Porgy and Bess

http://id.loc.gov/vocabulary/organizations/US-dlcm http://hdl.loc.gov/loc.music/eadmus.mu010014.2 06222cpcaa2200985 a 4500 20121731041712.9 100524i18952008xx eng 2010561028 i 1895/2008 k 1920/1960 ML31.G38 Gershwin, George, 1898-1937. George and Ira Gershwin collection, 1895-2008 (bulk 1920-1960). EAD master sort node: @alpha_character^g^@alpha_srt^gershwin^@title^George and Ira Gershwin Collection^@href^http://hdl.loc.gov/loc.music/eadmus.mu010014^@aggregate^mu^@ead_file_name^mu010014.xml^@eadid^mu010014^ 60,000 items 136 containers 53 linear feet 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. Gershwin, George, 1898-1937. Gershwin, George, 1898-1937 Archives. Gershwin, George, 1898-1937 Correspondence. Gershwin, George, 1898-1937 Photographs. Gershwin, Ira, 1896-1983. Gershwin, Ira, 1896-1983 Archives. Gershwin, Ira, 1896-1983 Correspondence. Gershwin, Ira, 1896-1983 Photographs. Gershwin, George, 1898-1937. Porgy and Bess. Armitage, Merle, 1893-1975 Correspondence. Botkin, Benjamin Albert, 1901-1975 Correspondence. Botkin, Henry Albert, 1896-1983 Correspondence. Corbett, Rosamond Walling Tirana, 1910-1999 Correspondence. Damrosch, Walter, 1862-1950 Correspondence. Gershwin, Rose Correspondence. Pringle, Aileen, 1895-1989 Correspondence. Sirmay, Albert Correspondence. Tamber, Selma Correspondence. Weill, Kurt, 1900-1950 Correspondence. Musicals Scores. Musicals Vocal scores with piano. Composers United States. Composers United States Autographs. Composers United States Correspondence. Lyricists United States. Lyricists United States Correspondence. Musicals. Musical films. Revues. Correspondence. aat Scrapbooks. aat Programs (Documents) aat Financial records. aat Legal documents. aat Artifacts (Object genre) aat Photographic prints. aat Gershwin, Ira, 1896-1983. Bennett, Robert Russell, 1894-1981. Daly, William, d. 1974. DePackh, Maurice, 1896-1960. Heyward, DuBose, 1885-1940. Kaufman, George S. (George Simon), 1889-1961. Ryskind, Morrie, 1895-1985. Saddler, Frank. Sirmay, Albert. Spialek, Hans. Swift, Kay, 1897-1993. Gershwin, Ira, 1896-1983. George and Ira Gershwin collection. 1895-2008. Gershwin, George, 1898-1937. Selections. Gershwin, George, 1898-1937. Selections; arr. Gershwin, George, 1898-1937. Porgy and Bess. Library of Congress, Music Division EAD http://hdl.loc.gov/loc.music/eadmus.mu010014 EAD PDF http://hdl.loc.gov/loc.music/eadmus.mu010014.3 LCCN Permalink http://lccn.loc.gov/2010561028 Reading Room http://www.loc.gov/rr/perform/ XML http://findingaids.loc.gov/source/main#mu010014 EAD METS http://hdl.loc.gov/loc.music/eadmus.mu010014.4 music/ead http://hdl.loc.gov/loc.music/eadmus.mu010014 George and Ira Gershwin Collection Processed by the Music Division of the Library of Congress Music Division, Library of Congress

Washington, D.C.

2010 Guides to Special Collections in the Music Division of the Library of Congress

Contact information: http://hdl.loc.gov/loc.music/perform.contact

Catalog Record: http://lccn.loc.gov/2010561028

Finding aid encoded by Library of Congress Music Division, 2010 Finding aid written in English. 2010 August Minor revisions to the finding were made by Janet McKinney in August 2010. Collection Summary George and Ira Gershwin Collection 1895-2008 (bulk 1920-1960) ML31.G38 Gershwin, George, 1898-1937 Gershwin, Ira, 1896-1983 60,000 items 136 containers 53 linear feet 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 Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.

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, d. 1974. 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. Selections. Gershwin, George, 1898-1937. Selections; arr. Gershwin, Ira, 1896-1983--Archives. Gershwin, Ira, 1896-1983--Correspondence. Gershwin, Ira, 1896-1983--Photographs. Gershwin, Ira, 1896-1983. Gershwin, Ira, 1896-1983. Gershwin, Ira, 1896-1983. George and Ira Gershwin collection. 1895-2008. 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 Artifacts (Object genre) Correspondence. Financial records. Legal documents. Photographic prints. Programs (Documents) Scrapbooks. Administrative Information Provenance

The George and Ira Gershwin Collection has been assembled over a period of more than seventy years from a number of sources, foremost among them, members of the Gershwin family. The first acquisition that would become part of the Gershwin Collection was George's 2-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 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, included an early tune book of George’s sketches for An American in Paris. Following her death later that year, the Library of Congress received from her estate self-portrait oil paintings of both brothers, posters from the 1950s international tour of Porgy and Bess, 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 following list is by no means comprehensive. Albert Sirmay donated the working annotated typescript libretto for Porgy and Bess in 1955 and his letters from Ira in 1963. Kay Swift donated the holograph manuscript of the George Gershwin Songbook, as well as a large quantity of George's holograph music sketches in 1966. Arthur Gershwin's gifts in 1966 and 1968 included forty-seven photographs belonging to George and a memorial scrapbook assembled by Rose Gershwin. Mabel Schirmer donated her letters from George in 1974. Leonore Gershwin, Frances Gershwin Godowsky, Judy Gershwin, and Marc George Gershwin jointly donated the so-called Secaucus Manuscripts (a large cache of music manuscripts and lyric sheets found in a Warner Brothers warehouse in Secaucus, New Jersey) in 1984. Leonore Gershwin and Frances Gershwin Godowsky donated the Congressional Gold Medals honoring George and Ira in 1985. Michael Feinstein’s donations included George's holograph manuscript score for a dance sequence from Rosalie in 1990 and two original Duoart piano rolls. Rosamond Walling Tirana donated her correspondence with George Gershwin in 1993. Dorothy Botkin Rosenthal and Daniel Botkin donated an important collection of correspondence, photographs, and other materials in 1998. Leopold Godowsky III donated scores from George's library in 1987, and he and Elaine Godowsky donated a manuscript for the Concerto in F in 2004. Michael and Jean Strunsky presented George's "little black book" in 2009.

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. The Gershwin Trust also donated two pages of sketches for songs from Girl Crazy in 1998, and five letters at various times.

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 were used in 1990 to purchase a collection of approximately 275 contracts, letters, and other documents (1919-1949) from the files of the law offices of Wattenberg and Wattenberg, attorneys for music publisher Max Dreyfus and the publishing firm Chappell and Co. (for many years the Gershwins' principal publisher). In 1996, the Library purchased three music manuscripts and four letters with funds provided by the Library’s James Madison Council.

Processing History

Items in the 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.

Other Repositories

Additional correspondence, business papers, photographs, programs, and other documents are held by the Ira and Leonore Gershwin Trusts in San Francisco, CA. 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 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. The Ferde Grofé Collection contains materials for Rhapsody in Blue, including Grofé's holograph score for his original jazz band scoring. Additional materials can be found in the Serge Koussevitzky Archive, the Moldenhauer Archives at the Library of Congress, the Spivacke Fund Collection, the Vernon Duke Collection, and the Danny Kaye and Sylvia Fine Collection.

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) is 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) is 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 (ca. 1904), and he credits a performance of Dvořák's Humoresque (ca. 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 George enters the High School of Commerce. 1912-1913 George begins attending concerts by the likes of Leopold Godowsky, Josef Lhévinne, Leo Ornstein, and Efrem Zimbalist during his freshman year in high school. 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 Donaldson, 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. DeSylva) 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. DeSylva, 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 Janueary 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 Rysking, 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 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 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 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 September Rhapsody in Blue (produced by Warner Brothers and directed by Jesse Lasky), an inaccurate and highly romantic film biography of George, is released. 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, and the Santa Maria, is said to be the longest non-dancing musical number ever written for a film. 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. 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 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 considerably 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 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. Particularly extensive are George's letters to Mabel Schirmer and Aileen Pringle, and his letters to and from Rosamond Walling Tirana and Julia Van Norman. In addition, there are important individual items, including those to Max Abramson in 1918 before his career "takes off" and those to Ira written during his first trip to London in 1923. Other significant correspondence includes that of George with Walter Damrosch, Zena Hannenfeldt, George Pallay, Albert Sirmay, and Selma Tamber. Of Ira's correspondence, the most extensive is with Merle Armitage, cousins Benjamin and Henry Botkin, Rose Gershwin, and Kurt Weill.

The earliest scrapbooks 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 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 posters from the 1950s for Porgy and Bess, printed programs for a limited number of productions, financial and legal documents (including an extensive file of contracts for stage and screen musicals and other commercial projects), and artifacts: 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 George and Ira Gershwin Collection is organized in eleven series:

Music Correspondence Biographical Materials Scrapbooks Iconography Publicity Materials Programs Financial Documents Legal Documents Artifacts Miscellany http://lccn.loc.gov/2010561028 Container List Container Contents 1-63 Music

1-47 Music from Shows

The show music in the Gershwin collection 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

Alternate title for Blue Monday , Box 1

135th Street blues

Alternate title for Blue Monday , Box 1

1 Americana [1926] Blowin' the blues away

Alternate title for "Blowing the blues away," Box-Folder 1/1

Blowing the blues away 1/1 Manuscript piano-vocal score chiefly in the hand of Hans Spialek; 5 p. 1/1 Typescript lyric sheet Lost barbershop chord

Alternate title for "That lost barbershop chord," Box-Folder 1/3

Sunny disposish 1/2 Manuscript piano score and 3 instrumental parts in the hand of Hans Spialek; 4 2,2,2 p.

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

That lost barbershop chord 1/3 Manuscript piano-vocal score chiefly in the hand of Albert Sirmay; 8 p.

Corrections to lyric in the hand of IG

1/3 Manuscript piano-vocal score in the hand of William Daly; [4] p.

No lyric

1/3 Copyist manuscript piano-vocal score [no. 1]; 7 p.

Introduction in the hand of Albert Sirmay

1/3 Copyist manuscript piano-vocal score [no. 2]; 7 p.

No introduction

1/3 Typescript lyric sheet 1 The Barkleys of Broadway [film, 1949] 97,704

Early title for "Natchez on the Mississip'," Box-Folder 1/10

Bouncin’ the blues [instrumental] 1/4 Photocopied (ozalid) copyist manuscript piano score; 2 p. Call on us again 1/5 Photocopied (ozalid) copyist manuscript piano-vocal score; 3 p. 1/5 Typescript lyric sheets; [4] p. The courtin' of Elmer and Ella 1/6 Photocopied (ozalid) copyist manuscript piano-vocal score [no. 1]; 10 p.

Corrections in an unidentified hand

1/6 Photocopied (ozalid) copyist manuscript piano-vocal score [no. 2]; 10 p.

In caption: Revised

1/6 IG holograph/typescript lyric sheets; [13] p. Manhattan downbeat 1/7 Photocopied (ozalid) copyist manuscript piano-vocal score; 8 p. 1/7 IG holograph/typescript lyric sheets; [10] p. Minstrels on parade 1/8 IG holograph/typescript lyric sheets; [3] p. My one and only highland fling 1/9 Photocopied (ozalid) copyist manuscript piano-vocal score; 6 p. 1/9 IG holograph/typescript lyric sheets; [9] p. Natchez

Early title for "Natchez on the Mississip'," Box-Folder 1/10

Natchez on the Mississip’ 1/10 Photocopied (ozalid) copyist manuscript piano-vocal score; 7 p.

In capton: Rev[ised]

1/10 IG holograph/typescript lyric sheets; [8] p. The poetry of motion 1/11 Photocopied (ozalid) copyist manuscript piano-vocal score; 5 p. 1/11 IG holograph/typescript lyric sheets; [6] p. Second fiddle to a harp 1/12 IG holograph/typescript lyric sheets; [4] p. Shoes with wings on 1/13 Photocopied (ozalid) copyist manuscript piano-vocal score; 5 p. 1/13 IG holograph/typescript lyric sheets; [7] p. Since the ballet swept the town

Early title for "The poetry of motion," Box-Folder 1/11

Swing trot 1/14 Manuscript lead sheet; [1] p.

Refrain only, with unused lyric fragments in the hand of IG

Unidentified IG holograph lyric sketches on verso

1/14 IG holograph/typescript lyric sheets; [3] p. Taking no chances on you 1/15 IG holograph/typescript lyric sheets; [18] p. There is no music 1/16 Photocopied (ozalid) copyist manuscript piano-vocal score; 4 p. 1/16 IG holograph/typescript lyric sheets; [10] p. These days 1/17 Photocopied (ozalid) copyist manuscript piano-vocal score [no. 1]; 4 p.

Correction in an unidentified hand

1/17 Photocopied (ozalid) copyist manuscript piano-vocal score [no. 2]; 4 p.

In caption: Rev[ised]

1/17 IG holograph/typescript lyric sheets; [7] p. and 1 envelope

Correction on p. [2] in the hand of Michael Feinstein

IG holograph lyric revision sketch, ca. 1980, on envelope

They can’t take that away from me [refrain only]

See also "They can't take that away from me" from Shall we dance, Box-Folder 33/14

1/18 Photocopied (ozalid) copyist manuscript short score; 12 p.

Scored by Conrad Salinger

Weekend in the country 1/19 Photocopied (ozalid) copyist manuscript short score; 15 p.

Scored by Conrad Salinger

1/19 Photocopied (ozalid) copyist manuscript piano-vocal score; 6 p. 1/19 IG holograph/typescript lyric sheets; [3] p. The well-known skies of blue 1/20 IG holograph/typescript lyric sheets; [14] p. You’d be hard to replace 1/21 Photocopied (ozalid) copyist manuscript piano-vocal score; 4 p. 1/21 Sheet music (“Advance artist copy”); [4] p. 1/21 IG holograph/typescript lyric sheets; [16] p. You're my highland fling

Early title for "My one and only highland fling," Box-Folder 1/9

1/22 Unidentified lyric sketches IG holograph manuscripts; [5] p. 1 Be Yourself [1924] I came here 1/23 Copyist manuscript piano-vocal score; 5 p.

Extensive emendations in various hands including Albert Sirmay

IG holograph lyric credit in caption

Money doesn’t mean a thing 1/24 IG holograph lyric sheet

Verse 2 and part of refrain only

My heart is yours [unfinished] 1/25 Typescript lyric sheet; [2] p. Not so long ago 1/26 Manuscript sketch; [2] p.

No lyric

1/26 Manuscript lead sheet; [2] p. They don’t make ’em that way anymore 1/27 IG holograph/typescript lyric sheet Uh-uh 1/28 Manuscript piano-vocal score; [4] p.

IG holograph lyric credit in caption

1/28 IG holograph/typescript lyric sheets; [4] p.

Emendations on p. [4] in unidentified hands

What of it? 1/29 Typescript lyric sheet The wrong thing at the right time 1/30 Copyist manuscript piano-vocal score; 5 p. 1/30 IG holograph/typescript lyric sheets; [5] p. List of 21 songs, most by IG and Lewis Gensler 1/31 IG holograph manuscript, ca. 1925; 1 p. List of 18 songs by IG and Lewis Gensler 1/31 Typescript with annotations by Michael Feinstein; 1 p. Title page from IG’s Be Yourself notebook 1/31 Typescript; 1 p. 1 Blue Monday [opera, 1922; revised 1925 and 1953] original version, 1922 Bound GG holograph manuscript short score; 38 [i.e., 40] p.

Partial lyrics only

Presented as part of George White’s Scandals of <date era="ce" calendar="gregorian">1922</date> ; withdrawn after one performance

Bound Will Vodery holograph manuscript full score; 156 p.

Bound in: original cover with title "135[th] Street" in the hand of GG

Laid in: IG typescript notes [2] p.

revision, 1925 1/32 Typescript libretto; 4 p.

Emendation in the hand of B. G. DeSylva

Laid in: Photocopied holograph letter from DeSylva to GG, 1925 November 25

Laid in: IG holograph notes; [2] p.

Caption title: 135th Street

1/33 Typescript libretto and carbon copy; 4 p. ea.

Caption title: 135th Street

adaptation, 1953 1/34 Photocopied (ozalid) copyist manuscript piano-vocal score; 34 p.

Interlinear text in red pencil reflects the original lyrics

Adapted by George Bassman

Caption title: 135th Street blues

1/35 Typescript (mimeograph) libretto; 9 p.

Reflects revised libretto for Omnibus Broadcast, 1953 March 29

Laid in: Typescript letter from William Spier to IG, 1953 March 18

Caption title: Blue Monday blues

2 Capitol revue [1919] Come to the moon 2/1 GG holograph manuscript piano-vocal score; 3 p.

No lyric

2/2 Frank Saddler holograph manuscript full score; 20 p. Swanee

See also Sinbad , Box-Folder 35/14

2/3 Frank Saddler holograph manuscript full score; 21 p. 2/4 Sheet music

1st edition (with Capitol Theatre cover)

2/4 Photocopied sheet music (French) 2 Captain Jinks [1925] You must come over blues 2/5 Corrected publisher’s final proof; p. 2-5

Laid in: Holograph description by Michael Feinstein, dated 1978 February 16

2/5 IG holograph/typescript lyric sheets; [4] p. 2 Chopin show [unproduced revue, 1923] Baby me blues 2/6 IG holograph lyric sheet Bittersweet 2/7 IG holograph/typescript lyric sheets; [3] p.

Possible musical attribution to William Daly in the hand of Michael Feinstein on p. [1]

Honorable moon 2/8 IG holograph/typescript lyric sheet The hurdy-gurdy man

See also "A corner of heaven with you," Box-Folder 56/2

2/9 Copyist manuscript piano-vocal score; 4 p.

No lyric

2/9 Typescript lyric sheet Man, the master

See also [Musical sketches], Box-Folder 2/15

2/10 IG holograph/typescript lyric sheets; [6] p. My all

See also [Musical sketches], Box-Folder 2/15

2/11 William Daly holograph manuscript piano-vocal score; [2-3] p.

Vocal line only; verse incomplete; p. [1] is lost

Early lyric fragment in the hand of IG

2/11 IG holograph/typescript lyric sheets; [4] p. On the wings of romance 2/12 William Daly holograph manuscript sketch; 1 p.

Title and partial lyric in the hand of IG

2/12 IG holograph/typescript lyric sheets; [4] p. Opening 2/13 William Daly holograph manuscript sketch; [2] p.

Partial lyric in the hand of IG

Laid in: Description in the hand of Michael Feinstein

Someday you'll realize

See also [Musical sketches], Box-Folder 2/15

2/14 William Daly holograph manuscript piano-vocal score; [4] p.

Vocal line only, no lyric

2/14 IG holograph/typescript lyric sheets; [5] p. Musical sketches 2/15 William Daly holograph manuscript sketches with partial lyrics in the hand of IG; [2] p.

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] Commercials 2/16 IG holograph/typescript lyric sheets; [2] p. Dissertation on the state of bliss 2/17 Photocopied (ozalid) copyist piano-vocal score; 5 p. 2/17 IG holograph/typescript lyric sheets; [6] p. The land around us 2/18 Photocopied (ozalid) copyist piano-vocal score [no. 1]; 8 p.

Includes Patter section

2/18 Photocopied (ozalid) copyist piano-vocal score [no. 2]; 6 p. 2/18 Typescript (mimeograph) lyric sheets; 2 p. Love and learn

Earlier title "Dissertation on the state of bliss," Box-Folder 2/17

The pitchman / It’s mine, it’s yours 2/19 Photocopied (ozalid) copyist piano-vocal score; 10 p. 2/19 IG holograph/typescript lyric sheets; [33] p. The search is through 2/20 Photocopied (ozalid) copyist piano-vocal score; [4] p. 2/20 Typescript lyric sheets; [2] p. You've got what it takes

Earlier title for "The search is through," Box-Folder 2/20

Unidentified lyric sketches 2/21 IG holograph manuscripts; [3] p. 2 Cover girl [film, 1944] Any moment now

See "Long ago (and far away)," Box-Folder 2/23

Cover girl 2/22 IG holograph/typescript lyric sheets; [11] p. Long ago (and far away) 2/23 IG holograph/typescript lyric sheets; [5] p.

Laid in: 3 discarded lyrics for this melody: Any moment now; [3] p.; Midnight madness; [2] p.; Midnight music; [7] p.

Make way for tomorrow 2/24 IG holograph/typescript lyric sheets; [15] p. Midnight madness

See "Long ago (and far away)," Box-Folder 2/23

Midnight music

See "Long ago (and far away)," Box-Folder 2/23

Put me to the test

See also "Put me to the test" from A damsel in distress, Box-Folder 3/15-17

2/25 IG holograph/typescript lyric sheets; [12] p. The show must go on 2/26 IG holograph/typescript lyric sheets; [14] p. Sure thing 2/27 IG holograph/typescript lyric sheets; [10] p. That girl on the cover

Alternate title for "Cover girl," Box-Folder 2/22

That’s the best of all [unfinished?] 2/28 IG holograph/typescript lyric sheets; [7] p.

Suggestion for lyric alteration on p. [3] in the hand of Jerome Kern

Time: the present 2/29 IG holograph/typescript lyric sheets; [9] p. Today's the day (to make way for tomorrow)

Alternate title for "Make way for tomorrow," Box-Folder 2/24

Tropical night 2/30 IG holograph/typescript lyric sheets; [3] p. What I love to hear

Early title for "That's the best of all," Box-Folder 2/28

Who's complaining? 2/31 IG holograph/typescript lyric sheets; [7] p. 2 Crazy quilt [unproduced revue?, 1924?] Opening 2/32 IG holograph lyric sheet; [2] p.

This item is not related to Crazy Quilt [revue, 1931], Box-Folder 2/33

2 Crazy quilt [revue, 1931] In the merry month of maybe 2/33 Manuscript piano score; [4] p. 2/33 Typescript lyric sheet

This item is not related to Crazy Quilt [unproduced revue, 1924], Box-Folder 2/32

3 A damsel in distress [film, 1937] A foggy day (in London town) 3/1 GG holograph manuscript piano-vocal score; 1, 2, 3 p.

Refrain has no lyric

3/2 GG holograph manuscript piano-vocal score; 1, 2, 3 p.

Photocopied sheet music (German edition)

3/2 GG holograph manuscript piano-vocal score; 1, 2, 3 p.

Typescript lyric sheet

I can't be bothered now 3/3 GG holograph manuscript piano-vocal score; 1, 2, 2 p.

No lyric

3/4 Typescript lyric sheet The jolly tar and the milkmaid 3/5 Typescript lyric sheet The mother of three

Alternate title for "The jolly tar and the milkmaid," Box-Folder 3/5

Nice work if you can get it 3/6 GG holograph manuscript piano-vocal score; 1, 5 p.

No lyric

Pay some attention to me [original version, 1928] 3/7 GG holograph manuscript piano sketch; [4] p.

In caption in the hand of IG: Old version; [and] Beginning of chorus salvageable

3/8 GG holograph manuscript piano sketch; [4] p. 3/9 14 copyist manuscript orchestral parts

Laid in: Folder with caricature of GG

3/10 IG holograph/typescript lyric sheet Pay some attention to me [working version, 1937] 3/11 GG holograph manuscript piano-vocal score; 2, 3 p.

Differs slightly from final version

No lyric

3/12 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

In caption in the hand of IG: 1st version [sic]

3/12 Photocopy [no. 1] of copyist manuscript piano-vocal score; 5 p.

Extensive emendations in several hands including IG

3/12 Photocopy [no. 2] of copyist manuscript piano-vocal score; 5 p.

Minor emendations in the hand of IG

Pay some attention to me [final version, 1937] 3/13 Copyist manuscript piano-vocal score; [5] p.

Refrain has no lyric

3/13 Photocopy (ozalid) [no. 1] of copyist manuscript piano-vocal score; [5] p. 3/13 Photocopy (ozalid) [no. 2] of copyist manuscript piano-vocal score; [5] p.

Chord symbols added to refrain

Pay some attention to me [working and final versions, 1937] 3/14 IG holograph/typescript lyric sheets; [15] p. Put me to the test

See also "Put me to the test" from Cover girl, Box-Folder 2/25

3/15 GG holograph manuscript piano-vocal score; 1, 4, 3 p.

No lyric

3/16 GG holograph manuscript piano sketch; [1] p.

Verse only

3/17 Photocopied (ozalid) piano-vocal score; 8 p. 3/17 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 IG holograph/typescript lyric sheets; [9] p.

Laid in: IG typescript note; [1] p.

Sing of spring 3/18 GG holograph manuscript piano-vocal score; [3] p.

No lyric

Introduction is on p. 3

3/19 Arranger’s holograph manuscript vocal (SATB) score; 3 p. 3/19 Copyist manuscript piano-vocal score; 11 p.

Incorporates accompaniment from GG manuscript and vocal parts from arranger’s manuscript

Identifying note in caption in the hand of IG

3/19 Typescript lyric sheet Stiff upper lip 3/20 GG holograph manuscript piano-vocal score; [1, 2], 2 p.

No lyric

3/21 Typescript lyric sheets; [2] p. Things are looking up 3/22 GG holograph manuscript piano-vocal score; 2, 3 p.

No lyric

GG holograph instruction to copyist on verso of p. 2 concerning p. 1 of refrain

3/23 Typescript/photocopied lyric sheets; [2] p. Notes after story conference 3/24 GG holograph manuscript; [4] p.

Laid in: IG holograph note; [1] p.

Production credits 3/25 IG holograph manuscript; [1] p. 3 The dancing girl [1923] Selection 3/26 Eugene Platzman (arranger) holograph manuscript (incorporating printed sections) piano score; 20 p. That American boy of mine 3/27 Manuscript piano-vocal score; 5 p. 3/27 Typescript lyric sheet That American boy of mine. Patter 3/28 Copyist manuscript vocal parts; [2] p. ea.

3 copies, one with lyric

3/28 Typescript lyric sheet 4 A dangerous maid [1921] Boy wanted 4/1 Frank Saddler holograph manuscript full score; 32 p.

This manuscript was used in London in 1924 for <emph render="italic">Primrose</emph>

4/1 Typescript lyric sheet (original version) 4/1 Typescript lyric sheet (version for Ella Fitzgerald) Dancing shoes 4/2 Sheet music

IG holograph annotation on cover

Entr’acte I 4/3 Frank Saddler holograph manuscript full score; 12 p. Overture 4/4 Frank Saddler holograph manuscript full score; 13 p.

Laid in: IG typescript description; [1] p.

The sirens

See also "Four little sirens" from Primrose, Box-Folder 30/20-21

4/5 GG holograph manuscript piano-vocal score; [8] p.

Unfinished with partial lyric in the hands of GG and IG

Laid in: IG holograph notes

4/6 IG holograph/typescript lyric sheets Some rain must fall 4/7 Frank Saddler holograph manuscript full score; 22 p. 4-5 Delicious [film, 1931] Blah, blah, blah 4/8 GG holograph manuscript piano-vocal score; [1, 2] p.

Verse only, no lyric

Introduction in the hand of Albert Sirmay

4/9 GG holograph manuscript piano-vocal score; [1, 2] p.

Refrain only, no lyric

Laid in: IG typescript description; 1 p.

4/10 Copyist manuscript piano-vocal score; 5 [i.e., 6] p.

Alteration to end of verse in the hand of Albert Sirmay

4/10 Photocopied copyist manuscript piano-vocal score; [2] p.

Refrain only, variant lyric

4/11 Corrected publisher’s 2nd proof piano-vocal score; p. 2-5 4/11 Typescript lyric sheets (including “Russian” refrain); [4] p.

Laid in: IG typescript description; 1 p.

Blah! Blah! Love!

Alternate title for "Blah, blah, blah," Box-Folder 4/8-11

Delishious 4/12 Delishious

Refrain only, no lyric, with added countermelody

Laid in: IG typescript description; 1 p.

4/13 Manuscript piano-vocal score; [5] p.

Verse (no lyric) in the hand of Kay Swift

Refrain (with lyric) in the hand of a copyist

Title and music credit in the hand of GG

Cor-rec-ti-ons to lyric in the hand of IG

Introduction and emendations in the hand of Albert Sirmay

4/14 Copyist manuscript piano-vocal score; 6 p.

Emendations in the hand of Albert Sirmay

4/14 Corrected publisher’s 1st proof piano-vocal score; p. 2-5 4/14 Corrected publisher’s 2nd proof piano-vocal score; p. 2-5 4/14 IG holograph/typescript lyric sheets; [3] p.

Title on p. [1]: You’re so delishious

Instructions to copyist on p. [1] in the hand of Albert Sirmay

Delishious [arranged for piano solo] 4/15 GG holograph manuscript sketch; 1 p.

On p. [2] is the opening fragment of a piano solo arrangement of "Nice baby!," Box-Folder 41/36

Delishious [arranged for male quartet and piano by Bert Reed] 4/16 Manuscript (incorporating printed accompaniment) vocal score; 5 p. 4/16 Corrected publisher’s 1st proof; 9 p. Dream sequence 4/17 GG holograph manuscript piano-vocal score; 8 p.

Lyric and accompaniment omitted on p. 8

Laid in: IG typescript description; 1 p.

4/18 Copyist manuscript piano-conductor score; 9 p.

GG holograph signature

Laid in: IG holograph description; 1 p.

4/18 IG typescript scenario/lyric sheets; [4] p. Katinkitschka 4/19 Copyist manuscript piano-vocal score; [3] p. 4/19 Photocopied copyist manuscript piano-conductor score; [3] p. 4/19 Corrected publisher’s 2nd proof piano-vocal score; p. 3-5 4/19 Typescript lyric sheets; [3] p. Somebody from somewhere 4/20 GG holograph manuscript piano-vocal sketch; [3] p.

No lyric

Laid in: IG typescript description; 1 p.

4/21 Copyist manuscript piano-vocal score; 4 p. 4/21 Photocopied copyist manuscript piano-vocal score; [3] p. 4/21 Publisher’s 2nd proof piano-vocal score; p. 3-5 4/21 IG typescript lyric sheet We’re from the Journal, the Wahrheit, the Telegram, the Times

Alternate title for "Dream sequence," Box-Folder 4/17-18

Welcome to the melting pot

Alternate title for "Dream sequence," Box-Folder 4/17-18

You started it 4/22 GG holograph manuscript piano-vocal score; [2] p.

Verse only, no lyric

4/23 Photocopied GG holograph manuscript piano-vocal score; [2] p.

Lyric in ink, in an unknown hand, added ca. 1970s

4/23 Copyist manuscript piano-vocal score; [2] p.

Refrain only, no lyric

4/23 Photocopied copyist manuscript piano-vocal score; [2] p.

Lyric in ink, in an unknown hand, ca. 1970s

4/23 IG holograph/typescript lyric sheets; [8] p.

Laid in: Descriptions in the hands of IG and Michael Feinstein; [2] p.

Final shooting script 5/1 Typescript (mimeograph); [8], 98 p. Demi-tasse

From the Capitol revue , Box 2

Demi tasse revue

From the Capitol revue , Box 2

5 East is west [unproduced, 1928-29] Awake, children, awake

See [Lyric sheets], Box-Folder 5/10

Dragon song

See [Lyric sheets], Box-Folder 5/10

East is west

See [Lyric sheets], Box-Folder 5/10

I speak English now

See [Lyric sheets], Box-Folder 5/10

In the Mandarin's orchid garden 5/2 GG holograph manuscript piano-vocal score; 4 p.

Unfinished early draft

5/3 Manuscript piano-vocal score in the hands of GG and Kay Swift; 1, 6 p.

The ink portion of this score was copied by Swift from GG’s early draft (Box-Folder 5/2)

The pencil portion of this score is in the hand of GG

5/4 Copyist manuscript piano-vocal score; 8 p.

The expressive markings in black ink are in the hand of GG

The expressive markings in pencil are in the hand of Albert Sirmay

Lady of the moon

See also [Lyric sheets], Box-Folder 5/10

5/5 GG holograph manuscript piano sketch; [2] p. Sing-song girl [unfinished]

See also [Lyric sheets], Box-Folder 5/10

5/6 Manuscript piano-vocal score in the hand of Kay Swift; 1 p.

No lyric

Caption title in the hand of IG: How sad it is to be a sing song girl

5/6 Photocopy of manuscript piano-vocal score in the hand of Kay Swift [previous entry]; 1 p. 5/6 Manuscript piano score; [3] p.

Unidentified fragment on p. [2]

Under the cinnamon tree

See also [Lyric sheets], Box-Folder 5/10

5/7 Manuscript piano-vocal sketch, probably in the hand of William Daly; [3] p.

No lyric, unfinished?

5/8 Manuscript piano score; [3] p.

Unidentified sketch on verso of p. [1]

We are visitors here [unfinished]

See also [Lyric sheets], Box-Folder 5/10

See also "Meadow serenade" from Strike up the band, Box-Folder 37/14

5/9 Photocopied manuscript piano score in the hand of Kay Swift; 1 p.

First 10 bars only

Yellow blues

See [Lyric sheets], Box-Folder 5/10

See also Song file #42 "Impromptu in two keys," Box-Folder 54/4-5

Lyric sheets 5/10 IG holograph manuscript; [6] p.

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

Typescript lyric sheet with notes found with p. [7]: Yellow blues

5 The firebrand [1924] The voice of love (Cellini's love song) 5/11 Robert Russell Bennett holograph manuscript piano-vocal score; [4] p. 5 The firebrand of Florence [1945] Civic song – Come to Florence 5/12 Typescript lyric sheets; [3] p. Civic song – Come to Paris 5/13 IG holograph/typescript lyric sheets; [2] p. Florence

Alternate title for "Civic song - Come to Florence," Box-Folder 5/12

Florence (It.)

Alternate title for "Civic song - Come to Florence," Box-Folder 5/12

Madrigal – When the duchess is away 5/14 IG holograph lyric sketch; [1] p. Ode – A rhyme for Angela 5/15 Typescript lyric sheets; [2] p. 5/15 IG holograph lyric sketches; [10] p. Paris (Fr.)

Alternate title for "Civic song - Come to Paris," Box-Folder 5/13

A rhyme for Angela

See "Ode - A rhyme for Angela," Box-Folder 5/15

Song of the hangman 5/16 IG holograph lyric sketches; 1 p. When the duchess is away

See "Madrigal - When the duchess is away," Box-Folder 5/14

Libretto 5/17 Typescript (mimeograph) [no. 1]; 27 [i.e., 39] p.

On cover in the hand of IG: With extra notes

Includes extensive typescript and holograph additions and emendations by IG

5/18 Typescript (mimeograph) [no. 2]; 27 p.

On cover in the hand of IG: The Firebrand of Florence

Contains minor notations not found in typescripts 1 or 3

5/18 Typescript (mimeograph) [no. 3]; 27 p.

On cover in the hand of IG: The Firebrand of Florence

Contains minor notations not found in typescripts 1 or 2

Lists of musical numbers 5/19 Typescripts; [3] p. Miscellaneous notes 5/20 IG holograph manuscript; [5] p. 5 Flying island [unproduced, 1922] Bill of fare

Alternate title for "Musical bill of fare," Box-Folder 5/21

Musical bill of fare 5/21 GG holograph manuscript sketch; [3] p. 5/22 Photocopied typescript lyric sheet Observation 5/23 Photocopied typescript sheets; [2] p. Opening, Act I 5/24 GG holograph manuscript sketch; 2 p. Sweethearts 5/25 Photocopied typescript lyric sheet Why can't I agree? 5/26 Photocopied typescript lyric sheet Wonderful you 5/27 Photocopied typescript lyric sheet 5 For goodness sake [1922] French pastry walk 5/28 Manuscript piano-vocal score in the hand of William Daly; [2] p.

IG holograph lyric credit in caption

5/28 Manuscript piano-vocal score; 3 p. 5/28 IG holograph/typescript lyric sheets; [2] p. Someone 5/29 Manuscript piano-vocal score; 4 p. Tra-la-la 5/30 Manuscript piano-vocal score; 4 p. 5/30 Typescript lyric sheet (original version) 5/30 Typescript lyric sheet (revised version, for film <emph render="italic">An American in Paris</emph> )

Subtitle: This time it’s really love

List of interpolations in For Goodness Sake 5/31 IG holograph manuscript; [1] p.

Unfinished: heading only

6-7 Funny face [1927] Acrobats 6/1 GG holograph manuscript piano score; [5] p. 6/2 IG holograph/typescript lyric sheets; [3] p. Aviator 6/3 Manuscript piano-vocal score in the hand of Albert Sirmay; 16 p.

No lyric

6/3 Copyist manuscript piano-vocal score; 15 p.

No lyric

6/3 Typescript lyric sheets; [4] p. The babbitt and the bromide 6/4 Copyist manuscript piano-vocal score; 5 p. 6/4 Typescript lyric sheets; [2] p. Birthday party 6/5 GG holograph manuscript piano-vocal score; [6] p.

No lyric

Caption title in the hand of Albert Sirmay

6/6 Copyist manuscript piano-vocal score; 9 p.

GG holograph emendations

No lyric

In caption in the hand of GG: As written – 3 dance choruses

6/7 Manuscript piano-vocal score in the hand of Albert Sirmay; 12 p.

No lyric

6/7 Copyist manuscript piano-vocal score; 9 p. 6/7 Typescript lyric sheet Blue hullabaloo 6/8 Typescript lyric sheet Bluebeard 6/9 IG holograph/typescript lyric sheets; [3] p. Come along, let's gamble

Alternate title for "Finale, Act I," Box-Folder 6/12

Dance alone with you 6/10 GG holograph manuscript piano-vocal score; [4] p.

No lyric

6/11 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 6/11 Copyist manuscript piano-vocal score; 5 p.

Emendations in the hand of Albert Sirmay

No lyric

6/11 Typescript lyric sheets; [2] p. Finale, Act I 6/12 Copyist manuscript (with printed portion) conductor’s score; [1, 3] p. 6/12 Typescript lyric sheets; [4] p. Finale ultimo 6/13 Printed conductor’s score with two manuscript transitions; [1, 7] p. 6/13 IG holograph/typescript lyric sheets; [2] p. Finest of the finest 6/14 GG holograph manuscript piano-vocal score; [4] p.

No lyric

6/15 Copyist manuscript piano score; [6] p.

Emendations in an unidentified hand

GG holograph emendations on p. [1] and [3]

Coda in an unidentified hand on p. [6]

6/15 Typescript lyric sheets; [2] p. Flying fete

Alternate title for "Aviator," Box-Folder 6/3

Funny face 6/16 GG holograph manuscript piano-vocal score; [4] p.

No lyric

6/17 Manuscript piano-vocal score in an unidentified hand; 5 p. 6/17 Sheet music with corrections 6/17 Typescript lyric sheets; [5] p. He loves and she loves 6/18 GG holograph manuscript piano score; [2] p.

Unidentified sketch fragment on p. [2]

6/19 Copyist manuscript piano-vocal score; 5 p. 6/19 Sheet music with corrections (2 copies) 6/19 IG holograph/typescript lyric sheets; [3] p. High hat 6/20 GG holograph manuscript piano-vocal score; [4] p.

No lyric

6/21 Copyist manuscript piano-vocal score; [5] p. 6/21 Copyist manuscript piano-vocal score; 5 p.

No lyric

Emendations in an unidentified hand

6/21 Sheet music with corrections 6/21 Typescript lyric sheets; [2] p. How long has this been going on? 6/22 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 6/22 Manuscript piano score in the hands of William Daly and Albert Sirmay; [3] p. 6/22 Copyist manuscript piano-vocal score; 5 p.

No lyric

Emendations in the hand of Albert Sirmay

6/22 Copyist manuscript piano score; [2] p.

Refrain only

Emendations in the hand of Albert Sirmay

OV-1/1 Corrected 1st proof; [4] p. 6/22 Typescript lyric sheets; [10] p. If you will take our tip

Alternate title for "In the swim," Box-Folder 6/23

In the swim 6/23 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p.

No lyric

6/23 Manuscript piano score in the hand of Albert Sirmay; [5] p. 6/23 Copyist manuscript piano-vocal score; 7 p.

In caption: Swimming

6/23 Copyist manuscript piano-vocal score; 7 p.

No lyric

In caption in the hand of GG: As written—3 cho[ruses] dance

6/23 Manuscript/copyist manuscript piano-vocal score; [3] p.

Incomplete, no lyric, p. 3-6 are missing

List of cues on verso of p. 7

6/23 Typescript lyric sheets; [2] p. Invalid entrance 6/24 Typescript lyric sheets; [2] p. Let's kiss and make up 6/25 GG holograph manuscript piano-vocal sketch; [3] p. 6/26 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 6/26 Copyist manuscript piano-vocal score; [3] p.

Refrain only, no lyric

Emendations in the hand of Albert Sirmay

6/26 Sheet music with corrections 6/26 IG holograph/typescript lyric sheets; [5] p. My one and only (What am I gonna do?) 6/27 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p. 6/27 Manuscript piano-vocal score in the hand of William Daly; [4] p.

Verse has no lyric

Discarded original version

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 Copyist manuscript piano-vocal score; 5 p. 6/27 Copyist manuscript piano-vocal score; 6 p.

No lyric

6/27 Copyist manuscript piano-vocal score; [3] p.

Refrain only, no lyric

Emendations in the hand of Albert Sirmay

6/27 Sheet music with corrections 6/27 Typescript lyric sheets; [5] p.

One has IG annotations

Nut dance OV-1/2 GG holograph manuscript full score; 8 p.

Laid in: IG holograph notes; [1] p.

Once 7/1 GG holograph manuscript piano sketch with partial lyric (verse) and piano score with interlinear lyric (refrain); [4] p. 7/2 Typescript lyric sheet Opening, Act I

Alternate title for "Aviator," Box-Folder 6/3

Opening, Act II

Alternate title for "In the swim," Box-Folder 6/23

Overture 7/3 Copyist manuscript (with printed portions) piano-conductor score; 1, 12 p. Policeman opening

Alternate title for "Finest of the finest," Box-Folder 6/14-15

Second opening, Act I

Working title for "Birthday party," Box-Folder 6/5-7

Selection 7/4 Manuscript (with printed portions) piano score; 18 p.

Arranged by Hans Spialek

'S wonderful 7/5 Copyist manuscript piano-vocal score [no. 1]; 4 p.

Refrain lyric in the hand of GG

7/6 Manuscript piano-vocal score in the hand of Albert Sirmay; 6 p. 7/6 Copyist manuscript piano-vocal score; 4 p.

Verse has no lyric

Extensive emendations and refrain lyric in the hand of GG

7/6 Copyist manuscript piano-vocal score; [4] p.

No lyric

7/6 Typescript lyric sheets (several with corrections); [13] p. Tell the doc 7/7 GG holograph manuscript piano-vocal score; [4] p.

No lyric

7/8 Copyist manuscript piano-vocal score; 4 p. 7/8 Copyist manuscript piano-vocal score; 4 p.

No lyric

7/8 Typescript lyric sheet Those eyes

Alternate title for "Your eyes, your smile," Box-Folder 7/15

We're all a-worry, all agog

Alternate title for "Aviator," Box-Folder 6/3

When you're single 7/9 GG holograph manuscript piano-vocal score; [2] p.

Verse only, no lyric

7/10 Copyist manuscript piano-vocal score; [2] p.

Refrain only, no lyric

GG holograph vocal line

7/11 Manuscript full score in the hand of Robert Russell Bennett; 25 p. 7/12 Typescript lyric sheets; [3] p. Why does ev'rybody have to cut in?

Alternate title for "Dance alone with you," Box-Folder 6/10-11

The world is mine 7/13 GG holograph manuscript piano-vocal score; [4] p.

Refrain lyric differs slightly from published version

7/14 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p. 7/14 Copyist manuscript piano-vocal score; 6 p.

Verse has no lyric

GG holograph notes in caption

Refrain lyric is same as in GG holograph score

7/14 Typescript lyric sheets; [2] p. Your eyes, your smile 7/15 Copyist manuscript piano-vocal score; 4 p.

No lyric

Emendations in an unidentified hand

7/15 Typescript lyric sheets; [2] p. 7/16 Folder with annotations in various hands, including GG holograph list of show numbers in running order of out-of-town tryout Prompt book 7/17 Typescript; [101] p. 7 George White's scandals of 1920 On my mind the whole night long 7/18 Frank Saddler holograph manuscript full score; 15 p.

Laid in: IG holograph/typescript notes; [5] p.

7 George White's scandals of 1921 Opening, Act I 7/19 GG holograph manuscript piano-vocal score; [17] p.

No lyric

Laid in: IG typescript note; [1] p.

7 George White's scandals of 1922 Across the sea 7/20 Copyist manuscript piano-vocal score; 1, 6 p.

On cover: Orig[inal] key

7/20 Copyist manuscript piano-vocal score; [5] p. (I'll build a) Stairway to paradise 7/21 IG holograph/typescript lyric sheets; [3] p. 7-8 George White's scandals of 1923 Canary and fish

Alternate title for "Let's be lonesome together," Box-Folder 7/23-25

(On the beach at) How've-you-been 7/22 Manuscript piano-vocal score; 4 p. Let's be lonesome together 7/23 GG holograph manuscript lead sheet; [1] p.

Lead sheet for "The life of a rose," on p. [2]

7/24 GG holograph manuscript lead sheet; [1] p. 7/25 Manuscript piano-vocal score; [4] p. The life of a rose

See also "Let's be lonesome together," Box-Folder 7/23-25

7/26 GG holograph manuscript piano-vocal score; [4] p.

No lyric

7/27 Manuscript piano-vocal score in the hand of Eugene Platzman; [4] p. Selection 8/1 Eugene Platzman (arranger) manuscript (with printed portions) piano score; p. 2-17 There is nothing too good for you 8/2 GG holograph manuscript piano-vocal score; [3] p.

Emendations in an unknown hand

8/3 Copyist manuscript piano-vocal score; 4 p. Where is she? 8/4 Manuscript piano-vocal score in the hand of Eugene Platzman; [4] p. You and I (in old Versailles) 8/5 Manuscript piano-vocal score in the hand of Eugene Platzman; [4] p. 8 George White's scandals of 1924 Black and white march 8/6 Manuscript piano score in the hand of Vernon Duke; [6] p.

Title and “Copy” in the hand of GG

8/6 Copyist manuscript piano score; 6 p.

Emendations in an unidentified hand

Finale, Act I 8/7 Copyist manuscript piano-vocal score; 16 p.

Extensive emendations in an unidentified hand

Hollywood 8/8 Copyist manuscript piano-vocal score; 5 p.

No lyric

I need a garden 8/9 Manuscript piano-vocal score in the hand of Robert Russell Bennett; 4 p. 8/9 Copyist manuscript piano-vocal score; 5 p. 8/9 Typescript lyric sheet Kongo Kate 8/10 GG holograph manuscript piano-vocal score; [3] p.

No lyric

Transitional material in an unidentified hand on p. [3]

8/11 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

Kongo Kate. Dance 8/12 GG holograph manuscript piano sketch; [2] p. Kongo Kate. Patter 8/13 Manuscript piano score in the hand of Vernon Duke; [1] p.

In caption in the hand of GG: Copy

8/13 Copyist manuscript piano part; [4] p.

Manuscript refrain in unidentified hand

Introduction to first encore on p. [3]

Refrain in A major on p. [4]

Mah-jongg 8/14 Copyist manuscript piano-vocal score; 5 p. Night time in Araby 8/15 Manuscript piano-vocal score; [4] p. 8/15 Typescript/manuscript lyric sheets; [2] p. Opening, Act I 8/16 GG holograph manuscript piano-vocal score; 1, 9 p.

Partial vocal line, no lyric

Operetta - “Sneeze” 8/17 GG holograph manuscript piano-vocal score; 11 p. Rose of Madrid 8/18 Manuscript piano-vocal score; 5 p. Selection 8/19 Arranger’s holograph manuscript (with printed portions) piano score; 23 p.

Arranged by Hilding Anderson

Somebody loves me 8/20 Manuscript piano score; p. 2-3

Incomplete

8/21 Maurice DePackh holograph manuscript full score; 23 p. 8/22 Copyist manuscript piano-vocal score; [4] p. 8/23 Photocopied sheet music (German version) 8/22 Typescript lyric sheet Year after year 8/24 Copyist manuscript piano-vocal score; [4] p. 8-9 Girl crazy [1930] And I have you 8/25 IG holograph/typescript lyric sheets; [4] p. Are you dancing? 8/26 GG holograph manuscript piano-vocal score; [4] p.

No lyric

8/27 IG holograph/typescript lyric sheets; [3] p. Barbary Coast 8/28 Copyist manuscript piano-vocal score; 5 p.

No lyric

8/28 Copyist manuscript piano-vocal score; 6 p.

No lyric

8/28 Manuscript lead sheet; [1] p.

No lyric

8/28 Typescript lyric sheets; [2] p. Bidin' my time 8/29 GG holograph manuscript piano-vocal score; [3] p.

No lyric

8/30 Manuscript piano-vocal score in the hand of Albert Sirmay; 6 p. 8/30 2 copyist manuscript piano-vocal scores; [3] p. ea.

No lyric

8/30 IG holograph/typescript lyric sheets; [2] p. Boy! What love has done to me! 8/31 Copyist manuscript piano-vocal score; 7 p. 8/31 Copyist manuscript piano-vocal score; 5 p.

No lyric

Emendations in an unidentified hand

8/31 Manuscript piano score; [5] p. 8/31 Typescript lyric sheets; [4] p. Bronco busters 9/1 Manuscript/copyist manuscript piano-vocal score; 10 p. 9/1 Typescript lyric sheets; [2] p. But not for me 9/2 GG holograph manuscript piano-vocal score; [4] p.

No lyric

9/3 GG holograph manuscript piano score of elaborate harmonization of final 8 bars of refrain; [1] p. 9/4 Copyist manuscript piano-vocal score; 6 p. 9/4 3 copyist manuscript piano-vocal scores; 6 p. ea.

No lyric

9/4 Copyist manuscript piano-vocal score; 4 p.

No lyric

9/4 Typescript lyric sheets; [2] p. Cactus time in Arizona 9/5 Copyist manuscript piano-vocal score; 4 p.

No lyric

9/5 Typescript lyric sheets; [2] p. Could you use me? 9/6 GG holograph manuscript piano-vocal score; [4] p.

Lyric in unidentified hands

9/7 2 copyist manuscript piano-vocal scores; 7 p. ea.

Emendations in an unidentified hand

9/7 IG holograph/typescript lyric sheets; [8] p. Embraceable you 9/8 Manuscript piano score in the hands of GG, William Daly and Albert Sirmay; [4] p. 9/8 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

9/8 Copyist manuscript piano-vocal score; 6 p.

No lyric

9/8 Typescript lyric sheets; [3] p. Farmer dance

Early title for "You can't unscramble scrambled eggs," Box-Folder 9/22

Finale, Act I 9/9 GG holograph/copyist manuscript piano-vocal score; 9 p.

Lyric in an unidentified hand

9/10 Copyist manuscript piano-vocal score; 9 p. Finaletto, Act I

Alternate title for "Goldfarb, that's I'm!," Box-Folder 9/12

The gambler of the West 9/11 Typescript lyric sheets; [2] p. Goldfarb, that's I'm! 9/12 Typescript lyric sheets; [2] p. I got rhythm 9/13 GG holograph manuscript piano-vocal score; [4] p.

No lyric

Verse in the hand of Albert Sirmay

Title and chorus in the hand of GG

9/14 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

9/14 2 copyist manuscript piano-vocal scores; 6 p. ea.

No lyric

9/14 Typescript lyric sheet I have you

Alternate title for "And I have you," Box-Folder 8/25

Land of the gay caballero 9/15 GG holograph manuscript piano-vocal score; [8] p.

No lyric

In caption on p. [7] in the hand of IG: Part of Spanish dance, Mexican, Girl crazy

Sketch of Torch in an unidentified hand on p. [8]

9/16 IG holograph/typescript lyric sheets; [2] p. Look what love has done for me

Pre-Broadway/opening night title for "Boy! What love has done to me!," Box-Folder 8/31

The lonesome cowboy 9/17 Typescript lyric sheets; [3] p. Not for me

Alternate title for "But not for me," Box-Folder 9/2-4

Opening, Act I, scene III

Alternate title for "Bronco busters," Box-Folder 9/1

Opening, Act II

Alternate title for "Land of the gay caballero," Box-Folder 9/15-16

Sam and Delilah 9/18 GG holograph manuscript piano-vocal score; 7 p.

No lyric

9/19 Manuscript piano-vocal score in the hand of Albert Sirmay; 1, 9 p. 9/19 2 copyist manuscript piano-vocal scores; 9 p. ea. 9/19 IG holograph/typescript lyric sheets; [4] p. Selection 9/20 Copyist manuscript orchestral parts (4)

For oboe, E-flat alto saxophone, 2nd violin, and viola

Orchestrated by F. Henri Klickmann

Something peculiar

See "Something peculiar" from Piccadilly to Broadway, Box-Folder 28/31

That lonesome cowboy won't be lonesome now

Alternate title for "Dance alone with you," Box-Folder 6/10-11

Treat me rough 9/21 Copyist manuscript piano-vocal score; 6 p.

No lyric

9/21 Typescript lyric sheets; [4] p. We're bronco busters

Alternate title for "Bronco busters," Box-Folder 9/1

When it's cactus time in Arizona

Alternate title for "Cactus time in Arizona," Box-Folder 9/5

You can't unscramble scrambled eggs 9/22 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p.

No lyric

9/22 Copyist manuscript piano-vocal score; [1, 2] p.

No lyric

9/22 Copyist manuscript piano-vocal score; [3] p.

No lyric

9/22 IG holograph/typescript lyric sheets; [2] p. Lists of songs, running order 9/23 IG holograph/typescript manuscript; [3] p.

For Philadelphia tryout, for New York opening

Piano parts 9/24 IG holograph cover only 9 Girl crazy [1960 revival] Dawn of a new day 9/25 IG holograph/typescript lyric sheets; [2] p. 9-10 Give a girl a break [film, 1953 revival] Ach, du lieber oom-pah-pah 9/26 IG holograph/typescript lyric sheets; [20] p. Applause, applause 9/27 IG holograph/typescript lyric sheets; [7] p. Dreamworld 9/28 Photocopied (ozalid) copyist manuscript piano-vocal score; 9 p. 9/28 IG holograph/typescript lyric sheets; [10] p. Give a girl a break 10/1 Photocopied (ozalid) copyist manuscript piano-vocal score; 6 p. 10/1 IG holograph/typescript lyric sheets; [12] p. In our united state 10/2 Photocopied (ozalid) copyist manuscript piano-vocal score; 4 p. 10/2 IG holograph/typescript lyric sheets; [17] p. It happens ev'ry time 10/3 IG holograph/typescript lyric sheets; [12] p. Nothing is impossible 10/4 Photocopied (ozalid) copyist manuscript piano-vocal score; 9 p. 10/4 IG holograph/typescript lyric sheets; [6] p. Whizzin’ thru space [unfinished] 10/5 IG holograph lyric sheet; [2] p. Woman, there is no living with you 10/6 Photocopied (ozalid) copyist manuscript piano-vocal score; 4 p. 10/6 IG holograph/typescript lyric sheets; [5] p. Outline 10/7 Typescript; 8 p.

IG holograph emendations

10/7 IG holograph lyric sheets; [4] p. Unidentified notes 10/8 IG holograph manuscripts; [5] p. 10 The Goldwyn follies [1938] Exposition 10/9 Typescript ballet scenario (3 versions); 3,2,2 p. I love to rhyme 10/10 GG holograph manuscript piano-vocal sketch; [4] p. 10/11 IG holograph/typescript lyric sheets; [6] p. I was doing all right 10/12 GG holograph manuscript piano-vocal sketch; 3 p.

Refrain only

10/13 Typescript lyric sheets; [3] p. I'm not complaining 10/14 Manuscript piano-vocal score; 4 p. 10/14 Photocopied copyist manuscript piano-vocal score; 4 p. 10/14 Typescript lyric sheets; [2] p. Just another rhumba 10/15 GG holograph manuscript piano-vocal score; [5] p.

No lyric

10/16 IG holograph/typescript/carbon copy lyric sheets; [11] p. Love is here to stay 10/17 Photocopied sheet music (German) 10/17 IG holograph/typescript lyric sheets; [7] p. Love walked in 10/18 Photocopied sheet music (German) 10/18 Typescript lyric sheet Spring again 10/19 IG holograph/typescript lyric sheets; [3] p. Miscellaneous notes 10/20 IG holograph manuscript; [4] p. 10 Good morning, Judge [1919] I was so young (You were so beautiful) 10/21 Frank Saddler holograph manuscript full score; 16 p. 10/22 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

10/22 Manuscript lyric sheet There's more to the kiss than the x-x-x 10/23 GG holograph manuscript piano-vocal score; [4] p.

Partial vocal line, no lyric

10/24 IG holograph/typescript lyric sheet 10 Greenwich Village follies [1924] Hot hindoo 10/25 Copyist manuscript piano-vocal score; 5 p. 10 Half past eight [1918] Cupid 10/26 Copyist manuscript piano score; [3] p. 10/26 Photocopied copyist manuscript piano-vocal score; 6 p.

No lyric

Half past eight 10/27 Photocopied copyist manuscript piano-vocal score; 7 p.

No lyric

Hong Kong 10/28 Photocopied copyist manuscript piano-vocal score; 6 p.

No lyric

Little sunbeam 10/29 Photocopied copyist manuscript piano-vocal score; 5 p.

No lyric

Ten commandments of love 10/30 Maurice DePackh holograph manuscript full score; 21 p. There's magic in the air 10/31 IG holograph/typescript lyric sheet; [2] p. Running order 10/32 Typescript list with emendations; [1] p. 11 Kiss me, stupid [1964] All the livelong day (and the long, long night) 11/1 Manuscript piano-vocal score in the hand of Kay Swift; [2] p.

No lyric

11/1 Copyist manuscript piano-vocal score; 4 p. 11/1 2 photocopied (ozalid) copyist manuscript piano-vocal scores; 4 p. ea.

Refrain has no lyric

IG holograph emendations

11/1 3 photocopied (ozalid) copyist manuscript piano-vocal scores; 4 p. ea.

IG holograph emendations

11/1 Photocopied (ozalid) piano-vocal score; 5 p. 11/1 Manuscript piano sketch; [2] p.

Refrain only

11/2 IG holograph/typescript lyric sheets and notes; [54] p. 11/3 IG typescript lyric sheets; [5] p.

Revised 2nd refrain for Ella Fitzgerald

Laid in: IG typescript letter to Ella Fitzgerald, 1964 September 30

I'm a poached egg 11/4 Manuscript piano-vocal sketch in the hand of Kay Swift; [1] p. 11/4 Manuscript piano score in the hand of Kay Swift; [1] p.

Refrain only

11/4 Copyist manuscript piano-vocal score; 5 p. 11/4 Photocopied (ozalid) copyist manuscript piano-vocal score; 5 p.

IG holograph emendations

11/4 Photocopied (ozalid) copyist manuscript piano-vocal score; 3 p.

Refrain only

11/4 2 photocopied (ozalid) copyist manuscript piano-vocal score; 5 p. 11/4 Photocopied (ozalid) copyist manuscript piano-vocal score; 6 p.

Laid in: Photocopied IG typescript notes; [1] p.

11/4 Sheet music with IG corrections 11/5 IG holograph/typescript lyric sheets; [54] p. 11/6 IG holograph/typescript lyric sheets; [11] p.

Revised 3rd refrain for Ella Fitzgerald

Laid in: IG signed typescript letter to Ella Fitzgerald, 1964 September 30

OV-1/3 IG holograph/typescript lyric sheets; [16] p. Sophia 11/7 Copyist manuscript piano-vocal score; 7 p. 11/7 8 photocopied (ozalid) copyist manuscript piano-vocal scores; 7 p. ea.

Seven have IG holograph emendations

11/7 3 photocopied (ozalid) copyist manuscript piano-vocal score; 6 p.

Two have emendations

11/7 Photocopied (ozalid) copyist manuscript piano-vocal score; 5 p.

No lyric

11/7 Manuscript piano fragments; [1] p.

Laid in: IG holograph letter to “Doc”, undated

IG holograph letter, undated

11/7 IG holograph/typescript lyric sheets; [30] p. 11 La-la-Lucille! [1919] Kitchenette 11/9 2 Frank Saddler holograph manuscript full scores; 6, 7 p.

One incomplete

11/10 IG holograph/typescript lyric sheets; [4] p. Love of a wife 11/11 Frank Saddler holograph manuscript full score; 16 p.

Laid in: IG typescript notes; [1] p.

Money 11/12 Frank Saddler holograph manuscript full score; 16 p. 11 Ladies first [1918] The real American folk song 11/13 GG and Kay Swift holograph manuscript piano-vocal score; [7] p.

No lyric

11/14 Copyist manuscript piano-vocal score; 7 p. 11/14 Photocopied (ozalid) copyist manuscript piano-vocal score; 7 p. 11/14 IG holograph/typescript/photocopied lyric sheets; [4] p.

Laid in: Envelope with IG holograph manuscript

11-13 Lady, be good! [1924] The bad, bad men 11/15 GG holograph manuscript piano-vocal score; [4] p.

No lyric

11/16 IG holograph/typescript lyric sheets; 3 p. Buy a little button from me 11/17 Typescript lyric sheet; [2] p. Carnival 11/18 Charles Grant holograph manuscript full score; 17 p. End of a string 11/19 Typescript lyric sheets; [3] p. Evening star 12/1 GG holograph manuscript piano-vocal score; [4] p.

No lyric

12/2 GG holograph manuscript harmony sketch; [1] p.

Adjoined with: “Opening, Act I, scene III” (vocal sketch, [1] p.)

12/3 Photocopied copyist manuscript piano-vocal score; [5] p. 12/3 Photocopied GG holograph manuscript lead sheet; [2] p. 12/3 IG holograph/typescript lyric sheet 12/3 Photocopied IG holograph/typescript lyric sheet Fascinating rhythm 12/4 GG holograph manuscript piano score; [1,1] p.

Verse only

12/5 GG holograph manuscript piano score; [2] p.

Refrain only

Caption title: Syncopated city

12/6 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 12/6 Copyist manuscript piano-vocal score; 4 p.

No lyric

Emendations in an unidentified hand

12/6 Photocopied sheet music (French) 12/6 Typescript lyric sheet Fascinating rhythm - Interlude 12/7 GG holograph manuscript piano score; [1] p.

Adjoined with: “Finale” (piano-vocal score, no lyric, [1] p.)

Fascinating rhythm [revised version, ca. 1940s] 12/8 Typescript lyric sheet

Refrain only

Finale

See "Fascinating rhythm - Interlude," Box-Folder 12/7

Finale, Act I 12/9 Max Steiner holograph manuscript full score; 18 p.

Incomplete

12/10 Typescript lyric sheet Finale, Act II 12/11 Typescript lyric sheet The half of it dearie, blues 12/12 Copyist manuscript piano-vocal score; [3] p.

Emendations in the hand of Albert Sirmay

Unidentified sketch material on verso of p. [3]

12/12 Typescript lyric sheets; [9] p. The half of it dearie, blues. Patter 12/13 Typescript lyric sheets Hang on to me 12/14 Copyist manuscript piano-vocal score with; [4] p.

Emendations in the hands of IG Albert Sirmay

12/14 Typescript lyric sheets; one with corrections; [2] p. I'd rather Charleston 12/15 Typescript lyric sheets [2] p.

One has emendations

Juanita 12/16 Typescript lyric sheets; [3] p. Leave it to love 12/17 GG holograph manuscript piano-vocal score; [3] p.

No lyric

Unidentified sketch material on p. [4]

Linger in the lobby 12/18 GG holograph manuscript piano-vocal sketch; [8] p.

No lyric

12/19 Robert Russell Bennett holograph manuscript full score; 29 p.

Incomplete, p. 1 missing

12/19 Typescript lyric sheets with corrections; [2] p. Little jazz bird 12/21 GG holograph manuscript piano-vocal score; [4] p.

No lyric

12/22 Albert Sirmay holograph manuscript piano-vocal score; 7 p.

No lyric

12/22 Typescript lyric sheets; [3] p. Little theatre 12/23 IG holograph/typescript lyric sheets; [2] p. The man I love

See also "The man I love" from Strike up the band, Box-Folder OV-1/9 and 37/12

12/24 GG holograph manuscript piano-vocal score; [2] p.

Verse only, no lyric

12/25 Copyist manuscript piano-vocal score; 8 p.

GG holograph emendations

No lyric

12/26 Albert Sirmay holograph manuscript piano-vocal score; 7 p. 12/26 Photocopied sheet music (French version) 12/26 Typescript lyric sheet Oh, lady be good! 12/27 GG holograph manuscript piano-vocal score; [4] p.

Verse has no lyric, refrain has partial lyric

12/28 Copyist manuscript piano-vocal score; 4 p. 12/28 Photocopied sheet music (German) 12/29 Photocopied sheet music [fake]

In caption in the hand of IG: We never did find out who started this fakery

12/28 Typescript lyric sheets; [6] p. Oh, what a lovely party

British title for "A wonderful party," Box-Folder 13/14

Opening, Act I 12/30 William Daly holograph manuscript full score; 31 p.

Incomplete, p. 12 missing

Found with: Tell me more

Opening, Act I, scene III

See "Evening star," Box-Folder 12/1-3

Opening, Act II

Alternate title for "Linger in the lobby," Box-Folder 12/18-19

Alternate title during pre-Broadway tour for "Weatherman and rainy-afternoon girls," Box-Folder 13/8-10

Overture 12/31 Manuscript full score; 15 p. Scene II, Act I 12/32 Stephen O. Jones holograph manuscript full score; 14 p. Scene III, Act I 13/1 Paul Lannin holograph manuscript full score; 33 [i.e., 36] p. Seeing Dickie home 13/2 Typescript lyric sheet Selection 13/3 Robert Russell Bennett holograph manuscript (with printed portions) piano score; 19 p. Singin' Pete 13/4 Manuscript piano sketch; [1] p. 13/4 Typescript lyric sheet Six little rainy-afternoon girls

Alternate title for "Weatherman and rainy-afternoon girls," Box-Folder 13/8-10

So am I 13/5 GG holograph manuscript piano-vocal score; [4] p.

No lyric

13/6 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 13/6 Typescript/photocopied lyric sheets; [3] p. Swiss miss 13/7 Typescript lyric sheets; [2] p. Syncopated city

Alternate title for "Fascinating rhythm," Box-Folder 12/4-8

Weatherman and rainy-afternoon girls 13/8 GG holograph manuscript piano-vocal sketch; 10 [i.e., 9] p.

No lyric

13/9 GG holograph manuscript piano-vocal score; 11 p.

No lyric

13/10 Typescript lyric sheets; [4] p. We're here because 13/11 Paul Lannin holograph manuscript full score; 20 p. 13/11 Paul Lannin holograph manuscript short score; [1, 2] p. 13/12 Typescript lyric sheets; [2] p. Will you remember me 13/13 Copyist manuscript piano-vocal score; [4] p.

No lyric

13/13 Typescript/photocopied lyric sheets; [2] p. A wonderful party 13/14 Typescript lyric sheets Unidentified waltz 13/15 Manuscript piano sketch; [1] p. 13-14 Lady in the dark [1941] Bats about you 13/16 IG holograph/typescript lyric sheet

Laid in: IG typescript notes; [3] p.

The boss is bringing home a bride 13/17 IG holograph/typescript lyric sheets; [2] p.

Part of the "Hollywood daydream"

Circus dream 13/18 IG holograph/typescript libretto/lyric sheets (5 versions)

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.

Incomplete late draft; [1] p.

First dream sequence

Alternate title for the "Glamour dream," Box-Folder 13/19

Fourth dream sequence

Alternate title for the "Hollywood daydream"

Glamour dream 13/19 IG holograph/typescript libretto/lyric sheets; 8 [i.e., 9] p.

Incomplete, p. 5 is missing

Hollywood daydream [unfinished]

Sequence dropped from the production

Hollywood party

Alternate title for "Party parlando," Box-Folder 13/25

Home in San Fernando valley 13/20 IG holograph/typescript lyric sheets; [2] p.

Part of the "Hollywood daydream"

It's never too late to Mendelssohn 13/21 IG holograph/typescript lyric sheets; [3] p.

Laid in: IG holograph/typescript notes; [1] p.

Originally part of the "Wedding dream," Box-Folder 13/30-31

Minstrel dream 13/22 IG holograph/typescript libretto/lyric sheets; [6] p.

Incomplete

Laid in: IG holograph/typescript notes; [2] p.

The minstrel show

Alternate title for the "Minstrel dream," Box-Folder 13/22

My ship 13/23 IG holograph lyric sheet; [2] p. One life to live 13/24 IG holograph/typescript/photocopied lyric sheets; [9] p.

Laid in: IG holograph/typescript notes; [2] p.

Part of the "Glamour dream," Box-Folder 13/19

Party parlando 13/25 IG holograph/typescript lyric sheets; [2] p.

Part of the "Hollywood daydream"

The saga of Jenny 13/26 IG holograph/typescript lyric sheets; [16] p.

Laid in: IG holograph/typescript notes; [1] p.

Part of the "Circus dream," Box-Folder 13/18

Second dream sequence

Alternate title for the "Wedding dream," Box-Folder 13/30-31

Third dream sequence

Alternate title for the "Circus dream," Box-Folder 13/18

This is new 13/27 Typescript lyric sheet

Part of the "Wedding dream," Box-Folder 13/30-31

Tschaikowsky (and other Russians) 13/28 IG holograph/typescript scenario/lyric sheets; [4] p.

Laid in: IG typescript notes; [2] p.

Part of the "Circus dream," Box-Folder 13/18

Unforgettable 13/29 IG holograph/typescript lyric sheets; [5] p.

Laid in: IG holograph/typescript notes; [2] p.

Originally part of the "Wedding dream," Box-Folder 13/30-31

Wedding dream 13/30 IG holograph/typescript libretto/lyric sheets; [11] p.

In headings: Bolero

Laid in: IG holograph/typescript notes; [12] p.

13/31 Typescript libretto/lyric sheets (4 versions)

v. A: 10 p. (final draft)

v. B: 8 p. (earlier draft)

v. C: 8 p. (carbon copy of v. B)

v. D: 8 p. (carbon copy of v. B)

Incomplete earlier draft; [2] p.

Laid in: IG holograph/typescript notes; [2] p.

Dream sequence scenarios

See also the "Wedding dream," Box-Folder 13/30-31; the "Circus dream," Box-Folder 13/18; and the "Hollywood daydream"

13/32 Moss Hart typescript scenarios; [3] p.

Scenarios for the "Wedding dream," Box-Folder 13/30-31 and the "Circus dream," Box-Folder 13/18

Laid in: IG holograph/typescript notes; [2] p.

Lyric book 14/1 Typescript; [36] p.

Laid in: IG holograph/typescript notes; [2] p.

Script 14/2 Typescript; [85] p.

Titled: I am listening

14-15 Let 'em eat cake (1933) All the mothers of the nation 14/3 GG holograph manuscript lead sheet sketch; [1] p.

Caption title: Air for Mary

Blue, blue, blue 14/4 GG holograph manuscript melody sketch; [1] p. Climb up the social ladder 14/5 GG holograph manuscript melody sketch; [1] p. 14/6 GG holograph manuscript piano-vocal score; [7] p.

Unidentified sketch material on p. [7]

Cloistered from the noisy city

Alternate title for "The Union League," Box-Folder 15/2

Comes the revolution 14/7 Photocopied manuscript piano-vocal score in the hand of Kay Swift; [2] p. Finale, Act I 14/8 GG holograph manuscript piano-vocal score; 29 p.

Partial lyric

14/9 GG holograph manuscript piano-vocal sketches; 13 [i.e., 10] p. 14/10 GG holograph manuscript outline of musical selections with drawings; [1] p. Hanging Throttlebottom in the morning 14/11 GG holograph manuscript piano-vocal score; [7] p.

Ensemble section has no lyric

14/12 GG holograph manuscript lead sheet; [1] p.

Partial lyric

It isn't what you did 14/13 GG holograph manuscript lead sheet; [1] p.

Lyric fragment

League of Nations finale 14/14 GG holograph manuscript piano-vocal score; 16 p. 14/15 Holograph manuscript lead sheets; [2] p. Let 'em eat cake 14/16 Holograph manuscript lead sheet; 1 p. Limerick 14/17 GG holograph manuscript lead sheet; [1] p. Members of the Union League

Alternate title for "The Union League," Box-Folder 15/2

Mine 14/18 Copyist manuscript piano-vocal score; [5] p.

GG holograph emendations

Musical outline 14/19 Typescript (carbon); 1 p. The new blue D.A.R.

Alternate title for "Climb up the social ladder," Box-Folder 14/5-6

Opening, Act I 14/20 Copyist manuscript piano-vocal score; [24] p.

Emendations in an unidentified hand

Includes GG holograph transitional material on p. [23] and sketch of League of Nations in an unidentified hand on p. [24]

Opening, Act II 14/21 GG holograph manuscript piano-vocal score; 11 p.

Partial lyric in the hand of IG

14/22 GG holograph manuscript piano-vocal score; [3] p.

Fragmentary lyric

14/23 GG holograph manuscript lead sheet; [1] p. Overture 14/24 GG holograph manuscript short score; [17] p.

Emendations in an unidentified hand

Unidentified sketch material on p. [15-17]

14/25 GG holograph manuscript short score sketch; [5] p.

IG holograph emendations

Oyez, oyez, oyez 14/26 GG holograph manuscript piano-vocal score; 6 p.

No lyric

14/27 GG holograph manuscript lead sheet; [1] p. Pep talk 14/28 GG holograph manuscript lead sheet; [1] p. Store scene 14/29 GG holograph manuscript piano-vocal score; 15 p.

Partial lyric

Includes "Shirts by millions" (Alternate title: Orders, orders!), "Comes the Revolution," and "Mine"

Team, team, team 14/30 GG holograph manuscript piano-vocal sketch; 9 p.

Partial lyric

14/31 GG holograph manuscript lead sheet; [1] p. Till then 14/32 GG holograph manuscript piano-vocal score; 4 p.

No lyric

14/33 2 piano-vocal score proof copies; 5 [i.e., 4] p. ea. The trial of Throttlebottom 14/34 GG holograph manuscript piano-vocal sketch; [3] p. 14/35 GG holograph manuscript piano-vocal score; [11] p. The trial of Throttlebottom. The score was 8 to 8 14/36 GG holograph manuscript piano-vocal sketch; [4] p. The trial of Wintergreen 15/1 GG holograph manuscript piano-vocal score; [17] p. The Union League 15/2 GG holograph manuscript lead sheet; [1] p.

Includes GG drawings on verso

Union square 15/3 GG holograph manuscript piano-vocal sketch; [13] p.

No lyric

15/4 GG holograph manuscript sketches; [6] p.

p. [1]: Agitator’s entrance

p. [3]: List of songs in running order

p. [5-6]: Conditions as they are

Libretto Typescript (4 versions) 15/5 v. A: 27 [i.e., 26] p. (p. 8 is missing) 15/6 v. B: 27 [i.e., 26] p. (p. 8 is missing) 15/7 v. C: 27 [i.e., 25] p. (no cover; p. 8, 21 are missing) 15/8 v. D: 27 [i.e., 24] p. (p. 2, 3, 8 are missing) List of chorus forces and supernumeraries by scene 15/9 Typescript; [3] p. Lyric sheets, drawings, and scripts 15/10 IG holograph/typescript; [52] p. Lyrics notebook 15/11 IG holograph lyrics and sketches; [iv, 129] leaves (some blank) Outline, Acts I and II 15/12 George S. Kaufman typescript; 4 p.

Laid in: IG holograph descriptions [2 p.]

Revised outline, Act I 15/13 George S. Kaufman typescript; 3 p. 15-16 Life begins at 8:40 [1934] All the Elks and Masons 15/14 Typescript lyric sheets; [4] p. Beautifying the city

Alternate title for "Life begins at city hall," Box-Folder 16/2

C'est la vie 15/15 IG holograph/typescript lyric sheets; [6] p. The Elks and Masons

Alternate title for "All the Elks and Masons," Box-Folder 15/14

Fun to be fooled 15/16 Typescript lyric sheets; [3] p. I couldn't hold my man 15/17 Typescript lyric sheets; [3] p. I knew him when 15/18 Photocopied (ozalid) copyist manuscript piano-vocal score; 4 p. 15/18 Typescript lyric sheets; [2] p. I'm a collector of moonbeams 15/19 IG holograph/typescript lyric sheets; [2] p. I'm not myself 15/20 IG holograph/typescript lyric sheets; [4] p. It was long ago 15/21 IG holograph/typescript lyric sheets; [3] p. Let's take a walk around the block 15/22 Typescript lyric sheets; [7] p. Life begins (at exactly 8:40 or thereabouts) 16/1 Typescript lyric sheets; [4] p. Life begins at city hall 16/2 Typescript lyric sheets; [17] p. Long ago, far away, once upon a time

Alternate title for "It was long ago," Box-Folder 15/21

My Paramount-Publix-Roxy Rose 16/3 Typescript lyric sheets; [6] p. Quartet erotica 16/4 IG holograph/typescript lyric sheets; [3] p. Rabelais

Alternate title for "Quartet erotica," Box-Folder 16/4

Rabelais, De Maupassant, Boccaccio, Balzac

Alternate title for "Quartet erotica," Box-Folder 16/4

Shoein' the mare 16/5 Typescript lyric sheet Spring fever 16/6 IG holograph/typescript lyric sheets; [3] p. Things! 16/7 IG holograph/typescript lyric sheets; [3] p. What can you say in a love song? (that hasn’t been said before?) 16/8 Typescript lyric sheets; [2] p. A weekend cruise 16/9 Typescript lyric sheets; [4] p. Will you love me Monday morning as you did on Friday night?

Early title for "A weekend cruise," Box-Folder 16/9

You're a builder upper 16/10 Typescript lyric sheets; [5] p. 16 Little Miss Bluebeard [1923] I won't say I will but I won't say I won't 16/11 Copyist manuscript piano-vocal score; 4 p.

Incomplete

16/11 IG holograph/typescript lyric sheets; [7] p. Selection 16/12 Robert Russell Bennett holograph manuscript piano score; 2 p. Ming toy

Alternate title for "East is West," Box 5

16 Morris Gest's midnight whirl [1919] Baby doll 16/13 Maurice DePackh holograph manuscript full score; 22 p. 16/14 Manuscript full score; 15 p. Much ado about love

Working title for "The firebrand of Florence," Box 5

16 Nifties of 1923 At half past seven 16/15 Copyist manuscript piano-vocal score; 4 p.

Emendations in an unidentified hand

Dancing mad 16/16 Copyist manuscript piano-vocal score; [5] p. Fabric of dreams 16/17 IG holograph lyric sheet Nashville nightingale 16/18 Hilding Anderson holograph manuscript full score; 22 p. 16/19 Copyist manuscript orchestral parts (4 parts, incomplete set) 16 The north star [1943] Can I help it? 16/20 Typescript lyric sheet Collective loading-time song 16/21 IG holograph/typescript lyric sheets; [8] p. I'll always have a roving eye 16/22 IG holograph lyric sheets; [2] p. From the Baltic to the Pacific

Alternate title for "Collective loading - time song," Box-Folder 16/21

Loading song

Alternate title for "Collective loading - time song," Box-Folder 16/21

Loading time at last is over

Alternate title for "Village scene jingles," Box-Folder 16/27

No village like mine 16/23 IG holograph/typescript lyric sheets; [6] p. Song of the Fatherland 16/24 Typescript lyric sheet Song of the guerillas 16/25 IG holograph/typescript lyric sheets; [4] p. Soviet land

Alternate title for "Song of the Fatherland," Box-Folder 16/24

Unite, you workers of all nations 16/26 IG holograph/typescript lyric sheets; [2] p. Village scene jingles 16/27 IG holograph/typescript lyric sheets; [4] p. Wagon song 16/28 IG holograph/typescript lyric sheets; [2] p. Younger generation 16/29 IG holograph/typescript lyric sheets; [3] p. Lyric sheets and character list 16/30 IG holograph/typescript manuscripts; [6] p. 16-18 Of thee I sing [1931] Adlai’s sweeping the country 16/31 Typescript lyric sheet Because, because

See also "Opening, Act I, scene 3," Box-Folder 17/13

16/32 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 16/32 2 corrected 1st proofs; 5 [i.e., 4] p. ea. 16/32 Corrected 2nd proof; 5 [i.e., 4] p. 16/32 Typescript/photocopied lyric sheets; [4] p. Exit, Atlantic City scene 16/33 Copyist manuscript piano-vocal score; 1, 3 p. Finale, Act I 16/34 Copyist manuscript piano-vocal score; [48] p. 16/34 IG holograph/typescript lyric sheets; [4] p. Finale, Act I [1952 revival] 16/35 Typescript lyric sheets; [6] p. Finale ultimo

Alternate title for "On that matter, no one budges," Box-Folder 17/12

Finaletto, Act I scene 4 16/36 GG holograph manuscript piano-vocal score; 1, 17 p. 16/36 Copyist manuscript piano-vocal score; [32] p.

Emendations in the hands of Albert Sirmay and William Daly

Finaletto, Act II scene 1 16/37 Copyist manuscript piano-vocal score; 32 [i.e., 34] p. Finaletto, Act II scene 3 17/1 Copyist manuscript piano-vocal score; 32 p. Finaletto, Act II scene 3 17/2 IG holograph sheet

Incomplete

Gabriel, Gabriel, blow your golden horn

Alternate title for "Trumpeter, blow your golden horn," Box-Folder 17/20

Hello, good morning 17/3 GG and William Daly holograph manuscript full score; 22 p.

Laid in: IG holograph notes; [2] p.

17/4 Copyist manuscript piano-vocal score; 13 p. The illegitimate daughter 17/5 Copyist manuscript piano-vocal score; [1, 4] p.

Caption title in the hand of IG

17/5 Manuscript piano-vocal score in the hand of Albert Sirmay; [8] p. 17/5 Corrected 1st proof; 7 [i.e., 5] p. 17/5 Sheet music with annotations 17/5 Typescript lyric sheets; [2] p. Love is sweeping the country 17/6 GG holograph manuscript piano-vocal score; [2] p.

Verse only, no lyric

17/7 Manuscript piano-vocal score in the hand of Albert Sirmay; 11 p. 17/7 Corrected 1st proof; 7 [i.e., 6] p. 17/7 Corrected 2nd proof; 7 [i.e., 6] p. 17/7 Sheet music with corrections 17/7 IG holograph/typescript lyric sheets; [3] p. Love is sweeping the country. Patter 17/8 IG holograph/typescript lyric sheets; [2] p. Of thee I sing 17/9 GG holograph manuscript piano-vocal score; [1,2] p.

Verse only, no lyric

17/10 GG holograph manuscript piano-vocal score; [1,2] p.

Refrain only, no lyric

17/11 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 17/11 Corrected 1st proof; 5 [i.e., 4] p. 17/11 Corrected 2nd proof; 5 [i.e. 4] p. 17/11 Sheet music with corrections in the hand of Albert Sirmay 17/11 Typescript lyric sheet On that matter, no one budges 17/12 Copyist manuscript piano-vocal score; 16 p. Opening, Act I scene 3 17/13 Copyist manuscript piano-vocal score; [21] p.

Emendations in the hand of Albert Sirmay

Includes: "Who is the lucky girl to be?," "The dimple on your knee," and "Because, because"

Opening, Act II

Alternate title for "Hello, good morning," Box-Folder 17/3-4

Opening, Atlantic City scene 17/14 Copyist manuscript piano score; [1] p. Overture 17/15 Manuscript (with printed portions) piano score chiefly in the hand of Albert Sirmay; 16 p. Posterity

Alternate title for "Posterity is just around the corner," Box-Folder 17/16

Posterity is just around the corner 17/16 Copyist manuscript piano-vocal score; 10 p. The President is going to be a daddy 17/17 IG holograph/typescript lyric sheets; [2] p. The senator from Minnesota

Alternate title for "The senatorial roll call," Box-Folder 17/18

The senatorial roll call 17/18 Copyist manuscript piano-vocal score; 1, 10 p.

Cover title: The senator from North Dakota

17/18 Typescript/photocopied lyric sheets; [6] p. Strike the loud-resounding zither 17/19 IG holograph lyric sheet Trumpeter

Alternate title for "Trumpeter, blow your golden horn," Box-Folder 17/20

Trumpeter, blow your golden horn 17/20 GG holograph manuscript lead sheet; [2] p.

Laid in: IG holograph notes; [1] p.

Who cares? 17/21 Copyist manuscript piano-vocal score; 14 p.

Emendations in an unidentified hand

17/21 Copyist manuscript piano-vocal score; [5] p.

Verse has no lyric

17/21 Corrected 1st proof; 5 [i.e., 4] p. 17/21 Sheet music with corrections Who cares? [1952 revival] 17/22 IG holograph/typescript lyric sheet

Refrain only

Wintergreen for President 17/23 Copyist manuscript piano-vocal score; [1, 6] p.

Emendations in the hand of Albert Sirmay

Bound manuscript selections Bound GG holograph manuscripts; [96] p.

1931 December

Laid in: IG typescript notes; [2] p.

Libretto, first draft 18/1 Typescript manuscript; [141] p. Libretto, later versions 18/2 Typescript manuscripts

v. A: 19 p.

v. B: [22] p. (with IG holograph emendations)

v. C: [24] p. (with IG holograph emendations)

List of numbers and orchestrations 18/3 GG holograph manuscript; [1] p. Scenario book 18/4 Typescript manuscript; 14 [i.e., 20] p.

IG holograph annotations

18 Oh, Kay! [1926] Ain’t it romantic 18/5 Manuscript piano-vocal score in the hand of Kay Swift; [1, 5] p.

No lyric

18/5 Copyist manuscript piano-vocal score; 5 p.

No lyric

18/5 Photocopied copyist manuscript piano-vocal score; 5 p. 18/5 Photocopied copyist manuscript piano-vocal score; 5 p.

No lyric

18/5 Typescript lyric sheets; [2] p. Bring on the ding dong dell 18/6 IG holograph/typescript lyric sheets; [2] p. Bride and groom 18/7 Typescript lyric sheets; [2] p. Clap yo' hands 18/8 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 18/8 Photocopied sheet music (French) 18/8 Typescript lyric sheets; [2] p. Clap-a yo' hand

Alternate title for "Clap yo' hands," Box-Folder 18/8

Dear little girl 18/9 Typescript lyric sheets; [3] p. Ding-dong-dell

Alternate title for "Bring on the ding dong dell," Box-Folder 18/6

Do, do, do 18/10 Manuscript piano-vocal score in the hand of Albert Sirmay; 6 p. 18/10 Photocopied sheet music (German) 18/10 Typescript lyric sheets; [3] p. Don't ask 18/11 Typescript lyric sheets; [2] p. Fidgety feet 18/12 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 18/12 Typescript lyric sheets; [2] p. Finale, Act I 18/13 Typescript lyric sheets; 3 p. Finaletto, Act II scene 1 18/14 IG holograph/typescript lyric sheet Guess who? 18/15 Typescript lyric sheets; [2] p. Heaven on earth 18/17 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 18/17 Typescript lyric sheets; [6] p. I hope you've missed me

Early title for "Dear little girl," Box-Folder 18/9

I'm so ner-ner-nervous 18/18 P.G. Wodehouse holograph manuscript lyric sheets; [3] p.

Laid in: Stewart Lawrence holograph notes; [1] p.

Isn't it grand

Alternate title for "Finale, Act I," Box-Folder 18/13

Maybe 18/19 Manuscript piano-vocal score in the hand of Albert Sirmay; 6 p. 18/19 Sheet music with corrections in the hand of Albert Sirmay 18/19 Typescript/photocopied lyric sheets; [4] p. The moon is on the sea 18/20 Typescript lyric sheets; [2] p. Never too late to Mendelssohn

Alternate title for "Bride and groom," Box-Folder 18/7

Oh, Kay! 18/21 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 18/21 Sheet music with emendations in the hand of Albert Sirmay 18/21 Typescript/photocopied lyric sheets; [4] p. On single life today

Alternate title for "Finaletto, Act II, scene I," Box-Folder 18/14

Opening, Act II

Alternate title for "Bride and groom," Box-Folder 18/7

Overture 18/22 GG holograph and unidentified hand manuscript short score; [5] p. OV-1/4 Hilding Anderson’s manuscript full score; 21 p. Selection 18/23 Robert Russell Bennett holograph manuscript (with printed portions) piano score; 18 p.

Incomplete

Show me the town 18/24 Typescript lyric sheets; [2] p. Someone to watch over me 18/25 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p. 18/25 Copyist manuscript piano score; 3 p. 18/25 Typescript lyric sheets; [4] p. Stepping with baby 18/26 Typescript lyric sheets; [3] p. What's the use? 18/27 Typescript lyric sheet When our ship comes sailing in 18/28 Copyist manuscript piano-vocal score; 5 p.

No lyric

Emendations in the hand of GG

GG holograph manuscript piano-vocal sketch for “Intro to Last Scene Act III” on verso of p. 5

18/28 Typescript lyric sheets; [2] p. The woman's touch 18/29 Typescript lyric sheets; [2] p. Cover from libretto? 18/30 Typescript lyric sheets; [2] p. 19 Our Nell [1922] By and by 19/1 Manuscript piano-vocal score; [5] p. 19/1 Manuscript/typescript lyric sheets; [3] p. Little villages 19/2 Copyist manuscript piano-vocal score with corrections; 9 p. 19/2 Typescript lyric sheets; [2] p. Walking home with Angeline 19/3 Manuscript piano-vocal score; [4] p. 19-27 Pardon my English [1933] As Gita exits 19/4 Manuscript sketch; [1] p. Beer garden incidental 19/5 Manuscript sketch; 1 p. Bride and groom

Alternate title for "Hail the happy couple," Box-Folder 20/5

Change over music into dining room 19/6 Manuscript sketch; 1 p. Counter waltz (Lead me to heaven tonight) 19/7 GG holograph manuscript melody line; [1] p.

Caption title in hand of IG

Dancing in the streets 19/8 Robert Russell Bennett holograph manuscript full score; 31 p. 19/9 Copyist manuscript piano-vocal score; 8 p.

Emendations in an unidentified hand

19/9 Typescript lyric sheet 19/10 6 copyist manuscript chorus parts

Emendations in an unidentified hand

Laid in: Chorus score revision of last 5 bars

Dancing in the streets. Choral opening 19/11 Manuscript piano score in the hand of Kay Swift; [1] p. Doctor's Dance

Alternate title for "Freud and Jung and Adler," Box-Folder 20/1-3

The Dresden northwest mounted 19/12 William Daly holograph manuscript full score; [27] p. 19/13 Copyist manuscript piano-vocal score; 7 p.

Emendations in an unidentified hand

19/13 Manuscript sketch (change music); [1] p. 19/13 Typescript lyric sheet 19/14 Copyist manuscript chorus score and 9 vocal parts

Refrain only

The Dresden northwest mounted. #1 19/15 Manuscript sketch; [1] p. The Dresden northwest mounted. #2 19/16 Manuscript sketch; [1] p. Drink, drink, drink

Alternate title for "Fatherland, mother of the band," Box-Folder 19/17-20

Fatherland, mother of the band 19/17 GG holograph manuscript piano-vocal score; [5] p.

Unidentified sketch material on p. [6]

19/18 William Daly holograph manuscript full score; 18 p. 19/19 Copyist manuscript piano-vocal score; 7 p.

Emendations in an unidentified hand

19/19 Photocopied copyist manuscript piano-vocal score; [5] p. 19/19 Typescript lyric sheets; [2] p. 19/19 Manuscript notation; [1] p. 19/20 Manuscript SATB arrangement; 8 p. 19/20 Copyist manuscript mixed chorus parts; [14] p. Finale, Act I

Alternate title for "What sort of wedding is this?," Box-Folder 22/24-23/1

Finale, Act II 19/21 Robert Russell Bennett holograph manuscript full score; 3 p. 19/22 Copyist manuscript piano-vocal score; [2, 8] p.

Emendations in an unidentified hand

Includes 12 bar introduction

Finaletto, Act II scene IV 19/23 Robert Russell Bennett holograph manuscript full score; 32 p. 19/24 2 copyist manuscript piano-vocal scores; 15 p. ea.

Emendations in an unidentified hand

19/24 Typescript lyric sheets; [4] p. Freud and Jung and Adler 20/1 William Daly holograph manuscript full score; 11 p. 20/2 William Daly holograph manuscript full score; [8] p.

Additional section

Caption title: The doctors’ dance

20/3 Manuscript piano-vocal score in the hand of Kay Swift; [2] p.

Refrain only, no lyric

20/3 Photocopied manuscript piano-vocal score in the hand of Kay Swift; [1] p.

Incomplete, refrain only

20/3 Photocopied manuscript piano-vocal score in the hand of Kay Swift; 6 [i.e. 5] p. 20/3 IG holograph/typescript/photocopied lyric sheets; [4] p. Golo theme 20/4 Adolph Deutsch holograph manuscript full score; 2 p. Hail the happy couple 20/5 IG holograph/typescript lyric sheets; [2] p. He's not himself 20/6 IG holograph/typescript lyric sheets; [5] p. He's oversexed 20/7 Manuscript melody line; [2] p.

Incomplete

20/7 Photocopy of manuscript piano-vocal score; 2 p. 20/7 Typescript lyric sheets; [3] p. In three-quarter time 20/8 GG holograph manuscript piano-vocal score; 7 p. 20/9 Robert Russell Bennett holograph manuscript full score; [54] p. 20/10 2 copyist manuscript piano-vocal scores; 8 p. ea.

Emendations in an unidentified hand

20/10 Typescript lyric sheets; [5] p. 20/10 Copyist manuscript SATB score arrangement; 1, 5 p. 20/11 Copyist manuscript SATB score arrangement; 6 p.

Emendations in an unidentified hand

20/11 Copyist manuscript vocal parts; [12] p. Invitation to the waltz (Something else again) 20/12 GG holograph manuscript piano sketch; [2] p.

Unidentified sketch material on p. [2]

Isn't it a pity 20/13 GG holograph manuscript piano-vocal score; [2] p.

Verse only

20/14 Robert Russell Bennett holograph manuscript full score; [1, 39] p. 20/15 Albert Sirmay’s manuscript piano-vocal score; 7 p. 20/15 Copyist manuscript piano-vocal score; [4] p.

Refrain only

20/15 Manuscript sketch; [1] p. 20/15 Typescript lyric sheets; [4] p. Isn't it a pity. Change over into den 20/16 Manuscript sketch; [1] p. I've got to be there 20/17 GG holograph manuscript piano-vocal score; [4] p.

Lyric in an unidentified hand

20/18 Adolph Deutsch holograph manuscript full score; [74] p. 20/19 Copyist manuscript piano-vocal score; [10] p.

GG holograph notations

20/20 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 20/20 Manuscript sketch; [1] p. 20/20 Typescript lyric sheets; [3] p. 21/1 Manuscript TTBB arrangement sketch for men’s chorus; [1] p. 21/1 Manuscript vocal parts; [4] p. Lead me to heaven tonight 21/2 GG holograph manuscript piano score; [2] p. The lorelei 21/3 GG holograph manuscript piano-vocal score; 5 p.

No lyric

21/4 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p. 21/4 Manuscript sketch; [1] p. 21/4 Typescript lyric sheets; [3] p. 21/4 Manuscript TTBB score arrangement for men’s chorus; [1] p.

“Michael theme” on verso

21/5 Copyist manuscript conductor’s score and 8 vocal parts; [9] p. 21/6 Manuscript SATB score arrangement; [1] p. Last 8 bars 21/6 Copyist manuscript vocal parts; [6] p. Last 8 bars Luckiest boy in the world

Early title for "Luckiest man in the world," Box-Folder 21/7-14

Luckiest man in the world 21/7 GG holograph manuscript piano-vocal score; 3 p.

No lyric

21/8 Robert Russell Bennett holograph manuscript full score; 34 p. Luckiest man in the world. Incidental 21/9 Manuscript sketch; [1] p. Luckiest man in the world. Introduction 21/10 Manuscript piano sketch; [1] p. 21/11 GG holograph manuscript piano-vocal score; [4] p.

No lyric

21/12 GG holograph manuscript piano-vocal score; [2] p.

Verse only, no lyric

21/13 Robert Russell Bennett holograph manuscript full score; 59 p. 21/14 Manuscript piano-vocal score in hand of Albert Sirmay; 6 p. 21/14 Manuscript piano-vocal score in hand of Albert Sirmay; 7 p. 21/14 Manuscript sketch; [1] p. 21/14 IG holograph/typescript lyric sheets; [11] p. Michael theme 21/15 Adolph Deutsch holograph manuscript full score; 2 p. 21/16 Manuscript sketch; [1] p. My cousin in Milwaukee 21/17 Adolph Deutsch holograph manuscript full score; [1, 26] p. 21/18 Manuscript piano-vocal score in the hand of Albert Sirmay; 9 p. 21/18 Copyist manuscript piano-vocal score; 7 p. 21/18 Typescript lyric sheet My cousin in Milwaukee. Change music into cafe scene 21/20 Manuscript sketch; [1] p. My cousin in Milwaukee. Segue to So what? 21/21 Manuscript sketch; [1] p. Nurses 21/22 Robert Russell Bennett holograph manuscript full score; [27] p. Nurses' entrance 21/23 Copyist manuscript piano-vocal score; [1] p. Opening, Act II 21/24 Copyist manuscript piano-vocal score; [27] p.

GG holograph emendations

Introduction to "I’ve got to be there," Box-Folder 20/17-21/1 on p. [27]

22/1 Manuscript piano-vocal score in the hand of William Daly; 14 p.

GG holograph emendations

No lyric

22/2 Copyist manuscript SATB score arrangement; [1] p.

Incomplete

22/2 Typescript lyric sheets; [6] p. Overture 22/3 GG holograph manuscript sketch; 2 p. 22/4 William Daly holograph manuscript full score; 20 p. 22/5 Copyist manuscript conductor’s lead sheet; 4 p. Pardon my English 22/6 William Daly holograph manuscript full score; 1, 20 p. 22/7 Typescript lyric sheets; [2] p. Poor Michael! Poor Golo!

Alternate title for "He's not himself," Box-Folder 20/6

Randall's dance 22/8 Manuscript sketch; [1] p. Schuhplader burlesque 22/9 Manuscript sketch; [1] p.

Caption title: "Schuplattler burlesque"

Schuhplader dance 22/10 Copyist manuscript piano part; [2] p.

Emendations in an unidentified hand

Caption title: "Schuh plattler dance"

22/10 Photocopied manuscript piano-vocal sketch; [1] p.

Caption title: "Shoe plattler’s dance"

So what? 22/11 Robert Russell Bennett holograph manuscript full score; [1, 62] p. 22/12 Manuscript piano-vocal score in the hand of Albert Sirmay; 8 p. 22/12 Manuscript piano-vocal score in the hand of William Daly; [4] p.

No lyric

22/12 Copyist manuscript piano-vocal score; 7 p.

Emendations in an unidentified hand

22/12 Typescript lyric sheets; [4] p. 22/13 Copyist manuscript TTBB score arrangement for men’s chorus; [1] p. 22/13 Copyist manuscript vocal parts; [9] p.

Interlinear text in pencil

So what? Incidental 22/14 2 manuscript melody line sketches; [1] p. ea. Three-quarter time

Alternate title for "In three-quarter time," Box-Folder 20/8-11

Together at last 22/15 GG holograph manuscript piano-vocal score; [4] p. 22/16 William Daly holograph manuscript full score; 19 p. 22/17 Manuscript piano-vocal score in the hand of Albert Sirmay; 7 p. 22/17 Typescript lyric sheets; [2] p. 22/18 Manuscript piano-vocal score in the hand of Kay Swift; [1, 2] p.

Lyric fragment

22/18 Manuscript leadsheet in the hand of Michael Feinstein; [1] p.

Refrain only

22/18 Photocopied manuscript piano-vocal score in the hand of Kay Swift; [2] p.

Lyric in ink

22/18 Typescript/photocopied lyric sheets; [2] p. Tonight! 22/19 Typescript lyric sheets; [2] p. Waltz 22/20 IG holograph/typescript lyric sheets; [4] p. Waltz sequence 22/21 GG holograph manuscript short score; [3-5] p.

Incomplete

Two waltzes in C 22/22 Copyist manuscript piano score; 8 p.

Adapted by Saul Chaplin

In caption: Originally written ... for a musical sequence (but not used) ...

Viennese sextet

Alternate title for linked numbers "Freud and Jung and Adler," Box-Folder 20/1-3 and "He's oversexed," Box-Folder 20/7

Watch your head 22/23 IG holograph/typescript lyric sheets; [2] p. What sort of wedding is this? 22/24 William Daly manuscript full score; [49] p. 23/1 Copyist manuscript piano-vocal score; 8 p.

Emendations in an unidentified hand

23/1 Typescript lyric sheets; [6] p. Where you go, I go 23/2 GG holograph manuscript piano-vocal score; [4] p.

No lyric

23/3 Manuscript piano-vocal score in the hand of Albert Sirmay; 5 p. 23/3 Manuscript sketch; [1] p. 23/3 Manuscript sketch; [2] p. 23/3 Typescript lyric sheets; [3] p. Orchestral parts Copyist manuscripts

Emendations in an unidentified hand

Laid in: Typescript notes

23/4 Oboe / English horn 23/5 Alto saxophone I / clarinet I / baritone saxophone 23/6 Alto saxophone II / flute / piccolo / clarinet II / alto saxophone III / clarinet III 23/7 Tenor saxophone / clarinet II 24/1 Horn I & II 24/2 Trumpet I & II 24/3 Trombone 24/4 Drums 25/1 Piano 25/2 1st violin I 25/3 1st violin II 26/1 1st violin III 26/2 1st violin IV 26/3 2nd violin 26/4 Viola 27/1 Violincello 27/2 Double bass 27/3 Viola II (cut from show) List of musical numbers 27/4 Manuscript; [2] p. Miscellaneous materials found with piano-vocal scores 27/5 3 folders with manuscript notations and list of printed piano parts Scriptbook 27/6 Photocopied typescript manuscript [73] p. 1 of 2 27/7 Photocopied typescript manuscript [67] p. 2 of 2 28 Park Avenue [1946] The dew was on the rose 28/1 Photocopied (ozalid) copyist manuscript piano-vocal score; 6 p. 28/1 IG holograph/typescript lyric sheets; [14] p. The dew was on the rose. Interlude 28/2 Photocopied (ozalid) copyist manuscript piano-vocal score; 2 p. 28/2 Typescript lyric sheets; [4] p. The dew was on the rose. Reprise 28/3 IG holograph/typescript lyric sheets; [9] p. Dinner song 28/4 IG holograph/typescript lyric sheets; [5] p. Don't be a woman if you can 28/5 Photocopied (ozalid) copyist manuscript piano-vocal score; 15 p. 28/5 IG holograph/typescript lyric sheets; [20] p. For the life of me 28/6 IG holograph/typescript/photocopied lyric sheets; [16] p. The future Mrs. Coleman

See also "Stay as we are," Box-Folder 28/15

28/7 GG holograph manuscript piano sketch; [1] p.

In caption: Thanks, Kay

28/8 IG holograph/typescript lyric sheets; [5] p. Good-bye to all that 28/9 IG holograph/typescript lyric sheets; [7] p. Heavenly day 28/10 IG holograph/typescript lyric sheets; [5] p. Hope for the best 28/11 Typescript lyric sheets; [13] p. Land of opportunitee [sic] 28/12 Photocopied (ozalid) copyist manuscript piano-vocal score; 10 p. 28/12 IG holograph/typescript lyric sheets; [17] p. My son-in-law 28/13 Photocopied (ozalid) copyist manuscript piano-vocal score; 5 p. 28/13 IG holograph/typescript lyric sheets; [20] p. Remind me not to leave town 28/14 IG holograph/typescript lyric sheets; [12] p. Stay as we are 28/15 Photocopied (ozalid) copyist manuscript piano-vocal score; 7 p.

In caption: New verse

28/15 IG holograph/typescript lyric sheets; [8] p.

p. [2]: The future Mrs. Coleman (unfinished)

Sweet Nevada [waltz version] 28/16 Photocopied (ozalid) copyist manuscript piano-vocal score; 8 p. 28/16 IG holograph/typescript lyric sheets; [14] p. Sweet Nevada [western version] 28/17 IG holograph/typescript lyric sheets; [9] p. There's no holding me 28/18 IG holograph/typescript lyric sheets; [16] p. There's no holding me (if I can keep on holding you)

Alternate title for "Dance alone with you," Box-Folder 6/10-11

There's nothing like marriage for people 28/19 Photocopied (ozalid) copyist manuscript piano-vocal score; 12 p. 28/19 IG holograph/typescript lyric sheets; [9] p. Tomorrow is the time 28/20 Photocopied (ozalid) copyist manuscript piano-vocal score; 8 p. 28/20 Typescript lyric sheets; [3] p. We're better off the way we are 28/21 IG holograph/typescript lyric sheets; [8] p. Outline 28/22 Typescript; [9] p.

IG holograph emendations

Laid-in: George Kaufman typescript letter to IG, 1946 January (incomplete)

Laid-in: IG typescript notes

Unidentified lyrics 28/23 IG holograph lyric sheets; [3] p. 28 Piccadilly to Broadway [1920] Baby blues 28/24 Maurice B. DePakh holograph manuscript full score; [1] p.

Incomplete

Bambino 28/25 Typescript lyric sheet Gondolier

See "Bambino," Box-Folder 28/25

Mr. and Mrs. 28/26 Manuscript/typescript lyric sheet On the brim of her old-fashioned bonnet 28/27 Maurice B. DePakh holograph manuscript full score; 23 p. Piccadilly's not a bit like Broadway 28/28 Typescript lyric sheet Pick yo' partner 28/29 Typescript lyric sheets; [2] p. Somehow I knew 28/30 Typescript lyric sheets; [2] p. Something peculiar 28/31 Copyist manuscript piano-vocal score; 4 p.

Caption title: Spanish number

28/31 Copyist manuscript piano-vocal score; 6 p.

No lyric

28/31 Typescript lyric sheets; [3] p. Who's who with you?

See "Who's who with you?" from Two little girls in blue, Box-Folder 46/40

28 Pins and needles [1922] The Piccadilly walk 28/32 Typescript lyric sheet 29-30 Porgy and Bess [1935] Act I, scene 1 [Opening] 29/1 Piano-vocal score proof copy; 1 p. Bess, you is my woman now 29/2 Photocopied sheet music (Spanish version) 29/2 Typescript lyric sheet I got plenty o' nuthin' 29/3 Photocopied sheet music (Spanish version) 29/3 Dubose Heyward original typescript lyric sheets; [2] p.

GG holograph p. [1]; IG holograph p. [2]

I hates yo' struttin' style 29/4 GG holograph manuscript sketch; [2] p.

In caption: Maria

It ain't necessarily so 29/5 Photocopied sheet music (Spanish version) 29/5 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 IG typescript lyric sheet [1] p.

1952 revision for Adlai Stevenson

Lonely boy 29/6 GG holograph manuscript piano-vocal score; [1] p.

No lyric

29/7 Manuscript piano score in the hand of Kay Swift; [1] p. 29/7 Dubose Heyward original typescript lyric sheet; [1] p.

GG holograph addition

29/7 IG holograph lyric sheet; [2] p.

GG holograph names

My man's gone now 29/8 GG holograph manuscript sketch; [1] p.

In caption: Serena song

Oh, heav'nly Father 29/9 Typescript lyric sheet Oh, I can't sit down! 29/10 GG holograph manuscript sketch; [1] p.

In caption: Picnic band

29/11 IG holograph/typescript lyric sheets; [4] p. Oh Lawd, I'm on my way 29/12 GG holograph manuscript sketch with drawings; [1] p. Oh, the train is at the station/Leaving for the Promis' Lan' OV-1/5 GG holograph manuscript sketch; [4] p. Prelude OV-1/6 GG holograph short score sketch; [2] p. A red-headed woman 29/13 GG holograph manuscript sketch; [2] p.

Caption title: Crown blues

Roll dem bones 29/14 Holograph manuscript piano-vocal sketch; 2 p.

Laid in: GG signature

Gift of IG, 1939 May 24

Six prayers

Alternate title for "Oh, heav'nly Father," Box-Folder 29/9

Summertime 29/15 Photocopied sheet music (French version) 29/15 Photocopied sheet (Spanish version) Sure to go to heaven 29/16 GG holograph manuscript sketch; [1] p.

In caption in the hand of IG: First sketch

29/17 GG holograph manuscript sketch; [1] p. There's a boat dat's leavin' soon for New York 29/18 GG holograph manuscript leadsheet; [1] p.

Caption title: Boat for New York

They pass by singin' 29/19 GG holograph manuscript piano-vocal sketch; 2 p. What you want wid Bess? 29/20 GG holograph manuscript sketches; [3] p. Sketches Act I, scene 1, rehearsal no. 22-23 29/21 GG holograph manuscript sketch; [1] p.

In caption: Part of crap game music

Act I, scene 1, rehearsal no. 34-35 29/22 GG holograph manuscript piano-vocal sketch; [2] p.

In caption: Jake

Act I, scene 1, rehearsal no. 70-72 29/23 GG holograph manuscript short scores (A, B, C, D); 4 leaves

In caption in the hand of IG: Porgy’s theme

Gift of Ira Gershwin, 1969

Act I, scene 1, rehearsal no. 93-94 29/24 GG holograph manuscript short score (A); [1] p.

In caption: Fugatta

From the estate of Kay Swift

Act I, scene 1, rehearsal no. 99-100 29/25 GG holograph manuscript short scores (A, B, C, D); 4 leaves

From the estate of Kay Swift

Act I, scene 1, rehearsal no. 126-129 OV-1/7 GG holograph manuscript sketches

Caption titles: Intro to Fugue; Fugue

Act I, scene 1, rehearsal no. 130-131 29/26 GG holograph manuscript sketch; [2] p.

In caption: Fugue interlude

Act I, scene 1, rehearsal no. 131 29/27 GG holograph manuscript sketch; 1 p. Act II, scene 2, rehearsal no. 163-168 29/28 GG holograph manuscript piano-vocal score; [2] p.

Laid in: GG check and photocopied IG holograph notes

Act II, scene 1, rehearsal no. 6-8 29/29 GG holograph manuscript sketch; [2] p.

In caption in the hand of IG: Fisherman music

Act II, scene 2, rehearsal 131, unused 29/30 GG holograph manuscript sketches; [7] p.

In captions: Kittiwah

Laid in: IG typescript note

Act II, scene 2, rehearsal no. 131 29/31 GG holograph manuscript piano-vocal sketch; [2] p.

In caption: Kittiwah (Africana)

Act II, scene 3, rehearsal no. 225 29/32 GG holograph manuscript sketch; [1] p.

Labeled: Storm

Act III, scene 3, Opening 29/33 GG holograph manuscript note on development; [1] p. Act III, scene 3, rehearsal no. 156-162 29/34 GG holograph manuscript sketch; 7 p.

In caption: Trio

Laid-in: IG letter and GG check

Miscellaneous and unused sketches 29/35 GG holograph manuscript sketches; 4 leaves

Laid in: IG typescript note

Miscellaneous motives OV-1/8 GG holograph manuscript sketch; [1] p.

Laid in: IG typescript note

Bound Items Act I, scene I Bound GG holograph piano-vocal score; [104] p.

1934 May 23

Act I, scene II Bound GG holograph piano-vocal score; 75 p. Act II Bound GG holograph piano-vocal score Act III Bound GG holograph piano-vocal score; [139] p. Act I Bound GG holograph orchestral score; [167] p.

Act I, scene I in caption: Late 1934-1935 September 2

Act II Bound GG holograph orchestral score; [242] p. Act III Bound GG holograph orchestral score; [85] p.

Act III, scene I in caption: July 22, 1935 (finished)

In caption: End of Scene II, Act III August 4, 1935

Act III, scene III in caption: Finished August 23, 1935

Bound Printed choral part; 238 p.

Copy owned by James E. Lightfoot

Bound Pre-publication printed vocal score; 556 p.

Copy owned by Alexander Smallens

Bound Pre-publication printed vocal score; 559 p.

Used as prompt book by Theatre Guild

Bound Printed vocal score; 559 p.

First edition, 1935

Sketches Bound GG holograph manuscript sketches; [4] p.

Includes Act I, scene I fugue; Oh, the train is at the station; Leaving for the promised land

Libretti First draft 29/36 Photocopied typescript; [89] p.

Annotations in various hands

Annotations identified by IG

Libretto corrections 30/1 IG holograph/typescript; [7] p. German version 30/2 Photocopied typescript; 51 p.

Translated by Ralph Benatzky

Porgy (play) 30/3 Typescript script; [112] p. Screenplay 30/4 First revision Typescript; 97 [i.e., 99] p.

Revised by N. Richard Nash

30/5 Second revision Typescript; 105 [i.e., 107] p.

Revised by N. Richard Nash

Short script 30/6 GG holograph manuscript; [2] p. Miscellaneous Materials Ground plans 30/7 Drafting plans; [3] p. Key to switchboards 30/8 2 typescripts; [2] p. ea. Letters regarding screenplay 30/12 2 typescripts from N. Richard Nash to Samuel Goldwyn, 1958 Feb .9; [1], 8 p. List of tasks not yet done 30/9 GG holograph manuscript; [1] p. Memo regarding first sketches of Catfish Row 30/10 Typescript; 1, 10 p. Property plot 30/11 2 typescripts; [4] p. ea. 30-31 Primrose [1924] Ballet 30/13 Orchestrator’s holograph manuscript full score; 13 p. Berkeley Square and Kew 30/14 GG holograph manuscript full score; 13 p. Boy wanted

See "Boy wanted" from A dangerous maid, Box-Folder 4/1

Entrance of Brummell 30/15 Orchestrator’s holograph manuscript full score; [6] p. Every girl has a method of her own 30/16 IG holograph/typescript lyric sheet Finale, Act I 30/17 Orchestrator’s holograph manuscript full score; 14 p. 30/18 Typescript lyric sheet Finale, Act II 30/19 Copyist manuscript full score; 23 p. Four little sirens

See also "The sirens" from A dangerous maid, Box-Folder 4/5-6

30/20 Orchestrator’s holograph manuscript full score; 5 p.

Incomplete

30/21 IG holograph/typescript lyric sheets; [6] p.

Incomplete

I make hay while the moon shines 31/1 Typescript lyric sheet Isn't it wonderful 31/2 GG holograph manuscript full score; 20 p. 31/3 GG and William Daly holograph manuscript piano-vocal score; [1, 2] p.

No lyric

Vocal line in hand of GG

31/4 Typescript lyric sheets; [4] p. The Mophams 31/5 Orchestrator’s holograph manuscript full score; 14 p. 31/6 Typescript lyric sheets; [3] p. Naughty baby 31/7 GG holograph manuscript full score; 22 [i.e., 21] p.

Incomplete, p. 4 missing

Earliest known GG orchestration

31/8 GG holograph manuscript sketch; [1] p.

Laid in: IG holograph notes

31/9 Typescript lyric sheets; [2] p. Opening, Act I 31/10 Orchestrator’s holograph manuscript full score; 31 p. 31/11 IG holograph/typescript lyric sheets; [7] p.

Emendations in an unidentified hand

Opening, Act II 31/12 Orchestrator’s holograph manuscript full score; 17 p. Overture 31/13 Orchestrator’s holograph manuscript full score; 12 p. Pep! zip! and punch! 31/14 IG holograph/typescript lyric sheets; [4] p. Some faraway someone 31/15 Orchestrator’s holograph manuscript full score; 12 p. 31/16 Typescript lyric sheets; [2] p. That new-fangled mother of mine 31/17 Orchestrator’s holograph manuscript full score; 7 p. 31/18 Typscript lyric sheets; [3] p. This is the life for a man 31/19 Orchestrator’s holograph manuscript full score; [3] p.

Caption title: The place for a man

Till I meet someone like you 31/20 Typescript lyric sheets; [4] p.

Caption title: I've never met another little girl

Wait a bit, Susie 31/21 Typescript lyric sheets; [2] p. When Toby is out of town 31/22 Orchestrator’s holograph manuscript full score; 13 p. 31/23 IG holograph/typescript lyric sheet; [2] p. When you're not at your best 31/24 Typescript lyric sheet Sketch 31/25 GG holograph manuscript melody sketch; [1] p.

In caption: Good T.

Libretto 31/26 Photocopied typescript; [131] p. 31 The rainbow [revue, 1923] Sweetheart (I'm so glad that I met you) 31/27 Sheet music

Lyric corrections in various hands, including IG

31-32 Rosalie [1928] At the Ex-King's Club 31/28 Typescript lyric sheets; [2] p. Beautiful gypsy 31/29 Copyist manuscript piano-vocal score; [1, 4] p.

Emendations in an unidentified hand

31/29 Copyist manuscript piano-vocal score; [4] p.

No lyric

31/29 Sheet music for "Wait a bit, Susie"

Emendations in an unidentified hand

Revived as "Beautiful gypsy"

31/29 Typescript lyric sheet Beautiful gypsy. Introduction 31/30 Copyist manuscript piano-vocal score; [2] p. Cadet song 31/31 Typescript lyric sheet Comedy dance 31/32 GG Holograph manuscript piano score; [3] p.

In caption in the hand of IG: Gershwin melody #43

Later published as "Merry Andrew"

31/33 Copyist manuscript piano score; [1, 3] p. 31/33 2 copyist manuscript piano scores; 3 p. ea. 31/33 Photocopied (ozalid) piano score; 3 p. 31/33 Photocopied copyist manuscript piano score; 3 p. Dance sequence 31/34 GG holograph manuscript piano score; [4] p. Enjoy today 31/35 Typescript lyric sheet Ev'rybody knows I love somebody 31/36 Typescript lyric sheet; 1 p. Ex-King's number

Alternate title for "At the Ex-King's Club," Box-Folder 31/28

Finale, Act I 32/1 IG holograph/typescript lyric sheets; [10] p. Follow the drum 32/2 Typescript lyric sheets; [3] p. Good-bye to the one girl

See also "True to them all," Box-Folder 32/17

32/3 Typescript lyric sheet Hussar march 32/4 Typescript lyric sheet I forgot what I started to say 32/5 GG holograph manuscript short score; [4] p. 32/6 IG holograph/typescript lyric sheets; [4] p. The kind of friend

Alternate title for "Let me be a friend to you," Box-Folder 32/8

The king can do no wrong 32/7 Typescript lyric sheets; [5] p. Let me be a friend to you 32/8 Typescript lyric sheet New York serenade 32/9 Typescript lyric sheet Oh gee! Oh joy! 32/10 Stephen O. Jones (orchestrator) holograph manuscript full score; 14, [i.e. 6] p.

Incomplete, p. 1-4, 9-12 missing

32/11 Copyist manuscript piano-vocal score (key of C); [4] p. 32/11 Copyist manuscript piano-vocal score (key of A); 4 p. 32/11 Typescript lyric sheets; [2] p. Opening, Act II

Alternate title for "Enjoy today," Box-Folder 31/35

Rosalie [final version] 32/12 Manuscript piano-vocal score in the hand of Hans Spialek; 6 p.

No lyric

32/12 Manuscript piano-vocal score; 6 p. 32/12 Typescript lyric sheets; [6] p. Rosalie [early version] 32/13 GG holograph manuscript sketch; [1] p. Rosalie. Selection 32/14 Hans Spialek (arranger) holograph manuscript (with printed portions) piano score; 20 [i.e. 16] p.

Incomplete, p. 15-18 missing

Say so! 32/15 Copyist manuscript piano-vocal score; 4 p. 32/15 Copyist manuscript piano-vocal score; 5 p.

Emendations in an unidentified hand

32/15 IG holograph/typescript lyric sheets; [5] p. Show me the town 32/16 Copyist manuscript piano-vocal score; [4] p.

Emendations in an unidentified hand

32/16 IG holograph/typescript lyric sheets; [5] p. True to them all

See also "Good-bye to the one girl," Box-Folder 32/3

32/17 IG holograph/typescript lyric sheets; [2] p. Under the furlough moon 32/18 Copyist manuscript piano-vocal score; [4] p.

Emendations in an unidentified hand

32/18 Copyist manuscript piano-vocal score; 5 p. 32/18 Typescript lyric sheets; [2] p. What I started to say

Alternate title for "I forgot what I started to say," Box-Folder 32/5-6

When cadets parade 32/19 Copyist manuscript piano-vocal score; 5 p.

No lyric

32/20 IG holograph/typescript lyric sheets; [2] p. You know how it is 32/21 Typescript lyric sheets; [2] p. Libretto 32/22 Typescript (Act I); [78] p.

Emendations in an unidentified hand

32/23 Typescript (Act II); 64 p.

Emendations in an unidentified hand

Run across

Early title for Treasure girl , Boxes 45-46

32-33 Shall we dance [film, 1937] Ballet 32/24 GG holograph manuscript short score sketch; [3] p.

In caption in the hand of IG: Ballet?

32/25 GG holograph manuscript piano sketch; [1] p.

Caption title in the hand of IG

32/26 Photocopied copyist manuscript piano score; 8 p. French ballet class 32/27 2 photocopied (ozalid) piano scores; 4 p. ea.

One with emendations

Graceful and elegant 32/28 2 photocopied (ozalid) piano scores; 3 p. ea. Hi-ho! 32/29 GG holograph manuscript piano-vocal score; [8] p.

Partial lyric

Unidentified sketch material on p. [8]

33/1 2 facsimiles of GG holograph manuscript piano-vocal score and typescript lyric sheet; [8] p. ea.

One lacks decorative slipcase, one inscribed by IG

33/2 Photocopied copyist manuscript piano-vocal score; 10 p.

GG holograph emendations

33/2 IG holograph/typescript lyric sheets; [8] p. Hi-ho! I've got it

Alternate title for "Hi-ho!," Box-Folder 32/29-33/2

Interlude 33/3 GG holograph manuscript piano score; [2] p.

In caption in the hand of IG: Fog horn music, “Can’t take that away from me”, used in film soundtrack

33/4 Copyist manuscript piano score; [1] p. Introduction and Dance of the waves ballet 33/5 2 photocopied (ozalid) piano scores; 3 p. ea.

One with emendations

I've got beginner's luck 33/6 GG holograph manuscript piano-vocal score; [5] p.

No lyric

Let's call the whole thing off 33/7 Holograph manuscript piano-vocal sketch; [1,5] p.

Laid in: IG holograph description; 1 p.

33/8 Typescript/photocopied lyric sheets; [7] p. Promenade 33/9 Photocopied manuscript orchestration; [3] p. 33/10 Copyist manuscript piano score; [4] p. 33/10 Photocopied copyist manuscript piano score; 3 p. Slap that bass 33/11 Typescript lyric sheet They all laughed 33/12 GG holograph manuscript piano-vocal score; [5] p.

No lyric

33/13 IG holograph/typescript lyric sheets; [2] p. They can't take that away from me 33/14 Typescript lyric sheet Wake up, brother, and dance 33/15 GG holograph manuscript piano-vocal score; [1, 6] p.

Refrain lyric only

33/16 Photocopied (ozalid) piano-vocal score; 6 p. 33/16 Photocopied GG holograph piano sketch; [1] p. 33/16 Sheet music

Laid in: Letter from Carl S. Miller (Chappell & Co.) to IG, 1961 September 27

33/16 IG holograph/typescript lyric sheets; [3] p. 33/17 GG holograph manuscript piano sketch; [1] p.

Refrain only

33-34 The shocking Miss Pilgrim [film, 1947] Aren't you kind of glad we did? 33/18 Manuscript piano-vocal score in the hand of Kay Swift; 1, 5 p. 33/18 Photocopied (ozalid) piano-vocal score; 5 p. 33/18 IG holograph/typescript lyric sheets; [15] p. 33/18 IG holograph/typescript lyric sheet; [1] p.

Revised version for Ella Fitzgerald

The Back Bay polka 33/19 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p. 33/19 Typescript lyric sheets; [9] p. The Back Bay polka. Dance interlude 33/20 Manuscript piano score in the hand of Kay Swift; [1] p. Boston

Alternate title for "The Back Bay polka," Box-Folder 33/19-20

But not in Boston

Alternate title for "The Back Bay polka," Box-Folder 33/19-20

Changing my tune 33/21 Manuscript piano-vocal score in the hand of Kay Swift; 3 p. 33/21 Typescript lyric sheets; [2] p. Demon rum 33/22 Manuscript piano-vocal score in the hand of Kay Swift; [1, 2] p. 33/22 Photocopied ozalid proof; 3 p. 33/22 IG holograph/typescript lyric sheets; [3] p. 33/23 2 copyist manuscript piano-vocal scores; [1, 2] p. ea.

No lyric

33/23 Photocopied manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p.

No lyric

For you, for me, for evermore 33/24 GG holograph manuscript sketch; [1] p.

Refrain only

In caption in the hand of IG: Gold mine

Laid in: IG holograph notes

33/25 Manuscript piano-vocal score in the hand of Kay Swift; 1, 5 p. 33/25 Manuscript vocal part in the hand of Kay Swift; [1] p. March of the Suffragettes 33/26 Manuscript leadsheet in the hand of Kay Swift; [1] p. 33/26 IG holograph/typescript lyric sheets; [13] p. One, two, three 33/27 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p. 33/27 IG holograph/typescript lyric sheets; [2] p. Stand up and fight 33/28 Manuscript piano-vocal score in the hand of Kay Swift; [1, 5] p. 33/28 Photocopied ozalid proof; 4 p. 33/28 Typescript scenario; [2] p. Sweet Packard! 33/29 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p.

Cover title: Packard’s Business College

Includes 2 bar introduction

33/29 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p. 33/29 Photocopied ozalid proof; 3 p. 33/29 IG holograph/typescript scenario and lyric sheets; [5] p. Tour of the town 34/1 Photocopied ozalid proof; 13 p. 34/1 Typescript scenario and lyric sheets; [12] p. Waltzing is better sitting down

Alternate title for "One, two, three," Box-Folder 33/27

Welcome song 34/2 Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p. 34/2 Manuscript piano-vocal score in the hand of Kay Swift; [1, 4] p. 34/2 Photocopied ozalid proof; 4 p. 34/2 Typescript lyric sheets; [3] p. 34-35 Show girl [1929] Adored one 34/3 GG holograph manuscript piano-vocal score; 4 p.

No lyric

34/4 Typescript lyric sheet At Mrs. Simpkin's finishing school 34/5 Typescript lyric sheet Couldn't be good 34/6 Copyist