Title: Marc Blitzstein Papers
Inclusive Dates: 1918-1989

Creator:

• 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

Repository:

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

Archival Locations:

Wisconsin Historical Society (Map)

COLLECTION MAY BE STORED OFF-SITE: see catalog entry to request materials and for additional information.

Abstract:

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 Papers of Blitzstein's wife, Eva Goldbeck (1901-1936), including many personal letters, journals, and unpublished writings, are also present.

Note:

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

URL to cite for this finding aid: http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-us0035an

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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.

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.

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.

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.

	Series: Personal Papers
U.S. Mss 35AN/Micro 1049	Correspondence
	General
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	undated
Box   105 Reel/Frame   67/52-578	Address card file
	Finances
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
1049A/10	Parts 3-4 Note: Original: Disc 161A/23 Physical Description: Portions damaged; poor quality
1049A/10	Part 5, including Blitzstein interview Note: Original: Disc 161A/24
1049A/10	Part 6 Note: Original: Disc 161A/24
1049A/11	Part 4 Note: Original: Disc 161A/23
	American Composers at the Piano, 4 record set, undated
1049A/27	Lukas Foss - “Rondo Fantasy,” beginning Note: Original: Disc 161A/61
1049A/27	Lukas Foss - “Rondo Fantasy,” conclusion Note: Original: Disc 161A/62
1049A/27	Leo Smit - “Rondel for a Young Girl,” “Tonata Breakdown” Note: Original: Disc 161A/63
1049A/27	Marc Blitzstein - “Variation III” (from “The Guests”) Note: Original: Disc 161A/64
1049A/27	Marc Blitzstein - “Three, Four Dance;” Finale (from “The Guests”) Note: Original: Disc 161A/64
1049A/28	Norman Dello Joio - “Prelude: To a Young Musician” Note: Original: Disc 161A/63
1049A/28	Norman Dello Joio - “Prelude: To a Young Dancer” Note: Original: Disc 161A/62
1049A/28	Henry Cowell - “Jig,” “Aeolian Harp,” Advertisement Note: Original: Disc 161A/61
1049A/5	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.
1049A/17	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	Travels
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
	Awards
	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
	Organizations
	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	Miscellaneous
	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	1922-1953
Box/Folder   9/8 Reel/Frame   9/1-180	undated
Box/Folder   9/9 Reel/Frame   9/181-203	Notes for proposed articles, undated
	Teaching
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
	Lectures
	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	undated
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
	Translations
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	Miscellaneous Note: Alphabetical by author.
Box/Folder   14/9 Reel/Frame   15/649-665	Bertolt Brecht writings Language: 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	Poetry
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.
	Miscellaneous
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
1049A/7	Title I, II, III (title, graves, morning music) Note: Original: Disc 161A/16
1049A/7	Title V, VI, VII (trains, [Economic] Depression, automatic steel mill) Note: Original: Disc 161A/17
1049A/7	Title IX (finale) Note: Original: Disc 161A/17
1049A/7	Title, morning music Note: Original: Disc 161A/18
1049A/7	Hand Mill Note: Original: Disc 161A/18
1049A/15	“Blues I Alley” Note: Original: Disc 161A/28
1049A/15	“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	A-K
Box/Folder   41/2 Reel/Frame   18/294-353	N-finale
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	Discards
	Recordings Physical Description: Disc nos. 1-35 are 12-inch red emulsion glass, 78 rpm.
740A/1	Playback Note: Original: Disc 33A/1 Physical Description: Broken disc
740A/1	Italian Street Scene Note: Original: Disc 33A/2
740A/1	American History (A) Note: Original: Disc 33A/3
740A/1	American History (A), part 1 Note: Original: Disc 33A/4
740A/1	American History (A), part 1 Note: Original: Disc 33A/5
740A/1	American History, part 2 Note: Original: Disc 33A/6
740A/1	American History, part 3 (Building of the Land) Note: Original: Disc 33A/6
740A/1	End of A (Machine Age) Note: Original: Disc 33A/7
740A/1	Bad Takes Note: Original: Disc 33A/7
740A/2	Farm Sequence (B), part 1 Note: Original: Disc 33A/8
740A/2	Farm Sequence (B), Transition to part 2 Note: Original: Disc 33A/8
740A/2	Bad Take Note: Original: Disc 33A/8
740A/2	Bad Take Note: Original: Disc 33A/9
740A/2	Farm (B), Melodrama Note: Original: Disc 33A/9
740A/2	Union Parade, part 1 Note: Original: Disc 33A/10
740A/2	Bad Takes Note: Original: Disc 33A/10
740A/2	Grocery Store Note: Original: Disc 33A/11
740A/2	Bad Takes Note: Original: Disc 33A/12
740A/2	Bad Takes Note: Original: Disc 33A/13
740A/2	Spy 6 (Hold the Fort) Note: Original: Disc 33A/13
740A/2	Percussion Rolls Note: Original: Disc 33A/13
740A/3	Percussion Rolls Note: Original: Disc 33A/14
740A/3	Bad Take Note: Original: Disc 33A/15
740A/3	Finale 1 Note: Original: Disc 33A/15
740A/3	Timpani, Glockenspiel, Triangle, Cymbal Roll Note: Original: Disc 33A/15
740A/3	Finale, part 2 Note: Original: Disc 33A/15
740A/3	Finale 3 Note: Original: Disc 33A/16
740A/3	Last Chord of Finale 3 Note: Original: Disc 33A/16
740A/3	G2 - Industrial, part 1 Note: Original: Disc 33A/16
740A/3	Bad Takes Note: Original: Disc 33A/17 Physical Description: Cracked disc
740A/3	Finale of G2 Note: Original: Disc 33A/17 Physical Description: Cracked disc
740A/3	Spy 6B Note: Original: Disc 33A/18 Physical Description: Cracked disc
740A/3	Memorial Day Note: Original: Disc 33A/19 Physical Description: Cracked disc
740A/3	Hurdy Gurdy of Memorial Day Note: Original: Disc 33A/19 Physical Description: Cracked disc
740A/3	Spy 3 Note: Original: Disc 33A/19 Physical Description: Cracked disc
740A/4	Man Walking Beside Factories, Unemployed Note: Original: Disc 33A/20
740A/4	Ku Klux Klan Note: Original: Disc 33A/20 Physical Description: Disc quality not very good.
740A/4	Ku Klux Klan Note: Original: Disc 33A/21 Physical Description: Good disc quality.
740A/4	V1 - Thugs and Strike-breakers Caught Note: Original: Disc 33A/21
740A/4	V2 - The Committee at Work Note: Original: Disc 33A/21
740A/4	Exposure Note: Original: Disc 33A/22
740A/4	Beginning of Funeral Note: Original: Disc 33A/23
740A/4	Beginning of Funeral (best) Note: Original: Disc 33A/23
740A/4	Bad Take Note: Original: Disc 33A/24
740A/4	Funeral (after introduction) Note: Original: Disc 33A/24
740A/4	Bad Take Note: Original: Disc 33A/24
740A/4	H - “Snarfest” (typewriters, etc.) Note: Original: Disc 33A/24
740A/5	Finale (Bad take) Note: Original: Disc 33A/25
740A/5	Finale (3) Note: Original: Disc 33A/25
740A/5	Titles (best) Note: Original: Disc 33A/25
740A/5	Cymbal bang Note: Original: Disc 33A/26
740A/5	Bad Take Note: Original: Disc 33A/26
740A/5	B - Farm Sequence, Introduction and part 1 Note: Original: Disc 33A/26
740A/5	Farm (B), Interior, part II Note: Original: Disc 33A/27
740A/5	K2, Labor Picnic and Finish Note: Original: Disc 33A/28
740A/5	Bad Take Note: Original: Disc 33A/28
740A/5	Bad Take Note: Original: Disc 33A/29
740A/5	Last part Note: Original: Disc 33A/29
740A/5	1. Titles - old A with voice (American History) Note: Original: Disc 33A/30
740A/5	3. Old - American History - Machine Age Note: Original: Disc 33A/30
740A/6	2. (Improvisation) (A) Note: Original: Disc 33A/31
740A/6	4. B (Farm Sequence) Note: Original: Disc 33A/31
740A/6	5. Quiet - Farm Interior and Melodrama Note: Original: Disc 33A/32
740A/6	7. Morning and Evening Scene Note: Original: Disc 33A/32
740A/6	6. Italian Street Scene (C) Note: Original: Disc 33A/33
740A/6	8a. Dawn after “Morning and Evening Scene” (D2) Note: Original: Disc 33A/33
740A/6	8b. Grocery Store (N) Note: Original: Disc 33A/33
740A/7	Piano: 9, Funeral March Note: Original: Disc 33A/34
740A/7	10, End of Funeral March and Onward Note: Original: Disc 33A/35
1049A/30-31	Reel No. 6, Take No. 1, 1941 October 31 Note: Original: Disc 33A/36
1049A/30-31	Reel No. 6, Take No. 2, 1941 November 7 Note: Original: Disc 33A/37 Physical Description: Broken disc
1049A/29	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 Language: 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	Scripts 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
513A/1-3	The Cradle Will Rock recording
554A/1-3	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	Clippings
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)
	Songs
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
513A/4	Recorded excerpts, 1941
1049A/14	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	Act III
	Recorded excerpts
1049A/3	“What Will It Be,” “Zan” / sung by Priscilla Gillette Note: Original: Disc 161A/9 Physical Description: Damaged.
1049A/3	“The Best Thing of All,” “Regina” / sung by Jane Pickens Note: Original: Disc 161A/9
1049A/3	“Finale, Scene V” / sung by Gillette and Pickens Note: Original: Disc 161A/10
1049A/3	“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
1049A/3	“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
1049A/3	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
554A/5	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
	Recordings
513A/5	Act I, Scenes 1-6
513A/6	Act II, Scenes 1-4
513A/7	Reuben, Reuben
	Four cuts from the score
1049A/12	10. a and b - Blitzstein Note: Original: Disc 161A/25
1049A/12	11. Lear, Nambrust Note: Original: Disc 161A/25
1049A/12	12. Ghostley Note: Original: Disc 161A/25
1049A/12	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
	Scripts
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
	Recordings
513A/8-9	Juno (1) and (2)
	Demo songs on Dick Charles recording discs
1049A/4	“My True Heart,” Rosemary June, Gloria Shane, piano Note: Original: Disc 161A/12
1049A/4	“I Wish It So,” Rosemary June, Gloria Shane, piano Note: Original: Disc 161A/12
1049A/4	“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	Libretto
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
	Notes
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	Opening
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
763A/1	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
773A/3	Movements 1-8, recorded from a disc
773A/4	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	Act III
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
1049A/9	Part 1 Note: Original: Disc 161A/20
1049A/9	Parts 2-4 Note: Original: Disc 161A/21
1049A/9	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	Lyrics
Box/Folder   32/13 Reel/Frame   51/619-773	Notes
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	Publicity
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
	Recordings
513A/10	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.
1049A/20	Movement I - 1. Theory of Flight Note: Original: Disc 161A/34
1049A/20	Movement I - 2. Ballad of History and Mythology Note: Original: Disc 161A/35
1049A/20	Movement I - 3. Kittyhawk Note: Original: Disc 161A/36 Physical Description: Damaged disc
1049A/20	Movement I - 4. The Airborne Note: Original: Disc 161A/36 Physical Description: Damaged disc
1049A/20	Movement II - 5. The Enemy Note: Original: Disc 161A/37 Physical Description: Damaged disc
1049A/20	Movement II - 6. Threat and Approach Note: Original: Disc 161A/38
1049A/20	Movement II - 7. Ballad of the Cities, Part I Note: Original: Disc 161A/38
1049A/20	Movement II - 7. Conclusion of Ballad of the Cities Note: Original: Disc 161A/39
1049A/21	Movement II - 8. Morning Poem Note: Original: Disc 161A/40 Physical Description: Disc cracked
1049A/21	Movement II - 8. Morning Poem Note: Original: Disc 161A/41 Note: Probably another take of the above.
1049A/21	Movement III - 9. Ballad of Hurry Up, Part I Note: Original: Disc 161A/42
1049A/21	Movement III - 9. Conclusion of Ballad of Hurry Up Note: Original: Disc 161A/43 Physical Description: Damaged disc
1049A/21	Movement III - 10. Ballad of the Bombardier Note: Original: Disc 161A/44
1049A/21	Movement III - 12. The Open Sky, Part I Note: Original: Disc 161A/45 Physical Description: Disc cracked
1049A/21	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.
1049A/22	Introduction by Radio Announcer; Movement I - 1. Theory of Flight, Part 1. Note: Original: Disc 161A/47
1049A/22	Movement I - 3. Kittyhawk; 4. The Airborne Note: Original: Disc 161A/47
1049A/22	Introduction by Radio Announcer; Movement I - 1. Theory of Flight, Part 1. Note: Original: Disc 161A/48
1049A/22	Movement I - 3. Kittyhawk Note: Original: Disc 161A/48
1049A/22	Movement I - Conclusion 1. Theory of Flight; 2. Ballad of History and Mythology Note: Original: Disc 161A/49
1049A/22	Movement II - 5. The Enemy; Beginning of 6. Threat and Approach Note: Original: Disc 161A/49
1049A/23	Conclusion of Movement I - 1. Theory of Flight; 2. Ballad of History and Mythology, Part 1. Note: Original: Disc 161A/50
1049A/23	Movement II - 5. The Enemy Note: Original: Disc 161A/51
1049A/23	Movement II - 7. Ballad of the Cities, middle section Note: Original: Disc 161A/51
1049A/23	Movement II - 6. Threat and Approach; 7. Ballad of the Cities, Part 1 Note: Original: Disc 161A/52
1049A/23	Movement II - 7. Ballad of the Cities, conclusion; 8. Morning Poem Note: Original: Disc 161A/52
1049A/23	Movement III - 9. Ballad of Hurry Up, Part 1 Note: Original: Disc 161A/52
	The Airborne Symphony, recorded 1946 April 1
1049A/24	Movement I - 2. Ballad of History and Mythology; 3. Kittyhawk Note: Original: Disc 161A/54
1049A/24	Movement I - 3. Kittyhawk, conclusion; Airborne Enemy, beginning Note: Original: Disc 161A/53
1049A/24	Airborn Enemy, conclusion; Threat and Approach, beginning Note: Original: Disc 161A/54
1049A/24	Threat and Approach, conclusion; Ballad of the Cities, beginning Note: Original: Disc 161A/55
1049A/24	Ballad of the Cities, conclusion; Morning Poem, beginning Note: Original: Disc 161A/56 Physical Description: Cracked disc
1049A/25	Morning Poem; Ballad of Hurry Up, beginning Note: Original: Disc 161A/55
1049A/25	Ballad of Hurry Up, conclusion; Night Music, beginning Note: Original: Disc 161A/56
1049A/25	Ballad of the Bombardier Note: Original: Disc 161A/57
1049A/25	Rendezvous; The Open Sky, beginning Note: Original: Disc 161A/58
1049A/25	The Open Sky, conclusion Note: Original: Disc 161A/57
1049A/26	The Open Sky, conclusion Note: Original: Disc 161A/58
1049A/26	Threat and Approach, conclusion; Ballad of the Cities, beginning Note: Original: Disc 161A/59
1049A/26	Morning Poem; Ballad of Hurry Up, beginning Note: Original: Disc 161A/59 Physical Description: Cracked disc
1049A/26	Ballad of the Cities, conclusion; Morning Poem, first line Note: Original: Disc 161A/60
1049A/26	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
1049A/13	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	Lyrics
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	Songs
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
	Parts
Box/Folder   93/1 Reel/Frame   57/97-155	Cello
Box/Folder   93/2 Reel/Frame   57/156-208	Bass
Box/Folder   93/3 Reel/Frame   57/209-258	Flute
Box/Folder   93/4 Reel/Frame   57/259-312	Oboe, English horn
Box/Folder   93/5 Reel/Frame   57/313-364	Trumpet
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	Lyrics
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
773A/1	Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049	“Fugue”
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
	“Waterfall”
Box/Folder   95/2 Reel/Frame   58/803-805	Barcarolle for piano, undated
773A/1	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
	“Scherzo”
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
	Recordings
773A/2	Movements 1-3, recorded from disc
773A/3	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
773A/2	Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049	“Andante”
Box/Folder   95/8 Reel/Frame   58/936-942	Piano score, with composition plan, 1919
773A/1	Excerpts recorded from disc
U.S. Mss 35AN/Micro 1049	“Rondo”
Box/Folder   95/8 Reel/Frame   58/943-946	Piano score, with composition plan, 1920
	“Persienne”
Box/Folder   95/9 Reel/Frame   58/947-952	Piano score, with composition plan, 1919
773A/1	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	Woodwinds
Box   112 Reel/Frame   70/184-263	Brass
773A/1	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
773A/4	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
	“Sarabande”
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	Viola
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
	Untitled
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
	“Expatriate”
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	Score
	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
	“Displaced”
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	Lyrics
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	Narration
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
	Recordings
1049A/8	Overture, “Mother Courage's Song” (Helene Weigl), “Song of Fraternizing” (Regina Lutz), “Song of the Big Surrender” (Weigl) Note: Original: Disc 161A/19
1049A/8	“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
	Carmen
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
	Songs
1049A/1	“Musiker and Beetsie,” “I've Got the Tune,” “Chicken Salad,” “The Moon” Note: Original: Disc 161A/
1049A/1	“Initiation” Note: Original: Disc 161A/
1049A/2	“What For?” “Traffic,” “We Want a New One” Note: Original: Disc 161A/
1049A/2	“Because This Is Our Day” Note: Original: Disc 161A/
554A/5	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.	⇧
513A/11	William Blake Poems and Three Sonnets by Walter Lowenfels, set to music by Norman Curtis
554A/4	Songs for the Theatre,1953 Production
761A/1	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.
764A/1	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
1049A/16	“Gus and Sadie Love Song,” Scene 5 Note: Original: Disc 161A/29
1049A/16	“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
1049A/18	Overture, Serfdom, Mother Conceives a Child Note: Original: Disc 161A/32
1049A/18	Pharoah's Daughter Finds the Baby Note: Original: Disc 161A/32
1049A/18	Processional to the Court Note: Original: Disc 161A/32
	The Merry Widow
1049A/19	Acts I and II, Songs in German Note: Original: Disc 161A/33
1049A/19	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