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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 photos. 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

内容简介

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

Born into a theatrical dynasty headed by his grandfather andnamesake, Oscar Hammerstein II breathed new life into the moribundart form of operetta by writing lyrics and libretti for suchclassics as Rose-Marie (music by Rudolf Friml), TheDesert Song (Sigmund Romberg), The New Moon (Romberg)and Song of the Flame (George Gershwin). Hammerstein andJerome Kern wrote eight musicals together, including SweetAdeline, Music in the Air, and their masterpiece, ShowBoat. The vibrant Carmen Jones was Hammerstein’sall-black adaptation of the tragic opera by Georges Bizet.

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 (George 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 Georges 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
their works 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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作者简介

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.

媒体评论

“Unexpected trivia is only one of the many pleasures of thisbook. Another is the chance to trace clearly and in detail thedevelopment of a remarkable artist across a 40-year career . . . Noone [with even the slightest interest in how words are married tomusic] should fail to read and treasure this collection of thelyrics 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 acopy of The Complete Lyrics of Oscar Hammerstein II .. . Amy Asch spent seven years tracking down every song written byHammerstein (1895-1960) and determining the definitive lyric. Formusical theater lovers, it's a treasure chest of old favorites andunexpected gems.”
—Tom Beer, Newsday

“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 theater will be familiar with 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-peddler would 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 clever writing. 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 collaborations 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 contributions 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
revelations. These fascinating, exhaustive books are filled with
the kind of historical detail, photos, 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 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

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