Loverly:The Life and Times of My Fair Lady (Broadway Legacies) McHugh, Dominic (snow like ashes series txt) đ
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7. My Fair Lady script, 55â56.
8. âPlease Donât Marry Meâ in folder marked âLyrics and Songs Not Used,â HLP, 34/8.
9. FLC, 5/24.
10. The lyric is also similar in mood to that of âShy,â which is known to have been the precursor to âI Could Have Danced.â
11. Rex Harrison, Rex (London: Macmillan, 1974), 161.
12. Rex Harrison, A Damned Serious Business (London: Bantam, 1990), 140.
13. Lady Liza: Brief Outline, 4. HLP, 34/2.
14. Ibid.
15. Lerner, Street, 65â66 and 91â92.
16. Julie Andrews, Home, 201.
17. My Lady Liza: outline of scenes and musical numbers, 2. HHP, Series 4, 21/518.
18. Both versions are in FLC, 5/23.
19. My thanks to Elliot J. Cohen for sharing the transcript of his interview with Trude Rittmann (dated October 3, 1995) with me.
20. âI finished the lyric in twenty-four hours, but not to my satisfaction ⊠I thought my lyric was earth-bound. There was one line in particular that made me blush when I sang it to Fritz. The line was: âAnd [sic] all at once my heart took flight.â I promised Fritz I would change it as soon as I could. As it turned out, I was never able to ⊠[T]o this day the lyric gives me cardiac arrest.â Lerner, Street, 86.
21. A document titled âMy Fair Lady: timing sheetâ in the Levin Papers shows that the final version of act 1, scene 9 took 3Êč 15Êș to run. By contrast, the duration of âCome to the Ballâ in the appendix of the Jay recording of My Fair Lady runs 3Êč 24Êș, which does not include the repeated choruses for the dancing; and âSay a Prayer for Me Tonightâ on the original soundtrack recording of Gigi runs 1Êč 13Êș.
22. Lerner, Street, 76â77 and 98.
23. Loeweâs autograph and his annotated copy of a copyistâs score are in FLC, 5/2 and 5/3; the full score is in WCC, 142/1; the remaining manuscripts are in WCC, 142/3.
24. My Fair Lady script, 121â22.
25. Ibid, 123.
26. Rittmann diverges from Bennettâs orchestrated version only from bar 212 on, where her version is a minor third higher than his.
27. The location of the scores in WCC is as follows: Freda Millerâs score, 142/7; conductorâs score for âIntro to Dress Balletâ plus a copy of Rittmannâs piano score, 142/6; the copy of the piano score with the modified ending in Rittmannâs hand, 142/7; Rittmannâs autograph for the new âIntro to Dress Ballet,â 142/7; Langâs autograph full score for the âIntroâ is at the back of the autograph full score for âCome to the Ball,â 142/1; Bennettâs autograph full score, 142/5.
28. Lerner to Pascal, May 10, 1952, TGC, box 137.
29. Lady LizaâBrief Outline, 4. HLP, 34/2.
30. Untitled scenic outline, 2, HLP, 34/2.
31. My Lady Liza outline, 2. Hanya Holm Papers, New York Public Library. Series 4, 21/518. All of Hanya Holmâs notes referenced in the rest of this chapter are from this same folder, unless otherwise noted.
32. Clearly by âvanishesâ Holm means âremovesâ with added connotations of speed and of the dancersâ disappearance.
33. âIntro to Dress Ballet,â WCC, 142/7.
34. Full score to âIntro to Dress Ballet,â WCC, 142/1.
35. Lerner, Street, 152.
36. âSay a Prayer for Me Tonightâ in folder marked âLyrics and Songs Not Used,â HLP, 34/8. The line âGracious, proud and refineâ was probably intended to read ârefined.â
37. âSay a Prayer for Me Tonightâ piano-vocal score, marked âFA,â WCC, 147/2. âSay a Prayer for Me Tonightâ from Gigi Song Album (London, 1958), 11â13.
38. âSay a Prayer for Me Tonightâ and âBridge after Prayerâ orchestrations, WCC, 151/5.
39. Jeremy Gerard, âStars Perform in Memorial Tribute to Composer Frederick Loewe,â New York Times, March 29, 1988.
CHAPTER 5
1. The main difference is in the line âWith one enormous chair,â which originally read âWith one gigantic chairâ; the copyistâs lyrics read âgigantic,â but the word has been struck through in pencil and replaced with âenormous.â âWouldnât It Be Loverly?,â copyistâs piano-vocal score, marked âRussellâ in Trude Rittmannâs handwriting on the front cover, WCC, 154/5.
2. Loewe, âOvertureâ autograph, FLC, 5/17.
3. âLang takes credit for My Fair Ladyâs âWith a Little Bit of Luck,â âThe Ascot Gavotte,â âOn the Street Where You Live,â âThe Embassy Waltz,â âGet Me to the Church on Time,â and âWithout You,â the remainder (including the Overture) being Bennettâs contributions. Robert Russell Bennett with George J Ferencz, ed., The Broadway Sound: The Autobiography and Selected Essays of Robert Russell Bennett, Eastman Studies in Music, (Rochester, NY: University of Rochester Press, 1999), 228.
4. See Lerner, Street, 59â60. Lerner also says that the lyric for this song initially caused him agony, as a result of the lack of confidence he derived from Mary Martinâs negative reaction to the songs. After receiving psychiatric help, however, Lerner says that the words took him only two days to write. Street, 66â67.
5. âWouldnât It Be Loverlyâ lyric sheet, HLP, 34/8.
6. âWouldnât It Be Loverlyâ lyric sheet, WCC, 151/6.
7. There is one notational discrepancy: Loewe has a D sharp in the second beat of the two-bar introduction to the refrain, which is adhered to in Bennettâs orchestration but is left as a natural in the copyistâs vocal score and both of the published vocal scores.
8. See chap. 5. For Rodgersâs approach to song writing, see Tim Carter, Oklahoma! The Making of an American Musical (New Haven, CT: Yale University Press, 2007), 118â20. âAs is typical of Rodgersâs sketches, the Oklahoma! ones are presented on a single stave, with the melody, some indications of one or more inner parts, and, very occasionally, roman numerals to indicate the harmony.â This is almost the same as Loeweâs apparent evolution of âSay a Prayer for Me Tonightâ (and a large number of non-My Fair Lady songs), though the roman numerals are less of a feature of his method than they are of Rodgersâs.
9. Lerner, Street, 49â50.
10. âJust You Waitâ: lyric sheet, HLP, 34/8; copyistâs score, WCC, 148/3.
11. The score is initialed âR.B.â in the top righthand corner.
12. âMusical Synopsis (2),â envelope titled âFranz Allers Lyrics,â WCC, 151/6.
13. Lerner, Street, 84.
14. Julie Andrews confirms this chronology. Andrews, Home, 201.
15. Lerner, Street, 86.
16.
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