is Alone . . . (Company), see NOONEIS1
Sondheim: A Celebration (John Allen, Paul Carr, Bridget Hoffman, David
Holladay, Jean Kauffman, Kevin Loreque, Alan Safier, Sean Smith,
Steve Wilde), see SONDACEL2
Assassins Broadway Cast (Marc Kudisch, James Barbour, Alexander
Gemignani, Denis O’Hare, Jeffrey Kuhn, Mario Cantone, Mary
Catherine Garrison, Becky Ann Baker, Michael Cerveris, Neil Patrick
Harris), see ASSASSINS2
Simply Sondheim (Company), see SIMPLYSOND1 [with “No More”]
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306 Song Listing

“Everything’s Coming Up Roses” from Gypsy (1959), music by Jule Styne

[revised version of “I’m Betwixt and Between” cut from High Button
Shoes]
GPVS, GVS2 b-c2, GVS c1-d2
Gypsy Original Cast7 (Ethel Merman), see GYPSY01
Herb Geller and His All-Stars play selections from Gypsy (Barbara
Lang), see GELLERH
Gypsy Film (Lisa Kirk/Rosalind Russell), see GYPSY02
Broadway’s Big Hits (David Carroll), Mercury SR 60811/(M) MG 20811,
1963
Gypsy London Cast (Angela Lansbury), see GYPSY03
Gypsy Revival Cast (Tyne Daly), see GYPSY04
Gypsy TV Cast (Bette Midler), see GYPSY05
Celebrating Gypsy . . . (Libby Moore), see CELEBRATGYP
Gypsy German Cast (Angelika Milster), see GYPSY07
Selections from “Gypsy” and “Flower Drum Song” (Florence Henderson),
see GYPSY08
Kay Medford in “Gypsy” (Kay Medford), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters), see GYPSY10
Gypsy 2008 Revival Cast (Patti Lupone), see GYPSY11
Broadway Unplugged (Alix Corey), see BROADWAYUNPL1
Basile, Jo/Hit Broadway Musicals, Audio Fidelity AF-1972, (S)SD-5972,
1962
Bassey, Shirley/Bassey Belts the Best, United Artists UAL-3419, (S)UAS-
6419, 1965
Bassey, Shirley/Broadway Bassey’s Way, EMI SHZE 371/Columbia SCX-
6515, 1972
Bassey, Shirley/Shirley Bassey Stops the Shows, EMI BGOCD826, 2008
Blackhurst, Klea/Everything the Traffic Will Allow, Lunch Money
791558555622, 2002
Blaine, Vivian/For You, see BLAINEV1
Bryan, Joy/Make the Man Love Me, Contemporary M-3604, (S)S-7604,
1962
Burnett, Carol/Burnett Sings, Decca (S)DL7-4437, 1965 [reissued on CD
as Let Me Entertain You, Decca 012 159 402-2, 2000]
Carroll, Diahann/Diahann Carroll at the Persian Room, United Artists
UAL-3080, (S)UAS-6080, 1961; reissued on CD as The Magic of Dia-
hann Carroll, DRG 91488, 2005
Carroll, Diahann/Stand Up and Sing, United Artists UAL-3331, (S)UAS-
6331, 1965
Clooney, Rosemary/Clap Hands, Here Comes Rosie, Victor (S)LSP-2212,
1961
Davies, Lew/Cheerful Earful, Command (S)RS-861, 1965
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Song Listing 307

Egan, Susan/Susan Egan Live!, LML Music LML CD 222, 2008 [in med-
ley]
Ellis, Ray/Our Man on Broadway, RCA Victor LPM-2615, 1960
Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see
FEINSTEIN1
Gene Lowell Singers/Voices in Song: American Musical Theater, Time
S/2003, 1960
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1 [part of “Rose’s
Medley”]
Henderson, Florence/Selections from Gypsy and Flower Drum Song, see
HENDERSONF1
Henshall, Ruthie/The Ruthie Henshall Album, Tring002, 1996
Hi-Lo’s, The/Broadway Playbill, see HILOS
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Holmes, Leroy/Golden Hits of Broadway, United Artists UAL-3234,
(S)UAS-6234, 1962
John Cacavas Singers/The Broadway Songbook, Gallery (S) LPG-3200,
MIO International MUS 5007, 1965
King Family/ . . . Live! In the Round (Marilyn King), Warner Bros.
(S)1660, 1960
Kuhn, Judy/Just in Time—Judy Kuhn Sings Jule Styne, Varese Sarabande
VSD-5472, 1995
Lawrence, Steve/Lawrence Goes Latin, United Artists UAL-3114,
(S)UAS-6114, 1962
Lee, Donna/ . . . At the School of Arts Café, Larrikin LRF 394, 1995
Lewis, Jerry, Decca 45rpm 9-3115, 1961
Lewis, Monica/ . . . Swings Jule Styne, DRG 802, 1991
Mathis, Johnny/Ballads & Rhythms of Broadway, Columbia C2L-17,
(S)CS2-803, 1961; Sony 530772, 1999
McKenzie, Rita/Ethel Merman’s Broadway, see MCKENZIER1
Merman, Ethel/This Is Broadway’s Best, Columbia B2W, (S)B2WS-1,
1961
Merman, Ethel/The Lindsay Record, Columbia CSP 261, [n.d.] [Sond-
heim wrote special lyrics for this recording supporting John Lind-
say’s candidacy for Mayor of New York]
Merman, Ethel/Merman in Vegas, Reprise R9-6062, 1962
Merman, Ethel/Merman Sings Merman, London Records XPS-901, 1972
Merman, Ethel/A Gala Tribute to Joshua Logan, [n.l.]
Merman, Ethel/The Disco Album, A&M Records SP-4775, 1979
Merman, Ethel/Mermania!, see MERMANE1 [2 versions, 1 in medley]
Miller, Roger/King of the Road (The Best of . . . ), Laser Light 15 478,
1992
Modernaires/Like Swing, Mercury MG-20546, (S)SR-60220, 1961
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308 Song Listing

O’Shaughnessy, Carol/Live at Scullers, Songkeepers 001, 2000 [with

“Small World”]
Parker, Frank/Golden Favorites of Broadway, Liberty LRP-3252, (S)LST-
7252, 1962
Pastor, Tony/Shakin’ Up Vegas, Capitol (S)ST-1415, 1961
Roberts, Geo/Bottoms Up, Columbia CL-1520, (S)CS-8320, 1961
Ross, Annie/Gypsy, see ROSSANNIE
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Rydell, Bobby/Bobby Rydell Salutes the Great Ones, Cameo (S)1010, 1961
Sands, Tommy/Sands at the Sands, Capitol (S)ST-1364, 1961 [reissued on
Live from Las Vegas, Capitol 72435-41790-2-0, 2003]
Squires, Dorothy, HMV 45-POP 1097, [n.d.]
Steele, Tommy/Everything’s Coming Up Broadway, Liberty LRP-3426,
(S)LST-7426, 1965
Stevens, Kay/Ruckus at the Riviera, Columbia CL-1716, (S)CS-8516, 1962
Styne, Jule/My Name is Jule, see STYNEJ1
Williams, Andy/Music from Shubert Alley, Sinclair, SS-2250, 1959

“Everything’s Perfect” cut from Merrily We Roll Along (1981)

“Evoe for the Dead” from The Frogs (1974) [also known as Paean]
The Frogs/Evening Primrose Studio Recording (Chorus), see FROGS1

“Exhibit ‘A’” from Saturday Night (1954)

SNVS b-e2
Saturday Night Bridewell Cast (James Miillard), see SATURDAYN1
Saturday Night Original New York Cast (Christopher Fitzgerald), see
SATURDAYN2

“Exodus: (The Sound of Poets)” from The Frogs (1974)

The Frogs/Evening Primrose Studio Recording (Chorus), see FROGS1

“Faculty Song” from Phinney’s Rainbow (1948)

“Fair Brooklyn” part of “That Kind of a Neighborhood” from Saturday

Night (1954)
A Stephen Sondheim Evening (Company), see STEPHENSE1

“Fair Lady” (incomplete) cut from The Lady or the Tiger (1954, unpro-
duced)

“Fanfare (for 3 Trumpets)” (1976)

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Song Listing 309

“Fanfare and Arena Sequence” cut from The Lady or the Tiger (1954, un-
produced) [incomplete]

“Fanfare” from The Frogs (1974)

The Frogs/Evening Primrose Studio Recording (Orchestra), see FROGS1

“Farewell” added to the 1972 revival of A Funny Thing Happened on the

Way to the Forum
Simply Sondheim (Shay Oglesby-Smith), see SIMPLYSOND1

“Farewell Letter (Scene Thirteen)” from Passion (1995)

PPVS duet a-d2/a-f2
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson), see PASSION4

“Farm Sequence” from Gypsy (1959), music by Jule Styne, [see also
“Broadway,” “Cow Song,” “Dainty June and Her Farmboys”; same
music as “Gone Are the Days” cut from High Button Shoes]
Brinberg, Steven/Simply Barbra, JAY Records, CDJAY 1329, 1999

“Fear No More” added to the 1975 Cleveland revival of The Frogs, setting
of a lyric by William Shakespeare
ASII a-b2
A Stephen Sondheim Evening1 (George Hearn), see STEPHENSE1 [not on
CD, available on A Collector’s Sondheim]
Sondheim (Book-of-the-Month) (Timothy Nolen), see SOND1
The Shakespeare Revue (Janie Dee), Jay 1354, 2001; TER TEM2 1237, 2003
Shakespeare on Broadway (Ron Raines), Varese Sarabande VSD-5622,
1996
The Frogs/Evening Primrose Studio Recording (Davis Gaines), see FROGS1
The Frogs Original Broadway Cast (Michael Sibbery), see FROGS2

“Final Instructions to the Audience” from the 2004 revised version of The
Frogs, [see also “Invocation and Instructions to the Audience”]
The Frogs Original Broadway Cast (Nathan Lane, Company), see FROGS2

“Final Scene” from Sweeney Todd (1979)

STPVS duet G-g1/b-d2
Sweeney Todd Original Cast (Len Cariou), see SWEENEYT1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2 [listed as “Finale”]
Sweeney Todd Barcelona Cast (Constantino Romero), see SWEENEYT3
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310 Song Listing

Sweeney Todd Live at the NYP (Patti LuPone, George Hearn, Neil Patrick
Harris), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Michael Cerveris, Patti LuPone,
Manoel Felciano, Company), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter,
Johnny Depp, Laura Michelle Kelly, Alan Rickman), see SWEENEYT6

“Finale” from By George (1946)

“Finale” from Phinney’s Rainbow (1948)

“Finale” from Into the Woods (1987), [see also “Children Will Listen,” “Into
the Woods,” & “Ever After”]
ITWPVS company number
Into the Woods Accompaniment CD (Company), see INTOTHE4

“Finale” from Passion (1995)

PPVS company number
Passion Original Cast (William Parry, Cris Groendaal, Francis Ruivivar,
Marin Mazzie, Matthew Porretta, Marcus Olson, Gregg Edelman,
Company, Jere Shea, Donna Murphy), see PASSION1
Passion London Concert (Michael Ball, Maria Friedman, Company), see
PASSION3
Passion Dutch Cast (Ids van der Krieke, Ensemble, Pia Douwes, Stanley
Burleson, Vera Mann), see PASSION4

“Finale” from Road Show (2008)

Road Show Original Cast Recording (Michael Cerveris, Alexander
Gemignani, William Parry, Company), see ROADSHOW1

“Finale-Chaos” from Follies (1971)

FPVS primarily instrumental
Follies Original Cast (Company), FOLLIES01
Follies in Concert (Company), see FOLLIES02
Follies, The Complete Recording (Company), see FOLLIES05

“Finaletto” from Phinney’s Rainbow (1948)

“Finishing the Hat” from Sunday in the Park with George (1984)
ASII, SPGPVS, SPGVS b-a2
Sunday in the Park . . .5, 7 Original Cast (Mandy Patinkin), see SUN-
DAYIN1
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Song Listing 311

Sondheim (Book-of-the-Month) (Cris Groenendaal), see SOND1

Symphonic Sondheim (instrumental), see SYMPHONICSON1
No One is Alone . . . (Craig Weatherill), see NOONEIS1
Broadway Unplugged (Michael Cerveris), see BROADWAYUNPL1
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Wall to Wall Stephen Sondheim (Neil Patrick Harris), see WALLTOWALLS1
Sunday in the Park . . . 2006 London Cast (Daniel Evans), see SUNDAYIN2
Buckley, Betty/The London Concert, see BUCKLEYB2
Donegan, James/So Much Spring, Play Well Records TR1297, 2006
Friedman, Maria/Now and Then, see FRIEDM2
Lovett, Marcus/The Give Moment, Marcus Lovett 837101274760, 2009
Marcovicci, Andrea/Live from London, Cabaret Records 5023-2, 1997
Marien, Robert/Broadway-Montreal, Firma FM 2 0001, 1995 [sung in
French]
Parke, Tyran/Sunday in the Parke, Tyran Parke TPCD001, 2008
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Quast. Philip/Philip Quast Live at the Donmar, PQD 1, 2002
Starobin, David/New Music with Guitar, Volume 3 (Patrick Mason), see
STAROBIND1
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Lambert/Musicals, see WILSONL1

“First Letter” from Passion (1995)

PPVS duet b-c2/b-g1
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson, Ids van der Krieke,
Bert Simhoffer), see PASSION4

“First Midnight” from Into the Woods (1987)

ITWPVS company number, mostly spoken
Into the Woods Original Cast (Company), see INTOTHE1
Into the Woods London Cast (Company), see INTOTHE2
Symphonic Sondheim (instrumental) [part of the “Into the Woods Suite”],
see SYMPHONICSON1
Into the Woods Revival Cast (Company), see INTOTHE3
Into the Woods/Boscos Endins Original Barcelona Cast (Company), see IN-
TOTHE5

“Flag Song” cut from Assassins (1991) [used as the basis for “It’s in Your
Hands Now”]
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312 Song Listing

“Flashback” from Passion (1995)

PPVS company number
Passion Original Cast (Gregg Edelman, Donna Murphy, Linda Balgord,
John Leslie Wolfe, Matthew Porretta, Juliet Lambert), see PASSION1
Passion London Concert (Paul Bentley, Maria Friedman, Monica
Ernesti, Nigel Williams, Simon Green, Freya Copeland), see PASSION3
Passion Dutch Cast (Vera Mann, Bert Simhoffer, Penny Vos, Egidius
Pluymen, Alberto ter Doest, Stanley Burleson, Annemieke van der
Ploeg), see PASSION4

“Florida Land Boom” cut from Bounce (2003)

“Fly Birds (Opening, Part IIA)” from Into the Woods (1987), [see “Opening”
for recordings]
ITWPVS trio g-d2/c1-g1/c1-a1

“Fogg’s Asylum/Fogg’s Passacaglia” from Sweeney Todd (1979)

STPVS company number
Sweeney Todd Original Cast (Company), see SWEENEYT1
Sweeney Todd Barcelona Cast (Company), see SWEENEYT3
Sweeney Todd Live at the NYP (Company), see SWEENEYT4

“Forty Days” from Passion (1995)

PPVS b-e2
Passion Original Cast (Marin Mazzie), see PASSION1
Passion London Concert (Helen Hobson), see PASSION3
Passion Dutch Cast (Pia Douwes), see PASSION4

“Four Black Dragons” from Pacific Overtures (1976)

POPVS trio + chorus c1-g2/b-e2/d1-e2
Pacific Overtures Original Cast (Jea Woo Lee, Mark Hsu Syers, Mako,
Company), see PACIFICOVER1
Pacific Overtures English National Opera (Terry Jenkins, John Cash-
more, Company), see PACIFICOVER2
Pacific Overtures New Broadway Cast (Scott Watanabe, Joseph Anthony
Foronda, B. D. Wong, Company), see PACIFICOVER3
Scott, Phil/Serious Cabaret, Middle Eight Music, 2002

“Fourth Letter” from Passion (1995)

PPVS f-d2
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Stephen Sondheim’s Passion . . . in Jazz (The Trotter Trio), see PASSION2
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Song Listing 313

Passion London Concert (Helen Hobson, Michael Ball), see PASSION3

Passion Dutch Cast (Stanley Burleson, Pia Douwes), see PASSION4

“Franklin Shepard, Inc.” from Merrily We Roll Along (1981)

MWRPVS d1-a2
Merrily We Roll Along Original Cast (Lonny Price), see MERRILY1
Merrily We Roll Along Revival Cast (Adam Heller), see MERRILY2
Merrily We Roll Along London Cast (Evan Pappas), see MERRILY3
Sondheim: A Celebration (Kirby Tepper), see SONDACEL2
Celebrating Sondheim (Claire Moore, Glyn Kerslake), see CELEBRATSON

“Free” from A Funny Thing Happened on the Way to the Forum (1962) [a new
lyric was written for the film, but was not used]
FTPVS duet b-f2/g1-f2 [a2 optional]
A Funny Thing . . . Original Cast (Zero Mostel, Brian Davies), see
FUNNY01
A Funny Thing . . . London Cast (Frankie Howerd, John Rye), see
FUNNY02
A Funny Thing . . . Revival Cast (Nathan Lane, Jim Stanek), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Wall to Wall Stephen Sondheim (Sheldon Harnick, Michael Arden), see
WALLTOWALLS1
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“Free” (first version) cut from A Funny Thing Happened on the Way to the
Forum (1962)

“French Waltz” cut from A Little Night Music (1973)

“The Frogs” from The Frogs (1974), [see also “Parados”]

The Frogs Original Broadway Cast (Nathan Lane, Company), see FROGS2

“Fumblington Girls’ Song” from Phinney’s Rainbow (1948)

“Funeral Sequence” from A Funny Thing Happened on the Way to the Forum
(1962)
FTPVS company number
A Funny Thing . . . Original Cast (Zero Mostel, Ronald Holgate, Com-
pany), see FUNNY01
A Funny Thing . . . London Cast (Frankie Howerd, Leon Greene, Com-
pany), see FUNNY02
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314 Song Listing

A Funny Thing . . . Film (Leon Greene, Company), see FUNNY03 [listed as

“The Dirge”]
A Funny Thing . . . Revival Cast (Cris Groenendaal, Nathan Lane, Com-
pany), see FUNNY05

“The Future” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“The Gaggle of Geese (Hornpipe)” cut from A Funny Thing Happened on

the Way to the Forum (1962)

“The Game” from Bounce (2003) and Road Show (2008) [reprised in both]
Bounce Original Cast (Howard McGillin, Richard Kind; Richard Kind,
Michele Pawk, Howard McGillin, Herndon Lackey), see BOUNCE1
Road Show Original Cast Recording (Alexander Gemignani, Michael
Cerveris, Company), see ROADSHOW1

“Garden Sequence” from Passion (1995)

PPVS b-d2
Passion Original Cast (Jere Shea, Marin Mazzie, Donna Murphy), see
PASSION1
Passion London Concert (Michael Ball, Helen Hobson, Maria Fried-
man), see PASSION3
Passion Dutch Cast (Stanley Burleson, Pia Douwes, Vera Mann), see PAS-
SION4

“Gavotte” see “Life Is Happiness Indeed” from Candide (1974)

“Gee, Officer Krupke” from West Side Story (1957), music by Leonard
Bernstein
WSSPVS company number
West Side Story Original Cast2, 7 (Eddie Roll, Grover Dale, Hank Brunjes,
Tony Mordente, David Winters, The Jets), see WESTSIDE01
West Side Story film (Russ Tamblyn, The Jets), see WESTSIDE02
West Side Story Studio Cast (David Livingston, Quartet, Todd Lester,
Marty Nelson, Peter Thom, Stephen Bogardus), see WESTSIDE03
West Side Story Studio Cast London (Derrek Chessor, Boys), see WEST-
SIDE04
West Side Story Studio Cast Leicester Haymarket (Kieran Daniels, Jets),
see WESTSIDE05
West Side Story Studio Cast Leicester Haymarket (Nicholas Warnford,
Jets), see WESTSIDE05 [Motion Picture Version]
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Song Listing 315

West Side Story, The Songs of (Salt-N-Pepa, Def Jam, Lisa “Left Eye”
Lopes of TLC, The Jerky Boys, Paul Rodriguez), see WESTSIDE06
West Side Story London Studio Cast (Leo Karibian, Norman Fuber,
Vince Logan), see WESTSIDE09
West Side Story Original Score (Jets), see WESTSIDE10
West Side Story Broadway Revival (Curtis Holbrook, Jets), see WESTSIDE11
Canadian Brass/The Canadian Brass Plays Bernstein, RCA Victor
09026/68633-4, 1997
Clary, Robert/Robert Clary Sings at the Jazz Bakery in Los Angeles, Origi-
nal Cast OC-9799, 1997
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
Drake, Alfred & Peters, Roberta/Alfred Drake & Roberta Peters Sing the
Popular Music of Leonard Bernstein (The Ray Charles Singers), see
DRAKEA
Schlongs/Punk Side Story (Jack Canada), see SCHLONG1

“George School Frowns” from By George (1946)

“George’s Moon” from The World of Jules Feiffer (1962)

“Get Out” from Road Show (2008) [paired with “Go”; adapted from “Get
Out of My Life”]
Road Show Original Cast Recording (Alexander Gemignani, Michael
Cerveris), see ROADSHOW1

“Get out of My Life” from Bounce (2003)

Bounce Original Cast (Richard Kind, Howard McGillin), see BOUNCE1

“Getting Married Today” from Company (1970)

CPVS trio e1-a2/b-g2/a-c2 [+ chorus], CVS2, CVS3 f1-a2/c1-g2/a-c2 [+
chorus], HTSS g1-g2/d1-f2/b-c2, SCCH f1-a2/b-g2/a-c2 [+ chorus]
Company Original Cast (Beth Howland, Steve Elmore, Teri Ralston,
Company), see COMPANY01
Sondheim: A Musical Tribute (Beth Howland, Teri Ralston, Steve Elmore),
see SONDAMUST1
Side by Side by Sondheim (Millicent Martin, Julia McKenzie, David Ker-
nan), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John, Ger-
aldene Morrow), see SIDEBYS2
Sondheim: A Celebration at Carnegie Hall6 (Jeanne Lehman, Mark Jacoby,
Madeline Kahn), see SONDACELATC1
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316 Song Listing

Putting It Together (Julie Andrews, Company), see PUTTINGIT1

Company London Revival Cast (?, Michael Simkins, Sophie Thompson),
see COMPANY04
Company Revival Cast (Veanne Cox, Patricia Ben Peterson, Danny
Burstein), see COMPANY05
Sondheim: A Celebration (Nancy Dussault), see SONDACEL2
The Stephen Sondheim Album (Eydie Alyson, Juliana A. Hansen, Tami
Tappan), see STEPHENSA1 [Note: this is a “hidden track” at the end of
the CD]
Company Brazilian Cast (Claudia Netto, Raul Serrador, Cidalia Castro),
see COMPANY06
Company German Cast (Alexandra Seefisch, Alen Hodzovic, Carolin
Soyka), see COMPANY07
Side by Side . . . Brazilian Cast (Sabrina Korgut, Ester Elias, Claudio
Bootelho, Company), see SIDEBYS3
Simply Sondheim (Stephanie Rhoads), see SIMPLYSOND1 [in medley]
Company Accompaniment CD (Dara Seitzman, Amy Bils, Billy
Ernst/accompaniment), see COMPANY08
Company Second Revival Cast (Heather Laws, Robert Cunningham,
Amy Justman, Raúl Esparza, Company ), see COMPANY09
Hastings, Ruth/Ruth Hastings Plays the Geary, see HASTINGSR1 [in medley]
Molaskey, Jessica/Make Believe, PS Classics CD22, 2004 [with “Cloud-
burst”]
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1 [in medley]

“Giants in the Sky” from Into the Woods (1987)

ASIV, ITWPVS c1-f2
Into the Woods Original Cast (Ben Wright), see INTOTHE1
Into the Woods London Cast (Richard Dempsey), see INTOTHE2
The Stephen Sondheim Album (Brian D’Arcy James), see STEPHENSA1
Into the Woods Revival Cast (Adam Wylie), see INTOTHE3
Into the Woods Accompaniment CD (Kristopher Monroe), see INTOTHE4
Into the Woods Original Cast (John Cameron Mitchell), see INTOTHE1 [on
2007 reissue only]
Into the Woods/Boscos Endins Original Barcelona Cast (Marc Pujol), see
INTOTHE5
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (sung by Malcolm
Gets), see COOKB1 [with “Into the Woods”]
De Lorenzo, Brian/Found Treasures, see DELORENZ1
East West Players/East West Overtures (Robert Lee), see EASTWEST1
Jay, Harley/Between 41st and 53rd, [self-released], 2007
Patinkin, Mandy/Dress Casual, see PATINKIN2
Sandford, Luke/Shimmer, see SANDFORD1 [piano solo]
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Song Listing 317

“The Girls of Summer” from The Girls of Summer (1956)

ASIII b-e2
Marry Me a Little (Suzanne Henry), see MARRYME1
Simply Sondheim (Lisa Vroman), see SIMPLYSOND1
Argent, Monique/Moonfall, see ARGENTM1
d’Armand, Jeanette/Stage Road, Jeanette d’Armand 884501223096,
2009
Fasano, Barbara/The Girls of Summer, Human Child Records hcr400,
1998
Hobson, Helen/Hobson’s Choice, Upbeat Recordings/Showbiz/U.K.
UR124, 1996–97
Kline, Leah/Playground, [n.l.] 8240, 2003
O’Donnell, Kerryn/What More Do I Need?, [n.l. n.n.], 2001 [Australian]
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2
Upshaw, Dawn/I Wish It So, see UPSHAWD1
Woodfield, Ann/Shades of Reflection, Guild Music Ltd/Zah Zah ZZCD
9805, 1998

“Glad t’ See Ya” from By George (1946)

“The Glamorous Life” from A Little Night Music (1973)

LNMPVS company number
A Little Night Music Original Cast (Judy Kahan, Glynis Johns, Hermione
Gingold, Teri Ralston, Beth Fowler, Barbara Lang, Benjamin Rayson,
Gene Varrone), see LITTLEN01
A Little Night Music1 London Cast (Christine McKenna, Jean Simmons,
Hermione Gingold, John J. Moore, Chris Melville, Liz Robertson,
David Bexon, Jacquey Chappell), see LITTLEN02
A Little Night Music Studio Cast (Megan Kelly, Sian Phillips, Elisabeth
Welch, Dinah Harris, Hilary Western, Susan Flannery, Michael Bul-
man, Martin Nelson), see LITTLEN04
The Great Waltz (Hollywood Bowl Orchestra), see HOLLYWOODB1 [part of
“The Night Waltzes”]
A Little Night Music Royal National Theatre (Claire Cox, Judi Dench,
Sian Phillips, Ernestina Quarco, Stephen Hanley, Tim Goodwin,
Morag McLaren, Di Botcher), see LITTLEN05 [includes “The Letter
Song” version from the film]
A Little Night Music Barcelona Cast (Miranda Gas, Vicky Pena, Montser-
rat Carulla, Xavier Fernandez, Muntsa Rius, Ana Feu, Alberto
Demestres, Teresa de la Torre), see LITTLEN06
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
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318 Song Listing

A Little Night Music Broadway Revival Cast (Katherine McNamara or

Keaton Whittaker, Catherine Zeta-Jones, Jayne Paterson, Betsy Mor-
gan, Marissa McGowan, Stephen R. Buntrock, Kevin David Thomas,
Angela Lansbury), see LITTLEN07
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-SINGS01
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“The Glamorous Life (The Letter Song)” from the film of A Little Night
Music (1978)
ASII, SSFTS c1-e2
A Little Night Music1 Film (Chloe Franks, sung by Elaine Tomkinson),
see LITTLEN03 [also included on the 1998 reissue of the original cast
recording, see LITTLEN01]
Sondheim (Book-of-the-Month) (Betsy Joslyn), see SOND1
A Little Night Music Royal National Theatre (Company), see LITTLEN05
[see entry above]
Sondheim at the Movies (Cassidy Ladden), see SONDATTHEM1
Simply Sondheim (Kelly Ground), see SIMPLYSOND1
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Go” from Road Show (2008) [paired with “Get Out”]

Road Show Original Cast Recording (Alexander Gemignani, Michael
Cerveris), see ROADSHOW1

“God” from Sondheim on Sondheim (2010)

“God, That’s Good!” from Sweeney Todd (1979)

STPVS company number
Sweeney Todd Original Cast (Ken Jennings, Angela Lansbury, Len Car-
iou, Company), see SWEENEYT1
Sweeney Todd Barcelona Cast (Muntsa Rius, Vicky Pena, Constantino
Romero, Company), see SWEENEYT3
Sweeney Todd Live at the NYP (Neil Patrick Harris, Patti LuPone, George
Hearn, Company), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Manoel Felciano, Patti LuPone,
Michael Cerveris, Company), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Edward Sanders, Helena
Bonham Carter), see SWEENEYT6

“The God-Why-Don’t-You-Love-Me Blues,” see “Buddy’s Blues”

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Song Listing 319

“Gold!” from Bounce (2003) and Road Show (2008)

Bounce Original Cast (Herndon Lackey, Howard McGillin, Jane Powell,
Richard Kind, Ensemble), see BOUNCE1
Road Show Original Cast Recording (Alma Cuervo, Michael Cerveris,
Alexander Gemignani, Company), see ROADSHOW1

“Gold!—part 2” from Bounce (2003)

Bounce Original Cast (Ensemble, Howard McGillin), see BOUNCE1

“The Good Life” cut from Bounce (2003)

“Good Thing Going” from Merrily We Roll Along (1981)

ASII, MWRPVS, MWRVS, SCCH c1-f2
Merrily We Roll Along Original Cast (Lonny Price, Jim Walton), see MER-
RILY1
Sondheim (Book-of-the-Month) (Timothy Nolen), see SOND1
Sondheim: A Celebration at Carnegie Hall (The Tonics), see SONDACE-
LATC1
Merrily We Roll Along Revival Cast (Adam Heller, Malcolm Gets), see
MERRILY2
Merrily We Roll Along London Cast (Evan Pappas, Michael Cantwell),
see MERRILY3
No One Is Alone . . . (Michelle Burgan), see NOONEIS1 [with “Not a Day
Goes By”]
Sondheim: A Celebration (’Nita Whitaker), see SONDACEL2
Sondheim Tonight (David Kernan), see SONDTON1 [with “Not a Day Goes
By”]
Simply Sondheim (James Brewer), see SIMPLYSOND1 [with “Not a Day
Goes By”]
Alexander, Roberta/With You, see ALEXR1
Alexander, Roberta/Roberta Alexander—A Retrospective, Etcetera KTC
1222, 1999
Andrew, Leo/A World of Possibilities, [n.l.] LAVW1, 2001 [with “Not a
Day Goes By”]
Barrowman, John/Reflections from Broadway, see BARROWMAN1
Brindley, Susan/With So Little to Be Sure Of, see BRINDLEYS1
East West Players/East West Overtures (Zar Acayan), see EASTWEST1
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Gay Men’s Chorus of Washington, D.C./You’ve Got to Be Carefully
Taught . . . , see GAYMENSCWDC1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
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320 Song Listing

Jöback, Peter/Personliga Val, Columbia 5099748920027, 2007 [with “Not

a Day Goes By”]
LaMott, Nancy/My Foolish Heart, Midder Music, MM CD003, 1993
[with “Not a Day Goes By”]
Madden, Jeff/Taking the Wheel, Independent [n.n.], 2007
Markey, Enda/Another Place and Time, see MARKEY1 [with “Not a Day
Goes By”]
Mazzie, Marin & Jason Danieley/Opposite You (Jason Danieley), see
MAZZIEDANIELEY1
McDermott, Sean/My Broadway, see MCDERMOTTS1
McGillin, Howard/Where Time Stands Still, Q&W Music Q&W1008,
2002 [with “Not While I’m Around”]
Nease, Byron/When I Fall in Love, Audible (Audiophile) Difference AD
CD002, 1992 [with “Think of Me”]
Noll, Christiane/A Broadway Love Story, Varese Sarabande VSD-5956,
1998
Patinkin, Mandy/Experiment, see PATINKIN3
Phillips, Kris [ne Fei Xiang]/Broadway Album, Forward Music
1003947297, 2005 [with “Not a Day Goes By”]
Roy, William/When I Sing Alone, Audiophile (D)AP-213, 1986; ACD-
213, 1996
Saisa/Saisa’s Grand Piano Bar (Featuring Mel Spears), Orchard 801245, 2001
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Not a Day Goes By”]
Sullivan, KT/Crazy World, DRG 91413, 1993
Turner, Geraldine/When We Met, Desiree Records CD 2302, 1999
Sinatra, Frank/She Shot Me Down, Reprise Records FS 2305, 1981
Whiffenpoofs/Whiffennium, The Yale Whiffenpoofs [n.n.], 2000
Whitton, Jonathan/Live at the Laurie Beechman Theatre, Jonathan Whit-
ton 634479661167, 2007 [“Not a Day Goes By”]
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Goodbye Arlette” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Goodbye for Now” from Reds (1981) [vocal version of the Theme from
Reds”]
ASIII, SSFTS f-e2
Sondheim (Book-of-the-Month) (Mary D’Arcy), see SOND1
Unsung Sondheim3 (Liz Callaway), see UNSUNGS1
Sondheim at the Movies (Orchestra), see SONDATTHEM1
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Song Listing 321

Moving On (Company), see MOVINGON [with “I Wish I Could Forget

You”]
Academy Film Orchestra, The/Great Movie Themes, The Special Music
Co. Inc., SCD 4501, 1986 [instrumental]
Breach, Joyce & William Roy/Love Is the Thing, Audiophile ACD-314,
2001
Brindley, Susan/With So Little to Be Sure Of, see BRINDLEYS1 [with “Sim-
ple” from Nine]
Como, Perry/So It Goes, RCA Victor AFL1-4272, 1983
Cook, Barbara/No One Is Alone, see COOKB3 [with “One More Kiss”]
Ford, Anne Kerry/Something Wonderful, see FORDA1 [with “Edelweiss”]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Jiear, Alison/Simply Alison Jiear, Dress Circle DAD 007/1, 1995
Maer, Sally (Cello Diva)/Bed of Roses, ABC Classics 4766291, 2008 [cello]
Marcovici, Andrea/What Is Love?, DRG 91401, 1990
Rampal, Jean-Pierre/Music My Love, CBS Masterworks MK 45548, 1989
[flute with Claude Bolling at the piano]
Streisand, Barbra/The Movie Album, Columbia CK90742, 2003
Turner, Geraldine/Old Friends, see TURNERG1

“Gossip Sequence” from Sunday in the Park with George (1984)

SPGPVS company number
Sunday in the Park . . . Original Cast (Melanie Vaughn, Mary D’Arcy, Bar-
bara Bryne, Judith Moore, William Parry), see SUNDAYIN1
No One Is Alone . . . (Sybil Williams & Kerry Sampson), see NOONEIS1
Sunday in the Park . . . 2006 London Cast (Simon Green, Liza Sadovy,
Sarah French-Ellis, Kaisa Hammarlund, Gay Soper, Joanne Redman,
Jenna Russell, Daniel Evans, Ian McLarnon), see SUNDAYIN2

“[Gotta] Keep ’Em Humming” cut from Sunday in the Park with George
(1984) [an early version of “Putting It Together”]

“Gracious Living Fantasy” added to 2000 production of Saturday Night

Saturday Night Original New York Cast (instrumental based on “Class”
with dialogue), see SATURDAYN2

“Green Finch and Linnett Bird” from Sweeney Todd (1979)

ASI, SCCH, STVS a-e2, STPVS c1-g2
Sweeney Todd Original Cast7 (Sarah Rice), see SWEENEYT1
A Little Sondheim Music (Delcina Stevenson), see LITTLES1
Sondheim: A Celebration at Carnegie Hall (Harolyn Blackwell), see SOND-
ACELATC1 [also included on the 2007 reissue of Sweeney Todd Original
Cast, SWEENEYT1]
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322 Song Listing

Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see

SWEENEYT2
Sweeney Todd Barcelona Cast (Ma. Josep Peris), see SWEENEYT3
Sondheim Tonight (Julia Migenes), see SONDTON1
Sweeney Todd Live at the NYP (Heidi Grant Murphy), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Lauren Molina), see SWEENEYT5
Wall to Wall Stephen Sondheim (Heidi Murphy Grant), see WALLTOWALLS1
Sweeney Todd Motion Picture Soundtrack (Jayne Wisener), see
SWEENEYT6
Collins, Judy/Running for My Life, Elektra 6E-253, 1980
DeGrazia, Elizabeth/One Love, One Lifetime, Image Sound Studios
Toronto REC 04, 2004
East West Players/East West Overtures (Linda Igarashi), see EASTWEST1
Emerson, Karen Smith/Songs of the Nightingale, Centaur 2232, 1995
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Lear, Evelyn/Evelyn Lear Sings Sondheim and Bernstein, see LEARE1
Nunn, Veronica/American Lullaby, Orchard 802166, 2002
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Prior, Marina/Somewhere, see PRIORM1

“Greens, Greens (Opening, Part III)” from Into the Woods (1987) [see
“Opening” for recordings]
ITWPVS rap number, approximate pitches
Orquestra De Cambra Teatre Lliure/Stephen Sondheim (Nina), see
ORQUESTRADECAM1

“Growing Up” added to 1985 production of Merrily We Roll Along

ASIV b-d2
Merrily We Roll Along Revival Cast (Malcolm Gets, Michele Pawk), see
MERRILY2
Merrily We Roll Along London Cast (Michael Cantwell, Louise Gold),
see MERRILY3

“Gun Song” from Assassins (1991)

APVS quartet
Assassins Original Cast (Terence Mann, Victor Garber, Jonathan Hadary,
Debra Monk), see ASSASSINS1
Putting It Together (Christopher Durang, Julie Andrews, Stephen
Collins, Michael Rupert, Rachel York), see PUTTINGIT1
No One is Alone . . . (Greg Hart), see NOONEIS1 [with “My Friends”]
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Song Listing 323

Assassins Broadway Cast (James Barbour, Michael Cerveris, Denis

O’Hare, Becky Ann Baker), see ASSASSINS2
Mars, Susannah/Take Me to the World, see MARSS1 [with “Regretting
What I Said”]

“Gwendolen and Yolanda” from Phinney’s Rainbow (1948)

[Gypsy Medley] from Gypsy (1959), music by Jule Styne

Stevlekar, Steven/Jule Styne Remembered, Starlight Records SLR29626,
1996 [individual numbers not listed]

“Gypsy Strip Routine” from Gypsy (1959), music by Jule Styne, [see also
“Let Me Entertain You”; sometimes referred to as “The Strip”]
GPVS f-c2
Gypsy Original Cast (Sandra Church), see GYPSY01
Gypsy Film (Natalie Wood), see GYPSY02
Gypsy London Cast (Zan Charise), see GYPSY03
Gypsy Revival Cast (Crista Moore), see GYPSY04
Gypsy TV Cast (Cynthia Gibb), see GYPSY05
Gypsy German Cast (Susanne Eisenkolb), see GYPSY07
Gypsy 2003 Revival Cast (Tammy Blanchard, Company), see GYPSY10
Gypsy 2008 Revival Cast (Laura Benanti), see GYPSY11

“Hades” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Peter Bartlett, Company), see FROGS2
Simply Sondheim (John Brewer, Company), see SIMPLYSOND1

“Hal Prince 50th Birthday”

“Happily Ever After” cut from Company (1970)

ASIII, CVS3 c1-f2
Sondheim: A Musical Tribute (Larry Kert), see SONDAMUST1 [incomplete]
Marry Me a Little1 (Craig Lucas), see MARRYME1
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)

“Happiness” from Passion (1995)

ASIV solo version c1-g2, PPVS duet a-e2/a-d2, PVS duet c1-g2/b-f2
Passion Original Cast7 (Marin Mazzie, Jere Shea), see PASSION1
Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson), see PASSION4
Simply Sondheim (Kelly Ground, Tom Orr), see SIMPLYSOND1 [in medley]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
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324 Song Listing

Mazzie, Marin & Jason Danieley/Opposite You, see MAZZIEDANIELEY1

Peters, Bernadette/Sondheim, Etc., see PETERSB1

“Happy Ending” cut from A Funny Thing Happened on the Way to the Fo-
rum (1962)

“Have I Got a Girl for You” from Company (1970)

CPVS, CVS2, CVS3 quintet
Company Original Cast (Charles Braswell, John Cunningham, Steve El-
more, George Coe, Charles Kimbrough, Company), see COMPANY01
Putting It Together (Michael Rupert, Stephen Collins), see PUTTINGIT1
Company London Revival Cast (Paul Bentley, Gareth Snook, Men), see
COMPANY04
Company Revival Cast (Timothy Landfield, Jonathan Dokuchitz, Men),
see COMPANY05
Company Brazilian Cast (Paulo Mello, Rica Barros, Raul Serrador,
Mauro Gorini, Daniel Boaventura), see COMPANY06
Company German Cast (Ensemble), see COMPANY07
Company Accompaniment CD (Booth Daniels [?]/accompaniment), see
COMPANY08
Company Second Revival Cast (Bruce Sabath, Matt Castle, Robert Cun-
ningham, Fred Rose, Keith Buterbaugh, Company), see COMPANY09
A’Hearn, Patrick/Patterns of the Heart, Patrick A’Hearn/DAN Produc-
tions Inc. PAI503, 1997

“Have to Give Her Someone” cut from Into the Woods (1987)
Stephen Sondheim: The Story So Far . . .7 (Maureen Moore, Kim Crosby,
George Lee Andrews)

“Have You Been Waiting Long?” from Climb High (1950, unproduced)

“Hello, Doughboy” unused from Follies (1971) [incomplete, lyrics only]

“Hello, Little Girl” from Into the Woods (1987)

ITWPVS duet b-g2/f1-d2
Into the Woods Original Cast (Robert Westenberg, Danielle Ferland), see
INTOTHE1
Into the Woods London Cast (Clive Carter, Tessa Burbridge), see IN-
TOTHE2
Putting It Together (Stephen Collins, Rachel York), see PUTTINGIT1
No One Is Alone . . . (Kynan Johns), see NOONEIS1
Into the Woods Revival Cast (Gregg Edelman, Christopher Sieber, Molly
Ephraim), see INTOTHE3
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Song Listing 325

Into the Woods Accompaniment CD (Jonathan Castillo, Samantha

Meckes), see INTOTHE4
Simply Sondheim (Kim Larsen, Hannah Rose Kornfeld), see SIMPLYSOND1
Into the Woods/Boscos Endins Original Barcelona Cast (Carlos Gramaje,
Anna Moliner), see INTOTHE5
Peters, Bernadette/Sondheim, Etc., see PETERSB1 [with “Any Moment”]
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Moments in the Woods”]
Warlow, Anthony/On the Boards, Polydor 513 402 2, 1992

“Here We Are Again” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS company number [lead vocal g-b1], DIHVS c1-e2
Do I Hear A Waltz? Original Cast (Carol Bruce, Madeleine Sherwood,
Jack Manning, Elizabeth Allen, Julienne Marie, Stuart Damon), see
DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed), see
DOIHEAR2

“A Hero Is Coming” cut from Anyone Can Whistle (1964)

Sondheim, Stephen/Sondheim Sings: Volume I (1962–72)7, see SOND-
SINGS01

“Hideout at Chamonix” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“High Life” cut from The Last Resorts (1956, unproduced)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SONDSINGS2

“High Tor” from High Tor (1949, unproduced)

“The Hills of Tomorrow” from Merrily We Roll Along (1981)

ASIII, MWRVS solo version c1-g2, MWRPVS company number
Merrily We Roll Along Original Cast (Company), see MERRILY1
A Little Sondheim Music (Ensemble), see LITTLES1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Jobson, Mark deVille/My House, see JOBSON1
Seattle Men’s Chorus, The/The Pink Album, Seattle Men’s Chorus 7,
1996
Turtle Creek Chorale/Family, Turtle Creek Chorale 1070, 1995

“Hold Me” unused from Company (1970) [incomplete]

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326 Song Listing

“Hollywood and Vine” from Twigs (1971), written with George Furth

“Home Is the Place” music by Jule Styne

Bennett, Tony/Yesterday I Heard the Rain, Columbia LE-10056, 1968
Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see
FEINSTEIN1

“Honey” cut from Merrily We Roll Along (1981)

ASIII, MWRVS c1-f2
Sondheim (Book-of-the-Month) (instrumental), see SOND1
Lost in Boston III (Liz Callaway and Jason Graae), Varese Sarabande
VSD-5563, 1995
The MUSICality of Sondheim4 (Jacqueline Dankworth, Maria Friedman,
Michael Cantwell), JAY Records CDJAZ 9006, 2002

“Hooray for Hapgood,” see “A-1 March”

“The House of Marcus Lycus” from A Funny Thing Happened on the Way to
the Forum (1962)
FTPVS d1-d2 [b-optional], mostly instrumental
A Funny Thing . . . Revival Cast (Ernie Sabella, Girls), see FUNNY05

“The House of Marcus Lycus” (version 1) cut from A Funny Thing Hap-
pened on the Way to the Forum (1962)
A Stephen Sondheim Evening1 (George Hearn, Bob Gunton, Women), see
STEPHENSE1

“How Do I Know?” from Phinney’s Rainbow (1948)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [instrumental; first broadcast of a Sondheim song, radio sta-
tion WNEW]

“How I Saved Roosevelt” from Assassins (1991) [music based on John

Philip Sousa “March” from El Capitan]
APVS company number
Assassins Original Cast (Company, Eddie Korbich), see ASSASSINS1
Assassins Broadway Cast (Jeffrey Kuhn, Marc Kudisch, Ensemble), see
ASSASSINS2

“Hymnos: Evoe! (Hymn to Dionysos)” from Frogs (1974)

The Frogs/Evening Primrose Studio Recording (Nathan Lane, Brian
Stokes Mitchell & Chorus), see FROGS1
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Song Listing 327

The Frogs Original Broadway Cast (Company and Roger Bart), see
FROGS2 [titled “Hymn to Dionysus”; also reprise]

“I Believe in You” see “They Ask Me Why I Believe in You”

“I Do Like You” cut from A Funny Thing Happened on the Way to the Forum
(1962)
ASII duet b-f2/b-d2
Sondheim (Book-of-the-Month) (Bob Gunton, Timothy Nolen), see SOND1
Moving On (Company), see MOVINGON [with “Old Friends” and “Side
by Side”]
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Herman, Woody/My Kind of Broadway, Columbia CL-2357, (S)CS-9157,
1965 [instrumental]
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2 [duet with William Roy]

“I Don’t Want to Fall in Love with You” from Climb High (1950–52, un-
produced)

“I Feel Pretty” from West Side Story (1957), music by Leonard Bernstein
BOB, WSSPVS solo + trio c1-a2 + trio, WSSVS solo version c1-g2
West Side Story Original Cast (Carol Lawrence, Marilyn Cooper, Car-
men Gutierrez, Elizabeth Taylor), see WESTSIDE01
The Showstoppers (Doreen Hume), Wing WL 1027, 1961
West Side Story film (Marni Nixon, Yvonne Othon, Suzie Kaye, Joanne
Miya), see WESTSIDE02
West Side Story Studio Cast (Kiri Te Kanawa, Girls), see WESTSIDE03
Bernstein on Broadway (Debbie Sasson), see BERNSTEINON1
West Side Story Studio Cast London ()Barbara Bonney, Girls), see WEST-
SIDE04
West Side Story Studio Cast Leicester Haymarket (Tinuke Olafimihan,
Elinor Stephenson, Julie Paton, Nicole Carty), see WESTSIDE05
West Side Story, The Songs of (Little Richard), see WESTSIDE06
West Side Story London Production (Marlys Watters), see WESTSIDE08
West Side Story London Studio Cast (Jill Martin, Venita Ernandes, Lor-
raine Hart, Lorraine Smith), see WESTSIDE09
West Side Story Original Score (Betsi Morrison, Nandita Shenoy, Joanna
Chozen, Winter Gabriel), see WESTSIDE10
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
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328 Song Listing

West Side Story Broadway Revival (Josefina Scaglione, Jennifer Sanchez,

Danielle Polanco, Kat Nejat), see WESTSIDE11 [English version in-
cluded on Barnes & Noble exclusive]
Ambrose, Amanda/Amanda, Dunwich (S)668, 1967
Andrews, Julie/Broadway’s Fair Julie, Columbia CL-1712, (S)CS-8512,
1962
Brightman, Sarah/Sarah Brightman in Concert, WEA 428571, 2008
Broadway Kids, The/Back on Broadway, Lightyear 54268, 1998/Koch
Records 5058, 2008
Burroughs, Marilyn/I Feel Pretty, Philips PHS 600-137, 1964
Enzo, Enzo/Clap!, Naïve U318191, 2009
Jarboe & Larry Seven/Beautiful People Ltd., Atavistic Records 153, 2004
Lester, Ketty/Where Is Love?, Victor (S)LSP-3326, 1965
Mager, Eileen/Broadway: Love and Laughter, see MAGERE1
Mercer, Mabel/Mabel Mercer, Harbinger Records 2001, 2002
Merrill, Helen/ . . . In Tokyo/Sings Folk, 8353, Import 2001
Milman, Sophie/Sophie Milman, Koch/JVC Victor 61450, 2006
Mundy, Mary Jo/Halfway to Heaven, Four Feet Eleven Production 9482,
2007
Nicholson, Carla & Michael/Just Duet, see NICHOLSONC1 [with “Some-
where” & “Tonight”]
Peters, Roberta/Alfred Drake & Roberta Peters Sing the Popular Music of
Leonard Bernstein, see DRAKEA
Ross, Annie/Annie Ross Sings a Song with Mulligan, World Pacific
Records WP-1253, (S)ST-1020, 1959; World Music 4988006794849,
2001
Rossen, Stig/This Is the Moment—Live at the Tivoli, DPTV Media, 2005
Ryan, Sarah/Showtime, Musical Associates (UK) Ltd. 1, 2006
Schlongs/Punk Side Story (Melissa MacArthur), see SCHLONG1
Smith, Ethel/Lady Fingers, Decca 8744, 1962
Sommers, Joanie/For Those Who Think Young, Warner Bros. (S)WS-1436,
1962
Stafford, Wanda/In Love For the Very First Time, Roulette (S)SR-25140,
1962
Te Kanawa, Kiri/Kiri Te Kanawa Sings, Westminster (S)8232, 1973
Te Kanawa, Kiri/The Young Kiri, [n.d.]
Upshaw, Dawn/I Wish It So, see UPSHAWD1
Vaughn, Sarah/Sassy Swings the Tivoli, Mercury MG-20831, (S)SR-
60831, 1964, CD: EMARCY 832 788-2, 1987
Vroman, Lisa/Broadway Classics, Offplanet 59057 02602, 1999

“I Guess This Is Goodbye” from Into the Woods (1987)

ITWPVS d1-d2
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Song Listing 329

Into the Woods Original Cast (Ben Wright), see INTOTHE1

Into the Woods London Cast (Richard Dempsey), see INTOTHE2
Into the Woods Revival Cast (Adam Wylie), see INTOTHE3
Into the Woods Accompaniment CD (Kristopher Monroe), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Marc Pujol), see
INTOTHE5

“I Have a Love” from West Side Story (1957), music by Leonard Bernstein
BSBB duet [with “One Hand, One Heart”], WSSPVS duet b-g2/b-a1
[preceded by “A Boy Like That”]
West Side Story Original Cast (Carol Lawrence, Chita Rivera), see WEST-
SIDE01
West Side Story film (Marni Nixon, Betty Wand), see WESTSIDE02
West Side Story Studio Cast (Kiri Te Kanawa, Tatiana Troyanos), see
WESTSIDE03
West Side Story Studio Cast London (Barbara Bonney, La Vern Williams),
see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Tinuke Olafimihan,
Caroline O’Connor), see WESTSIDE05
West Side Story, The Songs of (Trisha Yearwood), see WESTSIDE06
West Side Story London Studio Cast (Jill Martin), see WESTSIDE09
Stage2/the human heart (Francis Cruz, Charlie Owens), DINK Records
DIDX 045940, 1997 [with “I Wish I Could Forget You”]
West Side Story Original Score (Betsi Morrison, Marianne Cooke), see
WESTSIDE10
Side by Side . . . Brazilian Cast (Marya Bravo, Ester Elias), see SIDEBYS3
[with “A Boy Like That”]
West Side Story Broadway Revival (Karen Olivo, Josefina Scaglione), see
WESTSIDE11 [in Spanish]
Akers, Karen/If We Only Have Love, DRG 91483, 2004 [with “Some-
where”]
Blackwell, Harolyn/A Simple Song: Blackwell Sings Bernstein (duet with
Vanessa Williams), see BLACKWELL1
Boyd, Li’l Eva/Li’l-Little Eva!: The Complete Dimension Recordings, West-
side Records 512, 2001
Burns, Andrea/A Deeper Shade of Red, PS Classics 756, 2007
Faithfull, Marianne/Faithful Forever, London 482, 1966
Faithfull, Marianne/Love in a Mist, Decca 3299, 1967/2002
Garfunkel, Art/Lefty, CBS Records 460694 1, 1988
Garrett, Lesley/Travelling Light (duet with Denyce Graves), EMI/Angel
Classics 5T20Z, 2002 [with “I Have a Love”]
Perceval, Kate/Kate Perceval Live, KPCD001, 2002
Prior, Marina/Somewhere, see PRIORM1 [in medley]
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330 Song Listing

Schlongs/Punk Side Story (Melissa MacArthur), see SCHLONG1

Streisand, Barbra/Back to Broadway (duet with Johnny Mathis), see
STREISAND2
Vroman, Lisa/Broadway Classics, Offplanet 59057 02602, 1999 [with “A
Boy Like That”]

“I Have the Funniest Feeling”

“I Know” see “Who Knows?”

“I Know Things Now” from Into the Woods (1987)

ITWPVS c1-e2
Into the Woods Original Cast (Daniele Ferland), see INTOTHE1
Into the Woods London Cast (Tessa Burbridge), see INTOTHE2
No One Is Alone . . . (Leonie Harris), see NOONEIS1
Moving On (Company), see MOVINGON [with “Move On,” “Everybody
Says Don’t,” “Take Me to the World”]
Into the Woods Revival Cast (Molly Ephraim), see INTOTHE3
Into the Woods Accompaniment CD (Samantha Meckes), see INTOTHE4
Simply Sondheim (Hannah Rose Kornfeld), see SIMPLYSOND1
Into the Woods/Boscos Endins Original Barcelona Cast (Anna Moliner),
see INTOTHE5

“I Love This Town” from Bounce (2003)

Bounce Original Cast (Howard McGillin, Michele Pawk, Ensemble), see
BOUNCE1

“I Love to Travel” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Nathan Lane, Roger Bart, Chorus),
see FROGS2 [also reprise]

“I Love You, Etcetera” from All That Glitters (1949)

ATGVS g-d2

“I Must Be Dreaming” from All That Glitters (1949)

ATGVS c1-f2
The Stephen Sondheim Album (Emily Skinner), see STEPHENSA1 [available
on “Special Edition” CD only]
Stephen Sondheim: The Story So Far . . .7 (Cy Walter, Stan Freeman) [piano
duet]

“I Need Love” from All That Glitters (1949)

ATGVS b-f2
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Song Listing 331

“I Never Do Anything Twice (Madam’s Song)” from The Seven Percent So-
lution (1976)
ASI, SCCH, SSFTS b-e2
Side by Side by Sondheim1, 6 (Millicent Martin), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman), see SIDEBYS2
Songs of Sondheim Irish Cast (Gemma Craven), see SONGSOFSOND1
Sondheim: A Celebration at Carnegie Hall (BETTY), see SONDACELATC1
Sherlock Holmes Classic Themes from 221B Baker Street (Judy Kaye), Varese
Sarabande VSD-5692, 1996
Sondheim Tonight (Millicent Martin), see SONDTON1
Side by Side . . . Brazilian Cast (Marya Bravo), see SIDEBYS3
Harpsichord Pieces, Hungaroton/White Label 31729, 1999
Stephen Sondheim: The Story So Far . . .7 (Régine) [from the soundtrack of
the film]
Burford, Ian/Make the Man Love Me, [n.l., n.n.], 2003
Clark, Petula/here for you, see CLARKP1
Crane, Cynthia/If I Knew Now (What I Knew Then), Lookoutjazz [n.n.],
2007
Kennedy, Barbara/You’d Be Surprised!, Globe GLO 6045, 1998
LuPone, Patti/matters of the heart, Varese Sarabande VSD-6058, 1999
[with “When the World Was Young”]
McLaren, Morag/I Never Do Anything Twice, see MCLAREN1
McNight, Sharon/Songs to Offend Almost Everyone, [n.l., n.n.], 2002
Montevecchi, Liliane/On the Boulevard, JAY Records CDJAY 1286, 1998
Shannon, Hugh/Saloon Singer, Audiophile AP 171/172, 1982
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“I Opened a Book” from Phinney’s Rainbow (1948)

“I Read (Fosca’s Entrance)” from Passion (1995)

PPVS f-d2, PVS b-g2
Passion Original Cast (Donna Murphy), see PASSION1
Passion London Concert (Maria Friedman), see PASSION3
Passion Dutch Cast (Vera Mann, Stanley Burleson), see PASSION4

“I Remember” from Evening Primrose (1966)

ASI, HTSS, SSFTS c1-d2, Barbra Streisand: Christmas Memories, Cherry
Lane Music Co./Hal Leonard Corp., ISBN 1-57560-572-4, 2002 a-c2
[with added verse]
Sondheim: A Musical Tribute (Victoria Mallory), see SONDAMUST1
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332 Song Listing

Side by Side by Sondheim1, 5 (David Kernan), see SIDEBYS1

Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
Sondheim at the Movies3 (Liz Calaway), see SONDATTHEM1
Celebrating Sondheim (Claire Moore), see CELEBRATSON
Sondheim Tonight4 (Julia Migenes), see SONDTON1
The Frogs/Evening Primrose Studio Recording (Theresa McCarthy), see
FROGS1
Simply Sondheim (Judy Butterfield), see SIMPLYSOND1
The Sweetheart Break-in: The Supreme Music Program, Supreme Music
Program MMKB-1901, 1999
Evening Primrose Original Television Soundtrack7 (Charmian Carr), see
EVENPRIM1
Alexander, Roberta/With You, see ALEXR1
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Black, Ben/Remembered Face/Private Places, Origin Records 82387, 2003
Brandes, Jeanie/Love in the World I Remember, JBD6130, 1995
Brightman, Sarah/Songs That Got Away, R.U. 8391162, 1989; reissued on
Decca 422 839 116-2
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Collins, Judy/Hard Times for Lovers, Elektra 6E-171, 1979
Ford, Anne Kerry/In the Nest of the Moon, Illyria Records 001, 1996 [with
“Try to Remember”]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Graves, Denyce/Kaleidoscope, Carmen 5030, 2004
Harris, Margaret Wakeley/Quality Times, Original Cast 9855, 1998
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Jackson, Lynne & Mike Palter/Rememberings, Redlyn Ltd. JP-1A, 1983
Jackson, Lynne & Mike Palter/The New Rememberings, Jazzheads 9507,
1997
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Lear, Evelyn/Evelyn Lear Sings Sondheim and Bernstein, see LEARE1
LeMel, Gary/Lost in Your Arms, Atlantic 83443-2, 2001
Little, Brad/Unmasked (Angels Unlimited), 1999
Major, Malvina/I Remember, Kiwi Pacific CD SLC-221, [n.d.]
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANS-
FIELDM1
McCarthy, Michael/Broadway, Haili Limited MCPS HLB CD1, 1994
McDonough, Megan/My One and Only Love, Shanachie 5027, 1996
McGovern, Maureen/Another Woman in Love, CBS MK 42314, 1987
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
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Song Listing 333

Murphy, Mark/Song for the Geese, RCA Records44865, 1997

Palker, Lynn & Mike/New Rememberings, Jazzheads, Inc. 9507, 1998
Patinkin, Mandy/Dress Casual (sung by Bernadette Peters), see
PATINKIN2
Pizzarelli, John/Bossa Nova, Telarc CD83591, 2004
Reeves, Dianne/I Remember, Blue Note CDP 7 90264 2, 1991
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1
Seelig, Tim/Everything’s Possible, see SEELIGT1
Sharkey, Annie/My Heart on My Sleeve, [n.l.] 30475, [n.d.]
Sherlin, Carol/That Old Feeling, Koyasan Productions 001, 2005
Sneade, Valerie/Let Me Be Strong, Turning Leaf Records [n.n.], 2004
Streisand, Barbra/Christmas Memories, Columbia CK 85920, 2001 [new
verse added by Sondheim]
Sullivan, Christine/Live at Miettas, Larrikin CD LRJ 297, 1993
Toro, Natalie/Natalie Toro, see TORON1
Turner, Geraldine/Old Friends, see TURNERG1
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Nancy/Love Nancy, Columbia CK 57425, 1994

“I Remember That” from Saturday Night (1953)

ASIV, SNVS duet b-e2 [both]
Saturday Night Bridewell Cast (Mark Haddigan, Tracie Bennett), see
SATURDAYN1
Saturday Night Original New York Cast (Clarke Thorell, Andrea Burns),
see SATURDAYN2
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“I Wish (Opening, Part I; Once Upon a Time)” from Into the Woods (1987),
[see “Opening” for recordings]
ITWPVS company number

“I Wish” for unproduced film version of Into the Woods

“I Wish I Could Forget You” from Passion (1995)

PPVS f-c2, PVS a-e2
Passion Original Cast7 (Donna Murphy, Jere Shea), see PASSION1
Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
Stage2/the human heart (Francis Cruz, Charlie Owens), DINK Records
DIDX 045940, 1997 [with “I Have a Love”]
Passion London Concert (Maria Friedman, Michael Ball), see PASSION3
Moving On (Company), see MOVINGON [with “Goodbye for Now”]
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334 Song Listing

Passion Dutch Cast (Vera Mann, Stanley Burleson), see PASSION4

Carroll, Barbara/Everything I Love, DRG 91438, 1995
Cook, Barbara/No One Is Alone, see COOKB3
Cook, Barbara/Rainbow ’Round My Shoulder, DRG 94782, 2008 [with
“I’m Gonna Sit Right Down and Write Myself a Letter”]
Fleming, Renée and Bryn Terfel/Under the Stars (Renée Fleming), see
FLEMINGTERFEL1 [with “Loving You”]
Patinkin, Mandy/Oscar and Steve, see PATINKIN4
Turner, Geraldine/Old Friends, see TURNERG1 [added to 1997 reissue]

“I Wouldn’t Change a Thing” for The Last Resorts (1956, unproduced)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“If,” see “It Would Have Been Wonderful”

“If I Had Three Wishes for Christmas,” see “Three Wishes for Christmas”

“If Momma Was Married” from Gypsy (1959), music by Jule Styne
GPVS, GVS2 duet g-b1/g-c2, HTSS, SSS duet g-c2 [both]
Gypsy Original Cast (Sandra Church, Lane Bradbury), see GYPSY01
Sondheim: A Musical Tribute (Alice Playten, Virginia Sandifur), see SOND-
AMUST1
Gypsy London Cast (Zan Charise, Debbie Bowen), see GYPSY03
Side by Side by Sondheim (Millicent Martin, Julia McKenzie), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman, Geraldene Morrow), see
SIDEBYS2
Gypsy Revival Cast (Crista Moore, Tracy Venner), see GYPSY04
Gypsy TV Cast (Cynthia Gibb, Jennifer Beck), see GYPSY05
Gypsy German Cast (Ruth Rauer, Susanne Eisenkalb), see GYPSY07
Kay Medford in “Gypsy” (Lorraine Smith, Sonya Petrie), see GYPSY09
Live at the Commander Boardwalk Cabaret, NR11810, [n.d.]
Gypsy 2003 Revival Cast (Tammy Blanchard, Kate Reinders), see
GYPSY10
Gypsy 2008 Revival Cast (Laura Benanti, Leigh Ann Larkin), see GYPSY11
Simply Sondheim (Judy Butterfield, Hannah Rose Kornfeld), see SIMPLY-
SOND1
Callaway, Ann Hampton & Liz/Sibling Revelry, see CALLAWAYA&L [in
medley]
Skinner, Emily & Alice Ripley/Duets, Varese Sarabande VSD-5958, 1998

“If There’s Anything I Can’t Stand” from By George (1946)

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Song Listing 335

“If You Can Find Me I’m Here” from Evening Primrose (1966)
ASIV, SSFTS a-f2
Sondheim at the Movies (Gary Beach), see SONDATTHEM1
The Frogs/Evening Primrose Studio Recording (Neil Patrick Harris), see
FROGS1
Evening Primrose Original Television Soundtrack7 (Anthony Perkins),
see EVENPRIM1
Patinkin, Mandy/Dress Casual, see PATINKIN2
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“I’ll Meet You at the ‘Donut’” from By George (1946)

“I’m a Fast Worker” from By George (1946)

“I’m Above All That” from The Lady or the Tiger (1954, unproduced), mu-
sic by Mary Rodgers

“I’m Calm” from A Funny Thing Happened on the Way to the Forum (1962)
FTPVS d1-f2
A Funny Thing . . . Original Cast (Jack Gilford), see FUNNY01
A Funny Thing . . . London Cast (Kenneth Connor), see FUNNY02
Putting It Together (Michael Rupert, Julie Andrews), see PUTTINGIT1
A Funny Thing . . . Revival Cast (Mark Linn-Baker), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
The Broadway Musicals of 1962 (Christine Pedi), see BROADWAYMUS62
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Cogen, Lyle/Lyle Sings Broadway for Kids, Malzac 097425010318, 2001
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Comedy Tonight”]

“I’m in Love with a Boy” from Climb High (1950–52, unproduced)

Wall to Wall Stephen Sondheim (Emily Skinner), see WALLTOWALLS1
Simply Sondheim (Judy Butterfield), see SIMPLYSOND1

“I’m Like the Bluebird” from Anyone Can Whistle (1964)

ACWPVS b-c2
Anyone Can Whistle Original Cast (Stephen Sondheim), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (“The Cookies”), see ANYONE2
[included in “Miracle Introduction”]
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336 Song Listing

“I’m Still Here” from Follies (1971)

ASI, FLVS, FVS, HTSS, SSS g-d2, BSC [special lyrics; in medley with
“Everybody Says Don’t” & “Don’t Rain on My Parade”], CFC g-e2,
FPVS e-b1 [c2 optional], an individual sheet was published of the ver-
sion written for the film Postcards from the Edge, Hal Leonard
HL00355893 g-d2
Follies Original Cast (Yvonne DeCarlo), FOLLIES01
Sondheim: A Musical Tribute (Nancy Walker), see SONDAMUST1
Side by Side by Sondheim1 (Millicent Martin), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman), see SIDEBYS2
Songs of Sondheim Irish Cast (Gemma Craven), see SONGSOFSOND1
Songs of Stephen Sondheim/You Sing the Hits, see SONGSOFSTEP1
Follies in Concert7 (Carol Burnett), see FOLLIES02
Follies London Cast (Dolores Gray), see FOLLIES03
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Follies, The Complete Recording (Ann Miller), see FOLLIES05
The Stephen Sondheim Album (Dorothy Loudon), see STEPHENSA1
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Camp (Alana Allen, Anna Kendrick), Decca B0000667-12, 2003
Side by Side . . . Brazilian Cast (Ivana Domenico), see SIDEBYS3
Guevera, Nacha/Aqui Estoy, ca. 1980 [in Spanish]
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Kitt, Eartha/I’m Still Here, Starcoast/Ariola 260390, 1989
Kitt, Eartha/Eartha Kitt Live in London, Ariola 353825, 1990
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Lucas, Lee/The Big Strapping Fag Show, Ducy Lee Recordings 900105,
1997 [special lyrics by Lee Lucas]
Streisand, Barbra/The Concert, Columbia C2K 66109, 1994 [lyrics rewrit-
ten by Sondheim]
Stritch, Elaine/Elaine Stritch at Liberty, see STRITCHE1
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Impossible” from A Funny Thing Happened on the Way to the Forum (1962)
FTPVS duet b-g2 [both], FTVS, SSS duet a-f2 [both]
A Funny Thing . . . Original Cast (David Burns, Brian Davies), see
FUNNY01
A Funny Thing . . . London Cast (‘Monsewer’ Eddie Gray, John Rye), see
FUNNY02
Putting It Together (Julie Andrews, Stephen Collins), see PUTTINGIT1
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Song Listing 337

A Funny Thing . . . Revival Cast (Lewis J. Stadlen, Jim Stanek), see

FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04

“In a Year from Now” from Climb High (1950–52, unproduced)

“In Buddy’s Eyes” from Follies (1971)

FLVS, FVS b-e2, CFC, FPVS f-d2
Follies Original Cast (Dorothy Collins), FOLLIES01
Follies in Concert5 (Barbara Cook), see FOLLIES02
Sondheim (Book-of-the-Month) (Betsy Joslyn), see SOND1
Follies London Cast (Julia McKenzie), see FOLLIES03
Sondheim—A Celebration (Julia McKenzie), see SONDACEL1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Celebrating Sondheim (Rosemary Ashe), see CELEBRATSON
Follies, The Complete Recording (Donna McKechnie), see FOLLIES05
Moving On (Company), see MOVINGON
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Connelli, Judi/Judi Connelli Live in London, see CONNELLI2 [with “Being
Alive”]
Cook, Barbara/All I Ask of You, DRG 91456, 1999
Cook, Barbara/Barbara Cook’s Broadway, DRG 91484, 2004
Cook, Barbara/Barbara Cook at the Met, see COOKB2
Friedman, Maria/Maria Friedman Live, see FRIEDM1 [with “The Road
You Didn’t Take” & “Too Many Mornings”]
Harrow, Nancy/Two’s Company, Emarcy PHCE 5029, [n.d.]
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Malmberg, Sue/Musical Theatre Classics, see MALMBERGS1
McKechnie, Donna/Inside the Music, see MCKECHNIED1
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1

“In No Time at All” from Saturday Night (1953) [becomes “A Moment with
You”]
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [with “A Moment With You”]

“In Praise of Women” from A Little Night Music (1973)

LNMPVS c1-f2
A Little Night Music Original Cast (Laurence Guittard), see LITTLEN01
A Little Night Music1 London Cast (David Kernan), see LITTLEN02
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338 Song Listing

A Little Sondheim Music (Michael Gallup), see LITTLES1

A Little Night Music Studio Cast (Jason Howard), see LITTLEN04
Putting It Together (Michael Rupert, Christopher Durang, Stephen
Collins), see PUTTINGIT1
A Little Night Music Royal National Theatre (Lambert Wilson), see LIT-
TLEN05 [with “My Husband the Pig”]
A Little Night Music Barcelona Cast (Jordi Boixaderas), see LITTLEN06
A Little Night Music Broadway Revival Cast (Aaron Lazar, Erin Davie),
see LITTLEN07
Burke, Simon/Something about Always, Simon Burke [n.n.], 2009
Hubbard, Bruce/For You, For Me, EMI/Angel CDC 7 49928 2, 1990
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “A Weekend in the Country”]

“In Someone’s Eyes” cut from Follies (1971) [almost identical to “In
Buddy’s Eyes” with the addition of a duet counter-melody]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“In the Movies” from Saturday Night (1954)

SNVS company number
Unsung Sondheim (Marilyn Cooper), see UNSUNGS1
Saturday Night Bridewell Cast (Tracie Bennett, Ashleigh Sendin, Jeremy
David, Simon Greiff, Maurice Yeoman, Mark Haddigan), see SATUR-
DAYN1
Saturday Night Original New York Cast (Michael Benjamin Washington,
Kirk McDonald, Greg Zola, Joey Sorge, Clarke Thorell, Andrea
Burns, Rachel Ulanet), see SATURDAYN2
Stephen Sondheim: The Story So Far . . .7 (Alice Ghostley & Cast) [from
original backer’s audition]

“In the Tradition (Greek)” cut from Climb High (1950–52, unproduced)

“In There” for The Exception and the Rule (1968, unproduced), music by
Leonard Bernstein

“Incidental Music” from The Enclave (1973)

Unsung Sondheim (instrumental), see UNSUNGS1
Stephen Sondheim: The Story So Far . . .7 (Daniel Troob, piano; Paul
Gemignani, percussion)

“Incidental Music” from Invitation to a March (1960)

Unsung Sondheim (instrumental), see UNSUNGS1
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Song Listing 339

Stephen Sondheim: The Story So Far . . .7 (John Barrow, French horn,

unidentified harpist, clarinetist, and flautist)

“Interesting Questions” cut from Into the Woods (1987)

Stephen Sondheim: The Story So Far . . .7 (George Lee Andrews, Maureen
Moore, Kim Crosby)

“Interrogations,” see “Simple”

“Into the Woods (Act I Opening, Parts II and VIII; Act I Finale, Part IV; Act
II Opening, Part IX; Act II Finale, Part IV)” from Into the Woods (1987)
(Act I Opening, Part II) ITWPVS, ITWVS b-e2, all other versions, in-
cluded in ITWPVS, are company numbers
Into the Woods Original Cast (Tom Aldredge, Company), see INTOTHE1
Into the Woods London Cast (Nicholas Parsons, Company), see INTOTHE2
Symphonic Sondheim (instrumental) [part of the “Into the Woods Suite”],
see SYMPHONICSON1
Into the Woods Revival Cast (John McMartin, Company), see INTOTHE3
Into the Woods Accompaniment CD (Company), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Ferran Frauca,
Company), see INTOTHE5
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (sung by Malcolm
Gets), see COOKB1 [with “Giants in the Sky”]
East West Players/East West Overtures (Amy Hill), see EASTWEST1
[“Opening Part III”—Witch’s sequence only]

“Into the Woods” for unproduced film version of Into the Woods

“Invocation” cut from A Funny Thing Happened on the Way to the Forum
(1962)
A Stephen Sondheim Evening1 (Bob Gunton, Company), see STEPHENSE1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Invocation and Instructions to the Audience” from Frogs (1974) [also

known as Prologos]
ASII b-a2 [includes portions for additional voices]
Putting It Together (Christopher Durang), see PUTTINGIT1 [new lyrics by
Sondheim]
Sondheim: A Celebration (Jane Carr, Roger Rees), see SONDACEL2
The Frogs/Evening Primrose Studio Recording (Nathan Lane, Brian
Stokes Mitchell, and Chorus), see FROGS1
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340 Song Listing

The Frogs Original Broadway Cast7 (Nathan Lane, Roger Bart, Chorus),
see FROGS2, [see also “Final Instructions to the Audience”]

“Invocation to the Muses” from Frogs (1974)

The Frogs/Evening Primrose Studio Recording (Nathan Lane & Chorus),
see FROGS1

“Is This What You Call Love? (Scene 9)” from Passion (1995)
PPVS g-f2
Passion Original Cast (Jere Shea), see PASSION1
Passion London Concert (Michael Ball), see PASSION3
Passion Dutch Cast (Stanley Burleson), see PASSION4

“Isn’t He Something!” from Bounce (2003) and Road Show (2008)

Bounce Original Cast7 (Jane Powell), see BOUNCE1
Road Show Original Cast Recording (Alma Cuervo), see ROADSHOW1
Molaskey, Jessica/A Kiss to Build a Dream On, Arbors 19384, 2008

“Isn’t It?” from Saturday Night (1954)

ASII, SNVS a-e2
A Stephen Sondheim Evening (Victoria Mallory), see STEPHENSE1
Saturday Night Bridewell Cast (Anna Francolini), see SATURDAYN1
Saturday Night Original New York Cast (Lauren Ward), see SATURDAYN2
Green, Simon/Take Me to the World, see GREENS1 [with “Do I Hear a
Waltz?” and “Falling in Love with Love”]
Malmberg, Myrra/What Can You Lose?, see MALMBERG1

“It Must Be Spring” cut from By George (1946)

“It Takes All Kinds” cut from The Birdcage (1996)

Sondheim at the Movies (Bryan Batt, Danny Burstein, Robert Randle, Jim
Ryan, Kevin Parisceau, Alec Timerman), see SONDATTHEM1

“It Takes Two” from Into the Woods (1987)

ITWPVS, ITWVS duet a-f2/a-d2
Into the Woods Original Cast (Joanna Gleason, Chip Zien), see INTOTHE1
Into the Woods London Cast (Imelda Staunton, Ian Bartholomew), see
INTOTHE2
Sondheim—A Celebration (Julia McKenzie, David Kernan), see SONDACEL1
That’s What Friends Are For (Peter Land, Robert Meadmore), First Night
Cast CD52, 1996 [in medley with “Agony” & “Love I Hear”]
Into the Woods Revival Cast (Stephen DeRosa, Kerry O’Malley), see IN-
TOTHE3
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Song Listing 341

Into the Woods Accompaniment CD (Nadiene Jacques, Mark Weekes),

see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Annabel To-
tusaus, Josep Maria Gimeno), see INTOTHE5
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Wright, Bill/“It Takes Two,” see WRIGHTB1 [with “(I’ve Got) Beginner’s
Luck” & “Lucky Day”]
Wright, Bill/“It Takes Two,” see WRIGHTB1 [with “Taking a Chance on
Love”]

“It Wasn’t Meant to Happen” cut from Follies (1971)

CFC b-e2
Marry Me a Little1 (Craig Lucas, Suzanne Henry), see MARRYME1
The Stephen Sondheim Album (Michele Pawk), see STEPHENSA1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1

“It Would Have Been Wonderful” from A Little Night Music (1973)
LNMPVS duet c1-e2 [both]
A Little Night Music Original Cast (Len Cariou, Laurence Guittard), see
LITTLEN01
A Little Night Music London Cast (Joss Ackland, David Kernan), see LIT-
TLEN02
A Little Night Music Film (Len Cariou, Laurence Guittard), see LIT-
TLEN03
A Little Night Music Studio Cast (Eric Flynn, Jason Howard), see LIT-
TLEN04
A Little Night Music Royal National Theatre (Laurence Guittard, Lam-
bert Wilson), see LITTLEN05
A Little Night Music Barcelona Cast (Constantino Romero, Jordi Boix-
aderas), see LITTLEN06
A Little Night Music Broadway Revival Cast (Alexander Hanson, Aaron
Lazar), see LITTLEN07

“It’s a Grand Country” from All That Glitters (1949)

“It’s a Hit!” from Merrily We Roll Along (1981)

MWRPVS quartet
Merrily We Roll Along1 Original Cast (Jason Alexander, Jim Walton, Ann
Morrison, Lonny Price), see MERRILY1
Sondheim (Book-of-the-Month) (Cris Groenendaal, Steven Jacob, Betsy
Joslyn, Timothy Nolen), see SOND1
Merrily We Roll Along Revival Cast (Paul Harman, Malcolm Gets, Adam
Heller, Amy Ryder, Anne Bobby), see MERRILY2
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342 Song Listing

Merrily We Roll Along London Cast (Michael Cantwell, Evan Pappas,

Maria Friedman, Gareth Snook, Jacqueline Dankworth, Theatergo-
ers), see MERRILY3
Merrily We Roll Along Original Cast (Stephen Sondheim), see MERRILY1
[on 2007 reissue only]

“It’s Hot Up Here” from Sunday in the Park with George (1984)
SPGVS company number
Sunday in the Park . . . Original Cast6 (Company), see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (Company), see SUNDAYIN2

“It’s in Your Hands Now” from Road Show (2008) [based on “Flag Song”
unused from Assassins; cut from Bounce]
Road Show Original Cast Recording (William Parry), see ROADSHOW1

“It’s Only a Play,” see also “Parabasis”

The Frogs Original Broadway Cast (Chorus), see FROGS2

“It’s That Kind of a Neighbourhood,” see “That Kind of a Neighborhood”

“I’ve Got You to Lean On” from Anyone Can Whistle (1964)
ACWPVS solo + trio a-g2 + trio, ACWVS solo version b-e2
Anyone Can Whistle Original Cast (Angela Lansbury, Gabriel Dell,
Arnold Soboloff, James Frawley, The Boys), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Walter Bobbie, Ken Page,
Madeline Kahn, Chip Zien), see ANYONE2, includes introduction
Simply Sondheim (Amy Dondy), see SIMPLYSOND1 [in medley]
Cano, Eddie/Broadway Right Now, Reprise (S)RS-6124, 1965
Day, Courtenay/Courtenay Day Live at Don’t Tell Mama, see DAYC1 [with
“The Little Things You Do Together”]
Ver Planck, Marlene/A Warmer Place, Audiophile AP-169, 1982

“Jack, Jack, Jack [Head in a Sack] (Opening, Part IV)” from Into the Woods
(1987) [also listed under “Opening”]
ITWPVS b-g2
Into the Woods Original Cast (Barbara Bryne), see INTOTHE1
Into the Woods London Cast (Patsy Rowlands), see INTOTHE2
Into the Woods/Boscos Endins Original Barcelona Cast (Teresa Vallicrosa),
see INTOTHE5

“Jet Song” from West Side Story (1957), music by Leonard Bernstein
WSSPVS company number
West Side Story Original Cast (Company), see WESTSIDE01
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Song Listing 343

West Side Story film (Russ Tamblyn, The Jets), see WESTSIDE02
West Side Story Studio Cast (Kurt Ollmann, Peter Thom, Stephen Boga-
rdus, David Livingston, Chorus), see WESTSIDE03
West Side Story Studio Cast London (Christopher Howard, Boys), see
WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Nicholas Warnford,
Jets), see WESTSIDE05
West Side Story, The Songs of (Brian Setzer), see WESTSIDE06
West Side Story London Studio Cast (Franklyn Fox, Norman Furber,
Vince Logan, Leo Karibian), see WESTSIDE09
West Side Story Original Score (Robert Dean and Jets), see WESTSIDE10
West Side Story Broadway Revival (Cody Green, Jets), see WESTSIDE11
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
Natal, Nanette/Is Love Enough?, Benyo Music Productions 3338, 2002
[with “Cool”]
Schlongs/Punk Side Story (Jack Canada), see SCHLONG1

“Jitterbug” from By George (1946)

“Johanna (Act 1) (Anthony)” from Sweeney Todd (1979)

ASI, STPVS, STVS c1-e2
Sweeney Todd Original Cast5 (Victor Garber), see SWEENEYT1
Sondheim (Book-of-the-Month) (Chamber Ensemble), see SOND1
A Stephen Sondheim Evening (Cris Groendaal), see STEPHENSE1
Symphonic Sondheim (instrumental) [part of the “Sweeney Todd Suite,”]
see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (Jerry Hadley), see SONDA-
CELATC1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
Sweeney Todd Barcelona Cast (Pep Molina), see SWEENEYT3
Celebrating Sondheim (Glyn Kerslake), see CELEBRATSON
Sweeney Todd Live at the NYP (Davis Gaines), see SWEENEYT4
Moving On (Company), see MOVINGON [with “Someone Is Waiting,”
“Multitudes of Amys,” “No, Mary Ann”]
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Sweeney Todd 2005 Broadway Revival (Benjamin Magnuson), see
SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Jamie Campbell Bower), see
SWEENEYT6
Synthetic Broadway, A Different Drum ADDCD1133, 2007 [instrumental]
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344 Song Listing

Barker, Clive/Clive Barker: Being Music, EMI Music Distribution 496611,

1999
Cant, Donald/Donald Cant, see CANTD1 [in medley]
City of Prague Philharmonic Orchestra/Music from the Films of Tim Bur-
ton, Silva America 1261, 2008
Connelli, Judi & Suzanne Johnston/Perfect Strangers, see CONNELLI3
[with “Pretty Women”]
Conrads, Norbert/I’ll Be There (Musical Ballads), Fresh Arts/GEM
LC3834, [n.d.]
Cousens, Peter/A Life on Earth, Middle Eight PCG-01, 2001 [Australian]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
Gay Men’s Chorus of Washington, D.C./You’ve Got to Be Carefully
Taught . . . (Jeff Mace, soloist), see GAYMENSCWDC1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Knoxville Jazz Orchestra, Terry Vosbein/Progressive Jazz 2009, Max
Frank Music MFM001, 2009 [instrumental]
Lovett, Marcus/The Give Moment, Marcus Lovett 837101274760, 2009
McVey, J. Mark/Broadway and Beyond, Marimach MP1-970601, 1997
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Ramey, Sam/Sam Ramey on Broadway/So In Love, Teldec 4509-90865-2,
1993
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Pretty Women” & “Not While I’m Around”]
Silberschlag, Jeffrey/The American Trumpet, Delos Record 3187, 1998
Warlow, Anthony/Centre Stage, Polydor [?], [n.d.]
Wilk, Oystein/Too Many Mornings, see WILKO1 [in medley]
Wilson, Lambert/Musicals, see WILSONL1

“Johanna (Act 2)” from Sweeney Todd (1979)

STPVS quartet A-d1/a-e2/c1-f2 [optional g2]/a1-e2
Sweeney Todd Original Cast (Victor Garber, Len Cariou, Merle Louise,
Sarah Rice), see SWEENEYT1
Sweeney Todd Barcelona Cast (Pep Molina, Constantino Romero, Teresa
Vallicrosa), see SWEENEYT3
Sweeney Todd Live at the NYP (Davis Gaines, George Hearn, Audra Mc-
Donald, Heidi Grant Murphy), see SWEENEYT4
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Song Listing 345

Sweeney Todd 2005 Broadway Revival (Benjamin Magnuson, Michael

Cerveris, Diana DiMarzio, Lauren Molina), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Jamie Campbell Bower,
Johnny Depp, Laura Michelle Kelly), see SWEENEYT6

“Johanna (Judge Turpin)” from Sweeney Todd (1979) [not included in all
productions]
STPVS B-f1
Sweeney Todd Original Cast (Edmund Lyndeck), see SWEENEYT1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2 [included as part of “Finale”]
Sweeney Todd Barcelona Cast (Xavier Ribera), see SWEENEYT3
Sweeney Todd Live at the NYP (Paul Plishka), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Mark Jacoby), see SWEENEYT5

“The Judge’s Return” from Sweeney Todd (1979) [based on “Pretty

Women”]
STPVS duet C-e1/G-d1 [end section 1st voice goes down to G]
Sweeney Todd Live at the NYP (George Hearn, Paul Plishka), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Michael Cerveris, Maek Jacoby),
see SWEENEYT5, [see also “Final Scene”]

“Jules and Freida,” see “No Life”

“Just Another Love Story” from Passion (1995)

PPVS duet a-d2/a-f2
Passion London Concert (Michael Ball), see PASSION3
Passion Dutch Cast (Stanley Burleson), see PASSION4

“Just Like Last Night,” cut from Into the Woods (1987)

“Kids Ain’t,” see “Like Everybody Else”

“King and Queen Duet” for The Lady or the Tiger? (1954, unproduced),
written with Mary Rodgers [incomplete?]

“Kiss Me” from Sweeney Todd (1979)

(Part I) STPVS duet c1-g2/b-f2, (Part II) STPVS quartet d1-c3/c1-f2/c1-
a2/b-f1
Sweeney Todd Original Cast (Sarah Rice, Victor Garber), see SWEENEYT1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
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346 Song Listing

Sweeney Todd Barcelona Cast (Ma. Josep Peris, Pep Molina), see
SWEENEYT3
Sweeney Todd Live at the NYP (John Aler, Davis Gaines, Heidi Grant
Murphy, Paul Plishka), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Lauren Molina, Benjamin Mag-
nuson, Alexander Gemignani, Mark Jacoby), see SWEENEYT5

“Kissing Song,” see “Darling”

“Ladies in Their Sensitivities” from Sweeney Todd (1979)

STPVS e1-a2
Sweeney Todd Original Cast (Jack Eric Williams, Edmund Lyndeck), see
SWEENEYT1
Sweeney Todd Barcelona Cast (Xavier Ribera, Pedro Pomares), see
SWEENEYT3
Sweeney Todd Live at the NYP (John Aler, Paul Plishka), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Alexander Gemignani), see
SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Timothy Spall), see
SWEENEYT6

“The Ladies Who Lunch” from Company (1970)

ASI, CVS a-e2, BSBA g-d2 [with “Pretty Women”], CPVS, CVS2, CVS3
e-b1
Company Original Cast2, 7 (Elaine Stritch), see COMPANY01
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company London Revival Cast (Sheila Gish), see COMPANY04
Company Revival Cast (Debra Monk), see COMPANY05
Sondheim: A Celebration (David Kernan), see SONDACEL1
Sondheim Tonight (Dame Edna Everage, a.k.a. Barry Humphries), see
SONDTON1
Company Brazilian Cast (Totia Meireles), see COMPANY06
Company German Cast (Nicole Johannhanwahr), see COMPANY07
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Camp (?), Decca B0000667-12, 2003
Company Accompaniment CD (Marilyn O’Connell/accompaniment),
see COMPANY08
Company Second Revival Cast (Barbara Walsh), see COMPANY09
Blaine, Vivian/For You, see BLAINEV1
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Byron, Don/A Fine Line: Arias and Lieder (clarinet with Cassandra Wil-
son vocal), Blue Note Records 7243 5 26801 2 2V, 2000
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Song Listing 347

Dearie, Blossom/Blossom’s Planet, Master Mix 00121, 2001/Daffodil

Records 118, 2005
Eichorn-Young, Susan/Taking My Turn, see EICHORNS1
Gorme, Eydie/ . . . Sings Great Songs from The Sound of Music and Other
Broadway Shows, see GORMEE1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Lemper, Ute/City of Strangers, see LEMPER1
Lemper, Ute/Blood and Feathers, DRG [n.n.], 2005
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Rhodes, Ken/Noble Cause, Goodgig 7502, 1994 [jazz piano/trio]
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Being Alive”]
Streisand, Barbra/The Broadway Album, see STREISAND1 [lyric changes by
Sondheim]
Stritch, Elaine/Elaine Stritch at Liberty, see STRITCHE1
Wilson, Julie/Julie Wilson at Brothers & Sisters Vol. Two, see WILSONJ1
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2
Young, Susan Eichorn/Taking My Turn, see YOUNGSU1

“The Lame, the Halt, and the Blind” cut from Anyone Can Whistle (1964)
Anyone Can Whistle Original Cast (Stephen Sondheim), see ANYONE1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Land Boom!” from Road Show (2008)

Road Show Original Cast Recording (Company), see ROADSHOW1

“Last Flight” cut from Bounce (2003)

“Last Midnight” from Into the Woods (1987)

ITWPVS f-d2
Into the Woods Original Cast (Bernadette Peters), see INTOTHE1
Into the Woods London Cast (Julia McKenzie), see INTOTHE2
Into the Woods Revival Cast (Vanessa Williams), see INTOTHE3
Into the Woods Accompaniment CD (Amanda J. Brizzi), see INTOTHE4
Simply Sondheim (Amy Dondy), see SIMPLYSOND10
Into the Woods/Boscos Endins Original Barcelona Cast (Mone), see IN-
TOTHE5
Porter, Billy/At the Corner of Broadway and Soul, Sh-K-Boom Records
791558300-2, 2005
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348 Song Listing

“Last Week, Americans” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS a-a1
Do I Hear a Waltz? Pasadena Playhouse Production (Carol Lawrence),
see DOIHEAR2

“Later” from A Little Night Music (1973) [linked with “Now” and “Soon”]
LNMPVS b-b2
A Little Night Music Original Cast (Mark Lambert), see LITTLEN01
A Little Night Music London Cast (Terry Mitchell), see LITTLEN02
A Little Night Music Film (Christopher Guard), see LITTLEN03
A Little Night Music Studio Cast (Bonaventura Bottone), see LITTLEN04
A Little Night Music Royal National Theatre (Brendan O’Hea), see LIT-
TLEN05
A Little Night Music Barcelona Cast (Angel Llacer), see LITTLEN06
Wall to Wall Stephen Sondheim (Danny Gurwin), see WALLTOWALLS1
A Little Night Music Broadway Revival Cast (Ramona Mallory, Hunter
Ryan Herdlicka, Alexander Hanson), see LITTLEN07
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see HELLERM1
Peters, Bernadette/Sondheim, Etc., Etc. see PETERSB2
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“The Lay of a Gay Young Man” from Climb High (1950–52, unproduced)

“LE5-5539” [birthday song for Mary Rodgers]

“Lenny” music by Kurt Weill [music to the song “Jenny” from Lady in the
Dark; for Leonard Bernstein 70th birthday concert at Tanglewood]

“Lesson # 8” from Sunday in the Park with George (1984)

SPGPVS g-f2
Sunday in the Park . . . Original Cast (Mandy Patinkin), see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (Daniel Evans), see SUNDAYIN2
Parke, Tyran/Sunday in the Parke, Tyran Parke TPCD001, 2008
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Starobin, David/New Music with Guitar, Volume 3 (Patrick Mason), see
STAROBIND1

“Let It Happen,” see “Take the Moment”

“Let Me Entertain You” from Gypsy (1959), music by Jule Styne, [see also
“Gypsy Strip Routine”]
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Song Listing 349

GPVS duet f1-e2, solo b-e2, GVS a-d2 [e2 with intro], GVS2 duet e1-e2/a-
d2 [e2 with intro], SSS a-e2
Celebrating Gypsy . . . (Claire Moore, Tim Flavin, Libby Morris), see CEL-
EBRATGYP
Kay Medford in “Gypsy” (Sonya Petrie, Kay Medford), see GYPSY09
Connie & Carla Soundtrack (Tony Collette, Nia Vardalos), Sony 92430,
2004
Akers, Karen/Simply Styne, DRG 91506, 2008 [with “You Gotta Have a
Gimmick”]
Ann-Margret/Bachelor’s Paradise, Victor (S)LSP-2659, 1964 (reissued in
Ann-Margret/Let Me Entertain You, RCA 66882-2, 1996)
Anthony, Ray, Capitol 45rpm 4876, 1962
Bailey, Pearl/Come On Let’s Play with Pearlie Mae, Roulette (S)SR-25181,
1964
Burnett, Carol/Carol Burnett Sings, Decca (S)DL7-4437, 1964 [reissued
on CD as Let Me Entertain You, Decca 012 159 402-2, 2000]
Church, Sandra/Let Me Entertain You, Columbia CL-1461, (S)CS-8253,
1961
Crewe, Bob/Kicks With Bob Crewe, Warwick T-52027, (S)ST-2027, 1961
Fisher, Eddie/Tonight With Eddie Fisher, Ramrod (S)ST-6002, 1962
Gibson, Deborah/Long Island Sounds, Two Young Kids TYK003, [n.d.]
Gibson, Deborah/Colored Lights, Fynsworth Alley 302 065 195 2, 2003
Hagen, Nina/Big Band Explosion, Import 31143, 2003
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Muller, Werner/Werner Muller on Broadway, London (S)SP-44047, 1964
Pringle, Anne & Mark Burnell/Little Things We Do Together, Spectrum
SR003, 2000
Ross, Annie/Gypsy, see ROSSANNIE
San Francisco Gay Men’s Chorus/Diva’s Revenge, SFGMC [n.n.], 2005
Styne, Jule/My Name Is Jule, see STYNEJ1

“Let’s Go to the Movies” cut from Gypsy (1959), music by Jule Styne

“Let’s Not Fall in Love” from All That Glitters (1949)

ATGVS b-d2

“Let’s Run Away” cut from Follies (1971), [see also “Vincent and Vanessa”]

“The Letter” from Sweeney Todd (1979)

STPVS quintet
Sweeney Todd Original Cast (Len Cariou, Carole Doscher, Skip Harris,
Betsy Joslyn, Craig Lucas, Robert Ousley), see SWEENEYT1
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350 Song Listing

Sweeney Todd Barcelona Cast (Company), see SWEENEYT3

Sweeney Todd Live at the NYP (George Hearn, Tania Batson, Jacqueline
Pierce, James Bassi, Lewis White, Frank Barr), see SWEENEYT4

“(The) Letter Song,” see “The Glamorous Life” from the film of A Little
Night Music

“Liaisons” from A Little Night Music (1973)

ASIII, LNMVS, SSS a-c2, LNMPVS d-f1
A Little Night Music Original Cast2, 5, 7 (Hermione Gingold), see LIT-
TLEN01
A Little Night Music London Cast1 (Hermione Gingold), see LITTLEN02
Sondheim (Book-of-the-Month) (Chamber Ensemble), see SOND1
A Little Night Music Studio Cast4 (Elisabeth Welch), see LITTLEN04
A Little Night Music Royal National Theatre (Sian Phillips), see LIT-
TLEN05
Sondheim—A Celebration (Millicent Martin), see SONDACEL1
A Little Night Music Barcelona Cast (Montserrat Carulla), see LITTLEN06
A Little Night Music Broadway Revival Cast (Angela Lansbury), see LIT-
TLEN07
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Leander, Zarah/Fenster Meines Lebens: Zarah Leander Heute, Electrola
[n.n., n.d.]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“Life Is Happiness Indeed” for 1974 revival of Candide, music by Leonard

Bernstein
CaPVS, CaVS company number
Candide Revival (Mark Baker, Maureen Brennan, Sam Freed, Deborah
St. Darr), see CANDIDE01
Candide New York City Opera (David Eisler, John Lankston, Erie Mills,
Scott Reeve, Maris Clement), see CANDIDE02
Candide Leonard Bernstein Conducting (Jerry Hadley, Kurt Ollmann,
June Anderson, Della Jones), see CANDIDE04
Candide New Broadway Cast (Jim Dale, Jason Danieley, Harolyn Black-
well, Brent Barrett, Stacey Logan, Ensemble), see CANDIDE05 (see also
“Old Lady’s False Entrance”)
Candide Royal National Theatre (Daniel Evans, Alex Kelly, Simon Day,
Elizabeth Renhan), see CANDIDE05 [includes “Life Is Happiness Un-
ending” which may or may not include Sondheim lyrics]

“Like Everybody Else” cut from West Side Story (1957), music by Leonard
Bernstein
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Song Listing 351

Lost In Boston (Judy Malloy, Richard Roland, Sal Viviano), Varese Sara-
bande VSD-5475, 1994

“Like It Was” from Merrily We Roll Along (1981)

ASIII, MWRVS d1-f2, MWRPVS a-c2 [intro of “Old Friends” f-a1]
Merrily We Roll Along Original Cast (Ann Morrison, Lonny Price), see
MERRILY1
Sondheim (Book-of-the-Month) (Steven Jacob, Debbie Shapiro), see
SOND1
Putting It Together5 (Julie Andrews), see PUTTINGIT1
Merrily We Roll Along Revival Cast (Amy Ryder, Adam Heller), see MER-
RILY2
Merrily We Roll Along London Cast (Maria Friedman, Evan Pappas), see
MERRILY3
Akers, Karen/Like It Was, DRG 91498, 2006
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Turner, Geraldine/Old Friends, see TURNERG1 [in medley]
Upshaw, Dawn/I Wish It So, see UPSHAWD1

“Lion Dance” from Pacific Overtures (1976) [based on American Admiral’s

section of “Please Hello”]
POPVS instrumental
Pacific Overtures4 English National Opera (instrumental), see PACIFIC-
OVER2

“List a While, Lady” from High Tor (1949, unproduced)

“Little Dream” from the film The Birdcage (1996)

SSFTS c-e2
The Birdcage (Nathan Lane), see BIRDCAGE
Sondheim at the Movies (Susan Egan), see SONDATTHEM1
Music from The Birdcage, HSE Records, HTCD 33/34-2, 1996

“A Little House for Mama” cut from Bounce (2003)

Bounce Original Cast (Richard Kind), see BOUNCE1

“Little Lamb” from Gypsy (1959), music by Jule Styne

GPVS d1-e2, GVS, GVS2 c1-d2
Gypsy Original Cast (Sandra Church), see GYPSY01
Gypsy Original Cast (Ethel Merman), see GYPSY01 [included on 1999
reissue; with “Mr. Goldstone”]
Gypsy London Cast (Zan Charisse), see GYPSY03
Gypsy Revival Cast (Crista Moore), see GYPSY04
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352 Song Listing

Gypsy TV Cast (Cynthia Gibb), see GYPSY05

Gypsy 2003 Revival Cast (Tammy Blanchard), see GYPSY10
Gypsy 2008 Revival Cast (Laura Benanti), see GYPSY11
Bluebells & Hugo Montenegro/All About Kids, 20th Fox, (S)SFX-3034,
1961
de Roy, Jamie/Jamie de Roy and Friends: Animal Tracks (Paige Price), Har-
binger HCD 2004
de Roy and Friends, Jamie/Vol. 5: Animal Tracks, Harbinger Records
2004, 2004
Hi-Lo’s, The/Broadway Playbill, see HILOS
Limeliters/Sing Out, Victor (S)LSP-2445, 1961
Merman, Ethel/Forgotten Broadway vol. II, T102, [n.d.]
Merman, Ethel/Mermania!, see MERMANE1 [with “Mr. Goldstone”]
Murphy, Rose/Jazz, Joy & Happiness, United Artists UAJ-14025,
(S)UAJS-15025, 1963

“A Little Priest” from Sweeney Todd (1979)

STPVS duet g-c2/G-g1
Sweeney Todd1 Original Cast6, 7 (Angela Lansbury, Len Cariou), see
SWEENEYT1
Sondheim (Book-of-the-Month) (Joyce Castle, Timothy Nolen), see SOND1
Putting It Together (Company), see PUTTINGIT1 [lyric changes by Sond-
heim]
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
Sweeney Todd Barcelona Cast (Vicky Pena, Constantino Romero), see
SWEENEYT3
Sweeney Todd Live at the NYP (Patti LuPone, George Hearn), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Patti LuPone, Michael Cerveris),
see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter,
Johnny Depp), see SWEENEYT6
City of Prague Philharmonic Orchestra/Music from the Films of Tim Bur-
ton, Silva America 1261, 2008

“(The) Little Things (You Do Together)” from Company (1970)

ASI, CVS, HTSS, SSS solo version a-d2, CPVS, CVS2, CVS3 company
number
Company Original Cast2 (Elaine Stritch, Barbara Barrie, Charles Kim-
brough, Company), see COMPANY01
Sondheim: A Musical Tribute (Mary McCarty), see SONDAMUST1
Side by Side by Sondheim (Julia McKenzie, David Kernan), see SIDEBYS1
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Song Listing 353

Side by Side . . . Australian Cast (Bartholomew John, Geraldene Mor-

row), see SIDEBYS2
Songs of Sondheim Irish Cast (Tony Kenny, Loreto O’Connor), see SONGS-
OFSOND1
Sondheim (Book-of-the-Month) (Joyce Castle, Timothy Nolen), see SOND1
Company Revival Cast (Debra Monk, Company), see COMPANY05
Company London Revival Cast (Sheila Gish, Company), see COM-
PANY04
Company Brazilian Cast (Totia Meireles, Company), see COMPANY06
Side by Side . . . Brazilian Cast (Claudio Botelho, Ivana Domenico, Com-
pany), see SIDEBYS3
Simply Sondheim (Amy Dondy, James Brewer, Shay Oglesby-Smith, Kim
Larsen), see SIMPLYSOND1 [in medley]
Company Accompaniment CD (Marilyn O’Connell, Company/accom-
paniment), see COMPANY08
Company Second Revival Cast (Barbara Walsh, Kristin Huffman, Keith
Buterbaugh, Raúl Esparza, Company), see COMPANY09
Carrey, Bobbi & Will McMillan/If I Loved You, nowandthen Productions
IILY6294, 2004
Day, Courtenay/Courtenay Day Live at Don’t Tell Mama, see DAYC1 [with
“I’ve Got You to Lean On”]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Horne, Marilyn/The Men in My Life, RCA Victor CD 9026-62647-2, 1994
(duet with Spiro Malas)
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Laine, Cleo/Cleo Sings Sondheim6, see LAINEC2
Pringle, Anne & Mark Burnell/Little Things We Do Together, Spectrum
SR003, 2000
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Wright, Bill/“It Takes Two,” see WRIGHTB1

“Little White House” and “Who Could Be Blue?” cut from Follies (1971)
[music used for “Salon at the Claridge # 2” in Stavisky]
ASII, CFC duet d1-g2/b-g2
Marry Me a Little1 (Suzanne Henry), see MARRYME1
Follies, The Complete Recording (Laurence Guittard, Dee Hoty), see
FOLLIES05

“Live Alone and Like It” from Dick Tracy (1990)

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354 Song Listing

SCCH, SSFTS b-e2

Sondheim: A Celebration at Carnegie Hall (James Naughton), see SOND-
ACELATC1
Putting It Together (Michael Rupert), see PUTTINGIT1
Stephen Sondheim: The Story So Far . . .7 (Mel Tormé)
Barnett, Peter & Julia Early/In So Many Words, see BARNETTEARLY1
Gillan, James/James Gillan, Butterfly James BJR001, 2001 [with “You
Could Drive a Person Crazy”]
Kreston, Judy & David Lahm/Medleyflyin’, LML CD-183, 2005 [with
“Plant You Now, Dig You Later”]
Minnelli, Liza/Liza Live from Radio City Music Hall, Columbia CD 7464-
53169-2, 1992
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Stritch, Billy/ . . . Sings Mel Tormé, Blair Lake 0550, 2007 [with “Breezin’
Along with the Breeze”]
Tormé, Mel/Mel Tormé at the Movies, Rhino R275481, 1999
Wright, Bill/“It Takes Two,” see WRIGHTB1 [with “Anyplace I Hang My
Hat Is Home”]

“Live, Laugh, Love” from Follies (1971)

CFC, FPVS c1-f2 [+ chorus c1-f2]
Follies Original Cast (John McMartin, Chorus), FOLLIES01
Follies in Concert (George Hearn, Chorus), see FOLLIES02
No One Is Alone . . . (Michael Denholm), see NOONEIS1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Follies, The Complete Recording (Laurence Guittard, Company), see
FOLLIES05
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“Looks” for Singing Out Loud (1992–93, unproduced)

“Losing My Mind” from Follies (1971)

ASI, FLVS, FVS, HTSS, SCCH c1-e2, CFC, FPVS f-b1
Follies Original Cast (Dorothy Collins), see FOLLIES01
Sondheim: A Musical Tribute (Dorothy Collins), see SONDAMUST1
Side by Side by Sondheim1 (Julia McKenzie), see SIDEBYS1
Side by Side . . . Australian Cast (Geraldene Morrow), see SIDEBYS2
Sondheim (Book-of-the-Month) (Debbie Shapiro), see SOND1
Follies in Concert5, 7 (Barbara Cook), see FOLLIES02
Follies London Cast (Julia McKenzie), see FOLLIES03
Songs of Stephen Sondheim/You Sing the Hits, see SONGSOFSTEP1
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Song Listing 355

Symphonic Sondheim (instrumental), see SYMPHONICSON1

Sondheim: A Celebration at Carnegie Hall (Dorothy Loudon), see SOND-
ACELATC1
The Magic of the Musicals (Marti Webb, Mark Rattray), see MAGICOF1
Color and Light: Jazz Sketches . . . (Holly Cole), see COLOR1
A Gala Concert for Hal Prince (Kelli James Chase), see GALA1
Sondheim: A Celebration (Tim Curry), see SONDACEL2
No. 1 Australian Musicals Album (Judy Connelli), Polydor 539 736-2, 1998
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Hey, Mr. Producer! (Michael Ball), see HEYMRP
Follies, The Complete Recording (Donna McKechnie), see FOLLIES05
Sondheim Tonight (Maria Friedman), see SONDTON1
The Stephen Sondheim Album (Dame Edna/Barry Humphries), see
STEPHENSA1
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Wall to Wall Stephen Sondheim (Donna Murphy), see WALLTOWALLS1
Side by Side . . . Brazilian Cast (Marya Bravo), see SIDEBYS3
Broadway Unplugged 2 (Barbara Walsh), Bayview RNBW037, 2006
Abel, Amanda/Night of Neurotica, Original Cast 6246, 2007 [with “You
Could Drive a Person Crazy”]
Alexander, James/At Seventeen, Dress Circle JAA S001CD, 2000
Argent, Monique/Moonfall, see ARGENTM1
Ball, Michael/The Musicals, see BALLM1
Bassey, Shirley/I Capricorn, United Artists Records UK: UAS 29246/US:
UAS-5565, 1972; 2000 UK CD Re-Issue: EMI 5258452; 2001 US CD Re-
Issue 76681
Bennett, Tony/Summer of ’42, Columbia C31219, 1972
Black Crowes/Lions, VZ Records 63881-27091-2, 2001
Bramlish, Richard/Elementary Floor Exercise Routines, Kimbo Educa-
tional Records KEA 9030-1, 1971
Broussard, Trina/Same Girl, Motown B0002167-02, 2004
Burgess, Sally/Sally Burgess Sings Jazz, That’s Entertainment Records
TER 8308, 1995
Burton, Paul/Songs on a Steinway, Imperial Digital Limited IDID1, 1996
Cant, Donald/Donald Cant, see CANTD1
Cantabile/Music of the Night, EMI CDP 7 48639 2, 1987
Clark, Petula/here for you, see CLARKP1
Clary, Robert/Robert Clary Sings at the Jazz Bakery in Los Angeles, Origi-
nal Cast Records OC-9799, 1997 [with “Not While I’m Around,” and
“You Could Drive a Person Crazy”]
Cole, Holly/It Happened One Night, Caravan CDP 7243 8 5269 05, 1996;
Metro Blue/Capital 2438526990
Connelli, Judy/On My Way to You, see CONNELLI1
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356 Song Listing

Cook, Barbara/Live from London, DRG 91430, 1994

Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1 [with
“Not a Day Goes By”]
Cook, Barbara/Barbara Cook at the Met, see COOKB2 [with “Not a Day
Goes By”]
Corry, Peter/Peter Corry in Concert, Pet Cor CD 001, 2001 [with “Send in
the Clowns”; recorded in 1993]
DeLaria, Lea/Play It Cool, see DELARIA1
Dustin, Gini/Two for the Road with Gini and Dr. Joe, Silver Hill [n.n.], 2005
Eagleson, Katie/Once Upon a Time, WalkingPath Records 822605819920,
2007
Edwards, Stan/Play Me Hearts and Flowers, OC 41117-46502, 1997
Egan, Susan/Susan Egan Live!, LML Music LML CD 222, 2008 [in med-
ley]
Fagiolini/Insalata, Metronome MET 1004-01, 1994
Feliu, Nuria/Nuria de Nit, Hispavox Estel HHS 11-231/Hispavox 130
026, 1972
Fragile/Polarity, ZYX Music 100032/EQ Music EA71923, 2005
Fuller, Mark/Songs About Adam, see FULLERM1 [with “Not a Day Goes
By” & “Isn’t This Better?”]
Fulton, Eileen/I Think About You, Original Cast 04399, 2000 [with “Din-
ner for One Please James” and “I Don’t Care Much”]
Hamilton, Lindsay/It’s Me!, Dress Circle CD HAM 1, 1999 [with “So In
Love”]
Harpsichord Pieces, Hungaroton/White Label 31729, 1999
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Honeyroot/Sound Echo Location, New World Music NWM 105, 2003
House Music’s Greatest Divas (Debbie Cook), Micmac Records MIC-1439-
2, 1990–97?
Hyman, Dick/Fantomfingers, Project 3 PR 5057 SD, 1971 [organ with in-
strumental accompaniment]
Jo, Sumi/Only Love, Erato 8573-80241-2, 2000
Jöback, Peter/Storybook, [n.l., n.n.] 2004
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Keller, Greta/Greta Keller in Concert, Stanyan SR10041, 1975
Kelly, Laura Michelle/The Storm Inside, EMI 8, 2006
Kendall, Trent/So Much to Say, Dress Circle, 1995
Kennedy, Barbara/You’d Be Surprised!, Globe GLO 6045, 1998
Kostelanetz, Andre/For All We Know, Columbia C 30672, 1971
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
La Rue, Danny/I Am What I Am, Elite PMPCD 1201, 1995
Lear, Evelyn/Evelyn Lear Sings Sondheim and Bernstein, see LEARE1
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Song Listing 357

Lee, Peggy/Where Did They Go?, Capitol ST-810, 1971

Lee, Scooter/Steppin’ Out, Wrasse Records SLCD 0010, 2001
Lipton, Celia/As Time Goes By, Independent Record Group, CML
1393/vol. II, 1988
Lemper, Ute/City of Strangers, see LEMPER1
Mager, Eileen/Broadway: Love and Laughter, see MAGERE1
Malmberg, Sue/Musical Theatre Classics, see MALMBERGS1
Manuell, Suzanne/ . . . Mezzo Soprano, Paul Martyn Sound Productions
PMSPCD 9420, 1994
Marie, Kelly/Applause!, Pinacle CDKOPY 146, 2004
Marjorie-Jean/Losing My Mind, Carmel Records MJ10001, 1988, 1989
Markey, Enda/Another Place and Time, see MARKEY1
Martino, Al/Summer of ’42, Capitol ST-793, 1971
Matthews, Sue/One at a Time, Renata Records 177014, 2002
McBryde, Deian/Love . . . & Other Distractions, EvAnMedia evan-
35700CD, 2000
McDonough, Megan/My One and Only Love, Shanachie 5027, 1996
McKenzie, Julia/The Musicals Album, see MCKENZIEJ1
Mendelssohn Choir/Mendelssohn Sings Sondheim (Barbara Cohen), see
MENDELSSOHN1
Minnelli, Liza/Results, Epic EK45098, 1989
Minnelli, Liza/Aznavour/Minnelli Paris-Palais . . . , see MINNELLI1
Minnelli, Liza/Life Is a Cabaret—The Very Best of Liza Minnelli, Sony
507808 2, 2002
Minnelli, Liza/Say Liza, CMG A94742, 2005 [remix]
Mitchell, Brian Stokes/Brian Stokes Mitchell, see MITCHELLBS1
Mortimer, Jennie/Reflection, JennieMortimer 634479866852, 2008
Murray, Todd/When I Sing Low, Zate Entertainment ZE91002, 2002
Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Paige, Elaine/A Musical Touch of Elaine Paige, Dominion Records DN
6221, 1984
Paige, Elaine/Stages, Atlantic 81776-1, 1987 [also included in Sweet
Memories, Music Club Records 084, 2008]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Pet Shop Boys/Alternative, EMI 7243 8 34023 2 8, 1995
Pet Shop Boys/Introspective, EMI 724353050426, 2001
Prior, Marina/Leading Lady, Columbia [Australia] 469214-2, 1991
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1
Ramsten, Trish/Eclectic, Jazzten 1001, 2002
Rarities of Piano Music (Jody Applebaum), Danacord DACOCD 559,
2000
Rose, Jodi/Hope for the Future, see ROSEJ1 [with “Not a Day Goes By”]
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358 Song Listing

Saxe, Emily/Broadway & All That Jazz, see SAXEE2

Scannell, Mike/Love Changes Everything, Guardian Angel Productions
GAP 8853, 1996
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Waiting for the Girls Upstairs”]
Second City Divas (Kathy Taylor), MAM Records [n.n.], 1997
Sheldon, Jack with Ross Tompkins/On My Own, Concord Jazz, CCD-
4529, 1992 [trumpet]
Short, Bobby/Live at the Cafe Carlyle, see SHORTB1
Shyu, Jen/For Now, 4AM Music ANA2002CD, 2002
Singers Unlimited/A Little Light Music (Julia Meadows), see SINGERSUN1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01
Southern, Sheila/Sheila Southern with Love, [n.l., n.n., n.d.]
Stace, Melanie/How Lucky, First Night CASTCD88, 2003
Thomas, Richard/I Need to Know, [n.l., n.n.], 2002
Tompkins, Sheldon/On My Own, Concord Jazz 04529, 1992
Tormé, Mel/Night at the Concord Pavilion, Concord Jazz CCD-4433,
1990; reissued as Two Darn Hot, Concord Records CCD2-2118-2, 2002
[with “I Could Have Told You,” “Deep in a Dream,” “Goin’ Out of
My Head”]
Turner, Geraldine/Old Friends, see TURNERG1
Warlow, Anthony/Midnight Dreaming, Polydor 523612-2, 1994
Webb, Marti/Performance, Telstar OCR CD6033, 1989
Webb, Mart/Performance with the Philharmonia Orchestra, First Night
Records TCD 2391, 1989
Welch, Elisabeth/This Thing Called Love, RCA 60366-2-RC, 1989
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Julie/Julie Wilson at Brothers & Sisters Vol. Two, see WILSONJ1
[with “Beautiful Girls,” “[The Story of] Lucy and Jessie,” and “Could
I Leave You”]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Love, I Hear” from A Funny Thing Happened on the Way to the Forum
(1962)
FTPVS b-d2, FTVS, SSS, SCCH b-f2 [g2 optional]
A Funny Thing . . . Original Cast (Brian Davies), see FUNNY01
A Funny Thing . . . London Cast (John Rye), see FUNNY02
Sondheim: A Celebration at Carnegie Hall (Michael Jeter), see SONDACELATC1
A Funny Thing . . . Revival Cast (Jim Stanek), see FUNNY05
That’s What Friends Are For (Peter Land, Robert Meadmore), First Night
CAST CD52, 1996 [in medley with “Agony” & “It Takes Two”]
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Song Listing 359

Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),

see FUNNY04
Amor al Reves es Roma [A Funny Thing . . . ] Mexican Cast, see FUNNY06
Simply Sondheim (Steve Rhyne), see SIMPLYSOND1
The Broadway Musicals of 1962 (Danny Gurwin), see BROADWAYMUS62
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Turner, Geraldine/Old Friends, see TURNERG1 [with “What Can You
Lose”; added to 1997 reissue]
Williams, Bob/ . . . And at the Piano, Bob Williams, [n.n., n.d.] [piano]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Love Is Going Around,” see “Love Is in the Air”

“Love Is in the Air” cut from A Funny Thing Happened on the Way to the Fo-
rum (1962)
FTPVS instrumental, HTSS c1-e2
Sondheim: A Musical Tribute (Larry Blyden, Susan Browning), see SOND-
AMUST1
Side by Side by Sondheim1 (Millicent Martin, Julia McKenzie, David Ker-
nan), see SIDEBYS1 [with “Comedy Tonight”]
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John, Ger-
aldene Morrow), see SIDEBYS2 [with “Comedy Tonight”]
Songs of Sondheim Irish Cast (Company), see SONGSOFSOND1 [with “Com-
edy Tonight”]
The Birdcage (Christine Baranski, Robin Williams), see BIRDCAGE
Live At the Commander Boardwalk Cabaret, [n.l.] NR11810, [n.d.]
Side by Side . . . Brazilian Cast (Company), see SIDEBYS3 [with “Comedy
Tonight”]
Simply Sondheim (Kim Larsen, Shay Oglesby-Smith), see SIMPLYSOND1 [in
medley]
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Paich, Marty with Carol and Cathy, Groove 58-0002 (N2PW-0388)
45rpm, 1961[?]
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Love Like Ours (Scene 3, Part II)” from Passion (1995)

PPVS, PVS duet b-e2/a-e2
Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
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360 Song Listing

“Love Story (Your Eyes Are Blue)” cut from A Funny Thing Happened on
the Way to the Forum (1962), [see also “Your Eyes Are Blue”]

“Love Takes Time” for film version of A Little Night Music (1978) [new
lyrics for “Night Waltz”]
A Little Night Music Film7 (Company), see LITTLEN03
Putting It Together (Company), see PUTTINGIT1

“Love Will See Us Through” from Follies (1971), [see also “You’re Gonna
Love Tomorrow”]
Follies Original Cast (Harvey Evans, Marti Rolph), FOLLIES01
Follies1 in Concert (Jim Walton, Liz Callaway), see FOLLIES02
Follies London Cast (Evan Pappas, Deborah Poplett), see FOLLIES03
Follies, The Complete Recording (Billy Hartung, Danette Holden), see
FOLLIES05

“Loveland” from Follies (1971)

CFC c1-f2, FPVS c1-b2
Follies in Concert (Company), see FOLLIES02
Sondheim: A Celebration at Carnegie Hall (Ensemble), see SONDACELATC1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Follies, The Complete Recording (Company), see FOLLIES05

“Loveland” from the 1987 London production of Follies

ASIII, FLVS, SCCH [misidentified as 1971 version] b-g2, a-f2
Follies London Cast (Paul Bentley, Company), see FOLLIES03

“Lovely” from A Funny Thing Happened on the Way to the Forum (1962)
FTPVS duet c1-f2/d1f2, FTVS, SSS solo version c1-e2
A Funny Thing . . . Original Cast (Brian Davies, Preshy Marker), see
FUNNY01
A Funny Thing . . . London Cast (John Rye, Isla Blair), see FUNNY02
A Funny Thing . . . Film (Annette Andre, Michael Crawford), see
FUNNY03
Putting It Together (Rachel York), see PUTTINGIT1
A Funny Thing . . . Revival Cast (Jessica Boevers, Jim Stanek), see
FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Amor al Reves es Roma [A Funny Thing . . . ] Mexican Cast, see FUNNY06
Simply Sondheim (Judy Butterfield), see SIMPLYSOND1 [in medley]
Allen, Steve/Steve Allen Sings, Dot DLP-35530, (S)DLP-25530, 1964
Jazz at the Movies Band/Sax on Broadway, Discovery 77068, 1997; Rhino
Atlantic, 2005
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Song Listing 361

Johnson, J. J./J. J. Johnson’s Broadway, Verve V6-8530, 1964 [trombone]

MacCrae, Gordon/Warmer Than a Whisper, Capitol 45rpm 4773, 1962
McKechnie, Donna/Inside the Music, see MCKECHNIED1 [with “Will He
Like Me” & “A Secretary is Not a Toy”]
Oler, Newell/Fireside Piano, NOME Co. of Dallas, Inc. [n.n.], 2003 [pi-
ano]
Platters, The/I Love You 1,000 Times, Musicor 2091, (S)3091, 1969
Puma, Joe with Hod O’Brien & Red Mitchell/Shining Hour, Reservoir
102, 1987 [trio]
United States Air Force Heritage of America Band, The/Broadway
Nights, US Air Force 0017, 1997
Wayne, Chuck/Morning Mist, Original Jazz Classics 1097, 1964/2003
[banjo]

“Lovely” (Reprise) from A Funny Thing Happened on the Way to the Forum
(1962)
FTPVS duet d1-f2/e1-g2
A Funny Thing . . . Original Cast (Zero Mostel, Jack Gilford), see
FUNNY01
A Funny Thing . . . London Cast (Frankie Howerd, Kenneth Connor), see
FUNNY02
A Funny Thing . . . Film (Zero Mostel, Jack Gilford), see FUNNY03
A Funny Thing . . . Revival Cast (Nathan Lane, Mark Linn-Baker), see
FUNNY05
The MUSICality of Sondheim4 (Emily Loesser, Don Stephenson), JAY
Records CDJAZ 9006, 2002

“Lovely Ladies” cut from The Lady or the Tiger? (1954, unproduced)

“Love’s a Bond” from Saturday Night (1954)

SNVS b-e2
Unsung Sondheim (Walter Willison), see UNSUNGS1
Saturday Night Bridewell Cast (Gavin Lee), see SATURDAYN1
Saturday Night Original New York Cast (Donald Corren), see SATUR-
DAYN2
Saturday Night Original New York Cast (Natascia A. Diaz), see SATUR-
DAYN2 [“Blues” version]
Stephen Sondheim: The Story So Far . . .7 (Arte Johnson) [from original
backer’s audition]

“Loving You” from Passion (1995)

PPVS f-c2, PVS b-e2; [an extended version combining aspects of “Lov-
ing You” and the “Finale” was published as an individual sheet as
Warner Bros. PV9587]
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362 Song Listing

Passion Original Cast (Donna Murphy), see PASSION1

Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
Color and Light: Jazz Sketches . . . (Nancy Wilson and Peabo Bryson), see
COLOR1
Stage1/how I love you (William Reilly, Ralph Pena, Michael Fawcett,
Richard True, Francis Cruz), DINK Records DIDX 037070, 1996 [with
“If I Loved You”]
Sondheim: A Celebration (Ellen Harvey), see SONDACEL2
Passion London Concert (Maria Friedman), see PASSION3
Sondheim Tonight (Michael Ball), see SONDTON1
Moving On (Company), see MOVINGON [with “Not a Day Goes By,” “So
Many People”]
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Passion Dutch Cast (Vera Mann), see PASSION4
Abernathy, John/Live Out Loud!, John Abernathy 884501220606, 2009
[with “So Many People”]
Akers, Karen/Like It Was, DRG 91498, 2006 [with “Why Was I Born?”]
Ball, Michael/The Musicals, see BALLM1
Ball, Michael/Secrets of Love, Spectrum 544 100-2, 2000
Ball, Michael/I Dreamed a Dream, Spectrum/Universal International
67873, 2003
Breach, Joyce/Live in London, Audiophile ACD-331, 2006
Cole, Holly/Romantically Helpless, EMI B00004U8U7, 2000
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
Dale, Cynthia/More . . . , D2 Entertainment D2-CD2, 2004 [with “How
Deep is the Ocean”]
Fleming, Renée and Bryn Terfel/Under the Stars (Renée Fleming), see
FLEMINGTERFEL1 [with “I Wish I Could Forget You”]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Mars, Susannah/Take Me to the World, see MARSS1 [with “Not a Day
Goes By”]
Mathis, Johnny/Mathis on Broadway, Columbia CK 63892, 2000
McDermott, Sean/My Broadway4, see MCDERMOTTS1
Michuda, Marie/It’s a Grand Night for Singing, Southport S-SSD 0074,
1999
Nicastro, Michelle/On My Own3, Varese Sarabande VSD-5810, 1997
Noriega, Iraida/Viaje de Mar, Opcion Sonica 220, 2005
Patinkin, Mandy/Oscar and Steve, see PATINKIN4
Strassen, Michael/Loving You (with Vicki Emery), Dress Circle 32796
00122, 1997 [with “No One Has Ever Loved Me”]
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Song Listing 363

Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see

TURNERG2
Vannatter, Dane/Double Standards, Avitus Productions [n.n.], 2001

“Lucy and Jessie,” see “The Story of Lucy and Jessie”

“Lullaby” from Phinney’s Rainbow (1948)

“Lunch” for Singing Out Loud (1992–93, unproduced)

“Madame Rose’s Toreadorables,” see “Toreadorables”

“Madam’s Song,” see “I Never Do Anything Twice”

“Make It Through the Night” cut from Bounce (2003)

“Make the Most of Your Music” from the 1987 London production of Fol-
lies
ASIII, CFC, FLVS b-g2 [includes a small amount of choral accompani-
ment]
Follies London Cast (Daniel Massey, Company), see FOLLIES03
The Stephen Sondheim Album (Brent Barrett), see STEPHENSA1
Simply Sondheim (James Brewer, Company), see SIMPLYSOND1
McLaren, Morag/I Never Do Anything Twice, see MCLAREN1
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1

“March to the Treaty House” from Pacific Overtures (1976) [from American
Admiral’s section of “Please Hello”]
POPVS instrumental
Sondheim (Book-of-the-Month) (instrumental), see SOND1
A Gala Concert for Hal Prince (The Munich Radio Orchestra), see GALA1
Sondheim Tonight (Orchestra), see SONDTON1
Pacific Overtures New Broadway Cast (B. D. Wong), see PACIFICOVER3
New York City Opera Orchestra/Broadway’s Best (instrumental) [“Pa-
cific Overtures Suite, Third Movement”], see NEWYORKCITYOP1

“Maria” from West Side Story (1957), music by Leonard Bernstein

BOB, SSS, WSSVS a-g2, WSSPVS b-b2 [a2 alternate]
West Side Story Original Cast (Larry Kert), see WESTSIDE01
West Side Story film (Jim Bryant), see WESTSIDE02
Broadway’s Big Hits (Herman Clabanoff), Mercury SR 60811/(M) MG
20811, 1963
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364 Song Listing

West Side Story Studio Cast (José Carreras), see WESTSIDE03

Met Stars on Broadway (Eileen Farrell), MET/RCA MET-204, 1980; MET
204CD, 1989
Bernstein on Broadway (Peter Hofmann), see BERNSTEINON1
West Side Story Studio Cast London (Michael Ball), see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Paul Manuel), see
WSSLHC
West Side Story London Production (Marlys Waters), see WESTSIDE08
West Side Story London Production (Don McKay), see WESTSIDE08
West Side Story London Studio Cast (David Holliday), see WESTSIDE09
West Side Story Original Score (Mike Eldred), see WESTSIDE10
Bravo Broadway (J. Mark McVey), CDJAY 8005, 200?
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
West Side Story Broadway Revival (Matt Cavenaugh), see WESTSIDE11
Alban, Manny/West Side Story, Decca (S)DL7-4517, 1965
Attila, Serbián/Premier Musical Tour, Magneoton 53386, 2009
Baker, Don/The Sound of Music & West Side Story, KAPP KL-1411, (S)KS-
3411, 1965
Basile, Jo/Movie Theme Hits, Audio Fidelity AF-1979, (S)SD-5979, 1965
Bee Gees/Brilliant from Birth, Festival Records 46066, 1997
Bibb, Leon/Leon Bibb Sings, Columbia CL-1762, (S)CS-8562, 1963
Bonnemere/Bound of Memory, Roost (S)2241, 1960
Boulter, John/Boulter’s Gold, RCA Victor SF 7872, 1967
Burnham, David/David Burnham, LML Music 213, 2007
Carreras, Jose/Jose Carreras in Concert, Legacy 420, 1995
Cashmore, John/Musical Cocktail, SZ Productions/GEMA LC8248, 1997
Chakiris, George/George Chakiris, Capitol (S)ST-1750, 1962
Chakiris, George, Capitol 45rpm 4844, 1963
Clebanoff, O., Mercury 45rpm 71905, 1961
Clebanoff, O./King of Kings, Mercury MG-20640, (S)SR-60640, 1961
Clooney, Rosemary/Mothers & Daughters, Concord Jazz CCD-4754-2,
1997
Como, Perry/By Request, Cictor (S)LSP-2567, 1963
Cousens, Peter/Corner of the Sky, First Night OCRCD 6043, 1994
Crawford, Michael/Songs from the Stage and Screen, see MCSSS
Damone, Vic/On the Street Where You Live, see DAMONE1
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see SDJCG
[part of West Side Story medley]
Domingo, Placido/Save Your Nights for Me, Sony Music Distribution
39866, 1985
Drake, Alfred/Alfred Drake & Roberta Peters Sing the Popular Music of
Leonard Bernstein, see ADRP
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Song Listing 365

Eddy, Nelson/Of Girls I Sing, Everest 9006, (S)8006, 1965

Ellery, Lloyd/In Whatever Time We Have, Pathfinder 5050693165925,
2007
Farnon, Robert/Portrait of Johnny Mathis, Phillips PHM-200167, (S)PHS-
600167, 1965
Fields, Victor/52nd Street, Regina Records REG 50517, 2002
Fisher, [David] Du Du/Over the Rainbow, Helicon Records HL 8064,
1989 [in Hebrew]
Fisher, David “Dudu” and London Symphony Orchestra/Showstoppers,
Pickwick Music PY, PK-4141, 1993
Fisher, Eddie/ . . . At the Wintergarden, Ramrod Records RR1-2, Taragon
TARCD-1054, 1962, 69 [with “Something’s Coming” and “Tonight”]
Fortunes, Press (S)83002, 1969
Fortunes, The/The World of the Fortunes, Universal International 552023,
2004
Four Tops/Four Tops on Broadway, Motown (S)657, 1969
Franchi, Sergio/Women in My Life, Victor (S)LSC-2696, 1965
Frangoulis, Mario/Short Stories: The Acropolis Concert, Balboa Recording
Corp. 89552, 2002 [with “Something’s Coming” & “Tonight”]
Garland, Judy/Judy Duets (with Vic Damone), see GARLAND [in West
Side Story medley]
Gaye, Marvin/Romantically Yours, Sony Music Distribution 4741622,
(1985)/2004
Gott, Karl/50 Hitu, Supraphon 55649, 2007
Goulet, Robert/Sincerely Yours, Columbia CL 1931/CS 8731, 1963; Col-
lectables 5847, 1997
Gray, David/Showtime with David Gray, Festival L 25185, 1974
Grigolo, Vittorio/Vittorio, Decca B0007307-2, 2006 [also released as In the
Hands, Polydor 9874521, 2006]
Guest, Rob/Standing Ovation, EMI Music (Australian Group) 7986212,
1991 [in medley]
Harmonicats/Love Theme from “El Cid,” Columbia CL-1753, (S)CS-8553,
1962
Heywood, Eddie/Eddie Heywood’s Golden Encores, Liberty LPP-3250,
(S)LST-7250, 1963
Holmes Singers, Leroy/Golden Hits of Broadway, United Artists UAL-
3234, 1963
Hooper, Jeff/As Long As I’m Singing, Silverword CDSMG0004, 2001
[with “An Affair to Remember”]
Hyland, Brian/Brian Hyland, Fontana/Hip-O Select 000288102,
(1970)/2006 [with “Somewhere”]
Jaramillo, Pepe/A Mexican on Broadway, Parlophone PMCO 1183, [n.d.]
Jay and the Americans/Sunday and Me, United Artists (S)6474, 1969
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366 Song Listing

Jay and the Americans/Jay and the Americans Greatest Hits, United
Artists (S)6555, 1969
Jay, Harley/Between 41st and 53rd, [self-released], 2007
Jones, Allan/ . . . Sings Only the Greatest, Star Records SST 5123, 1968
Kamahl/A Voice to Remember, Phillips PDS 285, [n.d.]
Karimloo, Ramin/Within the Square Inch, Ramin K Productions RKCD1,
2001
Keating, John/Temptation, London (S)PS-44019, 1963
Kert, Larry/Larry Kert Sings Leonard Bernstein, SEECO CE-467, (S)CES-
4670, 1963
Kert, Larry/Spotlight on Larry Kert, see KERTL1
King, Wayne/Music from Broadway and Hollywood, Decca (S)DL7-4517,
1963
Kole, Bob/The Two Sides of Bob Kole, Festival LL 30091, 1961
La Staya, Pepe/MacDougal St., Everest 45 rpm 19423, 1961
Leyton, Jeff/Music of the Night, Linn AKD098, 1998
Martin, Felix/Musical Changes, EBM/Pool Music 4012772019735, 2001
[in medley with “Somewhere” and “Tonight”]
Mathis, Johnny, Columbia 45rpm 4-41684, 1960
Mathis, Johnny/Faithfully, Columbia EPB-14221, CL-1422, (S)CS-8219,
1960
Mathis, Johnny, Columbia 45rpm 4-33042, 1965
Mathis, Johnny/The Greatest Years, Columbia C2L-34, (S)C2S-834, 1965
McDermott, Sean/My Broadway, see MCDERMOTTS1
Mighty Sparrow/Mighty Sparrow Sings for Lovers, Victor LPB-3015, 1965
Monro, Matt/Through the Years, EMI Music Distribution 32032, 1994
Pagny, Florent/Baryton, Universal Distribution 9825530, 2004
Peerce, Jan, United Artists 45rpm 574, 1963
Peerce, Jan/Music to Remember from “Lawrence of Arabia,” United Artists
UAL-3278, (S)UAS-6278, 1963
Peerce, Jan/Jan on Broadway, United Artists UAL-3248, (S)UAS-6248,
1963
Peterson, Jimmy/Inside of Me, Chess 45rpm 1886, 1965
Phillips, Kris [ne Fei Xiang]/Broadway Album, Forward Music
1003947297, 2005 [sung in Mandarin Chinese]
Phillips, Shawn/Shawn, Wounded Bird Records 6006, (1966)/1999
Pitney, Gene/Looking Through the Eyes of Love, Musicpr 2069, (S)3069,
1966
Proby, P. J., Liberty 45rpm 55850, 1966
Quisano, Joe/Ah, Camminare, Columbia 3-42493, 1963
Roberts, Malcolm, Victor 45rpm 47-9245, 1968
Roberts, Malcolm/The Talk of the Town, Right RIGHT018, 2002
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Song Listing 367

Rotz, Corey Evan/Keep the Music Playing, see ROTZC1

Rydell, Bobby/Era Reborn, Cameo (S)SC-4017, 1963
Salems, Epic 45 rpm S-9480, 1961
Schlongs/Punk Side Story (Andrew Asp), see SCHLONG1
Seibert, Mark/Musicballads: Unplugged, Sound of Music [n.n.], 2010
Sinatra, Frank/Frank Sinatra Conducts Music from Pictures and Plays,
Reprise (S)R9-6045
Sorvino, Paul/Paul Sorvino Sings, Voices Across America 41001, 1996
Spence, Nicky/My First Love, UCJ 5717, 2006
Starlite Orchestra & Singers/The Best of Broadway, Intercontinental
Records 4018, 1997
Teatro/Teatro, Sony Australia 719431, 2007
Thomas, Richard/The Impossible Dream, [n.l., n.n.], 1999[?] [Australian]
Touzet, Rene/Rene Touzet Goes to the Movies, Crescendo (S)GNPS-81,
1963
Vale, Jerry/Great Moments on Broadway, Columbia CL2489, (C)CS-9289,
1966
Vardi, Emmanuel O./More Sounds of Hollywood, Kapp KL-1289, (S)3266,
1963
Vaughan, Sarah/You’re Mine, You, Roulette [n.n.], 1962; Blue Note
57157, 1997
Wade, Adam/Very Good Year for Girls, Epic LN-24056, (S)BN-26056,
1963
Wess, Richard/Mack the Knife, United Artists UAL-3203, (S)UAS-6202,
1963
Whitfield, David/I Believe, London 45rpm 9506, 1962-63
Whitfield, David/Million Stars, London LL-3332, 1966
Wilkinson, Colm/Stage Heroes, RCA Victor BBL74105, 1989; 25856,
1997]
Wilkinson, Colm/Stage Heroes, RCA Records 25856, (1989)/1997
Williams, Andy/Moon River and Other Great Movie Themes, Columbia
CL-1809, (S)CS08609, 1963/Columbia CK-8609, 1987
Williams, Roger/Eventide, Kapp 45rpm 437, 1961
Williams, Roger/Maria, Kapp KL-1266, (S)KS-3266, 1963
Wilson, Lambert/Musicals, see WILSONL1
Zentner, Si/Desafinado, Liberty LRP-3273, (S)LST-7273

“Marriage Proposal,” see “Goodbye for Now”

“Marry Me a Little” cut from Company (1970) [reinstated in later produc-

tions]
ASII, CVS2, CVS3 g-f2
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368 Song Listing

Marry Me a Little1 (Suzanne Henry), see MARRYME1

Side by Side . . . Australian Cast (Bartholomew John), see SIDEBYS2
Putting It Together (Michael Rupert), see PUTTINGIT1
Company Revival Cast (Boyd Gaines), see COMPANY05
Company London Revival Cast (Adrian Lester), see COMPANY04
Company Brazilian Cast (Claudio Botelho), see COMPANY06
Wall to Wall Stephen Sondheim (Gregg Edelman), see WALLTOWALLS1
Company Accompaniment CD (Miles Phillips/accompaniment), see
COMPANY08
Company Second Revival Cast (Raúl Esparza), see COMPANY09
Barnett, Peter & Julia Early/In So Many Words, see BARNETTEARLY1
Brussell, Barbara/patterns, see BRUSSELL1
Buckley, Betty/The London Concert, see BUCKLEYB2
Callaway, Liz/The Story Goes On: On and Off Broadway, Varese Sara-
bande VSD-5585, 1995
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Ferreri, Michael/Sweet Dreams, see FERRERI1
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Manilow, Barry/Trying to Get the Feeling, Arista 19040-2, [remastered in
1998 with additional cut]
Noll, Christiane/A Broadway Love Story,3 Varese Sarabande VSD-5956,
1998
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SONDSINGS01

“May We Entertain You?” from Gypsy (1959), music by Jule Styne, [see
also “Let Me Entertain You”]
Gypsy TV Cast (Lacey Chabert, Elisabeth Moss), see GYPSY05
Gypsy 2003 Revival Cast (Heather Tepe, Addison Timlin, Michael Mc-
Cormick, Bernadette Peters), see GYPSY10
Gypsy 2008 Revival Cast (Sami Gayle, Emma Rowley), see GYPSY11

“Maybe They’re Magic” from Into the Woods (1987)

ITWPVS g-e2
Into the Woods Original Cast (Joanna Gleason), see INTOTHE1
Into the Woods London Cast (Imelda Staunton), see INTOTHE2
Into the Woods Revival Cast (Stephen DeRosa, Kerry O’Malley), see IN-
TOTHE3
Into the Woods Accompaniment CD (Nadiene Jacques), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Annabel To-
tusaus), see INTOTHE5

“Maybe They’re Magic” (first version) cut from Into the Woods (1987)
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Song Listing 369

“Me and My Town” from Anyone Can Whistle (1964)

ACWPVS a-e2 + trio
Anyone Can Whistle Original Cast (Angela Lansbury, Sterling Clark,
Harvey Evans, Larry Roquemore, Tucker Smith), see ANYONE1
Sondheim: A Musical Tribute (Angela Lansbury, Harvey Evans, Tony
Stevens), see SONDAMUST1
Sondheim (Book-of-the-Month) (Debbie Shapiro), see SOND1
Anyone Can Whistle Live at Carnegie Hall (Madeline Kahn, Sterling
Clark, Harvey Evans, Evan Pappas, Eric Riley, Tony Stevens), see
ANYONE2
Celebrating Sondheim (Rosemary Ashe, Tudor Davies, Glyn Kerslake),
see CELEBRATSON
Moving On (Company), see MOVINGON

“Men” from By George (1946)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [piano solo; incomplete]

“Merrily We Roll Along” from Merrily We Roll Along (1981)

ASIII, MWRVS c1-a2 [includes section with background vocal], MWR-
PVS company number
Merrily We Roll Along Original Cast (Company), see MERRILY1
Putting It Together (Christopher Durang), see PUTTINGIT1
Merrily We Roll Along Revival Cast (Company), see MERRILY2
Merrily We Roll Along London Cast (Company), see MERRILY3
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Gay Men’s Chorus of Washington, D.C./You’ve Got to Be Carefully
Taught . . . , see GAYMENSCWDC1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Newman, Lee/Relatively Singing, Original Cast Records OC9527, 1995

“Miles Gloriosus” cut from A Funny Thing Happened on the Way to the Fo-
rum (1962)

“The Miller’s Son” from A Little Night Music (1973)

ASI, LNMVS, SSS g-c2, LNMPVS f-b1
A Little Night Music Original Cast7 (D. Jamin-Bartlett), see LITTLEN01
A Little Night Music London Cast1 (Diane Langton), see LITTLEN02
A Little Night Music Studio Cast (Maria Freedman), see LITTLEN04
A Stephen Sondheim Evening (Liz Callaway), see STEPHENSE1
Putting It Together (Rachel York), see PUTTINGIT1
A Little Night Music Royal National Theatre (Issy Van Randwyck), see
LITTLEN05
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370 Song Listing

Sondheim: A Celebration (Tia Riebling), see SONDACEL2

Moving On (Company), see MOVINGON
A Little Night Music Barcelona Cast (Nuria Canals), see LITTLEN06
Company German Cast (Alexandra Seefisch), see COMPANY07
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Wall to Wall Stephen Sondheim (Kate Baldwin), see WALLTOWALLS1
A Little Night Music Broadway Revival Cast (Leigh Ann Larkin), see LIT-
TLEN07
Ford, Anne Kerry/Something Wonderful, see FORDA1
Hastings, Ruth/Ruth Hastings Plays the Geary, see HASTINGSR1 [in medley]
Kostelanetz, Andre/Andre Kostelanetz Plays Great Hits of Today, Colum-
bia KC 32415, 1973 [later released on “Quadrophonic Pop Concert”
Columbia CQ 32856, 1974]
Laine, Cleo/Cleo Laine Return to Carnegie, see LAINEC1
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Morris, Joan/Lime Jello: An American Cabaret, RCA AML1-5830, 1986
Palmer, Lillian/Like a Lover, Lillian Palmer 700261248479, 2008
Ruffelle, Frances/Frances Ruffelle, Dress Circle DRESSCD05, [n.d.]
Skinner, Emily/Unsuspecting Hearts, Varese Sarabande 302 066 074 2,
1999
Turner, Geraldine/Old Friends, see TURNERG1

“Miracle Song” from Anyone Can Whistle (1964)

ACWPVS f-g2 + company
Anyone Can Whistle Original Cast (Arnold Soboloff, Ensemble, Angela
Lansbury, Peg Murray), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Madeline Kahn, Maureen
Moore, Chip Zien, Ensemble), see ANYONE2
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Miss Andrew” for Mary Poppins (1950, unproduced) [incomplete]

“Mr. A” (lyrics only?) (1959) [for Ginger Rogers’ nightclub act]

“Mr. Goldstone” from Gypsy (1959), music by Jule Styne

GPVS f-b1 [+ company at end]
Gypsy Original Cast (Ethel Merman, Company), see GYPSY01
Gypsy Original Cast (Ethel Merman), see GYPSY01 [included on 1999
reissue; with “Little Lamb”]
Gypsy Film (Rosalind Russell, Company), see GYPSY02
Gypsy London Cast (Angela Lansbury, Company), see GYPSY03
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Song Listing 371

Gypsy Revival Cast (Tyne Daly, Company), see GYPSY04

Gypsy TV Cast (Bette Midler, Peter Riegert, Jennifer Beck, Jeffrey Broad-
hurst, Peter Lockyer, Michael Moore, Patrick Boyd), see GYPSY05
Kay Medford in “Gypsy” (Kay Medford), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters, John Dossett, Ensemble),
see GYPSY10
Gypsy 2008 Revival Cast (Patti LuPone, Boyd Gaines, Leigh Ann Larkin,
Bill Bateman, Pearce Wegener, Steve Konopelski, Tony Yazbeck, John
Scaachetti, Geo Seery, Matty Price), see GYPSY11
Four Lads/Dixieland Doin’s, Kapp KL-1254, (S)KS-3255, 1962
Hi-Lo’s, The/Broadway Playbill, see HILOS
Merman, Ethel/Mermania!, see MERMANE1 [2 versions, 1 with “Little
Lamb”]

“Mix!” cut from West Side Story (1957), music by Leonard Bernstein [mu-
sic later used in Chichester Psalms]

“A Moment with You” from Saturday Night (1953) [from “In No Time at
All”]
SNVS duet c1-f2/c1-d2
Marry Me a Little (Suzanne Henry, Craig Lucas), see MARRYME1
Saturday Night Bridewell Cast (Gavin Lee, Anna Francolini, Sam New-
man), see SATURDAYN1
Saturday Night Original New York Cast (Donald Corren, David Camp-
bell, Lauren Ward), see SATURDAYN2
The Stephen Sondheim Album (Theresa Finamore and Andrew Lippa), see
STEPHENSA1
Simply Sondheim (Amy Dondy, James Brewer), see SIMPLYSOND1 [in med-
ley]
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [with “In No Time at All”]

“Moments in the Woods” from Into the Woods (1987)

ITWPVS g-d2
Into the Woods Original Cast (Joanna Gleason), see INTOTHE1
Into the Woods London Cast (Imelda Staunton), see INTOTHE2
No One Is Alone . . . (Kerry Sampson), see NOONEIS1
Into the Woods Revival Cast (Kerry O’Malley), see INTOTHE3
Into the Woods Accompaniment CD (Nadiene Jacques), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Annabel To-
tusaus), see INTOTHE5
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Hello, Little Girl”]
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372 Song Listing

Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see

TURNERG2 [with “No More”]

“Momma’s Talkin’ Soft” cut from Gypsy (1959), music by Jule Styne
Gypsy Original Cast (Laura Leslie), see GYPSY01 [included on 1999 reis-
sue]
Herb Geller and His All-Stars play selections from Gypsy (Barbara
Lang), see GELLERH
The Unknown Theater Songs of Jule Styne/(singer unknown), Blue Pear
Records BP 1011, [n.d.]
Lost in Boston III3 (Lindsay Ridgeway and Sarah Chapman), Varese
Sarabande VSD-5563, 1995
Gypsy 2008 Revival Cast (Patti LuPone, Boyd Gaines, Leigh Ann Larkin,
Laura Benanti), see GYPSY11 [quartet with “Small World”]
Clark, Petula/Uptown with Petula Clark, Imperial 9281, 9079, (S)12027,
1962
Clark, Petula/This Is Petula Clark!, Sunset Records/Liberty, SUM-1101,
[n.d.]

“Montage,” see “Rain on the Roof,” “Ah, Paris!” and “Broadway Baby”

“Montalvo at Biarritz” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Montana Chem” completed for the 1999 Pegasus Players production of

Saturday Night
SNVS company number
Saturday Night Original New York Cast (Michael Benjamin Washington,
Kirk McDonald, Greg Zola, Joey Sorge, Clarke Thorell, Andrea
Burns), see SATURDAYN2

“Moon in My Window” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS trio g-d2/g-a1/g-b1, DIHVS c1-e2
Do I Hear a Waltz? Original Cast2 (Julienne Marie, Carol Bruce, Elizabeth
Allen), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Annie Wersching,
Carol Lawrence, Alyson Reed), see DOIHEAR2
Intimate Broadway/My Favorite Things, Intersound 8311, 1996

“More” from Dick Tracy (1990)

DTVS f-b1 + chorus, SSFTS b-e2 + chorus
Sondheim at the Movies3 (Jennifer Simard), see SONDATTHEM1
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Song Listing 373

Sondheim: A Celebration (The Tonics), see SONDACEL2

Sondheim Tonight (Maria Friedman, The Soloists), see SONDTON1
Simply Sondheim (Amy Dondy), see SIMPLYSOND1
Stephen Sondheim: The Story So Far . . .7 (Madonna, Girls) [from sound-
track End Credits]
Egan, Susan/All That & More, LML Music 185, 2005
Lane, Beth/Lies of Handsome Men, de Lamarondiere Rock Records 1007,
2003 [with “Stars and Moon”]
Madonna/I’m Breathless, see MADONNA1
Nolan, Jason/Listen, Jason Nolan JNLCD1, 2004

“Mother’s Day (alternate version)” cut from Gypsy (1959), music by Jule
Styne
Gypsy 2008 Revival Cast (Sami Gayle), see GYPSY11

“Move On” from Sunday in the Park with George (1984)

ASIV, SPGVS solo version g-g2, BSBB f-e [with new lyrics and incor-
porating “We Do Not Belong Together”], SPGPVS duet d1-g2/g-c2
Sunday in the Park . . .1 Original Cast (Mandy Patinkin, Bernadette Pe-
ters), see SUNDAYIN1
Sondheim: A Celebration (Dale Kristien), see SONDACEL2
Celebrating Sondheim (Claire Moore, Stephen Hill), see CELEBRATSON
Moving On (Company), see MOVINGON [with “I Know Things Now,”
“Everybody Says Don’t,” “Take Me to the World”]
Company German Cast (Karsten Oliver Wollm), see COMPANY07
Wall to Wall Stephen Sondheim (Carolee Carmello, Gregg Edelman), see
WALLTOWALLS1
Sunday in the Park . . . 2006 London Cast (Jenna Russell, Daniel Evans),
see SUNDAYIN2
Barrus, David/On Stage 2: More Broadway Favorites, Shadow 53632, 2000
Brussell, Barbara/patterns, see BRUSSELL1
Buckley, Betty/With One Look, Sterling S1007-2, 1994
Connelli, Judy/On My Way to You, see CONNELLI1 [includes “We Do Not
Belong Together”]
Connelli, Judi/Judi Connelli Live in London, see CONNELLI2 [with “Mar-
ried,” “You Better Sit Down Kids,” and “Stay with Me” (“Move On”
includes “We Do Not Belong Together”)]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (duet with Malcolm
Gets), see COOKB1
Cook, Barbara/Barbara Cook at the Met (duet with Josh Groban), see
COOKB2
Ferreri, Michael/Sweet Dreams, see FERRERI1
Friedman, Maria/Maria Friedman Live, see FRIEDM1
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374 Song Listing

Harris, Sam/Different Stages, ZHQ Recordz ZHQ3001, 1994 [in medley]

Jahana, Raishel/Sondheim Songs, see JAHANA1
Jöback, Peter/Personliga Val, Columbia 5099748920027, 2007 [with
“There’s Gotta Be Something Better”]
Jobson, Mark deVille/My House, see JOBSON1
Mazzie, Marin & Jason Danieley/Opposite You, see MAZZIEDANIELEY1
Osborne, Georga/Now Available in Stores, Original Cast OC166, 2000
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Prior, Marina/Somewhere, see PRIORM1
Schneider, Helen/A Voice and a Piano, see SCHNEIDERH1 [with “Every-
body Says Don’t”]
Stanke, Patrick/Ich bin Musik, AnythingGoes 4260024290054, 2009 [with
“We Do Not Belong Together”]
Streisand, Barbra/Back to Broadway, see STREISAND2 [with lyric changes
by Sondheim]
Vannatter, Dane/Double Standards, Avitus Productions [n.n.], 2001

“Multitudes of Amys” cut from Company (1970)

ASIV, CVS3 b-f2
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Unsung Sondheim (Michael Rupert), see UNSUNGS1
Sondheim: A Celebration (Jamie Anderson), see SONDACEL2
Moving On (Company), see MOVINGON [with “Someone Is Waiting,”
“No, Mary Ann,” and “Johanna”]
Barr, John/In Whatever Time We Have, see BARRJ1
McDermott, Sean/Piece of the Sky, JAY Records CDJAY 1371, 2003
Patinkin, Mandy/Experiment, see PATINKIN3
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“My Friends” from Sweeney Todd (1979)

STPVS duet B-e1/b-e2
Sweeney Todd Original Cast (Len Cariou, Angela Lansbury), see
SWEENEYT1
No One Is Alone . . . (Kynan Johns), see NOONEIS1 [with “Gun Song”]
Sweeney Todd Barcelona Cast (Constantino Romero, Vicky Pena), see
SWEENEYT3
Sweeney Todd Live at the NYP (George Hearn, Patti LuPone), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Michael Cerveris, Patti LuPone),
see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Johnny Depp, Helena Bon-
ham Carter), see SWEENEYT6
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Song Listing 375

Barry, James/Centre Stage, [n.l., n.n.], 2003

East West Players/East West Overtures (Orville Mendoza, Freda Foh
Shen), see EASTWEST1
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]

“My Greatest Day” cut from West Side Story (1957), music by Leonard
Bernstein [related to “Jet Song”]

“My Husband the Pig” cut from A Little Night Music (1973) [related to
“Every Day a Little Death”]
Putting It Together (Julie Andrews), see PUTTINGIT1
A Little Night Music Royal National Theatre (Patricia Hodge), see LIT-
TLEN05 [with “In Praise of Women”]
Randwyck, Issy van/It’s Oh So Issy, Dress Circle IVR-CD-1, 1996 [with
“Every Day a Little Death”]

“My Last K.O.B.” from By George (1946)

“My Two Young Men” cut from Bounce (2003), [see “Next to You”]

“The Natives Are Restless” cut from Anyone Can Whistle (1964)

“The New York Follies” from Climb High (1950–52, unproduced)

“New York Sequence” cut from Bounce (2003), [see “I Love This Town”]

“New York Song” for contemplated adaptation of The Clock (1953)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SONDS-
INGS2

“Next” from Pacific Overtures (1976)

POPVS company number
Pacific Overtures Original Cast (Mako, Company), see PACIFICOVER1
Pacific Overtures English National Opera (Richard Angas, Company),
see PACIFICOVER2
Sondheim (Book-of-the-Month) (instrumental), see SOND1
A Gala Concert for Hal Prince (The Munich Radio Orchestra), see GALA1
Sondheim Tonight (Orchestra), see SONDTON1
Pacific Overtures New Broadway Cast (B. D. Wong, Company), see PACI-
FICOVER3
East West Players/East West Overtures (Tim Dang and Ensemble), see
EASTWEST1
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376 Song Listing

Nadler, Mark/Tschaikowsky (and Other Russians), Mark Nadler

837101384582, 2008

“Next to You” from Bounce (2003)

Bounce Original Cast (Richard Kind, Howard McGillin, Jane Powell),
see BOUNCE1

“Nice She Ain’t” cut from Gypsy (1959), music by Jule Styne
Gypsy Original Cast (Bernie Knee), see GYPSY01, [included on 1999 reis-
sue]
Gypsy 2008 Revival Cast (Boyd Gaines), see GYPSY11
Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see
FEINSTEIN1
Mayes, Sally/Boys and Girls Like You and Me (with Boyd Gaines), see
MAYESS1 [with “You’re Awful”]

“Nice Town, But—” from Climb High (1950–52, unproduced)

“The Night Is the Best Time of the Day” from Ginger Rogers’ nightclub act
(1959)

“Night Waltz (Love Takes Time),” see “Love Takes Time”

“Night Waltz (I)(The Sun Won’t Set)” from A Little Night Music (1973)
LNMPVS quintet & instrumental versions, LNMVS instrumental
A Little Night Music Original Cast (Barbara Lang, Beth Fowler, Teri Ral-
ston, Benjamin Rayson, Gene Varrone), see LITTLEN01
A Little Night Music1 London Cast (John J. Moore, Chris Melville, Liz
Robertson, David Bexon, Jacquey Chappell), see LITTLEN02
A Little Sondheim Music (Janet Smith, Darlene Romano, Paul Johnson,
Rickie Weiner-Gole, Michael Gallup), see LITTLES1
A Little Night Music Film (instrumental), see LITTLEN03 (see also “Love
Takes Time”)
A Little Night Music Studio Cast (Dinah Harris, Hilary Western, Susan
Flannery, Michael Bulman, Martin Nelson), see LITTLEN04
The Great Waltz (Hollywood Bowl Orchestra), see HOLLYWOODB1 [part of
“The Night Waltzes”]
A Gala Concert for Hal Prince (The Munich Radio Orchestra), see GALA1
A Little Night Music Royal National Theatre (Di Botcher, Morag
McLaren, Ernestina Quarcoo, Stephen Handley, Tim Goodwin), see
LITTLEN05
Carousel Waltz and Other Waltzes from the Musical Theater, JAY Records
CDJAY 1310, 1999
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Song Listing 377

Sondheim Tonight (The Soloists), see SONDTON1

A Little Night Music Barcelona Cast (Xavier Fernandez, Teresa de la
Torre, Muntsa Rius, Anna Feu, Alberto Demestres), see LITTLEN06
A Little Night Music Broadway Revival Cast (Marissa McGowan, Kevin
David Thomas, Stephen R. Buntrock, Betsy Morgan, Jayne Paterson,
Angela Lansbury, Katherine McNamara or Keaton Whittaker,
Catherine Zeta-Jones), see LITTLEN07
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
[piano solo]
Boston Pops Orchestra/That’s Entertainment, Philips 416 499-2, 1981
[with “Send in the Clowns”; also, uses “Love Takes Time” version of
“Night Waltz”]
Boston Pops Orchestra/That’s Entertainment/Pops on Broadway, Philips
7144 124, 6302 124, 198?
Dow, Judith/Regards to Broadway, see DOWJ1
Hyman, Dick/A Waltz Dressed in Blue, Four Star 40051, 1994 [instru-
mental]
New York City Opera Orchestra/Broadway’s Best (instrumental), see
NEWYORKCITYOP1
Sandford, Luke/Shimmer, see SANDFORD1 [piano solo]
Saxon, Ingrid/A Lot of Livin’ to Do, Ingrid Saxon Music/Original Cast
9750B, 2005
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Night Waltz—II (The Sun Sits Low) (Liebeslieders)” from A Little Night
Music (1973)
LNMPVS quintet
A Little Night Music1 Original Cast (Teri Ralston, Gene Varone, Benjamin
Rayson, Beth Fowler, Barbara Lang), see LITTLEN01 [included on the
1998 reissue only]
A Little Sondheim Music (Janet Smith, Darlene Romano, Paul Johnson,
Rickie Weiner-Gole, Michael Gallup), see LITTLES1
A Little Night Music Studio Cast (Dinah Harris, Hilary Western, Susan
Flannery, Michael Bulman, Martin Nelson), see LITTLEN04
A Little Night Music Royal National Theatre (Ernestina Quarcoo, Tim
Goodwin, Stephen Hanley, Morag McLaren, Di Botcher), see LIT-
TLEN05
A Little Night Music Barcelona Cast (Xavier Fernandez, Teresa de la
Torre, Muntsa Rius, Anna Feu, Alberto Demestres), see LITTLEN06
A Little Night Music Broadway Revival Cast (Jayne Paterson, Kevin
David Thomas, Stephen R. Buntrock, Betsy Morgan, Marissa Mc-
Gowan), see LITTLEN07
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378 Song Listing

Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-

ano solo]

“Night Waltz—III,” see “Perpetual Anticipation”

“Night Waltz IV,” see “Not Quite Night”

“No Fussing” from By George (1946)

“No Life” from Sunday in the Park with George (1984)

SPGPVS duet g-d2 [both]
Sunday in the Park . . . Original Cast (Charles Kimbrough, Dana Ivey),
see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (Simon Green, Liza Sadovy),
see SUNDAYIN2

“No, Mary Ann” cut from The Thing of It Is (1969, unproduced)

ASIV g-b1
Unsung Sondheim (Jason Graae), see UNSUNGS1
Moving On (Company), see MOVINGON [with “Someone Is Waiting,”
“Multitudes of Amys,” and “Johanna”]
Sondheim, Stephen/Sondheim Sings: Volume I7 (1962–72), see SOND-
SINGS01

“No More” from Into the Woods (1987)

ITWPVS duet a-e2/g-e2, ITWVS duet b1-f2/a-f2
Into the Woods Original Cast (Chip Zien, Tom Aldredge), see INTOTHE1
Into the Woods London Cast (Ian Bartholomew, John Rogan), see IN-
TOTHE2
Being Alive!—The Art of German Musical Stars (Paul Kribbe), Sound of
Music Records SOMCD 001, [n.d.], [with “Being Alive”]
Sondheim: A Celebration (Wally Kurth), see SONDACEL2
Into the Woods Revival Cast (Stephen DeRosa, John McMartin), see IN-
TOTHE3
Into the Woods Accompaniment CD (Mark Weekes, Chris Tuttle), see IN-
TOTHE4
Simply Sondheim (Company), see SIMPLYSOND1 [with “Everybody’s Got
the Right”]
Into the Woods/Boscos Endins Original Barcelona Cast (Josep Maria Gi-
meno, Ferran Castells), see INTOTHE5
Cerna, Jo-Jo de la/Trust the Wind, Dress Circle JJDLC9901, 1999 [with
“Being Alive”]
Cook, Barbara/No One Is Alone, see COOKB3
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Song Listing 379

Cook, Barbara/Rainbow ’Round My Shoulder, DRG 94782, 2008 [with

“Lost in the Stars”]
Donegan, James/So Much Spring, Play Well Records TR1297, 2006
Dow, Bruce/Lucky to Be Me, Independent 625989511424, 2005 [with
“Children Will Listen”]
Jahana, Raishel/Sondheim Songs, see JAHANA1
Patinkin, Mandy/Mandy Patinkin, see PATINKIN1
Richard, Lisa/Born to Entertain, LML Records, 200[?]
Smith, Martin/A Handful of Keys, MSCD001, 1993 [with “Being Alive”]
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2 [with “Moments In the Woods”]

“No One Has Ever Loved Me (Scene 14)” from Passion (1995)
PPVS b-d2, PVS b-f2
Passion Original Cast (Jere Shea, Donna Murphy), see PASSION1
Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
Passion London Concert (Michael Ball, Maria Friedman), see PASSION3
Passion Dutch Cast (Stanley Burleson, Vera Mann), see PASSION4
Barnett, Eileen/Live at the Cinegrill, LML SDM-CD002, 1999 [with “Hold
Out for the Real Thing”]
De Lorenzo, Brian/Found Treasures, see DELORENZ1
Strassen, Michael/Loving You, Dress Circle 32796 00122, 1997 [with
“Loving You”]

“No One Is Alone” from Into the Woods (1987)

ITWPVS company number, ITWVS b-f2 [d2 optional]
Into the Woods Original Cast (Kim Crosby, Danielle Ferland, Chip Zien,
Ben Wright), see INTOTHE1
Into the Woods London Cast (Jacqueline Dankworth, Tessa Burbridge,
Ian Bartholomew, Richard Dempsey), see INTOTHE2
Into the Woods Revival Cast (Laura Benanti, Molly Ephraim, Stephen
DeRosa, Adam Wylie), see INTOTHE3
No One Is Alone . . . (Michael Denholm, Michelle Burgan), see NOONEIS1
Wall to Wall Stephen Sondheim (Chip Zien), see WALLTOWALLS1
Unexpected Dreams: Songs from the Stars (Victor Garber), Rhino R2 73328,
2006
Into the Woods Accompaniment CD (Christina Blanco, Samantha
Meckes, Mark Weekes, Kristopher Monroe), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Gisela, Anna Mo-
liner, Josep Maria Gimeno, Marc Pujol), see INTOTHE5
Ballingham, Pamela/Magical Melodies, Earth Mother Productions
EMPD06B, 1991
Bays, Terri/Spark of Creation, [Great Britain], 1999[?]
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380 Song Listing

Beechey, Annalene/Close Your Eyes, SimG Records 5065001707001, 2009

[with “Children Will Listen”]
Beechman, Laurie/No One Is Alone3, see BEECHMAN1
Billings, Alexandra/The Story Goes On, LMG Kidsource Music [n.n.],
2004 [with “You Are Not Alone”]
Boston Pops/Music of the Night/Pops on Broadway, see BOSTON2 (instru-
mental)
Bryant, Kimilee/My Favorite Things, Kimilee Bryant [n.n.], 2008
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Buckley, Betty/Quintessence, see BUCKLEYB4
Busteed, Keely Nicole/Keely, [n.l., n.n.], 2001
Byrne, Debra/New Ways to Dream, see BYRNED1
Callaway, Ann Hampton/Blues in the Night, Telarc 83641, 2006
Callaway, Ann Hampton/Blues in the Night, Telarc CD-83641, 2006
Cant, Donald/Donald Cant, see CANTD1
Cook, Barbara/No One Is Alone, see COOKB3
De Ferranti, Margie/Margie De Ferranti, see DEFERRANT1 [with “Some-
times a Day Goes By,” “Just a Housewife”]
Draxl, Tim/Ordinary Miracles, Columbia 494292, 1999
Eagleson, Katie/Once Upon a Time, WalkingPath Records 822605819920,
2007
Gay Men’s Chorus of Los Angeles/Diversity, GMCLA, 1991
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Guest, Rob/Standing Ovation, EMI Music (Australian Group) 7986212,
1991
Harris, Sam/Standard Time/Different Stages, ZHQ Recordz ZHQ3001,
1994
Jahana, Raishel/Sondheim Songs, see JAHANA1
Jobson, Mark deVille/My House, see JOBSON1 [with “Not a Day Goes
By”]
Johnson, Maree/Maree Johnson, [n.l., n.n.], 1999[?]
Laine, Cleo/Cleo Sings Sondheim5, see LAINEC2
Laine, Cleo/The Very Best of Cleo Laine (with Jacqueline Dankworth),
RCA Victor 43215, 1997
LaMott, Nancy/Ask Me Again, Midder Music 008, 2007 [with “Not
While I’m Around”]
Lewis, Norm/This Is the Life, Sea Horse Productions 649241861461, 2009
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
New York City Gay Men’s Chorus/Love Lives On, see NEWYORKCITYGAY2
O’May, John/Unusual Way, MEM-004, 2000
Patinkin, Mandy/Mandy Patinkin, see PATINKIN1
Peters, Bernadette/I’ll Be Your Baby Tonight, Angel 54699, 1996
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Song Listing 381

Peters, Bernadette/Sondheim, Etc., see PETERSB1

Portland Lesbian Choir/Making Light, Portland Lesbian 10, 1997
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1
Seelig, Tim/Everything’s Possible, see SEELIGT1
Skinner, Emily & Alice Ripley/Raw at Town Hall (Emily Skinner), see
SKINNERRIPLEY01
Sterling, Clark/Inspirational Broadway, Sterling, 1994 [with “You’ll
Never Walk Alone”]
Tynan, Ronan/The Impossible Dream, Voclan 31163/Battery 46002, 2002
Wilk, Oystein/Too Many Mornings, see WILKO1
Winter, Brian/Taking Flight, Brian Winter 75391, 2006
Wright, James/Center Stage: Songs of Spirit from the Musical Theatre, see
WRIGHTJ1
Yarbrough, Glenn/No One Is Alone, Realtrue/Folk Era 1475, 2006
York, Joe/My Favorite Year, see YORKJ1

“No Place Like London” from Sweeney Todd (1979)

STPVS trio c1-f2/A-f1/a-d2
Sweeney Todd Original Cast (Victor Garber, Len Cariou, Merle Louise),
see SWEENEYT1
Sweeney Todd Barcelona Cast (Pep Molina, Constantino Romero, Teresa
Vallicrosa), see SWEENEYT3
Sweeney Todd Live at the NYP (Davis Gaines, George Hearn, Audra Mc-
Donald), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Benjamin Magnuson, Michael
Cerveris, Diana DiMarzio), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Jamie Campbell Bower,
Johnny Depp), see SWEENEYT6
City of Prague Philharmonic Orchestra/Music from the Films of Tim Bur-
ton, Silva America 1261, 2008

“No Problem” for Muscle (1992, unproduced), [see also “Opening”]

“No Sad Songs for Me” from Where To from Here (1950, unproduced)

“No Star of Night,” see “Chris and David II”

“No Understand” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS trio a-e2/c1-d2/c1-d2
Do I Hear a Waltz? Original Cast (Stuart Damon, Fleury D’Antonakis,
Carol Bruce), see DOIHEAR1
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382 Song Listing

Do I Hear a Waltz? Pasadena Playhouse Production (Benjamin Sprunger,

Carol Lawrence, Tina Gasbarra), see DOIHEAR2

“Nobody Reads Books” from The Jet-Propelled Couch (1958, unproduced)

“Not a Day Goes By” from Merrily We Roll Along (1981)

ASII, MWRVS, MWRPVS, SCCH d1-f2
Merrily We Roll Along Original Cast (Jim Walton), see MERRILY1, [see also
Sondheim: A Celebration at Carnegie Hall below]
A Stephen Sondheim Evening1 (Victoria Mallory), see STEPHENSE1
A Little Sondheim Music (Rickie Weiner-Gole), see LITTLES1
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Everyone’s a Love Song, see EVERYONE1
Sondheim: A Celebration at Carnegie Hall5 (Bernadette Peters), see SOND-
ACELATC1 [also included on 2007 reissue of original cast recording
MERRILY1)
Merrily We Roll Along Revival Cast (Anne Bobby), see MERRILY2
Merrily We Roll Along London Cast (Michael Cantwell, Jacqueline
Dankworth), see MERRILY3
No One Is Alone . . . (Kynan Johns), see NOONEIS1 [with “Good Thing Go-
ing”]
Sondheim: A Celebration (Billy Porter), see SONDACEL2 [with “What Can
You Lose?”]
Sondheim Tonight (David Kernan), see SONDTON1 [with “Good Thing Go-
ing”]
Out on Broadway (Tracy Collins), see OUTONB1
The Stephen Sondheim Album (Christiane Noll), see STEPHENSA1 [with
“You’re Gonna Love Tomorrow”]
Moving On (Company), see MOVINGON [with “Loving You,” and “So
Many People”]
My Favorite Broadway The Love Songs (Marin Mazzie with Rebecca Luker
singing “Too Late Now” & Peter Gallagher singing “Sometimes a
Day Goes By”), Hybrid HY-20020, 2000
Company German Cast (Gerd Achilles), see COMPANY07
Heart and Soul on Broadway (Billy Porter), see HEART&S1 [with “What
Can You Lose?”]
Side by Side . . . Brazilian Cast (Ester Elias), see SIDEBYS3
Simply Sondheim (James Brewer), see SIMPLYSOND1 [with “Good Thing
Going”]
Akers, Karen/In a Very Unusual Way, Rizzoli Records 1004, 1987 [with
“The Rose”]
Andrew, Leo/A World of Possibilities, [n.l.] LAVW 1, 2001 [with “Good
Thing Going”]
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Song Listing 383

Barrett, Chris/Just Ballads, Wandon Music Co. WMC-A2082, 1982

Baron, Miriam/Listen, Miram Baron 101, 1998
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Buckley, Betty/Stars and Moon: Live at the Donmar, Concord CCD-4949-
2, 2001
Campbell, David/Taking the Wheel, Philips 314 537 936-2, 1997 [with
“The Nearness of You”]
Campbell, David/First and Foremost, Universal 1781086, 2008
Campbell, Sandy/Crazy World, Azahara 05-001, 2005 [with “Simple”]
Chameroy, Don/Me, [n.l., n.n.], 2003
Chandler, Stan and Kirsten Benton/A Quiet Thing, LML, 2001 [with
“Sometimes a Day Goes By” and “Time Heals Everything”]
Clark, Petula/here for you, see CLARKP1
Cohen, Bob/Moonlight and Love Songs, Original Cast Records 8805,
1998
Combo Fiasco/here, italic entertainment [n.n.], 1996 [with “Being
Alive” & “Not While I’m Around”]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1 [with
“Losing My Mind”]
Cook, Barbara/Barbara Cook at the Met, see COOKB2 [with “Losing My
Mind”]
Crawford, Michael/Songs from the Stage & Screen, see CRAWFORDM1
Dore, Michael/Simply, [n.l, n.n.], 2002 [with “Being Alive” and “Take
Me to the World”]
East West Players/East West Overtures (Kimiko Gelman), see EASTWEST1
Faber, Linda/Total Romance, Faber Entertainment FE2002, 2002
Ford, Anne Kerry/Something Wonderful, see FORDA1
Fuller, Mark/Songs About Adam, see FULLERM1 [with “Losing My Mind”
and “Isn’t This Better?”]
Hampson, Thomas/Leading Man (The Best of Broadway), Angel 55249,
1996
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Jahana, Raishel/Sondheim Songs, see JAHANA1
Jöback, Peter/Personliga Val, Columbia 5099748920027, 2007 [with
“Good Thing Going”]
Jobson, Mark deVille/My House, see JOBSON1 [with “No One Is Alone”]
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
LaMott, Nancy/My Foolish Heart, Midder Music, MM CD003, 1993
[with “Good Thing Going”]
London Gay Men’s Chorus/From the Ritz to the Anchor & Crown, Dress
Circle [n.n., n.d.]
LuPone, Patti/matters of the heart, Varese Sarabande VSD-6058, 1999
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384 Song Listing

Markey, Enda/Another Place and Time, see MARKEY1 [with “Good Thing
Going”]
Mars, Susannah/Take Me to the World, see MARSS1 [with “Loving You”]
Mazzie, Marin & Jason Danieley/Opposite You (Mazzie, Marin), see
MAZZIEDANIELEY1
McCall, Azure/The Gift, Muse FX Records 1004, 2003
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
New York City Gay Men’s Chorus/Love Lives On, see NEWYORKCITY-
GAY2
New York Neophonic Orchestra/Alternate Routes, Tantara 1113,
1996/2003 [instrumental]
Orquestra De Cambra Teatre Lliure/Stephen Sondheim (Nina), see
ORQUESTRADECAM1
Patinkin, Mandy/Oscar and Steve, see PATINKIN4
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Phillips, Kris [ne Fei Xiang]/Broadway Album, Forward Music
1003947297, 2005 [with “Good Thing Going”]
Rose, Jodi/Hope for the Future, see ROSEJ1 [with “Losing My Mind”]
Rotz, Corey Evan/Keep the Music Playing, see ROTZC1
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Good Thing Going”]
Simon, Carly/Torch, Warner Bros. Records BSK 3592, 1981; CD 3592-2,
1988; included in Anthology, Rhino R278167, 2002
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Utterback, Joe/Stardust, Connoisseur Society 4253, 2005 [piano]
Whitton, Jonathan/Live at the Laurie Beechman Theatre, Jonathan Whit-
ton 634479661167, 2007 [“Good Thing Going”]
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2
Woods, Carol & Karen Saunders/Bosom Buddies, LB Music 9708, 1998

“Not a Day Goes By (Part II)” Reprise from Merrily We Roll Along (1981)
MWRPVS duet
Merrily We Roll Along Original Cast7 (Jim Walton, Ann Morrison), see
MERRILY1
Merrily We Roll Along Revival Cast (Anne Bobby, Malcolm Gets, Amy
Ryder), see MERRILY2
Merrily We Roll Along London Cast (Michael Cantwell, Jacqueline
Dankworth, Maria Friedman), see MERRILY3

“Not for Children” from Climb High (1950–52, unproduced)

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Song Listing 385

“Not Quite Night” (Night Waltz IV)” cut from A Little Night Music (1973)”
[a.k.a. “Crickets”]
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)

“Not While I’m Around” from Sweeney Todd (1979)

ASI, BSC, STVS b-f2, BSBA a-e2, STPVS duet e1-a2/g-f1
Sweeney Todd Original Cast5 (Ken Jennings, Angela Lansbury), see
SWEENEYT1
Sondheim (Book-of-the-Month) (Steven Jacob), see SOND1
A Little Sondheim Music (Paul Johnson, Janet Smith), see LITTLES1
The Magic of the Musicals (Marti Webb & Mark Rattray), see MAGICOF1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio with vocal
by Lorraine Feather), see SWEENEYT2
Sweeney Todd Barcelona Cast (Montsa Rius, Vicky Pena), see SWEENEYT3
A Gala Concert for Hal Prince (Dave Willetts), see GALA1
Sondheim—A Celebration (David Kernan), see SONDACEL1
Sondheim: A Celebration (Loretta Devine), see SONDACEL2 [with “Children
Will Listen”}
Celebrating Sondheim (Michael Ball), see CELEBRATSON
Sondheim Tonight (Clive Rowe), see SONDTON1
Sweeney Todd Live at the NYP (Neil Patrick Harris, Patti LuPone), see
SWEENEYT4
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Sweeney Todd 2005 Broadway Revival (Manoel Felciano, Patti LuPone),
see SWEENEYT5
Simply Sondheim (Kim Larsen), see SIMPLYSOND1 [with “Children Will
Listen”]
Sweeney Todd Motion Picture Soundtrack (Edward Sanders, Helena
Bonham Carter), see SWEENEYT6
Albritton, Ann/Annie’s Songs, Turtle Creek Chorale 2442, 2004
Atwood, Eden/Cat On a Hot Tin Roof, Concord Jazz CCD-4599, 1994
Ball, Michael/Centre Stage, Hip-O 440 016 071-2, 2001
Baron, Christy/Take This Journey, Chesky 239, 2002 [also included in
Retrospective, Chesky 269, 2004]
Barr, John/In Whatever Time We Have, see BARRJ1 [with “One Hand, One
Heart”]
Barrus, David/On Stage, Shadow Mountain Records 53182, 1997
Barry, James/Centre Stage, [n.l., n.n.], 2003
Barrowman, John/Reflections from Broadway, see BARROWMAN1 [hidden
track, duet with his mother]
Bellas, Opie/Live For Life, Bella Blue, 2002
Besette, Mimi/Lullabies of Broadway, Music for Little People, Warner
Bros/WEA 42517, 1990/1994
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386 Song Listing

Beveridge, Time/Singer, TBCD001, 2002

Bondi, Reneé Lacouague/Inner Voice, Capo Records 101, 1992
Boyle, Roberta Arcoleo/Baby Close Your Eyes, Roberta Arcoleo Boyle
[n.n.], 2008
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Cant, Donald/Donald Cant, see CANTD1 [in medley]
Catenacci, Richard with Bob Egan at the Piano/The Colors of My Life,
[n.l., n.n., n.d.]
CenturyMen, The/Anthems in Disguise, Resmiranda 8045, 2003
Clary, Robert/Robert Clary Sings at the Jazz Bakery in Los Angeles, Origi-
nal Cast Records 9799, 1997 [with “Losing My Mind,” and “You
Could Drive a Person Crazy”]
Combo fiasco/here, italic entertainment [n.n, n.d.] [with “Not a Day
Goes By” & “Being Alive”]
Como, Perry/Perry Como, Emporio 863, 1980/2007; [also included in
Yesterday & Today: A Celebration in Song, RCA 66098-2, 1993]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (duet with Malcolm
Gets), see COOKB1
Cook, Barbara/Barbara Cook at the Met (Josh Groban), see COOKB2
Cullum, Jamie/The Pursuit, Decca 2713302, 2009
D’Ambrosio, Franc/Franc D’Ambrosio’s Broadway, LML Records CD-
176, 2005
Ebersole, Christine/Sunday in New York, Ghostlight Records 8-3310,
2008
Elling, Kurt/Flirting with Twilight, Blue Note 31113 38, 2001
Feinstein, Michael/Live at the Algonquin, Parnassus Records PRO101,
1986; CD Elektra Nonesuch 9607432
Fleming, Renée and Bryn Terfel/Under the Stars, see FLEMINGTERFEL1
Gauvin, Marcelle/Faces of Love, Whaling City Sound 1, 2000
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
Gay Men’s Chorus of Washington, D.C./You’ve Got to Be Carefully
Taught . . . (Brad Boekeloo, soloist), see GAYMENSCWDC1
Groban, Josh, see Cook, Barbara/Barbara Cook at the Met
Greenwich, Sonny/Bird of Paradise, Justin Time 22, 1995 [guitar]
Groenendaal, Cris/Always—Music for Our Children, SunDial Records
SDcd 85152, 1994
Guest, Rob/Standing Ovation, EMI Music (Australian Group) 7986212,
1991
Harris, Margaret Wakeley/Quality Times, Original Cast 9855, 1998
Harris, Sam/Always, Tsuris, Inc. SHAL001CD, 2001
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 387

Song Listing 387

Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see

HELLERM1
Jolicoeur, Karen & Bill Lewis/The Dream That You Wish, What’s Left
Records 12193, 2008
Kirchschlager, Angelika/When Night Falls, Sony Classical SK 64498, 1999
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
LaMott, Nancy/Ask Me Again, Midder Music 008, 2007 [with “No One
is Alone”]
Lauer, Janelle/Turn the Corner, SAVAJ Entertainment LLC 10, 2005
Levin, Pete/Party in the Basement, Gramavision Records R2-79456,
1990
LuPone, Patti/ . . . at Les Mouches, Ghostlight Records 8-3315, 2008 [with
“Come Rain or Come Shine”; recorded in 1980]
Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANS-
FIELDM1
Manuell, Suzanne/ . . . Mezzo Soprano, Paul Martyn Sound Productions
PMSPCD 9420, 1994
Masswohl, George/If I Were King, RAMA 003, 2003
McClelland, Jean & Bill/At Long Last Love . . . (Jean McClelland), Muzen
3643, 2007
McDaniel, John/John McDaniel at the Piano: Broadway, [n.l., n.n.], 2004
McGillin, Howard/Where Time Stands Still, Q&W Music Q&W1008,
2002 [with “Good Thing Going”]
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Mormon Tabernacle Choir/Showtime!: Music of Broadway and Hollywood,
Mormon Tabernacle Cho 4973811, 2007
Mortimer, Jennie/Reflection, JennieMortimer 634479866852, 2008
Mulholland, Aoife/Live from Galway, [n.l., n.n.], 2008
Nesbitt, Bobby/Big Time, Mile Marker Music MMM2 44807, 2001
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
Nunn, Veronica/American Lullaby, Orchard 802166, 2002 [with “Ameri-
can Lullaby”]
Osmond, Donny/This Is the Moment (duet with Vanessa Williams),
Decca Broadway 44001 30522, 2001
Paris, Jackie/Nobody Else But Me, Audiophile APCD-245, 1988
Patinkin, Mandy/Kidults, Nonesuch 79534-2, 2001
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Prince, Peter/Being Alive, RP Media, 2001
Prior, Marina/Somewhere, see PRIORM1
Rotz, Corey Evan/Keep the Music Playing, see ROTZC1
Saxe, Emily/Whistling: Broadway to Berk’ley Square, see SAXEE1
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388 Song Listing

Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see

SCHÜRMANN1 [with “Johanna” & “Pretty Women”]
Seelig, Tim/Everything’s Possible, see SEELIGT1
Silberschlag, Jeffrey/The American Trumpet, Delos Record 3187, 1998
Streisand, Barbra/The Broadway Album, see STREISAND1
Taylor, Becky/A Dream Come True, EMI Music Distribution 57142, 2001
Turner, Geraldine/Old Friends, see TURNERG1
Turtle Creek Chorale/From the Heart, Turtle Creek Chorale 113023-D5-
0169-1, 1990
Wilk, Oystein/Too Many Mornings, see WILKO1 [in medley]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2 (duet with William Roy)
Wisniewski, Scott/Broadway Scott’s Way, SRW Music SW1320, 2005
Wright, James/Center Stage: Songs of Spirit from the Musical Theatre, see
WRIGHTJ1
Yarbrough, Glenn/No One Is Alone, Realtrue/Folk Era 1475, 2006
York, Joe/My Favorite Year, see YORKJ1

“Now” from A Little Night Music (1973) [linked with “Later” and “Soon”]
LNMPVS b-e2
A Little Night Music Original Cast (Len Cariou), see LITTLEN01
A Little Night Music London Cast (Joss Ackland), see LITTLEN02
A Little Night Music Film (Len Cariou), see LITTLEN03
A Little Night Music Studio Cast (Eric Flynn), see LITTLEN04
Putting It Together (Christopher Durang), see PUTTINGIT1 (lyric changes
by Sondheim)
A Little Night Music Royal National Theatre (Laurence Guittard), see LIT-
TLEN05
A Little Night Music Barcelona Cast (Constantino Romero), see LITTLEN06
Wall to Wall Stephen Sondheim (John Dossett), see WALLTOWALLS1
A Little Night Music Broadway Revival Cast (Ramona Mallory, Alexan-
der Hanson), see LITTLEN07
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Now” (first version) cut from A Little Night Music (1973)

“Now You Know” from Merrily We Roll Along (1981)

MWRPVS g-e2 + company
Merrily We Roll Along Original Cast (Ann Morrison, Company),
see MERRILY 1
Merrily We Roll Along Revival Cast (Amy Ryder, Company), see MER-
RILY2
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Song Listing 389

Merrily We Roll Along London Cast (Matthew White, Maria Friedman,

Alan Mosley, Michael Cantwell, Company), see MERRILY3
Buckley, Betty/An Evening at Carnegie Hall, see BUCKLEYB3
Rubano, Craig/Finishing the Act (duet with Marsh Hanson), see
RUBANOC1

“Nowhere to Go” cut from Sunday in the Park with George (1984) [related
to “We Do Not Belong Together”]

“Numbers” cut from A Little Night Music (1973)

“Old Friends” from Merrily We Roll Along (1981)

ASII, MWRVS, SCCH b-f2 [solo with trio ending], MWRPVS trio
Merrily We Roll Along Original Cast7 (Ann Morrison, Jim Walton, Lonny
Price), see MERRILY1
Sondheim (Book-of-the-Month) (Steven Jacob, Debbie Shapiro), see
SOND1
A Stephen Sondheim Evening1 (Stephen Sondheim, Angela Lansbury,
Company), see STEPHENSE1
Sondheim: A Celebration at Carnegie Hall (Liza Minnelli), see SONDA-
CELATC1
Merrily We Roll Along Revival Cast3 (Amy Ryder, Malcolm Gets, Adam
Heller), see MERRILY2
Merrily We Roll Along London Cast (Michael Cantwell, Evan Pappas,
Maria Friedman), see MERRILY3
A Little Light Music (Beryl Korman and/or Julia Meadows), see LIT-
TLEL1
Sondheim—A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1
Celebrating Sondheim (Ensemble), see CELEBRATSON
Moving On (Company), see MOVINGON [with “I Do Like You,” “Side by
Side by Side”]
Marian McPartland & Friends/85 Candles: Live in New York (Barbara Car-
roll), Concord 2218, 2005
Black, Ben/Remembered Face/Private Places, Origin Records 82387, 2003
[with “Old Friend”]
Buckley, Betty/The London Concert, see BUCKLEYB2
Buckley, Betty/Stars and Moon, see BUCKLEYB4
Carroll, Barbara/Old Friends, Audiophile Records 254, 1994
Carroll, Barbara/ . . . Live at Birdland, Harbinger HCD 2301, 2005
Carroll, Diahann/The Time of My Life, Sterling S1015-2, 1997
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
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390 Song Listing

Clooney, Rosemary/Demi-Centennial!, Concord Jazz CCD-4633, 1995

Feinstein, Michael/Live at the Algonquin, Parnassus Records PRO101,
1986; CD Elektra Nonesuch 9607432
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Green, Simon/Take Me to the World, see GREENS1 [with “Old Friends”
and “Bookends”]
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Horne, Lena/We’ll Be Together Again, Blue Note CDP 7243 8 28974 2 2,
1994
Horne, Lena/An Evening With Lena Horne, Blue Note CDP7243 8 32877
2, 1995
Lewis, Monica/Why Did I Choose You?, Equinox EQCD 7003, 199?
Manilow, Barry/Showstoppers, Arista 18687-2, 1991
Manilow, Barry/2 Nights Live, BMG Heritage 59478, 2004 [also included
in Ultimate Live, BMG 82876719142, 2005]
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Minnelli, Liza/Liza Minnelli at Carnegie Hall, Telarc CD-85502, 1987
Minnelli, Liza/Aznavour/Minnelli Paris-Palais . . . , see MINNELLI1
Minnelli, Liza/Liza Live from Radio City Music Hall, Columbia CD 7464-
53169-2, 1992
Postillo, Tom/What Matters Most, ELBA CACD 4002-2, 1993
Saxe, Emily/Broadway & All That Jazz, see SAXEE2
Singers Unlimited/A Little Light Music (Beryl Korman, Julia Meadows),
see SINGERSUN1
Turner, Geraldine/Old Friends, see TURNERG1 [in medley]
Wright, Bill/It Takes Two, see WRIGHTB1

“Old House” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Old Lady’s False Entrance/Old Lady’s Second False Entrance” from

1997 revival of Candide, music by Leonard Bernstein [same music as
“Life Is Happiness Indeed”]
Candide New Broadway Cast (Andrea Martin with Jim Dale), see CAN-
DIDE05

“On My Left” cut from Bounce (2003)

“On My Way” cut from Bounce (2003), see “Addison’s Trip”

“On the River” cut from The Last Resorts (1956, unproduced), [see also
“High Life”]
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Song Listing 391

“On the Steps of the Palace” from Into the Woods (1987)
ITWPVS a-e2
Into the Woods Original Cast (Kim Crosby), see INTOTHE1
Into the Woods London Cast (Jacqueline Dankworth), see INTOTHE2
No One Is Alone . . . (Sybil Williams), see NOONEIS1
Cinderella/Songs from the Classic Fairy Tale (Pamela Winslow), Varese
Sarabande VSD-5875, 1998
Into the Woods Revival Cast (Laura Benanti, Molly Ephraim, Adam
Wylie), see INTOTHE3
Into the Woods Accompaniment CD (Christina Bianco), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Gisela), see IN-
TOTHE5
Gay Men’s Chorus of Washington, D.C./You’ve Got to Be Carefully
Taught . . . (Laura Benanti), see GAYMENSCWDC1
Murphy, Heidi Grant/Times Like This, Koch International Classics kic-
cd-7569, 2003
Starr-Levitt, Megan/Beautiful Broadway, RJP Video Productions
899387001003, 2007

“Once I Had a Friend” cut from The Lady or the Tiger (1954, unproduced),
music and lyrics with Mary Rodgers
Hey, Love (Jason Workman), see HEYLOVE1

“Once in Your Life” cut from West Side Story (1957), music by Leonard
Bernstein [related to “I Have a Love”]

“Once Upon a Time,” see “Your Eyes Are Blue”

“One” cut from West Side Story (1957), music and lyric by Leonard Bern-
stein [an early version of what became “One Hand, One Heart”]
Stafford, Jo/Jo Stafford: The Portrait Edition, Sony Music Distribution
A3K 57836, 1994 [previously unreleased, recorded in 1957]

“One Hand, One Heart” from West Side Story (1957), music by Leonard
Bernstein
BOB, WSSPVS duet e1-g2/g1-a2, BSBB duet [with “I Have a Love”],
WSSVS solo version e1-e2
West Side Story Original Cast (Larry Kert, Carol Lawrence), see WEST-
SIDE01
West Side Story film (Jim Bryant, Marni Nixon), see WESTSIDE02
West Side Story Studio Cast (José Carreras, Kiri Te Kanawa), see WEST-
SIDE03
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392 Song Listing

Bernstein on Broadway (Peter Hofmann, Debbie Sasson), see BERN-

STEINON1
West Side Story Studio Cast London (Michael Ball, Barbara Bonney), see
WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Paul Manuel, Tinuke
Olafimihan), see WESTSIDE05
West Side Story, The Songs of (Tevin Campbell), see WESTSIDE06
West Side Story London Production (Don McKay, Marlys Watters), see
WESTSIDE08
West Side Story London Studio Cast (David Holliday, Jill Martin), see
WESTSIDE09
Leonard Bernstein’s New York (Dawn Upshaw, Richard Muenz), see
LEONARDB1
West Side Story Original Score (Betsi Morrison, Mike Eldred), see WEST-
SIDE10
West Side Story Broadway Revival (Matt Cavenaugh, Josefina
Scaglione), see WESTSIDE11
Ames, Ed/My Kind of Songs, Victor (S)LSP3390, 1965
Arpin, John/The Music of New York (Fred Sawyer, Felicia Sorensen), In-
tersound DW 8919, 1999
Barr, John/In Whatever Time We Have, see BARRJ1 [with “Not While I’m
Around”]
Beechman, Laurie/No One Is Alone, see BEECHMAN1 [in medley]
Cook, Barbara/It’s Better with a Band, MMG MCD 10010, 1986
Damone, Vic/You’re Just Another Pretty Face, Victor/Capitol 45rpm
4947, 1963
Diamond, Neal/Lovescape, Columbia CK-48610, 1991
Escorts/I Can’t Be Free, Coral 45rpm 62349, 1963
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Kamahl/Dreams of Love, Phillips PDS 308, 1969
Lanning, Jerry/Jerry Lanning Sings, MGM (S)4500, 1967
Migenes, Julia/Live at the Olympia, see MIGENES1
Prior, Marina/Somewhere, see PRIORM1
Schlongs/Punk Side Story (Andrew Asp), see SCHLONG1
Streisand, Barbra/Back to Broadway (duet with Johnny Mathis), see
STREISAND2
Te Kanawa, Kiri/The Young Kiri, [n.l, n.n., n.d.]
Tuck & Patti/Dream, Windham Hill WD-0130, 1991; Valley Entertain-
ment 221005, 2009
Warwick, Dionne/Dionne Warwick’s Greatest, Scepter (S)575, 1970 (&
45rpm 21044)
Warwick, Dionne/ . . . Sings the Standards, Connoisseur 30255, 1998
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Song Listing 393

Warwick, Dionne/On Stage and in the Movies, Scepter (S)SRM 559, 1967;
Collectors’ Choice Music CLC 7582, 2007
Zamora, Marie/Comédies Musicales/Musiques de Films (with Michael
Ball), WEA France 639842946520, 2000

“One More Kiss” from Follies (1971)

ASI, FLVS, FVS solo version e1-a2, CFC, FPVS duet d1-g2/e1-a2
Follies Original Cast (Justine Johnston, Victoria Mallory), FOLLIES01
Sondheim: A Musical Tribute (Justine Johnston, Victoria Mallory), see
SONDAMUST1
Follies in Concert (Licia Albanes, Erie Mills), see FOLLIES02
Follies London Cast (Adele Leigh, Michelle Todd), see FOLLIES03
Color and Light: Jazz Sketches . . . (Jim Hall, guitar), see COLOR1
Follies, The Complete Recording (Carol Skarimbas, Ingrid Ladendorf),
see FOLLIES05
Cook, Barbara/No One Is Alone, see COOKB3 [with “Goodbye for Now”]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Tune, Tommy/Slow Dancin’, RCA Victor/BMG 09026-68322-2, 1997

“The One on the Left” cut from Sunday in the Park with George (1984) [a
portion of this song is included in the “Day Off” sequence]
Sunday in the Park . . . 2006 London Cast (Christopher Colley, Sarah
French-Ellis, Kaisa Hammarlund), see SUNDAYIN2

“One Wonderful Day” from Saturday Night (1954)

SNVS company number
Saturday Night Bridewell Cast (Company), see SATURDAYN1
Saturday Night Original New York Cast (Andrea Burns, Clarke Thorell,
Christopher Fitzgerald, Rachel Ulanet, Natascia A. Diaz, Michael
Benjamin Washington, Kirk McDonald, Greg Zola, Joey Sorge), see
SATURDAYN2
Saturday Night Original New York Cast (Company), see SATURDAYN2
[“Finale” version]

“Opening” for The Lady or the Tiger? (1954, unproduced) [incomplete]

“Opening” cut from West Side Story (1957), music by Leonard Bernstein,
lyrics by Sondheim and Bernstein

“Opening” from Into the Woods (1987), [see “I Wish,” “Into the Woods,”
“Fly, Birds,” “Greens, Greens,” “Jack, Jack, Jack,” “You Wish to Have
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394 Song Listing

the Curse Reversed?” “Ladies, Our Carriage Waits,” “The Spell Is on

My House” for recording and music information]
Into the Woods Accompaniment CD (Company), see INTOTHE4

“Opening” from Assassins (1991), [see “Everybody’s Got the Right” for
recording information]
APVS company number

“Opening” for Muscle (1992, unproduced), [see also “No Problem” and
“Poses”]

“Opening” cut from Bounce (2003), [see also “On My Left”]

“Opening Doors” from Merrily We Roll Along (1981)

MWRPVS company number
Merrily We Roll Along Original Cast (Jim Walton, Lonny Price, Ann Mor-
rison, Jason Alexander, Marianna Allen, Sally Klein), see MERRILY1
Merrily We Roll Along Revival Cast (Malcolm Gets, Adam Heller, Amy
Ryder, Paul Harman, Cass Morgan, Anne Bobby), see MERRILY2
Merrily We Roll Along London Cast (Evan Pappas, Michael Cantwell,
Maria Friedman, Gareth Snook, Jacqueline Dankworth), see MERRILY3
Moving On (Company), see MOVINGON [with “Our Time”]

“Opening Fanfare” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Orchestra), see FROGS2

“Opening Number” from Phinney’s Rainbow (1948)

“Opening Title” from Sweeney Todd Motion Picture (2007)

Sweeney Todd Motion Picture Soundtrack (instrumental), see SWEENEYT6

“Operetta (C’est moi)” from Stavisky (1974) [based on “The World’s Full
of Boys/Girls” cut from Follies]
Stavisky7 (singer unidentified), see STAVISKY1

“Opportunity” from Bounce (2003)

Bounce Original Cast (Herndon Lackey, Richard Kind, Howard
McGillin, Jane Powell), see BOUNCE1

“Our Little World” added to the 1991 London production of Into the Woods
Into the Woods London Cast (Julia McKenzie, Mary Lincoln), see IN-
TOTHE2
Into the Woods Revival Cast (Vanessa Williams, Melissa Dye), see INTOTHE3
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Song Listing 395

“Our Time” from Merrily We Roll Along (1981)

MWRPVS company number, MWRVS, SCCH duet version d1-g2/b-e2
Merrily We Roll Along1 Original Cast (Jim Walton, Lonny Price, Ann
Morrison, Company), see MERRILY1
Sondheim: A Celebration at Carnegie Hall (Boys Choir of Harlem), see
SONDACELATC1
Merrily We Roll Along Revival Cast (Malcolm Gets, Adam Heller, Amy
Ryder, Company), see MERRILY2
Merrily We Roll Along London Cast (Michael Cantwell, Evan Pappas,
Maria Friedman, Company), see MERRILY3
Sondheim: A Celebration (The Company), see SONDACEL2 [with “Side by
Side” and “Sunday”]
Celebrating Sondheim (Ensemble), see CELEBRATSON
Out on Broadway (Tracy Collins, Quenten Schumacher, Company), see
OUTONB1 [with “Do You Hear the People Sing?”]
Moving On (Company), see MOVINGON [with “Opening Doors” and 2nd
medley with “With So Little to Be Sure Of”]
Musical Stars—mit den Deuschen Original-Kunstlern (Maya Hakvoort),
Sony [n.n.], 2005
Callaway, Ann Hampton & Liz/Sibling Revelry, see CALLAWAYA&L
Callaway, Liz/The Story Goes On: On and Off Broadway (with Ann
Hampton Callaway), Varese Sarabande VSD-5585, 1995
Connelli, Judi & Suzanne Johnston/Perfect Strangers, see CONNELLI3
[with “Everybody Says Don’t”]
East West Players/East West Overtures (Kym Hoy, Randy Guiaya & En-
semble), see EASTWEST1
Four Friends (Who Are Very Vocal about It), Ducy Lee Records 900111,
2003
Gay Men’s Chorus of Los Angeles/Diversity, GMCLA, 1991
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
O’Brien, Joanne and Lee Lessack/An Enchanted Evening: The Music of
Broadway, LML Music, LML CD-104, 1998
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Pot Pourri/Rhythm of Life, Move MCD058, 1999[?]
Sterling, Clark/Inspirational Broadway, Sterling, 1994
Wright, James/Center Stage: Songs of Spirit from the Musical Theatre, see
WRIGHTJ1

“Overture” from 2000 production of Saturday Night

Saturday Night Original New York Cast (Orchestra), see SATURDAYN2
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396 Song Listing

“Overture” from A Funny Thing Happened on the Way to the Forum (1962)
FTPVS instrumental
A Funny Thing . . . Original Cast (Orchestra), see FUNNY01
A Funny Thing . . . London Cast (Orchestra), see FUNNY02
A Funny Thing . . . Revival Cast (Orchestra), see FUNNY05

“Overture” (first version) cut from A Funny Thing Happened on the Way to
the Forum (1962)

“Overture” from Anyone Can Whistle (1964), [see “Prelude Act I”]

“Overture” from Company (1970), [see “Bobby-Baby”]

“Overture” from Follies (1971) [based on “All Things Bright and Beauti-
ful” cut from Follies]
FPVS instrumental
Follies Original Cast (Orchestra), FOLLIES01
Follies in Concert (Orchestra), see FOLLIES02
Follies/Themes from the Legendary Musical3 (The Trotter Trio), see FOL-
LIES04 [listed as “Opening”]
Follies, The Complete Recording (Orchestra), see FOLLIES05
Orquestra De Cambra Teatre Lliure/Stephen Sondheim, see
ORQUESTRADECAM1

“Overture” from the London production of Follies (1987)

“Overture” from A Little Night Music (1973)

LNMPVS vocal quintet
A Little Night Music Original Cast (Barbara Lang, Beth Fowler, Teri Ral-
ston, Benjamin Ralston, Gene Varrone), see LITTLEN01
A Little Night Music London Cast (John J. Moore, Chris Melville, Liz
Robertson, David Bexon, Jacquey Chappell), see LITTLEN02
A Little Night Music Film (Company), see LITTLEN03
A Little Sondheim Music (Michael Gallup, Darlene Romano, Delcina
Stevenson, Jeffrey Araluce, Rickie Weiner-Gole), see LITTLES1
A Little Night Music Studio Cast (Dinah Harris, Hilary Western, Susan
Flannery, Michael Bulman, Martin Nelson), see LITTLEN04
A Little Night Music Royal National Theatre (Morag McLaren, Di
Botcher, Ernestina Quarcoo, Stephen Hanley, Tim Goodwin), see LIT-
TLEN05
A Little Night Music Barcelona Cast (Xavier Fernandez, Teresa de la
Torre, Muntsa Rius, Anna Feu, Alberto Demestres), see LITTLEN06
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Song Listing 397

A Little Night Music Broadway Revival Cast (Stephen R. Buntrock, Jayne

Paterson, Marissa McGowan, Kevin David Thomas, Betsy Morgan,
Company), see LITTLEN07

“Overture” from Merrily We Roll Along (1981)

MWRPVS instrumental
Merrily We Roll Along Original Cast (Orchestra), see MERRILY1
Merrily We Roll Along Revival Cast (Orchestra), see MERRILY2
Merrily We Roll Along London Cast (Orchestra), see MERRILY3
Celebrating Sondheim (instrumental), see CELEBRATSON
Wall to Wall Stephen Sondheim (American Theatre Orchestra), see WALL-
TOWALLS1

“Overture” from Bounce (2003)

Bounce Original Cast (Orchestra), see BOUNCE1

“Paean: Evoe for the Dead,” see “Evoe for the Dead”

“Parabasis: It’s Only a Play” from The Frogs (1974), [see also “It’s Only a
Play”]
The Frogs/Evening Primrose Studio Recording (Chorus), see FROGS1

“Paradise” cut from Bounce (2003)

“Parados: The Frogs” from The Frogs (1974), [see also “The Frogs”]
The Frogs/Evening Primrose Studio Recording (Nathan Lane, Brian
Stokes Mitchell, Chorus), see FROGS1

“Paris’s Dream” cut from Bounce (2003)

“Parlor Songs” from Sweeney Todd (1979), [see “Sweet Polly Plunkett” and
“The Tower of Bray” for music]
Sweeney Todd Original Cast (Jack Eric Williams, Angela Lansbury, Ken
Jennings), see SWEENEYT1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
Sweeney Todd Barcelona Cast (Pedro Pomares, Vicky Pena), see
SWEENEYT3
Sweeney Todd Live at the NYP (John Aler, Patti LuPone, Neil Patrick
Harris), see SWEENEYT4

“Party, Party” from Climb High (1950–52, unproduced)

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398 Song Listing

“Pavement Pounding Sequence” from Climb High (1950–52, unproduced)

“The People Will Hear” from All That Glitters (1949)

“Perfectly Lovely Couple” from Do I Hear a Waltz? (1965), music by

Richard Rodgers
DIHPVS company number, but all voices c1-d2
Do I Hear a Waltz? Original Cast (Stuart Damon, Madeleine Sherwood,
Julienne Marie, Carol Bruce, Jack Manning, Elizabeth Allen, Sergio
Franchi, Fleury D’Antonakis), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (The Company), see
DOIHEAR2

“Perhaps” cut during the New Haven tryout from Do I Hear a Waltz?
(1965), music by Richard Rodgers
Stephen Sondheim: The Story So Far . . .7 (Stan Stanley)

“Perpetual Anticipation” from A Little Night Music (1973)

LNMPVS trio b-g2/b-f2/b-f2
A Little Night Music Original Cast (Teri Ralston, Beth Fowler, Barbara
Lang), see LITTLEN01
A Little Night Music London Cast (Chris Melville, Liz Robertson,
Jacquey Chappell), see LITTLEN02
A Little Night Music Studio Cast (Dinah Harris, Hilary Western, Susan
Flannery), see LITTLEN04
Putting It Together (Rachel York), see PUTTINGIT1
A Little Night Music Royal National Theatre (Ernestina Quarcoo, Morag
McLaren, Di Botcher), see LITTLEN05
A Little Night Music Barcelona Cast (Teresa de la Torre, Muntsa Rius,
Anna Feu), see LITTLEN06
A Little Night Music Broadway Revival Cast (Jayne Paterson, Betsy Mor-
gan, Marissa McGowan), see LITTLEN07
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1 [in medley]

“Philadelphia!” cut from Do I Hear a Waltz? (1965), music by Richard

Rodgers

“Phinney’s Rainbow” from Phinney’s Rainbow (1948)

PRSM d1-f2

“Piano Practice” from A Little Night Music (1973) [based on cut song “Two
Fairy Tales”]
LNMPVS instrumental
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Song Listing 399

“Piazza Promenade” cut from Do I Hear a Waltz? (1965), music by Richard

Rodgers [related to “Bargaining”]

“Pirelli’s Death” from Sweeney Todd (1979)

STPVS e1-c3
Sweeney Todd Barcelona Cast (Esteve Ferrer), see SWEENEYT3
Sweeney Todd Live at the NYP (Stanford Olsen), see SWEENEYT4

“Pirelli’s Miracle Elixir” from Sweeney Todd (1979)

STPVS b-a2 + company
Sweeney Todd Original Cast (Ken Jennings, Len Cariou, Angela Lans-
bury, Joaquín Romaguera, Company), see SWEENEYT1
Sweeney Todd Barcelona Cast (Muntsa Rius, Constantino Romero, Vicky
Pena, Company), see SWEENEYT3
Sweeney Todd Live at the NYP (Neil Patrick Harris, Company), see
SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Manoel Felciano, Company), see
SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Edward Sanders, Johnny
Depp, Helena Bonham Carter), see SWEENEYT6

“The Plan” cut from Into the Woods (1987)

“Pleasant Little Kingdom” cut from Follies (1971) [conceived as lead in to

“Too Many Mornings”]
ASIV, CFC duet a-e2 [both]
Sondheim: A Musical Tribute (Dorothy Collins, John McMartin), see
SONDAMUST1 [sung with “Too Many Mornings”]
Follies, The Complete Recording (Laurence Guittard, Donna McKech-
nie), see FOLLIES05
Gay Men’s Chorus of Los Angeles/Simply Sondheim (Joanna Gleason),
see GAYMENSCLA1
Patinkin, Mandy/Oscar and Steve, see PATINKIN4 (duet with Judy Blazer)
[sung with “Too Many Mornings”]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01

“Please Hello” from Pacific Overtures (1976)

POPVS company number
Pacific Overtures1 Original Cast (Alvin Ing, Yuki Shimoda, Ernest
Harada, Mako, Patrick Kinser-Lau, Mark Hsu Syers, James Dybas),
see PACIFICOVER1
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400 Song Listing

Pacific Overtures English National Opera (Alan Woodrow, John

Kitchiner, Eric Roberts, Paul Strathearn, Ian Comboy, Harry Nicoll),
see PACIFICOVER2
Pacific Overtures New Broadway Cast (Sab Shimona, B. D. Wong, Dar-
ren Lee, Evan D’Angeles, Alan Muraoka, Scott Watanabe, Daniel Jay
Park), see PACIFICOVER3

“Poems” from Pacific Overtures (1976)

POPVS duet e1-g2/d1-f2
Pacific Overtures Original Cast (Isao Sato, Sab Shimono), see PACIFICOVER1
A Stephen Sondheim Evening (George Hearn, Bob Gunton), see STEPHENSE1
Pacific Overtures English National Opera (Malcolm Rivers, Christopher
Booth-Jones), see PACIFICOVER2
Color and Light: Jazz Sketches . . . (Terrence Blanchard, trumpet), see
COLOR1
Pacific Overtures New Broadway Cast (Michael K. Lee, Paolo Monta-
ban), see PACIFICOVER3
Patinkin, Mandy/Oscar and Steve, see PATINKIN4 (duet with Michael
Yukon Grody)

“Poor Baby” from Company (1970)

CPVS, CVS2, CVS3 company number
Company Original Cast (Barbara Barrie, Teri Ralston, Merle Louise, Beth
Howland, Elaine Stritch, Charles Kimbrough, George Coe), see COM-
PANY01
Company Revival Cast (Kate Burton, Robert Westenberg, Diana Canova,
John Hillner, Patricia Ben Peterson, Veanne Cox, Debra Monk), see
COMPANY05
Company London Revival Cast (Rebecca Front, Clive Rowe, Liza Sadoy,
Teddy Kempner, Clare Burt, Sophie Thompson, Sheila Gish), see
COMPANY04
Company Brazilian Cast (Solange Badim, Daniel Boaventura, Reginah
Restelieux, Mauro Gorini, Claudia Netto, Totia Meireles), see COM-
PANY06
Company Second Revival Cast (Kristin Huffman, Keith Buterbaugh,
Leenya Rideout, Fred Rose, Amy Justman, Heather Laws, Barbara
Walsh), see COMPANY09
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1 [in medley]

“Poor Thing” from Sweeney Todd (1979)

STPVS f-b1
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Song Listing 401

Sweeney Todd Original Cast (Angela Lansbury), see SWEENEYT1

Sweeney Todd Barcelona Cast (Vicky Pena), see SWEENEYT3
Sweeney Todd Live at the NYP (Patti LuPone), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival (Patti LuPone), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter), see
SWEENEYT6

“Poses” for Muscle (1992, unproduced), [see also “Opening”]

“Potpourri” cut from Bounce (2003)

“Pour le sport” from The Last Resorts (1956, unproduced)

Marry Me a Little1 (Suzanne Henry, Craig Lucas), see MARRYME1
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“Prayer” cut from Pacific Overtures (1976) [a portion was used in

“Chrysanthemum Tea”]
Pacific Overtures New Broadway Cast7 (Stephen Sondheim), see PACIFIC-
OVER3

“Prelude” (and further incidental music) from Invitation to a March (1960)

“Prelude” from Sweeney Todd (1979)

STPVS instrumental
Sweeney Todd Original Cast (instrumental), see SWEENEYT1
Sweeney Todd Live at the NYP (instrumental), see SWEENEYT4

“Prelude Act I [Overture]” from Anyone Can Whistle (1964)

ACWPVS instrumental
Anyone Can Whistle Original Cast (Orchestra), see ANYONE1

“Pretty Lady” from Pacific Overtures (1976)

ASI, POPVS, SCCH, SSS trio c1-f2/a-f2/f-d2
Pacific Overtures Original Cast7 (Patrick Kinser-Lau, Timm Fujii, Mark
Hsu Syers), see PACIFICOVER1
Side by Side by Sondheim (Millicent Martin, Julia McKenzie, David Ker-
nan), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John, Geraldene Morrow,
Jill Perryman), see SIDEBYS2
Songs of Sondheim Irish Cast (Company), see SONGSOFSOND1
Sondheim (Book-of-the-Month) (instrumental), see SOND1
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402 Song Listing

A Little Sondheim Music (Jeffrey Araluce, Dale Morich, Michael Gallup),

see LITTLES1
Pacific Overtures English National Opera (Leon Berger, Edward Byles,
Alan Woodrow), see PACIFICOVER2
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (Mark Jacoby, Eugene Perry,
Herbert Perry), see SONDACELATC1
Pacific Overtures New Broadway Cast (Darren Lee, Rick Edinger, Telly
Leung), see PACIFICOVER3
Side by Side . . . Brazilian Cast (Claudio Botelho, Ester Elias, Marya
Bravo), see SIDEBYS3
Simply Sondheim (Tom Orr, Kim Larsen, Steve Rhyne), see SIMPLYSOND1
[in medley]
East West Players/East West Overtures (Radmar Agana Jao, Daniel Kim,
Paul Wong), see EASTWEST1
Mendelssohn Choir/Mendelssohn Sings Sondheim (Timothy Cornetti,
John Niederberger, Robert Shoup), see MENDELSSOHN1
Nesbitt, Bobby/Big Time, Mile Marker Music MMM2 44807, 2001
O’May, John/Unusual Way, MEM-004, 2000
Owen-Jones, John/John Owen-Jones (with Michael Ball, Bryn Terfel),
Sain SCD2627, 2009
Patinkin, Mandy/Mandy Patinkin, see PATINKIN1

“Pretty Little Picture” from A Funny Thing Happened on the Way to the Fo-
rum (1962)
FTPVS trio b-f2/b-g2/b-f2, FTVS solo version b-f2
A Funny Thing . . . Original Cast (Zero Mostel, Brian Davies, Preshy
Marker), see FUNNY01
A Funny Thing . . . London Cast (Frankie Howerd, John Rye, Isla Blair),
see FUNNY02
A Stephen Sondheim Evening1 (Bob Gunton, Liz Callaway, Steven Jacob),
see STEPHENSE1
A Funny Thing . . . Revival Cast (Nathan Lane, Jessica Boevers, Jim
Stanek), see FUNNY05
Amor al Reves es Roma [A Funny Thing . . . ] Mexican Cast, see FUNNY06
Scott, Phil/Serious Cabaret, Middle Eight Music, 2002
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SOND-
SINGS01
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2

“Pretty Women” from Sweeney Todd (1979)

ASI, STVS solo version c1-e2, BSBA g-d2 [with “The Ladies Who
Lunch”], STPVS duet E-f1/A-f1 + whistling, reprise c-e1/G-d1
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Song Listing 403

Sweeney Todd1 Original Cast (Edmund Lyndeck, Len Cariou), see

SWEENEYT1
A Little Sondheim Music (Dale Morich, Michael Gallup), see LITTLES1
A Broadway Celebration, see BROADWAYCEL
Sondheim: A Celebration at Carnegie Hall (Eugene Perry, Herbert Perry),
see SONDACELATC1
Putting It Together5 (Michael Rupert, Stephen Collins), see PUTTINGIT1
Color and Light: Jazz Sketches . . . (Peabo Bryson), see COLOR1
Stephen Sondheim’s Sweeney Todd . . . In Jazz (The Trotter Trio), see
SWEENEYT2
Sweeney Todd Barcelona Cast (Xavier Ribera, Constantino Romero), see
SWEENEYT3
Leading Men Don’t Dance (Byron Nease, Richard Muenz), Jay 1253, 1997
Sweeney Todd Live at the NYP (Paul Plishka, George Hearn, Davis
Gaines), see SWEENEYT4
Moving On (Company), see MOVINGON [with “Ah, But Underneath”]
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Sweeney Todd 2005 Broadway Revival (Michael Cerveris, Mark Jacoby),
see SWEENEYT5
Simply Sondheim (James Brewer), see SIMPLYSOND1 [in medley]
Sweeney Todd Motion Picture Soundtrack (Alan Rickman, Johnny
Depp), see SWEENEYT6
Barnes, Buddy/The Magic Time, Audiophile AP-139, 1980
Benzali, Daniel/Benzali, Rio Kat 95623, 2005
Buckley, Betty/Much More, Sterling S1014-2, 1997
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Collins, Judy/Running for My Life, Elektra 6E-253, 1980
Connelli, Judi & Suzanne Johnston/Perfect Strangers, see CONNELLI3
[with “Johanna”]
Day, Courtenay/Courtenay Day Live at Don’t Tell Mama, see DAYC1 [with
“Every Day a Little Death”]
Europlane featuring Herb Geller, Roberto Magris’/Il Bello Del Jazz, Soul
Note [n.n.], 2006 [band featuring jazz piano and alto saxophone]
Fleming, Renée and Bryn Terfel/Under the Stars (Bryn Terfel), see FLEM-
INGTERFEL1
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
The Marian McPartland Trio/Live at Yoshi’s Nitespot, Concord Jazz
CCD-4712, 1996
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404 Song Listing

Mitchell, Brian Stokes/Brian Stokes Mitchell, see MITCHELLBS1

Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Pizzarelli, Bucky & John/Solos & Duets, Jazz Classics JZCL-5007, 1997 (2
Guitars)
Ramey, Sam/Sam Ramey on Broadway/So In Love, Teldec 4509-90865-2,
1993
Ripley, Alice & Emily Skinner/Unsuspecting Hearts, Varese Sarabande
302 066 074 2, 1999
Ross, Steve/Steve Ross Live at the Algonquin, Stolen Moments SM 1939,
1986
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Johanna” & “Not While I’m Around”]
Streisand, Barbra/The Broadway Album, see STREISAND1
Wilk, Oystein/Too Many Mornings, see WILKO1 [in medley]
Yankee, Al/Somewhere . . . in a Dream, Klavier Records 77018, 1996 [in-
strumental]
Young, Thomas/Clair De Lune & Sister Moon, Ocean Records/Allegra,
1997

“Professors’ Reports” from Phinney’s Rainbow (1948)

Prologos, see “Invocation and Instructions to the Audience”

“Prologue” from Follies, see “Overture”

“Prologue” from Into the Woods, see “Into the Woods” and “So Happy”

“Prologue” (sung version) cut from West Side Story, see “Opening”

“Puccini” cut from Do I Hear a Waltz? (1965), music by Richard Rodgers

“Puppy Love” from By George (1946)

“Putting It Together” from Sunday in the Park with George (1984) [in addi-
tion to the changed lyrics cited below, Sondheim also wrote a set of
lyrics that were performed by Bernadette Peters at the 66th Academy
Awards Ceremony in 1994]
ASIII Streisand version g-e2, BSBA g-d2, SPGPVS company number
[George’s range is c1-g2]
Sunday in the Park . . . Original Cast (Mandy Patinkin, Company), see
SUNDAYIN1 [see also Putting It Together below]
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Song Listing 405

Putting It Together (Stephen Collins, Rachel York, Michael Rupert, Julie

Andrews, Christopher Durang, Scott Frankel), see PUTTINGIT1 [lyric
changes by Sondheim; also included on the 2007 reissue of Sunday in
the Park . . . Original Cast recording, SUNDAYIN1]
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Sunday in the Park . . . 2006 London Cast (Daniel Evans, Company), see
SUNDAYIN2
Anthony, Julie/Julie Anthony Live at the Tilbury, Cue/Polygram ORO21,
1996
Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Orquestra De Cambra Teatre Lliure/Stephen Sondheim (Nina), see
ORQUESTRADECAM1
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “What Can You Lose?”]
Starobin, David/New Music with Guitar, Volume 3 (Patrick Mason), see
STAROBIND1
Streisand, Barbra/The Broadway Album, see STREISAND1 [lyric changes by
Sondheim]
Streisand, Barbra/Timeless, see STREISAND3
United States Air Force Heritage of America Band, The/Broadway
Nights, US Air Force 0017, 1997

“The Q-Ladies’ Waltz” from Phinney’s Rainbow (1948)

“Quintet,” see “Tonight (Quintet)” from West Side Story

“Rag Me That Mendelssohn March” from A Mighty Man is He (1955)

“Rain on the Roof” from Follies (1971)

CFC, FPVS duet b-d2 [both]
Follies in Concert (Betty Comden, Adolph Green), see FOLLIES02
Follies London Cast (Pearl Carr, Teddy Johnson), see FOLLIES03
Follies, The Complete Recording (Natalie Mosco, Donald Saddler), see
FOLLIES05

“Rainbows” for unproduced film version of Into the Woods

“Ready for the Woods,” see “Moments in the Woods”

“The Reason Why” from By George (1946)

“Recent Past” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1
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406 Song Listing

“Reds” Theme from the Motion Picture “Reds” from Reds (1981), [see also
“Goodbye for Now”]
Piano score, Columbia Pictures Publications 1482RMX
Reds Soundtrack, see REDS1

“Remember?” from A Little Night Music (1973)

ASI, LNMVS solo version c1-g2, LNMPVS vocal quintet
A Little Night Music Original Cast (Barbara Lang, Beth Fowler, Teri Ral-
ston, Benjamin Ralston, Gene Varrone), see LITTLEN01
A Little Night Music London Cast (John J. Moore, Chris Melville, Liz
Robertson, David Bexon, Jacquey Chappell), see LITTLEN02
A Little Night Music Studio Cast (Dinah Harris, Hilary Western, Susan
Flannery, Michael Bulman, Martin Nelson), see LITTLEN04
Sondheim: A Celebration at Carnegie Hall (Ron Baker, Peter Blanchet,
Carol Meyer, Bronwyn Thomas, Blythe Walker), see SONDACELATC1
Putting It Together (Stephen Collins, Julie Andrews), see PUTTINGIT1
The Great Waltz (Hollywood Bowl Orchestra), see HOLLYWOODB1 [part of
“The Night Waltzes”]
A Little Night Music Royal National Theatre (Morag McLaren, Di Botcher,
Ernestina Quarcoo, Stephen Hanley, Tim Goodwin), see LITTLEN05
A Little Night Music Barcelona Cast (Xavier Fernandez, Teresa de la
Torre, Muntsa Rius, Anna Feu, Alberto Demestres), see LITTLEN06
A Little Night Music Broadway Revival Cast (Ramona Mallory, Alexan-
der Hanson, Betsy Morgan, Jayne Paterson, Stephen R. Buntrock,
Kevin David Thomas, Catherine Zeta-Jones, Marissa McGowan), see
LITTLEN07
Patinkin, Mandy/Oscar and Steve, see PATINKIN4 [in medley]
Ralston, Teri/I’ve Gotta Get Back to New York, see RALSTONT1 [in medley]
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Rich and Happy” from Merrily We Roll Along (1981) [replaced by “That
Frank” in subsequent productions]
MWRPVS c1-g2 + company
Merrily We Roll Along Original Cast (Jim Walton, Company), see MER-
RILY1
Putting It Together (Stephen Collins, Julie Andrews, Michael Rupert,
Christopher Durang, Rachel York), see PUTTINGIT1 [lyric changes by
Sondheim]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“The Right Girl” from Follies (1971)

CFC, FPVS c1-f2
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Song Listing 407

Follies Original Cast (Gene Nelson), FOLLIES01

Follies in Concert (Mandy Patinkin), see FOLLIES02
Follies London Cast (David Healy), see FOLLIES03
Follies, The Complete Recording (Tony Roberts), see FOLLIES05

“Riot at the Funeral” from the 1966 film of A Funny Thing Happened on the
Way to the Forum
A Funny Thing . . . Film (instrumental), see FUNNY03

“The Road You Didn’t Take” from Follies (1971)

CFC a-e2, FPVS a-e2
Follies Original Cast (John McMartin), FOLLIES01
Follies in Concert (George Hearn), see FOLLIES02
Follies, The Complete Recording (Laurence Guittard), see FOLLIES05
Friedman, Maria/Maria Friedman Live, see FRIEDM1 [with “In Buddy’s
Eyes” & “Too Many Mornings”]
Patinkin, Mandy/Experiment, see PATINKIN3

“Rose’s Turn” from Gypsy (1959), music by Jule Styne

GPVS, GVS2 g-c2
Gypsy Original Cast (Ethel Merman), see GYPSY01
Gypsy Film (Lisa Kirk/Rosalind Russell), see GYPSY02
Gypsy London Cast (Angela Lansbury), see GYPSY03
Stairway to the Stars (Dolores Gray), First Night CD6021, 1989
Gypsy Revival Cast (Tyne Daly), see GYPSY04
Gypsy TV Cast (Bette Midler), see GYPSY05
Celebrating Gypsy . . . (Libby Morris), see CELEBRATGYP
Kay Medford in “Gypsy” (Kay Medford), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters), see GYPSY10
Gypsy 2008 Revival Cast (Patti LuPone), see GYPSY11
Billings, Alexandra/The Story Goes On, LMG Kidsource Music [n.n.],
2004 [with “She’s a Star”]
Buckley, Betty/An Evening at Carnegie Hall, see BUCKLEYB3
Buckley, Betty/The London Concert, see BUCKLEYB2
Connelli, Judy/Back to Before—A Life In Song, ABC 461 883-2, 2001
MacKenzie, Gisele/ . . . In Person at the Empire Room of the Waldorf-
Astoria, Everest LPBR 5069, 1960; Collectables COL-CD-0852, 2006 [in
medley]
Merman, Ethel/Mermania!, see MERMANE1 [early version titled “Mama’s
Turn”]
Minnelli, Liza/Liza’s Back, J Records 80813-20045-2, 2002
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
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408 Song Listing

“Routine Blues” from By George (1946)

“The Rumble” from West Side Story (1957), no lyric, music by Leonard
Bernstein

“Salon at the Claridge # 1” from Stavisky (1974) [based on “Yes” for The Jet-
Propelled Couch]
Stavisky (instrumental), see STAVISKY1
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1

“Salon at the Claridge # 2 “ from Stavisky (1974) [based on “Who Could Be

Blue?” cut from Follies]
Stavisky1 (instrumental), see STAVISKY1
Sandford, Luke/Shimmer, see SANDFORD1 [piano solo]

“Sand” for Singing Out Loud (1992–93, unproduced)

ASIV c1-f2
Sondheim at the Movies (Christiane Noll), see SONDATTHEM1

“Saturday Night” from Saturday Night (1954)

ASIV, SNVS quartet a-f2
Marry Me a Little (Craig Lucas, Suzanne Henry), see MARRYME1
A Stephen Sondheim Evening (Company), see STEPHENSE1
Unsung Sondheim (Stan Chandler, David Engel, Larry Raben, Guy Stro-
man), see UNSUNGS1
Saturday Night Bridewell Cast (Maurice Yeoman, James Millard, Simon
Greiff, Jeremy David), see SATURDAYN1
Saturday Night Original New York Cast (Michael Benjamin Washington,
Kirk McDonald, Greg Zola, Joey Sorge), see SATURDAYN2
Simply Sondheim (Kim Larsen, Steve Rhyne, Tom Orr, James Brewer),
see SIMPLYSOND1 [in medley]

“Saturday Night (reprise)” from Saturday Night (1954)

Saturday Night Bridewell Cast (Maurice Yeoman, Simon Greiff, Jeremy
David, James Millard), see SATURDAYN1
Saturday Night Original New York Cast (Michael Benjamin Washington,
Kirk McDonald, Greg Zola, Joey Sorge), see SATURDAYN2 [2 versions]
Simply Sondheim (Kim Larsen, Steve Rhyne, Tom Orr, James Brewer),
see SIMPLYSOND1 [in medley]

“Searching” from Sweeney Todd (1979)

STPVS company number
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Song Listing 409

Sweeney Todd Original Cast (Angela Lansbury, Len Cariou), see

SWEENEYT1
Sweeney Todd Barcelona Cast (Vicky Pena, Constantino Romero), see
SWEENEYT3

“Seattle to Los Angeles,” see “Some People”

“Second Letter” from Passion (1995)

PPVS duet a-a1 [both]
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson), see PASSION4

“Second Midnight” from Into the Woods (1987)

ITWPVS company number [spoken]

“Second Midnight” cut from Into the Woods (1987)

Stephen Sondheim: The Story So Far . . .7 (George Lee Andrews, Maureen
Moore, Kim Crosby, John Cameron Mitchell)

“Secret of Night” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“See What It Gets You” from Anyone Can Whistle (1964)

Anyone Can Whistle Original Cast (Lee Remick), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Bernadette Peters), see ANY-
ONE2
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
[with “Anyone Can Whistle”]

“Send in the Clowns” from A Little Night Music (1973)

ASI, BSBA [additional lyrics], LNMVS, SCCH, SSS a-b1, LNMPVS g-a1
A Little Night Music Original Cast2, 7 (Glynis Johns), see LITTLEN01
A Trip to the Circus, Silver Touch Tunes for Children SS1000, 1978
A Little Night Music London Cast (Jean Simmons), see LITTLEN02
Side by Side by Sondheim (Millicent Martin), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman), see SIDEBYS2
Songs of Sondheim Irish Cast (Gemma Craven), see SONGSOFSOND1
A Little Night Music Film (Elizabeth Taylor), see LITTLEN03
Sondheim (Book-of-the-Month) (Joyce Castle), see SOND1
A Little Sondheim Music (Rickie Weiner-Gole, Dale Morich), see LITTLES1
A Little Night Music Studio Cast (Sian Phillips), see LITTLEN04
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410 Song Listing

A Stephen Sondheim Evening1 (Angela Lansbury, Sondheim at the piano),

see STEPHENSE1
Songs of Stephen Sondheim/You Sing the Hits, see SONGSOFSTEP1
Met Stars on Broadway (Renata Scotto), MET/RCA MET-204, 1980, MET
204CD, 1989
Aspects of West Side Story, A Little Night Music . . . (Orchestra of the
Americas), ProArte CDB 8303, 1992
The Magic of the Musicals (Marti Webb & Mark Rattray), see MAGICOF1
A Broadway Celebration, see BROADWAYCEL
Everyone’s a Love Song, see EVERYONE1
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Sondheim: A Celebration at Carnegie Hall (Glenn Close), see SONDACELATC1
A Little Night Music Royal National Theatre (Judi Dench), see LITTLEN05
A Little Light Music (Beryl Korman and/or Julia Meadows), see LITTLEL1
Showcase: The Musicals (Mary Carewe), Carlton Sounds/U.K. 30367
00672, 1995
Sondheim: A Celebration3 (Glynis Johns), see SONDACEL2
Scarlet and Gold Concert Royal Festival Hall, The Massed Bands of the
Household Division (Grenadier Guards), The Valentine Music Group
BNA 5131, 1997
Broadway Classics, Victorian Arts Centre’s “Morning Melodies” Volume 4
[n.n., Australia], 1998
Hey, Mr. Producer! (Judi Dench), see HEYMRP
Hey, Mr. Producer! (Stephen Sondheim, Andrew Lloyd Webber), see
“Dueling Pianos”
Celebrating the Musicals . . . (Anita Dobson), see CELEBRATTHEM
More West End The Concert (Deborah Myers), see MOREWEST
Sondheim Tonight (Cleo Laine, Maria Friedman, Clive Rowe), see SOND-
TON1
A Little Night Music Barcelona Cast (Vicky Pena), see LITTLEN06
10 Jahre Musical im Theater an der Wien (Susanne Almassy), Preiser
Records [n.n., n.d.]
Side by Side . . . Brazilian Cast (Claudio Botelho), see SIDEBYS3
A Little Night Music Broadway Revival Cast (Catherine Zeta-Jones,
Alexander Hanson), see LITTLEN07
3 Men & a Melody/Strictly Barbershop Doo Wop, First Run 0701, 2002
[barbershop quartet]
98 Mute/Slow Motion Riot, Epitaph 86574-2, 2000 [Punk rock]
Acker, Bill/Stranger on the Shore, BMG Entertainment Int. 74321 709112,
1992 [clarinet with string orchestra]
Adams Quintet, George/Paradise Space Shuttle, Timeless SJP-127, 1979
Akers, Karen/Presenting Karen Akers, Blackwood 81-750091, 1981; Riz-
zoli 1001
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Song Listing 411

Akers, Karen/If We Only Have Love, DRG 91483, 2004

Alexandria, Lorez/From Broadway to Hollywood, Trio (Jap) PAP3146, 1977
Allen Trio, Bob/Bob Allen Trio Live, Tetrachord Records 103142, 1980
Allis, Julie/Harping on the Hits, Ktel 3815-2, 1995 [harp and synthesizer]
Allis, Julie/The Tranquil Sound of the Harp, Castle Communications/
Pulse PLS CD 299, 1998 [harp]
Amaro, Saumell/Free Again, Lady Eagle Music MR13748, 198?
American Orchestra Symphony/Soft Rock Greats III, Entertainment Cor-
poration of America/ECA Records ECA-C3029, 1981
Anderson, Ernestine/Hello Like Before, Concord Jazz CJ-31, 1977, CD
CCD-4031
Anderson, Chris/Love Locked Out, Mapleshade MS 56992, 1990 [piano]
Andreas, Jamey/Touched to My Tenderness—Guitar Classics, Rebirth
Records 3750, 1998
Andreasson, Elisabeth/Stemninger, Polydor 2322, 1994
Andrews, Vince/Hey, Vince!, Gerard Records GR 1022, 1984 [saxo-
phone]
Anthony, Julie/You and I, Polygram, 1995/U&I, 1996
Apollo Stompers/Phantasies II, Soul Note 121175-2, 1991 [piano, jazz en-
semble]
Arbors, The/The Arbors, Arbors Music Prod. Corp AR-67701, 197?
Arpin, John/Broadway Baroque, Pro-Arte/Fanfare RCD 451, 1990 [pi-
ano]
Arpin, John/The Music of New York, Intersound DW 8919, 1999 [piano]
Arredondo, Maria/Sound of Musicals, Mountain Music/Universal
1784945, 2008
Artie Butler’s Hollywood Rainbow Pops/Classic Broadway, K-tel Inter-
national [n.n.], 1995
Arundel Middle School Concert Band/Variations, Recorded Publica-
tions Z573901-2573902, 1981
Auldridge, Mike/Slidin’ Smoke, Flying Fish 080, 1979
Baker, Chet/Live at Ronnie Scotts (vocal: Van Morrison), DRG 91440,
1987
Ball, Michael/Centre Stage, Hip-O 440 016 071-2, 2001
Band of the Grenadier Guards, The/On Stage, Bandleader 5032, 1989
Band of the Royal Irish Regiment/Symphonic Celebration, Bandleader
Recordings BNA5147, 1998
Banquells, Rocío/Un Sueño Alguna Vez Soñé, RCA Records 2144, 1990
Barduhn Big Band, Dave/Dave Barduhn Big Band, Barduhn RL-5135,
1977
Barrus, David/On Stage 2: More Broadway Favorites, Shadow 53632, 2000
Bassey, Shirley/Good, Bad But Beautiful, United Artists Records UA-
LA542-G 0698, 1975
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412 Song Listing

Bassey, Shirley/“Send in the Clowns,” United Artist 45 rpm UA-

XW717-Y, 1975
Bassey, Shirley/I Am What I Am, Towerbell Records VG 651 600065,
1984
Bassey, Shirley/The Best of Shirley Bassey, EMI Records EMI 7492, 1987;
MBH Records 110.017, 1999
Bassey, Shirley/The Great Shirley Bassey, Coldies GLD 63133, 2007
Bassoon Brothers/Captured!, Crystal Records CD875, 2002 [wood-
winds]
BBC Concert Orchestra/Showcase: The Musicals (Mary Carewe), Innova-
tive Records 6700672, 1996
Beavis, Richard/The Other Side of Me, [n.l., n.n.], 2004
Ben-David, Sheera/On a Carousel, Sheera Ben-David 672487101701, 2008
Berner, Kenny/Beauty Secrets, BMG/RCA Victor 74321-69904-2, 1999
Bert/Hello Again, [n.l., n.n.], 2004
Bilk, Acker/20 Greatest Hits, Pye Records MCAB 20, 1977
Bilk, Acker/The Best of Acker Bilk, GNP Crescendo Records GNPD 2116,
1989 [clarinet and strings]
Blair Woodwind Quintet, Blair School of Music BSM-420, 198[?]
Bonfiglio, Robert/Romances, High Harmony 5253, 1994 [harmonica]
Bonfiglio, Robert/Bonfiglio Always on My Mind, Time-Life R113-006,
1999 [harmonica]
Boston Pops Orchestra/The Two Sides of Fiedler, Decca MOR 527, 1979
Boston Pops Orchestra/The Two Sides of Fiedler, London SPC 21190, 1979
Boston Pops Orchestra/That’s Entertainment/Pops on Broadway, Philips
7144 124, 6302 124, 198[?]
Boston Pops Orchestra/That’s Entertainment, Philips 416 499-2, 1981
[with “Night Waltz”]
Boston Pops/Music of the Night/Pops on Broadway, see BOSTON2 [instru-
mental]
Boston Pops Orchestra, John Williams &/From Sousa to Spielberg, Sony
Music Special Products A 28701, 1998
Boston Pops Orchestra, John Williams &/Encore!, Philips B0002606-02,
2004
Breau, Lenny & Brad Terry/The Living Room Tapes: Volume 2, Musical
Heritage Society MHS 512627L, 1990; Art of Life Records AL 1004-2,
2003 [guitar, clarinet]
Brewer, Teresa/Teresa Brewer’s New Album, Image Records IM-306, 1977
Brewer, Teresa/Teresa Brewer, Audiofidelity Enterprises GAS-738, 1983
Britto, Carol & Michael Moore/Inner Voices, Town Crier TC 512, 1985
[piano, bass]
Broadway Workout, Power Music PWR 1359-2, 2000
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 413

Song Listing 413

Bronhill, June/June Bronhill at the Sydney Opera House, M7 MLF-118,

1976 [reissued by BroadMusic BRCD073, or 510739, 1996]
Bryant, Kimilee/My Favorite Things, Kimilee Bryant [n.n.], 2008
Buckley, Betty/The London Concert, see BUCKLEYB2
Buckley, Betty/Stars and Moon/Live at the Donmar, Concord CCD-
4949-2, 2001
Burstyn, Mike/Tomorrow, Kit Prod. KIT1003, 2002
Burton, Ann/A Lovely Way to Spend an Evening, 1977 [reissued by AMJ]
Burton, Ann/Burton for Certain, 1977 [reissued by AMJ]
Burton, Ann/Live in Japan, Absord 268, 2003
Butler, Artie/Classic Broadway, Dominion Ent./K-tel Int., 3576-2, 1995
Byard, Jackie & the Apollo Stompers/Phantasies, Vol. 2, Soul Note (Italy)
121175, 1993
Cable, Linda/Just for the Record, Move MD-3099, 1992
Cacia, Paul Jazz Orchestra/Quantum Leap: Digital Neophonics, Out-
standing Records, OUTS 056, 1986
Cacia, Paul/Quantum Leap, Happy Hour Music [n.n.], 1987
Cain, Evelyn/“It’s Christmas Time Again,” Cain 45rpm CR 12976,
1977
Caine, Marti/Marti, BBC 17310 70042, 1994/Carlton 17310 70042, 1996
Callicrate, Tim/Serenade from Tahoe, T. Callicrate Prod. TC100, 1988 [pi-
ano]
Canadian Brass/Brass on Broadway, Philips 442-133-2, 1994
Canadian Brass/Seen and Heard, Philips B0002695-00, 2004
Candlelight and Wine, CSP P2 15030, 1979 [Hagood Hardy]
Capers, Valerie/Kool Jazz Festival, [n.l., n.n.], 1983 [piano]
Carlson, Mary Beth/Treasures of the Heart, MBC Productions Inc. MBC
9079, 1998 [piano]
Carlson, Mary Beth/Signature, MBC Productions MBC-9081, 2000 [pi-
ano with orchestra]
Caro, Joanie/Jazzy Lady, [n.l.] 36469, [n.d.]
Carr, Richard & Bucky Pizzarelli/String Thing, Savant SCD 2010,
1997–98 [violin, guitar]
Carreras, Jose/Amigos para Siempre: Friends for Life : Romantic Songs of the
World, Atlantic 82413-2, 1992
Carroll, Barbara/Barbara Carroll, Blue Note/BMG 2861, 1976/1994 [pi-
ano]
Cassel, John/Dinner Music at the Trapp Family Lodge, Cassel Records
[n.n.], 2007 [piano]
Castle Singers/Cruisin’ Down the River, Design Studios, 1984
Castro-Neves, Oscar/Playful Heart, Mack Avenue Records MAC1011,
2003
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414 Song Listing

Caymmi, Dori/If Ever . . . , Qwest/Warner Bros. 9 45604-2, 1994 [guitar,

with Toots Thielemans on harmonica]
Chicago Metropolitan Jazz Orchestra/Labor of Love, Chicago Lakeside
Jazz CLJ602-2, 1999
Chung-oo, Invitation to Romance, Onr 9801, 1998
Clark, Petula/My Greatest, Madacy SA-2-6401, 1990[?]
Clark, Sharon/Finally, Union Records [n.n.], 1997
Clef Hangers/Take II: Carolina Fight Songs, Clef Hangers, 1990? [A cap-
pella men’s chorus]
Clooney, Rosemary/Look My Way/Nice To Be Around, EMI
Records/Capitol Nashville 7243 5 41671 26, (1977)/2002
Coates, John F./Rainbow Road, Omnisound N-1024, 1979 [jazz piano]
Cold/13 Ways to Bleed on Stage, Flip/A&M/Geffen 069490726-2, 2000
Collins, Judy/Judith, Elektra 6E-111, 7E-1032, 1975; Direct Disc Labs, SD
1660, 1976
Collins, Judy/“Send in the Clowns,” Elektra 45 rpm 45253, 1975
Collins, Judy/“Send in the Clowns,” Elektra 45 rpm E-45076
Collins, Judy/So Early in the Spring: The First 15 Years, WEA Music of
Canada, Elektra CEKJ-6002, 1977
Collins, Judy/Classic Broadway, Platinum 15095-3752-2, 1999
Collins, Judy/Judy Collins Live at Wolf Trap, Wildflower WFL 1298-2,
2000
Collins, Judy/The Very Best of Judy Collins, Elektra Traditions/Rhino R2
74374, 2001
Como, Perry/Perry Como Live on Tour, RCA Victor, AQL1-3826, 1981
Como, Perry/For the Good Times, Telstar STAR 2235, 1983
Conniff Singers, Ray/Send in the Clowns, Columbia KC 34170, 1976
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
Cook, Matthew/The Rose and Other Songs, [n.l., n.n.], 2002
Corry, Peter/Peter Corry in Concert, Pet Cor CD 001, 2001 [with “Losing
My Mind”; recorded in 1993]
Cravin, Van/Broadway Ballads, Intersound 1067, 1994
Criss, Peter/One for All, Megaforce 02086105428, 2007
Crosby, Bing/That’s What Life Is All About, United Artists UA-LA554-6
[n.n.], 1976
Crosby, Bing/“That’s What Life Is All About,” United Artists 45 rpm
UA-XW700-Y, 1976
Crosby, Bing/Bing Crosby Live at the London Palladium, K-Tel NE 951,
1976
Crosby, Bing/Beautiful Memories, Disky HR853142/BX853152-72, 1998
Crosby, Bing/Bing Crosby at His Best, EMI 7243 541342 6, 2002
Cruz, Edgar/Those Were the Days, ECI Recordings ECICS03, 1992 [gui-
tar]
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Song Listing 415

Culbertson, Debbie/Reflections, Themeworks TW-02431, 1979 [organ]

Damone, Vic/Vic Damone in San Francisco, Rebecca R-1214, 1979
Dave & Cindy/A Collection of Folk, Country & Spirituals, Silcox Prod.
[n.n.], 1986
David and Mary/Tomorrow, Tomorrow, Gold Leaf Records GLM 00-02,
1980
Dearie, Blossom/1975 Vol. II, Daffodil Records BMD 102 A&B, 1975
Denver Symphony Orchestra/Fiedler’s Favorites, Maxiplay Pops CDM
8012, 1989
Denver Symphony Pops/A Touch of Fiedler, Pro-Arte Digital CDD 452,
1989
Devito, Alan/Romantic Moods on Accordion, triple d records 95079, 1994
Domingo, Placido/The Broadway I Love, see DOMINGO1
Don Lusher Big Band, The/The Don Lusher Big Band, Chandos 4512,
1992
Donegan, Dorothy/Sophisticated Lady, Ornament CM-8011, 1991 [piano]
Donegan, Trio, Dorothy/Live at Jazzhus Slukefter, Storyville Records
STCD 8262, 1996
Dow, Judith/Regards to Broadway, see DOWJ1
Drouillard, Kathy/Stay Awhile, Kale Records KLA-37302, 1982
East Tennessee School Band and Orchestra Association/1981 All East
Tennessee Clinic, [Silver] Crest Records ET-1981, 1981?
Eaton, John/Horchow Presents John Eaton, [Horchow] 409427, 1984 [pi-
ano]
Eckels, Steven Zdenek/Solo Guitar, Eckels 37829, 1980 [guitar]
Elkinson, Ken/Borrowed Tracks, August Son Productions 072047, [n.d.]
[piano]
Elmhurst College Jazz Band/Just Friends, Elmhurst College, Music
Dept. EC-1981, 1981
Ensemble Clarinesque/Fascinating Rhythm, Signum SIG X76-00, 1996
Evans, Bill/Living Time, TriStar Music 80888, 1994 [piano]
Faith, Percy/Chinatown, Collectables COL-CD-7522, 2003
Farnon, Robert/Out of My Dreams, Dutton Vocalion 4102, 2000 [instru-
mental]
Ferrante & Teicher/Killing Me Softly, United Artists UA-LA118-F, 1973
[two pianos]
Ferrante & Teicher/30th Anniversary on Stage, Bainbridge BT-8003, 1983
Ferrante & Teicher/The Ferrante & Teicher Collection, Varese Sarabande
VSD-5919, 1998
Fest, Manfredo/Manifestations, Tabu Records JZ 35636, 1979 [jazz en-
semble]
Fiedler, Arthur/The Two Sides of Fiedler, London SPC5 21190, 1979
Fields, Victor/52nd Street, Regina Records REG 50517, 2002
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 416

416 Song Listing

Finley, Paul/The Butterfly, New Bell [n.n.], 2009 [guitar]

Fischer, Tim/Zarah Ohne Kleid, SMD 88697306082, 2008
Fisher, [David] Du Du/Over the Rainbow, Helicon Records HL 8064,
1989 [in Hebrew]
Fisher, David “Dudu” and London Symphony Orchestra/Showstoppers,
Pickwick Music PY, PK-4141, 1993
Fisher, Kathy/Fisher & Friends: Acoustic Café, Green Hill Productions
55560, 2008
Fitzgerald, Caroline/Empty Pockets, [n.l., n.n.], 2009
Florida State University Marching Chiefs, The/FSU Marching Chiefs,
1986
Florida Symphonic Pops/The Phantom of the Opera, see FLORIDA1 [in-
strumental]
Forrester, Maureen/From Kern to Sondheim: Great American Theater
Songs, Fanfare CDD 374, 1984
Forsyth, Dianne/Lady of the Landing, Sun-Scape Records, KGOM 16,
1982
Forty-Five Minutes of Broadway, B. Keck and P. Demaree [n.n], 1986
Foster, Frank/Frank Wess/Two for the Blues, Pablo 2310-905, 1984 [sax-
ophone]
Francis Moore Orchestra/Memories: Vol. 1., Bridge 100.011-2, 1987
Fredonia Brass Band, Mark Educational Recordings, Inc. MCBS-20736,
1986
Galway Pops Orchestra, James/The Wind Beneath My Wings, RCA Vic-
tor 60862-2-RC, 1991 [flute with orchestra]
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Geiger, Fred/Fred Geiger, Ridge Runner RRR 0014, 1978 [banjo, rhythm
guitar, instrumental ensemble]
George Street/George Street Live, George Street Production GGS3424,
1984? [vocal group]
Gibson, Jim/Music of the Night, Hickory Cove Music [n.n.], 2005 [piano
solo]
Gillies, Jodie/Jodie Gillies, TVD 93371 (Festival Records), [n.d.]
Giovanni/Music from the World, Sony Music Distribution 186, 1992 [pi-
ano]
Go for Baroque/Andante, [n.n.] 1993[?] [instrumental group]
Goldstein, Marvin/Marvin Goldstein, Pianist, Vol. 1, MGP Productions
[n.n.], 1995
Goodman/Live at Carnegie Hall: 40th Anniversary Concert, London 422
820 349-4R-2, 1978 [clarinet and band]
Goodman, Benny/Seven Come Eleven, Columbia FC 38265, 1982
Goodman, Benny/Benny Goodman and Friends, Decca Record Co. 820
179-2, 1984
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Song Listing 417

Goodman, Benny/Farewell, TV Matters B.V. MUM9030, 2003

Goodwin, Penny/Live, P-Vine Records 23533, 2004
Goodwin, Rene/You Are the Music, Hot Productions 33185, 1997
Gorme, Eydie/Since I Fell For You, Applause Records APLP 1002, 1981
Gorme, Eydie/Eydie Gorme Sings/Canta, President Records, PRCD 238,
1985
Gorme, Eydie/ . . . Sings Great Songs from The Sound of Music and Other
Broadway Shows, see GORMEE1
Granger, Kay/Elegance, Renaissance Sounds RS 101, 1979
Green and His Pops Concert Orchestra, Philip/The World’s Greatest Pop-
ular Standards, Alanna 5563, 1995
Greene, Ted/Solo Guitar, PMP Records A-5010, 1977, 1979 [guitar]
Grenadier Guards/On Stage (Anthony Lamb), Bandleader [n.n.], 1996
Griffin, Harvi/Phase Three, [n.l.] 40093, 1985[?] [harp]
Guerin, Dr. Phil/Songs My Father Taught Me, [n.l.] 12123, [n.d.]
Guevera, Nacha/No Llores Por Mi Argentina, Hispa Vox 489802, 1977
Guillaume, Robert/There Is Love, SnailWorx [n.n.], 2009
Gustavus Adolphus College Band/The Gustavus Stage Band: The Adol-
phus Stage Band, Mark [Custom Recordings], 1980
Hall, Lani/Sweet Bird, A&M Records SP-4617, 1976
Hall, Lani/Collectable, A&M Records SP-4988, 1983
Hall, Lani/Lani Hall, A&M Records CD 2517, 1987
Hamaty, Renee & Mystic Moods/Stormy Memories, Bainbridge BCD
6284, 1990 [New-Age piano]
Hanna, Roland/Everything I Love, IPO Recordings IPOC 1002, 2002 [pi-
ano]
Hardy, Hagood/Maybe Tomorrow, Capitol ST-11552, 1976 [piano and vi-
braphone with orchestra]
Harmon, Sally/Snap, Classical Pop!, Soulo SP108, 1991 [piano]
Harold Wheeler Consort/Black Cream, RCA Victor BGLI-0849, 1975
Hartman, Johnny/This One’s for Tedi, Audiophile (D)AP-181, ACD-181,
1985, 1988
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Haskins, Jim/Cocktail Piano Does Show Tunes, JFH 396, [n.d.] [piano]
Hatch, David Glen/My Romantic Favorites, Covenant CCID-2800578,
1991 [piano]
Hayes, Sharon/Velvet, Eroica Distribution 3088, 2004
Hazelton, Tom/Stairway to the Stars, Klavier Records 77006, 1994 [pipe
organ]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Henderson, Bill/Live at the Times, Trend/Discovery Records DSCD-779,
1987
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 418

418 Song Listing

Hendricks, John/Piano Lovers Anthology, WPP 8459, 1993

Hickland, Catherine/Sincerely, Broadway, After Nine, 1997; Original
Cast Records 3333, 2001 [with “Being Alive”]
Hirt, Al/Candlelite Music Proudly Presents the Living Legend of Al Hirt,
Candlelite Music CU-754, 1983 [trumpet]
Hirt, Al/A Living Legend, ERA Records NU 9174, 1984
Hoffman, Phyllis/Harp Artistry, Phyllis Hoffman 38, [n.d.] [harp]
Hollier, Jan/Jan Hollier, Jan Hollier JH-25, 1981
Houston Pops Orchestra/Live from Carnegie, The Orchestra H.P.O. 1001,
1977?
Houston Pops Orchestra/Top of the Pops, Tioch Records TD 1010, 1983
Hubbard, Edwin/Edwin Hubbard, Prana PL 12372, 1982 [flute, jazz en-
semble]
Hyman, Dick/There Will Never Be Another You, Jazz Connaisseur 9831,
1999 [piano]
Indiana University Jazz Ensemble/Guest Recital, 1988 [trombone en-
semble]
Indios Tabajaras, Los/Beautiful Sounds, RCA AFL1-3990, BMG Music
2379-2-RL, 1981 [guitar]
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Jackson, Milt/Sa Va Bella (For Lady Legends), Warner Bros./Qwest 9
46607-2, 1997 [jazz quartet]
Jackson, Walter/Send in the Clowns, 20th Century Fox Records T-566, M-
586-AS, 1979; Westside WESM 619, 2000
Jacobs, David/Gentle Guitar, Greenhays 70719, 1992 [guitar]
Jazz at the Movies Band/Sax on Broadway, Discovery 77068, 1997; Rhino
Atlantic, 2005
Jenson Publications/Marching Band ’87: Vol. 1, Jenson Publications, JP-
8800, 1987
Jenson Publications/New Music for Concert Band: Vol. 27, Jenson Publi-
cations, HLP-74, 1990
Jim Galloway’s Wee Big Band/Blue Reverie, Sackville (Canada) 2068,
2008
João Maria & Aki Takase/Looking for Love, Enja 5075, 1988/1993/2005
John Bauer Brass/John Bauer Brass, Proprius PRCD 9163, 1997 [brass
quintet; Swedish]
John Fick Southern California Jazz Company, The/Open for Business
(Michie Sahara), Sea Breeze 2115, 2001
John Moriarty Trio, The/Tenderly, John Moriarty Productions 1001,
1993
Jones, Grace/Portfolio, Island ILPS-9470, 1976, 1977
Jones, Jack/“You Need a Man,” Victor 45 rpm PB-10845, 1976
Jones, Jack/The Full Life, RCA APL1-2067, 1977
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 419

Song Listing 419

Jones, Tom/26 Love Songs, Prism Leisure Corp. PLATCD 401, 1998
Jones, Tom/40 Golden Love Songs, Double Classics DC 31001, 1998
Jones, Tom/Love Songs & Ballads, [n.l.] 32113, 1999
Jones, Tom/Millennium Collection, International Music Company
20.4011/MI, 1999
Jones, Tom/Tom Jones Hot and Live, Castle Pie PIEDD 291, 2003
Judge, Buddy/Profiles in Clownhenge, Stereophonic 41015, 1998
Kaas, Patricia/Kabaret, 2008[?]
Keel, Howard/With Love: for Yesterday and Today, Silver Eagle Records
SE 1026, 1984
Keel, Howard/Live in Concert, BBC/Pickwick PWKS 860, 1991
Keel, Howard/The Way We Were, Prism Leisure 919, 2003
Kenton, Stan/Kenton ’76, Creative World ST1076, 1976, GNP/
Crescendo Records STD 1076, 1991 [big band]
Kenton, Stan/Street of Dreams, Creative World Records 1079, 1979
Kidd, Carol/That’s Me, Linn Records AKD 044, 1995
King, Morgana/Portraits, Muse Records MC 5301, 1984
Knorr Orchestra, Johnny/Let’s Go Dancing, New Image Records NR
10294, 1980 [big band]
Kostelanetz, Andre/Andre Kostelanetz Plays Broadway’s Greatest Hits:
From Annie, I Love My Wife, Side by Side by Sondheim, The King and I,
Columbia PC 34864, 1977
Kozelek, Mark/The Finally LP, Caldo Verde Records 007, 2008
Kozelek, Mark/Lost Verse Live, Caldo Verde Records 008, 2009
Kunzat, Kurt/First Impression, 88 Productions 8000, 1995
L.A. Connection/Big Hits: Vol. III, Springboard International SPB-4094,
SLX-02487, 1977
Laine, Cleo/A Beautiful Thing, RCA Victor CPL1-5059, 1974
Laine, Cleo/“Send in the Clowns,” Victor 45 rpm APBO-0310m 1974
Laine, Cleo/Cleo Laine Live at Carnegie Hall, RCA Victor AYL1-3751,
AFL1-5015, 09026-60960-2, 1973, 1974, 1975
Laine, Cleo/Themes, Sierra Records FEDC 2000, 1978[?]
Laine, Cleo/Cleo Sings Sondheim5, see LAINEC2
Laine, Frankie/Life is Beautiful, Polydor 2383488, 1978
Laine, Frankie/Now and Then, CSP P 15166, 1980
Laine, Frankie/The Legendary Frankie Laine Volume 1, Prestige Elite
Records CDSGP4014, 2002
Lansky, Elena J./Look of Love, Doremi Records 71118, 1996
LaRosa, Julius/Better than Ever, Egames 961, 1996
Larsen, Lyn/Give My Regards!, ProArte CDD 339, 1987 [organ]
Leahey Trio, Harry/Still Waters, Omnisound N 1031, 1980 [jazz trio]
Leander, Zarah/Schlager & Stars, EMI Music Distribution 3950582, 2007
Leone, Bruno/Pure Broadway, Patsy 93312, 1997 [piano]
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 420

420 Song Listing

Lear, Evelyn/Evelyn Lear Sings Sondheim and Bernstein, see LEARE1

Lear, Evelyn/The Art of the Recital, VAI Audio VAIA, 2001
Lee, Chang Woo/Invitation to Romance, Opening Night ONR 9801, 1998
[violoncello]
LeMel, Gary/How Fast Forever Goes, Headfirst 10142, 1991
Lenk, Phil/Love is Alive and Well, Mixed Media Prod./Black Gold BG-
107L-2, 1980 [piano]
Lettermen/The Time Is Right, Capitol SW-11470, 1975 [vocal group]
Liberace/Showstoppers, AVI AVIC-6071 Avi, 1979 [piano]
Liberace/Liberace’s 40th Anniversary Collection, Silver Eagle Records
CE6651, 1984–1985 [piano]
Liberace/Lounging with Lee, Hip-O Records HIPD-40116, 1998 [piano]
Lindroth, Lloyd/Love Drops, [n.l.] C-LL-100, 198[?] [harp]
Line, Lorie/Out of Line, Time Line Productions 1, 1989 [piano]
Lippia, Steve/In Concert, Camazotz 68075, 2009
Living Strings/Feelings, RCA APL1-2383, 1977 [instrumental]
Living Strings/After the Lovin’, Pickwick ACL-7039, 1977
London Brass/Clowning Around: London Brass Entertains, Teldec 2292-
46069-2, 1990 [brass ensemble]
London Philharmonic Orchestra/Broadway Gold, Audio Award AA-101,
1981
London Philharmonic Orchestra/A Pops Concert with the London Phil-
harmonic Orchestra, Hits from 16 Shows, Stage & Screen Productions
SSC-710, 1983
Looker, Kingsley/Piano Love, Madacy Entertainment Group TPF2 3978,
2003
Lorin, Martha/Blues Over Broadway, LMG Kidsource Music [n.n.], 2004
Love Singers, Geoff/Very Special Love Songs, Moss Music Group MMG
B-703, 1977
Lyles, Al/My Shining Hour, Alcraft Records A00-1, 1980
Lyngstad, Anni-Frid/Frida Ensam, [n.l., n.n., n.d.] [sung in Swedish]
Lytle, Johnny/Everything Must Change, Muse Records MR 5158, 1978
[vibes with jazz ensemble]
MacNeil, Madeline/Soon It’s Going to Rain, Kicking Mule Records
KMC-244, 1985 [vocals, hammer dulcimer, acc.]
Mahar, Mark/Blame It on My Youth, Mark Mahar [n.n.], 2007
Mancini, Henry/Romantic Piano & Orchestra, Readers’ Digest RDK 5953,
1989, 1981
Manilow, Barry/The Complete Collection and Then Some, Arista 07822-
18714-2, 1992
Mann, Janis/So Many Stars a Tribute to Sarah Vaughan, Panache Records
PPR0201, 2000/2001
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 421

Song Listing 421

Mantovani Orchestra/The Greatest Gift Is Love, London Records LEF

5913, PS 913, 1975
Mantovani Orchestra/Mantovani Salutes America’s Great Songwriters,
London C213621, 1977
Mantovani Orchestra/14 Dream Melodies, CDMA: Soundsational
CDMA-4012, 1978[?]
Mantovani Orchestra/The Magic of the Mantovani Orchestra: Live at Royal
Festival Hall, Bainbridge BT 8001, BCD8001, RCA 224536, 1981
Mantovani Orchestra/Mantovani Magic, Telstar Records/RCA STAC
2237, 1983; Columbia River Entertainment Group CRG 1518, 1998
Mantovani Orchestra/Mantovani Orchestra: A Tribute, Breakaway
Records BWY 80 & 81, 1983
Mantovani Orchestra/Live at Royal Festival Hall: Vol. II, Bellaphon, 288-
07-013, 1985
Mantovani Orchestra/Mantovani and His Orchestra: Live, InterTape
500.005, 1987
Mantovani Orchestra/The Magic of Mantovani, LDMI EGBR 2517, 198?
Mantovani Orchestra/Mantovani, Delta Music Inc. 15134, 79008, 1990
Mantovani Orchestra/The Mantovani Orchestra, Retro Music MAN4
1992-8CD, 1998
Mantovani Orchestra/Lovely Way to Spend an Evening, Columbia River
Entertainment Group CRG 218004, 1999
Marcovicci, Andrea/Here, There & Everywhere, Cabaret Records
CD5026-2, 2000
Marie, Gayle/Lost and Found, Gayleo GM003, 1988
Marradi, Giovanni/Un Piano Por el Mundo, Orfeon 13838, 2001 [piano]
Martell, Lena/One Day at a Time: An Anthology of Song, Castle Music
Ltd. 72271, 2004
Martens Paul & Donna/First Gatherings, Fat Patches Music ST-LP 2291,
197[?]
Martin, Wanda Mae/Jubilation, WM Productions, 1979 [music for floor
exercise]
Martino, Pat & Gil Goldstein/We’ll Be Together Again, Muse Records,
1976; 32 Jazz 32971, 1998 [guitar & jazz piano]
Martino, Pat/Pat Martino, Savoy Jazz SVY17362, 2004 [guitar & jazz pi-
ano]
Mathis, Johnny/I Only Have Eyes for You, Columbia AL or PC 34117,
1976
Mathis, Johnny/Johnny Mathis Looks at Love, CBS BT 16640, 1982
Mathis, Johnny/The Best of Johnny Mathis, Heartland Music M183-16,
1999
Matthews, Mark/What I Did for Love, RCA Victor APL1-2340, 1977
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 422

422 Song Listing

May, Tim/Happy Guitar, Sunnyvale Records 9330-315, 1977 [guitar]

McCroby, Ron/Breezin’ the Classics, Intersound, Inc. PAD 258 Pro Arte
Digital, 1985 [whistler with the Arion Consort]
McCutcheon, Jim/Jim McCutcheon & Company: Solos and Ensembles with
Classical Guitar, Guitar & Song 1002, 1986
McDaniel, John/John McDaniel at the Piano: Broadway, [n.l., n.n.], 2004
McDonald, Stuart/Sax Moods, Music Factory Music MF 1458, 2000 [sax-
ophone]
McDonough, Jim/Music of the Night, Jim McDonough [n.n.], 2004 [piano]
McGlohon, Loonis/Loonis in London, Audiophile AP-166, 1982
McKenzie, Julia/The Musicals Album, see MCKENZIEJ1
McPartland, Marian/Solo Concert at Haverford, Halcyon Records
HAL111, 1974, CD 111, 1990? [piano]
McPartland, Marian/A Fine Romance, Improv 7115, 1976 [piano with
jazz ensemble]
McRae, Carmen/Recorded Live at Bubbas, Who’s Who in Jazz/RTV CD-
21020, 1977; Point PNT 8468, 2000
McRae, Carmen/Carmen McCrae, Who’s Who in Jazz WWLP 21020,
1981
McRae, Carmen/Sarah, Dedicated to You, Novus/BMG Music (RCA)
3110-2-N, 1990, 1991; Novus/BMG 8287652441-2, 2003
McRae, Carmen/Black Magic, ITM Media SDA 71896, 1993
McVay, Ray & His Orchestra/Playing Music from the Hit Parade, The-
atreland DS008 Dansan Records, 1979
Mendelssohn Choir/Mendelssohn Sings Sondheim (Kathryn Gibson,
Todd Kuczawa), see MENDELSSOHN1
Mercer, Mabel/Echoes of My Life, Audiophile AP-161 & AP-162, 1980;
ACD-161, 1999
Merman, Ethel & Mary Martin/Together on Broadway [n.l., n.n., n.d.]
Merritt, Ron/Romance, First Coast Music 1003, 1997 [piano]
Milano, Michele/Touch of Class: Jazz Duo, Orchard 807612, 2005
Milster, Angelika/Ich Bin Wie Ich Bin, Polygram 825609, (1998)/2006 [in
German]
Montgomery, Doug/Me and My Baby Grand, Doug Mont Music DM013,
1999
Mottola, Tony/I Only Have Eyes for You, Project 3 PR 5094Sd, 1975 [gui-
tar with orchestra]
Murphy, Julie/Sophisticated Lady, Melrose Records, 1996
Music Box Waltzes and Popular Tunes, Porter Music Box 40853, 1982
[Porter twin disc music box]
Mustin, Dene/Dene Mustin Sings Your Requests, Audiophile AP-134
Mutchler, Jon/Stardust & Other Love Songs, Too Mutch Music TMM-
9801, 1998
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 423

Song Listing 423

Mutchler, Jon/Piercing the Heart Solo Piano Ballads, Too Mutch Music
TTM-1592, 2001
Myric, Weldon/Pedalman, Woodsmoke [n.n., n.d.]
Mystic Moods Orchestra/Stormy Memories, Bainbridge BCD 6284, 1990
(Renée Hamaty) [piano, New Age]
Nadler, Rubano Sullivan/The Night They Invented Champagne (KT Sulli-
van), NadlerRubanoSullivan 79687301 2391, 2008
Nalle, Billy/Billy Live!, Wichita Theatre Organ WTO 1460, 1984 [organ]
Nero, Peter/The Wiz, Crystal Clear Records CCS-6001, 1977 [piano]
Nero, Peter/Peter Goes Pop, Applause Records APLP 1013, 1982, Alle-
giance Records AVCD-5040, 1987
New England Conservatory/The Enchanted Circle Presents Harvey G.
Phillips, Tuba: December 11, 1984, 8:00 p.m.
Newsome, Tommy/Live from Beautiful Downtown Burbank, Direct-Disc
Labs DD103, 1978 [big band]
New Virginians/Act III, Major Recording Co. MRLP 2224, 197[?] [vocal
group]
Newton-John, Olivia/Indigo Women of Song, Mushroom Records 33834,
2004; Universal UK/Zoom 602498709061, 2009
Nichols, Susie/So in Love, First American FA-7747, 1980
Nicholson, Carla & Michael/Just Duet, see NICHOLSONC1
Nievera, Martin/Return to Forever, Polyeast 316, 1999
Noel, Dick/A Time for Love, Legend Records SGS-5002, 1985
Nurulah, Shahida/The Ruby and the Pearl, Alembicarts 607, 2004
O’Brien, Sarah/Dans Mes Rêves je Reviens/In My Dreams I Return, Or-
chard 1856, 2000
O’Connor, Larry/Life in the Suburbs, 41321, 1983?
O’Day, Anita/Angel Eyes, Emily ER-13081, 1981
Offenhauser, Deborah/Butterflies, Prelude 20021, 2002 [piano]
Ogden, Nigel/This Is the Moment, Bandleader 8002, 2000
Oler, Newell/Fireside Piano, NOME Co. of Dallas, Inc. [n.n.], 2003 [piano]
O’Meara, Serena/Collage, O’Meara Enterprises, 199? [harp]
O’Neal, Tim & Ryan/On Broadway Instrumental Showtunes, Shamrock-
N-Roll BK1209, 2002 [piano with accompanying musicians]
Opera Babes/Renaissance, Instant Karma (UK) 8, 2006
Opus II/Music for Oboe and Guitar, Fine Arts Recordings, 1985
Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Osborne, David/Music of the Night/Broadway Nights, North Star Records
78/157, 1995/2001 [piano]
Paducah Tilghman High School Concert/Symphonic and Jazz Bands (Jet-
ton Jr. High School Band, Brazelton Jr. High School Band), Audio Cre-
ations AC00087A, 1979, 1980
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424 Song Listing

Paige, Elaine/A Musical Touch of Elaine Paige, Dominion Records DN

6221, 1984
Paige, Elaine/Stages, K-Tel NE 1262, 1983; Atlantic 7 81776-1, 1987
Paige-Turner, Dorothy/I Love Being Here with You, Snapshot Music
[n.n.], 1999; Orchard 6596, 2000
Pandolfi, Emile/By Request, MagicMusic MMC-901, 1990 [piano]
Pandolfi, Emile/Unforgettable Love Songs, Revere Records RVR-985,
1998 [piano]
Parker, Jann/Jann Parker and Friends, [n.l., n.n.], 1993
Parris, Rebecca/Double Rainbow, Weston-Blair Productions BEC-3, 1987;
Shira Records SH 1003, 1999
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Patterson, Frank/Frank Patterson’s Broadway, Rego Irish Records &
Tape, 1995; E.P. 8095, 2003
Patrizia/All the Things You Are, [n.l.] 75002, 2006
Peacock, Christopher/Pianoforte, Opus 1: Popular Requests, Pure & Sim-
ple 9007, 1994
Penn State Blue Band/1976 Penn State University Marching Blue Band,
Mark MC-9128, 1976?
Percy Faith & His Orchestra/Summer Place ’76, Columbia KC 33915,
1975
Perks, Jeff/The Gold Collection, Swallowtail Records 8002, 1993 [piano]
Perryman, Jill/Leading Lady, EMI EMC 2524, 1975
Pizzarelli, Bucky/Bucky’s Bunch, Monmouth Evergreen Records
MES/7082, 198? [jazz band]
Pizzarelli, Bucky & John/Live at the Vineyard Theatre, Challenge Records
70025, 1996 [guitars]
Prior, Marina/Somewhere, see PRIORM1
Przybyla, Andrew/She’s So Pretty at Noon, Przybla Muzyka Entertain-
ment 805136122820, 2001 [piano]
Quadre/The Voice of Four Horns, Quadre QR177, 2000
Ralston, Bob/Feelings, Ranwood R-8158, 1976 [keyboard/organ]
Random Lake High School Band and Choir/Spring Concert 1979
Rava, Stefania/Send in the Clowns, Deja Vu/Norma Blu (Japan) 485293,
2009
Rawls, Lou/Lou Rawls Live, CBS/Philadelphia International PZ2-35517,
Z-35518, Z-35519, 1978; Right Stuff/Philadelphia International 7243-
8-2910-2-6, 1999
Rawls, Lou/Let Me Be Good To You: Lou Rawls Live, Westside WESD 220,
1999
Rawls, Lou/Lady Love, Digimode LT-5065A, 2000s
Reed, Eric, Reginald Veal, Gregory Hutchison/Pure Imagination, Im-
pulse! IMPD-244, 1997-8 [piano, bass, and drums]
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Song Listing 425

Reeves, Dianne/The Calling: Celebrating Sarah Vaughan, Blue Note 7243

5 27694 2 1, 2001
Reverte, Ana/A Mi Manera, Horus CD-08.388, 1999
Rice, Tony & John Carlini/River Suite for Two Guitars, Sugar Hill
Records 3837, 1995
Richard Hayman & His Symphony Orchestra/Love Is Blue: Music for
Lonely Lovers, Naxos 990022, 1994
Riemer, Dian/Straight from the Harp, Realane 47478, 1999 [harp]
Reu, André/Dreaming, Polydor 589306-2, 2001
Robinson, Janet/Piano Solo, ANS 12061, 1996
Rochester Pops Orchestra/Opening Night, see ROCHESTERP1 [instrumen-
tal]
Romantic Strings & Romantic Voices/You Light Up My Life, Readers Di-
gest RDA-027/A (RD4A-027-1, RD4A-027-8), 1980
Rose, Earl/Grand Piano, Earl Rose STJ-10077, 1976
Rosen, Judy/You Sing Judy Collins, Pocket Songs PS 554, 1990
Ross, Diana/An Evening with Diana Ross, Motown Record Co.
3746352682, 1992, M7-877R2, 1977
Rossen, Stig/Love Changes Everything, see ROSSENS1
Rotz, Corey Evan/Keep the Music Playing, see ROTZC1
Rowan, Jo and the Philadelphia Orch./Pops, Polkas and Waltzes, Statler
Records SLP 1304, 1981
Rowe, Bob/Tom Thumb’s Blues, September 90177, 2001
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Royal Philharmonic Orchestra, The/ . . . Plays the Shows, Fabulous 236,
2003
Royal Scot Dragoon Guards/In the Finest Tradition, Attic Records Lim-
ited BLC-178 Attic/Bandleader, 1988, BNA 5017 [bagpipe and band]
Rubin, Vanessa/“I’m Glad There is You,” RCA/BMG 01241 63170-2, 1994
Russo, Renato/The Stonewall Celebration Concert, EMI Music Distribu-
tion 829850, 1998/2007
Russo, Renato/Para Sempre, EMI Music Distribution 34464, 2002
Ryerson, Ali/Brasil: Quiet Devotion, Concord Jazz 4762, 1997 [flute]
Salonisti/Transatlantic, London Records 425 210-2, 1989 [salon orches-
tra]
Salonisti/Bon Voyage!, Decca 460 814-2, 1999 [salon orchestra]
Sandler, Tony & Ralph Young/Sing Your Favorite Love Songs, K-tel In-
ternational 3376-2, 1994
Sax on Broadway/Jazz at the Movies Band, Discovery 77068, 1997
Saxe, Emily/Broadway & All That Jazz, see SAXEE2
Schneider, Helen/Right as the Rain, Tomato R2 72244, 1995
Schwartz, Andre/The Musicals, Select Music SEL BCD 537, 2005
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426 Song Listing

Scott’s Pipes & Strings of Scotland, Tommy, Vol. 2: ’Tis a Gift, Scotdisc
ITV 394, 1985, CDITV 394, 1987 [bagpipe]
Scott, Lee/Lee Scott Volume 1, Blue Heron 101, 1980 [jazz piano]
Scott, Ronnie/Serious Gold, Pye 18542, 1977
Send in the Clowns, Golden West College, 1983[?] [recorded accompa-
niments]
Shaw Bell Choir, Dorothy/Here a Christmas—There a Christmas, January
Sound Studios JSS-DSBC-83, 1983? [handbells]
Shearing, George/My Ship, Verve/Polygram/MPS 821664-2, 821 664-
1(2), G-22369, 1975, 1987?
Sheppard, Meg/Vintage Romantic Songs, Éditions Shelan esp-9402, 1992
Short, Bobby/Live at the Cafe Carlyle, see SHORTB1
Simpsons: Songs in the Key of Springfield, The, Rhino R472723, 1997; R2
75985, 1999
Sims, Zoot/Nirvana, Groove Merchant GM 533, 1974
Sims, Zoot and Buddy Rich/Zoot Sims, CBS Records BT 18079; 51 West
Q-16079, 1979
Sims, Zoot, Bucky Pizzarelli, Buddy Rich/Somebody Loves Me, Denon
DC-8514, 1987; LRC Ltd. CDC-8514, 1989; LRCLth 28514, 2003
Sims, Zoot & Bucky Pizzarelli/Send in the Clowns, M.C.R. Productions
2625082, 1990
Sinatra, Frank/Ol’ Blue Eyes is Back, Reprise 2155-2, 1973
Sinatra, Frank/“Let Me Try Again (Ilaisse Moi Le Temps),” Reprise 45
rpm REP 1181, 1973
Sinatra, Frank/“Send in the Clowns,” Reprise 45 rpm RPS 1382, 1976
Sinatra, Frank/The Voice, Dominion DN 6212, 1983
Sinatra, Frank/The Reprise Collection, Reprise 9 26349-2, 1990
Sinatra, Frank/Sinatra Reprise: The Very Good Years, Reprise 9 26501-2,
1991
Singers Unlimited/A Little Light Music (Beryl Korman), see SINGERSUN1
Singing Hoosiers in Concert, 1981, Indiana University School of Music
no. 671
Singing Hoosiers in Concert, 1982, Indiana University School of Music
no. 683
Singing Hoosiers in Concert, 1983, Indiana University School of Music
no. 766
Singing Hoosiers in Concert, 1986, Indiana University School of Music
no. 504
Skaroulis, George/Imagine, Evzone Music 2009, 2009 [piano]
Smith, Paul/Monty Budwig/Frank Capp/Barney Kessel/The Good Life,
Voss D2-72937, 1988
Snow College Jazz Orchestra/A Place in the World, [n.l., n.n., n.d.]
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72), see SONDSINGS01
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 427

Song Listing 427

Songs of Barbra Streisand, Pocket Songs PS 2238, 1994 (Carol Willis)

SoundStroke/Laser Woodcuts, Second Hearing GS 9008, 1986 [xylophone]
Stafford, Terrell/Time to Let Go, Candid CCD79702, 1995 [trumpet/
flugelhorn]
Stairs, Michael/Longwood Pops: The Longwood Gardens Organ CD, Vol. 4,
DTR/Direct-To-Tape 8605, 1996 [organ]
Starlight Orchestra/Love Songs from the Movies, Object Enterprise
OP0038, 1991
Starlite Orchestra & Singers/The Best of Broadway, Intercontinental
Records 4018, 1997
Starlite Orchestra and Singers/Love at the Theatre, Quality Entertain-
ment Division QED 118, 2000–2004?
Starsound Orchestra/Best Movie Broadway Themes, Dominion 4136-2,
1993/1998
Steele, Joan/’Round Midnight, Audiophile AP-94, 1976
Stenson, Bobo/Goodbye, ECIM 982 5173, 2005 [piano trio]
Stewart, Louis/Louis the First, Hawk Jazz 147, 1975
Stewart, Robert/Heaven and Earth, Nagel Heyer 2045, 2004 [tenor saxo-
phone]
Strazzeri, Frank/Relaxin’, Sea Breeze SB-1007
Streisand, Barbra/The Broadway Album, see STREISAND1 [lyric changes by
Sondheim]
Streisand, Barbra/One Voice, CBS Inc. CK 40788, 1987 [lyric changes by
Sondheim, music change by Streisand]
Streisand, Barbra/Timeless, see STREISAND3
Streisand, Barbra/The Essential Barbra Streisand, Sony Music Entertain-
ment/Columbia Records C2K 86123-4, 2002
Strolling Strings/Over the Rainbow, United States Air Force Band, 198?
Strong, Walter/Walter Strong Plays the Chicago Theater Wurlitzer, W.
Strong Prod. WSP1, 1976 [organ]
Stuarti, Enzo/You Touched My Life, 51 West Q 16004, 1979
Sullivan, Ira/Peace, Galaxy GXY-5114, 1979 [jazz quintet]
Sullivan, KT/The Night They Invented Champagne, Prosody Records
796873013291, 2008
Sumi Jo/Only Love, Erato 8573-80241-2, 2000
Summer Squash/Of the Garden Wall, [n.l.], 8506X59-A, 8506X59-B, 1985
Swingle II/Lovin’ You: Vol. II: Words & Music, CBS S 81546, 1976
Syme, David/Play It Again, Syme, JB Records JB-1001-2, 1995 [piano]
Terfel, Bryn/Simple Gifts, Deutsche Grammophon DG 477 5919, 2005
Theatre Orchestra & Chorus/Best of Broadway [Vol. 1], Til Records,
1977
Thelin, Eje with E.T. Project/E.T. Project live at Nefertiti, Dragon DRLP
128, 1986 [trombone with inst.]
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428 Song Listing

Thomas, Mark & Christine Croshaw/Sounds of Gold, Golden Crest

Records RE7095, 1980 [flute and piano]
Thomas, Richard “Cookie”/The Pleasure of Your Company, Orchard 1168,
2000
Tiger Lillies, The/Circus Songs, Warner Classics 8573839212, 2001
Topilow, Carl & Arthur/Come in from the Cold Music to Warm Your Heart,
A&C Topilow [n.n.], 2001, 2002 [clarinet & piano]
Tormé, Mel/Tormé, A New Album, Gryphon Records G-916, 1980
Tormé, Mel/The London Sessions, Sandstone Music D233083-2, 1990
Treorchy Male Chorus/Music from Wales, Bandleader 12, 2000
Trip to the Circus, A, Silver Touch SS 10001, 1978
Tropman, Matt/Continuum, Summit Records DCD 279, 2000 [eupho-
nium with piano & percussion]
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Two For the Blues, Pablo 2310-905, 1984 [jazz combo]
Ulster County Band/1981 Ulster County Band Festival, Mark Custom
Recording Services MC-20123, 1981
University of Colorado Golden Buffalo Marching Band, University of
Colorado USR 9275, 1975
University of Utah Ute Marching Band, Meteor Sound, 1979
University of Utah A Capella Choir, 1979–80, Location Recording Ser-
vice CAV 0-2, 1980
Vail, Greg/Sax by Moonlight: Just the Way You Are, Delta Distribution
9006, 1997
Vaughan, Sarah/Send in the Clowns, Mainstream, 1974
Vaughan, Sarah and the Count Basie Orchestra/Send in the Clowns,
Pablo Records 2312-130, 1981
Vaughan, Sarah/Sarah Vaughn’s 20 Hits, Phoenix 20 P20-628, 1983
Vaughan, Sarah/A Foggy Day, Astan Music 20117, 1984
Vaughan, Sarah/Thanks for the Memory, Instant CD INS 5049, 1985
Vaughan, Sarah/The Divine One, Audiofidelity CRCD 2038 Chiaroscuro,
1985
Vaughan, Sarah/Sarah Vaughan in the City of Lights, Justin Time JTR
8474/5-2, 1999
Vegas East Big Band/Piece of the Action, Century Productions LP 520604,
LP33008, 198[?]
Venuti, Joe and Dave McKenna/Alone at the Palace, Chiaroscuro 160,
1977
Vondrackova, Helen/The Broadway Album, Supraphon LC 0358, 1993
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 429

Song Listing 429

Walters, Bill/I Wanna Sing Like You Know Who . . . , Jennifer Records JRC
98031, 1998
Warner, Evelyn/Here I Am, Wuppertaler Stadtwerke, 1999 [?]
Watson, Joan/“Songs My Mother Taught Me,” Peros Music Studios PM
0211-2, 1998 [horn]
Weedon, Bert/Blue Echoes, Polydor 2384095, 1977 [guitar with inst. en-
semble]
Werner, Bettan & Jan/Over the Rainbow and Other Musical Highlights,
Universal Music Norway 601215908428, 2000
Werner, Kenny/Beauty Secrets, BMG 74321-699042, 2000
West Coast Harmony Chorus/All Fired Up!, The Chorus [n.n.], 2003
Whittaker, Roger/Imagine, RCA Victor AFL1-3077, 1978
Whittaker, Roger/Evergreens, RCA C 234263, 1979
Whittaker, Roger/The Roger Whittaker Album, K-TEL International NE
1105, 1981
Whittaker, Roger/The Best of Roger Whittaker, Reader’s Digest RD6A
141, RDK 5355, 1983
Whittaker, Roger/The World of Roger Whittaker, Pair Records PDC2-
1212, 1988
Whittaker, Roger/You Are My Miracle, RCA Special Products DPC1-
0955, 1991
Whittaker, Roger/Feelings, RCA Victor/BMG Music 09026-61984-2, 1994
Whittaker, Roger/On Broadway, RCA Victor 9026-68305-2, 1995
Whitmore, Stan/Piano on Broadway, GreenHill GHD5009, 1994 [solo pi-
ano]
Wilk, Oystein/Too Many Mornings, see WILKO1
Williams, Darren/Encore!, [n.l., n.n.], 1999[?]
Williams, Darren/Showtime, see WILLIAMSDA1
Willner, Gary/Professional Sound Tracks, Pocket Songs PS 2570, 1997
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2
Wittenberg, Cindy Keller/Wander In/Silver, Wood & Ivory, Cindy Keller
Wittenberg [n.n.], 2002
Woodward, Edward/Love Is the Key, DJM records DJF 20495, 1977
Woodward, Edward/Feelings, Pickwick Music PWKS 4102P, [n.d.]
Wright, Danny/Black and White, Nichols-Wright Records NIW 101, 1986
[piano]
Wright, Danny/Healer of Hearts, Real Music RM5518, 2003 [piano]
Wright, Danny/The Best of Black and White, Moulin D’Orrecordis
NIW032, 2003 [piano]
Wright Big Band, The Steve/Nice ’n’ Easy, Jensen Pub. 603-14018 Dark
Orchid Records, 1983
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430 Song Listing

Yandall, Mary & Rodger Fox, Circular 11A, 11. 011, 1987
Young, Michael/Songs for My Friends, [n.l., n.n.], 2000
Young, Thomas/High Standards, Ess.A.Y Records CD1025, 1992
Zamfir, Gheorghe/Love Songs, Mercury 314 510 213-2, 1991 [panpipes
with orchestra]
Zemarel Dance Band, The Zim/The Swazze Sound of Zim Zemarel Dance
Band: featuring “Copacabana” and Other Favorites, Columbia C 35616,
1978

“Send in the Clowns (Reprise)” from A Little Night Music (1973)

LNMPVS duet a-b1 [both]
A Little Night Music Original Cast (Glynis Johns, Len Cariou), see LIT-
TLEN01
A Little Night Music London Cast (Jean Simmons, Joss Ackland), see LIT-
TLEN02
A Little Night Music Film (Elizabeth Taylor, Len Cariou), see LITTLEN03
A Little Night Music Studio Cast (Sian Phillips, Eric Flynn), see LIT-
TLEN04
A Little Night Music Royal National Theatre (Judi Dench, Laurence
Guittard), see LITTLEN05
A Little Night Music Barcelona Cast (Vicky Pena, Constantino Romero),
see LITTLEN06
A Little Night Music Broadway Revival Cast (Catherine Zeta-Jones,
Alexander Hanson), see LITTLEN07

“Senior Waltz” from By George (1946)

“Shaw” from the 2004 revised version of The Frogs

The Frogs Original Broadway Cast (Nathan Lane, Daniel Davis, Com-
pany), see FROGS2

“She Needs Me” cut from Ilya Darling (1967), music by Manos Hadjidakis

“Sheep’s Song” from 1974 production of Candide, music by Leonard Bern-

stein
CaPVS quartet a-b1/a-b1/a-e2/a-b1
Candide Revival (Becky McSpadden, Renee Semes, Jim Corti, Deborah
St. Darr), see CANDIDE01
Candide New York City Opera (Ivy Austin, Rhoda Butler, Robert
Brubaker, Maris Clement, Chorus), see CANDIDE02
Candide New Broadway Cast (Nanne Puritz, D’vorah Bailey, Seth
Malkin, Stacey Logan, Ensemble with Jim Dale), see CANDIDE05
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Song Listing 431

“Show Me” from Hot Spot (1963), music with Mary Rodgers, lyric with
Martin Charnin, [see also “Don’t Laugh”]
Hey, Love (Faith Prince), see HEYLOVE1

“Side by Side by Side” from Company (1970) [show versions include

“What Would We Do Without You?”]
CPVS, CVS2, CVS3 company number, CVS, HTSS solo version c1-e2
Company Original Cast (Dean Jones, Company), see COMPANY01
Sondheim: A Musical Tribute (Company), see SONDAMUST1
Side by Side by Sondheim (Millicent Martin, Julia McKenzie, David Ker-
nan, Ned Sherrin, and pianists), see SIDEBYS1
Side by Side . . . Australian Cast (Company), see SIDEBYS2
Songs of Sondheim Irish Cast (Company), see SONGSOFSOND1
Symphonic Sondheim (instrumental), see SYMPHONICSON1
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company London Revival Cast (Adrian Lester, Company), see COM-
PANY04
Company Revival Cast (Boyd Gaines, Company), see COMPANY05
A Gala Concert for Hal Prince (Company & Raier Wallraf), see GALA1
Sondheim: A Celebration (Julia McKenzie, Millicent Martin, David Ker-
nan), see SONDACEL1
Sondheim—A Celebration (The Company), see SONDACEL2 [with “Our
Time” and “Sunday”]
Hey, Mr. Producer! (David Kernan, Millicent Martin, Julia McKenzie,
Ned Sherrin, Stephen Sondheim), see HEYMRP
Sondheim Tonight (Company), see SONDTON1 [listed as “Finale”; includes
Sondheim]
Moving On (Company), see MOVINGON [with “I Do Like You,” “Old
Friends”]
Company Brazilian Cast (Claudio Botelho, Company), see COMPANY06
Company German Cast (Ensemble), see COMPANY07
Side by Side . . . Brazilian Cast (Company), see SIDEBYS3
Company Accompaniment CD (Miles Phillips, Company/accompani-
ment), see COMPANY08
Company Second Revival Cast (Raúl Esparza, Company), see COM-
PANY09
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Feliu, Nuria/Nuria de Nit, Hispavox Estel HHS 11-231/Hispavox 130
026, 1972
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Moore, Wayne & Brenda Silas Moore/What’s a Brayne & Wenda? Ducy
Lee Recordings DLR900103, 2000
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432 Song Listing

“Silly People” cut from A Little Night Music (1973)

ASII c1-f2
Sondheim: A Musical Tribute (George Lee Andrews), see SONDAMUST1
Marry Me a Little1 (Craig Lucas), see MARRYME1
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)
Chaffin, Philip/Warm Spring Night, PS Classics 527, 2005
Eichorn-Young, Susan/Taking My Turn, see EICHORNS1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
Orquestra De Cambra Teatre Lliure/Stephen Sondheim, see ORQUESTRADE-
CAM1
Wilson, Lambert/Musicals, see WILSONL1
Young, Susan Eichorn/Taking My Turn, see YOUNGSU1

“Simple” from Anyone Can Whistle (1964) [waltz section originally private
birthday song for Mary Rodgers]
ACWPVS company number
Anyone Can Whistle Original Cast (Angela Lansbury, Harry Guardino,
Gabriel Dell, Larry Roquemore, Janet Hayes, Harvey Evans, Lester
Wilson, James Frawley, Arnold Soboloff, Ensemble), see ANYONE1
Anyone Can Whistle Live at Carnegie Hall (Scott Bakula, Walter Bobbie,
Madeline Kahn, David Lowenstein, Donna Lee Marshall, Harvey
Evans, Francis Ruvivar, Chip Zien, Ensemble), see ANYONE2

“Singing Out Loud” for Singing Out Loud (1992–93, unproduced)

“Small World” from Gypsy (1959), music by Jule Styne

GPVS f-a1 [+ duet at very end], GVS b-e2
Gypsy Original Cast (Ethel Merman, Jack Klugman), see GYPSY01
Herb Geller and His All-Stars play selections from Gypsy (Barbara
Lang), see GELLERH
Gypsy Film (Rosalind Russell, Lisa Kirk, Karl Malden), see GYPSY02
David Merrick Presents Hits from His Broadway Shows (John Gary), RCA
Victor LPM-2947/LSP-2947, 1964
Gypsy London Cast (Angela Lansbury, Barrie Ingham), see GYPSY03
Gypsy Revival Cast (Tyne Daly, Jonathan Hadary), see GYPSY04
Gypsy TV Cast (Bette Midler, Peter Riegert), see GYPSY05
Celebrating Gypsy . . . (Libby Morris), see CELEBRATGYP
Selections from “Gypsy” and “Flower Drum Song” (Florence Henderson),
see GYPSY08
Kay Medford in “Gypsy” (Kay Medford, Jimmy Blackburn), see GYPSY09
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Song Listing 433

Gypsy 2003 Revival Cast (Bernadette Peters, John Dossett, MacIntyre

Dixon), see GYPSY10
Gypsy 2008 Revival Cast (Patti LuPone, Boyd Gaines), see GYPSY11
Bailey, Pearl/Come on Let’s Play with Pearlie Mae, Roulette (S)SR-25181,
1964
Bryant, Anita/Anita Bryant, Carlton (S)118, 1960
Chacksfield, Frank/Lawrence of Arabia, London LL-3298, (S)PS-298, 1964
Clary, Robert/Sings Harry Warren & Jule Styne, Original Cast 6040, 2005
[with “You’ll Never Get Away from Me” & “Together Wherever We
Go”]
Comstock, Eric/No One Knows, Harbinger HCD-2201, 2004
Crawford, Jesse/Sound of Jesse Crawford, Decca (S)DL7-4028, 1962
Damme, Art Van/Everything’s Coming Up Music, Columbia CL-1382,
(S)CS-8177, 1960
Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see
FEINSTEIN1
Fields, Gracie, Decca F 11561, [n.d.]
Fisher, Eddie/Tonight with Eddie Fisher, Ramrod (S)ST-6002, 1962
Four Aces/Hits from Broadway, Decca (S)DL7-8855, 1959
Four Aces/Four Aces Sing, Decca (S)ED7-2665, 1960
Gary, John/David Merrick Presents Hits from His Broadway Hits, Victor
LPM/(S)LSP-2947, 1964
Gary, John/John Gary on Broadway, RCA Victor LPM-3928, 1968
Gorme, Eydie/Sound of Music, Columbia CL-2300, (S)CS-9100, 1966
Gorme, Eydie/ . . . Sings Great Songs from The Sound of Music and Other
Broadway Shows, see GORMEE1
Harris, Margaret Wakeley/Quality Times, Original Cast 9855, 1998
Henderson, Florence/Selections from Gypsy and Flower Drum Song, see
HENDERSONF1
Hi-Lo’s, The/Broadway Playbill, see HILOS
Horne, Lena/ . . . At the Sands, RCA Victor LPM 2364, 1961 [in medley]
Horne, Marilyn/The Men in My Life, RCA Victor CD 9026-62647-2, 1994
(duet with Spiro Malas)
King, Wayne/Listening Time, Decca (S)DL7-8972, 1960
Kral, Irene/Where Is Love?, Candid Choice CHCD71012, 1974/1996
[with “A Time for Love”]
Lawrence, Steve/Lawrence Goes Latin, United Artists UAL-3114,
(S)UAS-6114, 1962
Lawrence, Steve/Steve Lawrence Conquers Broadway, United Artists
UAL-3368, (S)UAS-6368, 1966
MacKenzie, Gisele/ . . . In Person at the Empire Room of the Waldorf-
Astoria, Everest LPBR 5069, 1960; Collectables COL-CD-0852, 2006 [in
medley]
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434 Song Listing

Martin, Tony/Days of Wine and Roses, Chrysallis (S)CLS-100, 1964

Mathis, Johnny, Columbia 45rpm 4-41410, 1959
Mathis, Johnny/You Are Everything to Me, Columbia 33rpm (S)7-30410,
1959
Mathis, Johnny/More Johnny’s Greatest Hits, Columbia CL-1344, (S)CS-
8150, 1959
Mathis, Johnny/Golden Dozen (Best of Jule Styne), Columbia CL-1462,
1960
Mathis, Johnny, Columbia 45rpm 4-33056, 1964
Mathis, Johnny/The Great Years, Columbia C2L-34, (S)C2S-834, 1964
McKenzie, Rita/Ethel Merman’s Broadway, see MCKENZIER1
Melis, Jose/Jose Melis on Broadway, Mercury MG-20610, (S)SR-60610,
1962
Merman, Ethel/Merman in Vegas, Reprise R9-6062, 1962
Merman, Ethel/A Gala Tribute to Joshua Logan, [n.l.]
Merman, Ethel/Mermania!, see MERMANE1 [2 versions, 1 in medley]
Molaskey, Jessica/A Good Day, PS Classics CD311, 2003
Mozian, Roger King/Spectacular is the Sound of It, MGM (S)SE-3883,
1962
O’Connell, Helen/Era Reborn, Cameo (S)SC-1045, 1964
O’Shaughnessy, Carol/Live at Scullers, Songkeepers 001, 2000 [with
“Everything’s Coming Up Roses”]
Pringle, Anne & Mark Burnell/Little Things We Do Together, Spectrum
SR003, 2000
Ross, Annie/Gypsy, see ROSSANNIE
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Sherwood, Roberta/Live Performance, Decca (S)DL7-4100, 1962
Smith, Ethel/Sound of Music, Decca 45rpm 9-25518, 1962
Smith, Ethel/Ethel Smith on Broadway, Decca (S)DL7-8993, 1962
Styne, Jule/My Name Is Jule, see STYNEJ1
Suzuki, Pat/Looking at You, Victor (S)LSP-2186, 1960
We Five, A&M 45rpm 770, 1966
We Five/You Were on My Mind, A&M (S)4-111, 1966
Wilson, Nancy/Live from Las Vegas, EMI Music Distribution
3118012/Capitol/EMI Records 75938, 2005

“Smile, Girls” cut from Gypsy (1959), music by Jule Styne

Gypsy 2008 Revival Cast (Patti LuPone), see GYPSY11

“So Happy (Act II Opening, Part II)” from Into the Woods (1987)
ITWPVS company number
Into the Woods Original Cast (Tom Aldredge, Company), see INTOTHE1
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Song Listing 435

Into the Woods London Cast (Nicholas Parsons, Company), see INTOTHE2
Into the Woods Revival Cast (John McMartin, Company), see INTOTHE3
Into the Woods/Boscos Endins Original Barcelona Cast (Ferran Frauca,
Company), see INTOTHE5

“So Many People” from Saturday Night (1954)

ASII, SNVS solo version b-e2
Sondheim: A Musical Tribute (Susan Browning, Jack Cassidy), see SOND-
AMUST1
Marry Me a Little1, 5 (Suzanne Henry, Craig Lucas), see MARRYME1
Stage1/how I love you (Richard True, Michael Fawcett), DINK Records
DIDX 037070, 1996
Saturday Night Bridewell Cast (Anna Francolini, Sam Newman), see
SATURDAYN1
Saturday Night Original New York Cast (Lauren Ward, David Camp-
bell), see SATURDAYN2
The Stephen Sondheim Album (Tami Tappan), see STEPHENSA1
Moving On (Company), see MOVINGON [with “Loving You,” “Not a Day
Goes By”]
Simply Sondheim (Amy Dondy), see SIMPLYSOND1 [in medley]
Abernathy, John/Live Out Loud!, John Abernathy 884501220606, 2009
[with “Loving You”]
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Bergman, Anna/Souvenír, LML CD-147, 2002
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (Malcolm Gets), see
COOKB1 [with “Another Hundred People”]
Cook, Barbara/Barbara Cook at the Met, see COOKB2 [with “Another Hun-
dred People”]
Duchak, Roberta/Intersections, [n.l.] 37101 30645, 2007
Ebersole, Christine/Sunday in New York, Ghostlight Records 8-3310,
2008
Gets, Malcolm see Cook, Barbara/Barbara Cook Sings Mostly Sondheim
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Mackay, Meg/So Many People, On Stage Music BP1234, 1994
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
McKinley, Bill/Everything Possible, Everything Possible EPCD922-0,
1992
Molaskey, Jessica/Make Believe, PS Classics CD22, 2004
Orquestra De Cambra Teatre Lliure/Stephen Sondheim (Nina), see
ORQUESTRADECAM1
Patinkin, Mandy/Experiment, see PATINKIN3
Quade, Verity & Robert Archibald/A Different Kind of Love, [n.l., n.n.,
n.d.] [with “Fallin’”]
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436 Song Listing

St. George, Elaine/That Old Fashioned Love, Two E Music TEM002, 2004
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2

“Social Dancing” added to the 1987 London production of Follies

Follies London Cast (Company), see FOLLIES03

“Soldiers and Girls” cut from Sunday in the Park with George (1984), [see
also “The One on the Left”]

“Soldier’s Gossip (Scenes 8, 10 & 11)” from Passion (1995)

PPVS company numbers
Passion Original Cast (Francis Ruivivar, George Dvorsky, Cris Groenen-
daal, Marcus Olson, William Parry), see PASSION1
Passion London Concert (Michael Cantwell, Simon Green, Michael
Dove, Nigel Williams), see PASSION3
Passion Dutch Cast (Alberto ter Doest, Bert Simhoffer, Jurko van Vee-
nendaal, Jochem Feste Roozemond, Richard Spijkers, ensemble), see
PASSION4

“Some People” from Gypsy (1959), music by Jule Styne

GPVS, GVS2 g-c2, GVS c1-e2, SSS b-d2
Gypsy Original Cast2 (Ethel Merman), see GYPSY01
Gypsy Film (Rosalind Russell, Lisa Kirk), see GYPSY02
Gypsy London Cast (Angela Lansbury), see GYPSY03
Gypsy Revival Cast (Tyne Daly), see GYPSY04
Gypsy TV Cast (Bette Midler), see GYPSY05
A Broadway Celebration, see BROADWAYCEL
Celebrating Gypsy . . . (Libby Morris), see CELEBRATGYP
Gypsy German Cast (Angelika Milster), see GYPSY07
Selections from “Gypsy” and “Flower Drum Song” (Florence Henderson),
see GYPSY08
Kay Medford in “Gypsy” (Kay Medford), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters, William Parry), see GYPSY10
Bravo Broadway II (Debbie Gravitte), see BRAVOBROAD2
Gypsy 2008 Revival Cast (Patti LuPone), see GYPSY11
Akers, Karen/Simply Styne, DRG 91506, 2008 [with “I’ve Heard That
Song Before” Suite]
Andreas, Christine/Here’s to the Ladies, PS Classics 208, 2002
Arthur, Bea/Bea Arthur on Broadway . . . Just Between Friends, DRG 12993,
2002
Bailey, Jim/Voices, DCC Compact Classics DZS-164, 1998
Baron, Miriam/Listen, Miram Baron 101, 1998
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Song Listing 437

Billings, Alexandra/Being Alive, Southport S-SSD 0080, 2000

Clooney, Rosemary, The Les Brown Orchestra with/Sweet Sounds,
Sounds of Yester Year 600, 2002
Eder, Linda/Broadway, My Way, Atlantic 83580-2, 2003
Garland, Judy/Just for Openers, Capitol (S)DW-2062, 1964, M-12034,
[1988]
Garland, Judy/Judy Garland Live!, Capitol CDP 7923432, 1989
Gravitte, Debbie/Defying Gravity, JAY Records CDJAY 1393, 2006
Henderson, Florence/Selections from Gypsy and Flower Drum Song, see
HENDERSONF1
Hines, Mimi/Mimi Hines is a Happening, Decca (S)74834, 1967, reissued
as The Mimi Hines Albums, Cabaret Records CD 5017-2, 1995
Horne, Lena/Lena at the Sands, RCA Victor LPM/(S)LSP-2364, 1961 [in
medley]
Lamond, Toni/ . . . At the School of Arts Café, Larrikin LRF 369, [n.d.]
Lewis, Monica/ . . . Swings Jule Styne, DRG 802, 1991
McKenzie, Rita/Ethel Merman’s Broadway, see MCKENZIER1
Merman, Ethel/Ethel’s Ridin’ High, Decca/London PS 909, 1974
Merman, Ethel/The Disco Album, A&M Records SP-4775, 1979
Merman, Ethel/Ethel Merman at Carnegie Hall [n.l.]
Merman, Ethel/Mermania!, see MERMANE1
Minnelli, Liza/Liza Minnelli at Carnegie Hall, Telarc CD-85502, 1987
Minnelli, Liza/Liza Minnelli Live at Carnegie Hall, CALTEL, 1981
Minnelli, Liza/Aznavour/Minnelli: Paris-Palais . . . , see MINNELLI1
Minnelli, Liza/Liza Live from Radio City Music Hall, Columbia CD 7464-
53169-2, 1992
Minnelli, Liza/Liza’s Back, J Records 80813-20045-2, 2002
Minnelli, Liza/Life is a Cabaret—The Very Best of Liza Minnelli, Sony
507808 2, 2002
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Prince, Faith/A Leap of Faith, DRG 91460, 2000 [incomplete]
Ross, Annie/Gypsy, see ROSSANNIE
Styne, Jule/My Name Is Jule, see STYNEJ1
Syms, Sylvia/Torch Song, Koch KOC-CD-7936, 1997 [previously avail-
able only as a Columbia 45rpm single, 1959]; reissued on The Colum-
bia Years, Collectibles [n.n], 2003
Whitfield, Weslia/Weslia Whitfield Live in San Francisco, Landmark
LCD-1531-2, 1991

“Someone in a Tree” from Pacific Overtures (1976)

POPVS company number
Pacific Overtures1 Original Cast (James Dybas, Mako, Gedde Watanabe,
Mark Hsu Syers), see PACIFICOVER1
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438 Song Listing

Sondheim (Book-of-the-Month) (instrumental), see SOND1

A Stephen Sondheim Evening (Bob Gunton, George Hearn, Steven Jacob,
Cris Groenendaal), see STEPHENSE1
Pacific Overtures English National Opera (Eric Roberts, Richard Angas,
Harry Nicoll, Alan Woodrow), see PACIFICOVER2
Sondheim: A Celebration (Deborah Nishimura, Sab Shimono, Gedde
Watanabe), see SONDACEL2
Pacific Overtures New Broadway Cast (Alvin Y. F. Ing, B. D. Wong, Telly
Leung, Evan D’Angeles), see PACIFICOVER3

“Someone Is Waiting” from Company (1970)

CPVS c1-f2 [+ chorus], CVS, SCCH c1-f2, CVS2, CVS3 b-e2
Company Original Cast (Dean Jones and the Vocal Minority), see COM-
PANY01
Sondheim: A Celebration at Carnegie Hall (Richard Muenz), see SONDA-
CELATC1
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company Revival Cast (Boyd Gaines), see COMPANY05
Company London Revival Cast (Adrian Lester), see COMPANY04
Moving On (Company), see MOVINGON [with “Multitudes of Amys,”
“No, Mary Ann,” “Johanna”]
Company Brazilian Cast (Claudio Botelho), see COMPANY06
Company Accompaniment CD (Miles Phillips/accompaniment), see
COMPANY08
Company Second Revival Cast (Raúl Esparza), see COMPANY09
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1
Patinkin, Mandy/Experiment, see PATINKIN3
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Wilk, Oystein/Too Many Mornings, see WILKO1

“Someone Like You” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS e1-f2, DIHVS d1-e2
Do I Hear a Waltz? Original Cast (Sergio Franchi), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Anthony Crivello,
Alyson Reed), see DOIHEAR2
Franchi, Sergio/Songs of Richard Rodgers, Victor (S)LSP-3365, 1966

“Someone to Trust” cut from Bounce (2003)

“Someone Woke Up” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS a-b1
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Song Listing 439

Do I Hear a Waltz? Original Cast (Elizabeth Allen, Ensemble), see DOI-

HEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed, Eddy
Martin), see DOIHEAR2

“Something Just Broke” added to the 1992 London production of Assas-

sins
APVS company number [included in reprint, also published as separate
number Warner Bros. VS6153]
Assassins Broadway Cast (Ensemble), see ASSASSINS2

“Something’s Coming” from West Side Story (1957), music by Leonard

Bernstein
BOB, BSBA, SS, WSSVS d1-f2, WSSPVS e1-g2
West Side Story Original Cast2 (Larry Kert), see WESTSIDE01
West Side Story film (Jim Bryant), see WESTSIDE02
West Side Story Studio Cast (José Carreras), see WESTSIDE03
Bernstein on Broadway (Peter Hofmann), see BERNSTEINON1
West Side Story Studio Cast London (Michael Ball), see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Paul Manuel), see
WESTSIDE05
West Side Story, The Songs of (All 4 One), see WESTSIDE06
West Side Story London Studio Cast (David Holliday), see WESTSIDE09
West Side Story Original Score (Mike Eldred), see WESTSIDE10
Broadway Unplugged 4 (Aaron Lazar), see BROADWAYUNPL4
West Side Story Broadway Revival (Matt Cavenaugh), see WESTSIDE11
Abernathy, John/Look Straight Ahead, John Abernathy 786851106824, 2005
Addinsall, Beven & Matt Hetherington/Musically Speaking, Addinsall
Entertainment 887875645532, 2002
Ball, Michael/The Musicals, see BALLM1
Ball, Michael/I Dreamed a Dream, Spectrum/Universal International
67873, 2003
Bassey, Shirley/Broadway Bassey’s Way, EMI SHZE 371/Columbia SCX-
6515, 1972
Bassey, Shirley/Shirley Bassey Stops the Shows, EMI BGOCD826, 2008
Black, Stanley/Broadway Blockbusters, London (S)SP-44088, 1967
Buckley, Betty/An Evening at Carnegie Hall, see BUCKLEYB3
Buckley, Betty/Quintessence, see BUCKLEYB4
Burton, Gary/Something’s Coming, Victor (S)LSP-2880, 1965
Carl, Christopher & Brian Lane Green/Truly Human, Umano CD-4928,
2000
Connelli, Judi/Judi Connelli Live in London, see CONNELLI2 [with “Where
is It Written” & “The Way He Makes Me Feel”]
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440 Song Listing

Connor, Chris & Maynard Ferguson/Two’s Company, Roulette (S)SR-

52068, 1961; CD: CDP 7243 8 37201 2 5, 1996
Connor, Chris/’S Wonderful, Blue Moon BMCD 3074 (rec. 1963) 1998[?]
Connor, Chris/At the Village Gate, Roulette Records 71346, 2006; Toshiba
EMI 6880, 2007
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (sung by Malcolm
Gets), see COOKB1 [with “Tonight”]
Cook, Barbara/No One is Alone, see COOKB3
Corey, Jill & Billy Maxted’s Manhattan Jazz Band/Let’s Go to Town,
Sounds of Yester Year DSOY795, 2009
Cousens, Peter/Corner of the Sky, First Night OCRCD 6043, 1994
Cousens, Peter/A Life on Earth, Middle Eight PCG-01, 2001 [Australian]
[with “Tonight”]
Damone, Vic/On the Street Where You Live, see DAMONE1
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
Davis Jr., Sammy/Sammy Davis Jr. Belts the Best of Broadway, Reprise
(S)R9-2010, 1961
Davis Jr., Sammy/What Kind of Fool Am I?, Reprise (S)R9-6051, 1963
Davis Jr., Sammy/The Great Sammy Davis Jr., Columbia PCT 11299,
198[?]
Dee & Tee, Coral 45rpm 62057, 1967
Desmond, Trudy/Make Me Rainbows, Koch Jazz KOC 3-7803, 1995
Evingson, Connie/I Have Dreamed, Minnehaha Music MM2001, 1995
Fisher, Eddie/ . . . At the Wintergarden, Ramrod Records RR1-2, Taragon
TARCD-1054, 1962, 69 [with “Maria” and “Tonight”]
Ford, Anne Kerry/Something Wonderful, see FORDA1
Frangoulis, Mario/Short Stories: The Acropolis Concert, Balboa Recording
Corp. 89552, 2002 [with “Maria” & “Tonight”]
Freeman, Ethan/Is This Home?, Sound of Music [n.n.], 2008
Garland, Judy/Judy Garland Live!, Capitol CDP 7923432, 1989
Garland, Judy/Judy Duets (with Vic Damone), see GARLAND [in West
Side Story medley]
Group, The/The Group, Victor (S)LSP-2663, 1963
Hi-Lo’s, The/The Hi-Lo’s and All That Jazz, Columbia CL-1259, (S)CS-
8077, 1960
Johnson, J. J./Broadway Express, Victor (S)LSP-3544, 1967
Kert, Larry/Larry Kert Sings Leonard Bernstein, Seeco CE-467, (S)CES-
4670, 1964
Kert, Larry/Spotlight on Larry Kert, see KERTL1
King’s Singers, The/The King’s Singers Believe in Music, Columbia/EMI
SCX 6637, 1981; Angel Records CDC-49117, 1987
LaBrecque, Doug/Opening Doors, Jay Records CDJAY 1388, 2005
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Song Listing 441

Lawrence, Carol/Tonight at 8:30, see LAWRENCEC

Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANS-
FIELDM1
Mason, Karen/Not So Simply Broadway, Second Hearing GS 9015, 1986;
Zeverly Records 9537, 1997
Masse, Laurel/Again, Disques Beaupre DB820C, 1990
Mathis, Johnny/The Shadow of Your Smile, Mercury 21073, (S)61073, 1966
Mathis, Johnny/The Global Collection, Columbia/Legacy 64894, 1997
McDermott, Sean/My Broadway, see MCDERMOTTS1
McVey, J. Mark/Broadway and Beyond, Marimach MP1-970601, 1997
Metzger, Derek/Me and My Songs, BMG METCD001, 1996
Michael, Tom/Written in the Stars, LML CD-157, 2002 [with “There’s
Gotta Be Something Better Than This”]
Migenes, Julia/Live at the Olympia, see MIGENES1
Mitchell, Brian Stokes/Brian Stokes Mitchell, see MITCHELLBS1
O’Connell, Kevin J./Kevin J. O’Connell, Orchard 1402, 1999
O’Connor, Jeanne/Something’s Coming, Perldisc 810, 2007
Orchestra Manhattan (Byron Olson)/Digital Broadway (1986), see OR-
CHESTRAMAN1 [instrumental]
Pachl, Connie/Coming Through, Thoroughbred Records TBR 1[?]1,
[n.d.]
Paige, Elaine/Essential Musicals, Universal 2006
Patinkin, Mandy/Experiment, see PATINKIN3
Richards, Ann/Many Moods of Ann Richards, Capitol (S)ST-1406, 1960
Ross, Edmundo/Broadway Goes Latin, London LL-3277, (S)PS-277
Schlongs/Punk Side Story (Andrew Asp), see SCHLONG1
Sommers, Joanie/Let’s Talk About Love, Warner Bros. (S)WS-1474, 1962
Steele, Tommy/Everything’s Coming Up Broadway, Liberty LRP-3426,
(S)LST-7426, 1965
Storm, Rebecca/We Never Said Goodbye, Shearer Music Ltd.
5030822000488, 1997
Streisand, Barbra/The Broadway Album, see STREISAND1
Streisand, Barbra/One Voice, CBS Inc. CK 40788, 1987
Streisand, Barbra/Timeless (with Lauren Frost), see STREISAND3
Tanner, Tony/Something’s Coming!, Audio Fidelity AFLP 2171, 1967
Testani, Grace/Something’s Coming, Grace Note Productions [n.n.], 2006
Toro, Natalie/Natalie Toro, see TORON1
Utopia/Another Live, JVC Compact Discs 64209, (1975)/2008
Valente, Caterina/I Happen to Like New York, London LL-3362, (S)PS-
362, 1964; Dutton Vocalion UK 4193, 2004
Warren, Fran/Something’s Coming, Warwick (S)ST 2012, 1960
Welch, Helen/One Dream, Big Wow Productions BWP25, 2007 [with
“Somewhere”]
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 442

442 Song Listing

Williams, Darren/Something’s Coming, [n.l., n.n., n.d.]

Williams, Darren/Showtime, see WILLIAMSDA1
Yes/Yes [Bonus Tracks], Elektra/Rhino 73786, (1969)/2003

“Somewhere” from West Side Story (1957), music by Leonard Bernstein

BOB, WSSPVS b-f2, BSBA, BSC, SSS, WSSVS b-f2
West Side Story Original Cast (Reri Grist, Ensemble), see WESTSIDE01
West Side Story film (Jim Bryant, Marni Nixon), see WESTSIDE02
West Side Story Studio Cast (Marilyn Horne), see WESTSIDE03
Bernstein on Broadway (Debbie Sasson), see BERNSTEINON1
Jerome Robbins Broadway (Dorothy Benham, Christophe Caballero, En-
semble), see JEROMER1
West Side Story Studio Cast London (?), see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Sally Burgess), see
WESTSIDE05
West Side Story Studio Cast Leicester Haymarket (Paul Manuel, Tinuke
Olafimihan), see WESTSIDE05 [Motion Picture Version]
West Side Story, The Songs of (Aretha Franklin), see WESTSIDE06
West Side Story, The Songs of (Phil Collins), see WESTSIDE06
Leonard Bernstein’s New York (Dawn Upshaw), see LEONARDB1
West Side Story, Dave Grusin presents (Jon Secada), see WESTSIDE07
Afterglow (Tom Waits), Sony 2BTU, 1998
The 3 Divas (Judi Connelli, Suzanne Johnston, Jennifer McGregor), CDP
2000/DIVA003-1, 2000
West Side Story Original Score (Michelle Prentice), see WESTSIDE10
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Broadway Unplugged 4 (Sarah Uriate Berry), see BROADWAYUNPL4
West Side Story Broadway Revival (Nicholas Barasch, Matt Cavenaugh,
Josefina Scaglione, Company), see WESTSIDE11
Adams, Johnny/The Tan Canary: New Orleans Soul 1973–1981, Shout 36,
2007
Agawa, Yasuko/Tea for Two, JVC Compact Discs 60114/63035, 1997/
2008
Akers, Karen/If We Only Have Love, DRG 91483, 2004 [with “I Have a
Love”]
Ames, Ed/Opening Nights, Victor (S)LSP-2781, 1964
Ames, Ed/Time for Living, A Time for Hope, Victor (S)LSP-4128, 1970
Andrew, Leo/A World of Possibilities, [n.l.] LAVW 1, 2001
Astley, Rick/Portrait, BMG 31187, 2006
Aznavour, Charles/Of Flesh and Soul, Monument (S)18130, 1970
Ball, Michael/Songs of Love, Sony Music Distribution 492988, 2001
Barry, Len/The Very Best of Len Barry, Taragon Records 1004, 1995
10_347 z3 Songlisting_10_347 z3 Songlisting.qxd 8/12/10 3:07 PM Page 443

Song Listing 443

Barry, Sis/Too Smart (For My Own Good), Colpix 45rpm 796, 1963
Barry, Len, Decca 45rpm 62336, 1966
Bassey, Shirley/Shirley Bassey Belts the Blues, United Artists UAL-3419,
(S)UAS-6419, 1965
Bassey, Shirley/Shirley Bassey in Person, United Artists UAL-3463,
(S)UAS-6463, 1967
Bassey, Shirley/Shirley Bassey Stops the Shows, EMI BGOCD826, 2008
Berglund, Eric/Somewhere, Oreade Music 60692, 2002
Black, Ben/Remembered Face/Private Places, Origin Records 82387, 2003
Blackwell, Harolyn/A Simple Song: Blackwell Sings Bernstein, see BLACK-
WELL1
Borchert/Thomas/Strictly Musical Live, SoulMadeRecords, 2009
Boyd, Neal E./My American Dream, Decca 001289702, 2009
Brightman, Sarah/Sarah Brightman in Concert, WEA 428571, 2008
Brothers Four, Columbia 45rpm 4-43211, 1965
Brothers Four/Honey Wind Blows, Columbia CL-2305, (S)CS-9105, 1965
Bryant, Kimilee/My Favorite Things, Kimilee Bryant [n.n.], 2008
Butler, Henry/Fivin’ Around, MCA Records MCAD-5707, 1986
Campbell, Glen/Glen Campbell: Live, Beat Goes On 790, (1969)/2008
Campbell, James, Gene Di Novi, Dave Young/Manhattan Echoes, Mar-
quis Records 81267, 2000
Cant, Donald/Donald Cant, see CANTD1
Carreras, Jose/Amigos para Siempre: Friends for Life: Romantic Songs of the
World, Atlantic 82413-2, 1992
Carse, Steph/Reach Out, Cargo Records 4318, 2006
Cedeno, David/Put a Little Salsa in Your Life, Mambo Maniacs Records
5002, 2003
Celtic Woman/Celtic Woman [Bonus Tracks], Angel Records [n.n.], 2005
Church, Charlotte/Enchantment, Columbia CK 89710, 2001
Cook, Barbara/All I Ask of You, DRG 91456, 1999
Couch, Danny/Something to Remember, Danny Couch Records 002,
2003
Cramer, Floyd/Here’s What’s Happening, Victor (S)LSP-3746, 1967
Crawford, Michael/Songs from the Stage & Screen, see CRAWFORDM1
Curtis, King/Instant Groove, Atco (S)293, 1970
D’Rone, Frank/Brand New Morning, Cadet (S)806, 1970
Darin, Bobby/Venice Blue, Capitol ST2322, [n.d.]
Darin, Bobby/West Side Story, see DARIN1
Davidson, John/My Best to You, Columbia CL-2648, (S)CS-9448, 1967
Diddley, Bo/Bo Diddley is a Gunslinger, Checker 2977, 1961
Domingo, Placido & Paloma San Basilio/Por Fin Juntos, Capitol Records
42624, 1991
Domingo, Placido/The Broadway I Love, see DOMINGO1
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444 Song Listing

Domingo, Placido & Renee Fleming/Star-Crossed Lovers, Decca 460 793-

2, 1999
Douglas, Mike/It’s Time for Mike Douglas, Epic LN-24169, (S)BN-26169,
1965
Drake, Alfred/Alfred Drake & Roberta Peters Sing the Popular Music of
Leonard Bernstein, see DRAKEA
Dudley, Dave/George, Mercury (S)61242, 1970
Duprees, The/Today, Collectables Records 8699, 2008
Escorts, Coral 45rpm 62336, 1963
Faithfull, Marianne/Easy Come Easy Go, Naïve (France) 81441, 2008
Feinstein, Michael/Michael Feinstein with the Israel Philharmonic Orches-
tra, Concord Records CCD-4987-2, 2001
Four Seasons/Four Seasons Entertain You, Phillips PHM-200164, (S)PHS-
600164
Franklin, Aretha/Hey Now Hey (The Other Side of the Sky), Atlantic [n.n.],
1973; Rhino Atlantic [n.n.], 2008
Gary, John/Choice, Victor LPM/(S)LSP-3501, 1966
Garland, Judy/Judy Duets (with Vic Damone), see GARLAND [in West
Side Story medley]
Garrick, David/The Pye Anthology, Castle Music Ltd. 72216, 2002
Gott, Karel/Kdyz Muz Se Zenou Snídá: Rarity, Supraphon 5950, 2009
Goulet, Robert/Traveling On, Columbia CL-2541, (S)CS-9341, 1967
Guest, Rob/Standing Ovation, EMI Music (Australian Group) 7986212,
1991 [in medley]
Hall, Vince/Vince Hall at the Club, Tower (S)DT-5064, 1967
Holmes, Jerry/Jerry Holmes Dramatic New Voice, Warner Bros. (S)WS-
1593, 1965
Horne, Lena/Lena in Hollywood, United Artists (S)6470, 1966; CD: EMI
Records E2-37394, 1996
Horne, Marilyn/The Men in My Life, RCA Victor CD 9026-62647-2, 1994
Hyland, Brian/Brian Hyland, Fontana/Hip-O Select 000288102,
(1970)/2006 [with “Maria”]
Il Divo/Siempre, Syco/Columbia 702673, 2006
Imogen Children’s Chorale/Australian Sunset, Larrikin 364, 1995
Intimate Broadway/My Favorite Things, Intersound 8311, 1996
Itoh, Kimiko/For Lovers Only, Sony Music Distribution 1010, 1987
Itoh, Kimiko/At Montreaux Music Festival, One Voice 1029, 1998; Video
Arts 1029, 2005
Ivir, Jasna/Musical Diva Delights, Jankowski JST 298, 1995
James, Etta/All the Way, RCA Victor 79147, 2006
Jenkins, Katherine/Rejoice, Decca 001264702, 2009
Jöback, Peter/Storybook, [n.l., n.n.], 2004
Jones, Jack/If You Ever Leave Me, Victor (S)LSP-3969, 1968
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Song Listing 445

Jolley, Willie/Money Making Music and Minutes, Somersault 100542,

2007
Kelly, Nancy/Live Jazz, Amherst Records AMH-93317, 1990
Kert, Larry/Larry Kert Sings Leonard Bernstein, Seeco CE-467, (S)CES-
4670, 1964
Kert, Larry/Spotlight on Larry Kert, see KERTL1
King Richard’s Fluegel Knights/Knights on Broadway, MTA (S)5008,
1970
King Sisters/New Sounds of the Fabulous King Sisters, Warner Bros.
(S)1647, 1967
Knight, Bob/Memories, Four Josie 45rpm 899, 1963
Köhler, Barbara/Laziest Girl, GEMA LC 05699, 2007
Kröger, Uwe/Musical Moments Vol. 2, SR International [n.n.], 2005 [with
“Home”]
Laine, Cleo/Themes, Sierra Records FEDC 2000, 1978[?]
Lee, Brenda/Coming on Strong, Decca (S)4825, 1967
Leeds, Len/From Law Suite to Love Songs, L&L Productions 1001, 2005
LeMel, Gary/Moonlighting, Atlantic 831782, 1999
Leyton, Jeff/Music of the Night, Linn AKD098, 1998
London’s Broadway Players/The Essential Broadway Musicals, Mirana
8504, 2008
Longthorne, Joe/The Christmas Album, Telstar 2385, 1993; Hallmark
Recordings (UK) 705292, 1994
Lymon, Frankie/Sweet & Lovely, Columbia 45rpm 4-43094, 1964
Lytle, Johnny/Sound of Velvet Soul, Solid State (S)18026, 1968
MacRae, Gordon/If She Walked into My Life, Capitol (S)ST-2578, 1967
Mann Singers, Johnny/Daydream, Liberty 3447, (S)7447, 1966
Marie, Kelly/Applause!, Pinacle CDKOPY 146, 2004
Martin, Felix/Musical Changes, EBM/Pool Music 4012772019735, 2001
[in medley with “Maria” and “Tonight”]
Martino, Al/This Is Love, Capitol (S)ST-2592, 1967
Mathis, Johnny/Tender is the Night, Mercury MG-20890, (S)SR-60890,
1964
Mattila, Karita/Wonderful, Ondine 848, 1995
Maxwell, Linn/Times Like This, Original Cast [n.n.], 2003 [hidden track]
May, Tina/Fun, 33Jazz Records 013, 1993
McClelland, Jean & Bill/At Long Last Love . . . (Jean McClelland), Muzen
3643, 2007
McDonald, Audra/How Glory Goes, Nonesuch 79580-2, 2000
McDonald, Jane/Inspiration, Universal Music TV 157 861-2, 2000
McKenzie, Julia/The Musicals Album, see MCKENZIEJ1
McNair, Sylvia & Daniel Kobialka/Silver Linings, Cymekob Records
802, 1995
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446 Song Listing

Mirettes/In the Midnight Hour, Revue (S)7205, 1970

Mitchell, Keith/Keith Mitchell Sings Broadway, Spark SPA-03, 1972
Mitchell, Rubin/Remarkable Rubin, Capitol (S)ST-2658, 1967
Monro, Matt/From Russia with Love, Liberty LRP-3356, (S)LST-7356,
1964
Monro, Matt/Heart of the Man, Night Owl Music, [n.l., n.n., n.d.]
Montgomery, Wes/Fusion, Riverside (S)RS9-472, 1964
Morgan, John/Baritone in Love, [n.l, n.n.], 2007
Mormon Tabernacle Choir/Curtain Up! Stage & Screen Show-Stoppers,
Sony Music Distribution 21480, (1978) 1995
Nash, Johnny, Atlantic 45rpm 2344, 1968
New Orleans Social Club, The/Sing Me Back Home (Henry Butler), BMG
31195, 2006
Newell, Norman/I Gave My Love a Flower, O:Epic 24323, (S)26323, 1968
Newton, Wayne/One More Time, MGM (S)4549, 1970
Nicholson, Carla & Michael/Just Duet, see NICHOLSONC1 [with “I Feel
Pretty” and “Tonight”]
Ofarim, Esther/Is It Really Me?, Phillips PHM-200185, (S)PHS-600185,
1966
Paul, Billy/Feelin’ Good at the Cadillac Club, Gamble (S)5002, 1970
Pet Shop Boys/Somewhere [UK CD Single #1], EMI Music Distribution
84296, 1998 [and reissued on several subsequent collections]
Peter & Gordon/Woman, Capitol (S)ST-2477, [n.d.]
Pieces of Eight/Falling Together, Orchard 802445, 2003
Poon, Richard/I’ll Take Care of You, Universal Distribution 5244, 2007
Price, Ray/Sweetheart of the Year, Columbia (S)CS-9822, 1970
Prior, Marina/Somewhere, see PRIORM1
Proby, P. J., Liberty 45rpm 55757, 1965
Proby, P. J./Somewhere, Liberty LRP-3406, (S)LST-7406, 1966
Ralston, Bob/Lawrence Welk Presents Bob Ralston, Raynote (S)8031, 1970
Reed, Vivian/Vivian Reed, Epic (S)26412, 1970
Reno, Ginette/Vocally Yours, Vol. 7–8, Melon-Miel 521, 2004
Reverte, Ana/A Mi Manera, Horus CD-08.388, 1999
Righteous Brothers/Standards, Verve (S)6-5051, 1968
Rokes, The/Let’s Live for Today: The Rokes in English 1966–1968, Rev-Ola
Records 262, 2008
Rossen, Stig/Love Changes Everything, see ROSSENS1
Russo, Renato/The Stonewall Celebration Concert, EMI Music Distribu-
tion 829850, 1998/2007
Russo, Renato/Para Sempre, EMI Music Distribution 34464, 2002
Schlongs/Punk Side Story (Andrew Asp), see SCHLONG1
Secombe, Harry & Moira Anderson/Golden Memories: A Treasury of 20
Unforgettable Love Songs, Warwick WW 5107, 1981
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Song Listing 447

Shaw, Ian/Ghostsongs, Jazz House Music 207, 2000

Shepard, Vicki/The Essential Vicki Shepard: Greatest Remixes and More,
Redzone Records 2002, 2002
Smith, Faryl/Faryl, Decca B00236AJ14, 2009
Spiritas, Kevin/Night and Days, Kritzerland KR 20010-5, 2007
Starlite Orchestra & Singers/The Best of Broadway, Intercontinental
Records 4018, 1997
Starr-Levitt, Megan/Beautiful Broadway, RJP Video Productions
899387001003, 2007
Stewart, Billy/Billy Stewart, Chess (S)1513, 1967
Storm, Rebecca/Broadway by Storm, Sony/BMG COL5109872, 1980/
2003
Strassen, Michael/Chasing the Clouds, Dress Circle, 1999
Streisand, Barbra/The Broadway Album, see STREISAND1
Streisand, Barbra/The Concert, Columbia C2K 66109, 1994
Streisand, Barbra/Timeless (with Lauren Frost), see STREISAND3 [with “I
Believe”]
Streisand, Barbra/Streisand Live in Concert 2006 (with Il Divo), Colum-
bia 88697019222, 2007
Stuarti, Enzo, Jubilee 78rpm/45rpm 5234, 1961
Sun Kil Moon/Ghosts of the Great Highway (Mark Kozelek), Caldo Verde
Records 004, 2007
Supremes, The/Motortown Revue in Paris, Tamla (S)264, 1966
Supremes, The/The Supremes Live at the Copa, Motown (S)636, 1966
Supremes, The/In Japan, Hip-O Select 000318402, 2004
Tate, Linda/We Belong Together, Southport Records 38, 1996
Temptations/In a Mellow Mood, Gordy (S)924, 1968
Toronto Children’s Choir/Songs of the Lights, Marquis Records 71253, 2000
Traits, Scepter 45rpm 12169, 1967
Tres Bien Quartet/Four of a Kind, Decca (S)7-4958, 1968
Tucker, Richard/What Now My Love?, Columbia ML-6295, (S)MS-6895,
1967
Turtle Creek Chorale/Family, Turtle Creek Chorale 1070, 1995
Vale, Jerry, Columbia 45rpm 4-43895, 1967
Vale, Jerry/More Jerry Vale’s Greatest Hits, Columbia CL-2659, (S)CS-
9459, 1967
Valente, Caterina/Valente and Violins, London LL-3363, (S)PS-363, 1964
Van Horn, John/Sky High, Moonglow 45rpm 225, 1963
Velasquez, Regine/Regine Live: Songbird Sings the Classics, Viva Records
00018, 2000
Vondrackova, Helen/The Broadway Album, Supraphon LC 0358, 1993
Waits, Tom/Blue Valentine, Elektra 7559603361, (1978)1985; Elektra Asy-
lum 162, 2006
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448 Song Listing

Warner, Evelyn/Here I Am, Wuppertaler Stadtwerke, 1999[?]

Warwick, Dionne/The Windows of the World, Scepter (S)SPS 563, 1968
Warwick, Dionne, Scepter 45rpm 21033, 1970
Warwick, Dionne/Greatest, Scepter (S)575, 1970
Warwick, Dionne/ . . . Sings the Standards, Connoisseur 30255, 1998
Watson, Russell/Encore, Decca 4703002, 2001
We Five, AAM 45rpm 800, 1966
We Five/Make Someone Happy, AAM (S)4-138, 1978
Welch, Helen/One Dream, Big Wow Productions BWP25, 2007 [with
“Something’s Coming”]
Werner, Bettan & Jan/Over the Rainbow and Other Musical Highlights,
Universal Music Norway 601215908428, 2000
Westenra, Hayley/Hayley Westenra, Universal International 14285, 2004
Weston, Kim/This is America, MGM (!)4561, 1970
Whittaker, Roger/On Broadway, RCA Victor 9026-68305-2, 1995
Wilkinson, Colm/Stage Heroes, BMG/RCA Victor 74321-25856-2, 1997
Williams, Andy/The Shadow of Your Smile, Columbia CL-2499, (S)CS-
9279, 1966
Wilson, Nancy/From Broadway with Love, Capitol (S)CST-2433, 1966
Younger Brothers/High School Girl, Warner Bros. 45rpm 5386, 1963

“A Song for Humming” from Climb High (1950–52, unproduced)

“Soon” from A Little Night Music (1973) [linked with “Now” and “Later”]
LNMPVS c1-g2
A Little Night Music Original Cast (Victoria Mallory), see LITTLEN01
A Little Night Music London Cast (Veronica Page), see LITTLEN02
A Little Night Music Film (Lesley-Anne Down), see LITTLEN03
A Little Night Music Studio Cast (Janis Kelly), see LITTLEN04
The Great Waltz (Hollywood Bowl Orchestra), see HOLLYWOODB1 [part of
“The Night Waltzes”]
A Little Night Music Royal National Theatre (Joanna Riding), see LIT-
TLEN05
A Little Night Music Barcelona Cast (Constantino Romero, Angel Llacer,
Alicia Ferrer), see LITTLEN06 [and reprise by Teresa de la Torre]
Wall to Wall Stephen Sondheim (Laura Benanti), see WALLTOWALLS1
A Little Night Music Broadway Revival Cast (Ramona Mallory, Hunter
Ryan Herilicka, Alexander Hanson), see LITTLEN07
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“Sooner or Later” from Dick Tracy (1990)

ASIV, SSFTS b-e2, DTVS, SCCH f-b1
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Song Listing 449

Sondheim: A Celebration at Carnegie Hall (Karen Ziémba), see SONDA-

CELATC1
Putting It Together (Rachel York), see PUTTINGIT1
Sondheim at the Movies3 (Jane Krakowski), see SONDATTHEM1
Sondheim: A Celebration (David Cassidy), see SONDACEL2
Out on Broadway (Keith Thompson), see OUTONB1
Stephen Sondheim Songs (instrumental accompaniment), see STEPHENSS1
Simply Sondheim (Shay Oglesby-Smith), see SIMPLYSOND1
Stephen Sondheim: The Story So Far . . .7 (Madonna) [from the soundtrack]
Akers, Karen/Unchained Melody, DRG 5214, 1991
Egan, Susan/So Far4, JAY Records CDJAY 1359, 2002
Cincinnati Pops Orchestra, Erick Kunzel/Movie Love Themes, Telarc Dis-
tribution 80243, 1991
Governors, The (Debrajane & Jennifer)/United, LML CD-184, 2005
[with “I Never Know When to Say When”]
Hateley, Linzi/Sooner or Later, LHL 4, 1994
Ivir, Jasna/Musical Diva Delights, Jonkowski JST 298, 1995
Langford, Bonnie/Jazz at the Theatre, [n.l., n.n.], 2003
Madonna/I’m Breathless, see MADONNA1
McBryde, Deian/Love . . . & Other Distractions, EvAnMedia evan-
35700CD, 2000 [with “The Man That Got Away]
Millennium Dance Party All-Stars/Millennium Swing Dance Party, St.
Clair 5411, 1999
North, Robyn/Make Believe, JAY Records CDJAY 1406, 2009
O’Day, Anita/Rules of the Road, Pablo CD 2310-950-2, 1993
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Prior, Marina/Somewhere, see PRIORM1
Saxe, Emily/Whistling: Broadway to Berk’ley Square, see SAXEE1
Scott, Jacqui/Jacqui Scott, Highnote [n.n.], 2003
Ver Planck, Marlene/Marlene Ver Planck Meets Saxomania, Audiophile
ACD-288, 1994
Wheatley, Rebecca/Sooner or Later, SB Music SB2401, [n.d.]
Wilk, Oystein/Too Many Mornings, see WILKO1
York, Rachel/Let’s Fall in Love, Hylo Productions HP214-80032, 2005

“Sorry-Grateful” from Company (1970)

ASI, CVS, SSS solo version a-d2, CPVS trio version b-e2 [all 3], CVS2,
CVS3 c-f2 [all 3]
Company Original Cast (Charles Kimbrough, George Coe, Charles
Braswell, Dean Jones), see COMPANY01
Sondheim (Book-of-the-Month) (Timothy Nolen), see SOND1
Putting It Together5 (Stephen Collins), see PUTTINGIT1
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
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450 Song Listing

Company Revival Cast (Robert Westenberg, John Hillner, Timothy Land-

field), see COMPANY05
Company London Revival Cast (Clive Rowe, Teddy Kempner, Paul
Bentley), see COMPANY04
Sondheim: A Celebration (Bill Hutton), see SONDACEL2
The Stephen Sondheim Album (Guy Haines), see STEPHENSA1
Company Brazilian Cast (Daniel Boaventura, Mauro Gorini, Paulo
Mello), see COMPANY06
Company Accompaniment CD (Alan Gillespie, Kristofer Monroe, Booth
Daniels/accompaniment), see COMPANY08
Company Second Revival Cast (Keith Buterbaugh, Fred Rose, Bruce
Sabath), see COMPANY09
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Burke, Simon/Something About Always, Simon Burke [n.n.], 2009
Gines, Christopher/The Way It Goes, Miranda, 2001; Bayview 5197, 2005
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Orquestra De Cambra Teatre Lliure/Stephen Sondheim, see ORQUESTRADE-
CAM1
Patinkin, Mandy/Dress Casual, see PATINKIN2
Short, Bobby/Live at the Cafe Carlyle, see SHORTB1
Siegel, Janis/Sketches of Broadway, Telarc 83633, 2004
Traina, Joe/Only in New York, Filigree 9801, 1999
Wright, Bill/It Takes Two, see WRIGHTB1

“The Sound of Poets,” see “Exodus”

“Souvenir” cut from Bounce (2003)

“The Spell Is on My House (Opening Part VII)” from Into the Woods (1987)
[see “Into the Woods” for recording information]
ITWPVS trio e1-d2/d1-e2/e1-g2

“A Star Is Born” (1954)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“Stars Give Light,” see “Chris and David I”

“Stavisky Suite” (parts One, Two, and Three)

Sondheim at the Movies (Orchestra), see SONDATTHEM1

“Stavisky Suite”
Sondheim Tonight (Orchestra), see SONDTON1
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Song Listing 451

“Stay” from Do I Hear a Waltz? (1965), music by Richard Rodgers

DIHPVS e1-b2, DIHVS c1-g2 [e2 optional]
Do I Hear a Waltz? Original Cast (Sergio Franchi), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed, An-
thony Crivello), see DOIHEAR2
Kirby Stone Four, Columbia 45rpm 4-43250, 1966
Sloane, Carol, Columbia 45rpm 4-43307, 1966
Sullivan, KT/Sings the Sweetest Sounds of Richard Rodgers, DRG 91462,
2000 [with “Can’t You Do a Friend a Favor?” and “Look No Further”]

“Stay Right Where You Are” cut from Bounce (2003)

“Stay with Me” from Into the Woods (1987)

ITWPVS b-d2, ITWVS d1-f2
Into the Woods Original Cast (Bernadette Peters), see INTOTHE1
Into the Woods London Cast (Julia McKenzie), see INTOTHE2
No. 1 Australian Musicals Album (Judy Connelli), Polydor 539 736-2, 1998
Into the Woods Revival Cast (Vanessa Williams, Melissa Dye), see IN-
TOTHE3
Into the Woods Accompaniment CD (Amanda J. Brizzi), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Mone), see IN-
TOTHE5
Buckley, Betty/Children Will Listen, see BUCKLEYB1
Connelli, Judi/Judi Connelli Live in London, see CONNELLI2 [with “Mar-
ried,” “You Better Sit Down Kids,” and “Move On” (which includes
“We Do Not Belong Together”)]
Connelli, Judy/On My Way to You, see CONNELLI1
Dussault, Nancy/Heart and Soul, Nand Records 424, 1998
Kirchschlager, Angelika/When Night Falls, Sony Classical SK 64498, 1999
O’Connor, Caroline/What I Did for Love4, JAY Records CDJAY 1314,
1998
Soper, Gay/Flying Fish and Fallen Angels, see SOPERGAY1

“Still Got My Heart” from Phinney’s Rainbow (1948)

PRSM c1-e2

“The Story of Lucy and Jessie” from Follies (1971)

ASIV, CFC, FPVS g-b1
Follies Original Cast (Alexis Smith), FOLLIES01
Follies in Concert6 (Lee Remick), see FOLLIES02
Follies, The Complete Recording (Dee Hoty, Ensemble), see FOLLIES05
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Siegel, Janis/Sketches of Broadway, Telarc 83633, 2004
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452 Song Listing

Wilson, Julie/Julie Wilson at Brothers & Sisters Vol. Two, see WILSONJ1 [with
“Beautiful Girls,” “Losing My Mind,” and “Could I Leave You?”]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Strength Through Sex” from Phinney’s Rainbow (1948)

“Study Hall Dirge” from By George (1946)

“Suicide Sequence” from All That Glitters (1949)

“Suite at the Claridge” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“The Sun Is Blue” from Mary Poppins (1950, unproduced)

“The Sun Sits Low,” see “Night Waltz—II”

“The Sun Won’t Set,” see “Night Waltz—I”

“Sunday” from Sunday in the Park with George (1984)

ASII, SCC2, SPGVS solo version c1-a2, SPGPVS company number [2
versions]
Sunday in the Park . . . Original Cast (Company), see SUNDAYIN1 MERRILY1
[see also Sondheim: A Celebration at Carnegie Hall below]
Sondheim: A Celebration at Carnegie Hall (Bernadette Peters, Broadway
Chorus), see SONDACELATC1 [also included on the 2007 reissue of Sun-
day in the Park . . . Original Cast recording, SUNDAYIN1]
No One Is Alone . . . (Company), see NOONEIS1
Sondheim: A Celebration (The Company), see SONDACEL2 [with “Our
Time” and “Side by Side”]
Wall to Wall Stephen Sondheim (Juilliard Choral Union), see WALL-
TOWALLS1
Sunday in the Park . . . 2006 London Cast (Company), see SUNDAYIN2
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Porter, Billy/At the Corner of Broadway and Soul, Sh-K-Boom Records
791558300-2, 2005
Rubano, Craig/Finishing the Act, see RUBANOC1
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1
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Song Listing 453

Singing Hoosiers, The/The Singing Hoosiers in Concert, 1986, Indiana

University School of Music no. 504

“Sunday in the Park with George” from Sunday in the Park with George (1984)
SPGPVS e-d2
Sunday in the Park . . . Original Cast (Bernadette Peters, Mandy
Patinkin), see SUNDAYIN1
No One Is Alone . . . (Peta Belinda Ashton), see NOONEIS1 [with “Color &
Light”]
Celebrating Sondheim (Mary Carewe, Stephen Hill), see CELEBRATSON
Sondheim Tonight (The Soloists, The West End Chorus), see SONDTON1
[with “Being Alive” and “Another Hundred People”]
Sunday in the Park . . . 2006 London Cast (Jenna Russell, Daniel Evans),
see SUNDAYIN2
Simply Sondheim (Kelly Ground, Tom Orr), see SIMPLYSOND1

“Sunrise Letter” from Passion (1995)

PPVS duet a-e2/b-g2
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson), see PASSION4

“Sweeney Todd Suite”

Symphonic Sondheim (instrumental), see SYMPHONICSON1 [also included
on the 2007 reissue of Sweeney Todd Original Cast, SWEENEYT1]

“Sweet Polly Plunkett” from Sweeney Todd (1979), [see “Parlor Songs” for
other recordings]
STPVS d1-g2
Putting It Together (Julie Andrews), see PUTTINGIT1

“Take Me to the World” from Evening Primrose (1966)

ASII, SSFTS solo version b-e2
Sondheim: A Musical Tribute (Marti Rolph), see SONDAMUST1
Sondheim (Book-of-the-Month) (Mary D’Arcy), see SOND1
Sondheim at the Movies (Liz Callaway, Gary Beach), see SONDATTHEM1
Moving On (Company), see MOVINGON [with “Move On,” “I Know
Things Now,” “Everybody Says Don’t”]
The Frogs/Evening Primrose Studio Recording (Theresa McCarthy, Neil
Patrick Harris), see FROGS1
Simply Sondheim (Stephanie Rhoads, James Brewer), see SIMPLYSOND1
Evening Primrose Original Television Soundtrack7 (Charmian Carr, An-
thony Perkins), see EVENPRIM1
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454 Song Listing

Anthony, Julie/Lush, MHM [n.n.], 2001 [Australian]

Argent, Monique/Moonfall, see ARGENTM1
Barnett, Peter & Julia Early/In So Many Words, see BARNETTEARLY1
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Day, Courtenay/State of Bliss, LML Records LML CD-151, 2002 [with
“Anyone Can Whistle”]
DeVito, Michael/Take Me to the World, [n.l.] 6022, 2007
Dore, Michael/Simply, [n.l., n.n.], 2002 [with “Being Alive” and “Not a
Day Goes By”]
Green, Simon/Take Me to the World, see GREENS1 [with “All Things
Bright and Beautiful”]
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see HELLERM1
Jamieson, Suzanne/A Sun Up Sky, LML Records 241, 2009 [with “You’re
Gonna Hear from Me”]
Jobson, Mark deVille/My House, see JOBSON1
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Mars, Susannah/Take Me to the World, see MARSS1
Nease, Byron/When I Fall in Love, Audible Difference AD CD002, 1992
[with “You and I”]
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
Nova, Christian/Walking Happy, Original Cast Records OC9750, 1997
[with “Moon River”]
Patinkin, Mandy/Dress Casual (Bernadette Peters, Mandy Patinkin), see
PATINKIN2
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Upshaw, Dawn/I Wish It So, see UPSHAWD1
Williams, Bob/Ballads for a Rainy Afternoon, Bob Williams [n.n.], 2003
[piano]

“Take the Acorn” (incomplete) for A Funny Thing Happened on the Way to
the Forum (1962)

“Take the Moment” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS d1-a2, DIHVS c1-e2
Do I Hear a Waltz? Original Cast (Sergio Franchi), see DOIHEAR1
Leading Men Don’t Dance, 1997
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed), see
DOIHEAR2
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Song Listing 455

Bennett, Tony/If I Ruled the World—Tony Bennett Songs for the Jet Set, Co-
lumbia CL-2343, (S)CS-9143, 1965; CBS/Sony CD 25DP-5320, 199[?]
Davis Jr., Sammy/Sammy’s Back on Broadway, Reprise (S) R-6169, 1968;
Collector’s Choice [n.n.], 2004
Horne, Lena/Feelin’ Good, United Artists (S)6433, 1968
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Rubano, Craig/Finishing the Act, see RUBANOC1 [with “Before the Pa-
rade Passes By”]

“Talent” from Bounce (2003) and Road Show (2008)

Bounce Original Cast (Gavin Creel), see BOUNCE1
Road Show Original Cast Recording (Claybourne Elder), see ROAD-
SHOW1

“Tamate’s Dance,” see “There is No Other Way”

“Tea” from Mary Poppins (1950, unproduced)

“Ten Years Old” cut from the television special The Fabulous Fifties (1960)
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“Thank You for Coming” cut from Merrily We Roll Along (1981)

“Thank You So Much” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS duet b-d2/d1-d2, DIHVS, SSS duet c1-c2 [both]
Do I Hear a Waltz? Original Cast (Elizabeth Allen, Sergio Franchi), see
DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Alyson Reed, An-
thony Crivello), see DOIHEAR2

“That Dirty Old Man” from A Funny Thing Happened on the Way to the Fo-
rum (1962)
FTPVS b-f2
A Funny Thing . . . Original Cast (Ruth Kobart), see FUNNY01
A Funny Thing . . . London Cast (Linda Gray), see FUNNY02
A Funny Thing . . . Revival Cast (Mary Testa), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04

“That Frank” added to 1985 revival of Merrily We Roll Along [replaces

“Rich and Happy”]
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456 Song Listing

Merrily We Roll Along Revival Cast (Malcolm Gets, Company), see MER-
RILY2
Merrily We Roll Along London Cast (Michael Cantwell, Company), see
MERRILY3

“That Good Old American Dollar” from All That Glitters (1949)

“That Kind of a Neighborhood” from Saturday Night (1954) [includes

“Fair Brooklyn”]
SNVS company number
Saturday Night Bridewell Cast (Maurice Yeoman, Simon Greiff, Jeremy
David, Ashleigh Sendin, Tracie Bennett, Mark Haddigan, James Mil-
lard), see SATURDAYN1
Saturday Night Original New York Cast (Michael Benjamin Washington,
Kirk McDonald, Greg Zola, Joey Sorge), see SATURDAYN2

“That Old Piano Roll” cut from Follies (1971) [included as instrumental in
1st section of the “Overture,” and used in “Social Dancing” for the
London revival]
ASIV, CFC c1-e2, FPVS instrumental [in “Overture”]
Unsung Sondheim3 (Harry Groener, taps: Lynette Perry), see UNSUNGS1
Follies, The Complete Recording (Tony Roberts), see FOLLIES05
New York City Gay Men’s Chorus/Love Lives On, see NEWYORKCITYGAY2

“That Was a Year” from Road Show (2008)

Road Show Original Cast Recording (Michael Cerveris, Company), see
ROADSHOW1

“That’ll Show Him” from A Funny Thing Happened on the Way to the Forum
(1962)
FTPVS c1-g2, FTVS b-f2 [e2 optional]
A Funny Thing . . . Original Cast (Preshy Marker), see FUNNY01
A Funny Thing . . . London Cast (Isla Blair), see FUNNY02
A Funny Thing . . . Revival Cast (Jessica Boevers), see FUNNY05
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Shore, Dinah, Capitol 45rpm 4774, 1962

“That’s Good, That’s Bad,” see “Don’t Laugh”

“Theme” from Reds (1981), see also “Goodbye for Now”

Reds Soundtrack7, (Jean-Pierre Rampal, flute; Claude Bolling, piano),
see REDS1
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Song Listing 457

“Theme” from Stavisky (1974)

ASIV, SSFTS piano solo
Stavisky1, 7 (instrumental), see STAVISKY1
[European version; arr. by Jim Tyler, cond. by Ettore Stratta]7 RCA sin-
gle # PB-50060, 1975
Sondheim (Book-of-the-Month) (instrumental), see SOND1
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1

“There Is No Other Way” from Pacific Overtures (1976), [also known as

“Tamate’s Dance”]
ASIV, POPVS duet, e1-g2/e1-b1
Pacific Overtures Original Cast (Alvin Ing, Ricardo Tobia), see PACIFIC-
OVER1
Sondheim (Book-of-the Month) (instrumental), see SOND1
Pacific Overtures English National Opera (Edward Byles, Alan
Woodrow), see PACIFICOVER2
New York City Opera Orchestra/Broadway’s Best (instrumental), see
NEWYORKCITYOP1
Pacific Overtures New Broadway Cast (Evan D’Angeles, Telly Leung),
see PACIFICOVER3
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)

“There Won’t Be Trumpets” cut from Anyone Can Whistle (1964)

ACWPVS g-c2, ACWVS a-d2
Anyone Can Whistle1 Original Cast (Lee Remick), see ANYONE1 [CD only]
Side by Side by Sondheim (Millicent Martin, David Kernan, Julia McKen-
zie), see SIDEBYS1
Marry Me a Little (Suzanne Henry), see MARRYME1
Anyone Can Whistle Live at Carnegie Hall (Bernadette Peters), see ANY-
ONE2
Sondheim: A Celebration (Joan Ryan), see SONDACEL2
Moving On (Company), see MOVINGON
The Broadway Musicals of 1964 (Liz Callaway), Bayview RNBW022, 2003
Broadway Unplugged (Ann Harada), see BROADWAYUNPL1
Barr, John/In Whatever Time We Have, see BARRJ1
Brindley, Susan/With So Little to Be Sure Of, see BRINDLEYS1 [with “A
Quiet Thing”]
De Ferranti, Margie/Margie De Ferranti, see DEFERRANT1
DiMarzio, Diana/Diana DiMarzio, Dina Dimarzio 800718, 2001 [with
“Anyone Can Whistle”]
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Hastings, Ruth/Ruth Hastings Plays the Geary, see HASTINGSR1 [with
“Welcome to the Theatre”]
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458 Song Listing

Kostelanetz, Andre/Andre Kostelanetz Plays Broadway’s Greatest Hits:

from Annie, I Love My Wife, Side by Side by Sondheim, The King and I, Co-
lumbia PC 34864, 1977
Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANSFIELDM1
New York City Gay Men’s Chorus/New York, New York, A Broadway Ex-
travaganza, see NEWYORKCITYGAY1
Patinkin, Mandy/Oscar and Steve, see PATINKIN4
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Streisand, Barbra/Just for the Record, Columbia C4K 44111/CK 48646,
1991
Turner, Geraldine/Old Friends, see TURNERG1 [in medley]
Upshaw, Dawn/I Wish It So, see UPSHAWD1
VerPlanck, Marlene/A Breath of Fresh Air, Audiophile ACD 109, 1993

“There’s a Hole in the World,” see “No Place Like London”

“There’s a Parade in Town” from Anyone Can Whistle (1964)

ACWPVS g-b1 + chorus, ACWVS, ASI c1-e2
Anyone Can Whistle Original Cast2, 7 (Angela Lansbury, Ensemble), see
ANYONE1
Sondheim: A Musical Tribute (Angela Lansbury), see SONDAMUST1
A Broadway Extravaganza (instrumental), see BROADWAYEX [in medley]
Anyone Can Whistle Live at Carnegie Hall (Madeline Kahn, Ensemble),
see ANYONE2
Simply Sondheim (Guy Haines), see SIMPLYSOND1
Carson, Jeannie/The Girl with S. Q., London LL-3504, 1967; reissued on
Dutton Vocalion 8111, 2004
Croson, Ruth/Memories of You, Ruth Croson [n.n.], 2007 [with “Before
the Parade Passes By”]
Kaye, Judy/Diva by Diva, Varese Sarabande VSD-5589, 1995 [in medley]
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1
Turner, Geraldine/Old Friends, see TURNERG1 [in medley]

“There’s Always a Woman” cut from Anyone Can Whistle (1964)

Unsung Sondheim3 (Kaye Ballard, Sally Mayes), see UNSUNGS1
Anyone Can Whistle Live at Carnegie Hall (Madeline Kahn, Bernadette
Peters), see ANYONE2

“There’s Something About a War” cut from A Funny Thing Happened on the
Way to the Forum (1962)
A Stephen Sondheim Evening1 (Cris Groenendaal and Men), see
STEPHENSE1
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)
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Song Listing 459

“They Ask Me Why I Believe in You” from I Believe in You (1956, unpro-
duced)
ASIV d1-g2
Unsung Sondheim (Rebecca Luker), see UNSUNGS1
Color and Light: Jazz Sketches . . . (Herbie Hancock, Stephen Sondheim on
piano), see COLOR1
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)
Peters, Bernadette/Sondheim, Etc., Etc. see PETERSB2

“They Do an Awful Lot of Dancing, the Dead,” see “Evoe for the Dead”

“They Hear Drums (Scene 3, Part III)” from Passion (1995)

PPVS e-c2, PVS g-e2

“Thinking” from Do I Hear a Waltz? (1965), music by Richard Rodgers

DIHPVS duet b-d2/a-c2
Do I Hear a Waltz? Original Cast (Sergio Franchi, Elizabeth Allen), see
DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Anthony Crivello,
Alyson Reed), see DOIHEAR2

“Third Letter” from Passion (1995)

PPVS company number
Passion Original Cast (Marin Mazzie, Jere Shea), see PASSION1
Passion London Concert (Helen Hobson, Michael Ball), see PASSION3
Passion Dutch Cast (Pia Douwes, Stanley Burleson), see PASSION4

“This Is Nice, Isn’t It?” see “Isn’t It?”

“This Is Show Biz” for Climb High (1950–52, unproduced) [incomplete]

“This Turf Is Ours” cut from West Side Story (1957), music by Leonard
Bernstein

“This Week, Americans” from Do I Hear a Waltz? (1965), music by Richard

Rodgers
DIHPVS a-b1
Do I Hear a Waltz? Original Cast7 (Carol Bruce), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Carol Lawrence),
see DOIHEAR2

“This World (Candide’s Lament)” added to 1974 production of Candide,

music by Leonard Bernstein
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460 Song Listing

CaPVS, CaVS b-e2

Candide Revival Cast (Mark Baker), see CANDIDE01
Alexander, Roberta & Tan Crone/Leonard Bernstein: Songs, Etcetera ETC
1037, 1985; Et’Cetera 1037, 2007
Mendelssohn Choir/Mendelssohn Sings Sondheim, see MENDELSSOHN1

“Three Wishes for Christmas” cut from Gypsy (1957), music by Jule
Styne
Cabaret Noel: A Broadway Cares Christmas, Lockett-Palmer 932512, 1993
A Christmas Wish (Chris Groenendahl), Broadway Cares CDH041, 199?
Gypsy 2008 Revival Cast (Tony Yazbeck, Girls), see GYPSY11
Anderson, D. C./All Is Calm, All Is Bright, LML CD-136, 2001
Groenendaal, Chris/A Christmas Wish, [n.l.] 45990/2, [n.d.]

“Tick-Tock” from Company (1970) [arr. by David Shire using themes from
the show, cut in later productions]
CPVS instrumental
Company Original Cast (Orchestra), see COMPANY01
Company Revival Cast (Orchestra), see COMPANY05

“Together Wherever We Go” from Gypsy (1959), music by Jule Styne

GPVS trio a-b1 [1 voice goes up to d2], GVS duet c1-d2 [both], GVS2 duet
a-b1 [both]
Gypsy Original Cast (Ethel Merman, Jack Klugman, Sandra Church),
see GYPSY01
Herb Geller and His All-Stars Play Selections from “Gypsy” (Barbara Lang),
see GELLERH
Gypsy Film (Lisa Kirk/Rosalind Russell, Karl Maden, Natalie Wood),
see GYPSY02
The Odd Couple Sings (Tony Randall, Jack Klugman), London Records
XPS 903, 1973
Gypsy London Cast (Angela Lansbury, Barry Ingham, Zan Charisse),
see GYPSY03
Gypsy Revival Cast (Tyne Daly, Jonathan Hadary, Crista Moore), see
GYPSY04
Gypsy TV Cast (Bette Midler, Peter Riegert, Cynthia Gibb), see GYPSY05
Selections from “Gypsy” and “Flower Drum Song” (Florence Henderson),
see GYPSY08
Kay Medford in “Gypsy” (Kay Medford, Lorraine Smith, Jimmy Black-
burn), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters, Tammy Blanchard, John
Dossett), see GYPSY10
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Song Listing 461

Gypsy 2008 Revival Cast (Patti LuPone, Boyd Gaines, Laura Benanti),
see GYPSY11
Buffalo Bills/Together, Warner Bros. (S)WS-1520, 1963
Carroll, Barbara/Old Friends, Audiophile Records 254, 1994
Clary, Robert/Sings Harry Warren & Jule Styne, Original Cast 6040, 2005
[with “Small World” & “You’ll Never Get Away from Me”]
Egan, Susan/Susan Egan Live!, LML Music LML CD 222, 2008 [in med-
ley]
Four Lads, Columbia 45rpm 4-41409, 1960
Four Lads/Golden Dozen (Best of Jule Styne), Columbia CL-1462, 1960
Garland, Judy & Ethel Merman, The Judy Garland Show, Broadcast Trib-
utes BTRIB 00002, 1964; later issued as The Greatest Duets, Paragon
1001, and as Great Garland Duets [in medley]
Garland, Judy & Liza Minnelli/ . . .“Live” at the London Palladium, Capi-
tol ST-11191, 1964
Garland, Judy & Liza Minnelli/Judy Garland and Liza Minnelli, Capitol
(S)SWBO-2295, 1966
Garland, Judy/Judy Duets (with Liza Minnelli), see GARLAND [in med-
ley]
Garland, Judy/Judy Duets (with Ethel Merman), see GARLAND [in med-
ley]
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1 [part of “Rose’s
Medley”]
Hayman, Dick/After Six, MGM (S)SE-3827, 1960
Henderson, Florence/Selections from Gypsy and Flower Drum Song, see
HENDERSONF1
Hi-Lo’s, The/Broadway Playbill, see HILOS
Jackie & Roy/Double Take, Columbia CL-1704, (S)CS-8504, 1962
Jackie & Roy/A Stephen Sondheim Collection, see JACKIE&1
Kirby Stone Four/Things are Swingin’, Warner Bros. (S)WS-1540, 1965
Lee, Peggy/Ole Ala Lee, Capitol (S)ST-1475, 1960; EMI Int’l 8560562,
1998
Lewis, Monica/ . . . Swings Jule Styne, DRG 802, 1991
MacKenzie, Gisele/ . . . In Person at the Empire Room of the Waldorf-
Astoria, Everest LPBR 5069, 1960; Collectables COL-CD-0852, 2006 [in
medley]
Marie, Rose/Songs for Single Girls, Kapp (S)KRS-4500, 1964
Merman, Ethel/Mermania!, see MERMANE1
Minnelli, Liza/Liza, Capitol (S)ST-2174, 1966
Parker, John/Sound of Conversations in Music, Medallion (S)MS-7504,
1960
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462 Song Listing

Patty, Sandi & Kathy Troccoli/Together, Monarch Records, Mona 1022,

1999
Pringle, Anne & Mark Burnell/Little Things We Do Together, Spectrum
SR003, 2000
Rory/Rory’s Little Broadway—Showtunes for Kids, Sony 7464-48697-2,
1992; Sony 57669, 1994
Rose, Jodi/Hope for the Future, see ROSEJ1
Ross, Annie/Gypsy, see ROSSANNIE
Salonga, Lea/The Broadway Concert, see SALONGAL1 [with “You’ll Never
Get Away from Me”]
Sherwood, Roberta/Live Performance, Decca (S)DL7-4100, 1961
Skinner, Emily/Emily Skinner (duet with Alice Ripley), Fynsworth Alley
302 062 102 2, 2000 [with “You’ll Never Get Away from Me”]
Steve & Eydie/We Got Us, ABC-Paramount ABC-300, 196[?]; MCA
20850, 2004
Styne, Jule/My Name Is Jule, see STYNEJ1
Sullivan, Maxine/Together: Maxine Sullivan Sings the Music of Jule Styne,
Atlantic 7 81783-1, 1987

“Tomorrow’s Mother’s Day” cut from Gypsy (1959), music by Jule Styne
Gypsy 2008 Revival Cast (Sami Gayle, Emma Rowley), see GYPSY11

“Tonight (Balcony Scene)” from West Side Story (1957), music by Leonard
Bernstein
BOB, WSSPVS duet b-a2 [both], SSS, WSSVS solo version a-e2
West Side Story Original Cast7 (Larry Kert, Carol Lawrence), see WEST-
SIDE01
West Side Story film (Jim Bryant, Marni Nixon), see WESTSIDE02
West Side Story Studio Cast (Kiri Te Kanawa, José Carreras), see WEST-
SIDE03
Bernstein on Broadway (Peter Hofmann, Debbie Sasson), see BERN-
STEINON1
West Side Story Studio Cast London (Michael Ball, Barbara Bonney), see
WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Paul Manuel, Tinuke
Olafimihan), see WESTSIDE05
West Side Story, The Songs of (Kenny Loggins, Wynonna), see WESTSIDE06
West Side Story London Production (Don McKay, Marlys Watters), see
WESTSIDE08
Showcase: The Musicals (Mary Carewe, Michael Dore), Carlton
Sounds/U.K. 30367 00672, 1995
Shakespeare on Broadway (Glory Crampton, Sal Viviano), Varese Sara-
bande VSD-5622, 1996
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Song Listing 463

Leonard Bernstein’s New York (Audra McDonald, Mandy Patinkin), see

LEONARDB1
West Side Story, Dave Grusin presents (Gloria Estefan), see WESTSIDE07
West Side Story London Studio Cast (David Holliday, Jill Martin), see
WESTSIDE09
West Side Story Original Score (Betsi Morrison, Mike Eldred), see WEST-
SIDE10
Bravo Broadway II (Christiane Noll, Gary Mauer), see BRAVOBROAD2
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHESONGS2
Simply Sondheim (Steve Rhyne, Stephanie Rhoads), see SIMPLYSOND1 [in
medley]
Broadway Unplugged 4 (Sarah Jane McMahon & Max von Essen), see
BROADWAYUNPL4
West Side Story Broadway Revival (Matt Cavenaugh, Josefina
Scaglione), see WESTSIDE11
Aleman, Robin/Tonight, [n.l.] 10891, [n.d.]
Allen, Thomas & Valerie Masterson/If I Loved You (Love Duets from the
Musicals), TER Limited, 1993 [reissued on JAY Records as CDJAY
1233, 1996]
Bassey, Shirley/I Wish You Love, MFP/EMI MFP 50330, 1965
Beauchamps, Arlette/Love Again, Renesants 2807, 2001
Brightman, Sarah/Sarah Brightman in Concert, WEA 428571, 2008
Bronhill, June & David Gray/Together, Endeavour Records END 001,
1979
Carreras, Jose/Love Is . . . , Philips 412270, 1984
Carreras, Jose/Jose Carreras in Concert, Legacy 420, 1995
Catenacci, Richard with Bob Egan at the Piano/The Colors of My Life,
[n.l., n.n., n.d.]
Chakiris, George/George Chakiris, Capitol (S)ST-1750, 1962
Church, Charlotte/Enchantment, Columbia CK 89710, 2001
Clooney, Rosemary/Love Songs, Columbia 90900, (1957)/2004
Cook, Barbara/Barbara Cook Sings Mostly Sondheim (sung by Malcolm
Gets), see COOKB1 [with “Something’s Coming”]
Cousens, Peter/A Life on Earth, Middle Eight PCG-01, 2001 [Australian]
[with “Something’s Coming”]
Crawford, Michael/Songs from the Stage & Screen, see CRAWFORDM1
Crawford, Michael/Michael Crawford in Concert, Atlantic 83131, 1998
Damone, Vic/On the Street Where You Live, see DAMONE1
Davis Jr., Sammy/Sammy Davis Jr. at the Cocoanut Grove, see DAVISS [part
of West Side Story medley]
Domingo, Placido/The Broadway I Love, see DOMINGO1
Domingo, Placido & Renee Fleming/Star-Crossed Lovers, Decca 460 793-
2, 1999
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464 Song Listing

Drake, Alfred/Alfred Drake & Roberta Peters Sing the Popular Music of
Leonard Bernstein, see DRAKEA
Drifters, The/The Good Life with the Drifters, Atlantic [n.n.], 1965/2005;
Collectables Records 6417, 2000
Eckstine, Billy/Broadway, Bongos and Mr. B., Mercury M6-20637, SR-
60637, 1961
Fisher, [David] Du Du/Over the Rainbow, Helicon Records HL 8064,
1989 [in Hebrew]
Fisher, Eddie/Tonight with Eddie Fisher, Ramrod (S)ST-6002, 1962
Fisher, Eddie/ . . . At the Wintergarden, Ramrod Records RR1-2, Taragon
TARCD-1054, 1962, 69 [with “Maria” and “Something’s Coming”]
Four Aces/Hits from Broadway, Decca (S) DL7-8855, 1959
Four Lads, The/Love Affair, Columbia CL 1502, CS 8293, 1960 [reissued
with Stage Show on Collectibles, 2004]
Franchi, Sergio/Broadway, I Love You!, RCA Victor LSC 2674, 1963
Frangoulis, Mario/Short Stories: The Acropolis Concert, Balboa Recording
Corp. 89552, 2002 [with “Maria” & Something’s Coming”]
Garland, Judy/Judy Duets (with Vic Damone), see GARLAND [in West
Side Story medley]
Garrett, Lesley/Lesley Garrett (with John Hudson), Marks & Spencer
MS 4824/BMG 75605 51338 2, 2000
Gary, John/ . . . Sings Your All-Time Favorite Songs, [reissued on various
John Gary collections including Collectables Records 2844/10408/
1143, 2002/2006/2008]
Gaynor, Gloria/The Collection, Spectrum Music 551839, 1998 [disco; in-
cluded on several collections]
Gerry & the Pacemakers/You’ll Never Walk Alone: The EMI Years
1963–1966, Caroline Distribution 19257, 2008
Gott, Karel/Kdyz Muz Se Zenou Snídá: Rarity, Supraphon 5950, 2009
Goulet, Robert/Sincerely Yours, Columbia CL 1931/CS 8731, 1963; Col-
lectables 5847, 1997
Guest, Rob/Standing Ovation, EMI Music (Australian Group) 7986212,
1991 [in medley]
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Heller, Andrew/Broadway Love, Diamonddisc Records 800, 2008
Hooper, Jeff/As Long as I’m Singing, Silverword CDSMG0004, 2001
Jaramillo, Pepe/A Mexican on Broadway, Parlophone PMCO 1183, [n.d.]
Jay and the Americans/Other Girls. United Artists 45rpm UAL-353,
1961
Jay and the Americans/She Cried/Come a Little Bit Closer, Beat Goes On
656, 2005
Kert, Larry/Spotlight on Larry Kert, see KERTL1
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Song Listing 465

Koelbl, Kevin/Somewhere in Time (with Cari Golden), LML CD-120,

2003
Kole, Bob/The Two Sides of Bob Kole, Festival LL 30091, 1961
Lawrence, Carol/Tonight at 8:30, see LAWRENCEC
Lawrence, Steve, Lawrence Goes Latin, United Artists UAL-3114, (S)
UAS-6114, 1961
Lellis, Tom & Toninho Horta/Tonight, Adventure Music 1044, 2008
London’s Broadway Players/The Essential Broadway Musicals, Mirana
8504, 2008
Martin, Felix/Musical Changes, EBM/Pool Music 4012772019735, 2001
[in medley with “Maria” and “Somewhere”]
Mathis, Johnny/Faithfully, Columbia EPB-14221, CL-1422, (S)CS-8219,
1960
McKenzie, Julia/The Musicals Album, see MCKENZIEJ1
Melis, Jose/Jose Melis on Broadway, Mercury MG-20610, (S) SR-6-610,
1960
Mendieter, Anna Maria/Broadway Center Stage, Sugo Music SR9674,
1996
Migines Johnson, Julia/In Love, RCA ARL1-7034, 1985
Migenes, Julia/Live at the Olympia, see MIGENES1
Milano, Michele/Legendary Broadway, Orchard 808866, 2005
Nicholson, Carla & Michael/Just Duet, see NICHOLSONC1 [with “I Feel
Pretty” and “Somewhere”]
Noll, Christiane/My Personal Property (with Max von Essen), JAY
Records 1401, 2008
North, Robyn/Make Believe (with Ramin Karimloo), JAY Records CD-
JAY 1406, 2009
O’Brien, Joanne & Lee Lessack/An Enchanted Evening: The Music of
Broadway, LML Music, LML CD-104, 1998 [with “Some Enchanted
Evening”]
Paris, Jackie/The Song is Paris, Impulse! MVCI-23054, 1962; 9065, 2002
Pitney, Gene/Looking Through the Eyes of Love/Sings the Great Songs of
Our Time/Sings Great Ballads, Castle Pie 135, 2000
Pot Pourri/Something Familiar, Something Peculiar, Move MCD086, 2000
Prior, Marina/Somewhere, see PRIORM1
Ray Charles Singers, The/Young Lovers on Broadway, Command 890,
1965
Roy Budd Trio/Everything’s Coming Up Roses: The Musical . . . Sondheim,
see ROYBUDD1
San Francisco Gay Men’s Chorus/Diva’s Revenge, SFGMC [n.n.], 2005
Sanders, Felicia/Shall I Take My Heart and Go, Decca 45rpm 9-30798,
1959
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466 Song Listing

Schlongs/Punk Side Story (Andrew Asp), see SCHLONG1

Stapleton, Cyril/Dancing Down Broadway, London LL-3033, (S) PS-134,
1959
Stephenson, Laurie Gayle/I Believe My Heart: Duets with All My Leading
Men (with Doug LaBrecque), JAY 1398, 2007
Sterling, Clark/Sterling Broadway, [n.l., n.n.], 2003
Suzuki, Pat/Pat Suzuki’s Broadway ’59, Victor (S) LSP-1965, 1959; reis-
sued as part of The Very Best of Pat Suzuki, Taragon 1061, 1999
Vaughn, Sarah/Live in Japan, Mainstream MFCD 2-844-1, 1973, 1975
Vojtek, Roman/Îivot Je Muzikál (with Markétou Sedláãkovou), popron
music 54816-2, 2007
Waring, Fred/Broadway Cavalcade, Capitol (S) SWBO-1079, 1959
Waring, Fred/The Time, the Place, the Girl, Capitol (S) ST-1298
Westenra, Hayley/Prayer, Decca 1120, 2007
Williams, Andy/Moon River and Other Great Movie Themes, Columbia
CL-1809, (S)CS08609, 1963/Columbia CK-8609, 1987
Wilson, Jackie/Jackie Wilson at the Copa, Brunswick 5001, (1962)/2000
Wilson, Nancy/Broadway My Way. Blue Note/Capitol Jazz 64638,
1964/2006
Winston, Vic, BTP 78rpm 3012, 1959
Zuniga, Nanoy/Pure and Golden Love Songs, Vol. 2, Dypro 86/272-4,
1997

“Tonight (Quintet)” from West Side Story (1957), music by Leonard Bern-
stein
WSSPVS quintet or company number
West Side Story Original Cast (Larry Kert, Carol Lawrence, Chita Rivera,
Ken Le Roy, Mickey Calin, Ensemble), see WESTSIDE01
West Side Story film (Jim Bryant, Marni Nixon, Betty Wand, The Jets,
The Sharks), see WESTSIDE02
West Side Story Studio Cast (Kurt Ollmann, Richard Harrell, Sharks,
Jets, Tatiana Troyanos, José Carreras, Kiri Te Kanawa), see WESTSIDE03
[also included on Showstoppers from Broadway, JAY Records, CDJAY
1266, 199?]
West Side Story Studio Cast London (Michael Ball, Barbara Bonney, La
Verne Williams, Christopher Howard, Ensemble), see WESTSIDE04
West Side Story Studio Cast Leicester Haymarket (Nicholas Warnford,
Jets, Nick Ferranti, Sharks, Paul Manuel, Caroline O’Connor, Tinuke
Olafimihan), see WESTSIDE05
A Gala Concert for Hal Prince (Teri Bibb, Dave Willetts, Company), see
GALA1
West Side Story Original Score (Betsi Morrison, Mike Eldred, Marianne
Cooke, Michael San Giovanni, Sharks and Jets), see WESTSIDE10
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Song Listing 467

West Side Story Broadway Revival (Company), see WESTSIDE11 [Sharks in

Spanish]
Schlongs/Punk Side Story, see SCHLONG1

“Too Many Mornings” from Follies (1971)

ASIV solo version c1-a2, FLVS, FVS solo version c1-f2, CFC, FPVS duet
b1-e2/c1-g2
Follies Original Cast (John McMartin, Dorothy Collins), FOLLIES01
Sondheim: A Musical Tribute (Dorothy Collins, John McMartin), see
SONDAMUST1 [sung with “Pleasant Little Kingdom”]
Side by Side by Sondheim1 (Julia McKenzie, David Kernan), see SIDEBYS1
Sondheim (Book-of-the-Month) (Cris Groenendaal, Betsy Joslyn), see
SOND1
Follies in Concert5 (George Hearn, Barbara Cook), see FOLLIES02
Follies London Cast (Daniel Massey, Julia McKenzie), see FOLLIES03
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOL-
LIES04
Celebrating Sondheim (Claire Moore, Michael Ball), see CELEBRATSON
Follies, The Complete Recording (Laurence Guittard, Donna McKech-
nie), see FOLLIES05
Andrew, Leo/Sweet Dreams, (with Claire Moore), Dress Circle
ALAVW2, 2008
Clary, Robert/Louis Lebeau Remembers . . . Stephen Sondheim . . . , see
CLARYR1
Friedman, Maria/Maria Friedman Live, see FRIEDM1 [with “In Buddy’s
Eyes” & “The Road You Didn’t Take”]
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1
Jahana, Raishel/Sondheim Songs, see JAHANA1
Mazzie, Marin & Jason Danieley/Opposite You, see MAZZIEDANIELEY1
Patinkin, Mandy/Oscar and Steve, see PATINKIN4 (duet with Judy Blazer)
[sung with “Pleasant Little Kingdom”]
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Roy, William/When I Sing Alone, Audiophile (D)AP-213, 1986; ACD-
213, 1996
Wilk, Oystein/Too Many Mornings, see WILKO1
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“Toreadorables” from Gypsy (1959), music by Jule Styne

GPVS g1-g2 company number
Gypsy 2003 Revival Cast (Tammy Blanchard, Bernadette Peters, Jenna
Gavigan, Pamela Remler, Dontee Kiehn, Ginifer King, Julie Martell),
see GYPSY10
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468 Song Listing

Gypsy 2008 Revival Cast (Patti LuPone, Laura Benanti, Nicole Mangi,
Alicia Sable, Mindy Dougherty, Nancy Renée Braun, Sarah Marie
Hicks, Beckley Andrews), see GYPSY11

“The Tower of Bray” from Sweeney Todd (1979), [see “Parlor Songs” for
recordings]
STPVS trio d1-e3 [f2 alternate]/d1-d3 [f2 alternate]/d1-f

“Transition(s)” from Passion (1995)

PPVS company numbers
Passion Original Cast (Various), see PASSION1
Stephen Sondheim’s Passion . . . In Jazz (The Trotter Trio), see PASSION2
Passion London Concert (Company), see PASSION3
Passion Dutch Cast (Various), see PASSION4

“Transition(s),” see “Merrily We Roll Along” from Merrily We Roll Along

“Traveling Music” from The Frogs (1975)

The Frogs/Evening Primrose Studio Recording (Nathan Lane, Brian
Stokes Mitchell, & Male Chorus), see FROGS1

“Trio (Scene Seven)” from Passion (1995)

PPVS trio
Passion Original Cast (Donna Murphy, Jere Shea, Marin Mazzie), see
PASSION1
Passion London Concert (Maria Friedman, Michael Ball, Helen Hob-
son), see PASSION3
Passion Dutch Cast (Vera Mann, Pia Douwes, Stanley Burleson), see PAS-
SION4

“Trotsky at Saint-Palais” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Truly Content” from Passionella (1962) [part of The World of Jules Feiffer]
ASIII g-c2
Unsung Sondheim (Judy Kaye), see UNSUNGS1
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Sondheim, Stephen/Sondheim Sings: Volume I (1962–72)7, see SOND-
SINGS01

“Two by Two” cut from Do I Hear a Waltz? (1965), music by Richard Rodgers
Bennett, Tony/If I Ruled the World—Tony Bennett Songs for the Jet Set, Co-
lumbia CL-2343, (S)CS-9143, 1965, CBS/Sony CD 25DP-5320, 199[?]
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Song Listing 469

“Two Fairy Tales” cut from A Little Night Music (1973)

ASIII b-f2/a-f52
Sondheim: A Musical Tribute (Mark Lambert, Victoria Mallory), see
SONDAMUST1
Marry Me a Little1 (Suzanne Henry, Craig Lucas), see MARRYME1

“The Two of You” for Kukla, Fran and Ollie (1952)

ASIV b-e2
Unsung Sondheim (Christa Moore), see UNSUNGS1
Stephen Sondheim: The Story So Far . . .7 (Stephen Sondheim)

“Unworthy of Your Love” from Assassins (1991)

APVS, ASIV, AVS duet b-f2/a-d2
Assassins Original Cast5 (Greg Germann, Annie Golden), see ASSASSINS1
Assassins Broadway Cast (Alexander Gemignani, Mary Catherine Gar-
rison), see ASSASSINS2
Wall to Wall Stephen Sondheim (Alexander Gemignani, Annie Golden),
see WALLTOWALLS1

“Uptown, Downtown” cut from Follies (1971)

ASII a-c2
Marry Me a Little1 (Craig Lucas), see MARRYME1
Songs of New York (Judy Kaye), Book-of-the-Month Records 11-7500,
1984
Sondheim—A Celebration (Millicent Martin), see SONDACEL1
Follies, The Complete Recording (Dee Hoty, Ensemble), see FOLLIES05
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Maxwell, Linn/Times Like This, Original Cast [n.n.], 2003
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5

“Variations on a Theme (Katie Malone)” (1947)

Sondheim Tonight (Dominic John, pianist), see SONDTON1

“A Very Nice Prince” from Into the Woods (1987)

ITWPVS duet a-c2/e1-a1, (Reprise) a-c2/[dialogue]
Into the Woods Original Cast (Kim Crosby, Joanna Gleason), see IN-
TOTHE1
Into the Woods London Cast (Jacqueline Dankworth, Imelda Staunton),
see INTOTHE2
Into the Woods Revival Cast (Laura Benanti, Kerry O’Malley), see IN-
TOTHE3
Into the Woods/Boscos Endins Original Barcelona Cast (Gisela, Annabel
Totusaus), see INTOTHE5
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470 Song Listing

“A Very Short Violin Sonata” (1951)

Sondheim Tonight (Christina Sunnerstam, violinist), see SONDTON1

“Vincent and Vanessa,” see “Bolero d’Amour”

“Wait” from Sweeney Todd (1979)

ASIII, STVS c1-f2, STPVS b-e2
Sweeney Todd Original Cast (Angela Lansbury), see SWEENEYT1
Sweeney Todd Barcelona Cast (Vicky Pena), see SWEENEYT3
Sweeney Todd Live at the NYP (Patti LuPone), see SWEENEYT4
The MUSICality of Sondheim4 (Judy Kaye), JAY Records CDJAZ 9006,
2002
Sweeney Todd 2005 Broadway Revival (Patti LuPone), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter), see
SWEENEYT6
Gay Men’s Chorus of Los Angeles/Simply Sondheim, see GAYMENSCLA1
[in medley]
Gets, Malcolm/The Journey Home, PS Classics CD76, 2009

“Waiting for the Girls Upstairs” from Follies (1971)

CFC, FPVS, SCCH octet, FLVS, FVS solo version b-c2
Follies Original Cast (Gene Nelson, John McMartin, Dorothy Collins,
Alexis Smith, Harvey Evans, Kurt Peterson, Virginia Sandifur, Marti
Rolph), FOLLIES01
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John), see
SIDEBYS2
Follies in Concert7 (Jim Walton, Howard McGillin, Mandy Patinkin,
George Hearn, Lee Remick, Barbara Cook, Liz Callaway, Daisy
Prince), see FOLLIES02
Follies London Cast (Diana Rigg, Julia McKenzie, Daniel Massey, David
Healy, Gillian Bevan, Deborah Poplett, Simon Green, Evan Pappas),
see FOLLIES03
Sondheim: A Celebration at Carnegie Hall (George Lee Andrews, Michael
Jeter, James Naughton), see SONDACELATC1
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Follies, The Complete Recording (Tony Roberts, Laurence Guittard, Dee
Hoty, Donna McKechnie, Billy Hartung, Michael Gruber, Meredith
Patterson, Danette Holden), see FOLLIES05
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Losing My Mind”]

“Wallflowers’ Waltz” from By George (1946)

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Song Listing 471

“Waltz” from Climb High (1950–52, unproduced)

“Waste” from Road Show (2008) [based on “Bounce” from Bounce]

Road Show Original Cast Recording (Company), see ROADSHOW1

“Water Under the Bridge” for Singing Out Loud (1992–93, unproduced)
SCCH, SSFTS a-e2, sheet music published as Warner Bros. VS6208
Sondheim: A Celebration at Carnegie Hall7 (Liza Minnelli, Billy Stritch), see
SONDACELATC1
Unsung Sondheim (Debbie Shapiro Gravitte), see UNSUNGS1
Out on Broadway (Eddie Webb), see OUTONB1
Moving On (Company), see MOVINGON
Aro, Eric Van/Friends, Orchard 103145/Eraki 6002, 2005

“We Do Not Belong Together” from Sunday in the Park with George (1984)
BSBB [incorporated into “Move On”], SPGPVS duet g-d2/a-e2
Sunday in the Park . . . Original Cast (Bernadette Peters, Mandy
Patinkin), see SUNDAYIN1
Sunday in the Park . . . 2006 London Cast (Daniel Evans, Jenna Russell),
see SUNDAYIN2
Stanke, Patrick/Ich bin Musik, AnythingGoes 4260024290054, 2009 [with
“Move On”]

“We Float” cut from Pacific Overtures (1976) [related to “The Advantages
of Floating in the Middle of the Sea”]

“The Wedding Is Off” cut from Company (1970)

CVS3 a-c1 [into scream]/d1-d2

“Wedding Sequence” from All That Glitters (1949)

“A Weekend in the Country” from A Little Night Music (1973)

LNMPVS, SCCH sextet and vocal quintet
A Little Night Music Original Cast2 (Company), see LITTLEN01
A Little Night Music1 London Cast (Company), see LITTLEN02
A Little Night Music Film (Company), see LITTLEN03
A Little Sondheim Music (Janet Smith, Michael Gallup, Ensemble), see
LITTLES1
A Little Night Music Studio Cast (Company), see LITTLEN04
Sondheim: A Celebration at Carnegie Hall (Kevin Anderson, George Lee
Andrews, Mark Jacoby, Beverly Lambert, Maureen Moore, Susan
Terry, Quintet), see SONDACELATC1
A Little Night Music Royal National Theatre (Company), see LITTLEN05
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472 Song Listing

Celebrating the Musicals . . . (Ensemble), see CELEBRATTHEM

A Little Night Music Barcelona Cast (Company), see LITTLEN06 [and
reprise by Quintet]
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
A Little Night Music Broadway Revival Cast (Company), see LITTLEN07
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “In Praise of Women”]

“Welcome to Kanagawa” from Pacific Overtures (1976)

POPVS c1-e2 & chorus
Pacific Overtures1, 7 Original Cast (Ernest Harada, Timm Fujii, Patrick
Kinser-Lau, Gedde Watanabe, Leslie Watanabe, Mako), see PACIFIC-
OVER1
Pacific Overtures English National Opera (Terry Jenkins, Gordon
Christie, Michael Sadler, John Cashmore, Leon Berger, Richard An-
gas), see PACIFICOVER2
Pacific Overtures New Broadway Cast (Francis Jue, B. D. Wong & Girls),
see PACIFICOVER3

“We’re Bringing Back Style to the White House,” see “Bobby and Jackie
and Jack”

“We’re Gonna Be All Right” from Do I Hear a Waltz? (1965), music by

Richard Rodgers
DIHPVS duet a-e2/a-d2
Do I Hear a Waltz? Original Cast2 (Stuart Damon, Julienne Marie), see
DOIHEAR1
Sondheim: A Musical Tribute (Laurence Guittard, Teri Ralston), see SOND-
AMUST1
Side by Side by Sondheim (Millicent Martin, David Kernan), see SIDEBYS1
Side by Side . . . Australian Cast (Bartholomew John, Geraldene Mor-
row), see SIDEBYS2
Do I Hear a Waltz? Pasadena Playhouse Production (Benjamin Sprunger,
Annie Wersching), see DOIHEAR2
Singers Unlimited/A Little Light Music (Beryl Korman, Julia Meadows),
see SINGERSUN1

“We’re Gonna Have a Meeting” from Phinney’s Rainbow (1948)

“What a Day,” see “Auto da fé”

“What Can You Lose?” from Dick Tracy (1990)

ASIV, SSFTS b-f2, DTVS c1-g2
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Song Listing 473

Color and Light: Jazz Sketches . . . (Jim Hall, guitar), see COLOR1
Unsung Sondheim (Judy Kuhn), see UNSUNGS1
Sondheim at the Movies3 (Guy Haines), see SONDATTHEM1
Sondheim: A Celebration (Billy Porter), see SONDACEL2 [with “Not a Day
Goes By”]
Songs Without Words/A Windham Hill Collection (Stephen Sondheim),
Windham Hill 01934-11212-2, 1997 [piano solo]
Out on Broadway (Quenten Schumacher), see OUTONB1
Heart and Soul on Broadway (Billy Porter), see HEART&S1 [with “Not a
Day Goes By”]
Madonna/I’m Breathless (Madonna, Mandy Patinkin), see MADONNA1
Stephen Sondheim: The Story So Far . . .7 (Mandy Patinkin, Madonna)
[from soundtrack]
McDowell, Kristopher/Faces of Love, Jerome 660355895326, 2001
Malmberg, Myrra/What Can You Lose?, see MALMBERG1
Prior, Marina/Somewhere, see PRIORM1
Schürmann, Samuel/Sunday: Samuel Schürmann singt Sondheim, see
SCHÜRMANN1 [with “Back in Business”]
Turner, Geraldine/Old Friends, see TURNERG1 [with “Love I Hear”;
added to 1997 reissue]
Wilk, Oystein/Too Many Mornings, see WILKO1 [duet with Guri Schanke]

“What Do We Do? We Fly!” from Do I Hear a Waltz? (1965), music by

Richard Rodgers
DIHPVS quintet c1-a2 [all]
Do I Hear a Waltz? Original Cast (Madelaine Sherwood, Jack Manning,
Elizabeth Allen, Julienne Marie, Stuart Damon), see DOIHEAR1
Do I Hear a Waltz? Pasadena Playhouse Production (Elmarie Wendel,
Jack Riley, Annie Wersching, Benjamin Sprunger), see DOIHEAR2

“What Do You Do with a Woman?” (incomplete) for A Funny Thing Hap-

pened on the Way to the Forum (1962)

“What More Do I Need?” from Saturday Night (1954)

ASII, SNVS b-e2
A Stephen Sondheim Evening1 (Liz Callaway), see STEPHENSE1
Saturday Night Bridewell Cast (Anna Francolini, Sam Newman, Com-
pany), see SATURDAYN1
Saturday Night Original New York Cast (David Campbell, Lauren Ward,
Company), see SATURDAYN2
Moving On (Company), see MOVINGON [with “Who Wants to Live in
New York?”
Broadway Romances Manhattan (Judy Kaye), BC/EFA, 2002
Wall to Wall Stephen Sondheim (Liz Callaway), see WALLTOWALLS1
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474 Song Listing

Simply Sondheim (Stephanie Rhoads), see SIMPLYSOND1

Brightman, Sarah/Encore, Decca Broadway/Really Useful, 2002
Burns, Andrea/A Deeper Shade of Red, PS Classics 756, 2007
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Mansfield, Martin and Gayle Ashkenazy/Demarcations, see MANSFIELDM1
O’Donnell, Kerryn/What More Do I Need?, [n.l. n.n.], 2001, [Australian]
Turner, Geraldine/ . . . Sings the Stephen Sondheim Songbook, Vol. 2, see
TURNERG2
Upshaw, Dawn/I Wish It So, see UPSHAWD1
Woodfield, Ann/Shades of Reflection, Guild Music Ltd/Zah Zah ZZCD
9805, 1998

“What to Do at George School” from By George (1946)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2 [piano solo; incomplete]

“What Would We Do Without You?” from Company (1970) [usually con-

sidered a part of “Side by Side by Side”]
Putting It Together (Company [with lyric changes by Sondheim]), see
PUTTINGIT1
Boston Pops Orchestra/Songs of the ’60s (instrumental), see BOSTON1

“What’s Next” cut from Bounce (2003)

“What’s Your Rush?” from Bounce (2003)

Bounce Original Cast (Michelle Pawk, Howard McGillin), see BOUNCE1

“When?” from Evening Primrose (1966)

SSFTS duet b-f2/a-e2
Sondheim at the Movies (Liz Callaway, Gary Beach), see SONDATTHEM1
The Frogs/Evening Primrose Studio Recording (Neil Patrick Harris,
Theresa McCarthy), see FROGS1
Patinkin, Mandy/Dress Casual (Mandy Patinkin, Bernadette Peters), see
PATINKIN2
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Evening Primrose Original Television Soundtrack7 (Charmian Carr, An-
thony Perkins), see EVENPRIM1

“When I Get Famous” from Climb High (1952, unproduced)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“When I See You” from All That Glitters (1949)

ATGVS b-e2
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Song Listing 475

“Where Do I Belong?” from Climb High (1952, unproduced)

Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SONDSINGS2

“Where Have You Been All My Life?” cut from Bounce (2003), see “You”

“Who Could Be Blue?” cut from Follies (1971) [usually paired with “Little
White House”; music used for “Salon at Claridge # 2” in Stavisky]
ASII, CFC duet d1-g2/b-g2 [with “Little White House”]
Marry Me a Little1 (Craig Lucas), see MARRYME1
Follies, The Complete Recording (Laurence Guittard), see FOLLIES05
The Stephen Sondheim Album (Norm Lewis), see STEPHENSA1 [with “With
So Little to Be Sure Of”]
Heart and Soul on Broadway (Norm Lewis), see HEART&S1 [with “With So
Little to Be Sure Of”]

“Who Knows?/I Know” from Hot Spot (1963), music with Mary Rodgers,
lyric with Martin Charnin, new lyrics by Mark Waldrop
Hey, Love (Faith Prince, Mark Waldrop, Jason Workman), see HEYLOVE1

“Who Needs Him?” cut from Gypsy (1959), music by Jule Styne
Gypsy Original Cast (Laura Leslie), see GYPSY01 [2009 reissue only]
Gypsy 2008 Revival Cast (Patti LuPone), see GYPSY11

“Who Wants to Live in New York?” from Merrily We Roll Along (1981)
[usually found as a section of “Opening Doors”]
Moving On (Company), see MOVINGON [with “What More Do I Need?”]

“Who’s That Woman?” from Follies (1971)

CFC e-a1/f-d2, FPVS e-f2 + chorus, FLVS, FVS b-g2 + chorus
Follies Original Cast (Mary McCarty, Company), FOLLIES01
Follies in Concert (Phyllis Newman, Women, Chorus, Dancers), see FOL-
LIES02
Follies London Cast (Lynda Baron, Women), see FOLLIES03
Sondheim: A Celebration (Susan Johnson), see SONDACEL2
Follies/Themes from the Legendary Musical (The Trotter Trio), see FOLLIES04
Follies, The Complete Recording (Phyllis Newman, “The Weismann
Girls”), see FOLLIES05
Harvey, Jane/Jane Harvey Sings Sondheim, see HARVEYJ1

“Wigmaker Sequence” from Sweeney Todd (1979)

STPVS duet B-d1/c1-d2 + quintet
Sweeney Todd Original Cast (Len Cariou, Victor Garber), see SWEENEYT1
Sweeney Todd Barcelona Cast (Constantino Romero, Pep Molina), see
SWEENEYT3
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476 Song Listing

Sweeney Todd Live at the NYP (George Hearn, Davis Gaines), see
SWEENEYT4

“Willy—King of New York” cut from Bounce (2003), see “I Love This
Town”

“Window Across the Way” cut from A Funny Thing Happened on the Way
to the Forum (1962)

“Wise Guys” cut from Bounce (2003)

“Witch’s Lament” from Into the Woods (1987)

ITWPVS a-d2
Into the Woods Original Cast (Bernadette Peters), see INTOTHE1
Into the Woods London Cast (Julia McKenzie), see INTOTHE2
Into the Woods Revival Cast (Vanessa Williams), see INTOTHE3
Into the Woods Accompaniment CD (Amanda J. Brizzi), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Mone), see IN-
TOTHE5

“With So Little to Be Sure Of” from Anyone Can Whistle (1964)

ACWPVS duet a-c2/b-e2, ACWVS, ASIV, SCCH solo version b-e2
Anyone Can Whistle Original Cast2 (Lee Remick, Harry Guardino), see
ANYONE1
Sondheim (Book-of-the-Month) (Chamber ensemble), see SOND1
A Little Sondheim Music (Darlene Romano, Paul Johnson), see LITTLES1
A Stephen Sondheim Evening (Victoria Mallory, George Hearn), see
STEPHENSE1
Everyone’s a Love Song, see EVERYONE1
Sondheim: A Celebration at Carnegie Hall5 (Jerry Hadley, Carolann Page),
see SONDACELATC1
Anyone Can Whistle Live at Carnegie Hall (Scott Bakula, Bernadette Pe-
ters), see ANYONE2
The Stephen Sondheim Album (Norm Lewis), see STEPHENSA1 [with “Who
Could Be Blue?”]
Moving On (Company), see MOVINGON [with “Our Time”]
Heart and Soul on Broadway (Norm Lewis), see HEART&S1 [with “Who
Could Be Blue?”]
Sing the Songs of Stephen Sondheim Vol. 2 (instrumental), see SINGTHE-
SONGS2
Bennett, Richard Rodney/A Different Side of Sondheim, see BENNETTR1
Breach, Joyce/This Moment, Audiophile ACD-293, 1996
Brindley, Susan/With So Little to Be Sure Of, see BRINDLEYS1
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Song Listing 477

Ford, Anne Kerry/Something Wonderful, see FORDA1

Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1
Intimate Broadway/My Favorite Things, Intersound 8311, 1996
Jiear, Alison/Simply Alison Jiear, Dress Circle DAD 007/1, 1995
Jobson, Mark deVille/My House, see JOBSON1
Lawrence, Steve/Steve Lawrence Sings, Columbia CL-2540, (S)CS-9340,
1967
Lawrence, Steve/ . . . Sings of Love and Sad Young Men/Portrait of Steve,
Sony Music Distribution 421252, 2002/GL Records 125, 2004
Lesser, Debbie/let’s misbehave, LML CD-161, 2002
O’Connor, Grace/A Time for Love, [n.n., n.n.], 2000 [with “Everybody
Says Don’t”]
Peters, Bernadette/Sondheim, Etc., Etc. see PETERSB2
Stage 3/True Colors (Charlie Owens), Dink Records 1000, 1998/2008
[with “Alfie”]
Turner, Geraldine/Old Friends, see TURNERG1
Whyte, Ronny/All in a Night’s Work, Audiophile ACD-247, 1989 [reis-
sued]
Wilk, Oystein/Too Many Mornings, see WILKO1 [duet with Guri Schanke]
Wilson, Julie/Julie Wilson Sings the Stephen Sondheim Songbook, see
WILSONJ2

“With So Little to Be Sure Of” (first version) cut from Anyone Can Whistle
(1964)
Anyone Can Whistle Original Cast (Stephen Sondheim), see ANYONE1

“A Woman’s Place Is in the Home,” see “Simple”

“Women and Death” from Stavisky (1974)

Stavisky (instrumental), see STAVISKY1

“Women Were Born to Wait” cut from A Little Night Music (1973) [related
to “In Praise of Women”]

“The World’s Full of Girls/ . . .Boys” cut from Follies (1971) [music used
as “Operetta” in Stavisky]
ASIV, CFC b-e2/c1-c2/c2-e2/a-f2/b1-c2/d1-b1

“The Worst Pies in London” from Sweeney Todd (1979)

STPVS b-e2
Sweeney Todd Original Cast6 (Angela Lansbury), see SWEENEYT1
Sondheim (Book-of-the Month) (Joyce Castle), see SOND1
Sweeney Todd Barcelona Cast (Vicky Pena), see SWEENEYT3
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478 Song Listing

Het Beste Uit De Musicals (Simone Kleinsma), Endemol Entertainment

871295413177, 1998 [in Dutch]
Sweeney Todd Live at the NYP (Patti LuPone), see SWEENEYT4
Sweeney Todd 2005 Broadway Revival7 (Patti LuPone), see SWEENEYT5
Sweeney Todd Motion Picture Soundtrack (Helena Bonham Carter), see
SWEENEYT6

“The Year of the . . .” cut from The Exception and the Rule (1968, unpro-
duced), music by Leonard Bernstein

“Yes” for The Jet-Propelled Couch (1958, unproduced) [music became “Sa-
lon at the Claridge # 1” in Stavisky]

“Yoo-hoo!” from Climb High (1950–52, unproduced)

“Yoo-hoo!” cut from Sunday in the Park with George (1984) [portions can
still be heard in the score]

“You” from Bounce (2003) and Road Show (2008)

Bounce Original Cast (Richard Kind, Gavin Creel, Ensemble), see
BOUNCE1
Road Show Original Cast Recording (Alexander Gemignani, Claybourne
Elder, Company), see ROADSHOW1

“You Can’t Judge a Book by Its Cover,” see “Simple”

“You Could Drive a Person Crazy” from Company (1970)

CPVS trio [voices range from b-a2, CVS, HTSS, SCCH trio d1-d2 [one
voice rises to a g2], CVS2, CVS3 trio [voices range from a-g2]
Company Original Cast (Donna McKechnie, Susan Browning, Pamela
Myers), see COMPANY01
Sondheim: A Musical Tribute (Donna McKechnie, Susan Browning,
Pamela Myers), see SONDAMUST1
Side by Side by Sondheim (Millicent Martin, David Kernan, Julia McKen-
zie), see SIDEBYS1
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John, Ger-
aldene Morrow), see SIDEBYS2
Songs of Sondheim Irish Cast (Company), see SONGSOFSOND1
Sondheim: A Celebration at Carnegie Hall (Dorothy Loudon), see SOND-
ACELATC1 [in medley]
Putting It Together (Christopher Durang), see PUTTINGIT1
Stephen Sondheim’s Company . . . In Jazz (The Trotter Trio), see COMPANY03
Company Revival Cast (La Chanze, Charlotte d’Amboise, Jane
Krakowski), see COMPANY05
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Song Listing 479

Company London Revival Cast (Hannah James, Kiran Hocking, Anna

Francolini), see COMPANY04
Sondheim: A Celebration3 (David Cassidy, Patrick Cassidy, Shaun Cas-
sidy), see SONDACEL2
Hey, Mr. Producer! (Maria Friedman, Ruthie Henshall, Millicent Martin,
Lea Salonga), see HEYMRP
Celebrating Sondheim (Claire Moore, Rosemary Ashe, Mary Carewe), see
CELEBRATSON
The 3 Divas (Judi Connelli, Suzanne Johnston, Jennifer McGregor), CDP
2000/DIVA003-1, 2000
Company Brazilian Cast (Doriana Mendes, Sabrina Korgut, Patricia
Levy), see COMPANY06
Side by Side . . . Brazilian Cast (Ester Elias, Marya Bravo, Sabrina Kor-
gut), see SIDEBYS3 [with “Company”]
Simply Sondheim (Stephanie Rhoads, Kelly Ground, Shay Oglesby-
Smith), see SIMPLYSOND1 [in medley]
Company Accompaniment CD (Christina Bianco, Liz Donathan, Sarah
Downs/accompaniment), see COMPANY08
Company Second Revival Cast (Elizabeth Stanley, Kelly Jeanne Grant,
Angel Desai, Raúl Esparza, Fred Rose), see COMPANY09
Abel, Amanda/Night of Neurotica, Original Cast 6246, 2007 [with “Los-
ing My Mind”]
Clary, Robert/Robert Clary Sings at the Jazz Bakery in Los Angeles, Origi-
nal Cast Records 9799, 1997 [with “Not While I’m Around” and “Los-
ing My Mind”]
Cook, Barbara/Barbara Cook Sings Mostly Sondheim, see COOKB1
East West Players/East West Overtures (Cindy Cheung, Jennifer Fujii,
MaryAnn Hu), see EASTWEST1
Gillan, James/James Gillan, Butterfly James BJR001, 2001 [with “Live
Alone and Like It”]
Laine, Cleo/Cleo Sings Sondheim, see LAINEC2
Mager, Eileen/Broadway: Love and Laughter, see MAGERE1
McKechnie, Donna/Inside the Music, see MCKECHNIED1
Patinkin, Mandy/Mandy Patinkin Sings Sondheim, PATINKIN5
Peters, Bernadette/Sondheim, Etc., see PETERSB1
Prior, Marina/Somewhere, see PRIORM1

“You Don’t Want Me to Go” cut from Bounce (2003)

“You Gotta Have a Gimmick” from Gypsy (1959), music by Jule Styne
GPVS, GVS2 trio g-d2/b-d2/b-d2, HTSS solo version g-d2
Gypsy Original Cast2 (Faith Dane, Chotzi Foley, Maria Karnilova), see
GYPSY01
Gypsy Film (Roxanne Arlen, Faith Dane, Betty Bruce), see GYPSY02
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480 Song Listing

Gypsy London Cast (Kelly Wilson, Judy Cannon, Valerie Walsh), see
GYPSY03
Jerome Robbins Broadway6 (Debbie Shapiro, Faith Prince, Susann
Fletcher), see JEROMER1
Gypsy Revival Cast (Jana Robbins, Anna McNeely, Barbara Erwin), see
GYPSY04
Gypsy TV Cast (Linda Hart, Anna McNeely, Christine Ebersole), see
GYPSY05
Hey, Mr. Producer! (Ruthie Henshall, Julia McKenzie, Bernadette Peters,
Michael Ball, Judi Dench, Maria Friedman, David Kernan, Millicent
Martin, Lea Salonga), see HEYMRP
Gypsy German Cast (Pascale Camele, Janet Calvert, Michelle Becker),
see GYPSY07
Kay Medford in “Gypsy” (Janet Webb, Janette Gale, Betty Winsett), see
GYPSY09
Gypsy 2003 Revival Cast (Heather Lee, Kate Budeke, Julie Halston), see
GYPSY10
Gypsy 2008 Revival Cast (Lenora Nemetz, Marilyn Caskey, Alison
Fraser), see GYPSY11
Akers, Karen/Simply Styne, DRG 91506, 2008 [with “Let Me Entertain
You”]
Vondrácková, Helena & Jirí Korn/Tech Pár Dnu, Supraphon 579823,
2007

“You Must Meet My Wife” from A Little Night Music (1973)

ASI, LNMVS, SSS solo version d1-f2, LNMPVS duet c1-e2
A Little Night Music Original Cast2 (Len Cariou, Glynis Johns), see LIT-
TLEN01
Side by Side by Sondheim6 (Millicent Martin, David Kernan), see SIDE-
BYS1
Side by Side . . . Australian Cast (Jill Perryman, Bartholomew John), see
SIDEBYS2
A Little Night Music London Cast (Joss Ackland, Jean Simmons), see LIT-
TLEN02
A Little Night Music Film (Len Cariou, Elizabeth Taylor), see LITTLEN03
Sondheim (Book-of-the-Month) (Chamber ensemble), see SOND1
A Little Night Music Studio Cast (Eric Flynn, Sian Phillips), see LITTLEN04
A Little Night Music Royal National Theatre (Judi Dench, Laurence
Guittard), see LITTLEN05
Celebrating the Musicals . . . (Stephen Hill, Anita Dobson), see CELE-
BRATTHEM
A Little Night Music Barcelona Cast (Vicky Pena, Constantino Romero),
see LITTLEN06 [and reprise by Alberto Demestres]
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Song Listing 481

A Little Night Music Broadway Revival Cast (Alexander Hanson,

Catherine Zeta-Jones), see LITTLEN07
Bennett, Richard Rodney/A Different Side of Sondheim (piano solo), see
BENNETTR1
Goodman, Benny/The King Swings, Star Line 9007, 1973/1995
Goodman, Benny/B. G. World Wide, TCB Records 43012, 1993 [instru-
mental]
Goodman, Benny/Verve Jazz Masters 33, Polygram 844410, 1994 [instru-
mental]
Goodman, Benny/Berlin 1980, TCB Records 43022, 1996/2002
Heller, Marc/Take Me to the World: Songs by Stephen Sondheim, see
HELLERM1
Hyman, Dick/A Waltz Dressed in Blue, Four Star 40051, 1994 [instru-
mental]
Trotter, Terry/Stephen Sondheim’s A Little Night Music, see TROTTERT1 [pi-
ano solo]

“You Would Love My Wife” incomplete for Follies (1971)

“You’ll Never Get Away from Me” from Gypsy (1959), music by Jule Styne
[same music as “I’m In Pursuit of Happiness” from Ruggles of Red
Gap, lyric by Leo Robin, and “Why Did You Have To Wait So Long”
for Pink Tights, unfinished lyric by Sammy Cahn]
GPVS duet f-c2/b-g1, GVS solo version a-e2, GVS2 f-c2
Gypsy Original Cast (Ethel Merman, Jack Klugman), see GYPSY01
Gypsy Film (Rosalind Russell, Karl Malden), see GYPSY02
Gypsy London Cast (Angela Lansbury, Barrie Ingham), see GYPSY03
Gypsy Revival Cast (Tyne Daly, Jonathan Hadary), see GYPSY04
Gypsy TV Cast (Bette Midler, Peter Riegert), see GYPSY05
Gypsy German Cast (Angelika Milster, Cusch Jung), see GYPSY07
Selections from “Gypsy” and “Flower Drum Song” (Florence Henderson),
see GYPSY08
Kay Medford in “Gypsy” (Kay Medford, Jimmy Blackburn), see GYPSY09
Gypsy 2003 Revival Cast (Bernadette Peters, John Dossett), see GYPSY10
Gypsy 2008 Revival Cast (Patti LuPone, Boyd Gaines), see GYPSY11
Bennett, Tony, Columbia 45rpm 4-41381, 1960
Bennett, Tony/More Tony’s Greatest Hits, Columbia CL-1535, (S)CS8335,
1960
Bennett, Tony/Mr. Broadway, Columbia CL-1763, (S)CS-8563, 1962
Betts/Harry O. & Brown Singers/Now Playing, AVA (S)AS-23, 1963
Clary, Robert/Sings Harry Warren & Jule Styne, Original Cast 6040, 2005
[with “Small World” & “Together Wherever We Go”]
Davis Jr., Sammy, Decca 45rpm 9-30898, 1960
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482 Song Listing

Dijon, Coby, Epic 45rpm 5-9347, 1960

Feinstein, Michael/Michael Feinstein Sings the Jule Styne Songbook, see
FEINSTEIN1
Harvey, Jane/The Other Side of Sondheim, see HARVEYJ1 [part of “Rose’s
Medley”]
Harnar, Jeff/Jeff Harnar Sings the 1959 Broadway Songbook, see HARNARJ1
Henderson, Bill, GM 45rpm K13155, 1964
Henderson, Florence/Selections from “Gypsy” and “Flower Drum Song,”
see HENDERSONF1
Hi-Lo’s, The/Broadway Playbill, see HILOS
Kuhn, Judy/Just in Time—Judy Kuhn Sings Jule Styne3, Varese Sarabande
VSD-5472, 1995
Lawrence, Carol/Tonight at 8:30, see LAWRENCEC
Merman, Ethel/Mermania!, see MERMANE1
Ross, Annie/Gypsy, see ROSSANNIE
Salonga, Lea/The Broadway Concert, see SALONGAL1 [with “Together
Wherever We Go”]
Sherwood, Roberta/Live Performance, Decca (S)DL7-4100, 1961
Skinner, Emily/Emily Skinner (duet with Alice Ripley), Fynsworth Alley
302 062 102 2, 2000 [with “Together Wherever We Go”]
Smith, Ethel/Ethel On Broadway, Decca (S)DL7-8993, 1960
Styne, Jule/My Name Is Jule, see STYNEJ1
Turrentine, Stanley/Never Let Me Go, BLN (S)BST8-4129, 1964

“Your Eyes Are Blue” cut from A Funny Thing Happened on the Way to the
Forum (1962), [see also “Love Story”]
Sondheim: A Musical Tribute (Harvey Evans, Pamela Hall), see SOND-
AMUST1
Marry Me a Little1 (Craig Lucas, Suzanne Henry), see MARRYME1
Stephen Sondheim’s A Funny Thing . . . Forum . . . In Jazz (The Trotter Trio),
see FUNNY04
Mayes, Sally/Boys and Girls Like You and Me (with Brent Barrett), see
MAYESS1 [with “All Things Bright and Beautiful”]

“Your Fault” from Into the Woods (1987)

ITWPVS vocal quintet
Into the Woods Original Cast (Chip Zien, Ben Wright, Danielle Ferland,
Bernadette Peters, Kim Crosby), see INTOTHE1
Into the Woods London Cast (Ian Bartholomew, Richard Dempsey, Tessa
Burbridge, Julia McKenzie, Jacqueline Dankworth), see INTOTHE2
Into the Woods Revival Cast (Stephen DeRosa, Molly Ephraim, Vanessa
Williams, Laura Benanti), see INTOTHE3
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Song Listing 483

Into the Woods Accompaniment CD (Mark Weekes, Kristopher Monroe,

Samantha Meckes, Amanda J. Brizzi, Christina Bianco), see INTOTHE4
Into the Woods/Boscos Endins Original Barcelona Cast (Josep Maria Gi-
meno, Marc Pujol, Anna Moliner, Mona, Gisela), see INTOTHE5

“You’re Gonna Love Tomorrow” from Follies (1971) [double duet with
“Love Will See Us Through”]
CFC, FPVS double duet c1-g2/c1-e2/d1-g2/d1-g2
Follies Original Cast (Kurt Peterson, Virginia Sandifur), FOLLIES01
Follies in Concert (Howard McGillin, Daisy Prince), see FOLLIES02
A Stephen Sondheim Evening1 (Cris Groenendaal, Judy Kaye), see
STEPHENSE1 [not on cd, available on A Collector’s Sondheim]
Follies London Cast (Simon Green, Gillian Bevan), see FOLLIES03
Follies, The Complete Recording (Michael Gruber, Meredith Patterson),
see FOLLIES05
Out on Broadway (Keith Thompson, Chris Brenner, Quenten Schu-
macher, Tracy Collins), see OUTONB1
The Stephen Sondheim Album (Christiane Noll), see STEPHENSA1 [with
“Not a Day Goes By”]

“You’re Only as Old as You Look” (1955) [birthday song for Julian “Jerry”
Beaty]
Sondheim, Stephen/Sondheim Sings: Volume II (1946–60), see SOND-
SINGS2

“You’ve Broken My Heart” from All that Glitters (1949)

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Primary Sondheim
Recordings

ALEXR1:Roberta Alexander/With You (1996[?])

Et’Cetera
CD: KTC 1190
Songs: “Can That Boy Foxtrot!,” “Good Thing Going,” “I Remember”

ANYONE1: Anyone Can Whistle Original Broadway Cast Recording (1964)

Columbia Records
LP: KOL-6080 (M)/KOS-2480 (S)
S-32608 (S); reissue
AS-32608 (S) [Columbia Special Products]
CD: CK-02480
Cassette: JST-02480
CD: SK 86860 [2003 Sony Classical/Columbia/Legacy reissue; in-
cludes 5 demo recordings by Sondheim, asterisked below]
Songs: “Anyone Can Whistle,”* “Come Play Wiz Me,”* “The Cookie
Chase,” “Everybody Says Don’t,” “I’m Like the Bluebird,”* “I’ve Got
You to Lean On,” “The Lame, the Halt and the Blind,”* “Me and My
Town,” “Miracle Song,” “A Parade in Town,” “Prelude,” “See What It
Gets You,” “Simple,” “There Won’t Be Trumpets,” “With So Little to Be
Sure Of,” “With So Little to Be Sure Of”* [first version]

ANYONE2: Anyone Can Whistle Live at Carnegie Hall (1995)

Columbia
CD: CK 67224
Songs: “Anyone Can Whistle,” “Come Play Wiz Me,” “Cookie Chase,”
“Everybody Says Don’t,” “I’m Like the Bluebird,” [included in “Miracle

485
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486 Primary Sondheim Recordings

Introduction”] “I’ve Got You to Lean On,” “Me and My Town,” “Mira-
cle Song,” “A Parade in Town,” “Prelude,” [listed as “Overture”] “See
What It Gets You,” “Simple,” “There Won’t Be Trumpets,” “There’s Al-
ways a Woman,” “With So Little to Be Sure Of”

ANYONE3: Anyone Can Whistle Studio Cast Recording (ca. 2002, unreleased)
JAY Records
CD: TBD; 2-disc set

ARGENTM1: Monique Argent/Moonfall (2002)

The artist
CD: [n.n.]
Songs: “Broadway Baby,” “Everybody Says Don’t,” “The Girls of Sum-
mer,” “Losing My Mind,” “Take Me to the World”

ASSASSINS1:Assassins Original Cast Recording (1991)

RCA Records
CD: 60737-2-RC [DDD]
Cassette: 60737-4-RC
Songs: “Another National Anthem,” “The Ballad of Booth,” “The Bal-
lad of Czolgosz,” “The Ballad of Guiteau,” “Everybody’s Got the
Right,” “Gun Song,” “How I Saved Roosevelt,” “Unworthy of Your
Love”

ASSASSINS2:Assassins Broadway Cast Recording (2004)

PS Classics
CD: PS-421
Songs: “Another National Anthem,” “The Ballad of Booth,” “The Bal-
lad of Czolgosz,” “The Ballad of Guiteau,” “Everybody’s Got the
Right,” “Gun Song,” “How I Saved Roosevelt,” “Something Just
Broke,” “Unworthy of Your Love”

BALLM1:Michael Ball/The Musicals (1996)

Polygram TV
CD: 533892-2
Songs: “Losing My Mind,” “Loving You,” “Something’s Coming”

BARNETTEARLY1: Peter Barnett and Julia Early/In So Many Words (1996)

A Barnett Early Production
CD: PBJECD001
Songs: “The Boy From . . . ,” “Live Alone and Like It,” “Marry Me a Lit-
tle,” “Take Me to the World”
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BARRJ1:
John Barr/In Whatever Time We Have (1998)
Dress Circle
CD: MBJBTDM2
Songs: “Multitudes of Amys,” “Not While I’m Around,” “One Hand,
One Heart,” “There Won’t Be Trumpets”

BARROWMAN1: John Barrowman/Reflections From Broadway (2000)

JAY Records
CD: CDJAY 1333
Songs: “Anyone Can Whistle,” “Being Alive, “ “Good Thing Going,”
“Not While I’m Around”

BEECHMAN1: Laurie Beechman/No One Is Alone (1996)

Varese Sarabande
CD: VSD-5623
Songs: “Being Alive,” “No One Is Alone,” “One Hand, One Heart”

BENNETTR1: Richard Rodney Bennett/A Different Side of Sondheim (1979)

DRG Records
LP: SL 5182
Cassette: SLC-5182
CD: 5182 (issued on CD in 1995)
Songs: “Anyone Can Whistle,” “Barcelona,” “I Do Like You,” “I Re-
member,” “Night Waltz (I),” “Salon at the Claridge # 1,” “So Many Peo-
ple,” “Take Me to the World,” “Uptown, Downtown,” “With So Little to
Be Sure Of,” “You Must Meet My Wife”

BERNSTEINON1: Bernstein On Broadway/Peter Hofmann & Debbie Sasson

(1985)
Horzu/CBS [German release]
LP: FM 39535/CB 321
CBS [American release]
LP: 7464-39535-1
Songs: “Cool,” “I Feel Pretty,” “Maria,” “One Hand, One Heart,” “Pro-
logue,” “Something’s Coming,” “Somewhere,” “Tonight”

BIRDCAGE: The Birdcage Motion Picture Soundtrack (1996)

United Artists/e.a.r.
CD: 0029782EDL
Songs: “Can That Boy Foxtrot!,” “Little Dream,” “Love Is in the Air”

BLACKWELL1: Harolyn Blackwell/A Simple Song: Blackwell Sings Bernstein

(1996)
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488 Primary Sondheim Recordings

RCA Victor
CD: 09026-68321-2
Songs: “America,” “A Boy Like That,” “I Have a Love,” “Somewhere”

BLAINEV1:Vivian Blaine/For You (1983)

AEI Records
LP: AEI 1145
CD: AEI-CD 604 [1999 reissued under the title Vivian Blaine Live in
Hollywood]
Songs: “Broadway Baby,” “Everything’s Coming Up Roses,” “The
Ladies Who Lunch”

BOSTON1: Boston Pops Orchestra/Songs of the ‘60s (1981) [instrumental]

Time-Life
STLF-0022
Songs: “Another Hundred People,” “Being Alive,” “Company,” “The
Ladies Who Lunch,” “Poor Baby,” “Side by Side by Side,” “Someone Is
Waiting,” “What Would We Do without You?”

BOSTON2: [Boston] Pops on Broadway/Music of the Night 1990

Sony Classical
CD: SK 45567
Songs: “Comedy Tonight,” “No One Is Alone,” “Send in the Clowns”

BOUNCE1: Bounce Original Cast (2004)

Nonesuch
CD: 79830-2
Songs: “Addison’s City,” “Addison’s Trip,” “The Best Thing That Ever
Has Happened,” “Boca Raton,” “Boca Raton Aftermath,” “Bounce” (3),
“The Game” (2), “Get Out of My Life,” “Gold!,” “Gold!—part 2,” “I
Love This Town,” “Isn’t He Something!,” “A Little House for Mama,”
“Next to You,” “Opportunity,” “Overture,” “Talent,” “What’s Your
Rush?,” “You”

BRINDLEYS1:Susan Brindley/With So Little to Be Sure Of (2007)

Susan Brindley
CD: 822371121524
Songs: “Could I Leave You?,” “Good Thing Going,” “Goodbye for
Now,” “There Won’t Be Trumpets,” “With So Little to Be Sure Of”

BROADWAYCEL: A Broadway Celebration (1989) [Lainie Nelson, Susan Wat-

son, George Ball]
“A Broadway Celebration”
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CD: [n.n.]
Cassette: [n.n.]
Songs: “Pretty Women,” “Send in the Clowns,” “Some People”

BROADWAYEX: A Broadway Extravaganza (1987) [instrumental]

MCA Classics
CD: MCAD-6219
Songs: “Another Hundred People,” “Anyone Can Whistle,” “A Parade
in Town”

BROADWAYMUS62: The Broadway Musicals of 1962: Town Hall Broadway by the

Year Series (2008)
Original Cast
CD: OC 6228
Songs: “Comedy Tonight,” “Everybody Ought to Have a Maid,” “I’m
Calm,” “Love I Hear”

BROADWAYUNPL1: Broadway Unplugged (2004)

Bayview
CD: RNBW032
Songs: “Everything’s Coming Up Roses,” “Finishing the Hat,” “There
Won’t Be Trumpets”

BROADWAYUNPL4: Broadway Unplugged 4 (2008)

Original Cast Records
CD: OC 6237
Songs: “Everybody Says Don’t,” “Something’s Coming,” “Some-
where,” “Tonight”

BRUSSELL1:Barbara Brussell/patterns (1998)

LML Music
CD: LML-CD 111
Songs: “Buddy’s Blues,” “Everybody Says Don’t,” “Marry Me a Little,”
“Move On”

BUCKLEYB1: Betty Buckley/Children Will Listen (1993)

Sterling
CD: S1001-2
Cassette: S1001-4
Songs: “Children and Art,” “Children Will Listen,” “I Remember,” “No
One Is Alone,” “Not a Day Goes By,” “Not While I’m Around,” “Sorry-
Grateful,” “Stay with Me”
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490 Primary Sondheim Recordings

BUCKLEYB2: Betty Buckley/The London Concert (1995)

Sterling (BBC)
CD: S1010-2
Cassette: S1010-4
Songs: “Finishing the Hat,” “Marry Me a Little,” “Old Friends,” “Rose’s
Turn,” “Send in the Clowns”

BUCKLEYB3: Betty Buckley/An Evening at Carnegie Hall (1996)

Sterling
CD: S1012-2
Cassette: S1012-4
Songs: “Every Day a Little Death,” “Now You Know,” “Rose’s Turn,”
“Something’s Coming”

BUCKLEYB4: Betty Buckley/Quintessence (2008)

Sony
CD: 722058
Songs: “Anyone Can Whistle,” “No One Is Alone,” “Something’s Com-
ing”

BYRNED1: Debra Byrne/New Ways to Dream (1997)

Polydor
CD: 537 324-2
Songs: “Being Alive,” “Children Will Listen,” “No One Is Alone”

CALLAWAYA&L: Ann Hampton Callaway & Liz Callaway/Sibling Revelry

(1996)
Varese Sarabande
CD: VSD-5622
Songs: “A Boy Like That,” “Every Day a Little Death,” “If Momma Was
Married,” “Our Time”

CANDIDE01: Candide Revival Cast Recording (1974)

Columbia Records
LP: S2X 32923; 2-record set
Sony/BMG
CD: 82876-88391-2; 2006 reissue
Songs: “Auto da fé (What a Day),” “Life Is Happiness Indeed,”
“Sheep’s Song,” “This World”

CANDIDE02: Candide New York City Opera Cast Recording (1986)

New World Records
LP: NW 340/341
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Primary Sondheim Recordings 491

CD: NW 340/341-2
Songs: “Life Is Happiness Indeed,” “Sheep’s Song”

CANDIDE03: Candide/Scottish Opera Cast Recording (1988)

TER Classics
CD: CDTER 1156
Cassette: ZCTER 1156

CANDIDE04: Candide, Leonard Bernstein Conducts (1991)

Deutsche Grammophon
CD: 429734-2; 431328-2 (highlights only)
Cassette: 429734-4; 437328-4 (highlights only)
Songs: “Life Is Happiness Indeed”

CANDIDE05: Candide New Broadway Cast (1997)

RCA Victor
CD: 09026-68835-2
Songs: “Auto da fé (What a Day),” “Life Is Happiness Indeed,” “Old
Lady’s False Entrance/Old Lady’s Second False Entrance,” “Sheep’s
Song”

CANDIDE06: Candide The 1999 Royal National Theatre Recording (2000)

[recording does not make clear which lyrics are by Sondheim]
First Night Records
CD: Cast CD 75
Songs: “Auto da fé (What a Day),” “Life Is Happiness Indeed”

CANTD1: Donald Cant/Donald Cant (n.d.)

New Market Music
CD: 87-91
Songs: “Johanna,” “Losing My Mind,” “No One Is Alone,” “Not While
I’m Around,” “Somewhere”

CELEBRATGYP: Celebrating Gypsy, Funny Girl, Gentlemen Prefer Blondes: A

Tribute to Jule Styne (1998)
BBC Radio 2
CD: WMEU 0019-2
Songs: “All I Need Is the Girl,” “Everything’s Coming Up Roses,” “Let
Me Entertain You,” “Rose’s Turn,” “Small World,” “Some People”

CELEBRATSON: Celebrating Sondheim (Follies, Sweeney Todd, Sunday in the Park

with George (1998)
BBC Radio 2
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492 Primary Sondheim Recordings

CD: WMEU 0018-2

Songs: “Being Alive,” “Buddy’s Blues,” “Comedy Tonight,” “Every-
body Loves Louis,” “Franklin Shepard, Inc.,” “I Remember,” “In
Buddy’s Eyes,” “Johanna,” “Me and My Town,” “Move On,” “Not
While I’m Around,” “Old Friends,” “Our Time,” “Overture to Merrily
We Roll Along,” “Sunday in the Park with George,” “Too Many Morn-
ings,” “You Could Drive a Person Crazy”

CELEBRATTHEM: Celebrating the Musicals Kismet, Guys and Dolls, A Little

Night Music (1998)
BBC Radio 2
CD: WMEU 0020-2
Songs: “Send in the Clowns,” “A Weekend in the Country,” “You Must
Meet My Wife”

CLARKP1: Petula Clark/here for you (1998)

Varese Sarabande
CD: VSD-5978
Songs: “Children Will Listen,” “I Never Do Anything Twice,” “Losing
My Mind,” “Not a Day Goes By”

CLARYR1: Clary, Robert/Louis Lebeau Remembers Cole Porter, Not Stephen

Sondheim (But Sings Their Songs Anyway) (2000)
Original Cast Records
CD: OC-2101
Songs: “Anyone Can Whistle,” “Beautiful Girls,” “I Remember,” “I’m
Calm,” “Live, Laugh, Love,” “Love, I Hear,” “Marry Me a Little,” “Old
Friends,” “Pretty Women,” “Too Many Mornings”

COLOR1: Color and Light: Jazz Sketches on Sondheim (1995)

Sony Classical
CD: SK 66566
Songs: “Anyone Can Whistle,” “Children and Art,” “Color and Light,”
“Every Day a Little Death,” “Losing My Mind,” “Loving You,” “One
More Kiss,” “Poems,” “Pretty Women,” “They Ask Me Why I Believe in
You,” “What Can You Lose?”

COMPANY01: Company Original Broadway Cast Recording (1970)

Columbia Records
LP: OS-3530 (S)/SQ-30993 (Q)
CD: CK-03550
Cassette: JST-03550
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Sony Classical/Columbia/Legacy [1998 reissue, remastered w/

bonus track]
CD: SK 65283
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,”
“Bobby-Baby,” “Company,” “Getting Married Today,” “Have I Got a
Girl for You,” “The Ladies Who Lunch,” “The Little Things You Do To-
gether,” “Poor Baby,” “Side by Side by Side,” “Someone Is Waiting,”
“Sorry-Grateful,” “Tick-Tock,” “You Could Drive a Person Crazy”

COMPANY02: Company London Cast Recording [This is the same recording

as the Original Broadway Cast Recording except for an all-new record-
ing of “Barcelona” and Larry Kert tracking in all of Dean Jones’s vocals]
(1971)
E/CBS Records
LP: 70108 (S)
CD: SMK 53496 [reissue on Sony West End]
Songs: see COMPANY01 and note above

COMPANY03: (Stephen Sondheim’s) Company . . . In Jazz (The Trotter Trio)

(1995)
Varese Sarabande
CD: VSD-5673
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,” “Com-
pany,” “The Ladies Who Lunch,” “Side by Side by Side,” “Someone Is
Waiting,” “Sorry-Grateful,” “You Could Drive a Person Crazy”

COMPANY04: Company London Revival Cast Recording (1996)

RCA Victor/BMG Classics
CD: 09026-68589-2
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,”
“Bobby-Baby,” “Company,” “Getting Married Today,” “Have I Got a
Girl for You,” “The Ladies Who Lunch,” “The Little Things You Do To-
gether,” “Poor Baby,” “Marry Me a Little,” “Side by Side by Side,”
“Someone Is Waiting,” “Sorry-Grateful,” “You Could Drive a Person
Crazy”

COMPANY05: Company Revival Cast Recording (1996)

Angel
CD: 55608
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,”
“Bobby-Baby,” “Company,” “Getting Married Today,” “Have I Got a
Girl for You,” “The Ladies Who Lunch,” “The Little Things You Do
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494 Primary Sondheim Recordings

Together,” “Marry Me a Little,” “Poor Baby,” “Side by Side by Side,”

“Someone Is Waiting,” “Sorry-Grateful,” “Tick-Tock,” “You Could
Drive a Person Crazy”

COMPANY06: Company Brazilian Cast Recording (2001)

[The label name is unclear, though information on the CD includes
“cod. VSCD0001” and barcode number “7 897999 300555.” In addi-
tion, the following website address is given: www.showguide.com
.br/company]
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,”
“Bobby-Baby,” “Company,” “Getting Married Today,” “Have I Got a
Girl for You,” “The Ladies Who Lunch,” “The Little Things You Do To-
gether,” “Marry Me a Little,” “Poor Baby,” “Side by Side by Side,”
“Someone Is Waiting,” “Sorry-Grateful,” “Tick-Tock,” “You Could
Drive a Person Crazy”

COMPANY07: Company German Cast Recording (2001)

[No label name or number, though the CD is apparently based on a
production at the Prinzregententheater, Beyerische Theaterakademie.
The recording includes eight numbers from Company with the lyrics
translated into German, followed by four songs from other shows
sung in English]
Songs: “Barcelona,” “Being Alive,” “Bobby-Baby,” “Company,” “Could
I Leave You?,” “Getting Married Today,” “Have I Got a Girl for You,”
“The Ladies Who Lunch,” “The Miller’s Son,” “Move On,” “Not a Day
Goes By,” Side by Side by Side”

COMPANY08: Company Accompaniment CD (2006)

Stage Stars Records
CD: RPT 510; 2-disc set [The first disc includes vocal tracks, the sec-
ond disc is accompaniments only]
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,” “Com-
pany,” “Getting Married Today,” “Have I Got a Girl for You,” “The
Ladies Who Lunch,” “The Little Things You Do Together,” “Marry Me
a Little,” “Overture,” “Poor Baby,” “Side by Side by Side,” “Someone Is
Waiting,” “Sorry-Grateful,” “You Could Drive a Person Crazy”

COMPANY09: Company Second Revival Cast Recording CD (2007)

Nonesuch/PS Classics
CD: 106876-2
Songs: “Another Hundred People,” “Barcelona,” “Being Alive,” “Com-
pany,” “Getting Married Today,” “Have I Got a Girl for You,” “The
Ladies Who Lunch,” “The Little Things You Do Together,” “Marry Me
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a Little,” “Opening,” “Poor Baby,” “Side by Side by Side,” “Someone Is

Waiting,” “Sorry-Grateful,” “What Would We Do without You?,” “You
Could Drive a Person Crazy”

CONNELLI1: Judi Connelli/On My Way To You (1997)

“I Hear Voices” Entertainment
CD: IHV 001
Songs: “Losing My Mind,” “Move On” (includes uncredited portion of
“We Do Not Belong Together”), “Stay with Me”

CONNELLI2: Judi Connelli/Live in London (1998)

Dress Circle
CD: DG CD 1
Songs: “Being Alive,” “In Buddy’s Eyes,” “Move On” (includes un-
credited portion of “We Do Not Belong Together”), “Something’s Com-
ing,” “Stay with Me”

CONNELLI3: Judi Connelli and Suzanne Johnston/Perfect Strangers (1999)

ABC
CD: 465068-0
Songs: “Do I Hear a Waltz?,” “Everybody Says Don’t,” “Johanna,” “Our
Time,” “Pretty Women”

COOKB1:Barbara Cook/Barbara Cook Sings Mostly Sondheim (2001)

DRG Records
CD: 91464; 2-disc set
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Every-
body Says Don’t,” “Giants in the Sky,” “Happiness,” “Into the
Woods,” “Losing My Mind,” “Loving You,” “Move On,” “Not a Day
Goes By,” “Not While I’m Around,” “Send in the Clowns,” “So Many
People,” “Something’s Coming,” “Tonight,” “You Could Drive a Per-
son Crazy”

COOKB2:Barbara Cook/Barbara Cook at the Met (2006)

DRG Records
CD: 91487
Songs: “Another Hundred People,” “In Buddy’s Eyes,” “Losing My
Mind,” “Move On,” “Not a Day Goes By,” “Not While I’m Around,”
“So Many People”

COOKB3:Barbara Cook/No One Is Alone (2007)

DRG Records
CD: 91501
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Songs: “Goodbye for Now,” “I Wish I Could Forget You,” “No More,”
“No One Is Alone,” “One More Kiss,” “Something’s Coming”

CRAWFORDM1: Michael Crawford Songs from the Stage and Screen (1992)
Atlantic Records
CD: 82472-2
Songs: “Not a Day Goes By,” “Somewhere,” “Tonight”

DAMONE1: Vic Damone/On the Street Where You Live (1964)

Capitol Records
LP: (S)ST-2133
Capitol/EMI
CD: [592658]; 2003 reissue as On the Street Where You Live/The Liveliest
Songs: “Maria,” “Something’s Coming,” “Tonight”

DARIN1:Bobby Darin/West Side Story (1962)

Atco Records
LP: (S)141
Songs: “America,” “Somewhere”

DAVISS:
Sammy Davis Jr. at the Cocoanut Grove (1961?)
Reprise Records
LP: 2R-6063
[West Side Story medley included in 4-CD box set: Yes I Can/The Sammy
Davis Jr. Story, on Warner Archives/Reprise R2 75972/Rhino, 1999]
Songs, in medley: “America,” “Cool,” “Gee, Officer Krupke,” “Jet
Song,” “Something’s Coming,” “Tonight”

DAYC1: Courtenay Day/Courtenay Day Live at Don’t Tell Mama (2000)

Green Street Dance
CD: 0713
Songs: “Every Day a Little Death,” “I’ve Got You to Lean On,” “The Lit-
tle Things You Do Together,” “Pretty Women”

DEFERRANT1: Margie De Ferranti/Margie De Ferranti, Live in New York, Live

at ’88’s (1999[?])
[No label name, Australian]
CD: [n.n.]
Songs: “Being Alive,” “No One Is Alone,” “There Won’t Be Trumpets”

DELARIA1: Dea DeLaria/Play It Cool (2001)

Warner Bros. Jazz
CD: 9 47993-2
Songs: “The Ballad of Sweeney Todd,” “Cool,” “Losing My Mind”
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DELORENZ1: Brian De Lorenzo/Found Treasures (1999)

Cabaret Classics
CD: CC9901
Songs: “Do I Hear a Waltz?,” “Giants in the Sky,” “No One Has Ever
Loved Me”

DOIHEAR1: Do I Hear a Waltz? Original Broadway Cast Recording (1965)

Columbia Records
LP: KOL-6370 (M)/KOS-2770 (S)
AKOS-2770 (S); reissue Columbia Special Products
Sony Broadway (reissue 1992)
CD: SK-48206 [ADD]
Cassette: ST-48206
Songs: “Bargaining,” “Do I Hear a Waltz?,” “Here We Are Again,”
“Moon in My Window,” “No Understand,” “Perfectly Lovely Couple,”
“Someone Like You,” “Someone Woke Up,” “Stay,” “Take the Mo-
ment,” “Thank You So Much,” “Thinking,” “This Week, Americans,”
“We’re Gonna Be All Right,” “What Do We Do? We Fly!”

DOIHEAR2: Do I Hear a Waltz? Pasadena Playhouse Production (2001)

Fynsworth Alley
CD: 302 062 126 2
Songs: “Do I Hear a Waltz?,” “Everybody Loves Leona,” “Here We Are
Again,” “Last Week Americans,” “Moon in My Window,” “No Under-
stand,” “Perfectly Lovely Couple,” “Someone Like You,” “Someone
Woke Up,” “Stay,” “Take the Moment,” “Thank You So Much/Finale,”
“Thinking,” “This Week, Americans,” “We’re Gonna Be All Right,”
“What Do We Do? We Fly!”

DOMINGO1: Placido Domingo/The Broadway I Love (1991)

Atlantic Records
CD: 7 82350-2
Songs: “Send in the Clowns,” “Somewhere,” “Tonight”

DOWJ1:Judith Dow/Regards to Broadway (1981)

Centerline Records
LP: CPI8002
Songs: “All Things Bright and Beautiful,” “Being Alive,” “Do I Hear a
Waltz?,” “Night Waltz,” “Send in the Clowns”

DRAKEA: Alfred Drake & Roberta Peters Sing the Popular Music of Leonard
Bernstein (1963)
Command Records
LP: RS 855D
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498 Primary Sondheim Recordings

reissued as: Show Time/Carousel (Complete)/West Side Story/On the

Town/Candide (1973)
Command Records
LP: RSSD 982-2 (2-record set)
Songs: “Gee, Officer Krupke,” “I Feel Pretty,” “Somewhere,” “Tonight”

Early, Julia, see BARNETTEARLY1: Peter Barnett & Julia Early/In So Many
Words

EASTWEST1: East West Players/East West Overtures (1996–97)

EWP [there is no label name, number or date]
CD: [n.n.]
Songs: “The Advantages of Floating in the Middle of the Sea,” “Agony,”
“Another Hundred People,” “The Ballad of Sweeney Todd,”
“Barcelona,” “Giants in the Sky,” “Good Thing Going,” “Green Finch
and Linnet Bird,” “Into the Woods,” “My Friends,” “Next,” “Not a Day
Goes By,” “Our Time,” “Pretty Lady,” “You Could Drive a Person
Crazy”

EICHORNS1: Susan Eichorn-Young/Taking My Turn (2007)

Susan Eichorn Young
CD: [n.n.]
Songs: “Ah, But Underneath,” “The Ladies Who Lunch,” “Silly People”

EVENPRIM1: Evening Primrose Original Television Soundtrack (2008)

Kritzerland
CD: KR 20011-5
Songs: “I Remember,” “If You Can Find Me, I’m Here,” “Take Me to the
World,” “When?”
[Original recordings from 1966; CD includes several additional tracks
of underscoring at least some of which are purported to have been com-
posed by David Shire]

Evening Primrose, see also FROGS1: The Frogs/Evening Primrose (2001)

Evening Primrose, see also PATINKIN2: Mandy Patinkin/Dress Casual (1990)
Evening Primrose, see also SONDATTHEM1: Sondheim at the Movies (1997)

EVERYONE1: Everyone’s A Love Song (1979)

Silver Flutes Productions
LP: JACW7779
Songs: “Being Alive,” “Not a Day Goes By,” “Send in the Clowns,”
“With So Little to Be Sure Of”
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FEINSTEIN1:Michael Feinstein Sings The Jule Styne Songbook with Jule Styne,
piano (1991)
Elektra Nonesuch
CD: 79274-2
Cassette: 79274-4
Songs: “All I Need Is the Girl,” “Everything’s Coming Up Roses,”
“Home Is the Place,” “Nice She Ain’t,” “Small World,” “You’ll Never
Get Away from Me”

FERRERI1:Michael Ferreri/Sweet Dreams (2000)

Lumiere Musique
CD: FR293585
Songs: “Every Day a Little Death,” “Move On,” “Marry Me a Little”

FLEMINGTERFEL1:Renée Fleming and Bryn Terfel/Under the Stars (2003)

Decca
CD: 289 473 250-2
Songs: “I Wish I Could Forget You,” “Loving You,” “Not While I’m
Around,” “Pretty Women”

FLORIDA1: Florida Symphonic Pops (John Cacavas)/The Phantom of the

Opera (1989) [instrumental]
ProArte
CD: D475
or Rochester Pops Orchestra & Florida Symphonic Pops Orchestra/
Opening Night (1990)
ProArte
CD: S 528, 1990
Songs: “Broadway Baby,” “Comedy Tonight,” “Send in the Clowns”

FOLLIES01:Follies Original Broadway Cast Recording (1971)

Capitol Records
LP: SO-761 (S)
CD: CDP7 920942, 1989
Broadway Angel
CD: ZDM-64666
Cassette: EG-64666
Songs: “Ah, Paris!,” “Beautiful Girls,” “Broadway Baby,” “Buddy’s
Blues,” “Could I Leave You?,” “Don’t Look at Me,” “Finale-Chaos,”
“I’m Still Here,” “In Buddy’s Eyes,” “Live Laugh Love,” “Losing My
Mind,” “Love Will See Us Through,” “One More Kiss,” “Overture,”
“The Right Girl,” “The Road You Didn’t Take,” “The Story of Lucy and
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500 Primary Sondheim Recordings

Jessie,” “Too Many Mornings,” “Waiting for the Girls Upstairs,”

“Who’s That Woman?,” “You’re Gonna Love Tomorrow”

FOLLIES02:Follies in Concert (1985)

RCA Records
LP: HBC2-7128
CD: RCD2-7128; 2-disc set [includes the soundtrack to Stavisky]
Cassette: HBE2-7128
Songs: “Ah, Paris!,” “Beautiful Girls,” “Broadway Baby,” “Buddy’s
Blues,” “Could I Leave You?,” “Don’t Look at Me,” “Finale-Chaos,”
“I’m Still Here,” “In Buddy’s Eyes,” “Live Laugh Love,” “Losing My
Mind,” “Love Will See Us Through,” “Loveland,” “One More Kiss,”
“Overture,” “Rain on the Roof,” “The Right Girl,” “The Road You
Didn’t Take,” “The Story of Lucy and Jessie,” “Too Many Mornings,”
“Waiting for the Girls Upstairs,” “Who’s That Woman?,” “You’re
Gonna Love Tomorrow”

FOLLIES03:Follies Original London Cast Recording (1987)

First Night Records
CD: Encore CD 2; (FIR-CD-3 [DDD])
Songs: “Ah, But Underneath . . . ,” “Ah, Paris!,” “Beautiful Girls,”
“Broadway Baby,” “Buddy’s Blues,” “Could I Leave You?,” “Country
House,” “Don’t Look at Me,” “I’m Still Here,” “In Buddy’s Eyes,” “Los-
ing My Mind,” “Love Will See Us Through,” “Loveland [2],” “Make the
Most of Your Music,” “One More Kiss,” “Rain on the Roof,” “The Right
Girl,” “The Road You Didn’t Take,” “Social Dancing,” “Too Many
Mornings,” “Waiting for the Girls Upstairs,” “Who’s That Woman?,”
“You’re Gonna Love Tomorrow”

FOLLIES04: (Stephen Sondheim’s) Follies/Themes From the Legendary Musi-

cal (The Trotter Trio) (1998)
Varese Sarabande
CD: VSD-5934
Songs: “Broadway Baby,” “Buddy’s Blues,” “Could I Leave You?,” “I’m
Still Here,” “In Buddy’s Eyes,” “Live Laugh Love,” “Losing My Mind,”
“Loveland,” “Opening [Overture],” “Too Many Mornings,” “Waiting
for the Girls Upstairs,” “Who’s That Woman?”

FOLLIES05:
Follies, The Complete Recording (1998)
TVT Records/TVT Soundtrax
CD: TVT 1030-2; 2-disc set [includes appendix of cut songs]
Songs: “Ah, But Underneath . . . ,” “Ah, Paris!,” “All Things Bright
and Beautiful,” “Beautiful Girls,” “Beautiful Girls (Bring On the
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Girls),” “Bolero d’Amour,” “Broadway Baby,” “Buddy’s Blues,” “Can

That Boy Foxtrot!,” “Could I Leave You?,” “Don’t Look at Me,” “Fi-
nale-Chaos,” “I’m Still Here,” “In Buddy’s Eyes,” “Little White
House,” “Live Laugh Love,” “Losing My Mind,” “Love Will See Us
Through,” “Loveland,” “One More Kiss,” “Overture,” “Pleasant Little
Kingdom,” “Prologue,” “Rain on the Roof,” “The Right Girl,” “The
Road You Didn’t Take,” “The Story of Lucy and Jessie,” “That Old Pi-
ano Roll,” “Too Many Mornings,” “Uptown, Downtown,” “Waiting
for the Girls Upstairs,” “Who’s That Woman?,” “You’re Gonna Love
Tomorrow”

FORDA1: Anne Kerry Ford/Something Wonderful (Songs of Oscar Hammer-

stein and Stephen Sondheim) (1998)
LML Music
CD: LML CD-109
Songs: “Being Alive,” “Goodbye for Now,” “The Miller’s Son,” “Not a
Day Goes By,” “Something’s Coming,” “With So Little to Be Sure Of”

FRIEDM1:Maria Friedman/Maria Friedman Live (2004)

[No Label]
CD: MARFRI01
Songs: “In Buddy’s Eyes,” “Move On,” “The Road You Didn’t Take,”
“Too Many Mornings”

FRIEDM2: Maria Friedman/Now and Then (2006)

Sony Classical
CD: 82876-81427-2 [Note: previously issued as Maria Friedman,
Carlton Sounds 30360 00012, 1995, with one less track]
Songs: “Broadway Baby,” “Children and Art” [featuring Sondheim on
the piano], “Finishing the Hat”

FROGS1:The Frogs/Evening Primrose (2001)

Nonesuch
CD: 79638-2
Songs: “Evoe for the Dead,” “Exodus: The Sound of Poets,” “Fanfare,”
“Fear No More,” “Hymnos: Evoe!,” “I Remember,” “If You Can Find
Me I’m Here,” “Invocation to the Muses,” “Parabasis: It’s Only a Play,”
“Parados: The Frogs,” “Prologos: Invocation and Instructions to the Au-
dience,” “Take Me to the World,” “Traveling Music,” “When?”

FROGS2: The Frogs Original Broadway Cast Recording (2005)

PS Classics
CD: PS-525
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502 Primary Sondheim Recordings

Songs: “All Aboard,” “All Aboard (reprise),” “Ariadne,” “Dress Big,”

“Fear No More,” “Final Instructions to the Audience,” “The Frogs,”
“Hades,” “Hymn to Dionysus,” “Hymn to Dionysus (reprise),” “I Love
to Travel,” “I Love to Travel (reprise),” “Invocation and Instructions to
the Audience,” “It’s Only a Play,” “Opening Fanfare,” “Shaw”

FULLERM1: Mark Fuller/Songs About Adam (1996 or 97)

Pride Music
CD: PRIDE010LPD
Festival
CD: D31717
Blue Pie
Download (2007)
Songs: “Can That Boy Foxtrot!,” “Losing My Mind,” “Not a Day Goes By”

FUNNY01: A Funny Thing Happened on the Way to the Forum Original Broad-
way Cast Recording (1962)
Capitol Records
LP: WAO (M)/SWAO (S)-1717; reissue W (M)/SW (S)-1717
Bay Cities (1990, reissue)
CD: BCD: 3002
EMI/Broadway Angel (1993, reissue)
CD: ZDM 64770
Songs: “Bring Me My Bride,” “Comedy Tonight,” “Everybody Ought to
Have a Maid,” “Free,” “Funeral Sequence,” “I’m Calm,” “Impossible,”
“Love, I Hear,” “Lovely,” “Lovely (Reprise),” “Overture,” “Pretty Little
Picture,” “That Dirty Old Man,” “That’ll Show Him”

FUNNY02: A Funny Thing Happened on the Way to the Forum Original Lon-
don Cast Recording (1963)
His Master’s Voice/EMI Records (England)
LP: CLP: 1685 (M)/CSD 1518 (s)
DRG Records (reissue)
LP: Stet DS-15028 (S)
Cassette: STET DSC-15028
First Night Records (England; reissue)
LP: OCR 3, Cassette: OCR C3
Angel EMI (reissue)
CD: 7 89060 2
Songs: “Bring Me My Bride,” “Comedy Tonight,” “Everybody Ought to
Have a Maid,” “Free,” “Funeral Sequence,” “I’m Calm,” “Impossible,”
“Love, I Hear,” “Lovely,” “Lovely (Reprise),” “Overture,” “Pretty Little
Picture,” “That Dirty Old Man,” “That’ll Show Him”
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FUNNY03: A Funny Thing Happened on the Way to the Forum Motion Picture
Soundtrack Recording (1966) [incidental music by Ken Thorne]
United Artists Records
LP: UAL-4144 (M)/UAS-5144 (S); reissue UA-LA284-G (S)
Cassette: UA-EA284-H
RYCO
CD: RCD 10727 [1998 reissue]
Songs: “[Bring Me] My Bride,” “The Chase,” “Comedy Tonight,” “The
Dirge [Funeral Sequence],” “Everybody Ought to Have a Maid,”
“Lovely,” “Lovely (Reprise),” “Riot at the Funeral”

FUNNY04: (Stephen Sondheim’s) A Funny Thing Happened on the Way to the Fo-
rum . . . In Jazz (The Trotter Trio) (1996)
Varese Sarabande
CD: VSD-5707
Songs: “Comedy Tonight,” “Everybody Ought to Have a Maid,”
“Free,” “I’m Calm,” “Impossible,” “Love, I Hear,” “Lovely,” “That
Dirty Old Man,” “That’ll Show Him,” “Your Eyes Are Blue”

FUNNY05: A Funny Thing Happened on the Way to the Forum Revival Cast
(1996)
Broadway Angel Records
CD: 52223
Songs: “Bring Me My Bride,” “Comedy Tonight,” “Everybody Ought to
Have a Maid,” “Free,” “Funeral Sequence,” “The House of Marcus Ly-
cus,” “I’m Calm,” “Impossible,” “Love, I Hear,” “Lovely,” “Lovely
(Reprise),” “Overture,” “Pretty Little Picture,” “That Dirty Old Man,”
“That’ll Show Him”

FUNNY06: Amor al Reves es Roma [A Funny Thing . . . ] Mexican Cast Record-

ing (n.d.)
CBS/Columbia
45rpm: EPC 274
“Comedy Tonight,” “Love, I Hear,” “Lovely,” “Pretty Little Picture”

GALA1: A Gala Concert for Hal Prince (1996)

First Night Records/TriStar
CD: DOCRCD 2; 2-disc set
Songs: “The Advantages of Floating in the Middle of the Sea,” “The Bal-
lad of Sweeney Todd,” “Beautiful Girls,” “Broadway Baby,” “Comedy
Tonight,” “Losing My Mind,” “March to the Treaty House,” “Next,”
“Night Waltz,” “Not While I’m Around,” “Side by Side by Side,”
“Tonight (Quintet)”
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504 Primary Sondheim Recordings

GARLAND: Judy Garland/Judy Duets (The Platinum Judy Garland in Com-

memoration of her 75th Birthday) (1998)
Wiley Entertainment, Ltd.
CD: 96883 67442
Songs: “Maria,” “Something’s Coming,” “Somewhere,” “Together
Wherever We Go” (2), “Tonight”

GAYMENSCLA1: Gay Men’s Chorus of Los Angeles/Simply Sondheim (2001)

Gay Men’s Chorus of Los Angeles
CD: GMCLA09
Songs: “Could I Leave You?,” “Good Thing Going,” “Goodbye for
Now,” “I Remember,” “The Little Things You Do Together,” “Loving
You,” “Merrily We Roll Along,” “No One Is Alone,” “Old Friends,”
“Our Time,” “Pleasant Little Kingdom,” “Send in the Clowns,” “Sun-
day,” “Sweeney Todd Rhapsody”

GAYMENSCWDC1: Gay Men’s Chorus of Washington, D.C./You’ve Got to Be

Carefully Taught . . . The Songs of Sondheim and Hammerstein (2002)
Federal City Performing Arts Association
CD: 60662 82212
Songs: “Good Thing Going,” “Johanna,” “Merrily We Roll Along,”
“Not While I’m Around,” “On the Steps of the Palace”

GELLERH: Herb Geller/Herb Geller and His All-Stars Play Selections from
Gypsy
Atco Records
LP: Atco 33-109
Songs: “Everything’s Coming Up Roses,” “Momma’s Talkin’ Soft,”
“Small World,” “Together Wherever We Go” [These songs, with vocals
by Barbara Lang, are the only ones included in the body of the discog-
raphy]

GORMEE1: Eydie Gorme/ . . . Sings Great Songs From The Sound of Music
and Other Broadway Shows (1965/2004)
Columbia
LP: [n.n.]
GL Music Co.
CD: 209 [+ 9 bonus tracks]
Songs: “Do I Hear a Waltz?,” “The Ladies Who Lunch,” “Send in the
Clowns,” “Small World”

GREENS1: Simon Green/Take Me to the World (2004)

Reynolds Ensemble
CD: Reynolds CD01
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Songs: “All Things Bright and Beautiful,” “Do I Hear a Waltz?,” “Isn’t
It,” “Old Friends,” “Take Me to the World”

GYPSY01: Gypsy Original Broadway Cast Recording (1959)

Columbia Records
LP: OL-5420 (M)/OS-2017 (S)
S-32607 (reissue, 1973)
CD: CK 32607
Cassette: JST-3260K
CD: SK 60848 [1999 reissue, includes bonus tracks of previously
unreleased material, and alternate or re-edited takes]
Sony Masterworks Broadway
CD: 88697 49406-2 (reissue, 2009)
Songs: “All I Need Is the Girl,” “Dainty June and Her Farmboys,”
“Everything’s Coming Up Roses,” “Gypsy Strip Routine,” “If Momma
Was Married,” “Little Lamb,” “Mr. Goldstone,” “Momma’s Talkin’
Soft” [1999 reissue only], “Nice She Ain’t” [1999 reissue only], “Rose’s
Turn,” “Small World,” “Some People,” “Together Wherever We Go,”
“Who Needs Him” [2009 reissue only], “You Gotta Have a Gimmick,”
“You’ll Never Get Away from Me”

GYPSY02: Gypsy Motion Picture Cast Recording (1962)

Warner Bros. Records
LP: B (M)-1480/BS (S)-1480
Rhino
CD: 73873 [2003 reissue]
Songs: “All I Need Is the Girl,” “Dainty June and Her Farmboys” [2003
reissue only], “Everything’s Coming Up Roses,” “Gypsy Strip Routine,”
“Mr. Goldstone,” “Rose’s Turn,” “Small World,” “Some People,” “To-
gether Wherever We Go,” “You Gotta Have a Gimmick,” “You’ll Never
Get Away from Me” [Note: 2003 reissue includes Rosalind Russell out-
takes of several songs; some also include Karl Malden and Natalie Wood]

GYPSY03:Gypsy Original London Cast Recording (1974)

RCA Records
LP: SER-5686 (S)
LP: LBL 1-500 [American release]
CD: 60571-2-RG
Songs: “All I Need Is the Girl,” “Dainty June and Her Farmboys,”
“Everything’s Coming Up Roses,” “Gypsy Strip Routine,” “If Momma
Was Married,” “Little Lamb,” “Mr. Goldstone,” “Rose’s Turn,” “Small
World,” “Some People,” “Together Wherever We Go,” “You Gotta Have
a Gimmick,” “You’ll Never Get Away from Me”
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GYPSY04:Gypsy Revival Cast Recording (1990)

Elektra Nonesuch
LP: 79239-1
CD: 79239-2
Cassette: 79239-4
Songs: “All I Need Is the Girl,” “Baby June and Her Newsboys,”
“Dainty June and Her Farmboys,” “Everything’s Coming Up Roses,”
“Gypsy Strip Routine,” “If Momma Was Married,” “Little Lamb,” “Mr.
Goldstone,” “Rose’s Turn,” “Small World,” “Some People,” “Together
Wherever We Go,” “You Gotta Have a Gimmick,” “You’ll Never Get
Away from Me”

GYPSY05:Gypsy TV Cast Recording (1993)

Atlantic Records
CD: 82551-2
Cassette: 82551-4
Songs: “All I Need Is the Girl,” “Baby June and Her Newsboys,”
“Dainty June and Her Farmboys,” “Everything’s Coming Up Roses,”
“Gypsy Strip Routine,” “If Momma Was Married,” “Little Lamb,”
“May We Entertain You,” “Mr. Goldstone,” “Rose’s Turn,” “Small
World,” “Some People,” “Together Wherever We Go,” “You Gotta Have
a Gimmick,” “You’ll Never Get Away from Me”

GYPSY06: Gypsy Mexican Cast Recording (1998)[?]

[no label name]
CD: 11460503
[the contents of this recording are not listed in the body of the discog-
raphy, because the lyrics are based on, but not a translation of, Sond-
heim’s. The leads are played by Silvia Pinal and Alejandra Guzman.]

GYPSY07: Gypsy German Cast Recording (1997)

Theater Des Westens/Pallas Group Worldwide
CD: LC 6377
Songs: “Everything’s Coming Up Roses,” “Gypsy Strip Routine,” “If
Momma Was Married,” “Some People,” “You Gotta Have a Gimmick,”
“You’ll Never Get Away from Me”

GYPSY08: Selections From “Gypsy” and “Flower Drum Song”/ (Florence Hen-
derson) (1959)
RCA Camden
LP: CAS 560
Songs: “Everything’s Coming Up Roses,” “Small World,” “Some Peo-
ple,” “Together Wherever We Go,” “You’ll Never Get Away from Me”
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GYPSY09:Kay Medford in “Gypsy” (1969)

mfp (Music For Pleasure)
LP: MFP 50090
Songs: “All I Need Is the Girl,” “Everything’s Coming Up Roses,” “If
Momma Was Married,” “Let Me Entertain You,” “Mr. Goldstone,”
“Overture,” “Rose’s Turn,” “Small World,” “Some People,” “Together
Wherever We Go,” “You Gotta Have a Gimmick,” “You’ll Never Get
Away from Me”

GYPSY10: Gypsy 2003 Revival Cast Recording (2003)

Angel Records
CD: 83858
Songs: “All I Need Is the Girl,” “Baby June and Her Newsboys,”
“Broadway,” “Curtain,” “Dainty June and Her Farmboys,” “Entr’acte,”
“Everything’s Coming Up Roses,” “Gypsy Strip (Let Me Entertain
You),” “If Momma Was Married,” “Incidental Music,” “Let Me Enter-
tain You,” “Little Lamb,” “Madame Rose’s Toreadorables,” “May We
Entertain You,” “Mr. Goldstone,” “Overture,” “Rose’s Turn,” “Small
World,” “Some People,” “Together Wherever We Go,” “You Gotta Have
a Gimmick,” “You’ll Never Get Away from Me”

GYPSY11: Gypsy 2008 Revival Cast Recording (2008)

Time Life
CD: 80020-D
Songs: “All I Need Is the Girl,” “Baby June and Her Newsboys/Let Me
Entertain You,” “Broadway,” “Dainty June and Her Farmboys,”
“Everything’s Coming Up Roses,” “If Momma Was Married,” “Little
Lamb,” “Madame Rose’s Toreadorables,” “May We Entertain You,”
“Mother’s Day (alternate version),”* “Mr. Goldstone, Have an
Eggroll,” “Nice She Ain’t,”* “Overture,” “Rose’s Turn,” “Seattle to Los
Angeles,” “Small World,” “Small World/Momma’s Talkin’ Soft,”*
“Smile, Girls,”* “Some People,” “The Strip,” “Three Wishes for Christ-
mas,”* “Together Wherever We Go,” “Tomorrow’s Mother’s Day,”*
“Who Needs Him?,”* “You Gotta Get a Gimmick,” “You’ll Never Get
Away from Me”
[*Additional cut songs recorded]
[Exclusive Barnes & Noble version includes bonus CD with eight tracks
of instrumental music and dialogue scenes, including underscoring,
“Entr’acte,” change music, and “Exit Music”]

Gypsy, see also CELEBRATGYP: Celebrating Gypsy, Funny Girl, Gentlemen

Prefer Blondes: A Tribute to Jule Styne (1998)
Gypsy, see also FEINSTEIN1: Michael Feinstein Sings The Jule Styne Songbook
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508 Primary Sondheim Recordings

Gypsy, see also GELLERH: Herb Geller/Herb Geller and His All-Stars Play Se-
lections from Gypsy
Gypsy, see also HARNARJ1: Jeff Harnar Sings the 1959 Broadway Songbook
Gypsy, see also HENDERSONF1: Henderson, Florence/Selections from Gypsy
and Flower Drum Song
Gypsy, see also HILOS: The Hi-Lo’s/Broadway Playbill (1960)
Gypsy, see also MERMANE1: Ethel Merman/Mermania! (volume 1)
Gypsy, see also ROSSANNIE: Annie Ross/Gypsy (1959, 1960)
Gypsy, see also STYNEJ1: Jule Styne/My Name is Jule (1966)

HARNARJ1: Jeff Harnar Sings the 1959 Broadway Songbook (1991)

Original Cast Records
CD: OC 916
Songs: “All I Need Is the Girl,” “Everything’s Coming Up Roses,” “Let
Me Entertain You,” “One Hand, One Heart,” “Tonight,” “You’ll Never
Get Away from Me”

HARVEYJ1: Jane Harvey/The Other Side of Sondheim (1988)

Atlantic Records
LP: 81833-1
CD: 81833-2
Cassette: 81833-4
Jane Harvey Sings Sondheim (2009 reissue)
SSJ Records (Japan)
CD: XQAM-1039 [asterisked songs added to the reissue]
Songs: “Another Hundred People,”* “Broadway Baby,”* “Buddy’s
Blues,”* “Could I Leave You?,” “Everybody Says Don’t,” “Every-
thing’s Coming Up Roses,” “Good Thing Going,” “I’m Still Here,” “In
Buddy’s Eyes,” “It Wasn’t Meant to Happen,” “The Ladies Who
Lunch,” “The Little Things You Do Together,”* “Losing My Mind,”
“Not a Day Goes By,” “Not While I’m Around,” “Old Friends,” “Pretty
Women,” “Send in the Clowns,”* “Sorry-Grateful,”* “The Story of
Lucy and Jessie,”* “There Won’t Be Trumpets,”* “Together Wherever
We Go,” “Too Many Mornings,”* “What More Do I Need?,” “Who’s
That Woman?,”* “With So Little to Be Sure Of,” “You’ll Never Get
Away from Me”

HASTINGSR1:Ruth Hasting/Ruth Hastings Plays the Geary (1979)

Topaz Records
LP: TRS-3079
Songs: “Could I Leave You?,” “Every Day a Little Death,” “Getting
Married Today,” “The Miller’s Son,” “There Won’t Be Trumpets”
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HEART&S1: Heart and Soul on Broadway (2002)

Fynsworth Alley
CD: 302 062-148 2
Songs: “Not a Day Goes By,” “What Can You Lose?,” “Who Could Be
Blue?,” “With So Little to Be Sure Of”

HELLERM1: Marc Heller/Take Me to the World: Songs by Stephen Sondheim

(1996)
Et’Cetera Records Company B.V. the Netherlands
CD: KTC 1185
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Being
Alive,” “Comedy Tonight,” “Everybody Says Don’t,” “Good Thing Go-
ing,” “Green Finch and Linnet Bird,” “The Hills of Tomorrow,” “Jo-
hanna,” “Later,” “Losing My Mind,” “Love, I Hear,” “Loving You,”
“Not While I’m Around,” “One More Kiss,” “Pretty Women,” “Send in
the Clowns,” “Silly People,” “Sunday,” “Take Me to the World,” “You
Must Meet My Wife”

HENDERSONF1: Florence Henderson/Selections from Gypsy and Flower

Drum Song (1959)
RCA Camden
LP: CAL 560
Songs: “Everything’s Coming Up Roses,” “Small World,” “Some Peo-
ple,” “Together Wherever We Go,” “You’ll Never Get Away From Me”

HEYLOVE1: Hey, Love: The Songs of Mary Rodgers (1997)

Varese Sarabande
CD: VSD-5772
Songs: “The Boy From . . . ,” “Once I Had a Friend,” “Show Me,” “Who
Knows?/I Know”

HEYMRP: Hey, Mr. Producer! (The Musical World of Cameron Mackintosh)

(1998)
First Night Records/Phillips
CD: 314 538 030-2; 2-disc set
Songs: “Being Alive,” “Broadway Baby,” “Dueling Pianos,” “Losing My
Mind,” “Send in the Clowns,” “Side by Side by Side,” “You Could
Drive a Person Crazy,” “You Gotta Have a Gimmick”

HILOS:The Hi-Lo’s/Broadway Playbill (1960)

Columbia
LP: CL1416, (S)CS8213
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510 Primary Sondheim Recordings

Collectables
CD: 6465; 2000 reissue [with Now Hear This]
Songs: “Everything’s Coming Up Roses,” “Little Lamb,” “Mr. Gold-
stone,” “Small World,” “Together Wherever We Go,” “You’ll Never Get
Away from Me”

HOLLYWOODB1: Hollywood Bowl Orchestra/The Great Waltz (1993) [instru-

mental]
Phillips
CD: 438 685-2
Songs: “The Glamorous Life,” “Night Waltz,” “Remember,” “Soon”

INTOTHE1: Into the Woods Original Broadway Cast Recording (1987)

RCA Records
CD: 6796-2-RC [DDD]
DCC: 09026-56795-5
Cassette: 6796-4-RC9
Sony BMG Music Entertainment Masterworks Broadway
CD: 82676-68636-2 [2007 reissue; includes 3 bonus tracks asterisked
below]
Songs: “Agony,” “Any Moment,” “Back to the Palace,”* “Boom
Crunch,”* “Children Will Listen,” “Cinderella at the Grave,” “Ever Af-
ter,” “First Midnight,” “Giants in the Sky,” “Giants in the Sky,”* “Hello
Little Girl,” “I Guess This Is Goodbye,” “I Know Things Now,” “Into
the Woods,” “It Takes Two,” “Jack, Jack, Jack,” “Last Midnight,”
“Maybe They’re Magic,” “Moments in the Woods,” “No More,” “No
One Is Alone,” “On the Steps of the Palace,” “So Happy,” “Stay with
Me,” “A Very Nice Prince,” “Witch’s Lament,” “Your Fault”

INTOTHE2: Into the Woods Original London Cast Recording (1991)

RCA Records
CD: 60752-2-RC [DDD]
Cassette: 60752-4-RC
Songs: “Agony,” “Any Moment,” “Children Will Listen,” “Cinderella at
the Grave,” “Ever After,” “First Midnight,” “Giants in the Sky,” “Hello
Little Girl,” “I Guess This Is Goodbye,” “I Know Things Now,” “Into the
Woods,” “It Takes Two,” “Jack, Jack, Jack,” “Last Midnight,” “Maybe
They’re Magic,” “Moments in the Woods,” “No More,” “No One Is
Alone,” “On the Steps of the Palace,” “Our Little World,” “So Happy,”
“Stay with Me,” “A Very Nice Prince,” “Witch’s Lament,” “Your Fault”

INTOTHE3: Into the Woods Revival Cast Recording (2002)

Nonesuch
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Primary Sondheim Recordings 511

CD: 79686-2
Songs: “Agony,” “Any Moment,” “Children Will Listen,” “Cinderella
at the Grave,” “Ever After,” “First Midnight,” “Giants in the Sky,”
“Hello, Little Girl,” “I Guess This Is Goodbye,” “I Know Things Now,”
“Into the Woods,” “It Takes Two,” “Jack, Jack, Jack,” “Lament,” “Last
Midnight,” “Maybe They’re Magic,” “Moments in the Woods,” “No
More,” “No One Is Alone,” “On the Steps of the Palace,” “Our Little
World,” “So Happy,” “Stay with Me,” “A Very Nice Prince,” “Your
Fault”

INTOTHE4: Into the Woods Accompaniment CD (2006)

Stage Stars Records
CD: RPT 508; 2-disc set, one with vocals, one without
Songs: “Agony,” “Any Moment,” “Finale Act 1,” “Finale Act 2,” “Giants
in the Sky,” “Hello, Little Girl,” “I Guess This Is Goodbye,” “I Know
Things Now,” “It Takes Two,” “The Last Midnight,” “Maybe They’re
Magic,” “Moments in the Woods,” “No More,” “No One Is Alone,” “On
the Steps of the Palace,” “Opening,” “Stay with Me,” “Witch’s Lament,”
“Your Fault”

INTOTHE5: Into the Woods/Boscos Endins Original Barcelona Cast (2008)

Tempsrecord
CD: TR 1113-GEO8
Songs: “Agony,” “Any Moment,” “Finale Act 1,” “Finale Act 2,” “Giants
in the Sky,” “Hello, Little Girl,” “I Guess This Is Goodbye,” “I Know
Things Now,” “Into the Woods,” “It Takes Two,” “The Last Midnight,”
“Maybe They’re Magic,” “Moments in the Woods,” “No More,” “No
One Is Alone,” “On the Steps of the Palace,” “Opening,” “Stay with
Me,” “Witch’s Lament,” “Your Fault”

JACKIE&1: Jackie & Roy/A Stephen Sondheim Collection (1982)

Finesse Records
LP: FW 38324 (S)
Cassette: FWT 38324
DRG Records (1990, reissue)
CD: DSCD 25102
Cassette: DSC 25102
Red Baron (reissued as Sondheim)
CD: JK 57338
Songs: “Anyone Can Whistle,” “Barcelona,” “Buddy’s Blues,” “Com-
edy Tonight,” “Everybody Says Don’t,” “I Do Like You,” “I Remem-
ber,” “Johanna,” “The Little Things You Do Together,” “Love Is in the
Air,” “Merrily We Roll Along,” “Not a Day Goes By,” “Send in the
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512 Primary Sondheim Recordings

Clowns,” “Side by Side by Side,” “So Many People,” “Theme” from

Stavisky, “Together Wherever We Go”

JAHANA1: Raishel Jahana/Sondheim Songs (2000)

Cab-Art
CD: Cab-Art 3377
Songs: “Being Alive,” “Broadway Baby,” “Children Will Listen,”
“Everybody Says Don’t,” “Move On,” “No More,” “No One Is Alone,”
“Not a Day Goes By,” “Too Many Mornings”

JEROMER1: Jerome Robbins Broadway Original Broadway Cast Recording

(1989)
RCA Records
CD: 60150-2-RC; 2-disc set
Songs: “America,” “Comedy Tonight,” “Cool,” “Somewhere,” “You
Gotta Have a Gimmick”

JOBSON1:Mark deVille Jobson/My House (1998)

Musical Journeys of the Heart
CD: MJOTHCD002
Songs: “The Hills of Tomorrow,” “Move On,” “No One Is Alone,” “Not
a Day Goes By,” “Take Me to the World,” “With So Little to Be Sure Of”

Johnston, Suzanne, see CONNELLI3: Judi Connelli and Suzanne John-

ston/Perfect Strangers

KERTL1:Larry Kert/Spotlight on Larry Kert/Larry Kert Sings/Larry Kert Sings

Leonard Bernstein (1958; 1963; reissue 2009)
Seeco
LP: CELP 4670
Stage Door Records
CD: STAGE 9016
Songs: “Maria,” “Something’s Coming,” “Somewhere,” “Tonight”

Lado a Lado com Sondheim see SIDEBYS3: Lado a Lado com Sondheim, Original
Brazilian cast recording of Side by Side by Sondheim

LAINEC1:Cleo Laine Return to Carnegie (1977)

RCA Records
LP: APL1-2407
Cassette: APK1-2407
Songs: “Being Alive,” “Broadway Baby,” “Company,” “The Miller’s
Son”
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Primary Sondheim Recordings 513

LAINEC2: Cleo Sings Sondheim/Cleo Laine (1988)

RCA Records
LP: 7702-1-RC
CD: 7702-2-RC
Cassette: 7702-4-RC
Songs: “Ah, But Underneath,” “Anyone Can Whistle,” “Everybody
Says Don’t,” “I Remember,” “I’m Calm,” “I’m Still Here,” “The Ladies
Who Lunch,” “Liaisons,” “The Little Things You Do Together,” “Losing
My Mind,” “The Miller’s Son,” “No One Is Alone,” “Not a Day Goes
By,” “Not While I’m Around,” “Send in the Clowns,” “You Could Drive
a Person Crazy”

LAWRENCEC: Carol Lawrence/Tonight at 8:30 (1962)

Chancellor Records
LP: (S)CHLS-5015
Fresh Sound
CD: [n.n.]; 2003 reissue
Songs: “Something’s Coming,” “Tonight,” “You’ll Never Get Away
from Me”

LEARE1:Evelyn Lear Sings Sondheim and Bernstein (1981)

Mercury Records Golden Imports
LP: MR 75136
Cassette: MRI 75136
Songs: “Could I Leave You?,” “Green Finch and Linnet Bird,” “I Re-
member,” “Losing My Mind,” “Send in the Clowns”

LEMPER1:Ute Lemper/City of Strangers (1995)

London
CD: 444 400-2
Songs: “Another Hundred People,” “Being Alive,” “The Ladies Who
Lunch,” “Losing My Mind”

LEONARDB1: Leonard Bernstein’s New York (1996)

Nonesuch
CD: 79400-2
Songs: “One Hand, One Heart,” “Somewhere,” “Tonight”

LITTLEL1:A Little Light Music (1996)

Upbeat/Showbiz/UK
CD: URCD123
Songs: “Anyone Can Whistle,” “Can That Boy Foxtrot!,” “Old Friends,”
“Send in the Clowns”
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514 Primary Sondheim Recordings

LITTLEN01: A Little Night Music Original Broadway Cast Recording (1973)

Columbia Records
LP: KS (S)/SQ (Q)-32265
Cassette: ST 32265
CD: CK 32265
Sony Classical/Columbia/Legacy [1998 reissue, remastered w/
bonus tracks]
CD: SK 65284 (1998)
Songs: “Every Day a Little Death,” “The Glamorous Life,” “The Glam-
orous Life (The Letter Song)” [1998 reissue only], “In Praise of Women,”
“It Would Have Been Wonderful,” “Later,” “Liaisons,” “The Miller’s
Son,” “Night Waltz,” “Night Waltz II (The Sun Sits Low)” [1998 reissue
only], “Now,” “Overture,” “Perpetual Anticipation,” “Remember,”
“Send in the Clowns,” “Send in the Clowns (Reprise),” “Soon,” “A
Weekend in the Country,” “You Must Meet My Wife”

LITTLEN02: A Little Night Music Original London Cast Recording (1975)

RCA Records
LP: LRL1-5090 (S)
Cassette: CRK1-5090; reissue 5090-4-RG
CD: RCD1-5090; reissue 5090-2-RG
Songs: “Every Day a Little Death,” “The Glamorous Life,” “In Praise of
Women,” “It Would Have Been Wonderful,” “Later,” “Liaisons,” “The
Miller’s Son,” “Night Waltz,” “Now,” “Overture,” “Perpetual Anticipa-
tion,” “Remember,” “Send in the Clowns,” “Send in the Clowns
(Reprise),” “Soon,” “A Weekend in the Country,” “You Must Meet My
Wife”

LITTLEN03: A Little Night Music Motion Picture Soundtrack Recording

(1978)
Columbia Records
LP: JS 35333 (S)
Cassette: JST 3533
Songs: “Every Day a Little Death,” “The Glamorous Life (The Letter
Song),” “It Would Have Been Wonderful,” “Later,” “Love Takes Time,”
“Night Waltz” [instrumental only], “Now,” “Overture,” “Send in the
Clowns,” “Send in the Clowns (Reprise),” “Soon,” “A Weekend in the
Country,” “You Must Meet My Wife”

LITTLEN04: A Little Night Music Studio Cast Recording (1990)

TER—That’s Entertainment Records (England)
Cassette: ZCTER 1179
CD: CDTER 1179
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Songs: “Every Day a Little Death,” “The Glamorous Life,” “In Praise of
Women,” “It Would Have Been Wonderful,” “Later,” “Liaisons,” “The
Miller’s Son,” “Night Waltz,” “Night Waltz II (The Sun Sits Low),”
“Now,” “Overture,” “Perpetual Anticipation,” “Remember,” “Send in
the Clowns,” “Send in the Clowns (Reprise),” “Soon,” “A Weekend in
the Country,” “You Must Meet My Wife”

LITTLEN05: A Little Night Music Royal National Theatre’s Cast Recording

(1996)
Tring
CD: TRING001
Songs: “Dinner Table Scene,” “Every Day a Little Death,” “The Glam-
orous Life,” “The Glamorous Life (The Letter Song),” “In Praise of
Women,” “It Would Have Been Wonderful,” “Later,” “Liaisons,” “The
Miller’s Son,” “My Husband the Pig,” “Night Waltz,” “Night Waltz II
(The Sun Sits Low),” “Now,” “Overture,” “Perpetual Anticipation,”
“Remember,” “Send in the Clowns,” “Send in the Clowns (Reprise),”
“Soon,” “A Weekend in the Country,” “You Must Meet My Wife”

LITTLEN06: A Little Night Music [musica per a una nit d’estiu] Barcelona Cast
(2001) [translated into Catalonian]
K Industria Cultural
CD: KO26CD
Songs: “Every Day a Little Death,” “The Glamorous Life,” “In Praise of
Women,” “It Would Have Been Wonderful,” “Later,” “Liaisons,” “The
Miller’s Son,” “Night Waltz,” “Night Waltz II (The Sun Sits Low),”
“Now,” “Overture,” “Perpetual Anticipation,” “Remember,” “Send in
the Clowns,” “Send in the Clowns (Reprise),” “Soon,” “A Weekend in
the Country,” “You Must Meet My Wife”

LITTLEN07: A Little Night Music Broadway Revival Cast (2010)

Nonesuch/PS Classics
CD: 523488; 2-disc set
Songs: “Every Day a Little Death,” “The Glamorous Life,” “In Praise of
Women,” “It Would Have Been Wonderful,” “Later,” “Liaisons,” “The
Miller’s Son,” “Night Waltz,” “Night Waltz II (The Sun Sits Low),”
“Now,” “Overture,” “Perpetual Anticipation,” “Remember,” “Send in
the Clowns,” “Send in the Clowns (Reprise),” “Soon,” “A Weekend in the
Country,” “You Must Meet My Wife” [In addition to the songs listed, the
recording includes significant amounts of underscoring and reprises.]

A Little Night Music, see also TROTTERT1: Terry Trotter/Stephen Sondheim’s

A Little Night Music (1997)
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516 Primary Sondheim Recordings

LITTLES1:A Little Sondheim Music/Los Angeles Vocal Arts Ensemble (1984)

EMI/Angel Records
LP: EMI DS-37347 (S)
Cassette: EMI 4DS-3747
Songs: “All Things Bright and Beautiful,” “The Ballad of Sweeney
Todd,” “By the Sea,” “Cora’s Chase” [listed as “Waltz I”], “Green Finch
and Linnet Bird,” “The Hills of Tomorrow,” “In Praise of Women,”
“Night Waltz,” “Night Waltz II (The Sun Sits Low),” “Not a Day Goes
By,” “Not While I’m Around,” “Overture” from A Little Night Music,
“Pretty Lady,” “Pretty Women,” “Send in the Clowns,” “A Weekend in
the Country,” “With So Little to Be Sure Of”

MADONNA1: Madonna/I’m Breathless (1990)

Sire/Warner Bros. Records
CD: 9 26209-2
Cassette: 26209-4
Songs: “More,” “Sooner or Later,” “What Can You Lose?”

MAGERE1: Eileen Mager/Broadway: Love & Laughter (2001/2003)

Eroica Classical
CD: 70342
Songs: “I Feel Pretty,” “Losing My Mind,” “You Could Drive a Person
Crazy”

MAGICOF1: The Magic of the Musicals (1992)

Quality Television (Great Britain)
CD: QTVCD 013
Songs: “Losing My Mind,” “Not While I’m Around,” “Send in the
Clowns”

MALMBERG1: Myrra Malmberg/What Can You Lose? (1995)

Arietta Discs
CD: ADCD1
Songs: “Could I Leave You?,” “Everybody Loves Louis,” “The Glam-
orous Life (The Letter Song),” “I Remember,” “Isn’t It?,” “Like It Was,”
“Marry Me a Little,” “No One Is Alone,” “So Many People,” “Take Me
to the World,” “Truly Content,” “What Can You Lose?”

MALMBERGS1: Sue Malmberg/Musical Theatre Classics (1990)

H. Leonard
Cassettes: HL00660150-51
Songs: “Anyone Can Whistle,” “Could I Leave You?,” “In Buddy’s
Eyes,” “Losing My Mind”
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MANSFIELDM1: Martin Mansfield with Gayle Ashkenazy [on the piano]/

Demarcations (2008)
Martin Mansfield
CD: 07505
Songs: “Being Alive,” “I Remember,” “Not While I’m Around,” “Some-
thing’s Coming,” “There Won’t Be Trumpets,” “What More Do I
Need?”

MARKEY1: Enda Markey/Another Place and Time (2001)

Middle Eight Music
CD: EMCD01
Songs: “Anyone Can Whistle,” “Broadway Baby,” “Good Thing Go-
ing,” “Losing My Mind,” “Not a Day Goes By”

MARRYME1: Marry Me A Little (1981)

RCA Records
LP: ABL1-4159 (S)
Cassette: ABK1-4159; reissue 7142-4-RG
CD: 7142-2-RG
Songs: “All Things Bright and Beautiful,” “Bang!,” “Can That Boy Fox-
trot!,” “The Girls of Summer,” “Happily Ever After,” “It Wasn’t Meant
to Happen,” “Little White House,” “Marry Me a Little,” “A Moment
with You,” “Pour le sport,” “Saturday Night,” “Silly People,” “So Many
People,” “There Won’t Be Trumpets,” “Two Fairy Tales,” “Uptown,
Downtown,” “Who Could Be Blue?,” “Your Eyes Are Blue”

MARSS1:Susannah Mars/Take Me to the World (1998)

LML Music
CD: LML CD-106
Songs: “Gun Song,” “Loving You,” “Not a Day Goes By,” “Take Me to
the World”

MAYESS1:Sally Mayes/Boys and Girls Like You and Me (2000)

Bayview Recording Company
CD: RNBW007
Songs: “All Things Bright and Beautiful,” “Nice She Ain’t,” “Your Eyes
Are Blue”

MAZZIEDANIELEY1: Marin Mazzie & Jason Danieley/Opposite You (2005)

PS Classics:
CD: PS-536
Songs: “Good Thing Going,” “Happiness,” “Move On,” “Not a Day
Goes By,” “Too Many Mornings”
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518 Primary Sondheim Recordings

MCDERMOTTS1: Sean McDermott/My Broadway (1999)

JAY Records
CD: CDJAY 1316
Songs: “Being Alive,” “Good Thing Going,” “Loving You,” “Maria,”
“Something’s Coming”

MCKECHNIED1: Donna McKechnie/Inside the Music (2002)

Fynsworth Alley
CD: FA2124
Songs: “All I Need Is the Girl,” “Everybody Says Don’t,” “In Buddy’s
Eyes,” “Lovely,” “You Could Drive a Person Crazy”

MCKENZIEJ1: Julia McKenzie/The Musicals Album (1992)

Telstar
CD: TCD 2612
Songs: “The Boy From . . . ,” “Losing My Mind,” “Send in the Clowns,”
“Somewhere,” “Tonight”

MCKENZIER1: Rita McKenzie/Ethel Merman’s Broadway (1995)

Varese Sarabande
CD: VSD-5665
Songs: “Everything’s Coming Up Roses,” “Small World,” “Some People”

MCLAREN1: Morag McLaren/i never do anything twice (1998)

Dress Circle
CD: MM777
Songs: “Every Day a Little Death,” “I Never Do Anything Twice,”
“Make the Most of Your Music”

MENDELSSOHN1: The Mendelssohn Choir of Pittsburgh/Mendelssohn sings

Sondheim (1994)
atr digital
Cassette: 26187
Songs: “Anyone Can Whistle,” “The Ballad of Booth,” “Being Alive,”
“Comedy Tonight,” “Do I Hear a Waltz?,” “I Remember,” “Johanna,”
“The Ladies Who Lunch,” “Let Me Entertain You,” “The Little Things
You Do Together,” “Losing My Mind,” “No One Is Alone,” “Not a Day
Goes By,” “Not While I’m Around,” “Old Friends,” “Our Time,” “Pretty
Lady,” “See What It Gets You,” “Send in the Clowns,” “There’s a Parade
in Town,” “This World”

MERMANE1: Ethel Merman/Mermania! (Vol. 1) (1999)

Harbinger Records
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CD: HCD 1711

Songs: “Everything’s Coming Up Roses,” “Little Lamb,” “Mr. Gold-
stone,” “Rose’s Turn,” “Small World,” “Together Wherever We Go,”
“You’ll Never Get Away from Me”

MERRILY1: Merrily We Roll Along Original Broadway Cast Recording (1982)

RCA Records
LP: CBL1-4197 (S)
CD: RCD1-5840
Cassette: CBK1-4197
Sony BMG Music Entertainment Masterworks Broadway
CD: 82876-68637-2 [2007 reissue; includes 2 bonus tracks asterisked
below]
Songs: “Bobby and Jackie and Jack,” “Franklin Shepard, Inc.,” “Good
Thing Going,” “The Hills of Tomorrow,” “It’s a Hit!,” “It’s a Hit!,”* “Like
It Was,” “Merrily We Roll Along,” “Not a Day Goes By,” “Not a Day Goes
By,”* “Not a Day Goes By, part II,” “Now You Know,” “Old Friends,”
“Opening Doors,” “Our Time,” “Overture,” “Rich and Happy”

MERRILY2: Merrily We Roll Along Revival Cast Recording (1994)

Varese Sarabande
CD: VSD-5548
Songs: “Act Two Opening,” “The Blob,” “Bobby and Jackie and Jack,”
“Franklin Shepard, Inc.,” “Good Thing Going,” “Growing Up,” “It’s a
Hit!,” “Like It Was,” “Merrily We Roll Along,” “Not a Day Goes By,”
“Not a Day Goes By, part II,” “Now You Know,” “Old Friends,” “Open-
ing Doors,” “Our Time,” “Overture,” “That Frank”

MERRILY3: Merrily We Roll Along London Cast Recording (1994, 1997)

TER—That’s Entertainment Records (England)
CD: CDTER 1225
JAY Records (England)
CD: CDJAY2 1245, 2-disc set
Songs: “Act Two Opening,” “The Blob,” “Bobby and Jackie and Jack,”
“Franklin Shepard, Inc.,” “Good Thing Going,” “Growing Up,” “It’s a
Hit!,” “Like It Was,” “Merrily We Roll Along,” “Not a Day Goes By,”
“Not a Day Goes By, part II,” “Now You Know,” “Old Friends,” “Open-
ing Doors,” “Our Time,” “Overture,” “That Frank”

MIGENES1: Julia Migenes/Live at the Olympia (1989)

Milan
CD: GH 503
Songs: “One Hand, One Heart,” “Something’s Coming,” “Tonight”
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520 Primary Sondheim Recordings

MINNELLI1: Minnelli, Liza/Aznavour/Minnelli Paris-Palais des Congrès Inté-

grale du Spectacle (1991, 1995)
EMI Music Holland
CD: 8324262
Songs: “Losing My Mind,” “Old Friend,” “Some People”

MITCHELLBS1: Brian Stokes Mitchell/Brian Stokes Mitchell (2006)

Playbill Records/Legacy
CD: 82876 80980 2
Songs: “Another Hundred People,” “Being Alive,” “Losing My Mind,”
“Pretty Women,” “Something’s Coming”

MOREWEST: More West End The Concert (1999)

JAY Records
CD: [n.n.]
Songs: “Comedy Tonight,” “Company,” “Send in the Clowns”

MOVINGON: Moving On (A 70th Birthday Celebration of Stephen Sondheim)

(2000)
Goldcrest Films International
CD: GF1001CD
[Note: Devised by David Kernan for the Bridewell Theatre London.
Performers: Geoffrey Abbott, Linzi Hately, Belinda Land, Robert Mead-
more, Angela Richards; not listed by cut]
Songs: “Ah, But Underneath . . . ,” “Another Hundred People,” “Broad-
way Baby,” “Everybody Says Don’t,” “Goodbye for Now,” “I Do Like
You,” “I Know Things Now,” “I Wish I Could Forget You,” “In Buddy’s
Eyes,” “Johanna,” “Loving You,” “Me and My Town,” “The Miller’s
Son,” “Move On,” “Multitudes of Amys,” “No, Mary Ann,” “Not a Day
Goes By,” “Opening Doors,” “Old Friends,” “Our Time,” “Pretty
Women,” “Side by Side by Side,” “So Many People,” “Someone Is Wait-
ing,” “Take Me to the World,” “There Won’t Be Trumpets,” “Water Un-
der the Bridge,” “What More Do I Need?,” “Who Wants to Live in New
York?,” “With So Little to Be Sure Of”

NEWYORKCITYGAY1: New York City Gay Men’s Chorus/New York, New York
A Broadway Extravaganza (1984, 1987)
ProArte Records
CD: CDG-3198; CDD-594
Cassette: PCD-5995
Songs: “All Things Bright and Beautiful,” “Not While I’m Around,”
“Our Time,” “Silly People,” “Take Me to the World,” “There Won’t Be
Trumpets”
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NEWYORKCITYGAY2: New York City Gay Men’s Chorus/Love Lives On

(1991)
Virgin Records America, Inc.
CD: 2-91647
Cassette: 91647-4
Songs: “Another Hundred People,” “No One Is Alone,” “Not a Day
Goes By,” “That Old Piano Roll”

NEWYORKCITYOP1: New York City Opera Orchestra/Broadway’s Best (1993)

[instrumental]
MusicMasters Classics
CD: 01612-67099-2
Songs: “The Advantages of Floating in the Middle of the Sea,” “March
to the Treaty House,” “Night Waltz,” “Tamate’s Dance (There Is No
Other Way)”

NICHOLSONC1: Carla and Michael Nicholson/Just Duet (2001)

Duophon
CD: [n.n.]
Songs: “I Feel Pretty,” “Send in the Clowns,” “Somewhere,” “Tonight”

NOONEIS1: No One Is Alone . . . the Modern Sondheim (1995 or ’96)

[Cast album of an Australian revue. There is no label name or num-
ber]
CD: [n.n.]
Songs: “Agony,” “Another National Anthem,” “Any Moment,” “The
Ballad of Booth,” “The Ballad of Sweeney Todd,” “Beautiful,” “Chil-
dren Will Listen,” “Color and Light,” “Everybody’s Got the Right,”
“Finishing the Hat,” “Good Thing Going,” “Gossip Sequence,” “Gun
Song,” “Hello, Little Girl,” “I Know Things Now,” “Live, Laugh, Love,”
“Moments in the Woods,” “My Friends,” “No One Is Alone,” “Not a
Day Goes By,” “On the Steps of the Palace,” “Sunday,” “Sunday in the
Park with George”

ORCHESTRAMAN1: Orchestra Manhattan (Byron Olson)/Digital Broadway

(1986) [instrumental]
Manhattan
CD: P-7-46288-2
Songs: “Johanna,” “Losing My Mind,” “Pretty Women,” “Putting It To-
gether,” “Send in the Clowns,” “Something’s Coming”

ORQUESTRADECAM1: Orquestra De Cambra Teatre Lliure, featuring Nina/

Stephen Sondheim (2001)
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522 Primary Sondheim Recordings

Satchmo Jazz Records

CD: SJR CD 00032J
Songs: “Bang!,” “Can That Boy Foxtrot!,” “Greens, Greens (Opening,
Part III)” [listed on CD as “Witch Entrance”], “Not a Day Goes By,”
“Overture” from Follies, “Putting it Together,” “Silly People,” “So Many
People,” “Sorry-Grateful”

OUTONB1: Out On Broadway (2000)

Original Cast
CD: OC2015
Songs: “Not a Day Goes By,” “Our Time,” “ Sooner or Later,” “Water
Under the Bridge,” “What Can You Lose?,” “You’re Gonna Love To-
morrow”

PACIFICOVER1:Pacific Overtures Original Broadway Cast Recording (1976)

RCA Records
LP: ARL1-1367 (S)
CD: RCD1-4407
Cassette: ARK1-4407
Songs: “The Advantages of Floating in the Middle of the Sea,” “A
Bowler Hat,” “Chrysanthemum Tea,” “Four Black Dragons,” “Next,”
“Please Hello,” “Poems,” “Pretty Lady,” “Someone in a Tree,” “Ta-
mate’s Dance (There Is No Other Way),” “Welcome to Kanagawa”

PACIFICOVER2:Pacific Overtures English National Opera (1988)

TER Records
CD: CDTER 1151
Cassette: ZCTED 1151
RCA Records
CD: 7995-2-RC (highlights only)
Cassette: 7995-4-RC (highlights only)
Jay Records
CD: CDJAY 1382 (highlights only; remastered and reissued in 2004)
Songs: “The Advantages of Floating in the Middle of the Sea,” “A
Bowler Hat,” “Chrysanthemum Tea,” “Four Black Dragons,” “Next,”
“Please Hello,” “Poems,” “Pretty Lady,” “Someone in a Tree,” “Ta-
mate’s Dance (There Is No Other Way),” “Welcome to Kanagawa”

PACIFICOVER3:Pacific Overtures New Broadway Cast Recording (2005)

PS Classics
CD: PS-528
Songs: “The Advantages of Floating in the Middle of the Sea,” “A
Bowler Hat,” “Chrysanthemum Tea,” “Four Black Dragons,” “March to
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the Treaty House,” “Next,” “Please Hello!,” “Poems,” “Prayers,”

“Pretty Lady,” “Prologue,” “Someone in a Tree,” “There Is No Other
Way,” “Welcome to Kanagawa”

PASSION1: Passion Original Broadway Cast Recording (1994)

Angel Records
CD: CDQ 7243 5 55251 23
Cassette: 4DQ 7243 5 55251 47
Songs: “Farewell Letter,” “Finale,” “First Letter,” “Flashback,” “Forty
Days,” “Fourth Letter,” “Garden Sequence,” “Happiness,” “I Read,” “I
Wish I Could Forget You,” “Is This What You Call Love?,” “Loving
You,” “No One Has Ever Loved Me,” “Second Letter,” “Soldier’s Gos-
sip,” “Sunrise Letter,” “Third Letter,” “Transition(s),” “Trio”

PASSION2: (Stephen Sondheim’s) Passion . . . in Jazz (The Trotter Trio) (1994)

Varese Sarabande
CD: VSD-5556
Songs: “Fourth Letter,” “Happiness,” “I Wish I Could Forget You,”
“Love Like Ours,” “Loving You,” “No One Has Ever Loved Me,” “Tran-
sition(s)”

PASSION3: Passion London Concert (1997)

First Night Records
CD: CAST CD61
Songs: “Farewell Letter,” “Finale,” “First Letter,” “Flashback,” “Forty
Days,” “Fourth Letter,” “Garden Sequence,” “Happiness,” “I Read,” “I
Wish I Could Forget You,” “Is This What You Call Love?,” “Love Like
Ours,” “Loving You,” “No One Has Ever Loved Me,” “Second Letter,”
“Soldier’s Gossip,” “Sunrise Letter,” “Third Letter,” “Transition(s),”
“Trio”

PASSION4:Passion Dutch Cast Recording (2004) [translated into Dutch]

Stage Music/Universal
CD: 986 921-5
Songs: “Farewell Letter,” “Finale,” “First Letter,” “Flashback,” “Forty
Days,” “Fourth Letter,” “Garden Sequence,” “Happiness,” “I Read,” “I
Wish I Could Forget You,” “Is This What You Call Love?,” “Love Like
Ours,” “Loving You,” “No One Has Ever Loved Me,” “Second Letter,”
“Soldier’s Gossip,” “Sunrise Letter,” “Third Letter,” “Transition(s),”
“Trio”

PATINKIN1:Mandy Patinkin/Mandy Patinkin (1989)

CBS Records
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524 Primary Sondheim Recordings

CD: MK44943 [DDD]

Cassette: FMT-44943
Songs: “Anyone Can Whistle,” “No More,” “No One Is Alone,” “Pretty
Lady”

PATINKIN2:Mandy Patinkin/Dress Casual (1990)

CBS Records
CD: MK45998
Cassette: FMT-45998
Songs: “Being Alive,” “Giants in the Sky,” “I Remember,” “If You Can
Find Me I’m Here,” “Sorry-Grateful,” “Take Me to the World,”
“When?”

PATINKIN3:Mandy Patinkin/Experiment (1994)

Elektra Nonesuch
CD: 79330-2
Cassette: FMT-79330-4
Songs: “Good Thing Going,” “Multitudes of Amys,” “The Road You
Didn’t Take,” “So Many People,” “Someone Is Waiting,” “Something’s
Coming”

PATINKIN4:Mandy Patinkin/Oscar and Steve (1995)

Nonesuch
CD: 79392-2
Cassette: 79392-4
Songs: “Children Will Listen,” “I Wish I Could Forget You,” “Loving
You,” “Not a Day Goes By,” “Pleasant Little Kingdom,” “Poems,” “Re-
member,” “There Won’t Be Trumpets,” “Too Many Mornings”

PATINKIN5:Mandy Patinkin/Mandy Patinkin Sings Sondheim (2002)

Nonesuch
CD: 79690-2; 2-disc set
Songs: “All Things Bright and Beautiful,” “Another Hundred People,”
“Beautiful,” “Broadway Baby,” “Company,” “Everybody Says Don’t,”
“Finishing the Hat,” “Free,” “Green Finch and Linnet Bird,” “If You
Can Find Me, I’m Here,” “In Someone’s Eyes,” “It Takes Two,” “Jo-
hanna,” “Lesson # 8,” “Liaisons,” “Live Alone and Like It,” “Live,
Laugh, Love,” “Losing My Mind,” “Not While I’m Around,” “Open-
ing” from Sunday in the Park with George, “Our Time,” “Pleasant Little
Kingdom,” “Pretty Women,” “Rich and Happy,” “Send in the Clowns,”
“Someone Is Waiting,” “Sunday,” “Take the Moment,” “Too Many
Mornings,” “Uptown, Downtown,” “Waiting for the Girls Upstairs,”
“When?,” “You Could Drive a Person Crazy”
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PETERSB1:Bernadette Peters/Sondheim, Etc. (Live at Carnegie Hall) (1997)

Angel Records
CD: 55870
Songs: “Any Moment,” “Being Alive,” “Broadway Baby,” “Happiness,”
“Hello, Little Girl,” “Johanna,” “Move On,” “No One Is Alone,” “Not a
Day Goes By,” “Some People,” “Sooner or Later,” “There Won’t Be
Trumpets,” “You Could Drive a Person Crazy”

PETERSB2: Bernadette Peters/Sondheim, Etc., Etc.—Live at Carnegie Hall: The

Rest of It (2005)
Angel Records
CD: 7243 4 74748 2 8
Songs: “Children Will Listen,” “Later,” “(They Ask Me Why) I Believe
in You,” “With So Little to Be Sure Of”

Peters, Roberta, see also DRAKEA: Alfred Drake & Roberta Peters Sing the Pop-
ular Music of Leonard Bernstein

PRIORM1: Marina Prior/Somewhere (1994)

Columbia Records
CD: 478068 2
Songs: “The Boy From . . . ,” “A Boy Like That,” “Green Finch and Lin-
net Bird,” “I Have a Love,” “Move On,” “Not While I’m Around,” “One
Hand, One Heart,” “Send in the Clowns,” “Somewhere,” “Sooner or
Later,” “Tonight,” “What Can You Lose?,” “You Could Drive a Person
Crazy”

PUTTINGIT1: Putting It Together Original Cast Recording (1993)

RCA Records
CD: 09026-61729-2
Cassette: 09026-61729-4
Songs: “Ah, But Underneath . . . ,” “Back in Business,” “Bang!,” “Being
Alive,” “Could I Leave You?,” “Country House,” “Every Day a Little
Death,” “Everybody Ought to Have a Maid,” “Getting Married Today,”
“Gun Song,” “Have I Got a Girl for You,” “Hello, Little Girl,” “I’m
Calm,” “Impossible,” “In Praise of Women,” “Invocation and Instruc-
tions to the Audience,” “Like It Was,” “A Little Priest,” “Live Alone and
Like It,” “Love Takes Time,” “Lovely,” “Marry Me a Little,” “Merrily
We Roll Along,” “The Miller’s Son,” “My Husband the Pig,” “Now,”
“Perpetual Anticipation,” “Pretty Women,” “Putting It Together,” “Re-
member,” “Rich and Happy,” “Sooner or Later,” “Sorry-Grateful,”
“Sweet Polly Plunkett,” “What Would We Do without You?,” “You
Could Drive a Person Crazy”
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RALSTONT1: Teri Ralston/I’ve Gotta Get Back to New York (2008)

LML Music
CD: LML CD-230
Songs: “Another Hundred People,” “Company,” “Getting Married To-
day,” “In Buddy’s Eyes.” “Losing My Mind,” “Make the Most of Your
Music,” “Perpetual Anticipation,” “Poor Baby,” “Remember”

REDS1:Reds (Original Soundtrack) (1981) [music for some cuts by Dave

Grusin]
Columbia Records
LP: BJS 37690
Razor & Tie Entertainment
CD: 7940182203-2 [1999 reissue]
Songs: “Goodbye for Now”

ROADSHOW1: Road Show Original Cast Recording (2009)

Nonesuch/PS Classics
CD: 518940-2
Songs: “Addison’s City,” “Addison’s Trip,” “The Best Thing That Ever
Has Happened,” “Boca Raton,” “Brotherly Love,” “Finale,” “The
Game,” “The Game (Reprise),” “Get Out/Go,” “Gold!,” “Isn’t He
Something!,” “It’s in Your Hands Now,” “Land Boom!,” “Talent,” “That
Was a Year,” “Waste,” “You”

ROCHESTERP1: Rochester Pops Orchestra (Erich Kunzel)/Opening Night

(1990) [instrumental]
ProArte
CD: CDS 528
Songs: “Broadway Baby,” “Comedy Tonight,” “Send in the Clowns”

Rochester Pops, see also FLORIDA1: Florida Symphonic Pops (John Ca-
cavas)/The Phantom of the Opera

ROSEJ1:
Jodi Rose/Hope for the Future (2008)
Opera on the go
CD: 837101446709
Songs: “Children Will Listen,” “Everybody Says Don’t,” “Losing My
Mind,” “Not a Day Goes By,” “Together Wherever We Go”
[Note: The album also includes a “West Side Story Medley” whose indi-
vidual cuts are not listed]

ROSSANNIE: Annie Ross/Gypsy (1959, 1960)

World Pacific Records
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LP: (S)ST-1276, WP-1028

Pacific Jazz (1995 reissue)
CD: CDP 7243 8 33574 2 0
Songs: “All I Need Is the Boy,” “Everything’s Coming Up Roses,” “Let
Me Entertain You,” “Small World,” “Some People,” “Together Wher-
ever We Go,” “You’ll Never Get Away from Me”

ROSSENS1:Stig Rossen/Love Changes Everything (2002)

DPTV Media
CD: [n.n.]
Songs: “Being Alive,” “Send in the Clowns,” “Somewhere”

ROTZC1:Corey Evan Rotz/Keep the Music Playing (2002)

Corey Evan Rotz
CD: [n.n.]
Songs: “Being Alive,” “Maria,” “Not a Day Goes By,” “Not While I’m
Around,” “Send in the Clowns”

ROYBUDD1: The Roy Budd Trio/Everything’s Coming Up Roses: The Musical

World of Stephen Sondheim (1976)
Pye Records
LP: NSPL 18494
Songs: “All I Need Is the Girl,” “Another Hundred People,” “Anyone
Can Whistle,” “Beautiful Girls,” “Do I Hear a Waltz?,” “Everything’s
Coming Up Roses,” “The God-Why-Don’t-You-Love-Me Blues,”
“Send in the Clowns,” “Small World,” “Take Me to the World,”
“Tonight”

RUBANOC1: Craig Rubano/Finishing the Act (1999)

AF Records
CD: HR 13680
Songs: “Now You Know,” “Sunday,” “Take the Moment”

SALONGAL1: Lea Salonga/The Broadway Concert (2002)

BMG
CD: [n.n.]
Songs: “Being Alive,” “Together Wherever We Go,” “You’ll Never Get
Away from Me”

SANDFORD1: Luke Sandford/Shimmer (2000) [piano solo]

Luke Sandford
CD: 11357 60082
Songs: “Giants in the Sky,” “Night Waltz,” “Salon at the Claridge # 2”
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SATURDAYN1: Saturday Night Bridewell Cast Recording (1998)

First Night Records
CD: CAST CD65
Songs: “All for You,” “Class,” “Exhibit ‘A,’” “I Remember That,” “In the
Movies,” “Isn’t It?,” “Love’s a Bond,” “A Moment with You,” “One
Wonderful Day,” “Saturday Night,” “Saturday Night (reprise),” “So
Many People,” “That Kind of a Neighborhood,” “What More Do I
Need?”

SATURDAYN2: Saturday Night Original New York Cast (2000)

Nonesuch
CD: 79809-2
Songs: “All for You,” “Class,” “Delighted, I’m Sure,” “Exhibit ‘A,’”
“Gracious Living Fantasy,” “I Remember That,” “In the Movies,” “Isn’t
It?,” “Love’s a Bond,” “Love’s a Bond (Blues),” “A Moment with You,”
“One Wonderful Day,” “One Wonderful Day (Finale),” “Overture,”
“Saturday Night,” “Saturday Night (Reprise) [2 versions],” “So Many
People,” “That Kind of a Neighborhood,” “What More Do I Need?”

Saturday Night, see also UNSUNGS1: Unsung Sondheim (1993)

SAXEE1:Emily Saxe/Whistling: Broadway to Berk’ley Square (1996/99)

Orchard/Miss Emily Productions
CD: 3285/657979110126
Songs: “Anyone Can Whistle,” “Not While I’m Around,” “Sooner or
Later”

SAXEE2:Emily Saxe/Broadway & All That Jazz (2000)

Orchard
CD: [n.n.]
Songs: “Losing My Mind,” “Old Friends,” “Send in the Clowns”

SCHLONG1: Schlongs/Punk Side Story (1994–95)

Hopeless Records
CD: HR602-2
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

SCHNEIDERH1: Helen Schneider/A Voice and a Piano (200)

Preiser Records
CD: PR93429
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Songs: “Anyone Can Whistle,” “Broadway Baby,” “Everybody Says

Don’t,” “Move On”

SCHÜRMANN1: Samuel Schürmann/Sunday: Samuel Schürmann singt Sond-

heim (2007)
Sound of Music
CD: SOM CD 034
Songs: “Anyone Can Whistle,” “Back in Business,” “Being Alive,”
“Comedy Tonight,” “Everybody Says Don’t,” “Good Thing Going,”
“Hello, Little Girl,” “I Remember,” “I’m Calm,” “In Praise of Women,”
“Johanna,” “The Ladies Who Lunch,” “Losing My Mind,” “Moments in
the Woods,” “No One Is Alone,” “Not a Day Goes By,” “Not While I’m
Around,” “Pretty Women,” “Putting It Together,” “Sunday,” “Waiting
For the Girls Upstairs,” “A Weekend in the Country,” “What Can You
Lose?”

SEELIGT1:Tim Seelig/Everything’s Possible (1995)

Passport/Turtle Creek Chorale
CD: 1040
Songs: “Anyone Can Whistle,” “I Remember,” “No One Is Alone,” “Not
While I’m Around”

SHORTB1:Bobby Short/Live at the Cafe Carlyle (1974)

Atlantic Records
LP: SD 2609; 2-record set
Songs: “Losing My Mind,” “Send in the Clowns,” “Sorry-Grateful”

SIDEBYS1: Side by Side by Sondheim Original Cast (1976)

RCA Records
LP: CBL2-1851 (s); 2-record set
Cassette: CBK2-1851; reissue 1851-4-RG
CD: 1851-2-RG; 2-disc set
Songs: “Ah, Paris!,” “Another Hundred People,” “Anyone Can Whis-
tle,” “Barcelona,” “Beautiful Girls,” “Being Alive,” “The Boy From
. . . ,” “A Boy Like That,” “Broadway Baby,” “Buddy’s Blues,” “Can
That Boy Foxtrot!,” “Comedy Tonight,” “Company,” “Could I Leave
You?,” “Everybody Says Don’t,” “Getting Married Today,” “I Never Do
Anything Twice,” “I Remember,” “If Momma Was Married,” “I’m Still
Here,” “The Little Things You Do Together,” “Losing My Mind,” “Love
Is in the Air,” “Pretty Lady,” “Send in the Clowns,” “Side by Side by
Side,” “There Won’t Be Trumpets,” “Too Many Mornings,” “We’re
Gonna Be All Right,” “You Could Drive a Person Crazy,” “You Must
Meet My Wife”
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530 Primary Sondheim Recordings

SIDEBYS2: Side by Side by Sondheim Original Australian cast recording (1977)

RCA Red Seal (Australia)
LP: VRL2-0156; 2-record set
Cassette: VRK2-0156; 2-tape set
Songs: “Ah, Paris!,” “Another Hundred People,” “Anyone Can Whis-
tle,” “Barcelona,” “Beautiful Girls,” “The Boy From . . . ,” “Broadway
Baby,” “Buddy’s Blues,” “Can That Boy Foxtrot!,” “Comedy Tonight,”
“Company,” “Could I Leave You?,” “Everybody Ought to Have a
Maid,” “Everybody Says Don’t,” “Getting Married Today,” “I Never Do
Anything Twice,” “I Remember,” “If Momma Was Married,” “I’m Still
Here,” “The Little Things You Do Together,” “Losing My Mind,” “Love
Is in the Air,” “Marry Me a Little,” “Pretty Lady,” “Send in the Clowns,”
“Side by Side by Side,” “Waiting for the Girls Upstairs,” “We’re Gonna
Be All Right,” “You Could Drive a Person Crazy,” “You Must Meet My
Wife”

SIDEBYS3: Lado a Lado com Sondheim Original Brazilian cast recording of Side
by Side by Sondheim (2006)
Axion
CD: 7 89270 413827
Songs: “Anyone Can Whistle,” “Barcelona,” “Being Alive,” “The Boy
From . . . ,” “A Boy Like That,” “Broadway Baby,” “Buddy’s Blues,”
“Can That Boy Foxtrot!,” “Comedy Tonight,” “Company,” “Could I
Leave You?,” “Everybody Says Don’t,” “Getting Married Today,” “I
Have a Love,” “I Never Do Anything Twice,” “I’m Still Here,” “The Lit-
tle Things You Do Together,” “Losing My Mind,” “Love Is in the Air,”
“Not a Day Goes By,” “Pretty Lady,” “Send in the Clowns,” “Side by
Side by Side,” “You Could Drive a Person Crazy”

Side by Side by Sondheim, see also SONGSOFSOND1: Songs of Sondheim Origi-

nal Irish Cast

SIMPLYSOND1: Simply Sondheim: A 75th Birthday Salute (2006)

Kritzerland
CD: KR 20020-8; 2-disc set
Songs: “Agony,” “Ah, But Underneath,” “Anyone Can Whistle,” “Back
in Business,” “Bounce,” “Broadway Baby,” “Children Will Listen,”
“Come Play Wiz Me,” “Do I Hear a Waltz?,” “Everybody Says Don’t,”
“Everybody’s Got the Right,” “Farewell,” “Getting Married Today,”
“The Girls of Summer,” “The Glamorous Life,” “Good Thing Going,”
“Hades,” “Happiness,” “Hello, Little Girl,” “I Know Things Now,” “I
Remember,” “If Momma Was Married,” “I’m in Love with a Boy,” “I’ve
Got You to Lean On,” “Last Midnight,” “The Little Things You Do To-
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gether,” “Love, I Hear,” “Love Is in the Air,” “Lovely,” “Make the Most
of Your Music,” “A Moment with You,” “More,” “No More,” “Not a
Day Goes By,” “Not While I’m Around,” “Pretty Lady,” “Pretty
Women,” “Saturday Night,” “So Many People,” “Sooner or Later,”
“Sunday in the Park with George,” “Take Me to the World,” “There’s a
Parade in Town,” “Tonight,” “What More Do I Need?,” “You Could
Drive a Person Crazy”

SINGTHESONGS2: Sing the Songs of Stephen Sondheim Vol. 2: “A Weekend in the

Country” (2005) [instrumental tracks only; see Stephen Sondheim Songs
for vol. 1]
Pocket Songs/Just Tracks
CD: JTG336
Songs: “The Ballad of Sweeney Todd,” “The Boy From . . . ,” “Finishing
the Hat,” “The Glamorous Life,” “I Feel Pretty,” “In Buddy’s Eyes,” “Jo-
hanna,” “Maria,” “The Miller’s Son,” “Pretty Women,” “Somewhere,”
“Tonight,” “A Weekend in the Country,” “With So Little To Be Sure Of”

SINGERSUN1: Singers Unlimited (Beryl Korman, Julia Meadows, Jennifer

Partridge)/A Little Light Music (1996)
Upbeat Recordings
CD: URCD123
Songs: “Ah, Paris!,” “Anyone Can Whistle,” “A Boy Like That,”
“Broadway Baby,” “Can That Boy Foxtrot!,” “Losing My Mind,” “Old
Friends,” “Send in the Clowns,” “We’re Gonna Be All Right”

SKINNERRIPLEY01:Emily Skinner & Alice Ripley/Raw at Town Hall (2006)

Kritzerland
CD: KR 20011-0
Songs: “Broadway Baby,” “Every Day a Little Death,” “No One Is
Alone”

SOND1: Sondheim (1985)

Book-of-the-Month Records
LP: 81-7515 (S); 3-record set
CD: 11-7517; 2-disc set (71-7016)
Cassette: 91-7516; 2-tape set
Songs: “The Advantages of Floating in the Middle of the Sea,” “Anyone
Can Whistle,” “Buddy’s Blues,” “Comedy Tonight,” “Everybody Says
Don’t,” “Fear No More,” “Finishing the Hat,” “The Glamorous Life
(The Letter Song),” “Good Thing Going,” “Goodbye for Now,”
“Honey,” “I Do Like You,” “In Buddy’s Eyes,” “It’s a Hit!,” “Johanna,”
“Liaisons,” “Like It Was,” “A Little Priest,” “The Little Things You Do
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532 Primary Sondheim Recordings

Together,” “Losing My Mind,” “March to the Treaty House,” “Me and

My Town,” “Next,” “Not While I’m Around,” “Old Friends,” “Pretty
Lady,” “Send in the Clowns,” “Someone in a Tree,” “Sorry-Grateful,”
“Take Me to the World,” “Tamate’s Dance (There Is No Other Way),”
“Theme” from Stavisky, “Too Many Mornings,” “With So Little to Be
Sure Of,” “The Worst Pies in London,” “You Must Meet My Wife”

SONDACEL1: Sondheim—A Celebration (1997)

Carlton Sounds
CD: 30362 00382
Songs: “Back in Business,” “Being Alive,” “Buddy’s Blues,” “By the
Sea,” “Comedy Tonight,” “Could I Leave You?,” “In Buddy’s Eyes,” “It
Takes Two,” “The Ladies Who Lunch,” “Liaisons,” “Not While I’m
Around,” “Old Friends,” “Side by Side by Side,” “Uptown, Down-
town”

SONDACEL2: Sondheim: A Celebration (1997)

Varese Sarabande
CD: VSD2-5820; 2-disc set
Songs: “The Ballad of Booth,” “The Ballad of Sweeney Todd,”
“Barcelona,” “Can That Boy Foxtrot!,” “Children Will Listen,” “Every-
body Loves Louis,” “Everybody Ought to Have a Maid,” “Everybody’s
Got the Right,” “Franklin Shepard, Inc.,” “Getting Married Today,”
“Good Thing Going,” “Invocation and Instructions to the Audience,”
“Losing My Mind,” “Loving You,” “The Miller’s Son,” “More,” “Move
On,” “Multitudes of Amys,” “No More,” “Not a Day Goes By,” “Not
While I’m Around,” “Our Time,” “Send in the Clowns,” “Side by Side
by Side,” “Someone in a Tree,” “Sooner or Later,” “Sorry-Grateful,”
“Sunday,” “There Won’t Be Trumpets,” “What Can You Lose?,” “Who’s
That Woman?,” “You Could Drive a Person Crazy”

SONDACELATC1: Sondheim: A Celebration at Carnegie Hall (1993)

RCA Records
CD: 09026-61484-2 [DDD] (2-disc set)
Cassette: 09026-6184-4
CD: 09026-61516-2 (highlights only)
Cassette: 09026-61516-4 (highlights only)
Songs: “Anyone Can Whistle,” “Back in Business,” “The Ballad of
Booth,” “The Ballad of Sweeney Todd,” “Barcelona,” “Being Alive,”
“Broadway Baby,” “Children Will Listen,” “Comedy Tonight,” “Com-
pany,” “Getting Married Today,” “Good Thing Going,” “Green Finch
and Linnet Bird,” “I Never Do Anything Twice,” “Johanna,” “Live
Alone and Like It,” “Losing My Mind,” “Love, I Hear,” “Loveland,”
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“Not a Day Goes By,” “Old Friends,” “Our Time,” “Pretty Lady,”
“Pretty Women,” “Remember,” “Send in the Clowns,” “Someone Is
Waiting,” “Sooner or Later,” “Sunday,” “Waiting for the Girls Upstairs,”
“Water Under the Bridge,” “A Weekend in the Country,” “With So Lit-
tle to Be Sure Of,” “You Could Drive a Person Crazy”

SONDAMUST1: Sondheim: A Musical Tribute (1973) [also known as the “Scrab-

ble Album”]
Warner Bros. Records
LP: 2WS 2705 (S); 2-record set
RCA Records (1990, reissue)
Cassette: 60515-4-RC
CD: 60515-2-RC
Songs: “America,” “Another Hundred People,” “Anyone Can Whistle,”
“Beautiful Girls,” “Being Alive,” “Broadway Baby,” “Buddy’s Blues,”
“Could I Leave You?,” “Do I Hear a Waltz?,” “Getting Married Today,”
“Happily Ever After,” “I Remember,” “If Momma Was Married,” “I’m
Still Here,” “The Little Things You Do Together,” “Losing My Mind,”
“Love Is in the Air,” “Me and My Town,” “One More Kiss,” “Pleasant
Little Kingdom,” “Side by Side by Side,” “Silly People,” “So Many Peo-
ple,” “Take Me to the World,” “There’s a Parade in Town,” “Too Many
Mornings,” “Two Fairy Tales,” “We’re Gonna Be All Right,” “You
Could Drive a Person Crazy,” “Your Eyes Are Blue”

SONDATTHEM1: Sondheim at the Movies (1997)

Varese Sarabande
CD: VSD-5895
Songs: “Back in Business,” “Dawn,” “The Glamorous Life (The Letter
Song),” “Goodbye for Now,” “I Remember,” “If You Can Find Me I’m
Here,” “It Takes All Kinds,” “Little Dream,” “More,” “Sand,” “Sooner
or Later,” “Stavisky Suite” [in 3 parts], “Take Me to the World,” “What
Can You Lose?,” “When?”

SONDSINGS1: Stephen Sondheim/Sondheim Sings: Volume I (1962–72) (2005)

PS Classics
CD: PS-9529
Songs: “Anyone Can Whistle,” “Broadway Baby,” “Don’t Look at Me,”
“Everybody Ought to Have a Maid,” “Everybody Says Don’t,” “The
Glamorous Life,” “A Hero Is Coming,” “Invocation,” “The Lame, the
Halt and the Blind,” “Losing My Mind,” “Love Is in the Air,” “Marry
Me a Little,” “Miracle Song,” “Multitudes of Amys,” “No, Mary Ann,”
“Pleasant Little Kingdom,” “Pretty Little Picture,” “Send in the
Clowns,” “Truly Content”
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SONDSINGS2: Stephen Sondheim/Sondheim Sings: Volume II (1946–60)

(2005)
PS Classics
CD: PS-9533
Songs: “Bitterness,” “Do I Hear a Waltz?,” “The Girls of Summer,”
“High Life,” “How Do I Know?,” “I Remember That,” “I Wouldn’t
Change a Thing,” “In No Time At All,” “Men,” “A Moment With You,”
“New York Song,” “Pour le Sport,” “A Star is Born,” “Ten Years Old,”
“What to Do at George School,” “When I Get Famous,” “Where Do I Be-
long?,” “You’re Only as Old as You Look”

SONDTON1: Sondheim Tonight (Live from the Barbican Centre, London)

(1999)
JAY Records
CD: CDJAY2 1313 (2-disc set)
Songs: “Another Hundred People,” “The Ballad of Sweeney Todd,”
“Barcelona,” “Beautiful Girls,” “Being Alive,” “Broadway Baby,”
“Comedy Tonight,” “Company,” “Good Thing Going,” “Green Finch
and Linnet Bird,” “I Never Do Anything Twice,” “I Remember,” “The
Ladies Who Lunch,” “Losing My Mind,” “Loving You,” “March to the
Treaty House,” “More,” “Next,” “Night Waltz,” “Not a Day Goes By,”
“Not While I’m Around,” “Send in the Clowns,” “Side by Side by Side,”
“Stavisky Suite,” “Sunday in the Park with George,” “Variations on a
Theme (Katie Malone),” “A Very Short Violin Sonata”

SONGSOFSOND1: Songs of Sondheim Original Irish cast recording of Side by

Side by Sondheim (1977)
RAM Records
LP: RMLP 1026
Cassette: RMCS 1026
Songs: “Anyone Can Whistle,” “Barcelona,” “The Boy From . . . ,”
“Broadway Baby,” “Comedy Tonight,” “Could I Leave You?,” “I Never
Do Anything Twice,” “I’m Still Here,” “The Little Things You Do To-
gether,” “Love Is In the Air,” “Pretty Lady,” “Send in the Clowns,”
“Side by Side by Side,” “You Could Drive a Person Crazy”

SONGSOFSTEP1: Songs of Stephen Sondheim/You Sing the Hits (1991) [Side A

has complete tracks; Side B has background tracks without vocals]
MMO Music Group
Cassette: PS 198
Songs: “Being Alive,” “Could I Leave You?,” “I’m Still Here,” “Losing
My Mind,” “Send in the Clowns”
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SOPERGAY1: Gay Soper/Flying Fish and Fallen Angels (2005)

Dress Circle
CD: GAY001
Songs: “The Boy From . . . ,” “Can That Boy Foxtrot!,” “Stay with Me”

STAROBIND1: David Starobin/New Music with Guitar, Volume 3; “Sunday

Set” [Patrick Mason, baritone] (1985)
Bridge
LP: BDG-2006
CD: BCD-9009 ; reissued on New Music with Guitar, a compilation
from volumes 1–3 (1988)
Songs: “Color and Light,” “Finishing the Hat,” “Lesson # 8,” “Putting It
Together”

STAVISKY1:Stavisky (1975) [CD recording on Follies in Concert—FolIC]

RCA Records
LP: ARL1-0952
Cam Original Soundtracks
CD: 8012355010940; 1993 reissue
Songs: “Airport at Biarritz,” “Arlette and Stavisky,” “Arlette by Day,”
“Arlette by Night,” “Auto Show,” “Distant Past,” “Easy Life,” “Erna,”
“Erna Remembered,” “The Future,” “Goodbye Arlette,” “Hideout Cha-
monix,” “Montalvo at Biarritz,” “Old House,” “Operetta (C’est moi),”
“Recent Past,” “Salon at the Claridge # 1,” “Salon at the Claridge # 2,”
“Secret of Night,” “Suite at the Claridge,” “Theme” from Stavisky,
“Trotsky at Saint-Palais,” “Women and Death”

STEPHENSA1: The Stephen Sondheim Album (2000)

Fynsworth Alley
CD: FA-2101-SE
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Broadway
Baby,” “Children Will Listen,” “Everybody Says Don’t,” “Getting Mar-
ried Today” [on special edition only], “Giants in the Sky,” “I Must Be
Dreaming,” “I’m Still Here,” “It Wasn’t Meant to Happen,” “Losing My
Mind,” “Make the Most of Your Music,” “A Moment with You,” “Not a
Day Goes By,” “So Many People,” “Sorry-Grateful,” “Who Could Be
Blue?,” “With So Little to Be Sure Of,” “You’re Gonna Love Tomorrow”

STEPHENSE1:
A Stephen Sondheim Evening (1983)
RCA Records
LP: CBL2-4745 (S); 2-record set
Cassette: CBK2-4745; 2-tape set
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536 Primary Sondheim Recordings

CD: 09026-61174-2 (reissue) [“Fear No More” and “You’re Gonna

Love Tomorrow” were not included on the CD reissue]
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Broadway
Baby,” “Children Will Listen,” “Everybody Says Don’t,” “Getting Mar-
ried Today,” “Giants in the Sky,” “I Must Be Dreaming,” “I’m Still
Here,” “It Wasn’t Meant to Happen,” “Losing My Mind,” “Make the
Most of Your Music,” “A Moment with You,” “Not a Day Goes By,” “So
Many People,” “Sorry-Grateful,” “Who Could Be Blue?,” “With So Lit-
tle to Be Sure Of,” “You’re Gonna Love Tomorrow”

STEPHENSS1: Stephen Sondheim Songs (2002) [instrumental accompaniments

without vocals; see Sing the Songs of Stephen Sondheim for volume 2]
MMO Music Group/Pocket Songs
CD: JTG 068
Songs: “Anyone Can Whistle,” “Being Alive,” “Broadway Baby,” “Chil-
dren Will Listen, “Comedy Tonight,” “Could I Leave You?,” “Do I Hear
a Waltz?,” “Everybody Ought to Have a Maid,” “Everybody Says
Don’t,” “I’m Still Here,” “The Ladies Who Lunch,” “Losing My Mind,”
“Loving You,” “Not While I’m Around,” “Putting It Together,” “Sooner
Or Later”

STREISAND1:Barbra Streisand/The Broadway Album (1985)

Columbia Records
LP: OC 40092
CD: CK 40092
Cassette: OCT 40092
Minidisc: CM 40092
Songs: “Being Alive,” “The Ladies Who Lunch,” “Not While I’m
Around,” “Pretty Women,” “Putting It Together,” “Send in the
Clowns,” “Something’s Coming,” “Somewhere”

STREISAND2:Barbra Streisand/Back to Broadway (1993)

Columbia Records
CD: CK 44189
Cassette: CT 44189
Minidisc: CM 44189
Songs: “Children Will Listen,” “Everybody Says Don’t,” “I Have a
Love,” “Move On,” “One Hand, One Heart”

STREISAND3:Barbra Streisand/Timeless—Live in Concert (2000)

Columbia
CD: C2K 63778; 2-disc set
Songs: “Being Alive,” “Putting It Together,” “Send in the Clowns,”
“Something’s Coming,” “Somewhere”
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STRITCHE1:Elaine Stritch/Elaine Stritch at Liberty (2002)

DRG Records
CD: DRG-12994
Songs: “Broadway Baby,” “I’m Still Here,” “The Ladies Who Lunch”

STYNEJ1:Jule Styne/My Name is Jule (1966)

United Artists
LP: UAS-6469
Songs: “All I Need Is the Girl,” “Everything’s Coming Up Roses,” “Let
Me Entertain You,” “Small World,” “Some People,” “Together Wher-
ever We Go,” “You’ll Never Get Away from Me”

SUNDAYIN1: Sunday in the Park with George Original Broadway Cast Record-
ing (1984)
RCA Records
LP: HBC1-5042 (S)
Cassette: HBE1-5042
CD: RCD1-5042
Sony BMG Music Entertainment Masterworks Broadway
CD: 82876-68638-2 [2007 reissue; includes 2 bonus tracks asterisked
below]
Songs: “Beautiful,” “Children and Art,” “Chromolume # 7,” “Color and
Light,” “The Day Off,” “Everybody Loves Louis,” “Finishing the Hat,”
“Gossip Sequence,” “It’s Hot Up Here,” “Lesson # 8,” “Move On,” “No
Life,” “Putting It Together,” “Putting It Together,”* “Sunday,” “Sun-
day,”* “Sunday in the Park with George,” “We Do Not Belong Together”

SUNDAYIN2: Sunday in the Park with George 2006 London Cast Recording
(2006)
PS Classics
CD: PS-640; 2-disc set
Songs: “Beautiful,” “Children and Art,” “Chromolume # 7,” “Color and
Light,” “The Day Off,” “Everybody Loves Louis,” “Finishing the Hat,”
“Gossip Sequence,” “It’s Hot Up Here,” “Lesson # 8,” “Move On,” “No
Life,” “The One on the Left” [complete version], “Putting It Together,”
“Sunday,” “Sunday in the Park with George,” “We Do Not Belong To-
gether”

Sunday in the Park with George, see also STAROBIND1: David Starobin/New
Music with Guitar, Volume 3; “Sunday Set”

SWEENEYT1: Sweeney Todd Original Broadway Cast Recording (1979)

RCA Records
LP: CBL2-3379 (S); 2-record set
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538 Primary Sondheim Recordings

Cassette: CBK2-3379; 2-tape set

CD: 3379-2-RC; 2-disc set
CD: RCD1-5033 (highlights only)
Sony BMG Music Entertainment Masterworks Broadway
CD: 82876-68639-2; 2-disc set [2007 reissue; includes 2 bonus tracks
asterisked below]
Songs: “Ah, Miss,” “The Ballad of Sweeney Todd,” “The Barber and His
Wife,” “By the Sea,” “City on Fire,” “The Contest,” “Epiphany,” “Final
Scene,” “Fogg’s Asylum/Fogg’s Passacaglia,” “God, That’s Good!,”
“Green Finch and Linnet Bird,” “Green Finch and Linnet Bird,”* “Jo-
hanna,” “Johanna (Act 2),” “Johanna (Judge Turpin),” “Kiss Me,”
“Ladies in Their Sensitivities,” “The Letter,” “A Little Priest,” “My
Friends,” “No Place Like London,” “Not While I’m Around,” “Parlor
Songs,” “Pirelli’s Miracle Elixir,” “Poor Thing,” “Prelude,” “Pretty
Women,” “Searching,” “Symphonic Sweeney Todd,”* “Wait,” “Wig-
maker Sequence,” “The Worst Pies in London”

SWEENEYT2: (Stephen Sondheim’s) Sweeney Todd . . . In Jazz (The Trotter Trio)

(1995)
Varese Sarabande
CD: VSD-5603
Songs: “The Ballad of Sweeney Todd,” “By the Sea,” “The Contest,” “Fi-
nale [Final Scene],” “Green Finch and Linnet Bird,” “Johanna,” “Jo-
hanna (Judge Turpin)” [included in “Finale”], “Kiss Me,” “A Little
Priest,” “Not While I’m Around,” “Parlor Songs,” “Pretty Women”

SWEENEYT3: Sweeney Todd Barcelona Cast (1995) [translated into Catalon-

ian]
Horus [E.M. Horus, S.A.]
CD: CD-25002; 2-disc set
Songs: “Ah, Miss,” “The Ballad of Sweeney Todd,” “The Barber and His
Wife,” “By the Sea,” “City on Fire,” “The Contest,” “Epiphany,” “Final
Scene,” “Fogg’s Asylum/Fogg’s Passacaglia,” “God, That’s Good!,”
“Green Finch and Linnet Bird,” “Johanna,” “Johanna (Act 2),” “Johanna
(Judge Turpin),” “Kiss Me,” “Ladies in Their Sensitivities,” “The Let-
ter,” “A Little Priest,” “My Friends,” “No Place Like London,” “Not
While I’m Around,” “Parlor Songs,” “Pirelli’s Death,” “Pirelli’s Miracle
Elixir,” “Poor Thing,” “Pretty Women,” “Searching,” “Wait,” “Wig-
maker Sequence,” “The Worst Pies in London”

SWEENEYT4: Sweeney Todd Live at the New York Philharmonic (2000)

New York Philharmonic Special Editions
CD: NYP 2001/2002 (19054-1855-2); 2-disc set
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Songs: “Ah, Miss,” “The Ballad of Sweeney Todd,” “The Barber and
His Wife,” “[Beggar Woman’s] Lullaby” [included in “City on Fire” se-
quence], “By the Sea,” “City on Fire,” “The Contest,” “Epiphany,” “Fi-
nal Scene,” “Fogg’s Asylum/Fogg’s Passacaglia,” “God, That’s
Good!,” “Green Finch and Linnet Bird,” “Johanna,” “Johanna (Act 2),”
“Johanna (Judge Turpin),” “The Judge’s Return,” “Kiss Me,” “Ladies
in Their Sensitivities,” “The Letter,” “A Little Priest,” “My Friends,”
“No Place Like London,” “Not While I’m Around,” “Parlor Songs,”
“Pirelli’s Death,” “Pirelli’s Miracle Elixir,” “Poor Thing,” “Prelude,”
“Pretty Women,” “Wait,” “Wigmaker Sequence,” “The Worst Pies in
London”

SWEENEYT5: Sweeney Todd 2005 Broadway Revival (2006)

Nonesuch
CD: 79946-2; 2-disc set
Songs: “Ah, Miss,” “The Ballad of Sweeney Todd,” “The Barber and His
Wife,” “By the Sea,” “The Contest,” “Epiphany,” “Final Scene,” “God,
That’s Good!,” “Green Finch and Linnet Bird,” “Johanna,” “Johanna
(Act 2),” “Johanna (Judge Turpin),” “The Judge’s Return,” “Kiss Me,”
“Ladies in Their Sensitivities,” “A Little Priest,” “My Friends,” “No
Place Like London,” “Not While I’m Around,” “Pirelli’s Miracle Elixir,”
“Poor Thing,” “Pretty Women,” “Wait,” “The Worst Pies in London”

SWEENEYT6: Sweeney Todd Motion Picture Soundtrack (2007)

Nonesuch
CD: 388572-2
Songs: “Alms! Alms!,” “By the Sea,” “The Contest,” “Epiphany,” “Final
Scene,” “God, That’s Good!,” “Green Finch and Linnet Bird,” “Jo-
hanna,” “Johanna [2],” “Ladies in Their Sensitivities,” “A Little Priest,”
“My Friends,” “No Place Like London,” “Not While I’m Around,”
“Opening Title,” “Pirelli’s Miracle Elixir,” “Poor Thing,” “Pretty
Women,” “Wait,” “The Worst Pies in London”

SYMPHONICSON1: Symphonic Sondheim/Don Sebesky Conducts The London

Symphony Orchestra (1990)
WEA Records (London)
LP: 9031-72 119-1
Cassette: 9031-72 119-4
CD: 9031-72 119-2
EMI Classics (1991 reissue)
CD: CDC 7 54285 2
Songs: “Barcelona,” “Comedy Tonight,” “Finishing the Hat,” “Into the
Woods Suite,” “Losing My Mind,” “Multitudes of Amys,” “Not a Day
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540 Primary Sondheim Recordings

Goes By,” “Pretty Lady,” “Send in the Clowns,” “Side by Side by Side,”
“Sweeney Todd Suite”

Terfel, Bryn, see FLEMINGTERFEL1: Renée Fleming and Bryn Terfel/Under

the Stars

TORON1: Natalie Toro/Natalie Toro (2008)

Natalie Toro
CD: 891674002045
Songs: “Another Hundred People,” “I Remember,” “Something’s Com-
ing”

TROTTERT1: Terry Trotter/Stephen Sondheim’s A Little Night Music (1997) [pi-

ano solo]
Varese Sarabande
CD: VSD-5819
Songs: “Every Day a Little Death,” “The Glamorous Life,” “The Glam-
orous Life (The Letter Song),” “Later,” “Night Waltz,” “Night Waltz II
(The Sun Sits Low),” “Now,” “Remember,” “Send in the Clowns,”
“Soon,” “You Must Meet My Wife”

Trotter Trio, see COMPANY03: (Stephen Sondheim’s) Company . . . In Jazz (The

Trotter Trio)
Trotter Trio, see FOLLIES04: (Stephen Sondheim’s) Follies/Themes from the
Legendary Musical (The Trotter Trio)
Trotter Trio, see FUNNY04: (Stephen Sondheim’s) A Funny Thing Happened on
the Way to the Forum . . . in Jazz (The Trotter Trio)
Trotter Trio, see PASSION2: (Stephen Sondheim’s) Passion . . . In Jazz (The Trot-
ter Trio)
Trotter Trio, see SWEENEYT2: (Stephen Sondheim’s) Sweeney Todd . . . In Jazz
(The Trotter Trio)

Turned-On Broadway 2/Standing Room Only (1982) [contains 10 Sondheim

songs as instrumentals within medleys, usually very foreshortened; in-
dividual titles are not included in the previous song listing]
RCA Records
LP: AFL1-4512

TURNERG1: Geraldine Turner/Old Friends [Geraldine Turner Sings the Songs

of Stephen Sondheim] (1986)
Larrikin Records (Australia)
LP: LRF-169
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Cassette: TC-LRF-169
Silva Screen Records (London) [under the title The Stephen Sondheim
Songbook]
LP: Song 001
CD: Song CD001
Cassette: Song C001
[1997 reissue with additional cuts]
CD: Silvad 3011
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Being
Alive,” “Buddy’s Blues,” “Could I Leave You?,” “Goodbye for Now,” “I
Remember,” “I Wish I Could Forget You,” “Like It Was,” “Losing My
Mind,” “Love, I Hear,” “The Miller’s Son,” “Not While I’m Around,”
“Old Friends,” “There Won’t Be Trumpets,” “There’s a Parade in
Town,” “What Can You Lose?,” “With So Little to Be Sure Of”

TURNERG2: Geraldine Turner/ . . . Sings the Stephen Sondheim Songbook, Vol.

2 (2002)
Bayview Records
CD: RNBW016
Songs: “Can That Boy Foxtrot!,” “I Never Do Anything Twice,” “I’m
Still Here,” “The Little Things You Do Together,” “Loving You,” “Mo-
ments in the Woods,” “No More,” “Not A Day Goes By,” “Pretty Little
Picture,” “Rose’s Turn,” “Send in the Clowns,” “So Many People,”
“Take Me To the World,” “What More Do I Need?”

UNSUNGS1: Unsung Sondheim (1993)

Varese Sarabande
CD: VSD-5433
Cassette: VSC-5433
Songs: “All for You,” “Goodbye for Now,” “In the Movies,” “Incidental
Music” from Invitation to a March, “Incidental Music” from The Enclave,
“Love’s a Bond,” “Multitudes of Amys,” “No, Mary Ann,” “Saturday
Night,” “That Old Piano Roll,” “There’s Always a Woman,” “They Ask
Me Why I Believe in You,” “Truly Content,” “The Two of You,” “Water
Under the Bridge,” “What Can You Lose?”

UPSHAWD1: Dawn Upshaw/I Wish It So (1994)

Elektra Nonesuch
CD: 79345-2
Cassette: 79345-4
Songs: “The Girls of Summer,” “I Feel Pretty,” “Like It Was,” “Take Me
to the World,” “There Won’t Be Trumpets,” “What More Do I Need?”
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542 Primary Sondheim Recordings

WALLTOWALLS1: Wall to Wall Stephen Sondheim (2006)

Symphonyspace
CD: [n.n.]
Songs: “Anyone Can Whistle,” “Bowler Hat,” “Broadway Baby,” “Fin-
ishing the Hat,” “Free,” “Green Finch and Linnet Bird,” “I’m in Love
with a Boy,” “Later,” “Losing My Mind,” “Marry Me a Little,” “Merrily
We Roll Along Overture,” “The Miller’s Son,” “Move On,” “No One Is
Alone,” “Now,” “Sunday,” “Soon,” “Unworthy of Your Love,” “What
More Do I Need?”

WESTSIDE01: West Side Story Original Broadway Cast Recording (1957)

Columbia Records
LP: JS 32603
CD: CK 32603
Cassette: JST-32603
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE02: West Side Story Film (1963)

Columbia Records
LP: OS 2070
CD: SK-48211 [ADD] [includes previously unreleased material, all
instrumental]
Cassette: ST-48211
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE03: West Side Story Studio Cast (1985)

Deutsche Grammophon
LP: 415 253-1[GH2]; 2-record set
CD: 289 457 199-2
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE04: West Side Story London Studio Cast (1993)

IMG Records
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Primary Sondheim Recordings 543

CD: IMGCD 1801

Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE05: West Side Story London Studio Cast (based on Leicester Hay-
market Theatre Production) (1993) [includes multiple versions of some
songs in both their stage and film versions]
TER Classics
CD: CDTER2 1197
Cassette: ZCTED 1197
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE06: West Side Story, The Songs of (1996)

RCA Victor/BMG
CD: 09026-63707-2
Cassette: 09026-62707-4
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene)”

WESTSIDE07:West Side Story, Dave Grusin presents (1997)

N2K Encoded Music
CD: N2K-10021
Songs: “America,” “Somewhere,” “Tonight (Balcony Scene)”

WESTSIDE08: West Side Story London Production (1959)

E.M.I. Records/His Master’s Voice
45rpm: 7EG/8429
Songs: “I Feel Pretty,” “Maria,” “One Hand, One Heart,” “Tonight”

WESTSIDE09: West Side Story London Studio Cast (1966)

MFP (Music For Pleasure)
LP: MFP 50363 [previously released as MFP 1256]
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Tonight”
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544 Primary Sondheim Recordings

West Side Story [inaccurately described as “Original London Cast”; indi-

vidual song listings not included in body of discography as there is no
casting or other information]
La Brea
LP: L 8003
Songs: “America,” “A Boy Like That,” “The Dance at the Gym,” “Gee,
Officer Krupke,” “I Feel Pretty,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Tonight”

West Side Story [individual song listings not included in body of discog-
raphy as there is no casting or other information] (1962)
Pickwick International/Design
LP: DLP-167
Songs: “Finale,” “I Feel Pretty,” “I Have a Love,” “Maria,” “Tonight”

West Side Story [described in one version as “Original English Cast”; indi-
vidual song listings not included in body of discography]
SAGA
10” LP: STL 9100
LP: ERO 8106
FORUM
LP: SF 9045
Songs: “A Boy Like That,” “Cool,” “I Feel Pretty,” “I Have a Love,”
“Maria,” “One Hand, One Heart,” “The Rumble,” “Something’s Com-
ing,” “Somewhere,” “Tonight”

WESTSIDE10: West Side Story (Bernstein’s Original Score) (2002) [Nashville

Symphony Orchestra]
Naxos
CD: 8.559126
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony
Scene),” “Tonight (Quintet)”

WESTSIDE11: West Side Story Broadway Revival Cast (2009)

Sony Masterworks/Masterworks Broadway
CD: 752391
CD: 73085 [Barnes & Noble exclusive with 3 bonus tracks]
CD: 88697 53974-2 [limited edition includes a playbill]
[Mp3s: at iTunes, features 2 bonus tracks]
Songs: “America,” “A Boy Like That,” “Cool,” “Gee, Officer Krupke,”
“I Feel Pretty,” “I Have a Love,” “Jet Song,” “Maria,” “One Hand, One
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Primary Sondheim Recordings 545

Heart,” “Something’s Coming,” “Somewhere,” “Tonight (Balcony

Scene),” “Tonight (Quintet)”

[In addition to the recordings of West Side Story listed above, there are also
dozens of other recordings, many of them in foreign languages and/or
foreign pressings. As information about these recordings has mostly come
from recently available online sources, adding the information to this
discography seems of limited benefit and arguably not worth the space it
would require.]

West Side Story, see also BERNSTEIN1: Bernstein On Broadway

West Side Story, see also DAVISS: Sammy Davis Jr. at the Cocoanut Grove
West Side Story, see also DRAKEA: Alfred Drake & Roberta Peters Sing the Pop-
ular Music of Leonard Bernstein
West Side Story, see also GARLAND: Judy Garland/Judy Duets

WILKO1: Oystein Wilk/”Too Many Mornings” Songs by Sondheim (1991)

Minos
CD: MCD 0000004
[Several songs reissued in Wilk’s West End Favoritter: 20 Musical År,
Polydor 5399962, 2008]
Songs: “Another Hundred People,” “Anyone Can Whistle,” “Finishing
the Hat,” “Good Thing Going,” “I Remember,” “Johanna,” “Losing My
Mind,” “No One Is Alone,” “Not a Day Goes By,” “Not While I’m
Around,” “Pretty Women,” “Send in the Clowns,” “Someone Is Wait-
ing,” “Sooner or Later,” “Too Many Mornings,” “What Can You Lose?,”
“With So Little to Be Sure Of”

WILLIAMSDA1: Williams, Darren/Showtime (2003)

[n.l.]
CD: [n.n.]
Songs: “Being Alive,” “Send in the Clowns,” “Something’s Coming”

WILSONJ1:Julie Wilson at Brothers & Sisters Volume Two (1975)

Arden
LP: B&S2
Songs: “Beautiful Girls,” “Could I Leave You?,” “The Ladies Who
Lunch,” “Losing My Mind,” “The Story of Lucy and Jessie”

WILSONJ2:Julie Wilson Sings the Stephen Sondheim Songbook (1988)

DRG Records
LP: SL 5206
CD: CDSL 5206
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546 Primary Sondheim Recordings

Cassette: SLC 5206

Songs: “Beautiful Girls,” “Can That Boy Foxtrot!,” “Could I Leave
You?,” “Good Thing Going,” “I Do Like You,” “I Never Do Anything
Twice,” “I’m Still Here,” “The Ladies Who Lunch,” “Losing My Mind,”
“Love, I Hear,” “Not a Day Goes By,” “Not While I’m Around,” “Send
in the Clowns,” “The Story of Lucy and Jessie,” “Too Many Mornings,”
“With So Little to Be Sure Of”

WILSONL1: Lambert Wilson/Musicals (1989)

EMI Records
CD: C 7 49792 2
Songs: “Finishing the Hat,” “Johanna,” “Maria,” “Silly People”

WRIGHTB1: Bill Wright/It Takes Two (1994)

Wright/Marshall
CD: GVCD 9416
Songs: “It Takes Two” [2 versions], “The Little Things You Do To-
gether,” “Live Alone and Like It,” “Old Friends,” “Sorry-Grateful”

WRIGHTJ1: James Wright/Center Stage: Songs of Spirit from the Musical The-
atre (2008)
James Wright
CD: 615864080725
Songs: “No One Is Alone,” “Not While I’m Around,” “Our Time”

YORKJ1: Joe York/My Favorite Year (1998)

[n.l.]
CD: [n.n.]
Songs: “Anyone Can Whistle,” “No One Is Alone,” “Not While I’m
Around”

YOUNGSU1: Susan Eichorn-Young/Taking My Turn (2007)

Susan Eichorn-Young
CD: 837101305747
Songs: “Ah, But Underneath,” “The Ladies Who Lunch,” “Silly People”

The following collections contain previously issued recordings:

1
A Collector’s Sondheim (1985) [tracks with a superscript are included in
this collection]
RCA Records
LP: CRL4-5359 (S); 4-record set
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Primary Sondheim Recordings 547

Cassette: CRK4-5359; 4-tape set

CD: RCD3-5480; 3-disc set
Songs: “Ah, Paree!,” “All Things Bright and Beautiful,” “Auto Show,”
“The Ballad of Sweeney Todd,” “Bang!,” “Beautiful Girls,” “Being
Alive,” “Broadway Baby,” “Buddy’s Blues,” “Can That Boy Foxtrot!,”
“Children and Art,” “Comedy Tonight,” “Could I Leave You?,”
“Epiphany,” “Fear No More,” “The Glamorous Life,” “The Glamorous
Life (Letter Song),” “Happily Ever After,” “The House of Marcus Ly-
cus,” “I Never Do Anything Twice,” “I Remember,” “I’m Still Here,” “In
Praise of Women,” “Invocation and Instructions to the Audience,” “It
Wasn’t Meant to Happen,” “It’s a Hit!,” “Liaisons,” “A Little Priest,”
“Little White House,” “Losing My Mind,” “Love Is in the Air,” “Love
Will See Us Through,” “Marry Me a Little,” “The Miller’s Son,” “Move
On,” “Night Waltz,” “Night Waltz II,” “Not a Day Goes By,” “Old
Friends,” “Our Time,” “Please Hello,” “Pour le Sport,” “Pretty Little
Picture,” “Pretty Women,” “Salon at the Claridge # 2,” “Send in the
Clowns,” “Silly People,” “So Many People,” “Someone in a Tree,”
“Theme from Stavisky,” “There Won’t Be Trumpets,” “There’s Some-
thing About a War,” “Too Many Mornings,” “Two Fairy Tales,” “Up-
town, Downtown,” “A Weekend in the Country,” “Welcome to Kana-
gawa,” “What More Do I Need?,” “Who Could Be Blue?,” “Your Eyes
Are Blue,” “You’re Gonna Love Tomorrow”

Stephen Sondheim [includes original Broadway cast albums of A Funny

Thing Happened on the Way to the Forum, Company, and A Little Night Mu-
sic]
Time-Life Records “American Musicals” series
LP: STL-AM12
Cassette: 4TL-AM12

The Stephen Sondheim Songbook (1993) [tracks with a superscript 2 are in-
cluded in this collection]
Sony Broadway
CD: SK-48201 [ADD]
Cassette: ST-48201
Songs: “Anyone Can Whistle, “Barcelona,” “Being Alive,” “The Boy
From . . . ,” “Every Day a Little Death,” “Gee, Officer Krupke,” “The
Ladies Who Lunch,” “Liaisons,” “The Little Things You Do Together,”
“Moon in My Window,” “A Parade in Town,” “Send in the Clowns,”
“Some People,” “Something’s Coming,” “A Weekend in the Country,”
“We’re Gonna Be All Right,” “With So Little to Be Sure Of,” “You Gotta
Have a Gimmick,” “You Must Meet My Wife”
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548 Primary Sondheim Recordings

The Sondheim Collection (1999) [tracks with a superscript 3 are included in

this collection]
Varese Sarabande
CD: VSD-6012
Songs: “By the Sea,” “Children Will Listen,” “Every Day A Little
Death,” “Goodbye for Now,” “I Remember,” “Loving You,” “Mama’s
Talkin’ Soft,” “Marry Me a Little,” “More,” “No One Is Alone,” “Old
Friends Part II,” “Opening from Follies,” “Send in the Clowns,” “Sooner
or Later,” “That Old Piano Roll,” “There’s Always a Woman,” “What
Can You Lose?,” “You Could Drive a Person Crazy,” “You’ll Never Get
Away from Me”

The MUSICality of Sondheim (2002) [tracks with a superscript 4 are in-

cluded in this collection]
JAY Records
CD: CDJAZ 9006
Songs: “Anyone Can Whistle,” “Being Alive,” “Broadway Baby,”
“Honey,” “I Remember,” “Liaisons,” “Lion Dance,” “Lovely,” “Loving
You,” “Sooner or Later,” “Stay with Me,” “Wait,” [“Honey,” “Lovely,”
and “Wait” are new recordings]

Send in the Clowns: The Ballads of Stephen Sondheim (2002) [tracks with a su-
perscript 5 are included in this collection]
BMG Heritage/RCA Victor
CD: 09026 67300 2
Songs: “Anyone Can Whistle,” “Finishing the Hat,” “I Remember,” “In
Buddy’s Eyes,” “Johanna,” “Liaisons,” “Like It Was,” “Losing My
Mind,” “No One Is Alone,” “Not a Day Goes By,” “Not While I’m
Around,” “Pretty Women,” “Send in the Clowns,” “So Many People,”
“Sorry-Grateful,” “Too Many Mornings,” “Unworthy of Your Love,”
“With So Little to Be Sure Of”

Comedy Tonight!: Stephen Sondheim’s Funniest Songs (2002) [tracks with a

superscript 6 are included in this collection]
BMG Heritage/RCA Victor
CD: 09026 67301 2
Songs: “Agony,” “Agony (Reprise),” “The Boy From . . . ,” “Can That
Boy Foxtrot!,” “Chrysanthemum Tea,” “Comedy Tonight,” “Everybody
Ought to Have a Maid,” “Getting Married Today,” “I Never Do Any-
thing Twice,” “It’s Hot Up Here,” “A Little Priest,” “The Little Things
You Do Together,” “The Story of Lucy and Jessie,” “The Worst Pies in
London,” “You Gotta Have a Gimmick,” “You Must Meet My Wife”
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Primary Sondheim Recordings 549

Stephen Sondheim: The Story So Far . . . (2008) [tracks with a superscript 7

are included in this collection]
Sony BMG /Masterworks Broadway/Legacy
CD: 82796-94255-2; 4-disc set
Songs: “America,” “Another Hundred People,” “Anyone Can Whistle,”
“Arlette by Night,” “Arts and Crafts,” “Auto Show,” “Back in Busi-
ness,” “The Ballad of Booth,” “The Ballad of Sweeney Todd,” “Being
Alive,” “Bounce,” “The Boy From . . . ,” “Broadway Baby,” “Can That
Boy Fox Trot!,” “Children Will Listen,” “Class,” “Comedy Tonight,”
“Don’t Laugh,” “Everybody Loves Leona,” “Everybody Ought to Have
a Maid,” “Everybody’s Got the Right,” “Everything’s Coming Up
Roses,” “Finishing the Hat,” “Gee, Officer Krupke,” “Green Finch and
Linnet Bird,” “Happily Ever After,” “Happiness,” “Have to Give Her
Someone,” “A Hero Is Coming,” “I Must Be Dreaming,” “I Never Do
Anything Twice,” “I Remember Sky,” “I Wish I Could Forget You,” “I’m
All for You,” “I’m Still Here,” “(If You Can Find Me) I’m Here,” “In the
Movies,” “Incidental Music” from Invitation to a March, “Incidental Mu-
sic” from The Enclave, “Interesting Questions,” “Invocation and In-
structions to the Audience,” “Isn’t He Something!,” “The Ladies Who
Lunch,” “Liaisons,” “A Little Priest,” “Live Alone and Like It,” “Losing
My Mind,” “Love’s a Bond,” “The Miller’s Son,” “More” (end credits),
“Night Waltz (Love Takes Time),” “No, Mary Ann,” “Not a Day Goes
By,” “Not Quite Night,” “Old Friends,” “Operetta,” “A Parade in
Town,” “Perhaps,” “Prayers,” “Pretty Lady,” “Second Midnight,”
“Send in the Clowns,” “Silly People,” “Sooner or Later,” “Take Me to
the World,” “Theme” from Reds, “Theme” from Stavisky, “Theme” from
Stavisky (European version), “There Is No Other Way,” “There’s Some-
thing About a War,” “They Ask Me Why I Believe in You,” “This Week,
Americans,” “Tonight,” “Truly Content,” “The Two of You,” “Waiting
for the Girls Upstairs,” “Water Under the Bridge,” “Welcome to Kana-
gawa,” “What Can You Lose?,” “When?,” “The Worst Pies in London”

The following are (predominantly) instrumental albums of Sondheim

lyric-only scores.

Do I Hear a Waltz?
Percy Faith/Do I Hear a Waltz?, Columbia CL 2317, 1965
The Ralph Sharon Trio/Do I Hear a Waltz?, Columbia CL 2321/CS 9121

Gypsy
Herb Geller and His All Stars Play Selections from Jule Styne and Stephen
Sondheim’s Music for “Gypsy,” ATCO 33-109, [n.d.]
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550 Primary Sondheim Recordings

Teddy Wilson and His Trio/Gypsy in Jazz, Columbia CL 1353, [n.d.]

The Jack Sterling Quintet/Music from Gypsy, Columbia HL 7210, [n.d.]
Tony Scott/Tony Scott Plays “Gypsy”, Signature SM6001, [n.d.]
Urbie Green His Trombone and Rhythm, The Best of New Broadway Show
Hits, RCA Victor LPM-1969, 1959 [“Small World” and “You’ll Never
Get Away from Me”]

West Side Story

Stan Kenton/Kenton’s “West Side Story,” Capitol T 1609, [n.d.]
Manny Alban and His Jazz Greats/Manny Alban and His Jazz Greats Play
Music from the Broadway Musical “West Side Story,” Coral CRL 57207,
[n.d.]
Bill Barron Orchestra/West Side Story Bossa Nova, Dauntless DS 6312,
mono DM 4312, stereo DLP 25673, 1963
Cal Tjader/West Side Story, Fantasy 3310, [n.d.]
Oscar Peterson Trio/West Side Story, Verve V-8454, 1962
10_347 z5 Music Acks_10_347 z5 Music Acks.qxd 8/12/10 3:09 PM Page 551

Music Acknowledgments

ASSASSINS
Words and Music by Stephen Sondheim
© 1991 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

BOUNCE
Words and Music by Stephen Sondheim
© 2003 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

CANDIDE
“Life Is Happiness Indeed” from Candide, music by Leonard Bernstein,
lyrics by Stephen Sondheim.
© Copyright by The Leonard Bernstein Estate
Copyright renewed by Amberson Holdings LLC
Boosey & Hawkes, Inc., sole agent. International copyright secured.
Reprinted by Permission

COMPANY
Music and Lyrics by Stephen Sondheim
Copyright © 1970 by Range Road Music Inc., Jerry Leiber Music, Silver
Seahorse Music LLC and Rilting Music, Inc.
Copyright Renewed

551
10_347 z5 Music Acks_10_347 z5 Music Acks.qxd 8/12/10 3:09 PM Page 552

552 Music Acknowledgments

All Rights Administered by Herald Square Music Inc.

International Copyright Secured All Rights Reserved
Used by Permission

DICK TRACY
Words and Music by Stephen Sondheim
Copyright © 1990 Rilting Music, Inc. (Rilting Music, Inc. administered
by WB Music Corp.)/Touchstone Pictures Music & Songs, Inc.
All Rights Reserved Used by Permission

FOLLIES
Music and Lyrics by Stephen Sondheim
Copyright © 1971 by Range Road Music Inc., Jerry Leiber Music, Mike
Stoller Music, Rilting Music, Inc., and Burthen Music Co., Inc.
Copyright Renewed
All Rights Administered by Herald Square Music, Inc.
International Copyright Secured All Rights Reserved
Used by Permission

INTO THE WOODS

Words and Music by Stephen Sondheim
© 1988 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

A LITTLE NIGHT MUSIC

Words and Music by Stephen Sondheim
© 1973 (Renewed) RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

MERRILY WE ROLL ALONG

Words and Music by Stephen Sondheim
© 1981 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

PACIFIC OVERTURES
Words and Music by Stephen Sondheim
© 1975 (Renewed) RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission
10_347 z5 Music Acks_10_347 z5 Music Acks.qxd 8/12/10 3:09 PM Page 553

Music Acknowledgments 553

PASSION
Words and Music by Stephen Sondheim
© 1994 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

SUNDAY IN THE PARK WITH GEORGE

Words and Music by Stephen Sondheim
© 1984 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission

SWEENEY TODD
Words and Music by Stephen Sondheim
© 1978 RILTING MUSIC, INC.
All Rights Administered by WB MUSIC CORP.
All Rights Reserved Used by Permission
10_347 z5 Music Acks_10_347 z5 Music Acks.qxd 8/12/10 3:09 PM Page 554
10_347 z6 Index_10_347 z6 Index.qxd 8/10/10 3:18 PM Page 555
Index
AABA/ABAB form, 169
“Aase’s Death,” 69
accompaniments, 3, 5, 120–22, 133–34,
152, 171, 197–98, 202–5, 210, 211–12,
216–18, 222–23, 226; clashing with
the voice, 120, 197; rhythms,
periodicised, 132, 205
Adams, Lee, 249
“Addison’s City,” 182
“Addison’s Trip,” 170–71
“The Advantages of Being Set in the
Middle of the Sea,” 155–57
“Ah, But Underneath . . . ,” 123
“Ah, Miss,” 137
“Alaska,” 175
“All the Things You Are,” 42, 86
Allegro, 244
alternate (harmonies, notes, rhythms),
7, 15–16, 32–33, 104–6, 112, 114–16,
138
“America,” 241
“Another Hundred People,” 235
“Another National Anthem,” 63, 64,
65, 66
anthems, 106
Anyone Can Whistle, 69, 73–74, 78, 130,
166, 253, 188–89, 191, 241, 244
555
“Anyone Can Whistle,” 207
Anything Goes, 200
“April Snow,” 208
architectonics, 101
arioso writing, 6
Arlen, Harold, 46, 48, 100, 168, 174,
192, 202, 246–47
Armstrong, Alun, 11–12
arrows (notations in sketches), 7
Art Institute of Chicago, 95, 100–101
art songs, 199
Assassins, 33, 49, 57–79, 233, 234, 240
Astaire and Rogers, 144
“Asylum Song,” 147
atonalism, 117
audiences, 179–80, 220, 235, 240–41;
involving, 220; reading, 78–79
authenticity in music and language,
38–41, 133
Babbitt, Milton, 10, 31, 86, 101, 117,
121, 129, 135, 188, 228
“The Ballad of Booth,” 33, 57, 58–59,
60, 61
“The Ballad of Sweeney Todd,” 128,
133, 213, 219, 220, 236
ballet music, 20, 73
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556 Index

“Bambalelê,” 246 “Buds Won’t Bud,” 247

Banfield, Stephen, 62, 163–64, 221, 259 bugle calls, 5, 38–39, 81–82
barbershop songs, 109 Burke, Johnny, 176, 247
Barrow, Robert, 231 Burns, David “Davy,” 188
bass lines, 17, 139 Burton, Tim, 143, 220, 222
Bates, Charles, 246 “By Myself,” 249
Bathing at Asnières, 95 “By the Sea,” 148
“bean theme,” 81, 84, 85, 86, 88 Byck, Samuel, 67
Beatty, Warren, 226
Beethoven, Ludwig van, 198, 209 Caddick, David, 174, 181, 184
Bennett, Michael, 229 cadences, 63–65, 93–94
Berg, Alban, 16 Cage, John, 160
Berlin, Irving, ix, 246, 247 Cahn, Sammy, 176
Bernstein, Leonard, ix, xvi, 8, 9, 12, 19, “Canción de Cuna Para Dormir a un
50–51, 87, 106, 146, 153, 159–60, 184, Negrito,” 248
209, 221, 238, 241–42, 247 Candide, 87, 106, 237
“The Best Is Yet to Come,” 247 Carcopino, Jérôme, 222
“The Best Thing That Ever Has Carnival, 244
Happened,” 174–76, 182–83 Carousel, 210
“Better,” 245, 248 Carr, Jason, 230
Bigelow, Bob, 246 Cat on a Hot Tin Roof, 242
“bilious,” 170 characters, 239–40, 243
bird calls, 132–33 Charlap, Moose, 247, 251
“Birth of the Blues,” 247 “Charm,” 249
biwa, 162 “Children and Art,” 99–100
Blane, Ralph, 248 “Children Will Listen,” 84
“The Blob,” 225 Chocolate Factory, 230
Blodgette, Kristen, 181 Chopin theme, 21, 26, 29
“Bluellow,” 247 choral writing, 106–11
“Blues in the Night,” 100, 246 chord(s): clusters, 161; favorite, 29–30;
“Bobby and Jackie and Jack,” 223 spelling, xv
“Boca Raton” sequence, 180, 181 chordal structures, 7
Bock, Jerry, 247, 249 “Christ,” 13–14
Bock and Harnick, 174 “Chromolume # 7,” 99, 116, 117
Bond, Christopher, 142, 148–49 “Chrysanthemum Tea,” 161, 189
bossa novas, 192 Circle in the Square, 13
Bounce, v–vii, 169–85, 228; epic scope in, Citizen Kane, 176
176–77. See also Road Show; Wise Guys “City on Fire,” 147, 221
“Bounce,” 183 “Clara/Giorgio.” See “Happiness”
Bowles, Paul, 50 clarity in exposition, 78
Brahms, Johannes, 126, 198, 209 Climb High, 209
Brecht, Bertolt, 219 Cockney slang, 133
Brel, Jacques, 192 Coleman, Cy, 246, 247, 249–50
British music, 129–30, 143 collaboration, 69–70, 123
Britten, Benjamin, 130, 221, 226 Collins, Judy, 55
Broadway Boogie Woogie, 50 “Color and Light,” 91, 92, 93–95, 99,
Brown, Lew, 247 103, 104, 105, 106, 117–18, 226
10_347 z6 Index_10_347 z6 Index.qxd 8/10/10 3:18 PM Page 557
Index
Comden, Betty, 249
Company, 51, 69, 75, 76, 87, 108–9,
121–22, 165, 191–92, 203–4, 205,
234–35, 253
composers, influences on, 50–51
composing linearly, 228–29
“content dictates form,” 223
“The Contest,” 137
Cook, Barbara, 61
Copland, Aaron, 51, 198, 209, 247
copyists, 14–15, 119
copyright/rights, 235–36
Cortot, Alfred, 232
“Could I Leave You?,” 134–35
“Country House,” 87
craft of composing, 168
cut material/songs, 122–23, 136–37,
147–48
Czolgosz, Leon, 67
Daily Life in Ancient Rome, 222
“Dance at the Gym,” 241
dance in musicals, 241
dance music, 20
“Dance of the Hours,” 20
Daphnis and Chloe, 140
“Darling,” 224–25
dating on manuscripts, 119–20
Daumier, Honoré, 102
Davies, Peter Maxwell, 221
“The Day Off,” 99–101
De Sylva, B. G. “Buddy,” 247
Debussy, Claude, 231
developing ideas and music, 10
Dick Tracy, 225–26
Dies Irae, 140
d’Indy, Vincent, 231
Do I Hear a Waltz?, 55, 244
Donnelan, Declan, 11, 150
“Don’t Look at Me,” 151, 206, 233
Doyle, John, vi, 228, 234
Dramatist’s Guild, 235, 236
dramaturgs, 228
Dubey, Matt, 248
duets, 97, 146–47, 148
Duke, Vernon, ix
dynamics, 54
557
“The Eagle and Me,” 246, 247
Ebb, Fred, 248, 251. See also Kander
and Ebb
Eight Songs for a Mad King, 221
“Emperor Waltz,” 51
“Enigma Variations,” 159
“Epiphany,” 129, 139, 140, 141, 149,
152
erasures, 14
Eustis, Oskar, 228
“Every Time We Say Goodbye,” 248
“Everybody Ought to Have a Maid,”
188
“Everything’s Coming Up Roses,” 71
“Ev’ry Time,” 248
extended pieces, 9
Fields, Dorothy, xvi, 208–9, 210, 249
figured bass, xv, 15
film musicals, 144, 220, 222
film scores, 71–73
“Final Scene,” 131, 144, 145, 146–47
finding the right note/harmony,
41–42
“Finishing the Hat,” 94, 99, 100
Finn, William, ix, 229
“Flashback,” 51–52
Flaubert, Gustave, 42
Floyd Collins, 19, 169
Follies, 40, 48, 69, 76, 87, 123, 151, 165,
193–98, 200–202, 205, 206–8
“Follow the Yellow Brick Road,” 88
Ford, Gerald R., 67
form, 8–9, 132
“Fosca’s Entrance,” 20, 21, 22, 23, 24,
25, 26, 27–28, 29–32
Foster, Stephen, 68
“Four Black Dragons,” 67, 164
four-letter words, 242
The Fourposter, 177
“Fourth Letter,” 21, 22
“Free,” 165
friendship, 238
Friml, Rudolf, xvi, 212
The Frogs, 109, 163, 245
Fromme, Lynette “Squeaky,” 67
“Funeral March,” 187
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558 Index

A Funny Thing Happened on the Way to Guys and Dolls, 144

the Forum, vii, 19, 51, 69, 70–71, 75, Gypsy, 165
165, 167, 169, 182, 184, 187–88, 205,
222 “Hail to the Chief,” 57, 76
Furth, George, 122, 192, 204, 239–40 Hair, 192
Hamlet, 233
gagaku (Japanese court music), 161 Hammerstein, Oscar, II, ix, xvi, 10, 42,
Gallet, Luciano, 247 71, 77, 86, 155, 208–10, 211, 244, 248
“The Game,” 174 “Happiness (part 1),” 3, 4, 5, 6, 7–8, 9,
Garber, Victor, 173, 174 10, 11, 12–18
Garfield, James A., 66 “Happiness (part 2),” 13, 14, 15
“Gee, Officer Krupke,” 242 Harbach, Otto, xvi
Gelbart, Larry, 187 Harburg, E. Y. (Yip), 209, 210, 247
Gemignani, Paul, 39, 52–54, 62, “Hard Hearted Hannah, the Vamp of
106–7, 109, 110, 145, 174, 238, 245, Savannah,” 246
249, 250 harmonic: accompaniment, 37;
Gershon, Freddy, 68 movement, 198; progression, 37,
Gershwin, George, ix, 3, 10, 48, 222, 181, 198–99, 203; rhythm, 199;
247 structure, 26, 158; style, 48;
Gershwin, Ira, 209, 249 surprise, 9
“Get Rich Quick,” 174 harmony, xv, 4–5, 6–7, 9–10, 15–19,
“Getting Married Today,” 203–4, 204 28–32, 42–43, 55, 93–94, 98, 111–14,
“Giants in the Sky,” 190 139, 158–59, 198–99, 215–16, 226–27;
Gilbert, L. Wolfe, 248 block, 16–17; dissonant, 16, 159;
Gilbert and Sullivan, 49, 163 keyboard, 4; uncertain, 89–90. See
Ginzler, Red, 165 also alternate; inversions; long-line
“Glamorous Life (The Letter Song),” development/composition
123 Harnick, Sheldon, 247, 250. See also
“Glitter and Be Gay,” 247 Bock and Harnick
“God,” 13–14 Hart, Lorenz “Larry,” 209, 248
“God That’s Good,” 12, 189, 193, Hart, Moss, 222
220 Hastings, Hal, 108–9
“Gold,” 173 “He Had Refinement,” 249
“Golden Willow Tree,” 246, 247 Hearn, George, 152
Goldman, Jim, 123, 187 Hellzapoppin’, 192
Gone with the Wind, 176 Henderson, Ray, 247
“Good Thing Going,” 223, 224 Herbert, Victor, 40, 212
Goodman Theatre, vi Herman, Jerry, ix
“Gotta Dance,” 248 Herrmann, Bernard, xvi, 72, 73, 128
Green, Adolph, 249 Heyward, DuBose, 246, 247
“Green Finch and Linnet Bird,” Hinckley, John, 67
132–33, 134, 135, 136, 137, 220 historical accuracy, 163
Groundhog Day, 238–39 history through the eyes of the
“Growing Up,” 223, 225 bystander, 67
Guettel, Adam, 19, 168, 245, 247, 250 Hitchcock, Alfred, 72
“Gun Song,” 68, 109 Holst, Gustav, 109
Guthrie, Woody, 60 “Home,” 172
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Index 559

Hope–Crosby, 169, 176 “Johanna (Judge Turpin),” 122, 136–37,

Horowitz, Mark, 152, 245 138, 139
“How I Saved Roosevelt,” 67 Jones, Peter E., vii, ix, 193, 247, 251
“Hymnos,” 163 Jones, Richard, 234
“Journalists,” 177
“I Am So Eager,” 248 Jubilee, 210
“I Got Lost in His Arms,” 247 Jurmann, Walter, 248
“I Had Myself a True Love,” 246 “Just One of Those Things,” 9, 204
“I Have a Love,” 146
“I Love This Town,” 177–78 Kahn, Gus, 248
“I Wanna Be Good ‘n’ Bad,” 248 Kander, John, 248, 251
“I Wish,” 76–77, 81–84 Kander and Ebb, 174
“I Wish I Could Forget You.” See Kaper, Bronislau, 248
“Scene 7” Karr, Harold, 248
“I Wonder What Became of Me,” 246 Kaufman, George S., 180, 222
“Ice Cream,” 247, 250 Kennedy, John F., 66
“If Momma Was Married,” 224 Kennedy Center, vi
“I’ll Never Go There Anymore,” 247 Kern, Jerome, ix, xvi, 8, 9, 17, 18, 19,
“I’m All Smiles,” 248 40, 42, 46, 48, 49, 86, 159, 168, 202,
“Impossible,” 188 248
“In Buddy’s Eyes,” 206–7 Kernochan, Sarah, 190
“In Praise of Women,” 212 Kert, Larry, 121, 146
individual voice, artists having an, 50 key(s): changes, 200–202; flat, 4, 68;
inflection, 35–36, 83, 204 major and minor, 68–69;
inspiration, 166–67 relationships, 4, 22; sharp, 5, 68. See
instruments associated with also modes
characters, 81, 91 Kind, Richard, 173
intellectual property rights, 236 The King and I, 211
International Records, 231 “Kiss Me,” 148
“Interrogations,” 191. See also “Simple” Kiss Me Kate, 41
intervals, 82–83 Kleban, Ed, 245, 248
Into the Woods, 13, 33, 72, 75, 76, 81–90,
91, 101, 135, 190, 234, 253 “Ladies in Their Sensitivities,” 141–42
inversions, xv, 16–18, 97, 128, 139 “The Ladies Who Lunch,” 192, 237
Invitation to a March, 51 Lane, Burton, ix
“It Would Have Been Wonderful,” 212, Lane, Nathan, 173, 174
212, 218 language, 179, 235; musicality of,
“It’s Hot Up Here,” 75, 98, 99, 100, 101 35–37, 73; nuances in, 40. See also
Ives, Burl, 242 inflection; lyric(s)
Lansbury, Angela, 23, 130, 131, 145,
Jacques Brel Is Alive and Well . . . , 192 146, 152
Japanese culture/art, 155–56, 157–58 Lapine, James, xiii, 10–11, 13–14, 40,
Japanese music, 39, 69, 161–63 46, 51, 52, 53, 71, 72, 84, 100–101,
Jarrell, Randall, 102 102, 104, 114, 122, 190, 223, 234,
Jaws, 71–72 240
Jenkins, Gordon, 55 Larson, Jonathan, ix
“Johanna,” 40, 41–42 “Later,” 212
10_347 z6 Index_10_347 z6 Index.qxd 8/10/10 3:18 PM Page 560
560 Index
Laurents, Arthur, 189, 209, 242, 243,
244
Lawrence, Carol, 146
Lawrence, Eddie, 247, 251
Leacock, Stephen, 88
Lee, Christopher, 220
“Left-hand Piano Concerto,” 232
“Legends and Lyrics: A Lost Chord,”
37
Leigh, Carolyn, 246, 247, 249
leitmotifs, 72–73, 81, 117. See also
motifs; themes
Leonard, Michael, 248, 251
Lerner, Alan Jay, ix
“less is more,” viii, 43, 48, 75, 157–58,
199. See also “making the most out
of the least”
“Let’s Be Buddies,” 248
“Let’s Do It,” 71
“Let’s Face the Music and Dance,” 247
“Let’s Not Talk about Love,” 248
“The Letter (Quintet),” 11–12
“Liaisons,” 236
Library of Congress, ix, 10, 245
Lieberson, Goddard, 153, 210
“Life Is Happiness Indeed,” 237–38
Lincoln, Abraham, 66
Lindsey-Nassif, Robert, 174
“little,” 167
“A Little House for Mama,” 173
A Little Night Music, 76, 122, 123, 131,
149, 165, 210–18, 230
“A Little Priest,” 152–53, 193
“Live Alone and Like It,” 225–26, 225
Loesser, Frank, ix, xvi, 208, 209, 248
Loewe, Frederick, ix
Logan, John, 220
London Labour and the London Poor, 222
long-line development/composition,
8, 9, 17, 21–22, 26, 30, 37, 57–60,
112–13, 135–36, 193, 194–98
Lorimer, E. O., 222
“Losing My Mind,” 18, 48, 69, 181,
208
Loudon, Dorothy, 131
“Lover,” 55
“Loving You,” 44–45, 46–48
“Lullaby to a Negro Baby,” 151, 233,
248
Lulu, 22
“Lunch,” 177
lyric(s), 41, 236–38; clarity in, 110–11,
157; conversational, 36, 121, 141;
coordination with music, 199;
difficulties of writing, 73; inflection
in, 36, 37, 83–84, 121, 204; pastiches,
208–10; setting, 35–37, 83, 204,
210–11; sketches, 155–57; subtext in,
205; word choice in, 170–71
Mackintosh, Cameron, 123, 174
major and minor. See key(s)
“Make a Miracle,” 248
“making the most out of the least,”
223. See also “less is more”
Mako, 164
Mallory, Victoria, 131
Maltby, Richard, Jr., 249, 252
“The Man I Love,” 48
“The Man That Got Away,” 48
Mantello, Joe, 233, 234
“Maria,” 12, 146
“Marry Me a Little,” 122–23
Marshall, Kathleen, 245
Martin, Herbert E., 248, 252
Martin, Hugh, 248, 252–53
Mass, 184
Matisse, Edouard, 50
Mayhew, Henry, 222
McGillin, Howard, 173, 174
McKenzie, Julia, 125
McKinley, William, 66
The Medium, 144
melodic: idea, 6, 34, 204; line, 202;
outline, 34; ranges, 61–62, 202;
rhythm, 32, 210–11;
shape/structure, 37, 135
melody, 10, 34–36, 41–42, 44–46, 82–83,
166, 168; from the lyric, 210–11
Mendes, Sam, vi
Mendes, Sergio, 150
La Mer, 231
Mercer, Johnny, 246
Merrick, David, 244
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Merrill, Bob, 248
Merrily We Roll Along, vii, 19–20, 33,
42, 57, 122, 165, 169, 184, 210,
222–25, 234
meters, 33, 141
metronome markings, 54
Michelangelo, 139
Milhaud, Darius, 144
Milk, Harvey, 69
“The Miller’s Son,” 69, 212
“Miracle Song,” 130
“Miscellaneous Ideas, Numbers and
Notions” for Pacific Overtures, 161,
162, 163
“Miscellaneous Notes” for Sunday in
the Park with George, 112, 113, 114,
116, 118
Mizner, Addison, 102–3, 183
Mizner, Wilson, 79, 183
modes, 163
modulation, 4–5, 16, 31, 201
Mondrian, Piet, 50
Montsalvatge, Xavier, 151, 233, 248
Moore, Sara Jane, 67
motifs, 5, 34, 73, 143. See also leitmotifs;
themes
“Motifs” for Into the Woods, 81, 82, 83,
84
“Move On,” 93, 94, 95, 96, 97–98, 167,
227, 236–37
Mozart, Amadeus, 10, 135, 168
MTI, 68, 76, 84–85
Muir, Lewis F., 248
“Multitudes of Amys,” 205
Murphy, Donna, 25
music: appreciation of, and listening
to, 230–31; as architecture, 103; the
art of, 167–68; associations with, 68,
72; character of, 198; characterizing
with, 30, 133–35, 140; diegetic, 62;
editing/shortening, 220–22;
expressing emotion, 205; difficulty
of his, 120–21; evolution of, 167–68;
genetics and, 168; inevitability in, 8,
19, 35; relating sections of, 58–60,
84; scene change, 53–54; simplicity
in, 43, 46–48; source, 51–52; subtext
561
in, 205; surprise in, 8, 18–19, 40–41,
50, 205, 214–15; time needed in,
10–11; variety in, 8, 17; wrong note,
19, 35, 65, 120
music directors, 174
musical: dramatization/playwriting,
24–30, 135; ideas/relationships,
86–87; influences, 50–51, 230–31,
232–33; interpretations, 55; memory,
52; structure 22–23, 103; style, 19,
49–50, 74, 87; textures, 42–43, 52, 70,
218; voice: freshness of, 8, 35, 50
musicality of language, 35–37
musicalize: deciding what to, 70–71,
152; figuring out how to, 125–26,
142–43, 149
“My Bride,” 188
“My Friends,” 132, 137, 138
“My Husband the Pig,” 123
“My Man’s Gone Now,” 246, 247
National Theatre, 125
“New Words,” 246, 249
New York City Opera, 131, 137
New York Military Academy, 126
“New York Sequence,” 177–78, 180–81
New York Theatre Workshop, vi, 174
“Next,” 156
“Night Waltz,” 216–18, 217
“No One Is Alone,” 84, 85, 86, 149, 150
Noh (theater), 163
non-vocal music, 20
“Not a Day Goes By,” 203, 223–24
“Not While I’m Around,” 149–50
notation, 15, 54; Classical, xv, 15;
Guitar, 15
notes associated with colors, 91–93,
117–18
“Now,” 213–14
“Now You Know,” 238
Nystroem Sinfonia del mare [Gösta],
232–33
“Oh Susannah,” 60
Oklahoma!, 156
“Oklahoma!,” 220
“Old Friends,” 238
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562
“On the Farm,” 248
“On the Steps of the Palace,” 88, 89, 90
“One Hand, One Heart,” 221
“One More Kiss,” 76
“One Wonderful Day,” 209
opening arpeggios in Sunday in the
Park with George, 93, 112, 113,
114–15, 116, 117
“Opening Doors,” 42, 110–11
“Opening” Into the Woods, 193
opening numbers, 75, 76–77, 79,
155–57, 161, 219
“Opening Shooting Gallery,” 74, 75,
76, 77
opera, 19, 22–23, 37, 111, 189;
composers, 20; singers, 130–32
orchestra size, 230
orchestrations, 54–55, 61, 108, 109,
128–29, 228–30
organ, 126–27
ostinato bass, 17
Othello, 140
“The Other Side of the Tracks,” 247
“Our Time,” 106
“Overture” Merrily We Roll Along,
224–25
overtures, 165, 170
Pacific Overtures, vii, 39, 49, 53, 67, 69,
76, 155–64, 205, 236
Paper Mill Playhouse, 123
Papp, Joseph, 228
“Parlor Songs,” 142–43
Passion, vii, 3–55, 81, 87, 167
pastiche, 48–49, 76, 87, 170, 212–13
Patinkin, Mandy, 97–98, 99, 202
pedal points/pedal tones, 17, 158–59,
161, 199
“People Will Say We’re in Love,” 86
personal voice, 4
Peters, Bernadette, 97, 101
Phantom of the Opera, 126
phase music, 158
piano versus instrumental
accompaniments, 120–21, 229–30
Pinchus, Mathilda (Mattie), 14, 144
Pissarro, Camille, 95
Index
Plautus, 182
Playwrights Horizons, 101, 229
playwriting through song, 25, 79
“Pleasant Little Kingdom,” 200
“Please Hello,” 49, 111, 163
plotting songs, 189, 214
“Poor Thing,” 138
Porgy and Bess, 10, 170, 218
Porter, Cole, ix, xv, 1, 8–9, 17, 41, 46,
48, 49, 68, 204, 210, 211, 246, 248
Les Poseuses, 100, 101
“Prayer,” 159, 160, 161
pre-recorded sounds, 65
“Prelude” from Sweeney Todd, 126–27
“Pretty Little Picture,” 19
“Pretty Women,” 136
Prince, Harold (Hal), vi, 12–13, 53, 76,
123, 126, 136–37, 147, 149, 156, 157,
161, 165, 175, 182, 183, 217, 218
Prince, Judy, 192
process of writing a song, 37
progressions. See harmony
prosody, 35
Psycho, 72
Public Theater, 228
Puccini, Giacomo, 30, 134
“Putting It Together,” 99, 100
Rachmaninoff, Sergei, 30, 95–97, 98,
212, 213
Radio City Music Hall, 126
Ravel, Maurice, 43, 86, 117, 140, 213,
232
“Real Live Girl,” 247
recitative, 34, 126
record collection/collecting, 231–32
recordings, 152–53
Reed, Susan, 219
registers, 4, 97–98, 109, 121–22, 129,
145, 201–2
Reich, Steve, 158
research, 38–40, 101, 132–33, 143, 156,
161–63, 221–22
Resnais, Alain, 73
revisions, 119–20
revivals, 233–34
rewriting, 189–90
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rhapsodic writing, 6
“Rhapsody on a Theme of Paganini,”
96, 212
rhyme, 236–37
rhythm, 25, 104–6, 144–45; pointillism
in, 91–93, 103–4; South-American,
151; variety in, 205
rhythmic themes, 94
Riddle, Nelson, 55
“Riddle Song,” 169, 171
Riding, Joanna, 131
“Road” pictures, 169, 176
Road Show, v–vii, 228, 233. See also
Bounce; Wise Guys
“The Road You Didn’t Take,” 135, 205,
206, 207
Robbins, Jerome, 12, 20, 78, 208,
241–42
Rodgers and Hammerstein, 70, 71, 87,
159, 169
Rodgers, Mary, 168
Rodgers, Richard, ix, xvi, 17, 46, 48, 49,
55, 86, 168, 202, 211, 248
Romberg, Sigmund, xvi, 209, 212
Rome, Harold, ix
Roosevelt, Franklin Delano, 49, 67
root position, 17, 18
Ross, Herb, 241
Rossini, Gioachino, 125
Roy, William, 249, 253
Rudin, Scott, 46
“The Rules of the Road,” 247
Russian music, 30
“Sad Was the Day,” 247
Sams, Jeremy, 52
“San Francisco,” 248
Satie, Erik, 198
Saturday Night, 51, 209
“Scene 3 (Part III)” 32
“Scene 7” 33, 34, 35–36, 46
“Scene 10,” 38
scene-change music, 52–53
Schenker, Heinrich, 117
Schillinger, Joseph, 166
Schöenberg, Arnold, 159
Schwartz, Arthur, ix, 249
563
Schwartz, Stephen, ix
Scola, Ettore, 39
scores: chronologically composing,
75–76, 146, 172–73; completing, 149;
plotting, 100–102; preparing for
publication, 54; routining, 70–71,
137–38, 218; uniqueness of, 87, 94,
128
Scriabin, Alexander, 213
“Send in the Clowns,” 48, 55, 158–59,
212, 213
Serra, Peggy, 14
setting lyrics, 35–36, 83, 139
Seurat, Georges, 68, 91–93, 95, 100,
102, 103, 113, 114, 226, 227
Shaffer, Peter, 133
Shakespeare, William, 71, 235
shakuhachi, 162
shamisen, 162
Shaw, George Bernard, 183–84
Shevelove, Burt, 71, 184, 187
Shire, David, 249, 252
sho, 161, 162
Shootin’ Star, 219
Shostakovich, Dmitri, 199
Shostakovich’s Fifth Symphony, 82
show albums/recordings, 210
Show Boat, 176
shows, clarity in, 78–79
Shuberts, 94–95
Sibelius, Jean, 212, 217
“Silly People,” 122
“Silverware,” 169, 245, 248
“Simple,” 189, 193. See also
“Interrogations”
Sinatra, Frank, 55, 226
Sinfonia del mare, 232–33
singers, deferring to, 145–46
Singing Out Loud, 171
“A Sleepin’ Bee,” 46
“Someone in a Tree,” 67, 157–59, 189
“Someone Is Waiting,” 121
“Something Just Broke,” 66, 67
“Somewhere,” 243
Sondheim, Stephen: ancestry/heritage,
91; 168; being a composer/musician,
167–68; composing at the piano, 7,
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37; finding his “cow,” 51; dark side,
tendency to see the, 184; difficulties
of aging, 183–84; evolution as a
composer, 126, 163–64; as an
experimental writer, 244; favorite
kind of songs to write, 189; fear of
repeating himself, 184; finding his
voice, 191; influence on musical
theater, 244; listening choices, 117,
230–33; musical memory, 52;
musical style, 49; musical voice, 51,
224; orchestrating, 51; organ playing,
126–27; pride in accomplishments,
185; regrets, 243–44; responses to
other people’s work, 184–85; self-
confidence, 43; self-conscious about
being square, 132, 141; thinking
instrumentally/pianistically, 61,
121–22, 129, 228; thinking
orchestrally/contrapuntally, 228;
voice, 4, 61
song(s): conversational, 141, 206; form,
8, 9; ideas for/selection of what to
turn into, 69–70, 152, 155–57;
length, 199–200; rewriting, 189–90;
shows/scores versus arioso, 33, 57;
thirty-two bar, 19–20, 121, 126; time
it takes to write, 149
“The Song Is You,” 248
“Songs I Wish I’d Written (At Least in
Part),” 245–54
songwriting: the process of, 37, 79;
versus arioso writing, 33
sonic texture/color, 52
Sousa, John Philip, 39, 49
South Pacific, 230, 234
Spielberg, Steven, 71
staging, 11–13
Starobin, Michael, 61, 229
Stavisky, 73
Stendhal, 42
“The Story of Lucy and Jessie,” 89, 123
Stravinsky, Igor, 128–29
“Stravinsky motif,” 128–29
Streisand, Barbra, 148
stress in lyrics and music, 36, 37
Strouse, Charles, 249, 253
structural sketch, 193–94
structures of three, 177
Styne, Jule, xvi, 188, 249
subtext, 205
“Summertime,” 218
“Sunday,” 102, 104, 106, 107, 108, 111,
112, 113, 114–15, 116, 132
Sunday in the Park with George, 33, 40,
43, 61, 71, 75, 91–118, 167, 188,
202–3, 226–27, 229, 230, 253;
major/minor juxtaposition in the
score for, 93–94; parallels in the
score for, 98–101; plotting the score
for, 100–101
“Sunday in the Park with George,” 98,
99, 101, 227
A Sunday on La Grande Jatte, xiii, 95,
100–101, 103, 104
sung-through musicals, 20
suspensions, 150
Sutherland, Joan, 131
Swayne, Steve, 174
“Sweeney chord,” 127, 128
Sweeney Todd, 11–12, 37, 40, 41, 43, 71,
72, 73, 75, 109, 125–53, 167, 188,
219–22, 234; ease to write, 148–49;
figuring out how to musicalize
scenes, 125–26, 142–43, 151–52; film
of, 142, 143–44, 151–52, 220;
structure/texture of, 136–38, 142
“Sweet Polly Plunkett,” 142–43
Symphonic Sondheim, 55
“Talent,” 178–79
teaching, 168
“Tell Me I Look Nice,” 247, 250
tempos, 54, 152–53
tessitura, 4, 61–62, 97–98, 131, 146, 202
“Thank You for Coming,” 223
thematic ideas, 52, 87–88, 139–40, 227
themes: associated with characters,
72–73, 81–84; developing, 72–73,
81–85, 94, 223; inversions of, 85–86.
See also leitmotifs; motifs
“There Won’t Be Trumpets,” 191
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“There’s a Parade in Town,” 191
“There’s Always a Woman,” 74
“There’s No Holding Me,” 249
“There’s No Place Like London,” 127,
128, 137
thirty-two bar songs, 19–20, 121, 126,
169, 205
“This Was a Real Nice Clambake,” 210
Thompson, Kay, 191
“Thoughts on the Terrace,” 212. See
also “It Would Have Been
Wonderful”
The Three Faces of Eve, 140
“Tick-Tock,” 123
tonal centers, 9
tonality, 16
tone, 235
tone rows, 116, 118
tonicization, xv, 31, 201
“Too Many Mornings,” 9, 193, 194–98,
195, 196, 197, 200–202, 201, 233
Tormé, Mel, 226
Tosca, 23
“The Tower of Bray,” 142–43
“Train Song, Scene Eleven,” 44, 47, 48.
See also “Loving You”
“Transition (Scenes 10–11),” 52, 53
“Travel,” 249
A Tree Grows in Brooklyn, 209
“Trio,” 189
“The Trolley Song,” 248
“True Love,” 46
Tunick, Jonathan, vi, 54, 55, 108, 109,
129, 165, 170, 181, 185, 214, 218,
228–29, 229–30, 245, 249, 253
twelve-tone music, 117
The Umbrellas of Cherbourg, 144
unconscious, 10, 86–87, 94
underscoring, 71–73
unions, 235–36
“Unworthy of Your Love,” 61, 62, 63
Valdés, Ildefonso Pereda, 248
Valéry, Paul, 184
Valses Nobles et Sentimentales, 213
565
vamps. See accompaniments
Van Heusen, Jimmy, 176
vaudeville style, 170, 173, 176
Verdi, Giuseppe, 183–84
“A Very Nice Prince,” 88, 89
vocal ranges, 202
“Wait,” 125–26, 150, 151, 152, 233
“Waiting for the Girls Upstairs,” 207–8
“Waiting for the Robert E. Lee,” 248
Walberg, Betty, 241–42
Walton, William, 130
“We Kiss in a Shadow,” 211
“A Weekend in the Country,” 131, 193,
214–16, 215, 218
Weidman, John, vi, 39, 67, 69, 156,
163, 172, 173, 175, 179, 183, 228,
240, 241
Weil, Kurt, 209, 219
West Side Story, 12, 78, 87, 146, 153,
221, 230, 235, 241–43
Weston, Paul, 49
“What Every Woman Knows,” 249
“What’s the Use of Wond’rin’,” 210,
248
Wheeler, Hugh, 125, 132, 142, 148–49,
214, 219
“When Did I Fall in Love?,” 246, 247,
250
“When in Rome,” 245–46, 247
“When the Weather’s Better,” 249
“Where Is the Life That Late I Led?,”
41
“Why Can’t I,” 248
Wilbur, Richard, 247
Williams, Jack Eric, 143
Williams, John, 71–72
Willson, Meredith, ix
“window,” 167
“The Window Across the Way,” 167
“Wintergreen for President,” 111
Wise Guys, vi, 43, 67, 75, 79, 119, 120,
169, 228. See also Bounce; Road Show
“Witch’s Lament,” 88
“With So Little to Be Sure Of,” 189,
191
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“The Worst Pies in London,” 23, 130, “You Can’t Get a Man with a Gun,”
131, 137 246, 247
Wozzeck, 22, 23 “You Could Drive a Person Crazy,” 75,
writing for character, 30, 46, 133–34 235
writing for known performers, 173–74 Youmans, Vincent, ix, xvi
YouTube, 235
Yellen, Jack, 246 “You’ve Got Possibilities,” 249
Yerkes, Mrs., 177
Yeston, Maury, 246, 253–54 Ziegfeld era, 40
“You,” 182–83 The Ziegfeld Follies, 48
10_347 z7 Author_10_347 z7 Author.qxd 8/10/10 3:19 PM Page 567

About the Author

Mark Eden Horowitz is a senior music specialist in the music division of

the Library of Congress, where he has been the archivist or coarchivist of
the following collections: Charlie Barnet, Leonard Bernstein, Budapest
String Quartet, Billy Byers, Ella Fitzgerald, Vernon Duke, Oscar Hammer-
stein II, Jascha Heifetz, Jerome Kern, Jonathan Larson, Frederick Loewe,
Peter Matz, John McGlinn, David Merrick, Cole Porter, Richard Rodgers,
Arthur Schwartz, Don Walker, George Wright and Robert Forrest, and
Vincent Youmans. He coproduced the Library concerts for Stephen Sond-
heim’s 70th birthday (broadcast on NPR), “Celebrating Jonathan Larson,”
“West Side Story 50th Anniversary Celebration,” and “The Sound of
Broadway Music: A Symposium on Orchestrators and Orchestrations”;
curated the exhibit “West Side Story: Birth of a Classic”; and was on the ad-
visory panel for the Songwriter Series CDs (Sammy Sings Fain, Irving Sings
Berlin, Hugh Sings Martin, Charles Sings Strouse, Jonathan Sings Larson, and
Howard Sings Ashman).
He presented the lecture series “Masters of the Musical” and “Six by
Sondheim” for the Smithsonian Resident Associates Program, the latter a
joint presentation with the Library of Congress. He has taught courses at
Georgetown University on “The History of the Musical on Stage and
Screen,” “The American Musical,” and “Stephen Sondheim.”
A frequent contributor to The Sondheim Review, he wrote the ten-article
series “Biography of a Song,” and is currently the magazine’s contribut-
ing editor.
Prior to working at the Library, Horowitz worked at Arena Stage in
Washington, D.C., for eleven years. Among the shows he worked on there

567
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568 About the Author

were Merrily We Roll Along, Tomfoolery, Animal Crackers, and God Bless You
Mr. Rosewater, the latter directed by Howard Ashman. He is a graduate of
Clark University in Worcester, Massachusetts, and studied musical com-
position privately with Asher Zlotnick.