said, "In that afternoon I learned more about songwriting and the musical theater than most people learn in a lifetime." Hammerstein designed a course of sorts for Sondheim on constructing a musical. He had the young composer write four musicals, each with one of the following conditions: Based on a play he admired; Sondheim chose George S. Kaufman and Marc Connelly's Beggar on Horseback (which became All That Glitters) Based on a play he liked but thought flawed; Sondheim chose Maxwell Anderson's High Tor Based on an existing novel or short story not previously dramatized, which became his unfinished version of Mary Poppins (Bad Tuesday, unrelated to the musical film and stage play scored by the Sherman Brothers) An original, which became Climb High None of the "assignment" musicals was produced professionally. High Tor and Mary Poppins have never been produced: the rights holder for the original High Tor refused permission (though a musical version by Arthur Schwartz was produced for television in 1956), and Mary Poppins was unfinished. Hammerstein's death Hammerstein died of stomach cancer on August 23, 1960, aged 65. Sondheim later recalled that Hammerstein had given him a portrait of himself. Sondheim asked him to inscribe it, and said later of the request that it was "weird...it's like asking your father to inscribe something." Reading the inscription ("For Stevie, My Friend and Teacher") choked up the composer, who said, "That describes Oscar better than anything I could say." Education Sondheim began attending Williams College, a liberal arts college in Williamstown, Massachusetts, whose theater program attracted him. His first teacher there was Robert Barrow: everybody hated him because he was very dry, and I thought he was wonderful because he was very dry. And Barrow made me realize that all my romantic views of art were nonsense. I had always thought an angel came down and sat on your shoulder and whispered in your ear "dah-dah-dah-DUM." It never occurred to me that art was something worked out. And suddenly it was skies opening up. As soon as you find out what a leading tone is, you think, Oh my God. What a diatonic scale is – Oh my God! The logic of it. And, of course, what that meant to me was: Well, I can do that. Because you just don't know. You think it's a talent, you think you're born with this thing. What I've found out