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Finding Aid for the Walter Jurmann Collection, 1910-1988
APAM-1  
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Collection Details
 
Table of contents What's This?
  • Descriptive Summary
  • Administrative Information
  • Biography
  • Scope and Content
  • Indexing Terms
  • Music Index -- Introduction

  • Descriptive Summary

    Title: Walter Jurmann Collection,
    Date (inclusive): 1910-1988
    Collection number: APAM-1
    Creator: Jurmann, Walter
    Extent: 12 boxes (6 linear ft.)
    Repository: University of California, Los Angeles. Library. Performing Arts Special Collections
    Los Angeles, California 90095-1575
    Abstract: Collection consists of material related to career of the composer Walter Jurmann. The bulk of the collection was collected by Yvonne Jurmann after the composer's death in 1971 and includes songs from European and American films, other popular songs, newspaper and journal articles, holographs of songs and lyrics, correspondence, business papers, and photographs. Also includes the complete piano-vocal score for Windy city.
    Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact Music Library Special Collections for paging information.
    Language: English.

    Administrative Information

    Restrictions on Access

    The collection is open for research.

    Restrictions on Use and Reproduction

    Property rights in the physical objects belong to the UCLA Music Library. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish if Performing Arts Special Collections does not hold the copyright.

    Preferred Citation

    [Identification of item], Walter Jurmann Collection, APAM-1, Music Library Special Collections, University of California, Los Angeles.

    Provenance/Source of Acquisition

    The Walter Jurmann Collection was a gift to the Archive of Popular American Music of the University of California, Los Angeles, made by the composer's widow, Mrs. Yvonne Jurmann in 1988. Although it contains a good deal of primary and holograph material, the bulk of the papers, particularly the editions of printed songs and almost all of the secondary documentary material, such as newspaper and journal articles, was gathered by Mrs. Jurmann after the composer's death in 1971, hence the reference to this material not as Papers but as a Collection.

    Processing Information

    Processed by: Juliane Brand, 1989

    Biography

    The composer Walter Jurmann (born in Vienna, Austria, 12 October 1903; died in Budapest, Hungary, 17 June 1971), was part of the great wave of talented European emigres who played so significant a role in shaping and to some extent redirecting American culture after 1933. In Jurmann's case, emigration was fortuitous rather than, as for so many, either planned or forced. After completing his schooling, love for music and his melodic gifts led him to an engagement as a professional piano player in a fashionable spa hotel in the resort town of Semmering, south of Vienna. Here he met Fritz Rotter, already a successful lyricist, who suggested they work together. In 1927 Jurmann moved to Berlin, unquestionably the most important cultural center in the German-speaking world during those interwar years, and became a pianist in the famous Eden Hotel. Rotter's and Jurmann's first collaborative effort from that year, "Was weißt denn Du, wie ich verliebt bin", was an immediate hit song, the first of many. In 1931 Rotter introduced Jurmann to the Polish composer Bronislaw Kaper (1902-1983), who had come to Berlin in 1926. Kaper had attended both the Warsaw and Vienna Conservatories, as well as the Vienna University, and in the ensuing collaboration with Jurmann he became the one to arrange and orchestrate the other's melodies. From the start the Jurmann/Kaper team was a successful and extremely productive one, further cemented by friendship. In fact, their output was so prolific as to lead their publishers to begin issuing a certain amount of the music under pseudonyms; of these Bob Handers (variously spelled also as Henders), Erich Walter Schmidt and Caspar Paolo have been ascertained from the Berlin years.
    The singers who helped disseminate Jurmann/Kaper songs included Richard Tauber, Jan Kiepura, Greta Keller, Dajos Béla, Benjamino Gigli and the well-known singing group Comedian Harmonists. With the advent of the sound film, Jurmann and Kaper became involved with the German film industry, and as a consequence of their association with several German-French and Austrian-French film co-productions (Hochzeitsreise zu dritt/Voyage de noces, 1932, Ein Lied fuür Dich/Tout pour l'amour, 1933, among others) they went to Paris in 1933. Here they wrote for a number of French films as well as revues, publishing mostly with the Parisian firm Edition Coda (during this time they seem occasionally to have used the name Pierre Candell). In 1934 Louis B. Mayer of MGM heard of Jurmann and Kaper and persuaded the team to come to Hollywood.
    Their work there -- in 1935 songs for "A Night at the Opera", "The Mutiny on the Bounty", "Escapade" and one year later the big hit song "San Francisco", in the film of the same name starring Jeanette MacDonald and Spencer Tracy -- quickly won acclaim. However, as the film industry in Hollywood gradually changed and ever fewer films required specially composed "theme" songs, Jurmann began to loosen his ties to MGM, and in 1938 the Jurmann/Kaper collaboration was amicably dissolved. As of the early 1940s Jurmann turned to freelance composing and eventually retired from professional song-composing altogether. During the last years of his life, as the Collection shows, there was a renewed vigorous output of songs, including many love songs for his second wife, whom he married in 1953, as well as songs written specifically for the cities San Antonio, Houston and Los Angeles.

    Scope and Content

    Collection consists of material related to career of the composer Walter Jurmann. The bulk of the collection was collected by Yvonne Jurmann after the composer's death in 1971 and includes songs from European and American films, other popular songs, newspaper and journal articles, holographs of songs and lyrics, correspondence, business papers, and photographs. Also includes the complete piano-vocal score for Windy city.
    It should be noted that the Archive of Popular American Music general catalog already included a substantial amount of sheet music of Walter Jurmann songs before the receipt of the Walter Jurmann Collection. Moreover, other collections in the Archive directly or indirectly complement the Walter Jurmann Collection. Thus, for example, the Papers of Gus Kahn, a frequent collaborator of Jurmann during his American years, included an ozalid copy of a presumably unpublished Jurmann/Kaper/Kahn song, "The Magic of Springtime", originally written for but never used in the 1936 MGM film "Maytime". Other connections will no doubt come to light as the Archive's materials continue to be catalogued.

    Indexing Terms

    The following terms have been used to index the description of this collection in the library's online public access catalog.

    Subjects

    Motion picture music.
    Jurmann, Walter, 1903-1971--Archives.
    Composers--Archival resources.
    Popular music.
    Songs with piano.
    Music--Manuscripts.
    Songs.
    Jurmann, Walter, 1903-1971. Windy city Vocal score.

    Music Index -- Introduction

    The index is exclusively restricted to the series I.A-I.F and II, in other words, to Jurmann music in the Collection, as well as to all song lyrics (whether written by Jurmann or others) to which music was composed by Jurmann. Organization is alphabetical by title of the work or lyric, and entries are indicated by their series and sub-series alone, e.g., I.F or II.B. Multiple entries within the same sub-series are not indicated. If an entry is catalogued under a uniform title that differs from the actual song title, the index indicates that uniform title in the formulation: see [Uniform Title], [Series no].[Sub-series no. ]
    21 Lieder und Chansons see Songs. Selections, I.F
    Adieu see Chant du destin, I.A
    Adieu, es ist zu schön, um wahr zu sein see Abenteuer am Lido, I.A
    All God's chillun got rhythm see Day at the races, I.A
    All I've got is you see II.A; see also Das Lament einer verliebten Frau, II.A
    All the world is waiting for love and romance see II.A
    All the world is waiting for romance see Unidentified. I.A.
    Am schönen Titicacasee see I.B
    American way, The see I I.B
    Angelina see II.A
    Annemarie see II.A
    As the wind bloweth see Windy City, I.C
    At our honeymoon [First line] see New love, II.B
    Auf Dein Wohl trink mit mir see I.B
    Augen der Liebe seh'n Alles so schön--, Die see I.B
    Ausgerechnet Donnerstag see I.B
    Baiser de femme sous un ciel de feu, Un see Parade de France, I.C
    Because of you see Her Majesty Love, I.A
    Beginn den Tag mil Liebe see I.B
    Believe my heart see Unidentified, I.A
    Beneath the lights of home see Nice girl?, I.A
    Better world to live in, A see I.B; I.D; II.A
    Blue Monday see II.A
    C'est chez nous see Parade de France, I.C
    C'est l'amour qui m'enivre see Chant du destin. I.A
    C'est ton amour see Parade de France. I.C
    Chéri, tu reviendras see I.B
    City of angels see Miracle on Main Street. I.A
    Cook with a song see II.B
    Cosi cosa see Night at the opera. I.A
    Deine Liebe ist wie der Frühling see I.B; II.A
    Deine Mutter bleibt immer bei Dir! see Ich glaub' nie mehr an eine Frau, I.A
    Denk' daran see I.B: II.A; see also Deine Liebe ist wie der Frühling, II.A
    Do it now see II.A; see also Forever and ever, II.A
    Doing things for you see "Unidentified. I.A
    Ich folge Dir, bis an's Ende der Welt see I.B; II.A
    Ich frag' Madam', wann kommen wir zusamm' see Ehe m.b.H., I.A
    Ich geh' nie von Dir fort, denn ich lieb' Dich! see Madame wünscht keine Kinder, I.A
    Ich hab' im Frühling nur Dich geküßt see I.B
    Ich lieg' so gern im grünen Gras see I.B
    Ich mache mir Vorwürfe täglich [First line] see II.A
    Ich trag' Dein Bild in meinem Herzen see I.B
    Ich weiß schon längst, daß Du mich heimlich lieb hast! see I.B
    If there were dreams tor sale see I.B; II.B
    I'm stuck on the guy see II.A
    Immer, wenn ich glücklich bin, muß ich schrecklich weinen see Heut kommt's drauf an!, I.A
    In 24 Stunden kann so viel gescheh'n see Heut kommt's drauf an!, I.A
    In Deinem Rosengarten see I.B; II.A
    In Dich bin ich verliebt--! see I.B; II.A
    In Dich hab' ich mich verliebt! see I.B
    In meiner Einsamkeit see I.B
    In the eyes of the nation see II.A
    In the spirit of the moment see His butler's sister, I.A
    Don't ever run away from love see Windy City, I.C
    Drop a penny in the wishing well see Lucky number, I.A; II.B
    Du bist in meinem Leben die erste Sensation! see I.B
    Du bist nicht die Erste! see Ihre Majestät die Liebe, I.A
    Du gefä'llst mir so see Skandal in der Parkstraße, I.A
    Du liebst mich nicht mehr see I.B
    Einmal im Leben see I.B
    En avant see Nuits moscovites, I.A
    Engel nimmt Dich bei der Hand, Ein [First line] see Our lovesong, II.A
    Es war nur eine kleine Träumerei see I.B; II.A
    Forever and ever see II.A
    Ganz ohne Liebe wär' das Leben so bescheiden-- see Skandal in der Parkstraße, I.A
    Have faith in America see I.B; II.A
    He left me all broken hearted [First line] see I can't take it anymore. II.B
    Houston see I.B; II.A
    I can't take it anymore see II.B
    I found my sunshine in the rain see II.A
    Ich denk' an Mä'di die ganze Nacht see Ihre Majestät die Liebe, I.A
    In your wedding gown [First line] see New love, II.B
    Is it really love see Presenting Lily Mars, I.A; II.B
    It had to be see II.B
    It must have been madness see II.B
    It's great to be a soldier see II.B
    It's one year tonight at midnight see II.A
    It's up to you and me see II.A
    I've got dish-pan hands see II.B
    Jingle of the pots and pans see Cook with a song, II.B
    Keiner hat Dich je so heiss wie ich geliebt-- see I.B
    Kennst Du den Weg zu Paradies--? see I.B
    Kind, ich freu' mich auf Dein Kommen und bin traurig wenn Du gehst see Kind, ich freu' mich auf Dein Kommen, I.A
    Kinderlied (Es war einmal ein Baby--) see Melodie der Liebe, I.A
    Kleine Reise im Frühling mit Dir!. Eine see I.B
    Lach' mich nicht aus! see I.B
    Lament einer verliebten Frau, Das see II.A
    Lass' Dich versöhnen see Beginn den Tag mit Liebe. I.B.
    Let's learn the art of giving [First line] see These are the symptoms of love, II.A
    Let's make this great big world a better place see Better world to live in, II.A
    Let's make this great big world a better place to live in see Better world to live in. II.A
    Liebe bei Kerzenlicht see I.B
    Lied aus meiner Heimat--, Ein see Melodie der Liebe. I.A
    Lights of Picadilly will shine again. The see Unidentified, I.A
    Linger just a little longer see I.B
    Little tingle tangle toes see Tulip time in Michigan. I.A; II.B
    Long live Israel see I.B; II.A
    Los Angeles (1967) see I.B; II.A
    Los Angeles (1982) see I.B
    Los Angeles (1984) see I.B; II.B
    Love is here see II.B
    Love song of Tahiti see Mutiny on the Bounty, I.A
    Lovesong see Our lovesong, II.A
    Lucky lover see II.B; see also I can't take it anymore. II.B
    Manchmal möcht' man so gern see --Und das ist die Hauptsache!. I.A
    Manhattan after dark see II.B
    Matrose hat das größte Herz der Welt. Der see Kind, ich freu' mich auf Dein Kommen, I.A
    Mein einziger Wunsch see II.A
    Mein Fräulein, kennen Sie schon meinen Rhythmus? see Ihre Majestät die Liebe, I.A
    Mein Glück bist Du! see Ihre Majestät die Liebe. I.A
    Mein Gorilla hat 'ne Villa im Zoo see Heut kommt's drauf an!. I.A
    Mein schönes Wien see I.B; II.A.; see also Ich mache mir Vorwürfe täglich [First line], II.A; see also Ich trag' Dein Bild in meinem Herzen, II.A
    Melody Farm see Everybody sing. I.A
    Mensch, mach' Dir nichts draus! see Ihre Majestät die Liebe, I.A
    Mine see II.B
    Mit einer Rose see Der schönste Traum. I.B
    Modernes Wiegenlied. Ein see I.B; see also Der Weg zu Deinem Herzen. I.B; see also Ich folge Dir, bis an's Ende der Welt, II.A
    Mulligan stew see II.B
    My heart is an island see I.B
    My heart is singing see Three smart girls, I.A
    My heart ran away with the moon see I.B; II.B
    My unforgettable you see I.B
    Natacha see Nuits moscovites. I.A
    Never say goodbye to me see II.A
    New love see II.B
    Ni mal ni bien see On a volé un homme, I.A
    Nimm Dir mit aus Wien see I.B
    Ninon see Lied für Dich, I.A
    Ninon quand tu me souris see Tout pour l'amour, I.A
    No one to talk to see Blue Monday. II.A
    Nuits moscovites see Nuits moscovites. I.A
    Nur eine Mutter [First line] see II.A
    Nur eine Mutter versteht Deinen Schmerz see Beginn den Tag mit Liebe. I.B
    Nur eine Stunde mehr see I.B
    Nur meine Leidenschaft, die macht mich so beliebt! see --Und das ist die Hauptsache!, I.A
    Nur Sport! see Madame wünscht keine Kinder, I.A
    O Madona see Tout pour l'amour. I.A
    Oh Donna Anna see II.A
    Ohne Deine heiße Liebe [First line] see Our love will live. II.A
    Ohne Erinnerungen see I.B; II.A; see also Ich trag' Dein Bild in meinem Herzen. II.A
    Ohne Worte laßt uns scheiden see Ausflug in die Liebe. I.A
    Olga, Tochter der Wolga see I.B
    On a little street in Nischninovgorod see I.B, II.B
    On a misty moisty morning [First line] see My heart ran away with the moon, II.B
    On n'aime qu'une fois see Nuits moscovites, I.A
    On the bumpy road to romance see II.A; see also Better world to live in, II.A
    One I love, The see Everybody sing, I.A
    Only one heart see On a little street in Nischninovgorod, I.B
    Our love could be so tender [First line] see These are the symptoms of love, II.A
    Our love will live see II.A
    Our lovesong see II.A
    Parade March of the 6th Ferrying Command see I.E
    Please don't let me down see II.A
    Poor baby see On a little street in Nischninovgorod, I.B
    Possessed see II.A
    Reg' mich nicht auf, Johanna! see I.B
    Regard de femme, Un see On a volé un homme. I.A
    Remember Pearl Harbor see I.B
    Remember the seventh of December see Remember Pearl Harbor, I.B
    Reves d'amour see I.B
    Russian rhapsody see Presenting Lily Mars, I.A
    'S wird schon wieder besser see Es wird schon wieder besser, I.A
    Sag' einmal "ja" zu mir, was liegt schon dran! see I.B
    San Antonio see I.B; II.A; see also Better world to live in, II.A
    San Francisco see San Francisco, I.A
    Say's [sic] the bluebird see II.B
    Schade, daß Liebe ein Märchen ist! see Melodie der Liebe, I.A
    Schließe Deine Augen zu [First line] see Our lovesong. II.A
    Schön ist das ganze Leben! see Glücklicher Herr Fünf. I.A
    Schönste Traum, Der see I.B
    Sehr geschätztes Fräulein Laura see I.B
    Shadows on the starlit waters see Typee, I.A
    Signorina see Lied für Dich. I.A
    Signorina, ich liebe Dich see Hochzeitsreise zu dritt!, I.A
    So great my love see II.B
    So lang Du noch träumen kannst [First line] see II.A
    Someone to care for me see Three smart girls. I.A
    Sommernacht am Meer, Eine see I.B
    Sonntag ohne Sorgen, Einen see I.B
    Spanischer Tango und ein Mädel wie Du--, Ein see I.B
    Spiel mir ein Lied auf der Geige-- see I.B
    Tanks are rolling along, The see II.B
    Teach me how to love you see II.A; see also Angelina, II.A
    Thank you America see Nice girl?, I.A
    There are so many islands [First line] see II.A
    There goes another day see II.B
    These are the symptoms of love see II.A; see also Better world to live in, II.A; see also Please don't let me down, II.A
    This is Israel see Long live Israel. II.A
    This is my heart see I.B; II.A: see also O Donna Anna. II.A
    Though you're not the first see Her Majesty Love, I.A
    Three letters in the mailbox see Thousands cheer. I.A
    Tomorrow is another day see Day at the races. I.A
    Ton sourire apaisé see Chant du destin. I.A
    Tränen in der Geige see Glücklicher Herr Fünf. I.A
    Triffst Du mein Süßes see Ausflug in die Liehe. I.A
    Trink Dich gesund see I.B
    Tvrolka see Too many husbands, I.A
    Two hearts under one umbrella see Unidentified, I.A
    Und ich klopf, klopf, klopf an Deine Türe see Beginn den Tag mit Liebe, I.B
    Unforgettable you see II.A
    Unidentified see I.F
    Unvergesslich see Unforgettable you, II.A
    Venetia, ville d'amour see Chant du destin, I.A
    Vergesse Deine Sorgen see I.B; II.A
    Vielen Dank-- see I.B; II.A
    Vivons l'amour! vivons la vie! see Parade de France, I.C
    Wagging on the doorstep see I.B
    Waiting see II.A
    Waltz see Too many husbands, I.A
    Was kann ich dafür [First line] see Please don't let me down, II.A
    Was weisst denn Du, wie ich verliebt bin see I.B
    Weg Weg see Wagging on the doorstep, I.B
    Weg zu Deinem Herzen, Der see I.B
    Weißt Du was Du kannst--mich am Nachmittag besuchen-- see I.B
    Welcome to the Hemisfair see I.B
    Well-natch see II.B
    Wenn der Frühling kommt ins Land see Ausflug in die Liehe, I.A
    Wenn der Maximilian Tango mit Dir tanzt see I.B
    Wenn ein kleiner Zufall will-- see Es wird schon wieder besser, I.A
    Wenn ich den Isak ein bißchen pisak see I.B
    Wenn ich mal eine Dummheit mach see Hochzeitsreise zu dritt!, I.A
    Wer weint heut' aus Liebe Tränen see Ehe m.b.H., I.A
    Whatever you do is wrong see II.B
    When I look at you see Presenting Lily Mars, I.A
    Where do we go from here see Parade de France. I.C
    Wie gern möcht' ich Dich verwöhnen! see Melodie der Liebe. I.A
    Wie schön ist diese Welt see Abenteuer am Lido. I.A
    Wien bleibt immer Wien see Wien ist wieder Wien. I.B
    Wien ist wieder Wien see I.B. see also Ich trag' Dein Bild in meinem Herzen, II.A
    Windmill in the willows see II.B
    Windy City see Windy City, I.C
    World we can believe in, A see Better world to live in, 11. A
    You and the waltz and I see Seven sweethearts, LA; II.B
    You don't know the meaning of love see II.B
    Your in a tizzy [First line] see These are the symptoms of love, II.A
    You're all I need see Escapade, LA