Processed by Fern Kant, Chana Mlotek and Ettie Goldwasser thanks to a grant from the Eli and Edythe Broad Foundation. Additional processing by Rachel S. Harrison as part of the Jewish Performing Arts Digital Archive Initiative.
YIVO Institute for Jewish Research©2013 YIVO Institute for Jewish Research.
All rights reserved. Electronic finding aid was encoded in EAD 2002 by Rachel S. Harrison in April 2013. EAD customized in ARCHON in 2013. Description is in English.
Title: Guide to the Records of the Hebrew Actors' Union 1874-1986 (bulk 1920-1970) RG 1843
Predominant Dates:(bulk 1920-1970)
ID: RG 1843 FA
Extent: 72.3 Linear Feet. More info below.
Arrangement:
The correspondence has been arranged in three groups, each of which has been arranged alphabetically. The financial records are in loose groupings by document type and content and are also somewhat chronologically ordered and the newspaper clippings are in chronological order. Plays and music are not arranged. The photographs have been arranged alphabetically by the name of the individual, when known. Personal names of correspondents, journal titles, organization names, and play and song titles have been transliterated. Yiddish names have been transliterated according to YIVO standards except when the individual is known in English by another spelling. Additionally, if the name appeared in Latin letters anywhere within the folder, that spelling was used rather than a standard transliteration. Often, individual names appear in several different spellings and versions within a single folder or a series of correspondence is addressed to multiple people or organizations. When this is the case, multiple names are listed, divided by a slash mark. Thus, a folder is labeled Rosenfeld/Rosenfield, Rashel/Rachel when both the individual’s first and last name are variously spelled. Another folder is labeled Steinberg, Samuel/Odeon Theatre, indicating correspondence addressed to both the individual and the theater, while another folder labeled Grossman, Joseph/Kasten, Lewis has correspondence addressed to both individuals.
The box and folder numbers start over again at 1 for each series and subseries. The folder numbers for the correspondence and the financial records and other administrative materials continue from one box to the next, while the folder numbers for the plays, music scores and audiovisual and memorabilia materials start over again at 1 at the beginning of each new box. Box numbers consist of series number, and subseries number for Series I, and box number within that series and subseries. Thus, the first box in Series I, subseries 1 is I-1:1 and the first box in Series II is II:1. The collection has been divided into four series with the first series further divided into subseries.
This collection contains the administrative records of the Hebrew Actors’ Union (HAU), the professional union of Yiddish theater performers, which was based in New York City. Materials include correspondence, membership materials, financial records and members’ dues information, meeting minutes, and a great deal of sheet music and play scripts of performances from the Yiddish theater. A majority of these performances were in New York City, but there are also materials from Philadelphia, Chicago, Boston, Toronto, and Montreal, as well as various locations in Israel and South America.
This collection consists of the administrative records of the Hebrew Actors’ Union and relates to the professional lives of celebrated actors, producers, directors, and playwrights, as well as materials concerning several Yiddish theaters in New York and in other cities. The materials include hundreds of music scores, dozens of play scripts and thousands of pieces of correspondence with numerous individuals, theaters, unions, and other organizations. There are also dues ledgers and other financial materials, such as receipts, invoices, contracts, and salary and payment agreements, membership address cards, election ballots, theater programs and posters, administrative records and reports, a handwritten Yiddish ledger of minutes of regular monthly business meetings and special annual meetings from 1938-1947, meeting notices, press releases, awards, paintings, banners, photographs, souvenir journals, and newspaper clippings. Many of the materials are in fair condition, although much of the collection is brittle and torn and some of the collection, particularly the music scores, is extremely fragile and should only be handled carefully.
The collection contains correspondence from many of the great stars of the Yiddish stage, including Celia Adler, Julius Adler, Stella Adler, Ben Bonus, Max Bozyk, Joseph Buloff, Pesakh Burstein, Fyvush Finkel, Leo Fuchs, Aaron Lebedeff, Shifra Lerer, David Medoff, Bessie Mogulesko, Fraidele Oysher, Molly Picon, Ludwig Satz, Maurice Schwartz, Herman Yablokoff, and Sheftel Zak, among many others. There is also a great deal of correspondence, as well as financial records, from various theater and labor organizations, unions, and publications, including Actors’ Equity, AFL (American Federation of Labor), AFTRA (American Federation of Television and Radio Artists), Associated Actors and Artistes of America, Jewish Daily Forward , the Hebrew Immigrant Aid Society, the Society of Jewish Composers, Publishers and Songwriters, the Workmen’s Circle, and the Yiddish Theatrical Alliance, among others.
Additionally, there is a bust of Boris Thomashefsky and a bust of Harry Rothpearl, the president of the Yiddish Theatrical Alliance, as well as props and costumes in YIVO’s off-site storage and 7 linear feet of materials that have not been processed. These materials have not been factored into the linear extent of the collection.
Historical Note The Hebrew Actors’ Union (HAU), which was the first theatrical union in the United States, was originally founded in New York City in 1888. Shortly afterwards, the Hebrew Actors’ Union, along with the Yiddish Writers’ Union, the Theater Chorus Union and two branches of the Socialist Labor Party, founded the United Hebrew Trades (UHT) on October 9, 1888. The HAU then led an October 21, 1888 strike by actors from Poole’s Theatre and the Oriental Theatre as a protest against unstable working conditions, after which the striking actors, chorus singers and other strikers opened a cooperative theater under the supervision of the United Hebrew Trades. However, the Hebrew Actors’ Union was ultimately thrown out of the UHT because the actors did not receive regular wages, but rather a percentage of the income, so the HAU members were considered capitalists and not true workers by the other UHT members. The Union continued on, mainly reforming to organize strikes against the theaters’ managers and owners and then effectively disbanding after each strike was over.
During a December 1899 strike by the actors at the People’s Theatre against the managers, Jacob Adler, Boris Thomashefsky and Joseph Edelstein, the United Hebrew Trades sent Jewish labor leader Joseph Barondess to organize the actors and reorganize the Union. After a few weeks, Thomashefsky recognized the Union and the strike ended. Barondess helped to reform the Hebrew Actors’ Union, aiming to improve the working conditions for actors in the Yiddish theater and to provide an infrastructure for the Yiddish theaters on Second Avenue. The Hebrew Actors’ Union Local 1 received its charter on December 31, 1899, and soon started collecting dues and holding weekly meetings. In addition, the actors also began to receive wages, rather than a percentage of the profits. Local 2, the union for Yiddish theater actors outside of New York City, was founded in March 1902. The two Local branches, along with a separate union for Yiddish vaudevillians and variety actors, also founded in March 1902, merged in 1922, under the direction of Reuben Guskin, then the manager of the HAU.
Before the HAU’s formation, the working conditions for Yiddish theater actors were quite precarious. Actors could be fired without notice, and received commissions based upon the success of the performance and their individual popularity instead of receiving regular salaries. They were not compensated for their rehearsal time, worked seven days a week and were often treated quite poorly by theater managers. In his memoirs, Boris Thomashefsky admitted that before the founding of the Union, ordinary rank and file actors, as opposed to the great stars of the Yiddish stage, were in the same category as non-unionized factory workers and during strikes or protests “scabs” were brought in from elsewhere to replace these actors.
The HAU combated this exploitation by setting rules for working conditions, fair wages and payment schedules. It kept non-Union actors out of productions in which Union members appeared, established a fund to support old and sick members, assisted striking unions that operated under the aegis of the United Hebrew Trades, and was closely affiliated from its beginning with the American Federation of Labor (AFL) and with the general and Jewish labor movement. The Hebrew Actors’ Union also instituted current concepts in labor theory, such as striking to achieve policy changes and instituting a set pay scale in which members received a guaranteed minimum salary for appearances regardless of the production’s loss or profit. Periodically, a theater was forced to close when it could not afford to pay the high salaries of the actors and the other theater workers, such as musicians, advertisers and ushers, which the Union also helped to organize.
The Union had a great deal of power over its members, as well as over the Yiddish theater establishment. It determined which theaters actors could perform in and how prominently they would be billed on theater marquees. The more successful actors performed in New York on Second Avenue, where there were 14 Yiddish theaters at one time, while less successful actors were kept on a touring circuit, mainly the New York and New Jersey suburbs but sometimes as far away as the mid-west and Canada. The Union required that theater managers employ a certain number of Union actors and pay Union wages, regardless of the actors’ abilities or the theater managers’ preferences and often threatened to have actors strike in order to enforce its decisions.
The HAU was often accused of having a “closed-shop policy”, being closed to any new members, a charge they disputed, although they did admit that the audition process was incredibly rigorous, with applicants being required to pay $75 to apply and to audition before existing Union members. Notable actors including Maurice Schwartz, Stella Adler and Pesakh Burstein failed their original auditions. Dues and initiation fees were very high but, once new members were admitted, they were guaranteed a higher minimum salary and a higher payment for extra performances beyond the required nine shows a week.
Many of the policies enacted by the HAU, including salary increases for actors, compensation for the actors when they traveled, increased paid sick leave, and a doubling of an actor’s salary if he or she played more than one role in a production, were implemented by Reuben Guskin, the HAU business manager from 1919 until his death in 1951 and the president of the Union from 1941-1951. Over this same time period, Guskin was also the president of the United Hebrew Trades, the president of the Workmen’s Circle, a member of the administrative board of the Jewish Daily Forward , and director of the Hebrew Immigrant Aid Society (HIAS). He oversaw the relocation of the Union’s headquarters from 108 Second Avenue to its own building at 31 East 7th Street in 1923, where it remained until 2005, which contained the Hebrew Actors’ Club, a gymnasium, a library, and a concert and lecture hall.
Reuben Guskin was also instrumental in the publication of several books about Yiddish theater, including Zalmen Zylbercweig’s six-volume Leksikon fun yidishn teater (Lexicon of the Yiddish Theater), published between 1931-1969 under the auspices of the HAU. He helped to solve the much-publicized 1929 dispute between the HAU and its sister organization in Poland, the Warsaw Yiddish Actors’ Union (Yidisher Artistn Fareyn), which related to alleged mistreatment and the levying of heavy taxes on American actors traveling in Poland. The Yiddish press in both Poland and the United States covered the dispute and each union threatened to boycott the other before Reuben Guskin was able to resolve the situation during a visit to Poland.
During the 1920s, when both the Union and Yiddish theater were at their heights, and into the 1930s, when Yiddish theater attendance had already started to wane, the Union claimed about 350-400 members and there were around 21 Yiddish theaters throughout the country. The Great Depression, the continued acculturation of the Jewish population, the lack of new audiences that accompanied the end of immigration, the movement of Jewish audiences towards Broadway and motion pictures, and higher production costs for Yiddish plays than for English plays, due in part to Union contract requirements, combined to erode the audience for the Yiddish theater. This could be felt already by the 1929-1930 season, when all of the Yiddish theaters in New York closed in midseason, two minor theaters folded and two Second Avenue theaters were put up for sale.
By 1930, several of the biggest stars of the Yiddish theater had left for overseas or for the non-Yiddish stage or Hollywood. By midseason, the managers of the remaining nine New York theaters threatened to close if there was not a 40 percent cut in Union personnel salaries. The Union threatened to strike and, starting on December 8, 1930, the theaters closed for two weeks. The Union was forced to cut the salary scale by 10-25 percent and to waive its power to set a quota for actors for every theater for the duration of the season, but it was not enough.
The 1931-1932 season was even worse and tension between the Union and the theater managers increased. A committee of five labor leaders was established to look for ways to improve the situation of the theaters, consisting of Baruch Vladeck, manager of the Forward ; David Shapiro, publisher of Der Tog ; Adolph Held, president of the Amalgamated Bank; Jacob R. Schiff, attorney; and Morris Firestone, secretary of the United Hebrew Trades. Reuben Guskin was not included. Despite the success of Maurice Schwartz’s productions of Yoshe Kalb in 1932 and Brothers Ashkenazi in 1937, among a few other productions, Yiddish theater was irreversibly waning. Theaters continued to close, fewer productions were staged and it was harder for Yiddish-language actors to find work.
Reuben Guskin, however, continued to fight for the Union’s members, working as hard as he could to provide for them, particularly sick and impoverished actors. He also quietly aided many of the European actors who had survived the Holocaust, oftentimes personally donating money. Guskin remained as HAU president until his death in 1951, after which the Union was lead by elected volunteer presidents who were also active in the Yiddish theater. These included Herman Yablokoff, composer of the hit song “Papirosn” (Cigarettes), the Broadway and Yiddish stage actor Bernardo Sauer and singer and performer Seymour Rechtzeit (Rexsite), who was the last president of the Union from 1991 until his death at age 91 in 2002. After Rechtzeit’s death, the Union’s leadership passed to one-time Yiddish performer Ruth Ellen, who served as acting head until 2005. The Union held its last official meeting in the 1990s, but continued on until October 2005, when it was officially labeled non-operational by its umbrella union, the Associated Actors and Artistes of America, an affiliate of the AFL-CIO. Based upon: Edna Nahshon, Krysia Fisher. Stars, Strikes, and the Yiddish Stage: The Story of the Hebrew Actors’ Union , exhibition catalog. New York, NY: YIVO Institute for Jewish Research, 2009. Zalmen Zylbercweig (ed.). Leksikon fun yidishn teater (Lexicon of the Yiddish Theater). New York, NY: Farlag Elisheva, 1931-1969. The Hebrew Actors’ Union (HAU), which was the first theatrical union in the United States, was originally founded in New York City in 1888. Shortly afterwards, the Hebrew Actors’ Union, along with the Yiddish Writers’ Union, the Theater Chorus Union and two branches of the Socialist Labor Party, founded the United Hebrew Trades (UHT) on October 9, 1888. The HAU then led an October 21, 1888 strike by actors from Poole’s Theatre and the Oriental Theatre as a protest against unstable working conditions, after which the striking actors, chorus singers and other strikers opened a cooperative theater under the supervision of the United Hebrew Trades. However, the Hebrew Actors’ Union was ultimately thrown out of the UHT because the actors did not receive regular wages, but rather a percentage of the income, so the HAU members were considered capitalists and not true workers by the other UHT members. The Union continued on, mainly reforming to organize strikes against the theaters’ managers and owners and then effectively disbanding after each strike was over.
During a December 1899 strike by the actors at the People’s Theatre against the managers, Jacob Adler, Boris Thomashefsky and Joseph Edelstein, the United Hebrew Trades sent Jewish labor leader Joseph Barondess to organize the actors and reorganize the Union. After a few weeks, Thomashefsky recognized the Union and the strike ended. Barondess helped to reform the Hebrew Actors’ Union, aiming to improve the working conditions for actors in the Yiddish theater and to provide an infrastructure for the Yiddish theaters on Second Avenue. The Hebrew Actors’ Union Local 1 received its charter on December 31, 1899, and soon started collecting dues and holding weekly meetings. In addition, the actors also began to receive wages, rather than a percentage of the profits. Local 2, the union for Yiddish theater actors outside of New York City, was founded in March 1902. The two Local branches, along with a separate union for Yiddish vaudevillians and variety actors, also founded in March 1902, merged in 1922, under the direction of Reuben Guskin, then the manager of the HAU.
Before the HAU’s formation, the working conditions for Yiddish theater actors were quite precarious. Actors could be fired without notice, and received commissions based upon the success of the performance and their individual popularity instead of receiving regular salaries. They were not compensated for their rehearsal time, worked seven days a week and were often treated quite poorly by theater managers. In his memoirs, Boris Thomashefsky admitted that before the founding of the Union, ordinary rank and file actors, as opposed to the great stars of the Yiddish stage, were in the same category as non-unionized factory workers and during strikes or protests “scabs” were brought in from elsewhere to replace these actors.
The HAU combated this exploitation by setting rules for working conditions, fair wages and payment schedules. It kept non-Union actors out of productions in which Union members appeared, established a fund to support old and sick members, assisted striking unions that operated under the aegis of the United Hebrew Trades, and was closely affiliated from its beginning with the American Federation of Labor (AFL) and with the general and Jewish labor movement. The Hebrew Actors’ Union also instituted current concepts in labor theory, such as striking to achieve policy changes and instituting a set pay scale in which members received a guaranteed minimum salary for appearances regardless of the production’s loss or profit. Periodically, a theater was forced to close when it could not afford to pay the high salaries of the actors and the other theater workers, such as musicians, advertisers and ushers, which the Union also helped to organize.
The Union had a great deal of power over its members, as well as over the Yiddish theater establishment. It determined which theaters actors could perform in and how prominently they would be billed on theater marquees. The more successful actors performed in New York on Second Avenue, where there were 14 Yiddish theaters at one time, while less successful actors were kept on a touring circuit, mainly the New York and New Jersey suburbs but sometimes as far away as the mid-west and Canada. The Union required that theater managers employ a certain number of Union actors and pay Union wages, regardless of the actors’ abilities or the theater managers’ preferences and often threatened to have actors strike in order to enforce its decisions.
The HAU was often accused of having a “closed-shop policy”, being closed to any new members, a charge they disputed, although they did admit that the audition process was incredibly rigorous, with applicants being required to pay $75 to apply and to audition before existing Union members. Notable actors including Maurice Schwartz, Stella Adler and Pesakh Burstein failed their original auditions. Dues and initiation fees were very high but, once new members were admitted, they were guaranteed a higher minimum salary and a higher payment for extra performances beyond the required nine shows a week.
Many of the policies enacted by the HAU, including salary increases for actors, compensation for the actors when they traveled, increased paid sick leave, and a doubling of an actor’s salary if he or she played more than one role in a production, were implemented by Reuben Guskin, the HAU business manager from 1919 until his death in 1951 and the president of the Union from 1941-1951. Over this same time period, Guskin was also the president of the United Hebrew Trades, the president of the Workmen’s Circle, a member of the administrative board of the Jewish Daily Forward , and director of the Hebrew Immigrant Aid Society (HIAS). He oversaw the relocation of the Union’s headquarters from 108 Second Avenue to its own building at 31 East 7th Street in 1923, where it remained until 2005, which contained the Hebrew Actors’ Club, a gymnasium, a library, and a concert and lecture hall.
Reuben Guskin was also instrumental in the publication of several books about Yiddish theater, including Zalmen Zylbercweig’s six-volume Leksikon fun yidishn teater (Lexicon of the Yiddish Theater), published between 1931-1969 under the auspices of the HAU. He helped to solve the much-publicized 1929 dispute between the HAU and its sister organization in Poland, the Warsaw Yiddish Actors’ Union (Yidisher Artistn Fareyn), which related to alleged mistreatment and the levying of heavy taxes on American actors traveling in Poland. The Yiddish press in both Poland and the United States covered the dispute and each union threatened to boycott the other before Reuben Guskin was able to resolve the situation during a visit to Poland.
During the 1920s, when both the Union and Yiddish theater were at their heights, and into the 1930s, when Yiddish theater attendance had already started to wane, the Union claimed about 350-400 members and there were around 21 Yiddish theaters throughout the country. The Great Depression, the continued acculturation of the Jewish population, the lack of new audiences that accompanied the end of immigration, the movement of Jewish audiences towards Broadway and motion pictures, and higher production costs for Yiddish plays than for English plays, due in part to Union contract requirements, combined to erode the audience for the Yiddish theater. This could be felt already by the 1929-1930 season, when all of the Yiddish theaters in New York closed in midseason, two minor theaters folded and two Second Avenue theaters were put up for sale.
By 1930, several of the biggest stars of the Yiddish theater had left for overseas or for the non-Yiddish stage or Hollywood. By midseason, the managers of the remaining nine New York theaters threatened to close if there was not a 40 percent cut in Union personnel salaries. The Union threatened to strike and, starting on December 8, 1930, the theaters closed for two weeks. The Union was forced to cut the salary scale by 10-25 percent and to waive its power to set a quota for actors for every theater for the duration of the season, but it was not enough.
The 1931-1932 season was even worse and tension between the Union and the theater managers increased. A committee of five labor leaders was established to look for ways to improve the situation of the theaters, consisting of Baruch Vladeck, manager of the Forward ; David Shapiro, publisher of Der Tog ; Adolph Held, president of the Amalgamated Bank; Jacob R. Schiff, attorney; and Morris Firestone, secretary of the United Hebrew Trades. Reuben Guskin was not included. Despite the success of Maurice Schwartz’s productions of Yoshe Kalb in 1932 and Brothers Ashkenazi in 1937, among a few other productions, Yiddish theater was irreversibly waning. Theaters continued to close, fewer productions were staged and it was harder for Yiddish-language actors to find work.
Reuben Guskin, however, continued to fight for the Union’s members, working as hard as he could to provide for them, particularly sick and impoverished actors. He also quietly aided many of the European actors who had survived the Holocaust, oftentimes personally donating money. Guskin remained as HAU president until his death in 1951, after which the Union was lead by elected volunteer presidents who were also active in the Yiddish theater. These included Herman Yablokoff, composer of the hit song “Papirosn” (Cigarettes), the Broadway and Yiddish stage actor Bernardo Sauer and singer and performer Seymour Rechtzeit (Rexsite), who was the last president of the Union from 1991 until his death at age 91 in 2002. After Rechtzeit’s death, the Union’s leadership passed to one-time Yiddish performer Ruth Ellen, who served as acting head until 2005. The Union held its last official meeting in the 1990s, but continued on until October 2005, when it was officially labeled non-operational by its umbrella union, the Associated Actors and Artistes of America, an affiliate of the AFL-CIO.
Based upon: Edna Nahshon, Krysia Fisher. Stars, Strikes, and the Yiddish Stage: The Story of the Hebrew Actors’ Union , exhibition catalog. New York, NY: YIVO Institute for Jewish Research, 2009.
Zalmen Zylbercweig (ed.). Leksikon fun yidishn teater (Lexicon of the Yiddish Theater). New York, NY: Farlag Elisheva, 1931-1969.
Chicago (Ill.), Clippings - Newspaper clippings, Documents - Administrative reports, Documents - Correspondence, Documents - Financial records, Documents - Manuscripts, Documents - Minutes, Dramatists, Yiddish, Ephemera - Banners, Guskin, Reuben, 1887-1951, Idisher aktyoren yunyon (U.S.), Jewish actors, Jewish composers, Jewish labor unions, Montréal (Québec), New York (N.Y.), Philadelphia (Pa.), Photographs, Playbills - Theater programs, Poland, Posters, Rechtzeit, Seymour, 1908-2002, Recordings, Sound - Audio cassettes, Romania, Schwartz, Maurice, 1890-1960, Scrapbooks, Sheet music, Theater, Yiddish, Theatrical producers and directors, Toronto (Ont.), United Hebrew Trades, Workmen’s Circle/Arbeter Ring, Yablokoff, Herman, 1903-1981, YIVO Archives, Yivo Institute for Jewish Research
Alternate Extent Statement: 72.3 linear feet
Access Restrictions: Permission to use the collection must be obtained from the YIVO Archivist.
Use Restrictions:
Permission to publish part or parts of the collection must be obtained from the YIVO Archives. For more information, contact:
YIVO Institute for Jewish Research, Center for Jewish History, 15 West 16th Street, New York, NY 10011
email: archives@yivo.cjh.org
Acquisition Method: The collection was donated by Ruth Ellen, President of the Hebrew Actors’ Union in May 2006.
Separated Materials: Books that were originally part of the Hebrew Actors’ Union records have been given to the YIVO Library collection.
Related Materials:
The YIVO Archives is the repository of one of the world’s largest and most distinguished collections on the Yiddish theater and includes the personal papers of numerous actors, producers, directors and playwrights, as well as institutional records of various Yiddish theater companies and ensembles, many of which are represented in the Records of the Hebrew Actors’ Union. These include, but are not limited to, the papers of Sholem Perlmutter, RG 289; Esther Rachel Kaminska Theater Museum Archive, RG 8; Ida Kaminska and Meir Melman, RG 994; Abraham Goldfaden, RG 219; Yidisher Artistn Fareyn (Yiddish Actors’ Union in Poland), RG 26; ARTEF Theater, RG 531; Folksbiene Theater, RG 512; Jacob Gordin, RG 530; Molly Picon, RG 738; Jacob P. Adler, RG 1177; Celia Adler, RG 399; Maurice Schwartz, RG 498; David Herman, RG 209; Joseph Buloff and Luba Kadison, RG 1146; David Licht, RG 797; Jacob Mestel, RG 280; Ben Bonus and Mina Bern, RG 1168; Ossip Dymow, RG 469; Peretz Hirschbein, RG 833; Herman Yablokoff, RG 1188; David Pinski, RG 204; Zalmen Zylbercweig, RG 662; and the Yiddish Theater, RG 118, and Yiddish Theater Photographs, RG 119, which contain programs, playbills, photographs, recordings, posters, banners, costumes, stage designs, published and unpublished plays, music scores, and sheet music.
The American Jewish Historical Society Archives has some Yiddish theater collections, including the Adler Family Papers, P-890; Molly Picon Papers, P-38; Ben Gailing Papers, P-607; Friends of Ida Kaminska Theatre Foundation Records, I-122; and the Ludwig Satz Papers, P-844.
The Fales Library and Special Collections at New York University has the Papers of Sholom Secunda, MSS 054, while the Tamiment Library and Robert F. Wagner Labor Archives has the Associated Actors and Artistes of America Records, WAG.110, as well as many collections relating to labor history and unions.
The Jewish Museum of Maryland has the Reuben Guskin Papers, MS 85.
Preferred Citation: Published citations should take the following form:Identification of item, date (if known); Records of the Hebrew Actors' Union; RG 1843; box number; folder number; YIVO Institute for Jewish Research.
This subseries consists of more than 2100 folders of correspondence containing letters, telegrams, contracts, payment agreements, membership applications, awards, newspaper clippings, and other materials relating to the professional lives and working conditions of celebrated actors, producers, directors, and playwrights, who became household names during the golden age of Yiddish theater in America. The correspondence is mostly from 1927-1945, but with materials dating from 1908 until 1986.
Actors and community leaders for whom there are folders include: Julius Adler, Leon Arkin (labor official), Rose Asch Simpson (labor), Judith Abarbanel, Sidor Belarsky, Ben Bonus, Max Bozyk, Daniel Charney, Ossip Dymow, Sam Gertler (playwright), Jacob Jacobs, Hymie Jacobson, Irving Jacobson, Jacob Kalich and Molly Picon (including a 1946 telegram sent by Picon from Poland describing performances to benefit Holocaust survivors), Jennie Kessler, Sarah Kindman, Max Kletter, Harry Lang (labor), Leon Liebgold, Misha Levitsky (pianist), Fiorello LaGuardia (about his participation in wartime bond drive), Meyer Melman, Bessie Mogulesko, Fraidele and Moishe Oysher, Ludwig Satz, Maurice Schwartz, Abraham Schomer, Abraham Teitelbaum (playwright), and Annie Thomashefsky.
There is also a great deal of correspondence with various unions and with theaters across the country and Canada, including the Arch Street Theater, the Lincoln Theater and the Gibson/Girard Yiddish Folks Theatre in Philadelphia, Glikman’s Palace Theater and Douglas Park Theatre in Chicago, the Capitol Theater in Los Angeles, the Standard Theater and Metropolitan Theater in Toronto, and numerous theaters in New York, including the Public Theater, the Clinton Theater, the Yiddish Art Theater, the Hopkinson Theater and the Brighton Beach Theater in Brooklyn, and the Bronx Art Theater.
The correspondence is divided into three groupings, each arranged alphabetically.
- Philadelphia
- Contract, 1933; lists of actors and salaries paid; Skulnick (sic)
- From Box VIII
- Cleveland, Ohio
- Includes theater lease
- Newark, NJ
- contains lists of wages and expenditures
- Montreal
- Includes balance statements for 1926-1927 and 1928
- Montreal
- Includes box office statements
- Brooklyn
- Contains slip listing names of actors, salaries and 4% of salaries
- New York
- Contains records and letters pertaining to loan payment for mortgage
- Business cards, telegrams, addresses, notes
- (extremely fragile)
This subseries mainly consists of financial and membership materials. These include ledgers of membership dues paid weekly or monthly by actors, unemployment relief fund reports and other financial reports, receipts, invoices, contracts, and check stubs, among other materials. In addition there is a card file of addresses kept by the HAU management containing approximately 250 address cards, which may belong to members, although this is not clear. These cards are grouped alphabetically by the first letter of the member’s last name, although they have not been further alphabetized. Thus, all the ‘A’ names are together, followed by all of the ‘B’ names, but there is no further order within these groupings.
One handwritten Yiddish ledger of meeting minutes for 1938-1947 is included in the correspondence subseries, which reports on HAU’s regular monthly business meetings as well as on special annual meetings. This subseries also contains newspaper clippings, mainly in English and Yiddish, which are arranged chronologically, and an oversized 1932-1934 dues ledger from the Society of Jewish Composers, Publishers and Songwriters.
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by actor
- Includes deceased and stricken actors
- Ledger pages separated from binder
- Organized by theater
- For members and actors in that theater
- Ledger pages separated from binder
- Organized by theater
- For members and actors in that theater
- Ledger pages separated from binder
- Organized by theater
- For members and actors in that theater
- Ledger pages separated from binder
- Organized by theater
- For members and actors in that theater
- Ledger pages separated from binder
- June 30, 1929
- 3 copies, 1 including handwritten notes
- June 30, 1931
- 2 copies
- June 30, 1935
- 2 copies
- June 30, 1937
- 2 copies
- August 31, 1949
- 2 copies
- August 31, 1950
- 3 copies
- August 31, 1951
- 3 copies, 1 unbound
- August 31, 1954
- 2 copies
- August 31, 1955
- 2 copies
- Receipts and invoices for Hebrew Actors Club
- HAU medical plan information
- HAU correspondence
- Checks and bank account balances for R. Guskin at 31 E 7th St
- R. Guskin correspondence
- Phone and electricity invoices for R. Guskin at 170 2nd Ave. Apt. 14A
- Correspondence re: electricity invoices
- HAU insurance contracts, invoices, permits
- Correspondence re: HAU Annual Benefit Performance
- Local Union Equal Employment Opportunity Report
- Hebrew Actors Club Balance Sheet
- Correspondence
- Municipal Court Summons and Complaint
- Checks and check stubs
- Equal Employment Opportunity Local Union Report
- Insurance invoices
- Correspondence re: Anastasia Komarnyckyj lawsuit
- Hebrew Actors Sick and Welfare Fund corporation certificate (4 copies)
- Loose dues ledger pages by actor
- Financial correspondence
- NY State and Local Sales and Use Tax Return
- Insurance invoices
- Labor Organization Annual Report
- Hebrew Actors Club financial statements
The HAU Archive includes a rich collection of original manuscripts of theater music, including a substantial collection of Yiddish operettas. The music scores cover the period 1874-1970 and consist of hundreds of operettas on a variety of subjects, including family themes, religion and tradition, and the lives of American Jews and their families in Europe during the immigration period. The music consists mainly of instrument parts of operettas by composers such as A. Hellman, J. Brody, D. Hirsch, and G. Finkelstein. Most of this music was originally composed in the earliest period of the Yiddish theater in Jassy, Bucharest, Czernowitz, and New York. The collection includes the operetta “Katya’s Wedding” by Sholom Secunda. There are also some complete scores and many untitled manuscripts, director’s parts or first violin parts with Yiddish texts under the notes, and some liturgical pieces and services.
Titles include Der Bal Tshuve , Khayim in America , Di Bobe Sore , Eydele Hertser , Di Getoyfte Malke , Hilel , Der Emes , Galileo , Der Hefker Yung , Ishe Ra , Di Grine , Avremele Menagen , Der Kheyre , Dos Yidishe Kind , Katya’s Wedding , and Der Yidisher Shtern .
The music appears to have been collected by Sholem Perlmutter, secretary of the Jewish Playwrights’ League and founder of Jewish Composers, Publishers and Song Writers. A large portion of the Sholem Perlmutter Collection is housed at YIVO in RG 289. The music scores are particularly fragile and should be handled with extreme care.
- Untitled, with text
- Duet, Broygez-tants, Kosher tants, Kiddesh, trombone, drums, clarinet
- Hora Babei Mele
- Der Khokhem, with text
- Mames Harts, score page
- March
- Serbu Wagabontilor
- S’iz mir beser vi gut, with text
- E? geblend
- Ikh vil fun dir yetst hern
- Kh’vil keyn zakh
- In kheyrem, in kheyrem
- Nit lang gevart
- A tayprayter (typewriter) iz gut tsu zayn
- L. Llisovsky, Posliedni Tsvitok, Moscow, 1898
- Yo. Bleichman, Usta moi moltchat, Moscow, 1895
- J.M. Rumshisky, Tarantella, New York 1907
- Eshkol
- Tikanto shabes, by Poliakov
- Yismechu, by Berenstein
- Vayhi binsoa hooron
- Haneros halolu
- Maos Zur, by Zemachzon
- Yehi rotson, by I. Borech
- On a Sunday Afternoon
- Popular SunNew York Tennessee
- Coon! Coon! Coon!
- In undzer land az
- Hershen vird yetst nor fridn
- Oy mayn shefele
- Vayn, vayn, gib her mir nokh mer
- Shpits fun dize topfer kriger
- Laykht der himl, der himl vider hel
- Glik laykht shoyn
- Ir must fregn a royfe mumkhe
- Undzer held, vos hot gevizn vunder
- Ruen af zayn ort
- Kukt aykh um umetik
- Ha, ha, foter vos shrayt ir
- Let's break the news to mother
- A dancing hall iz undzer velt
- Gussie mayn lady
- First tsum keyver
- Faynd, dem faynd, farnikhtn dem faynd
- Kemfn nor mit mut
- Mazl-tov dir held
- … mayn baytn mir
- Amerike du gor geshetst
- Di a? firn a shklafe
- Zikh amuzirn fayn
- Held undzer firer
- Guter morgn, sheyne prekhtike natur
- Nit farlozn undz, foter in himl
- Take ven men hot a man
- Ikh dank aykh, mayne libe brider
- Swim take a swim
- Makes mer nor vi zey denken
- Serba Balasica, by C. Pompieru
- Septe Gaste Potcovite, Serba by Leopold Stern
- Fragment of title page of ? or Rebe Akiva
- Operetta by L. Schuster (Repettitor)
- Page of Vilder Mentsh, drums
- wBist Der Held Yetst Fun Yisrol, words and music by Levin
- Ikh ken a yunger man a zinger
- Greft
- Ikh bin an ekter
- Bu hu hu
- O Pretty Dear, Sweet Little Wife
- Vu ir vet geyn
- Sadie di forlady
- Ikh bin a mentsh nit abi ver
- Lebn zol der sport
- Er blaybt? a bleykher yid
- Gratulirt mikh yetst
- Gvald me ken meshuge vern
- Kumt shneler everybody
- Ober mayn man ken nit arayn
- Vos mikh hot getrofn
- Neyn, do iz zi nishto
- Ze vos tut zikh do
- O hert atsind dos gezang
- Paradiz ver es vet tsesheydn
- Ven ikh bin mit im avek
- Vos iz di velt
- Voyl iz dem mentshn
- A yesoyme - on tate-mame
- Ikh volt geven raykh vi Vanderbil
- Lang tsurik hob ikh in vaser a meydele gezen
- Mazl-tov kale vintshn mir
- Tsu bagrisn mir ale vintshn glaykh der khosn-kale
- In dayne lekhtik hele bloe oygn
- Der yid er hot nor eyn got
- Ven vestu shoyn kumen tsu dayn kale
- Folg aleyn haleluya
- Es zol fintster mir zayn
- Zet nor a tentsl tantst der yung
- Di movies zaynen zeyer sheyn
- Nemt di fener, shnel mit di yidn
- Zey trogn tsu dir, gelibter
- Tantsn un zingen oy tsum kaloles?
- Als fartreter fun der politsey
- Haynt mayn gantse mi un energi
- Dray mol hoykh glyt, glytshneler
- Die Wacht am Reim
- G-d Save the King
- As Now to Get Her Here, words by Rabbi Jacob Kurtz, music by Joseph? Sanctus
- When Mr. Shakespeare Comes to Town, by J. Chattaway, drums
- The Honeysuckle and the Bee, for drums
- Where the Lazy Mississippi Flows, words by Alexis French, music by Rollo de Freyne, copyright 1920, by Chappell and Co. Ltd.
- Koyfn felder, music by Philip Laskowsky, text handwritten
- Emek
- Bat Sheva
- Adama
- Avrom un Terah
- Shabes nakht, words I. Daniel (Levitsh)
- Ani V’at
- Hatikva, Emek
- Haleluyah
- Alef-beys
- Der glok hot shoyn geklungen
- Kayin un Hevel
- (Untitled) Bin ikh a shnayderl
- Sdom un Gemore
- Ovnt
- Tsum shpits barg
- Tsum Kamf, music by Philip Laskowsky
- Al naharos bovel, words on separate sheet
- Yidishe neshome
- Zing nokh a mol?
- Feter yosye, music by Philip Laskowsky
- New Yorku-yorker meydlekh, words by Avrom Reisen, music by Philip Laskowsky
- Feld’s romans
- Di shvue, words by L. Malach, music by Philip Laskowksy
- I Wana Fellow
- Untitled (inside Ikh vil zikh shpiln)
- Title unclear, for piano
- Vos vilt ir
- I Want a Man
- Calypso
- Food
- Opera duet
- Sholem Aleichem
- Handkerchief
- I’ll Praise this Land
- Untitled
- Either Too Young
- Mister-Missus
- Vos vilt ir
- Either Too Young
- Yiddish Medley
- I Want a Man
- Food
- Sholem Aleichem
- Opera duet
- Handkerchief
- I’ll Praise this Land
- Mister-Missus
- Shotus
- Eybik, words by H. Leivick, music by Sholem Secunda (printed)
- Baal shem
- Ringele
- Der furman
- Reb Yidls mazl, music arranged by S. Prizament
- Shpilt fidele
- Moscow Nights, words by M. Matusovsky, music by Vassili Soloviev-Sedoy, property of Simon Tenorsky, June 18, 1964, Buenos Aires
- Eltern un Kinder, by S. Prizament
- Pastekhl a Troymer, signed by A. Baigelman, Costa Rica, March 1962
- Doyna
- Fun Kosev biz Kitev
- Mekhatonim
- Eybik, words by H. Leivick, music by Sholem Secunda, property of Jaime Lewin
- A New York Time of the Year (Bashana Habaah – Next year), English by Robert Brittan, Hebrew by Ehud Manori, music by Nurit Hirsch, copyright 1970 by N. Hirsch and E. Manori, Tel Aviv, handwritten words in Yiddish
- Fun Kosev biz Kitev, adapted and arranged by Sidor Belarsky, copyright 1970 Ethnic Music Publishers, words by Prof. M. Kosover
- Jerusalem Jerusalem (Yerushala’im Shel Zahav), English by Norman Newell, Hebrew by Naomi Shemer, copyright 1967 by Naomi Shemer, copyright assigned 1967 to Chappell and Co., Ltd., London
- Photograph of Eddie Fisher
- Rusish
- Ven ikh zol zayn a shnayder, words by Abraham Joachem (Yakhimowicz), music by Sholem Secunda
- Shalom, for piano
- Ikh Benk Aheym
- Oyfn Veg Shteyt a Boym, property of Jaime Lewin
- Sorale, arranged by S. Lazare, Paris, (number arr)
- Dos Klezmerl, by Jaime Lewin
- Nor gots farlang
- Moderne Khasene, property of Jaime Lewin
- A Yidishe Khasene, property of Jaime Lewin, words by Itzik Fefer, music by Jampolski, arranged by Sidor Belarsky
- Shiklhale
- A Zemer, for piano, violin and voice, words by Aron Zeitlin, music by Samuel Bugatch, arranged by I. Shkliar, copyright by S. Sigal, Buenos Aires, from edition of S. Belarsky
- Gey Mir in Gest, arranged by Renee Solomon
- Ver Hot Aza Yingele
- Simonah Me Dimonah, music by Shlomo Weissfisch, words by Chaim Shalmoni, copyright, 1956 by Shlomo Weissfisch, Tel Aviv, property of Jaime Lewin
- Bal Shem
- Zog es Mir Kh’bet Dikh
- La Chanson d’une Nuit, words by Serge Veber, music by M. Spoliansky, copyright 1932, Editions Salabert, Paris
- Der Yid der Shmid, music by Heifetz
- Shlof nit, piano
- Di Shif
- Es Benkt Zikh
- Veyn Himl, words and music by Mischa Streitman
- Zol Es Geyn
- Makhatonim, property of Lewin
- Betler, piano
- Di Khasene/Chasene, piano
- Yugnt Mayn/Jugend Main
- Yugnt Mayn/Yougent Main
- Yugnt Mayn, piano, drums trombone, clarinet, bass, 2nd sax, violin
- A Brunem/Brunen in Sod, drums, bass, violin, clarinet B flat
- Betler, drums, trumpet B flat, violin, bass
- Sorele, drums, trumpet B flat, violin, bass
- Der Boym in Negev/Boim in Negew, piano
- Klezmorimlikh, tenor sax
- Israel, piano
- Frage, piano
- 25 Ciger/25 Sigar?, piano, arranged by Yasha Kreitzberg (Saxon)
- Am Israel Hai, Hora, piano
- Sym Szolom/Sim Sholom, piano, drums, trombone, trumpet, clarinet, bass, violin, tenor sax
- Parnose/Parnuse, piano, trumpet B flat, 1st violin, clarinet B flat, bass
- Habeit , no words, arranged by Enzo Falcomata, New York, drum, timpani, trumpet, tenor sax, bass, violin, clarinet
- East Side Symphony, New York
- Farlorene Printsesin, 1 Act
- Lips of Fire (Kiss Me with Mad Desire), music by Philip Laskowsky
- Tsigayner
- Sextet (Bay ale Felker)
- Duet, In Vald Do Baym Taykhl
- number 6 ?, violin, bass, clarinet in B, drums
- Shoshane/Schaschane, property of Jaime Lewin
- Sorele, piano, property of Jaime Lewin
- Betler, trombone, property of Jaime Lewin
- Yugend, drums, trumpet B, violin, in D minor
- Tants Mit Mir Hora, violin, trombone, drums, B flat sax, B flat trumpet
- Zayt Freylikh/Zait Freilach, bass, violin, B flat trumpet, drums
- 25, B flat clarinet bass, drums, violin, trombone, B flat sax, B flat trumpet
- Unidentified
- Dos Alte, piano, property of S. Blumstein, Local 802
- Di Alte Heym, arranged by (?) Jack Stillman, property of Jacobowitz, February 15, 1945, New York, words and music by Rubin Doctor, E flat alto, B flat tenor
- Amerikanische Hochzeit, couplet
- Az Moshiakh Vet Kumen, violin
- Bam Bam, by Anna Jacobowitz, arranged by Jack Stillman, property of Anna Jacobowitz
- Bokherl/Bucherel, violin
- Breyshes/Braishes, violin, piano, music by Anna Jacobowitz
- Brider Gist Arayn, violin
- Chastushky for piano
- Couplet, violin
- Couplet
- Dray Balebatim
- Duet
- Emese libe
- Di/Die Eybike/Eibige Mame
- Ey, ey, mener/Ei, ei mener, violin
- Eyli, Eyli/Eyli, Eyli! Invocation, traditional Yiddish melody of Russia and Poland, after the notation of Shalitt, by Kurt Schindler, voice and piano, copyright 1917 by G. Schirmer, Inc.
- Emese Libe, violin
- Eyner libr mikh, violin and cello
- Gesele/Gecele, arranged by A. Philip Laskowsky, piano
- Di Havdole/Die Havdule, by Rubin Doctor
- Ikh vil/Ich weel, arranged by Philip Laskowsky, piano
- In der nakht, arranged by Jack Stillman cello, violin, tenor sax, piano, E flat alto
- In tsion unter di grininke beymelekh, words by Goldin
- Frage, property of Jaime Lewin, bass, clarinet B flat, violin, drums, B trumpet
- Hot Khasene/Chasene, violin
- Hulye Kabtsn, by Jack Stillman, property of Jacobowitz, February 14, 1945, New York
- Kadsheynu/Kadsheinu, by Jack Stillman, E flat alto, piano
- Karshelekh/Karshelach, by Jack Stillman, violin, drums
- Di Kashes/Die Kashes, violin, piano
- Khantshe/Chantshe, violin
- A Khazndl oyf shabes, manuscript, arranged by (?) Anna Jacobson, voice and piano, printed, arranged by Leo Low, Metro, copyright 1927 assigned to Henry Lefkowitch, New York, c.1921, Joseph P. Katz, New York
- A Kindele vil ikh, trumpet B flat
- Kinderlekh/Kinderlach, by Jack Stillman, piano
- Kinder Teg/Taig, property of or by Sam Blumstein, Local 802
- Kuplet
- Lebedik freylekh/Lebedig Freilach, piano
- Lebt vi got in ades
- Leb un lakh
- Libe/Liebe, piano, violin
- Lozt di zorgn/Lost die zorgen, violin, piano
- Mekholot, Haorets, Palestinian Folk Dances, adapted for piano by Arieh Sachs, print edition, J. Naidat, Tel Aviv
- Mama, piano, B flat tenor, by Jack Stillman
- Mame, mame, arranged by Y. Szajewicz, piano
- A mame New Yorku/mameniu, violin, B flat tenor
- Di Matina?, violin
- Mayn Goldele, by J. Rumshinsky
- Mayn Heym, by Jack Stillman, E flat alto
- Mayn meydele/Mein maidele, violin
- Mayn zeydns kholem/Mein zeidens cholem, piano
- Mener, piano, violin
- Mentsh zol men zayn, ensemble
- Nakhes fun kinder, trombone
- Naye Heymele/Ikh benk tsarik tsu mayn heymele/Ikh benk tzurik tsu mein haimele, violin
- Naye shtetele/Shtekeke/Dus Schtetele, piano, cornet B flat, cello, trombone, drums, B flat clarinet, violin
- Nit bay mir/Nit bei mir, violin
- Nor due/die, by Alexander Olshanetsky, piano
- Oy di meydlekh/Oi di Maidlach, violin
- Polonaise, violin
- Potpourri, by Jack Stillman, piano
- Potpourri, by Anna Yakabowicz, piano, with introduction
- Rakhszeim, Rashszeim, piano, property of Sidney S. Cahan
- Retza, Retzai, violin
- Di reyne libe/Die Raine Liebe, B flat clarinet, cello, piano
- Resele?/Reyzele?, piano
- Rume New Yorke, rume New Yorke/ Akh RumeNew Yorke, Romainian, piano, violin
- Seykhl Kumt Nikh di Yorn/Saichel Kumpt Noch die Yuhren, B flat clarinet
- Shir Haeksodus/The Exodus Song, music by Ernst Gold, words by Pat Boone, Hebrew by Aliza Shechter, Subar Publishing Co., Ltd.
- Siz aza Veytik/Sis asa Vaitik, violin
- Trandafir de la Moldava, incomplete, negative
- Valtz, B clarinet
- Varshe/Warsaw, words by N. Stutchkoff, music by Joseph M. Rumshinsky, violin
- Vis Ikh Hob Gevolt
- Vos Vil Der Fun Mir?
- Vu Ahin Zol Ikh Geyn/Vie Ahein Zol Ich Gein
- Vu Zhe Iz a Mame/Vuseis a Momini, piano, Jack Stillman, property of A. Jacobowitz, New York, February 9, 1945
- When the Boyes Veln (Welin) Kumen (Kimen) Tsurik
- Yetser Hore/Yezer Hore, piano, trombone, B flat trumpet, drums
- Yismekhu/Yismechu, B flat tenor, B flat trumpet, E flat alto, trombone, piano
- Yosl, violin, piano
- Zeydns Kholem/Zeidn’s Chul’m, by Jacob Stillman, property of A. Jacobowitz, February 19, 1945, New York, B flat tenor, piano, B flat trumpet
- Zise libe, 1st violin
- Zmires, by Jack Stillman, drums, violin, E flat alto/flute, piano
- Zolst Nisht Geyn Mit Andere Meydelekh, piano, B flat trumpet, violin
- Di Zun Vet Shaynen/Die Zihn Vet Sheinen, piano, violin
- Duet, Makhn feygelekh bagleytung
- Vals
- Dernebn a Bergl Geyt a Vaser
- Fli mir Tsurik in Himl Aroyf
- Einlage
- Shloflid
- March
- March, score
- Gepatert a Tsore/Gipatert A Zure
- Oy, iz dos a mame, score
- Oy, is dos a mame, number 8
- By A. Hellman, 1st and 2nd violin, bass, flute, trumpet, trombone, viola, clarinet in B
- Clipping of program of Thalia Theatre, May 24, 1898
- Music by A. Hellman, bass, 1st and 2nd violin, trumpet, trombone, drums, clarinet, flute
- Shtrik in Haldz/Schtrik am Hals
- Arranged by by A. Hellman, leader, 11 numbers, 1st and 2nd violin, bass, trumpet, trombone, drums, clarinet, flute, viola
- Die Leichtziniege, Lebensbild in 4 acten, by Scheikevitz, arranged by A. Hellman, March 1889, New York
- Couplet for Heine Chajmowitz, composed by Y. Kurantmann, number 2, Der Frauen Ferfurer
- 1st and 2nd violin, bass, flute, trumpet
- Page of lyrics, duet
- Where There’s You There’s Me
- Spring Will Come (fragment)
- Your Roosevelt and Mine, c.1932, Wesley Ossman, music by Morris Perlman
- No Room for ANew York Body in My Heart But You, words by Max and Nathaniel Lief, music by Ray Perkins, c.1928, Harm Inc.
- Moment Musical for cello, by F. Schubert
- Marche alla Turca, by W.A. Mozart
- Pecheur Napolitain et Napolitaine, for cello, by A. Rubinstein
- Caprice Viennois, for piano, by Fritz Kreisler
- Sheyn Meydele, (Zog nor du Sheyn Meydele), 2nd violin
- Der Kenig fun Libe, trombone, 1st violin, flute, drums, trumpet B, stage direction
- In Dayn Fintstern Keyver, words to Yetst vet ir Bald Zen
- Vilde Yungnt/ Vilde Yugend, cello, flute, clarinet
- Tate mame, words by Boris Rosenthal, music by Joseph Rumshinsky, copyright 1913 JMR , J and J Kammen, Jennie Vallier, song and photograph JMR
- Unknown, arranged by by Philip Laskowsky, for piano “Cue Odom and Chave”
- Lied Lilien
- Through Battle to Victory, 20 marches, for cello, published by George Rosey Publishing Co., New York
- Wonderful One, trumpet, 1st violin, trombone
- Kuplet, trumpet, drums, trombone, 1st violin, piano
- Duet, music by Sholem Secunda, O ir Froyen Aykh Tsu Troyen, drums, flute, 1st bass, 1st and 2nd violin, viola, trombone, cello, trumpet B flat
- Rumanian, Lebedoff, finale 2nd act, music by Samuel Secunda
- Kumt Arayn Ale, Kumt, Arayn Ale
- Rumenish
- Kheyndelekh, Lebedoff and Goldstein
- Ven Blinde Zen, 1st violin
- Yetser Hore, trumpet
- Di Tentserin
- Gedenkstu Tayerer Meylekh
- Shadow
- Shtarker Fun Libe
- Vilder Mentsh/Vilder Mensh, fragment, trombone, piano, trumpet, drums, 1st violin
- Yakov un Eysov/Jakob und Esow, 1 page
- Der Meturef, fragment, trumpet, 1st violin
- Hershele Mayn Lebn, A Sof Zol Shoyn Zayn
- Vi di Nartis Blum fun Sharon
- Ala iz der Mekhtiker Got Fun Mekhamed
- Anu Banua Artza , arranged by Artur Wold, Metro, copyright 1948, Jacob Kiss
- Bamidbar, setting by Reuben Kosakoff, Metro, copyright 1949, Henry Lefkowitch
- Far Vos, words by Euzial Fleishman, music by Abraham S. Ellstein, Metro, copyright 1925, Joseph P. Katz, copyright ass. 1927 Henry Lefkowitch, (cover missing)
- Feld Klangen, by Henry Lefkowitch, Metro, copyright 1932, Henry Lefkowitch
- Kholemen Khaloymes/Cholemen Chalomos/Dream of Dreams, Metro, by Aliza Greenblatt, music by Solomon Golat, copyright 1932, Henry Lefkowitch
- Laylot Kayits/Lailot Kayitz, setting by Reuven Kosakoff, Metro, copyright 1949, Henry Lefkowitch
- Libi Baazikim/My Heart is in Chains, music by Leo Low, Hebrew translation by S. Shalom, Metro, copyright 1953
- Od Nitraeh Nisroe/We’ll Meet Again, words by I. Mohar, music by H. Zellner, Hazemer, Tel Aviv, copyright 1950
- Pakad Adonay Tsion/Adonai Zion, words by Wolf, music by Zaira, Metro, copyright 1948, Jacob Kiss
- Shir Haemek, Midan V’ad b’er Sheve, words by Raphael Eliaz, words by A. Broides, music by Marc Lavy, Edition Aegen, Tel Aviv, copyright 1949
- Shir Eres, words by N. Alterman, music by Moshe Wilensky, Metro, copyright 1950, by Henry Lefkowitch
- Summertime, words by DuBose Heyward, music by George Gershwin, arranged for orchestra by JohnNew York Warrington, copyright 1935 and 1954 by Gershwin Publishing Corp.
- There is a Land/Omrim Yeshnah Eretz/M’zogt es iz a land do, words by S. Tchernikowksy, music by Joel Engel, Transcontinental Music Corp., copyright 1948
- Ein Traun/A Dream, words by Bodenstedt, English, Dr. Theodore Baker, music by Edvard Grieg, copyright 1909, G. Schirmer (inc.)
- Undzer Land/Our Land, words by Broche Kopstein, music by Jacob Weinberg, Metro, copyright 1950, Henry Lefkowitch
- Viglid, words and music by Solomon Golub, Metro, copyright 1928, Henry Lefkowitch
- Water Dance/Ush’artem Mayim, music by E. Pugatchov, setting by Max Helfman, Transcontinental Music Corp., 1949, Brandeis Youth Foundation
- Zariti Loruakh/Loruach Ankati/Anchati/ Scattered My Sighs Upon the Wind, words by Chaim N. Bialik, music by Sholom Secunda, Hebrew, Yiddish, English, Metro, copyright 1937, Henry Lefkowitch
- Zingt a Yunge Mame/A Lullaby, words by L. Gorelick, music by Jacob Schaefer Metro, copyright 1948, Laye Schaefer
- Zot Admati, words by D. Shim’oni (Shimonovitz), music by Marc Lavry, copyright Edition Negen, 1949
- College fun Libe/Liebe, words by Jacobs-Lillien, music by Abe Ellstein, “for Esta”, piano
- Fangen Mir On/Uhn, piano, trombone
- Men Darf Tsu Dem Nit Hobn Keyn Talent, sax, alto, trumpet
- Heshke, peshke, piano, clarinet B flat, drum, trumpet, 1st violin
- Lomikh, visn vi ikh halt, by Yashe Kreitzberg, drums, clarinet B, trumpet
- Mayn Rue Platz/Main Rue Platz, soprano and piano
- Megt mir Gloybn, trumpet in B flat, by Rozenberg
- A Meydele/Madela vi di, piano, trumpet B flat, clarinet B flat, drums
- Ode to the King of Kings, soprano solo, Cantata by Abraham Ellstein
- Men darf hobn/huben Pep, by A. Olshanetsky, piano, B tenor sax, violin, drums, alto, B sax, trumpet B
- Otazoy/ Ot-a-zay, piano
- Vegetables, piano, violin, trombone, trumpet B flat, sax E flat
- Dos iz di libe/ Dos is de liebe, Visi/d’arte from Tosca, 1st violin, 2nd violin, viola, cello, bass
- Perke, violin, clarinet, leader, trumpet
- Tants, Tants Mayn Meydele/ Tantz Mein Maidele, piano, clarinet B, drums, trombone, violin trumpet B flat
- Vi Lang di Velt Vet Shteyn/Wi Lang die Welt wet Shtein
- Di Yingste in der Mishpokhe/De Yiengste in der Meshpuche, 1st trumpet, piano, violin, by M. Fleischman, text of song on separate sheet
- Azoy Past du Zikh Tsu Mir, violin, trombone, clarinet
- Bay Mir Bistu Sheyn, arranged by Lew Weissman, violin, 3rd B flat alto
- Bist Mir Mazldik
- Calypso, by Esta Saltzman, piano, drums
- Chashtuskis, piano, trumpet B flat, flute, viola
- Either Too Young, piano, by Esta Saltzman
- Food, by Esta Saltzman, drums
- Fregn Baym Zeydn
- Give me a Chance, violin
- Handkerchief, by Esta Saltzman, drums
- Hava Nagila, for piano
- Hi Didale Dom, by L. Weissman, drums, piano, words on separate sheet
- Ikh bin a Mame, piano, clarinet, violin, trombone
- Ikh Zukh Mayn Kind, clarinet, trombone, trumpet, violin
- I’ll Praise this Land, by Esta Saltzman, drums
- I Want a Man, by Esta Saltzman, drums
- Kh’vel Fregn dem Zeydn, trumpet, drums, clarinet B flat
- Korbin, by Lew Weissman, trumpet, 2nd violin, B flat 1st tenor clarinet, E flat alto, piano
- Lower Visn Ikh Halt, words by Jacob Jacobs, music by Yasha Kreitzberg (Saxon) (Words on separate sheet), piano
- Mir Forn Aheym, clarinet B flat, tenor sax, trumpet B flat
- Mister-Missus, by Esta Saltzman, drums
- Nor du, stamp of Alexander Olshanetsky, piano, drums, clarinet, trumpet
- Opening, by Esta Saltzman, arranged by Yasha Kreitzberg, words by Jacob Jacobs, piano, drums, trumpet B flat, 2nd sax B flat, 1st sax E flat, 1st violin
- Opera duet, by Esta Saltzman, trombone, bass, cello, drums
- The Rabbi’s Melody, by M. Fleischman(Fleischkan?), violin
- Rokhele, piano
- Shtume Lelya, words by J. Jacobs, music by Abe Ellstein, South Pacific Medley, violin
- Too MaNew York Men, arranged by J. Barak, piano, E flat alto, tenor
- Vos Vilt Ir, by Esta Saltzman, piano, drums
- Yokh, Tshokh Tshokh, arranged by Lew Weissman, 3rd alto, sax E flat (bass clarinet)
- A Yiddish Polka, by J. Barak, clarinet B flat, trumpet B flat, violin
- A Yiddish Melody, by Esta Saltzman, trombone
- Aheym, Kum Shoyn Aheym, violin, by I. Lillian
- America
- Duet
- Dolores Valse, by Walteufel, flute, 1st and 2nd violin, 2nd trumpet, drums, trombone, oboe, viola, bass, clarinet
- The Jolly Coppersmith, by C. Peter, arranged by Franz Mahl, printed
- Kush-Kush, trombone, bass, clarinet, viola, trumpet
- Kum Aheym, 1st and 2nd violin
- Masken-bal
- Oriental Scene, Caravan Dance, by Lubomirsky-Roberts (printed), viola
- Waltz, 1st violin, drums
- The Women, arranged by by A. Hellman, trumpet, bass, viola, flute
- You Never Loved Your Mother, drums
- Zigeiner
- Akh Heri (Harry) Liber Aylt Aykh Nit
- Tsvey Toyznt Yor iz Shoyn vi Mir
- Ven Got Hot Alts Bashafn
- Ayer Hant Mir Erloybt Libes Fraylayn
- Yeder Mentsh Zukht Nor Glik
- Dertseyl Mir Brider fun dem Land
- Sheyn is der Frimorgn
- Vest Zikh Bald Bakenen
- Lebn is Gut, Zorgn iz Nit
- Beser Ken nit Gebn in Dem Mentshn Lebn
- Shtark Zikh, s’iz Emes Ikh Bin a Krist
- Vos iz Dos, Vos iz do Geshen
- Ikh Volt Geven Raykh
- Tsimblen iz di Beste Zakh
- Yoyne Kroyne Kroyne
- Beser Ken Nit Gebn
- Khasene Hobn vil Ikh Keyn Mol Nit
- A Yomtev a Sheyner Vet Haynt do Zayn
- Lomir Zikh Beyde onton Fliglen Fun der Fantazi
- Ales is Dortn Misteryez
- In Arabye mir Araber
- Zey Heybn uf di Fislekh Zeyer Sheyn
- Fangst on Dayn Lebn Oyf es Nay
- Shteyen, er iz Zayn Kind, fragment of score
- Oy oy oy Libe
- Gevald es iz Nit Gut
- A Yomtev a Sheyner
- Riu, oy vi Fayn
- Yoyne, Kroyne Kroyne
- Shayn tsu Zayn a Fremder
- Eloheynu from Malkhus Zichronos, by Joseph Brody
- Umipne Khatoeinu
- Mizmor Shir Khanukas Habayis
- Ma Tovu, by Joseph Brody
- Min Hamezar
- Naarizkho
- Etz Khayim
- Areshes
- Fragments
- Fabio Romania, flute, clarinet, 2nd violin, bass, drums, trumpet, trombone
- Printed Intermezzo Elegante
- Les Contes d’Hoffmann, by J. Offenbach, arranged by Alfred Roth, trombone, trumpet A, drums, bass, 1st clarinet A, flute, 1st violin
- Printed dramatic music, Series XI, Theodore Bendix, trombone, trumpet, drums, bass, 2nd violin, clarinet, flute, 1st violin
- Printed music for 1st violin, no title, property of Joseph Brody
- Podratshik/Podracik, 1 page, violin
- Der Giber, 1 page, piano
- Duet (of number 12?)
- Duet, 2nd violin, viola, bass, flute, trumpet, drums
- Der Muser, 1 page, 1st violin
- Erets Yisroel Libe, property of A. Hellman, bass
- Shabes Yomtev, number 13, flute, 1st violin
- Khor fun Korbones (for chorus)
- O Ales Libtes Kval
- Leruen Zolstu nor a Sakh
- Mentsh O Mentsh vi Kleyn du Bist
- Tsion, Tsion Mir Blaybn dir Getray?
- Nor Munter Lustik Freylekh Ferbrengen Vir di Tsayt
- Akh Vos Zeen Mir
- O Nem Nit Mayn Shayn Oys Aveyrelekh
- Got Liber Boyres, Bist Dokh Eyn el Rakhum
- Ikh Meyn Mame, er Lozt Zayn Mame
- Vinea Galop, trombone, 2nd cornet A, drums, 1st viola, 1st violin, piano, 2nd violin, flute, bass, 1st clarinet C
- Love Letter Polka, piano, 1st cornet A, 1st violin
- 2 pages, (torn), 1st trombone in C, tenor (sax?) in C
- Quadrille Madame Agro, 1st violin
- (?) Barber
- By A. Hellman, title page, by Lateiner and Mogulesko, copyright 1894, piano, 2 pages
- Blimele March, piano, 1 page
- Sholem Bayis
- Oy Nit Far Aykh Gedakht
- Kuplet Montik biz Zuntik, 4 pages
- Ikh Dank Dir GoteNew Yorku
- Gib Undz Tsurik de MameNew Yorku/ Gib Uns Zurik die Mamenu
- Leshone Toyve/ L’Shono Toivoh
- Aheym Aheym, Briderlikh Aheym
- Rozinkes mit Mandlen, from Shulamis
- Viut, veetri (Stormy Breezes)
- Zol Zayn Freylekh, trumpet in A, 1st violin
- Lebedik lebedik tantst un hopket
- Veyokhen sisonu
- A bet mit shikh
- Nor tsaygen vel ikh ale meydlekh
- Ven ir zet trern faln fun a kind
- Akh ti na tsienko
- Kolombus zolst mir hobn a Likhtikn Gan Eydn
- Gepakt Atsinder hobn mir di Banditn
- Bagrisn mir ale dem tagesfest
- From Mlle. Modiste by Victor Herbert, arranged by Otto Langey, published by M. Witmark and Sons, New York, drums, 1st trumpet in A, trombone, 1st clarinet in A, B, flute, bass, viola, 1st and 2nd violin, 2nd trumpet in A, B flat, cello, piano
- Unidentified with texts
- Vey zi iz Krank Nit fun Lang
- Bentshn dem Sultan Oy
- Vintsht zey ale Glik
- Mazl Tov in a Guter Sho
- Groys o Groys iz Mayn Glik
- Ikh Volt Aykh Alts Avekgegebn
- Svit Somer Briz (Sweet Summer Breeze)
- Fal Mit di Soldatn
- Freylekh Munter
- Lomir Shnel fun Danen Flien
- Tshekt Mit ir di Hent
- Freylekh Zayt nor Kinder Meydlekh
- Vest Zayn Alektet Gor
- Shtreybn Gezorgt Gekrenkt, property of Joseph Brody, New York
- Kha Kha Khater Host a Toes?
- Far di Arbet Gold Arbet Yeder, property of Joseph Brody, New York
- Ikh Vandl Arum Eynzam un Shtil
- Shnel Fartik Zayn Emfangen dem Sof, property of Joseph Brody, New York
- Alte Shmates Gants Fayn-dekho miledgeel
- Zog Mir Az ? Zi Darling
- Ikh Ken Mentshn Alerley
- Shrayg Shtil, Zog Nit Oys
- Vi Gliklekh iz der Mentsh
- Freylekh Kinder, Freylekh Kinder
- Sheyne Froyen Tsu Getroyen
- Beilke Marinetta, direction, 2nd violin, 3rd bass
- O Pumpiere - March, arranged by C. Viltozzi
- Oj Mari Waltz, flute, clarinet, trumpet, trombone, drums, score
- Ven I’ll be alone Vest You Mayn Tshiken
- Mit verter Kom Ikh Gornit Aroysreydn
- Veyst ir Vos es Pasirt Brider
- Erhere Undzer Gebet
- Akh ver Volt Amol Geyloybt fun Aykh Aza Groyser Zind
- Ven Ikh bin Geven a Kind Nokh on Tseyn
- Fun Ale Geshefte fun Groys biz Kleyn
- (fragmentary)
- Overture to Mirele Efros, clarinet B, saxophone B alto, violin, bass
- Finale to Mirele Efros
- Tevye der Milkhiker, cello, 1st and 2nd violin, clarinet B, bass
- Ver Ken dem Kumen Tsu Mir, music by Lew Aronson, words by Mendel Man, published by Kultur Sektor baym Central Committee fun di Bafrayte Yidn in Berlin, no date
- Der Durkh Gematerter Veg, music by Lew Aronson, words by Gregor Schelkan and Lew Aronson, Kultur Sekton
- Tate New Yorku, music by Lew Aronson, words by Gregor Shelkan, Kultur Sektor
- Dos Lid Fun Yidishn Di-pi, words by H. Leivick, music by A. Jones, arranged by Prof. Zetke, publisher “Undzer Lebn,” Berlin
- Greenwich Village Blues, piano, music by Abe Ellstein, words by J. Jacobs
- Opgenart, music by Abe Ellstein, words by J. Jacobs, piano, words on separate pages
- The Man I Love, clarinet, flute, tenor sax B flat, piano, violin, cornet B
- Tango number 2, piano, trumpet B flat, cello, clarinet B flat, bass, flute, trombone, drums, violin
- Mazl, piano, violin, trumpet B flat, trombone, violin lead, sax B flat, sax E flat
- Mister-Missus, piano, opera, piano, stamp of Harry Cohen, c. Local 802, registered 1957
- I’ll Praise this Land, piano
- Food, piano
- Sholem Aleichem, piano
- Handkerchief, piano
- In its Zogste Neyn, piano, words on separate pieces of paper
- Ikh Hob Dikh Tsufil Lib, Piano, words on separate pieces of paper
- Duet number 1, piano, violin, cello, finale, clarinet B flat, drums, timpani in E and B, trumpet B flat, trombone
- Nostalgias Tango, music by Juan Carlos Cobian, words by Henrique Cadicamo, copyright 1936, Buenos Aires
- 1st trumpet B flat part
- Vos vilt ir
- Yiddish medley
- Calypso
- I Want a Man
- Either Too Young
- Opera duet
- Handkerchief
- I’ll Praise this Land
- Sholem Aleichem
- Mister-Missus
- No title
- Piano Music: Movie Star, Drank, Der Rebe, Lozt Mikh Lebn
- Begin the Beguine, words and music by Cole Porter, copyright 1935, Harms, licensed, New York
- Trumpet B flat Music: Drunk, Movie Star, Der Rebbi, Lozt Mikh Lebn
- Let’s Dance a Frailachs, words and music by Sholem Secunda and Hy Jacobson, copyright 1951, Mills Music, Inc., New York, from Bagels and Yox
- Chi-ri-bim Chi-ri-bom, words and music by Sholem Secunda and Hy Jacobson, copyright 1951, Mills Music, Inc., from Bagels and Yox, 2 copies
- Begin the Beguine, 1st violin part
- Beguine
- Der Rebbi
- Drunk
- Movie Star
- Begin the Beguine, 2nd sax tenor
- Drunk
- Der Rebbi
- Movie Star
- Begin the Beguine
- Drums
- Zigeuner, words and music by Noel Coward, drums
- Summertime, music by George Gershwin, words by DuBose Heyward, piano, 1st clarinet in B flat, viola, violin C, oboe, violin (conductor), 1st trombone, 2nd trumpet in B flat bass, 1st trumpet in B flat, bass, 1st and 2nd horns, 1st and 2nd horns in F, bassoon, drums, 3rd trumpet in B flat, cello, flute, 2nd clarinet in B flat, 3rd clarinet in B flat, 1st bass clarinet, 1st trumpet in B flat, 2nd trombone
- Till There Was You, by Meredith Wilson, 1st trumpet in B flat
- Betler, clarinet in B flat
- Chastushky, trombone
- Dayne Bloye Oygn, piano
- Dray Tekhterlekh, published fragment
- Emese Libe, trombone
- Ey, ey Mener, trombone
- Froyen sheyne tango, violin, cello
- Di Gasn-froy tango, by S. Blumstein, canto
- Getsle/Gecle, clarinet in B flat
- Git Mir op Mayn Harts Tsurik, fragment
- A Grus fun Dem Nayem Rusland, violin, flute
- A Gute/Gite Heym/Heim, by J. Jacobs and A. Olshanetsky, fragment
- Habeyt/Habeit, by Lewin, arranged by Enzo Falcomata, New York, piano and canto
- Hatslikho no, arranged by Henry Lefkowitch
- Hertser, romance, violin, cello
- Hot Khasene, clarinet in B flat, cello
- Ikh Benk Tsurik Tsu Mayn Heymele, trombone, drums, trumpet in B flat
- Ikh Hob Dikh Lib, by J. Jacobs and A. Olshanetsky
- Ikh Hob Mayn Harts Farlorn
- In der Nakht, clarinet in B, drums, cornet in B flat
- Kabtsn, by Jack Stillman, trumpet in B flat, piano, 1st saxophone in E flat, 2nd saxophone in B flat
- Kachszem?/Kakhsheym?, violin, clarinet B flat
- Kadsheynu, by Jack Stillman, E minor trumpet
- Karshelakh/Karshelach, by Jack Stillman, also stamp, Jack Stillman, Local 802, E flat alto, B flat trumpet, B flat tenor
- Katerinke, Yom-tev
- Khantshe, cello
- Khasidishe ninguniem/Chasidic Melodies, by Joseph Rumshinsky, Inc.
- Der Khazn/Chazin, piano
- Krishme Leynen, clarinet in B flat
- Lebedik Freylekh, drum, trombone
- Lernt, Lernt, clarinet B flat
- Dos Lid Geyt dir Nokh/Dos Lied Geht dir Nokh, voice and piano, words by Segalowitz, music by Chaim Lewin, arranged by Michael Brodsky, January 1966
- Loz Zayn Freylekh/Los Zin Frelich
- Loz Lidey Matnas Bosor Vedom
- Lozt di Zorgn/Lost die Zorgen, clarinet in B flat
- Mame Shlog Mikh Nit, piano
- A MameNew Yorku/Mameniu, 3 saxophone E flat, trombone, drums, 1st trumpet B flat
- Di Matnia/Matina, clarinet B flat, cello
- Mayn Heym/Min Heim, by Jack Stillman, trombone
- Mayn Mame/Mama
- Mayn Meydele/Mein Maidele, clarinet B flat, cello
- May-Ko-Masha Lon, words by A. Reisen, notated and arranged by N .L. Saslavsky, Inc.
- Mayn Zeydns Kholem/Mein Zeiden’s Cholem, words and music by Abraham Singer, Inc.
- Malagenia, by Bernard Stone?
- Melokhe Melukhe, neg.
- Mener, trombone
- Models fun Libe/Models fin Liebe, trumpet B flat, trombone
- Motele
- Motke
- Nishto mer Keyn Heymland far dem Yid, piano
- Nokh a glezl, Inc.
- Oy di Meydlekh/Oi di Maidlach, clarinet B flat
- Oy Meydelekh/Oi Maidalach, E minor
- Oy Oy se Kitslt/Oi, Oi se Kitselt, cornet B, clarinet B
- Oyb Siz Geven Gut Far Mayn Mamen iz es Gut Far Mir/Oib Sis Gewehn Git far Mein Mamen is es Gut far Mir, words by Molly Picon, Music JMR
- Prost un Poshet/Prost in Pushit, words by Molly Picon, music by A. Ellstein
- Oygn, words by Molly Picon, music by A. Ellstein, no cover
- Rina
- Selectione, piano, drums
- Seykhl Kumt Nokh di Yorn/Saichel Kumpt Noch die Yuhren, trumpet in B flat
- Sholem Tants/Tantz, words and music by Abraham Ellstein, no cover
- Dos Shtetele, trombone, trumpet
- Shto Mnie Gore, violin
- Shvartse Karshelekh
- Sirba, Yomtev, by Josele Grinblat, piano
- Siz a ziser Veytik/Sis a Sisser Vaitik, cello
- Siz Gut/Sis Git, duet, piano
- Tate, Mame, piano
- Dem Tatns Zundele/Dem Tatens Zindale, words by Oscar Ostroff, music by Ilia Trilling, Inc.
- Der Terets/Teretz, Cello, clarinet B flat
- Tsvey, Khaveyrimlekh/Tsvei Chaveirimlach, cello
- Ver Darf a Mame, trumpet B flat
- Veyn, Himl, Veyn, voice and piano
- Vos Veyst a Misnagid/Vos Vaist a Misnagid, clarinet B flat
- Va Ahin Zol Ikh Geyn/Vie Ahin Zol Ich Gein
- Vu Nemt Mer a Moyshe Rabeynu?/ Moishe Rabeinnu, words by Jacob Jacob, music by Yasha Kreitzberg (Saxon), violin, drums
- Warsaw, arranged by Jack Stillman, B flat tenor
- Workmen’s Circle Hymn, music by M. Posner (in English translation by S.H.F.), voice and piano
- Yankele, trombone, cello, piano
- Yeytser Hore/Yezer Hore, violin
- Yidishe Nemen, clarinet B flat
- Yidl
- Yoshke
- Yosl/Yosel, cello, trombone, drums
- Zaynen Mir Froyen Zindik?/Zeinen Mier Frauen Zindig, by D. Meyerowitz, violin
- Zivug number 8/Kh’ob Dikh Lib, number 9
- Di Zun Vet Shaynen/Die Zihn Vet Sheinin, clarinet B flat
- Mazl-Tov
- Tshiribim/Cziribom
- Melokhes
- Shlofndik
- Di Zun hot far mir nokh keyn mol geshaynt
- Oysgeshpilt
- Samet Mit Zayd
- Tsimblen
- In Mayn Shtetl
- Dos Shtrikele
- Af der Elter, music by Brody and Friedsell, duet
- Amerika, quartet
- Alone in the World, 1st violin, quartet
- The Dance of Death Waltz
- I Don’t Want to Play in Your Yard, by N. Kroll, 1st violin
- Mosha Oyge (Glickman), 1st violin
- Hava Nagila
- Rebe Yishmoel, by Rosenblatt, chorus
- Oy Shlim Mazl, words and music by S. Goznisky, 421 E. 166 St., copyright 1924
- Stradella, overture
- Ikh Benk Tsurik Tsu Mayn Heymele
- Shtetele
- Duet
- Bateria, trombone, bass, violin
- Simona mi Simana
- Mayne Zin
- Beni Berman, Befundek kotan
- Lo Khol Yom Purim
- Shney Kabtsanim Vekhamoron Ekhad
- Granada, with Yiddish translation
- Khasene-valts, words by Ch. Tauber, music by Ivanovici
- La Hija de Don Juan Alba, words by F. Infantes, music by L. Rivas
- Les Lavandieres du Portugal, words by Roger Lucchesi, music by Andre Poysp
- The Lady is a Tramp, by Lorenz Hart and Richard Rogers, with Yiddish translation
- Those Were the Days, words and music by Gene Raskin
- Az men Farzukht/Farzikht
- Az Moshiakh Vet Kumen/Kimen, piano, clarinet B flat
- Bokherl/Bucherel, piano, drums, trombone
- Breyshes/Braishes, clarinet B flat,cello
- Brider Gist Arayn, clarinet B flat
- Chastushky, drums, clarinet B, cornet B flat
- Cuplet, drums
- Dayne Bloye/Blaue Oygn/Oigen, clarinet B flat
- Dray Balebatimlekh/Balebatimlach, violin, clarinet B flat
- Emese libe, trumpet B flat
- Ey, Ey, Mener, trumpet B flat
- Di Eybike Mame/Eybige Mame
- Eyner Libt Mikh, clarinet B flat
- Froyin Sheyne/Frauen Shaine, tango, clarinet B flat, piano
- A Grus fun Rusland, cornet in A
- Hot Khasene, piano
- Hulyet, Hulyet, Kinderlekh/Huliet Huliet Kinderlach, violin, clarinet B flat, cello
- Ili Kabtsn/Kapsen, trombone, clarinet B flat
- In der Nakht, tango, by Jack Stillman, drums
- In der Nakht, arranged by Charles Rozen, 1st violin
- Kabtsn/Kabtz’in, by Jack Stillman, E flat alto, violin, drums
- Kachszeim, cello
- Karshelekh/Karshelach
- Di/Die Kashes, clarinet B flat
- Khalutsim lid/Chalutzim lied, cello, clarinet B flat
- Khantshe/Chantshe, clarinet B flat
- A Kindele Vil Ikh, piano
- Kinderlekh/Kinderlach, by Jack Stillman, violin (conductor), viola, E flat alto, cello
- Kol Nidre
- Kum Leybke Tantsn
- Lebedik Fraylekh/Lebedig Freilach, cornet B flat, violin
- Lernt, Lernt, violin, cello
- Lozt di Zorgen/Lost Die Zorgen, cello
- Mayn Heym/Min Heim, by Jack Stillman, B flat tenor or clarinet
- Mayn Taybele, duet (torn)
- A Meydl in di Yorn/A Maidel ihn die Yuhren, clarinet B flat, cello, violin
- Miserlou (no title), words
- Nakhes fun Kinder, drums, trumpet B flat
- Nit Bay Mir/Nit Bei Mir, cello, clarinet B flat, drums
- Nokh a Yor/ Noch a Jur, By F. Kanapoff
- Oy di Meydlekh/Oi de Maidlach, cello
- Oy, oy se Kitslt/Oi Oi Se Kitselt, violin, drums
- Papirosn/Cigarettes, in A minor
- Polonaise, clarinet B flat, piano
- potpourri, by Jack Stillman, trombone
- Retsey/Retzai, cello, piano
- Romance Hertser/Hertzer, clarinet B flat, music by Samuel Blumstein
- Selection, trombone, violin, cornet B flat
- Seykhl Kumt Nokh di Yorn/Saichel Kimpt Noch die Yuhrn, drums, violin
- Shoklt, 1st violin
- Dos Shtetele/Dus Shteitele, violin
- Der Shtoltser Yid/ Der Shtoltzer Yid, words and music by Abe Schwartz
- Siz a Ziser Veytik/Sis a Sisser Vaitak, clarinet B flat
- Dos Shtetele/Dus Shteitele, violin
- Der Terets/Teretz, violin
- Tsvey Khaveyrimlekh/Tzvei Chaveirimlach, clarinet B flat, violin
- Varshe/Warsaw. Arranged by Jack Stillman, trombone
- Ven zi Zol Visn/Wen Sie Sol Visen
- Ver Darf a Mame, trombone
- Viglid/Viglied, Trombone, drums, trumpet B flat
- Vos Veyst a Mishnagid/Vos Vaist a Misnagid, cello, violin
- Yankele, trumpet B flat, clarinet B flat, violin, drums
- Yidishe Nemen/Yiddishe Nemen, cello
- Yingele
- Yoshke, piano, violin
- Yosl, clarinet, trumpet B flat
- Yugnt/Yugend (torn), in B minor
- Zion’s Lidele/Zion’s Liedale (Bette Herman)
- Zmires/Zmiris, by Jack Stillman, B flat, violin, B flat trumpet
- Zolst Nit Fargesn/ Fargessin
- Zolst Nisht Geyn Mit Andere Meydelekh, drums
- Zorgn
- Di Zun Vet Shaynen/Die Zihn Vet Sheinen, cello
- No title, piece by Julius Adler
- No title, by Jack Stillman, trombone
- Der Mamser, property of A. Hellman, 2nd violin, trombone, drums, piano
- Peer Gynt Suite, by E. Grieg, arranged by Theo. Moses, New York, Theatre Orchestra:
- I. Morgenstimmung/The Morning, 2nd violin
- II. Ases Tod/Ase’s Death, 2nd violin
- III. Anitras Tanz/Anitra’s Dance, 2nd violin
- IV. In der Halle des Bergkoenigs/In the Hall of the Mountain King, 2nd violin
- Der umbekantes, 1st violin, trombone, cornet, voice
- Untitled/Unlabeled Works including: tarantella, pieces for organ, voice, operetta
- Der Mamser, property of A. Hellman, 1st violin, bass, viola, clarinet in B, flute, cornet in B
- Peer Gynt Suite, by E. Grieg, arranged by Theo. Moses, New York, Theatre Orchestra:
- I. Morgenstimmung/The Morning, piano and violin, bass, viola
- II. Ases Tod/Ase’s Death, piano and violin, bass, viola
- III. Anitras Tanz/Anitra’s Dance, piano and violin, bass, viola
- IV. In der Halle des Bergkoenigs/In the Hall of the Mountain King, piano and violin, bass
- The Milchome Mames, 1st violin, 2nd violin, bass, flute, drums, cornet in B, trombone, viola, 4 numbers, drums, 5 numbers
- Unlabeled Pieces, one for 1st violin
- 1st violin, 2nd violin, trombone, cornet, drums, clarinet, viola, bass, flute, 6 numbers
- Also unlabeled piece for flute, clarinet, cornet, trombone, drums, 1st violin, 2nd violin, viola, bass, voice
- King Nebuchadnezer
- drums, 4 numbers, flute, 7 numbers, clarinet, trombone, cornet in B, 18 numbers, 1st clarinet, 2 numbers, 1st cornet, 3 numbers, 2nd violin, 10 numbers, viola, 11 numbers
- Additional unlabeled/misarranged music, including flute, varying up to 18 numbers, list of acts and numbers, M. Hellman, February 18, 1893, Thalia Theatre, M. Hellman flautist, New York, February 28, 1891, Adoph Finkelstein clarinetist, New York, 1891, Hausmann trombonist, 1891
- Fine de Opera/ Fine de la Opera, arranged by A. Hellman, written by Simon Finkelstein, February 23, 1891, Hellman, flautist, New York, Windsor Theater, March 28, 1893
- Der Oizer, 1st violin, 2 numbers, viola, 15 numbers, cornet, 3 numbers, viola (finale), 8 numbers, flute
- Additional unlabeled music, varying up to 12 numbers
- Bay dem seyder zingt ayeder
- Dos beste iz tsu zayn farheyrat (Duet)
- Boyes ale ven ir geyt mit meydlekh
- Dray tekhterlekh/ Drei Techterlach
- Di gasn froy, tango
- Hulyet/ Halet halet yidelekh
- Ich zits un veyn ikh bin aleyn
- Kalme yankl
- Der mamzer
- Di matnia
- Mayn hofnung oysgeloshn
- Mayn mame
- Mayn zeyde odev hasholem
- Men yogt zikh men plogt zikh
- Nokh a yor
- Nor ikh zing un lakh (chorus)
- Oh Joseph Joseph (in English)
- Oy vet zayn voyl un fayn
- Oy mayn tayer khanele
- Oyf a shtile veg a shmoln
- Pitselekh kinder (chorus)
- Shtelt zikh oys klezmorim
- Tankhum
- Der tog fun ale teg (ven di boys ven kumen tsurik)
- Tsvey khavertes
- Ven reb peysakh kum tsu geyn
- Ver darf a mame?, by F. Kanapaf, arranged by Leon Field, copyright 1937, Esther and Leon Frieding, New York
- Vos kh’hob gevolt hob ikh oysgefirt (folk duet)
- Yam-lid
- Zol yo zayn, ober nit azoy fil
- Zolst nit fargesn
- Dos Alte, trombone
- Amerikanische Hochzeit, couplet
- Chastusky, piano
- Einer libt mikh, piano
- Dorul meu e numai dor, piano
- Frage
- Drei Balabatimlach, cello
- Geule, drums, trombone, trumpet in B flat, Philip Laskowsky, registered 1948
- Hamavdil
- Di alte Heim, violin, Jack Stillman
- Ich benk aheim, music by Joseph Rumshinsky, words by Ludwig Satz, piano, inc.
- Ich vil, piano
- In der Nacht, trumpets, trombone, clarinet, Jack Stillman, registered 1944
- Khalutsim Lid, violin
- A Khazndl oyf Shabes, piano, Vitalia Malina, copyright 1936
- Kubki wina
- Lechaim, ensemble, Samuel Blumstein, copyright 1936
- Mame, timpanis E flat and B, trumpets, piano, violin, Jack Stillman
- Mame, B flat sax, E flat sax, drums, trumpets in B flat, Jack Stillman, registered 1946
- Mayn heym, by Jack Stillman, trumpets in B flat
- Mener, trombone, drums, cornet in B flat
- No title, first line: Mir kumen tsu aykh…, words by Shmuel Fisher, music by Renee Solmon, piano
- Rumanian Romance
- Seykhl Kumt nokh di Yorn, cello
- Shiker-lidl
- Sisu besimkho/ Ismachu, violin, Jack Stillman, registered 1946
- Tsipke (duet), number 2
- Un die Nacht, piano, S. Zenovsky, July 1, 1936, Buenos Aires
- Valts, piano
- Vu Nemt men a Moishe Rabeinu, words by Jack Jacobs, music by Yash, Kreitzberg (Saxon), trumpet, registered 1947
- Warsaw, drums, B flat trumpets, arranged by Jack Stillman
- W.C. Heymn, words by A. Liesin, music by M. Posner
- Yidishe Nemen- Anna, violin
- Zeidins Chol’m/Zaydns Kholem, trombone, timpanis E and B, Jack Stillman, registered 1946
- Valse Slave, by Jean Savasta, 1st clarinet in A
- Nights of Gladness, waltz, by Charles Aucliffe, arranged by Carl F. Williams, 1st Clarinet in A
- By A. Hellman, 2nd violin, 1st violin/direction, 15 numbers, property of A. Hellman, New York, May 1895, A. Hellman
- Thalia Theatre programme, in Yiddish
- By A. Hellman, 2nd violin, clarinet in A, cornet in A, trombone, drums, viola, flute
- All scores divided into: Intro, Mazurka, Trio
- Separate sheets, unidentified
- Lyrics to Gevald ikh vil khasene hobn, by Joseph I. Tanzman, comedian, with Lyric Theatre Stock Co., Brooklyn, New York
- Lyrics to Shil du sheygets gor farkert (fragments), words: In der heym mir yidelekh…
- Misterioso number 3 by J. E. Andino, copyright 1915 by G. Schirmer, 1st violin, 2nd violin, 1st and 2nd cornets in B flat, bass, flute
- Untitled duet, Du her zikh oyf tsu krign…
- Oi Wei Kindeniu, fun grinem melamed
- Untitled duet
- The Soul of a Mother, words by Joseph Brody, music by Joseph Tanzman, Gib Uns Zurik Die Mamenu (from A Mame’s Neshume), arranged by Jack Kammen, copyright 1921 by J.and J. Kammen, Brooklyn, New York
- Der Fremder, trombone, 4 numbers
- Spring Song
- Serenade, Schubert
- Vals Malke shvo gesingen fon Mastern Zibel, music by Joseph Brody, words by Shor
- Farshpilte veltn, piano, number 2
- Der Batlen, number 1
- Vals vie git es is zu sein a kind, number 2
- Folder Cover with Titles: The Jewish Heart, Got Mentsh und Teifel, Shlome Scharlatan, property of D. Kessler
- Separate unidentified sheets, including Tumer, viola
- Adeser Betler, 1st violin, 2nd violin, viola, bass, flute, clarinet, cornet, 2 numbers, property of Joseph Brody, New York
- Mendel Beiles, 1st violin, 7 numbers, cornet in B, flute, bass, 5 ½ numbers, clarinet, 2nd violin, 6 ½ numbers, trombone, drums, 4 numbers
- The Jew, trombone, drums, 4 numbers
- Auf der Eltter, cornet, clarinet, flute, 1st violin, 2nd violin, bass, viola, drums, trombone, Victor Simchovitz, Theodore R. Greenberg, 1912
- Duet of der Eltter, music by Brody and Friedsell
- Jerushalaim, overture, piano, 29 numbers
- Untitled Operetta, overture, piano, 12 numbers
- 1st violin, trombone, 2nd violin, bass, voice, clarinet, viola, cornet, 14 numbers, flute, 11 numbers, A. Hellman, New York, January 22, 1888, Jassy, Romania, Salamon Gitlin
- Additional unidentified sheets
- 1st violin, cornet, 2nd violin, flute, 10 numbers, property of A. Hellman, New York, Wilenski, New York, August 1901, A. Hellman
- Enclosed: Just One Girl, 2nd violin
- Clarinet in B, viola, drums, bass, trombone, 10 numbers, property of A. Hellman, New York, August 1901, A. Hellman
- unidentified sheet labeled number 3
- Maloroceiski Zvuki, by A. Hellman, 1st violin, 2nd violin, viola, bass, flute, 2nd trumpet in F, 1st trumpet in F
- Minkus Armenian Dance, trombone, 1st trumpet in B, bass, cello, 1st clarinet, 2nd clarinet in B
- Folder labeled piano, Galizianer Rebezin, The Russian Nightingale, by Alexander Alabieff, by Estelle Lichluy
- Separate sheets of music with lyrics, including: Duet Feld and Tomashefsky number 6
- Religioso number 5, drums, cornet in B flat, trombone, piano, violin, clarinet in B, flute
- Der Gambler, by Rosenstein
- Moscwa
- Oi Der Lulow, words and music by S. Gozinsky, copyright 1924
- Power of Passion, drums
- Rustreana
- Solnze Nizenko, 1st violin, registered July 9, 1904, New York, J. Gropper, New York, L. Friedsell, Hunter, New York
- Turkish March, 1st violin
- Vostolhni Romance or Eastern Romance, clarinet
- Unitled, violin
- Fidelio, by L. van Beethoven, violin
- Orpheus in der Unterwelt, 1st violin, by J. Offenbach, arranged by Theo. Moses, property of Joseph Brody, New York
- Adon olom
- Bemozoei
- Broches
- Emes vemuno
- Etz chaim
- Halelujah
- Kadish from tal
- L’chu neranneno
- Ma tovu
- Orhorachmim
- Yigdal
- Haneres Halolu
- Ma Tovu
- Mi Bonsiach
- Mimkomcho
- Min Hametzar, music by Joseph Brody
- Mizmor shir chanukas
- Moos Zur
- Narizcho
- Sisu Vesimchu
- Veshomru
- Vechach hojo mone
- W’hakohanim
- Wechach hojoh omer, by B. Lehorr
- Yisgadal
- Eyn ort vos iz ful mit zind
- Hert mikh ale oys
- Kapores
- Der posek geyt keyn mol nit unter
- Er halt mikh mit tsvangen
- Zay gebentsht du frisher heler morgnshats
- Flute, oboe, bassoon, cello, trombone, cornet, clarinet
- All sheets labeled number 5 Halelujah on front, and number 2 Shivisi on back
- Lid far tatn-mamen, music with lyrics
- Frauen Liebe, 1st violin, cornet, 2nd violin, bass, drums, viola, clarinet, flute, trombone, 4 numbers, April 16, 1917, March 22, 1917, J. Feinbloom
- Her Confession, viola, 7 numbers, director’s copy?, music with text
- Dos Gantse shtetl, by Nadolsky?
- 1 page unidentified music
- Gulas Russland, cornet
- Treshterte khupe
- Walzer, 1st violin
- Gotta go to work again, 1st trombone, Joseph Brody
- Duett Chanele die Finishern, Norman Kroll, New York
- Duett Gibor Hachael, Norman Kroll, New York
- A boytshikl, music with text
- Mi adir
- Ma tovu
- Ov horachmim
- Others
- Hashkivenu
- Mi sheberach
- Narizcho
- Others
- Trombone, 2nd violin, cornet, bass, drums, flute, clarinet, 1st violin, viola
- Loose pages enclosed in most instrument sheets: Just Try to Picture Me Down Home in Tennessee
- Hit aich Meidlach
- Zum
- Down in Bom-Bombay
- When I Leave the World Behind, by Irving Berlin, arranged by Milton Ager, viola, bass, flute, clarinet in A, cornets in A, piano, 1st violin, 2nd violin, cello, Horns in F, trombone, drums
- Just Try to Picture Me Down Home in Tennessee, music by Walter Donaldson, words by W.M. Jerome, arranged by Milton Ager, piano, horns in F, cello, copyright 1915
- Zum by Don Richardson, arranged by D. Onivas, piano, copyright 1915
- Jolly Imps by I. Sachs, 1st cornet in B flat, property of A. Hellman, New York
- Kentucky Home, music by Walter Donaldson, words by Coleman Goetz, arranged by William M. Redfield, piano, flute, clarinet in B flat, cornets in B flat, trombone, drums, horns in F, 1st violin, 2nd violin, viola, cello, bass, copyright 1915
- Blaze of Glory, by Abe Holzmann, arranged by W. H. Mackie, piano, 1st cornet in A, 1st violin, cello, 2nd violin, viola, bass, piccolo, 1st clarinet in A, 2nd cornet in A, trombone, drums, property of A. Hellman, New York
- The Vanderbilt Cup, by Robert Hood Bowers, arranged by Redfield, piano, 1st violin, 2nd violin, viola, bass, flute, 1st clarinet in B flat, 1st cornet in B flat, 2nd cornet in B flat, trombone, drums and timpani, property of A. Hellman, New York
- The ‘Ham Tree’ Overture, by Jean Schwartz, arranged by Frank Saddler, piano, 1st violin, 2nd violin, property of A. Hellman, New York
- Forty-Five Minutes from Broadway, by George M. Cohan, 1st violin, piano, 2nd violin, viola, bass, flute, 1st clarinet in B flat, 1st cornet in B flat, 2nd cornet in B flat, trombone, drums and timpani
- Cello, 19 numbers
- Fragments of miscellaneous instrument parts, some with text
- Trombone, 20 numbers, drums, 21 numbers, Max Divinsky, January and February, 1928, Hopkinson Theatre, New York
- Loose sheets of I Can’t Believe That You’re in Love with Me enclosed in instrument parts
- Cello, 21 numbers, 1st violin, 20 numbers
- Loose sheets of I Can’t Believe That You’re in Love with Me
- Piano, some text
- Loose sheets of Baltimore
- Ay mentshelekh shteyt…
- Groys iz der tones…
- Dos kleyne geshank…
- Mir kumen dikh tsu gratulir…
- Nor lustik…
- Nor ruik shteyt…
- Oyb siz a simkhe…
- Ot azoy ot azoy…
- …zolstu mikh sheyn bagrisn…
- Baby-Wife
- Darf a froy dertseyln, drums
- That Old Gang of Mine, drums
- Fania, 2nd violin
- Ikh bin geven derbay
- Potpouri vals, trombone
- Sisu vesimchu
- Sasa und Treue Liebe, 1st violin, drums, cornet, flute, piano, trombone, clarinet, bass, viola, 2nd violin, 4 numbers Sasa and one page Treue Liebe, property of Joseph Brody, New York
- Menshele du Shwache Flig, clarinet, viola, 2nd violin, bass, cornet, 1st violin, flute, trombone
- Gepatert die zure- a scheine kapure
- Shabes yomtev, cornet in A
- Duet from Di shnorers
- Eyts hadas, flute
- Dus Hartz fin a Frau, flute
- Duet from Fun yenems vayb
- The Musician/Der Klesmer, viola, bass, 2nd violin, drums, cornet in B
- Ballad Music, by G. A. Listina, piano and voice, in Russian
- Some unidentified sheets, possibly belonging to The Musician
- By Felix McGlennon, arranged by E. Jonghmans, in various handwritten and printed sheets, piano, voice, 1st violin, enclosed in 1st violin:
- The Honeysuckle and the Bee by Alf. H. Fitz and William H. Penn
- Clidee Oh
- Good Bye Dolly Gray, arranged by J. W. Chattaway
- Down by the Riverside, arranged by J. W. Chattaway
- Sweet Annie Moore, by John H. Flynn
- The Duty of a Wife, arranged by L. O. de Witt
- When Mr. Shakespeare Comes to Town, by William Jerome and Eugene Black, property of A. Hellman, New York
- More Work for the Undertaker, drums, trombone, clarinet in B flat, bass, 2nd violin, cornet in B flat, viola, flute
- When Mr. Shakespeare Comes to Town, arranged by J. W. Chattaway, viola
- Medley Overture: Slide Kelly Slide, by M. Kaetkenheuer, 1st clarinet in A
- Duet, by Max M. Cohan, 1st violin
- As man gibt nemt man, flute, principal, clarinet in B, 2nd violin, bass, 1st violin, viola
- Adolf Finkelstein, clarinetist
- Oh! Mama Buy Me That, flute, trombone, cornet in B, viola, clarinet, 2nd violin
- Af der Elter, clarinet
- The Jewish Heart, 3 numbers
- Shlomele sharlatan
- Got mensh und Teifel, 8 numbers
- Piano, drums, cornet, 1st violin, trombone, printed sheets enclosed:
- When I Marry You by Albert Gumble, arranged by Ribe Danmark, 1st cornet in A, 1st violin, piano
- Scaddle-De-Mooch, by Cecil Mack and Chris Smith, arranged by William Schulz, 1st cornet in B flat
- What a Wonderful Mother You’d Be, by Al Piantadosi, arranged by George F. Briegel, piano, 1st violin, 1st cornet in B flat
- Poet and Peasant, piano
- Queen of Autumn by Carl Bigge, piano
- The Calif of Bagdad by A. Boieldieu, arranged by Theo. Moses, piano
- Czar und Zimmermann, by A. Lortzing, arranged by Theo. Moses, piano
- Hungarian Lustspiel, arranged by Theo. Moses, piano
- La Dame blanche by Boieldieu, piano
- Merry Wives of Windsor, by O. Nicolai, piano
- Zampa by F. Herold, piano
- Raymond Overture by A. Thomas, piano
- Potpourri: Keser Toro, by L. Friedsell, drums, clarinet
- Selection, Die Seider Nacht, viola, clarinet
- Selection, Gabriel, viola, drums, clarinet
- Cover of The vert fon a mame
- Various Marches
- Liturgical Music
- Various Instruments, some text
- Untitled Score
- Judith and Holophernes, music arranged by A. Hellman, trombone, 11 numbers, property of A. Hellman, Hausmann, trombone, 1889 and 1894, Reines, trombone player
- Blaubart Quadrille, from the opera by J. Offenbach, for piano by Josef Strauss
- Printed Music, piano, 6 numbers
- Zurisene Neshumes, clarinet, 10 numbers
- Unlabeled music, some with text
- Ich hob nit mit vus, 1st violin
- Medley, by Jacobson and Schoenfeld, 3rd alto E flat, duets
- Medley, by Irving and May, piano
- Medley Duet, clarinet in B flat, trombone, drums, violin
- Medley, by Jacobson and Schoenfeld, violin (direction and time), trumpet, drums, bass, piano, 2nd sax in B flat, trombone, 3rd Sax in E flat, 2nd trumpet
- Medley, by M. Fleischman, Irving-May, piano
- Sheets of text
- Across the Continent, march, by Jean Schwartz, arranged by Maurice F. Smith, printed music, various instruments, property of A. Hellman, New York
- Hula Hula by Percy Wenrich, arranged by J. Bodewalt Lampe, printed music, various instruments
- When You’ve Just Received a Letter (From the Girl Back Home), by Ivan Reid and P. de Rose, piano and words
- When the Moon Begins to Shine (Through the Pines of Carolin’), music by Ed Nelson, words by Will J. Hart, piano and words
- Return of the Troops by R. Eilenberg, arranged by Theo. Moses, 2nd violin, bass
- Fairy Tales by R. Eilenberg, arranged by Theo. Moses, 2nd violin, bass, property of J. W. Schotoff
- Der Yidd Zingt, by Hymy Jacobson, arranged by Jack Stillman, cornet in B flat, trombone, tenor sax in B flat, alto sax in E flat, piano, drums, trumpet
- Sheiner Chulem, Medley, by J. Stillman, tenor in B flat, violin
- Zurik Zu Mir, arranged by J. Stillman, violin
- Medley: Sheiner Chulem, Oi Siz Git, The Zin in the Shtern, Zug Far Vus, arranged by Jack Stillman, piano, trumpet in B flat, trombone, drums
- Shulem Tantz, arranged by Jack Stillman, drums
- Memories, by Jack Stillman, clarinet in B flat, cornet in C, drums or timpanis, piano
- Gelacht or Er Hut Gelacht, drums, violin, viola, trombone, tenor in B flat, bass, alto in E flat, enclosed sheets of text, registered 1945, by Jack Stillman
- Genig
- Mey (title?), alto, piano, flute, trombone
- Bride Song, violin, drums, trombone
- Lechayem, trombone
- Molly-Dolly, piano
- The House is Haunted
- Die Raine Liebe
- Sholem Tantz (Dance of Peace), words and music by Abraham Ellstein, for voice and piano, printed music
- Unter Boimer, music by Alexander Olshanetsky, words by Moishe Oysher, for voice and piano, printed music
- Yidishkite, piano
- Summertime
- Die Sun hot far mir noch kein muhl nit gesheint, words and music by Isidore Lillian, for voice and piano, printed music
- Don’t Worry ‘Bout Me, music by Rube Bloom, lyrics by Ted Koehler, printed music
- How Strange
- I Got a Guy, words and music by Marion Sunshine, arranged by Marvin Fisher, printed music
- Me, by Irving Berlin
- Music- Maestro, Please
- Perfidia, music and Spanish lyrics by Alberto Dominguez, English lyrics by Milton Leeds, for voice and piano, printed music
- Untitled, cornet, clarinet
- Stop the Sun, Stop the Moon, cornet in B flat, violin, sax, piano
- When a Gypsy Makes His Violin Cry, music by Emery Deutsch, words by Dick Smith, Frank Wine-Gar and Jimmy Rogan, for voice and piano, printed music
- You Let Me Down, music by Harry Warren, lyrics by Al Dubin, for voice and piano, printed music, enclosed sheets of handwritten lyrics
- Shlept di zinder in kerker arayn…
- Tsu vos hat undz der libe, boyre…
- Es knit a kind dort nebn bet…
- Un es vakst dos yidele…
- O her mikh oys yetst gut mayn eyntsik kind…
- At the Moving Picture Ball, words by Howard Johnson, music by Joseph H. Santley, trombone, drums
- Daddy, You’ve Been a Mother to Me, by Fred Fisher, arranged by Charles N. Grant, trombone, drums
- L’Automne et L’hiver (Autumn and Winter), arranged by Charles J. Roberts, 1st clarinet in B flat, horns in F, organ, solo and obligato violin, viola, 2nd cornet in B flat, trombone, violoncello, flute, 1st violin, 1st cornet in B flat
- Oh By Jingo!, lyrics by Lew Brown, music by Albert von Tilzer, arranged by Ted Eastwood, trombone
- Peggy, by Harry Williams, Neil Moret, drums, trombone
- Here Comes the Bride, clarinet, cornet
- Bride Song, sax
- My Forgotten Man, piano, drums, clarinet, tenor sax, cornet, violin
- Opening- Goodby Clinton St., flute, by Jack Stillman
- Land of Song Opening Theme, piano, 1st violin, viola, cello, sax, clarinet, bass
- Irving Mae
- Zurik zu mir/Kim Tzurik Tzu Mir, arranged by J. Stillman, piano
- That’s Love
- Nain, by Mae Schoenfeld, piano, 1st violin, sax in E flat, 3rd alto, drums, 1st trumpet in B flat, 2nd trumpet in B flat, trombone, bass, violin, cello, registered by Hymie Jacobson, 1942, enclosed lyrics to Trying to Forget, by Hy Jacobson, and additional sheets of untitled lyrics
- My Mistake, violin, enclosed lyrics to My Mistake, by Hy Jacobson
- Forever Isn’t Long Enough to Love You, words and music by Hy Jacobson, copyright 1951, New York
- Waltzing With You, words and music by Hy Jacobson, copyright 1951, New York
- Sug mir Hartz, lyrics enclosed
- Opening programs for shows in 1941
- Medley
- Oy bistu a meydl
- Happy Days Are Here Again
- Khotsh zi vil nisht mer
- Dr. Hertls Kholem hobn mir derlebt
- Abi gezunt
- Pavilye tate
- Die velt is geven far mir…
- Di fortentserin, a gift to the nice Miss Mae Schoenfeld, Simi Vaynshtok, Warsaw, September 23, 1933
- Yoma Yoma
- Dem Becher
- Gay ich mir Shpatsirn
- Dos Dechel
- Mazel
- Bei mein Mames Heizele
- Liebes bucherel bist mir teier…
- Zoll zein…, number 2
- Mir Hoben Gehert
- Inter Boimer
- Lied dem man vos ich hob lib
- Die in die Zin
- Zeeser Bucher
- Die Raine Liebe
- Ich lib dich vi mein leiben…
- Shein vie de L’vune
- Oy Siz Gut
- Ver iz mir Liber fun dir
- Sug es mir noch a mul
- Beigelach
- Bei mir bistu Shein
- Dem milner’s trern
- Eishes Chayil
- Shir Hashirim
- Die Felst Mir
- Journal entry/ short story labeled Thursday, May 23, 1940
- Kim nisht tzu mir
- Furt nit tzu veit mit der liebe
- Nu Zug mir Shoyn Ven
- Ich hob a maidele
- Mein yiddishe Mame
- Vus die vilst
- Oy iz dus a meidel
- Die bist mein leben
- Zoll zein…
- When Mr. Shakespeare Comes to Town, arranged by J.W. Chattaway, cornet in B flat, bass and cello, 2nd violin
- Comrades, cornet in B, viola, 2nd violin, bass
- The Honeysuckle and the Bee, arranged by Everett J. Evans, viola, 2nd violin, cello
- Clidee Ah (Elider?), 2nd violin, viola, bass
- Down by the Riverside, arranged by J.W. Chattaway, 1st cornet in A
- Good Bye Dolly Gray, arranged by J.W. Chattaway, 1st cornet in A, property of A. Hellman, New York
- The Duty of a Wife, arranged by L.O. de Witt, 1st cornet in A
- Sweet Annie Moore, by John H. Flynn, 1st cornet in A
- Violin principal, viola, 34 numbers
- Piling Theater, New York, A. Hellman, January 23, 1890
- Thalia Theater, New York, A. Hellman, March 26, 1890, August 13, 1890, May 30, 1891, January 12, 1891, November 5, 1898, March 11, 1899, December 1899, March 18, 1900, January 18, 1903
- Pools Theater, New York, A. Hellman, September 25, 1888, January 1, 1892
- Windsor Theater, A. Hellman, June 1, 1892, March 9, 1896
- Romanian Opera House, A. Hellman, March 4, 1893
- New York, A. Hellman, September 25, 1888, January 22, 1890, February 2, 1890
- Oriental Theatre, New York, A. Hellman, March 29, 1888
- Rag
- Der Grosser Socialist, 1st violin
- Der Wilder Mentsh, trombone, property of A. Hellman, New York
- Rabi J. Elchanon, trombone, 1st violin
- Mish-Mash, music by Perelmutter and Wohl, title page only
- Lebediker Mes
- Honey Boy Medley Overture, by Albert von Tilzer, arranged by William Schulz, 1st violin, 2nd violin, flute, 1st clarinet in A and B flat, drums, trombone, 1st cornet in A and B flat, viola, cello, piano, 2nd cornet in A and B flat
- Interpolations Medley Overture, by Gus Edwards, arranged by B. Paone, piano, drums, 2nd cornet in B flat, 2nd violin, 1st clarinet in B flat, flute in C, 1st cornet in B flat, trombone, cello, bass
- Bye Bye Dearie Medley Overture, by Harry von Tilzer, arranged by Everett J. Evans, piano, 1st cornet in A and B flat, 1st clarinet in A and B flat, 2nd violin, viola, flute and piccolo, cello, 1st violin, property of A. Hellman, New York
- When the Flowers Bloom in Spring-Time Medley Overture, by Harry von Tilzer, arranged by Everett J. Evans, flute, 1st cornet in A and B flat, 2nd cornet in A and B flat, 1st clarinet in A and B flat, trombone, drums
- School Days Medley Overture, by Gus Edwards, arranged by Maurice F. Smith, bass, 2nd violin, 1st clarinet in A, 1st cornet in A, 1st violin
- Jolly Imps, by I. Sachs, 2nd clarinet in B flat, horns in F, bassoon, drums, 1st clarinet in B flat, oboe, flute or piccolo, bass, trombone, 2nd violin, property of A. Hellman, New York
- The Secret, by Carey Morgan, arranged by Carl F. Williams, piano, cello, bass, viola, 2nd cornet in B flat, drums, flute, 1st cornet in B flat, 1st clarinet in B flat, 2nd violin, trombone
- Some of These Days, by Shelton Brooks and Hedges, Bros. and Jacobson
- Arranged by Harry L. Alford, piano, 1st violin, 2nd violin, 1st clarinet in A, flute and piccolo, cello, drums, trombone, 2nd cornet in A, 1st cornet in A, bass, viola
- Kelly’s Gone to Kingdom Come, by Thurban and Berger, arranged by Harry L. Alford, piano, 1st violin, 2nd violin, 1st clarinet in B flat, flute, cello, drums, trombone, 2nd cornet in B flat, 1st cornet in B flat, bass, viola
- School Days Medley Overture, by Gus Edwards, arranged by Maurice F. Smith, flute
- Music with text
- Shtarkste of der velt…
- Heybt oyf di bekher ful mit vayn…
- Sheyn bistu kale…
- Svimming; Take a bet
- Hayntike tsaytn iz shver zikh tsu troyen…
- Yom Hachipe, direction with text, flute, drums, bass, 1st violin, 2nd violin, viola, clarinet, trombone, 8 ½ numbers
- Single sheets per instrument of Von die Schwigers: cornet, clarinet, flute, bass, 1st violin, 2nd violin, trombone, drums
- Single sheets per instrument of Welt: cornet, clarinet, flute, bass, viola, 1st violin, 2nd violin, trombone, drums
- Love for Sale, trombone (cover only), drums, 15 numbers
- A Chasene in shtetl (part of Love for Sale?), 1st violin, 18 numbers
- Geheimenise von London, by A. Hellman, 1st violin, drums, cornet in A, bass, flute, clarinet in A, 2nd violin, viola, trombone, 4 numbers, property of A. Hellman, New York
- Shoo Fly Don’t Bother Me and Oh Dem Golden Slippers, 1st violin, 2nd violin, viola, bass, clarinet in B, flute, cornet in B, trombone, drums
- Fortune, music by Joseph Brody, 1st violin, bass, 2nd violin, flute, 6 numbers
- Enclosed printed music with instrument parts matching those above:
- Einlage fur den Prager
- When the Midnight Choo-Choo Leaves for Alabam’, by Irving Berlin, property of A. Hellman, New York
- Under the Bamboo Tree, by Bob Cole, property of A. Hellman, New York
- Come Down Ma Evenin Star
- Dream One Dream of Me, by W. T. Francis and John Stromberg
- 1st violin, 1 page, viola, clarinet in A, trombone, cornet in A, drums, 6 numbers
- Enclosed music matching that in Folder 12, additionally:
- Polskie Kuraty, Bach, viola, bass
- Other untitled loose/additional sheets for various instruments
- Der Yud in Sabieskis Zeiten, music by Perlmutter and Wohl, direction (with text), 17 numbers, property of Samuel Secunda, New York
- Talesl, violin, viola, single sheets for 1st violin
- Eat Drink, trombone, clarinet in B, cornet in B, drums, piano, violin, by Hoffman
- Der Eyntsiker Khosn
- Untitled Music with Text: Men brengt men ertst kinder
- Yudit Holofernus
- Ischah Rah
- Perele
- Telephone
- Ei uchnem
- Dem Presidents Tochter
- Der man der hot mikh ayngeshtelt…
- A froy zitst aleyn…
- Groye oygn kukstu af mir…
- Farshvundn iz fun mir mayn freyd…
- Flamen di pluthen… (?)
- In alesding heyst khasene gehat…
- Bozhe tsarekha…
- O, funken fun ivans…
- Tayere heymat zay gegrist…
- Un nokh der goldene…
- In kerker pastakh bin ikh atsind…
- Di toyte hert nor…
- Vakh oyf vakht oyf tsum kamf…
- Avner un rakhe…
- Zise heymat…
- Yo in der shpitse fun zayne…
- Kling kling kling kriger, oy ikh bin farlibt…
- Glik tsu meydlekh…
- Der heyliker feter shteyt ba der tir…
- Vayl ikh heys pintse…
- De velt iz a vald…
- Oy vayber vayber…
- Vayl ikh heys pintse…
- O muter muter her mayn geveyn…
- Mankhe mener vert regirt…
- Lustik gute fraynd…
- Mayne hern mayne damen…
- Fort mit sholem un kant tsurik gezunt…
- Akh mayn shmerts iz groys…
- Tsegist ayre trern…
- Ven got ver vayzn vunder…
- Neyn meyn neyn dos ken nit zayn…
- Vintshn mir dir do atsind…
- Yo ful mit shmerts iz mayn herts…
- Oy vey vos her ikh dort…
- Yo yo in ost un vest…
- Di libe ken men nit koyfn…
- Vi a feygele oyf a beymele…
- A traye froy loyft far dem man…
- Der Hits-Kop, piano, drums, 1st violin, cornet, trombone, music with text
- Rebns Hoif (Rivke Brone?), music with text, 1st violin, trombone, cornet, drums
- Die Weise Blume
- Richard III, trombone
- Potpourri Duet
- Fun Kinder Fargesn
- Das Suse Maidl, bass
- Life’s Paths Shall be Great, lyrics by Jacob Katz, music by Joseph Brody
- Libes Duet, 1st violin, 2nd violin, bass, flute, clarinet, cornet, trombone, drums
- Die Jesoime
- 80 Yur
- Der Badchn, lyrics by Itsik Manger, music by Henech Kon, Jaime Lewin Collection
- Der Boim in Negev, text by Kehos Kliger, music by S. Prizament, Jaime Lewin Collection, bass, violin, trumpet in B flat, drums, tambourine
- Dermanung
- Du host es in dayne bendlekh
- Dushinka
- Di Fidl and Es Weinen, Jaime Lewin Collection
- Dos fargesn
- 25 diker
- Fun Farsheidene Yorn, words by Yosef Kerler, music by Sholom Secunda
- Das Galizianer Vaibl, number 11
- Geh’ mir in gest, arranged by Renee Solomon, clarinet in B flat, bass, drums, trumpet in B flat, violin
- Gold/Dus hot Gold, piano, trumpet, bass, clarinet, violin
- Harmonishke
- [H]ofenung, words by Shmuel Fisher, music by Renee Solmon
- Ikh hot dikh lib
- Ikh hob sich farshemt, piano
- Ikh zol azoy lebn
- In a park
- In Cheider, arranged by Renee Solomon, piano, bass, clarinet in B flat, trumpet in B flat, violin, drums
- Israel, Jaime Lewin Collection, arranged by Yasha Kreitzberg-Saxon, clarinet, drums, violin, bass, trumpet, Jack Saxon, registered 1965
- Iz nisht vi men vil
- Kazarme
- Keszeniev
- Klezmorimlach, Jaime Lewin Collection, piano, bass, trombone, violin, trumpet, drums, clarinet
- Der Koisel, Jaime Lewin Collection, arranged by Pola Kadison
- Lejaim
- Lomir Zhe Zingen, by Itsik Manger and Sholom Secunda, Jaime Lewin Collection
- Luna Park, piano
- Mein Shtetele, drums, bass, violin, clarinet in B flat, trumpet in B flat
- Mein Yiddishe Heim
- Mazel, Simon Tenovsky, June 1, 1936, Buenos Aires
- Modne Velt
- Der Naier Jolutz, lyrics by E. Gross, music by B. Feuer
- Nokh a glezl tey, by M. Gebirtig
- Pajac, by Jaime Lewin, piano
- Shnayder-lid
- Schotns, Jaime Lewin Collection, music by S. Secunda, piano
- Dos Strikele, piano
- Shvakhe Khayele, piano, by Jaime Lewin, arranged by Simon Tenovsky
- Sim Szalom
- Vasertreger
- Vi ich bin geven, arranged by Straus, piano, violin, trombone, drums, trumpet in B flat, sax, clarinet, bass
- Vos tut den nit a kind, S. Leut
- Der Yidisher Nign, Simon Tenovsky, December 11, 1958, Buenos Aires
- Yugend/Jugend, Jaime Lewin, piano
- Zait Freilach, piano
- Zikhroynes
- Ziwig, 1st violin, clarinet, trumpet, Brazil
- Karusel/La Ronde
- Love’s Roundabout/La Ronde de l’Amour, music by Oscar Straus, French lyrics by Louis Ducreux, English lyrics by Harold Purcell, printed music
- Di Alte Harf/The Ancient Harp, piano, words by I.L. Peretz, English version by Alter Brody, music by Henry Lefkowitch
- Du bist nit alein/You Are Not Alone, piano, poem by D. Krevitsky, music by Michl Gelbart
- Zing main Hartz and Tzurick tsu dem Alten, lyrics by Isaac Bloom, music by Adam Gutman, Montreal
- Le Bleu de L’ete or The Green Leaves of Summer, music by Dimitri Tiomkin, French lyrics by Henri Contet, English lyrics by Paul Francis Webster
- El dia que me quieras, lyrics by Alfredo le Pera, music by Carlos Gardel
- Dorfschwalben aus Osterreich, waltz by Josef Strauss, property of the Carl Sahm Club, New York
- Fiddler on the Roof, book of all songs in musical, for piano, lyrics by Sheldon Harnick, music by Jerry Bock, arranged by John Brimhall
- If I Were a Rich Man, piano and voice, lyrics by Sheldon Harnick, music by Jerry Bock
- People, music by Jule Styne, lyrics by Bob Merrill
- A Little Love, A Little Kiss, music by Lao Silesu, English lyrics by Adrian Ross, G. Sarrett, London
- Mon ami reveille-toi, lyrics by Eddy Marnay, music by Emil Stern
- Perfidi, lyrics and music by Alberto Dominguez, Argentina
- Dance With Me, lyrics by Pnina Avni, music by Tsvi Avni, Tel Aviv
- Selection from Richard Tauber’s Repertoire
- Come Back to Sorrento (cover only), words by G. B. de Curtis, music by Ernesto de Curtis, English version by Claude Aveling
- Heyshione…
- Makht plats, makht plats…
- Af tsum kamf mit undzer sharfer shverd…
- Yo mit prakht un mit glants…
- Kadish, 1 page
- Kol nidro and Brasilien, trombone, 1 page
- El mole rakhmin, music with text, numbers 5, 6
- A Little Love, A Little Kiss
- Why Must I Love You So…?, music by E. Jakamata, words by C. Kalian, piano and voice
- "Akh vi es benkt zikh tsurik, piano
- Akh vi es benkt zikh tsurik, nokh mayn farlorenem glik
- Der Bal-A-Guleh!, Rev. Abraham Feuer
- Dayn likhtik ponem
- Gib uns zurick die Mamenyu, flute
- Gliklekh, arranged by S. Kostalowsky, Mexico
- Ikh benk nokh der gelibter mayn
- Ikh hob dich lieb, violin, Fog. and Mrs. Krishner
- Ikh hob geflantst a blum fun libe, Krohner, violin
- Ich well nit fargesen, violin, voice
- Liebe-Liebe-Braingst fiel karblons, violin
- A Libes Shpil, 1st violin
- Lomir zikh tsekushn
- Mame, drums, cornet in C
- A Meydls a Kholem, trombone, piano, cornet in B flat, 1st violin, clarinet in B flat, flute
- Naches fun Kinder, drums
- Di naye velt iz nit far mir
- Duet, Augen/Oygn, music by Philip Laskowsky, 1st violin, drums, cornet in B flat
- Sheyndele fun slobodke
- Die Schiek, piano, Bob Brooks, Morris Krohner, by Max M. Cahan
- Shlof Lied, by Joseph Brody, 1st violin
- Wen die lachst, lach ich auch, Mr. Krohner
- Vie Wert men zurik jung, by H. Altman, Detroit, Mich., October 21, 1915, special for M. Krohner
- Di zun hot nokh far mir keyn mol nit geshaynt, piano, trumpet in B flat"
- Compiled and arranged by Reuben Osofsky and T. Eyges, printed in Boston, MA, includes: In Kampf
- Main Tzavoe
- Der Ovent Glock
- Oif A Ball
- Tzum Yiddishn Proletarier
- Natur Un Mensh
- Printed in Argentina, July 25, 1958
- Hei Kadima!
- Hanitzajon
- Lebn Vilt Zij
- Moschiaj Iz Schoin Do
- Boit A Velt A Naie
- Men Schpilt a Poker
- Oifboien Oif Dos Nai
- Di Gasn Fun New York
- Peisaj (Tercet)
- Lijt Benchn
- Concert Repertoire for Vocalist Two Moldavian Folk Songs:
- List Zelonii (Liana)/Green Leaf (Liana)
- Devushka Mari/Maiden Mary
- Za dva soldi/For two soldi, Russian text by Shergovoi, musical adjustment by Evg. Zhaga
- Ditty
- Sevegilim
- Budet schastye ili nyet/ There Will be Happiness, or There Won’t Be
- Marina
- Pomniu/Remember
- Varshavskii
- Vals Schastye/Waltz-Happiness
- Glaza/Eyes
- A Meidele vi du, music by Abraham Ellstein
- Bucharest
- Caravan
- Chai/Tea, cornet
- Kak eto vsyo sluchilos/How Did All of This Happen
- March
- Doina
- Na Lodke/By Boat, words by V. Lebedeva-Kumacha, music by V. Sedova
- Napravo- Most, Nalevo- Most/On the Right- A Bridge, On the Left- A Bridge, Gradshtein, Kolachkovskoi, translation by Samoilov
- Ne obizhai menia/Do not hurt my feelings
- Heobyknovennye Glaza/Extraordinary Eyes, Jaime Lewin
- Poi Mne/Sing to Me, E. Kurtis
- Poi tsugan/Gypsy, Sing
- Vernis/Come Back
- Za dalneiu okolitsei/Beyond the Remote Outskirts
- Zhuravli/Cranes
- Tender Feelings/Eydele Gefiln, piano, 1st violin, flute, drums, 3 numbers, clarinet, cornet, trombone, 2 numbers, 2nd violin, bass, fragments, music by A. Perlmutter, Canavrim, 1918
- Wer Wet Kadish Sugen, piano, words by Jennie Goldstein, music by Arnold Perlmutter
- Wer Wet Kadish Sugen, cornet
- Untitled Viola Fragments
- Hurey far Ireland…
- Gey zofil laydn…
- In ale kafeen vestu mit mir geyn…
- Der Traum/The Dream, flute, numbers 12, 13
- Die Bruche von Jizchok, numbers 10, 11
- By Bach, 2nd violin, viola, bass, cello, 1st violin, property of the Carl Sahm Club, New York, property of A. Hellman, New York
- Printed copy of the Solo for Oboe and Horns, oboe, cello, horns in F, 1st violin, 2nd violin, viola, bass, property of the Carl Sahm Club, New York
- Ramona, piano, by A. E. Wanner, arranged by John Festenbeck
- Sweet Dreams of You, piano, words by P. R. Brown, music by Isidore Greenberg
- Just Like the Rose (excerpt), piano, words by Irving Berlin, music by Al Piantadosi
- Sometime (excerpt), piano, words by Vincent Bryan, music by Harry Von Tilzer
- Zolt geshvind ayer kind firn…
- Tsit a veg zikh bay der zayt…
- Arbet kinder nor bazunder…
- Mir kumen gratulirn...
- Shvue heylike nu geyt mir geyen…
- Ikh vel nor libn dikh…
- Fun di vayber oystsuhaltn…
- Azoy hot nokh keyner geredt tsu mir…
- Mazl mazl tov…
- Ikh bin bakant als yeger…
- Fun mayn libes herts…
- Mentsh torst zikh mit klogn…
- Hello mama hello papa…
- Paradirn un marshirn mit der royter fon…
- Ikh bin dayn Romeo…
- Ivan Tsarevich, drums, trombone, 1st trumpet in F, cello, flute, viola, 2nd trumpet in F, 2nd clarinet in B, 2nd violin, bass, 1st clarinet in B, 1st violin, property of A. Hellman, New York
- Hochka, or Little Night, trombone, 1st trumpet in C, cello, flute, viola, 2nd trumpet in A, 2nd clarinet in C, 2nd violin, bass, 1st clarinet, 1st violin, property of A. Hellman, New York, 1895, A. Rorfmonu (?)
- Drums, 11 numbers, property of Herman Wohl
- Johnny Hoffman, Garden Theatre, Philadelphia
- Abe Missman, Liberty Theatre
- Itzick Vint, New Liberty Theatre
- Two Step, by Perlmutter, 1 page
- Mirale Efras, 1st violin, 2nd violin, ½ page per instrument
- At the Moving Picture Hall, horns in F, words by Howard Johnson, music by Joseph H. Santley, orchestration by Sam Danks
- L’Automne et L’hiver/Autumn and Winter, by A. Glazounow, arranged by Charles J. Roberts, 2nd violin, oboe, bass, timpani and drums
- Break Away, by Con Conrad, Sidney D. Mitchell and Archie Gottler, arranged by Frank Skinner, piano
- Daddy, You’ve Been a Mother to Me, horns in F, by Fred Fisher, arranged by Charles N. Grant
- Danse Bacchanale (From Samson and Delilah), by C. Saint-Saens, arranged by Charles J. Roberts, 2nd violin, bass, 2nd cornet in B flat, viola
- Fairy Tales, by R. Eilenberg, arranged by Theo. Moses, flute, 1st violin, 1st horn in F, viola, drums, 1st cornet in B flat, trombone, cello, 1st clarinet in B flat, 1st violin, property of J. W. Schutoff
- (On reverse side of Fairy Tales) Return of the Troops, by R. Eilenberg, arranged by Theo. Moses, flute, 1st violin, 1st horn in F, viola, drums, 1st cornet in B flat, trombone, cello, 1st clarinet in B flat, property of J. W. Schutoff
- The Mad House Rag, by Feddy Watson, piano, 1st violin, cello, 2nd violin, viola, bass, flute, 1st clarinet in A, 1st cornet in A, 2nd cornet in A, trombone, drums
- Mills Merry Melodies number 7-Medley Overture, arranged by William Schulz, 1st clarinet in B flat, piano, 2nd cornet in B flat, viola, drums, trombone, 1st cornet in B flat, flute and piccolo, 1st violin, bass, 2nd violin
- Oh By Jingo!, lyrics by Lew Brown, music by Albert von Tilzer, horns in F, piano, drums, trombone, viola, bass, cornet in B flat, flute, 2nd violin, cello, 1st violin, drums, clarinet in B flat
- One Heart One Mind, by Johann Strauss, 1st violin
- Peggy, by Harry Williams and Neil Moret, horns in F
- Polka Mazurka (handwritten music) and March (on reverse), by Rappelkran, drums, 2nd violin, viola, bass, flute, 1st clarinet in C, 1st trumpet in F, flute/ piccolo
- Starlight-Medley Overture, by Theodore Morse, arranged by Carl F. Williams, drums, 1st clarinet in B flat and A, bass, piano, 2nd violin, 1st violin, flute, property of A. Hellman, New York
- Wait ‘Till the Sun Shines Nellie-Medley Overture, by Harry von Tilzer, arranged by Everett J. Evans, 2nd cornet in B flat, viola, 2nd violin, piano, drums, trombone, 1st cornet in B flat, piccolo and flute, 1st clarinet in B flat, 1st violin, bass, property of A. Hellman, New York
- The Yankee Prince, Selection, by George M. Cohan, viola, bass, flute, 1st clarinet in B flat and A, 1st cornet in B flat and A, trombone, drums, cello, 2nd cornet in B flat and A
- Akh vi sheyn iz der zumer…
- Amerike dos land dos fraye…
- Azan umglik aza tsore…
- Bagrist dem frimorgn dem sheynem…
- Baym taykh fun bovl…
- Blaybn ken ikh do nit mer…
- Dir aleyn a shvakh…
- Dort geyt zi, dort kumt zi…
- Du bist der foter…
- Fun fraynde iz a simen…
- Gevald a paskudne velt…
- Gliklekh gliklekh zayn…
- Got fun Avrom shvayg mer nit…
- Got vos ale shvokhim…
- Der gelibter kenig…
- Hurey hurey…
- Ikh bin amol geven a veyter…
- Ikh freg bay got a shayle…
- Keyn rokovey fort men…
- Makhstu nokh di hint…
- Meg dos zayn ver es vil…
- Mi adir el kalo…
- Der morgn iz ervakht…
- Nor du nor du ligst mir im hertsen…
- O mentsh, o mentsh, du vilst gornit visn…
- Oy a fargenign…
- Oy got fun Avrom…
- Di shvester di kale…
- Un men shrayt un men fayt…
- Varum entzagt mir di libe…
- Ven nit heng ikh mikh…
- Ven yunge tsapes zol derzen…
- Vi di shefelekh oyf dem feld…
- Vi voyl un vi gut iz dokh nor der yid…
- Zayt gezunt vi ale…
- Zey beydn tsesheydn…
- Zolst mikh narn vi a kind…
- The Dangerous Girl / I Don’t Care, music by S. Secunda, Mayn lebn kumt mir nit on gring…
- Honeymoon Duet
- Kuplay
- Lekhayim
- Letster Kontsert, score
- Libes Duet
- Maner
- Der Man iz shvakh, di froy iz fun der natur di hersherin iber dem man
- Russlands Trauenmarsch, 2nd trombone, property of A. Perlmutter, New York
- The World of Sin, music by Samuel Secunda
- Printed music unless otherwise noted
- Dee Bloomen Krentze, piano, words and music by S. Small (Shmulewitz), arranged by Albert Teres, copyright 1921 by A. Teres
- A Brivele dem Taten, piano, words and music by S. Smulewitz, arranged by J. M. Rumshisky, copyright 1911 by The Hebrew Publishing Co.
- Du Bist Mein Zun, piano, music by Sholom Secunda, words by Jacob Jacobs, copyright 1937 by Samuel Secunda
- I Love You/Ikh Hob Dikh Lib, piano, words and music by I. Lillian, arranged by S. Grichtman, copyright 1927 by I. Lillian
- Dus Chipe Kleid/The Wedding Dress, piano, lyrics by Isidor Lillian, music by Samuel Secunda, copyright 1916 by The Hebrew Publishing Co., Volks Theatre Co., New York
- A Mames Hartz, arranged by Maurice Turk, handwritten music, E flat alto, piano, trumpet in B flat, violin
- A Mame’s Trehren/A Mother’s Tears, piano, by David Meyerowitz, arranged by Jack Kammen, copyright 1922 by J. and J. Kammen
- Wos wet sein der Sof?, piano, words by I. Reingold, music by G. Mendelssohn, The Hebrew Publishing Co., copyright 1898 by I. Reingold
- Az ir vet keyn kinder hobn…
- A gesl gefint zikh in nyu-york…
- Gey dir, gey dir?...
- In der kontre zumer tsayt…
- Krign say bay tog…
- Lomir brider gor in eynem…
- Der mentsh hot tsores fil…
- Di muter zukht yetst?...
- O ikh ken shoyn gleybn…
- Der tog vet kumen…
- Vi zet vi sheyn…
- Tsaytn flien…
- Veyn vayb in gezang…
- Adon olom, numbers 6, 7
- Jigdal, flute
- Berosh hashono, 1st violin, music with text
- Untitled Duet, clarinet in B
- Untitled Duet, number 8, bass, clarinet
- Untitled Duet
- Untitled, played after Indian March
- Kuplay, cornet in B flat
- March
- Oi Nit Fareichgedacht, piano, printed music, words by I. Gilien, music by Joseph Brody, copyright 1923 by Joseph Brody
- Overture
- Tis er…., by Joseph Tanzman, trombone, number 12
- Zise Libe
- Waltz
- Untitled, by J. Rumshinsky, 1st violin, cello
- Plantation Lullaby, piano, by Vernon T. Stevens, Gladys Gillette and Albert Holmer
- Things Are Getting Better Every Day, piano, lyrics by Alfred Bryan, music by Jack Wells and Albert Gumble, copyright 1915 by Jerome H. Remick and Co.
- ‘Waiting at the Church’, or ‘My Wife Won’t Let Me’, zither, by Henry E. Pether, arranged by George Lechler, copyright 1906 by Theodore Lohr
- And Suddenly There Came, bass, composed by Henry J. Wood
- Danse Bacchanale from Samson and Delilah, organ, violin, by C. Saint-Saens, arranged by Charles J. Roberts
- Forsake Me Not, tenor, quartet, chorus, by Sir John Goss, edited by John E. West, copyright 1902, by Novello and Co., Limited
- Give the King Thy Judgements, O God, voice, music composed by Walter G. Alcock
- Give Rest, O Christ, voice, words translated by W.J. Birkbeck, music edited by Walter Parratt, copyright 1902, by Novello and Co., Limited
- The Glory of Lebanon, words selected by Rev. C.W. Barnard, M.A., music composed by Herbert W. Wareing, copyright 1902, by Novello and Co., Limited
- The Good Old U.S.A.- Medley Overture, by Theodore Morse, arranged by Everett J. Evans, for various instruments, property of A. Hellman, New York, copyright 1906 by F.B. Haviland Pub. Co.
- The Honeysuckle and the Bee, arranged by Everett J. Evans, cornet in B flat, clarinet in B flat, flute, copyright by Sol Bloom
- Jolly Imps, by I. Sachs, 1st violin, cello, property of A. Hellman, New York, copyright 1899 by I. Sachs
- Let the People Praise Thee, O God, voice, words selected from Holy Scripture, music by Alfred R. Gaul, copyright 1902, by Novello and Co., Limited
- March Our Director, by F. E. Bigelow, various instruments, property of A. Hellman, New York
- Irish Wedding Song, voice, words by P.J. McCall, arranged by Brendan J. Rogers
- Polka Mazurka and March (on reverse), trombone, 1st violin
- Some Sunny Day, piano
- This is the Day, by Bruce Steane, for voice, copyright 1902, by Novello and Co., Limited
- When It’s Apple Blossom Time in Normandy; Adam and Eve Had a Wonderful Time, by Mellor Gifford Trevor and Gumble, arranged by J. C. McCabe, various instruments, copyright 1913 by Jerome H. Remick and Co.
- When Mr. Shakespeare Comes to Town, arranged by J. W. Chattaway, clarinet in B flat, flute, trombone
- When the Flowers Bloom in Spring-Time, by Harry von Tilzer, arranged by Everett J. Evans, 2nd violin, bass, cello, viola
- When Through Life Unblest We Rove, voice, words by Thomas Moore, arranged by T. R. G. Joze
- The Whip, by Abe Holzman, arranged by J. Bodewalt Lampe, various instruments, copyright 1913 by Jerome H. Remick and Co.
- The Yankee Prince, Selection, by George M. Cohan, 2nd violin, piano
- Shalom Tel Aviv, by Philip Laskowsky, trumpet, drums
- Tsigele oi Tsigele, music by Philip Laskowsky, words by J. Rosenberg, piano, trombone, clarinet in B flat, trumpet in B flat, drums, registered 1947 by Philip Laskowsky
- Di Mashke
- The Song of Tomorrow, property of Vera Rosanka
- Oy… fun dem himl…
- Es leb izrael undzer groyser held…
- Her tsu got dos gebet fun a kind…
- Libe iz dos beste gefil…
- Mir vintshn aykh khosn-kale…
- Kh’bet bay dir hob mitlayd mit mir…
- Pages from Unidentified Score
- Untitled, drums
- Zion, by J. M. Rumshinsky, viola, flute, 1 page
- The Broken Hearts, viola, 2 numbers, property of Joseph Brody, New York
- I Should Worry, by Joseph Brody and L. Friedsell
- Ave Maria, by Charles Gounod, piano, printed music
- Oriental Scene-Caravan or Dance, by Lubomirsky-Roberts, various instruments, printed music
- Kukt ir dem heldn zet…
- Dos harts tut fresn…
- Her oys perfil…
- Shklafn vet ir nakher zayn…
- Shvesterlekh hert vos ikh zog atsind…
- Vos blaybt ir…
- Di velt iz a gortn sheyn…
- Cello, oboe, 1st and 2nd horns in F, 1st violin, 2nd trumpet in F, 2nd clarinet in C, 2nd violin, bass, viola, 1st clarinet in C, flute, 1st trumpet in F, drums, trombone
- On reverse sides of pages, Galopp, by Aron Finkelstein, same instruments as above, Aron Finkelstein, clarinetist, Jassy, 1887
- Libn dos kenen ale…
- Ver ikh bin un vos ikh bin… (torn)
- At Dawning, ‘I Love You’, by Charles Wakefield Cadman, cover only
- It’s Worth While Waiting for Someone Worth While, from the musical comedy Little Simplicity, music by Harry Tierney, arranged by Mornay D. Helm, words by Joseph McCarthy, 2nd violin, piano
- Oh! Frenchy, by Con Conrad, arranged by Mornay D. Helm, viola, drums, cello, 2nd cornet in B flat, 2nd violin
- B’zess Isroel, composed by Rosenblatt, copyright 1922 by Joseph Rosenblatt, for voice-soprano, tenor, alto, bass
- Birchas Kohanim (two copies), by Joseph Rosenblatt, for voice
- Shomer Israel, music by Joseph Rosenblatt, copyright 1921 by Joseph Rosenblatt, for voice
- Uvnucho Yomar, by Joseph Rosenblatt, copyright 1922, by Joseph Rosenblatt, for voice- 1st and 2nd tenor, 1st and 2nd bass
- Comrades, flute, trombone, cornets, clarinet in B
- Du Host Mich, duet, Liebe (on reverse)
- Untitled Duet
- Esso Einay, by J. Rumshinsky
- Der Eibiger Nign, sheets of lyrics, piano
- Ein Kik of Dir, duet, 1st violin
- The Failchen Blumen
- Dos Fleshel, alternately titled: Uchnim, Volga Boatman, Deugi Ukavo, 1st violin, cornet in B, drums, arranged by S. Cohen
- Gesundegt und Batsult, cover only
- Der Glok, words and music by Philip Laskowsky
- Hevel Havolim
- Hertzele, by E. Copelman, trombone, trumpet in B
- Hertzele, clarinet in B, trumpet in B, piano, 1st violin, bass
- Ikh bin a sport
- Ikh vel dikh firn
- Ikh shlof, arranged by Jacob Biruberg, violin
- In a shtibele
- In Kheyder
- Kaboles shahes
- Ch’hob Dich Azoi Lieb, duet, piano, trumpet in B flat, trombone, drums, clarinet in B flat
- Kidush Ashem
- A Kindele, duet, arranged by Philip Laskowsky, piano
- Der Kleiner Bandit, music by Philip Laskowsky, registered, Philip Laskowsky, 1947, enclosed Duet in Paris
- Liebes Valtz
- A Lied Fun a Blinden, registered, Philip Laskowsky, 1942, violin
- Mashke, violin
- Meine Sforim, words by A. Traiman, music by Philip Laskowsky, piano
- Mayn lebn is farshpilt
- Melodrama- Bells, registered, Joseph Rosenthal, 1948
- Milner
- Mismor Ledovid
- by Joseph Brody
- Mismor Shir Chanukas, by Philip Laskowsky, cello, bass, trumpet in B flat, clarinet in B flat, violin, Dave Tarras
- Nem fin Leben, music by Philip Laskowsky, piano
- Nor a Mame
- Oib Di Vest Mich Fargesen
- Duet
- Pagliacci, flute, 2nd violin, clarinet in B
- Paykler Elye, S. Gingold, Workmens Circle Camp
- Das Judishe Lied
- Rebenyu
- Romance, number 3, 1st cornet in B flat, 1st violin, drums
- Romance, number 9
- Senorita, 1st alto sax in E flat, trombone
- Shabes Lied, music by Philip Laskowsky, words by I. Daniel (Levitch)
- Shales Bam Rebn
- Duet, by Shames-Lillian, direction
- Shiker- Lid
- Shir A Shirim, duet, Michel-Lucy, clarinet in B flat
- Shlekhte tsaytn, S. Prenovitz, music by Philip Laskowsky
- Shlof Lied
- Shlof Lied / Her Secret, piano, 1st violin, cornet in B flat, drums
- Sholem Aleykhem, piano
- Simkhes-Toyre, duet
- Sulam Balet, piano, cornet, drums, clarinet
- Svet Freilach Zain, from The Three Lovers, 1st and 2nd trumpets in B flat
- Tarlovsky
- Wen Welen Wolkens Farshvinden, trombone, cornet in B flat, drums
- Untitled, arranged by Philip Laskowsky, piano
- Fragments of Operettas
- Potpourri-Keser Toro, by L. Freidsell, viola
- Flaker fayerl, from Shulamis, numbers 18-21
- Light Cavalry, by F. von Suppe, simplified arrangement by Mark White, piano
- Sultan’s Guard: Patrol, revised by Julius S. Seredy
- Josephine Gro, 1st clarinet in A, 1st violin, 1st cornet in A, cello, drums and timpani, copyright 1920 by Carl Fischer, New York
- Hop-Sing: Chinese Fantasie (On Reverse of Sultan’s Guard), revised by S. Seredy, E. Katzenstein, piano, 1st clarinet in B flat, 1st violin, 1st cornet in B flat, cello, drums, copyright 1920 by Carl Fischer, New York, enclosed untitled piece for trombone, property of Joseph Brody, New York
- Themes from Symphony number 5, by P. Tchaikovsky, arranged by Mark White, piano, copyright 1948 by Radio Corp. of America
- United We Stand, music by Samuel Meade, lyrics by Herbert Rikles and Howard Dressner, piano, copyright 1941 by Med-rik Music Publishing Co., New York
- Kh’hob zikh tsu shpet arumgezen…
- Simen tow umazel tow…, fragment of printed music
- Berceuse from Jocelyn, arranged by Franz…, 1st clarinet in B flat
- God’s Hand, words by Nick Kenny, music by Philip Laskowsky, music and separate lyrics
- Wooden Soldiers, clarinet in B flat, trombone, trumpet in B flat, drums
- You’ve Got It, arranged by Philip Laskowsky
- Ochi Chernie, cornet in B flat, clarinet in B flat, 1st violin, cello, flute
- Kreutzers Sonata, copied by Norman Krol
- Clidee Oh, flute, clarinet
- Oy S’iz Gut, music by Abe Ellstein, words by Jacob Jacobs, piano and voice, Metro, copyright 1937 by Henry Lefkowitch
- Ani Maamin (I Believe), from pamphlet for Seder Ritual of Remembrance: For the six million Jews who perished at the hands of the Nazis and for the heroes of the ghetto uprisings
- Menasheh (A Problem), music by Louis Jaffe, arranged by Henry Lefkowitch, words by Morris Rund, for piano and voice, copyright 1928 by Henry Lefkowitch, New York
- Various pages of printed music for piano and voice, no covers, no titles
- Ad Mosai for cornet
- Alef-beyz, by S. Postolsky
- Chanson Hebraique, by Wekasrok-Yasmir
- Chayim gekimen nuch America
- Eli, Eli
- Farshaft mir payn
- Ginger, by Jack Stillman
- Good-bye, good-bye ir libe fraynd
- Hasidim
- Liber got in Himmel
- Mamele
- Mai-ko-mashma-lon, by A. Reisin, notated by N.L. Saslavsky
- Megilah Theme
- Mi bon sioch
- Di naye welt is nit far mir
- Ov horachmim
- Ro edro mavir tzono tachas shivto
- Seyfer rabyanik
- Simcho vesimcho
- No words
- Fragments of music, pieces and songs
- A bisl zun a bisl regn
- Ale trinken, text and music Mordecai Yardeini
- Der aleraytnik, by Shloyme Small
- Ale far amerika
- Amol in der heymishn shtetl
- Am yisroel khay, by Michrovsky
- Ayedn oyf der nakht
- Aza meydele vi du
- Der badkhn, by Itsik Manger, music by Henekh Kon
- Barber de Sevil
- Bearbot Hanegev, lyric by R. Klatchkin, music arranged by Menashe Baharaff, (printed)
- Bibibi…. Shikago mayn shtetele bibibi Nuork
- Bin ikh mir a…
- Bist mir tayer un gehayer
- Di Bobe Yakhnes eyniklekh
- Come to Me My Melancholy Baby (medley)
- Dine un Rine
- Dray tekhterlekh
- Du bist mayn neshome
- Du farges vos iz gevezn nekhtn
- Elend un eynzam fil ikh atsind
- Eltern un kinder byu, by Shloyme Prizament
- Er hot heylik mir geshvorn fun zayn libe
- Er iz nit keyn meksikaner oykhet nit keyn Afrikaner
- Er zukht a mume
- Es benkt zikh nokh di kinder-yorn
- Es rasht, es zidt der unterhalt
- Eyn guter man iz gevezn oyf der velt
- Eyn zakh vil ikh dir derklern
- Di fidl, by Sh. Frug, music by Sh. Berezovsky
- A foygl zitst in shtayg
- A froy kumt haynt tsu mir tsu loyfn/Dos kelp
- Fun dem lebn yeder vil genisn
- Fun kosev biz kitev, by Kosover
- Fun tel aviv mit avyon un shif
- The Gaucho Serenade (Yiddish Version), by Louis Markowitz
- A gast in shtetl
- A gast in shtetele
- A geveyntlekhe man men zet im tog-teglekh
- Gold
- Haynt hob ikh gedarft khasene hobn/Khane
- Her mikh oys mayn zisinke
- Her ikh tsu yingele sheyn
- Hert a mayse vos ken trefn
- Hert mikh oys ? shvester gut
- Hitler Hirohito Mussolini
- Ikh bin a mame, a mame fun england
- Ikh bin a yid, by Itsik Fefer
- Ikh bin der libling funem litvishn harem
- Ikh bin di mame fun di frantsoyzn
- Ikh hob gekholemt
- Ikh hob zikh farshemt, by Lerner
- Ikh kum fun a vayter medine
- Ikh ze dokh shoyn az poter vern vel ikh nit fun dir/Duet Lemekh Yen
- In der fintster
- In der heym in der vayter
- In freydn un laydn un ven es iz mir shlekht
- In rod arayn
- A kasha oyf a mayse
- Di katarinke, by Olitsky
- Khane di lange (Yiddish parody by L. Markowitz)
- Khanike a groyser yomtev iz es
- Khasidimlekh tantsn
- Kh’bin a meydl fun di gasn
- Klezmorimlekh
- Koyft zhe Yoyne Shimels knishes
- Der koysl
- Kum aher du shabes-goy
- Kum amol keyn yisroe
- Lekhayim lekhayim tsum lebn
- Di libe farshaft dir zeyer fil shmerts
- Lomir zhe zingen poshet un prost, by Itsik Manger, music by Sholom Secunda
- Lozt mikh lebn, by Haymi Jacobson (radio-baarbetung)
- Malagenya
- Mayn alte heym, by R. Doctor
- Mayn mishpokhe zolstu nit baleydikn
- Mayn tate hot tomir far milkhomes moyre gehat
- Mayne kroyven hob ikh faint/ Tshastushkes
- Mir zingen in di gasn
- Mit der alter katerinke
- Mit fil yor tsurik iz dos geshen
- Mit libshaft un kraft/Khalutsim
- Di naye tsion, by Chaim Lewin
- Nes godl hoyo shom
- Nishto keyn ki
- Nokh a bisl, by Louis Gilrod, sung by Mr. S. Klinetsky
- Nokh eyn tants
- Nu nemt a yidele
- Onkl Oscar farloz zikh nit oyf mir
- Onkl Sam farloz zikh nisht oyf undz
- Over There – ot dos shray ikh
- Oy gist on di glezer, brider zhalevet nit
- A pastekhl a troymer, by Z. Weinper
- People, people, who needs people
- Rotshild
- Sheoso nisim
- Shepsl in Mae
- Sheyndele di mayn
- Shir haemek, by Marc Lavry (printed)
- Shir hashirim zingt der yid
- Shlekhte mener zukhn vos shener
- Shlimazldiker hoz
- Shlof mayn kind
- Shpilt fidelekh
- Skrip klezmerl skripe
- S’vet zayn in monat June
- S’veynen nit tate mame, by Papiernikov, music by A. Sigl
- Tayere Malkele
- Tog ayn tog oys
- A tshekele, by Jacobs
- Tsion iz dokh undzer muter/Di naye tsion
- Tshubtshik
- Tsvey gitarn shpiln haynt
- Un ven dos land
- Vacation time ven s’iz heys a shrek
- Ven ikh bin raykh, by S. Prizament, with enclosed music
- Ven ikh volt geven a shnayder, by A. Yachimovitch, music by Sholom Secunda
- Ven in kheyder kh’bin gegangen
- Ven volkns khmares fil
- Ver s’veyst nisht
- Veyst ir ver mir zenen
- Vi ikh bin geven
- Vos kh’hob gevolt
- Yase sholom, by N. Hirsch (printed)
- Yerushalayim fun gold, by Naomi Shemer, Yiddish by Yitskhok Lude
- Der yeytser hore
- Yidishe khasene
- A yidishe khasene, by Itsik Fefer
- A yidishe mame
- Yosl Ber, by Itsik Manger
- Zayt ikh bin geboyrn geyt mir shlimshlimazl nor
- Der zelber kh’bin geblibn…, for Chaim Lewin by Yitskhok Perlov
- Zeyer a sheyn maysele
- Zikhroynes fun der heym
- A zindele iz di gantse velt
- Zing amerika zing
- Zol zayn mit glik lekhayim
- Di zun hot far mir keyn mol nit geshaynt
- Di tseshterte familye or Noyt brekht heymen?, in 3 acts and 4 scenes, 34 pages, by J. Rothman, Philadelphia, by Louis Freiman?
- Der sheyn boy, by L. Weis, manuscript, 34 pages
- Oy zaynen mir barimt, by Yoysef Marshelik
- Mayn yingl
- Aza gemeynheyt, by Tevye Shmeykhl
- Ot dos heyst gelebt
- A shidekh durkh der tsaytung
- Zikhron Yankev
- Fridne konferents
- Yom hatsmaot
- Makhatonim
- Tevye
- A gast fun yener velt
- Yidishe balmelokhes, by Yoysef Hayblum
- Kunileml stsene, by Goldfaden and Manger
- Fargesn, signed Chayale Ash
- S’a lign, by Sholem Aleichem
- Kasrilevker restoranen, by Sholem Aleichem
- Dos tepl, based on Sholem Aleichem’s monologue
- Oyf vakeyshn, manuscript
- Yidishe gesheftn
- Kasrilevker restoran, manuscript
- Nor mit psikhologye, manuscript, transliterated
- Astronaut, manuscript
- Der kvartirant
- Der protses, by M. Nudelman
- Yidishe gesheftn
- S’brent, by I. L. Peretz, typescript
- A goldener shidekh, typescript
- Barber de sevila, translation, 2 sides of 1 page
- Lo laday mantas boser vedom, 2 pages
- An eksident, typescript, 3 pages
- Di makhatonim, comedy in 1 act, typescript, 3 pages
- Helo, helo, Dos iz di yidishe radio WEVD, 3 pages
- Romalo, 3 pages
- Dialog, 2 sides of 1 page
- Di makhatonim, typescript, 2 pages
- Notebook of jokes in Yiddish
- Untitled radio script, typescript, 5 pages
- A kale tsu farkoyfn, notebook
- Untitled, notebook
- Di makhatonim, comedy in 1 act, by Herman Yablakov, 4 pages
- Untitled, notebook (incomplete)
- Motsi un Totsi, 1 page
- Mentshn oyf ayz krie, by Leon Werner?, notebook, 55 pages (incomplete)
- Duet, 3 pages
- Untitled, pages 2-11
- Fragment on radio
- Notebook of plays and recitations, by Nissan Datsun?, bound manuscript
- Der peynter, by Tunkeler
- A frayer foygl (song), by Wolf Younin and Vladimir Heifetz
- Mayn kapelush un der vint, by Lutzky
- Khaptomanye (A lektsie in khapenish), by Der Tunkeler, baarbet Herman Yablokoff, 3 pages
- Di flig
- Kortn meshugas, by Shloyme Prizament, 7 pages
- An elektronish gesheft, by Yitskhok Brat, 6 pages
- Matones by, Yitskhok Brat
- Makhatonim, 9 pages
- Sore Gitl from Bay mir bistu sheyn
- Rebbe from Dos tepl
- Maurice Schwartz's Children's Theater production
- Lillian Lux