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One Hand, One Heart

{{for|the Debbie Gibson song|One Hand, One Heart (Debbie Gibson song)}}

"One Hand, One Heart" is a song from the musical West Side Story by Leonard Bernstein and Stephen Sondheim. It is a duet sung between Maria and Tony while they have a make-believe wedding, as seen in the stage version and 1961 film, while in the 2021 film, they sing it as they pledge their love to one another inside a church at The Cloisters as part of their date. Larry Kert and Carol Lawrence introduced it in the 1957 Broadway production.

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Analysis

The tune was originally composed for an unused song in Candide,{{Cite book|last=Vaill|first=Amanda|author-link=Amanda Vaill|year=2006|title=Somewhere – The Life of Jerome Robbins|location=New York|publisher=Broadway Books|isbn=978-0-7679-0421-6|page=[https://archive.org/details/somewherelifeofj00vail/page/284 284]|quote=They took the virginal duet, "One Hand, One Heart" originally written for and pulled from Candide ... and relocated it to Tony and Maria's bridal shop marriage|url=https://archive.org/details/somewherelifeofj00vail/page/284}} called "One". The original tune comprised just a single dotted note per bar, which Sondheim was loath to write lyrics for, as he would have to write all single syllable words, so he wrote lyrics making fun of the tune to persuade Bernstein to give him the extra notes.{{cite AV media notes |type=Commentary track |author=Stephen Sondheim|author-link=Stephen Sondheim|id=MGM Home Video |title-link=West Side Story (1961 film) |title=West Side Story (1961 film) |publisher=MGM Home Video |year=2012}} Sondheim later wrote of the final product:

{{quote|Lenny had written only one note for each bar, so each word lay there, heavy and detached from the word that followed. It was like a sequence of anchors. ... As in "Somewhere" the tune hamstrings the lyricist by virtually precluding the use of any two-syllable words, which sound ridiculous when stretched out so slowly. But Lenny was very fond of the melody and wanted to use it for the Balcony Scene, so I asked him merely to give me a couple extra quarter-notes per bar, which didn't change the melodic outline. The paucity of notes did have one virtue: it made me write simply. A little {{em|too}} simply, but still...{{cite book|author=Stephen Sondheim|year=2010|url=https://archive.org/details/finishinghat00/page/44/mode/2up|via=Internet Archive|title=Finishing the Hat – Collected Lyrics (1954–1981)|page=44|location=New York|publisher=Knopf|isbn=978-0-679-43907-3}}}}

Philip Brophy analysis the song's context within the musical:

{{quote|This number extends the playing-out of social rituals as in the previous number. Here Tony and Maria perform a symbolic marriage because such an actual ceremony is a 'social' impossibility. This reinforces their relationship as being 'above' their social reality, accented by the whole notion of them with their heads 'up in the clouds'. Throughout this number they 'harmonize' with one another and eventually resolve those harmonies into unison, symbolizing their 'oneness' with one another. Note how their call-response itself is a recreation of the vow exchanges in a marriage ceremony. Note also how at the end of the number, the melodic motif of "Maria" slightly upsets the harmonic resolution. This motif – which it must be remembered alludes to Tony's desire to get in on with Maria, and which therefore constitutes a social transgression which works to move the plot along to end tragically – symbolically suggests that their wedding will not take place because 'it shouldn't happen'.[http://www.philipbrophy.com/projects/mediaarts/modernsoundtrack1/11.html West Side Story analysis] by Philip Brophy}}

Notable recordings

References

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External links

{{West Side Story}}

{{Leonard Bernstein}}

{{Stephen Sondheim}}

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Category:Songs from West Side Story

Category:Songs with music by Leonard Bernstein

Category:Songs written by Stephen Sondheim

Category:1957 songs

Category:Male–female vocal duets