Work on the melody and chords using the verse and chorus lyric you have, gradually smoothing and changing until you have something you like. Then write the rest of the lyric to the final melody. Songs for musical theater are different — they usually do require perfect rhymes. Check out a web site like Rhymedesk.
This worst of all possible worlds. All ends in dust in This worst of all possible worlds. This comparison clearly indicates that Wilbur should at least receive credit as co-lyricist. And since we're on the subject, I think Wilbur's original lyrics were better! Other than giving the pessimistic Martin a song of his own, I don't think this adds much to the show.
It was first recorded for the 88SO released inbut first appeared on the 89BV. It is called simply Laughing Song in the program of the 88SO.
It's one of the handful of songs that are sung in every production in roughly the same location of the score. Another highlight for me, I love how Wilbur's lyrics sit on Bernstein's notes. Gilbert and Sullivan would have approved. The published libretto omits the "dumb goat" verse and its preceding chorus, even though both are sung in the 56BP and were published in the vocal score.
The Simple Life [Wilbur] That is, when the lyrics are used. In the Bernstein collection at the Library of Congress, there is an undated sketch of the music — titled All at Sea, with alternate titles "Parliamentary Rondo" and "The Kings' Rondo" —with an accompanying lyric sheet similar to the lyrics used in the 88SO and all subsequent non-Harold Prince productions.
I believe that this was written for the original production and discarded before any actual performance. The earliest credited performance that I was able to find was in the program of the 71TP for a selection entitled Barcarolle: Wilbur's lyrics may have been re-written for this production, because there were no kings in this version.
Except for the names of the characters singing the song, nothing in the lyrics indicate that the parts must be sung by kings. I have been told by someone who attended a performance of the 66UC production that the music was used as underscore during Scene VI in Act 2.
This is consistent with that production's use of music discarded for the Broadway production. Prince uses the music [ The "kings" version [ The published score along with the libretto makes it clear that this was not the case.
It was both underscore and a choral piece used throughout the scene in the Venice casino Act II, Scene 2. It was performed in the 56BPbut not recorded. Its first recording was for the 82NY though not given separate credit.
It is given individual credit in the 89BV as well as in the 99NT. Up until the 99NTthere had only been two versions with slight variations: Prince shifts the verses around, and a different set of characters sing it. Still, the structure remains the same: In the 99NTthe emphasis is taken off the gambling and cheating aspect of the original version and deals with each character's attitude about life in general.
The verses are sung in turn by each of the main characters except for Candide and Cunegonde. The new lyrics [ Sadly, if they were written by him, these lyrics are sub-par for Wilbur.
The first part let's call it "I've Got Troubles" is usually sung by the Old Lady in disguise and the second part let's call it "Lady Frilly" is sung by Pangloss.
After each part is sung separately, they are sung again in counterpoint, with the Old Lady being joined by Cunegonde.
In fact, the song is listed in the program as I've Got Troubles [ Hellman's letter to Bernstein states the possibility of using the music as underscore during the Venice casino scene.The Good Fight: How World War II Was Won [Stephen E.
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