Sondheim Guide / Compilations
View credits, reviews, tracks and shop for the Vinyl release of American Musicals: A B1, Everybody Ought To Have A Maid E5, You Must Meet My Wife. As director Marianne Elliott brings Company to the West End, she talks about a woman, rehearsal rooms as safe spaces, and the decade she spent mourning her father. I don't necessarily see the world in the way you do. There are waltzes here to be sure, but it is not true that the entire score is in waltz time. "Soon," "You Must Meet My Wife"), but also mazurkas ("Remember," "The one of Sondheim's favorite topics (look at Company, Sunday in the Park with.
It ran for performances. The production ran for performances, closing on February 17, The production closed on August 31, The successful Stockholm staging was directed by Stig Olin. In the musical was scheduled to return to Stockholm and the Stockholm Stadsteater.
Lee Blakeley directed and Andrew George was the choreographer. Michigan Opera Theatre was the first major American opera company to present the work inand again in November The setting for the film was moved from Sweden to Austria. Stephen Sondheim wrote lyrics for the "Night Waltz" theme "Love Takes Time" and wrote an entirely new version of "The Glamorous Life", which has been incorporated into several subsequent productions of the stage musical.
However, other songs, including "In Praise of Women", "The Miller's Son" and "Liaisons", were cut and remain heard only as background orchestrations. The film marked Broadway director Hal Prince 's second time as a motion picture director. Critical reaction to the film was mostly negative, with much being made of Taylor's wildly fluctuating weight from scene to scene. All this has been gorgeously orchestrated by Jonathan Tunick; there is no rhythm section, only strings and woodwinds to carry the melodies and harmonies aloft.
A Little Night Music - Wikipedia
He organizes trios with the singers separated, while his duets are sung together, about a third person. In those days I was just getting into contrapuntal and choral writing What I didn't want to do is the quodlibet method The trick was the little vamp on "Soon" which has five-and six-note chords.
When he discovered that the original Desiree, Glynis Johnswas able to sing she had a "small, silvery voice"  but could not "sustain a phrase", he devised the song " Send in the Clowns " for her in a way that would work around her vocal weakness, e. The song remains an anthem to regret for unwise decisions in the past and recognition that there's no need to send in the clowns — they're already here. Midway through the second Act she has deviated from her usual script by suggesting to Fredrik the possibility of being together seriously and permanently, and, having been rejected, she falters as a show-person, finds herself bereft of the capacity to improvise and wittily cover.
The elegant, harmonically -advanced music in this musical pays indirect homage to the compositions of Maurice Ravelespecially his Valses nobles et sentimentales  whose opening chord is borrowed for the opening chord of the song "Liaisons" ; part of this effect stems from the style of orchestration that Jonathan Tunick used. There is also a direct quotation in'A Weekend in the Country' just as it moves to Ab major of Octavian's theme from Strauss' 'Der Rosenkavalier', another comedy of manners with partner-swapping at its heart.
Cast recordings[ edit ] Cast recording of National Theatre revival starring Judi Dench In addition to the original Broadway and London cast recordings, and the motion picture soundtrack no longer availablethere are recordings of the studio cast, the Royal National Theatre revival starring Judi Denchand the Barcelona cast recording sung in Catalan.
In an all-jazz version of the score was recorded by Terry Trotter. There is a peasant touch here. Mr Judge's great innovation is to transform the Liebeslieder Singers from the evening-dressed, after-dinner line-up into 18th century ghosts weaving in and out of the action But Mr Judge's other great realisation is that, in Sondheim, the lyrics are not an adornment to a song but their very essence: Thus Dorothy Tutin as Desiree, the touring thesp eventually reunited with her quondam lover, is not the melting romantic of previous productions but a working mother with the sharpness of a hat-pin.
Her husky-voiced rendering of "Send in the Clowns" is the most moving I've ever heard. The score positively throbs with love, regret and desire. And as is often the case with this director's work, the pace is so slow and the mood so reverent, that initial enchantment gives way to bored fidgeting. It is a smirk shrouded in shadows. An elegiac darkness infuses this production.
But there is only one moment in this production when all its elements cohere perfectly. That moment, halfway through the first act, belongs to Ms. Notice how there are two sets of rhymes nested in these four lines, one halfway through the lines and one at the end: DeMaupassant's candor would cause her dismay. The Brontes are grander but not very gay. Her taste is much blander, I'm sorry to say.
But is Hans Christian Andersen ever risque? Half of "Andersen" rhymes with "candor," "grander," and "blander. She rhymes "She'll be hopelessly shattered by Saturd-ay night. Notice how slowly Madame Armfeldt's music and lyrics go by, showing us how her elderly mind is still functioning well but at a much slower pace. Notice how Carl-Magnus can barely finish sentences in his song "In Praise of Women," as his jealousy drives him crazy.
Notice how Henrik's music and lyric in "Later" repeatedly speeds up and slows down as his mind darts among his various frustrations and desires. Notice how Anne can only echo Charlotte in "Every Day a Little Death" because Anne doesn't really have any thoughts of her own about marriage or romance -- she has never really thought much about it until now. The Eggermans There is so much richness in the Night Music score, so many musical and lyrical themes and motifs, so many connections, so much rich subtextual characterization, but two pieces in the score in particular deserve deeper examination.
As he does throughout the score, Sondheim gives us so much information in the first song of the show actually, a trio of songs that become one.
In "Now," Frederik's lyric is chock full of legal language and thought processes, organizing everything down to clear choices A and B, then breaking each of those down into further choices.
He uses language like "in so far as approaching it," and "to wit. Frederik's music in "Now" is full of monotonous, controlled patterns, very little deviation, a kind of musical stagnation -- just like his life. Henrik's music in "Later" is heavy, ponderous, and erratic, frequently out of control, full of lots of abrupt pauses and changes in tempo, just like poor Henrik.
Anne's music in "Soon" is light, jumpy, restless, playful, and off- beat a lot of the time, again just like her personality. Yet, at the end, these three very different melodies and rhythms come together and actually fit into a wonderful counterpoint, demonstrating that in some way, these people can function together as a family, even as the counterpoint gets more and more complicated, just as complicated as life in the Eggerman home appears to be.
Send in the Clowns As many times as we've heard the song "Send in the Clowns," it is not often that we hear it in its original context, and when we finally do, we find that it is even richer, more beautiful, and more heart-breaking than we ever knew.
As Desiree sings this song to Frederik, her one great love, we see the great tragedy of their relationship. When he wanted her, she was too busy; now that she wants him, he is already married.
Their timing is rotten. So why the circus images? First, Desiree is an actress. The use of show business metaphors for her life, references to entrances and such, is merely an indication of how she sees life, as one big play and of course, it's also a reference to the fact that her life really is a play, or rather a musical called A Little Night Music, but she doesn't know that.
But there is another reason.