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Sigmund Romberg

photo portrait: Sigmund Romberg, 1949

Basic Information

Born: July 29, 1887, Nagykaniszsa, Hungary

Died: November 9, 1951 (age 64) New York City

Primary songwriting role: composer, conductor

Co-writers: chiefly Harold R. Atteridge, Irving Caesar, Dorothy Donnelly, and Dorothy Fields. For songs written with these co-writers and 6 others, view the DBOPM database.

Production credits: for a listing of all Broadway producitons with Music by Sigmund Romberg, see IBDB.com.

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in the Cafe Songbook Catalog
of The Great American Songbook
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Overview and Commentary:
Sigmund Romberg





sheet music cover: "Will You Remember"
Vintage Sheet Music
"Will You Remember" --
music by Sigmund Romberg
words by Rida Johnson Young, from MayTime
(movie version,1937)
Jeanette MacDonald and
Nelson Eddy on cover

Geoffrey Block, in his forward to William A. Everett's book Sigmund Romberg, retells a famous anecdote concerning Romberg's reworking of several Schubert melodies for his Broadway operetta Blossom Time: While at a party, Romberg was jokingly asked if he had also written Offenbach's "Barcarolle" from The Tales of Hoffmann, which at that moment happened to be playing on a gramophone. Romberg's off the cuff response was, "Not Yet." Block's point is that Romberg knew he could afford to admit to borrowing from Schubert because his own fertility for composing sonorous melodies spoke for itself.

In Hungary where Romberg was born, or at least somewhere in the Austro-Hungarian Empire, he managed to become an accomplished violinist and pianist while training to become an engineer. He also did an 18 month stint in the military beginning in 1907, and then immigrated to America in 1909, when he was twenty-two, where he devoted himself entirely to music. He began by doing various kinds of journeyman work in New York, first as a cafe pianist and eventually as a staff composer for the Schubert family of impresarios and theater managers. Within a few years he achieved success writing scores for Broadway revues and light opera. By the early 1920s his importance in giving a European flavor to American operetta was widely recognized.

By the late twenties, Romberg had become a defining figure in American operetta, and by the end of his career had composed nearly sixty works for musical theater in New York and, later in life, for Hollywood films during the thirties. He first co-wrote with William Atheridge for shows like Maytime, Blossom Time, and The Student Prince), then with Oscar Hammerstein II in the late 1920s for The Desert Song and The New Moon), and later still with Dorothy Fields for Up in Central Park in the 1940s.

book cover: Sigmund Romberg
William A. Everett
Sigmund Romberg
(Yale Broadway Masters Series)
New Haven: Yale Univ. Press,


book cover: Ira Gershwin The Art of the Lyricist by Philip Furia
Philip Furia
Ira Gershwin:
The Art of the Lyricist

New York:
Oxford Univ. Press,



Howard Pollack

George Gershwin: His Life and Work
Berkeley: Univ. of California Press,




Book cover: Alec Wilder, "America's Popular Song"
Alec Wilder, American Popular Song The Great Innovators, 1900-1950, New York: Oxford University Press, 1972.





book cover: "The Jazz Age: Popular Music in the 1920s" by Arnold Shaw
Arnold Shaw, The Jazz Age: Popular Music in the 1920s,
New York: Oxford University Press, 1987.





book cover: William G. Hyland, The song Is Ended, Songwriters and American Music, 1900-1950.
William G. Hyland. The Song is Ended: Songwriters and American Music, 1900-1950. New York: Oxford University Press, 1995





Book cover" William Zinsser, "Easy to Remember"
William Zinsser.
Easy to Remember
The Great American
Songwriters and Their Songs
Jaffrey, New Hampshire:
David R. Godine, 2001.




Book cover Wilfred Sheed "The House That George: Built"
Wilfred Sheed, The House That George Built: With a Little Help from Irving, Cole, and a Crew of About Fifty, New York: Random House, 2007 (paperback edition, 2008)


Romberg and Gershwin: Birds of Different Musical Feathers
Flocking Together

Sigmund Romberg and George Gershwin are two composers who are not commonly spoken of in one breath -- Romberg being primarily associated with the elevated European tone characteristic of operetta; and the quintessentially American Gershwin with the music is of the Jazz Age. Nevertheless they have a history together that spans virtually the entire career of Gershwin. Their connection began with The Passing Show of 1916, a Broadway revue that was mounted annually between 1912 and 1924. Romberg wrote music for several of these productions. Very early in Gershwin's career he collaborated on some songs with Murray Roth, one of which, "My Runaway Girl" written in 1916, was bought by Romberg for use in The Passing Show of that year. Revues of this nature often featured songs by more than one songwriter or songwriting team. It is not clear exactly how Romberg used the Gershwin song in The Passing Show, but it initiated a working relationship between the two men, a relationship that resurfaced sporadically from this point on and throughout the twenties. 1919 was the year of Gershwin's megahit "Swanee," written with Irving Caesar and his best selling song ever, although it did not catch on until it was interpolatedinto the Sigmund Romberg show Sinbad, where it was sung by Al Jolson. In 1923, both Gershwin and Romberg wrote music for the revue The Dancing Girl, and more emblematically they did the same for Rosalie, a revue produced by Florenz Ziegfeld in 1928.

Despite the large number of songs in Romberg's canon, only five appear in the Cafe Songbook Catalog of The Great American Songbook. The reason is Romberg's style, which is more a descendent of the Viennese tradition of light opera typified by the work of Franz Lehár than it is a progenitor of The Songbook. Fifty-one Gershwin songs appear in our catalog. Their work for Rosalie highlights the contrast. Several commentators have noted this odd coupling of Romberg and Gershwin. William A. Everett writes of the dissonance between the Romberg and Gershwin contributions to Rosalie attributing it to the time, 1928. Because of their radically different styles

Critics complained about the disunity of [Rosalie's] score, something that would not have been such a significant factor in 1920, when Poor Little Ritz Girl, with a score by Romberg and Rodgers and Hart,* appeared. As with Poor Little Ritz Girl, Romberg's contributions to Rosalie were largely in the operetta vein, while those of the other contributors [Rodgers and Hart and the Gershwins] exuded the spirit of musical comedy (Everett, Sigmund Romberg, p. 193).

*Arnold Shaw notes that the young and naive Rogers and Hart felt they had written a complete score for "Poor Little Ritz Girl" and were shocked, when they attended the opening to find that eight Romberg songs had been interpolatedinto the show. One can surmise that the producers felt the need to temper the modernity of the newcomers with more than a touch of operetta from Romberg. William Hyland confirms this notion by quoting one critic who wrote of the show, "The music is about equally divided between Rodgers' hard, brisk tunes and Romberg's rich and syrupy melodies" (Hyland p. 68).

Philip Furia points out that the Gershwins were more or less forced into contributing songs to Rosalie by producer Florenz Ziegfeld who was holding the brothers to a previous commitment even though he already had a score for Rosalie from Romberg and P. G. Wodehouse. The Gershwins complied but several of the songs they contributed had not been written for Rosalie: They came out of the Gershwin "trunk.": "How Long Has This Been Going On" was originally intended for Funny Face (1927) but was cut. "Show Me the Town" was dropped from Oh, Kay! (1926)."Yankee Doodle Rhythm" was extracted from the unsuccessful Strike Up the Band (1927). Certainly these songs with their American vernacular titles were not created for the highly romanticized Rosalie story of a Roumanian princess who has fallen in love with a Lindbergh-like American. Furia illustrates how stylistically at odds the Gershwin numbers were with Romberg's "Hussars March" and "The West Point Song." The Gershwin songs such as 'Oh Gee!-- Oh Joy!' and 'Say So!' had a "slangy exuberance" replete with such Jazz Age expressions as "gotcha" and "sappy." These numbers "seemed out of place amid the swashbuckling score" of Romberg and Wodehouse (Furia, p. 68).

Howard Pollack in his biography of Gershwin notes that critic and wag Alexander Woollcott upon hearing of the proposed Romberg-Gershwin effort "expected next to see a novel cowritten by Ernest Hemingway and bestselling minister-author Harold Bell Wright." Nevertheless Pollack is more sanguine about these two contrasting styles being merged together in one show. He sees a method in Ziegfeld's apparent madness in that Gershwin "had already written an operetta, Song of the Flame (1925), . . . while Romberg . . . had much experience with jazzier forms of musical theater," even though his reputation was otherwise. Moreover, Rosalie, which opened in January, 1928, preceded by only two weeks the opening of another Ziegfeld production that combined operetta with the more modern American musical, a show that in fact set the standard for the next fifteen years and beyond for American musical theater: Show Boat -- with music by Jerome Kern and lyrics by Oscar Hammerstein II. Rosalie, of course, although far from a flop (335 performances), had nothing like the success of Show Boat, either immediate or long term, but it was in the same hybrid vein and demonstrated that Ziegfeld was indeed onto something big in joining these disparate forms (Pollack, p. 417).

William Zinsser was a bit more harsh in assessing Romberg's place in the American musical theater of the twenties. Although he admires "the warm bubble bath" of Romberg's melodies, he places him with a group of composers who weren't American in their origins and whose work was derived from a Viennese tradition of operetta.

"When those composers emigrated to the United States they continued to write European-style "light operas," and nobody seemed to mind. Romberg's The Student Prince, a musical about a German prince who falls in love with a waitress in in Old Heidelberg, opened on Broadway in 1924 and ran for 608 performances. Today it's hard to believe that audiences in the Jazz Age were willing to put up with waitresses in Old Heidelberg for so long" (Zinsser, p. 13).

This doesn't mean, of course, that Romberg couldn't or didn't write songs that fit the style of the time, or at least could be adapted to it by arrangers and performers who perceived hipper elements embedded within them. Witness June Christy's interpretation of "Softly, as in a Morning Sunrise" (Listen below.), which Romberg wrote with Oscar Hammerstein II, for The New Moon, his next show after working with Gershwin on Rosalie in 1928. "Lover, Come Back to Me" with music by Romberg and words by Hammerstein, was also introduced in The New Moon. It is a song that Arnold Shaw in his book The Jazz Age describes as characterized by "the personalization of feeling" typical of modern, blues as found in American popular music of the early twenties, words and music that explored "the many sides of loss and longing for love."

It is worth noting that of the five Romberg songs in the Cafe Songbook Catalog of The Great American Songbook, all are from 1928 or after with the exception of "The Desert Song" (1926) that some have claimed is too operetta-like to belong at all. One of the five is from Romberg's last foray on Broadway [Up in Central Park, 1945], which Wilfred Sheed, who otherwise thinks of Romberg as not much more than a musical "fuddy-duddy," calls "the best musical never revived and its big hit 'Close as Pages in a Book' the best song never played." In any case, the Gershwin association is not a bad bet as at least a partial explanation for some changes that took place in Romberg's style around the time of Rosalie. Still, as Alec Wilder points out, Romberg along with Victor Herbert and Rudolf Friml shifted very slowly away from the "more polite melodies" of European music toward the new American sounds. Jerome Kern, on the other hand, who like them had "his ear cocked east of Manhattan," recognized the changes he heard occurring in New York and adapted much more readily than they did to "the vitality of current American music" (Wilder, p. 51, hard-cover Ed.).

Finally, Romberg, like Gershwin, though to less effect, traveled west to Hollywood in the mid-thirties to write music for the movies. Indeed, he moved into a house on North Roxbury Drive a couple of blocks from Sunset Boulevard in Beverly Hills that was just two doors away from the Gershwins, whose house had become a social gathering place for many of the transplanted New York songwriters. It was the house in which Gershwin was living when his life ended so prematurely in 1937. So between 1916 and George Gershwin's death, Sigmund Romberg and Gershwin found, different as they were, their paths crossing, both as songwriting colleagues and as neighbors.

Book Cover: Deborah Grace Winer, On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields
Deborah Grace Winer,
On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields, (foreword by Betty Comden)
New York: Schirmer Books, 1997

Deborah Grace Winer in her book on Dorothy Fields informs us that Fields had approached Romberg about doing the music for the show Up in Central Park (1945), for which she and her brother Herb Fields had written the book. She had become friends with the good-natured Romberg when they were in Hollywood together in the thirties. The composer was excited about the project both because he loved the concept of the show and because he had not had a hit on Broadway for quite a while. Romberg wound up writing sixteen melodies to which Fields put lyrics, but it was only one of them that was to become a standard, "Close as Pages in a Book." Stephen Sondheim, who is generally very admiring of Fields work, doesn't like what she did with Romberg. He writes, "She didn't belong with a composer like Romberg, who was too schmaltzy for her" (Sondheim, Finishing the Hat, p. 222).

Winer also does a terrific job in characterizing Romberg from the point of view of the songwriting crowd in which Dorothy was the only woman, famously referring to herself as "just one of the boys." She disabuses anybody who might have thought a composer of operettas would necessarily be stuffy:

Romberg was known as a "card" among the musical and show business crowds. (In a Hollywood biopic based on his life, Deep in My Heart, he was portrayed by Jose Ferrer.) He was affectionately recognized for two traits: his bungling of the English language a la Sam Goldwyn, which Hammerstein used to call "Rommyisms," and his cheerful "borrowing" from other composers, which led to Larry Hart's oft-quoted remark to Richard Rodgers, as they listened to Romberg playing Tchaikovsky in the next hotel suite: "Listen, Rommy's doing another score" (Winer, p. 134).

Stephen Sondheim.
Stephen Sondheim.
Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes. New York: Alfred A. Knoph, 2010.

Romberg and Hammerstein According to Sondheim

Sondheim's acknowledged mentor was Oscar Hammerstein II and one of Hammerstein's mentors was Romberg. This took place when Romberg invited the then young lyricist to collaborate with him. Sondheim thinks this was both good and bad for Hammerstein: "good, clearly, in that Hammerstein learned his craft from a professional; bad because the flowery self-consciousness of operetta lyrics was something Hammerstein subsequently never could entirely shake. That quality is what makes so much of his work feel quaint and sugary today" (Sondheim Finishing the Hat, p. 228).

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Cafe Songbook
Music-Video Cabinet:
Sigmund Romberg

"Why Must We Always Be Dreaming?"
from Rosalie, 1928 -- (music, Sigmund Romberg, lyrics, P. G. Wodehouse) performed by Catharyn Layton, soprano with José Meléndez, piano. Recorded on January 30, 2011 for Concert Operetta Theater.

Compare this to another song, "How Long Has this Been Going On?" (music, George Gershwin; words, Ira Gershwin; performed by Ella Fitzgerald, vocal and Oscar Peterson, piano, 19). Both of these songs were introduced in the same show, Rosalie (1928). The Romberg harkens back to the era of the operetta and the Gershwin forward to musical comedy and The Songbook.

album cover: Romberg Conducts Romberg: Sigmund Romberg and His Orchestra
Romberg Conducts Romberg
Sigmund Romberg and His Orchestra


icon icon
The Sigmund Romberg Songbook
(various artists)

Amazon iTunes

June Christy sings
"Softly, as in a Morning Sunrise"
music, Sigmund Romberg;
words, Oscar Hammerstein II
originally from The New Moon (show, 1928)

June Christy

album: Something Cool

album cover: June Christy Something Cool

Amazon iTunes

Notes: In 1960, June Christy and arranger/conductor Pete Rugulo re-recorded the original mono album Something Cool, c. 1954, with arrangements in stereo. This CD contains both versions. Read customer album reviews at Amazon. "Softly as in a Morning Sunrise" has become a jazz standard with recordings by Duke Ellington, Sonny Rollins, John Coltrane and many others. Also, read the comments on the Christy music-video at YouTube. They're worth a moment. (The track on the music-video at left is the same as on this album.)

album cover: When I Grow Too Old To Dream
Sigmund Romberg:
When I Grow Too Old To Dream

Teresa Ringholz (vocals) with the Eastman-Dryden Orchestra, F. Henri Klickmann, Walter Paul

album cover: The Desert Song and The New Moon
The Desert Song / The New Moon
Songs from two Romberg/Hammerstein shows with Kitty Carlyle, Wilbur Evans and other original cast members

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Sigmund Romberg Songs
currently included in the
Cafe Songbook Catalog of
The Great American Songbook
  1. Close as Pages in a Book
  2. The Desert Song
  3. Lover Come Back to Me
  4. Softly, as in a Morning Sunrise
  5. When I Grow Too Old To Dream
Click here for a database of songs written or co-written by
Sigmund Romberg
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Research Resources:
Sigmund Romberg

Sigmund Romberg research resources on the web (listed alphabetically by web source):
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Sigmund Romberg research resources in print (listed chronologically):
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(Sigmund Romberg page)


Credits for Videomakers of videos used on this page:

  • Catharyn Layton, "Why Must We Always Be Dreaming?": ConcertOT
  • June Christy, "Soft as in a Morning Sunrise": amce7946

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Cafe Songbook
Master List
of Great American Songbook Songwriters

Names of songwriters who have written at least one song included in the Cafe Songbook Catalog of The Great American Songbook are listed below.


Names of songwriters with two or more song credits in the catalog (with rare exceptions) are linked to their own Cafe Songbook pages, e.g. Fields, Dorothy.


Names of songwriters with only one song credit in the catalog are linked to the Cafe Songbook page for that song, on which may be found information about the songwriter or a link to an information source for him or her.


Please note: Cafe Songbook pages for songwriters are currently in various stages of development.

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Adair, Tom

Adams, Lee

Adams, Stanley

Adamson, Harold

Ager, Milton

Ahbez, Eden

Ahlert, Fred

Akst, Harry

Alexander, Van

Allen, Lewis

Allen, Steve

Alter, Louis

Altman, Arthur

Anderson, Maxwell

Andre, Fabian

Arlen, Harold
Arnheim, Gus

Arodin, Sid

Atwood, Hub

Astaire, Fred

Austin, Gene

Ayer, Nat D.

Barbour, Dave

Barnes, Billy

Barris, Harry

Bassman, George

Belle, Barbara

Bennett, Dave

Bergman, Alan and Marilyn

Berlin, Irving

Bernie, Ben

Bernstein, Leonard

Best, William "Pat"

Blackburn, John

Blackwell, Otis (a.k.a. John Davenport)

Blake, Eubie

Blane, Ralph

Blitzstein, Marc

Bloom, Rube

Bock, Jerry

Block, Martin

Boland, Clay

Borne, Hal

Borodin, Alexander

Bowman, Brooks

Boyd, Elisse

Brent, Earl K.

Bricusse, Leslie

Brooks, Harry

Brooks, Shelton

Brown, Les

Brown, Lew

Brown, Nacio Herb

Brown, Seymour

Burke, Joe

Burke, Johnny

Burke, Sonny

Burnett, Ernie

Burns, Ralph

Burwell, Cliff

Bushkin, Joe


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Caesar, Irving

Cahn, Sammy

Caldwell, Anne

Campbell, Jimmy

Carey, Bill (William D.)

Carmichael, Hoagy

Carroll, Harry

Carter, Benny

Casey, Kenneth

Casucci, Leonello

Chaplin, Charlie

Chaplin, Saul

Charlap, Moose

Clare, Sidney

Chase, Newell

Churchill, Frank

Clarke, Grant

Clifford, Gordon

Clinton, Larry

Coates, Carroll

Coleman, Cy

Comden, Betty and Adolph Green

Conley, Larry

Connelly, Reginald

Conrad, Con

Cooley, Eddie

Coots, J. Fred

Cory, George

Coslow, Sam

Creamer, Henry

Crosby, Bing

Cross, Douglas

Daniels, Charles N.
Davenport, John (See Otis Blackwell.)

David, Mack

Davis, Benny

Davis, Jimmy

Dee, Sylvia

De Lange, Eddie

Denniker, Paul

Dennis, Matt

De Paul, Gene

De Rose, Peter

De Sylva, B.G. (Buddy)

DeVries, John

Dietz, Howard

Distel, Sacha

Dixon, Mort

Donaldson, Walter

Dorsey, Jimmy

Dougherty, Doc

Drake, Ervin
Drake, Milton

Dreyer, Dave

Dubin, Al

Duke, Vernon

Edens, Roger

Edwards, Michael

Egan, Raymond B.

Eliscu, Edward

Ellington, Duke

Elman, Ziggy

Engvick, William

Evans, Ray

Evans, Redd

Eyton, Frank


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Fain, Sammy

Fetter, Ted

Fields, Dorothy

Fischer, Carl

Fisher, Dan

Fisher, Fred

Fisher, Mark

Fisher, Marvin

Forrest, George

Freed, Arthur

Freed, Ralph

L. E. Freeman

Gaines, Lee

Gallop, Sammy

Gannon, Kim

Garner, Errol

Gaskill, Clarence

Gensler, Lewis E.

George, Don

Gershwin, George

Gershwin, Ira

Gillespie, Haven

Golden, John

Goodman, Benny

Goodwin, Joe

Gordon, Irving

Gordon, Mack

Gorney, Jay

Gorrell, Stuart

Goulding, Edmund

Grainger, Porter

Grand, Murray

Grant, Ian

Gray, Chauncey

Gray, Timothy

Grever, Maria

Grey, Clifford
Green, Adolph and Betty Comden

Green, Bud

Green, Freddie

Green, Johnny

Gross, Walter

Haggart, Bob

Hamilton, Arthur

Hamilton, Nancy

Hamm, Fred

Hammerstein, Arthur

Hammerstein II, Oscar

Hampton, Lionel

Handy, W. C.
Hanighen, Bernie

Hanley, James F.

Harbach, Otto

Harburg, E. Y. (Yip)

Harling, W. Franke

Harline, Leigh

Hart, Lorenz

Henderson, Jimmy

Henderson, Ray

Herbert, Victor

Herman, Woody

Herron, Joel S.

Herzog Jr., Arthur

Heyman, Edward

Heyward, Dubose

Higginbotham, Irene

Higgins, Billy

Hilliard, Bob

Hirsch, Walter

Hodges, Johnny

Holiday, Billie

Holiner, Mann

Hollander, Frederick

Holofcener, Larry

Homer, Ben

Hopper, Hal

Howard, Bart

Hubbell, Raymond

Hupfeld, Herman


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Jacobs, Jacob

Jaffe, Moe

James, Freddy (Pseud. for Teddy Powell)

James, Harry

James, Paul

Jenkins, Gordon

Johnson, James P.

Johnston, Arthur

Johnston, Patricia

Jolson, Al

Jones, Isham

Kahal, Irving

Kahn, Gus

Kahn, Roger Wolfe

Kalmar, Bert

Keith, Marilyn
Kent, Walter

Kern, Jerome

Kisco, Charles

Kitchings, Irene

Koehler, Ted

Kosma, Joseph

Kramer, Alex

Kramer, Joan Whitney

Kurtz, Manny

Laine, Frankie

Lamare, Jules (a.k.a Charles N.

Daniels and Neil Moret)

Lane, Burt
Landesman, Fran

Latouche, John

Lawrence, Eddie

Lawrence, Jack

Layton, Turner

Lee, Peggy

Leigh, Carolyn

Leonard, Anita

Lerner, Alan Jay
Leslie, Edgar

Levant, Oscar

Lewis, Morgan

Lewis, Sam M.

Link, Harry

Lippman, Sidney

Livingston, Fud

Livingston, Jay

Livingston, Jerry

Loeb, John Jacob

Loesser, Frank

Loewe, Frederick

Lombardo, Carmen

Lowe, Ruth

Lown, Bert
Lyman, Abe


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MacDonald, Ballard

Magidson, Herb
Malneck, Matty

Mancini, Henry

Mandel, Frank

Mandel, Johnny

Mann, David

Marks, Gerald

Martin, Hugh

Maschwitz, Eric

Mayer, Henry
McCarey, Leo

McCarthy, Joseph

McCarthy, Jr., Joseph

McHugh, Jimmy

McCoy, Joe

Mellin, Robert

Mercer, Johnny

Merrill, Bob

Mertz, Paul Madeira

Meyer, Joseph

Miles, Dick

Miller, Glenn

Miller, Nathan Ned

Mills, Irving
Mitchell, Sidney D.

Moll, Billy

Monaco, Jimmy

Moret, Neil (aka Charles N. Daniels)

Morey, Larry

Moross, Jerome

Mundy, Jimmy

Muse, Clarence

Myrow, Josef

Nemo, Henry

Newley, Anthony

Nichols, Alberta

Noble, Ray

Norman, Pierre
Norton, George A.

Oakland, Ben

Overstreet, Benton W.

Palmer, Jack

Palmer, Bee

Parish, Mitchell

Parker, Dorothy

Parker, Sol

Parsons, Geoffrey

Perkins, Frank S.

Phillipe-Gérard M(ichel)

Pinkard, Maceo

Porter, Cole

Prima, Louis

Prince, Graham

Prince, Hughie


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Rainger, Ralph

Raksin, David

Ram, Buck

Ramirez, Roger (Ram)

Rand Lionel

Raye, Don

Razaf, Andy

Reardon, Jack

Redmond, John

Rene, Leon T.

Rene, Otis

Revel, Harry

Reynolds, Ellis

Reynolds, Herbert

Rhodes, Stan

Robin, Leo

Robin, Sid

Robison, Willard

Rodgers, Richard

Romberg, Sigmund

Rome, Harold

Ronell, Ann
Rose, Billy

Rose, Fred

Rose, Vincent

Ruby, Harry

Ruby, Herman

Ruskin, Harry

Russell, Bob

Sampson, Edgar

Sanicola, Henry

Santly, Lester

Savitt, Jay

Secunda, Sholom

Segal Jack
Schertzinger, Victor
Schwandt, Wilbur

Schwartz, Arthur

Scott, Bertha

Shapiro, Ted

Shavers, Charlie

Shay, Larry

Shearing, George

Sherman, Jimmy

Sherwin, Manning

Sigman, Carl

Signorelli, Frank

Silvers, Phil

Simons, Seymour

Sinatra, Frank

Sissle, Noble

Skylar, Sunny

Snyder, Ted

Sondheim, Stephen

Sour, Robert
Spence, Lew

Springer, Philip

Stept, Sam H.

Stock, Larry

Stordahl, Axel

Strachey, Jack

Strayhorn, Billy

Strouse, Charles

Styne, Jule

Suessdorf, Karl

Suesse, Dana

Sullivan, Henry

Swan, Einar Aaron

Swift, Kay

Symes, Marty


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Tauber, Doris

Teagarten, Jack

Thompson, Kay
Tobias, Charles

Tobias, Harry

Tormé, Mel

Tracey, William G.
Trent, Jo

Troop, Bobby

Turk, Roy

Turner, John

Van Heusen, Jimmy (James)

Vimmerstedt, Sadie

Waller, Fats

Warfield, Charles

Warren, Harry

Washington, Ned
Watson, Johnny

Webb, Chick

Webster, Paul Francis

Weill, Kurt

Weiss, George David

Wells, Robert

Weston, Paul

Whiting, Richard A.

Whiting, George A.

Wilder, Alec

Wiley, Lee

Wilkinson, Dudley

Williams, Clarence

Williams, Spencer

Wodehouse, P. G.

Wolf, Donald E.

Wolf, Jack

Wolf, Tommy

Wood, Guy B

Woods, Harry M.

Wright, Lawrence

Wright, Robert

Wrubel, Allie

Yellen, Jack

Youmans, Vincent

Young, Joe

Young, Trummy

Young, Victor

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