Marc Blitzstein: A Bio-Bibliography

Marc Blitzstein

Marc Blitzstein at the piano in his apartment at 4 East 12th Street, 2nd floor. Photograph by John Jonas Gruen, © 1963. Courtesy of Stephen E. Davis.

Marc Blitzstein A Bio-Bibliography

Leonard J. Lehrman

Bio-Bibliographies in Music, Number 99 Don Hixon, Series Adviser

Westport, Connecticut London

Library of Congress Cataloging-in-Publication Data is available at www.loc.gov

British Library Cataloguing in Publication Data is available. Copyright © 2005 by Leonard J. Lehrman All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. ISBN: 0-313-30027-5 ISSN: 0742-6968 First published in 2005 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1

Contents Biography & Scope Note Abbreviations Used Acknowledgments Genealogy Dedication Teachers Important Performances by MB of Others’ Music Eva Goldbeck

1 6 8 12 19 19 20 22

Chronological List of Musical Works by Marc Blitzstein (W1-W128) Works with Orchestra Chamber Music Works Piano Solo Works Film Scores Incidental Music Scores Ballets Music & Sketches for Revues Operas & Musicals Original Choral Works Vocal Quartets Vocal Trios Vocal Duets Vocal Solos

32 53 57 58 61 62 64 67 68 69 73 74 75 77

Chronological List of Texts to Music by Others (T1-T18) Alphabetical List of Works, Including Alternate Titles List of Articles for Publication Written by Blitzstein General Articles & Documents on Marc Blitzstein Written During His Lifetime Death Notices & Memorial Tributes General Articles & Documents on Marc Blitzstein After His Death

83 85 102 114 122 128

vi Contents Blitzstein’s Musical Works & Their Manifestations (W1-W128) Major Works: Walt Whitman Songs (W28) Piano Sonata (W35) Piano Percussion Music (W39) Triple Sec (W40) Is 5 (W42) Cain (W50) Piano Concerto (W52) The Harpies (W54) The Condemned (W56) Send for the Militia (W65) Few Little English (W71) The Cradle Will Rock (W72) I’ve Got the Tune (W75) No for an Answer (W78) Native Land (W87) New York Opera (W88) Labor for Victory (W91) Freedom Morning (W94) The Airborne Symphony (W95) Modest Maid (W97) War Song (W100) Lovely to get back to love (W101) Goloopchik(W102) The Guests (W106) Regina(W107) Reuben Reuben (W108) This Is the Garden (W116) Juno (W117) Sacco and Vanzetti (W123) From Marion’s Book (W125) Tales of the Malamud: The Magic Barrel (W126) Idiots First (W127)

158 163 170 175 176 181 190 194 199 202 212 219 221 306 319 353 358 362 363 366 380 382 382 383 389 395 446 462 464 487 531 533 536

Blitzstein’s Texts to Others’ Music Major Works: The Threepenny Opera (T9) Mother Courage (T12) Mahagonny (T15)

554

Discography & Videography of Blitzstein’s Musical Works Index of Persons & Organizations

584 592

560 578 581

Biography & Scope Note Marc Blitzstein (Mar. 2, 1905-Jan. 22, 1964) was one of the 20th century's most important American composers, lyricists and critics, often credited with having virtually invented opera in the American vernacular. Like Aaron Copland and Leonard Bernstein, both of whom were named in his will as (and became) musical advisors to his Estate, Blitzstein was a masterful pianist, coach and accompanist. Unlike them, he was not a conductor, and never became rich. Also unlike them, he made more money on the lyrics to one song ("Mack the Knife" from his adaptation/translation of Bertolt Brecht's The Threepenny Opera, with music by Kurt Weill) than on everything else he ever did, put together, and he died at the age of 58, before, many have said, his time had come. Like the music of George Antheil (1900-1959), whom Blitzstein admired and whose criticisms he valued highly, very little of the music of Blitzstein was realized to its full potential during his lifetime, many pieces have not yet been performed as he conceived them, and much work needs to be done on and with his music--not least, putting some of the pieces in shape so that they can be performed. Born into a progressive, secular Jewish family in Philadelphia, where his paternal grandmother ran the family bank that specialized in helping immigrants, he was quickly recognized as a musical talent (a "Wunderkind" or "brat prodigy," as he later put it) and given lessons with the best teachers available. Dropping out of the University of Pennsylvania after refusing "on principle" to attend the required gym classes, he became the first American piano student of Alexander Siloti and enrolled at the Curtis Institute of Music, studying harmony and counterpoint with Rosario Scalero. He went on to Europe to study first with Nadia Boulanger in Paris (in 1926) and then Arnold Schönberg in Berlin (in 1927)--thus becoming the only composer to have worked in both of the opposing "camps" these two pedagogical giants represented. Returning to the U.S., he continued to travel back and forth across the Atlantic, composing, lecturing, and reviewing for numerous publications (esp. Modern Music). His racy Whitman and Cummings settings were performed by Nelson Eddy and others. His satirical first opera, Triple Sec (1928), had a run as part of the Garrick Gaieties in New York in 1930. In 1931 the League of Composers commissioned The Harpies, but the one-act opera went unproduced for lack of funds, due to the Depression, until 1953. The premieres of his Piano Sonata, Percussion Music for the Piano (in which the lid was slammed several times), and Serenade for String Quartet in three movements, each marked "Largo," created minor scandals. Conductor Albert Coates almost brought him and his music to Russia, but plans fell through: the journal of a 1927 Russian trip by an M. Blitzstein, contained in the Blitzstein archives, seems to have been that of his stepmother, Madeleine (Leof) Blitzstein.

2

Biography & Scope Note

A turning point came when Blitzstein discovered "proletarian music," and became secretary of the Composers Collective of New York, applying his brilliant technical facility and iconoclastic tendencies toward creating works which culminated in his masterpiece, the play in music, The Cradle Will Rock (1936), followed by the allegorically autobiographical radio song play, I've Got the Tune (1937), and another labor opera, No for an Answer (1937-41). The latter, with its anti-war subtext, provoked the FBI to open a file on Blitzstein (kept open almost until his death, then reopened briefly thereafter), and was shelved after Germany invaded Russia in June 1941. (The FBI's attention may also have been attracted by his new prominence, as indicated by the fact that he was awarded Guggenheim fellowships in 1940 and 1941. In 1946, thanks to Aaron Copland's influence, he received an American Academy of Arts and Letters award. In 1959, on Virgil Thomson's nomination, he was elected to the National Institute of Arts and Letters.) Cradle became his most notorious, and most performed, work, and is considered a classic of socially conscious drama, as well as the precursor to West Side Story, Dynamite Tonight, Casino Paradise, Urinetown and others. The story of its stormy opening formed the basis for Tim Robbins' 1999 film, Cradle Will Rock. Serving with the Eighth U.S. Army in London, Blitzstein penned numerous works in the war effort, the most highly acclaimed being his dramatic cantata, The Airborne Symphony, inspired in part by the genre of film scores (of which he wrote eight), and which would probably be more effective and better appreciated today were it to be cinematically realized, as originally envisioned. Leonard Bernstein conducted and recorded it (twice), having earlier been inspired by Cradle, which he conducted from the piano while a student at Harvard in 1939. In 1947 he conducted Cradle's orchestral premiere, and in 1952 the premiere of Blitzstein's Threepenny Opera adaptation at Brandeis University. Blitzstein also worked with the choreographer Jerome Robbins, on an unproduced American-Soviet friendship musical called Goloopchik, and a ballet on discrimination called The Guests (1946-49) that in many ways anticipated West Side Story. After Robbins named names before the House Un-American Activities Committee in 1953, Blitzstein was never interested in working with him again. Even more influential, musically, on West Side Story was Regina (1947-49), Blitzstein's Koussevitsky Foundation-commissioned musicalization of Lillian Hellman's play The Little Foxes. It ran for seven weeks as a two-act Broadway show, then found new life (in three acts) in the opera house four years later, going on to become one of the most performed American operas. Less successful was Blitzstein's urban folk opera taking place in New York's Little Italy, Reuben Reuben (1951-55), written at the height of the antiCommunist McCarthy period, about the difficulties of communication and the triumph of love over them. Not even the love of so many for so much of the score could overcome the work's own difficulties of communicating clearly with its audience just what it was trying to say, and it opened and closed quickly in

Biography & Scope Note

3

Boston, never reaching New York. In his final years, Blitzstein was dismantling the score and re-developing parts of it (as he had with his earlier 3 ballets and his unproduced operas Parabola and Circula and The Condemned, the latter a choral opera inspired by the case of Sacco and Vanzetti) in his cantata This Is the Garden, and in the work he considered would be his magnum opus, the three-act opera Sacco and Vanzetti, commissioned by the Ford Foundation for the Metropolitan Opera in 1959. First, though, there was a New York Philharmonic commission, conducted by Dimitri Mitropoulos: Lear: A Study (1958), inspired in part by Blitzstein's incidental music for numerous Shakespeare plays (including two different productions of King Lear), and Juno (1957-59), a musical with a book by Joseph Stein based on Sean O'Casey's play Juno and the Paycock. The musical, which ran into directorial and production problems and lasted for only 16 performances on Broadway, has one of the most beautiful scores ever written for the musical stage, with lush orchestrations by Robert Russell Bennett and Hershy Kay, but still awaits a full, major revival. Blitzstein's second Brecht translation, Mother Courage (1957), ran into legal problems after Brecht's death, but is scheduled for a premiere in the summer of 2005. In 1961, while working on Sacco, Blitzstein made a trip to Israel, which awakened in him reflections on his Jewish identity. Teaching at Bennington College in 1962-63, he befriended fellow faculty member Bernard Malamud and decided to take a "breather" from the Met commission, to compose a series of one-act operas to be called Tales of Malamud. He was completing the music for these, on a "working vacation" in Martinique, when he was beaten up and robbed by two Portuguese sailors and one local juvenile, who were later convicted of manslaughter: he died, in the hospital, of the wounds he had sustained. There is still considerable controversy over what he was doing with those three sailors. For years it was theorized that he had engaged them in some sort of political argument, to which they had reacted violently. It is also possible he was trying to learn the music of their speech, in order to portray the character of the Portuguese immigrant, Celestino Madeiros, in Sacco and Vanzetti. But the most probable explanation is that he was looking for sex among "rough trade" and that they simply saw him as an easy prey for a robbery they hoped would go undetected. As matters of sexuality, especially homosexuality, have been receiving greater and greater attention, so Blitzstein's personality (his rebelliousness and relentless self-criticism) and his sex life--particularly his marriage (1933-1936) to the bisexual writer and translator Eva Goldbeck (1901-1936) and the circumstances surrounding his death--have received more and more attention; often, it seems, to the (continued) neglect of his works.

4

Biography & Scope Note

This book, which was announced by Greenwood Press twenty years ago, and was taken in hand by this writer ten years ago, is the first to focus primarily on the work(s), as completely and comprehensively as possible, limited only by the resources available, and the degree of cooperation and communication from the many performers and writers of and on Blitzstein and his works. Listings are current as per information received thru May 15, 2005. (A big thank-you to Praeger, for their faith and patience.) For reasons of space, materials on The Threepenny Opera (T9) have been limited to those concerning Blitzstein's direct involvement with the work or performances of portions of it on programs of his works. For similar reasons, selectivity had to be employed in listing the many performances of "I Wish It So" (W117I:1#1), reviews of the film Cradle Will Rock (W72.101), and the many writings on Orson Welles and Leonard Bernstein which mention Blitzstein; and the discography/videography does not include translations. First, following a section on genealogy, including a selected list of Eva Goldbeck's works and lists of important performances by Blitzstein of others' works, there is a chronological listing of Blitzstein's own musical works, numbered W1-W128 (including 20 adapted, reconstructed, or completed by this writer) followed by a listing by genre: works with orchestra (46); chamber music works (14); piano solo works (27); film scores (8); incidental music for plays (13); ballets (10); pieces for revues (7); operas & musicals (17); choral works (22, including 76 individual pieces +8 posthumous arrangements); vocal quartets (10); vocal trios (12); vocal duets (47), vocal solos (189). Then there is a chronological listing of the texts he wrote to others' music, numbered T1-T18, followed by an alphabetical index that cross-references all these items with all known alternate titles, and titles of individual movements and songs within larger works. Then comes an annotated list of Blitzstein's articles and other writings A1-A96; then general writings about Blitzstein written during his lifetime, G1-G65; memorials and death notices, M1-M44; and general writings about him written after his death P1-P63. Included therein are the seven commercial recordings (the two he made himself [A63 and A76] and the five made after his death [P31, P32, P38, P53, and P63 (in progress)]) and various concerts (for which there were printed programs), each containing three or more of his works. An exception to this is the Nadia Boulanger memorial concerts (1996-2004), at which 3 Blitzstein works were performed, including W100 "War Song," which was premiered; they are listed under W100; not as a separate P entry. Another exception is Thomas Meglioranza's Grinnell College recital of 4/19/03, which came to light recently, and which is listed under the first of the 3 Blitzstein songs he sings, W66 "Stay in My Arms." The Blitzstein concert of 4/18/41, for which there was no printed program--only invitations and handwritten notes as to what was played--is listed under the individual works (W65-79).

Biography & Scope Note

5

General writings (about more than one work) of each individual are grouped together, connected by "see" or "see also" references to other writings by that individual that pertain to specific works. Except for the Piano Concerto (W52) and excerpts from The Guests (W116), none of the solo instrumental works have been commercially recorded; a series of concerts culminating in a recording of the (virtually) complete solo piano music in the fall of 2005 (not included in this book) will attempt to remedy that. The major portion of the book provides an annotated list of documents pertaining to each individual work, including (chronologically) letters, sketches, performances, preview articles, reviews, analytical books and articles, recordings, and recording reviews. The key and range are given for each published song. Items in the earlier lists are cross-referenced by number when quoted in the section on individual works. The book concludes with a discography and videography of all known commercial and private recordings of Blitzstein's musical works (translations are not included), and an index of persons and organizations important in Blitzstein's life and work (authors whose works were reviewed by Eva Goldbeck but do not appear elsewhere in the book are not included; works by other composerss are listed under those composers' names). Gaps are acknowledged in performance histories of The Cradle Will Rock and Regina between 1964 and 1987, when Tams-Witmark's records became computerized. Some archival clippings are missing dates, or even name of publication, but may be identifiable in the future. The whereabouts, papers, and/or death dates of Madeleine Leof Blitzstein, Reed Wolcott, and Katya Brous may become known. Many previously unidentified texts and scores in the archives have now been identified, but a few remain mysteries; numerous lost scores and hitherto unknown private recordings may yet be found. Errors of proofreading are apologized for in advance. Words by Marc Blitzstein Copyright by Stephen E. Davis and Christopher Davis, used by permission. Letters by Leonard Bernstein Copyright 2005 by Amberson Holdings LLC. Used by permission of The Leonard Bernstein Office, Inc.P

Abbreviations Used A = alto AAA = American Agricultural Assn ABC = American Broadcasting Corp. abr. = abridged Acc = accordion accomp. = accompaniment /accompanying Admin. = Adminstration AFofM = American Federation of Musicians AFTRA = American Federation of Television and Radio Artists aka = also known as alt. = alternative Amer = American APM = American Peace Mobilization arr. = arranged/arrived Assn = Association aug. = augmented b. = born B = bass (voice) or box number BAC = Battersea Arts Ctr, London Bar/bar. = baritone (voice) BBC = British Broadcasting Corp. Bcl. = bass clarinet BD = bass drum bn[.] = bassoon c. = circa (approximately) Cb = contrabass Cbn = contrabassoon CBS = Columbia Broadcasting System Cel[.] = celesta cf. = Compare/See also choreog. = choreography CIO = Congress of Industrial Organizations cl[.] = clarinet Comp = Comparative compl. = complete/completed/completion cond. = conductor Corp. = Corporation CP = Communist Party CPers = CP members Cr = Crash CRI = Composers Recordings, Inc. Cto = Concerto

Ctr = Center Cym = Cymbal(s) d/dim. = diminished d. = died dir. = director diss. = dissertation div. = divorced dr. = drum e.g. = for example ed. = edition/edited by EH = English horn encl. = enclosed Eng. = English Ens = Ensemble esp. = especially exc. = excerpt(s) FBI = Federal Bureau of Investigation Fdn = Foundation fl[.] = flute Ft = Fort FTP = Federal Theatre Project gliss. = glissando Gov. = Governor Guit = Guitar HH = hihat Hist = Historical Hl = Hall hn = French horn hp = harp hpschd = harpsichord HUAC = House Un-American Activities Committee Hung. = Hungarian HW = Helene Williams Inc. = Incorporated incl. = including ISCM = International Society for Contemporary Music LB = Leonard Bernstein LC = Library of Congress Lg = League Lit = Literature; lit. = literally LJL = Leonard J. Lehrman Ltd. = Limited m. = married/measure; mm. = measure M/maj. = major; m/min. = minor M = mezzo-soprano

Abbreviations Used 7 R = microfilm reel # MB = Marc Blitzstein (sometimes followed by frame #s) MBS x/y = Marc Blitzstein Songbook ret'd = returned vol.x pg.y repr. = reprise Met = Metropolitan Opera rev. = revised MGM = Metro-Goldwyn-Mayer S/sop. = soprano M.I.T. = Massachusetts Institute of S&V = Sacco and Vanzetti Technology Sc. = Scene MM = Modern Music SF = San Francisco MOMA = Museum of Modern Art sig = signature MtM = Mark the Music (P19e) SnDr = snare drum mus.dir. = music director Soc = Society mvt = movement Sp. = Spanish NAACP = National Association for the Advancement of Colored People Sq = Square Str = String(s) Nat'l = National SUNY = State Univ. of NY NBC = National Broadcasting Corp. Sus = Suspended n.d. = not dated/no date available Sym = Symphony nr = near T/ten. = tenor NY = New York NYC = New York City TAC = Theatre Arts Committee NYCO = New York City Opera tb = trombone NYPL = New York Public Library Tel. = Telephone NYU = New York University Thtr = Theatre/Theater ob[.] = oboe Timp = Timpani op. = opus Tmpl Blks = Temple Block opt. = optional tpt = trumpet Orch = Orchestra tr. = translated/translation (by) p. = page #(s) Tri = Triangle P.D. = Public Domain Ukr. = Ukraine perc. = percussion Univ. = University perf = performance; perf'd = performed v. = volume va = viola Phil = Philharmonic Var = Variation(s) Phila = Philadelphia vc = cello picc. = piccolo vce = voice pno = piano Vibr = Vibraphon prem. = premiere vn = violin prod. = production/producer Prof. = Professor w/ = with Wash = Washington prog = program WPA = Works Progress Admin. publ. = published/publisher Xyl = Xylophone q.v. = which see Y = Young Men's Hebrew Assn qn = quintet qt = quartet X:Y = Act X Scene Y; or Section & p. # (of, e.g., NY Times) # = number of movement, or song in a group, or solo/ensemble within a scene Pt = Part (of a through-composed scene) WSHS = Wisconsin State Historical Society, Madison, Wisconsin, Marc Blitzstein Archive

Acknowledgments This book would not have been possible without the inspiration & encouragement of many people: Elie Siegmeister (1909-1991), my teacher and mentor from 1960 until his death, who first introduced me to The Cradle Will Rock, and encouraged me to look at I've Got the Tune and Idiots First, recommending me to the Blitzstein Estate as the latter's possible completor. My orchestration of that opera, completed during Elie's final days in the hospital, where he died of a brain tumor, was dedicated to him. Joan Peyser, whose intriguing 1966 article on Blitzstein, the first to mention his use of dodecaphony in Idiots First, helped whet my appetite for the task at hand. Leonard Bernstein, whose inspiring visits to Harvard (first at Dunster House in Dec. 1969, then at the Music Department in the spring of 1970, and finally at Lowell House Dec. 5, 1970 for my production of I've Got the Tune, The Harpies, and his Trouble in Tahiti) encouraged all of us to realize of Blitzstein: "This was his time!" that should have been, and might yet be, if we all worked hard enough, together. Nadia Boulanger (1887-1979), who lent her sympathetic and understanding ear to me in lengthy and detailed discussions, and analyses, of music by Blitzstein, and Lehrman, in the summer of 1969 at Fontainebleau, and in 1971-72 in Paris, where I was fortunate enough to get to study with her on a Fulbright French Government grant. Josephine Davis (1901-1987), Marc Blitzstein's sister, whom I met in 1970, and to whom I first spoke about writing a book about her brother. She encouraged me to think about completing his unfinished works first. This tough but warm lady, who became like another grandmother to me, or at least a great-aunt, never failed to send a letter and a check as contribution--when she could easily, and properly, have instead sent a bill for royalties--to each Blitzstein event I produced during her lifetime. Her sons Stephen (and his wife Joyce) and Christopher ("Kit") Davis--as well as their children (and at least one of their grandchildren), listed in the genealogy section--who commissioned me to edit The Marc Blitzstein Songbook and to complete the chamber piece "Discourse"; who rose to my defense when others attacked their wisdom at entrusting me with the completion of Sacco and Vanzetti; and who gave me a precious lode of clippings saved by their maternal grandmother, as well as a set of musical scores by others which their uncle had kept on his piano. The archives and staff (especially Harry Miller) of the Wisconsin State Historical Society Marc Blitzstein Archive in Madison, Wisconsin, that houses most of

Acknowledgments 9 Blitzstein's manuscripts and correspondence, and to which I made five research trips (in 1970, 1975, 1991, 1995, and 2004)--for arranging personal loans of materials, and for setting up (at first unbeknownst to me) a "Leonard Lehrman Archive" to house materials I donated, of which there will be many, many more. Lou & Peter Berryman, Eva Wright, and Meg Skinner, for helping to arrange a concert at the First Unitarian Church of Madison to help defray the costs of the 2004 trip. The archives and staffs of the Leonard Bernstein Office (esp. Harry Kraut, Craig Urquhart and Marie Carter), the Library of Congress, the Kurt Weill Foundation (esp. David Farneth, David Stein, Carolyn Weber, and Lys Symonette), Jerold Couture, Stefan Brecht, European American Music (Caroline Kane), and collections at Harvard and Yale. Bernard and Ann Malamud, for the encouragement to complete Blitzstein's opera Idiots First (W127), as well as to compose my own two other Malamud operas (W127A & W127B). Elizabeth Barnett (Estate of Edna St. Vincent Millay), the NAACP (Estate of Dorothy Parker), Liveright Publishing Corp. and George James Firmage (ed. poems of E.E. Cummings), and the Society of Authors (Estate of A.E. Housman). Virgil Thomson, John Houseman, Jana Malamud, Lotte Lenya, Alan Bush, David Diamond, Sondra Lee, Jack Gottlieb, Ned Rorem, Joseph Stein, Barbara Barrie, and Evelyn Lear, who shared personal and inspiring reminiscences and insights, as did Robert Palmer, my dear teacher at Cornell. Professor Palmer recalled and recounted playing through Sacco Act I Sc. 3 with Blitzstein in Rome; heard my completion of Act I and wrote the Blitzstein Estate, persuading them to give me the go-ahead to complete Acts II and III; and then came by bus all the way from Ithaca to Westport CT to hear the work and participate in a symposium on it. My completion is dedicated to him. Opera Monthly, Opera Journal, Opera Today, Aufbau, Jewish Affairs, Jewish Currents, and The Forward for publishing my writings, many of them on Blitzstein, over the years. Other professors, performers, and researchers who encouraged my work on Blitzstein: Ross Allen, William Austin, Leonard Boudin, Betty Comden, Frank d'Alessandro, Robert d'Attilio, Robert J. Dietz, Albrecht Dümling, John Eaton, Lehman Engel, Geraldine Fitzgerald, Lukas Foss, Herbert Haufrecht, Marc E. Johnson, Earl Kim, Leon Kirchner, Harry Levin, Steven Lubin, Richard Maltby, Wilfrid Mellers, Neil Thomas Proto, Tony Saletan, Pete Seeger, Brad Short, Alex Skovron, Thomas A. Sokol, Paul M. Talley, Sally Lou Todd, Wolfgang Vacano, Michael Wager, Howard Zinn, James L. Zychowicz, the People's Music Network Songs of Freedom & Struggle, and the Jean Cocteau Repertory Theatre, as well as Michael Dukakis, Mrs. Ben Shahn, Nicola Sacco's niece Fernanda, and the cities of Villafalletto and Torremaggiore, Italy.

10 Acknowledgments Jack Beeson, Robert Holton, Stanley Faulkner, Ellis J. Freedman, Jerold Couture, Jerrold Morgulas, Bennet Zurofsky, Tams-Witmark (Sargent Aborn), Boosey & Hawkes (esp. John Forbes and Charlie Harmon), and Theodore Presser (esp. Arnold & Tom Broido, Judith Ilika, Maria Iannacone, and my former student Daniel Dorff) for help & advice on legal and publication matters. Brent Oldham and David Litofsky, whose collections of rare recordings of Blitzstein's works proved invaluable. Richard C. Wandel, Associate Archivist of the N.Y. Philharmonic. The staff and (esp. microfilm) facilities of the Frank Melville, Jr. Memorial Library at SUNY Stony Brook; New York Public Library for the Performing Arts at Lincoln Center; B. Davis Schwartz Memorial Library at C.W. Post College, Long Island University (esp. Diane Podell); Freeport Memorial Library (and Walter Carmichael); and Oyster Bay-East Norwich Public Library, where I have been privileged to serve as part-time Reference Librarian since March 1995. The College Music Society, Music Library Association (esp. Judy Pinnolis and the Jewish Music Roundtable, but also the Bibliography and Composer/Performer Roundtables, Paul Rogers, and Mark Smith, who recommended me to Greenwood Press), Modern Language Association (Brecht Section), Society for American Music, National Opera Association (esp. Robert Hansen, Gordon Ostrovsky and Elizabeth Kirkpatrick), and the American Music Center (esp. Frank Oteri, Lyn Liston, and newmusicjukebox.org). The genealogists of the Blitzstein family: Freya Blitstein Maslov, Robert Fagles, Laura Goldsmith, and Marc Galanter. Vera Gordon, for help with the titles reviewed by Eva Goldbeck. Sympathetic listeners: Steven Blier, Mark Butler (and Christ Church Babylon, where I've been honored to serve as Minister of Music since 2003), Frank Corsaro, Barbara Eubanks, Sidney Gluck, Morris Golde, Glendower Jones, Sara Sue Koritz (and Community Church of Boston), Bob Lehrman, the Oceanside Chorale (which I've been pleased to direct since 2003), Richard & Lynn Owen, Joe & Linda Pehrson, Lou Rodgers, Shirley Romaine, Bob Sherman, Michael Spierman, Charles Streeper (and the Jüdischer Musiktheaterverein Berlin), and Arnold Weinstein. The casts and staffs of various opera companies and grantors that have helped premiere my Blitzstein completions, esp. Paul Gibbons, Bill Castleman, David Wyatt, Ivor Francis, Rob Lawson, Carol Skinner, Nanette Hanslowe, Yvonne Parkes, Laurie Conrad, Karen Campbell (Ithaca Opera); Edward Crafts, Richard Duncan, Bill Ashby (Indiana U.); E. Randahl Hoey, Georgeanna Pappas, Morris White, Ronald Edwards, Charles Osborne, Stephen Colantti, Alan Glassman, Jon Benac, Natasha Lutov, Theodore Sieh (Bel Canto Opera); Richard Marshall, Patricia Heuermann, James Sergi, Mark Tobias, Rodney Miller, Nick Wuehrmann, Robert Osborne (Center for Contemporary Opera); Richard & Beth

Acknowledgments 11 Flusser (After Dinner Opera); the Puffin Foundation, Brenda Lewis, Vincent Curcio, Donald Saddler, Leo Meyer, Gregory & Nicole Mercer, Lars Woodul, Stephen Tharp, Mark Wolff, Tara Venditti, Tammy Hensrud, Maurice Edwards, Luke DeLalio, Norman Greenspan, Benjamin Spierman (White Barn Theatre); Jonathan Irving, Joel Mandelbaum, the Maldeb Foundation, East End Arts Council, New York Foundation for the Arts, John Craven, Don Levine, Lorinda Lisitza, Cameron Smith, Josh Minkin, the Metropolitan Philharmonic Chorus, and Solidarity Singers of New Jersey (Great Neck House, People's Voice Cafe, and Queens College). Dr. Eric A. Gordon, whose diligent oral history and archival work on his Blitzstein biography, Mark the Music), provided a fount of important and useful information, esp. quotes from Mina Curtiss's correspondence, currently being processed at the Library of Congress. The musicologists Maria Cristina Fava and especially my dear friend Ralph P. Locke, of the Eastman School of Music, and Anonymous, for editorial assistance. And most of all my parents, Nathaniel (and his Prof. Edgar H. Lehrman Memorial Foundation for Ethics, Religion, Science & the Arts, Inc.) and especially Emily Lehrman, for her sharp and skillful editor's mind and comments; and my dear wife Helene Williams Spierman Lehrman, who has made my life worth living, with her embodiment of all the physical, intellectual and vocal beauty and wit inherent in so many of my own works and the Blitzstein works I have tried to bring to life.

Descendants

Descendants of Zelig Galanter

of David Blitstein

Descendants of Shloyme Baumfeld

Genealogy Names in boldface figure in MB's biography or are sources of geological research. MB, like LB (Leonard Bernstein), preferred "stine" to "steen" in pronunciation; historically, German Jews looked down on Russian Jews(!). Variants of the name: Blitstein, Blistein, Blitshtein, Blaustein, Bluestein, Bloystein, Bluestone, Blitsh, Blits, Blitt, Stein [blood ston/lightning stone] David Blitstein (c. 1787-1897?) Trochinbrod (Sofieyewka)(Zofyuvka)between Lutsk & Rovno, Ukr. brothers: Abraham, Chaim [Chyam?], Moishe (1811-c. 1846); children: Wolf (1807-1892), Hershel (1809-1896), Moishe (1811-?), Aaron (1813-1908); daughters Giesse (1815-?), Sluva (1817-?); son Feivl (1819-?); son (or grandson?) Moish[i]e (Moses Lionel) (Odessa 1846-1897 Philadelphia). The first Moishe, who had a son Abraham in the 1850s, moved away. The second Moishe [MB's paternal grandfather] may have been David's grandson, or the child of a 2nd wife. Feivl's daughter Channa (1883-1934) m. Aaron's son Nussia (1878-1953) and lived in Racine, WI. Aaron's son Nathan (Nachimosher)(1880-1947) had son Harold, father of Freya Blitstein Maslov (6/18/41- ), genealogist in Skokie IL. Hannah [Anna/Chana] Galanter (1854(?)-6/13/1929) [MB's paternal grandmother, called "Babushka" by the family] m.Moish[i]e [Marcus] Blitzstein [MB's paternal grandfather] (arr. in US [Phila] 2/22/1889) opened bank at S. 4th St., Phila: M.L. Blitzstein & Co. 1889 [closed 12/30]; founded old age home 1898; also a steamship ticket agency. 11 children (4 d.infants), 10 b.in Odessa, incl.: Abraham (d.Russia), Sophie, Rosalie, Jenny, [MB's father] Samuel Marcus Blitzstein (6/8/79-4/29/45)[naturalized 4/21/96] [5-pg. article on Sam (MB's father) just after his death (4/29/45) by Helen Hough, Phila. R15], Jacob (1880-98), Alberta (1884-89 d.Southampton), Mary. Hannah's mother, née Ashkenazy; father's family name probably from "galanterie," seller of buttons, etc. (not on tree) Hannah's brother Moishe Galanter has descendants in Burlington, NJ; 3 children: Israel, Joe, Florence Joe (Camden NJ optometrist) m. Alice (optometrist); son: Robert (Or is Alice Joe's daughter?) Florence m. Leo Wolf (pharmacist); 2 children.

Genealogy 15 Sonia [Sophie](l/15/1871-1927) m. Constantine Borisevich Voynow (9/13/1870-1948) 11/2/92; children: Lionel [Leo] (1900-1918); grandson: Lionel, Jr. [Bob](c. 1927-1998) m.Roberta (?-c.1999); great-grandson: Robert (c.1957- ); Gregory (George) (1896-1953); m. Dorothy (Dubbie) Harris (1898-1984); son: Paul (6/20/28- ) m. Constance Weinsweig (1/6/32- ) 7/11/54; 3 children: Gregory (ABC-TV producer), Esther, David; Constantine Boris Jr. [Cutch] (6/1897-12/22/1978) m. Ann Victor (11/19/03-c.1987) 6/10/21?; 2 sons: Victor Harry (3/17/26-8?/?/92) m. Marcie Waldman (1931?- ) c.1949 div. m. Mo; children: Susan (c.1952- ), Jeffrey (1957- ); Leonard (4/27/31- ) m. Sylvia Birch (4/30/34- ) 12/20/53; chldren: Judith Ann (12/6/56- ) m. David Jaffe (c. 1955) c.1986 Sonia (10/12/58- ) m. Bret Boyer (12/4/62) 9/9/90 Samuel Richard (2/14/62- ) Ellen Sue (10/1/63- ); Vera (2/3/03-9/3/76) m. Charles Fagles (1/30/97-9/28/47) 1927 son: Robert (9/11/33- ), tr. of Greek classics; Comp Lit Prof, Princeton m. Marilyn Duchovnay (11/8/34- ) 6/17/56; daughters: Katya (4/30/65- ) m. Richard Friedman (12/25/68- ) 11/17/01 Nina (5/17/67- ) m. Richard Hartley (1/16/71- ) 4/5/03; Andrew [Andy] (12/20/05-before 1998) Moscow Times journalist in Russia 1930s m. ? ; 2nd m. to Zina Atashova [sister of Pera A., wife of Sergei Eisenstein] (? - 1998) son Paul (Pasha) m., div., son, Medford, MA; Paul twin brother (d. as child). Rosalie (1873-12/25/1936) 1st woman obstetrician/gynecologist in Phila. Jenny (1876-?) m. William Tutelman (Oak Lane, PA) 3/1899; 4 children: Mark, Samuel, Frimma (m. Seidman), Alberta. Mary (Podwoloczyska, nr.Lvov 1888-1969) m. Marcus Zamustin (1880-1944); daughter: Laura (6/16/20- ) m. Morton Goldsmith (8/17/15-2/21/98) 7/24/44 daughter: Carol 3/27/50 Chair, Religion Dept., Smith Coll m. Mark Rucker; son: Kriston (1970- ) div. m. Philip Zaleski c.1980; sons: John (6/4/86- ). Andrew (5/31/95- ).

16 Genealogy Hannah's brother Zelig Galanter (b.Kalyas (Kalyis?) 1856, settled in Husiatyn, Ukr., nr Austro-Hung. border; worked as bookkeeper in Odessa; d. 1912) m. Essie Tzweber (?-1925), cloth merchant; 3 daughters, 1 son: _?, Bontche (Bryna), Rifka, Itzhak (Itzik). Eldest poisoned herself rather than marry the man chosen for her, c. 1900. Bontche (Bryna) m. Rosenblit; both died in the Holocaust; they had 3 daughters: 2 settled in Novosibirsk; Shoshana Ron (1906-?) went to Haifa. Her son Moshe (c. 1930- ) has taught piano there since the 1950s; m. Yael Rosenberg (pno teacher); 4 children. Rifka m.

Rosenberg (no relation to Yael).

Itzik (1873-1960) in 1893 m.Leah (1877-1947), daughter of Mechel [Max] & Beila) Feierstein; children: Max, Jacob (7/22/1890-1972), Anna [Hannah, Aisha], Rose [Raisl], Frieda [Frime], Rae [Rifka]. Max (12/25/1890-1970) came to US 1912, 10/30/21 m.Sarah Honigman (7/1/01-9/3/89); son: Eugene Harrison Galanter (11/27/24- ) 1940s m.& div.Frankie Marvin; 1952 m.Lila Lichtenberg div.1955 12/22/62 m.Patricia Anderson (2/10/35- ); he has been prof at Penn, Seattle, Columbia since 1966; children: Alicia (9/30/66- ), Gabrielle (5/2/69- ), Michelle (9/18/72- ); Alicia 3/14/92 m. Roland Walton; children: Philip Xavier (5/26/94- ), Theodore St. George (3/7/97- ), Margot Magdalena (5/12/99- ); Gabrielle 6/21/97 m. Luis Camara Silva - both live in Los Angeles. Jacob* came to US 1910 w/sister Anna, worked at Blitzstein bank, 1927; [see p.18] there met & on 2/10/27 m. Mary[Mariassa] Linett [Linitski] (Irklaev, Ukr.9/10/1898-1988) 1st female teller in Phila named their son Mordecai after her father, but called him Marc (2/18/31- ) after MB Marc 6/18/67 m.Evelyn [now Eve] Skom [now Bell; 1962-6(?) m.to Jonathan Berall] (6/27/41- ); children: Seth (6/2/68- ), Rachel (10/4/69- )[has foster daughter Diana], Sarah (9/21/72- ). Anna (1896-1918) died in flu epidemic while Jacob was stationed in the army at Ft Oglethorpe, GA. Rose (1903?-78) garment worker; m., div. 1930s. Frieda (1906-88) milliner, unionist; m. Samuel Lewis (1906-76), Manchester Jew, organizer. Rae (1910-91) bookkeeper.

Genealogy 17 Sam[uel Marcus] Blitzstein m.Anna Lewytski [Levitt] (4/3/1882-2/19/70) 4/30/01; div. 6/1912-5/1920; children: Josephine [m.Davis] (2/22/02-3/11/87) Marcus Samuel Blitzstein (3/2/05-1/22/64) Divorce finalized after Sam's affair with Mrs. Pauline Segal (b.Constantinople; Russian parentage). Her husband, Dr. Bern(h)ard Segal, then m.Anna, 4/?/21; he d.1923. The Segals had 3 daughters: Vivienne (actress 4/19/1897-12/29/1992), Vera, Louise. Vivienne m.Robert Ames 1923, div.6/28/26; m. Hubbell Robinson, Jr. 1950; he d. 1974. She was survived by her sister Louise Paget Kowalski. Anna L's father, Louis Levitsky, Baltimore cigarmaker and would-be Yiddish thespian, m. c. 1886 - "some time before 1887"** [see p. 18] Anna L's mother, Khaye [US: Clara] Baumfeld [US: Kaufman] (c. 1870-1914), the child of Shloyme & Malye Baumfeld of Taraschne, Kiev district, Ukr. (Russia) (the family came to Baltimore via Castle Garden & So. Maryland c.1878), was the sister of Maurice and Bracha [US: Bes[s]i[e]] (1873-7/6/1962). Bessie m.1891 Boris Thomashefsky (1868-1939). She was survived by sons Harry & Ted, a brother & 2 grandchildren, one of them being: Michael Tilson Thomas (1944- ). Maurice m. Rae in Phila->NYC; their daughter Mildred m. Louis Siegel. Anna L had 6 or 7 siblings, incl. sisters Sadie, Reba. Sadie m. Herman ? [Venice, California]. Anna L m. William Levy (of Pittsburgh) 4/?/29; div. in early 1930s. Sam m. Madeline [Mad[d]i[e]] Leof (6/13/01-?), daughter of Dr. Morris Vladimir Leof, 5/21/28. After his death in 1945, she m. George Ross in 1952. Jo m. Edward Davis (6/27/1893-6/29/1987) 6/14/23; sons: Stephen E., Christopher (Kit) Davis. Marc m. [Maria Luisa] Eva Goldbeck (Berlin 8/26/01-NY 5/26/36) 3/2/33, only child of Edward Goldbeck & Lina Abarbanell (1/9/79-1/6/63). Stephen E. Davis (12/21/25- ) m. Joyce Kidder (4/3/27- ) 7/30/55 [banking attorney, retired in Tiverton RI] children: Dr. Owen (8/16/56- ) m. 2 children; Carolyn (3/25/60- ) m. Matthew Forbes Erskine 1985: 3 children: Nathaniel, Adele, Amelia; Charles (4/9/62- ) m. 2 children. Christopher (Kit) Davis (10/23/28) [writer, sculptor] m.Sonia Fogg 6/6/53, div. 1995; m.Sally Warner 1999 [AltadenaCA] children: Kirby (1957- ) m. _ Bosley: children: Will (1994- ), Julia (1996- ); Katherine [Katie] (1959- ) m. Larry Siems 1 son: Eli (1991- ) [attended his first opera, W123, 8/17/01]; Emily (1964-); Sarah (1970-) m. John Parsons.

18 Genealogy *aka John Jacob Galanter, or Jack "at some point in the 20s or 30s" --email from Marc Galanter 7/27/04. **"Sometime before 1887, the year that Boris Thomashefsky's troupe came to Baltimore, Clara had married Louis Levitsky (a cigar maker) in Baltimore. Clara, Louis and Bessie were all enamored with Boris and wanted to join his troupe. They all practiced roles for a production of a play but Clara and Louis has fights with the director and left. Later on, Louis followed Boris and his troupe to Philadelphia but Clara made him come home. Only Bessie stayed on with Boris, eventually becoming a great star and pioneer of American Yiddish Theatre in her own right." --email from Linda S. Steinberg 11/25/02. Vice President and Executive Director, The Thomashefsky Project, San Francisco. See also W72.2.24 3-4/96 Brown, Royal S., "An Interview with Michael Tilson Thomas," Fanfare 19:4 p. 34, 36. Named after Marc Blitzstein, or his Characters: MB's cousin Marc Galanter (1931- ), Prof. of Law & South Asian Studies, U Wisc., Madison. Marc Bauman, son of Mordecai & Irma Bauman. Marco Capalbo (1954- ), composer, son of Carmen Capalbo. Marc Holland, son of tenor Charles Holland. Marc Wager (1964- ), son of Michael Wager. Alexandra (1950- ), daughter of Priscilla Gillette. Jamie Bernstein (9/8/52- ) daughter of Leonard & Felicia Bernstein, goddaughter of MB. Alexander Bernstein (7/7/55- ) son of Leonard & Felicia Bernstein (cf. Alexandra in Regina, W107). Nina Bernstein (2/28/62- ) daughter of Leonard & Felicia Bernstein (cf. heroine of Reuben Reuben W108). Emily Davis (1964- ) daughter of Christopher & Sonia Davis (cf. song in Airborne Symphony W95). Emily Saletan (2001- ) daughter of Tony Saletan (cf. song in Airborne Symphony W95). Madeleine Chava Berkowitz (3/2/05- ) granddaughter of Joseph Stein. Blitzstein in Others' Work: Bolcom, William & Arnold Weinstein, Dynamite Tonight MB critique repeatedly acknowledged. Capote, Truman, "Music for Chameleons," short story, New Yorker, then title of collection (1980). Davis, Christopher, The Joyless Jewels (MB critique: R6#790-l). Ibid., A Kind of Darkness. Ibid., The Sun in Mid-Career (NY: Harper & Row, 1975). Ibid., Remembering Cain (in progress). Recipients of Marc Blitzstein Memorial Awards: William Bolcom, 1965; Jack Beeson, 1968; John Olon-Scrymgeour, 1976; Richard Peaslee, 1988; Sheldon Harnick, 1993; Charles Kondek, 1997; Arnold Weinstein, 2002.

Dedicated to MB 3/6/39 3-page piano piece by Henry Cowell [corr. R3#1095-6]. 1952 LB's Trouble in Tahiti [N.B. reference in scat-singing to "Abarbanel": MB's mother-in-law Lina Abarbanell]. On copy of score given MB with dedication (lengthy version, eventually shortened at the end) there is an epigraph quoting Copland's "Billy the Kid," to which LB & MB sang the words: "Bernstein and Blitzstein and Blitzstein and Bern, Bernstein and Blitzstein and Bernstein and Blitzstein and BLITZSTEIN!" (or in reverse)--part of the word games they played on 2-week vacation in Cuba, late 1956. "We were good about telling what was wrong with each other's work, esp. in Trouble in Tahiti - a good doctor for other people's shows but not for his own." Eric Gordon's notes on 1987 interview w/LB, LC. Ned Rorem's 1957 Paul Goodman song setting, "Such Beauty as Hurts to Behold" (publ. 1961). See M11. 1b 11/8/57. 1958 Mina Curtiss's Georges Bizet and His World, NY: Knopf. See T13. 1969-70 LJL, Beowulf or The Great Dane, quotes from W72 Sc.2 & Sc.4#1. 7/1970 Ibid. "Introductory" from The Bourgeois Poet, Karl Shapiro song cycle [homage to W72Sc.7#l]. 1970-71 LJL's tr. of Brecht-Eisler Days of the Commune 1982 Francis Thorne's Lyric Variations #5 for Orch premieres, quoting W107 I:7c in memory of MB. 1984-87 "Fathers and Sons," from Act II of LJL's & Karen Ruoff Kramer's E.G.: A Musical Portrait of Emma Goldman quotes "a nice big cradle" from W72 Sc.7#3.

MB's Teachers Constantine von Sternberg (1912: perf'd Mozart's Coronation Cto w/2pnos) (Phila). Katherin Montreville Cocke, Julian Pascal (Venice, California 1914-1917). William F. Happich (comp.), Maurits Leefson 1917-18, D. Hendrik Ezerman 1918-22 (Phila). [1922 Medalist, Phila Philharmonic Society.] 1st US pupil of Alexander Siloti (Ansonia, NYC)[1st cousin & teacher of Rachmaninoff] 1923-6: testimonial 12/29/27 [R7#456]; his wife Vera Tretyakov Siloti, MB's "musical mother." Rosario Scalero (Curtis) 1924-6; 10/9/26 left for Paris & Nadia Boulanger. 10/24/26 MB to Berenice Skidelsky on Boulanger [Rl#630]: "an incredible Spartan woman; her musicianship is limitless, she is entirely charming, and she likes me." 2/12/27 in Berlin; studies w/Arnold Schönberg, Akademie der Künste; see G5, P43; ret'd to US 8/27. Boulanger wrote testimonial for MB 1/2/28 [R7#446]: "I could not praise too highly his gifts." 7/30 he ret'd to play works for Boulanger in Gargenville, France.

Important Performances by MB of Others' Music (see also T1-T18) 2/5/22 Saint-Säens Cto #2, Academy of Music, Josef Pasternack, cond. reviews 2/6/22 Morning Ledger (?)(R8#308): "Boys of 17 and 19 Charm in Music: Violinist and Pianist, Winners of Philharmonic Society's Medals, Make Debut: Greeted by Big Audience: Max Senofsky and Marcus Blitzstein Display Talents of High Order:" "something more than talent... he has genius.... After many recalls, Blitzstein played, without the orchestra, Tschaikowsky's 'Troika,' revealing fresh subtleties of technique and interpretation...." 2/6/22 Phila.Inquirer: (R8#308): "Philharmonic Concert: Two Soloists Presented by Society at the Season's Third Performance:" "showed wonderful command of his instrument and displayed a masculinity of touch that was really surprising and at the same time he gave full expression ot the more tender passages." 2/6/22 Philharmonic City (R8#308): "Gold Medal Musicians as Soloists at Excellent Concert:" "Mr. Blitzstein played colorfully, even if his color at times was florid. 'Ff' meant 'ff' and a bit more to him.... The pianist, a brilliant technican [sic] abounding in power and a deep poetic feeling, swept his audience with him in his interpretation." ?/?/22 Evening Ledger (R8#307): "Young Philadelphians Play with Philharmonic: Max Senofsky and Marcus Blitzstein Make Fine Impression:" "high artistic instinct... There was nothing of the virtuoso about his playing, but much of the artist..." "had to respond with encores." unidentified, n.d., (R8#307): "Young Musicians Score: Senofsky and Blitzstein Win Praise at Philharmonic Concert:" "fine musical interpretation... fluent technique" 7/13/26 Liszt Cto#1 Phila Orch, Henry Hadley, cond. reviews n.d. (R8#479) "Marc Blitzenstein [sic], a Philadelphia pianist of excellent talent,was cordially received for his technically brilliant and effective presentation of the still enlivening, melodious Liszt concerto." n.d. (R8#479) "Attendance Grows at Sesqui Concerts:" "one of the best of the younger pianistic talents of Philadelphia... original and sincere... the splendid effects he produced far overshadowed the tendency to sentimentalize..." n.d. (R8#504) "Philadelphia Orchestra: Henry Hadley Conducts, with Marc Blitzstein as Piano Soloist" "flawless technique and a fine feeling throughout..." 1/22/27 (R17#108) Albert Roussel's opera-ballet Padmavati. Ecole Normale de Musique, Paris; 7 singers accompanied by duo pianists MB & Nadia Boulanger.

Important Performances of Others' Music 21 3/3/29 Stravinsky's Piano Rag Music & Chavez's Sonatina, MacDowell Club of NY (see W35.5). 4/25/29 Stravinsky's Les Noces US stage premiere, Met, w/Aaron Copland, Frederick Jacobi, Louis Gruenberg; Leopold Stokowski, cond.; benefit for Nat'l Music League. 2/5/34 Nicholas Nabokoff's "Echo-Collector," American premiere, soloists accompanied on 2 pianos by MB & Aaron Copland, Mellon Galleries. review 2/6/34 Phila. Inquirer. "Modern Music Gay in Premiere Spree: Tonal Donner and Blitzstein Offerings Create Amusement in Debuts." 2/6/38 New Masses concert, & on Timely Records (1935) - accomp. Mordecai Bauman & The New Singers, Lan Adomian, cond., in songs by Bertolt Brecht &Hanns Eisler (see W75.3) 9/38 Stage magazine prints stills (R67#793) from film sequences for William Gillette's play Too Much Johnson; MB played French barber; film, housed by Orson Welles in Madrid, was destroyed by fire 8/70–MtM, p. 171. 2/19/39 "Cabaret TAC" (Theatre Arts Committee): MB played Sam in "Christmas Party" sketch, and sang with John Murray & John Brown in Murray's "It Can't Happen Here" (R17#154). 9/28&29/43 Royal Albert Hall: coaches perf of black chorus in spirituals and Earl Robinson's "Ballad for Americans" on program w/W94. 3/26/44 Gershwin's Rhapsody in Blue London Philharmonic, Hugo Weisgall, cond. review 5/44 Haddon Squire, W.H., (R68#57) "American Music in London," MB "happily did not, like some virtuosos, make our ears the target for pianistic block-busters of deadly execution." 1959/60 played Egyptian slavedriver in LB home movie "Call Me Moses."

Eva Goldbeck Maria Luisa Eva Goldbeck, b. Berlin, 8/26/01; arr. US 1910. Northwestern Univ. 1917-20 B.A. summa cum laude; m. cousin Cecil Goldbeck 2/27/1922; div. 1924. Circulation Manager, The Dial Publishing Co. 1922-4; Reader & translator, Metro-Goldwyn-Mayer 1927- . Editor, novelist, poet, essayist, short story writer, reviewer; m.MB Mar. 2, 1933; d.of anorexia 5/26/1936. Dedicatee of MB's W47, W48, W49, W50, W55, W59; collaborator with him on W62, T1 + articles 10/8/35-1/3/36 worked on George Antheil manuscript with Kenneth Burke, for Harcourt, Brace & Co. Fall/35 Colin McPhee to MB: "Tell Eva that when she gets through with Antheil's book I would like to ask her if she would consider working a bit on my Bali book." short stories: "Dal Segno" R11#596f. "Disillusion" rejections: R15#420. "Elegy" R11#588f. "Divagation" 1921 R11 #560f. rejections: R15#419. "The Boy Story" 1921 rejections: R15#422. "This Too, Too Solid Flesh" 1922 rejections: R15#420. "Enigma" 1922 rejections: R15#422. "John Fenniger" 1923 rejections: R15#422. "A Leap to Love" 4/15-22/1924 rejections: R15#420. "Hoosier Hospitality" 1924 rejections: R15#422. "Mike Cobb," Guardian 8/1925. "Arc," exc. from a novel, Second American Caravan, 1928, ed. Lewis Mumford, Alfred Kreymborg, Paul Rosenfeld 3 novels, 1 play Major Fudge (1921) R14#640-981, R15#1-418. p398 R15#59: "WHAT IS THE USE OF LIVING WHEN YOU KNOW THAT YOU CAN NEVER PRODUCE ANYTHING WORTH WHILE?" rejections: R15#421. For a Life [semi-autobiographical] R14#462-639. Terry, or The Broken Circle (1927-8) R12#768-1086, R13, R14#1-363 "The theme of this novel is a man's fear of the world..." R12#808. MB's comments R12#768-92. 5/8/35 (R3#469) Charles Pearce to Eva Goldbeck: "...either your work is of the major significance of a Proust or a Thomas Wolfe, or it is doomed to oblivion. You will easily realize what reluctance we had to answer that fundamental question. It is practical, and it is much easier, to confine ourselves to the question of whether or not your work would sell enough copies in these times to pay publication expenses. To that question we more or less readily find an answer."

Eva Goldbeck 23 essays 9/22/1925 Special article - Hitch-hiking Feature, Johnson Features [pseudonym: Eleanor Gordon]. 4/11/1926 Special article - Provincetown Little Theaters, Johnson Features Syndicate: The Provincetown Follies, "one of the very, very few operatic works ever written on the ukelele." n.d. untitled, beginning "The significance and intrinsic originality of Marc Blitzstein's music" R11#907-11. n.d. untitled, beginning "The most important and essential argument against capital punishment" R12#637-8. n.d. "The Decay of Humility" R11#575-587. n.d. "Avant-Garde Show in Brussels" R12#615f. See also poem "L'Envoi". 1934 "Brussels Letter" R14#364-461 [on being arrested there, w/MB, for attending Communist meeting]. 3/35 "Time Marches Where?" w/Ray Ludlow, for New Theatre, review of radio prog "March of Time."--MtM p. 102 4/1-5/35 "Shakespeare and Company: Sylvia Beach," for Publishers' Weekly R12#241f. 4/10-11/35 untitled, on Hanns Eisler, Brooklyn Eagle R12#222-8. n.d. "Young Revolutionary Music" review[drafts] (for MM ?) of Composers Collective concert of 5/12/35 R12#514-551. 10/26/35 "Project for America's first TOPICAL CABARET" R15#471. 11-12/35 "A Thomson Soiree," MM 13:1 pp.50-51 [review written w/MB (A21) under her byline]: "It is a great pity that the tradition invoked by Thomson's music in general is for most of his listeners dead; the evocation therefore gets a mournful response." ?? "On Books About Music," MM v.? p.25-8 R12#99-102. poems "Trans" (collection) "Solvent" R11#602-8;"paraphrase," R11#609 several untitled R11#610-619, 627-8, 634 "Beach-Comber" "Being Alone" "Color Alchemy" R11#620-6 "Comment on Christmas" R11#632 "Compensation" ""L'Envoi" ["Avant-garde evening, you weren't too bright..."] R12#625 "First of May" R11#638-9 3/26-28/35 see W62 "Goodbye to Capri" R11#633 9/13/30 "Hector Howls" R11#668 "The Last Return" "Moral" "New York" "Prophet" R11#631 "Smoke-Screen" "Song Dies to Silence" R11#629-30

24 Eva Goldbeck fillers Epigram, Snappy Stories 10/1922 R11#136 The tragedy of youth is that everything seems absolute; the tragedy of maturity that everything is qualified. When a woman asks a man, "Do you love me?" she is giving him an opportunity to convince her again, by some new expression of passion, that she is in love with him. Marriage is a woman's Finishing School, divorce her Commencement. A rich woman--------moni A pretty woman------fizz A sympathetic woman-magnesia A talkative woman---veronal R12#643 Alter ego? I suffer enough from one. R12#644 There are verses that are born verses, and verses that are newly nobilitated prose. Don't let yourself in with parvenus. The depths of a fellow-being are deceptive. By his surface you may know him. Lost love--can one find it again? That depends. It is a different thing whether a candle has burnt to its end or has been blown out by the wind. "Without any reason" is the most valid of reasons for the end of a love. Gone is gone. Attempts to warm up cold lover are as grotesquely tragic as medicine as medicine bottles at a death bed. [the r in "lover" is crossed out]

Eva Goldbeck 25 Eva Goldbeck's [book] reviews Bookman Abnormal Behavior, by I.J. Sands & Phyllis Blanchard As Is, by William Hassemann & John Held, Jr. [?] Best Poems of 1923, ed. Thomas Moult Casey Ryan Crucibles of Crime, by Joseph F. Fishman Culture & Democracy in the United States, by Horace M. Keller Dog and Duck, by Arthur Machen The East Window & the Car Window, by Bert Leston Taylor also for Dial Essays of Today, ed. F.H. Pritchard 51 Years of Victorian Live, by Countess of Jersey 5/1923 also for Dial The Flower of Stars, by Opal Whiteley Fox Footprints, by Elizabeth J. Coatsworth From 7 to 70 George Washington, by Thayer History of Pilgrims The Humanizing of Knowledge, by James Harry Robinson Immigrant's Day in Court, by K.H. Claghorn In Memoriam, by Martin Feinstein Letters of the Tsaritsa to the Tsar, intro. Bernard Pares Life of Clara Barton Poems of Arthur O'Shaughnessy, ed. William Alexander Percy Roosevelt as the Poets Saw Him, ed. Charles H. Towne Ventures in Book Collecting, by William Harris Arnold Westward Hoboes, by Winifred Hawkridge Dixon Where & How to Sell Manuscripts, ed. William B. McCourtie Yesterday & Today, by Ralph Nevill 5/1923 also for Dial

6/1923 2/1924 7/1924 1922 7/1923 7/1924 6/1924 7/1924 3/1925 6/1924 6/1923 6/1923 7/1923 2/1923 1922-3 1922 3/1924 5/1923 2/1923 6/1924 1922 7/1923 6/1923 2/1924 6/1924 7/1924 8/1923

Dial Bread, by Charles Gilman Norris The Burning Spear, by John Galsworthy Cables of Cobweb, by Paul Jordan Smith Captures, by John Galsworthy The Comely Lass, by Thomas Moult The Crissers{?) by L.H. Myers Development of the American Short Story, by F.L. Patter The Diary of Otto Braun, ed. Julie Vogelstein The Don Juanes by Marcel Prévost Downstream, by Sigfrid Siwertz Echo de Paris, by Laurence Housman Escape, by Jeffrey E. Jeffer The Fortunes of a Household, by Herman Robbins Fresh Every Hour From Whitman to Sandburg in American Poetry, ed. Bruce Wierick Goat Alley, by E.H. Culbertson

11/1923 8/1923 8/1923 11/1923 8/1924 7/1923 5/1923 7/1924 11/1924 8/1923 3/1925 1922 11/1924 1922 7/1924 1922

26 Eva Goldbeck Dial (continued) Gold, by Jacob Wassermann Graven Image, by Margaret Widdemer Grey Withers, by V. Sackville-West Heart's Blood, by Ethel M. Kelley The Home-Maker, by Dorothy Canfield In Dark Places, by John Russell An Island Chronicle, by William Cummings The Invisible Gods, by Edith F. Wyatt The Logic of Conduct, by James MacKaye Mary Lee, by Geoffrey Dennis Modern Greek Stories, tr. Demetra Vaka & A[ristides E.] Phoutrides My Life, as told by the Peasant Anissia, rev. by Leo Tolstoy Nigger Occasions, by Holbrook Jackson An Outlaw's Diary: Revolution, by Cecile Tormay The Parson's Progress, by Compton Mackenzie Quest, by Hull Race & National Solidarity, by Charles Conant Josey Raw Material, by Dorothy Canfield Roland Whately, by Alec Waugh Sinbad, by C. Kay Scott Tantalus, by Dorothy Easton Thirteen Worthies, by Llewellyn Powys This Fine Pretty World, by Percy MacKaye Tutors' Lane, by Wilmarth Lewis Where Your Treasure Is The White Ship, by Arno Keller Young Felix, by Fred Swinnerton

10/1924 12/1923 11/1923 10/1923 10/1924 8/1923 3/1925 5/1923 12/1924 1922 11/1924 3/1925 1922 4/1923 11/1923 6/1924 1922 12/1923 10/1923 1922 8/1923 12/1923 11/1923 3/1924 1922 1922 1/1925 1/1924

Freeman A Book About Myself, by Theodore Dreiser 3/1923 also for Dial 6/1923 Caste and Outcast, by Ghan Gopal Mukerji 9/12/1923 Gates of Life, by Edwin Björkman 5/9/1923 The House of Glory 1922 Restoration, by Ethel Sidgwick 10/10/1923 Teodoro the Sage, by Luigi Lucatelli, tr. Morris Bishop 8/15/23 Nation The Desert Horizon, by E.L. Grant Watson His Children's Children, by Arthur Hain House of the Beautiful Hope, by Christie A Pocketful of Poses, by Anna Parrish Secret Drama, by Isabel Beaumont The Shining Road, by Bernice Brown Stonecrop, by Cecile Tormay Times Have Changed, by Elmer Davis Voice(?) of the Garden, by E.A. Booth The Wrong Move, by Anna Robeson Burr

8/15/1923 5/2/1923 5/2/1923 5/30/1923 5/30/1923 5/30/1923 8/22/1923 8/8/1923 5/2/1923 7/18/1923

Eva Goldbeck 27 New Republic Coasts of Romance, by Carotin The Love Legend, by Woodward Boyd Horatio's Story, by Gordon King Wife of the Centaur, by Cyril Hume

1922 1922-3 4/2/1924 6/18/1924

NY Evening Post Across the Moon, by Hamish Macleod 12/19/1925 "As to Marriage" - After All, by George F. Hummel 6/1923 Another Scandal, by Cosmo Hamilton 11/17/1923 Anthony Dare, by Archibald Marshall 11/24/1923 Big Blue Soldier, by Grace Livingston Hill 4/14/1923 The Bishop's Granddaughter, by Robert Grant 4/19/1925 The Blindness of Virtue, by Cosmo Hamilton 3/15/1924 Bushrangers, by Charles J. Finger 1/10/1924 The Cabala, by Thornton Wilder 5/15/1926 Carriage, by Isabel C. Clarke 3/31/1923 Cling of the Clay, by ? Hayes 2/6/1926 The Common Reader, by Virginia Woolf 8/29/1925 Coombs St. Mary's, by Maud Divas 11/28/1925 Cynthia Codentry, by Ernest Pascal 4/10/1926 Deep Meadows, by Margaret Rivers Larminie 7/5/1924 Demian, by Hermann Hesse 4/21/1923 Doctor Transit, by I.S. 12/12/1925 The Dominant Blood, by Robert E. McClure 12/20/1924 The Enchanted Wanderer, by Nicolai Lyeskov 12/13/1924 The Flame of Happiness, by Florence Ward 2/7/1925 The Florentine Dagger, by Ben Hecht 9/1/1923 Flying Osip[?]: Stories of New Russia, by Various Authors 4/11/1925 Fraycar's Fist, by Mary Heaton Vorse 6/7/19224 also for Dial 11/1924 The Gay Ones, by Charles Hanson 5/3/1924 5/9/1925 The Golden Door, by Evelyn Scott The Gray Beginning, by Edward Shenton 7/26/1924 The Geese Fly South, by Mary Bourn 7/28/1923 A Gentleman of Sorts, by Everett Young 7/28/1923 Geoffrey Castleton, Passenger, by Richard Blaker 5/24/1924 Havrilek, by "Gaufrat" 12/22/1923 Hetty Geybert, by Georg Hermann, tr. Anna Barwell 8/2/1924 In Lawless Lands, by Charles J. Finger 2/1925 Jane: Our Stranger, by Mary Borden 10/13/1923 also for Dial 12/1923 Jericho Sands, by Mary Borden 3/20/1926 Love, by "Elizabeth" 4/25/1925 The Little Dark Man and Other Russian Sketches, by Ernest Poole 5/2/1925 "Love Versus Duty" - The Miracle of Love, by Cosmo Hamilton 6/16/1923 Margaret Ethel MacDonald, by J. Ramsay MacDonald 2/1925 "Married Life Subjected To Mild Dose of Irony" - Married Life, by Edith O'Shaughnessy 11/28/1925 Mrs. Mason's Daughters, by Mathilde Eikos[?] 6/6/1925

28 EvaGoldbeck NY Evening Post (continued) Nightshade: Confessions of a Reasoning Animal, by Anon. 5/17/1924 One of the Guilty, by W.L. George 12/29/1923 1001 Afternoons in Chicago, by Ben Hecht 4/7/1923 Piano Quintet, by Edward Sackville West 1/23/1925 Picture Frames, by Thyre S. Winslow 3/2/1923 Pig Iron, by Charles G. Harris 3/13/1926 Ponjola, by Cynthia Stockley 9/22/1923 Punishment, by Laurence Highland 5/1/1926 The Scudders, by Irving Bacheller 6/9/1923 Silbermann, by Jacques de Lacretelle 4/5/1924 A Simple Story, by Charles-Louis Philippe 7/19/1924 The Spell of Iris, by Muriel Hisse 1/19/1924 The Skippers of Nancy Gloucester, by Percy MacKaye 2/1925 Subsoil, by George F. Hummel 9/6/1924 Sycamore Bend, by Frazier Hunt 11/14/1925 Thresholds, by Faith Baldwin 1/30/1925 Transfer, by Lawrence H. Conrad 8/9/1924 Wandering Stars, by Clemence Dane 5/31/1924 +The Lover, for Dial 1/1925 The Windlestraw, by James Mills Witham 7/3/1925 With Benefit of Clergy, by Florence Hackett 4/26/1924 The Woman of the Horizon, by Gilbert Franken 8/11/1923 Young Mischief and the Perfect Pair, by Hugh de Sélincourt 2/28/1925 NY Tribune Ah-Ling of Peking, by Miriam Harriman Arlie Felston, by Roger L. Sergel Big Game, by Louis Lacy Stevenson Books in Black or Red, by E.L. Pearson Candles in the Wind, by Maud Diver Danger, by Ernest Poole High Road, by Janet Ramsay A House Full of Profile, by E.M. Scharten-Autuck[?] The Hussy, by Boisse Grainger In the Dark, by Barbara Ring "'AE,' the Mystic" - The Interpreters, by AE Isles of Illusion, by Anon., ed. B. Lynch Letters form a Distance, by Gilbert Carman Mainspring, by V.H. Friedlander Many Minds, by Carl Van Doren "American Marriages" - Marriage: Short Stories of Married Life by American Writers; preface by Mary Stewart Cutting, jr. "(sic!)" Max Reinhardt and his Theatre, ed. Oliver M. Sayles More Memories, by G.B. Burgin Possession, by M. de la Roche The Sentry & Other Stories, by Nicolai Lyeskov The Soldier & Death, by Arthur Ransome Studies in Idealism, by Hugh l'Auson Fausset

10/14/1923 1/6/1924 4/20/1924 5/6/1923 10/14/1923 5/13/1923 4/20/1924 2/10/1924 3/2/1924 4/1/1923 7/8/1923 11/4/1923 6/8/1924 4/1/1923 6/8/1924 8/5/1923 2/24/1924 3/24/1923 4/15/1923 7/29/1923 5/20/1923 6/8/1924

Eva Goldbeck 29 NY Tribune (continued) Suspended Judgments, by John Cowper Powys Sweet Pepper, by Geoffrey Moss There Is Confusion, by Jessie Redmon Fauset Three Books of Verse Unfinished Tales from Russian Prison, by Marg. E. Harrison

8/19/1923 5/13/1923 5/18/1924 1/1923 9/2/1923

NY World The Caraways, by George Loome 8/2/1925 The Dark Hours, by Don Marquis 2/15/1925 A Daughter of Pari[s?], by Cornelia Stratton Parkes 10/31/1926 "Drama in a Thesis: Protestant Reformers Evoked in Life-Size Dimensions in Book by Dr. Evans" - An Episode in the Struggle for Religious Freedom: the Sectaries of Nuremburg, 1524-1528, by Austen Patterson Evans 1/4/1925 The Enemy's Gates, by Richmond Brooks Barrett 3/21/1926 Fernanda, by W.B. Maxwell 2/21/1925 The Flattering Word & Other One-Act Plays, by George Kelly 2/15/1925 Home Letters from China, by Gordon Potent[?] 12/14/1924 Introduction to Sally, by "Elizabeth" 10/31/1926 The Last of a Race, by de Mercy Argentian 3/8/1925 Lodgers in London, by Adelaide Eden Philpotts 1/31/1925 The Longhaiders, by Shea F. Bullock 1/10/1926 Minnie Flynn, by Frances Marion 6/7/1925 The Most Famous Beauty fof China, by Shu Chiang 12/14/1924 Ninth Avenue, by Maxwell Bodenheim 1/9/1927 The Odyssey of a Hire Girl, by Ruth Suckow 11/29/1925 The Office, by Nathan Asch 12/13/1925 Orpheus with his Lute, by W.M.L. Hutchinson 11/14/1926 Quest, by Katharina Kevlin Burt 11/15/1925 Richard Kane Looks at Life, by Irwin Edman 4/25/1926 The Schmaus, by V.R. Emanuel 10/10/1925 She Shall Have Music, by Alyn Grigory 8/29/1926 Snuffs and Butters, by Ellen H. La Motte 8/30/1925 The Tenderfoots, by Francis Lyndie 9/5/1926 The Tents of Jacob, by Hyman Cohen 8/1/1926 The Two Sisters, by H.E. Bates 11/28/1926 Val Sinestra, by Martha Morton 2/22/1925 Wild Asses, by James G. Danton 8/23/1925 Words and Thoughts, by Don Marquis 2/15/1925 The World's Best Short Stories of 1925 1/17/1925 Saturday Review of Literature Youth Wins, by Muriel Hine

11/1924

30 Eva Goldbeck other book reviews (unpubl.?) Magnificent Hadrian: A Biography of Hadrian Emperor of Rome, by Sulamith Ish-Kishor R10#591-603 w/notes by MB Twenty Years in Underground Russia, by Cecilia Bobrovskaya R10#604-5 The Wrong Move, by Anna Robeson Burr R10#655 "A Silent Sonata" - The Flame of Happiness, by Florence Ward - Post 2/7/25 R10#666 "The Strangest Encounter With Terror and Beauty" - Across the Moon, by Hamish Macleod R10#666 "Virtue Triumphant" - A Gentleman of Sorts, by Everett Young R10#702 translations from German Menorah Journal Disraeli in Venice, by Sigmund Münz 11-12/1924 Smart Set by Alfred Polgar: "Marginal Notes" aka "A Leap to Freedom" 9/1923 "Social Disorder" aka "Dialogue in a Death House" 9/1923 R11#165: "What would you like for supper," the warden asked the poor prisoner who was to die at the gallows the next morning. "You may eat and drink whatever and as much as you want." "Too bad!" said the prisoner. "Too bad!! If you had asked me that three months ago, the robbery and murder would not have happened." Double Dealer 8-9/24 "Flake" by Alfred Polgar

11/1923

also by Alfred Polgar (1923): "The Captain" "The Givers" "A Library" "The Typewriter" "Uncle Theodore" [aka "Theodore in the Country"] Freeman 6/20/1923. "333 Cornwall Avenue" by Roda Roda 1923 rejections: R15#423. "The Corona" 1924 rejections: R15#423. Interview with Franz Molnar by "Sebaldino," NY Times 1/2/1927. "German Opera Under the Microscope," by H.H. Stuckenschmidt R10#953-64 n.d. "The Usage of Music in the Epic Theatre," by Berthold Brecht R11#70-9 n.d. [c.1935] various works by Agnes Günther, Friedrich Wolf R11. synopsis of Erich Mühsam's play, "Staatsräson," on Sacco and Vanzetti R12#358-383. 11/24/35 Brecht, Bert, "The German Drama: Pre-Hitler," NY Times [tr. by Eva?] R11.

Eva Goldbeck 31 12/1/35 "On Killing" by Hanns Eisler [tr. w/MB] see T1. 12/3/35 "Letter to a (New York) Workers' Theatre," by Bert Brecht R11#90-99; orig. title: "Letter to the Theatre Union Concerning the Play 'Mother'"; suggested title: "Open Letter Concerning the Play 'Mother'"; evolved into "Principles of the Brecht-Eisler Theater" R12#1-98, then 12/31/35 "Principles of 'Educational' Theater," New Masses 17 p.27-8: "The one thing educational art must always be is a call to action." "A Needed Inquiry Regarding the Struggle Against Barbarism," by Bertolt Brecht; tr. 1/10/36 R11#3-13 [quoted by MB in MM art. 5-6/36] 1/21/36 tr. of "How the Carpet Weavers of Kujan-Bulak Honored Lenin" by Berthold Brecht, Daily Worker [drafts: R11#2, 89] 1/21/36 V.J. Jerome to Eva Goldbeck: "Knowing with what superhuman speed you worked, in the space of a few hours, to achieve the translation in time for the deadline, I can only stand in wonderment before the feat. Rarely, indeed, have I read a translation that combines in itself fidelity and form so synthesized." R3#1027 "[prior to 1936] What shall I think when I die? There was no time. No time to live. I wasted my time--no, wasted my life, life was wasted on me. I had no time. Shall I have done my duty? No. Marc said that to me once; I tried to comfort him by saying that no one, not the greatest, feels he has done enough, fulfilled himself-we laughed, because it was insoluble, and agreed, 'We'll leave a slip at the last moment, just--I've done it--or not! A record.' I have not done it. My life was wasted. I have not given what I brought. I have not taken what life had to give. Life was wasted. Rebellious--yet relived, I should be glad to die. In my life, what I have lived most keenly: the lack of living." A character in MB's I've Got the Tune Sc. 4 The Suicide (also alluded to in Sc. 2 "I once tried to starve myself"). The Sun in Mid-Career novel by Christopher Davis, 1975. Cradle Will Rock, film by Tim Robbins, 1999. It's All True play by Jason Sherman, 2000. Remembering Cain by Christopher Davis (in progress)--see W50.8, P62.2b.

Chronological List of Musical Works by Marc Blitzstein Work numbers are those assigned by the editor, except where written in quotes, giving the numbers appearing in MB's own hand (in 1918, and in a 1928 list). Numbers followed by capital letters (42A, 67 A, 76A, 107A, 122A, 127A, 127B) indicate works MB could have considered writing, but did not begin. Wl. April, April (William Watson [1858-1935], 1896) solo song (1911)[lost] W2. Fire Dance (c. 1918) vn & pno [reused, w/ addition of castanets, in W23] W3. Sonata [aka Sonatina] in F Minor (c. 1918) piano solo [fragment] W4. Waterfall: Barcarolle (3/1918) piano solo, "op. 4 no. 1" on manuscript; also with [original?] words as solo song w/pno: "Silver Stream" W5. Forêt Vierge (1919-24?) piano solo [fragment]; theme later used in No for an Answer W78II:7 Escape W6. [King] Richard II (William Shakespeare) Suite (1919-24?) vn, vc & pno [fragments] W7. Symphony in G# Minor (1919-24?) pno 4 hands [fragment] W8. Andante (11/30/1919) piano solo W9. Persienne (12/14/1919 [not 1918, as listed in MtM pp. 11-12]) piano solo W10. Rondo (1/4/1920) piano solo W11. Marche Vainqueur (8/24/1920) A Festival March for Complete Orchestra W12. Where Love Is Life (9/17/1920) [aka The Dream Is Mine] solo song w/pno; music became "Sing Hubbard" in Regina W107II:2#2 W13. I Am Wild! (Sara Teasdale [1884-1933], 1915) (1920-24?) solo song w/pno fragment] W14. The Long Street Blares (1920-24?) solo song w/pno [fragment] W15. This Is the Spirit Flow'r (1920-24?) solo song w/pno [fragment] W16. Prelude in C minor (1922) pno solo (1 of 9; others lost - MtM p.16) W17. For Emjo's Bitter Fantasy (3/1923) string quartet W18. Valse (4/1923) pno solo

Chronological List of Musical Works 33 W19. Pandora (1923) symphonic poem for large orchestra [in 1927 list] - lost? or possibly unlabeled fragment marked "complete!" W20. Children's Dances (1924): 1. Pavane (for piano or orchestra) "op. 2 no.1" in 1928 list; prem. 1/1927 Charles Naegele (piano), Aeolian Hall 2. Round (piano solo) 3. Danse Basse [piano solo, lost] 4. Danse Haute [piano solo, lost] W21. Variation sur [aka on] "Au clair de la lune" (1924-26) for pno or orch; prem. 1/1927 Charles Naegele (piano), Aeolian Hall "op. 2 no. 3" in 1928 list; adapted in Blessings of the Bath W32#4 W22. Svarga (10/1924-2/1925; rev. 7/1925) ballet, pantomime suite for chamber orchestra, "op. 1" in 1928 list 1. Agni 2. Dance of the Mortal Maiden and Soma 3. Indra and the Svarga Dweller 4. Belly-Ache (A "Blues") 5. Interlude 6. Finale: Ritual. Rising of the Plants Piano score contains only mvts 1-3. W23. King Hunger (12/6/1924): incidental music to Leonid Andreyev's play Sc.2 Waltz (vn & pno) Sc.5 Macabre Dance (vn & pno +castanets, based mostly on W2) W24. Various Student Fugues, Canons (1924-27), incl.: 1. Christe Redemptor (3 parts); 2. Nocte surgentis vigilemus (4 parts, double canon) W25. [Six] Chorale Preludes (1924-27): 1. Jesu, meiner Herzens Freud 2. Mir hat die Welt trüglich gericht 3. Sei gegrüsset, Jesu gütig 4. Gott sei dank durch alle Welt [+ 3 Variations] 5. O Lux beata 6. Wann Morgenröth die Nachter töd't [sic] W26. [Two] A.E. Housman (1859-1936) Songs (1925) 1. From Far, From Eve and Morning [A Shropshire Lad (1896) #32] 2. Into My Heart an Air [A Shropshire Lad (1896) #40] W27. Song (Rupert Brooke[1887-1915])(1925)[fragment; compl. & [27A] arr. by LJL for chorus, 2003]

34 Chronological List of Musical Works W28. [Nine] Walt Whitman Songs (1925-28) for voice & piano 1. As If a Phantom Caress'd Me (1925) "op. 3 no.1" in 1928 list 2. What Weeping Face (1925) "op. 3 no.2" in 1928 list 3. Joy, Shipmate, Joy! (1925) "op. 3 no.3" in 1928 list 4. After the Dazzle of Day (1925) "op. 3 no.4" in 1928 list 5. Gods (1926-7) arr. (fall 1927) for vce, hn or solo vc, and strings "op. 4" in 1928 list 6. O Hymen, O Hymenee! (1/1927) "op. 6 no.1" in 1928 list 7. As Adam (5/1927) "op. 6 no.2" in 1928 list 8. I Am He (1928) 9. Ages and Ages (1928) #6-9 aka: "Four Coon Shouts" or "Songs of a Coon-Shouter" or "Children of Adam". W29. Sarabande (5/1926) for pno or (6/1926) orch

"op. 2 no.2" in 1928 list

W30. for String Orchestra (1926?) W31. [Eleven] Circular Canons (1926-27): 1. Pity me (Edna St. Vincent Millay) [Sonnet #6 from The Harp-Weaver (1923), last 2 lines, slightly modified, probably applying to Nadia Boulanger] 2. I only know (Edna St. Vincent Millay) [Sonnet#42 "What lips my lips have kissed" last 2 lines, from The Harp-Weaver] 3. Thou art my lute (Paul Laurence Dunbar [1872-1906]) 4. Sad hours [aka In Dedication of "The Certain Hour"] (James Branch Cabell [1879-1958], 1916) 5. Search thou my heart (Paul Laurence Dunbar) 6. How doth the city (Lamentations 1:1) 7. Dieu tout puissant (Old French Hymn) 8. In Lethe's soothing stream (Paul Laurence Dunbar) 9. Safe upon the solid rock (Edna St. Vincent Millay) [compl. by LJL, 2003] ["Second Fig" from A Few Figs from Thistles, 1920] 10. Last night, I saw the lovely flower (Lady Murasaki [Shikibu][973-1025?][from the Japanese]) 11. Would that we might vanish (Lady Murasaki [from the Japanese] W32. Blessings of the Bath (1926) ballet, for Eb clarinet, trombone & piano: 1. Introduction ["itching march"] 2. Belly-Dance [became underscore for Prof. Mamie in W72Sc.8] 3. Scene-Change 4. In the Bath ["old man & attendant"; fragment - misremembered, 1937 as "stomp march" in W36 - used in I've Got the Tune W75Sc.1Pt 1] 5. The Frenchman ["splashing the old man": re-use of W21] 6. Pas d'action ["triumphant march" - used in W72 crowd scenes] 7. Drying Fugue [How Dry I Am] considered for re-use in W72 Sc.2, Harry Druggist, drunk R22#36 8. Reprise, Scene-Change 9.-10. Blessings I & II ["bathing like the beginning"; fragment] 11. Alleluia ["slow chorale of EPS" (?)]

Chronological List of Musical Works 35 W33. Hände (1927-8) 4-hand mechanical piano score for silent film; recorded 3/1936 for RCA & MOMA; scenario: Stella Simon; dir.: Stella Simon & Miklos Bandy; outgrowth, perhaps of sketched Music for Urwald Mechanical Piano and Drums (1927) W34. Megalopolis (1927) ballet [fragments] (scenario: Abraham Lincoln Gillespie & Julian Levi): 1. Belly Dance [became underscore for Prof. Mamie in W72Sc.8] 2. Buck and Wing [quotes "Rockabye, Baby"; incorporated into W36] 3. Dance of the Whirling Methodics (incl. buzz saws, electric fans, riveting machines) 4. Witch Burners and Southerners Dance W35. Sonata for Piano [aka Piano Sonata] (summer 1927-28) (1 mvt) prem. 2/12/1928 NY Lg of Composers "op.7" in 1928 list; later: "in a sense, my Opus 1" W36. Jigg-Saw (1928) ballet "op. 5" in 1928 list 1. Prelude 2. Belly-Dance & the Salvation Army [became underscore for Prof. Mamie in W72Sc.8] 3. Liberty Throws a Party 4. Buck and Wing [became underscore for Prof. Trixie in W72Sc.8] 5. Cotton-Pickers' Shuffle [lost] W37. a word out of the sea (summer 1928) Walt Whitman cantata for women's voices & chamber orch; mvts 3-5 only: 3. Shine, shine, shine! (soprano solo) "op. 3 no. 5" in 1928 list 4. Till, of a sudden (4 sopranos; 4 altos) 5. Blow, blow, blow! (contralto solo) " "op. 3 no. 6" in 1928 list W38. Sonata for Trumpet and Pno (1928) "op. 8" in 1928 list - discarded? lost? W39. Percussion Music for the Piano [aka Piano Percussion Music] (1928-29)" "op. 9" in 1928 list 1. Toccata [aka Flam] (6/3/1928) 2. Air [aka Drag] (2/1929) 3. Rondino [aka Paradiddle] (3/12/1929) W40. Triple Sec (summer 1928) one-act opera; "op. 10" in 1928 list; [aka Theater for the Cabaret: opera-farce - sketches at Morgan Library]; libretto by Ronald Jeans; for 19 voices & chamber orch (12)/pno German tr. by Edwin Denby: Die Sünde des Lord Silverside; #1 Prologue (Hostess) W41. Quintet (1928) for Flute, oboe, clarinet, bassoon, piano "op. 11" in 1928 list - discarded? lost?

36 Chronological List of Musical Works W42. Is 5 (1929) song cycle on poems by E.E. Cummings, for vce & pno 1. after all white horses are in bed 2. when life is quite through with (2/1929; re-used as #2 in W125) 3. mr youse needn't be so spry 4. Jimmie's got a goil publ. by Cos Cob 1934 5. you are like the snow #3-5 prem. Radiana Pazmor & Edwin McArthur, NY Lg of Composers 1930 [W42A. The Termites planned opera with Cummings - never written] W43. Parabola and Circula (fall 1929) 1-act opera; libretto: George Whitsett 2S,A,2T,Bar,Bass-Bar, pno/orch; Sc.5 Marijuana Ballet considered for insertion in W78II:5. Other parts re-used in W87, W95, W107, W118. W44. The Traveling Salesman (9/1929-1930) three-act opera; scenario only W45. [Three] Jazz Songs: 1. Start in Lookin' (aka Looking for Love) (text only) 2. Boy-Girl Duet (text only) 3. What's the Matter with Me? (c. 1929) male solo song w/pno W46. Scherzo (1930) piano solo ("Bourgeois at Play") W47. Romantic Piece for Orchestra (3/1930)

[to Eva Goldbeck]

W48. String Quartet (4/1930) "The Italian" [to Eva Goldbeck] Allegro; Allegretto grazioso; Presto possibile; Lento W49. Cantatina for Women's Chorus and Percussion (1930) [nonsense syllables] fragment [to Eva] W50. Cain (1930) ballet in 13 mvts[to Eva Goldbeck]; for pno/orch/thtr orch (3mvts only) +bass-bar solo (in #5&13) I. Eden: 1. The Young Son. 2. Abel Offers the Lamb [became Itzak's music in W127] 3. Cain and His Wife; Cain's Offering. The Response 4. The Two Brothers 5. Dialogue 6. Imprecations and Sorrowing 7. Interlude II. Henoch, city of Cain 8. Building of the City [considered for insertion in W78II:7] 9. Festival 10. Dance of Noema 11. Slaying of Cain 12. Lamech and the Stripling 13. Finale exc. publ. by Rice Institute, Houston (and This Quarter) 1934 [revised, in sketches, as W50A. The Story of Keene and Albert (1940)]

Chronological List of Musical Works 37 W51. Surf and Seaweed (1931) film score for chamber orch: 1-1-1-1(poiCbn) 0-1-0-0 Pno Str (no Cb); dir.: Ralph Steiner; to Alma Wertheim; prem. 3/15/1931 Broadhurst Thtr, Hugh Ross, cond. W52. Concerto for Piano and Orchestra [aka Piano Concerto] (1931) in 3 mvts: Moderato Molto. Allegro; Largo assai; Allegro non troppo; 2-Picc-2-2-2-Cbn 4-2-3-1 Str [to Alene Erlanger] W53. The Killers (1931) one-act opera after Ernest Hemingway - fragments W54. The Harpies (1931) one-act opera; League of Composers commission libretto by composer after Apollonius's Argonautica Bk III 1(/Picc)-0-1(/EbCl)-1 1-1-1-0 Pno Cb (Boosey & Hawkes; parts, no partitur) [adapted by LJL, 1970, for 2pnos & perc] prem. Manhattan School of Music 5/25/1953 Hugh Ross, cond. W55. Serenade for String Quartet (1-2/1932) [to Eva] Largo; Largo; Largo [sic; actually: Allegro Moderato; Larghetto; Andante Maestoso] prem. 5/1/1932 Hans Lange Qt, Yaddo; NY prem. 4/3/1933 W56. The Condemned (1932) le-act choral opera inspired by Sacco-Vanzetti case; 32S,16A,48T,48B 2-2-2-BCl-2 4-3-3-1 Perc Str [music & some words re-used, in part, in W123 completion, III:3 & III:5 Pts 5 & 6] W57. Piano Solo (summer 1933) [aka Piano Suite]; in 4 mvts: Con brio; Cantabile; Scherzoso; Vivace W58. Discourse (summer 1933) for cl, vc & pno [compl. by LJL, 2004] part of set of pieces to be called [W58A.] Ricercata - fragmentary sketches W59. Variations for Orchestra (5/2-7/4/1934) to Eva (Boosey & Hawkes) 2-Picc-2-EH-3-EbCl,BCl-2-Cbn 4-2-2cornets-3-1 Timp Perc (BD,Tri.,Tamta,Cym) Pno Str prem. 10/9/1988 American Composers Orch, Dennis Russell Davies, cond. W60. Into the Streets May First (1934) (Alfred Hayes) mass song [music re-used in W123 completion, II:1] W61. Children's Cantata: Workers' Kids of the World Unite (7/25/1934) w/pno: 1. Workers' Kids 2. My Father's a Tailor 3. Don't Cry, Kids 4. Speech 5. Choosing a Leader 6. Writing a Letter [The Child Writes a Letter] (solo) [#6 prem. Mordecai Bauman, Composers' Forum Laboratory 4/15/1936] 7. Listen, Teacher 8. Riddles [music lost?]

38 Chronological List of Musical Works W62. First of May (late spring 1935) (Eva Goldbeck; music by MB, pseud.: Hammer) mass song w/pno W63 Strike Song (June 1935) W64. War Department Manual, Vol. 7 Part 3 (1935) solo song w/pno incorporated into, then cut from W72Sc.8; arr. for chorus 1989 W65. Send for the Militia (5/1935) female solo melodrama for Parade (revue); Boston prem. 5/6/1935; NY prem. 5/20/1935: w/alto sax, bar sax, cl, dr, pno, str qn [pno score reconstructed by LJL, 1974] W66. Stay in My Arms (fall 1935) solo song w/pno W67. The Way You Are (1935) female (or male) solo song w/pno [W67A. American Woman (1935) - ballet planned with Ruth Page] W68. People [aka Poor People] (1935) solo or mass song w/pno; prem. Mordecai Bauman, Elsa Findley dance troupe 5/16/1936 YMHA; became "Joe Worker" in W72Sc.9 #2. W69. Sketch No. 1 (9/1935-2/1936); prem. 2/1936 New Theatre Lg: Gladys Frankel, Thomas Frank, Nat Fichtenbaum, MB; became opening of Sc. 1 & 7 in W72. W70. Chesapeake Bay Retriever (5/1936) film score for cl, bn, vn & pno (dir.: Mrs. Milton Erlanger & Thomas T.K. Frelinghuysen) [film lost] prem. 5/26/1936 Chanin Auditorium NYC 1. Life on the Ocean Wave (P.D.) 2. A-Roving (P.D.) 3. The Salt and the Spray 4. Family Portrait 5. Gray Surf 6. Pooch Procession 7. Water Trial 8. The Prize 9. Finale W71. Few Little English or Jimmy's Moll (6/1936) female solo song with piano - "for Lenja" [reconstructed by LJL, 1997]

Chronological List of Musical Works 39 W72. The Cradle Will Rock (7-9/2/1936) play in music in 1 or 2 acts; 10 scenes; w/ pno/orch +opt.: Bugles, Fifes, Side Drums [11/1969 LJL & some subsequent adaptations, w/combo] Sc.1. #1Moll, #2+Gent, #3+Dick [W69, developed], Crowd [re-use of W32#6] 2. Nightcourt(O What A Filthy Nightcourt [unison male chorus]) incl. barbershop qt passage 3. Mission Scene (male-female duet with chorus) 4. (Lawn) #1 Croon Spoon (male-female duet) #2 The Freedom of the Press (TB duet); #3 Let's Do Something (male-female duet) #4 Honolulu (quartet) (expanded to quintet in 1969 adaptation) 5. #1 Drugstore Scene (male trio) #2 Gus & Sadie Lovesong (male-female duet) 6. (Hotel Lobby) #1 Yasha-Dauber Duet (The Rich) #2 Ask Us Again (trio: 2 males, 1 female) #3 Art for Art's Sake (unison duet) 7. (Nightcourt) #1 The Nickel Under the Foot (female solo) #2 Leaflets [male solo, melodrama] #3 The Cradle Will Rock (male solo) 8. Faculty Room: Professors (#1) Mamie, (#2) Scoot, (#3) Trixie (melodrama)[re-use of W3 #2 & W34#2, incl. quote from "Rockabye, Baby"] 9. #1 Doctor & Ella (sung female-spoken male duet) #2 Joe Worker (female solo) [re-use of music & some words of W68] 10. Quintet Finale (Reprises: Sc.7#1, Sc.7#3 as chorus) W73. The Spanish Earth (6/1937) sound montage w/Virgil Thomson for film (dir.: Joris Ivens); prem. 8/20/1937 55th St. Playhouse, NYC W74. Maric and Colic (1937?) song [melody only] protesting arrests of composers Dragutin Colic (1907-1987) & Ljubica Maric (1909- ) in Yugoslavia. W75. I've Got the Tune (10/1937) 1-act radio song play in 5 scenes w/ pno/orch [12/70 LJL adaptation: w/piano & perc] to Orson Welles; prem. 10/24/1937 CBS radio 1. Musiker & Beetzie (Pt 1 Beetzie's Solo; Pt 2 Musiker's Solo) [rejected pre-salon scene reinstated 1970] 2. Madame Arbutus's Salon 3. Purple Shirts (Captain Bristlepunkt, Private Schnook, Men's Chorus) [contemplated pre-suicide scene created 1970] 4. The Suicide (aka And So the Last Thing Too) 5. The Street [incl. rejected Tin Pan Alley scene, reinstated 1970] W76. Julius Caesar (11/11/37) (William Shakespeare) song & incidental music #1 Orpheus [aka Orpheus with his Lute] solo song w/ lute, ukelele, or thumbtack pno text from Shakespeare's Henry VIII III :3, inserted in Act IV sung by Lucius to Brutus [aka Lucius' Song]

40 Chronological List of Musical Works W76A. One-Sixth of the Earth (11/13/37) mus.-dir. by MB; no known music written by him for it; prod. by CP at Madison Sq Garden W77. FTP Plowed Under (11/27/37) skit for Pins and Needles music lost except fragments W78. No for an Answer (1937-39) 2-act labor opera - w/pno [portions arr. for 2 pianos by Michael Tilson Thomas, 1995] [I:2, II:6 & II:11 contain only Dialogue; II:4 Narration] Act I Sc. 1 The War of the Beasts and the Birds (solo & chorus) (Take the Book; Song of the Bat; Workers, Do Your Homework) Sc.3 Reports: Emanuel, Gina, Mery, Nick, Choruses, Motions; Interlude Sc.4 Secret Singing (duet) Sc.5 The Argument: What Is Capitalism? (3 men & chorus) Sc.6 #1 Outside Agitator (male solo) #2 Dimples (male-female duet) #3 Fraught (female solo) - "Coel Poward" parody [Who Knows? (aka Let's Be Blue) (1938) [W81] considered for insertion here] Sc.7 Melodrama Sc.8 Francie (sung male-spoken female duet) Sc.9 Clara's Monologue (female solo) Sc.10 Melodrama Sc. 11 Did They Think They Could Get Away With That (chorus) Finale I: Insist Song (No for an Answer) (chorus) Act II Sc.1 #1 Reprise of title song (chorus) #2 In the Clear (female solo) [cut middle section restored 1999] #3 Penny Candy (male solo) "a primer in the fine art of panhandling" Sc. 2 Demonstration (Melodrama) Sc. 3 Mike (Get Mine) (male solo) Sc. 5 #1 Oxford Movement number (fragments) #2 Expatriate (Litt'ry and Artistic Scene, 1930) male solo - or duet [compl. by LJL 3/1995] [Marijuana Ballet from W43 considered for insertion here] Sc. 7 #1 Walpurgisnacht Escape (male solo & chorus) #2 Mild and Lovely - Weep for Me [aka Leave Me Alone] (male solo) Sc. 8 Reprise: In the Clear Sc. 9 Lullaby: Baby Don't You Cry (female solo) Sc. 10 #1 Purest Kind of a Guy (Joe's Song) (male solo + chorus) #2 Happy Birthday to You Know Who (male solo + chorus) #3 Dance #4 Death of Joe [aka Make the Heart Be Stone; aka They Have Killed Our Joe] (2 versions) [one derived in part from W43Sc.7] Sc. 12 Finale II: Reprise of title song (chorus)

Chronological List of Musical Works 41 W79. Danton's Death (11/1938) (Georg Buechner) songs & incidental music #1 Ode to Reason - solo #2 Christina (aka Ho, Christina!) - chorus #3 Interlude - instrumental #4 Carmagnole - chorus #5 Ah! Ça ira - chorus #6 Spinet-Piece - instrumental #7 Distant Hurdy-Gurdy - instrumental W80. Smoking Glasses (1938) solo song w/pno W81. Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/pno [arr. for chorus 1989, duet, 1995] for TAC Cabaret; considered by MB for insertion in W78I:6 [music used by LJL in W123 completion III:6] W82. Wish (anti-fascist song) music lost; lyrics in Theater Arts Committee magazine 2/1939 W83. Invitation to Bitterness (1939) male chorus w/altos; publ.: Arrow Press 1939; considered by MB for insertion in W78: "after Paul's suicide" [which was cut]. W84. Twelfth Night (Williamj Shakespeare) (1939) incidental music & songs for radio prod.: the 1939 (release?) date comes from MtM p. 577. #1 Come Away, Come Away, Death - solo song with lute - for LeRoi Operti #2 Farewell - solo song music lost; recorded [1938] on Columbia (78 RPM); rereleased on CD by Pavilion/Pearl GEMS 0020. W85. Valley Town (4-5/1940) documentary film score (dir.: Willard Van Dyke) cond. Alexander Smallens; orch. Henry Brant; pno Alex North; remake cond.: Brant; shown at MOMA 1/19/41, released spring 1951, though not commercially; #1 How Long? solo song W86. Jobless Blues (1940?) (text: Emanuel Eisenberg) probably discarded

42 Chronological List of Musical Works W87. Native Land (1940-fall 1941) film score, incl. songs: 1. Dusty Sun [words by Ben Maddow, pseud.: David Wolff] 2. American Day +cl. solo quoting "Hold the Fort" & Almanac Singers in "Get Thee Behind Me, Satan" and "Which Side Are You On?" Suite [I] (7/10/1946) 25' (rev. 1958)[Suite II] 7/29/58 1. The Fathers (Inheritance of Freedom) 1. Statue of Liberty [I:1, retitled] 2. Mulberry Street 2. Mulberry Street [same as I:2] 3. Dusty Sun 3. American Day 4. Parade 4. Chase 5. Hooded Legion 5. Funeral & Finale [cf. I:7-8] 6. Memorial Day (partitur; no parts) 7. Funeral 8. Finale W88. The New York Opera (10/1940-1945) aka Nine Day Wonder and The Happy Family 2-act musical; Lg of Composers Commission; music lost except for #1 The New Suit (aka Zipperfly) (reconstructed, 1945) [rights bought, but unused, by Jimmy Savo] prem. LB, Tully H1 3/2/1985 #2 Joe Magillicum Figures It Out (1942) anti-appeasement song; text only #3 Tell Me (torch song) lost W89. Night Shift (1-2/1942) film opera (dir.: Garson Kanin; shooting never completed), incl. song (w/ pno): #1 Turn the Night Into Day - publ., sung by Kate Smith; recording lost W90. Ballad of Sevastopol (6/1942) melody only [theme re-used in W95II:3] W91. Labor for Victory (7-8/1/1942) CIO radio program series, incl. song (w/ pno/orch): 1. CIO Tax Broadcast 7/4/42 aka There Is Strength 2. The Quiet Girl (aka Quiet Girl) (aka The Bullet That's Going to Kill Hitler) 8/1/42; incorporated into Lunchtime Follies (American Theatre Wing) orch: Henry Brant; prem.: Lenin Memorial stage revue, "Order of the Day," Madison Sq Garden 1/11/1943 W92. Second Front Song (1942) [lost; probably recalled & reused in W95] W93. Air Force Songs (1942) [lost; some probably recalled & reused in W95] W94. Freedom Morning (1943) for orchestra

Chronological List of Musical Works 43 W95. The Airborne Symphony (1943-46) for speaker, tenor, baritone, male chorus and orchestra (incl. wind machine) Part I 1. Theory of Flight 2. Ballad of History and Mythology 3. Kittyhawk 4. The Airborne Part II 1. The Enemy 2. Threat and Approach 3. Ballad of the Cities [re-use of melody, W90] 4. Morning Poem [cf. W93] Part III 1. Ballad of Hurry-Up 2. Night Music: Ballad of the Bombardier (aka Emily) male solo 3. Recitative 4. Chorus of the Rendezvous [cf. W92] 5. The Open Sky W96. Gauley Bridge Songs (1943-45) [fragments] W97. Modest Maid [aka I Love Lechery] (1943-44) female solo song w/pno (for Bea Lillie) revised 1955, for Charlotte Rae in The Littlest Revue & LP: Songs I Taught My Mother W98. Le Monde Libre [The Free World]: March (1944) pno solo (transcription of collected Resistance song) W99. The True Glory (1944-45) unused film score (dir.: Garson Kanin & Carol Reed); lost; incl. 18 collected songs, c. 30 min.; listed as Movie Music (Suite) by Chappell in ASCAP Symphonic Catalogue, 1977. [Film was produced but with music by William Alwyn alone] W100. War Song (1944-45) solo song w/pno on Dorothy Parker poem (1944) [accomp. compl. by LJL, 7/1995] W101. Lovely to get back to love (1944) solo song w/pno [accomp. compl. by LJL, 2002] W102. Goloopchik (7-8/1945) American-Soviet friendship musical in 2 acts, 4 scenes; choreography planned w/Jerome Robbins; book incomplete; retitled: "Wait for Me"; inspired in part by 1942 James Aldridge story; producers: James Proctor & Milton Baron book: William Friedberg & Marian Ainslee I:1 #1. Overture (to be based on #19, 4, 9) #2. (Making a) Home for a Hero [melody re-used in W108I:5#5] #3. Conversation Piece (8/25/1945) female trio #4. Chick Song (aka The Russian Language) 7/17-18/1945 solo/duet +chorus #5. (There's a) Tree Back Home in Kansas 8/17/45 male solo #6. Red Army Songs (choruses with Blitzstein's lyrics) a. Black the Night [lyrics missing] Red Army Songbook p. 30 b. Fighting Road (Kruchinin) c. Flying (Ukrainian) p. 2

44 Chronological List of Musical Works W102. Goloopchik (continued) I:1 #6 d. Winter Day (Ukrainian) p. 4 #7. Drinking Scene (6 choruses with Blitzstein's lyrics) a. Ho! Drink It Up! (melody by Blitzstein) [Modeste Moussorgsky's Hopak as dance interlude] b. Wind from the Plain (Ukrainian, arr. Chichko) c. Drinking Song (Trad.) d. Empty Pocket, Empty Belly (Trad.) e. Hey, Don't Sleep (Trad.) f. Stenka Razin (Trad.) [+ Ukrainian dances (p. 21, 22, 27, 37)] I:2 #8. Quintet (Meadow Scene): Road Song "Strolling Home" (Vdol' Dyervnik) by M. Isakosky & V. Zakharov, lyrics & arr. by MB for 2-part chorus & pno I:3 #9. So-o-o-o Beautiful (7/24/45) solo + Ballet: Pas de deux (8/27/45) Nina and Marko - reminiscent of W2 #10. Little Meal on a Tray, tr. of "In mitten des Balles" ("Sred' Shoomnovo Balla") duet; music by Tchaikovsky, op. 38 no. 3 orig. Russian words by Alexei Tolstoi; #11. Three Sisters Who Did (8/22/45) solo+ dance #12. Reprise of #2 #13. Sasha! - MB lyrics to Chorus from Moussorgsky's Khovanschina I:3 #14. Entr'acte: Tanya (see #17) II:1 #15. Reprise of #8 #16. Mamasha Goose (incl. quotes from "Zainka," arr. Krasev; "The Crane," arr. Krasev; Folksong, arr. Steinberg, op. 19 #1 - also in Rimsky-Korsakov collection and Miaskovsky(?) op. 14) #17. Tanya [later: Lovely Song, aka Theme for Jane Pickens Show, 7/5/49] donut, compl. & arr. by LJL for duet for A Blitzstein Cabaret, 1988] #18. Sasha's Journey a. Sword Dance - from Aram Khatchaturian's ballet Gayne b. Song of the Rose Maiden - from Aram Khatchaturian's ballet Gayne c. Lullaby - from Aram Khatchaturian's ballet Gayne d. Jelobinsky's Etude op. 19 no. 1 e. Moscow (Dmitri & Dan Pokras; lyrics by MB) chorus f. Alexander Borodin's Polovetzian Dance #8 from Prince Igor #19. Meeting on the Elbe (mostly melodrama) a. Suliko (Megrelidzhe, Russian lyrics) b. Long Long Trail (or White Christmas [sic]) c. Scena (words & music by MB) #20. Finale: Reprise of #2 possibly for inclusion in show, written 8/8/45, though not incl. in contents list: #21. Displaced (aka Song of the D.P.) solo song - to Bill Hewitt [music re-used by MB in W127Sc.3] W103. Chez Eitingon (1946) solo song with piano

Chronological List of Musical Works 45 W104. Another Part of the Forest (fall 1946) incidental music for play by Lillian Hellman; arr. of Urbs Beata Jerusalem (Gregorian chant) W105. Androcles and the Lion (12/1946) incidental music for play by George Bernard Shaw W106. The Guests (1946-1/1949) for Lincoln Kirstein (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride, Incident) ballet with Jerome Robbins; orchestration assisted by Henry Brant; masters (transparencies) of parts are at N.Y. City Ballet orchestral library pno suite incl.: 1. Prelude and Welcome 1a. Prelude to Three-Four Dance [cut] 2a. Three-Four Dance 2b. The Host 3. Parade [4 hands] 4a. Variation I 4a1. Before Variation II [cut] 4a2. Variation II [originally in a version with text spoken by He and She; cut] 4b. Variation II [new, instrumental version] 4b 1. Before Variation III [cut] 5. Pas de deux (orig. Variation III) 5a. The Award [cut] 5b. Grand March [cut] 5c. Cut-in: Nocturne [cut] 6. Three-Four Reprise 6a. Before Finale [cut] 7. Finale W107. Regina (1946-49) 2-act musical after Lillian Hellman's play The Little Foxes; commissioned by Koussevitsky Foundation & dedicated (as required by the commission) to the memory of Natalie Koussevitzky prem. 10/6/1949 Shubert New Haven; 10/11/1949 Colonial Boston; 46th St NY 10/31/1949; 11/13/1949 CBS Tonight on Broadway; 5/1/1952 92 St Y; revised (& cut) as 3-act opera, prem. NYCO 4/2/1953; reconstructed, uncut, by John Mauceri & Tommy Krasker (5/1991) Prologue #1 Want to Join the Angels #2 Naught's a Naught (mostly cut) Act I 1. Introduction 2. Birdie (aka Music, Music, Music) soprano solo 2a. Ben's Entrance [cut] 3. Small Talk (incl. (Regina's) female solo: Gallantry) 4. Goodbyes 5. Big Rich 6a. I don't know (Regina) female solo 6b. My, my (Ben) male solo 7a. Away! (Regina) female solo 7b. The Best Thing of All (Regina) female solo

46 Chronological List of Musical Works W107. Regina (continued) Act I 7c. What Will It Be (Zan [Alexandra]) female solo 8. Birdie and Zan (female duet) Act II Sc. 1 1. Oh, Addie, where are you? (Regina) female monotone solo 2. Deedle doodle (Leo) tenor solo 3. These cee-gars what you looking for, son? (Oscar & Leo) male duet 4. Horace's Entrance 5. Greetings 6. Horace and Regina (incl. female solo: Summer Day [aka Look at Me] [reprise of Gallantry]) 7. The Business Sc. 2 1. Scene-Change (Piano Solo in the style of Louis Moreau Gottschalk) aka La cloche au crépuscule la. Romance sans paroles (piano trio, under melodrama) [cut from show] 2. Sing Hubbard (chorus) [based in part on W12] 3. Transition 4a. Polka [cut from musical] 4b. Chinkypin [cut from opera in 1958] male solo 5. Blues (bar. [Cal], cut from musical; restored in opera for alto [Addie], solo) 5a. [cut; reconstructed 2004:] Addie's Lullaby 6. Waltz (aka Things) (Regina) female solo 7. Introduction and Gallop Act III (originally Act II in musical) 1. Rain Quartet (SSAB; also arr. for SATB chorus) 2. Birdie's Aria (aka Lionnet) soprano solo 3. Horace and Addie (dialogue) 4. Horace's Last 5. Regina's [Final] Aria 6. Melodrama 7. Greedy Girl (Ben's Aria) baritone solo 8. #1 Horace's Death #2 Ben's Last 9. Finale (incl. Certainly, Lord (chorus) - also appearing in III: 1 above) I:3-6b, 8; II:1:4-7; III:6,8 music derived in part from W43 Sc.1,4,7-9. W107A. Show Time for Wallace (1948) included Blitzstein "material" probably nothing new. Also in 1948, MB arranged W107B "On Top of Old Smoky" for The People's Song Book, ed Waldemar Hille (NY: Boni & Gaer, 1948, p.33) and W107C "Dublin Street Song," sung by Muriel Smith, MB at the piano, Severance Hall, Cleveland 1/18/48 (See A64.). M31 Obit in 4-5/64 Sing Out! v.14 no.2 p.2 noted: "In the 1940s, Marc Blitzstein was one of the sponsors for People's Songs."

Chronological List of Musical Works 47 W108. Reuben Reuben (1949-55) urban folk opera in 2 acts; orchestrations: Hershy Kay, Bill Stegmyer, MB; prem. 10/10/1955 Shubert Boston #1 Thank You (male solo) [used in LJL's W123 completion] Act I Sc.1 #2 Never Get Lost (solo/qt) [used in LJL's W123 completion] Sc.2 #1 Tell It to Bart (male quartet) #2 It's In the Cards (baritone solo) #3 Shave and a Haircut (male solo) Sc. 3 #1 Song of the Arrow (female solo) [cadenza by Evelyn Lear] #2 Cop's Lament (tenor solo) Sc.4 #1 Such a Little While (female solo) #2 Have Yourself a Night (bar. solo) [used in LJL's W123 completion] Sc.5 #1 San Gennaro (chorus) [re-used by MB in W116] #2 With a Woman To Be (tenor solo) [re-used &extended, by MB, in W123] #3 The Hills of Amalfi (solo/male quartet) [orig. The Hills of Assisi] [arr. for duo/trio and used in LJL's W123 completion] #4 Rose Song (bar. solo; danced by male-female duo) [2/1950 to Mina Curtiss] #5 Miracle Song (solo +chorus)[cut][arr. for duet, P28 1988] Sc.6 #1 Sleep (female solo) [used in LJL's W123 completion] #2 Love at First Word (male-female duet) #3 The Spot (female solo) Sc.7 #1 Mystery of the Flesh (female solo) #2 Yeth, Yeth (trio)[orig. The Bulk of the Credit] [cut] #3 Doin the Shebang [chorus] [cut] #4 Two Little Girls [female duet] [cut] #5 Thank You (reprise) Act II Sc.1 #1 Moment of Love aka The Very Moment of Love] (chorus) [ #2 Dreamin Dreamin Dreamin [cut] #3 Ballet [incl. Circus Theme - used in W123 completion] #4 There Goes My Love (male-female duet) Sc.2 #1 Be With Me (male solo) [used in W123 completion] #2 Mother of the Bridegroom (female solo) Sc.3 #1 Upstairsy (female solo) [used in W123 completion] #2 Musky and Whiskey [male duet] #3 Hard to Say [male solo/duet] [cut; 4th verse reconstructed & restored 2004] #4 Reuben Talks (male solo & chorus) #5We Got a Pact (male duet) Sc.4 Monday Morning Blues (male solo) [used in LJL's W123 completion] W109. King Lear (1950) (William Shakespeare; dir.: Louis Calhern) incidental music and songs; #1-3 Fool's Song[s] [longest) one for Stephen [Davis]] III:2 W110. Innocent Psalm - for the Bernstein baby [Jamie] (1953) piano solo

48 Chronological List of Musical Works W111. A Glee for Jamie (1953?) for voice(s) & piano [fragment] W112. Slow March - for Kit's Wedding (May 15, 1953): June 6, 1953 W113. Wedding Piece for Stephen & Joyce [July 30, 1955] (piano solo) [reused in W119] W114. Volpone (1956) (Ben Jonson) incidental music and songs: #1 Come, My Celia; #2 Song of the Glove [aka Glove Song] - used in W120 W115. King Lear (1/1956) (William Shakespeare; dir.: Orson Welles) incidental music and songs for flute/clarinet, horn, trumpet, harpsichord, timpani/percussion + electronic sound by Vladimir Ussachevsky & Otto Luening W116. This Is the Garden (1956-7) cantata of NY in 6 mvts 5/5/1957 (title borrowed from E.E. Cummings) for SATB w/pno/orch "for my mother" 1. The Lex Express 2. I'm Ten and You'll See 3. Harlan Brown, Killed in the Street 4. Hymie Is a Poop 5. In Twos 6. San Gennaro [re-use of W108I:5#1] W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts; book by Joseph Stein after Sean O'Casey's play Juno and the Paycock orchestrations: Robert Russell Bennett, Hershy Kay; prem. 1/17/59 Natl Thtr Wash DC, 2/4 Shubert Boston, 3/9 Winter Palace NY Act I Overture Prologue: We're Alive (chorus) [2/10/59] Sc. 1 #1 I Wish It So (female solo) #2 Song of the Ma (female solo) Sc. 2 His Own Peculiar Charm (female solo) [cut] Sc. 3 #1 We Can Be Proud (male quartet) #2 Sea Shanty [sic]: Ireland's Eye (male solo) [cut; reinstated in some later productions] #3 Daarlin' Man (male duet with chorus) [+ various reprises] #4 Daarlin' Juno [title & lyrics by Richard Maltby, 1974] (male solo w/ensemble) Sc. 4 One Kind Word (sung tenor-spoken female duet) Sc. 5 #1 Quarrel Song (male-female duet) [cut; partially reinstated in some later productions; recorded with new additional lyrics by LJL, 1990] #2 Old Sayin's (male-female duet) [+ various reprises] [publ. with new additional lyrics by LJL, 2003] #3 What Is the Stars? (male duet + Coal-Block Vendor) derived in part from "Hills of Donegal" - old Irish tune [cut] #4 Life on the Sea (male duet) [replaced #3]

Chronological List of Musical Works 49 W117. Sc. 6 Sc. 7 Sc. 8

Juno (continued) [Act I] You Poor Thing (aka Troubles) (female quartet) [+various reprises] Ballet: Dublin Night [music in part by Trade Rittman] #1 My True Heart (male-female duet - cut; replaced by female solo; duet reinstated in later productions) #2 You're the Girl (male solo) [cut] Sc. 9 #1 From This Out (ensemble) [cut; replaced by:] #2 On a Day Like This (ensemble, dance) #3 Jig, Slip Jig, Shillelagh Dance, Jig Entr'acte Act II Grand, O Grand (female solo) (lyrics by Richard Maltby; music by Tom Fay, substituted for I:1#2 1976) Sc. 1 Bird Upon the Tree (female duet) Sc. 2 #1 Music in the House (male solo and chorus) #2 It's Not Irish (male quartet) #3 The Liffey Waltz (chorus) #4 Hymn (tenor solo and chorus) #5 Johnny (ballet) #6 Joxer's Tune (cut; partially reinstated in some later productions) Sc. 4 Farewell Me Butty (male duet) [cut; reinstated in some later productions) Sc. 5 For Love (female solo) Sc. 6 Where? (aka Lament) female solo [choral arr., 2004] W117A The Informer (1988) Agnes de Mille ballet for American Ballet Thtr based in part on dances from W117 I:7, I:9#2-3 & Entr'acte W118. Lear: A Study (12/1957-1/1958) for orchestra; prem. 2/27/1958 - in 3 sections: the stripe of man and king; the nature-storm and the inner-storm; growth, serenity and death W119. A Midsummer Night's Dream (William Shakespeare) (6/1958) #1 Sweet is the Rose (poem by Amoretti [Edmund Spenser]) #2 Shepherd's Song (William Shakespeare) #3 Court Song (Anonymous) #4 Lullaby (William Shakespeare) II:3 #5 Wedding March [reuse of W112] W120. The Winter's Tale (Wiliam Shakespeare) (7/1958) #1 Whilst Youthful Sports (Act I) #2 Vendor's Song IV: 3 #3 Autolycus-Dorcas-Mopsa Trio IV: 3 #4 Song of the Glove - from Volpone IV:3 W114

50 Chronological List of Musical Works W121. Six Elizabethan Songs (8/1958) for soprano/tenor & piano to LB, on his 40th birthday 1. Sweet is the Rose (W119#1) 2. Shepherd's Song (W119#2) 3. Song of the Glove (W114#2) 4. Court Song (W119#3) 5. Lullaby (W119#4) 6. Vendor's Song (W120#2) W122. Concerto with Lyrics (1959?) [possibly for LB] [fragment] (in conjunction w/piano solo: "Anchored" [fragment]) [film score for W122A. Charlotte's Web (1959) considered, but nothing written except "tentative list of songs" (12) R19#325] W123. Sacco and Vanzetti (1959-64) 3-act opera commissioned by Ford Foundation, optioned by Metropolitan Opera [compl. by LJL: vocal score 2/78-2/10/01; orchestration 10/24/03] libretto based on letters, transcripts, etc. [libretto of II:1, 2, end of 3, 4; III:1; III:3 Pts 1, 3 & 4; III: 5, 6 compl. 2000] Act I Sc.1 Chorus ("This is the end of the opera") Sc.2 #1 Italian Scene (rehearsal of A Doll's House in Italian) #2 Vanzetti's First Aria [2d half, thru end of scene, compl. 1999] Sc.3 Garage Sc.4 Chorus [cut, 2001] Interlude Sc.5 Interrogation (incl. Katzmann's Monologue) [mostly compl. 1999] Interlude [completed 1999] Sc.6 Prison [mostly compl. 1999, based in part on W108I:1#1 & I:4#2] #1 Sacco-Vanzetti Duet #2 Quartet Finale Act II Sc. 1 Memorial Day Parade [completed 2000; music based on W60] Sc.2 Court [compl. 2000; music quotes "Dies Irae," W72Sc.3, W128] Sc.3 Prison [mostly compl. 2000] Pt 5 Sacco to Mrs. Evans [uses music from W108II:2#1] Pt 7 Mrs. Evans' Aria [uses music from W108I:4#1] Pt 10 Pantomime Pt 11 Sacco-Rosa Duet [ending derived from W108I:6#2] Pt 12 Torremaggiore-Villafalletto Trio [based on W108I:5#3] compl. 2000 as "Torremaggiore" duet, then expanded; Sc. 4 Court [compl. 2000; quotes 2 Harvard songs, W128, W108I:4#2] Interlude [2000; derived from W108I:4#2] Sc. 5 Prison Pt 1 [2000; based on W108 II:1#3, I:4#1; W71; W125#2] Pt 2 [2000; music based on W108 I:6#1, II:2#1] Pt 3 The Whole Shoe (Sacco) [sketches completed, 2000] Pt 4 With a Woman to Be (Sacco) [based, by MB, on W108I:5-2] Pt 5 Sacco's Mad Scene (Sacco, Vanzetti, Chorus) [ending compl. 2000, based on W125#4 and Portuguese folksong]

Chronological List of Musical Works 51 W123. Sacco and Vanzetti (continued) Act III Sc.1 Thompson's Speech [compl. 2001] Sc.2 Vanzetti's Books (sop-tenor-bar trio) [mostly compl. 2001, based on W108I:1#2] Sc.3 Court [mostly compl. 2001, based on earlier themes & W56Sc.2] Sc.4 Prison Pt 1 Stong (2ten-bar trio) [2001; based on W108I:1#1 & II:4] Pt 2 Vanzetti's Last Statement [accomp. compl., 1995] Sc.5 [compl. 2001] Pt 1 Gov. Fuller [melodrama, underscored by III:4Pt 2] Pt2 Fuller, Madeiros, Committee [based in part on W108I:4#2] incl. segment: "Just Like Jews" Pt 3 Thompson's Plea [music based on W125#7] Pt 4 Mary Donovan's Aria [derived from W108I:6#2 & W117II:2#4] Pt 5 Mary Donovan & Police [derived in part from I:2 Aria, W56Sc.2] Pt 6 Thompson & Committee [derived in part from Pt4Aria, W56Sc.2] Sc.6 [compl.2001]Pt1 Thompson & V [music reprises III:4Pt2, I:6, W108I:5#3] Pt 2 Bigots' Chorus [poem by Jim Seymour (P.D.); music based on W81] Pt 3 Mrs. Evans [music based on W108I:4#1] Pt 4 Last Words [S-V final duet, quotes LJL's Rosenberg Cantata] Pt 5 Bullard's NY Times 8/28/27; Dukakis' Exoneration 7/19/77 [music: III:4Pt2] Pt 6 Final Chorus [reprise of I:1] W124. Toys in the Attic (2/1960) incidental music & songs for Lillian Hellman's play 2/25/1960: #1 French Lesson (aka Trap Chères) w/pno #2 Big Day (aka Bernier's Day, a "Bambola" song) [based in part on "Tan patate-la t'chuite" (P.D.)] w/banjo [Jason Robards] W125. From Marion's Book song cycle on poems of E.E. Cummings (1960) to Alice Esty 1. o by the by 2. when life is quite through with [W42#2] [re-used in LJL's compl. of W123II:5Pt1] 3. what if a much of a which of a wind 4. silent unday by silently not night [re-used in LJL's compl. of W123II:5Pt 5] 5. until and i heard 6. yes is a pleasant country 7. open your heart [re-used in LJL's compl. of W123III:5Pt3] W126. The Magic Barrel (1962-64) 1-act opera in 6 scenes after story by Bernard Malamud [with W127, to be called Tales of Malamud]; libretto complete in 1st draft Sc. 1 The Room and the Three Weddings [music: fragment] Sc. 2 The Room. Next Day. Sc. 3 The Room and Riverside Drive. A Week Later Sc. 4 The Room and the Photographs. A Month Later Sc. 5 The Room and Salzman's Tenement. Two Hours Later Sc. 6 The Room. A Spring Night. [Stella's song: "Then" complete]

52 Chronological List of Musical Works W127. Idiots First (1962-64; LJL compl. 7/70-12/73; orch. compl. 1/1991) 1-act opera in 13 scenes after story by Bernard Malamud; libretto complete [with W126, to be called Tales of Malamud] Sc.1 Mendel and Itzak (Itzak's theme derived, by MB, from W50I:2) [ending accomp. compl. 1973] Sc.2 Pawnshop Interlude [revised 1970-73] Sc.3 Fishbein's Palace Pt 1 Levinson Pt 2 Fishbein's Entrance Pt3 Who Will Close the Door (on a Neighbor's Misfortune)? [compl. 1970] (music derived in part from W102#21)(bar. solo +opt. tenor) Interlude [revised 1970-73] Sc. 4 Park Bench Pt 1 How I Met My New Grandfather ed. LB, 1964; LJL 1973] (bar. solo +opt. tenor) Pt 2 Ginzburg's Entrance Sc. 5 Doorway Sc. 6 Cafeteria Sc. 7 Side Street (incl. Under the Sky) Sc. 8 Pawnship [2nd half compl. 1973] Sc. 9 Synagogue Sc. 10 Pawnshop (Itzak's vocalise) Sc. 11 Train Gate [mostly compl. 1973] Sc. 12 Coach Seat [1973] Sc. 13 Train Gate [other Malamud stories considered by MB: Angel Levine; An Apology; The Cost of Living; The Death of Me; A Fool Grows Without Rain; The Loan; The Mourners] n.d. MB: "I think(!) just... 'Idiots First' and 'The Magic Barrel' can make a full evening: TALES OF MALAMUD" (R48#608) W127A. Karla (1974; orch. compl. 1976)[by LJL] companion piece for W127 1-act opera in 3 scenes after Malamud's "Notes from a Lady at a Dinner Party" Sc.1Pt3 Max's First Aria; Sc.2Pt1 Clem's Aria Sc.2Pt2 Max-Karla Duet Sc.3Pt2 Max's Second Aria; Sc.3Pt3 Sextet W127B. Suppose A Wedding (1996) [by LJL] intermezzo for W127& W127A 1-act opera on eponymous "scene of a play" by Bernard Malamud #1 The Rabbi and the Rich Man (text derived from S. Ansky's The Dybbuk) W128. Lied (1963) piano solo - for Ben Cooper, and his women used in LJL's W123 completion II:2 & II:4

Works with Orchestra 53

Works with Orchestra (46) (40 of these works are also listed separartely, by genre; the 6 asterisked are for orchestra alone) [Key to #'s: Fl-Ob-Cl-Bn Hn-Tpt-Tb-Tuba VnI-VnII-Va-Vc-Cb] * W11. Marche Vainqueur (8/24/20) A Festival March for Complete Orchestra 2-2-2-2 4-2-2-1 Timp Cym Hp Str W20. Children's Dances (1924): #1 Pavane for pno/orch: 2-ob-EH-2-2 4-0-0-0 Hp Str 7-5-5-2-2 W21. Variation sur "Au clair de la lune" (1924-26) for pno/orch: Picc-2-2-EH-2-2 r-2-3-1 Tri Cym Str; adapted in W29#4 W22. Svarga (10/1924-7/1925) ballet, pantomime suite in 6 mvts for chamber orch: 1-Picc-l-EH-1-1 0-1-1-1 Cym Pno Str 4-2-2-2-0 W28. Nine Walt Whitman Songs (1925-28) for vce & pno #5. Gods (1926) - also for vce, hn or solo vc, & str W29. Sarabande (5/1926) for pno or (6/1926) orch: 2-2-1-2 4-0-3-0 Str *W30. for String Orchestra (1926?) W32. Blessings of the Bath (1926) ballet, for Eb cl., tb & pno W33. Hände (1927) 4-hand mechanical pno score for silent film W36. Jigg-Saw (1928) ballet for large orchL 3-2-EH-3-2 4-2-1-0 Bones,Bells,Xyl,BD,SnDr Pno Hp Cel Str (div) W37. a word out of the sea (1928) Walt Whitman cantata for women's voices w/ob, cl, bn, pno, str; mvts 3-5 only: 3. Shine, shine, shine! (soprano solo) 4. Till, of a sudden (4 sopranos; 4 altos) 5. Blow, blow, blow! (contralto solo) W40. Triple Sec [aka Theater for the Cabaret] 6S,2M,6A,2T,2Bar,lB pno/orch: 0-0-2-1 0-1-1-0 2traps 1piano 4hands 1-0-1-0-1 (summer 1928) 1-act opera; libretto: Ronald Jeans (Schott) W43. Parabola and Circula (fall 1929) 1-act opera; libretto: George Whitsett 2S,A,2T,Bar,Bass-Bar 3(poiPicc)-2(poiEH)-3(poiBCl)-3(poiCbn) 4-3-3-1 2Hps Timp Perc Str *W47. Romantic Piece for Orchestra (3/1930) 2Fl-Picc-2Ob-Hecklephone-2Cl-BCl-2Bn-Cbn 4-3-3-1 Timp Perc Pno Str W50. Cain (1930) ballet in 13mvts; for pno/orch +bassbar. solo (#5 & 13 only) 3-Picc-3-EH-3(poiEbCl)-3-Cbn 6-4-3-1 Timp Perc (SnD, BD, Cym, small Cym, Tamb, WB, Ratchet, Tri) Thtr Orch Score [3 mvts only]: 1-1-2(poiEbCl)-1 3-2-1-1 Timp Perc Pno W51. Surf and Seaweed (1931) film score for chamber orch: 1-1-1-1(poiCbn) 0-1-0-0 Pno Str (no Cb)

54 Works with Orchestra W52. Concerto for Pno & Orch (1931) in 3 mvts: 2-Picc-2-2-2-Cbn 4-2-3-1 Str Moderate Molto. Allegro; Largo assai; Allegro non troppo W54. The Harpies (1931) 1-act opera SSMATTBarB (Boosey & Hawkes) Fl(Picc), Cl (EbCl), Bn, Tpt, Hn, Tb, Pno, Cb [adapted, 1970, for 2 pnos & perc.] W56. The Condemned (1932) 1-act choral opera inspired by Sacco-Vanzetti case: 32S,16A,48T,48B 2-2-2-BCl-2 4-3-3-1 Perc Str *W59. Variations for Orchestra (1934) 2-Picc-2-EH-3-EbCl,BCl-2-Cbn 4-2-2cornets-3-1 Timp Perc (BD,Tri.,Tamta,Cym) Pno Str (Boosey & Hawkes) W65. Send for the Militia (1935) female solo melodrama, for Parade (revue) [pno score reconstructed, 1974] w/alto sax, bar sax, cl, drums, pno, str qn W70. Chesapeake Bay Retriever (5/1936) film score for cl, bn, vn & pno Life on the Ocean Wave (P.D.); A-Roving (P.D.); The Salt and the Spray; Family Portrait; Gray Suif; Pooch Procession; Water Trial; The Prize; Finale W72. The Cradle Will Rock (7/1936) play in music (for actors) - in 1 or 2 acts; 10 scenes; w/ pno/orch: Fl/Picc, 3Cl(poiBCl,ASax,TSax), 2Tpts, Tb, 1Perc (BD,SnDr,SusCym(s), 1Timp,Bells,Tel.Bell,Tri,Siren, WB,Castanets,Maracas,ClavesTamb,Sandblocks,Slapstick), Pno, Acc, Guit/Banjo/HawaiianGuit Str +opt.: Bugles, Fifes, Side Drums (Tams-Witmark) [1969 adaptation: w/combo: 1-0-1-0 1-1-0-0 Perc Pno Ukelele 1-0-0-0-1] W75. I've Got the Tune (1937) 1-act radio song play in 5 scenes - w/pno/orch: 1-1-2-ASax-1 2-1-1-0 Hp Pno Perc Str 4-2-2-2-1 (Boosey & Hawkes) [1970 adaptation: w/pno & perc] W76. Julius Caesar (1937) (William Shakespeare) songs & incidental music Orpheus - solo song with lute, ukelele, or thumbtack piano W79. Danton's Death (1938) (Georg Buechner) songs & incidental music w/cl, tpt, traps, pno: #1 Ode to Reason - solo #2 Christina (aka Ho, Christina!) - chorus #3 Interlude - instrumental #4 Carmagnole - chorus #5 Ah! Ça ira - chorus #6 Spinet-Piece - instrumental #7 Distant Hurdy-Gurdy - instrumental W84. Twelfth Night (1939) incid. music & songs for radio prod.; music lost; #1 Come Away, Come Away, Death - solo song with lute #2 Farewell - solo song recorded on Columbia (78 RPM); reissued 1998 W85. Valley Town (1940) documentary film score (dir.: Willard Van Dyke) fl, cl, sax, tpt, tb, perc, pno, str

Works with Orchestra 55 W87. Native Land (1941) film score (dir.: Leo Hurwitz), incl. songs: Dusty Sun [words by David Wolff(?)] American Day Suite (1946): (revised 1958) 1. The Fathers (Inheritance of Freedom) 1. Statue of Liberty 2. Mulberry Street 2. Mulberry Street 3. Dusty Sun 3. American Day 4. Parade 4. Chase 5. Hooded Legion 5. Funeral & Finale 6. Memorial Day (partitur; no parts) 7. Funeral 1-1-2(poiTSax)-10-2-1-0 8. Finale Perc (Timp,Xyl,SnDr,Cym,DChime) Pno Str W89. Night Shift (1942) film opera (dir.: Garson Kanin) parts; no partitur 2-Picc-2-3poi3sax,BCl-2 2-3-2-0 Perc Hp Pno Str 6-4-4-4-2 including song (w/pno): Turn the Night Into Day W91. Labor for Victory (1942) radio program series, including female solo song (w/pno/orch: 1-1-1-1 1-1-1-0) Perc Str : The Quiet Girl (aka Quiet Girl) (aka The Bullet That's Going to Kill Hitler) *W94. Freedom Morning (1943) for orch 1-Picc-2-EH-2-BCl-2-Cbn 4-3-3-1 Timp Perc Hp Str W95. The Airborne Symphony (1943-46) (European-AmericanMusic) for speaker, tenor, baritone, male chorus and orchestra 2-2-EH-3-BCl-2Cbn 4-3-3-1 Timp Perc Hp Pno Str W105. Androcles and the Lion (12/1946) incidental music for play by George Bernard Shaw: ob/EH, cl, tpt, tb, dr, perc, pno/Hammond organ W106. The Guests (1946-1/1949) for Lincoln Kirstein (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride) ballet w/ Jerome Robbins; orchestration assisted by Henry Brant: 2poiPicc-2poiEH-2poiEb,BCl-2 4-1-2-0 Timp Perc (BD,Cym,small cym, SnDr,Tri,Tamb,Xyl,WB,Slapstick,Chimes (C,F)) Hp, Pno-Cel, Str masters (transparencies) of parts are at N.Y. City Ballet orchestral library W107. Regina (1946-48) 2-act musical (Tams-Witmark) after Lillian Hellman's play The Little Foxes revised (& cut) as 3-act opera (1953) reconstructed, uncut, by John Mauceri & Tommy Krasker (5/1991) 3S,A,2T,4Bar,B Chor; onstg: jazz band (cl,tpt,tb,banjo/guit,washbd&drums), pno trio; 1(poiPicc.Cl)-1(poiEH,Cl)-1(poi Fl,EbCl)-1(poiCl,BCl) 2-1-1-0 Timp Perc Hp Pno Str

56 Works with Orchestra W108. Reuben Reuben (1949-55) urban folk opera in 2 acts S,M,T,Bar,B + Actors, Chorus; orchestrations: MB, Hershy Kay, Bill Stegmeyer: 1(Picc,C1,ASax)1(EH,cl,ASax)-1(Fl,BCl,TSax-1 2-2-2-0 Timp&Perc Hp Pno/Cel 4-2-2-4-1 W109. King Lear (1950) (William Shakespeare; dir.: Louis Calhern) incidental music and songs; for fl, hn, tpt, perc, pno/Hammond organ/celesta/solovox Fool's Song[s] [(longer) one for Stephen [Davis]] III:2 W115. King Lear (1/1956) (William Shakespeare; dir.: Orson Welles) incidental music and songs for fl/cl, hn, tpt, hpschd, timp/perc + electronic sound by Vladimir Ussachevsky & Otto Luening W116. This Is the Garden (1956-7) cantata of New York in 6 mvts for SATB w/pno/orch: 2-2-2-2 2-2-1-0 2Perc Pno Str W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts book by Joseph Stein after Sean O'Casey's play Juno and the Paycock orchestrations: Robert Russell Bennett, Hershy Kay ballet music: MB, Trade Rittman (score & parts at Samuel French) *W118. Lear: A Study (12/1957-1/1958) for orch (score at NY Phil) 2(+Picc)-2(+EH)-2(+Eb & BCl.)-2(+Cbn) 4-3(+2cornets)-3-1 3Timp 3Perc: Ratchet, SnDr, WB, Large Xyl, Sandpaper, BD, Cym, Tamtam, Slapstick, Ten.Dr, Bell-plate (steel hammers), Hp, Str W119. A Midsummer Night's Dream (6/1958): Fl, Ob, Hn, Tpt, Perc, Lute, Cel/Hpschd, Vn, Vc W120. The Winter's Tale (7/1958) Fl, Ob/EH, Hn, Tpt, Vn, Vc, Cb W123. Sacco and Vanzetti (1959-64) 3-act opera [vocal score compl. 2/2001; orch. compl. 10/24/2003] libretto based on letters, transcripts, etc. ten., bar. + min. SSAATTBB + 2-3 Actors (covering 36 roles) 2(poiPicc)-1-EH-2(poiEbCl,ASax,TSax)-2(poiCbn) 2-2-2(poiTuba) Pno/Cel Acc(opt.), 3Perc [+Siren] (Vibr, Xyl, Marimba, Chimes, Crotales, 2Tri, SusCym, Cowbell, CrCym, 2Gongs, Tamtam, Tamb, Whip, Claves, WB, Ratchet, 3Timp, 4Tomtoms, BD, HH, 2 SnDr, TmplBlks) Str (Theodore Presser) W127. Idiots First (1962-64; compl. 12/1973; orchestration compl. 1/1991) 1-act opera in 13 scenes after story by Bernard Malamud; libretto complete [w/W126, to be called Tales of Malamud] S,3T,3Bar,Bass,Actors 2 pianos + chimes, or: 2(poiPicc)-2(poiEH)-2(poiEbCl)-2 2-2-2-1 3Timp Chimes; 1Perc: Vibr, SnDr, BD, Hihat, Tri, Finger Cym, Sus Cym, Cr Cym, Tamb, Tomtom, WB; Hp(opt.), Pno/Cel, Str (div.) (Theodore Presser)

Chamber Music Works 57

Chamber Music Works (14) four hand piano W7. Symphony in G# Minor (1919-24?) pno 4 hands [fragment] W33. Hände (1927) 4-hand mechanical pno score for silent film; recorded 3/1936 for RCA & MOMA; scenario: Stella Simon; dir.: Stella Simon & Miklos Bandy outgrowth, perhaps of sketched Music for Urwald Mechanical Piano and Drums (1927) W106. The Guests (1946-1/1949) for Lincoln Kirstein (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride, Incident) pno suite movement for more than 2 hands: #3. Parade violin & piano W2. Fire Dance (c. 1918) W23. King Hunger (12/6/1924): incidental music to Leonid Andreyev's play Macabre Dance (violin & piano +castanets) first publicly performed work trumpet & piano W38. Sonata for Trumpet & Piano (1928) "op. 8" in 1928 list - discarded? lost? piano trio W6. [King] Richard II Suite (1919-24?) for violin, cello & piano [fragments] W32. Blessings of the Bath (1926) ballet, for Eb cl, tb & pno (8 mvts) W58. Discourse (summer 1933) for clarinet, cello & piano [completed 2004] W107 Regina Act II Sc. 2 #1a. Romance sans paroles (vn, vc, pno, under melodrama) [cut from show] string quartet W17. For Emjo's Bitter Fantasy (1923) string quartet W48. String Quartet (4/1930) "The Italian" [to Eva Goldbeck] Allegro; Allegretto grazioso; Presto possibile; Lento prem. 4/15/1936 Modern Art Qt, Composers' Forum-Laboratory W55. Serenade for String Quartet (1-2/1932) [to Eva] Largo; Largo; Largo [sic; actually: Allegro Moderato; Larghetto; Andante Maestoso] prem. 5/1/1932 Hans Lange Qt, Yaddo; NY prem. 4/3/1933 piano quintet W41. Quintet (1928) for Flute, oboe, clarinet, bassoon, piano "op. 11" in 1928 list - discarded? lost?

58 Piano Solo Works

Piano Solo Works (27) W3. Sonata [aka Sonatina] in F Minor (c. 1918) pno solo [fragment] W4. Waterfall: Barcarolle (3/1918) pno solo, "op. 4 no. 1" on ms. W5. Forêt Vierge (1919-24?) pno solo [fragment] theme later used in No for an Answer W78II:7 Escape W8. Andante (11/30/1919) pno solo W9. Persienne (12/14/1919 [not 1918, as listed in MtM pp. 11-12]) pno solo W10. Rondo (1/4/1920) pno solo W16. Prelude in C minor (1922) pno solo (1 of 9; others lost - MtM p. 16) W18. Valse (4/1923) pno solo W20. Children's Dances (1924): 1. Pavane (for pno/orch) "op. 2 no.1" in 1928 list; prem. 1/1927 Charles Naegele (piano), Aeolian Hall 2. Round (pno solo) 3. Danse Basse [pno solo, lost] 4. Danse Haute [pno solo, lost] W21. Variation sur [aka on] "Au clair de la lune" (1924-26) for pno/orch prem. 1/1927 Charles Naegele (piano), Aeolian Hall "op. 2 no. 3" in 1928 list; adapted in W32#4 W22. Svarga (10/1924-2/1925; rev. 7/1925) ballet, pantomime suite for chamber orch, "op. 1" in 1928 list 1. Agni 2. Dance of the Mortal Maiden and Soma 3. Indra and the Svarga Dweller 4. Belly-Ache (A "Blues") 5. Interlude 6. Finale: Ritual. Rising of the Plants Pno score contains only movements 1, 2, 3 (p.1 only), 4 W25. [Six] Chorale Preludes (1924-27) [student works] W29. Sarabande (5/1926) for pno or (6/1926) orch

"op. 2 no.2" in 1928 list

W35. Sonata for Piano [aka Piano Sonata] (summer 1927-28) (1 mvt; 8 sections) prem. 2/12/1928 NYLg of Composers "op.7" in 1928 list; later: "in a sense, my Opus 1"

Piano Solo Works

59

W39. Percussion Music for the Piano [aka Piano Percussion Music] (1928-29) "op. 9" in 1928 list; prem. by MB 3/17/1929 Lg of Composers Steinway Hl 1. Toccata [aka Flam] (6/3/1928) 2. Air [aka Drag] (2/1929) 3. Rondino [aka Paradiddle] (3/12/1929) W46. Scherzo (1930) piano solo ("Bourgeois at Play") W50. Cain (1930) ballet; for pno/orch +bass-bar. solo (in #5 & 13) [to Eva Goldbeck] I. Eden: 1. The Young Son. 2. Abel Offers the Lamb [became Itzak's music in W127] 3. Cain and His Wife; Cain's Offering. The Response 4. The Two Brothers 5. Dialogue 6. Imprecations and Sorrowing 7. Interlude II. Henoch, city of Cain 8. Building of the City [considered for insertion in W78II:7] 9. Festival 10. Dance of Noema 11. Slaying of Cain 12. Lamech and the Stripling 13. Finale 3 dances (piano) prem. by MB on WEVD 4/1933 [+ W35 & 2 mvts of W55] exc. publ. by Rice Institute, Houston (and This Quarter) 1934 2 exc. (piano) prem. 12/1/1935 Town Hall W52. Concerto for Piano and Orchestra (1931) in 3 mvts [to Alene Erlanger] Moderato Molto. Allegro; Largo assai; Allegro non troppo prem. Norman Cazden (solo pno) & MB (orch pno) 4/15/36 orch. prem. Michael Barrett, Lukas Foss, Brooklyn Philharmonic 1/1986 W57. Piano Solo (summer 1933) [aka Piano Suite; in 4 mvts] Con brio; Cantabile; Scherzoso; Vivace W98. Le Monde Libre [The Free World]: March (1944) piano solo (transcription of collected Resistance song)

60 Piano Solo Works W106. The Guests (1946-1/1949) for Lincoln Kirstein (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride, Incident) ballet with Jerome Robbins; pno suite includes: 1. Prelude and Welcome 1a. Prelude to Three-Four Dance [cut] 2a. Three-Four Dance 2b. The Host 3. Parade [4 hands] 4a. Variation I 4a1. Before Variation II [cut] 4a2. Variation II [originally in a version with text spoken by He and She; cut] 4b. Variation II [new, instrumental version] 4b1. Before Variation III [cut] 5. Pas de deux (orig. Variation III) 5a. The Award [cut] 5b. Grand March [cut] 5c. Cut-In: Nocturne [cut] 6. Three-Four Reprise 6a. Before Finale [cut] 7. Finale Ray Lev, pianist, prem. excerpt 11/7/1947 Carnegie Hall MB recorded #5-7 for 1947 Concert Hall 78 set B9 "American Composers at the Piano" and played 4 excerpts at Cleveland's Severance Hall 1/28/1948; ballet prem. 1/20/1949 New York City Ballet; Bennett Lerner recorded #2a, 4b, 5 1986 Etceterera Records 1036 LP "American Piano Music" W107 Regina Act II Sc. 2 1. Scene-Change (Piano Solo in the style of Louis Moreau Gottschalk) aka La cloche au crépuscule W110. Innocent Psalm - for the Bernstein baby [Jamie] (1953) pno solo W111. A Glee for Jamie (1953?) for voice(s) & pno [fragment] W112. Slow March - for Kit's Wedding (5/15/53): 6/6/53 (pno solo) W113. Wedding Piece for Stephen & Joyce [7/30/55] (pno solo) [reused in W119] W128. Lied (1963) piano solo - for Ben Cooper, and his women [used in LJL's W123 completion II:2 & II:4]

Film Scores 61

Film Scores (8) W33. Hände (1927) 4-hand mechanical pno score for silent film; recorded 3/1936 for RCA & MOMA; scenario: Stella Simon; dir.: Stella Simon & Miklos Bandy; outgrowth, perhaps, of sketched Music for Urwald Mechanical Piano and Drums (1927) W51. Surf and Seaweed (1931) film score for chamber orch (dir.: Ralph Steiner) 1-1-1-1(poiCbn) 0-1-0-0 Pno Str (no Cb) to Alma Wertheim W70. Chesapeake Bay Retriever (5/1936) film score for cl, bn, vn & pno (dir.: Mrs. Milton Erlanger & Thomas T.K. Frelinghuysen) [film lost] prem. 5/26/1936 Chanin Auditorium NYC 1. Life on the Ocean Wave (P.D.) 2. A-Roving (P.D.) 3. The Salt and the Spray 4. Family Portrait 5. Gray Surf 6. Pooch Procession 7. Water Trial 8. The Prize 9. Finale W73. The Spanish Earth (6/1937) sound montage with Virgil Thomson for film (dir.: Joris Ivens) prem. 8/20/1937 55th St. Playhouse, NYC W85. Valley Town (4-5/1940) documentary film score (dir.: Willard Van Dyke) cond. Alexander Smallens; orch. Henry Brant; piano Alex North; remake cond. by Brant; shown at MOMA 1/19/41, released spring 1951, though not commercially; #1 How Long? solo song W87. Native Land (1940-fall 1941) film score (dir.: Leo Hurwitz & Paul Strand), incl. songs: 1. Dusty Sun [words by Ben Maddow, pseud.: David Wolff] sung by Paul Robeson & chor 2. American Day sung by Paul Robeson +clarinet solo quoting "Hold the Fort" & Almanac Singers in "Get Thee Behind Me, Satan" & "Which Side Are You On?" W89. Night Shift (1-2/1942) film opera (dir.: Garson Kanin; shooting never compl.), incl. song (w/ pno): #1 Turn the Night Into Day - publ., sung by Kate Smith; recording lost W99. The True Glory (1944-45) unused film score (dir.: .Garson Kanin & Carol Reed); lost, incl. 18 collected songs, c. 30 min.; listed as Movie Music (Suite) by Chappell in ASCAP Symphonic Catalogue, 1977/ [Film was produced but with music by William Alwyn alone]

62 Incidental Music Scores

Incidental Music Scores (13) W6. [King] Richard H (William Shakespeare) Suite (1919-24?) violin, cello & piano [fragments] W23. King Hunger (12/6/1924): incid. music to Leonid Andreyev's play Macabre Dance (vn & pno +castanets) first publicly performed work W76. Julius Caesar (11/11/1937) (William Shakespeare) song & incid. music #1 Orpheus [aka Orpheus with his Lute] solo song w/lute/ukelele/thumbtack pno text from Shakespeare's Henry VIII III:3, inserted in Act IV sung by Lucius to Brutus [aka Lucius' Song] W79. Danton's Death (11/1938) (Georg Buechner) songs & incid. music cl, tpt, traps, pno #1 Ode to Reason - solo [Adelyn Colla-Negri] #2 Christina (aka Ho, Christina!) - duet/chorus [Joseph Cotten & Mary Wickes] #3 Interlude - instrumental #4 Carmagnole - chorus #5 Ah! Ça ira - chorus #6 Spinet-Piece - instrumental #7 Distant Hurdy-Gurdy - instrumental W84. Twelfth Night (William Shakespeare) (1939) incid. music & songs for radio prod.: #1 Come Away, Come Away, Death - solo song w/lute - for LeRoi Operti #2 Farewell - solo song music lost; recorded on Columbia (78 RPM) rereleased 1998 on CD W104. Another Part of the Forest (fall 1946) incidental music for play by Lillian Hellman; arr. of Urbs Beata Jerusalem (Gregorian chant) W105. Androcles and the Lion (12/1946) incidental music for play by George Bernard Shaw; for ob/EH, cl, tpt, tb, dr, perc, pno/Hammond organ W109. King Lear (1950) (William Shakespeare; dir.: Louis Calhern) incidental music and songs; for fl, hn, tpt, perc, pno/Hammond organ/celesta/solovox. Fool's Song[s] [(the longer) one for Stephen [Davis]] III:2 W114. Volpone (1956) (Ben Jonson) incidental music and songs: #1 Come, My Celia #2 Song of the Glove [aka Glove Song] - used in W120

63 Incidental Music Scores W115. King Lear (1/1956) (William Shakespeare; dir.: Orson Welles) incidental music and songs; for fl/cl, hn, tpt, hpschd, timp/perc + electronic sound by Vladimir Ussachevsky & Otto Luening W119. A Midsummer Night's Dream (William Shakepeare) (6/1958) #1 Sweet is the Rose (poem by Amoretti [Edmund Spenser]) #2 Shepherd's Song (William Shakespeare) #3 Court Song (Anonymous) #4 Lullaby (William Shakespeare) II:3 #5 Wedding March [reuse of W112] W120. The Winter's Tale (Wiliam Shakespeare) (7/1958) #1 Whilst Youthful Sports (Act I) #2 Vendor's Song IV:3 #3 Autolycus-Dorcas-Mopsa Trio IV: 3 #4 Song of the Glove - from Volpone IV:3 W114 W124. Toys in the Attic (2/1960) incidental music & songs for Lillian Hellman's play 2/25/1960: #1 French Lesson (aka Trop Chères) w/pno #2 Big Day (aka Bernier's Day, a "Bambola" song) [based in part on "Tan patate-la t'chuite" (P.D.)] w/banjo [Jason Robards]

64 Ballets

Ballets (10) W22. Svarga (10/1924-2/1925; rev. 7/1925) ballet, pantomime suite for chamber orch, "op. 1" in 1928 list 1. Agni 2. Dance of the Mortal Maiden and Soma 3. Indra and the Svarga Dweller 4. Belly-Ache (A "Blues") 5. Interlude 6. Finale: Ritual. Rising of the Plants Pno score contains only movts 1-3 W32. Blessings of the Bath (1926) ballet, for Eb clarinet, trombone & piano: 1. Introduction ["itching march"] 2. Belly-Dance [became underscore for Prof. Mamie in W72Sc.8] 3. Scene-Change 4. In the Bath ["old man & attendant"; fragment - used in W75Sc.1Pt 1] 5. The Frenchman ["splashing the old man": W21] 6. Pas d'action ["triumphant march" - used in W72 crowd scenes] 7. Drying Fugue [How Dry I Am] considered for re-use in W72 Sc.2, Harry Druggist, drunk R22#36 8. Reprise, Scene-Change 9.-10. Blessings I & II ["bathing like the beginning"; fragment] 11. Alleluia ["slow chorale of EPS" (?)] W34. Megalopolis (1927) ballet [fragments] (scenario: Abraham Lincoln Gillespie & Julian Levi): 1. Belly Dance [became underscore for Prof. Mamie in W72Sc.8] 2. Buck and Wing [quotes "Rockabye, Baby"; incorporated into W36] 3. Dance of the Whirling Methodics 4. Witch Burners and Southerners Dance W36. Jigg-Saw (1928) ballet, "op. 5" in 1928 list 20' 1. Prelude 2. Belly-Dance & the Salvation Army [became underscore for Prof. Mamie in W72Sc.8] 3. Liberty Throws a Party 4. Buck and Wing [became underscore for Prof. Trixie in W72Sc.8] 5. Cotton-Pickers' Shuffle [lost] W43. Parabola and Circula (fall 1929) 1-act opera; libretto: George Whitsett Sc.5 Marijuana Ballet

Ballets 65 W50. Cain (1930) ballet; for pno/orch +bass-bar. solo (in #5 & 13) I. Eden: 1. The Young Son. 2. Abel Offers the Lamb [became Itzak's music in W127] 3. Cain and His Wife; Cain's Offering. The Response 4. The Two Brothers 5. Dialogue 6. Imprecations and Sorrowing 7. Interlude II. Henoch, city of Cain 8. Building of the City 9. Festival 10. Dance of Noema 11. Slaying of Cain 12. Lamech and the Stripling 13. Finale W102. Goloopchik (7-8/1945) American-Soviet friendship musical in 2 acts, 4 scenes; choreography planned with Jerome Robbins; book incomplete; retitled: "Wait for Me" I:1 #7. Drinking Scene (6 choruses with Blitzstein's lyrics) a. Ho! Drink It Up! (melody by Blitzstein) [Modeste Moussorgsky's Hopak as dance interlude] b. Wind from the Plain (Ukrainian, arr. Chichko) c. Drinking Song (Trad.) d. Empty Pocket, Empty Belly (Trad.) e. Hey, Don't Sleep (Trad.) f. Stenka Razin (Trad.) [+ Ukrainian dances (p. 21, 22, 27, 37)] I:3 9. So-o-o-o Beautiful (7/24/45) solo 3'48" +Ballet: Pas de deux (8/27/45) Nina and Marko - reminiscent of Fire Dance, W2 II:1 #18. Sasha's Journey a. Sword Dance - from Khatchaturian's ballet Gayne b. Song of the rose Maiden - from Khatchaturian's ballet Gayne c. Lullaby - from Khatchaturian's ballet Gayne d. Jelobinsky's Etude op. 19 no. 1 e. Moscow (Dmitri & Dan Pokras; lyrics by Blitzstein) chorus f. Alexander Borodin's Polovetzian Dance #8 from Prince Igor

66 Ballets W106. The Guests (1946-1/1949) for Lincoln Kirstein (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride, Incident) ballet with Jerome Robbins; orchestration assisted by Henry Brant; masters (transparencies) of parts are at N. Y. City Ballet orchestral library pno suite includes: 1. Prelude and Welcome 1a. Prelude to Three-Four Dance [cut] 2a. Three-Four Dance 2b. The Host 3. Parade [4 hands] 4a. Variation I 4a1. Before Variation II [cut] 4a2. Variation II [originally in a version with text spoken by He and She; cut] 4b. Variation II [new, instrumental version] 4b1. Before Variation III [cut] 5. Pas de deux (orig. Variation III) 5a. The Award [cut] 5b. Grand March [cut] 5c. Cut-In: Nocturne [cut] 6. Three-Four Reprise 6a. Before Finale [cut] 7. Finale W108. Reuben Reuben (1949-55) urban folk opera in 2 acts; orchestrations: Hershy Kay; prem. 10/10/1955 Shubert Boston I:5#4 Rose Song (bar solo; danced by male-female duo) [2/1950 to Mina Curtiss] II:1 #3 Ballet [incl. Circus Theme - used in LJL's W123 completion] W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts book by Joseph Stein after Sean O'Casey's play Juno and the Paycock orchestrations: Robert Russell Bennett, Hershy Kay I:7 Ballet: Dublin Night [music in part by Trude Rittman] I:9 #3 Jig, Slip Jig, Shillelagh Dance, Jig Entr'acte [Some of these dances & I:7 used in W117A: Agnes de Mille's 1988 ABT ballet, The Informer] II:2 #5 Johnny (ballet)

Music & Sketches for Revues 67

Music & Sketches for Revues (8) W65. Send for the Militia (5/1935) female solo melodrama for Parade (revue) Boston prem. 5/6/35; NY prem. 5/20/35 alto sax, bar sax, cl, drums, pno, str qn [pno score reconstructed by LJL, 1974] W64. War Department Manual, Vol. 7 Part 3 (1935) solo song w/pno incorporated into, then cut from W72Sc.8 W69. Sketch No. 1 (9/1935-2/1936) became opening of Sc. 1 & 7 in W72 prem. 2/1936 New Theatre Lg: Gladys Frankel, Thomas Frank, Nat Fichtenbaum, MB W77. FTP Plowed Under (11/27/1937) skit for Pins and Needles - music lost except fragments W81. Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/ pno prem. 2/1939 TAC Cabaret; considered for insertion in W78I:6 [arr. by LJL for duet, 1995] [music used in LJL's W123 completion III:6] W82. Wish (anti-fascist song) music lost; lyrics in Theater Arts Committee magazine 2/1939 W91. Labor for Victory (7-8/1/1942) CIO radio program series, incl. song (w/ pno/orch): 1. CIO Tax Broadcast 7/4/42 aka There Is Strength 2. The Quiet Girl (aka Quiet Girl) (aka The Bullet That's Going to Kill Hitler) 8/1/42 incorporated into Lunchtime Follies (Amer Thtr Wing) orch: Henry Brant; prem.: Lenin Memorial stage revue, "Order of the Day," Madison Sq Garden 1/11/43 W97. Modest Maid [aka I Love Lechery] (1943-44) female solo song w/pno (for Bea Lillie); revised 1955, for Charlotte Rae in The Littlest Revue & LP: Songs I Taught My Mother

68 Operas & Musicals

Operas & Musicals (17) W40. Triple Sec [aka Theater for the Cabaret: opera-farce] (summer 1928) 1-act opera; libretto: Ronald Jeans; "op. 10" in 1928 list 15' for 19 voices & chamber orch (12); German tr. by Edwin Denby: Die Sünde des Lord Silverside W43. Parabola and Circula (fall 1929) 1-act opera; libretto: George Whitsett W44. The Traveling Salesman (9/1929-1930) 3-act opera; scenario only W53. The Killers (1931) 1-act opera after Ernest Hemingway - fragments W54. The Harpies (1931) 1-act opera; League of Composers commission libretto by MB after Apollonius's Argonautica Bk III W56. The Condemned (1932) 1-act choral opera inspired by Sacco-Vanzetti W72. The Cradle Will Rock (7-9/2/1936) play in music; 1 or 2 acts; 10 scenes W75. I've Got the Tune (10/1937) 1-act radio song play; in 5 scenes W78. No for an Answer (1937-39) 2-act labor opera - w/pno W88. The New York Opera (10/1940-1945) aka Nine Day Wonder and The Happy Family 2-act musical; Lg of Composers Commission; music lost except for #1 The New Suit (aka Zipperfly) (reconstructed, 1945) [rights bought, but unused, by Jimmy Savo] prem. LB Tully Hl 3/2/1985 #2 Joe Magillicum Figures It Out (1942) anti-appeasement song; text only #3 Tell Me (torch song) lost W102. Goloopchik (7-8/1945) American-Soviet friendship musical in 2 acts, 4 scenes; choreography planned w/Jerome Robbins; book incomplete; retitled: "Wait for Me" W107. Regina (1946-49) 2-act musical after Lillian Hellman's play The Little Foxes; revised (& cut) as 3-act opera, prem. NYCO 4/2/1953; reconstructed, uncut, by John Mauceri & Tommy Krasker (5/1991) W108. Reuben Reuben (1949-55) urban folk opera in 2 acts W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts book by Joseph Stein after Sean O'Casey's play Juno and the Paycock orchestrations: Robert Russell Bennett, Hershy Kay W123. Sacco and Vanzetti (1959-64) 3-act opera [compl. by LJL: [vocal score 2/2001; orch score 10/24/2003] libretto based on letters, transcripts, etc. [libretto of II:1, 2, end of 3, 4; III:1; III:3 Pts 1, 3 & 4; III: 5, 6 compl. 2000] W126. The Magic Barrel (1962-64) 1-act opera in 6 scenes after story by Bernard Malamud [with W127, to be called Tales of Malamud] libretto complete in 1st draft; Sc. 6 Stella's song: "Then" complete W127. Idiots First (1962-64; LJL compl. 12/73; orchestration compl. 1/91) 1-act opera in 13 scenes after story by Bernard Malamud; libretto comp. [w/ W126, to be called Tales of Malamud]

Choral Works 69

Original Choral Works (22) (76 individual pieces) W24. Various Student Fugues, Canons (1924-27), incl.: 1. Christe Redemptor (3 pts); 2. Nocte surgentis vigilemus (4 pts, double canon) W31. [Eleven] Circular Canons (1926-27): 1. Pity me (Edna St. Vincent Millay) Sonnet#6 from The Harp-Weaver (1923) last 2 lines, slightly modified, probably in admiration of Nadia Boulanger] 2. I only know (Edna St. Vincent Millay) [Sonnet#42 "What lips my lips have kissed" last 2 lines, from The Harp-Weaver] 3. Thou art my lute (Paul Laurence Dunbar [1872-1906]) 4. Sad hours [aka In Dedication of "The Certain Hour"] (James Branch Cabell [1879-1958], 1916) 5. Search thou my heart (Paul Laurence Dunbar) 6. How doth the city (Lamentations 1:1) 7. Dieu tout puissant (Old French Hymn) 8. In Lethe's soothing stream (Paul Laurence Dunbar) 9. Safe upon the solid rock (Edna St. Vincent Millay) [compl. by LJL, 2003] ["Second Fig" from A Few Figs from Thistles, 1920] 10. Last night, I saw the lovely flower (Lady Murasaki [Shikibu][973-1025?] [from the Japanese]) 11. Would that we might vanish (Lady Murasaki [from the Japanese] W37. a word out of the sea (summer 1928) Walt Whitman cantata for women's voices & chamber orchestra; mvts 3-5 only: 3. Shine, shine, shine! (soprano solo) "op. 3 no. 5" in 1928 list 4. Till, of a sudden (4 sopranos; 4 altos) 5. Blow, blow, blow! (contralto solo) "op. 3 no. 6" in 1928 list W49. Cantatina for Women's Chorus and Percussion (1930) [nonsense syllables] fragment [to Eva] W56. The Condemned (1932) 1-act choral opera inspired by Sacco-Vanzetti W60. Into the Streets May First (1934) (Alfred Hayes) mass song [music re-used in LJL' S W123 completion, II:1] W61. Children's Cantata: Workers' Kids of the World Unite (7/25/1934) w/pno: 1. Workers' Kids 2. My Father's a Tailor 3. Don't Cry, Kids 4. Speech 5. Choosing a Leader 6. Writing a Letter [The Child Writes a Letter] (solo) [#6 prem. Mordecai Bauman, Composers' Forum Laboratory 4/15/1936] 7. Listen, Teacher 8. Riddles [music lost?]

70 Choral Works W62. First of May (1935) (Eva Goldbeck; music by MB, pseud.: Hammer) mass song with piano W63 Strike Song (June 1935) [found in sketches of No for an Answer, W78] W68. People [aka Poor People] (1935) solo or mass song w/pno prem. Mordecai Bauman, Elsa Findley dance troupe 5/16/1936 YMHA became "Joe Worker" in W72 Sc.9#2 W72. The Cradle Will Rock (7-9/2/36) play in music; 1 or 2 acts; 10 scenes; 3. Mission Scene (male-female duet with chorus) 10. Quintet Finale (Reprise: #2 The Cradle Will Rock- as chorus) W75. I've Got the Tune (10/1937) 1-act radio song play in 5 scenes 2. Madame Arbutus's Salon (chorus added by LJL, 1970) 3. Purple Shirts (Captain Bristlepunkt & Private Schnook) 5. The Street (incl. "Hold the Fort," [cut, 1970] "The Preacher and the Slave," "Solidarity Forever") W78. No for an Answer (1937-39) 2-act labor opera - w/pno Act I Sc. 1 The War of the Beasts and the Birds (solo & chorus) (Take the Book; Song of the Bat; Workers, Do Your Homework) Sc. 5 The Argument: What Is Capitalism? (3 men & chorus) Sc. 11 Did They Think They Could Get Away With That (chorus) Finale I: Insist Song (No for an Answer) (chorus) Act II Sc. 1 #1 Reprise of title song (chorus) Sc. 7 #1 Walpurgisnacht Escape (male solo & chorus) Sc. 10 #1 Purest Kind of a Guy (Joe's Song) (male solo + chorus) #2 Happy Birthday to You Know Who (male solo + chorus) #4 Death of Joe [aka Make the Heart Be Stone; aka They Have Killed Our Joe] (2 versions) [one derived in part from W43Sc.7] Sc. 12 Finale II: Reprise of title song (chorus) W79. Danton's Death (11/1938) (Georg Buechner) songs & incidental music cl, tpt, traps, pno #2 Christina (aka Ho, Christina!) - duet/chorus #4 Carmagnole - chorus #5 Ah! Ça ira - chorus W83. Invitation to Bitterness (1939) male chorus +altos; publ. by Arrow Press 1939; considered for insertion in W78 "after Paul's suicide" [which was cut] W87. Native Land (1940-fall 1941) film score, incl. songs: a. Dusty Sun [words by Ben Maddow, pseud.: David Wolff] sung by Paul Robeson & chorus

Choral Works 71 W95. The Airborne Symphony (1943-46) for speaker, tenor, baritone, male chorus and orch (incl. wind machine) W102. Goloopchik (7-8/1945) 2-act Amer-Soviet friendship musical; 4 scenes 4. Chick Song (aka The Russian Language) 7/17-18/1945 solo or duet + chorus 6. Red Army Songs (choruses with Blitzstein's lyrics) a. Black the Night [lyrics missing] Red Army Songbook p. 30 b. Fighting Road (Kruchinin) c. Flying (Ukrainian) p. 2 d. Winter Day (Ukrainian) p. 4 7. Drinking Scene (6 choruses with Blitzstein's lyrics) a. Ho! Drink It Up! (melody by Blitzstein) [Modeste Moussorgsky's Hopak as dance interlude] b. Wind from the Plain (Ukrainian, arr. Chichko) c. Drinking Song (Trad.) d. Empty Pocket, Empty Belly (Trad.) e. Hey, Don't Sleep (Trad.) f. Stenka Razin (Trad.) W107. Regina (1946-49) 2-act musical after Hellman's play The Little Foxes: Prologue: #1 Want to Join the Angels #2 Naught's a Naught - mostly cut II:2 #2. Sing Hubbard (chorus) III: 1 Rain Quartet (arr. by MB for chorus) III:9. Finale (incl. Certainly, Lord (chorus) - also appearing in III:1 W108. Reuben Reuben (1949-55) urban folk opera in 2 acts; orchestrations: Hershy Kay I:5 #1 San Gennaro (chorus) [re-used by MB as W116#6] #5 Miracle Song (solo & chorus) [cut] I:7 #3 Doin the Shebang [chorus] [cut] II:1 #1 Moment of Love (chorus) II:3 #4 Reuben Talks (male solo & chorus) W116. This Is the Garden (1956-7) cantata of New York in 6 mvts 5/5/1957 W117. Juno (1957-59) musical in 2 acts Prologue: We're Alive (chorus) [2/10/59] I:3 #3 Daarlin' Man (male duet w/chorus) [+ various reprises] II:2 #1 Music in the House (male solo & chorus) #3 The Liffey Waltz (chorus) #4 Hymn (tenor solo & chorus) W123. Sacco and Vanzetti (1959-64) 3-act opera [LJL compl.: vocal score 2/01; orch 10/03] Act I Sc. 1 Chorus ("This is the end of the opera") Sc. 4 Chorus [cut, 2001] Act II Sc. 5 Pt5 Sacco's Mad Scene (Sacco, Vanzetti, Chorus) Act III Sc. 6 Pt 6 Final Chorus [reprise of I:1]

72 Choral Works Marc Blitzstein's Works Arranged Posthumously for Chorus (8) W27. Song (Rupert Brooke[1887-1915])(1925)[fragment; compl. & [27A] arr. by LJL for chorus, 2003] W64. War Department Manual, Vol. 7 Part 3 (1935) solo song w/pno incorporated into, then cut from W72Sc.8; arr. for chorus, 1989 W66. Stay in My Arms (fall 1935) solo song w/pno W81. Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/pno [arr. for chorus 1989, duet, 1995] W95. The Airborne Symphony (1943-46) Part III #2. Night Music: Ballad of the Bombardier (aka Emily) W117. Juno (1957-59) musical in 2 acts Act II Sc. 6 Where? (aka Lament) female solo [choral arr., 2004] W123. Sacco and Vanzetti Act II Sc. 1 Memorial Day Parade [compl. 2000; music based on W60] Act III Sc. 6 [compl. 2001] Pt 2 Bigots' Chorus [poem by Jim Seymour (P.D.); music based on W81]

Marc Blitzstein's Texts to Choral Music by Others (5) T1 Hanns Eisler's "On Killing" ("Über das Töten") w/Eva Goldbeck (1935) T4 #6-8, 13, 8e [W102] Goloopchik - Russian choruses (1945) T7 LB's "Dream with Me" from Peter Pan (1950) (music by LB) T9 #14, 23 Brecht-Weill Threepenny Opera (1952) T15 (numerous numbers) Brecht-Weill Mahagonny (1957-62)

Vocal Quartets 73

Vocal Quartets (10) W72. The Cradle Will Rock (7-9/2/36) play in music; 1 or 2 acts; 10 scenes; Sc.2 Nightcourt (O What A Filthy Nightcourt [unison male chorus]) incl. barbershop qt passage Sc.4 #4 Honolulu (quartet) (expanded to quintet in 1969 adaptation) W107. Regina (1946-49) 2-act musical after Lillian Hellman's play The Little Foxes: III: 1 Rain Quartet (SSAB; also arr. for SATB chorus) W108. Reuben Reuben (1949-55) urban folk opera in 2 acts I:1 #2 Never Get Lost (solo or qt) [used in LJL's W123 completion] I:2 #1 Tell It to Bart (male quartet) I:5 #3 The Hills of Amalfi (solo/male quartet) W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts I:3 #1 We Can Be Proud (male quartet) I:6 You Poor Thing (female quartet) [+various reprises] II:2 #2 It's Not Irish (male quartet) W123. Sacco and Vanzetti (1959-64) 3-act opera [LJL compl.: vocal score 2/01; orchestration 10/24/2003] I:6 #2 Quartet Finale (mezzo, tenor, 2 baritones)

74 Vocal Trios

Vocal Trios (12) W69. Sketch No. 1 (9/1935-2/1936) actually 2 solos, 2 duets, short trio in the middle; became opening of Sc. 1 & 7 in W72 W72. The Cradle Will Rock (7-9/2/36) play in music; 1 or 2 acts; 10 scenes; Sc.l. #2 [Moll &] Gent, #3 [Moll &] Dick actually solo, 2 duets, short trio in the middle Sc.5 #1 Drugstore Scene (male trio) Sc.6 #2 Ask Us Again (trio: 2 males, 1 female) W78. No for an Answer (1937-39) two-act labor opera - w/pno I:5 The Argument: What Is Capitalism? (3 men & chorus) W102. Goloopchik (7-8/1945) Amer-Soviet friendship musical in 2 acts, 4 scenes; #3 Conversation Piece (8/25/1945) female trio W108. Reuben Reuben (1949-55) urban folk opera in 2 acts I:7 #2 Yeth, Yeth (trio)[orig. The Bulk of the Credit] [cut] W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts I:5 #3 What Is the Stars? (male duet + Coal-Block Vendor) W120. The Winter's Tale (Wiliam Shakespeare) (7/1958) #3 Autolycus-Dorcas-Mopsa Trio IV: 3 (male-alto-soprano) W123. Sacco and Vanzetti (1959-64) 3-act opera [LJL compl.: vocal score 2/01; orchestration 10/24/2003] II:3 Pt 12 Torremaggiore-Villafalletto Trio [2000; based on W108 I:5#3] III:2 Vanzetti's Books (sop-tenor-bar trio) [mostly compl. 2001, based on W108 I:1#2] III:4 Pt 1 Stong (2tenors-bar trio) [2001; music based on W1081:1#1 & II:4]

Vocal Duets 75

Vocal Duets (47) W72. The Cradle Will Rock (7-9/2/36) play in music; 1 or 2 acts; 10 scenes; Sc. 1. #2 [Moll &] Gent, #3 [Moll &] Dick 3. Mission Scene (male-female duet with chorus) 4. #1 Croon Spoon (male-female duet) #2 The Freedom of the Press (T-Bar duet); #3 Let's Do Something (male-female duet) 5. #2 Gus & Sadie Lovesong (male-female duet) 6. #1 Yasha-Dauber Duet (The Rich) #3 Art for Art's Sake (unison duet) 9. #1 Doctor & Ella (sung female-spoken male duet) W75. I've Got the Tune (10/1937) 1-act radio song play - in 5 scenes Sc. 1. Musiker & Beetzie W78. No for an Answer (1937-39) 2-act labor opera - w/pno I:4 Secret Singing (duet) I:6 #2 Dimples (male-female duet) I:8 Francie (sung male-spoken female duet) W79. Danton's Death (11/1938) (Georg Buechner) songs & incidental music #2 Christina (aka Ho, Christina!) - duet/chorus W81. Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/piano [arr. for chorus 1989, duet, 1995] W102. Goloopchik (7-8/1945) 2-act Amer-Soviet friendship musical #4 Chick Song (aka The Russian Language) 7/17-18/45 solo/duet + chorus #17 Tanya [later: Lovely Song, aka Theme for Jane Pickens Show, 7/5/49; donut, completed & arr. for duet for P28, 1988] W107. Regina (1946-49) 2-act musical after Hellman's play The Little Foxes I:8 Birdie and Zan II: 1 #3 These cee-gars what you looking for, son? (Oscar & Leo) male duet II: 1 #6 Horace and Regina W108. Reuben Reuben (1949-55) urban folk opera in 2 acts I:5 #5 Miracle Song (solo +chorus)[cut][duet arr. for P28, 1988] I:6 #2 Love at First Word (male-female duet) I:7 #4 Two Little Girls [female duet] [cut] II: 1 #4 There Goes My Love (male-female duet) II:3 #2 Musky and Whiskey [male duet] II:3 #3 Hard to Say [male solo/duet] [cut; 4th verse reconstructed & restored 2004] II:3 #5 We Got a Pact (male duet)

76 Vocal Duets W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts I:3 #3 Daarlin' Man (male duet with chorus) [+ various reprises] I:4 One Kind Word (sung tenor-spoken female duet) I:5 #1 Quarrel Song (male-female duet) I:5 #2 Old Sayin's (male-female duet) [+ various reprises] I:5 #4 Life on the Sea (male duet) I:8 #1 My True Heart (male-female duet) II: 1 Bird Upon the Tree (female duet) II:4 Farewell Me Butty (male duet) [cut; reinstated in some later productions) W123. Sacco and Vanzetti (1959-64) 3-act opera [LJL compl.: vocal score 2/01; orchestration 10/24/2003] I:2 #1 Italian Scene (rehearsal of A Doll's House in Italian) I:6 #1 Sacco-Vanzetti Duet II:3 Pts 5&7 Sacco & Mrs. Evans; Pt 11 Sacco-Rosa Duet; Pt 12 Torremaggiore [duet] III:5 Pt 5 Mary Donovan & Police III:6 Pt 1 Thompson & Vanzetti; Pt 4 Last Words [S-V final duet] W127. Idiots First (1962-64; LJL compl. 12/1973; orchestration 1/1991) 1-act opera in 13 scenes after story by Bernard Malamud; libretto complete Sc.3 Pt3 Who Will Close the Door (on a Neighbor's Misfortune)? (bar.,tenor) Sc. 4 Park Bench Pt 1 How I Met My New Grandfather (bar., opt. tenor)

Vocal Solos 77

Vocal Solos (189) W1. April, April (William Watson [1858-1935], 1896) solo song (1911)[lost] W4. Silver Stream (3/1918?) [original? words] solo song with piano W12. Where Love Is Life (9/17/20) [aka The Dream Is Mine] solo song w/ pno music became "Sing Hubbard" in W107II:2#2 W13. I Am Wild! (Sara Teasdale, 1915) (1920-24?) solo song w/ pno [fragment] W14. The Long Street Blares (1920-24?) solo song w/pno [fragment] W15. This Is the Spirit Flow'r (1920-24?) solo song w/pno [fragment] W26. [Two] A.E. Housman (1859-1936) Songs (1925) 1. From Far, From Eve and Morning [A Shropshire Lad (1896) #32] 2. Into My Heart an Air [A Shropshire Lad (1896) #40] W27. Song (Rupert Brooke[1887-1915])(1925)[fragment; completed 2003] W28. [Nine] Walt Whitman Songs (1925-28) for voice & piano 1. As If a Phantom Caress'd Me (1925) "op. 3 no.1" in 1928 list 2. What Weeping Face (1925) "op. 3 no.2" in 1928 list 3. Joy, Shipmate, Joy! (1925) "op. 3 no.3" in 1928 list 4. After the Dazzle of Day (1925) "op. 3 no.4" in 1928 list 5. Gods (1926-7) arr. (fall 1927) for vce, hn or solo vc, & str "op. 4" in 1928 list 6. O Hymen, O Hymenee! (1/1927) "op. 6 no.1" in 1928 list 7. As Adam (5/1927) "op. 6 no.2" in 1928 list 8. I Am He (1928) 9. Ages and Ages (1928) #6-9 aka "Four Coon Shouts" or "Songs of a Coon-Shouter" or "Children of Adam" W40. Triple Sec [aka Theater for the Cabaret: opera-farce] #1 Prologue (Hostess) W42. Is 5 (1929) song cycle on poems by E.E. Cummings for voice & piano 1. after all white horses are in bed 2. when life is quite through with (2/1929; re-used in W125) 3. mr youse needn't be so spry 4. Jimmie's got a goil publ. by Cos Cob 1934 5. you are like the snow W50. Cain (1930) ballet; for piano/orchestra +bass-bar. solo (in #5 & 13) #5. Dialogue #13. Finale W64. War Department Manual, Vol. 7 Part 3 (1935) solo song w/pno incorporated into, then cut from W72Sc.8 W65. Send for the Militia (5/1935) female solo melodrama [reconstructed, 1974] for Parade (revue) Boston prem. 5/6/1935; NY prem. 5/20/1935

78 Vocal Solos W66. Stay in My Arms (fall 1935) solo song with piano W67. The Way You Are (1935) female (or male) solo song with piano W68. People [aka Poor People] (1935) solo or mass song with piano became "Joe Worker" in W72Sc.9 #2 W69. Sketch No. 1 (9/1935-2/1936) became opening of Scenes 1 & 7 in W72 W71. Few Little English or Jimmy's Moll (6/1936) female solo song with piano - "for Lenja" [reconstructed 1997] W72. The Cradle Will Rock (7-9/2/36) play in music; 1 or 2 acts; 10 scenes; Sc.1 #1 Moll (female solo) 7 #1 The Nickel Under the Foot (female solo) #2 Leaflets [male solo, melodrama] #3 The Cradle Will Rock (male solo) 9 #2 Joe Worker (female solo) W75. I've Got the Tune (10/1937) 1-act radio song play - in 5 scenes Sc. 1 Musiker & Beetzie (male & female solos) Sc. 4 Suicide (female solo) W78. No for an Answer (1937-39) two-act labor opera - with piano I:1 The War of the Beasts and the Birds (solo & chorus) (Take the Book; Song of the Bat; Workers, Do Your Homework) I:3 Reports: Emanuel, Gina, Mery, Nick (4) I:6 #1 Outside Agitator (male solo) #3 Fraught (female solo) II:1 #2 In the Clear (female solo) #3 Penny Candy (male solo) II:3 Mike (Get Mine) (male solo) II:5 #2 Expatriate (Litt'ry and Artistic Scene, 1930) male solo [compl. 3/1995] II:7 #1 Walpurgisnacht Escape (male solo & chorus) #2 Mild and Lovely - Weep for Me [aka Leave Me Alone] (male solo) II:9 Baby Don't You Cry (female solo) II:10 #1 Purest Kind of a Guy (Joe's Song) (male solo + chorus) #2 Happy Birthday to You Know Who (male solo + chorus) W79. Danton's Death (11/1938) (Georg Buechner) songs & incidental music #1 Ode to Reason - solo W80. Smoking Glasses (1938) solo song w/ pno W81. Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/piano W82. Wish (anti-fascist song) music lost; lyrics in Theater Arts Committee magazine 2/1939 W84. Twelfth Night (William Shakespeare) (1939) incidental music and songs for radio prod. #1 Come Away, Come Away, Death - solo song with lute - for LeRoi Operti #2 Farewell - solo song

Vocal Solos 79 W85. Valley Town (4-5/1940) documentary film score (dir.: Willard Van Dyke) #1 How Long? solo song W86. Jobless Blues (1940?) (text: Emanuel Eisenberg) probably discarded W87. Native Land (1940-fall 1941) film score, incl. songs: a. Dusty Sun [words by Ben Maddow, pseud.: David Wolff] sung by Paul Robeson &chor b. American Day - sung by Paul Robeson W88. The New York Opera (10/1940-1945) aka Nine Day Wonder and The Happy Family 2-act musical; Lg of Composers Commission; music lost except for #1 The New Suit (aka Zipperfly) (reconstructed, 1945) [rights bought, but unused, by Jimmy Savo] prem. LB, Tully Hl 4/28/85 #2 Joe Magillicum Figures It Out (1942) anti-appeasement song; text only #3 Tell Me (torch song) lost W89. Night Shift (1-2/1942) film opera (dir.: Garson Kanin; shooting never completed), incl. song (w/pno): #1 Turn the Night Into Day - publ., sung by Kate Smith; recording lost W90. Ballad of Sevastopol (6/1942) melody only [theme re-used in W95II:3] W91. Labor for Victory (7-8/1/1942) CIO radio program series, incl. songs (w/ pno/orch): 1. CIO Tax Broadcast 7/4/42 aka There Is Strength 2. The Quiet Girl (aka Quiet Girl) (aka The Bullet That's Going to Kill Hitler) 8/1/42 W95. The Airborne Symphony (1943-46) III:2 Night Music: Ballad of the Bombardier (aka Emily) male solo W96. Gauley Bridge Songs (1943-45) [fragments] W97. Modest Maid [aka I Love Lechery] (1943-44) female solo song w/pno (for Bea Lillie); rev. 1955, for Charlotte Rae in The Littlest Revue & LP: Songs I Taught My Mother W100. War Song (1944-45) solo song w/pno on Dorothy Parker poem (1944) [accomp. compl. by LJL, 7/95] prem. Salle Nadia Boulanger, Fontainebleau 7/96 W101. Lovely to get back to love (1944) solo song w/pno [accomp. compl. by LJL, 2002] W102. Goloopchik (7-8/1945) 2-act Amer-Soviet friendship musical #2 (Making a) Home for a Hero #4 Chick Song (aka The Russian Language) 7/17-18/1945 solo/duet + chorus #5 (There's a) Tree Back Home in Kansas 8/17/45 male solo #9 So-o-o-o Beautiful (7/24/45) solo #11 Three Sisters Who Did (8/22/45) solo #16 Mamasha Goose #17 Tanya [later: Lovely Song, aka Theme for Jane Pickens Show, 7/5/49] #21 Displaced (aka Song of the D.P.) solo song w/pno

80 Vocal Solos W103. Chez Eitingon (1946) solo song w/pno W107. Regina (1946-49) 2-act musical after Hellman's play The Little Foxes I:2 Birdie (aka Music, Music, Music) soprano solo I:3 Gallantry (female solo) I:6a I don't know (Regina) female solo I:6b My, my (Ben) male solo I:7a Away! (Regina) female solo I:7b The Best Thing of All (Regina) female solo I:7c What Will It Be (Zan [Alexandra]) female solo II: 1 #1 Oh, Addie, where are you? (Regina) female monotone solo #2 Deedle doodle (Leo) tenor solo II:1 #6 Summer Day [aka Look at Me] female solo II:2 #4b Chinkypin [cut from opera in 1958] male solo #5 Blues (baritone [Cal], cut from musical; restored in opera for alto [Addie], solo) #5a Addie's Lullaby [cut] #6 Waltz (aka Things) (Regina) female solo III:2 Birdie's Aria (aka Lionnet) soprano solo III: 7 Greedy Girl (Ben's Aria) baritone solo III:8 #2 Ben's Last W108. Reuben Reuben (1949-55) urban folk opera in 2 acts I:1 #1 Thank You (male solo) #2 Never Get Lost (solo or quartet) I:2 #2 It's In the Cards (baritone solo) #3 Shave and a Haircut (male solo) I:3 #1 Song of the Arrow (female solo) [cadenza by Evelyn Lear, MtM p. 390] #2 Cop's Lament (tenor solo) I:4 #1 Such a Little While (female solo) #2 Have Yourself a Night (baritone solo) I:5 #2 With a Woman To Be (tenor solo) #3 The Hills of Amalfi (solo/male quartet) [orig. The Hills of Assisi] #4 Rose Song (bar. solo; danced by male-female duo) [2/1950 to Mina Curtiss] I:5 #5 Miracle Song (solo +chorus)[cut] I:6 #1 Sleep (female solo) #3 The Spot (female solo) I:7 #1 Mystery of the Flesh (female solo) II: 1 #2 Dreamin Dreamin Dreamin [cut] II:2 #1 Be With Me (male solo) #2 Mother of the Bridegroom (female solo) II:3 #1 Upstairsy (female solo) #4 Reuben Talks (male solo & chorus) II:4 Monday Morning Blues (male solo) W109. King Lear (1950) (William Shakespeare; dir.: Louis Calhern) incidental music and songs: Fool's Song[s] [(the longer) one for Stephen [Davis]] III:2 W111. A Glee for Jamie (1953?) for voice(s) & piano [fragment]

Vocal Solos 81 W114. Volpone (1956) (Ben Jonson) incidental music and songs: #1 Come, My Celia; #2 Song of the Glove [aka Glove Song] W117. Juno (aka Daarlin' Man; Daarlin' Juno) (1957-59) musical in 2 acts I:1 #1 I Wish It So (female solo) #2 Song of the Ma (female solo) I:2 His Own Peculiar Charm (female solo) [cut] I:3 #2 Sea Shanty [sic]: Ireland's Eye (male solo) [cut; reinstated in some later productions] #4 Daarlin' Juno [title & lyrics by Richard Maltby, 1974] (male solo w/ ens) I:8 #1 My True Heart (female solo) #2 You're the Girl (male solo) [cut] II:0 Grand, O Grand (female solo) (lyrics: Richard Maltby; music: Tom Fay, replaced I:1#2 in 1976) II:2 #1 Music in the House (male solo and chorus) #4 Hymn (tenor solo and chorus) #6 Joxer's Tune (cut; partially reinstated in some later productions) II:5 For Love (female solo) II:6 Where? (aka Lament) female solo W1 19. A Midsummer Night's Dream (William Shakespeare) (6/1958) #1 Sweet is the Rose (poem by Amoretti [Edmund Spenser]) #2 Shepherd's Song (William Shakespeare) #3 Court Song (Anonymous) #4 Lullaby (William Shakespeare) II:3 W120. The Winter's Tale (William Shakespeare) (7/1958) #1 Whilst Youthful Sports (Act I) #2 Vendor's Song IV:3 W121. Six Elizabethan Songs (8/1958) for sop/ten & pno; to LB, on his 40th birthday 1. Sweet is the Rose (W119#1) 2. Shepherd's Song (W119#2) 3. Song of the Glove (W114#2) 4. Court Song (W119#3) 5. Lullaby (W119#4) 6. Vendor's Song (W120#2) W123. Sacco and Vanzetti (1959-64) 3-act opera I:2 #2 Vanzetti's First Aria I:5 Katzmann's Monologue II:3 Pt 5 Sacco to Mrs. Evans Pt 7 Mrs. Evans to Sacco II:5 Pt 3 The Whole Shoe (Sacco) [ Pt 4 With a Woman to Be (Sacco) III: 1Thompson's Speech III:4 Pt2 Vanzetti's Last Statement III:5 Pt 1 Governor Fuller [melodrama, underscored by III:4Pt 2] Pt 3 Thompson's Plea Pt 4 Mary Donovan's Aria

82 Vocal Solos W124. Toys in the Attic (2/1960) incidental music & songs for Lillian Hellman's play 2/25/1960: #1 French Lesson (aka Trop Chères) with piano #2 Big Day (aka Bernier's Day, a "Bambola" song) with banjo W125. From Marion's Book song cycle on poems of E.E. Cummings (1960) to Alice Esty: #1. o by the by #2. when life is quite through with [W42#2] #3. what if a much of a which of a wind #4. silent unday by silently not night #5. until and i heard #6. yes is a pleasant country #7. open your heart W126. The Magic Barrel (1962-64) 1-act opera in 6 scenes after story by Bernard Malamud Sc. 6 The Room. A Spring Night. [Stella's song: "Then" complete] W127. Idiots First (1962-64; LJL compl. 12/1973; orchestration 1/91) 1-act opera in 13 scenes after story by Bernard Malamud; libretto complete Sc. 3 Pt3 Who Will Close the Door (on a Neighbor's Misfortune)? (bar.,tenor) Sc. 4 Park Bench Pt 1 How I Met My New Grandfather (bar., opt. tenor) Sc. 7 Under the Sky (bar.)

Chronological List of Texts to Music by Others Numbers (1-18) have been assigned by the editor. T1. On Killing (1935) with Eva (Goldbeck) Blitzstein tr. of "Über das Töten," words & music for chorus by Hanns Eisler T2. Danny Boy (Londonderry Air) (1939) TAC Cabaret parody MtM p. 177 T3. French Resistance song, tr. of Chant des partisans (1943) text: Joseph Kessel & Maurice Druon; music: Anna Marly T4. for Goloopchik (1945) [W102] 6. Red Army Songs (choruses with Blitzstein's lyrics) a. Black the Night [lyrics missing] Red Army Songbook p. 30 b. Fighting Road (Kruchinin) c. Flying (Ukrainian) p. 2 d. Winter Day (Ukrainian) p. 4 7. Drinking Scene (choruses with Blitzstein's lyrics) b. Wind from the Plain (Ukrainian, arr. Chichko) c. Drinking Song (Trad.) d. Empty Pocket, Empty Belly (Trad.) e. Hey, Don't Sleep (Trad.) f. Stenka Razin (Trad.) 8. Quintet (Meadow Scene): Road Song "Strolling Home" (Vdol' Dyervnik) by M. Isakosky & V. Zakharov, lyrics & arr. by MB for 2-pt chorus & pno 10. Little Meal on a Tray, tr. of "In mitten des Balles" ("Sred' Shoomnovo Balla") duet; orig. Russian words: Alexei Tolstoi, music: Tchaikovsky, op. 38 no. 3 13. Sasha! - MB lyrics to Chorus from Moussorgsky's Khovanschina I:3 16. Mamasha Goose (incl. quotes from "Zainka," arr. Krasev; "The Crane," arr. Krasev; Folksong, arr. Steinberg, op. 19 #1 - also in Rimsky-Korsakov collection and Miaskovsky(?) op. 14) 18e. Moscow (Dmitri & Dan Pokras; lyrics by MB) chorus T5. The Duenna (aka Betrothal in a Monastery) (1947) tr. of one scene from opera after Sheridan by Serge Prokofiev; prem. 5/12/1947 City Center T6. There Goes What's-His-Name (1949) dummy lyric to tune by LB that eventually became "Somewhere" in West Side Story T7. Dream with Me (1950) Wendy's song from Peter Pan, new wds; music: LB -cut T8. Let's Make an Opera (1950) 11/22-25 adaptation of opera by Eric Crozier after William Blake, music: Benjamin Britten Shubert, New Haven; Wilbur, Boston; John Golden NY 12/13-17

84 Texts to Music by Others T9. The Threepenny Opera (1950-54) tr./adaptation of Die Dreigroschenoper words: Bertolt Brecht, music: Kurt Weill incl. "Mack the Knife," [see also parody for 30th anniversary party for Louis Schweitzer & Lucille Lortel] "Morning Anthem," "Instead-Of Song," "Wedding Song," "Pirate Jenny," "Army Song," "Love Song" (duet), "Ballad of Dependency," "Melodrama and Polly's Song," "Ballad of the Easy Life," "The World Is Mean," "Barbara Song," "Tango-Ballad," "Jealousy Duet," "How to Survive," "Useless Song," "Solomon Song," "Call from the Grave," "Death Message," "Finale: The Mounted Messenger"; incorporated but not recorded: "Bide-a-Wee in Soho," tr. of "Bilbao Song" from Happy End [given to Polly; Barbara to Lucy] T10. La Traviata (1952-54) tr. of opera by Giuseppe Verdi - only Act I compl. T11. Tuliapatan (1955) (Tulip Island) tr. (for Jennie Tourel) of 3 songs from Jacques Offenbach operetta: #1 Canary Song [Couplets de Calibri]; #2 Hermosa's Song [Couplets du Canard]; #3 Duettino orig. French words by Henri Chivot & Alfred Duru (1870s) T12. Mother Courage (1956-62) tr. of Mutter Courage und ihre Kinder, words: Bertolt Brecht, music: Paul Dessau T13. Monstre (1957) tr. of Georges Bizet's dummy lyric ("monstre") to Daniel Godfrey's Waltz (Garde de la Reine) for librettist Louis Gallet, possibly for their incomplete Don Rodrigue(?) T14. The Robbers (1957) rewrite of libretto for opera by Ned Rorem after story by Chaucer T15. The Rise and Fall of Magnet City [aka Magnet City] (1957-62) tr./adaptation of Aufstieg und Fall der Stadt Mahagonny (3 drafts) words: Bertolt Brecht, music: Kurt Weill T16. The Drowned Girl (1962) tr. of Das ertrunkene Mädchen, from Brecht-Weill Berliner Requiem T17. Ballad of Marie Saunders, the Jew's Wench (1962) tr. of Ballade von Marie Saunders, die Judenhure words: Bertolt Brecht, music: Hanns Eisler T18. parody of LB's "Quiet Girl" (1963)

Alphabetical List of Works, Including Alternate Titles W numbers (1-128) are those assigned in the list of musical works by MB. T numbers (1-18) are those assigned in the list of his texts written to others' music (adaptations, translations, rewrites, and parodies). Numbers followed by capital letters (42A, 67A, 76A, 107A, 122A, 127A, 127B) indicate musical works he could have considered composing, but did not begin. A.E. Housman Songs (2) W26 A-Roving (arr.) #2 Chesapeake Bay Retriever W70 Abel Offers the Lamb #2 Cain W50 Addie's Lullaby II:2#5a Regina W107 after all white horses are in bed #1 Is 5 (E.E. Cummings) (5) W42 After the Dazzle of Day #4 Walt Whitman Songs (9) W28 Ages and Ages #9 Walt Whitman Songs (9) W28 Agni #1 Svarga W22 Ah! Ça ira #5 Danton's Death W79 Air [aka Drag] #2 Percussion Music for the Piano W39 Air Force Songs W93 Airborne Symphony, The W95 Airborne, The I:4 The Airborne Symphony W95 Alleluia #11 Blessings of the Bath W32 American Day W87#2; II:3 Native Land W87 American Woman W67A Anchored W122 And So the Last Thing Too (aka The Suicide) Sc.4 I've Got the Tune W75 Andante W8 Androcles and the Lion (George Bernard Shaw) W105 Another Part of the Forest (Lillian Hellman) W104 April, April W1 Argument, The: What Is Capitalism? I:5 No for an Answer W78 Army Song #9 (Threepenny Opera)(Brecht-Weill) T9 Art for Art's Sake Sc.6 #3 The Cradle Will Rock W72 As Adam #7 Walt Whitman Songs (9) W28 As If a Phantom Caress'd Me #1 Walt Whitman Songs (9) W28 Ask Us Again Sc.6 #2 The Cradle Will Rock W72 Autolycus-Dorcas-Mopsa Trio (William Shakespeare) #3 The Winter's Tale W120 Aufstieg und Fall der Stadt Mahagonny (Brecht) (tf: Rise and Fall of Magnet City [aka Magnet City]) T15 Award, The #5a The Guests (aka Show) W106 Away! I:7a Regina W107 Baby Don't You Cry (Lullaby) II:9 No for an Answer W78 Ballad of Dependency #11 (Threepenny Opera)(Brecht-Weill) T9 Ballad of History and Mythology I:2 The Airborne Symphony W95 Ballad of Hurry-Up III:1 The Airborne Symphony W95 Ballad of Mack the Knife #3 (Threepenny Opera)(Brecht-Weill) T9

86 Alphabetical List of Works Ballad of Marie Saunders, the Jew's Wench (Ballade von Marie Saunders, die Judenhure, tr.) (Brecht-Eisler) T20 Ballad of Sevastopol W90 Ballad of the Bombardier (aka Emily) III:2 The Airborne Symphony W95 Ballad of the Cities II:3 The Airborne Symphony W95 Ballad of the Easy Life #13 (Threepenny Opera)(Brecht-Weill) T9 Barbara Song #15 (Threepenny Opera)(Brecht-Weill) T9 Barcarolle [aka Waterfall] W4 bathing like the beginning [Blessings I & II] #9-10 Blessings of the Bath W32 Be With Me II:2#1 Reuben Reuben W108 Beetzie's Solo Sc.1Pt1 I've Got the Tune W75 Belly-Ache (A "Blues") #4 Svarga W22 Belly-Dance #1 Megalopolis W34 Belly-Dance #2 Blessings of the Bath W32 Belly-Dance & the Salvation Army #2 Jigg-Saw W35 Ben's Aria (Greedy Girl) III:7 ReginaW107 Ben's Entrance I:2a Regina W107 Ben's Last III:8#2 Regina W107 Berliner Requiem: Das Ertrunkene Mädchen (tr.: The Drowned Girl) (Brecht-Weill) T19 Bernier's Day (aka Big Day) #2 Toys in the Attic (Lillian Hellman) W124 Best Thing of All, The I:7b Regina W107 Betrothal in a Monastery (aka The Duenna, tr.)(Prokofiev after Sheridan) T5 Bide-a-Wee in Soho [Bilbao Song, tr.] (Happy End) (Brecht-Weill) T9 Big Day (aka Bernier's Day) #2 Toys in the Attic (Lillian Hellman) W124 Big Rich I:5 Regina W107 Bigots' Chorus (Jim Seymour; W81) III:6Pt2 Sacco and Vanzetti W123 Bilbao Song [tr.: Bide-a-Wee in Soho] (Happy End) (Brecht-Weill) T9 Bird Upon the Tree II:1 Juno W107 Birdie (Music, Music, Music) I:2 Regina W107 Birdie and Zan I:8 Regina W107 Birdie's [Second] Aria (Lionnet) III:2 Regina W107 Black the Night #6a Red Army Songs (4) Goloopchik W102 T4 Blessings of the Bath W32 Blessings I & II [aka bathing like the beginning] #9-10 Blessings of the Bath W32 Blow, blow, blow! (Walt Whitman) # 5 a word out of the sea W37 Blues II:2#5 Regina W107 Blues, A, [aka Belly-Ache] #4 Svarga W22 Bourgeois at Play (aka Scherzo) W46 Boy-Girl Duet #2 Jazz Songs (3) W45 Buck and Wing #2 Megalopolis W34 Buck and Wing #4 Jigg-Saw W35 Building of the City #8 Cain W50 Bulk of the Credit, The [Yeth, Yeth] I:7#2 Reuben Reuben W108 Business, The II: 1#7 Regina W107

Alphabetical List of Works 87 CIO Tax Broadcast (aka There Is Strength) #1 Labor for Victory W91 Cafeteria Sc.6 Idiots First (Bernard Malamud) W127 Cain W50 Cain and His Wife; Cain's Offering. The Response #3 Cain W50 Call from the Grave #21 (Threepenny Opera)(Brecht-Weill) T9 Canary Song [Couplets de Calibri, tr.] #1 Tuliapatan (Offenbach) T11 Cantatina for Women's Chorus and Percussion W49 Carmagnole #4 Danton's Death (Georg Büchner) W79 Certainly, Lord (Finale) chorus (and female duet) from Regina (1946-9) Chant des Partisans (French Resistance Song, tr.) T3 Charlotte's Web W122A Chase II:4 Native Land W87 Chesapeake Bay Retriever W70 Chez Eitingon W103 Chick Song (aka The Russian Language) #4 Goloopchik W102 Child Writes a Letter, A [aka Writing a Letter] #6 Children's Cantata W61 Children of Adam [Four Coon Shouts] #6-9 Walt Whitman Songs (9) W28 Children's Cantata (aka Workers' Kids of the World Unite) W61 Children's Dances (4) W20 Chinkypin II:2#4b Regina W107 Chorale Preludes (6) W25 Chorus of the Rendezvous III:4 The Airborne Symphony W95 Christe Redemptor W24#l Christina [aka Ho, Christina!] #2 Danton's Death (Georg Büchner) W79 Circular Canons (11)W31 Circus Theme (Ballet) II: 1#3 Reuben Reuben W108 Clara's Monologue I:9 No for an Answer W78 Cloche au crépuscule, La (aka Scene-Change: Piano Solo in the style of Louis Moreau Gottschalk) II:2#1 Regina W107 Coach Seat Sc.12 Idiots First (Bernard Malamud) W127 College Scene (aka Faculty Room) Sc.8 The Cradle Will Rock W72 Come Away, Come Away, Death #1 Twelfth Night W84 Come, My Celia (Ben Jonson) #1 Volpone W114 Concerto for Piano and Orchestra (aka Piano Concerto) W52 Concerto with Lyrics W122 Condemned, The W56 Conversation Piece #3 Goloopchik W102 Cop's Lament I:3#2 Reuben Reuben W108 Cotton-Pickers' Shuffle #5 Jigg-Saw W35 Couplets de Calibri [Canary Song, tr.] #1 Tuliapatan (Offenbach) T11 Couplets du Canard [Hermosa's Song, tr.] #2 Tuliapatan (Offenbach) T11 Court Song (Anonymous) #3 A Midsummer Night's Dream W119; W121 #4 Cradle Will Rock, The Sc.7 #3 & Sc. 10 #2 The Cradle Will Rock W72 Cradle Will Rock, The W72 Croon Spoon Sc.4 #1 The Cradle Will Rock W72 Cummings, E.E. Songs: see Is 5 W42 and From Marion's Book W125 Cut-In: Nocturne #5c The Guests (aka Show) W106

88 Alphabetical List of Works Daarlin' Juno I:3#4 Juno [aka Daarlin' Man] W117 Daarlin' Man I:3#3 Juno [aka Daarlin' Juno] W117 Dance of Noema #10 Cain W50 Dance of the Mortal Maiden and Soma #2 Svarga W22 Dance of the Whirling Methodics #3 Megalopolis W34 Danny Boy (Londonderry Air) T2 Danse Basse #3 Children's Dances (4) W20 Danse Haute #4 Children's Dances (4) W20 Danton's Death (Georg Büchner) W79 Death Message #22 (Threepenny Opera)(Brecht-Weill) T9 Death of Joe [aka Make the Heart Be Stone; aka They Have Killed Our Joe] II:10#4 No for an Answer W78 Deedle Doodle I:l#2 Regina W107 Dependency, Ballad of #11 (Threepenny Opera)(Brecht-Weill) T9 Dialogue #5 Cain W50 Dick Sc. 1#3 The Cradle Will Rock W72 Did They Think They Could Get Away With That I:11 No for an Answer W78 Dieu tout puissant (Old French Hymn) #7 Circular Canons (11) W31 Dimples I:6#2 No for an Answer W78 Discourse for Clarinet, Cello, Piano W58 Displaced (Song of the D.P.) #21 Goloopchik W102 Distant Hurdy-Gurdy #7 Danton's Death (Georg Büchner) W79 Doctor and Ella Sc.9 #1 The Cradle Will Rock W72 Doin the Shebang I:7#3 Reuben Reuben W108 Doll's House, A (Henrik Ibsen) (Italian Scene) I:2#1 Sacco and Vanzetti W123 Don't Cry, Kids #3 Children's Cantata W61 Doorway Sc.5 Idiots First (Bernard Malamud) W127 Drag [aka] Air #2 Percussion Music for the Piano W39 Dream Is Mine, The [aka Where Love Is Life] W12 Dream with Me (Leonard Bernstein) Peter Pan T7 Dreamin Dreamin Dreamin II:1#2 Reuben Reuben W108 Drinking Scene (6 choruses) #7 Goloopchik W102 Drinking Song (Trad.) #7c Drinking Scene (6 choruses) Goloopchik W102 T4 Drowned Girl, The (tr.: Das ertrunkene Mädchen) Berliner Requiem (Brecht-Weill)T19 Drugstore Scene Sc.5 #1 The Cradle Will Rock W72 Drying Fugue [How Dry I Am] #7 Blessings of the Bath W32 Dublin Night (Ballet)(w/Trude Rittman) I:7 Juno W117 Dublin Street Song W107A Duenna, The (aka Betrothal in a Monastery, tr.)(Prokofiev after Sheridan) T5 Duettino #3 Tuliapatan (Offenbach) T11 Dukakis' Exoneration III:6Pt5 Sacco and Vanzetti W123 Dusty Sun (Ben Maddow, pseud.: David Wolff) W87#1; I:3 Native Land W87 Elizabethan Songs (6) W121 (W114#2; W119#1-4; W120) Emily ("Ballad of the Bombardier")(1943-6) bar. solo song from The Airborne Symphony

Alphabetical List of Works 89 Empty Pocket, Empty Belly (Trad.) #7d Drinking Scene (6 choruses) Goloopchik W102 T4 Enemy, The II:1 The Airborne Symphony W95 Ertrunkene Mädchen, Das (tr.: The Drowned Girl) Berliner Requiem (Brecht-Weill) T19 Expatriate (aka Litt'ry and Artistic Scene, 1930) II:5#2 No For An Answer W78 FTP Plowed Under (Pins and Needles) W77 Faculty Room (aka College Scene) Sc.8 The Cradle Will Rock W72 Family Portrait #4 Chesapeake Bay Retriever W70 Farewell #2 Twelfth Night W84 Farewell, Me Butty II:4 Juno W117 Fathers, The (aka Inheritance of Freedom) I:1 Native Land W87 Festival #9 Cain W50 Few Little English [aka Jimmy's Moll] W71 Fighting Road (Kruchinin) #6b Red Army Songs (4) Goloopchik W102 T4 Fire Dance W2 First of May (Eva Goldbeck; music by MB, pseud.: Hammer) W62 Fishbein's Palace (incl. Who Will Close the Door?) Sc.3 Idiots First (Bernard Malamud) W127 Flam [aka Toccata] #1 Percussion Music for the Piano W39 Flying (Ukrainian) #6c Red Army Songs (4) Goloopchik W102 T4 Fool's Songs #1&2 King Lear (William Shakespeare) W109 For EmJo's Bitter Fantasy W17 for Kit's Wedding (Slow March) W112 For Love II:5 Juno W117 for String Orchestra W30 Forêt Vierge W5 Four Coon Shouts [Children of Adam] #6-9 Walt Whitman Songs (9) W28 Francie I:8 No For An Answer W78 Fraught I:6#3 No For An Answer W78 Freedom of the Press, The Sc.4 #2 The Cradle Will Rock W72 Freedom Morning W94 French Lesson #1 Toys in the Attic (Lillian Hellman) W124 French Resistance Song (tr.: Chant des Partisans) T3 Frenchman, The [aka splashing the old man] #5 Blessings of the Bath W32 From Far, From Eve and Morning #1 A.E. Housman Songs (2) W26 From Marion's Book (7) (E.E. Cummings) W125 From This Out I:9#1 Juno W117 Funeral I:7 & II:5 Native Land W87 Gallantry I:3 Regina W107 Gallop II:2#7 Regina W107 Garage [Scene] I:3 Sacco and Vanzetti W123 Gauley Bridge Songs W96 Gent Sc. 1#2 The Cradle Will Rock W72 Get Mine [aka Mike] II:3 No for an Answer W78

90 Alphabetical List of Works Gina I:3 No for an Answer W78 Ginzburg's Entrance Sc.4Pt2 Idiots First (Bernard Malamud) W127 Glee for Jamie, A W111 Glove Song [aka Song of the Glove] (Ben Jonson) #2 Volpone W114; also W120#4, W121#3 Gods #5 Walt Whitman Songs (9) W28 Goloopchik W102 [also T4] Goodbyes I:4 Regina W107 Gott sei dank durch alle Welt #4 Chorale Preludes W25 Grand March #5b The Guests (aka Show) W106 Grand, O Grand (Richard Maltby & Tom Fay) II Juno W117 Gray Surf #5 Chesapeake Bay Retriever W70 Greedy Girl (Ben's Aria) III:7 Regina W107 Greetings II:1#5 Regina W107 Guests, The (aka Show: Theatre Piece; Show Window; Show Model; June Bride; Incident) W106 Gus and Sadie Love Song Sc.5#2 The Cradle Will Rock W72 Hände (Hands) W33 Happy Birthday to You Know Who II: 10#2 No for an Answer W78 Happy End: Bide-a-Wee in Soho [Bilbao Song, tr.] (Brecht-Weill) T9 Happy Ending #3 (repr.)(Threepenny Opera)(Brecht-Weill) T9 Happy Family, The [aka Nine Day Wonder, aka The New York Opera] W88 Hard to Say II:3#3 Reuben Reuben W108 Harlan Brown, Killed in the Street #3 This Is the Garden W116 Harpies, The W54 Have Yourself a Night I:4#2 Reuben Reuben W108 Hermosa's Song [Couplets du Canard, tr.] #2 Tuliapatan (Offenbach) T11 Hey, Don't Sleep (Trad.) #7e Drinking Scene (6 choruses) Goloopchik W102 T4 Hills of Amalfi, The I:5#3 Reuben Reuben W108 His Own Peculiar Charm I:2 Juno W117 Ho, Christina! [aka Christina] #2 Danton's Death (Georg Büchner) W79 Ho! Drink It Up! #7a Drinking Scene (6 choruses) Goloopchik W102 T4 Home for a Hero #2 Goloopchik W102 Honolulu Sc.4#4 The Cradle Will Rock W72 Hooded Legion I:5 Native Land W87 Horace and Regina II:1:6 Regina W107 Horace's Death III:8#1 Regina W107 Horace's Entrance II:1#4 Regina W107 Horace's Last solo III:4 Regina W107 Host, The #2b The Guests (aka Show) W106 Housman, A.E., Songs (2) W26 How doth the city (Lamentations 1:1) #6 Circular Canons (11) W31 How Dry I Am [aka Drying Fugue] #7 Blessings of the Bath W32 How I Met My New Grandfather Sc.4Pt1 Idiots First (Bernard Malamud) W127 How Long? #1 Valley Town W85

Alphabetical List of Works 91 How to Survive [aka What Keeps a Man Alive?] #18 (Threepenny Opera)(Brecht-Weill) T9 Hymie Is a Poop #4 This Is the Garden W116 Hymn II:2#4 Juno W117 I Am He #8 Walt Whitman Songs (9) W28 I Am Wild! W13 I don't know I:6a Regina W107 I Love Lechery [aka Modest Maid] W97 I only know (Edna St. Vincent Millay) #2 Circular Canons (11) W31 I Wish It So I:l#l Juno W117 I'm Ten and You'll See #2 This Is the Garden W116 Idiots First (Bernard Malamud) W127 Imprecations and Sorrowing #6 Cain W50 In Dedication of "The Certain Hour" [aka Sad hours] (James Branch Cabell) #4 Circular Canons (11) W31 In Lethe's soothing stream (Paul Laurence Dunbar) #8 Circular Canons (11) W31 In mitten des Balles (Sred' Shoomnovo Balla) tr: Little Meal on a Tray #10 Goloopchik W102 In the Bath [aka old man & attendant] #4 Blessings of the Bath W32 In the Clear II:1#2 No For An Answer W78 In Twos #5 This Is the Garden W116 Incident (aka The Guests; Show: Theatre Piece; Show Model; Show Window; June Bride) W106 Indra and the Svarga Dweller #3 Svarga W22 Informer, The (Agnes de Mille) I:7, I:9#3 Juno W117 Inheritance of Freedom (aka The Fathers) I:1 Native Land W87 Innocent Psalm "for the Bernstein baby" W110 Insist Song (aka No for an Answer) Finale I No for an Answer W78 Instead-Of Song #5 (Threepenny Opera)(Brecht-Weill) T9 Interrogation (incl. Katzmann's Monologue) I:5 Sacco and Vanzetti W123 Into My Heart an Air #2 A.E. Housman Songs (2) W26 Into the Streets May First (Alfred Hayes) W60 Introduction I:1 Regina W107 Introduction and Gallop II:2#7 Regina W107 Invitation to Bitterness W83 Ireland's Eye (Sea Shanty) I:3#2 Juno W117 Is 5 (E.E. Cummings) (5) W42 Italian Scene (A Doll's House) I:2#1 Sacco and Vanzetti W123 "Italian" String Quartet, The W48 itching march #1 Blessings of the Bath W32 It's in the Cards I:2#2 Reuben Reuben W108 It's Not Irish II:2#2 Juno W117 I've Got the Tune W75 Jazz Songs (3) W45 Jealousy Duet #17 (Threepenny Opera)(Brecht-Weill) T9

92 Alphabetical List of Works Jesu, meiner Herzens Freud #1 Chorale Preludes W25 Jig, Slip Jig, Shillelagh Dance, Jig I:9#3 Juno W117 Jigg-SawW35 Jimmie's got a goil song #4 Is 5 (E.E. Cummings) (5) W42 Jimmy's Moll [aka Few Little English] W71 Jobless Blues W86 Joe Magillicum Figures It Out [aka Joe at the Cliveden Set] #2 The New York Opera W88 Joe Worker Sc.9 #2 The Cradle Will Rock W72 Joe's Song ([The] Purest Kind of a Guy) II:10#1 No for an Answer W78 Johnny (ballet) II:2#5 Juno W117 Joxer's Tune II:2#6 Juno W117 Joy, Shipmate, Joy! #3 Walt Whitman Songs (9) W28 Julius Caesar (William Shakespeare) W76 June Bride (aka The Guests; Show: Theatre Piece; Show Model; Show Window; Incident) W106 Juno (Joseph Stein after Sean O'Casey) [aka Daarlin' Man, aka Daarlin' Juno] W117 Just Like Jews III:5Pt2 Sacco and Vanzetti W123 Karla [by LJL, after Bernard Malamud] W127A Khovanschina: Sasha! (Modest Moussorgsky) #13 Goloopchik W102 T4 Killers, The W53 King Hunger W23 King Lear (William Shakespeare) 1950 W109; 1956 W115 King Richard II Suite [aka Richard II Suite] W6 Kittyhawk I:3 The Airborne Symphony W95 Labor for Victory W91 Lamech and the Stripling #12 Cain W50 Lament (aka Where?) II:6 Juno W117 Largo, Largo, Largo (aka Serenade for String Quartet) W55 Last night, I saw the lovely flower (Lady Murasaki [Shikibu]) #10 Circular Canons (11) W31 Last Words III:6Pt4 Sacco and Vanzetti W123 Leaflets Sc.7 #2 The Cradle Will Rock W72 Lear: A Study W118 Leave Me Alone [aka Mild and Lovely; aka Weep for Me] II:7#2 No for an Answer W78 Let's Be Blue (aka Who Knows?) W81 Let's Make an Opera (Benjamin Britten) T8 Lex Express, The #1 This Is the Garden W116 Liberty Throws a Party #3 Jigg-Saw W35 Lied W128 Life on the Ocean Wave (arr.) #1 Chesapeake Bay Retriever W70 Life on the Sea I:3#4 Juno W117 Liffey Waltz, The II:2#3 Juno W117 Lionnet (Birdie's [Second] Aria) III:2 Regina W107

Alphabetical List of Works 93 Listen, Teacher #7 Children's Cantata W61 Litt'ry and Artistic Scene, 1930 (aka Expatriate) II:5#2 No For An Answer W78 Little Meal on a Tray, tr.: In mitten des Balles (Sred' Shoomnovo Balla) #10 Goloopchik W102 Londonderry Air (Danny Boy) T2 Long Street Blares, The W14 Look at Me [aka Summer Day] II:1:6 Regina W107 Looking for Love (aka Start in Lookin') #1 Jazz Songs (3) W45 Love at First Word I:6#2 Reuben Reuben W108 Love Song [aka Moon Over Dock Street] #10 (Threepenny Opera) (Brecht-Weill)T9 Lovely Song [Theme for Jane Pickens Show aka Tanya] #17 Goloopchik W102 Lovely to get back to love W101 Lucius' Song (aka Orpheus [With His Lute]) #1 Julius Caesar (William Shakespeare) W76 Lullaby (William Shakespeare) #4 A Midsummer Night's Dream W119; W121#5 Lullaby: Baby Don't You Cry II:9 No for an Answer W78 Macabre Dance - King Hunger W23 Sc.5 Mack the Knife, Ballad of #3 (Threepenny Opera)(Brecht-Weill) T9 Madame Arbutus's Salon Sc. 2 I've Got the Tune W75 Magic Barrel, The (Bernard Malamud) W126 Magnet City (aka Rise and Fall of Magnet City) (tr.: Aufstieg und Fall der Stadt Mahagonny) (Brecht-Weill) T15 Make the Heart Be Stone [aka Death of Joe; aka They Have Killed Our Joe] II:10#4 No for an Answer W78 (Making a) Home for a Hero #2 Goloopchik W102 Mamasha Goose #16 Goloopchik W102 Marche Vainqueur W1l Maric and Colic W63 Marijuana Ballet Sc.5 Parabola and Circula (George Whitsett) W43 Mary Donovan's Aria (based partly on W108I:6#2 & W117II:2#4) III:5Pt4 Sacco and Vanzetti W123 Mary Donovan & Police (based partly on W56Sc.2) III:5Pt5 Sacco and Vanzetti W123 Meadow Scene (Quintet): Road Song (Strolling Home)(Vdol' Dyervnik) #8 Goloopchik W102 T4 Meeting on the Elbe: Scena #19c Goloopchik W102 Megalopolis W34 Memorial Day I:6 Native Land W87 Memorial Day Parade II:1 Sacco and Vanzetti W123 Mendel and Itzak Sc. 1 Idiots First (Bernard Malamud) W127 Midsummer Night's Dream, A (William Shakespeare) W119 Mike II:3 No for an Answer W78

94 Alphabetical List of Works Mild and Lovely [aka Weep for Me; aka Leave Me Alone] II:7#2 No for an Answer W78 Mir hat die Welt trüglich gericht #2 Chorale Preludes W25 Miracle Song I:5#5 Reuben Reuben W108 Mission Scene Sc.3 The Cradle Will Rock W72 Modest Maid [aka I Love Lechery] W97 Moll['s Song] Sc.1#1 The Cradle Will Rock W72 Moment of Love [aka The Very Moment of Love] II: 1#1 Reuben Reuben W108 Monday Morning Blues II:4 Reuben Reuben W108 Monde Libre, Le W98 Monstre (Bizet, tr.) T13 Moon Over Dock Street [aka Love Song] (Threepenny Opera)(Brecht-Weill) T9 Morning Anthem #4 (Threepenny Opera)(Brecht-Weill) T9 Morning Poem II:4 The Airborne Symphony W95 Moscow (Dmitri & Dan Pokras) #18e Goloopchik W102 T4 Mother Courage [Mutter Courage und ihre Kinder, tr.] (Brecht-Dessau) W1 Mother of the Bridegroom II:2#2 Reuben Reuben W108 Mounted Messenger #23 (Threepenny Opera)(Brecht-Weill) T9 mr youse needn't be so spry #3 Is 5 (E.E. Cummings) (5) W42 Mrs. Evans' Aria II:3Pt7 [and III:6Pt3] (based on W108I:4#1) Sacco and Vanzetti W123 Mulberry Street I:2 & II:2 Native Land W87 Music in the House II:2#1 Juno W117 Music, Music, Music (Birdie) I:2 Regina W107 Musiker & Beetzie Sc. 1 I've Got the Tune W75 Musiker's Solo Sc.1Pt2 I've Got the Tune W75 Musky and Whiskey II:3#2 Reuben Reuben W108 Mutter Courage und ihre Kinder [Mother Courage tr.] (Brecht-Dessau) T9 My Father's a Tailor #2 Children's Cantata W61 My, My I:6b Regina W107 My True Heart I:8#1 Juno W117 Mystery of the Flesh I:7#1 Reuben Reuben W108 Native Land W87 Naught's a Naught's Prologue#2 Regina W107 Never Get Lost solo I:1#2 Reuben Reuben W108 New Suit, The (aka Zipperfly) #1 The New York Opera W88 New York Opera, The [aka Nine Day Wonder, aka The Happy Family] W88 Nickel Under the Foot, The Sc.7 #1 & Sc. 10 #1 The Cradle Will Rock W72 Night Shift (Garson Kanin and J. Chambers) W89 Nine Day Wonder [aka New York Opera, aka The Happy Family] W88 No for an Answer W78 No for an Answer (aka Insist Song) Finale I No for an Answer W78 Nocte surgentis vigilemus W24 #2 Nocturne (Cut-In) #5c The Guests (aka Show) W106

Alphabetical List of Works 95 o by the by song #1 From Marion's Book (7) (E.E. Cummings) W125 O Hymen! O Hymenee! #6 Walt Whitman Songs (9) W28 O Lux beata #5 Chorale Preludes W25 Ode to Reason #1 Danton's Death (Georg Büchner) W79 Oh, Addie, where are you? II: 1#1 Regina W107 old man & attendant [aka In the Bath] #4 Blessings of the Bath W32 Old Sayin's I:5#2 Juno W117 On a Day Like This solo I:9#2 Juno W117 On Killing (Über das Töten - Hanns Eisler; tr. w/Eva Goldbeck Blitzstein) T1 On Top of Old Smoky (arr.) W107A One Kind Word I:4 Juno W117 One-Sixth of the Earth W76A Open Sky, The III:5 The Airborne Symphony W95 open your heart song #7 From Marion's Book (7) (E.E. Cummings) W125 Orchestra Variations (aka Variations for Orchestra) W59 Orpheus [With His Lute] (Lucius' Song) #1 Julius Caesar (William Shakespeare) W76 Oscar and Leo (These cee-gars what you looking for, son?) II:1#3 Regina W107 Outside Agitator I:6#1 No for an Answer W78 Overture #1 (to be based on #19, 4, 9) Goloopchik W102 Overture Act I Juno W117 Oxford Movement II:5 No for an Answer W78 Pandora W19 Pantomime II:3Pt10 Sacco and Vanzetti W123 Parabola and Circula (George Whitsett) W43 Parade (Send for the Militia) W65 Parade I:4 Native Land W87 Parade #3 The Guests (aka Show) W106 Paradiddle [aka Rondino] #3 Percussion Music for the Piano W39 Pas d'action [aka triumphant march] #6 Blessings of the Bath W32 Pas de deux (Variation III) #5 The Guests (aka Show) W106 Pavane #1 Children's Dances (4) W20 Pawnshop Sc.2, 8 & 10 Idiots First (Bernard Malamud) W127 Penny Candy II: 1#3 No for an Answer W78 People [aka Poor People; aka Work People; aka Workpeople] W68 Percussion Music for the Piano [aka Piano Percussion Music] W39 Persienne W9 Peter Pan: Dream with Me (Leonard Bernstein) T7 Piano Concerto (aka Concerto for Piano and Orchestra) W52 Piano Percussion Music [aka Percussion Music for the Piano] W39 Piano Solo [aka Piano Suite; Suite for Piano] W57 Piano Solo in the style of Louis Moreau Gottschalk aka Scene-Change: La cloche au crépuscule II:2:1 Regina W107 Piano Sonata (aka Sonata for Piano) W35 Piano Suite [aka Piano Solo; Suite for Piano] W57 Pins and Needles (FTP Plowed Under) W77

96 Alphabetical List of Works Pirate Jenny #8 (Threepenny Opera) (Brecht-Weill) T9 Pity me (Edna St. Vincent Millay) #1 Circular Canons (11) W31 Polka II:2#4a Regina W107 Polly's Song [aka Sweet While It Lasted] #12 (Threepenny Opera)(Brecht-Weill) T9 Pooch Procession #6 Chesapeake Bay Retriever W70 Poor People [aka People; aka Work People; aka Workpeople] W68 Prelude #1 Jigg-Saw W35 Prelude and Welcome #1 The Guests (aka Show) W106 Prelude in C minor W16 Prelude to Three-Four Dance #1a The Guests (aka Show) W106 Prize, The #8 Chesapeake Bay Retriever W70 Prologue #1 Triple Sec W40 Prologue I Regina W107 Purest Kind of Guy[, The] (aka Joe's Song) II: 10#1 No for an Answer W78 Purple Shirts Sc. 3 I've Got the Tune W75 Quarrel Song I:5#1 Juno W117 Quartet Finale I:6#2 Sacco and Vanzetti W123 Quiet Girl [, The] (aka The Bullet That's Going to Kill Hitler) #2 Labor for Victory W91 Quiet Girl - parody of Leonard Bernstein's song of that name T18 Quintet (Meadow Scene): Road Song (Strolling Home) (Vdol' Dyervnik) #8 Goloopchik W102 T4 Quintet for Flute, oboe, clarinet, bassoon, piano W41 Rain Quartet III:1 Regina W107 Red Army Songs (4) #6 Goloopchik W102 T4 Regina (after Lillian Hellman) W107 Regina's (Final) Aria III:5 Regina W107 Reuben Reuben W108 Reuben Talks II:3#4 Reuben Reuben W108 Ricercata W58A Rich, The Sc.6 #1 The Cradle Will Rock W72 Richard II Suite [aka King Richard II Suite] W6 Riddles #8 Children's Cantata W61 Rise and Fall of Magnet City [aka Magnet City] (Aufstieg und Fall der Stadt Mahagonny, tr.)(Brecht-Weill) T15 Ritual: Rising of the Plants #6 Svarga W22 Road Song (Strolling Home) (Vdol' Dyervnik) Quintet (Meadow Scene) #8 Goloopchik W102 T4 Robbers, The (Rorem after Chaucer) T14 Romantic Piece for Orchestra W47 Rondino [aka Paradiddle] #3 Percussion Music for the Piano W39 Rondo W10 Room and the Three Weddings, The Sc. 1 The Magic Barrel (Bernard Malamud) W126 Rose Song I:5#4 Reuben Reuben W108

Alphabetical List of Works 97 Round #2 Children's Dances (4) W20 Russian Language, The ("Chick Song") #4 Goloopchik W102 Sacco and Vanzetti W123 Sacco to Mrs. Evans II:3Pt5 (based on W108II:2#1) Sacco and Vanzetti W123 Sacco's Mad Scene II:5Pt5 (ending partly based on W125#4) Sacco and Vanzetti W123 Sacco-Rosa Duet II:3Pt11 (ending derived from W108I:6#2) Sacco and Vanzetti W123 Sacco-Vanzetti Duet I:6#1 Sacco and Vanzetti W123 Sad hours [aka In Dedication of "The Certain Hour"] (James Branch Cabell) #4 Circular Canons (11) W31 Safe upon the solid rock (Edna St. Vincent Millay) #9 Circular Canons (11) W31 Salt and the Spray, The #3 Chesapeake Bay Retriever W70 San Gennaro I:5#1 Reuben Reuben W108 and #6 This Is the Garden W116 Sarabande W29 Sasha! from Khovanschina (Moussorgsky) #13 Goloopchik W102 T4 Scene-Change (Piano Solo in the style of Louis Moreau Gottschalk) aka La cloche au crépuscule II:2#1 Regina W107? Scherzo (aka Bourgeois at Play) W46 Sea Shanty: Ireland's Eye I:3#2 Juno W117 Search thou my heart (Paul Laurence Dunbar) #5 Circular Canons (11) W31 Second Front Song W92 Secret Singing I:4 No for an Answer W78 Sei gegrüsset, Jesu gütig #3 Chorale Preludes W25 Send for the Militia (Parade) W65 Serenade for String Quartet (aka Largo, Largo, Largo) W55 Shave and a Haircut I:2#3 Reuben Reuben W108 Shepherd's Song (William Shakespeare) #2 A Midsummer Night's Dream W119; W121#2 Shine, shine, shine! (Walt Whitman) #3 a word out of the sea W37 Show: Theatre Piece (aka The Guests; Show Window; Show Model; June Bride; Incident) W106 Show Model (aka The Guests; Show: Theatre Piece; Show Window; June Bride; Incident) W106 Show Time for Wallace W107A Show Window (aka The Guests; Show: Theatre Piece; Show Model; June Bride; Incident) W106 silent unday by silently not night song #4 From Marion's Book (7) (E.E. Cummings) W125 Silver Stream W4 Sing Hubbard II:2#2 Regina W107 Six Elizabethan Songs W121 (W114#2; W119#1-4; W120) Sketch No. 1 W69 Slaying of Cain #11 Cain W50 Sleep I:6#1 Reuben Reuben W108 Slow March - for Kit's Wedding W112

98 Alphabetical List of Works Small Talk (incl. Gallantry) I:3 Regina W107 Smoking Glasses W80 Solomon Song #20 (Threepenny Opera)(Brecht-Weill) T9 Sonata for Piano (aka Piano Sonata) W35 Sonata for Trumpet and Piano W38 Sonata [aka Sonatina] in F Minor W3 Song (Rupert Brooke) W27 Song of the Arrow I:3#1 Reuben Reuben W108 Song of the D.P. (Displaced) #21 Goloopchik W102 Song of the Glove [aka Glove Song] (Ben Jonson) #2 Volpone W114; also W120#4, W121#3 Song of the Ma I:1#2 Juno W117 Songs of a Coon-Shouter [Children of Adam] #6-9 Walt Whitman Songs (9) W28 So-o-o-o Beautiful #9 Goloopchik W102 Spanish Earth, The W73 Speech #5 Children's Cantata W61 Spinet-Piece #6 Danton's Death (Georg Büchner) W79 splashing the old man [aka The Frenchman] #5 Blessings of the Bath W32 Spot, The I:6#3 Reuben Reuben W108 Sred' Shoomnovo Balla (In mitten des Balles) tr.: Little Meal on a Tray #10 Goloopchik W102 Start in Lookin' [aka Looking for Love] #1 Jazz Songs (3) W45 Statue of Liberty II:1 Native Land W87 Stay in My Arms W66 Stenka Razin (Trad.) #7f Drinking Scene (6 choruses) Goloopchik W102 T4 Stong III:4Pt1 Sacco and Vanzetti W123 Story of Keene and Albert W50A Street, The Sc. 5 I've Got the Tune W75 Strike Song W74 String Quartet ("The Italian") W48 Strolling Home (Vdol' Dyervnik) Road Song (Meadow Scene) Quintet #8 Goloopchik W102 T4 Such A Little While I:4#1 Reuben Reuben W108 Suicide, The (aka And So the Last Thing Too) Sc.4 I've Got the Tune W75 Suite for Piano [aka Piano Solo; Piano Suite] W57 Summer Day [aka Look at Me] II:1#6 Regina W107 Suppose A Wedding [by Leonard Lehrman, after Bernard Malamud] W127B Surf and Seaweed W51 Svarga W22 Sweet Is the Rose(Amoretti [Edmund Spenser]) #1 A Midsummer Night's Dream W119; W121#1 Sweet While It Lasted [aka Polly's Song] #12 (Threepenny Opera)(Brecht-Weill) T9 Symphony in G# Minor W7 Synagogue Sc.9 Idiots First (Bernard Malamud) W127

Alphabetical List of Works 99 Tales of Malamud: Idiots First W127 and The Magic Barrel W126 [LJL completion adds Karla W127A and Suppose A Wedding W127B] Tango Ballad #6 (Threepenny Opera)(Brecht-Weill) T9 Tanya [later: Lovely song, aka Theme for Jane Pickens Show] #17 Goloopchik W102 Tell It to Bart I:2#1 Reuben Reuben W108 Tell Me #3 The New York Opera W88 Termites, The (E.E. Cummings) W42A Thank You I:1#1&I:7#5 Reuben Reuben W108 Theater for the Cabaret: opera-farce [aka Triple Sec] (Ronald Jeans) W40 Theme for Jane Pickens Show [Lovely song, aka Tanya] #17 Goloopchik W102 Then Sc.6 The Magic Barrel (Bernard Malamud) W126 Theory of Flight I:1 The Airborne Symphony W95 There Goes My Love II:1#4 Reuben Reuben W108 There Goes What's-His-Name (Leonard Bernstein) T6 There Is Strength (aka CIO Tax Broadcast) #1 Labor for Victory W91 (There's a) Tree Back Home in Kansas #5 Goloopchik W102 These cee-gars what you looking for, son? (Oscar & Leo) II:1#3 Regina W107 They Have Killed Our Joe [aka Death of Joe; aka Make the Heart Be Stone] II:10#4 No for an Answer W78 Things (aka Waltz) II:2#6 Regina W107 This is the end of the opera I:1 & III:6Pt6 Sacco and Vanzetti W123 This Is the Garden W116 This Is the Spirit Flow'r W15 Thompson & Committee III:5Pt6 (based in part on W56Sc.2) Sacco and Vanzetti W123 Thompson & Vanzetti III:6Pt1 Sacco and Vanzetti W123 Thompson's Plea III:5Pt3 (based on W125#7) Sacco and Vanzetti W123 Thompson's Speech III:1 Sacco and Vanzetti W123 Thou art my lute (Paul Laurence Dunbar) #3 Circular Canons (11) W31 Threat and Approach II:2 The Airborne Symphony W95 Three Sisters Who Did #11 Goloopchik W102 Three-Four Dance #2a The Guests (aka Show) W106 Threepenny Opera, The (Brecht-Weill, tr./adaptation) T9 Till, of a sudden (Walt Whitman) #4 a word out of the sea W37 Toccata [aka Flam] #1 Percussion Music for the Piano W39 Torremaggiore Duet [aka Torremaggiore-Villafalletto Trio] II:3Pt12 (based on W108I:5#3) Sacco and Vanzetti W123 Toys in the Attic (Lillian Hellman) W124 Train Gate Sc.11&13 Idiots First (Bernard Malamud) W127 Traveling Salesman, The W44 Traviata, La (Verdi) (Act I tr.) T10 Tree Back Home in Kansas #5 Goloopchik W102 Triple Sec (Ronald Jeans) [aka Theater for the Cabaret: opera-farce] W40 Troubles (aka You Poor Thing) I:6 Juno W117 True Glory, The W99 Tuliapatan (Tulip Island)(Offenbach)(3 songs) T11

100 Alphabetical List of Works Turn the Night Into Day #1 Night Shift (Garson Kanin and J. Chambers) W89 Twelfth Night W84 Two Brothers, The #4 Cain W50 Two Little Girls I:7#4 Reuben Reuben W108 Under the Sky Sc.7 Idiots First (Bernard Malamud) W127 until and i heard song #5 From Marion's Book (7) (E.E. Cummings) W125 Upstairsy II:3#1 Reuben Reuben W108 Useless Song #19 (Threepenny Opera)(Brecht-Weill) T9 Valley Town W85 Valse W18 Vanzetti's Books III:2 Sacco and Vanzetti W123 Vanzetti's First Aria I:2#2 Sacco and Vanzetti W123 Vanzetti's Last Statement III:4Pt2 Sacco and Vanzetti W123 Variation I #4a The Guests (aka Show) W106 Variation II (2 versions) #4a2 & 4b The Guests (aka Show) W106 Variation III (Pas de deux) #5 The Guests (aka Show) W106 Variation sur [aka on] "Au clair de la lune" W21 Variations for Orchestra (aka Orchestra Variations) W59 Vdol' Dyervnik (Strolling Home) Road Song (Meadow Scene) Quintet #8 Goloopchik W102 T4 Vendor's Song (William Shakespeare) #2 The Winter's Tale W120; W121#6 Very Moment of Love, The [aka Moment of Love] II: 1#1 Reuben Reuben W108 Volpone (Ben Johnson) W114 Wait for Me - see Goloopchik W102 Walpurgisnacht Escape II:7#1 No For An Answer W78 Walt Whitman Songs (9) W28 [see also W37] Waltz - King Hunger W23 Sc.2 Waltz (aka Things) II:2#6 Regina W107 Wann Morgenröth die Nachter töd't [sic] #6 Chorale Preludes W25 Want to Join the Angels Prologue#1 Regina W107 War Department Manual, Volume 7, Part 3 W64 War of the Beasts and the Birds I:1 No for an Answer W78 War Song (Dorothy Parker) W100 Water Trial #7 Chesapeake Bay Retriever W70 Waterfall: Barcarolle W4 Way You Are, The W67 We Can Be Proud I:3#1 Juno W117 We Got a Pact II:3#5 Reuben Reuben W108 Wedding March #5 A Midsummer Night's Dream W119 [reuse of W113] Wedding Piece for Joyce and Stephen W113 Wedding Song #6 (Threepenny Opera)(Brecht-Weill) T9 Weep for Me [aka Mild and Lovely; aka Leave Me Alone] II:7#2 No for an Answer W78 We're Alive Prologue (and Finale) Juno W117

Alphabetical List of Works 101 what if a much of a which of a wind #3 From Marion's Book (7) (E.E. Cummings) W125 What Is Capitalism? I:5 No for an Answer W78 What Is the Stars? I:5#3 Juno W117 What Keeps a Man Alive? [aka How to Survive] T9 #18 What Weeping Face #2 Walt Whitman Songs (9) W28 What Will It Be? I:7c Regina W107 What's the Matter with Me? #3 Jazz Songs (3) W45 when life is quite through with #2 Is 5 (E.E. Cummings) (5) W42 and #2 From Marion's Book (E.E. Cummings) (7) W125 Where? (aka Lament) II:6 Juno W117 Where Love Is Life [aka The Dream Is Mine] W12 Whilst Youthful Sports (William Shakespeare) #1 The Winter's Tale W120 Whitman, Walt Songs (9) W28 [see also W37] Who Knows? (aka Let's Be Blue) W81 Who Will Close the Door? (based on W102#21) Sc.3 Idiots First (Bernard Malamud) W127 Whole Shoe, The II:5Pt3 Sacco and Vanzetti W123 Wind from the Plain (Ukrainian, arr. Chichko) #7b Drinking Scene (6 choruses) Goloopchik W102 T4 Winter Day (Ukrainian) #6d Red Army Songs (4) Goloopchik W102 T4 Winter's Tale, The (William Shakespeare) W120 Wish W82 Witch Burners and Southerners Dance #4 Megalopolis W34 With a Woman to Be I:5#2 Reuben Reuben W108; extended: III:5Pt4 Sacco and Vanzetti W123 word out of the sea, a (Walt Whitman) W37 Work People [aka People; aka Poor People; aka Workpeople] W68 Workers' Kids #1 Children's Cantata W61 Workers' Kids of the World Unite (aka Children's Cantata) W61 Workpeople [aka People; aka Poor People; aka Work People] W68 World Is Mean, The #14 (Threepenny Opera)(Brecht-Weill) T9 Would that we might vanish (Lady Murasaki [Shikibu]) # 11 Circular Canons (11) W31 Writing a Letter [aka The Child Writes a Letter] #6 Children's Cantata W61 yes is a pleasant country song #6 From Marion's Book (7) (E.E. Cummings) W125 Yeth, Yeth [The Bulk of the Credit] I:7#2 Reuben Reuben W108 you are like the snow #5 Is 5 (E.E. Cummings) (5) W42 You Poor Thing (aka Troubles) I:6 Juno W117 Young Son, The #1 Cain W50 You're the Girl I:8#2 Juno W117 Zipperfly (aka The New Suit) #1 The New York Opera W88

List of Articles for Publication Written by Blitzstein [Asterisk* indicates article in collection kept by MB's mother.] A1 2/5/26 "My Lady Jazz," The Review pp. 17,29 (R8#664-5) [review of NY perf of Gershwin's Concerto in F]: "I do not see why the fox-trot should not take its place beside the gavotte, the minuet, the polka and the waltz." MB's 1958 comment: "Well! not bad for 21 years of age." A2 4/5/26 Program Notes, "The Dancers' Guild presents Riva Hoffman and Her Dancers in Recital." (R8#666-7) 1958 comment by MB: "yes, I remember her. Not good, not bad." A3 5-6/28 "Hin und Zurück in Philadelphia," Modern Music [hereafter MM] 5:4 p.34-6: "defies consistent analysis... yet it maintains a logic, however obscure..." See W40. A4 7-9/29 "Four American Composers," This Quarter p. 163-8 [Antheil, Chavez, Copland, Sessions]: "American music today is... schoolless." "George Antheil is easily the most naturally gifted composer of the four. He is also the most defective." "In the [Piano] Concerto, Copland says his final say on jazz.... In the Lento Molto, perhaps his most perfect and inspired work, this identity of man and music is clearest; the mystic light burns from within, he carries the torch." This article contains some of the many ideas expressed in lectures, not meant for publication, incl. one on "The Modern Movement in Music" B10 cited in P43. A5 1930 (R8#809-19) "Music in America" - musicians, composers, critics, publishers, audiences. Unpubl. A6 1-2/31 "New York Chronicle of New Music," MM 8:2 p.39-42: pans Copland Variations as "too long". letter A6.1 1/13/31 MB to Eva Goldbeck (R2#657-8): "They have wonderful stuff-bitter and hard music--but for the first time he seems to be wandering and monotonous--a work related to the 'Vitebsk' trio." A7 3-4/31 "Music and the Machine: Dancers of the Season," MM 8:3 p.38-42: "What are the chances for an American Ballet?... Martha Graham is the one to get excited about." A8 5-6/31 "Forecast and Review" Spring Season in the East," MM 8:4 p.33-9: on Bartók (4th Qt), Cowell, Copland, Berg (Wozzeck), Stravinsky (3 Pieces for Clarinet, Oedipus); cf.: A8.1 MB's notes (R17) on 1/25/63 ISCM Carnegie Hall prog, incl Lyric Suite: "A.Berg--a giant among non-entities: what I have against him is the telling-ushow-it-is--'delirando.' 'ecstatico' etc--more than the word, the attitude: compulsory hypnoticism-music."

Articles by Blitzstein 103 A9 1-2/32 "Tame Season in New York," MM 9:2 p.79-85: on Berg, Tansman, Harold Morris; "I do not like Stravinsky's new Violin Concerto..." Thompson, Jacobi, Hindemith, Markevitch, Brant; "the problem of folk-music... [:] when someone pleads for a 'national' music... he is making an appeal not really for a music, but for a program for music." A10 3-4/32 "Premieres and Experiments--1932,"MM 9:3 p.121-7: Prokofiev, Krenek, Mason, Gershwin, Copland, Hindemith, Harris, Ives, Chavez, Mossolov; old Chinese, Hebrew, and Italian music; the Cowell/Theremin "rhythmicon." Al1 5-6/32 "Forecast and Review: Music and Theatre--1932," MM 9:4 p. 164-8: "The 'modern' opera movement which sped through Germany... has died there because of economic duress." Chavez, Respighi ("chichy"), Of Thee I Sing, Face the Music, Ziegfeld 's Hot-Cha! "stupidly vulgar and inane". A12 5/2&3/32 Composers' Conferences #1, 2 & 3, Yaddo, with Aaron Copland, MB, Israel Citkowitz, Richard Donovan, Robert Russell Bennett et al; transcribed R7#664-79; incl. discussion of W55, q.v. p.13 A13 1-2/33 "Popular Music--An Invasion: 1923-1933," MM 10:2 p.96-102 decries Kurt Weill's and others' "sentimental ballads of the music halls... Success has crowned Kurt Weill, with the super-bourgeois ditties (stilted Otchi Tchornayas and Road-to-Mandalays) harmonized with a love of distortion and dissonance truly academic; the 'sonx' go over, the 'modernisms' get sunk. This is real decadence." [The sentimental Russian "Otchi Tchornaya" does in fact resemble the leitmotif of T9#15, as has been repeatedly pointed out by Jack Gottlieb. See his 2004 book, listed at W88#1.3 1965 and LJL's Fall 1997 Kurt Weill Newsletter article, listed at W71.3.1.) "Robert Russell Bennett's variations on I've Got Rhythm... is surely the high-water mark of a highlydeveloped, perfectly mature craft." A14 11-12/33 "Talk--Music--Dance; New York, 1933," MM 11:1 p.34-40: on Schönberg as teacher: "an extremely good thing for America. In particular his almost fanatical academicism is an unfamiliar and needed quality among us," though it could also produce "paralysis and despair.... A good thing, perhaps: the world will be cluttered up with less bad music; and a bad thing: since a cultural epoch is made up not only of the perfect work of geniuses, but also of the combined efforts of lesser talents...." Also on Balanchine, Siegmeister et al. A15 1-2/34 "Mid-Season in New York," MM 11:2 p.99-103: Respighi, Bax, Bloch, Schönberg; Milhaud's Création du Monde "extraordinary". A16 4/34 "Towards a New Form," Musical Quarterly v.20 p.213-8: Krenek's success "dismal," Soviet composers "unfortunately committed to a policy of effusive virility and stormy protest..." "The period of experiment in establishing a new language is ended. Three currents are left in the wake of the

104 Articles by Blitzstein 'Modern Movement'--Primitivist, Classicist, Popularist." This article contains some of the many ideas expressed in lectures, not meant for publication, incl. one on "American Music and the American Public," delivered 4/21/33 at the Art Alliance, Philadelphia, cited in P43: "Two things are necessary: ...money, [and] interest from the public... You are part of that public. What are you going to do about it?" A17 3-4/35 "Theatre Music in Paris," MM 12:3 p. 128-34: refers to T9#20 as "neither a good nor a bad song. ...Kurt Weill's Marie Galante music got very little hearing, since the piece itself was taken off the boards of the Theatre de Paris within a week. The tunes J'attends un Navire and Les Filles de Bordeaux may pick up and have a career of their own in the music-halls; Margo Lion is at the moment singing the old Dreigroschenoper ballads.. and she could do with a change of repertoire.... The questionable intelligence involved in using the same general style for the Middle-Western Mahagonny and the Old-Testament Road to Promise evidently does not bother" Weill. "A private piano performance of this work indicates to me that it is Weill's best score, and also his most uneven." At this private performance, MB offered to translate the new work into English--which it still sorely needs! - See: review A17.1 3/10/00 LJL, "Redeeming 'The Eternal Road': Weill's biblical epic at BAM works better as education than opera," Jewish Week, on the "poor English translation" in current use. Weill deferred the decision: letter A17.2 1/15/35 Kurt Weill to Dr. Kommer (an assistant to Max Reinhardt): "Ich weiß ja nicht, ob eine solche Mitarbeit überhaupt nötig ist, außerdem kenne ich Herrn Blitzstein zu wenig, um beurteilen zu können, ob er das kann. Er scheint mehr Musikschriftsteller als Musiker zu sein." ["I don't really know if such collaboration is needed, and I also don't know Mr. Blitztsein well enough to be able to judge whether he could do this. He seems to me more of a writer about music than a musician."] --Yale Univ. Music Library MSS 30 Series IVA Box 47 Folder 8, cited in P43. A18 6/12/35 Daily Worker [review of second Workers Song Book]: "a remarkable advance over the first Song Book" only "The English translations of the foreign songs are by no means uniformly good...." Eisler songs "splendid... they have logic, freshness of harmony and phrase-length, and emotional drive... unconventional in a manner to attract workers, not repel them." A19 7/35 "The Phenomenon of Stravinsky," Musical Quarterly 21:3 p.330-47 compares I.S. to C.P.E. Bach: "The direction music has taken because of Stravinsky is right. It is towards simplicity..., discipline..., communicability.... In the Symphonie de Psaumes a fundamental confusion exists between what is spiritually and what is only sensuously compelling. There is no denying the greatness of Stravinsky. It is just that he is not great enough.... We may look to younger and fresher talents to combine the new discipline with an ideology that more truly reflects the reality of the day." Reprinted Winter 1991 Musical Quarterly 75:4 p.51. Cf.

Articles by Blitzstein 105 letter A19.1 3/11/31 MB to Eva: "Stravinsky's Symphonie [de Psaumes] is wonderful; the religiousness of a pagan, or a primitive (pastoral). The quick parts are done as usual with the head, or from memory, perfectly calculated, sensational in a new (febrile) way; the slow parts are at last written from the heart. It turns out to be a simple heart, breaking through, and a painful serenity that almost makes you sick." A20 11-12/35 "Composers as Lecturers and in Concerts," MM 13:1 p.47-50 on Eisler: "He holds what seems to me the only tenable point of view: that you can't talk about music unless you reveal and analyze its inescapable ties with the condition in which music is made." A21 11-12/35 "A Thomson Soiree," MM 13:1 pp.50-51 [ghost-written with Eva Goldbeck under her byline]: "It is a great pity that the tradition invoked by Thomson's music in general is for most of his listeners dead; the evocation therefore gets a mournful response." A22 12/9/35 "Walter Piston in a One-Man Exhibition," Boston Evening Transcript.. A23 1-2/36 "New York Medley, Winter, 1935," MM 13:2 p.34-40: "Mahler's Symphony No. 2 ...is very hard to stomach." "Lenja is too special a talent, I am afraid, for a wide American appeal; but she has magnetism and a raw lovely voice like a boy-soprano." Praises T9#10, but finds "Weill is flaccid (he wants to 'entertain'); Eisler has spine and nerves (he wants to 'educate.')" Shostakovich composes "good music which is also contagious." "It is clear to me that one conception of music in society, with us these many years, is dying of acute anachronism; and that a fresh idea, overwhelming in its implications and promise, is taking hold." A24 2/36"Les Jeunes Américains dans la Musique," Revue Musicale v.163 p.145-8 [Paris 12/34].. A25 4/36 "Chroniques et notes: Etats-Unis," Revue Musicale v.165 p.314-5.. A26 4/15/36 Composers' Forum-Laboratory MB concert, NYC; MB, Mordecai Bauman, Norman Cazden, Modern Art Quartet, incl. W35; W42 #4; W48 (prem.); W50#5; W52; W55#1; W61#6 (prem.). review A26.1 4/16/36 Biancolli, Louis, "Young Composer Plays Own Work," NY World Telegram. See W35, W61. A27 5/36 "The Composer and His Audience," Unison: Organ of the American Music League [Editors: Mordecai Bauman, Rose Rabat, Elie Siegmeister] p. 2: "Music is one of the greatest educational forces we know; it can train, not only our minds, but our blood. Composers must come out into the open; they must fight the battle with other workers."

106 Articles by Blitzstein A28 5-6/36 "Coming--the Mass Audience!" MM 13:4 p.23-9: "the great conservatories continue to accept magnificent young talents, to train them for exclusively virtuoso careers, and to hand them over to a completely glutted market--to what end, except to swell unemployment--and relief--lists? ('Culture is today being destroyed, just as cattle and crops are being destroyed, and for the same reason'--Brecht." Finds Weill and Krenek "writing down," Gershwin et al "writing up." "There is a crisis in music... No new work is having any direct or alive contact with the public ]and] music seems to be aimed awy from the public... One thing is certain--the face of our musical life must change.... One place music had held in society is on its way out, and another on its way in.... breaking the barriers... all over the world." review A28.1 2002 Berger, Arthur, Reflections of an American Composer Berkley: U of Cal. Press, p. 105: MB "warned us in 1936 that the mass audience will have to learn how to listen intelligentaly and expressed the hope that a more efficient means of training for that audience would someday be developed." A29 6/36 "The Composers Collective of New York," Unison v.1#2 p.4. A30 6/23/36"Music Manifesto," New Masses 19:13 p.28 on Eisler's pamphlet, The Crisis in Music, an English tr. [which Elie Siegmeister told LJL that he, Siegmeister, wrote] of Eisler's lecture of 12/7/35: "It isn't nice to realize we are the tool of a vicious economic setup. The unconscious (sometimes not so unconscious) prostitution of composers in today's world is one of the sorry sights to see.... It is about time we discovered where our allegiance lies." Eisler represents "possibly the first instance of the real fusion of Marxist and musician," his works "a wedding of music and dialectics." A31 7/14/36 "The Case for Modern Music," New Masses 20:3 p.27: Pierrot and Sacre-- "The riot... was no accident... Caliban saw himself in the mirror, and yelled for the militia." [Cf. W65.]--vs. Bolero and Pines of Rome which Toscanini made sound "more expensive". A31a 7/21/36 Pt 2: "Second Generation" 20:4 p.28-9: Jonny spielt auf an "indigestible hash of grandiloquence and fox-trots, Gershwin and Richard Strauss, decorated with inept ultra-modern mannerisms." Composers of capitalist music "sing praises, they prop up the obscene old dowager with assuring sonnets and sonatas, they lull her with Stabat Maters, they goose her with gaudy ballet music." Weill "aimed too low in his musical taste." A31b 7/28/36 Pt 3: "Technique and Temper" 20:5 p.29: "Modern musical technique is for use." Recommends Eisler and "parts of Weill's Jasager if you want it proved that the technique can be used for a revolutionary statement." Brecht "saw too that you couldn't just give the public what it wanted; for what it wanted had been conditioned by generations of capitalist exploitation and treachery. He saw the need for education through poetry, through music." "Weill had more courage than Hindemith: he turned his style upside down. He evolved the 'song-typus' as opposed to the well-known 'lied-typus.'

Articles by Blitzstein 107 ...Sometimes it is pretty banal." The day after this article appeared, two days after MB attended a summer camp presentation by Weill (working with the Group Theatre at Brook Point in Trumbull CT) on his own music, MB began writing W72 (at the Eitingons' home, nearby [See P48.1 & W103]).-- P43, p.191n92. A32 11-12/36 "Weill Scores for Johnny Johnson," MM 14:1 p.44-6: "I have written some harsh things in the past about Kurt Weill and his music. I wish now to write a few good things. He hasn't changed. I have.... Weill has practically added a new form to the musical theatre. It is not opera, although it partakes of the 'number' form of Mozart. and it is decidedly not revue-form. It owes something to the movies, but it is much more attracted to the script.... It is soft-voiced music--but there is a message there. Velvet propaganda--as he calls it, poison. Danger exists--but not always. You get this danger to best advantage when Brecht is the poet; he hits hard clean sharp jabs to the chin with is texts. These, underpinned by Weill's nostalgiac, inconsolably sad music, have a compelling and unique effect which I have just got round to.... This almost elementary, uninhibited use of music, seemingly careless, really profoundly sensitive, predicts something new for the theatre." Reprinted in Perspectives of New Music 2:2 p.25-6 (1964). A33 1-2/38 "On Writing Music for the Theatre," MM 15:2 pp.81-85: "I don't feel there is any difference in the quality of a theatre-song as compared to a concert song.... The good theatre songs of the past seem to have lasted, the poor concert songs seem to have died." Praises Eisler's music in film Kühle Wampe. Anticipates W78 I:6#3 with Cole Porter parody: "I told myself time and again, still and all, all through the night, night and day, both of us were quite aware this affair wouldn't go so well." See also W72.5.1.35-36 re W72 Sc.7#1 & Sc.4#2, and self-criticism of W75.2. "Can one make general theories about theatre music, how and when it should be used, what it has to do with the nature of theatre itself...? I used to think so.... I had a whole and beautiful theory lined up about it. Music was to be used for those sections which were predominantly lyric, satirical, and dramatic. My theories got kicked headlong as soon as I started to write; it became clear to me that the theatre is so elusive an animal that each situation demands its own solution. And so, in a particularly dramatic spot, I found the music simply had to stop.... ...music in the theatre is a popwerful, an almost immorally potent weapon. It will do things you would never dream of; it can be fantastically perfect for one scene; it can louse up another scene to an extent which is unbelieveable. There is only one rule I know; follow your theatre instinct. you discover you've got it very much in the way you first discovered you were a composer. You may be wrong on both counts; but your inner conviction is all you've got." A34 1/2/38 "Lines on 'The Cradle,' NY Times 1/5/38). See also W72.

10:2 (and Herald Tribune

A35 1/3/38 "Author of 'The Cradle' Discusses Broadway Hit," Daily Worker, p.7. See also W72.

108 Articles by Blitzstein A36 4/13/38 "Music and the People's Front," Daily Worker, p.7. A37 4-6/38 "Scenery or No Scenery--A Symposium," Theatre Workshop 2:1, p.5-21, transcribed from interview by Leonard Steinberg. Theatre Arts Committee magazine: A38 2/39 lyrics to "Wish" [W82] +photo of MB at pno. A39 3/39 review of Aaron Copland's What to Listen for in Music: "special and uncommon book". A40 3-4/40 "Theatre Music," MM 17:3 pp.181-184: Rodgers & Hart, Rome, Porter, Odets-Eisler, Rice-Weill ("trite"), Two for the Show: --"How High the Moon" - "How Long the Song?" A41 3-4/40 "Pierrot Lunaire in Lindy's,"MM 17:3 pp. 196-197 review of Oscar Levant's A Smattering of Ignorance (NY: Doubleday) "at once happy and embarrassed to be included in a book devoted to "People Who Currently Count," esp. section on "The Boys are Marching." See W55.1.6. A42 1941 "Music in the Theatre," in Producing the Play, ed. John Gassner, Dryden Press. A43 1/5/41 "Of 'No For An Answer,"' NY Times [W78] [clipped by FBI]. A44 *1/12/41 "On Collaborating With Oneself," NY Herald Tribune (R67#780): "I simply have not found the collaborator who has either the patience or the inner strength to put up with me." See P19e. 15 3-4/90. A45 10/19/41"Letter to the Drama Editor," NY Times 9:3 [on shelving No] [W78]. A46 12/3/41 "Letter to the Music Editor," NY Times 10:10 [12/7/41] re Artur Schnabel & Roger Sessions on "music for entertainment" vs. "music for experience"; MB: "the old Puritan notion that if a piece is serious, it ought not give too much pleasure; and, per contra, if it does give pleasure, or even fun, it cannot be much good." A47 1/2/42 "Recent Books: Singing Country," MM 19:2 pp. 139-140 review of American Ballads and Folk Songs. letter A47.1 5/6/42 John A. Lomax to MB (R4#4-5): "damned grateful". A48 5/3/42 "Composers Doing Their Stuff," NY Times 8:7 valiant fighters of the USSR". See W87.2.

"tribute to the

A49 1-2/43 "London: Fourth Winter of the Blackout," MM 20:2 pp. 117-120: William Walton, Alan Bush, Noel Coward.

Articles by Blitzstein 109 A50 10/3/43 Blitzstein, Corp. Marc, "Now in the Army, He Tells of His Music and His Negro Singers," (R6#184) NY Times: on W94, quoted in part in MtM p.240 and in W95 prog notes by LB. *A51 12/2/45 "Major & Minor: Blitzstein Went Underground To Dig Up Music for 'True Glory'" [intro. by E.H. Schloss](R8#380) Philadelphia Record, p.24 M. A52 Spring 1946 Musicology p.167-196 [11/18/45 Nat'l Council of AmericanSoviet Friendship Music Committee panel discussion transcript]. A53 3/24/46 "It Happens in Music," NY Times [interview, mostly on W95]. A54 4/10/46 (R8#334) "Blitzstein on Toscanini: To the Screen Editor," NY Times publ. 4/14/46: "Hymn of the Nations" film "the most potent single musical weapon of World War II." A55-57 8/13,20,27/46 "A Musician's War Diary," New Masses 50:7, 8, 9 p.36, 6-10, 10-12 re W94-95, W98-99; illus. Jack Levine, incl. cartoon "Orpheus in Hades"; reprinted in Daily World in 6 installments: 3/1/80 p. 12 "A Composer in World War II: Permission granted to compose a Symphony" incl. BBC photo; 3/4/80 p.9 '"Corporal Marc' and the Jim Crow Straggle"; 3/5/80 p.8 "Beaming music into occupied Europe"; 3/7/80 p.12 "A film replaces work on the 'Airborne'"; 3/11/80 p.9 "The first leg of a trip through France"; 3/12/80 p.12 "Last leg of a journey through France". A58 11/46 "An Analysis of Prokofiev," Soviet Russia Today p.23: review of Israel V. Nestyev's biography. A59 1/23/47 signs contract with Harper & Brothers to write autobiography, "Case Makes History" (R5#403); alternate titles: "I Played the Piano (for the CP)"; "Mark the Music" (R8#558). A60 6/47 "notes on the 'Airborne' Symphony," RCA Victor Record Review, p.5, 11. See W95.8.1. A60A 1947 "Toward a Lyric Theatre," Music[al?] Digest v.8 pp. 162-163 (P2c Dietz, p.354-5, 445 sic, probably derived from Edmunds, John and Gordon Boelzner, Some Twentieth Century American Composers: A Selective Bibliography v. II NY: NY Public Library, 1960. This reference does not check out, there being no issue of this magazine with this number of pages.) A61 11/23/47 Herald Tribune [on Cradle revival] [W72]. A62 11/23/47 "Opera's History," NY Times 2:7 [W72].

110 Articles by Blitzstein recording A63 12/31/47 Notes on Concert Hall CHC 24 (10" red LP): "Marc Blitzstein -Songs for the Theatre," sung by Muriel Smith; MB, pno; incl. W76 #1; 78 II:2; 79 #1; 102 #16 & 21. Recording released 1948-50. WSHS Tape 554A R4. A64 1/18/48 Severance Hall MB Concert, Cleveland (Progressive Citizens of America, Cleveland Chapter); Mordecai Bauman, Muriel Smith, MB et al, incl. W72.37 (exc.); W75.10 Sc.3; W78(exc.); W79#l; W95.12 (exc.); W102.3 (exc.); W106.3 (exc.); W107C. preview article A64.1 1/17/48 (R68#271) Widder, Milton, "Notes and Sketches." See W72.37.1, W106, W107.0.5. review A64.2 1/19/48 (R68#272) Loesser, Arthur, "Blitzstein's 'Excerpts' Offer Wide Musical Range," Cleveland Press. See W72.37.2, W75.10.2, W78, W95.12.1. A65 10/10/48 New York Times: letter, response to William Saroyan, on "meaningless of life". A66 1/17/49 "Ballet: Marc Blitzstein's 'The Guests' To Premiere This Thursday," NY Star: comments on W43(q.v.), W50(q.v.), W72, W78; W106(q.v.). A67 5/17/50 (R9#902, 915-6) Brandeis lecture on Broadway opera, unpubl. See T9.3. A68 6/50 "Notes on the Musical Theatre," Theatre Arts 34:6 p.30-1, incl. critique of Menotti's The Consul: "...the music is largely punctuation and reinforcement... there is a political equivocation and safeness about it which I personally deplore...." Needed: "more intellectual vigilance, more ruthlessness in matters of taste, a firmer and more personal musical fibre. I feel confident about him." A69 11/50 (R68#318) "On Music and Words," Theatre Arts v.34 pp.52-53: Cites T8 and "three ways of combining words and music": words first, music first, or "running-relay procedure." "...sometimes a sharp rhythmic tune can contain a willowy prose line and tuck in the corners admirably. Here is another seeming paradox: tune and words are expected to be identical in mood. But I have in certain cases had fine success in counterpointing them, with the music supplying a deeper and maybe subtler comment on the words, or vice versa." A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perfd: W106#5,4b,2a; W76#1; T9#1, 13, 16, 20, 21, 8; W72Sc.7#1; W78II:3 & II:7#2; W95III:2; W107III:7; W102#21; W88#1.

Articles by Blitzstein 111 A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. W76#l; W109#l; W79#l; W28 #8,7,9; T9 #1,21,22,5; W72 Sc.5; W95 III:2; W78 I:8; W107 III:1-2. A72 2/53 "Notes on the Musical Theatre" or "Opera in America" or "Don't Ever Call It Opera" (R8#658-63, 874, 877-887) on American opera & opera in English for NY Times - unpubl. letter A72.1 2/18/53 Seymour Peck to MB (R4#336-7): "too cheerful, too Pollyanna". MB addressed subject in A72.2 5/53 City Center panel on "The Music and the Libretto"--MtM, p.364 (R8#612-29). A73 3/7/54 Blitzstein, Marc, '"Threepenny Opera' Is Back: New Adaptation of Weill's Classic," Herald Tribune: on translating Threepenny - encouraged by Weill & Lenya, 1/50. See T9.5.4. A74 7/54 "Recordings," Musical Quarterly v.40 p.454-456: on Weill's Dreigroschenmusik, Copland's Music for the Theatre. A75 3/55 "Richard Mohaupt: Double Trouble," Notes p.319: "Mohaupt's opera-comedy (it is closer to being an opera-farce) is skillful to a degree." recording A76 2-5/56 (R5#703-7,714-17) speech for Spoken Arts 717 LP, "Marc Blitzstein discusses His Theater Compositions," partially reprinted 2/13/60 in Opera News ; 4/12/64 New York Times. Westminster recording produced by Arthur Luce Klein. Includes story of W72 opening night +W72 Sc.6, Sc.7#l; W78 I:8 & II:1 #3; 107 III:2 [and III:1? not included for lack of room]. MB accomp.: Jane Connell, Alvin Epstein, George Gaynes, Evelyn Lear, Brenda Lewis, Roddy McDowall, Joshua Shelley. G38d 1/58 Pan Pipes announces recording; +Friedman-Abeles photo of MB. A77 4/22/56 "American Opera Today," Ford Hl Forum, Jordan Hl, New England Conservatory, Boston. A78 6/56 "Gian-Carlo Menotti: The Saint of Bleecker Street," Notes pp.521523: "Menotti is a fiendishly talented music-theater man. But he rarely, if ever, writes about themes which have been his long-time convictions; the convictions grow with the actual working, and may quite possibly fade with a work's completion.... I got the feeling I was hearing a translation from the Italian." A79 11/25/56 (R68#823) "Letter to the Editor: Off-Broadway," NY Times p.6 [re Norris Houghton's 11/11/56 article, "Off-Broadway Challenges Broadway"]: "Let us please not erase" the FTP, Theatre Union, Group Theatre, Labor Stage, and Theatre of Action from "theatrical history."

112 Articles by Blitzstein A80 5/31/58 "On 'Mahagonny,'" Saturday Review, v.41 p.40, 47. Re T15. A81 7/58 "On 'Mahagonny,'" Score v.23 p. 11-3. Re T15. A82 7/25/58 lecture, interview w/Martin Bookspan, and all-Blitzstein concert at Tanglewood perf'd: W35; W40; W55 #1; W72 Sc.7 #1; W107 III:2; W117 (exc.); T9(exc.); T11 A83 10/25/58 "Prize 'Dreigroschen'" Saturday Review v.41 p.64-5 [T9] A84 2/24/59 program notes "On Two Young Composers" William Flanagan & Ned Rorem, Carnegie Recital Hl; praises F's prosody; R's "The Lordly Hudson"; "He will one day write an impressive opera...." Rorem comments, in M11.1 p.316: Christopher Davis wrote a libretto, Mario "for the occasion. Nothing panned out. But... our 'impressive opera' may yet be born." A85 9/12/59 "Primer on Brecht," Nation 189:15 p. 137-8 [on John Willett's The Theatre of Bertolt Brecht] "I remember Archibald MacLeish telling me in 1955 that his literarycomposition students at Harvard were not much longer going to be satisfied with Rilke or Yeats, that the next one would probably be Brecht." A86 Fall 1959 (R8#576-7, 590-1) "The Brecht-Weill Corpus" for Horizon; unpubl. A87 Fall 1959 (R69#223) on audiences, translations, Saturday Evening Post "Adventures of the Mind" series; unpubl. Notes probably used in 10/25/59 New School Associates Dinner Forum: "Contemporary American Opera" w/Douglas Moore, Michael Pollock, Julius Rudel, Winthrop Sargeant, Sigmund Spaeth, Bernard Stambler, Claramae Turner; Dr. Louis Carp, Moderator. A88 1960 (R69#298) "1935 Revisited: Celebrities Recall Their Memories of the Year Cue Was Born,"Cue. See W69. A89 2/11/60 Program Notes for NYCO revival. See W72.47.1. A90 2/13/60 (R69#273-4) "Out of the Cradle," Opera News 24:15 p.10-11, 29 story of opening night, taken, slightly abridged, from Spoken Arts 717 (1956) + photo of MB; notes that the Venice Theatre was "now Videotape Center." Deletes line after the cast "could have done it in their sleep": "And this was much simpler." Also deletes Archibald MacLeish and his speech. See W72.47.9. A91 3/9/60 "Letter to the Editor: The Sacco-Vanzetti Opera Commission," NY Herald Tribune : See W123.

Articles by Blitzstein 113 A92 5/28/60 "Music's Other Boulanger," Saturday Review v.43 p.60 "How good can her music be? It is more than good. It is extraordinary." +photo of Lili Boulanger "an unerring personal singing line." letter A92.1 6/9/60 (R4#427) Nadia Boulanger to "Dear Mark" [MB], publ. in facsimile in: A92.1a 1983 Campbell, Don, Master Teacher: Nadia Boulanger, Pastoral Press; reprinted 2004 Boulder CO: Passacaglia Press, p.54. (Text also in MtM, p.478.) See also: A92.2 7/21/58 "Close-Up: Famous Teacher of U.S. Musicians," Life (R68#885-6) MB's name & photo appears with those of other NB students: Copland, Piston, Moore, Harris, Thomson, Shapero et al. A93 4/2/62 Adolph Ullman Memorial Lecture, Brandeis Univ.; taped at WGBH-TV 4/3/62; title: "Mark the Music"; excerpted in MtM, p.501-503. P19e.15 3-4/90 LJL, Jewish Affairs review of MtM quotes passage not reproduced by Gordon: ""There have been many kinds of theories about the music being written today. And I would say that you may break all the rules, but the one rule worth breaking...' And here the film broke!" A94 9/24/62 [American Jewish] Congress Bi-Weekly pp.37-38 [transcript of 6/12-14/62 Jerusalem panel discussion] (R7#414-9): MB's notes for "Israel[/i] talk": "I am what can be called a 'musical materialist' (in Albert Schwei[t]zer's term)--my use of music is as a reflector, depicter, a 'graphic' representation of all the human experience. Only at one point in musical history does this become 'program-music' (odious word). But 'absolute' music also shows this, the most basic function of music. There is, frankly no absolute music.... To be an American; To be a Jew; To be a composer; To be a human being; in this day, this year, this decade of this age.... I am not a success, as America sees it (only Threepenny op.!)" (R7#377) "What with the jewish-bit and the homosexual-bit on Broadway, I might even think myself belonging to a majority, god forbid." (R7#384) "Art is not communication (a 2-way street), but propaganda, i.e., persuasion--attempt to make you feel as I do--done so well, so irrefutably that it is in its way unanswerable.... Have to be jewish to feel for Sacco & Vanzetti (or it doesn't hurt)." (R7#388) Cf.W123. A95 10/62 "On the Threepenny Opera," Musical Show p.2. Re T9. *A96 4/12/64 NY Times II:13-4 "As He Remembered It: The Late Composer's Story of How 'The Cradle,' Began Rocking" +Friedman-Abeles photo Also listed in 9/27/58 c.v.: articles in The Listener (London), Der Querschnitt (Berlin?); lectures at Columbia Univ.(W78.1.7 4/2/40), Vassar, Bennington, Philadelphia Art Alliance (W28#7.1 10/22/46), Brooklyn Civitas Club, Dartmouth (11/11/47) & Brandeis Univ. (A67 5/17/50, A70 12/14/52), Tanglewood (A82 7/25/58), League of Composers, Town Hall Forum, etc., etc. MB's will names LB and Aaron Copland as coexecutors in matters concerning his music.

General Articles & Documents on Marc Blitzstein Written During His Lifetime [Asterisk* indicates article in collection kept by MB's mother.] G1 12/1930 Cowell, Henry, Melos 9 p.526-9 "Bericht aus Amerika: 3. Die kleineren Komponisten" mostly on W35, tr. Hanns Gutman "aus dem Amerikanischen" G1a 1933 Ibid., "Trends in American Music," in American Composers on American Music, Stanford Univ. Press, reprinted NY: Frederick Ungar Publ. Co. 1962 p.6; also primarily on W35: "Marc Blitzstein, whose contribution to music is not in new sounds but in sudden pauses, ...has turned from following Schoenberg to following the current French tendency." +See W85.2.6 3-4/41. G2 9/16/33 Ewen, David, "New Blood in American Music," Musical Courier 107:12 p.6; see W28#5. G2a 1934 Ibid., "Marc Blitzstein," Composers of Today NY: H. W. Wilson, p. 28-9. G2b 12/38 Ibid., "American Singing: Many Jewish Composers Are Enriching Modern American Music," National Jewish Monthly p. 133: mentions W28#5, W42, W56, W72, W75, W78; photos of MB, Bloch, Gershwin, Ornstein... G2c 1949 Ibid., "Marc Blitzstein," American Composers Today, NY: H.W. Wilson, p.32-4. G2d 1958 Ibid., "Marc Blitzstein, composer-lyricist," The Complete Book of the American Musical Theatre, NYU: Henry Holt, p.39-43. G2e 1968 Ibid., The Story of America's Musical Theatre NY: Chilton Book, p.98-100; see W72. G2f 1969 Ibid., Composers Since 1900 NY: H.W. Wilson. G3 2/2/36 NY Times announcing MB's appointment to teach composition, etc. at New School. G4 5-6/36 Copland, Aaron, "Our Younger Generation--Ten Years Later," MM 13:4 p.8-9: re W50, W51. G4a 1941 Ibid., "Thomson and Blitzstein," in Our New Music NY: p. 187201: "...now at last we have two composers"--VT & MB--"who seem to have set us on our way toward having our own kind of operatic piece." re MB: "Either a composition was too obviously derivative, or it tried too hard to be astonishing, or the style adopted was too rigidly abstract. It wasn't until Blitzstein began writing primarily for the stage that he really found himself... a thoroughly malleable style that can be applied in the future to any subject matter." See also W78.3.55. Reprinted in: G4b 1968 Ibid., The New Music, 1900-1960 NY: Norton, p.135f. Partially quoted in P22a. See also See also W50.0.6 11/3/31; W50.7 Winter 1946; M35 Spring-Summer 1964; P14 1976. G5 6/28/37 "Postponed Cradle, " Time v.29 pp.46-48 [W72] claims Arnold Schoenberg called MB "his most talented U.S. pupil" See also W72.3.

On Blitzstein During His Lifetime 115 *G6 10/20&21/37 [reprinted from late edition] Coleman, Robert, "Music Now Wedded to... Becoming Part of the Plot," NY Daily Mirror "Integral Part" "Radio Song Play" on W40, W72, W75, W76 and MB's projected "dashing off a few hit tunes for the new edition of the 'Ziegfeld Follies '"; MB's comment [to his mother]: "For the wall". G7 2/6/38 Wolff, William, "Music with a Purpose: An Interview with Marc Blitzstein," Midwest Daily Record : "Prodigy" "Looks Around" "Big Gap" "New Work" "New Audience" mentions W40, W50, W56, W61, W72, W73, W75, W76, W78, W79. G8 3-4/38 Rosenfeld, Paul, "The Newest American Composers," MM 15:3 p.159. G8a 1/26/42 Ibid., "The Great American Opera," Opera News 6:15 p.18-23: "remarkable capacity for writing natural declamation... ability to combine the vernacular of the 'tough guys' with appropriate melodies" on W72 & W78. G9 9/9/38 (R67#743) Lyons, Leonard, "Lyons Den," NY Post Weekly Broadway Gazette #173 on Arthur Schwartz-J.P. McEvoy musical inspired by MB: "Swing to the Left" "If you're still interested in being an actor, Marc, I'd like to use you in our new show.""What's it about?" "Frankly, it's about you." "Well, I won't act in it, but I'll take the job of research director." G10 12/7/38 Hale, Edith, "Author and Composer Blitzstein, Famed for 'Cradle Will Rock, Tells Some interesting Things about Himself and His Family," Daily Worker, p.7: MB calls Schönberg "a hangover from the last century." "...finally I saw the relationship of the world to my music. I had been composing in a vacuum. I realized that this world I never made needed change and, as an artist, I could use my music as a weapon in that struggle." G11 1938 Theatre Workshop II:1 "Scenery or No Scenery," symposium, incl. interview with MB. G12 1939 Thompson, Oscar, ed. International Cyclopedia of Music and Musicians. G13 6/1939 (R68#7-10) Barr, Philip, "Opera in the Vernacular," Magazine of Art 32:6 p.356-7f. See W72.5.2.59, W75.4.2. G14 7/1940 Current Biography 1:7 p.8-9 (pron.: "blits'shtine" [sic]) "An unorthodox composer whose experiments in new forms and tonalities once made him one of the more difficult moderns to listen to, with" W72 & W75 "he became one of America's popular musicians." Quotes from G13. See W72.5.2.59a.

116 On Blitzstein During His Lifetime G15 3/1940 (R4#21-2) Mellers, Wilfrid H., "Searchlight on Tin Pan Alley," Scrutiny 8:4 p.390-405 copy sent by author with G16.1 note to MB 6/1/42. G15.2 6/7/41 Wilfrid Mellers [UK] to MB: "Your music is the first convincing answer I've seen to the problem of reinstating the composer as an active member of society... I'll do what I can to make your work known over here." G15a 4/42 Mellers, Wilfrid H., "Language and Function in American Music," Scrutiny 10:4 p.346-57. G15b Spring 1943 Ibid., "New English and American Music," Scrutiny 11:3 p. 168-79. G15c 1946 Ibid., Music and Society London: Dennis Dobson, Ltd. p. 133-44. G15d l949[/50?] Ibid., Music and Society NY: Roy p.211-220. G15e 1955 Mellers, Wilfrid, "Blitzstein, Marc," Grove's Dictionary of Music and Musicians, 5th ed., ed. by Eric Blom (NY: St. Martin's Press), v.I p. 762-3; also his article on "Film Music," v.III p.93-110. G15f 6/55 Ibid., "Music, Theatre and Commerce; a Note on Gershwin, Menotti and Marc Blitzstein," Score v.12 pp. 71-76 [onW72, W78, W107]: "He makes us feel--without minimizing the odds against us--that it is good to be alive. for that reason I feel pretty sure not merely that his historical significiance is greater than we can appreciate at the moment: but also that his works will survive the apparent topicality of his approach." G15g 1965 Ibid., Music in a New Found Land [dedicated to MB] NY: Knopf p.414-37: MB "an American composer whose name has allegorical overtones... His early works, almost all disowned by the composer, were 'abstract'...He turned to the theatre from inner conviction." "debt" to Weill, esp. T9. W72 "his first opera" [sic] "All Blitzstein's libretti have been written by himself [sic], in a style which invests the inflections of American speech with the pungency and pith of art." See W72 [notes on specific scenes and songs], W78, W107, W108. See also W107.47.1 7/91. G16 10/19/40 (R68#17) King, William G., "Music and Musicians,"NY Sun: incl. comments on W35, W40, W43, W78, W88; quotes MB: "'...every genuinely creative artist simply has to be affected by the world in which he lives. His art cannot help being colored by his beliefs and ideals, by his daily life and the lives of those around him.'" "He has no patience with 'the withdrawn from the world creative attitude..." G17 1941 Howard, John Tasker, Our Contemporary Composers, NY: Thomas Y. Crowell p.264-6, 330-2: "His music is by turns dissonant, consonant, conservative, or radical, according to the purpose or the occasion. He believes that composers today have obligations which surround the obligation of writing good music--namely, social obligations, and attempts in his music to fulfill some of those obligations.... [W]hatever the effect of his music on politics, the effect of political beliefs on his music has been to give to it a conviction and a direction which it had hitherto seemed to lack." See also: G17a 1942 Ibid., "Experimenters," in Our Contemporary Composers, NY: Crowell p.237-66; G17b 1954 Ibid., Our American Music, NY: Crowell p. 533-534.

On Blitzstein During His Lifetime 117 G18 1/12/41 Thomson, Virgil, "Blitzstein's Operas," NY Herald Tribune VI:6 on W72, W78; reprinted in 1945 Thomson, Virgil, The Musical Scene, NY: Knopf p. 169-72: "Opera Is Always Radical" "Blitzstein Writes Socialist Operas": "an operatic composer of considerable power" "Also, Brilliant Musical Parody": "His dramatic sense is strong and his timing of dramatic points accurate. His musical invention is abundant and varied, his musical characterization appropriate and often sharly expressive. He can draw laughter and tears as few living composers can.... When Blitzstein parodies knowingly, his music has better tunes and better structure than when he is parodying unconsciously. In the latter case, he gets sentimental; and the assumed vulgarity of his musical style, so really elegant at its best, comes dangerously close to the real thing." [Cf.P3 7/29/65 Talley p.296 re W108.] "Why 'No' Doesn't Quite Come Off "Postscript" See also G32, P10, W72.1.1, W72.5.1.36, W72.7.10b, W72.35.9, W78.3.10, W95.3.6. G19 2/15/41 Haggin, B.H., "Music for Documentary Films," Nation 152:7 p. 194 pans W55, W78, W85 G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For A[merican] P[eace] M[obilization] Meet[ing]," People's World See W35; W40; W47; W50; W56; W72; W78: "A lot of other composers are beginning to learn... that the people have a much more intelligent approach to music than has been previously thought. It'll be a happy day when they quit writing down to their audiences." Quoted at length in program notes for W75, 1970. G20a 7/5/41 Glenn, Charles, "Hollywood Meets Blitzstein," Daily Worker. Quoted, though designated "unidentified," in P22a. See W40. See also W78.3.53. G21 1-2/43 Krenek, Ernst, "Opera Between the Wars," MM 20:2 p. 108, incl. photo of W72 set design G21a 1949 Krenek, Ernst, Musik im goldenen Westen: Das Tonschaffen der U.S.A., Wien: Verlag Brüder Hollinek, p.51. G22 Summer (R8#370-6) 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p. 170-6 +sketch of MB by Julian Levi, p. 171, catalogue of MB's compositions, p. 176: incl. W28#5, 6-9; W39; W35; W40; W42; W48; W50; W51; W52; W54; W55; W59; W65; W70; W72; W73; W75; W78; W85; W87; W89; W91#l; W94; W95. Also included, but crossed out by MB in his copy of article: W36; W43; W47; W56; W61; W64; W102. See Brant's comments on W33; W40; W43; W50; W54; W56; W72; W78; W85; W94. G22.1 Fall 1954 Keats, Sheila, "American composers; an index," Juilliard Review 1 p.22 cites Brant's "non-technical discussion."

118 On Blitzstein During His Lifetime G23 8/46 Cohen, Dr. Simon, "Incentive to Creative Endeavor," Liberal Judaism p.34-6 +BBC photo of MB, first of 6 award winners. G24 1947 Bauer, Marion, Twentieth Century Music NY: G.P. Putnam's Sons, p. 309: re W72, W75, W78. G25 1947 Grout, Donald J., A Short History of Opera, NY: Columbia Univ. Press, p.515. G25a 1965 edition, p.55f. G26 1947 Reis, Claire, Composers in America, NY: Macmillan pp.37-39: MB "is now completing a score for a play." G27 11/25/47 Kolodin, Irving, "The Music Makers," NY Sun. G28 2/1/47 Lederman, Minna, "Some American Composers," Vogue [incorporating Vanity Fair], p.232, 234, cites MB's W72, W78, W95: MB "is one of America's freshest, most original talents." G29 1949 Ellison, Alfred, "The Composer Under Twentieth Century Political Ideologies," unpubl. diss., Columbia Univ. Teachers College. G30 1949 Saleski, Gdal, "Marc Blitzstein," in Famous Musicians of Jewish Origin, NY: Bloch p. 15-17. G31 1949 Slonimsky, Nicolas, Music Since 1900, 3d edition, revised, NY: Coleman-Ross, p.50. G31a 1960 Ibid., "Introductory Essay" to Some Twentieth Century American Composers: A Selective Bibliography, v. II, by John Edmunds and Gordon Boelzner (NY: NY Public Library), p. 15: "...the opera as social consciousness... first appeared in Germany and soon crossed the ocean to America. Marc Blitzstein is the most energetic proponent of this genre." G31b 1984 Slonimsky, Nicolas, "Blitzstein, Marc," in Baker's biographical dictionary of musicians, NY: Schirmer Books (Macmillan): "significant American composer... d. Fort-de-France, Martinique, Jan. 22, 1964, from a brain injury sustained after a political altercation with a group of men in a bar." See P10. Many works mentioned, but no W126 or W127. G31c 1997 Ibid., Baker's dictionary of twentieth-century classical musicians, p.133. Previous death description not included. W126 & W127 mentioned, incl. the latter's completion, in "piano score," by LJL. G32 5/2/49 Yellin, Victor, "The Case for American Opera: Virgil Thomson and Marc Blitzstein," senior thesis, Dept. of Music, Harvard College. G33 *10/?/49 unidentified gossip column re Billy Rose, W72, W78, W107. See W107.1.10.

On Blitzstein During His Lifetime 119 G34 10/30/49 Pollock, Arthur, "Man Floating at Majorca Comes Out With 'Regina,'" NY Sunday Compass. See W69, W72, W107.1.15a. G35 11/8/49 Rubin, Barnard, Daily Worker : "To Marc Blitzstein goes the honor and distinction of now being this country's foremost operatic composer. May he use his great talents to go forward from Cradle and not backward from Regina." Former seen as "patronizing," latter an "immediate, working class weapon." Article clipped by FBI for dossier on MB. See also G53. G36 1950 Red Channels: The Report of Communist Influence in Radio and Television (NY: American Business Consultants/Counterattack) p.215. According to FBI report of 8/31/50, p.3-5, declassified 10/17/96, Red Channels listed 34 affiliations for MB on pp.20-23, incl.: American Council on Soviet Relations; American Peace Mobilization; International Labor Defense; Jewish People's Committee for United Action against Fascism and Anti-Semitism; League of American Writers; National Federation for Constitutional Liberties; Veterans of the Abraham Lincoln Brigade; American Friends of the Chinese People; Citizens Committee to Free Earl Browder; Conference on Constitutional Liberties in America; Coordinating Committe to Lift the Embargo [against Spain]; Open Letter For Closer Cooperation with Soviet Union; [Morris U.] Schappes Defense Committee; May Day Parade 1946, 1947; American-Soviet Music Society; Musicians' Committe to Aid Spanish Democracy; People's Songs [1947]; Progressive Citiizens of America; Theatre Arts Committee; Washington Committee to Lift Spanish Embargo; Show Time for [Henry] Wallace; Friday [3/22/40]; Masses and Mainstream; New Masses; Moscow Literary Gazette; Scientific & Cultural Conference for World Peace [3/49]; National Council of the Arts, Sciences and Professions; Committee for Re-election of Benjamin J. Davis; Statement by American Progressives on the Moscow Trials; Statement Defending the Communist Party; Open Letter on Harry Bridges; National [Henry] Wallace for President Committee; First Conference on American-Soviet Cultural Cooperation. G37 5/50 (R68#464-5) Moor, Paul, "Tradition of Turbulence," Theatre Arts 34 p.36-8. Retells story of MB's first piano playing "wif double notes." See W72; W107.2.97. G38 12/50 Kyle, Marguerite Kelly, "AmerAllegro," Pan Pipes [Sigma Alpha Iota] 43:2 p. 114: W28#5; W72; W107. G38a 1/53 Ibid. 45:2 p.42 W107; T9. G38b 1/55 Ibid. 47:2 p.32: W95; W107. G38c 1/56 Ibid. 48:2 p.37: W108; T9. G38d 1/58 Ibid. 50:2 p.43: A76; incl. Friedman-Abeles photo of MB. G38e 1/59 Ibid. 51:2 p.52: W40+; W117. G38f 1/60 Ibid. 52:2 p.39: T9#3; MB to give New School lecture: "Aspects of Opera Today".

120 On Blitzstein During His Lifetime G39 1952 Goss, Madeleine, Modern Music Makers NY: E.P. Dutton p. 359369: source of info on 1912 perf of Mozart Coronation Cto; incl. musical example from W95 II:3, photo of MB: See comments on W72. G40 7/52 Bennett, Elsie M., "The Accordion Part in Serious Music [Part 3]: An Interview with Marc Blitzstein," American Accordionists Association News 3:3 p. 3-4 MB used accordion in W72 & T9 q.v. +photo of MB. G41 12/53 RePass, R., "American composers of today," London Music 8 p.29. G42 1954 Blom, Eric, ed. Grove's Dictionary of Music and Musicians, v.I p.762-3. G43 1954 Gassner, John, Masters of the Drama, 3d ed. NY: Dover, p. 76: See W72.5.1.3 12/1937, W72.5.1.15, W72.36.33. See also W108.1.7. G44 1955 Chase, Gilbert, America's Music, p.646-7: "opera[s] of 'social significance'" W72, W78; "nonpolitical" W107 + T9. See also P2b. G45 1955 Scholes, Percy A., "Marc Blitzstein," Oxford Companion to Music, 9th ed., p.111. See W72. G46 8/56 Ellsworth, Ray, "Americans on Microgroove," High Fidelity 6:8 p.64: MB "a major contributor to our musical life... a greatly gifted composer who successfully fuses art music and popular music to a serious purpose... has been the victim of record company economics"; praises W72,W78,W95,W107,T9: "Westminster promises to remedy this lack very soon [A76]." G47 1957 Downes, Olin, Olin Downes on Music, NY: Simon & Schuster p.354-5. G48 1/57 Kestin, D., "Western folklore in modern American opera," Western Folklore 16 p.7: re W72, W87a, W95. G49 1/12/58 Taubman, Howard, "American Opera on the Upbeat," NY Times Magazine p.34, 35, 42 +photo of W107 G50 1958 (R8#396-7) Mazzone, Vivien Leone, "Marc Blitzstein, an interview by..." offBroadway : touches on W72, W78, W107, W117, W118, T9, T12 +caricature of MB. G51 11/58 (R69#315-21) Flanagan, William, Jr., "The Riotous Garden of American Opera," High Fidelity p.44, 144: re W72, W78, W107 (q.v.). G52 1959 Composers of the Americas, Organization of American States (Eng. & Sp.) 5 p.22-8.

On Blitzstein During His Lifetime 121 G53 1/6/59 FBI Report Declassified 6/8/88: "Subject has been associated in the past with Civil Rights Congress, League of American Writers, Council of American-Soviet Friendship, Negro in the Arts and American Labor Party.... Veterans Administration record shows subject was treated for psychoneurosis in 1947. He was noted as a detached, withdrawn individual with marked depressive features, the majority of which were the results of psychoneurotic disturbances. He has blocking in his creativeness, marked inhibitions in his inner personal contacts with some suicidal preoccupation." See also A43; G35, G36, G57; M2-4, M6-10, M12-13, M15; W56.2a, W72.5.2.50, W72.34.1, W72.36.2, W75.11, W78.2.2, W78.4.0, W87.5.9, W91#2.2, W94.4.7, W95.1.2, W95.3.10, W95.8.13, W102.0.1, W102.0.3, W102.1.1, W107.1.1, W107.2.55, W107.20, W107.24.1, W107.24.2, W108.1.7, W108.1.12, W123.1.11, W123.3.11.2, W123.5.7, W126.0.13; P55 under W106 12/02; T9.5.1. G54 7/59 (R8#398-9,403-4) Edmunds, John & Gordon Boelzner, "Some Twentieth Century American Composers: A Selective Bibliography," Bulletin of the New York Public Library 63:7 p.341; v.2 p.23-4. G55 1960 Barer, Bertram, "A Rhetorical Analysis of the American Presentational Social Theatre of the Thirties," diss. Univ. of Minnesota; incl. analysis of W72; cited in W72.53.6 1980 Bell, p.61nl43. G56 2/29/60 (R69#297) Ross, Don, "Blitzstein Is Winnowing Sacco-Vanzetti Roles," Herald Tribune:. See W56, W107, 123. G57 3/30/60 Sokolsky, George E., "'Sacco and Vanzetti' On the Met Stage?," NY Journal-American . See W123.3.7. G58 4/3/60 Lang, Paul Henry, "Music and Musicians: Naturalistic Opera and Its Problems," NY Herald Tribune . See W123.2.4. G58a 12/13/60 Lang, Paul Henry, "Opera," NY Herald Tribune. G59 1961 Composers Forum, 25th Anniversary Survey (NY). G60 1961 Machlis, Joseph, Introduction to Contemporary Music NY: W.W. Norton, p. 569. See W107. G61 1962 article on MB in Ma'ariv [in Hebrew]. G62 7/29/62 (R7#423) Dunévich, Natan, article on Marc Blitzstein clipped from Haaretz [in Hebrew]. G63 10/12/62 (R8#413 & R9#493) Marlowe, Sheilah, "Campus Chronicler: Marc Blitzstein of Philadelphia: Bennington's Playwright-in-Residence," Bennington Banner. G64 5/14/63 (R8#422) Secrest, Meryle, "For Threepence: He Doesn't Mind Being in Shadow," Washington Post. See W40, T9. G65 1/22/64 (R4#934) [Martinique U.S. consular official] William B. Milam to Josephine Davis: "MARC BLITSTEIN [sic] HOSPITLAIZED [sic] AUTO ACCIDENT YOUR PRESENCE NEEDED IF POSSIBLE TELEPHONE AMERICAN CONSULATE"

Death Notices & Memorial Tributes [Asterisk* indicates article in collection kept by MB's mother.] report M1 telegram (R4#936 ) 1/22/64 Ibid.: "REGRET NOTIFY DEATH YOUR BROTHER MARC BLITZTEIN [sic] JANUARY 22 IN MARTINIQUE" obituaries M2 1/23/64 "Composer Blitzstein Killed In Martinique Auto Crash," NY World-Telegram p.1. Clipped by FBI. [1/23/64 Armando Fernandes, 26; Alfredo Mendez Rodriguez, 34; Daniel Yves Charles Nicolas, 17, arrested; later tried for involuntary homicide and theft. The first two were Portuguese seamen, native of Madeira, legal residents of Venezuela. The boy, also a seaman, was from Martinique.] M3 1/24/64 "Marc Blitzstein , Composer, 58, Killed in Automobile Accident: 'Threepenny Opera' Adapter Wrote 'Regina'--Had Been Prodigy on the Piano," "Played Piano at 3" "Adapted O'Casey Work" NY Times, p. 1, 24 incl. photo of MB. Clipped by FBI. Declassified 10/22/96. M4 1/24/64 "Blitzstein Rites in Philadelphia," Journal-American Clipped by FBI. Declassified 10/22/96. M5 1/24/64 Salzman, Eric, "Obituaries: Marc Blitzstein--Musical Voice Suddenly Stilled," Herald Tribune incl. statement by LB: "I can think only that I have lost a part of me; but I know also that music has lost an invaluable servant. his special position in musical theatre is irreplaceable." [In 2005 Salzman recalled having written and publ. an interview w/MB in 1963, but it has not been found.] M6 1/25/64 "Blitzstein Was Slain in Beating; 3 Seized," NY Daily News p.5 "two Portuguese and one Martinican sailor got into a dispute with the composer Tuesday night and beat him.... The three arrested seamen have not been charged. Police said they apparently were drunk at the time of the attack." Clipped by FBI. Declassified 10/22/96. M7 1/25/64 "3 Sailors Accused of Killing Blitzstein," NY Times p.l. Clipped by FBI. Declassified 10/22/96. M8 1/26/64 "Blitzstein's Body Will Arrive Today," NY Times Clipped by FBI. Declassified 10/22/96. report M9 1/26/64 Kirk, Don, "Three Seamen Held in Killing Of Blitzstein," NY Post +photo of MB: "Tragedy in Martinique" W123 "was almost finished, his sister said, except for minor changes he wanted to make." W126 & 127 "are complete enough for eventual staging, she said." Clipped by FBI. Declassified 10/22/96.

Death Notices & Memorial Tributes 123 memoirs M10 1/26/64 Lyons, Leonard, "The Lyons Den," NY Post "a gentle man whose behavior never antagonized anyone." MB on Nazi-Soviet pact: "It's a very easy enigma." Anecdotes re W72, W78, W95, W107, W123, T9. Clipped by FBI. Declassified 10/22/96. diary note M11 1/27/64 Rorem, Ned, Diary entry, published 1974 in his The Final Diary NY: Holt, Rinehart & Winston, p.88. See W127. Reprinted in: M11.1 1994 Ibid., Knowing when to stop : a memoir NY: Simon & Schuster, p.319-20. p. 104 MB "forever championed the working class but avoided rubbing elbows with them unless they were rough trade (which wasn't quite elbows)." p.296 recalls hearing MB singing W88#1 (q.v.) in his "composer's voice" at Great Barrington MA 7/46. MB "composed specifically for such a voice. With his wheezy larynx he could put over his own songs because of a fearless, horny conviction that I've never heard elsewhere." See T9. "In retrospect, heard through 'real' voices, one realized that his left-wing ditties are lessened by standard beauty." p.314 "Marc played and sang for us with such tough and telling charm, suddenly everything feel together, the pudding was in the eating, the components of his art meshed. Harmony churned, counterpoint spoke, the rhythm was catchy and the color luminous, the tunes came across...." p.312: MB was concerned with "the collective woes of Everyman." Cf. W127. +See W95, W107, W108. p.313: MB was "murdered by rough trade... on the isle of Martinique by three seafarers of the very type he had spent a lifetime defending." p.315 "if Marc could ever have been deemed a failure, he is not that today, and his renaissance, as well as his historicity..., now allows him to be judged in perspective." p.315-9 Quotes letters from MB to Ned Rorem (also in W107.50.4 1994 Yale Review v.81#3 p. 152) M11.1a 7/14/49 on W107 "I sit chained to the desk, getting the orchestration... done in time for a deadline." M11.1b 11/8/57 on song Rorem dedicated to MB: "charmed and impressed... why the hell don't you present it in person?" M11.1c 1/6/59 on A84 2/24/59. M11.1d 8/6/59 on W125 commission. M11.1e 2/24/60 on Poulenc. M11.1f 6/29/60 on Brecht, Weill, and work "nearly twelve hours a day" on W123. M11.1g 2/22/62 "Work goes fine, if slowly." concert preview article M12 1/29/64 "Concert Planned Here In Honor of Blitzstein," NY Post: mentions W123, W127. '"I hope that none of his music has been lost,' Mrs. Davis said." Clipped by FBI. Declassified 10/22/96.

124 Death Notices & Memorial Tributes report M13 1/29/64 "Blitzstein Buried Without Ceremony," NY Times, p.20. (In Chelten Hills Cemetery, Phila.) Clipped by FBI. Declassified 10/22/96. obituaries M14 1/29/64 obituary, Variety 233 p.67. M15 1/30/64 "Blitzstein Rite Tomorrow," NY Times: "memorial service... at Helen Hayes Theater. The speakers will include Lillian Hellman and Dr. Sam Standard." Clipped by FBI. Declassified 10/22/96. M16 2/64 obituary, Musical America 84 p.59 played "Mendelssohn and Offenbach by ear," studied "piano and organ" at Univ. of Pennsylvania; +photo of MB. M17 2/64 obituary, Neue Zeitschrift für Musik 125:3 p. 122. M18 2/1/64 "Marc Blitzstein killed in auto accident," Cash Box 25 p.34. M19 2/1/64 "Marc Blitzstein killed in crash," Billboard 76 p.4. M20 2/3/64 "A Special Marc," Newsweek 63 p.77: "He wrote Broadway operas which were melodic, unsentimental, and charged with social protest... with a force and clarity which playwrights might envy. ...too old-fashioned for the avant-garde and too modern for the conservatives--...got along nicely on merit alone." See W72, W107, T9. Also mentioned: W123, W126, W127. "'I want to know what's going on,' he said. He still wanted to know when, at 58, he was killed last week in Martinique.... 'His special position in musical theater, said Leonard Bernstein, is irreplaceable."' M21 3/64 obituary, Melos 31 p. 107. M22 4/64 obituary, Opera 15:4 p.272: "His wife [sic], Lina Abarbanell, a singer,... died in 1936." concert preview article M23 4/8/64 "Marc Blitzstein Tribute at Philharmonic Hall," Variety 234 p.79. M24 4/18/64 obituary, Opera News 28:23 p.36 lists T9, W72, W78, W107, W23; +photo of MB rehearsing W72.

Death Notices & Memorial Tributes 125 M25 4/19/64 Memorial concert, LB, cond; Philharmonic H1; David Oppenheim, prod.: W107 "major scenes"; W127 Sc.4 #1; 126 Sc.6; 123 II:5 Pt 4; W72 Sc. 1-7, 9-10 (q.v.). Recorded but not released except privately. See W127. reviews M26 *4/20/64 Johnson, Harriet, "Words and Music: Bernstein and 'The Cradle' Rock," NY Post p.15: "Marc was my friend. ...In ordinary life, he was mild, gentle and humble. But the vibrancy and determination" in his account of W72's opening, "revealed eloquently the convictions which shot" W72 "from his creative soul like a rocket.... For sheer originality and creative strength, he never surpassed or equalled himself in subsequent works though he wrote music of significance until" the end. See W72, W127. M27 *4/20/64 Rich, Alan, "At Philharmonic Hall, Loving Tribute To the Memory of Marc Blitzstein," NY Herald Tribune p. 12 "Blitzstein was both hero and victim in the history of musical drama in America. A composer with 'serious' training, he would have been an operatic creator beyond question in any other era. But he was also a man of the theater, and in the American theater 'opera' has always been a dirty word. And so, he sat on the fence, although he was uncomfortable there.... But one thing that this concert made clear,... is that Blitzstein lived long enough to overcome that malaise. The three new songs, all of them from 'operatic' creations, had the ease that he had sought, and failed to find, in W107. See W123, W126, W127. M28*4/20/64 Schonberg, Harold C, "Music: Marc Blitzstein" "Memorial at Philharmonic Hall Attracts Noted Artists and Capacity Audience," NY Times p.35. See W72, W127, T9. M29 *4/20/64 Webster, Daniel, "Blitzstein Concert--Tribute to Composer," Philadelphia Inquirer p.24: "this American wrote dramatic and effective opera in an individual idiom about things close to American nerve ends." See W123. M30 4/22/64 "Marc Blitzstein Memorial," Variety 234 p. 147. M31 *4/30/64 Kerner, Leighton, "Music: Marc Blitzstein," Village Voice pp.6, 17: "this Blitzstein-fan-disguised-as-a-reviewer would willingly have stayed for" more... See W72, W78, W107, W108, W126, W127. M32 5/64 Harrison, Jay S., "Jay S. Harrison Covers the New York Music Scene," Musical America 84:5, p.[2?]33-4. See W123. M33 *5/2/64 Kolodin, Irving, "Music to my ears: In Memory of Blitzstein...," Saturday Review 47 p.25: MB was "a composer of individuality and dogged devotion to his own musical concepts... fertile in the invention of words and phrases, lines and rhymes that suited his characters as closely as the music in which he depicted them... [and] a pungent and discriminating critic... [H]is works-in-progress... suggested that there was a subtler, more profound music in" MB "which, alas, we shall never hear." See W123, W127.

126 Death Notices & Memorial Tributes obituary M34 Spring 1964 "Death Came Calling," W107B&C.

Sing Out

14:2 p.2.

See

memoirs M35 Spring-Summer 1964 Copland, Aaron, "In memory of Marc Blitzstein," Perspectives of New Music 2:2 "He took a certain pleasure in needling his audiences, in telling unpleasant truths straight to their faces. To sing these truths only gave them greater poignancy. The moral fervor that fired his work in the depression-haunted 'Thirties resulted in the writing of" W72. "The opening night... made history; none of us who were there will ever forget it. His later operas," W78 and W107, "were musically more ambitious, with a broader dramatic range. They gave full play to his brilliant gift for musical characterization. He could be sarcastic, parodistic and even derisive at times; but he could also be gentle, tender and tragic. Most important of all, he was the first American composer to invent a vernacular musical idiom that sounded convincing when heard from the lips of the man-in-the-street. The taxi driver [? Was he thinking of LB's On the Town?], the panhandler [W78II:1#3], the corner druggist [W72Sc.5] were given voice for the first time in the context of serious musical drama. This is no small accomplishment, for without it no truly indigenous opera is conceivable." MB "would have been the first to acknowledge his debt to Brecht and Weill, but the fact remains that he gave their theatre an American imprint, an American 'tone.'" MB's "life exemplified a truism that needs to be re-emphasized today, namely, that 'every artist has the right to make his art out of an emotion that really moves him.' Those of our composers who are attracted by the immense terrain of new techniques now available to them would do well to consider that humanity's struggle for a fuller life may be equally valid as a moving force in the future history of our music. It was the basic motivation for Marc Blitzstein's art, and resulted in a contribution to American music that is yet to be fully evaluated." Reprinted as "Marc Blitzstein Remembered," in W72.53 record album notes. Also reprinted in: G4b 1968 Copland, Aaron, The New Music, 1900-1960 NY: Norton, p.l35f. Partially quoted in P22a. M36 6/64 Lederman, Minna, "Memories of Marc Blitzstein, Music's Angry Man," Show, p.18ff on W69, W72 (q.v.), W78, W95, W123, and MB's articles for MM. Reprinted in M36a 1983 Ibid., The Life and Death of a Smal Magazine (Modern Music, 1924-1946), Institute for Studies in American Music (Brooklyn NY) Monograph #18, p.67. M37 6/3/64 Levy, Caryn, "College Program to Honor Late Teacher Marc Blitzstein," Bennington Banner p.9.

Death Notices & Memorial Tributes 127 M38 6/6/64 Memorial concert directed by Reed Wolcott in the Carriage Barn, incl.: W72 (exc.); W78II:1#3; W107 (exc.); W117 (exc.); W126 Sc.6; W125#3. memoirs M39 1/65 LB, Commemorative Tribute to MB; Proceedings of the American Academy of Arts and Letters, National Institute of Arts and Letters, Second Series, No. 15, NY, p.479-480; reprinted in LB, Findings (NY: Simon and Schuster, 1982) pp. 225-6: "Gallantry, vivacity. Wry, Talmudic humor. A fresh, slanted view of everything. A secret affair with word-notes. Loyalties of improbable intensity, in unlikely places. Endless affection, grace. Endless capacity to suffer through quarrel, to find truth, or if not, to invent it.... I have always thought of you as the chief survivor, of the welts of passion, the agony of commitment, of a long chain of beautiful work-failures.... Dear Marc, they are asking me to finish your uncompleted works.... Those unfinished manuscripts of yours stare at me grimly, melodramatically, reminding me of the technique you so often used, of ending a scene or a song without a flourish, no compromise, flat, just like that, with an empty bar. Challenge. But so many empty bars make the challenge absurd." See W108, W123, W127. M40 1965 (R8#456) Malamud, Bernard, Proceedings of the American Academy of Arts & Letters II:15, p. 457: short tribute to MB. reports M41 4/1/65 "2 Sailors, Youth Guilty in Death of Blitzstein," Philadelphia Inquirer. M42 4/1/65 "3 Convicted in Fatal Assault On Musician Marc Blitzstein," Philadelphia Bulletin. M43 4/2/65 "Three Guilty of Assault in Marc Blitzstein Death," NY Times p.10: Armando Fernandes was sentenced to 3 years; Alfredo Mendez Rodriguez to 14 months; Daniel Yves Charles Nicolas given suspended sentence and 3 years probation. M44 11/70 Ober, William B., "De mortibus musicorum--some cases drawn from a pathologist's notebook," Stereo Review 25:5 p.81-2: "robbed and beaten to death by three sailors... The circumstances were suspicious, and full details may never be known.... The police are reported to have stated that he was 'badly mauled.' Lacking an autopsy report, we can only conjecture the specific cause of death." See also G31b, P2c.1, P10, P23, MtM p.526-7.

General Articles & Documents on Marc Blitzstein After His Death along with concerts including 3 or more of his works [Those centering primarily on one work are classified under that work. Asterisk* indicates article in collection kept by MB's mother.] articles P1*5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter p.46, 4850. (This writer's work was particularly recommended to LJL by Jo Davis, 7/70.): MB "was one of our most talented writers for the musical theatre... yet he never achieved conventional Broadway success.... Who sings a Blitzstein tune in the shower? ...Blitzstein's music is always more dramatic than lyric. He is so aware of what is going on on stage, in the play, that his music's life is there and, one might almost say, only there." See also W40, W56, W65, W72, W78, W107, W126. P2 5/65 Dietz, Robert J., "Slonimsky's 'Theory of Assimilation' and Marc Blitzstein," paper read to American Musicological Society (Northwest Chapter), Portland, OR. P2a 1970 Dietz, Robert J. "Marc Blitzstein and the 'Agit-Prop' Theatre of the 1930's," Yearbook for Inter-American Musical Research 6 p.51-66. letter P2b 9/16/71 (R5#122) Robert J. Dietz to Jo Davis: "I received a call from Leonard Lehrman a few days ago requesting a copy of the above article. "Since I hadn't received reprints from the publisher at that time I was quite surprised by his interest. Some fifteen minutes later I was convinced that I had just met an even-more intense admirer of Marc Blitzstein than I!... Leonard told me of your great kindness to him and of your encouragement in the production preparations [of W54 & W75]. He also told me of the tragic fire which destroyed many of your personal possessions... The enclosed is a reprint of my article... which was published just this week. The periodical is edited by Gilbert Chase who was apparently fascinated by some of my judgments which conflicted with his own as stated in his America's Music. ...it is 'lifted' rather liberally from my thesis." See G44. thesis P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., Univ. Microfilms #7015,591, discusses most of MB's works, analyzing W72, W73, W75, W76, W78, W83 (q.v.). See also W52.4.2. thesis review P2c.1 1974 Berlin, Edward, Current Musicology 18 p. 120-6: MB "was an outspoken participant in society, an artist notably conscious of his role and responsibilities." Re MB's death: remembering M3, reviewer finds info (contained in M7) "startling" and asks: "Was there any political motivation for the crime?" Corrects Dietz's misstatement summarizing W72 Sc.9: Joe Hammer, not Joe Worker, was "injured," not "murdered." Faults "the lack of correspondence between example and description," giving 3 musical examples, from W78 "II:5" [sic: II:7] and W72 Sc. 3 & 7#1. "Rather than being 'simple and predictable,'"

Posthumous Articles & Documents 129 [Dietz's phrase] the harmonization in W72 Sc.3 "is a classic example of Blitzstein's disposition to affect a commonplace manner while achieving an uncommon result." See also W72. article P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins, "Kurt Weill Studien p.189n88: criticizes Dietz's, and others', "undifferenziert" [undifferentiated] lumping together of the influences on MB of Brecht, Weill and Eisler. thesis P3 7/29/65 Talley, Paul Myers, "Social Criticism in the Original Theatre Librettos of Marc Blitzstein," Univ. of Wisconsin Speech-Theater Ph.D. diss., Univ. Microfilms #65-14,935: p.43: "Blitzstein reflects attitudes which were common in America during most of his writing career: the beliefs that simple decency is the surest answer to life's problems, that men united cannot fail, and that the underdog is particularly worthy of affection, particularly if the underdog is a fearless scrapper." P3a 9/17/71 Paul Talley to LJL [on LB & Menotti]: See under W107. P3a.1 Spring 2001 LJL, '"Mr. Contemporary Opera'"" [Menotti] Opera Today, p.3: See under W107. book P4 1966 Austin, William W., Music in the 20th Century (NY: W.W. Norton), p. 500, on W72 & T9. See also P9.1 10/31/72 under W72. article P5 Winter 1966 Peyser, Joan, "The Troubled Time of Marc Blitzstein," Columbia University Forum, v.9#1 p.32-7. (Originally for, but unpubl. by Horizon.) See W127. Reprinted in her 1998 The Music of My Time. review P5.1 10-11/98 Wyatt, Robert, American Music Teacher 48:2 p.73-5 "particularly enlightening peeks into the lives of Henry Cowell, Marc Blitzstein..." etc. book P5a 1987 Peyser, Joan, Bernstein: A Biography. review P5a.1 Summer 1989 LJL, American Music 7:2 p.297-209: "documents in greater detail than ever before the important musical, personal, and political influence" of MB on LB. "Peyser writes that Bernstein 'came under considerable pressure from Blitzstein's circle of friends to complete the opera' (p. 367). But this refers not to" W123 "but to" W127. speech P5b 8/18/01 Peyser, Joan, opening remarks as moderator of panel at White Barn Theatre "Symposium on the Marc Blitzstein/Leonard Lehrman Sacco and Vanzetti," accepted for publ. but not yet printed in Opera Journal, posted at incl. remarks by LJL, Robert Palmer, Brenda Lewis, Anton Coppola, and audience members. See also W123.15.

130 Posthumous Articles & Documents concert revue P6 11/30/66 Blitzstein! Provincetown Playhouse, NY; Mira Gilbert, Norman Friesen; Peter Basquin, pno; Ellen Pahl, dir.; incl.: W72 Sc.4#2, Sc.5#2, Sc.6#3, Sc.7#1&3; W75; W78I:1, I:11#2, II:1&3; W95 III:2, II:3, III:4; W107 II:2#4b, III:7; W108 I:1#2, I:5#5; W116 #4&2; W120#2; W125 #5&7; T11 #1&3; T9 #14 & 9 +Entr'acte arr. by Basquin. Prog notes by Aaron Copland: "The present generation of musicians has little sense of who he was and what he accomplished." Attended by Jo Davis & family; party at Boudins' afterwards. P6.0 letter (R4#838) 10/26/64 Mira Gilbert to Joe [sic] [Davis]: 10/63 MB met w/Mira Gilbert & Lou Norman re this project. reviews P6.1 12/1/66 '"Blitzstein!' Worthy of the Man," The Record: "a rewarding retrospective of a specialized talent... occasionally awkward... But in the second half the array sparkles and sings." P6.2 12/1/66 Nadel, Norman, "At the Theater: A Night of Blitzstein," NY World Journal Tribune: "...their craftsmanship does not measure up to their high purpose." P6.3 12/1/66 Oppenheimer, George, "On Stage: Blitzstein's Words, Music Get Off-B'way Showcase," Newsday: "amateurish" P6.4 12/1/66 Sullivan, Dan, "Theater: Blitzstein Words and Music: Portrait of Composer Offered in 'Village," NY Times: "a labor of love whose chief appeal will be for the generation that remembers..." P6.5 12/1/66 Tallmer, Jerry, "Across the Footlights: A Blitzstein Memoir": "terribly dated" though "'Threepenny' ...takes off." P6.6 12/2/66 Bolton, Whitney, "Stage Review: 'Blitzstein!'~Music Remains 'Resistable,'" NY Morning Telegraph: "mannered... dissonant... propagandist" And yet: "For those aware of his work and the nature of his composing, this evening of Blitzstein will offer an opportunity fully to savor his work." book P7 1968 Gruen, John, Close-Up (NY: Viking) p. 167-71: interview & last photo in NY; See W123. articles P8 1968 Stuckenschmidt, H.H., "Bekenntnismusik ausserhalb der Kirche," Schweizerische Musikzeitung (Zürich) 108:6 p.372: "sozialistische Bühnenstücke... revolutionär engagierte... sozialkritisch" mentions Weill, Boulanger and Schönberg.

Posthumous Articles & Documents 131 P9 4/69 Lehrman, Leonard J. [hereafter LJL], "The Threepenny Cradle: A Study of The Threepenny Opera and The Cradle Will Rock, two works of social drama in the American musical theatre, With Special Emphasis on the Music and the Politics Involved," for Harvard College courses: Comparative Literature 103 Comedy on the Stage, and Social Relations 136 Politics and Literature-"To Professor Harry Levin and to Becky Kaplan Who I Hope Will Read This" Levin's comment on title page: "You've obviously put a great deal of concern into this, gathered some valuable materials, and made some interesting comments. Good luck on your production!" [He became its sole patron.] See W72 & T9. Copy deposited with Kurt Weill Foundation. letter P9.1 10/31/72 William Austin to LJL - See under W72. P9a 5/91 LJL, "The Operas of Elie Siegmeister (1909-1991)," Opera Monthly 4:1 p.24-27: re W117, W126, W127, W127A: MB "got there first" "Bernard Malamud was so pleased with" W127 & W127A "that he brought [sic: bought] the rights to Angel Levine back from the movies and authorized Siegmeister to turn it into an opera." P9b 12/91 LJL, "The Influence of Bertolt Brecht on the American Composers Jerome Moross, Marc Blitzstein, and Elie Siegmeister," Modern Language Association (Brecht Section) convention, San Francisco, 1991; listed on MLA CD-ROM. P9c 4/6/95 LJL, "On Completing Marc Blitzstein's Works," Sonneck Society convention, Madison WI, incl. prem. of W78 II:5#2. P9d 6/9/95 LJL, "Kulturspiegel: Malamud's Angel Levine," Aufbau 61:12 p.10: re W126, W127, W127A&B P9e 2/8/96 LJL, "What Is Jewish Opera?" presentation for Jewish Music Roundtable, Music Library Association convention, Seattle WA, incl. remarks on W126, W127, W127A&B; publ., abridged, with most passages on MB cut, in: P9e.1 2/16/96 "A Symposium in Seattle: Jewish Opera," Aufbau 62:4 p.13; also appeared, in full: P9e.2 6/96 LJL, "What is Jewish Opera?" Opera Journal 29:2 p.56-61; See also W107, W117. P9f 8/30/96 LJL, "The Works of Bernard Malamud--On Stage, in Films, in Music, and at the Bookstore," Aufbau 62:18 p.15: re W126, W127, W127A&B. P9g 11/03 LJL, "Making the Political Personal," New Music Box #55 5:7 <www.newmusicbox.org/page.nmbx?id=55hf07>, reprinted in: Fall 2003 Sassafras: Journal of the People's Music Network for Songs of Freedom and Struggle p. 4-5 as "Making the Personal Political" [sic; corrected in online version]: "In Blitzstein, who had written operas that were musicals and musicals that were operas, always with an undertone of social criticism and class consciousness, I found my own voice, and the opportunity to pick up where Blitzstein left off, to complete the work of the voice that had been stilled when he was robbed and killed before reaching his full potential as a composer."

132 Posthumous Articles & Documents P9h 2/12/04 LJL, "The Jewish Social Conscience in Music, from Sacco and Vanzetti to the Rosenbergs," Jewish Music Roundtable, Music Library Assn convention, Arlington VA; posted, Jewish Music Website. See also P3a.1, P5a.1, P5b, P10, P16, P19e, P19e.11, P19e.11.2, P28, P29a, P33, P34, P39, P47, P48, P48.3, P50.1, P53, P54, P56, P59, P61, P62.2, P62.3, P62.4, P62.6; W27, W35.13, W35.15, W37, W65, W71; W72.5.2.65a, W72.56, W72.58, W72.100.2; W75.18, W78 I:5#2, W80, W91#2, W100, W101, W117 I:5#1&2, W123, W127. recorded interviews P10 8/70 LJL's w/Virgil Thomson in Bennington VT (posted on, then removed from Marc Blitzstein Website, 2001; will be re-posted by LJL); most memorable quote, made when tape was turned off: When asked re MB's sexual orientation-VT: "Oh, Marc was queer as a coot!" Thomson admired W72 in the 1930s & 1940s; less so at NYCO; found W107 wanting, and was curious about W127. Speculated that MB's death might have resulted from his getting drunk and then getting into a political argument with the black Portuguese sailors who beat him up, whom Thomson called "notoriously reactionary." See G31b&c, P23. Recommended interviewing Houseman. P10.1 9/70 LJL's (and Norman Siegel's) w/John Houseman in NYC (posted on, then removed from Marc Blitzstein Website, 2001; will be re-posted by LJL - footnoted in online article on W72 at - See W72 and P12. P10.2 12/70 LJL's w/Lotte Lenya, with Lys Symonette present, in NYC Not yet transcribed or posted. Referred to in W71.3.1 article. See also T15. articles P11 1971 Siegmeister, Elie, "Marc Blitzstein," Dictionary of 20th Century Music; ed. John Vinton, p. 86. Incl. works list. MB "was born into a wealthy family and derived much of his tenderness and savage satirical sense from childhood experiences. His grandmother was a banker who held the family purse strings and made her grandson beg for money to take piano lessons.... Some of his most sardonic stage portraits are those of wealthy art patronesses." [W65; W72 Sc.6; W75 Sc.2] MB "seemed to be making a promising turn in the direction of serious opera in the years before his death.... Like many pupils of Boulanger, he became adept at a 'white-note' diatonic style sprinkled with dissonance. His political orientation after 1931 gave his music the profile and direction it had lacked before. The mature works are characterized by crisp diatonic melodies with a touch of jazz or pop idiom joined to sophisticated harmonies, often containing dissonances, polychords, polyrhythms, and polytonality. The songs sometimes embrace deliberate banalities, parodying commercial commonplaces. Simple tunes, on the other hand, occasionally appear in highly sophisticated contexts.... This musical idiom has had a strong influence, notably on Leonard Bernstein and (indirectly) even on some rock musicians of the 1960s."

Posthumous Articles & Documents 133 P11a 1973 Ibid., in The New Music-Lover's Handbook, ed. Elie Siegmeister, Irvington-on-Hudson, NY: Harvey House, p.536-8. "Reprint" of the above, though it is practically an entirely different article: MB "was a paradox. A musician of high refinement and sophistication, he achieved his greatest successes with compositions of earthy character, whose texts often satirized the rich and exalted the poor." In MB's "most successful works, his melodic speech achieved an elemental character that matched the American vernacular of his own lyrics. He was at his best in depicting urban characters:" W72 Sc.5,7 "and members of minority groups: Poles, Greeks, blacks, Jews." [W72Sc.5, W78, W107, W127] +photo of MB, LB, Copland and Siegmeister "At a meeting, November 1945" of the American Soviet Music Society (unidentified in book). See W72; W75; W78; W107; W127. Both of the above articles conspicuously omit W117; Siegmeister had wanted to set O'Casey's Juno and the Paycock, but ended up writing an opera instead on The Plough and the Stars, which he considered to be his own most important work. See also W72.5.2.62a, W72.35.14. book P12 1972 Houseman, John, Run-Through, NY: Simon & Schuster See W72, W76, W79. p.245 MB studied "composition, first with Schoenberg and then, in Paris, with the celebrated Nadia Boulanger" [sic: he was with Boulanger, not Schoenberg, first, but later went back to her]. See also P10.1. articles P13 1/74 Zakariasen, William, "Pop music by classical composers," High Fidelity/Musical America 24:1 p. 100: "Copland suggests" MB "as perhaps the one good example of a 'slumming' composer... [who] turned out a huge amount of serious music, most of which is unfortunately and unjustly forgotten today..... However, he wrote many popular songs... His premature violent death... cut short a career which, in reverse, resembled that of Gershwin." See W72, W95, W107. Also mentioned: W123. +photo of MB & LB, "Two modern American composers, on the lawn at Tanglewood, have written successfully in both classical and popular styles."

134 Posthumous Articles & Documents P14 1976 excerpts TV perf. "Camera Three," CBS, 2 27 min. programs: videotaped by Creative Arts Television, Kent CT; Muriel Balash, prod./dir.; acknowledgments incl. Jeffrey Lawrence, Jo & Edward Davis; released on video (in color), 1997 together with W72.52 (black & white) 1964. P14a "Marc Blitzstein: Composer with a message" Arvin Brown, Aaron Copland, Howard Da Silva, John Houseman, Brenda Lewis, speakers. Copland: MB "wasn't a conventional concert composer in his own mind, although he could have ben - he had the training to be, but he was passionately desirous of really giving a message that would have some kind of permanent form and that would always be true, no matter what the social situation." Reads from his W78.3.55 (G4a). Houseman reads from his P12. Jerry Jarrett perfs W78 II:1#3; Brenda Lewis W107III:2; Joyce Ebert W117I:3#1. Pianists: Constance Cooper, James Shomate. Teaser for P14b: exc. from W72. P14b "Part 3 The Cradle That Rocked Broadway"; Howard Da Silva (perf W72Sc.7#2&3), John Houseman, LB, speakers. W72 Sc.3Pt3, Sc.4#2Pt2, Sc.5#1&2, Sc.6#2, Sc.9#2, Sc.10#2 perf'd by Anthony Baksa, Terri Balash, Joseph Galante, Jolly King, William Laverty, Jacqueline Theologus; Steven Oirich, pno. LB speaks on W72 Sc.1#1 (his illustration of "combination of deliberate wrong syllabic accent and wrong note" showing the "illiterateness and hopelessness of this girl" forms basis of W72.101 1st scene w/MB); conducts (recording of) W95#l (w/stills of planes); performs W88#1 (q.v.). LB: MB "in a way saw himself [in LB]... 13 years younger, and I identified with him in a very strong way. ...He became a kind of mentor of mine, as much in the field of theater as Aaron Copland had been in the field of absolute music. There came a time when I was playing my music much more for Marc than for Aaron.... He could make very large forms, very big pieces... based on the pop song... as a building block. ...I was tremendously influenced by Marc" esp. in Mass - "my greatest debt to Marc." MB "was and still is, as far as I'm concerned, the greatest master of the setting of the American language to music... The effect that he has had on American musical theatre is incalculable." letter P14.1 9/27/76 (LC) Jo Davis to LB: "Thank you for your homage to Marc. Thank you for your everlasting memory. I cried & laughed at Zipper Fly. Only a big man would acknowledge an artistic debt." book P15 1977 Crawford, Cheryl, One Naked Individual, p. 174, 178-9. See W107, W107.2.92, W108. paper P16 12/77 LJL & Sally Lou Todd, "Bert Brecht & Marc Blitzstein," Modern Language Association Chicago convention paper; copy deposited with Kurt Weill Foundation. Discusses W72, T9, T12, T15.

Posthumous Articles & Documents 135 article P17 1979 Marshall, J., "The American opera libretto in the 20th century" (incl. chronological table), Miscellanea Musicologica (Adelaide, Australia) 10 p. 1457; briefly discusses W72, W78, W107; mistakes Greek waiters in W78 for "Czechs." book P18 1980 Zuck, Barbara A., History of Musical Americanism (Ann Arbor, MI: UMI Research Press), esp. Ch. 5: "Americanism Takes a Left Turn: American Art Music to the Left of Center" discusses W35, W40, W50, W54, W56, W72, W78, W85, W87, W89, W94, W95, W107, W123, W127. p.107: "...the faddish aspect of communist interest does not negate the sincerity of social concern for many involved." MB "was one of the several who found a life-long artistic credo in sociopolitical causes." p.220: MB "America's first moralist of the musical theatre." articles P19 4/12/80 Gordon, Eric A., "Of the People: Remembering American Composer Marc Blitzstein on the 75th Anniversary of His Birth," Opera News 44:19 p.26-9: MB "expanded the acceptable vocabulary of the musical theater, catching the speech patterns of all social classes from steelworkers to society matrons.... Ever in the vanguard of ideas, Blitzstein considered himself a musical conservative. Unimpressed by technical gimmickry, he aimed for direct, passionate communication with his audience. With all the liberation movements abounding today, the stage is cleared for new works to continue the tradition he bequeathed to us." See W43, W54, W56, W107, W127. P19a 1980 Ibid., "The Roots of Regina," Performing Arts 3:8 p.6: "Those who despair at the widening gap between the contemporary composer and the general public still must return to his achievements for study and inspiration." See W107, W117. See also W107.42 [4/88], W107.71.1 [3/11/05]. letter to editor P19b 8/8/88 Ibid., NY Native See W127. article P19c 9/88 Ibid., "A Night at the Opera," Gordon, Eric, Opera News 53:3 p.67: rev. of W107; also on W72; W59; W54; W75; P30; P19e. "A bio-bibliography is being written for Greenwood Press." concert P19d 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe, produced by Eric Gordon, w/Michael Barrett, Camille Capasso, Elizabeth Carron, Mira Gilbert, Bennett Lerner, William Sharp, Juan Vasquez, LJL & HW, incl. W42#4; W45#3; W65; W72Sc.9#2; W78 I:6#3, III:1#3; W88#1; W98; W102#21; W106 #2a, 5; W107 I:7b&c, III:2; W108 I:1#2; W127 Sc.3Pt3, Sc.4Pt1. See also P28a.2.

136 Posthumous Articles & Documents concert review P19d.l 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "varied and engaging concert... pungently lyrical compositions." See W42#4; W45#3; W65; W88#1; W98; W102#21; W107; W107.50.2; W123; W127 Sc.3Pt3, Sc.4Pt1. book P19e 1989 Gordon, Eric, Mark the Music St. Martin's Press [cited throughout this work as MtM] ; the most comprehensive work on MB published to date; reissued in paperback 2002 by iUniverse.com, incl. citations from FBI files (released 8/22/88 - 17 months after death of Jo Davis) & blurbs from Ned Rorem, Martin Bauml Duberman, Eric Bentley, David Diamond; MB's quasicredo (source ungiven), p.273: "I have three strikes against me; three things the world detests. Number one, I'm a Jew. Number two, I'm a Communist. Number three, I'm a homo composer." book reviews P19e.l 2/17/89 Lantuch, Katherine, "'Independent' Alum Completes Biography of Marc Blitzstein," Razor (Hopkins Grammar Day Prospect Hill School, New Haven) 42:6: "remarkable book" incl. interview with and photo by Rick Barnett of Gordon, who "wants to correct misconceptions about Blitzstein." P19e.2 2/24/89 P19e.2 Publishers Weekly: "a thorough account of the life and works... gives exhaustive synopses of the plots of Blitzstein's operas and theater pieces and discusses his life at length, especially his personal relationships and his homosexuality." P19e.3 4/1/89 Lipkis, Larry, Library Journal v.114#6 p.91: "excellent biography... invaluable socio-musical document. Highly recommended." P19e.4 7/16/89 Shewey, Don, "'Moonlight' and Marxism," NY Times: MB's works were "already out-of-date by the time they were finished." P19e.5 8/7/89 Kaufmann, Stanley, "Man of Music," New Republic v.201#67 p.34f. See W23. P19e.6 8/30/89 Dyer, Richard, "The Biography That Marc Blitzstein Deserves," Boston Globe: "a considerable achievement of cultural history... probably the first book to deal with the whole matter of the major role homosexual musicians played in this era... will certainly prompt the reexamination of the music that it deserves." W107.46.1 3/17/91 Ibid., "Marc Blitzstein, a composer's legacy of unfulfilled promise," Boston Globe: "so many of MB's "works were blighted, botched, left incompolete, unrecorded, unpublished" yet "his daring attempt to make artistic use of the American spoken and musical vernacular... has not been surpassed, and... stands as an unanswered challenge still." See also under W107. P19e.7 Fall 1989 Byrnes, Brian, "Books," Kurt Weill Newsletter 7:2, p.19-20: "cluttered with tangential characters and events, and frequently the discussion degenerates into a rudimentary chronology of events propped up by chatty and gossipy irrelevancies.... It is hoped that this book will prompt producers to put

Posthumous Articles & Documents 137 Blitzstein's compositions onto their repertoire lists and inspire scholars to continue researching..." P19e.7.1 Spring 1990 LJL, "Letter to the Editor" [12/22/89] Kurt Weill Newsletter 8:1, p.5-6: "More errors occur in" Brian Byrnes' review than in the book itself, proportionally speaking." See P19e.l5, W115, and T9.3.2.6. reviews P19e.8 10/89 Clare, Gary, Ear 14 p.59: "comprehensive and thoughtful evaluation of the life and contribution of" MB, "badly in need of reappraisal." P19e.9 Winter 1989 Nalley, Jon, "Blitzstein: A gay radical music maker," Guardian Book Review Supplement, p.20: MB "never gave up a commitment to fighting for social justice--and never, ever, did he recant the views he'd held while in the party....Paul Robeson bid farewell to Communist leader Eugene Dennis (one [sic: on] his way to jail) with a song by Blitzstein." [W78 II: 10#1] P19e.l0 1989-90 Central Opera Service Bulletin 29:4 p.69: MB "deserves much of the recognition author Eric A. Gordon advocates." W72, W107, W108, W123 "innovative and prophetic attempts at a new type of music theater." P19e.11 1990 Robinson, Earl, Sing Out 35:3 p.85:"I knew Mark[sic] Blitzstein as a friend, fellow composer and coworker in the good conspiracy to help create a better world through our words and music. I also know Eric A. Gordon... a beautiful biography... get it and be creatively inspired." P19e.l2 1/5/90 "Putting on a Radical Show," (London) Times Literary Supplement #4527 p. 14. P19e.l3 3/90 Haufrecht, Herbert, "Marc Blitzstein Portrayed," Jewish Currents 44:3 (480) p. 16-18: "My casual acquaintance with" MB "in the Composers Collective and as a staff composer in the WPA Federal Theater was enriched..." Haufrecht had, in 6/89, participated in a People's Music Network Songs of Freedom & Struggle workshop on the Composers Collective (see P29a). P19e.l4 3/90 Kendrick, Robert, Notes 46:3 p.628-30: "a labor of love" on "the life (but not, pace the author and the subtitle, the musical work)... no musical examples... a much-needed introduction to a chapter in American musical history that has often been mentioned but seldom understood.... some pertinent biographical material is missing... (sketches? vocal parts? full score?). [T]he unpublished scores... may well contain some of Blitzstein's most interesting music." MB's "music is quite different from that of his supposed mentor, Hanns Eisler. For instance, harmonic clichés are treated in different ways in the two composers' works.... Further, the intended audiences of the two bodies of work are altogether different..... One of the tragedies of Blitzstein's life was that he was musically gifted, both as composer and as pianist, but that the gifts sometimes went to waste, either because of an inability to finish works or because of the composer's insistence on writing the scenarios and librettos for his major dramatic works himself...."

138 Posthumous Articles & Documents P19e.l5 3-4/90 LJL, Jewish Affairs 20:2, p. 18-20, 23 Quotes MB in A44 1/5/41: '"Why in the name of common sense didn't I secure a collaborator?' This is a question which historian Eric Gordon must have looked in the mirror and asked himself many times--or should have.... Gordon's experience and admirable perseverance are not supplemented by superior scorereading abilities or knowledge of either psychology or musicology. But he has had a lot of help (250 pages with notes from this writer, for one), and...it is obviously a labor of love, and an invaluable compendium of facts and anecdotes... though not 'the definitive statement of Blitzstein's work and life' it advertises itself to be." Quotes P19b 8/8/88 on W127. See also A93 4/2/62. Quotes W75.16.3 letter of LJL to Eric Gordon. Quotes John Fuegi on Brecht scholarship in 1971. "Martin Esslin believes Brecht was a great playwright despite his being a Communist. Ernst Schumacher believes Brecht was a great playwright because he was a Communist. Today we are beginning to realize that Brecht was a great playwright and he was a Communist. I think that's what composers like" MB & LB "deserve too, vis-à-vis their sexuality. There have always been those like Joan Peyser who will claim that their greatness as composers was and is in spite of their acknowledged homosexuality. And now we have authors like Eric Gordon who insist that their homosexuality is part of the reason for their greatness. Eventually we shall see that they were great composers - and they were predominantly homosexual in their sex preferences." Also submitted to, but unpubl. by American Music. P19e.l5.1 5-6/90 Eric Gordon, letter to the editor, Jewish Affairs 20:3, p.2, 15, 19, 21: "deeply aggrieved... This is a biography, not a musicological treatise.... Leonard, go to it! Write a musicological treatise! See if you find a publisher... [T]here have been reviews so far in ten different publications oriented toward a gay/lesbian readership [along with Kirkus, Booklist...]." Quotes other reviews (incl. P19e.6): P19e.l5.1.1 Hartford Courant "an important document... will sharpen our awareness and understanding of the man; it would be nice to think it will also arouse a renewed interest in his music." P19e.l5.1.2 Boulder CO Camera: MB "a man who needs to be known in these days of pale patriotism and national complacency." P19e.l5.1.3 Arizona Daily Star: "Perhaps, thanks in part to the interest this book should generate, we may eventually get to know him better through his music." P19e.l5.2 5-6/90 rejoinder by LJL: "[L]et me express my joy that so many critics have written so well about" P19e. "And let me, publicly, thank Dr. Eric Gordon for having helped to do something I have been trying to do for 17 years: to interest a company in doing the orchestral premiere of Tales of Malamud. Thanks in large part to his book, which called Blitzstein's work to Richard Marshall's attention, the Center for Contemporary Opera plans to present that orchestral premiere next spring in New York. Thank you, Eric. And good luck to you." See also T9.3.2.6.

Posthumous Articles & Documents 139 reviews P19e.l6 4/24/90 Maves, Carl, "A full score," Los Angeles Advocate #549 p.62. P19e.l7 9/90 McKinnon, Arlo, Jr., Opera News 55:3 p.48: "an earnest attempt to remove and explain the obscurity that surrounds this enigmatic man." Mentions W72, W78, W94, W107. See W123. "Gordon has opted for the currently fashionable 'warts and all' approach to biographical writing.... a plethora of information, some of it of secondary importance." See also P26f. 1 1991. (recording) review P32.1 11-12/91 Kimball, Carol, "Listener's Gallery: Marc Blitzstein: 'Zipperfly' and Other Songs," NATS 48:2 p.39: MB's "career is brilliantly chronicled in" P19e. book review P19e.l8 3/31/91 Mass, Lawrence D., Journal of Homosexuality v.21#3 p.131: MB was "one of the few composers in the history of lyric theater to bridge the casm between agitprop and grand opera and the only one to receive a commission from the Metropolitan Opera" for W123. articles W28.1 Summer 1995 Metzer, David, "Reclaiming Walt: Marc Blitzstein's Whitman Settings," JAMS 48:2 p.240-71, reprinted in Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood, ed. Lawrence Kramer, NY: Garland (2000), p.83: "a rare item in American music studies: A biography of a gay composer that deals openly and sensitively with the subject's creativity." P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins," Kurt Weill Studien: "umfangreichen und sehr gut recherchierten" [wide-ranging and well-researched]. W72.93 1997 Block, Geoffrey, Enchanged Evenings: The Broadway Musical from Show Boat to Sondheim, Oxford Univ. Press, p. 117: "longest biography to date of an American composer"; p. 365: "does not include an analytical component." See also P28f. 1 11?/?/90 for another review of P19e. articles P19f 1989 Gordon, Eric A., "Ethics and Evidence in Gay Biography: American Composer Marc Blitzstein," Empathy v.4 #1-2. P19g 1-2/05 Ibid., "Marc Blitzstein at 100: A Renewal of Interest in a Dark Time," Jewish Currents 59:1 (628) p.28-9: MB "the first and single greatest inheritor of the Weill-Eisler-Brecht aesthetic... who first placed the American language, as it is spoken by all our social classes, into the mouths of singers on the stage, and who found dramatic source material in the lowly circumstances of ordinary working people. ...Young people, in whom Blitzstein always placed his hopes, are more exposed

140 Posthumous Articles & Documents now to his special world. Performers are beginning to look at his two string quartets [W48, W55; unmentioned: W18, W58] and his solo piano music [W8, W9, W10, W16, W17, W20, W29, W35, W39, W46, W50 (exc.), W57, W98, W107, W108, W110, W112, W113, W128]." MB "sought to raise the bar for American theater audiences by treating controversial subjects and by writing memorably fresh and exquisitely crafted music." LB, Tony Kushner, and "[c]ountless other composers and writers for the stage now claim social issues of various kinds as legitimate subject matter. All owe a profound debt, if often unacknowledged, to" MB's "pioneering work in redefining the role of consciousness in music, and the role of the artist in American society." See W52; W72 (esp.re Sc.4#1); W72.88a.1; W78; W88#1; W95; W106.11.1; W108; W116#5; W117; W127, W127.9, W127.12.2; P25, P25a, P27, P28, P29. See also W107.71.1, P62.2b. concert P20 9/25-27/81 "[Martha] Schlamme and [Alvin] Epstein Sing Bernstein and Blitzstein," Steven Blier, pno; HB Playwrights Foundation, NYC. P20a 10/81 5 perfs at American Repertory Theater, Loeb Drama Center, Harvard incl. W72 Sc.3, 4#1, 6, 7#1&3; W95 III:2; W107I:7c & II:2#5; W117 I:4, I:5#2 & II:4. In putting this program together, dir. Michael Feingold consulted both Eric Gordon & LJL. review P20.1 10/8/81 Dyer, Richard, Boston Globe Arts/Films p.1 cites "vocal limitations of the two performers," praising W72 Sc.3 & Sc.7#1. articles P21 3/84 Leiter, Robert, "Mr. Vivid," Pennsylvania Gazette, Pennsylvania. See W72.64.1 5/1/83.

Univ. of

P22 1984 Shout, John D., "Blitzstein, Marc," Dictionary of American Biography. P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: Discusses W40; W56; W72; W75; W78; W107; W107.2.35b; W123; G19[a]; G23[a]; P12: MB's "effect on contemporary music, even on contemporary lyric theater, has been limited; nor does he have much of a vocal cult following. What remains impressive is his refusal to follow the predictable course, and here he may be useful as a model, however few of his works seem to have been satisfactorily completed." +Martha Swope photos of Patti LuPone as Moll, Randle Mell as Larry Foreman with David Schramm as Mr. Mister [+Ens] in W72.64. [N.B. Article ignores W127!] P23 3/85 Duemling, Albrecht, "Sein Schwerpunkt war das Musiktheater: Marc Blitzstein zum 80. Geburtstag," Neue Zeitschrift für Musik 3 p.46: "einer der wichtigsten Musikdramatiker dieser Jahrhunderts ...einer der großen Figuren des realistischen Musiktheaters..." Speculated that MB was killed following a "politische Auseinandersetzung" [political argument] See also W35, W72, W107, W127.

Posthumous Articles & Documents 141 P23a 3/2/85 Ibid., Sender Freies Berlin radio program on MB, incl. W35.13, W108I:4#1, W127.11.1 P23b 1985 Ibid., Lasst euch nicht verführen: Brecht und die Musik, " discusses W72 and T9. P23c 1987 Ibid., "Massenlieder, Kollektivkunst und Gebrauchsmusik: Zum Einfluß deutscher Exil-Komponisten auf die Arbeitermusikbewegung und das Musikleben in den Vereinigten Staaten von Amerika der dreißiger Jahre," in Verdrängte Musik: Berliner Komponisten im Exil, ed. Habakuk Traber & Elmar Weingarten, p. 141-164. P23d Spring 1989 Ibid., "Books" [review of 1988 Musik bei Brecht, ed. Joachim Lucchesi & Ronald K. Shull, Frankfurt am Main: Suhrkamp Verlag], Kurt Weill Newsletter 7:1, p.21: MB "was the most important American composer-dramatist to carry on Brecht's musical-theatrical impulse." article P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins," Kurt Weill Studien p. 161-192: Notes that Duemling's statement (in P23a & P23b p. 146) that MB had been in Berlin thru the end of 1929 was corrected in MtM p.26-29, 40. concert P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall; w/Michael Barrett, Steven Blier, LB, Patti LuPone, Adolph Green, John Houseman et al (see P24.1): W42 #4; W72 Sc. 5 #2, 6, 7 #1, 9 #2, 10; W78 I:6 #2&3; 88 #1 (prem. sung by LB, who also sang a bit of W108 II:3#2, misidentifying it as being from W117); W95 III:1&2; W102 #21; W107 III:1; W117 I:1 #1, I:4, I:6; W123 II:5 Pt4; W125 #6, 2 & 5; W126 Sc.6; T9#9. [N.B. No W127.] Recording available on private tape. preview article P24.1 4/28/85 Crutchfield, Will, "Notes on Music," NY Times C21-2: "For all intents and purposes," W123 and W78 "would seem to have died with Blitzstein. But the impact of W72 and W107 "has never quite vanished.... There is also another Blitzstein, a composer of craft and discrimination who... wrote distinctive settings of Cummings and Whitman, piano music for his own performance, and instrumental works...." incl. photo of Michael Barrett, mus.dir.; Paul Lazarus, dir.; singers Michele Denise Woods, Phyllis Newman, Nancy Opel, Chris Groenendaal, Betty Comden, Elizabeth Carron. Caption: "Remembering Mark [sic] Blitzstein" review P24.2 4/30/85 Page, Tim, "Music: A [Group] Tribute to Marc Blitzstein," [title varies w/edition] NY Times p.C22: MB's "finest works were yet ahead of him... [T]his listener, for one, would gladly attend an entire evening of cabaret featuring" LB.

142 Posthumous Articles & Documents articles P25 1986 Dietz, Robert and Eric Gordon, "Blitzstein, Marc," in New Grove Dictionary of American Music, ed. by H. Wiley Hitchcock and Stanley Sadie, p. 234-6: describes sojourn in Martinique as "working residency." P25a 2004 Gordon, Eric, "Blitzstein, Marc," in Grove Opera Online, Oxford Univ. Press (Accessed 2/14/05) <www.grovemusic.com>: MB's "legacy is a body of works reaffirming the artist's legitimate involvement in social issues." P26 9/21&26/87 Carnegie Hall and 3/19/88 Library of Congress Music Division concert: William Sharp, bar.; Steven Blier, pno; incl. W42 #4; W88 #1, W102 #21; W108 II:4; W125 #1; repeated on recording P32. P27 9/14-10/9/88 Blitzstein Project, Soho Rep NYC prod. Carol Corwen, dir.; Donald Sosin, mus.dir./arr.: W54; W72 Sc.4#1; solos: W72 Sc.4#1, Sc.7#1; W75; W78 II:1#3; W88#1; W68 as choral finale. Originally Tazewell Thompson was to direct. When he suddenly left, LJL was called in, but then used only as consultant (as was Eric Gordon) on MB materials to augment W54 & W75. Carol Corwen, however, suggested that the materials assembled could make a whole separate program, which became P28. reviews P27.1 9/27/88 Feingold, Michael, "Theater: Mixed revue blues (The Blitzstein Project)," Village Voice 33 p. 103-4. P27.2 2/89 Dalton, Jody, Ear: "insightful evening of songs and scenes"; MB's "unflagging social advocacy still rings true." concerts P28 A Blitzstein Cabaret, LJL & Helene Williams (HW) [for recording of P28 see P31] P28a 1/23-25/89 Bruno Walter Auditorium, NYPL at Lincoln Ctr, Max Norat, prod., Ed Friednman, dir. 3perfs presented by Thespian Lab, Inc., Max Norat, Artistic Dir., with guest speaker Eric Gordon; perfd: W65; W78 II:1#3; W88#1; W91 #2; W102#17; W107 I:7b; W108 I:4#1, I:5#5; W117 I:1#1, I:5#3; W127 Sc.3Pt3, Sc.4Pt1. letters P28a.1 1/26/89 Isidor Weingarten to LJL, having attended both 1/24 & 25: "I'm sure the spirit of Mark [sic] Blitzstein must be smiling and applauding from on high somewhere." P28a.2 3/29/89 Eric A. Gordon, Ph. D.: "No one in the world knows and understand" MB's "music as well as" LJL. "We who want to continue Blitzstein's work - beauty, nobility, and a healthy dollop of humor in the quest for fully human life - owe Leonard an inexhaustible debt of tribute. In" P28 "as in other of Leonard's efforts, Marc's greatness remains alive and well. And in Helene Williams, Leonard has found a talented and versatile collaborator."

Posthumous Articles & Documents 143 P28b 3/2/89 Bryant Library, Roslyn NY perfd: W65; W78 I:6#3, III:1#3; W88#l; W97; W102 #4, 16, 17; W107 I:7b; W108 I:4#1, I:5#5, I:6#2, II:2#1; W117 I:1#1, I:5#3; W127 Sc.3Pt3, Sc.4Pt1. preview article P28b.1 2/23/89 "Musical Salute to Blitzstein Coming to Bryant [Library]," Roslyn News p.9: lists LJL as "musical director of Maggie da Silva's 1989 revival of" W78, mentioned also in MtM p.542, but which never got beyond backers' auditions. Also lists Eric Gordon's 4/13/89 lecture at Bryant Library. P28c 4/8/89 Lecture-Recital on MB for College Music Society regional meeting; excerpts perf'd. P28d 4/89 Caffé Bonelle, NYC repeat of P28b. P28e 3/2/90 Boston Conservatory of Music [perf recorded & archived there] Kurt Weill Festival; perf'd: Deval-Weill's "I Wait For A Ship" from Marie Galante, tr. LJL +T9 #8, 11, 20, Reprise of #3; W65; W72 Sc.7#1&3; W78 I:6#3, II:1#3; W88#1; W97; W102 #4, 16; W107 I:7b; W108 I:4#1, II:2#1; W117 I:1#1, I:5#3; W127 Sc.3Pt3, Sc.4Pt1. P28f 11/11/90 Community Church of Boston: repeat of P28e. article P28f.1 11?/?/90 Smalling, Allen, "books: Prodigy of notes: A new biography of a gifted composer leaves some big questions unanswered," "'Whys' guy," "A 'dispiriting' death," review of P19e in unknown (Boston?) publication, incl. announcement of P28e with "Helen[sic] Williams" and "Leonard Lerman [sic]." P28g 12/15/90 WESPAC, Ardsley NY: repeat of P28e. Recorded privately. P28h 12/27/90 Gay Men's Health Crisis - for Center for Contemporary Opera, NYC & Meet The Composer; repeat of P28e P28i 4/26/92 Shelter Rock Library, Albertson NY: repeat of P28e. P28j 12/19/98 Amer Composers Forum, NY Chapter, chez Pehrson, Manhattan: several songs +Jack Gottlieb performing W88#1. P28k 8/2/00 Cherubini Conservatory, Florence, Italy (with Ronald Edwards): W108 I:5#3; W123 I:2#1&2, II:3Pt11, II:5 Pt4 (prem.); W127 Sc.3Pt3, Sc.4Pt1, Sc.7; W127B#1 reports P28k.1 11/16/00 LJL, "New Film of The Assistant Premieres at Center for Jewish History: Canadian Directs Malamud's Best-Known Novel," Aufbau 66:23 p.14: "Twenty years ago, Bernard Malamud (1914-1986) told me he preferred the operatic treatments of his stories over the cinematic. His reasoning was that screenplays based on his works ("Angel Levine," The Fixer, The Natural) tended to augment his dialogue with words he did not recognize as his; while opera libretti (" W127, W127A, "and later Angel Levine, The Lady of

144 Posthumous Articles & Documents the Lake, The Jewbird, and" W127B "), which need to be compressed anyway, could rely more closely on what he actually wrote." Cites: P28k.l.l 1995 Magnani, Elisabetta, "Usi e funzioni dello yiddish nella narrativa di Bernard Malamud," Torino Univ. thesis. [LJL:] "At a Cherubini Conservatory concert in Florence this past August, set up by Magnani, she provided the illuminative narrative for excerpts from three of the six Malamud works that have, to date, been turned into operas." P28k.2 2/01 Garcia, Miguel Angel, "da New York a Buenos Aires, passando da Firenze ad agosto: A che si deve quell'aria di famiglia," <www.argentango.net/ita/documenti/nota_034.html>: lists performers & contents of concert: "Grande musica, cantata e attuata con professionalità maniacale." P28l 8/7/00 Scuola di Musica, Torremaggiore, Italy: W123 II:3Pt12 (Duet) (prem.) P28m 9/16/00 Jean Cocteau Repertory Thtr (with Ronald Edwards): W65; W71; W78 II:5#2; W100; W107 I:7b; W117 I:5#3 (prem.); W123 I:2#2, II:3 Pts5,7,11,12(Trio:prem.), II:5Pt4, III:4Pt2; W127 Sc.3 Pt3, Sc.4Pt1, Sc.7. P28n 12/3/00 Merrick Library, Merrick NY: repeat of P28m. P28o 6/27/04 First Unitarian Society of Madison, WI: W27; W65; W71; W72 Sc.6#3, Sc.7#1&3; W78 I:6#1, II:1#3, II:5#2; W88#1; W97; W100; W102#16; W108 I:5#5; W117 I:1#1, I:5#3; W123 II:3Pt7; W127 Sc.4Ptl; (encore:) W123 II:3Pt12 Duet; +W107II:6 chor. arr. (previously perf'd as communion hymn, 3/04, Christ Church Babylon). preview article P28o.1 Skinner, Meg, "A Marc Blitzstein Cabaret on June 27," Mad Folk News 30:6 p.2. article P29 1989 Oja, Carol J., "Marc Blitzstein's The Cradle Will Rock and MassSong Style of the 1930s," Musical Quarterly 73:4 p.445-75 re W60-75 (q.v.). See also W35. Cites MB's move toward textural transparency, harmonic simplicity, and melodic appeal. "The connections among" MB, LB, and Sondheim "invite much further exploration." P29a 6/89 Composers Collective Workshop w/Oja, Mordecai Bauman, Eric Gordon, Herbert Haufrecht, Pete Seeger, Elie Siegmeister, LJL, HW; People's Music Network Songs of Freedom and Struggle Gathering, Camp Thoreau, Beacon NY; works of the Composers' Collective perf'd, incl. W60, W72Sc.7#3 (LJL); W65 W72 Sc.7#1, Sc.9#2 (HW). Eric Gordon sang Copland's setting of the words to W60. +works by Haufrecht, Siegmeister (Aldyn McKean sang "Strange Funeral in Braddock"), Charles Seeger; tape edited & broadcast on WBAI-FM 12/89 "Music of All the Americas." See also P62.2.

Posthumous Articles & Documents 145 theses P29b 1992 Lee, Ruth, "The Composers Collective of New York City and the attempt to articulate the nature of proletarian music in the writings of Charles Seeger, Marc Blitzstein and Elie Siegmeister in the 1930s," Ph.D. thesis, Univ. of Keele, UK; copy at British Nat'l Library G02166978 [OCLC 53491954] P29c 2003 Johnson, Marc E., "'The Masses Are Singing': Insurgency and Song in New York City, 1929-1941," Ph.D. thesis in Music and American Studies, Graduate Center of City Univ.of NY,: quotes A13-36, discusses W61, W62, W65, W69, mus. examples from W72 Sc.4#1&4, Sc.7#1; W75 Sc.1&5; W78 I:4. Contains thorough Daily & Sunday Worker citations. See W73, W78. P30 concert 9/20/89 Merkin Hall, Voices of Change: American Music of Protest, Politics and Persuasion; incl.: W64 (prem.); W72 Sc.7#1; W81;W83 (prem.) by Marni Nixon, Steven Blier, Neely Bruce, Chorus. P30.1 review 10/10/89 Kerner, Leighton, "Singers of the world unite: Voices of Change concert series," Village Voice 34 p.82. P31 recording 1990 Premier PRCD 1005 A Blitzstein Cabaret Helene Williams, Ronald Edwards; LJL, pno (& vce); incl.: W65; W78 I:6#3, II:1#3; W88#1; W91#2; W97; W102 #4, 16, 17; W108 I:5#5, II:2#1, I:4#1, I:5#4, I:6#2; W117 I:5 #1&3, I:8#1(duet); W123 II:5Pt5; W127 Sc.3Pt3, Interlude, Sc.4Pt1. Liner notes quote from P28a.2. recording reviews P31.1 12/10/90 Davis, Peter G., "Records: Present Tenors..." New York Magazine: "an important new disc not to be overlooked by anyone interested in American music theater.... tantalizingly uncategorizable... It would be nice to hear these works whole one day--Lehrman claims that even" W123 "could be made performable--but until then, this disc remains essential." P31.2 1/6/91 5 exc. broadcast on WQXR by Robert Sherman P31.3 7/7/91 Gold, Gerald, "Record Notes:... Blitzstein Rediscovered," NY Times +see P32.3, W54.5.1. P31.4 Fall-Winter 1998 Pehrson, Joseph, "Recordings," New Music Connoisseur v.6#4 Suppl. p.41-42: "Blitzstein: For 'anyone who both enjoys music and has a mind."' "Broadway musicals taken to another dimension... fascinating music... defies easy classification... more than music - it is an experience.... Who could possibly rival" HW in W102#4 & W65? See also W117 I:5#3.

146 Posthumous Articles & Documents P32 recording 1990 Koch 3-7050-2 H1 Zipperfly & Other Songs recorded 9/10,11&13/90 "in conjunction with the New York Festival of Song": William Sharp, Karen Holvik; Steven Blier, pno [Sharp & Blier also perf'd 5 MB songs at Carnegie Hall, as winner of 1987 American Music Competition for Vocalists]. Sharp's solos unless otherwise indicated: W42#4; W66; W72 Sc.4#1 (duet), Sc.7 #1(Holvik) & 3; W78 II:1 #2 & 3; W88 #1; W95 III:2; W102 #21; W107 I:7c (Holvik), II:2 #5; W108 I:5 #4 & II:4; W116 #5(duet); W117 I:l#1 (Holvik) & II:1 (duet); W125 #1, 5 & 7; W126 Sc.6. P32a partially reissued on Koch International Classics #7360, American Songbook: The American Music Collection, vol. 3, incl. only: W108 II:4, W117I:1#1. P32.1 Notes by Steven Blier: MB "was an American original: an artist guided by his commitment to 'art for society's sake,' and an uncompromising critic and and satirist of American society.' See also W66, W72.44.1 (A76), W78, W108, W125. recording reviews P32.2 11-12/91 Kimball, Carol, "Listener's Gallery: Marc Blitzstein: 'Zipperfly' and Other Songs," NATS 48:2 p.39: "one of America's major composers for the stage... not always accepted nor understood... a treasurable recording of an American composer whose voice needs to be heard more often." P32.3 7/7/91 Gold, Gerald - see P31.3 & W54.5.1. P33 concert A Blitzstein-Bernstein Cabaret LJL & HW incl. W65; W72Sc.7#3; W78 I:6#3, II:1#3, II:9; W88#l; W97; W102 #4, 16; W107 I:7b; W117 I:1#1 & I:5#3; W127 Sc.3Pt3. P33a 1/7/90 Herman Liebman Memorial Concerts, Vladeck Hall, Bronx NY. P33b 7/27/91 Reynolds Hills Concert Series, Buchanan NY. Repeat of P33a. P33c 4/3/05 Long Beach Library, Long Beach NY: W127Sc.4Pt1 replaces Sc.3Pt3. Encore: W123II:3Pt12. P33d 6/12/05 Jericho Library, Jericho NY. Repeat of P33c.

Posthumous Articles & Documents 147 P34 concert Memories & Music of Leonard Bernstein, LJL & HW, incl. W78 II:9, W127 Sc.4Pt1. preview article P34.1 2/14/91 "From Leonard To Leonard: Another Roslyn Resident Has Memories Of Leonard Bernstein," Roslyn News, p.3, 31. LJL's "dream[:] to bring together the two men whose work had so influenced his own," LB & Elie Siegmeister. "Both had served on the board of the American-Soviet Music Society in the late 1940's, but had not spoken to each other since the 1950's." LJL "discovered a common thread: the work of" MB, "who had been an admired colleague and friend of both...." See W72.52. "In the fall of 1970," LJL "conceived a triple-bill of operas by Siegmeister, Blitzstein and Bernstein, each of which would involve some nudity in the staging: Siegmeister's 1958 The Mermaid in Lock No. 7...," W54, and LB's Trouble in Tahiti (dedicated to MB). "Unfortunately, the concept ran into trouble with Siegmeister's collaborator Edward Mabley and with the local law enforcement authorities"-despite the earnest efforts of Alan Dershowitz. LJL substituted W75, "[a]nd the 1970 triple-bill became an evening in memory of MB. MB's "nephew, the novelist Christopher Davis, flew up from Philadelphia for it..." LB "attended together with his wife Felicia, having come to Harvard for the occasion and to visit their daughter Jamie, then a freshman at Radcliffe." See W75.14.6, W123. See also W54, W72, W75, W127.5.6. perfs P34a 2/14/91 Hewlett-Woodmere Public Library, Hewlett NY w/Janis Sabatino Hills. P34b 8/15/91 World Fellowship Peace Center, Conway NH. P34c 8/27/91 Bryant Library, Roslyn NY w/Janis Sabatino Hills. P34d 8/28/91 Plainview-Old Bethpage Library, Plainview NY w/Janis Sabatino Hills. P34e 10/6/91 Queensborough Community College, Bayside NY (After Dinner Opera Co.): "Every Boy Should Have A Jewish Mother" w/Janis Sabatino Hills. P34f 10/27/91 Bethpage Public Library, Bethpage NY. P34g 1/26/92 Great Neck Library, Great Neck NY w/Janis Sabatino Hills. P34h 3/15/92 Chelsea Center, East Norwich NY. P34i 5/1/92 East Meadow Library, East Meadow NY. P34j 9/20/92 Selden Community Center, Middle Island NY. P34k 11/22/92 Oceanside Library, Oceanside NY w/Janis Sabatino Hills. P34l 9/6/93 International Jewish Arts Festival of Long Island, Commack NY. P34m 12/31/94 Freeport Memorial Library. P34n 11/3/02 Oceanside Public Library w/Caryn Hartglass. P34o 11/17/02 Merrick Library w/Caryn Hartglass.

148 Posthumous Articles & Documents perfs P35 1991-92 Images of Labor from American Musical Theater: An Evening of Songs and Narration about Workers and Unions, Wisconsin Tour; Eva Wright, mus.dir./pno. P35a 4/6/91 Kenosha (Univ. of Wisconsin--Parkside), incl. W72 Sc.4#2, Sc.5#2, Sc.7#3, Sc.9#2; W78 I:1, I:6#l, I:11#2, II:1#2. P35b 6/22/91 Milwaukee (exc.)(Grand Hotel), incl. W63, W72 Sc.5#2, Sc.7#3; W78 I:6#1. P35c 8/31/91 Janesville P35d 11/16/91 Stevens Point P35e 3/14/92 La Crosse (Viterbo College Fine Arts Thtr), incl. W63, W72Sc.4#2, Sc.5#2, Sc.7#3, Sc.9#2; W78 I:1, I:6#1, I:11#2, II:1#2. P35f 5/9/92 Spring Green. P35g 10/17/92 Superior. P35h 11/14/92 Sheboygan (cancelled?). P35i 11/14/92 Madison (Old Music Hall), incl. W72 Sc.4#2, Sc.9#2; W78 I:1, II: 1#2. articles P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: MB's works "often reflect a concern for those in need of a voice of social awareness... [and] provide commentary on the egocentricity and selfishness of the 'haves' and their patronizing attitude toward the 'have nots.' ...[T]he music, even when it appears to be simple, is never simplistic. Harmonically, rhythmically, and melodically it is sophisticated; consequently, Blitzstein is capable of reaching and teaching both the lay public and the musically literate.... When the history of the American musical theatre is seen in its totality," MB "will undoubtedly loom ever larger as a figure of stature and major significance." See also W56, W72, W78, W94, W107, W108, W123, T9. P36a 2004 Ibid., "Blitzstein, Marc," Grove Music Online (Accessed 2/14/05) <www.grovemusic.com>: See W50, W54, W75. thesis P37 1993 McCall, Sarah B., "The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960 (communists)," Ph.D. diss., Univ. of North Texas. recording P38 1994 Upshaw, Dawn, Nonesuch CD 79345-2 "I Wish It So" NSH 75599345-2; incl. W78 II:1#2; W108 I:1#2; W117 I:1#1 + LB, Sondheim, Weill, arr., accomp. & cond. by Eric Stern w/cello obblig. P38a 1995 "Portrait" Nonesuch 79393-2; reissue of W78 II:1#2. See also P9e under W117. Though Upshaw has perf'd W117 I:#1 widely, few of the many reviews have said much about MB. See, e.g. review 5/31/00 Waleson, Heidi, "Crossing Genres Among the Vocal Elite--An Opera Singer Makes a Foray Into Popular Song and Soars," Wall St. Journal.

Posthumous Articles & Documents 149 performances P39 3/2,10-12/95 A Blitzstein Cabaret: A 90th Birthday Celebration, at Medicine Show, NYC [not to be confused with P28] conceived & accomp. by LJL w/HW + 10 other soloists; Barbara Vann, dir. incl. W40 Prologue; W65; W72 Sc.6#3, Sc.7#1, Sc.9#2; W78 I:4, I:6#1&3, I:11#1, II:1#2&3; W81; W88#1; W91#2; W95 III:2; W97; W107 I:7b; W108 I:4#1; W117 I:1#1, I:4, I:5#3; W123 III:4Pt2; W126Sc.6; W127Sc.4Pt1; W127ASc.1Pt3; W127B#1. Private recording. review P39.1 4/10/95 Gelbert, Bruce-Michael, "Music Review: A Blitzstein Cabaret," NY Native, p.60-1: "entertaining and edifying survey of the late gay composer's efforts." Praises W65; W72 Sc.6#3, Sc.7#l; W78 I:6#3, II:1#3; W88#l; W91#2; W97; W107I:7c; W117 I:1#1; W127Sc.4Pt1; W127ASc.1Pt3. concerts P40 6/23/95 music for a summer evening, First Unitarian Society, Madison WI, incl. W26#2; W31#5; W42#1&4; W78II:1#2; W87aI:3; W102#21; W107 I:2, I:7b, I:7c, II:2#2, III:1; W125#2-6 P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," White Barn Theatre, Westport CT, incl: W66; W72 Sc.4#1, Sc.7#1; W76#1; W78 I:6#3, II: 1#3; W88#1;W95 III:2; W107 I:7c & III:2; W108I:1#2; W116 #5 (duet); W117 I:1 #1, II:1; [no 123] + Hugo Weisgall's The Stronger. preview article P41.1 8/11/95 Backalenick, Irene, "White Barn opens with music double bill: Brenda Lewis puts her stamp on Blitzstein," Westport News p.B16-17. See W123. interview P42 3-4/96 Brown, Royal S., "An Interview with Michael Tilson Thomas," Fanfare 19:4 p.31-2, 34, 36 See W72.2.23. article in book P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins," Kurt Weill Studien, ed. Nils Grosch, Stuttgart: M[etzler] & P[oeschel], p.161-192 describes MB's change of heart "des Saulus zum Paulus" (from Saul to Paul); cites unpubl. MB lecture on "The Modern Movement in Music" (1928-9) B10 re MB & Schönberg: "I found it useless to argue with him. We parted on polite but not very warmly friendly terms." Suggests MB was influenced by Berlin composers in the Novembergruppe. Cf. MtM p.26-8. Cites numerous articles by MB (A1-A40, esp. A17 & A32, q.v.). Critiques P2a & P23. See also W35, W39, W40, T9.

150 Posthumous Articles & Documents thesis P44 1997 West, Carolyn Pace, "Sacco & Vanzetti in American Art and Music," Ph.D. diss. Syracuse Univ., p. 102-19: examines in detail W56 & 123 (q.v.); but also mentions W54, W55, W72, W78, W107, W108, T9. Lists incorrect durations for W54 (16-22 min., not 1 hr.) and W56 (35 min., not 1 hr.). p.118: MB "carried on the tradition of Weill and Brecht by creating music with contemporary social themes that were meant to stir up their audience. Blitzstein knew both Weill and Bernstein well; his music forms an important link between these men and the European and American social tradition of musical theater." play P45 1/99 (rev. 10/99) Sherman, Jason, It's All True Toronto, Canada: Playwrights Canada Press; re MB, Eva, W72; uses no MB music. Productions to date in Toronto, Boston, Chicago, etc. Recurrent scene of Eva's asking when she first sees MB: "Who's this fairy coming?" based on Eric Gordon's interview with Prentiss Taylor, MtM p.37. book P46 1999 Pollack, Howard, Aaron Copland , NY: Henry Holt & Co. p.180-2 on MB's & Copland's "shared liking" of Eva Goldbeck & MB's preference for "rough trade"; Copland's & MB's encouragement & support for each other's music; p.255 on Eva Goldbeck and her "inalienable and humorous affection for" Copland 3/6/31. P47 7/17/99 concert "Where Have You Been? Let's Change the Woild!" Pine Lake Park, Buchanan NY; LJL & HW incl. W71; W72Sc.7#3; W78II:5#2; W100; W127B#1 +(title) songs by Hale Smith, LJL et al. P48 1999, 2001, 2003 Marc Blitzstein Songbook, v.1-3, Boosey & Hawkes, ed. LJL (110 songs) v.l (27 songs) W72 Sc.7#1, Sc.4#2, Sc.7#3, Sc.4#1, Sc.9#2; W71; W78 IL10#1, I:6#3, II:5#2, II:1#2, II:1#3; W88#1; W97; W102 #21; W95III:2; W107 II:2#5, I:7c, I:7b; W108 II:2#1, I:4#1, I:5#4; W117 I:1#1, I:4, II:1; W123 II:5Pt4; W127Sc.4Pt1; W126Sc.6. [1999 Winner, 3rd Prize (Folio (Full And Vocal Score)), Paul Revere Award.] v.2 (31 songs) W72 Sc.6#3; W65; W66; W81; W80; W78 I:6#1, I:8, II:9, I:4, II:7#2; W91#2; W102 #17, 4, 16; W107 I:2; W108 I:5#5, I:1#2, I:6#2, II:3#2, II:4, I:5#3; W117 I:3#2, II:4, I:8#1, I:5#1, I:5#3; W127Sc.7; W123 I:2#2, II:1#11, II:3Pt3, III:4Pt2. v.3 (52 songs [W42#2 = W125#2; W120#2 = W121#6] + index to v.1-3) W26#1&2; W28#1-9; W37#3-5; W45#3; W42#1-5; W125#1-7; W67; W79#1; W76#1; W87#1; W101; W100; W121#1-6; W109#1; W120#1-3; W108 II:3#3, II:3#1, I:6#3, I:7#1; W117 I:1#2, I:3#3, I:5#2, II:5, II:6 (fragment), II:2#3 (melody); W123 III:5Pt4.

Posthumous Articles & Documents 151 Songbook reviews P48.1 (of v.1&2) Spring 2002 Drogin, Barry, "Worth a Half-Century Wait," New Music Connoisseur: 10:1 p.26: "It is ironic that this pro-union marginalized writer for the masses should have his work priced" so high," but such are the facts of music publishing economics. At least, after fifty years, these works are no longer lost." [Posted at geocities.com/bdrogin] See also W117 II:1; W127. P48.2 5-6/2003 (of v.l&2) Carman, Judith, Journal of Singing (NATS) p.4467: "A wonderful source of music from one of America's most neglected composers, it fills a gap in the record of development of American song and music theater... a valuable repository of" MB's "creative work as well as a window on a time in American history when some artists were using their art to address social problems." See W123. P48.3 (of v.l&2) 9/03 deGraaf, Melissa, MLA Notes 60:1 p.296-301: "a unique and extremely valuable resource of American music worthy of much further study and performance...long-awaited and desperately needed additions to even the most basic music library and theater music collections." "geared... more toward performance than scholarship." "would have found more expansive notes extremely valuable..." Suggests a "master index" for v. 1-3 (a suggestion taken and acted upon). "I can make no sense of why some songs from a show are in one volume while others from the same work appear in a second volume." See W66, W75, W78, W80, W95, W97, W102, W108, W117, W123, P50. letter P48.3.1 3/04 LJL to MLA Notes 60:3 p.820: "The overlap of works among the volumes occurred because of the market economy: We did not know, when volume 1 came out, whether there would be enough demand for further volumes. So we put all the 'greatest hits' ...into volume 1.... No attempt has been made to provide all possible versions of any work, which scholars can access at the Madison archives or on microfilm; only those selections and versions deemed worthiest of being performed (many of which have been recorded) have been included." See also W123. correction of editorial error in P46.4.1 P48.3.2 12/04 MLA Notes 61:2 p.583 "John Housman" should have been "A.E. Housman". Songbook reviews P48.4 9/03 Suskin, Steven, "On the Record: Gypsy, Brownstone and Marc Blitzstein," playbill.com: MB "is an all-but-forgotten name on the list of important Broadway composers. His work is esoteric, yes, and what they used to call caviar to the general. As recently as 1988, his work was all but out of print, and few bothered to notice. Leonard Lehrman noticed... Those familiar with the old sheet music from Chappell will be surprised and pleased by the layers of complexity in these arrangements, devised by Lehrman from the composer's original manuscripts and ancient tape recordings. Be advised: These are not easy-play arrangements, and might well be beyond the pianistic abilities of some (myself included). Even so, the two" volumes "are of inestimable value and most welcome."

152 Posthumous Articles & Documents P48.5 9-11/04 "Recent Publications by Local Authors," Suffolk Libraries 26:3 p.9: "the product of 35 years of research, performance and compositional completion." P19g 1-2/05 Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents: P47 v.13 "help to establish the composer as an original, if largely unknown and underestimated, American songwriter." books P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p. xxiv: MB "gained attention with" W72, "considered controversial because of its pro-union stance..., and his highly successful" W107, based on the play by Lillian Hellman and still performed occasionally. His unfinished" W127, "after Bernard Malamud, was completed in 1973 by" LJL "and paired with the latter's" W127A "as Tales of Malamud." See W40, W43, W54, W56, W72, W78, W107, W123, W126, W127, W127A&B. concert P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC. Victoria Clark, Lauren Flanigan, Malcolm Gets, Brooks Ashmanskas; Ted Sperling, perf: W66; W72 Sc.6, Sc.7#1; W78 I:6#2&3, II:1#2&3; W97; W107 I:2, III:1&2; W108 II:3#1; W117I:1#1, I:4; T9#16. reviews

P50.1 2/11/00 LJL, "Blitzstein Cabaret," Aufbau 66:3 p.14: "Ten of the 16 Blitzstein numbers are printed in" P48v. 1. "One can only wish for many more such programs and volumes to come." P50.2 2/29/00 Vincentelli, Elisabeth, "Putting on the blitz," Village Voice v.45#8 p.104: MB writes "the most exquisite of melodies" with "astonishing versatility." See W72, W97, W117. article P51 7/00 Robinson, J. Bradford, "Blitzstein, Marc," in Musik in der Geschichte und Gegenwart, Personenteil, v.3 p.91-3: lists W43 as a ballet; cites: P51.1 1996 Ibid., "Tra Broadway el il Metropolitan: il teatro musicale politico nell'America degli anni trenta," in Itinerari delta musica americana, Lucca: Borto & Faglietti, p.25-8 P52 5/9/01 Langfelder, Jacob, thesis recital, Boston Conservatory: "Mark the music: the life and work of Marc Blitzstein: a lecture demonstration," w/Bronwyn Stayoch; Erica Rome, piano; incl. W66; W72 Sc.4#1, Sc.7#1&3, Sc.9#2; W78 II: 1#2; W88#l; W95 III:2; W107 II:2#5; W117 II:1; W126 Sc.6; T9 #12&14.

Posthumous Articles & Documents 153 P53 8/01 recording A Marc Blitzstein Songbook, Original Cast Records CD OC-4441; Gregory Mercer, James Sergi, HW, LJL; incl. W71; W72 Sc.7#l; W78 I:4, I:6#1, II:5#2, II:9; W80; W81; W107 I#7b; W108 I:5#3, II:3#2; W117 I:3#2, I:1#1, II:4; W123 I:2#2, II:3Pt11, II:5Pt 3, III:4Pt2; W127 Sc.7. recording reviews P53.1 9/01 Serinus, Jason, Home Theater and "High Fidelity: "13 first recordings, including seven completions, two first complete recordings, and one reconstruction." P53.2 9/23/01 Suskin, Steven, "On the Record: Nobody Knows Blitzstein and Lahr," playbill.com: "extra special material." Singles out for praise HW who "understands the frustration and bitterness behind the songs." W72Sc.7#1 "is especially strong... and she really lets fly with" W107 I:7b. Also praised: W71, W107 (q.v.), W108 I:5#3 (q.v), W123, W127. P53.3 3/02 D.C., CD Hotlist: New Releases for Libraries: "for any library collecting American Musical Theater, this CD would be a nice addition." P53.4 7/12/02 Winters, Ben, "The Book of Marc," theatermania.com: "an odd little treasure... a distillation of all that we love and find fascinating about" MB. LB "acknowledged Lehrman as the dybbuk (a Yiddish term, more or less meaning 'resurrection') of" MB. [Richard Flusser announced this, quoting LB, at 11/90 Lincoln Center Library perf of Virgil Thomson's Lord Byron .] See also W117, W123. P53.5 8/02 posted on newmusicbox.org; sample: W108 II:3#2. See also W123.12.2b 4/02. P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.299: "an excellent recent recording... under Lehrman's direction." letter P53.4 2/21/05 Seymour Barab to LJL: "I love it! The singing was wonderful and I think your arrangements and accompaniments are terrific!"

154 Posthumous Articles & Documents P54 A Marc Blitzstein Songbook: concerts P54a 12/2/01 Bryant Library: HW & LJL; perf'd: W71; W72 Sc.6#3, Sc.7 #1; W78 I:6#l, II:1#2, II:5#2; W80; W81; W117 I:8#1; W123 II:3Pt12(Duet), III:5Pt4; W127Sc.7. P54b 3/3/02 Hewlett-Woodmere Library: HW & LJL + Gregory Mercer & James Sergi; perf'd: W65; W71; W72 Sc.7#3; W80; W81; W100; W102#16; W108 II:3#2; W123 I:2#2, I:6#1&2, II:3Pts5,7,11,12(Trio), II:5Pts4&5, III:4Pt2, III:5Pt4. Videotaped by Peter Miller. P54c 6/9/02 Great Neck Library: repeat of P54b. P54d 6/23/02 Puffin Cultural Forum, Teaneck NJ: repeat of P54b. P54e 10/10/02 Cinema Arts Centre, Huntington NY: repeat of P54b; Lars Woodul replaces James Sergi. thesis P55 12/2002 Fava, Maria Cristina, "Marc Blitzstein's Sacco and Vanzetti and the Rhetoric of McCarthyism," Master of Music thesis, Graduate College of Bowling Green State University. See W56, W72, W123. This thesis formed the basis of Fava's paper with the same name, winner of the second prize for student papers presented at 2002/2003 meetings of the American Musicological Society Midwest Chapter, presented at Chicago meeting of 9/28/02; and of her lectures: P55a 10/28/02 "Marc Blitzstein's Sacco and Vanzetti: McCarthyism Versus the Creative Process," Edinboro, PA. P55b 11/03 a paper of the same title, Penn State Univ., State College, PA. P55c 4/04 "The Shadows of the Red Scare: A Heavy Burden on the Completion of Marc Blitzstein's Sacco and Vanzetti," Bowling Green State Univ., Bowling Green OH. P55d 2/05 "The Shadows of McCarthyism on Marc Blitzstein's Sacco and Vanzetti," Society for American Music, Eugene OR. P55e 3/2/05 "Marc Blitzstein: progressive in the name of Sacco and Vanzetti," Queens College. See P62.3c. P56 May Day concerts at American Labor Museum, Haledon NJ, LJL & HW: P56a 5/1/03 incl. W60; W72 Sc.6#3, Sc.7#l&3; Sc.9#2; W78 I:6#l; W123 II:3Pts7&12, III:5Pt4. P56b 5/1/04 incl. W78 I:10#2, II:1#3, II:5#2; W100. P57 5/4/04 Lars Woodul doctoral thesis recital, SUNY Stony Brook, incl.: W72 Sc.6#3, Sc.7#l&3; W75 Sc.1&5; W78 II:1#3; T9#13. book P58 2004 Hubbs, Nadine, The Queer Composition of America's Sound: Gay Modernists, American Music, and National Identity, Univ. of California Press, esp. p.69, groups MB with LB, Bowles, Copland, Diamond, Rorem, and Thomson, of whom he "had the most significant and long-term contact with working-class gay life." Discusses these composers, their works and writings, and quotes from MB's encounters with Schoenberg, but does not mention even one of MB's musical works.

Posthumous Articles & Documents 155 review P58.1 10/24/04 Tommasini, Anthony, "What's So Gay About American Music?" NY Times II:27 +photo of MB et al. concerts P59 11/9/04 "Marc Blitzstein: Rallying with a Note," Helene Williams, Leonard Lehrman, Bob Sherman, Ctr for Jewish History, NYC, presented by Sholom Aleichem Memorial Fdn & Amer Jewish Hist Society Prelude on Themes from W72, incl.: Sc.4#1&4, Sc.5#2, Sc.6#2, Sc.7#1&3,Sc.9#2; W65; W71; W78I:6#1&3; W91 #2; W100; W101; W102 #4, 16 & 21; W123 II:3Pts7&12, III:5Pts2&4 and Postlude W126 Sc.6; W127 Sc.3Pt3; Sc.4Pt1 [w/Bill Castleman]; 127B#1; Postlude on Themes from W108 used in W123: II:4, II:2#2, I:1#1, I:5#2, I:5#3. letter P59.1 11/23/04 Sidney J. Gluck to LJL: See under W123. P60 12/11-12/04 Encores! City Center, Rob Fisher, cond., incl.: W72 Sc.7#1; W95III:2; W97; W117I:1#1, I:4 +Arlen, Fields, Loewe, Styne. reviews P59.1 11/23/04 Friedwald, Will, NY Sun [posted online by Songbirds]: "better-than-good" See W117. P59.2 11/23/04 Miller, Marc, "Encores! Bash 2004," theatermania.com: MB "a wonderful composer-lyricist-orchestrator who, unlike his colleagues, didn't concentrate on writing ingratiating, catchy, feel-good songs." See W97. P61 1/7/05 National Opera Association Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret, accompanied & narrated by LJL: Marilyn Govich, Mary Kay McGarvey, Henry Price, Marie Robinson, George Shirley, Evelyn Swensson, Elizabeth Vrenios, JoElyn Wakefield, Kenneth Wood, incl. W37#4 (prem.); W42#4; W72Sc.7#1; W101; W107 I:2, I:7b, I:7c; W108 I:5#3; W117 I:1#1; W120#2; W123 II:5Pt4; W127Sc.4Pt1 [w/Bill Castleman]. P62 2-6/2005 MB Centennial: Workshop, Concerts, Symposium P62.1 1/29/05 MB Centennial Workshop w/LJL, HW, Victoria Tralongo, members of Metropolitan Philharmonic Chorus, Solidarity Singers of NJ; People's Music Network Songs of Freedom & Struggle Gathering, Renaissance School, Queens NY: W60; W62; W63; W65; W72 Sc.7#1&3, Sc.9#2; W75 Sc.1,2,5; W78 I:6#1; W102 #16; W107 I:7b; W123 II:1.

156 Posthumous Articles & Documents P62.2 MB Centennial Concerts, California: P62.2a 2/26/05 SF - Other Minds: Centenary Celebration of MB, Charles Amirkhanian, dir. (concert), w/Amy X. Neuburg, John Duykers, Eric Gordon; Sarah Cahill, pno; perf'd: W28#2,6,8; W39 (West Coast prem.); W72 Sc.6#3, Sc.7#1&3, Sc.9#2; W78 I:8; W107 I:7c; W108 I:6#2; W125 #5 & 7; showings of W33, W72.101. Private video recording, to be posted on the internet. P62.2b 3/6/05 LA - Workmen's Circle concert: Christopher Davis reads from his memoirs; Minna Gottesman recalls W72.16 & W72.110. Eric Gordon, Christian Nova, baritones; Karen Vuong, sop.; Tetraktys Qt; Leo Marcus, pno: W39; W28#1,7,8,4; W35; W48; W46; W121; W106#4b; W72Sc.9#2. Private videotape. (Copy courtesy Puffin Foundation.) preview articles P62.2.1 2/18/05 Rowe, Georgia, "Classical Notes: Annual music fest has a mind to promote great unknowns," Contra Costa Times : "For Amirkhanian... an unjustly neglected American composer." Eric Gordon "is organizing a centenary concert in Los Angeles this month..." P62.2.2 2/21/05 Ross, Alex, "Agenda 2/22-2/27," posted on Permalink re SF "concert in celebration of left-wing firebrand" MB, "whose centenary seems to have been overlooked on this more politically fearful coast..." P62.2.2a 3/1/05 Ibid., "Blitzstein lives": MB, "the hard-left American composer... has great historical importance.... Here in NYC, the activist composer" LJL "has organized a string of events lasting through the summer... The Cultural Front lives on!" See also under W72, W123. P62.2.2b 3/9/05 Ibid., "Blitzstein blitzkrieg": quotes from P62.2.3 below. See also W39. review P62.2.3 3/1/05 Ulrich, Allan, "Marc Blitzstein Centenary Celebration, San Francisco," Financial Times: "the breadth of the composer's oeuvre offers revelations... deftly melded sentiment and style." See W39.

Posthumous Articles & Documents 157 P62.3 MB Centennial Concerts, NYC area, w/LJL, HW, Victoria Tralongo, Lorinda Lisitza, Cameron Smith, Bill Castleman, Joshua Minkin, Lars Woodul, Robert Osborne, members of Metropolitan Philharmonic Chorus, Workmen's Circle Chorus, Solidarity Singers of NJ. Recorded privately (audio & video); perf'd: W27 [choral version, prem.]; W28 #1, 4, 7; W31 #1, 2, 9; W37#3-5 (prem.); W45 #3; W67; W71; W75; W88 #1; W100; W101; W107I:7b; W108 II:3#3; W116#5(Quartet); W123 II:1, II:3Pt12, II:5Pt4, III:4Pt2; W127 Sc.3Pt3, Sc.4Pt1, Sc.7; T1; T15 (2exc.) (prem.). P62.3a 2/27/05 Great Neck House concert [W28 cut]. P62.3b 3/5/05 People's Voice Cafe, Workmen's Circle, Manhattan concert. P62.3c 3/6/05 Queens College concert, incl. lecture by Maria Cristina Fava (P55e). P62.3b&c also included recording of MB singing W72 Sc.7#l (W72.7a). review P62.3b.1 Spring 2005 Pehrson, Joseph, "The Marc Blitzstein Centennial Concert, produced and directed by Leonard Lehrman," New Music Connoisseur: "engrossing and varied..." P62.4 3/2/05 MB symposium Brecht Forum, Westbeth, Manhattan, w/ Joan Peyser, Ned Rorem, Eric Salzman; perfs by LJL: W88#1; W127Sc.4Pt1 (w/Bill Castleman) +HW in Rorem song dedicated to MB. Recorded privately. P62.4.1 3/2/05 Statement sent by Carmen Capalbo, read by LJL. See W72, T9. P62.5 3/2/05 Curtis Institute concert, Donald St. Pierre, accomp. students: W42 #2-4; W72 Sc.9#2; W78 II:1#3; W88#1; W95III:2; W97; W107 I:7c, II:2#4b, II:2#5, III:1&2; W108 I:5#4; W117 I:1#1; W121; W125 #1, 2, 5, 7. [P33c 4/3/05 Bernstein-Blitzstein Cabaret, Long Beach Library, Long Beach NY. See P33.] P62.6 6/4/05 Bernstein/Blitzstein concert, Oceanside Chorale, Oceanside NY; LJL, cond.; John Craven, pno: T9#3; T10 (Brindisi) (prem.); W66 (chor. arr., prem.); W95III:2; W102#7; W107I:7b, I:7c, III:9; W108 I:5#3, I:5#5 (chor. arr., prem.); W117 Prologue, I:1#1; W127 Sc.4Pt1. [P33d 6/12/05 Bernstein-Blitzstein Cabaret, Jericho Library, Jericho NY. See P33.] P63 Spring 2005 recording MB Centennial Concert CD: Original Cast Records OC 6127 recorded from P62.3, w/same performers minus Lisitza; incl.: W27 & W100 (from W100.1c 10/9/04); W28 #1, 4, 7; W45 #3; W67; W75 (Sc.4 from W75.15); W101 (from P33c 4/3/05); W108 II:3#3; W123 II:1, II:3Pt12, II:5Pt4; W127 Sc.3Pt3, Sc.4Pt1, Sc.7 + W72.7a.

Blitzstein's Musical Works & Their Manifestations W1. April, April (William Watson [1858-1935], 1896) solo song (1911)[lost][MtM p. 7-8] Full text of poem [P.D.], set to music in less than one hour, on challenge from his Aunt Mary Zamustin (story corroborated in 3/5/05 interview with Mary's daughter, Laura Goldsmith): April, April, April, that mine ears Laugh thy girlish laughter; Like a lover greetest, Then, the moment after, If I tell thee, sweetest, Weep thy girlish tears, All my hopes and fears. April, April, Laugh thy golden laughter, But, the moment after, Weep thy golden tears! W2. Fire Dance (c. 1918) vn & pno B97 R59 4/4 G# min, shades of dorian & phrygian w/devilish shakes & syncopation. Reused in W23#2. W3. Sonata [aka Sonatina] in F Minor (c. 1918) pno solo [fragment]. B95 R58 W4. Waterfall: Barcarolle (3/1918) pno solo B95,99 R58,60 "op. 4 no. 1" on manuscript 4/4 rolling bass in 8th notes; Gb maj; M13th: Db-Bb. archival recording 8/9/79 WSHS T773A R1 "Eric Gordon... had a pianist sight read... the music" Also with [original?] words as solo song w/pno: "Silver Stream" Silver stream tinkling down the rocks splashing rain mingling with the brook. Bubbles bursting 'round the gleaming reeds. Fragrant blossoms heavy with rain Birds have dwelt in the foliage of trees Fawns have bathed in the coal of the stream Gazing at such beauty Musing of another Sounds ne'er heard save wooing thrushes & the sprinkling plash of sprinkling waters, Would thou wert here. W5. Forêt Vierge (1919-24?) pno solo [fragment]. Theme later used in No for an Answer W78 II:7 Escape.

B95 R58

W6. [King] Richard II Suite (1919-24?) vn, vc & pno [fragments] incidental music for play by William Shakespeare G# min. March; Eb minor Largo, being parts of 4 mvts: I [untitled] II Festival March III Fall of Richard IV Mad Scene

B97 R59

W7-14 159 W7. Symphony in G# Minor (1919-24?) piano 4 hands [fragment].

B95 R58

W8. Andante (11/30/1919) piano solo (with formal plan). B95 R58 A Eb min 4/4 phrase structure: 8 (repeat), 8, 6 legato; B Eb maj 2/8 "Very brightly and marked": 10 (repeat), 10 (repeat); A Eb min 4/4 8, 8 (very ornamented), 8 (plain), 6, 8, 6 w/hints of B figures. archival recording 8/9/79 WSHS T773A R1 "Eric Gordon... had a pianist sight read... the music" W9. Persienne (12/14/1919 [not 1918, as listed in MtM p. 11-12]) B95 R58 pno solo (w/formal plan) pretty 4-square except for Coda which is foreshortened by 1 bar. Adagio 2/4 "With feeling": Bmin (w/chromatic & phrygian overtones) throughout, despite change of key signature to 1# in middle section: "In mystic mood - in rather faster tempo". archival recording 8/9/79 WSHS T773A R1 "Eric Gordon... had a pianist sight read... the music" W10. Rondo (1/4/20) pno solo (w/formal plan) A 3/4 F#min (ending in major) 26 mm. B 4/4 10 mm. A 3/4 19 mm. A' (syncopated) 8 mm. Coda 5 mm.

B95 R58

W11. Marche Vainqueur (8/24/20) A Festival March for Complete Orchestra ("Pomposo") by Marcus S. Blitzstein; B98 R59 in Db, then Bb, then B, back to Bb, then B again, finally Db; symmetrical, repetitive, then 4bar phrases foreshortened to 3. Orch.: 2-2-2-2 4-2-2-1 Timp Cym Hp Str. W12. Where Love Is Life (9/17/20) [aka The Dream Is Mine] solo song w/ pno music became "Sing Hubbard" in Regina W107II:2#2. B97 R60 B99 R60 W13. I Am Wild! (Sara Teasdale [1884-1933], 1915) (1920-24?) solo song w/pno [fragment] [Text identified only in 2004.] 6/8 Dmaj chromatic harmonization; 6 mm. of intro; 4 mm. of text setting. W14. The Long Street Blares (1920-24?) solo song w/pno [fragment]; 2/4 G#min; 6 mm. intro; 24 mm. setting of text (by ?) B99 R60 The long street blares and yet the arclight throws In spite of all that glows a singing halo 'round your head This is a city of the dead. Dead, they are dead, These folk who run through pleasure in such darkening hosts; While the old moon, a long dead sun Grins at the cavalcade of ghosts.

160 W15-21 W15. This Is the Spirit Flow'r (1920-24?) solo song w/pno [fragment]; B99 2/4 Eb maj; 6 mm. intro; 15 mm. setting of text (by ?); 3 mm. interlude. R60 This is the spirit flow'r / The ghost of an old regret All day she stands in the garden close / and her face with tears is wet W16. Prelude in C minor (1922) pno solo (1 of 9; others lost - MtM p. 16) Lento 6/8 strong Neapolitan hints of phrygian, enharmonic sequencing thru E maj; 42 mm. Tonic chord heard 1st time only at m.8. Ends in C maj. B95 R58 W17. For Emjo's Bitter Fantasy (3/1923) string quartet - 1p. B97 R59 10 mm. 5/4, 10 mm. 4/4 Adagio; completely homophonic; p cresc. to ff at m.13; dim. to pp last 2 mm. Key signature: C min, but 1st cadence is on C# maj; last on C augmented triad. W18. Valse (4/1923) piano solo (1pg.) 16 mm. G min w/chromatic sequences; ends on G maj. W19. Pandora (1923) symphonic poem for large orch [in 1927 list] - lost? B99 or possibly unlabeled fragment in 5/4 time in C#min marked "complete!" R60 article W19.1 2/12/27 (R8#309) Musical America, "American Youth to Have Its Fling in League Concert" mentions "a symphonic poem, 'Pandora's Box'" along w/ W21, W22, W28#1. +photo of MB. W20. Children's Dances (1924): 1. Pavane (for piano or orchestra) "op. 2 no. 1" in 1928 list; B95 R59 in Fmin (really phrygian) 32 mm. 2. Round (piano solo) B95 R59 6/8 F# maj; depending on tempo (unspecified) could be quite virtuosic. 3. Danse Basse [piano solo, lost]. 4. Danse Haute [piano solo, lost]. orch for #1: 2-ob-EH-2-2 4-0-0-0 Hp Str 7-5-5-2-2 prem. of #1: 1/1927 Charles Naegele (piano), Aeolian Hall review W20#1.1 1/8/27 "Naegele Heard Here Again," NY Times. #1 considered (but not used) for insertion as interlude in W78 (R25#85). W21. Variation sur [aka on] "Au clair de la lune" [French folk tune] (1924-26) for pno/orch "op. 2 no. 3" in 1928 list; adapted in W32#4 B104 R66 Picc-2-2-EH-2-2 4-2-3-1 Tri Cym Str W21.1 prem. 1/1927 Charles Naegele (piano), Aeolian Hall review W20#l.l 1/8/27 "Naegele Heard Here Again," NY Times: W21 "a harmless skit" article W19.1 2/12/27 Musical America mentions work +W19; W22; W28#1.

W22-26 161 W22. Svarga (10/1924-2/1925; rev. 7/1925) B32,34 ,83-4 R50-l,57 ballet, pantomime suite for chamber orch, "op. 1" in 1928 list 1. Agni: 3/4 Quasi Maestoso; chordal w/Scotch snaps; 4/4 Allegro energico 2. Dance of the Mortal Maiden and Soma: 3/4 3. Indra and the Svarga Dweller: 4/4 Cmaj Andante moderato 4. Belly-Ache (A "Blues"): 3/2 F# lydian Moderate -> 4/4 Allegro 5. Interlude 6. Finale: Ritual. Rising of the Plants Orch: 1-Picc-1-EH-1-1 0-1-1-1 Cym Pno Str 4-2-2-2-0 Pno score contains only movements 1, 2, 3 (p.1 only), 4 article W19.1/12/27 Musical America, mentions "a Sanskrit ballet, 'Svarga'". W23. King Hunger (12/6/1924): incidental music to Leonid Andreyev's play: Sc.2 Waltz (vn & pno) Bmaj, middle section in Emaj (l'30"); Sc.5 Macabre Dance (vn & pno +castanets): 4/4 in G#min w/hints of dorian and phrygian mode, and challenging syncopations (1'00") MB's first publicly performed work (MtM p.21): Hedgerow Theatre, Rose Valley (suburb of Philadelphia); Jasper Deeter, dir.; Mordecai (Max) Gorelik, designer; actors incl. Deeter, Edward Biberman, Ann Harding. B32,34 R50,57 Both P19e and P43 describe this as a "Soviet" play, though Stanley Kaufmann (P19e.5) points out that the 1907 play, by Leonid Andreyev (1871-1919), was actually pre-Soviet. W24. Various Student Fugues, Canons (1924-27), incl.: Christe Redemptor (3 parts); Nocte surgentis vigilemus (4 parts, double canon). Also exercises in orchestration of pno solos by Debussy, Medtner, Tchaikowsky (The latter's "Troika [at Traineaux]" MB perf'd as encore on a concert, 2/5/22.) W25. [Six] Chorale Preludes (1924-27): 1. Jesu, meiner Herzens Freud 2. Mir hat die Welt trüglich gericht 3. Sei gegrüsset, Jesu gütig 4. Gott sei dank durch alle Welt [+ 3 Variations] 5. O Lux beata 6. Wann Morgenröth die Nachter töd't [sic]

B95 R60

W26. [Two] A.E. Housman (1859-1936) Songs (1925) B97 R60 1. From Far, From Eve & Morning [A Shropshire Lad (1896) #32] MBS 3/1 2. Into My Heart an Air [A Shropshire Lad (1896) #40] MBS 3/4 A 3rd Housman song is mentioned in 1928 list of works, but appears to be lost. #1 in B maj, 4/4 "Vite" with slow ("Lent") section in the middle set off by 1 3/2 bar and modulation to, then back from, Gmaj. M9th/11th: C#-D# (opt. F#) #2 in A min, 4/4 Adagio, modulates to Bb min, then back, via maj/min ambiguities. M9th:E-F#. W26#2.1 prem.(?)

P40 6/23/95 music for a summer evening, First Unitarian Society, Madison WI.

162 W27 Rupert Brooke Song W27. Song (Rupert Brooke[1887-1915])(1925) for vce & pno B97 R60 [fragment; compl. & [W27A] arr. by LJL for SATB chorus & pno, 2003] mislisted in Dietz (P2c), p.431 as "All Sudden by the Wind"; should be: "And suddenly the wind" background correspondence W27.0 11/9/21 (R1#297) MB to ?[a parent?]: "Rupert Brooke and George Meredith have awakened me. Aren't they tremendous?" Only m. 1-13 written by MB - A section and beginning of B section. Completion made on encouragement of Jack Beeson, who had just completed his own Brooke cycle. Slow, 4/4, Ab maj, modulating to (and back from) F# min. 12th: Bb-F. W27.1 2/13/04 prem. solo version, Helene Williams, sop.; LJL, pno; Composer/Performer Roundtable, Music Library Association convention, Arlington VA W27.2 7/23/05 perf HW, sop.; LJL, pno; Do-ing Music, Northport Arts Coalition, Northport Library W100.1 Boulanger memorial perfs HW; LJL, pno (recorded privately): W100.1b 10/3/04 Bryant Library, Roslyn NY +W100, W127Sc.4Pt1. W100.1c 10/9/04 Nadia Boulanger Conference, Boulder CO +W100, W127Sc.4Pt1. prem. choral version sung by Helene Williams, Lorinda Lisitza, Cameron Smith, Lars Woodul; acc. & cond. by LJL: P62.3 MB Centennial Concerts, NYC area: P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62 .3c 3/6/05 Queens College. P63 Spring 2005 recording MB Centennial Concert CD: Original Cast Records OC 6127: solo version - from W100.1c 10/9/04.

W28 Walt Whitman Songs 163 W28. [Nine] Walt Whitman Songs (1925-28) for voice & pno B34,94 R58 #1. As If a Phantom Caress'd Me (1925) "op. 3 no.1" in 1928 list MBS 3/7 #2. What Weeping Face (1925) "op. 3 no.2" in 1928 list MBS 3/14 #3. Joy, Shipmate, Joy! (1925) "op. 3 no.3" in 1928 list MBS 3/12 #4. After the Dazzle of Day (1925) "op. 3 no.4" in 1928 list MBS 3/10 #5. Gods (1926-7) arr. (fall 1927) for vce, hn/solo vc, & str "op. 4" in 1928 list [to Nadia Boulanger] MBS 3/16 #6. O Hymen, O Hymenee! (1/1927) "op. 6 no.1" in 1928 list MBS 3/23 #7. As Adam (5/1927) "op. 6 no.2" in 1928 list MBS 3/26 #8. I Am He (1928) MBS 3/31 #9. Ages and Ages (1928) MBS 3/35 #6-9 aka "4 Coon Shouts" or "Songs of a Coon-Shouter" or "Children of Adam" usually ordered #6,8,9,7. #1 ["Fleetingly" - Editor's addition] C#min, 2/4; voice trails off into Sprechstimme as close of A section modulates to E. Climaxes on high F# on words "mock me." 11th: C#-F#. #2 Lento, Dmaj, 3/4; the most conventionally tonal of all 9, slightly resembling an early song of Berg. 12th/14th: A-E (opt. G). #3 Largo, Emaj, 4/4. aug. oct: G-G#. #4 Andantino, Eb min, 4/4. Major second added to tonic harmony, resolving, then not; m10th: Eb-Gb. #5 Largo, Emaj, 2/2; the longest, most ambitious of the 9. Middle sections modulates to Bb maj, then back to E via F# & Ab. Ending tonic chord includes added 6th & 7th; 11th: D#-G# #6 Vivo, in E phrygian with much chromatic ornamentation; mostly 4/4 but w/many time signature changes. Includes optional jazzy vocal glissando upward. Piano part includes virtuoso middle section, including bitonal scale (Bmaj over C maj) and a silently depressed chord just before the last 2 lines of text which seems to be designed not just for sympathetic vibration with the voice, but also to catch the echo of the previously loud chord in the piano. (MBS v.3p.25) M9th: D-E. #7 Moderate, polytonal: voice & RH in modified F# phrygian/locrian; LH a Bb min triad in 1st inversion. 4/4 alternating irregularly with 3/4. Middle section modulates to bluesy F with wholetone implications over a D lydian, climaxing with vocal glissando upward. Melody ends on ambiguously unresolved supertonic of D phrygian. Postlude is a quasi-retrograde of prelude; m9th: F#-G. #8 Quarter note = 92, in bluesy chromatically modified Db mixolydian, 4/4. Middle section melody in 5/4, accompaniment in quasi 5/8, in E phrygian, ending on raised 2nd. Last phrase of vocal line modulates, a cappella, back to Bb, 6th degree of opening Db. Accompaniment ends ppp on B maj/min chord +lowered sixth and maj 7th; 11th: Db-Gb (F#). Errors in printed edition [pointed out by Robert Osborne]: p.32 m.3 3rd note of vocal line should be F#; p.33 m.5 3rd note of vocal line should be D; last word of text should be "know".

164 W28 Walt Whitman Songs #9 Quarter note = 76, bluesy F# maj (but no key signature), irregular 4/4 (some 3/4 & 5/4). Includes option vocal glissando downward. Modulates to modified C lydian for middle section, 4/4, leggiero, quarter note = 116 w/LH chords on offbeats. Climaxes on minor tonic Eb. Returns to F# for vocal ending, Tempo I. Instrumental coda outburst of 2 measure, Tempo II, incl. polytonal Cmaj vs. Eb maj ending on F#maj; 11th: A#-D# (Eb). W28#1.1 2/13/27 prem. of #1 Elizabeth Gutman, NY League of Composers preview article W19.1 2/12/27 Musical America, mentions W19; W21; W22, W28#1. W28#2.1 prem. of #2 4/?/27 Lisa Roma & Nicolai Mednikoff, Philadelphia Academy of Music #2 "dedicated to Miss Roma"; prog.: R17#109. W28#5.1 cello prem. of #5 2/15/1928 Ruth Montague, Phila Chamber String Sinfonietta; Fabien Sevitzky, cond., Philadelphia Athletic Club Ballroom. reviews W28#5.1a 2/16/28 (R8#314) Craven, H.T., "Rare Instruments Feature Concert of Sinfonietta:" "highly modernistic and queerly off key... decidedly unusual in style, but in spite of eccentricities there are evidences of ability and imagination." W28#5.1b 2/16/28 (R8#316) "Simfonietta Heard": "Ruth Montague sang 'the voice' in the Blitzstein composition, displaying unusual qualities. It was in this rendition that the Simfonietta excelled." W28#5.1c n.d. (R8#315) Martin, Linton, Philadelphia Inquirer: "a work of obviously earnest intent, but is melodically maundering modernist music, unalluring in effect." W28#5.1d n.d. (R8#315) "The music is modern, but carries out admirably the spirit of the text." W28#5.1e n.d. (R8#314) "Simfonietta Concert:" "in the ultra-modern style with many dissonances and exaggerated rhythms, received polite applause at its first performance... Ruth Montague... gave to the rather shallow melodic progressions strength that almost made them convincing. The string parts, however, seemed to have no real depth of thought, and were a veritable maze of sound, with the key apparently unknown." also about #5 G2 9/16/33 Ewen, David: "Blitzstein reveals a musical imagination fertile and unhampered. New sounds are explored, new tonal expressions created with telling effectiveness." W28#5.2 Summer 1950 perf. w/string quintet by Herta Glaz, Aspen CO Festival - reported in G38 12/50.

W28 Walt Whitman Songs 165 W28#6-7.1 prem. of #6&7 3/13/28 Nelson Eddy, Phila Academy of Music; concert sponsored by Society for Contemporary Music [w/ #7 & W35]. reviews of prem. W28#6-7.1a 3/14/28 (R8#318) "Contemporary Music": "All of Eddy's vocal skill was insufficient to make the songs come to life." See also W35.2.1. W28#6-7.1b 3/14/28 Craven, H.T., (R8#318) "Superb Program Features Concert of Music Society," Record : "meaningless... noisy accompaniments..." See also W35.2.2. W28#6-7.1c 3/14/28 (R8#321,323) Laciar, Samuel L., "Phila. Composer Plays Own Works: Blitzstein Gives Piano Sonata, Is Accompanist at Contemporary Concert," Evening [and Morning] Public Ledger, p.20: "...the 'coon shouts' seemed to be semideclamatory music for baritone voice, delivered in a robust manner against a vivid piano accompaniment. The audience apparently liked the number, for it had to be repeated." W28#6-7.1d 3/14/28 (R8#320) Martin, Linton, "Modern Music Has a Curious Clinic--Audience in Academy Foyer Hears Strange Patients from the Violent Ward--Contemporary Society's Concert Makes Stone Driller Seem Mild as Mozart," Philadelphia Inquirer . See also W35.2.3. W28#6-7.1e 3/14/28 (R8#318) "Modern Music: New Tunes Hailed as 'Magnificent' at Academy," Daiky News : "delightfully rendered by Eddy.... His rich voice boomed at the audience. They liked it, too." W28#6-7.1f 3/14/28 (R8#323) Pierce, Arthur D., "Donner und Blitzstein," Camden Evening Courier: "The vocal part of these 'songs' is tremendously effective. There is elemental power and terror in them and repetition of the second one did not dim the original impression. The piano accompaniment, however, is of the same stripe as Blitzstein's Sonata, thumpy and foreign in mood to the voice. Nelson Eddy sang these difficult numbers with vocal magnificence." See also W35.2.4. W28#6-7.1g 3/31/28 (R8#324) Murphy, W.R., "Giving the Recentists a Chance: Sporting Musicians Lend an Ear in Philadelphia," Musical America : "The results seemed to indicate a talent gone awry. The coon shouts revived a form that used to be, but more melodiously, rife in vaudeville years ago.... Mr. Blitzenstein [sic] has doubtless taken ken of the popularity of the spirituals and thought that there might be a place for the other negroid half chant, half lyric, partly uttered and partly sung." See also W35.2.5. W28#6-9.1 prem. of #8&9 12/30/28 Benjohn Ragdsale, NY Little Theatre [#6,8,9,7 in that order] preview article W28#6-9.1.1 12/30/28 World, "Negro Choristers Singing for Copland," quotes MB: "Several people have questioned my use of a jazz idiom with the Whitman words; it seems to me perfectly natural to couple two media whose implications are alike universal, and whose methods are alike primitive; both jazz and Whitman contain a primal and all-pervading sex-urge. I hope these songs explain this fact and themselves." reviews W28#6-9.1.2 12/31/28 Chotzinoff, Samuel, World "an eruptive musical setting, outwardly somewhat jazzy, but inwardly no doubt aptly expressive of the poet's important message"

166 W28 Walt Whitman Songs W28#6-9.1.3 12/31/28 Downes, Olin, "Young Composers Heard," NY Times "of such poor, weak and childish character as to afford no justification for public performance. Some of it was of a singularly repellant puerility." W28#6-9.1.4 12/31/28 (R8#332) Perkins, Francis D., "Concert Series Resumed With Varied Music," Herald Tribune: "a recitative-like manner with music sometimes brusque, rather dun in hue, not contributing to a poetic atmosphere." W28#6-9.1.5 12/31/28 (R8#332) Sanborn, Pitts, "Little Theatre Shelters Music Devoted to Novel Hubbub," NY World-Telegram : "To me they were, in Scriptural phrase, the abomination of desolation, but another listener whose opinion always carries weight with me assures me that they were as a matter of fact richly charged with talent. I earnestly hope he is right." W28#6-9.1.6 1/?/1929 (R8#331) New Yorker: "The business of equipping Whitman's lines with music is a treacherous one, and it was too much for Mr. Blitzstein, who did not do much more than space out the words to various strummings on the piano. Possibly there may have been some intent to shock with Whitman's highly colored physiological text, but nobody seemed to be upset about the songs. The singer was Benjohn Ragsdale, a young colored baritone, who did not appear to be having much fun with his task. Mr. Blitzstein, at the piano, however, had a good time of it." W28#6-9.1.7 1-2/1929 Mendel, Arthur, "First Fruits of the Season," Modern Music, p.30-32: "Marc Blitzstein hid his talent completedly behind his collection of Coon Shouts. I suppose that is one form of modesty." W28#6-9.1.8 1/3/29 Bauer, Marion, "A Furious and Outraged Audience, A Debasing Program," Musical Leader "exceedingly bad taste... interesting rhythms..., but their union with Walt Whitman's lines was incongruous and debasing." letter W28#6-9.1.9 1/8/29 MB to Louis Simon: "Paul Rosenfeld came back-stage & said my stuff was the only music on the program worth listening to, & that I had a 'rich & warm talent.' ...Ragsdale was at moments superb, at moments execrable." (MtM p.43) #7 perf. W28#7.1 10/22/1946 perf. by MB in lecture-recital for Art Alliance, Ethical Culture Auditorium, +W78 exc. & W95III:2. review W28#7.1a (R68#123) 10/23/46 Sinnickson, Charles, Jr., Philadelphia Record. #7-9 perf. A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. #8, 7, 9 sung by James Mattingly; Leonard Seeber, pno. MB considered having William Warfield record #6-9 in the 1950s, but the Concert Hall 10" LP (A76 2-4/56) had room only for those songs he recorded with Muriel Smith.

W28 Walt Whitman Songs 167 #1,4,7 perf. [prem. of #4] W28#1,4,7.1 11/15/71 Charles Osborne, tenor; Randall Benway, pno; Hartt College. #1 perf. W28#1.2 4/2/92 Sperry, Paul; Miller Thtr, Columbia Univ.+Whitman settings by LB, Rorem, Hindemith. preview article W28#1.2.1 3/27/92 Kaufman, Bill, "A Whitman Sampler," Newsday p.61. #6-9 perf. W28#6-9.2 3/12/95 Robert Osborne, bass; Jeanne Golan, pno; Friends & Enemies of New Music, Greenwich House, NYC. Keys transposed down a whole step in #6, a minor third in #7, a fourth in #8. #8&9 repeated 5/25/04, Whitman Celebration, 1010 Park Ave., NYC about W28 W28.1 Summer 1995 Metzer, David, "Reclaiming Walt: Marc Blitzstein's Whitman Settings," Journal of the American Musciological Society 48:2 p.24071: Calls "striking" and speculates on the ramifications of the brief sonority on 1st downbeat of passage preceding final line of text (MBS v.3 p.9 m.4): a "Tristan" chord (F[E#]-B-D#-G#) but over another G# in the bass. review W28.1.1 2003 LJL, MBS v.3. p. 163 lists others' settings of these poems: "David Mezter applauds Blitzstein's having apparently been 'one of the first, if not the first, to set' these provocative texts.... Metzer underlines the homoerotic subtexts that can be read into the poems, and the music, while admitting - in a footnote - that the works remain 'open to other interpretations than the homoerotic one explored here." Reviewers of the earliest performances gave little indication of how they 'heard' the texts; at most they seemed confused or annoyed by the songs, without either fully understanding or explaining why." #1, 6, 7, 9 recording W28#1,6,7,9.1 Joan Heller, sop.; Thomas Stumpf, pno, CD included in book W28.1a 2000 Walt Whitman and Modern Music: War, Desire, and the Trials of Nationhood, ed. Lawrence Kramer, NY: Garland, incl. Metzer's article as Ch.4, p.65-87. P62.2 exc. perfs, California P62.2a 2/26/05 SF - John Duykers; Sarah Cahill, pno: #2, 6, 8. P62.2b 3/6/05 LA - Christian Nova; Leo Marcus, pno: #1, 7, 8, 4. #1,4,7 perf. by Robert Osborne; LJL, pno: P62.3b 3/5/05 MB Centennial Concert, People's Voice Cafe, NYC. P62.3c 3/6/05 MB Centennial Concert, Queens College. P63 Spring 2005 recording MB Centennial Concert CD: Original Cast Records OC 6127 - from P62.3c. No known perfs of #3 or #5, either w/pno or w/hn solo & strings.

168 W29-31 Sarabande, for String Orchestra, Circular Canons W29. Sarabande (5/1926) for pno or (6/1926) orch B94 R59 "op. 2 no.2" in 1928 list Largo E maj w/hint of mixolydian Asection: 11 mm. in E; Bsection: 20 mm. in B; Asection: 7+13 mm. in E; Coda 9 mm. in E. Orch.: 2-2-1-2 4-0-3-0 Str W30. for String Orchestra (1926?) Allegretto 3/4 G maj w/strong hints of mixolydian; 31 mm. (could be called a Minuet).

B97 R59

W31. [Eleven] Circular Canons (1926-27): B95 R60 1. Pity me (Edna St. Vincent Millay [1892-1950]). Sonnet #6 from The HarpWeaver (1923), last 2 lines, slightly modified, probably in admiration of Nadia Boulanger, to: "Pity me that the heart is slow to learn What the swift miss sees [orig.: swift mind beholds] at ev'ry turn." 2. I only know (Edna St. Vincent Millay) Sonnet#19 "What lips my lips have kissed" last 2 lines, from The Harp-Weaver. 3. Thou art my lute (Paul Laurence Dunbar [1872-1906]). 4. Sad hours [aka In Dedication of "The Certain Hour"] (James Branch Cabell [1879-1958], 1916). 5. Search thou my heart (Paul Laurence Dunbar). 6. How doth the city (Lamentations 1:1). 7. Dieu tout puissant (Old French Hymn). 8. In Lethe's soothing stream (Paul Laurence Dunbar). 9. Safe upon the solid rock (Edna St. Vincent Millay) [completed, 2003] ["Second Fig" from A Few Figs from Thistles, 1920]. 10. Last night, I saw the lovely flower (Lady Murasaki [Shikibu][973-1025?] [from the Japanese]). 11. Would that we might vanish (Lady Murasaki [from the Japanese]. P40 6/23/95 music for a summer evening, First Unitarian Society, Madison WI. #5 prem.(?) Genevieve Gersbach & Charlotte Woolf, sopranos; Patricia Crowe Thimmig & Deborah Thomas, mezzo-sopranos. P62.3 MB Centennial Concerts, NYC area: P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62.3c 3/6/05 Queens College; prem. #1, 9 & 2 sung by Helene Williams, Lorinda Lisitza, Cameron Smith, Lars Woodul; accomp. & cond. by LJL. No known performances of #3, 4, 6, 7, 8, 10 or 11.

W32-34 Blessings of the Bath, Hände, Megalopolis 169 W32. Blessings of the Bath (1926) ballet, for Eb cl, tb & pno B81 R50 1. Introduction ["itching march"] 9/8 motoric chords in alternating hands. 2. Belly-Dance [became underscore for Prof. Mamie in W72Sc.8]. 3. Scene-Change. 4. In the Bath ["old man & attendant"; fragment - misremembered, 1937, as "stomp march" in W3 - used in I've Got the Tune W75 Sc.1Pt 1]. 5. The Frenchman ["splashing the old man": Variation on "Au clair de la lune" W21]. 6. Pas d'action ["triumphant march" - used in W72Sc.1,2f.--crowd scenes]. 7. Drying Fugue [How Dry I Am] - considered for re-use in W72 Sc.2, Harry Druggist, drunk (R22#36). 8. Reprise, Scene-Change. 9.-10. Blessings I & II ["bathing like the beginning"; fragment]. 11. Alleluia ["slow chorale of EPS" (?)] . W33. Hände [aka Hands] (1927-8) 4-hand mechanical pno score for silent film subtitle: Das Leben und die Liebe eines Zärtlichen Geschlechts (The Life and Love of [One of] the Gentler Sex). B94 R17 W33.1 recorded 3/1936 for RCA & MOMA 13'09" 1178 feet, silent; scenario: Stella Simon; dir.: Stella Simon & Miklos Bandy; outgrowth, perhaps of sketched Music for Urwald Mechanical Piano and Drums (1927). review G22 Summer 1946 (R8#370-6) Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p. 170-6: "pictorial abstractions are accompanied by musical abstractions." P62.2a 2/26/05 shown at Other Minds Festival, San Francisco. W34. Megalopolis (1927) ballet [fragments] B81 R50 scenario: Abraham Lincoln Gillespie & Julian Levi: #1. Belly Dance [became underscore for Prof. Mamie in The Cradle Will Rock W72 Sc.8]; #2. Buck and Wing [quotes "Rockabye, Baby"; incorporated into Jigg-Saw, W36, and thence for Prof. Trixie in The Cradle Will Rock W72 Sc.8]; #3. Dance of the Whirling Methodics (incl. buzz saws, electric fans, riveting machines); #4. Witch Burners and Southerners Dance. articles W34.1 "late 1927"-MtM p.29 (R8#333) "Around the Town," Philadelphia Record: "ballet-spectacle with... engaging title". W34.2 12/?/28 (R8#330) "Modern Music Concert Series Begins Dec. 30: Lopatnikoff and Blitzstein Among Young Writers on Copland-Sessions List," NY Herald Tribune: "satirical ballet".

170 W35 Piano Sonata W35. Sonata for Piano [aka Piano Sonata] summer 1927-28 B35 R58 1 mvt; 8 sections, 6-8'. "op.7" in 1928 list; 4/15/36: "in a sense, my Opus 1" W35.1 prem. 2/12/28 by MB, NY Lg of Composers preview W35.1.1 2/4/22 Musical America: "Each section of the sonata exists intrinsically, en bloc, for itself." reviews W35.1.2 n.d. ? (R8#310) "This young man is an out and out modern. He rejoices in the insistent repetition of a note and in the short exclamatory, even angry phrase. He can make his piano sing, but apparently is better pleased to make it bark. And his harmonies are very bitter musical speech. If anything of import resulted it would be well, but nothing comes out of it save the now shopworn lot of modernistic mannerisms." W35. 1c.3 n.d. ? (R8#310) "4 Americans' Works Heard at League Concert: Bauer, Blitzstein, Maganini and Harris Compositions Played at Guild Theater:" "presents some interesting modifications of the one-movement sonata form." W35.1.4 2/13/28(?) (R8#312) NY Morning World: "interesting in its attempt to do away with transitions.... Startling contrasts resulted which proved monotonous before the conclusioon[sic]." W35.1.5 n.d.(R8#311) "League of American Composers" "...might be called an experiment at finding new technical combinations for the instrument, and as such it is quite a success; as to being music, that is another question.... the composer with his virile playing made quite a hit..." W35.1.6 2/18/28 (R8#313) Weil, Irving, "Monteux and Some Americans," Musical American, p.7f.: "...a bumptious little sonata for piano, thumpingly well played by himself. He is just twenty-three and his music is like that--full of subconscious blaque and self-conscious piano tricks. Part of it seemed to be Don Marquis's Mehitabel taking a night off and chasing a family of mice up the keyboard in a playful rage of squealing glissandi. But just the same there were deftness and real promise in the little piece." W35.1.7 n.d. (R8#313) "Events," New Yorker. W35.1.8 3-4/1928 Straus, Henrietta, "The Fruits of Victory," MM 5:3 p.28: "Marc Blitzstein, explaining his piano sonata, advanced the theory that 'silences' instead of 'transitions' would 'eliminate the possibilities of padding.' The argument proved more logical than the spasmodic repetition of phrases that resulted." perf. W35.2 Phila prem. by MB, 3/13/28 Phila Academy of Music, w/ W28 #6&7 [q.v.]. reviews W35.2.1 3/14/28 (R8#318) "Contemporary Music": "a jumpy discordant work seemingly intended to prove that a grand piano is a glorified bass drum." W35.2.2 3/14/28 (R8#318) Craven, H.T., "Superb Program Features Concert of Music Society," Record: MB, "pianist-composer, furnished the chief sensation, if not the chief beauties of the program," incl. W28 #6-7 and "a piano sonata

W35 Piano Sonata 171 lasting, mercifully, only six minutes, this last was a terrific charivari of sound, a kind of bedlam on the stout keyboard. Obviously this composer belongs to the 'expressionist' school..." W35.2.3 3/14/28 (R8#320) Martin, Linton, "Modern Music Has a Curious Clinic--Audience in Academy Foyer Hears Strange Patients from the Violent Ward--Contemporary Society's Concert Makes Stone Driller Seem Mild as Mozart," Philadelphia Inquirer, "...no complaint is made this is not music of sweetness and light, but... just desperately dull. ...Mr. Blitzstein pounded the piano in a way that suggested the desirability of an S.P.C.A. for the protection of defenceless pianos." W35.2.4 3/14/28 (R8#323) Pierce, Arthur D., "Donner und Blitzstein," Camden Evening Courier. "It might be called a Sonata in One Round for two heavyweights, the contestants last night being Blitzstein himself and a Baldwin piano. It was Blitzstein's round. With a left jab that all but drove the ivory off the keys and a pummeling right hand technique, the product of Messrs. Baldwin was quickly swatted into submission. Yet with all the thumping, glissandi, tone clusters and other freaks of piano technique, the musical result was incredibly trite. The chief theme of the Sonata was pounded out baldly and contained neither beauty, originality, nor interest." W35.2.5 3/31/28 (R8#324) Murphy, W.R., "Giving the Recentists a Chance: Sporting Musicians Lend an Ear in Philadelphia," Musical America: "At times it sounded as if one were passing the Baldwin Locomotive works in full blast of boiler-plating an engine, but it was really only a Baldwin piano demonstrating the merits of one type of modern music." perfs W35.3 5/22/28 Paris prem., perf'd by Daniel Lazarus(?), presented by Lazare Saminsky at La Revue Musicale in Montparnasse (R17#115). W35.4 2/?/29 Boston prem. Keith Corelli, Jordan Hall; prog of "New American Music, Reflecting the Most Progressive Tendencies". W35.5 3/3/29 MB at MacDowell Club, NY City [also perf'd Chavez & Stravinsky]. W35.6 5/?/29 Canadian prem. Keith Corelli, Montreal. review W.35.6.1 5/8/29 (R8#336) Morin, Leo-Pol, "Théâtre, Musique, Cinéma: Les Concerts. Le Pianiste Keith Corelli:" "une partie est pleine d'idées ingénieuses... II est polytonal, ce qui est compatible avec la lumiére vive et son tempérament." about W35 W35.7 (G1a) 1933 Cowell, Henry, "Trends in American Music," in American Composers on American Music, Stanford Univ. Press, reprinted NY: Frederick Ungar Publ. Co. 1962 p.6: "Marc Blitzstein, whose contribution to music is not in new sounds but in sudden pauses..." perf. radio prem. W35.8 4/16/33 (R17#140) MB on WEVD radio - w/W50 (3 dances), W55.

172 W35 Piano Sonata perf. W35.9 (A26) 4/15/36 Composers' Forum-Laboratory, NYC; MB's notes: "in a sense, my opus 1." Also per'd: W42 #4; W48; W50 #5; W52; W55 #1; W61 #6. review A26.1 4/16/36 Biancolli, Louis, "Young Composer Plays Own Work," World Telegram: "showed decided mechanistic leanings". articles G16 10/19/40 King, William G., "Music and Musicians,"NY Sun R68#17: "He calls" W35 "the first of the series of 'minor uproars that have punctuated my career,' a 'blurted out piece, but one I'm not at all ashamed of, because it said what I wanted to say.'" See also G16, W40, W43, W78, W88. G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World "a crashing, angry piece. People didn't know what it was about. It left them uncomfortable as hell. Me too." G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p.170-6: "an unsentimental neo-Bachian or neo-Handelian flavor pervades the rapid movements in" W35 & W50. perfs W35.10 (A82) 7/25/58 on all-Blitzstein concert at Tanglewood W35.11 12/26/70 LJL, Gardner Museum, Boston (R17#335) on prog w/Eisler's Sonata#3 & [not printed on prog] Berg's Sonata archival exc. recording 8/9/79 WSHS T773A R1 "Eric Gordon... had a pianist sight read... the music" perfs W35.12 2/14/80 Beveridge Webster, League of Composers-ISCM, Carnegie Recital Hall (R17#352) on prog w/Milton Babbitt, Mark Brunswick, John Graziano, Artur Schnabel, Erich Itor Kahn W35.13 1/6/85 Berlin prem., LJL, Künstlerhaus Bethanien, (West) Berlin; together w/song cycles by Rorem & Siegmeister +LJL's Sholokhov opera sung by George Shirley. reviews W35.13.1 1/?/85 Kaiser, Christoph, "Die Schrecken des Krieges: 'Jüdischer Musiktheaterverein' stellte neue Opera vor,: Die Wahrheit: MB, "der die Pausen, das Verklingen der Klaviertöne in ungewohnter Weise nutzte [who used pauses in an unusual way]." P23 3/85 Duemling, Albrecht, "Sein Schwerpunkt war das Musiktheater: Marc Blitzstein zum 80. Geburtstag, "Neue Zeitschrift für Musik 3 p.46: "stilistisch zwischen Bartók, Satie und Strawinsky... erstaunlich frisch [astonishingly fresh]".

W35 Piano Sonata 173 radio broadcast P23a 3/2/85 Duemling, Albrecht, Sender Freies Berlin radio program on MB, incl. W35.13. articles P29 1989 Oja, Carol, p.448: "a lean, linear piece, austere in its concision and dissonance" P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins," Kurt Weill Studien p. 161-192: "Die Sonatenform... wird um ihre Übergänge beraubt... zugunsten eines statischen Klangresultats." [The sonata form is stripped of its transitions, resulting in a static sound.] "Es ist eine 'stehende Musik,'" a phrase used in program notes by the Novembergruppe. Mentions P23a. perf W35.14 (P62.2b) 3/6/05 West Coast prem.: Los Angeles - Leo Marcus, pno. about W35 W35.15 Jansson, John, MB Web Site (est. 1997): "comprises eight sections. Varying in tempo and length they present a first and second subject, which, following developments, or rather, repetitive evolutions of the material, lead to a recapitulation, coda and spectacular and virutosic finale with sweeping glissandi. The uneasy tranquility of the central canonic section is in stark contrast to the savagery of the music around it. Blitzstein makes no attempt at effecting transitions between his contrasting material, but rather places a bar of silence between each section.... This non-developmental 'collage' technique, where contrasting musical ideas are laid next to each other, with attempt at transition, had, no doubt, been learned from Stravinsky's SYMPHONIES OF WIND INSTRUMENTS, one of the 20th Century's seminal works. In choosing this path, Blitzstein was very firmly closing the door on the influence of Schoenberg.... And this particular compositional technique has proved popular with many important composers since, most notably Messiaen (OISEAUX EXOTIQUES, CHRONOCHROMIE), Tippett (SECOND PIANO SONATA, KING PRIAM) and Birtwistle (CARMEN ARCADIAE MECHANICAE PERPETUUM, EARTH DANCES). [Cf. also John Cage, esp. his "Music for 2 Pianos (1947).-LJL] Despite his often ambivalent attitude toward his earlier... works, the Piano Sonata was a piece of which he was immensely proud, often citing it in any selected list of his works... as an example of his compositional style and thought."

174 W36-38 Jigg-Saw, Whitman Cantata, Trumpet Sonata W36. Jigg-Saw (1928) ballet, "op. 5" in 1928 list 20' B81 R50 1. Prelude 2. Belly-Dance & the Salvation Army [became underscore for Prof. Mamie in The Cradle Will Rock, W72 Sc. 8] 3. Liberty Throws a Party 4. Buck and Wing [became underscore for Prof. Trixie in The Cradle Will Rock, W2 Sc. 8] 5. Cotton-Pickers' Shuffle [lost] N.B. sometimes misspelled "Jig-Saw". W37. a word out of the sea (summer 1928) B97 R60 Walt Whitman cantata for women's voices & chamber orchestra; mvts 3-5 only: 3. Shine, shine, shine! (soprano solo) "op. 3 no. 5" in 1928 list MBS 3/38 4. Till, of a sudden (4 sopranos; 4 altos) MBS 3/40 5. Blow, blow, blow! (contralto solo) "op. 3 no. 6" in 1928 list MBS 3/45 oboe, clarinet, bassoon, piano, strings transcriptions for voice(s) & 2 pnos by MB [first identified, 10/2002] B99 R60 transcriptions for voice(s) & 1 piano by LJL appear in MBS, as listed above. Text from Whitman's "Out of the Cradle, Endlessly Rocking" Mvts 1 & 2 do not appear to have been written, or are lost. #3 gently rocking 12/8, thirdless mode of F# over an Emaj pedal; middle section starts in wholetone, culminating in quick major-minor arpeggio, sequencing back to opening (bi)tonality; m13th: C#-A. #4 Misterioso 5/4 9-note ostinato in bass for 14 mm., returning for last 6; middle section: Moderato 3/4, then 4/4; key to mood: the jazzy triplet rhythm on the last word: "Alabama"; sop: m13th: C-Ab; alto: 11th - Bb-Eb. #5 Andante, gently rocking 6/8, accomp. pp except for one sudden outburst in the middle; 12th: Bb-F P61 1/7/05 National Opera Association Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret accompanied & narrated by LJL; #4 prem. Elizabeth Vrenios, Marie Robinson. Recorded privately. P62.3 MB Centennial Concerts, NYC area. Recorded privately. #3-5 prem. sung by HW & Lorinda Lisitza; LJL pno: P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62.3c 3/6/05 Queens College. W38. Sonata for Trumpet and Piano (1928) "op. 8" in 1928 list discarded? lost?

W39 Piano Percussion Music 175 W39. Percussion Music for the Piano [aka Piano Percussion Music] (1928-29), 10'; "op. 9" in 1928 list. B95 R58 1. Toccata [aka Flam] (6/3/1928); 2. Air [aka Drag] (2/1929); 3. Rondino [aka Paradiddle] (3/12/1929). The last movement, with its directions for percussively opening and closing the piano lid, was probably inspired by Stefan Wolpe's Piano Sonata which MB heard 5/2/27 in Berlin, and of which he later wrote, in notes to an unpublished lecture on "The Modern Movement in Music" (1928-9), cited in P43 (and MtM, p. 27): "[the] very last note being the closing of the piano, as though putting the final stamp on all piano music to come." See also W75 Sc.2&3 (1970 adaptation). W39.1 prem. by MB 3/17/1929 League of Composers Steinway Hall concert W39.1.1 3/21/29 (R17#124-6) Musical Courier. Despite the "useless ornamentation" with its "rhythms, counterpoints, and contrasting ideas...the last movement... was easily the best work of the evening. The slamming of the lid of the keyboard for percussion effects, which occurs but two or three times in the composition, must be eliminated, since these particular passages sounded better in the forms where this useless ornamentation did not take place." W39.1.2 3/21/29 Bauer, Marion, The Musical Leader: and for the most part was pleasing."

"had much of interest

W39.1.3 n.d. (R58#898) "League of Composers": "the audience was introduced to a charming addition to the technique of the instrument, which consisted of slamming down the cover of the keyboard for rhythmic emphasis." W39.1.4 n.d. (R58#898) "Other Music": "Mr. Marc Blitzstein, one of our most recent terrorists of sound, studiously slammed the lid of his piano four times during the course of his contribution to the concert... A ripple of mirth spread gently over the audience and Mr. Blitzstein looked disgusted." archival exc. recording 8/9/79 WSHS T773A R2 "Eric Gordon... had a pianist sight read... the music" W39.2 11/99 perf mvt 2 only, Diane Walsh, pno, as part of Bard Festival's "Schoenberg and His World" at Alice Tully Hall review W39.2.1 12/10/99 LJL, "The Legacies of Schoenberg and Weill," Aufbau 65:25 p.14: "One looks forward to her playing of the other movements of this challenging work. Unlike most of the other composers on the program, Blitzstein did not use Schoenbergian serial techniques until much later--in his" W51, W127, and W123.

176 W39-40 Piano Percussion Music, Triple Sec perf W39.3 (P62.2a) 2/26/05 SF - Other Minds: Centenary Celebration of MB; West Coast prem., Sarah Cahill, pno. review P62.2.3 3/1/05 Ulrich, Allan, Finacial Times: "a sophisticated musician, attuned to the emotive power of dissonance, the imitatie capabilities of the traditional keyboard, a grounding in ornamentation and, in the repeated closing of the keyboard cover, a taste for the dadaist flourishes of the day." article P62.2.2b 3/9/05 Ross, Alex, "Blitzstein blitzkrieg": "The piano-lid gambit recalls Hans Stuckenschmidt's First Piano Sonata, which caused a mild uproar at a Novermbergruppe concert of 'stationary music' in 1927. At the end of that work, the pianist (Stefan Wolpe, on this occasion) used the right pedal to trigger a mechanism that brought the piano lid down 'from a moderate height.'" - quote from Stuckenschmidt's memoir, Born to Hear. perf W39.4 (P62.2b) 3/6/05 Los Angeles - Leo Marcus, [upright] pno; page-turner held down some chords! Private videotape. W40. Triple Sec [aka Theater for the Cabaret: opera-farce - sketches at Morgan Library] (pub1.: Schott) model: Paul Hindemith's Hin und zurück Drunken audience sees characters double, etc. (summer 1928) 15' "For Alexander Smallens" Prologue & 6 scenes B45 R19 1-act opera; libretto: Ronald Jeans; for 19 vces & chamber orch (12) Hostess (alto); Hopkins, butler(x3); Perkins, maid(x8), Stranger(x2), Lord Silverside(x2), Lady Betty(x3) 6S,2M,6A,2T,2Bar,1B+pno/orch: 0-0-2-1 0-1-1-0 2traps 1pno 4hands 1-0-1-0-1 "op. 10" in 1928 list [German tr. by Edwin Denby: Die Sünde des Lord Silverside written in expectation of a Darmstadt production that never took place] prem. 5/6/1929 Bellevue-Stratford Ballroom, Phila; Alexander Smallens, cond. NY prem. Garrick Gaieties 6-10/1930 (150 perfs) Lady Betty III: Imogene Coca W40.0 letters W40.0.1 4/3/29 (Rl#892) MB to Berenice Skidelsky: "I may have written a completely unplayable score! and yet the law of averages would indicate that some of it will sound. Such excitement!" W40.0.2 2/24/50 (R19#343-4) The contract with Schott having "lapsed," "nonexclusive" performing rights granted After Dinner Opera Co. directly by the composer via the William Morris Agency W40.1 prem. 5/6/1929 Society of Contemporary Music, Bellevue-Stratford Ballroom, Phila; Alexander Smallens, cond.; James Light, dir; Louis Simon, costumes. Hostess: Ruth Montague; Perkins: Ethel Neithammer; Hopkins: Ralph Jusko; Stranger: Maybelle Marston; Silverside: Albert Mahler (a black man); Betty: Irene Williams.

W40 Triple Sec 177 Prog included Alfredo Casella's Pupazzetti and Schoenberg's Pierrot Lunaire (Phila. prem.). W40.1.0 (R19#365-6) Newspaper photos of MB, Smallens & Williams. review W40.1.1 5/7/29 (R19#367) Craven, H.T., "Marc Blitzstein Operatic Satire Rocks Ballroom: Society for Contemporary Music Stages Dizzy Production. Music Sounds Like Static," Philadelphia Record: "...fashionable dissonances to which a resolutely cultural audience submitted heroically... Blitzstein's piece is not so funny. It satire is crude, its extravagance rather puerile, and its origins may be traced to Stravinsky and the Metropolitan's freak opera Jonny Spielt Auf.... Gales of laughter welcomed this novelty.... Composer Blitzstein has burlesqued his own stuff in fluent atonal, cacaphonic style, with injections of xylophonic jazz, recalls of Stravinsky's 'Infernal Dance' in 'The Fire Bird,' and all the now familiar furniture of musical extremism. Librettist Ronald Jeans has made Lord Silverside a Negro [N.B. not so specified in the libretto]. He has a love scene, all in fun, mind you, with a white lassie. This is going the Metropolitan one better, since 'Jonny,' of Spielt fame, is, in the American production, only a Caucasian blacked up like a minstrel." W40.2 NY prem. Garrick Gaieties 6/16-10/1930 (150 perfs); Alexander Smallens, cond. Philip Loeb, dir. Cast incl.: Perkins I: Jane Sherman; Hopkins I&II: James Norris, Donald Stewart; Silverside I: Ray Heatherton (a white man); Silverside II: Ted Fetter; Stranger I&II: Ruth Chorpenning, Velma Vavra; Betty I&II: Evelyn La Tour, Thelma Tipson; Betty III: Imogene Coca (who also took a number of other roles in some of the other 26 sketches as well). Prog. note: "A modernistic operetta which is not to be taken too seriously". reviews W40.2.1 6/5/30 Atkinson, Brooks, NY Times: "labored in the beginning, it finally emerges into excellent musical satire". W40.2.2 6/5/30 ? (R19#370:) Littell, Robert, "The New Play": "very difficult and for the most part successful... blotto modernistic opera". W40.2.3 6/5/30 (R19#368) Waldorf, Wilella, "The Stage: A New 'Garrick Gaieties' Arrives at the Guild Theatre, Providing Mild Warm Weather Entertainment": "kept working toward something without ever getting much beyond the usual opera burlesque". *G6 10/20&21/37 [reprinted from late edition] Coleman, Robert, "Music Now Wedded...: Becoming Part of the Plot," NY Daily Mirror See W72, W75, W76: "In 1931[sic] he composed the first American opera farce for the Broadway theatre when the Theatre Guild produced his" W40 "in the 'Garrick Gaieties.'" reports G16 10/19/40 King, William G., "Music and Musicians," NY Sun : W40 "his first deliberate attempt to appeal to a wide public" See also W35, W43, W78, W88. G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World quotes MB: "one of these screwy, modernist things in which, through stage devices, the audience is supposed to get drunk.... I was slamming the smug people and traditions I had been brought up with. It was a philosophy of denial of their values. Actually,

178 W40 Triple Sec it was a process of clearing the field." G20a 7/5/41 Glenn, Charles, "Hollywood Meets Blitzstein," Daily Worker. quotes MB, incl. all of the above, and: "I had been trained as a composer-pet of certain circles and I was tired of it." G22 Summer 46 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p. 170-6: "The farcical sketch... makes cynical sport of the conventions of grand opera and high comedy... The music is a brilliant take-off on the ear-splitting type of (by now old-fashioned) modern music." book W72.35.20a 1950 Smith, Cecil, Musical Comedy in America (NY: Theatre Arts Books) p.234: W40 "a hilarious parody of the Frederick Lonsdale school of drawing-room comedy." See W72. review in book W40.2.4 1978 Bordman, Gerald, American Musical Theatre: A Chronicle, NY: Oxford Univ. Press p.460: "another burlesque of operetta." W40.3 6/7,9&10/1950 After Dinner Opera Company's "Second Season" 1st prod. on triple-bill w/ J.S. Bach's Coffee Cantata (aka Grounds for Marriage) and Lukas Foss's Jumping Frog of Calaveras County (after Mark Twain); Master Theater, Roerich Museum, NYC. Georgette Palmer, cond.; William Soereine, pno [Lukas Foss in his own piece, opening night]; Richard S. Flusser, dir.; Eugene Green, sets; Ethel Berkow [later Green], costumes; Jack Campo, lights. Hostess: Tina Prescott; Perkins [I-VII]: Anita Jordan, Penelope Draper, Phylis[sic] Janis, Lorranie Stypeck, Ann Lettieri, Espit de Thomas, Rachelle [sic]; Hopkins [I-III]: Lee Cass, Paul Ukena, Ahti Tuuri; Mysterious Lady [I-II]: Geraldine Hamburg, Lina Scicilliano[sic]; Lord Silverside [I-II]: Richard Wright, Charles Manna; Lady Betty [I-II]: Sylvia Stahlman, Eleanor Wold, Suzanne Lake. The company revived the work many times in the 1980s and 1990s. See also W40.7 & W40.9. reviews (R68#398-10) W40.3.1 6/8/50 Berger, Arthur, "Concert and Recital: After Dinner Opera: Master Theater," NY Herald Tribune: "Opera Triple-Header": "to be encouraged" W40 "is as bubbling and palatable as its name. There is a smartness about it fresh from Paris of the 'twenties... not without their allusions to the Gertrude Stein language. It is a little take-off on melodrama consciously much ado about nothing, with slick use of the hackneyed phrases of melodramatic jargon. It was Blitzstein's first stage effort, and it certainly predicted he would have a career in this medium." W40.3.2 6/8/50 C.H., "3 One-Act Operas Presented Here: Works by Bach, Blitzstein and Foss Offered by New Group at the Master Theatre [sic]," NY Times: W40's "fiambouyant [sic] buffonery [sic], involving multiplication of characters as the brief work progressed, had the audience giggling and guffawing happily." MB's "score teemed with felicitous ideas ofa nature which might have been scandalous when the work was written and still retain a freshness it is pleasant to happen upon these days."

W40 Triple Sec 179 W40.3.3 6/8/50 Watt, Douglas, "3 Short Operas, All a Little on The Quaint Side," Daily News: "a spoof of the Twenties and the mad life... turned out to be fairly funny." W40.3.4 6/9/50 Elias, Albert J., '"Jumping Frog' Tops After Dinner Operas," Daily Compass: W40 "intriguing and good fun... gay, unprincipled, short and concise--and as it parades its fantasy is pert and easy to take." W40.3.5 2000 Lydon, Michael, Richard Flusser and The After Dinner Opera Company (n.p.: Cooper Press, Xlibris): p.25, 151. W40.4 Winter 51 Juilliard Opera Workshop prod., NYC. W40.5 Summer 51 "Tanglewood on Parade," Berkshire Music Festival perf. W40.6 (A82) 7/25/58 on all-Blitzstein concert at Tanglewood (A82) under Fromm Music Foundation auspices; Gustav Meier, cond.; w/ W35; W55#1; W72Sc.7#1; W107III:2; W117 (exc); T9(exc); T11 reported in G38e 1/59 Pan Pipes. articles G64 5/14/63 Secrest, Meryle, "For Threepence: He Doesn't Mind Being in Shadow," Washington Post: W40 "so bewitched Gershwin that the famous composer told Blitzstein later that he used to come just to hear it" at the Garrick Gaieties. See also T9. P1*5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter pp.46, 4850: In W40 "there is already ample indication of Blitzstein's strong theatrical sense and his wit. ...makes fine fun of the conventions of the sentimental theatre." See also W56, W65, W72, W78, W107, W126. W40.7 5/67 New School prod., Richard Flusser, dir.; Emanuel Levenson, cond., on bill with Ned Rorem-Jay S. Harrison "Last Day," William MayerMilton Feist "Brief Candle," John Marsh-Anita Loos "Sound Studio," & John Marsh's "How Much?" (exc.) reviews W40.7.1 5/27/67 Hughes, Allen, "New School Opera Workshop Offers Blitzstein's 'Triple Sec,'"NY Times, p.17: W40 "The 'big' work of the evening, and the most successful." W40.7.2 8/67 Jacobson, Bernard, "New School Opera Workshop," High Fidelity/Musical America 17 p.8: "unpretentious but neat, and certainly more striking than that of the other pieces presented" +photo: "Singers Morton, Gold, Poisal, and Miller rehearse for Blitzstein's Triple Sec." W40.7.3 9/23/67 F[reeman], J[ohn] W., "New York," Opera News 32 p.21: W40 "The most ambitious production... As in his later, serious works, ...his best vein was the lightest."

180 W40-41 Triple Sec, Quintet P2c 1970 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.287-94, 362-77 W40.8 1970 Carnegie Mellon prod. Archival audiotape recording contains all but Prologue. exc. perf P39 3/2,10-12/95 A Blitzstein Cabaret, Medicine Show, NYC, incl. Prologue perf 'd by Kathleen Cuvelier. article in book P43 Spring 1996 Schwind, Elisabeth, '"Weill hasn't changed, I have,': zur Ästhetik des Komponisten Marc Blitzsteins," Kurt Weill Studien: "eher komisch als provozierend" [more comic than provocative]. books P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p.614: "makes fun of the drawing-room melodrama through the device of... the triple vision of a drinker... written during Prohibition." W72.133 2004 Grant, Mark N., The Rise and Fall of the Broadway Musical, Boston: Northeastern Univ. Press, p. 102-4: "dadaistic musical farce" W40.9 4/2005 After Dinner Opera Co. production w/LJL's The Wooing, Mercyhurst College, Erie PA; Louisa Jonason, dir.; postponed to fall 2005.

W41. Quintet (1928) for Flute, oboe, clarinet, bassoon, piano; "op. 11" in 1928 list - discarded? lost?

W42 Is 5 181 W42. Is 5 (1929) song cycle on poems by E.E. Cummings (1894-1962), for voice & piano 18' B34 1. after all white horses are in bed MBS 2. when life is quite through with (2/1929; re-used in From Marion's Book, W125) MBS 3. mr youse needn't be so spry MBS 4. Jimmie's got a goil publ. by Cos Cob 1934 MBS 5. you are like the snow MBS

R58 3/50 3/66 3/53 3/56 3/59

#1 C w/much modal & chromatic alteration; 11th: D-G. #2 E lydian; 5th: E-B. #3 F mixolydian; m10th: D-F#. #4 F# vs. F (polytonal); aug 11th: C-F#. #5 A; 12th: D-A. Total range: M13th: C-A. #4 publ. 1934 by Cos Cob Press (merged with Arrow Press, 1938) letter W42.0 11/25/29 MB to Jo Davis (R1#1121): "They are, by the way, your songs - dedicated to you, I mean. You might tell Alex[ander Smallens] to write on the first page - 'For Jo.'" W42.1 1930 #3-5 prem. Radiana Pazmor; Edwin McArthur, pno; NY Lg of Composers reviews W42.1.1 "unidentified critic" [MtM p.57]: "This impressionistic, modernistic song [#5] has moments of rare beauty, which both Miss Padmor and Mr. McArthur displayed to advantage." #3 & 4 "were rowdy and amusing and were received with gales of laughter and enthusiasm." W42.1.2 9/16/33 Ewen, David, "New Blood in American Music," Musical Courier: "Charged with an electricity that makes this music glow with each bar. This is hard, brilliant, dynamic music, endowed with a vitality representing a new experience for the tired musical ear." A26 4/15/36 Composers' Forum Laboratory, NYC #4 perf'd by Mordecai Bauman & MB. P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.294-5, 378-9 on #4 #4 perfs P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall: Jeff Keller; Steven Blier, pno. P26 9/21&26/87 Carnegie Hall and 3/19/88 LC Music Division concert: William Sharp; Steven Blier, pno; incl. W42 #4; repeated on recording P31 1990. P19d 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe: William Sharp; Michael Barrett, pno.

182 W42-43 Is 5, Parabola & Circula review P19d.1 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "an energetic expression of envy and admiration for a friend's new flame... sung with charm and commitment" recording P32 1990 Koch #4 William Sharp; Steven Blier, pno. perfs P61 1/7/05 National Opera Association Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret, accompanied & narrated by LJL: #4 George Shirley. P62.5 3/2/05 Curtis Institute concert, Donald St. Pierre, accompanist #2-4 Hanan Tarabay, mezzo (w/W125 #1, 2, 5, 7). No known perfs of W42 #1.

W42A. The Termites, opera planned w/Cummings - never written.

W43. Parabola and Circula (fall 1929) 1-act opera in 10 scenes; libretto: George Whitsett 60' B28,34,77 R43,58 played successfully for Nadia Boulanger at Gargenville, 9/1930 [MtM p.61-2], but never produced Parabola, bar.; Circula, sop.; their adopted children: Rectangula, ten.; Intersecta, sop. Prism, ten.; Geodesa, bass-bar.; Linea, alto. 2S,A,2T,Bar,Bass-Bar 3(poiPicc)-2(poiEH)-3(poiBCl)-3(poiCbn) 4-3-3-1 2Hps Timp Perc Str A "trigonometric" Garden of Eden parable reminiscent of Othello or Pelléas et Mélisande. (from the score:) "Doubt, circulating like a homeless and craven wind in the infinite void inhabited by the Forms, enters the no longer flawless consciousness of Parabola, causing him for the first time to look upon this angelic union with querial eyes." incl. 2 ballets: One "should verge slightly on the ridiculous, with effusiveness and playfulness; if possible it should be a flying ballet, with the dancers attached to wires so that they can leap and fly over the stage." The other, "a ritual love-scene... should be quite serious and beautiful." (MB's notes; see MtM p.51.)

W43 Parabola & Circula 183 letters W43.1 10/31/29 MB to Berenice Skidelsky (R1#1100): "My new opera... has turned out a bouncing baby, much larger and heavier than I had dreamed.... I shall have to do some tall cutting, to make it fit the exigencies of Continental theatres as regards one-acters...." W43.2 9/18/30 MB to Jo Davis (R2#362-3): "Nadia Boulanger... last week.. heard all of 'Parabola' at one sitting, ...and makes me feel very good about its quality." W43.3 1/13/31 (R2#654-5) MB to Eva Goldbeck: "Fritz Reiner... fell for Parabola and Circula, and would like to give a performance. Aaron [Copland]... is only really open about the Overture to P.&.C. which he likes a lot: 'you might know I'd like that kind of music' Is there a reproach here that the music is Coplandish? I think not." articles G16 10/19/40 King, William G., "Music and Musicians, "NY Sun quotes MB: "there are seveal things which I hope will remain in their well-merited obscurity-for example," W43, "one of his 'desk-drawer' operas and ballets." See also W35, W40, W78, W88. G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p.170-6: "The dramatic sections of W43, 50 & 56 "have an austerity and unembarrassed directions of statement suggestive of a kind of neo-Gluck. Some influence of the teaching of Nadia Boulanger may be felt in the slow sections of these same works, which make use of a fastidious, Gallic and somewhat pastoral style, with neo-Gregorian melodic features.... The musical score is ambitious and is characterized by a peculiar measured quality in its rhythmic treatment." A66 1/17/49 "Ballet: Marc Blitzstein's 'The Guests' To Premiere This Thursday," NY Star : "There are two ballet sequences in" W43, "an early operatic monstrosity (unproduced), to which I occasionally turn for needed deflation of the ego." See also W50, W106. letter W43.4 1958 (MtM p.443): MB to Richard Flusser: Marijuana Ballet considered for insertion in No for an Answer W78 II:5; other parts re-used in Native Land W87, Airborne Symphony W95, Regina W107, Lear: A Study W118. W43.4.1 note (c. 1958?) on annotated ms. of piano score: "This work, never performed, has been used by me as my 'composer's trunk'--a sort of repository in which to dip for material for later works. Parts are to be found in 'No for an Answer, 'The Airborne,' 'Regina,' a ballet pas-de-deux [The Guests W106?]." Parts of Sc. 1, 4, 7-9 used in W107. Part of Sc. 1 in "Dream" [A Midsummer Night's Dream W119]. Part of Sc. 10 in W118 Lear: A Study.

184 W43-44 Parabola & Circula, Traveling Salesman A93 MB, 4/2/62 Adolph Ullman Memorial Lecture, Brandeis Univ.: "...a cruel jest on the impossibility of perfection or even satisfaction in the matter of human relationswhips, especially in the matter of love." letter W43.5 7/23/63 MB to Robert J. Dietz: "I have pilfered from them [W43 & W56] musically for later works to such an extent that as entities they are in shreds." P19 4/12/80 Gordon, Eric, "Of the People: Remembering American Composer Marc Blitzstein on the 75th Anniversary of His Birth," Opera News 44 p.269: "fustian verse" P19e 1989 MtM p.51-2 P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p.447: "The 'plot' [is] set in the 'World of Forms.'"

W44. The Traveling Salesman (9/1929-1930) 3-act opera; scenario only B28 "Are you just a Cog or a Complete Machine?... R44 ...a fairy-tale, about the rise of a young man to the Presidency of the United States. The flavor will be that of Horatio Alger, with the premise of virtue absent." 3 acts: prologue + 20 scenes Characters: Virgil Sweet; Agnes Sweet, his mother; Babe Kelly, his friend (another salesman); Silas Riegel, hotelkeeper; Florrie Riegel, his daughter ["a hard nut to crack,' in love with Virgil]; Adam Norris, a financier; Ruth Norris, his daughter; Schoolmaster (school for salesmen); Freddy Clotho, who spins; Eddy Locherio, who twists; Teddy Atropus, who cuts; Pictorial Review collegeboy; office-boy; Mabel Smith (Adam's #1), Dawn Darling (his #2), Olga Speranza (his #3); Factory Foreman; Clerk; Manager (Floorwalker); Client; Sales-girl; Express Driver; Policeman; Subway Bum; Box-Office Girl; Negro Preacher, Negro Woman Singer; Soda Jerker; 2 Girls; Magistrate; Soap-Box Orator; Tin Pan Pianist; Salesboys, Salesgirls, Reception-Guests, "El" Station Crowd; Negro Congregation; Thugs; Side Walk Crowd; Move Stars; Stock Exchange Mob; Yokels; Salesmen; Convention; Chorus + "A negro coon-shouter to do the religious conversion song in the revivalscene; she also appears singing the same song with bawdy words in the speakeasy scene."

W44 Traveling Salesman 185 "Prologue - Chorus (backstage) chanting new God, Success" "All types of 'ballads' for the opera: 1. The sentimental ballad of love 2. The cheer ballad ('Pack up your tears') 3. The nut ballad (style of 'Bananas' & 'It ain't gonna rain no more') 4. The patter ballad (You don't know what I know) 5. The coon-ballad (blues?) (first to religious words, then to bawdy ones) 6. The sentimental ballad ('I wouldn't let a dog out on a night like this') 7. The sentimental ballad (c. narrative, 'The face on the barroom floor,' or 'only a poor man's daughter' or 'Prisoners' song.') 8. Sea chanties. 9. The ballad with sick rhymes. 'I'd like to see the shore from my sandolino. I'd like to see my sister and her bambino. I miss the Southern breeze. God how I miss spaghetti.'" 8/1930 "Cain has precipitated a whole new re-thinking of the idea of the 'T.S.' Its main theme will be success, still, but a grim Success, as out of Hardyan God, cruel, and relentless. Virgil will be nature's nobleman (keep him solid and straight, always), buffeted about in the sea of Success; everybody will have a whack at him.... It occurs to me that this theme, in one form or another, will be my theme for a long time to come - the individual on the one hand, the 'force' on the other. It is not always the individual against the force - that is, it is not always a pitched battle, as in Cain. Virgil, for instance, will be passive, and finally wind up as the 'Darling of Success.' But there will always be the two things at work.... What great work, by the way, lacks this theme as the essential core?.. The next opera will have a great love them." [ellipses in original] See also MtM p.53-4. The School for Salesmen: Catechism (R44#56) What is the world? A customer. What must it do? Buy! Now explain the system. First you gain his - attention! And then? Interest! And then? Desire! And then? Action! Confidence! Service! Service! Yea!

186 W45 3 Jazz Songs W45. [Three] Jazz Songs: (1929-30) 1. Start in Lookin' [aka Looking for Love] Lyrics cited in part in letters to Stella & Louis Simon, 4/1930, quoted in part in MtM p. 59; music lost [song may have originally been meant for female lead in W44]. 2. Boy-Girl Duet Lyrics cited in part in letters to Stella & Louis Simon, 4/1930, quoted in part in MtM p. 59; music lost. 3. What's the Matter with Me? (c. 1929) male solo song w/ pno B97 R60 Andantino 4/4/ Gmaj blues; verse, 2refrains; 11th: D-G MBS 3/46 Referred to as "sad inferiority song" in letters to Stella & Louis Simon, 4/1930, quoted in full in MtM p. 67 (4 lines also quoted in Braudy, Susan, Family Circle: The Boudins and the Aristocracy of the Left, NY: Knopf 2003). letter W45.1 1/13/31 (R2#662) MB to Eva Goldbeck: "Three new jazz songs are to be tried over by Ethel Merman... maybe I'll sell them."

Song [#1] (lyrics only): Looking for Love [aka Start in Lookin']

R44#38-9

Gotta blow, it once was hello my life without you will be black and blue But I'm a naive kid I'll cross out all ids, and start in looking for love.

I'm through with waiting for you and sitting about and not stepping out 'cause I'm no man's goat I'll take my hat & coat and start in looking for love.

How come I must have been dumb That I couldn't see 'Twas so plain to some But now we're both free (Pardon the broken thumb) To start in looking for love.

I'll find someone to my mind. It's easy as pie You just have to try Though I'm not that kind I'm gonna use an eye and start in looking for love.

You made a big mistake to toy with such a devotion You'll never find a break To equal this one from ocean to ocean

I've lost a lot of time Believing you were my maybe I wouldn't toss a dime why, you're not head or tail to me no, baby Too late I'm telling you straight, You needn't come 'round For I'll not be found I has got a long beat Down on the longest street, To start in looking for love.

Too long Have I been done wrong alone in dry-dock "Till I want to shout 'Open that big lock, this boat is sailing out To start in looking for love.'

W45-6 3 Jazz Songs, Scherzo 187 P19d 3/25/ 1989 A Marc Blitzstein Celebration, People's Voice Cafe; Eric Gordon perf'd #3, "a premiere." review P19d.l 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "This simple reflection on love... includes pointed questions about 'manhood' and 'virility." P62.3 MB Centennial Concerts, NYC area; P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62.3c /6/05 Queens College. #3 perf'd by Bill Castleman; LJL, pno; preceding W67 (q.v.). P63 Spring 2005 recording MB Centennial Concert CD: Original Cast Records OC 6127 - from P62.3b.

W46. Scherzo (1930) piano solo ("Bourgeois at Play") 3' B95 R58 "hard-edged, antiromantic, polytonal... sounds like speeded-up silent movie music" MtM p. 57 Actually very light, charming and delightful. Gordon may have been thinking of another unrelated, undated, uncompleted, more severe work, also called "Scherzo," of which there are several sketches. W46.1 5/12/35 prem.: MB, Composers Collective, NYC--recommended, 3/22/35 meeting (R7#686). article W46.1.1 Summer 1979 Dunaway, David King, "Unsung Songs of Protest: The Composers Collective of New York," New York Folklore 5:1, p.1-19: "instrumental music with a social orientation," cited (p.18n44) in "letter to the author" from Herbert Haufrecht. See also W72. W46.2 (P62.2b) 3/6/05 West Coast prem.: Los Angeles - Leo Marcus, pno.

188 W47 Romantic Piece for Orchestra W47. Romantic Piece for Orchestra (3/1930, Capri) 16'-18' [to Eva Goldbeck] 2Fl-Picc-2Ob-Hecklephone-2Cl-BCl-2Bn-Cbn 4-3-3-1 Timp Perc Pno Str; also pno score Allegro Pesante in 3/5 Gb maj many arpeggios; duet for bn2 & tpt, then trio for fl,cl,bn1; 4/4 flirtation; fl & str, then cl & pno, brass, str, tpt & cl; Commodo 4/4 very light alternation of soli & sections; Presto 7/4; return to 3/4 & eventually Gb maj. Score & parts: B98 R59. Unperformed to date. letters W47.1 1/13/31 (R2#652-7) MB to Eva Goldbeck: "Aaron [Copland] and" W47 "don't get along together; he thinks the form is 'wrong'; and whereas I am changing it (the first part has always seemed somewhere bad, and I find it is in a too-great length) it won't be changes which would affect his idea. All one could get him to say is that he 'certainly would like to hear certain sections in the orchestra'--a dubious and characteristic comment." Stokowski "says he will perform" W47 "the end of this season." W47.2 2/16/31 (R2#707-8) MB to Eva Goldbeck: "Aaron [Copland]... likes parts of" W47. "Stokowski yesterday talked with me--he is paying (the Association is) for having the Romantic's parts copied. I hope for an April performance." "...he arranged for the copying of parts..."--MtM p.62. Never happened. W47.3 10/15/31 (R2#1031-2) MB to Eva: "Bob Rockmore, just before he sailed, called me to his house to give me a present of $25.00--why, I don't know--just pure affection. That won't go far in the matter of the parts--but some little way. (Stokowski's last letter 'regrets' that they can't afford to pay for parts.)" article G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L. A. For APM Meet," People's World: "sad and tragically beautiful" concert piece. archival exc. recording 8/9/79 WSHS T773A R4 "Eric Gordon... had a pianist sight read... the music"

W48-49 String Quartet, Cantatina 189 W48. String Quartet (4/1930) "The Italian" 19' [to Eva Goldbeck] 4 movements sketches: B34,97 R58,60 I Allegro - tonic: Cmaj7th chd; many parallel 3rds (hence "Italian"?) mostly 4/4 but much changing meter II Allegretto grazioso - mostly 3/4 Gmaj (hints of lydian) goes to (& ends in) Emin (shades of phrygian) incl. cadenzas for violin I & viola III Presto possibile - C (hints of phrygian & Ab maj) 6/8 perpetuum mobile arpeggios of stacked-up 3rds IV Lento - 4/4 Cmin -> Cmaj letter W48.0 (R2#358-61) 9/10/30 MB to Jo Davis: Gargenville visit to Boulanger dated weekend of 9/11/30. She called it "wholly admirable... perfect writing for strings." (MtM p.62) W48.1 prem. 2/15/31 Society for Contemporary Music, Philadelphia Academy of Music Foyer. Prog notes: "The music represents no theories." (R17#121-2) Pencil sketches at WSHS; ink copy & parts given to Nadia Boulanger, 1930; in her archives at Harvard. Copy being sent to WSHS, 2005. letter W48.1.1 2/16/31 (R2#708) MB to Eva Goldbeck: "Aaron [Copland] definitely does not like the quartet...." W48.2 (A26) NY prem. 4/15/1936 Modern Art Quartet, Composers' ForumLaboratory concert, NYC. W48.3 (P62.2b) 3/6/05 West Coast prem.: Los Angeles, Workmen's Circle; Tetraktys Quartet. W49. Cantatina for Women's Chorus SSAA & Percussion (1930) [fragment] [to Eva] B32, 87 R53 Words sketched for 3 movements; music only for #1 I Prelude: Capriccio "in jazz spirit" 96mm. in ink + c.13 in pencil Slow: 40mm. humming, mostly 3/4, 8mm. SopI la-tee-ta-too 4/4; Fast: 4/4 8 mm.Snare Drum; then +vces: ya-tee-ta-too, dee-oh-do[h]-dle-oh-do[h] II Vocalise - "lento(?) all the full vowels, developing into the nasals and liquids". III Potpourri - mix of English, French, German, Latin, Italian, a little Russian, incl.: "now is the time for all good men to come to the aid of the party... now is the party... moi j'ne comprends pas un mot: amo, amare, amavi, amatus est! ...Kak stiedne [sic: stydno] [how shameful] enchantement. Where is my wandering boy tonight:? I know. I know: amo amare amavi amatus amatus mottos that rare epiglodus [sic] Am I, would you, did she, hello..."

190 W50 Cain W50. Cain (4-5/1930) ballet; for piano or orch +bass-bar. solo (in #5 & 13 only) 30' [to Eva Goldbeck] B31,80 R49,50 3-Picc-3-EH-3(poiEbCl)-3-Cbn 6-4-3-1 Timp Perc (SnD, BD, Cym, small Cym, Tamb, WB, Ratchet, Tri) Theater Orch Score [3 mvts only]: 1-1-2(poiEbCl)-1 3-2-1-1 Timp Perc Pno I. Eden: 1. The Young Son. [reused by MB forItzak's music in Idiots First W127] 2. Abel Offers the Lamb. 3. Cain and His Wife; Cain's Offering. The Response. 4. The Two Brothers. 5. Dialogue. 6. Imprecations and Sorrowing. 7. Interlude. II. Henoch, city of Cain: 8. Building of the City. [Considered for insertion in No for an Answer W78 II:7; not re-used in I've Got the Tune W75 Sc.3, as per MtM p.154]. 9. Festival. 10. Dance of Noema. [Melody very similar to "Brother, Come and Dance with Me" from Haensel und Gretel; Lina Abarbanell, Eva's mother, happened to be the Met's first Hansel.] 11. Slaying of Cain. 12. Lamech and the Stripling. 13. Finale. No known public perfs except of movts #1, 2, 5, 7[?], 9[?] W50.0 letters about W50 W50.0.1 5/22/30 (R2#228) MB to Eva Goldbeck: "its big theme is Cain against Jehovah. Jehovah wins out, but by power only; Cain is the real victor, through being the victim." W50.0.2 6/23/30 (R2#258-9) MB to Jo Davis: "I know I have written the best thing in my career. Yet I have made a failure; no one else will know it, I do. I'm not mature enough.... Yet Cain is the work which has given me vision for works to come." W50.0.3 8/11/30 MB to ? (R2#308-315): "I played part of the ballet" for George Antheil and friends at Cannes. "He had one good - very penetrating criticism of my work. He said he thought it too well-made, of a technical perfection close to sterility. It's a good criticism because in the large it includes the perception of my over-intellectuality. But I suppose that's not very difficult to discern." W50.0.4 8/17/30 MB to ? (R2#318): "Antheil did develop the 'too-well-made' criticism in a way which made it valid, I thought. He cited a passage in Stravinsky, 'where you expect him to begin a development section; instead, he goes off into a miraculous piece of irrelevance, which is just right at that point.' I, at that point, says Antheil, would develop; and I think he is right. A certain lifting imagination has not appeared in my work."

W50 Cain 191 W50.0.5 11/30/30 (R2#473) Eva Goldbeck to Cecil Goldbeck: "The Jehovah scene is completely impressive--in every sense of the word, in the greatest (genius) too. I put the first two scenes in with it, but that may be my own fondness for them--though I don't think so; I think the contrast reveals the greatness as much as each scene by itslef--...they complement one another." W50.0.6 11/3/31 (R2#651-63) MB to Eva Goldbeck: Alexander Smallens "happens to like Cain. 'Like' is mild; he adores it. so does everyone else for whom I've played it; it is doomed to a sensational success. [Leopold] Stokowski, who refuses to hear a piano-version, is going to play it over when he gets back from Mexico....[see also W47.] Cain, he says, he wants to do, with stage and all, next season. He seems quite willing that Marc Chagall should do the sets and Balanchine.. the choreography...." Never happened. "Aaron [Copland]... says that of course I 'have improved immensely.' Cain he likes best; yet he is worried about something he calls 'two esthetics' in it; a direct music and a psychological music, I gather. He really loves Abel; after that he is fond of phrases, picking them out as they occur. The Dialogue means something to him, but not anything apposite. The end made him say 'you write effective music; dangerously effective.' ...There is nothing to be done about the Antheil Cain. Alex told Stokowski, which was stupid, and S. characteristically said 'What of it? B's will certainly be better.'" W50.0.7 10/19/31 (R2#406-7) MB to Eva Goldbeck: "I played Cain for [Alfredo] Casella [1883-1947], who in his funny turkey-cock way liked it a lot; he finds it 'âpre' [rugged] and excellent theatre, and will give me letter for the Prix de Rome." W50.0.8 2/5/31 (R2#693-7) MB to Eva Goldbeck: "I have seen the man to play 'Cain.' His name is Benjamin Zemach.... He is the pure Cain~not tall but powerful and rather ugly in body--muscular, a blunt eloquence. His head is divine--proud, Hebrew, and the features on the face are deeply set and etched, as if always made up. The whole tone is earthy, blunt, and barely-tamed, and rooted in the race, with a sudden elvishness or tenderness, or that wisdom so old it has gone trivial or a little rotten. I play Cain to him tomorrow." [2/31 W50 was rehearsed by dancer/choreographer Benjamin Zemach - and apparently given W50.1 one "private" perf - see A66 1/17/49 below Cain: Benjamin Zemach; Abel: Fred Berk; Cain's Wife: Katya Delakova - but then dropped.] W50.2 3/31 #2 publ. in This Quarter [Paris] v.3#3 p.440. partial reading W50.3 1/32 Stokowski read through 1/3 of piece with orchestra, in composer's absence, and rejected it. [MtM p.73]

192 W50 Cain partial radio perf. (R17#140) W50.4 4/16/33 MB played 3 dances (#1, 7? & 9?) from Cain (piano version) on WEVD radio - w/W35, 55 (2 mvts). W50.5 4/34 exc. publ. by Rice Institute, Houston. prem. #2&9 (pno) W50.6 12/1/35 MB at Town Hall, Music Guild Series: "The Appreciation of Music" hosted by Leonard Liebling, on prog w/works by Evelyn Berckman, Henry Cowell, Paul Creston, Otto Luening, Jerome Moross, Elie Siegmeister (his "Strange Funeral in Braddock," performed by Mordecai Bauman), and Hanns Eisler (incl. T1, q.v.) (prog: R17#151). reviews W50.6.1 12/2/35 "Recital by Composers: Marc Blitzstein and Henry Cowell Among 7 on the Program." NY Times p. 19 W50.6.2 12/14/35 Simon, Robert, "Musical Events," New Yorker p. 110-1: "so good that I'd like to know more of this ballet." perf. of #5 A26 4/15/36 #5 perf'd by Mordecai Bauman & MB, Composers' Forum Laboratory, NYC w/W42 #4 & W61 #6; also perf'd: W35; W48; W52; W55 #1. sketched revision W50A 1940 revised, in sketches, as The Story of Keene and Albert. articles G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World "The theme of the ballet was that men are the sons of Cain and not the sons of Adam. 'It was cruel and tragic... All men were murderers bearing the Mark of Cain. Brrr.'" W50.7 Winter 1946 Copland, Aaron, "Symposium on Neglected Works," MM: "unproduced dance score from Blitzstein's early period that warrants investigation from a ballet company."

W50 Cain 193 G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p. 170-6: "an unsentimental neo-Bachian or neoHandelian flavor pervades the rapid movements in" W35 & W50. "The dramatic sections of the latter work, and of W43 & W56 "have an austerity and unembarrassed directions of statement suggestive of a kind of neo-Gluck. Some influence of the teaching of Nadia Boulanger may be felt in the slow sections of these same works, which make use of a fastidious, Gallic and somewhat pastoral style, with neo-Gregorian melodic features.... The atmosphere is sombre and disillusioned. The music has a harmonic pungency which gives an unusual effect in combination with the otherwise severe features of Blitzstein's neoclassic style." A66 1/17/49 "Ballet: Marc Blitzstein's 'The Guests' To Premiere This Thursday," NY Star : quotes MB: W50 "had one private performance by Benjamin Zemach and his dancers." See W43, W106. G4a 1951 Copland, Aaron, Our New Music: Leading Composers in Europe and America (NY: Whittlesey House, McGraw-Hill) p. 194: "an unusually promising piece" archival exc. recording 8/9/79 WSHS T773A R3-4 "Eric Gordon... had a pianist sight read... the music": #1-9, 11-12. P36a 2004 Kushner, David Zakeri, "Blitzstein, Marc," Grove Music Online: W50 "modal and mildly dissonant,.... polytonal..." W50.8 2005 Davis, Christopher, Remembering Cain (orig. title: The Case Against Death), autobiography in progress, Contemporary Authors Autobiography Series, v. 20. Notice posted at

194 W51-52 Surf and Seaweed, Piano Concerto W51. Surf and Seaweed (1931) film score for chamber orch B94 R17 1-1-1-1(poiCbn) 0-1-0-0 Pno Str (no Cb) (dir: Ralph Steiner) 12'-16' to Alma Wertheim (Suite: 5 movts) Publ: Boosey & Hawkes (rental) Score uses quasi-serial techniques of octave displacement; no complete 12-tone rows, however. W51.1 prem. 3/15/1931 Broadhurst Thtr, Hugh Ross, cond. (Copland-Sessions concert) reviews (R8#327-8) W51.1.1 3-4/31 Hammond, Richard, "Pioneers of Movie Music," MM 8:2 p.35-8: "...lean simplicity and instrumental economy completely in character with contemporary composition. Savoring of the small orchestra rather than of symphonic complexity it gave an excellent commentary on the film and was, at all times, more than mere background and not in the genre of representational music." W51.1.2 3/16/31 Downes, Olin, "Music: Conceit of Music and Films," NY Times. W51.1.3 n.d., F.D.P., "Concert Blends Music and Film at Broadhurst," NY Tribune: "varying effectiveness..." W51.1.4 n.d., H.S., "Music and Camera Rivals in Concert," NY World Telegram. W51.2 computer realization 2003 by Eric Beheim of Cine-Phonic Music Service w/ "the Flotsam-Jetsam Chamber Orchestra"; c.12'53" incl. in DVD boxed set Unseen Cinema: Early American Avant-garde Film 1893-1941; distributed by Anthology Film Archives, NYC; shown at Unseen Cinema film retrospective. W52. Concerto for Piano & Orchestra [aka Piano Concerto] (1931) in 3 movts: Moderate Molto. Allegro; Largo assai; Allegro non troppo 19'-28'. 10'47" 9'35" 7'49" 2-Picc-2-2-2-Cbn 4-2-3-1 Str [to Alene Erlanger] B35,96, 112 R59,70 MB's notes (R12#552): "In general it follows the 19th-century model of the concerto-form, using the piano alternately as obligate and as solo instrument. The work has no program....The first movement, in strict sonata-form, contains one irregularity: the reprise of the second subject occurs before that of the first. -- The third movement is a double passacaglia, two themes are employed constantly, in succession and simultaneously, and afford opportunity for many types of contrapuntal procedure."

W52 Piano Concerto 195 letters, journals W52.0.1 3/11/31 (R2#741) MB to Eva: "I am about to make a better piece than Cain. The piano concerto; with a slow quiet beginning for the solo-instrument which is monstrous, it is so beautiful." W52.0.2 MB played piece for Fritz Reiner 1/12/1932, who labeled it "one of the best and most expertly done works by an American" but then did not program it. --MtM p.73, paraphrasing journal of Eva Goldbeck. W52.0.3 1/18/32 Nadia Boulanger to MB: "The manuscript arrived after the programme had been definitively chosen, some of us having already left Berlin. What a pity! I can't say how sorry I was & stay...." W52.0.4 3/21/32 Leopold Stokowski to MB: "Some day when we both have time let's play it through in rehearsal." W52.0.5 5/10/1932 (R2#1113) Eugene Goosens to MB: "I have just finished reading through your Concerto and find it very stimulating. Its clarity of speech is refreshing after so much of recent romantic effusion.... On your return from Europe I would like to hear you play it. Have you any future performances in mind in this country?" W52.1 4/15/1936 (A26) prem. Norman Cazden (solo piano) & MB (orch piano) Composers' Forum-Laboratory, NYC; also perf d: W35; W42#4; W48; W50#5; W55#l; W61#6. review W52.1.1 5-6/36 McPhee, Colin, "New York's Spring Season, 1936," MM p. 39-42: "an excellent and well constructed piece of music. One feels in it primarily a preoccupation with form.... It was difficult to estimate its real value when played for two pianos, as far as I could judge from the score, the orchestra is handled with brilliance and a decidedly personal feeling for instrumentation. Blitzstein has a freshness at times which is most attractive...." W52.2 late 1930s 2nd (private?) perf. w/2 pnos; David Diamond turned pages. (Notes to W52.5.) W52.3 letters re possible performance W52.3.1 10/15/59 David Diamond to MB: "Is it possible to have 1 2-piano reduction & 1 orchestral score of your Piano Concerto? I want [Italian pianist] Pietro Scarpini to see it." W52.3.2 MB to David Diamond (quoted, without date, in liner notes to W52.4): "All my thanks about the Piano Concerto, which I don't think I want done now." W52.3.3 11/9/59 (R4#401) David Diamond to MB:"I understand about the PIANO CONCERTO and will explain to PS." book P7 1968 Gruen, John, Close-Up (NY: Viking) p.168-9 interview quotes MB: "I would let anything of mine be produced--even something I didn't like. I have no wish to hide the kind of person I was, for I am that person-plus years."

196 W52 Piano Concerto W52.4 1/86 orch. prem. Michael Barrett, Brooklyn Phil, Lukas Foss, cond. W52.4.0 preliminary letters & meetings W52.4.0.1 8/8/84 LB to Chairman, Corp. for Public Broadcasting, recommends Michael Barrett, "the one young pianist-conductor to whom I have ever handed on the torch of Marc Blitzstein's music... I know that my own music, for example, could never have existed as it has (and does, even now) without the example and profound critical powers of MB. W52.4.0.2 9/20/84 Michael Barrett to LJL (et al), requesting "help" in raising $300,000 for a "documentary film" on MB w/John Houseman, exec, prod.; Alexander Gibney, dir. & co-prod.; Eric Gordon, consultant. Lukas Foss & Brooklyn Philharmonic "committeed... to a concert of Blitzstein's music." W52.4.0.3 10/84 LJL meets in Berlin (backstage at the Philharmonie) w/LB who, upon remembering & recognizing him, cries: "Where have you been!?" LJL asks for help getting a full production of W127. LB: "Help Michael and he'll help you." W52.4.0.4 Summer 1986 LJL meets w/Michael Barrett in NYC. Only about $180,000 of the $300,000 was raised; most of it went toward the premiering & recording of W52. reviews W52.4.1 1/28/86 Holland, Bernard, "Music: Blitzstein at Meet the Moderns," NY Times p.C17: "acerbic distensions of tonality and gray earnestness". W52.4.2 2/10/86 Davis, Peter G., New York : MB's "early works should be reassessed and performed, if the Piano Concerto is typical of them. Terse, biting, witty, melodically fresh, and with a disturbing undercurrent of melancholy, it is not that different, in spirit at least, from the familiar Blitzstein of Regina. ...A valuable score." W52.5 1/26/86 recording: Michael Barrett, Brooklyn Philharmonic, Lukas Foss, cond, Manhattan Center; released 1988: CRI CD 554 together with Tobias Picker's "Keys to the City"; notes by Tim Page. recording reviews W52.5.1 1990 "Recordings in Review," Musical America 110:1 p.60. W52.5.2 Fall 1990 Dietz, Robert J., "Record Reviews," American Music 8:3 p. 3 81: "fundamentally neo-Romantic!" article P19g 1-2/05 Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents : "I only wish that a major concert pianist would rediscover the stirring" W52 "and give it some play. Audiences would find it a revelation."

W53-54 The Killers, The Harpies 197 W53. The Killers (1931) 1-act opera after Ernest Hemingway - fragments; 3 scenes, 8 male singers, orch of 7; planned to fulfill League of Composers commission. B28 R44 letters W53.1 4/1/31 (R2#772-3) MB to Eva: "The music will be the force which has everybody - even the murderers - in its maw. Again 'the force' - it will be like doing a small Cain again." W53.2 5/4/31 (R2#813-4) MB to Eva: "...the League's commission ($500) is official, and I must have the short opera finished by Sept. 1." W53.3 5/18/31 (R2#833-4 ) MB to Eva: "The League commission has come through officially; they are frightened of the 'Killers.' I will do it anyway; though perhaps not for them. I may look around for another subject." Abandoned in favor of W54. Dramaturgical predecessor of The Cradle Will Rock, W72 Sc.5. W54. The Harpies (1931) 1-act opera 16-20' Lg of Composers commission libretto by MB after Apollonius's Argonautica Bk III B24&59 R31 Phineus, blind oracle, tenor; Iris, Messenger, soprano; Argonauts: Zetes, tenor; Calais, baritone; Jason, bass Harpies: Aello, soprano, Ocypete, mezzo; Celaeno, alto Fl(Picc), Cl (EbCl), Bn , Tpt, Hn, Tb, Pno, Cb (Boosey & Hawkes; parts, no partitur) [adapted, 1970, for 2pnos & perc.] Full score sent Hugh Ross 2/8/53; missing. letter W54.0 6/8/31 MB to Eva (R2#871): "working furiously on the 'Harpies,' with an insane sense of honor to the League, two hundred and fifty dollars of the prize having already been given me." article G22 Summer 1946 Brant, Henry, "Marc Blitzstein," MM 23:3 p.172: "appears to be the first work in which Blitzstein is aware of social forces as suitable subject-matter for dramatic music... expresses a classical Greek situation whimsically in terms of modern comedy." W54.0.1 3/29/51 contract signed with After Dinner Opera Co. [who did not perform it]. W54.1 prem. Manhattan School of Music 5/25/1953 Hugh Ross, cond.; Ralph Herbert, dir. on triple bill with Haydn's The Songstress and Martinu's Comedy on the Bridge. Phineus: Stamford Nishimura; Iris: Vilma Georgiou; Aello: Nassrine Mobite; Ocypete: Cornelia Nobles; Celaeno: Paulyn Warren; Zetes: Kenneth Lane; Calais: Paul Ingegneri; Jason: Coleridge-Taylor Perkinson. W54.1.1 8/12/52 contract signed with Manhattan School of Music

198 W54 The Harpies W54.1.2 preview articles W54.1.2.1 5/24/53 "Two One-Act Operas Will Have Premieres in New York This Week," NY Times +photos of final scene at Manhattan School, and Ashley Vernon's "Barber of NY" at Hunter. W54.1.2.2 5/24/53 (R68#577-80) Herald Tribune same photo; caption notes "the first work for which he wrote his own text." W54.1.3 reviews W54.1.3.1 5/26/53 Taubman, Howard, "Blitzstein Opera Performed Here" 'The Harpies,' a One-Act Work Written in 1931, Is Staged by Manhattan School of Music," NY Times p.32: "seems long, even for twenty minutes." +Talbot photo of MB. W54.1.3.2 6/53 Sabin, Robert, "New York Sees Premiere of Three One-Act Operas," Musical America 73 p.7: "thoroughly entertaining... extremely rich and sonorously beguiling". P3 7/29/65 Talley, Paul Myers, diss., p.51: "shows little sense of dramatic action, substituting physical action instead." p.55: "satire". W54.2 12/5/70 & 12/10-12/12/70 Lowell House, Harvard prod. w/2 pnos 2previews, 4perfs 17min.(!) co-sponsored by Adams & Winthrop Houses; triple-bill w/W75 & LB's Trouble in Tahiti; dir. & choreog. Wakeen Ray-Riv (later aka Joaquin La Habana); pno/cond.: LJL 2nd pno: David Hessney; Phineus: Larry Bakst; Iris: Juliet Cunningham; Aello: Louisa Roof; Ocypete: Sharman [Haley]; Celaeno: Stephanie Schlegel; Zetes: Ross Halper; Calais: Lewis Perry; Jason: Ira Bigeleisen. preview articles W54.2.1 12/3-9/70 Bedell, Jan, "premiering and revival," Harvard Independent: W54 "almost more ballet than opera" See also W75.14.1 & W72.98.1 10/2111/20/99 under W127. W54.2.2 12/4/70 Derrickson, Ann, "Let the People Sing Out," Harvard Crimson, p.3, incl. photo captioned "Mark[sic] Blitzstein and Leonard Bernstein at the piano." "The new staging here and emphasis on dance is a vital response to Blitzstein's dedication to popular art and depends on the spirit of community and expansiveness that the uninhibited rehearsals have tried to build up." See also W75.14.2, W127.4.3 & W72.98.1 10/21-11/20/99 under W127. reviews W54.2.3 12/8/70 Sterritt, David, "Harvard opera--Blitzstein and Bernstein," Christian Science Monitor. W54 "sporadically amusing... silly plot..." See also W75.14.3. W54.2.4 12/10/70 Miranda, William D., "Your World of Opera: Harvard Houses Honor Blitzstein," Jewish Advocate: "marvelously funny take-off on the classical myth... almost topless harpies." See also W75.14.4. W54.2.5 12/10-16/70 Bedell, Jan, "kudos to revivalists," Harvard Independent: W54 "a parody of 'serious' modern opera and neo-classicism... heavy with 'significance,' and.. the spirit of hyperbole. Larry Bakst was a properly loud tenor and an improperly low comedian... Juliet Cunningham transformed the traditional heavenly messenger... into a splendid sexpot." See also W75.14.5.

W54 The Harpies 199 W54.2.6 12/11/70 Derrickson, Ann, "Blitzstein's Spirit Looms Large," written for but not printed in Harvard Crimson, publ. by Dunster Drama Review 10:1 2/71: "revels in the trappings of Greek drama but retains the excruciatingly funny, farcical style of W75 Sc.2. "Wakeen Ray-Riv's creative direction and choreography lightened Blitzstein's elaborate spoof. And so did the costuming-or lack of it--for when the mythical creatures appeared in the flesh, they were very obviously in the flesh, clad only in loincloths and netting." See also W75.14.6 W54.3 12/8/70 recording of W54.2 (+W75.14) by WHRB at Lowell House; WSHS Tape 554 R5; released privately on CD, 2004 (and posted on newmusicjukebox.org), broadcast on "Through the Opera Glass," WBAI, NY 2/27/05, w/W75.14, P53 (exc), W107.18 (exc). Comments by LJL, read on the air by Anthony Coggi: "The work was performed with see-through costumes and rehearsed in the nude. Only the Bostonian mores of the time (Hair had been banned) - despite the efforts of Alan Dershowitz - prevented full nudity in the performance." articles P19 4/12/80 Gordon, Eric, "Of the People: Remembering American Composer Marc Blitzstein on the 75th Anniversary of His Birth," Opera News p.26-9: "can possibly be considered an allegory on the need for ideas to be fulfilled through action." P19b 9/88 Gordon, Eric A., "A Night at the Opera," Opera News 53:3 p.67 announces: W54.4 (P27) 9/14-10/9/88 Soho Rep Blitzstein Project prod.; Carol Corwen, dir.; Donald Sosin, arr./mus.dir. W54.5 1991 recording Premier PRCD 1009 Gregg Smith, Gregg Smith Singers, Adirondack Chamber Orchestra 22'04" Phineus: Thomas Bogdan; Iris: Rosalind Rees; Aello: Patricia Price; Ocypete: Priscilla Magdamo; Celaeno: Fay Kittleson; Zetes: Henry Niemann; Calais: Walter Richardson; Jason: Edmund Najera. Prog notes by Robert Stern: "Drawing on Greek mythological characters while satirizing the classical operatic form, with traces of 'pop' music of the period and barbershop harmony thrown in for good measure, the opera expresses, in allegorical format, the composer's attitude toward economic and political conditions as they existed at the time of composition (during the 'Great Depression')." recording review W54.5.1 7/7/91 Gold, Gerald, NY Times also reviews P31 & P32. book P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p.261: "fantasy opera... A treatment of the Greek legend in which the blind oracle Phineus is tormented by the harpies, until they are dispersed by the Argonauts, led by Jason."

200 W54-55 The Harpies, Serenade for String Quartet P55 12/2002 Fava, Maria Cristina, "Marc Blitzstein's Sacco and Vanzetti and the Rhetoric of McCarthyism," Master of Music thesis, p.29 "...in the characters of Phineus and Jason he approaches the contradictions between knowledge and action. On the other side, the Harpies can be said to represent the economic and political conditions of the Great Depression, which so frustrated basic human needs." article P36a 2004 Kushner, David Zakeri, Grove Music Online : W54 a "satirization of Gluckian, Wagnerian and Mozartian mythology and Broadway theatricality, suggests the influence of neo-classicism". W55. Serenade for String Quartet (1-2/1932) 18' [to Eva] B97 R59 I Largo; II Largo; III Largo [sic; actually: I Allegro Moderato; II Larghetto; III Andante Maestoso] I 4/4 canonic Cm->C#m; II 3/4 Gb, ends on quasi V of Bb; III 4/4 marcato C quasi lydian, ends on Cmaj. W55.1 prem. 5/1/1932 Hans Lange Qt, Yaddo; NY prem. parody W55.1.1 4-hand pno burlesque of piece written and played later in festival, Bernard Herrmann, cond. (MtM p.75) review W55.1.2 5-6/1932 Meyer, Alfred H., "Yaddo--A May Festival," MM 9:4 p. 172-6: "The most daring of the experimenters... [but] one of the misfits... The matter of this music often has a darksome Hebraic cast suggestive of Ernest Bloch.... the ingenuity of his attempts to conquer the unconquerable leads one to suspect him of an inherent talent above the ordinary." dialogue A12 5/2&3/32 Composers' Conferences #1, 2 & 3, Yaddo, with Aaron Copland, MB, Israel Citkowitz, Robert Russell Bennett et al; transcribed (R7#664-79); incl. discussion, p. 13: "IC: The form of the first movement in Mr. Blitzstein's Serenade is extremely interesting. It starts out with a theme in C, then there is a fugue subject in another key, then the first theme comes back in the original key, then there is a development of the fugue subject. MB: The first theme is only an introduction, and later serves as a link or transition. RRB: And it's very striking. MB: Well, as you are talking of my Serenade, what do you think of a threemovement form with the movements having respectively one, two, and three themes? AC: ...It seems awfully artificial...."

W55 Serenade for String Quartet 201 review W55.1.3 5/2/32 AP, "Critics of Music Are Denounced By Composers: Modernist at Festival at Saratoga Springs Holds Press Criticism 'Menace': Reviewer Advises Artists: Suggests That They 'Get the Stuff Played at All Costs,'" NY Tribune : "The other 'first performance' of the evening was" W55 "featuring three movements, all largos. The contrasts are sought in sonorities rather than tempi; interesting as a problem, its musical ideas and thought are opaque, too little varied." letter W55.1.4 5/18/32 Aaron Copland to MB: "I despair of seeing an intelligent review of your quartet.... The moral is: Always cajole a listener, never frighten him away. I mean it seriously." book W55.1.5 1940 Levant, Oscar, A Smattering of Ignorance (NY: Doubleday) p. 163: "one of the greatest presumptions toward an audience that I had ever encountered in any composer.... It was like a meal consisting entirely of stained glass, with different dressings." See A41 for MB's response. review W55.1.7 2/15/41 Haggin, B.H., "Music," Nation 152:7 p.194 recalls audience response as "frigid". W55.2 4/9/33 perf Hans Lange Qt, 40 E 68 St., NYC (R17#138). W55.3 4/16/33 Hans Lange Qt, 2 mvts only, on WEVD radio perf - w/W35, W50 (3 dances)(R17#140) W55.4 (A26) 4/15/36 Modern Art Qt, Composers' Forum Laboratory, NYC perf 1st mvt only, w/W48; also perf' d: W35; W42 #4; W50 #5; W52; W61 #6. W108.0.12 c.1953 [in notes for W108] MB: "I once wrote a 'Serenade for String Quartet.' The three movements were marked 'Largo, largo, largo,' and I came in for a lot of ribbing from colleagues and critics. It was an honest attempt at making music, however. It seemed to me that the modern spirit in music had reached a point where the 'spectre of boredom' became the fuiding devil of composers; pieces were short, so the listeners wouldn't get bored; not only short, they changed their pace and manner and harmony- and melody-styles every few bars. This piece wouldn't, I maintained; and fell into the same trap, only in reverse. I worte a long piece that didn't change." A82 7/25/58 perf 1st mvt only on all-Blitzstein concert at Tanglewood.

202 W56 The Condemned W56. The Condemned (1932) 1-act choral opera [or oratorio] in 11 scenes 35' "loosely based on the Sacco-Vanzetti trial" 7/23/63 MB to Robert J. Dietz: 32S,16A,48T,48B 2-2-2-BC1-2 4-3-3-1 Perc Str B29,77 R44 Each character is represented by a chorus: The Condemned TTBB, the Wife SSA, the Friend BB, and the Priest TT. Place: The Death House Time: Morning of the Execution "I believe in Man.... There is no God; there is only Man." (Sc.5) [models:] R44#144-5: "Nicola Sacco; Bartolomeo Vanzetti; Rosa Luxemburg; Karl Liebknecht; Blanquet [sic: Auguste Blanqui] (French Commune); Hotioti [sic: Giacomo Matteotti](Mussolini murdered); [Jean] Juarès (France - 1914); [Peter] Kropotkin; Heinrich Heine; Karl Marx; Garibaldi; Joh[an]n Most; [Andrei] Z[h]eliabov; Sophie Perovsk[a]y[a] (shot Alexander II 1882); Haymarket ([August] Spies + 4 others); [Eugene V.] Debs; Macabee - Palestine Revolutionary killed by Romans; [Georgij Valentinovic] Plechanov; [Mikhail] Bakunin; Edith Cavell; [Feodor] Dostoevsky; John Reed; [Jean-Paul] Marat, [Maximilien] Robespierre, [Georges Jacques] Danton; Alexander Berkman; Thomas Paine; John Brown; William Lloyd Garrison; [Errico] Malatesta (Spanish anarchist); Socrates; Axelbrod [sic: Pavel Axelrod] (Lenin's associate)" [Music & some words from Sc.2 re-used, in part, in LJL's W123 completion, III:3 & III:5 Pts 5 & 6.] "a kind of requiem cantata, a ritual coming-to-terms with a nation's sentence of unjust death, ending in an unresolved bitonal chord." --MtM p.78. letters W56.1 8/9/31-8/12/31 MB to Jo Davis and 8/14/31 MB to Stella & Louis Simon: "The subject for the choral opera has struck me of a sudden... the capitalistic machine against a radical individual," based on the Sacco-Vanzetti saga. The inspiration seems to have been meeting on a boat with refugees deported during the Palmer Raids of the post-WWI Red Scare. (MtM p.71, 551n39) (R2#945-6, 953-4, 961) W56.2 9/18/31 (R2#986-7) MB to Eva: "On the boat was H[enry] W[adsworth Longfellow] Dana, Harvard professor, back from a year-and-a-half's study of the theater in Russia. He is a convert to the opera, takes it with almost solemn fervor, and will do something about placing it in Russia for performance, when it is ready. The new title is the 'Death Hour.' Not final." FBI Memorandum W56.2a MB's name would be listed right above Dana's in FBI ofc memorandum of 11/29/47 (declassified 10/15/96) listing sponsors of the Civil Rights Congress, National Conference in Chicago 11/21-23/47.

W56 The Condemned 203 letters W56.3 (R2#142-3)7/31/32 Nadia Boulanger to MB: "I received your manuscript.... I read with great care, great emotion the scêne you sent me - I love it in itself deeply & fell that it must take the right place in the whole! I don't realise what is the proportion of the orchestra, the distance in range & some places stay uncertain - I mean I am not sure how they sound - in some chords where the voices seem not to be sustained by the orchestra, I would fear 'pour la justesse.' [for the intonation] These things are matter of détail - what matters is the quality of the music, the strength of expression, the choice of means-- And I am truly happy - in my affection for you & my love for music --" W56.3a 6/6/42 Nadia Boulanger to MB, in reference to other pieces MB sent her: "...am happy to have this music in which I recognize you, at your best. You know how always I have atttached importance to your gifts, your intelligence, your sensibility. It means a great deal to feel that the man has built what the boy dreamed - & I am more happy than ever to know you." auditioned for Albert Coates, Lago Maggiore, Switz., to produce it in USSR W56.4 9/29/32 (R2#1173) MB telegram to Eva Goldbeck: "TRIUMPH COATES SAYS UTTERLY ORIGINAL RUSSIA WILL INVITE ME TO DEMONSTRATE MEYERHOLD PROBABLE REGISSEUR." MB's notes on conversation w/Coates: R2#1085-6. letter W56.5 11/27/32 (R44#133-4) MB to Albert Coates: "My choral opera 'The Condemned' is completed and orchestrated. It wants only the making of a presentable ink-copy. I hope when you hear it you will agree with me that the last scene (unfinished when I played the work to you and Mrs. Coates at Maggiore) tops the whole and is really the best music of the piece. Is it still your opinion that I might be invited to come to the USSR to demonstrate the work? ...Will you tell Mrs. Coates that the opera in its finished state really seems worthy of having her for its 'godmother,' as she constituted herself?" But Coates broke his contract with Russia and work was never produced. notes W56.6 Aaron Copland's opinion, 1932 (from MB's notes) [MtM p.80]: "music one has to respect rather than love... How are we to be moved for half hour about one situtation which abstractly gets us but not really?" W56.7 Goldbeck, Eva, "Marc Blitzstein's Music," n.d., not published: "It suggests, for instance, that at some time Blitzstein will write a great comic work in music stemming directly out of this great tragic work." MtM p.83. letter W56.8 1/11/35 G.M. Beckett (Secretary to Music Director, BBC) to MB: "the judges... could not recommend an immediate broadcast performance, partly on account of the large orchestra and choruses required."

204 W56 The Condemned interview G20 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World : "I was learning to direct the Mark of Cain. Some were the murderers, some were the murdered. The Sacco-Vanzetti case had left a great imprint on my mind." articles G22 Summer 1946 Brant, Henry, p. 170-6: "The dramatic sections of" W43, W50 & W56 "have an austerity and unembarrassed directions of statement suggestive of a kind of neo-Gluck. Some influence of the teaching of Nadia Boulanger may be felt in the slow sections of these same works, which make use of a fastidious, Gallic and somewhat pastoral style, with neo-Gregorian melodic features." In W56 MB's "work reaches a critical stage where his developing interest in expressing a positive social viewpoint is almost directly in conflict with the rigid, impersonal stylization of his musical and literary language. It is significant that during the next three years he composed no major dramatic work." W56.9 7/3/51 Sear, H.G., "Music: Driving it Home," London Daily Worker W56 "dealt with the trial of Sacco and Vanzetti. It bit into the American conscience. Its music was rigid and impersonal." See also W72.40.10. G56 2/29/60 Ross, Don, "Blitzstein Is Winnowing Sacco-Vanzetti Roles,"Herald Tribune: "In the intervening years he has pilfered the music from" W56 for W107, W72 "and some of his other works. Now there is nothing left of it so for his new opera [W123] he must start anew." letter W43.5 7/23/63 MB to Robert J. Dietz: "I have pilfered from them [W43 & 56] musically for later works to such an extent that as entities they are in shreds.... It [W56] now forms part of my 'composer's trunk'; sections and ideas are in the new work [W123], as well as in" W78 "and other works." P1*5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter pp.46, 4850: In W56 "he had moved on to the social and political themes which, one way or another, were to concern him for the rest of his life." See also W40, W65, W72, W78, W107, W126. P3 7/29/1965 Talley, diss., p.55: "Although he formalizes his characters as choruses, he still manages to suggest individuality through their responses to the situation.... he displays his gift for poignant drama." letters W56.10 7/12/73 Morris Golde to LB: Score of W6 "was found in New York... I thought you would want to know about it." W56.11 9/2/73 Helene Coates to Jo Davis: "Lenny said he would like to see this score, if and when it is convenient for you to send it to him."

W56 The Condemned 205 article P19 4/12/80 Gordon, Eric, "Remembering American Composer Marc Blitzstein," Opera News 44 p.26-9: "The abstract representation of the characters by four large choruses..., as well as the difficulty of the music, consigned the work to immediate oblivion." W72.53.6 12/80 Bell, Robert Alan, "Ratio Within Ratio: A Speculative [Kenneth] Burkeian Methodology and Application for the Rhetorical Criticism of Marc Blitzstein's The Cradle Will Rock," Master of Arts thesis, Kent State Univ. Graduate College, Chapter 5: p. 109-12: "Act as Scene-Agent Ratio: The Effect of the Sacco-Vanzetti Murder Case on Marc Blitzstein." See also W72, W123, W127. article P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: "This improbable work--practically speaking, unstageable--is an abstracted picture of the day of an execution, but the libretto leaves little doubt that it was of Sacco and Vanzetti that" MB "was thinking." book P19e 1989 MtM p.77-81 article P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: "The musical realization remains aloof and somehow at odds with the emotion inherent in the story." P44 1997 West, Carolyn Pace, "Sacco & Vanzetti in American Art and Music," Ph.D. diss. Syracuse Univ., p. 102-7: "reflects the widely felt bitterness and anguish following Sacco's and Vanzetti's executions." Points out the "irony" in MB's stage directions: "The Condemned who ultimately can move only to his death is the only chorus who can move off stage. The remaining characters who ultimately have more freedom are unable to move on stage." [This seems almost reminiscent of the philosophy of counterpoint study espoused by Nadia Boulanger: to be so bound by rules and strictures that "you can no more move."] book P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p. 122: "Inspired by the Sacco and Vanzetti case of 1921 [sic: 1920-27]." article W123.16.3 11/01 Honig, Joel, "Dead Man Writing," Opera News p.88: "Blitzstein had explored the subject [of Sacco and Vanzetti] in 1932 (in an unproduced oratorio), but returning to it for the opera, he found his creativity stymied by the subject matter, and the work languished, despite sleeve-tugging by general manager Rudolf Bing." P55 12/2002 Fava, Maria Cristina, "Marc Blitzstein's Sacco and Vanzetti and the Rhetoric of McCarthyism," Master of Music thesis, Graduate College of Bowling Green State Univ., p.32-6.

206 W57 Piano Solo W57. Piano Solo (summer 1933) [aka Piano Suite; in 4 movts] Con brio; Cantabile; Scherzoso; Vivace. c. 10'

B95 R58

letter W57.0 7/5/33 Journal of Eva Goldbeck: "genuinely humorous, a fling, gay but substantial, robust and much more willing to be easy (in themes) than ever before. He finished the third movement, a delicious tiny thing today." W57.1 prem. by MB, Mellon Galleries, Philadelphia 2/5/34. preview articles W57.1.1 2/4/34 (R8#338) "Zimbalist Plays Here This Week: 'Concert of Premieres Tomorrow; 'Tristan und Isolde' Tuesday," photo of MB, announcing "Concert of Premieres" at Mellon Galleries, incl. W57 "composed last summer. The work is in four short movements, each aiming to state a musical idea explicitly." W57.1.2 2/5/34 "Concert of Premieres" prog incl. Schebalin, Hindemith, Webern, Chavez, Nabokoff, Copland; MB's the only world prem. archival recording 8/9/79 WSHS T773A R2 "Eric Gordon... had a pianist sight read... the music"

WB58 207 W58. Discourse (summer 1933) for cl, vc & pno [compl. by LJL, 2004] c. 7' B97 R59 part of set of pieces to be called Ricercata - fragmentary sketches Melody in clarinet, then joined by cello, seems centered on A or F#. Piece ends on A, over F natural. 156 mm., some virtuoso cadenza work in each instrument; nearly constantly varying meter. article W58.1 1989 P19e MtM p.84-5: "Blitzstein experimented with twelve-tone rows and the usual inversions and retrogrades, his most adventuresome composing to date. But his sketches remained fragmentary; he just didn't have the will to finish a piece so redolent of Schoenberg." W58.2 6/29/01 online posted message from Paul Moor: "Trio for clarinet, cello, & piano - Oriol, an outstanding Berlin group, plans a fall concert of works by Schoenberg pupils composed during their time with him here, and they've come across evidence of this early work not even mentioned in" MtM, "also unknown to NYC's American Music Center." correspondence W58.3 2001 among Eric Gordon, LJL, and John Jansson of the Marc Blitzstein Web Site in London, who declared it unfinishable. LJL cautioned against swift judgments of that kind. letter W58.4 6/1/04 LJL to Stephen Davis: "There are no twelve-tone rows or inversions or retrogrades in this piece. In a note to himself, Marc wrote: 'Keep it almost entirely contrapuntal, practically no homophony, but avoid canons and imitation. [The underlining is his.] This work to be finished.' The style of the piece is much closer to Stravinsky (and Marc's own Parabola and Circula and Piano Concerto) than to Schoenberg. And the sketches are conflicting, but not fragmentary. The piece is 155 measures long, lasting a little over 7 minutes, and is just about finished - even more than Idiots First was. It just needs an editor to make some choices and do some filling in. Unfortunately it is extremely difficult to read, and a great deal of care will be needed in transcribing it, before such editing can be done. I can do this, and would like to, but would need to ask for some recompense for all the time involved. I emailed Kit about this, and he just replied, saying I ought to ask you. It would of course be nice if a publisher were to offer to put money into this, and I have hinted as much to Presser and Boosey, but given their recent bottom-line watching I don't think we can be very optimistic. Please think about it, though. I'm thinking of asking for a fee... to provide a score and parts - with no share in royalties; only credit." A check arrived shortly thereafter and the work was swiftly completed. W58.5 12/31/04 read (& partially recorded) by Monte Morgenstern, cl.; Maxine Neuman, vc.; LJL, pno. Morgenstern plans to premiere it with his group.

208 W59 Orchestra Variations W59. Variations for Orchestra (5/2-7/4/1934) to Eva [see MtM pp.552-3n32] Boosey & Hawkes (rental) c. 15' B98, 112 R59,70 2-Picc-2-EH-3-EbCl,BCl-2-Cbn 4-2-2Cornets-3-1 Timp Perc (BD, Tri., Tamtam, Cym) Pno Str. Numbers of measures are listed, below, in esp. short and esp. long movements: Theme: Largo 11m. 3/4 w/ 1 5/8 bar; Dmaj over F; modulates to E. Intervals all stepwise/triadic, w/ascending 5th near end that resolves downward by step. Var. 1 Larghetto, variable meter, solo str qt & tutti Var. 2 Poco piu mosso 5/4 WW soli (6mm.) Var. 3 Poco piu mosso ancora ma tranquillo 4/4 hn & str Var. 4 Moderato, variable meter, str, WW, brass, WW, str Var. 5 Allegro Moderato 4/4 Var. 6 Piu Allegro 2/4 Var. 7 Giusto 3/2 Hns then tutti (24 mm.) Var. 8 Presto assi 2/2 (28 mm.) Var. 9 Risoluto e Grave 4/4 ff (5 mm.) Var. 10 Poch. piu mosso 4/4 (5 mm.) Var. 11 Poch. piu mosso ancora 3/2 mf (4 mm.) Var. 12 Fugue: Leggiero e Veloce 4/4 (102 mm.): Bcl, fl, cl1, Cb. ov, EH, tpt, hn, tuba, then peters out Var. 13 Adagio 4/4 - 3/2 - 4/4 (15 mm.) Var. 14 Andante con moto 4/4 Var. 15 Deciso 3/4 - 4/4 - 3/4 f Var. 16 Scherzoso 6/8 (20 mm.) Var. 17 Allegro 4/4 hns & tbs in syncopated alternation Var. 18 Energico 9/8 tutti Var. 19 Meno mosso 12/8 Maestoso Var. 20 Finale: Molto Lento 4/4 (26 mm.) ends w/ str pp. article W59.0.1 9/19/35 (R8#337) "Stokowski Outlines Plans for New Orchestra Season," incl. '"Orchestra Variations' by Marc Blitzstein, of Philadelphia." letter W59.0.2 9/20/35 (R3#675) MB to Eva: "Yesterday's Phila. morning papers carried an interview with Stokowski, saying he is playing my Variations this season! That I hadn't counted on - I simply left the score at his studio, with the usual lack of hope.... I'm trusting it's all bona fide - (would he go against his policy of hearing a work with the orchestra before announcing it?); and I have already phone Juilliard about having the parts copied." article W59.0.3 9/20/35 (R8#338) "Stokowski to Give New Native Works: 'Short Symphony' by Copland and the Music of Several Pennsylvanians Listed," NY Times incl. '"Orchestra Variations' by Marc Blitzstein, a Philadelphia composer." letter W59.0.4 1936? (R3#969-70) MB to Eva Goldbeck: "The Variations went through more vicissitudes than any other work as it happened. And each one became our evening's problem.... From that first day (May 2) when I met you at

W59-60 Orchestra Variations, Into the Streets May First 209 the opening in the woods to tell you THE theme had come, this work has been yours.... and in a special way." article P19b 9/88 Gordon, Eric A., "A Night at the Opera," Opera News 53:3 p.67 announces prem. W59.1 10/9/88 prem. American Composers Orchestra, Dennis Russell Davies, cond., Carnegie Hall; 3-minute excerpt online at newmusicjukebox.org preview article W59.1.1 10/9/88 Elliott, Susan, "A Commitment to Causes," NY Times II:25, 43. reviews W59.1.2 10/11/88 Zakariasen, Bill, Daily News: "one of his strongest works-tough yet expressive, brilliantly orchestrated and amazingly concise." W59.1.3 10/12/88 Crutchfield, Will, NY Times: "does all the right things to its opening theme, but never takes off." W59.1.4 10/12/88 Page, Tim, "Orchestra Fetes Stage, Screen," Newsday p.O7: "We seem to be in the middle of a Blitzstein revival and this listener, for one, cannot understand it." W59.1.5 10/24/88 Davis, Peter G., New York: "arid neoclassical exercise." W59.1.6 1988 Symphony Magazine 39:5-6 p.27. W60. Into the Streets May First (1934) (Alfred Hayes) mass song; B97 R60 non-winning entry in first May Day song competition, run jointly by the Workers Music League and New Masses. (Copland's won.) Other composers who entered: Lan Adomian, Isadore Freed, Wallingford Riegger, "Carl Sands" (Charles Seeger), Mitya Stillman, "L.E. Swift" (Elie Siegmeister), and "XYZ." article 60.0 5/1/34 Pettis, Ashley, "Marching With a Song," New Masses v.9 p. 15. letter W60.0.1 7/18/34 (R3#203) Charles Seeger to MB: "I think you would be wise to try things for the concert stage." Cites Siegmeister's setting of Gold's "Strange Funeral in Braddock" as an example. "The mass song, which is to be sung by large crowds not because it is taught to them but because they have heard it and want to sing it, has some definite limitations that you must know about before trying again." article P29 1989 Oja, Carol, p.451 "over-earnest--rhythmically and melodically a bit square, often harshly bichordal, and predictable in its repetitions." perfs W60.1 (P29a) 6/89 Composers Collective Workshop; LJL perf'd W60. P56 May Day Concerts at American Labor Museum, Haledon NJ, LJL & HW: W60.2 (P56a) 5/1/03 incl. W60. W60.3 (P62.1) 1/29/05 Marc Blitzstein Centennial Workshop [Music re-used in LJL's Sacco and Vanzetti W123 completion, II:1.]

210 W61 -62 Children's Cantata, First of May W61. Children's Cantata: Workers' Kids of the World Unite! (7/25/1934) w/pno B32,87 R53 1. Workers' Kids 2. My Father's a Tailor 3. Don't Cry, Kids 4. Speech 5. Choosing a Leader 6. Writing a Letter [The Child Writes a Letter] (solo) [text: MtM p. 91] 7. Listen, Teacher 8. Riddles [music lost?] [text: MtM p. 92] Work submitted to program committee of Composers Collective 3/28/35 (R7#690) "Founded by Carl Sands [Charles Seeger], Henry Cowell and Jacob Schaefer in 1932 as a Seminar in the technique of writing mass songs" (R7#716); executive committee in 1935 comprised: Sands, Chairman; Swift [Elie Siegmeister], Treasurer; MB, Secretary +George Maynard, Program Committee Chairman #7 listed in repertoire contained in 10/21/35 "circular" of the "International Music Bureau of the International Union of the Revolutionary Theatre" (R7#651-2), "a 'Gedenkschrift' presented to Hanns Eisler upon his arrival in America" (P29 Oja, p. 454), incl. also works by Adomian, Cazden, Copland, Gates, Heilner, Howe [Haufrecht], Maynard, North, Robinson, Sands [Seeger[, Siegmeister ["When the Swinging Hammers Rest"]. A26 4/15/36 prem. of #6 by Mordecai Bauman & MB, Composers' Forum Laboratory, NYC review A26.1 4/16/36 Biancolli, Louis, "Young Composer Plays Own Work," World Telegram: [on #6]: "vividly worded and scored". None of the other movements have yet been performed, though they are "full of catchy tunes and rhythms, never exceeding an octave and a third in range. Written to be easily understandable by a children's chorus, ...[i]ts simplicity is deceiving, for underneath the straightforward vocal lines he has placed a sophisticated, acerbic piano accompaniment... too dissonant... ever to achieve any genuine popularity" - MtM p.92. See P29 and 3/22/35 & 3/28/35 minutes of Composers Collective of NY (B7), cited in P29c. W62. First of May (late spring 1935) (Eva Goldbeck) mass song w/pno; non-winning entry in second New Masses May Day song competition (Elie Siegmeister's "May Day Song," to Robert Gessner's text, won), ubmitted under pseudonym: "Hammer". article(s) P29 1989 Oja, p.456 states there was "no winner," citing 3/29/35 Composers Collective minutes and 4/30/35 "Between Ourselves," New Masses, v.15 p.30. Oja, p.457 describes MB's stylistic progress in W62. perf W62.1 (P62.1) 1/29/05 Marc Blitzstein Centennial Workshop.

W63-64 Strike Song, War Dept. Manual 211 W63. Strike Song (June 1935) [found in sketches of No for an Answer, W78] R25#58 mass song (cf. W60 & W62), melody only in 3/4 for 6 m., then 6/8, 2/4, and 3/4 again. Text presumably by MB: We won't work today. Strike, workers, strike! This is our call to shirkers. Strike, fellow workers! Until we get more pay, Strike, fellow workers! The bosses will have losses, and they'll come around But we'll meet with them on the workers' ground, when we like! And the thing to do is strike! Down with all our tools. Strike, workers, strike! Look out for spies and lurkers. Strike, fellow workers! It they take us for fools, Strike, fellow workers! Let's show them that we know them for the guys the are And that we're all set. Let them go as far as they like! For our answer is to strike! prem.(?) sung by David Gagnon W63.1 (P35) 1991-92 Images of Labor from American Musical Theater: An Evening of Songs and Narration about Workers and Unions, Wisconsin Tour; Eva Wright, mus.dir./pno perf W63.2 (P62.1) 1/29/05 Marc Blitzstein Centennial Workshop w/LJL, HW, Victoria Tralongo, members of Metropolitan Philharmonic Chorus, Solidarity Singers of NJ; People's Music Network Songs of Freedom & Struggle Gathering, Renaissance School, Queens, NY.

W64. War Department Manual, Vol. 7 Part 3 (1935) solo song w/pno for [cut from] The Cradle Will Rock W72 Sc.8

B97 R60

Junior Mister, returning from Honolulu, interfaces with his father and university prexy & profs re military training (R20#123-4). W64.1 (P30) prem. 9/20/89 Merkin Hall, Voices of Change: American Music of Protest, Politics and Persuasion; Marni Nixon, Steven Blier, American Music/Theatre Group, Neely Bruce, cond. Also perf 'd: W72Sc.7#1; W81;W83. Recorded by David Litofsky.

212 W65 Send for the Militia W65. Send for the Militia (5/1935) female solo melodrama MBS 2/2 alto sax, bar sax, cl, drums, pno, str qn for Parade (revue) #12 (of 18 in Act I + 11 in Act II) [pno score reconstructed by LJL, 1974] W65.1 Boston prem. 5/6/1935; NY prem. 5/20/1935 ran 5 weeks. Words at NYPL Thtr Collection; orch parts at Beinecke Library, Yale; in violin part: "à la Mozart"; Verse: Cmaj blues; Refrain: Dmin modulates thru Amaj to Cmin; Refrain's 3rd phrase quotes: "Columbia, the Gem of the Ocean," as Charles Ives often did-pointed out by Bob Sherman P59 11/9/04. M9th: C-D. For the 1974 reconstruction, 5 verses were condensed to 3, eliminating satires on pacifists and the strike of longshoremen's (who should "go back where they came from"), retaining those on socialism, birth control, and homelessness. Solo performer was Eve Arden, who described her experience in her autobiography, Three Faces of Eve (NY: St. Martin's, 1985); paraphrased in MtM p. 104. Other numbers in revue by Paul Peters, George Sklar, Jerome Moross. Produced by Theatre Guild. Brochure: "1935 set to music... a revue with a definite idea and not just a potpourri of songs and sketches about sex and love and the moon above." "The Tabloid Reds" included parts for "Mr. Capitalist, Mrs. Capitalist, and Junior Capitalist." [Cf. the Mister family in The Cradle Will Rock,W72.] Moross's melody for "Life Could Be So Beautiful" is similar to and probably inspired MB's "The Nickel Under the Foot" (W69 & W72Sc.7), though both are similar to the folk song "Frankie and Johnny," which inspired an entire Moross ballet. Cf.W72.5.2.59. reviews W65.1.1 5/7/35 Eager, Helen, "'Parade' Has Premiere at the Colonial," Boston Traveler, "a socialite delving lighting into Socialism who shreiks [sic] loudly for the militia, the army, the navy, and the Boy Scouts, when she tis [sic] told to practice her theories... thoroughly stopping the show." W65.1.2 5/7/35 Holland, George, "'Parade' Has Stage Possibilities," Boston Evening American p. 18: "in this song Miss Arden finds perfection in material. The quality of this song manages to strike the exact mood that would make 'Parade,' if it could be sustained throughout the show, swell entertainment." W65.1.3 5/7/35 Hughes, Elinor, "Theatre Guild Presents 'Parade,' New Musical Show," Boston Herald. W65.1.4 5/7/35 Norton, Elliot, "Jimmy Savo Proves a Hit at Colonial, But Guild's 'Parade' Doesn't Shape Up as Good Show," Boston Post: "The sketch entitled 'Call for the Militia' [sic] (beautifully done by Miss Eve Arden) is excellent."

W65 Send for the Militia 213 W65.1.5 5/8/35 Libbey, Variety, "a swell club woman satire... stopped the show on opening night." W65.1.6 5/20/35 Mantle, Burns, "Guild 'Parade' Revue Pretty Dull: Satirical Slings at Everything From the Government to Birth Control," NY Daily News: "one good song". W65.1.7 5/21/35 Atkinson, Brooks, "Jimmy Savo and 'Parade' Introduce the Theatre Guild to Revelry," NY Times, p.22: "Eve Arden's lorgnette humor turns" op. 65 "into highly amusing satire." W65.1.8 5/21/35 Brown, John Mason, "The Play," NY Post. W65.1.9 5/25/35 Buchwald, Nathaniel, "World of the Theatre," Daily Worker, p.7. W65.1.10 12/7/38 Hale, Edith, "Author and Composer Blitzstein," Daily Worker, p.7: MB refers to W65 as "the first thing" he had written for the theatre. P1 *5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter pp.46, 48-50: In W65 "the blunt satire, the anger, the pacifism, the pro-unionism of" W72 "were already in evidence." books W65.11 1978 Bordman, Gerald, American Musical Theatre: A Chronicle, NY: Oxford Univ. Press, p.493: MB "and Will Irwin contributed interpolations to what was primarily a Jerome Moross score. Bad reviews and word-of-mouth closed the show after five weeks." W72.133 2004 Grant, Mark N., The Rise and Fall of the Broadway Musical, Boston: Northeastern Univ. Press, p. 102: "Parade [was] known on the street as the 'Red Revue.'" W72.134 3/05 Mordden, Ethan, Sing for Your Supper: The Broadway Musical in the 1930s, NY: Palgrave Macmillan, p. 170-193: "it wasn't clear what style of music suited an entertainment originally written for the angriest of the major leftists theatre groups." separate performances W65.2 5/23/35 Eva Goldbeck to Lina Abarbanell: "the Guild has asked him [MB] and Eve Arden to do Militia at a Theatre Union benefit performance on Sunday.... Louis and Bess Eitingon insist they like the show, though we can't believe it of them and they are the only people who have said so thus far." W65.3 5/26/35 Theatre Union Audience Council Meeting, Civic Repertory Theatre; prog included addresses and two other sketches, "A Slice of Mellon" and "The Militarist" (R17#144-5). W65.4 11/13/39 Four Bit Players perf. W65.5 3/1/41 American Labor Party perf.

214 W65 Send for the Militia W65.6 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond; MB at pno; perf'd: W65 +W72 Sc.3, Sc.4#3&4, Sc. 7#1; 75 Sc.3; 76#1; 78I:6#3 & II:l#3; 79#2; 80. P19d 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe perf by HW; LJL, pno. review P19d.1 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native "Issuing a cry of 'Send for the Militia,' ...Helene Williams played 'a rich lady' in a perfect snit over marauding Reds, ungrateful beggars, and youths who practice birth control and even (she hints) indulge in alternate kinds of sex!" other perfs by HW & LJL, 1989-2005: See P28a-i, P28m-o, P29a, P33, P39, P54b-e, P59, P62.1, W127.10.4 P31 recording 1990 Premier PRCD 1005 A Blitzstein Cabaret; HW; LJL, pno. P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.300: "The society matron in this song would later become the model for Mr. Mister" (W72), "the woman in" W78II:1#3, "and the grandmother in" W127Sc.4Pt1.

W66 Stay in My Arms 215 W66. Stay in My Arms (fall 1935) solo song w/pno Gb maj; 11th: Db-Gb. MB's notes for staging ideas: "eccentric, modernistic, futuristic sets, costumes, dances, music, give way slowly (piece by piece) to familiar, lovely, comfortable, luxurious sights and sounds." Text: MtM p. 110. MBS 2/7 W66.1 (P32) recording 1990 Koch 7050 Zipperfly & Other Songs recorded 9/10, 11&13/90; William Sharp, bar.; Steven Blier, pno (last 2 mm. of 1st ending sung an octave lower). P32.1 notes by Steven Blier: "structured like a Gershwin tune, but... vocally and harmonically far more expansive; ...during the B-section, you are reminded that this composer studied with Schoenberg." recording review P32.2 11-12/91 Kimball, Carol, "Listener's Gallery: Marc Blitzstein: 'Zipperfly' and Other Songs," NATS 48:2 p.39: "closing song... a highlight... Originally planned for use in a revue, it's a lyrical ballad fasioned with a feeling of classical song, encased in a lazy mood reminiscent of Gershwin." W66.2 (P41) 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," at White Barn Theatre, Westport CT; Mark Basile, Charles Wade. concert P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC: Victoria Clark, Lauren Flanigan, Malcolm Gets, Brooks Ashmanskas; Ted Sperling, perf: W66 as encore. Songbook review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.300: "The chromaticism of the verses gives way to a more straightforward melody in the chorus, but the unconventional rhythmic acents in the chorus, as well as the difficulty of the verses, make this piece a challenge for the performer. Lehrman fails to note the sources for the alternative text setting of the verses." [They are in the manuscript.] W66.3 4/19/03 Meglioranza, Thomas, Alumnus Recital, Grinnell College (recorded & archived there) w/Hsi-Ling Chang, pno; also perf'd: W78II:1#2, W88#1. W66.3a prog repeated at Weill Recital Hall. chor. arr., prem. W66.4 (P62.6) 6/4/05 Bernstein/Blitzstein concert, Oceanside Chorale, Oceanside NY, LJL, cond.; Frank De Fontes, bar. solo; John Craven, pno.

216 W67 The Way You Are W67. The Way You Are (1935) female (or male) solo song w/pno B97 R60 Slow bolero; C maj; 12th: A-E. MtM, p. 111: "sung by a woman" - but could be by a gay man as well. Best lines: "You miss the point of Pirandello's plays... So does the star." "This tune was written by some bird of Spain. I daresay you've heard of Spain?" MBS 3/86 article P29 1989 Oja, p.458: "The subject is boy-girl love..." - points out asymmetry of phrase lengths: A section 11mm.; bridge 9 letter (email) W67.1 2/8/05 Bill Castleman to LJL: "I've met this queen plenty of times; he's the type you wind up with a few drinks and he talks unceasingly, judgementally, the whole length of the party; if others move away, he simply turns elsewhere and continues talking without missing a beat or conerning himself with whether his comments are appropriate or even coherent. It's a victory of style over substance, and so only the little mistakes are the really big ones. This, by the way, is why you can't do this number first and then [W45#3] ask, 'What's the matter with me?' Everybody already knows." perf (prem.?) P62.3 MB Centennial Concerts, NYC area: P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62 .3c 3/6/05 Queens College; sung by Bill Castleman; LJL, pno; preceded by W45#3 - see W67.1 2/8/05 (above). recording P63 Spring 2005 Original Cast Records OC 6127: Bill Castleman; LJL, pno from P62.3a.

[W67A. American Woman (1935) - ballet planned with Ruth Page, on her lengthy scenario re "the struggle of the individual against organized society and standardization, and the futility of the struggle." (R49#409-21) MB's music for it was never written, though she did shortly thereafter collaborate with Jerome Moross on "An American Pattern"; Copland had recommended MB, having worked with her on his "Hear Ye, Hear Ye!," but then warned MB re "the pros and cons" of working with her & her lawyer-husband 8/23/35, concluding: "P.P.S. Please destroy this letter." (R49#398-9)]

W68-69 Poor People, Sketch No. 1 217 W68. People [aka Poor People; aka Work People; aka Workpeople] (1935) solo or mass song w/pno. R17#415 W68.1 prem. 5/16&17/1936 Mordecai Bauman, Elsa Findley dance troupe YMHA, NYC; became "Joe Worker" in The Cradle Will Rock W72 Sc.9#2; see P29, esp.: p.466 Performance instructions: "Grim, hard--don't break down and whine!" p.469 "the key of this tune seemed to fluctuate, probably in response to the range of various singers." Bb min, Cmin, etc.; M9th/11th: Ab (or F)-Bb. p.472 "Everybody happy?" sardonically references "the well-known phrase of the vaudevillian clarinetist Ted Lewis". W69. Sketch No. 1 (9/35-2/1936) R65#691-712 includes Jane's (later, Moll's) Scene with Gent, Pimp and Dick, and her song "The Nickel Under the Foot," later incorporated (minus the Pimp) into The Cradle Will Rock W72 Sc.1&7. letter W69.1 9/20/35 MB to Eva: "I show the sketch & song to the [Theatre] Union Tuesday." (R3#682) interview G34 10/30/49 Pollock, Arthur, "Man Floating at Majorca Comes Out With 'Regina,'" NY Sunday Compass "He wrote a sketch [W69] on an old subject, and he smiles as he mentions it--prostitutes. He showed it to Bertholt Brecht, whom he had known in Berlin. Brecht suggested that he make a full-length thing of it. 'This is naked prostitution, he said.' 'There are so many other kinds of prostitution here.' The result was" W72. See also W107.1.15a. memoir M36 6/1964 Lederman, Minna, "Memories of Marc Blitzstein, Music's Angry Man," Show, p.18ff: W69.2 perf'd by MB for Bertolt Brecht, 1/36 at Jane St., NYC apartment. Brecht's response: "Why don't you write a piece about all kinds of prostitution--the press, the church, the courts, the arts, the whole system?" See W72. W69.3 prem. 2/23/1936 by Gladys Frankel, Thomas Frank, Nat Fichtenbaum, MB; The New Theatre League presents The Composers' Collective of NY; +works by Robinson, Howe [Haufrecht], Adomian, Sands [Seeger], Siegmeister, Cazden, Gross, Clayton; "unascribed" reviews [MtM p. 116]: W69.3.1 "A sensational issue now agitating the New York newspapers is treated from an unusual angle." W69.3.2 n.d, (R8#483 M.M. [Max Margulis or Martin McCall--P29c], "Music: The Composers' Collective of New York:" "Like Kurt Weill, Blitzstein writes pithily, in jazz style... One should look forward seriously to his future work."

218 W69-70 Sketch No. 1, Chesapeake Bay Retriever articles A88 1960 (R69#298) "1935 Revisited: Celebrities Recall Their Memories of the Year Cue Was Born,"Cue: MB: "Late in 1935 I wrote something I called a Sketch with Music. It had to do with a Moll, a Gent, a Dick; the plot concerned a little proposition and a little chicanery. It wasn't until 1936 that I realized I had written the first scene of my opera-vaudeville," W72, "where the literal prostitution described in the sketch was expanded to include various other sellouts which adorn our present day society. Things seem to have changed not much since then. Hurray for progress." P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: "The thrust of the song is to point up the issues of material wealth and the behavior that results therefrom.... Brecht, taking a wider view, encouraged Blitzstein to create a work which would encompass the myriad forms of prostitution with which society was then, and still [is] infected."

W70. Chesapeake Bay Retriever (5/1936) film score for cl, bn, vn & pno (dir.: Mrs. Milton Erlanger & Thomas T.K. Frelinghuysen) [film lost] B40 R17 prem. 5/26/1936 Chanin Auditorium NYC Life on the Ocean Wave (P.D.); A-Roving (P.D.); The Salt and the Spray; Family Portrait; Gray Surf; Pooch Procession; Water Trial; The Prize; Finale.

W71 Few Little English 219 W71. Few Little English or Jimmy's Moll (6/1936); female solo song w/ pno "for Lenja". Commodo 4/4 3 verses & refrains Eb min->Eb maj; 11th: Bb-Eb. MBS 1/20 W71.1 4?/38 prem. by Lenya at Le Ruban Bleu, 4 E. 56 St., NYC. review W71.1.1 Gould, Jack, "News and Gossip of Night Clubs," NY Times X:2. published letters W71.2 1996 Speak Low (When You Speak Love): The Letters of Kurt Weill and Lotte Lenya, ed. & tr. Lys Symonette & Kim H. Kowalke, Univ. of California, Berkeley; ltrs #200, 207 & 209 +note on p.256 mention this song. reviews W71.2.1 6/97 LJL, "The Letters of Kurt Weill and Lotte Lenya: Revelations, Discoveries and Mysteries," Opera Journal 30:2 p.36-39; reprinted: W71.2.2 8/1/97 Aufbau 63:16 p.13: "Perhaps a revival or new edition of the 1991 BLITZSTEIN CABARET, including" W71, "would be appropriate for Lenya's 1998 centennial!(?) ...Details may be found in the forthcoming Greenwood Press Bio-Bibliography of Marc Blitzstein by this writer." W71.3 1997 reconstruction by LJL from 2 conflicting versions: Yale Beinecke Library Archival Collection MSS 330, Series III, B 46, folder 1 and Kurt Weill Foundation, NYC, Weill-Lenya Research Center, Series 26. article W71.3.1 Fall 1997 LJL, "Few Little English: A Forgotten Song by Marc Blitzstein for Lenya," Kurt Weill Newsletter 15:2, p.8-12, incl. transcription of typescript and 4 musical examples from manuscript: "the most Weillian song Blitzstein ever wrote--complete with allusions to" T9 #15 & 16. Other allusions: "a casual parody of 'I Got Plenty o' Nuttin" from Porgy and Bess" and an "interlude reminiscent of 'Can't Help Lovin' Dat Man' from... Show Boat. Prefigured: the "schnorring" of other characters in W78 II:1#3, W127Sc.3Pt3, W117 I:6. Article also quotes from W71.1.1, P19e, A13, A23, A33, M36, and alludes to immigrants in W72Sc.5, W78, W123, W127 and to Lenya's role in W75, and MB's interest in her to play the Moll in W72. book W71.3.2 1998 Farneth, David, ed., Lenya, the legend: A pictorial biography, Woodstock NY: Overlook Press, p. 96 quotes "early draft" of W71 and writes of Lenya's singing it at Le Ruban Bleu: "Apparently the audience especially appreciated a song written by" MB"for her act," W71, "which not only pokes fun at her German accent and lack of perfect English, but also parodies Weill's music." See also T9.

220 W71 Few Little English W71.4 perfs by HW & LJL 1998-2004 W71.4.1 9/26/98 A Hanns Eisler Centennial Celebration, West-Park Presbyterian Church, NYC; W71.4.2-7 P28m; P28n; P47; P53 recording; P54; P59 W71.4.8 4/3/00 Kurt Weill Festival, NYU. W71.4.9 12/31/01 Theodore Herzl Club, Melbourne (Australian prem.). W71.5 12/01 & 2/02 London prem., Naomi Hyamson, "Do You See the Moon Over Soho?" W71.6 12/02- perfs by Lorinda Lisitza & Albert Ahronheim in "Songs in the Style of Kurt Weill," cabaret prog, Don't Tell Mama, BAM Cafe, etc. in NYC. P62.3 MB Centennial Concerts, NYC area, perf' d by Lorinda Lisitza; LJL, pno: P62.3a 2/27/05 Great Neck House; P62.3b 3/5/05 People's Voice Cafe, NYC; P62.3c 3/6/05 Queens College.

W72 The Cradle Will Rock 221 W72. The Cradle Will Rock (7/29-9/2/36) play in music, 1 act or 2; 10 scenes; 1 hr. 50 min. "to Bert Brecht" Winner, 1st prize (10/36), New Theatre League One-Act Play Contest, 1936-37 "5 women, 23 men": Moll, mezzo; Gent, bar.; Dick, bar.; Cop, actor; Rev. Salvation, bar.; Editor Daily, ten.; Yasha, Dauber, Pres. Prexy, Professors Mamie & Trixie, all bar.; Dr. Specialist, actor; Harry Druggist, bar.; Mr. Mister, bar.; Mrs. Mister, mezzo; Jr. Mister, ten.; Sister Mister, mezzo; Steve, actor; Sadie Polock, sop.; Gus Polock, bar.; Larry Foreman, bar.; Prof. Scoot, actor; Ella Hammer, alto; Clerk, Reporters, all actors (R6#243) Chorus: 32 B18-20,46-8 R19-22 w/ pno/orch(32): Fl/Picc, 3Cl(poiBCl,ASax,TSax), 0-2-1-0 1Perc (BD, SnDr, SusCym(s), 1Timp, Bells, Tel.Bell, Tri., Siren, WB, Castanets, Maracas, Claves, Tamb, Sandblks,Slapstick), Pno, Acc, Guit/Banjo/HawaiianGuit; 14 Str [more at NYCO]; opt.: Bugles, Fifes, Side Drums [11/69 LJL & some subsequent adaptations: with combo: 1-0-1-0 1-1-0-0 Perc Pno Ukelele 1-0-0-0-1] Night of a union drive in Steeltown, USA. Liberty Committee arrested by mistake. Sc.3-6,8-9 flashbacks. Sc.1.[Street] #1Moll (Dmaj alt.: F), #2+Gent, #3+Dick [abr.&dev. of W69, q.v.], #4Crowd [re-use of W32 #6]. Sc.2. Nightcourt (O What A Filthy Nightcourt [unison male chorus]) reprises Sc.1#4, anticipates Sc. 7#1 Verse; W32#7 considered (but not used) for depiction of Harry Druggist, drunk (R22#36). Sc.3. Mission Scene (male-female duet with chorus); 3 verses, showing move from preaching peace to preaching war, 1915, 1916, 1917; verse 2 quotes J.S. Bach's chorale "Brunnquell aller Güter". Interlude (Clerk: "Order in the courtroom."). Sc.4. [Lawn of Mister family home] #1. Croon Spoon (male-female duet) Dmaj blues; m10th: B-D. #2. The Freedom of the Press (Ten-Bar duet) D dorian w/chromatic modulations; Mr.Mister(bar): M9th: C-D; Editor Daily(ten): 12th: D-A. #3. Let's Do Something (male-female duet) Ddorian. #4. Honolulu (ensemble [quartet or quintet]) Fmaj.

MBS 1/14 MBS 1/6

Interlude (Clerk). Sc.5. #1. Drugstore Scene (male trio); #2. Gus & Sadie Lovesong (male-female duet) : Gmin Recit.reminiscent of Jewish wedding song "Khosen Kale Mazeltov"; Slow waltz begins in F dorian but modulates widely. Sc.6. [Hotel Lobby] #1. Yasha-Dauber Duet (The Rich); #2. Ask Us Again (trio); (scene quotes Beethoven's Egmont Overture before #2, after #3); #3. Art for Art's Sake (unison duet) MBS 2/1 quasi-monotonic, chrom. rising accomp.: 5th: E-B.

222 W72 The Cradle Will Rock Sc.7. [Nightcourt] #1. The Nickel Under the Foot (solo) MBS 1/1 intro: melodrama based on Sc.1#1; verse (used in Sc.2); 3 refrains (Andante 2/4): Amin modulating to&from Bb maj, ending in Amaj; d12th: F#-C [alt.: up a m3]; #2. Leaflets [melodrama]; #3. The Cradle Will Rock (solo) 4/4 Emin->Eb min; 11th: A#-D#. MBS 1/10 Interlude (Clerk) Sc.8. Faculty Room: Professors Mamie, Scoot, Trixie; scene quotes Yale song "Boola Boola" [cf. also W64, deleted] [re-use of W34 #2 & 4, incl. quote from "Rockabye, Baby"]. Interlude (expands on "Rockabye, Baby") Sc.9. #1. Doctor & Ella (sung female-spoken male duet) [anticipates W78 I:8, W117 I:4]; #2. Joe Worker (solo) [re-use of music & some words of W68]: Verse: Gmin; 2refrains: Bb min: M9th(or11th): Ab(orF)-Bb MBS 1/17 [p. 19 line2 m.2 should read "How" not "Now" - corrected, 2d printing] Sc. 10.[Nightcourt] Quintet Finale (Reprises: Sc.7#1 as counterpoint foreground; Sc.7#3 as chorus). 1938 Random House publ., incl. music for 6 songs: Sc.4#1&4; Sc.5#2; Sc.7#1&3; Sc.9#2. See W72.6. Also publ. in The Best Plays of 1937-1938, ed. Burns Mantle, 1938 The One-Act Play Today, ed. William Kozlenko NY: Harcourt, Brace & Co., and in 1939 The Best Short Plays of the Social Theatre, ed. William Kozlenko NY: Random House, p. 119-172. 1960 The Cradle Will Rock: An Opera NY: Program Publishing Co. Chappell publ. separately Sc.4#1,2&4; Sc.5#1&2; Sc.6#1&3; Sc.7#1-3; Sc.9#1-2; + pno rolls (R6#255) then whole piano score; now available from Tams-Witmark, as is Dale Kugel's piano reduction of full orch score (which unfortunately prescribes rhythms for dialogue). Also later [c.1970?], Sc.7#1&3 in The Chappell Collection of Great Theatre Composers, ed. Lee Snider; words of Sc.4#1, Sc.5#2, Sc.6#3, Sc.7#1-3 & Sc.9#2 publ. in Leader v.16#45, n.d. (R17); words of Sc.6#3 publ. in A Treasury of Jewish Poetry, Nathan Ausubel, ed. Random House, 1957. Sc. 6 tr. into French by André du Bouchet (R20#475-8). For notes on specific scenes & songs, see esp. A3 (1-2/1938 MB on Sc. 4#2 &SC.10); W72.5.2.33 2/38 (on relevance of Sc.5); W72.7.7 7/13/38 on Sc.5, 6 & Sc.7#3; P36 1993 (on Sc.4#4); G15g 1965 Wilfrid Mellers; P9 5/69 LJL; P22a Winter 1985 John D. Shout.

W72 The Cradle Will Rock 223 in sketches (R22#388) original names of characters (see also "Sketch No. 1," W69): Moll = Girl; Rev. Salvation = Rev. McGuskey/Gen. Salvation; Mrs. Mister = Lady-Chairman of the Board; Larry Foreman = John L. Lewis = Larry Sickle [cf. Ella Hammer]; Mr. Mister possibly modeled after Tom Girdler, head of J & L Steel; Liberty Committee after the Liberty League; Sc.4 Editor Daily in part after William Randolph Hearst; Sc.8 Prof. Mamie's orig. speech: "Liquidate (outmoded) democracy. I give you -Technocracy!" Sc.6 Hallie Vacuum, orig. Nellie Vacuum - changed probably as a dig at Hallie Flanagan; line to Mrs. Mister: "Well, ask Cole Porter." [cut] Sc.7 Instr. music connecting Larry Foreman's numbers & speeches originally had words, a 4/4 refrain: "It's gettin warm in the land & cities. You better form Liberty Committees. Profits that you made'll pay for a nice cradle. Hide then when that hot wind passes by." with a 3/4 verse: "All crowded like eggs in the cradle of the Liberty Committees Were found the great captains of industry, surrounded by their biddies. They gathered there so thickly, because a little birdie told them, 'Boys, you better move on quickly...'" Sc.9 "Joe Worker" see W68. Also allegedly used: portions of W56. See G56 2/29/60 under W123. W72.0 background correspondence W72.0.1 12/31/35 Goldbeck, Eva, "Principles of 'Educational' Theater," New Masses 18:1 p.27-8. First U.S. article publ. on Brecht's theater, in month before meeting at Blitzsteins' apt., which inspired W72. W72.0.2 3/1/37 audition for Hallie Flanagan (Dir., Federal Thtr), at John Houseman's apt., acc. to ltrs [Dietz, p.192-4]: W72.0.2a 2/26/37 & W72.0.2b 3/2/37 MB to Jo Davis; W72.0.2c 11/12/59 MB to John Houseman ; W72.0.2d 3/5/47 Hallie Flanagan Davis to MB [previous auditions, c. 12/36, had included Herman Shumlin, Charles Friedman, Sylvia Regan, Harold Clurman, Martin Gabel] quoted in full in MtM p. 161-2. W72.0.2e 3/11/47 (R19#824-6) Hallie Flanagan to MB. W72.0.3 3/27/37 MB to Jo Davis: "At last--the play is on. Definite this time, Houseman and Welles say--but where have I heard that before? Anyway, I'm orchestrating and rehearsals start Monday."

224 W72 The Cradle Will Rock W72.1 6/16/1937 Federal Theatre Project 891, Maxine Elliott Theatre dress rehearsal: sold-out benefit for Downtown Music School (1st, and for many years only, full perf); preview articles: W72.1.0 n.d. "Cradle History/Buttitta/Exclusive: New York Post," typescript in National Archives, Papers of the FTP (B446), quoted in P29 1989: "a combination of opera, ballet, dance music, vaudeville, modern dance, revue, and silly symphony technique" W72.1.1 5-6/37 Thomson, Virgil, "In the Theatre: High-Brows Wow Local Public," MM 14:4 p.233-7: "[Cradle] profited by a sincere admiration for Weill's Mahagonny. [See T15.] His sens du théâtre is of the best, dramatically effective and verbally bright... musical declamation is the season's best so far, and the orchestral accompaniment is of a rare finesse.... I predict a genuine success. The opera has passion and elegance." The audience is "newly amalgamated and hence refreshingly enthusiastic at seeing its own reflection on a stage. It is roughly the leftist front: that is to say, the right-wing socialists, the communists, some Park Avenue, a good deal of Bronx, and all those intellectual or worker groups that the Federal Theatre in general and the Living Newspaper in particular have welded into about the most formidable army of ticket buyers in the world." +3 scenic sketches for the production by Edward Shruers, p.229. W72.1.2 Summer 1937 (R8#339-40) "Blitzstein Opera," Unison: Organ of the American Music League 1:4 p. 1-2: "Though described as an opera, and a proletarian opera at that, the technical form of the piece is a new one. The score is a combination of opera, ballet, dance, music, vaudeville, modern jazz, and revue...." MB interviewed on "the new audience which because of ignorance of finances has not gone to the theatre or opera until recently.... 'The demands of this new audience, let me emphasize, are at least as stringent as the most artistic audiences. We naturally expect a cry of barbarism, the death of culture, with the masses of American working people taking over the theatre, replacing the tophat tradition of theatre and the opera... But people who feel that way should realize that the appearance of Wagner and Beethoven was directly the result of just such a change. Beethoven's 'Chorale Symphony' and Wagner's 'Meistersinger' are cases in point.'" [Editors: Mordecai Bauman, Rose Kabat, Elie Siegmeister.] W72.1.3 5/16/37 "American Proletarian Opera Coming in 'Cradle Will Rock,'" Sunday Worker, p. 10. W72.1.4 5/24/37 McCall, Martin, "Music," Daily Worker, p.7. W72.1.5 6/8/37 "Broadway Bulletin Board," NY Mirror reports opening date of June 15. W72.1.6 6/12/37 "Cradle Will Rock," Daily Worker p.7. W72.1.7 6/12/37 "Preview Wednesday [6/15] of 'The Cradle Will Rock,'" NY Evening Post.

W72 The Cradle Will Rock 225 W72.1.8 6/13/37 "The Cradle Will Rock," NY Herald Tribune "a picture of small-town civilization with large parts of the action given to a union, partakes of opera, as heavy drama, of opera bouffe, of musical comedy (thre is a torch song), and of many other forms of musical dramatic art. The producers... have decided to see what the critics call it after it has its premiere..." W72.1.9 6/13/37 NY Telegraph. W72.1.10 6/15/37 "Federal Theater Will Offer 'The Cradle Will Rock' in TryOut Performances," Herald Tribune. W72.1.11 6/15/37 "Stage Notes," NY Sun "operetta will have a series of tryout performances". W72.1.12 6/16/37 "Stage News," Brooklyn Eagle. W72.1.13 6/16/37 "The Cradle Will Rock," NY Daily News "sold more than 18,000 tickets". W72.1.14 6/16/37 "WPA Preview Tonight" NY Evening Post-- bought out by Downtown Music School. reviews W72.1.15 6/17/37 Dexter, Charles E., Daily Worker: "...the words are superior to the music and the production, rough as it was in the dress rehearsal, superior to both." See W72.3.2 6/18/37. W72.1.16 7/17/37 Franklin, Jay, "Commentator Questions Censorship," Salt Lake City Utah Tribune: "Those who saw the dress rehearsal say that it is a gay, fast-moving, exciting show--one which subjects the social scene to radical criticism and still retains a sense of humor and of proportion."

226 W72 The Cradle Will Rock W72.2 [unofficial] prem. 6/16/1937 Venice Theatre (moved 20 blocks from Maxine Elliott). John Houseman, prod.; Orson Welles, dir.; Lehman Engel, cond.; Abe Feder, lighting; Jean Rosenthal, prod. asst.; Clarence Yates, choreog.; Ed Shruers, sets & costumes ("of course it was really Orson"--MB to John Houseman 11/12/59 R19#859). MB at the pno, singing "about 8" roles--cf. W72.44 (A76) 1956. Others perf'd in audience: Moll: Olive Stanton; Gent: George Fairchild [also sang Gus, below]; Dick: Guido Alexander; Cop: Robert Farnsworth; Members (7-8 [± Prof. Mamie]) of the Liberty Committee: Rev. Salvation: Ed Hemmer (did not appear; role taken by Hiram Sherman; Charles Niemeyer, 1938 & on recording); Editor Daily: Bert Weston; Yasha, violinist: Edward Fuller; Dauber, artist: [Warren Goddard, replaced by] John Hoysradt (Jules Schmidt, 1938 & on recording); President Prexy: Hansford Wilson (Le Roi Operti, 1938 & on recording); Prof. Trixie: George Smithfield; Dr. Specialist: Frank Marvel; Harry Druggist: John Adair (did not appear opening night; role taken by MB); Clerk: Clif Mack (did not appear; role taken by MB, and later kept by him); Mr. Mister: Will Geer (Ralph MacBane, 1938 & on recording); Mrs. Mister: Peggy Coudray; Junior Mister: Hiram Sherman (Maynard Holmes, 1938 & on recording); Sister Mister: Dulce Fox; Maid [non-singing role, did not appear]: Josephine Heathman; Steve: Howard Bird; Bugs: Geoffrey Powers; Gus Polock: Walter Palm (replaced by George Fairchild); Sadie Polock: Marion Rudley (replaced Paula Lawrence, Mary Talcott); Larry Foreman: Howard da Silva; Prof. Scoot: Hiram Sherman (Charles Niemeyer, 1938 & on recording) Prof. Mamie: Leopold Badia (did not appear; role taken by MB, and later kept by him); Ella Hammer: Blanche Collins; Reporters: Robert Hopkins, Huntley Weston, Jack Mealy (didn't appear; roles taken by MB & kept by him] Clerk, Reporter, Prof. Mamie: Marc Blitzstein [roles taken by MB opening night, and then kept by him] Chorus: 32, later reduced to 11, incl. Josephine Heathman.

W72 The Cradle Will Rock 227 reports (not reviews; opening was unofficial) W72.2.1 6/17/37 "Ban Fails to Stop WPA Opera," Christian Science Monitor (Boston), p.1 "operetta". W72.2.2 6/17/37 "Cast Performs from Audience," Richmond [VA] NewsLeader (AP). W72.2.3 6/17/37 '"Cradle Rocks' Nix!: Strike Opera, Sans Everything Save Motif And Bum Piano, Gets Skeleton Debut," Cincinatti Enquirer "opera as it has never before been presented on land, sea, or air." W72.2.4 6/17/37 "The Cradle Will Rock," Buffalo Evening News (Buffalo NY), p.1. W72.2.5 6/17/37 "The Cradle Will Rock," NY Evening Post. W72.2.6 6/17/37 Dexter, Charles E., "New Rule Stops Production of WPA Shows and Musicals: Regulations Governing Dismissal Hit Four Arts Projects-Writers' Guide Book Endangered," Daily Worker p.7: "Rumors were heard that the 'no production rule' was directed especially at the Blitzstein show, which tells, in terms of music and satiric verse, the conflict between a steel baron and workers." W72.2.7 6/17/37 "Pro-Labor Show Will Open Despite [Harry] Hopkins," NY Evening Journal, p.1. W72.2.8 6/17/37 "Steel Strike Opera is Put Off by WPA: Many Among 600 Gathered for Preview Charge Censorship Because of 'Radical' Plot: Officials Deny Any Curb; Say Delay Until July 1 Is to Reorganize--Score of Show Played on Piano," NY Times, p.l. W72.2.9 6/17/37 "Strike Opera Put on Despite WPA Ban: A Rare Show: Audience and Cast Move to Another Theatre," "All Move to the Venice," NY American "the strange performance got started at 9:45." W72.2.10 6/17/37 "Strikers Hold Theaters in New York," Houston (TX) Press p.1: "March [sic] Blitzstein's opera about a steel strike was cancelled on an order from Washington." W72.2.11 6/17/37 "W.P.A. Actors Take Over Play, Act From Seats: Audience Moves Twenty Blocks to See Musical Washington Had Delayed," "Audience Enthusiastic"Herald Tribune p.1: "Nineteen benefits had been booked for the show through July 24, and 18,000 tickets had been sold. Last night's performance had been sold out--850 tickets--to the Downtown Music School, 66 East Twelfth Street." "...a sponsoring committee for the emergency performance was organized. The members were Archibald MacLeish, chairman; Sidney Howard, Philip Barry, Herman Shumlin, William Rose Benet, Harry Moses, Ralph Ingersoll, and Lewis Mumford." W72.2.12 6/17/37 "WPA 'Bans' Show, Actors Perform From Audience," Wilmingon (DE) Evening Journal: "Frank Gilmore, president of the Actors Equity Association, ordered the players not to take part... they technically abided by the order." W72.2.13 6/17/37 "WPA Director to Ignore Ban on Operetta: Will Stage RedHued Production Dealing with Steel Strike Despite Washington. Defies Actors' Equity: Decides to Pay No Attention to Gillmore's Edict--'Joe the Worker' Is Hero," NY World-Telegram & Sun "operetta" lyrics quoted from Sc. 7#3, Sc.9#2 2W72.2.14 6/17/37 "WPA Opera Cast Fears Spanking: Sings Parts From Audience After Production Is Ordered Delayed Until July 1," NY Evening Post,

228 W72 The Cradle Will Rock p.l: "An Italian flag draped over a box was removed just as the curtain was lifted and thrs brought cheers. The audience also applauded vigorously when a song uncomplimentary to college military training was sung by a member of the cast seated in the middle of the house. 'This performance was not a political protest but an artistic one,' asserted Mr. Welles.... Archibald MacLeish the poet praised the 'vitality' of the Federal Theatre Project in another speech." W72.2.15 6/17/37 "WPA Opera Delayed," Buffalo News : MB, "the author gave a piano rendition of the music in another theater." W72.2.16 6/17/37 "Wide WPA Strike Looms Here: 180,000 Workers May Sit Down Next Week as 20,000 Plan Mass Protest on Cuts," "Washington Influence Seen," "Gilmore Bans Performance," NY Sun. W72.2.17 6/18/37 "Opera About Steel Strike Unlike Anything Before on Land or Sea," New Orleans Times-Picayune [see W72.2.3 above]. W72.2.18 6/25/37 "So This Is Broadway,""Looking for a Theater." "Even the Firemen Helped." NY World-Telegram. The above list confirms MB's statement [in A74]: "It is not often that the opening of a Broadway play is the touch-off for a front-page spread in all the next day's papers." article W72.2.19 8/16/64 Houseman, John, "Good Old Days: The Federal Theater Project Recalled," NY Times II:1f.: "Various Projects" "Big Night" "Long Run" incl. photo of "Orson Welles [with cigar] during WPA days, 1937: He worked toward a people's theater." "In July, 1937, at the end of the 'The Cradle's' run at the Venice Theater, Orson and I led our truculent little troupe back to Maxine Elliott's--then resigned." book W72.2.20 1967 Engel, Lehman, The American Musical Theater, NY: Macmillan (1975 rev.ed.) p. 146-150: "the music has a subtle complexity, and every melody--it abounds in melody--is full of surprises... It announces its intention to be banal, but this avowal is only flirtatious--the girl who leads you to her bedroom and, without warning, closes the door in your face" "a milestone"; quotes from Sc.5 & 6#1. interviews P10 8/70 LJL's taped interview with Virgil Thomson in Bennington VT. P10.1 9/70 LJL's (and Norman Siegel's) taped interview with John Houseman in NYC. book P12 1972 Houseman, John, Run-Through (NY: Simon & Schuster) p.245-79: p.245 MB "described" W72 "as 'a play with music' [sic: actually a "play in music"] (while others, at various times, called it an opera, a labor opera, a social cartoon, a marching song, and a propagandistic tour de force)..."

W72 The Cradle Will Rock 229 p.246 Actors' Repertory Co., after audition [see W72.0.2d], "announced" W72 "for the season of 1936-37, but then "abandoned' it "for lack of funds." p.247 Audition for Flanagan took place "one Sunday evening" at "a wellplanned dinner at the apartment on East 55th Street which Virgil Thomson and I were occupying that spring." [Note: In P10.1 interview, Houseman said that "Virgil cooked dinner" for the event; he was thus a midwife of an event he would later review - W72.1.1 5-6/37, W72.5.1.36 1-2/38, W72.35.9 11/25/47, etc.] p.248 "America's first proletarian musical" p.258 musicians' union "never approved of" W72; "they regarded [it] as straight CIO propaganda or worse" p.261 "Amen" chorus, Sc. 3 was "predominantly Negro," and showed up 1/16/37, sitting together. p.268-9 quotes letter from Hiram Sherman: "If Olive Stanton had not risen on cue in the box, I doubt if the rest of us would have had the courage to stand up and carry on. But once that thin, incredibly clear voice came out, we all fell in line." p.270 "Mr. Mister and Mrs. Mister sang and danced" Sc.4#4. She does not do so in the script; though she did in W72.56. p.272 Intermission inserted, "improvised" after Sc. 6 only because of MB's fatigue opening night. interviews W72.2.21 5/24/76 da Silva, Howard, oral history interview, LC FTP, George Mason Univ., Fairfax VA. W72.2.22 6/1/76 Geer, Will, oral history interview, LC FTP, George Mason Univ., Fairfax VA. article W72.2.23 4/81 Vacha, J.E., "The Case of the Runaway Opera: The Federal Theatre and Marc Blitzstein's The Cradle Will Rock" New York History, p.133152: "the most improbable opening in New York theatrical history. ...Thirty years ahead of its time, it was America's first theatrical 'happening.'" Quotes Houseman's book, and some details of his 1/31/78 and Orson Welles' 3/29/78 direct answers to "author's questionnaire." Clarifies that the "little man" cited by many, who offered the Venice Theatre, "may have been apocryphal. According to Houseman, it was the 'seedy looking' broker who found the house and vainly tried to communicate his discovery." Points out discrepancy in Houseman's and MB's accounts as to whether MacLeish gave his speech "after the play" or "before the second act." +photos of MB, Flanagan, Houseman, Welles, the latter two at the Maxine Elliott, two of MB rehearsing with cast (incl. Geer, Stanton, DaSilva, and others), and a flyer advertising the Maxine Elliott's summer 1937 performance schedule.

230 W72 The Cradle Will Rock interview W72.2.24 3-4/96 Brown, Royal S., "An Interview with Michael Tilson Thomas," Fanfare 19:4 p. 34, 36: MTT's father "was a director of [WPA] Project 891.... He and Orson [Welles] had a falling out, and my father left to work in Hollywood just before [the] Mercury [Theatre] got started...." MB "was my father's mother's [great-]nephew. My father brought" W72 "to Project 891, because he knew Marc's show. He was Cousin Marc!... It was my father and Abe Feder and a couple of other people who salvaged that show and figured out this whole idea of leading the march into another theater and setting it up and doing the whole thing there. In later years, Houseman and Welles liked to present it as having been their notion to do all this. But actually people who were on the scene there say that this wasn't really the case, that Welles and Houseman were pretty much concerned with trying to get out of the whole thing with their skin intact, and that it was actually a lot of young kids who worked on the project, like my dad, and Gene [sic: Jean] Rosenthal, and Abe Feder, and Helen Deutsch, and people like this...---union people--who were able to figure out how they could move it to [sic: from] the Maxine Elliott Theater to get the show on.... I really hope that I can record some of Blitzstein's music in the future. I have a great affinity for his music. My father played it all the time, and there's something familiar about it. After all, he's my [second] cousin, too!" W72.3 subsequent 19 performances at Venice Theatre thru 7/1/1937. [Perf 6/18/37@Maxine Elliott, sponsored by 12th Assembly District of ALP & 2 IWW branches, canceled.] reports/reviews W72.3.1 6/18/37 "Broadway Managers Offer to Take Over WPA's 'Rock' Opera," NY Daily News. W72.3.2 6/18/37 Dexter, Charles E., "Does 'Cradle Will Rock' Ban Mean WPA Censorship?: Blitzsteen[sic] Musical Play Excellent Satire But Evidently a Little too 'Hot' for Washington Federal Theatre Moguls to Sponsor," Daily Worker p.7: "the words are superior to the music... the show MUST go on." W72.3.3 6/18/37 "100 Ask Rebates on the WPA Opera: Ticket Holders Appear at the Theatre Office and Demand Their Money Back: 18,000 Seats Were Sold: Director of Performance Flies to Washington in Effort to Have It Put On Tonight," NY Times, p. 24 W72.3.4 6/18/37 "Rebate Demanded by 100 on Steel Opera Tickets," Bronx Home News. W72.3.5 6/18/37 "W.P.A. Actors Fail in Encore of Strike Opera: Await Hopkins Approval of Performance Until 8 P.M., then Quit Theater: Promise a Show Tonight: Buyers of Tickets Clamor in Vain for Refunds," Herald Tribune. W72.3.6 6/18/37 "WPA Strike Opera Will Open Tonight: But It Will Be Presented Under Private Auspices," NY Sun. W72.3.7 6/18/37 "WPA to Stage Forbidden Play with Equity Aid: Last Night's Show Postponed as Patrons Demand Return of Money: 14,000 Tickets Sold: Producers of 'The Cradle Will Rock' Find Way to Get Around Ban," "Equity Upholds Order," NY World-Telegram and Sun.

W72 The Cradle Will Rock 231 W72.3.8 6/19/37 "'The Cradle Will Rock' With or Without WPA," Binghamton NY Press. W72.3.9 6/19/37 "Private 'Angels' Found to Back Steel Mill Opera: 19 of the Cast of 40 Obtain Leave From W.P.A. and Defy Ban Upon Opening: Sing From Out Front: Requirements of Commercial Theater Met in Busy Day," "Each Actor Has a Share," Herald-Tribune. W72.3.10 6/19/37 "Private Backing Found For WPA Steel Opera," Wilmington DE Evening Journal. W72.3.11 6/19/37 "Private Help Secured When WPA Ends Aid," Dayton OH News. W72.3.12 6/19/37 "Show Cast Find Own Theatre To Present Steel Mill Opera," Ashland KY Independent. W72.3.13 6/19/37 "Show Goes on Despite Ban By the WPA," Lansing MI State Journal. W72.3.14 6/19/37 "Show Goes On: The Cradle Will Rock' Given Despite WPA Ban," Birmingham AL News. W72.3.15 6/19/37 "Stage 'Cradle Will Rock' Despite Ban: Production Goes On In Fight Against Censorship," "Leaves of Absence," Daily Worker. W72.3.16 6/19/37 "Stage Sets Gone, Opera Cast Sings from 'Out Front,'" Huntington WV Advertiser. W72.3.17 6/19/37 "Steel Strike Opera Gets Private Backing," Reading PA Eagle. W72.3.18 6/19/37 "Steel Strike Opera Privately Produced After Ban By WPA," Port Huron MI Times-Herald. W72.3.19 6/19/37 "Strike Play Opens Despite WPA Ban," NY Evening Journal "Equity removed its ban from the play last night after $1,450 had been posted to guarantee two weeks' salary to the cast." W72.3.20 6/19/37 "Suspended WPA Opera Turns 'Pro,'" NY Daily News: "once just a lullaby, is becoming a heroic poem, if not a saga." W72.3.21 6/19/37 "WPA Actors Find New 'Angel,'" Christian Science Monitor W72.3.22 6/19/37 "WPA Actors Get Private Backing, Put On Show," Charlotte NC News. W72.3.23 6/19/37 "WPA Federal Theatre Cast Secures Private Backing for New Opera," Stamford (CT) Advocate. W72.3.24 6/19/37 "WPA Opera Again: Uncostumed Cast Presents 'The Cradle Will Rock,"' NY Sun. W72.3.25 6/19/37 "WPA Opera Presented With Private Backing," Jacksonville FL Journal. W72.3.26 6/19/37 "WPA Opera Put On as Private Show: The Cradle Will Rock' Is Given Commercially at the Venice Theatre Here: 100 Attend Performance...," NY Times p.20. W72.3.27 6/19/37 "WPA Play Gets Private Backer," St. Louis Post Dispatch. W72.3.28 6/19/37 "WPA Show Gets Private Backing," Wilkes Barre PA Times Leader.

232 W72 The Cradle Will Rock W72.3.29 6/20/37 "'Cradle' to Rock B'way: WPA Exile Goes Commercial," "Halted by Washington," "Ban No Surprise," NY Telegraph. W72.3.30 6/20/37 '"Cradle Will Rock' Will Continue Run: Opera Originally Planned by WPA to Go On 'So Long as Public Supports It," NY Times p.24. W72.3.31 /20/37 "Curfew May Not Ring But the WPA Cradle Will Rock: Cast in Play Depicting Steel Labor Trouble Obtains Private Backing," Grand Rapids MI Herald. W72.3.32 6/20/37 '"Labor Opera Opens," Owensboro KY Messenger. W72.3.33 6/21/37 '"Cradle Will Rock' Twenty-Five Cents [for WPA Workers]," NY Daily News. W72.3.34 6/21/37 "Is This Art?" New Orleans Tribune: "We need light, not dramatic heat, on such matters as the steel strike. The Federal Theatre should be called to order. It is producing not art but special-pleading, and the taxpayers are footing the bill." W72.3.35 6/21/37 Mitchell, Louise, "Steel Barons Hit at Stage," Daily Worker p.7. W72.3.36 6/21/37 "News of the Theater: Project 891 Members Stage 'The Cradle Will Rock,'" Herald Tribune +photo of MB, "Composer of... strike opera" W72.3.37 6/21/37 "Show Goes On: WPA Actors Defy Opening Ban For Streel Mill Opera," Pontiac MI Press. W72.3.38 6/22/37 Harkins, John, "'Cradle Will Rock' Goes Big As U.S. Project 'Rebel' Play," NY American "an opera, a play or a community sing..." W72.3.39 6/22/37 Lyons, Leonard, "Lyons Den," Houseman to producer who "offered to produce it. 'When you make the front pages of the N.Y. Times and Herald Trib... I'll produce YOU!'" W72.3.40 6/22/37 "Nightly Shows Staged of 'Cradle Will Rock,"' NY WorldTelegram. W72.3.41 6/22/37 "Novel Opera Running Nightly at the Venice," NY Mirror. W72.3.42 6/22/37 (R67#609) "Sturm Arum a Yiddishen Compositor Vos Hat Geshaffen an Opere Welche Wert Betracht Far Tzu Radical," Forward (in Yiddish) +photo of MB. W72.3.43 6/22/37 Waldorf, Willella, "Forecasts and Postscripts: 'The Cradle Will Rock' a Fugitive From the WPA: Marc Blitzstein's Opera About a Steel Strike to Continue at the Venice Theatre Until July 1," "Theatre Needed in a Hurry," "Fire Laddies Move Piano," "Informal and Impromptu" NY Evening Post: "without scenery... positively futuristic." The Venice agent was not listened to at first; later firemen lifted the Venice's own piano onto the stage, but it was too out of tune. "Helen Deutsch, normally press agent for the Theatre Guild, became the producer in name." MB "not only plays his score but sings and acts four parts and eats peanuts continually throughout the performance. Mr. Welles generally explains to the audience that it's all right if any of them feel the urge to act, and occasionally somebody does. One night, it seems, so many volunteer actors bobbed up in the audience that the show came to a close with an entirely different ending from that evolved originally by the composer. [T]he performance... is positively futuristic... In the Chinese manner, the audience watches the stagehands manipulate the lights and fuss around with the

W72 The Cradle Will Rock 233 backdrop, and anybody who feels like doing anything does it." W72.3.44 6/23/37 '"Cradle Will Rock': A Midnight Benefit," NY Telegraph. W72.3.45 6/23/37 Kaufman, Wolfe, "Actors and Audiences All Mixed Up as WPA Opera Goes Commercial," "The Show Goes On," "Curiously Effective," Variety p.62 W72.3.46 6/23/37 NY Daily News "There will be a midnight performance... tomorrow at the Venice Theatre." W72.3.47 6/23/37 "Performance for Actors," NY Herald Tribune. W72.3.48 6/23/37 "WPA's Play Within a Play," NY Evening Post: "The fortitude, the ingenuity, the determination that have gone into this self-assumed job come close to the heroic." W72.3.49 6/26/37 '"Cradle Rocks' Despite Ban," Billboard. W72.3.50 6/26/37 Drake, Herbert, "The Stage," Cue p.14: "operetta... not a light show..." W72.3.51 6/26/37 "FTP Tension Nears Peak: Art projects hold sit-downs-openings postponed--supervisors exhort action," Billboard. W72.3.52 6/27/37 Daily Worker production "at the Venice Theatre... merits your support." W72.3.53 6/27/37 Kaye, Joseph, "Funds Found: For Production Cancelled By Federal Theater..." Cincinnati Enquirer. W72.3.54 6/28/37 "The Cradle Will Rock," Herald Tribune. W72.3.55 6/28/37 "News of the Stage," NY Times p.22. G5 6/28/37 "Postponed Cradle, "Time 29:26 p.46-8: "In his ingenious mélange of recitative and revue-patter songs, suites, chorales, arias, Silly Symphony [sic] bits and lullaby music, Blitzstein exhibited the extraordinary technical control that made Arnold Schönberg regard him as his most talented U.S. pupil." Quotes lyrics from Sc.6#1."For an hour and a half people felt something of that sympathetic union with the actors that directors dream about." See also G5. W72.3.56 6/29/37 Darrell, R.D., "Concert Music," New Masses 24:1 p.28-9: "a show that brings down the house every time it's played... like dynamite it can't be ignored." W72.3.57 6/29/37 Ross, George, "WPA Opera's Hit Despite Mad Career: Without Scenery or Orchestra, 'Cradle Will Rock' Strangely Stirring," Buffalo Times "the most curious performance of this or any other season... Rudy Vallee, dropping by the other night, took three of Blitzstein's songs for his radio hour." W72.3.58 6/27/37 "Rialto Gossip," NY Times X:2. W72.3.59 6/27/37 WEVD broadcast, 8:30pm; scenes repeated 7/3/37 8:30pm. W72.3.60 6/27/37 Winchell, Walter, "On Broadway: The Big Town Scene: The Theaters" NY Mirror: "no scenery, no costumes, no makeup and, from what we hear, no entertainment." But see W72.5.1.17 12/12/37 and W72.5.1.29 12/19/37.

234 W72 The Cradle Will Rock W72.3.61 n.d. Margulis, Max, "A New Prospect for Modern American Music: Musical Creation Is Moving Toward an Art in Which the Subject Matter Is of Supreme Value," "Weill's Influence," "People's Art" [R67#615]: "In the long run, [Aaron Copland's] The Second Hurricane may be judged to possess the profounder artistry, but The Cradle Will Rock will rank as the artistic document of our day by day history." W72.3.62 6/30/37 (R20#305-310) Smith, D.D., "Last Night's Curtain," WNEW: "The music is good - very good, and the songs are prodigious." W72.3.63 7/3/37 "Left-Wing Labor Force Belabors the Rich, Slightly," Newsweek 10:1 p. 20-21. W72.3.64 7/7/37 Rushmore, Howard, "No Work in Private Industry For Jobless Actors, Musicians: Statistics Reveal That Fired WPA Actors and Musicians Have Little Hope in Finding Other Jobs," Daily Worker : "the censorship of 'Cradle Will Rock' will add to the unemployment statistics." W72.3.65 7/7/37 "WPA Disowns 'Cradle': Will Rock As Commercial," "A SitDown Performance," "Reason For Ostracism?" NY Telegraph. W72.3.66 7/7/37 "W.P.A. Not to Produce Play About Steel Strike: Commercial Offering of 'The Cradle Will Rock' Slated," Herald Tribune. W72.3.67 7/7/37 "WPA Permanently Abandons 'The Cradle Will Rock," NY Times. W72.3.68 7/18/37 Mitchell, Louise, "No Federal Theatre Backing for 'Cradle Will Rock' Play," p.7. [Asterisk* indicates article in collection kept by MB's mother.] W72.4 road tour perfs reports/reviews W72.4.1 6/24/37 "'Cradle' Road Unit Formed: WPA Orphan, Adopted by B'way, Released by Marc Blitzstein for Tour," NY Telegraph. W72.4.2 6/24/37 "'The Cradle Will Rock' To Tour Steel District," NY Evening Post "meeting halls in" PA & OH. W72.4.3 6/24/37 George, Harrison, "The Mote and the Beam," Daily Worker p.2 reveals that a WPA production of Carmen in Newark went on as a "rehearsal," concluding that the federal ban on all productions was directed solely at Cradle. W72.4.4 6/24/37 "Music League Concert Tonight," NY Times exc.@Stuyvesant High School Auditorium. W72.4.5 6/24/37 '"Musical Satire' to Go on Road," NY Mirror. W72.4.6 6/24/37 "To Stage Play In Steel Area," Daily Worker. W72.4.7 6/27/37 "May Tour: Steel Area Will Be Visited," Daily Worker. W72.4.8 6/30/37 Rushmore, Howard, '"Our Show Will Go On' This Cast Tells Public: 'Cradle Will Rock' Cast Determined to Keep Production Going and Plan Road Tour Through Steel Areas To Bring Play to a New Audience," Daily Worker, p. 7.

W72 The Cradle Will Rock 235

W72.4.9 7/10/37 '"Cradle Will Rock' To Be Shown," Herald Tribune: "Marc Blitzstenstein's musical saga of steel workers' troubles will be presented this afternoon only in Central Park, Bethlehem, Pa." W72.4.10 7/11/37 Gould, John L., "W.P.A. Troupe Gives Opera at C.I.O. Picnic: Only 200 See 'Cradle Will Rock,' Staged in Bethlehem at Steel Union's Expense: New Yorkers Put It On: Closed-Shop Object Lesson Fails to Draw Crowd," NY Herald Tribune : "the C.I.O. members in the local plant of the Bethlehem Steel Company had boycotted the picnic... perhaps the back-to-work movement in Johnstown, where the company has another plant, had unnerved the members.'" [Baptists, picnicking, all walked out. --MtM p.146] W72.4.11 7/14/37 Mitchell, Louise, '"Cradle Will Rock' Company Shows Play to Steel Workers," Daily Worker, p.7. W72.4.12 *7/25/37 "Rialto Gossip," NY Times,: "As to 'The Cradle,' every one swears it will be reopening around Labor Day, though they haven't yet decided upon the auspices." See W78.0.1. W72.4.13 7/25/37 perf at Uncasville CT (announced in Brooklyn Eagle, Herald Tribune, NY Mirror). W72.4.14 9/18/37 Houseman, John, "Again--A People's Theatre," Daily Worker, p.7. W72.4.15 (G6) *10/20&21/37 [reprinted from late edition] Coleman, Robert, "Music Now Wedded...: Becoming Part of the Plot," NY Daily Mirror. See W40, W72, W75, W76. W72.4.16 11/21/37 "Lone Showing Of 'Cradle," "Author Plays Music and Acts in Piece" 11/28 Journal-American. W72.5 Mercury Theatre prod. W72.5.1 preview articles on Mercury Theatre perfs 11/27,28... prior to official Broadway opening: W72.5.1.1 11/27/37 (R20#311) Weekend (Sunday night "Worklight Theatre" feature) perfs begin at Mercury Theatre w/actors seated in 3 rows on stage, Blitzstein at the piano, incl. a "preview for the benefit of the Brooklyn Eagle strikers." W72.5.1.2 11/28/37 '"The Cradle' Rocks Again: But This Time Under Mercury Theatre Auspices," Sunday Worker.

236 W72 The Cradle Will Rock W72.5.1.3 12/37 Gassner, John, "The Theatre--Progress on Broadway," One Act Play Magazine p.742-5: "The climactic moments of W72 "are... neither humor nor pathos. The climaxes constitute a warning and a challenge. With fire, wit and exaltation" the piece "announces a new day.... For nearly a year it has been customary to announce the death of the left-wing theatre movement." W72 "proves that it still retains its vitality and unique attractiveness when there is genius in the effort. Genius is perhaps little more than the power of illumination. Nothing that Blitzstein says is original or novel.... It is his manner that give his matter freshness, vigor and beauty. His perfect amalgamation of drama and music has a curiously dynamic effect. In last season's [Paul Green-Kurt Weill musical] Johnny Johnson many of the solo numbers seemed superimposed upon the dramatic incidents. In" W72 "the music grows out of the intensity of the scene and is at one with it." See also W72.5.1.15, W72.36.33, G43. W72.5.1.4. 12/4/37 (R67#652) Rumney, Barbara, "Aisle Seat," [Sarah Lawrence College] Campus: "a play so tremendous in its scope, so powerful in its message... a propaganda play full of human vitality and superb inspiration." W72.5.1.4a followup: interview w/MB. W72.5.1.4b 1/?/38 (R67#732) Graham, Sybil, "Poison in the Theater": "Is this representation of types fair?" W72.5.1.4c (R67#738) "On the Fence" letter exchange between Rumney & Graham: Rumney quotes Sc.4#3; W72 "is a magnificent piece of art." Graham: "quite irrelevant." W72.5.1.5 12/5/37 Englander, Eric, "Stage: Best Theatrical Offerings in Town Are from Humbler Organizations," Sunday Worker "the most brilliant burst of lightning in the left theatre since 'Waiting for Lefty." W72.5.1.5a 12/5/37 same paper, p.11: "Philadelphia Audiences to Hear 'Cradle Will Rock."' W72.5.1.6 12/6/37 Atkinson, Brooks, "The Play: Marc Blitzstein's 'The Cradle Will Rock' Officially Opens at the Mercury Theatre," NY Times, p. 19: "Written with extraordinary versatility and played with enormous gusto it is the best thing militant labor has put into a theatre yet... What Waiting for Lefty was to the dramatic stage, The Cradle Will Rock is to the stage of the labor battle song.... Thanks to the bitterness of its satire, the savagery of its music and the ingenuity of its craftsmanship, 'The Cradle Will Rock' raises a theatregoer's basic metabolism and blows him out of the theatre on the thunder of its finale." [quoted in 1947 ads] See also W72.5.2.4; W72.35.4. W72.5.1.6a 1973 Atkinson, Brooks, The Lively Years, NY: Association Press, p.121: Opening night move, an "act of desperation[,] was the best thing that ever happened to" W72. "For by the force of circumstances it had jettisoned the scenery, the costumes, and the orchestra. In street clothes the actors looked like impoverished victimes of a tyrannical an druthless society, and Mr. Blitzstein looked more like a persecuted agent of the dispossessed than he would have if he had been leader of the orchestra."

W72 The Cradle Will Rock 237 W72.5.1.7 *12/6/37 Brown, John Mason, "Two on the Aisle: An Exciting Week-End For Propagandist Drama: The Mercury Theatre's Fine Production of 'The Cradle Will Rock'--'Pins and Needles' an Amusing Revue," NY Post : "the most exciting propagandist tour de force our stage has seen since Clifford Odets' 'Waiting for Lefty.' ...The forestage is letf bare for the action, and for Mr. Blitzstein, who sits at an upright piano just a little off center playing is brilliant score, taking several secondary parts, and in general doing more odd jobs than have been done by one man behind the footlights since Mei Lan-Fang's property man went back to China." Reprinted W72.5.1.33 1938. W72.5.1.8 12/6/37 Lockridge, Richard, '"The Cradle Will Rock,' Satirical Musical, Is Shown at the Mercury Theater," NY Sun, +photo of Hiram Sherman. W72.5.1.9 12/6/37 Mantle, Burns, '"Cradle Will Rock' Given Stage Room by New Mercury Theatre," NY Daily News +photo of Peggy Coudray (Mrs. Mister): "She collects pets." W72.5.1.10 12/6(?)/37 Variety "an adroit piece of leftist writing... presented under what are called 'work light' theatre conditions..." R67#650 W72.5.1.11 12/6/37 Watts, Richard, Jr., "The Theatre: Cartoon with Music," Herald Tribune p.10: "combines a modernistic musical score with the most sardonic methods of the political cartoonist..." W72.5.1.12 12/6/37 Whipple, Sidney B., "'Cradle Will Rock' At Mercury Theater: Clever Musical Play Makes Fun of Bigotry, Fascism, Toryism, and Other American Weaknesses," World Telegram: "Confident Purpose and Direction" "Strength in Its Satire". W72.5.1.13 12/7/37 Englander, Eric, "Cradle Rocks at Mercury," Daily Worker p.7: "the frequent singing represents perhaps the very first time that the nontrained voice of the actor has been lifted in song with absolute success in this country." W72.5.1.14 *12/8/37 "New Talents' 2 of 3 B'way Hits" Variety p.53f on Blitzstein & Harold Rome: "'Cradle' 2d Bare-Stage Show; Music Union Rule," Variety p.54. W72.5.1.15 12/11/37 Gassner, John, Radio Address, WQXR, NYC. R67#6613 sent w/ 1tr to MB [R67#660]: "Substantially the same review" in One Act Play Magazine and Theatre Review, Directions, and Theatre Workshop. See also W72.5.1.3, W72.36.33, G43. W72.5.1.16 12/12/37 Drake, Herbert, "The Playbill: Aftermath of a Hit," Herald Tribune: "operetta"; also mentions W76, W77 & W78. W72.5.1.17 12/12/37 Winchell, Walter, Mirror: "By all means... The Cradle Will Rock and Pins and Needles, two of the better diversions." See also W72.5.1.29 12/19/37.

238 W72 The Cradle Will Rock W72.5.1.18 12/12/37 Englander, Eric, "The Stage," Sunday Worker: "has taken over the town and now wholly owns it.... the highest point that popular revolutionary theatre has touched in this country... makes almost everything else in town have the air of stale and desperate confectionery." W72.5.1.19 *12/13/37 "New Plays in Manhattan: The Cradle Will Rock," Time 30:24 p. 57: "If this method is from necessity--the famous, misnamed Russian Realistic Theatre uses it from choice and with stunning effect--it proves, nevertheless, that if a playwright has enough to say he needs neither sets nor costumes to help him say it." W72.5.1.20 12/14/37 "News of the Stage: [Sam H.] Grisman to Sponsor Mercury Production of 'Cradle,'" NY Times. W72.5.1.21 * 12/14/37 Ross, George, "Broadway: Out of Rebel Skies," Pittsburgh Press. W72.5.1.22 12/?/37 (R67#691) Chapman, John, "Mainly About Manhattan," NY Daily News: "Grisman figured that as long as he had to do it he'd hire ten poor and deserving musicians he knew personally. But the union told him it would choose the orchestra. 'What!' howled the producer. 'You mean to say you've got ten men that can't play better than my men can't play?' A compromise was reached. Grisman got seven of his friends in, the union three." W72.5.1.23 12/?/37 (R67#668) Lyons, Leonard, "Lyons Den: Calling All Stars Wherein Labor Will Be Picketed," NY Post (?): "Musicians Union... approve[s] of Blitzstein's furnishing all the music himself, but insist that 10 extra musicians be hired, even just to sit around--inasmuch as this is an opera. If it isn't settled, this ardent pro-labor propaganda show will be picketed!" W72.5.1.24 *12/15/37 Cohen, Harold W., "The Drama Desk: East and West," Pittsburgh Gazette: "It may be Max Gordon who sponsors the Mercury Theater's 'The Cradle Will Rock' for a regular Broadway run." W72.5.1.25 * 12/8/37 "'Cradle' 2d Bare-Stage Show; Music Union Rule," Variety p.54. W72.5.1.26 *12/18/37 "Two[? New?] Musicals Prove Left Wing Can Laugh: 'The Cradle Will Rock' and 'Pins and Needles' Revive Social Drama," Philadelphia Inquirer. See also W77.1. W72.5.1.27 12/19/37 (R67#682) "The Cradle Still Rocks Violently for Blitzstein," Philadelphia Record "Cradle Rocks." "Show Goes On." "Offers Coming." "Early Work." studied with "Naida [sic] Boulanger..., with Arnold Schoenberg, in Berlin, and [visited!] Ravel, in Paris." Mentions W33, W40, W50, W51, W56, W65, W73, W77; +photo of MB: "Versatile Chap: Marc Blitzstein... 'The hand that rocks the cradle rules the world?'"

W72 The Cradle Will Rock 239 W72.5.1.28 12/19/37 (R67#668) Watts, Richard, "The Approach of Christmas: The Theater: Drama on the Left," Herald Tribune: "The humor of" W72 "is scornful and bitter and ironic. It snarls as well as sings at its entrenched enemies.." MB "is a man of ideas and talent, who can provide a score that is bitter and sardonic, defiant and even a bit tender... capturing the mood of American industrial strife in terms of modern rhythms. Above all things," W72 "has about it the great quality of excitement.... I trust that saboteurs from Hollywood will not soon lure the Messrs. Blitzstein and [Harold] Rome away from the theater. Now that it can mix humor, tunefulness and gaiety with its partisanship, the Left Wing becomes a force to be reckoned with in the drama." W72.5.1.29 12/19/37 (R67#659) Winchell, Walter, NBC Broadcast, Blue Network 9:30-9:45pm EST: "On the night it was to open, the Federal people withdrew their support. A crowded theatre was turned away. The actors decided to produce the play themselves. It opened a week ago for one show. The critics, all of them, turned in rave notices." W72 "will now be shown regularly, and the indications are that it will gross a fortune." W72.5.1.30 *12/20/37 Daily Worker announces regular Broadway run and Random House publ. of W72 as book. W72.5.1.31 12/28/37 Darrell, R.D., "Blitzstein Brings New Tunes to Music," New Masses 26:1 p.28: "Mr. Blitzstein is in the groove and just beginning to go to town.... Even when you've stopped laughing, you haven't stopped thinking." W72.5.1.32 12/?/37 (R67#706) Arcone, Michael C., "Class Angle: Drama Retrospect--1937": "year's end examination... our first choice is the one play that truly represents labor's awakening," W72. W72.5.1.33 1938 Brown, John Mason, Two on the Aisle: Ten Years of the American Theatre in Performance (NY: W.W. Norton) p.224-6 [Reprint of W72.5.1.7 12/6/37]. W72.5.1.34 1938 The One-Act Play Today, ed. William Kozlenko NY: Harcourt, Brace & Co., symposium includes discussion of W72. W72.5.1.35 1/38 (R67#678) "The Mercury Theatre," Harper's Bazaar p.67 & 123; photo of MB, Orson Welles & Lehman Engel. A33 1-2/38 MB, "On Writing Music for the Theatre," MM 15:2 pp.81-85: describes Sc. 7 #1 as having "a kind of tender cynicism, stating without rancor" the necessity for having money, in capitalist society. Describes its use in Sc. 10 as "counterpoint-foreground." Sc.4#2 "is a plot-song."

240 W72 The Cradle Will Rock W72.5.1.36 1-2/38 Thomson, Virgil, "In the Theatre," MM 15:2 p. 112-4: "the most appealing operatic socialism since [Gustave Charpentier's opera of 1900,] Louise... still burning with the red flame of social hatred and glowing with the pure white light of Marxian fanaticism, the work turns out to be, curiously enough, the big charm-number of the year." W72.5.1.37 1/1/38 "The Nation's' Honor Roll for 1937," Nation 146:1 p.7-8 "opens new reaches for the musical play as social satire." W72.5.1.38 1/1/38 "Theater: Labor and left-wingers stage two riotous shows," Literary Digest V.125#1 p.34-5. Quotes Sc.6#3--"a ditty that certainly ought to crash the air waves." "...masterful burlesque... more serious" than Pins and Needles. W72.5.1.39 *1/2/38 NY Times II:1 Abe Hirschfeld cartoon: MB at the piano. W72.5.1.40 *1/2/38 "The Cradle Will Rock' Moves to Broadway," Herald Tribune. Abe Hirschfeld cartoon: MB at piano +Howard Da Silva, Blanche Collins, Bert Weston, Olive Stanton A35 1/2/38 MB, "Lines on 'The Cradle,' NY Times II:1 (and Herald Tribune 1/5/38): "I used whatever was indicated and at hand. There are recitatives, arias, revue-patters, tap-dances, suites, choral [e]s, silly symphony, continuous, incidental commentary music, lullaby music--all pitchforked in.... [I]n America, the musical theatre is either opera or musical comedy--opera means only the Met, musical comedy is on its last lap. Vaudeville died a scurvy death; revue is alarmingly deteriorating, one revue a year. If you still have the desire to write for the musical theatre you must find a new form." A36 1/3/38 MB, "Author of 'The Cradle' Discusses Broadway Hit: Marc Blitzstein Wrote His Labor Operetta About the Middle Class and Has Tried to Offer a Possible Solution to Their Problems," Daily Worker: "Music of All Sorts" "Success Depends on Audience": "What I really wanted to talk about was the middleclass.... The middleclass must sooner or later see that there can be allegiance only to the future, not the past; that the only sound loyalty is the concept of work, and to the principle which makes honest work at least true, good and beautiful." W72.5.1.41 1/3/38 (R67#688) Nathan, George Jean, "Theatre Week: Labor Pains," Newsweek "its music is negligible, its libretto for the most part commonplace, and its presentation admittedly amateurish..." See also W72.5.2.46, W72.36.25. W72.5.1.42 *1/3/38 "News of the Stage," NY Times: "Tonight also finds 'The Cradle Will Rock' settling down for a regular run at the Windsor [Theatre]..." MB played Clerk, Reporter and Prof. Mamie from the piano. Ten other union musicians, had to be paid, though they did not perform. (See also W72.5.2.50 3/30/38.)

W72 The Cradle Will Rock 241 W72.5.2 1/2/38 official Mercury Theatre prem., 108 perfs, thru 5/38 reviews/reports W72.5.2.1 1/?/38 (R67#690) Adams, Clifford, "The Curtain's Up!" Gotham Life: "stormy petrel of the stage.. at the new Windsor Theatre, where it synamic power should keep it popular for some time to come. Unique effects of staging, the crushing argument it presents in the cause of Labor, and the splendid achievements of the cast, are all intact." W72.5.2.2 1/?/38 (R67#732) ? Arthur, George K., "Welles, Welles!" "contrived to have this hymn of hate dressed up in the most expensive clothes the Federal Theatre could buy..." W72.5.2.3 1/4/38 (R67#677) Dash, Thomas R., "'The Cradle Will Rock' (Windsor Theatre)," Women's Wear Daily: "Mercury Theatre Steps Into Breach," "Going on for Regular Run at the Windsor," "Labor Leader Is Steel Baron's Nemesis". W72.5.2.4 *1/4/38 Atkinson, Brooks, "The Cradle Marches On" NY Times, p. 19: "It still is swell, new home or old." W72.5.2.5 1/4/38 "'Cradle' Rocks On Broadway At Long Last," NY Daily News +photo of Peggy Coudray. W72.5.2.6 1/4/38 (R20#349; R67#676) G.R., "'Cradle' Rocks at the Windsor: Blitzstein's Operetta Warmly Applauded", NY World-Telegram ["Blitztenstein" of early edition corrected in later edition] W72.5.2.7 1/4/38 (R20#350) Pollock, Arthur, "The Theater: Marc Blitzstein's 'The Cradle Will Rock,' One of the Season's Most Precious Plays, Moves to the Windsor Theater" Brooklyn Eagle: "Noel Coward grown up... That is a simple as play can be, almost Chinese. But the effect is electric." W72.5.2.8 1/4/38 (R20#354) Waldorf, Wilella, "Forecasts and Postscripts: 'The Cradle Will Rock' Still an Informal Show: They've Hired an Orchestra, but Not to Play--Musicians See Performance," NY Post. W72.5.2.9 1/5/38 (R67#683) Cooke, Alistair, NBC Red Network: "fierce and brilliantly written proletarian piece..." W72.5.2.9a 1/12/38 (R67#694-6) Cooke, Alistair, NBC Red Network, quoted at length in MtM p.164: "astonishing talent" MB "has found a form of presenting plays which is to my mind the nearest most effective equivalent to the form of a Greek tragedy..."...a bitter and pitiless study, but... no more bitter and pitiless than the fact it represents in many an American town." W72.5.2.10 *1/5/38 (R67#732) Lyons, Leonard, "The Broadway Gazette: Premiere" NY Post (?), issue #148 (date?) "Mrs. Crane, the socialite, invited" MB to play some of W72 "at a party.. at her 5th Ave. apartment... 'Couldn't you have a violinist play it, instead of a pianist? ...So that.. you wouldn't have to use any lyrics."

242 W72 The Cradle Will Rock W72.5.2.11 n.d. (R67#706) "Busy Fellow," NY Post photo of MB "Plays three parts as well as the piano" in W72 "which he wrote." (letter) W72.5.2.12 1/6/38 (R19#816-7) Donald K. MacMillan to MB: "the most stimulating evening in the theatre in many a year... a minor miracle of showmanship - your use of silences is better done than any other single venture I can remember." W72.5.2.13 n.d. (R67#638) F.P.R., "The Cradle Will Rock: At the Windsor": "operetta... about as far Left as you can go in the theatre without being out in the alley... also one of the most refreshing, delightful and thrilling bits of dramaturgy anyone--tycoone and alborer alike--has been lucky enough to see.... 'tonal speech' ... somewhere between singing and speaking... an effective device, which avoids sacrificing capable acting for attractive voices." W72.5.2.14 1/7/38 (R67#677) "'The Craddle [sic] will Rock' al Windsor Theatre," Corriere d' America (in Italian): "la satira del lavoro è fresca e tagliente." W72.5.2.15 1/9/38 (R67#688) "Drama: Panoramic Look," Brooklyn Daily Eagle: "A young play with a vivid history. A play with music, play and music inseparable." +Lucas and Pritchard photo of Dulce Fox & Maynard Holmes (Sister & Jr. Mister). Photo also appears in: W72.5.2.16 n.d. (R67#702) Stinnetz, Jack, "What's Doing on Broadway: Mercury Group Hits High In Theatre Thermometer" photo captioned: "'Honolulu' in Marc Blitzstein's audience-rocking opera-drama..." W72.5.2.17 1/12/38 (R67#691) Broun, Heywood, "'Steeltown,' of 'The Cradle Will Rock,' Could Be Jersey City; Its Characters Aren't Caricatures of Hague's Cohorts--They're Too True to Life," Philadelphia Record "the most exciting of all the curent entertainments.. is also true... The satire is amusing, but it also has a blasting quality. Its victims cannot laugh off the things said about them." W72.5.2.17a 1/12/38 Ibid., "It Seems to Me," NY World-Telegram, "The One Best Bet." "Satire with a Sting." reprinted in hisCollected Edition, compiled by H.H. Broun (NY: Harcourt, Brace, 1941) p.424-6. See also W72.5.2.23, 3/1/38 W72.5.2.17b 9/7/38 (R67#811) Ibid., "It Seems to Me," [NY World Telegram ?] quotes "a well-known composer" on W72: "I hated it... any Jew who takes a radical attitude on anything, whether he's right or wrong, simply foments antiSemitism in America." W72.5.2.16 1/12/38 (R67#692) Daily Worker p.7, "Mother [Ella Reeve] Bloor Sees 'The Cradle'": "told the account of her experiences in the Soviet Union." Finds parallels with Red-baiting Jersey City Mayor Frank Hague. As the result, MB inserted lines about him into the show. (R67#682)

W72 The Cradle Will Rock 243 W72.5.2.17 1/13/38 Cambridge, John, "The Stage," Sunday Worker, p. 11. W72.5.2.17a 5/1/38 Ibid., "The Stage: Daily and Sunday Theatre Critic Selects 'The Cradle Will Rock' as Best Play of the Season and a Classic of the American Theatre," Sunday Worker R67#741 W72.5.2.18 1/14/38 (R67#702) "Who's Who Among Jews 1937," American Hebrew incl. MB for the first time, mentions W72, W77, and W77, misattributing "[all] the music for... Pins and Needles " to MB. W72.5.2.19 1/15/38 (R20#358) "Quicksilver at the Mercury," New Masses p.28-9: "satiric operetta, a dynamic pungent work which brings music to grips with reality." W72.5.2.20 1/16/38 (R67#697) Haller, Harry, "That Repertory Idea on Broadway Again: Present Season Reported As Seeing Long-Talked-Of Idea Becoming A Reality, With Federal Theater Project The Outstanding Example," Baltimore Sun (?): "Commercial Theater Has Eyes On Repertory" "Mercury Theater Most Exciting" "Mr. Welles' Julius Caesar [W76] Is A Surprise" "Play Is Presented In Interesting Manner": "employed the slack time of Sunday nights by rescuing" W72 "from oblivion and developing it into a success that has just been blessed with a regular engagement." W72.5.2.21 1/16/38 (R67#697) "The Make-Up Box," Philadelphia Record quotes MB '"The American musical theater is either opera or musical comedy. Opera means only the Met; musical comedy is on its last lap. Vaudeville died a scurvy death; revue is deteriorating alarmingly, one a year. We've got to find a new form.' Maybe he did, in 'Cradle Will Rock.'" [letter] W72.5.2.22 1/17/38 [misdated 1937] (R19#808) Joyce Maupin to MB: "I found your play... so exciting and so significant that I thought you might like to know it. I have been pretty low and I am just beginning to come out of it. Your play picked me up and made me soar, for the first time in many months. I went into the theater feeling that I did not have a nickel under my heel, and came out feeling that I did." W72.5.2.23 1/18/38 (R67#699) "Sights and Sounds: Quicksilver at the Mercury," New Masses "cast changes [but] the performance has lost none of the vivid theatricality which arises from the very simplicity and directness of its form" Sc.7#l&3 "are still songs that lift you out of your seat." [in box:] "sairic operetta, a dynamic, pungent work which brings music to grips with reality."

244 W72 The Cradle Will Rock W72.5.2.24 1/19/38 (R67#697) Broun, Heywood, "Shoot the Works: Jersey City Puts on a Burlesque Show--Hague and His Henchmen Get Louder and Funnier--But Don't Forget Hitler," New Republic: "I was able to accept Mister Mister of" W72 "as an authentic figure, although I realized that there was a certain sharpening of the personality for dramatic effect. But in Jersey City the corresponding figure struck me as unreal. His name is Mr. John H. Allen and his is not only the head of the Jersey City Chamber of Commerce but... the president of the Everlasting Valve Company." W72.5.2.24a 2/20/38 special perf as part of C.I.O. Theatre Nite, "Bring Democracy to Jersey City," Mosque Theatre, Newark NJ MCs: Heywood Broun, Will Geer; exc. from Pins and Needles, Plant in the Sun, W72. (R67#827-8) W72.5.2.25 1/19/38 (R67#700) Young, Stark, "The Mercury and London," New Republic 93 p.310-1: "It makes one proud, makes one swell, believing in the reality of talent and impetuosity, chances taken, and the assertion of vividness. Great talent goes into this piece." (letter) W72.5.2.26 1/20/38 (R19#818) Rose Orkin to MB: "It is indeed gratifying to know that there are still people left in the theatre who have a sense of justice.... In all the yuears that I have been going to the theatre,... I was never so completely amused and enthralled... I truly wish that your play will be seen by every New Yorker and thay they will be enlightened and educated through its purpose." W72.5.2.27 1/21/38 (R67#706) "Rabbi Preaches Tonight on Text Play Provided: 'Judaism Pleads with Capital and Labor' Is Subject Chosen by Maxwell Sacks," Herald Tribune: " at Jewish Communal Center of Flatbush. W72.5.2.28 1/22/38 Krutch, Joseph Wood, "Musical Cartoon," Nation 146:4 p.107-8; revised & included in his The American Drama Since 1918 NY: Random House, 1939; reprinted NY: George Braziller, 1957: "the success of the whole depends upon... a certain dash in the performance and also a certain hearty partisanship in the spectator... vehemence is continuous,... wit is intermittent." W72.5.2.29 2/38 Isaacs, Edith J.R., "An Industry Without a Product: Broadway in Review," Theatre Arts Monthly 22:2 p.90-100: "neither very wise nor very witty" but "introduces a persuasive new theatre form." W72.5.2.30 2/38 Taylor, Deems, "The Audience Is the Fourth Wall," Stage, p.46-7: "Remarkable how, in an entertainment world drugged with manufactured glamor, they conjure Steel Town out of thin air, set it raw and terrible before your eyes." Issue also includes photos of W72.

W72 The Cradle Will Rock 245 W72.5.2.31 2/38(?) (R67#707) Gold, Mike, "Change the World: A Columnist Goes to Town and Country," [New Masses? Daily Worker?]: "All I can gasp is, hat's off, Comrade, to a masterpiece! Blitzstein has taken the workers' theatre tradition that began with the Russian Blue Blouses, and was further developed by Eisler and Bert Brecht in Germany, and has perfected it to a classic purity and sureness. I predict all the Tin Pan Alley thieves will now be trying to learn from this little classic." [Cf.W75 Sc.5 "Tin Pan Alley... they'd already swiped your tune!"] W72.5.2.32 2/?/38 (R67#710) Osterman, Jack, "Geo. M. Cohan Says Legit Today Needs Either a Stunt or a Lunt," Variety "Once-Overs": "when 'Our Town' was written, Thornton Wilder must have peeked Marc Bliztein's [sic] transom. ...a suggested merger would be 'The Cradle Will Rock Over Our Town.'" W72.5.2.33 2/38 Stage incl. photos of MB "author, orchestra, actor, soundeffects man" and "Labor speaks to capital. The wistful prostitute laughs." W72.5.2.34 2/38 (R20#355) Wyatt, Euphemia Van Rensselaer, "The Drama," Catholic World 146 p.598-9: "The whole operetta is a sardonic diatribe against the steel trust." Sc.5 seen as "most effective bit... a miniature slant on the Mooney case..." [Tom Mooney, labor leader imprisoned unjustly in 1916 for setting a deadly explosion; freed only in 1939.] W72.5.2.35 2/1/38 (R67#708) Liebling, Leonard, "Variations," Musical Courier "even the worst evils are better emphasized by ridicule than through revilement. There is no doub that Blitzstein is a feeling humanist, and intends to make his play a truthful presentment of the misfortunes of the small man, but it misses point because of the mixed treatment he accords his theme. The decidedly clever music offers a combination of radical harmonies, recognizable tunes (from jazz to paraphrasing of Beethoven) all the typical rhythms of the moment, and often excellent strokes of characterization. Blitzstein, a facile pianist, plays his score fluently and convincingly." W72.5.2.36 2/3/38 (R67#708) Skolsky(?), Sidney, Daily Mirror [letter from child?]: "The cast must really enjoy the play, for they have to watch it every night." (letter) W72.5.2.37 2/11/38 (R19#822) Elmer Rice to MB: "a hell of a good show--in fact, the best I have seen in a long time." (report) W72.5.2.38 2/14/38 (R20#706) Silver, Edward, FTP Playreading Dept: "At once satiric and earnest,... thrilling script... easily one of the most powerful pieces of propaganda which has come to the American stage. Federal Theatre can scarcely afford to ignore it."

246 W72 The Cradle Will Rock correspondence W72.5.2.39 2/16/38 (R19#820) Rev. James Harry Price, Rector, Church of St. James the Less, Scarsdale NY: "Last night I saw" W72. "No American play has ever impressed me so much or moved me more deeply." W72.5.2.39a MB to Rev. Price: "It is important, I think, for a clergyman and other professionals in our country to be 'taking stock' - and it is good to know that our play is creating a mood for some serious thinking in the right quarters. Yours faithfully,"(R19#821) W72.5.2.39b 12/2/47 MB to Rev. Price. W72.5.2.39c 12/16/47 (R19#838) Price to MB: "I think there is no doubt that the system is like an octopus, and your skill in satirizing the whole situation is the best thing I have seen in the American theatre.... It is true that Larry [Foreman], in principle, stands for good planning and social organization, but, in principle, so did the press originally. In fact, the press itself still does stand, in principle, for the same values that Larry, in the largest sense, symbolizes. I suppose even Mr. Mister thinks of himself as standing for the good. Certainly the Church, no matter how corrupt its practices, must, in principle, absolutely stand for all the virtues that Larry stands for." article W72.5.2.40 2/18/38 Manngreen, "The Stage Odyssey of 'Cradle,'" Daily Worker, p.7. W72.5.2.41 2/19/38 New Yorker cartoon: "All these people sit on the stage at the Windsor and every onece in a while get up and act." article W72.5.2.42 2/20/38 Watts, Richard, Herald Tribune: "Every time I praise something like 'Pins and Needles' or 'The Cradle Will Rock' I am charged with being an agent of Moscow." W72.5.2.43 2/27/38 NY Times, p.14 photos W72.5.2.44 2/28/38 Life prod. photos; MB "author, composer and interlocutor sits at the piano." W72.5.2.45 2/28/38 (R20#707-8) King, Nettie, FTP Playreading Report, "one of the few exciting experiences in the theatre." articles W72.5.2.46 3/38 Nathan, George Jean, "Theatre," Scribner's 103 p. 70-1: "little more than the kind of thing Cole Porter might have written if, God forbid, he had gone to Columbia instead of Yale."

W72 The Cradle Will Rock 247 W72.5.2.47 3/1/38 Broun, Heywood C., NY World-Telegram, reprinted in his Collected Edition, compiled by H.H. Broun (NY: Harcourt, Brace, 1941) p.4246: "I nominate" W72 "as the best play of the present season. And I like it so much better than anything else that I would not compromise on any second choice." Quoted in : W72.5.2.48 *3/6/38 NY Times ad for Cradle - "Best play of season."-Heywood Broun [3/1/38] W72.5.2.49 3/6/38 (R67#738) "He Was Six Men And Still Prefers To Be Blitzstein: Half a Dozen Accidents Made Actor of Unwilling Author and Composer," Herald Tribune. W72.5.2.50 3/30/38 Lyons, Leonard, NY Post quotes MB to AFofM: "four cornetists, three flute players and three trombonists.... That is the orchestra I want to have not play my opera." Anecdote repeated in Lyons' column 3/27/46(?), Chicago Daily Defender 2/18/60 (R69#288) and Philadelphia Inquirer 1/28/64. Latter clipped by FBI. Declassified 10/2/96. W72.5.2.51 4/38 (R20#359-61) Calverton, F., "Cultural Barometer," Current Events: "the whip of satire and the flail of irony." W72.5.2.52 4/38 McCarthy, Mary, Partisan Review, reprinted in Mary McCarthy's Theatre Chronicles 1937-1962, NY: Noonday Press, 1963, p.23-4: "The prominence of the author in the production--he is actor, commentator, and pianist--gives focus to the sadistic impulses of the script. Mr. Blitzstein's acrid personality is, in fact, the whole show." Its "abstract and heartless nature will, I think, set up an instinctive resistance in any normal American spectator." W72.5.2.53 4?/38 (R67#734-6) "With Wings on Its Feet: The fantastic, fabulous saga of The Mercury Theatre--one of the most spectacular repertory groups ever to burst on the Broadway scene," +photo of MB w/Howard da Silva and Olive Stanton. W72 "the theatre at its angriest and best; at that high moment when a great art becomes a living crusade.... The legend of Marc Blitzstein's saga of Steeltown, one of the great yarns of the contemporary theatre, deserves a book of its own." W72.5.2.54 *4/4/38 Ross, George, "Broadway: 'Season's Best,'" Pittsburgh Press: W72 one of 8 being considered for Drama Critics' Circle Award: "dynamic operetta... which rings the welkin for the proletariat so resoundingly..." W72.5.2.55 4/6/38 Benchley, Robert, "What of the Season?" New Yorker 14:9, p.26-7. W72.5.2.56 5/9/38 "The Theatre," Time 31:19 p.34: "Welles & Houseman borrowed a theatre, and... inaugurated a new type of entertainment with an impromptu performance in the aisles."

248 W72 The Cradle Will Rock W72.5.2.57 10/38 (R67#799-802) Kolodin, Irving, "Concert Hall into Theatre," Theatre Arts Monthly 22:10 p.727-32: "with all the success... less than a thorough realization of the composer's intentions..." MB "equally gifted as composer, scenarist, librettist and interlocutor... The shrewd scheme of the libretto, the stinging fury of some of the prose... were all singular qualities for a composer, particularly one of American background. But... the thinness of some of the invention, the inconclusiveness of some of the dramatic development, the banality of certain musical sections" esp. Sc.5#2 "would have been a good deal more evident had the original, elaborate plan of production been followed. The inadvertent bareness forced on the play... was a stroke of good fortune that... disarmed the critic from the outset.... Recognizing the deficiencies of Blitzstein's score and the needless ugliness of some of the writing (in those moments when he recalled that he was, after all, a 'modern' composer), it is also possible to admire wholeheartedly the prevailing vigor of the music and, above all, the surprising gift for characterization…[and] the conscious treatment of the text in terms of clarity and intelligibility...." W72.5.2.58 12/11/38 (R20#709) Klein, H., FTP Playreading Report: "needs no further recommendation. Its importance in the theatre has already been demonstrated." W72.5.2.59 (G13) (R68#7-10) 6/39 Barr, Philip, "Opera in the Vernacular," Magazine of Art (American Federation of Arts) 32:6, p.356-7, 382: W72 "is the American opera that many of us have waited for." "There is a touch of Stravinsky in 'Joe Worker' (not the colorful Sacre but the austerely tragic Oedipus), and when Larry Foreman meets Mr. Mister. Critics have pointed out similarities to Kurt Weill. These things are irrelevant beside the fact of Blitzstein's essential originality--the form, the continuity or whatever is the secret of his unique dramatic power. A few measures from 'Frankie and Johnny' inserted in the Nickel song sound so different in their surroundings as to become his own by inalienable right." +photo of da Silva et al in Sc.7. See also W65. W75.4.2. W72.5.2.59a 7/40 (G14)Current Biography 1:7 p.8-9 W72 "has been called 'the American opera that many of us have waited for.' ...His great interest these days is in operas such as" W72. But don't call them operettas where he can hear you. He hates the term. 'To me it conjures up a world of Viennese waltzes and Yum-Yums from the Mikado.'" W72.5.2.60 1940 Brecht, Bertolt, on W72: a modified and modernized "Volksstück" -- in Brecht on Theatre, p. 153-7, John Willett ed. & tr., 1964 [Dietz(P2c)p.347]. W72.5.2.61 1940 Flanagan, Hallie, Arena NY: Duell, Sloane and Pearce, p.201f.: "It took no wizardry to see that this was not a play set to music, but a music-plus-play equaling something new and better than either. This was in its percussive as well as its verbal beat Steeltown U.S.A.--America 1937.... The theatre, when it's good, is always dangerous."

W72 The Cradle Will Rock 249 W72.5.2.62 1940 Levant, Oscar, A Smattering of Ignorance (NY: Doubleday): "forced and artificial pseudo-virility." [MtM p. 189] W72.5.2.63 11/40 Siegmeister, Elie, "Music, "Direction 3:3, p. 10. W72.5.2.63a 2/41 Ibid. Direction 4:2, p.16 [Review of W78]: "In the hey-day of the New Deal, when so many artists who have now again become 'nightingales' posed as 'members of the human race,'" MB "got a foretaste of the official 'liberalism' that encourags all 'new' forms of art, as long as they don't say anything. It took courage to write Cradle Will Rock..." W72.5.2.64 11-12/40 Moore, Douglas, "Our Lyric Theatre," MM 18:1 p.6: "what a delightful evening it turned out to be and how clearly it showed that drama and music can still unite to entertain audiences today." G18 1/12/41 Thomson, Virgil, "Blitzstein's Operas," NY Herald Tribune VI:6; reprinted in 1945 Thomson, Virgil, The Musical Scene, NY: Knopf p. 169-72: "The musical value of the Blitzstein scores I place quite high. I place that of" W72 "higher than that of" W78. See W78.3.10 1/6/41. W72.5.2.65 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World: W72 '"was a culmination of the concert and dramatic streams in which I had been working.' ...it was a piece of American theater no one who witnessed it will ever forget." (letter) W72.5.2.66 11/11/42 MB to family: "I saw Alan Bush the composer [in London]. He has done a lot of good things, both musically and socially. I had met him in New York, where he was an ardent 'Cradle' fan." (interview) W72.5.2.66a 10/71 Alan Bush tells LJL, in Leningrad: Sc.7#1 is "the finest blues ever written." Quoted in MtM p.229 W72.5.2.67 1963 Canon, Cornelius B., "The Federal Music Project of the Works Progress Administration," Univ. of Minnesota diss. Ann Arbor: Univ. Microfilms LC #63-7915 books W72.5.2.68 1963 Himelstein, Morgan Y., Drama Was a Weapon (New Brunswick, NJ: Rutgers Univ. Press) p.75-84 tells story of opening night; recommended by MB in ltrs to researchers. See also W77.1. W72.5.2.69 1978 Bordman, Gerald, American Musical Theatre: A Chronicle, NY: Oxford Univ. Press p.508 "a hate-warped tract... [with] songs... skillfully wrought, but as strident and cantankerous as the plot. The show drew few of the regular musical theatregoers."

250 W72 The Cradle Will Rock W72.6 1938 Random House publ. libretto, incl. essays by (a)Orson Welles & (b) Archibald MacLeish +sheet music for 6 songs: Sc.4#l&4; Sc.5#2; Sc.7#1&3; Sc.9#2. (Also publ. 1938 in The One-Act Play Today, ed. William Kozlenko NY: Harcourt, Brace & Co., and in 1939 The Best Short Plays of the Social Theatre, ed. William Kozlenko NY: Random House, p.119-172. Also publ. in The Best Plays of 1937-1938, ed. Burns Mantle.) W72.6a Welles: "I have produced it in different theatres here in the metropolitan district, and out in the steel towns, with different casts and in different ways. I have produced it with and without benefit of orchestra, on illuminated glass wagons, and even in the audience, with and without the audience. I have produced it entirely without two separate and distinct scenic designers and with and without permission of four theatrical managements, including our own United States Government.... The work is apparently indestructible.... The arts of Music and the Play have had efficient business relationships in the past, an occasional partnership and a few happy marriages. Here, finally, is their first off-spring. It is a love-child, and besides being legitimate, it looks like both its parents, and it is called a 'music drama.'" W72.6b 1/38 MacLeish, Archibald, "Behind the Fourth Wall," Stage 15 p.689; included as Foreword to Random House book edition of libretto, 1938: "The Cradle Will Rock is direct enough, candid enough, and sharp enough to reduce any audience ever collected to its human components.... The actors are at all times actors.... The play is at all times a play. And the effect upon the observer is the human and humanly becoming effect of the work of art upon the man who faces it." W72.6.1 5/6/40 book review in Soviet publication (in Russian) R68#15 [tr. Emily R. Lehrman]: "Letters from Abroad: Notes on Cultural Live in the U.S.A: Marc Blitzstein's play 'The Cradle Will Topple Over' (The Craddle [sic] Will Rock' by Marck [sic] Blitzstein. Random House, New York, 1938) was produced by the famous American director Orson Welles at New York's Mercury Theater and had great success with the workers' audience of the U.S.A. This is an opereta or, more accurately, a musical revue (with music by the author) on a very sharp political theme for America, the unmasking of the bourgeois 'defenders of democracy,' the merchants of science, art, religion, and the press, in short, all those who, from force of habit, still call themselves 'the guardians of the cradle of liberty.' The plot of the play is uncomplicated: in a certain American industrial city (in the play it is Steeltown, the city of steel), are occurring 'disturbances'--meetings and demonstrations, organized by the union of the workers of the steel industry. In order to 'clear the air,' there appears the so-called 'liberty committee,' consisting of all the aforementioned 'guardians': the rector of the university, a professor of physical culture, a fashionable doctor, a priest, and the editor of the local newspaper. But a misunderstanding occurs: through a policeman's error all the members of the 'liberty committee' are arrested as participants..." The review breaks off here; whoever clipped it obviously couldn't read it, and thought the remainder of print on the page was the rest of the article, but it is another article entirely.

W72 The Cradle Will Rock 251 W72.7 4/1938 recording: Musicraft #18, 7 12" 78 RPM disks; first full-length Broadway show ever recorded, though with some cuts (incl. Sc. 8) and narration by MB. Rereleased on American Legacy Records LP T1001, 12/64 prod. by Thomas H. Stern & Miles Kreuger. W72.7a 1938? MB recorded his own singing & playing of Sc.7#1; mislabeled W85 at WSHS; first played in public: P62.3b&c 3/05. recording reviews (of W72.7) W72.7.1 4/9/38 Manngreen, "A Condensed Version of 'The Cradle' Will Be Released in Seven Records," Daily Worker, p.7. W72.7.1a 6/16/38 Ibid., "The Cradle Is Rocking On the Harvard Campus," Daily Worker p.7. W72.7.2 5/?/38 Hepner, Arthur Wallace, "The Record Review:" (R20#381): "a new art form... elevates the American scene into the arts while making no attempt to hide the tragic and ugly elements in our life or to escape from reality behind a screen of comforting tunes and trite lyrics..... If you are susceptible to melody even when it is unconventional, you will find yourself haunted by Mr. Blitzstein's tunes and impelled to hum them. And some of the lyrics would arouse the envy of W.S. Gilbert." W72.7.3 5/38 The New Records: (R67#803): "If The Cradle Will Rock is an American opera, then Union Square is the cradle of American liberty--yes, we know some folks think it is, but we hardly call them Americans." W72.7.4 5/3/38 (R67#744) Smith, Moses, "Recent Phonograph Records: Musicraft Issues an Original American Work: Marc Blitzstein's 'Cradle Will Rock," Boston Evening Transcript: "The music is scarcely of one piece. Quite properly. For the play is not of one piece, just as American life is not." W72.7.4a 7/13/38 Ibid., "'The Cradle' Rocks on Records," New Republic 95 p.280: "brilliantly effective... music of a variety, richness and vitality rare in the contemporary theatre. It is music of here and now. Only an American could have written" Sc.6--"a masterpiece of concise statement and contrast. Of the twentieth century is" Sc.7#3, "the refrain changing key before it is fairly under way." And cf. "the subtle darkening of color before the mention of 'mortgage' by the druggist's son" in Sc.5: "At tenth hearing it sends a shiver down the spine." W72.7.5 5/23/38 McCall, Martin, "Marc Blitzstein's Musical Play Recorded With Words and Music," Daily Worker p.7. W72.7.6 5/24/38 Gregg, Roy, "The Phonograph Rocks the Cradle," New Masses 27:9 p.29-31.

252 W72 The Cradle Will Rock W72.7.7 6/3/38 Dana, Henry W.L., "Five Years of Labor Theatre," Daily Worker, p.7. W72.7.8 8/38 Gilbert, Richard, "Music and Records," Scribners: "the first really vital American opera... I am proud to have played a small part in encouraging the phonographic production..." See W75.2.1. W72.7.9 ?/?/38 (R67#805) "the most controversial gramophonic release of the year and for many... one of the most significant." (correspondence re) article (based on hearing recording) W72.7.10 8/15/63 John O. Hunter to MB: "Assistant Professor of Social Science at the Niagara County (sub-division of State University) and a graduate fellow at State University of Buffalo, currently doing research on your life and works of art. At present, I am particularly interested in your opera, 'The Cradle Will Rock,' as a social document of the 1930's.... I have not been able to find a definitive biography...." W72.7.10a 10/29/63 (R20#245-6) Hunter sends paper to MB; MB's notes indicate a reply incl. Edmunds, Yellin, Himelstein, WSHS, and material at his own "NY apt (invite him)". W72.7.10b Fall 1963 MB to John Orr Hunter on his work in progress:"The Cradle Will Rock as a Document of America": John Tasker Howard "knows next to nothing of what modern composition is about." Virgil Thomson's "motives are always suspect whether he is lauding or damning." W72.7.10c 1/2/64 (R20#243-4) Hunter to MB: "I feel great energy in 'The Cradle.'... I first heard 'The Cradle' in 1959 as an undergraduate. The 'Nickel Song' stopped me dead, as it does even now...." W72.7.10d Summer 1966 Hunter, John O., "Marc Blitzstein's 'The Cradle Will Rock' as a Document of America, 1937," American Quarterly 18:2, p.227-33.

W72 The Cradle Will Rock 253 W72.8 Flatbush Art Theater Players prod. 6/7/38-5/17/40 12+perfs incl. 3 perfs 12/39. Lou Cooper, dir. & pianist [+Clerk, Reporter, sometimes Prof. Scoot] with varying casts, incl. Moll: Lorna Sharron; Gent/Gus: Emile Renan; Dick/Bugs: Neal Saunders; Cop: Sidney Strober; Rev. Salvation/Yasha: Chet Wayne; Editor Daily: Nat Nowak; Yasha: Stephen Roberts; Rev. Salvation/]Dauber: Arthur Zipser; Pres. Prexy: Jean Goldberg; Prof. Mamie/Dr. Specialist: Howard Safar; Prof. Trixie/Jr. Mister: Buddy Yarus (later aka George Tyne); Sister Mister/Ella Hammer: Betty Garrett; Mr. Mister: Manny Green; Mrs. Mister: Peggy Craven; Gus: Sydney Weiss; Harry Druggist: Bill Jenkins/Rolf Kaltenborn; Steve: Jerry Alcarese; Sadie: Ruth Fremont; Larry Foreman: Robert Sharron (R17#387; R68#16). (revived 10/40 as W72.26). W72.7a 4/1940 Gent/Gus: Emile Renan; Harry Druggist: Frank Maxwell; Mrs. Mister: Jane Hoffman; Mr. Mister: Manny Green[berg]; musical curtain raiser by Lou Cooper: "The Yanks Are Not Coming". reviews, reports W72.8.1 6/15/38 "The 'Cradle' In Brooklyn," Daily Worker p.7. W72.8.2 11/10/38 "'The Cradle Will Rock'--Tonight in Brooklyn," Daily Worker p.7. W72.8.3 12/3/38 "'The Cradle At the New School," Daily Worker p.7. W72.8.4 12/4/38 '"Cradle Will Rock' and 'Rehearsal' Shown Tonight," Sunday Worker p.12. W72.8.5 12/14/38 Karr, David H., "The Group of Youngsters Known as the Flatbush Players Represent a Cross Section of Modern American Life," Daily Worker p.7. W72.8.6 4/23/40 H.C.A., "The Cradle,' Timely Revival of Blitzstein's Show at the New School," New Masses 35:5 p.31. W72.9 7/12/38 & 7/25/38 Camp Unity exc. perfs (4 scenes).

254 W72 The Cradle Will Rock W72.10 New Theatre League productions: report W72.10.1 *7/19/38 Cohen, Harold W., "The Drama Desk: East and West" Pittsburgh Post-Gazette: "The New Theater League will present" Cradle "simultaneously in 10 key cities next season": incl.: W72.10a Chicago (W72.13); W72.10b Phila (weekends)(W72.14); W72.10c Detroit (W72.16). W72.11 8/27/38 Young Communist League, Far Rockaway exc.perf (1 scene). W72.12 10/9/38 & 10/31/38 East Bay Theatre Union, California perfs. preview article W72.12.1 3/13/38 "'Cradle' to Rock on West Coast," Sunday Worker p.13. memoir W72.12.2 1981 Green, Archie, "Graphics No. 59: Vernacular Music Albums," John Edwards Memorial Foundation Quarterly 17:64 p.201-3 compares esthetics of MB and Charles Seeger: recalls 1938 Berkeley production. MB "experimented with the blurring of plain talk/heightened speech/regular singing; he deliberately ran dialogue and music together, often without formal opening or closing... vernacularized diction in speech and song, without turning particularly to a discrete vernacular form, workers's folk music." W72.13 10/25-38-4/22/39 Chicago Repertory Group prod. 24perfs; "first Midwest showing" (R17#421, R68#4) Charles DeSheim, dir. (& Larry Foreman); Gerhart Schild, mus.dir.; sets & lights: Milton Starr; costumes: John Pratt; Pianist: Raymond Ericson. Moll: Lucille Colbert; Gent: Dominic Albano; Cop: Kenneth Reed; Dick: Irving Alberts; Rev. Salvation: Seymour Keating; Editor Daily: Louis (later "Studs") Terkel; Yasha: Wayne Davis; Dauber: Edward Allen; Pres. Prexy: Eddie Goldberg; Prof. Trixie: Maurie Miller; Prof. Mamie: Max Wiss; Dr. Specialist: Bernard Kadison; Harry Druggist: Louis Gilbert; Mr. Mister: David DeKoven; Mr. Mister: Toni Kray; Jr. Mister: Gilbert Gordon; Sister Mister: Ruth Taron; Steve/Prof. Scoot: John C. Klemek; Bugs/Reporter: Robert Schneider; Sadie Polock: Anne Halperin; Gus Polock: Syde Waller; Ella Hammer: Julie Virden; Clerk: Milton Burns; Reporter: Charles Bruce; 7 also double as chorus.

W72 The Cradle Will Rock 255 W72.14 11/18/38-8/11/39 New Theatre of Philadelphia prod., Philadelphia Music Center, 19perfs. Frieda Nurenberg, dir.; Paul Erfer, mus. dir.; Cast: Mira Gilbert (Moll), Samuel Belsham, Al Nader, Richard Di Cov, Ted Klugman, Henry Clayton, Louis Cordano, Herbert Jones, Max Ochroch, John Geoghegian, Harry Goldberg, Adolph Farber, Evelyn Bitters, Helene Creed, Edward Felbin, Zoya, Ben Low, Lynn Maurel. preview article W72.14.1 8/7/38 "New Theater of Philadelphia To Rock the 'Cradle,'" Sunday Worker p.13. reviews R67#812 W72.14.2 11/19/38 A.W.H., "Blitzstein Premiere," Philadelphia Evening Bulletin: "capacity audience... provocative entertainment and... a valid excuse for giving the Philadelphia-born author a well-deserved ovation." W72.14.3 11/19/38 G.G., "The New Play: 'The Cradle Will Rock': Marc Blitzstein's Pro-Labor Musical Makes Local Debut," Philadelphia Evening Ledger. "Song-and-dance drama" "militant labor operetta" "a novelty worth the attention of any one with a genuine interest in the theatre." W72.15 11/30/38-4/15/40 New Theatre League 7 perfs (NYC). W72.16 12/19/38-4/22/39 Contemporary Theatre Players, Detroit, prod. Ella: Minna Gottesman. preview article W72.16.1 12/3/38 "The Cradle Will Rock," United Automobile Worker (Detroit). W72.17 4/19-5/10/39(?) Cafe Theater of Allens Lane Art Center prod. dir. (& Moll): Kate Shaffmaster; Accompanists: Dean Kramer, Howard Levitsky (R17#426-9). W72.18 5/3/39 Associated Students of California prod., 4perfs. W72.19 5/27/39 Boston prem. prod. [minus Sc.8], Sanders Theater, Harvard; repeated 6/20/39. Faculty sponsors incl. David Prall, Archibald MacLeish. Moll: Shirley "Mann" (Bernstein); Clerk, Reporter, Pianist: LB (from memory); Gent/Jr. Mister: Myron Simons; Dick/Mr. Mister: William Whitcraft; Cop: Rendigs Fels; Rev. Salvation/Steve: Kendall Smith; Editor Daily/Dauber: Rupert Pole; Dr. Specialist: Alfred Eisner; Yasha & dir.: Arthur Szathmary; Pres. Prexy: Robert Rothschild; Prof. Scoot: Jonas Muller; Harry Druggist: John Wahlke; Mrs. Mister: Lilian Wolfson; Sister Mister: Frances Morrison; Bugs: Robert Seidman; Gus Polock: Roger Henselman; Sadie Polock: Sarah Kruskell; Larry Foreman: Donald Davidson; Ella Hammer: Lynn Gordon. LB's sister, 17, and still in high school, was underage, but played the prostitute anyway, taking a pseudonym derived from the "Mann" Act that prohibited interstate trafficking in women. (Budget: $35) reviews W72.19.1 ? Harvard Crimson.

256 W72 The Cradle Will Rock W72.19.2 5/28-29/39 Smith, Moses, "Music: The Cradle Will Rock: Amateurs of Harvard Student Union in First Showing Here of Exciting Drama," Boston Evening Transcript: In NY, "the separation between the audience and the players was spectacularly annihilated. Something of the sort happened" at Harvard too. "...the tempos of several scenes were hurried... (...in some places the better, slower tempo would have been difficult for inexpert player[s] to manage.)" LB "played the entire score from memory." W72.19.3 5/29/39 Norton, Elliot, "Brilliant Showing of Mr. Mister," Boston Post: MB "an unpleasant propagandist but an artist of unquestionable gifts, astride his good white charger, 'Proletariat.' ...given with fire, ardor, intelligence and altogether too much conviction for comfort... the Harvard proletariat liked it immensely." W72.19.4 correspondence (LC) W72.19.4a 6/2/39 MB to LB: "extraordinary performance... you and Shirley and Donald and the rest... it all packed a thrilling wallop for me - second only to the original NY opening." W72.19.4b 6/20/39 MB to LB: "You promised me a record of Shirley singing the 'Nickel'. I meant it, you know - and I'll pay for it. Please!" W72.20 6/12-29/39 Contemporary Stage Washington DC prod. W72.21 7/27/39 Washington Bookshop Assn perf. W72.22 8/31/39 Green Mansions perf. W72.23 10/28/39 San Francisco Theatre Union prod., 2perfs. W72.24 7/10/40 New Orleans Group Theatre perf. W72.25 10/2/40 San Antonio College perf. W72.26 10/26/40 American Youth Theatre perf, Pauline Edwards Theatre, City College cast incl. Betty Garrett, Emile Renan (descended from W72.8). preview article W72.26.1 10/21/40 "Flatbush Arts Theatre Opens Its Third Season With 'Cradle Will Rock,'" Daily Worker p.7.

W72 The Cradle Will Rock 257 W72.27 11/29&30/40 City College Dramatic Society prod., Pauline Edwards Theatre, City College: "first New York production with scenery" "fifty-third consecutive varsity show" Donald Murray, dir.; Arthur Kent, piano; Jerry Rosenberg, prod. Moll: Edythe Young; Gent: William Miles; Dick: Irving Bassow; Cop: Edwin Haas; Rev. Salvation: Raymond Giraud; Editor Daily/Asst. Prod.: Leonard Scherer; Yasha: Bob Matheo; Dauber: Joel Friedman; Pres. Prexy: Franklin Meyer; Prof. Trixie: Henry Brodsky; Dr. Specialist: Irving Plotkin; Harry Druggist: Morton Schwartz; Mr. Mister: Howard Seligman; Mrs. Mister: Ruth Laub; Jr. Mister: Boris Pritcher; Sister Mister: June Winter: Steve: Reuben Fisher; Bugs: Theodore Beniades; Sadie Polack: Rita Jacobs; Gus Polack: Mitch Lindemann; Larry Foreman: Mike Marcus; Prof. Scoot: Floyd Brenner; Ella Hammer: Irene Algase; Clerk, Reporter: Eli Sorkowitz; Maid, Nurse: Betty Nelson. preview article W72.27.1 11/29/40 (R67#757) Bassow, Irving, Daily Worker "City College Presents 'Cradle Will Rock' Tonight" quotes MB: W72 "is an allegory about people I hate. My new play," W78, "is about people I love." +photo of MB conducting "That's Thunder, That's Lightning." Quoted in P22a. review W72.27.2 12/4/40 "Time Sharpens 'Cradle Will Rock' Message," p.7. W72.28 12/28/40 New Theatre of Trenton perf. W72.29 3/7/41 Philadelphia Academy of Music, 5-scene version perf (Sc.2,5,3,7[#1-3]), orch. cond. by Joseph Levine, New Theatre Acting Company, benefit for Committee for People's Rights; also on program: Leo Weiner's Serenade, Paul Robeson in "Ballad for Americans" and other songs. preview articles W72.29.1 2/16/41 (R20#371-2) Bronson, Arthur, "Blitzstein to Rock the Cradle Again: Composer Here [Philadelphia] to Present His Opera as Concert Suite": "Opera, in the old sense, is dead, Blitzstein says.... 'I'm trying to make the music stage so flexible... that opera will be reborn.'"+photo of MB. W72.29.2 2/24/41 (R20#373) "Robeson to Sing at Benefit Here," Philadelphia Evening Ledger, incl. photo of MB: "A special suite has been arranged for the occasion by Blitzstein." reviews (R20#365) W72.29.3 3/8/41 Martin, Linton, "Robeson in Recital," Philadelphia Inquirer: "The musical score is remarkably flexible, ranging through intentional dissonance, sentimental melody, and lively dance tunes." W72.29.4 3/8/41 Wm.E.S., "Benefit Concert Features Robeson," Philadelphia Evening Ledger : "a five-part 'suite' from the materially and formally interesting and provocative 'opera,' W72. W72.30 3/11/41 Contract with Charles Robbins for Sc.7#1 exc. perf.

258 W72 The Cradle Will Rock W72.31 4/18/41 exc. perf after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm, sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond. MB at pno; perf'd: Sc.3, Sc.4#3&4, Sc. 7#1; also perf'd: W65; 75 Sc.3; 76#1; 78 I:6#3 & II:1#3; 79 #2; 80. W72.32 5/28/42 Dick [Richard Franko Goldman] to MB sent band instrumentation; (R4#17,19) MB considered making band suite of W72: Sc.1#1; Sc.2; Sc.7#1; Sc.5; Sc.6; Sc.10#2. (R4#18) general article G21 1-2/43 Krenek, Ernst, "Opera Between the Wars," MM 20:2 p.108, incl. photo of W72 set design. W72.33 9/11/44 exc. perf. MB performs exc. at Anglo-American Concert, Royal Pump Room, Leamington Spa +W78(exc.) on prog wi/string quartets of Britten & Tippett (R17#183-4). general article - on W72: G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p. 170-6 "in the rare cases where he requires tone-qualities evoking a special atmosphere, Blitzstein shows no lack of orchestral invention and considerable resourcefulness in handling a few instruments. Striking examples are the use of accordion and strings to give orchestarl expression ot the hypocritical piety of the Reverend Salvation... the whining guitar chords in" Sc.4#1. See also W85. W72.34 excerpt performance 11/19/47 "Let Freedom Sing: Songs Down Freedom Road," Joint Anti-Fascist Refugee Committee concert , Concourse Plaza Hotel, Muriel Smith (Sc.9#2) +MB in W78exc. with Howard Fast, Norman Atkins, Jefferson Chorus. W72.34.1 12/17/47 Daily Worker announcement, clipped by FBI 1/7/48. W72.35 11/24&25/47 [reduced] orch. (concert) prem. NY City Symphony, LB, cond. (& Clerk) honoring 25th anniversary of Lg of Composers. Casting Dir.: Shirley Bernstein. Moll: Estelle Loring; Gent: Edward Bryce; Dick: Robert Penn; Cop: Taggard Casey; Rev. Salvation: Robert Chisholm; Editor Daily: Brooks Dunbar; Yasha: Jack Albertson; Dauber: Chandler Cowles; Pres. Prexy: Howard Blaine; Prof. Trixie: Remo Lota; Prof. Mamie: Edmund Hewitt; Dr. Specialist: Robert Pierson; Harry Druggist: David Thomas; Mr. Mister: Will Geer; Mrs. Mister: Shirley Booth; Sister Mister: Jo Hurt; Sadie Polock: Marie Leidal; Gus Polock: Walter Scheff; Larry Foreman: Howard da Silva; Ella Hammer: Muriel Smith; Attendant's Voice: Hazel Shermet; Reporters: Rex Coston, Gil Houston; Chorus (11) Master: Morris [later Maurice] Levine. W72.35.1 Shanet, Howard, "Program Notes" quotes Thomson, Atkinson, MacLeish, Gassner, Cooke, Winchell: "By some alchemy of the theater," W72 "Transmutes its mass of prosaic--often sordid--detail into a work of heroic ardor."

W72 The Cradle Will Rock 259 preview articles: W72.35.2 11/2/47 Bernstein, Leonard, "The Negro in Music," NY Times +photo of da Silva, LB, and Muriel Smith. A61 11/23/47 Blitzstein, Marc, Herald Tribune [on Cradle revival]. A62 11/23/47 Blitzstein, Marc, "Opera's History: Blitzstein Recalls Career of a Work Now In Its Fourth Production," NY Times "Alone on Stage" "Is It New Form?" on previous ban "for reasons involving Outspoken Art and Skittish and Timorous Life." LB at Harvard did "my part much better than I had ever done." "It is a grim and rather bitter thing to reflect that, doing a 'period piece,' you discover you are still in the middle of the period." +photos of Muriel Smith, Robert Chilsolm & MB; Leslie Litomy, Jo Hurt & Howard da Silva. reviews W72.35.3 11/25/47 Ball, John, Brooklyn Eagle: "...put this opus on the boards..." i.e. with scenery. W72.35.4 11/25/47 Biancolli, Louis, "Operatic Polemics at City Center," NY World-Telegram and Sun "Banned by Federal Theater." "Briskly Effective." W72.35.5 11/25/47 Briggs, John, "Music: 'The Cradle Will Rock' Revived at City Center," NY Post: "gauche and inept... political essay set to music... [yet] on its own terms... it is a striking and successful work." W72.35.6 * 11/25/47 Downes, Olin, "Blitzstein Work Proves Success: 'Cradle Will Rock,' Presented at City Center by Bernstein, Is Laden With Pathos," NY Times p.38: "...electrifying performance... with masterly stagecraft, with astonishing gifted singing actors...It catches fire, it blazes, it amuses, moves and grips the listener until with the really masterly, if unconventional structure of the finale - screaming trumpets in the orchestra, the drum beats, the sounds of fifes and voices chorusing from far and near - the listener wants to beat his palms and shout as the curtain fall.... The house was packed and the audience went wild.... 'The Cradle Will Rock,' so presented, has qualities of genius." Reprinted 1/25/48 in NY Times. W72.35.6.1 MB wrote Downes, who sent him a friendly letter in reply: W72.35.6.2 12/2/47 (R19#836). W72.35.7 11/25/47 Kastendieck, Miles, "Play-in-Music at City Center," Journal-American: "Ideas and Technique" "...probably the real thing in American opera taking its first steps." W72.35.8 11/25/47 Kolodin, Irving, "The Music Makers: Bernstein Revives 'The Cradle Will Rock.'" NY Sun "...remains a strongly original piece of theater music, for which Broadway has no equivalent now." W72.35.9 11/25/47 Thomson, Virgil, "Music," Herald Tribune: "Lively Revival" "...ten years after its first New York success, one of the most charming creations of the American musical theater."

260 W72 The Cradle Will Rock W72.35.10 11/25/47 Watt, Douglas, "Cradle' Rocks Again and Audience Rocks With It at the Center," NY Daily News: "this feeling of tremendous exhuberance[sic] running through a tale of cynicism, depravity and hopelessly sentimentalized observations... gives Blitzstein's work its triumphant pull.... As a message," W72 "may insult your intelligence; but crude as its libretto may be, its fervor is great and its heart strong and you'll have one devil of a time getting a seat..." W72.35.11 11/26/47 Bronson, Arthur, "'Cradle' Scores Again As Done by Bernstein And N.Y. City Symph," Variety : "This work has wit, story, music and guts." letter W72.35.12 11/26/47 Mordecai Bauman(?), Hazeltine Electronics Corp., to MB: "I still like the piano best for certain parts - 'Closed Shop,' for instance [Sc. 7 melodrama], and all of Scene 3 -- it seems to me to make the music more stark, and terrifying, though I grant the devastating satirical effect of the accordion in the latter. BUT NOW! --- I am completely sold on 'The Freedom of the Press' in its present dress and, above all, on that wonderful bit in Scene 2 which leads up to 'Gee, but they make a lotta noise.'[reuse of W32#6] That was always a favorite bit of mine, but on the orchestra [sic] it has an almost unearthly quality; I did not know such sounds existed. Something you've worked in on the accordion, I think. (And I must not forget the rapid, almost inaudible scale passage on the piano in the end part of Sc.4#2 "). ... please restore Scene 3 (I think it[']s awful mean of Larry Foreman to fire the old 'disorderly house'...." (See also W75.2.2 7/18/38.) review W72.35.13 11/26/47 Hague, Robert A., '"The Cradle Will Rock' Returns After 10 Years," PM "remains an effective propaganda piece..." letter W72.35.14 11/26/47 Elie Siegmeister to MB: "Dear Marc: You vanished so quickly last night I didn't have a chance to tell you how much I really enjoyed the whole evening. I had come expecting to find parts of your show dated -- grown corny,perhaps,by the 10 years' interval. Not only was I completely 'disappointed', but I found the 'Cradle' fresher, more stirring than ever. The orchestral version was fascinating -- and incidentally your treatment of the chamber type orchestration was tops -- I hope you'll do some more of it in your new show. I also thgouth the Cradle benefited immensely from having real singing voices, instead of the sprechstimme of the old days. Where did you get that marvelous cast? I still want to see you one of these days -- don't you ever eat lunch or anything? Let's hear from you. Keep up the good work. As ever, Elie" reviews

W72 The Cradle Will Rock 261 reviews W72.35.15 11/27/47 Sylvester, Robert, "Six B'way Showmen Fight to Rock the 'Cradle' for Cash," NY Daily News: "The 'Cradle' just refuses to stop rocking." W72.35.16 11/30/47 (R68#170) Gottlieb, Bill, "Swing Sessions: N.Y. Revival Of 'Cradle' Has Plenty Bounce": "Even though it's in a 'long-hair' vein and even though I'm inviting investigation by the House Un-American Activities Committee, I want to go out of my way to cheer the recent revival.. of Marc Blitzstein's very leftish musical drama," W72. "...ideology aside, whatever it is that he means to say he says it with a tingling verve that's seldom been equaled in the drama-music medium." letter W72.35.17 11/30/47 (R19#834-5) Clara C. (Mrs. W.R.) Heaney to LB, copy to MB: W72 "with its satire and burlesque of a man of God and its somewhat contemptuous presentation of the truths of the Christian faith could not help but be offensive to people of that faith." reviews W72.35.18 12/6/47 "Musical Events: The Cradle Again," New Yorker: "words and music haven't lost the impact they had a decade ago." W72.35.19 12/8/47 "The Cradle Still Rocks," Newsweek 30 p.78, incl. photo of Leslie Litomy, Jo Hurt, Howard da Silva: "Musical Significance:" "...it had to stand or fall as a theatrical-musical entity. It stood." W72.35.20 12/22/47 Smith, Cecil, "When the Wind Blows," New Republic 117 p.35-6: "crude in style and shallow in psychological insight..." book W72.35.20a 1950 Ibid., Musical Comedy in America, NY: Theatre Arts, p. 295: In W72 "and its subsequent companion piece," W78, MB (who wrote music, book, and lyrics) created another of those in-between pieces, which, like Porgy and Bess, defies pigeonholing. The materials--songs, ensembles, and dialogue-were essentially those of any light-hearted musical comedy. But the composer's treatment of them was wholly serious, employing advanced degrees of dissonance and instrumentation to give them a sardonic edge. These two works moved one step farther in the direction of a conciliation betweewn Broadway and the soberer reaches of the lyric theatre." See also W40. reviews W72.35.21 12/25/47 R.S., Musical America : "one of the best if not the best of the musical dramas produced in the United States thus far... In a time when popular sentiment is swinging to the right, the voices of the left should also be clearly heard; that is what makes a healthy democracy." W72.35.22 12/26/47 Bronson, Arthur, "'Cradle' Scores Again as Done By Bernstein and N.Y. City Symph," Variety.

262 W72 The Cradle Will Rock W72.36 12/26/47 Mansfield Theatre staged orchestral prem. (but without sets) 21 perfs. Moll: Estelle Loring; Gent/Bugs: Edward S. Bryce; Dick: Jesse White; Cop: Taggart Casey; Rev. Salvation: Harold Patrick; Editor Daily: Brooks Dunbar; Yasha: Jack Albertson; Dauber: Chandler Cowles; Pres. Prexy: Howard Blaine; Prof. Trixie: Leslie Litomy; Prof. Mamie: Edmund Hewitt; Prof. Scoot: Ray Fry; Dr. Specialist: Robert Pierson; Harry Druggist: David Thomas; Mr. Mister: Will Geer; Mrs. Mister: Vivian Vance; Jr. Mister: Dennis King, Jr.; Sister Mister: Jo Hurt; Steve: Stephen West Downer; Sadie Polock: Marie Leidal; Gus Polock: Walter Scheff; Larry Foreman: Alfred Drake; Ella Hammer: Muriel Smith; Attendant's Voice: Hazel Shermet; Reporters: Rex Coston, Gil Houston; Chorus (4). Cond. & Clerk: LB 12/26-28; beginning 12/29: Howard Shanet. (Hugo Weisgall not hired, perhaps for heterophobic reasons? Having been given a run-around between MB & LB, he remarked that he didn't know whether he'd been "berned or blitzed." See MtM p. 312.) On LB's last night, MB accompanied Muriel Smith in 4 of his theater songs. (MtM p.314) preview articles W72.36.1 12/15/47 "'Medea' Moves, 'Cradle' Opening Dec. 26," NY Daily News: new Rev. Salvation: Harold Patrick; new Mrs. Mister: Vivian Vance incl. photo of her. W72.36.2 12/16/47 "On Stage...: Blitzstein's 'Cradle Will Rock' Opens at Mansfield Dec. 26," Daily Worker - clipped by FBI. W72.36.3 *12/?/47 Calta, Louis, "'Cradle' Sponsors Arrive at Accord: [Michael] Myerberg and New Theatre Will Present Opus Jointly--Downtown Showings Off," NY Times. +ad for show, quoting W72.5.1.6 12/6/37 Atkinson. reviews W72.36.4 12/27/47 Atkinson, Brooks, "At the Theatre: Blitzstein's 'Cradle Will Rock,' Vivid Proletarian Drama, Revived at Mansfield." NY Times: "the most vivid proletarian drama ever written in this country.... no less militant and exciting than it was a decade ago..." W72.36.5 12/27/47 Hawkins, William, "'Cradle Will Rock' Still Good Theater," NY World-Telegram and Sun: "The vitality of the work continues to be irrepressible." "Conductor Announces Scenes." "Muriel Smith Scores." "Duet on Idleness." "Moves Gracefully." W72.36.6 12/27/47 Morehouse, Ward, "The New Play: The Cradle Still Rocks, but---" +photo of Vivian Vance: "less impressive than it was ten years ago, but... offers good music, good singing and a moderately stimulating evening in the theater." W72.36.7 12/27/47 Sylvester, Robert, "Nor Sleet Nor Snow Nor Carping Critics Can Bury Blitzstein," NY Daily News: W72 "is now a standard." "Won't Give Up." "Personal Objections."

W72 The Cradle Will Rock 263 W72.36.8 12/27/47 Watts, Richard, Jr., "Two on the Aisle: A Tribute to Mark Hellinger And Word of a Labor Revival," NY Post: "Cartoon in Music": has "continued to be stirring and amusing, even though time has deprived it of some of its topical bite... less sardonic and emotionally powerful... still an arresting piece of work." W72.36.9 12/29/47 Barnes, Howard, "The Theater: It's a Beautiful Cradle," Herald Tribune: "immaculate revival... an outstanding composition of the modern stage." +photo of Alfred Drake. W72.36.10 12/29/47 '"Cradle Will Rock' Aimed At Political Southpaws, Has Guts," Daily Variety: "limited to special groups, particularly the left politically." 12/29/47 Freedley, George, NY Telegraph: "When you hear it with the full musical score rather than the original single piano, you have a chance to realize just how important a composer for the theater is Mr. Blitzstein." W72.36.12 12/29/47 Hoffman, Irving, "B'way Revivals of 'Cradle' and 'Topaze' Lack Old Sock: Blitzstein Drama Blitzed By Time," Hollywood Reporter: "courageous, sincere; ...biased, but from its point view, honest." W72.36.13 12/29/47 Kronenberger, Louis, "The Cradle Will Rock' Comes Back to Broadway," PM: "Ten years ago,... Labor in this country had some sense of seeing, from however far away, the Promised Land.... Indeed, it seems to me that" MB wrote W72 "much less as a propagandist than as a cheerleader... Today, when labor cannot be so confident--when the cradle is not so much being rocked as being stoned--the mood of" W72 "seems forced." W72.36.14 12/29/47 Wall Street Journal: condemned revival "now that most of Mr. Blitzstein's objectives have been achieved." W72.36.15 12/30/47 Clyde, O.V., Daily Worker: "The musical style he uses, while highly effective, has something of a cosmopolitan air about it." ["Cosmopolitan" was a code word used at this period by hardline CPers criticizing liberals and Jews. See also G9, G35.] W72.36.16 12/30/47 Finkelstein, Sidney [unsigned], New Masses: "Analyzing the musical language one finds little in it of the great American folk and people's music, the sweet mountain songs, the poignant blues and exuberant jazz improvisations. Its starting point is the tawdriest of Tin Pan Alley music; the crooner sentimentality, the torch song, the pseudo-swing, even the German cabaret version of an American cabaret jazz. Yet Blitzstein turns them all into pure gold, through knowing exactly what he wants to do and having the modern composer's knowledge." W72.36.17 12/30/47 McCord, Bert, "News of the Theater: Snow Rocks the Cradle," Herald Tribune: warning closing notice posted letter W72.36.18 12/30/47 (R19#845) Greer Johnson to MB: "I am convinced that" W72 "is one of the great works of our time. I was, by turns, moved, amused, upset, identified, envious, and--if this isn't presumptuous at this stage of your honorable career--proud of you.... Besides Muriel Smith's magical work, I was especially receptive to Will Geer and those posturings of his; to Estelle Loring's

264 W72 The Cradle Will Rock sincerity and sweetness; to David Thomas; to Leslie Litomy (but whatta scene for him, what a scene! [Sc.8, cut by LB]); and, do you know, to Chandler Cowles, who, I think, did so many wonderful things which almost escaped the eye. Drake was fine, or course, as usual. I liked best the kind of tempered sweetness he brought, though I suspect this is right there in the work itself.... Whatever was topical about it doesn't seem to touch the total effect now, and I really don't believe it will in years to come." reviews W72.36.19 1/1/48 Chapman, John, '"Cradle Will Rock' Is Still Sizzling Mad After a Full Decade," NY Daily News: "'Cradle' Still Sizzles." "Undistinguished Music." "loud, cheap, unfair and pinko... soap-box opera..." W72.36.20 1/1/48 Coleman, Robert, "The Theatre: 'Cradle Will Rock' Shows Its Age," NY Daily Mirror. "Starting Sunday afternoon... a new concert program each week," an "olio," to "preface" each performance. W72.36.21 1/3/48 Morse, Leon, "Broadway Opening: The Cradle Will Rock (Revival)": "Despite its pertinence to the Taft-Hartley law,... the script is out of step with the times." W72.36.22 1/5/48 "Old Musical Play in Manhattan," Time 61 p.64: "more strident and less exciting... less topical." W72.36.23 1/10/48 Gibbs, Wolcott, "From Sullivan to Blitzstein," New Yorker 23 p.45: "remains a fine, robust, hilarious show." Suggests "Master" ("would have been even nicer") instead of "Junior" Mister. W72.36.24 1/10/48 "New Plays on Broadway: Music, from Gilbert and Sullivan to Marc Blitzstein, Dominates Stage," Cue: "acid seemed less sharp... still proves itself one of the most 'interesting' works that has enriched the contemporary theatre in our time"; +photo of MB. W72.36.25 1/12/48 Nathan, George Jean, "Rattling the Tin Thunder Sheet," NY Journal-American: p.14: "a cantankerous blitz set to indifferent music and offered to popgun intellects as a revolutionary cannon ball." See also W72.5.1.44. W72.36.26 1/15/48 Q., "Blitzstein in Opera on Broadway," Musical America +photo of MB & Muriel Smith. W72.36.27 1/16/48 Phelan, Kappo, "The Stage and Screen," Commonweal 47 p.350. W72.36.28 1/17/48 Brown, John Mason, , "Ten Years Later," Saturday Review 31 p.22-4: "still hist ruthlessly and hard, and offers its theatrical excitements... continues to rank with 'Waiting for Lefty' as the most arresting drama of social protest to have been written in this country."

W72 The Cradle Will Rock 265 W72.36.30 3/48 Schonberg, Harold C., "Music in the Theatre: The Cradle Will Rock," Musical Digest: MB, "consciously or not, has harked back to the Jonsonian comedy of humours... the characters are all symbols." W72 "the best that Blitzstein has accomplished, by virtue of its motor force." Sc.4#2 "is firstclass irony and contains quite respectable music." Sc.4#4 "a fine quartet." Sc.6 "a scathing attack on the concept of art for art's sake; and don't think that the antics of Yascha [sic] and Dauber around their rich patroness do not have a parallel in real life." +photo of MB wi/Estelle Loring & Jessie White. letter W72.36.31 1/15/48 (R19#850) Jim Dugan ("Dugano") to MB: "I don't goosepump easily: ...But when your pretty little girl sang Nickel Under the Foot and when your singers stormed the clouds in counterpoint, chants and omens at the end, I was vibrating in my seat like a man who had swallowed a riveting hammer. I think you are Elizabethan, Blitzstein. You are probably the man who wrote Shakespeare for Bacon. But as it unrolls in masquelike form, The Cradle Will Rock is the morality play of this age...." reviews W72.36.32 3/48 Clurman, Howard, "Nightlife and Daylight," Tomorrow, p.51: "labor's only victory in many months..." W72.36.33 3/48 Gassner, John, "The Theatre Arts," Forum 109 p.146. See W72.5.1.3, W72.5.1.15, G43. W72.36.34 5/8/48 "32 'Artists' vs. Uncle Sam," NY Daily News based on widely-distributed UPI dispatch, incl. photo of MB, et al: disloyalty accusation against pro-peace signers of letter in Literaturnaya Gazeta : "Marc Blitzstein a few years ago wrote a little musical comedy on some labor theme, which made a fair amount of money...." W72.36.35 1978 Bordman, Gerald, American Musical Theatre: A Chronicle, NY: Oxford Univ. Press, p.560: '"angry, theatrical prank'... dated... fine cast... to no avail." W72.37 (A64) 1/18/48 Severance Hall, Cleveland, abridged perf in concert: Sc. 3, 6, 7 #1, 9 #2 perf'd by Dorothy Posch Steiner (Mrs. Mister), Edmund Hurshell; (Rev. Salvation/Dauber), MB (Harry Druggist), Harry Miller (Yasha), Muriel Smith (Moll, Ella). preview article W72.37.1 (A64.1) 1/17/48 (R68#271) Widder, Milton, "Notes and Sketches": Revival of W72 "won tremendous critical accolades from such men as Olin Downes (Times) and Virgil Thompson [sic] (Herald-Tribune). The latter's praise is surprising to me, because I've always had the impression that Thompson[sic] liked only one modern composer--himself."

266 W72 The Cradle Will Rock review W72.37.2 (A64.2) 1/19/48 Loesser, Arthur, "Blitzstein's 'Excerpts' Offer Wide Musical Range," Cleveland Press: MB "strives for and achieves a malicious hilarity, getting point-blank hits at some well-battered targets, such as a hypocritical preacher, a vulgar-rich art patroness and a Fascist goon squad leader. ...even a non-fellow-traveler can, with the exercise of a little self-control, appreciate the cuteness with which some of the impacts have been negotiated." See also W75.10.2, W78, W95. W72.38 3/49 S.A. Rosenberg, Denton TX prod.(?) (R6#212) general articles mentioning W72 in conjunction with W107 (1949) G33 *4/10/?/49 unidentified gossip column re Billy Rose, W72, W78, and W107. See W107.1.10. G34 10/30/49 Pollock, Arthur, "Man Floating at Majorca Comes Out With 'Regina,'" NY Sunday Compass: "He wrote a sketch on an old subject, [W69] and he smiles as he mentions it--prostitutes. He showed it to Bertholt Brecht, whom he had known in Berlin. Brecht suggested that he make a full-length thing of it. 'This is naked prostitution, he said.' 'There are so many other kinds of prostitution here.' The result was" W72. See also W107.1.15a. G35 11/8/49 Rubin, Barnard, Daily Worker : "To Marc Blitzstein goes the honor and distinction of now being this country's foremost operatic composer. May he use his great talents to go forward from Cradle and not backward from Regina." Former seen as "patronizing," latter an "immediate, working class weapon." Article clipped by FBI for dossier on MB. G37 3/50 Moor, Paul, "Tradition of Turbulence," Theatre Arts 34 p.36-8: retells story of W72 opening night. W72.39 4/16/50 MB letter re possible prod. to LB: "Peter Frye wants to do 'Cradle' in Israel this summer - Chamber Theatre in Tel Aviv (Guttman-Bartov, manager). I'd love it, and I'd love to come." W72.40 "Florida Premiere of... An American Opera" (R68#303) 5/20,23&24/50 House of Seafood, Miami Beach; 5/21&22/50 Unitarian Church; 5/28/50 St. Agnes Parish Hall; Freedom House Players prod. in & around Miami (incl. Coconut Grove, etc.); Tally Brown, prod., dir. & Mrs. Mister; Joe Harnell, mus.dir.Clerk & Pianist. Moll: Rosalind Rapchik; Gent/Dauber: Leon Kamilar; Dick/Dr. Specialist: Warren Gogan; Cop/Bugs: Mitchell Sandier; Rev. Salvation: Bob Lyons; Editor Daily: Al Ballon; Yasha: Shelly Van Dyke; Pres. Prexy: Bob Sprung; Prof. Mamie: John Stevens; Harry Druggist: Charles Mound; Mr. Mister: Bill Schlesinger; Jr. Mister: Alan Leonard; Sister Mister: Mitzi Fertel; Steve: Ed Harris; Sadie Polock: Marilyn Kaufman; Gus Polock: David Taub; Larry Foreman: Boris Pritcher; Ella Hammer: Lenora Braynon; Reporter: Fred Nesbitt: "the first racially integrated cast and audience anywhere in the South" (MtM p.346). Flyer announces "Southern Premiere": "THIS LEAFLET IS DEADLY"

W72 The Cradle Will Rock 267 reviews (R68#304,307) W72.40.1 5/23/50 Reno, Doris, "Amateurs Score In Music-Drama," Miami Herald: "a triumph of acting, singing and all-round 'good theater'...vigorous music of a new sort... music and play are marvellously integrated." W72.40.2 n.d. Burdine, Marion, "Harnell Gives Music Drama," Miami Daily News: quotes Harnell, pupil of Walton and Copland: "It is not a musical comedy. Rather dies it have all the qualifications, from an artistic standpoint, of an opera." W72.40.3 6/3/50 Alpert, Helen, "Around Town": "sell-out premiere". W72.40.4 6/3/50 Pieze, Elliott, "'The Cradle Will Rock' Thrills Large Audience: Interracial Drama Makes History For Miami," Miami Times: Lenora Braynon "the only Negro member of the cast... captivated the entire audience." "...a very touching story... unfolds beautifully." W72.41 6/22/51-8/?/51 Unity Theatre, London prod.; John Spag, prod./dir.; Maria Puschka, pno. Mr. Mister: Gordon Vernon; Mrs. Mister: Pamela Manson; Editor Daily: Jack Ratner; Jr. Mister: Peter Dorrell; Sister Mister: Anita Burman; Moll: Nita Leader; Ella Hammer: Bery Lund; Larry Foreman: John Basing; Harry Druggist: Bernard Cohen; also: John Bluthal, James MacKinlay, George Harvey, Laurence Davies, Harry Blackman [licensed 7/3/50 to begin "about the end of December 1950" (R20#42)]. preview articles G38 12/50 Pan Pipes reports W72 is to be perf'd in London "in the near future." W72.41.1 6/51 "American Satire," Kensington News: "The cast have been in rehearsal six months because of the complexity of the word and music blending." reviews (R68#365-7) W72.41.2 6/23/51 Mannock, P.L., "In London Last Night: U.S. show unions banned this," London Daily Herald: "a ramshackle play, but there is something fine in the hearty rebel spirit of a democracy which, we like to think, has more abuses than ours." W72.41.3 6/23/51 P.B., "Unity's cradle should rock for a long time," London Daily Worker: "Extra Polish" "needs expert production and sincere, confident, vigorous acting. Last night it had all these." +photo captioned: "This is not a three-headed monster but 'Professor[s] Scoot, Mamie and Trixie of Steeltown's University' in Unity's new show." W72.41.4 6/25/51 C.M., "'The Cradle Will Rock,'" Manchester Guardian: "as dead as mutton" W72 "has, in fact, been superseded in its own genre by 'The Consul' (which is on a rather similar musical level). And although Menotti spans the fence between 'progressive' and 'reactionary' with all but one toe in the 'reactionary' camp, the audience that would once have responded to Blitzstein now finds itself reluctantly being forced over to the other side too." W72.41.5 6/28/52 "Unity: 'The Cradle Will Rock,'" Stage: "fervent sincerity".

268 W72 The Cradle Will Rock W72.41.6 6/29/51 "'The Cradle Will Rock' (Unity Theatre)," Hatfield and Potters Bar Gazette: "an experiment which had succeeded brilliantly." "Orson Welles... sent a message of good wishes." "an encouraging reminder that the industrously[sic] exported 'American Way of Life' has critics in the States as well as abroad." W72.41.7 6/29/51 Hampstead and Highgate Express: "as fresh today as it was in 1937." W72.41.8 6/29/51 Hardy, Carlton, "Music and Drama: 'UNITY' v. USA," Peace News: "exciting operetta... Don't miss this!" W72.41.9 7/51 D.R., "Theatre: The Cradle Will Rock," Cab Trade News: "An American classic". W72.41.10 7/3/51 Sear, H.G., "Music: Driving it Home," London Daily Worker: MB "can soften into the sentiment of popular song and then with a few bare chords he can throw the melodic line into tragic import. When necessary he can woo his hearers from the familiar to the unfamiliar which he leaves in their memory to achieve his object when the show is over. What could be more tender and yet more musically adventurous than" Sc.5#2"? What could be more powerful than" Sc.9#2"? This is a real and natural song, born of knowledge, building inspiration. Some of the songs parody the very songs that commerce plugs:" Sc.4#4, Sc.6#1. Sc.4#2 "satirises life itself. This unobtrusive music is strangely effective. No audience could fail to feel the cumulative effect of" W72. "It is a world classic." See also W56.9. W72.41.11 7/21/51 C.H.R., "The Cradle Will Rock,' at the Unity Theatre," New Statesman and Nation: "Skilled and drilled ferocity sustains this slight piece of raw sociology ( a 'play to music' by" MB") and almost drowns its sentimentality.... mostly in minor-key chanting, to a pounding, rhythmic piano accompaniment like a set of lugubrious variations on 'Frankie and Johnny.' ...Notionally as naive as a negro spiritual, this play is nevertheless experimental theatre of a welcome kind and well worth a visit." W72.41.12 7/21/51 F.M., "The Cradle Will Rock, by Marc Blitzstein (Unity Theatre: June 22nd)," Theatre Newsletter: '"play to music' ... remains undated except that its tone of righteous indignation would by now have given way to one of weary cynicism.... this is the slickest entertainment and one of Unity's most notable achievement[s] for some time." W72.41.13 8/51 J.H., "'The Cradle Will Rock' (Unity)," Theatre World: "a music drama... an intersting piece of stagecraft quite apart from its vigorous theme." G39 1952 Goss, Madeleine, Modern Music Makers NY: E.P. Dutton, p.359369: "(Copland called it 'something of a cross between social drama, musical revue and opera.') Blitzstein says it is, 'A mixed-up kind of musical theater--my kind!'"

W72 The Cradle Will Rock 269 general article on instrumentation G40 7/52 (R68#514) Bennett, Elsie M., "The Accordion Part in Serious Music [Part 3]: An Interview with Marc Blitzstein," American Accordionists Association News 3:3 p.3-4: MB used accordion in W72: a. Sc. 3 imitating the organ; b. "street sound and folk sound"; c. "filler-in harmonically but with rather widely spaced chords so as not to isolate the instrument from the rest of the harmonic texture." See also W72, T9. excerpt performances W72.42 (A70) 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perf'd: Sc.7#1+ W72.43 (A71) 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. Sc.5 perf'd by Philip Treggor (Druggist), James Mattingly (Stevie), Russell Martino, Jacquelynne Moody (Sadie), Benjamin Thomas (Gus). general articles mentioning W72 G43 1954 Gassner, John, Masters of the Drama, 3d ed. NY: Dover, p. 76: W72 as "cantata... which took Broadway by storm in the season of 1937-38. T.S. Eliot's description of a Senecan performance, namely that the characters behave 'like members of a minstrel troupe sitting in a semicircle, rising in turn each to his 'number,' is a close description of the technique employed with dramatic success in" W72. G45 1955 Scholes, Percy A., "Marc Blitzstein," Oxford Companion to Music, 9th ed., p. 111 attributes Waiting for Lefty to MB(!). letter MB to Robert J. Dietz 6/23/63: "I too have been stumped by Scholes' listing 'Waiting for Lefty' among my works. I conclude that he has confused it with 'The Cradle Will Rock,' which won a prize a year or so after the Odets play did, and in the same set-up (New Theatre, League, John Gassner, chairman." --P2c, p. 133. W72.44 exc. perfs - recording A76 2-5/56 "Marc Blitzstein discusses his theater compositions" Spoken Arts 717 (Westminster) LP: 5/7-5/8/56 Sc. 6 recorded by Roddy McDowall, Alvin Epstein, Jane Connell, MB; Sc. 7#1 by Evelyn Lear & MB; and MB tells the story of opening night: "I did about 8 parts that night..." calls W72 a "kind of a modern morality play," citing "about 25 productions in the United States and England." N.B. "damned" is changed to "blamed" in Sc.6; "bastard" changed to "stinker" [in separately published sheet music: "bandit"!] in Sc.7#1. W72.44.1 (P32.1) 1990 Blier, Steven, Notes to Koch CD: "when Evelyn Lear... tries to nudge Blitzstein's very stately tempo forward a bit, he digs in his heels and maintains an absolutely steady pace."

270 W72 The Cradle Will Rock letter W72.45 8/18/56 (R5#432-3) Edward Cole to MB on recording for MGM suites from W72 (11/12/56) & W107 (11/19/56), as well as from W75, W78 & W106. Contents & timings prepared by MB, but sessions never happened. 8/24-10/7/56 W72 suite to include Sc.2; 4 #1&4; 5 #1; 8 #1; 9 #1-2; 1; 7 #1; 10 #2 - 18 musicians 24'13" general articles mentioning W72 G47 1957 Downes, Olin, Olin Downes on Music, NY: Simon & Schuster p.354-5. G48 1/57 Kestin, Diane, "Western folklore in modern American opera," Western Folklore 16 p.6-7: "urban folk opera... dating from the nineteen-twenties [sic]... brings social problems and labor-capital arbitrations into the musical theater." See also W87a, W107. exc. perf A82 7/25/58 Sc.7#1 on all-Blitzstein concert at Tanglewood articles G51 11/58 Flanagan, William, Jr., "The Riotous Garden of American Opera," High Fidelity p.44, 144: re W72, W78: "Both... are a versatile blend of social commentary, popular-styled melody, and the rhythmic and harmonic sophistications that characterize the 'serious' music of our century." See also W107. G55 1960 Barer, Bertram, "A Rhetorical Analysis of the American Presentational Social Theatre of the Thirties," diss. Univ. of Minnesota; incl. analysis of W72; cited in W72.53.6 12/80 Bell, p.61n143. book W72.46 1960 Willett, John, The Theatre of Bertolt Brecht: A Study from Eight Aspects, 2d ed., NY: New Directions, p. 142: MB "rightly dedicated his" W72 "to Brecht. For the combination of accessibility, artistry and solid content is fundamental to Brecht's ideas." W72.47 2/11-2/17/60 NYCO prod. 4 perfs w/orch (and sets!). Period changed from 1936 to 1931. Lehman Engel, cond. (& Clerk - from pit); Howard Da Silva, dir.; David Hays, sets; Ruth Morley, costumes; Billy Parsons, dance dir.; William Jonson, chorus master. Moll: Tammy Grimes; Gent: Seth Riggs; Dick: Arnold Boketaitis; Cop: Dan Merriman; Rev. Salvation: Kenneth Smith; Editor Daily: Jack Harrold; Yasha: Michael Wager; Dauber: Chandler Cowles; Pres. Prexy: John Macurdy; Prof. Trixie: Philip Bruns; Prof. Mamie: Maurice Stern; Prof. Scoot: Howard Freed; Dr. Specialist: Joshua Hecht; Harry Druggist: William Griffis; Mr. Mister: Craig Timberlake; Mrs. Mister: Ruth Kobart; Junior Mister: Keith Kaldenberg; Sister Mister: Nancy Dussault; Steve: Frank Porretta; Bugs: George Del Monte; Sadie Polock: Sophie Ginn; Gus Polock: Robert Kerns; Larry Foreman: David Atkinson; Ella Hammer: Jane A. Johnston; Reporters: Seth Riggs, William Saxon [aka William Zakariasen].

W72 The Cradle Will Rock 271 W72.47.1 (A89) 2/11/60 (R69#253-4) MB's program notes: "I made a recording for the Spoken Arts people in 1953. [sic: 1956] In it... I said: 'I have yet to enjoy" W72 "in a regular performance with all its trimmings. But perhaps another ten years will see that happen too, with sets and costumes and lights. Well, here it is; my timing is off by a couple of years. The production given now in 1960 by the New York City Opera is full-scale; this is the way I wrote the piece, how I meant it to be staged. By now, of course, the theme and the treatment--the rise of unionism in America, seen from a brash, exuberant, idealistic viewpoint--make the work something of a period piece. But I still feel as I did about the subject; and I have nothing to apologize for in the music. Let it takes its chances, say I; let it prove whether it remains an engrossing and entertaining musical stage piece." script changes for 1960: Sc.4#1 Carole Lombard [orig. Jean Harlow in sketch] changed to Greta Garbo; Sc.4#2 "look up his past" became "make up the rest" [cf. HUAC]; Sc.4#3 "doggie" became "hound dog" [cf. Elvis]; Sc.7#3 "final" became "certain" [deleting "Internationale" connotations]; Sc.7 dialogue - insertions of "free-for-all" and "right-to-work" [cf. Taft-Hartley]; Sc.8 year of Aliquippa strike (1933) omitted; Sc.9#2 alt. wds - see MBS 1/17. preview articles W72.47.2 1/17/60 (R69#232) Perkins, Francis D., "The New York City Opera To Present Blitzstein Work," Herald Tribune. W72.47.3 1/28/60 (R69#232) Daily News photo of Tammy Grimes "The Moll". W72.47.4 2/7/60 Daily News photos. W72.47.5 2/7/60 Herald Tribune photos. W72.47.6 *2/7/60 [labeled, in red, Feb. 6, 1960] NY Post Week-End Magazine II:1: "Harbinger" +large photo of MB with Tammy Grimes, Craig Timberlake, Ruth Kobart, David Atkinson. W72.47.7 *2/7/60 Salzman, Eric, "No Longer Bare: New 'Cradle' to Have Sets and Costumes," NY Times II:9 +Sam Falk photo of MB with Tammy Grimes, Craig Timberlake, Ruth Kobart, David Atkinson W72.47.8 2/8/60 World-Telegram & Sun Tammy Grimes

"Week's Top Billing" photo of

W72.47.9 (A90) 2/13/60 MB, "Out of the Cradle," Opera News 24:15 p.1011, 29 incl. Stein photo: "Author Blitzstein, the composer of: W107 andW72," examines a page of his manuscript."

272 W72 The Cradle Will Rock reviews W72.47.10 *2/12/60 (R69#286) Biancolli, Louis, "Opera: Season at [City] Center Starts in 'Cradle," NY World-Telegram p. 12: "there is no denying the power both of last night's performance... and the work itself." +photo of Tammy Grimes and David Atkinson. W72.47.11 2/12/60 Johnson, Harriett, "Words and Music: 'The Cradle' Opens City Opera," NY Post: "Engel Is Dynamic," "Only [Lehman] Engel's unbending attitude prevented an encore" of Sc.4#4. Tammy Grimes was "languid, sexy and overwhelmingly successful." W72.47.12 2/12/60 (R69#285) Kastendieck, Miles, "Where was the Opera?" Journal-American: "a sophomoric effort, brashly elemental and artistically crude... still packs a wallop." W72.47.13 2/12/60 (R69#286) Lang, Paul Henry, "The Cradle Will Rock," Herald Tribune: "The issues are gone, and what we see is a sort of vaudeville, at times of a very low grade... and most of it is only once removed from Tin Pan Alley.... opera is lyricism, not social philosophy." +photo of MB. W72.47.14 2/12/60 Taubman, Howard, "The Opera: 'The Cradle Will Rock: Work Fully Staged 23 Years After 1st Stir: Blitzstein Show Done at the City Center," NY Times p.23: "bursts with vitality." W72.47.15a 2/13/60 Ibid., "Opera: Blitzstein's 'The Cradle Will Rock' Makes the Grade." W72.47.15 2/12-13/60 (R69#287) Watt, Douglas, '"Cradle Will Rock' is Still Exciting theatre," NY Daily News: "...not out of place... still carries a punch.... Corruption and sycophancy are still very much a part of our national life (turn to the news section)." +photo of Tammy Grimes. letter W72.47.16 2/12/60 (R19#869) Walter Marks to MB: "I think it is a splendid work, and I was really bowled over the dramatic power that you amass in it.... I felt that what you say in it has valid conotations[sic] in today's world, and the stark, uncompromising way in which you say it strikes me as a refreshing vocabulary in contrast with the stress on the wishy-washy, which seems to be a contemporary trademark. The music is rich, melody-rich and variety-rich, and ahas a remarkable cohesive quality. The lyrics are wonderfully worked out, and they say clearly what you want them to say. And what I want to say most of all is that the whole show is fresh, vigorous THEATRE (with the 'caps' most intentional)!!" Marks later wrote lyrics & music to Bajour and a few other Broadway musicals.

W72 The Cradle Will Rock 273 W72.47.17 2/15/60 George G. Kirstein letter to MB: "...despite the reviewers who were careful to cover up their embarrassment at being moved[,] by such words as 'dated' and 'corny,' I found the presentation timely and pertinent." review W72.47.18 2/17/60 Goth., "Legitimate: Opera Reviews: The Cradle Will Rock,"Variety: "social-political satire... a still emotional theatrical piece, put together with technical talent and 'know how.' ...Tammy Grimes as the tramp was the closest thing to a new, young Lotte Lenya which in spite of all replacements during the years of Three Penny Opera running has as yet never been found!" [It was Lenya who recommended Grimes after MB had first asked her. She told LJL this in 1970, who told Grimes in 1996, who had not known it until then.] letters W72.47.19 2/17/60 (R19#871) Doris (Mrs. Emile) Renan to MB: "for me, it was not only as good as ever, but even more meaningful in these times--(maybe due to maturity)." W72.47.20 2/21/60 (R19#874-5) Jill Kraft to MB: "It was absolutely thrilling. I was so moved and excited and absolutely done in by the piece. We all were. (We went with Saul Chaplin & his daughter, Judy).... I found every single bit of it important and timely TODAY...." reviews W72.47.21 2/20/60 (R69#290-2) Sargeant, Winthrop, "Musical Events," New Yorker 36 p. 142-3: "dreary evening-length vaudeville skit... not... an opera... resources... completely wasted." W72.47.22 2/21/60 (R69#289) Taubman, Howard, "Embattled Period," NY Times II:9: "No Longer Urgent" "Vitality" "Conviction" "No Going Back" "The crucial ing\redient is the passion... oh, how one seeks in contemporary art for a commitment to other and larger values than the repressions of the ego or the id." letters W72.47.23 2/22/60 (R19#876) Toby Cole to MB: "A thousand times YES CRADLE 'remains an engrossing and entertaining musical stage piece!' And it always will be for me." W72.47.24 2/22/60 (R19#878-9) Katharine Wolff to MB: "a significant and powerful opera... presents basic truths that cannot be overlooked and I feel sure it will hold a place in the repertoire of open minded organizations like theNew York City Center."

274 W72 The Cradle Will Rock article W72.47.25 3/1/60 (R69#300) "Washington Cool To Visiting Opera: Press Critical as New York City Troupe Offers Three Contemporary Works," NY Times: "One comment heard was that the one work in the New York company's repertory that really would have had impact on Washington was not brought down. That, of course is" MB's W72. letters W72.47.26 3/9/60 Maria Callas to MB, on back of postcard of "LAILA MOURAD:" "Cher MaîtreOh there's something so damned low about the Arabs - thought she might do for the N.African MRS.MR.. Thank you again, and again - Mr. Blitzstein Maria Callas" R4#471 W72.47.27 3/12/60 Jack Harrold to MB: "the most thrilling evening in the theatre in my life" R19#883-4 reviews W72.47.28 3/60 E[yer], R[ichard], "Opera at the City Center," Musical America 80 p.40: "dated... the music, strictly warmed-over Broadway, is as meretricious as the book... not even passable musical comedy... of comic strip stature." W72.47.29 3/60 R[ice], C[urtis] E. ["Foreign Editor"], "New York City Opera," Musical Courier 161 p.14: "not an opera... a political tract set to music... [T]he performance was excellent... amplified in the Broadway manner." W72.47.30 3/12/60 Clurman, Harold, "Theatre," Nation 190, p. 236: compares W72 to La Bohème: "one is sentimental about 'workers,' the other about 'artists'.... What it typifies is a certain permanent American big-city-young-man cockiness, a derisive unwillingness to take any guff--political, social or casual-from anybody. ...If this opera is retained in the repertory of the New York City Opera, don't let the snobs or the fearful prevent you from seeing it." W72.47.31 3/12/60 F.M., "Light and Heavy," Opera News 24 p.27-8: "the work of a skillful satirist who makes the mistake of dropping his mask about the middle of Act II... at its best lies somewhere between the 'opera' known as Threepenny and a Harvard Hasty Pudding show." letter W72.47.32 3/23/60 (R19#886-7) Tammy Grimes to "Dear Marcus": "Would love to do the album." reviews W72.47.33 5/60 RePass, Richard, "City Center," Opera 11:5 p.340-1: "youthful Singspiel... The attractive features of the score are its use of varied rhythms, of a jazz and ragtime beat, and its occasional bursts of bright melody. The work is too slight to stay even in the City Center's repertory for long, but it is certainly worth occasional revival... it has a certain youthful vitality of its own, and, in places, a hint of the later Blitzstein that was to shine so prominently in Regina." +photo of Grimes, Timberlake, Kobart, Atkinson, MB.

W72 The Cradle Will Rock 275 W72.47.34 9/8/60 "Soapbox Opera," Boston Herald. W72.48 "1960s" excerpt recording: Sc.7#1 as jazz quartet(!) Westminster LP WST-17108."Puccini, Rossini, Verdi, Bellini, and Blitzstein" Jazz quartets based on opera arias. Bernie Leighton/Moe Wechsler, piano; Milt Hinton, double bass; Osie Johnson, drums. W72.48a c. 1961 SF prod. seen by William Bolcom [3/1/05 email to LJL] (unconfirmable by Tams-Witmark). letter W72.49 8/5/63 (R19#888) Zelda Fichandler, Producing Director, Arena Stage, to MB re possible Washington prod.: "I love it for its vigor and its bite. But it is simply not right for white-collar Washington. I am afraid our audience would have no context within which to receive it." obituary M20 2/3/64 "A Special Marc," Newsweek 63 p.77: "His biggest success was his 1937 satire," W72. See also W107, T9. W72.50 (M25) 4/19/64 Philharmonic Hl MB Memorial Concert, David Oppenheim, prod. perf (less Sc.8] Moll: Barbara Harris; Gent: Seth Riggs; Dick: William Hickey; Cop: Arnold Weinstein; Rev. Salvation: Hiram Sherman; Editor Daily: Jack Harrold; Yasha: Michael Wager; Dauber: Adolph Green; Harry Druggist: Heywood Hale Broun; Dr. Specialist: Joshua Hecht; Mr. Mister: Will Geer; Mrs. Mister: Betty Comden; Junior Mister: Charles Nelson Reilly; Sister Mister: Phyllis Newman; Steve: Timmy Everett; Bugs: Robert Heller; Sadie Polock: Marlene Kleinman; Gus Polock: Lee Cass; Larry Foreman: Howard da Silva; Ella Hammer: Micki Grant; Clerk, Reporter: LB at pno; staged by Howard da Silva. +W107 (exc.); 127 Sc.4 #1; 126 Sc.6; 123 II:5 Pt 4 +played recording of MB (A76)(Spoken Arts 717) telling story of W72's opening night. background correspondence W72.50.0 [R4#680) Barbara Harris had written MB 11/2/63: "I love your song! [Nickel?] and hope everything works out so that I may record it on my first album." (But she mixed up 2d & 3d verses at perf; recording of it was never released except on pirated tapes.) preview articles W72.50.1 *3/21/64 "Bernstein to Lead Blitzstein's 'Cradle,'" NY Times. See also W127. W72.50.2 *4/12/64 Blitzstein, Marc, "As He Remembered It: The Late Composer's Story of How 'The Cradle,' Began Rocking" NY Times II:13-14; +Friedman-Abeles photo of MB; +"In Memory of Marc Blitzstein" Eugene Cook photo of LB, Luigi Alva, Hiram Sherman, Heywood Hale Broun, Phyllis Newman and Michael Wager.

276 W72 The Cradle Will Rock reviews of (and memoirs re) Memorial Concert (M25) M26 *4/20/64 Johnson, Harriet, "Words and Music: Bernstein and 'The Cradle' Rock," NY Post p. 15: "Marc was my friend. ...In ordinary life, he was mild, gentle and humble. But the vibrancy and determination" in his account of W72's opening, "revealed eloquently the convictions which shot" W72 "from his creative soul like a rocket.... For sheer originality and creative strength, he never surpassed or equalled himself in subsequent works though he wrote music of significance until" the end. See also W127. M28*4/20/64 Schonberg, Harold C., NY Times: W72 "is to America what" T9 "was to Germany." See also W127, T9. M29 *4/20/64 Webster, Daniel, "Blitzstein Concert--Tribute to Composer," Philadelphia Inquirer p.24: "this American wrote dramatic and effective opera in an individual idiom about things close to American nerve ends." "The music [of Cradle] is full of anger, savage bursts of strident sound juxtaposed with the pious words by players representing big business, the clergy, the press, pillars of the community. Blitzstein was angry and his operas hit America hard. In the revival Sunday, the impact seemed just as great and capable of hurting a complacent audience today. 'The Cradle Will Rock' is pungent theater built on irony and barely veiled social wrath. It brought the listeners closest to the essential Blitzstein...." M31 *4/30/64 Kerner, Leighton, "Music: Marc Blitzstein," Village Voice pp.6, 17: "...the energy that hammered the materials into a scorchingly angry and hilarious and blatant and sophisticated social weapon is still there.... Howard Da Silva... was a miraculous combination of David Harum, Frank Merriwell and Superman, as the strike leader, Larry Foreman... with pianistconductor-bit-player-narrator Leonard Ber[n]stein leaping to his feet on the last, crashing chord..." M35 Spring-Summer 1964 Copland, Aaron, "Marc Blitzstein Remembered," Perspectives of New Music 2:2: "He took a certain pleasure in needling his audiences, in telling unpleasant truths straight to their faces. To sing these truths only gave them greater poignancy. The moral fervor that fired his work in the depression-haunted 'Thirties resulted in the writing of W72. "The opening night... made history; none of us who were there will ever forget it. His later operas," W78 and 107, "were musically more ambitious, with a broader dramatic range. They gave full play to his brilliant gift for musical characterization. He could be sarcastic, parodistic and even derisive at times; but he could also be gentle, tender and tragic. Most important of all, he was the first American composer to invent a vernaculat musical idiom that sounded convincing when heard from the lips of the man-in-the-street. The taxi driver [? Is he thinking of LB's On the Town ?], the panhandler [W78 II:1 #3], the corner druggist [W72 Sc.5] were given voice for the first time in the context of serious musical drama. This is no small accomplishment, for without it no truly indigenous opera is conceivable." Reprinted in notes to W72.53 11/64 Theatre Four prod. LP.

W72 The Cradle Will Rock 277 P1 *5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter pp.46, 48-50. (This article was particularly recommended to LJL by Jo Davis, 7/70.): MB "was one of our most talented writers for the musical theatre... yet he never achieved conventional Broadway success." W72 "came closest." 4/19/64 perf was "exciting in the way that the theatre is supposed to be and so seldom is. ..He is representative of the best of the American political theatre of the 1930's; out of all the committed plays of that period no more than a handful can surve the causes that created them, and of that handful," W72 "shares top honors with Clifford Odets's Awake and Sing!" In W72, MB "was closer to the BrechtWeill satire than the Brecht-Eisler didacticism. More important, he was close to the American audience in terms of the music he used and kidded, the figures he made fun of, the immediate problem (unionism in the steel industry) with which he was concerned." W72 "avoids the trap into which most American leftist theatre, like most propagandistic art, inevitably falls... 'the positive hero,' as they call him in Socialist Realism circles, whom stereotype turns into a bloodless wonder.... What the best of the American leftist playwrights realized was that the pompous slogans had to be given to the enemy (for laughs) and that the positive statements, even the calls to action, had to come obliquely, wryly, with an American tongue just barely in an American cheek… …the satirical figures in" W72 Sc.3,4,6 "are still easily accessible as 'cartoon characters' (Blitzstein's phrase) that have relevance to today's society. Yet one can still take Larry Foreman, the play's hero, and he his hardly the same kind of cartoon.... Blitzstein used Larry Foreman's uplifting determination dramatically, not simply editorially; the opera works as art in a decade in which its propaganda is no longer immediate." M36 6/64 Lederman, Minna, "Memories of Marc Blitzstein, Music's Angry Man," Show, p.18ff: Recalls that Kurt Weill, after opening of W72, asked everyone: "Have you seen my new opera?" [Denied by Lenya in P10.2 12/70 interview with LJL, but affirmed as true by Lys Symonette, 1997. See W71.3.1.] M38 6/6/64 Homage to Marc Blitzstein, Carriage Barn, Bennington College perf: exc. sung by Richard Blake (Clerk & Reporter), Steven Bick (Larry Foreman), Moss Cohen (Harry Druggist), Lee Richmond (Yasha), Peter Snider (Dauber), Frederick Koenig (Mr. Mister), Anne Waldman (Mrs. Mister), Charles Caffall (Dr. Specialist), Meredith Leavitt (Ella Hammer), Reed Wolcott (Moll). Chorus: Jane McCormick, Julie Snow, Loren Siegel, Meredith Leavitt, Carey Maynard, Patricia Tate, Simone Juda, Marilyn Sibley, Nancy McCormick, Anne Waldman, Sheila Diamond, Nancy Ostehus, Joan Boepple, Robin Childs; Pianist: Deborah Chaffee. Also perf'd: W78II:1#3; W107 (exc); W117 (exc); W125#3; W126 Sc.6.

278 W72 The Cradle Will Rock W72.51 11/8/64- Theatre Four prod. Robert S. Fishko, John A. Prescott, David Rubinson, producers; George Avakian, assoc. producer, record producer; Howard Da Silva, dir.; Gershon Kingsley, mus. dir. at the piano; Rhoda Levine, choreog. Moll: Lauri Peters; Gent:/Gus Polock: Ted Scott; Dick/Clerk/Bugs: Wayne Tucker; Cop/Dr. Specialist: Ben Bryant; Rev. Salvation/Prof. Scoot: Chris Warfield; Editor Daily: Dean Dittmann; Yasha/President Prexy: Hal Buckley; Dauber/Prof. Trixie: Clifford David; Prof. Mamie/Steve: Nichols Grimes; Druggist: Peter Meersman; Mrs. Mister: Nancy Andrews; Junior Mister: Joseph Bova; Sister Mister: Rita Gardner; Mr. Mister: Gordon B. Clarke; Sadie Polock: Karen Cleary; Larry Foreman: Jerry Orbach; Ella Hammer: Micki Grant. reviews W72.51.1 11/9/64 Davis, James, "'Cradle' Score Is All," NY Daily News: "one must marvel at the durability..." W72.51.2 11/9/64 Funke, Lewis, "'Cradle Will Rock' Is At Theater Four," NY Times: "A rousing revival. A work of startling versatility. The music is stirring. Freshness and vigor in performances are completely compelling." W72.51.3 11/9/64 Harris, Leonard, '"Cradle' Opens at Theatre Four," WorldTelegram and Sun: Howard Da Silva "was obviously determined to let 'Cradle' fall if it could not stand without gimmicks. It stands." W72.51.4 11/9/64 Kraft, Daphne, "Off-Broadway: Revived 'Cradle' Is Sharp Satire". W72.51.5 11/9/64 Kupferberg, Herbert, "'The Cradle' Still Rocks With Blitzstein's Music," Herald Tribune: "intense and catchy... established its composer as one of the strong and original voices of the American musical theatre.... He had something he wanted to say, and he knew how to say it.... dated though the message be, it still manages to get across." W72.51.6 11/9/64 Tallmer, Jerry, "When the Bough Breaks," NY Post: "pedestrian lemon-drop music". W72.51.7 11/9/64 Thompson, Jack, "Political Tract Shows Its Age," JournalAmerican. W72.51.8 11/10/64 Cooke, Richard P., "Depression Relic," Wall Street Journal. W72.51.9 11/21/64 Baxandall, Lee, "A Revival of the Bernstein [sic] Classic: The 'Cradle' is rocking again," Guardian: "the most revived, Left theater achievement to come out of the Thirties." +photo of Lauri Peters. W72.51.10 11/21/64 Sobel, R., "Father Time robs 'Cradle' in theme and in purpose," Billboard 76 p.14. Other reviews quoted in 11/12/64 NY Times ad: W72.51.11 Keith, Maxine, WNYC: "rousing thought provoking theatre"; W72.51.12 Kraft, Daphne, Newark News: "sharp, fast-paced satire,... excellent theatrical entertainment"; W72.51.13 Lewis, Cue: "masterpiece"; W72.51.14 Probst, NBC: "rousing musical with bite".

W72 The Cradle Will Rock 279 W72.52 1964 abr. TV perf. "Camera Three," CBS 27 min. program: "The cradle will rock, part 1" incl. exc.: Sc.6, 9#2, 7#3, 10#2; videotaped by Creative Arts Television, Kent CT; Muriel Balash, prod./dir.; released on (black & white) video, 1997 together with P14a&b 1976; Howard da Silva (interviewed by James McAndrew): MB "was able to glean the essence, from his time, for all time." Performers: Clifford David, Hal Buckley, Nancy Andrews, Jerry Orbach, Micki Grant. W72.53 recording Recorded 1965 on MGM 02S 716/SE-4289-2 OC; re-released 1972 on CRI SC/SD 266, incl. reprint of M35 (Copland article) and W72.53.1 notes by Howard Da Silva: "Marc's Cradle is best served by a company of gifted, earnest performers who commit themselves to the work and who, unaided except by the work itself, reach from their hearts into the hearts of the audience.... In mirroring the times as he saw them, he succeeded in gleaning the essential elements of avarice and principle, of courage and cowardice, of honor and duplicity--elements which are timeless." [Quoted on MB Web Site by John Jansson, who misspells "principle" as "principal".] report W72.53.2 12/16/64 "Columbia drops 'Cradle' cast LP in AFTRA hassle," Variety 237 p.45. reviews W72.53.3 3/28/65 Wilson, John S., "'Cradle' Wins again,"NY Times X:22 saga of struggle to get record made "...as long as there is injustice and protest, 'The Cradle' will not really date.... a work of blistering power." incl. photo of Rita Gardner, Clifford David, Wayne Tucker, Nichols Grimes. W72.53.4 5/65 Brown, Tally, "From M-G-M Marc Blitzstein's The Cradle Will Rock": "first complete recording ever made available commrcially..." "the missing link" between My Fair Lady and West Side Story... "the first American work to use, successfully, American language set to American music to tell a serious story. Its prosody is unbelievably good; the extreme ease of the relationship between words and music is one of the things that make it a joy to perform, as well as accessible to the ear. It has been rivaled... since its creation, only by some of Sondheim's words to Bernstein's music. And they learned from Blitzstein as Bernstein learned from Brecht and Weill." W72.53.5 4/73 Saturday Review "The Presidential 500: Classical records for the White House, and your house" incl. W72.53 (2-CRI S0266).

280 W72 The Cradle Will Rock article W72.53.6 12/80 Bell, Robert Alan, "Ratio Within Ratio: A Speculative [Kenneth] Burkeian Methodology and Application for the Rhetorical Criticism of Marc Blitzstein's The Cradle Will Rock," Master of Arts thesis, Kent State Univ. Graduate College; study based primarily on printed libretto and 1964 LP. Ch. 6, p. 113-5: "Scene-Act Ratio: The Nationwide Steel Strikes and Their Effect on The Cradle Will Rock"; Ch. 7, p. 116-26: "Scene-Act, Scene-Agency Ratio: The Opening Night Conditions and Their Effect on The Cradle Will Rock"; Ch. 8 p. 127-62: "Scene-Act, Scene-Agent, Agent-Purpose Ratios: "The June 16th, 1937 Performance of The Cradle Will Rock"; p.143 Quote from Egmont Overture "is to show the somewhat ghastly taste of the upper class with the classics." Ch.9 p.163-7: "Summary and Conclusion": p.165: MB, "in attempting to create rhetorically sound and socially significant musical theatre, created works with lasting appeal and significant impact on the materials and form of the American musical theatre." See also W56, W123, W127. general articles G15g 1965 Wilfrid Mellers, Music in a New Found Land: "a satirical piece with tragic undertones"--incl. detailed analysis, w/musical examples, of Sc.5: "it is a 'moment of truth', and its truth is impervious to Time" +comments on Sc.4#1&4, Sc.9#2, and Sc.7#3: "the tonality suggests the uprooting, revolutionary tempest by hovering between a Phrygian E flat minor and E major with chromatic alterations: ending with fortissimo triads of B, A, D and A flat, harmonizing a line rising from D sharp up the scale of E major" P3 7/29/65 Talley, p.68: Harry Druggist "represents the guilt of the middle class." [That's why he's better played as Jewish! - LJL] p.109 on Sc. 8: "With R.O.T.C. units a commonplace of campus life, there seems to be little in this scene which is still controversial." [This changed, radically, just a couple of years later.] p.118: MB "is examining capitalist society from a Socialist viewpoint, and he criticizes from the position of a moralist." p.120 "The overall mood is predominantly one of raucous ridicule, with just three major scenes of dramatic relief." [5, 9, 10] P4 1966 Austin, William W., Music in the 20th Century (NY: W.W. Norton), p.500: "completely converted by The Three-Penny Opera, ...aroused enthusiastic hopes with his Brecht-like opera," W72. W72.54 exc. perf P6 11/30/66 Blitzstein! (concert revue) Provincetown Playhouse, NY Mira Gilbert, Norman Friesen; Peter Basquin, pno incl.: Sc.4#2, Sc.5#2, Sc.6#3, Sc.7#1&3 book

W72 The Cradle Will Rock 281 book G2e 1968 Ewen, David The Story of America's Musical Theatre NY: Chilton Book, p.98-100: calls W72 "glaring euphemism... political musical play" W72.55 exc. perf 10/15/69 "Vietnam Moratorium Activities," flyer announces 1:00 p.m. "Cambridge Common Pre-march rally: George Wald, speaker. Anti-war skit by Loeb X." [Also announced in Harvard Crimson p.1]. Perf'd: W72 Sc.3 & 8. Rev. Salvation: Lee Evans; Mrs. Mister: Karen Meyerhoff; Mr. Mister: Paul Sprecher; Pres. Prexy: Gerald Blum; Prof. Mamie: LJL; Prof. Scoot: Markham Kirsten; Prof. Trixie: Robert Kaufman. W72.56 11/6-8/69 & 11/12-13/69 Loeb Experimental Theatre, Harvard prod. (Budget: $35 + patron + royalties) "with the kind patronage of Professor Harry T. Levin" Time: Evening, 1937 or 1969 Place: Steeltown, U.S.A. Adapted, Orchestrated, Directed, Conducted from the piano by LJL. Producer/Stage Manager: Janet Rodgers; Choreographer/Ella Hammer: Judy Williams; Lighting &Set Designer: Jack Hanick; Costumer: Pat Trusty; Props Mistress: Ginger Eck. Moll: Paula Hajar; Gent: Frank Murray; Dick: Carroll Dorgan; Cop/Bugs/Prof. Trixie: Peter Cignetti; Rev. Salvation: Lee Evans; Editor Daily/President Prexy: Gerald Blum; Dauber/Second Reporter: John de Chadenedes; Yasha/Dr. Specialist: Arra Avakian; Reporter: Dick McCarty; Harry Druggist: Daniel Chiel; Clerk/Prof. Mamie: Michael Pevzner; Mr. Mister: Gary Abbott; Mrs. Mister: Karen Meyerhoff; Jr. Mister: Robert Telson; Sister Mister: Katherine Nixon; Steve: Steven Stark; Sadie: Ellen Calmus; Jimmy [sic; sang Gus Polock's part]: Dickie [later Damon] Evans; Larry Foreman: Paul Lamar; Prof. Scoot: Markham Kirsten; Attendant: Mike Brady. Fl: Faith Dickerson; Cl: Robert Sher/David Archibald; Hn & Perc: Bill Grossman; Tpt: Michael McCue; Cb: John Cooper. Assistant Rehearsal Accompanists: David Tao, Norman Siegel, William Grossman. [sic: so listed; William & Bill actually the same person.] Special Credits: Valerie Brooks (WTBS), Steve Robinson (WBUR), John Zussman (WHRB)... "and the entire cast and crew who contributed extraordinarily, far beyond the call of duty from each according to his abilities." Edited composite tape recording made, ed. by Blum & LJL, never released, but broadcast on WBAI 11/89, WHRB 1990. Opening night included as intermission feature Lee Evans accompanied by LJL in "Strange Funeral in Braddock" by Michael Gold & Elie Siegmeister. Prog printed excerpts from W72.56.1 Professor Howard Zinn's 10/15/69 Boston Common speech: "The problem that people have all over this country and all over the world is to begin taking the power from the people who now have it and returning that power to large numbers of people suffering under it.... Somehow, on the critical matters, the men of wealth and power and privilege in America make the decisions of life and death for eveyone else...."

282 W72 The Cradle Will Rock and W72.56.2 Notes by The Director: "When I first mentioned to [Elie] Siegmeister, my private composition teacher prior to my coming to Harvard, that I was revising some of the words and music in Cradle his reaction was skeptical. When he saw the changes I had made, however, in nearly every instance his opinions were extremely favorable; he even made a few suggestions in the way of new orchestration.... [Mrs. Mister brought on a ukelele, played by Jr. Mister in Sc. 4, who also played drums in Sc. 10....] [M]y goal has been to undate, rather than update.... The two scenes most substantially changed are Scene Four, specifically the song 'Moon' (formerly 'Croon Spoon') which has now become a mock-rock tune... and Scene Five..., now done with blacks (who were just as persecuted in the 1930's as now, but less publicly) instead of the original Polish immigrants. It was in this scene that some of the music also had to be changed; specifically, the introduction to the Love Song, written in an obviously eastern European mode. I replaced it with a setting of the same words to a variation of the song of the obviously Jewish Druggist and his son, thus making a comment of which I like to think Blitzstein himself might approve." Word changes in Sc. 4#1: "Oh, the mooner dreams about fornication. He opiates the population. For when poverty and war are distressing the nation Then to moon is grand as a sublimation. You moon and moon and never go wrong. But it's nicer at night to get as spaced as a station, Like you're Col. Bowman and I'm Niely Armstrong!" Instead of "when they can substitute Croon/Spoon": "when they can all have the Moon!" Other minor changes: Sc. 1 monetary amounts slightly inflated Sc.3 "Remember the Alamo! Remember our womanhood" became "Remember the Alamo! Remember the Pueblo!" [after the Gulf of Tonkin incident used to justify the Vietnam War] Sc.4 Mrs. Mister entered with ukelele, which she gave to Junior [the composer Bob Telson], who played it. Sc.5 Poles became blacks; Sc.8 "billy-clubs" added to arsenal envisioned by Mr. Mister Sc.10 "private park for their kids" became "gymnasium up on the hillside" (cf. Columbia Univ., 1968) "Black Legions," "Ku Kluxers," "Vigil-Aunties" became "Fourth Estaters," "Corporate Liberals," "'Value-Free' Fascists." Junior Mister entered on side, banging drum in the Finale.

W72 The Cradle Will Rock 283 preview articles W72.56.3 3/12/69 "Radicalism--Part el leven:[sic] Do the Masses Deserve Good Art? Can They Ever?" Harvard Crimson p.3, 5-6: Imam, Salahuddin I., "Mass Art Is Good Art"; Frosch, Jim, "A Fable for Aesthetes"; LJL, "Rock is Not the Answer," begins by quoting, in full, W72 Sc. 6 #3 lyrics: "So wrote the great American, then-Communist, playwright and composer, Marc Blitzstein, in 1938 [sic]. The Cradle Will Rock predicted an ignominious but beautiful end to what seemed to be the root of all evils of the world, or at least of America: capitalism. But something happened. Scarcely twenty-five years later, Blitzstein was working on an opera subsidized by that greatest capitalist of them all, Henry Ford--or the Foundation named for him, anyway...." [W123]. P9 4/69 LJL, "The Threepenny Cradle: A Study of The Threepenny Opera and The Cradle Will Rock,..." "To Professor Harry Levin and to Becky Kaplan Who I Hope Will Read This" Levin's comment on title page: "A - You've obviously put a great deal of concern into this, gathered some valuable materials, and made some interesting comments. Good luck on your production!" [He became its sole patron(!).] p. 15: W72 "is not a comedy, ...despite the happy ending. Its central themes are dual and dead serious. First, that when the 'final wind' blows (a metaphor for the 'final conflict' of the International no doubt), the cradle, meaning the Establishment--Mr. Mister, his family, and his Union of Associated Stooges (a title bestowed by Howard da Silva (Larry Foreman) on the original cast recording, with a line not appearing in the printed Random House edition), the self-styled Liberty Committee--will fall. Second, the middle class has a choice to make, 'between the top crowd pressing down and the bottom crowd coming up,' and the only honorable choice is with the latter, through unions. All people who call themselves apolitical or value-free 'professionals' and who do not side with the people are really professional prostitutes, selling out their talents to the whims of the big money-bags. Next to their whoredom, the Moll is as innocent as an undefiled virgin." p.15-16 Sc. 1 "The continuous music... is positively brilliant.... But the most brilliant stroke of genius comes in Blitzstein's portrayal of the Liberty Committee which enters declaiming its innocence (to a "Cop" mistakenly arresting them) in complex, high-falutin' 7/4 time!" p.16 Sc. 2 "In Nightcourt, around which the play centers, the class lines are drawn, with Harry Druggist, despite 'traces of a once-comfortable middle-class life,' siding with the unfortunate Moll.... By the end of the play he and the Moll have found class-consciousness. Thus, while Brecht and Weill showed the underworld with middle-class habits, Blitzstein shows bourgeois society as criminal underneath. The message is similar, but Blitzstein's is clearer, at least to Americans, and although dated by its preoccupation with unionism, even more brilliantly written than Threepenny, in my opinion."

284 W72 The Cradle Will Rock p.16-17 Sc. 3 "The Mission Scene is the most innately perfect scene in this tight play. It is often performed separately, sometimes without music; although written to be completely sung, it is also the most operatic of all the scenes. The juxtaposition of 1920's-type jazz with imitation-Bach 'churchy' material is absolutely devastating in exposing the real function of the man of the cloth, from a Marxist point of view." p.17 Sc. 4 "Contains a parody of the Rudy Vallee-type 'Croon-Spoon' (moonJune) song popular in the late '30s.... 'Honolulu' [is] another mock-popular song and a tremendou change in mood...." Sc. 5 "is again almost entirely sung or spoken to music, except for some short dialogue in the middle. The calm, happy, peaceful music of the middle-class Harry Druggist of old rapidly becomes agitated when Bugs, who is obviously working for Mr.Mister, threatens him with mortgage foreclosure unless he and his son cooperate in a scheme to get rid of a certain 'Polock' who has been getting a little uppity lately, talking union around the factory. It is obviously a scare-tactic, and also lets out some anti-immigrant prejudice. (Since this is no longer much of an issue, at least in this area, I do hope Blitzstein doesn't turn in his grave when we change the Poles to blacks.) Their song is the most sentimental in the play (an instrumental and a tempo change will be the only ones made in crossing the color lines), but the harmonic structure is so original that the ear is baffled. The piece is almost atonal!" p.17-18 Sc. 6 "Yasha the violinist (obviously a take-off on Heifetz) and Dauber the artist" sing "'Art for Art's Sake,' ...the most brilliant autobiographical writing a serious composer has ever achieved." p.18 Sc. 7 "is the crucial scene in the play." See MB's description of #1 in A33 1-2/38, above. [Pencilled comment in margin by Harry Levin re Sc.7#1: "It's the most Brechtiansong."] Sc.7#2, "explaining why the agitator was arrested, is one of the most arresting segments in the play." p.19 Howard da Silva sang it "to the crowd in the streets" opening night. Sc.7#3, the title song, is "the most chilling, the most threatening, and the most brilliantly original revolutionary song ever written by an American, I think." Sc. 8 "College University... on military training. (Plus ça change...)" Sc. 9 "Mr. Mister [describes]... a 'machinist who got hurt,' ...one who had "been trying to put over this new union stuff on the employees...The kind that is never satisfied.' A Walter Mitty of the left, no doubt." [This was a phrase used by at least one university administrator to describe protesting students in 196869.] Sc.10 "the tour de force..." p.20 "... the Moll quitely reprises her first conversation in the jail and then 'The Nickel Under the Foot' in what Blitzstein calls 'counterpoint-foreground.' [A33 1-2/38] The music climaxes, and slowly, deliberately, accompanied by silence of the most dramatic kind, Larry [Foreman] tells Mr. Mister" what he can do with his bribe: "...take all that money and go buy yourself a big piece of toast." Then suddently there are sounds of instruments and voices reprising the title song from all over, outside the jail. The bugles are being played by the boilermakers, the fifes by the roughers, the drums by the rollers, and it all spells

W72 The Cradle Will Rock 285 steel, in a general strike and march. 'The people of this town are growing up... thousands of them,' taking their destinies into their own hands." p.22n "Despite his general praise of the show, Virgil Thomson [W72.1.1 56/37] called this announcement [of a new day--Gassner, 12/37] 'hokum' and 'opium for the people,' for which may very nicely go to hell." [Another Levin comment, on Virgil Thomson's dismissal of Kurt Weill: "typically supercilious"] p.23 "In sum,... both" T9 and W72 "are works of genius which reflect their audiences in a didactic but brilliant mannter. And this, rather than scandal, sex, or 'catchiness,' has been the main reason for their frequent revival and continued popularity." Re the "leftist front" described by Thomson [5-6/37]: "Was there 'a leftist front' then? Or was it being suppressed the way Cradle almost was?" [Pencilled marginal comment by Harry Levin: "Its principal organs of expression were the Federal Theater Project and the Group Theater (Odets, Clurman, Strasberg, Kazan, the Adlers, etc). After the war started, in the forties, these groups split up and individuals went their separate ways."] p.24 "In an age such as ours,... it might be relevant to ask what happened to the audience that once was known as the 'leftist front'" Was it killed by the War" Or by the Cold War? (Can it be reborn in the New Left?) Or is it simply a lack of the courage-combined-with-genius that was Brecht, Weill, and Blitzstein?" letter P9.1 10/31/72 William Austin to LJL re P9: "Very nice essay. I'll look forward to future developments of your thought along these lines. Amy Rubin promises to study Cradle." (She did, and wrote on it in a paper on jazz & American opera.) P34.1 2/14/91 "From Leonard To Leonard: Another Roslyn Resident Has Memories Of Leonard Bernstein," Roslyn News, p.3, 31. Quotes 11/69 letter from Elie Siegmeister to LJL: "The soul of Marc hovers over Cambridge tonight! -E.S." review W72.56.4 11/12/69 Bishop, Michael J., Harvard Crimson 149:124 p.2: quotes much from W72.80.1...: "a relevant and exciting piece of theatre.... dated only by the use of labor unionism as a controversial topic. The rest of the play is surprisingly timely.... Paula Hajar... and Peter Cignetti... give outstanding performances.... Yes, the cradle will rock and hopefully the bough will break.... But Blitzstein never quite answers the question we've all been wondering about: how do we break the bough? Corporations buy off the newspapers and the universities and the arts need private money to sustain themselves and the church needs those contributions and the people who have the money are screwing those who don't and you're convinced. Now all you need is direction for the fight, and Blitzstein doesn't provide that. He just makes you angry. ...The need still exists for people to wrest control of their lives from the governments and businesses and the men who pander themselves to money and power. This Saturday [at the anti-war march on Washington] the memory of men like Blitzstein will be honored....

286 W72 The Cradle Will Rock President Prexy sounds just like [Harvard president Nathan] Pusey and [Columbia president Grayson] Kirk and [U.S. president Lyndon B.] Johnson. The newspaper editor talks just like the established liberal newspapers we're all getting sick of reading. And the cops and the courts are the same cops and courts who are producing the circuses in Chicago and Cambridge. ...Songs always strengthen movements.... A revival of this fine piece serves to remind us how politically powerful good theatre can be." W72.57 11/11/69 special afternoon perf at Cohen Auditorium, Tufts Univ., to benefit student strike there: same cast as W72.56, except Dick McCarty played Steve and LJL played Gent, Dauber, Clerk, Prof. Mamie, Second Reporter, and Mr. Mister. Fl: Faith Dickerson; Hn, Perc & Tpt: Bill Grossman; Pno: LJL, Norman Siegel, William Grossman. review W72.57.1 c. 11/12/69 Jakoplic, Jim, "The Cradle Will Rock," Tufts student newspaper: "In a rare display of togetherness with the Tufts Community[,] Harvard's Loeb Experimental Theater presented... a radical worker's opera... ...[I]n strange and inadequate surroundings... it is enough to say that the Loeb people did the best they could, which, under the circumstances, was admirable.... The fly-sheet advertisements... promised a play that was 'written in 1937, but could have been written this morning.' ...It is undeniable that there are serious problems in America today (more serious than in 1937 only because more people are aware of them) but to... make any one class or group or idea wholly responsible for this country's wrongs is to engage in irrationality.... Whatever ability 'The Cradle Will Rock' might have had to make a positive statement about the virtues of radical social reform and the corruption of power was lost in its own oversimplifications and obscuring didacticism." book W72.57.2 1969, 1974 Hitchcock, H. Wiley, Music in the United States: A Historical Introduction, Englewood Cliffs NJ: Prentice Hall, Ch. 9, p.208-9: "raised the Broadway musical to an exquisitely calculated level of harsh refinement." Quotes text of Sc.6#3; gives mus. ex. of Sc.4#4 m.1-12, noting: "subtle transformation of popular song style: the clichés of the vocal line are cancelled out by the freshness of the accompaniment, with its irregular texture...; its offbeat accentuation of the bass under the raucous refrain; and its acrid inversion of a dominant ninth.... [P]eriodic revivals of" W72, "as well as the success of" W107 "and his powerful translation and adaptation of" T9 "suggest that it was not so much the message as the music that was significant in Blitzstein's art." See also W78. thesis P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.295-314, 379-96.

W72 The Cradle Will Rock 287 thesis review P2c.1 1974 Berlin, Edward, Current Musicology 18 p. 120-6: Sc.3 "is a classic example of Blitzstein's disposition to affect a commonplace manner while achieving an uncommon result." In the parody of a Bach chorale, "every other chord change is omitted! Could it not be that Blitzstein is suggesting that there is something essential lacking in the Reverend?" excerpt perf W72.58 12/10-12/70 Sc.7#l perf'd by Katya Brous; LJL, pno; Lowell House, Harvard, as intermezzo in triple-bill of W54, W75 & Trouble in Tahiti. articles P11a 1973 Siegmeister, Elie, "Marc Blitzstein," in The New Music-Lover's Handbook, p.536-8: W72 "his masterpiece.… was for New York audiences of 1937 what" T9 "had been for Berlin theatergoers of 1927: a bold attack on the social evils of the time." Sc.7#1 "could have been written by no other composer." P13 1/74 Zakariasen, William, "Pop music by classical composers," High Fidelity/Musical America 24:1 p. 100: "a high point... the 'social musical'" W72, which he wrote in 1937 [sic: 1936]. This is a popular musical show par excellence, different only in that during the Thirties musical social commentary was virtually unheard on the Broadway stage. As it turned out, the work was banned, though it made quite a hit before an invited audience and later as a recording. Ironically, its first fully staged performance was given in 1959 [sic: 1960] by the New York City Opera." See also W95, W107. W72.59 5/11-5/28/78 Lyric Theater of NY, 18th St. Playhouse prod. Neal Newman, prod./dir., Bruce Coyle, pno; Costumes: Susan Cox; Choreog.: Colleen Heffernan. Larry Foreman: Mel Black; Mr. Mister: Dominic Guastaferro; Mrs. Mister: Marjorie Burren; Sadie: Karen Siegel; Editor Daily: Jon Arterton; Moll: Jane Milne; Harry Druggist: Charles Dietrich; Rev. Salvation: Maximilian St. James; Yasha: Jay Aubrey Jones; Dauber: Alvin Railey; Dr. Specialist: John Dennehy, Jr.; Jr. Mister: Paul Canestro; Sister Mister: Kathryn Morath; Gus: Michael Lopez; Ella: Terest Elwert. reviews W72.59.1 5/13/78 Ericson, Raymond, "Lyric Troupe Stages 'Cradle Will Rock," New York Times p. 14: "Parts of the book and lyrics are embarrassingly trite and predictable. The satire is too crude to be funny except on rare occasions. Yet the composer's raw anger has a power that often cuts across the stage like a knife... The music is brilliant." incl. Friedman-Abeles 1957 photo of MB: "His play has enough virtue to warrant revival again and again." W72.58.2 5/29/78 Porter, Andrew, "Musical events," New Yorker 54 p.89-90: "powerfully affecting"

288 W72 The Cradle Will Rock article W46.2 Summer 1979 Dunaway, David King, "Unsung Songs of Protest: The Composers Collective of New York," New York Folklore 5:1, p.1-19: MB's "musical," W72, "successfully used show tunes for 'agit-prop' purposes." W72.60 1979 Unity Theater Collective prod. [not to be confused w/Unity Theatre, London, 1951] (R20#328-339); pno/cond/Clerk: Marge Rusche; dir.: Ben Boardman, Kate Jones-Randall, Laurie Witzkowski, Bob Wohlhuetter. Moll: Robin Skeie; Gent/Harry Druggist: Jan Backlund; Cop/Larry Foreman: James Black; Rev. Salvation: Bob Wohlhuetter; Editor Daily/Gus Polock/Prof. Trixie: Michael Collier; Yasha/Bugs/Prof. Scoot: Barry Kleider; Dauber, Stevie/Reporter#2: Kate Jones-Randall; Pres. Prexy: Lenore Burgard; Jr. Mister/Dr. Specialist: Paul Tirrell; Mrs. Mister/Prof.Mamie/Reporter#1: Shelly Hatton; Sister Mister: Penne Scott; Sadie Polock/Ella Hammer: Laurie Witzkowski. Prog. notes, incl much analysis: "the opera was finished... during the summer of 1936 while the composer was living with Kurt Weill and Lotte Lenya, just arrived from Europe..." [sic!] "...each scene is a social for[u]m, which can be linked with those of the 1970's, revealing in the process the similarity and difference between now and our past.... This work was created by a man who today would be seventy-four years old.... we need to ask ourselves... if we are making demands on contemporary composers and artists so as to mobilize them to created something of our world as lasting as" W72. exc. perfs W72.61 3/1/80 Eric Gordon performs exc. "and some lesser known" songs at People's Voice Cafe, NYC "including two New York premiers[sic]" (R17#353-4) W72.62 2/6-20/81 UCLA prod., Little Theater, Schoenberg Hall; John Hall, dir.; David Foster, pno. Moll: Ann Ainsworth/Arden Lewis; Gent/Gus Polock: Jim Reeder; Dick: Ricco Ross; Cop: Joe Cornicelli; Rev. Salvation: Steve Steinberg; Yasha: Lucas Richman; Dauber/Bugs: Steve Fickinger; Pres. Prexy: Judy Berkowitz; Prof. Trixie/Jr. Mister: Paul Townsend; Dr. Specialist: Paul Wong; Harry Druggist: Jim Ward; Mr. Mister: Glenn Rosenblum; Mrs. Mister: Pamela Lloyd; Sister Mister: Martha Swartz; Steve: Casey Nicholaw; Sadie Polock: Allison Ehlers; Larry Foreman: Scot Reese; Prof. Scoot/Clerk: Jason Ma; Ella Ham[m]er: Lynn Jackson; Reporter/Prof. Mamie: Jeff Osser. P20 9/25-27/81 "[Martha] Schlamme and [Alvin] Epstein Sing Bernstein and Blitzstein," Steven Blier, pno; HB Playwrights Foundation, NYC, incl. Sc.3; 4#1; 6; 7#1&3 +W95III:2; W107I:7c & II:2#5; W117I:4, I:5#2 & II:4. review P20.1 10/8/81 Dyer, Richard, Boston Globe, Arts/Films, p.1: cites Sc.3 & Sc.7#1 as best perf'd.

W72 The Cradle Will Rock 289 W72.63 5/83 Ravinia Festival prod. W72.64 The Acting Company prod. 6/1983 Saratoga Performing Arts Center Little Theater; 5/5-5/29/83 American Place Theater; 7/83-9/4/83 Douglas Fairbanks Theater. John Houseman, dir.; Margot Harley, prod.; Michael Barrett, mus. dir./Clerk). Moll/Sister Mister: Patti LuPone; Gent:/Editor Daily: Tom Robbins; Dick/Jr. Mister: Henry Stram; Cop/Gus: Casey Biggs; Rev. Salvation/Prof. Trixie: James Harper; Yasha: Gerald Gutierrez; Dauber/Larry Foreman: Randle Mell; Pres. Prexy: Paul Walker; Sadie: Laura Hicks; Prof. Mamie/Harry Druggist: Brian Reddy; Dr. Specialist/Bugs: Charles Shaw-Robinson; Mr. Mister: David Schramm; Mrs. Mister: Mary Lou Rosato; Steve/Prof. Scoot/Reporter#1: Daniel Corcoran; Ella Hammer: Michele-Denise Woods; Reporters#2&3: Susan Rosenstock, Laura Hicks. Trumpet: Jayne Hill; Piccolo: Susan Owens; Percussion: Larry Spivack. National tour 1984 [incl. Hartford CT--see W123.12.2]; Summer 1985 Old Vic, London. Play opened with 12-minute speech by Houseman, later replaced by Mell. preview article W72.64.1 5/1/83 Leiter, Robert, "A New Look at The 'Cradle' That Rocked Broadway," NY Times: "Some have... described the work as a musical 'Waiting for Lefty.'" Quotes Houseman: "The only aspect of the work that's dated is Mark's [sic] excessive love of unions. There are other themes--the fact that artists sometimes sponge off the rich and that doctors and newspaper editors don't always have the most impeccable morals--which still makes sense to us today.... There are those, like Leonard Bernstein, who believe that Marc has had a great and largely unacknowledged influence on American music." MB's "career has yet to be properly evaluated. His defection from the ranks of modern music displeased the serious critics. And Broadway never quite made up its mind about his decidedly eclectic style, where jazz and blues alternate freely with waltz tunes and chorales." Ned Rorem and Andrew Porter cited as supporters. Houseman: "...the more I rehearse the play, the more I'm convinced it's a remarkably rich work. It makes most other musicals look pale by comparison." incl. Martha Swope photo of John Houseman, Patti LuPone and cast members. See also P21. reviews W72.64.2 5/10/83 Rich, Frank New York Times: 6/16/37 "surely one of the great adventure sagas of the American theater.... When, at the end, the entire company storms forward to cry out a final plea for justice, you'll feel those goosebumps that come when the past suddently rises up and grabs you by the throat." incl. Martha Swope photo of Patti Lupone. See also W117. W72.64.3 5/23/83 Oliver, Edith, "Off Broadway: John Houseman & Co." New Yorker p. 103-4: "in spite of some foolish passages it holds up surprisingly well... Up the workers!"

290 W72 The Cradle Will Rock W72.64.4 5/24/83 Rogoff, Gordon, "Theater: Rock 'n' Prole," Village Voice 28 p.87: "lyrical conviction works as it does in Beethoven's Fidelio: for an instant, an absolutely unreal, unbelievable optimism is allowed to make a world of its own... The theater, after all, is the only place to go for momentary rescue from such believable realities as the media and that Mr. Mister of Real Estate interests, our own disgusting Mayor." Caption to cast photo by Martha Swope: "The Working Class confronts all the Misters" W72.64.5 6/6/83 Porter, Andrew, "Musical Events: Thalia," New Yorker p.112: MB's "sharp, moving, unfaded comic opera" W72. "Let me... hope that a revival of" W78 "is on the way." W72.64.6 7/25/83 Kalem, T.E., "Gutsy Proles," Time. W72.64.7 7/29/83 Robertson, Fran, "'Cradle' Cast Revives The Spirit of the 30's," "Basic Concern: Enough to Eat," "The Stage as a Soapbox," NY Times: "Howard Da Silva... said we were very energetic, but what we lacked was a sense of humor.... 'Don't take it so seriously, he told us. 'We used to laugh a lot.'" +Martha Swope photo of Michele-Denise Woods. W72.65 (licensed 12/31/85) recording: LP That's Entertainment Records ZC TER 1105 & cassette; also video: #12051; reissued on CD JAY2 1300; audio recorded, London 9/1 & 9/9/85; video, Kennedy Ctr, Washington DC WGBH TV 11pm 1/29/86 telecast; 7/18/87 California telecast Ch.28 +KUSC & KCPB reviews W72.65.1 1/29/86 Holden, Stephen, "TV Review: 'The Cradle Will Rock,' Blitzstein's Labor Opera" - photo of Patti LuPone as Moll - with "luminous sensuality"; "acted with a verve and passion that make its black-and-white view of society crackle with emotion.……the opera's uncompromising vision of power and oppression still has teeth and a feisty black humor." W72.65.2 7/18/87 Segal, Lewis, "Strong 'Cradle,' Woozy 'Omo" on PBS," Los Angeles Times p.13: "Potent stuff esp. Sc. 4#1, Sc.9#2; LuPone "exudes star presence.. but glosses over some of the work's most biting lyrics..." W72.66 3/84 Whitney Museum, NYC perf. W72.67 1984 German prem. (in German, according to MtM, p.539; in English according to Gershon Kingsley, who conducted & reorchestrated it for chamber ens, incl. synthesizer), Recklingshausen, West Germany. book W72.68 Welles, Orson, "The Cradle Will Rock: An Original Screenplay," begun c. 1984, publ. posthumously, 1994; ed. & intro. James Pepper; afterword Jonathan Rosenbaum, Santa Barbara: Santa Teresa Press; partially inspired W72.101 film. (See also P19c 9/88 below.) article W72.68.1 8/29/84 "Welles to make U.S. helming return with Cradle Will Rock," Variety 316 p.6f.

W72 The Cradle Will Rock 291 articles P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: Sc.3 similar to scene in Paul Green-Kurt Weill Johnny Johnson. Sc.8 "Mamie and Trixie... names suggest prostitutes." "...the first reviews paid more attention to" MB "the parodist than to" MB "the impassioned crusader." P23 3/85 Duemling, Albrecht, "Sein Schwerpunkt war das Musiktheater: Marc Blitzstein zum 80. Geburtstag,"Neue Zeitschrift für Musik 3 p.46: "sensationelle Erfolg... politiscshe Brisanz... ungewohnte Aufführungsform... Blitzsteins bestes Werk" W72.69 exc. perf 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall (P24) Sc. 5 #2 Cris Groenendaal (Gus), Meg Bussert (Sadie); Michael Barrett, pno; Sc. 6 Jeff Keller (Yasha), Cris Groenendaal (Dauber), Betty Comden (Mrs. Mister); Michael Barrett & Steven Blier; Sc. 7 #1 Patti LuPone (Moll); Michael Barrett; Sc. 9 #2 Michelle-Denise Woods (Ella Hammer); Michael Barrett & Steven Blier; Sc. 10 Timothy Nolen (Larry Foreman), Patti LuPone (Moll), John Houseman (Mr. Mister). W72.70 9/86 Skylight Comic Opera, Skylight Opera Theatre, Milwaukee WI prod. W72.71 3/16-3/19/88 California Institute of the Arts, Valencia, Calif. prod. W72.72 4/7-11/88 Texas Tech Univ., Lubbock TX prod. W72.73 5/3-14/88 National Theatre School of Canada, Montreal prod. W72.74 6/25-7/23/88 San Diego Repertory Theatre, San Diego CA prod., Balboa Thtr, Lyceum Stage Robert Benedetti, dir.; Fred Carama, mus.dir.; Mark Danisovszky as MB, pno; Mr. Mister: Drew Tombrello; Larry Foreman: William Anton; Harry Druggist: Arthur Mercer-Wagner; Yasha: Tom Nelis; Dauber: Summer Ronglie; +Duane Daniels, Craig Kollerk Richard Wright, Elizabeth Soukup review W72.74.1 7/1/88 Churnin, Nancy, "Angry Musical of 1937 Retains Risk, Relevance," Los Angeles Times (San Diego ed.), p.1: "if risk, courage and principles are still relevant, so is this play... about standing up for what one believes in despite pressure." report P19c 9/88 Gordon, Eric A., "A Night at the Opera," Opera News 53:3 p.67: "The film about the circumstances surrounding" W72's "birth pangs, begun by Orson Welles shortly before his death, has been optioned by another producer."

292 W72 The Cradle Will Rock W72.75 9/1-30/88 The Castaways Co., Kearney NJ prod. W72.76 3/9-18/89 Univ. of Colorado, Boulder prod. W72.77 4/7-4/23/89 Honey Players, Waltham MA prod. P19e 1989 MTM p.137-41, 162-6, 309-15, 465-9. exc. perf. W72.78 (P27) 9/20/89 Merkin Hall, Voices of Change: American Music of Protest, Politics and Persuasion: Sc.7#1 perf'd by Marni Nixon; Steven Blier, pno. Recording: David Litofsky. W72.79 exc.recording 1990 Koch (P32) William Sharp, Karen Holvik; Steven Blier, pno; incl. Sc.4#1, Sc.7#1&3. W72.80 exc. perfs A Blitzstein Cabaret P28: P28e-i 3/2/90-4/26/92 incl. Sc.7#1&3; P28o 6/27/04 First Unitarian Society of Madison, WI, incl. Sc.6#3, Sc.7#1&3. A Blitztein-Bernstein Cabaret P33, incl. Sc.7#3: P33a-d 1/7/90-6/12/05. W72.81 10/19-28/90 Catholic Univ. of America, Wash. DC prod. W72.82 8/23-9/1/91 Villager's Theatre, Inc., Somerset NJ prod. W72.83 11/1-15/91 Univ. of Arkansas, Fayetteville prod. W72.84 1/23-2/2/92 University of Utah, Salt Lake City prod. book W72.85 1993 Dizikes, John, Opera in America: a cultural history, Yale Univ. Press p.464-6: MB "created an opera of enduring charm and reminded people of the political potency of opera." +photo of MB ^ cast (from FTP Collection at George Mason Univ.). article P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: Musical example shows Sc.4#4 similar to Philip Wingate's "I Don't Want to Play in Your Yard." Quotes words of Sc.6#3. See also W69. W72.86 9/21/93-10/25/97 Edith Cowan University, Mount Lawl[?], Australia, prod. W72.87 10/3-10/10/93 Oberlin Coll. prod.

W72 The Cradle Will Rock 293 W72.8789/16-11/6/94 Blank Theatre Co., Silverlake [Los Angeles], Calif. prod. Daniel Henning, dir., set & Jr. Mister; Stephen Bates, mus.dir./pno, Clerk, Attendant; Narrator: Ron Louis; Moll: Sandra Terry; Gent:/Stevie/Reporter#2: Christian Meoli; Dick/Gus/Prof. Trixie/Reporter: Adam Baratta; Cop/Bugs: Brien DiRito; Rev. Salvation: Christopher Carroll; Editor Daily: Harry S.Murphy Yasha: David Shine; Dauber: Jordan Lund; Pres. Prexy: Ezra Weisz; Dr. Specialist: Stephen Poletti; Harry Druggist: Lenny Wolpe; Mrs. Mister: Mary-Pat Green; Sister Mister: April Dawn; Mr. Mister: Peter Van Nordern; Sadie: Cynthia Hunt. reviews (3 - of 11) W72.88.1 Brandes, Philip, "Best of the Weekend," Los Angeles Times W72.88.2 Hernandez, Martin, Los Angeles Weekly "fervent, catch[y] score and earthy humor complement the piece's revolutionary politics..." W72.88.3 Taus, Roger, "hidden classic... a theatrical coup..." Los Angeles Theatres Magazine. W72.88a 1995 Lockett Palmer recording of W72.87: LPR 940411. W72.88a.1 Notes by Eric Gordon & by the Director. review W72.88a.2 Los Angeles Times: "Best of the Year..." W72.89 10/21/94-2/12/95 Splinter Group Theatre, Chicago prod. W72.90 11/3-11/12/94 Univ. of Wisconsin/River Falls prod. W72.91 staged exc. perfs P39 3/2,10-12/95 A Blitzstein Cabaret, Medicine Show, NYC, accomp. by LJL Sc.6 James Barbosa, Jerry Lazar, Barbara Vann (also Sc.9#2); Kathleen Cuvelier (Sc.7#1) P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," White Barn Theatre, Westport CT: Sc.4#1, Sc.7#1 Emilie Roberts, Mark Basile; Julie Janney; Charles Wade. W72.92 12/6-10/95 Amherst College, Amherst MA prod.

294 W72 The Cradle Will Rock book W72.93 1997 Block, Geoffrey, Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim, Oxford Univ. Press, Ch. 6, p. 115-134 "The Cradle Will Rock: A Labor Musical for Art's Sake" p. 11 Sc.4#1 "satirizes the vapidity of ephemeral popular music"; Sc.6#3 "indicts the equally vapid mesages of so-called high art, the purposes to which art is used, and the blatant hypocrisy of some artists." p. 121-3 analyzes unconventional harmonization ('relatively rare... blue fifth") and asymmetrical phrases. p. 124-6 harmonic analysis of Sc.4#2; p. 126-7 on asymmetry of Sc.4#4. p. 129-131, p.366n36 explores possible significance of the Beethoven Egmont Overture quote in Sc.6. p.132 "few musical works of its time[,]... and few works since, combine Blitzstein's call for social action with a vernacular of such musical sophistication and, yes, artistry." MB's W72--"cult musical, historical footnote, and agent of social change--might, even as it agitates and propagandizes, someday achieve the recognition it deserves as a work of musical theater art (for art's sake)." Mentions W35, W52; quotes A23, A30, A31. See also W107, T9. W72.94 1/31-2/9/97 Unitarian Church, Princeton NJ prod. W72.95 2/12-23/97 Equity Showcase Theatre, Toronto prod. W72.96 2/13-22/97 New York University prod. W72.97 8/12-23/97 BAC Opera Festival, "National Theatre of the Fringe," Southwark Playhouse, Battersea Arts Centre, London, UK prod. Mehmet Ergen, dir.; John Jansson, mus. dir.; Fumiko Thomas, prod. Moll: Ysobel Gonzalez; Gent/Prof. Mamie/Jr. Mister: Bob Newent; Dick/Bugs/Reporter: Jerome Wright; Cop: Tim Barton; Rev. Salvation: Gareth Owen; Editor Daily: Russell Wilcox; Yasha: Christopher Holt; Dauber: Alexander Giles; Dr. Specialist: Russell Bentley; Pres. Prexy: David Forest; Prof. Trixie/Steve: Miles Western; Harry Druggist: Morgan Deare; Mrs. Mister: Kay Montgomery; Sister Mister/Attendant: Terri-Ann Brumby; Mr. Mister: Aaron Shirley; Sadie: Louise Davidson; Gus/Prof. Scoot/Reporter: Anthony Clegg; Larry Foreman: Nathan Osgood; Ella Hammer: Yvonne Pascal. preview article W72.97.1 8/9/97 Hunt, Brian, "In a van to the vanguard," Daily Telegraph posted on Jansson's website. W72.98 10/16-11/8/97 Roosevelt Univ., Chicago IL prod.

W72 The Cradle Will Rock 295 book P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p.127-8: "...a morality play... aroused much negative criticism... mostly because of the implications of its text." W72.99 10/21-11/20/99 American Century Theatre, Arlington VA prod. Jack Marshall, dir.; Tom Fuller, mus. dir. simulated breaking into locked theater; privately videotaped. W72.98.1 Fuller, Tom, "Marc Blitzstein: From Elitist to Iconoclast" in Audience Guide <www.americancentury.org/cradleguide.htm> See under W127. W72.100 10/28-11/6/99 Brand X Musical Theatre, Risley College, Cornell Univ. prod. W72.101 12/8/1999 Cradle Will Rock Touchstone Pictures film written and directed by Tim Robbins; [Working title Group, Inc., Beverly Hills, Calif. licensed work 8/7/92-8/6/97] Produced by Jon Kilk, Tim Robbins, Lydia Dean Pilcher; Casting: Doug Aibel; Executive Producers: Louise Krakower, Frank Beacham, Allan Nichols; [Incidental] Music: David Robbins Piano/Conductor: Steven Tyler. MB: Hank Azaria; John Houseman: Cary Elwes; Hallie Flanagan: Cherry Jones; Orson Welles: Angus MacFadyen; Olive Stanton: Emily Watson; John Adair: Jamey Sheridan; Aldo Silvano [Italianized version of Howard Da Silva]: John Turturro; Harry Hopkins: Bob Balaban; Bertolt Brecht: Steven Skybell; Eva [Goldbeck] Blitzstein: Susan Heimbinder; [off-camera] "Joe Worker" Singer [Blanche Collins (Ella Hammer)]: Audra McDonald; Liberty Committee #1 & 2: Robert Ari, Michele Pawk; Stagehand: Emma Smith Stevens; National Guardsman: Rob Carlson; Reporter: Alison Tatlock; Dream Larry Foreman: Gregg Edelman; Dream Cop: Matthew Bennett; Dulce Fox [who actually played Sister Mister, here playing Mrs. Mister]: Victoria Clark; Sandra Mescal [Sister Mister?]: Erin Hill; Will Geer [Mr. Mister]: Daniel Jenkins; Bert Weston [Editor Daily]: Timothy Jerome; Hiram Sherman [Jr. Mister - & Rev. Salvation]: Henry Stram; Canada Lee [?]: Chris McKinney; Abe Feder (lighting): Lee Arenberg; Lehman Engel [conductor]: Steven Tyler; Accordion: Charles Giordano. Musicians [who didn't play 6/16/37, but do so in film]: Jeffrey Kievit, tpt; Kenneth Finn, tb; Kenneth Hitchcock, cl; David d'Angelo, alto sax; David Ratajczak, perc. Off-camera musicians: Steven Tyler, Andrew Bird (vn.), Paquito D'Rivera (cl.). Other cast members not connected directly to W72 include [fictional characters in brackets]: Diego Rivera: Ruben Blades; Hazel Huffman: Joan Cusack; Nelson Rockefeller: John Cusack; [Gray Mathers:] Philip Baker Hall; [Tommy Crickshaw:] Bill Murray; [Countess La Grange:] Vanessa Redgrave; Margherita Sarfatti: Susan Sarandon; [Carlo:] Paul Giamatti; [Frank Marvel:] Barnard Hughes; [Sophie Silvano:] Barbara Sukowa; William Randolph Hearst: John Carpenter; Marion Davies: Gretchen Mol; Congressman (Joe) Starnes: Gil Robbins; Chairman Martin Dies: Harris Yulin; Paul Edwards: Ned Bellamy; [Butler:] William Duell; [Mama Silvano:] Lynn Cohen.

296 W72 The Cradle Will Rock reviews (among many) of film W72.101.1 12/12/99 Schiff, David, "'30s Politics Electrify 'Cradle' Movie, Explores Era of Social Unrest," Arizona Republic. W72.101.2 12/24/99 LJL, "Two Revivals of Great American Operas," Aufbau 65:26 p.17 on W72 & William Mayer's Death in the Family. "Cradle Will Rock" "...Tim Robbins has attempted, on a grand scale, to bring a 1990s consciousness to the work. Although ostensibly using only seven songs from the opera and crediting his brother David with 'the music' to the film, Robbins has in fact used--often inspiringly--bits and pieces from every scene but one and every number but one in the original Blitzstein. His topfree rehearsal jab at" Sc.4#4 "and concluding shot at" Sc.6#3 "are alone worth the price of admission." Sc.7#l, which appears three times--the last time unfortunately in a badlymangled, unmodulated quasi-improvisation--ought to get an Academy award for the year's best movie song, and probably would have if the wonderful actress Emily Watson had been given the time and the coaching to learn to sing it as well as I think she could have. ...The film's canvas is large, though the individual portraits of Blitzstein, Brecht, director Orson Welles, and producer John Houseman are less than threedimensional. Robbins has linked the story of Cradle's preparation as Federal Theater Project 891, and its June 16, 1937 opening despite a ban from Washington, with the (creation and) destruction of the Diego Rivera mural in the RCA Building at Rockefeller Center February 9, 1934 on the orders of the Rockefellers who had commissioned it--because the artist had chosen to include a portrait of Lenin and had refused to change it. (An interesting note, not mentioned in the movie, is that the hard line of Rivera's assistants, including Ben Shahn, whose painting of Sacco and Vanzetti inspired Blitzstein, was catalytic in the breakdown of negotiations with the Rockefellers.) Connecting these stories of public art, and its problematical patronage in both the public and the governmental sectors, is the delightful, fictional character clearly designed for Vanessa Redgrave: a countess married to an artpurchasing steel magnate, who defies her own class in order to partake of the excitement of rescuing the production of a proletarian play. In locating a piano to accompany the show in another theater, after the military closes the Maxine Elliott, she performs the role that was actually performed by the then very young and later quite well-known lighting designer Jean Rosenthal. Another fictional character serves a double function. The play's male lead, union leader Larry Foreman (originally called Larry Sickle, the counterpart of laborer Joe Hammer, but his name was changed to dilute the obvious Party link), was created by one of the greatest Jewish actors of all time: Howard da Silva. In the film, he is played by John Turturro and given the name Aldo Silvano, along with an Italian anti-Fascist background that fits right in with the militancy of the audience, who took over the unoccupied Venice Theater: their first action, which set the appropriate mood, was to tear down the flag of Fascist Italy. ...The use of accordion, clarinet, flute, trumpet, percussion and piano is almost à propos: Blitzstein originally envisioned a small instrumental group to

W72 The Cradle Will Rock 297 accompany his work, as was the case in the 1969 Harvard production. But the WPA forced a larger orchestra on him, and the government ban resulted in only a piano (plus a lone accordionist on June 16, 1937) being used at every other production since--excepting only the 1947 full orchestral premiere, conducted by Leonard Bernstein, and the badly miscast and misconceived 1960 New York City Opera production. (The German premiere, in Recklingshausen, used synthesizers, for better or for worse.) ...Blitzstein's life and work were full of irony. The movie, which couples his greatest moment on stage--playing and singing his opera while actors rose from the audience to join him--with the destruction of the RCA Building mural, will have its soundtrack issued on RCA Victor. And the foundation of Henry Ford, whom Blitzstein satirized in Cradle, commissioned his final work: the opera Sacco and Vanzetti, which will soon be ready for workshopping in time for the 75th anniversary of the death of those two anarchists in 2002, and production in 2005, the year of Blitzstein's centennial." W72.101.3 1/10/00 Kaufmann, Stanley, "Listening Again," New Republic, p.26-7. W72.101.4 1/13/00 Jonas, Marry, "Ambitious, deeply flawed," World Socialist Web Site: W72 "is a forgotten gem rarely done anywhere.... Entire sections and individual pieces, such as" Sc.7#1, "have a haunting beauty that stays with you for days afterward. I hope that this film generates interest in" MB. W72.101.5 2/00 Gustaitis, Joseph, "The Cradle that Rocked America," American History, p. 16-23 W72.101.6 5/02 Strick, Philip, Sight and Sound: (British Film Institute): "may not be all true but provides a concert of admirable variations." <www.bfi.org.uk/sightandsound/2000_05/cradle.html> W72.101.7 n.d. <www.homemadejam.org/cradle.html> answers many factual questions. W72.102 RCA Victor CD 09026-63577-2 recording of music from film, incl. songs from W72: 1. Sc.7#1 Polly Jean Harvey w/Rob Ellis, "recorded by Head" (other exc. prod. by Tim & David Robbins); 3. Sc.1#1(beg.) Emily Watson; 5. Sc.4#1 Eddie Vedder & Susan Sarandon; 7. Sc.9#2 Audra McDonald; 9. Sc.4#3 Erin Hill & Dan Jenkins; 10. Sc.4#4 Tim Jerome, Vicki Clark, Erin Hill & Dan Jenkins; 13. Sc.2 Henry Stram, Tim Jerome, Vicki Clark, Erin Hill, Dan Jenkins & Chris McKinney; 14. Sc. 3 Chris McKinney & Vicki Clark; 17. Sc.6#3 & exc. from #1 same performers as #10 above; 19. Sc.4#2 Henry Stram & Tim Jerome; 21. Sc. 10 Finale same performers as #10 & 17 above. recording reviews W72.102.1.1 1/2000 Cornerford, Jason, "Score: Reviews of Current Releases on CD: 'Cradle Will Rock,'" Film Score Monthly 5:1 p.44.

298 W72 The Cradle Will Rock W72.102.1.2 1/31-2/13/00 Kimpel, Dan, "Songwriter Profile: David Robbins A Composer Rocks the Cradle," Music Connection 24:32 p.19. W72.103 book re the film 2000 Robbins, Tim, Cradle will rock: the movie and the moment NY: Newmarket Press Foreword by Paul Newman, Introduction by Tim Robbins: The Movie and the Moment: "a positive, uplifting celebration of humanity, creativity, and freedom..." p.58 "The Cradle Rocks!" quotes Flanagan, Houseman, MtM and a few interviews and reviews. p.60-1 "Blitzstein: Composer & Enigma" photo of MB; discusses "Songspeil [sic: Songspiel] style", Brecht, Eva Goldbeck [Blitzstein], Virgil Thomson, Lillian Helmman, HUAC, Martinique. "Whether his murder was a result of gay bashing, a robbery gone awry, or a combination of both is impossible to know for sure. What is certain, though, is how deeply Blitzstein's influence pervades American musical theatre to this day. He is, as Leonard Bernstein once called him, 'irreplaceable.' Today, shades of Cradle may be glimpsed in socially oriented musicals from Les Misérables to Kiss of the Spider Woman." p.73 "Carlo... is singing a terrible aria.... MATHERS: What is he singing about, anyway? COUNTESS: I'm not sure. I think it has something to do with the woes of a cobbler. MATHERS: A cobbler? COUNTESS: A shoemaker. MATHERS: Ridiculous." This seems to be an oblique comment on class attitudes towards Nicola Sacco [and Bartolomeo Vanzetti]. p.116 "The Grand Finale" description of first night, and its reenactment. p.126-7 "Curtain Calls" On Howard da Silva and Olive Stanton. p.128 "A Grand and Glorious Ship" on Hallie Flanagan and FTP alumni, incl. Perry Bruskin. p.133f. "Afterword: Notes on the Making of the Film" by Tim Robbins; subheads: "The Shoot," "The Crew," "The Cast," "The Grand Finale," "Prostitution," "Censorship" p.142 Sources. concert exc. P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC: Victoria Clark, Lauren Flanigan, Malcolm Gets, Brooks Ashmanskas; Ted Sperling, perf: Sc.6, Sc.7#1. review P50.2 2/29/00 Vincentelli, Elisabeth, Village Voice, calls Sc.7#1 "Penny Under the Foot". W72.104 2/3-27/00 Langara College, Vancouver, British Columbia prod.; "a worker's opera": Robert McQueen, dir.; Sandra Head, mus. dir.

W72 The Cradle Will Rock 299 W72.105 2/11-13/00 Concord Academy, Concord MA prod. W72.106 3/30-4/3/00 Mizel Arts Center, Denver CO prod. W72.107 4/27-30/00 North Shore Players, Inc., Charles Hogan Auditorium, Danvers MA prod. Gerritt Turner, dir.; Charles Turner, mus. dir. W72.108 8/27-11/16/00 Jean Cocteau Repertory Theatre, NYC prod. David Fuller, dir.; Charles Berigan, mus.dir./pno; Moll & Ella: Elise Stone; Larry Foreman: Jason Crowl; Mr. Mister: Craig Smith; Dauber: Joke L. Garrett; Editor Daily: Tim Deale. reviews W72.108.1 8/29/00 Weber, Bruce, "Questions Raised by a Political Period Piece," NY Times E5: "musical position paper in defense of labor unions... high-minded, energetic and amusingly quaint" W72.108.2 9/5/00 Feingold, Michael, "Local heroes," Village Voice v.45#35 p.69: "an astonishing--and astonishingly witty-variety of musical means... Each scene is based on a different popular song form." Sc.3Pt3 "a manic Turkey Trot"; Sc. 8 "the one all-spoken scene... is a backhanded musical joke: These dry-as-dust characters have no music in them, an absence pointed up by their entrance and exit music, a quodlibet of the rousing college songs whose spirit they've betrayed." W72.108.3 9/16/00 Hoffman, Wayne, "On stage: The Cradle Will Rock," Billboard v.112#38 p.28: "musically... ahead of his time" W72.108.4 12/2000 Kerner, Leighton, "In Review: From Around the World: New York City," Opera News 65:6 p.94; "it's easy to forget how good the show is... lots of lyrical freshness". W72.109 5/24-26/01 Northwestern Univ., Evanston IL "Spring Opera" prod. Rhoda Levine, dir./choreog.; Frederick Ockwell, mus.dir./pno. W72.110 6/30-9/30/01Will Geer Theatricum Botanicum, Topanga, Calif. prod. Ellen Geer, dir. & Ella; Mr. Mister: Thad Geer; Sister Mister: Willow GeerAlsop; Moll: Melora Marshall; Rev. Salvation: Steve Matt; Editor Daily: Richard Shorrell; Dr. Specialist & Bassist: Tom Allard; Mrs. Mister: Gillian Doyle; Jr. Mister: Jeff Wiesen; Druggist: Terence Evans; Larry: Aaron Hendry +Herta Ware (widow of Will Geer, mother of Ellen, Thad & Melora; grandmorther of Ian & Willow); Louis Durra, pno; Ian Flanders, drums. review W72.110.1 7/3/01 Phillips, Michael, "Theater Review: 'Cradle' Has Strong Work Ethic; Theatricum Botanicum's productions of Blitzstein's 1937 play about labor is uneven, but engaging," Los Angeles Times p.F2: "Hordes of working men and women, fed up with business as screwsual, march down the theater aisles.... Then, at the curtain call, the characters' signs saying 'FEED THE POOR' and 'STOP WPA LAY-OFF' are flipped to reveal a host of new concerns: 'MEAT IS MURDER,' and "Stay Out of Our Wombs,' and 'KYOTO ACCORD NOW,' And it works."

300 W72 The Cradle Will Rock P53 8/01 exc. recording A Marc Blitzstein Songbook Orig Cast CD OC-4441 (P49) incl. Sc.7#l Helene Williams; LJL, pno. W72.111 8/17/01 Camp Kinderland, Tolland MA prod. W72.112 10/4-27/01 New Line Theatre, St. Louis MO prod. 10 perfs +1 preview at ArtLoft Theatre, in conjunction w/HotHouse Theatre prod. of (P45 1/99) It's All True; Scott Miller, dir.& pno, author of Rebels With Applause: Broadway's Ground-Breaking Musicals (Heinemann), incl. chapter on W72. Moll: Victoria Thomas; Mr. Mister/Yasha(?): Thomas Conway; Mrs. Mister: Cindy Duggan; Jr. Mister: Jedediah Heath Wilson; Sister Mister: Molly McBride; Larry: Aaron Benedict; Ella: Alison Helmer; Editor Daily/Dauber(?): Terry Meadows. preview article W72.112.1 9/23/01 Newmark, Judith, "In the Era of Political Theater, the Plays Came Straight Out of the Headlines," St. Louis Post--Dispatch p.G3. reviews W72.112.1a 10/7/01 Ibid., "Musical Is Frankly Political, Stylized and Exciting," p.C7. W72.112.2 10/10/01 Hohlfield, Brian, "Labor Pains: The New Line Theatre presents a legendary play that tackles unions, press, religion, the rich, even musicians and artists," St. Louis Riverfront Times v.25#41: "spirited, entertaining... American expressionism"; Sc.5#2 the "one number" that "is character-driven and expresses any emotion.... Some of the material seems fresh, especially" Sc. 3 "echoing Duck Soup :... absurd and chilling at the same time, the perfect blend of musical form and content." W72.112.3 St. Louis Post-Dispatch: "Most Ambitious Production of 2001". W72.113 11/8-10, 11/15-17/01 Northern Virginia Community College, Woodbridge VA prod. exc. perfs P54a 12/2/01 HW & LJL, Bryant Library, Roslyn NY Sc.6#3, Sc.7#1. P54b 3/3/02 LJL, Hewlett-Woodmere Library: Sc.7#3. P54c-e 6-10/02 repeat of b. W72.114 2/7-8/02 William Hall High School, West Hartford CT prod. W72.115 2/7-2/10/02 Hastings College, Hastings NE prod. Jim Fritzler, dir./pno. W72.116 3/7-22/02 Chalkdust Productions LLC, Princeton NJ prod. Theodore R. Clement, dir.; Kenneth Howard, mus. dir.; Larry Foreman: Adam Fitting.

W72 The Cradle Will Rock 301 W72.117 3/29-4/7/02 Goucher College, Baltimore MD prod. W72.118 5/30-6/23/02 Theatre Outlet, Allentown PA prod. George B. Miller, art. dir.; Larry Foreman: Justin DePaul. preview article W72.118.1 Hessinger, Shawn A., "'Cradle' Message revived," Pottsville Republican & Evening Herald. W72.119 5/31-6/9/02 South Puget Sound Community College, Olympia WA prod. 10perfs, sponsored by Thurston-Lewis Counties Labor Council and Washington Federation of State Employees Local 443; Prof. Don Welch, prod. W72.120 6/6-29/02 Stage 5 Rep, Bowen Theatre, Drake Union, Ohio State Univ., Columbus OH prod. W72.121 11/21-23/02 Harvard-Radcliffe Dramatic Society prod. 4perfs incl. matinee, Loeb Ex[perimental Theatre]; Patrick Hosfield, dir.; prod. Rebecca Rubins, prod. Prof. Trixie/Bugs: John Drake (pres. HRDC). thesis P55 12/2002 Fava, Maria Cristina, p.31: "...with this work [W72] Blitzstein achieved his synthesis of artistic merit and social conscience." W72.122 Spring 2003 SUNY Geneseo prod. Alan Case, dir., mus.dir., sets; Larry Foreman: Mike Ciulla; Moll: Kate Starkweather; Mr. Mister: Brian Smith; Jr. Mister: Mike March; Sister Mister: Jesse Alois. W72.123 4/10-26/03 Salem State College, Salem MA prod. W72.124 4/23-5/3/03 Univ. of Colorado, Denver CO prod. W72.124.1 Pioneer Press: Best Show of 2003. W72.125 7/9-7/12/03 The Miskin Theatre, Kent, UK prod. W72.126 11/6-11/8/03 Marin Academy, San Rafael, Calif. prod. W72.127 11/13-22/03 Mask & Bauble Dramatic Society, Georgetown Univ., Wash. DC prod. Francis Tanglo-Aguas, dir.; Paul Alan Levi, mus.dir./pno. Jr. Mister: Jim Helmink; Sister Mister: Lauren Scanlon Mr. Mister/Rev. Salvation/Gent: Gib Cima; Editor Daily: Michael Benz; Yasha: Virginia McClain; Dauber: Annie Rossi; Larry Foreman: Christina Ciocca; Moll: Sean McKelvey; Dick/Mrs. Mister: Isaiah M. Wooden; Harry Druggist: Carlos Valdivia. review W72.127.11/14/03 Smith, Mallie, "Campus Theatre: M&B's Perverse 'Cradle' Is Too Much," Hoya: Sc. 3 rape & torture; Sc. 4 incest; cross-gender casting, incl. male Moll; +photo of Michael Benz. W72.128 11/14, 15, 20-22/03 Siena College, Loudonville NY prod. Cindy Brizzell, dir.; Ellen Burns, mus. dir.; Max Lifchitz, pno.

302 W72 The Cradle Will Rock W72.129 1/29-4/7/04 French prem. [in English, with French supertitles] Ensemble 2e2m, Sur Marne; Olivier Bénézech, dir.; Bernard Yanotla, cond. 1/29-30 L'Hippodrome, Douai; 2/4-5 L'Opéra de Lille; 2/7 Le Bateau Feu, Dunkerque; 2/13 Le Phénix, Valenciennes; 3/13 Théâtre Municipal, Boulogne sur Mer; 4/7 Théâtre Municipal, Calais. W72.130 4/23,24,30, 5/1&2/04 Valparaiso University, Valparaiso IN prod. John Steven Paul, dir.; Maura Janton Cook, mus. dir.; Moll: Natalie Ford; Harry Druggist: Steven Eheart; Mr. Mister: Jordan Chaddock; Larry Foreman: Joel Funk; Rev. Salvation: Dan Pieper. exc. perf P57 5/4/04 Lars Woodul, SUNY-Stony Brook: Sc.6#3, Sc.7#1&3. W72.131 5/16,23,30/04 TimeLine Theatre Co., Chicago prod. companion piece for It's All True [P44]; Nick Bowling, dir.; Matthew Kruse, mus. dir. exc. perf P59 11/9/04 "Marc Blitzstein: Rallying with a Note," HW, LJL: Sc.5#2; Sc.6#2; Sc.7#1&3; Sc.9#2a +Prelude on Themes from W72, incl.: Sc.4#1&4, Sc.5#2, Sc.6#2, Sc.7#1&3, Sc.9#2. W72.132 11/16-20/04 Catawba College, Salisbury NC prod. 5perfs "Mark[sic] Blitzstein's musical... written for Bretoldt [sic] Brecht..." Prof. Missy Barnes, dir.; Laurie Klaus, mus. dir.; McKenna Dabbs, asst. dir.; Larry Foreman/Jr. Mister: Anthony Johnson; Mr. Mister/Gent: Taylor Homan; Moll/Receptionist: Jessica Moretti; Mrs. Mister: Amy Guenther; Prof. Trixie/Gus: Johnathan [sic] Menius; Editor Daily/Reporter: Andy McCain; Dick/Sister Mister: Nikolas Kear; Cop/Steve: Robyn Shute; Yasha/Prof. Scott[sic]: Michael Lasris; Druggist/Reporter: Sheldon Rogerts; Dauber/Ella: Sarah Koerner; Rev. Salvation/Bugs: Brianna Smith; Dr. Specialist: Jared Wietbrock; Prof. Mamie/Sadie: Briana Raymond; Pres. Prexy/Reporter: Jessica Pruett-Barnett; Clerk: Tiffany Cox. P60 12/11-12/04 Encores! City Center, Rob Fisher, cond.exc.perf: Sc.7#1 sung by Victoria Clark. Private recording.

W72 The Cradle Will Rock 303 books W72.133 2004 Grant, Mark N., The Rise and Fall of the Broadway Musical, Boston: Northeastern Univ. Press, p. 102-4: "Marc Blitzstein: Unheralded Innovator": "left a definite mark on Broadway, mentoring" LB, "influencing Loesser, and anticipating Sondheim and even some of Rodgers & Hammerstein and Lerner & Loewe." See W40, W65. W72 "took the talking/nonsinging style of song-and-dance man George M. Cohan and served it up as a singing style equal to high dramatic demands, years before it was adopted for conventional Broadway musicals [ The King and I, My Fair Lady, The Music Man]--"also pioneered the through-underscoring of stage dialogue... in the way film soundtracks underscore film dialogue." Misspells "Yasha" as "Yasher." See also W78, W107. W72.134 2004 Maslon, Lawrence, Broadway: the American musical, based on the documentary film by Michael Kantor, NY: Bulfinch (Time Warner), p. 1723, incl. photos of Olive Stanton standing next to a Project 891 poster; and MB at pno w/cast members standing among audience, 6/17/37: "for just about everyone in the audience" W72 "provided the greatest opening night of the 1930s, and of their entire lives." article P19g 1-2/05 Gordon, Eric A., "Marc Blitzstein at 100," Jewish Currents : "You'd have to be blind, deaf and dumb not to see the same attack on the working class today that Blitzstein identified in Cradle in 1936." In Sc.4#1 "he satirized the compulsion of American pop culture to play on people's fantasies of love with tabloid delusions in order to distract them from real issues." exc. perfs P61 1/7/05 Nat'l Opera Assn Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret, accompanied & narrated by LJL Sc.7#1 JoElyn Wakefield. P62.1 NY 1/29/05 Marc Blitzstein Centennial Workshop w/LJL, HW, Victoria Tralongo, members of Metropolitan Philharmonic Chorus, Solidarity Singers of NJ, People's Music Network Songs of Freedom & Struggle Gathering, Renaissance School, Queens, NY; incl.: Sc.7 #1&3, Sc.9#2. P62.2a 2/26/05 SF - Amy X. Neuburg, John Duykers, Eric Gordon; Sarah Cahill, pno: Sc.6#3, Sc.7#1&3, Sc.9#2. preview article P62.2.2a 3/1/05 Ross, Alex: "at his best," Sc.6#3 e.g., MB "rivals Weill and Eisler at their most savagely potent." statement (letter) P62.4.1 3/2/05 Carmen Capalbo (to LJL): "Marc Blitzstein at 100": "Had Marc not met his dreadful untimely death at the height of his powers, we might even be here listening to a slightly stooped, but sprighly old gentleman sitting at a piano remembering what life was like when a nickel under the foot bought a cup of 'coffee-and' and some measure of dignity, and when a bush was only a bush after all."

304 W72 The Cradle Will Rock P62.5 3/2/05 Curtis Institute concert, Sc.9#2 Hanan Tarabay, mezzo; Donald St. Pierre, accompanist P62.3b&c 3/5&6/05 MB Centennial Concerts, incl. playing of W72.7a (1938?) recording, discovered in archives, 7/04, of MB singing Sc.7#1. P62.2b 3/6/05 Los Angeles - exc. perf: Eric Gordon, bar.; Leo Marcus, pno: Sc.9#2. book W72.135 3/05 Mordden, Ethan, Sing for Your Supper: The Broadway Musical in the 1930s, NY: Palgrave Macmillan, p. 170-193: W72, with Johnny Johnson "the two outstanding--in fact, the two only-subversive book musicals in the entire decade.... An ironic parable. Popular Front pep rally plunked into a carnival of spoofs" premiered "in the electric air of bootleg theatre." Quotes Mary McCarthy (W72.5.2.52). See W123. See also W117.13. exc. perf Sc.7#1, Sc.9#2 W107.71 3/11/05 "Road to Regina," Kennedy Center; Catherine Walker, Chris Fenwick, pno.

W73-74 The Spanish Earth, Maric & Colic 305 W73. The Spanish Earth (6/1937) sound montage w/Virgil Thomson for film (dir.: Joris Ivens) story by Archibald MacLeish & Lillian Hellman; commentary written & spoken by Ernest Hemingway; prem. 8/20/37 55th St. Playhouse, NYC. press notices W73.1 7/7/37 "Ivens Completing Spanish Film," Herald Tribune "scored by Mark Blitstein" [sic]. W73.2 7/7/37 "Screen News," NY Sun: "Mary Blitzstein [sic], musical director". W73.3 *7/25/37 McManus, John T., "Down to Earth in Spain," NY Times II:4 on "The Spanish Earth": "New York will see the film, with narrative written and delivered by Ernest Hemingway and a score of Spanish native music arranged by Marc Blitzstein, as soon as its sponsors find a suitable theatre." W73.4 8/20/37 Platt, David, '"Spanish Earth' Is Great Dynamic Portrayal of Heroic People's Front Fighting Fascism," Daily Worker p.7: praised music but also misattributed it solely to MB. W73.5 8/21/37 Barnes, Howard, "On the Screen, "Herald Tribune: "the most pwerful and moving documentary film ever screened... brilliant musical accompaniment... compelling artistry..." W73.6 8/21/37 J.T.M., NY Times: "The scoring by Marc Blitzstein is an arrangement of Spanish folk-music." W73.7 8/24/37 Ellis, Peter, "Sights and Sounds," New Masses: MB "and Virgil Thompson [sic] arranged the music" [Thomson's name also misspelled on program.] W73.8 12/7/37 (R67#645) MB played "selections from recent works" at banquet for Medical Bureau to Aid Spanish Democracy, Hotel Sylvania, Philadelphia W73.9 5-6/38 Antheil, George, "On the Hollywood Front," MM p.253: "remarkable... anti-Hollywood" but the "score does not builtd. It is not really dramatic... it does not play either for or against any specific ideas; it merely strings along...." book W73.10 1959 Hoover, Kathleen and John Cage, Virgil Thomson NY: Thomas Yoseloff, p. 85-6. article W73.11 unidentified 1961 clipping B18 R17 + B106 v.l R67. thesis P29c 2003 Johnson, Marc E., '"The Masses Are Singing': Insurgency and Song in New York City, 1929-1941," p.317: MB "composed the film's score, which drew heavily on Spanish folk songs, and Thomson... arranged Blitzstein's compositions for use in the film." W74. Maric and Colic (1937?) song [melody only] B97 R60 protesting arrests of composers Dragutin Colic (1907-1987) and Ljubica Maric (1909- ) in Yugoslavia. Recent research located the latter composer, who however did not want to discuss the period in question.

306 W75 I've Got the Tune W75. I've Got the Tune (8-10/1937) 1-act radio song play in 5 scenes w/pno/orch: 1-1-2-ASax-1 2-1-1-0 Hp Pno Perc Str 4-2-2-2-1 [12/70 LJL adaptation: w/pno & perc.] commissioned by CBS; to Orson Welles; B28,39,102 R65-6 Vocal score publ. by Chappell, 1937; current publ.: Boosey & Hawkes (rental) [12/70 adaptation incl. Spoken Prologue on "opera for composers"] 1. Musiker & Beetzie (2 solos: #1 Beetzie, #2 Musiker) (based in part on W32#4, called in sketches "stomp march from" W36) [1a. rejected pre-salon scene reinstated 1970] 2. Madame Arbutus's Salon [pno lid slamming, Sc.2&3, adapted from W93#3]; 3. Purple Shirts (Captain Bristlepunkt & Private Schnook) [3a. contemplated pre-suicide scene created 1970]; 4. The Suicide (aka And So the Last Thing Too); 5. The Street [orig. Union Square] [incl. rejected Tin Pan Alley scene, reinstated 1970] quotes Joe Hill's lyrics to "The Preacher and the Slave" (music: "The Sweet Bye and Bye"); "Hold the Fort" [cut in 1970]; and Ralph Chaplin's "Solidarity Forever" (music: "John Brown's Body," aka "Battle Hymn of the Republic"). Sc.2 "Unruhig" section begins with 12-tone row which is, however, not serially developed. Sc.4, with Lotte Lenya, released on CD #1 in 11-CD set, "Lenya," Bear Family Records BCD 16019 KL. W75.1 10/24/1937 Columbia Radio Workshop live broadcast prem. Mr. Musiker [orig. Orphion, Aeolus, Otto M.]: MB [orig. for Orson Welles; alt.: Mordecai Bauman], bar. Beetzie (the Shorthand Speed Queen) [orig. Gracie, Bea the Better Senog, Shorthand Ida]: Shirley Booth, mezzo [alt.: Betty Starbuck, Dorothy Brackett] Madame Arbutus: Adelaide Klein, alto [orig. meant for Lina Abarbanell; alt. Peggy Coudray] Captain Bristlepunkt [orig. Bristlepoint]: Kenneth Delmar, bar. Private Schnook: Norman Lloyd, tenor Suicide [orig. Hatcheck Hazel]: Lotte Lenya, mezzo [alt. Maria Hiellering] Finaigler (of Finaigler, Kibitz & McGuire, Manufacturers o' Hits [Music Publisher, actor] - character was cut (contract specified max. 7 characters, see W75.15 p.23); reinstated in 1970, portrayed by Musiker; Choral Director: Hiram Sherman, tenor; Irving Reis, dir.; Bernard Herrmann, cond. background, articles W75.0.1 Summer 1936, reported in 1972 Bowles, Paul, Without Stopping; An Autobiography, NY: Putnam, p. 190: After MB sang W72Sc.6#1 for Mrs. Murray Crane: "Apparently she had discovered the words to be in Aramaic, a language which she did not understand. However, she also let one see that she was following the music with polite interest. When Marc had finished, she leaned forward and said placidly: 'Yes, it's fascinating. But I always feel that for a song to be meaningful one must hear the words. I was listening carefully,

W75 I've Got the Tune 307 and I confess I got nothing. But of course there's no reason why you should be able to sing. Perhaps you have something purely instrumental?" [Cf. W75 Sc. 1, 2 & 5.] W75.02a n.d. (R67#608) Lyons, Leonard, "Lyons Den: Wherein Whitney Rides Alone, the P.O Errs and Ludwig Returns," NY Post: "Mr. Blitzstein won't have to worry about a job any more. The WPA composer has been hired to write the songs for the Ziegfeld Follies!" W75.02b 10/9/37 Lyons, Leonard, "Lyons Den: Wherein a Gag Is Pulled, Charm Is Sold and Freddie Explains," MB "turned down the 'Follies' job" to write music for a play "to be presented Nov. 13 at Mad. Square Garden," produced by "The Communist Party" ["One-Sixth of the Earth," W76A 11/13/37]. preview articles W75.1.1 (G6) *10/20&21/37 [reprinted from late edition] Coleman, Robert, "Music Now Wedded...: Becoming Part of the Plot," NY Daily Mirror: "Now the irrepressible Blitzstein is coming to radio with his unique 'radio song play' titled" W75, "written specifically for airing by the Experimental Theatre of the Columbia Radio Workshop next Sunday afternoon under the direction of Irving Reise[sic]. He will play in it himself, and will be supported by Shirley Booth, remembered for her role in 'Three Men on a Horse;' Lotte Lenya, the Berlin singing star; Norman Lloyd of the 'Living Newspaper;' Adelaide Klein, Kenneth Delmar and Hiram Sherman." See also W40, W72, W73. W75.1.2 10/24/37 "In der Radio Velt," Jewish World +photo of MB. W75.1.3 10/24/37 "New Unconventional Song-Drama Premiered by Columbia Workshop Sunday Evening," Radio Guide quotes lyrics from Sc. 2 ("a jaded pseudo-Bohemian--empty and pretentious"), 3 ("satirical.. clever sound-effects) & 5 "Words that speak of optimism and hope. But they had to come from children--children who have not yet had the chance to be touched by the shallowness, the greed or the frustration that visits adults. Orson Wells... plays the role of composer." reviews W75.1.4 10/25/37 Gross, Ben, "Listening In," Daily News: "tuneful, sprightly, colloquial and as up-to-the-minute as today's paper..." W75.1.5 10/25/37 Kolodin, Irving, "Song-Play on Air...," NY Sun: "Something new in musical drama... Mr. Blitzstein's score is uncommonly well-wrought, with expert use of the medium, and constant, successful concentration on the problems of making his meaning articulate through speech and music." W75.1.6 10/26/37 Radio Daily: "refreshing and novel musical satire, written for radio by Mark [sic] Blitzstein... Adopting an operetta, form, it tripped up and down Broadway to the tune of lively melodies and intriguing verses... It's a show that can stand repeating" W75.1.7 10/27/37 Reinhart, Robert, "Drama in Control Room Overshadows Irving Reis' CBS Lads and Lassies," Variety: MB played Musiker. "Orson Welles was to have played it but was too busy rehearsing 'Julius Caesar' at the Mercury theatre."

308 W75 I've Got the Tune W75.1.8 11-12/1937 Lieberson, Goddard, "Over the Air," MM 15:1 p.53-5 on "I Have a Tune [sic]": "disappointing after The Cradle Will Rock of last summer. The music wasn't nearly as good, nor did the dialog hold up. Nevertheless, Blitzstein made more interesting use of the radio than any of the composers commissioned on the other series..." incl. Walter Piston, William Grant Still, Howard Hanson, Louis Gruenberg, Aaron Copland, and Roy Harris. letter W75.1.8.1 n.d. (R65#480) Ibid, to MB: preparing article on "Mr. Mister in his humours" as a comparative study of Ben Jonson and MB. reviews W75.1.9 11/1/37 "Blitzstein's Tune," Time: 30:18 p.19 "wiry-muscled music" quotes Sc.3 & W72Sc.6#1. W75.1.10 11/9/37 Darrell, R.D., "Sights and Sounds," New Masses 25:7 p. 28: "...one of the most brilliant attempts at a peculiarly radiogenic musical form.... The fascist scene and the later snatch of 'Solidarity Forever' must have caused many a genteel dialer to wake up with a start from his Sunday-evening snooze." Notes influence of March of Time. W75.1.10a 11/30/37 Darrell, R.D., "Concert Notes," New Masses 25:10 p.29: "each hearing has increasingly stirred and delighted me. Blitzstein has drawn freely on the techniques of Kurt Weill and the March of Time, but he has fired them with individual imagination and fused his richly varied material with a true craftsman's hand. ...so simple, powerful, entertaining, and honest that it's almost to good to be true... This is the stuff that many of us have been waiting for hopefully and we have only ourselves to blame if we don't make sure that it is firmly rooted in the permanent repertory." W75.2 late 1937 recording: Musicraft GM 212/281 (78 RPM). [WSHS Tape T1049AR1-2.] recording reviews W75.2.1 1/38 (R67#680) Gilbert, Richard, "Music and Records," Scribner's: p.80-1: "typical composer's hoarseness; Beetzie's chicle-coated lines... in the remarkable dialect of Three Men on a Horse..., the incomparable Lenja's crooning... These are radiogenic voices. Without the microphone they have no power, but with it and Blitzstein's incisive lines the impact of character is as physical as the jamming in the subway." "...one of the most provocative of the Workshop's productions... the most articulate expression of a musician of today stating in terms of his art the vital relationship of the composer and the people" with "artistic quality..., ingenuity and intelligence." incl. copy of ms. of "The Tune" W75.2.1a 8/38 (R67#741) Gilbert, Richard, "Music and Records," Scribner's p.54: reviews W72; refers to W75 as "that minor masterpiece." letters W75.2.2 7/18/38 (R65#471-9) Mordecai Bauman(?) to MB: Sc.4 "absolutely heart-rending," esp. ending (quotes harmonic progression) and (Sc.5) "the sudden breaking in of teh noises of 'Broadway at this point is electrifying... something magical... [Sc.2&3] a picture of'Germany - Before & After'! Out of the frying-pan of Mme Arbutus into the fire of the Purple Shirts... a magnificent

W75 I've Got the Tune 309 allegory... Sir, you have made me proud to be an American." See also W72.35.12 11/26/47. W75.2.3 2/7/39 (R65#481) Ella Winter [widow of Lincoln Steffens] to MB: "My own experience with vigilantism on the West Coast was pretty vivid and thorough - living in a small town as we did, where they didn't hesitate to attack even a small boy - and I've cast about and cast about for ways of saying it. Now you've done it for me - and in music!... I wished so much Stef could have heard it. I know he'd have shared these feelings." article A33 1-2/38 MB, "On Writing Music for the Theatre," MM 15:2 p.82: "my chief character, a composer, says 'the finest tune I ever wrote!' We should all have our fingers smacked." W75.3 2/6/38 first staging of work, part of New Masses benefit concert, 46th St. Theatre, NYC. Mr. Musiker: MB ("at the piano"); Beetzie: Peggy Coudray; Madame Arbutus: Adelaide Klein; Captain Bristlepunkt: Kenneth Delmar; Private Schnook: Norman Lloyd; Suicide: Olive Stanton; Choral Director: Maynard Holmes; Chorus: Lehman Engel Singers (Lehman Engel, cond.); Sound Effects: John Amrhein; Count Basie improvised during Sc. 3 choruses; Production supervisor: Charles Friedman; Introductory comments: Orson Welles; also performed: works by Earl Robinson, Alex North, Aaron Copland, Lehman Engel, Paul Bowles, Virgil Thomson, Harold Rome, Count Basie, Hanns Eisler: "Song of Supply and Demand" from Die Massnahme, "The Whole Loaf" and "In Praise of Learning" from Mother, Mordecai Bauman, acc. by MB; texts by Bertolt Brecht, tr. by ? See W75.3.0. letter W75.3.0 12/7/93 Irma C. Bauman to LJL: "If you ever need the name of the translator of the Brecht songs, I suppose we can ask the surviving family member if it's OK. I can't imagine why Mordy has been so protective..." When asked again, in 1998, the Baumans claimed to have forgotten the translator's name. preview articles W75.3.1 1/25/38 (R67#706) Darrell, R.D., New Masses "that man with the tune... his masterpiece... is included in the NEW MASSES own concert... Februrary 6, a date emphatically not to be forgotten." W75.3.2 1/?/38 (R67#706) "Between Ourselves: What's What," New Masses re upcoming concert: "Count Basie will swing 'Ya Gotta, Ya Gotta' from" W75, "as well as a number of his own compositions." reviews W75.3.3 2/7/38 Taubman, Howard, "New Masses Offer Modern Music, "NY Times: "uncommonly arresting program" W75 compact, unpretentious and stirring in total effect... superior in these respects to" W72 W75.3.4 2/10/38 McCall, Martin, "Concert of Contemporary Music Proves Huge Success," Daily Worker p.7 on W75: "astonishing originality and dramatic ingenuity..." W75.3.5 3-4/38 Carter, Elliott, "Orchestras and Audiences; Winter 1938," MM p. 167-171: "Composers want to have their music played more than they want to show their political affiliations..."

310 W75 I've Got the Tune note W75.3.6 2/27/38 American Music League Welcome to Hanns Eisler, New School for Social Research: MB speaks on "Hanns Eisler, The Composer," but no MB music is perf'd. Bauman & MB repeat first 2 Eisler songs from 2/6/38 (W75.3) + Song of the United Front; also perf'd: other Eisler works and works by Jacob Schaefer, Cowell, Riegger, Siegmeister, Copland. W75.4 2/38 prod. staged at Mercury Theatre on 2 Sunday nights in double bill with Plant in the Sun by Ben Bengal: Mr. Musiker: MB; Beetzie: Peggy Coudray; Madame Arbutus: Lily Winton; Captain Bristlepunkt: Lou Polan; Private Schnook: Norman Lloyd; Suicide: Olive Stanton; Choral Director: Ben Ross; Chorus: Lehman Engel Singers (Lehman Engel, cond.). review W75.4.1 2/23/38 Variety: "satisfactory enough for the hysterical left audiences, who are not over critical of what is dished up to them." W75.4.2 (G13) 6/39 Barr, Philip, "Opera in the Vernacular," Magazine of Art: Found Sc.5 "even more heartrending" than W72Sc.7#1. "Beetzie is in the great Sancho Panza tradition." See also W72.5.2.59. W75.5 4/27/38-1939 New Theatre League prod. W75.6 1939 Flatbush Arts Theatre prod. [also revived later in year at 92 St Y] Lou Cooper, dir. & pianist; Mervin Strober, drums; Mr. Musiker & Private Schnook: Robert Sharron; Beetzie: Betty Garrett; Madame Arbutus: Martha Grinberg; Captain Bristlepunkt: Chet Wayne; Suicide: Lorna Sharron; Choral Director: Buddy Yarus [aka George Tyne]; Chorus incl. Howard Safar, Manny Green, Jean Goldberg. Benefit for New Theatre League at New School; on triple bill w/Albert Maltz's Rehearsal and Ben Bengal's Plant in the Sun. (R68#6) review W76.6.1 6/27/39 Cambridge, John, "New Cantata Performed By Flatbush Arts Group," Daily Worker p.7, quoted in P22a 1986: "the idea" of W75 "is more subtle probably than anything in" W72, though "the piece would be improved by more work." W75.7 3/1-10/28/39 Camp Unity prod. W75.8 3/19/40 Cooperative House prod. 2perfs. W75.9 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm, sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond. MB at pno; perf'd: Sc.3; also perf'd: W65; 72 Sc.3, Sc.4#3&4, Sc. 7#1; W76#1; W78 I:6#3 & II:1#3;W79#2;W80.

W75 I've Got the Tune 311 exc. perf W75.10 (A64) 1/18/48 Severance Hall, MB concert, Cleveland: Sc.3 perf'd by Harry Miller (Capt. Bristlepunkt), Edward Hurshell (Pvt. Schnook), Florial Duff (sound effects), Male Chorus; Bernard Baskin, cond. reviews W75.10.1 (R68#271) 1/19/48 Elwell, Herbert, "Blitzstein Music Rocks Severance: Wails, Booms and Shots Draw Sporadic Applause," Cleveland Plain Dealer. "Venomous Patter" "Almost everybody comes in for some sort of smearing, because of his acquiescence in capitalistic corruption.... The hall was sparsely filled..." W75.10.2 (A64.2) 1/19/48 Loesser, Arthur, "Blitzstein's 'Excerpts' Offer Wide Musical Range," Cleveland Press : MB "strives for and achieves a malicious hilarity, getting point-blank hits at some well-battered targets, such as a hypocritical preacher, a vulgar-rich art patroness and a Fascist goon squad leader. ...even a non-fellow-traveler can, with the exercise of a little self-control, appreciate the cuteness with which some of the impacts have been negotiated." See also W72.37.2, W78, W95.12.1. W75.11 6/21/49 Carnegie Hall benefit perf for Nat'l Council of the Arts, Sciences and Professions. Prog appears in MB's FBI dossier and (G36) 1950 Red Channels. W75.12 8/18/56 Edward Cole to MB on recording for MGM suites from W72 (11/12/56) & W107 (11/19/56), as well as from W75, W78 & W106. Contents & timings prepared by MB, but sessions never happened. thesis P3 7/29/65 Talley, op.cit, p. 115: Sc.2 Arbutus' "poem, a wildly obscurantist creation combining symbolist affectations, Lorca-esque imagery and classical references..." p.1 17 Sc.4: "...music cannot be designed to help the unhappy escape from the reality of their sorrows." W75.13 (P6) 11/30/66 Blitzstein! Provincetown Playhouse, NY; Mira Gilbert, Norman Friesen; Peter Basquin, pno incl.: Sc. 1, 4, 3, 2, 5. background correspondence W75.13.1 9/63 MB meets with Mira Gilbert & Lou Norman to discuss P6, incl. scene from W75. See: W75.13.2 10/26/64 (R4#838) Mira Gilbert to Joe [sic] [Davis]. . thesis P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.315-23, 397-404.

312 W75 I've Got the Tune W75.14 12/5/70 & 12/10-12/12/70 Lowell House, Harvard prod. (+previews 12/3&4/70) on triple bill w/W54 & LB's Trouble in Tahiti. Mr. Musiker & dir.: LJL; Pianist: David Hessney; Choreog.: Wakeen Ray-Riv (later Joaquin LaHabana). Beetzie: Jane Sass; Madame Arbutus: Joan Trachtman; Captain Bristlepunkt: Karol Kostka [alias John Karol]; Private Schnook: Michael Cline; Suicide: Katya Brous; Choral Director: Jib Lampl; Chorus: Larry Bakst, Ira Bigeleisen, Katya Brous, Michael Cline, Sharman [Haley], Ross Halper, Joan Lucas, Louisa Roof, Stephanie Schegel. preview articles W75.14.1 12/3-9/70 Bedell, Jan, "premiering and revival," Harvard Independent: W75 "is, according to" LJL, MB's "autobiography. It describes a composer's search for the right words (social value) for a tune he has written. The composer tries to give the tune to a variety of individuals and groups, from Tin Pan Alley to a crypto-Nazi organization, but finally finds the words he wants in the mouths of a group of peace demonstrators." See also W54.2.1 & W127.12.6. W75.14.2 12/4/70 Derrickson, Ann, "Let the People Sing Out," Harvard Crimson, p. 3: MB's "life-long concern over social conditions in the United States finds vigorous and artistic, yet undogmatic, expression in his music... a celebration in song and dance, allegory and symbol of Blitzstein's life and work, in which he strove to be a composer for the People." Points out "similarities between pretentious Mme. Arbutus (the advocate here of art-for-art's-sake) and Blitzstein's mother-in-law" as well as "the echo of his wife's suicide" in Sc.4. MB's "sympathy with war protestors was lost in the only other production of this opera, when it was given in 1937 as a radio play. Censors transmogrified the workers marching on May Day into school boys on a field day parade. The Cambridge audience is sure to prefer Blitzstein's original... sentiments." +photos of LB & MB at pno. See also W54.2.2 & W127.4.3. reviews W75.14.3 12/8/70 Sterritt, David, "Harvard opera-Blitzstein and Bernstein," Christian Science Monitor. W75 "a bittersweet parable... cheerily militant... the Blitzstein music remains engaging and surprisingly fresh-sounding.... The gung-ho finale... is expansive and actually moving.... Mr. Lehrman read a telegram of good wishes received from Lotte Lenya... and during the final curtain call none other than Leonard Bernstein came bouncing happily to the stage to embrace the cast and take a bow." See also W54.2.3. W75.14.4 12/10/70 Miranda, William D., "Your World of Opera: Harvard Houses Honor Blitzstein," Jewish Advocate describes characters in "tuneful score": "loveable, feather-brained secretary," "villainous KKK leader-type," "Gertrude Stein salon queen in the ecstasies of creation," "frenzied suicide." See also W54.2.4. W75.14.5 12/10-16/70 Bedell, Jan, "kudos to revivalists," Harvard Independent: "Joan Trachtman did a hilarious parody of the avant garde music of the 1920's (the Pierrot Lunairee [sic] sprechstimme school), and John Karol was the consummate sadistic heavy as the leader of the neo-Nazi Purple Shirts.

W75 I've Got the Tune 313 Director Lehrman (the producer of all three operas) played a very intense composer." See also W54.2.5. W75.14.6 12/11/70 Derrickson, Ann, "Blitzstein's Spirit Looms Large," written for but not printed in Harvard Crimson, publ. by Dunster Drama Review 10:1 2/71: "When Blitzstein is funny, he is very, very funny, but, when he grows serious, he is bitter...With devastating humor he mocks snobby, 'cult-shed' society leaders in the figure of Mme. Arbutus..., wallowing in whiskey and schmaltz, whimpering about a peom about the moon as she swooned to the floor in esthetic ecstasy.... Leonard Bernstein, who knew him and attended the show's premiere, said sincerely, 'I was deeply touched by "I've Got the Tune." The performance was very moving. Blitzstein would have loved it.'" See also W54.2.6. production photos & reviews posted 2003 at <www.homestead/ljlehrman/adaptations/IveGotTheTune.html> See also W127.5.6. articles (memoir) P34.1 2/14/91 "From Leonard To Leonard: Another Roslyn Resident Has Memories Of Leonard Bernstein," Roslyn News, p. 3, 31. Quotes LJL: "I think that was probably the most emotional moment of my life... when I marched out triumphantly at the conclusion of the finale... and heard Leonard Bernstein shouting 'Bravo! Bravo! Bravo!'" Those shouts included in series of outtakes on: W75.15 12/8/70 recording of W75.14 (+W54.3 by WHRB at Lowell House; WSHS Tape 554 R5; released privately on CD, 2004 (and posted on newmusicjukebox.org), broadcast by WHRB 1995; on "Through the Opera Glass," WBAI, NY 2/27/05, w/W54.3, P53 (exc.), W107.18 (exc.). articles P11.1 1973 Siegmeister, Elie, "Marc Blitzstein," in The New Music-Lover's Handbook, p.536-8: "an effective radio-song play... Plainly autobiographical, it presents the dilemma of a composer... who has written a tune and is searching for someone who wants and needs it. After passing through the Park Avenue salon of the effete Mme. Arbutus, and meeting with a lynch mob who turn his tune into a hymn of hate, he finds a home for it at a workers' parade, where it serves as a cry for justice." P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: W75 "is the quintessence of Blitzstein... a caustic autobiographical exploration: the distaste Mr. Musicker [sic: Musiker] feels for Park Avenue elitism is Blitzstein's own anger at the musical milieu from which he emerged." W78 (q.v.) "needed another hand. This time, Mr. Musicker [sic] could not find the words."

314 W75 I've Got the Tune thesis W75.16 1986 Short, Bradley Howard, "American Radio Opera: 1928-1971," Master of Arts in Music thesis, Univ. of North Carolina, Chapel Hill, p. 18-38, 56-7 on W75, incl. 6 musical examples. p.22n33 cites 8/12/86 ltr from John Shout re P22a, quoting W76.6.1: "Shout confesses that the citation for this quote was lost." p.27, 31: characterizes music of Sc.3 as "a parody of "sacred medieval organum". p. 36-7 "in most cases composers simply sought to entertain, not convert their listeners." MB "comes close to doing both. The music is surprisingly fresh and alive with innovative uses of melodic development. Sections of the opera were censored. as words were cut out of the piano score, and were changed from the earlier script to the published score." e.g. p.35-36: "We greet the first of May" became "We're singing songs of May." article P19b 9/88 Gordon, Eric A., "A Night at the Opera," Opera News 53:3 p.67 announces: W75.17 prod. (P27) 9/14-10/9/88 Soho Rep Blitzstein Project; Carol Corwen, dir.; Donald Sosin, mus.dir. +W54; W72 Sc.4#1; solos: W72 Sc.4#1, Sc.7#1; W75; W78 II:1#3; W88#1; W68 as choral finale. reviews W75.17.1 9/21/88 Tallmer, Jerry, NY Post: "when you look around at the gray-on-gray election-year political landscape that's somehow been imposed upon us, the spirit cries out for a salutary taste of the angry '30s. Which is precisely what's being delivered--with great zest and no little joy." P27.1 9/27/88 Feingold, Michael, "Theater: Mixed revue blues (The Blitzstein Project)," Village Voice 33 p.103-4. P27.2 2/89 Dalton, Jody,Ear : "insightful evening of songs and scenes"; MB's "unflagging social advocacy still rings true." correspondence P19e MtM p. 156 characterizes finale as "a banal mass song for May Day..." W75.17.3 LJL to Eric Gordon, on late 1980s proof of book: "Hey, which side are you on, Eric? There's nothing at all "banal' about the song in this form, except that the militance of the words had to be toned down from that of a May Day mass song to that of a children's parade tune in order to pass the censors at CBS! Didn't you now that!? (That's why we changed some of them - to conform with Marc's original intentions.)" website comment W75.17.4 Jansson, John, Marc Blitzstein Web Site (est. 1997): "It's certainly a touch naive, but the honesty of Blitzstein's music, and its deceptive simplicity are quite moving and its message that art can help to change the world oddly refreshing in these dark times."

W75 I've Got the Tune 315 [Songbook] review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.301 refers to W75 as "wildly popular"(!) book P36a 2004 Kushner, David Zakeri, Grove Music Online: W75 "made" MB "the conposer par excellence of the Communist movement." exc. perfs W75.18 (P57) 5/4/04 Lars Woodul doctoral thesis recital, SUNY Stony Brook: Sc.1&5. W75.19 (P62.1) 1/29/05 Marc Blitzstein Centennial Workshop Sc. 1, 2, 5 w/LJL, HW, Victoria Tralongo, members of Metropolitan Philharmonic Chorus, Solidarity Singers of NJ; People's Music Network Songs of Freedom & Struggle Gathering, Renaissance School, Queens, NY. W75.20 (P62.3) prod. mus.dir. by LJL for MB Centennial Concerts: 2/27/05 Great Neck House; 3/5/05 People's Voice Cafe, NYC; 3/6/05 Queens College: Mr. Musiker: LJL; Beetzie: Helene Williams; Madame Arbutus: Victoria Tralongo; Captain Bristlepunkt: Robert Osborne; Private Schnook: Josh Minkin; Suicide: Lorinda Lisitza; Choral Director: Bennet Zurofsky; John Craven, pno; Don Levine, perc.; members of Solidarity Singers of NJ, Metropolitan Phil Chorus, Workmen's Circle Chorus. recording W75.21 (P63) Spring 2005 Original Cast Records CD OC 6217: same cast as W75.20, except Prologue, part of Sc.1, & Sc. 4 taken from W75.15.

316 W76 Julius Caesar (Orpheus) W76. Julius Caesar (11/11/1937) (William Shakespeare) incidental music B89 incl. song #1. Orpheus [with his Lute] R54 solo song w/lute/ukelele/ thumbtack pno MBS 3/92 3 verses + bridge between 2&3; Gmaj/mixolydian/phrygian; m9th: B-C; text from Shakespeare's Henry VIII III:3, inserted in Act IV sung by Lucius to Brutus [aka Lucius' Song] "after the latter asks for a soothing song to calm his nerves." --Concert Hall LP (A63) prog notes. W76.1 11/11/1937 prem. Mercury Theatre Orson Welles, prod. & Marcus Brutus; Julius Caesar: Joseph Holland; Marcus Antonius: George Coulouris; Publius: Joseph Cotten; Cassius: Martin Gabel; Casca: Hiram Sherman (asst. dir.); Cinna: Norman Lloyd; Lucius: Arthur Anderson Mus. Dir.: I.L. Epstein preview article G6 *10/20&21/37 [reprinted from late edition] Coleman, Robert, "Music Now Wedded...: Becoming Part of the Plot," NY Daily Mirror: "Following his radio debut, Blitzstein will bend his creative efforts toward composing the incidental music for" W76. See also W40, W72, W75. reviews W76.1.1 11/7/37 Atkinson, Brooks, "The Play: Mercury Theatre Opens With a Version of 'Julius Caesar' in Modern Dress," NY Times: "With a few vibrating roars, written as a score by Marc Blitzstein, it is a headlong piece of theatre with fresh vitality behind it." W76.1.2 11/7/37 Coleman, Robert, "'Julius Caesar'... Bright, Smat, Powerful In Eternal Youth," NY Daily Mirror: MB "fashioned an appropriate, stirring score..." W76.1.3 11/17/37 Variety: "opens dramatically to Marc Blitzstein's score and with Fascist salutes for Caesar by the actors." W76.1.4 11-12/37 Carter, Elliott, "In the Theatre," MM 16:1 p.51-3: "great effect... not easily forgotten." W76.1.5 12/9/37 Ross, George, "So This Is Broadway: Interesting People Met on Broadway..." NY World-Telegram: "Marc Blitzen [sic]... toils anonymously every other night as the fellow who pumps the electric organ backstage for" W76. W76.1.6 11-12/38 Gutman, John, "In the Theatre," MM 16:1 p.56: "Ten bars too many, and drama might degenerate into melodrama." MB "saluted this truth last season in" W76. See also W79. recording "phonograph version by Orson Welles" (song not incl.) W76.2 3/1,11&21/38 Columbia 11117/21 in set M-325; rereleased 1998 by Pavilion Records (England) on Pearl CD GEMS 0020 w/W84. exc. perfs (of [#1] song) W76#1.1 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm, sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond; MB at pno; perf'd: #1; also perf'd: W65; 72 Sc.3, Sc.4#3&4, Sc. 7#1; W75 Sc.3; W78 I:6#3 & II:1#3; W79#2;W80.

W76 Julius Caesar (Orpheus) 317 W76#1.2 12/12/47 #1 perf'd by Muriel Smith at Town Hall; also W102 #16. A63 12/31/47 recording Muriel Smith & MB recorded #1 on "Marc Blitzstein--Songs for the Theatre," Concert Hall LP, CHC 24; incl. W76#1; 78 II:2; 79#1; 102 #16 & 21. Notes: "The accompaniment... is by 'prepared' piano, the tones being made to resemble those of early keyboard instruments." - also for W79#1. A64 1/18/48 Severance Hall, Cleveland; #1 perf'd by Muriel Smith & MB. W76#1.3 4/13/50 perf'd by Brenda Lewis & MB, Phila Academy of Music, along with W107 I:2 & III:2; prog note: "This is the first public performance of this setting of William Shakespeare's words." (R68#299) review W76#1.3.1 (R68#301) de Schauensee, Max, "Guarrera, Brenda Lewis Sing Recital," Philadelphia Evening Bulletin, "Shakespeare in Music": "a fragment touching in its artless simplicity." +James House Jr. cartoon of Guarrera & Lewis. See also W 107.4.1. exc. perfs A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perf'd: #1. A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. #1 perf'd by Bettie Clark, mezzo; Vincent Bredice, guitar; Carl Bergner, flute. W76#1.4 2/58 #1 perf'd by Carol Brice at Town Hall. P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph.D., diss., p.323-4, 404-5. book P12 1972 Houseman, John, Run-Through, NY: Simon & Schuster, p. 307: MB's "music gave us no trouble... he managed to achieve amazingly varied effects--from the distant bugles of a sleeping camp to the blaring brass and deep, massive, rhythmic beat which instantly evoked the pounding marc of Hitler's storm troopers... the ominous rumble of the electric organ... and the deep booming of a huge, old-fashioned thunder-drum." exc. perf P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," at White Barn Theatre, Westport CT: #1 Stephanie Conte; Charles Wade.

W76A. One-Sixth of the Earth (11/13/37) mus.-dir. by MB; no known music written by him for it; prod. by CP at Madison Sq Garden.

318 W77 FTP Plowed Under W77. FTP Plowed Under (11/27/37) skit for Pins and Needles music lost except fragments; B33 R55 - also among sketches for W78 parody of 1936 Living Newspaper sketch "Triple-A Plowed Under" FTP = Federal Theatre Project; AAA = American Agricultural Association, New Deal program declared unconstitutional by Supreme Court Mr. Hippity Bloomberg (author-composer): Joe Roth; Mrs. Clubhouse (after Hallie Flanagan, director of the FTP): Anne Brown; Mr. Bureaucrash: Al Eben; Mr. Zealous: Murray Modick; Mr. Stallalong: Paul Seymour; 4 Guardsmen: Enzo Grassi [later replaced by Anthony Fazio], Eugene Goldstein, Fred Schmidt, Hy Goldstein All ideas rejected as too controversial (anticipates Smothers Brothers' 1967 censorship skit!): a boy and a girl, a picnic in the wood, sex, a strike, a radical; a ballet, for fear of a sit-down strike; title "Workers Also Love"; even: "Do we have to have a curtain?" Bloomberg faints. Revue ran for 3 years (1,108 perfs), incl. command perf at White House 2/3/1938. Most of the other sketches & songs were by Harold Rome. MB's sketch lasted until April 1939. W77.1 perf'd as #10(?) and/or as #14--of 19 the latter according to W72.5.2.68 1963 Himelstein, Morgan Y., p.78-9. reviews W77.1.1 *12/6/37 Brown, John Mason, "Two on the Aisle: An Exciting WeekEnd For Propagandist Drama: The Mercury Theatre's Fine Production of 'The Cradle Will Rock'--'Pins and Needles' and Amusing Revue," NY Post. W77.1.2 *12/8/37 Reinhart, Robert, "New Talents' 2 of 3 B'way Hits: Borscht Circuit Endorsed as Training Ground for Intimate Revue Authors and Stagers-'Julius Caesar,' 'Cradle Will Rock' and Garment Workers' 'Pins and Needles' Unique Tries: Welles from WPA" Variety p.53f: on MB & Harold Rome. W77.1.3 *12/18/37 "Two[? New?] Musicals Prove Left Wing Can Laugh: 'The Cradle Will Rock' and 'Pins and Needles' Revive Social Drama," Philadelphia Inquirer. See also W72.5.1.26. W77.1.4 1/6/38 Broun, Heywood, "It Seems to Me," World Telegram: "The only really savage satire is directed against the Federal Theater, a movement which worker groups ought to support in spite of its present limitations." W77.1.5 2/18/38 (R67#731) Broun, Heywood, "It Seems to Me," World Telegram: "the most savage satire on the government's activities in the theater is a sketch in 'Pins and Needles'... I was so much excited by" W72 "when I first saw it that I ran around backstage and introduced myself to Marc Blitzstein, the author. We sat down and talked about the tehater in general, and I expressed the opinion that 'Cradle' had much more bite than 'Pins and Needles.' 'The only really thing in 'Pins and Needles,' I said, 'is the slap at the Federal Theater, and I think that a labor group should not attack government pioneering in theatrical production. I thought that sketch was terrible.' "You may be right,' said Mr. Blitzstein. 'I wrote it.' Just the same I was right." letter W77.1.6 3/5/47 Hallie Flanagan to MB on her side of story, quoted in MtM p. 161-2. She & the FTP didn't cancel Cradle. The order came from the W.P.A.

W78 No for an Answer 319 W78. No for an Answer (1937-39) 2-act labor opera - w/pno c. 2 hrs. 15 min. "Large cast of actors and singers, of which the most important are:" (R6#244) Clara Chase, mezzo; Paul Chase, bar.; Nick Kyriakos, bar.; Emanuel, bar.; Bulge, bar.; Bobby, diseuse; Jimmy, diseur; Joe Kyriakos, bar.; Gina Tonieri, alto; Mery, sop.; Mike, bar., Cutch, bar. +Chorus SATB. B20-2,48-52 R22-5 Libretto sketches: R22#804-937; R23; R24. +B97 R60 (II:5,7) "The instrumentation is for piano solo." Intended [unrealized] orchestration: l-0-Sax-0 0-2-2-0 Perc Pno 1-0-1-0-1; publ.: Tams-Witmark (piano score, rental) [portions arranged for 2 pianos by Michael Tilson Thomas, 1995]. [I:2, II:6 & II: 11 contain only Dialogue; II:4 Narration] Act I

Sc. 1 The War of the Beasts and the Birds (solo & chorus) (Take the Book; Song of the Bat; Workers, Do Your Homework). Sc.3 Reports: Emanuel, Gina, Mery, Nick, Choruses, Motions; Interlude [W20#1 considered for inclusion here (R25#85)]. Sc.4 Secret Singing (male-female duet) Dquasi-phrygian->Dquasi-lydian MBS 2/28 Clara: m9th: B-C; Paul: 11th: A-D. [See W78.3.46.] Sc.5 The Argument: What Is Capitalism? (3 men & chorus).

Sc.6#1. Outside Agitator (male solo) MBS 2/19 [cut in 1941; restored 1960; see W78.17.13] Fmaj 2verses+blues interlude; oct: C-C. #2. Dimples (male-female duet). #3. Fraught (female solo) "Coel Poward number" MBS 1/40 (See W78.2.7, W78.3.12, P22a 1985 (below), W78.21.1.) Eb maj; 11th/13th: Bb-E (opt.G); intro, 2 verses w/spoken interlude parodies "Body and Soul," "Mad About the Boy," "I Get a Kick Out of You," "I've Got You Under My Skin," "You Go to My Head "[incorporated into revue Let Freedom Sing 10/5-10/11/42 sung by Mitzi Green]. [Who Knows? (aka Let's Be Blue) (1938) [W81] considered for insertion here.] Sc. 7 Melodrama Sc. 8 Francie (sung male-spoken female duet) [aka Joe-Francie Scene] F Phrygian; m10th: Bb-Db. [See P47.3 9/03 (below).] MBS 2/22 Sc. 9 Clara's Monologue (female solo). Sc. 10 Melodrama. Sc. 11 #1. Did They Think They Could Get Away With That (chorus). #2. Finale I: Insist Song (No for an Answer) (chorus) [previewed by MB & Michael Loring 12/1939 Mecca Temple benefit for Spanish refugees].

320 W78 No for an Answer Act II Sc. 1#1 .Reprise of title song (chorus). #2. In the Clear (female solo) [cut middle section restored 1999] C blues (never cadences on tonic!): 11th; A-D; 2 verses. MBS 1/51 #3. Penny Candy (male solo) "a primer in the fine art of panhandling" Dmin; d12th: G#-D. (See G22 1946, P22a 1985, W72.133 2004--all below.) [p.59 m.7 L.H. 1st note D should be Bb; p.66 m.9 R.H. notes 3&4 should be D&F; p.67 m. 15 L.H. 2d note should be F#.] MBS 1/56 Sc. 2 Demonstration (Melodrama). Sc. 3 Mike (Get Mine) (male solo). Sc. 5 #1.Oxford Movement number (fragments). #2.Expatriate (Litt'ry and Artistic Scene, 1930) (male solo or duet)[compl.by LJL 3/95] Cmaj; 12th: C-G.

MBS 1/45

[Parabola & Circula W43 Marijuana Ballet considered for insertion here.] Sc. 7 #1.Walpurgisnacht Escape (male solo & chorus) [cf. W50#8]. #2.Mild and Lovely; Weep for Me [aka Leave Me Alone] (male solo + chorus) aug9th: C-D#. MBS 2/39 Sc. 8 Reprise: In the Clear. Sc. 9 Lullaby: Baby Don't You Cry (female solo). [See W78.14 1964, below.]

MBS 2/26

Sc. 10 #1. Purest Kind of a Guy (male solo + chorus) Bbmaj (Robeson:G): m10th: Bb-Db; 2verses +coda. MBS 1/30 #2. Happy Birthday to You Know Who (male solo + chorus). #3. Dance. #4. Death of Joe (2 versions: Make the Heart Be Stone; They Have Killed Our Joe). Sc. 12 Finale II: Reprise of title song (chorus). Portions of texts printed in MtM: I:1 p. 193-4; I:10 #1 p.193-4; II:1 #1 (abr.) p. 193; II:5 #2 p. 194; II:7 #2-3 p. 198. Numerous songs performed separately at benefits for Spanish refugees, party at Harvard (1939) etc. emblematic: I:11 #2: "Nick: When I was in old country, I knew America had to be finest land in whole world--Now I here--I insist America be like that! Sing Insist Song!"

W78 No for an Answer 321 W78.0 preliminaries W78.0.1 *7/25/37 "Rialto Gossip," NY Times: MB "hard at work on... 'No for an Answer.' ...A social angle, too--but 'non-sectarian,' as the author phrases it." See W72.4.12. A34 1-2/38 MB, "On Writing Music for the Theatre," MM 15:2 pp.81-85: Anticipates I:6 #3 with Cole Porter parody: "I told myself time and again, still and all, all through the night, night and day, both of us were quite aware this affair wouldn't go so well." W78.0.2 2/22/38 (R67#710) World Telegram MB's "next show, a play with music" W78 Burgess "Meredith may play the leading role." W78.0.3 3/28/38 (R67#752) in program notes for W72, MB calls W78 "a play on the order of 'The Cradle' but which is concerned with the chances of youth in the modern world." W78.0.4 2/24/38 NY Times "It will be next Summer before" MB "gets around to completing" W78 "the musical he was reported to be working on last July. the libretto (boy and girl in Philadelphia Quaker environment) is outlined, eight songs are planned if not actually written, and Burgess Meredith is said to be looking favorably on one of the leading roles." W78.0.5 2/1/39 Contract with Mercury Theatre, Inc. [which never produced it.] W78.0.6 *?/?/40 Cohen, Harold W., "The Drama Desk: East and West," Pittsburgh Gazette: "Herman Shumlin may direct" W78. W78.1 MB perfs exc. W78.1.1 12/?/39 "Stars for Spain" report W78.1.1.1 12/7/39 "Blitzstein Presents New Theme Song at 'Stars for Spain,'" Daily Worker p.7. W78.1.2 1/6/40 at Coolidge Auditorium, LC. letters W78.1.2.1 1/9/40 (R22#443) Minna Lederman to MB, praises "the Bat song" and "the figure of Nick..., the tender quality, the sweetness and humility..., strength, wisodom, human proportion, and in the most personal, convincing way.... What puzzled me, and still does, is Paul...." W78.1.2.2 1/13/40 (R22#444-7) Trade Rittman to MB: "I have been marveling at the use of common speech within the controled timing of music--a device more developed by you than anyone else. Speech, in your work, besides delivering the message, has a second function, it seems to me, that of actually becoming thematic material, 'spoken' motifs, which seem to mold the pattern of music and often grow into a strange 'polyphony of words' - with the polyrhythmic irregularities of speech as a kind of counterpointal element in it."

322 W78 No for an Answer W78.1.2.3 1/15/40 (R22#451-4) George Charles to MB on Greek phrases & names. W78.1.43 2/11/40 exc. perf for New Theatre League ("Large crowd" incl. Jed Harris, Elmer Rice et al) (R24#627, 683). letter W78.1.3.1 1/29/40 (R24#628) MB to Lehman Engel on invitees. W78.1.4 2/27/40 exc. perf chez Mr. & Mrs. R. Kirk Askew Jr. (Dashiell Hammett, Theresa Helburn, Jane Wyatt, Sandy Meisner, Phoebe Brand) (R24#627, 684) letters W78.1.4.1 3/1/40 (R22#458-9) James J. Geller to William Morris re conversation with Jed Harris, who "does not care for the script in its present form and wants Marc to change it from a melodrama to a comedy." W78.1.4.2 3/10/40 (R22#474) Jane Wyatt to MB: "I enjoyed your opera enormously..." W78.1.5 3/19/40 production committee formed at Manhattan home of William Morris, Jr.; secretary: Ruth Young issued pamphlet: "Both sides of the footlights are ready... Why can't they get together?" (R24#671-6) letters W78.1.6.1 3/28/40 (R22#487) Hallie Flanagan Davis to MB: "I wish very much indeed that we could have" W78 "this spring. However, every available date has long since been taken, to say nothing of all the available money." W78.1.6.2 n.d. Chandler Cowles to MB re hearing W78 "on Tuesday last at Mrs. Drapers. I congratulate you on a great work.... Would it be possible for me to get ahold of Paul's songs?" exc. perfs by MB W78.1.7 4/2/40 Columbia Univ. (R22#482).

(thanks in part to Douglas Moore)

W78.1.8 4/6/40 to benefit Washington Committee to Aid Agricultural Workers (R68#14). W78.1.9 5/8/40 American Music Festival benefit for Spanish Children's Relief Fund, Dorothy Parker, Chairman, at Mecca Temple, NYC; also perf 'd: works by Huddie Ledbetter, Jellyroll Morton, Elie Siegmeister, Alex North, Harold Rome, Jerome Moross, Paul Creston, Morton Gould, Earl Robinson, Teddy Wilson. report W78.1.9.1 5/21/40 Cooper, Lou, "Music Festival," New Masses 35:9 p.30-1: ES' "Johnny Appleseed" "beautifully sung by Emile Renan."

W78 No for an Answer 323 W78.2 preview articles & documents W78.2.1 9/40 MB elected to National Council of the American Peace Mobilization. G16 10/19/40 King, William G., "Music and Musicians: About Marc Blitzstein, Who Is Readying Another Opera for Broadway," NY Sun: quotes MB: W78 concerns "the fight for existence in America--American democracy in action." W78.2.2 11/8/40 FBI file doc #100-4753-1, U.S. Dept. of Justice, Washington DC, citing activities such as those listed above (W78.1.9, W78.2.1) as well as attendance at 10th National Convention of the CP: "Please furnish the Bureau with the present address of Blitzstein together with any other readily available information reflecting on the advisability of considering him for custodial detention in the event of a national emergency." Quoted in MtM p. 205. W72.26.1 11/29/40 Bassow, Irving, Daily Worker: "City College Presents 'Cradle Will Rock' Tonight" quotes MB: W72 "is an allegory about people I hate. My new play," W78, "is about people I love." W78.2.3 12/8/40 "Premiere of 'No For An Answer' Jan.5," Daily Worker p.7. W78.2.4 12/17/40 "Benefit at Mecca Temple," NY Post. W78.2.5 12/26/40 (R67#760) "Stage News," Brooklyn Eagle +photo of MB. W78.2.6 12/30/40 "Two Premieres Next Sunday," Herald Tribune. W78.2.7 1-2/41 Barlow, Samuel, "Blitzstein's Answer" MM 18:2 p.81-3: "an important work, a big work... engrossing, exciting and moving... in just the right American vein which is so conspicuously out of Mr. Kurt Weill's range, for example." +design sketch by Howard Bay, p.70. I:6#3 called "the best Broadway song of the year--a Torch Song to end all Torch Songs." W78.2.8 * 1/2/41 (R67#766 ) Bussang, Marion, "Blitzstein Sings a New Song of Social Significance: His Second No-Orchestra, No-Scenery Play Is About the Basis of Democracy," NY Post : "THE CRADLE STILL ROCKS" "Has Nothing Against Scenery" "Financed at $25 Up" "This One Is About Greeks" "Fascism Is the Enemy." +photo of & interview w/MB. W78.2.9 1/1/41 Herald Tribune photo of Olive Deering. W78.2.10 1/4/41 "Greek Chorus" NY Post photo of Lloyd Gough. W78.2.11 1/4/41 NY World Telegram photo of Oliver Deering and Martin Wolfson "puzzling it out, against the background of Mr. Blitzstein's own piano interpolations."

324 W78 No for an Answer A43 1/5/41 MB, "Of 'No For An Answer," NY Times: "a real story about real people... singing theatre" [Cf. Brecht's term "songspiel" --Dietz, p.255n48.] "The first draft was two hours in playing length, and had neglected the entire plot. The second draft inserted what I felt was indispensable in the way of story and structure, and emerged as a six-hour opera... I began grimly cutting....Why in the name of common sense didn't I secure a collaborator? I am by training a musician and composer; in the field of drama and poetry I am an utter tyro. The answer is simple: I never found one....What emerged after the two years' siege was an opera in two acts and twenty scenes. I call it an opera. I imagine I am due for the same general dissension as attended the production of 'The Cradle,' which got called everything from the odious 'operetta' to 'that Blitzstein--uh-thing.'" Photo of MB "plays the music for his own operetta." W78.9.12 1/5/41 "In 'No for an Answer'" Daily Worker: photo of Norma Green, Alfred Ryder, Lloyd Gough, Olive Deering and Robert Simon. W78.9.13 1/5/41 Herald Tribune: photo of Norma Green. W78.3 prem. Mecca Temple, NYC 1/5,12,19/1941 First perf was benefit for American Rescue Ship Mission. The next day "the State Department revoked its license to collect relief funds for application abroad," and Eleanor Roosevelt resigned her membership in the organization. [P2c Dietz, p. 257n51] Prod. by committee: Bennett Cerf; John Henry Hammond, Jr.; Lillian Hellman; Lincoln Kirstein; Arthur Kober; Herman Shumlin; James D. Proctor, chairman. William E. Watts, dir.; MB at the piano; Set Designer: Howard Bay. Cutch, chorus dir.: Charles Polachek; Nick Kyriakos, lunchcounter owner [father of Joe]: Martin Wolfson; Emmanuel: Ben Ross; Gertie Phorylles: Eda Reis; Francie, Joe's girl: Norma Green; Gina Tonieri: Hester Sondergaard; Alex: Charles Mendick; Steve: Martin Ritt; Bulge, former hobo: Curt Conway; Mery: Ellen Merrill; Another Club Member: George Fairchild; Clara Carver Chase, daughter of senator: Olive Deering; Paul Chase, her husband: Lloyd Gough; Joe Kyriakos, Nick's son: Robert Simon [later replaced by Michael Loring on recording]; Max[ie] Kraus, lawyer: Alfred Ryder; Bobby, entertainer: Carol Channing; Jimmy, entertainer: Coby Ruskin; Mike, hoodlum: Bert Conway; Cops: Martin Andrews, Paul Kwartin; Customer: Carlton H. Bentley; Waiter: Paul Kwartin; Monktowners: Carlton H. Bentley, Rupert Pole; Filling Station Attendant: Ben Yaffee; Commissioner of Public Safety: Rupert Pole; Board Supervisor: Carlton H. Bentley. Chorus also incl.: Arthur Atkins, Anna Handzlik, Nettie Harary, Agnes Ives, Adele Jerome, Dorothy Johnson, Michael Kozak, Emily Marsh, Elaine Perry, Marion Rudley, Diana Selzer, Leonard Stacker. Chorus Mistress: Trude Rittmann; Rehearsal Pianist: Norman Cazden; Production Manager: Marc Daniels.

W78 No for an Answer 325 reviews/reports W78.3.1 *1/6/41 Atkinson, Brooks, NY Times, p. 10: "The Play: Marc Blitzstein's 'No for an Answer' and Norman Rosten's 'First Step to Heaven' Have Openings," NY Times: "labor drama, leaning so far to the left that it is practically horizontal... In recent years the dramatic stage has had no better example of the power of music to create men and women through song.... No labor union ever had a better concertmaster.... labor drama, leaning so far to the left that it is practically horizontal.... an original music drama that arouses enthusiasm for the theatre." W78.3.2 1/6/41 (R67#769) "Blitzstein's Opera," Brooklyn Citizen "A brilliant and, at times, fascinating effort, but this chair does not think it quite comes off." W78.3.3 1/6/41 (R24#721) Briggs, John, "'No for an Answer' Is Staged at Mecca" NYPost: I:11#2 "especially fine." W78.3.4 1/6/41 G.B., "Blitzstein's 'No for an Answer' Opens at Mecca Auditorium," NY Journal-American: "The plot was somewhat hazy..." see also quote in W78.3.16 1/7/41 NY Post, below. W78.3.5 1/6/41 Kolodin, Irving, "Blitzstein Opera is Introduced: 'No for an Answer' Performed." NY Sun: "unjust... simplification" of "types..., ideas and... issues". W78.3.6 1/6/41 Kronenberger, Louis, "Blitzstein's 'No For An Answer' Has Point But Poor Production," PM: "faults of writing and structure... serious faults. But... a provocative story... powerful episodes... vigorous as well as catchy music." W78.3.7 1/6/41 Pollock, Arthur, "'No for an Answer' Has Its Premiere," Brooklyn Eagle: MB "has the gift of making the simple stirring." W78.3.8 1/6/41 Ross, George, "No for An Answer Combines Opera and Play," NY World-Telegram and Sun: quotes MB's A43 1/5/41 article; in W78 "the dramatic construction of the story is considerably less fascinating" than W72. "...it is unfortunate that he... shuns collaborative assistance in better organizing his dramatic material." W78.3.9 1/6/41 Sylvester, Robert, "Blitzstein Mad Because Resort Hotels Fold Up," NY Daily News: "operetta... inept and amateurish".

326 W78 No for an Answer W78.3.10 *l/6/41 Thomson, Virgil, "Music," NY Herald Tribune on W78: "Class-Struggle Opera": "I am not sure that Mr. Blitzstein's gift is not principally one of parody, parody carried even to the point of masochism." G18 1/12/41 Thomson, Virgil, "Blitzstein's Operas," NY Herald Tribune VI:6, +Talbot photo of MB reprinted in 1945 Thomson, Virgil, The Musical Scene, NY: Knopf p. 169-72: "Opera Is Always Radical" "Blitzstein Writes Socialist Operas": "a serious work on a noble subject by a major musical author." "Also, Brilliant Musical Parody": "His musical procedure in the theater is based on stylistic parody. The parody of a torch song [I:6#3] and the parody of a lullaby [II:9] are particularly effective, though in different ways. The parody of a love scene, where the girl wants to talk but the man has only one thing on his mind [I:8] , is touching indeed. The parody of a workers' chorus rehearsal [I:1] is carried to the point of imitating Russian choral arrangements..." I:11#2 "not quite intended as a takeoff on Robinson and Latouche's 'Ballad for Americans'; but it comes close to being funny, all the same...." "Why 'No' Doesn't Quite Come Off": "The musical value of the Blitzstein scores I place quite high. I place that of W72 "higher than that of W78, which "neglected to give the continuous build that the more complex literary situation demands. He counted too much on the drama's own build. Also, the accompaniments, especially to melodrama and action, are insufficient and inexpressive. They sound like unconscious and ineffective parodies of Dwight Fiske.... There is material... human, literary and musical, to make a completely successful opera, but it needs reworking." "Postscript" re ban and plea that it be lifted: check "the news sections of this paper." W78.3.11 1/6/41 (R67#774) Weldon, Martin, WINS Broadcast Script: "sincerity, excitement, and color; it rings with factuality, and it frequently transforms the stage into a living thing... He has improved in his handling of comedy. His tragic notes are unimpressive." Praises I:6 #3; I:11 #2; II:1 #3. W78.3.12 1/6/41 Whittaker, James, '"No for An Answer' Has Premiere," NY Daily Mirror: "Awkward, ... the show yet has a tremendous power to stir." I:6#3 "a raw and rousing take-off in the TAC style on the Cole Porter idea of the hot song in the key of Mink-flat." W78.3.13 1/7/41 Bussang, Marion, "Blitzstein Sings a New Song of Social Significance," NY Post. W78.3.14 1/7/41 (R67#772) Freedley, George, "The Stage Today: Marc Blitzstein's 'No for an Answer' Opens Experimental Series at Mecca," NY Telegraph: "theatrical sincerity of a convincing kind".

W78 No for an Answer 327 W78.3.15 1/7/41 Sylvester, Robert, "Blitzstein Mad Because Resort Hotels Fold Up," NY Daily News: "operetta... inept and amateurish..." + see quote in NY Post below. W78.3.16 1/7/41 (R24#728-9) NY Post: "the libretto... is ridiculous." "OH FOR AN ANSWER!" NY Times : "labor drama" Herald Tribune: "really is an opera" Post: "play with incidental music" Journal American: "grand or light opera, or even operetta... this writer is unable to answer" Daily News: "would need D'Oyly Carte specialists to handle it properly." MB: "I call it an opera!" W78.3.17 l/7(?)/41 (R67#772) Loudon, Mark, "Mark My Word: Listen, My Children..." Jewish Examiner "Whether it is an opera or 'a play with incidental music,'" W78 "is a memorable dramatic work and merits a long run." W78.3.18 1/7/41 (R67#765) Warner, Ralph, "'No for an Answer' a True People's Opera," Daily Worker: p.7 "A Voyage of Discovery" "Individuals Cleanly Carved" "Answers No To Reaction" "Excellent Performances" "...a real slice of what is called life--the real struggle which goes on behind the scenes of America... bright with gems of choral and individual excellence" +photo of MB "a people's artist". W78.3.19 "Blitzstein Asserts [NYC License Commissioner Paul] Moss Seeks to Censor Opera: Defies Demand for License at Mecca Auditorium," Herald Tribune p.l. W78.3.20 1/10/41 "Blitzstein Opera in a Censor Row: Moss Bans Permit for Hall in Which Left-Wing Work is Produced Weekly: Calls Action Technical: He Denies It Was Prompted by Nature of Show--Producers Charge 'Gag' Attempt," NY Times p.22. W78.3.21 1/10/41 "Blitzstein Says Opera Will Play Sunday--Moss Will Send Cops," Daily News. W78.3.22 1/10/41 Margolin, Leo Jay, "Blitzstein Defies License Ban; Show to Go On Despite Cops: His 'No for an Answer' Gets 'No!' for Answer From Fire, Housing, License Depts.," PM p.l. W78.3.23 1/10/41 "'No' Is Blitzstein's Answer," NY Post. W78.3.24 1/11(?)/41 (R67#777) H.H.H., '"No For An Answer' By Marc Blitzstein," Trade Union Service Newspapers "operetta... musical play... Every good unionist will profit by seeing it." W78.3.25 1/11/41 ""No for An Answer' By Marc Blitzstein," Trade Union Service Newspapers: "Every good unionist will profit by seeing it."

328 W78 No for an Answer W78.3.26 1/11/41 Rice, Elmer, "New Plays: Elmer Considers the World," Cue: "The story itself lacks force in this war-heavy world... some extremely moving scenes... singularly interesting... a few years late." W78.3.27 1/11/41 Simon, Robert, "Musical Events," New Yorker 16:48 p.49 [no relation to cast member of same name]: "...you may hear more about a satirical chanteuse, Miss Carol Channing." See W78.21. W78.3.28 1/11/41 Barron, Mark, "New Musicals Excite No Enthuasiam," Utica NY Dispatch (AP): "music is good, grand, and exciting... but nevertheless a dull show except when Mr. Blitzstein is playing..." W78.3.28a 1/11/41 Barron, Mark, "New York Stage: Broadway Audiences Have Combination of Modern and Old-Fashioned," Providence RI Bulletin . W78.3.28b 1/11/41 Ibid., "New York Theatrical Letter," Niagara Falls NY Gazette. W78.3.28c 1/11/41 Ibid., "'Night of Love' Is Old and New: There's Much Of Both In This Show," Hackensack NJ Record. W78.3.28d 1/12/41 Ibid., '"2 Musical Shows Have Different Dull Ideas," Atlantic City NJ Union . W78.3.28e 1/13/41 Ibid., "Old-Fashioned, Modern Themes Mixed in Musicals," Albany NY News. W78.3.28f 1/16/41 Ibid., "Down the Aisle by Chuck Gay, Mark Barron Writes," Dayton OH News. W78.3.28g 1/18/41 Ibid., '"Night of Love' Old-Fashioned," Passaic NJ HeraldNews. (R24#719-20,722-4, 728) A44 *1/12/41 MB, "On Collaborating With Oneself," NY Herald Tribune. W78.3.29 1/12/41 "Blitzstein Says Show Will Be Put On Tonight: No License Yet, but Seats Are Being Fastened," Herald Tribune. W78.3.30 1/12/41 (R67#786) Coleman, Robert, "Blitzstein Balks at 'No' For an Answer in License Row," NY Daily Mirror. W78.3.31 1/12/41 "Leaders of Theatre World Protest Ban on 'No For An Answer': Show Goes On Tonight," Sunday Worker p. 7 incl. photo of scene with 2 men & 1 woman, unidentified. W78.3.32 31/12/41 Wolfert, Ira, "Blitzstein Welcomed as Opera Writer," Cleveland Plain Dealer: "This is opera of a kind no other American I know of has written and very few people of any other nation, either.... just about the only serious work of art to reach the stage this season." W78.3.32a 1/12/41 Ibid., "Grim, Racy, This Opera Of Labor: Marc Blitzstein Makes Music Tell As Dramatic Force," Buffalo NY News W78.3.32b 1/12/41 Ibid., "Benefit Show Uncovers American Opera Writer," Providence Sunday Journal.

W78 No for an Answer 329 W78.3.33 1/13/41 "Blitzstein Show Held Despite Ban Order" (R67#786): "more than 3,000 persons cheered" "Blitzstein Statement: 'There was never any doubt in the minds of myself or the company, that as long as there was this play to be produced and an audience to see it, this performance would be given as scheduled. We gathered to us in an extraordinarily short time an array of the most distinguished names in New "York City in unanimous suppot of this decision." W78.3.34 1/13/41 "No for an Answer,"Time 37:2 p.47: "bleak" work by "pinkprincipled native Philadelphia" "lacks wit..." presented "by a committee that includes several Communist fellow travelers." W78.3.35 1/13/41 "Show Staged in Temple," NY Times p.10: "Joseph Sterling, attorney for the Temple, said he had appealed some of the findings of the Building Department to the Bureau of Standards and Appeals and that as a result he understood the city would await the bureau's decision. The committee sponsoring the experimental production... had charged that Mr. Moss was using his licensing powers to censor the show, an allegation that the Commissioner denied." W78.3.36 1/13/41 "Yes for an Answer," Opera News 5:13 p.28 [unsigned]: "Can an opera be written today on a burning issue of the times? Can it be sung in the modern American vernacular, staged without benefit of scenery, played without benefit of orchestra, and still hold a capacity audience spellbound...? Yes, for an Answer.... In his affirmation of the operatic tradition, his demonstration of the belief that singing reinforces the drive of the spoken line, Mr. Blitzstein has made a definite contribution to the world of opera today. Does opera belong to the past? No, for an Answer!" W78.3.37 1/14/41 Morison, James, "Sights and Sounds: 'No for an Answer': Marc Blitzstein's new opera reveals an abundant and ever-growing talent. Labor finds its composer. A musical saga of American working men." New Masses 338:4 p.28 +photo of MB with score. W78.3.38 1/15/41 "In Music and Drama Circles," Augusta ME Journal "... such use of a serious art form for the presentation of a serious contemporary problem is strikingly unusual." W78.3.39 1/15/41 "Moss Gives Blitzstein's 'Answer' Okay [temporary permit] to Play After Earlier Rumpus," Variety. W78.3.40 1/15/41 (R67#783) Naka, "No For An Answer," Variety: "poignancy and emotional depth... high hysterical pitch... lack of the fundamentals of dramatic composition... specialized audience... probably appreciates more the purpose of his drama than its actual writing merit...." W78.3.41 1/16/41 (R24#721) Sieger, Marc, "On Stage," Bronx NY Jewish Review on license "fuss": "The opera itself is a fine one.... The writing is good, the music excellent, the plot development exciting." W78.3.41a 1/16/41 Ibid., Passaic NJ Jewish Tribune. W78.3.41b 1/16/41 Ibid., Paterson NJ Jewish Post.

330 W78 No for an Answer W78.3.42 1/17/41 Allen, Kelcey, "Amusements," NY City News Record: II:1#2 "an unforgettable experience." W78.3.43 1/18/41 Burr, Eugene, "Second Blitzstein Opera Offered at Mecca Temple," Cincinnati OH Billboard: "several stirring songs are fine, but for the rest, the evening seems primitive and childish." W78.3.44 1/19/41 Warner, Ralph, "Marc Blitzstein's Achievement: Opera 'No For An Answer' High Point In Current Season," "Combines Music and Drama in Fresh Manner," '"To Retain Liberty We Must Defend It,"' "Protest Campaign Forced Censors To Back Down,"Sunday Worker p.7 +photo of Martin Wolfson, Lloyd Gough and Olive Deering. W78.3.45 1/20?/41 (R24#725) D.S., "New Blitzstein Opera Is Heard," ? MB "pleads the cause of labor well, and proved his sincerity by donating part of the proceeds of the performance to the defense fund of twelve defendants in an Oklahoma trial for criminal syndicalism. Musically, the new opera has much interest, with forthright themes, arresting rhythms and picturesque treatment, but on the whole" W72 "showed more originality and versatility." W78.3.46 1/21/41 Cooper, Lou, "Sights and Sounds: Blitzstein's Music; A Summing Up of the Tunes in 'No for an Answer'," New Masses 38:5 p.29-30: "If some of our music critics are wondering whether this country will ever produce a composer of major proportions, let them stop worrying, for right in their midst is the brilliant and immensely endowed Marc Blitzstein.... What Mr. Blitzstein has evolved is neither an opera nor a play, but a new style containing the elements of both forms." Praises I:3 Gina, I:8, I:4 "one of the finest fox-trot melodies I have ever encountered," II:1#2, II:10#1, I:11#1. W78.3.47 1/25/41 Naguid, Nina, "Blitzstein Opera A Brilliant Achievement," Musical Leader "a drama with music... With an orchestra and sets... would be a knockout." W78.3.48 2/41 (R68#32) J.H., "Theatre," NY Teacher: In W78 "March[sic] Blitzstein reveals a strengthened mastery of the technique used in" W72, "and it would be a real service to the theatre to importune the producers to offer his second play in music in regular presentation." W78.3.49 2/41 Siegmeister, Elie, article on Music, in Direction 4:2, p. 16: Review of W78--but see under W72. W78.3.50 2-3/41 (R24#775-6) New Theater News: "At last we have the answer to the old cry for another [WAITING FOR] LEFTY, another BURY [THE DEAD], another CRADLE or PLANT IN THE SUN..."

W78 No for an Answer 331 W78.3.51 2/1/41 Coveney, John P., "Music," America(?) R68#22 "The support of the music, which seems cast in the harmonic mold of Schonberg and Debussy[!], can be felt during its pauses, which indicate a rest rather than a stop. A similar problem confronting Beethoven in his Fidelio resulted in a rather disjointed solution. The resumption of the music in the new work is a more natural feeling, occurring as it does at moments of expectancy." II:1#3 "is obviously meant as a comedy interlude. Curt Conway... seemed undecided as to whether he should ape Jimmy Durante or Joe College. Anyway, this observer found it strained and decidedly not funny, especially when" contrasted with I:6#3. "However, everything taken into consideration, this is a muscial [sic] work as American as a Grant Wood painting... and as contemporary in theme as today's headlines." [Underlined portion underlined by MB in his copy of the article, R68#22.] W78.3.52 2/26/41 "'YES! .... FOR AN ANSWER' PARTY" chez Jack Sher, cast performed exc. W78.3.53 3/29/41 (R24#779) Glenn, Charles, "His Work Is Our Work and His Song Our Song," Daily Worker p.7. W78.3.53a 6/9/41 Ibid., "The Common Man Is The Angel of This Show," Daily Worker p.7. See also G20 6/27/41. W78.3.54 5/41 (R24#681) Schreiber, Flora Rheta, "In Search of Broadway," Players: "an experiment in a new form of folk theater... a considerable advance over" W72 "reasserts in pungent form the robustness of the best tradition in the social theater of the thirties. The work is essentially American in idiom, in language, in presenting native types, in asserting the strength and courage of the little man." W78.3.55 (G4a) 1941 Copland, Aaron, "Thomson and Blitzstein," in Our New Music, p. 196-9: "Blitzstein has an unusual flair for dialogue and lyrics but does less well in the construction of a tightly knit dramatic plot." Esp. on II:1#3, II:3, et al: "For the first time in a serious stage work he gave the typical American tough guy musical characterization.... No one has ever before even attempted the problem of finding a voice for all those American regular fellows that seem so much at home everywhere except on the operatic stage. If the opera had nothing more than this to recommend it, its historical importance would be considerable." "Short, clipped musical sentences..., uneven phrase lengths... nervous energy and unerring sense of desing... subtle use of a talky prose rhythm over a musical background that is very personal.... His melodic line as a rule is straightforward, but the accompaniments may be exceedingly complex, though almost never obtrusive." Read by Copland in P14 1976 (q.v.).

332 W78 No for an Answer W78.3.56 [1941] Production brochure (R24#686), "Both Sides of the Footlights Are Ready," by No for an Answer, Inc., quotes critics +Copland, Paul Robeson, Lawrence Tibbett. Copland: "a milestone in the history of American opera. Blitzstein has set the vernacular to music in a completely natural way--something never before accomplished in a work of large dimensions. The result is a moving and exciting drama that should be seen by everyone." Tibbett: "a mjor work of music and speech in our own idiom, and our own langauge, and about our own people." reports W78.3.56.1 3/16/41 Evans, Alfred, "Two Operas--Problem In Musical Finance," Sunday Worker p.7. W78.3.56.2 5/7/41 "Postpone 'No For an Answer' Until October," Daily Worker p.7 - at Al Jolson Thtr. W78.3.57 *3/30/41 Whipple, Sidney B., "New York Awaiting Verdict! Critics to Name 'Best' Play of the Season" "Critical Mind Stubborn" "Significant Operetta" [Cradle] upstate NY newspaper??? W78.3.58 ?/?/44 (R8#363) Musel, Robert, "Marc Blitzstein Honors Airmen In New War Ballad Symphony" [W95] incl. photo of MB "conducting a rehearsal of his operetta," W78. W78.4 3/41 Recording, Keynote #105 (excerpts, 3 10", 2 12" 78 RPM disks) incl. I:1; I:3 Gina; I:4; I:6#2-3; I:8; I:11 (called I:10); II:1#3; II:3 (called II:4); II:10 (called II:9) #1,2&4. (Discrepancies in scene numbers reflect different stages in the cutting of the script.) W78.4a Rereleased on Theme Records 103. W78.4b rereleased on Box Office Production JJA 19772 (w/original demo of W117) and American Entertainment Industries (Hollywood) #1140, 1982. Michael Loring replaced Robert Simon. LB also recorded II:7 #3 privately: WSHS T1049 R14. MB's program notes printed in full in MtM p.191-2. Booklet also contained song texts. W78.4.0 A copy was retained by the FBI, though records shipped to them 5/23/41 by critic of Memphis Commercial Appeal were broken, and destroyed 3/28/46. "It will be noted that this opera to some extent represents what might be termed Communistic propaganda." "The theme of the opera is the persecution of 'little people' and the unreality of freedom and democracy in America." W78.4.0a 4/2/41 FBI informant to NY office: "Marc Blitzenstein [sic]... is described as a notorious Stalinist and his no for an answer [sic] is blatant propagandizing of the Soviet line." [100-4753-6 declassified 6/2/88] W78.4.0b FBI 100-4753-5&8 1/2/42 declassified 6/7/88: "It is recommended that this individual be considered for custodial detention in the event of a national emergency."

W78 No for an Answer 333 W78.4.0c 1/5/42: "Blitzstein is being considered for custodial detention." W78.4.0d 7/16/43: "This classification is unreliable. It is hereby cancelled...." - Attorney General. W78.4.0e 11/22/46 case "reopened": "endeavor to obtain legally admissible evidence which will prove the subject's membership in or affiliation with the Communist Party..." W78.4.0f 1950 MB reported on to FBI by "Louis Budenz, former Managing Editor of The Daily Worker, whose identity should be concealed..." recording reviews W78.4.1 4/27/41 Taubman, Howard, "Records: Blitzstein: Excerpts From His Opera, 'No for an Answer' --Other Recent Releases," NY Times "vitality and freshness... not enough of the choral passages." I:6#3, I:8, II: 1#3 "excellent." W78.4.2 4/29/41 Cooper, Lou, "Sights and Sounds: Mac Blitzstein's Album: 'No For An Answer' finds permanence in its recording." New Masses: MB "a craftsman... a devastating satirist, a brilliant lyricist, dramatist, and composer all in one.... His is a fervent music that flows with unrivalled power, dignity, and affirmation." W78.4.3 5/41 "On Discs: U.S., Soviet and German Music," PM "Behind the simple, folksy facade of the music there is an extraordinary skill and originality." W78.4.4 5/4/41 Gaghan, Gerard, "New Recordings: Excerpts from Marc Blitzstein's Play-With-Music, 'No for an Answer,'" Evening Ledger "choral selections are excellent." W78.4.5 5/1/41 Lyons, Leonard, "Broadway Medley," Jackson (TN) Sun: Decca recorded excerpts but refused to release them, fearing association of character Joe with Stalin. W78.4.6 5/4/41 (R68#32) "Recorded Music," Philadelphia Inquirer: MB "seems well on his way to achieving a new art form, living and American. His interest in the people makes him undeniably leftist; his music is undeniably good." Praises "the three 'character sketches'" [I:3 Gina; II:1#3; and II:3] and II:10#4. See also contrasting review of A76 2-5/56 in P48v.2 2001, below. excerpt perfs W78.5 3/17/41 Paul Robeson sang II:10 #1 at Madison Square Garden tribute to William Z. Foster. report

W78.5.1 3/22/41 "Youth Theatre Sings to Aid 'No for an Answer,'" Daily Worker p.7. W78.6 excerpts perfs by MB to promote new production: W78.6.1 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond; MB at pno; perf'd: I:6#3 & II:1#3; also per'd: W65; W72 Sc.3, Sc.4#3&4, Sc. 7#1; W75 Sc.3; W76#1; W79 #2; W80.

334 W78 No for an Answer W78.6.2 California fundraising perfs W78.6.2.1 6/27/41 Glenn, Charles, "Meet Marc Blitzstein, People's Composer: Noted Musician Comes to L.A. For APM Meet," People's World : "his latest opera... has set New York on its ear... a people's opera, scheduled for production at the al Jolson Theater in the fall. Yes, they tried to stop the original production.... The censors lost and New York was treated to the greatest musical evening it has known in years. Blitzstein has another hit." W78.6.2.2 *6/?/41 flyer for American Peace Mobilization, Los Angeles event 7/1/41 abr. version of W78. W78.7 6 private solo perfs by MB of portions of score in California, incl.: W78.7.1 6/25/41 chez Dalton Trumbo, Beverly Hills (for Orson Welles, John Garfield et al); W78.7.2 6/29/41 chez Elaine Barrie, Bel Air, sponsored by Hollywood Committee of American Peace Mobilization; W78.7.3 7/1/41 Embassy Auditorium, "The Cultural Event of 1941" sponsored by same organization W78.8 production cancelled W78.8.1 10/5/41 "News and Gossip of the Rialto," NY Times 9:1: production "abandoned, at least for the moment. The show required some $20,000 for production, of which about $7,000 was raised; this is being returned." W78.8.2 (A45) 10/19/41 MB, "Letter to the Drama Editor," NY Times IX:3 correcting reasons for cancellation: "During this emergency we believe the stress should be on plays reflecting the growing unity of all anti-Fascist forces..." W78.9 exc. perf by MB W78.9.1 11/8/41 MB performs [unspecified] songs at the piano, "Stars for China Today," American Friends of the Chinese People, Town Hall benefit; also performed: Chopin, Cui, Gershwin, Paul Villard. W78.10 1943 Recording by Paul Robeson; Lawrence Brown, pno; on Songs of Free Men, Columbia M534-3 (& subsequent releases). He also sang song as tribute to Eugene Dennis at one of his last Carnegie Hall concerts, in 1949, and included the number in many concerts thereafter, incl. Australian programs, 1960. (Foster and Dennis were each, at the time, General Secretary of the American CP.) recording review W78.10.1 2/28/43 Taubman, Howard "Records: Robeson," NY Times incl. II:10 #1. European exc. perf by MB W78.11 3/11/44 MB performs exc. at Anglo-American Concert, Royal Pump Room, Leamington Spa +W72(exc.) on program with string quartets of Britten & Tippett (R17#183-4).

W78 No for an Answer 335 W78.12 more U.S. exc. perfs W78.12.1 2/4/46 "Jefferson School Anniversary Tonight," Daily Worker announces MB "will act as guest conductor, with selections from his folk-opera" W78. Clipped by FBI 100-3868-20 declassified 10/17/96. W78.12.2 10/22/46 MB lecture-recital for Art Alliance, Ethical Culture Auditorium; perf 'd I:6#3; also W28#7, W95III:2. review

W78.12.2.1 (R68#123) Sinnickson, Charles, Jr., "Blitzstein Gives LectureRecital," Philadelphia Record. article

G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p.170-6: "scrupulously fair... he will not hesitate to satirize the weaknesses of... characters who obviously have his sympathy (Paul, the well-meaning but confused liberal, and Mike the nondescript lumpenproletarian...) ...He brings to popular music the power to represent emotional states which were formerly beyond its range. Noteworthy examples... the staggering music and flamboyant words portraying the self-pitying liberal, Paul; Clara's song about growing up, with its touchingly wistful lyrics and harmonies; the anger and exasperation in Gina's scolding song; and Bulge's self-spoofing in" II:1#3. "In this last song a piquant, Italiante atmosphere results from the mixture of neo-Monteverdian melodic-harmonic elements first with a modified blues rhythm, and later with a sort of honky-tonk rhythmic accompaniment.... Occasionally Blitzstein will give the tune its head, letting it take precedence over words and action." [I:4] In other cases the characters or situation are more important, as in the remarkably handled" I:8, "where Joe's love-song is continually interrupted by Francie's spoken words and never gets past its initial phrase even though the scene reaches an emotional climax at the close." more U.S. exc. perfs W78.12.3 2/15/47 Mordecai Bauman, bar.; Lucy Brown, pno perf'd II:1#3 at Times Hl; American-Soviet Music Society program, along with Ives, Thomson, Moore; also on prog: Shostakovich, Prokofieff, Piston. W78.12.4 11/19/47 "Let Freedom Sing: Songs Down Freedom Road," Joint Anti-Fascist Refugee Committee concert, Concourse Plaza Hotel, with Howard Fast, Norman Atkins, Jefferson Chorus, MB in W78exc. +Muriel Smith in W72 Sc.9#2- Daily Worker 12/17/47 announcement clipped by FBI 1/7/48. exc. recording A63 12/31/47 Muriel Smith & MB recorded "Marc Blitzstein--Songs for the Theatre," Concert Hall LP, CHC 24 incl. W76 #1; 78 II:2; 79 #1; 102 #16 & 21. Recording released 1948-50. letter W78.12.5 1/7/48 (R19#848-9) Olive Deering Penn to MB: "I was so delighted to read the reviews of W72. "PS - What about 'No for an Answer' now?"

336 W78 No for an Answer A64 1/18/48 Severance Hall, Cleveland concert: MB accompanied Muriel Smith & Mordecai Bauman in I:8; Smith in II:1#2, Bauman in II:l#3. review A64.2 1/19/48 Loesser, Arthur, "Blitzstein's 'Excerpts' Offer Wide Musical Range," Cleveland Press: II:1 #2 "a sort of an abstract of adolescence, had a certain poignancy of sentiment." II:1#3 "Bauman... scored a hit in his vivid portrayal of an imaginative panhandler." See also W72.37.2, W75.10.2 & W95.12.1. G33 *10?/49 unidentified gossip column re Billy Rose, W72, W78, W107. See W107.1.10. W72.35.20a 1950 Smith, Cecil, Musical Comedy in America, NY: Theatre Arts, p. 295: See under W72. A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston, perf'd: II:3 & II:7#2. A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. I:8 sung by Lena Sinagulia, James Mattingly. letter W78.13 2/24/53 MB to Mina Curtiss on II:9 & LB's Wonderful Town: "I don't seriously mind when he swipes from me (he has a number, "Quiet Girl," which title I used years ago [W91#2]; but instead of writing that song, he has written another of mine: a lullaby I wrote for No for an Answer [II:9]-but, when he calmly grabs the Brahms 2nd Piano Concerto [slow movement] for his 'hit,' called "Why-oh-why-oh-why-oh, Why-did-I-ever-leave-Ohio?' I gaga. (I mean gag.)" [MtM p.364] The melodic similarity between the MB and LB works is principally the last three notes of the opening phrase, consisting of a descending sixth, followed by a descending second. This series of intervals would later characterize many passages in LB's music, most notably notes 2-4 of the melody "Tonight" from West Side Story. It is identified by Jack Gottlieb as an "Urmotiv," in his

W78.14 1964 "The Music of Leonard Bernstein: a Study of Melodic Manipulations," Univ. of Illinois D.M.A. thesis essay, p.43: LB "suggested that the origin of this particular motive comes from the deep impression made upon him by" W78 II:9. See also W110. W78.14.1 8/77 LJL, "Leonard Bernstein's Serenade After Plato's Symposium: An Analysis, " Cornell Univ. D.M.A. thesis essay, p. 96-7: "The same melodic formula occurs in another place in the opera, however, and does so several times," namely I:4, "and seems to this writer to be a good deal more likely to be remembered..." [musical examples given] See also P28j, W88# 1.2.1.

W78 No for an Answer 337 recordings W78.15 8/55 LP: "Songs I Taught My Mother," Vanguard VRS 9004; Charlotte Rae, w/ John Strauss and his Baroque Bearcats [adding beguine accompaniment & fl. obblig.] perfs I:6#3, incl. originally cut line "If I'm a little late, just start without me"; +W97. A76 2-5/56 I:8 & II:1 #3 recorded by George Gaynes, Evelyn Lear & MB; Joshua Shelley & MB for Westminster LP: "Marc Blitzstein Discusses His Theater Compositions" Spoken Arts 717. critique P48 2001 MBS v.2 Notes by LJL, p. 150: In I:8, Loring (in W78.4), unlike Gaynes, "prolongs the value of the first note (to a dotted eighth) each of the first four times he sings 'Francie,' thus adding to the intensity of the last page, where he sings it more quickly, as written." letter

W78.16 8/18/56 Edward Cole to MB on recording for MGM suites from W72 (11/12/56) & 107 (11/19/56), as well as from W75, 78 & 106. Contents & timings prepared by MB, but sessions never happened. article

G51 11/58 Flanagan, William, Jr., "The Riotous Garden of American Opera," High Fidelity p.44, 144: re W72, W78: "Both... are a versatile blend of social commentary, popular-styled melody, and the rhythmic and harmonic sophistications that characterize the 'serious' music of our century." See also W107. W78.17 4/18&25/60 Composers' Showcase, 2 semi-staged perfs at Circle in the Square, narrated by MB. Period changed from 1941 to 1931. Bernard Gersten, dir. Joseph Liebling, [pianist &] mus. dir. [& Cutch] Nick Kyriakos: Martin Wolfson [replacing Michael Kermoyan, announced]; Joe Kyriakos: Felice Orlandi; Bulge/Jimmy: Philip Bruns; Steve: Jordan Bowers; Francie, Joe's girl: Karen Sargent; Paul Chase: Raymond Murcell; Clara Carver Chase: Joan Copeland [sister of Arthur Miller]; Emanuel: Robert Shaver; Gina Tonieri: Elaine Bonazzi; Mery: Sophie Ginn; Max Kraus: Dino Narizzano; Mike: Jerome Mann; Bobbie: Nancy Dussault. Act I Sc. 1-3 condensed to "The Meeting"; Sc. 5, 7, 9, 10 & 11#1 cut. Act II Sc. 1 #1&2 cut, Sc. 2, 4 -6, 7#1, 10#3&4 cut. previews W78.17.1 *4/17/60 "No For An Answer" NY Times II:9 +Sy Friedman photo of MB and W78.17 cast. W78.17.2 4/18/60 (R22#506) LB to MB: "MAY NO BE YES THIS TIME" W78.17.3 *4/18/60 "Music Notes" announcement of W78 "concert presentation."

338 W78 No for an Answer reviews W78.17.4 4/19/60 Taubman, Howard, "Music: 'No For An Answer: Blitzstein Work Gets Revival Downtown," NY Times: "...the material is essentially heavyhanded and commonplace..., bogs down in a swamp of proletarian clichés." W78.17.5 *4/19/60 L.T.[Lester Trimble], "'No for Answer' In First Concert Performance," Herald Tribune p. 16: "Mr. Blitzstein's part of the job, as composer, was done exceedingly well. The touching and courageous story of unemployed, immigrant hotel workers contains a lot of sincere fetching music and a book which, to these ears, seemed not to be dated at all... There was not one static moment." W78.17.6 4/21/60 Altman, Leonard, "No For An Answer," NY Villager "Do not walk for tickets--run!" I:6#2-3 "uproarious vaudeville piece"; I:8 "charming"; II:1#3 "superb"; II:7#2 "moving"; II:10#2 "delightful"; II:12 "impressive." W78.17.7 4/25/60 Chase, S., Billboard 72 p. 18 "Blitzstein'No' revival provocative". W78.17.8 4/25/60 Siff, Nancy K., Village Voice: not "a credit to Blitzstein's talent." W78.17.9 5/60 "Composers' Showcase," Musical Courier 161 p.36. W78.17.10 9/60 Bolton, Guy, "Musicals, Too, Were Memorable," Theatre Arts 44:9, p.23f. W78.17.11 11/19/60 F[reeman], J[ohn] W., "New York's Centers," Opera News 25 p.20: "no opera... a morality play spotted with songs... The music is mostly Gershwinized (i.e. proletarianized) Stravinsky sprinkled with Weill and splashed with backwash from Les Six, in texture and structure it holds one's musical interest." letters W78.17.12 /19/60 (R22#511) Cheryl Crawford to MB: "My special favorites musically": I:11#2, I:8, II:7#2, II:10#1. W78.17.13 (R22#514-5) 4/20/60 Philip Barr to MB: "I wish you could have been at the piano, as well as being narrator--what did he mean by throwing away the syncopations in" II:10#1 "? On the other hand I was delighted to get back the syncopations in "Brooklyn Bridge," [I:6#1] "which I hadn't heard since Mrs. Morris's party in Jan. 1940. (I think you told me they wouldn't 'carry' in Mecca Temple.)" diary note W78.17.14 7/14/60 MB meets Daniel Schorr, in Berlin, "a nice guy who treasures a copy of my" W78 "in his Moscow home." (R7#273)

W78 No for an Answer 339 letters W78.17.15 1/30/63 (R4#600) Douglas Moore to MB: "Ever since I started writing opera I have looked up to you as the man who really knows what it is all about. You not only have the instinct and judgement but in No For an Answer and Regina you have given me my best moments in the whole catalogue of American opera." W43.5 7/23/63 MB to Robert J. Dietz: "I have pilfered from them [W43 & 56] musically for later works to such an extent that as entities they are in shreds.... It [W56] now forms part of my 'composer's trunk'; sections and ideas are in the new work [W123], as well as in" W78 "and other works." reviews M31 *4/30/64 Kerner, Leighton, "Music: Marc Blitzstein," Village Voice pp.6, 17: "this Blitzstein-fan-disguised-as-a-reviewer would willingly have stayed for a run-through of W78 & W108. articles M35 Spring-Summer 1964 Copland, Aaron, "Marc Blitzstein Remembered," Perspectives of New Music 2:2: "He took a certain pleasure in needling his audiences, in telling unpleasant truths straight to their faces. To sing these truths only gave them greater poignancy.... His later operas," W78 and 107, "were musically more ambitious [than W72], with a broader dramatic range. They gave full play to his brilliant gift for musical characterization. He could be sarcastic, parodistic and even derisive at times; but he could also be gentle, tender and tragic. Most important of all, he was the first American composer to invent a vernaculat musical idiom that sounded convincing when heard from the lips of the man-in-the-street. The taxi driver [? Is he thinking of LB's On the Town ?], the panhandler [W78 II:1 #3], the corner druggist [W72 Sc.5] were given voice for the first time in the context of serious musical drama. This is no small accomplishment, for without it no truly indigenous opera is conceivable." Reprinted in notes to W72.53 1965. Pl*5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter. W78, "the successor to" W72, "was performed briefly at the Mecca Temple... but with our entry in the war its pacifism and the harshness of its social criticism made other performances unlikely." See also W40, W56, W65, W72, W107, W126. exc. perf M38 6/6/64 Homage to Marc Blitzstein, Carriage Barn, Bennington College. II:1#3 sung by Charles Caffall.

340 W78 No for an Answer book G15g 1965 Mellers, p.420-1: "a tragedy with satirical implications"; I:6#3 "superb torch song"; "the song-tune tends to merge into a wonderfully sensitive treatment of speech inflection--a kind of 'American recitative..." In II:3 the "vocal line provides a link between musically accompanied speech and song: the transitions are so subtle that 'real life' dialogue dissolves into music in a way that makes Menotti's parlando line seem relatively crude in range and expressiveness." I:8 "exquisite, vocalized D flat nocturne" II:7#2 "chromatic arioso... followed by... slow waltz harmonized in rich but tremulously fluctuating sevenths... is at once satirical and beyond the range of parody." In choruses, "[t]he vocal line is stark in its diatonicism, yet rhythmically resilient; ... the movement of the parts creates an alert expectancy from enharmonic modulation, and it is this element of precariousness that relates Blitzstein's power to his sensitivity. Even when his use of patterned figurations in ostinato rhythms attains a steely monumentality there is no emotional bullying, for the lines preserve their nervous vitality." P3 7/29/65 Talley, diss., p. 133: "dramatize[s] the dangers of home grown fascism and methods for fighting fascism through the plight of unassimilated foreign-born citizens who needed to be taught how to demand their rights in their chosen country." p. 168 "A story which seems to have been intended originally as an exposé of the fascist threat becomes progressively more concerned with showing a protest organization as a respectable and necessary group. The change of the club name from the Young Spartacus Club to the Diogenes Social Club seems to have been made in 1940... suggests a preference for change through education, rather than through violence." exc. perf P6 11/30/66 Blitzstein! Provincetown Playhouse, NY; Mira Gilbert, Norman Friesen; Peter Basquin, pno incl.: I:1, I:11#2, II:1&3. book W72.57.2 1969, 1974 Hitchcock, H. Wiley, Music in the United States: A Historical Introduction Englewood Cliffs NJ: Prentice Hall, Ch. 9, p.208-9: II:1#3 "is a murderous satire on a do-gooder's morbid curiosity about addiction; without its preliminary monologue, spoken over a sparse, dry accompaniment, the song itself seems only silly." See also T9. P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.326-39, 409-29. article in book P11a 1973 Siegmeister, Elie, "Marc Blitzstein," in The New Music-Lover's Handbook, p.536-8: W78's "most telling moments are the love duet" I:4? or I:8? "and the choral finale; the comic passages [I:6#3, II:1#3] however, seem somewhat forced and closer to nightclub style than to opera."

W78 No for an Answer 341 P14a 1976 "Marc Blitzstein: Composer with a message" excerpt TV perf. "Camera Three," CBS; Aaron Copland: In W78 MB "finally found his own musical style." Reads from W78.3.55 (G4a). II:1#3 perf'd by Jerry Jarrett. W78.18 8/2/76 "Interrelated Songs & Scenes of Opera and Musical Theatre," Barnes Hall, Cornell Univ.; LJL perfs II:1#3 & accomp. Cynthia Howell & David Wyatt in I:4; +Janet Bell & Nanette Hanslowe in W107III:1. Also perf'd: Beeson, Gershwin, LJL, Mozart, Porter, Rachmaninoff, Schumann, Shostakovich, Siegmeister, Strauss. Privately recorded. articles W72.64.5 6/6/83 Porter, Andrew, "Musical Events: Thalia," New Yorker p.112: MB's "sharp, moving, unfaded comic opera" W72. "Let me... hope that a revival of W78 "is on the way." P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: "Nothing Blitzstein wrote seems to have been torn from him so viscerally" as W78. "...a failure in its time and has attracted little attention since.... although varied individuals, they [the characters] are all stereotypes of love and loyalty-young lovers, a new mother and her baby, bosom buddies, a father and son. ...the playwright seems to have been... thinking that what he had here was realism." I:1 "hesitant but gradually compelling" II:10#1 "a bald attempt at audience uplifting" "(later part of Paul Robeson's repertoire)" I:6#3 "specialty number that featured the very young Carol Channing parodying Beatrice Lillie... the one moment when" MB "allows his impishness to shine through." II:1#3 "The song is so clever in its identification of musical phrases with the rhythms of colloquial speech... that it stands out and obscures the premise of the show... a duel of wits" vs. class struggle--"recalls les the machinations of the characters in" T9 "than the subtleties of characters in a Frank Loesser duet." The song "broadens--and to a degree contradicts--the political involvement of the play; it implies a far subtler weapon for the working class than anything else mentioned." W78 "needed another hand. This time, Mr. Musicker [sic] could not find the words." See W75. exc. perfs P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall. I:6 #2&3 Adolph Green, Phyllis Newman; Steven Blier, pno. P28 A Blitzstein Cabaret, LJL & HW: P28a 1/23-25/89 Bruno Walter Auditorium, NYPL at Lincoln Ctr: II:1#3 P28b 3/2/89 Bryant Library, Roslyn NY: I:6#3.

342 W78 No for an Answer preview article P28b.1 2/23/89 Roslyn News mentions "Maggie da Silva's 1989 revival of" W78, which never went beyond backers' auditions. (See also MtM p. 542 and blogs of LJL's Assistant Mus.Dir. Peter Dizozza.) exc. perfs P28d 4/89 Caffé Bonelle, NYC repeat of P28b. P28e-h 3/2/90-12/27/90 perf'd: I:6#3, II:1#3. exc. recordings P31 1990 Premier CD 1005 "A Blitzstein Cabaret": II:1#3 LJL; I:6#3 HW; LJL, pno; incl. previously omitted lines, plus "Not a frot in my head & I frot at de mout'." P32 1990 Koch 7050 Zipperfly & Other Songs recorded 9/10,11&13/90; William Sharp; Steven Blier, pno: II:1#2&3. P32.1 Notes by Steven Blier: II:1#2 "can... be seen as a selfportrait, Blitzstein's precis of his own coming of age as an artist and as a man." II:1#3: "a showpiece... a genuine vaudeville number about the condescension of the rich, and the grit of the poor... also a marvelous parable about fund-raising for the arts." exc. perfs P28i 4/26/92 Shelter Rock Library, Albertson NY: repeat of P28e. P33a-d 1/90-6/05 A Blitzstein-Bernstein Cabaret (LJL & HW): I:6#3, II:1#3, II:9. W127.10.4 6/3/90 Jewish Affairs concert, NYC; HW perfs I:6#3. P34 2/91-11/02 Memories & Music of LB (LJL & HW): II:9. article P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: W78 "a two-act sequel of sorts to" W72. Calls II:10#4 "a 'Hymn of Hate.'" Calls the performance dates "of January, 1941, only a month after the Japanese attack on Pearl Harbor." [sic!: Dec. 7, 1941] exc. recording P38 1994 Dawn Upshaw Nonesuch CD 79345-2 "I Wish It So" NSH 75599345-2, incl. II:1#2 arr., accomp. & cond. by Eric Stern w/cello obbligato but without vocal postlude. P38a 1995 "Portrait" Nonesuch 79393-2; reissue of W78 II:1#2. exc. perfs P39 3/2,10-12/95 A Blitzstein Cabaret, Medicine Show, NYC: I:4, I:6#1&3, I:11#1 II:1#2&3.

W78 No for an Answer 343 excerpt prem. of II:5#2, compl. by LJL W78.19 4/6/95 Madison WI Sonneck Society convention. W78.19a 6/1/95 first public perf., Center Moriches Free Library, Long Island Composers Alliance concert. exc. perfs P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," at White Barn Theatre, Westport CT I:6#3, II:1#3 Emilie Roberts; Mark Basile; Charles Wade. W100.1 Boulanger memorial exc. perf [European prem.] LJL II:5#2 W100. 1a 7/11/96 Salle Nadia Boulanger, Fontainebleau (+W100, W127Sc.4Pt1) At this perf., David Diamond, who was present, asked what he thought of LJL's completions, stood up and exclaimed to the audience: "This man writes Blitzstein!" book P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press, p.425:"The plot concrens a group of Greek-American workers, most of them unemployed, in a small town near a summer resort. They congregate in the Diogenes Club, which meets in... Nick Kyriakos's roadside diner. Among supporters of the club are the liberal intellectual Paul Chase and his wife, Clara,... the welathy sister of a congressman. The Club arouses the fear and hatred of the Resort Association of the area's hotel owners, who believe it will lead ot the formation of a union. Joe, Nick's son, returns... only to be killed, and the Club is set afire... Nick and his friends are left with just their Club song... and their spirit with which to carry on." exc. perfs P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC Victoria Clark, Lauren Flanigan, Malcolm Gets, Brooks Ashmanskas; Ted Sperling, pno; perf: I:6#2&3, II:1#2&3; II:1#2 sung & played by Sperling, using uncut version for the first time. W100.2 2/13/00 Songs of Love, Westbury Library, HW & LJL perf. I:6#3 +W100; W107 I:7c. P28m 9/16/00 Jean Cocteau Repertory Thtr, LJL: II:5#2. P28n 12/3/00 Merrick Library, Merrick NY: repeat of P28m. P53 8/01 exc. recording A Marc Blitzstein Songbook, Original Cast Records CD OC-4441 accomp. by LJL, incl. 1:4 (James Sergi, HW); I:6#l, II:5#2 (LJL); II:9 (HW).

344 W78 No for an Answer W78.20 10/22/01-11/10/01 American Conservatory Theater prod., Zeum Theater, San Francisco. [First staged perf of II:5#2; prod. called world prem.] Carey Perloff, dir.; Peter Maletzkie, mus. dir./pno; dramaturge: Paul Walsh; videotaped 11/10/01. Bulge: T. Edward Webster; Jimmy: Neil Edward Hopkins; Bobby: Jessica Diane Turner; Francie: Heidi Armbruster; Joe: Jed Orlemana; Paul: Ryan Farley; Clara: Julie Fitzpatrick; Nick: Adam Ludwig; Cassandra Carpenter, costumes; Elizabeth Mead, sets; Francine Landes, choreog. "Performance script" deposited at Univ. of California, Berkeley library. press release W78.20.1 10/01 Perloff: "We were all astonished by the depth of feeling and humanity in the characters and by the beauty of Blitzstein's choral music" and the "array of musical styles--Broadway, blues, vaudeville, and the Russian Jewish folk songs of his youth." preview article W78.20.2 10/19/01 Weiss, Suzanne, "Perloff's new decade with ACT heralds 2nd stage of life," Jewish Bulletin of Northern California, V.105#41 p.27A: "The show has a strong Jewish flavor." reviews W78.20.3 10/29/01 Hurwitt, Robert, "New Deal-era 'Answer' full of revelations," San Francisco Chronicle, p.C2: "musical riches" - esp. II:1#3, I:6#2&3, II:9, I:8, I:4. "The choral work is outstanding and curiously complex despite some painfully dogmatic lyrics. The vaudeville turns are delightfully sophisticated... its story, sadly, is still pertinent today." W78.20.4 11/19-25/01 Harvey, Dennis, Variety v.385#1 p.49: "it beggars belief that" W78 "has never been fully staged... even in this rough form, the musical shines. Regional theaters, celebrity concert impresarios and those in search of lost musical gold should take note... innovation and delicacy" esp. I:8, I:11, I:6#2[&3], II:5#2 [compl. by LJL, though uncredited in prog], II:1#3. P19g Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents : "...the doubts I expressed... about a future for" W78 "turn out to be somewhat unjustified." W78 "was a more mature follow-up to" W72, "less of a cartoon, more of an opera with developed characters, but also on a worker theme and written for actors' voices. I feared that the agit-prop nature of this piece would forever doom it as proletarian kitsch, but a student production in San Francisco in 2001 changed my mind.... Without denying any of" W72's "manic genius," W78 "is much more substantial." exc. perfs P54a 12/2/01 Bryant Library, Roslyn NY, HW & LJL I:6#l, II:1#2, II:5#2. W66.3 4/19/03 Meglioranza, Thomas, Alumnus Recital, Grinnell College (recorded & archived there) w/Hsi-Ling Chang, pno: II:1#2; +W66, W88#1. W66.3a program repeated at Weill Recital Hall. P56a 5/1/03 I:6#1 LJL, American Labor Museum, Haledon NJ.

W78 No for an Answer 345 thesis P29c 2003 Johnson, Marc E., "'The Masses Are Singing': Insurgency and Song in New York City, 1929-1941," p.431: W78 "represents a middle ground between traditional narrative opera and epic theater, developing psychologically compelling characters but always with an eye to politics." Songbook review P47.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.297: W78's "themes... particularly resonated during the civil rights struggle of the 1960s." I:6#l "one of the best and most applicable numbers." I:8 "One of Blitzstein's few love songs, the composer was particularly proud of its innovative counterpoint of speech and song... unique, except for" W117 I:4. [But see also W72Sc.9#1!] II:1#2 "a moving song expressing one character's growing consciousness of the realities of working-class life." II:1#3 "a truly fun piece." II:5#2 "a clever spoof... with memorable lyrics and a catchy tune, easily adaptable as a solo piece." exc. perf W78.21 11/03 Carol Channing perfs I:5#3 at "Singular Sensations" series, Village Theater, says of MB: "If he were alive today we'd have wonderful American operas. We would. But only Marc could do it." Recalled Robert Simon review, W78.3.27, but misattributed it to Virgil Thomson. [Tape by & courtesy of David Litofsky] She also recorded a perf & an interview, w/MB, on WNYC in 1941 rebroadcast 3/2/05. review W78.21.1 11/8/03 Jefferson, Margo, "Theater Review: 'Singular Sensations': Back Where She Belongs: Carol Channing Reminisces," NY Times: "...she began with multiple personalities; in a 1940s revue by" MB "she brought those of Ethel Merman, Beatrice Lillie, Sophie Tucker and Gertrude Lawrence to one song." book W72.133 2004 Grant, Mark N., The Rise and Fall of the Broadway Musical, p. 102-4: I:8, "a two -part counterpoint, anticipates" "Twin Soliloquies" in South Pacific; II:1#3, "A veritable five-minute singspiel... anticipates" "Soliloquy" in Carousel; II:3 "predates" "Gee, Officer Krupke" in West Side Story. See also W72, W107.

346 W78 No for an Answer exc. perfs P56b 5/1/04 I:10#2, II:1#3, II:5#2 LJL & HW, American Labor Museum, Haledon, NJ. P57 5/4/04 II:1#3 Lars Woodul, SUNY-Stony Brook. P28o 6/27/04 First Unitarian Society of Madison, WI, LJL & HW: I:6#1, II:1#3, II:5#2. P59 11/9/04 "Marc Blitzstein: Rallying with a Note," HW & LJL, Center for Jewish History, NYC I:6#1&3. P62.1 1/29/05 MB Centennial Workshop, Queens NY, LJL perf'd: I:6#1. P62.2a 2/26/05 SF - Other Minds: Centenary Celebration of MB (concert) incl. I:8 w/Amy X. Neuburg, John Duykers; Sarah Cahill, pno. P62.5 3/2/05 Curtis Institute concert, Donald St. Pierre, accompanist; II:1#3 J.J. Kee, bar. W107.71.1 e/11/05 "Road to Regina," Kennedy Center; Catherine Walker; Chris Fenwick, pno: II:1#2.

W79 Danton's Death 347 W79. Danton's Death (11/1938) (Georg Buechner) songs & incidental music w/cl, tpt, traps, pno B33,90 R54-5 [MB was also credited, by some, with incidental music to The Shoemakers' Holiday 1/38 and Heartbreak House 4/38; both of those were actually arr. by Lehman Engel.] 1. Ode to Reason - solo; Fmin; 12th: C-G MBS 3/90 2. Christina (aka Ho, Christina!) - duet/chorus. 3. Interlude - instrumental. 4. Carmagnole - chorus; 5. Ah! Ça ira - chorus. 6. Spinet-Piece - instrumental. 7. Distant Hurdy-Gurdy - instrumental. #1 was sung by Adelyn Colla-Negri; #2 by Joseph Cotten & Mary Wickes. W79.1 21 perfs (end of Mercury Theatre); Dir./St. Just: Orson Welles; Danton: Martin Gabel; Camille: Edgar Barrier; Barrere: Joseph Cotten. reviews W79.1.1 11-12/38 Gutman, John, "In the Theatre," MM 16:1 p.57: The apparent discrepancy between" the songs' "modernity, and the 'period' style of the instrumental pieces creates a kind of ironic high-lighting. This stream-lined production--quick, dry and a little colorless--would I think have gained by a more ample score." See also W76. W79.1.2 11/15/38 McKenney, Ruth, "Big Themes in theTheater," New Masses: "Christina" "ought to be heard frequently around town." exc. perfs W79.2 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm, sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond. MB at pno; perf'd: #2; also perf'd: W65; W72 Sc.3, Sc.4#3&4, Sc. 7#1; W75 Sc.3; W76#1; W78 I:6#3 &II:1#3; W80. A63 12/31/47 recording Muriel Smith & MB recorded #1 on "Marc Blitzstein--Songs for the Theatre," Concert Hall LP, CHC 24, incl. W76 #1; 78 II:2; 79 #1; 102 #16 & 21. Notes: "The accompaniment... is by 'prepared' piano, the tones being made to resemble those of early keyboard instruments." - also for W76#1. A64 1/18/48 Severance Hall, Cleveland; #1 perf'd by Muriel Smith & MB. A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. #1 perf'd by Bettie Clark, mezzo; Vincent Bredice, guitar; Carl Bergner, flute. book P13 1972 Houseman, John, Run-Through (NY: Simon & Schuster) p.383-90, 406-8; Play ran into trouble with CP because of possible interpretations re the Moscow show trials. MB mediated, rewrites were done, theater was not picketed, but neither did CP support production.

348 W80 Smoking Glasses W80. Smoking Glasses (1938) solo song with piano, 2 verses, Dmaj; d12th: A-Eb (in F: C-Gb). B97 R60 MBS 2/14 Accompaniment of 2nd verse never written down; compl. by LJL 1995. articles W80.1 3/21/38 "'Informal' au Billy Rose," NY World Telegram "The best of Billy Rose's Sunday Night Informals was last night at Casa Manana.... Blitzstein came up to sing his latest comedy song, one called 'Smoked Glasses,' [sic] which takes a few of Hollywood's glamor girls over the hurdles." W80.2 ? (R67#759) Ross, George, "So This Is Broadway," NY World Telegram: "At the Tavern: Billy Rose proposes to" MB "that he send his new song, 'Smoky Glasses,' [sic] a travesty on glamour girls, to Fanny Brice, which isn't the sort of gallantry one would expect of an estranged husband." perf W80.3 4/18/41 after-theatre supper and all-Blitzstein program, Georgian Room, Piccadilly Hotel, NYC 10:30pm, sponsored by Paul Robeson, Lee J. Cobb, Gene Kelly, Lincoln Kirstein, John Henry Hammond. MB at pno; perf'd W80 + W65; 72 Sc.3, Sc.4#3&4, Sc.7#1; W75Sc.3; W76#1; W78 I:6#3 & II:1#3; W79#2. P53 8/01 recording A Blitzstein Songbook, Original Cast Records CD OC4441: Gregory Mercer; LJL, pno (transposed up a minor 3rd from original key). perfs P54a 12/2/01 Bryant Library: LJL; P54b 3/3/02 Hewlett-Woodmere Library: Gregory Mercer; LJL, pno; repeated P54c-e 6-10/02 Songbook review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.300: "a not very subtle comment on movie stars calling attention to themselves by wearing dark glasses."

W81 Who Knows? (Let's Be Blue) 349 W81.Who Knows? (aka Let's Be Blue) (1938-2/39) solo song w/pno Slow torch song [arr. for duet, 1995]; alt. lyrics R17#93-4 B97,99 R60 Cblues; aug 11th: Bb-E (orig. m3rd lower). MBS 2/10 [Music used, in faster tempo, in LJL's Sacco and Vanzetti W123 compl. III:6 Pt2.] W81.1 prem. 2/1939 by Ruth Ford at TAC Cabaret [Theatre Arts Commission cabaret at Princess Theatre, W. 38 St., Sun. afternoons & Mondays at midnight] on program with John Murray's anti-Hitler song, "It Can't Happen Here," sung by MB, and a sketch called "What's Left?" satirizing Tin Pan Alley lyricists writing left-wing words to old tunes, incl. T2, MB's union slant on "Danny Boy," printed in MtM p. 177. W81.2 Spring 1940 also perf'd by her at Cabaret TAC on prog w/works by Lewis Allen [sic: Allan] + Tolbie Sacher; Charles Sherman; Harold J. Rome; Emanuel Eisenberg + Ned Lehac - perf'd by Hiram Sherman, Irwin Corey, Jack Gilford, Mordecai Bauman, Earl Robinson et al. Host: Heywood Broun. (R68#18) Considered for insertion in No for an Answer W78 I:6. Text of refrain printed in MtM p. 176. Lyrics contain the line "Let's be gay where it's publicly gay." According to Webster's, the word "gay" did not acquire the meaning of "homosexual" until 1953, so any current inference to the contrary is somewhat anachronistic, if not necessarily inappropriate. ens perf W81.3 (P30) 9/20/89 Merkin Hall, Voices of Change: American Music of Protest, Politics and Persuasion Marni Nixon, Steven Blier, American Music/Theatre Group, Neely Bruce, cond.; also perf'd: W64; W72Sc.7#1; W83. duet perfs W81.4 (P39) 3/2,10-12/95 Medicine Show, NYC; James Barbosa, Barbara Vann; LJL, pno. recording (as duet) P53 8/01 A Marc Blitzstein Songbook, Original Cast Records CD OC-4441: HW & James Sergi; LJL, pno. duet perfs W81.5 (P54) A Marc Blitzstein Songbook: concerts as Duet P54a 12/2/01 Bryant Library: HW & LJL. P54b-d 3-6/02 HW & James Sergi; LJL, pno. P54e 10/10/02 Cinema Arts Centre, Huntington NY: repeat of P54b; Lars Woodul instead of James Sergi. solo perf W81.6 (W107.71.1) 3/11/05 "Road to Regina," Kennedy Center: Jacob Langfelder; Chris Fenwick, pno.

350 W82-84 Wish, Invitation to Bitterness, Twelfth Night W82. Wish (anti-fascist song) music lost; lyrics in Theater Arts Committee magazine 2/1939: on "sending all the fascists off to some remote island to get them out of humanity's way" --MtM p.556n14. publ. W82.1 2/39 Theatre Arts Committee magazine: lyrics to W82 +photo of MB at pno.

W83. Invitation to Bitterness (1939) male chorus w/altos; publ. by Arrow Press 1939. B40 R67; ms: R25#77-82 Considered for insertion in No for an Answer W78 "after Paul's suicide" [which was cut]. Text appears in MtM p. 175. P2c 1/70 Dietz, Robert J. "The Operatic Style of Marc Blitzstein in the American 'Agit-Prop' Era," Univ. of Iowa Ph. D., diss., p.324-6, 405-8. W83.1 (P30) 9/20/89 prem. Merkin Hall, Voices of Change: American Music of Protest, Politics and Persuasion: Marni Nixon, Steven Blier, American Music/Theatre Group, Neely Bruce, cond. Also perf'd: W64; W72Sc.7#1; W81. Recorded by David Litofsky. review P30.1 10/10/89 Kerner, Leighton, "Singers of the world unite: Voices of Change concert series," Village Voice 34 p.82.

W84. Twelfth Night (1939) incidental music and songs for radio production Orson Welles, dir., narrator & Malvolio; Feste: LeRoi Operti; Orsino: George Coulouris; Curio: William Alland; Viola: Jane Gordon; Sea Captain: John A. Willard; Toby: Eustace Wyatt; Maria: Elizabeth Farrar; Sir Andrew Aguecheek: Will Geer. #1 Come Away, Come Away, Death - solo song with lute - for LeRoi Operti. #2 Farewell - solo song. Music manuscript lost; recorded on Columbia (78 RPM); rereleased 1998 by Pavilion Records (England) on Pearl CD GEMS 0020, w/W76. The 1939 (release?) date comes from MtM p. 577. The recording appears, however, to have been made 6/14, 16 & 17/1938, on masters 1025/44: XCO 23074-23104 for Columbia Mercury text records ME 13/22 in set C7. Vocal music is heard in I:1, II:1 and IV:2.

W85 Valley Town 351 W85. Valley Town (4-5/40) documentary film score on mechanization and unemployment (dir.: Willard Van Dyke); fl, cl, sax, tpt, tb, perc, pno, str.

B40 R17

#1 female solo song: How Long? Text partially printed in MtM p. 186 (score also incl. 2 male melodramas). Alexander Smallens, cond.; Henry Brant, orchestration; Alex North, pno; remake cond. by Brant. Narrator: Ray Collins; Scenario: Spencer Pollard; Script: Ben Maddow. Sponsored by [Alfred P.] Sloan Foundation [chairman of General Motors]. W85.1 5/14/40 prem., Steel Workers' Organizing Committee, after which Sloan withdrew it. Spring 1951 revised & released by Educational Film Institute of NYU & Documentary Film Producers, Inc., though never commercially. MOMA distributes director's cut. Released 1996 on CD-ROM by Rick Prelinger as OUR SECRET CENTURY Vol 2: CAPITALIST REALISM, Voyager 1-55940-663-1; prod.: Melaine Goldstein; "No sunny ode to capitalism.. a dark vision of a depressed steel town..." press notice W85.1.1 1-12/1940 Bowles, Paul, "On the Film Front," MM p.58-61: "The film I saw will not be distributed, and in its place the public will be given an altered version hailing our forthcoming if still postponed entry into the present war." letter W85.1.2 12/25/40 (LC) MB to Mr. Griffith: "I am looking forward keenly to the time when the music written for films will have a more exact and continuous relation to the visual image and to dialogue.... I don't insist that real songs be written into every film, nor that all movies become film-operas; but... I think we must have a music written at least as carefully as dialogue." screening W85.2 1/12/41 exc. shown at MOMA [during perf w/MB at pno of W78]: last few minutes of reel 1, begining of reel 2; Aaron Copland read audience MB's 12/25/40 comments [W85.1.2 above].

352 W85-86 Valley Town, Jobless Blues press notices W85.2.1 1/12/41 (R67#787) "League of Composers Offers A Music and Film Program" incl. "rolling mill and blues sequence from" W85. W85.2.2 1/13/41 Taubman, Howard, "Composers Hear Their Film Music...: Douglas Moore, Paul Bowles, Aaron Copland, Roy Harris and Virgil Thomson Attend," NY Times p.10: Copland read MB's remarks. (MB was at Mecca Temple performing W78.) W85.2.3 1/13/41 Thompson, Oscar, "Music for Films Given by League: Six American Composers Figure in Event," NY Sun. W85.2.4 2/15/41 Haggin, B.H., "Music," Nation p.194: "..while it did not offer any music with the significance and power that were required, it did offer a feature that was novel, daring, provocative of controversy." W85.2.5 2/18/41 Finn, Elsie, Philadelphia Inquirer compared favorably to work of Sergei Eisenstein. W85.2.6 3-4/41 Cowell, Henry, "The League's Evening of Films," MM p.1768: "When things get tough..." MB "characteristically breaks into song--a wailing semi-popular style social-content song. Skillfully scored dissonant passages contrast with naive, simple tunes which seem to fit the film in mood." G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p.170-6: "An unusual song... about unemployment... Here the words, expressing teh yearning for a faraway existence, are played off against the music (a melancholy blues), and against the film-images which depict the harsh presence of shut-down factories." book W85.3 1981 Alexander, William, Film on the Left: American Documentary Film from 1931 to 1942, Princeton Univ. Press: "The film's carefully crafted structure was destroyed in order to present the viewer with a different perspective." online commentary W85.4 10/3/02 Hennig, Christine, Prelinger Archives: "Temple University anthropologist Jay Ruby has called" W85 "'possibly the first postmodern film...'" Reason for its withdrawal & revision: Its "lack of faith in corporations as guarantors of economic stability was quickly noticed by its sponsor."

W86. Jobless Blues (1940?) (text: Manuel Eisenberg) discarded or possibly used as underscoring in W85 MtM pp. 189-190. letter n.d. Eisenberg to MB (R3#1154-60). Eisenberg committed suicide not long after MB rejected this effort of theirs at collaboration.

W87 Native Land 353 W87. Native Land (1940-fall 1941) film score B18,41-3; R18 (dir.: Leo Hurwitz & Paul Strand) 83' incl. MB's songs (orch. cond. by Lehman Engel): 1. Dusty Sun [words by Ben Maddow, pseud.: David Wolff] sung by Paul Robeson & chorus; Eb dorian; oct.: Bb-Bb MBS 3/93 2. American Day - sung by Paul Robeson. +clarinet solo quoting "Hold the Fort" & Almanac Singers (Pete Seeger, Millard Lampell, Lee Hays) in "Get Thee Behind Me, Satan" and "Which Side Are You On?" W87#1 not perf'd by Robeson apart from film, but recorded by Walter Scheff & oft perf'd by Eric Gordon. W87#2 not perf'd by Robeson apart from film, but transcribed by Robert Osborne to be perf'd by him. Film received honorable mention in 1943 documentary category from Nat'l Board of Review of Motion Pictures. Available on VHS from Kino Video. See W87.3.7 for partial cast list. W87.1 preview articles W87.1.1 (R24#765) 5/6/41 Finn, Elsie, "The Movies: Music Comes of Age in Films," Phila Record W87 "a full length film production which discusses American civil liberties..." Quotes MB: Movie music must "stand erect alongside a production." preview showing of exc. W87.2 5/10/1942 A clip including one of the Robeson songs was shown as preview in "Music at Work," Russian War Relief benefit, Alvin Theatre, with MB as emcee. Program included works of Earl Robinson, Theodore Chanler, Harold Rome, Aaron Copland's Piano Concerto (played by Copland & LB), some Brecht, Teddy Wilson & swing band, and a 2-piano overture on Red Army songs played by MB & Stanley Bate. MB wrote a NY Times article promoting the event: A48 5/3/42 "Composers Doing Their Stuff." reviews (R68#42-4) W87.2.1 5/11/42 Biancolli, Louis, "Cook's Tour of Music Aids Russian War Relief," NY World-Telegram: MB "took a full bow for his part as composer in the brief preview of" W87. "The sound box mauled the jaggedly imagistic score a bit but music and film seemed snugly welded." W87.2.2 5/11/42 Downes, Olin, '"Music at Work' Aids the Russians: Program Presetned at Alvin, With Marc Blitzstein As Announcer, Helps Fund: Folksongs Are Heard: Overture of War Numbers for Two Pianos and American Group Also Offered": "good theatre in this show, and a little promising music". W87.2.3 5/11/42 Francis, Robert, '"Music at Work' Offered at Alvin". W87.2.4 5/11/42 K[olodin], I[rving], "'Music at Work': Performers Give Benefit for Russian Relief."

354 W87 Native Land W87.2.5 5/11/42 Simon, Henry, "Musicians Work, Physicians Play": MB's "background music for" W87 "gave the sequence we saw just the tone it needs..." W87.2.6 5/11/42 Thomson, Virgil, "Music," NY Herald Tribune "Grabbag for Russia": "some good music by Blitzstein. There were a not very good song, sung by Paul Robeson, and then some quite intense and lovely instrumental music that was marred by overloud recoding and the accompaniment of a none too intersting spoken commentary. But the music, as music, was anything but banal." W87.2.7 5/11/42 Watt, Douglas, "Music Works At Alvin, but Not Too Well," NY Daily News: MB's "own contribution, a sequence from" W87, "did its particular job best of all, perhaps, pointing up the film scene well. Here, however, the triteness of the scenarist's approach limited the composer's inspiration so that the music, too, was merely craftsmanlike, not striking." W87.3 prem. World Theatre, W. 49 St. 5/11/1942; ran for 2 months +a few showings in 1943; ret'd to circulation, 1974. (R68#46) endorsements by Lillian Hellman; Dudley Nichols; William Dieterle; Thomas Mann; George Seldes; Richard Watts, Jr.; Lewis Milestone; Arthur Garfield Hays; Earl Robinson. reviews W87.3.1 5-6/42 Kochnitzky, Leon, "On the Film Front," MM p.275-8: "a magnificent work which merits painstaking analysis and deep study... unforgettable: the sound of trumpets in the distance, as though they were lost in fog; vocalized choirs; the use of cymbals to make the rhythm of a train an obsession; the voice of a girl singing a tango.... The entire sequence called 'An American Day' is brilliantly handled. Nothing could give a clearer pictorial idea of what happens when a great nation wakes to a day of work."" W87.3.2 5/12/42 Boehnel, William, "World Theater Shows Native Land," NY World-Telegram: "sketchy patchwork... feeble and dated." W87.3.3 5/12/42 Crowther, Bosley, NY Times: "...one of the most powerful and disturbing documentary films ever made... a brilliant achievement... with such bite and dramatic intensity as would make the best directors of films take solemn note." +photo of Art Smith. W87.3.4 5/12/42 Masters, Dorothy, '"Native Land' Films Abuses Against Labor," NY Daily News: "Fate of Sharecroppers" "Little Argument for Release". W87.3.5 5/12/42 McManus, John T.," "'Native Land,' Dramatic Civil Liberties Film, Warns Hitler:...Americans Will Fight to Death to Safeguard Their Liberties," PM: "Every American owes it to himself to see this urgent, unforgettable film document." +8 photos.

W87 Native Land 355 W87.3.6 5/12/42 Platt, David, "'Native Land' is Powerful Expose Of America's 'Little Hitlers': INdicts Spirit of Kland an Appeaser Elements in U.S." Daily Worker. "Depicts Struggle Against Klan Elements" "Paul Robeson's Powerful Speech": "Leo Hurwitz, Paul Strand, Paul Robeson, David Wolff and Marc Bltizstein [sic] have joined hands to produce one of the most exciting films of our time." W87.3.7 5/12/42 Wear, "Native Land (with Songs)," Variety : "Perhaps outstanding [actors] are Art Smith [union vice-president], Howard D Silva [stool pigeon], Virginia Stevens [widow], Housely Stevens [sharecropper] and Amelia Romano [slavey].... Score by Marc Blitzstein is an ambitious effort, making for a strong background in the less significant passages." W87.3.8 5/12/42 Winston, Archer, "Movie Talk: 'Native Land' Is Shown At The World Theatre," NY Post: "Recent Excitements Of Labor History" "Already Dated At Premiere": "It is too bad that" W87, "the powerfully pro-labor picture at the World Theatre, ran out of money so many times and was two years in the making.... An ending, obviously tacked on to fit in with the United States at war, is patchwork." W87.3.9 5/13/42 E.G., "'Native Land'--World," NY Herald Tribune: MB "has composed an appropriate musical score to accompany the document. However,... some judicious editing during the early sequences would prove an asset." letter W87.3.10 5/25/42 (R4#14) Pete Seeger to MB: "I saw Native Land for the 2nd time last week, and just wanted to write you to tell you how swell I thought the music was. I haven't seen any musical background, even in Russian movies, to equal it." reviews W87.3.11 5/?/42 Davis, Stephen, "...--and a Dash," Overbrook Beacon: "The music is tremendously moving. It does not just follow the photography and the voice; it speaks for itself. It makes itself known and felt." W87.3.12 5/31/52 Thomson, Virgil, "Blitzstein's 'Native Land," NY Herald Tribune: "With a subject so grand and a composer so gifted and so sympathetic to social warfare [sic] as" MB, "a film that had been some four years in the careful making could not fail to present a major musical interest." "The Music Is Better Than the Use That Is Made of It." "...there wasn't enough of it in any one spot. It was all samples and remnants. How long, I wonder, is it going to take our film-makers to learn that music is a far more powerful medium of expression than either photography or prose narration?... The quality of the music is too good for the piecemeal usage that is made of it. It upsets the film more than it emphasizes it." "The Director Missed His Chance to Let Music Serve the Picture." "For all its fine fancy and its respect for a noble subject, it is fragmentary and discontinuous; it sustains nothing. The subject was worth a broader and, from the director's point of view, a more courageous musical treatment."

356 W87 Native Land W87.3.13 6/8/42 Time: "...eloquent indictment of acts of injustice and intolerance which did happen here and might again... with perhaps the finest spoken commentary (Paul Robeson) ever recorded on celluloid and an effective musical score (Marc Blitzstein)." W87.3.14 2/1/43 La Hay, Wauhillau, "'Native Land' Beautifully Directed and Produced: Documentary Film of Civil Liberties Findings Has Powerful Message for All Americans," Chicago Sun: "Robeson Magnificent" "Proof of Crimes": "The original score by Marc Blitzstein will draw those who appreciate his talent." W87.4 exc. perfs W87.4.1 7/4/43 Frank Travers, bar. sings #1,2 w/MB on BBC, London. W87.4.2 5/17/46 I:2, 5, 4 peif'd by Howard Hanson & NY Phil members for American Academy of Arts & Letters on prog w/exc. from Norman Dello Joio's Flute Concertino & Robert Palmer's Concerto for Small Orch. (R7#531-2 R17#188-191 +P2c (Dietz) p.283n112) W87.5 Suite prem. Laszlo Halasz, Lewisohn Stadium Suite [I] (7/10/1946) 25' (rev. 1958)[Suite II] 7/29/58 1. The Fathers (Inheritance of Freedom) 1. Statue of Liberty [I:1, retitled] 2. Mulberry Street 2. Mulberry Street [same as I:2] 3. Dusty Sun 3. American Day 4. Chase 4. Parade 5. Hooded Legion 5. Funeral & Finale [cf. I:7-8] 6. Memorial Day (partitur; no parts) 7. Funeral 1-1-2(poiTSax)-l 0-2-1-0 Perc (Timp,Xyl,SnDr,Cym,DChime) Pno Str 8. Finale Scheduled perf of Suite II, Samuel Matlovsky, cond. - rained out (MtM, p.444) Suite perf'd on prog w/Copland, Delius & Ravel. reviews W87.5.1 7/11/46 Biancolli, Louis, "Music: Blitzstein Film Score Good Symphonic Work." NY World-Telegram: "Slashing Rhythm." "In Fervid Style." "one of the sturdiest film scores heard in recent seasons. The Blitzstein touch is in the slashing rhythms and probing colors... the challenging bursts of passion, the social satire, implicit and explicit." W87.5.2 7/11/46 (R68#121) Briggs, John, "New Blitzstein Poured Into an Ancient Mold," NY Post: "Variety and Contrast": "at times harsh and dissonant, but with a sort of bittersweet harshness that fascinated me. At other points Mr. Blitzstein demonstrated that he can spin out gratifying melody as well as the next man." W87.5.3 7/11/46 "Conducts Works by American Composers," NY Sun: "The musical content of the suite is slight indeed, and without much meaning when heard alone." W87.5.4 7/11/46 J.D.B., "Stadium Hears New Score: Halasz Includes 'Native

W87 Native Land 357 Land' Suite in His Final Concert," NY Herald Tribune : "The most original movement is" #5 "which is skilfully devised illustrative music." W87.5.5 7/11/46 "Lazzlo[sic] Halasz At the Stadium," Journal-American: "first appearance of Mark[sic] Blitzstein's suite from... the composer's most ambitious film score to date." W87.5.6 7/11/46 N.S., "Suite by Blitzstein In Debut at Stadium," NY Times #5 "particularly vivid and communicative... a bit of programmatic tone-painting at once eerie, forceful and stikingly effective, that can stand on its own legs, irrespective of its original screen purposes, and is far the best part of the suite." W87.5.7 7/14/46 (R68#121) "Music by Blitzstein," PM "effective background music... doubtful if it stands up on its own as a concert piece.. only in" #5 "does it achieve any real originality or distinction." W87.5.8 1947 Bagar, Robert and Louis Biancolli, The Concert Companion NY: McGraw Hill p.98: quotes MB: "The subject matter of the film was taken from the files of the so-called 'LaFollette Civil Liberties' investigation, and is part fictional, part actual. Paul Robeson is the narrator (although one never sees him in the film itself) and so I found myself writing songs for him as well as incidental music." W87.5.9 2/24/47 FBI File 100-3868 mentions W87 and MB "who is characterized as a Communist song writer. This picture is reported to show violations of civil liberties in the United States and portrayed the school of labor unions against capital spies." W87.5.10 6/22/51 "Guest Notebook" Good Americans," London Daily Worker. "I have just seen, in private, a film that I hope will be shown to every trade unionist in Britain.... The music is by" MB "who wrote" W72 "the play that opens at the London Unity Theatre tonight." "Gangsters, heroes" "Spies, murderers" W87.6 11/27/46 recording of W87#1 w/Walter Scheff, bar.; LB, pno; released 5/47 on RCA Victor DM 1117 recording of W95 + W87#1 w/Walter Scheff, bar.; LB, pno [1998 re-released on Pearl GEMS 0009]. recording reviews W87.6.1 10/30/49 (R68#466) Platt, David, "Tips on 16mm Features, Shorts," Daily Worker "Recommended Soviet Features" [sic!] incl. W87. W87.6.2 8/56 Ellsworth, Ray, "Americans on Microgroove," High Fidelity v.6 p.64 re W95&87#1. G48 1/57 Kestin, D., "Western folklore in modern American opera," Western Folklore 16 p.7: re W72, W95 & 87#1. W87.6.3 Spring 1995 Weber, Jerome F., ARSC Journal 26 p.l W95 & 87#1. exc. perfs W87#1 perf'd widely by Eric Gordon; also W107.71.1 3/11/05 "Road to Regina," Kennedy Center: Jacob Langfelder; Chris Fenwick, pno.

358 W88 New York Opera (Zipperfly) W88. The New York Opera (10/1940-1945) aka Nine Day Wonder and The Happy Family 2-act musical; Lg of Composers Commission; 20 speakers and singers, incl. Met baritone "and a hotcha comedienne" +chorus of 16, 16-piece jazz band & 4 violins. Words & music lost except: 1. The New Suit (aka Zipperfly) (reconstructed, 1945) 2verses; Fmaj; oct.: C-C [p.69 line3 m.2 should read "with what" not "with that"]; MBS 1/68 rights bought by Jimmy Savo 12/10/45 but unused; prem. LB, Tully H1 P24 3/2/1985. 2. Joe Magillicum Figures It Out (1942) anti-Cliveden/appeasement song; text only R19 revision - "Joe at the Cliveden Set" (R19#21). 3. Tell Me (torch song) lost; text for #3: Tell me lover, tell me why should I go on - go on, tell me." Found together, as #3, with notes for 4 other songs, R6#812: 1. Bea Lillie song (Bearing up) But - I'm happy, yes, I'm happy. [Cf. W97 Modest Maid.] 2. Fanny Brice Song - wispy whining [Cf. W80 Smoking Glasses] 4. Maybe I'm glad or maybe I'm not 5. Straight no. - I'm not sure I like loving you press notices G16 10/19/40 King, William G., "Music and Musicians,"NY Sun: MB "has been... composing still another opera, which he calls 'Nine Day Wonder.'" W88.0.1 5/1/41 (R68#32) Leonard Lyons, "Broadway Medley," Jackson (TN)Sun: MB "is writing another American opera to be called 'The Happy Family.'" letter W88.0.2 12/2/42 MB to Claire Reis: "Most of my stuff including a lot of manuscripts has been lost in transit.... I'm more than sorry; I should have finished the New York Opera before we got into the war." --published by her in article for Musical America 1/63. (See MtM pp.230, 559n16.) radio script W88.0.3 1946 Landau, Anne L., "The Contribution of Jewish Composers to the Music of the Modern World," page on Marc Blitzstein announces the writing of "a new Broadway play," W88; quotes MB: "The Metropolitan Opera - and this means all opera-houses of the same type - is a museum of opera. Our theater is the Broadway theater, our opera is the Broadway opera." Then cues 78 discs with Sc. 5 & Sc.7#3 from W72 - appears to be a radio script. (R8#379)

W88 New York Opera (Zipperfly) 359 perfs W88#1.1 July 1946, Great Barrington MA, MB performs W88#1, described in M11.1 1994 Rorem, Ned, Knowing when to stop : a memoir, p.296: "Now here he was in Barrington, cajoling, whispering, rapping, his new song, which" LB "was calling a masterpiece, and which in fact was called 'Zipper Fly.' ...Marc at play, his song (to his own text) seemed irresistible." W88#1.1a (A70) 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perf'd: #1. W88#1.2 1965 recorded from memory by LB; released as track 50 (of 50) on CD companion to W88#1.2.0 2004 Gottlieb, Jack, Funny, It Doesn't Sound Jewish: How Yiddish Songs and Synagogue Melodies Influenced Tin Pan Alley, Broadway, and Hollywood, SUNY Press. Book also refers (p.217) to W102 & W127 as "theater pieces." review W88#1.2.1 Spring 2005 New Music Connoissuer, LJL's review of book (& CD): "In this new book,... Gottlieb completely ignores the previously acknowledged" MB "influence on" LB, "except for" W88#1, "which he speculates is in a 'Jewish idiom' (p.233n91) based on davening (though the fourteen-year-old black shoeshine boy who intones 'Now I lay me down to sleep' and envisions 'Easter Sunday' in the song we did not consider exactly Jewish enough to be included in" P54 "at the Center for Jewish History.o" See also P28j, W78.14. W88#1.2a (P14b) 1976 TV perf. "Camera Three," CBS, "Part 3 The Cradle That Rocked Broadway" videotaped by Creative Arts Television, Kent CT; Muriel Balash, prod./dir.; released on video, 1997, together with W72.52 1964 and P14a 1976, incl. #1 perf'd by LB: "quintessential Blitzstein song" [from memory, mostly an octave lower, order of verses mangled]. W88#1.2a.1 LB, Notes for P14b, document at Amberson identified by LJL 11/1/01 refers to W88 as "perfect setting." letter P14.1 9/27/76 Jo Davis to LB [Library of Congress]: "Thank you for your homage to Marc. Thank you for your everlasting memory. I cried & laughed at Zipper Fly. Only a big man would acknowledge an artistic debt." perfs of #1 W88#1.2b (P24) 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall; #1 official prem. by LB (accompanying self at piano) (See review: P24.2.) This perf incl.'d in Pt 4 of 1-2/05 11-part PBS radio series on LB, also incl. exc. from W72.7 & A76 w/commentary by Michael Barrett. W88#1.3 9/21&26/87 William Sharp, bar.; Steven Blier, pno perf #1 at Carnegie Hall as prize-winning recital, Carnegie Hall International American Music Competition for Vocalists; also LC 3/19/88. (See P26.)

360 W88 New York Opera (Zipperfly) W88#1.3a (P18d) 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe: William Sharp perf'd #1 w/Michael Barrett, pno. review W88#1.3a.1 (P18d.l) 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "the comic but touching yearning of a youth, tired of hand-me-downs, invoking every magic spell he knows for a 'New Suit' complete, he emphasizes, with a 'zipper fly'... sung with charm and commitment..." W88#1.4 (P27) 9/14-10/9/88 Blitzstein Project, Soho Rep NYC; Carol Corwen, dir.; Donald Sosin, mus.dir., incl. W88#1. W88#1.5 perfs by LJL: P28 A Blitzstein Cabaret: P28a 1/23-25/89 Bruno Walter Auditorium, NYPL at Lincoln Ctr, 3perfs. P28b 3/2/89 Bryant Library, Roslyn NY. P28d 4/89 Caffé Bonelle, NYC. P28e 3/2/90 Boston Conservatory of Music [perf recorded and archived there], Kurt Weill Festival. P28f 11/11/90 Community Church of Boston. P28g 12/15/90 WESPAC, Ardsley NY. P28h 12/27/90 Gay Men's Health Crisis, NYC. P28i 4/26/92 Shelter Rock Library, Albertson NY. P28n 12/3/00 Merrick Library, Merrick NY: repeat of P28m. P28o 6/27/04 First Unitarian Society of Madison, WI. P33 A Blitzstein-Bernstein Cabaret: P33a 1/7/90 Herman Liebman Memorial Concerts, Vladeck Hall, Bronx NY. P33b 7/27/91 Reynolds Hills Concert Series, Buchanan NY. P33c 4/3/05 Long Beach Library, Long Beach NY. P33d 6/12/05 Jericho Library, Jericho NY. P39 3/2,10-12/95 Medicine Show, NYC. P62.3a 2/27/05 MB Centennial Concert, Great Neck House (filling in for ill Robert Osborne). P62.4 3/2/05 MB symposium Brecht Forum, Westbeth, Manhattan. W88#1.6 Jack Gottlieb perfs #1 (P28j) 12/19/98 Amer Composers Forum, NY Chapter, chez Pehrson, Manhattan (and many other places as part of his lectures). recordings P31 1990 Premier CD (P31) perf'd by LJL. Producer Robert Stern affixed a stricker to this CD, asserting it was the "first" recording of W88. P32 1990 Koch CD (P32) perf'd by William Sharp; Steven Blier, pno. reviews P32.1 1991 "Listener's Gallery: Marc Blitzstein: 'Zipperfly' and Other Songs," NATS 48:2 p.39.

W88-89 New York Opera (Zipperfly), Night Shift 361 perfs W88#1.7 (P41) 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," White Barn Theatre, Westport CT: Mark Basile; Charles Wade. W88#1.8 (P52) 5/9/01 Langfelder, Jacob, thesis recital, Boston Conservatory, incl. #1. W88#1.8a (W107.71.1) 3/11/05 Ibid., w/Chris Fenwick, pno; Kennedy Ctr. W88#1.9 (W66.3) 4/19/03 Meglioranza, Thomas, Alumnus Recital, Grinnell College (recorded & archived there) w/Hsi-Ling Chang(also perf'd: W66, W78 II:1#2). W66.3a prog repeated at Weill Recital Hl. W88#1.10 perfs by Robert Osborne (among many other places) P62.3 MB Centennial Concerts, NYC area: P62.3b 3/5/05 People's Voice Cafe, NYC; #1 perf'd by Robert Osborne, LJL. P62.3c 3/6/05 Queens College; #1 perf'd by Robert Osborne, LJL. W88#1.11 (P62.5) 3/2/05 Curtis Institute concert, #1 perf'd by J.J. Kee, bar.; Donald St. Pierre, pno. P19g 1-2/05 Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents: #1 is "becoming practically a standard." Others known to have performed it successfully: Michael Tilson Thomas, Michael Barrett, Lars Woodul.

W89. Night Shift (1-2/1942) film opera (dir.: Garson Kanin; shooting never completed), starring Danny Kaye and Kate Smith B44 R19 2-Picc-2-3poi3sax,BC1-2 2-3-2-0 Perc Hp Pno Str 6-4-4-4-2; incl. song (w/pno): Turn the Night Into Day - publ., sung by Kate Smith; recording lost. W89.1 2/4/42 (R19#l) MacKay Radio telegram from Washington DC to MB in NYC: "UNEXPECTED DEVELOPMENTS NECESSITATE CANCELLING NIGHT SHIFT PLANS.THANKS FOR YOUR WILLINGNESS TO HELP= ROBERT W. HORTON DIRECTOR OF INFORMATION"

362 W90-93 Ballad of Sevastopol, Labor for Victory (The Quiet Girl) et al W90. Ballad of Sevastopol (6/1942) melody only B39,97 R60,66 [theme re-used in Airborne Symphony W95 II:3] text printed in MtM p.221. W91. Labor for Victory (7-8/1/1942) CIO radio program series for WEAF, incl:

B39,103 R66

W91#1. CIO Tax Broadcast 7/4/42 aka There Is Strength incl. a number (music lost) performed by Jose Ferrer, about a dream in which the government "did away with taxes - to beat the Axis." [MtM p.222] W91#2. The Quiet Girl (aka Quiet Girl) B34,97 R60 (aka The Bullet That's Going to Kill Hitler) female solo song (w/ pno/orch: 1-1-1-1 1-1-1-0 Perc Str) Eb maj; oct.: Bb-Bb. MBS 2/42 W91#2.1 8/1/42 first broadcast as part of Lunchtime Follies (American Theatre Wing) orch: Henry Brant W91#2.2 1/11/1943 prem. Lenin Memorial stage revue, "Order of the Day," Madison Sq Garden. [noted in FBI file] W91#2.3 #2 publ. in Sing, America, ed. by Anne Allan (NY: 1942?, Workers Bookshop) p.40-1. letter W78.9.7 2/24/53 MB to Mina Curtiss on LB's song of same name in Wonderful Town: "I don't seriously mind when he swipes from me (he has a number, "Quiet Girl," which title I used years ago; but instead of writing that song, he has written another of mine: a lullaby I wrote for No for an Answer [W78 II:9]-but, when he calmly grabs the Brahms 2nd Piano Concerto [slow movement] for his 'hit,' called "Why-oh-why-oh-why-oh, Why-did-I-ever-leave-Ohio?' I gaga. (I mean gag.)" --MtM p.364 perfs by HW & LJL of #2 verse 1 w/new (anti-arms race) verse 2 by LJL (1988): See P28a, P59. P31 recording 1990 Premier CD 1005 A Blitzstein Cabaret W91#2.4 5/24/90 Workmen's Circle, NYC, w/W127Sc.4Pt1 P39 3/2,10-12/95 Medicine Show, NYC; Jennifer Standridge & LJL perf #2. W92. Second Front Song (1942) [lost; probably recalled & reused in W95 III:4] –MtM p. 227. W93. Air Force Songs (1942) [lost; some probably recalled & reused in W95]-MtM p. 228.

W94 Freedom Morning 363 W94. Freedom Morning (1943) for orchestra 12'. Quotes spirituals "My Lord's Goin' to Rain Down Fire," "When the Stars Begin to Fall," and John Powell's "Rhapsodie Nègre" but does not involve male chorus (cf. P2c Dietz, p.435). l-Picc-2-EH-2-BCl-2-Cbn 4-3-3-1 Timp Perc Hp Str. W94.1 prem. 9/28&29/43 Royal Albert H1, Hugo Weisgall, cond. London Sym; W94.2 repeated in Oxford 4/14/1944. Also on the concert were several spirituals in which MB coached the black male chorus, incl. "Certainly, Lord." (See W107 III:9.) Program also incl. Arne, Bach, Samuel Coleridge-Taylor, John Powell, Earl Robinson's "Ballad for Americans" and other spirituals: "Over My Head I See Trouble in the Air" "Go Down, Moses" "By and By" "When the Saints Go Marching In" "Ain't-a Dat Good News" "Steal Away" "I Can Tell the World About This" "I Want to Die Easy" "Lead Me" "Fare Thee Well" "Wade in the Water" "Death's Gonna Lay His cold Icy Hands on You" "Deep River" "Joshua Fit de Battle of Jericho" Soloists: Kenneth Cantril, William Perkins, Roland Hayes. Musical theme borrowed by LB in On the Town, MtM p.364. The plot of On the Town, which originally took place in Nightcourt with flashbacks, until dir. George Abbott insisted on changes, seems very close to that of W72, but Betty Comden, interviewed by LJL in 2001, denied there was any direct influence. press notices W94.1.1 9/43 (R68#224) "Negro Chorus Concert to Be Broadcast Here and in U.S.": W94 "will be the first orchestral work by a GI written and performed in a theater of operations during the war." W94.1.2 9/30/43 "'Ballad for Americans:' Negro Chorus Scores Hit In London With '76 Theme," Philadelphia Inquirer, interviews MB on composition & prem. of W94. A50 10/3/43 (R6#184) Blitzstein, Corp. Marc, "Now in the Army, He Tells of His Music and His Negro Singers," NYTimes: quoted in part in MtM p. 240 and in prog notes by LB. W94.1.3 10/31/43 F. Bonavia, "U.S. Army Choir Heard in London," NY Times: referred to work as a "medley."

364 W94 Freedom Morning W94.3.0 4/4/44 contract signed with Phila Orchestra. W94.3 Phila Orch 4/14-15/1944 Saul Caston, cond. perf - half cut(!) MtM p. 249; on prog w/Berlioz, Ravel, DeFalla, Tchaikovsky Sym#6. reviews W94.3.1 4/15/44 Schloss, Edwin H., "Blitzstein's 'Freedom Morning' Has U.S. Premiere at Academy," Philadelphia Record: "Wrote Two Musicals" "Warmly Received" jazz incorporated "with a dignity that refuses to exploit its more blatant possibilities... an 'Occasional Overture' rather than a 'Symphonic Poem'... adroitly written music, dedicatory but unstuffed, dignified but viable, and highly appropriate to the occasion that produced it as well as to the universal spirit and idiom of our Negro fellow-citizens-in-arms who inspired it." W94.3.2 5-6/44 Kubik, Gail, "London Letter," MM [p.240-3] called "Freedom Song" [sic] "an effective, vigorous piece. It is Blitzstein's first purely orchestral work in a number of years. It is remarkably successful in sounding just like the Blitzstein of the stage works, and yet, though immensely dramatic, it is convincing as a piece of absolute music." W94.3.3 5-6/44 Persichetti, Vincent, "Some Firsts in Philadelphia," MM p.248-251: "an inconsequential work...stiffly rendered... superficial" W94.3.4 7/21/44 St. John, Robert, N.B.C. Broadcast Script R15 & R68#5960 "...one [British] critic wrote that he and the audience went into 'sheer ecstasy.' Another wrote of its 'thrilling urgency.' That's a good way to put it...a good way to paint America-at-war." W94.4 8/4/44 NY prem. Alexander Smallens, cond., NY Phil, Lewisohn Stadium; broadcast by WNYC and recorded. reviews (R68#62) W94.4.1 8/5/44 "Blitzstein Music Heard at Stadium," NY Sun: "one hears so many more hackneyed new works than" W94 "these days." W94.4.2 8/5/44 "Blitzstein Work Heard: 'Freedom Morning,' Played at Stadium; Radioed to London," NY Times. W94.4.3 8/5/44 B[owles], P[aul], "New Work By Blitzstein Is Played at the Stadium: Smallens Leads Philharmonic In 'Freedom Morning," Herald Tribune: "A pretty uninventive piece... One can only chalk it up as one of the cultural casualties of the war.... One hopes Mr. Blitzstein will soon have the opportunity to work quietly again in his own room."

W94 Freedom Morning 365 letters W94.4.4 8/18/44 MB to Sam Blitzstein: "An extremely cool reception, apparently. I can't get upset about it at this long distance; but I did, and seriously, object to Paul Bowles' disdain for working under trying conditions. The poor boy, getting up at the crack of noon." W94.4.5 8/31/44 MB to Sam Blitzstein: "the slow parts are too slow; the thing doesn't quite hang together, and seems over-cautious and worried in approach. But the sound of the orchestra, and the really fine acoustical recording made up, partly." W94.4.6 *4/15?/45 "Artist Will Share Composer's Honors" [Philadelphia paper] on local premiere of Freedom Morning, together with painting, "a visual interpretation of the symphony," by Claude Clarke, 28. W94.4.7 4/15/45 "Freedom Morning: Work by Sgt. Blitzstein Gets U.S. Premiere at Philadelphia," NY Herald Tribune: "really two symphonic fragments in one serving. The introductory section is restrained and reflective, the second is rollicking in rhythm, making lively use of jazz and swing awith a somewhat martial climax." Clipped by FBI 100-3868-17; declassified 10/17/96. W94.4.8 *4/15/45? Phila review of Freedom Morning perf. W94.4.9 *4/15/45 Stine, Elizabeth Emerson, "Blitzstein's 'Freedom Morning' Given American Premiere here," [Phila] Evening Bulletin. G22 Summer 1946 Brant, Henry, "American Composers, XXV: Marc Blitzstein," MM 23:3 p.170-6: "music of strong and direct American folk character, kept in a deliberately bold and simple harmonic context, with a hefty and spacious orchestration." W94.5 9/28/1946; Prague prem. recorded by Weisgall & FOK Orchestra, Supraphon H 18130 (78 RPM) P3 7/29/65 Talley, diss., p. 172 "a musical salute to the Negro troops" W94.6 1988 Vienna prem., cond. by Michael Barrett article P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: Calls W94 "a symphonic poem with male chorus" [sic] and "text" by "John Latouche" [sic]. The Latouche-Robinson "Ballad for Americans," coached & prepared by MB, was on the same program. Hence the confusion.

366 W95 Airborne Symphony W95. The Airborne Symphony (1943-46) publ.: European-American Music 50min. B32,85-6,113 R51-2 [LB's score in archives, B113, but not, to date, microfilmed] composed in London, 1943-44; orchestration completed in US 1945-46 from MB's prog notes: The "Speaker... I call... a Monitor, since nearly all his lines are couched in the imperative mood." The "solo tenor... part was conceived for a negro voice, because of what it might lend to the quality of" I:2. Inspired by Shostakovich's Sym#7 and probably by works on airplane themes by George Antheil, Emerson Whithorne, Francesco Balilla Pratella, James Dunn, August Bungert, Elie Siegmeister, and Bertolt Brecht (with Kurt Weill & Paul Hindemith), as well as works by Inglis Gundry and Norman Corwin--on the history of powered flight. symphony (cantata) for speaker, tenor, baritone, male chorus and orch, incl. wind machine+ 2-2-EH-3-BCl-2Cbn 4-3-3-1 Timp Perc Hp Pno Str, dedicated to the men of the US 8th Army Air Force. Winner, 1946 Music Critics Circle Award (shared with Menotti) and 1947 Page One Award of Newspaper Guild of NY. Part I

1. Theory of Flight; 2. Ballad of History and Mythology; 3. Kittyhawk; 4. The Airborne; Part II 1. The Enemy[sometimes numbered #5]; 2. Threat and Approach [#6]; 3. Ballad of the Cities [re-use of melody, W90][#7]; 4. Morning Poem (spoken; no music)[#8]; Part III 1. Ballad of Hurry-Up [cf. W93][#9]; 2. Night Music: Ballad of the Bombardier (aka Emily)[solo] [#10] Fmaj; intro, 2verses, outro; 11th: Bb-Eb MBS 1/80 [m.10 "fight" should be "flight"; 7th m. from end: highest note in R.H. G should be F]; 3. Recitative [#11a]; 4. Chorus of the Rendezvous [cf. W92] [#11b]; 5. The Open Sky [#12].

Rejected sketch: Ballad of the Grease-Monkey and the Gunner (MtM p. 283). III:1 & 2 publ. by Chappell [reported in G38b 1/55]; script publ. 1947 (W95.9). W95.0 letters W95.0.1 2/16/43 (R4#117-8) MB to family: "A concert-work, but one adaptable for radio - or even film production... to be exploited in a big way (translations in Russian for Moscow performance, Spanish for Mexico and S. America, French for the underground movt.) with initial London performance radiating repeats everywhere else." W95.0.2 2/18/43 (R4#120) MB [telegram] to family: "PROJECT APPROVED" W95.0.3 12/1/43 (R4#178) MB to family: "The latest is Buzz [Burgess] Meredith and Jimmy Stewart as co-narrators."

W95 Airborne Symphony 367 W95.1 press notices W95.1.1 ?/?44 (R8#363) Musel, Robert, "Marc Blitzstein Honors Airmen In New War Ballad Symphony" +photo of MB "conducting a rehearsal of his operetta," W78. W95.1.2 7/18/45 UPI charges 16 Army personnel "members of the Communist Party and assigned to strategic posts," incl. MB, "further identified as a contributor to the Daily Worker." - FBI File#100-0-32833 12/13/47 refers to article's appearance in the Boston Globe. W95.1.3 *10/7/45 "In the World of Music: Leonard Bernstein Lists Plans for New York City Symphony--Other Events," NY Times +photo of LB & 3 orchestra players - on W95. W95.1.4 *?? Lyons, Leonard, announcing W95 prem. in April. letter W95.1.5 2/25/46 (LC) Douglas Moore to LB: confirms that 4/1 date will still be eligible for Pulitzer. W95.2 preview articles W95.2.1 3/24/46 "It Happens in Music," NY Times interview, on W95: manuscript was lost; recomposed, tighter (10 minutes shorter); then found. W95.2.3 3/27/46 Kolodin, Irving, "Air Symphony to be Offered: Marc Blitzstein to Give Original Work Monday," NY Sun "Etana to Kitty Hawk" "Col. [Berne] Lay Its Godfather". W95.2.4 3/29/46 Peck, Seymour, PM [interview, on W95]: MB: "No victory is unqualified victory, no glory is unqualified glory. So the Airborne ends in conflict. There is a great paean of triumph over the enemy, sung by the chorus, but a single voice--the narrator--begins to jab in the note of warning! Warning!" W95.2.5 *4/l/46 Norman, Dorothy, "Such Wonderful Things Happening to Music," "Close-up" NY Post Daily Magazine and Comic Section, p.l + photo of MB [with score] "who simply lives music." "That Marvelous Day The Boys Sang in London" "He Rewrote, Redigested--'Better Than the Original'" "An Infant Prodigy--Victim To All the Evils of Such" "Radio and Film Musicals Have Helped Make History".

368 W95 Airborne Symphony W95.3 prem. 4/1/46 LB, NY City Symphony; narrator: Orson Welles. reviews W95.3.1 *4/2/46 Bennett, Grena, "'Air Symphony' At City Center," NY Journal-American p. 9: "a moving and sincere work that should be performed on every national holiday just as our national anthem." W95.3.2 *4/2/46 Biancolli, Louis, "Music: 'Airborne Symphony' Stirs Audience: Narrator and Vocalists Join in Work," NY World-Telegram and Sun: "giant ovation" W95.3.3 4/2/46 Downes, Olin, "Audience Cheers Blitzstein Work: Throng at City Center Strong in Approval of 'Airborne' at Its World Premiere," NY Times: "History of Human Flight" "A First-Class Score" "Not often has a new symphony had such an approving reception in this city. The work gripped the audience by its subject and its music-dramatic treatment.... a significant score, in its quality, expressive purpose and relation to urgencies of today... [even if] superficial and derivative." +Ben Greenhaus photo of MB. W95.3.4 *4/2/46 Johnson, Harriett, "Rhythm and Reason: Marc Blitzstein's 'Airborne' An Inspired Piece of Work," NY Post: "The interweaving of words, orchestra, chorus and soloists is a masterly job of originality and ingenuity... Its words and music combine to sing a kind of apotheosis of air power, its history, its future possibility and its dangers.... It's got the same forceful impact that the drama has in the theatre, and it holds your interest every second." W95.3.5 *4/2/46 Kolodin, Irving, "Bernstein Leads 'Airborne' Score," NY Sun: "a work that lasts, but does not run for an hour.... Blitzstein's real gift: ...expressing the emotions of individuals, in a colloquial way--half concert hall, half popular style--that he has worked out for himself, and which remains unique. One hears it at its best here in" III:1, "which any one who served a month in the Army will relish. ...the shift to a cowboy-style setting for" III:2 "gives a relationship between the character involved and the style of the music which is thoroughly good." "Other Sections" "The more elaborate writing for chorus, orchestras and soloists hasn't any such validity, freshness or interest." W95.3.6 4/2/46 Thomson, Virgil, "Music: Good Music, Poor Literature," Herald Tribune: "an ingenious piece of musical work and far from uninspired.... [T]he most distinguished music in the work is that of the purely instrumental interludes.... His tunes are both distinguished and singable. And his whole invention, melodic, contrapuntal and orchestral, has a higher degree of specific expressivity, a clearer way of saying what it means, than we are accustomed to encounter in the work of American composers. ...masterful but not entirely satisfactory...." +photo of MB W95.3.7 4/2/46 Watt, Douglas, NY News: "To me, it said nothing new or fresh or moving and, in its studied use of familiar tragedies, it occasionally seemed a little callous. It is scarcely profound, more of a musical poster, but I appreciate that there is an audience which responds happily to these clichés." W95.3.8 4/3/46 "Blitzstein's 'Airborne' Wins Critical Kudoes [sic] As Sock Music-Theatre," Variety: "...the 'Cradle Will Rock' boy is back from the war with a bombshell."

W95 Airborne Symphony 369 W95.3.9 *4/3/46 Hague, Robert A., "Blitzstein's Frankenstein," PM p.16: MB's "musical blitz... The popular ovation which followed was one of the longest of the season. ...a cumbersome, fitfully inspired combination of history lesson, cantata, radio harangue, singspiel, polemic, tone poem and hootenanny-an ingenious contraption of Frankensteinian proportions.... glaringly uneven [in] quality." Part I "is the dullest and least successful.... The music is more effective in the section about Hitler," II: 1, "where its goosestepping rhythms and mechanistic tone catch some of the regimented, brutal terror of Nazism; and the vocal writing becomes genuinely affecting in" II:3, "though the purely orchestral section in between," II:2, "is little more than scarey[sic] movie music with overtones of Shostakovich." II:4 "a sentimental poem about a young British pilot" III:2 "an equally sentimental, but touching, baritone solo about an American bombardier, which should prove as popular on the radio as Home on the Range. Best of all is" III:1, a lively section which captures the uncertainty, tension and hmor of a group of American fliers waiting the call to take off..." W95.3.10 4/4/46 Harap, Louis, "Blitzstein's 'The Airborne'--Triumph of American Music," Daily Worker: p.13: "a major event in American music history... To say that this is the finest musical to come out of the war from an American composer is not enough. It is among the best to emerge from the war from any country." Clipped by FBI W95.3.11 4/5/46 Morgenstern, Sam, "Marc Blitzstein's 'The Airborne,'" Daily Worker: "The Hideousness of the Enemy" "an exciting spectacle... but the central idea inherent in the dramatic text of each movement is lacking musically" W95.3.12 4/10/46 E., "Blitzstein The Airborne Given Under Bernstein," Musical America 66 p.23: "Rarely has the performance of a new composition been greeted with such enthusiasm in New York... [but the work is] as dated as Beethoven's The Victory of Wellington, and probably will be no better known within two seasons. It is too time-bound, both in topic and style, to survive." III:1 & III:2 seen as having "possibilities." [Chappell published them separately.] W95.3.13 4/10/46 "Inside Orchestras--Music," Variety "had both the legit and longhair lads excited... sock music-theatre, and a better job than" W72[!]; III:2 "'commercial' enough to be plugged." W95.3.14 4/13/46 Simon, Robert A., "Musical Events: Late-Season Harvest," New Yorker 22 p.109: "the power, vitality, and impact... are remarkable.. in spite of occasional infelicities of prosody in the early moments... I'll single out... the humor in" II:1, III:1, III:2. W95.3.15 Spring 1946 Fuller, Donald, "Forecast and Review: Airborne Over New York: Spring 1946," MM 23:2 p.116-7: "Opinions varied about the basic inspiration... Norman Corwin... probably won out, though some found a more obvious connection with documentary film technique." MB's "work stands quite by itself, direct and affecting in its appeal....; theatrical effect... takes precedence over precise details.

370 W95 Airborne Symphony ...it is overlong... Yet the score encompasses a huge canvas with great daring and frequent success." MB "freely uses so many techniques and approaches. This will some day lead to real style." MB "cannot yet combine lyrical flow with speed; he falls back on crudities for effect, or, in more demanding moments, makes use of short Coplandesque motives with appropriate treatment. But when a touching letter back home [III:2] or an almost naively intense warning for the future [III:5] can hit the emotional nail so exactly on the head, there is clearly all the backbone needed to make an expressive work, in or out of the theatre." W95.3.16 *4/15/46 "Airborne to Music: Symphony With Trimmings," Newsweek "Airborne to Music" "Symphony With Trimmings": "tremendously effective... swept the audience along to a frenzied ovation." III:2 "is so touching that it deserves separate exploitation--which it is slated to get." +European photo of MB. W95.3.17 4/15/46 "Earthbound," Time 47 p.70: "The words were the kind of stuff that Norman Corwin writes--sometimes graphic, frequenly inflated." incl. Life photo of "Composer Blitzstein - A Touch of the grand manner." W95.3.18 4/15/46 H.W.L., "Blitzstein's Airborne Triumphs," Musical Courier. "The last chord of Mark[sic] Blitzstein's" W95 "was drowned in the burst of applause coming from the sold-out house.... a highly moving score..." W95.3.19 4/16/46 Riegger, Wallingford, "The Airborne," New Masses: "a most exciting experience... A fusion of the popular with the serious in music... just what many composers have been striving for... the product of an enlightened political thinker, endowed with an unusual musical talent and possessed of a boundless faith and an intense purposiveness in communicating his message, not to the select few but to the multitude... written in a style easily understood by the average GI Joe... although here I should like to register a protest at a certain sin in prosody..." [--also a constant concern of Elie Siegmeister, who was a pupil of Riegger.]

W95 Airborne Symphony 371 W95.4 radio prem. 5/26/1946 5pm LB, NBC Symphony; narrator: MB. reviews W95.4.1 5/27/46 (R68#95) "Orchestras," NY Sun: "the piece has a future on gala occasions in which aviation is involved... Bliztstein[sic] has attempted to occupy too many stools at once--historic, patriotic, tragic and polemic.... As his own narrator, Bliztstein[sic] was considerably inferior to [Orson] Welles...." W95.4.2 Summer 1946 Mills, Charles, "Over the Air," MM 23:3 p.218-220: "brilliant score... stirring.. in spite of its indifferently integrated materials." W95.4.3 6/46 Clurman, Harold, "Night Life and Day Light," Tomorrow, p.624: "The success of this piece is salutary. It is good for American music. It is good for our public to hear the actual find direct expression in the concert hall as it found expression once in the theater (Waiting for Lefty, The Cradle Will Rock, etc.). Should this work prove ephemeral, it is still important as a pioneer piece for those ultimate syntheses which will one day come, perhaps through another generations of artists.... The performance... was a triumph for everyone concerned." III:2 "is a very effective bit of hokum in the traditions of such pospular tunes as Silver Threads Among the Gold." W95.4.4 7/46 Bendiner, Elmer S., "Aviation: Dedicated to the fliers of the Eighth Air Force and conceived in the bomb-blast of air war is this first aviation symphony," Flying Age, p. 37, 56 incl. photos of MB, texts of II:4 & III:1. W95.5 7/3/1946 III:2 exc. perf [for, though not formally, Bill Hewitt] sung by Hildegarde; Harry Sosnick, cond., WEAF. Script for program, "The Penguin Room," by Norman Barasch and Joseph Stein included joke about score being lost when ship carrying was torpedoed: MB: "I always thought that was rather a violent way to criticize music." W95.6 10/22/1946 MB lecture-recital for Art Alliance, Ethical Culture Auditorium; perf'd III:2 +W28#7, W78exc. review W95.6.1 Sinnickson, Charles, Jr., "Blitzstein Gives Lecture-Recital," Phila Record. perf W95.7 10/28-29/1946 LB conducts work with Robert Shaw as Monitor. review W95.7.1 *10/29/46 Taubman, Howard, "Bernstein Offers Blitzstein's Work: Conductor Features 'Airborne' Symphony at City Center--Collegiate Chorale Heard," NY Times.

372 W95 Airborne Symphony W95.8 10/30/46 LB (1st) records work w/NY City Symphony for RCA Victor DM 1117: 7 12" 78 RPM discs, released 5/1947 w/ W87#1 - see W87.6 11/27/46 - 4eleased 5/47 on RCA Victor DM 1117 recording of W95 + 87#1 [1998 re-released on Pearl GEMS 0009] with "RCA Victor Chorale" [actually Robert Shaw's Collegiate Chorale] Robert Shaw, Narrator; "recordrama... stylishly packed in a Recordstory format" w/text & composer's notes. Reissued on RCA Victor Gold Seal 09026-62568-2 ADD monaural 59:04 as "Leonard Bernstein: The Early Years III." notes W95.8.1 (A60) 6/47 MB, "notes on the 'Airborne' Symphony," RCA Victor Record Review, p.5, 11: defends use of term "symphony": "Either that term implies a dynamic and living form, which in the twentieth century is bound to show examples which will differ from those of earlier periods; or its a dead form, to be scrapped. I am one of those who think it still lives." recording reviews W95.8.2 6/5/47 Clark, William M., Springfield (MA) Morning Union: "one of the most dramatic works ever put on the records... in our opinion nothing finer has ever been recorded." W95.8.3 6/6/47 Bagar, Robert, "Records: Blitzstein's Symphony. 'The Airborne'": "lengthy and often interesting work... drama... an arch-ironic curve.. melody.. and also warmth and compassion.. a rather remarkable achievement..." W95.8.4 6/6/47 Patrick, Corbin, Indianapolis Star: "the most provocative new work brought out on discs in a long time." W95.8.5 6/6/47 Rodgers, Evans, New Orleans Item: "something with the genuine touch of greatness in it." W95.8.6 6/6/47 Toledo Times: "windy and pretentious..." W95.8.7 6/8/47 Taubman, Howard, "Records: Air Symphony: Blitzstein's Choral Work Conducted by Bernstein," NY Times "a vivid, affirmative work." W95.8.8 6/9/47 Hollywood Reporter: "good music... we recommend... Powerful and thought-provoking... classic... Vets of World War II will like" III:1 "especially." W95.8.9 6/14/47 "The Airborne Symphony," Billboard: "highly creative and exciting... thrilling performance... masterful work..." W95.8.10 6/15/47 Houston Post: "None of the performers (least of all Mr. Bernstein) seems to doubt for a moment that he is dealing with a jet-propelled Beethoven Ninth." W95.8.11 6/15/47 Kastendieck, Miles, "Music," Brooklyn Eagle: "many styles... Whether this unifies the work as a piece of music is debatable... [but it[ has impact. It is vivid, vigorous, and theatrical." W95.8.12 6/19/47 Roberts, Martin, Harrisburg News: "It might even be dangerous: it may start controversy and might even make you think about the shape of things to come."

W95 Airborne Symphony 373 W95.8.13 6/24/47 Daily Worker: photo of MB presenting album to Gen. George E. Stratemeyer - clipped by FBI 7/1/47. W95.8.14 8/17/47 Pittsburgh Press: "more suitable to the soapbox... [a] a bore... collegians cheering at the half. If the war was fought to produce this kind of art, then we lost the war. Musically, Mr. Blitzstein's parachute failed to open." W95.8.15 9/47 Pic: "an insignificant score, performed by an inadequate orchestra, under the baton of an immature conductor..." W95.8.16 4/51 Rosenwald, Hans, "Speaking of Music," Music News 43 p.11: "the music is not modern but rather more socially aggressive... timely only in its paraphernalia, but it is as symphony which American school children should know for it certainly is a product that tries to break away from the established criteria of good music in the nineteenth century." W95.8.17 8/56 Ellsworth, Ray, "Americans on Microgroove," High Fidelity v.6 p.64: W95 & W87#1. W95.8.18 Spring 1995 Weber, Jerome F., ARSC Journal 26 p.1: W95 & W87#1. W95.8.19 5-6/01 Turtle, Raymond, Fanfare 24:5 p.142-3. W95.9 1947 text +6pp. of music publ. in Radio's Best Plays, Joseph Liss, ed.; NY: Greenberg, w/preface by Norman Corwin & notes by MB. W95.10 4/25/47 Fisk Univ., Nashville TN 4 excerpts perf'd: I:1&2, II:3, III:5 Cheyenne King, speaker; Robert Baer, ten.; Clarence Neal, bar.; Elmer Schoettle, pno; John F. Ohl, cond. on Concert of Contemporary Music, also incl. Thomson, Diamond, Piston, Still, Sowerby, et al. W95.11 11/30 & 12/3/1947 Canadian prem. Vancouver Symphony Orchestra, Jacques Singer, cond. Monitor: Juan Root; Tenor: Karl Norman; Bass-Bar.: Derek MacDermot; Univ. of British Columbia Chorus (R68#178-184). reviews (R68#239) W95.11.1 12/1/47 Bligh, Stanley, "'Airborne' Music Thrills Audience: Vancouver Symphony Orchestra Gives Fine Performance," Vancouver Sun. W95.11.2 12/1/47 A.W.L., "Airborne Symphony Premiere Fascinating Yet Repelling": "Sheer Noise". W95.11.3 2/1/47 MacKay, Constance, "Teamwork Outstanding In Airborne Premiere": "There can be nothing but praise for the performance..." "Good Entertainment" MB "never commits the common American musical sin of being pretentious, he is sincere, assured, and supremely in control of all his means." W95.11.4 12/4/47 "Packed House Hears Airborne."

374 W95 Airborne Symphony exc. perf W95.12 (A64) 1/18/48 MB concert, Severance Hall, Cleveland: II:3, III:1, III:2, III:4, III:5 perf'd by Paul Peterson (Monitor), Mordecai Bauman (Bar.), E.Charles Pesta (Ten.), and male qt (Dale Crooks, Keith Clinton, Robert Goodwin, Leigh Conover); Bernard Baskin, cond. review W95.12.1 (R68#272) 1/19/48 Loesser, Arthur, "Blitzstein's 'Excerpts' Offer Wide Musical Range," Cleveland Press: III:2 "had real pathos, especially when so sympathetically projected by the voice of Mordecai Bauman." III:1 "was a good sarcastic caricature of Air Force snafu." III:5 "had a wide, lusty atmostphere." "The music is often clever, sometimes expressive and occasionally catchy, yet it is only one ingredient of the whole, and generally not the principal one. His musical vein is one of a facile modernism, widely suffused with the urban American vernacular." See also W72.37.2, W75.10.2, W78. W95.13 1948 BBC broadcast review W95.13.1 6/10/48 (R68#272) Hussey, Dyneley, "Critic on the Hearth: Broadcast Music: Blitzstein, Parry and Tippett," The Listener: "comes nearer to a true American musical style than the polite essays in European symphony produced by the average transatlantic composer." III:2 "music that is deeply touching and extremely skilful for all its appearance of being a crooner's ditty. ...the sentimentality is handled with a rare delicacy of feeling that raises it to the level of art." inspiration of a classic W95.13.2 1/1949 (date corroborated by 10/23/04 interview with Pete Seeger) Lee Hays, inspired by the Monitor's shouting out "Warning" in last movement, writes words for "If I Had a Hammer," later set to music by Pete Seeger; story told by Hays in posthumously published: 2003 Sing Out, Warning! Sing Out Love!: The Writings of Lee Hays, Univ. of Mass. Press, Robert Koppelman, ed., p. 82: "the idea of 'The Hammer Song' came to me when I was litening to" W95. "The symphony ends with a chorus singing the word 'warning.' Since no song is entirely original, I borrowed his one word 'warning' and expanded on it and came up with the idea of singing out danger, and warning, and love." exc. perf A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston perf'd III:2 A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College incl. III:2 sung by James Mattingly. W95.14 4/27/53 perf. Lehigh Univ. Glee Club, Bethlehem PA. (See also W95.37 11/11/05.)

W95 Airborne Symphony 375 W95.15 5/4/53 Carnegie Hall perf., Skitch Henderson, cond. "A Salute to The United States Air Force" Monitor: Tyrone Power; Tenor: Rawn Spearman; Bar.: Norman Clayton; Lehigh Univ. Glee Club + US Air Force Singing Sergeants, NY Pops, 70 members of NY Phil; on prog w/Morton Gould, Leroy Anderson, Jacques Press (Wedding Dance from 'Hasseneh'): III:4 cut by Henderson at request of American Legion, which made him an honorary member. reviews (R68#557-9) W95.15.1 5/5/53 Affelder, Paul, "Music: 'New York Pops' Return With Skitch Henderson," Brooklyn Eagle: "a powerful and often deeply moving work, the whole of which is generally stronger than any of its individual parts. Though it has been deftly scored and the choral writing is superbly handled, the musical inspiration is generally not equal to the power of the words." "Tyrone Power Narrates" Soloists "suffered from excessive electronic amplification." W95.15.2 5/5/53 Biancolli, Louis, "Music: Symphony Teams Up Skitch, Ty," NY World-Telegram and Sun: "Joint Appearance" "It is still quite an exciting journey through space, this choral travelog... hard-hitting, tender, resounding and tragic in its survey of the good and evil heaped on the world when man sprouted wings." W95.15.3 5/5/53 Johnson, Harriett, "New York Pops' Concerts Open for Week," NY Post: "Blitzstein's 'Airborne'" "much of it seemed verbose and musically obvious." MB's W107 "wears much better." W95.15.4 5/5/53 Kastendieck, Miles, "Plenty of Zip: Skitch Hits With Pops," NY Journal-American: "rightly programed as a work for popular consumption... lack of sustained quality of style... topical limitations." III:4 "sounds just right". I:2 "bogs down". W95.15.5 5/5/53 P[armenter], R[oss], "Pop Series Begins At Carnegie Hall: Skitch Henderson Conducts, Tyrone Power Narrates Blitzstein's 'Airborne," NY Times: "dramatic intensity, drive, an agreeable degree of variety and a mounting excitement." W95.15.6 5/5/53 "Pops Finale to Aid Fresh Air Fund," Herald Tribune: "Both Mr. Henderson and Mr. Power were pilots during World War II..." W95.15.7 5/6/53 "New York Pops Makes Fine Bow as Skitch Henderson Turns Into a Longhair," Variety W95.15.8 5/8/53 Harrison, Jay S., Herald Tribune: "Despite the occasional banalities of word and sound... a throbbing and vibrant experience..."

376 W95 Airborne Symphony W95.16 12/17-18/53 perf "Saluting the 50th Anniversary of Powered Flight" San Antonio Sym; Victor Alessandro, cond. Monitor: Zachary Scott; Tenor: Russell Nype; Bar.: Norman Clayton; Chorus of Lackland Air Cadets; MC: Sarah Churchill. preview articles (R68#607-624) W95.16.1 12/15/53 "San Antonio's Great Aviation Ceremony," San Antonio Express: "combines a crooner's ballad with a sardonic fling at the dictator. Then it unfolds a tone picture of man's age-long aspirations to fly and, for a climax, a note of triumph suggests the mastery which the airman has achieved and raises a vision of Wilbur Wright's 'magnificent future.' That, in a sense, combines a p[a]ean of victory as in Beethoven's Fifth, with a song of faith, as in his Ninth, Symphonies." W95.16.2 12/16/53 "'Airborne' Writer Arrives for Show," San Antonio Express, p.1,4: quotes MB on W95's subject: "The terrible role that conquest played during the years of the Second World War, and the magnificent role it can play in the world of the future--if men will but keep the peace." +photo of MB w/Capt. Royal H. King. W95.16.3 12/16/53 "Past S.A.[San Antonio] Visits Recalled By 'Airborne' Figures," San Antonio News: W95, MB "said, was written on assignment from his commanding officers who wanted the Eighth Air Force, a young organization at that time, to become known. 'It was to be a prestige production...'" +photo of MB & Zachary Scott "Ready for Symphony". W95.6.14 12/16/53 "Rehearsals Draw Cast Of 'Airborne,'" San Antonio Light: quotes MB: "Those boys sing like angels." +photo of MB "Composed symphony" and of Clayton, Nype & Scott. reviews W95.6.15 12/18/53 Ashford, Gerald, "Performers Outstanding In Symphony," San Antonio Express: "powerful... really a cantata in form.. impressive combination of music and poetry... contains a few softer passages of real tenderness, as in" III:2. W95.6.16 12/18/53 "Flight Story told in Airborne Symphony," San Antonio Light: "turbulent yet human story" "Story in Song" "12-Second Flight [by Orville Wright]" '"Hurry Up'" [III:1] +photo "Boy Scout Jimmy Newhouse Interviews Sarah Churchill: Scout paper 'Campfire Chatter' will carry story on symphony." telegram W95.16.7 12/19/53 MB to Jo Davis: "CONCERTS UNMITIGATED WOW ROYAL RECEPTION FEEL LIKE A KING" W95.17 12/20/53 NBC national radio broadcast of perf. W95.18 11/1/59 KFUO St. Louis broadcast; host Omar Midyett, Owner, Aircrafts Sales Center & Finance Co. W95.18.1 10/31/59 PR from him: "an exciting and genuinely emotionally stirring musical story of flying" citing esp. III:1&2. "Please, pilots, don't let anything keep you from your radio at 1p.m. November 11th." (R69#225-7)

W95 Airborne Symphony 377 letter (memoir) W95.19 7/9/65 James Dugan to Jo Davis: "Marc was the envy of all. We made legends of the corporal who never turned out at revelle, never ate army chow, performed no drill, saluted no one, marched nowhere, shot at nothing, and spent his days in a manor house parlor placarded do not disturb, gazing idly over a mile of heath displayed through the open french doors, and just played himself tunes on the pie-anna. Nobody believed it, least of all Marc, but he made The Airborne there." encl. caricature from London, 1943 diss. P3 7/29/65 Talley, p.182 "His thesis is that man's greatest achievements are threatened by the destructive impulse hidden in man's own nature." W95.20 10/13,14,15,17/66 NY Phil perfs, LB, cond.; Choral Art Society, William Jonson, Dir.; Robert Hooks, Narrator; Andrei Velis, Tenor; David Watson, Baritone. W95.20.1 10/13/66 Downes, Edward, "Airborne," program notes, New York Philharmonic R17#334 reviews W95.20.2 10/29/66 Kolodin, Irving, "Music to my ears: Blitzstein's 'Airborne,' Mozart's 'flute," Saturday Review 49 p.50: suggests it "be soundtracked--that is, woven into a film, TV tape or otherwise, which would visually evoke the events it depicts" W95.20.3 10/29/66 Sargeant, Winthrop, "Musical events: Hell and Damnation," New Yorker 42:36 p.232: "tough, bitter music, but there are places in which it soars to poetic affirmation." W95.20.4 1967 Rich, Alan, American Choral Review 9:4 p.48-9. W95.21 1966 LB's (2d) recording of work, by RCA Victor with above forces, Orson Welles as narrator Released on LP in 1976. Re-released on CD by Sony Classical SMK61849 ADD (with Piston & Edward Burlingame Hill works). Recording review W95.21.1 8/15/76 Henahan, Donal, "A 'Ruptured Duck' That Just Will Not Fly," NY Times II:15: "faded bouquet of corn flowers... patchwork recalling Prokofiev, Mahler or Shostakovich as well as Copland and other thirtyish models..." P6 11/30/66 Blitzstein!, Provincetown Playhouse, NY; Mira Gilbert, Norman Friesen; Peter Basquin, pno; incl.: III:2, II:3, III:4. W95.22 early 1970s Tulsa OK perf; Skitch Henderson, cond.; Schuyler Chapin, Monitor; Oral Roberts Univ. men's chorus--MtM p.566n50

378 W95 Airborne Symphony P13 1/74 Zakariasen, William, "Pop music by classical composers," High Fidelity/Musical America 24:1 p.100: MB's "later music," W95, W107, "returned to the serious style, but curiously he used popular themes whenever he wished to reflect social injustice." See also W72. P14b "Part 3 The Cradle That Rocked Broadway": LB discusses and conducts (recording of) W95#l (w/stills of planes). P19 4/12/80 Gordon, Eric, "Of the People: Remembering American Composer Marc Blitzstein on the 75th Anniversary of His Birth," Opera News p.26-9: "an ode to flight and a warning against the terror of bombs and destruction." P20 9/25-27/81 "[Martha] Schlamme and [Alvin] Epstein Sing Bernstein and Blitzstein"; Steven Blier, pno, HB Playwrights Foundation, NYC, incl. III:2. W95.23 Fall 1982 Todd, Sally Lou, "Marc Blitzstein Airborne Symphony: Modern Warfare, Technology, Fascism and Geo-Political Revisionism in Sonata Form " (abstract), Sonneck Society Newsletter 8 p.62. P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall III:1&2 Men's Chorus, Cris Groenendaal; Michael Barrett, cond. W95.24 5/4/86 European prem., Barbican Center, London; John Mauceri, cond., Monitor: Terence Stamp; Tenor: Damon Evans. exc. recordings (III:2) P32 1990 Koch CD 7050 Zipperfly & Other Songs recorded 9/10,11&13/90 William Sharp; Steven Blier, pno. W95.25 1992 Amis, John, Amiscellany, bar. "with vocal and instrumental accompaniment," Wyasteon Leys, Monmouth, England: Nimbus Records CD 5342. review M11.1 1994 Rorem, Ned, Knowing when to stop : a memoir NY: Simon & Schuster p.312: W95 "a jingoistic bomb... which finally withdrew itself." p.314 "patriotic smarm.., gives new meaning to overstatemetn, a Reader's Digest tribute to our air force, preachy, collegiate, unbuttressed... by a lessthan-trite musical background." p.322 III:2, like W107 III:2, W108 II:1#1, W125 - "they stick in the mind." exc. perf P39 3/2,10-12/95 Medicine Show, NYC: III:2 Aron Bederson, LJL.

W95 Airborne Symphony 379 perf W95.26 4/30/95 Amer Sym Orch, Leon Botstein, cond., Avery Fisher Hall. Monitor: James Earl Jones; Thomas Young, ten.; William Sharp, bar., NYC Gay Men's Chorus. Private recording: David Litofsky. review W95.25.1 5/2/95 Holland, Bernard, "3 Works From 3 Countries at a War's End," NY Times C18: "hokum to delight and be savored... flag-waving, drumbeating populism... closer to Norman Rockwell than to Beethoven's Ninth". exc. perf P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," at White Barn Theatre, Westport CT: III:2 Mark Basile; Charles Wade. webposting W95.27 9/97[?] Jansson, John, Marc Blitzstein Website: "falls into that dubious category of flawed masterpiece. At its best it is splendidly moving and powerful. But it has moments that are very difficult for a contemporary audience to accept, and Blitzstein's poetry sometimes falls short of the targets he sets for himself. It is unlikely that the work will ever be more than a very rare visitor to the concert hall. Yet the qualities are such that it deserves to be considered as more than just an interesting document of its time. With committed vocalists, a sympathetic conductor, and a charismatic Monitor, a performance would indeed be a thrilling experience." exc. perfs P52 5/9/01 Jacob Langfelder, Boston Conservatory: III:2. W107.71.1 3/11/05 Jacob Langfelder, Chris Fenwick, Kennedy Ctr, Washington DC: III:2. Songbook review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.297: "perhaps Blitzstein's most musically acclaimed work" but "did not live long in the public eye." exc. perf P60 12/11-12/04 Encores! City Center, Rob Fisher, cond. III:2 sung by Moses Burke & Michael Arden. Private recording. article P19g 1-2/05 Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents: "American music's chef-d'oeuvre from World War II... a cry from the wardamaged soul not to create new enemies..." exc. perfs P62.5 3/2/05 Curtis Institute concert, III:2 Charles Unice, bass; Donald St. Pierre, pno. P62.6 6/4/05 Bernstein/Blitzstein concert, Oceanside Chorale, Oceanside NY: III:2 Tom Bertok, bar. (+chor); John Craven, pno; LJL, cond. full perf W95.38 11/11/05 NY Pops, Skitch Henderson, cond., Carnegie Hall. William Hurt, narrator; Purdue Varsity Glee Club.

380 W96-97 Gauley Bridge, Modest Maid W96. Gauley Bridge Songs (1943-45) [fragments] written in UK.

B97 R60

W97. Modest Maid [aka I Love Lechery] (1943-44) female solo song w/pno. 3/4 Cmaj; dim13th: G#-F. B97 R60 MBS 1/73 W97.0 1944 unidentified clipping (R8#362): MB "has written some special material for Beatrice Lillie, 'I Love Lechery'" [never perf'd by her] W97.0.1 9/4/45 Contract signed with Paula Lawrence. "Verifax copy made." [everperf'd?] W97.1 1954 First perf'd by MB for Ben Bagley at party given by John Latouche. W97.2 10/15/54 Contract signed with Charlotte Rae. W97.2.1 Masochistic ending [printed in MtM p.393] revised, 1955, for W97.3 Charlotte Rae's opening number, performed in nun's habit, at the Blue Angel, and W97.4 in Bagley's The Littlest Revue, Phoenix Theatre, NYC. W97.5 8/55 LP recording: "Songs I Taught My Mother," Vanguard VRS 9004; Charlotte Rae, w/John Strauss & his Baroque Bearcats also performing W78 I:6#3 W97.5.1 11/14/55 Contract with Vanguard Recording Society, Inc. "No composition mentioned." recording review W97.5.2 3/56 (R68#818) Playboy p.9 "We especially enjoyed a" MB "plum entitled" W97 "in which Charlotte announces that, as hobbies go, she's tried archery, butchery, witchery and bitchery, but she very much prefers 'lechery, simple lechery.'" W97.6 1989-2005 perfs by HW & LJL: P28b, P28d-i, P28o, P31 (recording), P33, P39 +various naturist concerts in France & US. W97.7 perfs by Ellen Geer, in California. perfs P39 3/2,10-12/95 Medecine Show, NYC; Jennifer Standridge; LJL, pno. P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC; Lauren Flanigan; Ted Sperling, pno. review P50.2 2/29/00 Vincentelli, Elisabeth, "Putting on the blitz," Village Voice: W97 "riotously funny".

W97-99 Modest Maid, Le monde libre, True Glory 381 Songbook review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.300: "Is it possible that" MB," given his own adventurous and openly gay sexual proclivities, envisioned this song as a drag number, to be performed privately for friends? ...performance interpretations along such lines could be fascinating and hilarious." perf W97.8 8/04 Reiersen, Kristin, soprano, Washington DC. review W97.8.1 8/?/04 McClain, Buzz, Washington Post, p.C03: "a Jekyll and Hyde..." perf P60 12/11-12/04 Encores! City Center, Rob Fisher, cond.; sung by Christine Ebersole (incl. the "A-woo!" added in perf by HW & LJL, and in printed Songbook, not in any ms. or other recording). Private recording. review P60.2 11/23/04 Miller, Marc, "Encores! Bash 2004," theatermania.com: "so risqué that it couldn't possibly have been recorded in 1956. A pseudooperatic ode to 'lechery' sung by a lovely lady who smirks that 'archery is for the arch and butchery for the butch.'" P62.3 3/2/05 Curtis Institute concert: Haran Tarabay, mezzo; Donald St. Pierre, pno. W98. Le monde libre [The Free World]: March (1944) pno solo (transcription of collected Resistance song) publ. by Chappell (London). P19d 3/25/1989 A Marc Blitzstein Celebration, People's Voice Cafe prem. by Bennett Lerner. review

P19d.1 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "a short and jaunty 1944 piece perhaps meant for broadcast to French resistance forces during World War II."

W99. The True Glory (1944-45) unused film score (dir.: Garson Kanin & Carol Reed); lost; incl. 18 collected songs, c. 30 min.; listed as Movie Music (Suite) by Chappell in ASCAP Symphonic Catalogue, 1977 (MtM p. 263n). [Film was produced but with music by William Alwyn alone.] press notices W99.1 * 12/2/45 (R8#380) MB, "Major & Minor: Blitzstein Went Underground To Dig Up Music for 'True Glory'" [intro. by E.H. Schloss] Philadelphia Record p.24 M [found "at least 18 songs"]. W99.2 4/1/46 Norman, Dorothy, "Such Wonderful Things Happening to Music," NY Post.

382 W100-101 War Song, Lovely to get back to love W100. War Song (1944-5) solo song w/pno on Dorothy Parker (1893-1967) poem (1944) Dmaj; 11th: A-D B97 R60 [accomp. compl. by LJL, 7/95]. MBS 3/98 background W100.0 *?/?/58 "Arts Institute Elects Blitzstein, Miss [Dorothy] Parker"-also Karl Shapiro, Julian Levi +8 others. W100.1 Nadia Boulanger memorial perfs HW; LJL, pno. W100.1a 7/11/96 prem. Salle Nadia Boulanger, Fontainebleau (repeated at Bélézy, Bedouin, France) +W78 II:5#2, W127Sc.4Pt1 preview article W100.1a.1 LJL, "Summer Preview: American Jewish Music in Europe," Aufbau 62:14 p. 13 announces world premiere (W100. 1a). perfs by HW; LJL, pno: W100. 1b 10/3/04 Bryant Library, Roslyn NY; +W27, W127Sc.4Pt1. W100. 1c 10/9/04 Nadia Boulanger Conference, Boulder CO; +W27, W127Sc.4Pt1. W100.1c.1 2/21/05 radio prem.: WBAI Cat Radio Cafe; +W108 II:3#3. W100.2 2/13/00 Songs of Love, Westbury Library; +W78 I:6#3; W107 I:7c. also: P28m 9/16/00; P28n 12/3/00; P28o 6/27/04; P47 7/17/99; P54b-e 3-10/02; P56b 5/1/04; P59 11/9/04; P62.3a 2/27/05; P62.3b 3/5/05; P62.3c 3/6/05. Recorded for release on CD (P50), 8/01, but rights, held by NAACP, not cleared in time. recording P63 Spring 2005 Original Cast Records CD OC 6127: HW; LJL, pno. - taken from W100.1c 10/9/04. W101. Lovely to get back to love (1944) solo song w/pno B97 R60 Fmaj; 11th: C-F [accomp. compl. by LJL, 2002] MBS 3/96 Written in London in 1944 as a commercial song sketch, on the suggestion of Garson Kanin, who remembered a variant of the words - MtM p. 252-3. MB played it for Kanin and other soldiers, who loved it, but the composer refused to release it, with his name or anyone else's on it. Nonetheless, it makes a nice companion piece, or warm-up, for the truly beautiful W100 (not mentioned in MtM), written around the same time). perfs P59 11/9/04 "Marc Blitzstein: Rallying with a Note," HW; LJL, pno; Ctr for Jewish History, NYC. P61 1/7/05 Nat'l Opera Assn Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret: Marie Robinson; LJL, pno. P62.3 MB Centennial Concerts, NYC area: HW; LJL, pno: a 2/27/05 Great Neck House; b 3/5/05 People's Voice Cafe; c 3/6/05 Queens College recording [song recorded at Long Beach Public Library 4/3/05] P63 Spring 2005 Original Cast Records CD OC 6127: HW; LJL, pno,

W102 Goloopchik 383 W102. Goloopchik (7-8/1945) B34,93 R57 +B97 R60 [#21] [often misspelled "Galoopchik" because of the pronunciation of the unaccented first syllable in Russian, which is somewhere between "o" and "a"] Amer-Soviet friendship musical in 2 acts, 4 scenes; choreog. planned w/Jerome Robbins; book: William Friedberg & Marian Ainslee, incomplete; 9/5/45 retitled "Wait for Me", inspired in part by 1942 James Aldridge story in Stars and Stripes (MtM p. 231, 269); producers: James Proctor & Milton Baron; unproduced. [I:1] 1. Overture (to be based on #19, 4, 9). 2. (Making a) Home for a Hero [melody became "Miracle Song" in Reuben Reuben W108 I:5 #5] 3. Conversation Piece (8/25/1945) female trio. 4. Chick Song (aka The Russian Language) 7/17-18/45 solo/duet + chorus Gmaj (orig.E); 12th: D-A (B-F#). trimmed & transposed to be used as duet intro to #16 in P28 1989 MBS 2/48 5. (There's a) Tree Back Home in Kansas 8/17/45 male solo. 6. Red Army Songs (choruses with MB's lyrics): a. Black the Night [lyrics missing] Red Army Songbook p. 30. b. Fighting Road (Kruchinin). c. Flying (Ukrainian) p. 2. d. Winter Day (Ukrainian) p. 4. 7. Drinking Scene (choruses with MB's lyrics) a. Ho! Drink It Up! (melody by MB), [Modeste Moussorgsky's Hopak as dance interlude,] b. Wind from the Plain (Ukrainian, arr. Chichko), c. Drinking Song (Trad.), d. Empty Pocket, Empty Belly (Trad.), e. Hey, Don't Sleep (Trad.), f. Stenka Razin (Trad.), [+ Ukrainian dances (p. 21, 22, 27, 37).] [I:2] 8. Quintet (Meadow Scene): Road Song "Strolling Home" (Vdol' Dyervnik) 7'40" by M. Isakosky & V. Zakharov, lyrics & arr. by MB for 2-part chorus & pno. [I:3] 9. So-o-o-o Beautiful (7/24/45) solo 3'48" + Ballet: Pas de deux (8/27/45) Nina & Marko - reminiscent of Fire Dance, W2. 10. Little Meal on a Tray, tr. of "In mitten des Balles" ("Sred' Shoomnovo Balla") duet; orig. Russian words by Alexei Tolstoi; music by Peter Ilyich Tchaikovsky, op. 38 no. 3. 11. Three Sisters Who Did (8/22/45) solo 2'15" + dance = 3'37". 12. Reprise of #2. 13. Sasha! - MB lyrics to Chorus from Moussorgsky's Khovanschina I:3. 14. Entr'acte: Tanya (see #17).

384 W102 Goloopchik [II:1] 15. Reprise of #8. 16. Mamasha Goose (sung by young Russian boy attempting to learn English thru nursery rhymes, which he Russifies; incl. quotes from "Zainka," arr. Kraseva; "The Crane," arr. Kraseva; Folksong, arr. Steinberg, op. 19#1 - also in Rimsky-Korsakov collection & Miaskovsky(?) op. 14) MBS 2/50 Gmaj (middle section Em); m7th: D-C (+opt. lower ext. down to D#). 17. Tanya [later: Lovely Song, aka Theme for Jane Pickens Show, 7/5/49; donut, compl. by LJL for duet in P28 1989] Dmaj->Fmaj; 11th A/Ab-D. MBS 2/44 18. Sasha's Journey: a, b & c from Aram Khatchaturian's ballet Gayne; a. Sword Dance; b. Song of the rose Maiden; c. Lullaby; d. Jelobinsky's Etude op. 19 no. 1; e. Moscow (Dmitri & Dan Pokras; lyrics by MB) chorus; f. Alexander Borodin's Polovetzian Dance #8 from Prince Igor. 19. Meeting on the Elbe (mostly melodrama): a. Suliko (Megrelidzhe, Russian lyrics); b. Long Long Trail (or White Christmas [sic]); c. Scena (words & music by MB). 20. Finale: Reprise of #2. possibly for inclusion in show, written 8/8/45, though not incl. in contents list: 21. Displaced (aka Song of the D.P.) solo song [8/45] - to Bill Hewitt. B97 R60 MBS 1/78 [Music re-used by MB in Idiots First W127 Sc. 3] "Let me find the joy of work again" refers ironically to the Auschwitz slogan "Arbeit macht frei." 2verses Emin modulation to & from Bb maj via F; M10th: Bb-D Portions of texts of #6c, 9, 11, 19, 21 in MtM p.270-1 W102.0 background W102.0.1 2/15/42 FBI Quarterly Intelligence Summary 61-180-53 p.321 reports that MB signed Call for a Fourth American-Russian Congress, according to FBI SAC memo of 12/13/47, declassified 10/15/96. Report states that MB's "membership in a professionals unit of the Communist Party in Philadelphia has been established by the Philadelphia Division." Also gives details about Madeline Blitzstein, his stepmother, who is misidentified as "his wife." W102.0.2 *Summer 1945 unidentified Phila paper: "Marc Blitzstein, out of the Army, is writing music for a tune-drama about American GI's in Russia. The local composer is fashioning original music and some Russian folk songs intertwined. William Friedberg and Marian Ainslee, of New York, are writing the book."

W102 Goloopchik 385 W102.0.3 11/18/45 MB chairs 1st Conference on American-Soviet Cultural Cooperation. (FBI File 100-4753 2/24/47) exc. perfs W102.1 exc. perf'd by MB [incl. #16...]; W102. 1a 12/7/1945 Phila Council of American-Soviet Friendship, and W102.1b 5/2/1946 Carnegie Hall Greater NY Committee for Russian Relief: on prog w/Isaac Stern, Lou Cooper cantata, Nan Merriman in LB's Jeremiah Sym, Dean Dixon cond. LB, Copland & Siegmeister, Muriel Smith in "Carmen Jon" [sic] (R68#66); and possibly W102.1c 5/12/47 City Center, "Theatre Music of Two Lands," American-Soviet Music Society; W102.1.1 Daily Worker 5/9/47 - clipped by FBI 5/22/47; declassified 10/17/96. reviews W102.1.2 5/3/46 Noel Straus, "Cooper's Cantata In Premiere Here: 'Last Speech' Is Introduced at Concert for Russian Relief--Dean Dixon Conductor," NY Times: "Mr. Blitzstein captivated the large audience with his singing and playing of a round of songs from his as yet unnamed music comedy on which he is now working. It deals with two Americans in Russia, and judging from the cleverness of the composer's own text for the songs presented and the snappy character of their music, the work should prove a big success when it reaches the stage." W102.1.3 5/11/46 (R8#497-8, R68#87) New Yorker, p.73-4 "Mr. Blitzstein has an entertaining show in work, and he is probably already receiving applications from interested singers who would like to do his new, Russianized versions of Mother Goose jingles." W102.2 5/27/46 #16 & 21 prem. Muriel Smith; Leon Pommers, pno, American-Soviet Music Society, Times Hl. She also sang works by Ned Rorem and Elie Siegmeister; Gold & Fizdale performed works by Paul Bowles, Virgil Thomson, and Norman Dello Joio. Joseph & Lillian Fuchs et al performed Shebalin and Shostakovich. review W102.2.1 5/28/46 Schubart, Mark A., "Soviet Music Unit Heard in Concert: First Program by Society Here Features Work of Shebalin, Shostakovich, Others" NY Times. photo (at WSHS) W102.2.2 6/7/46 meeting of Society at Town Hall: MB, Elie Siegmeister & Morton Gould presented Ilya Ehrenburg "the first American album of Soviet popular songs recorded for Crown by Harry Horlick" and "five American folk songs which the author will deliver to Russian composers to write works based on these themes." (See also P11a.)

386 W102 Goloopchik A63 12/31/47 Muriel Smith & MB recorded "Marc Blitzstein--Songs for the Theatre," Concert Hall LP, CHC 24, incl. W76 #1; 78 II:2; 79 #1; 102 #16 & 21. Recording released 1948-50. Prog notes: #16 "is the song of a child in Russia attempting to entertain two American soldiers. It is based on authentic Russian folk songs, with the composer's own words." #21 "is the song of a displaced woman, seized by the Nazis, who has been repatriated to Russia..., inspired by some of the composer's experiences in the Army, from which he was honorably discharged in 1945." concerts W102.3 (A64) 1/28/1948 #16 & 21 perf'd by Muriel Smith & MB at Cleveland's Severance Hall. W102.4 12/12/48 perf'd by Muriel Smith, Town Hall, along with W76 #1. A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perf'd: #2. P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall; #21 Timothy Nolen; Michael Barrett, pno. P26 9/21&26/87 Carnegie Hall and 3/19/88 LC Music Division concert: William Sharp; Steven Blier, pno: #21. P28 A Blitzstein Cabaret, LJL & HW P28a 1/23-25/89 Bruno Walter Auditorium, NYPL at Lincoln Ctr; perf'd: #17. P28b 3/2/89 Bryant Library, Roslyn NY; perf'd: #4. 16. 17. Prog repeated: P28d-i 4/89-4/92. P28o 6/27/04 First Unitarian Society of Madison, WI; perf'd: #16. P19d 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe; William Sharp; Michael Barrett, pno: #21 review P19d.l 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "the incisive lament of a worker far from home... sung with charm and commitment." recordings P31 1990 Premier PRCD 1005 A Blitzstein Cabaret Helene Williams; LJL, pno (& vce); incl.: #4, 16, 17. P32 1990 Koch 7050 Zipperfly & Other Songs recorded 9/10, 11&13/90 William Sharp; Steven Blier, pno perf'd: #21 P33 concert A Blitzstein-Bernstein Cabaret LJL&HW incl. #4, 16: P33a-d 1/90-6/05.

W102 Goloopchik 387 exc. perf P40 6/23/95 music for a summer evening, First Unitarian Society, Madison WI: incl. #21 W102.6 9/23/99 The Russian Jewish Experience, Central Queens YM-YWHA; HW & LJL perf'd #4 & 16. P54 A Marc Blitzstein Songbook: concerts; HW & LJL perf'd #16: P54b-e 3/3/02-10/10/02. Songbook review P48.3 9/03 deGraaf, Melissa, MLA Notes 60:1 p.299: #21 "depicts a young woman returning home to Russia after a long imprisonment in a Nazi labor camp." MB "started composing it two days after the bombing of Hiroshima and expressed in it the horrors of war and the devastation of the refugees. The slow, mournful music evokes the dislocation nad disorientation the woman feels. Unlike his earlier songs of suffering such as" W72Sc.7#l, "which has an air of hard-edged cynicism and commercialism," W102#21 "expresses unmitigated, wholly sincere mourning and sadness." W102#4 "functions as a fitting introduction to" #16, "in which a young Russian boy attempts to learn English through nursery rhymes, which he inevitably Russifies." exc. perfs P59 11/9/04 "Marc Blitzstein: Rallying with a Note," HW & LJL: #4, 16 & 21. P62.1 1/29/05 MB Centennial Workshop HW & LJL perf #16. W107.71.1 3/11/05 "Road to Regina," Kennedy Center; Catherine Walker; Chris Fenwick, pno: #21.

388 W103-5 Chez Eitingon, Another Part of the Forest, Androcles & the Lion W103. Chez Eitingon (1946) solo song w/pno B97 R60 Rumba written at the studio of Motty & Bess Eitingon, Hillcrest Park, Stamford CT, satirizes all the guests, and host(esse)s -- "now there's no more fighting on..." No public performance known. Bess Eitingon was the great-aunt of the wife of composer/critic Barry Drogin; a producer of W117, and "a model for Mrs. Mister" in W72. See A31b, P48.1.

W104. Another Part of the Forest (fall 1946) incidental music for play by B33 R55 Lillian Hellman (prequel to her earlier play, The Little Foxes): arr. of Urbs Beata Jerusalem (Gregorian chant) (R55#42): "as found in my old Richter 'Counterpoint' book, and which has haunted me since I was twelve" +Divertimento for String Trio by Leopold Mozart. Opened 11/20/46; 182 perfs. letter W104.1.1 8/15/52 (LC) MB to LB re latter's possible collaboration with Hellman on Eva Perón:"...you could call the opera 'The Bigger Foxes' or 'The Same Old Part of Another Forest.'" The writing of this incidental music inspired the idea of W107.

W105. Androcles and the Lion (12/1946) incidental music for play by George Bernard Shaw; for ob/EH, cl, tpt, tb, drums, perc, pno/Hammond organ incl. bits of singing for Androcles, Lion Waltz, and Chorus singing: "Throw them to the lions" to the tune of Arthur Sullivan's "Onward, Christian Soldiers"(!) American Repertory Theatre, Cheryl Crawford, Managing Director; Staged by Margaret Webster; Sets & Cosutmes by Wolfgang Roth; on double bill with Sean O'Casey's "Pound on Demand"; Cast (of 10+5 with 2 overlaps) included John Becher as the Lion, Ernest Truex as Androcles, and Victor Jory (who directed the O'Casey) as Ferrovius in the Shaw, with Margaret Webster as Woman in the O'Casey. B90 R55 W105.1 prem. 12/19/46 reviews W105.1.1 12/29/46 Barnes, Howard, "'Androcles and the Lion' A Triumph of Direction," Herald Tribune: "an evocative and appropriate accompanying score for the proceedings... a consummate revival of a charming comedy of our time." W105.1.2 12/29/46 Garland, Robert, "New York Theater," International News Service, Palm Beach FL: "HAPPY NEW YEAR... to Marc Blitzstein for the satiric music for" W105 "revival."

W106 The Guests 389 W106. The Guests (1946-1/1949) for Lincoln Kirstein 15'-20' B32,81-2 R50 (orig. Show: Theatre Piece; aka Show Window, Show Model, June Bride, Incident) "classic ballet" with Jerome Robbins; orchestration assisted by Henry Brant; 2poiPicc-2poiEH-2poiEb,BCl-2 4-1-2-0 Timp Perc (BD, Cym, small cym, SnDr, Tri, Tamb, Xyl, WB, Slapstick, Chimes (C,F)) Hp, Pno-Cel, Str Masters (transparencies) of orch parts are at NY City Ballet orchestral library. Piano suite includes: 1. Prelude and Welcome 1a. Prelude to Three-Four Dance [cut] 2a. Three-Four Dance 2b. The Host [orig. called "The Discriminator"] 3. Parade [4 hands] 4a. Variation I 4a1. Before Variation II [cut] 4a2. Variation II [orig. in a version w/text spoken by He and She; cut] 4b. Variation II [new, instrumental version] 4b1. Before Variation III [cut] 5. Pas de deux (orig. Variation III) 5a. The Award [cut] 5b. Grand March [cut] 5c. Cut-In: Nocturne [cut] 6. Three-Four Reprise 6a. Before Finale [cut] 7. Finale Theme: social prejudice, as in Romeo & Juliet [cf. the later West Side Story], with 16 dancers divided into two groups, one of 10, one of 6. W106.1 11/7/1947 Ray Lev, pianist, prem. #1 & 2a Carnegie Hall (R68#235-7) & repeated them on her W106.1a 12/20/47 recital (R68#243). Possibly recorded on unidentified WSHS tape(?). W106.2 1947 MB recorded #5, 2a, & 7 for Concert Hall 78RPM set B9: "American Composers at the Piano." W106.2a 1947? 78RPM exc. recording, MB(?), pno, discovered & identified 4/05 by Brent Oldham in collection of George Connolly, incl.: #1 (+coda not in score, though beginning like #4a1, 5a or 6a), 4a, 4b, 5 (w/cut of 4mm.). W106.3 (A64) 1/28/1948 MB perf'd Piano Suite, incl. #1, 5c, 2a & 7, at Cleveland's Severance Hall. preview article A64.1 1/17/48 (R68#271) Widder, Milton, "Notes and Sketches": MB, Robbins, and LB "are today a tremendous influence on American music and culture. While they are a 'tight little triumverate,' Blitzstein claims that anyone with talent 'can break into it.'"

390 W106 The Guests preview article for ballet: W106.4.0 1/17/49 "Ballet: Marc Blitzstein's 'The Guests' To Premiere This Thursday," NY Star: W72 & W78 have "no written dances, no ballet... So... my first public ballet," W106, "has been a long time coming." See also W43 & W50. "I have relatively little interest in... certain nineteenth-century models..." "Hero and His Soul" W106 "has been created by Robbins and myself working together from scratch. Our method was simple. We found our content, our theme, first; then the subject, or story-line that seemed to fit it best. Then I would make a musical sketch, or core, of each section, which both of us considered, kicked around, flayed alive until it was right." "And Jerome Robbins" "...a wonderful and rather perilous experience working with someone with the drive, imagination and genius of young Robbins. Everything, every aspect of one's craft, is constantly on trial; the composer too has to be on his toes. It will be of more than passing interest to me to find out if I have succeeded at all in the collaboration. I am also anxious to learn if the music can stand by itself in a suite for concert which I have planned for it." +photo of MB. W106.4 ballet prem. 1/20/1949 New York City Ballet; repeated 1/23/49 (2x) Host: Francisco Monción; Mixed Couple: Maria Tallchief & Nicholas Magallanes/Jerome Robbins [1/23/49 evng]; Group I incl. Pat McBride, Herbert Bliss, et al; Lighting: Jean Rosenthal; Leon Barzin, cond. reviews (R68#284-7) W106.4.1 1/20-21/49 Sylvester, Robert, "'The Guests' Ballet Has Center Premiere," NY Daily News: "pleasant and thoughtful..." "Effective [female] Solo" "haunting and lovely"; "thoroughly superb pas de deux," and "some of the strangest boiler factory sounds this side of bebop." W106.4.2 1/21/49 (R50#46) L.B.[Leonard Bernstein?], "The Dance: BlitzsteinRobbins Ballet Is Given," NY World Telegram: "theme of class snobbery... satiric blast at all forms of class exclusion. ...terse score ranged from the bland rhythms of a formal dance to the slashing gibes of jazz-tinged commentary." W106.4.3 1/21/49 "'Classic' Ballet," NY Journal-American: "smoothly molded to its purpose, slickly orchestrated, and skilfully choreographed... by far the most successful entry of the three" new NYCB ballets. W106.4.4 *1/21/49 Johnson, Harriett, "Music...The Guests' Premiere By N. Y. City Ballet Co.," NY Post p.50: music "ingenious..., achieves a consistent vigor and dramatic poignancy... which the choreographer does not." W106.4.5 1/21/49 Martin, John, "New York City Ballet Company Presents Robbins' 'Guests' With Music of Blitzstein," NY Times: "a very neatly contrived Romeo and Juliet romance... all quite obvious and somewhat overstated... disappointing". W106.4.6 1/2/49 S[chonberg], H[arold] C., "Ballet and Dance: 'The Guests,' a Ballet of Social Significance," NY Sun: "score.. has a sure, rhythmic sense, and is eminently danceable."

W106 The Guests 391 W106.4.7 1/21/49 Terry, Walter, "The Ballet," Herald Tribune: "Modern Classic": "absorbing...augurs new directions for classic dance... The abstract nature of the choreography and the definitiveness of the Blitzstein music are not always happily mated... But on the whole,... a fine composition and its central Pas de Deux [#5] is a miracle of beauty." "The Music": "is eminently kinetic..." #5 "is an amplification of the very first idea heard in the score, a nostalgic motive, punctuated by an effective, widely spaced orchestral sonority, and moving on to an acidulous chord that consciously adds some bitterness to the sweetness. (...it may very well be a social commentary.)" "...principals were splendid... the host (or arbiter) was impressive." W106.4.8 1/26/49 Bron., "Blitzstein and Robbin's 'Guests' in Provocative Preem by N.Y. City Ballet," Variety "score is tangy in modern rhythms, at times pleasantly dissonant, generally melodious, and much the better of the ballet collaboration. It is good musical theatre writing, as often Broadwayish as not. It is also strongly positive in character and highly listenable." W106.4.9 4/49 Cowell, Henry, "Current Chronicle in New York," Musical Quarterly 35 p.293-6: "harmonies sound both wicked and zestful... pungent, suited to the ballet purpose." letter

W106.4.10 4/20/49 MB to Mina Curtiss (Lincoln Kirstein's sister): "The ballet was fine from my point of view [musically]... Jerry Robbins' visual plan was fine, but cloudy, not direct, and not structural; he muffed the climax... and concentrated on the pas de deux, a truly grand conception and execution. But a pas de deux isn't enough." W106.5 *11/23-12/11/49 NY City Ballet brochures, incl. The Guests revival 11/25, 11/27, 12/02, 12/10 quotes Terry, below. Robbins revised choreography somewhat and appeared in it himself as the Host. revival reviews W106.5.1 11/26/49 Martin, John, "Robbins Does Lead In His Own Ballet: City Company's Presentation of 'The Guests' Is Highly Rated--Tallchief Stands Out," NY Times: "Effect Sharply Emotional" "Robbins Plays the Host" "and brings enormous power and theatrical authority to the role." takes on "intolerance" "...what emerges now is a taut and brilliant theatre work with a style all its own... Blitzstein's music has both bite and beauty, and manages to convey with a curious poignance the awareness of a sick society." W106.5.2 11/26/49 Terry, Walter, "The Ballet," Herald Tribune: takes on "discrimination" "thematically eleoquent and choreographically stunning... a work of real stature..." W106.6 2/21/50 NY City Ballet revival, 1st of 5 perfs. Host: Jerome Robbins; Mixed Couple: Tanaquil LeClercq & Nicholas Magallanes. Other dancers in later perfs: Melissa Hayden, Nora Kaye, Frank Hobi.

392 W106 The Guests reviews W106.6.1 2/22/50 Herridge, Frances, "The Dance: Ballet's 4th Season Begins Brilliantly," NY Post. W106 "a sharp and moving comment on social bias." W106.6.2 2/22/50 Martin, John, "City Ballet Group Offers..." NY Times: "an increasingly impressive ballet." W106.6.3 2/22/50 Terry, Walter, "The Ballet" "Spirited Dancing" Herald Tribune: "quite a remarkable work in many ways, a dance creation which grows upon one with each seeing. Mr. Robbins' theme is that of discrimination... religious, racial, political...." W106 "doesn't preach; it looks and it reports and accomplishes its premise masterfully." W106.7 Summer 1950 NY City Ballet at Covent Garden elicited mixed reviews: W106.7.1 "sounds like Soviet music at its worst combined with American music at its worst; pretentious but well scored" [unattributed: dMtM p.343]. reviews R68#313 W106.7.2 8/1/50 "Ballet With A Clue," London Star. "A programme clue says it concerns 'the pattern of adjustment and conflict between two groups, one larger than the other.' Majority versus minority? Or what?" W106.7.3 8/1/50 Goddard, Scott, "The Tension Was Missing," London News Chronicle: MB's "clever music ably expresses all that is weakest in the ballet and Jerome Robbins' choreography is on the same level." W106.7.4 8/1/50 "New York City Ballet: A Classic Evening," London Times: MB's "music is richly suggestive, though colours and spicy dissonances are at times too thickly laid on." W106.7.5 8/2/50 J[ames] H. M[ontague], "The Guests,'" Manchester Guardian "an excellent pas de deux... looks simple but is not... a work rich in imaginative suggestions." W106.7.6 8/2/50 Our London Music Critic, "New York City Ballet: Covent Garden Season," Scotsman: '"The Guests'" MB "has a genius for setting the American language when it's about human beings being human. Anyone who has heard his operas," W72, W78, "and certain sections from" W95, "notably" III:1, "will agree. But when he comes over idelogical, political, or instrumental he is inclined to become a pretentious bore, notably in the other sections of" W95 "and" W106. W106 "sounds like Soviet music at its cworst combined with American music at its worst; pretentious but well scored. Once again Jerome Robbins has hitched his waggon to a dull star." W106.7.7 8/6/52 Beaumont, Cyril, "Maria Tallchief": MB's "music is expressive and often attractive, when the dissonances are not too pronounced."

W106 The Guests 393 W106.7.8 8/6/50 Buckle, Richard, "Ballet," Observer: W106 "deals with the problem of social outcasts... I think it is left to us to decide whether the minority are Negroes, Jews, or simply people who have come in dinner jackets instead of tails.... there is a good pas de deux....; the music of Blitzstein is not inadequate..." W106.7.9 8/30/50 London Stage review of 7/27/49 perf: "Tense situation... use[d] as a golden opportunity to plead vainly against establishment and conventions, before resigning themselves to the inevitalbe and escaping to a new life." W106.7.10 9-10/50 Bradley, L.J.H., "The Guests' and 'The Age of Anxiety,'" Ballet, p. 18-19: ]"The solos and pas de deux are as beautiful and expressive as anything the Americans have given us, full of tender youthful gestures of diffidence and awakening love.... Blitzstein's music, which tends to the use of brass and low strings, has some attractive dissonances which help to produce an atmosphere of tension and mystery." A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; MB perf'd: #5,4b,2a. W106.8 5/5/53 Robbins named names to HUAC. letter W106.8.0 5/7/53 MB to Mina Curtiss: "It was too miserably revolting to want to believe." They never collaborated again. MB would himself testify before HUAC in executive session 5/8/58, but declined to name names. Subpoenaed to appear again 6/15-16/58, along with c. 30 others, MB was not called to the stand. press coverage W106.8.1 6/16/48 "House Red Hunters Plan Hearings Here," NY Times. W106.8.2 6/19/58 Porter, Russel, "9 Show Business Here Balk At Queries on Communist Ties," NY Times p.1. W106.8.3 6/20/58 Porter, Russel, "9 More in Entertainment World Refuse to Answer on Red Ties," NY Times p. 1 (See P55 below, and W123.) letter W106.9 8/18/56 Edward Cole to MB on recording for MGM suites from W72 (11/12/56) & 107 (11/19/56), as well as from W75, 78 & 106. Contents & timings prepared by MB, but sessions never happened. W106.10 7-8/86 #4b publ. in magazine Keyboard Classics, "Three Musical Discoveries," ed. by Bennett Lerner, who also W106.11 1986 recorded #4b, 5, and 2a on "American Piano Music, vol. II," Etcetera Records 1036. W106.11.1 p.6-7 incl. essay by Eric Gordon, "Composer with a Cause"

394 W106 The Guests P55 12/02 Fava, Maria Cristina, "Marc Blitzstein's Sacco and Vanzetti and the Rhetoric of McCarthyism," Master of Music thesis, Graduate College of Bowling Green State University, p. 49: "Blitzstein was not considered the most influential of 'entertainment' personalities, as HUAC, running out of time, released him without further inquiries. Ironically, the fact that HUAC found his social and political message insignificant and did not consider it worthwhile to spend time further delving into his affiliation with the Communist Party suggests a cruel--and entirely plausible--explanation: his life was a political failure." This is not really fair; he had the right to be happy about not being harassed any more, and not to be depressed, though he probably was, and not having had to play any heroic kind of role (like Hellman). 3/25/59 was the last time the FBI visited him [FBI report of 3/27/59, #1004753-48]. He told them "cold[ly]" that "he resented the... invasion of his privacy... and exhibited no inclination to cooperate." (See also W123.) Case was recommended closed 8/12/60, 10/4/60, 8/10/61, 7/31/62, 6/28/63; reopened 1/24/64 "in order to notify the Bureau of subject's death." (FBI reports declassified 10/22/96.) See also W116#5. books W106.12 2001 Lawrence, Greg, Dances with demons: the life of Jerome Robbins, NY: G.P. Putnam's Sons, p.140: "Tallchief remembered Robbins asking her about the ballet near the end of his life. '...asked me if I remembered'" W106. '"I said, "Oh, Jerry, I'm really sorry. I remember some of the variations, but I really don't remember it." I thought later he was very disappointed that I hadn't remembered.'" See also p.315-325 on T12 (Bentley's version). W106.13 2004 Jowitt, Deborah, Jerome Robbins: his life, his theater, his dance, NY: Simon & Schuster, p. 150-1: W106 "was planned as a critique of intolerance and the treatment of minorities." MB "built his original scenario around a labor-apeasing competition sponsored by a large department store among its employees; the winners--one male and one female--would be chosen to model a clothing line. Management's strategically friendly gesture came to naught when it was discovered that one winner was black and the other white. Robbins... stripped the plot of details." See also p.334-40 on T12 (Bentley). W106.14 8/5/04 Michael Boriskin & LJL read through #3 (4 hands) at Aaron Copland House, Peekskill - videotaped by HW. W106.15 (P62.2b) 3/6/05 exc. perf. Los Angeles - Leo Marcus, pno: #4b.

W107 Regina 395 W107. Regina (1946-49) 2-act musical after Lillian Hellman's play The Little Foxes, commissioned by Koussevitsky Foundation and dedicated (as required by the commission) to the memory of Natalie Koussevitzky c. 2hrs. 10 min. Regina, sop.; Alexandra (Zan), sop.; Birdie, sop.; Addie, (black) alto; Horace, bass; Ben, bar.; Oscar, bar.; Leo, ten.; Cal, (black) bar.; Marshall, ten.; Bagtry, actor; Belle, silent; Chorus SATB [3S,A,2T,4Bar,B Chor] B23-4,52-8 R25-30 onstg: jazz band (cl,tpt,tb,banjo/guit,washbd&drums), pno trio; 1(poiPicc.C1)-1(poiEH,C1)-1(poi F1,EbC1)-1(poiC1,BC1) 2-1-1-0 Timp Perc Hp Pno Str; W107.2 prem. 10/6/49 Shubert New Haven; 10/11/49 Colonial Boston; 10/31/49 46th St NY W107.3 11/13/49 CBS Tonight on Broadway; W107.8 6/1/52 92 St Y (Maurice Levine, cond.) W107.9 revised (& cut) as 3-act opera, prem. NYCO 4/2/1953 LB's offer to revise W107 foundered as Hellman insisted that she approve "any changes." LB's handwritten notes on her 4/9/80 letter to Harry Kraut [apparently summarizing remarks from a phone conversation w/her]: "overplotted as it is - Zan & Leo, e.g. wd have to go" - courtesy, LB Office. W107.47 reconstructed, uncut, by John Mauceri & Tommy Krasker prem. Glasgow, Scotland 5/17/91 Prologue Act I

#1 Want to Join the Angels; #2 Naught's a Naught - mostly cut 1. Introduction [incl. theme identified in sketches as "The House"; later quoted by LB]. 2. Birdie (aka Music, Music, Music) sop. solo; Eb maj; m14th: C-Bb. MBS 2/60 3. Small Talk (incl. (Regina's) female solo: Gallantry). 4. Goodbyes. 5. Big Rich. 6a. I don't know (Regina). 6b. My, my (Ben). 7a. Away! (Regina) female solo [cut in musical, restored in opera--see W107.9.1 3/29/53]. 7b. The Best Thing of All (Regina) female solo [added in Boston, 10/49] Amaj; 11th: E-A ["my 'Toreador Song' - Brenda Lewis, 1953]

MBS 1/90

7c. What Will It Be (Zan) female solo [Summer 1949--see W107.2.99 9/16/50]Cmaj; m10th: E-G. MBS 1/87 8. Birdie and Zan [music based in part on W43]. [Interlude following scene, based on 7c, was cut; could & should be restored, if act break taken after II: 1. See W107.10.6 5/2/53.]

396

W107 Regina

Act II Sc. 1

1. Oh, Addie, where are you? (Regina) female monotone solo. 2. Deedle doodle (Leo) tenor solo. 3. These cee-gars what you looking for, son? (Oscar & Leo) male duet. 4. Horace's Entrance. 5. Greetings. 6. Horace and Regina. (incl. female solo: Summer Day [aka Look at Me] [reprise of Gallantry]). 7. The Business. Sc. 2 1. Scene-Change (Pno Solo in the style of Louis Moreau Gottschalk) aka La cloche au crépuscule. la. Romance sans paroles (pno trio, under melodrama) [cut from show]. 2. Sing Hubbard (chorus) [music based in part on W12]. 3. Transition. 4a. Polka [cut from musical]. B99 R60 4b. Chinkypin (male solo) [cut from opera in 1958, along with Jazz & Angel Band music] 5. Blues (baritone [Cal], cut from musical; restored in opera for alto [Addie], solo) Bb maj/min; M10th: Bb-D. MBS 1/84 5a. [cut; reconstructed 2004:] Addie's Lullaby. 6. Waltz (aka Things) (Regina) female solo [cut from musical, restored in opera]. 7. Introduction and Gallop. Act III (originally Act II in musical) 1. Rain Quartet (SSAB; also arr. for SATB chorus) [3-4/1949]. 2. Birdie's Aria (aka Lionnet) soprano solo. 3. Horace and Addie (dialogue). 4. Horace's Last. 5. Regina's [Final] Aria. 6. Melodrama. 7. Greedy Girl (Ben) baritone solo. 8. #1 Horace's Death; #2 Ben's Last 9. Finale (incl. Certainly, Lord (chorus) - also appears in III:1 above).

Chappell publ. II:1 #6solo; I:7b; III:7; II:2 #4b; II:2 #5; I:7c; and later full vocal score, now with Hal Leonard, which also publ. I:2, I:7b7C, III:2 in 1990 Opera American style: Arias for soprano. Also III:1 arr. for SATB [reported in G38b 1/55]. [TTBB arr. prem. SF Gay Men's Chorus, MtM p.538.] "In the published score, the Chinkypin number looks discontinuous from thought to thought because the white people's dialogue that it imitates and improvises upon is not printed as a counterpoint to the song."--MtM p.305n

W107 Regina 397 Music for I:8 derived in part from W43; also allegedly used: W56. See G56 2/29/60 under W56, W123. II:2 #2 derived in part from "Where Love Is Life," W12.II:2 #1 modeled in part on Weill's Mahagonny. synopsis 1987 Definitive Kobbé's Opera Book, p. 1336-40. 1997 New Kobbé's Opera Book, p.85-88. Both ed. Earl of Harewood, NY: G.P. Putnam's Sons W107.0 commissioning reports W107.0.1 5/11/46 Koussevitzky Music Foundation commission announced (R5#400, R7#533) W107.0.2 MB considers possibly making a musical of Mark Twain's The Gilded Age (R6#757-60); also considered: O'Neill's Anna Christie, Odets' Awake and Sing, Shaw's Saint Joan, Nelson Algren's The Man with the Golden Arm, D.H. Lawrence's Sons and Lovers --MtM p.287. W107.0.3 12/29/46 Parmenter, Ross, "The World of Music: Two New Operas on Way," NY Times +photos of Barber & MB. W107.0.4 3/20/47 Lyons, Leonard, "The Lyons Den," announcement of commission of MB opera on Hellman play. W107.0.5 (A64.1) 1/17/48 Widder, Milton, "Notes and Sketches" [preview of 1/18/48 Severance Hall concert]: MB's '"Little Foxes,' ...four-fifths finished,...will get a Broadway production, probably next season." See also W72.37.1, W106. W107.0.6 3/49 "On Broadway," Music News 41 p.6-7. W107.0.7 *5/4/49 (R68#289) "Prepared to Honor Koussevitzky Here," League of Composers prog, incl. "excerpts from Marc Blitzstein's forthcoming opera, 'The Little Foxes'" at Waldorf-Astoria, NYC, sung by Virginia Card, David Thomas, Shannon Bolin; MB at pno. W107.1 preview articles W107.1.1 5/10/49 "Excerpts from New Opera by Blitzstein on the Air Tonight [WQXR 10:05-10:45pm]," Daily Worker - clipped by FBI 5/20/49. W107.1.2 5/29/49 Lewando, Ralph, "Blitzstein's Opera to Make Broadway Debut Next Autumn," Pittsburgh Press "Unfolded Plot Details" "Vivid Imagination" "Jane Pickens in Lead" +photos of "Comely Soprano" Jane Pickens, and MB, "one of the country's foremost creative musicians." W107.1.3 8/19/49 (R68#379) "Blitzstein Musical Now 'Regina,'" NY Times. W107.1.4 8/29/49 (R68#382) Lyons, Leonard, "The Lyons Den," NY Post "Cheryl Crawford... conferred last week with representatives of the musicians' union. they were to determine whether 'Regina' is an opera or a musical play. The salaries to be paid the musicians... differ in these categories.... The union representatives, who had examined the score, argued that because of its scope and unique qualities, it is an opera."

398

W107 Regina

W107.1.5 9/2/49 "Signed for 'Regina'": NY Times photo of "Brenda Lewis, leading soprano of the City Center Opera Company." W107.1.6 9/17/49 (R27#86-7) Van Horne, Harriet, "Big Pickens Sister," Collier's "$140,000 production... Broadway operetta" quotes Walter Winchell she "gave up $1500 per week at NBC" for the part of Regina. W107.1.7 10/49 "'Regina,' Forceful Drama With Music, Nov. Bonus Show," Show of the Month "Dramatic Counterpoint" +photo of MB. W107.1.8 10/1/49 (R68#424-5) "Hellman Week on Broadway," Cue, p. 14-15 Hellman quoted: "Marc has done a really wonderful job. And it really is an opera, you know, not just a play with a few songs added." (Her original reaction, cited in numerous places: "Of course you may do it if you really wish to, but I don't know how you can add anything to the Hubbards that will make them any more unpleasant than they are already." +photos of Anna Sokolow & dancers; Pickens, Lipton & Gillette; MB & Robert Lewis; Hellman "directing her adaptation of the French play, "Montserrat,' which stars Emlyn Williams." W107.1.9 10/2/49 (R68#381) "Brenda Lewis, gifted young contralto [sic!]," Boston Herald. W107.1.10 (G37) *10/?/49 unidentified gossip column re Billy Rose, W72, W78, "opera version of 'The Little Foxes'". W107.1.11 10/8/49 Christian Science Monitor "rehearsing as Birdie".

photo of Brenda Lewis

W107.1.12 *10/9/49 ad for Regina "Opening Monday Evening Oct. 31" NY Times II:2. W107.1.13 10/9/49 Lewis, Robert, "'Regina' New Kind of Musical: Director Robert Lewis Says It Goes Beyond all Others in Wedding Words and Music for Strong Theatrical Effect," Boston Post: '"Show Boat' First" "Still Another Advance" "It's Not Opera" "Fault of Opera". W107.1.14 10/9/49 "A Musical Is Born," Boston Sunday Herald +photos of Pickens & Robert Lewis; Gillette & Abravanel; dancers Kate Friedlich, John Ward, Gisella Weidner, Bob Harlin, Leo Guerard, Barbara Ferguson; [dancers] Joan Engel, Wanna Allison, Onna White; Nype & Gillette; George Lipton, Brenda Lewis, David Thomas. W107.1.15 10/26/49 (R68#410) Pollock, Arthur, "Theater Time: Five Nights to Shake The Theater World Here," Daily Compass: MB's W107 "should be arresting, for he has a rare gift for digging into the consciousness of those who come to listen to his work." W107.1.15a (G34) 10/30/49 Pollock, Arthur, "Man Floating at Majorca Comes Out With 'Regina,'" NY Sunday Compass "Cast Pleases Him" "A Child Prodigy" +photo of MB, caption: "Don't call it operetta." MB: "I call it drama in music." See also W72; W107.2.33, W107.2.97.

W107 Regina 399 W107.1.16 10/28/49 (R68#498) McCord, Bert, "News of the Theater: 'Regina' Is Not an Opera," Herald Tribune: Actors Equity & AGMA "agreed that the show should be classified as musical drama, instead of opera." W107.1.16a 10/31/49 (R68#424) Ibid., "News of the Theater: 'Regina' Opens Tonight," Herald Tribune. W107.1.17 10/28/49 (R68#381) Rice, Vernon, "Theatre: Is It Really Opera?" NY Post: MB "is bored to death with the question.... 'It isn't opera as we know it... We first called it a play with music, but that was too arty. Now we call it a musical drama. The actors move from speech to singing and back again. You won't remember when they sing or speak. There was no set rule for me to go by for this. I just used my theatrical instincts. I find the characters singing quite casual things and saying quite emotional lines.... I wanted to write something as real musically to the Americans as Italian opera is to the Italians.... It certainly is not musical comedy and don't call it an operetta. That's one term I'm really revolted by." W107.1.18 * 10/30/49 LB, "Prelude to a Musical," NY Times II:1, 3 "Prelude to a Blitzstein Musical Adaptation": "With Regina we have a kind of apex, a summation of what Blitzstein has been trying to do. The words sing themselves, so to speak. The result is true song--a long, flexible, pragmatic, dramatic song." "sugar-coated wormwood" +photo of "Jane Pickens in the title role of 'Regina,' Marc Blitzstein's musical adaptation of 'The Little Foxes.'" Posted as "Prelude to an Opening," usoperaweb.com 1/02. W107.1.19 10/30/49 Allison, Gordon, "How 'The Little Foxes' Was Set to Music: Marc Blitzstein Explains His Attempt to Add a New Dimension To a Play Which 'Has the Stride of Greek Tragedy,'" Herald Tribune 5:1 +George Karger photos of Pickens; Gillette, Wilderman & Brenda Lewis W107.1.20 10/30/49 Auerbach-Levy, William, drawings of Gillette, Wilderman & Pickens, NY Post. W107.1.21 10/30/49 (R68#428) Normandia, Alphonse, "Marc Blitzstein's 'Regina' Plots Her Wicked Scheme," Sunday Compass cartoons of Wilderman, Pickens & guests, Philip Hepburn & band. W107.1.22 10/31/49 Zolotow, Sam, "'Regina,' Musical, Will Open Tonight: Blitzstein Version of 'Little Foxes' to Be Unveiled at the 46th Street Theatre," NY Times. W107.1.23 11/23/49 Wilson, Earl, Wheeling (WV) News Register interview with Jane Pickens on role of Regina. W107.1.24 12/11/49 (R27#149-50) Bronson, Arthur, "Our Birdie Steals The Show Again," Philadelphia Inquirer +photos of Brenda Lewis & her husband, Simon Asen, cond. Symphony Orch of Mt. Vernon NY.

400

W107 Regina

W107.1.25 12/16/49 (R68#457) Morehouse, Ward, "Broadway After Dark: Visit With Miss Hellman," NY Sun: quotes her on W107: "I like it very much. It's very impressive.... It took great courage and guts to do a show like that, and I have great respect for Mr. Blitzstein, for Cheryl Crawford and for everybody connected with it... I almost meant 'The Little Foxes' to be a kind of dramatic comedy... 'Foxes' was a terrific flop in London... 'Watch on the Rhine' was a great hit. Both plays did well in Russia." W107.2 prem. 10/6/49 Shubert Theatre, New Haven; 10/11/49 Colonial Theatre, Boston; 10/31/49 46th St. Theatre, NYC; 56 perfs (7 weeks) thru 12/17/49. Cheryl Crawford, prod. in assoc. w/Clinton Wilder; Robert Lewis, dir.; Maurice Abravanel, cond.[Tony award winner] [later Emanuel Balaban]; Sets: Horace Armistead; Costumes: Aline Bernstein [Tony award winner] Dances: Anna Sokolow; Lighting: Charles Elson. Regina: Jane Pickens [Risë Stevens, Dorothy Kirsten considered; Stevens refused 8perf/wk schedule; see W107.2.0.1 2/7/49 Lyons, Leonard, "The Lyons Den," NY Post, reprinted, with added comment 1/28/64; W107.2.0.2 1984 Lewis, Robert, Slings and arrows: Theater in my life, NY: Stein & Day, p.201 on Stevens and Blanche Thebom: "The thought of eight performances a week sent shivers up their spines."] Birdie: Brenda Lewis; Horace: William Wilderman; Cal: William Warfield; Addie: Lillyn Brown; Leo: Russell Nype; Oscar: David Thomas; Zan: Priscilla Gillette [named daughter, born 1950, Alexandra]; Ben: George Lipton; Marshall: Donald Clarke; Belle: Clarisse Crawford; Pianist: Marion Carley; Violinist: Alfred Bruning; Cellist: Peter Makas; Maestro: Boris Runanin; Cordelia Adair: Ellen Carleen; John Bagtry: Earl McDonald; Lucius Stewart: Robert Anderson; Manders: Lee Sweetland; Grace Manders: Kay Borron; Gray Hoxie: Kayton Nesbitt; Chinkypin: Philip Hepburn (age 9); Jazz (singing trumpeter): William Dillard; Angel Band: Buster Bailey, cl.; Benny Morton, tb; Bernard Addison, banjo; Rudy Nichols, traps; Chorus of 32. out-of-town reviews W107.2.1 10/7/49 (R68#404) F.R.J., "Musical Drama Ably Given In Shubert Here," New Haven Journal: "will find its greatest audience among musiclovers." W107.2.2 10/7/49(?) (R68#404) "Regina," Variety (?) "Jane No Tallulah". W107.2.3 10/7/49 (R68#404) "'Regina' Misses Mark at Shubert," Waterbury American; "too infrequent contrasts". W107.2.4 10/7/49 Fussell, Fred H., '"Regina' Bows At New Haven," Bridgeport Post; "There is no denying the excellence of his score, but his music follows the mood of the play, which is on the heavy side. This results in the production taking on a dreary tinge at times.... most of the voices are in the same range." "Sets Magnificent" "Young Dancer Scores" - "Philip He[p]burn".

W107 Regina 401 W107.2.5 10/12/49 Doyle, Peggy, "Regina Applauders Outweigh, Silence Critics, "The American (Boston): "I want to hear the words., of what somebody called 'this parable of boiling acid.' ...It is in need of much work... There are monotonous stretches which may be difficult to erase...." W107.2.6 10/12/49 Durgin, Cyrus, "The Stage: 'Regina,' Musical by Marc Blitzstein Opens at Colonial Theatre," Boston Globe: "melodrama... gone operatic... The music... is not that good.... for the most part stubbornly unmelodic and dissonant, competently but not distinctive [sic] orchestrated. All too often... merely loud when it should be powerful, and plodding where it should be sustained. There are three outstanding exceptions:" III:1, 2 & 9. W107" will appeal to serious tastes in the theatre, but not likely to those out for an evening of fun." W107.2.7 *10/12/49 Eager, Helen, "'Regina' Opens At Colonial," Boston Traveler p.43: "imaginative... courageous... musical evening of surpassing richness". W107.2.8 n.d. [c.10/12/49?] (R68#406) Gleason, Herbert P., "The Playgoer: 'Regina' At the Colonial": "a success... The arias get somewhere and the words are skillfully treated in the music. Only once does he allow himself to be led astray by his social conscience...": II:2#4b. W107.2.9 *10/12/49 Hughes, Elinor, "Theatre: Colonial: 'Regina'" Boston Herald p.29: "something pretty special... genuinely exciting and powerful musical play". W107.2.9a 10/16/49 Hughes, Elinor, "Maxwell Anderson's 'Anne' and Mr. Blitzstein's 'Regina,'" Sunday Herald: "Controversial 'Regina'" "enormously stimulating and exciting... a fascinating adventure in the type of American opera shown us two years ago by Gian-Carlo Menotti's The Medium." W107.2.9b 10/19/49 (R68#411) Hughes, Elinor, '"Regina' Cherished Project of Composer Marc Blitzstein," Boston Herald: quotes MB: "It's been suggested that I take out all the recitative and have dialogue in its place, but I don't believe this is possible. You see, I wrote 'Regina' not as a collection of musical interludes tied together with dialogue but as a tightly integrated musical work...." (see W107.2.10a.)

402

W107 Regina

W107.2.10 10/12/49 (R68#406) Norton, Elliot, "'Regina' In Opening At Colonial: Drama of Greed Is Transformed Into Opera," Boston Post: "Results Mixed" "New Form" "Seek to Extend Frontiers". W107.2.10a 10/13/49 (R68#412) Ibid., "On the Stage... Suggestion for 'Regina," Boston Post: "might be much improved if the 'recitative' and sung dialogue which it now has were stripped ruthlessly away, leaving spoken dialogue in its place." W107.2.10b 10/16/49 (R68#486) Ibid., "'Regina' Imperfect But Impressive-'Anne' Fine Play: Second Thoughts of a First-Nighter," Boston Post: "Wanted It to Succeed" "there is in it very few songs which seem likely to make the juke boxes. It is my belief that if 'Regina' is to find more than a limited audience, it had better acquire a song or two that can be hummed or whistled, and it had also better be rid entirely of the recitative." "Have to Prove the Point" "Why add music to it, anyway?" Praises "final scene" and III:2 "if one could only understand the words." W107.2.11 10/12/49 (R27#97) "Plays Out of Town," Variety: "score touches the heights of brilliance at times." W107.2.12 10/12/49 Sloper, L.A., "Marc Blitzstein's 'Regina' Presented at the Colonial," Christian Science Monitor: "a notable score, the best I have heard in the field of theatre opera... a masterpiece." +Talbot photo of MB. W107.2.13 10/13/49 Gaffney, L.G., "'Regina' in Dark Mood," Boston Record: "a squeak here, a squawk there and an endless noisome wham in the tympani... there is a public for this modern cult of ugliness..." Cf. W72, Medium, and "the grand operas of Britten." W107.2.14 10/15/49 (R27#98, R68#404) "Legitimate: Out-of Town Review," Billboard: "brilliance, masterful staging and flawless playing are completely enthralling... many faults that certainly can and will be corrected... extremely slow pace and an over-wealth of extraneous matter... a very heavy show... strictly for the carriage trade, and not a show that will either entice or please the visiting fireman." W107.2.15 10/16/49 (R68#409) Smith, Warren Story, "Music: American Opera and 'Regina,'" Boston Sunday Post: "Few Have Endured" "Broadway New Outlet" "Music Most Important" "'The Little Foxes' does not call for music." W107.2.16 c.10/16/59(?) (R68#409) Sullivan, Mary X., "Two On the Aisle": "I found it very exciting. It seemed to me better entertainment than even Lillian Hellman's fine play, in that it was less unremittingly grim."

W107 Regina 403 W107.2.17 11/14/49 (R68#484) Morin, Raymond, "Music: 'Regina' Reaction Warning to 'Arty,' Toledo OH Times [review of Boston perf]: "We Heartily Disagree" "3 Basic Elements" - "melody, harmony, and rhythm." "...What Blitzstein has attempted to do is to apply anti-textbook methods (in some instances Scheonberg-ism[sic]) to a powerful libretto. What he overlooked or ignored, is that the audience hearing musical drama in the theater expects to be entertained by both plot and music, and will not submit to a post-graduate course in musical theory." W107.2.18 10/30/49 (R68#421) Mace, Louise, "Here and There in the Theater: The Singing 'Foxes,'" Springfield (MA) Republican: "Greed the Key" "Jane Pickens" "Atmospheric Monotony" "it is akin to opera in English and perhaps the first declaration of theater revolution." reviews of NY prod. W107.2.19 11/1/49 Atkinson, Brooks, "At the Theatre," NY Times: "As theatre, this production of Regina could hardly be improved upon and must certainly rank with the most enlightened stage performances of operatic works." But the music "softened a hard play." +photo of Gillette & Pickens. W107.2.20 11/1/49 Barnes, Howard, "The Play," Herald Tribune: "dramatic impact of a fine tragedy is vitiated in stylized situations and jangling moods." +photo of Pickens; digest headline: "Little Musical Foxes". W107.2.21 11/1/49 Barron, Mark, [AP] '"Little Foxes' Clicks as A Musical," Norfolk [VA] Ledger-Dispatch: "opens doors to many new possibilities in the theater." W107.2.21a 11/1/49 Ibid., "'Regina,' a Unique Musical," Cleveland Plain Dealer: "'Regina' Is Unorthodox". W107.2.21b *11/1/49 Ibid., "'Regina' Opens As Smash Hit," Decatur, AL Daily. W107.2.21c 11/2/49 (R68#494) Ibid., "Two New Musicals Impress New York: 'Regina' and 'Lost in Stars' Are Hailed," Springfield MA Morning Union: "Happy Upset" "In title Role". W107.2.21d 11/3/49 (R68#484) Ibid., "Broadway Season Seen 'Pleasant': 'Regina' Promises To Open Door To New Method Of Presenting Musicals," Springfield OH Sun. W107.2.22 11/1/49 Chapman, John, "The Little Foxes'" Loses Its Wallop In New Musical Version, 'Regina,'" NY Daily News: "most of the time the music and the singing... get in the way of what used to be a good play..." W107.2.22a 11/6/49 (R68#496) Ibid., "Blitzstein's 'Regina," NY Daily News: "his music, although occasionally interesting, falls short... not entirely successful because Blitzstein was not strong enough as an artist to dominate the original work." W107.2.23 11/1/49 Coleman, Robert, "'Regina' is An Arresting Adaptation of 'Foxes,'" NY Daily Mirror: "weakens the power of his work by introducing extraneous jazz interludes."

404

W107 Regina

W107.2.24 11/1/49 (R27#116-7) Currie, George, "Theatre: 'Regina' at the 46th St. Theater: The Musical 'Little Foxes' Plus," Brooklyn Eagle: "As an experiment, it is interesting. Very likely the music critics will applaud." W107.2.24a 11/13/49 (R68#498) Ibid., "Off Stage: On the Subject of Serious Music In Contemporary Theater," Brooklyn Eagle: "on opening night this writer was a little bewildered by the Blitzstein scoring. But as it grows on one, it achieves stature." W107.2.25 11/1/49 Dash, Thomas R., "Regina: 46th St. Theatre," Women's Wear Daily: "it is an opera... a notable and distinguished achievement." W107.2.25a 11/4/49 (R68#501) Ibid., NY News Record: "an opera which, for a hppy change, one can understand... a tour de force... music that is impressive, even though there are few tunes one will be able to hum.. Here is music that is evocative, interpretive of the story, idiomatic and frequently stirring." W107.2.25b 11/10/49 (R68#503) Ibid., "Quartet of New Plays Brings Zest to Season," Women's Wear Daily: "an idiomatic, modern opera... The music has verve and fire. It is muscular and varied, fitting the mood of the tale and the characters with both resilience and versatility.... For a happy change, it is pleasurable to hear an opera that can be understood." W107.2.26 11/1/49 Field, Rowland, '"Little Foxes' Becomes Opera 'Regina' in Gleaming New Broadway Offering," Newark News: "carried through superbly with his uncommonly fine adaptation and music... a vibrantly thrilling experience." "Saga of Deceit" "Male Roles". W107.2.27 11/1/49 (R27#105 R68#448) Garland, Robert, "Grand Grand Opera, An Excellent Show," Journal-American: "the only good American grand opera". W107.2.28 11/1/49 (R27#109) Hawkins, William, "'Regina' Is Exciting Musical Exposition," World-Telegram: "This new lyric drama headily defies classification.... the most exciting musical theater since 'Rosenkavalier.'" W107.2.29 c.11/1/49? (R68#449) Hoffman, Irving, "Play by Play," Hollywood Reporter: "Southern Fried Turkey": "They've made a sow's ear out of 'The Little Foxes.'... Please, Mr. Blitzstein, don't whip up words and music for 'Mourning Becomes Electra' or Tobacco Road.' 'Regina' is a musicalamity." W107.2.30 11/1/49 (R68#454) Johnson, Harriett, "Music: The Musical Aspects of 'Regina,'" NY Post Home News: "extraordinary., understatement... with great imagination... musical drama... tour-de-force". W107.2.31 11/1/49 (R27#147-8) Leonard, Bill, "This Is New York," radio review: "a play that's given Broadway back it's[sic] excitement and magic." W107.2.32 11/1/49 Morehouse, Ward, "Fascinating Experiment," NY Sun: "withering drama... loses none of its power." +photo of Jane Pickens. W107.2.33 11/1/49 Pollock, Arthur, "Theater Time: Theater 'Strikes Gold' In Blitzstein's 'Regina,'" NY Daily Compass: "music... of a sort Broadway has never seen before and of a quality rarely to be discovered along or near that thoroughfare.... opera or music drama or whatever, it is stunning."

W107 Regina 405 W107.2.33a *11/13/49 Pollock, Arthur, "Theater Time: Blitzstein Weds Music To Drama in His 'Regina,'" "Almost Volcanic," Sunday Compass Magazine p.11: "something new and vital... the theater is not likely as long as it lives to be the same again. By comparison..., the musical dramas that have come before it seem the work of musical dabblers playing around with pretty tunes and timid harmonies, window dressing with music." +photo of Priscilla Gillette. See also W107.2.96. W107.2.34 (R27#122) 11/1/49 "'Regina' Proves Broadway Hit," Alliance OH Review (AP): "interesting lyrical melodrama". W107.2.35 11/1/49 Thomson, Virgil, "Not Quite An Opera," Herald Tribune: "real operatic writing" but "not very musical... raucous in sound, coarse in texture, explosive, obstreperous and strident:" orchestra "has a splintery sound. It doesn't blend, and it doesn't support. It either drowns the singers or disappears." [David Diamond has also criticized the orchestration for not being full enough.] W107.2.35a (R68#461) 12/13/49 Ibid., "Music in Review: Music Written for the Theater, A Summary of the Early Season," Herald Tribune: "Music for Plays" W107 "not an opera or... an operetta.... Neither is it a drama recounted in or through music, because the music, considered without the play, does not, as I hear it, make a composition; it lacks both coherence and progress... the composer's contribution to the evening remains incidental." W107.2.35b Ibid., Music Right and Left NY: Holt, p.77f. Quoted in P22a: W107 "hands over the expressive obligation to mere speech whenever the composer feels inadequate to handle the dramatic line." W107.2.35.1 Discussion of Thomson's review with Mina Curtiss, recounted in 11/49 letter from her to John Houseman: VT: "You don't think that this may be so new and different that one's prejudices interfere with one's judging it?" MC: "I'd think about that if I were you." W107.2.36 c.11/1/49 (?) (R68#462) k.h., "Ein grosser Theaterabend: 'Regina' im 46th Street Theatre" (review in German). W107.2.37 *11/l/49 Watts, Richard Jr., "Theatre: A Musical Version of 'Little Foxes," NY Post p.31: "striking musical drama." W107.2.38 11/1-2/49 Eaton, Hal, "'Regina' grim tale presented as opera," Newark Star-Ledger: '"dramatic musical'... for better or worse... best described as an opera." W107.2.39 *11/2/49 Lyons, Leonard, "The Lyons Den," NY Post p.38: "smash hit" "some of the phrases used by drama critics..." cites W107.2.28 + '"a real achievement, as dramatically arresting as any theater thing on Broadway." MB "sat down in a chair and sighed: 'At last--maybe I can make a buck.'"

406

W107 Regina

W107.2.40 11/2/49 (R27#127) Bolton, Whitney, '"Foxes' Loses Something in Transition to Opera," NY Telegraph : "blunted the ferocity of Miss Hellman's work." W107.2.41 11/2/49 (R68#453) Cooke, Richard P., "The Theatre: Vixen's Serenade," Wall Street Journal: "elaborate and interesting adaptation... if I cannot quite understand just why the horrible Hubbards were set to music." W107.2.42 11/2/49 (R68#452) "Regina," Variety: "though tagged as 'musical drama,' is essentially sound-appealing opera." W107.2.43 11/2/49 (R68#483) Rhodes, Russell, "Entertainment: The Hubbards Return But Set to Music," NY Journal of Commerce: "undeniably effective in terms of theatrical excitement." W107.2.44 11/2/49 (R68#471)Variety: "doubtful notices". W107.2.45 11/3/49 (R68#485) Baker, Margaret, "'Regina' A Broadway Opening," Englewood [NJ] Press-Journal: "magnificent musical version... opera in spirit and substance... daringly conceived score which galvanizes the elemental forces of personalities, acting and tragic meaning into a powerfully integrated whole." W107.2.46 11/4/49 (R68#411) Walker, Danton, Boston Traveller: W107 "is a musical blitz—no pun intended—that will enhance the reputation of everyone concerned with it. Whether" it "is 'grand opera' or not is something for the critics to fight over. 'Music drama' might be the better name for it..." Quoted in W107.2.46a advt (R68#480). W107.2.47 11/4/49 (R27#129) Watts, Richard J., "Random Thoughts On This and That," NY Post + Home News: "opera in which all the roles are sung by people who actually look and can play the parts assigned to them." W107.2.48 11/5/49 "'Regina' sets little foxes tale with operatic dress by Blitzstein," Musical Courier 140 p.7. W107.2.49 11/6/49 Affelder, Paul, "Music: A Music Critic Comments Wisely Upon Blitzstein's 'Regina' Score," Brooklyn Eagle: "Most of the music is either difficult or ungrateful..." W107.2.50 11/6/49 (R68#497) Hipp, Edward Sothern, "...'Regina' Unusual Musical," Newark NJ News: "the year's most controversial opus... operetta, grand opera, or only a play with music. Actually... 'a musical drama.' For courageously parting with the familiar pattern of musical comedies and closely approaching grand opera, the composer deserves an accolade. He has followed the moods of a stinging meldrama with appropriate music of compassion or malevolence and, as his happiest inspiration, has punctuated the tragical events at Bowden, Ala., with some stirring Dixieland jazz." W107.2.51 11/6/49 Perry, Lawrence, "'Regina' Proves A Turkey," Toledo (OH) Blade: "his undoubted genius... Miss Hellman's tawdry drama... barren of essential opera quality... lacking every element of musical suggestion... an attempt to fashion a jewel casket out of a mortuary urn."

W107 Regina 407 W107.2.52 11/7/49 (R68#485) NY Enquirer: "should be called an opera... a clear, often brilliant score that is both stirring and satisfying. Yet the blend of his music and the Hellman drama does not emerge successfully... the full power, the violence and the superb venom of the drama is lost... a hybrid musical that just misses the mark." W107.2.53 11/8/49 (R68#498) "The Once Over: Capsule Critiques," Newark News: '"Montserrat'--Butch & co.[;] 'Lost in the Stars'--South Africa Non-Pacific[;] 'Regina'--La Scala Little Fox Hunt". W107.2.54 (G35) 11/8/49 Rubin, Barnard, '"On Stage: Marc Blitzstein's Opera Based on 'Little Foxes': Regina' an Exciting Opera of Genuine Stature," Daily Worker: "To Marc Blitzstein goes the honor and distinction of now being this country's foremost operatic composer. May he use his great talents to go forward from Cradle and not backward from Regina." Former seen as "patronizing," esp. to black people, toning down the social criticism of the original play; latter an "immediate, working class weapon." +photo of MB. The FBI clipped this article. MB left the CP around this time, which did not, however, prevent his being listed in G36. See also G53, W72.36.15 12/30/47.] W107.2.55 11/8/49 (R68#481 Stern, Harold, "Theater Review," Jewish Daily: "something has gone awry... the musical foxes have lost their bite." III:1 "The outstanding number of the massive score." W107.2.56 11/9/49 (R27#136, R68#454) Hawkins, William, "Stature of 'Regina' Grows on Spectator," NY World-Telegram: "Nothing Obscure." "Costuming Shrewdly Done." "meaty, vital, illuminating and intensely exciting work... The earthy melodramatic excitement of this show is not equaled on Broadway." W107.2.57 11/10/41 (R68#481) Eder, Shirley, "The Gossipel Truth," West Side News: W107 "was exciting and beautifully acted and sung. There is no music, however, worth remembering." W107.2.58 11/12/49 (R68#463) Gabriel, Gilbert W., "Regina (at the 46th St. Theatre)," Cue: "only bad plays make good operas" MB has "come close to proving the converse. His overpowering libretto beats him down." +photo of dancers W107.2.59 11/12/49 Gibbs, Wolcott, "The Theatre: Boston, Alabama, and Johannesburg," New Yorker 25 p.56-8: "the musical background is interesting, usually suitable, and often witty... at his best when he is dealing with comedy." W107.2.60 11/12/49 (R68#472) Marshall, Margaret, "Drama," Nation: "the last thing that should be introduced into 'The Little Foxes' was music--unless it were a mean variation on a dirge..." III:7 "Sounds as if it had bee designed fot he hit parade and could hardly be less appropriate to the situation or the characters." "a rather weird amalgam."

408

W107 Regina

W107.2.61 11/12/49 (R27#137) "Regina," "Excellent Singing," Cincinnati OH Billboard: "a reporter does not find" the play "to have gained anything via operatic embellishments." W107.2.62 11/13/49 (R27#139-40) Atkinson, Brooks, "Musical Experiment: Marc Blitzstein's 'Regina' Fails to Add Stature to Original 'Little Foxes," NY Times: "Fluent Direction" "Reason for Failure". W107.2.63 11/13/49 Eaton, Hal, "'s Going to Town," Newark Star Ledger: "a vital musical opus... in striking opera style... an opera in the modern American idiom." W107.2.64 n.d.- c.11/13/49? (R68#469) Felder, Thomas Bradford, "New York's New Theatre Season": "good American opera... infinitely more entertaining than say, Die Meistersinger." W107.2.65 11/13/49 (R68#466) Francis, Bob, "Regina," Variety "gaited for a very special cognoscenti trade" "Excellent Singing". W107.2.66 11/13/49 Gaver, Jack, [UP] "Up and Down Broadway," Roanoke VA Times: "Capital Theater" "Jazz Included" "Star in the Making". W107.2.66a 11/17/49 [uncredited, but probably Ibid.,] "'Regina' Wins Praise As Capital Theater," [UP] McKeesport PA News: "Jazz Included" "Star in the Making". W107.2.66b 11/27/49 Gaver, Jack, '"The Little Foxes' Clicks With Music," Columbus (OH) Citizen: "as thrilling a theater entertainment as the season is likely to provide. Call it an opera, a musical drama or what you will," it "is capital theater." +photos of Pickens and Gillette. W107.2.66c 10/31/49 (R27#161-2) Ibid., UP: "a play that never needed music... Producer Cheryl Crawford has billed it as a 'musical drama.' Actually, the label doesn't matter so long as the result is exciting theater." W107.2.67 11/13/49 (R68#502) Schier, Ernie, "The Theater: There's No Denying Music Hath Charms, But Why Must All Plays Be Charing?" Washington Times-Herald: "I am unable to see what exactly it is that adding music has contributed... to 'Regina' and 'Lost In the Stars." +photo of Jane Pickens. W107.2.68 11/13/49? (R68#466) Spaeth, Sigmund, "Music in Cooperation with Other Arts": "It would be difficult to argue that" the play "has been improved by the addition of music, yet as Regina it is certainly a new work of art and on the whole a very effective one...." W107.2.69 11/13/49 Watts, Richard, Jr., "Two on the Aisle," NY Post & Home News: "an interesting and absorbing evening in the drama" "Differences" compares favorably with "Lost in the Stars."

W107 Regina 409 W107.2.70 11/14/49 (R68#460) Lachmann, Frank M., "Combination of Fine Score, Libretto Makes 'Regina' Top American Opera," Heights Daily News: "Vivid Plot" "Fine Score" "Score Enhanced Scenes" "Regina Overacting" photo of Jane Pickens. "Recent years have seen many attempts to shed some light on the dark, unbeaten path of American opera. Some attempts, like Richard [sic: Bernard] Rogers' opera 'The Warrior', have failed miserably, others such as Kurt Weil[l]'s 'Street Scene' have come very close indeed. With 'Regina', however, Marc Blitzstein has hit the bull's eye." W107.2.71 11/14/49 (R27#144) NY Men's Reporter News Weekly: "musically speaking, Blitzstein is at his peak... he inflates the entire stage and makes you wonder whether the theatre has found a new dimension for portraying the art and spirit of the play." W107.2.72 11/14/49 Nathan, George Jean, "An Old-Fashioned with Puccini for Me, "Journal-American: "a musical without one love theme or passage... less daring than gratuitous... an experiment only for experiment's sake and not with the merit of the experiment uppermost in mind." W107.2.73a 2/50 Ibid. "The Theatre," American Mercury 70 p. 172-3. W107.2.73 11/14/49 (R27#143) "New Musical Play in Manhattan," Time 54 p.46: "Regina" "The Producer" "first-rate showmanship..., exhilarating and enjoyable" +photo: Cheryl Crawford "Never a wasted word". W107.2.74 11/14/49 (R27#142) "Regina," Newsweek 34 p. 84-5: "...there seems to be a theory that calling it an opera will frighten off the theatergoer... dramatically, the tension the author so shrewdly created by understatement has been reduced, by the addition of this music, to a more elementary emotional level." +photo: "Pickens and Gillette in Alabama." W107.2.75 11/19/49 Brown, John Mason, "Seeing Things: With and Without Music," Saturday Review of Literature 32 p.53-5: "interrupts the action, annihilates the illusion, and destroys the suspense." W107.2.76 11/19/49 (R68#471) "Curtain Call," Where Magazine: "ambitious score is first-rate... opera in the modern style that is sheer theatre, with dynamic, virtuoso acting, rich and memorablye music and highly dramatic presentation. Judged as theatre, which is the only criterion for stage productions, 'Regina' is straight out of the top drawer." W107.2.77 11/27/49 (R68#426) Garland, Robert, "The Drama: Critic in a Quandary," Journal-American +photos of Pickens & Gillette, Brenda Lewis captioned "Distraught Family". W107.2.78 12/49 Wyatt, Euphemia Van Rensselaer, "Theater," Catholic World 170 p.228-9. W107.2.79 12/1/49 Smith, Cecil, "Regina--Yet Another Opera On Broadway," Musical America 69 p.9: '"musical drama' ...the euphemism fools nobody... opera pure and simple... [with] libretto trouble" +George Karger photos of Pickens; Gillette, Wilderman & Brenda Lewis.

410

W107 Regina

W107.2.80 12/1/49 (R68#456) "'Regina' Good, Sound Opera But May Miss On Broadway,"Variety p.1f.: "'Regina' Lacking In Moments Of Lightness". W107.2.81 12/2/49 Phelan, Kappo, "The Stage and Screen," Commonweal 51 p.238. W107.2.82 12/4/49 (R68#458 ) Kupferberg, Herbert, '"Regina' Is It Bringing Broadway and Opera Closer?" Herald Tribune: "No Comparison Needed" "A New Art Form?" interview w/& photo of Brenda Lewis; "'Regina' Upheld"-prompted: W107.2.82a "Drama Mailbag" 12/?/49 Siegler, Alfred: "'Regina' is opera in English that has every element for intelligent entertainment that one can get from 'Kiss Me, Kate' or 'South Pacific'--with something added." W107.2.83 12/5/49 (R68#457) Beaufort, John, '"Regina,' 'Lost in the Stars,' 'Montserrat' Make Their Bows," Christian Science Monitor "Director Credited" "Delights and Riches" W107 "a fine evening in the theater." W107.2.84 12/5/49 Clurman, Harold, "Theatre," New Republic 121 p.22: too "literal... forced." W107.2.85 12/7/49 (R68#458) Poor, Katharine L., "Doing New York," Providence R.I. Bulletin: "The score is original and highly satisfying... One wishes that" MB "had chosen another sort of play for his experiment, one that would have been complemented, not weakened, by a fine, original score and singing and dancing. Nonetheless, as it stands," W107 "is arresting, and adds up to an entertaining evening." W107.2.86 12/8/49 (48?) ? (R68#460), Dorothy, "What's New in ?" [Title of article is cut off in archived copy.]: "This is really Americana and what should be American opera. The Metropolitan could be proud to present it...." W107.2.87 12/11/49 Taubman, Howard, "Good Opera Need Not Be Grand Opera," NY Times Magazine p.14f. scene photo caption: "In 'Regina' music achieves valuable effects that the play, 'The Little Foxes,' did not." W107.2.88 12/12/49 (R27#158) Lyons, Leonard, NY Post: quotes Aaron Copland after attending performance: "With Regina, Mr. Blitzstone has created a milestein in the theatre." W107.2.89 12/13/49 (R27#159) Shanley, J.P., "'Regina' Closing Saturday Night: Musical Drama Opened at the 46th St. Theatre Oct. 31--Jane Pickens the Star,"NY Times. In same issue: ad: "We Saw Regina" - endorsements by LB, Moss Hart, Jerome Chodorov, George Jessel, Clifford Odets, Michael Kidd, Cole Porter, Jerome Robbins, Harold Rome, Michael Todd, Tennessee Williams, Dwight Deere Wiman. W107.2.90 12/14/49 (R68#463) Newsweek: MB "has contributed so much that the Hellman drama comes up with a few faults it never had in the original. Considered as a work for the musical stage (there seems to be a theory that calling it an opera will frighten off the theatergoer), 'Regina' is stimulating on every count."

W107 Regina 411 W107.2.91 12/16/49 Dash, Thomas R., "'Regina' Deserves Better Fate," Women's Wear Daily: "Mr. Blitzstein knows his jazz. In the period the play depicts, ragtime, jazz were being born. In them was the voice of the Southern Negro, saying his say, sadly but with a ring in his voice and something creative in his music." letter W107.2.92 12/17/49 John Martin to Cheryl Crawford after attending closing matinee: "I have rarely been so completely shattered by a performance. What Blitzstein has done is to give us a theatre of our own with heroic dimensions for perhaps the first time. I have never heard music made so integral an element in the total art of the theatre, so boldly used to heighten and create theatrical values." --quoted in P15, p. 174. articles W107.2.93 12/25/49 Funke, Lewis, NY Times: quotes Cheryl Crawford, who stored sets and costumes for possible revival: "I am stubborn enough to keep on giving them more of the same until everybody learns to like it, or I croak!" W107.2.94 1/50 "Regina," Theatre Arts 34 p.12: "adds a new dimension: bitter cathartic satire... powerful, and excitingly theatrical. Mr. Blitzstein is a superb musical satirist." +photo of III:1. W107.2.95 1/1/50 Hammerstein, Oscar & Rodgers, Richard, "An Optimistic Appraisal Of Our Theatre," NY Times: "The superb and expressive music of Mr. Blitzstein is a landmark in our development." W107.2.96 1/5/50 Pollock, Arthur, Daily Compass: "a failure, so to speak, but one of the most important failures the theater has been blessed with in who knows how long. The theater will be helped to live hereafter because of it." W107.2.97 (G37) 3/50 Moor, Paul, "Tradition of Turbulence," Theatre Arts, p.36-38: "...a kind of 'Regina Underground' has come into being: indignation over its early demise is bitter, and there are many prophecies that a revival in the not too distant future will prove to the general public how wrong they were the first time." +Bissinger photo of MB and artist Richard Lindner's "impression" of W107. W107.2.98 3/8/50 (R68#462) Sheaffer, Louis, "Curtain Time: 'Regina' Goes Underground..." Brooklyn Eagle: "Incomplete Work" W107 "is too fine a thing to have been dismissed so quickly." W107.2.99 9/16/50 (R68#315) Daily News: calls I:7c "the most memorable show tune of the 1949-50 season... lost in the operatic texture of the work. It's too bad that Priscilla Gillette, who sang it so beautifully in the show, didn't record it, but someone ought to right away." W107.2.99.1 Afterwards, MB recorded excerpts with soloists & pno at Carnegie Hall studio: III:2; I:7c; I:7b; III:1; III:9. WSHS Tape 1049A R3.

412

W107 Regina

letter W107.2.100 7/19/52(LC) MB to LB: "...since the Broadway debacle of Regina I have been slowly withering on the vine." See also W104.1.1 8/15/52 MB to LB. book W107.2.101 1978 Bordman, Gerald, American Musical Theatre: A Chronicle, NY: Oxford Univ. Press, p.571: "uncompromising musical... operatic rendering... superb cast... By and large the music critics found more to enjoy than the drama critics. To some extent this judgment was vindicated...." At NYCO it "enjoyed a limited popularity.... Its failure was not a reflection on the limits of acceptance so much as a reflection of Regina's own inadequacies." W107.3 11/13/49 "Tonight on Broadway," CBS TV, scenes from Regina filmed in performance. Produced & Directed by Martin A. Gosch; Adaptation: Robert Sylvester; sponsored by Esso. Conductor: Maurice Abravanel; Host Cedric Hardwicke: "This fine play is replete with exciting scenes, colorful dances and an outstanding musical score." Scenes used: Toast Scene - end of I:3 (vocal score p.30-32); I:6c-7b (p.50-69); Birdie-Zan Scene I:8 (p.71-8); "I'm Sick of You" Scene end of III:4-5 (p.214-223); III:6 (p.225-9) (R27#46-81) "you shouldn't touch me" became (censored): "you shouldn't follow". reviews of TV show W107.3.1 11/15/49 Clark, Norman, "Legitimate Stage Showing Broadway Attractions On TV," Baltimore News-Post: "the first opera I had ever heard with a southern accent." W107.3.2 11/16/49 (R27#145) Variety: "strong emotional fare, which hopped from one grim and taut high point to another." W107.4 4/13/50 I:2 & III:2 exc. perf by Brenda Lewis & MB, Phila Academy of Music, along with W76#l (R68#299) review W107.4.1 (R68#301) de Schauensee, Max, "Guarrera, Brenda Lewis Sing Recital," Philadelphia Evening Bulletin :"The two excerpts... were written with much feeling, which was in no way slighted by the dramatic treatment accorded by Miss Lewis..." See also W76#1.3.1. telegram re possible prod. W107.5 4/16/50 (LC) MB to LB: Radio Roma requested W107 "for consideration at the Venice Festival." report G38 12/50 Pan Pipes reports W107 "will be given in Zurich." exc. perfs W107.6 1951 Jane Pickens sang excerpt on "Faye Emerson Show," cond. by Skitch Henderson (her then husband) MtM p.366n. W107.7 8/7/51 Contract for Death Scene with V.O. Co.

W107 Regina 413 W107.8 6/1/52 free concert perf. at 92 St Y, cond. by Maurice Levine, mostly with original cast, except: Ben: Randolph Symonette; Cal: Joseph James; Marshall: Kayton Nesbitt; Addie: Clarisse Crawford. Rehearsal Pianists: Georgette Palmer, Irving Gross; Joan Spieler, chorus mistress; Robert Lewis, dir.; Michael Wager, asst dir.; Lillian Hellman, narrator. Hellman, who wrote the narration, had, on 5/19/52 testified before HUAC, refusing to name names: "I cannot and will not cut my conscience to fit this year's fashions." At the perf she received a standing ovation. Cf. her Scoundrel Time (NY: Bantam, 1977, p. 127-30). Concert took one intermission, opening second half with "Chinkypin" (II:2#4b). (R68#373) preview articles W107.8.1 5/18/52 Taubman, Howard, NY Times : "If 'Regina' stands up on rehearing, would it be too much to hope for a revival at a theatre like the City Center?" W107.8.2 5/25/52 "Blitzstein's Opera, 'Regina,' Will Be Presented In Concert Form Next Sunday," NY Times +photos of Jane Pickens; Russell Nype; Brenda Lewis; and MB with Priscilla Gillette, David Thomas and Randolph Symonette. reviews W107.8.3 6/52 Ericson, Raymond, "Regina Given In Concert Version," Musical America 72 p.22: "For the first time it was formally billed as an opera.... profited considerably from this form of presentation... a concert version, with judicious cuts... What seemed a failure as a stage work is quite effective as a kind of dramatic oratorio." W107.8.4 6/2/52 Hawkins, William, '"Regina' Revival Scores Big Hit," NY World-Telegram & Sun: "more blood and thunder, and more complex dramatic excitement than many works done by the Metropolitan." W107.8.5 6/2/52 P[armenter], R[oss], '"Regina' Returns in Concert Form: 8 Members of Original Cast Perform at 92d St. 'Y'--Lillian Hellman Narrates," NY Times: "900 Fill Auditorium" "Three Types of Music": "an orchestral study group" "professional singers" performed "without payment." "a resounding success..." "One remembers especially the contrast between" II:2#7 & III: 1. W107.8.6 6/2/52 P[erkins], F[rancis] D., "Concert and Recital: Blitzsteins's 'Regina," Herald Tribune: "successful... characterizations... vividness... not... particularly memorable, but the score had color and expressive persuasion." W107.8.7 6/2/52 Rice, Vernon, "Curtain Cues: Concertized 'Regina' Still Gilds Lily," NY Post: "Gilding the lily, in this case, has not added lustre." W107.8.8 6/2-3/52 Watt, Douglas, "Blitzstein's 'Regina' Revived In Stirring Concert Version," NY Daily News: "Excellent Singing." "Regina is, in a sense, a masterpiece; an American opera to the core, with a good libretto, dramatic music and great sincerity. It should have been on Broadway.... it was probably far ahead of its time."

414

W107 Regina

W107.8.9 6/3/52 Elias, Albert J., "Music Box: Y's Star-Studded Workshop Enhances Brilliance of 'Regina,'" Daily Compass: "masterful operatic treatment... is at once violent and witty, warm, sharp and powerful... It has everything." W107.8.10 6/4/52 Bron[son, Arthur], Variety: "a stunning musico-dramatic evening,... one of the most exciting events of the season... rates inclusion in a Gotham repertoire, such as the N.Y. City Opera Co.'s." W107.8.11 c.6/5/52 (R68#374) Taubman, Hawkins, Watt, and Bronson reviews reprinted with note: '"I thought you might like to see these reviews.... Perhaps we weren't crazy!' Cheryl Crawford" W107.8.12 6/14/52 Watt, Douglas, "Reunion," New Yorker 38 p.62-3: "its musical technique was too advanced for Broadway" and it "conspicuously lacks... a love story." exc. perfs A70 12/14/52 Brandeis Friends of the School of Creative Arts lecture/recital w/Lenya, Hotel Somerset, Boston; perf'd: III:7. A71 1/12/53 "The Composer as Librettist," part of lecture/recital w/Lenya & students, Hartt College, incl. III:1-2 sung by Georgette Crochiere (Birdie), Hartt Orch; Moshe Paranov, cond. Jacquelynne Moody (Zan), Bettie Clark (Addie), Philip Treggor (Horace). W107.9 4/2,17,29/53 NYCO prem. as opera; Julius Rudel, cond. Robert Lewis, dir. [Rehearsal Pno: MB] ["no one on the City Center staff was capable of sight-reading the score" - MTM p.365.] Lighting: Jean Rosenthal; Sets: Horace Armistead; Costumes: Aline Bernstein. Regina: Brenda Lewis; Horace: William Wilderman; Zan: Priscilla Gillette; Ben: Leon Lishner; Oscar: Emile Renan; Birdie: Ellen Faull; Leo: Michael Pollock; Jazz: William Dillard; Addie: Lucretia West; Cal: Lawrence Winters; Marshall: Lloyd Thomas Leech; Belle: Margaret Tynes; Bagtry: Russell Goodwin; Manders: Charles Kuestner. Banjo: Bernard Addison; Clarinet: Eddie Barefield; Violinist: Eugene Bergen; Trombone: Theodore Donnelly; Drums: Sticks Evans; Pianist: Lucy Brown. W107.9.0 11/18/52 Contract with [NY] City Center.

W107 Regina 415 W107.9.1 preview articles G38a 1/53 Pan Pipes reports on upcoming perfs of W107. W107.9.1.1 3/29/53 (R68#539) "Blitzstein's 'Regina' Opens at the City Center Thursday," NY Times: lists 3 restorations: I:7a, II:2#5, II:2#6. "Since the spoken parts are also being condensed, the effect, it is said, is to make the work more operatic. The composer has calculated that in its new form no more than 8 per cent will be speech unaccompanied by music and less than half of 1 per cent will be ordinary dialogue without musical relationship." +photos of MB w/Rudel & jazz band; Brenda Lewis & Lloyd Thomas Leech; Lucretia West, Lawrence Winters & Priscilla Gillette. W107.9.2 reviews W107.9.2.1 *4/3/53 Bagar, Robert, "Music: Blitzstein Scores in His New 'Regina' NY World Telegram p. 13: "powerful... brilliant job." W107.9.2.2 4/3/53 Berger, Arthur, "Regina," Herald Tribune, p.15: "'operaized'... very much for the better... The problem of the mating of Blitzstein's music and the brutal text still bothers me. I am not sure that the scheming over money is singable material." I:7c "comes precariously close to Romberg" W107.9.2.3 *4/3/53 Johnson, Harriett, "Words and Music: ...'Regina' Achieves Triumph," NY Post p.25: "tightened and improved considerably" W107.9.2.4 *4/3/53 Taubman, Howard, "At the Opera" 'Regina'" "Brenda Lewis Sings Lead Role in Blitzstein Work at City Center--Rudel Conducts" NY Times p. 18: "There was electricity on the stage and in the pit, and there was electricity in the audience... With this achievement, the Center's opera company not only did itself proud but, even more important, restored a notable American lyric work to the stage.... the orchestration... is now transparent, economical and immensely dramatic. As to Mr. Blitzstein's mingling of the popular idiom with a musical speech of higher emotional aspiration, he has carried it off amazingly well, just as he has set his well-chosen English words with distinction... There may be a few places where the composer has not quite solved the musical problem of a difficult scene or confrontation. But regarded as a whole, 'Regina' is one of the best operas any American has written." +photo of Brenda Lewis, Gillette. W107.9.2.5 4/3/53 Watt, Douglas, NY Daily News: "Lillian Hellman may someday best be remembered as the librettist of Regina." Hardly. Her obituaries in the NY Times and elsewhere did not even mention W107. Then again, neither did Arthur Miller's obituaries mention the opera A View from the Bridge, which had received extensive coverage, or even the opera The Crucible, which had won all kinds of prizes. W107.9.2.6 4/4/53 (R27#163-4) Hewes, Henry, "Broadway Postscript," Saturday Review of Literature 36 p.41-2: 56 perfs "considered a very respectable record by opera lovers but is counted as something short of success by theatregoers." See W108.1.1. W107.9.2.7 4/8/53 (R68#541) Variety: "bite, drive, drama and ear-appeal... the music in many ways enhancing the story"; "Music Stands Up".

416

W107 Regina

W107.9.2.8 4/13/53 (R68#541) "Comeback," Time 61 p.79f.: "came back with a bang and a burst of bravos - and as opera unashamed. .... musical high point is" III:1, which for lightness and inventive charm beats anything on Broadway for a long time." Quotes text of II:2#6. P3 7/29/65 Talley, p.221: This article is "a major distortion of truth... The fact is that Regina received a higher percentage of favorable reviews in 1949 than it has received with subsequent revivals." W107.9.2.9 4/13/53 "Regina At the Opera," Newsweek 41 p.96 quotes MB: "This [NYCO] is where it [W107] belongs. This is the ideal place for it." incl. photo of "Brenda Lewis as Regina." W107.9.2.10 4/13/53 Eyer, Ronald, "Blitzstein's Regina Revived at City Center," Musical America 73 p.5. W107.9.2.11 4/15/53 Levinger, Henry W., "Regina in New Version," Musical Courier, p.6-7: "valuable addition to the growing list of modern music dramas" W107.9.2.12 4/18/53 (R68#545) Kolodin, Irving, "Music to My Ears: ...'Regina' at the City Center," Saturday Review of Literature 36 p. 33-4: "Does not seem to me a substantially better work than it was before, but it was well deserving of the effort applied to it." W107.9.2.13 8/53 RePass, Richard, "New American Opera," The Music Review, p.224-7: "...stunning work... Blitzstein is the most important native opera composer in American today." W107.10 4/29-5/24/53 2-pno prod. of "musical drama in 3 acts" (but no intermission between I&II) at Cleveland Play House, Benno Frank, dir. [contract: 2/11/53] (R68#566-71) Jack Lee, arr., mus. dir.; Sets: Jock Purinton; Choreography: Christine Buster; Costumes: Virigina Carroll; Pianists: Rosa Lobe, Jack Lee, Mary Santoli. Regina: Adele Khoury; Birdie: Beverly Dame; Addie: Gladys Tiff; Cal: Clarence Winston; Zan: Nancy Magnusson; Chinkypin: Anthony Basse; Jabez (Jazz): Norman Matlock; Oscar: Robert Allman; Leo: Philip Wentworth; Marshall: Frank S. Stevens; Ben: Edgar Powell; Belle: Sheila Smith; Horace: Robert Percy; Party Guests: Janice Fuller, Nico Jacobellis, Tom Brennan, Charlotte Fairchild, Thomas Calta, Joyce Lee, William Ryan, Nancy Pettibone, Rexford George, Sheila Smith, David Jecman; prog notes debate "What Is 'Regina,'" citing Menotti, quoting Atkinson et al.

W107 Regina 417 reviews (R68#572-6) W107.10.1 4/30/53 Bergman, Rita & Oscar, "The Bystanders: Mrs. Hammerstein Is Guest at 'Regina' Opening"; "milestone in American music..." other guests: Mordecai Bauman, Lina Abarbanel[1]; later: MB W107.10.2 4/30/53 (R27#168) Elwell, Herbert, "'Regina' Is Called Effective Drama," Cleveland Plain Dealer: "Hails Beverly Dame" "Production Sympathetic" III:2 "musically the high point" III:1 "musically charming, showing Blitzstein's rare gifts for simple folksy lyricism and theatrical effect." "...since there was little development in the score the music served best where it was merely incidental or atmospheric embellishment." W107.10.3 4/30/53 (R27#167) O'Donnell, Doris, "Play House 'Regina' Tames 'Little Foxes' With Music," Cleveland News: "Plot Gets Lost" "Beverly Dame Scores" "watered-down version of a powerful drama." W107.10.4 4/30/53 (R68#574) Ranney, Omar, "Stage and Screen: Play House Cast Gives Memorable Offering in Musical Play, 'Regina,'" Cleveland Press: "Beverly Dame Fine" "Play Ably Directed" "Music Reflects Mood" "Nancy Magnusson Great" "in some respects superior to what Broadway saw in the original." +Jim Herron's cartoon of Wentworth, Khoury & Magnusson. W107.10.5 n.d. French, Winsor, "An Exciting Evening" "seems a lot easier to take than the oriinal [sic]." W107.10.6 5/2/53 Loesser, Arthur, "Get the Dictionary--Play Transmogrified," Cleveland Press: "something of a hybrid. ...Some of these melodies are moderately attractive. Yet they are not symmetrical or catchy enough to make much of an immediate impression, at least without more plugging right in the show. [See cut interlude based on I:7c] Besides, they have a good-humored flavor which does not go well with the nasty characters on the stage." W107.10.7 5/26/53 Taubman, Howard, "Blitzstein Opera Performed Here," NY Times. W107.11 10/9/53, 10/10/53(2x), 10/11/53 (2x) NYCO perfs with almost same cast as W107.9. Changes: Zan: Dorothy MacNeil; Birdie: Willabelle Underwood. reviews W107.11.1 10/53 (R27#171) Affelder, Paul, "Music: City Opera Gives Vivid Performance of Regina," Brooklyn Eagle [alt. title of article: "Marc Blitzstein's 'Regina' Presented at City Center"]: "a modern opera that seems to grow in stature with every rehearing... the reconstruction seems to have borne artistic fruit... may turn out to be a hit after all." W107.11.2 10/10/53 Kastendieck, Miles, "Opera Revived," Journal-American: "uncomfortable experience... The music holds up the action of the play just as a shift in style like Ben's aria at the end jars dramatic sensibilities." [an argument in favor of restoring his Act I music! See W107.56.1 3/10/96 below.]

418

W107 Regina

W107.11.3 10/10/53 (R27#168, R68#598) Perkins, Francis D., "Marc Blitzstein's 'Regina': Opera Based on 'The Little Foxes' Presented at N.Y. City Center," Herald Tribune: "some substantial achievements... some unsolved problems... The instrumental scoring is admirable, and the relation between the voices and instruments is well balanced...." W107.11.4 10/10/53 S[choenberg], H[arold] C., "City Center Offers Blitzstein Opera: Brenda Lewis Sings Title Role in 'Regina'--Two Are Heard in Parts Here First Time," NY Times: "the libretto manages to dwarf the music... badly handled recitative, awkward accentuations, harmonies, and melodies that sound contrived, and effects that are too obvious." +photo of Brenda Lewis. W107.11.5 10/17/53 Sargeant, Winthrop, "Musical Events," New Yorker 27 p.113. W107.11.6 12/53-1/54 RePass, Richard, "New York musical events," Canon 7 p.222, 224: "hit of the spring season... but by October, Blitzstein's major opera had undergone a change for the worse, attracting few and (seemingly) pleasing even less." NYCO's "performance, with only two cast changes of note, had deteriorated... [C]ritics and public alike had overrated the work. [See his W107.9.2.13.] ....its obvious shortcomings[:] ...awkward choice of words, thinness of characterization, and use of certain tawdry theatrical effects... But a few weeks have passed, and I find myself remembering some of the truly sensitive and moving passages...:" III:1, II2#5 "are the products of a genuine feeling for the operatic stage, as well as of profound musicianship...." agency W107.12 7/6/54 Tams-Witmark becames agent for work. W107.12.1 11/1/54 (R25#946) Tams-Witmark to Dear Sir: "This work is considered to be the outstanding American opera of our time."

W107 Regina 419 W107.13 11/54 La Scala (Milan, Italy) prod. planned for 1955-56 starring Maria Callas; LB, cond. [See W72.47.26 3/9/60 Callas to MB.] W107.13.1 5/54 Italian translation by Natalia Murray of I:7b "Il vero gran ben" (R25#928-35). letter (solicited critique of translation) W107.13.1.1 6/1/54 (R25#927) Gian Carlo Menotti to MB: "I think it is fair... slightly archaic" w/dropped final vowels. production correspondence W107.13.2 3/15/55 (LC) MB to LB on the latter's "thunderous silence:" "What is it you want me to do, crawl?" W107.13.3 3/20/55 (R25#949) LB to MB: "Regina has never slipped my mind... I have brought up the subject on several occasions... [Sovrintendente Dr. Antonio] Ghiringhelli seems to take it for granted that the work will be done next year... but it is really up to [La Scala's musical director Victor] de Sabata [who] ... loves the piece, and readily quotes and sings from it (especially 'Watching my gal watch me' [II:2 #4b], which he performs by heart at the piano) but he has worries about the translation.... I have suggested a kind of bilingual version, wherein all the Negro parts... could be done in English, and the 'white' parts in Italian. How does this strike you? With a pick-axe? ...I tried to think of Regina in English here, watching Porgy having such a big success; but Porgy is different, obviously, the story being so apparent and drawn in huge choral strokes. But maybe you feel that Regina would work just as well in English. There is also a slight worry about the amount of spoken stuff: the Scala is not well adapted for talk, and the Italians don't understand too well the Opera-Comique idea." W107.13.4 3/23/55 (R25#951-2 & LC) MB to LB: "Yes, I think it would be fine if all the jazz and spirituals... were sung in the original English.... I can, and will, successfully set musically every spoken line in the work. Sometimes this will be rhythmed-and-rhymed speech [p. 6, 35, 43, 45, 46]. But mostly it will be straight musicated dialog [p. 46-7, 211, 224-8]. I see the device, or series of devices, whereby this can be done without too much trouble. All I ask... is that we are given enough time to achieve a decent translation; if the work is to be done next year, now is none too soon to begin on one." "P.S. [LC only!] I am against doing 'Regina' in English at La Scala. It isn't 'Porgy and Bess' at all." W107.13.5 3/27/55 (R25#953-4) Victor de Sabata (La Scala's musical director) to MB: "...somehow a misundertanding has taken place.... after having read that marvellous musical score of yours... I liked it immensely and was greatly awaiting the pleasure of knowing 'Regina's' libretto and, thus, what the play was really about: because the rare dialogue cues in the piano score (with vague references to bonds, shares, inheritances, compulsory matrimonies) just puzzled me. Having, now, very carefully studied the libretto... I have the big surprise to realize that it does not combine with La Scala's atmosphere, tradition, public stage's magnitude, taste and phisiognomy [sic]. Strictly between us, it would be a great mistake to risk a production of Regina at 'La Scala.'" Suggests some other work, "operatic, choreografic, or symphonic," or "your 'Rouben Rouben'?"

420

W107 Regina

W107.13.6 3/28/55 (R25#955) LB to MB: "I've been through hell over Regina. I am furious and disgusted, and what is worse, helpless.... deSabata... finds he cannot allow it to be done at the Scala. He says that the public will not accept such a theme: it is too sadistic, cruel (he even doubts whether censors here would pass it, which is nonsense) and non-operatic in nature. The talk of money is not for Scala, nor is the spectacle of a woman letting her huband die, etc. etc. etc.... I will take it to Florence for the Maggio next year, that might make him react.... The worst is that deSabata admires you so very much, and wants to see everything you've done: and is worried that regina might ruin you here at the outset. Giancarlo [Menotti] is here for the Saint [of Bleecker St.], and, while not agreeing with deS. does agree that it is a dangerous work for the Scala public. Screw them, say I, and do it anyway. That's the duty of an opera house, in whatever city." See P3a 9/17/71 and P3a.1 Spring 2001--both below. W107.13.7 4/5/55 (LC) MB to LB: "Okay I'm sure you did your best.... Lillian [Hellman]'s explanation is probably correct: that the Italians just don't go for satire. A straight emotional bath and a minimum of creative indignation is apparently the desideratum." W107.14 re other European production(s) letter W107.14.1 5/?/55 (R25#956) LB to MB: "Today I played some of Regina for Peter Diamant, head of the Holland Festival... and he seemed terribly impressed and interested.... de Sabata... confessed that he was 'loth' to have Regina introduced in Europe elsewhere than at the Scala.... I am a dill prickle if it won't be seen SOMEWHERE in Europe next year." article W107.14.2 2/24/58 (R68#929) McCord, Bert, "Backstage With Bert McCord: Shumlin to Stage City Center Show," Herald Tribune: "negotiations are under way for productions in several European countries." A76 5/7/56-5/8/56 III:2 recorded by Brenda Lewis & MB for Westminster, "Marc Blitzstein Discusses His Theater Compositions" Spoken Arts 717 LP, produced by Arthur Luce Klein. Also recorded: W72 Sc.6 & 7 #1; 78 II:1 #3 & I:8 [and W107 III:1? - not included for lack of room]. letter W107.15 8/18/56 Edward Cole to MB on recording for MGM suites from W72 (11/12/56) & W107 (511/19/56), as well as from W75, W78 & W106. Contents & timings prepared by MB, but sessions never happened. (R5#432-4) W107.15a 8/24-10/7/56 W107 suite to include: Prologue; I:5; I:7c; II:1#4; II:2#4b, 5, 6, 7; III:9; 22-24 musicians, 20-25 min.

W107 Regina 421 article G48 1/57 Kestin, Diane, "Western folklore in modern American opera," Western Folklore 16 p.6-7: "rural" "folk opera" - "an extensive grand opera which combines elements of ragtime and Dixieland with the composer's dissonantly percussive style." See also W72, W87a. letter W107 I:1#1.1 10/9/57 MB to David Diamond on West Side Story: "full of talent, remarkable in many ways, in the end a wrong 'un... The music has drive but little poetry; the text has craft but no poetry (very needed in this work), which he seems afraid of, and covers up regularly, with bounce, violence, whatnot." The instrumental theme immediately following the Prologue in Regina (I:1) contains music that LB quoted (with the words "and suddenly that name will never be the same") in "Maria," which may have colored MB's opinion of LB's work. There do not seem ever to have been any words attached to MB's theme, however. When LJL in 1999 asked John Mauceri if he had found any among the sketches he had studied, he replied: "No, I never found any song with the words 'I just met a girl named Regina!'!" See also W107.42.3, W107.47, W107.48, W107.56.1. exc. perf W107. 16 3/24/58 City Center Showcase; Brenda Lewis sings I:7a&b; Samuel Krachmalnick, cond. (#13 of 15 numbers) (R68#946-9) review W107.16.1 3/25/58 Coleman, Robert, "Robert Coleman's Theatre: 'Showcase' A Real Smash!": "Brenda Lewis brought vocal emotion to" I:7a&b. W107.17 4/17, 4/27, 5/2/58 NYCO revival 3perfs Samuel Krachmalnick, cond.; Aline Bernstein, costumes; Herman Shumlin, dir.; sets: Howard Bay. [Shumlin and Bay had respectively directed & designed the original Hellman play in 1939.] Regina: Brenda Lewis; Horace: Joshua Hecht; Zan: Helen Strine; Ben: George S. Irving; Oscar: Emile Renan; Birdie: Elizabeth Carron; Leo: Loren Driscoll; Addie: Carol Brice--5/2: Louise Parker; Cal: Andrew Frierson; Marshall: Ernest McChesney; Manders: Robert Ruddy. Jazz and Angel Band cut, at behest of new director [and perhaps Hellman] (over Rudel's opposition). Prog notes: Locklair, Wriston, "American Opera Comes Of Age": "Regina made such an impression during the 1953 season that Mr. Rudel was anxious to revive it for the current repertory." (R27#277-8) articles G51 11/58 Flanagan, William, Jr., "The Riotous Garden of American Opera," High Fidelity p.44, 144: W107 "an opera of blood-curdling power., seems to be holding its own." G60 1961 Machlis, Joseph, Introduction to Contemporary Music NY: W.W. Norton, p. 569: "Meyerbeer himself would have approved" of II:2#7.

422

W107 Regina

letter W107.17.0 6/6/81 Carol Brice [Carey] to Eric Gordon [MtM p.364-5] on restoration of Blues (II:2 #5): "...the audience needed a moment of respite and quietude in the midst of all that dissonance, controversy and confusion." preview article W107.17.1 4/13/58 Herald Tribune +photo of Brenda Lewis, Joshua Hecht, Elizabeth Carron, Carol Brice. reviews W107.17.2 4/18/58 Aston, Frank, "Theater: 'Regina' Revived: South's Foxes Singing Again," NY World-Telegram and Sun: "Enter Miss Lewis." "It Looks Good." "If you're serious about contemporary music welded into hardboiled theater, you'll go for 'Regina." W107.17.3 4/18/58 Coleman, Robert, "'Regina' a Powerful Revival," Daily Mirror: "brought a first-night audience to its feet... spellbound by the conciseness, dramatic urge and musical power of the revival. Brenda Lewis was nothing less than magnificent... under Herman Shumlin's driving direction." W107.17.4 4/18/58 Dash, Thomas R., "'Regina': City Center" Women's Wear Daily: suggests NYCO take it to Brussels World's Fair along with "Susanah" [sic]; "score is one of the most varied and versatile in the whole range of native operas... music that impresses deeply..., evocative, interpretive of theme, idiomatic and sinewy." III:1 "almost sounds like an English madrigal." W107.17.5. *4/18/58 Johnson, Harriett, "Words and Music: City Opera Gives Arresting 'Regina,'" NY Post: tightening "effective"; "Herman Shumlin Directs"; Helen Strine "miscast". W107.17.6 4/18/58 Kastendieck, Miles, "Brenda Lewis Saves Regina," Journal-American: "the score fails to add the dimension that music should." "a synthetic opera" but "a highly successful performance." W107.17.7 4/18/58 Perkins, Frances D., "Blitzstein 'Regina' Revived By the City Center Opera," Herald Tribune:" "genuine opera... tenderness and considerable charm" W107.17.8 *4/18/58 Taubman, Howard, "Opera: Marc Blitzstein's 'Regina,'" "Work Made From Play Sung at City Center," NY Times, "stirring on all counts, musical and theatrical.... The music... has a difficult time intensifying the evil.... But it brings compassion to its treatment of the charactrs who are victimized, and thus adds an emotional dimension....The Angel Band, which provided some wonderul jazz color to the score on Broadway, has been dispensed with, probably because of budgetary exigencies [the official story given out]. It is a pity." +photo of Joshua Hecht and Brenda Lewis. W107.17.9 4/18/58 Watt, Douglas, "'Regina' Holds Own in Native Opera Series," NY Daily News: "continues to exert power.... The acting seemed tighter...." "A Fine Regina" "Many Faults" "remains an uneven piece... but can hold an audiene." +photo of Brenda Lewis "In fine performance."

W107 Regina 423 W107.17.10 4/23/58 Land., "American Opera Cycle (N.Y. City Center): Regina," Variety: "...vigorous singing drama, accent drama... it may be the finest compliment of all to say that the audience frequently forgets it's an opera, so engulfing is the sheer story unfoldment." W107.17.11 4/26/58 (R68#933-5) Sargeant, Winthrop, "Musical Events," New Yorker 29 p. 80-1: "genuinely operatic in its complexity and continuity. But it is not a good opera.The music... often sounds merely angry, and anger, in opera, is generally bearable only if it is either heroic or satirical. 'Regina,' I am afraid, is neither." W107.17.12 5/58 "Regina," Musical Courier 157 p. 15-16. W107.17.13 5/3/58 (R68#936-9) Trimble, Lester, "Music," Nation p. 398-400: "tries to be a serious opera and a Broadway success at the same time rises to operatic heights of intensity only in" III:2. "At other times, it hovers handsomely on the brink." W107.17.14 5/4/58 Taubman, Howard, "Worth Doing: City Opera Season of American Works Brought Excitement to Local Scene," NY Times X:9: W107 "remains impressive in the theatre. The compassion and intensity of the music are the composer's contribution, to a story of formidable power. ...the jazz band, Mr. Blitzstein felt, was a self-indulgence he could dispense with. Since this column missed the band, it regrets Mr. Blitzstein's decision as it respects his powers of self-criticism." W107.18 4/27/58 recording made at CBS studio from midnight to 8am after 2d perf (Regina's last four notes of Act II incl. a high C, a cappella, recorded the next day). Released on Columbia/Odyssey Y3 35236 3 monaural disks with libretto, photos, and articles by LB, Hellman, and Frank Loesser [who saw the production at least 4 times. MB asked why and was told "I'm studying."--MtM, p. 338.]: MB "has made a giant song of the entire piece - consciously and deftly." Hellman: "It is, to me, the most original of American operas, the most daring... [with] power and originality... sharp and clean... badly needed in a theatre-music world where slickness sometimes makes cynicism sound pretty, and where the popular too often passes for the profound." Notes posted by usoperaweb.com 1/02. recording reviews W107.18.1 9/59 Conly, John M., "Record Reviews," Atlantic Monthly. "Technically the Columbia production is beyond reproach. The stage atmosphere is very real." W107.18.2 *11/8/59 Salzman, Eric, "Baby Doe and Regina," NY Times II:12 [recording review]: "effective on the stage... weakened somewhat when it is reduced to a purely sound medium." W107.18.3 n.d. (R69#139) "Record Rounds" "as close to perfect theatre as the modern American opera genre has yet come" p+hoto of Brenda Lewis & MB "Superb Recording".

424

W107 Regina

W107.18.4 1960 Turner, R., "Five American Operas," Canadian Music Journal 4:2 p.44, 49-50: "a structurally loose collection of rather heavy-handed and obvious musical formulas." MB's "melodic material derives from the shape and phrasing of popular music, whereas his harmonic structure is strongly indebted to Copland and Stravinsky; several of his more wry bits recall Prokofiev. The music has a turbid, Brahms-like texture and a pervading monotony resulting from the persistent use of widely spaced high and low sonorities... [H]owever, there are many entertaining and expressive numbers...:" II:1#2, II:2#6, I:7c, III:1, III:2. W107 "requires singing actors, rather than trained singers, for the projection of its message-conscious text." W107.18a 1978 re-release of 1958 recording on Columbia/Odyssey Y3 35236. reviews W107.18a.l (R8#477) 10/18/78 Gordon, Eric, "Records," Hartford Advocate : promotes WWUH broadcast and interview with Brenda Lewis 10/22/78. P50.1 9/23/01 Suskin, Steven, "On the Record: Nobody Knows Blitzstein and Lahr," playbill.com: "The Columbia recording... is one of the most important American musical theatre scores yet to be transferred to CD." exc. perf A82 7/25/58 III:2 on all-Blitzstein concert at Tanglewood. W107.19 4/19/59 NYCO revival Samuel Krachmalnick, cond.; Herman Shumlin, dir.; Sets: Howard Bay; Choreog.: Robert Joffrey. Regina: Brenda Lewis; Birdie: Elizabeth Carron; Horace: Joshua Hecht; Addie: Carol Brice; Cal: Andrew Frierson; Oscar: Emile Renan; Leo: Loren Driscoll; Marshall: Ernest McChesney; Ben: George S. Irving; Zan: Margot Moser (debut); Manders: Edson Hoel. preview article W107.19.0 10/27/58 "Americana at the Center," Opera News 23:8 p.6. reviews W107.19.1 4/20/59 (R69#139) Biancolli, Louis, "Blitzstein's 'Regina' Sung at City Center," NY World-Telegram and Sun: "Difficult to Label." "Good in Patches." W107.19.2 *4/20/59 Johnson, Harriett, "City Opera Sings 'Regina' at Center," NY Post p.48: Margot Moser's Zan "with charm, if not with the utmost vocal finesse." W107.19.3 4/20/59 (R69#139) Kastendieck, Miles, "Brenda Lewis Gives 'Regina' Special Touch," Journal-American: "good theatre... better without the music." W107.19.4 *4/20/59 (R69#141) Parmenter, Ross, "Opera: 'Regina' Returns: Blitzstein Work Given at the City Center," NY Times: "a work worthy of remaining in their repertory....an absorbing and inventive score.... May it have many more performances."

W107 Regina 425 W107.19.5 *4/20/59 Perkins, Francis D., "Marc Blitzstein's 'Regina' Is Presented by City Opera," NY Herald Tribune p.19: "the music gave a sense of remarkable versatility in effectively meeting the libretto's widely contrastied dramatic demands." W107.19.6 4/21/59 Coleman, Robert, '"Regina' a Dramatic Revival," Daily Mirror. letter W117.3.30 5/2/59 (R4#371) Robert Russell Bennett to MB: "I'm still thinking of how powerful and beautiful your opera is... a real work of art. I can see how it had a hard row to hoe with the insensitive ears of Broadway, but shouldn't be surprised if it had a long, long life.... I would offer one other slight suggestion: very important dramatic phrases and words punctuated by very important orchestral music may load the ear with too much to carry. There are very few such moments in Regina. They are hard to avoid...." reviews W107.19.7 5/16/59 Thomson, Virgil, "From 'Regina' to 'Juno,'" Saturday Review 42 p.82-3: "a work that fills an operatic stage and fulfills the listener. Not a perfect piece, perhaps, but a machine that runs..., as an opera must, on music, not on words or situational drama." W107.19.8 5/20-6/14/59 (R69#171-2) Materials from Regina part of exhibit at Academy Museum of National Insitute of Arts and Letters, to which MB was elected 1/28/59, included marked copy of Hellman's play, libretto, pencil sketches of themes, blueprint piano-vocal and orchestral scores, published pianovocal score, Columbia LP. [Also included in the exhibition: Karl Shapiro's "Poems of a Jew," incl. "The First Time," LJL's musical setting of which, read and taped at Bennington 8/70, convinced Bernard Malamud to permit LJL to complete W127.] W107.20 6/1/59 trip to Europe "To negotiate productions of my Opera 'Regina' and other works." FBI noted: "In the passport application filed May 1, 1959, Mr. Blitzstein did not answer the questions relating to present and past membership in the Communist Party." File#WMFO 100-31612 released 4/30/99. diary entries W107.20.1 7/4/59 Soprano Inge Borkh, meeting w/MB in Frankfut, expresses interest in Regina if tr. into German, for productions in Berlin, Munich, Stuttgart. W107.20.2 7/11/59 MB meets w/Dr. [Gerhart] von Westermann, Dir., Berlin Festspiele, re Rolf Liebermann prod. w/Borkh, dir. by Günther Rennert in Hamburg, then brought to the Berlin Festival in 1960.

426

W107 Regina

letters W107.20.3 7/17/59 MB to Jo Davis: "Remember Regina Resnik who auditioned for Regina in Brigantine in 1948? She's a big star at Covent Garden Opera (Carmen, Amneris, etc.) now---and wants to do Regina here.... Oh, to stay in London!" W107.20.4 9/29/59 (R25#1011-2) Friedelinde Wagner to Lina Abarbanell: send score to Reinhart Mieke, assistant to Walter Felsenstein at Berlin's Komische Oper, which successfully produced "Schwejk". W107.20.5 11/2/59 (R25#1009) G.v.Westerman to MB: considering bringing NYCO to Berlin for 1960 Festwochen, or having Hamburg perform it and bring it to Berlin, or do it at the Städtische Oper in Berlin... "abwarten [wait]." West Coast productions: W107.21 Summer 1959 San José, CA: Fred Coradetti, cond. Regina: Meg Broughton; Zan: Dorothy McDonell; Addie: Henrietta Harris; Horace: Richard Frock; Ben: Richard Hoover; Oscar: Flip Prindle; Leo: Richard Dean; Marshall: Orva Hoskinson; John Bagtry: William Jameson; Birdie: Catherine Paul; Arthur Holcomb, chorus master. Sets & Costumes: John Blythe; Ballet: Francesca Romanoff. W107.22 7/29, 7/31, 8/8/59 Santa Fe, NM: Margaret Hillis, cond.; Bliss Hebert, dir.; Set: Henry Heyman; Lighting: Robert Benson. Regina: Elaine Bonazzi; Zan: Mildred Allen; Ben: Robert Rue; Birdie: Maria di Gerlanda; Horace: Roy Lazarus; Addie: Joan Caplan. Others in cast: Robert Trehym, Frank Poretta, Richard Best, Carlyle Weiss; Pianist: Mike Warren, who kept playing during brief rain when orchestra ran for cover(!) reviews W107.22.1 7/30/59 (R69#180) Pawell, Laurence, "New Opera Greeted With Mixed Emotions," New Mexican: "a very American opera... more like a songplay, 'singspiel'... tought termed a comedy, it is certainly not a comic opera. It might perhaps be called an ironic opera. ...more than Puccini à la Dixie, but it could easily be pigeonholed as 'verismo'... right-wing contemporary music resorting freely to jazz and Negro idioms. Outstanding in the score": II:2#2, II:2#5-7, III:2 W107.22.2 7/30/59 "Star Sings Role Well In 'Regina,'" Albuquerque Journal: "opening night audience reacted favorably" W107.22.3 8/1/59 Lawler, Joe, "'Regina' a Dramatic Triumph," Santa Fe Scene: "highly recommended... an interesting balance of solid music in traditional opeatic form with imaginative tonal lines in the contemporary idiom."

W107 Regina 427 W107.23 5/22/60 NYCO perf broadcast live on WBAI-FM; intermission interview of MB & Brenda Lewis by Gene Bruck. preview articles W107.23.1 1/13/60 Lewis, Brenda, "Switching Type--Every 20 Years or Every Night,: Opera Singer Emits Horse-Laugh at Hollywood Stars Who Wax Rich on Type-Casting, Then Make One Big, Well-Publicized Change," "Steadily Younger," "A Real Switch," Variety, p.2. W107.23.2 5/60 RePass, R., "City Center," Opera 11 p.340-1. article W107.23.3 Fall 1960 Beeson, Jack, "American Opera: Curtains and Overtures," Columbia University Forum 3:4 p.20-6: "The lyric investigation of psychological relationships, which is the chief subject matter of contemporary opera, needs a mise en scène no larger than that sufficient for, say, Regina." See also under T9. letter W78.12.15 1/30/63 (R4#600) Douglas Moore to MB: "Ever since I started writing opera I have looked up to you as the man who really knows what it is all about. You not only have the instinct and judgement but in No For an Answer and Regina you have given me my best moments in the whole catalogue of American opera." W107.24 Memorial performances & memoirs W107.24.1 1/24/64 Parmenter, Ross, "Gift of Characterization: Marc Blitzstein Showed in 'Regina' An Ability to Bring Creations to Life," NY Times p.24. Clipped by FBI. See also W123.10. W107.24.2 1/28/64 Lyons, Leonard, "The Lyons Den," NY Post incl. photo of Rise Stevens: "If our opera would be subsidized, Mr. Blitzstein would have taken his score [W107] to the Met, and I'd have loved doing it." ... At his death, last week Blitzstein was finishing an opera [W123], under Ford Foundation subsidy, for the Met." Clipped by FBI. Declassified 10/22/96. W107.24.3 2/2/64 Hellman, Lillian, "Marc Blitzstein Remembered," NY Times X:3. M20 2/3/64 "A Special Marc," Newsweek 63 p.77: "his highest achievement was the tragedy" W107. See also W72, T9. M25 4/19/64 Philharmonic Hall MB Memorial Concert, David Oppenheim, prod. "major scenes": Julius Rudel, cond. Lillian Hellman, narration. Regina: Phyllis Curtin; Birdie: Elizabeth Carron; Alexandra: Lee Venora; Addie: Carol Brice; Horace: Joshua Hecht; Ben: George Irving; Oscar: Emile Renan; Leo: Andrew Freirson.+W72; 127 Sc.4 #1; 126 Sc.6; 123 II:5 Pt 4 M27 *4/20/64 Rich, Alan, NY Herald Tribune 'The three new songs, all of them from 'operatic' creations, had the ease that he had sought, and failed to find, in" W107.

428

W107 Regina

M35 Spring-Summer 1964 Copland, Aaron, "Marc Blitzstein Remembered," Perspectives of New Music 2 p.2: "His later operas," W78 and 107, "were musically more ambitious, with a broader dramatic range. They gave full play to his brilliant gift for musical characterization." P1*5/21/64 Weales, Gerald, "The Cradle Still Rocks," The Reporter pp.46, 4850: W72 "has found its real home in the opera repertory.... it is an opera that is aware of itself as a unified work of art (an inseparable combination of music and dramatic action) and that is also aware of the political, economic, social world in which we live." See also W40, W56, W65, W72, W78, W126. M38 6/6/64 Homage to Marc Blitzstein, Carriage Barn, Bennington College: exc. sung by Wendy Erdman (Regina), Joan Maxham (Alexandra), Isabella Holden (Birdie), Carol Peckham (Addie), Steven Bick (Horace). Ellen Taussig, pno. Also perf'd: W72 (exc); W78II:1#3; W117 (exc); W125#3; W126 Sc.6. G16g 1965 Mellers, Wilfrid, p.421-8: "a fully-fledged opera, which has grown out of the conventions of popular music.... ...suffers from the play's grimly negative nature.... [T]he jazz element in" W107 "is double-edged, since if it connects on the one side with primitive simplicity, on the other side it is linked with commercial exploitation. The nastiest characters... have a bastardized musical idiom hovering between jazz and the nineteenth-century salon." Detailed analysis of II:2#1,2,4b,7; III:8#2; III:9, with musical examples from II:2#5, II:2#6, III:1, I:2, I:7c P3 7/29/1965 Talley, p.224: "The ensemble performance of Regina establishes a new standard of singing actors on the New York stage." P6 11/30/66 Blitzstein! opens, Provincetown Playhouse, NY; Mira Gilbert, Norman Friesen; Peter Basquin, pno incl.: II:2#4b, III:7. letter P3a 9/17/71 Paul M. Talley to LJL re his interview w/LB 2/15/65: "My hour with Bernstein was more or less an interview of me. He read the REGINA chapter, to the point of correcting punctuation (and it was longer then than in the thesis). He played and sang some music from NO. He was much too emotional at that time to talk about Marc as a person--it was a week or so after the first anniversary of the murder and just before Marc's birthday.... My major concern at the time of the interview was to get Bernstein's permission to quote from a letter to Marc in which he explained why REGINA had been cancelled in Italy. As I recall it was pretty hard to quote without implying that Menotti (who had advised Marc~or at least had been asked for advice on an Italian translation) had actively sought to have the production canceled. At any rate, I got the permission and then cut the quote in shortening the chapter." See W107.13. follow-up interview P3a.1 Spring 2001 LJL, "'Mr. Contemporary Opera'"" Opera Today, p.3: "Asked whether he had, as had been rumored, been instrumental in stopping La Scala from producing" W107, Menotti "replied: 'Now why would I do that? I like Regina! And I have enough troubles of my own with La Scala!"

W107 Regina 429 articles P11a 1973 Siegmeister, Elie, "Marc Blitzstein," in The New Music-Lover's Handbook, p.536-8: "the most moving portions of his score are those that show compassion for the 'good' people. Some of the characterizations are shallow and musically trite; but" I:2, III:2, III:8 "are deeply felt." P13 1/74 Zakariasen, William, "Pop music by classical composers," High Fidelity/Musical America 24:1 p.100: MB's "later music," W95, W107, "returned to the serious style, but curiously he used popular themes whenever he wished to reflect social injustice." See also W72. letter W107.25 8/4/75 Lillian Hellman to Maurice Levine re possible new revival: "I particularly like the idea of a black man telling the story." MtM p.565n37 P14 1976 excerpts TV perf. "Camera Three," CBS, 2 27 min. programs: "Marc Blitzstein: Composer with a message"; videotaped by Creative Arts Television, Kent CT; Muriel Balash, prod./dir.; released on video, 1997, together with W72.52 1964: "The cradle will rock, part 1" Brenda Lewis perf d III:2. W107.26 7/17/76 University of Wisconsin, Madison WI prod. Karlos Moser, cond.; Carolyn Levy, dir.; Regina: Ruth Horrall; Horace: David Hottmann; Zan: Ana Croatt; Addie: Linda Franklin; Ben: Kevin Hagen; Birdie: Ellen Sheetz review W107.26.1 9/76 Faust, Carl R, "Madison, Wisconsin," Opera News 41:3 p.68-9: "a rare, welcome hearing... ingeniously theatrical score... a natural for the contemporary stage" exc. perf W78.18 8/2/76 "Interrelated Songs & Scenes of Opera and Musical Theatre," Barnes H1, Cornell Univ.; III:1 perf'd by Janet Bell, Nanette Hanslowe, Cynthia Howell, David Wyatt; LJL, pno. +W78exc. Recorded privately. letter P15 1977 Crawford, Cheryl, One Naked Individual: My Fifty Years in the Theater p. 173 quotes her letter to Bill Fitelson: "I'm going to see to it that the audience sitting before Regina has an emotional experience they won't forget.... Gags and sugarstick romance have a place in a public's entertainment, but I'd like to give them something richer, truer, deeper... I think the music adds bigger values--more emotion, more passion, more tenderness." See also W107.2.93 12/17/49 letter from John Martin.

430

W107 Regina

W107.27 3/5&6/77 Bel Canto Opera prod. 4perfs John Niles, cond.; Keith J. King, dir.; Regina: Jeanne Bowers/Kathryn Asman; Zan: Rae Ramsey/Carol Lurie; Birdie: Eleanor Clark/Marilynne Bird; Addie: Ruth Elmore; Horace: Andy Thomas Anselmo; Ben: Glenn Martin; Leo: Stephen Colantti; Oscar: David Barron; Cal: Jimmy Hamilton; Jazz: Walter Hight; John Bagtry: Paul Huck; Manders: John Perry; Angel Band: Courtenay Wynter, c1.; Charles Stephens, tb.; Jim Bartow, banjo/guit.; Kenyatte Abdur-Rahman, perc.; Ensemble: Jane Holcombe, Joyce Lolk, Michale Mothen, Alice Weintraub; orch. incl. 1-1-1-1 0-0-1-0 perc, pno, 2-1-1-1 preview article W107.27.1 2/25/77 Blau, Eleanor, "Blitzstein's 'Regina' Revived in Church," NY Times: "Audiences Weren't Ready," quotes Niles: "This is almost a textbook example of what we call American music drama.... Musically, it's very, very difficult because it's asymmetrical rhythmically and melodically.. Some of the parts also are demanding in range." review W107.27.2 5/77 Mark, "New York," Music Journal 35 p.45: "You have to hand it to New York City's Bel Canto Opera." W107.28 9/30; 10/2,5,7,8/77 Detroit prem. Michigan Opera Theatre, John Yaffé, cond.; Francis Rizzo, dir. Sets: Franco Colavecchia; Choreog.: Grethe Holby; Regina: Joan Diener-Marre; Birdie: Barbara Hocher; Zan: Sarah Rice; Horace: George Gaynes; Leo: Joseph Kolinski. reviews W107.28.1 10/24/77 Porter, Andrew, "Musical Events: The Right Subjects," New Yorker 53 p. 162-3: "strong, sharp, clean, both funny and touching, and very well composed. Surely it deserves a central position in the American repertory.... Joan Diener... was coarse, awkward and unconvincing... perfect Birdie, Barbara Hocher... shining young Alexandra Sarah Rice" Horace: George Gaynes; Leo: Joseph Kolinski. W107.28.2 12/3/77 Jacobson, Robert, "Detroit: Regina," Opera News 42 p.47. W107.28.2a 1/78 Jacobson, Robert, "Michigan Opera Theater: Regina," High Fidelity/Musical America 28 p. 19-20.

W107 Regina 431 W107.29 10/19-11/26/1978 (R17#340-4) Encompass Theatre prod.; Roger Cunningham, prod.; Nancy Rhodes, dir. Jack Gaughan, cond./arr. 9-pce orch. Regina: Natalie Costa/Barbara Eubanks; Birdie: Sarah Bachmann; Ben: Andy Thomas Anselmo; Oscar: Don Woodman; Leo: Michael Burgess; Alexandra: Charlene Campbell; Addie: Ruth Elmore; Horace: Peter Ludwig; Marshall: John Harris; Jabez: Walter Hight; Quartet (Ens): Lori Farber, Jerry Martin, Dale Miller, Nancy Werfel. W107.29.0 program notes [uncredited] by LJL: "the possibility of completing Blitzstein's Sacco and Vanzetti (1959-64, originally commissioned by the Ford Foundation for the Metropolitan Opera) [W123] has been reopened for discussion, along with his Mahagonny adaptation [T15]; Geraldine Fitzgerald plans to revive his 1956 Mother Courage translation [T12] this season; and his 1954 Threepenny Opera [T9] adaptation is currently being 'rehabilitated' in Elly Stone's words (NY Times 5/23/78) and is still the most widely-performed version of the Brecht play." reviews W107.29.1 10/25/78 Goodman, Peter, "Music Review: Bursting with energy," Newsday. W107.29.2 11/18/78 Davis, Peter G., "Blitzstein's 'Regina' Revived," NY Times p.11. W107.29.3 1/79 Wechsler, Bert, "Opera," Music Journal 37:1 p.48: "one of the three great American operas... Jack Gaughan conducted more for correctness than to support the drama and Nancy Rhodes' directing could be clearer." W107.29.4 3/79 "Encompass Theatre: Blitzstein's Regina," High Fidelity/Musical America 29 p.24-5: "skillful and flavorsome adaptation of Blitzstein's acerbic music"; quartet (ens) "irrelevant and distracting". W107.30 4/25-5/2/80 4perfs Houston Grand Opera John DeMain, cond.; Patrick Bakman, dir. Regina: Maralin Niska; Birdie: Elizabeth Carron; Ben: Giorgio Tozzi; Oscar: Rodney Stenborg; Leo: Carroll Freeman; Horace: Don Garrad; Addie: Jennifer Jones; Zan: Jennifer Ringo. [First production in the South.] preview articles P19 4/12/80 Gordon, Eric, "Of the People: Remembering American Composer Marc Blitzstein on the 75th Anniversary of His Birth," Opera News p.26-9: "Many critics still regard this 'Lady Macbeth of Bowden, Alabama' as among the nation's top achievements in its genre."

432

W107 Regina

P19a 1980 Gordon, Eric, "The Roots of Regina," Performing Arts 3:8 p.6: "In Regina, the work with which Blitzstein's reputation now largely survives, the composer summed up a life of dedication both to American music and to high democratic ideals." See also W117. Quotes MB: "I wanted to write something as real musically to Americans as Italian opera is to the Italians." Philip Hepburn, 9, "once delayed a matinee performance for 15 minutes because he had forgotten and gone off to school that day." "Regina was too far ahead of its time. Ironically, it paved the way for the Broadway success of Menotti's The Consul, a moving opera but musically far less interesting. Menotti's conservative, if not Cold War theme, however, appealed to the critics, whereas the broad hope for black freedom in Regina had perhaps unsettled them." reviews W107.30.1 1980 Opera Canada 21:3 p.28 W107.30.2 8/80 Heumann, Scott F., Opera News 45:2 p.28: MB's "Regina calls for a 'Brünnhilde with a figure.'" I:2#5 "one of Blitzstein's first-rate inspirations"; III:1 "the hit of the evening." +photo of Niska, Stenborg, Ringo, Tozzi. W107.30.3 9/80 Cunningham, C., High Fidelity/Musical America 30 p.22. Other productions listed in MtM without dates: W107.31 Augusta GA. W107.32 Baton Rouge. W107.33 Boston; Birdie: Jennifer Ringo. W107.34 Colorado Springs. P20 9/25-27/81 "[Martha] Schlamme and [Alvin] Epstein Sing Bernstein and Blitzstein," Steven Blier, pno; HB Playwrights Foundation, NYC, incl. I:7c & II:2#5 +W72 Sc.3, 4#1, 6, 7#1&3; W95 III:2; W117 I:4, I:5#2 & II:4 W107.35 1982 Kansas City Lyric prod. Russell Patterson, cond.; Francis J. Cullinan, dir.; Regina: Eileen Schauler; Horace: Will Roy; Birdie: Sharon Daniels; Zan: Kay Paschal; Addie: Ruby Jones; Leo: Carroll Freeman; Ben & Oscar: Brian Steele; William Dansby. review W107.35.1 1/16/82 Belt, Byron, Opera News 46:9 p.32: "a compelling, satisfying opera." W107.36 7/23+/82 Chatauqua prod. John DeMain, cond.; Cynthia Auerbach, dir.; Regina: Marvellee Cariaga; Birdie: Elizabeth Carron; Horace: Chester Ludgin; Oscar: Rodney Stenborg; Ben: Spiro Malas; Leo: Christopher Critelli; Zan: Dale Wendel; Addie: Alteouise De Vaughn. review W107.36.1 10/82 Glasow, E.Thomas, Opera News 47:4 p.56: "DeMain's conducting deftly integrated spoken lines with music, endowing Blitzstein's heterogeneous score with dramatic fire and coherence."

W107 Regina 433 W107.37 9/82 Chicago Opera Thtr prod. Steven Larson, cond. Regina: Judith Erickson; Ben: Robert Orth; Oscar: Henri Noel; Zan: Joan Gibbons; Birdie: Eileen Deneen; Addie: Yvonne Hatchett. reviews W107.37.1 9/82 von Rhein, John, Opera News 47:4 p.44 W107.37.2 10/82 Samachson, Dorothy, Opera 33:10 p.1054: Judith Erickson "truly demonic" W107.38 12/82 Wolf Trap, Vienna VA prod. Adelaide Bishop, dir; sets: Kansas City Lyric. Regina: Jane Williams; Birdie: Virginia Boomer Addie: Anita Berry; Horace: Robert Ferrier; Ben: Nicholas Karousatos. review W107.38.1 12/82 Jahant, Charles, Opera 33:12 p.1256: "a genuine American opera, one of the best of its kind." homage W107.39 1982 Francis Thome's Lyric Variations #5 for Orch premieres, quoting I:7c in memory of MB. W107.40 5/84 Opera Ensemble (NYC) prod., Lillie Blake School, NYC 6perfs Ruth Bierhoff, mus.dir.; John J.D. Sheehan, dir. Regina: Susan Marie Pierson; Horace: Robert Osborne; Birdie: Deborah Lazenby review W107.40.1 Crutchfield, Will, "Opera: Ensemble Presents Blitzstein's 'Regina," NY Times C18: "most of" W107's "musical highlights, the ballads, dancesongs and ensemble numbers, are grafted aritficially onto the plot... an uneven and problematic work" played by a "small, ill-blended and insensitive orchestra." articles P22a Winter 1985 Shout, John D., "The Musical Theater of Marc Blitzstein," American Music 3 p.413-28: Quotes W107.2.35b Thomson (q.v.) MB "may have had Carmen in mind (he called" W107 "his 'opéra comique.')" W107 is "not a musical because its subject matter is too somber, and it is not an opera because it attempts to make its impact through straight drama." "One element of Hellman's melodrama--the Hubbards's racism--is excluded, perhaps because it might have seemed overly obvious in 1947." [!?] II: 1#6 "is so seductive that one momentarily forgets that she [Regina] is acting." II:2#2 "a convivial chorus out of operetta revealing first what a lovely party it is, and second how much the guests despise their hosts as well as themselves for being there." "It is remarkable that Blitzstein manages to make people sing about appalling things: for a time money really seems to be all there is to sing about." P23 3/85 Duemling, Albrecht, "Sein Schwerpunkt war das Musiktheater: Marc Blitzstein zum 80. Geburtstag," Neue Zeitschrift für Musik 3 p.46: W107 "unverdient in Vergessenheit" [undeservedly forgotten].

434

W107 Regina

exc. perf P24 4/28/85 Composers' Showcase: A MB Tribute In Honor of His Eightieth Birthday, Alice Tully Hall: III:1 perf'd by Nancy Opel, Elizabeth Carron, Michelle-Denise Woods, Timothy Nolen; Jeff Keller, pno. W107.41 5/85 Atlanta prod. review W107.41.1 5/85 "Opera everywhere: Atlanta," High Fidelity/Musical America 35 p. 19-20. thesis W107.41.2 1987 Mehrens, Christopher Emile, "The genesis of Marc Blitzstein's opera Regina," M.A. thesis, Univ. of North Carolina, Chapel Hill. W107.42 4/29-6/12/88 Long Wharf Thtr prod. Murray Sidlin, mus.dir.; Arvin Brown, dir. Regina: Rosalind Elias/Kristen Hurst-Hyde; Horace: Sean Barker; Zan: Jan Juline Leeds; Addie: Karla Burns; Cal: Michael Lofton; Birdie: Monica Robinson; Oscar: Vaughn Frits; Leo: Michael Greenwood; Marshall: Charles Walker; Ben: Harlan Foss; orch. of 15, 3/4-in-the-round staging; private recording: David Litofsky. W107.42.1 Program Notes: W107.42.1.1 Gordon, Eric A., "Regina Comes Home"; see also P19a 1980 and P19c 9/88. W107.42.1.2 Waid, Candace, "Regina and the Little Foxes": In III:2, Addie's lines from the play given to Horace: "one might speculate about the difference in the impact of these lines in the mouth of a paternal southern banker rather than a maternal black servant." W107.42.2 Study Guide. W107.42.2.1 Rathkamp, B.R., "Marc Blitzstein: Music and a Social Conscience" W107.42.2.2 Gordon, Eric A., "Marc Blitzstein: Major Compositions" list, announcement of P19e. W107.42.2.3 Kolsby, Robert, "Lillian Hellman's 'The Little Foxes': The Origin of 'Regina'": "There is a little bit of Hubbard in all of us." W107.42.2.4 Luse, James [uncredited], "Pre and Post Performance Activities for the Classroom" quotes from W107.1.18, W107I:7b, & Hellman's play, Act III. reviews W107.42.3 7/30/88 Goodman, Peter, "'Regina': 'Little Foxes' Of the Opera," Newsday, II:7,15: "Purely in musical skill and technique," W107 "is a far more successful opera than 'Porgy and Bess,' but its story is far more disturbing." It has "many attractive melodies that pass too quickly, and.. rich layers of American music... almost condescending use of spirituals... still-uneasy linkage of jazz with European forms." LB "obviously learned a lot from" MB. "[T]here is even a clear hint of 'West Side Story's' 'Maria' in one of the orchestral intermezzos." See W107.50a 1992, W107.56 1996, W72.93 1997 p.251-2 (below).

W107 Regina 435 W107.42.4 4/30/88 Rockwell, John, "Mixing Opera and Pop in 'Regina,'" NY Times C14: "unfocused... musical eclecticism doesn't cohere.... the idioms jar, clashing awkwardly." +photo of Barker & Elias. W107.42.5 6/88 Fitzgerald, Geraldine & P. O'Connor, "Vivat Regina!" Opera News 52 p.40-1: W123, "commissioned by the Metropolitan Opera, lies unperformed. Now is a good moment to revalue his music..." P19c 9/88 Gordon, Eric A., "A Night at the Opera," Gordon, Eric, Opera News 53:3 p.67: II:2#4b "an angry, drunken affair... should have been cut, though in its original context... was the most complex and effective moment of the entire drama." concert exe. P28 A Blitzstein Cabaret, HW; LJL, pno: I:7b P28a 1/23-25/89 Bruno Walter Auditorium, NYPL at Lincoln Ctr. P28b 3/2/89 Bryant Library, Roslyn NY. P19d 3/25/89 A Marc Blitzstein Celebration, People's Voice Cafe: Elizabeth Carron in III:2, Eric Gordon in I:7c, Helene Williams in I:7b. review P19d.l 4/10/89 Gelbert, Bruce-Michael, "Blitzstein and Brimstone," NY Native: "Birdie's fond memories of a carefree past give way to her hopeless and heartredning admission of awareness that she has been used by her ruthless inlaws and revelation that she drinks, in solitude, to escape their abuse. Carron brought ringing lyric soprano tone, with spinto overtones, and dramatic intensity al too rare today to a positively cathartic performance." Gordon, "in the wistful" I:7c, "made no change in the gender of the dream lover.... Brenda Lewis... was present, and Williams honored her with the hard-hearted heroine's credo" I:7b. Assisting Williams at the piano was Leonard Lehrman, a long-time champion of Blitzstein's music." W107.43 4/14-4/22/89 Univ. of Illinois/Urbana prod. W107.44 9/16-10/1/89 Kansas City Lyric Opera prod. (sets re-used in W107.46) P28 concert exc.: A Blitzstein Cabaret HW&LJL: I:7b. P28d 4/89 Caffé Bonelle, NYC repeat of P28b. P33 concert exc. A Blitzstein-Bernstein Cabaret HW & LJL : I:7c: P33a 1/7/90 Herman Liebman Memorial Concerts, Vladeck Hall, Bronx NY. W107.45 1/17-18/90 Opera Theatre of Pittsburgh prod.

436

W107 Regina

P28 concert exc.: A Blitzstein Cabaret HW & LJL I:7b P28e 3/2/90 Boston Conservatory of Music [perf recorded & archived there] Kurt Weill Festival. W127.10.4 6/3/90 Jewish Affairs concert, NYC W127.11.3 6/12/90 Haus der Kirche, W. Berlin P28f-h 11-12/90. exc. recording P32 1990 Koch 7050 Zipperfly & Other Songs recorded 9/10, 11&13/90; William Sharp (II:2#5), Karen Holvik (I:7c); Steven Blier, pno. recording review P32.1 11-12/91 Kimball, Carol, "Listener's Gallery: Marc Blitzstein: 'Zipperfly' and Other Songs," NATS 48:2 p.39: I:7c "delicate ballad... captures adolescence on the brink of maturity." W107.46 3/22-24/91 Boston Lyric Opera prod., Emerson Majestic Theatre. Stephen Lord, cond.; Rosalind Elias, dir.; Regina: Katherine Terrell; Horace: John Stephens; Birdie: Jennifer Ringo; Addie: [Michele] Denise Woods; Zan: Connie Lin Chmura; Leo: Perrin Allen; +John Mark Baccus, Michael Krueger. preview article W107.46.1 3/17/91 Dyer, Richard, "Marc Blitzstein: a composer's legacy of unfulfilled promise," Boston Globe: "Hellman... praised it publicly...; privately, she expressed her reservations--she felt that an artistic flaw of the play was its sentimentalization of the black characters, and that Blitzstein had carried that to an extreme." W107 "has always been controversial... on Broadway, audiences found it too highbrow, too operatic... Lincoln Kirstein... thought both play and music were middlebrow and tawdry. It is, of course, both, which is why it can fascinate us still." III:1 "one of the loveliest moments of introspection in all American music." reviews W107.46.1a 3/23/91 Ibid., "'Regina': an honorable, but uneven effort": "It can be argued that paring down reduces the piece to essentials; that was Hellman's genius. Blitzstein's genius, on the other hand, lay in his eclectic abandon, putting disparate things together that no one else would have dared..." W107.46.1b 5/12/91 Ibid., "The lights dim for Boston opera": "Sarah Caldwell... knows where the Blitzstein archive is and she has been there.... All during the performance, one thought, 'Sarah Caldwell could have done this better.'" Caldwell, the first female to conduct a performance at the Metropolitan Opera, in the 1977-78 season, when LJL was Assistant Chorus Master there, visited the Blitzstein Archive in 1975, shortly after LJL's second visit there. They were closed, she was told, because of the amount of refiling needed due to the large number of misfiled items found by LJL.

W107 Regina 437 W107.47 5/17-6/27/91 John Mauceri & Tommy Krasker reconstruction prem., Glasgow, Scotland; John Mauceri, cond., Scottish Opera Orch & Chor. Regina: Katherine Terrell; Birdie: Nan Christie; Addie: Theresa Merritt; Zan: Angelina Réaux. broadcast W107.47a 5/18/91 BBC London. reviews W107.47.1 5/18/91 Larner, Gerald, "Broadway, Hellman, and All That Jazz," Manchester Guardian p.21. W107.47.2 5/24/91 O'Connor, Patrick, "Chinkypin Music," London Times Literary Supplement, p. 18. W107.47.3 7/91 Mellers, Wilfrid, "A thunderbolt in Glasgow," Musical Times v132 p.357: "wondrously affecting" III:1. W107.47.4 7/91 Monelle, R., "Regina: Scottish Opera at the Theatre Royal, Glasgow, May 16," Opera 42 p. 842-4 +photo of Theresa Merritt recording W107.48 12/10/92-6/30/95 Decca Music Group Ltd, London 433 812-2. John Mauceri, cond., Scottish Opera Orch & Chor; Regina: Katherine Ciesinski; Horace: Samuel Ramey; Birdie: Sheri Greenawald; Addie: Theresa Merritt; Zan: Angelina Réaux; Oscar: James Maddalena; Ben: Timothy Noble; Leo: David Kuebler; Cal: Bruce Hubbard; Jazz: Tim Johnson. W107.48.0 liner notes: O'Connor, Patrick, "Blitzstein, Hellman, and Regina." recording reviews W107.48.1 7/93 Rorem, Ned, Yale Review 81:# p.152, reprinted in: M11.1 1994 Rorem, Ned, Knowing when to stop : a memoir NY: Simon & Schuster, p. 320: "The first complete version proves that more is less." p.321: MB "expands a densely plotted story... the text is widely revised, and with the addition of jazz bands, Negro spirituals, party music, 'set' numbers on his own doggerel. The play is loosened into an unnecessary extravagance, because otherwise there would be nothing to sing about." III:1 and II:2#6-7 "arguably the best music in" W107, but "To hear Regina Giddens and her relatives at song is to defang them,... and gone is the hard compulsory shell of Hellman." MB's "only large work not designed around his own singing voice... a watery version of the grandiose.... I cringe at the rhymes" in III:7, II:2#2; yet "something in the sound grows occasionally touching..." p. 322 "here lies no trace of Weill, but Copland rather, laced with Kern, insolently corny and gorgeously scored.... I pillaged boldly" III:2 "for an aria in my own Miss Julie. The recurrent 'dying fall' of a minor third, rising higher and higher, I owe utterly to Marc." See also W118. Re III:2, W108 II:1#1 (q.v.), W125, W95 III:2 - "they stick in the mind." W107.48.2 Spring 1997 Anderson, David E., Opera Quarterly 13:3 p.206-8.

438

W107 Regina

P33 concert exc. A Blitzstein-Bernstein Cabaret HW & LJL : I:7c. P33b 7/27/91 Reynolds Hills Concert Series, Buchanan NY. W107.49 1992 Fox, Larry Phillip, "A comparative analysis of selected dramatic works and their twentieth century operatic adaptations," Ph.D. diss., Univ. of South Carolina, "Chapter II [of 4]: A comparative analysis of Lillian Hellman's The Little Foxes and Marc Blitzstein's Regina" concert exc. P28i 4/26/92 Shelter Rock Library, Albertson NY: repeat of P28e. W107.50 10/9-24/92 New York City Opera prod. Rosalind Elias, dir. Sets: James Leonard Joy; Laurie Hunter, mus.dir. (substituting for ailing Christopher Keene & William Henry Curry); Regina: Leigh Munro; Horace: LeRoy Lehr; Zan: Elizabeth Futtral [the best Zan ever - LJL]; Ben: Andrew Wentzel; Marshall: Paul Austin Kelly; Oscar: Ron Baker; Leo: John Daniecki; Cal: Michael Lofton. Program Notes: W107.50a Viagas, Robert, "Historical Note," p.20-1 "political ghosts... musical ghosts... an alert listener can hear...'Maria'" - cf. W107.42.3 4/30/88 and W72.93 1997 (below). W107.50b Gelbert:, Bruce-Michael, "REGINA - Marc Blitzstein - In English with supertitles," p.22, 24, 26, 30, 32: MB's work "has for too long been neglected and under-appreciated." +photo of MB w/1960 NYCO cast. See also W123 & W127. preview article W107.50.1 10/4/92 James, Jamie, "How Many Great American Operas? One for Sure," NY Times II:27. reviews W107.50.2 10/12/92 Rothstein, Edward, "Those Greedy Little Foxes, Set to Music," NY Times C11. W107.50.3 1/93 LJL, "Opera Reviews: Regina at NYCO," Opera Monthly 5:9, p.37-9: "Elias... may be the quintessential Regina of our time" - cf. W107.42 "As a director, Elias is still finding herself.... As we celebrate with eager anticipation a new administration in Washington, perhaps it is time to ask, in the final words of W107," whether the moment for the full realization of the worth of Blitzstein's works will also soon be here. 'Is a new day a-coming?' Let us hope that the answer given is correct: 'Certainly, Lord!'" See also W117.12.2 & W123. article P36 1993 Kushner, David Zakeri, "Marc Blitzstein: Musical Propagandist," Opera Journal 26:2 p.2-20: W107 "is a character study of turn-of-the-century southern mores... an epic drama with music." W107.51 2/18-27/93 Cuyahoga Community College, Parma OH prod. W107.52 5/5-21/94 Whitman College, Walla Walla WA prod.

W107 Regina 439 W107.53 7/2-15/94 Des Moines Metro Opera, Indianola IA prod.W107.54 8/4/94-8/7/94 Opera Fort Collins, CO prod.. exc. perfs W107.55 11/18/94 Manhattan School of Music scene perf. III:1. P39 3/2,10-12/95 Medicine Show, NYC I:7b HW; LJL, pno. P41 8/19&20/95 "Mark the Music: The Songs of Marc Blitzstein," at White Barn Theatre, Westport CT. I:7c & III:2 Emilie Roberts; Stephanie Conte; Charles Wade, pno. article P9c 6/96 LJL, "What is Jewish Opera?" Opera Journal 29:2 p.56-61 [also appeared, abridged, with most passages on MB cut, in: 2/16/96 "A Symposium in Seattle: Jewish Opera," Aufbau 62:4 p.13]: W107 "had better reviews as a musical but more success as an opera." [Cf. P3 7/29/65 commenting on W107.9.2.8 4/13/53, above.] W107.56 3/16-31/96 Opera Pacific, Costa Mesa, Calif, prod., John Mauceri, cond. Regina: Carol Neblett; Birdie: Sheri Greenawald; Horace: William Marshall; Ben: John Stephens; Oscar: James Maddalena; Zan: Renee Sousa; Addie: Karla Burns; Leo: Scott Piper Gomez; Cal: Kirk Walker; Jazz: Damon Evans. preview article W107.56.1 3/10/96 Brelauer, Jan, "Vision of 'Regina' Restored: Marc Blitzstein's operatic adaptation of 'The Little Foxes' has never been seen the way the late American composer intended--until now." Quotes Mauceri: "'Maria'... is almost embarrassingly pre-quoted in" W107. Mauceri quotes LB: "I swore on Marc's grave that I would fix 'Regina.'" In the Mauceri/Krasker restoration, "we hear recapitulations that were never heard [a first time]." (See W107.11.2 10/10/53 above.) review W107.56.2 3/18/96 Pasles, Chris, "A New, Troubling Chapter to 'Regina,' opera review: A staging of the original theatrical version; the story, with the restoration of portions that had been cut, pushes the material closer to the dangerously simplistic," Los Angeles Times, p.1: "Ironically, what most lingers in the mind is" I:1 and "Maria." letter W107.56.3 4/5/96 John Mauceri to LJL: "This marked the American premiere of the complete version which we recorded for London/Decca" on W107.48. "About four minutes of the entire opera had to be orchestrated as this music only existed in piano score... As far as I know there was no title song Regina although, of course, it exists in the transition between the Prologue to the opera and the first act" - the very passage cited by Peter Goodman in W107.42.3. "The cuts we made in the new edition were very few. Specifially, in the Prologue the counterpoint of Naught's a Naught and Want to Join the Angels goes on much longer and" II:2#6 "is a bit longer.... The ending, which is an earlier ending than the one we're used to and I believe more preferable [sic], had to be orchestrated anew."

440

W107 Regina

reviews W107.56.4 7/96 Bemheimer, Martin, "Opera and the World: Costa Mesa," 47:7 p.782-4. W107.56.5 7-8/96 Ginell, Richard S., "Opera Everywhere: Costa Mesa-Opera Pacific: Blitzstein's 'Regina,'" American Record Guide 59:4 p.44-6. W107.57 8/1-8/4/96 Baltimore Opera prod. Gordon Center for the Performing Arts, Owings Mills, MD. Richard Gretz, cond.; John Lehmeyer, dir.; Regina: Susan Marie Pierson; Horace: LeRoy Lehr; Ben: Joseph Corteggiano; Oscar: David Neal; Birdie: Phyllis Burg; Leo: Christopher Petrucelli; Alexandra: Helen Todd; Addie: Kim Sylvain; Cal: Reginald Allen. review W107.57.1 8/3/96 McLellan, Joseph, "Opera: 'Regina' - A Widow's Pique," Washington Post C8: "has one of the most chilling scenes in the history of the American stage... well-performed... with icy competence." book W72.93 1997 Block, Geoffrey, Enchanted Evenings, p.115, 117: W107 "successfully revived and recorded[!?] in 1992 by the New York City Opera, now stands poised for the possibility of future enshrinement." p.251-2 demonstrates, w/musical examples, genesis of LB's "Maria." (See W107.42.3; W107.56.30; W72.133 2004 below.) article W107.57.2 9-10/97 Foradori, Anne Bill, "Examining a 'New' American Classc: Vocal Writing in Marc Blitzstein's 'Regina,' Journal of Singing (NATS) 54:1 p.21-30 (based on 1994 Ohio State Univ. diss., "'Regina': A Pivotal Work in American Musical Theatre"): "The mystery of its classification--opera or musical--...seems to work in its favor now, as American audiences demand a Broadway of operatic proportions." includes 16 musical examples, each 2-7 mm. W107.57.2a 1999 Ibid., "Blitzstein, Marc," for American National Biography, v.3 p.32-3, expands on her thesis, adds material on W72, and dismisses everything else as not having been "neither critically well received nor commercially successful," listing no completions. W107.58 7/18-21/97 Chatauqua Institution, Chatauqua NY prod. William Fred Scott, cond.; Jay Lesinger, dir.; sets: Aaron Nather; choreog.: Teddy Kern; Regina: Ashley Putnam; Horace: Michael Devlin; Ben: Mark Delavan; Oscar: Philip Cokorinos; Zan: Amy van Roeckel; Leo: Dean Anthony; Birdie: Sheryl Woods; Addie: Karla Burns. reviews W107.58.1 Fall 1997 So, Joseph, "World Report: Reviews of Opera: Around the World: U.S.: Chatauqua," Opera Canada 38:3:152 p.28: "While the vocal writing was strong and the demands operatic, the feel of the piece was decidedly Broadway."

W107 Regina 441 W107.58.2 10/97 Glasow, E. Thomas, "In Review: From Around the World: Chatauqua," Opera News 62:4 p.51-2: "a precious gem of Americana... dramatically... and musically satisfying." W107.58.3 11-12/97 Trotter, Herman, "Opera Everywhere: Chatauqua-Blitzstein 'Regina,'" American Record Guide 60:6 p.49-50: "a fresh, wholly original score that breathes the American openness of Copland, is flavored with well-gauged dashes of blues, jazz, ragtime, and spirituals, and radiates a sure sense of structure and form." III:1 "burrows into the memory and just won't leave." +photo of Devlin and Putnam. W107.59 11/22-25/97 Boston University prod. W107.60 1/23-31/98 University of Kansas, Lawrence KS prod. W107.61 4/30-5/2/98 Southern College, Birmingham AL prod. exc. recording W107.62 1999 Metropolitan Opera Guild, "Growing up with opera," incl. III:1 w/Maureen O'Flynn, Renée Fleming, Denise Woods, Samuel Ramey; Jeff Mattsey, pno. W107.63 7/7-7/15/99 Lyric Opera Cleveland prod..4perfs w/"reduced orchestration." Benton Hess, cond.; Gary Race, dir. Regina: Patti Jo Stevens; Birdie: Catherine Watson; Addie: Yolanda Denise Bryant; Zan: Megan Tillmann Frank; Horace: Todd W. Robinson; Ben: James Lynn; Cal: Philip Lima; Leo: Brad Herbst. review W107.63.1 9-10/99 Finn, Robert, "Opera Everywhere: Cleveland-Lyric Opera: Blitzstein 'Regina,'" American Record Guide 62:5 p.51-2: "ought to be far better known than it is.... musically rich and dramatically effective... brilliant and powerful as ever..." MB's "music underlines, amplifies and illuminates the drama to perfection--which is practically the textbook definition of what good operatic music should do." P49 10/99 Griffel, Margaret Ross, Operas in English, Westport CT: Greenwood Press: "musical highlights": II:2#5, III:1-2. "combines traditional operatic genres such as arias with elements from more popular-music styles such as blues, Dixieland, and salon music..."

442

W107 Regina

W107.64 1/8,9,14,15/00 Bronx Opera Co. prod. Michael Spierman, cond.; Benjamin Spierman, dir. Regina: Kara Shay Thomson/Sarah K. Hersh; Zan: Karen Frankenstein/Jenna Mathioudakis; Addie: Lucy Sträuli/Blanche Foreman; Cal: Eric Greene/Alfred Barclift; Ben: Gerbrand Poster/Craig Grayson; Oscar: Juan José Ibarra; Birdie: Suzanne Donald/Deborah van Rentergham; Leo: Brian Cheney/Randall Schloss; Marshall: Brad Kronen; Horace: John E. Schumacher/Frank Martinelli; Jazz: Lawrence Harris/Albert Neal; Chorus of 20. prog notes by M.S.: W107 "has been sporadically performed in the last five decades in this country and abroad, but not nearly as much as it should be." W107.64.1 1/9/00 Attending performance, Brenda Lewis declares that "everything Marc wrote, everything, including Regina, was only preparation for" W123, and encourages LJL to include Dukakis exoneration statement in his completion of same. review W107.64.2 1/17/00 Holland, Bernard, '"Regina"' High and Low Culture, Fused by Jazz," NY Times. exc. perf P50 2/00 "Beyond the Cradle: The Music of Marc Blitzstein," Joe's Pub, Public Theater, NYC: Victoria Clark, Lauren Flanigan, Malcolm Gets, Brooks Ashmanskas; Ted Sperling, perf: I:2, III:1&2 W100.2 2/13/00 Songs of Love, Westbury Library, HW & LJL perfd W107 I:7c +W78 I:6#3; W100. W107.65 5/3-5/6/2000 Augusta Opera Assn, Augusta GA prod. Mark Flint, cond.; Buck Ross, dir. Regina: Katherine Terrell (replaced an ill Joan Gibbons); Birde: Maryanne Telese; Horace: Marc Embree; Leo: Matthew Walley; Zan: Rebecca Langhurst; Addie: Kim Sylvain; +Stephen Lusmann, David Maze. preview article W107.65.1 4/28/00 Uhles, Steven, "Schemers fill gothic opera," Augusta Chronicle: W107 allegedly "was deemed too political by Ms. Hellmann[sic!]. The original opera carried a fairly overt message about Southern politics and race relations, but many of those themes and subplots have been excised in the 50 years since the opera was first performed." [In fact the opera excised themes from the original play; cuts in sections emphasizing race were made only because they seemed patronizing.] review W107.65.2 5/5/2000 Park, Clara, "Opera's 'Regina' is first-rate performance," Augusta Chronicle. concert excerpts P28m 9/16/00 Jean Cocteau Repertory Thtr HW & LJL incl. I:7b P28n 12/3/00 Merrick Library, Merrick NY: repeat of P28m.

W107 Regina 443 article P3a.1 Spring 2001 LJL,'"Mr. Contemporary Opera'" "[Menotti] Opera Today, p.3: See under P3a 1971 above. W107.66 3/23-27/01 Nashville Opera prod. exc. perf. P52 5/9/01 Langfelder, Jacob, thesis recital, Boston Conservatory "Mark the music: the life and work of Marc Blitzstein: a lecture demonstration," w/Erica Rome, pno; incl. II:2#5. W107.67 10/29-21/01 York Theatre Co., NYC staged reading "Musicals in Mufti" series, 5perfs. W107.68 2/6-3/2/02 Florida Grand Opera, Miami prod. Stewart Robertson, cond.; Michael Leeds, dir. Regina: Lauren Flanigan; Ben: Ned Barth; Horace: Andrew Wentzel/Wojciech Bukalski; Birdie: Sheryl Woods; Leo: Chad Shelton; Oscar: Kristopher Irmiter; Zan: Christine Winkler. review W107.68.1 6/2002 Johnson, Lawrence A., "North America: Miami," Opera News 66:12 p.73-4: "all too timely. Yet... frastratingly uneven." W107.69 9/29-10/24/03 Lyric Opera of Chicago prod. John Mauceri, cond.; Charles Newell, dir.; Regina: Catherine Malfitano Birdie: Sheryl Woods; Zan: Sari Gruber; Addie: Marietta Simpson; Leo: Chad Shelton; Oscar: Timothy Nolen; Horace: Kevin Langan; Ben: Dale Travis; Cal: Patrick Blackwell. reviews W107.69.1 10/21/03 Holland, Bernard, "'Regina,' With Music Restored," NY Times E1: "operatic juggling... highly sophisticated" II:1#3 "a masterpiece of theatrical music, both nasty and very funny." W107.69.2 Winter 2003 Covello, Richard, "Opera in Review: U.S.: Chicago," Opera Canada 44:4:177 p.35-6. W107.69.3 12/2003 "In Review: From Around the World: North America Chicago," Opera News 68:6 p.78-80: "an important American composition... deserves reevaluation." +photo of Malfitano: "Every inch a Regina" W107.69.4 3-4/2004 von Rhein, John, "Ups and Downs at Lyric: Blitzstein's 'Regina' Is Way 'Up,'" American Record Guide, p.19-20, +photo of Malfitano as Regina. W107.70 9/10-9/11/04 Boston Opera Project, Somerville MA, Boston Univ. Concert Hall prod. w/pno & perc. Dorie Bryan, dir.; Michelle Anderson, mus.dir. Regina: Ja-Na Duane; Horace: Miles Rand; Birdie: Jodie Frisbie. review W107.70.1 9/12/04 Nestie, Robert, "Musical adaptation 'Regina' out-Foxes original," Boston Herald.

444

W107 Regina

book W72.133 2004 Grant, Mark N., The Rise and Fall of the Broadway Musical : W107 "surprisingly Chekhovian"; LB's "Maria" "all but lifted whole from" I:1 article P19f 1-2/05 Gordon, Eric, "Marc Blitzstein at 100," Jewish Currents: "Tony Kushner's 'Caroline, or Change' (music by Jeanine Tesori) almost literally brings Blitzstein's character of Addie... forward sixty years into the civil rights era." exc. perfs P61 1/7/05 National Opera Association Convention, Roosevelt Hotel, NYC Marc Blitzstein Cabaret, acc.'d & narrated by LJL. Evelyn Swensson, Elizabeth Vrenios, Mary Kay McGarvey, perf'd I:2, I:7b, I:7c P62.1 1/29/05 MB Centennial Workshop: I:7b perf'd by Victoria Tralongo; LJL, pno. exc. perfs P62.2a 2/26/05 SF - Other Minds: Centenary Celebration of MB (concert) incl. I:7c: Amy X. Neuburg; Sarah Cahill, pno. P62.3a-c 2-3/05 MB Centennial Concerts, NYC area: I:7b perf'd by Victoria Tralongo; LJL, pno. P62.5 3/2/05 Curtis Institute concert, Donald St. Pierre, accomp.: I:7c Rinnat Moriah, sop.; II:2#4b J.J. Kee, bar.; II:2#5 Elif Ezgi Kutlu, mezzo; III:1 Rinnat Moriah, Rhoslyn Jones, Elif Ezgi Kutlu, Charles Unice; III:2 Rhoslyn Jones, sop.

W107 Regina 445 W107.71 3/10-3/12/05 Kennedy Center, Wash. DC semi-staged prod. 4perfs. Regina: Patti LuPone; Steven Mercurio, cond.; Gerald Freedman (replacing Lonny Price), dir. Horace: Shuler Hensley; Ben: Timothy Noble; Oscar: Timothy Nolen, Addie: Marietta Simpson; Birdie: Sheryl Woods; Cal: Elmore James; Zan: Leena Chopra; Leo: Mark Ledbetter; Marshall: Eugene Galvin; John Bagtry: David Kozisek. Private recording. One intermission between II:1 & II:2; LuPone sang the first 3 of the last 4 notes of II:1 an octave lower. preview article P62.2.2a Ross, Alex, "Blitzstein lives": "The biggest happening is: W107.71. "The semi-staged production stars Patti LuPone, no less..." preview prog at Kennedy Center W107.71.1 3/11/05 "Road to Regina explores the Kennedy Center's production of Marc Blitzen' s[sic] operatic drama Regina..." video posted online by Kennedy Center, incl. lecture by Eric Gordon; perfs by: Catherine Walker: W72 Sc.7#l, Sc.9#2; W78 II:1#2; W102#21; W107 I:7c Jacob Langfelder: W81; W88#1; W87#1; W95 III:2; W107 II:2#5 (male solo: order of "sleep" "weep" reversed) +W117 II:1 (duet); Chris Fenwick, pno prod. reviews W107.71.2 3/12/05 Marks, Peter, "Theater: At 'Regina,' a Vanishing Audience," Washington Post C1, C5: "Despite LuPone, 'Regina' Is a Royal Muddle": "lugubrious... lackluster" III:1 "remarkable" III:2 "captivating". W107.71.3 5/05 Kellow, Brian, "Kennedy Center takes a noble stab at Blitzstein's tricky Regina, " Opera News 69:11 p.8: "the best case for the work I have experienced." On W107.71.2: "This is what passes for responsible criticism at one of our leading newspapers?" photo: LuPone as Regina. P33 concert exc. A Blitzstein-Cabaret HW & LJL : I:7b: P33c 4/3/05 Long Beach Library, Long Beach NY; P33d 6/12/05 Jericho Library, Jericho NY. exc. prem. W107.72 4/10/05 Queens College Celebration of Lillian Hellman: HW; LJL, pno; perf I:7b&C +II:2#5a prem. P62.6 6/4/05 Bernstein/Blitzstein concert, Oceanside Chorale, Oceanside NY: Florence Consorte I:7b; Pam Levine I:7c; Bill Elia & chor III:9. W107.73 7/29-8/6/05 Bard Summerscape prod. Flannigan. Leon Botstein, cond.

5 perfs. Regina: Lauren

W107A. Show Time for Wallace (1948) included Blitzstein "material" probably nothing new. Also in 1948, MB arranged W107B "On Top of Old Smoky" for The People's Song Book, ed Waldemar Hille (NY: Boni & Gaer, 1948, p.33) and W107C "Dublin Street Song," sung by Muriel Smith, MB at the piano, Severance Hall, Cleveland 1/18/48 (see A64.). M31 Obit in 4-5/64 Sing Out! v.14 no.2 p.2 noted: "In the 1940s, Marc Blitzstein was one of the sponsors for People's Songs."

446 W108 Reuben Reuben W108. Reuben Reuben (1949-55) "A Comedy With Music" B25-6,60-72 aka urban folk opera in 2 acts (S,M,T,Bar,B + Actors,Chorus); R31-40 subject: the triumph of love over aphonia (& deathwish) in Little Italy, NYC; orchestrations: MB, Hershy Kay, Bill Stegmeyer. 1(Picc,Cl,ASax)-1(EH,cl,ASax)-1(Fl,BCl,TSax)-1 2-2-2-0 Timp&Perc Hp Pno/Cel 4-2-2-4-1. prem. 10/10/1955 Shubert Theatre, Boston. Compl. private recording: WSHS Tape 513A R5-7. Act I Sc. 1 1. Thank You (male solo). 2. Never Get Lost (solo or qt) Dmaj; m9th: C#-D.

MBS 2/68

Sc. 2 1. Tell It to Bart (male qt). 2. It's In the Cards (baritone solo). 3. Shave and a Haircut (male solo). Sc. 3 1. Song of the Arrow (female solo) [cadenza by Evelyn Lear, MtM p. 390]. 2. Cop's Lament (tenor solo). Sc. 4 1. Such a Little While (female solo) Eb maj; M9th: Eb-F. MBS 1/98 2. Have Yourself a Night (baritone solo). Sc. 5 1. San Gennaro (chorus) [re-used by MB in W116]. 2. With a Woman To Be (tenor solo) [re-used & extended, by MB, in W123] 3. The Hills of Amalfi (solo/male qt) orig. publ.: Gmaj; orig. perf.: Cmaj MBS 2/84 [P50 arr. à3: verse#1 in A, verse#2 in Bb] (orig. The Hills of Assisi). 4. Rose Song (bar. solo; danced by male-female duo) [2/1950 to Mina Curtiss--whose offer of platonic marriage MB declined in '53] Dmaj; 11th: A-D [P31: Ebmaj; Bb-Eb]. MBS 1/101 5. Miracle Song (solo + chorus) [cut] [arr. à2 1988, for P28] Eb maj 11th/13th: Bb-Eb/G. MBS 2/65 Sc. 6 1. Sleep (female solo) 2. Love at First Word (M-F duet) Eb maj; 11th (she: D-G; he: C-F). 3. The Spot (female solo) Bbmaj; 11th: A-D [w/opt. segue into I:7#1]

MBS 2/70 MBS 3/132

Sc. 7 1. Mystery of the Flesh (female solo) "quasi 'Viennese Waltz'": Bb maj 12th/14th: G-D (opt.F). MBS 3/137 2. Yeth, Yeth (trio)[orig. The Bulk of the Credit] [cut]; 3. Doin the Shebang [chorus] [cut]; 4. Two Little Girls [female duet] [cut].. 5. Thank You (reprise).

W108 Reuben Reuben 447 Act II

Sc. 1

Sc. 2 Sc. 3

Sc. 4

1. Moment of Love (chorus) [aka The Very Moment of Love]. 2. Dreamin Dreamin Dreamin [cut]. 3. Ballet [circus theme]. 4. There Goes My Love (male-female duet). 1. Be With Me (male solo) Dbmaj; m9th: C-Db. MBS 1/96 2. Mother of the Bridegroom (female solo). 1. Upstairsy (female solo) Cmaj; M9th: C-D. MBS 3/128 2. Musky and Whiskey [TBar duet] Gmaj; Cop: m7th A-G; Barfly: oct.:D-D. MBS 2/77 3. Hard to Say [male solo/duet] [cut; 4th verse found 2004] Gblues; oct.: D-D. MBS 3/126 4. Reuben Talks (male solo & chorus). 5. We Got a Pact (male duet). Monday Morning Blues (male solo) Cmaj; M9th: C-D. MBS 2/81

I:1#1&2, I:4#1&2, I:5#3(arr.à2&à3), I:6#1&2(ending), II:1#3, II:2#1, II:3#1, II:4 used in W123 compl. Chappell published II:4, I:5 #5, I:1 #2, I:5 #3, and II:2 #1 (in C). Also later [c.1970?], I:5#3 in The Chappell Collection of Great Theatre Composers, ed. Lee Snider. W108.0 preliminary notes & unused materials in sketches: W108.0.1 12/24/50: Howard Da Silva envisioned as [Bart] the bartender; Brenda Lewis or Priscilla Gillette or Mary Martin as [Nina] the girl; Alfred Drake or Jose Ferrer or Joe Wiseman as [Reuben] the guy. Bart: Take your revolution somewhere else. I'm busy. W108.0.2 3/54 list of 100 possible Reubens, incl.:1) Danny Kaye 2) Larry Parks 6) Eddie Fisher 9) Bob Fossey [sic: Fosse] 15) Larry Kert 17) Mont[gomer]y Clift 18) Rod Steiger 19) Joel Gray [sic: Grey] 21) Marlon Brando 22)Ted Uppman 23) Frank Sinatra. W108.0.3 n.d. Reuben's father committed suicide "after Bikini (when it became plain the atomic bomb was to be used, here to stay)." W108.0.4 I:5#2 Central Park (NYC); in W123 II:5Pt5 became Milford Park (Mass.). W108.0.5 I:5#3 "The Appenine Hills" - became "The Hills of Assisi"- became "The Hills of Amalfi". W108.0.6 I:5#4 intro & outro by Gutter Romeo & Gutter Juliet, her (underlined) lines [cut]: "Do yourself a favor - Git a hand-job." orig.: "I'd rather dance with a fairy" became "I'd rather dance with my baby brother." W108.0.7 I:5#5 "wonder of wonders, the right gender" became "no silly blunders, the right gender".

448 W108 Reuben Reuben W108.0.8 I:6#3 precursor to what became the opening to the seduction number, "The Spot": Bobilly: "Would you excuse us... There is a simple problem here: How to kill more men more easily. Science, politics, they must march together.... Shall I describe your future? You'll dwell in marble halls. Your talent knows no walls. By tending it and growing it, Extending it and showing it, Without your even knowing it, We'll have you by the --...Your lady you did woo. Just so will we woo you. We'll have you freshly groomed and plucked. In bed you will be tucked. We'll coddle you and court you, We will guide you and support you. We will woo you, woo you, woo you, Till you finally get ---" W108.0.9 I:7#1 "getting laid" became "who gets paid"; cut 2d verse: "It