"You Have Cast Your Shadow on the Sea (Lorenz Hart, lyric; from The Boys from Syracuse, 1938) Joan Morris with William Bolcom piano "its ingenuity, the opulence of its harmony, its wise contrast...following the lush opening with shorter notes, make it a very special song...demanding phrase of the song is its initial idea""
"I Didn't Know What Time It Was (Lorenz Hart, lyric - from Too Many Girls, 1939) Nnenna Freelon "a great ballad...Rodgers' style has at this point become so distinctly and recognizably his own...consummate talent as a melodist""
"I Like To Recognize the Tune (Lorenz Hart, lyric - from Too Many Girls, 1939) Frederica Von Stade "a light, airy plea by a writer who probably too often found his tunes disappearing in over-grandiose radio and dance-band arrangements""
"From Another World (Lorenz Hart, lyric - from Higher and Higher, 1940) Hal Derwin with Shep Fields and his Rippling Rhythm Orchestra "a very beautiful ballad...structure is too complex to reduce to lettered themes (A, B, and so on)""
"1) It Never Entered My Mind (Lorenz Hart, lyric - from Higher and Higher, 1940) Mary Martin "melody is very simple and somber...release is less gloomy...accompanied by a clinically dry remark" 2) To Keep My Love Alive (Lorenz Hart, lyric - from A Connecticut Yankee, revival, 1943) Mary Martin "perfectly delightful madrigal-like song...plenty to startle in the cheerily macabre lyric""
"Happy Hunting Horn (Lorenz Hart, lyric - from Pal Joey, 1940) Peter Gallagher "equivocal meanings...in the lyric suggest a lot more than the melody does...a very innocent child-like melody...punched by off-beat rhythms some of the time""
"Wait Till You See Her (Lorenz Hart, lyric - from By Jupiter, 1942) Julius La Rosa "one of the loveliest of all Rodgers and Hart waltzes...pure melodic writing and pure lyric-writing are of the best...all I can ask of a writer""
"Boys and Girls Like You and Me (Oscar Hammerstein II, lyric - cut from Oklahoma, 1943) Pat Healy "only sixteen measures...a song of great gentleness and most endearing turn of phrase...a hand-holding, summer-strolling statement of affection""
"Mister Snow (Oscar Hammerstein II, lyric - from Carousel, 1945) Barbara Ruick "I am very touched by its first half, but find myself completely thrown off by a spoken measure just before the restatement...should not be judged out of its theatrical context""
"It Might As Well Be Spring (Oscar Hammerstein II, lyric - from State Fair, film, 1945) Andy Williams "a wonderful song...unlike any song Rodgers had written to this point...extension is most unexpected and effective...lyric is truly a treasure of sparkling imagery""
"It's a Grand Night for Singing (Oscar Hammerstein II, lyric - from State Fair, film, 1945) Nelson Eddy "a charmingly direct, four-square, old-fashioned back-porch waltz...lyric is fresh and cheery and uncontrived""
"The Gentleman Is a Dope (Oscar Hammerstein II, lyric - from Allegro, 1947) Lisa Kirk "should be a great song...after the first section, you're sure it is...begins to lag...lyric is extremely good...what about that curiously alien release?""
"Hello, Young Lovers (Oscar Hammerstein II, lyric - from The King and I, 1951) Gary LeMel "right back on base...enormously touching, beautifully written, harmonically colorful and unintrusive, indeed, one of Rodgers' finest waltzes...extended ending is unusual and marvelously effective""
"Do I Love You Because You're Beautiful (Oscar Hammerstein II, lyric - from Cinderella, TV, 1957) Lynne Wintersteller "but for the, to me, highly inappropriate and unrelated last section, I very much like""
"Love, Look Away (Oscar Hammerstein II, lyric - from Flower Drum Song, 1958) Arabella Hong "a very interesting song, unlike anything of Rodgers I know...holds up beautifully until its second-to-last measure""