{"value"=>"<p>The bulk of the collection consists of the Scores series, which includes sketches, reduction scores, full scores, and parts for Henderson's numerous arrangements and orchestrations in a career that spanned six decades. Similar to the arrangement of the Production Materials series, they are arranged alphabetically by production or artist within ten sub-series: Broadway; Off-Broadway and Regional; Unproduced Projects and Uncredited Arrangements; Special Concerts and Productions; Television; Dance Theater; Films; Industrials and Commercials; Recordings; and Individual Artists, which generally includes his work for nightclub acts, personal appearances on stage and television, and arrangements prepared for coaching sessions. A complete list of the shows in each of these categories with dates and Henderson's role is attached as an addendum. (Note that the addendum only contains material held in the collection; it is not a comprehensive list of all of Henderson's work.) A final Miscellaneous sub-series includes some very early arrangements, including Henderson's first full symphonic band score, Tchaikovsky's <em>Valse des Fleurs</em>, arranged while at Juilliard in the 1940s, as well as others that have not been identified.</p> <p>Henderson's Broadway and Off-Broadway musical scores, beginning in the Golden Age of the Broadway musical from the 1940s to the 1960s and continuing into the era of the rock and jazz musicals of the 1970s and 1980s, include <em>Ain't Misbehavin', The All Night Strut!, Do Re Mi, The First, Good News, Happy New Year, I Had a Ball, Mahalia, Miss Waters to You, No, No, Nanette</em>, and <em>Wild and Wonderful</em>. In a number of shows, there are songs that ultimately did not appear in the final stage version. Several of Henderson's own compositional efforts, including <em>The Crystal Tree, Doctor Jazz, Riviera on the Rocks, Siren Song</em> and <em>Sweeter and Sweeter</em>, are also included. Some of the dance music arrangements for his earlier Broadway shows, such as <em>Flower Drum Song, Bravo Giovanni</em>, and <em>Funny Girl</em>, are not included in the collection, but there are scripts, programs, and reviews in the Production Materials series. As noted above, scores for his last important musical, <em>Jelly's Last Jam</em> (1992), are also not included, although sketches for <em>Mr. Jelly Lord</em>, a preliminary workshop version originating in1985, may be found in the Off-Broadway sub-series.</p> <p>Material that was apparently not produced, such as <em>Siren Song</em> and <em>Riviera on the Rocks</em>, are included in the Unproduced Projects and Uncredited sub-series. Arrangements for which there are scores that are not attributed to Henderson are also included in that sub-series. As a free-lance arranger, Henderson occasionally served as a \"script doctor\" for arrangements by others and worked with friends, such as choreographer Peter Gennaro in <em>Seventh Heaven</em>, on productions for which he was uncredited. Henderson's early television work is also represented in the Television sub-series by scores for early Victor Borge and Phil Silvers specials in the 1960s, particularly the specialty numbers by Borge, such as his comic version of \"Peter and the Wolf\". There are also sketches and scores for several public television documentaries, including \"Eliza Lucas Pinckney\", in which Henderson adapts 18th century period music.</p> <p>Scores for the Recordings sub-series include sessions with conductor Andre Kostelanetz and his orchestra, the Royal Philharmonic Orchestra, the Canadian Brass, and Henderson's own music groups. These are listed alphabetically by song name under the group or artist's name. Although it was not always possible to determine definitively the album for every song, likely titles are listed in the addendum. It is important to note that the date following the song name applies to the date of arrangement, not of the song composition or it's ultimate recording date. Some of Henderson's earliest arrangements and orchestrations of popular songs with specialty lyrics, created between the 1955 and the 1986 for an annual show announcing new models by Oldsmobile, and originally featuring choreographer and dancer Carol Haney, appear in the Industrials and Commercials sub-series. This is a large group of sketches, reduction and full scores, and parts reflecting Henderson's work each summer for 30 years in preparation the announcement show held in the Fall.</p> <p>Scores and parts of orchestrations and arrangements for nightclub acts and personal appearances by many performers, such as Polly Bergen, Tammy Grimes, Nancy Wilson, Carol Lawrence, Dinah Shore, Liza Minnelli, Diahann Carroll, Teresa Brewer, Shani Wallis, Leslie Uggams, and Leslie Gore are also included in the Individual Artists sub-series and document the transition from the popular standards and show tunes of 1950s and early 1960s acts to the addition of Rock and Roll arrangements after the mid-1960s.</p> <p>Throughout the collection, the music in the Henderson papers exists in a variety of formats and stages of preparation. A given musical selection may be a sketch, reduction score, full score, or instrumental part. The full scores are usually in Henderson's hand and served as the authoritative source from which copyists prepared the individual instrumental parts. Henderson's colleague and friend, J. Roger \"Brick\" Fleagle (1906-1992), served as his chief copyist from 1947 until his death. (Originally a guitarist and arranger, Fleagle was at one time employed as a copyist for Duke Ellington.) The original manuscript instrumental parts in the Henderson collection, which appear on transparent onion skin paper or standard score paper, are often in Fleagle's hand or in the hand of a copyist from his staff. Many ozalid reproductions and photocopies of Henderson's full scores, reduction scores, piano-vocal scores and individual parts are also found in the collection. Original manuscript masters in Henderson's hand are identified as \"holograph\" Part masters in Fleagle's or another copyist's hand are specified as \"copyist holograph\". The few full scores not in Henderson's hand are identified as \"holograph (not L. H.)\".</p> <p>Ozalid and other reproductions are described as such. If possible, ozalids, in which ammonia was used in the reproduction process, are separated from other papers due to their acidic quality. Scores copied using other types of reproduction processes, such as Xerox or Thermo-fax, are simply labeled \"Reproduction\". Annotated published sheet music is identified as lead sheet, piano-vocal or reduction score, depending upon the markings. Many incidental sketches in Henderson's hand are found in the series. As in the Original Compositions series, he often referred to them as \"scratches and snatches\". Some are very brief; others resemble a full score, with assignments of melodies to specific instruments. Sketches and reduction scores may have multiple instruments labeled upon each melodic line, whereas full scores provide one staff line per instrument.</p>"}