Complete Lyrics Hammerstein Ii(I***N=9780375413582) pdf 夸克云 tct umd 下载 2025 azw3 kindle

From every “beautiful mornin’” to “some enchanted evening,” the

songs of Oscar Hammerstein II are part of our daily lives, his

words part of our national fabric.

Born into a theatrical dynasty headed by his grandfather and

namesake, Oscar Hammerstein II breathed new life into the moribund

art form of operetta by writing lyrics and libretti for such

classics as Rose-Marie (music by Rudolf Friml), The

Desert Song (Sigmund Romberg), The New Moon (Romberg)

and Song of the Flame (Ge***e Gershwin). Hammerstein and

Jerome Kern wrote eight musicals together, including Sweet

Adeline, Music in the Air, and their masterpiece, Show

Boat. The vibrant Carmen Jones was Hammerstein’s

all-black adaptation of the tragic opera by Ge***es Bizet.

In 1943, Hammerstein, pioneer in the field of operetta, joined

forces with Richard Rodgers, who had for the previous twenty-five

years taken great strides in the field of musical comedy with

his longtime writing partner, Lorenz Hart. The first Rodgers

and Hammerstein work, Oklahoma!, merged the two styles into

a completely new genre—the musical play—and simultaneously launched

the most successful partnership in American musical theater. Over

the next seventeen years, Rodgers and Hammerstein wrote eight more

Broadway musicals: Carousel, Allegro, South Pacific, The King

and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The

Sound of Music. They also wrote a movie musical (State

Fair) and one for television (Cinderella). Collectively

thei***orks have earned dozens of awards, including Pulitzers,

Tonys, Oscars, Grammys, and Emmys.

Throughout his career, Hammerstein created works of lyrical beauty

and universal feeling, and he continually strove—sometimes against

fashion—to seek out the good and beautiful in the world. “I know

the world is filled with troubles and many injustices,” he once

said. “But reality is as beautiful as it is ugly . . . I just

couldn’t write anything without hope in it.”

All of his lyrics are here—850, more than a quarter published for

the first time—in this sixth book in the indispensable Complete

Lyrics series that has also brought us the lyrics of Cole Porter,

Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From

the young scribe’s earliest attempts to the old master’s final

lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a

theatrical and lyrical genius.

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Amy Asch, an archivist and researcher, worked

on The Complete Lyrics of Irving Berlin and an expanded

edition of The Complete Lyrics of Lorenz Hart. She

contributed to the PBS documentary Broadway: The American

Musical and prepared the catalog of works for the estate of the

composer Jonathan Larson (Rent). Currently an editor of the

Playbill Broadway Yearbook, she lives in New York City.

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Here the editorial torch for the Complete Lyrics series passes

from Robert Kimball, helmsman for the Lorenz Hart, Ira Gershwin,

Cole Porter, Irving Berlin, and Frank Loesser volumes, to Asch. The

lavish format remains the same. The lyrics appear chronologically

(save for undated lyrics in an appendix) and among plenty of

p***os. Hammerstein’s time line begins in 1916 with a song for a

Columbia University student show and concludes with The Sound of

Music in 1959. Hammerstein began writing the book musical, in which

the songs suit moods appropriate to the tenors of the scenes in a

narrative drama, in 1920, which is surprisingly early. Classic

shows before he teamed with Richard Rodgers in the most successful

partnership in musical-theater history include Rose-Marie, The

Desert Song, and Show Boat, the landmark first “serious” musical.

In 1943 came two experiments that further altered the course of the

musical’s history: Oklahoma! and Carmen Jones. In all, there are

850 sets of lyrics in this book, which like its series mates,

belongs in every collection concerned with musical theater. --Ray

Olson

媒体评论

“Unexpected trivia is only one of the many pleasures of this

book. Another is the chance to trace clearly and in detail the

development of a remarkable artist across a 40-year career . . . No

one [with even the slightest interest in how words are married to

music] should fail to read and treasure this collection of the

lyrics of one of the supreme masters of musical theater.”

—John Steele Gordon,

The New York Times

“If a faulty memory trips up your shower-stall crooning, you need a

copy of

The Complete Lyrics of Oscar Hammerstein II

.

. . Amy Asch spent seven years tracking down every song written by

Hammerstein (1895-1960) and determining the definitive lyric. For

musical theater lovers, it's a treasure chest of old favorites and

unexpected gems.”

—Tom Beer,

Newsday

“A show-music fan’s delight.”

—Minneapolis

Star Tribune

“A fabulous testament to Hammerstein’s genius. Lavishly illustrated

and scrupulously researched, this is a treasure for anyone who

cares about 20th Century American poetry, theater and film.”

—Keith Runyon, Louisville

Courier-Journal

“From his earliest efforts to ‘The South of Music,’ this incredible

collection is nothing less than a celebration of American

theatrical genius.”

—Larry Cox, The

Tucson Citizen

“An astounding collection . . . remarkable.”

—Matthew Murray, BroadwayStars.com

“

The Complete Lyrics of Oscar Hammerstein II

is, like

its subject—and unlike its hero—a musical in its own right.”

—Daniel Elkind,

The Jewish Forward

“Anyone with a glancing interest in theate***ill be familia***ith a

few immortal phrases from “Oh, What a Beautiful Mornin’ ” or

“Some Enchanted Evening.” But this hefty, handsome volume reveals

anew the breadth, range and sheer fecundity of a central

figure—maybe the central figure—in the evolution of the American

musical theater. Hammerstein wrote revue songs, operettas, musical

comedies and of course the musical plays, with Richard Rodgers,

that changed the face of Broadway forever and are so crucial to the

musical canon. The book contains 850 lyrics, a quarter previously

unpublished, with deeply researched notes and commentary by Ms.

Asch that add color and context, although the limpid poetry of

Hammerstein’s best lyrics needs little of either to shine.”

–Charles Isherwood,

The New York Times

“Hammerstein drew on patterns that had existed long before [his]

birth: a sentimental love of the land; a passion for social

justice, predicated on faith in the innate goodness of ordinary

folk; a canny awareness of the comedy inherent in the basic human

tropes of man and woman, parent and child, boss and underling; and

an earnest reverence for the mysteries of life. Hammerstein

combined these familiar elements into something new, producing

works that swept the world, entered the vernacular, and lodged

permanently in the public mind. . . . In

The Complete

Lyrics

,

edited with painstaking thoroughness by Amy

Asch, Hammerstein found ideas that even people unimaginably remote

from Broadway’s sensibility could share.”

–Michael Feingold,

The Village Voice

“Oscar Hammerstein flew on a bright cloud of music for

his entire career . . . Everyone has a line of Hammerstein’s

washing around in the back of his brain.

[Hammerstein] expanded the boundaries of the American theater song,

past the narrow urban wit of the rhymesters. When he worked with

Sigmund Romberg, the old goulash-peddle***ould run through the

lyric and at the end say only: ‘It fits.’ Hammerstein came to see

that that perfunctory acknowledgement was, in fact, high

praise–that that was the most important thing about any lyric. It

might also be poetry, but first it had to ‘fit.’ Hammerstein’s

words always fit.”

–

Mark Steyn,

The New Criterion

“Catnip for people who love musicals . . . I just love this

book.”

–Bill Goldstein (NYTimes.com)

“This one requires some heavy lifting. It's an oversize, 422-page

beaut that would make a knockout gift for any lover of Broadway

show tunes and classic American pop. The sheer number of songs he

wrote is staggering. Lyrics divorced from the music can be a

disservice, but Hammerstein was a poet, one of those rare ones with

a sense of humor, so you don't even have to know the music to

appreciate his cleve***riting. The familiar lyrics, from such

classics as ‘South Pacific,’ ‘The King and I’ and ‘Show Boat’ will

have you singing them as you read.”

–

The Seattle Times

“In some ways,

The Complete Lyrics of Oscar Hammerstein

II

defeats the purpose of coffee-table books. It’s all

about the word. Despite the historical images, one wants to linger

over the obscure shows from the early 20th century, then luxuriate

in the emotional potency of Hammerstein’s collaborati*** with

Richard Rodgers, particularly ‘Oklahoma!’ ‘Carousel,’ ‘The King and

I’ and the recently recovered ‘South Pacific.’ How his sensibility

evolved from the Columbia University student show through ‘The

Sound of Music’ is made much clearer through this volume.”

–Michael Barnes,

Austin-American Statesman

“The lavish format remains the same . . . In all, there are 850

sets of lyrics in this book that, like its series mates, belongs in

every collected concerned with musical theater.”

–

Booklist

“The latest entry in Knopf’s superb ‘Complete Lyrics series’

supersedes any previous collection of Hammerstein’s lyrics . . .

”

–

Library Journal

“To list even a fraction of Hammerstein’s most popular songs is to

recall some of the century’s most potent contributi*** to pop

culture . . . Reading through the Hammerstein collection may compel

you to rummage through your vintage recordings or perhaps start

downloading its iTune counterparts. . . . Wandering through the 422

pages of

The Complete Lyrics

allows us the discovery

of details that either remind of felicitous moments or offer fresh

revelati***. These fascinating, exhaustive books are filled with

the kind of historical detail, p***os, and trivia that make

aficionados swoon.”

–Michael Adams,

Open Letters Monthly

“This book is something wonderful.”

–Peter Filichia, TheaterMania

“A stunning catalog. Without question,

The Complete Lyrics of

Oscar Hammerstein II

is

"text-decoration: underline;">the

gift book of the season,

whether for yourself or for a musical theatre friend.”

–Max Preeo, editor of

Show Music Magazine

“A stoutly elegant compilation.”

–

Bookpage

书籍介绍

From every “beautiful mornin’” to “some enchanted evening,” the songs of Oscar Hammerstein II are part of our daily lives, his words part of our national fabric.

Born into a theatrical dynasty headed by his grandfather and namesake, Oscar Hammerstein II breathed new life into the moribund art form of operetta by writing lyrics and libretti for such classics as Rose-Marie (music by Rudolf Friml), The Desert Song (Sigmund Romberg), The New Moon (Romberg) and Song of the Flame (Ge***e Gershwin). Hammerstein and Jerome Kern wrote eight musicals together, including Sweet Adeline, Music in the Air , and their masterpiece, Show Boat . The vibrant Carmen Jones was Hammerstein’s all-black adaptation of the tragic opera by Ge***es Bizet.

In 1943, Hammerstein, pioneer in the field of operetta, joined forces with Richard Rodgers, who had for the previous twenty-five years taken great strides in the field of musical comedy with his longtime writing partner, Lorenz Hart. The first Rodgers and Hammerstein work, Oklahoma! , merged the two styles into a completely new genre—the musical play—and simultaneously launched the most successful partnership in American musical theater. Over the next seventeen years, Rodgers and Hammerstein wrote eight more Broadway musicals: Carousel, Allegro, South Pacific, The King and I, Me and Juliet, Pipe Dream, Flower Drum Song, and The Sound of Music. They also wrote a movie musical (State Fair) and one for television (Cinderella) . Collectively thei***orks have earned dozens of awards, including Pulitzers, Tonys, Oscars, Grammys, and Emmys.

Throughout his career, Hammerstein created works of lyrical beauty and universal feeling, and he continually strove—sometimes against fashion—to seek out the good and beautiful in the world. “I know the world is filled with troubles and many injustices,” he once said. “But reality is as beautiful as it is ugly . . . I just couldn’t write anything without hope in it.”

All of his lyrics are here—850, more than a quarter published for the first time—in this sixth book in the indispensable Complete Lyrics series that has also brought us the lyrics of Cole Porter, Lorenz Hart, Ira Gershwin, Irving Berlin, and Frank Loesser. From the young scribe’s earliest attempts to the old master’s final lyric—“Edelweiss”—we can see, read, and, yes, sing the words of a theatrical and lyrical genius.