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— — — — — Index Adams, John, 121–22 Adams Memorial Theatre, 130, 136 Alexander, John, 159 All About Eve, 166 All That Glitters, xiii, 53, 58, 59, 62, 126, 129, 130–35, 143, 151, 153, 155, 162, 175, 274n19; “I Love You, Etcetera,” 53; “Let’s Not Fall In Love,” 53; “The Bordelaise,” 58, 59, 267n29; “When I See You,” 53; Hammerstein ’s contribution to, 268n47; handling of time in, 155; politics in, 131; review of, 130; Sondheim on, 130 Allegro, 41, 49, 51, 52, 62, 135, 148–56, 162; cinematic techniques in, 149, 165, 166; as “concept musical,” 258; ›uidity in, 152; Greek chorus in, 152–53; impact on Sondheim, 149; theme of corruption by worldly temptations, 134 Alphaville, 208 Altman, Robert, 208 Anderson, Laurie, 163 Anderson, Maxwell, 48–49, 95, 126, 135–38, 140 Annie, 272n119 Annie Get Your Gun, 41, 47, 49, 56, 57, 176; “An Old-Fashioned Wedding,” 250; “They Say It’s Wonderful,” 103 Antigone, 140 Antonioni, Michelangelo, 148, 189 Anyone Can Whistle, xiv, 58, 62, 94, 95, 162, 175, 245; “Anyone Can Whistle ,” 107; “Come Play Wiz Me,” 86; “Cora’s Chase,” 65, 86; “Interrogation Scene,” 73, 134, 155, 198; “There Won’t Be Trumpets,” 107; pastiche numbers in, 89; politics in, 177 Arlen, Harold, 12, 17, 39, 44, 47, 48–50, 56, 60, 77–88, 92, 94, 96, 114, 198, 222, 271n91; “possibles,” 47, 87; “tapeworms,” 84, 117; black music and, 95; blues and, 64, 67, 78–79, 81– 82, 85–87, 222; immersion in black musical world, 78; lyricists as collaborators , 77; motivic writing in, 86; Paci‹c Overtures and, 84; Sondheim on, 66; the waltz and, 86; thirteenth chords in, 80; vamps in, 86; Walden recording sessions, 78, 82, 86 Aronson, Boris, 150, 151 Arsenic and Old Lace, 159 Assassins, xvi, 1, 123, 131, 142, 145, 147, 148, 152, 167, 188, 194, 230; “Everybody ’s Got the Right,” 107; “Gun Song,” 229; “How I Saved Roosevelt ,” 12; “Something Just Broke,” 203, 281n42; “The Ballad of Booth,” 246; “The Ballad of Czolgosz,” 134; “Unworthy of Your Love,” 117, 120, 160, 229; as “concept musical,” 145, 258; Coplandesque sounds in, 35; ending as question mark, 187; handling of time in, 122, 174; history of, 158; narration in, 153, 178; “Nearer, My God, To Thee” in, 134; pastiche in, 118; politics in, 131, 145, 157, 177; reprise in, 229; use of pre-existent music, 246 Aufstieg und Fall der Stadt Mahagonny, 75 Avventura, L’, 148 Babbitt, Milton, 40, 74, 232; impact upon Sondheim’s musical language, 222; on Jerome Kern, 55; as maver- Babbitt, Milton (continued) ick, 222; on Richard Rodgers, 39, 65; Sondheim’s studies with, 7, 10, 33, 34, 40, 52, 53, 85, 118, 120, 136, 242 Bach, Johann Sebastian, 8, 249 Bacharach, Burt, 32 Ban‹eld, Stephen, 13, 21–22, 27, 28, 34–36, 67, 94, 105, 115–16, 178, 193, 231, 245, 262n15, 265n81 Barnes, Clive, 76 Barnum, 89 Barrow, Robert, 15, 23–24, 28–29, 73–74, 129, 222, 232, 242, 264n58; “Quartet for Six” (1969), 29; counterpoint and, 30; Hindemith and, 16; impact on Sondheim, 15; as instructor , 30; studies with Hindemith, 28–29 Bartók, Béla, 189, 285n86; Concerto for Orchestra, 37; Sondheim on, 22 Basquiat, 174 Baxter, James Phinney, III, 130 Beat the Devil, 160 Beatty, Warren, xv, 79, 190 Beethoven, Ludwig van, 8, 10, 66, 108; recordings Sondheim owned of, 7; Sondheim studied music with Milton Babbitt, 33 Beggar on Horseback, 126, 130, 131, 134, 135 Beggar’s Holiday, 49, 52 Belafonte, Harry, 95 Belle équipe, La, 163 Bells Are Ringing, 50, 176 Belmondo, Jean-Paul, 181 Benatzky, Ralph, 48, 267n6. See also White Horse Inn, The Benjamin, Walter, 133 Bennett, Michael, 50, 162, 169 Bequest (novel), xiii, 23, 131, 166 Berg, Alban, 39, 96, 189, 222, 285n86. See also Wozzeck Bergman, Ingmar, 172, 189, 193 Bergson, Henri, 184, 186 Berkeley, Busby, 169 Berlin, Irving, 39, 41, 42, 47, 48–49, 56–58, 60, 87, 96, 176; suspended dominants in, 57 Bernstein, Leonard, xiv, xv, 5, 33, 35, 36, 40–42, 48–50, 73, 76, 90–92, 93, 119, 158, 160, 169, 192, 194; “The Saga of Lenny,” 272n110; “Why Don’t You Run Upstairs and Write a Nice Gershwin Tune?” 134; black music and, 108; complaints about Sondheim’s music, 42, 91, 111; in›uence on Sondheim, 34; jazz and, 92; Latin rhythms in, 92 Bersani, Leo, 183, 188 Big Sleep, The, 175 Billion Dollar Baby, 49, 50, 52; “Dreams Come True,” 279n3 Birdcage, The, xvi...

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