Marc Blitzstein Papers, 1918-1989

Summary Information
Title: Marc Blitzstein Papers
Inclusive Dates: 1918-1989

  • Blitzstein, Marc, 1905-1964
Call Number: U.S. Mss 35AN; Micro 1049; Disc 33A; Disc 161A; Audio 513A; Audio 554A; Audio 740A; Audio 761A; Audio 763A; Audio 764A; Audio 773A; Audio 1049A

Quantity: 40.0 cubic feet (39 archives boxes and 74 flat boxes), 71 reels of microfilm (35 mm), 23 tape recordings, and 114 disc recordings

Wisconsin Historical Society Archives / Wisconsin Center for Film and Theater Research
Contact Information

Archival Locations:
Wisconsin Historical Society (Map)

Personal and professional papers of Marc Blitzstein, a composer, lyricist, and librettist best known for his concern with making his work socially as well as artistically significant. The collection documents the creative process of composition and of Blitzstein's efforts to reconcile the political, psychological, and musical aspects of composition. Blitzstein was most famous for: his operas The Cradle Will Rock (1937), Regina (1949), Reuben, Reuben (1955), and Juno (1959); his motion picture score for Native Land (Frontier Films, 1942); The Airborne Symphony (1946); and his adaptation of The Threepenny Opera (1954). The collection is comprised chiefly of scores and scripts, with recordings, related correspondence, research material, and clippings, pertaining to Blitzstein's work in motion pictures, opera, ballet, theater, and symphonic orchestra. Also included are personal papers such as correspondence, contracts, notebooks and journals concerning his travels, writings and lecture materials, and scrapbooks of newspaper clippings and memorabilia, and a taped interview of Blitzstein and opera singer Lina Abarbanell. Papers of Blitzstein's wife, Eva Goldbeck (1901-1936), including many personal letters, journals, and unpublished writings, are also present.


There is a restriction on use of this material; see the Administrative/Restriction Information portion of this finding aid for details.

Language: English, with some German and French

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Composer-lyricist Marc (Marcus Samuel) Blitzstein was born in Philadelphia on March 2, 1905, to banker Samuel M. Blitzstein (died 1945) and Anna (Levitt) Blitzstein (died 1970). From his earliest years he displayed musical talent and he began public appearances at the age of six. Blitzstein began composing at the age of twelve, and in his teens he was called a “piano prodigy.” At 15 he was a piano soloist with the Philadelphia Orchestra. After attending public schools in Philadelphia, he entered the University of Pennsylvania in 1921 but transferred to the Curtis Institute of Music in 1923. There he spent two years, studying composition with Rosario Scalero, at the same time as he studied piano with Alexander Siloti in New York. In 1926 Blitzstein moved to Europe. In Paris he studied music composition with Nadia Boulanger, and at the Berlin Akademie der Kunste he worked with Arnold Schonberg. While in Berlin he composed the score for the film Hands (Hande).

Blitzstein's musical energy found its release in many forms: concert works, opera, film scores, and the musical stage. A one-act opera, Triple-Sec, was first performed in 1929 in Philadelphia; a year later it became a part of Garrick Gaieties in New York.

During the late twenties and early thirties few artists could escape questioning the role of their work in a world faced with urgent social and political needs. Blitzstein was particularly haunted by the conflict between art for art's sake and art as a tool for social reform. He was also one of the few who used art for social needs without sacrificing his musical genius. Blitzstein also passed on his ideas to others. In 1935 he began lecturing at the New School for Social Research; he also taught individual students. He was playwright-in-residence at Bennington College in 1962-1963.

In 1936 Blitzstein's first major work, The Cradle Will Rock, was scheduled to be presented by the Federal Theatre Project. The script, which called for steelworkers to unionize and strike, was considered too controversial by the Works Progress Administration, and work on the show was halted. Blitzstein, director Orson Welles, and producer John Houseman moved the piece to another theater; its opening was characterized as “the most exciting evening of theatre this New York generation has seen.”

On April 15, 1936, Blitzstein's Piano Concerto and piano solo piece Scherzo - Bourgeois at Play premiered at the Composer's Forum-Laboratory program, held at the then Federal Theatre Building in New York City. In a letter of August 8, 1964, Norman Cazden, who played solo parts for both pieces, noted that the program was wholly devoted to Blitzstein's works, and that the composer himself played the accompaniment to the Piano Concerto.

In 1938 Blitzstein's radicalism became increasingly political when he joined the Communist Party. (He resigned his membership in 1949.) Continuing to search for socially relevant art, Blitzstein wrote the opera No for an Answer about the attempts of workers to organize. Produced in 1941 it, too, was controversial and was objectionable to the New York Commissioner of Licenses. After World War II began, Blitzstein elected to discontinue performances of No for an Answer, saying “This is no time to wash our dirty linen in public.” (Quote provided by Josephine Davis, 1985.) However, Blitzstein's abilities were recognized publicly in 1940 and 1941, when he received two John Simon Guggenheim Fellowships, and in 1946 when he won the composition prize of the National Institute of Arts and Letters.

On August 29, 1942, Blitzstein enlisted in the military; ultimately he served as a sergeant with the Army Air Force and was attached to the Supreme Headquarters, Allied Expeditionary Force, European Theatre. He was an “Entertainment Specialist,” whose duties included composing musical scores and writing scripts for concerts, radio, and films; directing the U.S. Army Negro chorus; and directing the music of the American Broadcasting Station in Europe (O.W.I.). His works, Freedom Morning, first sung in Royal Albert Hall, London, in 1943, and The Airborne Symphony, premiered by the New York City Symphony in 1946, were products of these years. Blitzstein was discharged from the military June 26, 1945.

Regina, based on Lillian Hellman's play The Little Foxes, was Blitzstein's next major opera; it opened in New York in 1949. Reuben, Reuben followed in 1955 and Juno, based on Sean O'Casey's Juno and the Paycock, was produced in 1959. During the 1950s Blitzstein's most acclaimed work was the translation and adaptation of Bertolt Brecht's The Threepenny Opera, which ran from 1954 to 1961. Blitzstein's version of the song “Mack the Knife” became an immediate hit. With the collaboration of Kurt Weill, Blitzstein made the piece into a minor classic. First performed in 1952 at Brandeis University, The Threepenny Opera opened in New York in 1954.

In 1960 Blitzstein was awarded a Ford Foundation grant to write an opera about Sacco and Vanzetti. For the composer, the Sacco-Vanzetti case was a symbol of the plight of the oppressed in society. The story had interested Blitzstein for decades, and he had first composed it as a tone poem in 1932 while in Italy on a Prix de Rome. For more than a year during the early 1960s Blitzstein struggled with the project, but he was torn by the contradiction that seemed to exist between the story and the institutions which were sponsoring his writing. He found he could not write freely about oppression when he was funded by the Establishment.

Determined to work on a new project, Blitzstein left for Martinique and it was there that he was robbed and murdered on January 22, 1964. He was survived by his elderly mother, his sister, Josephine Davis, and her sons, novelist Christopher Davis and lawyer Stephen Davis.

Marc Blitzstein was married once, to Maria Luise Eva (called Eva) Goldbeck, who was born August 26, 1901, in Berlin. She was the daughter of writer Eduard Goldbeck and opera singer Karoline Goldbeck (known professionally as Lina Abarbanell). The family came to the United States in 1910. Eva graduated from Northwestern University in 1920, and the following year the state of Indiana issued her a certificate to teach Latin. On February 27, 1922, Eva married Cecil H. Goldbeck. The were divorced January 1, 1924, but probably remarried a few years later. In the early 1930s Marc Blitzstein met Eva Goldbeck, who was by then a radical writer and translator. They were married March 2, 1933. Eva Goldbeck was in poor health compounded by emotional problems for many years, and in 1935 she became critically ill. She died of pernicious anemia and starvation (probably anorexia nervosa) on May 26, 1936.

Scope and Content Note

The Marc Blitzstein Papers contain extensive information on both the personal and professional aspects of this innovative and talented composer's life. The collection provides particularly interesting documentation of the creative process of composition from the initial gathering of research materials, and making musical and script sketches, through producing the first work. Also illuminating are Blitzstein's efforts to reconcile the political, psychological, and musical aspects of composition, often at the same time he was struggling financially. The papers depict Blitzstein's concern with social and political implications of music, the relationship between music and the public, and his belief that music should be functional, rather than merely “pure.” Included as well are personal papers and writings of Blitzstein's wife, Eva Goldbeck.

The collection is arranged into the following series: Personal Papers, Writings, Motion Pictures, Operas, Ballets, Symphonies, Choral Cantatas, Theater, Miscellaneous Music Tablets, Other Compositions, Adaptations, Radio, Works By Other Composers, Miscellaneous, Scrapbooks, and Other Tape and Disc Recordings.

Much of the collection consists of musical scores and scripts; they are often supplemented by correspondence, research materials, clippings and other documents that allow the researcher to explore Blitzstein's work. Within each of the series the materials are ordered chronologically; unproduced works are placed at the end of each series.

The PERSONAL PAPERS give the researcher a glimpse into the personalities of Blitzstein and Eva Goldbeck, as well as an indication of the artistic struggles they faced. Included are correspondence and financial information such as contracts, royalty statements, and copyrights. Also included are two scripts, “Injunction Granted” and “Power,” from the Living Newspaper of the Federal Theatre Project; Blitzstein worked for this governmental agency during the Depression.

Documentation of MOTION PICTURES includes manuscripts for Hands, Surf and Seaweed, Chesapeake Bay Retriever, The Spanish Earth, Valley Town, Native Land, Night Shift, and the unproduced “Charlotte's Web.” Most significant among these is Native Land, for which Blitzstein wrote the musical score. Native Land, which premiered in May 1942, depicts the struggles of American labor to organize and protect civil liberties. Blitzstein later revised the score into an orchestral suite. Also included are 38 disc recordings (many of which have been copied onto tape) of various production stages of Native Land.

Materials in the OPERA series often present a nearly complete picture of a production. Blitzstein usually composed his music at the piano. For many of his works, therefore, there are initial piano sketches which evolved into piano scores, piano-vocal arrangements and, finally, orchestra-conductor scores. Although Blitzstein and others labeled these works “opera,” he conceded that they might more accurately be called “musical plays,” developing to the limit Blitzstein's innovation of musical conversation.

In this series are Triple-Sec, The Cradle Will Rock, No for an Answer, Regina, Let's Make an Opera, The Harpies, Reuben, Reuben, Juno, and several unproduced works, including Blitzstein's last major project, “Sacco and Vanzetti.” There are tape recordings of portions of No for an Answer, Reuben, Reuben, and Juno, and of The Cradle Will Rock in its entirety.

The Cradle Will Rock, first produced in June 1937, was Blitzstein's first major work and brought him to the attention of the working, political, and musical public. Its main topic, labor organizing and a strike, was a common one at the time. But the manner and power of his statement was controversial and made producers reluctant to handle it. The Cradle Will Rock was in fact cancelled just before opening night. Blitzstein, together with Orson Welles and producer John Houseman, moved the production to another theater and produced it on a bare stage without props or orchestra. No for an Answer, with a civil rights theme, also met with many of the same problems and criticisms in 1941.

The opera Regina was Blitzstein's attempt to bring out yet another facet of the voracious Hubbards in the musical version of Lillian Hellman's play The Little Foxes. Begun in 1946 with Hellman's permission, Blitzstein served as librettist, composer and lyricist of this work supported by the Koussevitzky Music Foundation. The commission by the foundation was an honor never before bestowed on an American. Regina made its Broadway debut on October 31, 1949 at the 46th Street Theatre and, though only 56 performances were then given, many of New York's critics as well as Leonard Bernstein and Aaron Copland, hailed Blitzstein's creation. Nine years later on April 27, 1958, a shorter “tighter” version was produced at the New York City Opera and was critically acclaimed. The records of Regina include piano-vocal scores and conductor's scores, notes and drafts of the libretto, score and lyrics, publicity, criticisms by Hellman, contracts and royalty statements, and general correspondence.

The series BALLETS contains materials from Blitzstein's major ballets, Cain and The Guests. Included are music sketches, piano scores, and theater orchestra scores. There is little non-musical material. For several unproduced works there are also musical sketches and scores. Together these files illustrate how Blitzstein developed the music for a variety of ballets.

Files on Blitzstein's SYMPHONIES Freedom Morning and The Airborne Symphony are also included. Freedom Morning was commissioned by Lord Beaverbrook and the British as a means of reducing the tension between white and black American servicemen when the blacks arrived in England during the war. Blitzstein composed the work while living in barracks with the blacks, who did menial work for the U.S. Eighth Air Force. The symphony was first performed in concert with black singers from the states. The Airborne Symphony, first performed in 1946, was commissioned by the U.S. Army Eighth Air Force while Blitzstein served in the Armed Forces. It was written to commemorate and chronicle 50 years of powered flight, but was also Blitzstein's warning against future wars. It was typical of Blitzstein in that it was a departure from the symphonic form being scored for orchestra, speaker, a male chorus, solo tenor, and solo baritone. The Airborne Symphony is well-documented in the collection with correspondence, scripts, music sketches and scores, production notes, clippings, and disc and tape recordings of several complete performances.

The series CHORAL CANTATAS includes materials about This Is the Garden, a six-section choral work about New York City, commissioned by the Interracial Musical Council in 1956 and first performed in May 1957. There are also records for two unproduced works, “Workers' Kids of the World Unite” and “Cantatina for Women's Chorus and Percussion.”

Blitzstein wrote much incidental music for the THEATER, beginning with Lear, the culmination in 1937 of Blitzstein's work for two productions of King Lear; and the Mercury Theatre's productions of Julius Caesar (1937) and Danton's Death (1938). The files on Lear, Midsummer Night's Dream, and Julius Caesar are extensive and varied, and include notes, scripts, extensive scores, instrumental parts, published songs, and publicity. Also included are materials on Parade, Danton's Death, Pins and Needles, Twelfth Night, Another Part of the Forest, Androcles and the Lion, The Winter's Tale, Toys in the Attic, “Goloopchik,” and “Volpone.”

There are eight MISCELLANEOUS MUSIC TABLETS in the next series. The tablets contain musical sketches from various works including “Scalero,” “Parabola and Circula,” “Italian Quartet,” and “Ajui Ballet.”

Within the series OTHER COMPOSITIONS are musical works written by Blitzstein which do not fall into other series. These include musical settings of poems by Walt Whitman and e.e. cummings; the latter later published as Songs from Marion's Book. Also included are many orchestral pieces, instrumental and piano works, and vocal works and songs, including a Piano Concerto (1931) and a Scherzo - Bourgeois at Play (1930), later performed by Norman Cazden. This series also includes a small group of canons and fugues with some original works and some by such other composers as Bach, Palestrina, Ravel, and Chopin. Transcriptions by Blitzstein include works which Blitzstein rewrote or arranged for combinations of musicians other than those in the original work. He arranged works by such composers as Aaron Copland, Serge Rachmaninoff, Richard Strauss, Modiste Moussorgsky, and Peter Tschaikowsky.

ADAPTATIONS contains, among other works, materials from one of Blitzstein's greatest successes, his translation and adaptation of The Threepenny Opera (Dreigroschenoper) by Kurt Weill and Bertolt Brecht. First performed in 1952, The Threepenny Opera ran on Broadway from 1955-1961. The song “Mack the Knife” made Blitzstein famous in another genre, popular music. The files concerning The Threepenny Opera include correspondence, royalty statements, contracts, scripts and translations, sheet music, and scores. Also included is a script edited for a British acting company. Other adaptations by Blitzstein include Brecht on Brecht, The Duenna, Carmen, La Traviata, and “Mother Courage” and “The Rise and Fall of the City of Mahagonny,” both unproduced but with fairly extensive files.

In the RADIO series is music written by Blitzstein for several radio productions. These include I've Got the Tune (CBS, October 1957), Labor for Victory, and Russia Is Singing.

WORKS BY OTHER COMPOSERS contains two works by Leonard Bernstein, who was a friend of Blitzstein's. These are On the Town and Trouble in Tahiti, written in 1952 and dedicated to Blitzstein. Another noted composer, Virgil Thompson, wrote Music for Shakespeare's Hamlet, which is also included. Eva Goldbeck wrote the words to the song, “First of May,” with music written by “Hammer.” Several other minor compositions are also included in this series.

The SCRAPBOOKS are comprised of eleven volumes kept by Blitzstein from 1937 to 1960. Noteworthy individual items in the scrapbooks include:

Volume 1: Photographs of Blitzstein in rehearsal for The Cradle Will Rock.
Review by John W. Gassner of December 11, 1937 radio broadcast of The Cradle Will Rock.
Review of The Cradle Will Rock by Alistair Cook, delivered on NBC radio, January 12, 1938
Volume 2: Review of Native Land, by Virgil Thompson
Notification of “Page One” award given by the Newspaper Guild for The Airborne Symphony, November 11, 1946
Volume 3: Recommendations of Blitzstein by Henry Allen Moe of the Guggenheim Foundation, Aaron Copland, and Davidson Taylor of CBS, for a job involving the use of music in public relations, June 1942-January 1943.
Military papers.
Volume 9: “A Note on The Threepenny Opera,” an article exploring its psychiatric and psychological implications, by Montague Ullman, MD, in American Journal of Psychotherapy, April 1959.
Volume 10: Letter from Radio/Television Daily informing Blitzstein that “Mack the Knife” from The Threepenny Opera had been voted “Song Hit of the Year,” 1959.
Photograph of Leonard Bernstein, his wife, and his children.

Related Material

Additional Blitzstein material is held by the New York Public Library, in the Federal Theatre Project Archive at George Mason College in Fairfax, Virginia, and at the National Archives (Collection 69, correspondence file). A small collection of sheet music of several of Blitzstein's earliest works (all which are present in this collection) is located at the Edwin A. Fleisher Collection of Orchestral Music, Free Library of Philadelphia, Philadelphia, Pennsylvania. Researchers interested in Another Part of the Forest and Toys in the Attic should also consult the Wisconsin Historical Society's-WCFTR's Kermit Bloomgarden collection.

Administrative/Restriction Information
Use Restrictions

Literary and performance rights reside with the executors of the Blitzstein Estate. Recordings presented by Eric Gordon (Audio 761A, Audio 763A, and Audio 764A) may be used for research only.

Acquisition Information

Presented by Marc Blitzstein, New York, New York, 1962; Norman Cazden, Lexington, Massachusetts, 1964; Robert Dietz, Bremerton, Washington, 1964; Paul Talley, Madison, Wisconsin, 1964; Josephine Davis, Philadelphia, Pennsylvania, 1964-1975; Helen G. Coates, New York, New York, 1972; Sally Lou Todd, Minneapolis, Minnesota, 1975-1976; the Estate of Marc Blitzstein, via Josephine and Edward Davis, Trustees, Philadelphia, Pennsylvania, 1978; Eric Gordon, New York, New York; Christopher Davis, Philadelphia, Pennsylvania, 1981; Eric A. Gordon, New York, 1979-1983. Additional photocopied music scores purchased from the Edwin A. Fleisher Collection of Orchestral Music, Philadelphia, Pennsylvania, 1985. Accession Number: MCHC 62-003, 62-023, 64-029, 64-057, 64-110, 64-114, 65-144, 71-049, 72-038, 75-113, 75-116, 76-001, 78-042, 78-185, 79-044, 79-047, 81-054, 81-067, 81-086, 83-002, 85-569.

Processing Information

Processed by Eleanor McKay, J. Clairmont, L. Blank, and M. MacKesey, 1975; reprocessed with additions and prepared for microfilming by Melodie Rue and Menzi Behrnd-Klodt, 1985, 1986.

Contents List
Series: Personal Papers
U.S. Mss 35AN/Micro 1049
Box/Folder   1/1-9
Reel-frame   1/1-1161
1919 January 26-1929 December 26
Box/Folder   2/1-7
Reel/Frame   2/1-1262
1930 January 12-1932 December 29
Box/Folder   2/8
Reel/Frame   3/1-154
1933 January 5-December 31
Box/Folder   3/1-8
Reel/Frame   3/120-1177
1934 January 9-1941 December 3
Box/Folder   3/9-11
Reel/Frame   4/1-355
1942 March 30-1955 October 22
Box/Folder   4/1-6
Reel/Frame   4/356-940
1956 May 4-1964 January 31
Box/Folder   4/7
Reel/Frame   5/1-23
Memorials Made at Blitzstein's Death, 1964
Box/Folder   4/8
Reel/Frame   5/24-127
1964 February 1-1978 January 20
Box/Folder   4/9
Reel/Frame   5/128-178
Box   105
Reel/Frame   67/52-578
Address card file
Box/Folder   5/1
Reel/Frame   5/179-277
Personal investments, insurance, 1925-1964
Box/Folder   5/2
Reel/Frame   5/278-357
Eva Goldbeck, 1929-1934
Box/Folder   5/3
Reel/Frame   5/358-501
Correspondence and contracts, 1934 May 19-1961 August 22
Box/Folder   5/4
Reel/Frame   5/502-613
Arrow Press correspondence and contract, 1949 November 12-1956 August 31
Box/Folder   5/5
Reel/Frame   5/614-680
Chappell and Company correspondence and contract, 1938 March 21-1963 July 25
Box/Folder   5/6
Reel/Frame   5/681-744
Spoken Arts Inc. correspondence, contracts, notes, 1956 January 31-May 4
Box/Folder   5/7
Reel/Frame   5/745-805
Royalty statements, 1941 March 31-1961 October
Box/Folder   5/8
Reel/Frame   5/806-850
Copyright materials, 1937 April 13-1963 May 17
Box/Folder   5/9
Reel/Frame   5/851-880
Writer performance records, 1955-1961
Biographical and Family Materials
Box/Folder   6/1
Reel/Frame   5/881-1011
Military papers, marriage and death certificates, wills, 1921 July 12-1945 June 26
Box/Folder   6/2
Reel/Frame   6/1-183
Passports, journals and notebooks, address book, international drivers licenses, including photographs and papers of Eva Goldbeck
Box/Folder   6/3
Reel/Frame   6/184-260
Work résumés and biographical sketches, 1918-1958
Box/Folder   6/4
Reel/Frame   6/261-715
Journals, 1933-1934, 1950, 1963
Note: Journals from 1933-1934 are incomplete.
Box/Folder   6/5
Reel/Frame   6/716-843
Miscellaneous notes
Box/Folder   6/5
Reel/Frame   6/968-997
Miscellaneous notes of Eva Goldbeck
Box/Folder   6/6
Reel/Frame   6/844-932
Miscellaneous notes and memos of Eva Goldbeck
Eva Goldbeck's Journals
Box   112
Reel/Frame   71/1-106
1921 December-1924 August
Box   112
Reel/Frame   107-203
1924 August-1925 June
Box   112
Reel/Frame   204-311
1925 July-December
Box   112
Reel/Frame   312-418
1929 January-1932 December
Box   112
Reel/Frame   419-542
1930 January-December
Box   112
Reel/Frame   543-569
1932 December-1936 February
Answering You Americans to Americans, 1943 July 29
Note: British Broadcasting Corporation, New York Studios
Parts 3-4
Note: Original: Disc 161A/23

Physical Description: Portions damaged; poor quality 
Part 5, including Blitzstein interview
Note: Original: Disc 161A/24
Part 6
Note: Original: Disc 161A/24
Part 4
Note: Original: Disc 161A/23
American Composers at the Piano, 4 record set, undated
Lukas Foss - “Rondo Fantasy,” beginning
Note: Original: Disc 161A/61
Lukas Foss - “Rondo Fantasy,” conclusion
Note: Original: Disc 161A/62
Leo Smit - “Rondel for a Young Girl,” “Tonata Breakdown”
Note: Original: Disc 161A/63
Marc Blitzstein - “Variation III” (from “The Guests”)
Note: Original: Disc 161A/64
Marc Blitzstein - “Three, Four Dance;” Finale (from “The Guests”)
Note: Original: Disc 161A/64
Norman Dello Joio - “Prelude: To a Young Musician”
Note: Original: Disc 161A/63
Norman Dello Joio - “Prelude: To a Young Dancer”
Note: Original: Disc 161A/62
Henry Cowell - “Jig,” “Aeolian Harp,” Advertisement
Note: Original: Disc 161A/61
Radio interview with Lina Abarbanell, recorded from Mr. and Mrs. Opera show
Note: Original: Disc 161A/14-15

Scope and Content Note: Abarbanell speaks about her life in music, how she became interested in music, and her early studies.
News broadcast, 1947 March 7,
Note: Original: Disc 161A/31

Scope and Content Note: Stephen Davis, Columbia School of Journalism, with international and national news of the day.
U.S. Mss 35AN/Micro 1049
Box/Folder   6/7
Reel/Frame   6/934-967
Russian trip notebook, 1922-1927
Box/Folder   6/8
Reel/Frame   7/1-208
European trip journal, 1960 November 1-1962 January 3
Box/Folder   6/9
Reel/Frame   7/209-354
European trip notes and diaries, 1959-1960
Box/Folder   6/10
Reel/Frame   7/355-444
Israeli trip correspondence, notes, and materials, 1962 June-August
John Simon Guggenheim Foundation Fellowship
Box/Folder   7/1
Reel/Frame   7/445-507
Marc's applications and correspondence, 1928-1942
Box/Folder   7/2
Reel/Frame   7/508-519
Eva's application and correspondence 1929
Box/Folder   7/3
Reel/Frame   7/520-528
American Society of Composers, Authors, and Publishers (ASCAP) materials and award, 1942-1963
Box/Folder   7/4
Reel/Frame   7/529-560
Miscellaneous awards, 1946-1963
Composers' Organizations
Box/Folder   7/5
Reel/Frame   7/561-625
ASCAP memos to members, papers, 1953-1958
Composers' Collective
Box/Folder   7/6
Reel/Frame   7/626-730
Purpose, correspondence, minutes, publicity, 1935 March 30-1936 January 31
Town Hall Club
Box/Folder   7/7
Reel/Frame   7/731-751
Correspondence, program, script, 1954 May-September
Rockefeller Brothers' Fund
Box/Folder   7/8
Reel/Frame   7/752-836
Correspondence and reports, 1963 June-July
Box/Folder   7/9
Reel/Frame   7/837-852
Writers' Organizations
Federal Theatre Project
Living Newspaper Project
Box/Folder   7/10
Reel/Frame   7/853-983
“Injunction Granted” script, 1936
Box/Folder   7/11
Reel/Frame   8/1-156
“Power” script, 1937
WPA Theatre Project
Box/Folder   7/12
Reel/Frame   8/157-200
Louis M. Simon clippings, 1936-1937
Box/Folder   7/13
Reel/Frame   8/201-213
Citizen Kane souvenir book, 1939
Fourth American Writers' Congress
Box/Folder   7/14
Reel/Frame   8/214-305
Notes, itinerary, program, script, 1941 June 6-8
Box/Folder   8/1-4
Reel/Frame   8/307-504
Biographical clippings, 1922-1980, undated
Box/Folder   8/5
Reel/Frame   8/505-541
Miscellaneous clippings
Series: Writings
Marc Blitzstein's Writings
Note: See also scrapbook volumes 1, 2, 9.
Box/Folder   9/1
Reel/Frame   8/542-557
Poetry, 1922 (with later comments, 1958)
Box/Folder   9/2
Reel/Frame   8/558-574
Notes for proposed autobiography, “Case Meets History,” 1947
Box/Folder   9/3
Reel/Frame   8/575-610
Notes for an article on Brecht-Weill collaboration, 1959
Box/Folder   9/4
Reel/Frame   8/611-663
Notes for Saturday Evening Post “ Adventures of the Mind” series, entitled “American Opera Today,” 1960
Box/Folder   9/5-6
Reel/Frame   8/664-805
Published articles, 1926 February 5-1960
Miscellaneous articles
Box/Folder   9/7
Reel/Frame   8/806-912
Box/Folder   9/8
Reel/Frame   9/1-180
Box/Folder   9/9
Reel/Frame   9/181-203
Notes for proposed articles, undated
Box/Folder   9/10
Reel/Frame   9/204-257
Influential political materials bulletins and article, 1942 June
Box/Folder   9/11
Reel/Frame   9/258-343
Lectures, articles, October 1934-1961
Downtown (Metropolitan) Music School
Box/Folder   9/12
Reel/Frame   9/344-420
Correspondence, finances, announcement list, 1935 May 28-1935 December 3
Box/Folder   9/13
Reel/Frame   9/421-472
Background materials and curriculum, 1935-1936
Box/Folder   9/14
Reel/Frame   9/473-492
“New Masses” concert correspondence and notes, 1939
Bennington College Tutorial
Box/Folder   10/1
Reel/Frame   9/493-646
Correspondence, evaluations, plays, articles, 1962 February 14-1963 April 15
Lecture notes
Box/Folder   10/2-3
Reel/Frame   9/647-972
circa 1928-1962 April 2
Box/Folder   10/4-5
Reel/Frame   10/1-247
Box/Folder   10/6
Reel/Frame   10/248-283
Lecture publicity, programs, and clippings, 1928-1936
Eva Goldbeck's Writings and Teachings
Box/Folder   10/7
Reel/Frame   10/284-358
Teaching materials, correspondence, and lectures, circa 1922
Box/Folder   10/8-9
Reel/Frame   10/359-652
Book reviews and notes, 1935-1936, undated
Reel/Frame   10/653-705
Book reviews and notes, 1935-1936, undated
Note: Originals discarded.
Box/Folder   11/1
Reel/Frame   10/706-838
Reviews of unproduced? Noel Coward plays, undated
Box/Folder   11/2
Reel/Frame   10/839-983
Alphabetical by author, circa 1935-1936
Box/Folder   11/3
Reel/Frame   11/1-111
Bertolt Brecht's writings, circa 1935-1936
Box/Folder   11/4
Reel/Frame   11/112-167
Alfred Polger's writings
Box/Folder   11/5
Reel/Frame   11/168-279
Frederick Wolf's writings, circa 1935-1936
Box/Folder   11/6
Reel/Frame   11/280-435
Miscellaneous, circa 1935-1936
Box/Folder   11/7
Reel/Frame   11/436-601
Short stories, 1922 October-1935 December
Box/Folder   11/8
Reel/Frame   11/602-660
Poetry, undated
Box/Folder   11/9
Reel/Frame   11/661-684
Plays, undated
“Sacred Cords”
Note: Unproduced play.
Box/Folder   11/10-11
Reel/Frame   11/685-877
Original manuscript, Acts I-III
Box/Folder   11/12
Reel/Frame   11/878-906
Final version, Act III
Box/Folder   12/1
Reel/Frame   11/907-911
Article about Marc Blitzstein's music, undated
Box/Folder   12/2
Reel/Frame   12/1-98
Article on Mother, a play by Bertolt Brecht and Hans Eisler
Note: Contains 3 versions.
Box/Folder   12/3-6
Reel/Frame   12/99-767
Miscellaneous articles
“The Broken Circle”
Note: Unpublished novel; earlier title: “Terry.”
Box/Folder   12/7
Reel/Frame   12/768-809
Notes, criticisms, synopsis
Box/Folder   12/8
Reel/Frame   12/810-1086
Early annotated draft, pp. 1-251
Box/Folder   13/1-2
Reel/Frame   13/1-424
Later draft, pp. 1-416
Box/Folder   13/3
Reel/Frame   13/425-568
First carbon, pp. 1-142
Complete annotated original manuscript
Box/Folder   13/4-5
Reel/Frame   13/569-913
Pages 1-273
Box/Folder   13/6-7
Reel/Frame   14/1-363
Pages 274-615
Box/Folder   14/1
Reel/Frame   14/364-461
“Brussels Letter” working and final versions, 1934
Box/Folder   14/2
Reel/Frame   14/462-639
“For a Life” excerpts from semi-autobiographical novel
“Major Fudge” unpublished novel
Unabridged annotated typescript
Box/Folder   14/3-4
Reel/Frame   14/640-981
Chapters 1-6
Box/Folder   14/4-5
Reel/Frame   15/1-418
Chapters 7-9
Box/Folder   14/6
Reel/Frame   15/419-446
Publication record
Box/Folder   14/7
Reel/Frame   15/447-481
Miscellaneous unidentified fragments
Writings by Others
Box/Folder   14/8
Reel/Frame   15/482-648
Note: Alphabetical by author.
Box/Folder   14/9
Reel/Frame   15/649-665
Bertolt Brecht writings
In Gernman.
Box/Folder   15/1
Reel/Frame   15/666-739
“The Sun in Mid-Career” / by Christopher Davis
Box/Folder   15/2
Reel/Frame   15/740-751
“The Abraham Lincoln Gazette,” the Davis family newsletter, 1940
Box/Folder   15/3
Reel/Frame   15/752-785
Miscellaneous Davis family writings
Box/Folder   15/4
Reel/Frame   15/787-911
“A Beautiful Day” / a play by Solen Matt Burry, undated
Box/Folder   15/5-8
Reel/Frame   16/1-482
“The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era” / by Robert J. Dietz, 1970 January
Note: Doctoral Thesis, University of Iowa.
Box/Folder   15/9
Reel/Frame   16/483-612
“For Reasons of State - A Monument for Sacco and Vanzetti” / by Erich Muhsam (German play, English synopsis)
Box/Folder   15/10
Reel/Frame   16/613-746
Box/Folder   15/11
Reel/Frame   16/747-791
“Horseplay” play / author unknown
Box/Folder   15/12
Reel/Frame   16/792-905
Miscellaneous short stories, author unknown
Note: Short stories possibly written by Eva Goldbeck.
Box/Folder   16/1
Reel/Frame   16/906-1148
“The Ablative Case” short stories or sketches / by Cecil Goldbeck and Freeman Hedges, circa 1929 (?)
Box/Folder   16/2
Reel/Frame   17/1-11
“Marc Blitzstein and the 'Agit-Prop' Theatre of the 1930s,” article in the University of Texas Yearbook / by Robert J. Dietz
Box/Folder   16/3
Reel/Frame   17/12-44
Walt Whitman unpublished notebooks / arranged by Clifton Fumess and dedicated to Eva Goldbeck, 1928
Box/Folder   16/4
“Fear and Trembling” / by Glenway Wescott Galley, 1932
Note: Available in published form.
Box/Folder   17/1
Reel/Frame   17/45-75
Ernst Toller manuscripts, 1922-1938
Box/Folder   17/2
Reel/Frame   17/76-107
Lyrics, undated
Box/Folder   17/3-5
Reel/Frame   17/108-438
Miscellaneous Blitzstein programs, 1927-1983, undated
Box/Folder   17/6
Reel/Frame   17/439-461
Josephine Davis address lists and miscellaneous papers
Box/Folder   17/7
Reel/Frame   17/462-486
Christopher Davis miscellaneous papers
Box/Folder   17/8
Reel/Frame   17/487-517
Unidentified materials, 1928-1963
Series: Motion Pictures
Hands (Hande) (1928)
Box/Folder   18/1
Reel/Frame   17/518-521
Publicity, 1928
Box/Folder   94/1
Reel/Frame   17/522-543
Piano score, 1928
Surf and Seaweed (1931)
Box/Folder   94/2
Reel/Frame   17/544-598
Piano part, instrumental score, circa 1931
Box/Folder   18/2
Reel/Frame   17/599-641
Music tablet, circa 1931
Box/Folder   94/3
Reel/Frame   17/642-694
Instrumental parts, undated
Box/Folder   94/4
Reel/Frame   17/695-760
Conductor's score, 1933
Chesapeake Bay Retriever (1936)
Box/Folder   18/3
Reel/Frame   17/761-770
Contracts and synopsis, 1936 May 2
Box/Folder   40/1
Reel/Frame   17/771-786
Piano part, 1931
Box/Folder   40/2
Reel/Frame   17/787-816
Conductor's score, 1931
Box/Folder   40/3
Reel/Frame   17/817-837
Instrumental parts, 1931
The Spanish Earth (1937)
Box/Folder   18/4
Reel/Frame   17/838
Clipping, 1961
Note: See also scrapbook volume 1.
Valley Town (1940)
Box/Folder   18/5
Reel/Frame   17/839
Contract, 1940 July 11
Box/Folder   40/4
Reel/Frame   17/840-905
Music sketches, piano reduction
Box/Folder   40/5
Reel/Frame   17/906-1020
Conductor's score, 1940
Recorded excerpts
Title I, II, III (title, graves, morning music)
Note: Original: Disc 161A/16
Title V, VI, VII (trains, [Economic] Depression, automatic steel mill)
Note: Original: Disc 161A/17
Title IX (finale)
Note: Original: Disc 161A/17
Title, morning music
Note: Original: Disc 161A/18
Hand Mill
Note: Original: Disc 161A/18
“Blues I Alley”
Note: Original: Disc 161A/28
“Blues II”
Note: Original: Disc 161A/28
U.S. Mss 35AN/Micro 1049
Native Land (1941)
Note: See also scrapbook volume 2.
Box/Folder   18/6
Reel/Frame   18/1-13
Correspondence, contract, notes, 1940-1946
Box/Folder   18/7
Reel/Frame   18/14-39
Clippings and publicity, 1940-1946
Box/Folder   18/8
Reel/Frame   18/40-187
Sequence log, 1940-1941
Piano reduction, instrumental parts, 1941
Box/Folder   41/1
Reel/Frame   18/188-293
Box/Folder   41/2
Reel/Frame   18/294-353
Box/Folder   41/3
Reel/Frame   18/354-542
Conductor's score, 1941
Box/Folder   42/1
Reel/Frame   18/543-701
Piano, percussion, string parts, undated
Box/Folder   42/2
Reel/Frame   18/702-845
Wind parts, undated
Box/Folder   43/1
Reel/Frame   18/846-873
“Dusty Sun,” piano-vocal, 1941
Box/Folder   43/2
Reel/Frame   18/874-900
“Inheritance of Freedom,” conductor's score, piano score
Box/Folder   43/2 (continued)
Reel/Frame   18/874-900
“American Day,” piano-vocal score
Box/Folder   43/3
Reel/Frame   18/901-925
Music sketches for “Dusty Sun” and “Inheritance of Freedom,” undated
Box/Folder   43/4
Reel/Frame   18/926-1028
Physical Description: Disc nos. 1-35 are 12-inch red emulsion glass, 78 rpm. 
Note: Original: Disc 33A/1

Physical Description: Broken disc 
Italian Street Scene
Note: Original: Disc 33A/2
American History (A)
Note: Original: Disc 33A/3
American History (A), part 1
Note: Original: Disc 33A/4
American History (A), part 1
Note: Original: Disc 33A/5
American History, part 2
Note: Original: Disc 33A/6
American History, part 3 (Building of the Land)
Note: Original: Disc 33A/6
End of A (Machine Age)
Note: Original: Disc 33A/7
Bad Takes
Note: Original: Disc 33A/7
Farm Sequence (B), part 1
Note: Original: Disc 33A/8
Farm Sequence (B), Transition to part 2
Note: Original: Disc 33A/8
Bad Take
Note: Original: Disc 33A/8
Bad Take
Note: Original: Disc 33A/9
Farm (B), Melodrama
Note: Original: Disc 33A/9
Union Parade, part 1
Note: Original: Disc 33A/10
Bad Takes
Note: Original: Disc 33A/10
Grocery Store
Note: Original: Disc 33A/11
Bad Takes
Note: Original: Disc 33A/12
Bad Takes
Note: Original: Disc 33A/13
Spy 6 (Hold the Fort)
Note: Original: Disc 33A/13
Percussion Rolls
Note: Original: Disc 33A/13
Percussion Rolls
Note: Original: Disc 33A/14
Bad Take
Note: Original: Disc 33A/15
Finale 1
Note: Original: Disc 33A/15
Timpani, Glockenspiel, Triangle, Cymbal Roll
Note: Original: Disc 33A/15
Finale, part 2
Note: Original: Disc 33A/15
Finale 3
Note: Original: Disc 33A/16
Last Chord of Finale 3
Note: Original: Disc 33A/16
G2 - Industrial, part 1
Note: Original: Disc 33A/16
Bad Takes
Note: Original: Disc 33A/17

Physical Description: Cracked disc 
Finale of G2
Note: Original: Disc 33A/17

Physical Description: Cracked disc 
Spy 6B
Note: Original: Disc 33A/18

Physical Description: Cracked disc 
Memorial Day
Note: Original: Disc 33A/19

Physical Description: Cracked disc 
Hurdy Gurdy of Memorial Day
Note: Original: Disc 33A/19

Physical Description: Cracked disc 
Spy 3
Note: Original: Disc 33A/19

Physical Description: Cracked disc 
Man Walking Beside Factories, Unemployed
Note: Original: Disc 33A/20
Ku Klux Klan
Note: Original: Disc 33A/20

Physical Description: Disc quality not very good. 
Ku Klux Klan
Note: Original: Disc 33A/21

Physical Description: Good disc quality. 
V1 - Thugs and Strike-breakers Caught
Note: Original: Disc 33A/21
V2 - The Committee at Work
Note: Original: Disc 33A/21
Note: Original: Disc 33A/22
Beginning of Funeral
Note: Original: Disc 33A/23
Beginning of Funeral (best)
Note: Original: Disc 33A/23
Bad Take
Note: Original: Disc 33A/24
Funeral (after introduction)
Note: Original: Disc 33A/24
Bad Take
Note: Original: Disc 33A/24
H - “Snarfest” (typewriters, etc.)
Note: Original: Disc 33A/24
Finale (Bad take)
Note: Original: Disc 33A/25
Finale (3)
Note: Original: Disc 33A/25
Titles (best)
Note: Original: Disc 33A/25
Cymbal bang
Note: Original: Disc 33A/26
Bad Take
Note: Original: Disc 33A/26
B - Farm Sequence, Introduction and part 1
Note: Original: Disc 33A/26
Farm (B), Interior, part II
Note: Original: Disc 33A/27
K2, Labor Picnic and Finish
Note: Original: Disc 33A/28
Bad Take
Note: Original: Disc 33A/28
Bad Take
Note: Original: Disc 33A/29
Last part
Note: Original: Disc 33A/29
1. Titles - old A with voice (American History)
Note: Original: Disc 33A/30
3. Old - American History - Machine Age
Note: Original: Disc 33A/30
2. (Improvisation) (A)
Note: Original: Disc 33A/31
4. B (Farm Sequence)
Note: Original: Disc 33A/31
5. Quiet - Farm Interior and Melodrama
Note: Original: Disc 33A/32
7. Morning and Evening Scene
Note: Original: Disc 33A/32
6. Italian Street Scene (C)
Note: Original: Disc 33A/33
8a. Dawn after “Morning and Evening Scene” (D2)
Note: Original: Disc 33A/33
8b. Grocery Store (N)
Note: Original: Disc 33A/33
Piano: 9, Funeral March
Note: Original: Disc 33A/34
10, End of Funeral March and Onward
Note: Original: Disc 33A/35
Reel No. 6, Take No. 1, 1941 October 31
Note: Original: Disc 33A/36
Reel No. 6, Take No. 2, 1941 November 7
Note: Original: Disc 33A/37

Physical Description: Broken disc 
Reel No. 6, Take No. 2, 1941 November 11
Note: Original: Disc 33A/38
U.S. Mss 35AN/Micro 1049
Night Shift (1942)
Box/Folder   18/9
Reel/Frame   19/1-53
Correspondence, notes, clippings, circa 1941-1942
Box/Folder   18/10
Reel/Frame   19/54-105
Annotated scripts and autographs of Danny Kaye and Kate Smith, circa 1941-1942
Box/Folder   44/1
Reel/Frame   19/106-154
Musical sketches, undated
Box/Folder   44/2
Reel/Frame   19/155-262
Piano scores, 1942 February (one designated for Aaron Copland)
Box/Folder   44/3
Reel/Frame   19/263-298
Orchestra parts
Box/Folder   44/4
Reel/Frame   19/299-304
“Turn the Night into Day” piano-vocal score
“Charlotte's Web” (unproduced)
Box/Folder   18/11
Reel/Frame   19/305-325
Notes, synopsis, 1959
Series: Operas
Triple-Sec, 1930 June 14
Note: One-act opera-farce; part of The Garrick Gaieties.
Box/Folder   18/12
Reel/Frame   19/326-352
Correspondence and contracts, 1929 October 12-1954 November 14
Box/Folder   18/13
Reel/Frame   19/353-363
Script and music sketch, undated
Box/Folder   18/14
Reel/Frame   19/364-372
Publicity and clippings, 1929-1930
Box/Folder   45/1
Reel/Frame   19/373-417
Piano transcription, vocal; Bar Chart
Text in German.
Box/Folder   45/2
Reel/Frame   19/418-543
Chamber Orchestra score, 1930
Box/Folder   45/3
Reel/Frame   19/544-672
Chamber Orchestra score: conductor's score, 1930
Box/Folder   45/4
Reel/Frame   19/673-694
Vocal parts, 1928
Box/Folder   45/5
Reel/Frame   19/695-805
Four-hand piano score and instrumental parts
The Cradle Will Rock (1937 June 16)
Note: See also scrapbook volumes 1, 2, 4, 10.
Box/Folder   18/15
Reel/Frame   19/806-890
Correspondence, 1937 January 18-1963 August 5
Box/Folder   18/16
Reel/Frame   20/1-59
Financial correspondence, statements, contracts, 1930 November 16-1960 January 19
Box/Folder   18/17
Reel/Frame   20/60-102
Royalty statements, 1938 August 26-1963 June 30
Box/Folder   18/18
Reel/Frame   20/103-188
Cast lists, notes, script sketches, undated
Box/Folder   18/19
Reel/Frame   20/189-246
Historical analysis by John O. Hunter, and correspondence, 1963 October 29-1964 January 2
Box/Folder   18/20
Reel/Frame   20/247-339
Publicity, posters, playbills, 1937-1969
Box/Folder   19/1
Reel/Frame   20/340-390
Clippings, 1937 June 18-1965 March 28, undated
Box/Folder   19/2
Reel/Frame   20/391-417
Published libretto, 1938 (dated 1960 February 21)
Box/Folder   19/3
Reel/Frame   20/418-474
British production script, 1951
Box/Folder   19/4
Reel/Frame   20/475-479
Partial French script, undated
Box/Folder   19/5
Reel/Frame   20/480-544
Complete published script
Box/Folder   19/6
Reel/Frame   20/545-628
Proof for Random House book, 1938
Box/Folder   19/7
Reel/Frame   20/629-705
Photocopy of published book, proof for foreword / by Archibald MacLeish (Random House, 1938)
Box/Folder   19/8
Reel/Frame   20/706-762
Original playscript, 1938
Box/Folder   20/1-2
Reel/Frame   20/763-982
Early partial scripts and sketches
Box/Folder   20/3
Reel/Frame   21/1-70
Early scripts with corrections
Box/Folder   20/4-5
Reel/Frame   21/71-193
Note: Contains two.
Box/Folder   20/6
Reel/Frame   21/194-230
Published songs, 1936
Box/Folder   46/1
Reel/Frame   21/231-358
Piano-vocal score, 1938
Note: Used in New York City Opera Production, 1960.
Box/Folder   46/2-3
Reel/Frame   21/359-561
Piano-vocal scores, with published songs from opera, 1938
Box/Folder   46/4
Reel/Frame   21/562-686
Conductor's score, 1938
Conductor's score, 1938
Note: Used in 1937 production, Mercury Theatre, New York.
Box/Folder   47/1
Reel/Frame   21/687-795
Act I, Scenes 1-2
Box/Folder   47/2
Reel/Frame   21/796-1040
Act I, Scenes 3-6
Box/Folder   47/3
Reel/Frame   22/1-232
Act II, Scenes 7-10
Box/Folder   48/1
Reel/Frame   22/233-303
Piano-vocal sketches, 1938
Box/Folder   48/2
Reel/Frame   22/304-426
Musical sketches, 1938
The Cradle Will Rock recording
The Cradle Will Rock recording, 1964 production
No for an Answer (1941 January 5)
U.S. Mss 35AN/Micro 1049
Box/Folder   20/7
Reel/Frame   22/427-520
Correspondence, 1939 October-1969 February 7
Box/Folder   20/8
Reel/Frame   22/521-534
Contracts, royalty statements
Box/Folder   20/9
Reel/Frame   22/535-547
Production plan, narration, undated
Box/Folder   20/10-12
Reel/Frame   22/548-844
Notes, circa 1938-1940
Box/Folder   21/1
Reel/Frame   22/845-941
Working notes, working scripts, 1939
Box/Folder   21/2-8
Reel/Frame   23/1-926
Working notes, working scripts, 1939, undated
Box/Folder   21/9
Reel/Frame   23/927-1038
Early script, 1939
Box/Folder   22/1
Reel/Frame   24/1-49
Script, undated
Box/Folder   22/2
Reel/Frame   24/50-175
Complete script, annotated, undated
Box/Folder   22/3
Reel/Frame   24/176-298
Script with handwritten annotations, undated
Box/Folder   22/4-6
Reel/Frame   24/299-582
Dialogues, undated
Box/Folder   22/7
Reel/Frame   24/583-670
Petition, address lists, miscellaneous, 1940 February 20
Box/Folder   22/8
Reel/Frame   24/671-717
Publicity, 1939 February 11-1960 April 25
Box/Folder   22/9
Reel/Frame   24/718-785
Box/Folder   22/10
Reel/Frame   24/786-791
“Blitzstein's Answer” / by Samuel L.M. Barlow, Modern Music, 1941 January-February, pp. 81-82
Box/Folder   48/3
Reel/Frame   24/792-985
Master sheets piano score
Box/Folder   49/1
Reel/Frame   25/1-220
Music sketches and unfinished songs
Box/Folder   49/2
Reel/Frame   25/221-403
Piano-vocal score, 1938-1940
Note: “In the Clear,” pp. 97-100, missing from this version.
Box/Folder   49/3
Reel/Frame   25/404-423
Incomplete piano-vocal score, undated
Box/Folder   49/4-10
Reel/Frame   25/424-503
Vocal parts for Bulge, Clair, Emanuel, Jimmie and Bobbie, Gina, Nick, and Mary, circa 1938-1941
Box/Folder   50/1-4
Reel/Frame   25/504-745
Bound choral scores, circa 1938-1941
Edited Chorus Parts, circa 1938-1941
Box/Folder   51/1-2
Reel/Frame   25/746-776
Act I (Soprano, Alto, Tenor, Bass)
Box/Folder   51/3-4
Reel/Frame   25/777-806
Act II (Soprano, Alto, Tenor, Bass)
Chorus parts, original Master
Box/Folder   52/1
Reel/Frame   25/807-836
Act I (Soprano, Alto, Tenor, Bass)
Box/Folder   52/2
Reel/Frame   25/837-866
Act II (Soprano, Alto, Tenor, Bass)
Box/Folder   52/3
Reel/Frame   25/867-872
“Fraught Song” piano-vocal score: negative photostat
Box/Folder   52/4
Reel/Frame   25/873-880
Songs, circa 1938-1941
Recorded excerpts, 1941
Recorded excerpt - “Weep for Me” / Leonard Bernstein, artist
Note: Original: Disc 161A/27
U.S. Mss 35AN/Micro 1049
Regina (1949 October 31)
Note: See also scrapbook volumes 4-6, 8-9, 11.
Box/Folder   23/1
Reel/Frame   25/881-1012
Correspondence, 1949 November 11-1959 November 2
Box/Folder   23/2
Reel/Frame   26/1-82
Contracts and royalty statements, 1946 October 18-1959 September 21
Box/Folder   23/3
Reel/Frame   26/83-130
Outlines and synopses
Box/Folder   23/4
Reel/Frame   26/131-143
Criticism by Lillian Hellman, 1949 September 8-1949 June 27
Box/Folder   23/5
Reel/Frame   26/144-292
Scene outlines, circa 1946-1948
Box/Folder   23/6-7
Reel/Frame   23/293-538
Notes, working scripts, 1946-1949
Box/Folder   23/8
Reel/Frame   26/539-647
Script, first draft, circa 1949
Box/Folder   23/9
Reel/Frame   26/648-748
Script, (“old version”), undated
Box/Folder   23/10
Reel/Frame   26/749-846
Script, “Blitzstein's Copy,” with cast list and annotations, undated
Box/Folder   23/11
Reel/Frame   26/847-943
Script, undated
Box/Folder   23/12
Reel/Frame   27/1-45
Script, published copy, with Blitzstein's notes, 1953
Box/Folder   24/1
Reel/Frame   27/46-81
Partial script for television, 1949 November 13
Box/Folder   24/2
Reel/Frame   27/82-171
Clippings, 1949 May 10-1958 April 28
Box/Folder   24/3
Reel/Frame   27/172-320
Publicity, 1949 October 9-1962 October
Box/Folder   24/4
Reel/Frame   27/321-342
“Regina Concert” miscellaneous
Box/Folder   24/5
Reel/Frame   27/343-388
Notes and miscellaneous
Box/Folder   24/6
Reel/Frame   27/389-442
Works influenced by Regina, 1958 October 9
Box/Folder   24/7
Reel/Frame   27/443-572
Published score, 1942
Box/Folder   24/8
Reel/Frame   27/573-613
Published song sheets, 1949
Box/Folder   52/5
Reel/Frame   27/614-647
Songs from the Opera, circa 1949
Box/Folder   52/6
Reel/Frame   27/648-826
Early music sketches
Box/Folder   53/1
Reel/Frame   28/1-183
Working piano-vocal score, Act I, undated
Box/Folder   54/1
Reel/Frame   28/184-447
Annotated piano-vocal score, 1946-1948
Box/Folder   54/2
Reel/Frame   28/448-711
Piano-vocal score, 1946-1948
Note: Used in Cheryl Crawford production, 1949.
Box/Folder   55/1-2
Reel/Frame   28/712-828
Piano-vocal scores, Vols. I-II, 1946-1948
Box/Folder   55/5
Reel/Frame   29/1-26
Piano-vocal score, Act III (Rain Quartet)
Box/Folder   55/6
Reel/Frame   29/27-32
Piano-vocal score for Songs “Look at Me” and “Greedy Girl”
Conductor's Scores
Box/Folder   56/1
Reel/Frame   29/33-88
Act I, Scene 1
Box/Folder   56/2
Reel/Frame   29/89-335
Act I, Scene 2
Box/Folder   56/3
Reel/Frame   29/336-581
Act I, Scene 2, parts 1-5, 6a, 6b, 6c, 6d, 7b, 8
Box/Folder   57/1
Reel/Frame   29/582-770
Act I, Prelude to Scene 3; Scene 3, parts 1-6
Box/Folder   57/2
Reel/Frame   29/771-908
Act I, Scene 4, parts 1-4
Box/Folder   57/3
Reel/Frame   30/1-210
Act I, Scene 5, parts 3-9
Box/Folder   58/1
Reel/Frame   30/211-507
Act II, Scene 2
Box/Folder   58/2
Reel/Frame   30/508-576
Act III, Prelude and Scene 3
Box/Folder   58/3
Reel/Frame   30/577-660
Recorded excerpts
“What Will It Be,” “Zan” / sung by Priscilla Gillette
Note: Original: Disc 161A/9

Physical Description: Damaged. 
“The Best Thing of All,” “Regina” / sung by Jane Pickens
Note: Original: Disc 161A/9
“Finale, Scene V” / sung by Gillette and Pickens
Note: Original: Disc 161A/10
“Rain Quartette, Scene V” / sung by Gillette, Brenda Lewis as Birdie, William Wilderman as Horace, and Lillyn Brown as Addie
Note: Original: Disc 161A/10
“Lionnet,” parts 1-2 / sung by Lewis
Note: Original: Disc 161A/11
U.S. Mss 35AN/Micro 1049
Let's Make an Opera (1950 December 13)
Note: See also scrapbook volume 4.
Box/Folder   24/9
Reel/Frame   30/661-691
Correspondence and contract, 1950 August 24-1952 August 22
Box/Folder   24/10
Reel/Frame   30/692-742
Notes and revisions, circa 1950
Box/Folder   24/11
Reel/Frame   30/743-749
Song lyrics for the audience
Box/Folder   24/12
Reel/Frame   30/750-867
Annotated scripts, 1949-1950
Box/Folder   24/13
Reel/Frame   30/868-943
Published score, vocal with piano duet; music by Benjamin Britten, 1950
Box/Folder   24/14
Reel/Frame   30/944-954
Publicity, 1950
Recorded excerpts
Note: Original: Disc 161A/11
The Harpies (1953 June)
Note: See also scrapbook volume 6.
Box/Folder   24/15
Reel/Frame   31/1-5
Correspondence, 1931 March 27-November 25
Box/Folder   24/16
Reel/Frame   31/6-21
Scripts, 1931
Box/Folder   24/17
Reel/Frame   31/22-88
Tablet with musical sketches, 1931
Box/Folder   24/18
Reel/Frame   31/89-166
Piano transcription, 1931
Early instrumental parts, 1931
Box/Folder   59/1
Reel/Frame   31/167-241
Piano-vocal score (Negative Photostat), 1931
Box/Folder   59/2
Reel/Frame   31/242-289
Instrumental parts, 1931
Recorded excerpts
U.S. Mss 35AN/Micro 1049
Reuben, Reuben (Boston, 1955 October 10)
Note: See also scrapbook volume 8.
Box/Folder   25/1
Reel/Frame   31/290-324
Correspondence and contract, 1953 August 6-1955 October 28
Box/Folder   25/2
Reel/Frame   31/325-330
Royalty statements, 1956 March 31-September 30
Box/Folder   25/3
Reel/Frame   31/331-481
Notes, Act I, i; II, iii, iv, 1951-1953
Box/Folder   25/4-5
Reel/Frame   31/482-615
Notes, 1950-1953
Box/Folder   25/6
Reel/Frame   31/616-973
Notes, circa 1952
Box/Folder   25/7
Reel/Frame   32/1-31
Notebook, circa 1955
Box/Folder   25/8
Reel/Frame   32/32-173
Notes and cuts, 1951-1955
Notes and scripts
Box/Folder   25/9
Reel/Frame   32/174-236
Act I, Scene 1, circa 1955
Box/Folder   25/10
Reel/Frame   32/237-348
Act I, Scene 2, circa 1954-1955
Box/Folder   25/11
Reel/Frame   32/349-362
Act I, Scene 3, 1954-1955
Box/Folder   26/1
Reel/Frame   32/363-394
Act I, Scene 4, 1951-1955
Box/Folder   26/2
Reel/Frame   32/395-447
Act I, Scene 5, 1954-1955
Box/Folder   26/3
Reel/Frame   32/448-496
Act I, Scene 6, 1954-1955
Box/Folder   26/4
Reel/Frame   32/497-532
Act I, Scene 7, 1955
Box/Folder   26/5
Reel/Frame   32/533-551
Act II, Scene 1, 1953-1955
Box/Folder   26/6
Reel/Frame   32/552-592
Act II, Scene 2, 1953-1955
Box/Folder   26/7
Reel/Frame   32/593-715
Act II, Scene 3, 1953-1955
Box/Folder   26/8
Reel/Frame   32/716-731
Act II, Scene 4, 1955
Box/Folder   26/9
Reel/Frame   32/732-924
Notes, partial scripts, revisions, circa 1955
Box/Folder   26/10
Reel/Frame   32/925-976
Production notes, synopsis, set designs, 1953-1955
Box/Folder   26/11
Reel/Frame   33/1-146
Script, 1955
Box/Folder   26/12
Reel/Frame   33/147-157
Publicity, 1955
Box/Folder   26/13
Reel/Frame   33/158-161
Orchestra score barring sheet
Box/Folder   26/14
Reel/Frame   33/162-171
Lyrics, undated
Box/Folder   26/15
Reel/Frame   33/172-191
Published songs
Box/Folder   60/1
Reel/Frame   33/192-615
Musical sketches
Box/Folder   60/2
Reel/Frame   33/616-654
Songs: finished manuscripts
Box/Folder   60/3
Reel/Frame   33/655-669
Songs: manuscripts for published songs
Box/Folder   61/1
Reel/Frame   33/670-947
Early piano-vocal score
Box/Folder   61/2
Reel/Frame   34/1-304
Second draft piano-vocal score
Piano-vocal scores
Box/Folder   62/1
Reel/Frame   34/05-419
Act I with revisions, 1953
Box/Folder   62/2
Reel/Frame   34/420-464
Act I, corrected, 1953
Box/Folder   62/3
Reel/Frame   34/465-581
Act I, Scenes 3-5, 8-9, with revisions
Box/Folder   62/4
Reel/Frame   34/582-621
Fragmentary score, undated
Box/Folder   63/1
Reel/Frame   34/622-874
Act I, Scenes 1-7, with later revisions, 1953
Box/Folder   64/1
Reel/Frame   34/875-end 8 35/1-373
Act I, Scenes 1-7, revised, 1955
Box/Folder   65/1-2
Reel/Frame   35/374-611
Act II, with revisions
Box/Folder   65/3
Reel/Frame   35/612-776
Act II, with later revisions, 1955?
Box/Folder   66/1
Reel/Frame   35/777-end 8 36/1-141
Act I, late version, 1955
Box/Folder   66/2
Reel/Frame   36/142-292
Act II, late version, 1955
Box/Folder   67/1
Reel/Frame   36/293-483
Act II, undated
Box/Folder   67/2
Reel/Frame   36/484-974
Act I, complete score
Conductor's scores
Box/Folder   68/1
Reel/Frame   37/1-99
Act I, Scene 1: vocal only, incomplete
Box/Folder   68/2-3
Reel/Frame   37/100-259
Act I, Scene 2: vocal only, incomplete
Box/Folder   68/4-5
Reel/Frame   37/260-348
Act I, Scene 3: vocal only, incomplete
Box/Folder   68/6
Reel/Frame   37/349-375
Act I, Scene 5: vocal only, incomplete
Box/Folder   68/7
Reel/Frame   37/376-417
Act I, Scene 5 (San Gennaro): vocal only, incomplete
Box/Folder   68/8
Reel/Frame   37/418-439
Act I, Scene 5: vocal only, incomplete
Box/Folder   68/9-10
Reel/Frame   37/440-509
Act I, Scene 6: vocal only, incomplete
Box/Folder   68/11
Reel/Frame   37/510-528
Act I, Scene 7 (Circus Finale): vocal only, incomplete
Box/Folder   68/12-13
Reel/Frame   37/529-613
Act I, Scene 7: vocal only, incomplete
Box/Folder   68/14
Reel/Frame   37/614-683
Act I, Scene 2, Dialogues 8 and 9
Complete original scores
Box/Folder   69/1
Reel/Frame   37/687-807
Act I, Overture-6A, 1953-1955
Box/Folder   69/2
Reel/Frame   37/808-1024
Act I, 6B-10, 1953-1955
Box/Folder   69/2
Reel/Frame   38/1-95
Act I, 11-12, 1953-1955
Box/Folder   69/3
Reel/Frame   38/96-383
Act I, 13-20
Box/Folder   70/1
Reel/Frame   38/384-599
Act I, 21-30, 1953-1955
Box/Folder   70/2
Reel/Frame   38/600-820
Act II, 31-36, undated
Box/Folder   70/3
Reel/Frame   38/821-996
Act II, 37-40, undated
Box/Folder   71/1-2
Reel/Frame   39/1-705
Act I, annotated copy of complete score
Box/Folder   72/1
Reel/Frame   39/706-981
Act I, annotated copy of complete score
Box/Folder   72/2
Reel/Frame   40/1-399
Act II, annotated copy of complete score
Act I, Scenes 1-6
Act II, Scenes 1-4
Reuben, Reuben
Four cuts from the score
10. a and b - Blitzstein
Note: Original: Disc 161A/25
11. Lear, Nambrust
Note: Original: Disc 161A/25
12. Ghostley
Note: Original: Disc 161A/25
13. Lear, Ghostley, Cass, Stewart
Note: Original: Disc 161A/25
Juno (1959 March 9)
Note: See also scrapbook volumes 8-9.
U.S. Mss 35AN/Micro 1049
Box/Folder   27/1
Reel/Frame   40/400-446
Correspondence, 1957 May 29-1975 October 9
Box/Folder   27/2
Reel/Frame   40/447-510
Contracts, 1956 July 16-1959 February 27
Box/Folder   27/3
Reel/Frame   40/511-550
Sally Lou Todd's analysis, 1975 June 3
Box/Folder   27/4
Reel/Frame   40/551-580
Critical comments, undated
Box/Folder   27/5
Reel/Frame   40/581-628
Audition notes, 1958
Box/Folder   27/6
Reel/Frame   40/629-673
Production notes and materials, circa 1957-1959
Box/Folder   27/7
Reel/Frame   40/674-703
Lyrics, 1957 June-July
Box/Folder   27/8
Reel/Frame   40/704-950
Notes and revisions of lyrics, 1957-1958
Box/Folder   27/9
Reel/Frame   40/951-1015
Revisions and notes on lyrics and book, 1958 August-December
Box/Folder   27/10
Reel/Frame   41/1-93
Notes and revisions of lyrics, partial scripts, 1959
Box/Folder   27/1
Reel/Frame   41/94-123
Miscellaneous working notes
Box/Folder   27/12
Reel/Frame   41/124-199
Outlines, notes, working script, 1957
Box/Folder   27/13
Reel/Frame   41/200-237
First draft, 1957 June
Box/Folder   27/14
Reel/Frame   41/238-324
Second draft, 1957 July
Box/Folder   27/15
Reel/Frame   41/325-410
Third draft, 1957 July
Box/Folder   27/16
Reel/Frame   41/411-531
Full script, 1957 August
Box/Folder   28/1
Reel/Frame   41/532-658
Revision of Act I:1, 1957 August 12
Box/Folder   28/2
Reel/Frame   41/659-766
Script, 1958 August 25
Box/Folder   28/3
Reel/Frame   41/767-856
Complete script, circa 1959
Box/Folder   28/4
Complete script, circa 1959
Note: Not filmed.
Box/Folder   28/5
Reel/Frame   41/857-958
Revised script / by Richard Maltby, Jr. and Geraldine Fitzgerald, 1974
Box/Folder   28/6
Reel/Frame   42/1-56
Playbills, 1957-1959
Box/Folder   28/7
Reel/Frame   42/57-77
Published songs, 1959
Box/Folder   73/1
Reel/Frame   42/78-126
Conductor's score “Ireland's Eye,” “Ireland's Eye Dance,” circa 1959
Box/Folder   73/2
Reel/Frame   42/127-242
Musical sketches, undated
Box/Folder   73/3
Reel/Frame   42/243-264
Ballet music motifs
Box/Folder   74/1
Reel/Frame   42/265-489
Piano-vocal score, 1958
Box/Folder   74/2
Reel/Frame   42/490-667
Revisions of piano-vocal score, circa 1959
Box/Folder   75/1
Reel/Frame   42/668-841
Piano-vocal score, Act I, 1958-1959
Box/Folder   75/2
Reel/Frame   42/842-943
Piano-vocal score, Act II, 1958-1959
Box/Folder   75/3
Reel/Frame   43/1-109
Piano-vocal revisions
Box/Folder   75/4
Reel/Frame   43/110-132
Songs, piano-vocal scores and published piano-vocal score, 1959
Juno (1) and (2)
Demo songs on Dick Charles recording discs
“My True Heart,” Rosemary June, Gloria Shane, piano
Note: Original: Disc 161A/12
“I Wish It So,” Rosemary June, Gloria Shane, piano
Note: Original: Disc 161A/12
“One Kind Word,” Jack Carroll, Gloria Shane, piano
Note: Original: Disc 161A/13
U.S. Mss 35AN/Micro 1049
“Parabola and Circula” (unproduced, dedicated to Eva Goldbeck, 1929)
Box/Folder   28/8
Reel/Frame   43/133-189
Script, undated
Box/Folder   28/9
Reel/Frame   43/190-447
Music tablets, 1929
Scores, 1929
Box/Folder   76/1
Volume 1: orchestra score
Box/Folder   76/2
Volume 2: conductor's score
Box/Folder   77/1
Reel/Frame   43/450-end
Piano-vocal scores, 1963 March 1
“The Traveling Salesman” (unproduced)
Box/Folder   28/10
Reel/Frame   44/1-81
Scripts, 1929 September 17, 1930 April
“The Killers” (unproduced)
Box/Folder   28/11
Reel/Frame   44/82-128
Musical sketches, 1931
“The Condemned” (choral opera, unproduced)
Box/Folder   29/1
Reel/Frame   44/129-135
Correspondence, 1931 November 11-1935 January 11
Box/Folder   29/2
Reel/Frame   44/136-152
Analysis, notes, undated
Box/Folder   29/3
Reel/Frame   44/153-163
Box/Folder   77/2
Reel/Frame   44/164-210
Early piano version, 1932
Box/Folder   77/3
Reel/Frame   44/211-270
Piano-vocal score transcription; instrumental; music sketch
Box/Folder   77/4
Reel/Frame   44/271-334
Conductor's score: first draft, undated
Box/Folder   77/5
Reel/Frame   44/335-547
Conductor's score, 1932-1933
Box/Folder   77/6
Reel/Frame   44/548-746
Conductor's score
“Sacco and Vanzetti” (unproduced)
Note: See also scrapbook volume 10.
Box/Folder   29/4
Reel/Frame   44/747-816
Correspondence, 1932 November 21-1963 July 3
Box/Folder   29/5
Reel/Frame   44/817-837
Contracts, 1960 February 19-June 14
Research materials
Box/Folder   29/6
Reel/Frame   44/838-979
General, 1927 April 9-1960 December 29
Box/Folder   29/7
Reel/Frame   45/1-143
General, 1961 March 7-1963 September 1
Box/Folder   29/8
Reel/Frame   45/144-238
Massachusetts Legislative Judiciary Committee Hearing, 1959
Box/Folder   29/9
Reel/Frame   45/239-245
Television correspondence, 1960 May 3-1963 June 18
Television script and notes,
Box/Folder   29/10
Reel/Frame   45/246-447
First draft, 1960 April 6-28
Box/Folder   29/11
Reel/Frame   45/448-591
Third revision, 1960 May 9
Books: annotated
Box/Folder   29/12
Reel/Frame   45/592-597
American Heritage / edited by Bruce Catton, volume XI, no. 1, 1959 December pp. 89-93
Box/Folder   30/1
Reel/Frame   45/598-1021
Commonweal vs. Sacco and Vanzetti / by Robert Weeks, 1958
Box/Folder   30/1
Reel/Frame   45/598-1021
Letters of Sacco and Vanzetti / edited by Frankfurther and Jackson, 1928
Box/Folder   30/2
Reel   46
The Sacco-Vanzetti Case / by Osmond K. Frankel, 1931
Box/Folder   30/2
Reel   46
Tragedy in Dedham / by Francis Russell, 1962
Box/Folder   30/3
Reel   46
The Untried Case / by Herbert E. Ehrman, 1960
Box/Folder   30/3
Reel   46
Winterset / by Maxwell Anderson, 1946
Box/Folder   31/1
Reel/Frame   47/1-46
Plans and outlines, Acts I-III, 1960 July 7-1961 November 28
Box/Folder   31/2
Reel/Frame   47/47-267
Character and general, 1959 September 15-1963 March 2
Box/Folder   31/3
Reel/Frame   47/268-439
Acts I-III, 1959 November 10-1963 March 18
Notes and scripts
Box/Folder   31/4
Reel/Frame   47/440-641
Act I, i, ii, iii, 1960 June 3-1963 March 20
Box/Folder   31/5
Reel/Frame   47/642-767
Act I, iv, v, vi, 1961 January 7-1962 July 5
Box/Folder   31/6
Reel/Frame   47/768-810
Act II, i, ia, iii, iv, vi, 1960 June 13-1961 October 11
Box/Folder   31/7
Reel/Frame   47/811-825
Acts III, iv, ?, 1960 April 22-1962 April 14
Music sketches
Box/Folder   31/8
Reel/Frame   47/826-830
The Beit-Yannai notebook, 1962 June 22-August 22
Box/Folder   78/
Reel/Frame   47/831-890
All Acts, 1959 December 8
Piano-vocal score
Box/Folder   78/2
Reel/Frame   47/891-900
Box/Folder   78/3
Reel/Frame   48/1-54
Act I, Scene 1, 1960 December 8
Box/Folder   78/4
Reel/Frame   48/55-108
Overture, Act I, Scene 1: preliminary drafts, 1961 April 18
Box/Folder   78/5
Reel/Frame   48/109-202
Sketches, Act I, Scenes 2, 4a, 5, 6, 1961
Box/Folder   78/6
Reel/Frame   48/203-223
Act I, Scene 2, undated
Box/Folder   78/7
Reel/Frame   48/224-386
Act I, Scene 3: preliminary drafts
Box/Folder   78/8
Reel/Frame   48/387-427
Act I, Scene 3
Box/Folder   78/9
Reel/Frame   48/428-433
Act I, Scene 5
Box/Folder   78/10
Reel/Frame   48/434-444
Act I miscellaneous, 1963
Box/Folder   78/11
Reel/Frame   48/445-476
Act II, Scenes 1a, 2a, 2b, 1961 (Preliminary Drafts)
Box/Folder   78/12
Reel/Frame   48/477-484
Act II: draft of “With a Woman to Be”
Box/Folder   78/13
Reel/Frame   48/487-499
Act II: last scene
Box/Folder   78/14
Reel/Frame   48/500-510
Act III: musical drafts
Box/Folder   78/15
Reel/Frame   48/511-560
Act III, Scene 6: musical drafts
Box/Folder   78/16
Reel/Frame   48/561-565
Act III: score for Vanzetti and reporter scene
Box/Folder   78/17
Reel/Frame   48/566-595
Act III: drafts for Vanzetti's Last Aria, 1961
Opera analysis
Publicity, 1960-1962
Recorded excerpts, circa 1977 August 26
Scope and Content Note: “A Woman To Be,” by Sacco, sung by tenor Peter Harvey; “If It Had Not Been for These Thing,” by Vanzetti, sung by Charles Fidlar. Piano by John Mueter. This version realized by Fidlar. Produced a few days prior to a Sacco-Vanzetti commemorative picnic held in Middlefield, Connecticut, circa August 26, 1977, when the tape was played.
U.S. Mss 35AN/Micro 1049
“Tales of Malamud” (unproduced)
Box/Folder   31/9
Reel/Frame   48/596-605
Correspondence, 1962 November 2-1967 April 29
Box/Folder   31/10
Reel/Frame   48/606-676
Background materials, Bernard Malamud short stories, 1962
Box/Folder   31/11
Reel/Frame   48/676-726
“The Magic Barrel,” notes and scripts, 1962 November 2-1963 September 7
“Idiots First”
Box/Folder   31/12
Reel/Frame   48/727-850
Notes and scripts, 1963
Box/Folder   79/1
Reel/Frame   49/1-195
Piano-vocal score musical drafts, 1962 October-1963 August
Box/Folder   79/2
Reel/Frame   49/196-302
“The Magic Barrel,” piano-vocal musical drafts, 1962 November 3-1964 January 19
Box/Folder   79/3
Reel/Frame   49/303-385
“Idiots First,” conductor's score, 1963
Series: Ballets
“American Woman” / ballet by Ruth Page
Box/Folder   31/13
Reel/Frame   49/386-421
Correspondence, notes, contract, and scenario, 1935 August-September
Cain (1938 June)
Box/Folder   31/14
Reel/Frame   49/422-441
Correspondence, notes, synopsis, 1931 November 16-1935 December 25
Box/Folder   31/15
Reel/Frame   49/442-570
Bound music tablets, circa 1931-1936
Box/Folder   80/1
Reel/Frame   49/571-690
Piano transcription
Box/Folder   80/2
Reel/Frame   49/690-971
Orchestra score, undated
Box/Folder   80/3
Reel/Frame   50/1-29
Theatre Orchestra score
Movements 1-8, recorded from a disc
Movements 9-12 (#10 not recorded)
U.S. Mss 35AN/Micro 1049
The Guests (1949 January 20)
Box/Folder   32/1
Reel/Frame   50/30-36
Contract, 1920 January 17
Box/Folder   32/2
Reel/Frame   50/37-47
Publicity, 1949
Box/Folder   81/1-2
Reel/Frame   50/48-220
Working piano scores
Box/Folder   81/3
Reel/Frame   50/221-252
Piano score completed masters
Box/Folder   82/1
Reel   50
Unbound Conductor's score, circa 1949
Physical Description: 145 unnumbered frames 
Box/Folder   82/2
Bound Conductor's score, circa 1949
Note: Duplicate of unbound Conductor's score, Box 82, Folder 1.
“Blessings of the Bath Ballet” (unproduced)
Box/Folder   81/4
Reel/Frame   50/254-322
Conductor's score, 1926-1931
“Jigg-Saw Ballet” (unproduced)
Box/Folder   81/5
Reel/Frame   50/323-381
Orchestra score, 1927-1928
“The Story of Keene and Albert” (unproduced)
Box/Folder   32/3
Reel/Frame   50/382-384
Outline, 1940
“King Hunger” (unproduced)
Box/Folder   32/4
Reel/Frame   50/385-402
Violin-piano score, undated
“Show Window or Model” (unproduced)
Box/Folder   32/5
Reel/Frame   50/403-482
Notes and partial scripts, circa 1946
“Megalopolis Ballet” (unproduced)
Box/Folder   81/6
Reel/Frame   50/483-518
Music sketches
“Svarga” (unproduced)
Box/Folder   32/6
Reel/Frame   50/519-524
Scenario, choreography, undated
Conductor's scores, 1925 April
Box/Folder   83/1
Reel/Frame   50/525-580
Act I, a, b
Box/Folder   83/2
Reel/Frame   50/581-617
Act II
Box/Folder   83/3
Reel/Frame   50/618-637
Box/Folder   83/4
Reel/Frame   50/638-682
Act IV, a, b
Box/Folder   83/5
Reel/Frame   50/683-815
Orchestral score, piano part: incomplete, 1924 March
Box/Folder   84/1
Reel/Frame   51/1-64
String parts, undated
Box/Folder   84/2
Reel/Frame   51/65-181
Wind, percussion, piano parts, undated
Series: Symphonies
Freedom Morning (1943)
Note: See also scrapbook volume 2.
Box/Folder   32/7
Reel/Frame   51/182-188
Publicity, 1944
Box/Folder   82/3
Reel/Frame   51/189-195
Piano vocal, lyrics
Box/Folder   82/4
Reel/Frame   51/196-221
Piano reduction
Box/Folder   82/5
Reel/Frame   51/222-327
Wind parts: negative photostats, 1943
Box/Folder   82/6
Reel/Frame   51/328-391
Conductor's Orchestral score, circa 1943
Stadium concert / performed by the Philharmonic Symphony Orchestra of New York, conducted by Alexander Smalling, 1944 August 4
Part 1
Note: Original: Disc 161A/20
Parts 2-4
Note: Original: Disc 161A/21
Part 5
Note: Original: Disc 161A/22
U.S. Mss 35AN/Micro 1049
The Airborne Symphony (1946)
Note: See also scrapbook volumes 2, 4, 6, 7.
Box/Folder   32/8
Reel/Frame   51/392-464
Correspondence, 1946 March 19-1960 February 22
Box/Folder   32/9
Reel/Frame   51/465-474
Contracts, 1946 May 22-26
Box/Folder   32/10
Reel/Frame   51/475-563
Notebooks, circa 1939-1942
Box/Folder   32/11
Reel/Frame   51/564-596
Early handwritten script, undated
Box/Folder   32/12
Reel/Frame   51/597-619
Box/Folder   32/13
Reel/Frame   51/619-773
Box/Folder   32/14
Reel/Frame   51/774-799
Schemes and production notes, 1943-1944
Box/Folder   32/15
Reel/Frame   51/800-902
Working scripts
Box/Folder   32/16
Reel/Frame   51/902-949
Script, 1943-1944
Box/Folder   32/17
Reel/Frame   52/1-47
Script: Orson Welles' copy, 1946
Note: Used by Tyrone Power, May 4, 1953, and by Zachary Scott, December 17-18, 1953.
Box/Folder   32/18
Reel/Frame   52/48-57
Notes for New York Times Article, by Blitzstein
Box/Folder   32/19
Reel/Frame   52/58-159
Box/Folder   85/1
Reel   52
Conductor's score, Movements I, II, 1943-1944
Physical Description: 185 unnumbered frames 
Box/Folder   85/2
Reel   52
Conductor's score, Movement III, 1943-1944
Physical Description: 158 unnumbered frames 
Box   113
Conductor's score, Movements I-III
Note: Not filmed.
Box/Folder   86/1
Reel/Frame   52/164-346
Musical sketches, circa 1943-1944
Box/Folder   86/2
Reel/Frame   52/347-437
Piano-vocal score, 1943-1944
Box/Folder   86/3
Reel/Frame   52/438-458
Prelude, Orchestra score, undated
Box/Folder   86/4
Reel/Frame   52/459-470
Song, “Ballad of the Bombardier,” 1943-1944
The Airborne Symphony
The Airborne Symphony, 1946 April 1 and 2
Note: Probably a recording of the World Premiere Performance, New York Symphony Orchestra, conducted by Leonard Bernstein.
Movement I - 1. Theory of Flight
Note: Original: Disc 161A/34
Movement I - 2. Ballad of History and Mythology
Note: Original: Disc 161A/35
Movement I - 3. Kittyhawk
Note: Original: Disc 161A/36

Physical Description: Damaged disc 
Movement I - 4. The Airborne
Note: Original: Disc 161A/36

Physical Description: Damaged disc 
Movement II - 5. The Enemy
Note: Original: Disc 161A/37

Physical Description: Damaged disc 
Movement II - 6. Threat and Approach
Note: Original: Disc 161A/38
Movement II - 7. Ballad of the Cities, Part I
Note: Original: Disc 161A/38
Movement II - 7. Conclusion of Ballad of the Cities
Note: Original: Disc 161A/39
Movement II - 8. Morning Poem
Note: Original: Disc 161A/40

Physical Description: Disc cracked 
Movement II - 8. Morning Poem
Note: Original: Disc 161A/41

Note: Probably another take of the above.
Movement III - 9. Ballad of Hurry Up, Part I
Note: Original: Disc 161A/42
Movement III - 9. Conclusion of Ballad of Hurry Up
Note: Original: Disc 161A/43

Physical Description: Damaged disc 
Movement III - 10. Ballad of the Bombardier
Note: Original: Disc 161A/44
Movement III - 12. The Open Sky, Part I
Note: Original: Disc 161A/45

Physical Description: Disc cracked 
Movement III - 12. Conclusion of The Open Sky
Note: Original: Disc 161A/46

Physical Description: Disc containing Movement III - 11. Chorus of the Rendezvous, is broken and cannot be repaired. 
The Airborne Symphony /performed by the NBC Symphony Orchestra, Leonard Bernstein, conductor, Narration by Blitzstein, for broadcast over Station WEAF, New York, 1946 May 26
Note: Recorded by Frankay and Jackson Recording Specialists, New York. New York. This recording from General Motors' Symphony of the Air.
Introduction by Radio Announcer; Movement I - 1. Theory of Flight, Part 1.
Note: Original: Disc 161A/47
Movement I - 3. Kittyhawk; 4. The Airborne
Note: Original: Disc 161A/47
Introduction by Radio Announcer; Movement I - 1. Theory of Flight, Part 1.
Note: Original: Disc 161A/48
Movement I - 3. Kittyhawk
Note: Original: Disc 161A/48
Movement I - Conclusion 1. Theory of Flight; 2. Ballad of History and Mythology
Note: Original: Disc 161A/49
Movement II - 5. The Enemy; Beginning of 6. Threat and Approach
Note: Original: Disc 161A/49
Conclusion of Movement I - 1. Theory of Flight; 2. Ballad of History and Mythology, Part 1.
Note: Original: Disc 161A/50
Movement II - 5. The Enemy
Note: Original: Disc 161A/51
Movement II - 7. Ballad of the Cities, middle section
Note: Original: Disc 161A/51
Movement II - 6. Threat and Approach; 7. Ballad of the Cities, Part 1
Note: Original: Disc 161A/52
Movement II - 7. Ballad of the Cities, conclusion; 8. Morning Poem
Note: Original: Disc 161A/52
Movement III - 9. Ballad of Hurry Up, Part 1
Note: Original: Disc 161A/52
The Airborne Symphony, recorded 1946 April 1
Movement I - 2. Ballad of History and Mythology; 3. Kittyhawk
Note: Original: Disc 161A/54
Movement I - 3. Kittyhawk, conclusion; Airborne Enemy, beginning
Note: Original: Disc 161A/53
Airborn Enemy, conclusion; Threat and Approach, beginning
Note: Original: Disc 161A/54
Threat and Approach, conclusion; Ballad of the Cities, beginning
Note: Original: Disc 161A/55
Ballad of the Cities, conclusion; Morning Poem, beginning
Note: Original: Disc 161A/56

Physical Description: Cracked disc 
Morning Poem; Ballad of Hurry Up, beginning
Note: Original: Disc 161A/55
Ballad of Hurry Up, conclusion; Night Music, beginning
Note: Original: Disc 161A/56
Ballad of the Bombardier
Note: Original: Disc 161A/57
Rendezvous; The Open Sky, beginning
Note: Original: Disc 161A/58
The Open Sky, conclusion
Note: Original: Disc 161A/57
The Open Sky, conclusion
Note: Original: Disc 161A/58
Threat and Approach, conclusion; Ballad of the Cities, beginning
Note: Original: Disc 161A/59
Morning Poem; Ballad of Hurry Up, beginning
Note: Original: Disc 161A/59

Physical Description: Cracked disc 
Ballad of the Cities, conclusion; Morning Poem, first line
Note: Original: Disc 161A/60
Ballad of Hurry Up, conclusion; Night Music, beginning
Note: Original: Disc 161A/60
Series: Choral Contatas
U.S. Mss 35AN/Micro 1049
This Is the Garden (1957 May 5)
Note: See also scrapbook volume 4.
Box/Folder   32/20
Reel/Frame   52/471-480
Finances, 1956 September 6-November 1
Box/Folder   32/21
Reel/Frame   52/481-581
Notes, synopsis, lyrics, circa 1956
Box/Folder   32/22
Reel/Frame   52/582-585
Publicity, circa 1957
Box/Folder   32/23
Reel/Frame   52/586-637
Published vocal score with piano transcription, 1956-1957
Box/Folder   87/1
Reel/Frame   52/637-727
Piano-vocal score: “scratch copy”, circa 1956-1957
Box/Folder   87/2
Reel/Frame   53/1-96
Piano-vocal score, 1956
Orchestra scores
Box/Folder   87/3
Reel   53
Volume I
Physical Description: 80 unnumbered frames 
Box/Folder   87/4
Reel   53
Volume II
Physical Description: 107 unnumbered frames 
Songs, 1957
Note: Original: Disc 161A/26

Scope and Content Note: “The Lex Express,” “I'm Ten and You'll See,” “Harlan Brown, Killed In the Street,” “Hymie Is a Poop,” “In Twos,” “San Gennaro”
U.S. Mss 35AN/Micro 1049
“Workers' Kids of the World Unite” (unproduced)
Box/Folder   32/24
Reel/Frame   53/99-103
Box/Folder   87/5
Reel/Frame   53/104-127
Piano-vocal score
“Cantatina for Women's Chorus and Percussion” (unproduced)
Box/Folder   32/25
Reel/Frame   53/128-140
Music tablets (sketches), lyrics, 1930
Box/Folder   87/6
Reel/Frame   53/141-150
Conductor's score
Series: Theater
Lear: A Study (1958)
Note: See also scrapbook volumes 4, 8.
Box/Folder   33/1
Reel/Frame   53/151-177
Correspondence and calendar, 1950 August 25-1958 March 5
Box/Folder   33/2
Reel/Frame   53/178-190
Contracts and finances, 1950 September 7-1955 November 14
Box/Folder   33/3
Reel/Frame   53/191-230
Notes, synopsis, 1955 October 30-1958 February 7
Box/Folder   33/4
Reel/Frame   53/231-468
King Lear scripts, 1950, 1955
Box/Folder   33/5
Reel/Frame   53/469-578
King Lear script: revision, 1956 January
Note: Orson Welles version.
Box/Folder   33/6
Reel/Frame   53/579-633
Publicity, 1950-1958
Box/Folder   88/1
Reel/Frame   53/634-697
Theatre orchestra score for Louis Calhern production, 1950
Box/Folder   88/2
Reel/Frame   53/698-745
Theatre orchestra score with revisions, 1955
Box/Folder   88/3
Reel/Frame   53/746-785
Theatre orchestra score, 1955
Box/Folder   88/4
Reel/Frame   54/1-46
Flute, piccolo and clarinet parts, 1955
Box/Folder   88/5
Reel/Frame   54/47-101
Trumpet parts, 1955
Box/Folder   88/6
Reel/Frame   54/102-142
Horn parts
Box/Folder   88/7
Reel/Frame   54/143-220
Percussion parts
Box/Folder   88/8
Reel/Frame   54/221-248
Notes, extra parts, 1955
Box/Folder   86/5
Reel/Frame   54/249-368
Full score: photocopy, 1950
Box/Folder   86/6
Reel   54
Theatre orchestra score, 1950
Physical Description: 61 unnumbered frames 
Box/Folder   89/1
Reel/Frame   54/370-400
Working sketches, 1950
Box/Folder   89/2
Reel/Frame   54/401-448
Musical sketches
Box/Folder   89/3
Reel/Frame   54/449-491
Study sketches, 1957
Box/Folder   89/4
Reel/Frame   54/492-530
Piano score, 1950
Box/Folder   89/5-6
Reel/Frame   54/531-590
Piano scores, circa 1955
Box/Folder   89/7
Reel/Frame   54/591-594
Piano-vocal score “Fool's Song II,” 1950
Box/Folder   89/8
Reel/Frame   54/595-624
Piano-percussion score with cues, 1950
Parade (1935 May 20)
Box/Folder   33/7
Reel/Frame   54/625-643
Correspondence, publicity, 1935
Julius Caesar (1937 November 11)
Note: See also scrapbook volume 1.
Box/Folder   33/8
Reel/Frame   54/644-656
Correspondence, finances, 1937 November 8-1938 February 15
Box/Folder   33/9
Reel/Frame   54/657-671
Notes, 1937 October 14-1938
Box/Folder   33/10
Reel/Frame   54/672-683
Publicity, 1937
Box/Folder   89/9
Reel/Frame   54/684-696
Orchestra score, 1937
Box/Folder   89/10
Reel/Frame   54/697-727
Trumpet, french horn, percussion parts
Box/Folder   89/11
Reel/Frame   54/728-740
“Orpheus” published and unpublished song scores, 1936-1937
Box/Folder   89/12
Reel/Frame   54/741-778
Fragmentary percussion and orchestra parts
Danton's Death (1938 November 2)
Note: See also scrapbook volume 1.
Box/Folder   33/11
Reel/Frame   54/779-781
Financial correspondence, 1938 November 14
Box/Folder   33/12
Reel/Frame   54/782-879
Script, circa 1938
Box/Folder   33/13
Reel/Frame   54/880-890
Lyrics, 1938
Box/Folder   33/14
Reel/Frame   54/891-900
Publicity, 1938 November 2
Box/Folder   90/1
Reel/Frame   55/1-14
Songs, 1938
Box/Folder   90/2
Reel/Frame   55/15-27
Song “Ho Christina!” score for clarinet, trombone, percussion, piano, and voice, 1938
Pins and Needles (1937 November 27)
Note: See also scrapbook volume 1.
Box/Folder   33/15
Reel/Frame   55/28-33
Publicity, 1939
Twelfth Night (1939)
Box/Folder   33/16
Reel/Frame   55/34-38
Correspondence and royalties, 1939 July 1-1940 March 29
Another Part of the Forest (1946 November 20)
Box/Folder   33/17
Reel/Frame   55/39-193
Script and front pages of published play, with notes, 1946 October, 1947
Androcles and the Lion (1946 December 19)
Note: See also scrapbook volume 2.
Box/Folder   33/18
Reel/Frame   55/194-205
Contracts, music cues, notes, publicity, 1946 November 8
Box/Folder   90/3
Reel/Frame   55/206-245
Orchestra score, 1946
Box/Folder   90/4
Reel/Frame   55/246-277
Piano score, 1946
Midsummer Night's Dream (Stratford, Connecticut, 1958 June 20)
Note: See also scrapbook volume 9, 10.
Box/Folder   33/19
Reel/Frame   55/278-289
Correspondence and contracts, 1958 June 1-1960 March 29
Box/Folder   33/20
Reel/Frame   55/290-355
Script, 1958
Box/Folder   33/21
Reel/Frame   55/356-386
Production notes, music cues, 1958
Box/Folder   33/22
Reel/Frame   55/387-450
Notes, lyrics, circa 1958
Box/Folder   33/23
Reel/Frame   55/451-468
Publicity, 1958
Box/Folder   90/5
Reel/Frame   55/469-552
Music sketches, 1958 April 30
Box/Folder   90/6
Reel/Frame   55/553-579
Incomplete piano score, 1958
Box/Folder   90/7
Reel/Frame   55/580-681
Conductor's score, fragmentary sketches
Box/Folder   90/8
Reel/Frame   55/682-709
Box/Folder   90/9
Reel/Frame   55/90/710-805
Orchestra score, Part I: early version, heavily annotated, 1958
Box/Folder   90/10
Reel/Frame   55/806-874
Orchestra score, part I: partial, 1958
Box/Folder   91/1
Reel/Frame   55/875-964
Orchestra score, parts II and III
Box/Folder   91/2
Reel/Frame   56/1-163
Complete score, 1958
Box/Folder   91/3
Reel/Frame   56/164-207
“Six Elizabethan Songs for Tenor” piano-vocal scores dedicated to Leonard Bernstein, 1958
The Winter's Tale (Stratford, Connecticut, 1958 July 20)
Note: See also scrapbook volume 9, 10.
Box/Folder   34/1
Reel/Frame   56/208-233
Correspondence, notes and cues, undated
Box/Folder   34/2
Reel/Frame   56/234-323
Script, 1958
Box/Folder   34/3
Reel/Frame   56/324-327
Publicity, 1958
Box/Folder   91/4
Reel/Frame   56/328-389
Music sketches, 1958 June
Box/Folder   91/5
Reel/Frame   56/390-406
Songs with piano accompaniment, 1958 June 26
Orchestra score with revisions
Box/Folder   91/6
Reel/Frame   56/407-451
Part I, 1958
Box/Folder   91/7
Reel/Frame   56/452-534
Part II, 1958
Box/Folder   91/8
Reel/Frame   56/535-590
Violin parts
Box/Folder   92/1
Reel/Frame   56/591-626
Orchestra score: fragment
Box/Folder   92/2-3
Reel/Frame   56/627-799
Orchestra scores, Acts I and II
Box/Folder   92/4
Reel/Frame   56/800-960
Orchestra score: complete, handwritten, 1958
Box/Folder   92/5-6
Reel/Frame   57/1-96
Percussion books I and II
Box/Folder   93/1
Reel/Frame   57/97-155
Box/Folder   93/2
Reel/Frame   57/156-208
Box/Folder   93/3
Reel/Frame   57/209-258
Box/Folder   93/4
Reel/Frame   57/259-312
Oboe, English horn
Box/Folder   93/5
Reel/Frame   57/313-364
Box/Folder   93/6
Reel/Frame   57/365-414
Horn in C; transpositions to Horn in F
Toys in the Attic (1960 February 25)
Note: See also scrapbook volume 10.
Box/Folder   34/4
Reel/Frame   57/415-421
Correspondence and contract, 1960 January 4-March
Box/Folder   34/5
Reel/Frame   57/422-430
Notes and front pages of published play, 1960
Box/Folder   93/7
Reel/Frame   57/431-450
Piano-vocal sketches, 1960
“Goloopchik” (unproduced)
Note: See also scrapbook volume 2.
Box/Folder   34/6
Reel/Frame   57/451-463
Lyrics, notes, circa 1945
Box/Folder   93/8
Reel/Frame   57/464-486
Music sketches, 1945
Box/Folder   93/9
Reel/Frame   57/487-612
Piano-vocal scores, 1945 August
Box/Folder   93/10
Reel/Frame   57/613-647
Piano-vocal scores of songs: negative photostats
“Volpone” (unproduced)
Box/Folder   34/7
Reel/Frame   57/648-695
Correspondence, notes, publicity, 1955-1956
Box/Folder   93/11
Reel/Frame   57/696-719
Music sketches, 1955-1956
Series: Miscellaneous Music Tablets
Box/Folder   34/8
Reel/Frame   57/720-765
Tablet 1
“King Hunger” (missing)
“Scalero” early music sketches
Box/Folder   34/9
Reel/Frame   57/766-834
Tablet 2
Ear Training Studies
“Scalero” musical sketches
“Indra Ballet”
“Bellyache Ballet”
“Ajui Ballet”
Box/Folder   34/10
Reel/Frame   57/835-918
Tablet 3
Notes for Comparative Arts lectures, 1924-1925
Quotations from Santayana's “Sence of Beauty”
Ear training
Sketches for Ajui Ballet
Monograph on Moussorgsky: rough draft
Box/Folder   34/11
Reel/Frame   58/1-17
Tablet 4
“Parabola and Circula” music sketches
Box/Folder   34/12
Reel/Frame   58/18-58
Tablet 5
“Katrina” music sketches
Box/Folder   34/13
Reel/Frame   58/59-132
Tablet 6
Song sketches
Italian quartet (?)
“Parabola and Circula” music sketches
Box/Folder   34/14
Reel/Frame   58/133-220
Tablet 7
“Scalero,” IV, V
Box/Folder   34/15
Reel/Frame   58/221-336
Tablet 8
“Scalero,” VI, VII
Series: Other Compositions
Walt Whitman's Poems Set to Music by Blitzstein
Box/Folder   34/16
Reel/Frame   58/337-345
Publicity, 1928-1929
“Gods,” 1928 February 15
Box/Folder   94/5
Reel/Frame   58/346-364
Full score, first version, for strings, solo French horn, mezzo-soprano, circa 1928
Box/Folder   94/6
Reel/Frame   58/365-380
Full score, later version, for strings, solo cello, mezzo-soprano
Box/Folder   94/7
Reel/Frame   58/381-410
Instrumental parts for second version
Box/Folder   94/8
Reel/Frame   58/411-418
Piano-vocal scores
Other Poems
Box/Folder   94/9
Reel/Frame   58/419-483
Piano-vocal scores and musical sketches, 1927
e.e. cummings poems set to music by Blitzstein
Box/Folder   34/17
Reel/Frame   58/484-494
Box/Folder   34/18
Reel/Frame   58/495-511
From Marion's Book : correspondence, lyrics, Alice Estey concert program, 1960 August
Box/Folder   34/19
Reel/Frame   58/512-520
Cos Cob song volumes; including Blitzstein's Song, “Jimmie's Got a Goil,” 1935, 1962
Box/Folder   34/20
Reel/Frame   58/521-533
From Marion's Book - Published Version
From Marion's Book, written for Alice Estey, 1960
Box/Folder   94/10
Reel/Frame   58/534-589
Music sketches
Box/Folder   94/11
Reel/Frame   58/590-669
Notes, piano-vocal scores, 1960 August 19
Box/Folder   94/12
Reel/Frame   58/670-692
Piano-vocal scores, 1935-1962
Jacques Offenbach's works
“Tulipatan” (“Tulip Island”)
Box/Folder   34/21
Reel/Frame   58/693-726
Piano-vocal score
Box/Folder   40/6
Reel/Frame   67/29-51
Three Songs: piano-vocal score
Box/Folder   40/7
Reel/Frame   67/1-11
Three Songs: published score
Box/Folder   40/8
Reel/Frame   67/12-28
“Invitation to Bitterness”
Piano works
“Piano Sonata” (1927)
Box/Folder   35/1
Reel/Frame   58/727-750
Score and publicity, 1927 December-1929 March
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
Box/Folder   35/2
Reel/Frame   58/751-789
Musical sketches, undated
“Symphony in G# Minor”
Box/Folder   95/1
Reel/Frame   58/790-798
Piano sketch
“Forêt Vierge”
Box/Folder   95/1
Reel/Frame   58/799-802
Piano sketch
Box/Folder   95/2
Reel/Frame   58/803-805
Barcarolle for piano, undated
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
“For Kit's Wedding”
Box/Folder   95/3
Reel/Frame   58/806-807
Piano sketch, 1953
“Innocent Psalm” (“for the Bernstein baby”)
Box/Folder   95/3
Reel/Frame   58/808
Piano sketch, undated
“Prelude in C Minor”
Box/Folder   95/3
Reel/Frame   58/809-810
Piano sketch, undated
“Sonata in F Minor”
Box/Folder   95/3
Reel/Frame   58/811-820
Piano sketch, undated
“Sonatina for Piano”
Box/Folder   95/4
Reel/Frame   58/821-845
First, second, and third workings, undated
“Bourgeois at Play” (Scherzo)
Box/Folder   95/5
Reel/Frame   58/846-860
Piano score, 1930
Box/Folder   95/5
Reel/Frame   58/861-865
Piano scores, undated
“Piano Solo”
Box/Folder   95/6
Reel/Frame   58/866-896
Piano score, 1933
Movements 1-3, recorded from disc
Movement 4
U.S. Mss 35AN/Micro 1049
“Piano Percussion Music”
Box/Folder   35/3
Reel/Frame   58/897-898
Publicity, undated
Box/Folder   95/7
Reel/Frame   58/899-935
Piano score and music sketches, 1928-1929
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
Box/Folder   95/8
Reel/Frame   58/936-942
Piano score, with composition plan, 1919
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
Box/Folder   95/8
Reel/Frame   58/943-946
Piano score, with composition plan, 1920
Box/Folder   95/9
Reel/Frame   58/947-952
Piano score, with composition plan, 1919
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
“Piano Concerto”
Box/Folder   35/4
Reel/Frame   59/1-71
Musical sketches, 1931
Box/Folder   96/1
Reel/Frame   59/72-158
Orchestra score: photostats
Box/Folder   96/2
Reel/Frame   59/159-244
Conductor's score, 1931
Box/Folder   96/3
Reel/Frame   59/245 + 85 unnumbered frames
Complete bound score with dedication, 1931
Instrumental Parts
Box   112
Reel/Frame   70/1-93
Solo piano, strings
Box   112
Reel/Frame   70/94-183
Box   112
Reel/Frame   70/184-263
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
Orchestral Works
“Romantic Piece for Orchestra”
Note: Dedicated to Eva Goldbeck.
Box/Folder   35/5
Reel/Frame   59/246-310
Music tablet with music sketches
Box/Folder   98/1
Reel/Frame   59/311-355
Piano reduction score, 1930 March
Box/Folder   98/2
Reel/Frame   59/356-499
Orchestral score, 1930 March
Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049
“Marche Vainqueur”
Box/Folder   98/3
Reel/Frame   59/500-546
Orchestra score; viola, bass, harp parts, 1920
Box/Folder   98/4
Reel/Frame   59/547-570
Music sketches, piano score, orchestra score, 1926 May
“Variations for Orchestra”
Box/Folder   98/5
Reel/Frame   59/570-595
Piano score
Box/Folder   98/6
Reel/Frame   59/596-675
Orchestra score, 1934 December
Box/Folder   98/7
Reel   59
Orchestra score, 1934
Physical Description: 90 unnumbered frames 
Box/Folder   98/8
Reel/Frame   59/677-706
Violin, violincello, contrabass parts
Box   112
Reel/Frame   70/264-272
Box   112
Reel/Frame   70/273-336
Woodwinds parts
Box   112
Reel/Frame   70/337-402
Brass, percussion
Instrumental Works
“Pavane” from Children's Dances
Box/Folder   95/10
Reel/Frame   59/707-716
Orchestral score
“Round” from Children's Dances
Box/Folder   95/11
Reel/Frame   59/717-720
Piano score
“Pavane” from Children's Dances
Box/Folder   95/12
Reel/Frame   59/721-751
Instrumental parts
“King Richard II Suite”
Box/Folder   97/1
Reel/Frame   59/752-764
Cello-piano score, march-piano score, circa 1922
“Fire Dance”
Box/Folder   97/2
Reel/Frame   59/765-772
Piano-violin score, violin part
“Discourse for Clarinet, Cello, Piano”
Box/Folder   97/3
Reel/Frame   59/773-810
Musical sketches, composition plan, chord structures, 1933
“For EmJo's 'Bitter Fantasy' ”
Box/Folder   97/4
Reel/Frame   59/811-815
Score for string quartet, 1923 March
“For String Orchestra”
Box/Folder   97/4
Reel/Frame   59/816-817
Score, undated
“Serenade for String Quartet” (dedicated to Eva Goldbeck)
Box/Folder   97/5
Reel/Frame   59/818-846
Score for violins, viola, violincello, circa 1932
Box/Folder   97/6
Reel/Frame   60/1-74
Scores, circa 1932
Vocal Works and Songs by Blitzstein
“Quiet Girl”
Box/Folder   34/22
Reel/Frame   60/75-80
Correspondence, notes, lyrics, undated
Box/Folder   97/7
Reel/Frame   60/81-85
Music sketches; piano-vocal score
Box/Folder   97/8
Reel/Frame   60/86-108
Vocal with piano reduction of orchestra parts; sketches
“The Dream Is Mine”
Box/Folder   97/9
Reel/Frame   60/109-114
Piano-vocal score
“Leave Me Alone”
Box/Folder   97/9
Reel/Frame   60/115-116
Piano-vocal score
“Let's Be Blue”
Note: See also scrapbook volumes 1, 2, 10.
Box/Folder   97/9
Reel/Frame   60/117
Vocal score
Box/Folder   97/9
Reel/Frame   60/118-124
Piano-vocal sketches
“A Glee for Jamie”
Box/Folder   97/9
Reel/Frame   60/125-128
Piano-vocal sketches
“Where Love Is Life”
Box/Folder   97/10
Reel/Frame   60/129-134
Piano-vocal score
“Song” / based on a Rupert Brooke poem
Box/Folder   97/10
Reel/Frame   60/135-136
Piano-vocal score
“From Far, from Eve and Morning” / from A.E. Housman
Box/Folder   97/10
Reel/Frame   60/137-140
Piano-vocal score
“Into My Heart an Air” / from A.E. Housman
Box/Folder   97/10
Reel/Frame   60/141-148
Piano-vocal score
“Into the Streets May First” / lyrics by Alfred Hayes
Box/Folder   97/10
Reel/Frame   60/149-151
Piano-vocal score
“Search Thou My Heart” / lyrics by Paul Laurence Dunbar (Circular Canon for 4 Voices)
Box/Folder   97/10
Reel/Frame   60/152-156
Piano-vocal score
“War Department Manual, Volume 7, Part 3” / music by Blitzstein
Box/Folder   97/11
Reel/Frame   60/157-160
Piano-vocal score
“Ballad of Sevastopol”
Box/Folder   39/14
Reel/Frame   66/750-762
Notes and lyrics, 1941-1942
Box/Folder   97/11
Reel/Frame   60/161-170
Vocal score; music sketches, 1941-1942
“War Song” / lyrics by Dorothy Parker
Box/Folder   97/11
Reel/Frame   60/171-172
Gauley Bridge songs
Box/Folder   97/12
Reel/Frame   60/173-198
Piano-vocal score for baritone, chorus, piano
“What's the Matter With Me?”
Box/Folder   97/12
Reel/Frame   60/199-202
Piano-vocal score
“Smoking Glasses”
Box/Folder   97/12
Reel/Frame   60/203-205
Piano-vocal score
“Chez Eitingon”
Box/Folder   97/13
Reel/Frame   60/206-210
Piano-vocal score, 1946
“The Way You Are”
Box/Folder   97/13
Reel/Frame   60/211-218
Piano-vocal score; musical sketch, 1935
“Maric and Colic”
Box/Folder   97/13
Reel/Frame   60/219-222
Piano-vocal score
“A Word Out of the Sea”
Box/Folder   97/13
Reel/Frame   60/223-245
Orchestra vocal score
Box/Folder   97/14
Reel/Frame   60/246-251
Piano-vocal score
“Modest Maid”
Box/Folder   97/15
Reel/Frame   60/252-260
Piano-vocal score and negative photostats
Canons and Fugues
Box/Folder   95/12
Reel/Frame   60/260-286
Writing tablet: canons; double choir; miscellaneous by Blitzstein; Madrigal of Monteverdi; Harmonic progressions of Bach, Palestrina, Ravel, Chopin
“Fugue Motives”
Box/Folder   9513
Reel/Frame   60/287-322
Piano scores, undated
Box/Folder   95/14
Reel/Frame   60/323-388
Canons; choral variations, choral preludes
Transcriptions by Blitzstein
“Lento Molto” / by Aaron Copland
Box/Folder   99/1
Reel/Frame   60/389-392
Piano transcription, 1933
“Vocalise” Op. 34, No. 14 / by Serge Rachmaninoff
Box/Folder   99/2
Reel/Frame   60/393-400
Transcription for string quartet, undated
“Dance Andalouse” / by MacDowell
Box/Folder   99/2
Reel/Frame   60/401-411
Transcription for woodwinds, undated
“Tod und Verklarung” / by R. Strauss
Box/Folder   99/2
Reel/Frame   60/412-432
Piano transcription, undated
“Impressions de Voyage en Crimee” / by Modeste Moussorgsky
Box/Folder   99/3
Reel/Frame   60/433-443
Transcription for string orchestra
“Troika en Traineaux” / by Peter I. Tschaikowsky
Box/Folder   99/4
Reel/Frame   60/444-470
Orchestra score with individual parts: trumpet, horn, bassoon, strings, piano, 1927
“Collines d'Anacapri” / by Claude Debussy
Box/Folder   99/5
Reel/Frame   60/470-496
Orchestra score with individual parts: strings, bassoon, horn, 1927
“Incantation” or ________ / by Nicolai Medtner
Box/Folder   99/6
Reel/Frame   60/497-538
Orchestra score, 1925 October
Miscellaneous Music
Box/Folder   99/7
Reel/Frame   60/539-574
Unidentified vocal music
Box/Folder   99/8
Reel/Frame   60/575-582
Unidentified orchestral music
Box/Folder   99/9
Reel/Frame   60/583-605
Unidentified piano music
Box/Folder   99/10-11
Reel/Frame   60/606-693
Unidentified music
Series: Adaptations
The Threepenny Opera (1954 March 10)
Note: See also scrapbook volumes 4, 6-11.
Box/Folder   35/6
Reel/Frame   60/694-877
Correspondence, 1949 February 21-1967 April 18
Box/Folder   35/7
Reel/Frame   60/878-1004
Financial correspondence, 1952 June 27-1960 June 6
Box/Folder   35/8
Reel/Frame   61/1-139
Contracts, 1953 November 2-1962 March 12
Box/Folder   35/9
Reel/Frame   61/140-365
Royalty statements, 1954 March 15-1963 June 25
Research Materials
Box/Folder   35/10
Reel/Frame   61/366-474
Beggar's Opera / by John Gay and Benjamin Britten, script and music, 1949
Box/Folder   35/11
Reel/Frame   61/75-503
Partial piano-vocal score in German
Box/Folder   36/1
Reel/Frame   61/504-548
Die Dreigroschenoper / by Kurt Weill, annotated piano score, 1928
Box/Folder   36/2-3
Reel/Frame   61/549-696
Script translation by Desmond Versey and Eric Bentley, 1951
Box/Folder   36/4
Reel/Frame   61/697-806
Notes, circa 1950
Box/Folder   36/5
Reel/Frame   61/807-889
Lyrics and notes on lyrics
Box/Folder   36/6
Reel/Frame   62/1-131
Box/Folder   36/7
Reel/Frame   62/132-159
Synopsis of lyrics
Box/Folder   36/8
Reel/Frame   62/160-180
Production materials, 1952-1955
Box/Folder   36/9
Reel/Frame   62/181-184
Box/Folder   36/10
Reel/Frame   62/185-281
Early working script, undated
Box/Folder   36/11
Reel/Frame   62/281-380
Annotated script, American setting, 1951 March 15
Box/Folder   36/12
Reel/Frame   62/381-478
Annotated script, 1951 March 15
Box/Folder   36/13
Reel/Frame   62/479-590
Script, English adaptation, 1951 March 15
Box/Folder   36/14
Reel/Frame   62/591-788
Working script of Theatre de Lys, New York City, 1954
Box/Folder   36/15
Reel/Frame   62/789-876
Annotated script, 1954, 1956
Box/Folder   37/1
Reel/Frame   62/877-882
Script, 1962
Box/Folder   37/2
Reel/Frame   62/883-962
Script with music cues, undated
Note: This Script is identical to that in Box 77, Folder 1, Reel 62, Frames 877-882 above; a few sheets of other materials were also filmed. See Processor's Note.
Box/Folder   37/3
Reel/Frame   63/1-105
Script, British acting version, undated
Box/Folder   37/4
Reel/Frame   63/106-184
Annotated script, undated
Box/Folder   37/5
Reel/Frame   63/185-248
Articles, 1959, Annotated by Blitzstein
Box/Folder   37/6
Reel/Frame   63/249-306
Clippings, 1954-1963
Box/Folder   37/7
Reel/Frame   63/307-432
Programs, posters, record insert
Box/Folder   100/1
Reel/Frame   63/433-467
Sheet music, music sketches, 1951
Box/Folder   100/2
Reel/Frame   63/468-577
Songs: vocal score
Box/Folder   100/3
Reel/Frame   63/578-631
Partial piano-vocal score, undated
Box/Folder   100/4
Reel   63
Conductor's piano-vocal score, 1963
Physical Description: 140 unnumbered frames 
Box/Folder   100/5
Reel/Frame   63/633-704
Conductor's piano-vocal score, 1962 May
“Mother Courage” (unproduced)
Note: See also scrapbook volumes 8, 10.
Box/Folder   37/8
Reel/Frame   63/705-718
Correspondence, 1956 July 16-1960 July 1
Box/Folder   37/9
Reel/Frame   63/719-725
Contract, 1957 November 8
Research materials
Box/Folder   37/10
Reel/Frame   63/726-805
German script / translated by George Tabori, 1950
Box/Folder   37/11
Reel/Frame   64/1-19
Notes, undated
Box/Folder   37/12
Reel/Frame   64/20-102
Lyrics, 1956 July
Box/Folder   37/13
Reel/Frame   64/103-127
Synopsis, translation, 1957 July
Box/Folder   37/14
Reel/Frame   64/128-172
Partial scripts, first drafts, Acts I and II, 1958 May 11
Box/Folder   37/15
Reel/Frame   64/173-183
Partial scripts, second draft, Act I, Scenes 1 and 3, undated
Box/Folder   37/16
Reel/Frame   64/184-269
Annotated script, 1957
Box/Folder   37/17
Reel/Frame   64/270-272
Production notes, criticism, 1957 December 10
Box/Folder   37/18
Reel/Frame   64/273-328
Publicity, 1953 October 26-1963 July 19
Box/Folder   101/1
Reel/Frame   64/329-365
German piano-vocal score, sketches, 1949
Overture, “Mother Courage's Song” (Helene Weigl), “Song of Fraternizing” (Regina Lutz), “Song of the Big Surrender” (Weigl)
Note: Original: Disc 161A/19
“Song of Peter the Pipe” (Ernst Busch), “Song of the Great Souls” (Busch)
Note: Original: Disc 161A/19
U.S. Mss 35AN/Micro 1049
“Rise and Fall of the City of Mahagonny” (unproduced)
Note: See also scrapbook volumes 8, 10.
Box/Folder   38/1
Reel/Frame   64/366-383
Correspondence, 1958 January 22-1959 August 5
Research materials
Box/Folder   38/2
Reel/Frame   64/384-412
German script, by Kurt Weill, undated
Box/Folder   38/3
Reel/Frame   64/413-590
German piano-vocal score, by Kurt Weill, 1929
Box/Folder   38/4
Reel/Frame   64/590-599
Life magazine article
Box/Folder   38/5
Reel/Frame   64/600-709
First draft lyrics and notes, 1956 July
Box/Folder   38/6
Reel/Frame   64/710-766
Second draft lyrics, 1956 July 10
Box/Folder   38/7
Reel/Frame   64/767-846
First draft script, circa 1956
Box/Folder   38/8
Reel/Frame   64/847-850
Production materials, 1958 February 13
Box/Folder   38/9
Reel/Frame   64/851-854
Publicity, 1958 May 4-1963 January 20
Box/Folder   38/10
Reel/Frame   64/855-865
Music sketches, 1956 July 14
Box/Folder   101/2
Reel/Frame   65/1-169
German piano-vocal score: photostat, circa 1956
Brecht on Brecht (London, 1962)
Box/Folder   38/11
Reel/Frame   65/170-179
Correspondence and contracts, 1962
Box/Folder   38/12
Reel/Frame   65/180-197
Lyrics, notes, 1962 February 28
Box/Folder   38/13
Reel/Frame   65/198-200
Publicity, 1962
The Duenna
Box/Folder   38/14
Reel/Frame   65/201-208
Partial script, 1940
Box/Folder   38/15
Reel/Frame   65/209-238
Partial piano-vocal score, 1940
La Traviata
Box/Folder   38/16
Reel/Frame   65/239-298
Correspondence, notes, and lyrics, 1952 October 24-1954 November 25
Box/Folder   38/17
Reel/Frame   65/299-312
Script, Act I
Box/Folder   38/18
Reel/Frame   65/313-432
Piano-vocal score, with Blitzstein translation
Box/Folder   101/3
Reel/Frame   65/433-439
“Drinking Song,” piano-vocal scores
Box/Folder   38/19
Reel/Frame   65/440-454
Research materials, opera publicity and notes, 1957
Box/Folder   38/20
Reel/Frame   65/455-465
Lyrics, Bizet manuscript and Blitzstein translation
Series: Radio
I've Got the Tune (CBS, 1957 October 24)
Note: See also scrapbook volumes 1, 2, 4.
Box/Folder   39/1
Reel/Frame   65/466-481
Correspondence and contract, 1937 August 12-1939 February 7
Box/Folder   39/2
Reel/Frame   65/482-542
Notes, circa 1937
Box/Folder   39/3
Reel/Frame   65/543-572
Working script
Box/Folder   39/4
Reel/Frame   65/573-651
Complete script, 1937 October 8
Box/Folder   39/5
Reel/Frame   65/652-677
Scripts, revisions, 1937 October 24
Box/Folder   39/6
Reel/Frame   65/678-682
Publicity, 1938
Box/Folder   39/7
Reel/Frame   65/683-716
Music tablet, sketches, circa 1937
Box/Folder   39/8
Reel/Frame   65/717-746
Published piano-vocal score, 1938
Box/Folder   102/1
Reel/Frame   65/747-785
Piano-vocal scores, 1938
Box/Folder   102/2
Reel/Frame   65/786-796
Choral parts, piano-vocal score, 1937 November 30
Box/Folder   102/3
Reel/Frame   65/797-1008
Orchestra score, 1937
Box/Folder   102/4
Reel/Frame   66/1-54
Draft piano score
Box/Folder   102/5
Reel/Frame   66/55-177
Percussion, piano, string parts, 1937
Box/Folder   102/6
Reel/Frame   66/178-291
Wind parts, 1937
“Musiker and Beetsie,” “I've Got the Tune,” “Chicken Salad,” “The Moon”
Note: Original: Disc 161A/
Note: Original: Disc 161A/
“What For?” “Traffic,” “We Want a New One”
Note: Original: Disc 161A/
“Because This Is Our Day”
Note: Original: Disc 161A/
Recorded excerpts
U.S. Mss 35AN/Micro 1049
Russia Is Singing
Box/Folder   39/9
Reel/Frame   66/292-343
Background materials and scripts, 1942 May 25-June 15
Labor for Victory
Box/Folder   39/10
Reel/Frame   66/344-386
Scripts, 1942 June 20-August 15
Box/Folder   103/1
Reel/Frame   66/387-402
Piano score
Box/Folder   103/2-3
Reel/Frame   66/403-555
Conductor's scores, 1942
Box/Folder   103/4
Reel/Frame   66/556-658
Orchestra parts
Various radio shows: The Penguin Room, Win the War, and untitled show
Box/Folder   39/11
Reel/Frame   66/659-736
Background materials and scripts, circa 1942-1946
Series: Works by other composers
Box/Folder   39/12
Reel/Frame   66/737-745
Songs by Howard Gross
Box/Folder   39/13
Reel/Frame   66/746-749
“First of May” / words by Eva Goldbeck, music by “Hammer”
“Variations sur 'Au Claire de la Lune' ”
Box/Folder   104/1
Reel/Frame   66/763-796
Conductor's score, instrumental parts
Trouble in Tahiti / by Leonard Bernstein, dedicated to Blitzstein
Box/Folder   104/2
Reel   66
Piano-vocal score, annotated by Blitzstein, 1952
Physical Description: 60 unnumbered frames 
On the Town / by Leonard Bernstein
Box/Folder   104/3
Reel/Frame   66/799-809
Piano score, undated
Box/Folder   104/3
Reel/Frame   66/810-831
Times Square Finale piano score
Music for Shakespeare's Hamlet / by Virgil Thomson
Box/Folder   104/4
Reel/Frame   66/832-856
Conductor's score, with Blitzstein's annotations
Piano-vocal scores and criticism by Frances Thorne
Note: Missing in 1985.
“Overture to a Russian War Relief Concert” / by Stanley Bate
Box/Folder   104/5
Reel/Frame   66/857-869
Score for production by Blitzstein
Box/Folder   104/6
Reel/Frame   66/870-904
Works by other composers
Series: Scrapbooks
Box   106
Reel/Frame   67/579-841
Volume 1, 1937-1938
Box   107
Reel/Frame   68/1-191
Volume 2, 1939-1944
Box   107
Reel/Frame   68/192-230
Volume 3, 1944-1945
Box   108
Reel/Frame   68/231-376
Volume 4, 1946-1952
Box   108
Reel/Frame   68/377-506
Volume 5, 1949-1950
Box   109
Reel/Frame   68/507-644
Volume 6, 1952-1954
Box   109
Reel/Frame   68/645-770
Volume 7, 1954-1958
Box   110
Reel/Frame   68/771-956
Volume 8, 1955-1958
Box   110
Reel/Frame   69/1-182
Volume 9, 1957-1959
Box   111
Reel/Frame   69/183-373
Volume 10, 1958-1960
Box   111
Reel/Frame   69/374-444
Volume 11, 1959-1960
Series: Other Tape and Disc Recordings
Note: Most tape and disc recordings are listed under production title elsewhere in this list.
William Blake Poems and Three Sonnets by Walter Lowenfels, set to music by Norman Curtis
Songs for the Theatre,1953 Production
Interview with Brenda Lewis by Joseph S. Terzo and Eric Gordon, 1978 September 26; broadcast on WWUH, West Hartford, Connecticut, 1978 October 15.
Scope and Content Note: Lewis discusses the production and recording of Regina, which she sang in the Columbia recording of the 1958 production by the New York City Opera.
Music by Leonard Lehrman, recorded from WBAI radio broadcasts during its “Lehrman Day,” 1979 March 21
Physical Description: Very poor quality recording. 
Scope and Content Note: These compositions are not by Blitzstein, but are included because Lehrman finished Blitzstein's Idiots First.
Scenes from an unidentified musical, 1938 January 5
“Gus and Sadie Love Song,” Scene 5
Note: Original: Disc 161A/29
“Yasha and Dauber,” Scene 6
Note: Original: Disc 161A/30
Unidentified musical, solo piano music recorded in the studios of G. Schirmer Inc., New York
Overture, Serfdom, Mother Conceives a Child
Note: Original: Disc 161A/32
Pharoah's Daughter Finds the Baby
Note: Original: Disc 161A/32
Processional to the Court
Note: Original: Disc 161A/32
The Merry Widow
Acts I and II, Songs in German
Note: Original: Disc 161A/33
Lotte Lenya reading “Kinderdreuzzung, 1939,” 1955 Christmas
Note: Original: Disc 161A/65
Disc 161A/66-67
Bobby Darin singing “Mack the Knife” and “Was There a Call for Me”
Disc 161A/68
Ella Fitzgerald singing “Mack the Knife”
Disc 161A/69
“I Never Lived I Just Was” and “I Love You Like My Mother”
Disc 161A/70
“Swanee River”, “I Can't See Why You Are,” “Please Be Sweet”
Disc 161A/71
Mina sings “La Notte” and “Il Cielo in Una Stanza”
Disc 161A/72
“I'll Be With You in Apple-Blossom Time” and “Threepenny Opera”
Disc 161A/73
Mama Ines sings “Mamba, Cha-cha, Merengue” and “Moritat - Bye-you Rhythm”
Physical Description: Broken disc 
Disc 161A/74
“Mack the Knife” in Yiddish (“Ha'Merkava, Mackie Sakinai”)
Physical Description: Broken disc 
Disc 161A/75
“Moritat” and “Baubles, Bangles, and Beads” / by the Dick Hyman Trio
Disc 161A/76
“Back o'Town Blues” and “Mack the Knife” / by Louis Armstrong and His All-Stars