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The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein.
The bulk of the material, discovered in a Warner Bros. warehouse in Secaucus, N.J., in 1982, was acquired from Betty Kern-Miller (the composer's daughter) between 1986 and 1990. Additional items were donated by Rodgers & Hammerstein, T.B. Harms, and John McGlinn, or purchased.
No further accruals are expected.
The Jerome Kern Collection was processed by Mark Eden Horowitz and Albert Tucker in 1995. The finding aid was originally created using Word Perfect 5.1 software. In 2002, Michael A. Ferrando coded and edited the finding aid for EAD format.
The status of copyright on the materials of the Jerome Kern Collection is governed by the Copyright Law of the United States (Title 17, U.S.C.).
The Jerome Kern Collection is open to research. Researchers are advised to contact the Performing Arts Reading Room prior to visiting. Many collections are stored off-site and advance notice is needed to retrieve these items for research use. The following paragraphs provide instructions for reproducing items in the Jerome Kern Collection:
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a) In the United States. For use in the United States, all of the Collection materials published prior to 1923 may be reproduced by Library patrons without the permission of the Estate and/or Trust. Any further uses of the materials are governed by U.S. copyright law;
b) In Foreign Territories. Any use of materials outside the United States is governed by the applicable copyright law of the territory in which such use occurs.
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Researchers wishing to cite this collection should include the following information: container number, Jerome Kern Collection, Music Division, Library of Congress, Washington, D.C.
The Jerome Kern Collection consists primarily of Show Music (Series I). The music in the collection includes a number of holograph sketches and scores, but the majority of the music is not in Kern's hand; however, much of this music does contain annotations by Kern.
Many of the music manuscripts are by Kern's orchestrators and arrangers. The full scores of Frank Saddler and Robert Russell Bennett are particularly well represented. Over fifty of Kern's shows are represented in the collection, from the 1906 shows
In a 1940 letter to Harold Spivacke, then Chief of the Music Division, Jerome Kern wrote of his plan to give a manuscript to the Library: "I shall be glad to send [the manuscript] on with no small amount of pride, not in the composition, but in its destination." The Library of Congress, in turn, is proud to count the Jerome Kern Collection among its holdings. The Library is particularly fortunate in the quantities of full scores and parts we have for what are considered Kern's most significant scores:
In addition, the Miscellaneous Music (Series II) is mostly comprised of copies of late songs by Kern. Many of these were songs that were cut from films, or written for unproduced projects. In some cases, lyrics were added to previously unused works after Kern's death. Apparently, most of this material came from the files of T. B. Harms, Inc. (Kern's publisher) and some appear to have been transcribed from recordings made by Kern. There are indications that these materials had been compiled to create a Jerome Kern revue in the 60's that Cheryl Crawford had considered producing.
All annotations in Kern's hand are not listed in this document. For instance, among the unacknowledged holographic annotations are a number of music manuscripts in the hand of a copyist or arranger, but on which Kern wrote the title. In cases where notes by Kern were particularly interesting or revealing, they have been transcribed as notes in this Guide. It may be helpful to know that Kern used the term "melos" to refer to underscoring, and the term "burthen" to refer to a chorus or refrain.
Songs preceded by an asterisk "*" were not composed by Kern. When a song title is followed by "#" and a number or combination of numbers and letters, that designation appears on all or most of the items listed below that title, indicating its position in the running order of the stage work. These numbers are supplied here for purposes of differentiating multiple versions of the same song title, or to indicate songs that at least appear to have made it into the rehearsal process for a production of the show. These numbers may also be helpful in differentiating between music used in various productions of the same show. When a portion of a song title is crossed through on the music, it is also crossed through in the Guide.
A number of people contributed to the organization, identification, and processing of this collection. Prior to the collection's coming to the Library, an enormous amount of work was done by Robert Kimball, John McGlinn and Alfred Simon. Mssrs. Kimball and McGlinn have been generous in their subsequent assistance, as has Gerald Bordman, whose book
Mark Eden Horowitz, 1994
The Jerome Kern Collection is organized in 3 series:
The Jerome Kern Collection consists primarily of Show Music (Series I). The music in the collection includes a number of holograph sketches and scores, but the majority of the music is not in Kern's hand; however, much of this music does contain annotations by Kern. Many of the music manuscripts are by Kern's orchestrators and arrangers. The full scores of Frank Saddler and Robert Russell Bennett are particularly well represented. Over fifty of Kern's shows are represented in the collection, from the 1906 shows
Note: there are 2 full sets of parts for
Note: a number of
The show music in the Kern collection has first been organized alphabetically by show title, and within each show, alphabetically by song title. The music has further been physically organized by type -- full scores, piano-vocal scores, and parts. When there is more than a box or two of music for an individual show, these various types of material have been boxed separately. In this way, researchers may request boxes of just full scores, or just piano-vocal scores, or just parts. In many cases, the full scores had to be housed separately because of their large size.
Ms. lyric sheet in pencil ; [1] p.
On t.p.: "Jerome D. Kern./Some where in England/Some time in 1905"
On t.p.: "(N.B. 'Show boat' on back.)"
On t.p.: "'Blue Eyes' go to p. 6"
Note: used in
Uniform title: Every day in every way
Uniform title: Every day in every way
Typed lyric sheet laid in ; [1] p.
Typed lyric sheet ; [1] p.
Includes: "#3b"
Uniform title: Act 2 scene 1
Uniform title: Act 2 scene 1
Uniform title: Act 2 scene 1
Includes: "She didn't say yes"
Uniform title: Act 2 scene 1
Includes: "One moment alone"
Includes: "A new love is old," "One moment alone"
Includes:
Note: Based on "I watch the love parade"
Includes: "Don't ask me not to sing"
Note: dropped from show, used later in
Note: this sketch material later used in
Includes:
Note: Included is an earlier version of "She didn't say yes" using a theme from "Act I scene I"
Includes: "I watch the love parade"
Note on original t.p. in Kern's hand
Photocopy of holograph 2-piano score ; 13 p.
Note: uses the same music as "Hh! cha cha!"
Includes: "The breeze kissed your hair"
Note: this is an excerpt from "Poor Pierrot"
Includes: "The night was made for love"
On t.p.: "This introduction is not in the mood of the song" [it was changed]
Includes: "One moment alone"
Includes:
Includes:
On t.p.: "Insert...p. 14 Act I scene I..."
Includes: "One moment alone"
Includes: "#10b"
Note: part of "Passionate pilgrim"
Includes: "One moment alone"
Note: see also p. 112 of printed piano-vocal score
Includes:
Includes: "One moment alone"
Photocopy of holograph piano-vocal score/sketch ; 8 p. + p. 3a
Includes: "One moment alone"
Includes: "A new love is old"
Photocopy of 1st 3 p. of above
Uniform title: She didn't say yes
Note: unidentifed sketch on back ; [1] p.
Note: originally titled "I'll be remembering you"
Uniform title: Try to forget
Note: verse is "The breeze kissed your hair"
Note: various sketches, "Canzonetta" written for
Note: the section marked "Save this" became "I'm alone" from
Includes: "Try to forget"
Note: includes lyric for cut song "Misunderstood"
Ms. sketch in pencil on back ; [1] p.
Includes: "Walking home with Josie"
Note: unidentified sketch in pencil on back page
Uniform title: Finaletto
Note: combines "Journey's end" and "He is the type"
Note: "Natural born" in pencil before title
Note: originally "Shimmy with me" from
Note: originally "Shimmy with me" from
Typed lyric sheet ; [1] p.
Music by Leo Edwards, lyric by Irving Caesar
Lyric by P.G. Wodehouse; originally from
Uniform title: No one knows
Note: lyric changes in pencil on back for 2 different numbers
Note: listed in program as "Like the Nymphs of Spring"
Includes:
Uniform title: Bread and butter encore
Uniform title: Cinderella dance encore
Includes: "Encore to 'Flap-a-doodle-doo'"
Uniform title: Flap-a-doodle-doo 2nd encore
Note on p. 7: "use red ink notes for overture only"
Note: assemblage of orchestra scores to be used for "Overture." Scores by Charles N. Grant, Maurice B. De Packh, and others
Includes: "Desert trio part II"
Uniform title: Rose of delight
Note: listed in program as "I love my little Susie"
Includes: "Overture 'Susie'"
On back of p. 19: ms. full score in pencil of "Encore"
Note: pages are renumbered 7-13 and serve as insert to "Will you -- won't you,"
Note on p. [7] in Kern's hand: "Where in blazes is the bloody rest of this?"
Includes: "All lanes must reach a turning"
Note: Kern has crossed out title "Come along," and written in "Genevieve + men act II" on cover. This number appears to have been derived from "The language of love." Also, intended as "Come along" for
Uniform title: Genevieve and men
Lyric for "Tamaran" by Noel Coward, "Gypsy caravan" by Howard Dietz
Note: mention on p. [6] of title "Hitch your wagon to a star"
Typed lyric sheet with annotations laid in ; [1] p.
Typed lyric sheet ; [1] p.
Note: derived from "Melodia a tre" and "Cretonne" from
Note in Kern's hand on p. 6: "And so opening choruses are conceived"
Carbon of typed lyric sheet, annotations in Kern's hand in pencil ; [2] p.
Includes: "If you think it's love, you're right"
Uniform title: Weeping willow tree
Uniform title: Weeping willow tree
Note: once titled "Caprice"; appears to have been written prior to
Note: corresponds to middle section of "Genevieve and men" (box 12, folder 11)
Note: p. 13-17 corresponds to "New finale act I" sketch (box 12, folder 17)
On back: sketch in pencil, melody only
Includes:
Lyric by Harry B. Smith
Lyric by M. E. Rourke
Lyric by C. H. Bovill
Photocopy of above ; [1] p.
On back: Kern notes and sketch in pencil
Mimeograph of typed lyric sheet ; [1] p.
Includes:
Includes:
Note: this number became "Good morning, dearie"
Includes original lyric of "Rosy Ruby"
Note: butterfly symbol in top left corner means once intended for
Uniform title: Machine music
Typed lyric sheet ; p. 11
Includes: "My lady's dress"
Carbon of typed lyric sheet laid in ; p. 2
Carbon of typed lyric sheet ; p. 7
Uniform title: Vorderveele
Includes:
Note: this number was probably intended for
Carbon of typed lyric sheet, annotations in ink ; [1] p.
Includes:
On back: ms. sketch in pencil ; [1] p.
Uniform title: When your favorite girl's not there
Includes:
On back: holograph sketch in pencil ; [1] p.
Mimeograph of typed lyric sheet ; [2] p.
On t.p.: "Refrain for 'Simple little tune'"
Music by Jerome Kern and Harry Ruby
On back: ms. sketch in pencil ; [1] p.
Note: instructional note laid in
Typed lyric sheet, annotations in pencil ; [1] p.
Music by Harry Ruby
Music by Gus Edwards
Includes: "The treasure hunt" by Kalmar and Ruby and Kern
Music attributed incorrectly to Kern
Music attributed incorrectly to Kern
Includes:
Note: see "New finale act I" for missing pages
Music by Harry Ruby and Jerome Kern
Note: no p. 21 because of mis-numbering
Music by Jerome Kern and Harry Ruby
By Kalmar and Ruby and Kern
Note: p. 1 water damaged
By Kalmar and Ruby
Note: for Paul Whiteman's band
Note: corresponds to beginning of "Finale act I" piano-vocal score
Music by James Thornton
Music by Jerome Kern and Harry Ruby
Note: includes missing pages from "Finale act one"
Based on Harry Ruby's "The same old moon"
Music by Harry Ruby and Jerome Kern
Includes:
Includes:
Includes music that became "Life upon the wicked stage" in
Music by Harry Ruby
By Otto Harbach, Bert Kalmar and Harry Ruby
Music by Nora Bayes and Jack Norworth
Music by Harry Ruby
Uniform title: Strawberry's dance
Carbon of typed lyric sheet ; [1] p.
Uniform title: That little something
Includes: "Dance refrain -- that little something"
Music by A.B. Sloane
Music by Dr. Robert Katscher
On front: unidentified sketch in pencil ; [1] p.
Includes:
Includes:
Note: On back [We want to laugh] : Song: Bessie McCoy & girls: typed page from
Includes:
Note: this full score may have been intended for
Note in Kern's hand: "Duet. (Elsie & Dick)" [indicating usage in
Includes: "We belong together"
Includes "Goat song," or, "Goat music"
At end: "Segue Boy No."
Note: first written for
Uniform title: On the bummel
Uniform title: On the bummel
On back: various cues in pencil
Uniform title: On the bummel