[page 7, column 2:]

Music and Edgar Allan Poe:
A Second Annotated Check List

Burton R. Pollin

Bronx Community College of the City University of New York, Emeritus

As long as composers of every variety continue to find Poe’s tales, poems, and life a fascinating theme for musical settings, supplements to the basic bibliographies are necessary. During the fairly long interval between the 1939 publication of May Garrettson Evans’ Music and Edgar Allan Poe (Johns Hopkins Press) and my 1973 “More Music to Poe,“(1) about two hundred entries accumulated to supplement hers of about the same number.(2) Two later listings are also useful for the general study of music for Poe’s works. The first is the 1900 edition of Grove’s Dictionary (although its Poe entries actually number fewer than those in the Blom edition that preceded it). The second is a survey bibliography which I prepared for one of the supplementary volumes of Die Musik in Geschichte und Gegenwart (XVI, 1503-1507), giving abbreviated information with many omissions required by the publisher’s format. The present bibliography systematically updates my 1973 listing, carrying it through approximately 1981. It includes information from Grove’s Dictionary and expands my abbreviated 1979 listing, clearing up almost all of that bibliography’s untraced compositions. As will be seen, the bibliography reflects the impact of advancing technologies such as motion pictures, television, and electronic instruments on music composition based on Poe, and Part II in particular is devoted to composers who have been creating music for filmed versions of his tales and poems. My 1973 list omitted this entire area of musical composition, the importance of which has begun to strike disc manufacturers as fruitful and profitable (see Part III, Discography), even though it has attracted virtually no criticism.

One cannot claim completeness for this sort of search and listing, for every new bibliography of “recent music” (in such magazines as Pan Pipes of the music society Sigma Alpha Iota) reveals new pieces that have been performed if not published; and the problems of tracking down the composers for information about the nature and length of their compositions, other performances, and copyright registration are endless. I have omitted for lack of data many an “Eldorado” of ambiguous poet-parentage (since others beside Poe wrote poems of that title). In general, the present bibliography has resulted from culling magazines, the volumes on “new music” and “registrations” emanating from the Library of Congress and the British office of registrations, and the card catalogue of the Library of Congress itself.(3) Because the fledgling efforts of Poe enthusiasts are worth citing, even if unpublished, the present list includes them (they may be identified by the “KU” before the six-digit Library of Congress copyright citation number), although the “published” compositions (with “EP” numbers) are sometimes no more serious or [page 8:] professional in the xeroxed or dittoed states allowed by the copyright office. It may be assumed that the compositions for the cinemas listed in Part II have been copyrighted as part of the “package” of music sound and visual effects. Similarly, a copyright for a recording negates the need for separate registration of scores. Only in a few cases is the discography copyrighting separate from that on the music itself (see Eric Woolfson and the Allan Parsons Poe Project in Parrs I and III), but such overlaps are too few to warrant discussion.

The entries from the musical repositories of Europe exclude most catalogued items that did not have time to appear in our own registrations or musical bibliographies. To my knowledge, only England, with its annual volume of registrations, and the Netherlands, with its bulletin Speculum Sonorum (now Key Notes) published through Donemus, make internationally available their “new music” without delay, and only the first lists the “parolier” as well as the composer.(4)

The major section of this bibliography (Part I: Musical Compositions Based on Poe’s Texts) features over a hundred compositions, of which approximately eighty fall into the period since 1973. The latter entries show as much variety in approach and in musical means as those of the past, an indication that interest in Poe is widespread among both conventional and avant garde artists of every type. Ambitious composers of operas — albeit small operas, for the most part — held the musical public’s attention, especially during the Bicentennial year. . Dominick Argento’s commissioned opera, The Voyage of Edgar Allan Poe, was imaginatively based on his life and also on many lines of his poetry. Jan Bach seems to have practiced well in his operatic interpretation of “The System of Dr. Tarr and Professor Fether,” as is witnessed by his much applauded second opera, La Cueva de Salamanca. In Australia, Larry Sitsky’s “Fall of the House of Usher,” commissioned for the Hobart Festival, has been widely performed on stage and television screen. An older “Usher” by Clarence Loomis has turned up, and likewise a “Tell-Tale Heart” of 1971 by Claude Prey, which needs research among French performance records for proof of its having been staged. Most recent is a modest “Facts in the Case of M. Valdemar” by Milton Rosenstock of New York, sponsored and performed but nor, apparently, as yet published — the first musical treatment of that tale to my knowledge.

Symphonic and instrumental group music includes several extremely interesting works, not all of them dating from the last decade but merely discovered during my search and therefore now listed. A few of these were included, with almost no descriptive data, in my 1979 listing in Die Musik in Geschichte und Gegenwart, and others appeared in the new Grove’s Dictionary (the latter contributed the following: Baudrier, Loomis, Sitsky, Vallerand, and one piece by Zanella) . The Canadian Yves Baudrier’s 1938 “Eleonora, a Symphonic Suite,” features the Ondes Martinot, with its weird, voice-like quality, presumably representing the heroine of Poe’s tale. Andre Caplet’s “Red Death” for harp and strings becomes a second composition when expanded for full orchestra and also a dance ballet in 1957, known as “Conte Fantastique.” The relationship of dance and Poe-based compositions is [column 2:] a full study in itself, which to date has merely been initiated.(5)

Another “Red Death” ballet-music composer listed in Part I, Nicolai Cherepain, has posthumously provided a tantalizing mystery for students in his orchestral piece called in French and German “Fate: Three symphonic fragments on a ballad by Poe,” a title which does not specify the ballad or poem, to my knowledge. Nor do the bibliographies listing this 1974 Frankfort publication indicate which poem inspired the full-scale piece, although an examination of the miniature score might yield information. The implicit reference in Amilcare Zanella’s “Edgar Poe: Symphonic Impression” of 1923 is just as vague, although a second composition listed for this composer in Part I, “Bells,” might well be an alternate title of the same composition. The prolific English composer “Josef Holbrooke,” credited with “25 compositions comprising 35 Poe texts” in Evans’ survey (pp. 9, 48-52), presents a similar problem in the posthumous “Poeana (dreams) for flute and harp,” with a “song text” of six pages without words. Should we assume that “A Dream within a Dream” is the inspiration for this music? Because I have not examined all the scores of listed items, it is often impossible to show the relationship between the text and the music (see, for example, entries for Gerstel, Glasser, and Vallerand). For such items, the scores themselves merit examination, for they may designate episodes or bear phrases from the tales themselves.

Another interesting category of composition in Part I, largely new to this supplement, involves works employing new devices springing from advanced technology. In addition to Baudrier’s “Eleonora” mentioned above, there are Gerstel’s “Foregrounds” to “The Raven” with its magnetic tape and new title concept, as well as Paul Earle’s “The Bells,” Richard Kline’s “Evening Star,” and Ilhan Mimaroglu’s “Tomb of Poe,” the latter included somewhat improperly in my list because it lacks a strictly Poe text. Several entries have miscellaneous features of importance: Lund’s appropriate combination for “The Tell-Tale Heart” of a spoken dialogue with a string quartet and percussion instruments; Marrier’s original use of organ, percussion, and strings for “Usher” in the prize-winning broadcast; Nelson’s rock score for a “Nightmare” section for “The Tell-Tale Heart”; Rivett’s concept of suitable music for Doris Humphrey’s “ballet biography”; and Darius Milhaud’s striking music for “The Bells“ — presumed lost in my 1973 list, where it was first noted, but now located in the Library of Congress and also in a French published form.

Which of all these items would Poe himself find most interesting, most noteworthy? I should hazard a guess that the poet — who declared, in the preface to The Raven and Other Poems (1845), that “With me poetry has been not a purpose, but a passion“ — would have veered toward Leonard Bernstein’s Songfest of 1977: the last of its six parts is devoted to a “Closing Hymn” to Israfel the angel of music and employs all the verses of “Israfel” with tremendous elan and power in an intricate scoring for chorus, bass and alto, and full orchestra, surging to its remarkable height of melody and rapture in a movement labeled “strong waltz, with passion.” Along with the other compositions listed here, Songfest demonstrates the vitality and wide [page 9:] scope of musical response to the genius and the literary skill of Edgar Allan poe.(6)

NOTES

1 - This bibliographic article, appearing in Music and Letters, 54 (October 1973), 391-404, does include an appendix for three Poe phonograph discs.

2 - Deserving of mention are also the notes by R. C. Archibald on three pieces and by I. B. Cauthen on four more in Notes and Queries, 179 (September 1940) and 194 (March 1949).

3 - The unusual problems likely to be encountered there because of the scattering of the scores for new registrations are discussed in the Music and Letters article, pp. 392-393.

4 - All our L.C. catalogues of “new” music indicate the author of the “words” or the “book” for music compositions. The libraries that furnish this information, I have found, are solely the L.C., the New York Public (at Lincoln Center), the Edinburgh, the Bibliotheque Nationale in Paris, the Lausanne, and the Berlin (up to 1970 the catalogue in East Berlin serving also the West Berlin music library in Dahlem).

5 - See my paper, “Poe and the Dance,” Studies in the American Renaissance 1980, pp. 169-182, with Caplet on p. 178.

6 - I wish to thank the American Council of Learned Societies, the CUNY Research Foundation, and the John Simon Guggenheim Foundation for the opportunity to gather material for this bibliography.

Bibliography

Part I: Musical Compositions Based on Poe’s Texts, by Composer

“ADDENDA” in the following entries refers to material already listed in Evans or in my “More Music to Poe.” Insertions in square brackets give cross references to other entries in Part I or to the names of the half dozen composers of music appearing only in Part III, Discography. The list of forty composers of film music cited in Part II is not cross-referenced and should be consulted separately.

Abbate, Carolyn: The Fall of the House of Usher. Reconstruction of the music notes by Debussy for his one-act Usher, produced at Yale in 1977 and in Alice Tully Hall, New York, 18 April 1978. The three sections, of 20 minutes each, are prelude and Madeline’s offstage ballad, the dialogue of Doctor and Friend, and the monologue of Usher.

[Ackerman, Jack: see Finkelberg.]

Ada (perhaps a pseudonym): “Bridal Ballad,’ no. 3 in The Amateurs’ Altum, “consisting entirely of compositions by Amateurs,” (nos. 1-3) ed. Joseph R. W. Harding, London: Duff and Hodgson, 1854. Printed separately as sheet music, text on pp. 2-5. First year of the “Album,” this piece separately priced.

Adolphe, Bruce: “The Tell-Tale Heart,” one-aa opera of 1978. Vocal score in MS. of 82 leaves available in American Music Center, New York.

Argento, Dominick: The Voyage of Edgar Allan Poe, opera in two acts (prologue, ten scenes, epilogue). Libretto by Charles Nolte, imaginatively derived from Poe’s life with many lines from Poe’s works, especially for the choruses. Commissioned by the University of Minnesota for the Bicentennial and premiered there in 1976, subsequently performed elsewhere. New York: Boosey and Hawkes, 1976. [column 2:]

Bach, Jan: The System (from “The System of Dr. Tarr and Professor Fether”), one-act opera first produced at Mannes School, New York, March 1974, and at Northern Illinois University, De Kalb, 1977. Copyright 1973. Libretto, presumably by J. B., freely adapted with names and actions changed. 22 p. Reviewed in Times, 7 March 1974; Opera News, May 1974, High Fidelity, June 1974.

[Battyn: see Rosenberg.]

Baudrier, Yves (1906 — ): ADDENDA. “Eleonora, Symphonic Suite after Poe,” for small orchestra and the Ondes Martinot, 1938. Two movements. Published by Theodore Presser, Bryn Mawr.

[Baxter, Les: see Part III.]

Bello, Ralph: “Two American Poems,” words based on poems (unspecified) by John Burroughs and Poe. 9 May 1977, EU 779364.

Bernstein, Leonard: Songfest, in six parts for chorus, soloists, orchestra. Copyright 1977. Part Vl, “Closing Hymn”: “Israfel” for chorus, bass and alto soloists, and orchestra, a “strong waltz, with passion.” Recorded [see Bernstein, Part III].

Blatter, Alfred: “A Dream within a Dream,” for tenor, “interior assistant,” and piano. Champaign, Ill.: Media Press, 1973. Also scored “for small group” with three scores catalogued by the New York Public Library. 8 p. each.

Bon, Willem Frederik (1940 — ; Dutch): “Silence” (Poe’s sonnet) in Dag (“Hello”), four songs on various texts, this being the second, of 10 minutes, scored for mezzo, flute, clarinet, drum, horn, piano. Amsterdam: Donemus, 1978. 16 p.

Brown, Richard N.: “El Dorado,” arranged by Clark Tate. 11 August 1976, EU 707145. 3 p.

Butman, James J.: “Annabel Lee.” 4 March 1977, EU 774914. 5 p.

Callaway, Ann (Ann C. Langford): “A Dream within a Dream,” for baritone and piano. Previously registered in 1967; 2 Sept. 1976, EU 709860. 9 p.

———————— : “Seven dramatic episodes for flute, cello, and piano.” “Tone poems based on the writing of Poe.” One voice. Reg. in 1967, 2 Sept. 1976, EU 709857.

Campbell, J. Bruce: “To Helen.” Ascher Emil, listed in 1963 ASCAP Index of Performances. Presumably Poe’s.

Capel, J. M. “Annabel Lee,” No. 1 of Six Songs (pp. 3-7). London: E. Ascherberg, 1889. Br. Mus.: G 1385. f. (2).

Caplet, Andre: “Masque of the Red Death,” for harp and orchestra. First written for harp or piano and string quartet (-t.v. in Evans) but completely recast (see Blom, Grove’s Dictionary, where it is regarded as a second composition with new dating), and known as Conte Fantastic when performed in Paris, 18 December 1923 and in December 1980, by Philadelphia Orchestra [also see Caplet, Part III].

Cherepnin,Nicolai (also Tcherepain, 1873-1945): Ledenin:drei sinfonische Fragmenten nach einer Ballade von Poe, op. 59. Miniature score: Frankfort: M P. Belaieff, 1974. 102 p. Title of Poe’s poem not given. For Cherepnin’s “Masque of the Red Death,” a ballet, see Evans.

Clapp, Philip Greeley: “Lenore,” for SATB chorus with rehearsal piano part. No. 7649 of “Part-Songs for Mixed Voices.” New York: J. Fischer and Bros., 1940. 16 p.

David, Michael (pseud. of David Michael McKloskey): “Annabel Lee.’ Lyrics adapted from Poe. 5 June 1975, EU 586584. 7 p.

Dawson, Miles M.: “Annabel Lee,” sung by W. Clarence Postley from an unpublished score, at the ceremony in January 1909 in Poe Park to honor Poe’s birthdate, according to New York Herald of 20 January 1909.

Dijk, Jan van: “Masque of the Red Death,” recitation with orchestra. Netherlands, 1952.

[Dillards, The: see Part III.]

Earls, Paul: “The Bells,” for double chorus, brass, percussion, tape. Performed by the University of Lowell Chorale in November 1976, according to Pan Pipes of January 1977.

Eichheim, Henry (1870-1942): “To the river“ — words adapted by H. E., 1905. Holograph in ink in L.C. Voice and piano. 4 p.

Ellis, David: music to “The Fall of the House of Usher,” by Steven Berkoff, a play performed at the Edinburgh Festival in 1974 and Hampstead Theatre Club, February 1975. Music played also by D. E., the exact nature unspecified. [page 10:]

Finkelberg, Harry: “The Raven,” the words very freely adapted. Music by Jack Ackerman, George Lirto, and Harry Fink (pseud.). 22 October 1956, EP 104080. New York: Old Charter Pub. Co., 1956. 1 p. of melodic line only, 8 bars.

Fisher, Charles Michael: “Eulalie,” edited revision of words. 11 October 1971, EP 294825. 3 p.

Freeman, John: “Epitaph for Edgar Allan Poe,” for clarinet, bassoon, horn, and strings, with recited words from N. Willis’ Home Journal memoir defending Poe against Griswold, 7 minutes. Written for the Bronx Arts Ensemble, performed twice in March 1980 at Fordham University and Ethical Culture Society.

———————— : “To Helen,” for SATB chorus a cappella, and also, in another version, with wind quartet. 4 minutes. Fordham University performance in 1980 by Occasional Singers, Bronx Arts Ensemble.

Frohman, Walter David: “Annabelle Lee” [sic], tone poem for soprano and orchestra, op. 10. 19 July 1976, EU 696163.

Gerstel, Oswald: “Foregrounds’ to “The Raven,” for baritone, various instruments, and magnetic tape, ad lib. Tel Aviv. Copyright 1975. Score of 59 p. in NYPL.

Gilbert, Henry, F. B. (1868-1928). ADDENDA. “The Island of the Fay,” symphonic poem, 1923; revised form of pianoforte version (given by Evans) of 1904. See Baker and 1980 Grove’s.

Glasser, Albert: “The Raven,’ a tone poem, for full orchestra. Composed 1936-1937, according to the composer, but the score is lost.

Golden, Kimberly Moody: “Annabel Lee,” song for tenor voice and piano, triangle, flute, and violin, of 41/2 minutes. Performed by Rev. Robert L. Chambe.s on I December 1981 at Virginia Commonwealth University, Richmond. A copy deposited at the Poe Museum.

Griffis, Elliot. ADDENDA. Songs from Poe: “To the River,” “To Helen,’ and “Eldorado,” published by Composers’ Press of New York, 1946. Given by Evans as “To Helen” in manuscript, and the others under date of 1937.

Hall, Charles J.: “The Ciry in the Sea,” words adapted from the bible and Poe. 30 July 1971, EP 297150. Ann Arbor, Michigan, University Microfilms, 1971, 71-18214.

———————— : “Ulalume,” text after Poe, for narrator, soprano, orchestra. Performed, Houston, 8 February 1972.

Herman, Bernard: Music for “The Tell-Tale Heart,’ presumably cues, background, ffC., for CBS Network Radio broadcast 11 July 1937. Director: Irving Reis (Data from Museum of Broadcasting) .

Holbrooke, Joseph: “Poca,ua (dreams) for flute and harp.” “Song text of 6 p. without words (sic). London: Goodwin and Tabb, 1949, No. 36083. Listed by L.C. as M 297 /.H.

Husaker, David: Poe, a theatrical presentation. Text by Poe seleaed and adapted with music by David Husaker. 24 May 1973, DU 86933 (copyright on the drama rather than the music alone) .

Hutcheson’ Jere: ‘Eldorado,” for mixed chorus and small orchestra of winds and percussion. 37 p. New York: Seesaw Music Corp., 1974. Also SATB score with piano, of 19 p.

IntVeld, Jack: “The Lake” included on the sound disc “I‘ll sing of life.” Word sheet lain in, side 2, band 1. Reg. as published, 16 May 1978, in L.C. cat.

Jennings, Gladness: “Annabel Lee‘’ as “Ode to Annabel Lee.” 9 April 1976, EU 667354.4 p.

Kaufman, William M.: “Annabel Lee.” 30 Dec. 1977, EU 859430. 3 p.

Kazze, Louis (1896 — ): Three songs to texts by Poe, written in 1940, for soprano or tenor. Unpublished but “often performed” according to the composer: “Thou Wouldst Be Loved” (3 p.), “Eldorado” (4 p.), and “Annabel Lee” (6 p.).

Kline, Richard: “Evening Star; nocturne,‘’ for SATB, tenor solo, tape and piano accompaniment. 12 November 1975, EU 62852. 8 p. without tape.

[Litto, George: sec Finkelberg.]

Loomis, Clarence (1889-1965): “The Fall of thc House of Usher,‘’ opera, circa 1940 and again 1942-43.

Lund, Erik (of Park Ridge, Illinois): “A Dream within a Dream,‘’ soprano and pianoforte, 1979; “Hymn,” soprano and saxaphone, cello, and bass, 1979; and “The Tell-Tale Heart,” dialogue [column 2:] with string quartet and percussion instruments. Performed 14 April 1981 at Northern Illinois University.

McKay, David P.: “To One in Paradise,” a set of songs based on ten poems by Poe for soprano or tenor and piano accompaniment. To be published by C. T. Wagner, Washington, D.C, 21 p. Performed at the December 1982 PSA meeting, Los Angeles.

McKay, Neil: “A Dream within a Dream,” for four-part chorus, a cappella. New York: Music 70 Publishers, 1976. 1 March 1976, EP 350129.8 p.

McLauchlan, Murray: “The Raven,” words adapted. 15 July 1973, EFO 164471 (for Canada). L.C. catalogue: M 1679.2 / .M.

MacLeod, Richard: “El Dorado” as “Diogenes del Dorado.” 6 June 1972, EU 336109. 2 p.

Marc, Edmond: Trois contes d‘Edgar Poe: triptyque symphonique. Paris: Editions H. Lemoine, 1975.

Marrier, Ken, in the play “The Fall of the House of Usher,” to the script of Yuri Rasovsky and Michelle M. Faith, one of several tales for National Radio Theatre of Chicago, with Y. R. as producer-director, this being the only one with music. Scored for organ, small string ensemble, and percussion in 1978, when broadcast, winning the Ohio State and Armstrong Awards.

Martinu, Bohuslav: “The Sleeper” (“Spici”). Song, of 1910. With piano accompaniment and still in manuscript, according to Milos Safranek, in Bohnslav Martinu (London, 1962), p. 336.

[Marvik: see Viksjo.]

Maurat, Edmond (1881-1972; French): Le Masque de la Mort Rouge, tragedy-ballet in one act. Book of 42 p., and music score (piano and varied voices), in facsimile printing, of 101 p. Copy with composer corrections seen in Paris at Bib. Nat.

Meade, Christopher: “Annabel Lee.” 18 October 1973, EU 439799. 5 leaves.

Milhaud, Darius: ADDENDA. Music for the ballet, “The Bells” (see “More Music to Poe,” no. 123). Manuscript score is now at L.C. (ML 96 / M 77, Case), dated 14 January 1946 at head of 155 leaves. Also piano score of 28 leaves, with “August 1945” at the end, plus “Mills [College].” Published by Max Esching of Paris (“Les Cloches”) .

Mimaroglu, Ilhan (born in Turkey, 1926): electronic composition, “Le Tombeau d‘Edgar Poe” by Mallarme or “Nare Erdem Buri” for voice and tape, 1964. 7 minutes. Recorded on FinnodarAtlantic, of New York, SR 9012 (1977) and on Vox-Turnabout, 1964. The poem is read aloud in French to an electronic accompaniment.

Moore, William Thomas (Jr.): “Annabel Lee,” for solo male voice and chorus. Words adapted. 29 September 1975, EU 617247. 13 p.

Mourant, Walter: “To Helen,” for medium voice. New York: American Composers Alliance, 1963.

Myers, James C.: “Song of the Silver Bells,” for SSAA chorus, unaccompanied. New York: Roger Dean Publishing Co., 1976. 28 April 1976, EP 354277. 6 p.

Nelson, Robert: “The Tell-Tale Heart,” commissioned by the University of Houston Mime Troupe in 1978 for January 1979 performance. “Nightmare” section, in six parts, has a rockoriented score. Characters changed but outline of the plot followed.

Neuwirth, Robert: “Annabel Lee,” 1975 (ASCAP).

[Ochs, Phil: see Part III.]

[Paganotti, B.: see Part III.]

Parry, Joseph (called Pencerdd America): “Annabelle [sic] Lee,” for four-part male chorus. English and Welsh text (by Prof. J. Morris Jones). Swansea: D. J. Snell, 1926. 6 p.

[Parsons, Alan: see Part III under Woolfson.]

Pendleton, Edmund (1899 — ): “The Bells — Poem by E. Allan Poe.” Lyrics in English. Paris: Ars Musica Ed., 1952. For medium voice and piano. EF 17721. Copy in L.C., numbered M 1621 /.P.

Perry, Julia: The Bottle. Libretto adapted from “Cask of Amontillado” and music by J. Perry. Opera in one act. 85 p. Southern Music Publishing Co., L.C. reg. 12 June 1978.

Peyton, Val: “The Raven” with no indication of source of the words. 20 February 1962, EU 705102; EP 160774, with no publisher indicated. Copy in L.C., numbered M 1356 /.P. [page 11:]

Pinnell, Suzanne Younger: “Annabel Lee.” 13 September 1974, EU 518658.2 p.

Prey, Claude: “The Tell-Tale Heart” as “Le cocur revelateur, inspire du conte d‘Edgar Allan Poe.” Piano with vocal score in French (solos and choruses), for opera Book by Philippe Soupault. Paris: Editions Salabert, 1971. Piano reduction, with two voices, women’s and boy’s choruses. 53 p.

Ratzlaff, George: The Raven. Pub. by Ratzlaff Music, Baton Rouge, La. No date procurable.

Reed, Robert B.: “Eldorado” for TTBB chorus and piano. New York: J. Fischer and Brother, 1951. 12 p.

Rivert, Albert: music for “Poor Eddy. A Ballet Biography of Edgar Allan Poe,” by Elizabeth Brown Dooley, copyright of 1953. Produced at Brander Matthews Theatre, Columbia University, 11 March 1953. Choreographed by Doris Humphrey. Two typewritten versions are at the Theatre Collection, NYPL. No indication of presence of the music or copyright on it.

Rodgers, William Thomas: “Annabel Lee.” 26 July 1974, EU 510153.10 p.

Roosevelt, J. Willard (Simsbury, Conn.): “Eldorado,” “To One in Paradise,” and “The Conqueror Worm,” composed 1977-78, listed with American Composers’ Alliance. The first two performed, Long Island, March 1978, and National Arts Club, April 1978. For clarinet, piano, and soprano.

Rosenberg, A. P. and Battyn: “The Raven,” first few lines of the poem only and a few chord annotations. New York: Everblue Corp., 1968. 1 p. EP 249559. In L.C. listed as M 1630.2 /.B. 1 p.

Rosenstock, Milton: “The Facts in the Case of M. Valdemar,” opera, performed in the New York Botanic Garden on 9 April 1978, by Bronx Arts Ensemble with George S. Irving as narrator and singer. Sponsored by the New York State Council on the Arts.

Ross, Alan: “Oh, I‘m happy now” (listed as by Poe; it is a refrain in the poem “Bridal Ballad”). Carlin Music Corp. and R. S. O. Pub. Ltd. 4 February 1975, EU 560766. 1 p.

Rouse, Christopher: Three Songs after Poe — “To ” (“I heed not”); “The Mammoth Squash” (actually by T. D. English); “To F . . .” (“Beloved, Amid the . . . Woes”). American Composers Alliance, 1967. 9 p.

Sanderson, Gil: “Childe Harold’s Pilgrimage.” Words by Poe and Byron. 28 May 1974, EU 488526. 11 p.

Schaubroeck, Armand: “The Bells.” 7 May 1976, EU 674831. Previously reg. 9 p.

Scheffres, Eugene: “A Dream within a Dream,” for voice and piano. 6 May 1975, EU 581796. 7 p. Performed in 1980; see below.

———————— : “Annabel Lee,” performed in “A Program of Art Songs” by Eugene Scheffres, October 1980, in Baltimore. No further data on this piece found. 18 May 1977 EU 785615.8 p.

See, Jim: “The Raven,” words adapted from Poe by Kenny Marlow. 10 July 1958, EP 12113. Kenny Marlow Music Co. 1 p. In L.C.: M 1630.2 /.S.

Severe, Howard E.: “Annabelle Lee” [sic], from a theme by Gaetano Brager. Poe’s words adapted. 29 May 1974, EU 482923. 5 p.

Shine, John Kevin: “To Helen. Copyright by West Berkeley Sound Company. 2 January 1975, EU 545028. 1 p.

Sitsky, Larry (Australian, 1934 — ): “The Fall of the House of Usher,” 1965, one-act opera, commissioned for the Hobart Festival of Contemporary Opera and Music. Widely performed on television and the stage. Libretto by G. Harwood, after Poe.

Slatkin, Leonard Edward (1944 — ): “The Raven.” Performed at Goucher College, Towson, Maryland, 8 February 1980; narrated by Vincent Price.

Smith, Dennis E.: Second Childhood Ssuite “The Bells’ included. 1 vol. L.C. reg. 27 July 1978.

Strasfogel, fan: The Fall of the Hosuse of Usher. Reconstruction and completion of Debussy’s fragmentary one-act opera, retaining only part of Debussy’s score. Produced April 1981 in Hartford (q.v. in the Hartford Courant of 25 April 1981, item provided by courtesy of Eric Carlson).

Strietman, Willem (Dutch): “Ligeia, or the shadow out of time.” Donemus, Amsterdam, 1973. For four-part chorus, flute, six percussuon instruments, organ, harp, electronics. 30 minutes. [column 2:]

Strini, Thomas: “Annabel Lee” for tenor and guitar. 1972-73. Given in Contemporary American Composers. No further details procurable.

Tate, Clark, music; Richard Brown, arrangement: “El Dorado.” 11 August 1976, EU 704145. 4 p.

Taub, Bruce: “The Bells,” 4 songs for high tenor, 1975. Listed by American Composers’ Alliance. 7 minutes. 15 p.

Trubitt, Allen R.: “Eldorado,” for SATB and guitar. Bryn Mawr: Elkan-Vogel, 1980.

Tussing, Eura L.: “Anna Lee or a Day in June.” Traces of Poe’s words in the Lyrics. Seddia, Missouri: A. W. Perry and Sons’ Music Co., 1902. 3 p. In L.C. as M. 1622.

Vallerand, Jean (1915 — ; Canadian): “The Devil in the Belfry, Orchestral work of 1939. Published by CAPAC, Toronto.

Van De Vate, Nancy: Five Somber Songs; a Song Cycle for Mezzo and Piano. Words by George Trakl, Poe, Blake, Verlaine, and Heine. 1 April 1974, EP 325580.

Viksio, Mark (pseudonym is “Bowen Marvik”): “Alone.” 14 November 1977, EU 859368. 3 p.

Wade, A. A.: “Annie Leigh.” Song with Iyrics very freely adapted from Poe’s poem, “Annabel Lee.” New York: Firth Pond and Co., 1853.3 p.

Wald, Georg: “The Bells.‘’ Galaxy Music Corp., New York. In ASCAP Index of Performances, 1963.

Wilt, Thomas: Incidental music for dramatization, “Edgar Allan Poe: A Condition of Shadow,” written and produced by Jerry Rockwood and widely presented. Scored for base recorder, 20 minutes. Copyright by Jerry Rockwood, 1973.

Woolfson, Eric: “Tales of Mystery and Imagination.” Words and music by Eric Woolfson, Alan Parson, and Andrew Powell; arrangements: Don Coates. Contains works by Poe, interspersed with original songs in both piano / vocal and condensed score format. Fox Fanfare Music Inc. and Woolfsongs, Inc., 5 May 1976 and 11 August 1976. Reg. for recording with voices, rock ensemble, and piano by Woolfson and “Alan Parson Projea,” Hialeah, Florida: Columbia Piaures Publications, 1976. Original score listed in L.C. under M 1630.18 / W663T3. 108 p. [See Woolfson, Part 111, for recording data and individual songs.]

Worst, John: “The Bells.” Nos. 1-4. 27 June 1977. EU 798265. 33 p. “Previously published 1966.”

Wrightson, Herbert James: “Annabel Lee” for low voice. 29 December 1977, EU 859738.8 p.

Zanella, Amilcare (1873-1949): “The Bells,” 1923. This composition, with no details, is listed in the Blom edition of Grove’s but is not in the 1980 edition, nor is it mentioned in A. Dioli’s “Life and Art” of Zanella (1941). It may be a confusion for entry below, of the same date.

———————— : “Edgar Poe: Symphonic Impression,” 1923 (in Dioli) or 1921 (in 1980 Grove’s Dictionary). Based on a Dantesque view of the vicissitudes of Poe’s life, says Dioli (p. 204).

Zanetis, Alex: “Annabelle Lee” by “Edgar Allen Poe‘’ [sic]. Vocal line only given. 3 April 1974, EP 331642. Nashville, Jack O‘Diamonds Music, Inc. 4 p. (xeroxed), in L.C. numbered M 1630.2/.Z

Part II: Music for Poe Films and Television Productions, by Composer

Anfasso, Gerard: music for the following four OUt of six relevision films of Channel 3, Paris, all of Poe tares, with performance dates and, in parentheses, the adapter and dialogue writer j see Delerue below for the other two]: “Maelzel’s Chess Player,” 7 February 1981 (J. Bunuel and H. Peychayrand); “GoldBug,” 21 February 1981 (Maurice Ronet and Claudine Reinach); “Ligeia,‘’ 7 March 1981 (Maurice Ronet and Napoleon Murat); “System of Dr. Tarr and Prof. Fether” (Paul G(rauff).

Aubain, Toni: The Raven, in French (Le Corbeau). Only the title is Poe’s. Director: Henri-George Clouzot and Louis Chavence. Continental Films (Europe), 1948.

Baxter, Les: Dr. Goldfoot and the Bikini Machine. 90 min. Director: Norman Taurog. American International Pictures, 1965. [page 12:] Segment Director: Roger Corman, “Pit and Pendulum” sequence with Vincent Price.

———————— : Fall of the House of Usher. 82 min Director: Roger Corman. American International Pictures, 1960.

———————— : Pit and Pendulum (very free version). Director: Roger Corman. American International Pictures, 1961.

———————— : The Raven. Funny parody of the horror films. 86 min. Director: Roger Corman. American International Pictures, 1963.

———————— : Tales of Terror. Includes “Morella” and free versions of “The Black Cat,” “Cask of Amontillado” and “Valdemar.” Director: Roger Corman. American International Pictures, 1962.

Bernstein, Elmer: Tell-Tale Heart. 28 min. Director: Steve Carver. American Film Institute, 1971.

Bottolph, David: Phantom of the Rue Morgue (adapted from “Murders in the Rue Morgue”). 84 min. 3-D filming. Director Roy Del Ruth. Warner Brothers, 1954.

Country Joe and The Fish, plus Barry: Gas-s-s-s (or it may he Necessary to Destroy the World in order to Save It). (Slight connection with Poe who appears as a minor character: see “Monos and Una”). 79 min. Director: Roger Corman. American International Pictures.

Crombie, Tony and Bill Le Sage: Tell-Tale Heart. Director: Ernest Morris, 1962. Re-released in 1964 as Hidden Room of 1000 Horrors. Very freely adapted. 81 min. (then cut to 78 min.). Released first by Brigadier Film Associates.

De Cenco, Arthur: The Black Cat. Braverman color, animated film, 22 min. Narrator: Basil Rathbone. Director: Frank Marvel, 1960.

Delerue, Georges: music for two TV films, of Channel 3, Paris [see Anfasso above]: “Purloined Letter,” 4 April 1981 (Robert Gerard); “Usher,” 11 April 1981 (Alexandra Astruc).

Duhamel, Antoine: Pit and the Pendulum. Made for French TV. 37 min. Director: Alexandre Astruc, 1963.

Elms, Albert: Manfish (based in part on “Tell-Tale Heart” and “Gold-Bug”). 78 min. United Artists, 1956.

Ferris, Paul: The Conqueror Worm. Also released as “Witchfinder General.” Only Poe’s title is used. Director: Michael Reeves. American International Pictures, 1968.

Franci, Carlo (Francis Clark): The Blancheville Monster. Based on ideas from “Premature Burial” and “Fall of the House of Usher,” Spanish/Italian. 88 min. Production Company: Llama. Director: Alberto de Martino, 1963.

Gallez, Douglas W.: The Black Cat. 15 min. Director-Producer: William C. Jersey (plus graduate students at University of Southern California). See TV Music, Fall-Winter 1957, Vol. 17, pp. 16-18, for music excerpts.

Harline, Leigh: The Isle of the Dead (very freely based on Poe ideas: plague, catalepsy, and premature burial). Director: Mark Robson. RKO, 1945.

Jones, Kenneth V.: The Tomb of Ligeia. Alta Vista. 81 min. Freely adapted from “Ligeia.” Director: Roger Corman and Pat Green, 1964 (1965) .

Kremenliev, Boris: The Tell-Tale Heart. In color, animated, 3-D. 8 min. Director: Ted Parmelee. Narrator: dames Mason. UPA, 1954.

Lee, David: Masque of the Red Death. 89 min. Director: Roger Corman. Also freely adapted from “Hop-Frog.” American International Pictures, 1964.

Lutyens, Elisabeth: The Living Dead (Five Sinister Stories in German). Based on “The Black Cat” and “System of Dr. Tarr,” and Stevenson’s The Suicide Club. Director: Richard Oswald, 1933 (1940). Prof. Gabriel Pascal sequences in Dr. Terror’s House of Horrors: National Roadshow, 1943.

Mackeben, Theo: The Student of Prague, freely adapted in German from “William Wilson.” Director: Arthur Robison, 1935.

Masson, Diego: Spirits of the Dead: William Wilson. Films Marceau. Director: Louis Malle. French. 1967 (1969). [see also Prodromides and Rota.]

May, Hans: Tell-Tale Heart. 20 min. Film Alliance (British) . Producer: T. G. Goldsmith. Actor: Stanley Baker. Director: J. B. Williams, 1953. [column 2:]

Neuman, Emil: The Loves of Edgar Allan Poe. Director: Harry Lochman. Actor: Shepperd Strudwick. Fox Films, 1942.

Oderman, Stuart: The Student from Pragsue (freely adapted from “William Wilson”). Actor: Conrad Veidt. Director: Hentick Galeen. 1926. Reissued 1970 with sound (first made, silent, with German subtitles).

Ortolani, Riz: Castle of Blood. Made in English but released in Italy as Danza macahra (and in Paris in 1965 as Danse macahre). 87 min. Known also as Edgar Allan Poe’s Castle of Blood. Involves Poe as a charaaer and concerns the living dead. Has nothing to do with Poe tales. 1964.

Prodromides, Jean: Spirits of the Dead: Metzengerstein (French). Direaor Roger Vadim. Film Marceau, 1967 (1969). [See also Masson and Rota.]

Raksin, David: Man with a Cloak. Features a charsaer called Dupin who solves a mystery. Actor: Joseph Cotten. MGM Films, 1951.

Ravel, Maurice (his music borrowed): The Raven. Lewis Jacobs’ experimental film. 12 min. 16 mm. Gregg Morton: narrata Poe’s words. Gustave Dore’s sketches used. American Film Makers Coop., 1954.

Rios, Waldo de los: Murders in the Rne Morgue. 86 min. Director: Gordon Hessler. Very free adaptation of Poe tale. American International Pictures, 1971.

Robinson, Harry: Oblong Box. 91 min. Director: Gordon Hessler. Uses nothing from Poe save the title. American International Pictures, 1969.

Roemhold, Heinz: The Black Cat, retitled House of Doom. Director: Edgar G. Ulmer. 65 min. Universal Pictures, 1934.

Rota, Nino: Spirits of the Dead: Toby Dammit (Based on“Never Bet the Devil Your Head”). Director: Federico Fellini. Italian. Released as a separate film in 1971. 1969.

Sakac, Branimir: Masque of the Red Death (Yugoslavian, Zagreb). 10 min. Animated through paintings. Adapted from Poe. Director: P. Stalter and B. Ranitovic. 1969.

Salter, Hans J.: The Black Cat. 70 min. Director: Albert S. Rogell. Freely adapted from “Black Cat,” “Dr. Tarr” and Stevenson’s The Suicide Club. Universal Pictures, 1941.

———————— : Mystery of Marie Roget. Rereleased as Phantom of Paris. 7 reels. Director: Phil Rosen. Almost no connection with Poe save use of title and Dupin as detective. United Pictures, 1942

Schlichter, Victor: Ohras Maestras del Terror (Masterpieces of Terror) released as Master of Horror. Argentina Sono (in Spanish). 115 min. Director: Enrique Carreras. Based on “Valdemar,” “Amontillado” (the third segment, “The Tell-Tale Heart,” deleted from the English version). 1965.

Scott, Tom: Tell-Tale Heart. Director: Karl Ganus. Actor: Michael Kane. CBS Films/Rothchild Film Corp., 1959.

Stein, Ronald: Premature Burial. 81 min. Freely adapted from Poe’s tale. Direaor: Roger Corman. American International Pictures, 1961.

———————— : The Haunted Palace. Based on Lovecraft’s novel The Castle of Charles Dexterward, with slight reference to Poe’s poem of the title. 85 min. Director: Roger Corman, American International Pictures, 1963.

Thomas, Peter: Pit and the Pendulum. 85 min. West German company: Hemisphere. One sequence only uses the Poe tale as basis. 1967.

Wilder, Alec: Fall of the House of Usher. 2 reels. Produaion by Melville Webber. Director: James S. Watson, Jr. Released in 1959 by Brandon Films with sound added.

Part III: Discography — Recordings Based on Poe’s Works, by Composer.

Baxter, Les [for specific titles and other details, see Part II under this name]: Edgar Allan Poe Suite from the American International Pictures television special, drawn from Roger Corman (AIP) films, with readings by Vincent Price (“Amontillado,” [page 13:] “Sphinx,” “Pit and Pendulum,” and “Tell-Tale Heart”). Citadel Records, CTV 7013. This label, now out of print, seems to be owned by Varese Saraband of North Hollywood. Side I consists of Baxter’s suite from the film, Cry of the Banshee, which is also the main title of the record.

Bernstein, Leonard: Songfest (“A Cycle of American Poems for Six Singers and Orchestra”). National Symphony Orchestra of Washington and six soloists and chorus are conducted by Bernstein on this Deutsche Grammaphon record, 2531 044, of 1978 [see Part I for details of the score]. Part VI, “Closing Hymn,” is based on “Israfel,” and engages all the performers. 4 min. 23 sec.

Caplet, Andre: “Le Masque de la mort rouge” (see Evans’ entry on this) . Included on record, perhaps called Nostalgia, of 1955, played by Concert Arts chamber orchestra under direction of Felix Slatkin. About 20 min. English Capitol CTL 7057 and American Capitol P 8255. Out of print. Caplet’s “Masque” also is on a noncommercial record “Materials from French Programs No. 578,” 1962, played by the Chamber Orchestra of French Broadcasting, under Paul Creder, conductor, with Mariette Nordman as harp soloist. Record is in NYPL at Lincoln Center, N.Y.

Dillards, The: “Annabel Lee” sung to a guitar by male soloist on the record, The Incredible L.A. Flying Machine, Flying Fish Records (Chicago, Illinois). It uses a few phrases from Poe’s poem and a narrative about a sailor lover of “the beautiful Annabel Lee” “by the sea.”

Dilworth, Don (for details of score see “More Music to Poe”): “Annabel Lee” sung by Joan Baez in the Vanguard record (VSD-79240, also VRS-9240) entitled loan, side 2, band 4 (rights for this song ascribed to Robbins Music-Chandos Music, ASCAP) . Accompanied by small orchestra under Peter Schickele.

Kihn, Greg and band: Glass House Rock album, Beserkley Record, no. 46629. “Annabel Lee,” listed in Phonolog but unheard, is presumed to be Poe’s poem.

Ochs, Phil: “The Bells,” sung to a guitar, with very slight adaptation of the words, appears on album, Chords of Fame, A and M Records (Los Angeles), no. 4599, and also on Elektra 7269. The score (1977?) does not appear as such in the L.C. registrations for music.

Paganotti, B.: “Annabel Lee,” No. 8 (5 u2”) in a set of eight songs on an E. G. G. record (Barclay of Paris), circa 1970 entitled Crsuciferius! A Nice Way of Life. No. 8 is scored for two male voices and a rock music group. (The record was heard in the phonograph section of the Paris Bib. Nat.)

Rachmaninoff, Sergei: The Bells, op. 35. For soloists, chorus, and orchestra, in four movements or sections, set to the Balmont translation of Poe’s poem. On two labels: Everest 3251 — Kiril Kondrashin with the Moscow State Philharmonic Orchestra and Chorus (34 minutes), and Angel, S-37169, Andre Previn conducting the London Symphony Orchestra. Also rwo parts (“Silver Bells” and “Loud Alarum Bells”) on The Romantic Rachmaninoff Camarata, London, SPC 21029, 1068, prod. by Tony D. Amata. (For the composition, see Evans’ list.)

Rota, Nino: his music for Toby Dammit, filming of “Never Bet the Devil Your Head,” by Fellini. The record, Cambridge SAG 9053, is called Tutti I Film de Fellini (fourteen films). [For details see Rota, Part II.]

Woolfson, Eric and Alan Parsons (plus Jane[?] Powell for “Usher”): The Alan Parsons Project / Tales of Mystery and Imagination — Edgar Allan Poe, 20eh Century Records, released in 1976 as T 508, and later as T 539; performed in England. Uses an extensive array of instruments, including electronic ones, and many vocalists. All poems and tales arranged. Side one: “Dream within a Dream,” “The Raven,” “The Tell-Tale Heart,” “Amontillado,” “Dr. Tarr and . . . Fether”; Side two: “To One in Paradise” and “Usher” (this alone by Powell also as composer). [For details of the 1975 score, see Woolfson, Section 1.]

———————— : A later Alan Parsons Project of 1979, 1980 Arista Records. Orchestra of Munich Chamber Opera led by Sandor Farcas. Side 2 of No. 301449. Composer: Eric Woolfson. “The Gold-Bug” (3 minutes) . Instrumental without words but titled thus.