BY MARK EDEN HOROWITZ

Not A Day Goes By

Background. Merrily We Roll Along boasts a score that’s full of what
sound like traditional musical comedy songs from the mid-1950s
through the 1960s. While the score is clearly Sondheim and the songs
are not pastiches, there are evocations of several of his contempo-
raries: Bernstein, Bacharach, Styne, Coleman, Strouse and Kander.
What’s less obvious is the interrelatedness of the score — most of the
songs are constructed using elements of each other.
The songs composed by the character Franklin Shepard all include
the same melodic theme (a leap up a fourth, a return to the original
note, then a leap up a minor seventh): “The Hills of Tomorrow,” “Who
Wants to Live in New York,” “Bobby and Jackie and Jack,” and, in its
apotheosis, “Good Thing Going.” The songs that relate to the chang-
ing friendship between Frank, Charlie, and Mary are more subtly relat-
ed. For instance, the release for “Old Friends” is based on “Like It
Was” (or vice versa). “It’s a Hit” includes a 6/8 version of “Old
Friends,” and the melody of “Old Friends” becomes the accompani-
ment for the chorus of “Opening Doors.” At the end of the show we
discover that aspects of its “Rich and Happy” opening had been cor-
rupted from “Our Time.” But “Not a Day Goes By” is one of the few
songs in the show with no obvious relationship to any of the others.
However, it is heard twice in the show and, while the music doesn’t
change, the lyric and the feeling are antithetical. It is also the song
that is shared by the other triangle in the show — Beth, Mary and
Frank, the three characters who share a romantic love.
Because he accomplished it so artfully, it’s perhaps less obvious how
difficult a challenge Sondheim set for himself: to write a song that
retains its recurring title phrase and, with only slight lyric changes,
functions variously as a love song, a song of unrequited love and a
torch song. With his puzzle mind, he found the title, “Not a Day Goes
By.” That the music does not change might seem equally surprising,
but ballads, whatever their type, can share an intensity of feeling where
the line between pleasure and pain is hard to distinguish. As the char-
acter of George in Sunday in the Park with George sings, “Pretty isn’t
beautiful.” Conversely, beautiful music isn’t necessarily pretty — but
more on that later.

22 The Sondheim Review

Lyrics. Much to my surprise, using Sondheim’s
lyric sketches for “Not a Day Goes By” in order
to understand the evolution of its creation has
proven to be more difficult than deciphering
any previous song. The first page of music
sketches (which acts as a folder for all that fol-
lows) includes the title “Not a Day Goes By”
front and center. What was not clear was
whether or not this page preceded the first
pages of lyric notes and sketches, where the
song title does not appear until (if their order is
correct) the fourth page.
Then Sondheim explained the genesis of the
song’s title as I was preparing this article. A
close friend had confided to him that she had
had an intense extramarital affair. After some
months, her lover presented her with an ultima-
tum that she had to choose between him and
her husband. With some anguish she chose her
husband. Months later her phone rang at 3:00
in the morning, and all that was said was a whis-
pered: “Not a day goes by.” It said everything.
Sondheim was deeply touched by this story, and
when the time came to write a song for Merrily
that would convey a sense of a deep and abiding
love, he recalled the phrase and realized it
would be a perfect title.
Nine pages of notes and lyric sketches are
followed by three pages of typed lyric sheets
with handwritten annotations. The first two
pages of notes are very brief, but the first
includes some ideas that make it to the final
song. First, the couplet: “Turning and reach-
ing/And waking and sinking”; and the three
lines:

And I have to say

If you do, I’ll die,
Dying

The second page is titled “Mary”; it compris-

es two lines that ultimately play no part in the
final lyric (“Could I break away?/With your
help, I’ll try”), though before being abandoned,
those lines will inform several pages of sketches.
consider for the release — personal favorites Not a Day Goes By 3
It’s the third page, titled “Torch-Beth” where
include: trembling, circling, fiercer, rougher,
the song begins to find its shape; several lyric
viler. Notice that verbs and adjectives are co-
lines are born that will be retained as is or
mingled here, whereas in the final versions of
slightly modified in the final song: “You’re not
the song, the torch song uses only verbs, the
somehow a/Part of my life,” “When’s the day I’ll
love song only adjectives. The fascinating sense
have started forgetting”; and the phrases that
it leaves is that we like to think about and
will comprise (for lack of a better term) the
grade the quality of our love, but that suffering
release, are clearly born in substance with:
is physical.
It is on the fourth page that the song quickly
That I just can’t keep
finds its almost complete form and content. But
Thinking + sweating and burning [shaking rag-
first there is a false start that reads as a kind of
ing] + crying
introduction:
And thinking [hurting] + reaching [hoping] and
waking + dying.
You look fine.
(Note: Words in square brackets are penciled
How have things been going?
above the words they follow.)
What’s new with Charlie?
Order me a Martini.
In addition to the above lines, the left mar-
gin lists more than a dozen alternate words to
CONTINUES ON PAGE 24

The Sondheim Review 23

 BIOGRAPHY OF A SONG, FROM PAGE 23 in subsequent productions of the show is includ-
ed here as an alternative: “But you’re some-
where a [still somehow] part of my life.” And
Obviously, this is a conversation which would the release has only one verb that will change:
not have taken place on the courthouse steps, “cursing” will ultimately replace “shaking.” The
so one assumes that in the draft of the script verbs of the release now have a greater sense of
Sondheim was working from, Beth and Frank structure — of one action following the other
— particularly “... turning and reaching and
waking ...” (which seems to echo these lines
from Ben and Sally’s duet in Follies: “Too many
mornings/Waking and pretending I reach for
you”).
The fifth page and most of those that follow
appear to be attempts to rethink the song for
its second act incarnation as a love song,
though in some instances the emotions are
more ambivalent: “Then I think that I’m/Free
for a while/Then you smile ... And I think/For a
moment I’m free ... I swear I’ll be free/It’s not
something in you, it’s in me ...” But the page
does end with a version of the release that is
close to the final:

But [’Cause] it only gets

Better and deeper [sweeter]
And richer [warmer] and stronger

And again the margin lists another dozen

adjectives to consider, including: hotter, calmer,
wilder, freer, and fiercer. Not only does the
release in the Act II version of the song use all
adjectives, they’re all comparatives, which pro-
vide the “er” identities that aren’t really rhymes
but do add an intensity to the lyric. Going
through all of the manuscripts, I count a total
of 29 verbs (present participles all ending in
“ing”) and 30 comparative adjectives that
Sondheim considered for the two versions of the
release — nearly 60 candidates for 16 slots.
The sixth page begins a focus on the trans-
formation of friendship into love, as in this
quatrain:

I keep thinking
When will it end
That [Can] a lover was [can]
Born from a [Start as a] friend

As friendship is one of the show’s primary

themes, it makes enormous sense that
Sondheim would consider including it here, but
it’s also clear why it doesn’t quite work dramati-
cally, as we, the audience, have not experienced
the friendship between Beth and Frank.
Ironically, two pages later, Sondheim considers
the opposite evolution with: “Will my lover/Turn
Not a Day Goes By 4 into my friend?” These last few pages of lyric
were meeting in a restaurant or bar. The above sketches also find Sondheim flirting with sur-
lyric leads immediately into “Not a day goes by prisingly purple language, including words and
... /Not a single day,” and we have both the title phrases that sound more like Porter — or even
and the song’s opening lines. After a few other Hammerstein: “Oft amazed ... Gods in the sky
couplets and phrases, the bottom half of the ... When I heave a sigh ... I don’t thank my stars
page has the completed lyric almost exactly as ... Beginning to blend.” Though this approach
it appears in the final version. In fact, one bears no fruit, it is reassuring to see
choice Sondheim will continue to struggle with Sondheim’s fearlessness in considering the

24 The Sondheim Review

clichéd. Even more reassuring to aspiring lyri-
cists is to see that he considered the phrase:
“I’m so proud I could spit.”
There is no final lyric manuscript for the Act
II version of the song. However, there remain
three pages of typescript, all heavily annotated.
The first page of typescript is dated 8/9/80 and
is for the Act II version of the song. There are
two sections that differ radically from the final
version, but they have been crossed out; many
ideas to replace them are penciled in the mar-
gins. First, after “I keep thinking, ‘When does it
end?’” he has this quatrain:

I keep swearing I’ve got to be free,

It’s not something in you, it’s in me.
And I swear it
And then

The above leads back into “Not a day goes by

… .” This perhaps works as pre- (or post-) shad-
owing, but seems wildly inappropriate for a wed-
ding song. The second phrase comes after “And
you don’t go away”:

It’s the old cliché:

Do I laugh or cry?

which goes directly into “I’ve got day after

day ...” At best, the couplet seems awkward.
This is followed by an undated typescript of the
Act II lyrics, and handwritten in the left margin
are the Act I lyrics — apparently for compari-
son. This typescript is almost exactly the song
as we know it, but there are a few words and
phrases that Sondheim agonizes over, many of
which he will continue to reconsider in later
productions.
For instance, in the typed lyrics “somewhere
a” is crossed out and written above is “still
somehow,” and “But you somewhere come into
[my life]” is crossed out with “But you’re still
somehow part of my [my life]” written above.
And he’s still undecided whether it should be
“And you don’t go away” or “And you won’t go
away.” The final typescript, dated 10/29/81
(almost a month into the extended previews), is
for the Act I version of the song, which has now
been given to Frank. Sondheim has crossed out Not a Day Goes By 8
three words and phrases and notated replace- fresh and alive. (In a later conversation he
ments, each of which will return to its original added that it’s also important that music — as
version in the published score: “cursing” is opposed to, for instance, painting — is an art
crossed out with “hoping” written in its place; form that takes place over time and, as a result,
“blessed” is replaced by “single”; and “I’ll die” it has a sense of expectation and arrival.) The
is replaced with “Dying.” The point is the goal is best summed up in a quote he first
unending struggle of the craftsman, even in a heard from Bernstein (but he doesn’t believe it
song such as “Not a Day Goes By,” where the was original with him): “Music should be fresh
lyric is comparatively straightforward and tradi- but inevitable.” When Sondheim said this to
tional. me, I nodded knowingly, but I’m not sure I real-
ly understood it until I began examining “Not a
Music. When I interviewed Sondheim in 1997, Day Goes By.” The song sounds like a moving
he made clear to me that his composition is ballad of a fairly traditional mien, but on exami-
guided by two primary impulses that are in ten- nation I now believe it is an ideal example of
sion — making the most of his resources and Sondheim’s craft at balancing those two seem-
believing that surprise is what keeps music
CONTINUES ON PAGE 26

The Sondheim Review 25

 BIOGRAPHY OF A SONG, FROM PAGE 25 “turning and reaching ...” exemplifies the latter.
And focusing on just the rhythmic construction
ingly conflicting objectives. of the song, there are 22 sets of three quarter-
The basic tune or melody of the song is con- note triplets, and 17 musical phrases that begin
structed almost entirely with three short with two eighth-note (whole step) pickups — as
motives or cells that become building blocks for exemplified by the italicized words in the open-
all that follow. The five notes that underlay the ing part of the lyric:
title lyric, “Not a day goes by” (G-A-C-B-flat-A),
is the primary motive. It’s a simple theme, with Not a day goes by,
no dramatic leaps, no chromaticisms, and no Not a single day
unusual rhythms or accents. And it repeats But you’re somewhere a part of my life
immediately, “Not a single day.” In fact, that And it looks like you’ll stay.
motive appears nine times without alteration,
and two or three more in variation. And as the That’s the making the most of his resources
(or the inevitable) part, but where does the sur-
prise (or the fresh part) come in? From the
beginning and continually. In fact, almost every
measure or phrase includes something unex-
pected in the melody, harmony, rhythm or
accompaniment.
First, there’s a three-measure introduction
(unusual because it’s an odd number). Actually,
it’s a two-measure phrase that repeats, but the
chorus overlaps it by beginning over the second
measure of the second phrase. This theme con-
tinues beneath the chorus, becoming a counter-
melody. The phrase is based on a pattern of a
series of leaps that resolve down a step, with
each leap being one step less than the previous
one. As the phrase repeats under the chorus, it
begins on a starting note that is a third lower;
so while the leaps arrive at the same notes, the
leaps themselves are greater. The way the two
themes work in counterpoint creates moments
of tension within the harmony. And because the
melody and counter-melody begin at different
measures, the sense of a “round” is created,
which adds a feeling of movement or propulsion
to the song. The counter-melody itself is trans-
formed in the second half of the song, begin-
ning under the long note where the word “no”
is sung. Here it is fitted with a high starting
note that begins on the beat and, instead of
alternating eighth notes and quarter notes, the
rhythm is smoothed out into quarter-note
triplets. The inspiration for all of this appears in
a note Sondheim made in the upper right mar-
gin of one of his lyric sketches: “Low monoto-
nous vocal line vs. orch. arching.”
Returning to the song proper: while the
melody of the primary theme repeats exactly at
“Not a single day”, the harmony changes at the
word “day,” now a D-minor ninth chord — as
opposed to an F-major. In the next measure
(“but you’re somewhere a”), we think initially
Not a Day (Folder Sketch)1 that the theme is going to repeat again, though
a fourth lower. But the theme is quickly modi-
theme covers two measures and the entire song fied, and we get the first set of quarter-note
is 45 measures long, two-fifths of the melody is triplets (“somewhere a”), here down-a-third-up-
comprised of that motive. The other primary a-fifth. The following measure (“part of my life
themes are sets of three quarter-note triplets and I”) is the first of two 6/4 bars (six beats to
that either go down-a-third-up-a-fifth (fifteen a measure as opposed to four) and includes the
times), or down-a-third-up-a-fourth (six times) first chromaticism in the song, here in the
— the music that underlays “thinking and accompaniment (making a tritone at the word
sweating ...” exemplifies the former, whereas “life”). (In Sondheim’s manuscript for the song,

26 The Sondheim Review

he initially had the 6/4 measure under the lyric
“ … stay. As the days go … ”; the final version
means that the primary harmonic changes now
happen at the downbeats, which feels more
appropriate.) In the next measure (“looks like
you’ll stay”) the harmony is an E-flat chord, a
chord not based on any note of the home key,
and we get the first of the triplets that’s down-
a-third-up-a-fourth.
It’s hard to say definitively what is the larger
structure of the song. Measure 11 (“As the days
go”) could either be a continuation of the previ-
ous section, or the start of a new one. Either
way, for two measures it returns to the primary
theme and harmony, when suddenly (“I keep
thinking”) we get the first of four heart-stop-
ping moments in the song — each of which is
slightly more discordant than the previous. At
“think … ” the melody unexpectedly leaps up a
sixth, and a C-sharp is added to the accompani-
ment in the tenor — two significant surprises.
The harmony resolves quickly, but the melody
continues sinuously and, as the phrase com-
pletes, it includes three measures where the
melody is unique in the song (“ … when does it
end? Where’s the day I’ll have ... But I just go
on”) that add moments of hesitancy.
Measures 18 through 21 (“… thinking and
sweating ... waking and dying and …”) are
entirely made up of the two quarter-note triplet
motives, and functions as the release of the
song. While the melody is repetitive, the basic
harmonies underneath change at every meas-
ure, and more subtle shifts — suspensions,
changed inversions, added colors — occur at
every half-measure. As a result, every iteration
of the two motives is unique. (There are some
discrepancies between how this section appears
in the published piano-vocal score and
Sondheim’s original manuscript, and how it
appears in the published sheet music.
According to Sondheim, the published changes
came about so as to coincide with the arrange- Not a Day (Sketch)2
ment on the Carly Simon recording, although chord. This is the second of the four “heart-
he prefers his original version.) stopping” moments, but the third occurrence
At measure 22 (at the word “no,” and mid- happens almost immediately, in measure 25 on
way through the song) there is a key change the word “blessed.” The melody now reaches
from F major to G major. However, though the that much higher, to the key appropriate F-
moment is dramatic and powerful, it’s not that sharp, but by repeating the A-flat accompani-
obvious that a key change has occurred. In fact, ment, the new chord is even more dramatic and
because of the preceding measures, what the unsettling. Having these two moments follow so
listener hears is the change from G minor to G quickly on the heels of each other, leads the
major. That one-word cry of “no” that is held audience to expect increasingly frequent sur-
for more than a measure is a unique moment in prises, but now the surprise is how quickly
the song and, along with the key change, it things seem to return to normal.
seems to signal an emotional change — a At measures 30 and 31 (“So there’s hell to
heightened intensity — in the singer. pay”) we even get a repeat of the primary
At measure 23 we seem to be returning to theme, and now once again it starts on the
the primary theme as well as the title phrase appropriate scale note of the key — something
(“Not a day goes by”). Although the melodic we haven’t heard since measures 11 and 12.
outline is the same, in relation to the home key Then Bam!, in measure 32, at “And until”, the
(now G) it’s set a third higher, so the note at theme once again takes an unexpected leap
the word “day” (F-natural) is a flatted seventh melodically, while the harmony superimposes a
note of the scale, and the accompanying harmo- D-sharp minor chord over the G bass, to provide
ny is now even further afield, based on an A-flat
CONTINUES ON PAGE 28

The Sondheim Review 27

 BIOGRAPHY OF A SONG, FROM PAGE 27 is also able to use music to help convey an idea,
a thought, and I believe “Not a Day Goes By” is
what is the single most jarring and unexpected one of those times. It may not be entirely con-
chord in the song. It’s worth noting here that a scious on his part, although that note in his
significant aspect of music, particularly that lyric sketches, “Low monotonous vocal line vs.
which we think of as being derived from a classi- orch. arching,” could be an indication that it
cal and romantic tradition, is about finding was. Both the tension between the melody and
ways to delay or subvert the expected resolution the counter-melody that are out of synch with
or progression of harmonies — that the more each other, and the frequency of triplets, partic-
tension a composer can provide without going ularly when they’re set against an obvious duple
too far and losing the listener’s sense of a root- or quadruple pulse, serve as musical illustra-
ed tonality, the more gratifying it is when the tions of the idea of the song’s title. In other
harmonies finally do reach the tonic. And, yes, words, through most of the song it feels as
there are sexual parallels. Most of what we think though the melody is fighting against what is
of as rich, lush, romantic music — Tchaikovsky, happening underneath, as though it’s reluctant
Rachmaninoff, Ravel — is actually full of clashes to “let those days go by.” Those four shocking
and tensions and harmonies that verge on the harmonies, coming as they do in unexpected
painful. It might not be pretty, but it is very times and places, act as musical representations
beautiful. of the flashes of awareness and emotion that
There are seven pages of musical sketches, occur when inescapable and unbidden thoughts
followed by a five page fair copy of the song, overwhelm us. And the constantly repeating
and additional pages for the various beginnings motives seem emblematic of the emotion of
and endings for the two versions of the song. being haunted — unable to escape the feeling
The sketches consider dozens of alternatives of, of love or regret — that is the song’s focus.
mostly subtle, melodic variations, harmonic pro-
gressions, rhythmic variations, and accompani- Recordings. Because the three cast recordings
ment figures. For the latter, there’s even a very of Merrily each include two versions of “Not a
frenetic version full of sixteenth notes and chro- Day Goes By,” I have found 60 recordings of the
maticisms in the alto, and a note where song on 58 discs. This makes it Sondheim’s
Sondheim reminds himself to consider an fourth most recorded song (after “Send in the
accompaniment similar to the one found in one Clowns,” “Losing My Mind,” and “Being Alive”);
of his more obscure songs, “No, Mary Ann.” though it’s also of more recent vintage than the
At one point he literally writes “key change?” others. It’s also worth noting that 19 of the
while above he posits the two possible notes on recordings are medleys with at least one other
which his melody might land, depending on his song, and in seven cases that song is “Good
decision. In most cases, after considering more Thing Going” (also from Merrily). Close to a
complex alternatives, Sondheim settles on the third of the recordings are by men, though
simpler versions of phrases — particularly there are also several that are by vocal groups of
melodically. One exception is the melody under various sizes and genders (including two by gay
“when does it end,” where he initially consid- men’s choruses). Having listened to 41 of the
ered a very traditional phrase using a repeated recordings, my biggest surprise was to discover
note and moving only one step. One senses that that most of the recordings used the love song
he was particularly pleased when he found the lyric, not the torch song ... and a few used both.
more sinuous and wide-ranging final version — Merrily is rare among Sondheim scores in
although in one sketch he included an even that two of its songs were recorded and released
more daring chromaticism. prior to the cast recording. “Good Thing
Even the fair copy of the song is full of era- Going” was included on Frank Sinatra’s She
sures, not to mention crossed-out and rewritten Shot Me Down, and “Not a Day Goes By” was on
measures. Surprisingly, this most complete Carly Simon’s Torch, released on August 1,
manuscript of the song is for its second act ver- 1981. The latter was Simon’s first album where
sion. Measure numbers begin at 40, and a note most of the songs had been written by others,
at the top indicates the song originally segued and was one of the first attempts by a “rock”
directly out of “Honey.” According to performer to record standards. (Linda Ronstadt
Sondheim, the cut song “Honey” was part of a began work at approximately the same time on
whispered scene that took place between Beth her own first recording of standards, but
and Frank in the dressing room below the night- delayed its release.) Arranged by Mike Mainieri
club floor, while Beth’s parents were above wait- and orchestrated by Don Sebesky, Simon gives
ing to attend the wedding ceremony. This fair an acceptable performance, but she so
copy does not include Mary at all, but rather smoothes out some of the harsher moments in
features Frank singing most of the song, joined the song that it becomes more of a lament than
by Beth only at the very end. a torch. The album was not well-promoted and
Sondheim is noted for his prosody — how a peaked at No. 50 on the Billboard chart.
lyric sits on a piece of music — and for his abili- When the original cast album was released it
ty to convey character and emotion through was reviewed by Stephen Holden in The New
music. But there are a few occasions where he York Times (along with William Finn’s March of

28 The Sondheim Review

the Falsettos), who had this to say: “‘Not a Day
Goes By,’ the most captivating Sondheim ballad
since ‘Send in the Clowns,’ is a certain stan-
dard.” However, because the actress who played
Beth, Sally Klein, was not vocally strong
enough, the song had been given to the charac-
ter of Frank, Jim Walton, to sing in the first act;
and the second act version was also reconfig-
ured in a less than ideal way. So, of the cast
recordings, the one from the York Theater
Production in 1994 best reflects Sondheim’s
intentions in both versions of the song, and
Anne Bobby as Beth is particularly affecting.
I was tangentially involved with the 1991
production of Merrily at Arena Stage in
Washington, D.C. A favorite memory is standing
at the back of the theater late in the rehearsal
process. Marin Mazzie as Beth was onstage
singing a heart-wrenching version of “Not a Day
Goes By,” when Sondheim turned to George
Furth. I overheard him say: “If ever a singer was
born to sing a particular song, she was born to
sing that one.” While Mazzie has sung the song
in two productions of Merrily and in several con-
certs, the only recording of her rendition is on
My Favorite Broadway: The Love Songs, where
it’s part of a medley with two other singers and
two other songs. (Incidentally, one of those
other songs is Kander & Ebb’s “Sometime a Day
Goes By” from Woman of the Year, also from
1981. The two songs have great similarities in
subject and tone — although Kander’s musical
accompaniment here is more reminiscent of
“Another Hundred People” — making for a fas-
cinating comparison of the two songwriters.) A
new recording by Mazzie will be included on an
album of (mostly) duets with her husband,
Jason Danieley, about to be released by PS
Classics.
Listening to so many recordings, I was disap-
pointed by the majority of them. The most com-
mon fault was over-indulgence, singers more
interested in showing off their voices than in Not a Day (Sketch)2
by the extreme rhythmic liberties she takes. In
conveying the meaning of the song. That said, fact, with all the recordings of the song, almost
there are some standouts. Barbara Cook’s per- any liberties taken in rhythm, harmony or
formance (in a medley with “Losing My Mind”) accompaniment, lessened the song’s impact.
is exquisite. And when she sings the two words That’s the difference between a songwriter
“I want,” it breaks your heart. Cleo Laine’s and a composer. |TSR|
recording is lovely, and the Tunick re-orchestra-
tion is luscious. Nancy LaMott (in a medley with MARK EDEN HOROWITZ is a senior music specialist
“Good Thing Going”) sings at a faster tempo at the Library of Congress. This column reflects his
than most, but it’s intense and intelligent, and personal, not professional, observations. Horowitz
pretty great — although she sings the love ver- is the author of Sondheim on Music and has
sion in a way that would seem more appropriate taught courses at Georgetown University about
for the torch. Patti LuPone’s recording is also at the history of musical theatre and specifically
a fast clip, although more restrained than one about Sondheim. “Biography of a Song” is a regu-
might expect — until the repeat. The New York lar feature of TSR.
City Gay Men’s Chorus version was a real sur-
prise: it’s beautiful and moving. The arrange-
ment is hymn-like, turning the song into a
quasi-religious work. Who would have thought?
Mandy Patinkin’s recording is close to perfec-
tion. Bernadette Peters has recorded it twice,
both in live performances, and although both
are intense and passionate, I was left frustrated

The Sondheim Review 29