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viii | |
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ix | |
Foreword |
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xi | |
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Acknowledgments |
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xv | |
Editor's Introduction |
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1 | (8) |
THE AUTOBIOGRAPHY OF ROBERT RUSSELL BENNETT |
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Prologue ``Irving Berlin and I''; musical snobbery; The Lady with the Red Dress; Abram Chasins and ``talent''; publisher Max Dreyfus |
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9 | (4) |
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The Bennett family tree; poliomyelitis and other childhood memories; moving from Kansas City to a Freeman, Missouri, farm; a boyhood of music and baseball |
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13 | (16) |
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Growing up in Freeman; high school graduation; early experiences with girls; the Bennetts return to Kansas City; playing for vaudeville and silent films; study with Carl Busch |
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29 | (13) |
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To New York, 1916; employment as copyist and arranger; Winifred Merrill's Musical Autograms; Army service during World War I; courtship and marriage to Louise Merrill; arranging at Harms, Inc.; incidental music for Shakespeare and the Barrymores; collaborations with Kern, Gershwin, et al.; an astrologer's guidance |
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42 | (41) |
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To Paris, 1926; lessons with Nadia Boulanger; beginning of a long association with Richard Rodgers |
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83 | (14) |
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Rodgers and Hart in London; Show Boat and Helen Morgan; Princess Charming and other London productions; a Guggenheim Fellowship; RCA's $25,000 composition contest; Paris, Berlin, and the Bennetts' return to New York; Vinton and Freedley; Gershwin and Girl Crazy |
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97 | (21) |
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To Hollywood, 1930; two prizes from RCA; Leopold Stokowski; Oscar Hammerstein II, Irving Caesar, and other lyricists; Dietz and Schwartz; with Fritz Kreisler in Vienna; Maria Malibran staged at Juilliard; Sigmund Romberg; Henry Hadley and the NAACC |
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118 | (33) |
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Hollywood beckons again: Show Boat (1936); Gershwin and Kern's Shall We Dance, Swing Time, A Damsel in Distress; some late 1930s compositions---Hollywood, Eight Etudes, Enchanted Kiss; an encounter with Stravinsky; a bounty of band music for the 1939--40 New York World's Fair; Alfred Wallenstein; Louis and Annette Kaufman; returning to New York |
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151 | (25) |
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Russell Bennett's Notebook (1940) and other adventures in network radio; Joseph Schillinger; A Symphonic Picture of ``Porgy and Bess''; Oklahoma!; Carmen Jones and Billy Rose; Stars of the Future (radio); Carousel; Annie Get Your Gun; Carnegie Hall (film); the Goldman Band; Helen Keller; Marian Anderson; Robert Shaw |
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176 | (32) |
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Victory at Sea: arrangements for Arthur Fiedler; Oklahoma! on film; American Wind Symphony; Project 20 and NBC Television; My Fair Lady; Overture to an Imaginary Drama; Bells Are Ringing; Flower Drum Song; Marc Blitzstein's Juno |
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208 | (27) |
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The Sound of Music; Camelot; Cinderella; On a Clear Day You Can See Forever; Lincoln Center revivals, 1966 (Annie Get Your Gun and Show Boat); Mata Hari |
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235 | (5) |
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Remembrances: Irving Berlin, Vincent Youmans, Cole Porter, Richard Rodgers, Jerome Kern |
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240 | (19) |
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``The Bohemians''; Georges Enesco; Symphony #7 for Fritz Reiner; a collaboration with Rachmaninov; moving to the Warwick Hotel; some 1970s compositions |
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259 | (64) |
EDITOR'S EPILOGUE |
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273 | (6) |
EIGHT SELECTED ESSAYS |
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Orchestrating for Broadway (1933) |
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279 | (5) |
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Orchestration of Theatre and Dance Music (late-1930s) |
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284 | (9) |
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Backstage with the Orchestrator (1943) |
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293 | (4) |
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A Pretty Girl Is Like a Melody (1944) |
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297 | (4) |
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Eight Bars and a Pencil (1947) |
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301 | (4) |
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All I Know about Arranging Music (1949) |
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305 | (12) |
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On Writing Harp Music (1954) |
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317 | (3) |
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Fools Give You Reasons (1967) |
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320 | (3) |
Afterword: A Tribute |
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323 | (2) |
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Appendix A: Selected Compositions |
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325 | (4) |
Appendix B: Selected Concert Arrangements |
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329 | (4) |
Appendix C: Selected Stage and Film Credits |
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333 | (3) |
Appendix D: Selected Discography |
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336 | (6) |
Bibliography |
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342 | (3) |
Index |
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345 | |