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date: 05 March 2021

Abstract and Keywords

This chapter looks closely at the practice of turning Sondheim’s original scores into fully realized orchestrations. Sondheim delivers his scores to his orchestrators with every note composed. While he has close relationships with his orchestrators and reviews every measure of the music with them, he does not involve himself in terms of specific instruments. The orchestras for the original Broadway productions of his shows had more musicians than producers are willing to fund in the twenty-first century. In the new millennium, Sondheim embraces the evolution of theatrical economics and consequently that of his shows’ orchestrations. He mentors and supports the reimagining of his works, thereby giving orchestrators and other theater artists the pleasant opportunity to learn and examine his works within their own more limited financial resources.

Keywords: orchestration, Stephen Sondheim, Jonathan Tunick, Michael Starobin, piano, Sweeney Todd, John Doyle, Sarah Travis, Jason Carr, Larry Blank, Company, A Little Night Music, Sunday in the Park with George

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