| re: HERE WE ARE;\the OOBCA | |
| Last Edit: Chromolume 06:48 pm EDT 07/10/24 | |
| Posted by: Chromolume 06:40 pm EDT 07/10/24 | |
| In reply to: re: HERE WE ARE;\the OOBCA - Singapore/Fling 06:25 pm EDT 07/10/24 | |
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| I haven't heard the album yet, but I did see the show. I think it's all too easy to just throw the term "derivative" around. Do certain passages, cadences, accompaniment figures, etc, remind you of something else Sondheim wrote? Sure they do. But IMO in the same way that most composers have recognizable styles, patterns, and "calling cards" in their music. Like listening to a piece you don't know that sure reminds you of Mozart, only to find out that it is indeed Mozart. He used the same ideas over and over. Sometimes down to exact devices, cadences, melodic figures, etc. But it's funny that I never hear anyone throwing the term "derivative" at him. Yes, it's unfinished. So is Turandot, that Schubert symphony, the Mozart Requiem, Mahler's 10th, and on and on. But what really struck me, in performance, is how the lack of music in Act II (especially once the piano goes silent) actually reflects the scene. So although we can assume that Sondheim would have written more, it actually worked for me in context. Are his last two scores - the show that eventually became Bounce/Road Show, and this one - his best? No, I don't think so. But I'm not sure it's so "minor" and I think it deserves more earnest attention than it has gotten by a lot of people. YMMV. |
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