“I’m shocked by the loss of a great colleague, as is everyone in the theater and film business and every corner of the arts where song and score matter to people,” said Alan Menken, the Academy- and Tony Award-winning composer. “The fraternity of songwriters has lost a great friend.”
Hamlisch’s interest in music started early. At the age of 7, he entered the Juilliard School of Music, having stunned the admissions committee with his renditions of “Goodnight Irene” in any key they desired.
In his autobiography, “The Way I Was,” Hamlisch admitted that he lived in fear of not meeting his father’s expectations. “By the time Gershwin was your age, he was dead,” the Viennese-born musician would tell his son. “And he’d written a concerto. Where’s your concerto, Marvin?”
In his teens, he switched from piano recitals to songwriting. Show music held a special fascination for him. Hamlisch’s first important job in the theater was as rehearsal pianist for the Broadway production of “Funny Girl” with Streisand in 1964. He graduated to other shows like “Fade Out-Fade In,” ‘‘Golden Rainbow” and “Henry, Sweet Henry,” and other jobs like arranging dance and vocal music.
“Maybe I’m old-fashioned,” he told The Associated Press in a 1986 interview. “But I remember the beauty and thrill of being moved by Broadway musicals — particularly the endings of shows. The end of ‘West Side Story,’ where audiences cried their eyes out. The last few chords of ‘My Fair Lady.’ Just great.”
Nancy Reagan liked that Hamlisch called himself old-fashioned: “I suppose that’s why Ronnie and I were so drawn to him, she said in a statement, recalling a special song Hamlisch wrote for Ronald Reagan’s 77th birthday in 1988. “But I don’t think you could ever find a more contemporary and talented musician,”