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Math and music are intimately related. Not necessarily on a conscious level, but sure.

Stephen Sondheim

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Stephen Sondheim
Age: 94
Born: 1930
Born: March 22
Author
Composer
Dramaturge
Librettist
Lyricist
Musician
Poet
Screenwriter
Songwriter
New York City
New York
Stephen Joshua Sondheim
Level
Levels
Sure
Music
Intimately
Math
Related
Necessarily
Conscious

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Sometimes people leave you Halfway through the wood Others may decieve you You decide what's good You decide alone But no one is alone
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I've always liked puzzles, since I was a kid. I like party games, silly games. I loved chess. I enjoy jigsaw puzzles, but I'm not particularly visual.
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Anything you do, let it come from you. Then it will be new.
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To wish and wait From day to day Will never keep The wolves away.
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If I cannot fly, let me sing.
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Opportunity is not a lengthy visitor.
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You may know what you need, but to get what you want, better see that you keep what you have.
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It should be interesting to see two entirely different ways to treat a story, geared for two entirely different kinds of audience.
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I do not hope for what I cannot have! I do not cling to things I cannot keep!
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Now, this one might be a little stringy, but then again, it's fiddle player. That isn't fiddle player, it's piccolo player. How can you tell? It's PIPING hot! Then blow on it first!
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Generally, the best recording is the original cast, because that's the way the piece grew: integrally, with them.
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It's pleasanter to work in the country, where you can wander out among the trees. But I don't get as much work done. In the city you don't want to leave the room because there's all that chaos going on.
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I've always preferred actors who sing to singers who act in all the shows I've done.
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You move just a finger, say the slightest word, something's bound to linger-be heard.
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I get some flak for and some resistance from colleagues for because I'm interested in storytelling. I mean what I like about songwriting is songs used to tell a story.
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Every writer I've ever spoken to feels fraudulent in some way or other.
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The nice thing about doing a crossword puzzle is, you know there is a solution.
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That's the trouble with awards for a body of work. They always come at both a good time and a wrong time. Good because they tell you what you've been doing was worth the doing and wrong because they ought to come when you're young and excited and hungry for assurance that what you're doing is worth the doing.
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You have to be submitted for the Pulitzer, and unbeknownst to us, a choral director whom I know had submitted us.
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Lemuel Ayers had had a huge success producing and designing Kiss Me, Kate. He wanted to produce this as a musical. I got the job. It was a professional score.
Stephen Sondheim