Their next big hit came in 1927 with a stage adaptation of Mark Twain’s A Connecticut Yankee in King Arthur’s Court. The pair even had a successful debut in London in 1926. They followed it up the following year with a string of minor hits like Dearest Enemy, This Girl Friend, and Peggy Ann. The Garrick Gaieties made Rodgers and Hart the songwriting duo to watch in 1925. Everyone was singing "Manhattan" together when the house lights came up. The tune was called "Manhattan," and on opening night, the audience demanded about 10 encores of it. The breakout number from the show was a love letter to the city they called home, and all of the cheap and not-so-fancy amenities it had to offer. Then in 1925, they wrote the music for a review called The Garrick Gaieties, the show that put Rodgers and Hart on the map. Rodgers was still a teenager at the time. Their only song to make it onto a Broadway show was “Any Old Place With You” from 1919, which ended up on a review called A Lonely Romeo. The pair had almost no success for their first five years together. Mercurial, hot-tempered, paranoid, gregarious, always with a cigar in his mouth-the exact opposite of the orderly Richard Rodgers in every way. Hart was by all accounts a difficult man to work with. Rodgers later wrote that when he met Larry Hart, quote “I acquired a career, a partner, a best friend-and a source of permanent irritation.” The two kids hit it off right away, both with grand ideas of transforming the musical stage. When he was 23 years old, he was introduced to a 16-year-old aspiring songwriter named Richard Rodgers. Although Larry Hart really wanted to be a lyricist. When he was in his early 20s, he got a job translating German plays for the Shuberts, the owners of the Broadway playhouse that bears their name. He attended Columbia University for a stint, but left to pursue work in the theatre. The young Larry grew up fast, devouring book, plays, and all kinds of culture-although he never physically grew over five feet tall. Lorenz Hart was born in Harlem in 1895, the son of a successful business promoter and a distant relative of the famous German poet Heinrich Heine. This week, I’ll bring you the first of several shows exploring the songs of Rodgers and Hart, focusing on songs from roughly 1925 to 1935, including “Manhattan,” “Blue Moon,” and “Isn’t It Romantic?” "We'll turn Manhattan into an isle of joy." And throughout the 20th century, these songs became essential staples of American culture. For twenty-five years, composer Richard Rodgers and lyricist Lorenz Hart wrote the best songs for the stage. A RARE VINTAGE COPY.If I had to choose one songwriting partnership as the crown jewel of the great American songbook-a paradigm of inventiveness, tunefulness, and consistent quality-it would be Rodgers and Hart. Through collaboration of many, the best of the Rodgers and Hart songs are published in one beautiful permanent volume-previous sheet music publishers agreed to lift the usual copyright restrictions on the songs, making it possible to publish all of these outstanding popular songs in one unique volume. Part four (1938-1942) from The Boys from Syracuse Too Many girls Pal Joesy By Jupiter, etc. Part three (1935-1938) from Jumbo Babes in Arms I Married an Angel, etc. part two (1020-1935) from Spring is Here Simple Simon America's Sweetheart Hallelujah, I'm a Bum, etc. Part one (1925-1928) from Garrick Gaieties The Girl Friend, A Connecticut Yankee, etc. Foreword by Oscar Hammerstein II Introduction Notes on Lorenz Hart by Richard Rodgers. Cover corners and right sides somewhat frayed exposing cardboard underlining. Faded rose colored front and back covers with gray spine. inner spine crease weakened but all pages intact. pages tight moderate page wear no markings pages slightly yellowed page edges somewhat darkened. Words and music of 47 of Rodgers and Harts songs. 244 pages with Notes on Rodgers and Hart Shows index in rear 4 parts.
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