Collection Summary
George and Ira Gershwin Collection
1895-2008
(bulk 1920-1960)
1895-2008
(bulk 1920-1960)
ML31.G38
Gershwin, George, 1898-1937
Gershwin, Ira, 1896-1983
60,705 items
8 mapcase folders
145 containers
71 linear feet
English
Collection material in English
Music Division, Library of Congress
Washington, D.C.
Composer George Gershwin (1898-1937)
and his lyricist brother Ira (1896-1983) wrote some of the most significant American
popular songs of the first half of the twentieth century. Working with novelist and
poet DuBose Heyward, they created the great American opera Porgy and Bess. Additionally, George Gershwin composed several
singularly American concert works, including An American in
Paris and Rhapsody In Blue, and both
brothers produced many distinguished songs working with other collaborators. The
George and Ira Gershwin Collection contains music manuscripts, handwritten and
typewritten lyric sheets, printed music, correspondence, photographs, programs and
publicity materials, legal and financial documents, and thirty-one scrapbooks, which
present nearly a complete record of the Gershwins' lives and work as they were
chronicled in the contemporary press.
Selected Search Terms
The following terms have been used to index the description of this collection in the LC Catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically.
People
Armitage, Merle, 1893-1975--Correspondence.
Bennett, Robert Russell, 1894-1981.
Botkin, Benjamin Albert, 1901-1975--Correspondence.
Botkin, Henry Albert, 1896-1983--Correspondence.
Corbett, Rosamond Walling Tirana, 1910-1999--Correspondence.
Daly, William Merrigan, 1887-1936.
Damrosch, Walter, 1862-1950--Correspondence.
DePackh, Maurice, 1896-1960.
Gershwin, George, 1898-1937--Archives.
Gershwin, George, 1898-1937--Correspondence.
Gershwin, George, 1898-1937--Photographs.
Gershwin, George, 1898-1937.
Gershwin, George, 1898-1937.
Gershwin, George, 1898-1937. Porgy and Bess.
Gershwin, George, 1898-1937. Porgy and Bess.
Gershwin, George, 1898-1937. Works. Selections.
Gershwin, George, 1898-1937. Works. Selections; arranged.
Gershwin, Ira, 1896-1983--Archives.
Gershwin, Ira, 1896-1983--Correspondence.
Gershwin, Ira, 1896-1983--Photographs.
Gershwin, Ira, 1896-1983.
Gershwin, Ira, 1896-1983. Lyrics. Selections.
Gershwin, Rose--Correspondence.
Heyward, DuBose, 1885-1940.
Kaufman, George S. (George Simon), 1889-1961.
Pringle, Aileen, 1895-1989--Correspondence.
Ryskind, Morrie, 1895-1985.
Saddler, Frank.
Sirmay, Albert--Correspondence.
Sirmay, Albert.
Spialek, Hans.
Swift, Kay, 1897-1993.
Tamber, Selma--Correspondence.
Weill, Kurt, 1900-1950--Correspondence.
Subjects
Composers--United States--Autographs.
Composers--United States--Correspondence.
Composers--United States.
Lyricists--United States--Correspondence.
Lyricists--United States.
Musical films.
Musicals--Scores.
Musicals--Vocal scores with piano.
Musicals.
Revues.
Form/Genre
Art music.
Artifacts (Object genre)
Correspondence.
Financial records.
Legal documents.
Musical films.
Musicals.
Parts (Music)
Photographic prints.
Popular music.
Programs (Documents)
Scores.
Scrapbooks.
Vocal scores.
Provenance
The George and Ira Gershwin Collection has been assembled over a period of many
years from a number of sources, foremost among them, members of the Gershwin family.
The first acquisition that would become part of the collection was George's two-page
holograph sketch for "Roll Dem Bones" (or, "The Crap Shooter's Song") from
Porgy and Bess
, donated by Ira in 1939. The
next gift, and the first substantial one, was received in 1953 from the estate of Rose Gershwin, consisting of
George's holograph scores for six of his seven large-scale orchestral works:
An American in Paris
,
Concerto in F
,
Cuban Overture
,
Porgy and Bess
,
Rhapsody in Blue
, and
Second Rhapsody
. Ira's first major gifts were George’s custom-made desk and Ferde Grofé's
holograph score for his symphonic orchestration of
Rhapsody in Blue
, also in 1953, and George's holograph score for the
"I Got Rhythm" Variations
, in 1954.
During the 1950s, '60s, and '70s, Ira
donated numerous music manuscripts, lyric sheets, photographs, sound recordings, and
other materials in his possession, many of them accompanied by his informative
explanatory notes. He also donated the drafts for his memoir,
Lyrics on Several Occasions
, in 1966, and he purchased and
donated several items that he considered interesting and appropriate for the
collection.
By the early 1980s, as Ira's advancing
age was diminishing his activity on behalf of the George and Ira Gershwin
Collection, his wife, Leonore, became increasingly involved with collecting and
preserving the Gershwins' documentary legacy. In 1983, she purchased George's holograph two-piano score for
An American in Paris
, which she donated the following year.
After Ira's death in 1983, Leonore
continued and expanded her husband’s efforts, donating the remaining music
manuscripts and lyric sheets (some 6,000 documents) from their home in 1987. She purchased and donated George's
letters to Julia Van Norman in 1988. Her
final gift, in the spring of 1991, was a
manuscript tunebook of George's dating from the earliest years of his career
1916-1922. Following her death, the Library of Congress received
from her estate additional materials including self-portrait oil paintings of both
brothers, one of George's pianos, and thirty-one scrapbooks that document the
careers of George and Ira and productions and performances of their work from 1913
until 1986.
Many other members of the Gershwin family and friends of the Gershwin brothers have
also given materials for the collection. The roster of these generous donors
includes: George and Ira’s brother and sister, Arthur Gershwin and Frances Gershwin
Godowsky, as well as Judy Gershwin, Marc George Gershwin, Leopold Godowsky III,
Elaine Godowsky, Michael and Jean Strunsky, Dorothy Botkin Rosenthal, Daniel Botkin,
Albert Sirmay, Kay Swift, Mabel Schirmer, Rosamond Walling Tirana, and Michael
Feinstein.
Since 1991, Ira and Leonore's
acquisitions work has continued, underwritten by the Ira and Leonore Gershwin Trust
for the Benefit of the Library of Congress. In some instances, the Trust has
acquired and donated materials; in numerous other instances, the Library has
purchased materials using funds provided by the Gershwin Trust.
The most remarkable gift from the Gershwin Trust was a collection of more than 120
previously unknown documents from the estate of Emanuel Alexandre, for many years
Rose Gershwin’s attorney, presented to the Library of Congress in 1997. Materials purchased by the Library with funds
from the Gershwin Trust include the archival files of the Theatre Guild (1927-1966)
concerning
Porgy and Bess
, purchased in 1992, notable
manuscript sketches for
Porgy and Bess
from the estate of Kay Swift, purchased in 1994, and seven additional music manuscripts, as
well as rare printed scores, contracts, and sixty-one letters, postcards, and other
documents.
Finally, the Library's acquisitions funds have been used to purchase additional
materials including a collection of contracts, letters, and other documents from the
files of the law offices of Wattenberg and Wattenberg, (for many years the attorneys
for the Gershwins' principal music publisher, Chappell and Co.). The funds have also
been used to purchase a remarkable manuscript sketchbook dating from
1929-1931 and a collection of previously unknown correspondence
between George and Ira and George’s first biographer, Isaac Goldberg.
Processing History
Items in the Gershwin and Ira Gershwin Collection were processed individually or in
groups upon their arrival, beginning with the first acquisition in 1939. The collection was organized into series
approximating the present arrangement by Raymond White in 1984. In 1997-1998, the arrangement of the collection was modified somewhat to
accommodate acquisitions received since 1984, and the finding aid was created by
Valerie MacMurdy. Beginning in 2008, the
finding aid was revised by Christopher Hartten, Janet McKinney, Caitlin Miller, and
Raymond White and coded for EAD in 2010.
Materials received since that time have been processed and coded by Janet McKinney.
Other Repositories
Materials concerning
Porgy and Bess
are included in the DuBose Heyward Papers at the South Carolina Historical
Society. Research and publication materials for
The Gershwin Years
are included in the Edward Jablonski and Lawrence D. Stewart Collection at
the Harry Ransom Humanities Research Center at the University of Texas at Austin.
Related Material
The largest and most important additional collection of archival materials relating
to the lives and careers of George and Ira Gershwin is the archives of the Ira and
Leonore Gershwin Trusts, transferred to the Music Division in 2013. Consisting of
15,000 items, it contains scores, scripts, correspondence, business papers,
photographs, programs, and other documents. [The Ira Gershwin Files from
the Law Office of Leonard Saxe] relate primarily to Ira's personal legal
affairs and the activities of the Rose Gershwin Testamentary Trust from 1948 to 1968. Other collections containing
related material are: The [Ferde Grofé
Collection] (materials for
Rhapsody in Blue
, including Grofé's holograph score for his original jazz band scoring), the
[Serge Koussevitzky
Archive], the [Moldenhauer Archives at the
Library of Congress], the [Rose Marie Grentzer and
Harold Spivacke Fund Collection], the [Vernon Duke
Collection], and the [Danny Kaye and Sylvia Fine
Collection].
Copyright Status
Materials from the George and Ira Gershwin Collection are governed by the Copyright
Law of the United States (Title 17, U.S.C.) and other applicable international
copyright laws.
Access and Restrictions
The George and Ira Gershwin Collection is open to research. Researchers are advised
to contact the Music Division prior to visiting in order to determine whether the
desired materials will be available at that time.
Certain restrictions to use or copying of materials may apply.
Preferred Citation
Researchers wishing to cite this collection should include the following information:
[item, date, container number], George and Ira Gershwin Collection, Music Division,
Library of Congress, Washington, D.C.
Biographical Note
Date
Event
1872?
Moishe Gershovitz (later, Morris Gershovitz, then Gershvin, and finally,
Gershwin) born in St. Petersburg, Russia. He immigrates to New York in the
early 1890s. George will describe him as "a very easy-going, humorous
philosopher who takes things as they come."
1875 or 1876
Rosa (later, Rose) Bruskin (or Brushkin) born in St. Petersburg, Russia.
She immigrates to New York with parents Gershon and Mariaska (later, Mary)
Dechinik Bruskin and younger siblings Bernard "Barney" and Katiel "Kate" in
the early 1890s. George will describe her as "nervous, ambitious, and
purposeful" and "never the doting type."
1895 July 21
Morris Gershovitz and Rosa Bruskin are married in New York.
1896 December 6
Ira Gershwin is born Israel Gershovitz in Manhattan's Lower East Side. He
is known as "Izzy" or "Iz," mistakenly believing (until applying for a
passport in 1928) that his given name is Isidore (or Isadore). Ira follows
his father's use of the surname Gershvin until 1917, when he adopts
Gershwin.
1898 January 15
Morris and Rosa Gershvin become naturalized U.S. citizens.
1898 September 26
George Gershwin is born Jacob Gershwine in Brooklyn, New York. (Gershwine
is probably an alternate spelling of Gershvin and not a change of the family
name; in the 1890s in the New York's Russian-Jewish immigrant communities
both spellings would be pronounced "Gershvin.") By 1913, George is using the
name Gershwin, which the entire family eventually adopts. His family
sometimes calls him Georgie, although there is scant evidence that he is
ever called Jacob.
1900 March 14
Arthur, the third Gershwin sibling, is born.
1900 October 3
Leonore "Lee" Strunsky is born into a Russian-Jewish family in San
Francisco. Lee and her parents, Albert and Mascha Strunsky, and her older
sister, Emily, move to New York in 1906, following the famous earthquake.
Lee’s brother, English, is born in New York in 1908. Emily will later become
one of George’s dearest friends.
1906 December 6
Frances (known as "Frankie"), the youngest Gershwin child and only
daughter, is born.
early 1900s
Ira's emerging personality is quiet and studious. He becomes an avid
reader and also develops an interest in theater (moving pictures as well as
stage shows). George is more rambunctious and misbehaves frequently. He
describes his first awareness of music as hearing Rubinstein's
Melody in F
at a penny arcade in Harlem (circa 1904), and he credits a
performance of Dvořák's
Humoresque
(circa 1908) by schoolmate-violinist Maxie Rosenzweig (later, Max
Rosen) as having "opened the world of music" to him.
circa 1910
The family acquires a piano, with the expectation that Ira will continue
piano lessons begun a short time before under the tutelage of Rose's sister,
Kate Wolpin. George surprises his family by demonstrating keyboard ability,
acquired by experimenting on the player piano at the home of a friend.
George begins piano lessons, while the plans for Ira's continued study are
discarded. The details of George's early piano instruction remain uncertain
and accounts disagree. George's first lessons may have been with an unnamed
neighborhood teacher for a short time, then with a Mrs. Louis Greene, and
followed by a period under a Hungarian band leader and operetta conductor
named Von Zerly.
1910
1914
Ira attends Townsend Harris Hall high school. In 1913, he and Isadore
Hochberg (later, lyricist E. Y. "Yip" Harburg) write the "Much Ado" column
for the school's literary magazine, the
Academic Herald
. In October 1913, Ira is listed as one of the publication's four
art editors.
1912
1914
George begins attending concerts by the likes of Leopold Godowsky, Josef
Lhévinne, Leo Ornstein, and Efrem Zimbalist.
1913
George graduates from Public School 25 and enters the High School of
Commerce.
circa 1913
1918
George's first important piano teacher is Charles Hambitzer, who George
will describe as "the first great musical influence in my life." Lessons
probably begin in early 1913 and continue until Hambitzer's death in 1918,
although how frequently, particularly in the later years, is not
certain.
circa 1913
George composes his earliest known songs, to lyrics by Leonard Praskins:
"Ragging the Traumerei" and "Since I Found You" (now lost). Sources disagree
as to which song was first, although "Ragging the Traumerei" is widely
accepted as George's earliest surviving composition.
1914
1916
Ira attends the City College of New York, majoring in English. In
November 1915 he and Yip Harburg begin writing a column for
The Campus
, the City College weekly journal titled, "Gargoyle Gargles,"
signed by "Yip and Gersh."
1914 March 21
George makes his first documented appearance as a pianist on a concert
program presented by the Finley Club, the literary society of the City
College of New York, performing an original tango and accompanying a
singer.
1914 May
Fifteen-year-old George, already skilled at sight-reading and
transposing, leaves the High School of Commerce to become a piano pounder at
Jerome H. Remick and Company, at a salary of $15 per week.
1914 September 26
Ira's first publication in a commercial newspaper, the New York Mail, is
credited to "Gersh."
Late 1915
George begins making piano rolls for the Standard Music Roll Co. From
1915 until 1925 or 1926, he makes some 140 piano rolls, more than half of
them in 1916 and 1917. Initially, he records the works of other composers,
but after 1919 he concentrates chiefly on his own music, and exclusively so
after 1921.
1915 or 1917, through 1921 or 1923
George studies music theory with Edward Kilenyi, Sr. Again, sources
disagree as to the precise dates.
1916
1918
Ira works at his father’s Turkish baths and at B. Altman’s department
store, taking occasional evening classes at City College. He attends
numerous Vaudeville shows and moving pictures, and he publishes some light
verse.
1916
Piano rag "Rialto Ripples," written by George and collaborator Will
DonaLawrence Stewarton, is George's first complete surviving instrumental
piece, and his earliest repertoire work.
1916 May
George's first published song, "When You Want 'Em, You Can't Get 'Em,
When You've Got 'Em, You Don’t Want 'Em" (lyric by Murray Roth), earns a
total royalty of $5.00.
1916 June
George's second published song (and his first to be sung in a Broadway
show) is "Making of a Girl" (lyric by Harold Atteridge) in
The Passing Show of 1916
at the Winter Garden.
1917 March 17
George quits his job as a song plugger at Remick's, wishing to associate
himself more closely to what he describes as "production music, the kind
Jerome Kern was writing."
1917 May 23
Ira's first known song lyric, "You May Throw All the Rice You Desire,"
is published in the
New York Evening Sun
; Ira is credited as I. B. Gershwin.
1917 July
George becomes rehearsal pianist for
Miss 1917
. During the next eighteen months or more, he accompanies rehearsals
for a number of shows, acquainting himself with the theater and many of its
important figures.
Late 1917
George is pit pianist for several weeks at the Cocoanut Grove Roof of the
Century Theatre, for an all-Spanish review with music of Quinito
Valverde.
1917 November
Ira begins a several-month stint as an occasional Vaudeville reviewer
for the
New York Clipper
.
1917 December
Ira writes his first lyrics to melodies of George's. His diary names one
such lyric, "You Are Not the Girl" (now lost). Later in the month, the diary
mentions "a couple" of songs written with George, but the titles are not
given.
1918 February
George joins the music publishing firm T. B. Harms Co. as a staff
composer. George, Ira, and Lou Paley collaborate on "A Beautiful Bird," the
earliest surviving George-and-Ira song. Only the melody and lyric are
preserved, however.
1918 February
"The Shrine," a brief "filler" piece and Ira's first publication for
which he is paid, appears in
The Smart Set: A Magazine of Cleverness
. Ira is credited as Bruskin Gershwin; he earns $1.00.
1918 September
"Some Wonderful Sort of Someone" (lyric by Schuyler Greene) becomes the
first of George's songs published by T. B. Harms. The following month it is
heard in
Ladies First
at the Broadhurst Theatre, along with "The Real American Folk Song
(Is a Rag)," the first George-and-Ira song performed in a Broadway show, and
the earliest George-and-Ira song to survive as a complete piano-vocal score.
1918 December 9
The first musical to feature George's songs,
Half Past Eight
(three songs with lyrics by Edward B. Perkins, and one by Ira),
closes out of town at the Empire Theatre in Syracuse, New York, after only
one week and a scathing review in Variety.
1919
George continues writing songs that he hopes may be interpolated into
Broadway musicals. "I Was So Young (You Were So Beautiful)" (lyric by Irving
Caesar and Al Bryan) was one of two songs by George included in
Good Morning, Judge
at the Shubert Theatre. It is the first of George's songs to
achieve some popularity.
1919 May 26
La-La-Lucille!
(lyrics by Arthur J. Jackson and B. G. De Sylva) opens at the Henry
Miller Theatre in New York. George's first book musical and his first
full-scale Broadway production, the show is a moderate success, running for
104 performances.
1919 Fall?
George and lyricist Irving Caesar write "Swanee" in an effort to
capitalize on the current one-step rage, "Hindustan." The song is included
in the
Capitol Revue
at New York’s new 5,300-seat Capitol Theatre, but it attracts
little notice. In December, Al Jolson hears it at a party and decides to
interpolate it in his current hit show,
Sinbad
. The song then becomes an immediate success and George's first
international hit.
1920 August 31
"Waiting for the Sun to Come Out," the first published George-and-Ira
song, is introduced in
The Sweetheart Shop
at New York’s Knickerbocker Theatre. The sheet music credits Ira as
"Arthur Francis," a name that Ira would use for the next 3-1/2 years. Ira
devised the pseudonym (combining the names of his younger brother and
sister) in an effort to avoid the accusation of attempting to trade on his
better-known brother’s reputation.
1921 May 3
Two Little Girls in Blue
(music by Vincent Youmans and Paul Lannin) opens at the George M.
Cohan Theatre. It is Ira’s first successful Broadway show, running for 135
performances.
1921 Summer
In his continuing desire to increase his musical training, George takes
summer courses at Columbia University: Nineteenth-Century Romanticism in
Music, and Elementary Orchestration, taught by music department head
Rossetter G. Cole.
1922 August 28
Blue Monday
, a one-act opera with lyrics by B. G. De Sylva, receives its first
performance as part of
George White's Scandals of 1922
at New York’s Globe Theatre. Sometimes described as George's first
serious work and the precursor to
Porgy and Bess
, it is deemed out of keeping with the rest of the revue, and it is
cut after only one performance.
1923 January
George studies musical form and composition with arch-traditionalist
Rubin Goldmark. Most sources indicate that the course of study lasted for
only three lessons.
1923 April 3
The Rainbow
(lyrics by Clifford Grey) opens at London’s Empire Theatre. George
makes his first trip to Europe to supervise the production.
1923 November 1
George makes his concert hall debut accompanying mezzo-soprano Eva
Gauthier in a "Recital of Ancient and Modern Music for the Voice." George
accompanies her in a set of American songs, including some of his own and,
it is said, steals the show. The concert (or a version of it) was later
repeated in Boston, London, and Derby, Connecticut.
1924 February 12
Rhapsody in Blue
receives its first performance at New York's Aeolian Hall by Paul
Whiteman's Palais Royal Orchestra, with Whiteman conducting and George as
piano soloist. The not-yet-begun work is announced as a "jazz concerto" in
the January 4
New York Tribune
. George completes his score in less than three weeks; it is then
orchestrated by Ferde Grofé. Tentatively titled
American Rhapsody
, it is retitled
Rhapsody in Blue
at Ira's suggestion. It is an immediate popular triumph, although
critics are somewhat less enthusiastic. The performance is repeated on March
7 and at Carnegie Hall on April 21. George records the work for the Victor
label (his first phonograph recording) with Whiteman and his orchestra.
1924 May
Ira drops the pseudonym Arthur Francis. He chooses the name Ira, wanting
to keep his initial I, and feeling that Isidore and Irving were too common.
"Imagine Me Without My You" (music by Lewis Gensler), sung in
Top Hole
at New York's Fulton Theatre, becomes the first published song with
lyrics attributed to "Ira" Gershwin (in this instance, Ira B. Gershwin).
1924 September 3
Be Yourself
(music by Lewis Gensler and Milton Schwarzwald) opens at the Sam H.
Harris Theatre in New York. It becomes the first complete Broadway musical
with lyrics by "Ira Gershwin," enjoying a moderately successful run of 93
performances.
1924 September 11
Primrose
(lyrics by Ira and Desmond Carter) opens at London's Winter Garden.
It runs for 255 performances and becomes the Gershwins' first big London
success, as well as their first show to be printed as a complete piano-vocal
score.
1924 December 1
Lady, Be Good!
, starring the brother-and-sister team of Fred and Adele Astaire,
opens at New York's Liberty Theatre. It is the first complete George-and-Ira
show on Broadway and its successful run of 330 performances is by far the
Gershwins' longest to date.
1925 December 3
Concerto in F
, George's first truly symphonic work, is given its premiere
performance at Carnegie Hall by the New York Symphony Society (which had
commissioned the work, conductor Walter Damrosch, and George as piano
soloist. George scores the work himself, as he will score all of his
subsequent orchestral works, including
Porgy and Bess.
1926
1928
George records three preludes, the "Andantino" section of
Rhapsody in Blue
for piano solo, and fifteen show tunes. He will make few recordings
after 1928, although radio broadcasts preserved from the 1930s give evidence
of the development of his piano playing in later years.
1926 April 14
The London production of
Lady, Be Good!
opens at the Empire Theatre. Hugely successful, its London run of
326 performances was followed by a tour of England, Scotland, and Wales. The
genesis of
An American in Paris
can be traced to the period of George's trip to London for the
production. After leaving England, George visits Paris and searches for the
famed taxi horns later used for performances of
An American in Paris.
1926 September 14
Ira marries Lee Strunsky in New York.
1926 October
George reads DuBose Heyward's novel
Porgy
, and he is impressed by the operatic possibilities of the story.
Although he soon mentions the prospect to Heyward, it will be seven years
before serious work on the opera begins.
1926 November 8
Oh, Kay!
(earlier titles: Mayfair, Miss Mayfair, and Cheerio) starring
Gertrude Lawrence opens in New York at the Imperial Theatre. It receives
enthusiastic reviews for the score as well as for Lawrence’s performance and
runs for 256 performances.
1926 December 4
George participates in a so-called Futurist concert with the somewhat
exotic contralto Marguerite D'Alvarez at New York's Hotel Roosevelt. George
plays a set of preludes, some or all of which he plays later in Buffalo and
Boston, this later giving rise to considerable scholarly discussion of
precisely how many preludes were written and which of the surviving scores
and sketches (including and in addition to the three published preludes)
might represent those works.
1927 April
George makes a second Victor recording of
Rhapsody in Blue
, again with the Whiteman Orchestra, but with Nathaniel Shilkret
conducting. This "new" electrical recording uses the recently-developed
microphone, as opposed to the acoustic horn technology used for George's
first recording of the work.
1927 July 23
George makes the first of six appearances with the New York Philharmonic
at summer concerts at Lewisohn Stadium, a sports arena on the campus of the
City University of New York. This performance, with George as soloist in
both
Rhapsody in Blue
and
Concerto in F
, attracts a record-breaking audience of some 15,000 people (the
previous record was held by a concert featuring Beethoven’s Ninth
Symphony!).
1927 August 27
The "1927 version" of
Strike Up the Band
begins its out-of-town tryouts at the Broadway Theatre in Long
Branch, New Jersey. Ten days later, it moves to the Shubert in Philadelphia
where it closes after two weeks. Although the critics are enthusiastic, the
show's satire fails to attract audiences. The show would be revised somewhat
successfully in 1930.
1927 October 11
The out-of-town tryouts begin for
Smarty
(eventually retitled
Funny Face
), featuring Fred and Adele Astaire, who have just returned from the
London run of
Lady, Be Good!
Although it eventually produces such hits as "He Loves and She
Loves," "'S Wonderful," and "How Long Has This Been Going On" (discarded),
it goes through extensive revisions during its six weeks in Philadelphia,
Washington, Atlantic City, and Wilmington before finally opening at New
York's Alvin Theatre on November 22, for a successful run of 244
performances.
1928 March 11
George, Ira, Lee, and Frankie sail for a vacation in Europe; the New
York Times had announced that George would work on a new composition during
the visit. This is Ira’s first trip abroad, and George’s fifth and last. The
Gershwins' intinerary includes London, Paris, Berlin, and Vienna. The
announced "new work" would be
An American in Paris
.
1928 May 10
At Elsa Maxwell's instigation, Frankie sings a set of her brothers'
songs as part of a revue that Cole Porter is preparing for the night club,
Les Ambassadeurs
. George accompanies her first-night performance and Frankie
continues on the program for two weeks.
1928 December 13
An American in Paris
is given its premiere performance at Carnegie Hall by the
Philharmonic-Symphony Society of New York, conducted by Walter Damrosch. The
work is an immediate popular success.
1929 February
The complete recording of
An American in Paris
is made by RCA Victor, with Nathaniel Shilkret conducting. This is
the first full-scale recording of a work by George, who plays the celesta
part for the recording and, it is often said, misses one cue because of his
excitement.
1929 July 2
Show Girl
opens at the Ziegfeld Theatre in New York. The show stars Ruby
Keeler Jolson and generates considerable press and excitement, but runs for
only 111 performances.
1929 August 26
George makes his conducting debut at Lewisohn Stadium in
An American in Paris
with the New York Philharmonic.
1929 November 1
George conducts the Manhattan Symphony at the Mecca Auditorium in
An American in Paris.
The New York Times gives him an excellent review.
1929 December 25
The "1930 version" of
Strike Up the Band
opens its out-of-town tryout at Boston's Shubert Theatre, with a
new libretto and half of the original score rewritten. George adopts the
practice of conducting the show's out-of-town and New York openings (at the
Times Square Theatre on January 14, 1930), a practice he will continue for
the rest of his life.
1930 October 14
Girl Crazy
, with a score boasting such classics as "Embraceable You," "But Not
for Me," and "I Got Rhythm" opens at New York's Alvin Theatre and runs for
272 performances. This show is widely credited as establishing the stardom
of both Ethel Merman and Ginger Rogers.
1930 November 5
George, Ira, and Lee leave New York by train for California, where
George and Ira write the score for
Delicious
, a film produced by the Fox Film Corp. and released the following
year. The Gershwins write six songs, the so-called "Dream Sequence," and
George's "Manhattan Rhapsody" (later revised as his
Second Rhapsody
). The film, starring Janet Gaynor, Charles Farrell, and El Brendel,
promises to be a hit in the new medium of musical films, but it fails to
meet expectations.
1931 December 29
Of Thee I Sing
opens at the Music Box Theatre in New York. It will run for 441
performances, making it the longest-running of any original Gershwin
musical. It is awarded the Pulitzer Prize for Drama, the first musical to be
so honored. However, the citation and the $1,000 prize go to George S.
Kaufman, Morrie Ryskind, and Ira, the authors of the book and lyrics. The
composer of the music is not included among the honorees.
1932 January 29
George's
Second Rhapsody
(reworked from the "Manhattan Rhapsody" written for the film
Delicious
) receives its premiere performance by the Boston Symphony,
conductor Serge Kousssevitzky, and George as piano soloist. The same forces
give the work's first New York performance at Carnegie Hall on February 5.
1932 May 14
Morris Gershwin dies in New York.
1932 August 16
The first performance of
Rumba
takes place at Lewisohn Stadium, by the New York Philharmonic and
conductor Albert Coates. The work is derived from George's experiences on
vacation in Cuba in February 1932. It is soon renamed
Cuban Overture
.
1932
George Gershwin's Songbook
is published, containing his piano transcriptions of eighteen of
his songs. A signed limited edition is issued by Random House in May,
followed in September by the less-fancy edition from Simon and Schuster.
1933 January 20
Pardon My English
opens at New York's Majestic Theatre, but closes after only 46
performances.
1933 October 21
Let 'Em Eat Cake
opens at New York's Imperial Theatre. Although it is widely
considered to be the most sophisticated and fully developed of the Gershwin
political musicals, and despite an enthusiastic early box office, it was not
a popular success, running for only 90 performances.
1933 November
George begins work on the score for
Porgy and Bess
after DuBose Heyward sends him the draft libretto for the first
scenes. Heyward sends additional scenes early in 1934.
1934 January 14
"I Got Rhythm" Variations
receives its first performance at Boston's Symphony Hall by the Leo
Reisman Symphonic Orchestra, conducted by Charles Previn with George as
piano soloist. This concert inaugurates a month-long 28-city concert tour
which will be an artistic success, but a financial failure.
1934 February 19
George begins a radio show,
Music by Gershwin
, with two fifteen-minute broadcasts each week from February through
May and one half-hour show each week from September through December.
1934 August 27
Life Begins at 8:40
(music by Harold Arlen) opens at the Winter Garden in New York. The
show runs for 237 performances.
1935
Work continues on
Porgy and Bess
. After approximately twenty months (eleven months composing the
opera and nine months orchestrating it), work is completed in early
September. Rehearsals begin on August 26. With Todd Duncan and Anne Wiggins
Brown in the title roles, the Boston tryout opens at the Colonial Theatre on
September 30, and the New York opening, at the Alvin Theatre, is on October
10. The production receives thunderous applause but mixed reviews. Its New
York run of 124 performances is followed by a short tour. It remains an
aesthetic triumph, but the initial production is a financial disappointment.
1936 January 30
Ziegfeld Follies of 1936
(music by Vernon Duke) opens at the Winter Garden in New York, for
an initial run of 115 performances, followed by 112 performances of the
second, revised edition.
1936 July 9
10
George's final New York performances take place at Lewisohn Stadium with
Alexander Smallens conducting a program that includes
Rhapsody in Blue
and
Concerto in F
(both with George as piano soloist) and selections from
Porgy and Bess
.
1936 August 10
George, Ira, and Lee fly to Los Angeles, where George and Ira will write
the scores for three films. Although it may not have been their intention at
the time, all three will live in California for the remainder of their
lives.
1936 September 19
George, Ira, and Lee give what George describes as their first "big
Hollywood party" with a guest list including "about a hundred of the
Hollywood notables." The occasion was "the unveiling of Moss Hart's new
teeth ... he having had all sorts of things done to his teeth with
porcelain."
1937 February 10
11
George makes his last concert performances as piano soloist in an
all-Gershwin program with the Los Angeles Philharmonic, with Alexander
Smallens conducting.
1937 May
Shall We Dance
, the brothers' first RKO film and the seventh Astaire-Rogers
musical, is released.
1937 July 11
George Gershwin dies following surgery to remove a brain tumor in Los
Angeles, aged 38.
1937 November
A Damsel in Distress
, the brothers' second RKO film, starring Fred Astaire and George
Burns and Gracie Allen, is released.
1938 February
The Goldwyn Follies
, the brothers' final film, is released. It includes four songs by
George and Ira. "Love Is Here to Stay" is the last song that they wrote
together.
Early 1940
Moss Hart approaches Ira about writing lyrics for a show to be called
I Am Listening
and later titled
Lady in the Dark
. This will be Ira's first major project following George's death
nearly three years earlier.
1941 January 23
Lady in the Dark
opens at the Alvin Theatre, the first of three Ira Gershwin-Kurt
Weill shows. It runs for 467 performances, making it Ira's longest running
original musical, and slightly exceeding the run of George's longest running
show,
Of Thee I Sing
.
1943 October
The North Star
(with music by Aaron Copland, produced by RKO) is released. The
film is not widely-embraced in the U.S., but it does find some success in
Russia, perhaps because of Russian curiosity about American depictions of
Russians.
1944 April
Cover Girl
(with music by Jerome Kern, produced by Columbia Pictures) is
released. Ira and Kern write seven songs for the film, of which "Long Ago
(And Far Away)" becomes Ira’s biggest commercial hit in a single year.
1945 March 22
The operetta,
The Firebrand of Florence
, opens its brief run of 43 performances at New York's Alvin
Theatre. Its lyrics were so integral to the plot that Ira shares billing for
the libretto.
1945 May
Where Do We Go from Here?
(with music by Kurt Weill, produced by 20th Century Fox) is
released to great critical praise. Its 12-minute opera bouffe, titled "The
Nina, The Pinta, the Santa Maria," is said to be the longest non-dancing
musical number ever written for a film.
1945 September
Rhapsody in Blue
(produced by Warner Brothers and directed by Jesse Lasky), an
inaccurate and highly romantic film biography of George, is released.
1946 November 4
Park Avenue
opens at the Shubert Theatre in New York. Ira's last original
Broadway score, it received generally negative critical reaction, and
although Ira's lyrics got better notices, the show's run lasted for only 72
performances.
1947 January
The Shocking Miss Pilgrim
(produced by 20th Century Fox, and starring Betty Grable) is
released. The score is constructed from George's archives with assistance
from Kay Swift, the first such posthumous project. Ira writes lyrics for
eleven of George's melodies for the film (ten were used).
1948 December 15
Rose Gershwin dies in New York.
1949 May
The Barkleys of Broadway
(with music by Harry Warren, produced by MGM) is released. It is
the tenth and final film starring Fred Astaire and Ginger Rogers, reuniting
them after a ten-year hiatus since their previous appearance on-screen.
1951 November
An American in Paris
(produced by MGM) is released. The film incorporates nine songs by
George and Ira, as well as
Concerto in F
and
An American in Paris
. It stars Gene Kelly, Leslie Caron, and Oscar Levant and eventually
wins six Academy Awards, including Best Picture of 1951.
1952 June 9
The Blevins Davis and Robert Breen production of
Porgy and Bess
, starring William Warfield and Leontyne Price in the title roles,
opens in Dallas, beginning a four-year worldwide tour under the auspices of
the U.S. State Department that would include performances in Europe, the
Middle East, and Russia.
1953
Ira begins organizing the vast archive of music manuscripts and lyric
sheets at his home, preparing detailed descriptions of many of the items,
and making frequent donations of these materials to the Library of Congress.
This enterprise will continue for most of the remainder of his life.
1954 September
A Star is Born
(with music by Harold Arlen, produced by Transconia-Warner Brothers
and starring Judy Garland) is released. Garland's performance of "The Man
That Got Away" is one of the most iconic scenes in the history of American
cinematography.
1954 December
The Country Girl
(with music by Harold Arlen, produced by Paramount Pictures, and
starring Grace Kelly and Bing Crosby) is released. It is nominated for seven
Academy Awards, and wins two. It is Ira’s last significant film project.
1955
Ira begins work on his memoirs, titled
Lyrics on Several Occasions
, published in 1959 by Alfred A. Knopf.
1966 June 4
Ira receives an honorary Doctor of Fine Arts degree from the University
of Maryland.
1981 November 20
Arthur Gershwin dies in New York, aged 81.
1983 May 1
My One and Only
, Ira's last project, opens at the St. James Theatre in New York,
running for 762 performances.
1983 August 17
Ira Gershwin dies in Beverly Hills, aged 86.
1985 August 9
Congress approves awarding the Congressional Gold Medal to George and Ira
for their "outstanding and invaluable contributions to American music,
theatre and culture."
1991 August 20
Lee Gershwin dies in Beverly Hills, aged 90.
1998
A Pulitzer Prize Special Citation is awarded posthumously to George for
his "enduring and distinguished contributions to American music."
1999 January 18
Frances Gershwin Godowsky dies in New York, aged 92.
Scope and Content Note
The materials in the George and Ira Gershwin Collection document many aspects of the
lives and careers of composer George Gershwin (1898-1937) and his lyricist brother,
Ira Gershwin (1896-1983). They span the years 1895-2008, with the bulk of the
material dating from 1920 to 1960.
The [Music](mus) materials
consist of manuscript and printed scores, sketches, and instrumental parts, as well
as manuscript and typescript lyric sheets. These range from George's first hit,
"Swanee" (1919), through the end of George and Ira’s career and form the centerpiece
of the collection. The first and largest series of music materials is that relating
to stage and screen musical shows: revues, book musicals, operettas,
Porgy and Bess
, film musicals, and films with musical numbers. The compositional and
production processes are documented with musical sketches, lyric sheets, short
scores, piano-vocal scores, full scores, and orchestral parts. Many of the music
manuscripts are in George's hand, with others in the hand of orchestrators,
arrangers, editors, copyists and, in some instances, other composers. Most of the
lyric sheets are Ira's work, holograph and/or typescript. Some shows are more
extensively documented than others, with the earlier works (particularly those prior
to 1923) less well represented. Smaller in quantity, but of great interest
nonetheless are the music materials for George's concert works, chiefly sketches,
short scores, and full scores. Also present are musical sketchbooks, many of which
contain material relating to the musicals and/or concert music, as well as the
famous so-called "Song File" and an assortment of miscellaneous musical material.
The [Correspondence](corr)
series contains chiefly correspondence of George (much of it written by him), with a
lesser quantity to and by Ira, and a small amount with other members of the Gershwin
family and Alexander Smallens. Of particular note is the correspondence between
George and Ira, remarkable for the fact that the brothers lived and worked together,
therefore it was rare for them to be apart and need to write one another.
The earliest [Scrapbooks](scrap)
present information about the pastimes of George and Ira from their teenage years
and include clippings, programs, and scattered early publications. From about 1920
on, however, the scrapbooks are devoted almost entirely to press coverage of the
Gershwins and their work in the form of clippings and lengthier articles. [Iconography](icon) includes
approximately 180 photographs of George and Ira and their friends, in addition to a
self-portrait oil painting of each brother, several drawings by George, and three
water colors by Henry Botkin. The remaining series contain [Publicity Materials](pubma), printed [Programs](prog), [Financial Documents](findo) and
[Legal Documents](legdo)
(including an extensive file of contracts for stage and screen musicals and other
commercial projects), and [Artifacts](arti): George’s piano, desk, and metronome, Ira’s typing table,
typewriter, and fountain pen, and the Congressional Gold Medals struck in honor of
the Gershwins.
Arrangement of the George and Ira Gershwin Collection
The collection is organized in eleven series:
-
[Music, 1913-1954](mus)
-
[Correspondence,
1915-1976](corr)
-
[Biographical Materials,
1913-1986](bioma)
-
[Scrapbooks,
1913-1986](scrap)
-
[Iconography,
1894-1991](icon)
-
[Publicity Materials,
1925-1984](pubma)
-
[Programs, 1918-1988](prog)
-
[Financial Documents,
1919-1977](findo)
-
[Legal Documents,
1898-1975](legdo)
-
[Artifacts, 1910-1988](arti)
-
[Miscellany,
1923-1973](misc)
Container List
Container
Contents
1-62, 132, 135, 139
Music, 1913-1954
1913-1954
1-47, 132, 135, 139
Music from Shows
The show music is organized alphabetically by show title, and within each
show, alphabetically by song title. The music is further organized
within song title by type; full scores, piano-vocal scores, lyric
sheets, etc. as well as holograph versus copyist versions.
135th Street
see
[
Blue Monday
](bluemon01)
Note: Alternate title
135th Street Blues
see
[
Blue Monday
](bluemon01)
Note: Alternate title
1
Americana (1926)
Blowin' the Blues Away
see
[Blowing
the Blues Away](blues01)
Note: Alternate title
1/1
Blowing the Blues Away
Manuscript piano-vocal score chiefly
in the hand of Hans Spialek; 5 p.
1/1
Blowing the Blues Away
Typescript lyric sheet
Lost Barbershop Chord
see
[That
Lost Barbershop Chord](barber01)
Note: Alternate title
1/2
Sunny Disposish
Manuscript piano score and three
instrumental parts in the hand of Hans Spialek; 4, 2, 2, 2
p.
Note: Arranged for E-flat alto
saxophones I, II, and III, B-flat tenor saxophone I and II, C
melody saxophones I and II, and piano
1/3
That Lost Barbershop Chord
Manuscript piano-vocal score chiefly
in the hand of Albert Sirmay; 8 p.
Note: Corrections to lyric in the
hand of IG
1/3
That Lost Barbershop
Chord
Manuscript piano-vocal score in the
hand of William Daly; [4] p.
Note: No lyric
1/3
That Lost Barbershop
Chord
Copyist manuscript piano-vocal score
[no. 1]; 7 p.
Note: Introduction in the hand of
Albert Sirmay
1/3
That Lost Barbershop
Chord
Copyist manuscript piano-vocal score
[no. 2]; 7 p.
Note: No introduction
1/3
That Lost Barbershop
Chord
Typescript lyric sheet
1
The Barkleys of Broadway (film,
1949)
97,704
see
[Natchez on the Mississip'](natchez01)
Note: Early title
1/4
Bouncin’ the Blues
[instrumental]
Ozalid copyist manuscript piano
score; 2 p.
1/5
Call on Us Again
Ozalid copyist manuscript piano-vocal
score; 3 p.
1/5
Call on Us Again
Typescript lyric sheets; [4]
p.
1/6
The Courtin' of Elmer and
Ella
Ozalid copyist manuscript piano-vocal
score [no. 1]; 10 p.
Note: Corrections in an
unidentified hand
1/6
The Courtin' of Elmer and
Ella
Ozalid copyist manuscript piano-vocal
score [no. 2]; 10 p.
In caption: Revised
1/6
The Courtin' of Elmer and
Ella
IG holograph/typescript lyric sheets;
[13] p.
1/7
Manhattan Downbeat
Ozalid copyist manuscript piano-vocal
score; 8 p.
1/7
Manhattan Downbeat
IG holograph/typescript lyric sheets;
[10] p.
1/8
Minstrels on Parade
IG holograph/typescript lyric sheets;
[3] p.
1/9
My One and Only Highland Fling
Ozalid copyist manuscript piano-vocal
score; 6 p.
1/9
My One and Only Highland
Fling
IG holograph/typescript lyric sheets;
[9] p.
Natchez
see
[Natchez on the Mississip'](natchez01)
Note: Early title
1/10
Natchez on the Mississip’
Ozalid copyist manuscript piano-vocal
score; 7 p.
In capton: Rev[ised]
1/10
Natchez on the
Mississip’
IG holograph/typescript lyric sheets;
[8] p.
1/11
The Poetry of Motion
Ozalid copyist manuscript piano-vocal
score; 5 p.
1/11
The Poetry of Motion
IG holograph/typescript lyric sheets;
[6] p.
1/12
Second Fiddle to a
Harp
IG holograph/typescript lyric sheets;
[4] p.
1/13
Shoes with Wings On
Ozalid copyist manuscript piano-vocal
score; 5 p.
1/13
Shoes with Wings On
IG holograph/typescript lyric sheets;
[7] p.
Since the Ballet Swept the Town
see
[The
Poetry of Motion](poetry)
Note: Early title
1/14
Swing Trot
Manuscript lead sheet; [1]
p.
Note: Refrain only, with unused
lyric fragments in the hand of IG
Note: Unidentified IG holograph
lyric sketches on verso
1/14
Swing Trot
IG holograph/typescript lyric sheets;
[3] p.
1/15
Taking No Chances on
You
IG holograph/typescript lyric sheets;
[18] p.
1/16
There Is No Music
Ozalid copyist manuscript piano-vocal
score; 4 p.
1/16
There Is No Music
IG holograph/typescript lyric sheets;
[10] p.
1/17
These Days
Ozalid copyist manuscript piano-vocal
score [no. 1]; 4 p.
Note: Correction in an
unidentified hand
1/17
These Days
Ozalid copyist manuscript piano-vocal
score [no. 2]; 4 p.
In caption: Rev[ised]
1/17
These Days
IG holograph/typescript lyric sheets;
[7] p. and one envelope
Note: Correction on p. [2] in the
hand of Michael Feinstein
Note: IG holograph lyric revision
sketch, circa 1980, on envelope
1/18
They Can’t Take That Away from Me
see also
[They
Can't Take That Away from Me](takeaway) from Shall We Dance
Ozalid copyist manuscript short
score; 12 p.
Note: Refrain only
Note: Scored by Conrad Salinger
1/19
Weekend in the Country
Ozalid copyist manuscript short
score; 15 p.
Note: Scored by Conrad Salinger
1/19
Weekend in the Country
Ozalid copyist manuscript piano-vocal
score; 6 p.
1/19
Weekend in the Country
IG holograph/typescript lyric sheets;
[3] p.
1/20
The Well-Known Skies of
Blue
IG holograph/typescript lyric sheets;
[14] p.
1/21
You’d Be Hard to
Replace
Ozalid copyist manuscript piano-vocal
score; 4 p.
1/21
You’d Be Hard to
Replace
Sheet music (“Advance artist copy”);
[4] p.
1/21
You’d Be Hard to
Replace
IG holograph/typescript lyric sheets;
[16] p.
You're My Highland Fling
see
[My One
and Only Highland Fling](fling01)
Note: Early title
132/23
Lyric book
IG holograph manuscript; [11]
p.
Contents:
- p. [1-3]: The Courtin' of Elmer and Ella
- p. [4]: Shoes with Wings On
- p. [5]: unidentified
- p. [6]: Second Fiddle to a Harp
- p. [7-8]: Weekend in the Country
- p. [9]: The Poetry of Motion
- p. [10]: There Is No Music
- p. [11]: Swing Trot
1/22
Unidentified lyric
sketches
IG holograph manuscripts; [5]
p.
1
Be Yourself (1924)
1/23
I Came Here
Copyist manuscript piano-vocal score;
5 p.
Note: Extensive emendations in
various hands including Albert Sirmay
Note: IG holograph lyric credit in
caption
1/24
Money Doesn’t Mean a
Thing
IG holograph lyric sheet
Note: Verse 2 and part of refrain
only
1/25
My Heart is Yours
[unfinished]
Typescript lyric sheet; [2]
p.
1/26
Not So Long Ago
Manuscript sketch; [2] p.
1/26
Not So Long Ago
Manuscript lead sheet; [2]
p.
1/27
They Don’t Make ’Em That Way
Anymore
IG holograph/typescript lyric
sheet
1/28
Uh-Uh
Manuscript piano-vocal score; [4]
p.
Note: IG holograph lyric credit in
caption
1/28
Uh-Uh
IG holograph/typescript lyric sheets;
[4] p.
Note: Emendations on p. [4] in
unidentified hands
1/29
What of It?
Typescript lyric sheet
1/30
The Wrong Thing at the Right
Time
Copyist manuscript piano-vocal score;
5 p.
1/30
The Wrong Thing at the Right
Time
IG holograph/typescript lyric sheets;
[5] p.
1/31
List of 21 songs, most by IG and
Lewis Gensler, circa 1925
circa 1925
IG holograph manuscript; 1
p.
1/31
List of 18 songs by IG and Lewis
Gensler
Typescript with annotations by
Michael Feinstein; 1 p.
1/31
Title page from IG’s Be Yourself notebook
Typescript; 1 p.
1, 135
Blue Monday (opera, 1922; revised
1925 and 1953)
Bound
Blue Monday : original version,
1922
1922
GG holograph manuscript short score;
38 [i.e., 40] p.
Note: Partial lyrics only
Note: Presented as part of George White’s Scandals of 1922 ;
withdrawn after one performance
Bound
Blue Monday : revision, 1925
1925
Will Vodery holograph manuscript full
score; 156 p.
Note: Bound in original cover with
title "135[th] Street" in the hand of GG
Laid in: IG typescript notes; [2]
p.
135/2
Blue Monday : two
themes
GG holograph manuscript piano score;
[1] p.
Note: Themes include "Has Anyone
Seen My Joe" and "Blue Monday Blues"
1/32
Blue Monday : revision, 1925
1925
Typescript libretto; 4 p.
Caption title: 135th Street
Note: Emendation in the hand of
B.G. De Sylva
Laid in: Photocopy of holograph
letter from De Sylva to GG, 1925 November 25
Laid in: IG holograph notes; [2]
p.
1/33
Blue Monday : revision, 1925
1925
Typescript libretto and carbon copy; 4
p. each
Caption title: 135th Street
1/34
Blue Monday : adaptation, 1953
1953
Ozalid copyist manuscript piano-vocal
score; 34 p.
Caption title: 135th Street Blues
Note: Interlinear text in red
pencil reflects the original lyrics
Note: Adapted by George Bassman
1/35
Blue Monday : adaptation, 1953
1953
Typescript (mimeograph) libretto; 9
p.
Caption title: Blue Monday Blues
Note: Reflects revised libretto
for Omnibus Broadcast, 1953 March 29
Laid in: Typescript letter from
William Spier to IG, 1953 March 18
2
Capitol Revue (1919)
2/1
Come to the Moon
GG holograph manuscript piano-vocal
score; 3 p.
Note: No lyric
2/2
Come to the Moon
Frank Saddler holograph manuscript
full score; 20 p.
2/3
Swanee
see also
[ Sinbad
](sinbad)
Frank Saddler holograph manuscript
full score; 21 p.
2/4
Swanee
see also
[ Sinbad
](sinbad)
Sheet music
Note: 1st edition with Capitol Theatre cover
2/4
Swanee
see also
[ Sinbad
](sinbad)
Photocopy of sheet music
(French)
2
Captain Jinks (1925)
2/5
You Must Come Over
Blues
Corrected publisher’s final proof; p.
2-5
Laid in: Holograph description by
Michael Feinstein, dated 1978 February 16
2/5
You Must Come Over
Blues
IG holograph/typescript lyric sheets;
[4] p.
2
Chopin Show (unproduced revue,
1923)
2/6
Baby Me Blues
IG holograph lyric sheet
2/7
Bittersweet
IG holograph/typescript lyric sheets;
[3] p.
Note: Possible musical attribution
to William Daly in the hand of Michael Feinstein on p. [1]
2/8
Honorable Moon
IG holograph/typescript lyric
sheet
2/9
The Hurdy-Gurdy Man
see also
[A Corner
of Heaven with You](corner)
Copyist manuscript piano-vocal score;
4 p.
2/9
The Hurdy-Gurdy Man
see also
[A Corner
of Heaven with You](corner)
Typescript lyric sheet
2/10
Man, the Master
see also
[Musical sketches](chopinsketches)
IG holograph/typescript lyric sheets;
[6] p.
2/11
My All
see also
[Musical sketches](chopinsketches)
William Daly holograph manuscript
piano-vocal score; [2-3] p.
Note: Vocal line only; verse
incomplete; p. [1] is absent
Note: Early lyric fragment in the
hand of IG
2/11
My All
see also
[Musical sketches](chopinsketches)
IG holograph/typescript lyric sheets;
[4] p.
2/12
On the Wings of
Romance
William Daly holograph manuscript
sketch; 1 p.
Note: Title and partial lyric in
the hand of IG
2/12
On the Wings of
Romance
IG holograph/typescript lyric sheets;
[4] p.
2/13
Opening
William Daly holograph manuscript
sketch; [2] p.
Note: Partial lyric in the hand of
IG
Laid in: Description in the hand
of Michael Feinstein
2/14
Someday You'll Realize
see also
[Musical sketches](chopinsketches)
William Daly holograph manuscript
piano-vocal score; [4] p.
Note: Vocal line only, no lyric
2/14
Someday You'll Realize
see also
[Musical sketches](chopinsketches)
IG holograph/typescript lyric sheets;
[5] p.
2/15
Musical sketches
William Daly holograph manuscript
sketches with partial lyrics in the hand of IG; [2]
p.
Contents:
- p. [1]: My All (refrain only); Etude op. 25, no. 9;
Someday You’ll Realize (refrain only, no lyric)
- p. [2]: Someday You’ll Realize (verse and refrain); Man,
the Master (verse and refrain)
2
The Country Girl (film, 1954)
2/16
Commercials
IG holograph/typescript lyric sheets;
[2] p.
2/17
Dissertation on the State of
Bliss
Ozalid copyist piano-vocal score; 5
p.
2/17
Dissertation on the State of
Bliss
IG holograph/typescript lyric sheets;
[13] p.
2/18
The Land around Us
Ozalid copyist piano-vocal score [no.
1]; 8 p.
Note: Includes Patter section
2/18
The Land around Us
Ozalid copyist piano-vocal score [no.
2]; 6 p.
Typescript (mimeograph) lyric sheets;
2 p.
Love and Learn
see
[Dissertation on the State of Bliss](dissertation)
Note: Early title
2/19
The Pitchman / It’s Mine, it’s
Yours
Ozalid copyist manuscript piano-vocal
score; 10 p.
2/19
The Pitchman / It’s Mine, it’s
Yours
IG holograph/typescript lyric sheets;
[33] p.
2/20
The Search is Through
Ozalid copyist piano-vocal score; [4]
p.
2/20
The Search is Through
Typescript lyric sheets; [11]
p.
You've Got What it Takes
see
[The
Search is Through](thesearch)
Note: Early title
2/21
Unidentified lyric
sketches
IG holograph manuscripts; [3]
p.
2
Cover Girl (film, 1944)
Any Moment Now
see
[Long
Ago (And Far Away)](longago)
2/22
Cover Girl
IG holograph/typescript lyric sheets;
[11] p.
2/23
Long Ago (And Far Away)
IG holograph/typescript lyric sheets;
[5] p.
Laid in: Three discarded lyrics
for this melody: Any Moment Now; [3] p.; Midnight Madness; [2]
p.; Midnight Music; [7] p.
2/24
Make Way for Tomorrow
IG holograph/typescript lyric sheets;
[15] p.
Midnight Madness
see
[Long
Ago (And Far Away)](longago)
Midnight Music
see
[Long
Ago (And Far Away)](longago)
2/25
Put Me to the Test
see also
[Put Me
to the Test](test02) from A Damsel in
Distress
IG holograph/typescript lyric sheets;
[12] p.
2/26
The Show Must Go On
IG holograph/typescript lyric sheets;
[14] p.
2/27
Sure Thing
IG holograph/typescript lyric sheets;
[10] p.
That Girl on the Cover
see
[ Cover
Girl ](cover)
Note: Alternate title
2/28
That’s the Best of All
[unfinished?]
IG holograph/typescript lyric sheets;
[7] p.
Note: Suggestion for lyric
alteration on p. [3] in the hand of Jerome Kern
2/29
Time: the Present
IG holograph/typescript lyric sheets;
[9] p.
Today's the Day (To Make Way for
Tomorrow)
see
[Make
Way for Tomorrow](makeway)
Note: Alternate title
2/30
Tropical Night
IG holograph/typescript lyric sheets;
[3] p.
What I Love to Hear
see
[That's
the Best of All](bestall)
Note: Early title
2/31
Who's Complaining?
IG holograph/typescript lyric sheets;
[7] p.
2
Crazy Quilt (unproduced revue?,
1924?)
2/32
Opening
IG holograph lyric sheet; [2]
p.
Note: This item is not related to
Crazy Quilt [revue, 1931]
2
Crazy Quilt (revue, 1931)
2/33
In the Merry Month of
Maybe
Manuscript piano score; [4]
p.
Note: This item is not related to
Crazy Quilt [unproduced revue,
1924]
2/33
In the Merry Month of
Maybe
Typescript lyric sheet
Note: This item is not related to
Crazy Quilt [unproduced revue,
1924]
3, 135
A Damsel in Distress (film, 1937)
3/1
A Foggy Day (In London
Town)
GG holograph manuscript piano-vocal
score; 1, 2, 3 p.
Note: Refrain has no lyric
3/2
A Foggy Day (In London
Town)
Photocopy of sheet music (German
edition)
3/2
A Foggy Day (In London
Town)
Typescript lyric sheet
3/3
I Can't Be Bothered
Now
GG holograph manuscript piano-vocal
score; 1, 2, 2 p.
Note: No lyric
3/3
I Can't Be Bothered
Now
Typescript lyric sheet
135/8
The Jolly Tar and the Milkmaid
GG holograph manuscript piano score;
[4] p.
Note: Emendations in an unknown
hand
3/5
The Jolly Tar and the
Milkmaid
Typescript lyric sheet
The Mother of Three
see
[The
Jolly Tar and the Milkmaid](jollytar)
Note: Alternate title
3/6
Nice Work if You Can Get
It
GG holograph manuscript piano-vocal
score; 1, 5, [1] p.
Note: No lyric
Note: Original manuscript a gift
of Ira Gershwin; additional page 3 a purchase from Katharine
Weber
135/3
Nice Work if You Can Get
It
GG holograph manuscript lead sheet
sketch, [1] p.
Note: No lyric
3/7
Pay Some Attention to Me [original
version, 1928]
GG holograph manuscript piano sketch;
[4] p.
In caption : Old version [and]
Beginning of chorus salvageable; in the hand of IG
3/8
Pay Some Attention to Me [original
version, 1928]
GG holograph manuscript piano sketch;
[4] p.
3/9
Pay Some Attention to Me [original
version, 1928]
14 copyist manuscript orchestral
parts
Laid in: Folder with caricature of
GG
3/10
Pay Some Attention to Me [original
version, 1928]
IG holograph/typescript lyric
sheet
3/11
Pay Some Attention to Me [working
version, 1937]
GG holograph manuscript piano-vocal
score; 2, 3 p.
Note: Differs slightly from final
version
Note: No lyric
3/12
Pay Some Attention to Me [working
version, 1937]
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
In caption : 1st version; in the
hand of IG
3/12
Pay Some Attention to Me [working
version, 1937]
Photocopy [no. 1] of copyist
manuscript piano-vocal score; 5 p.
Note: Extensive emendations in
several hands including IG
3/12
Pay Some Attention to Me [working
version, 1937]
Photocopy [no. 2] of copyist
manuscript piano-vocal score; 5 p.
Note: Minor emendations in the
hand of IG
3/13
Pay Some Attention to Me [final
version, 1937]
Copyist manuscript piano-vocal score;
[5] p.
Note: Refrain has no lyric
3/13
Pay Some Attention to Me [final
version, 1937]
Ozalid [no. 1] of copyist manuscript
piano-vocal score; [5] p.
3/13
Pay Some Attention to Me [final
version, 1937]
Ozalid [no. 2] of copyist manuscript
piano-vocal score; [5] p.
Note: Chord symbols added to
refrain
3/14
Pay Some Attention to Me [working
and final versions, 1937]
IG holograph/typescript lyric sheets;
[15] p.
3/15
Put Me to the Test
see also
[Put Me
to the Test](test01) from Cover
Girl
GG holograph manuscript piano-vocal
score; 1, 4, 3 p.
Note: No lyric
3/16
Put Me to the Test
GG holograph manuscript piano sketch;
[1] p.
Note: Verse only
3/17
Put Me to the Test
Ozalid piano-vocal score; 8
p.
3/17
Put Me to the Test
Corrected 2nd proof of piano-vocal
score; p. 2-5
Laid in: Letter from Selma Tamber
(Chappell & Co.) to IG, 1937 September 7
3/17
Put Me to the Test
IG holograph/typescript lyric sheets;
[9] p.
Laid in: IG typescript note; [1]
p.
3/18
Sing of Spring
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
Note: Introduction is on p. 3
3/19
Sing of Spring
Arranger’s manuscript SATB score; 3
p.
3/19
Sing of Spring
Copyist manuscript piano-vocal score;
11 p.
Note: Incorporates accompaniment
from GG manuscript and vocal parts from arranger’s manuscript
Note: Identifying note in caption
in the hand of IG
3/19
Sing of Spring
Typescript lyric sheet
3/20
Stiff Upper Lip
GG holograph manuscript piano-vocal
score; [1, 2], 2 p.
Note: No lyric
3/21
Stiff Upper Lip
Typescript lyric sheets; [2]
p.
3/22
Things are Looking Up
GG holograph manuscript piano-vocal
score; 2, 3 p.
Note: No lyric
Note: GG holograph instruction to
copyist on verso of p. 2 concerning p. 1 of refrain
3/23
Things are Looking Up
Typescript/photocopy of lyric sheets;
[2] p.
3/23
Notes after story
conference
GG holograph manuscript; [4]
p.
Laid in: IG holograph note; [1] p.
3/25
Production credits
IG holograph manuscript; [1]
p.
3
The Dancing Girl (1923)
3/26
Selection
Eugene Platzman (arranger) holograph
manuscript (incorporating printed sections) piano score; 20
p.
3/27
That American Boy of
Mine
Manuscript piano-vocal score; 5
p.
3/27
That American Boy of
Mine
Typescript lyric sheet
3/28
That American Boy of Mine.
Patter
Three copies of copyist manuscript
vocal parts; [2] p. each
Note: One copy includes lyric
3/28
That American Boy of Mine.
Patter
Typescript lyric sheet
4
A Dangerous Maid (1921)
4/1
Boy Wanted
Frank Saddler holograph manuscript
full score; 32 p.
Note: This manuscript was used in
London in 1924 for Primrose
4/1
Boy Wanted
Typescript lyric sheet
Note: Original version
4/1
Boy Wanted
Typescript lyric sheet
Note: Version for Ella Fitzgerald
4/2
Dancing Shoes
Sheet music
Note: IG holograph annotation on
cover
4/3
Entr’acte I
Frank Saddler holograph manuscript
full score; 12 p.
4/4
Overture
Frank Saddler holograph manuscript
full score; 13 p.
Laid in: IG typescript
description; [1] p.
4/5
The Sirens
see also
[Four
Little Sirens](sirens2) from Primrose
GG holograph manuscript piano-vocal
score; [8] p.
Note: Unfinished with partial
lyric in the hands of GG and IG
Laid in: IG holograph notes
4/6
The Sirens
see also
[Four
Little Sirens](sirens2) from Primrose
IG holograph/typescript lyric sheets;
[3] p.
4/7
Some Rain Must Fall
Frank Saddler holograph manuscript
full score; 22 p.
4/7
Some Rain Must Fall
Sheet music with alternate lyric in
unknown hand and IG annotations
Laid in: Lawrence Stewart
holograph note claiming the lyrics are in Buddy De Sylva's hand
and naming this variant version "Give Me Your Smile," a possible
song for Tell Me More
4-5
Delicious (film, 1931)
4/8
Blah, Blah, Blah
GG holograph manuscript piano-vocal
score; [1, 2] p.
Note: Verse only, no lyric
Note: Introduction in the hand of
Albert Sirmay
4/9
Blah, Blah, Blah
GG holograph manuscript piano-vocal
score; [1, 2] p.
Note: Refrain only, no lyric
Laid in: IG typescript
description; 1 p.
4/10
Blah, Blah, Blah
Copyist manuscript piano-vocal score;
5 [i.e., 6] p.
Note: Alteration to end of verse
in the hand of Albert Sirmay
4/10
Blah, Blah, Blah
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: Refrain only, variant lyric
4/11
Blah, Blah, Blah
Corrected publisher’s 2nd proof
piano-vocal score; p. 2-5
4/11
Blah, Blah, Blah
Typescript lyric sheets; [4]
p.
Note: includes “Russian” refrain
Laid in: IG typescript
description; 1 p.
Blah! Blah! Love!
see
[Blah,
Blah, Blah](blah)
Note: Alternate title
4/12
Delishious
GG holograph manuscript piano-vocal
sketch; [3] p.
Note: Refrain only, no lyric, with
added countermelody
Laid in: IG typescript
description; 1 p.
4/13
Delishious
Manuscript piano-vocal score; [5]
p.
Note: Verse (no lyric) in the hand
of Kay Swift
Note: Refrain (with lyric) in the
hand of a copyist
Note: Title and music credit in
the hand of GG
Note: Corrections to lyric in the
hand of IG
Note: Introduction and emendations
in the hand of Albert Sirmay
4/14
Delishious
Copyist manuscript piano-vocal score;
6 p.
Note: Emendations in the hand of
Albert Sirmay
4/14
Delishious
Corrected publisher’s 1st proof
piano-vocal score; p. 2-5
4/14
Delishious
Corrected publisher’s 2nd proof
piano-vocal score; p. 2-5
4/14
Delishious
IG holograph/typescript lyric sheets;
[3] p.
Caption title: You’re So
Delishious
Note: Instructions to copyist on
p. [1] in the hand of Albert Sirmay
4/15
Delishious
GG holograph manuscript sketch for
piano solo; 1 p.
Note: On p. [2] is the opening
fragment of a piano solo arrangement of "Nice baby!"
4/16
Delishious
Arranged for male quartet and piano by
Bert Reed
Manuscript (incorporating printed
accompaniment) vocal score; 5 p.
4/16
Delishious
Arranged for male quartet and piano by
Bert Reed
Corrected publisher’s 1st proof; 9
p.
4/17
Dream Sequence
GG holograph manuscript piano-vocal
score; 8 p.
Note: Lyric and accompaniment
omitted on p. 8
Laid in: IG typescript
description; 1 p.
4/18
Dream Sequence
Copyist manuscript piano-conductor
score; 9 p.
Note: GG holograph signature
Laid in: IG holograph description;
1 p.
4/18
Dream Sequence
IG typescript scenario/lyric sheets;
[4] p.
4/19
Katinkitschka
Copyist manuscript piano-vocal score;
[3] p.
4/19
Katinkitschka
Photocopy of copyist manuscript
piano-conductor score; [3] p.
4/19
Katinkitschka
Corrected publisher’s 2nd proof
piano-vocal score; p. 3-5
Typescript lyric sheets; [3]
p.
4/19
Katinkitschka
Typescript lyric sheets; [3]
p.
4/20
Somebody from
Somewhere
GG holograph manuscript piano-vocal
sketch; [3] p.
Note: No lyric
Laid in: IG typescript
description; 1 p.
4/21
Somebody from
Somewhere
Copyist manuscript piano-vocal score;
4 p.
4/21
Somebody from
Somewhere
Photocopy of copyist manuscript
piano-vocal score; [3] p.
4/21
Somebody from
Somewhere
Publisher’s 2nd proof piano-vocal
score; p. 3-5
4/21
Somebody from
Somewhere
IG typescript lyric sheet
We’re from the Journal, the
Wahrheit, the Telegram, the Times
see
[Dream
Sequence](dreamseq)
Note: Alternate title
Welcome to the Melting Pot
see
[Dream
Sequence](dreamseq)
Note: Alternate title
4/22
You Started It
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, no lyric
4/23
You Started It
Photocopy of GG holograph manuscript
piano-vocal score; [2] p.
Note: Lyric in ink, in an unknown
hand, added circa 1970s
4/23
You Started It
Copyist manuscript piano-vocal score;
[2] p.
Note: Refrain only, no lyric
4/23
You Started It
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: Lyric in ink, in an unknown
hand, circa 1970s
4/23
You Started It
IG holograph/typescript lyric sheets;
[8] p.
Laid in: Descriptions in the hands
of IG and Michael Feinstein; [2] p.
5/1
Final shooting script
Typescript (mimeograph); [8], 98
p.
Demi-Tasse
see
[ Capitol
Revue ](capitol)
Demi Tasse Revue
see
[ Capitol
Revue ](capitol)
5
East is West (unproduced,
1928-1929)
Awake, Children, Awake
see
[Lyric sheets](eastlyrics)
Dragon Song
see
[Lyric sheets](eastlyrics)
East is West
see
[Lyric sheets](eastlyrics)
I Speak English Now
see
[Lyric sheets](eastlyrics)
5/2
In the Mandarin's Orchid
Garden
GG holograph manuscript piano-vocal
score; 4 p.
Note: Unfinished early draft
5/3
In the Mandarin's Orchid
Garden
Manuscript piano-vocal score in the
hands of GG and Kay Swift; 1, 6 p.
Note: Ink portion copied by Swift
from GG’s early draft (Box-Folder 5/2)
Note: Pencil portion in the hand
of GG
5/4
In the Mandarin's Orchid
Garden
Copyist manuscript piano-vocal score;
8 p.
Note: Expressive markings in black
ink are in the hand of GG
Note: Expressive markings in
pencil are in the hand of Albert Sirmay
5/5
Lady of the Moon
see also
[Lyric sheets](eastlyrics)
GG holograph manuscript piano sketch;
[2] p.
5/6
Sing-Song Girl [unfinished]
see also
[Lyric sheets](eastlyrics)
Manuscript piano-vocal score in the
hand of Kay Swift and one photocopy; 1 p. each
Caption title : How Sad it Is to Be
a Sing Song Girl; in the hand of IG
Note: No lyric
5/6
Sing-Song Girl [unfinished]
see also
[Lyric sheets](eastlyrics)
Manuscript piano score; [3]
p.
Note: Unidentified fragment on p.
[2]
5/7
Under the Cinnamon Tree
see also
[Lyric sheets](eastlyrics)
Manuscript piano-vocal sketch,
probably in the hand of William Daly; [3] p.
Note: No lyric, unfinished?
5/8
Under the Cinnamon
Tree
Manuscript piano score; [3]
p.
Note: Unidentified sketch on verso
of p. [1]
5/9
We are Visitors Here [unfinished]
see also
[Lyric sheets](eastlyrics) and [Meadow Serenade](serenade) from
Strike Up the Band
Photocopy of manuscript piano score
in the hand of Kay Swift; 1 p.
Note: First 10 bars only
Yellow Blues
see
[Lyric sheets](eastlyrics) and [Song file #42: Impromptu
in Two Keys](impromptu)
5/10
Lyric sheets
IG holograph manuscript; [7]
p.
Note: Typescript lyric sheet with
notes found with p. [7]: Yellow Blues
Contents:
- p. [1]: We are Visitors Here (continues on p. [4])
- p. [2]: I Speak English Now (unfinished); East is West
(sketch fragment)
- p. [3]: Yellow Blues; Dragon Song (sketch fragment)
- p. [4]: We are Visitors Here (continuation from p.
[1])
- p. [5]: Lady of the Moon; Sing-Song Girl (incomplete;
refrain? only)
- p. [6]: Under the Cinnamon Tree; Awake, Children, Awake
(unfinished)
- p. [7]: Yellow Blues
5
The Firebrand (1924)
5/11
The Voice of Love (Cellini's Love
Song)
Robert Russell Bennett holograph
manuscript piano-vocal score; [4] p.
5
The Firebrand of Florence (1945)
5/12
Civic Song – Come to Florence
Typescript lyric sheets; [3]
p.
5/13
Civic Song – Come to Paris
IG holograph/typescript lyric sheets;
[2] p.
Florence
see
[Civic
Song - Come to Florence](civicflor)
Note: Alternate title
Florence (It.)
see
[Civic
Song - Come to Florence](civicflor)
Note: Alternate title
5/14
Madrigal – When the Duchess is
Away
IG holograph lyric sketch; [1]
p.
5/15
Ode - A Rhyme for Angela
Typescript lyric sheets; [2]
p.
5/15
Ode - A Rhyme for
Angela
IG holograph lyric sketches; [10]
p.
Paris (Fr.)
see
[Civic Song - Come to Paris](civicparis)
A Rhyme for Angela
see
[Ode - A
Rhyme for Angela](angela)
5/16
Song of the Hangman
IG holograph lyric sketches; 1
p.
When the Duchess is Away
see
[Madrigal - When the Duchess is Away](madduchaway)
5/17
Libretto
Mimeograph of typescript [no. 1]; 27
[i.e., 39] p.
On cover : With extra notes; in the
hand of IG
Note: Includes extensive
typescript and holograph additions and emendations by IG
5/18
Libretto
TMimeograph of typescript [no. 2]; 27
p.
On cover : The Firebrand of Florence ; in the hand of IG
Note: Contains minor notations not
found in typescripts 1 or 3
5/18
Libretto
Mimeograph of typescript [no. 3]; 27
p.
On cover : The Firebrand of Florence ; in the hand of IG
Note: Contains minor notations not
found in typescripts 1 or 2
5/19
Lists of musical
numbers
Typescripts; [3] p.
5/20
Miscellaneous notes
IG holograph manuscript; [5]
p.
5
Flying Island (unproduced, 1922)
Bill of Fare
see
[Musical Bill of Fare](billfare)
5/21
Musical Bill of Fare
GG holograph manuscript sketch; [3]
p.
5/22
Musical Bill of Fare
Photocopy of typescript lyric
sheet
5/23
Observation
Photocopy of typescript sheets; [2]
p.
5/24
Opening, Act I
GG holograph manuscript sketch; 2
p.
5/25
Sweethearts
Photocopy of typescript lyric
sheet
5/26
Why Can't I Agree?
Photocopy of typescript lyric
sheet
5/27
Wonderful You
Photocopy of typescript lyric
sheet
5
For Goodness Sake (1922)
5/28
French Pastry Walk
Manuscript piano-vocal score in the
hand of William Daly; [2] p.
In caption: IG holograph lyric
credit
5/28
French Pastry Walk
Manuscript piano-vocal score; 3
p.
5/28
French Pastry Walk
IG holograph/typescript lyric sheets;
[2] p.
5/29
Someone
Manuscript piano-vocal score; 4
p.
5/30
Tra-La-La
Manuscript piano-vocal score; 4
p.
5/30
Tra-La-La
Typescript lyric sheet
5/30
Tra-La-La
Typescript lyric sheet
Subtitle: This Time it’s Really
Love
Note : Revised version for film
An American in Paris
5/31
List of interpolations
IG holograph manuscript; [1]
p.
Note: Unfinished, heading only
6-7, 132, 135
Funny Face (1927)
6/1
Acrobats
GG holograph manuscript piano score;
[5] p.
6/2
Acrobats
IG holograph/typescript lyric sheets;
[3] p.
6/3
Aviator
Manuscript piano-vocal score in the
hand of Albert Sirmay; 16 p.
Note: No lyric
6/3
Aviator
Copyist manuscript piano-vocal score;
15 p.
Note: No lyric
6/3
Aviator
Typescript lyric sheets; [4]
p.
6/4
The Babbitt and the
Bromide
Copyist manuscript piano-vocal score;
5 p.
6/4
The Babbitt and the
Bromide
Typescript lyric sheets; [2]
p.
6/5
Birthday Party
GG holograph manuscript piano-vocal
score; [6] p.
Note: No lyric
Note: Caption title in the hand of
Albert Sirmay
6/6
Birthday Party
Copyist manuscript piano-vocal score
with GG holograph emendations; 9 p.
In caption : As written – 3 dance
choruses; in the hand of GG
Note: No lyric
6/7
Birthday Party
Manuscript piano-vocal score in the
hand of Albert Sirmay; 12 p.
Note: No lyric
6/7
Birthday Party
Copyist manuscript piano-vocal score;
9 p.
6/7
Birthday Party
Typescript lyric sheet
6/8
Blue Hullabaloo
Typescript lyric sheet
6/9
Bluebeard
IG holograph/typescript lyric sheets;
[3] p.
Come! Come! Come Closer!
see
[Let's
Kiss and Make Up](letskiss)
Note: Early title
Come Along, Let's Gamble
see
[Finale, Act I](funnyfinale)
6/10
Dance Alone with You
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
6/11
Dance Alone with You
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
6/11
Dance Alone with You
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in the hand of
Albert Sirmay
Note: No lyric
6/11
Dance Alone with You
Typescript lyric sheet
6/12
Finale, Act I
Copyist manuscript (with printed
portion) conductor’s score; [1, 3] p.
6/12
Finale, Act I
Typescript lyric sheets; [4]
p.
6/13
Finale Ultimo
Printed conductor’s score with two
manuscript transitions; [1, 7] p.
6/13
Finale Ultimo
IG holograph/typescript lyric sheets;
[2] p.
6/14
Finest of the Finest
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
6/15
Finest of the Finest
Copyist manuscript piano score; [6]
p.
Note: Emendations in an
unidentified hand
Note: GG holograph emendations on
p. [1] and [3]
Note: Coda in an unidentified hand
on p. [6]
6/15
Finest of the Finest
Typescript lyric sheets; [2]
p.
Flying Fete
see
[Aviator](aviator)
Note: Alternate title
6/16
Funny Face
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
6/17
Funny Face
Manuscript piano-vocal score in an
unidentified hand; 5 p.
6/17
Funny Face
Sheet music with
corrections
6/17
Funny Face
Typescript lyric sheets; [5]
p
6/18
He Loves and She Loves
GG holograph manuscript piano score;
[2] p.
Note: Unidentified sketch fragment
on p. [2]
6/19
He Loves and She Loves
Copyist manuscript piano-vocal score;
5 p.
6/19
He Loves and She Loves
Sheet music with corrections (two
copies)
6/19
He Loves and She Loves
IG holograph/typescript lyric sheets;
[3] p.
6/20
High Hat
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
6/21
High Hat
Copyist manuscript piano-vocal score;
[5] p.
6/21
High Hat
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations in an
unidentified hand
6/21
High Hat
Sheet music with
corrections
6/21
High Hat
Typescript lyric sheets; [2]
p.
6/22
How Long Has This Been Going
On?
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
6/22
How Long Has This Been Going
On?
Manuscript piano score in the hands
of William Daly and Albert Sirmay; [3] p.
6/22
How Long Has This Been Going
On?
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations in the hand of
Albert Sirmay
6/22
How Long Has This Been Going
On?
Copyist manuscript piano score; [2]
p.
Note: Refrain only
Note: Emendations in the hand of
Albert Sirmay
132/1
How Long Has This Been Going
On?
Corrected 1st proof; [4]
p.
6/22
How Long Has This Been Going
On?
Typescript lyric sheets; [10]
p.
If You Will Take Our Tip
see
[In the
Swim](inswim)
Note: Alternate title
6/23
In the Swim
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
Note: No lyric
6/23
In the Swim
Manuscript piano score in the hand of
Albert Sirmay; [5] p.
6/23
In the Swim
Copyist manuscript piano-vocal score;
7 p.
In caption: Swimming
6/23
In the Swim
Copyist manuscript piano-vocal score;
7 p.
In caption : As written—3
cho[ruses] dance; in the hand of GG
Note: No lyric
6/23
In the Swim
Manuscript/copyist manuscript
piano-vocal score; [3] p.
Note: Incomplete, no lyric, p. 3-6
are missing
Note: List of cues on verso of p.
7
6/23
In the Swim
Typescript lyric sheets; [2]
p.
6/24
Invalid Entrance
Typescript lyric sheets; [2]
p.
6/25
Let's Kiss and Make Up
GG holograph manuscript piano-vocal
sketch; [3] p.
6/26
Let's Kiss and Make Up
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
6/26
Let's Kiss and Make Up
Copyist manuscript piano-vocal score;
[3] p.
Note: Refrain only, no lyric
Note: Emendations in the hand of
Albert Sirmay
6/26
Let's Kiss and Make Up
Sheet music with
corrections
6/26
Let's Kiss and Make Up
IG holograph/typescript lyric sheets;
[5] p.
6/27
My One and Only (What am I Gonna
Do?)
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
6/27
My One and Only (What am I Gonna
Do?)
Manuscript piano-vocal score in the
hand of William Daly; [4] p.
Note: Verse has no lyric
Note: Discarded original version
Note: Rewritten verse on p. [4]
with the melody line in the hand of GG and the piano part in the
hand of Albert Sirmay on p. [4]
6/27
My One and Only (What am I Gonna
Do?)
Copyist manuscript piano-vocal score;
5 p.
6/27
My One and Only (What am I Gonna
Do?)
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
6/27
My One and Only (What am I Gonna
Do?)
Copyist manuscript piano-vocal score;
[3] p.
Note: Refrain only, no lyric
Note: Emendations in the hand of
Albert Sirmay
6/27
My One and Only (What am I Gonna
Do?)
Sheet music with
corrections
6/27
My One and Only (What am I Gonna
Do?)
Typescript lyric sheets; [5]
p.
Note: One has IG annotations
132/2
Nut Dance
GG holograph manuscript full score; 8
p.
Laid in: IG holograph notes; [1]
p.
7/1
Once
GG holograph manuscript piano sketch
with partial lyric (verse) and piano score with interlinear
lyric (refrain); [4] p.
7/2
Once
Typescript lyric sheet
Opening, Act I
see
[Aviator](aviator)
Note: Alternate title
Opening, Act II
see
[In the
Swim](inswim)
Note: Alternate title
7/3
Overture
Copyist manuscript (with printed
portions) piano-conductor score; 1, 12 p.
Policeman Opening
see
[Finest
of the Finest](finest)
Note: Alternate title
Second Opening, Act I
see
[Birthday Party](birthday)
Note: Working title
7/4
Selection
Manuscript (with printed portions)
piano score; 18 p.
Note: Arranged by Hans Spialek
7/5
'S Wonderful
Copyist manuscript piano-vocal score
[no. 1]; 4 p.
Note: Refrain lyric in the hand of
GG
7/6
'S Wonderful
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
7/6
'S Wonderful
Copyist manuscript piano-vocal score;
4 p.
Note: Verse has no lyric
Note: Extensive emendations and
refrain lyric in the hand of GG
7/6
'S Wonderful
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
7/6
'S Wonderful
Typescript lyric sheets (several with
corrections); [13] p.
7/7
Tell the Doc
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
7/8
Tell the Doc
Copyist manuscript piano-vocal score;
4 p.
7/8
Tell the Doc
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
7/8
Tell the Doc
Typescript lyric sheet
Those Eyes
see
[Your
Eyes, Your Smile](youreyes)
Note: Alternate title
We're All A-Worry, All Agog
see
[Aviator](aviator)
Note: Alternate title
7/9
When You're Single
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, no lyric
7/10
When You're Single
Copyist manuscript piano-vocal score;
[2] p.
Note: Refrain only, no lyric
Note: GG holograph vocal line
7/11
When You're Single
Robert Russell Bennett holograph
manuscript full score; 25 p.
7/12
When You're Single
Typescript lyric sheets; [3]
p.
Why Does Ev'rybody Have to Cut
In?
see
[Dance Alone with You](dancealone)
Note: Alternate title
7/13
The World is Mine
GG holograph manuscript piano-vocal
score; [4] p.
Note: Refrain lyric differs
slightly from published version
7/14
The World is Mine
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
7/14
The World is Mine
Copyist manuscript piano-vocal score;
6 p.
Note: Verse has no lyric
Note: GG holograph notes in
caption
Note: Refrain lyric is same as in
GG holograph score
7/14
The World is Mine
Typescript lyric sheets; [2]
p.
7/15
Your Eyes, Your Smile
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
Note: Emendations in an
unidentified hand
7/15
Your Eyes, Your Smile
Typescript lyric sheets; [2]
p.
7/16
Folder with annotations in various
hands
Includes: GG holograph list of
show numbers in running order of out-of-town tryout
135/12
List of songs, running
order
Typescript manuscript with Lawrence
Stewart annotations; [1] p.
7/17
Prompt book
Typescript; [101] p.
7
George White's Scandals of 1920
7/18
On My Mind the Whole Night
Long
Frank Saddler holograph manuscript
full score; 15 p.
Laid in: IG holograph/typescript
notes; [5] p.
7
George White's Scandals of 1921
Drifting Along with the Tide
see
[You're
the Witch Who is Bewitching Me](bewitch)
7/19
Opening, Act I
GG holograph manuscript piano-vocal
score; [17] p.
Note: No lyric
Laid in: IG typescript note; [1]
p.
7
George White's Scandals of 1922
7/20
Across the Sea
Copyist manuscript piano-vocal score;
1, 6 p.
On cover: Orig[inal] key
7/20
Across the Sea
Copyist manuscript piano-vocal score;
[5] p.
7/21
(I'll Build a) Stairway to
Paradise
IG holograph/typescript lyric sheets;
[3] p.
7-8
George White's Scandals of 1923
Canary and Fish
see
[Let's
Be Lonesome Together](lonesome)
Note: Alternate title
7/22
(On the Beach at)
How've-You-Been
Manuscript piano-vocal score; 4
p.
7/23
Let's Be Lonesome Together
GG holograph manuscript lead sheet;
[1] p.
Note: Lead sheet for " [
The Life of a Rose
](liferose) ," on p. [2]
7/24
Let's Be Lonesome
Together
GG holograph manuscript lead sheet;
[1] p.
7/25
Let's Be Lonesome
Together
Manuscript piano-vocal score; [4]
p.
7/26
The Life of a Rose
see also
[Let's
Be Lonesome Together](lonesome)
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
7/27
The Life of a Rose
see also
[Let's
Be Lonesome Together](lonesome)
Manuscript piano-vocal score in the
hand of Eugene Platzman; [4] p.
8/1
Selection
Eugene Platzman (arranger) manuscript
(with printed portions) piano score; p. 2-17
8/2
There Is Nothing Too Good for
You
GG holograph manuscript piano-vocal
score; [3] p.
Note: Emendations in an unknown
hand
8/3
There Is Nothing Too Good for
You
Copyist manuscript piano-vocal score;
4 p.
8/4
Where Is She?
Manuscript piano-vocal score in the
hand of Eugene Platzman; [4] p.
8/5
You and I (in Old
Versailles)
Manuscript piano-vocal score in the
hand of Eugene Platzman; [4] p.
8
George White's Scandals of 1924
8/6
Black and White March
Manuscript piano score in the hand of
Vernon Duke; [6] p.
Note: Title and "Copy" in the hand
of GG
8/6
Black and White March
Copyist manuscript piano score; 6
p.
Note: Emendations in an
unidentified hand
8/7
Finale, Act I
Copyist manuscript piano-vocal score;
16 p.
Note: Extensive emendations in an
unidentified hand
8/8
Hollywood
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
8/9
I Need a Garden
Robert Russell Bennett holograph
manuscript piano-vocal score; 4 p.
8/9
I Need a Garden
Copyist manuscript piano-vocal score;
5 p.
8/9
I Need a Garden
Typescript lyric sheet
8/10
Kongo Kate
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
Note: Transitional material in an
unidentified hand on p. [3]
8/11
Kongo Kate
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
8/12
Kongo Kate. Dance
GG holograph manuscript piano sketch;
[2] p.
8/13
Kongo Kate. Patter
Manuscript piano score in the hand of
Vernon Duke; [1] p.
In caption : Copy; in the hand of
GG
8/13
Kongo Kate. Patter
Copyist manuscript piano part; [4]
p.
Note: Manuscript refrain in
unidentified hand
Note: Introduction to first encore
on p. [3]
Note: Refrain in A major on p. [4]
8/14
Mah-Jongg
Copyist manuscript piano-vocal score;
5 p.
8/15
Night Time in Araby
Manuscript piano-vocal score; [4]
p.
8/15
Night Time in Araby
Typescript/manuscript lyric sheets;
[2] p.
8/16
Opening, Act I
GG holograph manuscript piano-vocal
score; 1, 9 p.
Note: Partial vocal line, no lyric
8/17
Operetta - "Sneeze"
GG holograph manuscript piano-vocal
score; 11 p.
8/18
Rose of Madrid
Manuscript piano-vocal score; 5
p.
8/19
Selection
Hilding Anderson (arranger) holograph
manuscript piano score with printed portions; 23 p.
8/20
Somebody Loves Me
Manuscript piano score; p.
2-3
Note: Incomplete
8/21
Somebody Loves Me
Maurice DePackh holograph manuscript
full score; 23 p.
8/22
Somebody Loves Me
Copyist manuscript piano-vocal score;
[4] p.
8/22
Somebody Loves Me
Typescript lyric sheet
8/23
Somebody Loves Me
Photocopy of sheet music (German
version)
8/24
Year after Year
Copyist manuscript piano-vocal score;
[4] p.
8-9, 135
Girl Crazy (1930)
8/25
And I Have You
IG holograph/typescript lyric sheets;
[4] p.
8/26
Are You Dancing?
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
8/27
Are You Dancing?
IG holograph/typescript lyric sheets;
[3] p.
8/28
Barbary Coast
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
8/28
Barbary Coast
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
8/28
Barbary Coast
Manuscript lead sheet; [1]
p.
Note: No lyric
8/28
Barbary Coast
Typescript lyric sheets; [2]
p.
8/29
Bidin' My Time
GG holograph manuscript piano-vocal
score; [3] p.
Note: Score has no lyric
8/30
Bidin' My Time
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
8/30
Bidin' My Time
Two copyist manuscript piano-vocal
scores; [3] p. each
Note: Scores have no lyric
8/30
Bidin' My Time
IG holograph/typescript lyric sheets;
[2] p.
8/31
Boy! What Love Has Done to Me!
Copyist manuscript piano-vocal score;
7 p.
8/31
Boy! What Love Has Done to
Me!
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations in an
unidentified hand
8/31
Boy! What Love Has Done to
Me!
Manuscript piano score; [5]
p.
8/31
Boy! What Love Has Done to
Me!
Typescript lyric sheets; [4]
p.
9/1
Bronco Busters
Manuscript/copyist manuscript
piano-vocal score; 10 p.
9/1
Bronco Busters
Typescript lyric sheets; [2]
p.
9/2
But Not for Me
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
9/3
But Not for Me
GG holograph manuscript piano score
of elaborate harmonization of final 8 bars of refrain; [1]
p.
9/4
But Not for Me
Copyist manuscript piano-vocal score;
6 p.
9/4
But Not for Me
Three copyist manuscript piano-vocal
scores; 6 p. each
Note: No lyric
9/4
But Not for Me
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
9/4
But Not for Me
Typescript lyric sheets; [2]
p.
9/5
Cactus Time in Arizona
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
9/5
Cactus Time in Arizona
Typescript lyric sheets; [2]
p.
9/6
Could You Use Me?
GG holograph manuscript piano-vocal
score; [4] p.
Note: Lyric in unidentified hands
9/7
Could You Use Me?
Two copyist manuscript piano-vocal
scores; 7 p. each
Note: Emendations in an
unidentified hand
9/7
Could You Use Me?
IG holograph/typescript lyric sheets;
[8] p.
9/8
Embraceable You
Manuscript piano score in the hands
of GG, William Daly, and Albert Sirmay; [4] p.
9/8
Embraceable You
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
9/8
Embraceable You
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
9/8
Embraceable You
Typescript lyric sheets; [3]
p.
Farmer Dance
see
[You
Can't Unscramble Scrambled Eggs](unscramble)
Note: Early title
9/9
Finale, Act I
GG holograph/copyist manuscript
piano-vocal score; 9 p.
Note: Lyric in an unidentified
hand
9/10
Finale, Act I
Copyist manuscript piano-vocal score;
9 p.
Finaletto, Act I
see
[Goldfarb, That's I'm!](goldfarb)
Note: Alternate title
9/11
The Gambler of the
West
Typescript lyric sheets; [2]
p.
9/12
Goldfarb, That's I'm!
Typescript lyric sheets; [2]
p.
9/13
I Got Rhythm
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
Note: Verse in the hand of Albert
Sirmay
Note: Title and chorus in the hand
of GG
9/14
I Got Rhythm
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
9/14
I Got Rhythm
Two copyist manuscript piano-vocal
scores; 6 p. each
Note: No lyric
9/14
I Got Rhythm
Typescript lyric sheet
I Have You
see
[And I
Have You](haveyou)
Note: Alternate title
9/15
Land of the Gay Caballero
GG holograph manuscript piano-vocal
score; [8] p.
Note: No lyric
In caption : Part of Spanish dance,
Mexican, Girl Crazy ; on p. [7] in
the hand of IG
Note: Drawing of Torch in an
unidentified hand on p. [8]
9/16
Land of the Gay
Caballero
IG holograph/typescript lyric sheets;
[2] p.
Look What Love has Done for Me
see
[Boy!
What Love has Done to Me!](donetome)
Note: Pre-Broadway/opening night
title
9/17
The Lonesome Cowboy
Typescript lyric sheets; [3]
p.
Not for Me
see
[But
Not for Me](notforme)
Note: Alternate title
Opening, Act I, scene III
see
[Bronco
Busters](bronco)
Note: Alternate title
Opening, Act II
see
[Land
of the Gay Caballero](caballero)
Note: Alternate title
9/18
Sam and Delilah
GG holograph manuscript piano-vocal
score; 7 p.
Note: No lyric
9/19
Sam and Delilah
Manuscript piano-vocal score in the
hand of Albert Sirmay; 1, 9 p.
9/19
Sam and Delilah
Two copyist manuscript piano-vocal
scores; 9 p. each
9/19
Sam and Delilah
IG holograph/typescript lyric sheets;
[4] p.
9/20
Selection
Four copyist manuscript orchestral
parts
Note: For oboe, E-flat alto
saxophone, 2nd violin, and viola
Note: Orchestrated by F. Henri
Klickmann
Something Peculiar
see
[Something Peculiar](peculiar) from Piccadilly to Broadway
That Lonesome Cowboy Won't Be
Lonesome Now
see
[Dance Alone with You](dancealone)
Note: Alternate title
9/21
Treat Me Rough
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
9/21
Treat Me Rough
Typescript lyric sheets; [4]
p.
We're Bronco Busters
see
[Bronco
Busters](bronco)
Note: Alternate title
When it's Cactus Time in Arizona
see
[Cactus Time in Arizona](cactustime)
Note: Alternate title
9/22
You Can't Unscramble Scrambled
Eggs
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
Note: No lyric
9/22
You Can't Unscramble Scrambled
Eggs
Copyist manuscript piano-vocal score;
[1, 2] p.
Note: No lyric
9/22
You Can't Unscramble Scrambled
Eggs
Copyist manuscript piano-vocal score;
[3] p.
Note: No lyric
9/22
You Can't Unscramble Scrambled
Eggs
IG holograph/typescript lyric sheets;
[2] p.
9/23
Lists of songs, running
order
IG holograph/typescript manuscript;
[3] p.
Note: For Philadelphia tryout, for
New York opening
9/24
Various piano parts
Note: IG holograph cover only
135/27
Miscellaneous lead sheets from
unidentified production
Manuscript lead sheets probably in
the hand of Jack English; [11] p.
Includes: Barbary Coast; Bronco
Busters; Finaletto; The Lonesome Cowboy; Treat Me Rough; When
it's Cactus Time in Arizona;
9
Girl Crazy (1960 revival)
9/25
Dawn of a New Day
IG holograph/typescript lyric sheets;
[2] p.
9-10
Give a Girl a Break (film, 1953)
9/26
Ach, du Lieber
Oom-Pah-Pah
IG holograph/typescript lyric sheets;
[20] p.
9/27
Applause, Applause
IG holograph/typescript lyric sheets;
[12] p.
Laid in:
Photocopy of Lawrence Stewart typescript note; [1]
p.
9/28
Dreamworld
Ozalid copyist manuscript piano-vocal
score; 9 p.
9/28
Dreamworld
IG holograph/typescript lyric sheets;
[10] p.
10/1
Give a Girl a Break
Ozalid copyist manuscript piano-vocal
score; 6 p.
10/1
Give a Girl a Break
IG holograph/typescript lyric sheets;
[12] p.
10/2
In Our United State
Ozalid copyist manuscript piano-vocal
score; 4 p.
10/2
In Our United State
IG holograph/typescript lyric sheets;
[17] p.
10/3
It Happens Ev'ry Time
IG holograph/typescript lyric sheets;
[12] p.
10/4
Nothing is Impossible
Ozalid copyist manuscript piano-vocal
score; 9 p.
10/4
Nothing is Impossible
IG holograph/typescript lyric sheets;
[6] p.
10/5
Whizzin’ Thru Space
[unfinished]
IG holograph lyric sheets; [2]
p.
10/6
Woman, There Is No Living with
You
Ozalid copyist manuscript piano-vocal
score; 4 p.
10/6
Woman, There Is No Living with
You
IG holograph/typescript lyric sheets;
[5] p.
10/7
Unidentified
Typescript; 8 p.
Note: IG holograph emendations
10/7
Unidentified
IG holograph lyric sheets; [4]
p.
10/8
Unidentified
IG holograph manuscripts; [5]
p.
10
The Goldwyn Follies (1938)
10/9
Exposition
Typescript ballet scenario (3
versions); 3, 2, 2 p.
10/10
I Love to Rhyme
GG holograph manuscript piano-vocal
sketch; [4] p.
10/11
I Love to Rhyme
IG holograph/typescript lyric sheets;
[6] p.
10/12
I Was Doing All Right
GG holograph manuscript piano-vocal
sketch; 3 p.
Note: Refrain only
10/13
I Was Doing All Right
Typescript lyric sheets; [3]
p.
10/14
I'm Not Complaining
Manuscript piano-vocal score; 4
p.
10/14
I'm Not Complaining
Photocopy of copyist manuscript
piano-vocal score; 4 p.
10/14
I'm Not Complaining
Typescript lyric sheets; [2]
p.
10/15
Just Another Rhumba
GG holograph manuscript piano-vocal
score; [5] p.
Note: No lyric
10/16
Just Another Rhumba
IG holograph/typescript/carbon copy
lyric sheets; [11] p.
10/17
Love Is Here to Stay
Photocopy of sheet music
(German)
10/17
Love Is Here to Stay
IG holograph/typescript lyric sheets;
[7] p.
10/18
Love Walked In
Photocopy of sheet music
(German)
10/18
Love Walked In
IG holograph/typescript lyric sheets;
[3] p.
10/19
Spring Again
IG holograph/typescript lyric sheets;
[3] p.
10/20
Miscellaneous notes
IG holograph manuscript; [4]
p.
10
Good Morning, Judge (1919)
10/21
I Was So Young (You Were So
Beautiful)
Manuscript full score in the hand of
Frank Saddler; 16 p.
10/22
I Was So Young (You Were So
Beautiful)
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
10/22
I Was So Young (You Were So
Beautiful)
Manuscript lyric sheet
10/23
There's More to the Kiss than the
X-X-X
GG holograph manuscript piano-vocal
score; [4] p.
Note: Partial vocal line, no lyric
10/24
There's More to the Kiss than the
X-X-X
IG holograph/typescript lyric
sheet
10
Greenwich Village Follies (1924)
10/25
Hot Hindoo
Copyist manuscript piano-vocal score;
5 p.
10
Half Past Eight (1918)
10/26
Cupid
Copyist manuscript piano score; [3]
p.
10/26
Cupid
Photocopy of copyist manuscript
piano-vocal score; 6 p.
Note: No lyric
10/27
Half Past Eight
Photocopy of copyist manuscript
piano-vocal score; 7 p.
Note: No lyric
10/28
Hong Kong
Photocopy of copyist manuscript
piano-vocal score; 6 p.
Note: No lyric
10/29
Little Sunbeam
Photocopy of copyist manuscript
piano-vocal score; 5 p.
Note: No lyric
10/30
Ten Commandments of
Love
Manuscript full score in the hand of
Maurice DePackh; 21 p.
10/31
There's Magic in the
Air
IG holograph/typescript lyric sheet;
[2] p.
10/32
Running order
Typescript list with emendations; [1]
p.
11, 132, 141
Kiss Me, Stupid (1964)
11/1
All the Livelong Day (And the Long, Long
Night)
Manuscript piano-vocal score in the
hand of Kay Swift; [2] p.
Note: No lyric
11/1
All the Livelong Day (And the
Long, Long Night)
Copyist manuscript piano-vocal score;
4 p.
11/1
All the Livelong Day (And the
Long, Long Night)
Two Ozalid copyist manuscript
piano-vocal scores; 4 p. each
Note: No lyric
Note: IG holograph emendations
11/1
All the Livelong Day (And the
Long, Long Night)
Three Ozalid copyist manuscript
piano-vocal scores; 4 p. each
Note: IG holograph emendations
11/1
All the Livelong Day (And the
Long, Long Night)
Ozalid piano-vocal score; 5
p.
11/1
All the Livelong Day (And the
Long, Long Night)
Manuscript piano sketch; [2]
p.
Note: Refrain only
11/2
All the Livelong Day (And the
Long, Long Night)
IG holograph/typescript lyric sheets
and notes; [54] p.
11/3
All the Livelong Day (And the
Long, Long Night)
IG typescript lyric sheets; [5]
p.
Note: Revised 2nd refrain for Ella
Fitzgerald
Laid in: IG typescript letter to
Ella Fitzgerald, 1964 September 30
11/4
I'm a Poached Egg
Manuscript piano-vocal sketch in the
hand of Kay Swift; [1] p.
11/4
I'm a Poached Egg
Manuscript piano score in the hand of
Kay Swift; [1] p.
Note: Refrain only
11/4
I'm a Poached Egg
Copyist manuscript piano-vocal score;
5 p.
11/4
I'm a Poached Egg
Ozalid copyist manuscript piano-vocal
score; 5 p.
Note: IG holograph emendations
11/4
I'm a Poached Egg
Ozalid copyist manuscript piano-vocal
score; 3 p.
Note: Refrain only
11/4
I'm a Poached Egg
Ozalid copyist manuscript piano-vocal
score; 5 p.
11/4
I'm a Poached Egg
Ozalid copyist manuscript piano-vocal
score; 6 p.
Laid in: Photocopy of IG
typescript notes; [1] p.
11/4
I'm a Poached Egg
Sheet music
Note: IG holograph emendations
11/5
I'm a Poached Egg
IG holograph/typescript lyric sheets;
[54] p.
132/3
I'm a Poached Egg
IG holograph/typescript lyric sheets;
[16] p.
11/6
I'm a Poached Egg
IG holograph/typescript lyric sheets;
[11] p.
Note: Revised 3rd refrain for Ella
Fitzgerald
Laid in: IG signed typescript
letter to Ella Fitzgerald, 1964 September 30
141/42
I'm a Poached Egg
IG holograph/typescript lyric sheet;
[1] p.
Note: Revised 3rd refrain for
Frank Sinatra
Includes: Lawrence Stewart
typescript note below lyrics
11/7
Sophia
Copyist manuscript piano-vocal score;
7 p.
11/7
Sophia
Eight Ozalid copyist manuscript
piano-vocal scores; 7 p. each
Note: Seven scores have IG
holograph emendations
11/7
Sophia
Three Ozalid copyist manuscript
piano-vocal score; 6 p.
Note: Two scores have emendations
11/7
Sophia
Ozalid copyist manuscript piano-vocal
score; 5 p.
Note: No lyric
11/7
Sophia
Manuscript piano fragments; [1]
p.
Laid in: IG holograph letter to
"Doc," undated
Note: IG holograph letter, undated
11/8
Sophia
IG holograph/typescript lyric sheets;
[31] p.
11, 139
La-La-Lucille! (1919)
11/9
Kitchenette
Two Frank Saddler holograph
manuscript full scores; 6, 7 p.
Note: One score incomplete
11/10
Kitchenette
IG holograph/typescript lyric sheets;
[4] p.
11/11
Love of a Wife
Frank Saddler holograph manuscript
full score; 16 p.
Laid in: IG typescript notes; [1]
p.
11/12
Money
Frank Saddler holograph manuscript
full score; 16 p.
139/2
(Oo How) I Love to Be Loved by
You
Typescript lyric sheet; [1]
p.
11
Ladies First (1918)
11/13
The Real American Folk
Song
GG and Kay Swift holograph manuscript
piano-vocal score; [7] p.
Note: No lyric
11/14
The Real American Folk
Song
Copyist manuscript piano-vocal score;
7 p.
11/14
The Real American Folk
Song
Ozalid copyist manuscript piano-vocal
score; 7 p.
11/14
The Real American Folk
Song
IG holograph/typescript/photocopy of
lyric sheets; [4] p.
Laid in: Envelope with IG
holograph manuscript
11-13
Lady, Be Good! (1924)
12/32
Act I, Scene II
Stephen O. Jones holograph manuscript
full score; 14 p.
13/1
Act I, Scene III
Paul Lannin holograph manuscript full
score; 33 [i.e., 36] p.
11/15
The Bad, Bad Men
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
11/16
The Bad, Bad Men
IG holograph/typescript lyric sheets;
3 p.
11/17
Buy a Little Button from
Me
Typescript lyric sheet; [2]
p.
11/18
Carnival
Charles Grant holograph manuscript
full score; 17 p.
11/19
End of a String
Typescript lyric sheets; [3]
p.
12/1
Evening Star
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
12/2
Evening Star
GG holograph manuscript harmony
sketch; [1] p.
Note: Adjoined with “Opening, Act
I, scene III,” vocal sketch; [1] p.
12/3
Evening Star
Photocopy of copyist manuscript
piano-vocal score; [5] p.
12/3
Evening Star
Photocopy of GG holograph manuscript
lead sheet; [2] p.
12/3
Evening Star
IG holograph/typescript lyric
sheet
12/3
Evening Star
Photocopy of IG holograph/typescript
lyric sheet
12/4
Fascinating Rhythm
GG holograph manuscript piano score;
[1, 1] p.
Note: Verse only
12/5
Fascinating Rhythm
GG holograph manuscript piano score;
[2] p.
Caption title: Syncopated City
Note: Refrain only
12/6
Fascinating Rhythm
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
12/6
Fascinating Rhythm
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
Note: Emendations in an
unidentified hand
12/6
Fascinating Rhythm
Photocopy of sheet music
(French)
12/6
Fascinating Rhythm
Typescript lyric sheet
12/7
Fascinating Rhythm -
Interlude
GG holograph manuscript piano score;
[1] p.
Note: Adjoined with “Finale,”
piano-vocal score, no lyric; [1] p.
12/8
Fascinating Rhythm [revised
version, circa 1940s]
Typescript lyric sheet
Note: Refrain only
Finale
see
[Fascinating Rhythm - Interlude](fasinterlude)
12/9
Finale, Act I
Max Steiner holograph manuscript full
score; 18 p.
Note: Incomplete
12/10
Finale, Act I
Typescript lyric sheet
12/11
Finale, Act II
Typescript lyric sheet
12/12
The Half of It Dearie,
Blues
Copyist manuscript piano-vocal score;
[3] p.
Note: Emendations in the hand of
Albert Sirmay
Note: Unidentified sketch material
on verso of p. [3]
12/12
The Half of It Dearie,
Blues
Typescript lyric sheets; [9]
p.
12/13
The Half of It Dearie, Blues.
Patter
Typescript lyric sheet
12/14
Hang On to Me
Copyist manuscript piano-vocal score;
[4] p.
Note: Emendations in the hands of
IG and Albert Sirmay
12/14
Hang On to Me
Typescript lyric sheets; [2]
p.
Note: One sheet with corrections
12/15
I'd Rather Charleston
Typescript lyric sheets; [2]
p.
Note: One sheet with emendations
12/16
Juanita
Typescript lyric sheets; [3]
p.
12/17
Leave It to Love
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
Note: Unidentified sketch material
on p. [4]
12/18
Linger in the Lobby
GG holograph manuscript piano-vocal
sketch; [8] p.
Note: No lyric
12/19
Linger in the Lobby
Robert Russell Bennett holograph
manuscript full score; 29 p.
Note: Incomplete score, p. 1
absent
12/19
Linger in the Lobby
Typescript lyric sheets with
corrections; [2] p.
12/21
Little Jazz Bird
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
12/22
Little Jazz Bird
Albert Sirmay holograph manuscript
piano-vocal score; 7 p.
Note: No lyric
12/22
Little Jazz Bird
Typescript lyric sheets; [3]
p.
12/23
Little Theatre
IG holograph/typescript lyric sheets;
[2] p.
12/24
The Man I Love
see also
[The
Man I Love](manilove2) from Strike Up the
Band
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, no lyric
12/25
The Man I Love
see also
[The
Man I Love](manilove2) from Strike Up the
Band
Copyist manuscript piano-vocal score;
8 p.
Note: GG holograph emendations
Note: No lyric
12/26
The Man I Love
see also
[The
Man I Love](manilove2) from Strike Up the
Band
Albert Sirmay holograph manuscript
piano-vocal score; 7 p.
12/26
The Man I Love
see also
[The
Man I Love](manilove2) from Strike Up the
Band
Typescript lyric sheet
12/27
Oh, Lady Be Good!
GG holograph manuscript piano-vocal
score; [4] p.
Note: Verse has no lyric, refrain
has partial lyric
12/28
Oh, Lady Be Good!
Copyist manuscript piano-vocal score;
4 p.
12/28
Oh, Lady Be Good!
Photocopy of sheet music
(German)
12/29
Oh, Lady Be Good!
Photocopy of sheet music [fake] with
IG note
Note: Sheet music claims
authorship to Eddie Crane and Dixie Donegan
12/29
Oh, Lady Be Good!
Typescript lyric sheets; [6]
p.
Oh, What a Lovely Party
see
[A Wonderful Party](wonderfulparty)
Note: British title
12/30
Opening, Act I
William Daly holograph manuscript
full score; 31 p.
Note: Incomplete, p. 12 absent
Opening, Act I, scene III
see
[Evening Star](eveningstar)
Opening, Act II
see
[Linger in the Lobby](lingerlobby) and [Weatherman and
Rainy-Afternoon Girls](weatherman)
12/31
Overture
Manuscript full score; 15
p.
13/2
Seeing Dickie Home
Typescript lyric sheet
13/3
Selection
Robert Russell Bennett holograph
manuscript (with printed portions) piano score; 19 p.
13/4
Singin' Pete
Manuscript piano sketch; [1]
p.
13/4
Singin' Pete
Typescript lyric sheet
Six Little Rainy-Afternoon Girls
see
[Weatherman and Rainy-Afternoon Girls](weatherman)
Note: Alternate title
13/5
So Am I
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
13/6
So Am I
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
13/6
So Am I
Typescript/photocopy of lyric sheets;
[3] p.
13/7
Swiss Miss
Typescript lyric sheets; [2]
p.
Syncopated City
see
[Fascinating Rhythm](fasrhythm)
Note: Alternate title
13/8
Weatherman and Rainy-Afternoon
Girls
GG holograph manuscript piano-vocal
sketch; 10 [i.e., 9] p.
Note: No lyric
13/9
Weatherman and Rainy-Afternoon
Girls
GG holograph manuscript piano-vocal
score; 11 p.
Note: No lyric
13/9
Weatherman and Rainy-Afternoon
Girls
Typescript lyric sheets; [4]
p.
13/11
We're Here Because
Paul Lannin holograph manuscript full
score; 20 p.
13/11
We're Here Because
Paul Lannin holograph manuscript
short score; [1, 2] p.
13/12
We're Here Because
Typescript lyric sheets; [2]
p.
13/13
Will You Remember Me
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
13/13
Will You Remember Me
Typescript/photocopy of lyric sheets;
[2] p.
13/14
A Wonderful Party
Typescript lyric sheet
13/15
Unidentified waltz
Manuscript piano sketch; [1]
p.
135
Lady, Be Good! (film, 1928)
135/28
Thematic cue sheet
139
The Lady in Red (1919)
139/1
Something about Love
Typescript lyric sheet; [1]
p.
13-14
Lady in the Dark (1941)
13/16
Bats about You
IG holograph/typescript lyric
sheet
Laid in: IG typescript notes; [3]
p.
13/17
The Boss Is Bringing Home a Bride
IG holograph/typescript lyric sheets;
[2] p.
Note: Part of "Hollywood Daydream"
13/18
Circus Dream
see also
[The Saga
of Jenny](jenny) and [Tschaikowsky (And Other Russians)](russians)
IG holograph/typescript
libretto/lyric sheets (5 versions)
Contents:
- v. A: early draft; 9 [i.e., 15] p.; includes revision of
p. [1]
- v. B: 11 p.; Laid in: IG
holograph notes; [1] p.; IG refers to this as the 3rd draft;
1st draft was apparently "Minstrel Dream"
- v. C: carbon copy of v. B with holograph emendations; 11
p.
- v. D: 14 p.
- v. E: copy of v. D with IG holograph note; 14 p.
- v. F: 13 p.; Laid in: IG
typescript notes; [1] p.
13/18
Circus Dream
see also
[The Saga
of Jenny](jenny) and [Tschaikowsky (And Other Russians)](russians)
Incomplete late draft; [1]
p.
13/18
Circus Dream
IG holograph/typescript lyric sheets
with Lawrence Stewart manuscript note; [5] p.
Note: Revision for 1954 TV
production
First Dream Sequence
see
[Glamour Dream](glamourdream)
Note: Alternate title
Fourth Dream Sequence
see
[Hollywood Daydream](hollywood)
Note: Alternate title
13/19
Glamour Dream
see also
[One
Life to Live](onelife)
IG holograph/typescript
libretto/lyric sheets; 8 [i.e., 9] p.
Note: Incomplete, p. 5 is absent
Hollywood Daydream [unfinished]
see
[The Boss
is Bringing Home a Bride](boss) and [Home in San Fernando
Valley](sanfernando)
Note: Sequence dropped from the
production
Hollywood Party
see
[Party
Parlando](parlando)
Note: Alternate title
13/20
Home in San Fernando Valley
IG holograph/typescript lyric sheets;
[2] p.
Note: Part of the "Hollywood
Daydream"
13/21
It's Never Too Late to
Mendelssohn
IG holograph/typescript lyric sheets;
[3] p.
Note: Originally part of the
"Wedding Dream"
Laid in: IG holograph/typescript
notes; [1] p.
13/22
Minstrel Dream
IG holograph/typescript
libretto/lyric sheets; [6] p.
Note: Incomplete
Laid in: IG holograph/typescript
notes; [2] p.
The Minstrel Show
see
[Minstrel Dream](minstreldream)
Note: Alternate title
13/23
My Ship
IG holograph lyric sheet; [2]
p.
13/24
One Life to Live
see also
[Glamour Dream](glamourdream)
IG holograph/typescript/photocopy of
lyric sheets; [9] p.
13/25
Party Parlando
IG holograph/typescript lyric sheets;
[2] p.
Note: Part of the "Hollywood
Daydream"
13/26
The Saga of Jenny
see also
[Circus Dream](circusdream)
IG holograph/typescript lyric sheets;
[16] p.
Laid in: IG holograph/typescript
notes; [1] p.
Second Dream Sequence
see
[Wedding Dream](weddingdream)
Note: Alternate title
Third Dream Sequence
see
[Circus Dream](circusdream)
Note: Alternate title
13/27
This Is New
see also
[Wedding Dream](weddingdream)
Typescript lyric sheet
13/28
Tschaikowsky (And Other Russians)
see also
[Circus Dream](circusdream)
IG holograph/typescript
scenario/lyric sheets; [4] p.
Laid in: IG typescript notes; [2]
p.
13/29
Unforgettable
see also
[Wedding Dream](weddingdream)
IG holograph/typescript lyric sheets;
[5] p.
Laid in: IG holograph/typescript
notes; [2] p.
13/30
Wedding Dream
see also
[It's Never Too Late to Mendelssohn](mendelssohn) and [This
Is New](thisisnew) and [Unforgettable](unforgettable)
IG holograph/typescript
libretto/lyric sheets; [11] p.
In captions : Bolero
Laid in: IG holograph/typescript
notes; [12] p.
13/31
Wedding Dream
see also
[It's Never Too Late to Mendelssohn](mendelssohn) and [This
Is New](thisisnew) and [Unforgettable](unforgettable)
Typescript libretto/lyric sheets (4
versions); 34 p.
Contents:
- v. A: final draft; 10 p.
- v. B: earlier draft; 8 p.
- v. C: carbon copy of v. B; 8 p.
- v. D: carbon copy of v. B; 8 p.
13/31
Wedding Dream
see also
[It's Never Too Late to Mendelssohn](mendelssohn) and [This
Is New](thisisnew) and [Unforgettable](unforgettable)
Incomplete earlier draft; [2]
p.
Laid in: IG holograph/typescript
notes; [2] p.
13/32
Dream Sequence scenarios
see also
[Circus Dream](circusdream) and [Hollywood Daydream](hollywood)
and [Wedding Dream](weddingdream)
Moss Hart typescript scenarios; [3]
p.
Laid in: IG holograph/typescript
notes; [2] p.
14/1
Lyric book
Typescript; [36] p.
Laid in: IG holograph/typescript
notes; [2] p.
14/2
I Am Listening
Typescript script; [85] p.
14-15, 135
Let 'Em Eat Cake (1933)
14/3
All the Mothers of the
Nation
GG holograph manuscript lead sheet
sketch; [1] p.
Caption title: Air for Mary
14/4
Blue, Blue, Blue
GG holograph manuscript melody
sketch; [1] p.
14/5
Climb Up the Social Ladder
GG holograph manuscript melody
sketch; [1] p.
14/6
Climb Up the Social
Ladder
GG holograph manuscript piano-vocal
score; [7] p.
Note: Unidentified sketch material
on p. [7]
Cloistered from the Noisy City
see
[The
Union League](unionleague)
Note: Alternate title
14/7
Comes the Revolution
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; [2] p.
14/8
Finale, Act I
GG holograph manuscript piano-vocal
score; 29 p.
Note: Partial lyric
14/9
Finale, Act I
GG holograph manuscript piano-vocal
sketches; 13 [i.e., 10] p.
14/10
Finale, Act I
GG holograph manuscript outline of
musical selections with drawings; [1] p.
14/11
Hanging Throttlebottom in the
Morning
GG holograph manuscript piano-vocal
score; [7] p.
Note: Ensemble section has no
lyric
14/12
Hanging Throttlebottom in the
Morning
GG holograph manuscript lead sheet;
[1] p.
Note: Partial lyric
14/13
It Isn't What You Did
GG holograph manuscript lead sheet;
[1] p.
Note: Lyric fragment
14/14
League of Nations
Finale
GG holograph manuscript piano-vocal
score; 16 p.
14/15
League of Nations
Finale
GG holograph manuscript lead sheets;
[2] p.
14/16
Let 'Em Eat Cake
GG holograph manuscript lead sheet; 1
p.
Note: Includes GG holograph
drawings
14/17
Limerick
GG holograph manuscript lead sheet;
[1] p.
Members of the Union League
see
[The
Union League](unionleague)
Note: Alternate title
14/18
Mine
Photocopy of GG manuscript
piano-vocal score; [5] p.
Note: GG holograph emendations
14/19
Musical outline
Typescript (carbon); 1 p.
The New Blue D.A.R.
see
[Climb
Up the Social Ladder](climbup)
Note: Alternate title
14/20
Opening, Act I
Copyist manuscript piano-vocal score;
[24] p.
Note: Emendations in an
unidentified hand
Note: Includes GG holograph
transitional material on p. [23] and sketch of "League of
Nations" in an unidentified hand on p. [24]
14/21
Opening, Act II
GG holograph manuscript piano-vocal
score; 11 p.
Note: Partial lyric in the hand of
IG
14/22
Opening, Act II
GG holograph manuscript piano-vocal
score; [3] p.
Note: Fragmentary lyric
14/23
Opening, Act II
GG holograph manuscript lead sheet;
[1] p.
14/24
Overture
GG holograph manuscript short score;
[17] p.
Note: Emendations in an
unidentified hand
Note: Unidentified sketch material
on p. [15-17]
14/25
Overture
GG holograph manuscript short score
sketch; [5] p.
Note: IG holograph emendations
14/26
Oyez, Oyez, Oyez
GG holograph manuscript piano-vocal
score; 6 p.
Note: No lyric
14/27
Oyez, Oyez, Oyez
GG holograph manuscript lead sheet;
[1] p.
14/28
Pep Talk
GG holograph manuscript lead sheet;
[1] p.
14/29
Store scene
GG holograph manuscript piano-vocal
score; 15 p.
Note: Partial lyric
Note: Includes "Shirts by
Millions" (Alternate title: Orders, Orders!), "Comes the
Revolution," and "Mine"
135/13
Store scene
IG holograph manuscript lyric sheets;
[2] p.
Laid in: Lawrence Stewart
typescript note; [1] p.
14/30
Team, Team, Team
GG holograph manuscript piano-vocal
sketch; 9 p.
Note: Partial lyric
14/31
Team, Team, Team
GG holograph manuscript lead sheet;
[1] p.
14/32
Till Then
GG holograph manuscript piano-vocal
score; 4 p.
Note: No lyric
14/33
Till Then
Two piano-vocal score proof copies; 5
[i.e., 4] p. each
14/34
The Trial of
Throttlebottom
GG holograph manuscript piano-vocal
sketch; [3] p.
14/35
The Trial of
Throttlebottom
GG holograph manuscript piano-vocal
score; [11] p.
14/36
The Trial of Throttlebottom. The
score was 8 to 8
GG holograph manuscript piano-vocal
sketch; [4] p.
15/1
The Trial of
Wintergreen
GG holograph manuscript piano-vocal
score; [17] p.
15/2
The Union League
GG holograph manuscript lead sheet;
[1] p.
Note: GG drawings on verso
15/3
Union Square
GG holograph manuscript piano-vocal
sketch; [13] p.
Note: No lyric
15/4
Union Square
GG holograph manuscript sketches; [6]
p.
Contents:
- p. [1]: Agitator’s entrance
- p. [3]: List of songs in running order
- p. [5-6]:Conditions as They Are
15/5
Libretto (1st of 4
versions)
Typescript; 27 [i.e., 26] p.
Note: Page 8 is absent
15/6
Libretto (2nd of 4
versions)
Typescript; 27 [i.e., 26] p.
Note: Page 8 is absent
15/7
Libretto (3rd of 4
versions)
Typescript; 27 [i.e., 25] p.
Note: Cover, pages 8 and 21 are
absent
15/8
Libretto (4th of 4
versions)
Typescript; 27 [i.e., 24] p.
Note: Pages 2, 3, 8 are absent
15/9
List of chorus forces and
supernumeraries by scene
Typescript; [3] p.
15/10
Lyric sheets, drawings, and
scripts
IG holograph/typescript; [54]
p.
15/11
Lyrics notebook
IG holograph lyrics and sketches;
[iv, 129] leaves (some blank)
15/12
Outline, Acts I and II
George S. Kaufman typescript; 4
p.
Laid in: IG holograph descriptions
[2 p.]
15/13
Revised outline, Act I
George S. Kaufman typescript; 3
p.
15-16
Life Begins at 8:40 (1934)
15/14
All the Elks and Masons
Typescript lyric sheets; [4]
p.
Beautifying the City
see
[Life
Begins at City Hall](cityhall)
Note: Alternate title
15/15
C'est la Vie
IG holograph/typescript lyric sheets;
[6] p.
The Elks and Masons
see
[All the Elks and Masons](elksandmasons)
Note: Alternate title
15/16
Fun to be Fooled
Typescript lyric sheets; [3]
p.
15/17
I Couldn't Hold My Man
Typescript lyric sheets; [3]
p.
15/18
I Knew Him When
Ozalid copyist manuscript piano-vocal
score; 4 p.
15/18
I Knew Him When
Typescript lyric sheets; [2]
p.
15/19
I'm a Collector of
Moonbeams
IG holograph/typescript lyric sheets;
[2] p.
15/20
I'm Not Myself
IG holograph/typescript lyric sheets;
[4] p.
15/21
It Was Long Ago
IG holograph/typescript lyric sheets;
[3] p.
15/22
Let's Take a Walk around the
Block
Typescript lyric sheets; [7]
p.
16/1
Life Begins (At Exactly 8:40 or
Thereabouts)
Typescript lyric sheets; [4]
p.
16/2
Life Begins at City Hall
Typescript lyric sheets; [17]
p.
Long Ago, Far Away, Once Upon a
Time
see
[It
Was Long Ago](longago02)
Note: Alternate title
16/3
My Paramount-Publix-Roxy
Rose
Typescript lyric sheets; [6]
p.
16/4
Quartet Erotica
IG holograph/typescript lyric sheets;
[3] p.
Rabelais
see
[Quartet
Erotica](erotica)
Note: Alternate title
Rabelais, De Maupassant,
Boccaccio, Balzac
see
[Quartet
Erotica](erotica)
Note: Alternate title
16/5
Shoein' the Mare
Typescript lyric sheet
16/6
Spring Fever
IG holograph/typescript lyric sheets;
[3] p.
16/7
Things!
IG holograph/typescript lyric sheets;
[3] p.
16/8
What Can You Say in a Love Song?
(That Hasn’t Been Said Before?)
Typescript lyric sheets; [2]
p.
16/9
A Weekend Cruise
Typescript lyric sheets; [4]
p.
Will You Love Me Monday Morning
as You Did on Friday Night?
see
[A
Weekend Cruise](weekendcruise)
Note: Early title
16/10
You're a Builder Upper
Typescript lyric sheets; [5]
p.
16
Little Miss Bluebeard (1923)
16/11
I Won't Say I Will but I Won't Say
I Won't
Copyist manuscript piano-vocal score;
4 p.
Note: Incomplete
16/11
I Won't Say I Will but I Won't Say
I Won't
IG holograph/typescript lyric sheets;
[7] p.
16/12
Selection
Robert Russell Bennett holograph
manuscript piano score; 2 p.
Ming Toy
see
[East is
West](eastwest)
Note: Alternate title
16
Morris Gest's Midnight Whirl (1919)
16/13
Baby Doll
Maurice DePackh holograph manuscript
full score; 22 p.
16/14
Baby Doll
Manuscript full score; 15
p.
Much Ado about Love
see
[ The
Firebrand of Florence ](fireflor01)
Note: Working title
16
Nifties of 1923
16/15
At Half Past Seven
Copyist manuscript piano-vocal score;
4 p.
Note: Emendations in an
unidentified hand
16/16
Dancing Mad
Copyist manuscript piano-vocal score;
[5] p.
16/17
Fabric of Dreams
IG holograph lyric sheet
16/18
Nashville Nightingale
Hilding Anderson holograph manuscript
full score; 22 p.
16/19
Nashville Nightingale
Copyist manuscript orchestral parts
(4 parts, incomplete set)
16
The North Star (1943)
16/20
Can I Help It?
Typescript lyric sheet
16/21
Collective Loading-Time Song
IG holograph/typescript lyric sheets;
[8] p.
16/22
I'll Always Have a Roving
Eye
IG holograph lyric sheets; [2]
p.
From the Baltic to the Pacific
see
[Collective Loading-Time Song](loading)
Note: Alternate title
Loading Song
see
[Collective Loading-Time Song](loading)
Note: Alternate title
Loading Time at Last is Over
see
[Village
Scene Jingles](village)
Note: Alternate title
16/23
No Village Like Mine
IG holograph/typescript lyric sheets;
[6] p.
16/24
Song of the Fatherland
Typescript lyric sheet
16/25
Song of the Guerillas
IG holograph/typescript lyric sheets;
[4] p.
Soviet Land
see
[Song
of the Fatherland](fatherland)
Note: Alternate title
16/26
Unite, You Workers of All
Nations
IG holograph/typescript lyric sheets;
[2] p.
16/27
Village Scene Jingles
IG holograph/typescript lyric sheets;
[4] p.
16/28
Wagon Song
IG holograph/typescript lyric sheets;
[2] p.
16/29
Younger Generation
IG holograph/typescript lyric sheets;
[3] p.
16/30
Lyric sheets and character
list
IG holograph/typescript manuscripts;
[6] p.
16-18, 135, 139
Of Thee I Sing (1931)
16/31
Adlai’s Sweeping the
Country
Typescript lyric sheet
16/32
Because, Because
see also
[Opening, Act I, scene 3](singopen1)
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
16/32
Because, Because
see also
[Opening, Act I, scene 3](singopen1)
Two corrected 1st proofs; 5 [i.e., 4]
p. each
16/32
Because, Because
see also
[Opening, Act I, scene 3](singopen1)
Corrected 2nd proof; 5 [i.e., 4]
p.
16/32
Because, Because
see also
[Opening, Act I, scene 3](singopen1)
Typescript/photocopy of lyric sheets;
[4] p.
16/33
Exit, Atlantic City
scene
Copyist manuscript piano-vocal score;
1, 3 p.
16/34
Finale, Act I
Copyist manuscript piano-vocal score;
[48] p.
16/34
Finale, Act I
IG holograph/typescript lyric sheets;
[4] p.
16/35
Finale, Act I [1952
revival]
Typescript lyric sheets; [6]
p.
Finale Ultimo
see
[On
That Matter, No One Budges](matterbudges)
Note: Alternate title
16/36
Finaletto, Act I scene
4
GG holograph manuscript piano-vocal
score; 1, 17 p.
16/36
Finaletto, Act I scene
4
Copyist manuscript piano-vocal score;
[32] p.
Note: Emendations in the hands of
Albert Sirmay and William Daly
16/37
Finaletto, Act II scene
1
Copyist manuscript piano-vocal score;
32 [i.e., 34] p.
17/1
Finaletto, Act II scene
3
Copyist manuscript piano-vocal score;
32 p.
17/2
Finaletto, Act II scene
3
IG holograph sheet
Note: Incomplete
Gabriel, Gabriel, Blow Your
Golden Horn
see
[Trumpeter, Blow Your Golden Horn](trumpeter)
Note: Alternate title
17/3
Hello, Good Morning
GG and William Daly holograph
manuscript full score; 22 p.
Laid in: IG holograph notes; [2]
p.
17/4
Hello, Good Morning
Copyist manuscript piano-vocal score;
13 p.
17/5
The Illegitimate
Daughter
Copyist manuscript piano-vocal score;
[1, 4] p.
Note: Caption title in the hand of
IG
17/5
The Illegitimate
Daughter
Manuscript piano-vocal score in the
hand of Albert Sirmay; [8] p.
17/5
The Illegitimate
Daughter
Corrected 1st proof; 7 [i.e., 5]
p.
17/5
The Illegitimate
Daughter
Sheet music with
annotations
17/5
The Illegitimate
Daughter
Typescript lyric sheets; [2]
p.
17/6
Love Is Sweeping the
Country
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, no lyric
17/7
Love Is Sweeping the
Country
Manuscript piano-vocal score in the
hand of Albert Sirmay; 11 p.
17/7
Love Is Sweeping the
Country
Corrected 1st proof; 7 [i.e., 6]
p.
17/7
Love Is Sweeping the
Country
Corrected 2nd proof; 7 [i.e., 6]
p.
17/7
Love Is Sweeping the
Country
Sheet music with
corrections
17/7
Love Is Sweeping the
Country
IG holograph/typescript lyric sheets;
[3] p.
17/8
Love Is Sweeping the Country.
Patter
IG holograph/typescript lyric sheets;
[2] p.
17/9
Of Thee I Sing
GG holograph manuscript piano-vocal
score; [1, 2] p.
Note: Verse only, no lyric
17/10
Of Thee I Sing
GG holograph manuscript piano-vocal
score; [1, 2] p.
Note: Refrain only, no lyric
17/11
Of Thee I Sing
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
17/11
Of Thee I Sing
Corrected 1st proof; 5 [i.e., 4]
p.
17/11
Of Thee I Sing
Corrected 2nd proof; 5 [i.e. 4]
p.
17/11
Of Thee I Sing
Sheet music with corrections in the
hand of Albert Sirmay
17/11
Of Thee I Sing
Typescript lyric sheet
17/12
On That Matter, No One
Budges
Copyist manuscript piano-vocal score;
16 p.
17/13
Opening, Act I scene 3
Copyist manuscript piano-vocal score;
[21] p.
Note: Emendations in the hand of
Albert Sirmay
Includes:
- "Who is the Lucky Girl to Be?"
- "The Dimple on Your Knee"
- "Because, Because"
Opening, Act II
see
[Hello, Good Morning](goodmorning)
Note: Alternate title
17/14
Opening, Atlantic City
scene
Copyist manuscript piano score; [1]
p.
17/15
Overture
Manuscript (with printed portions)
piano score chiefly in the hand of Albert Sirmay; 16
p.
Posterity
see
[Posterity Is Just around the Corner](posterity)
Note: Alternate title
17/16
Posterity Is Just around the
Corner
Copyist manuscript piano-vocal score;
10 p.
17/17
The President Is Going to Be a
Daddy
IG holograph/typescript lyric sheets;
[2] p.
The Senator from Minnesota
see
[The
Senatorial Roll Call](senator)
Note: Alternate title
17/18
The Senatorial Roll Call
Copyist manuscript piano-vocal score;
1, 10 p.
Cover title : The Senator from
North Dakota
17/18
The Senatorial Roll
Call
Typescript/photocopy of lyric sheets;
[6] p.
17/19
Strike the Loud-Resounding
Zither
IG holograph lyric sheet
Trumpeter
see
[Trumpeter, Blow Your Golden Horn](trumpeter)
Note: Alternate title
17/20
Trumpeter, Blow Your Golden
Horn
GG holograph manuscript lead sheet;
[2] p.
Laid in: IG holograph notes; [1]
p.
135/21
Who Cares?
GG holograph manuscript piano-vocal
score; [8] p.
17/21
Who Cares?
Copyist manuscript piano-vocal score;
14 p.
Note: Emendations in an
unidentified hand
17/21
Who Cares?
Copyist manuscript piano-vocal score;
[5] p.
Note: Verse has no lyric
17/21
Who Cares?
Corrected 1st proof; 5 [i.e., 4]
p.
17/21
Who Cares?
Sheet music with
corrections
17/21
Who Cares?
IG holograph lyric sheet
17/22
Who Cares? [1952
revival]
IG holograph/typescript lyric
sheet
Note: Refrain only
17/23
Wintergreen for
President
Copyist manuscript piano-vocal score;
[1, 6] p.
Note: Emendations in the hand of
Albert Sirmay
Bound
Bound manuscript selections,
1931-1932
GG holograph manuscripts; [96]
p.
Laid in: IG typescript notes; [2]
p.
18/1
Libretto, first draft
Typescript manuscript; [141]
p.
18/2
Libretto, later
versions
Typescript manuscripts; 19, [22],
[24], p.
Contents:
- v. A: 19 p.
- v. B: with IG holograph emendations; [22] p.
- v. C: with IG holograph emendations; [24] p.
Bound
Libretto, published first
edition
Note: Inscribed to George Pallay
with illustrations by GG and IG
18/3
List of numbers and
orchestrations
GG holograph manuscript; [1]
p.
18/4
Scenario book
Typescript manuscript; 14 [i.e., 20]
p.
Note: IG holograph annotations
139/3
Lyric fragment
IG holograph manuscript; [1]
p.
Note: GG holograph drawing on
verso
139/4
Miscellaneous music
fragments
GG holograph manuscript with IG
holograph annotations; [2] p.
Laid in: Lawrence Stewart
typescript notes; [2] p.
Laid in: Photocopy of original
folder with Lawrence Stewart manuscript note; [1] p.
18, 132, 135, 141
Oh, Kay! (1926)
18/5
Ain’t it Romantic
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 5] p.
Note: No lyric
18/5
Ain’t it Romantic
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
18/5
Ain’t it Romantic
Photocopy of copyist manuscript
piano-vocal score; 5 p.
Note: No lyric
18/5
Ain’t it Romantic
Typescript lyric sheets; [2]
p.
18/6
Bring on the Ding Dong Dell
IG holograph/typescript lyric sheets;
[2] p.
18/7
Bride and Groom
Typescript lyric sheets; [2]
p.
135/4
Clap Yo' Hands
GG holograph manuscript sketch; [2]
p.
Note: GG holograph manuscript
sketch for "Maybe" on verso; [1] p.
18/8
Clap Yo' Hands
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
18/8
Clap Yo' Hands
Photocopy of sheet music
(French)
18/8
Clap Yo' Hands
Typescript lyric sheets; [2]
p.
Clap-A Yo' Hands
see
[Clap
Yo' Hands](claphands)
Note: Alternate title
18/9
Dear Little Girl
Typescript lyric sheets; [3]
p.
Ding-Dong-Dell
see
[Bring
on the Ding Dong Dell](dingdong)
Note: Alternate title
18/10
Do, Do, Do
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
18/10
Do, Do, Do
Photocopy of sheet music
(German)
18/10
Do, Do, Do
Typescript lyric sheets; [3]
p.
18/11
Don't Ask
Typescript lyric sheets; [2]
p.
18/12
Fidgety Feet
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
18/12
Fidgety Feet
Typescript lyric sheets; [2]
p.
18/13
Finale, Act I
Typescript lyric sheets; 3
p.
18/14
Finaletto, Act II scene 1
IG holograph/typescript lyric
sheet
18/15
Guess Who?
Typescript lyric sheets; [2]
p.
18/17
Heaven on Earth
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
18/17
Heaven on Earth
Typescript lyric sheets; [6]
p.
I Hope You've Missed Me
see
[Dear
Little Girl](deargirl)
Note: Early title
18/18
I'm So Ner-Ner-Nervous
P.G. Wodehouse holograph manuscript
lyric sheets; [3] p.
Laid in: Lawrence Stewart
holograph notes; [1] p.
Isn't it Grand
see
[Finale, Act I](kayfinale)
Note: Alternate title
18/19
Maybe
see also
[Clap
Yo' Hands](claphands)
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
18/19
Maybe
see also
[Clap
Yo' Hands](claphands)
Sheet music with corrections in the
hand of Albert Sirmay
18/19
Maybe
see also
[Clap
Yo' Hands](claphands)
Typescript/photocopy of lyric sheets;
[4] p.
18/20
The Moon Is on the Sea
Typescript lyric sheets; [2]
p.
Never Too Late to Mendelssohn
see
[Bride and Groom](bridegroom)
Note: Alternate title
18/21
Oh, Kay!
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
18/21
Oh, Kay!
Sheet music with emendations in the
hand of Albert Sirmay
18/21
Oh, Kay!
Typescript/photocopy of lyric sheets;
[4] p.
On Single Life Today
see
[Finaletto, Act II, scene I](kayfinaletto)
Note: Alternate title
Opening, Act II
see
[Bride and Groom](bridegroom)
Note: Alternate title
18/22
Overture
GG holograph and unidentified hand
manuscript short score; [5] p.
132/4
Overture
Hilding Anderson’s manuscript full
score; 21 p.
18/23
Selection
Robert Russell Bennett holograph
manuscript (with printed portions) piano score; 18 p.
Note: Incomplete
18/24
Show Me the Town
Typescript lyric sheets; [2]
p.
18/25
Someone to Watch Over
Me
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
18/25
Someone to Watch Over
Me
Copyist manuscript piano score; 3
p.
18/25
Someone to Watch Over
Me
Typescript lyric sheets; [6]
p.
18/26
Stepping with Baby
Typescript lyric sheets; [3]
p.
18/27
What's the Use?
Typescript lyric sheet
18/28
When Our Ship Comes Sailing In
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations in the hand of
GG
Note: GG holograph manuscript
piano-vocal sketch for "Intro to Last Scene Act III" on verso of
p. 5
18/28
When Our Ship Comes Sailing
In
Typescript lyric sheets; [2]
p.
18/29
The Woman's Touch
Typescript lyric sheets; [2]
p.
18/30
Cover from libretto?
Typescript lyric sheets; [2]
p.
141/43
Song list
IG holograph manuscript; [1]
p.
19
Our Nell (1922)
19/1
By and By
Manuscript piano-vocal score; [5]
p.
19/1
By and By
Manuscript/typescript lyric sheets;
[3] p.
19/2
Little Villages
Copyist manuscript piano-vocal score
with corrections; 9 p.
19/2
Little Villages
Typescript lyric sheets; [2]
p.
19/3
Walking Home with
Angeline
Manuscript piano-vocal score; [4]
p.
19-27
Pardon My English (1933)
19/4
As Gita exits
Manuscript sketch; [1] p.
19/5
Beer Garden incidental
Manuscript sketch; 1 p.
Bride and Groom
see
[Hail the Happy Couple](happycouple)
Note: Alternate title
19/6
Change over music into dining
room
Manuscript sketch; 1 p.
19/7
Counter Waltz (Lead Me to Heaven
Tonight)
GG holograph manuscript melody line;
[1] p.
Note: Caption title in hand of IG
19/8
Dancing in the Streets
Robert Russell Bennett holograph
manuscript full score; 31 p.
19/9
Dancing in the Streets
Copyist manuscript piano-vocal score;
8 p.
Note: Emendations of score in an
unidentified hand
19/9
Dancing in the Streets
Typescript lyric sheet
19/10
Dancing in the Streets
Six copyist manuscript chorus
parts
Note: Emendations in an
unidentified hand
Laid in: Chorus score revision of
last 5 bars
19/11
Dancing in the Streets. Choral
opening
Manuscript piano score in the hand of
Kay Swift; [1] p.
Doctor's Dance
see
[Freud and
Jung and Adler](freud)
Note: Alternate title
19/12
The Dresden Northwest
Mounted
William Daly holograph manuscript
full score; [27] p.
19/13
The Dresden Northwest
Mounted
Copyist manuscript piano-vocal score;
7 p.
Note: Emendations in an
unidentified hand
19/13
The Dresden Northwest
Mounted
Manuscript sketch (change music); [1]
p.
19/13
The Dresden Northwest
Mounted
Typescript lyric sheet
19/14
The Dresden Northwest
Mounted
Copyist manuscript chorus score and
nine vocal parts
Note: Refrain only
19/15
The Dresden Northwest Mounted.
#1
Manuscript sketch; [1] p.
19/16
The Dresden Northwest Mounted.
#2
Manuscript sketch; [1] p.
Drink, Drink, Drink
see
[Fatherland, Mother of the Band](motherband)
Note: Alternate title
19/17
Fatherland, Mother of the
Band
GG holograph manuscript piano-vocal
score; [5] p.
Note: Unidentified sketch material
on p. [6]
19/18
Fatherland, Mother of the
Band
William Daly holograph manuscript
full score; 18 p.
19/19
Fatherland, Mother of the
Band
Copyist manuscript piano-vocal score;
7 p.
Note: Emendations in an
unidentified hand
19/19
Fatherland, Mother of the
Band
Photocopy of copyist manuscript
piano-vocal score; [5] p.
19/19
Fatherland, Mother of the
Band
Typescript lyric sheets; [2]
p.
19/19
Fatherland, Mother of the
Band
Manuscript notation; [1]
p.
19/20
Fatherland, Mother of the
Band
Manuscript SATB arrangement; 8
p.
19/20
Fatherland, Mother of the
Band
Copyist manuscript mixed chorus
parts; [14] p.
Finale, Act I
see
[What
Sort of Wedding is This?](whatsort)
Note: Alternate title
19/21
Finale, Act II
Robert Russell Bennett holograph
manuscript full score; 3 p.
19/22
Finale, Act II
Copyist manuscript piano-vocal score;
[2, 8] p.
Note: Emendations in an
unidentified hand
Note: Includes 12-bar introduction
19/23
Finaletto, Act II scene
IV
Robert Russell Bennett holograph
manuscript full score; 32 p.
19/24
Finaletto, Act II scene
IV
Two copyist manuscript piano-vocal
scores; 15 p. each
Note: Emendations in an
unidentified hand
19/24
Finaletto, Act II scene
IV
Typescript lyric sheets; [4]
p.
20/1
Freud and Jung and Adler
William Daly holograph manuscript
full score; 11 p.
20/2
Freud and Jung and
Adler
William Daly holograph manuscript
full score; [8] p.
Caption title: The Doctors' Dance
Note: Additional section
20/3
Freud and Jung and
Adler
Manuscript piano-vocal score in the
hand of Kay Swift; 6 p.
20/3
Freud and Jung and
Adler
Manuscript piano-vocal score in the
hand of Kay Swift; [2] p.
Note: Refrain only, no lyric
20/3
Freud and Jung and
Adler
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; [1] p.
Note: Incomplete, refrain only
20/3
Freud and Jung and
Adler
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; 6 [i.e. 5] p.
20/3
Freud and Jung and
Adler
IG holograph/typescript/photocopy of
lyric sheets; [4] p.
20/4
Golo Theme
Adolph Deutsch holograph manuscript
full score; 2 p.
20/5
Hail the Happy Couple
IG holograph/typescript lyric sheets;
[2] p.
20/6
He's Not Himself
IG holograph/typescript lyric sheets;
[5] p.
20/7
He's Oversexed
Kay Swift manuscript piano-vocal
score; 2 p.
20/7
He's Oversexed
Manuscript melody line; [2]
p.
Note: Incomplete
20/7
He's Oversexed
Photocopy of manuscript piano-vocal
score; 2 p.
20/7
He's Oversexed
Typescript lyric sheets; [3]
p.
20/8
In Three-Quarter Time
GG holograph manuscript piano-vocal
score; 7 p.
20/9
In Three-Quarter Time
Robert Russell Bennett holograph
manuscript full score; [54] p.
20/10
In Three-Quarter Time
Two copyist manuscript piano-vocal
scores; 8 p. each
Note: Emendations in an
unidentified hand
20/10
In Three-Quarter Time
Typescript lyric sheets; [5]
p.
20/10
In Three-Quarter Time
Copyist manuscript SATB score
arrangement; 1, 5 p.
20/11
In Three-Quarter Time
Copyist manuscript SATB score
arrangement; 6 p.
Note: Emendations in an
unidentified hand
20/11
In Three-Quarter Time
Copyist manuscript vocal parts; [12]
p.
20/12
Invitation to the Waltz (Something
Else Again)
GG holograph manuscript piano sketch;
[2] p.
Note: Unidentified sketch material
on p. [2]
20/13
Isn't it a Pity
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only
20/14
Isn't it a Pity
Robert Russell Bennett holograph
manuscript full score; [1, 39] p.
20/15
Isn't it a Pity
Albert Sirmay’s manuscript
piano-vocal score; 7 p.
20/15
Isn't it a Pity
Copyist manuscript piano-vocal score;
[4] p.
Note: Refrain only
20/15
Isn't it a Pity
Manuscript sketch; [1] p.
20/15
Isn't it a Pity
IG holograph/typescript lyric sheets;
[7] p.
20/16
Isn't it a Pity. Change over into
den
Manuscript sketch; [1] p.
20/17
I've Got to Be There
see also
[Opening, Act II](openingactii)
GG holograph manuscript piano-vocal
score; [4] p.
Note: Lyric in an unidentified
hand
20/18
I've Got to Be There
Adolph Deutsch holograph manuscript
full score; [74] p.
20/19
I've Got to Be There
Copyist manuscript piano-vocal score;
[10] p.
Note: GG holograph notations
20/20
I've Got to Be There
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
20/20
I've Got to Be There
Manuscript sketch; [1] p.
20/20
I've Got to Be There
Typescript lyric sheets; [3]
p.
21/1
I've Got to Be There
Manuscript TTBB arrangement sketch
for men’s chorus; [1] p.
21/1
I've Got to Be There
Manuscript vocal parts; [4]
p.
21/2
Lead Me to Heaven
Tonight
GG holograph manuscript piano score;
[2] p.
21/3
The Lorelei
GG holograph manuscript piano-vocal
score; 5 p.
Note: No lyric
21/4
The Lorelei
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
21/4
The Lorelei
Manuscript sketch; [1] p.
21/4
The Lorelei
Typescript lyric sheets; [3]
p.
21/4
The Lorelei
Manuscript TTBB score arrangement for
men’s chorus; [1] p.
Note: "Michael Theme" on verso
21/5
The Lorelei
Copyist manuscript conductor’s score
and eight vocal parts; [9] p.
21/6
The Lorelei
Manuscript SATB score arrangement;
[1] p.
Note: Last eight bars only
21/6
The Lorelei
Copyist manuscript vocal parts; [6]
p.
Note: Last eight bars only
Luckiest Boy in the World
see
[Luckiest Man in the World](luckiestman)
Note: Early title
21/7
Luckiest Man in the World
GG holograph manuscript piano-vocal
score; 3 p.
Note: No lyric
21/8
Luckiest Man in the
World
Robert Russell Bennett holograph
manuscript full score; 34 p.
21/9
Luckiest Man in the World.
Incidental
Manuscript sketch; [1] p.
21/10
Luckiest Man in the World.
Introduction
Manuscript piano sketch; [1]
p.
21/11
Luckiest Man in the World.
Introduction
GG holograph manuscript piano-vocal
score; [4] p.
Note: Score has no lyric
21/12
Luckiest Man in the World.
Introduction
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, no lyric
21/13
Luckiest Man in the World.
Introduction
Robert Russell Bennett holograph
manuscript full score; 59 p.
21/14
Luckiest Man in the World.
Introduction
Manuscript piano-vocal score in hand
of Albert Sirmay; 6 p.
21/14
Luckiest Man in the World.
Introduction
Manuscript piano-vocal score in hand
of Albert Sirmay; 7 p.
21/14
Luckiest Man in the World.
Introduction
Manuscript sketch; [1] p.
21/14
Luckiest Man in the World.
Introduction
IG holograph/typescript lyric sheets;
[11] p.
21/15
Michael Theme
Adolph Deutsch holograph manuscript
full score; 2 p.
21/16
Michael Theme
Manuscript sketch; [1] p.
21/17
My Cousin in Milwaukee
Adolph Deutsch holograph manuscript
full score; [1, 26] p.
21/18
My Cousin in Milwaukee
Manuscript piano-vocal score in the
hand of Albert Sirmay; 9 p.
21/18
My Cousin in Milwaukee
Copyist manuscript piano-vocal score;
7 p.
21/18
My Cousin in Milwaukee
Typescript lyric sheet
21/20
My Cousin in Milwaukee. Change
music into cafe scene
Manuscript sketch; [1] p.
21/21
My Cousin in Milwaukee. Segue to
So What?
Manuscript sketch; [1] p.
21/22
Nurses
Robert Russell Bennett holograph
manuscript full score; [27] p.
21/23
Nurses' entrance
Copyist manuscript piano-vocal score;
[1] p.
21/24
Opening, Act II
Copyist manuscript piano-vocal score;
[27] p.
Note: GG holograph emendations
Note: Introduction to "I’ve Got to
Be There" on p. [27]
22/1
Opening, Act II
Manuscript piano-vocal score in the
hand of William Daly; 14 p.
Note: GG holograph emendations
Note: No lyric
22/2
Opening, Act II
Copyist manuscript SATB score
arrangement; [1] p.
Note: Incomplete
22/2
Opening, Act II
Typescript lyric sheets; [6]
p.
22/3
Overture
GG holograph manuscript sketch; 2
p.
22/4
Overture
William Daly holograph manuscript
full score; 20 p.
22/5
Overture
Copyist manuscript conductor's lead
sheet; 4 p.
22/6
Pardon My English
William Daly holograph manuscript
full score; 1, 20 p.
22/7
Pardon My English
Typescript lyric sheets; [2]
p.
Poor Michael! Poor Golo!
see
[He's
Not Himself](nothimself)
Note: Alternate title
22/8
Randall's Dance
Manuscript sketch; [1] p.
22/9
Schuhplader Burlesque
Manuscript sketch; [1] p.
Caption title: "Schuplattler
Burlesque"
22/10
Schuhplader Dance
Copyist manuscript piano part; [2]
p.
Caption title: "Schuh Plattler
Dance"
Note: Emendations in an
unidentified hand
22/10
Schuhplader Dance
Photocopy of manuscript piano-vocal
sketch; [1] p.
Caption title: "Shoe Plattler’s
Dance"
22/11
So What?
Robert Russell Bennett holograph
manuscript full score; [1, 62] p.
22/12
So What?
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
22/12
So What?
Manuscript piano-vocal score in the
hand of William Daly; [4] p.
Note: No lyric
22/12
So What?
Copyist manuscript piano-vocal score;
7 p.
Note: Emendations in an
unidentified hand
22/12
So What?
Typescript lyric sheets; [4]
p.
Note: Emendations in an
unidentified hand
22/13
So What?
Copyist manuscript TTBB score
arrangement for men’s chorus; [1] p.
22/13
So What?
Copyist manuscript vocal parts; [9]
p.
Note: Interlinear text in pencil
22/14
So What? Incidental
Two manuscript melody line sketches;
[1] p. each
Three-Quarter Time
see
[In
Three-Quarter Time](threequarter)
Note: Alternate title
22/15
Together at Last
GG holograph manuscript piano-vocal
score; [4] p.
22/16
Together at Last
William Daly holograph manuscript
full score; 19 p.
22/17
Together at Last
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
22/17
Together at Last
Typescript lyric sheets; [2]
p.
22/18
Together at Last
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 2] p.
Note: Lyric fragment
22/18
Together at Last
Manuscript leadsheet in the hand of
Michael Feinstein; [1] p.
Note: Refrain only
22/18
Together at Last
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; [2] p.
Note: Lyric in ink
22/18
Together at Last
Typescript/photocopy of lyric sheets;
[2] p.
22/19
Tonight!
Typescript lyric sheets; [2]
p.
22/20
Waltz
IG holograph/typescript lyric sheets;
[4] p.
22/21
Waltz sequence
GG holograph manuscript short score;
[3-5] p.
Note: Incomplete
22/22
Two Waltzes in C
Copyist manuscript piano score; 8
p.
In caption: Originally written ...
for a musical sequence (but not used) ...
Note: Adapted by Saul Chaplin
Viennese Sextet
see
[Freud and
Jung and Adler](freud) and [He's
Oversexed](oversexed)
Note: Alternate title
22/23
Watch Your Head
IG holograph/typescript lyric sheets;
[2] p.
22/24
What Sort of Wedding is This?
William Daly manuscript full score;
[49] p.
23/1
What Sort of Wedding is
This?
Copyist manuscript piano-vocal score;
8 p.
Note: Emendations in an
unidentified hand
23/1
What Sort of Wedding is
This?
Typescript lyric sheets; [6]
p.
23/2
Where You Go, I Go
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
23/3
Where You Go, I Go
Manuscript piano-vocal score in the
hand of Albert Sirmay; 5 p.
23/3
Where You Go, I Go
Manuscript sketch; [1] p.
23/3
Where You Go, I Go
Manuscript sketch; [2] p.
23/3
Where You Go, I Go
Typescript lyric sheets; [3]
p.
23/4-7
Orchestral parts : 1 of
5
Copyist manuscripts
Note: Emendations in an
unidentified hand
Laid in: Typescript notes
Includes:
- Oboe / English horn
- Alto saxophone I / clarinet I / baritone saxophone
- Alto saxophone II / flute / piccolo / clarinet II / alto
saxophone III / clarinet III
- Tenor saxophone / clarinet II
24/1-4
Orchestral parts : 2 of
5
Copyist manuscripts
Note: Emendations in an
unidentified hand
Laid in: Typescript notes
Includes:
- Horn I and II
- Trumpet I and II
- Trombone
- Drums
25/1-3
Orchestral parts : 3 of
5
Copyist manuscripts
Note: Emendations in an
unidentified hand
Laid in: Typescript notes
Includes:
- Piano
- 1st violin I
- 1st violin II
26/1-4
Orchestral parts : 4 of
5
Copyist manuscripts
Note: Emendations in an
unidentified hand
Laid in: Typescript notes
Includes:
- 1st violin III
- 1st violin IV
- 2nd violin
- Viola
27/1-3
Orchestral parts : 5 of
5
Copyist manuscripts
Note: Emendations in an
unidentified hand
Laid in: Typescript notes
Includes:
- Violincello
- Double bass
- Viola II (cut from show)
27/4
List of musical
numbers
Manuscript; [2] p.
27/5
Miscellaneous materials found with
piano-vocal scores
Three folders with manuscript
notations and list of printed piano parts
27/6
Scriptbook
Photocopy of typescript manuscript;
[73] p.
27/7
Scriptbook
Photocopy of typescript manuscript;
[67] p.
28
Park Avenue (1946)
28/1
The Dew Was on the
Rose
Ozalid copyist manuscript piano-vocal
score; 6 p.
28/1
The Dew Was on the
Rose
IG holograph/typescript lyric sheets;
[14] p.
28/2
The Dew Was on the Rose.
Interlude
Ozalid copyist manuscript piano-vocal
score; 2 p.
28/2
The Dew Was on the Rose.
Interlude
Typescript lyric sheets; [4]
p.
28/3
The Dew Was on the Rose.
Reprise
IG holograph/typescript lyric sheets;
[9] p.
28/4
Dinner Song
IG holograph/typescript lyric sheets;
[5] p.
28/5
Don't Be a Woman if You
Can
Ozalid copyist manuscript piano-vocal
score; 15 p.
28/5
Don't Be a Woman if You
Can
IG holograph/typescript lyric sheets;
[20] p.
28/6
For the Life of Me
IG holograph/typescript/photocopy of
lyric sheets; [16] p.
28/7
The Future Mrs. Coleman
see also
[Stay as
We Are](stayas)
GG holograph manuscript piano sketch;
[1] p.
In caption: Thanks, Kay
28/8
The Future Mrs. Coleman
see also
[Stay as
We Are](stayas)
IG holograph/typescript lyric sheets;
[5] p.
28/9
Good-Bye to All That
IG holograph/typescript lyric sheets;
[7] p.
28/10
Heavenly Day
IG holograph/typescript lyric sheets;
[5] p.
28/11
Hope for the Best
Typescript lyric sheets; [13]
p.
28/12
Land of Opportunitee
[sic]
Ozalid copyist manuscript piano-vocal
score; 10 p.
28/12
Land of Opportunitee
[sic]
IG holograph/typescript lyric sheets;
[31] p.
Laid in: Lawrence Stewart
typescript note
28/13
My Son-in-Law
Ozalid copyist manuscript piano-vocal
score; 5 p.
28/13
My Son-in-Law
IG holograph/typescript lyric sheets;
[20] p.
28/14
Remind Me Not to Leave
Town
IG holograph/typescript lyric sheets;
[12] p.
28/15
Stay as We Are
Ozalid copyist manuscript piano-vocal
score; 7 p.
In caption: New verse
28/15
Stay as We Are
IG holograph/typescript lyric sheets;
[8] p.
Note: The Future Mrs. Coleman
(unfinished) on p. [2]
28/16
Sweet Nevada [waltz
version]
Ozalid copyist manuscript piano-vocal
score; 8 p.
28/16
Sweet Nevada [waltz
version]
IG holograph/typescript lyric sheets;
[14] p.
28/17
Sweet Nevada [western
version]
IG holograph/typescript lyric sheets;
[9] p.
28/18
There's No Holding Me
IG holograph/typescript lyric sheets;
[16] p.
There's No Holding Me (If I Can
Keep on Holding You)
see
[Dance Alone With You](dancealone)
Note: Alternate title
28/19
There's Nothing Like Marriage for
People
Ozalid copyist manuscript piano-vocal
score; 12 p.
28/19
There's Nothing Like Marriage for
People
IG holograph/typescript lyric sheets;
[9] p.
28/20
Tomorrow is the Time
Ozalid copyist manuscript piano-vocal
score; 8 p.
28/20
Tomorrow is the Time
Typescript lyric sheets; [3]
p.
28/21
We're Better Off the Way We
Are
IG holograph/typescript lyric sheets;
[8] p.
28/22
Outline
Typescript with IG holograph
emendations; [9] p.
Laid in: George Kaufman typescript
letter to IG, 1946 January (incomplete)
Laid in: IG typescript notes
28/23
Unidentified lyrics
IG holograph lyric sheets; [3]
p.
28
Piccadilly to Broadway (1920)
28/24
Baby Blues
Maurice DePackh holograph manuscript
full score; 23 p.
28/25
Bambino
Typescript lyric sheet
Gondolier
see
[Bambino](bambino)
28/26
Mr. and Mrs.
Manuscript/typescript lyric
sheet
28/27
On the Brim of Her Old-Fashioned
Bonnet
Maurice DePackh holograph manuscript
full score; 2 p.
Note: Incomplete
28/28
Piccadilly's Not a Bit Like
Broadway
Typescript lyric sheet
28/29
Pick Yo' Partner
Typescript lyric sheets; [2]
p.
28/30
Somehow I Knew
Typescript lyric sheets; [2]
p.
28/31
Something Peculiar
Copyist manuscript piano-vocal score;
4 p.
Caption title: Spanish number
28/31
Something Peculiar
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
28/31
Something Peculiar
Typescript lyric sheets; [4]
p.
Who's Who with You?
see
[Who's
Who with You?](whoswho) from Two Little
Girls in Blue
28
Pins and Needles (1922)
28/32
The Piccadilly Walk
Typescript lyric sheet
29-30, 132, 135, 137
Porgy and Bess (1935)
29/1
Act I, scene 1
[Opening]
Piano-vocal score proof copy; 1
p.
29/2
Bess, You is My Woman
Now
Photocopy of sheet music (Spanish
version)
29/2
Bess, You is My Woman
Now
Typescript lyric sheet
29/3
I Got Plenty o'
Nuthin'
Photocopy of sheet music (Spanish
version)
29/3
I Got Plenty o'
Nuthin'
DuBose Heyward original typescript
lyric sheets; [2] p.
Note: GG holograph p. [1]; IG
holograph p. [2]
29/4
I Hates Yo' Struttin'
Style
GG holograph manuscript sketch; [2]
p.
In caption: Maria
135/14
It Ain't Necessarily So
GG holograph manuscript sketch; [1]
p.
Note: GG holograph manuscript
sketch for "Oh Lawd, I'm on My Way" on verso
Note: GG holograph manuscript list
of 11 Rodgers and Hart songs for GG's radio program on verso
Note: GG holograph drawings on
verso
Laid in: IG holograph note, 1959
December
29/5
It Ain't Necessarily
So
Photocopy of sheet music (Spanish
version)
29/5
It Ain't Necessarily
So
IG holograph/typescript lyric sheets;
[15] p.
Laid in: Typescript letter from IG
to Alexander Smallens, 1941 December 15
Laid in: Typescript letter from
Columbia Broadcasting System, Inc. to Larry Spier, 1949 March 28
29/5
It Ain't Necessarily
So
IG typescript lyric sheet; [1]
p.
Note: 1952 revision for Adlai
Stevenson
29/6
Lonely Boy
GG holograph manuscript piano-vocal
score; [1] p.
Note: No lyric
29/7
Lonely Boy
Manuscript piano score in the hand of
Kay Swift; [1] p.
29/7
Lonely Boy
DuBose Heyward original typescript
lyric sheet; [1] p.
Note: GG holograph addition
29/7
Lonely Boy
IG holograph lyric sheets; [2]
p.
Note: GG holograph names
29/8
My Man's Gone Now
GG holograph manuscript sketch; [1]
p.
In caption: Serena song
29/9
Oh, Heav'nly Father
Typescript lyric sheet
29/10
Oh, I Can't Sit Down!
GG holograph manuscript sketch; [1]
p.
In caption: Picnic band
29/11
Oh, I Can't Sit Down!
IG holograph/typescript lyric sheets;
[4] p.
29/12
Oh Lawd, I'm on My Way
see also
[It Ain't
Necessarily So](itaint)
GG holograph manuscript sketch with
drawings; [1] p.
132/5
Oh, the Train is at the
Station/Leaving for the Promis' Lan'
GG holograph manuscript sketch; [4]
p.
135/15
Oh, the Train is at the
Station/Leaving for the Promis' Lan'
GG holograph manuscript draft; [4]
p.
Note: Canceled check pasted on
with GG signature
Laid in: Folder with IG
inscription to Salka Viertel
132/6
Prelude
GG holograph short score sketch; [2]
p.
29/13
A Red-Headed Woman
GG holograph manuscript sketch; [2]
p.
Caption title: Crown Blues
29/14
Roll Dem Bones
GG holograph manuscript piano-vocal
sketch; 2 p.
Note: Gift of IG, 1939 May 24
Laid in: GG signature
Six prayers
see
[Oh,
Heav'nly Father](heavnly)
Note: Alternate title
29/15
Summertime
Photocopy of sheet music (French
version)
29/15
Summertime
Photocopy of sheet music (Spanish
version)
29/16
Sure to Go to Heaven
GG holograph manuscript sketch; [1]
p.
In caption : First sketch; in the
hand of IG
29/17
Sure to Go to Heaven
GG holograph manuscript sketch; [1]
p.
29/18
There's a Boat Dat's Leavin' Soon
for New York
GG holograph manuscript leadsheet;
[1] p.
Caption title: Boat for New York
135/16
There's a Boat Dat's Leavin' Soon
for New York
GG holograph manuscript sketch; [2]
p.
In caption: Other setting
29/19
They Pass by Singin'
GG holograph manuscript piano-vocal
sketch; 2 p.
29/20
What You Want wid
Bess?
GG holograph manuscript sketches; [3]
p.
135/11
A Woman is a Sometime
Thing
GG holograph manuscript piano-vocal
sketch; [3] p.
Laid in: GG signature
29/21
Sketches : Act I, scene 1,
rehearsal no. 22-23
GG holograph manuscript sketch; [1]
p.
In caption: Part of crap game
music
29/22
Sketches : Act I, scene 1,
rehearsal no. 34-35
GG holograph manuscript piano-vocal
sketch; [2] p.
In caption: Jake
29/23
Sketches : Act I, scene 1,
rehearsal no. 70-72
GG holograph manuscript short scores
(A, B, C, D); 4 leaves
In caption : Porgy’s theme; in the
hand of IG
Note: Gift of Ira Gershwin, 1969
135/5
Sketches : Act I, scene 1,
rehearsal no. 91-98
GG holograph manuscript piano-vocal
score; [1], 5 p.
In caption: Crap game
Note: Inscribed to Isaac Goldberg
29/24
Sketches : Act I, scene 1,
rehearsal no. 93-94
GG holograph manuscript short score
(A); [1] p.
In caption: Fugatta
Note: From the estate of Kay Swift
29/25
Sketches : Act I, scene 1,
rehearsal no. 99-100
GG holograph manuscript short scores
(A, B, C, D); 4 leaves
Note: From the estate of Kay Swift
132/7
Sketches : Act I, scene 1,
rehearsal no. 126-129
GG holograph manuscript
sketches
Caption titles: Intro to Fugue;
Fugue
29/26
Sketches : Act I, scene 1,
rehearsal no. 130-131
GG holograph manuscript sketch; [2]
p.
In caption: Fugue interlude
29/27
Sketches : Act I, scene 1,
rehearsal no. 131
GG holograph manuscript sketch; 1
p.
29/28
Sketches : Act II, scene 2,
rehearsal no. 163-168
GG holograph manuscript piano-vocal
score; [2] p.
Laid in: GG check and photocopy of
IG holograph notes
29/29
Sketches : Act II, scene 1,
rehearsal no. 6-8
GG holograph manuscript sketch; [2]
p.
In caption : Fisherman music; in
the hand of IG
29/30
Sketches : Act II, scene 2,
rehearsal 131, unused
GG holograph manuscript sketches; [7]
p.
In captions : Kittiwah
Laid in: IG typescript note
29/31
Sketches : Act II, scene 2,
rehearsal no. 131
GG holograph manuscript piano-vocal
sketch; [2] p.
In caption: Kittiwah (Africana)
29/32
Sketches : Act II, scene 3,
rehearsal no. 225
GG holograph manuscript sketch; [1]
p.
Caption title : Storm
135/6
Sketches : Act II, scene
3
GG holograph manuscript sketch with
three portrait drawings; [1] p.
Caption title : Storm Scene
Note: Canceled check pasted on
with GG signature
29/33
Sketches : Act III, scene 3,
Opening
GG holograph manuscript note on
development; [1] p.
132/14
Sketches : Act III, scene 3,
rehearsal no. 130
GG holograph manuscript sketch with
portrait drawing in margin; [1] p.
29/34
Sketches : Act III, scene 3,
rehearsal no. 156-162
GG holograph manuscript sketch; 7
p.
In caption: Trio
Laid in: IG letter and GG check
29/35
Miscellaneous and unused
sketches
GG holograph manuscript sketches; 4
leaves
Laid in: IG typescript note
132/8
Miscellaneous motives
GG holograph manuscript sketch; [1]
p.
Laid in: IG typescript note
Bound
Act I, scene I, 1934 May
23
GG holograph short score; [104]
p.
Bound
Act I, scene II
GG holograph short score; 75
p.
Bound
Act II
GG holograph short score; [201]
p.
Bound
Act III
GG holograph short score; [139]
p.
Bound
Act I
GG holograph orchestral score; [167]
p.
In caption of Act I, scene I: Late
1934-1935 September 2
Bound
Act II
GG holograph orchestral score; [242]
p.
Bound
Act III
GG holograph orchestral score; [85]
p.
In caption of Act III, scene I:
July 22, 1935 (finished)
In caption at end of Scene II, Act
III: August 4, 1935
In caption of Act III, scene III:
Finished August 23, 1935
Bound
Printed choral part
Printed choral part; 238
p.
Note: Copy owned by James E.
Lightfoot
Bound-Green
Printed vocal score
Pre-publication printed vocal score;
556 p.
Note: Copy owned by Alexander
Smallens, annotated showing cuts and inscribed by GG
Bound-Theatre Guild
Printed vocal score
Pre-publication printed vocal score;
559 p.
Note: Used by Theatre Guild,
annotated with stage directions
Bound-Maroon
Printed vocal score
Pre-publication printed vocal score;
442 p.
Note: J. Rosamond Johnson's copy
Bound-Brown Marble
Printed vocal score
Printed vocal score; 559
p.
Note: First edition, 1935;
unannotated
Bound-Maroon
Printed vocal score
Printed vocal score; 559
p.
Note: Revised printing with IG
lyric changes
Bound
Sketches
GG holograph manuscript sketches; [4]
p.
Includes: Act I, scene I fugue;
Oh, the Train is at the Station; Leaving for the Promis' Lan'
Bound
First draft libretto
Typescript; [89] p.
Note: Annotations in various hands
Note: Annotations identified by IG
29/36
First draft libretto
Photocopy of typescript; [89]
p.
30/1
Libretto corrections
IG holograph/typescript; [7]
p.
30/2
German libretto
Photocopy of typescript; 51
p.
Note: Translated by Ralph Benatzky
30/2
German libretto
Published print; 40 p.
30/3
Porgy (play)
Typescript script; [112]
p.
30/4
Screenplay: First
revision
Typescript; 97 [i.e., 99] p.
Note: Revised by N. Richard Nash
30/5
Screenplay: Second
revision
Typescript; 105 [i.e., 107]
p.
Note: Revised by N. Richard Nash
30/6
Short script
GG holograph manuscript; [2]
p.
30/7
Ground plans
Drafting plans; [3] p.
30/8
Key to switchboards
Two typescripts; [2] p.
each
30/12
Letters regarding
screenplay
Two typescripts from N. Richard Nash
to Samuel Goldwyn, 1958 February 9; [1], 8 p.
30/9
List of tasks not yet
done
GG holograph manuscript; [1]
p.
30/10
Memo regarding first sketches of
Catfish Row
Typescript; 1, 10 p.
30/11
Property plot
Two typescripts; [4] p.
each
137/38
Cuts by rehearsal number,
undated
Manuscript in the hand of Alexander
Smallens; [3] p.
Laid in: Card to Alexander
Smallens from the Porgy and Bess
orchestra, 1953
137/38
Timing sheet
Manuscript on bookmark in the hand of
Alexander Smallens
Note: Possibly for a suite
30-31
Primrose (1924)
30/13
Ballet
Orchestrator’s holograph manuscript
full score; 13 p.
30/14
Berkeley Square and
Kew
GG holograph manuscript full score;
13 p.
Boy wanted
see
[Boy
Wanted](boywanted) from A Dangerous
Maid
30/15
Entrance of Brummell
Orchestrator’s holograph manuscript
full score; [6] p.
30/16
Every Girl Has a Method of Her
Own
IG holograph/typescript lyric
sheet
30/17
Finale, Act I
Orchestrator’s holograph manuscript
full score; 14 p.
30/18
Finale, Act I
Typescript lyric sheet
30/19
Finale, Act II
Copyist manuscript full score; 23
p.
30/20
Four Little Sirens
see also
[The
Sirens](sirens) from A Dangerous
Maid
Orchestrator’s holograph manuscript
full score; 5 p.
Note: Incomplete
30/21
Four Little Sirens
see also
[The
Sirens](sirens) from A Dangerous
Maid
IG holograph/typescript lyric sheets;
[6] p.
Note: Incomplete
31/1
I Make Hay While the Moon
Shines
Typescript lyric sheet
31/2
Isn't it Wonderful
GG holograph manuscript full score;
20 p.
31/3
Isn't it Wonderful
GG and William Daly holograph
manuscript piano-vocal score; [1, 2] p.
Note: Vocal line in hand of GG
Note: No lyric
31/4
Isn't it Wonderful
Typescript lyric sheets; [4]
p.
31/5
The Mophams
Orchestrator’s holograph manuscript
full score; 14 p.
31/6
The Mophams
Typescript lyric sheets; [3]
p.
31/7
Naughty Baby
GG holograph manuscript full score;
22 [i.e., 21] p.
Note: Incomplete, p. 4 missing
Note: Earliest known GG
orchestration
31/8
Naughty Baby
GG holograph manuscript sketch; [1]
p.
Laid in: IG holograph notes
31/9
Naughty Baby
Typescript lyric sheets; [2]
p.
31/10
Opening, Act I
Orchestrator’s holograph manuscript
full score; 31 p.
31/11
Opening, Act I
IG holograph/typescript lyric sheets;
[7] p.
Note: Emendations in an
unidentified hand
31/12
Opening, Act II
Orchestrator’s holograph manuscript
full score; 17 p.
31/13
Overture
Orchestrator’s holograph manuscript
full score; 12 p.
31/14
Pep! Zip! and Punch!
IG holograph/typescript lyric sheets;
[4] p.
31/15
Some Faraway Someone
Orchestrator’s holograph manuscript
full score; 12 p.
31/16
Some Faraway Someone
Typescript lyric sheets; [2]
p.
31/17
That New-Fangled Mother of
Mine
Orchestrator’s holograph manuscript
full score; 7 p.
31/18
That New-Fangled Mother of
Mine
Typescript lyric sheets; [3]
p.
31/19
This is the Life for a
Man
Orchestrator’s holograph manuscript
full score; [3] p.
Caption title: The Place for a Man
31/20
Till I Meet Someone Like
You
Typescript lyric sheets; [4]
p.
Caption title: I've Never Met
Another Little Girl
31/21
Wait a Bit, Susie
Typescript lyric sheets; [2]
p.
31/22
When Toby Is Out of
Town
Orchestrator’s holograph manuscript
full score; 13 p.
31/23
When Toby Is Out of
Town
IG holograph/typescript lyric sheet;
[2] p.
31/24
When You're Not at Your
Best
Typescript lyric sheet
31/25
Sketch
GG holograph manuscript melody
sketch; [1] p.
In caption: Good T.
31/26
Libretto
Photocopy of typescript; [131]
p.
31
The Rainbow (revue, 1923)
31/27
Sweetheart (I'm So Glad That I Met
You)
Sheet music
Note: Lyric corrections in various
hands, including IG
31-32, 141
Rosalie (1928)
31/28
At the Ex-King's Club
Typescript lyric sheets; [2]
p.
31/29
Beautiful Gypsy
Copyist manuscript piano-vocal score;
[1, 4] p.
Note: Emendations in an
unidentified hand
31/29
Beautiful Gypsy
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
31/29
Beautiful Gypsy
Sheet music for "Wait a Bit,
Susie"
Note: Emendations in an
unidentified hand
Note: Revived as "Beautiful Gypsy"
31/29
Beautiful Gypsy
Typescript lyric sheet
31/30
Beautiful Gypsy.
Introduction
Copyist manuscript piano-vocal score;
[2] p.
31/31
Cadet Song
Typescript lyric sheet
31/32
Comedy Dance
GG holograph manuscript piano score;
[3] p.
In caption : Gershwin melody #43;
in the hand of IG
Note: Later published as "Merry
Andrew"
31/33
Comedy Dance
Copyist manuscript piano score; [1,
3] p.
31/33
Comedy Dance
Two copyist manuscript piano scores;
3 p. each
31/33
Comedy Dance
Ozalid piano score; 3 p.
31/33
Comedy Dance
Photocopy of copyist manuscript piano
score; 3 p.
31/34
Dance sequence
GG holograph manuscript piano score;
[4] p.
31/35
Enjoy Today
Typescript lyric sheet
31/36
Ev'rybody Knows I Love
Somebody
Typescript lyric sheet
Ex-King's number
see
[At the
Ex-King's Club](exking)
Note: Alternate title
32/1
Finale, Act I
Typescript/manuscript lyric sheets;
[12] p.
32/2
Follow the Drum
Typescript lyric sheets; [3]
p.
32/3
Good-Bye to the One Girl
see also
[True to
Them All](true)
Typescript lyric sheet
32/4
Hussar March
Typescript lyric sheet
32/5
I Forgot What I Started to Say
GG holograph manuscript short score;
[4] p.
32/6
I Forgot What I Started to
Say
IG holograph/typescript lyric sheets;
[4] p.
The Kind of Friend
see
[Let Me
Be a Friend to You](letmebe)
Note: Alternate title
32/7
The King Can Do No
Wrong
Typescript lyric sheets; [5]
p.
32/8
Let Me Be a Friend to You
Typescript lyric sheet
32/9
New York Serenade
Typescript lyric sheet
32/10
Oh Gee! Oh Joy!
Stephen O. Jones (orchestrator)
holograph manuscript full score; 14, [i.e. 6] p.
Note: Incomplete, p. 1-4, 9-12
absent
32/11
Oh Gee! Oh Joy!
Copyist manuscript piano-vocal score
(key of C); [4] p.
32/11
Oh Gee! Oh Joy!
Copyist manuscript piano-vocal score
(key of A); 4 p.
32/11
Oh Gee! Oh Joy!
Typescript lyric sheets; [2]
p.
Opening, Act II
see
[Enjoy Today](enjoytoday)
Note: Alternate title
32/12
Rosalie [final
version]
Manuscript piano-vocal score in the
hand of Hans Spialek; 6 p.
Note: No lyric
32/12
Rosalie [final
version]
Manuscript piano-vocal score; 6
p.
32/12
Rosalie [final
version]
Typescript lyric sheets; [6]
p.
32/13
Rosalie [early
version]
GG holograph manuscript sketch; [1]
p.
32/14
Rosalie. Selection
Hans Spialek (arranger) holograph
manuscript (with printed portions) piano score; 20 [i.e. 16]
p.
Note: Incomplete, p. 15-18 absent
32/15
Say So!
Copyist manuscript piano-vocal score;
4 p.
32/15
Say So!
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations of score in an
unidentified hand
32/15
Say So!
IG holograph/typescript lyric sheets;
[5] p.
32/16
Show Me the Town
Copyist manuscript piano-vocal score;
[4] p.
Note: Emendations of score in an
unidentified hand
32/16
Show Me the Town
IG holograph/typescript lyric sheets;
[5] p.
32/17
True to Them All
see also
[Good-Bye to the One Girl](onegirl)
IG holograph/typescript lyric sheets;
[2] p.
32/18
Under the Furlough
Moon
Copyist manuscript piano-vocal score;
[4] p.
Note: Emendations in an
unidentified hand
32/18
Under the Furlough
Moon
Copyist manuscript piano-vocal score;
5 p.
32/18
Under the Furlough
Moon
Typescript lyric sheets; [2]
p.
What I Started to Say
see
[I Forgot
What I Started to Say](forgot)
Note: Alternate title
32/19
When Cadets Parade
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
32/20
When Cadets Parade
IG holograph/typescript lyric sheets;
[2] p.
32/21
You Know How It Is
Typescript lyric sheets; [2]
p.
32/22
Libretto: Act I
Typescript; [78] p.
Note: Emendations in an
unidentified hand
32/23
Libretto : Act II
Typescript; 64 p.
Note: Emendations in an
unidentified hand
141/44
Musical plot outline
IG typescript with annotations; [2]
p.
Laid in: Lawrence Stewart
manuscript note; [1] p.
Run Across
see
[
Treasure Girl ](treasuregirl)
Note: Early title
32-33, 135, 141
Shall We Dance (film, 1937)
32/24
Ballet
GG holograph manuscript short score
sketch; [3] p.
In caption : Ballet?; in the hand
of IG
32/25
Ballet
GG holograph manuscript piano sketch;
[1] p.
Note: Caption title in the hand of
IG
32/26
Ballet
Photocopy of copyist manuscript piano
score; 8 p.
32/27
French Ballet Class
Two Ozalid piano scores; 4 p.
each
Note: One with emendations
32/28
Graceful and Elegant
Two Ozalid piano scores; 3 p.
each
32/29
Hi-Ho!
GG holograph manuscript piano-vocal
score; [8] p.
Note: Partial lyric
Note: Unidentified sketch material
on p. [8]
33/1
Hi-Ho!
Two commemorative facsimiles of GG
holograph manuscript piano-vocal score and typescript lyric
sheet; [8] p. each
Note: One lacks decorative
slipcase, one inscribed by IG
Laid in: IG typescript note; [1]
p.
135/24
Hi-Ho!
Two commemorative facsimiles of GG
holograph manuscript piano-vocal score and typescript lyric
sheet; [8] p. each
Note: One inscribed by IG to
Frankie and Leo, one inscribed by IG to Al Simon
33/2
Hi-Ho!
Photocopy of copyist manuscript
piano-vocal score; 10 p.
Note: GG holograph score
emendations
33/2
Hi-Ho!
IG holograph/typescript lyric sheets;
[8] p.
Hi-Ho! I've Got It
see
[Hi-Ho!](hiho)
Note: Alternate title
33/3
Interlude
GG holograph manuscript piano score;
[2] p.
In caption : Fog horn music, “Can’t
take that away from me”, used in film soundtrack; in the hand of
IG
33/4
Interlude
Copyist manuscript piano score; [1]
p.
33/5
Introduction and Dance of the
Waves Ballet
Two Ozalid piano scores; 3 p.
each
Note: One with emendations
33/6
I've Got Beginner's
Luck
GG holograph manuscript piano-vocal
score; [5] p.
Note: No lyric
141/45
I've Got Beginner's
Luck
IG typescript lyric sheets; [2]
p.
Note: Lawrence Stewart manuscript
note on verso
33/7
Let's Call the Whole Thing
Off
GG holograph manuscript piano-vocal
sketch; [1, 5] p.
Laid in: IG holograph description;
1 p.
33/8
Let's Call the Whole Thing
Off
Typescript/photocopy of lyric sheets;
[7] p.
33/9
Promenade
Photocopy of manuscript
orchestration; [3] p.
33/10
Promenade
Copyist manuscript piano score; [4]
p.
33/10
Promenade
Photocopy of copyist manuscript piano
score; 3 p.
135/17
Slap That Bass
GG holograph manuscript sketch; [4]
p.
33/11
Slap That Bass
Typescript lyric sheet
33/12
They All Laughed
GG holograph manuscript piano-vocal
score; [5] p.
Note: No lyric
33/13
They All Laughed
IG holograph/typescript lyric sheets;
[2] p.
33/14
They Can't Take That Away from
Me
Typescript lyric sheet
33/15
Wake Up, Brother, and
Dance
GG holograph manuscript piano-vocal
score; [1, 6] p.
Note: Refrain lyric only
33/16
Wake Up, Brother, and
Dance
Ozalid piano-vocal score; 6
p.
33/16
Wake Up, Brother, and
Dance
Photocopy of GG holograph piano
sketch; [1] p.
33/16
Wake Up, Brother, and
Dance
Sheet music
Laid in: Letter from Carl S.
Miller (Chappell & Co.) to IG, 1961 September 27
33/16
Wake Up, Brother, and
Dance
IG holograph/typescript lyric sheets;
[3] p.
33/17
Wake Up, Brother, and
Dance
GG holograph manuscript piano sketch;
[1] p.
Note: Refrain only
33-34
The Shocking Miss Pilgrim (film,
1947)
33/18
Aren't You Kind of Glad We
Did?
Manuscript piano-vocal score in the
hand of Kay Swift; 1, 5 p.
33/18
Aren't You Kind of Glad We
Did?
Ozalid piano-vocal score; 5
p.
33/18
Aren't You Kind of Glad We
Did?
IG holograph/typescript lyric sheets;
[15] p.
33/18
Aren't You Kind of Glad We
Did?
IG holograph/typescript lyric sheet;
[1] p.
Note: Revised version for Ella
Fitzgerald
33/19
The Back Bay Polka
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
33/19
The Back Bay Polka
Typescript lyric sheets; [9]
p.
33/20
The Back Bay Polka. Dance
interlude
Manuscript piano score in the hand of
Kay Swift; [1] p.
Boston
see
[The
Back Bay Polka](backbay)
Note: Alternate title
But Not in Boston
see
[The
Back Bay Polka](backbay)
Note: Alternate title
33/21
Changing My Tune
Manuscript piano-vocal score in the
hand of Kay Swift; 3 p.
33/21
Changing My Tune
Typescript lyric sheets; [2]
p.
33/22
Demon Rum
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 2] p.
33/22
Demon Rum
Photocopy of Ozalid proof; 3
p.
33/22
Demon Rum
IG holograph/typescript lyric sheets;
[3] p.
33/23
Demon Rum
Two copyist manuscript piano-vocal
scores; [1, 2] p. each
Note: No lyric
33/23
Demon Rum
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; [1, 3] p.
Note: No lyric
33/24
For You, for Me, for Evermore
GG holograph manuscript sketch; [1]
p.
In caption : Gold mine; in the hand
of IG
Note: Refrain only
Laid in: IG holograph notes
33/25
For You, for Me, for
Evermore
Manuscript piano-vocal score in the
hand of Kay Swift; 1, 5 p.
33/25
For You, for Me, for
Evermore
Manuscript vocal part in the hand of
Kay Swift; [1] p.
33/25
For You, for Me, for
Evermore
IG holograph/typescript lyric sheet;
[1] p.
33/26
March of the
Suffragettes
Manuscript leadsheet in the hand of
Kay Swift; [1] p.
33/26
March of the
Suffragettes
IG holograph/typescript lyric sheets;
[13] p.
33/27
One, Two, Three
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
33/27
One, Two, Three
IG holograph/typescript lyric sheets;
[2] p.
33/28
Stand Up and Fight
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 5] p.
33/28
Stand Up and Fight
Photocopy of ozalid proof; 4
p.
33/28
Stand Up and Fight
Typescript scenario; [2]
p.
33/29
Sweet Packard!
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
Cover title: Packard’s Business
College
Note: Includes two-bar
introduction
33/29
Sweet Packard!
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
33/29
Sweet Packard!
Photocopy of Ozalid proof; 3
p.
33/29
Sweet Packard!
IG holograph/typescript scenario and
lyric sheets; [5] p.
34/1
Tour of the Town
Photocopy of Ozalid proof; 13
p.
34/1
Tour of the Town
Typescript scenario and lyric sheets;
[12] p.
Waltzing is Better Sitting Down
see
[One, Two, Three](onetwothree)
Note: Alternate title
34/2
Welcome Song
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
34/2
Welcome Song
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 4] p.
34/2
Welcome Song
Photocopy of Ozalid proof; 4
p.
34/2
Welcome Song
Typescript lyric sheets; [3]
p.
34-35
Show Girl (1929)
34/3
Adored One
GG holograph manuscript piano-vocal
score; 4 p.
Note: No lyric
34/4
Adored One
Typescript lyric sheet
34/5
At Mrs. Simpkin's Finishing
School
Typescript lyric sheet
34/6
Couldn't Be Good
Copyist manuscript piano-vocal score;
[4] p.
Note: Emendations in an
unidentified hand
Note: No lyric
Note: Perhaps not by GG
34/7
Do What You Do!
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only
34/8
Do What You Do!
Copyist manuscript piano-vocal score;
[4] p.
34/8
Do What You Do!
Copyist manuscript piano-vocal score;
1, 4 p.
Note: No lyric
34/8
Do What You Do!
Typescript lyric sheets; [2]
p.
34/9
Feeling Sentimental
GG holograph manuscript piano score;
[2] p.
Note: Verse only
34/10
Feeling Sentimental
Manuscript piano-vocal score in the
hand of William Daly; [2] p.
Note: Refrain only, no lyric
34/10
Feeling Sentimental
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
34/10
Feeling Sentimental
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in the hand of
William Daly
34/10
Feeling Sentimental
Copyist manuscript piano-vocal score;
[5] p.
Note: Emendations of score in an
unidentified hand
Note: No lyric
Note: Includes eight-bar
introductions
34/10
Feeling Sentimental
Typescript lyric sheets; [2]
p.
34/11
Finaletto, Act I scene
1
Copyist manuscript piano-vocal score;
[5] p.
Note: Emendations of score in an
unidentified hand
Note: No lyric
34/11
Finaletto, Act I scene
1
Typescript lyric sheet
34/12
Follow the Minstrel
Band
GG and William Daly holograph
manuscript piano score; 4 p.
Note: Verse in the hand of Daly,
refrain in the hand of GG
34/13
Follow the Minstrel
Band
Copyist manuscript piano-vocal score;
5 p.
Note: GG holograph score
emendations and drawing
Note: No lyric
34/13
Follow the Minstrel
Band
Typescript lyric sheet
34/14
Happy Birthday
Copyist manuscript piano-vocal score
with corrections; 4 p.
Note: No lyric
34/14
Happy Birthday
Typescript lyric sheet
34/15
Harlem Serenade
GG holograph manuscript piano-vocal
score; [2] p.
Note: Verse only, fragmentary
lyric
34/16
Harlem Serenade
Manuscript piano-vocal score in the
hand of William Daly; 2 p.
Note: Refrain only, no lyric
34/16
Harlem Serenade
Copyist manuscript piano-vocal score;
[4] p.
34/16
Harlem Serenade
Typescript lyric sheet
Home
see
[Home
Blues](homeblues)
Note: Alternate title
34/17
Home Blues
GG holograph manuscript piano-vocal
score; 2 p.
Note: No lyric
34/18
Home Blues
Typescript lyric sheets; [2]
p.
34/19
Home Lovin' Gal
Typescript lyric sheet
34/20
Home Lovin' Man
Typescript lyric sheet
34/21
How Could I Forget?
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
34/22
How Could I Forget?
Copyist manuscript piano-vocal score;
[3] p.
Note: No lyric
Note: Unidentified sketch material
on verso of score p. [3]
34/22
How Could I Forget?
Typescript lyric sheet
34/23
I Just Looked at You
Typescript lyric sheet
34/24
I Must Be Home by Twelve
O'Clock
GG holograph manuscript piano-vocal
score; [1, 2] p.
Note: Verse only, no lyric
34/25
I Must Be Home by Twelve
O'Clock
Manuscript piano-vocal score; [2]
p.
Note: Refrain only, no lyric
34/25
I Must Be Home by Twelve
O'Clock
Copyist manuscript piano-vocal score;
[4] p.
34/25
I Must Be Home by Twelve
O'Clock
Typescript lyric sheets; [2]
p.
34/26
I'm Just a Bundle of
Sunshine
Typescript lyric sheet
34/27
I'm Out for No Good Reason
Tonight
IG holograph/typescript lyric sheet;
[2] p.
34/28
Liza
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
34/29
Liza
Manuscript piano-vocal score in the
hand of William Daly; [3] p.
Note: No lyric
34/29
Liza
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
34/29
Liza
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations of score in the
hand of William Daly
Note: No lyric
34/29
Liza
Typescript lyric sheets; [2]
p.
Liza (All the Clouds'll Roll
Away)
see
[Liza](liza)
Note: Alternate title
Lolita
see
[Lolita,
My Love](lolita)
Note: Alternate title
34/30
Lolita, My Love
GG holograph manuscript piano score;
[3] p.
Note: Refrain only, no lyric
34/31
Lolita, My Love
Copyist manuscript piano-vocal score;
[3] p.
Note: Refrain only, no lyric
Note: GG holograph score
emendations on p. [3]
34/31
Lolita, My Love
Typescript/photocopy of lyric sheets;
[2] p.
34/32
Magnolia
GG holograph manuscript full score;
10 p.
34/33
Magnolia. Finale
Typescript/photocopy of lyric sheets;
[2] p.
34/34
Minstrel Show
IG holograph/typescript lyric sheets;
2 p.
34/35
My Sunday Fella
Photocopy of Maurice DePackh
(orchestrator) full score; 24 p.
34/36
My Sunday Fella
Manuscript piano-vocal score in the
hand of William Daly/copyist; 4 p.
Note: No lyric
34/36
My Sunday Fella
Typescript lyric sheet
34/37
My Sunday Fella.
Ballet
Photocopy of Maurice DePackh
(orchestrator) full score; 9 p.
Caption title: Sunday Feller
Ballet
34/38
One Man
Manuscript piano-vocal score in the
hand of William Daly; [1, 3] p.
Note: No lyric
34/38
One Man
Typescript lyric sheet
35/1
Opening
GG holograph manuscript piano score;
6 p.
35/2
Overture
Photocopy of Maurice DePackh
(orchestrator) full score; 25 p.
35/3
So Are You!
Manuscript piano-vocal score in the
hand of William Daly; [2] p.
Note: Refrain only, no lyric
35/3
So Are You!
Copyist manuscript piano-vocal score;
[4] p.
35/3
So Are You!
Manuscript piano-vocal score; [2]
p.
Note: Score has verse only
35/3
So Are You!
Typescript lyric sheets; [2]
p.
35/4
Somebody Stole My Heart
Away
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
35/4
Somebody Stole My Heart
Away
Copyist manuscript piano-vocal score;
[5] p.
Note: Refrain only, no lyric
35/4
Somebody Stole My Heart
Away
IG holograph/typescript lyric
sheet
35/5
Someone's Always Calling a
Rehearsal
Typescript lyric sheet
35/6
Stage Door scene
Typescript lyric sheet
35/7
Tonight's the Night
GG holograph manuscript piano-vocal
score; [4] p.
Note: Refrain only, no lyric
35/8
Tonight's the Night
Maurice DePackh (orchestrator)
holograph manuscript full score; 26 p.
Laid in: IG typescript notes
35/8
Tonight's the Night
Typescript lyric sheets; [2]
p.
35/10
Libretto, Act I
Typescript; [97] p.
Note: Emendations in an
unidentified hand
35/11
Libretto title page?
IG holograph manuscript; [1]
p.
35
The Show Is On (revue, 1936)
35/12
By Strauss
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
Laid in: IG holograph notes
35/13
By Strauss
Typescript lyric sheets; [2]
p.
35
Sinbad (national tour, 1919-1921)
35/14
Swanee
see also
[Swanee](swanee02) from Capitol
Revue
Sheet music
Note: 1st edition, 2nd issue
(photograph of Al Jolson on cover)
Smarty
see
[ Funny
Face ](funnyface)
Note: Early title
35
The Social Register (play, 1931)
35/15
The Key to My Heart
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
35/15
The Key to My Heart
1st proof; 7 [i.e. 5] p.
35/15
The Key to My Heart
Corrected 1st proof; 7 [i.e. 5]
p.
35
Song of the Flame (operetta, 1925)
35/16
Cossack Love Song (Don't Forget
Me)
Manuscript piano-vocal score in the
hand of Robert Russell Bennett; [4] p.
35/17
Midnight Bells
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
35/18
Selection
Manuscript piano score in the hand of
Robert Russell Bennett; 14 p.
35/19
The Signal
Manuscript piano-vocal score in the
hand of Albert Sirmay; 4 p.
35/20
Song of the Flame
Manuscript piano-vocal score in the
hand of Albert Sirmay; 6 p.
35/21
Vodka
see also
[Looking for a Boy](lookingboy)
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
35
Spice of 1922
35/22
Yankee Doodle Blues
Maurice DePackh (orchestrator)
holograph manuscript full score; 16 p.
35-36, 135
A Star is Born (film, 1954)
The Commercial (Calypso)
see
[The
TV Commercial](commercial)
Note: Alternate title
35/23
Dancing Partner
IG holograph/typescript lyric sheets;
[3] p.
Get That Long Face Lost
see
[Lose
That Long Face](longface)
Note: Early title
35/24
Gotta Have Me Go With
You
Typescript lyric sheet
35/25
Green Light Ahead
Ozalid piano-vocal score; 6
p.
35/25
Green Light Ahead
IG holograph/typescript lyric sheets;
[10] p.
35/26
Here's What I'm Here
For
Ozalid piano-vocal score; 3
p.
35/26
Here's What I'm Here
For
Typescript lyric sheets; [2]
p
36/1
I'm Off the Downbeat
Ozalid piano-vocal score; 5
p.
36/1
I'm Off the Downbeat
IG holograph/typescript lyric sheets;
[16] p.
36/2
It's a New World
IG holograph/typescript lyric sheets;
[15] p.
Laid in: Telegram from Lena Horne
to IG, 1963 September 12
Laid in: Lawrence Stewart
typescript note; [1] p.
36/3
Lose That Long Face
Ozalid piano-vocal score; 5
p.
36/3
Lose That Long Face
IG holograph/typescript lyric sheets;
[9] p.
135/7
The Man That Got Away
Corrected publisher's proof
piano-vocal score; p. 2-5
Note: Approved/signed off on by
Harold Arlen
Laid in: Typescript letter from
Lawrence Stewart to Gary Carver, 2004 July 23
36/4
Someone at Last
Ozalid piano-vocal score; 3
p.
36/4
Someone at Last
IG holograph/typescript lyric sheets;
[2] p.
36/5
The TV Commercial
Ozalid piano-vocal score; 3
p.
36/5
The TV Commercial
Typescript lyric sheet
Stepping Toes
see
[Shall
We Dance](shallwedance)
Note: Working title
36
Sticks and Stones (revue, 1939)
36/6
Baby, You're News
Typescript lyric sheet
T'me Baby, You're News
see
[Baby,
You're News](news)
Note: Alternate title
Stop Flirting
see
[ For
Goodness Sake ](goodness)
Note: Working title
36-39, 132, 139
Strike Up the Band (1927, revised
1930)
36/7
17 and 21 [1927]
IG holograph/typescript lyric sheets;
[7] p.
Ding Dong
see
[Ring-a-Ding-a-Ding-Dong Dell](ringading)
Note: Collective title
36/8
Dream Music [1930]
Manuscript short score in the hand of
William Daly; [2] p.
36/8
Dream Music [1930]
Manuscript notes; [1] p.
36/9
Entrance of Gideon and Swiss Girls
[1930]
Copyist manuscript piano score; [2]
p.
Note: Emendations in an
unidentified hand
36/10
Finale, Act II [1930]
16 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
Finaletto, Act II [1927]
see
[Jim,
Consider What You're Doing!](consider)
Note: Article title
Finaletto, Act II, scene 1 [1927]
see
[Jim,
Consider What You're Doing!](consider)
Note: Article title
36/11
Finaletto, Act II scene 1 [early
version] [1930]
Typescript lyric sheet; [2]
p.
36/12
Fletcher's American Chocolate
Choral Society [1930]
Copyist manuscript piano-vocal score;
[25] p.
36/12
Fletcher's American Chocolate
Choral Society [1930]
Typescript lyric sheets; 2
p.
36/13
Hangin' Around with You
[1930]
GG holograph manuscript piano-vocal
score with lyric; [4] p.
Note: Emendations in an
unidentified hand
36/14
Hangin' Around with You
[1930]
Copyist manuscript piano-vocal score;
7 p.
Note: Emendations of score in an
unidentified hand
36/14
Hangin' Around with You
[1930]
Typescript lyric sheet
36/15
He Knows Milk [1930]
Manuscript full score; [2]
p.
Caption title: Finale, Act I
Note: Incomplete
36/16
He Knows Milk [1930]
Copyist manuscript piano-vocal score;
1, 27 p.
Cover title : Finale, Act I
Note: Emendations of score in an
unidentified hand
36/16
He Knows Milk [1930]
Typescript lyric sheets; [3]
p.
36/17
Homeward Bound [1927]
GG holograph manuscript piano vocal
score; [4] p.
Note: No lyric
Note: Pages [3-4] in an
unidentified hand
36/18
Homeward Bound [1927]
Manuscript piano score in the hand of
William Daly; 2 p.
Note: Incomplete
36/18
Homeward Bound [1927]
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations of score in an
unidentified hand
Note: No lyric
36/19
Hoping That Someday You’d Care
[1927]
Copyist manuscript piano-vocal score;
5 p.
In caption : Never used for Soon
chorus free; in the hand of IG
Note: No lyric
36/19
Hoping That Someday You’d Care
[1927]
Photocopy of copyist manuscript
piano-vocal score; 5 p.
Note: Lyric in ink
36/19
Hoping That Someday You’d Care
[1927]
Typescript lyric sheet
36/20
How about a Boy? [1930]
Typescript lyric sheets; [2]
p.
How about a Boy Like Me?
see
[How
about a Boy?](aboutaboy)
Note: Alternate title
36/21
How about a Man?
[1927]
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
36/21
How about a Man?
[1927]
Typescript lyric sheets; [2]
p.
36/22
I Mean to Say [1930]
Copyist manuscript piano-vocal score;
5 p.
36/22
I Mean to Say [1930]
Sheet music
Note: Emendations
Note: On p. 4 in an unidentified
hand: “Wrong! [i.e. wrong refrain] See corrected copy”
36/22
I Mean to Say [1930]
Sheet music with
corrections
36/23
I Mean to Say [1930]
19 copyist manuscript orchestral
parts
Note: Some parts are incomplete
Note: Emendations in an
unidentified hand
36/24
I Want to Be a War Bride [1930]
see also
[Strike
Up the Band](strikeup)
Copyist manuscript piano-vocal score;
6 p.
Note: Emendations in an
unidentified hand
36/24
I Want to Be a War Bride [1930]
see also
[Strike
Up the Band](strikeup)
Sheet music with
corrections
Note: Alternate title
36/25
If I Became the President
[1930]
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
36/26
If I Became the President
[1930]
Copyist manuscript piano-vocal score;
6 p.
36/26
If I Became the President
[1930]
Copyist manuscript piano-vocal score;
4 p.
Note: Emendations of score in an
unidentified hand
Note: Lyric on p. 1 only
36/26
If I Became the President
[1930]
IG holograph/typescript lyric sheets;
[9] p.
Note: Emendations of score in an
unidentified hand
Note: Lyric on p. 1 only
37/1
If I Became the President
[1930]
18 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
37/2
In the Rattle of the Battle
[1930]
Typescript lyric sheet
37/3
Incidental [1930]
see also
[Typical
Self-Made American](typical)
Copyist manuscript piano score; [1]
p.
Note: Emendations in an
unidentified hand
37/3
Incidental [1930]
see also
[Typical
Self-Made American](typical)
Copyist manuscript piano score; [1]
p.
Note: Notations in an unidentified
hand
37/4
Incidental music [1930]
see also
[Soon](soon)
Copyist manuscript piano score; [1]
p.
37/5
I've Got a Crush on You [1930]
see also
[I've
Got a Crush on You](crush02) from Treasure
Girl
Copyist manuscript piano-vocal score;
5 p.
Note: Lyric in the hand of GG
37/6
I've Got a Crush on You [1930]
see also
[I've
Got a Crush on You](crush02) from Treasure
Girl
Manuscript piano-vocal score in the
hand of Albert Sirmay; 8 p.
37/6
I've Got a Crush on You [1930]
see also
[I've
Got a Crush on You](crush02) from Treasure
Girl
Ozalid manuscript piano-vocal score;
3 p.
37/6
I've Got a Crush on You [1930]
see also
[I've
Got a Crush on You](crush02) from Treasure
Girl
Typescript lyric sheet
37/7
Jim, Consider What You're Doing!
[1927]
Copyist manuscript piano-vocal score;
8 p.
Note: Partial lyric
37/8
Jim, Consider What You're Doing!
[1927]
Manuscript piano-vocal score; [8]
p.
37/9
Jim, Consider What You're Doing!
[1927]
Typescript lyric sheets; [2]
p.
Mademoiselle from New Rochelle
see
[Mademoiselle in New Rochelle](mademoiselle)
Note: Alternate title
37/10
Mademoiselle in New Rochelle
[1930]
GG holograph manuscript piano-vocal
score; [5] p.
Note: Refrain in the hand of
William Daly
Note: Lyric in an unidentified
hand
37/11
Mademoiselle in New Rochelle
[1930]
Sheet music with
corrections
37/11
Mademoiselle in New Rochelle
[1930]
Typescript lyric sheet
132/9
The Man I Love [1927]
see also
[The
Man I Love](manilove) from Lady, Be
Good!
William Daly holograph manuscript
full score; 19 p.
37/12
The Man I Love [1927]
see also
[The
Man I Love](manilove) from Lady, Be
Good!
William Daly holograph manuscript
short score sketch; [1] p.
A Man in High Degree: Entrance of
Colonel Holmes
see
[A
Man of High Degree and The Unofficial Spokesman [1930]](highdegree)
Note: Alternate title
37/13
A Man of High Degree and The Unofficial
Spokesman [1930]
see also
[The
Unofficial Spokesman [1927]](unofficial)
Copyist manuscript piano-vocal score;
11 p.
Note: Emendations and lyric in an
unidentified hand
37/13
A Man of High Degree and The
Unofficial Spokesman [1930]
see also
[The
Unofficial Spokesman [1927]](unofficial)
Manuscript piano score in the hand of
William Daly; [2] p.
Note: Refrain only
37/14
Meadow Serenade [1927]
Manuscript piano-vocal score in the
hand of Kay Swift; [3] p.
Note: No lyric
Note: Piano score for "We are
Visitors Here" on p. [4]
37/14
Meadow Serenade [1927]
Photocopy of manuscript piano-vocal
score in the hand of Kay Swift; [3] p.
Note: Lyric in ink
37/14
Meadow Serenade [1927]
IG holograph/typescript/photocopy of
lyric sheets; [5] p.
37/15
Military Dancing Drill [1927]
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
37/15
Military Dancing Drill
[1927]
Typescript lyric sheet
37/16
Military Dancing Drill
[1930]
16 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
37/17
Military Dancing Drill. Encore
[1930]
17 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
Nursie, Nursie
see
[Oh,
This Is Such a Lovely War](lovelywar)
Note: Included in an early version
of "Oh, This Is Such a Lovely War"
37/18
Official Resume [1930]
Copyist manuscript piano-vocal score;
11 p.
Note: Emendations in an
unidentified hand
Caption title: Finaletto, Act II,
scene 2
37/19
Official Resume [1930]
Typescript lyric sheet
37/20
Oh, This is Such a Lovely War [1927]
see also
[In the
Rattle of the Battle](rattle) and [Military Dancing
Drill](military)
Copyist manuscript score; [9]
p.
Note: Portions written as a short
score, leadsheet, piano-vocal score, or piano score
37/20
Oh, This Is Such a Lovely War
[1927]
see also
[In the
Rattle of the Battle](rattle) and [Military Dancing
Drill](military)
Typescript lyric sheets; 3
p.
Note: Includes lyrics for "Nursie,
Nursie"
37/21
Oh, This Is Such a Lovely War
[1927]
16 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
Opening, Act I, scene 3
see
[Patriotic Rally](patriotic)
Note: Alternate title
Opening, Act II [1927]
see
[Oh,
This Is Such a Lovely War](lovelywar)
Note: Alternate title
38/1
Opening, Act II [1930]
GG holograph manuscript piano-vocal
score; [8] p.
Note: No lyric
Note: "Insert" in an unidentified
hand
38/2
Opening, Act II [1930]
Copyist manuscript (with printed
portions) piano-vocal score; 1, 13 p.
38/3
Overture
Copyist manuscript piano score; 1, 13
p.
Note: Emendations in an
unidentified hand
38/4
Patriotic Rally [1930]
Copyist manuscript piano-vocal score;
9 p.
38/4
Patriotic Rally [1930]
Typescript lyric sheet
38/5
Patriotic Rally [1930]
16 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
38/6
Ring-a-Ding-a-Ding-Dong Dell
[1930]
GG holograph manuscript piano score;
[4] p.
38/7
Selection
Hans Spialek (arranger) holograph
manuscript (with printed portions) piano score; 18 p.
Seventeen and Twenty-One
see
[17 and
21](and21)
Note: Alternate title
38/8
Sing "Carry On!"
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
38/9
Sing "Carry On!"
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
38/10
Sing "Carry On!"
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
38/11
Soldiers' March
GG holograph manuscript piano sketch;
[2] p.
Laid in: IG holograph notes
38/12
Soldiers' March
Copyist manuscript piano score; [2]
p.
Note: Emendations in an
unidentified hand
38/13
Soon [1930]
see also
[Incidental music](incidentalmusic) and [Hoping That Someday You'd
Care](hoping)
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in the hand of
Albert Sirmay
38/13
Soon [1930]
see also
[Incidental music](incidentalmusic) and [Hoping That Someday You'd
Care](hoping)
Sheet music with
emendations
38/14
Soon. Reprise [1930]
Copyist manuscript piano-vocal score;
3 p.
38/14
Soon. Reprise [1930]
Sheet music for "Soon" with
emendations
38/15
Strike Up the Band [1927]
H.A. Rubinstein holograph manuscript
full score; [1, 30] p.
38/16
Strike Up the Band
[1927]
Copyist manuscript piano-vocal score;
6 p.
Note: Emendations in an
unidentified hand
38/16
Strike Up the Band
[1927]
Two copies of sheet music
Note: Emendations in an
unidentified hand
38/16
Strike Up the Band
[1927]
IG holograph/typescript lyric sheets;
[8] p.
Note: Includes refrains for "I
Want to Be a War Bride" and "Thanks to You" on p. [3]
38/17
Strike Up the Band [Concert
orchestration]
28 copyist manuscript orchestral
parts
Note: Emendations in an
unidentified hand
38/18
Strike Up the Band. Reprise
[1927]
13 copyist manuscript orchestral
parts (flute part absent)
38/19
Strike Up the Band for
UCLA
Typescript lyric sheets; [3]
p.
39/1
Thanks to You [1930]
see also
[Strike
Up the Band](strikeup)
Manuscript piano-vocal score in the
hand of Kay Swift; [1, 3] p.
Note: Lyric fragment
39/1
Thanks to You [1930]
Copyist manuscript piano-vocal score;
[3] p.
Note: Lyric fragment
39/1
Thanks to You [1930]
Copyist manuscript piano-vocal score;
7 p.
39/1
Thanks to You [1930]
Two photocopies of copyist manuscript
piano-vocal score; [3] p. each
39/1
Thanks to You [1930]
Typescript lyric sheets; [3]
p.
Note: IG holograph drawings on p.
[3]
39/2
There Was Never Such a Charming
War [1930]
Typescript lyric sheet
39/3
Typical Self-Made American
[1930]
Copyist manuscript piano-vocal score;
11 p.
39/3
Typical Self-Made American
[1930]
IG holograph/typescript lyric sheets;
[2] p.
39/4
The Unofficial Spokesman [1927]
see also
[A
Man of High Degree and The Unofficial Spokesman [1930]](highdegree)
Typescript lyric sheets; [2]
p.
39/5
The War That Ended War
[1927]
GG holograph manuscript piano score;
[5] p.
Caption title: Opening, scene III,
act II
39/6
The War That Ended War
[1927]
Typescript lyric sheets; [2]
p.
What's the Use of Hangin' Around
with You
see
[Hangin' Around with You](hanginaround)
Note: Alternate title
39/7
Yankee Doodle Rhythm
[1927]
Manuscript piano-vocal score in the
hand of William Daly; 4 p.
Note: No lyric
39/7
Yankee Doodle Rhythm
[1927]
Copyist manuscript piano-vocal score;
1, 5 p.
39/7
Yankee Doodle Rhythm
[1927]
Two copyist manuscript piano parts;
[4] p. each
39/7
Yankee Doodle Rhythm
[1927]
Typescript lyric sheets; [3]
p.
39/8
Unidentified parts
[1930]
15 copyist manuscript orchestral
parts for final section(s)
Laid in: Fragment of violin part
for related musical material
Laid in: Orchestrator’s manuscript
notes; [1] p.
139/5
Script
Photocopy of typescript; [127]
p.
139/6
Dialog book [1927]
Photocopy of typescript/manuscript;
[45] p.
Note: Lines for “C. Edgar Sloane,”
as played by Robert Bentley
39/9
Dialog book [1930]
Typescript; [1, 11] p.
Note: Emendations in an
unidentified hand
Note: Lines for “Anne,” as played
by Doris Carson
Laid in: Gum wrapper with GG
autograph given to Doris Carson
39
The Sunshine Trail (film, 1923)
39/10
The Sunshine Trail
Charles N. Grant (orchestrator)
holograph manuscript full score; 1, 14 p.
39/11
The Sunshine Trail
Copyist manuscript piano-vocal score;
[4] p.
39/11
The Sunshine Trail
Typescript lyric sheet
39
Sweet Little Devil (1924)
39/12
Hey! Hey! Let 'Er Go!
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
39/13
Hey! Hey! Let 'Er Go!
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
39/14
Hooray for the U.S.A.!
Typescript lyric sheet
39/15
The Jijibo
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations of score in an
unidentified hand
39/15
The Jijibo
Typescript lyric sheets; [2]
p.
39/16
Just Supposing
Typescript lyric sheet
39/17
Kitchenette
Typescript lyric sheet
Note: IG holograph drawings
39/18
The Matrimonial
Handicap
Typescript lyric sheet
39/19
(You're Mighty Lucky) My Little
Duckie
Typescript lyric sheet
39/20
Pepita
Copyist manuscript piano-vocal score;
6 p.
Note: Emendations of score in an
unidentified hand
39/20
Pepita
Typescript lyric sheet
Note: Emendations of score in an
unidentified hand
39/21
Quite a Party
Typescript lyric sheet
39/22
Selection
Robert Russell Bennett (arranger)
holograph manuscript (with printed portions) piano score; 6
p.
39/23
Someone Believes in
You
Copyist manuscript piano-vocal score;
5 p.
Note: Lyric in an unidentified
hand
39/23
Someone Believes in
You
Typescript lyric sheets; [2]
p.
39/24
Strike, Strike, Strike
Typescript lyric sheets; 3
p.
39/25
Under a One-Man Top
Copyist manuscript piano-vocal score
with corrections; 5 p.
39/25
Under a One-Man Top
Copyist manuscript piano-vocal score;
5 p.
Note: Refrain lyric only
39/25
Under a One-Man Top
Manuscript/typescript lyric sheets;
[3] p.
39/26
Virginia (Don't Go Too
Far)
Manuscript piano-vocal score in the
hand of Stephen O. Jones; 6 p.
39/26
Virginia (Don't Go Too
Far)
Typescript lyric sheet
Tally Ho
see
[Treasure Girl](treasuregirl)
Note: Early title
39-41
Tell Me More (1925)
39/27
Baby!
Copyist manuscript piano score; 5
p.
39/27
Baby!
Typescript lyric sheets; [2]
p.
39/28
Duet
GG holograph manuscript piano-vocal
score; [3] p.
Caption title : My Fair Lady/Duet?;
in an unidentified hand
Note: No lyric
Note: Bears no similarity to other
"My Fair Lady" materials
39/29
Finale
Copyist manuscript piano-vocal score;
[7] p.
Note: Incomplete, no lyric
Note: Emendations in an
unidentified hand
39/29
Finale
Manuscript piano sketch; [2]
p.
39/30
Finale I
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
39/30
Finale I
Copyist manuscript piano score; [1]
p.
Note: Four-bar Maestoso section
39/31
Finale, Act I
Copyist manuscript piano-vocal score;
8 p.
Note: No lyric
39/32
Finale Ultimo
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
Note: Emendations in an
unidentified hand
39/32
Finale Ultimo
Manuscript piano sketch; [1]
p.
39/33
Finaletto
Copyist manuscript piano-vocal score;
9 p.
Note: No lyric
39/34
Finaletto, Act II, scene
I
Typescript lyric sheet
Gush-Gush-Gushing
see
[Gushing](gushing)
Note: Alternate title
39/35
Gushing
GG holograph manuscript piano score;
[4] p.
40/1
Gushing
Two copyist manuscript piano-vocal
scores; [4] p. each
Note: No lyric
Note: One in key of G, one in key
of F
40/1
Gushing
Two copyist manuscript lead sheets;
[2] p. each
40/1
Gushing
Copyist manuscript piano-vocal score;
4 p.
Note: No lyric
40/2
Gushing
IG holograph/typescript lyric sheets;
[6] p.
40/3
The He-Man
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
Note: Emendations in an
unidentified hand
40/4
The He-Man
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations of score in an
unidentified hand
40/4
The He-Man
Typescript lyric sheet
40/5
How Can I Win You Now?
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
40/6
How Can I Win You Now?
Copyist manuscript piano-vocal score;
[3] p.
Note: No lyric
40/6
How Can I Win You Now?
Typescript lyric sheet
40/7
I'm Somethin' on Avenue
A
Typescript lyric sheet
40/8
In Sardinia
GG holograph manuscript piano-vocal
score; [2, 4] p.
Note: No lyric
40/9
In Sardinia
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
40/9
In Sardinia
Copyist manuscript piano-vocal score;
9 p.
Note: No lyric
Note: Includes encore
40/9
In Sardinia
Typescript lyric sheets; [2]
p.
40/10
Incidental
Copyist manuscript piano score; [2]
p.
Kenneth Won the Yachting Race
see
[Finaletto, Act II, scene 1](tellmefinaletto)
Note: Alternate title
40/11
Kickin' the Clouds
Away
Copyist manuscript piano-vocal score;
16 p.
Note: No lyric
Note: Emendations of score in an
unidentified hand
40/11
Kickin' the Clouds
Away
Typescript lyric sheet
Lady Fair
see
[My
Fair Lady](fairlady)
Note: Alternate title
40/12
Love Is in the Air
GG holograph manuscript piano-vocal
score; 4 p.
Note: No lyric
40/13
Love Is in the Air
Copyist manuscript piano-vocal score;
5 p.
Note: No lyric
Note: Emendations in an
unidentified hand
40/13
Love Is in the Air
Copyist manuscript piano-vocal score;
[9] p.
Note: No lyric
40/13
Love Is in the Air
Typescript lyric sheet
40/14
Mr. and Mrs. Sipkin
Two copyist manuscript piano-vocal
scores; 8 p. each
Note: No lyric
40/14
Mr. and Mrs. Sipkin
Copyist manuscript piano-vocal score;
10 p.
Note: No lyric
Note: Emendations in an
unidentified hand
40/14
Mr. and Mrs. Sipkin
Copyist manuscript piano-vocal score;
18 p.
Note: No lyric
Note: Emendations of score in an
unidentified hand
40/14
Mr. and Mrs. Sipkin
Typescript lyric sheet
Monty! Their Only Child
see
[Mr. and
Mrs. Sipkin](sipkin)
Note: Alternate title
40/15
My Fair Lady
Copyist manuscript piano-vocal score;
[6] p.
Note: Emendations in an
unidentified hand
40/15
My Fair Lady
Copyist manuscript piano-vocal score;
18 p.
Note: Emendations in an
unidentified hand
40/15
My Fair Lady
Manuscript lead sheet; [2]
p.
Note: Manuscript instructions on
p. [3]
40/15
My Fair Lady
Typescript lyric sheet
40/16
Once
Manuscript piano-vocal score in the
hand of William Daly; [3] p.
Note: No lyric
40/16
Once
Manuscript piano score in the hand of
Hilding Anderson; [3] p.
40/16
Once
IG holograph/typescript lyric sheets;
[3] p.
Opening, Act I
see
[Shopgirls and Mannequins](shopgirls)
Note: Alternate title
Opening, Act II
see
[Love Is
in the Air](loveair)
Note: Alternate title
40/17
Opening, Act II scene 3
see also
[Ukelele Lorelei](ukelorelei)
Copyist manuscript piano score; [3]
p.
40/17
Opening, Act II scene 3
see also
[Ukelele Lorelei](ukelorelei)
Manuscript sketch; [1] p.
Opening ensemble
see
[Shopgirls and Mannequins](shopgirls)
Note: Alternate title
40/18
Selection
Robert Russell Bennett holograph
manuscript piano score; 23 p.
40/19
Shopgirls and Mannequins
Copyist manuscript piano score; 13
p.
Note: Emendations in an
unidentified hand
40/19
Shopgirls and
Mannequins
Two copyist manuscript piano parts;
18 p. each
40/19
Shopgirls and
Mannequins
Typescript lyric sheet
40/20
Sole Mio
Copyist manuscript piano score; [1]
p.
40/20
Sole Mio
Manuscript piano sketch; [1]
p.
Note: Music not by GG
40/21
Specialty No. 1
Robert Russell Bennett holograph
manuscript piano score; [2] p.
Note: Music not by GG
40/22
Tell Me More
GG holograph manuscript piano-vocal
score; 4 p.
Note: No lyric
40/23
Tell Me More
Copyist manuscript piano-vocal score;
1, 4 p.
Note: No lyric
40/23
Tell Me More
Copyist manuscript piano-vocal score;
1, 4 p.
Note: No lyric
Note: Emendations in an
unidentified hand on p. [5]
40/23
Tell Me More
Copyist manuscript TTBB arrangement
for men’s chorus; [2] p.
Note: No piano part
40/23
Tell Me More
Typescript lyric sheets; [3]
p.
40/24
Tell Me More. Reprise
Copyist manuscript piano-vocal score;
[1, 3] p.
40/24
Tell Me More. Reprise
Copyist manuscript piano-vocal score;
6 p.
Note: Emendations in an
unidentified hand
40/25
Three Times a Day
Copyist manuscript piano-vocal score;
[4] p.
Note: Lyric and emendations in an
unidentified hand
40/25
Three Times a Day
Copyist manuscript piano-vocal score;
6 p.
Note: No lyric
40/25
Three Times a Day
Typescript lyric sheet
41/1
Ukelele Lorelei
GG holograph manuscript piano-vocal
score; [4] p.
Note: Refrain (partial lyric) with
realized chords for ukulele in an unidentified hand on p. [4]
41/2
Ukelele Lorelei
Copyist manuscript piano-vocal score;
[10] p.
Note: No lyric
Note: Piano introduction for
"Opening, Act II, scene 3" on p. [1-2]
Note: Encore music on p. [7-10]
41/2
Ukelele Lorelei
Two copyist manuscript piano-vocal
scores; [5] p. each
Note: No lyric
41/2
Ukelele Lorelei
Copyist manuscript piano-vocal score;
1, 10 p.
Note: Emendations of score in an
unidentified hand
41/2
Ukelele Lorelei
Typescript lyric sheet
Note: Emendations of score in an
unidentified hand
41/3
Ukelele Lorelei. Dance
GG holograph manuscript piano score;
[3] p.
41/4
Waltz
GG holograph manuscript piano-vocal
sketch; [3] p.
Note: No lyric
When My Oil Well Starts
Gush-Gush-Gushing
see
[Gushing](gushing)
Note: Alternate title
41/5
When the Debbies Go By
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
Note: On p. [4] in an unidentified
hand: Reprise, Tell Me More
41/5
When the Debbies Go By
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
Note: Emendations in an
unidentified hand
41/6
When the Debbies Go By
Copyist manuscript piano-vocal score;
[1, 5] p.
Note: No lyric
Note: Emendations in an
unidentified hand
41/6
When the Debbies Go By
Typescript lyric sheet
Where the Delicatessen Flows
see
[In
Sardinia](insardinia)
Note: Alternate title
41/7
Why Do I Love You?
GG holograph manuscript piano-vocal
score; [1, 4] p.
Note: No lyric
Note: Discarded sketch of opening
on p. [2]
41/8
Why Do I Love You?
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
Note: Includes four-bar
introduction
Note: Key of E minor
41/8
Why Do I Love You?
Copyist manuscript piano-vocal score;
11 p.
Note: No lyric
Note: Emendations in an
unidentified hand
Note: Includes encores on p. 6-11
Note: Key of A-flat major
41/8
Why Do I Love You?
Copyist manuscript piano score; [3]
p.
41/8
Why Do I Love You?
Manuscript piano score; [1, 2]
p.
Note: Encore music
41/8
Why Do I Love You?
Photocopy of sheet music
(German)
41/8
Why Do I Love You?
Typescript lyric sheets; [3]
p.
41/9
Untitled
Copyist manuscript piano-vocal score;
[3] p.
In caption: 15 B
Note: No lyric
Note: Emendations in an
unidentified hand
Note: Vocal line crossed out
41/9
Untitled
Copyist manuscript piano score; [1,
2] p.
On cover: 15 B
41/10
Run down sheet of
copyist
Manuscript list; [1] p.
41
That's a Good Girl (1928)
41/11
Before We Were Married
Typescript lyric sheet
41/12
Chirp Chirp!
Typescript lyric sheet
41/13
Day after Day
Typescript lyric sheet
41/14
Let Yourself Go!
Typescript lyric sheet
41/15
The One I'm Looking
For
Typescript lyric sheet
41/16
Sweet So-and-So
Typescript lyric sheet
41/17
There I'd Settle Down
Typescript lyric sheets; [2]
p.
41/18
Weekend
Typescript lyric sheet
What to Do?
see
[Whoopee](whoopee)
Note: Original title
41/19
Whoopee
Typescript lyric sheet
41/20
Why Be Good?
Typescript lyric sheet
41/21
Libretto title page
IG holograph manuscript; [1]
p.
41/22
Song synopsis
IG holograph/typescript manuscripts;
[3] p.
Note: One version includes
Lawrence Stewart holograph/typescript notes
41-45
Tip Toes (1925)
42/14
Entr’acte
14 orchestral parts (incomplete
set)
42/15
Entr’acte [variant]
Eight orchestral parts (incomplete
set)
41/23
Finale, Act I
Typescript lyric sheets; 5
p.
42/16
Finale, Act I
15 orchestral parts (incomplete
set)
41/24
Finale, Act II
Typescript lyric sheets; [3]
p.
42/17
Finale, Act II
15 orchestral parts
42/18
Finale, Act II
[variant]
Piano part only
Florida
see
[Waiting for the Train](waitingtrain)
Note: Alternate title
41/25
Gather-Ye-Rosebuds
Copyist manuscript piano-vocal score;
[4] p.
Note: No lyric
41/25
Gather-Ye-Rosebuds
Photocopy of copyist manuscript
piano-vocal score; [4] p.
41/25
Gather-Ye-Rosebuds
Photocopy of copyist manuscript
piano-vocal score; [5] p.
41/25
Gather-Ye-Rosebuds
IG holograph/typescript/photocopy of
lyric sheets; [3] p.
41/26
Harbor of Dreams
Typescript lyric sheets; [2]
p.
41/27
The Harlem River
Chanty
GG holograph manuscript piano score;
[3] p.
41/28
The Harlem River
Chanty
GG holograph manuscript piano sketch;
[2] p.
In caption : Part of Harlem River
chanty; in the hand of IG
41/29
The Harlem River
Chanty
Four Ozalid piano-vocal scores; 5 p.
each
Note: Two scores have IG holograph
notes
41/29
The Harlem River
Chanty
IG holograph/typescript lyric sheets;
[7] p.
41/30
It's a Great Little
World
GG holograph manuscript piano score;
3 p.
41/31
It's a Great Little
World
Two copyist manuscript piano-vocal
scores; 5 p. each
Note: One has emendations in an
unidentified hand
41/31
It's a Great Little
World
Manuscript/copyist manuscript
piano-vocal score; 1, 1 p.
Note: Incomplete, no lyric
Note: Caption title in the hand of
IG
41/31
It's a Great Little
World
IG holograph/typescript lyric sheets;
[3] p.
42/19
It's a Great Little
World
17 orchestral parts
Cover title: Give in
41/32
Lady Luck
Typescript lyric sheets; [2]
p.
42/20
Lady Luck
15 orchestral parts (incomplete
set)
41/33
Life's Too Short to Be
Blue
IG holograph/typescript lyric sheets;
[2] p.
41/34
Looking for a Boy
GG holograph manuscript piano sketch;
[1] p.
Note: Sketch of Vodka on p. [2]
41/35
Looking for a Boy
Copyist manuscript piano-vocal score;
[4] p.
Note: Lyric and emendations in an
unidentified hand
41/35
Looking for a Boy
Photocopy of sheet music (French
version)
41/35
Looking for a Boy
Typescript lyric sheets; [5]
p.
43/1
Looking for a Boy
17 orchestral parts (incomplete
set)
43/2
Looking for a Boy
27 printed orchestral parts
(incomplete set)
43/3
Looking for a Boy. Reprise
11A/12
14 orchestral parts (incomplete
set)
43/4
Looking for a Boy. Reprise
13A-B-C
15 orchestral parts (incomplete
set)
43/5
Looking for a Boy. Reprise
14
Eight orchestral parts (trumpet and
strings only)
43/6
Lucky Day
10 printed orchestral parts with
emendations
Note: Published as part of George White's Scandals of 1926 ,
perhaps interpolated in Tip Toes
41/36
Nice baby!
see also
[Delishious [arranged for piano solo]](deliciouspiano)
Copyist manuscript piano-vocal score;
[4] p.
Note: Emendations in an
unidentified hand
Laid in: Photocopy of fragment
from the verso of “Delishious”; [1] p.
41/36
Nice Baby!
IG holograph/typescript lyric sheets;
[3] p.
43/7
Nice Baby!
16 orchestral parts (incomplete
set)
Nice Baby! Come to Papa!
see
[Waiting for the Train](waitingtrain)
Note: Alternate title
43/8
Nice Baby! Reprise
14 orchestral parts (incomplete
set)
41/37
Nightie Night
Two copyist manuscript piano-vocal
scores; [4] p. each
Note: Emendations of score in an
unidentified hand
41/37
Nightie Night
Typescript lyric sheets; [6]
p.
43/9
Nightie Night
11 orchestral parts (incomplete set
A)
43/10
Nightie Night
14 orchestral parts (incomplete set
B)
Opening, Act I
see
[Waiting for the Train](waitingtrain)
Note: Alternate title
Opening, Act I, scene 2
see
[Lady
Luck](ladyluck)
Note: Alternate title
43/11
Opening, Act II
13 orchestral parts (incomplete
set)
41/38
Our Little Captain
Typescript lyric sheets; [2]
p.
43/12
Our Little Captain
17 orchestral parts (incomplete
set)
43/13
Overture
18 orchestral parts (incomplete
set)
44/1
Overture
12 band parts (incomplete
set)
Note: Some parts have GG holograph
emendations
44/2
Play Out
12 orchestral parts (incomplete
set)
42/1
Selection
Copyist manuscript (with printed
portions) piano score; 23 p.
Note: Arranged by Robert Russell
Bennett
Note: Emendations in an
unidentified hand
42/1
Selection
Sheet music (incomplete); [2]
p.
Note: Arranged by Robert Russell
Bennett
Note: Emendations in an
unidentified hand
42/2
Sweet and Low-Down
Two copyist manuscript piano-vocal
scores; [4] p. each
Note: Emendations in an
unidentified hand
42/2
Sweet and Low-Down
Photocopy of sheet music
(French)
42/2
Sweet and Low-Down
Typescript lyric sheets; [3]
p.
44/3
Sweet and Low-Down
14 orchestral parts (incomplete
set)
44/4
Sweet and Low-Down
20 printed orchestral parts
(incomplete set)
44/5
Sweet and Low-Down.
Insert
10 orchestral parts (incomplete
set)
42/3
That Certain Feeling
Copyist manuscript piano-vocal score;
[3] p.
Note: Partial lyric and
emendations in an unidentified hand
Note: Credit in the hand of IG
42/3
That Certain Feeling
Sheet music with
corrections
Note: Corrections in an
unidentified hand
42/3
That Certain Feeling
IG holograph/typescript lyric sheets;
[4] p.
44/6
That Certain Feeling
17 orchestral parts (incomplete
set)
44/7
That Certain Feeling
16 printed orchestral parts
(incomplete set)
42/4
These Charming People
Copyist manuscript piano-vocal score;
4 p.
Note: Emendations in an
unidentified hand
Note: Credit in the hand of IG
42/4
These Charming People
Typescript lyric sheets; [4]
p.
44/8
These Charming People
17 orchestral parts
42/5
Tip Toes
Photocopy of piano-vocal score; [3]
p.
Note: French and English lyrics
Laid in: Typescript letter from
Louis Aborn to IG, 1976 July 27
42/5
Tip Toes
Photocopy of vocal part and lyric
sheet; [1] p. each
Laid in: Typescript letter from
Louis Aborn to IG, 1976 June 2
Laid in: Typescript letter from
Edgar Carter to Louis Aborn, 1976 June 11
42/5
Tip Toes
Typescript lyric sheets; [2]
p.
44/9
Tip Toes
13 orchestral parts (incomplete set
A)
44/10
Tip Toes
Nine orchestral parts (incomplete set
B)
44/11
Tip Toes [variant]
Violin part only
42/6
Trombone specialty
GG holograph manuscript piano sketch;
[1] p.
Note: Includes eight-bar exit
Note: Drums part for "Tip Toes" on
p. [2]
42/7
Waiting for the Train
Photocopy of copyist manuscript piano
score; 4 p.
42/7
Waiting for the Train
Typescript lyric sheets; [2]
p.
42/8
Waiting for the Train
Photocopy of piano-vocal score; [6]
p.
Note: French and English lyrics
Laid in: Typescript letter from
Louis Aborn to IG, 1976 July 27
42/9
Waiting for the Train
Photocopy of lyric sheets; 2
p.
Laid in: Typescript letter from
Louis Aborn to IG, 1976 June 2
Laid in: Typescript letter from
Edgar Carter to Louis Aborn, 1976 June 11
45/1
Waiting for the Train
16 orchestral parts (incomplete
set)
42/10
We
Typescript lyric sheets; 2
p.
42/11
Weaken a Bit
IG holograph/typescript lyric
sheets
42/12
When Do We Dance?
Copyist manuscript piano-vocal score;
[4] p.
Note: Lyric and emendations in an
unidentified hand
42/12
When Do We Dance?
Copyist manuscript piano-vocal score;
[5] p.
Note: Corrections of score in an
unidentified hand
42/12
When Do We Dance?
IG holograph/typescript lyric sheets;
[3] p.
45/2
When Do We Dance?
16 orchestral parts (incomplete
set)
45/3
When Do We Dance?
14 orchestral parts (incomplete
set)
Note: 1st encore
45/4
When Do We Dance?
10 orchestral parts (incomplete
set)
Note: 2nd encore
42/13
Miscellaneous/unidentified
music
Note : Four items found with the
Secaucus Tip Toes material
45/5
Instrumental part
folders
Three manuscripts
Note: Piano part folders have
notes in an unidentified hand
Laid in: Running list of songs
45/6
Libretto
Typescript; [120] p.
Note: Emendations in an
unidentified hand
45/7
List of published
songs
Photocopy of typescript; [1]
p.
45
Top Hole (1924)
45/8
Imagine Me without My
You
Manuscript piano-vocal score; [4]
p.
Note: Lyric in an unidentified
hand
45/8
Imagine Me without My
You
Typescript lyric sheet
45-46
Treasure Girl (1928)
45/9
According to Mr.
Grimes
Typescript lyric sheets; [2]
p.
45/10
A-Hunting We Will Go!
Manuscript piano-vocal score; [4]
p.
Note: No lyric
Note: Emendations of score in an
unidentified hand
45/10
A-Hunting We Will Go!
Typescript lyric sheet
45/11
Dead Men Tell No Tales
Copyist manuscript piano-vocal score;
[2] p.
45/11
Dead Men Tell No Tales
Typescript lyric sheets; [2]
p.
45/12
Feeling I'm Falling
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
45/13
Feeling I'm Falling
GG holograph manuscript piano sketch;
[1] p.
In caption: No Fooling, I'm
Falling
Note: Fragment of refrain
Note: No lyric
45/14
Feeling I'm Falling
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in an
unidentified hand
45/14
Feeling I'm Falling
Copyist manuscript piano score; [2]
p.
Note: Emendations of score in an
unidentified hand
45/14
Feeling I'm Falling
Typescript lyric sheets; [2]
p.
45/15
Finale, Act I
Typescript lyric sheets; 4
p.
45/16
Good-Bye to the Old Love
Typescript lyric sheet
Good-Bye to the Old Love, Hello
to the New
see
[Good-bye to the Old Love](oldlove)
Note: Alternate title
45/17
Got a Rainbow
Manuscript piano-vocal score in the
hand of Albert Sirmay; [4] p.
Note: Partial verse lyric in an
unidentified hand
45/17
Got a Rainbow
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
Note: Lyric in an unidentified
hand
45/17
Got a Rainbow
Typescript lyric sheets; [4]
p.
45/18
Hunting Motive
GG holograph manuscript melody line;
[1] p.
45/19
I Don't Think I'll Fall in Love
Today
Two copyist manuscript piano-vocal
scores; [4] p. each
Note: One score has ukelele chords
and emendations in an unidentified hand
45/19
I Don't Think I'll Fall in Love
Today
IG holograph/typescript lyric sheets;
[4] p.
45/20
I Don't Think I'll Fall in Love
Today. Encore
Typescript lyric sheets; [2]
p.
46/1
I Want to Marry a
Marionette
Manuscript piano-vocal score in the
hand of Albert Sirmay and GG; 1, 5 p.
Note: No lyric
Note: Refrain melody chiefly in
the hand of GG
46/2
I Want to Marry a
Marionette
Two copyist manuscript piano-vocal
scores; 6 p. each
Note: One score has emendations in
an unidentified hand
46/2
I Want to Marry a
Marionette
Typescript lyric sheets; [2]
p.
46/3
I've Got a Crush on You
see also
[I've
Got a Crush on You](crush01) from Strike
Up the Band
GG holograph manuscript lead sheet;
[1] p.
Note: No lyric
46/4
I've Got a Crush on You
see also
[I've
Got a Crush on You](crush01) from Strike
Up the Band
Typescript lyric sheet
I've Got a Rainbow
see
[Got a
Rainbow](rainbow)
Note: Alternate title
46/5
K-RA-ZY for You
Copyist manuscript piano-vocal score;
4 p.
Note: Emendations in the hand of
Albert Sirmay
46/5
K-RA-ZY for You
IG holograph/typescript lyric sheets;
[2] p.
46/6
Off with the Old
Manuscript piano sketch; [3]
p.
46/7
Oh, So Nice!
Copyist manuscript piano-vocal score;
4 p.
Note: Emendations in an
unidentified hand
46/7
Oh, So Nice!
Typescript lyric sheets; [2]
p.
46/7
Oh, So Nice!
1st violin (4th stand)
part
46/8
Oh, So Nice!
Manuscript full score in the hand of
William Daly; 6 p.
46/8
Oh, So Nice!
Manuscript full score in the hand of
William Daly; 11 p.
46/9
Opening, Act I
Manuscript piano-vocal score in the
hands of Albert Sirmay and GG; 14 p.
Note: No lyric
46/10
Opening, Act I
Copyist manuscript piano-vocal score;
16 p.
Note: No lyric
Opening, Act I, scene 3
see
[Place in the Country](countryplace)
Note: Alternate title
Opening, Act II
see
[Treasure Island](treasureisland)
Note: Alternate title
46/11
Place in the Country
Manuscript piano-vocal score in the
hand of Albert Sirmay; 16 p.
Note: No lyric
46/11
Place in the Country
Copyist manuscript piano-vocal score;
16 p.
46/11
Place in the Country
Typescript lyric sheets; [5]
p.
46/12
Skull and Bones
Typescript lyric sheets; [2]
p.
Tally Ho
see
[A-Hunting We Will Go!](ahunting)
Note: Alternate title
46/13
This Particular Party
Typescript lyric sheet
46/14
Treasure Island
Typescript lyric sheets; [2]
p.
46/15
What are We Here For?
Copyist manuscript piano-vocal score;
7 p.
Note: Emendations in the hand of
Albert Sirmay
46/15
What are We Here For?
Copyist manuscript piano-vocal score;
5 p.
Note: Emendations in the hand of
Albert Sirmay
46/15
What are We Here For?
Typescript lyric sheets; [2]
p.
46/16
What Causes That?
Manuscript piano-vocal score in the
hands of Albert Sirmay and GG; [4] p.
Note: No lyric
Note: Title and melody line of
refrain in the hand of GG
46/17
What Causes That?
Two copyist manuscript piano-vocal
scores; 7 p. each
Note: No lyric
46/17
What Causes That?
IG holograph/typescript lyric sheets;
[3] p.
46/18
Where's the Boy? Here's the
Girl!
Manuscript piano-vocal score in the
hands of Albert Sirmay and GG; [1, 5] p.
Note: No lyric
Note: Title page and melody line
of refrain in the hand of GG
46/19
Where's the Boy? Here's the
Girl!
Manuscript piano-vocal score in the
hand of Albert Sirmay; 7 p.
46/19
Where's the Boy? Here's the
Girl!
Copyist manuscript piano-vocal score;
[5] p.
Note: No lyric
46/19
Where's the Boy? Here's the
Girl!
IG holograph/typescript lyric sheets;
[9] p.
46
Two Little Girls in Blue (1921)
46/20
Dolly
Typescript lyric sheets; [2]
p.
Dolly dear
see
[Dolly](dolly)
Note: Alternate title
Finale, Act I
see
[We're
off to India](offIndia)
Note: Alternate title
46/21
Finale, Act II
Typescript lyric sheet
46/22
Happy Ending
Typescript lyric sheet
46/23
Here, Steward
Typescript lyric sheet
46/24
Honeymoon
Typescript lyric sheet
Honeymoon, When Will You Shine
for Me?
see
[Honeymoon](honeymoon)
Note: Alternate title
Honeymoon (When Will You Shine on
Me?)
see
[Honeymoon](honeymoon)
Note: Alternate title
46/25
I'm Tickled Silly
Typescript lyric sheets; [2]
p.
46/26
Just Like You
Typescript lyric sheet
46/27
Little Bag of Tricks
Typescript lyric sheet
46/28
Make the Best of It
Typescript lyric sheet
46/29
Oh Me! Oh My!
IG holograph/typescript lyric sheets;
[3] p.
46/30
Orienta
Typescript lyric sheet
46/31
Rice and Shoes
Typescript lyric sheet
She's Innocent
see
[Finale, Act II](twogirlsfinale)
Note: Alternate title
46/32
The Silly Season
Typescript lyric sheet
46/33
Summertime
IG holograph/typescript lyric
sheet
Sweetest Girl
see
[Rice
and Shoes](riceshoes)
Note: Original title
46/34
There's Something about Me They
Like
Typescript lyric sheet
46/35
Two Little Girls in
Blue
Typescript lyric sheet
46/36
Utopia
IG holograph/typescript lyric sheets;
[3] p.
46/37
We're off on a Wonderful
Trip
Typescript lyric sheet
46/38
We're off to India
Typescript lyric sheet
46/39
When I'm with the
Girls
Typescript lyric sheets; [3]
p.
46/40
Who's Who with You?
IG holograph/typescript lyric sheets;
[3] p.
46/41
Wonderful U.S.A.
Typescript lyric sheet
46/42
You Started Something
Typescript lyric sheet
Your Wonderful U.S.A.
see
[Wonderful U.S.A.](wonderfulusa)
Note: Alternate title
46/43
List of songs in running
order
IG holograph/typescript manuscript;
[2] p.
47
The Very Grand Duchess , undated
47/1
Libretto
Bound typescript; [77] p.
47
Where Do We Go from Here? (film,
1945)
47/2
All at Once
Typescript lyric sheets; [4]
p.
Columbus
see
[The
Nina, the Pinta, the Santa Maria](ninapinta)
Note: Alternate title
47/3
If Love Remains
IG holograph/typescript lyric sheets;
[7] p.
47/4
It Could Have Happened to
Anyone
IG holograph/typescript lyric sheets;
[5] p.
47/5
Knowing You're There
IG holograph lyric sheets; [4]
p.
Manhattan
see
[Woo,
Woo, Woo, Woo, Manhattan](manhattan)
Note: Alternate title
Mutiny routine
see
[The
Nina, the Pinta, the Santa Maria](ninapinta)
Note: Alternate title
47/6
The Nina, the Pinta, the Santa
Maria
Photocopy of Ozalid piano-vocal
score; 40 p.
47/6
The Nina, the Pinta, the Santa
Maria
IG holograph/typescript lyric sheets;
[43] p.
47/7
Opening
IG holograph/typescript lyric sheets;
[11] p.
47/8
Song of the Rhineland
IG holograph/typescript lyric sheets;
[10] p.
47/9
Woo, Woo, Woo, Woo, Manhattan
IG holograph/typescript lyric sheets;
[3] p.
47/10
Miscellaneous notes and lyric
sheets
IG holograph manuscript; [23]
p.
47, 141
Ziegfeld Follies of 1936
Aren't You Wonderful! (or, The
Economic Situation)
see
[The
Economic Situation](economicsit)
Note: Alternate title
47/11
The Ballad of Baby Face McGinty
(Who Bit off More than He Could Chew)
IG holograph/typescript lyric sheets;
[12] p.
Laid in: Lawrence Stewart
typescript note; [1] p.
The Bazooka
see
[The
Gazooka](gazooka)
Note: Early title
47/12
The Better Half Knows
Better
Typescript lyric sheet
Dancing to Our Score
see
[Dancing to the Score](dancescore)
Note: Alternate title
47/13
Dancing to the Score
Typescript lyric sheets; [3]
p.
47/14
Does a Duck Love
Water?
Typescript lyric sheets; [2]
p.
East Indies
see
[Island in the West Indies](westindies)
Note: Alternate title
47/15
The Economic Situation
IG holograph/typescript lyric sheets;
[8] p.
47/16
Fancy! Fancy!
IG holograph/typescript lyric sheets;
[9] p.
Fancy! Fancy! And All That!
see
[Fancy!
Fancy!](fancy)
Note: Early title
Fancy! Fancy! Fancy!
see
[Fancy!
Fancy!](fancy)
Note: Early title
Fawncy! Fawncy!
see
[Fancy!
Fancy!](fancy)
Note: Early title
47/17
Five A.M.
IG holograph/typescript lyric sheets;
[3] p.
47/18
The Gazooka
Typescript lyric sheet
47/19
He Hasn't a Thing Except
Me
IG holograph/typescript lyric sheets;
[5] p.
47/20
Hot number
IG holograph/typescript lyric sheets;
[3] p.
47/21
I Can't Get Started
IG holograph/typescript lyric sheets;
[32] p.
Laid in: Letter from Sammy Cahn to
IG, 1958 August 5
Laid in: Letter from Edward A.
Wolpin to IG, 1943 March 12
Laid in: Letter from IG to Carmen
McRae, 1966 June 21
141/46
I Can't Get Started
IG holograph/typescript lyric sheets;
[16] p.
Note: Revisions for the Walden
recording
Laid in: Lawrence Stewart
manuscript note; [1] p.
141/46
I Can't Get Started
Sheet music with IG holograph
emendations
47/22
I'm Sharing My Wealth
IG holograph/typescript lyric sheets;
[2] p.
47/23
Island in the West Indies
IG holograph/typescript lyric sheets;
[2] p.
Isle in the West Indies
see
[Island in the West Indies](westindies)
Note: Alternate title
47/24
It's a Different World
GG holograph manuscript leadsheet;
[1] p.
Note: Lyric on p. [2] of leadsheet
47/25
It's a Different World
IG holograph/typescript lyric sheets;
[4] p.
The Kazooka
see
[The
Gazooka](gazooka)
Note: Early title
47/26
The Knife Thrower's
Wife
IG holograph/typescript lyric sheets;
[3] p.
47/27
The Last of the
Cabbies
IG holograph/typescript lyric sheets;
[7] p.
47/28
Maharanee
Typescript lyric sheet
47/29
Modernistic Moe
IG holograph/typescript lyric sheets;
[4] p.
47/30
My Red-Letter Day
Typescript lyric sheet
47/31
Oh, Bring Back the Ballet
Again
Typescript lyric sheet
Please Send My Daddy Back Home
see
[Please Send My Daddy Back to Mother](daddyback)
Note: Early title
47/32
Please Send My Daddy Back to
Mother
IG holograph/typescript lyric sheets;
[7] p.
141/47
Political Ballet
IG holograph outline; [2]
p.
Laid in: Photocopy of Lawrence
Stewart typescript note; [1] p.
47/33
Save Your Yesses
IG holograph/typescript lyric sheet;
[2] p.
47/34
Sentimental Weather
IG holograph/typescript lyric sheets;
[2] p.
The Shadows
see
[Five
A.M.](fiveam)
Note: Early title
47/35
Sunday Tan
Typescript lyric sheets; [2]
p.
47/36
That Moment of Moments
Typescript lyric sheet
There's an Island in the West
Indies
see
[Island in the West Indies](westindies)
Note: Alternate title
47/37
Time Marches On!
IG holograph/typescript lyric sheets;
[5] p.
47/38
Trailer for "The 1936 Broadway
Gold Melody Diggers"
IG holograph/typescript lyric sheets;
[27] p.
We Hope You'll Soon Be Dancing to
the Score
see
[Dancing to the Score](dancescore)
Note: Alternate title
47/39
Why Save for That Rainy
Day?
IG holograph/typescript lyric sheets;
[3] p.
47/40
Wishing Tree of Harlem
IG holograph/typescript lyric
sheet
47/41
Words without Music
Typescript lyric sheet
47/42
List of songs
Two IG holograph/typescript
manuscripts; [1] p. each
48-52, 132, 135
Concert Music
The concert music is organized alphabetically by title and then by
type.
48/1
An American in Paris
GG holograph manuscript sketches; [22]
p.
Bound
An American in Paris, 1928
January-August 1
GG holograph original sketch manuscript;
[69] p.
Bound
An American in Paris, 1928 November
18
GG holograph original orchestration
manuscript; 104 p.
Note: Microfilm #1338
48/2
An American in Paris, 1928
January
GG holograph manuscript arrangement for
two pianos; 70 p.
48/3
An American in Paris, 1928
Printed arrangement for two pianos; 35
p.
New York: New World Music, c1928
135/9
An American in Paris
GG holograph manuscript of three
principal themes; 1 p.
Note: Used in an article for Musical America and inscribed to Hyman
Sandow, 1928 August 17
48/4
Catfish Row
GG holograph manuscript list of
corrections to Porgy and Bess parts
needed for the suite; [2] p.
48/5
Suite from Porgy and Bess
Ozalid GG holograph manuscript full
score; 100 p.
Note: Emendations in unidentified
hands
Bound
Concerto in F, 1925
GG holograph sketch-score manuscript;
[181] p.
Movement I: 1925 July
Movement II: 1925
August-September
Movement III: 1925 September
Bound
Concerto in F, 1925
October-November
GG holograph original orchestration
manuscript; [181] p.
48/6
Concerto in F
GG holograph manuscript sketches; [15]
p.
Laid in: IG holograph notes, 1961
April 26
132/10
Concerto in F
GG holograph manuscript early
orchestration; 8 p.
Note: Incomplete
Laid in: IG typescript note [1] p.
48/7
Concerto in F
Manuscript short score, Movement I; 5
p.
48/7
Concerto in F
Manuscript short score, Movement I; 1
p.
Note: Final 88 bars only
48/7
Concerto in F
Manuscript short score, Movement II; 4
p.
Note: Includes opening 24 bars of
Movement III
48/7
Concerto in F
Unidentified piano sketches; 3
p.
Note: Laid in with Concerto in F
Note: Black, blue and turquoise ink
49/1
Concerto in F, 1927
Two printed score arrangements for two
pianos; 67 p. each
New York: Harms, c1927
Note: Heavily annotated with
corrections
49/2
Concerto in F
Printed score arrangement for two pianos;
67 p.
New York: Harms, c1927
Note: GG's copy
49/3
Concerto in F: Movement I
Manuscript score for two pianos; [2]
p.
In caption: Extra bars for 1st
movement...
132/11
Concerto in F: Movement
III
Second publisher’s proof for two pianos;
21 [i.e., 11] p.
Note: Incomplete
49/4
Cuban Overture
GG holograph manuscript sketches and
notes; [39] p.
49/5
Cuban Overture, 1932 July
GG holograph manuscript short score; [34]
p.
Bound
Cuban Overture, 1932
July-August
GG holograph original orchestration
manuscript; 62 p.
49/6
Cuban Overture
37 copyist manuscript orchestral
parts
50/1
Fantasy on George Gershwin's Porgy and
Bess, for two pianos, 1951
Printed score; 43 p.
Note: By Percy Grainger
New York: Gershwin Publishing Corp.,
c1951
50/2
I Got Rhythm Variations
GG holograph manuscript sketches; [7]
p.
50/3
I Got Rhythm Variations
GG holograph manuscript short score; 36
p.
Bound
I Got Rhythm Variations
GG holograph manuscript orchestral score;
73 p.
Note : Finished 1934 January 6
50/4
I Got Rhythm Variations
Copyist manuscript piano part; 15
p.
Note: Emendations chiefly in the hand
of GG
50/5
I Got Rhythm Variations
GG holograph manuscript program outline;
[1] p.
Laid in: IG holograph notes; [2] p.
50/6
Lullaby [piano solo
version]
GG holograph manuscript piano score; [3]
p.
50/7
Lullaby [string quartet
version]
Four copyist manuscript parts
Laid in: Letter from IG to Harold
Spivacke, 1967 March 8
50/8
Novelette
GG holograph manuscript piano sketch; [2]
p.
50/9
Novelette in Fourths
Copyist manuscript piano score; [4]
p.
50/10
Orchestral Selection from George
Gershwin's Porgy and Bess
25 printed scores and parts
Note: By Hans Spialek
Laid in: IG holograph note, 1965 June
14
135/22
A Piece for Four Strings
GG holograph score for viola; [4]
p.
Note : Gershwin's intention regarding
the performance force for this work is unknown
50/11
Porgy and Bess Selection. Arrangement
for concert band
Printed parts
Note : By Robert Russell Bennett
50/12
Prelude I
Copyist manuscript piano score; 5
p.
Emendations in an unidentified
hand
50/13
Prelude II
Copyist manuscript piano score; 5
p.
Note : Emendations in an unidentified
hand
50/14
Prelude III
GG holograph manuscript piano score; [1]
p.
Note: Incomplete
50/15
Prelude III
Copyist manuscript piano score; 6
p.
50/15
Prelude III
Manuscript piano score; [4] p.
Note: Incomplete
135/18
Preludes for Piano, 1927
Printed piano score; 12 p.
New York: New World Music, c1927
Note: Inscribed to Alexander Borovsky,
1931 April 17
51/1
Prelude in G Major?, 1923 August
30
GG holograph manuscript piano score; [1]
p.
Note: Incomplete
51/2
Prelude in G Major?, 1923 August
30
Manuscript piano score; [1] p.
Note: Incomplete
51/3
Prelude in G Minor, 1925
January
GG holograph manuscript piano score; [1]
p.
In caption : Used as 3rd movement of
Concerto in F ; in the hand of IG
Note: Incomplete
Bound
Rhapsody in Blue, 1924 January
7
GG holograph manuscript for piano and
jazz band; 56 p.
Note : Page 56 is the last page of
manuscript notation, followed by blank pages numbered 59-61.
Bound
Rhapsody in Blue, 1926 February
23
Ferde Grofé's manuscript for theatre
orchestra and piano; [49] p.
Note: In some sources this manuscript
has been erroneously described as the symphonic orchestration. The
Library of Congress does not know of an extant Grofé or copyist
manuscript of the symphonic orchestration.
Bound
Rhapsody in Blue
GG's facsimile copy of Ferde Grofé's
symphonic orchestration; 128 p.
51/4
Rhapsody in Blue, 1925
11 printed parts
New York: Atlas Music: Harms,
c1925
Note: A complete set of this edition
may be found in the Grofé Collection
Note: Incomplete
51/5
Rhapsody in Blue, 1924
Bound, printed score for piano and jazz
band; 42 p.
New York: Harms, c1924
Note: Band part reduced for 2nd piano
51/6
Rhapsody in Blue, 1942
Bound, printed full score for piano and
symphony orchestra
New York: Harms, c1942
Note: Specially bound copy presented
to IG by the publisher
Laid in: IG holograph/typescript notes
and letters; [15] p.
Bound
Second Rhapsody, 1931
January
GG holograph original sketch manuscript;
[45] p.
Bound
Second Rhapsody, 1931 March 14-May
23
GG holograph original orchestration
manuscript; [76] p.
132/12
Second Rhapsody
GG holograph manuscript full score; p. 20
[i.e., 1 p.]
135/1
Second Rhapsody
GG holograph manuscript sketch; [1]
p.
In caption : From sketchbook of 2nd
Rhapsody; in the hand of GG
Note: The Music Division is not aware
of an existing Second Rhapsody
sketchbook from which this page would have been removed
51/7
Song Book, 1931
GG holograph manuscript piano scores; 75
p.
Note: Inscribed to Kay Swift, 1931 Oct
26
Laid in: GG holograph manuscript piano
score for "Who cares?"; [3] p.
52/1
Song Book, 1932
Printed piano scores; 167 p.
New York: Random House, c1932
Note: Limited first edition with color
illustrations
Note: Signed by GG and illustrator
Constantin Alajalov
53-55
Song File
The Song File is arranged in numerical order by the number given to each
composition by Ira Gershwin and Kay Swift during their collaboration on
The Shocking Miss Pilgrim .
53/1
#17 Sleepless Night
GG holograph manuscript piano-vocal
score; 3 p.
Note: No lyric
53/2
#17 Sleepless Night
Two copyist manuscript piano-vocal
scores; [3] p. each
Note: No lyric
53/2
#17 Sleepless Night
Copyist manuscript piano score; [3]
p.
Note: No lyric
53/2
#17 Sleepless Night
IG holograph lyric sheets; [2]
p.
53/2
#17 Sleepless Night
IG holograph envelope
53/3
#18 Ossining Time
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/3
#18 Ossining Time
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
53/3
#18 Ossining Time
Ozalid piano-vocal score; [2]
p.
Note: No lyric
53/4
#19 Special Love
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/4
#19 Special Love
Two copyist manuscript piano-vocal
scores; [2] p. each
Note: No lyric
53/4
#19 Special Love
Photocopy of copyist manuscript
piano-vocal score; [2] p.
53/4
#19 Special Love
Manuscript piano sketch in the hand of
Kay Swift; [1] p.
53/4
#19 Special Love
IG holograph/typescript lyric sheets; [7]
p.
Caption title on p. [3]: Saying my say
Caption title on p. [4]: Say my say
53/5
#20 My Honor Was at Stake
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/5
#20 My Honor Was at Stake
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
53/5
#20 My Honor Was at Stake
IG holograph/typescript lyric
sheet
53/6
#21 Brahmsy Tune
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
53/6
#21 Brahmsy Tune
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
53/6
#21 Brahmsy Tune
Ozalid piano-vocal score; [3]
p.
Note: No lyric
53/6
#21 Brahmsy Tune
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: No lyric
53/7
#22 Chickadee
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/7
#22 Chickadee
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
53/7
#22 Chickadee
Ozalid piano-vocal score; [2]
p.
Note: No lyric
53/8
#23 Hold On
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/8
#23 Hold On
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
53/8
#23 Hold On
IG holograph lyric sheets; [2]
p.
53/9
#24 52nd Floor
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
53/9
#24 52nd Floor
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
53/9
#24 52nd Floor
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: No lyric
53/9
#24 52nd Floor
Copyist manuscript piano score; [2]
p.
53/10
#25 I Won’t Give Up
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/10
#25 I Won’t Give Up
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
53/10
#25 I Won’t Give Up
IG holograph/typescript/photocopy of
lyric sheets; [3] p.
53/11
#26 The More I See You
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/11
#26 The More I See You
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
53/11
#26 The More I See You
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: No lyric
53/11
#26 The More I See You
IG holograph lyric sheets; [3]
p.
53/12
#27 One Minute More
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/12
#27 One Minute More
Two copyist manuscript piano-vocal
scores; [3] p. each
Note: No lyric
53/12
#27 One Minute More
IG holograph lyric sheet; [2]
p.
53/13
#28 You’ve Got It and I Want
It
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/13
#28 You’ve Got It and I Want
It
Two copyist manuscript piano-vocal
scores; [3] p. each
53/14
#29 How Long
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/14
#29 How Long
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
Note: Emendations in an unidentified
hand
53/14
#29 How Long
Photocopy of copyist manuscript
piano-vocal score; [3] p.
Note: No lyric
53/15
#30 What Can We Lose
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
53/15
#30 What Can We Lose
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
Note: Emendations in an unidentified
hand
53/15
#30 What Can We Lose
IG holograph/typescript lyric sheets; [2]
p.
53/16
#31 Slow Down
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/16
#31 Slow Down
Two copyist manuscript piano-vocal
scores; [2] p. each
Note: No lyric
53/17
#32 Three Quarter Blues
Manuscript piano score in the hand of Kay
Swift; [1, 2] p.
53/17
#32 Three Quarter Blues
Two copyist manuscript piano-vocal
scores; 3 p. each
Note: No lyric
53/17
#32 Three Quarter Blues
Ozalid piano-vocal score; 3 p.
Note: No lyric
53/18
#33 Untitled
Manuscript piano-vocal score in the hand
of Kay Swift; [2] p.
Note: No lyric
53/18
#33 Untitled
Two copyist manuscript piano-vocal
scores; [2] p. each
Note: No lyric
53/18
#33 Untitled
Ozalid piano-vocal score; [2]
p.
Note: No lyric
53/19
#34 Naughty Name
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/19
#34 Naughty Name
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
53/19
#34 Naughty Name
IG holograph/typescript lyric
sheet
53/20
#35 Doubting Thomas
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/20
#35 Doubting Thomas
Two copyist manuscript piano-vocal
scores; [3] p. each
53/20
#35 Doubting Thomas
Photocopy of manuscript piano-vocal score
in the hand of Kay Swift; [3] p.
Note: No lyric
Note: Annotated chords in an
unidentified hand
53/20
#35 Doubting Thomas
Manuscript/typescript lyric
sheet
53/21
#36 3-Note Waltz
Manuscript piano score in the hand of Kay
Swift; [1, 3] p.
53/21
#36 3-Note Waltz
Copyist manuscript piano score; [1, 3]
p.
53/22
#37 Thanks to You
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
53/22
#37 Thanks to You
Copyist manuscript piano-vocal score; [3]
p.
Note: No lyric
53/22
#37 Thanks to You
Photocopy of copyist manuscript
piano-vocal score; [3] p.
Note: No lyric
#38 Thanks to You
see
[Thanks
to You](thankstoyou) from Strike Up the
Band
54/1
#39 Untitled
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
54/1
#39 Untitled
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
54/2
#40 Violin piece
Manuscript piano-violin score in the hand
of Kay Swift; [1, 3] p.
54/2
#40 Violin piece
Two copyist manuscript piano-violin
scores; [3] p. each
54/2
#40 Violin piece
Copyist manuscript piano score; [2]
p.
54/3
#41 Listen to Reason
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
54/3
#41 Listen to Reason
Copyist manuscript piano-vocal score; [2]
p.
Note: No lyric
54/3
#41 Listen to Reason
Typescript lyric sheet
54/4
#42 Impromptu in Two Keys
see also
[Yellow
Blues](eastlyrics) lyric sheets
GG holograph manuscript piano sketch; [1,
2] p.
54/5
#42 Impromptu in Two Keys
see also
[Yellow
Blues](eastlyrics) lyric sheets
Manuscript piano score; [3] p.
54/5
#42 Impromptu in Two Keys
see also
[Yellow
Blues](eastlyrics) lyric sheets
Two copyist manuscript piano scores; [2]
p. each
54/5
#42 Impromptu in Two Keys
see also
[Yellow
Blues](eastlyrics) lyric sheets
Manuscript piano score fragment in the
hand of Kay Swift; [1] p.
#43 Comedy Dance
see
[Comedy
Dance](comdance) from Rosalie
#44 Ain't it Romantic
see
[Ain't it
Romantic](aintit) from Oh, Kay
54/6
#45 I Must Write a Song
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
54/6
#45 I Must Write a Song
Two copyist manuscript piano-vocal
scores; [1, 2] p. each
Note: No lyric
54/6
#45 I Must Write a Song
Photocopy of copyist manuscript
piano-vocal score; [2] p.
Note: No lyric
54/6
#45 I Must Write a Song
IG holograph lyric sheet
54/7
#46 Parade
Manuscript piano score in the hand of Kay
Swift; [1, 3] p.
54/7
#46 Parade
Copyist manuscript piano score; [2]
p.
54/8
#47 Real Ossining
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
54/8
#47 Real Ossining
Two copyist manuscript piano-vocal
scores; [1, 2] p. each
Note: No lyric
#48 Demon Rum
see
[Demon
Rum](demonrum) from Shocking Miss
Pilgrim
54/9
#49 Try
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
54/9
#49 Try
Two copyist manuscript piano-vocal
scores; [1, 2] p. each
Note: No lyric
54/10
#50 Ask Me Again
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
54/10
#50 Ask Me Again
Two copyist manuscript piano-vocal
scores; [1, 3] p. each
Note: No lyric
54/10
#50 Ask Me Again
Manuscript vocal part in the hand of Kay
Swift; [1] p.
Note: No lyric
54/10
#50 Ask Me Again
IG holograph/typescript lyric sheets;
[11] p.
Note: Lyric for "What Does it Mean?"
on p. [8]
#51 For You, for Me, for Evermore
see
[For You,
for Me, for Evermore](evermore) from The
Shocking Miss Pilgrim
#52 For You, for Me, for Ever
see
[For You,
for Me, for Evermore](evermore) from The
Shocking Miss Pilgrim
54/11
#53 Version A
Manuscript piano-vocal score in the hand
of Kay Swift; [2] p.
Note: No lyric
54/12
#54 Molly on the Shore
Manuscript piano-vocal score in the hand
of Kay Swift; [1] p.
Note: Incomplete, no lyric
Note: Notes on p. [2]
54/12
#54 Molly on the Shore
Manuscript piano score in the hand of Kay
Swift; [1] p.
Note: No apparent musical relation to
piano-vocal score
54/12
#54 Molly on the Shore
IG holograph/typescript lyric sheets; [2]
p.
#55 Freud and Jung and Adler
see
[Freud and
Jung and Adler](freud) from Pardon My
English
54/13
#56 Vague Ballad
Manuscript piano-vocal score in the hand
of Kay Swift; [2] p.
Note: No lyric
#57 All the Livelong Day
see
[All the
Livelong Day (And the Long, Long Night)](livelong) from Kiss Me, Stupid
54/14
#58 Wasting Time
Manuscript piano-vocal score in the hand
of Kay Swift; [2] p.
Note: No lyric
54/14
#58 Wasting Time
IG holograph/typescript lyric
sheet
54/15
#59 Sutton Place
Manuscript piano score in the hand of
William Daly; [2] p.
54/15
#59 Sutton Place
Manuscript piano score in the hand of Kay
Swift; [2] p.
54/15
#59 Sutton Place
Copyist manuscript piano score; [2]
p.
54/16
#60 Soprano tune
GG holograph manuscript sketch; [1]
p.
54/17
#60 Soprano tune
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/18
#61 Untitled
Manuscript piano-vocal score in the hand
of Kay Swift; [1] p.
Note: Incomplete
54/19
#62 Rainbow and You’re Still the Only
One
Manuscript piano-vocal score in the hand
of Kay Swift; [1] p.
54/20
#63A Warm Tune
Manuscript piano-vocal score in the hand
of Kay Swift; [1] p.
54/20
#63A Warm Tune
Copyist manuscript piano score; [1, 2]
p.
Note: Optional obbligato
54/20
#63A Warm Tune
Copyist manuscript piano score; [2]
p.
54/21
#63B Untitled
Manuscript piano score in the hand of Kay
Swift; [2] p.
54/21
#63B
Copyist manuscript piano score; [2]
p.
54/22
#64 Ever
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/23
#65 Narrative
Manuscript piano score in the hand of Kay
Swift; [2] p.
54/24
#66A Acid Tune
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/25
#66B One Step
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/26
#67 I Was Feeling Low
Manuscript piano score in the hand of Kay
Swift; [2] p.
In caption: marked “9” [by] G. G.
54/27
#68 Ingratiating Tune
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/28
#69 Anthemy fragment
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/29
#70 Untitled
Note : A notation on the packing
description indicates that this item was “Sir” or “Siren.”
Presumably the manuscript was removed, according to Michael
Feinstein.
#71 Together at Last
see
[Together
at Last](together) from Pardon My
English
#72 Meadow Serenade
see
[Meadow
Serenade](serenade) from Strike Up the
Band
#73 Duet -- Lonely Boy
see
[Lonely
Boy](lonelyboy) from Porgy and Bess
54/30
#74 I Must Remember
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/31
#75 Gertie Lawrence type
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/32
#76 Follies
Manuscript piano score in the hand of Kay
Swift; [1] p.
54/33
#77 Untitled
Manuscript piano score in the hand of Kay
Swift; [1] p.
Note : A notation on the packing
description indicates that this item was intended for East Is West , and that the manuscripts
were filed with that material.
54/34
#78 Rich fragment
Manuscript piano score fragment in the
hand of Kay Swift; [1] p.
54/35
#79 For Lily Pons
GG holograph manuscript piano-vocal
sketch; [4] p.
#80 Sing! Carry On!
see
[Sing! Carry
On!](carryon) from Strike Up the Band
54/36
#81 Sextette
Copyist manuscript piano-vocal score; 8
p.
Note: No lyric
Note: IG holograph lyric credit
54/36
#81 Sextette
Typescript lyric sheets [2] p.
Caption title: We’re Six Little Nieces
of our Uncle Sam
#82 When Our Ship Comes Sailing In
see
[When Our
Ship Comes Sailing In](ourship) from Oh,
Kay!
#83 Hoping That Someday You'd Care
see
[Hoping That
Someday You'd Care](hoping) from Strike Up
the Band
#84 Gushing
see
[Gushing](gushing) from Tell Me More
#85 Under the Cinnamon Tree
see
[Under the
Cinnamon Tree](cinnamon) from East is
West
#86 The Bad, Bad Men
see
[The Bad, Bad
Men](badmen) from Lady, Be Good!
#87 Adored One
see
[Adored
One](adoredone) from Show Girl
#88 Evening Star
see
[Evening
Star](eveningstar) from Lady, Be Good!
54/37
#89 Phoebe
Copyist manuscript piano score; [3]
p.
In caption: verse usable
Note: Emendations in an unidentified
hand
54/37
#89 Phoebe
IG holograph/typescript lyric sheets; [6]
p.
54/38
#90 It’s Wonderful How Love Can
Understand
Copyist manuscript piano-vocal score; [4]
p.
In caption : verse used; in the hand of
IG
Note: No lyric
54/38
#90 It’s Wonderful How Love Can
Understand
Copyist manuscript piano-vocal score
fragment; [2] p.
Note: No lyric
#91 Will You Remember Me
see
[Will You
Remember Me](remember) from Lady, Be
Good!
#92 Opening, Act II
see
[ Oh, This
Is Such a Lovely War [1927] ](lovelywar) from Strike Up the Band
54/39
#93 Look to the Stars
Copyist manuscript piano-vocal score; [4]
p.
54/39
#93 Look to the Stars
Typescript lyric sheet
54/40
#94 Fairyland Wedding
Copyist manuscript piano-vocal score; [5]
p.
Note: No lyric
54/40
#94 Fairyland Wedding
Typescript lyric sheet
55/1
#95 If We Had Known
Copyist manuscript piano-vocal score; [4]
p.
Note: Emendations in the hand of GG
55/1
#95 If We Had Known
Typescript lyric sheets; [2]
p.
55/2
#96 Bebe
Copyist manuscript piano-vocal score; [4]
p.
In caption : good verse, good can-can
chorus; in the hand of IG
Note: No lyric
55/3
#97 Barcelona
GG holograph manuscript piano-vocal
sketch; 3 p.
55/3
#97 Barcelona
Copyist manuscript piano-vocal score; 6
p.
Note: No lyric
55/4
#98 Beautiful Bird
Manuscript piano-vocal score in the hand
of Stephen O. Jones; 5 p.
55/4
#98 Beautiful Bird
IG holograph/typescript lyric sheets; [5]
p.
Note: Notes in the hand of GG on p.
[4]
#99 A Corner of Heaven with You
see also
[A Corner of
Heaven with You](corner) and [The Hurdy-Gurdy Man](hurdygurdy)
from Chopin Show
#100 Put Me to the Test
see
[Put Me to
the Test](test02) from A Damsel in
Distress
55/5
#101 I’m Afraid This Can’t (Won’t)
Last
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 1] p.
Note: Unfinished, no lyric
55/5
#101 I'm Afraid This Can't (Won't)
Last
IG holograph lyric sheet; [2]
p.
55/6
#102 You Just Keep on
Asking
Manuscript piano-vocal sketch in the hand
of Kay Swift; [1, 1] p.
55/6
#102 You Just Keep on
Asking
Typescript lyric sheet
55/7
#103 I Want Somebody
GG holograph manuscript piano-vocal
score; [1] p.
Note: Refrain only, no lyric
#104 Leave it to Love
see
[Leave it to
Love](leaveit) from Lady, Be Good!
#105 I’m a Poached Egg
see
[I'm a
Poached Egg](poached) from Kiss Me,
Stupid
55/8
#106 Gold Mine
Manuscript piano-vocal score in the hand
of Kay Swift; 2 p.
Note: Verse only, no lyric
#107 Gather-Ye-Rosebuds
see
[Gather-Ye-Rosebuds](rosebuds) from Tip
Toes
#108 Your Eyes, Your Smile
see
[Your Eyes,
Your Smile](youreyes) from Funny Face
#109 Acrobats
see
[Acrobats](acrobats) from Funny Face
55/9
#110 You’re Mighty Lucky
Copyist manuscript piano-vocal score; 12
[i.e. 1, 11] p.
Note: No lyric
55/9
#110 You're Mighty Lucky
Ozalid lyric sheet
55/10
#111 Untitled
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
On cover : dated June 8, 1930
55/10
#111 Untitled
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/11
#112 I Just Met an Angel
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
55/11
#112 I Just Met an Angel
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/12
#113 In Moderate Tempo
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
55/12
#113 In Moderate Tempo
Copyist manuscript piano-vocal score; [1,
2] p.
#114 You Can't Unscramble Scrambled
Eggs
see
[Girl
Crazy](unscramble)
55/13
#115 Machinery Going Mad
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
55/13
#115 Machinery Going Mad
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/14
#116 Opening II
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
55/14
#116 Opening II
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/15
#117 Hot
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
55/15
#117 Hot
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/16
#118 Opening I
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 3] p.
Note: No lyric
55/16
#118 Opening I
Copyist manuscript piano-vocal score; [1,
2] p.
Note: No lyric
55/17
#119 Humpty and Dumpty
Manuscript piano-vocal score in the hand
of Kay Swift; [1, 2] p.
Note: No lyric
55/17
#119 Humpty and Dumpty
Copyist manuscript piano-vocal score; [1,
1] p.
Note: No lyric
55/17
#119 Humpty and Dumpty
Photocopy of manuscript piano-vocal score
in the hand of Kay Swift; [2] p.
Note: No lyric
55/18
#120 Waltz
Manuscript piano-vocal score in the hand
of Kay Swift; [3] p.
Note: No lyric
55/19
#121 Piano piece
Copyist manuscript piano score; [3]
p.
55/19
#121 Piano piece
Copyist manuscript piano sketch; [1]
p.
55/20
#122 Ballad
Manuscript piano-vocal score in the hand
of Kay Swift; [1] p.
Note: Unfinished
#123 Fatherland, Mother of the Band
see
[Pardon
My English](motherband)
55/21
#124 Call Me John
Manuscript piano-vocal score in the hand
of Kay Swift; 2 p.
Note: 1st version
55/21
#124 Call Me John
Manuscript piano-vocal score in the hand
of Kay Swift; 2 p.
Note: 2nd version
55/21
#124 Call Me John
Manuscript piano score fragments in the
hand of Kay Swift; [3] p.
Laid in: Two holograph letters from
Kay Swift to IG, 1966 June 30; [1] p. each
Laid in: Holograph letter from Kay
Swift to IG, 1966 June 24; [1] p.
Laid in: Typescript letter from IG to
Kay Swift, 1966 July 12; [1] p.
Laid in: Kay Swift holograph envelope
#125 You Started It
see
[Delishious](started)
#126 Something Peculiar
see
[Piccadilly
to Broadway](peculiar)
56-57, 135, 139
Miscellaneous Music
The miscellaneous music is organized alphabetically by title.
56/1
Beautiful
GG holograph manuscript leadsheet; [1]
p.
56/2
A Corner of Heaven with You
see also
[The
Hurdy-Gurdy Man](hurdygurdy) from Chopin
Show
Copyist manuscript piano-vocal score; [4]
p.
Note: Lyric in pencil
56/2
A Corner of Heaven with You
see also
[The
Hurdy-Gurdy Man](hurdygurdy) from Chopin
Show
Ozalid piano-vocal score; [4]
p.
In caption : Same as "The Hurdy Gurdy
Man" but this is an earlier version; in the hand of IG
56/2
A Corner of Heaven with You
see also
[The
Hurdy-Gurdy Man](hurdygurdy) from Chopin
Show
Typescript lyric sheet
56/3
Dawn of a New Day
Sheet music
Note: IG holograph annotation
56/4
Don’t You Remember
Copyist and GG holograph manuscript
piano-vocal score; 2 p.
Note: Incomplete, no lyric
Note: Piano part and credit in hand of
GG
135/29
Elsie
GG holograph manuscript piano-vocal
score; [1] p.
135/30
Elsie
Lou Paley manuscript/typescript lyric
sheets; [2] p.
56/5
England
GG holograph manuscript piano-vocal
sketch; 10 p.
Note: No lyric
56/6
The Flapper
Copyist manuscript lead sheet; [3]
p.
56/7
Fugue
GG holograph manuscript short score; [2]
p.
Note: Incomplete
56/8
Good Little Tune
Manuscript piano-vocal score in the hand
of Albert Sirmay; 7 p.
Note: No lyric
56/8
Good Little Tune
Photocopy of lyric sheets; [2]
p.
Laid in: Letter from Al Kohn to Edgar
Carter, 1976 June 7
139/7
I Lost My Heart in the
Moonlight
Typescript lyric sheet; [1] p.
56/9
In the Heart of a Geisha
Photocopy of sheet music
Laid in: Letter from Melvin Parks to
IG, 1971 July 15
Laid in: Letter from IG to Melvin
Parks, 1971 July 29
56/10
Insert
GG holograph manuscript piano sketch; [1]
p.
56/11
An Introduction
GG holograph manuscript piano-vocal
sketch; [1] p.
56/12
Introduction Hot−Astaire
GG holograph manuscript short score; [2]
p.
Note: Incomplete
56/12
Introduction Hot−Astaire
GG holograph manuscript sketch with lyric
in the hand of IG on p. [3]
56/12
Introduction Hot−Astaire
GG holograph manuscript short score; [2]
p.
Note: Incomplete
56/13
Irish Dance
Stephen O. Jones holograph manuscript
full score; 3 p.
56/14
Japanese
Photocopy of Frank Saddler holograph
manuscript full score; 7 p.
56/15
King of Jazz
GG holograph manuscript piano-vocal
score; [4] p.
Note: No lyric
In caption: IG holograph credit
56/16
Long Long Ago on the Nile
GG holograph manuscript piano score; 2
p.
Laid in: GG holograph manuscript
sketch; [1] p.
56/17
Longing
GG holograph manuscript leadsheet; [1]
p.
56/18
March
GG holograph manuscript piano score; [3]
p.
Note: Verse only
Note: Key of B-flat major
56/19
March
GG holograph manuscript sketch; [1]
p.
In caption: Sept 16, [19]26 A. M.
Note: Key of G major
56/20
Mexican Dance
Frank Saddler holograph manuscript full
score; 24 p.
Laid in: IG typescript notes
56/21
Miscellaneous GG tunes
Manuscript in the hand of Kay Swift; [24]
p.
56/22
Miscellaneous sketches
GG holograph manuscripts; [3]
p.
Note: Includes "Shall We Dance?" on p.
[3]
56/23
Mischa, Yascha, Toscha, Sascha
Copyist manuscript piano-vocal score; [4]
p.
Note: Copyright information in the
hand of IG on p. [1]
Note: Inscribed by Fritz Kreisler on
p. [4] with an added cadenza for p. [3]
56/23
Mischa, Yascha, Toscha,
Sascha
Sheet music
Note: Limited edition (New York:
Random House, 1932)
56/23
Mischa, Yascha, Toscha,
Sascha
IG holograph/typescript lyric sheets;
[12] p.
56/24
No Question in My Heart
Photocopy of copyist manuscript
piano-vocal score; [4] p.
Note: T.B. Harms demonstration copy
Note: Music by Jerome Kern
56/24
No Question in My Heart
Typescript lyric sheet
56/25
Now That We are One
Typescript lyric sheet
56/26
O Land of Mine, America
Photocopy of piano-vocal score; [2]
p.
Note: Reproduced from Hearst
Newspapers article
56/27
Once There Were Two of Us
Typescript lyric sheet
Note: Music by Jerome Kern
56/28
One Step
Photocopy of GG holograph manuscript
leadsheet; [1] p.
56/29
Pastoral
GG holograph manuscript piano sketch; [1]
p.
56/30
Ragging the Traumerei
GG holograph manuscript piano-vocal
score; [3] p.
Note: No lyric
Laid in: Envelope with IG holograph
notes
56/31
The Revolution is Booming
GG holograph manuscript sketch; [1]
p.
56/32
Singing in the Rain
Manuscript piano-vocal score; 5
p.
56/32
Singing in the Rain
Typescript lyric sheets; [3]
p.
56/33
Spring Song
Manuscript melody sketch for violin; [1]
p.
Note: Found with Pardon My English Secaucus materials
57/1
Till Then
Typescript lyric sheet
57/20
West Point Walk
GG holograph manuscript leadsheet; [1]
p.
57/21
What I care!
Typescript lyric sheet; 1 p.
57/22
Women of America
Photocopy of copyist manuscript
piano-vocal score; [4] p.
Laid in: Typescript letter from Irene
Dayton to IG, 1962 November 19
Laid in: Three typescript letters from
Dave Gordon to IG, 1962 Oct 22, 1962 October 24, 1962 November 13
Laid in: Holograph letter from
Theodore Grouya to IG, 1976 January 16
Laid in: Typescript letter from IG to
Dave Gordon, 1962 November 14
139/8
You're a Dear - That's What You
Are
Typescript lyric sheet; [1] p.
139/9
You're the Witch Who is Bewitching
Me
Typescript lyric sheet; [1] p.
Note: IG holograph note in caption
57/2
Unidentified cello sketch
GG holograph manuscript; [1]
p.
135/19
Unidentified lyric
fragment
IG holograph manuscript; [1]
p.
57/3
Unidentified melody
sketches
GG holograph manuscript; [1]
p.
57/4
Unidentified melody
sketches
GG holograph manuscript; [1]
p.
57/5
Unidentified melody
sketches
GG holograph manuscript; [1]
p.
57/6
Unidentified melody
sketches
GG holograph manuscript; [2]
p.
57/7
Unidentified piano
sketches
GG holograph manuscript; [1]
p.
Note: Found with [Pay
Some Attention to Me](payattention) materials
57/8
Unidentified piano
sketches
GG holograph manuscript; [1]
p.
57/9
Unidentified piano
sketches
GG holograph manuscript; [1]
p.
57/10
Unidentified piano sketches, 1923
August 4
GG holograph manuscript; [1]
p.
57/11
Unidentified piano sketches, 1921
October 27
GG holograph manuscript; [2]
p.
57/12
Unidentified piano
sketches
GG holograph manuscript; [2]
p.
57/13
Unidentified piano
sketches
GG holograph manuscript; [2]
p.
57/14
Unidentified piano
sketches
GG holograph manuscript; [2]
p.
57/15
Unidentified piano-vocal
sketch
GG holograph manuscript; [3]
p.
57/16
Unidentified short score
sketches
GG holograph manuscript; [1]
p.
57/17
Unidentified short score
sketch
GG holograph manuscript fragment; [1]
p.
57/18
Unidentified short score
sketch
GG holograph manuscript; [2]
p.
57/19
Unidentified piece for
banjo
GG holograph manuscript leadsheet; [1]
p.
Laid in: Photocopy of photograph of
Bill Bowen and Fred Van Eps
58-59, 141
Music Notebooks and Composition Exercises
The music notebooks and composition exercises are organized
alphabetically by title.
58/1
501 W. 110th St. N.Y.C., 1921 October
6
GG holograph manuscript sketches; [1, 4]
p.
Contents:
- p. 1: unidentified study
- p. 3: Kitty’s Kisses
- p. 4: Titles of songs used in Oh,
Kay
- p. 5: Maybe
141/48
1936 Notebook
GG holograph manuscript sketch; [1]
p.
58/2
Black notebook
GG holograph manuscript sketches,
undated; 11 p.
Contents:
- p. 1: I Was Doing All Right
- p. 2: Wake Up, Brother, and Dance; unidentified
- p. 3: unidentified; My Honor Was at Stake [Titled: Hot
Dogs]
- p. 4: I Used to – but I Don’t Anymore; It’s Nice to
Know
- p. 5: Waltz; Yes, Yes, Oui, Oui
- p. 6: Hold On; unidentified
- p. 7: Love Is Here to Stay; Ask Me Again
- p. 8: unidentified; Simple as A.B.C.
- p. 9: unidentified; Unforgettable; I Got Rhythm
- p. 10: unidentified
- p. 11: unidentified
58/3
Composition exercises, 1923 January 29
and February 1
Two GG holograph manuscripts; [2] p.
each
Laid in: IG holograph notes; [1] p.
58/4
Figured choral, 1921 July
27
GG holograph manuscript short score; [1,
2] p.
Bound
Fragments, Sketches,
1929-1931
1929-1931
GG holograph manuscript; [84]
p.
Note: Formerly owned by Michael
Feinstein
Note: Occasional notations in the hand
of IG
Contents:
- p. 6: Liza
- p. 15: Embraceable You
- p. 17: Lady of the Moon; I Wants to Stay Here
- p. 20: I Speak English Now
- p. 38: My Sunday Fella
- p. 43: Oh You Kid
- p. 53: That Well-Known Smile
- p. 54: Pay Some Attention to Me
- p. 58: French Waltz
- p. 59: Barbary Coast
- p. 60: Embraceable You; But Not for Me
- p. 61: Barbary Coast; Embraceable You
- p. 62: Treat Me Rough
- p. 72: Love Is Sweeping the Country
- p. 76: Luckiest Man in the World
- p. 78: Delishious
58/5
Geo. M. Gershwin. tunes,
1916-1922
GG holograph manuscript sketches; [40]
p.
Note: Some sketches have lyrics in the
hand of IG
Contents:
- p. 1-2: Melodies
- p. 3-4: Beautiful Bird
- p. 5-6: Ain’t Love Grand
- p. 7-8: Year After Year [Titled: Moonlight]
- p. 8: He’s Gone
- p. 9-10: Nobody but You [untitled]
- p. 11: We’re Here Because
- p. 12: If I Only Had Somebody Like You
- p. 13: Isn’t it Wonderful
- p. 14: Who’s Winning; unidentified fragment
- p. 15: Melody
- p. 16: Helen of Troy
- p. 17: Yankee Doodle Blues [Titled: American Blues]
- p. 18: Foxtrot; unidentified fragment
- p. 19: Tune; unidentified fragment
- p. 20: Tune
- p. 21: When Do We Dance? [untitled]
- p. 22: unidentified
- p. 23: Somebody Loves Me [Titled: Tune]
- p. 24: How About a Boy? [Titled: One Step]; unidentified
fragment
- p. 25: unidentified; unidentified fragment; A Little
Bit
- p. 26: My Baby; unidentified fragment; Waltz; Little Jazz
Bird
- p. 27: unidentified fragments; Rag Tune (A Raggy
Rhythm)
- p. 28: unidentified fragments
- p. 29: Anything for You
- p. 30: unidentified fragments
- p. 31: Molly on the Shore; unidentified fragment
- p. 32: Naughty Baby [untitled]; unidentified fragment
- p. 33: Walking Home with Angeline [untitled]
- p. 34-35: unidentified fragments
- p. 36: unidentified fragment; Maybe [untitled]; unidentified
fragment
- p. 37-38: unidentified fragments
- p. 39: Waltz Hayseed; unidentified fragment; Tune
- p. 40: Theme; One Step; unidentified fragment
58/6
Girl Crazy [notebook], 1930
July
GG holograph manuscript sketches; [48]
p.
Laid in: IG holograph/typescript
notes; [6] p.
Contents:
- p. 1-6: Bronco Busters
- p. 9-12: The Gambler of the West
- p. 13: Of Thee
- p. 14: Tune; unidentified
- p. 15: unidentified fragment; Oh You Kid / Who’s Charming? / I
Want a Little More of What I Got Last Night; unidentified
fragment
- p. 16: unidentified – [Sweet Packard?]
- p. 17: How Beautiful [untitled]
- p. 18: Finale Mat; unidentified fragment; Some Girls Can Bake
a Pie
- p. 19: unidentified fragment; Because, Because; Garcon, S’il
Vous Plait
- p. 20: There’s No Stopping Us Now
- p. 21: Posterity Is Just around the Corner; Finale Mat
- p. 22: unidentified fragments
- p. 23: Love Is Sweeping the Country [untitled]
- p. 24-25: unidentified fragments
- p. 26: The Dimple on My Knee; Because, Because
[untitled]
- p. 27: Because, Because
- p. 28: Jilted; Love Walked In [untitled]
- p. 29: unidentified fragments
- p. 30: Entrance of Supreme Court Judges
- p. 31: Trumpeter Blow Your Golden Horn [Titled: Bless Our
President]; unidentified fragment
- p. 32: A Kiss for Cinderella [untitled]
- p. 33: Who Is the Lucky Girl to Be? [untitled]
- p. 34-37: I Was the Most Beautiful Blossom [Titled: Recitative
Diana]
- p. 38: Posterity Is Just around the Corner
- p. 39: Who Cares?
- p. 40: Come, Come to Jesus / Dawn of a New Day [untitled];
unidentified fragment
- p. 41-42: unidentified fragments
- p. 43: unidentified fragment; Union Square
- p. 44-50: unidentified fragments
58/7
Girl Crazy sketches
GG holograph manuscript; [4]
p.
Contents:
- p. 1: But Not for Me; Spanish
- p. 2: unidentified fragment; I Got Rhythm
- p. 3: Summer, Winter, Spring, and Fall; Hot
- p. 4: Tune; Tune
58/8
Harmony exercises
GG holograph manuscript; [2]
p.
58/8
Harmony exercises
GG holograph manuscript; [2]
p.
58/9
Kilenyi notebook, 1919
August
GG holograph manuscript; [27]
p.
58/10
Notebook, 1924 March-April
GG holograph manuscript; [23]
p.
Note: Chiefly unidentified sketches
Note: p. 16: first sketch for "The Man
I Love"
Laid in: IG typescript notes; [1] p.
58/11
Notebook A, Studies with Joseph
Schillinger, 1932
1932
Manuscript in the hand of GG and Joseph
Schillinger; [58] p.
Note: Chiefly in the hand of GG
Note: Self-caricature on cover
59/1
Notebook B, Studies with Joseph
Schillinger, 1932
1932
Manuscript in the hand of GG and Joseph
Schillinger; [77] p.
Note: Chiefly in the hand of GG
Laid in: IG holograph notes; [1] p.
59/2
Notebook C, Studies with Joseph
Schillinger, 1936
Manuscript in the hand of GG and Joseph
Schillinger; [41] p.
Note: Chiefly in the hand of GG
Laid in: IG holograph notes; [3] p.
59/3
Red tune book, 1922 September
26
GG holograph manuscript; [31]
p.
Note: Some sketches have IG holograph
lyric fragments
Laid in: IG typescript notes; [2] p.
Contents:
- p. 1: unidentified fragments
- p. 2: unidentified fragments; Blues
- p. 3: One Step; Tune
- p. 4: Let’s Be Lonesome Together [untitled]
- p. 5: Hang On to Me
- p. 6: unidentified fragment; Naughty Baby
- p. 7: unidentified
- p. 8: unidentified fragments
- p. 9: unidentified fragment; Play Me a Lowdown Tune
- p. 10: Virginia; The Sunshine Trail
- p. 11-16: unidentified fragments
- p. 17: Slow foxtrot; unidentified fragment
- p. 18: unidentified fragment; Paris
- p. 19: Where Is She?; The Matrimonial Handicap; Aarons
- p. 20: Weather Man; unidentified fragments
- p. 21: unidentified fragments; The Half of it, Dearie,
Blues
- p. 22-23: unidentified fragments
- p. 24: Toddle; unidentified fragment
- p. 25: Love Is in the Air [Titled: Theme]; unidentified
fragment; Flower Boat; unidentified fragment
- p. 26: unidentified fragments; Ukulele Lorelei; unidentified
fragments
- p. 27-28: unidentified fragments
- p. 29: When Toby Is Out of Town; What Is it about You Makes
Me; unidentified fragment
- p. 30: unidentified fragment; Leave it to Love
- p. 31: unidentified fragment; Opening cho.
Bound
T.B. Harms 62 W. 45th St., N.Y.C.
[notebook], 1922 December 22
Manuscript chiefly in the hand of GG; 23
p.
Note: Theory and composition exercises
Note: This item was formally housed in
Box 59, Folder 4; it was treated for conservation and subsequently
rehoused in a clamshell box.
59/5
Themes [notebook],
1924-1925
GG holograph manuscript; [1, 17]
p.
Laid in: IG typescript notes; [3] p.
p. 17: Piano pieces
Contents:
- p. 1: Southern Soil; [Rhapsody in
Blue?]; Rhapsody in Blue
[Titled: Piano theme against this]
- p. 2: [Prelude III?]; unidentified fragments; Rhapsody in Blue [untitled]
- p. 3: unidentified fragments; Harlem Serenade; [Prelude or
Sleepless Nights?]
- p. 4: [Prelude or Sleepless Nights?]
- p. 5-9: Concerto in F
[untitled]
- p. 10: [The Half of It, Dearie, Blues?]
- p. 11: Concerto in F
[untitled]
- p. 13: [An American in Paris?];
Strike Up the Band (1927)
[untitled]; unidentified fragment
- p. 15: unidentified fragment
- p. 16: Rhapsody in Blue
[untitled]
59/6
Tune book, [1933-1937]
GG holograph manuscript; [96]
p.
Note: Title annotations in the hands
of IG and Kay Swift
Laid in: IG typescript notes; 10 p.
Contents:
- p. 1: Stand Up and Fight; unidentified fragments
- p. 2: Chicadee; unidentified fragment
- p. 3: Special Love; unidentified fragments
- p. 4: First Lady and First Gent; unidentified fragments
- p. 5: unidentified fragment; Comes the Revolution;
unidentified fragments
- p. 6: Mine [Titled: Love Is O.K.]
- p. 7: Finale material; Verse to 3-note waltz
- p. 8-10: unidentified fragments
- p. 11: Revolution in Blue
- p. 12: Good Old Revolutions; March; unidentified
fragment
- p. 13: Waltz; March for a Ballet; unidentified fragment
- p. 14: unidentified fragment; Love Walked In; Mary
- p. 15: unidentified fragments
- p. 16: Blues; Crown; Melody for Crown
- p. 17: Crown Development; Crown-Robbins Fight
- p. 18-19: unidentified compositional studies
- p. 20-21: unidentified fragments
- p. 22: unidentified fragment; Spiritual
- p. 23: Cuban G.T.; Chromatic melody; Porgy
- p. 25: Serena
- p. 26: I Got Plenty o’ Nuthin’ [Titled: Porgy]
- p. 27-28: unidentified fragments
- p. 29: Choral effect
- p. 30: Tune
- p. 31: unidentified fragment; I Used to but I Don’t Anymore;
Jingle
- p. 32: It’s Nice to Know [Titled: Tune for Show]
- p. 33: [Cockeyed Strain for Ballet?]; unidentified fragment;
Ballet
- p. 34: G.T. Waltz; unidentified fragment
- p. 35: Southern style; Every Evenin’
- p. 36: Operetta
- p. 37: Chromatic tune; What’s the Big Idea
- p. 38: Atmospheric tune; unidentified fragment
- p. 39: Wake up, Brother, and Dance; unidentified
fragment
- p. 40: unidentified fragment; Conversational verse;
unidentified fragment
- p. 41: Tune; King of Swing
- p. 42: Canon starts here; King of Swing
- p. 43: Nostalgic; unidentified fragment
- p. 44: unidentified fragment; Good verse; Cho. Hot;
unidentified fragment
- p. 45: Hold On!; unidentified fragments
- p. 46: Instru; Prelude type
- p. 47: unidentified fragment; unidentified
- p. 48: The More I See You
- p. 49: I Sigh I Cry
- p. 50: I’m a Naughty Name; Bored; unidentified fragment
- p. 51: What Can We Lose; unidentified fragments
- p. 52: Who’d Ever Thought; unidentified fragment; Violin
piece
- p. 53: Slowly; Ballet; I’ve Got Beginner’s Luck
- p. 54: Strong Afterbeats; One Word Title
- p. 55: unidentified fragment; In the Nick of Time;
Verse
- p. 56: Prelude
- p. 57: Say the Word; unidentified fragment; Western
- p. 58: By Strauss; unidentified fragments
- p. 59: Pay Some Attention to Me; Smooth one step
- p. 60: I’ll Get You Yet; Just Another Rhumba [Titled: Cuban
Rhythm and A Certain Spanish Lady]; Listen to Reason
- p. 61: Melancholy; Mel; G.T.
- p. 62: They Can’t Take That Away from Me; unidentified
fragments
- p. 63: Siren; Waltz
- p. 64-65: unidentified fragments
- p. 66: unidentified fragment; They All Laughed
- p. 67: unidentified fragment; My Honor Was at Stake
- p. 68: unidentified fragment; Slap That Bass; I Do the Right
Thing but at the Wrong Time
- p. 69: unidentified fragments
- p. 70: They Can’t Take That Away from Me; I’ve Got Beginner’s
Luck
- p. 71: Try; unidentified fragment; I’m Myself Again;
Rhythm
- p. 72: unidentified fragments
- p. 73: unidentified fragment; Stiff Upper Lip
- p. 74: Try; Verse
- p. 75: Nice Work if You Can Get It; unidentified
fragments
- p. 76: unidentified fragment; You’re So Unforgettable
- p. 77: I Can’t Be Bothered Now
- p. 78: Romantic theme for song?
- p. 79: Try; unidentified fragment
- p. 80: unidentified fragment
- p. 81: Southern tune; Sleepless Night
- p. 95: List of titles for a projected suite
- p. 96: Tune; unidentified fragment; Ballet?
60-61, 141
Lyric Sheets
The lyric sheets are divided into three subseries. The first subseries is
organized alphabetically by title. The second and third subseries,
"Untitled" and "Notes and Miscellany," are arranged alphabetically by
first line.
60
Titled Lyric Sheets
60/1
All of Them Was Friends of
Mine
60/2
Almost
60/3
Anglo Saxon Baby
60/4
Another You
60/5
At 11 p.m.
60/6
'Atta Girl
60/7
Back Home
60/8
Cheerio!
60/9
Dear Old Correspondence
School
60/10
Don't Let's Be Beastly to the
Germans
60/11
Don't You Remember
60/12
Fancy Work
60/13
Faults
60/14
Flower Boat
60/15
For No Reason at All
60/16
Geography
60/17
Hands Across the Table or Why I
Was Born or Reflection on Poker
60/18
Hard to Replace
60/19
The Hills of Hollywood or Home on
the Range
60/20
Hubby
60/21
I Know Somebody Who Loves
You
60/22
I Wanna Be Wanted by You; Nothing
to Look Forward to Blues; Words
60/23
I'll Get You Yet
60/24
I'll Supply the Title (You'll
Supply the Tune)
60/25
I'm a Naughty Name
60/26
I'm Crazy about Rhymes
60/27
I'm No Fool
60/28
Imagine (Me without My
You)
60/29
In the Wee Sma' Hours Sally and
Elmer Were Sweethearts
60/30
I've Turned the Corner
60/31
Jokes for a Song about
Jokes
60/32
Lament
60/33
Let's Show 'Em How This Country
Goes to Town
60/34
Little Rhythm-Go 'Way
60/35
Mary-Louise
60/36
Mortgage on My Castle in
Spain
60/37
The Nevada
60/38
A New Step Every Day
60/39
Nice to Know
60/40
Not So Long Ago
60/41
Oh You Kid!
60/42
Paper House in Japan
60/43
Precious Moments
Wasted
60/44
Say it With [written with Lou
Paley]
60/45
Snookums
60/46
So It's Going to Happen after
All
60/47
Someone to Root Ror
60/48
Song about a Dance
60/49
Sporting, et. al.
60/50
Sweet Sorrow
60/51
Tell Me in the
Gloaming
60/52
Ten Little Boy Friends
60/53
That Well-Known Smile
141/49
They All Love Love
Laid in: Lawrence Stewart
typescript note; [1] p.
141/50
They All Remind Me of
You
Laid in: Lawrence Stewart
typescript note; [1] p.
60/54
The Time Has Come
60/55
Tropical
60/56
Turn to the Dreams
Ahead
60/57
What Can I Do?
60/58
What's Mine is Yours
60/59
What's the Big Idea?
60/60
When There's a Chance to
Dance
60/61
The Whole World's Turning
Blue
60/62
Why Is It?
60/63
You're Too True to Be Good or He's
Too True to Be Good
60, 141, 144
Untitled Lyric Sheets
60/64
Adventurous life or Recollections
that will never leave me
60/65
All's right with the
world
60/66
Although I used to be a child
myself
60/67
Compilation from lyric notebook
no. 1
60/68
Compilation from lyric notebook
no. 2
60/69
A dream of a day
60/70
Give a viva for Havana
60/71
Gloomiest
144/8
He's a wonder
60/72
How's your family?
60/73
I care no whit for the witty
line
60/74
I own a golden tone
60/75
In the nick of time
60/76
It never rains but it
pours
60/77
I've always had a
mania
60/78
I've been looking for love all my
life
60/79
Let's be practical
60/80
The little things that
count
60/81
Midiron gridiron and better
outlook
60/82
A modern point of view
60/83
The moment you were
there
60/84
Nijinsky lived for
dancing
60/85
Our love will be
eternal
60/86
Out of the blue comes
you
60/87
Remember your annuity or platinum
living
141/51
She's the greatest
60/88
Some morning
60/89
Song like "Babbit &
Bromide"
60/90
The stars are still on
high
60/91
Tes yeus et al.
60/92
That's that
60/93
Those eyes so full of mystery, et
al.
60/94
When Cupid wings us
60/95
Whom?
60/96
Wowie! Zing!
60/97
You can sell me the Brooklyn
Bridge I can think of nothing grander
60/98
You never did that for me and What
a lovely evening
60/99
You show a dimple when you smile,
et al.
61
Notes and Miscellany
61/1
Addenda
61/2
Ask me my ambition
61/3
Baby me; The songwriters Mother
Goose; There should be a fortune in
61/4
Ballad - Movie actor hurt his
foot
61/5
Cakewalk, et al.
61/6
Calendar for 1926
61/7
Civil service examination for a
popular song lyrist
61/8
Coq d'or
61/9
Dance ideas
61/10
Dufy
61/11
East Indian diver
61/12
The epigram of Martial,
Jr.
61/13
The erstwhile real
estate
61/14
Every song can't be a
hit
61/15
Everybody can sing
61/16
Famous trios
61/17
For it seems that
suddenly
61/18
From a romantic notebook
1924
61/19
From A to Z
61/20
Glad I'm alive
61/21
Grammar Gurton needles
61/22
Grow young along with
me
61/23
He spilled the beans
61/24
"Hitch one's wagon to a star,
To"
61/25
How could I ever
61/26
How long
61/27
I have never seen, et
al.
61/28
I was naive
61/29
I'm much too tired
61/30
I'm so timid
61/31
I'm the guy, et al.
61/32
It's a must
61/33
List of aphorisms (not a song
title)
61/34
List of titles
61/35
Love songs gracious
61/36
Man of letters
61/37
The not impossible
wife
61/38
Notes on song about or for
comedian
61/39
Opening - These dizzy
days
61/40
Our little bag of
tricks
61/41
P.S.
61/42
Parody of Porter’s “Let’s Do It”
(incomplete)
61/43
Pay dirt for gold
diggers
61/44
Quatrains
61/45
Quatre quatrains (No lyrics,
envelope)
61/46
A reason for rhyme
61/47
Reflection
61/48
Reflections on investing in a play
one hasn't read
61/49
Revue notions
61/50
Rhymes
61/51
Right you are, et al.
61/52
Salt of the earth
61/53
Service
61/54
Show business
61/55
Snake in the grass or Lyric about
sins of Babylon
61/56
So called theme song
61/57
Spots we have never
visited
61/58
There are lovelies
61/59
This time I mean it you'd be hard
to replace
61/60
To--
61/61
"To--"
61/62
To all editors
61/63
To all editors (Blame W.S.
Gilbert)
61/64
To Sylvia (No longer of Greenwich
Village)
61/65
Very short story
61/66
The way we plan it
61/67
The well-dressed man
61/68
What a lucky guy I'm you're as
much a myth
61/69
What can we lose
61/70
When my uncle dies
61/71
A word with you
62
Music Owned by the Gershwins
The music owned by George and Ira is organized alphabetically; first by
composer, and then by composition title.
Arlen, Harold
62/1
Bloomer Girl
Bound sheet music and
Ozalids
Note: Inscribed to Lee and IG by
Anya and Harold Arlen
Laid in: IG typescript notes; [1]
p.
Bach, J.S.
62/2
Toccatas
Leipzig: C.F. Peters,
undated
Note: Signed by GG
Borchard, Adolphe
62/3
L’elan: Esquisse
Symphonique
Paris: Evette et Schaeffer,
1924
Note: Inscribed to GG by A.
Borchard
Bucharoff, Simon
62/4
Sechs Lieder
Leipzig: Steingräber-Verlag,
1924
Note: Inscribed to GG by S.
Bucharoff
Casella, Alfred
62/5
Serenata
Vienna: Universal-Edition,
1928
Note: Inscribed to GG by A.
Casella, 1929
Debussy, Claude
Note: GG bound these eight volumes
consisting of publications of Debussy's piano music, vocal music,
and piano arrangements of larger instrumental works
Laid in: IG descriptive note
Bound
Piano music, volume A
Bound
Piano music, volume B
Bound
Piano music, volume C
Bound
Music for piano four
hands
Bound
Songs
Bound
L'enfant prodigue; Le Demoiselle
élue; Le Matyr de St. Sébastien
Bound
Pelléas et
Mélisande
Bound
La boîte à
jouxjoux
62/6
Images. No. 3, Rondes de
Printemps
Paris: Durand, 1910
Note: Signed by GG
Grünberger, Alfred
62/7
Kleiner Walzer
Vienna: Gutmann, 1928
Note: Inscribed to GG by A.
Grünberger, 1928
Poulenc, Francis
Bound
Mouvements Perpétuels
London: J. & W. Chester,
1919
Note: Inscribed to GG by F.
Poulenc
Note: This item was formally housed
in Box 62, Folder 8; it was treated for conservation and
subsequently rehoused in a clamshell box.
62/9
Promenades
London: J. & W. Chester,
1923
Note: Signed by GG
Rimsky-Korsakov, N
62/10
Scheherazade
Arrangement for piano, four
hands
New York: G. Schirmer, 1918
Note: Inscribed by IG to Albert
Sirmay
Schönberg, Arnold
62/11
6 Kleine Klavierstücke
Leipzig: Universal-Edition,
1913
Note: Inscribed to GG, 1927
Taylor, Deems
Bound
The King's
Henchmen
New York: J. Fischer and Bros.,
1926
Note:
Inscribed to GG by Taylor
Laid in:
IG descriptive note
63-66, 136-137, 139-141, 144
Correspondence, 1915-1976
1915-1976
The correspondence consists of letters to and from George and Ira as well as
a small amount with other Gershwin family members and Alexander Smallens.
All are presented in a single alphabetical series, arranged by the name of
the other correspondent. Within each correspondent's chronological range,
every letter by George or Ira are given their own individual folder while
those of the correspondent may be grouped together. All condolence telegrams
received upon George’s death are placed together at the end, arranged
alphabetically by the senders’ names.
Abramson, Max
63/1
1918
September 11
1918 September 11
63/2
1918
September 12
1918 September 12
141/16
1918 September 20
63/3
1918
September 25
1918 September 25
American Consulate,
Netherlands
136/8
1936 June
10
1936 June 10
Re: obtaining a visa for Arthur
Kaufman
Armitage, Merle
63/4
1936-1937
1936-1937
63/5
1938 February 9
1938 February 9
63/6
1938, 1946, 1956 March
1938, 1946, 1956 March
63/7
1956 December 17
1956 December 17
63/8
1957 July 12
1957 July 12
63/9
1957 July 22
1957 July 22
63/10
1957 July 26
1957 July 26
63/11
1957 August 9
1957 August 9
63/12
1957 August 20 (from Ira)
1957 August 20
63/13
1957 August 20 (to Ira)
1957 August 20
63/14
1957 September 2-3
1957 September 2-3
63/15
1957 September 4
1957 September 4
63/16
1957 September 16
1957 September 16
63/17
1957 November 16
1957 November 16
63/18
1957 November 19
1957 November 19
63/19
1958 January - August 26
1958 January - August 26
63/20
1958 August 27
1958 August 27
63/21
1961 - 1965 May 5
1961 - 1965 May 5
63/22
1965 May 17
1965 May 17
63/23
1965 May 22
1965 May 22
Bachmann, Edwin
136/75
1923 March 9
1923 March 9
Benedeck, Theodore
141/17
1934 November 20
Berlin, Irving
63/24
1936 June 23
Bernheim, Tessie
63/25
1936 October 6
1936 October 6
Biddle, Alexander
63/26
1932 April 5
1932 April 5
Biddle, Mrs. Alexander
63/27
1932 April 27
1932 April 27
63/28
1932 June 6
1932 June 6
Blade, Bob, Jr.
144/9
1934 July 3
1934 July 3
Blau, Victor
63/29
1940 August 15-21
1940 August 15-21
63/30
1940 August 30
1940 August 30
Bob [Surname not given]
63/31
1937 March 4
1937 March 4
Boston Symphony Orchestra
63/32
1932 February 2
1932 February 2
Botkin, Benjamin
63/33
1915 February 12
1915 February 12
63/34
1917 September 21
1917 September 21
63/35
1918 May 20
1918 May 20
63/36
1923 January 12
1923 January 12
63/37
1929 August 22
1929 August 22
63/38
1966 August 18
1966 August 18
Botkin, Benjamin and Gertrude
63/39
1937 July 24
1937 July 24
Botkin, Henry "Harry"
63/40
1915 January 2
1915 January 2
63/41
1916 June 3
1916 June 3
63/42
1916 August 30
1916 August 30
63/43
1917 July 17
1917 July 17
63/44
1917 July 27
1917 July 27
Botkin, Henry to Benjamin and Gertrude
Botkin
63/45
1934 July 3
1934 July 3
Botkin, Henry "Harry" to Rose
Gershwin
63/46
1938 May 16
1938 May 16
Braun, Ms.
136/9
1926 November 12
1926 November 12
Brown, Irving
141/1
1963 July 12
1963 July 12
141/2
1964 May 12
1964 May 12
141/3
1964 May 18
1964 May 18
141/4
1964 June 4
1964 June 4
141/5
1964 July 14
1964 July 14
141/6
1969 July 18
1969 July 18
141/7
1970 July 18
1970 July 18
141/8
1970 July 23
1970 July 23
141/9
1971 February 23
1971 February 23
141/10
1971 February 26
1971 February 26
141/11
1971 March 19
1971 March 19
141/12
1971 April 1
1971 April 1
141/13
1972 January 6
1972 January 6
141/14
1972 October 12
1972 October 12
141/15
1972 October 17
1972 October 17
Bryant, Harry
63/47
undated
Burch, Gladys
141/52
1941 April 14
1941 April 14
Cass, Margaret
141/18
1929 October 23
Cassella, Alfredo (and Mario
Corti)
63/48
1931-1937
1931-37
Chaliapin, Marina
144/10
1933 May 28
1933 May 28
Chapell and Co.
63/49
1937 February - May 4
1937 February - May 4
63/50
1937 May 17
1937 May 17
63/51
1937 May 29
1937 May 29
63/52
1937 June 2
1937 June 2
Chord, Jack T.
141/19
1932 November 17
Columbia University (Pulitzer
Prize)
63/53
1932 May
1932 May
Cooper, Kathleen
141/32
1934 May 21
1934 May 21
Damrosch, Marie
63/54
1932 February
1932 February
Damrosch, Walter
63/55
1928 May - August 5
1928 May - August 5
63/56
1928 August 10
1928 August 10
63/57
1928 August 14 - 1933 and
undated
1928 August 14 - 1933
De Sylva, B.G.
63/58
1925 November 25
1925 November 25
Diamant, Helen
137/8
1928 September 18
1928 September 18
137/9
1929 January 9
1929 January 9
Fiedler, Arthur
141/20
1936
Finzi, Ada
141/21
1936 June 3 - 1937 April
18
Fischbach, John
139/21
1949 January 5
1949 January 5
Frankel, Haskel
63/59
1967 October 31
1967 October 31
Garbat, Abraham and Rachelle
63/60
1935 August 5
1935 August 5
Gershwin, George to Ira
Gershwin
63/61
1923 February 18
1923 February 18
140/1
1924 July 9
1924 July 9
140/2
1924 July 22
1924 July 22
140/3
1924 July 25
1924 July 25
140/4
1926 March 3
1926 March 3
140/5
1926 March 16
1926 March 16
140/6
1926 March 23
1926 March 23
140/7
1934 June 18?
1934 June 18?
140/8
1934 June 27
1934 June 27
140/9
1935 February 12
1935 February 12
140/10
1935 March 7
1935 March 7
140/11
1935 November 23
1935 November 23
140/12
1935 December 2
1935 December 2
Gershwin, Ira to George
Gershwin
140/13
1924 June 25
1924 June 25
140/14
1924 August 27
1924 August 27
140/15
1926 February 27
1926 February 27
140/16
1926 March 16
1926 March 16
140/17
1926 April 1
1926 April 1
140/18
1935 February 16
1935 February 16
140/19
1935 March 18
1935 March 18
Gershwin, Rose
140/20
1929 May 12
1929 May 12
140/21
1932 February 29
1932 February 29
140/22
1935 February 19
1935 February 19
63/62
1932 June or July
1932 June or July
63/63
1937 May 15
1937 May 15
63/64
1937 May 19
1937 May 19
63/65
1937 June 10
1937 June 10
63/66
1937 July 31
1937 July 31
63/67
1937 August 18
1937 August 18
63/68
1939 May 12
1939 May 12
Gershwin, Rose -- Correspondence with
others
63/69
1937-1943
1937-1943
Gex, Emile J., Jr.
63/70
1966 August 30
1966 August 30
Glueck, Sheldon
63/71
1932 October 14
1932 October 14
63/72
1932 November 14
1932 November 14
Godowsky, Frances Gershwin
63/73
1937 May 27
1937 May 27
63/74
1937 July
1937 July
Godowsky, Leopold, Jr.
136/76
1931?
1931?
Godowsky, Leopold, III
141/33
1973 June 9
1973 June 9
Goldberg, Albert
63/75
1949 February 28
1949 February 28
63/76
1949 March 17
1949 March 17
Goldberg, Elsie
136/71
1938 July 14
1938 July 14
136/72
1938 August 5
1938 August 5
136/73
1943 July 12
1943 July 12
Goldberg, Isaac
136/14
1929 July 31
1929 July 31
136/15
1929 August 17
1929 August 17
136/16
1929 September 22
1929 September 22
136/17
1929 December 12
1929 December 12
136/18
1930 March 14
1930 March 14
136/19
1930 May 26
1930 May 26
136/20
1931 February 7
1931 February 7
136/21
1931 May 12
1931 May 12
136/23
1931 June 30
1931 June 30
136/24
1931 July 5
1931 July 5
136/25
1931 July 9?
1931 July 9?
136/26
1931 July 21
1931 July 21
136/27
1931 August 1
1931 August 1
136/28
1931 August 5
1931 August 5
136/29
1931 September 14
1931 September 14
136/30
1931 October 29
1931 October 29
136/31
1931 November 10
1931 November 10
136/32
1931 December 24
1931 December 24
136/33
1931 December 31
1931 December 31
136/34
1932 February 9
1932 February 9
136/35
1932 February 29
1932 February 29
136/36
1932 March 21
1932 March 21
136/37
1932 April 27
1932 April 27
136/38
1932 May 6
1932 May 6
136/39
1932 July 7
1932 July 7
136/40
1932 August 28
1932 August 28
136/41
1932 October 8
1932 October 8
136/42
1932 October 15
1932 October 15
136/43
1932 December 21
1932 December 21
136/44
1933 January 3
1933 January 3
136/45
1933 February 1?
1933 February 1?
136/46
1933 March 24
1933 March 24
136/47
1933 March 29
1933 March 29
136/48
1933 June 6
1933 June 6
136/49
1933 August 16
1933 August 16
136/50
1933 August 25
1933 August 25
136/51
1933 November 2
1933 November 2
136/52
1933 November 17
1933 November 17
136/53
1934 February 22
1934 February 22
136/54
1934 October 6
1934 October 6
136/55
1934 November 5
1934 November 5
136/56
1935 July 22
1935 July 22
136/57
1935 September 18
1935 September 18
136/58
1935 October 7 (from Kay
Swift?)
1935 October 7
136/59
1935 October 17
1935 October 17
136/60
1935 October 30
1935 October 30
136/61
1935 November 25 (from
Dorothy Drennan)
1935 November 25
136/62
1936 May 4
1936 May 4
136/63
1937 February 16
1937 February 16
136/64
1937 April 13
1937 April 13
136/65
1937 May 12
1937 May 12
136/66
1937 July 25
1937 July 25
136/67
1937 August 22
1937 August 22
136/68
1937? August 25
1937? August 25
136/69
1937 December 7
1937 December 7
136/70
1938 April 13
1938 April 13
Goldberg, L.H.
63/77
1932 July 14
1932 July 14
Gould, Mr.
63/78
[No year] April 5
April 5
Graves, Nellie
141/22
1933 March 24
Greenfield, J.C.
63/79
1937 March 4
1937 March 4
Greiner, A.W.
see
[Steinway and
Sons](steinway)
Hamilton, Charles
see also
[Neuer, Cora
H.](neuer)
64/1
1960 June 24
1960 June 24
64/2
1960 July 1
1960 July 1
Hanenfeldt, Zenaide
64/3
1936 August 17
1936 August 17
64/4
1936 August 24
1936 August 24
64/5
1936 September 2
1936 September 2
64/6
1936 September 8
1936 September 8
64/7
1936 September 10
1936 September 10
64/8
1936 September 11
1936 September 11
64/9
1936 September 18
1936 September 18
64/10
1936 October 13
1936 October 13
64/11
1936 October 22
1936 October 22
64/12
1936 November 4
1936 November 4
64/13
1936 November 6-16
1936 November 6-16
64/14
1936 November 23
1936 November 23
64/15
1936 December 22
1936 December 22
64/16
1937 January 8
1937 January 8
64/17
1937 January 25
1937 January 25
64/18
1937 February 18
1937 February 18
64/19
1937 April 12
1937 April 12
64/20
1937 April 15 - June
1937 April 15 - June
Hearst, Millicent
64/21
1931 November 17
1931 November 17
Heyward, Dorothy
136/1
1936?
1936?
Heyward, DuBose
64/22
1932
1932
64/23
1933
1933
64/24
1934
1934
64/25
1937
1937
Heyward, Jane
64/26
1935 October 18
1935 October 18
Higgins, Gertrude (Mrs. Wilbur
W.)
141/23
1936 March 17 - April
Jablonski, Ed
64/27
1941 December 18
1941 December 18
Jones, Hank
64/28
1970 November 9
1970 November 9
Kahn, Otto H.
64/29
1926-1931
1926-1931
Kaufman, George S.
64/30
1933 Sunday
1933 Sunday
Kern, Jerome
136/81
1933 September 29
1933 September 29
Laid in: Publicity flyer for Gunda
Mordan
Koussevitzky, Serge
64/31
1929 October 28
1929 October 28
Kraft, H.S.
137/1
1936 August 24
1936 August 24
Kurath, Getrude Prokosch
141/30
1930 October 27
Lardner, Ring
64/32
1925-1932
1925-1932
Lazar, Irving "Swifty"
64/33
1969 March 5
1969 March 5
64/34
1972 December 4
1972 December 4
Loeffler, Charles Martin
64/35
1927-1932
1927-32
Longy Miquelle, Renée
64/36
undated
Madigan, Eddie
141/53
1936 March 12
1936 March 12
Malkiel, Henrietta
64/37
1930 February 3
1930 February 3
Malkin, Joseph
137/10
1933 September 16
1933 September 16
Martini, Paul
64/38
1976 November 15
1976 November 15
Merman, Ethel
136/77
1932 February?
1932 February?
Mordan, Gunde
64/39
1934 September 18
1934 September 18
Morrey, Marian
64/40
1935 June 6
1935 June 6
Morse, Grace
141/54
1929 June 7
1929 June 7
141/55
1929 October 2
1929 October 2
Mosbacher, Emil
64/41
1936 September 22
1936 September 22
Mower, Margaret
64/42
1928 August 24
1928 August 24
Music Publishers Holding Corp.
64/43
1942, 1948 April 15
1942, 1948 April 15
64/44
1948 April 19
1948 April 19
64/45
1948, 1955
1948, 1955
Nadige, Countess De Ganny
64/46
1928 July 27
1928 July 27
Nat [Surname not given]
64/47
1927 June 7
1927 June 7
National Association of Performing
Arts
64/48
1937 July 27
1937 July 27
Neuer, Cora H.
141/24
1926 October 18
Laid in: IG letter to [Charles Hamilton](hamilton) Autographs, Inc., 1960
June 24
141/25
1933 September 19
Noguchi, Isamu
64/49
1933-1936
1933-36
O'Brien Jean
64/50
1927 August 10
1927 August 10
Olyanova, Nadya
137/47
1932 November 8
1932 November 8
Paley, Emily
64/51
1934 July 11
1934 July 11
64/52
1937 March 16
1937 March 16
Paley, William
141/56
1935 November 21
1935 November 21
Pallay, George
64/53
1931 April 14
Note : Incomplete; p. 1 only
64/54
1931 August 15
1931 August 15
64/55
1931 October 5
1931 October 5
64/56
1931 October 19
1931 October 19
64/57
1932 March 8
1932 March 8
64/58
1933 September 23
1933 September 23
64/59
1934 February 26
1934 February 26
64/60
1937 July
1937 July
Pallay, George to Pringle,
Aileen
64/61
1937 or later
1937
Philadelphia Grand Opera Co.
64/62
1931 April 18
1931 April 18
64/63
1931 April 26 - November
1931 April 26 - November
Porgy and Bess : Blevins Davis
139/10
1954, 1955 January - May
1954, 1955 January - May
139/11
1955 June - November and
undated
1955 June - November, undated
Porgy and Bess (Blevins Davis production):
Publicity
64/64
1955
1955
Pringle, Aileen
64/65
1930 November
1930 November
64/66
1931 January 30
1931 January 30
64/67
1931 March 2
1931 March 2
64/68
1931 March 25
1931 March 25
64/69
1931 June 30
1931 June 30
64/70
1931 August 17
1931 August 17
64/71
1931 November 23
1931 November 23
64/72
1931 December 25
1931 December 25
64/73
1931 December 31
1931 December 31
64/74
1932 January 29
1932 January 29
64/75
1932 December 23
1932 December 23
Reinach, Udo
141/26
1934 January 12
Reiner, Fritz
64/76
1942 November 21
1942 November 21
Rosenthal, Mildred
64/77
1934 June 13
1934 June 13
141/27
1936 May 26
Ruby, Harry
64/78
1960 September 15
1960 September 15
Schillinger, Joseph
64/79
1933 August 9
1933 August 9
Schirmer, Mabel
64/80
1926 March 6 (Envelope
only)
1926 March 6
136/10
1926 March 9
1926 March 9
136/11
1926 March 12?
1926 March 12?
64/81
1928 February 28
1928 February 28
64/82
1936 September 1
1936 September 1
64/83
1936 September 18
1936 September 18
64/84
1936 October 28
1936 October 28
64/85
1936 December 3
1936 December 3
64/86
1936 December 31
1936 December 31
136/2
1937 January 4
1937 January 4
136/12
1937 January
1937 January
64/87
1937 February 9
1937 February 9
136/3
1937 March 19
1937 March 19
64/88
1937 April 20
1937 April 20
64/89
1937 May 19
1937 May 19
Sirmay, Albert
65/1
1929-1930
1929-30
136/78
1933?
1933?
65/2
1935 February
1935 February
65/3
1935
1935
65/4
1936 September 8
1936 September 8
65/5
1936 November 24
1936 November 24
65/6
1937 March 15
1937 March 15
65/7
1937 April 29
1937 April 29
65/8
1937 September 11
1937 September 11
65/9
1952 May 20
1952 May 20
136/79
1953 March 16
1953 March 16
141/31
1964 June 1
Smallens, Alexander from Robert
Breen
137/24
1950 August 7
1950 August 7
Smallens, Alexander from Todd
Duncan
137/25
undated
undated
Smallens, Alexander from Eva
Jessye
137/26
1936-1983
1936-1983
Smallens, Alexander from Sigmund
Spaeth
137/27
undated
undated
Smallens, Alexander from Ernst
Haeusserman
137/28
undated
undated
Starr, J.D.
65/10
1933 November 21
1933 November 21
Steindler, Emanuel
65/11
1936 December 11
1936 December 11
Steinert, Lena (Mrs.
Alexander)
141/28
1936 March 18
Note: Includes an enclosure from Mrs.
Robert Hoffman
Steinway and Sons
65/12
1931 August 28
1931 August 28
Stern, Mrs. Edward
136/74
1952 April 17
1952 April 17
Stevens, Carol to Rose
Gershwin
65/13
1937 June 30
1937 June 30
Sutton, Horace
65/14
1958 September 10
1958 September 10
65/15
1958 October 20
1958 October 20
Swift, Kay (to Emily Paley)
65/16
1937 July 11
1937 July 11
Swift, Kay
65/17
1946 October 1
1946 October 1
65/18
1949 January 6
1949 January 6
65/19
1965 March 30
1965 March 30
65/20
1965 December 2
1965 December 2
65/21
1966 July 12
1966 July 12
Tamber, Selma
65/22
1936 September 19
1936 September 19
65/23
1936 September 30
1936 September 30
65/24
1936 December 5
1936 December 5
65/25
1936 December 23
1936 December 23
65/26
1937 March 20
1937 March 20
65/27
1937 May 12
1937 May 12
65/28
Thursday, undated
Terrell, St. John
65/29
1966 October 21
1966 October 21
Tirana, Rosamond Walling
65/30
1927 - 1928 September 25
1927-28 September 25
65/31
1928 September
1928 September
65/32
1929 before January 19
1929 before January 19
65/33
1929 January 19
1929 January 19
65/34
1929 January 29 - February
2
1929 January 29 - February 2
65/35
1929 February 7 or 14
1929 February 7 or 14
65/36
1929 late February
1929 late February
65/37
1929 March 1
1929 March 1
65/38
1929 March 9
1929 March 9
65/39
1929 April 29
1929 April 29
65/40
1929 late April? - May
14?
1929 late April? - May 14?
65/41
1929 May 19
1929 May 19
65/42
1929 July 4 - October 6
1929 July 4 - October 6
65/43
1929 October 10
1929 October 10
65/44
1929 November 6
1929 November 6
65/45
1929 November 21
1929 November 21
65/46
1930 January 29 - February
7
1930 January 29 - February 7
65/47
1930 February 15
1930 February 15
65/48
1930 February 18 or 25 - March
12
1930 February 18 or 25 - March 12
65/49
1930 March 21
1930 March 21
65/50
1930 March 21 - April 19
1930 March 21 - April 19
65/51
1930 April 24
1930 April 24
65/52
1930 April 30
1930 April 30
65/53
1930 May 10
1930 May 10
65/54
1930 May 11-18
1930 May 11-18
65/55
1930 June 3
1930 June 3
65/56
1930 June? - July 10
1930 June? - July 10
65/57
1930 July 17
1930 July 17
65/58
1930 late July - August 6
1930 late July - August 6
65/59
1930 August 29
1930 August 29
65/60
1930? summer - October
28?
1930? summer - October 28?
65/61
1931 January 19
1931 January 19
65/62
1931 January 31
1931 January 31
65/63
1931 June 17 - July 8
1931 June 17 - July 8
65/64
1931 July 12
1931 July 12
65/65
1931 July 18-29
1931 July 18-29
65/66
1931 August 3
1931 August 3
65/67
1931 September 5
1931 September 5
Tirana, Rosamond Walling (on Goldberg:
George Gershwin dust jacket)
65/68
1931 early September
1931 early September
Tirana Rosamond Walling
65/69
1931 September 24 - 1933 March
1
1931 September 24 - 1933 March 1
65/70
undated, before 1937
1937
65/71
1947 October 29, 1959 January
6-22
1947 October 29, 1959 January 6 - 22
65/72
undated, after 1937
1937
Van Norman, Julia
65/73
1927 July 13
1927 July 13
65/74
1928 February 1
1928 February 1
65/75
1928 March 10 [Envelope
only]
1928 March 10
65/76
1928 August 18
1928 August 18
65/77
1929 March 5
1929 March 5
65/78
1932 September 28
1932 September 28
65/79
1932 October - December
1932 October - December
65/80
1933 January - April
1933 January - April
66/1
1933 May - July
1933 May - July
66/2
1933 August - November
1933 August - November
66/3
1934 February - March
1934 February - March
66/4
1935 August 5
1935 August 5
66/5
1936 September - October
1936 September - October
66/6
1936 November 6
1936 November 6
66/7
1936 November 11 - 1937 January
2
1936 November 11 - 1937 January 2
66/8
1937 January 9
1937 January 9
66/9
1937 January 20 - April 5
1937 January 20 - April 5
66/10
1937 April 15
1937 April 15
66/11
1937 April 19 - June 26
1937 April 19 - June 26
66/12
1937 June 30
1937 June 30
66/13
1937 July 1 and 24 and
undated
1937 July 1 and 24
66/14
1937 July 31
1937 July 31
66/15
1937 August 19
1937 August 19
66/16
1938 March 22
1938 March 22
Van Vechten, Carl
66/17
1924-26 and undated
1924-26
Waldron, Marga
66/18
1935 October 29
1935 October 29
Warner Bros.
66/19
1968 July
1968 July
Wattenberg, A.M.
66/20
1936 December 5
1936 December 5
66/21
1937 May 29
1937 May 29
Weill, Kurt
66/22
1940 September
1940 September
66/23
1941
1941
66/24
1942
1942
66/25
1943
1943
66/26
1944 February 27
1944 February 27
Wilesnki, R.H.
66/27
1936
1936
Wilk, Max
66/28
1971 October 12
1971 October 12
66/29
1971 October 29
1971 October 29
66/30
1971 November 12
1971 November 12
66/31
1971 December 13
1971 December 13
66/32
1972 January 14
1972 January 14
66/33
1972 January 18
1972 January 18
66/34
1972 January 27
1972 January 27
66/35
1972 February 15
1972 February 15
66/36
1972 November 7
1972 November 7
Winsen, Felix
66/37
1934 August 4
1934 August 4
Wodehouse, P.G.
66/38
1937 July 12
1937 July 12
Wright, Mrs. Cobina
66/39
1931 September 29
1931 September 29
Zilboorg, Gregory
137/11
1935 April 4 - October 7
1935 April 4 - October 7
Note: includes telegrams from Kay
Swift
137/12
1936 September 1
1936 September 1
137/13
1936 September 9
1936 September 9
137/14
1936 October 26
1936 October 26
137/15
1936 November 3
1936 November 3
137/16
1936 November 11
1936 November 11
137/17
1937 February 10
1937 February 10
137/18
1937 February 19
1937 February 19
137/19
1937 June 30 - July 12
1937 June 30 - July 12
Note: includes medical report from Dr.
Gabriel Segall
137/20
1937 July
1937 July
137/21
1938 October 7-17
1938 October 7-17
Condolence telegrams
66/40
A-D
66/41
E-J
66/42
K-R
66/43
S-Z
67-71, 132, 136-139, 141
Biographical Materials, 1913-1986
1913-1986
The biographical materials are divided into three subseries. The first and
second subseries, biographical materials of George and Ira Gershwin
respectively, are organized in publication order and chronologically within
when appropriate. The third subseries, Lyrics on
Several Occasions , is further divided into three subseries. The
first subseries consists of the typescript pages appearing in paginated
order. The second subseries, "Drafts," is organized in alphabetical order by
subject matter. The third subseries consists solely of the galley proof.
George Gershwin
137/2
Address book, circa 1931
1931
Bound
Autograph album from P.S. 25
graduation, 1913 June 25
1913 June 25
Note: Inscribed to Benjamin Rodman by
GG and other classmates; includes invitation, program, and class
photograph
67/4
Birth certificate
Photocopy
141/57
Birth certificate transcript, 1898 October 7
1898 October 7
Books
Bound
Armitage, Merle. Schoenberg: Articles by Schoenberg, Edward
Stein, and Others. New York, G. Schirmer, 1937
1937
Note:
Inscribed to GG by Arnold Schoenberg
Laid in:
IG descriptive note
Bound
Forsyth, Cecil. Orchestration. London, MacMillan,
1914
1914
Note:
Signed by GG
Laid in:
IG descriptive note
Bound
Galsworthy, John. Maid in Waiting. London, William
Heinemann, Ltd., 1931
1931
Note:
Inscribed to GG by Galsworthy
Laid in:
IG descriptive note
Bound
Handy, William C. Blues: An Anthology. New York, Boni,
1926
1926
Note:
Inscribed to GG by Handy and Abbe Niles
Laid in:
IG descriptive note
Bound
Stravinsky, Igor. Stravinsky, an Autobiography. New
York, Simon and Schuster, 1936
1936
Note:
Inscribed to GG by Stravinsky
Laid in:
IG descriptive note
Framed
Certificate, Induction into NYU
Musical Theatre Hall of Fame, 1993 November 10
1993 November 10
67/1
Citation, National Association of
Performing Artists, 1937
1937
67/2
Diary of Paul Mueller, George
Gershwin's butler, 1934-1936
1934-1936
Laid in: Note by IG, 2 p.; Typescript
first half of diary, 2 p.; Itinerary, Gershwin tour, 1936 January 13
- February 10, 2 p.
67/3
Essays by Rosamond Walling Tirana
(7), 1928, 1950, 1959,
1993 and undated
1928, 1950, 1959, 1993
67/5
Henry Botkin, essay
Photocopy
67/6
Hollywood Bowl Memorial Concert,
1937 September 8
1937 September 8
Four ticket stubs and envelope
141/58
Illness: schedule of last two months,
1937 June 12 -
July 11
1937 June 12 - July 11
IG holograph manuscript; [1]
p.
67/7
Invitation and admission card for
memorial service in Los Angeles, 1937 July 15
1937 July 15
67/8
A Journey to Greatness reviews, 1936
1936
Photocopy
67/9
Letter to Rose Gershwin from James T.
White & Co., Publishers, 1941 January 30
1941 January 30
67/10
List of likes and dislikes
GG holograph manuscript; 1 p.
67/11
The Bell Telephone Hour bound script,
1959 November 20
1959 November 20
67/12
Nellie Revell Radio Program broadcast
script, 1933 March 13
1933 March 13
67/13
Newspaper clippings from
scrapbook
Some photocopies
Note: Collected by Rose Gershwin
68/1
Newspaper clippings (miscellaneous)
1937-1938, 1963, 1973
and undated
1937-38, 1963, 1973
Some photocopies
68/2
Newspaper clippings (obituaries),
1937
1937
Photocopies
68/3
Obituary (Daily News), 1937 July 13
1937 July 13
136/22
Notes on collaborating with George,
written by Ira for Isaac Goldberg, 1931 June?
1931 June?
132/13
Pulitzer Prize Special Citation
awarded to George Gershwin, 1998
April 14
1998 April 14
68/4
Radio broadcast script, 1942 February 8
1942 February 8
Rhapsody in Blue
68/5
Screenplay by Clifford Odets,
1942 August 28
1942 August 28
68/6
Screenplay by Howard Koch, 1943 June 16
1943 June 16
69/1
Screenplay by Sonia Levien, 1943 January 30
1943 January 30
69/2
Story outline by Kathryn Scola
and Ira Gershwin, 1941
October 24
1941 October 24
139/12
Pre-production notes on music for
Gershwin film
Two IG typescript/holograph
manuscripts; 7 p. each
Laid in: Two Lawrence Stewart
notes; [1] p. each
141/59
Transcript of IG conferences with
Robert Rossen, 1941 August 13-18
1941 August 13-18
Typescript; 27 p.
Ira Gershwin
141/60
Birth certificate transcript, 1928 January 31
1928 January 31
69/3
California, Here I Came
Five typescript/holograph manuscript
drafts and IG description
141/61
Figures of speech, books, and theatre,
1909-1924
1909-1924
Three holograph manuscript lists; [14] p.
with typescript transcriptions; 9 p.
69/4
University of Maryland commencement
exercises program, 1966
1966
Note: Inscribed by Ira Gershwin to Ben
Botkin
Lyrics on Several Occasions
Typescript pages
70/1
1-89
70/2
90-195
70/3
196-309
70/4
310-end
Drafts
70/5
Variant title pages; foreword and
acknowledgements; list of possibilities
70/6
The Not Impossible He
Laid in: Lawrence Stewart
typescript note; [1] p.
70/7
Divers Duets
70/8
The Possessive Case
70/9
With Place Names
70/10
The Importunate Male
70/11
The Importunate Female
70/12
A Quartet of Trios
71/1
A Quintet of Findings
71/2
Sextet of Irreverence
71/3
Not for a Musicologist
71/4
A Set of Sagas
71/5
A Gathering of
Guidance
71/6
Ladies in Lament
71/7
Sound Effects
71/8
The Element of Time
71/9
Turns with Terpsichore
71/10
The State of the Union
Laid in: Lawrence Stewart
typescript note; [1] p.
71/11
A Miscellany of
Acclaim
71/12
Euphoria Revisited
71/13
Afterword
71/14
Worksheets; Saturday review,
1959 August 29
1959 August 29
141/62-64, 145/1
Preparatory notes, research, and
unused drafts
138
Galley proof
72-101, 137
Scrapbooks, 1913-1986
1913-1986
The scrapbooks are divided into three subseries. The first and second
subseries, "Biographical" and " Porgy and Bess
" respectively, are organized in chronological order. The third subseries,
"Miscellany," is organized by subject matter. Books 1-31 will be served on
microfilm: #93/20013.
Biographical
72/1
Book 1, 1913-1924
1913-1924
60 p. +
73/2
Book 2, 1925-1926
1925-1926
51 p. +
Includes: Concerto in F; Rhapsody in
Blue; Tell Me More; 135th Street; Lady
Be Good! (English production)
74/3
Book 3, 1927-1929
1927-1929
54 p. +
Includes:
Strike Up the Band; Funny Face; Rosalie; trip to Paris; Treasure
Girl; An American in Paris;
The Dybbuk; GG takes up painting;
Show Girl; Strike Up the Band (2nd version)
75/4
Book 4, 1930-1931
1930-1931
57 p. +
Includes:
Strike Up the Band; Girl Crazy; Of Thee
I Sing; Delicious
76/5
Book 5, 1932-1934
1932-1934
54 p. +
Includes:
Delicious; Of
Thee I Sing; Second
Rhapsody; Pardon My English;
Pulitzer Prize; father's obituary; Cuban
Overture; Let 'Em Eat Cake;
Arts Club of Chicago exhibition of the George Gershwin Collection of
Modern Paintings; national tour
77/6
Book 6, 1934 August-1939
1934 August-1939
78 p. +
Includes:
Life Begins at 8:40; Porgy and Bess; Ziegfeld Follies of 1936; Suite
from Porgy and Bess; Shall We
Dance; GG illness and death; A
Damsel in Distress; "Love Walked In" #1 tune; "Dawn of a
New Day" anthem for worlds fair
78/7
Book 7, 1940-1945
1940-1945
63 p. +
Includes:
Lady in the Dark; Girl Crazy (film); Toscanini conducts Rhapsody in Blue; Cover Girl; Lady in the
Dark (film); The Firebrand of
Florence; Where Do We Go from
Here? (film); Rhapsody in
Blue (film biography)
79/8
Book 8, 1946-1951
1946-1951
59 p. +
Includes:
Ziegfeld Follies of 1946 (film); Park Avenue; The
Shocking Miss Pilgrim (film); The
Barkleys of Broadway (film); death of mother Rose; death
of Kurt Weill; An American in Paris
(film)
80/9
Book 9, 1952-1955
1952-1955
70 p.
Includes:
An American in Paris (film) academy
awards; Of Thee I Sing (revival); Give a Girl a Break (film); Lady in the Dark (TV); A Star is Born (film); The Country Girl (film)
81/10
Book 10, 1956-1959
1956-1959
53 p.
Includes:
Funny Face (film); Ewen biography "The
Magic of Gershwin"; Ira's illness; Bell
Telephone Hour -"Gershwin" (TV); Ella Fitzgerald Gershwin
concert and recording
82/11
Book 11, 1960-1962
1960-1962
52 p.
Includes:
Oh, Kay (revival); Of Thee I Sing (production); Girl Crazy; The George and Ira Gershwin
Songbook; The Gershwin Years (TV)
83/12
Book 12, 1963-1964
1963-1964
50 p. +
Includes: ASCAP plaque on birthplace;
Oh, Kay!; 17 trunk songs unearthed
by Ira; The Songs of Harold Arlen (TV); fire at Chappell's in
London; death of Cole Porter; Kiss Me,
Stupid (film)
84/13
Book 13, 1965-1967
1965-1967
61 p. +
Includes:
Kiss Me, Stupid (film); When the Boys Meet the Girls (film);
George Gershwin's Theater (An Unusual
Entertainment); Honorary degree for Ira from University
of Maryland; Lady in the Dark (Pasadena
Playhouse); Star! (film)
85/14
Book 14, 1968-1972
1968-1972
100 p.
Includes:
Lady, Be Good! (London); Star! (film); Of
Thee I Sing (revival); Who
Cares (Balanchine ballet); Gershwin Festival (University
of Miami); Ira elected to the Songwriters Hall of Fame; 'S Wonderful, 'S Marvelous, 'S Gershwin
(TV); Of Thee I Sing (TV); Gershwin
exhibit at Library of Congress; George Gershwin stamp issued
86/15
Book 15, 1973-1975
1973-1975
82 p.
Includes: George Gershwin stamp; 75th
anniversary of George's birth; Gershwin Film Retrospective; 50th
Anniversary of Rhapsody in Blue; Lady Be Good! (at Goodspeed); Uris
Theater renamed The Gershwin; "Tribute to Ira Gershwin" Benefit;
"Mr. Words," a musical salute to Ira Gershwin; "Our Love Is Here to
Stay" with Steve and Eydie (TV)
87/16
Book 16, 1976-1982
1976-1982
124 p.
Includes: Lyrics and Lyricists "The
Lyrics of Ira Gershwin"; Tip Toes (at
Goodspeed); Let 'Em Eat Cake
(Berkshires); Funny Face (Studio Arena
and Goodspeed); "By Ira...By George" Tribute at Carnegie Hall; Gershwin Concert ballet by Jerome
Robbins; "Celebrating the Gershwins" at Brooklyn College; Secaucus
scores found
88/17
Book 17, 1983 January-May
1983 January-May
96 p.
Includes: Restored version of A Star is Born; Rosalie (concert revival); My One
and Only
89/18
Book 18, 1983 May-August
1983 May-August
92 p.
Includes:
My One and Only; Gershwin Tony Award
and tribute; renaming the Uris Theater to the Gershwin; Michael
Feinstein interview with Ira; restored version of A Star is Born
90/19
Book 19, 1983 August-1984 October
1983 August-1984 October
100 p.
Includes: Ira's death; Hang On To Me; Oh,
Kay! (at Chichester Festival); Strike Up the Band (revival); Gershwin Room at the
Library of Congress planned
91/20
Book 20, 1984 October-1985 December
1984 October-1985 December
84 p.
Includes: Ira's death; Gershwin Night
at the Library of Congress; My One and
Only; Gershwin Congressional Medal
91/21
Book 21, 1986 January-August
1986 January- August
32 p.
Includes:
My One and Only; George and Ira
Gershwin awarded the Academy's Trustee Award at the Grammys; Girl Crazy (at Seattle Rep)
Porgy and Bess
92/22
Book 1, 1935-1954 July
1935-1954 July
172 p.
Includes: Original production of Porgy and Bess, tours, 1942 revival, 1952
revival (that goes on to European tour and returns to Broadway)
93/23
Book 2, 1954 August-1956
1954 August-1956
72 p.
Includes:
Porgy and Bess in Paris, Zagreb,
Yugoslavia, Israel, Alexandria, Athens, Cairo, La Scala, Milan,
Rome, Lausanne, Geneva, Rio de Janeiro, Buenos Aires, Russia, West
Germany, Poland, Norway, and Czechoslovakia; Truman Capote's "The
Muses are Heard" (about Russian tour)
94/24
Book 3, 1957-1959
1957-1959
52 p.
Includes:
Porgy and Bess film; various recordings
94/25
Book 4, 1960-1965
1960-1965
50 p.
Includes:
Porgy and Bess film in London; NY City
Center Light Opera production; Russian student production; New
Zealand production; Coconut Grove Playhouse production; Vienna
production
95/26
Book 5, 1966-1976
1966-1976
62 p.
Includes:
Porgy and Bess Israeli production;
Charleston production; Berlin production; Serbian production;
Lisbon, Portugal production; LA Civic Light Opera production;
Atlanta production; recording with Cleveland Orchestra; Houston
Opera production (tour)
96/27
Book 6, 1977-1984
1977-1984
108 p.
Includes:
Porgy and Bess Houston Opera (tour
continued); 1978 European tour; "Todd Duncan: A Mighty Voice" (TV);
Houston Opera revival at Radio City; various other productions
97/28
Book 7, 1985-1986 August
1985-1986 August
64 p.
Includes:
Porgy and Bess 50th anniversary;
Metropolitan Opera production; DuBose Heyward Centennial
Celebration; 50th anniversary production at Charleston, South
Carolina; Glyndebourne Festival Opera 1986 production
Miscellany
98/29
Miscellaneous clippings: Volume 1,
1947-1971
1947-1971
44 p.
Includes: Articles and obituaries on
other composers, lyricists, writers, performers, the music industry,
etc.
98/30
Miscellaneous clippings: Volume 2,
1972-?
1972-?
102 p.
Includes: Articles and obituaries on
other composers, lyricists, writers, performers, the music industry,
etc.
99/31
Ira Gershwin Lyrics on Several Occasions, 1959-1977
1959-1977
48 p.
First scrapbooks
100/32
George Gershwin, 1909?-1920
1909?-1920
36 p. +
100/33
Ira Gershwin, 1908-1910
1908-1910
143 p.
101/34
George Gershwin memorial scrapbook,
1937 July 11 - August
11
1937 July 11 - August 11
560 p.
137/22
Frances Gershwin New York Times clipping, 1928 November 4
1928 November 4
102-108, 132-137, 139, 141, 144, 145
1
Iconography, 1894-1991
1894-1991
The iconography is divided into two subseries, "Photographs" and "Paintings
and drawings."
Photographs
The photographs are divided into five subseries. The first, fourth and
fifth subseries, "Photographs taken by George Gershwin," "Photographs
belonging to George Gershwin," and "Miscellaneous" photographs, are
organized alphabetically by subject's name. The second and third
subseries, "Photographs of George Gershwin and family and friends,"
"Photographs of Ira, Arthur, Frances Gershwin Godowsky, and other family
members and friends," are organized in chronological order.
Photographs taken by George
Gershwin
102/I-1
Irving Berlin
102/I-2
Irving Berlin
102/I-3
Henry Botkin
102/I-4
Gloria Braggioti
102/I-5
William Daly
102/I-6
William Daly
102/I-7
Ruby Elzy
102/I-8
George Gershwin
(Self portrait)
102/I-9
George Gershwin, Irving
Berlin
102/I-10
George Gershwin, Irving
Berlin
102/I-11
George Gershwin, Irving
Berlin
132/15
Leonore Gershwin, 1936
Note : Inscribed on mounting board
by George Gershwin
102/I-12
Rose Gershwin
102/I-13
Leopold Godowsky, Sr.
102/I-14
Leopold Godowsky, Sr.
102/I-15
Leopold Godowsky, Sr.
102/I-16
Kay Halle
102/I-17
Jerome Kern
Note : Painting by George Gershwin
102/I-18
Emily Paley
102/I-19
David Alfaro Siqueiros
102/I-20
David Alfaro Siqueiros,
unidentified
102/I-21
Kay Swift
102/I-22
Andrea Warburg, Kay
Warburg
Photographs of George Gershwin and
family and friends
103/II-1
Family: Arthur Gershwin, maid,
George Gershwin, Rose Gershwin, Ira Gershwin, circa 1900 , Brooklyn, NY
1900
103/II-2
George Gershwin, Arthur Gershwin,
Ira Gershwin, Rose Lagowitz, Coney Island, 1912
1912
103/II-2a
Arthur Gershwin, George Gershwin,
Coney Island, 1912
1912
137/3
Ira Gershwin, Frances Gershwin,
Arthur Gershwin, George Gershwin, Rose? Gershwin, Coney Island,
1912 ?
1912
132/16
George Gershwin, Atlantic City,
1916
1916
103/II-3
George Gershwin, circa 1918
1918
103//II-4
George Gershwin, circa 1918
1918
103/II-5
George Gershwin at
piano
103/II-5a
George Gershwin at piano, 1919
1919
Note : From Illustrated News
103/II-6
George Gershwin
103/II-7
Unidentified woman and man, Al
Jolson, George Gershwin, circa 1920
1920
103/II-7a
George Gershwin, circa 1920
1920
141/29
George Gershwin, 1924
1924
Note: Inscribed to "Maxie" (Max
Rosen, née Rosenzweig)
103/II-7b
George Gershwin at Pall Mall
Court, London, 1925
May
1925 May
103/II-8
George Gershwin, 1925 July
July 1925
103/II-9
George Gershwin, Whitehall Hotel,
NY, 1925
1925
103/II-10
Deems Taylor, Ferde Grofé, Paul
Whiteman, Blossom Seely, George Gershwin, 1925
1925
135/25
George Gershwin in hat, 1925
1925
139/13
George Gershwin, 1926 December
1926 December
Photographer: Nicholas Ház
Note: Inscribed to Frances
Gershwin Godowsky
141/37
George Gershwin hands holding
vase, 1926 December
1926 December
Photographer: Nicholas Ház
103/II-11
George Gershwin, 1927
1927
Photographer: Edward
Steichen
103/II-12
George Gershwin
Note : Third from left
136/80
George Gershwin, Arthur Gershwin,
Morris Gershwin, Ira Gershwin, and Rose Gershwin, 1927 or 1928?
1927 or 1928?
103/II-13
George Gershwin, Potsdamer Platz,
Berlin, 1928 April
1928 April
141/36
George Gershwin, Vienna, 1928
1928 April 28
103/II-14
Back row: Ira Gershwin, Leonore
Gershwin, George Gershwin, Emmerich Kalman, Henrietta Malkiel,
Vienna, 1928 April 28
1928 April 28
103/II-15
Franz Lehar, George Gershwin,
Vienna, 1928 May
1928 May
103/II-16
Ray Hornikel, James Rosenberg,
George Gershwin, Fritz Reiner, Richard Crooks, Cincinnati, 1929 February 28
1929 February 28
103/II-17
George Gershwin, unidentified
woman
103/II-18
George Gershwin in costume as
Groucho Marx, unidentified
103/II-19
George Gershwin in costume as
Groucho Marx, unidentified
103/II-20
Richard Rodgers, Justine
Johnstone, George Gershwin, Jules Glaenzer
103/II-21
George Gershwin, Wilbur Evans,
Oscar Strauss, unidentified man
103/II-22
George Gershwin, Miami, 1930
1930
103/II-23
George Gershwin, Miami, 1930
1930
135/23
George Gershwin, 1930
1930
Note : Inscribed to Ethel Merman
103/II-23a
George Gershwin, circa 1930
1930
103/II-24
George and Ira
Gershwin
103/II-25
George and Ira Gershwin, Beverly
Hills, CA, 1930
December
1930 December
103/II-26
George Gershwin, unidentified
people, Palm Springs, CA, 1930 November - 1931 February
1930 November - 1931 February
103/II-27
George Gershwin by swimming pool,
Palm Springs, CA, 1930
November - 1931 February
1930 November - 1931 February
Photographer: William Horace
Smith
103/II-28
George Gershwin, Hollywood, 1930 November - 1931
February
1930 November - 1931 February
103/II-29
George Gershwin, Hollywood, 1930 November - 1931
February
1930 November - 1931 February
103/II-30
Ira Gershwin, George Gershwin,
Guy Bolton, Hollywood, 1930
November - 1931 February
1930 November - 1931 February
103/II-31
Front: George S. Kaufman, Morrie
Ryskind; Rear: Ira and George Gershwin, circa 1931
1931
103/II-32
George Gershwin, Fritz
Reiner
103/II-33
George and Ira Gershwin, New
York, 1931 March
1931 March
103/II-34
Sigmund Spaeth, Luigi Pirandello,
George Gershwin
103/II-35
George Gershwin, New York, 1931 August 5
1931 August 5
Note : Opening of Manhattan Theatre
103/II-36
Serge Koussevitzky, George
Gershwin, 1932 January
29
1932 January 29
103/II-37
George Gershwin, Florence Rice,
New York, 1932
1932
103/II-38
George Gershwin, Jerome Kern,
circa 1933 June
1933 June
103/II-39
George Gershwin, Jerome Kern,
circa 1933 June
1933 June
103/II-40
George Gershwin, 1933
1933
Six images
Photographer: Carl Van
Vechten
103/II-41
George Gershwin in apartment at
132 E. 72nd Street, 1933-1935
1933-35
104/III-1
George Gershwin, Syracuse, New
York, 1934 January 18
1934 January 18
144/1
George Gershwin, DuBose Heyward,
Hendersonville, NC, 1934
1934
104/III-2
George Gershwin, Folly Island,
SC, 1934 July-August
1934 July-August
104/III-3
George Gershwin, Henry Botkin,
Folly Island, SC, 1934
July-August
1934 July-August
Two copies
Note: One copy signed by Botkin
104/III-4
George Gershwin, publicity
photograph for "Music by Gershwin," 1934
1934
Four prints and one modern
reproduction
104/III-5
George Gershwin
104/III-6
George Gershwin, DuBose Heyward,
Ira Gershwin, New York, 1935
1935
104/III-7
George Gershwin, DuBose Heyward,
Ira Gershwin, New York, 1935
1935
104/III-8
George Gershwin at the piano,
1935
1935
137/41
George Gershwin, 1936
1936
Note: Inscribed to Emanuel
Alexandre
104/III-9
George Gershwin, 1936?
1936
104/III-10
Luigi Pirandello, Rouben
Mamoulian, George Gershwin, New York, 1936
1936
104/III-11
George and Ira Gershwin, Newark,
1936 August 10
1936 August 10
104/III-12
George and Ira Gershwin arriving
in Hollywood, 1936 August
11
1936 August 11
139/14
George Gershwin, 1936
1936
Note: Inscribed to Edgar Selwyn?
1936 October 15
104/III-13
George Gershwin, Rose Gershwin,
1936
1936
104/III-14
George Gershwin, Ira Gershwin,
Fred Astaire, 1936
1936
104/III-15
Hermes Pan, Fred Astaire, Mark
Sandrich, Ginger Rogers, George Gershwin, Ira Gershwin,
Nathaniel Shilkret, 1936
1936
104/III-16
Nat Shilkret, George Gershwin,
1936
1936
104/III-17
Mark Sandrich, George Gershwin,
1936
1936
104/III-18
Mark Sandrich, George Gershwin,
1936
1936
104/III-19
George Gershwin with Schoenberg
portrait, late 1936
or early 1937
1936
1937
104/III-20
George Gershwin, unidentified
people, 1937?
1937
104/III-21
George Gershwin, Ginger Rogers,
1937
1937
104/III-22
George Gershwin, Anya
Arlen
104/III-23
George Gershwin, Los Angeles
Philharmonic, 1937 February
10
1937 February 10
104/III-24
George Gershwin conducting Los
Angeles Philharmonic, 1937
February 10
1937 February 10
104/III-25
George Gershwin, 1937 March
1937 March
136/7
George Gershwin, 1937 Spring?
1937 Spring
104/III-26
Ira and George Gershwin, Beverly
Hills, CA, 1937
Spring
1937
104/III-27
George and Ira Gershwin, Beverly
Hills, CA, 1937
Spring
1937
Note: Inscribed to Irving "Swifty"
Lazar by Ira Gershwin
104/III-28
Ira Gershwin, George
Gershwin
104/III-29
George Gershwin
Photographer: G. Maillard
Kesslere
137/4
George Gershwin, unidentified
woman, Palm Beach?
Photographs of Ira, Arthur, Frances
Gershwin Godowsky, and other family members and friends
105/IV-1
Ira Gershwin(?) as a child, circa
1900
1900
105/IV-1a
Leonore Strunsky Gershwin, Ira
Gershwin, Emily Strunsky Paley, circa 1926
1926
105/IV-2
Ira Gershwin, Beverly Hills,
1930
1930
105/IV-3
Ira Gershwin, "Self portrait in
yellow underwear," 1932
1932
105/IV-4
Ira Gershwin, 1935
1935
105/IV-5
Ira Gershwin
105/IV-6
Ira Gershwin
136/13
Leopold Godowsky, 1935 April 30
1935 April 30
Note: Inscribed to Frankie
105/IV-7
Ira Gershwin, Rose Gershwin,
1936 or 1937
1936 or 1937
105/IV-8
Harold Arlen, Ira Gershwin, 1936 or 1937
1936 or 1937
139/15
Arthur Gershwin, Rose Gershwin,
Ira Gershwin at George Gershwin's funeral, 1937
1937
105/IV-9
Marc Connelly, Henrietta Malkiel,
Leonore Gershwin, Ira Gershwin, Jesse Laskey, Blanche Laskey,
Paul Whiteman, San Pedro, CA, 1943
1943
105/IV-10
Oscar Levant, Jesse Laskey, Ira
Gershwin, Leonore Gershwin, Robert Alda during filming of Rhapsody in Blue , 1945
1945
105/IV-11
Max Dreyfus, Ira Gershwin, 1946
1946
105/IV-11a
Max Dreyfus, Ira
Gershwin
Note: Inscribed
105/IV-12
Leonore Gershwin, Oscar Levant,
Ira Gershwin, Arthur Freed at MGM Studios, 1950
1950
105/IV-13
Leontyne Price, Ira Gershwin,
Urylee Leonardos at Porgy and Bess
party, New York, 1953
1953
105/IV-14
Ira Gershwin, 1954
1954
105/IV-15
Harold Arlen, Ira Gershwin,
Horace Sutton, 1956
1956
105/IV-16
Ira Gershwin, 1952
1952
105/IV-17
Samuel Goldwyn, Ira Gershwin,
Andre Previn, 1958
1958
105/IV-18
Ira Gershwin, Beverly Hills,
1959
1959
105/IV-19
Leonore and Ira Gershwin, Beverly
Hills, 1959
1959
105/IV-20
Ira and Leonore Gershwin, 1960
1960
105/IV-21
Ira Gershwin, 1966
1966
105/IV-22
Ira and Leonore Gershwin, 1966
1966
105/IV-23
Ira Gershwin, Senator Everett
Dirksen, Stanley Adams, 1967
1967
105/IV-24
Stanley Adams and Ira
Gershwin
105/IV-25
Ira and Leonore Gershwin at
Gershwin Exhibit, Museum of the City of New York, 1968
1968
105/IV-25a
Frances Gershwin Godowsky in coat
and hat, 1907
1907
105/IV-25b
Frances Gershwin Godowsky in
diaper, 1907
1907
105/IV-25c
At beach, circa 1912
1912
1) Mary Bruskin
2) Abe and Kate Bruskin Wolpin,
Frances Gershwin
3) Kate Bruskin Wolpin, Frances
Gershwin
4) Abe Wolpin, Frances
Gershwin
105/IV-26
Frances Gershwin
Godowsky
105/IV-27
Frances Gershwin
Godowsky
105/IV-28
Arthur Gershwin and Frances
Gershwin Godowsky, 1963
1963
105/IV-29
Sixty-fifth anniversary of George
Gershwin's birth, Brooklyn, NY, 1963 September 26
1963 September 26
105/IV-30
New York Times article for George
Gershwin's birthday, 1963
September 23
1963 September 23
105/IV-31
Rose Gershwin, Annie Botkin,
early 1890s
1890s
105/IV-32
Rose Gershwin, 1894
1894
105/IV-33
Morris and Rose Gershwin, circa
1895
1895
136/82
Rose and Morris Gershwin and
unidentified people, 1932
February 14
1932 February 14
105/IV-34
Rose Gershwin, 1948
1948
136/83
Rose Gershwin, unidentified
people
105/IV-35
Bernard Bruskin, 1907
1907
Note: Inscribed to Albert Botkin
105/IV-36
Kate Wolpin (4), Bernard Bruskin,
1907
1907
105/IV-37
Bernard "Barney"
Bruskin
105/IV-38
Grandfather Bruskin
105/IV-39
Mary Bruskin
105/IV-40
Leonore S. Gershwin, 1943 April 22
1943 April 22
105/IV-41
Leonore S. Gershwin, 1955 April
1955 April
105/IV-42
Leonore S. Gershwin, 1984 August 4
1984 August 4
105/IV-43
Leonore S. Gershwin, Michael
Strunsky, James H. Billington, 1991 March 19
1991 March 19
Photographs belonging to George
Gershwin
Autographed or inscribed to George
Gershwin unless otherwise noted.
106/V-1
Adele Astaire
106/V-2
Fred and Adele Astaire
106/V-3
Alban Berg
106/V-4
Estelle Brody
106/V-5
Maurice Chevalier
106/V-6
June Clayworth
106/V-7
Albert Coates
106/V-8
William Merrigan Daly
106/V-9
Walter Damrosch
106/V-10
Jack Dempsey
106/V-11
Eva Gauthier
106/V-12
Vladimir Golschmann
106/V-13
Ann K. Graham
106/V-14
David Wark Griffith
Note: Not inscribed
106/V-15
DuBose Heyward
106/V-16
Josef Hofmann
106/V-17
Ernest Hutcheson
106/V-18
Fritz Kreisler
106/V-19
Alexander Lambert
106/V-20
Ferenc Lehar
106/V-21
Ferenc Lehar
107/VI-1
Charles Martin
Loeffler
107/VI-2
Rouben Mamoulian
107/VI-3
Elsa Maxwell
107/VI-4
Marilyn Miller
107/VI-5
Ferenc Molnar
107/VI-6
Edwina Mountbatten
107/VI-7
Edwina Mountbatten
107/VI-8
Edwina Mountbatten
Photographer: Dorothy
Wilding
107/VI-8a
Luigi Pirandello
107/VI-9
Aileen Pringle
107/VI-10
Ann Ronell
107/VI-11
Josefa (Josie)
Rosanska
107/VI-12
Arnold Schoenberg
107/VI-13
Arnold Schoenberg
Photographer: Edward Weston
107/VI-14
Bill Seeman
107/VI-15
Andres Segovia
107/VI-16
Oscar Shaw
107/VI-17
Gloria Swanson
107/VI-18
Alexander Tansman
107/VI-19
Lawrence Tibbett
107/VI-20
Ernst Toch
1017/VI-21
Unidentified girl
Note: Inscribed but not
autographed
107/VI-22
Herman Wasserman
Miscellaneous photographs
108/1
33 Riverside Drive
108/2
33 Riverside Drive
108/3
33 Riverside Drive, George
Gershwin's bedroom
108/4
33 Riverside Drive
137/46
Emanuel Alexandre, Nelson
Rockefeller, Menachem Mendel Schneerson, unidentified
(2)
108/6
Raymond Brossard: Interpretation
of George Gershwin's Rhapsody in
Blue
108/7
John W. Bubbles (5)
Photographer: Carl Van Vechten
108/8
Ruby Elzy
Photographer: Carl Van Vechten
137/42
George Gershwin's cadillac and
piano
Note: Includes clipping re:
Emanuel Alexandre
137/43
George Gershwin's furniture and
American in Paris partition
screen
Six color photographs
Note: Photographs taken in Emanuel
Alexandre's barn. Screen designed and painted by Henry Botkin
108/9
Gershwin family
mausoleum
137/7
Girl Crazy, 1930
1930
61 photographs
Note: Original cast during
out-of-town tryout outside the Shubert Theatre, Philadelphia
Laid in: Hotel flyer
108/22
"Portrait of George
Gershwin"
By Isamu Noguchi
108/12
Playbill
Porgy and Bess
108/15
Boston, 1935 October 10
1935 October 10
137/5
Todd Duncan, 1935
1935
136/5
J. Rosamond Johnson, Todd
Duncan, Anne Brown, 1935
1935
137/35
George Gershwin, Alexander
Smallens with cast at curtain call, 1935
1935
139/16
Avon Long as "Sportin' Life"
in Act II, Scene 2, 1942
1942
Laid in: Avon Long autograph
"To Charles," 1943 October 16
108/14
Berlin rehearsal (2), 1952 September 16
1952 September 16
108/13
European tour (2), 1952
1952
Gift of Albert Sirmay?
108/16
Leontyne Price, William
Warfield, 1952
September
1952 September
139/17
Montevideo, Uruguay (2),
1955 July
1955 July
108/17
Vienna, Act I, scene I
(2)
108/18
Vienna, Act III, scene
3
108/19
Vienna, Cast candids
(8)
108/20
Vienna, Miscellaneous
(6)
108/21
Metropolitan Opera production
(7), 1985
1985
136/6
J. Rosamond Johnson,
undated
108/10
New York premiere of film Rhapsody in Blue
108/23
Albert Sirmay
108/11
David Alfaro Siquieros: Picture of
"George in a Concert Hall"
137/6
Song of the Flame (film), 1930
1930
L: Bernice Claire; R: Alexander
Gray
108/24
Strike Up the Band, 1930
1930
L: Bobby Clark; R: Paul
McCullough
Note : Inscribed to Doris Carson
from Bobby Clark
139/18
Strike Up the Band, 1930
1930
Four contact sheets
Note: Includes typescript
identification list; [3] p.
108/25
Lillian Taz, 1952 September 14
1952 September 14
Inscribed to R.W. Tirana
108/5
Envelope from photographs by Carl
Van Vechten
Paintings and drawings
The paintings and drawings are arranged alphabetically by artist, and
then by subject.
108/26
ASCAP: George Gershwin
Reproduced pencil drawing
Note : One of a series of portraits of
musicians distributed by ASCAP
145
Botkin, Henry: Another room at 1019
N. Roxbury, 1937 June
1937 June
Watercolor
145
Botkin, Henry: Folly Beach, South
Carolina, 1934
1934
Watercolor
Note : Exterior of cottage
145
Botkin, Henry: Folly Beach, South
Carolina, 1934
1934
Watercolor
Note : Interior of cottage showing
George at piano
133/1
Ettinger, Churchill: George
Gershwin
Charcoal drawing
1
Gershwin, George: Henry Botkin, 1929 May
1929 May
Charcoal drawing
Gershwin Gallery
Gershwin, George: Self portrait,
1936
1936
Oil painting
141/38
Gershwin, George: Self portrait,
undated
Pencil sketch
Note: Includes GG signature from
canceled check; deframed
144
Gershwin, George: Frances Gershwin
Godowsky, late 1920s
1920s
Ink drawing
141/39
Gershwin, George: Leonore Strunsky
Gershwin?, undated
Pencil sketch
Gershwin Gallery
Gershwin, George: Jerome Kern, 1937
1937
Oil painting
Framed
Gershwin, George: Charles Martin
Loeffler
Pencil drawing
108/28
Gershwin, George: The Merry Musician,
vol. 1, no. 1
Holograph manuscript; [2] p.
133/5
Gershwin, George: Gregor Piatigorsky,
1931
1931
Ink drawing
108/29
Gershwin, George: Aileen Pringle,
1931 January 26
1931 January 26
Pencil drawing
Framed
Gershwin, George: Arnold
Schoenberg
Oil painting
144/12
Gershwin, George: Unknown, undated
undated
Pencil portrait
Gershwin Gallery
Gershwin, Ira: Self portrait, 1932
1932
Oil painting
108/31
Porgy and Bess set design
Two photo reproductions of
sketches
109, 132-134, 139, 143-145
2-7
Publicity Materials, 1925-1984
1925-1984
The publicity materials are organized alphabetically by subject matter.
132/19
An American in Paris
Poster, modern reproduction
139/22
Concerto in F
Poster
132/20
Delicious
Poster, modern reproduction
133/3
Festival di Gershwin, Venice
Poster
132/21
King of Jazz
Poster, modern reproduction
109/1
Lady in the Dark , 1943 June 22
1943 June 22
Review by Bill Grady
145/2
Lucky Strike advertisement, 1929
1929
144/11
Rhapsody in Blue: Hazel Scott, 1945
1945
Film still
109/2
Porgy (play), 1927
1927
Press packet
Porgy and Bess
Crawford production
109/3
Flyers, 1942
1942
109/4
Postcard advertisement, 1942
1942
Davis-Breen production (International
tour)
109/16
Articles, 1942, 1955
1942, 1955
109/5, 145/3
Clippings, 1952-1956
1952-1956
109/6
Flyer-tour, 1952-1955
1952-1955
109/15
Flyers, 1952-1955
1952-1955
134/1
Flyers, notices, 1952-1955
1952-1955
109/7
Overseas exhibit checklist, 1955 ?
1955
109/8
Porgy and Bess in the cold war,
1952
1952
Posters
134/2
Empire, Paris, 27 September
27 September
2
Russia, 1956
1956
134/3
State Opera of Berlin, 1952 September 11
1952 September 11
132/22
Teatro alla Scala, Milan,
Italy, 1955
1955
3
Teatro la Fenice, 1954 September
11-25
1954 September 22-25
4
Teatro Nuovo Quattro Fontane,
Rome
134/4
Theatre Royal de la Monnaie,
Brussels
134/5
Vienna (2), 1952 September 9 and 25
1952 September 9 and 25
5
Vienna, 1952 September 6-14
1952 September 6-14
6
Warsaw, 1956
1956
7
Zagreb, 1954 December 11-13
1954 September 22-25
134/6
Hallenstadion, Zurich (2),
1955 June
1955 June
109/9
Press notices: Lausanne,
Switzerland, 1955
1955
109/10
Reviews, 1955-1956
1955-1956
133/2
Teatro Communale di Firenze,
Florence, 1984
1984
Poster
Theatre Guild production
109/11
Flyer, 1935
1935
109/12
Souvenir booklet, 1935 ?
1935
109/13
Porgy and Bess (film), 1958
1958
Clippings
109/14
Tip Toes, 1925 November
1925 November
Review by Lee Somers
110-111, 135-137, 139, 141
Programs, 1918-1988
1918-1988
The programs are organized alphabetically by subject matter and then
chronologically.
110/1
An American in Paris (film), 1951 November
1951 November
New York: Radio City Music Hall
Four copies
144/3
Louise Dresser recital in honor of
Woodrow Wilson and party, 1918 March
4
1918 March 4
B.F. Keith's Theatre
110/2
Eva Gauthier recital, 1923 November 1
1923 November 1
New York: Aeolian Hall
110/3
An Experiment in Modern Music, 1924 February 12
1924 February 12
New York: Aeolian Hall
Note : Premiere performance of Rhapsody in Blue
137/23
Funny Face, 1928 February 6
1928 February 6
New York: Alvin Theatre
George Gershwin Memorial
Concert
110/4
Hollywood Bowl, CA, 1937 September 8
1937 September 8
Three copies
Laid in: Hollywood Reporter review,
1937 September 9
110/5
Los Angeles: Wilshire-Ebell Theatre,
1938 November 14
1938 November 14
110/6
Gershwin Concert-Omaha Junior League,
1934
1934
110/7
The Gershwin Years, 1971 November 14
1971 November 14
New York: Lincoln Center
110/8
Head Over Heels, 1918 July
1918 July
Boston: Tremont Theatre
110/9
Konzert der Wiener Symphoniker, 1952 November 30
1952 November 30
Stadtheater Wiener Neustadt
110/10
La-La Lucille!, 1919 May 12-18
1919 May 12-18
Colonial Theatre
Laid in: Note from Henry Botkin to George
Gershwin
110/11
Let 'Em Eat Cake, 1934 January
1934 January
Washington, DC: National Theatre
One program and fragments of one
program
110/12
Lewisohn Stadium Memorial Concert, 1937 August 9
1937 August 9
New York
Laid in: Review
110/13
Of Thee I Sing, 1932 February 29
1932 February 29
141/40
Pittsburgh Symphony Orchestra, 1933 November 19
Syria Mosque
Note: Autograph by GG
1933 November 19
Porgy and Bess
136/4
Boston: Colonial Theatre, 1935 September 30
1935 September 30
110/14
Merle Armitage production, 1938
1938
Note: Inscribed to Emanuel Alexandre
by IG
135/10
Merle Armitage production, 1938
1938
Note: Owned by J. Rosamond Johnson;
inscribed to him by members of the cast and crew
Cheryl Crawford production
110/15
New York, 1942 March 22
1942 March 22
137/29
Columbus: Davidson Theatre, 1943 February 15
1943 February 15
137/30
Seattle: Moore Theatre, 1943 May 31
1943 May 31
Davis-Breen production
144/2
Dallas, Texas, State Fair Musicals,
1952
1952
110/16
Paris, 1952 February - March?
1952 February - March?
110/17
Vienna, 1952 September 7-11
1952 September 7-11
110/18
Vienna, 1952 September
1952 September
110/19
1952
1952
110/20
London?, 1952?
1952?
Two copies, slight variations
137/31
Philadelphia: Forrest Theatre, 1953 November 30
1953 November 30
137/32
Washington, DC: National Theatre,
1953 December 21
1953 December 21
110/21
German, 1953 ?
1953
135/20
1953-1954 ?
1953-1954
137/33
Richmond: Mosque Theatre, 1954? January 18
1954? January 18
110/22
Tel Aviv: Habinah, 1955 January 26-30
1955 January 26-30
Five copies
110/23
Barcelona: Gran Teatro del Liceo,
1955 February
1955 February
110/24
Paris: Théatre de l'Empire, 1955 February 16-March 1
1955 February 16-March 1
111/1
Florence, Italy, 1955 March 9-13
1955 March 9-13
111/2
Turino: Teatro Alfieri, 1955 April 9-19
1955 April 9-19
111/3
Rome: Teatro Nuovo Quattro Fontane,
1955 April
1955 April
111/4
São Paulo: Teatro Santano, 1955 July
1955 July
111/5
Montevideo, Uruguay: Teatro Solis,
1955 July 26-31
1955 July 26-31
111/6
Rio de Janeiro: Teatro Municipal,
1955 July ?
1955 July
111/7
Bogota: Teatro Columbia, 1955
September 15-18
Two copies
111/8
Cali, Columbia: Teatro Municipal,
1955 September 21-23
1955 September 21-23
Two copies
111/9
Lima, Peru: Teatro Municipal, 1955 September
1955 September
111/10
Moscow, 1955-1956
1955-1956
111/11
Moscow, 1956
1956
Two copies
111/12
Munich, 1960 April 1
1960 April 1
137/34
German, undated
Rhapsody in Blue
111/13-14
First performance at Aeolian Hall,
1924 February 12
1924 February 12
Two copies of general program
111/15
First performance at Aeolian Hall,
1924 February 12
1924 February 12
Souvenir program
Laid in: Ira Gershwin TLS to Benjamin
Botkin, 1969 May 15
144/4
First performance at Aeolian Hall,
1924 February 12
1924 February 12
Souvenir program with IG manuscript
annotations
111/16
Biopic souvenir program, 1945
1945
111/17
New Jersey: Newark Symphony Hall,
1980 March 30
1980 March 30
111/18
Second Rhapsody, 1932 January 29-30
1932 January 29-30
Boston: Symphony Hall
139/19
Strike Up the Band (5), 1927-1988
1927-1988
111/19
Tip Toes, 1925 November 24
1925 November 24
Washington, DC: National Theatre
112-121, 137
Financial Documents, 1919-1977
1919-1977
The financial documents are divided into five subseries. The first and
second subseries, "Royalty statements" and "Box office statements for Porgy and Bess," are organized chronologically.
The third, fourth and fifth subseries, "George Gershwin," "George Gershwin
Estate," and "Rose Gershwin," are organized alphabetically by subject matter
and then chronologically.
Royalty statements
112/1
1919
1919
112/2
1920
1920
112/3
1921
1921
112/4
1922
1922
112/5
1923
1923
113/1
1924
1924
113/2
1925
1925
113/3
1926
1926
113/4
1927
1927
113/5
1928
1928
113/6
1929
1929
113/7
1930
1930
113/8
1931
1931
113/9
1932
1932
113/10
1933
1933
114/1
1935-1937
1935-1937
114/2
1937
1937
114/3
1938-1940
1938-1940
114/4
1941-1942
1941-1942
114/5
1943-1949
1943-1949
114/6
1949-1952
1949-1952
114/7
1953-1954
1953-1954
114/8
1955
1955
114/9
1956
1956
114/10
1957
1957
115/1
1958
1958
115/2
1959
1959
115/3
1960-1963
1960-1963
115/4
1964
1964
115/5
1965
1965
115/6
1966
1966
115/7
1967
1967
115/8
1968
1968
115/9
1969-1971
1969-1971
115/10
1975
1975
Box office statements for Porgy and Bess
116/1
1942 January - March
1942 January - March
116/2
1942 April - May
1942 April - May
116/3
1942 June - September
1942 June - September
116/4
1942 October - November
1942 October - November
116/5
1942 December
1942 December
116/6
1943 January - February
1943 January - February
116/7
1943 March
1943 March
116/8
1943 May - October
1943 May - October
116/9
1943 November - December
1943 November - December
116/10
1944 January - February
1944 January - February
George Gershwin
116/11
George Gershwin bank book: The
National City Bank of NY, 1929-1937
1929-1937
116/12
George Gershwin bank book: Bank of
America, Beverly Hill Bank, 1936-1937
1936-1937
116/13
George Gershwin bank book: The Dry
Dock Savings Institution, 1913-1915
1913-1915
116/14
Certificate of taxpayer claiming
residency in CA, 1937
1937
116/15
George Gershwin canceled check, 1932 July 12
1932 July 12
116/16
Stock assignment forms, 1933 and undated
1933
137/39
Record book, "Deposits to the account
of George Gershwin," 1934-1937
1934-1937
George Gershwin Estate
117/1
Affidavits submitted, 1937-1938
1937-1938
118/1
Annual reports, 1932-1936
1932-1936
117/2
Appraisal of assets (Emanuel Alexandre
draft), undated
117/3
Appraisal of assets, expenses, and
debts, 1937
1937
117/4
Appraisal of assets, 1938 January 18
1938 January 18
117/5
Appraisal of assets, expenses, and
deductions, 1938 May 21
1938 May 21
117/6
Appraisal of assets, liabilities,
income, 1933
1933
117/7
Appraisal of paintings,
undated
117/8
Appraisal of performance rights
(ASCAP), undated
117/9
Appraisal of securities, 1937 July 13
1937 July 13
117/10
Bank Book: The National City Bank of
NY, 1937
1937
117/11
Bank Book: Guaranty Trust Co. of NY,
1937
1937
Banking correspondence and
documents
117/12
1937
1937
117/13
1938-1942
1938-1942
Bank statements
118/2
1937 July - December
1937 July - December
118/3
1938 January - July
1938 January - July
118/4
1942
1942
118/5
1943 July - December
1943 July - December
117/14
Checks, 1937-1942
1937-1942
117/15
Empire Trust Co., 1938
1938
117/16
Funeral, burial papers, 1937-1943
1937-1943
Insurance correspondence and
documents
117/17
1929, 1937 July
1929, 1937 July
117/18
1937 August
1937 August
117/19
1937-1939
1937-1939
Investment correspondence and
documents
117/20
1937
1937
117/21
1938-1942 and undated
1938-1942
Investment receipts
117/22
1937 August -
December
1937 August - December
117/23
1938 January - July
1938 January - July
117/24
Legal fees, 1938 April 29
1938 April 29
117/25
Medical papers, 1937-1938
1937-1938
117/26
Miscellaneous financial, 1939-1944
1939-1944
117/27
Stock transfer forms, 1939 January
1939 January
117/28
Taxes, 1937-1944
1937-1944
Transaction Receipts
117/29
1937
1937
117/30
1938
1938
117/31
1940
1940
Rose Gershwin
119/1
Appraisal of assets and liabilities,
1950, 1970
1950, 1970
119/2
Appraisal of copyrights, 1950-1952
1950-1952
119/3
Appraisal of publishing stock, 1950-1951
1950-1951
Banking correspondence and
documents
119/4
1934, 1939-1943
1934, 1939-1943
119/5
1950-1959, 1964-1971
1950-1959, 1964-1971
Bank statements
120/1
1937 August
1937 August
120/2
1937 September
1937 September
120/3
1937 October
1937 October
120/4
1937 November
1937 November
120/5
1937 December
1937 December
120/6
1938 January -
September
1938 January - September
120/7
1938 October -
December
1938 October - December
120/8
1939 January
1939 January
120/9
1941 November -
December
1941 November - December
120/10
1942 January - April
1942 January - April
120/11
1942 May - September
1942 May - September
120/12
1942 October -
December
1942 October - December
120/13
1943 January
1943 January
120/14
1943 February
1943 February
120/15
1943 March
1943 March
120/16
1943 April
1943 April
120/17
1943 May
1943 May
120/18
1943 June
1943 June
120/19
1943 July
1943 July
120/20
1943 August
1943 August
120/21
1943 October
1943 October
120/22
1943 November
1943 November
120/23
1943 December
1943 December
120/24
1945 March
1945 March
120/25
1945 April
1945 April
120/26
1945 May
1945 May
120/27
1945 June
1945 June
120/28
1945 July
1945 July
120/29
1945 August
1945 August
120/30
1945 September
1945 September
120/31
1945 October
1945 October
120/32
1945 November
1945 November
120/33
1945 December
1945 December
120/34
1947
1947
119/6
Financial papers, 1937-1970 and undated
1937-1970
Financial statements
121/1
1962
1962
121/2
1963
1963
121/3
1964 June-December
1964 June-December
121/4
1965
1965
121/5
1966
1966
121/6
1967
1967
121/7
1968
1968
121/8
1969
1969
121/9
1970-1971
1970-1971
137/44
1975
1975
137/45
1977
1977
119/7
Insurance, 1935-1943 and undated
1935-1943
Investment receipts
119/8
1940-1943
1940-1943
119/9
1954-1955
1954-1955
119/10
1956
1956
119/11
1957
1957
119/12
1958-1959
1958-1959
119/13
1962-1972
1962-1972
121/10
Investment statements, 1949-1971
1949-1971
Investments
119/14
1937-1943
1937-1943
119/15
1950, 1955, 1965,
1971
1950, 1955, 1965, 1971
Stock receipts
119/16
Granberry & Co., 1937-1938
1937-1938
119/17
Guaranty Trust Company of NY,
1940
1940
121/11
Stock statements, 1937-1938
1937-1938
Taxes
119/18
1937-1945
1937-1945
119/19
1949-1953
1949-1953
119/20
1954-1961
1954-1961
119/21
1963-1968
1963-1968
119/22
Miscellaneous statements (non Rose or
George, various publishers), 1938, 1957, 1968-1971
1938, 1957, 1968-1971
122-130, 133, 137, 141
Legal Documents, 1898-1975
1898-1975
The legal documents are organized alphabetically by subject matter and then
chronologically.
122/1
Aarons, Alfred E., 1925
1925
122/2
The Aeolian [piano] Company, 1925
1925
122/3
Alexandre, Emanuel, 1916, 1944-1948 and undated
1916, 1944-1948
122/4
All at Sea, 1921
1921
122/5
An American in Paris (film), 1949-1952, 1971
1949-1952, 1971
122/6
ASCAP, 1935 and undated
1935
122/7
The Barkleys of Broadway, 1948-1949
1948-1949
122/8
Chappell & Co., Inc., 1935 September 25, October 14, 15 and
undated
1935 September 25, October 14, 15
122/9
Columbia Records, 1929
1929
122/10
A Damsel in Distress, 1937
1937
122/11
Delicious, 1930
1930
122/12
East is West, 1927-1931
1927-1931
122/13
E.R. Squibb & Sons radio broadcast (
1935 October 31), 1935 August 23, 29
1935 October 31
1935 August 23, 29
122/14
The Firebrand of Florence, 1945 January 8
1945 January 8
122/15
For Goodness Sake, 1923 March 31
1923 March 31
122/16
Ford dealers radio broadcast ( 1934 February 25), 1934 January 25
1934 February 25
1934 January 25
122/17
Funny Face, 1927-1936
1927-1936
144/5
Gershwin, George: grant power of attorney
to IG, 1937 July 8
1937 July 8
133/4
Gershwin, Morris, 1898 January 15
1898 January 15
Naturalization certificate
Gershwin Publishing Co.
122/18-19
1935 September
1935 September
122/20
1935, 1949, 1970 and
undated
1935, 1949, 1970 and undated
122/21
George White's Scandals, 1920-1921
1920-1921
122/22
Girl Crazy, 1931, 1938, 1944
1931, 1938, 1944
122/23
The Goldwyn Follies, 1936-1937
1936-1937
122/24
Harms publishing contract, 1923
1923
Harms, Inc.
122/25
1936
1936
122/26
1923 February 8
1923 February 8
122/27
Harms, Inc. and New World Music Corp.,
1936 July 16, 17; 1946 November
14, 21
1936 July 16, 17; 1946 November 14, 21
122/28
Harms, Inc. and New World Music Corp.,
agreement with IG, 1936 April
2
1936 April 2
122/29
Hollywood contracts, 1936
1936
122/30
Kraft radio broadcast ( 1935 September 19), 1935 September 6
1935 September 19
1935 September 6
123/1
La-La Lucille! Your money or your wife,
1919
1919
123/2
Lady, Be Good!, 1924-1926, 1940
1924-1926, 1940
Lady in the Dark
123/3
Limited edition score, 1941
1941
Laid in: IG note titled "Gertie refused
to sign! The Neverness of a Projected Limited Edition," 1967
123/4
1941 February 20
1941 February 20
123/5
Leo Reisman concert tour, 1934
1934
123/6
Let 'Em Eat Cake, 1933 July 21
1933 July 21
123/7
Life Begins at 8:40, 1934
1934
123/8
Lyons, Arthur, 1936
1936
123/9
Miscellaneous agreements, correpondence,
etc. 1927-1933
1927-1933
123/10
Miscellaneous memoranda and
correspondence (Wattenberg Law Office), 1934-1945
1934-1945
123/11
Morris Gest's Midnight Whirl, 1919 November 7
1919 November 7
New World Music Corp.
123/12
1927 May 24
1927 May 24
123/13
1927 June
1927 June
Of Thee I Sing
123/14
1931-1934
1931-1934
123/15
1932 March 18
1932 March 18
123/16
Plagiarism suit, 1932
1932
123/17
Contract, 1971 December 1
1971 December 1
123/18
Oh, Kay!, 1926-1931, 1936, 1944
1926-1931, 1936, 1944
123/19
Our Nell (based on play Hayseed), 1922
1922
123/20
Pardon My English, 1932 and undated
1932 and undated
123/21
Phillip Productions, Inc., 1917 March 15
1917 March 15
Porgy and Bess-Theatre Guild Archives
124/1
1927
1927
124/2
1928
1928
124/3
1929
1929
124/4
1932-1934
1932-1934
124/5
1935
1935
124/6
1936
1936
124/7
1937-1939
1937-1939
124/8
1941
1941
124/9
1942
1942
124/10
1943-1949
1943-1949
124/11
1950 January - May 14
1950 January - May 14
124/12
1950 May 15 - December
1950 May 15 - December
124/13
1951
1951
124/14
1952
1952
124/15
1953
1953
124/16
1954 January - July
1954 January - July
124/17
1954 August - December
1954 August - December
124/18
1955 January - February
1955 January - February
124/19
1955 March - December
1955 March - December
124/20
1956 January - February
1956 January - February
124/21
1956 March - December
1956 March - December
125/1
1957 March - August 26
1957 March - August 26
125/2-5
1957 August 29
1957 August 29
125/6
1957 August 29 - October
30
1957 August 29 - October 30
125/7
1957 November 11 - December
9
1957 November 11 - December 9
125/8
1958
1958
125/9
1959
1959
125/10
1960
1960
125/11
1961
1961
125/12
1966
1966
125/13
undated
Porgy and Bess
126/1
1934, 1935 and undated
1934, 1935 and undated
126/2
1941-1945, 1951-1955
1941-1945, 1951-1955
126/3
1956-1963, 1971 and
undated
1956-1963, 1971 and undated
Contracts
126/4
1933 October 26
1933 October 26
126/5
1935 June 28
1935 June 28
126/6
Correspondence, 1934-1943
1934-1943
126/7
Letters of agreement (WBM, GG, IG),
1934 October 16
1934 October 16
137/36
Smallens, Alexander, contracts and
correspondence, 1941-1952
1941-1952
126/8
Primrose, 1924
1924
126/9
RKO (miscellaneous), 1936
1936
126/10
Radio show, 1934
1934
126/11
The Rainbow revue, 1923 February 8
1923 February 8
126/12
Real silk radio program (1934 February 4), 1934 January 13
(1934 February 4), 1934 January 13
126/13
Rhapsody in Blue, 1929 October 3
1929 October 3
126/14
Rialto Ripples, 1917 February 27
1917 February 27
126/15
Rosalie, 1927
1927
126/16
Shall We Dance, 1936-1937
1936-1937
126/17
The Shocking Miss Pilgrim, 1945
1945
126/18
"Short Story," undated
126/19
Show Girl, 1929
1929
126/20
The Song of the Flame, 1925
1925
126/21
Strike Up the Band, 1927-1930
1927-1930
126/22
Strike Up the Band (broadcast), 1935 September 3, October 14
1935 September 3, October 14
126/23
Swanee, 1921 April 8
1921 April 8
126/24
Sweet Little Devil (based on The Perfect Lady), 1923
1923
126/25
Symphony Society of New York, 1925 April 17
1925 April 17
126/26
T.B. Harms & Francis Day &
Hunter, 1918 February 21
1918 February 21
126/27
Tell Me More, 1925, 1943
1925, 1943
126/28
That's a Good Girl[?], 1928
1928
126/29
Tip Toes, 1925-1926, 1937, 1945
1925-1926, 1937, 1945
126/30
Treasure Girl, 1928 August 21
1928 August 21
126/31
Two Little Girls in Blue, 1921
1921
126/32
Wattenberg, A.M., 1935-1944 and undated
1935-1944 and undated
126/33
When the Armies Disband, 1916
1916
126/34
When You Want 'Em, 1916 March 1
1916 March 1
126/35
Where Do We Go from Here?, 1943, 1945
1943, 1945
126/36
You-oo, Just You, 1917 December 5
1917 December 5
126/37
Ziegfeld Follies of 1936, 1935
1935
Alexandre Correspondence
127/1
Aberbach, Jean Joachim, 1944
1944
127/2
Abrams, Charles, 1937
1937
127/3
Agay, Denes, 1971
1971
127/4
American Play Company, Inc., 1953-1958
1953-1958
127/5
American Society of Composers,
Authors and Publishers, 1937-1940, 1948-1950
1937-1940, 1948-1950
127/6
Art students league of NY, 1937
1937
127/7
Artists Management Bureau, Inc.,
1938
1938
127/8
Bamberger Broadcasting Service, Inc.,
1938
1938
127/9
Benatzky, Dr. Ralph, 1944
1944
127/10
Berman, Abraham L., 1938, 1953
1938, 1953
127/11
Bernheim, Max J., 1937
1937
127/12
Binderman, Mrs. Nathan, 1938
1938
127/13
Blanc, Ronald L., 1968-1971
1968-1971
127/14
Board of Education, 1954
1954
127/15
Breen, Robert, 1951-1955
1951-1955
127/16
Brown, Anne, 1946 July 26
1946 July 26
127/17
Buck, Gene, 1937
1937
127/18
Carnegie, Dale, 1937
1937
127/19
Chanin Management Corporation, 1938
1938
127/20
Chappel & Co., Inc., 1937-1956 and undated
1937-1956 and undated
127/21
Colton, Edward E., 1953
1953
127/22
Columbia Records, 1959
1959
127/23
Cowles, Chandler, 1952
1952
127/24
The Cyclopedia of American Biography,
1937
1937
127/25
Daily Mirror, 1938
1938
127/26
The Dramatists Guild, 1944
1944
127/27
Dreyfus, Max, 1961
1961
127/28
Empire Trust Company, 1938
1938
127/29
Everyman Opera, 1953-1958, 1971
1953-1958, 1971
127/30
Ewen, David, 1956
1956
127/31
Fisher, Kenneth V., 1942
1942
127/32
Fleisher, Sidney R., 1937
1937
127/33
Foote, Cone & Belding, 1955
1955
127/34
Friends of the Boston Symphony
Orchestra, 1966
1966
127/35
Gelert, Carl R., 1939
1939
127/36
Gershwin, Arthur, 1937-1942, 1969 and undated
1937-1942, 1969 and undated
Gershwin, Ira
127/37
1937 July-December
1937 July-December
127/38
1938
1938
127/39
1939-1949, 1969-1971 and
undated
1939-1949, 1969-1971 and undated
127/40
Gershwin, Marc, 1971 May
1971 May
127/41
Gershwin, Rose, 1934-1946 and undated
1934-1946 and undated
127/42
Gershwin Publishing Corporation,
1937-1943, 1949
1937-1943, 1949
127/43
Godmother's League, 1938
1938
127/44
Godowsky, Frances Gershwin, 1937-1942, 1969
1937-1942, 1969
127/45
Gould, Edward J., 1950-1953
1950-1953
128/1
H.G. Harburger Co., 1937-1938
1937-1938
HJ & MH Behrman
(accountants)
128/2
1937-1944, 1950-1953
1937-1944, 1950-1953
128/3
1954-1958, 1968-1971 and
undated
1954-1958, 1968-1971 and undated
128/4
Hanenfeldt, Zenaide, 1937-1938
1937-1938
128/5
Harms, Inc., 1935-1943
1935-1943
128/6
Hauser, Dr. Emil, 1942
1942
128/7
Hays, St. John, Abramson &
Heilron, 1970
1970
128/8
Heller, Anatole, 1954
1954
128/9
Henry Romeike Inc., 1937
1937
128/10
Hirschmann, I.A., 1937
1937
128/11
Household Bills, 1938-1939
1938-1939
128/12
Interstate Broadcasting Company,
1938
1938
128/13
Israel Conservatoire of Music, 1953-1954
1953-1954
128/14
Jedvabniks, Mrs. A., 1942
1942
128/15
Joshua Orphan Aid, Inc., 1938-1942
1938-1942
128/16
Junior League of Salt Lake City,
1947
1947
128/17
Kaufman, George S., 1944
1944
128/18
Kaufmann, Arthur, 1937
1937
128/19
Koussevitsky, Serge, 1937
1937
128/20
La Guardia, Fiorello H., 1937
1937
128/21
Lazar, Irving Paul, 1971
1971
128/22
Lehman, Governor and Mrs. Herbert H.,
1937
1937
128/23
Library of Congress, 1952-1953
1952-1953
128/24
Lincoln Warehouse Corporation, 1938
1938
128/25
Loew's Incorporated, 1953
1953
128/26
Lyons, Arthur, 1937-1943, 1949 and undated
1937-1943, 1949 and undated
128/27
Mailamm, 1938
1938
128/28
The Manhattan, 1938
1938
128/29
Maplewood Theatre, 1942
1942
128/30
Marc Newman Productions, 1971
1971
128/31
Maryland Correctional Services, 1969
1969
128/32
Mayflower Hotel, 1938
1938
128/33
Metro-Goldwyn-Mayer Pictures, 1950-1954
1950-1954
128/34
Montgomery, Mary Binney, 1937
1937
128/35
Mosbacher, Emil, 1937
1937
128/36
Mueller, Paul, 1937
1937
128/37
Music Publishers Holding Corporation,
1937-1942, 1949-1953
1937-1942, 1949-1953
128/38
Music Sales Corporation, 1969
1969
128/39
Nast, Condé, 1937
1937
128/40
New World Music Corporation, 1937, 1954-1970
1937, 1954-1970
128/41
New York Public Library, 1937
1937
128/42
O'Brien, Driscoll & Raftery,
1937
1937
128/43
Oliver Cromwell Hotel, 1937-1938
1937-1938
128/44
O'Melveny, Tuller & Myers, 1938
1938
128/45
Palestine Lighthouse, 1938, 1948
1938, 1948
128/46
Philharmonic-Symphony Society of NY,
1937-1938
1937-1938
128/47
Planned Publicity Society, 1937
1937
128/48
Pohul, Robert, 1938
1938
128/49
Pollack, Mrs. Sidney E., 1937
1937
129/1
Pollock, Hugo, 1949-1971
1949-1971
129/2
R.C.A. Manufacturing Company, Inc.,
1938
1938
129/3
Radio Corporation of America, 1952-1956
1952-1956
129/4
Revue, 1957
1957
129/5
Roeder, Martin A., 1953-1956
1953-1956
129/6
Romanelli, Leo, 1943
1943
129/7
Rosenberg, Sonia, 1938
1938
129/8
Rosenthal, Abraham, 1937-1938
1937-1938
129/9
Ryskind, Morrie, 1940s
1940s
129/10
S.H. Riesner Co., Inc., 1937
1937
129/11
Sam H. Harris Theatrical Enterprises,
Inc., 1937-1942
1937-1942
129/12
Saxe, Leonard S., 1949-1967
1949-1967
129/13
Schware, Harold, 1938
1938
129/14
Scott, Isabel R., 1937
1937
129/15
Scrapbooks Guild, 1937
1937
129/16
Select Theatres Corporation, 1937
1937
129/17
Shubert Theatre, 1938
1938
129/18
Sirmay, Albert, 1932, 1952
1932, 1952
129/19
Social Security Board, 1938
1938
129/20
Société des Auteurs &
Compositeurs Dramatiques, 1953-1958
1953-1958
129/21
Stadium Concerts Inc., 1937-1939
1937-1939
129/22
Stage and Arena Guild of America,
1955
1955
129/23
Steinway & Sons, 1937-1938
1937-1938
129/24
Tams-Witmark Music Library, Inc.,
1958, 1964-1975
1958, 1964-1975
129/25
Theatre Guild, Inc., 1933, 1942-1947, 1953
1933, 1942-1947, 1953
129/26
U.S.A. Office of War Information,
1944
1944
129/27
Ulmer, Berne and Gordon, 1942
1942
129/28
United Jewish Appeal, 1942
1942
129/29
Van Slyke, Marie Louise, 1938
1938
129/30
Van Vechten, Carl, 1938
1938
129/31
War Department, 1946
1946
129/32
Warner Bros. Music, 1971
1971
129/33
Wattenberg & Wattenberg, 1937-1938, 1949-1955, 1966
1937-1938, 1949-1955, 1966
129/34
Weissberger, L. Arnold, 1953
1953
129/35
Wildberg, John J., 1942-1943
1942-1943
129/36
Unidentified, 1938 and undated
1938 and undated
George Gershwin Estate
130/1
Administrative documents, 1937 July
1937 July
130/2
Albert Sirmay deposition regarding
George Gershwin residency, 1938
May 25
1938 May 25
130/3
Emanuel Alexandre notes re: H. Botkin
visit to California, 1937 May -
June
1937 May-June
130/4
George Gershwin certificate of death,
1937
1937
130/5
Memoranda and notes, 1937-1938, 1949-1953, 1970
1937-1938, 1949-1953, 1970
130/6
Miscellaneous papers,
undated
130/7
Receipts and disbursements, 1938
1938
130/8
Emanuel Alexandre record of
activities, 1937-1938
1937-1938
130/9
Rose Gershwin depositions, 1937-1938
1937-1938
130/10
Safe deposit box contents inventory,
1937 July 26
1937 July 26
130/11
T. Berheim deposition regarding
George Gershwin residency, 1937
September 13
1937 September 13
Rose Gershwin Estate
130/12
Account of proceedings, 1950 July
1950 July
130/13
ASCAP residuary membership, 1950 June
1950 June
130/14
Attorney's affidavit of services,
1952
1952
130/15
Court papers regarding music taxes,
1955-1957
1955-1957
130/16
Legatees' attorneys, 1950, 1960
1950, 1960
130/17
Miscellaneous papers, 1943-1970 and undated
1943-1970 and undated
130/18
Papers relating to R. Gershwin's
will, 1948-1950, 1960
1948-1950, 1960
130/19
Personal claim of Emanuel Alexandre,
1949
1949
130/20
Petition by executors, 1953 June 24
1953 June 24
137/40
Will, 1942 January 29
1942 January 29
130/21
Will, 1948 November 21
1948 November 21
130/22
Will ammendment documents, 1950 July-August
1950 July-August
130/23
Will ammendment documents, 1952-1953
1952-1953
142-143
Artifacts, 1910-1988
1910-1988
All artifiacts are listed in alphabetical order.
Gershwin Gallery
Caviar tin of IG
142
Congressional bronze medals of GG and IG
(2), 1988
1988
Gershwin Gallery
Congressional gold medals of GG and IG
(2), 1988
1988
Gershwin Gallery
Desk of GG, 1933
1933
Gershwin Gallery
Electric pencil sharpener of
IG
Gershwin Gallery
Fountain pen of IG, circa 1935
circa 1935
143
Letter opener of GG, Tiffany
SSF
Medals of IG (1 Gold; 25
Silver)
Gershwin Gallery
Metronome of GG, circa 1910
circa 1910
Gershwin Gallery
Piano of GG, circa 1925
circa 1925
Note : Steinway Model B, Serial # 235494
Gershwin Gallery
Piano chair of GG, circa 1925
circa 1925
Gershwin Gallery
Typewriter of IG, circa 1930
circa 1930
Gershwin Gallery
Typing table of IG, circa 1930
circa 1930
131-132, 135, 137, 139, 141
8
Miscellany, 1923-1973
1923-1973
The miscellaneous materials are organized alphabetically by subject
matter.
131/7
Botkin, Henry: autobiographical essays
(4), 1972-1973
1972-1973
Typescript photocopies
135/26
Brown, Anne: correspondence with Leopold
Godowsky III
Four letters and three photographs
Exhibition catalogs
131/2
"Exhibition of the George Gershwin
Collection of Modern Paintings," The Arts Club of Chicago, 1933 November 10-25
1933 November 10-25
131/2
"George Gershwin, Painter
(1898-1937): Memorial Exhibition," The Arts Club of Chicago, 1938 March 15-28
1938 March 15-28
131/2
"George Gershwin, Painter
(1898-1937): Memorial Exhibition," Marie Harriman Gallery, NY, 1937 December 18 - 1938 January
4
1937 December 18 - 1938 January 4
137/37
Fisk University Library: Selected Items
from the George Gershwin Memorial Collection of Music and Literature,
undated
131/3
2 Flexocol record labels from "Music by
Gershwin" radio show, 1934
1934
Note : Labeled in the hand of Ira Gershwin
132/18
"From Bach to Gershwin," 1944 May
1944 May
131/4
George Gershwin lodge newsletter,
undated
8
George Gershwin mausoleum blue
prints
132/17
George Gershwin personalized music
manuscript paper
1 blank sheet music leaf; 2 blank full score
leaves
Gershwin: George, the Music/Ira, the
Words, 1968 May 6 - September
2
1968 May 6 - September 2
The Museum of the City of New York
131/5
A catalogue of the
exhibition
Two copies
131/6
Invitation to a reception and
preview, 1968 May 5
1968 May 5
144/6
Gershwin, Morris: birth certificate
transcript, 1932 May 16
1932 May 16
141/41
Godowsky, Frances Gershwin: memorial
materials, 1999 January
1999 January
Includes : program; eulogy by Manya "Fifi"
Starr Nowak; eulogy and cover letter to Leopold Godowsky III by Lawrence
Stewart; press release; obituary
144/7
Leiding, Harriette Kershaw. "Streetcries
of an Old Southern City." Daggett Printing Company, Charleston, SC,
1927.
131/8
Logbook of orchestral parts
Laid in: IG typescript note
131/9
Merle Armitage collection auction
catalog, 1965 May 10
1965 May 10
131/10
News release re: Edward Kilenyi, Sr.,
1966 May 23
1966 May 23
131/1
Shaw, Arnold. re: "Curtain
call!"
131/11
Songs of Adieu [book of poetry], 1923
1923
Note : Inscribed by Ira Gershwin to
Benjamin Botkin
131/12
Sound recordings from George Gershwin's
library (lists)
Laid in: IG holograph and typescript notes
139/20
Strike Up the Band research materials
131/13
Works lists
- Published songs (Harms)
- Published songs (Music Publishers Holding Corp.)
- Published songs (Remick)
- Published songs, Photocopy of
-
Porgy and Bess publications