Richard Rodgers

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Despite an unconventional background in foreign policy and a lengthy tenure as editor of the esteemed journal Foreign Affairs, William Hyland's passion for music led him to pen a biography of Richard Rodgers. His previous work with dance bands and an authoritative book on American songwriters set the stage for this endeavor. Hyland's book offers a lively exploration of Rodgers's life, vividly capturing the Golden Age of American song from the 1920s to the mid-1950s, an era defined by the timeless melodies of Irving Berlin, Cole Porter, Jerome Kern, and of course, Rodgers himself.

The Brilliance of Richard Rodgers

Richard Rodgers's musical journey is one of unparalleled success and prestige. Beginning his collaboration with Lorenz Hart around 1920, Rodgers composed a remarkable repertoire of songs and musicals until Oscar Hammerstein II's passing in 1960. Born into an affluent Jewish family in New York City, Rodgers's musical talent was evident early on. He attended public schools and took courses at Columbia University before fully dedicating himself to songwriting. His partnership with Lorenz "Larry" Hart began in 1918, achieving their first major success with “Manhattan” from the 1925 "Garrick Gaieties." For two decades, Rodgers and Hart were giants in both Broadway and Hollywood.

A Unique Partnership

The pairing of Rodgers and Hart was as unlikely as it was successful. Hart, with his small stature and large head, was both endearing and comical, notorious for his bohemian lifestyle and constant cigar. His tardiness and erratic work habits were a source of frustration for Rodgers, who was punctual, disciplined, and possessed of a sharp business acumen. Despite these differences, Hart’s lyrical brilliance and Rodgers’s melodic genius created a legacy of unforgettable songs and a substantial personal fortune for Rodgers.

Triumphs and Challenges

After experiencing a lull in the early 1930s, with both focused on Hollywood, the duo returned to Broadway with a streak of hits, including On Your Toes (1936) and The Boys from Syracuse (1938). Their work, particularly "Pal Joey," pushed the boundaries of traditional musical theater, offering a sophisticated and sometimes dark look into American life. Songs like "Little Girl Blue," "My Funny Valentine," and "My Romance" became timeless classics, avoiding formulaic repetition and continually challenging audiences.

The End of an Era

Hart's personal struggles, including alcoholism and issues related to his homosexuality, increasingly disrupted their partnership. The strain became unbearable, leading to their separation after a quarter century. By the time Hart succumbed to pneumonia in 1943, Rodgers had already found new success with Oscar Hammerstein II, debuting "Oklahoma!" to immense acclaim. Hammerstein, who had worked with Jerome Kern and Sigmund Romberg, needed a career revival, and his collaboration with Rodgers provided just that.

The Rodgers and Hammerstein Legacy

Rodgers’s collaboration with Hammerstein was marked by a different creative synergy, with Hammerstein’s romanticism and simplicity complementing Rodgers’s style. Their partnership flourished until 1960, yielding iconic shows like “South Pacific” (1949), “The King and I” (1951), and “The Sound of Music” (1959). This era, preceding the rise of rock and roll, was the last golden age of musical theater, during which Rodgers and Hammerstein became synonymous with American popular music. Their ventures extended beyond songwriting; they built a thriving empire in entertainment.

Continuing the Legacy

After Hammerstein’s death, Rodgers continued to compose, even writing lyrics himself for "No Strings" (1962) and collaborating with Stephen Sondheim on "Do I Hear a Waltz?" (1965). Though this phase lacked the monumental success of his previous partnerships, Rodgers’s influence remained significant. He passed away in 1979, leaving a lasting impact on American music.

Exploring the Personal Side

Rodgers's musical genius was shadowed by personal challenges....

(This entire section contains 914 words.)

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Hyland's biography reveals glimpses of Rodgers as a complex individual beneath his prosperous facade. His marriage to Dorothy Feiner faced challenges due to his temperament and attractions to showgirls. Additionally, Rodgers battled depression and alcohol, struggles that affected his family life. His daughters and peers, like Stephen Sondheim, noted his immense talent paired with a more restrained emotional depth.

The Hart vs. Hammerstein Debate

The debate among Rodgers's admirers often centers on his partnerships with Hart versus Hammerstein. Each lyricist's proponents fiercely advocate for the superiority of their favored collaboration. Hart's songs are celebrated for wit and sophistication, while Hammerstein's are acknowledged for their emotional resonance and broader appeal. Hyland, however, argues that Rodgers’s work with Hammerstein surpassed that with Hart, though he occasionally downplays Hart's lyrical brilliance.

The Songwriting Dilemma

Despite criticisms of predictability in the Rodgers and Hammerstein repertoire, Hyland defends their innovation and impact on musical theater. He asserts that their work transcended typical musical structures, embracing complex harmonies and broader themes. While some, like The New York Times critic Jack Gould, found the uniformity of their songs a "heartbreaking disappointment," Hyland highlights their revitalization of the American musical as a greater achievement.

A Lasting Tribute

Hyland’s biography is a vivid tribute to a towering figure in musical theater. The book shines in its recounting of the Rodgers and Hart era, driven by Hart's lively influence. While Rodgers and Hammerstein’s collaboration lacked the same personal drama, their professional success was undeniable. Hyland's exploration of their relationship, marked by professional boundaries rather than personal closeness, provides insight into their dynamic. Ultimately, Rodgers’s musical contributions continue to resonate, offering a sophisticated and poignant counterpoint to contemporary pop music.

Sources for Further Study

Booklist. XCIV, April, 1998, p. 1292.

The Economist. CCCXLVIII, September 12, 1998, p. S15.

Library Journal. CXXIII, May 1, 1998, p. 102.

The Nation. CCLXVII, October 5, 1998, p. 39.

The New York Times Book Review. CIII, May 17, 1998, p. 38.

Publishers Weekly. CCXLV, April 20, 1998, p. 56.

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