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Bach, Steven. Dazzler: The Life and Times of Moss Hart. New York: Knopf, 2001.
Barrios, Richard. A Song in the Dark: The Birth of the Musical Film. New York: Oxford University Press, 1995.
Beaton, Cecil. Cecil Beaton’s Fair Lady. London: Weidenfeld and Nicolson, 1964.
Beaton, Cecil. The Restless Years: Diaries 1955–63. London: Weidenfeld and Nicolson, 1976.
Bennett, Robert Russell. The Broadway Sound: The Autobiography and Selected Essays of Robert Russell Bennett. Edited by George J Ferencz. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 1999.
Block, Geoffrey. Enchanted Evenings: The Broadway Musical from “Show Boat” to Sondheim and Lloyd Webber. New York: Oxford University Press, 1997; rev. ed., 2008.
Block, Geoffrey. Richard Rodgers. New Haven, CT: Yale University Press, 2003.
Brahms, Caryl, and Ned Sherrin. Song by Song: 14 Great Lyric Writers. London: R. Anderson Publishers, 1984.
Buckle, Richard, ed. Self-Portrait with Friends: The Selected Diaries of Cecil Beaton. London: Pimlico, 1981.
Bush Jones, John. Our Musicals, Ourselves: A Social History of the American Musical Theatre. London: Praeger, 2003.
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Carter, Tim. Oklahoma! The Making of an American Musical. New Haven, CT: Yale University Press, 2006.
Castle, Charles. Noël. London: W. H. Allen, 1972.
Citron, Stephen. The Wordsmiths: Oscar Hammerstein 2nd and Alan Jay Lerner. New York: Oxford University Press, 1996.
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ARCHIVAL MATERIAL CONSULTED
Library of Congress, Washington DC:
Frederick Loewe Collection (by box/folder number):
5/1: Ascot Gavotte (3pp, Loewe autograph)
5/2: Come to the Ball (4pp, Loewe autograph)
5/3: Come to the Ball (11pp, Ozalid of copyist’s piano-vocal score, ann. in pencil)
5/4: Dear Little Fool (1p, Loewe autograph; lead sheet, no lyric)
5/5: Finale Act 1/(Procession—Embassy Waltz) (8pp, Loewe autograph)
5/6: Entr’acte (8pp, Loewe autograph)
5/7: Flower Market (5pp, Loewe autograph)
5/8: Get Me to the Church on Time (4pp, Loewe autograph)
5/9: A Hymn to Him (13pp, Loewe autograph)
5/10: I Could Have Danced All Night (inside cover: crossed out pp. 3–4 of early version of “Why Can’t the English?”) (7pp, Loewe autograph)
5/11: I’m an Ordinary Man (13pp, Loewe autograph)
5/12: I’ve Grown Accustomed to Her Face (13pp, Loewe autograph)
5/14: Just You Wait (8pp, Loewe autograph)
5/15: Lady Liza (1p, lead sheet); Liza—counterpoint (2pp, lead sheet) (Loewe autographs)
5/16: On the Street Where She Lives (inside cover: crossed out pp. 7–8 of early version of “Why Can’t the English”) (7pp, Loewe autograph)
5/17: Overture (2pp, Loewe autograph)
5/18: Please Don’t Marry Me (lead sheet) (3pp, Loewe autograph)
5/19: The Pygmalion Waltzes (Embassy Waltz) (7pp, Loewe autograph)
5/20: The Pygmalion Waltzes (4pp, Photocopy of copyist’s autograph piano score with ann. in pencil)
5/21: The Rain in Spain (5pp); The Servants’ Chorus (2pp) (Loewe autographs)
5/22: Show Me (inside cover: crossed out pp. 5–6 of early version “Why Can’t the English?”) (7pp, Loewe autograph)
5/23: Shy (3pp, Loewe autograph); Shy (4pp, Rittmann arrangement, Latin version)
5/24: There’s a Thing Called Love (lead sheet; typed lyric sheet laid in) (2pp, Loewe autograph)
5/25: What Is a Woman? (lead sheet) (1p, Loewe autograph)
5/26: Why Can’t the English? (inside cover: crossed out pp. 1–2 of early version of the same song, Rittmann arrangement) (10pp, Loewe autograph)
5/27: With a Little Bit of Luck (6pp, Loewe autograph)
5/29: Without You (7pp, Loewe autograph)
5/30: Wouldn’t It be Loverly? (5pp, Loewe autograph)
5/31: You Did It (23pp, Loewe autograph)
8/20: Limehouse (melody without lyric) (1p, Loewe autograph)
8/27: Over Your Head (melody without lyric) (1p, Loewe autograph)
8/36: The Son of the Wooden Soldier (1941); lyrics by John W. Bratton (5pp, published piano-vocal score)
8/37: There’s Always One You Can’t Forget (melody without lyric) (1p, Loewe autograph)
8/40: The Undeserving Poor (sketch) (1p, Loewe autograph)
8/44: What’s to Become of Me? (lead sheet; “There’s Always One” written below) (1p); Say Hello For Me (lead sheet without lyric) (1p); “What’s To Become of Me?” (sketches) (1p) (Loewe autographs)
8/45: Who Is the Lady? (lead sheet without lyric) (1p, Loewe autograph)
9/2: Say a Prayer for Me Tonight (sketch) (1p, Loewe autograph)
9/9: Who Is the Lady? (lead sheet) (1p, Loewe autograph)
9/10: Say a Prayer for Me Tonight (sketches)
Warner-Chappell Collection (By Box/Folder Number):
141/1: End of Ascot (1p, Bennett’s full score for original end of scene)
141/1: New 24 (2pp, Lang’s score for change of scene)
141/1: Ascot Gavotte (16pp, Copyist’s full score)
141/1: Ascot Gavotte (9pp, Freda Miller’s dance pianist’s piano score: mixture of copyist’s score and Rittmann’s score for the dance; intermediate stage of number)
141/1: Ascot Gavotte (3pp, photocopy of Rittmann’s piano score for ‘Intro to Gavotte’ with pencil annotations)
141/3: Intro to Gavotte (2pp, photocopy of Rittmann’s piano score (ann.))
141/3: Ascot Gavotte (7pp, copyist’s score plus Rittmann’s score (ann.); final version)
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 La
dy” (6pp, Bennett’s full score, as used on the Original Broadway Cast album)
Loverly:The Life and Times of My Fair Lady (Broadway Legacies) Page 32