George and Ira Gershwin Collection [finding aid ... - American Memory

George and Ira Gershwin Collection 

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

Music Division, Library of Congress 

Washington, D.C. 

2010 

Revised 2014 November 

Contact information: 

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

Additional search options available at: 

http://hdl.loc.gov/loc.music/eadmus.mu010014 

LC Online Catalog record: 

http://lccn.loc.gov/2010561028 

Processed by the Music Division of the Library of Congress

Collection Summary 

Title: George and Ira Gershwin Collection 

Span Dates: 1895-2008 

Bulk Dates: (bulk 1920-1960) 

Call No.: ML31.G38 

Creator: Gershwin, George, 1898-1937 

Creator: Gershwin, Ira, 1896-1983 

Extent: 60,000 items ; 136 containers ; 53 linear feet 

Language: Collection material in English 

Location: Music Division, Library of Congress, Washington, D.C. 

Summary: 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, -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. Works. Selections. 

Gershwin, George, 1898-1937. Works. Selections; arranged. 

Gershwin, Ira, 1896-1983--Archives. 

Gershwin, Ira, 1896-1983--Correspondence. 

Gershwin, Ira, 1896-1983--Photographs. 

Gershwin, Ira, 1896-1983. 

Gershwin, Ira, 1896-1983. 

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. 

George and Ira Gershwin Collection 2

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. 

Copyright Status 

Materials from the George and Ira Gershwin Collection are governed by the Copyright Law of the United States (Title 17, 

U.S.C.) and other applicable international copyright laws. 

Access and Restrictions 

The George and Ira Gershwin Collection is open to research. Researchers are advised to contact the Music Division prior to 

visiting in order to determine whether the desired materials will be available at that time. 

Certain restrictions to use or copying of materials may apply. 

Preferred Citation 

Researchers wishing to cite this collection should include the following information: [item, date, container number], George 

and Ira Gershwin Collection, Music Division, Library of Congress, Washington, D.C. 

Biographical Note 

Date 

Event 

1872 Moishe Gershovitz (later, Morris Gershovitz, then Gershvin, and finally, Gershwin) born in St. 

Petersburg, Russia. He immigrates to New York in the early 1890s. George will describe him 

as "a very easy-going, humorous philosopher who takes things as they come." 

1875 or 1876 Rosa (later, Rose) Bruskin (or Brushkin) born in St. Petersburg, Russia. She immigrates to New 

York with parents Gershon and Mariaska (later, Mary) Dechinik Bruskin and younger siblings 

Bernard "Barney" and Katiel "Kate" in the early 1890s. George will describe her as "nervous, 

ambitious, and purposeful" and "never the doting type." 

1895, July 21 Morris Gershovitz and Rosa Bruskin are married in New York. 

1896, Dec. 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, Jan. 15 Morris and Rosa Gershvin become naturalized U.S. citizens. 

1898, Sept. 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, Mar. 14 Arthur, the third Gershwin sibling, is born. 

1900, Oct. 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, Dec. 6 Frances (known as "Frankie"), the youngest Gershwin child and only daughter, is born. 

Early 1900s 

Circa 1910 

Ira's emerging personality is quiet and studious. He becomes an avid reader and also develops an 

interest in theater (moving pictures as well as stage shows). George is more rambunctious and 

misbehaves frequently. He describes his first awareness of music as hearing Rubinstein's 

Melody in F at a penny arcade in Harlem (circa 1904), and he credits a performance of 

Dvořák's Humoresque (circa 1908) by schoolmate-violinist Maxie Rosenzweig (later, Max 

Rosen) as having "opened the world of music" to him. 

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 

Circa 1913 

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. 

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, Mar. 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, Sept. 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, Mar. 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 Nov. Ira begins a several-month stint as an occasional Vaudeville reviewer for the New York Clipper. 

1917 Dec. 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 Feb. 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 Feb. 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 Sept. 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, Dec. 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, Aug. 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, Aug. 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 Jan. 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, Apr. 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, Nov. 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, Feb. 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-yetbegun 

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, Sept. 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, Sept. 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, Dec. 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, Dec. 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, Apr. 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, Sept. 14 Ira marries Lee Strunsky in New York. 

1926 Oct. 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, Nov. 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, Dec. 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 Apr. 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, Aug. 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, Oct. 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, Mar. 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, Dec. 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 Feb. 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, Aug. 26 George makes his conducting debut at Lewisohn Stadium in An American in Paris with the New 

York Philharmonic. 


1929, Nov. 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, Dec. 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, Oct. 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, Nov. 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, Dec. 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, Jan. 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, Aug. 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, Jan. 20 Pardon My English opens at New York's Majestic Theatre, but closes after only 46 performances. 

1933, Oct. 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 Nov. 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, Jan. 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, Feb. 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, Aug. 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, Jan. 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, Aug. 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, Sept. 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, Feb. 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 Nov. A Damsel in Distress, the brothers' second RKO film, starring Fred Astaire and George Burns and 

Gracie Allen, is released. 

1938 Feb. 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, Jan. 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 Oct. 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 Apr. 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 Sept. 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, Mar. 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, Nov. 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 Jan. 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, Dec. 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 Nov. 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 Sept. 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 Dec. 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, Nov. 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, Aug. 17 Ira Gershwin dies in Beverly Hills, aged 86. 

1985, Aug. 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, Aug. 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, Jan. 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 


Description of Series 

Container 

BOX 1-62, 132, 135 

BOX 63-66 

BOX 67-71, 132, 135 

BOX 72-101 

BOX 102-108, 133-134 

BOX 109, 134 

BOX 110-111 

BOX 112-121 

BOX 122-130, 133 

Series 

Music 

Correspondence 

The correspondence in the Gershwin collection is organized alphabetically by correspondent, 

and then in chronological order. All condolence telegrams are placed in one group at the 

end arranged alphabetically by correspondent. 

Biographical Materials 

The biographical materials in the Gershwin collection are divided into three subseries. The first 

and second subseries, biographical materials of George and Ira Gershwin respectively, are 

organized alphabetically by subject matter and chronologically when appropriate. The third 

subseries, Lyrics on Several Occasions, is further divided into three subseries. The first 

subseries consists of the typescript pages appearing in paginated order. The second 

subseries, "Drafts," is organized in alphabetical order by subject matter. The third subseries 

consists solely of the galley proof. 

Scrapbooks 

The scrapbooks in the Gershwin collection are divided into three subseries. The first and 

second subseries, "Biographical" and "Porgy and Bess" respectively, are organized in 

chronological order. The third subseries, "Miscellany," is organized by subject matter. 

Books 1-31 have also been microfilmed: #93/20013. 

Iconography 

The iconography in the Gershwin Collection is divided into two subseries, "Photographs" and 

"Paintings and drawings." 

Publicity Materials 

The publicity materials in the Gershwin collection are organized alphabetically by subject 

matter and then chronologically. 

Programs 

The programs in the Gershwin collection are organized alphabetically by subject matter and 

then chronologically. 

Financial Documents 

The financial documents in the Gershwin collection are divided into five subseries. The first 

and second subseries, "Royalty statements" and "Box office statements for Porgy and 

Bess," are organized chronologically. The third, fourth and fifth subseries, "George 

Gershwin," "George Gershwin Estate," and "Rose Gershwin," are organized alphabetically 

by subject matter and then chronologically. 

Legal Documents 

The legal documents in the Gershwin collection are organized alphabetically by subject matter 

and then chronologically. 

Artifacts 


All artifiacts are listed in alphabetical order and, with the exception of Ira Gershwin's medals, 

can be viewed in the George and Ira Gershwin exhibit room in the Thomas Jefferson 

Building. 

BOX 131, 133, 136 

Miscellany 

The miscellaneous materials in the Gershwin collection are organized alphabetically by subject 

matter. 


Container List 

Container 

BOX 1-62, 132, 135 

BOX 1-47, 132 

Contents 

Music 

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 

see Blue Monday 

Note: Alternate title 

135th Street blues 

see Blue Monday 


BOX 1 Americana [1926] 

Blowin' the blues away 

see Blowing the blues away 


BOX-FOLDER 1/1 

Blowing the blues away 

Manuscript piano-vocal score chiefly in the hand of Hans Spialek; 5 p. 


Blowing the blues away 

Typescript lyric sheet 

Lost barbershop chord 

see That lost barbershop chord 



Sunny disposish 

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

Note: Arranged for E-flat alto saxophones I, II and III, B-flat tenor saxophone I and II, 

C melody saxophones I and II, and piano 


That lost barbershop chord 

Manuscript piano-vocal score chiefly in the hand of Albert Sirmay; 8 p. 

Note: Corrections to lyric in the hand of IG 



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

Note: Score has no lyric 



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

Note: Introduction in the hand of Albert Sirmay 




Note: No introduction 




BOX 1 The Barkleys of Broadway [film, 1949] 


Music 

Container 

Contents 



















97,704 

see Natchez on the Mississip' 

Note: Early title 

Bouncin’ the blues [instrumental] 

Photocopied (ozalid) copyist manuscript piano score; 2 p. 

Call on us again 

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

Call on us again 

Typescript lyric sheets; [4] p. 

The courtin' of Elmer and Ella 

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

Note: Corrections in an unidentified hand 



In caption: Revised 


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

Manhattan downbeat 


Manhattan downbeat 


Minstrels on parade 


My one and only highland fling 


My one and only highland fling 


Natchez 

see Natchez on the Mississip' 


Natchez on the Mississip’ 


In capton: Rev[ised] 

Natchez on the Mississip’ 


The poetry of motion 


The poetry of motion 


Second fiddle to a harp 


Shoes with wings on 


Shoes with wings on 


Since the ballet swept the town 

see The poetry of motion 



Music 

Container 

Contents 


Swing trot 

Manuscript lead sheet; [1] p. 

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

Note: Unidentified IG holograph lyric sketches on verso 


Swing trot 



Taking no chances on you 



There is no music 



There is no music 



These days 


Note: Correction in an unidentified hand 


These days 


In caption: Rev[ised] 


These days 

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

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

Note: IG holograph lyric revision sketch, circa 1980, on envelope 


They can’t take that away from me 

see also They can't take that away from me from Shall we dance 

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

Note: Refrain only 

Note: Scored by Conrad Salinger 


Weekend in the country 

Photocopied (ozalid) copyist manuscript short score; 15 p. 

Note: Scored by Conrad Salinger 








The well-known skies of blue 



You’d be hard to replace 




Sheet music (“Advance artist copy”); [4] p. 




You're my highland fling 

see My one and only highland fling 



Unidentified lyric sketches 

IG holograph manuscripts; [5] p. 

BOX 1 Be Yourself [1924] 


Music 

Container 

Contents 


I came here 

Copyist manuscript piano-vocal score; 5 p. 

Note: Extensive emendations in various hands including Albert Sirmay 

Note: IG holograph lyric credit in caption 


Money doesn’t mean a thing 

IG holograph lyric sheet 

Note: Verse 2 and part of refrain only 


My heart is yours [unfinished] 

Typescript lyric sheet; [2] p. 


Not so long ago 

Manuscript sketch; [2] p. 

Note: Sketch has no lyric 





They don’t make ’em that way anymore 

IG holograph/typescript lyric sheet 


Uh-uh 

Manuscript piano-vocal score; [4] p. 



Uh-uh 


Note: Emendations on p. [4] in unidentified hands 


What of it 



The wrong thing at the right time 



The wrong thing at the right time 



List of 21 songs, most by IG and Lewis Gensler 

IG holograph manuscript, circa 1925; 1 p. 


List of 18 songs by IG and Lewis Gensler 

Typescript with annotations by Michael Feinstein; 1 p. 


Title page from IG’s Be Yourself notebook 

Typescript; 1 p. 

Blue Monday [opera, 1922; revised 1925 and 1953] 

BOX-FOLDER Bound Blue Monday : original version, 1922 

GG holograph manuscript short score; 38 [i.e., 40] p. 

Note: Partial lyrics only 

Note: Presented as part of George White’s Scandals of 1922; withdrawn after one 

performance 

BOX-FOLDER Bound Blue Monday : revision, 1925 

Will Vodery holograph manuscript full score; 156 p. 

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

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

BOX-FOLDER 1/32 Blue Monday : revision, 1925 

Typescript libretto; 4 p. 

Caption title: 135th Street 

Note: Emendation in the hand of B. G. DeSylva 

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


Music 

Container 

Contents 

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

BOX-FOLDER 1/33 Blue Monday : revision, 1925 

Typescript libretto and carbon copy; 4 p. ea. 

Caption title: 135th Street 

BOX-FOLDER 1/34 Blue Monday : adaptation, 1953 


Caption title: 135th Street blues 

Note: Interlinear text in red pencil reflects the original lyrics 

Note: Adapted by George Bassman 

BOX-FOLDER 1/35 Blue Monday : adaptation, 1953 

Typescript (mimeograph) libretto; 9 p. 

Caption title: Blue Monday blues 

Note: Reflects revised libretto for Omnibus Broadcast, 1953 March 29 

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

BOX 2 Capitol revue [1919] 


Come to the moon 

GG holograph manuscript piano-vocal score; 3 p. 

Note: No lyric 


Come to the moon 

Frank Saddler holograph manuscript full score; 20 p. 


Swanee 

see also Sinbad 



Swanee 


Sheet music 

Note: 1st edition (with Capitol Theatre cover) 


Swanee 


Photocopied sheet music (French) 

BOX 2 Captain Jinks [1925] 


You must come over blues 

Corrected publisher’s final proof; p. 2-5 

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


You must come over blues 


BOX 2 Chopin show [unproduced revue, 1923] 


Baby me blues 



Bittersweet 


Note: Possible musical attribution to William Daly in the hand of Michael Feinstein on 

p. [1] 


Honorable moon 



The hurdy-gurdy man 

see also A corner of heaven with you 



The hurdy-gurdy man 


Music 

Container 

Contents 

see also A corner of heaven with you 



Man, the master 

see also Musical sketches 



My all 


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

Note: Vocal line only; verse incomplete; p. [1] is absent 

Note: Early lyric fragment in the hand of IG 


My all 




On the wings of romance 

William Daly holograph manuscript sketch; 1 p. 

Note: Title and partial lyric in the hand of IG 


On the wings of romance 



Opening 

William Daly holograph manuscript sketch; [2] p. 

Note: Partial lyric in the hand of IG 

Laid in: Description in the hand of Michael Feinstein 


Someday you'll realize 


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

Note: Vocal line only, no lyric 


Someday you'll realize 




Musical sketches 

William Daly holograph manuscript sketches with partial lyrics in the hand of IG; [2] p. 

Contents: 

• p. [1]: My all (refrain only); Etude op. 25, no. 9; Someday you’ll realize (refrain 

only, no lyric) 

• p. [2]: Someday you’ll realize (verse and refrain); Man, the master (verse and 

refrain) 

BOX 2 The country girl [film, 1954] 


Commercials 



Dissertation on the state of bliss 

Photocopied (ozalid) copyist piano-vocal score; 5 p. 


Dissertation on the state of bliss 



The land around us 

Photocopied (ozalid) copyist piano-vocal score [no. 1]; 8 p. 

Note: Includes Patter section 


The land around us 

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

Typescript (mimeograph) lyric sheets; 2 p. 


Music 

Container 

Contents 

Love and learn 

see Dissertation on the state of bliss 



The pitchman / It’s mine, it’s yours 

Photocopied (ozalid) copyist piano-vocal score; 10 p. 


The pitchman / It’s mine, it’s yours 



The search is through 

Photocopied (ozalid) copyist piano-vocal score; [4] p. 


The search is through 


You've got what it takes 

see The search is through 



Unidentified lyric sketches 


BOX 2 Cover girl [film, 1944] 

Any moment now 

see Long ago (and far away) 


Cover girl 



Long ago (and far away) 


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 


Midnight madness 


Midnight music 



Put me to the test 

see also Put me to the test from A damsel in distress 



The show must go on 



Sure thing 


That girl on the cover 

see Cover girl 



That’s the best of all [unfinished] 


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


Time: the present 


Today's the day (to make way for tomorrow) 

see Make way for tomorrow 



Music 

Container 

Contents 


Tropical night 


What I love to hear 

see That's the best of all 



Who's complaining 


BOX 2 Crazy quilt [unproduced revue, 1924] 


Opening 

IG holograph lyric sheet; [2] p. 

Note: This item is not related to Crazy quilt [revue, 1931] 

BOX 2 Crazy quilt [revue, 1931] 


In the merry month of maybe 

Manuscript piano score; [4] p. 

Note: This item is not related to Crazy quilt [unproduced revue, 1924] 


In the merry month of maybe 


Note: This item is not related to Crazy quilt [unproduced revue, 1924] 

BOX 3 A damsel in distress [film, 1937] 


A foggy day (in London town) 

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

Note: Refrain has no lyric refrain 



Photocopied sheet music (German edition) 





I can't be bothered now 




I can't be bothered now 



The jolly tar and the milkmaid 


The mother of three 

see The jolly tar and the milkmaid 



Nice work if you can get it 

GG holograph manuscript piano-vocal score; 1, 5 p. 


BOX-FOLDER 3/7 Pay some attention to me [original version, 1928] 

GG holograph manuscript piano sketch; [4] p. 

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




14 copyist manuscript orchestral parts 

Laid in: Folder with caricature of GG 


Music 

Container 

Contents 



BOX-FOLDER 3/11 Pay some attention to me [working version, 1937] 


Note: Differs slightly from final version 




Note: Emendations in an unidentified hand 

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


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

Note: Extensive emendations in several hands including IG 


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

Note: Minor emendations in the hand of IG 

BOX-FOLDER 3/13 Pay some attention to me [final version, 1937] 

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

Note: Refrain has no lyric 


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


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

Note: Chord symbols added to refrain 

BOX-FOLDER 3/14 Pay some attention to me [working and final versions, 1937] 




see also Put me to the test from Cover Girl 






Note: Verse only 



Photocopied (ozalid) piano-vocal score; 8 p. 



Corrected 2nd proof of piano-vocal score; p. 2-5 

Laid in: Letter from Selma Tamber (Chappell & Co.) to IG, 1937 September 7 




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


Sing of spring 

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


Note: Introduction is on p. 3 



Arranger’s holograph manuscript vocal (SATB) score; 3 p. 





Music 

Container 

Contents 

Note: Incorporates accompaniment from GG manuscript and vocal parts from 

arranger’s manuscript 

Note: Identifying note in caption in the hand of IG 





Stiff upper lip 

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



Stiff upper lip 



Things are looking up 



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


Things are looking up 

Typescript/photocopied lyric sheets; [2] p. 


Notes after story conference 

GG holograph manuscript; [4] p. 

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


Production credits 

IG holograph manuscript; [1] p. 

BOX 3 The dancing girl [1923] 


Selection 

Eugene Platzman (arranger) holograph manuscript (incorporating printed sections) 

piano score; 20 p. 


That American boy of mine 

Manuscript piano-vocal score; 5 p. 


That American boy of mine 



That American boy of mine. Patter 

Copyist manuscript vocal parts; [2] p. ea. 

Note: 3 copies, one with lyric 


That American boy of mine. Patter 


BOX 4 A dangerous maid [1921] 


Boy wanted 


Note: This manuscript was used in London in 1924 for Primrose 


Boy wanted 

Typescript lyric sheet (original version) 


Boy wanted 

Typescript lyric sheet (version for Ella Fitzgerald) 


Dancing shoes 

Sheet music 

Note: IG holograph annotation on cover 


Entr’acte I 



Overture 



Music 

Container 

Contents 

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


The sirens 

see also Four little sirens from Primrose 


Note: Unfinished with partial lyric in the hands of GG and IG 

Laid in: IG holograph notes 


The sirens 

see also Four little sirens from Primrose 



Some rain must fall 


BOX 4-5 Delicious [film, 1931] 


Blah, blah, blah 

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

Note: Verse only, no lyric 

Note: Introduction in the hand of Albert Sirmay 




Note: Refrain only, no lyric 

Laid in: IG typescript description; 1 p. 



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

Note: Alteration to end of verse in the hand of Albert Sirmay 



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

Note: Refrain only, variant lyric 



Corrected publisher’s 2nd proof piano-vocal score; p. 2-5 



Typescript lyric sheets (including “Russian” refrain); [4] p. 


Blah! Blah! Love! 

see Blah, blah, blah 



Delishious 

GG holograph manuscript piano-vocal sketch; [3] p. 

Note: Refrain only, no lyric, with added countermelody 



Delishious 


Note: Verse (no lyric) in the hand of Kay Swift 

Note: Refrain (with lyric) in the hand of a copyist 

Note: Title and music credit in the hand of GG 

Note: Corrections to lyric in the hand of IG 

Note: Introduction and emendations in the hand of Albert Sirmay 


Delishious 


Note: Emendations in the hand of Albert Sirmay 


Music 

Container 

Contents 



















Delishious 

Corrected publisher’s 1st proof piano-vocal score; p. 2-5 

Delishious 


Delishious 


Caption title: You’re so delishious 

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

Delishious [arranged for piano solo] 

GG holograph manuscript sketch; 1 p. 

Note: On p. [2] is the opening fragment of a piano solo arrangement of "Nice baby! 

Delishious [arranged for male quartet and piano by Bert Reed] 

Manuscript (incorporating printed accompaniment) vocal score; 5 p. 

Delishious [arranged for male quartet and piano by Bert Reed] 

Corrected publisher’s 1st proof; 9 p. 

Dream sequence 


Note: Lyric and accompaniment omitted on p. 8 



Copyist manuscript piano-conductor score; 9 p. 

Note: GG holograph signature 

Laid in: IG holograph description; 1 p. 


IG typescript scenario/lyric sheets; [4] p. 

Katinkitschka 


Katinkitschka 

Photocopied copyist manuscript piano-conductor score; [3] p. 

Katinkitschka 



Katinkitschka 


Somebody from somewhere 









Publisher’s 2nd proof piano-vocal score; p. 3-5 


IG typescript lyric sheet 

We’re from the Journal, the Wahrheit, the Telegram, the Times 

see Dream sequence 



Music 

Container 

Contents 

Welcome to the melting pot 

see Dream sequence 



You started it 





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

Note: Lyric in ink, in an unknown hand, added circa 1970s 








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




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


Final shooting script 

Typescript (mimeograph); [8], 98 p. 

Demi-tasse 

see Capitol Revue 

Demi tasse revue 

see Capitol Revue 

BOX 5 East is west [unproduced, 1928-29] 

Awake, children, awake 

see Lyric sheets 

Dragon song 


East is west 


I speak English now 



In the Mandarin's orchid garden 


Note: Unfinished early draft 



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

Note: The ink portion of this score was copied by Swift from GG’s early draft (Box- 

Folder 5/2) 

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




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

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


Lady of the moon 

see also Lyric sheets 



Sing-song girl [unfinished] 


Music 

Container 

Contents 


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

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





Photocopy of manuscript piano-vocal score in the hand of Kay Swift [previous entry]; 1 

p. 





Note: Unidentified fragment on p. [2] 


Under the cinnamon tree 


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

Note: No lyric, unfinished 


Under the cinnamon tree 


Note: Unidentified sketch on verso of p. [1] 


We are visitors here [unfinished] 

see also Lyric sheets and Meadow serenade from Strike up the band 

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

Note: First 10 bars only 

Yellow blues 

see Lyric sheets and Song file #42: Impromptu in two keys 


Lyric sheets 


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

Contents: 

• p. [1]: We are visitors here (continues on p. [4]) 

• p. [2]: I speak English now (unfinished); East is west (sketch fragment) 

• p. [3]: Yellow blues; Dragon song (sketch fragment) 

• p. [4]: We are visitors here (continuation from p. [1]) 

• p. [5]: Lady of the moon; Sing-song girl (incomplete; refrain only) 

• p. [6]: Under the cinnamon tree; Awake, children, awake (unfinished) 

• p. [7]: Yellow blues 

BOX 5 The firebrand [1924] 


The voice of love (Cellini's love song) 

Robert Russell Bennett holograph manuscript piano-vocal score; [4] p. 

BOX 5 The firebrand of Florence [1945] 


Civic song – Come to Florence 



Civic song – Come to Paris 


Florence 

see Civic song - Come to Florence 


Florence (It.) 

see Civic song - Come to Florence 



Music 

Container 

Contents 


Madrigal – When the duchess is away 

IG holograph lyric sketch; [1] p. 


Ode - A rhyme for Angela 



Ode - A rhyme for Angela 

IG holograph lyric sketches; [10] p. 

Paris (Fr.) 

see Civic song - Come to Paris 

A rhyme for Angela 

see Ode - A rhyme for Angela 


Song of the hangman 

IG holograph lyric sketches; 1 p. 

When the duchess is away 

see Madrigal - When the duchess is away 


Libretto 

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

On cover in the hand of IG: With extra notes 

Note: Includes extensive typescript and holograph additions and emendations by IG 


Libretto 

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

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

Note: Contains minor notations not found in typescripts 1 or 3 


Libretto 

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

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

Note: Contains minor notations not found in typescripts 1 or 2 


Lists of musical numbers 

Typescripts; [3] p. 


Miscellaneous notes 


BOX 5 Flying island [unproduced, 1922] 

Bill of fare 

see Musical bill of fare 


Musical bill of fare 

GG holograph manuscript sketch; [3] p. 


Musical bill of fare 

Photocopied typescript lyric sheet 


Observation 

Photocopied typescript sheets; [2] p. 


Opening, Act I 



Sweethearts 



Why can't I agree 



Wonderful you 


BOX 5 For goodness sake [1922] 


Music 

Container 

Contents 


French pastry walk 










Someone 



Tra-la-la 



Tra-la-la 

Typescript lyric sheet (original version) 


Tra-la-la 

Typescript lyric sheet (revised version, for film An American in Paris) 

Subtitle: This time it’s really love 


List of interpolations in For Goodness Sake 


Note: Unfinished, heading only 

BOX 6-7 Funny face [1927] 


Acrobats 

GG holograph manuscript piano score; [5] p. 


Acrobats 



Aviator 

Manuscript piano-vocal score in the hand of Albert Sirmay; 16 p. 



Aviator 




Aviator 



The babbitt and the bromide 



The babbitt and the bromide 



Birthday party 



Note: Caption title in the hand of Albert Sirmay 




Note: GG holograph emendations 


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






Music 

Container 

Contents 























Blue hullabaloo 


Bluebeard 


Come along, let's gamble 

see Finale, Act I 

Dance alone with you 











Finale, Act I 

Copyist manuscript (with printed portion) conductor’s score; [1, 3] p. 

Finale, Act I 


Finale ultimo 

Printed conductor’s score with two manuscript transitions; [1, 7] p. 

Finale ultimo 


Finest of the finest 




Copyist manuscript piano score; [6] p. 


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

Note: Coda in an unidentified hand on p. [6] 



Flying fete 

see Aviator 


Funny face 



Funny face 

Manuscript piano-vocal score in an unidentified hand; 5 p. 

Funny face 

Sheet music with corrections 


Music 

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Funny face 

Typescript lyric sheets; [5] p 

He loves and she loves 


Note: Unidentified sketch fragment on p. [2] 




Sheet music with corrections (2 copies) 



High hat 



High hat 


High hat 




High hat 


High hat 


How long has this been going on 



Manuscript piano score in the hands of William Daly and Albert Sirmay; [3] p. 










Corrected 1st proof; [4] p. 



If you will take our tip 

see In the swim 


In the swim 



In the swim 

Manuscript piano score in the hand of Albert Sirmay; [5] p. 


Music 

Container 

Contents 


















In the swim 


In caption: Swimming 

In the swim 


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


In the swim 

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

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

Note: List of cues on verso of p. 7 

In the swim 


Invalid entrance 


Let's kiss and make up 












My one and only (What am I gonna do) 




Note: Verse has no lyric 

Note: Discarded original version 

Note: Rewritten verse on p. [4] with the melody line in the hand of GG and the piano 

part in the hand of Albert Sirmay on p. [4] 














Note: One has IG annotations 


Music 

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Nut dance 

GG holograph manuscript full score; 8 p. 


Once 

GG holograph manuscript piano sketch with partial lyric (verse) and piano score with 

interlinear lyric (refrain); [4] p. 

Once 



see Aviator 


Opening, Act II 

see In the swim 


Overture 

Copyist manuscript (with printed portions) piano-conductor score; 1, 12 p. 

Policeman opening 

see Finest of the finest 


Second opening, Act I 

see Birthday party 

Note: Working title 

Selection 

Manuscript (with printed portions) piano score; 18 p. 

Note: Arranged by Hans Spialek 

'S wonderful 


Note: Refrain lyric in the hand of GG 

'S wonderful 


'S wonderful 



Note: Extensive emendations and refrain lyric in the hand of GG 

'S wonderful 



'S wonderful 

Typescript lyric sheets (several with corrections); [13] p. 

Tell the doc 



Tell the doc 


Tell the doc 



Tell the doc 



Music 

Container 

Contents 

Those eyes 

see Your eyes, your smile 


We're all a-worry, all agog 

see Aviator 



When you're single 







Note: GG holograph vocal line 



Manuscript full score in the hand of Robert Russell Bennett; 25 p. 




Why does ev'rybody have to cut in 

see Dance alone with you 



The world is mine 


Note: Refrain lyric differs slightly from published version 








Note: GG holograph notes in caption 

Note: Refrain lyric is same as in GG holograph score 





Your eyes, your smile 





Your eyes, your smile 



Folder with annotations in various hands 

Note: includes GG holograph list of show numbers in running order of out-of-town 

tryout 


Prompt book 

Typescript; [101] p. 

BOX 7 George White's scandals of 1920 


On my mind the whole night long 


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



Music 

Container 

Contents 





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



Across the sea 

Copyist manuscript piano-vocal score; 1, 6 p. 

Note: On cover: Orig[inal] key 


Across the sea 



(I'll build a) Stairway to paradise 


BOX 7-8 George White's scandals of 1923 

Canary and fish 

see Let's be lonesome together 



(On the beach at) How've-you-been 



Let's be lonesome together 

GG holograph manuscript lead sheet; [1] p. 

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








The life of a rose 

see also Let's be lonesome together 




The life of a rose 

see also Let's be lonesome together 

Manuscript piano-vocal score in the hand of Eugene Platzman; [4] p. 


Selection 

Eugene Platzman (arranger) manuscript (with printed portions) piano score; p. 2-17 


There is nothing too good for you 


Note: Emendations in an unknown hand 


There is nothing too good for you 



Where is she 



You and I (in old Versailles) 




Black and white march 

Manuscript piano score in the hand of Vernon Duke; [6] p. 

Note: Title and "Copy" in the hand of GG 


Black and white march 

Copyist manuscript piano score; 6 p. 


Music 

Container 

Contents 




















Finale, Act I 


Note: Extensive emendations in an unidentified hand 

Hollywood 



I need a garden 

Manuscript piano-vocal score in the hand of Robert Russell Bennett; 4 p. 





Kongo Kate 



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

Kongo Kate 



Kongo Kate. Dance 


Kongo Kate. Patter 

Manuscript piano score in the hand of Vernon Duke; [1] p. 

In caption in the hand of GG: Copy 

Kongo Kate. Patter 

Copyist manuscript piano part; [4] p. 

Note: Manuscript refrain in unidentified hand 

Note: Introduction to first encore on p. [3] 

Note: Refrain in A major on p. [4] 

Mah-jongg 


Night time in Araby 


Night time in Araby 

Typescript/manuscript lyric sheets; [2] p. 



Note: Partial vocal line, no lyric 

Operetta - "Sneeze" 


Rose of Madrid 


Selection 

Arranger’s holograph manuscript (with printed portions) piano score; 23 p. 

Note: Arranged by Hilding Anderson 

Somebody loves me 

Manuscript piano score; p. 2-3 

Note: Incomplete 


Music 

Container 

Contents 



Maurice DePackh holograph manuscript full score; 23 p. 






Photocopied sheet music (German version) 





Year after year 


BOX 8-9 Girl crazy [1930] 


And I have you 



Are you dancing 




Are you dancing 



Barbary Coast 




Barbary Coast 




Barbary Coast 




Barbary Coast 



Bidin' my time 








2 copyist manuscript piano-vocal scores; [3] p. ea. 

Note: Scores have no lyric 





Boy! What love has done to me! 











Music 

Container 

Contents 





















Bronco busters 

Manuscript/copyist manuscript piano-vocal score; 10 p. 

Bronco busters 


But not for me 




GG holograph manuscript piano score of elaborate harmonization of final 8 bars of 

refrain; [1] p. 




3 copyist manuscript piano-vocal scores; 6 p. ea. 







Cactus time in Arizona 



Cactus time in Arizona 


Could you use me 


Note: Lyric in unidentified hands 






Embraceable you 

Manuscript piano score in the hands of GG, William Daly and Albert Sirmay; [4] p. 









Farmer dance 

see You can't unscramble scrambled eggs 



Music 

Container 

Contents 












Finale, Act I 

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

Note: Lyric in an unidentified hand 

Finale, Act I 


Finaletto, Act I 

see Goldfarb, that's I'm! 


The gambler of the West 


Goldfarb, that's I'm! 


I got rhythm 



Note: Verse in the hand of Albert Sirmay 

Note: Title and chorus in the hand of GG 

I got rhythm 



I got rhythm 



I got rhythm 


I have you 

see And I have you 


Land of the gay caballero 



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

Note: Drawing of Torch in an unidentified hand on p. [8] 

Land of the gay caballero 


Look what love has done for me 

see Boy! What love has done to me! 

Note: Pre-Broadway/opening night title 

The lonesome cowboy 


Not for me 

see But not for me 


Opening, Act I, scene III 

see Bronco busters 



see Land of the gay caballero 



Music 

Container 

Contents 














BOX 9 


Sam and Delilah 




Manuscript piano-vocal score in the hand of Albert Sirmay; 1, 9 p. 





Selection 

Copyist manuscript orchestral parts (4) 

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

Note: Orchestrated by F. Henri Klickmann 

Something peculiar 

see Something peculiar from Piccadilly to Broadway 

That lonesome cowboy won't be lonesome now 



Treat me rough 



Treat me rough 


We're bronco busters 

see Bronco busters 


When it's cactus time in Arizona 

see Cactus time in Arizona 


You can't unscramble scrambled eggs 

Manuscript piano-vocal score in the hand of Kay Swift; [1, 3] p. 



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







Lists of songs, running order 

IG holograph/typescript manuscript; [3] p. 

Note: For Philadelphia tryout, for New York opening 

Various piano parts 

Piano parts; [] p. 

Note: IG holograph cover only 

Girl crazy [1960 revival] 

Dawn of a new day 



Music 

Container 

Contents 

BOX 9-10 

Give a girl a break [film, 1953 revival] 


Ach, du lieber oom-pah-pah 



Applause, applause 



Dreamworld 



Dreamworld 



Give a girl a break 



Give a girl a break 



In our united state 



In our united state 



It happens ev'ry time 



Nothing is impossible 



Nothing is impossible 



Whizzin’ thru space [unfinished] 



Woman, there is no living with you 



Woman, there is no living with you 



Unidentified 

Typescript; 8 p. 

Note: IG holograph emendations 


Unidentified 

IG holograph lyric sheets; [4] p. 


Unidentified 


BOX 10 The Goldwyn follies [1938] 


Exposition 

Typescript ballet scenario (3 versions); 3,2,2 p. 


I love to rhyme 



I love to rhyme 



I was doing all right 

GG holograph manuscript piano-vocal sketch; 3 p. 



I was doing all right 



Music 

Container 

Contents 


I'm not complaining 




Photocopied copyist manuscript piano-vocal score; 4 p. 





Just another rhumba 




Just another rhumba 

IG holograph/typescript/carbon copy lyric sheets; [11] p. 


Love is here to stay 

Photocopied sheet music (German) 


Love is here to stay 



Love walked in 



Love walked in 



Spring again 



Miscellaneous notes 


BOX 10 Good morning, Judge [1919] 


I was so young (You were so beautiful) 








Manuscript lyric sheet 


There's more to the kiss than the x-x-x 


Note: Partial vocal line, no lyric 


There's more to the kiss than the x-x-x 


BOX 10 Greenwich Village follies [1924] 


Hot hindoo 


BOX 10 Half past eight [1918] 


Cupid 



Cupid 




Half past eight 




Music 

Container 

Contents 


Hong Kong 




Little sunbeam 




Ten commandments of love 



There's magic in the air 

IG holograph/typescript lyric sheet; [2] p. 


Running order 

Typescript list with emendations; [1] p. 

BOX 11 Kiss me, stupid [1964] 


All the livelong day (and the long, long night) 

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







2 photocopied (ozalid) copyist manuscript piano-vocal scores; 4 p. ea. 












Manuscript piano sketch; [2] p. 




IG holograph/typescript lyric sheets and notes; [54] p. 



IG typescript lyric sheets; [5] p. 

Note: Revised 2nd refrain for Ella Fitzgerald 

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


I'm a poached egg 

Manuscript piano-vocal sketch in the hand of Kay Swift; [1] p. 



Manuscript piano score in the hand of Kay Swift; [1] p. 













Music 

Container 

Contents 




2 photocopied (ozalid) copyist manuscript piano-vocal score; 5 p. 




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



Sheet music 








Note: Revised 3rd refrain for Ella Fitzgerald 

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





Sophia 



Sophia 


Note: Seven scores have IG holograph emendations 


Sophia 

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

Note: Two scores have emendations 


Sophia 




Sophia 

Manuscript piano fragments; [1] p. 

Laid in: IG holograph letter to "Doc", undated 

Note: IG holograph letter, undated 


Sophia 


BOX 11 La-la-Lucille! [1919] 


Kitchenette 

2 Frank Saddler holograph manuscript full scores; 6, 7 p. 

Note: One score incomplete 


Kitchenette 



Love of a wife 




Money 


BOX 11 Ladies first [1918] 


The real American folk song 

GG and Kay Swift holograph manuscript piano-vocal score; [7] p. 


Music 

Container 

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

Laid in: Envelope with IG holograph manuscript 

BOX 11-13 Lady, be good! [1924] 


The bad, bad men 




The bad, bad men 

IG holograph/typescript lyric sheets; 3 p. 


Buy a little button from me 



Carnival 

Charles Grant holograph manuscript full score; 17 p. 


End of a string 



Evening star 




Evening star 

GG holograph manuscript harmony sketch; [1] p. 

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


Evening star 



Evening star 

Photocopied GG holograph manuscript lead sheet; [2] p. 


Evening star 



Evening star 

Photocopied IG holograph/typescript lyric sheet 


Fascinating rhythm 

GG holograph manuscript piano score; [1,1] p. 





Caption title: Syncopated city 











Music 

Container 

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Fascinating rhythm - Interlude 


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

BOX-FOLDER 12/8 Fascinating rhythm [revised version, circa 1940s] 



Finale 

see Fascinating rhythm - Interlude 


Finale, Act I 

Max Steiner holograph manuscript full score; 18 p. 



Finale, Act I 



Finale, Act II 



The half of it dearie, blues 



Note: Unidentified sketch material on verso of p. [3] 


The half of it dearie, blues 



The half of it dearie, blues. Patter 



Hang on to me 


Note: Emendations in the hands of IG Albert Sirmay 


Hang on to me 


Note: One sheet with corrections 


I'd rather Charleston 


Note: One sheet with emendations 


Juanita 



Leave it to love 



Note: Unidentified sketch material on p. [4] 


Linger in the lobby 





Robert Russell Bennett holograph manuscript full score; 29 p. 

Note: Incomplete score, p. 1 absent 


Music 

Container 

Contents 

















Typescript lyric sheets with corrections; [2] p. 

Little jazz bird 




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




Little theatre 


The man I love 

see also The man I love from Strike up the band 










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




Oh, lady be good! 


Note: Verse has no lyric, refrain has partial lyric 






Photocopied sheet music [fake] 



Oh, what a lovely party 

see A wonderful party 

Note: British title 


William Daly holograph manuscript full score; 31 p. 

Note: Incomplete, p. 12 absent 

Opening, Act I, scene III 

see Evening star 


see Linger in the lobby and Weatherman and rainy-afternoon girls 


Music 

Container 

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Overture 

Manuscript full score; 15 p. 

Scene II, Act I 

Stephen O. Jones holograph manuscript full score; 14 p. 

Scene III, Act I 

Paul Lannin holograph manuscript full score; 33 [i.e., 36] p. 

Seeing Dickie home 


Selection 

Robert Russell Bennett holograph manuscript (with printed portions) piano score; 19 p. 

Singin' Pete 


Singin' Pete 


Six little rainy-afternoon girls 

see Weatherman and rainy-afternoon girls 


Six little rainy-afternoon girls 

see Weatherman and rainy-afternoon girls 


So am I 



So am I 


So am I 


Swiss miss 


Syncopated city 

see Fascinating rhythm 


Weatherman and rainy-afternoon girls 

GG holograph manuscript piano-vocal sketch; 10 [i.e., 9] p. 







We're here because 

Paul Lannin holograph manuscript full score; 20 p. 


Paul Lannin holograph manuscript short score; [1, 2] p. 



Will you remember me 




Music 

Container 

Contents 


Will you remember me 



A wonderful party 



Unidentified waltz 


BOX 13-14 Lady in the dark [1941] 


Bats about you 




The boss is bringing home a bride 


Note: Part of "Hollywood daydream" 


Circus dream 

see also The saga of Jenny and Tschaikowsky (and other Russians) 

IG holograph/typescript libretto/lyric sheets (5 versions) 

Contents: 

• v. A: (early draft); 9 [i.e., 15] p.; Includes revision of p. [1] 

• v. B: 11 p.; Laid in: IG holograph notes; [1] p.; IG refers to this as the 3rd draft; 

1st draft was apparently Minstrel dream 

• v. C: (carbon copy of v. B) with holograph emendations; 11 p. 

• v. D: 14 p. 

• v. E: (copy of v. D with IG holograph note); 14 p. 

• v. F: 13 p.; Laid in: IG typescript notes; [1] p. 


Circus dream 

see also The saga of Jenny and Tschaikowsky (and other Russians) 

Incomplete late draft; [1] p. 

First dream sequence 

see Glamour dream 


Fourth dream sequence 

see Hollywood daydream 



Glamour dream 

see also One life to live 

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

Note: Incomplete, p. 5 is absent 

Hollywood daydream [unfinished] 

see The boss is bringing home a bride and Home in San Fernando Valley 

Note: Sequence dropped from the production 

Hollywood party 

see Party parlando 



Home in San Fernando Valley 


Note: Part of the "Hollywood daydream" 


It's never too late to Mendelssohn 


Note: Originally part of the "Wedding dream" 



Music 

Container 

Contents 












Minstrel dream 

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



The minstrel show 

see Minstrel dream 


My ship 


One life to live 

see also Glamour dream 


Party parlando 


Note: Part of the "Hollywood daydream" 

The saga of Jenny 

see also Circus dream 



Second dream sequence 

see Wedding dream 


Third dream sequence 

see Circus dream 


This is new 

see also Wedding dream 


Tschaikowsky (and other Russians) 

see also Circus dream 

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


Unforgettable 

see also Wedding dream 



Wedding dream 

see also It's never too late to Mendelssohn and This is new and Unforgettable 

IG holograph/typescript libretto/lyric sheets; [11] p. 

In headings: Bolero 


Wedding dream 


Typescript libretto/lyric sheets (4 versions); 34 p. 

Contents: 

• 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) 

Wedding dream 


Music 

Container 

Contents 


Incomplete earlier draft; [2] p. 



Dream sequence scenarios 

see also Circus dream and Hollywood daydream and Wedding dream 

Moss Hart typescript scenarios; [3] p. 



Lyric book 




Script 


Titled: I am listening 

BOX 14-15 Let 'em eat cake (1933) 


All the mothers of the nation 

GG holograph manuscript lead sheet sketch; [1] p. 

Caption title: Air for Mary 


Blue, blue, blue 

GG holograph manuscript melody sketch; [1] p. 


Climb up the social ladder 



Climb up the social ladder 



Cloistered from the noisy city 

see The Union League 



Comes the revolution 

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


Finale, Act I 


Note: Partial lyric 


Finale, Act I 

GG holograph manuscript piano-vocal sketches; 13 [i.e., 10] p. 


Finale, Act I 

GG holograph manuscript outline of musical selections with drawings; [1] p. 


Hanging Throttlebottom in the morning 


Note: Ensemble section has no lyric 


Hanging Throttlebottom in the morning 




It isn't what you did 


Note: Lyric fragment 


League of Nations finale 



League of Nations finale 

Holograph manuscript lead sheets; [2] p. 


Music 

Container 

Contents 
















Let 'em eat cake 

Holograph manuscript lead sheet; 1 p. 

Limerick 


Members of the Union League 

see The Union League 


Mine 



Musical outline 

Typescript (carbon); 1 p. 

The new blue D.A.R. 

see Climb up the social ladder 





Note: Includes GG holograph transitional material on p. [23] and sketch of League of 

Nations in an unidentified hand on p. [24] 



Note: Partial lyric in the hand of IG 



Note: Fragmentary lyric 



Overture 

GG holograph manuscript short score; [17] p. 


Note: Unidentified sketch material on p. [15-17] 

Overture 

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


Oyez, oyez, oyez 



Oyez, oyez, oyez 


Pep talk 


Store scene 



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

Revolution," and "Mine" 

Team, team, team 



Music 

Container 

Contents 



Team, team, team 



Till then 




Till then 

2 piano-vocal score proof copies; 5 [i.e., 4] p. ea. 


The trial of Throttlebottom 



The trial of Throttlebottom 


BOX-FOLDER 14/36 The trial of Throttlebottom. The score was 8 to 8 



The trial of Wintergreen 



The Union League 


Note: Includes GG drawings on verso 


Union square 




Union square 

GG holograph manuscript sketches; [6] p. 

Contents: 

• p. [1]: Agitator’s entrance 

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

• p. [5-6]:Conditions as they are 


Libretto (1st of 4 versions) 

Typescript; 27 [i.e., 26] p. 

Note: Page 8 is absent 


Libretto (2nd of 4 versions) 


Note: Page 8 is absent 


Libretto (3rd of 4 versions) 


Note: Cover, pages 8 and 21 are absent 


Libretto (4th of 4 versions) 


Note: Pages 2, 3, 8 are absent 


List of chorus forces and supernumeraries by scene 



Lyric sheets, drawings, and scripts 

IG holograph/typescript; [52] p. 


Lyrics notebook 

IG holograph lyrics and sketches; [iv, 129] leaves (some blank) 


Outline, Acts I and II 

George S. Kaufman typescript; 4 p. 

Laid in: IG holograph descriptions [2 p.] 


Music 

Container 

Contents 


Revised outline, Act I 

George S. Kaufman typescript; 3 p. 

BOX 15-16 Life begins at 8:40 [1934] 


All the Elks and Masons 


Beautifying the city 

see Life begins at city hall 



C'est la vie 


The Elks and Masons 

see All the Elks and Masons 



Fun to be fooled 



I couldn't hold my man 



I knew him when 



I knew him when 



I'm a collector of moonbeams 



I'm not myself 



It was long ago 



Let's take a walk around the block 



Life begins (at exactly 8:40 or thereabouts) 



Life begins at city hall 


Long ago, far away, once upon a time 

see It was long ago 



My Paramount-Publix-Roxy Rose 



Quartet erotica 


Rabelais 

see Quartet erotica 


Rabelais, De Maupassant, Boccaccio, Balzac 

see Quartet erotica 



Shoein' the mare 



Music 

Container 

Contents 


Spring fever 



Things! 



What can you say in a love song (that hasn’t been said before) 



A weekend cruise 


Will you love me Monday morning as you did on Friday night 

see A weekend cruise 



You're a builder upper 


BOX 16 Little Miss Bluebeard [1923] 


I won't say I will but I won't say I won't 




I won't say I will but I won't say I won't 



Selection 

Robert Russell Bennett holograph manuscript piano score; 2 p. 

Ming toy 

see East is West 


BOX 16 Morris Gest's midnight whirl [1919] 


Baby doll 



Baby doll 

Manuscript full score; 15 p. 

Much ado about love 

see The firebrand of Florence 


BOX 16 Nifties of 1923 


At half past seven 




Dancing mad 



Fabric of dreams 



Nashville nightingale 

Hilding Anderson holograph manuscript full score; 22 p. 


Nashville nightingale 

Copyist manuscript orchestral parts (4 parts, incomplete set) 

BOX 16 The north star [1943] 


Can I help it 



Music 

Container 

Contents 


Collective loading-time song 



I'll always have a roving eye 


From the Baltic to the Pacific 

see Collective loading - time song 


Loading song 

see Collective loading - time song 


Loading time at last is over 

see Village scene jingles 



No village like mine 



Song of the Fatherland 



Song of the guerillas 


Soviet land 

see Song of the Fatherland 



Unite, you workers of all nations 



Village scene jingles 



Wagon song 



Younger generation 



Lyric sheets and character list 

IG holograph/typescript manuscripts; [6] p. 

BOX 16-18 Of thee I sing [1931] 


Adlai’s sweeping the country 



Because, because 

see also Opening, Act I, scene 3 





2 corrected 1st proofs; 5 [i.e., 4] p. ea. 




Corrected 2nd proof; 5 [i.e., 4] p. 






Exit, Atlantic City scene 



Music 

Container 

Contents 


Finale, Act I 



Finale, Act I 



Finale, Act I [1952 revival] 


Finale ultimo 

see On that matter, no one budges 


BOX-FOLDER 16/36 Finaletto, Act I scene 4 




Note: Emendations in the hands of Albert Sirmay and William Daly 

BOX-FOLDER 16/37 Finaletto, Act II scene 1 

Copyist manuscript piano-vocal score; 32 [i.e., 34] p. 




IG holograph sheet 


Gabriel, Gabriel, blow your golden horn 

see Trumpeter, blow your golden horn 



Hello, good morning 

GG and William Daly holograph manuscript full score; 22 p. 



Hello, good morning 



The illegitimate daughter 


Note: Caption title in the hand of IG 



Manuscript piano-vocal score in the hand of Albert Sirmay; [8] p. 



Corrected 1st proof; 7 [i.e., 5] p. 



Sheet music with annotations 





Love is sweeping the country 










Music 

Container 

Contents 



Corrected 2nd proof; 7 [i.e., 6] p. 








Love is sweeping the country. Patter 



Of thee I sing 

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




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










Corrected 2nd proof; 5 [i.e. 4] p. 



Sheet music with corrections in the hand of Albert Sirmay 





On that matter, no one budges 


BOX-FOLDER 17/13 Opening, Act I scene 3 



Includes: 

• "Who is the lucky girl to be" 

• "The dimple on your knee" 

• "Because, because" 


see Hello, good morning 



Opening, Atlantic City scene 



Overture 

Manuscript (with printed portions) piano score chiefly in the hand of Albert Sirmay; 16 

p. 

Posterity 

see Posterity is just around the corner 



Posterity is just around the corner 



The President is going to be a daddy 


The senator from Minnesota 


Music 

Container 

Contents 

see The senatorial roll call 



The senatorial roll call 


Cover title: The senator from North Dakota 


The senatorial roll call 



Strike the loud-resounding zither 


Trumpeter 

see Trumpeter, blow your golden horn 



Trumpeter, blow your golden horn 




Who cares 




Who cares 




Who cares 



Who cares 



Who cares [1952 revival] 




Wintergreen for President 



BOX-FOLDER Bound Bound manuscript selections 

GG holograph manuscripts; [96] p. 

Note: "1931 December" 



Libretto, first draft 

Typescript manuscript; [141] p. 


Libretto, later versions 

Typescript manuscripts; 19, [22], [24], p. 

Contents: 

• 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 



Scenario book 

Typescript manuscript; 14 [i.e., 20] p. 

Note: IG holograph annotations 

BOX 18 Oh, Kay! [1926] 


Music 

Container 

Contents 


Ain’t it romantic 















Bring on the ding dong dell 



Bride and groom 



Clap yo' hands 








Clap-a yo' hands 

see Clap yo' hands 



Dear little girl 


Ding-dong-dell 

see Bring on the ding dong dell 



Do, do, do 



Do, do, do 



Do, do, do 



Don't ask 



Fidgety feet 



Fidgety feet 



Finale, Act I 

Typescript lyric sheets; 3 p. 




Guess who 



Music 

Container 

Contents 

















Heaven on earth 


Heaven on earth 


I hope you've missed me 

see Dear little girl 


I'm so ner-ner-nervous 

P.G. Wodehouse holograph manuscript lyric sheets; [3] p. 

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

Isn't it grand 

see Finale, Act I 


Maybe 


Maybe 

Sheet music with corrections in the hand of Albert Sirmay 

Maybe 


The moon is on the sea 


Never too late to Mendelssohn 

see Bride and groom 


Oh, Kay! 


Oh, Kay! 

Sheet music with emendations in the hand of Albert Sirmay 

Oh, Kay! 


On single life today 

see Finaletto, Act II, scene I 



see Bride and groom 


Overture 

GG holograph and unidentified hand manuscript short score; [5] p. 

Overture 

Hilding Anderson’s manuscript full score; 21 p. 

Selection 

Robert Russell Bennett holograph manuscript (with printed portions) piano score; 18 p. 


Show me the town 


Someone to watch over me 





Music 

Container 

Contents 





Stepping with baby 



What's the use 



When our ship comes sailing in 



Note: Emendations in the hand of GG 

Note: GG holograph manuscript piano-vocal sketch for "Intro to Last Scene Act III" on 

verso of p. 5 


When our ship comes sailing in 



The woman's touch 



Cover from libretto 


BOX 19 Our Nell [1922] 


By and by 



By and by 

Manuscript/typescript lyric sheets; [3] p. 


Little villages 

Copyist manuscript piano-vocal score with corrections; 9 p. 


Little villages 



Walking home with Angeline 


BOX 19-27 Pardon my English [1933] 


As Gita exits 



Beer garden incidental 

Manuscript sketch; 1 p. 

Bride and groom 

see Hail the happy couple 



Change over music into dining room 

Manuscript sketch; 1 p. 


Counter waltz (Lead me to heaven tonight) 

GG holograph manuscript melody line; [1] p. 

Note: Caption title in hand of IG 


Dancing in the streets 





Note: Emendations of score in an unidentified hand 


Music 

Container 

Contents 






6 copyist manuscript chorus parts 


Laid in: Chorus score revision of last 5 bars 


Dancing in the streets. Choral opening 


Doctor's Dance 

see Freud and Jung and Adler 



The Dresden northwest mounted 

William Daly holograph manuscript full score; [27] p. 







Manuscript sketch (change music); [1] p. 






Copyist manuscript chorus score and 9 vocal parts 


BOX-FOLDER 19/15 The Dresden northwest mounted. #1 


BOX-FOLDER 19/16 The Dresden northwest mounted. #2 


Drink, drink, drink 

see Fatherland, mother of the band 



Fatherland, mother of the band 


















Manuscript notation; [1] p. 



Manuscript SATB arrangement; 8 p. 



Copyist manuscript mixed chorus parts; [14] p. 

Finale, Act I 


Music 

Container 

Contents 




















see What sort of wedding is this 







Note: Includes 12 bar introduction 

Finaletto, Act II scene IV 







Freud and Jung and Adler 



William Daly holograph manuscript full score; [8] p. 

Caption title: The doctors' dance 

Note: Additional section 






Note: Incomplete, refrain only 


Photocopied manuscript piano-vocal score in the hand of Kay Swift; 6 [i.e. 5] p. 



Golo theme 

Adolph Deutsch holograph manuscript full score; 2 p. 

Hail the happy couple 


He's not himself 


He's oversexed 

Manuscript melody line; [2] p. 



Photocopy of manuscript piano-vocal score; 2 p. 



In three-quarter time 



Robert Russell Bennett holograph manuscript full score; [54] p. 


Music 

Container 

Contents 



























Copyist manuscript SATB score arrangement; 1, 5 p. 


Copyist manuscript SATB score arrangement; 6 p. 



Copyist manuscript vocal parts; [12] p. 

Invitation to the waltz (Something else again) 



Isn't it a pity 




Robert Russell Bennett holograph manuscript full score; [1, 39] p. 


Albert Sirmay’s manuscript piano-vocal score; 7 p. 








Isn't it a pity. Change over into den 


I've got to be there 

see also Opening, Act II 




Adolph Deutsch holograph manuscript full score; [74] p. 



Note: GG holograph notations 








Manuscript TTBB arrangement sketch for men’s chorus; [1] p. 


Music 

Container 

Contents 





















Manuscript vocal parts; [4] p. 

Lead me to heaven tonight 


The lorelei 



The lorelei 


The lorelei 


The lorelei 


The lorelei 

Manuscript TTBB score arrangement for men’s chorus; [1] p. 

Note: "Michael theme" on verso 

The lorelei 

Copyist manuscript conductor’s score and 8 vocal parts; [9] p. 

The lorelei 

Manuscript SATB score arrangement; [1] p. 

Note: Last 8 bars only 

The lorelei 


Note: Last 8 bars only 

Luckiest boy in the world 

see Luckiest man in the world 


Luckiest man in the world 



Luckiest man in the world 


Luckiest man in the world. Incidental 


Luckiest man in the world. Introduction 











Manuscript piano-vocal score in hand of Albert Sirmay; 6 p. 


Manuscript piano-vocal score in hand of Albert Sirmay; 7 p. 


Music 

Container 

Contents 


























Michael theme 

Adolph Deutsch holograph manuscript full score; 2 p. 

Michael theme 


My cousin in Milwaukee 

Adolph Deutsch holograph manuscript full score; [1, 26] p. 







My cousin in Milwaukee. Change music into cafe scene 


My cousin in Milwaukee. Segue to So what 


Nurses 

Robert Russell Bennett holograph manuscript full score; [27] p. 

Nurses' entrance 





Note: Introduction to "I’ve got to be there" on p. [27] 


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




Copyist manuscript SATB score arrangement; [1] p. 




Overture 


Overture 


Overture 

Copyist manuscript conductor's lead sheet; 4 p. 

Pardon my English 

William Daly holograph manuscript full score; 1, 20 p. 

Pardon my English 


Poor Michael! Poor Golo! 


Music 

Container 

Contents 


















see He's not himself 


Randall's dance 


Schuhplader burlesque 


Caption title: "Schuplattler burlesque" 

Schuhplader dance 

Copyist manuscript piano part; [2] p. 

Caption title: "Schuh plattler dance" 


Schuhplader dance 

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

Caption title: "Shoe plattler’s dance" 

So what 

Robert Russell Bennett holograph manuscript full score; [1, 62] p. 

So what 


So what 



So what 



So what 



So what 

Copyist manuscript TTBB score arrangement for men’s chorus; [1] p. 

So what 


Note: Interlinear text in pencil 

So what Incidental 

2 manuscript melody line sketches; [1] p. ea. 

Three-quarter time 

see In three-quarter time 


Together at last 












Music 

Container 

Contents 



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





Note: Lyric in ink 





Tonight! 



Waltz 



Waltz sequence 

GG holograph manuscript short score; [3-5] p. 



Two waltzes in C 


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

Note: Adapted by Saul Chaplin 

Viennese sextet 

see Freud and Jung and Adler and He's oversexed 



Watch your head 



What sort of wedding is this 

William Daly manuscript full score; [49] p. 









Where you go, I go 















BOX-FOLDER 23/4-7 Orchestral parts : 1 of 5 

Copyist manuscripts 


Laid in: Typescript notes 

Includes: 

• Oboe / English horn 

• Alto saxophone I / clarinet I / baritone saxophone 


Music 

Container 

Contents 

• Alto saxophone II / flute / piccolo / clarinet II / alto saxophone III / clarinet III 

• Tenor saxophone / clarinet II 





Includes: 

• Horn I & II 

• Trumpet I & II 

• Trombone 

• Drums 





Includes: 

• Piano 

• 1st violin I 

• 1st violin II 





Includes: 

• 1st violin III 

• 1st violin IV 

• 2nd violin 

• Viola 





Includes: 

• Violincello 

• Double bass 

• Viola II (cut from show) 


List of musical numbers 

Manuscript; [2] p. 


Miscellaneous materials found with piano-vocal scores 

3 folders with manuscript notations and list of printed piano parts 


Scriptbook 

Photocopied typescript manuscript [73] p. 

Note: 1st of 2 


Scriptbook 

Photocopied typescript manuscript [67] p. 

Note: 2nd of 2 

BOX 28 Park Avenue [1946] 


The dew was on the rose 



Music 

Container 

Contents 






















The dew was on the rose 


The dew was on the rose. Interlude 


The dew was on the rose. Interlude 


The dew was on the rose. Reprise 


Dinner song 


Don't be a woman if you can 


Don't be a woman if you can 


For the life of me 


The future Mrs. Coleman 

see also Stay as we are 


In caption: Thanks, Kay 

The future Mrs. Coleman 

see also Stay as we are 


Good-bye to all that 


Heavenly day 


Hope for the best 


Land of opportunitee [sic] 


Land of opportunitee [sic] 


My son-in-law 


My son-in-law 


Remind me not to leave town 


Stay as we are 


In caption: New verse 

Stay as we are 


Note: IG holograph/typescript lyric sheet p. [2]: The future Mrs. Coleman (unfinished) 

Sweet Nevada [waltz version] 



Music 

Container 

Contents 


Sweet Nevada [waltz version] 



Sweet Nevada [western version] 



There's no holding me 


There's no holding me (if I can keep on holding you) 




There's nothing like marriage for people 



There's nothing like marriage for people 



Tomorrow is the time 



Tomorrow is the time 



We're better off the way we are 



Outline 



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

Laid in: IG typescript notes 


Unidentified lyrics 


BOX 28 Piccadilly to Broadway [1920] 


Baby blues 

Maurice B. DePakh holograph manuscript full score; [1] p. 



Bambino 


Gondolier 

see Bambino 


Mr. and Mrs. 

Manuscript/typescript lyric sheet 


On the brim of her old-fashioned bonnet 

Maurice B. DePakh holograph manuscript full score; 23 p. 


Piccadilly's not a bit like Broadway 



Pick yo' partner 



Somehow I knew 





Caption title: Spanish number 


Music 

Container 

Contents 








Who's who with you 

see Who's who with you from Two little girls in blue 

BOX 28 Pins and needles [1922] 


The Piccadilly walk 


BOX 29-30 Porgy and Bess [1935] 


Act I, scene 1 [Opening] 

Piano-vocal score proof copy; 1 p. 


Bess, you is my woman now 

Photocopied sheet music (Spanish version) 


Bess, you is my woman now 



I got plenty o' nuthin' 



I got plenty o' nuthin' 

Dubose Heyward original typescript lyric sheets; [2] p. 

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


I hates yo' struttin' style 


In caption: Maria 


It ain't necessarily so 





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 



IG typescript lyric sheet; [1] p. 

Note: 1952 revision for Adlai Stevenson 


Lonely boy 




Lonely boy 



Lonely boy 

Dubose Heyward original typescript lyric sheet; [1] p. 

Note: GG holograph addition 


Lonely boy 


Note: GG holograph names 


My man's gone now 



Music 

Container 

Contents 

In caption: Serena song 


Oh, heav'nly Father 



Oh, I can't sit down! 


In caption: Picnic band 


Oh, I can't sit down! 



Oh Lawd, I'm on my way 

GG holograph manuscript sketch with drawings; [1] p. 


Oh, the train is at the station/Leaving for the Promis' Lan' 



Prelude 

GG holograph short score sketch; [2] p. 


A red-headed woman 


Caption title: Crown blues 


Roll dem bones 

Holograph manuscript piano-vocal sketch; 2 p. 

Note: Gift of IG, 1939 May 24 

Laid in: GG signature 

Six prayers 

see Oh, heav'nly Father 



Summertime 

Photocopied sheet music (French version) 


Summertime 

Photocopied sheet (Spanish version) 


Sure to go to heaven 


In caption in the hand of IG: First sketch 


Sure to go to heaven 



There's a boat dat's leavin' soon for New York 

GG holograph manuscript leadsheet; [1] p. 

Caption title: Boat for New York 


They pass by singin' 



What you want wid Bess 


BOX-FOLDER 29/21 Sketches : Act I, scene 1, rehearsal no. 22-23 


In caption: Part of crap game music 



In caption: Jake 


GG holograph manuscript short scores (A, B, C, D); 4 leaves 

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


Music 

Container 

Contents 

Note: Gift of Ira Gershwin, 1969 


GG holograph manuscript short score (A); [1] p. 

In caption: Fugatta 

Note: From the estate of Kay Swift 


GG holograph manuscript short scores (A, B, C, D); 4 leaves 

Note: From the estate of Kay Swift 


GG holograph manuscript sketches 

Caption titles: Intro to Fugue; Fugue 



In caption: Fugue interlude 

BOX-FOLDER 29/27 Sketches : Act I, scene 1, rehearsal no. 131 


BOX-FOLDER 29/28 Sketches : Act II, scene 2, rehearsal no. 163-168 


Laid in: GG check and photocopied IG holograph notes 

BOX-FOLDER 29/29 Sketches : Act II, scene 1, rehearsal no. 6-8 


In caption in the hand of IG: Fisherman music 


Sketches : Act II, scene 2, rehearsal 131, unused 


In captions: Kittiwah 

Laid in: IG typescript note 

BOX-FOLDER 29/31 Sketches : Act II, scene 2, rehearsal no. 131 


In caption: Kittiwah (Africana) 

BOX-FOLDER 29/32 Sketches : Act II, scene 3, rehearsal no. 225 


Labeled: Storm 


Sketches : Act III, scene 3, Opening 

GG holograph manuscript note on development; [1] p. 

BOX-FOLDER 29/34 Sketches : Act III, scene 3, rehearsal no. 156-162 


In caption: Trio 

Laid in: IG letter and GG check 


Miscellaneous and unused sketches 

GG holograph manuscript sketches; 4 leaves 



Miscellaneous motives 



BOX-FOLDER Bound Act I, scene I 

GG holograph piano-vocal score; [104] p. 

Note: "1934 May 23" 

BOX-FOLDER Bound Act I, scene II 

GG holograph piano-vocal score; 75 p. 


Music 

Container 

Contents 

BOX-FOLDER Bound 

















Act II 

GG holograph piano-vocal score 

Act III 

GG holograph piano-vocal score; [139] p. 

Act I 

GG holograph orchestral score; [167] p. 

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

Act II 


Act III 


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

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

In caption of Act III, scene III: Finished August 23, 1935 

Printed choral part 

Printed choral part; 238 p. 

Note: Copy owned by James E. Lightfoot 

Printed vocal score 

Pre-publication printed vocal score; 556 p. 

Note: Copy owned by Alexander Smallens 


Pre-publication printed vocal score; 559 p. 

Note: Used as prompt book by Theatre Guild 


Printed vocal score; 559 p. 

Note: First edition, 1935 

Sketches 


Note: Includes Act I, scene I fugue; Oh, the train is at the station; Leaving for the 

promised land 

First draft libretto 

Photocopied typescript; [89] p. 

Note: Annotations in various hands 

Note: Annotations identified by IG 

Libretto corrections 

IG holograph/typescript; [7] p. 

German libretto 

Photocopied typescript; 51 p. 

Note: Translated by Ralph Benatzky 

Porgy (play) 

Typescript script; [112] p. 

Screenplay: First revision 


Note: Revised by N. Richard Nash 

Screenplay: Second revision 


Note: Revised by N. Richard Nash 

Short script 



Music 

Container 

Contents 


Ground plans 

Drafting plans; [3] p. 


Key to switchboards 

2 typescripts; [2] p. ea. 


Letters regarding screenplay 

2 typescripts from N. Richard Nash to Samuel Goldwyn, 1958 Feb .9; [1], 8 p. 


List of tasks not yet done 



Memo regarding first sketches of Catfish Row 

Typescript; 1, 10 p. 


Property plot 

2 typescripts; [4] p. ea. 

BOX 30-31 Primrose [1924] 


Ballet 

Orchestrator’s holograph manuscript full score; 13 p. 


Berkeley Square and Kew 


Boy wanted 

see Boy wanted from A dangerous maid 


Entrance of Brummell 

Orchestrator’s holograph manuscript full score; [6] p. 


Every girl has a method of her own 



Finale, Act I 



Finale, Act I 




Copyist manuscript full score; 23 p. 


Four little sirens 

see also The sirens from A dangerous maid 




Four little sirens 

see also The sirens from A dangerous maid 




I make hay while the moon shines 



Isn't it wonderful 




GG and William Daly holograph manuscript piano-vocal score; [1, 2] p. 

Note: Vocal line in hand of GG 






Music 

Container 

Contents 






















The Mophams 


The Mophams 


Naughty baby 

GG holograph manuscript full score; 22 [i.e., 21] p. 

Note: Incomplete, p. 4 missing 

Note: Earliest known GG orchestration 

Naughty baby 



Naughty baby 









Overture 


Pep! zip! and punch! 


Some faraway someone 


Some faraway someone 


That new-fangled mother of mine 


That new-fangled mother of mine 

Typscript lyric sheets; [3] p. 

This is the life for a man 

Orchestrator’s holograph manuscript full score; [3] p. 

Caption title: The place for a man 

Till I meet someone like you 


Caption title: I've never met another little girl 

Wait a bit, Susie 


When Toby is out of town 


When Toby is out of town 


When you're not at your best 


Sketch 



Music 

Container 

Contents 

In caption: Good T. 


Libretto 


BOX 31 The rainbow [revue, 1923] 


Sweetheart (I'm so glad that I met you) 

Sheet music 

Note: Lyric corrections in various hands, including IG 

BOX 31-32 Rosalie [1928] 


At the Ex-King's Club 



Beautiful gypsy 









Sheet music for "Wait a bit, Susie" 


Note: Revived as "Beautiful gypsy" 





Beautiful gypsy. Introduction 



Cadet song 



Comedy dance 

GG Holograph manuscript piano score; [3] p. 

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

Note: Later published as "Merry Andrew" 


Comedy dance 

Copyist manuscript piano score; [1, 3] p. 


Comedy dance 

2 copyist manuscript piano scores; 3 p. ea. 


Comedy dance 

Photocopied (ozalid) piano score; 3 p. 


Comedy dance 

Photocopied copyist manuscript piano score; 3 p. 


Dance sequence 



Enjoy today 



Ev'rybody knows I love somebody 


Ex-King's number 

see At the Ex-King's Club 



Music 

Container 

Contents 




















Finale, Act I 


Follow the drum 


Good-bye to the one girl 

see also True to them all 


Hussar march 


I forgot what I started to say 


I forgot what I started to say 


The kind of friend 

see Let me be a friend to you 


The king can do no wrong 


Let me be a friend to you 


New York serenade 


Oh gee! Oh joy! 

Stephen O. Jones (orchestrator) holograph manuscript full score; 14, [i.e. 6] p. 

Note: Incomplete, p. 1-4, 9-12 absent 


Copyist manuscript piano-vocal score (key of C); [4] p. 


Copyist manuscript piano-vocal score (key of A); 4 p. 




see Enjoy today 


Rosalie [final version] 

Manuscript piano-vocal score in the hand of Hans Spialek; 6 p. 






Rosalie [early version] 


Rosalie. [Selection] 

Hans Spialek (arranger) holograph manuscript (with printed portions) piano score; 20 

[i.e. 16] p. 

Note: Incomplete, p. 15-18 absent 

Say so! 



Music 

Container 

Contents 


Say so! 




Say so! 










True to them all 

see also Good-bye to the one girl 



Under the furlough moon 









What I started to say 

see I forgot what I started to say 



When cadets parade 




When cadets parade 



You know how it is 



Libretto: Act I 

Typescript (Act I); [78] p. 



Libretto : Act II 

Typescript (Act II); 64 p. 


Run across 

see Treasure girl 


BOX 32-33 Shall we dance [film, 1937] 


Ballet 

GG holograph manuscript short score sketch; [3] p. 

In caption in the hand of IG: Ballet 


Ballet 




Ballet 



Music 

Container 

Contents 


















French ballet class 

2 photocopied (ozalid) piano scores; 4 p. ea. 

Note: One with emendations 

Graceful and elegant 


Hi-ho! 




Hi-ho! 

2 facsimiles of GG holograph manuscript piano-vocal score and typescript lyric sheet; 

[8] p. ea. 

Note: One lacks decorative slipcase, one inscribed by IG 

Hi-ho! 


Note: GG holograph score emendations 

Hi-ho! 


Hi-ho! I've got it 

see Hi-ho! 


Interlude 


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

film soundtrack 

Interlude 


Introduction and Dance of the waves ballet 


Note: One with emendations 

I've got beginner's luck 



Let's call the whole thing off 

Holograph manuscript piano-vocal sketch; [1,5] p. 

Laid in: IG holograph description; 1 p. 

Let's call the whole thing off 


Promenade 

Photocopied manuscript orchestration; [3] p. 

Promenade 


Promenade 


Slap that bass 


They all laughed 




Music 

Container 

Contents 


They all laughed 



They can't take that away from me 



Wake up, brother, and dance 


Note: Refrain lyric only 






Photocopied GG holograph piano sketch; [1] p. 



Sheet music 

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








BOX 33-34 The shocking Miss Pilgrim [film, 1947] 


Aren't you kind of glad we did 

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










Note: Revised version for Ella Fitzgerald 


The Back Bay polka 



The Back Bay polka 



The Back Bay polka. Dance interlude 


Boston 

see The Back Bay polka 


But not in Boston 

see The Back Bay polka 



Changing my tune 



Changing my tune 



Demon rum 



Music 

Container 

Contents 





















Demon rum 

Photocopied ozalid proof; 3 p. 

Demon rum 


Demon rum 

2 copyist manuscript piano-vocal scores; [1, 2] p. ea. 


Demon rum 

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


For you, for me, for evermore 


In caption in the hand of IG: Gold mine 




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


Manuscript vocal part in the hand of Kay Swift; [1] p. 

March of the Suffragettes 

Manuscript leadsheet in the hand of Kay Swift; [1] p. 

March of the Suffragettes 


One, two, three 


One, two, three 


Stand up and fight 





Typescript scenario; [2] p. 

Sweet Packard! 


Cover title: Packard’s Business College 







IG holograph/typescript scenario and lyric sheets; [5] p. 

Tour of the town 


Tour of the town 

Typescript scenario and lyric sheets; [12] p. 

Waltzing is better sitting down 


Music 

Container 

Contents 

see One, two, three 



Welcome song 



Welcome song 



Welcome song 



Welcome song 


BOX 34-35 Show girl [1929] 


Adored one 




Adored one 



At Mrs. Simpkin's finishing school 



Couldn't be good 




Note: Perhaps not by GG 


Do what you do! 














Feeling sentimental 














Note: Emendations in the hand of William Daly 






Music 

Container 

Contents 


Note: Includes 8 bar introductions 











Follow the minstrel band 

GG and William Daly holograph manuscript piano score; 4 p. 

Note: Verse in the hand of Daly, refrain in the hand of GG 




Note: GG holograph score emendations and drawing 






Happy birthday 




Happy birthday 



Harlem serenade 


Note: Verse only, fragmentary lyric 











Home 

see Home blues 



Home blues 




Home blues 



Home lovin' gal 



Home lovin' man 



How could I forget 




Music 

Container 

Contents 




















Note: Unidentified sketch material on verso of score p. [3] 



I just looked at you 


I must be home by twelve o'clock 










I'm just a bundle of sunshine 


I'm out for no good reason tonight 


Liza 



Liza 



Liza 



Liza 


Note: Emendations of score in the hand of William Daly 


Liza 


Liza (all the clouds'll roll away) 

see Liza 


Lolita 

see Lolita, my love 


Lolita, my love 







Music 

Container 

Contents 





















Note: GG holograph score emendations on p. [3] 



Magnolia 


Magnolia. Finale 


Minstrel show 

IG holograph/typescript lyric sheets; 2 p. 

My Sunday fella 

Photocopied Maurice B. De Packh (orchestrator) full score; 24 p. 


Manuscript in the hand of William Daly/copyist manuscript piano-vocal score ; 4 p. 




My Sunday fella. Ballet 


Caption title: Sunday feller ballet 

One man 

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


One man 


Opening 

GG holograph manuscript piano score; 6 p. 

Overture 


So are you! 



So are you! 


So are you! 


Note: Score has verse only 

So are you! 


Somebody stole my heart away 








Someone's always calling a rehearsal 



Music 

Container 

Contents 


Stage door scene 



Tonight's the night 





Maurice De Packh (orchestrator) holograph manuscript full score; 26 p. 






Libretto 




Libretto title page 


BOX 35 The show is on [revue, 1936] 


By Strauss 





By Strauss 


BOX 35 Sinbad [national tour, 1919-21] 


Swanee 

see also Swanee from Capitol revue 

Sheet music 

Note: 1st edition, 2nd issue (photograph of Al Jolson on cover) 

Smarty 

see Funny Face 


BOX 35 The social register [play, 1931] 


The key to my heart 




1st proof; 7 [i.e. 5] p. 



Corrected 1st proof; 7 [i.e. 5] p. 

BOX 35 Song of the flame [operetta, 1925] 


Cossack love song (Don't forget me) 

Manuscript piano-vocal score in the hand of Robert Russell Bennett; [4] p. 


Midnight bells 



Selection 

Manuscript piano score in the hand of Robert Russell Bennett; 14 p. 


The signal 



Song of the flame 



Music 

Container 

Contents 


Vodka 

see also Looking for a boy 


BOX 35 Spice of 1922 


Yankee Doodle blues 

Maurice B. De Packh (orchestrator) holograph manuscript full score; 16 p. 

BOX 35-36 A star is born [1972] 

The commercial (Calypso) 

see The TV commercial 



Dancing partner 


Get that long face lost 

see Lose that long face 



Gotta have me go with you 



Green light ahead 



Green light ahead 



Here's what I'm here for 



Here's what I'm here for 

Typescript lyric sheets; [2] p 


I'm off the downbeat 



I'm off the downbeat 



It's a new world 


Laid in: Telegram from Lena Horne to IG, 1963 September 12 


Lose that long face 



Lose that long face 



Someone at last 



Someone at last 



The TV commercial 



The TV commercial 


Stepping toes 

see Shall we dance 


BOX 36 Sticks and stones [revue, 1939] 


Music 

Container 

Contents 


Baby, you're news 


T'me baby, you're news 

see Baby, you're news 


Stop flirting 

see For goodness sake 


BOX 36-39 Strike up the band [1927, revised 1930] 

BOX-FOLDER 36/7 17 and 21 [1927] 


Ding dong 

see Ring-a-ding-a-ding-dong dell 

Note: Collective title 

BOX-FOLDER 36/8 Dream music [1930] 

Manuscript short score in the hand of William Daly; [2] p. 

BOX-FOLDER 36/8 Dream music [1930] 

Manuscript notes; [1] p. 

BOX-FOLDER 36/9 Entrance of Gideon and Swiss girls [1930] 



BOX-FOLDER 36/10 Finale, Act II [1930] 



Finaletto, Act II [1927] 

see Jim, consider what you're doing! 

Note: Article title 

Finaletto, Act II, scene 1 [1927] 

see Jim, consider what you're doing! 

Note: Article title 

BOX-FOLDER 36/11 Finaletto, Act II scene 1 [early version] [1930] 


BOX-FOLDER 36/12 Fletcher's American chocolate choral society [1930] 


BOX-FOLDER 36/12 Fletcher's American chocolate choral society [1930] 


BOX-FOLDER 36/13 Hangin' around with you [1930] 

GG holograph manuscript piano-vocal score with lyric; [4] p. 







BOX-FOLDER 36/15 He knows milk [1930] 

Manuscript full score; [2] p. 

Caption title: Finale, Act I 



Music 

Container 

Contents 



Cover title: Finale, Act I 




BOX-FOLDER 36/17 Homeward bound [1927] 

GG holograph manuscript piano vocal score; [4] p. 


Note: Pages [3-4] in an unidentified hand 


Manuscript piano score in the hand of William Daly; 2 p. 






BOX-FOLDER 36/19 Hoping that someday you’d care [1927] 


In caption in the hand of IG: never used for Soon chorus free 







BOX-FOLDER 36/20 How about a boy [1930] 


How about a boy like me 

see How about a boy 


BOX-FOLDER 36/21 How about a man [1927] 



BOX-FOLDER 36/21 How about a man [1927] 


BOX-FOLDER 36/22 I mean to say [1930] 



Sheet music 

Note: Emendations 

Note: On p. 4 in an unidentified hand: “Wrong! [i.e. wrong refrain] See corrected copy” 





Note: Some parts are incomplete 


BOX-FOLDER 36/24 I want to be a war bride [1930] 


Music 

Container 

Contents 

see also Strike up the band 



BOX-FOLDER 36/24 I want to be a war bride [1930] 




BOX-FOLDER 36/25 If I became the President [1930] 








Note: Lyric on p. 1 only 




Note: Lyric on p. 1 only 




BOX-FOLDER 37/2 In the rattle of the battle [1930] 


BOX-FOLDER 37/3 Incidental [1930] 

see also Typical self-made American 



BOX-FOLDER 37/3 Incidental [1930] 

see also Typical self-made American 


Note: Notations in an unidentified hand 

BOX-FOLDER 37/4 Incidental music [1930] 

see also Soon 


BOX-FOLDER 37/5 I've got a crush on you [1930] 

see also I've got a crush on you from Treasure Girl 


Note: Lyric in the hand of GG 


see also I've got a crush on you from Treasure girl 




Photocopied (ozalid) manuscript piano-vocal score; 3 p. 





Music 

Container 

Contents 

BOX-FOLDER 37/7 Jim, consider what you're doing! [1927] 







Mademoiselle from New Rochelle 

see Mademoiselle in New Rochelle 


BOX-FOLDER 37/10 Mademoiselle in New Rochelle [1930] 


Note: Refrain in the hand of William Daly 






BOX-FOLDER 132/9 The man I love [1927] 

see also The man I love from Lady, be good! 


BOX-FOLDER 37/12 The man I love [1927] 

see also The man I love from Lady, be good! 

William Daly holograph manuscript short score sketch; [1] p. 

A man in high degree: Entrance of Colonel Holmes 

see A man of high degree and The unofficial spokesman [1930] 


BOX-FOLDER 37/13 A man of high degree and The unofficial spokesman [1930] 

see also The unofficial spokesman [1927] 


Note: Emendations and lyric in an unidentified hand 

BOX-FOLDER 37/13 A man of high degree and The unofficial spokesman [1930] 

see also The unofficial spokesman [1927] 

Manuscript piano score in the hand of William Daly; [2] p. 


BOX-FOLDER 37/14 Meadow serenade [1927] 



Note: Piano score for "We are visitors here" on p. [4] 






BOX-FOLDER 37/15 Military dancing drill [1927] 





Music 

Container 

Contents 




BOX-FOLDER 37/17 Military dancing drill. Encore [1930] 



Nursie, nursie 

see Oh, this is such a lovely war 

Note: Included in an early version of "Oh, this is such a lovely war" 

BOX-FOLDER 37/18 Official resume [1930] 



Caption title: Finaletto, Act II, scene 2 

BOX-FOLDER 37/19 Official resume [1930] 


BOX-FOLDER 37/20 Oh, this is such a lovely war [1927] 

see also In the rattle of the battle and Military dancing drill 

Copyist manuscript score; [9] p. 

Note: Portions written as a short score, leadsheet, piano-vocal score, or piano score 


see also In the rattle of the battle and Military dancing drill 


Note: Includes lyrics for "Nursie, nursie" 




Opening, Act I, scene 3 

see Patriotic rally 


Opening, Act II [1927] 

see Oh, this is such a lovely war 


BOX-FOLDER 38/1 Opening, Act II [1930] 



Note: "Insert" in an unidentified hand 

BOX-FOLDER 38/2 Opening, Act II [1930] 

Copyist manuscript (with printed portions) piano-vocal score; 1, 13 p. 


Overture 

Copyist manuscript piano score; 1, 13 p. 


BOX-FOLDER 38/4 Patriotic rally [1930] 








Music 

Container 

Contents 

BOX-FOLDER 38/6 Ring-a-ding-a-ding-dong dell [1930] 



Selection 

Hans Spialek (arranger) holograph manuscript (with printed portions) piano score; 18 p. 

Seventeen and twenty-one 

see 17 and 21 



Sing "Carry on!" 












Soldiers' march 




Soldiers' march 



BOX-FOLDER 38/13 Soon [1930] 

see also Incidental music and Hoping that someday you'd care from Strike up the band 



BOX-FOLDER 38/13 Soon [1930] 

see also Incidental music and Hoping that someday you'd care from Strike up the band 

Sheet music with emendations 

BOX-FOLDER 38/14 Soon. Reprise [1930] 


BOX-FOLDER 38/14 Soon. Reprise [1930] 

Sheet music for "Soon" with emendations 

BOX-FOLDER 38/15 Strike up the band [1927] 

H.A. Rubinstein holograph manuscript full score; [1, 30] p. 





2 sheet music 




Note: Includes refrains for "I want to be a war bride" and "Thanks to you" on p. [3] 


Strike up the band [Concert orchestration] 



BOX-FOLDER 38/18 Strike up the band. Reprise [1927] 

13 copyist manuscript orchestral parts (flute part absent) 


Music 

Container 

Contents 


Strike up the band for UCLA 


BOX-FOLDER 39/1 Thanks to you [1930] 










2 photocopied copyist manuscript piano-vocal scores; [3] p. ea. 



Note: IG holograph drawings on p. [3] 

BOX-FOLDER 39/2 There was never such a charming war [1930] 


BOX-FOLDER 39/3 Typical self-made American [1930] 


BOX-FOLDER 39/3 Typical self-made American [1930] 


BOX-FOLDER 39/4 The unofficial spokeman [1927] 

see also A man of high degree and The unofficial spokesman [1930] 


BOX-FOLDER 39/5 The war that ended war [1927] 


Caption title: Opening, scene III, act II 

BOX-FOLDER 39/6 The war that ended war [1927] 


What's the use of hangin' around with you 

see Hangin' around with you 


BOX-FOLDER 39/7 Yankee Doodle rhythm [1927] 






2 copyist manuscript piano parts; [4] p. ea. 



BOX-FOLDER 39/8 Unidentified parts [1930] 

15 copyist manuscript orchestral parts for final section(s) 

Laid in: Fragment of violin part for related musical material 

Laid in: Orchestrator’s manuscript notes; [1] p. 


Dialog book 

Typescript; [1, 11] p. 



Music 

Container 

Contents 

Note: Lines for “Anne”, as played by Doris Carson in the first Broadway production 

Laid in: Gum wrapper with GG autograph given to Doris Carson 

BOX 39 The sunshine trail [film, 1923] 


The sunshine trail 

Charles N. Grant (orchestrator) holograph manuscript full score; 1, 14 p. 







BOX 39 Sweet little devil [1924] 


Hey! Hey! Let 'er go! 




Hey! Hey! Let 'er go! 




Hooray for the U.S.A.! 



The Jijibo 




The Jijibo 



Just supposing 



Kitchenette 


Note: IG holograph drawings 


The matrimonial handicap 



(You're mighty lucky) My little duckie 



Pepita 




Pepita 




Quite a party 



Selection 

Robert Russell Bennett (arranger) holograph manuscript (with printed portions) piano 

score; 6 p. 


Someone believes in you 




Someone believes in you 



Music 

Container 

Contents 


Strike, strike, strike 



Under a one-man top 





Note: Refrain lyric only 



Manuscript/typescript lyric sheets; [3] p. 


Virginia (Don't go too far) 

Manuscript piano-vocal score in the hand of Stephen O. Jones; 6 p. 


Virginia (Don't go too far) 


Tally ho 

see Treasure girl 


BOX 39-41 Tell me more [1925] 


Baby! 



Baby! 



Duet 

GG Holograph manuscript piano-vocal score; [3] p. 

Caption title in unidentified hand: My fair lady/Duet 


Note: Bears no similarity to other "My fair lady" materials 


Finale 


Note: Incomplete, no lyric 



Finale 



Finale I 




Finale I 


Note: 4 bar Maestoso section 


Finale, Act I 




Finale ultimo 





Finale ultimo 



Finaletto 



Music 

Container 

Contents 


















Finaletto, Act II, scene I 


Gush-gush-gushing 

see Gushing 


Gushing 


Gushing 



Note: One in key of G, one in key of F 

Gushing 

2 copyist manuscript lead sheets; [2] p. ea. 

Gushing 



Gushing 


The he-man 




The he-man 




The he-man 


How can I win you now 








I'm somethin' on Avenue A 


In Sardinia 



In Sardinia 



In Sardinia 



Note: Includes encore 


Music 

Container 

Contents 















In Sardinia 


Incidental 


Kenneth won the yachting race 

see Finaletto, Act II, scene 1 


Kickin' the clouds away 




Kickin' the clouds away 


Lady fair 

see My fair lady 


Love is in the air 












Mr. and Mrs. Sipkin 













Monty! Their only child 

see Mr. and Mrs. Sipkin 


My fair lady 



My fair lady 



Music 

Container 

Contents 



My fair lady 


Note: Sketch material on p. [3] 


My fair lady 



Once 




Once 

Manuscript piano score in the hand of Hilding Anderson; [3] p. 


Once 



see Shopgirls and mannequins 



see Love is in the air 


BOX-FOLDER 40/17 Opening, Act II scene 3 

see also Ukelele lorelei 


BOX-FOLDER 40/17 Opening, Act II scene 3 

see also Ukelele lorelei 


Opening ensemble 

see Shopgirls and mannequins 



Selection 

Robert Russell Bennett holograph manuscript piano score; 23 p. 


Shopgirls and manequins 





2 copyist manuscript piano parts; 18 p. ea. 





Sole mio 



Sole mio 


Note: Music not by GG 

BOX-FOLDER 40/21 Specialty no. 1 

Robert Russell Bennett holograph manuscript piano score; [2] p. 

Note: Music not by GG 


Tell me more 




Music 

Container 

Contents 

















Tell me more 



Tell me more 



Note: Emendations in an unidentified hand on p. [5] 

Tell me more 

Copyist manuscript TTBB arrangement for men’s chorus; [2] p. 

Note: No piano part 

Tell me more 

Typescript lyric sheets; [3] p.. 

Tell me more. Reprise 


Tell me more. Reprise 



Three times a day 


Note: Lyric and emendations in an unidentified hand 






Ukelele Lorelei 


Note: Refrain (partial lyric) with realized chords for ukulele in an unidentified hand on 

p. [4] 




Note: Piano introduction for "Opening, Act II, scene 3" on p. [1-2] 

Note: Encore music on p. [7-10] 










Ukelele Lorelei. Dance 


Waltz 



When my oil well starts gush-gush-gushing 


Music 

Container 

Contents 













see Gushing 


When the Debbies go by 



Note: On p. [4] in an unidentified hand: Reprise, Tell me more 











Where the delicatessen flows 

see In Sardinia 


Why do I love you 



Note: Discarded sketch of opening on p. [2] 





Note: Key of E minor 





Note: Includes encores on p. 6-11 

Note: Key of A flat major 




Manuscript piano score; [1, 2] p. 

Note: Encore music 





Untitled 


In caption: 15 B 



Note: Vocal line crossed out 


Music 

Container 

Contents 


Untitled 


On cover: 15 B 


Run down sheet of copyist 

Manuscript list; [1] p. 

BOX 41 That's a good girl [1928] 


Before we were married 



Chirp chirp! 



Day after day 



Let yourself go! 



The one I'm looking for 



Sweet so-and-so 



There I'd settle down 



Weekend 


What to do 

see Whoopee 

Note: Original title 


Whoopee 



Why be good 



Libretto title page 



Song synopsis 

2 IG holograph/typescript manuscripts; [1] p. ea. 

BOX 41-45 Tip toes [1925] 


Entr’acte 

14 orchestral parts (incomplete set) 


Entr’acte [variant] 



Finale, Act I 



Finale, Act I 







15 orchestral parts 


Finale, Act II [variant] 

Piano part only 


Music 

Container 

Contents 



















Florida 

see Waiting for the train 


Gather-ye-rosebuds 









Harbor of dreams 


The Harlem River chanty 




In caption in the hand of IG: Part of Harlem River chanty 


4 photocopied (ozalid) piano-vocal scores; 5 p. ea. 

Note: 2 scores have IG holograph notes 



It's a great little world 




Note: One has emendations in an unidentified hand 


Manuscript/copyist manuscript piano-vocal score; 1, 1 p. 







Cover title: Give in 

Lady luck 


Lady luck 


Life's too short to be blue 


Looking for a boy 


Note: Sketch of Vodka on p. [2] 


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Photocopied sheet music (French version) 









27 printed orchestral parts (incomplete set) 

BOX-FOLDER 43/3 Looking for a boy. Reprise 11A/12 



Looking for a boy. Reprise 13A-B-C 


BOX-FOLDER 43/5 Looking for a boy. Reprise 14 

8 orchestral parts (trumpet and strings only) 


Lucky day 

10 printed orchestral parts with emendations 

Note: Published as part of George White's Scandals of 1926, perhaps interpolated in Tip 

toes 


Nice baby! 

see also Delishious [arranged for piano solo] 



Note: Photocopied fragment of a piano solo arrangement from the verso of 

“Delishious” arr.; [1] p. 


Nice baby! 



Nice baby! 


Nice baby! Come to Papa! 




Nice baby! Reprise 



Nightie night 

2 copyist manuscript piano-vocal score; [4] p. ea. 



Nightie night 



Nightie night 

11 orchestral parts (incomplete set A) 


Nightie night 

14 orchestral parts (incomplete set B) 






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see Lady luck 




Our little captain 


Our little captain 


Overture 


Overture 

12 band parts (incomplete set) 

Note: Some parts have GG holograph emendations 

Play out 


Selection 

Copyist manuscript (with printed portions) piano score; 23 p. 

Note: Arranged by Robert Russell Bennett 


Selection 

Sheet music (incomplete); [2] p. 

Note: Arranged by Robert Russell Bennett 


Sweet and low-down 











Sweet and low-down. Insert 


That certain feeling 


Note: Partial lyric and emendations in an unidentified hand 

Note: Credit in the hand of IG 



Note: Corrections in an unidentified hand 






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These charming people 



Note: Credit in the hand of IG 





Tip toes 

Photocopied piano-vocal score; [3] p. 

Note: French and English lyrics 

Laid in: Typescript letter from Louis Aborn to IG, 1976 July 27 

Tip toes 

Photocopied vocal part and lyric sheet; [1] p. ea. 

Laid in: Typescript letter from Louis Aborn to IG, 1976 June 2 

Laid in: Typescript letter from Edgar Carter to Louis Aborn, 1976 June 11 

Tip toes 


Tip toes 

13 orchestral parts (incomplete set A) 

Tip toes 

9 orchestral parts (incomplete set B) 

Tip toes [variant] 

Violin part only 

Trombone specialty 


Note: Includes 8 bar exit 

Note: Drums part for "Tip toes" on p. [2] 

Waiting for the train 






Note: French and English lyrics 

Laid in: Typescript letter from Louis Aborn to IG, 1976 July 27 


Photocopied lyric sheets; 2 p. 

Laid in: Typescript letter from Louis Aborn to IG, 1976 June 2 

Laid in: Typescript letter from Edgar Carter to Louis Aborn, 1976 June 11 



We 


Weaken a bit 

IG holograph/typescript lyric sheets 


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When do we dance 






Note: Corrections of score in an unidentified hand 










Note: 1st encore 




Note: 2nd encore 


Miscellaneous/unidentified music 

4 items found with the Secaucus Tip Toes material 


Instrumental part folders 

3 manuscripts 

Note: Piano part folders have notes in an unidentified hand 

Laid in: Running list of songs 


Libretto 




List of published songs 


BOX 45 Top hole [1924] 


Imagine me without my you 




Imagine me without my you 


BOX 45-46 Treasure girl [1928] 


According to Mr. Grimes 



A-hunting we will go! 





A-hunting we will go! 



Dead men tell no tales 



Dead men tell no tales 



Feeling I'm falling 



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In caption: No fooling, I'm falling 

Note: Fragment of refrain 










Finale, Act I 


Good-bye to the old love 


Good-bye to the old love, hello to the new 

see Good-bye to the old love 


Got a rainbow 

Manuscript piano-vocal score in the hand of Albert Sirmay; [4] p. 

Note: Partial verse lyric in an unidentified hand 

Got a rainbow 



Got a rainbow 


Hunting motive 

GG holograph manuscript melody line; [1] p. 

I don't think I'll fall in love today 


Note: One score has ukelele chords and emendations in an unidentified hand 

I don't think I'll fall in love today 


I don't think I'll fall in love today. Encore 


I want to marry a marionette 

Manuscript piano-vocal score in the hand of Albert Sirmay and GG; 1, 5 p. 


Note: Refrain melody chiefly in the hand of GG 



Note: One score has emendations in an unidentified hand 



I've got a crush on you 


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see also I've got a crush on you from Strike up the band 



I've got a crush on you 

see also I've got a crush on you from Strike up the band 


I've got a rainbow 

see Got a rainbow 


K-RA-ZY for you 



K-RA-ZY for you 


Off with the old 


Oh, so nice! 



Oh, so nice! 


Oh, so nice! 

1st violin (4th stand) part 

Oh, so nice! 

Manuscript full score in the hand of William Daly; 6 p. 

Oh, so nice! 

Manuscript full score in the hand of William Daly; 11 p. 


Manuscript piano-vocal score in the hands of Albert Sirmay and GG; 14 p. 






see Place in the country 



see Treasure island 


Place in the country 







Skull and bones 


Tally ho 


Music 

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see A-hunting we will go! 



This particular party 



Treasure Island 



What are we here for 











What causes that 

Manuscript piano-vocal score in the hands of Albert Sirmay and GG; [4] p. 


Note: Title and melody line of refrain in the hand of GG 









Where's the boy Here's the girl! 

Manuscript piano-vocal score in the hands of Albert Sirmay and GG; [1, 5] p. 


Note: Title page and melody line of refrain in the hand of GG 











BOX 46 Two little girls in blue [1921] 


Dolly 


Dolly dear 

see Dolly 


Finale, Act I 

see We're off to India 






Happy ending 



Here, steward 



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Honeymoon 


Honeymoon, when will you shine for me 

see Honeymoon 


Honeymoon (When will you shine on me) 

see Honeymoon 


I'm tickled silly 


Just like you 


Little bag of tricks 


Make the best of it 


Oh me! Oh my! 


Orienta 


Rice and shoes 


She's innocent 

see Finale, Act II 


The silly season 


Summertime 


Sweetest girl 

see Rice and shoes 

Note: Original title 

There's something about me they like 


Two little girls in blue 


Utopia 


We're off on a wonderful trip 


We're off to India 


When I'm with the girls 


Who's who with you 


Wonderful U.S.A. 



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You started something 


Your wonderful U.S.A. 

see Wonderful U.S.A. 



List of songs in running order 

IG holograph/typescript manuscript; [2] p. 

BOX 47 

The very grand duchess 


Libretto 

Bound typescript; [77] p. 

BOX 47 Where do we go from here [film, 1945] 


All at once 


Columbus 

see The Nina, the Pinta, the Santa Maria 



If love remains 



It could have happened to anyone 



Knowing you're there 


Manhattan 

see Woo, woo, woo, woo, Manhattan 


Mutiny routine 

see The Nina, the Pinta, the Santa Maria 



The Nina, the Pinta, the Santa Maria 

Photocopied ozalid piano-vocal score; 40 p. 


The Nina, the Pinta, the Santa Maria 



Opening 



Song of the Rhineland 



Woo, woo, woo, woo, Manhattan 



Miscellaneous notes and lyric sheets 


BOX 47 Ziegfeld follies of 1936 

Aren't you wonderful! (or, The economic situation) 

see The economic situation 



The ballad of Baby Face McGinty (who bit off more than he could chew) 


The bazooka 

see The gazooka 



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The better half knows better 


Dancing to our score 

see Dancing to the score 


Dancing to the score 


Does a duck love water 


East Indies 

see Island in the West Indies 


The economic situation 


Fancy! Fancy! 


Fancy! Fancy! And all that! 

see Fancy! Fancy! 


Fancy! Fancy! Fancy! 



Fawncy! Fawncy! 



Five A.M. 


The gazooka 


He hasn't a thing except me 


Hot number 


I can't get started 


Laid in: Letter from Sammy Cahn to IG, 1958 August 5 

Laid in: Letter from Edward A. Wolpin to IG, 1943 March 12 

Laid in: Letter from IG to Carmen McRae, 1966 June 21 

I'm sharing my wealth 


Island in the West Indies 


Isle in the West Indies 



It's a different world 


Note: Lyric on p. [2] of leadsheet 


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It's a different world 


The kazooka 

see The gazooka 


The knife thrower's wife 


The last of the cabbies 


Maharanee 


Modernistic Moe 


My red-letter day 


Oh, bring back the ballet again 


Please send my daddy back home 

see Please send my daddy back to mother 


Please send my daddy back to mother 


Save your yesses 


Sentimental weather 


The shadows 

see Five A.M. 


Sunday tan 


That moment of moments 


There's an island in the West Indies 



Time marches on! 


Trailer for "The 1936 Broadway gold melody diggers" 


We hope you'll soon be dancing to the score 

see Dancing to the score 


Why save for that rainy day 


Wishing tree of Harlem 


Words without music 



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BOX 48-52, 132, 135 














List of songs 

2 IG holograph/typescript manuscripts; [1] p. ea. 

Concert Music 

The concert music in the Gershwin collection is organized alphabetically by title and then by 

type. 

An American in Paris 



GG holograph original sketch manuscript; [69] p. 

1928 January-August 1 


GG holograph original orchestration manuscript; 104 p. 

1928 November 18 

Note: Microfilm #1338 


GG holograph manuscript arrangement for 2 pianos; 70 p. 

In caption: January 28 


Printed arrangement for 2 pianos; 35 p. 

Published: New York : New World Music, c1928 

Catfish Row 

GG holograph manuscript list of corrections to Porgy and Bess parts needed for the suite; 

[2] p. 

Suite from Porgy and Bess 

Photocopied (ozalid) GG holograph manuscript full score; 100 p. 

Note: Emendations in unidentified hands 

Concerto in F 

GG holograph sketch-score manuscript; [181] p. 

Movement I: 1925 July 

Movement II: 1925 August-September 

Movement III: 1925 September 

Concerto in F 

GG holograph original orchestration manuscript; [181] p. 

1925 October - November 

Concerto in F 


Laid in: IG holograph notes, 1961 April 26 

Concerto in F 

GG holograph manuscript early orchestration; 8 p. 


Laid in: IG typescript note [1] p. 

Concerto in F 

Short score, Movement I; 5 p. 

Concerto in F 

Short score, Movement I; 1 p. 

Note: Final 88 bars only 


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Concerto in F 

Short score, Movement II; 4 p. 

Note: Includes opening 24 bars of Movement III 

Concerto in F 

Unidentified piano sketches; 3 p. 

Note: Laid in with Concerto in F 

Note: Black, blue and turquoise ink 

Concerto in F 

2 printed score arrangement for 2 pianos; 67 p. ea. 

Published: New York: Harms, c1927 

Note: Heavily annotated with corrections 

Concerto in F 

Printed score arrangement for 2 pianos; 67 p. 


Note: GG's copy 

Concerto in F: Movement I 

Manuscript score for 2 pianos; [2] p. 

In caption: Extra bars for 1st movement... 

Concerto in F: Movement III 

Second publisher’s proof for 2 pianos; 21 [i.e., 11] p. 


Cuban overture 

GG holograph manuscript sketches and notes; [39] p. 



In caption: 1932 July 


GG holograph original orchestration manuscript; 62 p. 

1932 July-August 



Fantasy on George Gershwin's Porgy and Bess for 2 pianos 

Printed score; 43 p. 

Note: By Percy Grainger 

Published: New York: Gershwin Publishing Corp., c1951 

I got rhythm variations 



GG holograph manuscript short score; 36 p. 


GG holograph manuscript orchestral score; 73 p. 

Finished 1934 January 6 


Copyist manuscript piano part; 15 p. 

Note: Emendations chiefly in the hand of GG 


GG holograph manuscript program outline; [1] p. 



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Lullaby [piano solo version] 


Lullaby [string quartet version] 

4 copyist manuscript parts 

Laid in: Letter from IG to Harold Spivacke, 1967 March 8 

Novelette 


Novelette in fourths 


Orchestral selection from George Gershwin's Porgy and Bess 

25 printed scores and parts 

Note: By Hans Spialek 

Laid in: IG holograph note, 1965 June 14 

Porgy and Bess selection. Arrangement for concert band 

Printed parts 

By Robert Russell Bennett 

Prelude I 


Emendations in an unidentified hand 

Prelude II 


Emendations in an unidentified hand 

Prelude III 



Prelude III 


Prelude III 



Prelude in G major 


In caption: 1923 August 30 


Prelude in G major 


In caption: 1923 August 30 


Prelude in G minor 


In caption: 1925 January 

In caption in the hand of IG: Used as 3rd movement of Concerto in F 


Rhapsody in blue 

GG holograph manuscript; 56 p. 

For piano and jazz band, 1924 January 7 


Ferde Grofé's manuscript for theatre orchestra and piano; [49] p. 

1926 February 23 


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BOX 53-55 




GG's facsimile copy of Ferde Grofé's orchestration; 128 p. 


11 printed parts 

Published: New York: Atlas Music: Harms, c1925 

Note: A complete set of this edition may be found in the Grofé Collection 



Bound, printed score for piano and jazz band; 42 p. 


Note: Band part reduced for 2nd piano 


Bound, printed full score for piano and symphony orchestra 


Note: Specially bound copy presented to IG by the publisher 

Laid in: IG holograph/typescript notes and letters; [15] p. 

Second Rhapsody 

GG holograph original sketch manuscript; [45] p. 

California, 1931 January 

Second rhapsody 

GG holograph original orchestration manuscript; [76] p. 

1931 March 14-May 23 


GG holograph manuscript full score; p. 20 [i.e., 1 p.] 



In caption in hand of GG: From sketchbook of 2nd Rhapsody 

Note: The Music Division is not aware of an existing Second Rhapsody sketchbook from 

which this page would have been removed 

Song book 

GG holograph manuscript piano scores; 75 p. 

Note: Inscribed to Kay Swift, 1931 Oct 26 

Laid in: GG holograph manuscript piano score for "Who cares"; [3] p. 

Song book 

Printed piano scores; 167 p. 

Published: New York: Random House, c1932 

Note: Limited first edition with color illustrations 

Note: Signed by GG and illustrator Constantin Alajalov 

Song File 

The Song File is arranged in numerical order by the number given to each composition by 

Ira Gershwin and Kay Swift during their collaboration on The Shocking Miss Pilgrim. 

#17 Sleepless night 







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IG holograph envelope 

#18 Ossining time 







Photocopied (ozalid) piano-vocal score; [2] p. 


#19 Special love 









Manuscript piano sketch in the hand of Kay Swift; [1] p. 



Caption title on p. [3]: Saying my say 

Caption title on p. [4]: Say my say 

#20 My honor was at stake 








#21 Brahmsy tune 












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#22 Chickadee 



#22 Chickadee 



#22 Chickadee 



#23 Hold on 



#23 Hold on 



#23 Hold on 


#24 52nd floor 











#25 I won’t give up 



#25 I won't give up 



#25 I won't give up 


#26 The more I see you 












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#27 One minute more 








#28 You’ve got it and I want it 



#28 You've got it and I want it 

2 copyist manuscript piano-vocal score; [3] p. ea. 

#29 How long 



#29 How long 




#29 How long 



#30 What can we lose 









#31 Slow down 



#31 Slow down 



#32 Three quarter blues 

Manuscript piano score in the hand of Kay Swift; [1, 2] p. 







#33 Untitled 




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#33 Untitled 



#33 Untitled 



#34 Naughty name 








#35 Doubting Thomas 








Note: Annotated chords in an unidentified hand 


Manuscript/typescript lyric sheet 

#36 3-note waltz 


#36 3-note waltz 


#37 Thanks to you 










see Thanks to you from Strike up the Band 

#39 Untitled 



#39 Untitled 



#40 Violin piece 

Manuscript piano-violin score in the hand of Kay Swift; [1, 3] p. 


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2 copyist manuscript piano-violin scores; [3] p. ea. 



#41 Listen to reason 








#42 Impromptu in two keys 

see also Yellow blues lyric sheets 

GG holograph manuscript piano sketch; [1, 2] p. 






2 copyist manuscript piano scores; [2] p. ea. 



Manuscript piano score fragment in the hand of Kay Swift; [1] p. 

#43 Comedy dance 

see Comedy dance from Rosalie 

#44 Ain't it romantic 

see Ain't it romantic from Oh, Kay 

#45 I must write a song 











#46 Parade 


#46 Parade 


#47 Real ossining 



#47 Real ossining 




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#48 Demon rum 

see Demon rum from Shocking Miss Pilgrim 

#49 Try 



#49 Try 



#50 Ask me again 







Manuscript vocal part in the hand of Kay Swift; [1] p. 




Note: Lyric for "What does it mean" on p. [8] 

#51 For you, for me, for evermore 

see For you, for me, for evermore from The shocking Miss Pilgrim 

#52 For you, for me, for ever 

see For you, for me, for evermore from The shocking Miss Pilgrim 

#53 Version A 



#54 Molly on the shore 



Note: Notes on p. [2] 



Note: No apparent musical relation to piano-vocal score 



#55 Freud and Jung and Adler 

see Freud and Jung and Adler from Pardon my English 

#56 Vague ballad 



#57 All the livelong day 

see All the livelong day (and the long, long night) from Kiss me, stupid 

#58 Wasting time 



#58 Wasting time 



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BOX-FOLDER 54/15 #59 Sutton Place 

Manuscript piano score in the hand of William Daly; [2] p. 





BOX-FOLDER 54/16 #60 Soprano tune 


BOX-FOLDER 54/17 #60 Soprano tune 


BOX-FOLDER 54/18 #61 Untitled 



BOX-FOLDER 54/19 #62 Rainbow and You’re still the only one 


BOX-FOLDER 54/20 #63A Warm tune 




Note: Optional obbligato 



BOX-FOLDER 54/21 #63B Untitled 


BOX-FOLDER 54/21 #63B 


BOX-FOLDER 54/22 #64 Ever 


BOX-FOLDER 54/23 #65 Narrative 


BOX-FOLDER 54/24 #66A Acid tune 


BOX-FOLDER 54/25 #66B One step 


BOX-FOLDER 54/26 #67 I was feeling low 


In caption: marked “9” [by] G. G. 

BOX-FOLDER 54/27 #68 Ingratiating tune 


BOX-FOLDER 54/28 #69 Anthemy fragment 


#70 Untitled 


A notation on the packing description indicates that this item was “Sir” or “Siren.” 

Presumably the manuscript was removed, according to Michael Feinstein. 

#71 Together at last 

see Together at last from Pardon my English 

#72 Meadow serenade 


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see Meadow serenade from Strike up the band 

#73 Duet -- Lonely boy 

see Lonely boy from Porgy and Bess 

#74 I must remember 


#75 Gertie Lawrence type 


#76 Follies 


#77 Untitled 


A notation on the packing description indicates that this item was intended for East Is 

West, and that the manuscripts were filed with that material. 

#78 Rich fragment 

Manuscript piano score fragment in the hand of Kay Swift; [1] p. 

#79 For Lily Pons 


#80 Sing! Carry on! 

see Sing! Carry on! from Strike up the band 

#81 Sextette 



Note: IG holograph lyric credit 

#81 Sextette 


Caption title: We’re six little nieces of our Uncle Sam 

#82 When our ship comes sailing in 

see When our ship comes sailing in from Oh, Kay! 

#83 Hoping that someday you'd care 

see Hoping that someday you'd care from Strike up the band 

#84 Gushing 

see Gushing from Tell me more 

#85 Under the cinnamon tree 

see Under the cinnamon tree from East is West 

#86 The bad, bad men 

see The bad, bad men from Lady, be good! 

#87 Adored one 

see Adored one from Show girl 

#88 Evening star 

see Evening star from Lady, be good! 

#89 Phoebe 


In caption: verse usable 


#89 Phoebe 


#90 It’s wonderful how love can understand 


In caption in the hand of IG: verse used 


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#90 It's wonderful how love can understand 

Copyist manuscript piano-vocal score fragment; [2] p. 


#91 Will you remember me 

see Will you remember me from Lady, be good! 

#92 Opening, Act II 

see Oh, this is such a lovely war [1927] from Strike up the band 

#93 Look to the stars 


#93 Look to the stars 


#94 Fairyland wedding 



#94 Fairyland wedding 


#95 If we had known 


Note: Emendations in the hand of GG 

#95 If we had known 


#96 Bebe 


In caption in the hand of IG: good verse, good can-can chorus 


#97 Barcelona 


#97 Barcelona 



#98 Beautiful bird 

Manuscript piano-vocal score in the hand of Stephen O. Jones; 5 p. 

#98 Beautiful bird 


Note: Notes in the hand of GG on p. [4] 

#99 A corner of heaven with you 

see also A corner of heaven with you and The hurdy-gurdy man from Chopin show 

#100 Put me to the test 

see Put me to the test from Damsel in distress 

#101 I’m afraid this can’t (won’t) last 


Note: Unfinished, no lyric 

#101 I'm afraid this can't (won't) last 


#102 You just keep on asking 

Manuscript piano-vocal sketch in the hand of Kay Swift; [1, 1] p. 

#102 You just keep on asking 



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#103 I want somebody 



#104 Leave it to love 

see Leave it to love from Lady, be good! 

#105 I’m a poached egg 

see I'm a poached egg from Kiss me, stupid 

#106 Gold mine 



#107 Gather-ye-rosebuds 

see Gather-ye-rosebuds from Tip toes 

#108 Your eyes, your smile 

see Your eyes, your smile from Funny face 

#109 Acrobats 

see Acrobats from Funny face 

#110 You’re mighty lucky 

Copyist manuscript piano-vocal score; 12 [i.e. 1, 11] p. 


#110 You're mighty lucky 

Photocopied (ozalid) lyric sheet 

#111 Untitled 



On cover: dated June 8, 1930 

#111 Untitled 



#112 I just met an angel 



#112 I just met an angel 



#113 In moderate tempo 



#113 In moderate tempo 


#114 You can't unscramble scrambled eggs 

see Girl crazy 

#115 Machinery going mad 



#115 Machinery going mad 



#116 Opening II 



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#116 Opening II 



#117 Hot 



#117 Hot 



#118 Opening I 



#118 Opening I 



#119 Humpty and dumpty 









#120 Waltz 



#121 Piano piece 


#121 Piano piece 

Copyist manuscript piano sketch; [1] p. 

#122 Ballad 


Note: Unfinished 

#123 Fatherland, mother of the band 

see Pardon my English 

#124 Call me John 


Note: 1st version 



Note: 2nd version 


Manuscript piano score fragments in the hand of Kay Swift; [3] p. 

Laid in: 2 holograph letters from Kay Swift to IG, 1966 June 30; [1] p. ea. 

Laid in: Holograph letter from Kay Swift to IG, 1966 June 24; [1] p. 

Laid in: Typescript letter from IG to Kay Swift, 1966 July 12; [1] p. 

Laid in: Kay Swift holograph envelope 


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#125 You started it 

see Delishious 

#126 Something peculiar 

see Piccadilly to Broadway 

BOX 56-57 














Miscellaneous Music 

The miscellaneous music in the Gershwin collection is organized alphabetically by title. 

Beautiful 


A corner of heaven with you 

see also The hurdy-gurdy man from Chopin show 


Note: Lyric in pencil 




In caption in the hand of IG: Same as "The Hurdy Gurdy Man" but this is an earlier 

version 




Dawn of a new day 

Sheet music 

Note: IG holograph annotation 

Don’t you remember 

Copyist and GG holograph manuscript piano-vocal score; 2 p. 


Note: Piano part and credit in hand of GG 

England 



The flapper 

Copyist manuscript lead sheet; [3] p. 

Fugue 



Good little tune 



Good little tune 

Photocopied lyric sheets; [2] p. 

Laid in: Letter from Al Kohn to Edgar Carter, 1976 June 7 

In the heart of a geisha 

Photocopied sheet music 

Laid in: Letter from Melvin Parks to IG, 1971 July 15 

Laid in: Letter from IG to Melvin Parks, 1971 July 29 

Insert 



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An introduction 


Introduction hot-Astaire 




GG holograph manuscript sketch with lyric in the hand of IG on p. [3] 




Irish dance 

Stephen O. Jones holograph manuscript full score; 3 p. 

Japanese 

Photocopied Frank Saddler holograph manuscript full score; 7 p. 

King of jazz 



Note: IG holograph credit in caption 

Long long ago on the Nile 


Laid in: GG holograph manuscript sketch; [1] p. 

Longing 


March 



Note: Key of B-flat major 

March 


In caption: Sept 16, [19]26 A. M. 

Note: Key of G major 

Mexican dance 



Miscellaneous GG tunes 

In the hand of Kay Swift; [24] p. 

Miscellaneous sketches 

GG holograph manuscripts; [3] p. 

Note: Includes "Shall we dance" on p. [3] 

Mischa, Yascha, Toscha, Sascha 


Note: Copyright information in the hand of IG on p. [1] 

Note: Inscribed by Fritz Kreisler on p. [4] with an added cadenza for p. [3] 


Sheet music 

Note: Limited ed. (New York: Random House, 1932) 




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No question in my heart 


Note: T.B. Harms demonstration copy 

Note: Music by Jerome Kern 

No question in my heart 


Now that we are one 


O land of mine, America 


Note: Reproduced from Hearst Newspapers article 

Once there were two of us 


Note: Music by Jerome Kern 

One step 

Photocopied GG holograph manuscript leadsheet; [1] p. 

Pastoral 


Ragging the Traumerei 



Laid in: Envelope with IG holograph notes 

The revolution is booming 


Singing in the rain 


Singing in the rain 


Spring song 

Manuscript melody sketch for violin; [1] p. 

Note: Found with Pardon my English Secaucus materials 

Till then 


Unidentified cello sketch 


Unidentified melody sketches 








Unidentified piano sketches 


Note: Found with Pay some attention to me materials 

Unidentified piano sketches 



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BOX-FOLDER 57/9 Unidentified piano sketches 




In caption: August 4, 1923 



In caption: October 27, [19]21 







BOX-FOLDER 57/15 Unidentified piano-vocal sketch 


BOX-FOLDER 57/16 Unidentified short score sketches 


BOX-FOLDER 57/17 Unidentified short score sketch 

GG holograph manuscript fragment; [1] p. 

BOX-FOLDER 57/18 Unidentified short score sketch 


BOX-FOLDER 57/19 Unidentified piece for banjo 


Laid in: photocopied photograph of Bill Bowen and Fred Van Eps 

West Point walk 

BOX-FOLDER 57/20 GG holograph manuscript lead sheet; [1] p. 

What I care! 

BOX-FOLDER 57/21 Typescript lyric sheet; 1 p. 

Women of America 

BOX-FOLDER 57/22 Photocopied copyist manuscript piano-vocal score; [4] p. 

Laid in: Typescript letter from Irene Dayton to IG, 1962 November 19 

Laid in: 3 typescript letters from Dave Gordon to IG, 1962 Oct 22, 1962 October 24, 

1962 November 13 

Laid in: Holograph letter from Theodore Grouya to IG, 1976 January 16 

Laid in: Typescript letter from IG to Dave Gordon, 1962 November 14 

BOX 58-59 


Music Notebooks and Composition Exercises 

The music notebooks and composition exercises in the Gershwin collection are organized 

alphabetically by title. 

501 W. 110th St. N.Y.C. 

GG holograph manuscript sketches; [1, 4] p. 

In caption: 1921 October 6 

p. 1: Unidentified study 

p. 3: Kitty’s kisses 

p. 4: Titles of songs used in Oh, Kay 

p. 5: Maybe 


Music 

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Contents 

BOX-FOLDER 58/2 Black notebook 

GG holograph manuscript sketches, undated; 11 p. 

p. 1: I was doing all right 

p. 2: Wake up, brother, and dance; Unidentified 

p. 3: Unidentified; My honor was at stake [Titled: Hot Dogs] 

p. 4: I used to – but I don’t anymore; It’s nice to know 

p. 5: Waltz; Yes, yes, oui, oui 

p. 6: Hold on; Unidentified 

p. 7: Love is here to stay; Ask me again 

p. 8: Unidentified; Simple as A.B.C. 

p. 9: Unidentified; Unforgettable; I got rhythm [untitled] 

p. 10: Unidentified 


BOX-FOLDER 58/3 Composition exercises, 1923 January 29 and February 1 

2 GG holograph manuscripts; [2] p. ea. 


BOX-FOLDER 58/4 Figured choral 

GG holograph manuscript short score; [1, 2] p. 

On cover: 1921 July 27 

BOX-FOLDER 58/5 Geo. M. Gershwin. tunes [1916-1922] 


Note: Some sketches have lyrics in the hand of IG 

p. 1-2: Melodies 

p. 3-4: Beautiful bird 

p. 5-6: Ain’t love grand 

p. 7-8: Year after year [Titled: Moonlight] 

p. 8: He’s gone 

p. 9-10: Nobody but you [untitled] 

p. 11: We’re here because 

p. 12: If I only had somebody like you 

p. 13: Isn’t it wonderful 

p. 14: Who’s winning; Unidentified fragment 

p. 15: Melody 

p. 16: Helen of Troy 

p. 17: Yankee doodle blues [Titled: American blues] 

p. 18: Foxtrot; Unidentified fragment 

p. 19: Tune; Unidentified fragment 

p. 20: Tune 

p. 21: When do we dance [untitled] 


p. 23: Somebody loves me [Titled: Tune] 

p. 24: How about a boy [Titled: One step]; Unidentified fragment 

p. 25: Unidentified; Unidentified fragment; A little bit 

p. 26: My baby; Unidentified fragment; Waltz; Little jazz bird 

p. 27: Unidentified fragments; Rag tune (A raggy rhythm) 

p. 28: Unidentified fragments 

p. 29: Anything for you 


p. 31: Molly on the shore; Unidentified fragment 

p. 32: Naughty baby [untitled]; Unidentified fragment 


Music 

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Contents 




p. 33: Walking home with Angeline [untitled] 

p. 34-35: Unidentified fragments 

p. 36: Unidentified fragment; Maybe [untitled]; Unidentified fragment 


p. 39: Waltz hayseed; Unidentified fragment; Tune 

p. 40: Theme; One step; Unidentified fragment 

Girl crazy [notebook] 


On cover: 1930 July 


p. 1-6: Bronco busters 

p. 9-12: The gambler of the West 

p. 13: Of thee 

p. 14: Tune; Unidentified 

p. 15: Unidentified fragment; Oh you kid / Who’s charming / I want a little more of what 

I got last night; Unidentified fragment 

p. 16: Unidentified – [Sweet Packard] 

p. 17: How beautiful [untitled] 

p. 18: Finale mat; Unidentified fragment; Some girls can bake a pie 

p. 19: Unidentified fragment; Because, because; Garcon, s’il vous plait 

p. 20: There’s no stopping us now 

p. 21: Posterity is just around the corner; Finale mat 


p. 23: Love is sweeping the country [untitled] 


p. 26: The dimple on my knee; Because, because [untitled] 

p. 27: Because, because 

p. 28: Jilted; Love walked in [untitled] 


p. 30: Entrance of Supreme Court judges 

p. 31: Trumpeter blow your golden horn [Titled: Bless our president]; Unidentified 

fragment 

p. 32: A kiss for Cinderella [untitled] 

p. 33: Who is the lucky girl to be [untitled] 

p. 34-37: I was the most beautiful blossom [Titled: Recitative Diana] 

p. 38: Posterity is just around the corner 

p. 39: Who cares 

p. 40: Come, come to Jesus / Dawn of a new day [untitled]; Unidentified fragment 


p. 43: Unidentified fragment; Union Square 


Girl crazy sketches 


p. 1: But not for me; Spanish 

p. 2: Unidentified fragment; I got rhythm 

p. 3: Summer, Winter, Spring, and Fall; Hot 

p. 4: Tune; Tune 

Harmony exercises 



Music 

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Contents 

BOX-FOLDER 58/8 Harmony exercises 


BOX-FOLDER 58/9 Kilenyi notebook 


On cover: 1919 August 

BOX-FOLDER 58/10 Notebook, 1924 March-April 


Note: Chiefly unidentified sketches 

Note: p. 16: first sketch for "The man I love" 


BOX-FOLDER 58/11 Notebook A, Studies with Joseph Schillinger, 1932 

Manuscript in the hand of GG and Joseph Schillinger; [58] p. 

Note: Chiefly in the hand of GG 

Note: Self-caricature on cover 

BOX-FOLDER 59/1 Notebook B, Studies with Joseph Schillinger, 1932 




BOX-FOLDER 59/2 Notebook C, Studies with Joseph Schillinger, 1936 




BOX-FOLDER 59/3 Red tune book 


On cover: 1922 September 26 

Note: Some sketches have IG holograph lyric fragments 



p. 2: Unidentified fragments; Blues 

p. 3: One step; Tune 

p. 4: Let’s be lonesome together [untitled] 

p. 5: Hang on to me 

p. 6: Unidentified fragment; Naughty baby 



p. 9: Unidentified fragment; Play me a lowdown tune 

p. 10: Virginia; The sunshine trail 


p. 17: Slow foxtrot; Unidentified fragment 

p. 18: Unidentified fragment; Paris 

p. 19: Where is she; The matrimonial handicap; Aarons 

p. 20: Weather man; Unidentified fragments 

p. 21: Unidentified fragments; The half of it, dearie, blues 


p. 24: Toddle; Unidentified fragment 

p. 25: Love is in the air [Titled: Theme]; Unidentified fragment; Flower boat; 

Unidentified fragment 

p. 26: Unidentified fragments; Ukulele Lorelei; Unidentified fragments 



Music 

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Contents 

p. 29: When Toby is out of town; What is it about you makes me; Unidentified fragment 

p. 30: Unidentified fragment; Leave it to love 

p. 31: Unidentified fragment; Opening cho. 

BOX-FOLDER 59/4 T.B. Harms 62 W. 45th St., N.Y.C. [notebook] 

Manuscript chiefly in the hand of GG; 23 p. 

Note: Theory and composition exercises 

On p. 1: 1922 December 22 

BOX-FOLDER 59/5 Themes [notebook, 1924-1925] 

GG holograph manuscript; [1, 17] p. 


p. 1: Southern soil; [Rhapsody in blue]; Rhapsody in blue [Titled: Piano theme against 

this] 

p. 2: [Prelude III]; Unidentified fragments; Rhapsody in blue [untitled] 

p. 3: Unidentified fragments; Harlem serenade; [Prelude or Sleepless nights] 

p. 4: [Prelude or Sleepless nights] 

p. 5-9: Concerto in F [untitled] 

p. 10: [The half of it, dearie, blues] 

p. 11: Concerto in F [untitled] 

p. 13: [An American in Paris]; Strike up the band (1927) [untitled]; Unidentified 

fragment 

p. 15: Unidentified fragment 

p. 16: Rhapsody in blue [untitled] 

p. 17: Piano pieces 

BOX-FOLDER 59/6 Tune book [1933-1937] 


Note: Title annotations in the hands of IG and Kay Swift 

Laid in: IG typescript notes; 10 p. 

p. 1: Stand up and fight; Unidentified fragments 

p. 2: Chicadee; Unidentified fragment 

p. 3: Special love; Unidentified fragments 

p. 4: First lady and first gent; Unidentified fragments 

p. 5: Unidentified fragment; Comes the revolution; Unidentified fragments 

p. 6: Mine [Titled: Love is O.K.] 

p. 7: Finale material; Verse to 3-note waltz 


p. 11: Revolution in blue 

p. 12: Good old revolutions; March; Unidentified fragment 

p. 13: Waltz; March for a ballet; Unidentified fragment 

p. 14: Unidentified fragment; Love walked in; Mary 


p. 16: Blues; Crown; Melody for Crown 

p. 17: Crown development; Crown-Robbins fight 

p. 18-19: Unidentified compositional studies 


p. 22: Unidentified fragment; Spiritual 

p. 23: Cuban G.T.; Chromatic melody; Porgy 

p. 25: Serena 

p. 26: I got plenty o’ nuthin’ [Titled: Porgy] 


p. 29: Choral effect 


Music 

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p. 30: Tune 

p. 31: Unidentified fragment; I used to but I don’t anymore; Jingle 

p. 32: It’s nice to know [Titled: Tune for show] 

p. 33: [Cockeyed strain for ballet]; Unidentified fragment; Ballet 

p. 34: G.T. waltz; Unidentified fragment 

p. 35: Southern style; Every evenin’ 

p. 36: Operetta 

p. 37: Chromatic tune; What’s the big idea 

p. 38: Atmospheric tune; Unidentified fragment 

p. 39: Wake up, brother, and dance; Unidentified fragment 

p. 40: Unidentified fragment; Conversational verse; Unidentified fragment 

p. 41: Tune; King of swing 

p. 42: Canon starts here; King of swing 

p. 43: Nostalgic; Unidentified fragment 

p. 44: Unidentified fragment; Good verse; Cho. Hot; Unidentified fragment 

p. 45: Hold on!; Unidentified fragments 

p. 46: Instru; Prelude type 

p. 47: Unidentified fragment; Unidentified 

p. 48: The more I see you 

p. 49: I sigh I cry 

p. 50: I’m a naughty name; Bored; Unidentified fragment 

p. 51: What can we lose; Unidentified fragments 

p. 52: Who’d ever thought; Unidentified fragment; Violin piece 

p. 53: Slowly; Ballet; I’ve got beginner’s luck 

p. 54: Strong afterbeats; One word title 

p. 55: Unidentified fragment; In the nick of time; Verse 

p. 56: Prelude 

p. 57: Say the word; Unidentified fragment; Western 

p. 58: By Strauss; Unidentified fragments 

p. 59: Pay some attention to me; Smooth one step 

p. 60: I’ll get you yet; Just another rhumba [Titled: Cuban rhythm and A certain Spanish 

lady]; Listen to reason 

p. 61: Melancholy; Mel; G.T. 

p. 62: They can’t take that away from me; Unidentified fragments 

p. 63: Siren; Waltz 


p. 66: Unidentified fragment; They all laughed 

p. 67: Unidentified fragment; My honor was at stake 

p. 68: Unidentified fragment; Slap that bass; I do the right thing but at the wrong time 


p. 70: They can’t take that away from me; I’ve got beginner’s luck 

p. 71: Try; Unidentified fragment; I’m myself again; Rhythm 


p. 73: Unidentified fragment; Stiff upper lip 

p. 74: Try; Verse 

p. 75: Nice work if you can get it; Unidentified fragments 

p. 76: Unidentified fragment; You’re so unforgettable 

p. 77: I can’t be bothered now 

p. 78: Romantic theme for song 

p. 79: Try; Unidentified fragment 


Music 

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Contents 

p. 80: Unidentified fragment 

p. 81: Southern tune; Sleepless night 

p. 95: List of titles for a projected suite 

p. 96: Tune; Unidentified fragment; Ballet 

BOX 60-61 

BOX 60 




































Lyric Sheets 

The lyric sheets in the Gershwin collection are divided into three subseries. The first 

subseries is organized alphabetically by title. The second and third subseries, "Untitled" 

and "Notes and Miscellany", are arranged alphabetically by first line. 

Titled Lyric Sheets 

All of them was friends of mine 

Almost 

Anglo Saxon baby 

Another you 

At 11 p.m. 

'Atta girl 

Back home 

Cheerio! 

Dear old correspondence school 

Don't let's be beastly to the Germans 

Don't you remember 

Fancy work 

Faults 

Flower boat 

For no reason at all 

Geography 

Hands across the table or Why I was born or Reflection on poker 

Hard to replace 

The hills of Hollywood or Home on the range 

Hubby 

I know somebody who loves you 

I wanna be wanted by you; Nothing to look forward to blues; Words 

I'll get you yet 

I'll supply the title (You'll supply the tune) 

I'm a naughty name 

I'm crazy about rhymes 

I'm no fool 

Imagine (me without my you) 

In the wee sma' hours Sally and Elmer were sweethearts 

I've turned the corner 

Jokes for a song about jokes 

Lament 

Let's show 'em how this country goes to town 

Little rhythm-Go 'way 

Mary-Louise 


Music 

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Contents 





























BOX 60 

Mortgage on my castle in Spain 

The Nevada 

A new step every day 

Nice to know 


Oh you kid! 

Paper house in Japan 

Precious moments wasted 

Say it with-written with Lou Paley 

Snookums 

So it's going to happen after all 

Someone to root for 

Song about a dance 

Sporting, et. al. 

Sweet sorrow 

Tell me in the gloaming 

Ten little boy friends 

That well-known smile 

The time has come 

Tropical 

Turn to the dreams ahead 

What can I do 

What's mine is yours 

What's the big idea 

When there's a chance to dance 

The whole world's turning blue 

Why is it 

You're too true to be good or He's too true to be good 

Untitled Lyric Sheets 




Adventurous life or Recollections that will never leave me 

All's right with the world 

Although I used to be a child myself 

BOX-FOLDER 60/67 Compilation from lyric notebook no. 1 

BOX-FOLDER 60/68 Compilation from lyric notebook no. 2 


A dream of a day 


Give a viva for Havana 


Gloomiest 


How's your family 


I care no whit for the witty line 


I own a golden tone 


In the nick of time 


It never rains but it pours 


I've always had a mania 


I've been looking for love all my life 


Let's be practical 


Music 

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Contents 





















BOX 61 

The little things that count 

Midiron gridiron and Better outlook 

A modern point of view 

The moment you were there 

Nijinsky lived for dancing 

Our love will be eternal 

Out of the blue comes you 

Remember your annuity or Platinum living 

Some morning 

Song like "Babbit & Bromide" 

The stars are still on high 

Tes yeus et al. 

That's that 

Those eyes so full of mystery, et al. 

When cupid wings us 

Whom 

Wowie! Zing! 

You can sell me the Brooklyn Bridge I can think of nothing grander 

You never did that for me and What a lovely evening 

You show a dimple when you smile, et al. 

Notes and Miscellany 


Addenda 


Ask me my ambition 


Baby me; The songwriters Mother Goose; There should be a fortune in 


Ballad - Movie actor hurt his foot 


Cakewalk, et al. 

BOX-FOLDER 61/6 Calendar for 1926 


Civil service examination for a popular song lyrist 


Coq d'or 


Dance ideas 


Dufy 


East Indian diver 


The epigram of Martial, Jr. 


The erstwhile real estate 


Every song can't be a hit 


Everybody can sing 


Famous trios 


For it seems that suddenly 

BOX-FOLDER 61/18 From a romantic notebook 1924 


From A to Z 


Glad I'm alive 


Grammar Gurton needles 


Grow young along with me 


He spilled the beans 


"Hitch one's wagon to a star, To" 


Music 

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How could I ever 

How long 

I have never seen, et al. 

I was naive 

I'm much too tired 

I'm so timid 

I'm the guy, et al. 

It's a must 

List of aphorisms (not a song title) 

List of titles 

Love songs gracious 

Man of letters 

The not impossible wife 

Notes on song about or for comedian 

Opening - These dizzy days 

Our little bag of tricks 

P.S. 

Parody of Porter’s “Let’s Do It” (incomplete) 

Pay dirt for gold diggers 

Quatrains 

Quatre quatrains (No lyrics, envelope) 

A reason for rhyme 

Reflection 

Reflections on investing in a play one hasn't read 

Revue notions 

Rhymes 

Right you are, et al. 

Salt of the earth 

Service 

Show business 

Snake in the grass or Lyric about sins of Babylon 

So called theme song 

Spots we have never visited 

There are lovelies 

This time I mean it you'd be hard to replace 

To-- 

"To--" 

To all editors 

To all editors (Blame W.S. Gilbert) 

To Sylvia (No longer of Greenwich Village) 

Very short story 

The way we plan it 

The well-dressed man 

What a lucky guy I'm you're as much a myth 

What can we lose 

When my uncle dies 


Music 

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Contents 


BOX 62 











A word with you 

Music Owned by GG 

The music owned by George Gershwin in the Gershwin collection is organized 

alphabetically; first by composer, and then by composition title. 

Arlen, Harold 

Bloomer girl 

Bound sheet music and ozalids 

Note: Inscribed to Lee and IG by Anya and Harold Arlen 


Bach, J.S. 

Toccatas 

Published: Leipzig: C.F. Peters, N.D. 

Note: Signed by GG 

Borchard, Adolphe 

L’elan: Esquisse symphonique 

Published: Paris: Evette et Schaeffer, 1924 

Note: Inscribed to GG by A. Borchard 

Bucharoff, Simon 

Sechs lieder 

Published: Leipzig: Steingräber-Verlag, 1924 

Note: Inscribed to GG by S. Bucharoff 

Casella, Alfred 

Serenata 

Published: Vienna: Universal-Edition, 1928 

Note: Inscribed to GG by A. Casella, 1929 

Debussy, Claude 

Images. No. 3, Rondes de printemps 

Published: Paris: Durand, 1910 


Grünberger, Alfred 

Kleiner walzer 

Published: Vienna: Gutmann, 1928 

Note: Inscribed to GG by A. Grünberger, 1928 

Poulenc, Francis 

Mouvements perpétuels 

Published: London: J. & W. Chester, 1919 

Note: Inscribed to GG by F. Poulenc 

Promenades 

Published: London: J. & W. Chester, 1923 


Rimsky-Korsakov, N 

Scheherazade 

Arrangement for piano, 4 hands 

Published: New York: G. Schirmer, 1918 

Note: Inscribed by IG to Albert Sirmay 

Schönberg, Arnold 


Music 

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Contents 


BOX 63-66 

6 kleine Klavierstücke 

Published: Leipzig: Universal-Edition, 1913 

Note: Inscribed to GG, 1927 


The correspondence in the Gershwin collection is organized alphabetically by correspondent, 

and then in chronological order. All condolence telegrams are placed in one group at the 

end arranged alphabetically by correspondent. 

Abramson, Max 

BOX-FOLDER 63/1 1918 September 11 



Armitage, Merle 

BOX-FOLDER 63/4 1936-37 

BOX-FOLDER 63/5 1938 February 9 

BOX-FOLDER 63/6 1938, 1946, 1956 March 

BOX-FOLDER 63/7 1956 December 17 

BOX-FOLDER 63/8 1957 July 12 



BOX-FOLDER 63/11 1957 August 9 

BOX-FOLDER 63/12 1957 August 20 (from Ira) 

BOX-FOLDER 63/13 1957 August 20 (to Ira) 

BOX-FOLDER 63/14 1957 September 2-3 


BOX-FOLDER 63/16 1957 Sep. 16 

BOX-FOLDER 63/17 1957 November 16 


BOX-FOLDER 63/19 1958 January-August 26 


BOX-FOLDER 63/21 1961-65 May 5 

BOX-FOLDER 63/22 1965 May 17 


Berlin, Irving 

BOX-FOLDER 63/24 1936 June 23 

Bernheim, Tessie 

BOX-FOLDER 63/25 1936 October 6 

Biddle, Alexander 

BOX-FOLDER 63/26 1932 April 5 

Biddle, Mrs. Alexander 



Blau, Victor 

BOX-FOLDER 63/29 1940 August 15-21 


Bob [Surname not given] 



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Contents 

BOX-FOLDER 63/31 1937 March 4 

Boston Symphony Orchestra 


Botkin, Benjamin 




BOX-FOLDER 63/36 1923 January 12 



Botkin, Benjamin and Gertrude 


Botkin, Henry "Harry" 






Botkin, Henry to Benjamin and Gertrude Botkin 


Botkin, Henry "Harry" to Rose Gershwin 


Bryant, Harry 

BOX-FOLDER 63/47 undated 

Cassella, Alfredo (and Mario Corti) 

BOX-FOLDER 63/48 1931-37 

Chapell and Co. 

BOX-FOLDER 63/49 1937 February - May 4 




Columbia University (Pulitzer Prize) 

BOX-FOLDER 63/53 1932 May 

Damrosch, Marie 

BOX-FOLDER 63/54 1932 February 

Damrosch, Walter 

BOX-FOLDER 63/55 1928 May - August 5 


BOX-FOLDER 63/57 1928 August 14 - 1933, Undated 

De Sylva, B.G. 


Frankel, Haskel 


Garbat, Dr. and Mrs. A.L. 


George Gershwin (To Ira Gershwin) 



Container 

Contents 


Gershwin, Rose 

BOX-FOLDER 63/62 1932 June or July 







Gershwin, Rose -- Correspondence with others 

BOX-FOLDER 63/69 1937-43 

Gex, Emile J., Jr. 


Gleuck, Sheldon 



Godowsky, Frances Gershwin 


BOX-FOLDER 63/74 1937 July 

Goldberg, Albert 



Goldberg, L.H. 


Gould, Mr. 

BOX-FOLDER 63/78 [No year] April 5 

Greenfield, J.C. 


Greiner, A.W. 

see Steinway and Sons 

Hamilton, Charles 



Hannenfeldt, Zena 











BOX-FOLDER 64/13 1936 November 6-16 




Container 

Contents 






BOX-FOLDER 64/20 1937 April 15 - June 

Hearst, Millicent 


Heyward, DuBose 

BOX-FOLDER 64/22 1932 




Heyward, June 


Jablonski, Ed 


Jones, Hank 


Kahn, Otto H. 

BOX-FOLDER 64/29 1926-31 

Kaufman, George S. 

BOX-FOLDER 64/30 1933 Sunday 

Koussevitzky, Serge 


Lardner, Ring 

BOX-FOLDER 64/32 1925-32 

Lazar, Irving "Swifty" 



Loeffler, Charles Martin 

BOX-FOLDER 64/35 1927-32 

Longy Miquelle, Renée 


Malkiel, Henrietta 


Martini, Paul 


Mordan, Gunde 


Morrey, Marian 


Mosbacher, Emil 


Mower, Margaret 




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Contents 

Music Publishers Holding Corp. 

BOX-FOLDER 64/43 1942, 1948 April 15 


BOX-FOLDER 64/45 1948 April 21, 1955 

Nadige, Countess De Ganny 


Nat [Surname not given] 


National Association of Performing Arts 


Noguchi, Isamu 

BOX-FOLDER 64/49 1933-36 

O'Brien Jean 


Paley, Emily 



Pallay, George 


Incomplete; p. 1 only 








Pallay, George to Pringle, Aileen 

BOX-FOLDER 64/61 1937 or later 

Philadelphia Grand Opera Co. 


BOX-FOLDER 64/63 1931 April 26 - November 

Porgy and Bess (Blevins Davis Prod.): Publicity 


Pringle, Aileen 

BOX-FOLDER 64/65 1930 November 













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Contents 

Reiner, Fritz 


Rosenthal, Mildred 


Ruby, Harry 


Schillinger, Joseph 


Schirmer, Mabel 

BOX-FOLDER 64/80 1926 March 6 (Envelope only) 










Sirmay, Albert 

BOX-FOLDER 65/1 1929-30 


BOX-FOLDER 65/3 1935 [Undated] 







Starr, J.D. 


Steindler, Emanuel 


Steinway and Sons 


Stevens, Carol to Rose Gershwin 


Sutton, Horace 



Swift, Kay (to Emily Paley) 


Swift, Kay 






Container 

Contents 



Tamber, Selma 







BOX-FOLDER 65/28 Thursday [Undated] 

Terrell, St. John 


Tirana, Rosamond Walling 

BOX-FOLDER 65/30 1927-28 September 25 

BOX-FOLDER 65/31 1928 September 

BOX-FOLDER 65/32 1929 before January 19 


BOX-FOLDER 65/34 1929 January 29 - February 2 

BOX-FOLDER 65/35 1929 February 7 or 14 

BOX-FOLDER 65/36 1929 late February 




BOX-FOLDER 65/40 1929 late April - May 14 


BOX-FOLDER 65/42 1929 July 4 - October 6 




BOX-FOLDER 65/46 1930 January 29 - February 7 


BOX-FOLDER 65/48 1930 February 18 or 25 - March 12 


BOX-FOLDER 65/50 1930 March 21 - April 19 




BOX-FOLDER 65/54 1930 May 11 - 18 


BOX-FOLDER 65/56 1930 June - July 10 


BOX-FOLDER 65/58 1930 late July - August 6 


BOX-FOLDER 65/60 1930 summer - October 28 





Container 

Contents 

BOX-FOLDER 65/63 1931 June 17 - July 8 


BOX-FOLDER 65/65 1931 July 18 - 29 



Tirana, Rosamond Walling (on Goldberg: George Gershwin dust jacket) 

BOX-FOLDER 65/68 1931 early September 

Tirana Rosamond Walling 

BOX-FOLDER 65/69 1931 September 24 - 1933 March 1 

BOX-FOLDER 65/70 Undated, before 1937 

BOX-FOLDER 65/71 1947 October 29, 1959 January 6 - 22 

BOX-FOLDER 65/72 Undated, after 1937 

Van Norman, Julia 



BOX-FOLDER 65/75 1928 March 10 [Envelope only] 




BOX-FOLDER 65/79 1932 October - December 

BOX-FOLDER 65/80 1933 January - April 

BOX-FOLDER 66/1 1933 May - July 

BOX-FOLDER 66/2 1933 August - November 

BOX-FOLDER 66/3 1934 February - March 


BOX-FOLDER 66/5 1936 September - October 


BOX-FOLDER 66/7 1936 November 11 - 1937 January 2 


BOX-FOLDER 66/9 1937 January 20 - April 5 


BOX-FOLDER 66/11 1937 April 19 - June 26 


BOX-FOLDER 66/13 1937 July 1 and 24, Undated 




Van Vechten, Carl 

BOX-FOLDER 66/17 1924-26, Undated 

Waldron, Marga 


Warner Bros. 


Wattenberg, A.M. 





Container 

Contents 

Weill, Kurt 






Wilesnki, R.H. 


Wilk, Max 










Winsen, Felix 


Wodehouse, P.G. 


Wright, Mrs. Cobina 


Condolence telegrams 

BOX-FOLDER 66/40 A-D 

BOX-FOLDER 66/41 E-J 

BOX-FOLDER 66/42 K-R 

BOX-FOLDER 66/43 S-Z 

BOX 67-71, 132, 135 


The biographical materials in the Gershwin collection are divided into three subseries. The first 

and second subseries, biographical materials of George and Ira Gershwin respectively, are 

organized alphabetically by subject matter and chronologically when appropriate. The third 

subseries, Lyrics on Several Occasions, is further divided into three subseries. The first 

subseries consists of the typescript pages appearing in paginated order. The second 

subseries, "Drafts," is organized in alphabetical order by subject matter. The third subseries 

consists solely of the galley proof. 

George Gershwin 

Framed Certificate, Induction into NYU Musical Theatre Hall of Fame, 1993 November 10 

BOX-FOLDER 67/1 Citation, National Association of Performing Artists, 1937 

BOX-FOLDER 67/2 Diary of Paul Mueller, George Gershwin's butler, 1934-36 

Laid in: Note by IG (2 p.); Typescript first half of diary (2 p.); Itinerary, Gershwin tour, 

January 13 - February 10 1936 (2 p.) 

BOX-FOLDER 67/3 Essays by Rosamond Walling Tirana (7), 1928, 1950, 1959, 1993, undated 



Container 

Contents 

BOX-FOLDER 67/4 George Gershwin birth certificate 

Photocopy 

BOX-FOLDER 67/5 Henry Botkin [Essay] 

Photocopy 

BOX-FOLDER 67/6 Hollywood Bowl Memorial Concert, 1937 September 8 

4 ticket stubs, envelope, and program 

BOX-FOLDER 67/7 Invitation and admission card for memorial service in Los Angeles, 1937 July 15 

BOX-FOLDER 67/8 A Journey to Greatness reviews, 1936 

Photocopy 

BOX-FOLDER 67/9 Letter to R. Gershwin from James T. White & Co., Publishers, 1941 January 30 

BOX-FOLDER 67/10 List of likes and dislikes 

George Gershwin holograph manuscript; 1 p. 

BOX-FOLDER 67/11 The Bell Telephone Hour bound script, 1959 November 20 

BOX-FOLDER 67/12 Nellie Revell Radio Program broadcast script, 1933 March 13 

BOX-FOLDER 67/13 Newspaper clippings from scrapbook 

Some photocopies 

Note: Collected by Rose Gershwin 

BOX-FOLDER 68/1 Newspaper clippings (Misc.) 1937-38, 1963, 1973, undated 

Some photocopies 

BOX-FOLDER 68/2 Newspaper clippings (Obituaries), 1937 

Photocopies 

BOX-FOLDER 68/3 Obituary (Daily News), 1937 July 13 

BOX-FOLDER 132/13 Pulitzer Prize Special Citation awarded to George Gershwin, 1998 April 14 

BOX-FOLDER 68/4 Radio broadcast script, 1942 February 8 


BOX-FOLDER 68/5 Screenplay by Clifford Odets, 1942 August 28 

BOX-FOLDER 68/6 Screenplay by Howard Koch, 1943 June 16 

BOX-FOLDER 69/1 Screenplay by Sonia Levien, 1943 January 30 

BOX-FOLDER 69/2 Story outline - Kathryn Scola and Ira Gershwin, 1941 October 24 

Ira Gershwin 

BOX-FOLDER 69/3 California, here I came 

Typescript/holograph manuscripts 

5 drafts plus Ira Gershwin description 

BOX-FOLDER 69/4 University of Maryland commencement exercises program, 1966 

Note: Inscribed by Ira Gershwin to Ben Botkin 

Lyrics on Several Occasions 

Typescript pages 

BOX-FOLDER 70/1 1-89 

BOX-FOLDER 70/2 90-195 

BOX-FOLDER 70/3 196-309 


310-end 

Drafts 


Variant title pages; Foreword and acknowledgements; List of possibilities 


The not impossible he 



Container 

Contents 




















Divers duets 

The possessive case 

With place names 

The importunate male 

The importunate female 

A quartet of trios 

A quintet of findings 

Sextet of irreverence 

Not for a musicologist 

A set of sagas 

A gathering of guidance 

Ladies in lament 

Sound effects 

The elements of time 

Turns with terpsichore 

The state of the union 

A miscellany of acclaim 

Euphoria revisited 

Afterword 

BOX-FOLDER 71/14 Worksheets; Saturday review, 1959 August 29 

BOX 135 

Galley proof 

BOX 72-101 

Scrapbooks 

The scrapbooks in the Gershwin collection are divided into three subseries. The first and 

second subseries, "Biographical" and "Porgy and Bess" respectively, are organized in 

chronological order. The third subseries, "Miscellany," is organized by subject matter. 

Books 1-31 have also been microfilmed: #93/20013. 

Biographical 

BOX-BOOK 72/1 Book 1, 1913-24 

60 p. + 

BOX-BOOK 73/2 Book 2, 1925-26 

51 p. + 

Concerto in F; Rhapsody in Blue; Tell Me More; 135th Street; Lady Be Good! (English 

production) 

BOX-BOOK 74/3 Book 3, 1927-29 

54 p. + 

Strike Up the Band; Funny Face; Rosalie; trip to Paris; Treasure Girl; An American in 

Paris; The Dybbuk; GG takes up painting; Show Girl; Strike Up the Band (2nd 

version) 

BOX-BOOK 75/4 Book 4, 1930-31 

57 p. + 

Strike Up the Band; Girl Crazy; Of Thee I Sing; Delicious 

BOX-BOOK 76/5 Book 5, 1932-34 

54 p. + 

Delicious; Of Thee I Sing; Second Rhapsody; Pardon My English; Pulitzer Prize; father's 

obituary; Cuban Overture; Let Them Eat Cake; Arts Club of Chicago exhibition of the 

George Gershwin Collection of Modern Paintings; National Tour 


Scrapbooks 

Container 

Contents 

BOX-BOOK 77/6 

Book 6, 1934 August-1939 

78 p. + 

Life Begins at 8:40; Porgy and Bess; Ziegfeld Follies of 1936; Suite from Porgy and Bess; 

Shall We Dance; GG illness and death; A Damsel in Distress; "Love Walked In" #1 

tune; "Dawn of a New Day" anthem for worlds fair 

BOX-BOOK 78/7 Book 7, 1940-45 

63 p. + 

Lady in the Dark; Girl Crazy (film); Toscanini conducts Rhapsody in Blue; Cover Girl; 

Lady in the Dark (film); The Firebrand of Florence; Where Do We Go From Here 

(film); Rhapsody in Blue (film biography) 

BOX-BOOK 79/8 Book 8, 1946-51 

59 p. + 

Ziegfeld Follies of 1946 (film); Park Avenue; The Shocking Miss Pilgrim (film); The 

Barkleys of Broadway (film); death of mother Rose; death of Kurt Weill; An American 

in Paris (film) 

BOX-BOOK 80/9 Book 9, 1952-55 

70 p. 

An American in Paris (film) academy awards; Of Thee I Sing (revival); Give a Girl a 

Break (film); Lady in the Dark (TV); A Star is Born (film); The Country Girl (film) 

BOX-BOOK 81/10 Book 10, 1956-59 

53 p. 

Funny Face (film); Ewen biography "The Magic of Gershwin"; Ira's illness; Bell 

Telephone Hour-"Gershwin" (TV); Ella Fitzgerald Gershwin concert and recording 

BOX-BOOK 82/11 Book 11, 1960-62 

52 p. 

Oh, Kay (revival); Of Thee I Sing (production); Girl Crazy; The George and Ira Gershwin 

Songbook; The Gershwin Years (TV) 

BOX-BOOK 83/12 Book 12, 1963-64 

50 p. + 

ASCAP plaque on birthplace; Oh, Kay!; 17 trunk songs unearthed by Ira; The Songs of 

Harold Arlen (TV); fire at Chappell's in London; death of Cole Porter; Kiss Me Stupid 

(film) 

BOX-BOOK 84/13 Book 13, 1965-67 

61 p. + 

Kiss Me Stupid (film); When the Boys Meet the Girls (film); George Gershwin's Theater 

(An Unusual Entertainment); Honorary degree for Ira from University of Maryland; 

Lady in the Dark (Pasadena Playhouse); Star! (film) 

BOX-BOOK 85/14 Book 14, 1968-72 

100 p. 

Lady Be Good! (London); Star! (film); Of Thee I Sing (revival); Who Cares (Balancine 

ballet); Gershwin Festival (University of Miami); Ira elected to the Songwriters Hall 

of Fame; 'S Wonderful, 'S Marvelous, 'S Gershwin (TV); Of Thee I Sing (TV); 

Gershwin exhibit at Library of Congress; George Gershwin stamp issued 

BOX-BOOK 86/15 Book 15, 1973-75 

82 p. 

George Gershwin stamp; 75th anniversary of George's birth; Gershwin Film 

Retrospective; 50th Anniversary of Rhapsody in Blue; Lady Be Good! (at Goodspeed); 

Uris Theater renamed The Gershwin; "Tribute to Ira Gershwin" Benefit; "Mr. Words," 

a musical salute to Ira Gershwin; "Our Love is Here to Stay" with Steve and Eydie 

(TV) 


Scrapbooks 

Container 

Contents 

BOX-BOOK 87/16 Book 16, 1976-82 

124 p. 

Lyrics and Lyricists "The Lyrics of Ira Gershwin"; Tip Toes (at Goodspeed); Let 'Em Eat 

Cake (Berkshires); Funny Face (Studio Arena and Goodspeed); "By Ira...By Goerge" 

Tribute at Carnegie Hall; Gershwin Concert ballet by Jerome Robbins; "Celebrating 

the Gershwins" at Brooklyn College; Secaucus scores found 

BOX-BOOK 88/17 

Book 17, 1983 January-May 

96 p. 

Restored version of A Star is Born; Rosalie (concert revival); My One and Only 


Book 18, 1983 May-August 

92 p. 

My One and Only; Gershwin Tony Award and tribute; renaming the Uris Theater to the 

Gershwin; Michael Feinstein interview with Ira; restored version of A Star is Born 


Book 19, 1983 August-1984 October 

100 p. 

Ira's death; Hang On To Me; Oh, Kay! (at Chichester Festival); Strike Up the Band 

(revival); Gershwin Room at the Library of Congress planned 


Book 20, 1984 October-1985 December 

84 p. 

Ira's death; Gershwin Night at the Library of Congress; My One and Only; Gershwin 

Congressional Medal 


Book 21, 1986 January- August 

32 p. 

My One and Only; George and Ira Gershwin awarded the Academy's Trustee Award at the 

Grammys; Girl Crazy (at Seattle Rep) 

Porgy and Bess 


Book 1, 1935-1954 July 

172 p. 

Original production of Porgy and Bess, tours, 1942 revival, 1952 revival (that goes on to 

European tour and returns to Broadway) 

BOX-FOLDER 93/23 Book 2, 1954 August-1956 

72 p. 

Porgy and Bess in Paris, Zagreb, Yugoslavia, Israel, Alexandria, Athens, Cairo, La Scala, 

Milan, Rome, Lausanne, Geneva, Rio de Janeiro, Buenos Aires, Russia, West 

Germany, Poland, Norway, and Czechoslovakia; Truman Capote's "The Muses are 

Heard" (about Russian tour) 

BOX-FOLDER 94/24 Book 3, 1957-59 

52 p. 

Porgy and Bess film; various recordings 


50 p. 

Porgy and Bess film in London; NY City Center Light Opera production; Russian student 

production; New Zealand production; Coconut Grove Playhouse production; Vienna 

production 


62 p. 


Scrapbooks 

Container 

Contents 

Porgy and Bess Israeli production; Charleston production; Berlin production; Serbian 

production; Lisbon, Portugal production; LA Civic Light Opera production; Atlanta 

production; recording with Cleveland Orchestra; Houston Opera production (tour) 


108 p. 

Porgy and Bess Houston Opera (tour continued); 1978 European tour; "Todd Duncan: A 

Mighty Voice" (TV); Houston Opera revival at Radio City; various other productions 

BOX-FOLDER 97/28 Book 7, 1985-1986 August 

64 p. 

Porgy and Bess 50th anniversary; Metropolitan Opera production; Dubose Heyward 

Centennial Celebration; 50th anniversary production at Charleston, South Carolina; 

Glyndebourne Festival Opera 1986 production 

Miscellany 

BOX-FOLDER 98/29 Miscellaneous clippings: Volume 1, 1947-71 

44 p. 

Articles and obituaries on other composers, lyricists, writers, performers, the music 

industry, etc. 

BOX-FOLDER 98/30 Miscellaneous clippings: Volume 2, 1972- 

102 p. 

Articles and obituaries on other composers, lyricists, writers, performers, the music 

industry, etc. 

BOX-FOLDER 99/31 Ira gershwin "Lyrics on several occasions", 1959-77 

48 p. 

First scrapbooks 

BOX-FOLDER 100/32 George Gershwin, 1909-1920 

36 p. + 

BOX-FOLDER 100/33 Ira gershwin, 1908-10 

143 p. 

BOX-FOLDER 101/34 George Gershwin memorial scrapbook, 1937 July 11-August 11 

560 p. 

BOX 102-108, 133-134 

Iconography 

The iconography in the Gershwin Collection is divided into two subseries, "Photographs" and 

"Paintings and drawings." 

Photographs 

The photographs of the Gershwin Collection are divided into five subseries. The first, fourth 

and fifth subseries, "Photographs taken by George Gershwin," "Photographs belonging 

to George Gershwin," and "Miscellaneous" photographs, are organized alphabetically by 

subject's name. The second and third subseries, "Photographs of George Gershwin and 

family and friends," "Photographs of Ira, Arthur, Frances Gershwin (Godowsky), and 

other family members and friends," is organized in chronological order. 

BOX-FOLDER 102/I-1 




Photographs taken by George Gershwin 

Irving Berlin 

Irving Berlin 

Henry Botkin 

Gloria Braggioti 


Iconography 

Container 

Contents 

BOX-FOLDER 102/I-5 William Daly 

BOX-FOLDER 102/I-6 William Daly 

BOX-FOLDER 102/I-7 Ruby Elzy 

BOX-FOLDER 102/I-8 George Gershwin 

(Self portrait) 

BOX-FOLDER 102/I-9 George Gershwin and Irving Berlin 



BOX-FOLDER 133/1 Leonore Gershwin, 1936 

Inscribed on mounting board by George Gershwin 

BOX-FOLDER 102/I-12 Mrs. Rose Gershwin 

BOX-FOLDER 102/I-13 Leopold Godowsky, Sr. 



BOX-FOLDER 102/I-16 Kaye Halle 

BOX-FOLDER 102/I-17 Jerome Kern 

Painting by George Gershwin 

BOX-FOLDER 102/I-18 Emily Paley 

BOX-FOLDER 102/I-19 David Alfaro Siqueiros 

BOX-FOLDER 102/I-20 David Alfaro Siqueiros and Unidentified 

BOX-FOLDER 102/I-21 Kay Swift 

BOX-FOLDER 102/I-22 Andrea Warburg and Kay Warburg 

Photographs of George Gershwin and family and friends 

BOX-FOLDER 103/II-1 Family: Arthur Gershwin, Maid, George Gershwin, Rose Gershwin, and Ira Gershwin, 

circa 1900, Brooklyn, NY 

BOX-FOLDER 103/II-2 Family: George Gershwin, Arthur Gershwin, Ira Gershwin and Rose Lagowitz, 1912, 

Coney Island 

BOX-FOLDER 103/II-2a Arthur and George Gershwin, Coney Island, 1912 

BOX-FOLDER 133/2 George Gershwin, Atlantic City, 1916 

BOX-FOLDER 103/II-3 George Gershwin, circa 1918 

BOX-FOLDER 103//II-4 George Gershwin, circa 1918 

BOX-FOLDER 103/II-5 George Gershwin at piano 

BOX-FOLDER 103/II-5a George Gershwin at piano, 1919 

(From Illustrated News) 

BOX-FOLDER 103/II-6 George Gershwin 

BOX-FOLDER 103/II-7 Unidentified woman and man, Al Jolson, George Gershwin, circa 1920 

BOX-FOLDER 103/II-7a George Gershwin circa 1920 

BOX-FOLDER 103/II-7b George Gershwin at Pall Mall Court, London, 1925 May 

BOX-FOLDER 103/II-8 George Gershwin, July 1925 

BOX-FOLDER 103/II-9 George Gershwin, Whitehall Hotel, NY, 1925 

BOX-FOLDER 103/II-10 Deems Taylor, Ferde Grofé, Paul Whiteman, Blossom Seely, and George Gershwin, 1925 

BOX-FOLDER 103/II-11 George Gershwin, 1927 

By Edward Steichen 


(third from left) 

BOX-FOLDER 103/II-13 George Gershwin, Potsdamer Platz, Berlin, 1928 April 


Iconography 

Container 

Contents 

BOX-FOLDER 103/II-14 Back row: Ira Gershwin, Leonore Gershwin, George Gershwin, Emmerich Kalman, 

Henrietta Malkiel, Vienna, 1928 April 28 

BOX-FOLDER 103/II-15 Franz Lehar and George Gershwin, Vienna, 1928 May 

BOX-FOLDER 103/II-16 Ray Hornikel, James Rosenberg, George Gershwin, Fritz Reiner, Richard Crooks, 

Cincinnatti, 1929 February 28 

BOX-FOLDER 103/II-17 George Gershwin, Unidentified woman 


(at right) 


(at right) 

BOX-FOLDER 103/II-20 Richard Rodgers, Justine Johnson, George Gershwin, Jules Glaenzer 

BOX-FOLDER 103/II-21 George Gershwin, Wilbur Evans, Oscar Strauss, Unidentified man 

BOX-FOLDER 103/II-22 George Gershwin, Miami, 1930 

BOX-FOLDER 103/II-23 George Gershwin, Miami, 1930 

BOX-FOLDER 103/II-23a George Gershwin, circa 1930 

BOX-FOLDER 103/II-24 George and Ira Gershwin 

BOX-FOLDER 103/II-25 George and Ira Gershwin, Beverly Hills, CA, 1930 December 

BOX-FOLDER 103/II-26 George Gershwin and unidentified people, Palm Springs, CA, 1930 November - 1931 

February 

BOX-FOLDER 103/II-27 George Gershwin by swimming pool, Palm Springs, CA, 1930 November - 1931 February 

by William Horace Smith 

BOX-FOLDER 103/II-28 George Gershwin, Hollywood, 1930 November-1931 February 

BOX-FOLDER 103/II-29 George Gershwin, Hollywood, 1930 November-1931 February 

BOX-FOLDER 103/II-30 Ira Gershwin, George Gershwin, Guy Bolton, Hollywood, 1930 November-1931 February 

BOX-FOLDER 103/II-31 Front: George S. Kaufman, Morrie Ryskind; Rear: Ira and George Gershwin, circa1931 

BOX-FOLDER 103/II-32 George Gershwin and Fritz Reiner 

BOX-FOLDER 103/II-33 George Gershwin and Ira Gershwin, New York, 1931 March 

BOX-FOLDER 103/II-34 Sigmund Spaeth, Luigi Pirandello, George Gershwin 

BOX-FOLDER 103/II-35 George Gershwin, New York, 1931 August 5 

Opening of Manhattan Theatre 

BOX-FOLDER 103/II-36 Serge Koussevitzky and George Gershwin, 1932 January 29 

BOX-FOLDER 103/II-37 George Gershwin with Florence Rice, New York, 1932 

BOX-FOLDER 103/II-38 George Gershwin and Jerome Kern, circa 1933 June 

BOX-FOLDER 103/II-39 George Gershwin and Jerome Kern, circa 1933 June 

BOX-FOLDER 103/II-40 George Gershwin, 1933 

6 images 

By Carl Van Vechten 

BOX-FOLDER 103/II-41 George Gershwin in apartment at 132 E. 72nd Street, 1933-35 

BOX-FOLDER 104/III-1 George Gershwin, Syracuse, New York, 1934 January 18 

BOX-FOLDER 104/III-2 George Gershwin, Folly Island, SC, 1934 July-August 

BOX-FOLDER 104/III-3 George Gershwin and Henry Botkin, Folly Island, SC, 1934 July-August 

2 copies; 1 signed by Botkin 

BOX-FOLDER 104/III-4 George Gershwin, publicity photograph for "Music by Gerhwin," 1934 

4 prints and 1 modern reproduction 

BOX-FOLDER 104/III-5 George Gershwin 

BOX-FOLDER 104/III-6 George Gershwin, DuBose Heyward, Ira Gershwin, New York, 1935 

BOX-FOLDER 104/III-7 George Gershwin, DuBose Heyward, Ira Gershwin, New York, 1935 


Iconography 

Container 

Contents 

BOX-FOLDER 104/III-8 George Gershwin at the piano, 1935 

BOX-FOLDER 104/III-9 George Gershwin, 1936 

BOX-FOLDER 104/III-10 Luigi Pirandello, Rouben Mamoulian, George Gershwin, New York, 1936 

BOX-FOLDER 104/III-11 George and Ira Gershwin, Newark, 1936 August 10 

BOX-FOLDER 104/III-12 George and Ira Gershwin arriving in Hollywood, 1936 August 11 

BOX-FOLDER 104/III-13 George and Rose Gershwin, 1936 

BOX-FOLDER 104/III-14 George Gershwin, Ira Gershwin and Fred Astaire, 1936 

BOX-FOLDER 104/III-15 Hermes Pan, Fred Astaire, Mark Sandrich, Ginger Rogers, George Gershwin, Ira 

Gershwin, Nathaniel Shilkret, 1936 

BOX-FOLDER 104/III-16 Nat Shilkret and George Gershwin, 1936 

BOX-FOLDER 104/III-17 Mark Sandrich and George Gershwin, 1936 

BOX-FOLDER 104/III-18 Mark Sandrich and George Gershwin, 1936 

BOX-FOLDER 104/III-19 George Gershwin and Schoenberg portrait, late 1936 or early 1937 

BOX-FOLDER 104/III-20 George Gershwin and unidentified people, 1937 

BOX-FOLDER 104/III-21 George Gershwin and Ginger Rogers, 1937 

BOX-FOLDER 104/III-22 George Gershwin and Anya Arlen 

BOX-FOLDER 104/III-23 George Gershwin and Los Angeles Philharmonic, 1937 February 10 

BOX-FOLDER 104/III-24 George Gershwin conducting, Los Angeles, 1937 February 10 

BOX-FOLDER 104/III-25 George Gershwin, 1937 March 

BOX-FOLDER 104/III-26 Ira and George Gershwin, Beverly Hills, CA, Spring 1937 

BOX-FOLDER 104/III-27 George and Ira Gershwin, Beverly Hills, CA, Spring 1937 

Inscribed to Irving "Swifty" Lazar by Ira Gershwin 

BOX-FOLDER 104/III-28 Ira and George Gershwin 

BOX-FOLDER 104/III-29 George Gershwin 

Photographs of Ira, Arthur, Frances Gershwin (Godowsky), and other family members and 

friends 

BOX-FOLDER 105/IV-1 Ira Gershwin () as a child, circa 1900 

BOX-FOLDER 105/IV-1a Leonore Strunsky [Gershwin], Ira Gershwin, Emily Strunsky [Paley], circa 1926 

BOX-FOLDER 105/IV-2 Ira Gershwin, Beverly Hills, 1930 

BOX-FOLDER 105/IV-3 Ira Gershwin, 1932 

"Self portrait in yellow underwear" 


BOX-FOLDER 105/IV-5 Ira Gershwin 

BOX-FOLDER 105/IV-6 Ira Gershwin 

BOX-FOLDER 105/IV-7 Ira and Rose Gershwin, 1936 or 1937 

BOX-FOLDER 105/IV-8 Harold Arlen and Ira Gershwin, 1936 or 1937 

BOX-FOLDER 105/IV-9 Marc Connelly, Henrietta Malkiel, Leonore Gershwin, Ira Gershwin, Mr. & Mrs. Jesse 

Laskey, Whiteman, San Pedro, CA, 1943 

BOX-FOLDER 105/IV-10 Oscar Levant, Jesse Laskey, Ira Gershwin, Leonore Gershwin, Robert Alda, 1945 

During filming of Rhapsody in Blue 

BOX-FOLDER 105/IV-11 Max Dreyfus with Ira Gershwin, 1946 

BOX-FOLDER 105/IV-11a Max Dreyfus with Ira Gershwin 

Inscribed 

BOX-FOLDER 105/IV-12 Leonore Gershwin, Oscar Levant, Ira Gershwin, Arthur Freed at MGM Studios, 1950 

BOX-FOLDER 105/IV-13 Leontyne Price, Ira Gershwin and Urylee Leonardos, New York, 1953 

Porgy and Bess party 



Iconography 

Container 

Contents 

BOX-FOLDER 105/IV-15 Harold Arlen, Ira Gershwin and Horace Sutton, 1956 


BOX-FOLDER 105/IV-17 Samuel Goldwyn, Ira Gershwin and Andre Previn, 1958 

BOX-FOLDER 105/IV-18 Ira Gershwin, Beverly Hills, 1959 

BOX-FOLDER 105/IV-19 Leonore and Ira Gershwin, Beverly Hills, 1959 

BOX-FOLDER 105/IV-20 Ira and Leonore Gershwin, 1960 


BOX-FOLDER 105/IV-22 Ira and Leonore Gershwin, 1966 

BOX-FOLDER 105/IV-23 Ira Gershwin, Sen. Everett Dirksen, and Stanley Adams, 1967 

BOX-FOLDER 105/IV-24 Stanley Adams and Ira Gershwin 

BOX-FOLDER 105/IV-25 Ira and Leonore Gershwin, New York, 1968 

Gershwin Exhibit, Museum of the City of New York 

BOX-FOLDER 105/IV-25a Frances Gershwin Godowsky [in coat & hat], 1907 

BOX-FOLDER 105/IV-25b Frances Gershwin Godowsky [in diaper], 1907 

BOX-FOLDER 105/IV-25c At beach, circa 1912 

1) Mary Bruskin 

2)Abe and Kate Bruskin Wolpin and Frances 

3) Kate Bruskin Wolpin and Frances 

4) Abe Wolpin and Frances 

BOX-FOLDER 105/IV-26 Frances Gershwin Godowsky 

BOX-FOLDER 105/IV-27 Frances Gershwin Godowsky 

BOX-FOLDER 105/IV-28 Arthur and Frances Gershwin Godowsky, 1963 

BOX-FOLDER 105/IV-29 Sixty-fifth anniversary of George Gershwin's birth, Brooklyn, NY, 1963 September 26 

BOX-FOLDER 105/IV-30 New York Times article for George Gershwin's birthday, 1963 September 23 

BOX-FOLDER 105/IV-31 Rose Gershwin, Annie Botkin [early 1890s] 

BOX-FOLDER 105/IV-32 Rose Gershwin, 1894 

BOX-FOLDER 105/IV-33 Morris and Rose Gershwin, circa 1895 

BOX-FOLDER 105/IV-34 Rose Gershwin, 1948 

BOX-FOLDER 105/IV-35 Bernard Bruskin, 1907 

Inscribed to Albert Botkin 

BOX-FOLDER 105/IV-36 Kate Wolpin (4) and Bernard Bruskin, 1907 

BOX-FOLDER 105/IV-37 Bernard "Barney" Bruskin 

BOX-FOLDER 105/IV-38 Grandfather Bruskin 

BOX-FOLDER 105/IV-39 Mary Bruskin 

BOX-FOLDER 105/IV-40 Leonore S. Gershwin, 1943 April 22 

BOX-FOLDER 105/IV-41 Leonore S. Gershwin, 1955 April 

BOX-FOLDER 105/IV-42 Leonore S. Gershwin, 1984 August 4 

BOX-FOLDER 105/IV-43 Leonore S. Gershwin, Michael Strunsky, James H. Billington, 1991 March 19 

Photographs belonging to George Gershwin 

Autographed or inscribed to George Gershwin unless otherwise noted. 

BOX-FOLDER 106/V-1 Adele Astaire 

BOX-FOLDER 106/V-2 Fred and Adele Astaire 

BOX-FOLDER 106/V-3 Alban Berg 

BOX-FOLDER 106/V-4 Estelle Brody 

BOX-FOLDER 106/V-5 Maurice Chevalier 

BOX-FOLDER 106/V-6 June Clayworth 

BOX-FOLDER 106/V-7 Albert Coates 


Iconography 

Container 

Contents 

BOX-FOLDER 106/V-8 














BOX-FOLDER 107/VI-1 








BOX-FOLDER 107/VI-8a 




















William Merrigan Daly 

Walter Damrosch 

Jack Dempsey 

Eva Gauthier 

Vladimir Golschmann 

Ann K. Graham 

David Wark Griffith 

Not inscribed 

DuBose Heyward 

Josef Hofmann 

Ernest Hutcheson 

Fritz Kreisler 

Alexander Lambert 

Ferenc Lehar 

Ferenc Lehar 

Charles Martin Loeffler 

Rouben Mamoulian 

Elsa Maxwell 

Marilyn Miller 

Ferenc Molnar 

Edwina Mountbatten 



By Dorothy Wilding 

Luigi Pirandello 

Aileen Pringle 

Ann Ronell 

Josefa (Josie) Rosanska 

Arnold Schoenberg 

Arnold Schoenberg 

By Edward Weston 

Bill Seeman 

Andres Segovia 

Oscar Shaw 

Gloria Swanson 

Alexander Tansman 

Lawrence Tibbett 

Ernst Toch 

Unidentified girl 

Inscribed but not autographed 

Herman Wasserman 

Miscellaneous photographs 

33 Riverside Drive 


33 Riverside Drive, George Gershwin's bedroom 


Envelope from photographs by Carl Van Vechten 


Iconography 

Container 

Contents 


Interpretation of George Gershwin's Rhapsody in Blue 

Picture by Raymond Brossard 

BOX-FOLDER 108/7 John W. Bubbles (5) 



Ruby Elzy 



Gershwin family mausoleum 

BOX-FOLDER 108/10 New York premiere of film Rhapsody in Blue 

BOX-FOLDER 108/11 Picture of "George in a Concert Hall" 

By Siquieros 

BOX-FOLDER 108/12 Playbill 


BOX-FOLDER 108/13 1952 European tour (2) 

Gift of Albert Sirmay 

BOX-FOLDER 108/14 Berlin (rehearsal) 1952 September 16 (2) 

BOX-FOLDER 108/15 Boston, 1935 October 10 


Leontyne Price, William Warfield, 1952 September 

BOX-FOLDER 108/17 Vienna, Act I, scene I (2) 

BOX-FOLDER 108/18 Vienna, Act III, scene 3 

BOX-FOLDER 108/19 Vienna, Cast candids (8) 

BOX-FOLDER 108/20 Vienna, Miscellaneous (6) 

BOX-FOLDER 108/21 1st Metropolitan Opera production, 1985 (7) 

BOX-FOLDER 108/22 "Portrait of George Gershwin" 

By Isamu Noguchi 

BOX-FOLDER 108/23 Albert Sirmay 

BOX-FOLDER 108/24 Strike up the band, original cast, 1930 

L: Bobby Clark; R: Paul McCullough 

Inscribed to Doris Carson from Bobby Clark 

BOX-FOLDER 108/25 Lillian Taz, 1952 September 14 

Inscribed to R.W. Tirana 

Paintings and drawings 

The paintings and drawings in the Gerhswin Collection are arranged alphabetically by artist, 

and then by subject. Those items that are kept on display in the George and Ira Gershwin 

exhibit room are marked with the indicator "GIG." 


Framed 

Framed 

Framed 


ASCAP: George Gershwin 

Reproduced pencil drawing 

One of a series of portraits of musicians distributed by ASCAP 

Botkins, Henry: Another room at 1019 N. Roxbury 

Watercolor 

1937 June 

Botkins, Henry: Folly Beach, South Carolina, exterior 

Watercolor 

Botkins, Henry: Folly Beach, South Carolina, interior 

Watercolor 

Ettinger, Churchill: George Gershwin 

Charcoal drawing 


Iconography 

Container 

Contents 

Framed 

Gershwin, George: Henry Botkin 

Charcoal drawing 

1929 May 

GIG 

Gershwin, George: Self portrait 

Oil painting 

1936 

GIG 

Gershwin, George: Jerome Kern 

Oil painting 

1937 

Framed 

Gershwin, George: Charles Martin Loeffler 

Pencil drawing 

BOX-FOLDER 108/28 Gershwin, George: "The merry musician, vol. 1, no. 1" 

Holograph ms; [2] p. 

BOX-FOLDER 108/29 Gershwin, George: Aileen Pringle 

Pencil drawing 

1931 January 26 

Framed 

Gershwin, George: Arnold Schoenberg 

Oil painting 

BOX-FOLDER 108/30 Gershwin, George: Unknown 

Ink portrait 

1930 June 26 

GIG 

Gershwin, Ira: Self portrait 

Oil painting 

1932 

BOX-FOLDER 108/31 Porgy and Bess set design 

Photo reproductions of sketches (2) 

BOX 109, 134 


The publicity materials in the Gershwin collection are organized alphabetically by subject 

matter and then chronologically. 

BOX-FOLDER 134/2 An American in Paris 

Poster, modern reproduction 

BOX-FOLDER 134/3 Delicious 


BOX-FOLDER 134/3 King of Jazz 


BOX-FOLDER 109/1 Lady in the dark, 1943 June 22 

Review by Bill Grady 

BOX-FOLDER 109/2 Porgy [play], 1927 

Press packet 


Crawford production 

BOX-FOLDER 109/3 Flyers, 1942 

BOX-FOLDER 109/4 Postcard advertisement, 1942 

Davis-Breen production (International tour) 

BOX-FOLDER 109/5 Clippings, 1952-56 

BOX-FOLDER 109/6 Flyer-tour, 1952-55 



Container 

Contents 

BOX-FOLDER 134/4 Flyers, notices, 1952-55 

BOX-FOLDER 109/7 Overseas exhibit checklist, 1955 

BOX-FOLDER 109/8 Porgy and Bess in the cold war, 1952 

Posters 


Empire, Paris, 27 September 

Framed Russia, 1956 

BOX-FOLDER 134/6 State Opera of Berlin, 1952 September 11 

BOX-FOLDER 134/7 Teatro alla Scala, Milan, Italy, 1955 

Framed Teatro la Fenice, 1954 September 22-25 

Framed 

Teatro Nuovo Quattro Fontane, Rome 


Theatre Royal de la Monnaie, Brussels 

BOX-FOLDER 134/9 Vienna, 1952 September 9 and 25 (2) 

BOX-FOLDER 134/10 Vienna, 1952 September 6-14 

Map Case Drawer Warsaw, 1956 

Framed Zagreb, 1954 September 22-25 

BOX-FOLDER 134/11 Hallenstadion, Zurich, 1955 June (2) 

BOX-FOLDER 109/9 Press notices: Lausanne, Switzerland, 1955 

BOX-FOLDER 109/10 Reviews, 1955-56 

BOX-FOLDER 134/12 Poster, Teatro Communale di Firenze, Florence, 1984 

Theatre Guild production 

BOX-FOLDER 109/11 Flyer, 1935 

BOX-FOLDER 109/12 Souvenir booklet, 1935 

BOX-FOLDER 109/13 Porgy and Bess [film], 1958 

Clippings 

BOX-FOLDER 134/13 Poster: Venice, Festival di Gershwin 

BOX-FOLDER 109/14 Tip Toes, 1925 November 

Review by Lee Somers 

BOX 110-111 

Programs 

The programs in the Gershwin collection are organized alphabetically by subject matter and 

then chronologically. 

BOX-FOLDER 110/1 An American in Paris [film] 

New York: Radio City Music Hall, 1951 November 

4 copies 

BOX-FOLDER 110/2 Eva Gauthier recital 

New York: Aeolian Hall, 1923 November 1 

BOX-FOLDER 110/3 An Experiment in Modern Music 

New York: Aeolian Hall, 1924 February 12 

Premiere performance of A Rhapsody in Blue 

George Gershwin Memorial Concert 

BOX-FOLDER 110/4 Hollywood Bowl, CA, 1937 September 8 

2 copies 

Laid in: 4 ticket stubs and envelope 

Laid in: Review (Hollywood Reporter, 1937 September 9) 

BOX-FOLDER 110/5 Los Angeles: Wilshire-Ebell Theatre, 1938 November 14 

BOX-FOLDER 110/6 Gershwin Concert-Omaha Junior League, 1934 


Programs 

Container 

Contents 

BOX-FOLDER 110/7 The Gershwin Years 

New York: Lincoln Center, 1971 November 14 

BOX-FOLDER 110/8 Head Over Heels 

Boston: Tremont Theatre, 1918 July 

BOX-FOLDER 110/9 Konzert der Wiener Symphoniker 

Stadtheater Wiener Neustadt, 1952 November 30 

BOX-FOLDER 110/10 La-la Lucille! 

Colonial Theatre, 1919 May 12-18 

Laid in: Note from H. Botkin to George Gershwin 

BOX-FOLDER 110/11 Let 'em eat cake 

Washington, DC: National Theatre, 1934 January 

1 program + fragments of 1 program 

BOX-FOLDER 110/12 Lewisohn Stadium Memorial Concert 

New York, 1937 August 9 

Laid in: Review 

BOX-FOLDER 110/13 Of thee I sing 

1932 February 29 

from first production 


BOX-FOLDER 110/14 Merle Armitage production, 1938 

Inscribed by Ira Gershwin 

BOX-FOLDER 110/15 New York, 1942 March 22 

BOX-FOLDER 110/16 Paris, 1952 February-March 

BOX-FOLDER 110/17 Vienna, 1952 September 7-11 

BOX-FOLDER 110/18 Vienna, 1952 September 

BOX-FOLDER 110/19 1952 

BOX-FOLDER 110/20 Davis-Breen production: London, 1952 

2 copies, slight variations 

BOX-FOLDER 110/21 German, 1953 

BOX-FOLDER 110/22 Tel Aviv: Habinah, 1955 January 26-30 

5 copies 

BOX-FOLDER 110/23 Barcelona: Gran Teatro del Liceo, 1955 February 

BOX-FOLDER 110/24 Paris: Théatre de l'Empire, 1955 February 16-March 1 

BOX-FOLDER 111/1 Florence, Italy, 1955 March 9-13 

BOX-FOLDER 111/2 Turino: Teatro Alfieri, 1955 April 9-19 

BOX-FOLDER 111/3 Rome: Teatro Nuovo Quattro Fontane, 1955 April 

BOX-FOLDER 111/4 São Paulo: Teatro Santano, 1955 July 

BOX-FOLDER 111/5 Montevideo, Uruguay: Teatro Solis, 1955 July 26-31 

BOX-FOLDER 111/6 Rio de Janeiro: Teatro Municipal, 1955 July 

BOX-FOLDER 111/7 Bogota: Teatro Columbia, 1955 September 15-18 

2 copies 

BOX-FOLDER 111/8 Cali, Columbia: Teatro Municipal, 1955 September 21-23 

2 copies 

BOX-FOLDER 111/9 Lima, Peru: Teatro Municipal, 1955 September 

BOX-FOLDER 111/10 Moscow, 1955-56 

BOX-FOLDER 111/11 Moscow, 1956 

2 copies 

BOX-FOLDER 111/12 Munich, 1960 April 1 


Programs 

Container 

Contents 

Rhapsody in Blue 

First performance-general program 


BOX-FOLDER 111/14 New York: Aeolian Hall, 1924 February 12 

BOX-FOLDER 111/15 First performance-souvenir program, 1924 February 12 

Laid in: Ira Gershwin TLS to Benjamin Botkin, 1969 May 15 

BOX-FOLDER 111/16 Biopic souvenir program 

BOX-FOLDER 111/17 New Jersey: Newark Symphony Hall, 1980 March 30 

BOX-FOLDER 111/18 Second Rhapsody 

Boston: Symphony Hall, 1932 January 29-30 

first performances 

BOX-FOLDER 111/19 Tip Toes 

Washington, DC: National Theatre, 1925 November 24 

BOX 112-121 


The financial documents in the Gershwin collection are divided into five subseries. The first 

and second subseries, "Royalty statements" and "Box office statements for Porgy and 

Bess," are organized chronologically. The third, fourth and fifth subseries, "George 

Gershwin," "George Gershwin Estate," and "Rose Gershwin," are organized alphabetically 

by subject matter and then chronologically. 

Royalty statements 















BOX-FOLDER 113/10 1933 

BOX-FOLDER 114/1 1935-37 


BOX-FOLDER 114/3 1938-40 

BOX-FOLDER 114/4 1941-42 

BOX-FOLDER 114/5 1943-49 

BOX-FOLDER 114/6 1949-52 

BOX-FOLDER 114/7 1953-54 



BOX-FOLDER 114/10 1957 



Container 

Contents 



BOX-FOLDER 115/3 1960-63 






BOX-FOLDER 115/9 1969-71 

BOX-FOLDER 115/10 1975 

Box office statements for Porgy and Bess 











1942 January-March 

1942 April-May 

1942 June-September 

1942 October-November 

1942 December 

1943 January-February 

1943 March 

1943 May-October 

1943 November-December 

1944 January-February 

George Gershwin 

BOX-FOLDER 116/11 George Gershwin bank book (The National City Bank of NY) 1929-37 

BOX-FOLDER 116/12 George Gershwin bank book (Bank of America, Beverly Hill Bank) 1936-37 

BOX-FOLDER 116/13 George Gershwin bank book (The Dry Dock Savings Institution) 1913-15 

BOX-FOLDER 116/14 Certificate of taxpayer claiming residency in CA, 1937 

BOX-FOLDER 116/15 George Gershwin canceled check, 1932 July 12 

BOX-FOLDER 116/16 Stock assignment forms, 1933, undated 

George Gershwin Estate 

BOX-FOLDER 117/1 Affidavits submitted, 1937-38 

BOX-FOLDER 118/1 Annual reports, 1932-36 

BOX-FOLDER 117/2 Appraisal of assets (E.A. draft), undated 

BOX-FOLDER 117/3 Appraisal of assets, expenses, and debts, 1937 

BOX-FOLDER 117/4 Appraisal of assets, 1938 January 18 

BOX-FOLDER 117/5 Appraisal of assets, expenses, and deductions, 1938 May 21 

BOX-FOLDER 117/6 Appraisal of assets, liabilities, income, 1933 

BOX-FOLDER 117/7 Appraisal of paintings, undated 

BOX-FOLDER 117/8 Appraisal of performance rights (ASCAP), undated 

BOX-FOLDER 117/9 Appraisal of securities, 1937 July 13 

BOX-FOLDER 117/10 Bank Book (The National City Bank of NY) 1937 

BOX-FOLDER 117/11 Bank Book (Guaranty Trust Co. of NY) 1937 



Container 

Contents 

Banking correspondences and documents 

BOX-FOLDER 117/12 1937 

BOX-FOLDER 117/13 1938-42 

Bank statements 


1937 July-December 


1938 January-July 



1943 July-December 

BOX-FOLDER 117/14 Checks, 1937-42 

BOX-FOLDER 117/15 Empire Trust Co., 1938 

BOX-FOLDER 117/16 Funeral, Burial papers, 1937-43 

Insurance correspondence and documents 

BOX-FOLDER 117/17 1929, 1937 July 

BOX-FOLDER 117/18 1937 August 

BOX-FOLDER 117/19 1937-39 

Investment correspondence and documents 

BOX-FOLDER 117/20 1937 

BOX-FOLDER 117/21 1938-42, undated 

Investment Receipts 

BOX-FOLDER 117/22 1937 August-December 

BOX-FOLDER 117/23 1938 January-July 

BOX-FOLDER 117/24 Legal fees, 1938 April 29 

BOX-FOLDER 117/25 Medical papers, 1937-38 

BOX-FOLDER 117/26 Misc. financial, 1939-44 

BOX-FOLDER 117/27 Stock transfer forms, 1939 January 

BOX-FOLDER 117/28 Taxes, 1937-44 

Transaction Receipts 

BOX-FOLDER 117/29 1937 

BOX-FOLDER 117/30 1938 

BOX-FOLDER 117/31 1940 

Rose Gershwin 

BOX-FOLDER 119/1 Appraisal of assets and liabilities, 1950, 1970 

BOX-FOLDER 119/2 Appraisal of copyrights, 1950-52 

BOX-FOLDER 119/3 Appraisal of publishing stock, 1950-51 

Banking correspondence and documents 

BOX-FOLDER 119/4 1934, 1939-43 

BOX-FOLDER 119/5 1950-59, 1964-71 

Bank statements 


1937 August 


1937 September 


1937 October 


1937 November 


1937 December 


1938 January-September 


1938 October-December 



Container 

Contents 


1939 January 


1941 November-December 

BOX-FOLDER 120/10 1942 January-April 

BOX-FOLDER 120/11 1942 May-September 

BOX-FOLDER 120/12 1942 October-December 

BOX-FOLDER 120/13 1943 January 


BOX-FOLDER 120/15 1943 March 

BOX-FOLDER 120/16 1943 April 

BOX-FOLDER 120/17 1943 May. 

BOX-FOLDER 120/18 1943 June 



BOX-FOLDER 120/21 1943 October 


BOX-FOLDER 120/23 1943 December 

BOX-FOLDER 120/24 1945 March 

BOX-FOLDER 120/25 1945 April 

BOX-FOLDER 120/26 1945 May. 





BOX-FOLDER 120/31 1945 October 


BOX-FOLDER 120/33 1945 December 

BOX-FOLDER 120/34 1947 

BOX-FOLDER 119/6 Financial papers, 1937-70, undated 

Financial statements 




1964 June-December 






BOX-FOLDER 121/9 1970-71 

BOX-FOLDER 119/7 Insurance, 1935-43, undated 

Investment receipts 

BOX-FOLDER 119/8 1940-43 

BOX-FOLDER 119/9 1954-55 

BOX-FOLDER 119/10 1956 

BOX-FOLDER 119/11 1957 

BOX-FOLDER 119/12 1958-59 

BOX-FOLDER 119/13 1962-72 



Container 

Contents 

BOX-FOLDER 121/10 Investment statements, 1949-71 

Investments 

BOX-FOLDER 119/14 1937-43 

BOX-FOLDER 119/15 1950, 1955, 1965, 1971 

Stock receipts 

BOX-FOLDER 119/16 Granberry & Co., 1937-38 

BOX-FOLDER 119/17 Guaranty Trust Company of NY, 1940 

BOX-FOLDER 121/11 Stock statements, 1937-38 

Taxes 

BOX-FOLDER 119/18 1937-45 

BOX-FOLDER 119/19 1949-53 

BOX-FOLDER 119/20 1954-61 

BOX-FOLDER 119/21 1963-68 

BOX-FOLDER 119/22 Misc. (non Rose or George) statements (various publishers), 1938, 1957, 1968-71 

BOX 122-130, 133 


The legal documents in the Gershwin collection are organized alphabetically by subject matter 

and then chronologically. 

BOX-FOLDER 122/1 Aarons, Alfred E., 1925 

BOX-FOLDER 122/2 The Aeolian [piano] Company, 1925 

BOX-FOLDER 122/3 Alexandre, Emmanuel, 1916, 1944-48, undated 

BOX-FOLDER 122/4 All at sea, 1921 

BOX-FOLDER 122/5 An American in Paris (film), 1949-52, 1971 

BOX-FOLDER 122/6 ASCAP, 1935, undated 

BOX-FOLDER 122/7 The Barkleys of Broadway, 1948-49 

BOX-FOLDER 122/8 Chappell & Co., Inc., 1935 September 25, October 14, 15, undated 

BOX-FOLDER 122/9 Columbia Records, 1929 

BOX-FOLDER 122/10 Damsel in distress, 1937 

BOX-FOLDER 122/11 Delicious, 1930 

BOX-FOLDER 122/12 East is West, 1927-31 

BOX-FOLDER 122/13 E.R. Squibb & Sons radio broadcast (1935 October 31), 1935 August 23, 29 

BOX-FOLDER 122/14 The firebird of Florence, 1945 January8 

BOX-FOLDER 122/15 For goodness sake, 1923 March 31 

BOX-FOLDER 122/16 Ford dealers radio broadcast (1934 February 25), 1934 January 25 

BOX-FOLDER 122/17 Funny face, 1927-36 

BOX-FOLDER 133/3 Gershwin, Morris, 1898 January 15 

Naturalization certificate 

Gershwin Publishing Co. 

BOX-FOLDER 122/18 1935 Sep. 

BOX-FOLDER 122/19 1935 Sep. 25 

BOX-FOLDER 122/20 1935, 1949, 1970, undated 

BOX-FOLDER 122/21 George White's scandals, 1920-21 

BOX-FOLDER 122/22 Girl crazy, 1931, 1938, 1944 

BOX-FOLDER 122/23 The Goldwyn follies, 1936-37 

BOX-FOLDER 122/24 Harms-publishing contract, 1923 

Harms, Inc. 



Container 

Contents 

BOX-FOLDER 122/25 1936 


BOX-FOLDER 122/27 Harms, Inc. & New World Music Corp., 1936 July 16, 17; 1946 November 14, 21 

BOX-FOLDER 122/28 Agreement (Ira Gershwin-Harms & New World), 1936 April 2 

BOX-FOLDER 122/29 Re: Hollywood contracts, 1936 

BOX-FOLDER 122/30 Kraft radio broadcast (1935 Sep. 19), 1935 Sep. 6 

BOX-FOLDER 123/1 La-la Lucille! Your money or your wife, 1919 

BOX-FOLDER 123/2 Lady be good, 1924-26, 1940 

Lady in the dark 

BOX-FOLDER 123/3 Limited ed. score, 1941 

(Gertie refused to sign) 


BOX-FOLDER 123/5 Leo Reisman concert tour, 1934 

BOX-FOLDER 123/6 Let 'em eat cake, 1933 July 21 

BOX-FOLDER 123/7 Life begins at 8:40, 1934 

BOX-FOLDER 123/8 Lyons, Arthur, 1936 

BOX-FOLDER 123/9 Miscellaneous agreements, correpondence, etc. 1927-33 

BOX-FOLDER 123/10 Miscellaneous memoranda and correspondence (Wattenberg Law Office), 1934-45 

BOX-FOLDER 123/11 Morris Gest's midnight whirl, 1919 November 7 

New World Music Corp. 




BOX-FOLDER 123/14 1931-34 


BOX-FOLDER 123/16 Plagiarism suit, 1932 

BOX-FOLDER 123/17 Contract, 1971 December 1 

BOX-FOLDER 123/18 Oh, Kay!, 1926-31, 1936, 1944 

BOX-FOLDER 123/19 Our Nell Hayseed, 1922 

BOX-FOLDER 123/20 Pardon my English, 1932, undated 

BOX-FOLDER 123/21 Phillip Productions, Inc., 1917 March 15 

Porgy and Bess-Theatre Guild Archives 




BOX-FOLDER 124/4 1932-34 



BOX-FOLDER 124/7 1937-39 



BOX-FOLDER 124/10 1943-49 

BOX-FOLDER 124/11 1950 January-May 14 

BOX-FOLDER 124/12 1950 May 15-December 

BOX-FOLDER 124/13 1951 

BOX-FOLDER 124/14 1952 



Container 

Contents 

BOX-FOLDER 124/15 1953 

BOX-FOLDER 124/16 1954 January-July 

BOX-FOLDER 124/17 1954 August-December 

BOX-FOLDER 124/18 1955 January-February 

BOX-FOLDER 124/19 1955 March-December 

BOX-FOLDER 124/20 1956 January-February 

BOX-FOLDER 124/21 1956 March-December 

BOX-FOLDER 125/1 1957 March-August 26 

BOX-FOLDER 125/2 1957 August 29 [a] 

BOX-FOLDER 125/3 1957 August 29 [b] 

BOX-FOLDER 125/4 1957 August 29 [c] 

BOX-FOLDER 125/5 1957 August 29 [d] 

BOX-FOLDER 125/6 1957 August 29-October 30 

BOX-FOLDER 125/7 1957 November 11-December 9 



BOX-FOLDER 125/10 1960 

BOX-FOLDER 125/11 1961 

BOX-FOLDER 125/12 1966 



BOX-FOLDER 126/1 1934, 1935, undated 

BOX-FOLDER 126/2 1941-45, 1951-55 

BOX-FOLDER 126/3 1956-63, 1971, undated 

Contracts 



BOX-FOLDER 126/6 Correspondence, 1934-43 

BOX-FOLDER 126/7 Letters of agreement (WBM, GG, IG), 1934 October 16 

BOX-FOLDER 126/8 Primrose, 1924 

BOX-FOLDER 126/9 RKO (Misc.), 1936 

BOX-FOLDER 126/10 Radio show (1934) 

BOX-FOLDER 126/11 Rainbow revue, 1923 February 8 

BOX-FOLDER 126/12 Real silk [radio] program (1934 February 4), 1934 January 13 

BOX-FOLDER 126/13 Rhapsody in blue, 1929 October 3 

BOX-FOLDER 126/14 Rialto ripples, 1917 February 27 

BOX-FOLDER 126/15 Rosalie, 1927 

BOX-FOLDER 126/16 Shall we dance, 1936-37 

BOX-FOLDER 126/17 The shocking Miss Pilgrim, 1945 

BOX-FOLDER 126/18 Short story, undated 

BOX-FOLDER 126/19 Show girl, 1929 

BOX-FOLDER 126/20 The song of the flame, 1925 

BOX-FOLDER 126/21 Strike up the band, 1927-30 

BOX-FOLDER 126/22 Strike up the band (broadcast), 1935 Sep. 3, October 14 

BOX-FOLDER 126/23 Swanee, 1921 April 8 

BOX-FOLDER 126/24 Sweet little devil: The perfect lady, 1923 



Container 

Contents 

BOX-FOLDER 126/25 Symphony Society of New York, 1925 April 17 

BOX-FOLDER 126/26 T.B. Harms & Francis Day & Hunter, 1918 February 21 

BOX-FOLDER 126/27 Tell me more, 1925, 1943 

BOX-FOLDER 126/28 That's a good girl [], 1928 

BOX-FOLDER 126/29 Tip toes, 1925-26, 1937, 1945 

BOX-FOLDER 126/30 Treasure girl, 1928 August 21 

BOX-FOLDER 126/31 Two little girls in blue, 1921 

BOX-FOLDER 126/32 Wattenberg, A.M., 1935-44, undated 

BOX-FOLDER 126/33 When the armies disband, 1916 

BOX-FOLDER 126/34 When you want 'em, 1916 March 1 

BOX-FOLDER 126/35 Where do we go from here, 1943, 1945 

BOX-FOLDER 126/36 You, just you, 1917 December 5 

BOX-FOLDER 126/37 Ziegfeld follies of 1936, 1935 

Alexandre Correspondence 

BOX-FOLDER 127/1 Aberbach, Jean Joachim, 1944 

BOX-FOLDER 127/2 Abrams, Charles, 1937 

BOX-FOLDER 127/3 Agay, Denes, 1971 

BOX-FOLDER 127/4 American Play Company, Inc., 1953-58 

BOX-FOLDER 127/5 American Society of Composers, Authors and Publishers, 1937-40, 1948-50 

BOX-FOLDER 127/6 Art students league of NY, 1937 

BOX-FOLDER 127/7 Artists Management Bureau, Inc., 1938 

BOX-FOLDER 127/8 Bamberger Broadcasting Service, Inc., 1938 

BOX-FOLDER 127/9 Benatzky, Dr. Ralph, 1944 

BOX-FOLDER 127/10 Berman, Abraham L., 1938, 1953 

BOX-FOLDER 127/11 Bernheim, Max J., 1937 

BOX-FOLDER 127/12 Binderman, Mrs. Nathan, 1938 

BOX-FOLDER 127/13 Blanc, Ronald L., 1968-71 

BOX-FOLDER 127/14 Board of Education, 1954 

BOX-FOLDER 127/15 Breen, Robert, 1951-55 

BOX-FOLDER 127/16 Brown, Anne, 1946 July 26 

BOX-FOLDER 127/17 Buck, Gene, 1937 

BOX-FOLDER 127/18 Carnegie, Dale, 1937 

BOX-FOLDER 127/19 Chanin Management Corporation, 1938 

BOX-FOLDER 127/20 Chappel & Co., Inc., 1937-56, undated 

BOX-FOLDER 127/21 Colton, Edward E., 1953 

BOX-FOLDER 127/22 Columbia Records, 1959 

BOX-FOLDER 127/23 Cowles, Chandler, 1952 

BOX-FOLDER 127/24 The cyclopedia of American biography, 1937 

BOX-FOLDER 127/25 Daily Mirror, 1938 

BOX-FOLDER 127/26 The dramatist's guild, 1944 

BOX-FOLDER 127/27 Dreyfus, Max, 1961 

BOX-FOLDER 127/28 Empire Trust Company, 1938 

BOX-FOLDER 127/29 Everyman Opera, 1953-58, 1971 

BOX-FOLDER 127/30 Ewen, David, 1956 

BOX-FOLDER 127/31 Fisher, Kenneth V., 1942 

BOX-FOLDER 127/32 Fleisher, Sidney R., 1937 



Container 

Contents 

BOX-FOLDER 127/33 Foote, Cone & Belding, 1955 

BOX-FOLDER 127/34 Friends of the Boston Symphony Orchestra, 1966 

BOX-FOLDER 127/35 Gelert, Carl R., 1939 

BOX-FOLDER 127/36 Gershwin, Arthur, 1937-42, 1969, undated 

Gershwin, Ira 

BOX-FOLDER 127/37 1937 July-December 

BOX-FOLDER 127/38 1938 

BOX-FOLDER 127/39 1939-49, 1969-71, undated 

BOX-FOLDER 127/40 Gershwin, Marc, 1971 May 

BOX-FOLDER 127/41 Gershwin, Rose, 1934-46, undated 

BOX-FOLDER 127/42 Gershwin Publishing Corporation, 1937-43, 1949 

BOX-FOLDER 127/43 Godmother's League, 1938 

BOX-FOLDER 127/44 Godowsky, Frances Gershwin, 1937-42, 1969 

BOX-FOLDER 127/45 Gould, Edward J., 1950-53 

BOX-FOLDER 128/1 H.G. Harburger Co., 1937-38 

HJ & MH Behrman (accountants) 

BOX-FOLDER 128/2 1937-44, 1950-53 


1954-58, 1968-71, undated 

BOX-FOLDER 128/4 Hanenfeldt, Zenaide, 1937-38 

BOX-FOLDER 128/5 Harms, Inc., 1935-43 

BOX-FOLDER 128/6 Hauser, Dr. Emil, 1942 

BOX-FOLDER 128/7 Hays, St. John, Abramson & Heilron, 1970 

BOX-FOLDER 128/8 Heller, Anatole, 1954 

BOX-FOLDER 128/9 Henry Romeike Inc., 1937 

BOX-FOLDER 128/10 Hirschmann, I.A., 1937 

BOX-FOLDER 128/11 Household Bills, 1938-39 

BOX-FOLDER 128/12 Interstate Broadcasting Company, 1938 

BOX-FOLDER 128/13 Israel Conservatoire of Music, 1953-54 

BOX-FOLDER 128/14 Jedvabniks, Mrs. A., 1942 

BOX-FOLDER 128/15 Joshua Orphan Aid, Inc., 1938-42 

BOX-FOLDER 128/16 Junior League of Salt Lake City, 1947 

BOX-FOLDER 128/17 Kaufman, George S., 1944 

BOX-FOLDER 128/18 Kaufmann, Arthur, 1937 

BOX-FOLDER 128/19 Koussevitsky, Serge, 1937 

BOX-FOLDER 128/20 La Guardia, Fiorello H., 1937 

BOX-FOLDER 128/21 Lazar, Irving Paul, 1971 

BOX-FOLDER 128/22 Lehman, Gov. & Mrs. Herbert H., 1937 

BOX-FOLDER 128/23 Library of Congress, 1952-53 

BOX-FOLDER 128/24 Lincoln Warehouse Corporation, 1938 

BOX-FOLDER 128/25 Loew's Incorporated, 1953 

BOX-FOLDER 128/26 Lyons, Arthur, 1937-43, 1949, undated 

BOX-FOLDER 128/27 Mailamm, 1938 

BOX-FOLDER 128/28 Manhattan, The, 1938 

BOX-FOLDER 128/29 Maplewood Theatre, 1942 

BOX-FOLDER 128/30 Marc Newman Productions, 1971 

BOX-FOLDER 128/31 Maryland Correctional Services, 1969 



Container 

Contents 

BOX-FOLDER 128/32 Mayflower Hotel, 1938 

BOX-FOLDER 128/33 Metro-Goldwyn-Mayer Pictures, 1950-54 

BOX-FOLDER 128/34 Montgomery, Mary Binney, 1937 

BOX-FOLDER 128/35 Mosbacher, Emil, 1937 

BOX-FOLDER 128/36 Mueller, Paul, 1937 

BOX-FOLDER 128/37 Music Publishers Holding Corporation, 1937-42, 1949-53 

BOX-FOLDER 128/38 Music Sales Corporation, 1969 

BOX-FOLDER 128/39 Nast, Conde, 1937 

BOX-FOLDER 128/40 New World Music Corporation, 1937, 1954-70 

BOX-FOLDER 128/41 New York Public Library, The, 1937 

BOX-FOLDER 128/42 O'Brien, Driscoll & Raftery, 1937 

BOX-FOLDER 128/43 Oliver Cromwell Hotel, 1937-38 

BOX-FOLDER 128/44 O'Melveny, Tuller & Myers, 1938 

BOX-FOLDER 128/45 Palestine Lighthouse, The, 1938, 1948 

BOX-FOLDER 128/46 Philharmonic-Symphony Society of NY, The, 1937-38 

BOX-FOLDER 128/47 Planned Publicity Society, 1937 

BOX-FOLDER 128/48 Pohul, Robert, 1938 

BOX-FOLDER 128/49 Pollack, Mrs. Sidney E., 1937 

BOX-FOLDER 129/1 Pollock, Hugo, 1949-71 

BOX-FOLDER 129/2 R.C.A. Manufacturing Company, Inc., 1938 

BOX-FOLDER 129/3 Radio Corporation of America, 1952-56 

BOX-FOLDER 129/4 Revue, 1957 

BOX-FOLDER 129/5 Roeder, Martin A., 1953-56 

BOX-FOLDER 129/6 Romanelli, Leo, 1943 

BOX-FOLDER 129/7 Rosenberg, Sonia, 1938 

BOX-FOLDER 129/8 Rosenthal, Abraham, 1937-38 

BOX-FOLDER 129/9 Ryskind, Morrie, 194- 

BOX-FOLDER 129/10 S.H. Riesner Co., Inc., 1937 

BOX-FOLDER 129/11 Sam H. Harris Theatrical Enterprises, Inc., 1937-42 

BOX-FOLDER 129/12 Saxe, Leonard S., 1949-67 

BOX-FOLDER 129/13 Schware, Harold, 1938 

BOX-FOLDER 129/14 Scott, Isabel R., 1937 

BOX-FOLDER 129/15 Scrapbooks Guild, 1937 

BOX-FOLDER 129/16 Select Theatres Corporation, 1937 

BOX-FOLDER 129/17 Shubert Theatre, 1938 

BOX-FOLDER 129/18 Sirmay, Albert, 1932, 1952 

BOX-FOLDER 129/19 Social Security Board, 1938 

BOX-FOLDER 129/20 Société des Auteurs & Compositeurs Dramatiques, 1953-58 

BOX-FOLDER 129/21 Stadium Concerts Inc., 1937-39 

BOX-FOLDER 129/22 Stage and Arena Guild of America, 1955 

BOX-FOLDER 129/23 Steinway & Sons, 1937-38 

BOX-FOLDER 129/24 Tams-Witmark Music Library, Inc., 1958, 1964-75 

BOX-FOLDER 129/25 Theatre Guild, Inc., 1933, 1942-47, 1953 

BOX-FOLDER 129/26 U.S.A. Office of War Information, 1944 

BOX-FOLDER 129/27 Ulmer, Berne and Gordon, 1942 

BOX-FOLDER 129/28 United Jewish Appeal, 1942 



Container 

Contents 

BOX-FOLDER 129/29 Van Slyke, Marie Louise, 1938 

BOX-FOLDER 129/30 Van Vechten, Carl, 1938 

BOX-FOLDER 129/31 War Department, 1946 

BOX-FOLDER 129/32 Warner Bros. Music, 1971 

BOX-FOLDER 129/33 Wattenberg & Wattenberg, 1937-38, 1949-55, 1966 

BOX-FOLDER 129/34 Weissberger, L. Arnold, 1953 

BOX-FOLDER 129/35 Wildberg, John J., 1942-43 

BOX-FOLDER 129/36 Unidentified, 1938, undated 

George Gershwin Estate 

BOX-FOLDER 130/1 Administrative Documents, 1937 July 

BOX-FOLDER 130/2 A. Sirmay deposition regarding George Gershwin residency, 1938 May 25 

BOX-FOLDER 130/3 E.A. notes re: H. Botkin visit to California, 1937 May-June 

BOX-FOLDER 130/4 George Gershwin certificate of death, 1937 

BOX-FOLDER 130/5 Memoranda and notes, 1937-38, 1949-53, 1970 

BOX-FOLDER 130/6 Miscellaneous papers, undated 

BOX-FOLDER 130/7 Receipts and disbursements, 1938 

BOX-FOLDER 130/8 EA record of activities, 1937-38 

BOX-FOLDER 130/9 R. Gershwin depositions, 1937-38 

BOX-FOLDER 130/10 Safe deposit box contents inventory, 1937 July 26 

BOX-FOLDER 130/11 T. Berheim deposition regarding George Gershwin residency, 1937 Sep. 13 

Rose Gershiwn Estate 

BOX-FOLDER 130/12 Account of proceedings, 1950 July 

BOX-FOLDER 130/13 ASCAP residuary membership, 1950 June 

BOX-FOLDER 130/14 Attorney's affidavit of services, 1952 

BOX-FOLDER 130/15 Court papers regarding music taxes, 1955-57 

BOX-FOLDER 130/16 Legatees' attorneys, 1950, 1960 

BOX-FOLDER 130/17 Miscellaneous papers, 1943-70, undated 

BOX-FOLDER 130/18 Papers relating to R. Gershwin's will, 1948-50, 1960 

BOX-FOLDER 130/19 Personal claim of E. Alexandre, 1949 

BOX-FOLDER 130/20 Petition by executors, 1953 June 24 

BOX-FOLDER 130/21 Will, 1948 November 21 

BOX-FOLDER 130/22 Will ammendment documents, 1950 July-August 

BOX-FOLDER 130/23 Will ammendment documents, 1952-53 

Artifacts 

All artifiacts are listed in alphabetical order and, with the exception of Ira Gershwin's medals, 

can be viewed in the George and Ira Gershwin exhibit room in the Thomas Jefferson 

Building. 

Caviar tin of IG 

Congressional gold medals of GG and IG (2), 1988 

Desk of GG, 1933 

Electric pencil sharpener of IG 

Fountain pen of IG, circa 1935 

Medals of IG (1 Gold; 25 Silver) 

Metronome of GG, circa 1910 


Artifacts 

Container 

Contents 

Piano of GG, circa 1925 

Steinway Model B, Serial # 235494 

Piano chair of GG, circa 1925 

Typewriter of IG, circa 1930 

Typing table of IG, circa 1930 

BOX 131, 133, 136 

Miscellany 

The miscellaneous materials in the Gershwin collection are organized alphabetically by subject 

matter. 

BOX-FOLDER 131/1 Arnold Shaw re: "Curtain call!" 

BOX-FOLDER 131/2 Exhibition catalogs 

Exhibition of the George Gershwin collection of modern paintings, The Arts club of 

Chicago, 1933 November 10 - 25 

George Gershwin memorial exhibition, The Arts club of Chicago, 1938 March 15 - 28 

George Gershwin, painter, Marie Harriman gallery, NY, 1937 December 18 - 1938 January 

4 

BOX-FOLDER 131/3 2 Flexocol record labels from "Music by Gershwin" radio show, 1934 

Labeled in the hand of Ira Gershwin 

BOX-FOLDER 133/5 "From Bach to Gershwin," 1944 May 

BOX-FOLDER 131/4 George Gershwin lodge newsletter, undated 

BOX 136 

George Gershwin mausoleum blue prints 

BOX-FOLDER 133/4 George Gershwin personalized music manuscript paper 

1 blank leaf 

Gershwin: George, the music/Ira, the words. 

The museum of the city of New York, 1968 May 6 - September 2 

BOX-FOLDER 131/5 A catalogue of the exhibition 

2 copies 

BOX-FOLDER 131/6 Invitation to a reception and preview, 1968 May 5 

BOX-FOLDER 131/7 Henry Botkin autobiographical essays (4), 1972-73 

Typescript photocopies 

BOX-FOLDER 131/8 Logbook of orchestral parts 


BOX-FOLDER 131/9 Merle Armitage collection auction catalog, 1965 May 10 

BOX-FOLDER 131/10 News release re: Edward Kilenyi, Sr., 1966 May 23 

BOX-FOLDER 131/11 Songs of Adieu [book of poetry], 1923 

Inscribed by Ira Gershwin to Benjamin Botkin 

BOX-FOLDER 131/12 Sound recordings from George Gershwin's library (lists) 

Laid in: IG holograph and typescript notes 

BOX-FOLDER 131/13 Works lists 

Published songs (Remick) 

Porgy and Bess publications 

Published songs (Harms) 

Published songs (Music Publishers Holding Corp.) 

Published songs, photocopied

George and Ira Gershwin Collection [finding aid ... - American Memory

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