In May 1993, a significant encounter took place at the Library of Congress when Mark Eden Horowitz, a senior music specialist, gave Broadway icon Stephen Sondheim a private look at the Library’s extensive music collection. This collection, vast and diverse, featured manuscripts and scores that resonated with Sondheim, an artist who has elevated the American musical with his unique sophistication and artistry. Included in this remarkable showcase were items from Sondheim’s mentor, Oscar Hammerstein II, compositions by notable figures such as Béla Bartók and Aaron Copland, and memorabilia from Sondheim’s own illustrious career, including works associated with ‘West Side Story.’ However, one item captured Sondheim’s emotional attention in a way that was unexpected: the manuscript for Gershwin’s ‘Porgy and Bess,’ which moved the legendary composer to tears. This poignant moment highlighted the power and significance of music, and it marked the beginning of a significant relationship between Sondheim and the Library of Congress.
Shortly after the emotional exchange, Sondheim chose to bequeath his vast collection of papers to the Library. This decision proved fortuitous just two years later when a fire broke out in Sondheim’s home, destroying almost everything nearby. Sondheim’s papers, housed in cardboard boxes on wooden shelves, miraculously survived the blaze, a fact that Horowitz describes as the closest he has ever come to witnessing a miracle. Despite the fire intensifying to the point where it melted CDs, Sondheim’s invaluable manuscripts emerged unscathed, a testament to fate and perhaps, to the spirits of art.
Now, Sondheim’s extensive collection, which includes over 5,000 items such as lyric sketches, scores, unpublished scripts, and various notes, rests safely at the Library of Congress. Horowitz, who has immersed himself in Sondheim’s work through countless hours of interviews, feels a sense of wonder as he continues to explore the collection. His insights eventually culminated in the publication of ‘Sondheim on Music: Minor Details and Major Decisions,’ referencing a key lyric from Sondheim’s own repertoire. The process of reviewing the papers has illuminated Sondheim’s meticulous artistry, challenging Horowitz’s understanding of his work.
Among the treasures in Sondheim’s collection are detailed sketches for one particular song, ‘A Little Priest,’ from the musical ‘Sweeney Todd.’ The song’s grim theme of turning customers into meat pies is cleverly juxtaposed with hilariously gruesome lyrics. Horowitz reveals there were not only the 31 victims named in the final version of the song but also an astonishing total of 158 potential victims that Sondheim considered, showcasing an exhaustive creative process. One particularly amusing abandoned couplet reads: ‘everybody shaves except rabbis and riff-raff.’ This detail underscores Sondheim’s vibrant sense of humor, even in the darker themes of his work.
Horowitz highlights the layers of updating and revising typical of Sondheim’s process as he navigates through various iterations of the song. Even after writing down lyrics in a more formal sheet music format, Sondheim was known for making changes right up until the show opened. Horowitz points out a handwritten adjustment on a typed lyric sheet that adds the memorable line: ‘we have some shepherd’s pie peppered with actual shepherd.’ The relentless pursuit of perfection evident in Sondheim’s work exemplifies why he is revered in the world of musical theater.
The breadth of Sondheim’s talents can also be seen in works dating back to his high school days. His early forays into songwriting, represented by his high school musical ‘By George,’ included quirky titles such as ‘Meet You at the Donut’ and ‘Wallflower’s Waltz,’ indicative of his whimsical style even as a teenager. Notably, the collection also houses a piano sonata composed in college and a song he wrote with aspirations of getting it performed by Judy Garland.
Many of Sondheim’s sketches and notes have become essential resources for musical scholars and students. One particularly intriguing artifact is an internal monologue that he composed for Glynis Johns, the lead in ‘A Little Night Music,’ which provides insight into her character during the performance of ‘Send in the Clowns,’ the most celebrated song from Sondheim’s oeuvre. The monologue encapsulates her thoughts and emotions, illuminating a depth that did not make it into the song itself.
Sondheim’s internal exploration for his characters reveals the layers of complexity that shaped his work. Referring to a line where the character reflects, ‘You think you’ve made your bed and you have to lie in it,’ Horowitz notes how these insights carve out a rich narrative, yet they remain outside of the performed lyrics. It’s a testament to Sondheim’s understanding of his characters and the human experience, and Horowitz humorously ponders why such poignant lines did not make it into the musical, concluding simply that they ‘don’t sing well.’
Horowitz’s admiration for Sondheim’s meticulous methods extends beyond lyrical sketches. He points out that Sondheim engaged in thoughtful music sketching, a practice that is often overlooked among composers, even in classical music realms. During a brief interlude at the piano, Horowitz shares musical excerpts that showcase how Sondheim’s experimental notes create unexpected effects that enhance the lyrical quality of his songs.
Sondheim’s manuscripts now reside alongside notable works of composers who inspired him, like George Gershwin, and those he influenced such as Jonathan Larson, the creator of ‘Rent.’ The notion of these artistic titans communicating with each other through their work brings Horowitz immense joy. He envisions them in a sort of dialogue, whispering about the nuances of their crafts piled high on the Library of Congress shelves. This imagery evokes a deep respect for the legacies of these artists, illustrating that the world of musical theater is not just about individual genius but rather a continuous conversation between artists across generations.
As Mark Eden Horowitz continues to delve into the treasure trove of Sondheim’s collection at the Library of Congress, he discovers anew the intricacies and dedicated labor behind each masterpiece. The legacy of Sondheim, both as an artist and as a profound thinker, is now preserved for future generations to study and celebrate. The richness of his work, captured through countless pages of notes and sketches, serves both as a testament to his artistry and an inspiration to all who wish to follow in his footsteps.
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