BERNADETTE: I AM BERNADETTE

PETERS.

JOIN ME TONIGHT FOR A

CELEBRATION OF STEPHEN

SONDHEIM'S MUSIC, PERFORMED BY

THE NEW YORK PHILHARMONIC WITH

GUEST VOCALIST KATRINA LENK!

IT STARTS IN JUST A MOMENT ON

LIVE F

♪

>> WELCOME TO DAVID GEFFEN HALL

IN NEW YORK CITY.

I AM FRED CHILD, GLAD TO RING IN

THE NEW YEAR WITH YOU, LIVE FROM

LINCOLN CENTER.

THE NEW YORK PHILHARMONIC IS

WARMING UP AND TUNING UP.

GUESS KATRINA LENK WILL PERFORM

WITH HER NEW YORK PHILHARMONIC

DEBUT.

ALSO CONDUCTOR ALEXANDER

GEMIGNANI WILL MAKE HIS DEBUT.

LET'’S START WITH MUSIC FROM 196

2.

♪

[OVERTURE FROM "A FUNNY THING

HAPPENED ON THE WAY TO THE FORUM

"]

♪

♪

♪

♪

[APPLAUSE]

FRED: LADIES AND GENTLEMEN,

BERNADETTE PETERS.

[APPLAUSE]

BERNADETTE: HELLO, AND GOOD

EVENING.

WELCOME TO OUR NEW YEAR'’S EVE

CELEBRATION OF THE MUSIC OF MY

FRIEND STEPHEN SONDHEIM!

,[APPLAUSE]

BERNADETTE: THE OCCASION IS

PARTICULARLY SPECIAL FOR ME AS I

WAS LUCKY ENOUGH TO BE CAST IN

FOUR OF HIS BROADWAY MUSICALS,

MANY OF WHICH ARE BEING

REPRESENTED ON THIS STAGE

TONIGHT.

AS YOU MAY KNOW THE NEW YORK

, PHILHARMONIC IS NO STRANGER TO

STEVE, HAVING GIVEN CONCERT

PRODUCTIONS OF FOLLIES, COMPANY,

AND SWEENEY TODD, BUT THIS

PROGRAM IS DIFFERENT.

THOUGH HE IS BOTH A COMPOSER AND

LYRICIST, TONIGHT WE WILL FOCUS

SPECIFICALLY ON HIS MUSIC.

THERE WILL BE NO MRS. LEVITZ

SINGING "SHEPHERDS PIE SPRINKLED

WITH SHEPHERD ON TOP," OR

WARNING BOBBY HIS GIRLFRIEND IS

TALL ENOUGH TO BE HIS MOTHER.

NOT EVEN A WITCH CACKLING TO A

BAKER AND HIS WIFE.

THERE IS NO MORE FOSS -- FUSS.

♪ I AM TELLING YOU KINGS AND

QUEENS

NEVER MESS AROUND WITH MY QUEENS

ESPECIALLY THE BEES ♪

NO, NONE OF THAT.

[LAUGHTER]

[APPLAUSE]

BERNADETTE: ASIDE FROM TWO SONGS

SUNG BY THE TALENTED KATRINA

LENK, IT IS THE NEW YORK

PHILHARMONIC'’S CHANCE TO SHINE.

THEY WILL BE PLAYING ORCHESTRAL

SUITES AND OVERTURES, AS WELL AS

SYMPHONIC TREATMENTS OF SOME OF

SONDHEIM'’S MOST BEAUTIFUL SONGS.

HERE IS A SUITE'’S FROM JAMES

LAPINE'’S "INTO THE WOODS."

ARRANGED BY DON SEBESKY.

[APPLAUSE]

♪

[SUITE FROM "INTO THE WOODS."]

♪

♪

[SUITE FROM "INTO THE WOODS,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

♪

[SUITE FROM "INTO THE WOODS,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

[SUITE FROM "INTO THE WOODS,"

ARRANGED BY DON SEBESKY.]

♪

♪

[APPLAUSE]

BERNADETTE: SUITE FROM STEVE AND

JOHN WEIDMAN'S "ASSASSINS." THE

THE SCORE USES STYLES -- OUR

NEXT SELECTION THIS EVENING IS

THE WORLD PREMIERE OF A BRAND

NEW ORCHESTRAL SUITE FROM STEVE

AND JOHN WEIDMAN'S "ASSASSINS."

IT IS A MUSICAL FEATURING NINE

ASSASSINS WHO TRIED TO KILL THE

PRESIDENT OF THE UNITED STATES

OVER 100 YEARS.

THIS SUITE IS ARRANGED AND

ORCHESTRATED BY THE SHOW'S

ORIGINAL ORCHESTRATOR OF

"ASSASSINS," MICHAEL STAROBIN.

LADIES AND GENTLEMEN,

"ASSASSINS."

♪

[SUITE FROM "ASSASSINS,"

ARRANGED BY EIKO STAROBIN --

MICHAEL STAROBIN.]

♪

♪

♪

♪

[SUITE FROM "ASSASSINS,"

ARRANGED BY MICHAEL STAROBIN.]

♪

♪

♪

[SUITE FROM "ASSASSINS,"

ARRANGED BY MICHAEL STAROBIN.]

♪

♪

♪

♪

[SUITE FROM "ASSASSINS,"

ARRANGED BY MICHAEL STAROBIN.]

♪

♪

♪

[APPLAUSE]

BERNADETTE: LADIES AND

GENTLEMEN, THE ORCHESTRA OF "--

THE ORCHESTRATOR OF "ASSASSINS"

IS WITH US TONIGHT, MICHAEL

STAROBIN.

THERE HE IS.

[APPLAUSE]

ONE OF MY FAVORITES OF STEVE'’S

SCORES IS THE ONE FROM "COMPANY

."

[APPLAUSE]

BERNADETTE: A SHOW HE WROTE WITH

GEORGE FURTH.

IT IS A REVUE OF SORTS, THOUGH

IT HAS A STORY.

IT TAKES PLACE IN THE EARLY

1970'’S.

INSTEAD OF BEING ABOUT POLITICS,

IT IS ABOUT THE DIFFICULTY OF

MAINTAINING RELATIONSHIPS IN A

SOCIETY BECOMING INCREASINGLY

DEPERSONALIZED.

IT HAS TWO CENTRAL CHARACTERS,

ROBERT, A MAN UNABLE TO MAKE AN

EMOTIONAL COMMITMENT.

AND, NEW YORK CITY.

THE ICONIC SONG "BEING ALIVE" AT

THE CLIMAX OF THE SHOW WAS NOT

THE ORIGINAL ONE WRITTEN FOR

THAT MOMENT, IT WAS THE THIRD.

BUT, AS I AM SURE YOU KNOW,

MUSICALS ARE NOT SO MUCH WRITTEN

AS REWRITTEN.

HERE IS AN ORCHESTRAL VERSION OF

ONE OF THE SONGS THAT PRECEDED

"BEING ALIVE," A RHAPSODIC SONG

CALLED "MULTITUDES OF AMYS."

HERE IT IS ARRANGED AND

ORCHESTRATED BY DON SEBESKY.

[APPLAUSE]

♪

["MULTITUDES OF AMYS" FROM

"COMPANY," ARRANGED BY DON

SEBESKY.]

♪

♪

♪

["MULTITUDES OF AMYS" FROM

"COMPANY," ARRANGED BY DON

SEBESKY.]

♪

[APPLAUSE]

BERNADETTE: THE 1970'’S WERE A

PROLIFIC TIME FOR STEVE.

"COMPANY," "FOLLIES," "A LITTLE

NIGHT MUSIC," "PACIFIC

OVERTURES," AND THEN TO FINISH

OUT THE DECADE "SWEENEY TODD."

,IN NEW YORK ALONE THIS MUSICAL

HAS BEEN PERFORMED ON BROADWAY

CITY OPERA, TWICE RIGHT HERE IN

, THIS STAGE WITH THE

PHILHARMONIC, ONCE WITH

ACTOR-MUSICIANS, AND MOST

RECENTLY DOWNTOWN AT A THEATER

CONVERTED INTO A PIE SHOP.

NO MATTER WHAT THE SCALE OR THE

VENUE, " SWEENEY TODD" IS

SPECTACULAR.

HERE IS THE SCORE AGAIN

REARRANGED AND ORCHESTRATED BY

DON SEBESKY.

[APPLAUSE]

♪

[SUITE FROM "SWEENEY TODD,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

♪

[SUITE FROM "SWEENEY TODD,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

[SUITE FROM "SWEENEY TODD,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

[SUITE FROM "SWEENEY TODD,"

ARRANGED BY DON SEBESKY.]

♪

♪

♪

♪

♪

[SUITE FROM "SWEENEY TODD,"

ARRANGED BY DON SEBESKY.]

♪

♪

[APPLAUSE]

BERNADETTE: IN 1973 STEVE AND

HAL PRINCE MADE A MUSICAL WITH

HUGH WHEELER AND CREATED, BASED

ON INGMAR BERGMAN'’S ROMANTIC

COMEDY "A LITTLE NIGHT MUSIC."

, HE COMPOSED IT ENTIRELY IN

VARIATIONS OF 3/4 WALTZ TIME, "A

LITTLE NIGHT MUSIC" CONTAINS

SOME OF STEVE'’S MOST POPULAR

SONGS LIKE "SEND IN THE CLOWNS."

I WAS ABLE TO PLAY IT IN THE

MOST RECENT BROADWAY REVIVAL.

[APPLAUSE]

BERNADETTE: HERE IS ONE OF THE

ORCHESTRAL WALTZES FROM THE

SCORE "THE NIGHT WALTZ,"

ORCHESTRATED BY HIS LONGTIME

COLLABORATOR JONATHAN TUNICK.

,[APPLAUSE]

♪

[OVERTURE AND "NIGHT WALTZ" FROM

"A LITTLE NIGHT MUSIC/"]

♪

♪

♪

[OVERTURE AND "NIGHT WALTZ" FROM

"A LITTLE NIGHT MUSIC."]

♪

[APPLAUSE]

BERNADETTE: NEXT UP IS A PIECE

FROM STEVE AND JAMES GOLDMAN'S

BREATHTAKING "FOLLIES."

A SHOW ABOUT FORMER FOLLIES

SHOWGIRLS ATTENDING A REUNION AT

THE THEATRE THEY ONCE PERFORMED

IN, WHICH IS ABOUT TO BE TORN

DOWN.

THE SCORE IS IN PART PASTICHE,

FILLED WITH HOMAGES TO GREAT

COMPOSERS FROM BETWEEN THE TWO

WORLD WARS, INCLUDING IRVING

BERLIN, CALLED PORTER AND GEORGE

GERSHWIN.

WE WILL HEAR THE OVERTURE WHICH

SERVES TO INTRODUCE THE THEMES

OF EACH OF THE PERFORMERS AS

THEY ARRIVE AT THE REUNION.

ONCE AGAIN, ORCHESTRATED BY THE

GREAT JONATHAN TUNICK.

[APPLAUSE]

♪

[OVERTURE FROM "FOLLIES,"

ORCHESTRATED BY JONATHAN

TUNICK.]

♪

♪

[APPLAUSE]

BERNADETTE: STEVE OFTEN SAYS ONE

OF THE THINGS HE LOVES MOST

ABOUT THE THEATER IS THAT IT

ALLOWS HIS SHOWS TO BE

RECONCEIVED IN FRESH WAYS.

"SWEENEY TODD" IN A PIE SHOP, OR

PLAYED BY A SMALL CAST OF

ACTOR-MUSICIANS, OR AS IN LONDON

LAST YEAR, BY THE IMAGINATIVE

DIRECTOR MARYANNE ELLIOTT TO

SWAP THE GENDERS OF CHARACTERS.

HAPPILY, IT IS COMING TO

BROADWAY THIS SEASON AND THE

LEADING ROLE OF BOBBY, NOW

FEMALE, BOBBI, WILL BE PLAYED BY

DAZZLING, TONY AWARD WINNING

KATRINA LENK.

SHE IS WITH US TONIGHT, SINGING

TWO OF STEVE'’S GREAT SONGS FROM

"FOLLIES."

LADIES AND GENTLEMEN, KATRINA

LENK!

[APPLAUSE]

♪

["LOSING MY MIND" FROM "FOLLIES

"]

KATRINA: THE SUN COMES UP,

I THINK ABOUT YOU,

THE COFFEE CUP,

I THINK ABOUT YOU,

I WANT YOU SO,

IT'’S LIKE I'’M LOSING MY MIND

THE MORNING ENDS,

I THINK ABOUT YOU

I TALK TO FRIENDS,

I THINK ABOUT YOU

AND DO THEY KNOW

IT'’S LIKE I'’M LOSING MY MIND?

ALL AFTERNOON

DOING EVERY LITTLE CHORE

THE THOUGHT OF YOU STAYS BRIGHT

SOMETIMES I STAND IN THE MIDDLE

OF THE FLOOR

NOT GOING LEFT, NOT GOING RIGHT

I DIM THE LIGHTS AND THINK ABOUT

YOU,

SPEND SLEEPLESS NIGHTS

TO THINK ABOUT YOU,

YOU SAID YOU LOVED ME, OR WERE

YOU JUST BEING KIND?

OR AM I LOSING MY MIND?

I WANT YOU SO,

IT'’S LIKE I'’M LOSING MY MIND

DOES NO ONE KNOW

IT'’S LIKE I'’M LOSING MY MIND

ALL AFTERNOON DOING EVERY LITTLE

CHORE

THE THOUGHT OF YOU STAYS BRIGHT

SOMETIMES I STAND IN THE MIDDLE

OF THE FLOOR,

NOT GOING LEFT, NOT GOING RIGHT,

I DIM THE LIGHTS AND THINK ABOUT

YOU,

SPEND SLEEPLESS NIGHTS

TO THINK ABOUT YOU,

YOU SAID YOU LOVED ME,

OR WERE YOU JUST BEING KIND?

OR AM I LOSING MY MIND? ♪ ♪

♪

[APPLAUSE]

♪

>>

♪ LEAVE YOU?

LEAVE YOU?

HOW COULD I LEAVE YOU?

HOW COULD I GO IT ALONE?

COULD I WAVE THE YEARS AWAY?

WITH A QUICK GOODBYE?

HOW DO YOU WIPE TEARS AWAY WHEN

YOUR EYES ARE DRY?

SWEETHEART, LOVER, COULD I

RECOVER?

GIVE UP THE JOYS I HAVE

KNOWN?

NOT TO FESTIVAL YOUR PILLS AGAIN

EVERY DAY AT FIVE

NOT TO GIVE THOSE DINNERS FOR

TEN ELDERLY

MEN FROM THE U.N.

HOW COULD I SURVIVE?

COULD I LEAVE YOU AND YOUR

SHELVES OF THE WORLD'S BEST

BOOKS

AND THE EVENINGS OF MARTYRED

LOOKS,

CRYPTIC SIGHS

SULLEN GLARES FROM THOSE INJURED

EYES?

LEAVE THE QUIPS WITH A STING,

JOKES WITH A SNEER PASSIONLESS

-- PASSIONATE LOVE MAKING ONCE A

YEAR?

LEAVE THE LIES ILL-CONCEALED AND

THE WOUNDS NEVER HEELED AND THE

GAME'S NOT WORTH WINNING AND

WAIT, I'M JUST BEGINNING

WHAT, LEAVE YOU, LEAVE YOU?

HOW COULD I LEAVE YOU?

WHAT WOULD I DO ON MY OWN?

PUTTING THOUGHTS OF YOU ASIDE IN

THE SOUTH OF FRANCE, WOULD I

THINK OF SUICIDE?

DARLING, SHALL WE DANCE?

COULD I LOVE THROUGH THE PAIN ON

A TERRACE IN SPAIN?

WOULD IT PASS?

IT WOULD PASS

COULD I BURY MY RAGE WITH A BOY

HALF YOUR AGE IN THE GRASS?

BET YOUR ASS

BUT I'VE DONE THAT ALREADY OR

DIDN'T YOU KNOW,

LOVE?

COULD I LEAVE YOU?

NO, THE POINT IS COULD YOU LEAVE

ME?

WELL, I GUESS YOU COULD LEAVE ME

THE HOUSE, LEAVE ME THE FLAT

LEAVE ME THE BRAQUES AND

CHAGALLS

AND ALL THAT

YOU COULD LEAVE ME THE STOCKS

FOR SENTIMENT'S SAKE

AND NINETY PERCENT OF THE MONEY

YOU MAKE

AND THE RUGS AND THE COOKS,

DARLING,

YOU KEEP THE DRUGS ANGEL,

YOU KEEP THE BOOKS, HONEY,

I'LL TAKE THE GRAND

SUGAR, YOU KEEP THE SPINET AND

ALL OF

OUR FRIENDS AND JUST WAIT

A -- MINUTE OH, LEAVE YOU?

LEAVE YOU?

HOW COULD I LEAVE YOU?

SWEETHEART, I HAVE TO CONFESS,

COULD I LEAVE YOU?

YES

WILL I LEAVE YOU?

WILL I LEAVE YOU?

GUESS ♪

[APPLAUSE]

>> BEFORE WE SAY GOOD NIGHT, I

THINK WE SHOULD THANK OUR

CONDUCTOR, ALEXANDER GEMIGNANI,

MAKING HIS NEW YORK PHILHARMONIC

DEBUT.

[APPLAUSE]

AND ABOVE ALL, WHAT OTHER WORD

CAN I USE?

THE MONUMENTAL NEW YORK

PHILHARMONIC!

[APPLAUSE]

FOR OUR FINALE, A SUITE FROM ONE

OF THE MOST EXHILARATING PIECES

OF THEATRE EVER.

AND I DON'T SAY THAT JUST

BECAUSE I WAS PART OF IT.

IT'S STEVEN JAMES LAPINE'S

"SUNDAY IN THE PARK WITH

GEORGE."

[APPLAUSE]

INSPIRED BY THE FRENCH

POINTILLIST PAINTER GEORGES

SEURAT'S PAINTING, "A SUNDAY

AFTERNOON ON THE ISLAND OF LA

GRADE JATTE."

THE SHOW IS ABOUT THE WONDERS OF

CREATIVITY AND THERE'S A LYRIC

IN THE SHOW WHICH REFLECTS HOW I

FEEL ABOUT STEVE AND HIS WORK.

"ANYTHING YOU DO, LET IT COME

FROM YOU, THEN IT WILL BE NEW,

GIVE US MORE TO SEE."

SUNDAY IN THE PARK WITH GEORGE,

ARRANGED AND ORCHESTRATED BY

MICHAEL STAROBIN.

[APPLAUSE]

♪ ♪

[SUITE FROM "SUNDAY IN THE PARK

WITH GEORGE."

]

[SUITE FROM "SUNDAY IN THE PARK

WITH GEORGE"]

♪ ♪ ♪

[SUITE FROM "SUNDAY IN THE PARK

WITH GEORGE"]

♪ ♪ ♪ ♪

♪

[APPLAUSE]

♪

[OVERTURE FROM "MERRILY WE ROLL

ALONG"]

♪

♪

♪

♪

[APPLAUSE]

FRED: AN ENCORE FROM THE NEW

YORK PHILHARMONIC AS THEY'RE

CELEBRATING STEPHEN SONDHEIM

TONIGHT ON THIS NEW YEAR'S EVE.

THAT'S THE OVERTURE FROM

"MERRILY WE ROLL ALONG," 1981

MUSICAL BY STEPHEN SONDHEIM.

OUR CONDUCTOR, ALEXANDER

GEMIGNANI MAKING HIS NEW YORK

PHILHARMONIC DEBUT TONIGHT WITH,

BY THE WAY, TIPS FROM HIS DAD,

PAUL GEMIGNANI, WHO WAS THE

MUSICAL DIRECTOR FOR STEPHEN

SONDHEIM FOR 45 YEARS.

♪

>> ♪ SHOULD AULD ACQUAINTANCE

BE FORGOT

AND NEVER BROUGHT TO MIND

SHOULD AULD ACQUAINTANCE BE

FORGOT AT ALL OF A SUDDEN

LANGUAGE DESIGN -- AT "AULD LANG

SYNE"

AT "AULD LANG SYNE" MY DEAR

AT ALL OF A SUDDEN LANGUAGE SIGN

FOR ALL OF A SUDDEN LANGUAGE

SIGN MY DEAR

FOR "AULD LANG SYNE"

WE'LL DRINK A CUP OF FINDE

KINDNESS YET FOR "AULD LANG

SYNE"

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