Book Description
A new edition to commemorate the legendary composer's 100th birthday.
From Oklahoma! to Carousel, The Sound of Music to The King and I, the sights and sounds of Broadway were dominated by Richard Rodgers for the better part of the twentieth century. And now, on the centenary of his birth, comes a new edition of his classic autobiography. "A memoir worthy of one of the great names in the American theater" (Washington Post), it's packed with backstage tales of everyone's favorite musicals.
Customer Reviews:
America's Finest Composer.......2002-10-28
(Note: Portions of this review have appeared in lesser detail elsewhere.) Simply stated, Richard Rodgers is America's finest composer. In our history, no other composer's music equals the consistent and prolonged quality, innovativeness, range, and sublime beauty of his compositions. Rodgers'exquisite, unforgettable melodies are crafted with such subtle ingenuity and sophistication that they never lose their freshness or their appeal.
Rodgers' musical genius was matched in two legendary partnerhips, the first with lyricist Lorenz Hart, and the second with librettist-lyricist Oscar Hammerstein II. Rodgers' collaboration with these two gifted men elevated and transformed musical theater into a true and distinctive American art form.
There is a knee-jerk tendency by a few so-called musical "experts" to site Gershwin as the greatest American composer. But discerning authorities and audiences know better. The ENTIRE BODY of Richard Rodgers' work stands the test of time better than Gershwin's, or for that matter, better than the music of Berlin, Kern, Porter, and Arlen, all gifted composers.
Rodgers' music is universally admired and respected generation after generation among all kinds of audiences. Few, if any of his compositions sound dated which cannot be said for a significant portion of Gershwin and other composers' music.
Rodgers' music is written so brilliantly that it seems organic, as if nature itself had perfectly strung together a series of notes which sound no less than heavenly, and which seem as if they could not have been structured in any other way. In some of Gershwin's music, particularly "An American in Paris" and "Porgy and Bess", the music seems stilted, grandiose, even pretentious.
You never get that feeling with a Rodgers' composition. His music always has a quality of lightness, fluidity and sponteneity something missing in portions of Gershwin's music. Some of Gershwin's music feels leaden and redundant unlike Rodgers' works.
The breadth of Rodgers' range as a composer was limitless. And no other composer was better than Rodgers in translating character and plot into music. Here is a man who wrote scores perfectly suited to shows as diverse as "Oklahoma", "Pal Joey", "Carousel", "Sound of Music", "Cinderella", "King and I", "No Strings", etc. The list is impressive.
"Musical Stages" offers a detailed account of Rodgers' life and his incomparable career. In it, you will meet Rodgers' two most famous collaborators the undisciplined, gifted, and lovable Lorenz Hart, and the idealistic, eloquent, and reliable Oscar Hammerstein II. Rodgers also reveals behind the scenes stories about Mary Martin, Yul Brynner, Gertrude Lawrence, Julie Andrews, and other luminaries of the musical theater.
This autobiography should be required reading for fans of musical theater and popular music.
STILL THE GREATEST AMERICAN COMPOSER.......2002-04-03
I reviewed that book a few years ago,but i feel i could give a better review of it now.Let me be objective here by saying that RICHARD RODGERS was the best AMERICAN composer of the previous century.This book of memoirs gives you a real insight of the music business at the time of mister RODGERS.The anecdotes are very accurate;they show the good and the bad aspects of the music business.RICHARD RODGERS learned early in his career that you are always as good as your last success,and that producers are the kings of BROADWAY.The best example of this is that even with all the hits he had,RICHARD RODGERS never could give ALLEGRO a second chance on BROADWAY.A show that failed is almost never revived again.The man has a lot to say about creativity;the way one must always stand tall even in adversity.One of the most moving passage of the book is the retreat of LORENZ HART and his death at the age of 47.RODGERS certainly knew the value of a partnership.That he could work with both HART and HAMMERSTEIN demonstrates how good he was.Nobody in the history of AMERICAN music has done it better.Out of the 40 shows that he created,10 have become classics of the repertoire.That's quite a feat.If RODGERS was the best,it's simply because he was the most passionnate and the most talented;a perfect combinaison.In my book,there will never be enough revivals of his shows.Buy this,you'll become a fan too,this is guarantee for a lifetime of musical pleasures.
An American Genius.......2001-11-05
Please read my review preceding this one too. Today is November 4, 2001, and the Emmy Awards have just been telecast on CBS. To close the show, the magnificent Barbra Streisand sang a tribute to the unfailing courage and spirit of the American people whose lives have been inalterably changed by the terrorist attacks of September 11, 2001.
Of all the great American songs which could have been chosen to comfort and hearten the American people, the one Streisand sang was "You'll Never Walk Alone" composed by the incomparable Richard Rodgers from the Rodgers and Hammerstein musical, "Carousel". The poetic, inspirational lyrics by Oscar Hammerstein II are superbly matched by the sheer eloquence, beauty and emotional power of this soaring ballad. "You'll Never Walk Alone" is one of those songs that once heard, can never ever be forgotten.
Coincidentally, airing opposite the Emmy awards tonight was the PBS special "American Masters, Richard Rodgers: The Sweetest of Sounds" a documentary on the music and career of Richard Rodgers.
In a way, tonight's televised events were a double tribute to a man who was an American genius. He was in my opinion the greatest composer of popular music ever. I venture to say that his entire body of work stands the test of time better than the music of any other great American composer including Gershwin, Berlin, Porter, or Kern, etc.
I don't think that any of these other supremely gifted American composers could have demonstrated the prolonged and consistent brilliance and unbelievable range that Rodgers had. Here is a man who wrote songs as varied and memorable as "Manhattan", "If I Loved You", "Lady is a Tramp", "Edleweiss", "My Romance", "Mountain Greenary", "Mimi", "Hello Young Lovers", "Oklahoma" which incidentally is now the official anthem of the state of "Oklahoma", "My Funny Valentine", "Shall We Dance", "Bewitched", etc., etc.
It seems impossible that one man is reponsible for so many different styles and such a consistently high level of artistry and ingenuity over many decades. And yet Rodgers was.
Rodgers has touched and illuminated audiences generation after generation. He has given people music which is infinitely accessible, yet sublimely crafted. Simply stated, no other composer can equal Rodgers' accomplishments and the impact of his musical legacy.
Rodgers is the greatest.......2001-05-19
There are a handful of composers of American popular music whose body of work is revered generation after generation. Kern, Arlen, Gershwin, and Loewe come to mind. But at the top of the list is Richard Rodgers.
In my opinion, Rodgers is the greatest songwriter in the history of Broadway and popular music. His range was simply astonishing. He could write jubilant, folksy music as in "Oklahoma" or jazzy sophisticated tunes as found in "Pal Joey". He could create soaringly romantic melodies such as those in "The King and I" or inspirational and spiritual ballads as presented in "Carousel". Many of his songs have become popular standards as well.
Rodgers adapted brilliantly to a variety of subject matter. And the longevity of his illustrious career is enviable. "Musical Stages" not only chronicles Rodgers' life and work, but it is also an overview of the development and maturation of American musical theater to which Rodgers contributed mightily.
In this autobiography, you will get to know some of the true giants of American popular music in particular Rodgers' two lyricists: the impish, undisciplined, yet lovable genius Lorenz Hart and the wise and idealistic Oscar Hammerstein II. Both of these men wrote many of the best lyrics ever composed for Broadway or popular music.
You'll also meet acting luminaries such as Yul Brynner, Gertrude Lawrence, and Mary Martin among others. "Musical Stages" is a rich addition to any theater and popular music buff's library. Read it with delight!
A MUST HAVE FOR ALL RODGERS FANS EVERYWHERE.......2000-10-24
Since RICHARD RODGERS is my favourite AMERICAN composer ,i could have killed to have that book, and i was not disapointed.One of those few autobiographies that are completely honest.You learn about his family upbringing, his complex relation with LARRY HART,the way he and OSCAR HAMMERSTEIN worked together ,and the way both were affected by the failure of ALLEGRO.You also discover that most movie producers didn't really care about music ,and that RICHARD was glad to go back to BROADWAYin 1935.It is also interesting to read the introduction of his daughter MARY, saying that she likes what other people likes about him:his music, but she also adds of course i loved him.RICHARD RODGERS was probably a very private person, who was in a way forced to live a public life because of his profession.
Book Description
His best-known song is "Mack the Knife," with words by Bertolt Brecht, from The Threepenny Opera, first performed in Weimar Berlin in 1928. Five years later, Kurt Weill fled the Nazis to come to America, where he soon emerged as one of the most admired composers of the Broadway musical stage. His shows included: Knickerbocker Holiday, Lady in the Dark, One Touch of Venus, Street Scene and Lost in the Stars. His songs: "My Ship," "September Song," "Speak Low" and "It Never Was You." This biography concentrates on Weill's career in the United States, but its aim is to explore the truth in the comment made by Weill's wife, the unforgettable Lotte Lenya: "There is no American Weill, there is no German Weill. There is no difference between them. There is only Weill."
Customer Reviews:
Excellent Overview of Weill's Work for the Theatre.......2007-04-11
Kurt Weill's career has been hotly debated for more than 60 years. The questions began while he was still alive: Did he sell out his German artistry for the crass commercialism of Broadway? Or did he only really come into his own when he was freed from European snobbery? The answer is that both opinions are somewhat true and somewhat false. Rather than treat Weill's work as two separate careers, a European one and an American one as most commentators seem to do, Foster Hirsch treats Weill's career as a single entity. Hirsch's KURT WEILL ON STAGE is a superb chronological overview of Kurt Weill's work for the theatre, showing the logical evolution of his work. Weill became a world famous celebrity by age 30 as a result of his sensational THREEPENNY OPERA and MAHAGONNY. With the rise of Hitler and the Nazis, Weill wisely fled Germany, ending up in America after a period in Paris. But could he succeed in a new country and a new culture? Many distinguished European artist-refugees of that period simply could not adapt and faded into obscurity. Weill determined that he could succeed by writing in an American idiom. He made the transition quite smoothly, creating a string of popular Broadway shows that spawned hit songs like "September Song" and "Speak Low" before dying of a heart attack at age 50. At the time of his death he seems to have been just another Broadway composer, but with the passage of time, Weill's reputation has grown and he is now recognized as one of the 20th Century's great composers. In Hirsch's book, Weill's American shows are revealed to be a continuation of the innovative thrust of THREEPENNY OPERA. Just as he had worked with the prodigy Berthold Brecht in Germany, in America he collaborated with the nation's most prestigious writers, including the Pulitzer Prize winners Paul Green, Maxwell Anderson, Ira Gershwin, Moss Hart and Elmer Rice. Among his other collaborators were Ogden Nash and a pre-MY FAIR LADY Alan Jay Lerner. He worked with such noted directors as Max Reinhardt, Elia Kazan and Josh Logan and choreographers George Balanchine and Agnes DeMille. Mary Martin had her first starring role on Broadway in ONE TOUCH OF VENUS. Gertrude Lawrence made a huge hit in LADY IN THE DARK, which also catapulted Danny Kaye and Victor Mature to fame. And of course, there was Lotte Lenya, the German star whose unorthodox marriage to Weill is still confounding to most people. She had affairs with members of both sexes before, during and after the marriage to Weill; He made no secret of his affairs with other women. But they had an unbreakable bond that went beyond sex. Lenya devoted her life to promoting his work after he died and achieved her greatest fame late in life.
Hirsch keeps his opinions of the work fairly restricted, which I appreciated. The only Weill score he really seems to denigrate is LOST IN THE STARS. (I have to agree with him, though.) This is not really a biography of Weill. The biographical aspects of the book are very sketchy. They are there to provide a context for the work. I enjoyed this book enormously and listened to all my old Weill recordings (and bought some new ones) during the weeks I was reading it. There will probably be a revival of interest in Weill with the arrival of the new Broadway show LOVE MUSIK, which deals with the relationship of Weill and Lenya. KURT WEILL ON STAGE provides an excellent overview of Weill's life and work that I would recommend to anyone interested in the subject.
Inspiration for those who write for the musical stage.......2006-05-30
Kurt Weill On Stage, a scholarly study published in 2002 by Foster Hirsch, is an outstanding overview of the theatrical career of one of the most talented and ambitious composers writing for the stage in the 20th century. Hirsch has access to the excellent materials of the Weill-Lenya Research Center and the support of the Kurt Weill Foundation for Music; he supplements the vast array of correspondence and interviews available to him with interviews and accounts of the creation of the works from participants and spectators. He writes compellingly about Weill's gifts as musical dramatist and collaborator. The book is utterly inspiring to anyone (like me) who has ambitions to write for the musical stage.
A Biography that focuses on Weill's enitre career.......2003-07-18
Too often, scholarly work on Kurt Weill focuses mainly on his German career in the 1920s-- "The Threepenny Opera," "Mahagonny"-- but Weill had a career that extended well into the 1940s as a Broadway composer, and Hirsch's book explores both aspects, although it is clear he's a fan of Weill's later American work.
I would recommend this book as a suppliment to Ronald Sanders' biography "The Days Grow Short," the standard of Weill biographies. However, Hirsch has access to different primary sources that Sanders did not have in the 1970s, and therefore can provide a different perspective. There is also a great deal of text devoted to Lotte Lenya, Weill's wife.
It has been criticzed that Hirsch's book deemphasizes musical analysis, which is true, but that is not the purpose. Analyse the music yourself or find the writings of Kim Kowalke for musical analysis.
I found this book enjoyable and a good supplient to many other Weill biographies on the shelves
Average customer rating:
- WHO WOULDN'T LOVE BETTY COMDEN?
- Bor-ing Whiny Book
- A wonderful read, a wonderful person
|
Off Stage
Betty Comden
Manufacturer: Limelight Editions
ProductGroup: Book
Binding: Paperback
 Sheet Music & Scores
| Formats
| Books
| Composers
| Forms & Genres
| Historical Period
| Instrumentation
Voice
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
Opera
| Songbooks
| Theory, Composition & Performance
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
General
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Entertainers
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
Theatre
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
General
| Biographies & Memoirs
| Subjects
| Books
Similar Items:
-
I Could Have Sung All Night: My Story
-
The House That George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty
ASIN: 0879100842 |
Amazon.com
It's hard to believe that Betty Comden is still out there writing musicals more than 50 years after she helped pen the immortal words, "New York, New York, a helluva town . . ." for Leonard Bernstein's On the Town. In her new memoir the distaff half of the team of Comden & Green ("Betty & Adolph" to insiders) looks back on a life that took her from tart Greenwich Village revues in the 1930s, through her early Broadway successes in the 1940s, her Oscar for Singing in the Rain and a long Broadway songwriting career that has included Peter Pan, Bells Are Ringing, Wonderful Town, On the Twentieth Century, The Will Rogers Follies and more projects currently underway. Backstage stories about the likes of Leonard Bernstein, Mary Martin and Kevin Kline are mixed with lessons learned as a working woman and wife.
Book Description
In this incandescent autobiographical collage, lyricist, playwright and performer Betty Comden takes an exuberant and rueful look back on a lifetime of celebrated triumphs and private sorrow. With her lifelong collaborator Adolph Green, she has achieved glorious success on stage in such musical milestones as On the Town, Wonderful Town and Bells Are Ringing and on screen in the unforgettable Singing in the Rain and The Band Wagon. But this very intimate memoir takes us behind her experiences in theatre and film to her childhood in Brooklyn, her determined exodus to Manhattan and Broadway, her courtship and marriage and the lessons she has learned as a wife and mother. Off Stage is, then, not only of special interest to theatre and movie buffs. It is also the poignant and inspirational story of a woman of many talents and interests who tried to have it all - and very nearly succeeded.
Customer Reviews:
WHO WOULDN'T LOVE BETTY COMDEN?.......2004-04-30
Even if she weren't one-half of the legendary theatrical writing team of Comden and Green, Betty Comden's life would be worth reading about. Collaborating with Adolph Green for some 70 years the brilliant duo gave us such blockbuster Broadway shows as "On The town," "Bells Are Ringing," "The Will Rogers Follies" and "Applause."
Alone, she was a doting wife, a mother who thought she could never master motherhood, and a woman left to mourn the death of her husband, son, and many dear friends.
Born in Brooklyn to Russian immigrant parents, the young Betty had a love for words and was intrigued by the theater. While her teaming with Green made theatrical history, her unprecedented success did not shield her from tragedies and disappointments. These, along with her joys and triumphs, she recounts with candor and humor.
- Gail Cooke
Bor-ing Whiny Book.......2003-03-24
Maybe I shouldn't have bought the book in the first place. I have always liked Betty Comden on a professional basis. But after reading this boring and terribly self-indulgent book, my opinion of her has lowered drastically.
Quite frankly, her life growing up and all of her wonderful friends and aches and pains are not worth reading about. Now if this was more of a balanced autobiography that combined her professional and personal lives, the book would be much better. She grew up rich (she admits the Great Depression did not affect her much) and became quite successful. She admits to guilt about being a part-time mother and talks at embarrassing length about her son who died of HIV due to his years as a drug addict.
...
A wonderful read, a wonderful person.......1999-12-09
If Betty Comden had done nothing more than collaborate on the great musical On The Town, she'd be a star in my personal pantheon. But she's had a wonderfully varied career, as creator and performer, and she has set high standards in all projects. Ms. Comden has lived long enough to have experienced many sadnesses, and she writes about them as openly as she does the happinesses. This book is a gift from a true Broadway original, and a genuine professional. Not to be missed, and bless you, Betty, for giving it to us!
Average customer rating:
|
Center Stage Classical Greats Playalong for Alto Sax (Center Stage)
Manufacturer: Amsco Publications
ProductGroup: Book
Binding: Paperback
Biographies & Memoirs
| Subjects
| Books
| Arts & Literature
| Audiobooks
| Ethnic & National
| Family & Childhood
| General
| Historical
| Large Print
| Leaders & Notable People
| Memoirs
| People, A-Z
| Professionals & Academics
| Reference & Collections
| Regional Canada
| Regional U.S.
| Specific Groups
| Sports & Outdoors
| Travel
General
| Classical
| Musical Genres
| Music
| Entertainment
| Subjects
| Books
Brass
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
Woodwinds
| Instruments & Performers
| Music
| Entertainment
| Subjects
| Books
Songbooks
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| Subjects
| Books
General
| Music
| Entertainment
| 4-for-3 Books Store
| Stores
| Books
Brass
| Instruments & Performers
| Music
| Entertainment
| 4-for-3 Books Store
| Stores
| Books
Woodwinds
| Instruments & Performers
| Music
| Entertainment
| 4-for-3 Books Store
| Stores
| Books
General
| Classical
| Musical Genres
| Music
| Entertainment
| 4-for-3 Books Store
| Stores
| Books
Songbooks
| Music
| Entertainment
| 4-for-3 Books Store
| Stores
| Books
All 4-for-3 Deals
| 4-for-3 Books Store
| Stores
| Books
ASIN: 0825635160
Release Date: 2007-02-01 |
Product Description
Ten classical favorites in melody line arrangements with specially recorded backing tracks. Step into the spotlight & play along with the superb backing tracks on the specially recorded CD
Average customer rating:
|
Enter the Players: New York Stage Actors in the Twentieth Century
Thomas S. Hischak
Manufacturer: The Scarecrow Press, Inc.
ProductGroup: Book
Binding: Hardcover
Broadway & Musicals
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Actors & Actresses
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
General
| Biographies & Memoirs
| Subjects
| Books
General
| Movies
| Entertainment
| Subjects
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Arts & Photography
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Biographies & Memoirs
| Qualifying Textbooks - Fall 2007
| Stores
| Books
Entertainment
| Qualifying Textbooks - Fall 2007
| Stores
| Books
ASIN: 0810847612 |
Book Description
Enter the Players is the first book to look closely at the careers of hundreds of Broadway, Off-Broadway, and Off-Off-Broadway stage actors in New York. Over 900 actors, singers, dancers, and comics from the twentieth-century theatre are covered, from Maude Adams and Al Jolson at the turn of the century, to recent talents such as Matthew Broderick, Audra McDonald, and Brian Stokes Mitchell. All the famous names are here, but also included are dozens of not-so-well-known actors, many of them familiar favorites in their day or character actors who appeared in many shows but never became name stars. Each player is discussed in a brief biography, followed by a complete list of every play and character they performed in New York.
Average customer rating:
|
Enter the Playmakers: Directors and Choreographers on the New York Stage
Thomas S. Hischak
Manufacturer: The Scarecrow Press, Inc.
ProductGroup: Book
Binding: Paperback
Broadway & Musicals
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Theater
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Performing Arts
| Arts & Photography
| Subjects
| Books
Reference
| Performing Arts
| Arts & Photography
| Subjects
| Books
General
| Arts & Photography
| Subjects
| Books
Theatre
| Arts & Literature
| Biographies & Memoirs
| Subjects
| Books
All Titles
| Qualifying Textbooks - Fall 2007
| Stores
| Books
ASIN: 0810857472 |
Book Description
This companion volume to Enter the Players: New York Stage Actors in the 20th Century explores the careers of over three hundred directors and choreographers who have worked in New York City, giving biographical sketches and listing directing and choreography credits through the year 2005.
Customer Reviews:
Patriotic.......2005-11-10
Haym Salomon, a Jewish refugee from Poland, arrived in New York in the spring of 1775, just weeks after shots were first exchanged between British soldiers and Americans at Lexington and Concord.
He found a job as a distiller and in his free time studied the grievances of the thirteen colonies issued by Congress. Then he joined the Sons of Liberty and became a provisions supplier for American troops at Lake George.
Twice, Salomon was arrested by the British and thrown into Provost Prison by Warden William Cunningham, and twice he escaped. Once, he offered to serve as a German interpreter for the Hessian mercenaries-who he convinced to join liberty's cause. Next, he convinced his Hessian guard to unlock his door, in exchange for a free passage to desert to Washington's side.
His second escape brought Salomon to the Dobbes Ferry landing, where none of the troops owned a complete uniform, new musket or unbent bayonet. The men were thin, dressed in buckskin shirts and coonskin caps, and their shoes were tied with rope. Salomon, at 40, realized he was too old to serve himself, but he proposed to General Alexander McDougall that he could assist the cause by raising money from the Jewish community in Philadelphia, 100 miles away. Though ill, he set off on foot to do his patriotic best.
In Philadelphia, he began trading and his success brought the notice and respect of detractors who had once baited him as the "haggler Jew" or "Jew broker." Before long, he had earned enough to give money to the Continental Congress and its army. His first gestures were to General Casimir Pulaski, who had been authorized by Congress to raise the Pulaski legion.
Robert Morris, the head of Willing and Morris, had reluctantly accepted control of all finances to pay for the Revolution. He was soon at his wits' end in efforts to give the necessary help. He even approached the Quakers, though he reportedly demeaned them. But he could not bring himself to ask for money from Jews.
Finally, the situation grew so bad that General Washington himself appealed to Morris to see Haym Salomon. On Yom Kippur, the holiest day of the Jewish calendar, Morris at last sought Salomon's help. In fifteen minutes, Salomon raised $20,000 from the congregation of Jewish worshipers, who were anxious to save American soldiers from starvation and cold. As news of Salomon's devotion spread, he was approached by all the famous officers and politicians of the day--including John Paul Jones, General Daniel Morgan, Thomas Jefferson, Thaddeus Kosciusko and General Benjamin Lincoln.
Salomon bankrupted his family with his generosity. But when his wife asked whether there would be any inheritance for their children, he said, "Yes, a country where they'll be free to differ in the way they worship God and still enjoy the friendship of other people." They would have opportunities for happiness equal to that of others, and a feeling of being as important to the new nation as anyone else.
Soon, Salomon was buying French army bills to support the young nation's ally. French minister Chevalier de la Luzerne called on Salomon and said, "[You] in your little office on Front Street are doing for the nation's credit what Washington is doing on the battlefield for the people's independence."
In September 1783 the treaty of peace was formally signed in Paris. Haym Salomon was responsible for the financial success of the Revolutionary War.
This is an important book for children to understand the contribution of minorities to America's founding.
--Alyssa A. Lappen
Books:
- Nat "King" Cole - All Time Greatest Hits
- Network Participant's Guide: The Right People, in the Right Places, for the Right Reasons, at the Right Time
- Never Too Late: My Musical Life Story
- OPERA 101: A COMPLETE GUIDE TO LEARNING AND LOVING OPERA
- Paradise Found: Growing Tropicals in Your Own Backyard
- Photographing friends and family (Kodak library of creative photography)
- Piero Della Francesca
- Prince of Pleasure and His Regency, 1811-20
- Puccini: His Life and Works (Master Musicians Series)
- Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player
Books Index
Books Home
Recommended Books
- Angel Financing: How to Find and Invest in Private Equity
- The Complete Eldercare Planner, Second Edition: Where to Start, Which Questions to Ask, and How to F
- Music of the Highest Class: Elitism and Populism in Antebellum Boston
- Linking Visions: Feminist Bioethics, Human Rights, and the Developing World
- Risk Management and Derivatives
- The Debriefing
- Rediscovering God in America: Reflections on the Role of Faith in Our Nation's History
- QuickBooks® 99 Bible
- Monetary Policy in Interdependent Economies: A Game-Theoretic Approach
- Burroughs Live: The Collected Interview of Wiliam S. Burroughs, 1960-1997
Getting to Know Him: A Biography of Oscar Hammerstein II
The Sound of Their Music: The Story of Rodgers and Hammerstein
Somewhere for Me - A Biography of Richard Rodgers
Lorenz Hart: A Poet on Broadway
Richard Rodgers
