Loverly:The Life and Times of My Fair Lady (Broadway Legacies) (49 page)

141/3: Middle of Ascot (untitled) (1p, piano score with instructions; possible Loewe score; music depicts the entrance of Higgins)

141/3: Ascot Gavotte Reprise (1p, photocopy of Rittmann’s score with pencil annotations)

141/3: Gavotte (9pp, copyist’s piano-conductor score, original version of ending/ second verse)

141/3: Ascot Gavotte Reprise (1p, photocopy of Rittmann’s score with pencil annotations; at bottom is the original end of scene)

141/3: End of Ascot (untitled) (1p, Rittmann’s piano score; cut)

141/5: Ascot Gavotte (7pp, choral score; includes extra verse which was later cut)

141/6: I’ve Grown Accustomed to Her Face (33pp, copyist’s full score)

141/7: Ballroom Intro + Continuation (5pp, Lang full score; original version)

141/7: Ballroom Intro (4pp, conductor’s short score; First page in Bennett’s hand, other three in unknown hand)

141/8: Changes of scene: 4a, 5a, 6a, 10a and 23 (copyist’s full scores)

142/1: Come to the Ball (27pp, Bennett’s full score)

142/1: Intro to Dress Ballet (2pp, Lang’s full score)

142/3: Come to the Ball (16pp, copyist’s conductor’s score; includes dance section)

142/3: Come to the Ball (12pp, copyist’s piano score; includes early version of transitional section)

142/5: Dress Ballet (34pp, Bennett’s full score)

142/6: Intro to Dress Ballet (1p, copyist’s version of conductor’s v score)

142/6: Dress Ballet (14pp, photocopy of Rittmann piano score)

142/7: Intro to Dress Ballet (1p, Rittmann’s piano score)

142/7: Dress Ballet (14pp, Freda Miller’s photocopy of Rittmann piano score (ann.)

142/7: Dress Ballet (16pp, annotated photocopy of Rittmann piano score; contains final pages at end which represent a revision)

143/2: The Embassy Waltz (24pp, Bennett’s full score, crossed out; early version)

143/4: Embassy Waltz (7pp, copyist’s piano score)

143/4: Embassy Waltz (10pp, photocopy of Loewe/Rittmann piano score with completely new Rittmann ending)

143/5: End of Gavotte and Blackout (6pp, copyist’s full score)

143/6: Finish of Entr’acte (5pp, Lang’s full score)

143/6: Entr’acte (28pp, copyist’s full score)

143/8: Entr’acte (3pp, Rittmann’s piano score (ann.))

143: The Embassy Waltz (13pp, copyist’s conductor’s short score)

144/1: Exit Music (29pp, copyist’s full score)

144/3: Fainting Music (Instrumental parts for early version of the end of the Ascot scene)

144/5: End of Finale (Recording only) “Fair Lady” (6pp, Bennett’s full score, as used on the Original Broadway Cast album)

144/6: Intro to Finale One/Finale One (1p + 11pp, copyist’s version of conductor’s short score)

144/7: Finale Ultimo (5pp, Rittmann’s piano score for the end of the show [ann.])

145/1: Get Me to the Church On Time (47pp, Copyist’s full score)

145/1: Church (old) version (29pp, Lang’s full score of original version of “Get Me to the Church on Time”)

145/3: Get Me to the Church II (2pp, choral arranger’s score)

145/4: Church On Time Dance (11pp, Rittmann’s piano score)

145/4: Church on Time Dance (8pp, photocopy of Rittmann’s piano score [ann.])

145/5: Get Me to the Church on Time (6pp, copyist’s piano-vocal score; annotations by Rittmann indicating how the dance music is to be created) 145/Unnumbered folder: Get Me to the Church on Time (Utility) (9pp, Lang’s full score)

146/1: A Hymn to Him Utility (10pp, Lang’s full score for utility)

146/1: A Hymn to Him (30pp, copyist’s full score)

146/4: Hymn Continued and Scene Change (4pp, copyist’s conductor’s short score of final verse of “A Hymn to Him” and the scene change)

146/4: A Hymn to Him (10pp, Loewe/Rittmann piano score, with some annotations. Loewe’s handwriting on the lyric, but Rittmann’s on the music.)

146/4: A Hymn to Him (10pp, photocopy of Loewe/Rittmann piano with annotations)

146/4: A Hymn to Him (18pp, copyist’s score in two parts, with pp. 13–18 stuck on end; contains earlier version of lyric)

146/5: I Could Have Danced All Night (utility) (10pp, Lang full score for utility)

146/5: I Could Have Danced All Night (21pp, copyist’s full score)

146/6: I Should Have Danced All Night (copies of the Reed parts for “I Could Have Danced All Night”—Reeds 1 and 2 use “Should” in the title, but Reed 3 has “Could”)

146/7: Bridge after Prayer (1p, viola part; stuck on back of viola part for different number

146/8: I Want to Dance All Night (14pp, copyist’s score; Loewe has written the title on in pencil)

146/8: I Could Have Danced All Night (12pp, Copyist’s Score)

147/2: Say a Prayer for Me Tonight (3pp, copyist’s score)

147/5: I’ve Grown Accustomed to Her Face (16pp, copyist’s piano-vocal score; original version, includes “Gay Females’’ singing “Without You,” comments by Rittmann, and small note on final page “Danced All Night in B Flat, low and pretty, by FL”)

147/3: Intro to Accustomed (3pp, Rittmann’s piano score for final version of start of song, but title page in Loewe’s hand)

147/5: I’ve Grown Accustomed to Her Face (16pp, copyist’s piano-vocal score)

147/6: I’ve Grown Accustomed to Her Face (2pp, copyist’s choral score)

148/1: Reprises (7pp, original orchestration for the double reprise and Freddy’s verse of Show Me; all Bennett)

148/1: Just You Wait (17pp, copyist’s full score)

148/2: Yost Jew Wait (1p, percussion score)

148/3: Just You Wait (7pp, copyist’s piano score of original version)

148/3: Intro to Reprise of Just You Wait (2pp, Rittmann’s piano-vocal score [ann.])

148/3: Street Reprise (2pp, Rittmann score on p.1; second page includes Loewe manuscript)

148/3: Just You Wait (8pp, copyist’s score [ann.])

148/4: Just You Wait (Reprise) (3pp, copyist’s full score)

148/6: On the Street Where She Lives (41pp, Lang’s full score; complete original version of song, including different verse)

148/8: On the Street Where She Lives (7pp, copyist’s piano-vocal score)

149/1: Ordinary Man (36pp, copyist’s full score)

149/2: Street Where You Live (Reprise) (8pp, copyist’s full score)

149/3: Opening Act 1 (6pp, Rittmann’s autograph piano score, early version)

149/5: Overture (6pp, Rittmann’s score, early version)

149/6: Overture and Opening (35pp, copyist’s full score)

150/1: Promenade (11pp, Bennett/Lang full score with notes and missing pages)

150/1: Promenade (10pp, Lang’s full score of original music)

150/3: The Pygmalion Waltzes (9pp, photocopy of Loewe/Rittmann’s piano score with annotations)

151/1: The Rain in Spain (14pp, copyist’s full score)

151/3: Dance: Rain in Spain (2pp, photocopy of Rittmann’s piano score)

151/5: Say a Prayer for Me Tonight (10pp, Jack Mason’s full score)

151/5: Bridge after Prayer (2pp, Bennett’s full score)

151/10: Servants (4pp, Loewe and Rittmann score; contains a lyric sheet titled “Servants”)

151/10: Servants (8pp, copyist’s choral score; contains an extra verse)

152/1: Show Me (12pp, copyist’s full score)

152/3: Show Me (front cover) (1p, Bennett’s piano score cover; contains notes indicating how the double reprise into “Show Me” is to be created)

152/5: (New) Waltz (11pp, Rittmann’s piano score [ann.])

152/6: English (Utility) (5pp, Lang’s full score)

152/8: The English (10pp, Intermediate version of “Why Can’t The English”; mixture of Loewe, Rittmann, and copyist’s score)

152/8: Why Can’t the English (10pp, old version of the song with some additions/ appendages)

152/8: Why Can’t the English (10pp, copyist’s score)

153/6: End of Without You (1p, Rittmann’s piano score for the end of the number)

153/1: With a Little Bit of Luck (18pp, copyist’s full score)

153/4: With a Little Bit of Luck Reprise (10pp, copyist’s full score)

153/5: Without You (13pp, copyist’s full score)

153/7: Without You (11 p + loose insert, copyist’s vocal score + one page of Rittmann/unknown hand)

153/7: Without You (RRB) (7pp, copyist’s conductor’s short score [ann.])

153/7: Without You (11pp, copyist’s piano score)

154/1: Without You—You Did It (23pp, Lang’s full score, original version)

154/3: Wouldn’t It be Loverly Utility (10pp, full score in unknown hand)

154/3: Wouldn’t It Be Loverly (22pp, copyist’s full score)

154/4: Flower Market (7pp); Rittmann piano score of “Flower Market” (3pp); Rittmann piano score of pre-Processional Music to Embassy Waltz (2pp); sketches in unknown hand (2pp)

154/5: Loverly (11pp, choral score)

154/5: Wouldn’t It be Loverly (6pp, copyist’s piano score)

154/5: Wouldn’t It Be Loverly (1p, choral score)

154/5: Wouldn’t It Be Loverly (1p, choral arranger’s draft choral score)

155/1: You Did It (44pp, copyist’s full score)

155/3: You Did It (23pp, copyist’s piano-vocal score, original version of number)

155/4: You Did It (Choral Score) (8pp, copyist’s chorus score, original version)

Wisconsin Historical Society

Herman Levin Collection (By Box/Folder Numbers):

19/10–12: Advertising Reports

20/1–4: Advertising Reports

20/5—23/1–4: Box Office Statements

23/5: Casting miscellany

23/6: Clippings 1956–65

23/7: Crew

23/8: Dancers

23/9: Principals

24/1: Singers

24/2: Staff

24/3: Theatres

24/4: Actors Equity correspondence

24/5: Julie Andrews correspondence

24/6: Bankers Trust Co. correspondence

24/7: Cecil Beaton correspondence

24/8: CBS correspondence

24/9: Pamela Charles correspondence

24/10: Chorus and crew correspondence

24/11: Columbia Records correspondence

24/12: Commercial rights correspondence

24/13: Costumes correspondence

24/14: Dramatists’ Guild correspondence

25/1: Equipment correspondence

25/2: Abe Feder and Joe Davis correspondence

25/3: Foreign correspondence

25/4: Form letters and memoranda

25/5–6: General correspondence

25/7: Rex Harrison correspondence

25/8: Moss Hart correspondence

25/9: Stanley Holloway correspondence

25/10: Hanya Holm correspondence

25/11: Sally Ann Howes correspondence

25/12: Richard Lamarr correspondence

25/13: Legal correspondence

25/14: License Renewal correspondence

26/1: Miscellaneous correspondence

26/2: Edward Mulhare correspondence

26/3: Musicians and conductor correspondence