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| anyone can whistle piano: Anyone can whistle Stephen Sondheim, 1985 |
| anyone can whistle piano: Anyone Can Whistle Stephen Sondheim, 1994 |
| anyone can whistle piano: Sondheim Songs for Easy Piano (Songbook) , 2011-01-01 (Easy Piano Composer Collection). 15 Sondheim standouts simplified for beginning players: Anyone Can Whistle * Broadway Baby * Children Will Listen * Comedy Tonight * Good Thing Going * Johanna * Losing My Mind * Loving You * Not a Day Goes By * Not While I'm Around * Old Friends * Pretty Women * Send in the Clowns * Side by Side by Side * Sunday. Includes lyrics and a composer bio. |
| anyone can whistle piano: Stephen Sondheim Meryle Secrest, 2011-10-04 In the first full-scale life of the most important composer-lyricist at work in musical theatre today, Meryle Secrest, the biographer of Frank Lloyd Wright and Leonard Bernstein, draws on her extended conversations with Stephen Sondheim as well as on her interviews with his friends, family, collaborators, and lovers to bring us not only the artist--as a master of modernist compositional style--but also the private man. Beginning with his early childhood on New York's prosperous Upper West Side, Secrest describes how Sondheim was taught to play the piano by his father, a successful dress manufacturer and amateur musician. She writes about Sondheim's early ambition to become a concert pianist, about the effect on him of his parents' divorce when he was ten, about his years in military and private schools. She writes about his feelings of loneliness and abandonment, about the refuge he found in the home of Oscar and Dorothy Hammerstein, and his determination to become just like Oscar. Secrest describes the years when Sondheim was struggling to gain a foothold in the theatre, his attempts at scriptwriting (in his early twenties in Rome on the set of Beat the Devil with Bogart and Huston, and later in Hollywood as a co-writer with George Oppenheimer for the TV series Topper), living the Hollywood life. Here is Sondheim's ascent to the peaks of the Broadway musical, from his chance meeting with play- wright Arthur Laurents, which led to his first success-- as co-lyricist with Leonard Bernstein on West Side Story--to his collaboration with Laurents on Gypsy, to his first full Broadway score, A Funny Thing Happened on the Way to the Forum. And Secrest writes about his first big success as composer, lyricist, writer in the 1960s with Company, an innovative and sophisticated musical that examined marriage à la mode. It was the start of an almost-twenty-year collaboration with producer and director Hal Prince that resulted in such shows as Follies, Pacific Overtures, Sweeney Todd, and A Little Night Music. We see Sondheim at work with composers, producers, directors, co-writers, actors, the greats of his time and ours, among them Leonard Bernstein, Ethel Merman, Richard Rodgers, Oscar Hammerstein, Jerome Robbins, Zero Mostel, Bernadette Peters, and Lee Remick (with whom it was said he was in love, and she with him), as Secrest vividly re-creates the energy, the passion, the despair, the excitement, the genius, that went into the making of show after Sondheim show. A biography that is sure to become the standard work on Sondheim's life and art. |
| anyone can whistle piano: The Oxford Handbook of Sondheim Studies Robert Gordon, 2014-05-01 The Oxford Handbook of Sondheim Studies offers a series of cutting-edge essays on the most important and compelling topics in the growing field of Sondheim Studies. Focusing on broad groups of issues relating to the music and the production of Sondheim works, rather than on biographical questions about the composer himself, the handbook represents a cross-disciplinary introduction to comprehending Sondheim in musicological, theatrical, and socio-cultural terms. This collection of never-before published essays addresses issues of artistic method and musico-dramaturgical form, while at the same time offering close readings of individual shows from a variety of analytical perspectives. The handbook is arranged into six broad sections: issues of intertextuality and authorship; Sondheim's pioneering work in developing the non-linear form of the concept musical; the production history of Sondheim's work; his writing for film and television; his exploitation and deployment of a wide range of musical genres; and how interpretation through key critical lenses (including sociology, history, and feminist and queer theory) establishes his position in a broader cultural context. |
| anyone can whistle piano: Stephen Sondheim Meryle Secrest, 2011-10-04 The first and only full-scale and definitive biography of one of the the most important composer-lyricists in musical theater. A remarkable portrait of the man, the music, and the genius of Stephen Sondheim: star of his own fascinating life. Drawing on personal conversations with Sondheim himself, as well as interviews with his friends, family, collaborators, and lovers, Secrest offers new insight into the enigmatic and very private Stephen Sondheim. Here, we learn about his childhood on New York’s Upper West Side, his parents’ devastating divorce, and his ascent to the peaks of the Broadway musical. Secrest vividly recreates the energy, passion, and despair that went into each beloved show, from Sondheim’s fabled collaboration with Hal Prince on Sweeney Todd and A Little Night Music, to his disagreements with co-lyricist Leonard Bernstein on West Side Story. |
| anyone can whistle piano: Sondheim's Broadway Musicals Stephen Banfield, 1993 The first in-depth look at the work and career of one of the most important figures in the history of musical theater |
| anyone can whistle piano: Arias, Ensembles, & Choruses John Yaffé, David Daniels, 2011-11-17 This is a one-stop sourcebook for orchestras, opera companies, conductors, and librarians programming vocal excerpts for concert performance. Includes detailed information on a vast repertoire of vocal pieces commonly extracted from operas, operettas, musicals, and oratorios —more than 1,500 excerpts from 400 parent works. |
| anyone can whistle piano: The Almost Unknown Stephen Sondheim , 2016-12-01 (P/V/G Composer Collection). The Almost Unknown in the title of this collection refers to the fact that some of the songs, though never before published, have been recorded, and might be known to the most knowledgeable of Sondheim connoisseurs. However, it is safe to say that the songs in this landmark collection are among the least known of Sondheim's creations. This book includes contents by show or film title as well as by song title, an introduction about Sondheim, a preface by the editor, and detailed notes about each work and the show it came from. The piano/vocal editions were all personally approved by Sondheim. |
| anyone can whistle piano: Art Isn't Easy Joanne Lesley Gordon, 1990 Tracing Sondheim's career from his initial success as lyricist for West side Story and Gypsy to the opening of Into the Woods, [the author] demonstrates that the value of Sondheim's work obviously lies in its seriousness of theme coupled with its disturbing content. - Front flap |
| anyone can whistle piano: Rhapsody in Blue George Gershwin, Herman Wasserman, 1994-11-02 To provide greater availability for a work of such importance, the original publishers secured from Gershwin a solo piano version wherein the orchestral parts are fused together with the solo piano part (PS0047). Due to concerns that the composer's arrangement presented too many technical demands to pianists not possessing the requisite technique, a modified arrangement was delicately solicited from pianists of the time. (Gershwin's untimely death precluded any modification from the composer himself.) Many attempts at technical modifications were rejected on ethical grounds until Herman Wasserman--who taught Gershwin to play the piano--submitted a manuscript which became this edition. Several prominent pianists who reviewed the score all attested to the amazing reduction in technical demands while retaining the clarity, sonority, and brilliance of the original. This edition is designed for Early Advanced pianists, although some sections, including the well-known Moderato middle section, are accessible to those performing at less-advanced levels. |
| anyone can whistle piano: Catalog of Copyright Entries Library of Congress. Copyright Office, 1969 |
| anyone can whistle piano: School of Music Programs University of Michigan. School of Music, 1993 |
| anyone can whistle piano: Time Steps Donna McKechnie, Greg Lawrence, 2006 A poignant and revealing memoir from a legendary Tony Award-winning actress, singer, dancer, and choreographer who has been a mainstay on and off Broadway since 1961 chronicles her life, her triumphs, and her dazzling career. |
| anyone can whistle piano: America's Music, from the Pilgrims to the Present Gilbert Chase, 1992 A history of American music, its diversity, and the cultural influences that helped it develop. |
| anyone can whistle piano: On Sondheim Ethan Mordden, 2016 Giving each of Stephen Sondheim's musicals its own chapter, Ethan Mordden applies fresh insights and analysis to consider Sondheim's place in modern art, addressing the newcomer and the aficionado alike. |
| anyone can whistle piano: The Advocate , 2005-06-21 The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States. |
| anyone can whistle piano: Theatre World 2009-2010 Ben Hodges, Scott Denny, 2011-04-01 An overview of the 2009-2010 theatre season includes photos, a complete cast listing, producers, directors, authors, composers, opening and closing dates, song titles and plot synopses for more than 1,000 Broadway, off-Broadway, off-off-Broadway and regional shows, as well as the past year's obituaries, a listing of all award nominees and winners and an index. |
| anyone can whistle piano: Richard Rodney Bennett: The Complete Musician Paul Harris, Anthony Meredith, 2011-08-01 Sir Richard Rodney Bennett, in the enormous diversity of his activities, is arguably the most complete musician of all time. Not only does he have a remarkable 300 commissioned concert works to his credit, which have established him among the leading British twentieth-century composers, yet at the same time, with supreme success, he has also contrived to lead several completely different musical lives. For some, he is the ultimate exponent of 'crossover', as epitomised in his remarkable Concerto for Stan Getz and concert works for Cleo Laine. Others remember him as a concert pianist with a special enthusiasm for pioneering contemporary music, his partnerships with Susan Bradshaw, Jane Manning and Barry Tuckwell being particularly notable. Meanwhile, he also has over 70 film and television scores to his credit, the many classic titles ranging from Murder on the Orient Express and Far From the Madding Crowd to Equus and Four Weddings and a Funeral. For cabaret and jazz club devotees, he is, again, something completely different: one of the finest and most knowledgeable of all exponents of the Great American Songbook, a much-in-demand singer and accompanist over the past thirty-five years, and, as such, the stage partner of some of the most glamorous performers in the business. This, then, is a book about a uniquely gifted musician. It is also a study of a most engaging personality and a fascinatingly complex human being. Anthony Meredith, whose two previous collaborations with co-researcher Paul Harris were the highly praised biographies of Malcolm Arnold and Malcolm Williamson, has been a widely published writer over the past twenty-five years. He is a member of MCC, a Friend of Covent Garden and Northern Ballet. His co-researcher, Paul Harris, is a leading music educationalist, well-known for his seminars, workshops and masterclasses, with over 500 books to his name. |
| anyone can whistle piano: Jerry Herman Stephen Citron, 2008-10-01 This revealing and comprehensive book tells the full story of Jerry Herman’s life and career, from his early work in cabaret to his recent compositions for stage, screen, and television. Stephen Citron draws on extensive open-ended interviews with Jerry Herman as well as with scores of his theatrical colleagues, collaborators, and close friends. The resulting book—which sheds new light on each of Herman’s musicals and their scores—abounds in fascinating anecdotes and behind-the-scenes details about the world of musical theater. Readers will find a sharply drawn portrait of Herman’s private life and his creative talents. Citron’s insights into Herman’s music and lyrics, including voluminous examples from each of his musicals, are as instructive as they are edifying and entertaining. |
| anyone can whistle piano: Putting It Together James Lapine, 2021-08-03 A NEW YORK TIMES BESTSELLER A behind-the-scenes look at the making of the iconic musical Sunday in the Park with George Putting It Together chronicles the two-year odyssey of creating the iconic Broadway musical Sunday in the Park with George. In 1982, James Lapine, at the beginning of his career as a playwright and director, met Stephen Sondheim, nineteen years his senior and already a legendary Broadway composer and lyricist. Shortly thereafter, the two decided to write a musical inspired by Georges Seurat’s nineteenth-century painting A Sunday Afternoon on the Island of La Grande Jatte. Through conversations between Lapine and Sondheim, as well as most of the production team, and with a treasure trove of personal photographs, sketches, script notes, and sheet music, the two Broadway icons lift the curtain on their beloved musical. Putting It Together is a deeply personal remembrance of their collaboration and friend - ship and the highs and lows of that journey, one that resulted in the beloved Pulitzer Prize–winning classic. |
| anyone can whistle piano: Do I Hear a Waltz? Richard Rodgers, 1966 |
| anyone can whistle piano: Sondheim in Our Time and His William Anthony Sheppard, 2022 Sondheim in Our Time and His offers a wide-ranging historical investigation of the landmark works and extraordinary career of Stephen Sondheim, a career which has spanned much of the history of American musical theater. Each author uncovers those aspects of biography, collaborative process, and contemporary context that impacted the creation and reception of Sondheim's musicals. In addition, several authors explore in detail how Sondheim's shows have been dramatically revised and adapted over time. Multiple chapters invite the reader to rethink Sondheim's works from a distinctly contemporary critical perspective and to consider how these musicals are being reenvisioned today. Through chapters focused on individual musicals, and others that explore a specific topic as manifested throughout his entire career, plus an afterword by Kristen Anderson-Lopez; by digging deep into the archives and focusing intently on his scores; from interviews with performers, directors, and bookwriters, and close study of live and recorded productions--volume editor W. Anthony Sheppard brings together Sondheim's past with the present, thriving existence of his musicals. |
| anyone can whistle piano: Look, I Made a Hat Stephen Sondheim, 2011-11-22 The second volume of Sondheim's collected lyrics is both a remarkable glimpse into the brilliant mind of a legend, and a continuation of the acclaimed and best-selling Finishing the Hat. Picking up where he left off in Finishing the Hat, Sondheim gives us all the lyrics, along with excluded songs and early drafts, of the Pulitzer Prize–winning Sunday in the Park with George, Into the Woods, Assassins and Passion. Here, too, is an in-depth look at the evolution of Wise Guys, which subsequently was transformed into Bounce and eventually became Road Show. Sondheim takes us through his contributions to both television and film, some of which may surprise you, and covers plenty of never-before-seen material from unproduced projects as well. There are abundant anecdotes about his many collaborations, and readers are treated to rare personal material in this volume, as Sondheim includes songs culled from commissions, parodies and personal special occasions—such as a hilarious song for Leonard Bernstein’s seventieth birthday. As he did in the previous volume, Sondheim richly annotates his lyrics with invaluable advice on songwriting, discussions of theater history and the state of the industry today, and exacting dissections of his work, both the successes and the failures. Filled with even more behind-the-scenes photographs and illustrations from Sondheim’s original manuscripts, Look, I Made a Hat is fascinating, devourable and essential reading for any fan of the theater or this great man’s work. |
| anyone can whistle piano: The Musical from the Inside Out Stephen Citron, 1997-10-01 An entertaining and informative new guidebook to the creation of the musical show, filled with anecdotes, practical advice, and sparkling commentary from the biggest Broadway insiders. |
| anyone can whistle piano: The Stephen Sondheim Encyclopedia Rick Pender, 2021-04-15 The Stephen Sondheim Encyclopedia is the first reference volume devoted to the works of this prolific composer and lyricist. The encyclopedia’s entries provide readers with detailed information about Sondheim’s work and key figures in his career, including his apprenticeship, his early work with Leonard Bernstein, and his work on television. |
| anyone can whistle piano: How Sondheim Found His Sound Steve Swayne, 2007-05-08 “Steve Swayne’s How Sondheim Found His Sound is a fascinating treatment and remarkable analysis of America’s greatest playwright in song. His marvelous text goes a long way toward placing Stephen Sondheim among the towering artists of the late twentieth century!” —Cornel West, Princeton University “Sondheim’s career and music have never been so skillfully dissected, examined, and put in context. With its focus on his work as composer, this book is surprising and welcome.” —Theodore S. Chapin, President and Executive Director, The Rodgers and Hammerstein Organization “. . . an intriguing ‘biography’ of the songwriter’s style. . . . Swayne is to be congratulated for taking the study of this unique composer/lyricist into hitherto unnavigated waters.” —Stage Directions “The research is voluminous, as are the artistry and perceptiveness. Swayne has lived richly within the world of Sondheim’s music.” —Richard Crawford, author of America’s Musical Life: A History “Amid the ever-more-crowded bookshelf of writings on Sondheim, Swayne’s analysis of Sondheim’s development as a composer stands up as a unique and worthy study. . . . For the Sondheim aficionados, there are new ideas and new information, and for others, Swayne’s How Sondheim Found His Sound will provide an intriguing introduction into the mind of arguably the greatest and most influential living Broadway composer.” —talkinbroadway.com “What a fascinating book, full of insights large and small. An impressive analysis and summary of Sondheim’s many sources of inspiration. All fans of the composer and lovers of Broadway in general will treasure and frequently refer to Swayne’s work.” —Tom Riis, Joseph Negler Professor of Musicology and Director of the American Music Research Center, University of Colorado Stephen Sondheim has made it clear that he considers himself a “playwright in song.” How he arrived at this unique appellation is the subject of How Sondheim Found His Sound—an absorbing study of the multitudinous influences on Sondheim’s work. Taking Sondheim’s own comments and music as a starting point, author Steve Swayne offers a biography of the artist’s style, pulling aside the curtain on Sondheim’s creative universe to reveal the many influences—from classical music to theater to film—that have established Sondheim as one of the greatest dramatic composers of the twentieth century. |
| anyone can whistle piano: Art Song Carol Kimball, 2013-05-01 (Book). Art Song: Linking Poetry and Music is a follow-up to author Carol Kimball's bestselling Song: A Guide to Art Song Style and Literature . Rather than a general survey of art song literature, the new book clearly and insightfully defines the fundamental characteristics of art song, and the integral relationship between lyric poetry and its musical settings. Topics covered include poetry basics for singers, exercises for singers in working with poetry, insights into composers' musical settings of poetry, building recital programs, performance suggestions, and recommended literature for college and university classical voice majors. The three appendices address further aspects of poetry, guidelines for creating a recital program, and representative classical voice recitals of various descriptions. Art Song: Linking Poetry and Music is extremely useful as an unofficial text for college/university vocal literature classes, as an excellent resource for singers and voice teachers, and of interest to all those who are fascinated by the rich legacy of the art song genre. |
| anyone can whistle piano: Music Downtown Kyle Gann, 2006-02-13 This collection represents the best of the articles written for the Village Voice by Kyle Gann, a leading authority on experimental American music of the late 20th century. He paints a portrait of a bristling era in music history and includes interviews with Yoko Ono and Philip Glass, amongst others. |
| anyone can whistle piano: The Creative Therapist in Practice Hillary Keeney, Bradford Keeney, 2019-04-24 In The Creative Therapist in Practice Hillary and Bradford Keeney present a radically innovative approach to the practice of therapy. Combining improvisational performing arts, action-oriented cybernetics, and ecstatic healing traditions, therapy is re-imagined as a creative transformative art. The book demonstrates the principles of creative therapy through numerous transcriptions of sessions conducted by the authors. It guides practitioners in conducting a three-part therapeutic performance: beginning with therapeutic techniques that broaden the context, igniting a session to creatively cook, and finally concluding with a creative prescription for change that can be incorporated into the client’s daily living. As well as tracing the historical development of creative therapy, chapters explore what is possible for the future of therapy when practitioners leave behind conventional models and theoretical interpretations. Applying case examples of creative therapy to a wide range of presenting concerns, The Creative Therapist in Practice will be relevant to clinicians working across the field of mental health, including licensed psychotherapists, psychologists, and clinical social workers. Filled with inspiring anecdotes, unique interventions, and fascinating case illustrations, it will benefit anyone looking to become more naturally improvisational and wake up the creative life force in their sessions. |
| anyone can whistle piano: Backpacker , 1996-06 Backpacker brings the outdoors straight to the reader's doorstep, inspiring and enabling them to go more places and enjoy nature more often. The authority on active adventure, Backpacker is the world's first GPS-enabled magazine, and the only magazine whose editors personally test the hiking trails, camping gear, and survival tips they publish. Backpacker's Editors' Choice Awards, an industry honor recognizing design, feature and product innovation, has become the gold standard against which all other outdoor-industry awards are measured. |
| anyone can whistle piano: Broadway Musicals, 1943-2004 John Stewart, 2012-11-22 On March 31, 1943, the musical Oklahoma! premiered and the modern era of the Broadway musical was born. Since that time, the theatres of Broadway have staged hundreds of musicals--some more noteworthy than others, but all in their own way a part of American theatre history. With more than 750 entries, this comprehensive reference work provides information on every musical produced on Broadway since Oklahoma's 1943 debut. Each entry begins with a brief synopsis of the show, followed by a three-part history: first, the pre-Broadway story of the show, including out-of-town try-outs and Broadway previews; next, the Broadway run itself, with dates, theatres, and cast and crew, including replacements, chorus and understudies, songs, gossip, and notes on reviews and awards; and finally, post-Broadway information with a detailed list of later notable productions, along with important reviews and awards. |
| anyone can whistle piano: Bibliographic Guide to Music New York Public Library. Music Division, 2004 |
| anyone can whistle piano: The Complete Book of 1990s Broadway Musicals Dan Dietz, 2016-09-29 Musicals of the 1990s felt the impact of key developments that forever changed the landscape of Broadway. While the onslaught of British imports slowed down, the so-called Disneyfication of Broadway began, a trend that continues today. Beauty and the Beast and The Lion King became long-running hits, followed by more family-friendly musicals. The decade was also distinguished by a new look at revivals—instead of slavishly reproducing old shows or updating them with campy values, Broadway saw a stream of fresh and sometimes provocative reinventions, including major productions of My Fair Lady, Damn Yankees, Carousel, Show Boat, and Chicago. In The Complete Book of 1990s Broadway Musicals, Dan Dietz examines in detail every musical that opened on Broadway during the 1990s. This book discusses the era’s major hits (Miss Saigon, Crazy for You, Rent), notorious flops (Shogun, Nick & Nora, The Red Shoes), controversial shows (Passion, The Capeman), and musicals that closed during their pre-Broadway tryouts (Annie 2: Miss Hannigan’s Revenge, Whistle Down the Wind). In addition to including every hit and flop that debuted during the decade, this book highlights revivals and personal-appearance revues with such performers as Sandra Bernhard, Michael Feinstein, Patti LuPone, Liza Minnelli, and Mandy Patinkin. Each entry contains the following information: Plot summary Cast members Names of all important personnel, including writers, composers, directors, choreographers, producers, and musical directors Opening and closing dates Number of performances Critical commentary Musical numbers and the performers who introduced the songs Production data, including information about tryouts Source material Tony awards and nominations Details about London and other foreign productions Besides separate entries for each production, the book offers numerous appendixes, including a discography, filmography, and published scripts, as well as lists of Gilbert and Sullivan operettas, black-themed shows, and Jewish-themed productions. A treasure trove of information, The Complete Book of 1990s Broadway Musicals provides a comprehensive view of each show. This significant resource will be of use to scholars, historians, and casual fans of one of the greatest decades in musical theatre history. |
| anyone can whistle piano: Continuator Leonard J. Lehrman, 2024-12-18 Historically, the term cosmopolitan has often been combined with the adjective rootless, to describe members of the Jewish diaspora with a sense of alienation from mainstream culture. The author of this autobiography, the creator of music to words in eleven languages, and translations from each of them into his native English, feels anything but rootless, however, in his devotion to learning from and extending tradition. In this memoir, he describes the influences of family, mentors, and colleagues that have shaped his life and work, including 100 translations/adaptations, 12 operas, 7 musicals, and 246 other vocal & instrumental works (heard on 6 continents) based on words by Blake, Rossetti, Shelley, Dickinson, Malamud, Chekhov, Heine, Brecht, Nash, Abel Meeropol, Langston Hughes, Norman Rosten, Karl Shapiro, Mihai Eminescu, Joel Shatzky, and dozens of other writers (especially women and Australians) in English, French, German, Greek, Hebrew, Ladino, Romanian, Russian, Spanish, Xhosa and Yiddish. He also recounts his learning experiences at Harvard, Cornell, Indiana; with the Guarneri Quartet, Nadia Boulanger, Erik Werba, Boris Goldovsky; as Metropolitan Opera Assistant Chorus Master; and in several German-speaking theaters in Europe, culminating in Berlin, where he was the first Jew to conduct Fiddler on the Roof in that city, and founded the Jüdischer Musiktheaterverein Berlin. At the invitation of Wolfgang Wagner, he and his wife Helene performed the first Yiddish song recital in Bayreuth during the Wagner Festival. Adapting/completing unfinished works by Marc Blitzstein, including Idiots First (winner of the first Off-Broadway Opera Award for most important event of the season) and Sacco and Vanzetti (nominated for a Pulitzer Prize), he worked with Leonard Bernstein, who called him Marc's dybbuk” and composers Lazar Weiner, Paul Hindemith, Earl Kim, Harold Blumenfeld, Virgil Thomson, David Diamond, Joel Mandelbaum, Tom Lehrer, Lou (& Peter) Berryman, Pete Seeger, Sheldon Harnick, Ned Rorem, Stephen Sondheim, John Eaton, Donald Erb, Robert M. Palmer and especially Elie Siegmeister, who called him my Continuator - hence the title of this book. Finally, the autobiography chronicles adventures on four continents, including over 700 performances with soprano Helene Williams, celebrating Emma Goldman, Rosa Luxemburg, Anne Frank, and five centuries of music, theatre, and naturism, in close to 5,000 YouTube videos with over 1,000,000 views, to date. About the Author A member of the Green Party, Community Church of Boston, and the ACLU, Leonard J. Lehrman was the first President of the Long Island Composers Alliance; co-chaired the National Committee to Reopen the Rosenberg Case; and hosted WHRB's Serious Music Today and WBAI's Music of All the Americas. He attended the 1963 March on Washington and conducted the 1989 Manhattan premiere of the cantata I Have A Dream, as well as the Workmen's Circle Chorus, Oceanside Chorale, and Gilbert & Sullivan Light Opera Company of Long Island. Reference Librarian at Oyster Bay-East Norwich Public Library since 1995, Metropolitan Synagogue High Holidays Music Director since 2014, he founded The Metropolitan Philharmonic Chorus and the Composer/Performer Roundtable of the Music Library Association; and created and taught the first course in Jewish Opera at Hebrew Union College-Jewish Institute of Religion. |
| anyone can whistle piano: Planning Memorial Celebrations Rob Baker, 2013-03-13 Memorial services are not so much rites for the dead as celebrations by the living and for the living of the lives of those who have died. Such ceremonies are an important way of saying good-bye, yet most people are not sure exactly what to do when the task of arranging one falls to them. Here is a practical and supportive guide, explaining how to cope with all the details when efficiency is furthest from your mind: Timing, place, and who should participate Selecting a minister or spiritual leader Choosing the right words and music Writing a eulogy Setting the scene with flowers, photos, and mementos Bringing closure by providing food, drink, and companionship afterward In addition to two sample memorial services, an annotated bibliography and discography, and a listing of memorial societies throughout the country, Rob Baker offers helpful information and advice on funerals, cremation, undertakers (including where to look on the Web to evaluate what they have to offer), donating the body or its organs for medical purposes, as well as a brief history of funerary traditions. |
| anyone can whistle piano: The Sound of Broadway Music Steven Suskin, 2011-06-03 Broadway's top orchestrators - Robert Russell Bennett, Don Walker, Philip J. Lang, Jonathan Tunick - are names well known to musical theatre fans, but few people understand precisely what the orchestrator does. The Sound of Broadway Music is the first book ever written about these unsung stars of the Broadway musical whose work is so vital to each show's success. The book examines the careers of Broadway's major orchestrators and follows the song as it travels from the composer's piano to the orchestra pit. Steven Suskin has meticulously tracked down thousands of original orchestral scores, piecing together enigmatic notes and notations with long-forgotten documents and current interviews with dozens of composers, producers, conductors and arrangers. The information is separated into three main parts: a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; a lively discussion of the art of orchestration, written for musical theatre enthusiasts (including those who do not read music); a biographical section which gives a sense of the life and world of twelve major theatre orchestrators, as well as incorporating briefer sections on another thirty arrangers and conductors; and an impressive show-by-show listing of more than seven hundred musicals, in many cases including a song-by-song listing of precisely who orchestrated what along with relevant comments from people involved with the productions. Stocked with intriguing facts and juicy anecdotes, many of which have never before appeared in print, The Sound of Broadway Music brings fascinating and often surprising new insight into the world of musical theatre. |
| anyone can whistle piano: The Stephen Sondheim Encyclopedia Rick Pender, 2021 Praise from Jesse Green, New York Times Chief Theater Critic, Arts, in the 2023 Holiday Gift Guide: From A (the director George Abbott) to Y ('You Could Drive a Person Crazy'), The Stephen Sondheim Encyclopedia, by Rick Pender, offers an astonishingly comprehensive look, in more than 130 entries, at the late master's colleagues, songs, shows and methods. The Stephen Sondheim Encyclopedia is a wonderfully detailed and comprehensive reference devoted to musical theater's most prolific and admired composer and lyricist. Entries cover Sondheim's numerous collaborators, from composers and directors to designers and orchestras; key songs, such as his Academy Award winner Sooner or Later (Dick Tracy); and major works, including Assassins, Company, Follies, Sweeney Todd, and West Side Story. The encyclopedia also profiles the actors who originated roles and sang Sondheim's songs for the first time, including Ethel Merman, Angela Lansbury, Mandy Patinkin, and Bernadette Peters. Featuring a detailed biographical entry for Sondheim, a chronology of his career, a listing of his many awards, and discussions of his opinions on movies, opera, and more, this wide-ranging resource will attract musical theater enthusiasts again and again. |
| anyone can whistle piano: Off Broadway Musicals, 1910-2007 Dan Dietz, 2010-03-10 Despite an often unfair reputation as being less popular, less successful, or less refined than their bona-fide Broadway counterparts, Off Broadway musicals deserve their share of critical acclaim and study. A number of shows originally staged Off Broadway have gone on to their own successful Broadway runs, from the ever-popular A Chorus Line and Rent to more off-beat productions like Avenue Q and Little Shop of Horrors. And while it remains to be seen if other popular Off Broadway shows like Stomp, Blue Man Group, and Altar Boyz will make it to the larger Broadway theaters, their Off Broadway runs have been enormously successful in their own right. This book discusses more than 1,800 Off Broadway, Off Off Broadway, showcase, and workshop musical productions. It includes detailed descriptions of Off Broadway musicals that closed in previews or in rehearsal, selected musicals that opened in Brooklyn and in New Jersey, and American operas that opened in New York, along with general overviews of Off Broadway institutions such as the Light Opera of Manhattan. The typical entry includes the name of the host theater or theaters; the opening date and number of performances; the production's cast and creative team; a list of songs; a brief plot synopsis; and general comments and reviews from the New York critics. Besides the individual entries, the book also includes a preface, a bibliography, and 21 appendices including a discography, filmography, a list of published scripts, and lists of musicals categorized by topic and composer. |
| anyone can whistle piano: David Shire's The Conversation Juan Chattah, 2015-10-08 Nominated for three Academy Awards in 1974, including Best Picture and Best Sound, Francis Ford Coppola’s The Conversation is regarded as the archetypal achievement in weaving together a balanced blend of dialogue, cinematography, sound effects, and music. For the film, composer David Shire created a score that challenged preconceptions of the music’s function within film. Featuring a jazz-infused piano score with pioneering excursions into electroacoustic techniques, Shire’s music provides depth and meaning to the soundtrack by establishing a musical/narrative metaphorical correlation that traces the main character’s psychological journey. In David Shire’s The Conversation: A Film Score Guide, Juan Chattah draws on extensive interviews with the composer and includes numerous examples from his manuscripts to provide aesthetic and critical insights into the compositional process. The book fleshes out a multifaceted framework that reveals layers of meaning that permeate the score, delving into David Shire’s life and musical upbringing to trace the development of his compositional techniques. The author also investigates the film’s critical and historical contexts and ultimately presents a detailed analysis of the complete soundtrack to the film. Proposing an innovative analytical methodology that intersects semiotics and cognitive psychology, this volume offers a unique insight into the film and its music. As such, David Shire’s The Conversation: A Film ScoreGuide will be of interest to film scholars, music scholars, and fans of the composer’s work. |
meaning - What is the difference between "anyone" and …
How to use anyone and everyone as they are typically used in English. Everyone means all of the group. Anyone means all or any part of the group. Original example “Everyone is welcome to …
Anyone: ("they" or "he/she") why is it sometimes plural?
Anyone can learn to dance if he or she wants to. Resources online tell me that anyone is a singular indefinite pronoun. Then why is it sometimes acceptable to use the plural 'they' with …
Use "have" or "has" any/anyone/anything in the question?
But anyone is syntactically singular, so. Has anyone seen it? is natural, not *have anyone seen it?. (Anyone is not necessarily singular in meaning, so the answer might refer to one person or …
"Anyone has" or "anyone have" seen them? [closed]
So I thought I'm sure about this and my instincts say that: "If anyone has seen them .." would be right but then again when I said it like: "If anyone have seen them .." I started thinking which …
Is it correct to use "their" instead of "his or her"?
Up until very recent times the natural answer would have been "Anyone who loves the English language should have a copy of this book in his bookcase", because "his" was also a gender …
"Has anyone run into the same problem" or "Does anyone run into …
Feb 7, 2012 · "Has anyone run into the same problem?" is more of a query question when we are looking for a solution. It might be followed up by, "If yes, then how was it resolved". It is like …
word choice - "If you or your colleague has" or "If you or your ...
Which is correct out of the following two sentences? If you or your colleague have any questions, let me know; If you or your colleague has any questions, let me know
grammar - "Is there" versus "Are there" - English Language
The indefinite pronouns anyone, everyone, someone, no one, nobody are always singular and, therefore, require singular verbs. Everyone has done his or her homework. Somebody has left …
grammar - "Recommend you to [do something]" or "Recommend …
Feb 5, 2012 · I recommend this book to anyone. I will recommend you to my boss for the open position. recommend sb/sth for/as sth. I will recommend you for this duty. B) If you want to …
Is "Don't Nobody/Anybody/Anyone + verb" a double negative?
I'm quite familiar with slangy statements phrased like questions, such as: Don't nobody care, or Don't anybody want to hear that, or Don't anyone feel like talking to you, but the reversal of the …
meaning - What is the difference between "anyone" and …
How to use anyone and everyone as they are typically used in English. Everyone means all of the group. Anyone means all or any part of the group. Original example “Everyone is welcome to …
Anyone: ("they" or "he/she") why is it sometimes plural?
Anyone can learn to dance if he or she wants to. Resources online tell me that anyone is a singular indefinite pronoun. Then why is it sometimes acceptable to use the plural 'they' with …
Use "have" or "has" any/anyone/anything in the question?
But anyone is syntactically singular, so. Has anyone seen it? is natural, not *have anyone seen it?. (Anyone is not necessarily singular in meaning, so the answer might refer to one person or …
"Anyone has" or "anyone have" seen them? [closed]
So I thought I'm sure about this and my instincts say that: "If anyone has seen them .." would be right but then again when I said it like: "If anyone have seen them .." I started thinking which …
Is it correct to use "their" instead of "his or her"?
Up until very recent times the natural answer would have been "Anyone who loves the English language should have a copy of this book in his bookcase", because "his" was also a gender …
"Has anyone run into the same problem" or "Does anyone run into …
Feb 7, 2012 · "Has anyone run into the same problem?" is more of a query question when we are looking for a solution. It might be followed up by, "If yes, then how was it resolved". It is like …
word choice - "If you or your colleague has" or "If you or your ...
Which is correct out of the following two sentences? If you or your colleague have any questions, let me know; If you or your colleague has any questions, let me know
grammar - "Is there" versus "Are there" - English Language
The indefinite pronouns anyone, everyone, someone, no one, nobody are always singular and, therefore, require singular verbs. Everyone has done his or her homework. Somebody has left …
grammar - "Recommend you to [do something]" or "Recommend …
Feb 5, 2012 · I recommend this book to anyone. I will recommend you to my boss for the open position. recommend sb/sth for/as sth. I will recommend you for this duty. B) If you want to …
Is "Don't Nobody/Anybody/Anyone + verb" a double negative?
I'm quite familiar with slangy statements phrased like questions, such as: Don't nobody care, or Don't anybody want to hear that, or Don't anyone feel like talking to you, but the reversal of the …
