I offer an insight delivered inadvertently by composer John Harbison whom I heard speak in a small Q & A session a few years ago at Georgia Tech. He told us how he visited the men’s room during intermission of the premiere performance of his opera Great Gatsby at the Met in 2000, and heard one man say to another, “This opera would be better if the composer made a few cuts.” Harbison laughed at this punchline, and explained what makes his critic’s idea so absurd: cutting music to suit the tastes of the audience would do irreparable harm to the “architecture” of the opera’s overall form.
Sondheim and Bernstein, mid-1970s http://interactive.wxxi.org/node/199072 |
There’s the strong separation line between a classical
composer and Sondheim. For classical composer Harbison, the abstract design of the music was more important than the storytelling. In the memoirs Finishing the Hat and Look, I Made a Hat, Sondheim frequently
tells how he had to sacrifice his songs because they interrupted the story. Sondheim’s music is not “classical” because
his interests lie in the storytelling and the integrity of a theatrical
production, not in the unity and overall design of his scores.
That said, Sondheim does enjoy pointing out conscious
choices he made to “unify” the music for a show. He used the interval of the major second for Anyone Can Whistle, and he laced Bernard
Herrmann’s go-to chord and the Dies Irae
throughout Sweeney Todd. He worked tone clusters into Sunday in the Park with George to make a
musical analog for Seurat’s clusters of color, and all songs from Into the Woods derive in melody or
accompaniment from five notes in the same way that its entire story derives
from five magic beans. Unlike
Harbison, Sondheim does this more to
stimulate his own puzzle-solving imagination than for any abstract purpose, as
when the challenge of composing only in multiples of waltz time kept
him interested in A Little Night Music before
he learned to appreciate Hugh Wheeler’s script.
So why should West Side Story be considered differently from Night Music or Sweeney Todd? Bernstein certainly wanted to think of his score as a unified whole, but Sondheim pooh-poohs Bernstein’s claim that all of West Side Story is based on the interval of the augmented 4th. True, it’s the interval of the Jets’ whistle, the first phrase of “Maria,” the vamp and first interval of “Something’s Coming,” the source of dissonance in the vamp for “Officer Krupke,” and the first interval in the accompaniment for “Cool," emphasized more in a twelve-tone fugue for the dance break. But Sondheim reminds us that Bernstein took some of the score from his trunk of songs cut from other shows.
In a blogpost on this question, composer-playwright Brian M. Rosen offers the idea that Bernstein wrote for more
generalized characters and universal emotions, while Sondheim’s songs, to their
credit, are inextricably linked to complex mixed emotions and thoughts of
specific dramatic moments. (See http://musicvstheater.com/2011/12/11/classicalsondheim/)
Even more to the point, I think, is the fact that Sondheim’s
music is strophic, verses repeating in some extension of the AABA
form. The songs develop on stage as the character's words lead from one idea to the next; the songs all build in intensity, but that's different from developing musically. A classical audience would expect development through
fragmentation and extension of the melody.
Could a classical audience appreciate the songs as they were written, with vocals and lyrics? O
ut of context, the wonderfully specific words might just be puzzling.
For example, a
concert dance suite from Pacific
Overtures, recorded in the early 1980s, never warranted more than one
listening: just hearing the tune for “Welcome
to Kanagawa” repeated was not interesting, any more than a straightforward
orchestral rendition of all the verses to "Maria" would be.
Add the lyrics about Japanese prostitutes’ efforts to cater to American
clients, and the reaction in a concert hall might be bewilderment.
I’d suggest that Bernstein is on the "classical" list because he
conducted orchestras in his own arrangement of a WSS dance suite. He did develop his suite with a musical “architecture”
in mind, and discerning how Bernstein picks up on something in one number to lead to the next, often using the augmented fourth as a pivot, is what keeps that suite
fresh for me after decades of repeated hearings. Some
pop-orchestral arrangements of Sondheim by Don Sebesky, while pleasant, don’t aim for that level of integration. But symphony orchestras could play the
overtures that Jonathan Tunick created for “A Sondheim Celebration” back in
1973, and overtures for Merrily We Roll
Along and A Funny Thing Happened on
the Way to the Forum.
Perhaps pianist Anthony De Mare’s commissioned pieces for “Liaisons Project” -- Sondheim songs reimagined for solo piano by a couple dozen contemporary composers - will change Sondheim’s profile on classical programs.
Of course, there’s this other elephant in the room, George
Gershwin. Sondheim loves Porgy and Bess enough to smudge the
original score with his tears when he read over it at the Smithsonian. The difference between a musical and an
opera, according to him, has more to do with the expectations of the
audience. In an opera house, the audience
cares more for the sound of the vocals; in a theatre, the audience wants to
understand every word of the story.
I recommend the websites that I found when looking into this
question.
Brian M. Rosen, Music v Theatre (http://musicvstheater.com)
and a link he provided to composer Jeffrey Parola’s website ( http://www.parola.org )
Since drafting this article, I've written about the book How Sondheim Found His Sound by musicologist Steven Swayne.
I've written about Sondheim frequently, reviewing productions of Assassins, Follies, Night Music, and others. My best statement about him and his musicals may be found in a review of The Fantasticks: http://smootpage.blogspot.com/2006/06/sondheim-fantasticks-and-chamber.html
Since drafting this article, I've written about the book How Sondheim Found His Sound by musicologist Steven Swayne.
I've written about Sondheim frequently, reviewing productions of Assassins, Follies, Night Music, and others. My best statement about him and his musicals may be found in a review of The Fantasticks: http://smootpage.blogspot.com/2006/06/sondheim-fantasticks-and-chamber.html
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