Read Loverly:The Life and Times of My Fair Lady (Broadway Legacies) Online
Authors: Dominic McHugh
Tags: #The Life And Times Of My Fair Lady
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