The New York Times has scored quite a coup by getting Paul Simon to review Stephen Sondheim's new memoir, Finishing The Hat. One great songwriter discusses the craft of another.
The title of the book comes from one of Sondheim's most famous lyrics, from his musical about Georges Seurat, the French impressionist. It's a meditation on the exquisite joy of artistic creativity - of creating something out of nothing, even when that something is sort of nothing, and your lover has just walked out:
And when the woman that you wanted goes,
You can say to yourself, “Well, I give what I give.”
But the woman who won’t wait for you knows
That however you live,
There’s a part of you always standing by,
Mapping out the sky,
Finishing a hat . . .
Starting on a hat . . .
Finishing a hat . . .
Look I made a hat . . .
Where there never was a hat.
(This, by the way, is a lyric that makes Teller, of Penn and Teller, weep.) In the book, Sondheim reveals that he's not very proud of the lyrics to Maria, from West Side Story. Egged on by his collaborator Leonard Bernstein, he feels that he wrote something a little too sentimental; too wet. Simon responds:
Sondheim’s regret about “Maria” reminded me of my own reluctance to add a third verse to “Bridge Over Troubled Water.” I thought of the song as a simple two-verse hymn, but our producer argued that the song wanted to be bigger and more dramatic. I reluctantly agreed and wrote the “Sail on silvergirl” verse there in the recording studio. I never felt it truly belonged. Audiences disagreed with both Sondheim and me. “Maria” is beloved, and “Sail on silvergirl” is the well-known and highly anticipated third verse of “Bridge.” Sometimes it’s good to be “wet.”