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IN SEARCH OF JEAN WIENER: A BIBLIOGRAPHIC EXPLORATION OF HIS PUBLISHED MUSIC.

ABSTRACT

Jean Wiener (1896-1982) was a French pianist, composer, and concert organizer who strove to celebrate music, regardless of style, by lowering what he perceived to be artificial barriers. He composed extensively for film, radio, television, stage, and the concert hall. Elements of jazz appear in many of his compositions and performances throughout his career. This article attempts to expose his compositional output to a wider audience by examining the published scores in the form of a chronologically arranged bibliography, annotated with references to analyses of his work.

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As a teenager, I fell under the spell of the witty and ironic piano music of Erik Satie. It was unlike any other music I had yet encountered, and I could not get enough of it. I included theatrical performances of his Sports et divertissements in two different recitals, and I began to read whatever I could find about the composer. Over time, this evolved into a fascination with the Ballets Russes, Jean Cocteau, and Parisian culture of the 1910s and 1920s. In addition to biographies of Satie, I explored broader historical works such as Roger Shattuck's The Banquet Years. (1)

Scattered among the readings were occasional, brief references to the French musician Jean Wiener (1896-1982): how he premiered music by Satie, Schoenberg, Stravinsky, and Les Six in a series of concerts he organized in the early 1920s, concerts in which he would juxtapose new European compositions with music by Bach and popular American bands; how he played jazz piano at La bar Gaya, and opened its successor, Le bceuf sur le toit, with Cocteau and Louis Moyses in 1921; and how he befriended Satie, helping to relocate the aging composer from his austere studio in Arcueil to a comfortable hotel in Paris when Satie became consumed by cirrhosis and pleurisy in 1925. These were all minor blips in discussions of other artists, and there was no mention of Wiener's own music; the name barely registered for me at the time.

Later, I came across a 1974 recording of Wiener's 30 chantefables pour les enfants sages and Les chantefleurs, two sets of songs that are settings of poems by Robert Desnos, for voice and piano. The cover art by Jean Effel was childishly simplistic, and I passed over the album on many visits to the record store before finally deciding to purchase it. The songs were performed by soprano Edith Stockhausen and bass Xavier Depraz, accompanied by the composer. They were pithy and naive on the surface, but wry and sophisticated underneath, not unlike the music of Satie. It took several years to make the connection between the composer of these songs and the musician I had read about over the years, but once the association was made, I began to seek more information. There did not seem to be much to find. In the 1980 edition of The New Grove Dictionary of Music and Musicians, Wiener garnered less than half a column, with no bibliography; only four of his compositions were cited. (2)

I tried looking at his music with the idea that I might perform some of it, but the scores were very hard to come by. Local music stores carried very little, and nearby libraries did not offer much more. With time, I discovered his 1978 autobiography Allegro appassionato. It became a quest to uncover whatever I could.

Since the 1980s, the situation has improved somewhat. Several researchers have investigated the musician, producing documents chiefly about Wiener or details of his music. Many articles have been written about him as a composer and promoter of jazz in the 1920s. There has also been the occasional piece about his involvement in film music. Unfortunately, even now, much of his output remains unexplored.

The primary goal of the current undertaking is to expose Wiener's published music to a wider audience by presenting it in historical context, together with descriptions of contemporaneous and recent commentary.

I have examined the actual scores whenever possible, and was able to study roughly 35 percent of the scores in the original publications, or in a few cases by inspecting photocopied or online reproductions. For approximately 45 percent of the entries, I have relied on descriptions in library catalogs--chiefly from the Bibliotheque nationale de France (BnF). Most of the remaining entries are based on information in a 1989 catalog prepared by Juliette Choeur as a memoire de maitrise for the Universite de Paris-Sorbonne. (3) Choeur casts a very wide net and includes published scores and manuscripts, along with commercially produced and private recordings. But the entries' accuracy is not always reliable, as evidenced when comparing actual scores to the catalog listings. So Choeur's thesis is employed only in part. The source of a citation's description is specified when it was not the score itself or a full-sized reproduction.

While discussing sources of information about Wiener's music, a few significant works should be highlighted. Denise Pilmer Taylor's 1998 dissertation documents the most extensive research into Wiener's early career. (4) Taylor provides a thorough panorama of the jazz scene as it developed in Paris in the 1920s.

A pair of articles by the English music critic Wilfrid Mellers provides excellent insight into Wiener's compositional style. The first, "Jean Wiener and Music for Entertainment," was published in 1937; (5) in it, Mellers positions Wiener's early output in relation to his French predecessors and contemporaries; remarkably, Mellers saw far beyond the jazz elements that interest most authors who examine Wiener's music. A companion article, "Jean Wiener redivivus," was published in 1989 and functions as a sequel to the earlier effort. (6)

Wiener's autobiography, Allegro appassionato, exists in two editions. It was first published by Belfond in 1978; this version includes a discography compiled by Wiener. (7) It was reissued by Fayard in 2012 with a new introduction by pianist Alexandre Tharaud. (8) The reissue includes indexes for personal names and for compositions. Unfortunately, the discography was removed. Therefore, the first (1978) edition is cited as "Wiener" in the entries below.

The bibliography is arranged chronologically by the earliest credible date (or date of completion) associated with each work. The majority of works appear as single manifestations; when multiple manifestations exist for a single work or parts of a work, all versions are grouped together under the earliest date.

For the most part, the entries are formatted following the international standard bibliographic description (ISBD) format supported by the International Federation of Library Associations and Institutions. (9) This allows for a faithful transcription in a compact layout. Diacritics and other special characters have been transcribed without adjustment, thus sometimes "Wiener" (with accent as authorized be the Library of Congress), and sometimes "Wiener" (without accent).

As a pianist, Wiener's playing was captured in hundreds of sound recordings; these are often of performances in concert with his longtime collaborator, fellow pianist Clement Doucet (1895-1950), or with other musicians. While a small amount of the music was Wiener's own, most of the music Wiener recorded was written by other composers, ranging from Bach to Gershwin. A fair number of Wiener's own works have been recorded by other performers. In recent years, pianists Marcel Worms and Denis Pascal have offered very successful recordings. Some of Wiener's songs from the 1950s have also been widely recorded. Most famous, no doubt, is "Le grisbi," from the 1954 film Touchez pas au grisbi, which has been recorded dozens of times; English-language versions are usually called "The Touch." Wiener also set to music two collections of poems by the French poet Robert Desnos (1900-1945). The wit and brevity of both 30 chantefables pour les enfants sages (1955) and Les chantefleurs (1959) have appealed to a wide variety of singers, many of whom recorded these collections in whole or in part. Recordings are excluded from this investigation, unless they include Wiener performing his own music. An extensive exploration of these recordings will have to wait for another time.

1921

Deux poemes de Cocteau / Jean Wiener.--Paris : Max Eschig & Cie, Editeurs, c1924.

7 p.; 34 cm.

For voice and piano.

Contents: Aeronautes--Souvenirs d'enfance.

At end of 1st song: Paris, Octobre 1921. At end of 2d song: Aout 1921, Saint Gervais.

Plate no.: M.E. 1249-M.E. 1250.

According to Taylor (p. 166), this was the first of Wiener's compositions to receive public performance, on 26 November 1921 at the Salle Erard, under the title Poesies. Francis Poulenc was the pianist and Marie Olenine d'Alheim was the singer. It also appears to be the first published score of Wiener's music. All of his earliest music was published by Eschig (fig. 1).

Mellers speaks highly of the second song, noting its "delicious rhetoric and sentimentality ... the apotheosis of the melody of the musical comedy or cabaret, sensual and crudely coloured, yet saved from banality by innate French refinement and wit." (10)

Johnson and Stokes offer the following observations: "The DEUX POEMES DE JEAN COCTEAU (1921) are as good as any settings of this poet at the time; the first song Aeionautes has a madcap gaiety and, above all, a sweeping sense of continuity that we do not find in Poulenc's COCARDES; and the second, Souvenirs d'enfance, covers some of the same ground as the Poulenc cycle, if not with the same tenderness, at least with a similar wit." (11)

Sonatine syncopee : pour piano / Jean Wiener.--Paris : Editions Max Eschig, c1923.

17 p.; 32 cm.

According to Claude Chamfray, the work was composed in 1921 and premiered by the composer, 30 October 1922. (12)

Contents: Lourd--Blues--Brillant.

Plate no.: E. 2079 D.

Because Wiener incorporated jazz into this composition, it has received extensive attention. Stuckenschmidt compares this sonatina favorably with Anthiel's piano sonatas in the jazz idiom, and considers it more important, pianistically. (13) Mellers highlights various aspects of the work in both of his articles about Wiener. (14) Rachel Franklin provides a detailed analysis. (15)

Wiener writes of the work (p. 46): "Ma manie de melanger la forme classique a la syncope americaine, le tout farci d'accords parfaits garnis de neuviemes, allait donner un style tres personnel qui se cristallisa d'abord dans ma premiere sonate a quoi je donnai modestement le titre de Sonatine syncopee" (My passion for mixing the classical form with the American syncopation, the whole filled with perfect chords garnished with ninths, created a very personal style which crystallized first in my first sonata which 1 modestly titled Sonatine syncopee).

Taylor (pp. 165-66, 170-4) identifies this as Wiener's "first published jazz work," and identifies early performances in 1922-1924. She also observes "... the first work that he published (1923), was the Sonatine syncopee, with which he asserted his authority in American music." Taylor provides an extended formal analysis.

Martin Guerpin considers the social and musical milieus surrounding several fox-trots, including the "Blues" movement of this sonatina. The form is analyzed, but the focus is on situating the music historically. (16) In another investigation, Guerpin uses the same movement to explore exoticism in French jazz between the world wars, along with the uses of jazz in art music; here, Wiener's use of jazz is contrasted with how it is used by Milhaud. (17)

1923

Suite pour violon et piano / Jean Wiener.--Paris: Max Eschig, c1924.

1 score (16 p.) + 1 part (4 p.); 35 cm.

Contents: Assez vite mais tres rythme--Tres lent--Vite, gai.

At end of score: Agay 23 Mars 1923.

Plate no.: M.E. 1183.

Chamfray (p. 163) indicates that the work was composed in 1922, and that it was premiered 24 May 1923 by Rene Benedetti (the dedicatee) and Wiener.

Wiener says of this suite: "J'ecrivis une Suite pour violon et piano, d'une extreme gaiete mais assez osee, il faut bien le dire, surtout pour l'epoque" (I wrote a Suite pour violon et piano, extremely gay but daring enough, it must be said, especially for the time). He goes on to describe playing it on a tour he made with Joseph Szigeti in 1924. (18)

Mellers discusses the work at length. (19)

Trois blues chantes / Jean Wiener.--Paris : Editions Max Eschig, c1924.

9 p.; 30 cm.

Vocalises for medium or high voice and piano.

At end of score: Senneville, Septembre 1923.

Plate no.: M.E. 1248.

Chamfray (p. 163) indicates that the premiere was given by Vera [anacopulos and Wiener on 9 April 1924.

Because of Wiener's unusual use of the voice as a jazz instrument, these songs have likely received more press and been more heavily analyzed than any of his other compositions.

Edward Beninger describes the pieces as "delikat gemacht und impressionistisch gewiirzt" (20) (delicately constructed and impressionistically flavored).

Mellers offers a very eloquent description: "How Wiener's exploitation of the sensuousness of Parisian jazz is combined, by way of the characteristic acrobatics, with his sense of the Machine is very neatly revealed in an odd early work called Trois Blues Chantes (1923). The melancholia, nostalgia, and sophistication of Parisian jazz are present in these little blues, but these qualities are refined to a quintessence through that feeling of 'detachment' which is represented to a large extent by the composer's sense of the Machine." (21)

According to Johnson and Stokes, "The TROIS BLUES CHANTES (1923) are wordless vocalises, the voice required to sound like a saxophone and, on one occasion, 'comme un trombone.' This is the music of someone who really knows something about American jazz--a stark contrast to Roussel's song/azz dans la nuit, composed a few years later. The dedications of these blues (to Vera Janacopolous and Jane Bathori) show how well connected Wiener was at the time with the most influential people in French musical life--singers of new music who were also singing-teachers." (22)

Additional significant discussions are found in Taylor (pp. 175-80), Herwig, (23) and Coleman. (24)

1924

Concerto no. 1 "franco-americain" pour piano / par Jean Wiener.--Paris: Max Eschig, c1925.

2 piano scores (27 p. each); 34 cm.

Contents: Tres sonore et tres marque (en solo); Extremement rythme, mais pas tres fort (en accomp1)--Tres lent--Alia breve.

Plate no.: M.E. 1481.

Though Chamfray (p. 163) gives the dates of composition as 1922-1923, most sources indicate that the concerto was completed in 1924; the premiere was given 25 October 1924 with Wiener at the piano and the Concerts Pasdeloup, conducted by Rhene Baton.

The original scoring is for piano and string orchestra; performance materials are available from Max Eschig (ref. 2518). The only version available for sale is the two-piano arrangement, which appears to be sold in pairs. The two-piano version was originally performed by Wiener and Clement Doucet in November 1924 at the home of Jacques Rouche, director of the Opera; (25) it launched their long collaboration as duo pianists, which lasted until 1937.

This is one of Wiener's most discussed compositions, in no small part because of its early, extensive incorporation of jazz into a large-scale composition. Not all evaluations were favorable. According to Israel Citkowitz, "Jean Wiener's Franco American Jazz Concerto, a lumpy half-baked affair, made us only more conscious of Maurice Ravel's real elegance." (26)

M. Robert Rogers observes: "Jean Wiener, distinguished as performer and manager, has been also a prolific composer of pieces in the jazz idiom. Chief of these is his Franco-American Concerto for piano and string orchestra. It is a spirited and sometimes witty work, but its effect is mainly 'Franco,' and the use of string orchestra is a stylistic error that makes even those jazz effects present sound completely untypical." (27)

Taylor (p. 179-89) writes extensively about Wiener's stylistic combining of baroque with jazz, particularly as evidenced in this concerto.

Francois Porcile discusses the concerto at some length, and attributes much of the early success of the Wiener-Doucet duo to this work, referring to them as "sortes de Laurel et Hardy du clavier" (28) (a sort of Laurel and Hardy of the keyboard). It turns out that Wiener and Doucet played piano movers in Roger Capellani's 1931 short film comedy Les Demenageurs. (29) Perhaps this was a source of inspiration for Laurel and Hardy's 1932 comedy short The Music Box, in which the American comedy duo also plays piano movers.

Sept petites histoires: extraites du "Grand alphabet instantane" de Rene cles Alyscamps: pour chant & piano / Jean Wiener.--Paris, France: Eschig; San Giuliano Milanese, Italia: Distribution, Universal Music MGB, c1924.

12 p.; 30 cm.

For high voice and piano.

Plate no.: M.E. 1259.

Contents: Marche--Valse--Rag-time--Fantaisie et fugue [i.e., Fantaisie]--Fuga--Etude--Romance.

Mellers is very insightful: "Connected with this characteristic is the tendency of Wiener's melodies to indulge, on repetition, in curious atonal arabesques. Some rather crude, but easily analysable, examples of this occur in Wiener's early set of songs, the Sept Petites Histoires extraites de l'Alphabet instantane de Rene des Alyschamps [sic] (1921), in which quaint and gauche linear and rhythmic twists--leaps of sevenths and delayed accents--are introduced into Parisian march, waltz, and ballad tunes, and in which there is a completely crazy fugue on a theme combining the fauve aspects of Parisianism with what looks like a deliberate high-spirited assumption of angular eccentricity." (30)

Taylor (p. 257) identifies this as the second of Wiener's compositions to be publicly performed, the "Ragtime" being heard on 15 January 1924 as part of his concert series, where it was performed by Caron. She identifies these short songs as "Wiener's first foray into composed jazz ..." and offers a harmonic analysis.

Johnson and Stokes briefly describe this set, and compare it favorably to Auric's Alphabet, composed at about the same time. (31)

1925

Charleston blues

--Charleston blues: pour piano.--Paris: publications Francis-Day, 1926.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337625q).

According to Taylor, this work was dedicated to "Billy Arnold, leader of the jazzband that gave a notorious performance at a Concert Wiener in December 1921" (p. 119). She also notes that Wiener recorded it with Clement Doucet for Columbia on 14 December 1925, and describes formal aspects of the music (pp. 125-26).

--Charleston blues / de Jean Wiener; arrange par J. H. Wood, pour orchestre, avec piano conducteur.--Paris: publications Francis-Day, 1926.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376262).

Georgian's blues

--Georgian's blues: pour piano.--Paris: publications Francis-Day, 1926. 2 p.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb433376351) and on Choeur (p. 70).

Taylor provides an analysis of the style, harmony, and rhythm; she notes that a two-piano version was part of Wiener and Doucet's repertoire, which they recorded for Columbia on 14 December 1925 (pp.119,122-24, 268).

A program reproduced in Wiener's autobiography gives the title as "Georgians Blues (p. 118);" the discography in the first edition gives the title as "Georgian Blues (p. 213)."

--Georgian's blues / musique de Jean Wiener; arrangee parj. H. Wood, pour orchestre, avec piano conducteur.--Paris: publications Francis-Day, 1926.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb43337636c).

Sonate pour le piano / composee par Jean Wiener.--Paris: Se vend chez

Max Eschig & Cie, Editeurs, c1926. 20 p.; 35 cm.

At end: Senneville, 28 Aout 1925.

Contents: Tres ouvert et tout a fait en mesure--Calme--Ties brillant, sans nervosite.

Plate no.: M. E. 1644.

Chamfray (p. 163) gives 1923 as the date of composition, with Wiener giving the premiere in 1924; all other sources give the date of composition as 1925.

Mellers discusses this work at some length in both of his articles about Wiener's music. (32)

Wiener helped found Le bar Gaya and was the house pianist from 1920 to 1921. While there, he recruited Vance Lowry, an American who played saxophone and banjo. (33) Their sets were a melange of standards, art music, and new jazz tunes from America. The bar became so popular among avant garde artists that it quickly outgrew its space. The proprietor, Louis Moyses, worked with Jean Cocteau and Wiener to launch a new space in 1921, Le boeuf sur le toit, named for a recent ballet by Wiener's close friend Darius Milhaud. Wiener became so busy as a concert organizer that he was unable to continue as the nightly pianist, so his eventual collaborator, the Belgian pianist Clement Doucet, took over the role. Doucet was such a facile musician that he would show off by reading a book or magazine while playing piano. (34) Wiener and Doucet eventually formed a piano duo that toured internationally for over a decade.

As the organizer of Les concerts Wiener from 1921 through 1925, the young musician would juxtapose jazz with contemporary art music on a single program. The first concert, given on 6 December 1921 at the Salle des Agriculteurs, opened with Billy Arnold's American Orchestra; this was followed by Stravinsky playing fragments of Le sacre du printemps on a player piano, and a performance of Milhaud's Sonata for piano and winds. Wiener went on to offer premieres by contemporary French composers along with new works by composers such as Schoenberg and Bartok. (35) The concerts were much talked about in the Parisian press; some reviewers profferred high accolades for the unusual programming while others derided Wiener's approach. The critic Louis Vuillemin referred to the series as the "Concerts meteques," (36) a derogatory reference to music by foreigners.

1926

Clement's Charleston: pour piano.--Paris: publications Francis-Day, 1926.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337627d).

This Charleston was part of Wiener & Doucet's repertoire; they recorded it for Columbia on 22 April 1926." In the discography contained in the first edition of Wiener's autobiography (pp. 118, 215), the title is given as "Clement's Charleston." Taylor also includes the acute accent, though not all sources do (p. 85). Taylor offers an examination of rhythmic and harmonic elements of this piece (pp. 124-25).

LE VILLAGE BLANC, OU, OLIVE CHEZ LES NEGRES

--Le village blanc, ou, Olive chez les negres: Le fantaisie musicale en 1 acte et 6 tableaux.--Paris; Munchen: Editions Max Eschig.

Instrumentation: 1.1.2.1--2.1.1.0--timb--perc--cordes.

Chansons: Black Diana, blues--Johnnie, one step--Travellers-blues The white village one step--O Marseille!

Publisher's no.: Eschig--ref. 3039.

Description based on entry in Eschig's online rental catalog (downloaded from http://www.durand-salabert-eschig.com/en-GB /Our-Repertoire/), WorldCat entry (http://www.worldcat.org/oclc/725135318), and Choeur (p. 52).

Chamfray (p. 163) identifies the work: "Olive chez les Noirs ou The White Village: operette in 1 acte et 7 tableaux. Livret de Falk ... (Creee en 1926 au Theatre des Champs-Elysees; dir. Roger Desormiere). Inedit." He gives the dates of composition as 1924-25. Several different posters advertised the performance; at least one was designed by the graphic artist Paul Colin.

In his autobiography, Wiener gives 1926 as the date of composition. He describes the process of creating this work at some length, referring to it by the title Olive chez les Negres ou Le Village blanc (White Village). In his assessment, it was not a success, and he decided never again to undertake the composition of a staged musical work. This is ironic, given his lifetime involvement with dramatic music for film, stage, television, and radio. In the discography, he refers to this as Toperette 'Le village blanc.'" (38)

The Encyclopedic multimedia de la comedie musicale theatrale en France, 1918-1944 offers many details about the original production, in eluding lists of cast and crew, along with digital versions of several contemporaneous reviews, a few graphics, and audio recordings. (39)

Taylor identifies this work variously as an operetta and a revue. "Wiener's only theater work was staged, Le Village blanc, on Olive chez les negres. It was the featured attraction from 26 November 1926 through 2 January 1927 at the Music-hall des Champs Elysees" (pp. 85, 119, 127). She describes the production, including cast, plot, and its significance in Wiener's career (pp. 127-31). "[Wiener] hired an orchestrator, his old friend Vance Lowry, as was typical for music-hall productions. During the production, Lowry also led the Jazz King' band...."

Daniele Pistone makes this observation: "In the wake of Jean Wiener's 'operetta fantasy' Olive chez les negres, on Le village blanc (which had its premiere at the Music-hall des Champs-Elysees on 26 November 1926), Van Parys began to make use of jazz elements in his musicals, as in his popular L'eau a la bouche (given at the Theatre Daunou in 1928)." (40)

According to Susan Cook, "His operetta Olive chez les negres, ou Le village blanc was premiered at the Music-Hall des Champs-Elysees in 1926, and provided a model for other composers...." Cook also mentions "the success of Wiener's Olive." (41)

Alex Black Bottom

--Le village blanc, ou, Olive chez les negres: operette en 1 acte et 7 tableaux. Alex Black-Bottom: danse / paroles de Henri Faulk; musique de Jean Wiener.--Paris: Max Eschig, c1927.

3 p.; 35 cm.

Arranged for piano.

At head of title: Theatre des Champs-Elysees--Music-Hall.

Plate no.: ME 1837.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/85059983).

Wiener and Doucet recorded this dance in Paris for Columbia on 5 May 1927 as "Alexander's Black Bottom." At the same session, Wiener recorded "The White Village," also from Le village blanc. The latter was released on Columbia D 13023; but "Alexander's Black Bottom" was not released at the time it was recorded. It was later made available on EMI CD 50999 725703 2 6 (2013).

Taylor discusses the role of this number as "a vehicle for the star, Joe Alex, to demonstrate a theatrical version of the black bottom, a popular dance similar to the Charleston." She also provides a brief analysis of the music (pp. 128-29).

--Alex Black Bottom / music by Jean Wiener; arranged by Vance Lowry pour orchestre avec piano conducteur.--Paris: Max Eschig et C.ie, editeurs, 1927.

15 p.

For alto saxophone, tenor saxophone, trombone, tuba, 2 cornets, drum set, violin I, violin II, cello, piano, and tenor banjo.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb43337610p) and on Choeur (p. 70).

Black Diana

--Black Diana: blues: extrait du "Village blanc" / musique de Jean Wiener; arrangement de Vance Lowry pour orchestre avec piano conducteur.--Paris: Max Eschig et C.ie, editeurs, 1927.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337661k).

Johnnie

--Johnnie / paroles de Henri Falk; musique de Jean Wiener.--Paris; New York: Editions Francis Salabert, c1926.

[3] p.; 35 cm.

For voice and piano.

French and English words.

Full text on title page: M. Rolf de Mare presente au Theatre des Champs-Elysees Music-Hall la Fantaisie-Operette in 1 Acte et 7 Tableaux "Le village blanc" ou "Olive chez les negres" au 3eme Tableau "le Roi de Belloc" Johnnie; chante par Miles Jessie Crawford [pictured] Allegretti Anderson [pictured] et M. Pierre Meyer; paroles de Henri Falk; musique de Jean Wiener.

Plate no.: E.A.S. 4277

Taylor discusses how this song functions in the plot as well as the music itself (pp. 128-30).

--Johnnie: one-step: extrait du "Village blanc" / musique de Jean Wiener; arrangement de Vance Lowry, pour orchestre, avec piano conducteur.--Paris: Max Eschig et C.ie, editeurs, 1927.

For orchestra, with piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337664m).

--Johnnie: de la fantaisie-operette "Le village blanc": chant et piano / paroles de Henri Falk.--Paris: Editions Francis Salabert, 1927.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148./cb43337662x).

O Marseille!

--O Marseille! / paroles de Henri Falk; musique de Jean Wiener.--Paris ; New York: Editions Francis Salabert, c1926.

[3] p.; 35 cm.

For voice and piano.

Full text on title page: Voici le Succes trisse tous les soirs, que presente M. Rolf de Mare an Theatre des Champs-Elysees Music-Hall. O Marseille! chante par Jane Pierly [pictured] et Pierre Meyer [pictured] dans "Le village blanc" ou "Olive chez les negres" Fantaisie= Operette en 1 acte et 7 Tableaux; paroles de Henri Falk; musique de Jean Wiener.

French and English words.

Plate no.: E.A.S. 4275.

Taylor (p. 128) discusses the lyrics and harmonic features of this song.

Guerpin considers the social and musical milieus surrounding several fox-trots, including "O Marseille." Though the form of the work is analyzed here, the focus is on situating the music historically. (42)

--O Marseille: fox-trot: extrait du "Village blanc" / musique de Jean Wiener; arrangement de Vance Lowry, pour orchestre, avec piano conducteur.--Paris: Max Eschig et C.ie, editeurs, 1927.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376669).

The White Village

--The White Village onestep: extrait du "Village blanc" / musique de Jean Wiener; arrangement de Vance Lowry, pour orchestre, avec piano conducteur.--Paris: Max Eschig et C.ie, editeurs, 1927.

Description based on BnF entries: (http://catalogue.bnf.fr/ark:/12148/cb43337670j and http://catalogue.bnf.fr/ark:/12148/cb43337671w).

Wiener & Doucet recorded a two-piano version under the title "The White Village" on 5 May 1927, in Paris; originally released as Columbia D 13023/WL423-1.

--Onestep / Jean Wiener.--In: The new piano book: a collection of piano pieces by contemporary composers. Volume III / edited by Helma Autenrieth-Schleussner-London: Schott & Co., Ltd.; New-York : Associated Music Publishers, Inc., [1929?].

pp. 14-15 (of 35); 31 cm.

This composition bears the copyright date of 1927; the most recent copyright date on any piece in the collection is 1929.

Includes footnote: Aus: "Le Village Blanc." Editions Max Eschig, Paris.

Publisher's no.: Edition Schott 1402.

Plate no.: 32272.

Travellers-blues

--Travellers-blues: extrait du "Village blanc" / musique de Jean Wiener; arrangement de Vance Lowry, pour orchestre, avec piano conducteur. --Paris: Max Eschig et C.ie, editeurs, 1927.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376680).

1928

Deuxieme sonatine

--Deuxieme sonatine pour le piano / par Jean Wiener.--Paris: Max Eschig, 1928.

19 p.; 32 cm.

Date of composition: 1928.

Plate no. M.E. 2203.

Caption title: 2eme sonatine.

The works list on the back cover of Trois blues chantes gives the title as Sonatine.

Contents: Agreable--Adagio -Jazz.

Chamfray (p. 163) gives the title as 2e Sonatine syncopee, and notes that Wiener premiered the work, though no date is given for the performance.

Mellers makes several cogent observations about the work; (43) Johannes Herwig provides an extended analysis. (44)

--2eme sonatine. II, Adagio / Jean Wiener.--Paris: Editions Max Eschig, c1928.

4 p.; 35 cm.

"Supplement au 'Courrier Musical'du 15Janvier 1929."

Plate no.: M.E. 2203.

Type in caption has been reset and pages have been renumbered; original plate number has been retained.

1929

Blues / Jean Wiener.--In: Album Wiener-Doucet.--Wien: Universal Edition, c1929.

pp. 3-5 (of 15); 31 cm.

For piano.

Publisher's no.: Nr. 9613.

Plate no.: U.E. 9613.

The album cover was based on a well-known poster by graphic artist Paul Colin (fig. 2).

Beninger offers a short critique of the album and of Wiener's compositional style. (45) Franklin discusses stylistic aspects of this work. (46) Taylor provides a detailed analysis of the melody, rhythm, and harmony (pp. 217-19).

Cadences

--Cadences pour piano et orchestre.--Paris; Munchen: Editions Salabert, [1930?]

Publisher's no.: ref. 4304.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/724977122).

Chamfray (p. 163) gives the date of composition as 1925, but 1929 is much more likely the actual date. It was premiered on 16 May 1930 by l'Orchestre symphonique de Paris, conducted by Pierre Monteux, with Wiener at the piano.

Margaret Farish offers the following: "Cadences, for piano and orchestra [16']--2.2.2.2. 4.2.3.1. perc, strings,pno solo--sc.pts SALABERT rent (W1209)." (47)

Cook makes the following observations: "Cadences pour deux pianos has a syncopated first movement entitled 'Jazz' dedicated to Paul Whiteman. The third movement, 'Tango Argentin,' uses both rhythms associated with the dance. This work, originally written for piano and orchestra and most likely performed by Wiener and Doucet, appears to be Wiener's last composition borrowing jazz or dance idioms." (48)

Choeur (p. 62) lists "Tango argentin" as being for voice and piano, dates the manuscript as 1929, and gives the extent as 18 pages.

--Cadences pour deux pianos / Jean Wiener.--Paris: Editions Francis Salabert, c1930.

55 p.; 32 cm.

At end: Septembre 1929.

Contents: Jazz--Java--Tango argentin--Final (Paso doble).

Publisher no: 5835.

Plate no.: E.A.S. 5835.

Haarlem / Jean Wiener.--In: Album Wiener-Doucet.--Wien: Universal-Edition, c1929.

pp. 9-11 (of 15); 31 cm.

For piano.

Publisher's no.: Nr. 9613.

Plate no.: U.E. 9613.

In the discography accompanying his autobiography, Wiener gives the title as "Harlem blues" (p. 115). Wiener and Doucet recorded a two-piano version titled "Haarlem Blues" in Paris, 13 May 1930; released on Columbia LF 37/WL1836-4.

Beninger offers a short critique of the album and of Wiener's compositional style. (49) Franklin discusses stylistic aspects of this work. (50) Taylor analyzes its melodic, harmonic, and structural elements (pp. 218-19).'

Reve

--Reve / Jean Wiener.--In: Treize danses.--Paris: Les Editions de la "Sirene musicale," c1929.

pp. 32-33 (of 33); 35 cm.

For piano.

Plate no.: S.M. 168.

--Reve (1929) / Jean Wiener.--In: Dance music from Paris: for piano = Bal parisien: pour piano: 1896-1932.--Paris: Editions Durand, c2012.

pp. 62-63 (of 76); 31 cm.

Publisher's no.: DF 15982.

Plate no.: D. & F. 15982.

1932

Heureux, joyeux, amoureux / paroles de Paul Charline.--Paris: Ed. Echo, 1932.

3 p.

Description based on Choeur (p. 87).

From the film L'ane de Buridan.

Taylor (p. 4) identifies this as Wiener's first film score, but that is not correct; Wiener was composing for films as early as 1921. (51) This may be the first time that film music composed by Wiener was published. Wiener discusses the film's creation in his autobiography (pp. 134-35).

1934

C'est bien toi: chant et piano / paroles de C. Davson.--Paris: Coda, 1934.

2 p.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark: /12148/cb43337622p) and on Choeur (p. 57)

O gue ... revenez!: chant et piano / paroles de Louis Poterat.--Paris: Editions Coda, 1934. Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb433376429).

Le paquebot "Tenacity"

--La chanson des typos / collaborateur H. Padoy; paroles de Ch. Vildrac.--Paris: Ed. Echo et Choudens, 1934.

2 p.

For voice and piano.

Description based Choeur (p. 79).

From the film: Le paquebot "Tenacity."

--Le vent chante / collaborateur H. Padoy; paroles de Ch. Vildrac. Paris : Ed. Echo et Choudens, 1934.

3 p.

For voice and piano.

Description based Choeur (p. 79).

From the film: Le paquebot "Tenacity."

Tant mieux ... tant pis ...: chant et piano / paroles de Louis Poterat. Paris : Editions Coda, 1934.

2 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337657b) and on Choeur (p. 60).

Valse en rose: chant et piano / paroles de Louis Poterat.--Paris: Editions Coda, 1934.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337658p).

1935

La bandera

--Bandera (La) / collaborateur Roland Manuel.--Paris: Ed. Choudens, 1935.

20 p.

For English horn, violin, timpani, drum set, accordion, 2 guitars, and piano.

Description based on Choeur (p. 78).

--Partition musicale du film "la Bandera": pour piano.--Paris: Choudens, 1935.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376173). Roland-Manuel is identified as an additional composer.

--Ma pampa: tango, du film "la Bandera": chant et piano / paroles francaises et espagnoles de J. Hael et A. Deguil.--Paris: Choudens, 1935.

3 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb43337618f) and on Choeur (p. 78).

--Marinella: chanson italienne, du film "la Bandera": chant et piano / paroles francaises et italiennes de J. Hael et A. Deguil.--Paris: Choudens, 1935. 2 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb43337619s) and on Choeur (p. 78). The BnF cataloging also lists Roland-Manuel in an access point as contributing to the intellectual content.

Construire.--Paris: Ed. Coda S.A., 1935. 101 p.

Description based on Choeur (p. 84), who categorizes this as a film score.

La fete au pays.--Paris: Ed. Echo et Choudens, [n.d.]. 2 p.

Lyrics by Louis Poterat.

For voice and piano.

Description based on Choeur (p. 60).

Although no date of publication is given in the description, this song was recorded by Charles Trenet in 1935. (52)

La fille du port

--La fille du port: chanson creee par Bordas dans le film "Quand minuit sonnera" / paroles de Alfred Machard & Leo Joannon; musique de Jean Wiener.--Piano et chant.--Paris: Enoch & Cie., c1937.

[3] p.; 36 cm.

Plate no: E. & C. 9174.

The film was originally released in 1935 or 1936. Choeur (p. 82) identifies Roger Desormiere as "collaborateur."

--La fille du port: chanson creee par Bordas dans le film "Quand minuit sonnera" / paroles de Alfred Machard & Leo Joannon; musique de Jean Wiener.--Chant seul.--Paris: Enoch & Cie., c1937.

[1] leaf; 36 cm.

Plate no: E. & C. 9175.

1936

Embrassez-vous / paroles de Louis Poterat; realise avec le collaboration de Victor Marguerite.--Paris: Ed. Margueritat, 1936.

2 p.

For voice and piano.

Description based on Choeur (p. 85).

Wiener wrote music for two films titled La ganonne. The first (1936) featured Edith Piaf singing at least two songs by Wiener, including this one, along with songs by other composers. The second film dates from 1956 (q.v.).

Maroc, terre des contrastes

--Partition musicale, du film "Maroc, terre des contrastes."--Piano conducteur.--Paris: Choudens, 1936.

15 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337640m) and on Choeur (p. 97).

Choeur identifies this as a "Reduction pour p[degrees]" and notes "Collaborateur Roger DESORMIERE."

Mon vieux Paris!

--Mon vieux Paris!: chanson / paroles de Louis Poterat; musique de Jean Wiener.--Paris: Edition Salabert, c1936.

3 p.; 35 cm.

For voice and piano.

Plate no.: E.A.S. 10931.

On the copy at the Library of Congress, the date has been changed by hand to c1937; the BnF entry also gives the date 1937: (http://catalogue.bnf.fr/ark:/12148/cb43337637q).

"Creation Maurice Chevalier dans le film 'L'homme du jour' Production Marquis."

The film L'homme du jour also includes the song "Ma pomme," by Fronsac, Rigot, and Borel-Clerc.

According to Porcile: "In octobre [1936, Roger Desormiere] accompagnera a nouveau Maurice Chevalier pour une gravure de ses succes de l'annee, Ma pomme, Mon vieux Paris, Vous valez mieux qu'un sourire, chantes dans L'Homme dujour dejulien Duvivier (musique cosignee Borel-Clerc, Desormiere, et Wiener) ...," (53)

--Mon vieux Paris!: chanson / paroles de Louis Poterat; musique de Jean Wiener.--Paris: Edition Salabert, c1936.

2 p.; 35 cm.

Lead sheet.

Plate no.: E.A.S. 10931 bis.

--Mon vieux Paris / musique de Jean Wiener; paroles de Louis Poterat. ---No. 156 in: Un siecle de chansons francaises. Volume 1929-1939: 301 chansons francaises de 1929 a 1939: paroles & musique.--[Paris, France]: CSDEM, Chambre syndicale de l'edition musicale, c1996.

[1] p

For voice (melody with chord symbols).

La Vieille Porte du Chellah: pour violon et piano.--Paris: Choudens, 1936.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb433376591).

In the 1920s and 1930s, Wiener successfully divided his time between concertizing and recording with Doucet, composing, and organizing concerts.

As evidenced by the published scores from this period, much of his effort went into film scoring. During this time he began a long, close association with the conductor/composer Roger Desormiere, who also scored many films. Desormiere had critiqued installments of Les concerts Wiener for Le courrier musical as early as 1921. (54) In a 1966 memorial tribute to his longtime friend, Wiener attributed his growing social conscience and gradual adoption of communism to his lengthy discussions with Desormiere in the early 1930s. (55)

Wiener and Desormiere were part of the very small circle of friends that Satie maintained in his later years. (56) Wiener's father was a hotel executive in Paris; (57) because of this, the young musicians were able to situate the ailing Satie in a room at the Grand-Hotel--and later, other accomodations--during his last months. (58)

Although he was raised in the Catholic religion, Wiener was of Jewish descent. His grandmother had emmigrated from Vienna with Wiener's father and his two brothers in 1865, and converted the family from Judaism to Catholicism after arriving in Paris. (59) His ancestry became significant during the German occupation of France in World War II. Upon reporting to the Propaganda Staffel in the fall of 1940, Wiener was told by a German officer, "Si je ne vois jamais 'votre sale nom' sur une affiche, peut-etre vous laisserai-je tranquille; avez-vous compris?" (60) (If I don't see "your filthy name" on a poster, maybe I'll leave you alone; do you understand?) Desormiere offered to let Wiener compose music under Desormiere's name; Desormiere would then forward any fees he received to Wiener (61) This intentional obscuring of authorship has made it difficult to ascertain which musician actually composed some works from this time period.

1938

L'appel a la nature: pour piano.--Paris: Choudens, 1938.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337612c).

Choeur (p. 39): "En collaboration avec Roger DESORMIERE." Auberge Regain: pour piano.--Paris: Choudens, 1938. lp.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376142) and Choeur (p. 39).

Choeur: "En collaboration avec Roger DESORMIERE." L'auto: pour piano.--Paris: Choudens, 1938. 2 p.

Description based on BnF entry: (littp://catalogue.bnf.fr/ark:/12148/cb43337615d) and Choeur (p. 39).

Choeur: "En collaboration avec Roger DESORMIERE."

Auto-stop: pour piano.--Paris: Choudens, 1938.

1p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337616r) and Choeur(p. 39).

Choeur: "En collaboration avec Roger DESORMIERE."

Bei mir bist du schoen (means that I love you) / musique de Sholom Secunda; transcription pour le piano par Jean Wiener.--Paris: Chappell S.A., c1938.

Plate no.: C.S.A. 1927.

Description based on scan of pages 1-3 in eBay offering, 25 May 2018: (https://www.ebay.com/itm/392048034691?ul_noapp=true). "Autres transcriptions du meme auteur: September in the rain, Night and day."

Farandole: pour piano.--Paris: Choudens, 1938.

2 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337634p); Roger Desormiere is listed as an additional composer. Choeur (p. 39) provides additional information.

La lettre

--Partition symphonique pour le film La lettre / [red. pour piano].... Arrang. de Roger Desormiere.--Paris: Edition Echo, [1942].

14 p.

Publisher's no.: Echo 1938.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb43337639d).

According to the database Le cinema francais, s.v. "Jean WIENER," this documentary was released in 1938.

Choeur (p. 83) gives the date as 1940.

In his autobiography, Wiener describes this as "mon meilleur travail" (my best work), and talks about his compositional process (pp. 68-69).

Porcile describes how the score for this film was originally issued under Roger Desormiere's name, so that Wiener's activities would not be noticed by the occupying Nazis. (62)

Recherche de Pavel dans la nuit: pour piano.--Paris: Choudens, 1938.

2 p.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb43337648c); there is no statement of responsibility, but Wiener and Desormiere are both given access points as composers. Choeur (p. 40) provides additional information.

Rencontre de Pavel: pour piano.--Paris: Choudens, 1938.

2 p.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb43337649q); there is no statement of responsibility, but Wiener and Desormiere are both given access points as composers. Choeur (p. 40) provides additional information.

Retour a Paris.--Paris: Ed. Choudens, 1938.

2 p.

For piano.

"En collaboration avec Roger DESORMIERE."

Description based on Choeur (p. 40).

Sauvetage de Pavel: pour piano.--Paris: Choudens, 1938.

1p.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb433376518); there is no statement of responsibility, but Wiener and Desormiere were both given access points as composers. Choeur (p. 40) provides additional information.

September in the rain / musique de Harry Warren; transcription pour le piano par Jean Wiener.--Paris: Chappell S.A., c1938.

Plate no.: C.S.A. 1930.

Description based on scan of pages 1-2 of eBay offering, 25 May 2018: (https://www.ebay.com/itm/392048034378?ul_noapp=true).

"Autres transcriptions du meme auteur: Bei mir bist du schoen, Night and day."

Ville et travail: pour piano.--Paris: Choudens, 1938.

2 p.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376727).

Choeur (p. 40): "En collaboration avec Roger DESORMIERE."

VIVE LA VIE

Que la route est jolie

--Que la route est jolie: chant et piano / paroles de Louis Poterat. Paris : Choudens, 1938.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb433376471), which identifies Wiener and Roger Desormiere as composers.

As evidenced by the number of entries that follow, this song was quite popular and has appeared under several different titles. According to Choeur (p. 84), it first appeared in the 1938 film Vive la vie. By 1941, the song was adopted by les Eclaireurs, as a scouting song. (63) Catherine Bertho-Lavenir discusses this at some length as a traveling song. (64)

--En quittant les murs gris ... / paroles de Jaillet.--Paris: Ed. Salabert, 1942.

2 p.

For three-part unaccompanied chorus, with alto and baritone ad libitum.

Description based on citation in Choeur (p. 52).

Albert Jaillet was one of the editors of La cle des chants: 100 chansons (see the third entry below). Presumably this is the source of Choeur's attribution of the words to Jaillet.

--Que la route est jolie.--In: Le chansonnier des Eclaireurs / William Lemit.--Vichy: Les Eclaireurs de France, 1942.

p. 27 (of 188).

For voice.

Incipit: En quittant les murs gris.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43107899v), which identifies Wiener and Roger Desormiere as composers, and Louis Poterat as author of the text.

--Que la route est jolie / [musique de] Jean Wiener et R. Desormieres; [paroles de] Louis Poterat.--In: Chansonnier des Eclaireurs / William Lemit; illustrations de Sven; musique dessinee par M. Boucheron.--Deuxieme edition-Trentieme mille.--Vichy: Le Scoutisme Frangais: Les Eclaireurs de France, mai 1942.

p. 27 (of 198); 15 cm.

For voice.

Incipit: En quittant les murs gris.

--Vive la vie / musique de Jean Wiener.--In: La cie des chants: 100 chansons / recueillies et harmonisees par Marie-Rose Clouzot et Pierre Jamet, avec le concours de Albert Jaillet.--Paris: Editions Salabert, c1942.

pp. 63-64 (of 155); 16 cm.--(Collection Rouart-Lerolle & Cie).

For soprano, alto, and baritone ad lib. (unaccompanied).

Incipit: En quittant les murs gris (no author of words given).

Plate no.: R. L. 12.094 & Cie.

--Que la route est jolie.--In: Le chansonnier des Eclaireurs: 153 chansons a une ou a deux voix / William Lemit.--Troisieme edition. Paris: Eclaireurs de France, [1947].

p. 34 (of 198).

For voice.

Incipit: En quittant les murs gris.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43107901k), which identifies Wiener and Roger Desormiere as composers, and Louis Poterat as author of the text.

Vive la vie

--Vive la vie: generique: pour piano.--Paris: Choudens, 1938.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb43337673k), which identifies Wiener and Roger Desormiere as the composers.

1939

Chacun son tour: chanson composee pour le film "Derriere la fagade": chant et piano / paroles de J. Hael et A. Deguil.--Paris: Choudens, 1939.

Description based on Choeur (p. 82) and on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337631n), which gives additional author access for 'Rudd, F., Compositeur.'

Le Cristobal.--In: [Film L'Or du Cristobal / musique de Roger Desormiere, Maurice Bellecour et Jean Wiener],--Paris: Choudens, [1939].

For piano-conductor.

Publisher's no.: AC.20520.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb42951625k).

Although this score identifies contributions as being by several composers, most modern reference sources list Wiener as the sole composer.

Le dernier tournant

Generique du film "Le Dernier tournant" / musique de Jean Wiener et Roger Desormiere.--Paris: Choudens, 1939.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb433376320).

L'Empire britannique: partition du film: pour piano.--Paris: Choudens, 1939.

For piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337633b).

Choeur (p. 98) gives the title as Formation de l'Empire Britannique.

1941

La chanson du solitaire.--Paris: Ed. Regia, 1941.

4 p.

For voice and piano.

Description based on Choeur (p. 77).

From the film Madame et le mort.

In his autobiography, Wiener describes this film as an early collaboration with his second wife, film editor Suzanne de Troeye (p. 166).

Porcile describes how the score for the film was originally issued under Roger Desormiere's name, so that Wiener's work would not be detected by the Nazis. (65)

Trois chants: avec accompagnement de piano: composes a Paris en 1941 / Jean Wiener.--Paris: Choudens, c1950.

20 p.; 32 cm.

For high voice and piano.

At end of score: Avril 1941--Paris.

Texts taken from: Miroir du salut eternal / de Ruysbroek l'Admirable (no. 1)--Antigone / de Sophocle; traduction, Pessonneaux (no. 2)

--Quelques poesies / de Jacopone da Todi; transcrites de l'ombrien par Pierre Barbet (no. 3).

Plate no.: A.C. 16667.

Chamfray (p. 163) indicates that no. 2 was premiered by Jane Bathori and Wiener, but does not indicate the date. Wiener discusses the composition of these songs in his autobiography (p. 169).

1942

Mon doux ami Jean-Pierre / paroles de Marcel Hauriac.--Paris: Ed. Musicale Paris Monde, [1942].

4 p.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337641z) and on Choeur (p. 59).

1943

Les Froment.--In: Un tel, pere et fils: partition du film / musique de Roger Desormiere, ... Ernest Guillou, ... [et] Jean Wiener. Paris : Choudens, [1947],

20 p.

Piano reduction.

Publisher's no.: A.C. 22079 (Wiener's contribution only).

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb429516367).

Though this score identifies several composers as contributors, most modern reference sources list Wiener as the sole composer of the film score.

In his autobiography, Wiener observes that work on Un tel, pbre et fils was completed in 1945 (p. 168). Most sources give 1943 as the date of the film.

Choeur (p. 79) gives the title of film as "Untel, pere et fils." Based on the original movie posters, that appears to be the correct title. (66)

1944

Le Capitan / musique de E. Guillou ..., J. Wiener; partition du film. Paris : Choudens, c1947.

2 v. (24, 16 pp.)

Chiefly a reduction for piano; in part for 1-2 voices and piano.

Contents: Ire epoque. Generique; Chanson du Capitan; Suite au generique; Duel a cheval; Air de vielle; Scene de la cave; Chambre de la regente; Le petit roy; Chez Marion Delorme; Pre aux clercs; Chez Samuel; A une condition; Couloirs du Louvre; Scene intime avec Leonora; Ballet; Mandolines; Entree de Concini; Final du ler episode--Deuxieme epoque. Prologue; Sortie exterieure; Duel de Rinaldo; Gogolin revient du marche; Concini sera pendu; Bagarre; Poursuite; Mort de Concini; Final du 2eme episode.

Numbers: AC21940-AC21966.

Description based on BnF entries: (https://catalogue.bnf.fr/ark:/12148/cb397181189, http://catalogue.bnf.fr/ark:/12148/cb43032476b, and lntp://catalogue.bnf.fr/ark:/12148/cb43032477p).

The individual movements are credited to Guillou except for two attributed to Wiener: "Air de Vielle" is for voice and piano, apparently with words by Bernard Zimmer. "Chez Marion Delorme" appears to be for piano solo.

Wiener indicates that he worked on this film in 1944 (p. 174); Choeur (p. 89) gives the date as 1945. Choeur goes on to identify A. Deguil, Ernest Guillou, & B. Zimmer as collaborators, and gives the extent as 24 p.

Le Pere Goriot: partition du film.--Paris: Choudens, [1945],

18 p.

Piano reduction.

Contents: Generique--Victorine--Rastignac--Haletant--Gargonniere --Chambre de Goriot--Mazurka noble--Delphine / Jean Wiener.

Number: A.C. 21329.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43032492k).

Composed by E. Guillou, except as noted above.

Wiener gives the date of composition as 1944 (p. 171); Choeur (p. 89) gives the date as 1945, and the extent as 19 p.

Porcile describes how the score for this film was originally issued under Roger Desormiere's name, to hide Wiener's work from the Nazi regime. (67)

1945

Au carrefour des ondes

--La Java du carrefour: chant et piano / musique de Jean Wiener; paroles de Maurice Van Moppes.--Paris: Salabert, [1945],

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb433376382), and on reproduction of title page, which reads, in part "Le grand succes de remission 'Au carrefour des ondes' ... Chanson creee au micro par Marie Dubas ..." http://www .delcampe.net/page/item/id, 2 2 88035 74,var,h 1-la-java-du -carrefour-MARIE-DUBAS-paroles-MAURICE-VAN-MOPPES -musique-JEAN-WIENER,language,E.html.

--La Java du carrefour des ondes / paroles de Maurice Van Moppes ...; arr. par Francis Salabert.--Paris: Editions Salabert, 1945.

12 parts.

For orchestra with piano-conductor.

Publisher's no.: EAS14410.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39716427m).

Quatre petites pieces-radio: pour piano / par Jean Wiener.--Paris: Jean Jobert, c1947.

9 p.; 32 cm.

Date of composition: 1945.

Dedication: A la memoire de tous mes amis massacres.

Contents: Histoire de France--Quatour--Polka lente--Fait-divers.

Plate no.: J.J. 573.

In a 2008 podcast posted on Qobuz, Pierre Cornevin and Denis Pascal discussed this work briefly: http://www.qobuz.com/fr-fr/info/ qobuz-info%2Frencontres%2Fil-etait-une-foisJean-wiener5914. (68)

1946

Contre-enquete: partition du film / musique de E. Guillou, Jean Wiener. --Paris: Choudens, cop. 1947.

32 p.

Piano reduction.

Contents: Contre-enquete / E. Guillou--Le poison / Jean Wiener.

Number: AC22057.

Description based on entries in LC (http://lccn.loc.gov/unk84186125), and BnF catalogs (http://catalogue.bnf.fr/ark: /12148/cb397196016). Both entries identify this as a collaboration with Ernest Guillou.

Choeur gives the date as 1946 (p. 80); Wiener variously dates this work as 1946 and 1947 (pp. 171, 174).

IMPASSE

Mes premiers mots d'amour

--Mes premiers mots d'amour: blues / paroles de Andre Tabet et Jacques Companeez; musique de Jean Wiener et Rudd.--Paris: Enoch & Cie, 1946. 2 fascicles.

For voice with chord symbols (lead sheet). Publisher's no.: E&C9294.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb39715996k), indicating that the song is from the film Impasse, originally released in 1946.

Rudd is a pseudonym used by music publisher Jacques Enoch for his composing and arranging efforts. (69)

--Mes premiers mots d'amour / paroles d'Andre Tabet et Jacques Companeez; musique de Jean Wiener et Rudd.--Paris: Enoch & Cie, c1946.

4 p.; 32 cm.--(Chansons)

For medium or high voice and piano.

Reproduced from manuscript.

Plate no.: E. et C. 9293.

Title from caption.

Petit ange

--Petit ange / paroles de Andre Tabet et Jacques Companeez; musique de Jean Wiener et Rudd.--Paris: Enoch & Cie, 1946.

2 fascicles.

For voice with chord symbols (lead sheet).

Publisher's no.: E&C9295.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39715996k), which indicates that this is from the film Impasse.

--Petit ange / paroles de Andre Tabet et Jacques Companeez; musique de Jean Wiener et Rudd.--Paris: Enoch & Cie, c1946.

3 p.; 32 cm.--(Chansons)

For medium or high voice and piano.

Reproduced from manuscript.

Plate no.: E. et C. 9296.

Title from caption.

Nous continuons la France

--Nous continuons la France / paroles de Pierre Migennes.--Paris: le Chant du monde, 1947. 2 p.

For voice.

Publisher's no.: C221cM; C221M (chant seul).

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb397181 lOj) and on Choeur (p. 64). Choeur includes this in the category "Chansons engages" (protest songs).

The publisher's numbers given in the BnF entry suggest the existence of two versions, one with accompaniment.

In 1946, the Parti communiste francais produced a propaganda film by this title, with music by Wiener. (70) Choeur (p. 95) also documents a 1947 fiction courts metrages (short fiction film) with this title, identifying it as a musical collaboration with Ernest Guillou, directed by Louis Daquin.

In a 2008 podcast, Pierre Cornevin describes how, in 1946, Wiener arranged this song for his choir, la Chorale Guy Moquet. Cornevin indicates that the song was written for the 1946 film Patrie (see below). (71)

--Nous continuous la France / [musique de] Jean Wiener; [paroles de] Pierre Migennes.--In: Journee de printemps de lajeunesse, 1947, C.G.T.: 4 chansons de jeunesse et d'espoir / presentation de Gaston Monmousseau; dessin inedit de Mayo.--Paris: le Chant du monde: Publie sous l'egide de la Federation musicale populaire, [1948],

For unaccompanied voice.

Publisher's no.: C229dMcM; CC230cMcM; CC228cM.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397195624).

Office national industriel de l'azote: partition du film / musique de J. Wiener ..., E. Guillou.--Paris: Choudens, cop. 1946.

15 p.

Piano reduction.

Contents: Office national / Jean Wiener--Azote industriel / Ernest Guillou.

Publisher's no.: AC21718; AC21719.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39716713r).

Patrie: partition du film / musique de Ernest Guillou, Jean Wiener. Paris: Choudens, cop. 1947.

11p.

Piano reduction.

"Musique de Ernest Guillou sauf inclic. contraire."

Contents: Chant des gueux--Rysoor--Carillon--Paolo--Noces flamandes / Jean Wiener--Binious--Hotel du cygne--Cornemuses Valse flamande / Jean Wiener--Elisabeth--Les condamnes.

Numbers: AC22039-AC22049.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb39719163e).

Wiener mentions this film as one of numerous collaborations with his wife, film editor Suzanne de Troeye, after the war; he gives the date of composition as 1946 (pp. 166, 171).

Regards sur l'Afrique: partition du film / musique de J. Wiener ... E. Guillou.--Paris: Choudens, cop. 1946.

30 p.

Piano reduction.

Contents: Regards / Jean Wiener--Afrique / Ernest Guillou.

Publisher's no.: AC21720-AC21721.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397167143).

Spiritual

--Spiritual.--In: Jardin d'enfants: pieces faciles pour le piano. Premier recueil / choisies et doigtees par Marie-Rose Clouzot; avant-propos et notices de Marie-Rose Clouzot; couverture et illustration de Anne Marie Bossaert.--Paris [et al.]: Henry Lemoine et C.ie, 1946.

p. 8 (of 22).

Plate no.: 23,345 HL.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb42915871f). According to another BnF entry (http://catalogue .bnf.fr/ark:/12148/cb42915872s), the two volumes in this set were reissued with the original plate numbers in 1980.

--Spiritual = Spiritual / Jean Wiener = [phrase omitted] In: Jardin

d'enfants: recueil de pieces pour le piano = [phrase omitted] = Children's playland : easy pieces for piano.--Paris: Editions Henry Lemoine, [1991?]

p. 28 (of 56); 31 cm.

This is a reissue of the original collection in a single volume. The date of publication comes from a BnF entry (http://catalogue.bnf.fr /ark:/12148/cb39582358r), which also cites the publication number as 23422HL; this number does not appear on the score in hand.

--Spiritual / Jean Wiener.--In: Trois Frangais en Amerique / orchestrated by C. Voirpy.--Paris: H. Lemoine, c1970.

1 score (32 p.) + 10 parts.--(Collection Initiation a l'orchestre; n[degrees] 6).

Plate no.: 4309HL.

A collection of three pieces that originally appeared in Jardin d'enfants.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39737242m).

Suite francaise ...: partition du film / musique de E. Guillou ..., Jean Wiener,....--Paris: Choudens, cop. 1946.

12 p.

Piano reduction.

Contents: Tresor francais / Ernest Guillou--Pompadour / Jean Wiener--Voltaire / Ernest Guillou.

Numbers: AC21836-AC21838.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39717692v).

Choeur (p. 89) gives the extent as 20 p.

Villa.--In: II suffit d'une fois / musique de Ernest Guillou ..., Jean

Wiener.... Partition du film.--Paris: Choudens, cop. 1947.

19 p.

Piano reduction.

Numbers for collection: AC21972-AC21982.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397186040).

"Villa" by Wiener; remainder of film score by Guillou.

Choeur (p. 80) gives the date as 1946.

Wiener mentions Il suffit d'une fois as of one of numerous collaborations with his wife, film editor Suzanne de Troeye (p. 166).

1947

Au coin des rues: chant et piano / musique de Jean Wiener; paroles de Michel Vaucaire.--Paris: Choudens, 1947.

3 p.

Incipit: Bien des gens ont le gout des voyages.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb43337613q) and Choeur (p. 61).

Capitaine Blomet: partition cinematographique.--Paris: les Editions du Coquelicot, c1947.

42 p.

Piano reduction.

Contents: Generique--Grande valse de Blomet--Retour de l'enterrement --Vente du chateau--Le cas Bellefonds--Duel--Duel d'Agenais--Ire rencontre Blomet Micheline--Blomet se rend chez Rodolphe--Blomet reconnait Micheline--Ta ... ra ... ra ... bourn ...--Ire visite de Blomet a Micheline--Declaration--Au lawn tennis --Scoupe strings--Tilhury--Visite de Micheline a Blomet Sonnerie du telephone--Grande valse--Adieux de Justin a Cecile Scene d'amour finale.

Number: EC873.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39719182n).

Choeur (p. 91) identifies Ernest Guillou as "Collaborateur."

Printemps de Danielle / paroles de Madeleine Riffaud.--Paris: Ed. Unions des femmes francaises, [n.d.].

2 p.

For voice and piano.

Description based on entry in Choeur (p. 64), who includes this in the category "Chansons engages" (protest songs). Handwritten next to the entry is "1947?"

The Ensemble vocal francais performs a unison version of this song, with piano, on their 1999 recording Figure humaine (Skarbo D SK 2980). The text is printed in the notes, along with the explanation that Riffaud wrote the poem immediately after World War II, in homage to Danielle Casanova, a fellow Resistance fighter who died in an Auschwitz camp on 9 May 1943. There is no indication when the poem was set to music. The publisher is given as Union des femmes franchises.

Riz et jeux: divertissement impur sur un theme pur: pour piano et alto / Jean Wiener.--Paris: Editions Choudens, c1983.

1 score (26 p.) + 1 part (9 p.); 31 cm.

Title on back cover: Rice and games: an impure amusement on a pure theme: for piano and viola / Jean Wiener.

Date of composition: At end of score, "janvier 1947, J. Wiener."

Plate no.: A.C. 20989.

In one movement with section titles: [untitled]--Riz a la Creole--Riz a l'imperatrice--Riz a la valenciana--Attendrissement et reconnaissance du ventre--Rizotto--Lyrico Italiano.

Choeur (p. 124) identifies a 1950 recording, with the composer on piano and his son, Stephane (the dedicatee), on viola.

1948

Chien gentil ... / Jean Wiener.--Paris: Enoch & Cie., c1950.

4 p.; 36 cm.

For voice and piano.

Plate no.: E. & C. 9404.

Choeur (p. 61) gives the date of composition as 1948.

1949

Camarade, bonjour!

--Camarade, bonjour! / musique de Jean Wiener; paroles de Madeleine Riffaud.--Paris: le Chant du monde, 1950.

[3] p.

For voice and piano.

Number: C. 304.C M.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/1214/cb43337624c).

On the title page of the original manuscript, the first title, "Bonjour, camarade!" has been crossed out and a new title added: "(C'est:) camarade, bonjour!"7- This manuscript is dated December 1949.

Taylor (p. 6) identifies this as among Wiener's compositions that "directly relate to politics." Porcile describes how Wiener combined amateur and professional forces in the scoring. (73)

--C [phrase omitted] M. [phrase omitted] no. 5-1952). (74) p. 24-27.

For medium or high voice and piano.

Russian words.

Plate number: M. 26710 [phrase omitted].

Chansons pour nos metiers

--Chansons pour nos metiers: chansons inedites / de Jean Wiener; dessins de Valentine Hugo.--Paris: aux Editions du Seuil, [1950].

[64] p.: illustrations; 12 x 16 cm.--(Claire fontaine)

Contents: Les metallos / paroles de Madeleine Riffaud--Les midinettes / paroles de Madeleine Riffaud--Les mineurs / paroles de Madeleine Riffaud--Les boulangers / paroles de Madeleine Riffaud--Les cheminots / paroles de Madeleine Riffaud--La remmailleuse / paroles de Rene Paul Dil--Le vitrier / paroles de Helene Bourgeois--Le soldat / paroles d'Albert Vidaly [i.e., Vidalie]--Le charpentier / paroles d'Albert Vidaly--Le menuisier / paroles de Charles Dorat--Le coiffeur / paroles et musique de Jean Wiener--Le boucher / paroles d'Albert Vidaly.

The music is notated on two treble staves; the upper staff contains the melody and words, while the lower staff contains a chiefly chordal accompaniment with chord symbols. Cataloging from the BnF (http://catalogue.bnf.fr/ark:/12148/cb39721695n) indicates that the music is for voice and accordion. Chamfray (p. 163) notes that the work is scored "pour chant, violon et accordion."

In addition to the cover art (fig. 3), Hugo provided twelve full-page line drawings for this little album.

While Chamfray gives the date of composition as 1950, Wiener gives the date as 1948/1949; he goes on to describe the circumstances surrounding the composition, premiere, and publication of this work (pp. 174-76).

--Chant des metallos / paroles de Madeleine Riffaud.--Paris: Ed. Atelier Jolivet, [n.d.].

2 p.

For voice and piano.

Description based on Choeur (p. 63) who includes this in the category "Chansons engagees" (protest songs).

Some of Wiener's most popular songs come from the 1950s, including Le grisbi (1954) and his settings of two poetry collections by compatriot Robert Desnos: 30 chantefables pour les enfants sages (1955) and Les chantefleurs (1959). His music was being performed, recorded, and published around the world. At the same time, he was continuing to compose successful political songs, such as Nous vaillants (1950). Wiener also began a longstanding practice of broadcasting live improvisations. In the early 1950s, he made daily visits to the studio of the radio program Et bonjour tout le monde, where he would play piano or harpsichord (or both); some of these inventions have been preserved and issued on CD (INA, memoire vive: AMV030 [1998]). Later, in the 1960s and 1970s, he took to improvising music for weekly television broadcasts of silent films as part of the series Histoires sans paroles (see entry below, under 1964). All the while, he continued to compose new film scores.

1950

Complainte de Saint-Parapin, ou, "L'histoire triste et vraie d'un enfant de la zone": chanson populaire et morale en 8 couplets et le refrain / paroles d' Albert Vidalie; musique de Jean Wiener.--Paris: Enoch & Cie., c1950.

3 p.; 36 cm.

For voice and piano.

Plate no.: E. & C. 9405.

Title from caption.

Les mysteres de Paris / paroles d' Albert Vidalie; musique de Jean Wiener. Paris: Enoch & Cie., c1950.

[3] p.; 36 cm.

For voice and piano.

Plate no.: E. & C. 9406.

Title from caption.

Chamfray (p. 163) includes this entry: "Musiques de scene pour 'Les Mysteres de Paris', d'Albert Vidalie (creee au Theatre la Bruyere en 1950). Inedit...."

Noel des ramasseurs de neige / paroles, Jacques Prevert; musique, Jean Wiener.--Paris: Enoch & Cie, Editeurs de Musique, c1950.

4 p.; 32 cm.--(Chansons)

For voice and piano.

Plate no.: E. & C. 9407.

Nous vaillants / musique de Jean Wiener; parole de Madeleine Riffaud. - In: Almanach ouvrier-paysan, 1950.

[1] p.

For voice.

Description based on digitized version of score (http://pif-collection.forumpimpf.net/newslast.html), taken from the 1950 volume of Almanack ouvrier-paysarr, no page number is given. The music is reproduced from manuscript and the page is illustrated by Simonot. A cleaner, engraved version of the song appears at http://www.forumpimpf.net/viewtopic.php?t=146166, but no source is given there.

Porcile describes how, in 1947, the Confederation generale du travail (CGT) asked the recently reconstituted Federation musicale populaire to commission "chants de masse 'faciles a chanter' " (popular, easy-to-sing songs) for its "Journees de printemps de la Jeunesse." In response, "Jean Wiener a mis en musique deux textes de Madeleine Riffaud, Maman ... et le chant de marche Nous, vaillants...." (75) (Jean Wiener set two texts by Madeleine Riffaud to music: Maman ... and the marching song Nous, vaillants...).

According to an article in Scoutopedia, this was the theme song of Vaillants (l'Union des vaillants et vaillantes), a youth organization linked to the Parti communiste francais. (76)

Petite vie / paroles de Claude Blazy; musique de Jean Wiener.--Paris: Enoch & Cie., c1950.

[3] p.; 36 cm.

For voice and piano.

Title from caption.

Plate no.: E. & C. 9408.

La remmailleuse: chanson de la remmailleuse / paroles de Rene-Paul Dil; musique de Jean Wiener.--Paris: Enoch & Cie., c1950.

[3] p.; 33 cm.

For voice and piano.

Title from caption.

Plate no.: E. & C. 9409.

La rose de l'Alhambra

--Deux airs: extraits de La rose de l'Alhambra de Alexandre Arnoux: pour chant et piano / Jean Wiener.--Paris: Choudens, c1950.

7 p.; 32 cm.

Chiefly for voice and piano; the last page includes a single staff (treble clef) marked "Choeur" with 4-note chords (presumably for 4-part chorus).

Contents: Ay, Ay!--Chiqui, chiqui.

Plate no.: A.C. 16913.

This work is challenging to date. The script of La rose de I'Alhambra was first published as a radio play in 1946, but the author was not able to examine that edition. In a 1951 reissue of the script, lyrics for numerous songs are present, including the two numbers in this score. Choeur (p. 114) identifies a live recording made at the Theatre la Bruyere in 1947, but no corroborating evidence has been found. Chamfray (p. 163) gives the date of composition as 1950.

1951

Cceur de Paris

--Coeur de Paris: du film "Sous le ciel de Paris" de Julien Duvivier / paroles de Rene Rouzaud; musique de Jean Wiener.--[Paris: Choudens], c1951.

[3] p.; 33 cm.

For voice and piano.

Plate no.: A.C. 16977.

Wiener gives the date of composition as 1951; he goes on to describe the evolution of the song and the soundtrack for the film (pp. 179-80).

The film Sous le ciel de Paris also includes a song titled "Sous le ciel de Paris," by Jean Drejac & Hubert Girard.

--Det er Paris = Coeur de Paris / musik, Rene Rouzaud og Jean Wiener; dansk tekst, Aase Gjodsbol Krogh.--Kobenhavn: Morks Musikforlag, c1951.

10 parts.--(Tempo danse-serie; 297)

For alto saxophones I & III, tenor saxophones II & IV, trumpets I--II, trombone I, guitar, cello, and drums.

Issued with: Under Paris' Himmel = Sous le ciel de Paris / musik, Hubert Giraud; dansk tekst, Aase Gjodsbol Krogh.

Plate no.: M. 924.

--Das Herz von Paris: wo man sich liebt, Kiisse sich gibt: langs. Walzer / Jean Wiener; Dt. T., Andre Hoff.--Koln: Ed. Melodia, 1951.

3 p.--(Pinguin-Besetzung; 2)

For voice and piano, with accordion symbols.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/724396224).

--Coeur de Paris: valse / musique de Jean Wiener.--In: Quatre succes faciles: pour accordeons / arrangement de Max Francy.--Paris: Fditions Choudens, c1964.

pp. [6-7] (of 9); 27 cm.

Plate no.: A.C. 20.117 (applies only to Wiener work).

Qui est-ce? / paroles de Andre Gillois; musique de Jean Wiener.--Paris: Enoch & Cie., c1951.

[3] p.; 36 cm.

For voice and piano.

Tide from caption.

Plate no.: E. & C. 9435.

Choeur (p. 67) includes this song in the section "Chansons emises par la radio," and indicates that it was sung by Maurice Chevalier, who made numerous recordings with Wiener & Doucet in the 1920s and 1930s.

1952

Pour tous les enfants de toutes les ecoles.--Paris: Ed. Marcel Labbe, 1952.

2 p.

For voice and piano.

Words by Henri Bassis.

Description based on entry in Choeur (p. 56).

La ronde des jours / paroles de Henri Bassis; musique de Jean Wiener. Paris : M. Labbe, [1952].

[3] p.

Chanson for voice and piano.

Publisher's no.: M11902L.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397232595).

1954

Futures vedettes / de Marc Allegret; musique de Jean Wiener.--Paris: Choudens, c1955.

[3] p.

For voice and piano.

Setting of the poem "Qu'en avez-vous fait?" by Marceline Desbordes-Valmore.

Publisher's number: AC 19791.

Description based on BnF entry (http://catalogue.bnf.fr/ark:/12148/cb39726154w) and on Choeur (p. 74).

Allegret directed a film of the same title, originally released in 1955.

In his autobiography (p. 182), Wiener indicates that he composed the score in 1954.

Pour Isabelle / musique de Jean Wiener; paroles de Alexandre Arnoux. [Paris] : Ed. musicales transatlantiques, cop. 1954.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39711861p) and on Choeur (p. 54).

Sur le banc

--Sur le banc: chanson du film "Sur le banc" / paroles de Raymond Souplex; musique de Jean Wiener.--Paris: Editions Fortin, c1955.

[3] p.; 27 cm.

For voice and piano.

Plate no.: E.F. 850.

Wiener (p. 182) gives 1954 as the date of composition.

--Sur le banc / musique de Jean Wiener; paroles de Raymond Souplex. No. 84 in: Un siecle de chansons francaises. Volume 1949-1959: 301 chansons francaises de 1949 a 1959: paroles & musique. [Paris, France]: CSDEM, Chambre syndicale de l'edition musicale, c1998.

[1] p.

For voice (melody with chord symbols).

TOUCHEZ PAS AU GRISBI

Le grisbi

--Le grisbi: du film "Touchez pas au grisbi" / musique de Jean Wiener; paroles de Marc Lanjean.--Paris: Editions musicales Ray Ventura; Bruxelles: Belgo-Mondial; Geneve: Mondia Music, c1954.

[3] p.; 27 cm.

For medium voice, with chord symbols (lead sheet).

Title from illustrated title page which is printed in red (fig. 4).

At head of title: La chanson du jour ...

"Film de Jacques Becker, Del Duca Film; jouee dans le film par Jean Wetzel [pictured], disque Philips; creee et enregistree par Aime Barelli, disque Pathe, Trio Marnhy, disque Vogue, Frank Pourcel, voix de son maitre, Philippe Clay [pictured], disque Philips, Tony Murena, disque Odeon, Dany Kane, disque Ducretet-Thomson, Trio Raisner, disque Festival, Jean Patrice, disque le Voix de son maitre."

Plate no.: E.M.R.V. 1252ter.

This version includes a 10-measure vocal introduction that is omitted from most later versions of the song; the two sections are labeled "recitatif" and "refrain (slow)."

Wiener discusses his work on this film at length in his autobiography (pp. 141-45), focusing on the recording of the score. A facsimile of the beginning of a manuscript version of the song is included, titled "Grisbi," with scoring for violin I, flute, violin II, accordion, voice, and guitar. There is also a facsimile of a published title page that reads in part "Le grisbi: slow du film Touchez pas au grisbi." Later (p. 182), the composer discusses the continued popularity of the song. More than a dozen recordings are listed in the discography (pp. 217-18).

Although written as vocal music, only instrumental versions are heard in the film. In the soundtrack, the instrumentation is harmonica, piano, guitar, and percussion. This makes it rather surprising that the song became so popular.

Mellers describes it as "a song ... that in its cinematic form became a 'household word.' The affecting tune and insidious rhythm cross Poulenc with Gershwin, affirming Wiener's Franco-american identity; yet the number remains inimitable, inculcating a deep nostalgia, whether (in the old) for vanished youth or (in the young) for missed opportunities. This tune is 30 or 40 years away from Wiener's formative twenties, so its harmonies and piano textures relate to a later generation of jazz pianists: one thinks of the precisely luscious Hank Jones, Tommy Flanagan, and especially white Bill Evans." (77)

Porcile discusses how the famous theme is used in Touchez pas au Grisbi, relating that Wiener identified it as his "settle affaire commmerciale. ... 'Ce qui interessant, c'est de trouver un theme specifique au film. Et souvent, on le trouve par hasard. Par exemple, j'ai trouve le theme du Grisbi en cinq minutes, a tine heure et demie du matin', m'avouait Jean Wiener." (78) (... his sole commercial success. "What is interesting is to find a theme specific to the film. And often, one comes across it by chance. For example, I came up with the Grisbi theme in five minutes, at 1:30 in the morning," confessed Jean Wiener.)

Elsewhere, Porcile describes how Parisian chic in 1950s Paris involved a fascination with culture in the United States, as evidenced by Jean Frangaix's Second Symphony, Georges Attric's score for John Huston's 1953 film Moulin-Rouge, and "le 'tabac' du theme d'harmonica de Jean Wiener pour Touchez pas au grisbi de Jacques Becker, joue par Larry Adler ...," (79) (the "tobacco" of the harmonica theme by Jean Wiener, for Touchez pas au grisbi by Jacques Becker, played by Larry Adler....) He also observes about this and a few similar songs: "Toutes melodies miraculeusement passees dans le patrimoine populaire, comme une memoire anonyme du cinema" (80) (All of these melodies miraculously passed into popular heritage, as an anonymous memory of cinema).

Choeur (p. 125) identifies a 1956 recording titled "Le grisbi et improvisation au piano" with Wiener on piano.

--Le grisbi: du film "Touchez pas au grisbi" / musique de Jean Wiener; paroles de Marc Lanjean.--Edition speciale avec notre extrait de methode pour la guitare.--Paris: Editions musicales Ray Ventura; Bruxelles: Belgo-Mondial; Geneve: Mondia Music, c1954.

[3] p.; 27 cm.

For medium voice, with chord symbols (lead sheet).

Title from illustrated title page, which is printed in red.

At head of title: La chanson du jour ...

"Film de Jacques Becker, Del Duca Film; grand prix du disque francais; creee et enregistree par Aime Barelli, disque Pathe, Trio Marnhy, disque Vogue, Frank Pourcel, voix de son maitre, Larry Adler [pictured], disque Columbia, Tony Murena, disque Odeon, Dany Kane, disque Ducretet-Thomson, Trio Raisner, disque Festival, Jean Patrice, disque le Voix de son maitre, Jacques Pills [pictured], disques Columbia."

Plate no.: E.M.R.V. 1252ter.

The last page is an explanation of guitar tablature, though the music itself does not include tablature.

--Touchez pas au grisbi / musique de Jean Wiener; arrt Jerry Mengo; [morceau detache arrgt pour orchestre avec piano conducteur]. Paris : Editions Ray Ventura, cop. 1954.

1 condensed score ([2] p.) + 15 parts.

Contents: Le grisbi: slow.

Publisher's no.: EMRV1252ter.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39725070m).

--Le grisbi: du film "Touchez pas au grisbi" / paroles de Marc Lanjean; musique de Jean Wiener.--[Paris, France]: [Editions musicales Ray Ventura], c1954.

[3] p.; 32 cm.

For medium voice and piano.

Title from caption.

Plate no.: E.M. R.V. 1252bis.

According to a BnF entry (http://catalogue.bnf.fr/ark:/12148/cb39725067q), the same plates were also used for a version issued with an illustrated title page, which included photographs of Aime Barelli, Jacques Pills, Jean Wetzel, Frank Pourcel, le trio Marnhy, et Dany Kane. The BnF entry lists the contents as: Le grisbi: slow.

--Le grisbi

[phrase omitted]

[Tel Aviv], Israel: Illan Melody Press, c1954.

[phrase omitted]

[4] p.; 25 cm.--(Hits of the world; 40

[phrase omitted]

Caption (page 2): Chant le grisbi: du film "Touchez pas au grisbi": violon--accordeon / paroles de Marc Lanjean; musique de Jean Wiener.

Caption (page 3):

[phrase omitted]

= Le grisbi: du film "Touchez pas au grisbi" / paroles de Marc

Lanjean; musique de Jean Wiener.

Page 2 contains a version of the song in treble clef for violin or accordion, with French words; includes chord symbols. Pages 3-4 contain a version for piano solo, with chord symbols. There is no Hebrew text in this edition.

Plate number: IMP 5640 (fig. 5).

Most versions of this song are in C minor; both versions in this score are in A minor.

--Cherie, cherie: Le grisbi / musik, Jean Wiener; svensk text, Ernst

C:son Bredberg.--Stockholm: Nils-Georgs musikforl., c1954.

[2] p.

For voice and piano, with chord symbols; Swedish and French words.

Plate no.: N.G. 2548.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/185432234).

--The touch: (Le grisbi): from the French film "Touchez pas au grisbi" / English lyric by Norman Gimbel; French lyric by Marc Lanjean; music by Jean Wiener.--[New York, NY]: Duchess Music Corporation, by arrangement with Paris Music Co. Inc., c1954.

3 p.; 31 cm.

"Artist copy."

For voice and piano, with guitar symbols and ukulele tabs; includes instrumental version for piano on last page.

English and French words.

Plate no.: L 1244-3.

--Wenn es Nacht wird in Paris: Lied und Slowfox aus dem gleichnamigen Film im Schorcht Film Verleih MBH / Deutscher Text, Heinzli; Musik, Jean Wiener; [arr., Heinz Gietz].--Koln: Mondial Verlag Hanz Gerig K.G., c1954.

[3] p.; 31 cm.

Voice and piano, with chord symbols; piano part in new arrangement. Caption: Wenn es Nacht wird in Paris: (Dreh dich nicht um nach

Fremden Schatten!): Touchez pas au grisbi: Lied und Slowfox ... German words.

Plate no.: MV 108.

--Touchez pas au grisbi / paroles de Marc Lanjean ...; musique de Jean Wiener.--Paris: Editions Ray Ventura, cop. 1954.

1 condensed score ([2] p.) + 3 parts.--(Accordeons et musettes)

For chamber orchestra with piano-conductor.

Contents: Le grisbi: slow.

Publisher's no.: EMRV1252quater.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39725069d); it is not clear if words are included.

--Touchez pas au grisbi / paroles de Marc Lanjean; musique de Jean Wiener.--Paris: Editions Ray Ventura, cop. 1954.

[3] p.

For piano with chord symbols.

Contents: Le grisbi: slow.

Publisher's no.: EMRV1252.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397250682).

--Le grisbi: from the film "Touchez pas au grisbi": piano solo / music by Jean Wiener.--London: Imperia Music Co. Ltd.; London: Sole selling agents, the Peter Maurice Music Co. Ltd., c1954.

4 p.; 27 cm.

No credit is given for an arranger.

--Le grisbi = L'oro: canzone blues: dal film "Touchez pas au grisbi" / testo italiano di G. C. Testoni-Gioia; testo originate di M. Lanjean; musica di J. Wiener.--Milano: Mondia Music, c1954.

[3] p.; 25 cm.

Melody with chord symbols; for voice with mandolin or harmonica.

Italian words with melody; Italian and French words printed as text after score.

Includes the introduction, which is omitted in many versions; here, the two sections are called "strofa" and "ritornello."

Plate no.: E. 174 MM.

--Leave me alone = (Le grisbi): cast a dark shadow / music by Jean Wiener; words by Geoffrey Parsons.--London: Imperia Music Co. Ltd.; London: Sole selling agents, the Peter Maurice Music Co. Ltd., c1955.

[3] p.; 28 cm.

For voice and piano.

"From the film 'Cast a Dark Shadow' "-Caption.

--Le grisbi: du film "Touchez pas au grisbi."--In: Les succes de l'annee ...: album pour piano simplifie.--Paris: R. Ventura, [1955], pp. 6-7 (of 22).

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148 /cb39725448j).

[phrase omitted] n 5-1957). (81)

pp.25-29.

For medium voice and piano.

Russian words.

Plate no.: M. 26471 T.

--Le grisbi.--In: Le Trio Raisner: vous presente 10 grands succes de l'harmonica ...: arrangements faciles pour solistes et ensembles: conseils indispensables et chiffrage complet pour tous harmonicas. --Paris: en depot aux Editions transatlantiques, [1957].

27 p.--(Classiques de l'harmonica. ler album)

The instrumentation is not specified, though it is probably for harmonica ensemble.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397269574).

--Le grisbi / musique de Jean Wiener; paroles de Marc Lanjean.--No. 233 in: Un siecle de chansons francaises. Volume 1949-1959: 301 chansons francaises de 1949 a 1959: paroles & musique.--[Paris, France]: CSDEM, Chambre syndicale de l'edition musicale, c1998.

lp.

For voice (melody with chord symbols).

Grisbi blues

--Grisbi-blues: del film Touchez pas au grisbi / Jean Wiener.; Hola!: fox-trot / Juan Andreu.--Madrid: Hispania, cop. 1958.

Instrumentation not specified.

Description based on WorldCat entry: (http://www.worldcat.org/oclc /435909913).

--Touchez pas au grisbi / de Jean Wiener.--Paris: R. Ventura, cop. 1954.

1 condensed score ([2] p.) + 15 parts.

Morceau detache arr. pour orchestre avec piano conducteur.

Contents: Grisbi blues; Blues.

Number: EMRV1258.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39725380r).

"Impr. au dos de: Martin (R.). Blue violins."

Grisbi cha-cha-cha

--Grisbi cha-cha-cha / musique de Jean Wiener.--Paris: R. Ventura, [1960].

1 condensed score ([3] p.) + 8 parts.

"Nouvelle version en cha-cha-cha de la melodie le Grisbi, du film. Touchez pas au grisbi, pour orchestre avec piano conducteur."

Publisher's no.: EMRV1252quater.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39729356v).

Choeur (p. 73) offers this instrumentation: 2 trumpets, trombone, alto saxophone, tenor saxophone, violin, double bass, accordion, and piano.

--Grisbi: cha-cha-cha / Jean Wiener. Tivoli melodia / Heino Gare. Madrid : Hispania, 1960.

II parts; 24 cm.

For dance band.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/435732692).

1955

30 chantefables pour les enfants sages

--30 chantefables pour les enfants sages / de Robert Desnos; mis en musique par Jean Wiener.--Paris: Editions musicales Transadantiques, c1955.

35 p.; 32 cm.

Chiefly for voice and piano; many numbers include passages with 4- or 5-part harmonizing.

Contents: Le crapaud--Le coucou--La girafe--Le lama--Le martinpecheur --Le lezard--Le blaireau--Le brochet--Le papillon--La baleine--Le dromadaire--L'escargot--Le gnou--La chauve-souris L'alligator --La sardine--Le zebre--La coccinelle--Le kangourou L'hippocampe --Le leopard--Le pelican--La tortue--La sauterelle Le homard--La fourmi--Le tamanoir--Les hiboux--L'ours--Le ver luisant.

Publisher's no.: E.M.T. 321.

According to Chamfray (p. 164), the premiere was given by the male vocal quartet Les quatre jeudis with Wiener; the date is not included.

The original cover art, by Jean Effel, included the phrase "Par les Quat' Jeudis." It was also used for the original release of the recording. On later printings of the score, a modified version of the artwork was retained, with the reference to the performers removed.

In his autobiography (p. 183), Wiener discusses how he received a grand prix from l'Academie du Disque francais in 1955 for his Chantefables et Chantefleurs.

Johnson and Stokes offer a short commentary about this "faux-naif" work, comparing the cycle very favorably with a variety of contemporaneous works. "The cabaret style of the music is charming, but in order for interest to be sustained in a work as long as this, everything depends on a singer who can bring out the piquant humour of the text.... In any case, this is the cream of crossover music by a composer profoundly at home in jazz and light music, but who knows the musical developments of the twentieth century from within." (82)

--30 [phrase omitted] = 30 chantefables pour les enfants sages / cle Robert Desnos; mis en musique par Jean Wiener. [phrase omitted] 1968.

59 p.; 29 cm.

Russian and French words.

Contents: [phrase omitted] = Le crapaud - [phrase omitted] = Le coucou - [phrase omitted] = La girafe - [phrase omitted] = Le lama - [phrase omitted] = Le martin-pecheur - [phrase omitted] = Le lezard - [phrase omitted] = Le blaireau - [phrase omitted] = Le brochet - [phrase omitted] = Le papillon - [phrase omitted] = La baleine - [phrase omitted] = Le dromadaire - [phrase omitted] = L'escargot - [phrase omitted] = Le gnou - [phrase omitted] = La chauve-souris - [phrase omitted] = L'alligator - [phrase omitted] = La sardine - [phrase omitted] = Le zebre - [phrase omitted] = La coccinelle - [phrase omitted] = Le kangourou - [phrase omitted] = L'hippocampe - [phrase omitted] = Le leopard - [phrase omitted] = Le pelican - Hepenaxa = La tortue - [phrase omitted] = La sauterelle - [phrase omitted] = Le homard - [phrase omitted] = La fourmi - [phrase omitted] = Tamanoir - [phrase omitted] = Les hiboux - [phrase omitted] = L'ours - [phrase omitted] = Le ver luisant.

Plate no.: 5107.

The number of voices is reduced somewhat from the original French edition, and lines are occasionally redistributed between voices. The piano music retains almost all the same notes, though articulations frequently vary from the original edition. Dynamic markings also vary between editions.

Harmonica: slow / musique de Jean Wiener et Albert Raisner; paroles de Charles Gurnaud.--Paris: Ed. musicales transatlantiques, cop. 1955.

2 p.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397118594) and on Choeur (p. 58).

La soupe a la grimace.--Paris: Ed. Choudens, 1955.

34 p.

For 2 flutes, oboe, clarinet, bassoon, trumpet, trombone, viola, cello, double bass, accordion, harpsichord, and piano.

Description based on entry in Choeur (p. 86).

Wiener makes this observation (p. 182): "1955 m'apporta deux films: La Soupe a la grimace, qui comportait un air auquel j'ai attache de l'importance. (Malheureusement, j'etais le seul et malgre l'edition papier de cet air, personne ne s'y interessa jamais.) " (1955 brought two films my way: La Soupe a la grimace included an air to which I attached importance; unfortunately, I was the only one and despite the printed version of this tune, nobody ever took any interest in it.)

Tour Eiffel: slow / musique de Jean Wiener; paroles de Rene-Paul Dil. Paris : Choudens, cop. 1955.

2 p.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39711863c) and on Choeur (p. 68).

1956

La garconne

--La gargonne / musique de Jean Wiener; paroles de Albert Willemetz. --Paris: Salabert, c1957.

[2] p.

For voice and piano, with chord symbols.

Publisher's no.: EAS16061.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397276477).

Wiener wrote music for two films titled La garconne. The first is from 1936 (q.v.). In his autobiography (p. 183), Wiener gives 1956 as the year of composition for this song.

--La gargonne / musique de Jean Wiener; paroles de Albert Willemetz. No. 178 in: Un siecle de chansons francaises. Volume 1949-1959: 301 chansons francaises de 1949 a 1959: paroles & musique. [Paris, France]: CSDEM, Chambre syndicale de l'edition musicale, c1998.

[1] p.

For voice (melody with chord symbols).

Voici le temps des assassins: complainte des assassins: du film "Void le temps des assassins" dejulien Duvivier/ paroles dejulien Duvivier; musique dejean Wiener.--Paris: Enoch & Cie., 1956.

[3] p.; 32 cm.

For voice and piano, with sol-feg chord symbols.

Title from caption.

Plate no.: E & C 9625.

In his autobiography (p. 183), Wiener gives the title of the film as Le Temps des assassins.

1957

Polka, java, tango / Jean Wiener.--Paris: Heugel & Cie, c1957.

3 v. (5, 5, 7 p.); 32 cm.

For piano.

Plate no.: H. 31576-H. 31578.

In upper left corner of each title page is printed the number I, II, or III; the illustrated title pages are otherwise identical. The elaborate artwork is unsigned.

These are also published as 3 of the 6 movements in Suite de danses sur un theme, for orchestra. There, the java is titled 'valse musette' (see below).

In the program notes that accompany a recording of this work, pianist Marcel Worms gives the title as 3 danses and indicates that the versions for small orchestra came first. (83)

Quasimodo / musique de J. Wiener; paroles de L. Billy.--Paris: Rythmes nouveaux, cop. 1957.

2 p.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397118621) and on Choeur (p. 56).

Suite de danses sur un theme / Jean Wiener.--Paris: Heugel & Cie, c1957.

1 miniature score (80 p.); 18 cm.

Instrumentation varies between movements: violin solo (3d mvt.), trumpet in C solo (1), 3 trumpets (4, 6), trombone (3), 2 trombones (4-6), piccolo (4), oboe (3), clarinet (1), 2 clarinets (3-4, 6), bassoon (5), 2 bassoons (3), accordion (3, 5), piano (1-3, 5-6), harpsi chord (4), violins A, B, & C (1-2, 5-6) and D, E, & F (2), violas (1-2), cellos (1-4, 6), double basses (1-6).

Duration: 18:00.

Contents: Slow (3:40)--Valse (2:50)--Tango (3:05)--Biguine (2:15)--Valse musette (3:55)--Polka (2:15).

Publisher's no.: P. H. 218.

Plate no.: H. 31.574.

According to Chamfray (p. 164), the suite was composed in 1957 and premiered the same year by l'Orchestre Maurice Hewitt.

In his autobiography (pp. 166-67, 220), Wiener describes his relation with Hewitt and the origins of this suite at length, calling it "une suite de danses Sur un theme." In the accompanying discography, he gives the title as Suite a darner sur un theme, and mentions that it was reissued under the title Musique d 'ambiance.

Farish includes the following entry: "Suite De Danses [18']--1.1.2.2. 0.3.2.0. pno, acord, strings--HEUGEL sc f.s., pts rent (W1216)." (84)

The tango, valse musette, and polka were also published in versions for piano, under the title: Polka, java, tango (see above).

La Valse de Pot-Bouille ... / Jean Wiener.--Paris: Editions transatlantiques, cop. 1957.

1 condensed score ([3] p.) + 8 parts.

"Leitmotiv du film, arr. pour orchestre avec piano conducteur."

Number: EMT468.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39727648k).

Wiener makes the following observation (p. 184): "Pot-Bouille, un des meilleurs Duvivier" (Pot-Bouille, one of the best [films by director Julien] Duvivier).

1958

Sois belle et tais-toi

--Sois belle et tais-toi / paroles de Michel Marc Lan jean; musique de Jean Wiener.--Paris: R. Ventura, cop. 1958.

1 condensed score ([2] p.) + 4 parts.

For chamber orchestra with piano-conductor.

Contents: Valse.

Publisher's no.: EMRV1359ter.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb397282581).

In his autobiography (p. 166), Wiener mentions this film as one of numerous post-war collaborations with his wife, film editor Suzanne de Troeye.

--Sois belle et tais-toi / paroles de Michel Marc Lanjean; musique de Jean Wiener.--Paris: R. Ventura, cop. 1958.

[2] p.

For voice and piano, with chord symbols.

Contents: Sois belle et tais-toi.

Publisher's no.: EMRV1359.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39728257p).

1959

Les chantefleurs / musique de Jean Wiener; sur des textes de Robert Desnos.--Paris: Editions Salabert, c1959.

56 p.; 32 cm.

For voice and piano; includes some 4-part harmony and occasional indications of a cappella performance.

Contents: Le gardenia--Le begonia--Le geranium--La giroflee--La rose--La pivoine--Le seringa--L'eglantine, l'aubepine et la glycine --L'angelique--Le glaieul--Le souci--La fleur d'oranger--Le bouton d'or--L'iris--La marjolaine et al verveine--La veronique--La jacinthe--La renoncule--Le lilas--La violette--La tulipe--Le jasmin --Le muguet--Le mimosa--La digitale--La fleur de pommier La belle de nuit--Le coquelicot--Le myosotis--Le chevrefeuille --La marguerite--La pervenche et la primevere--Le lotus L'orchidee et la pensee--Le bluet--La lavande--La capucine--Le narcisse et la jonquille--Le cyclamen--Le perce-neige--L'hortensia --Le reseda--Le rhododendron, l'ceillet et la lilas--L'edelweiss--La sensitive--Le camelia et le dahlia--Le genet--Le lis, l'amaryllis, le volubilis, la melisse--Le soleil--Le coucou.

Publisher's no.: E.A.S. 16414 (appears on 1st and last page of music).

Wiener discusses (p. 183) how he received a grand prix from l'Academie du Disque francais in 1955 for his Chantefables et Chantefleurs. This date is too early; according to cataloging from the Bibliotheque nationale de France, the first recording of Les Chantefleurs-was not released until 1959. (85)

Johnson and Stokes describe the songs in this cycle thusly: "each one as exquisite a miniature as the bloom it describes." (86)

Toi, t'as quelque chose en plus: [from] Arretez le massacre / paroles de Jean Halain.--Paris: ed. Salabert, 1961.

2 p.

For voice and piano.

Description based on entry in Choeur (p. 81).

The Internet Movie Database gives 1959 as the date of the film. (87)

Prior to the 1960s, most of Wiener's film music was published in score format; on some occasions, recordings of individual songs from soundtracks were also released. This gradually changed in the 1960s. Both scores and recordings were issued for the film Au voleur (1960) and the stage production Les bargasses (1965). In most other instances, however, only a recording was produced, such as the soundtracks for Mouchette or Revolution d'octobre (both from 1967). This remained true for the rest of Wiener's career, as evidenced by the release of the soundtracks for Le crime d'amourand Lettres d'amour en Somalie (both from 1982).

1960

Au voleur

--Au voleur.--Paris: Ed. Transatlantiques, 1960.

2 p.

For violin, bandoneon, accordion, and piano. Description based on Choeur (p. 81). This film is also known as The Nabob Affair. (88)

--Le tango du voleur: [from] Au voleur / musique de Jean Wiener et Marc Lanjean.--Paris: Editions musicales transatlantiques, c1960.

[2] p.

Arrangement for piano.

Description based on entry in BnF: (http://catalogue.bnf.fr/ark:/12148/cb397296660).

In his autobiography (p. 188), the composer observes: "Ce fut Au Voleur, un film de Ralph Habib, dans lequel il y avait un bon tango siffle par Francis Lemarque." (It was Au Voleur, a film by Ralph Habib, in which there was a good tango whistled by Francis Lemarque.) The tango opens the soundtrack album.

1961

Concerto pour accordeon et orchestre

--Concerto pour accordeon et orchestre: accordeon solo / Jean Wiener.--Paris: Editions Musicales Transatlantiques, c1962.

1 part (14 p.); 32 cm.

Contents: Vigoureusement, "brandebourgeoisement"--Cantabile Molto vivace.

Plate no.: E.M.T. 631.

According to Chamfray (p. 164), the concerto was composed in 1961, and premiered 4 February 1962 at the Concerts Lamoureux, conducted by Krasimir Sipush, with Gilbert Roussel as soloist.

Farish indicates that the duration is 20:00. (89)

Wiener describes the composition and premiere of this concerto (p. 191); Antoine Golea also briefly describes the premiere. (90) Porcile discusses Wiener's ongoing use of jazz, citing this work as a notable example. (91)

--Concerto pour accordeon et orchestre / Jean Wiener; reduction pour piano d'accompagnement par l'auteur.--Paris: Editions Musicales Transatlantiques, c1964.

21 p.; 32 cm.

Plate no.: E.M.T 631.

--Concerto for accordion and orchestra.--Paris: Editions Musicales Transatlantiques, [n.d.].

Description based on Farish (p. 910); the instrumentation is given there as 3trp,2trom,pere,strings,acord solo, with an indication that the score and parts are available for rental.

Football.--Paris: Ed. Salabert, 1961.

77 p.

Description based on Choeur (p. 44); it is included in the listing of "chansons" but gives the instrumentation as oboe, clarinet, bassoon, 3 trumpets, trombone, 3 violin I, 2 violin II, 2 violin III, 2 violas, 2 cellos, 2 double basses, piano, accordion, and whistle, so this may be an instrumental work.

This appears to have been composed for a 1961 pantomime by Gilles Segal at the Theatre de France; the pantomime was filmed by Jean Jacques Languepin and released with another pantomime in 1965 under the title Le marionnettiste; Football. (92)

Petit allegro alia Jean-Sebastien: muni de deux variations: syncopee et valse lente: pour la trompette du petit Jean-Christophe / Jean Wiener.--Paris: Editions Choudens, c1988.

1 score (5 p.) + 2 parts; 31 cm.

Title on back cover: Little allegro alia Jean-Sebastien Bach: with two variations: syncopated and slow waltz: for the trumpet of little Jean-Christophe.

For trumpet and piano; parts for C and B-flat trumpet.

Date of composition: 1961.

Plate no.: AC 21079.

1964

Histoires sans paroles: 12 pieces faciles pour piano / Jean Wiener; arrangees par Omar Yagoubi.--Paris: Les editions du Chant du monde, c1992.

14 p.; 30 cm.--(La musique m'aime)

Contents: Chicken reel: melodie populaire irlandaise--Dans la rue Un bon moyen--Amour--Action maligne--Choses militaires Tendre --Espiegle--Bucolique--Idylle--Blues--Promenade.

Publisher's no.: PN 2121.

Histoires sans paroles was a weekly television broadcast of short silent films; the series was produced by Solange Peter. Wiener prepared the theme music for the series, which was an arrangement of "Chicken Reel," a popular American tune from 1910 by Jos. M. Daly. Wiener also improvised music for the weekly film showings. Apparently, this collection consists of Yagoubi's transcriptions of some of Wiener's music for the series. Yagoubi's inclusion of "Chicken Reel" in this collection, along with his 1986 recording of the work (on Le Chant du monde: LDC 78867-LDC 78868), probably lead to the misattribution of the music to Wiener in Pierre Camier's 2002 arrangement for saxophone quartet.

Dating the television series is problematic. Wiener claims (p. 187) that the first broadcast was in 1959, and that by 1977, he had improvised music for more than 400 episodes. Taylor (pp. 4-5) repeats this information. According to Chamfray (p. 164), the television series began in 1965. Most sources, however, indicate that the series began in 1964. For example, the French Wikipedia article about the series indicates that it ran from 1964 to 1986. (93) Choeur (p. 103) also gives 1964 as the start date, but titles the program 30 ans d'histoire 1914-1818 [sic].

1965

Archi slow.--Paris: E.F.M., 1965.

13 p.

For double bass, drum set, guitar, harp, organ, and soloists.

Description based on Choeur (p. 35); included in the category "Musique symphonique."

Les bargasses.

Music composed for a 1965 production of Marc'O's stage work Les bargasses. Seven songs were recorded in the Theatre du studio des Champs-Elysees in May 1965. The ensemble included Wiener on electric organ. The recording was issued by MPI disques, a label owned by Musique pour l'image (fig. 6). Three songs from the score were published individually, as follows:

--Ansico.--Paris: Ed. Musicale pour l'image, [1965?].

2 p.

For voice and piano.

Description based on Choeur (p. 44).

--Je suis nee dans un bazar.--Paris: Ed. Musicale pour l'image, [1965?].

2 p.

Instrumentation not specified.

Description based on Choeur (p. 44).

--Le tango d'Averroes.--Paris: Ed. Musicale pour l'image, [1965?].

2 p.

For voice and piano.

Description based on Choeur (p. 44).

Je me marie en blanc: rock / musique dejean Wiener; paroles de Jean Drejac.--[Paris]: Bagatelle, cop. 1966.

2 p.

For voice and piano.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb3971 1860b) and on Choeur (p. 58).

This was recorded as part of the soundtrack for the 1965 film Au hasard Balthazar (RCA Victor: 86.197 M).

Merlusse.--Paris: E.F.M., 1965.

For 2 oboes, clarinet, bassoon, 3 trumpets, trombone, 3 violins, 2 violas, 2 cellos, double bass, drum set, and accordion.

Description based on Choeur (p. 107), where it is included in section VII (Musique radiophonique et archives sonores)-l (Illustrations musicales pour la television).

1966

Concerto pour 2 guitares et orchestre

--Concerto for 2 guitars and orchestra.--Paris: Editions Musicales Transatlantiques.

Description based on entry in Farish (p. 910): "Concerto for 2 Guitars and Orchestra [20']--1.2.0.1. 0.2.1.0. strings,2gtr soli--sc,pts TRANSAT. rent (W1212)."

Per Chamfray (p. 164): "Concerto pour deux guitares et orchestre de chamber" was composed in 1966 and premiered 3 March 1967 by 1'Orchestre de chambre de Paris, conducted by Fernand Oubradous, with Ida Presti & Alexandre Lagoya as soloists.

In his autobiography (p. 196), Wiener describes the work as a commission by Presti and Lagoya, which they were able to perform only once before Presti's death in 1967.

--Concerto pour 2 guitares et orchestre / Jean Wiener.--Paris: Editions Musicales Transatlantiques, c1967.

1 score (50 p.); 36 cm.

For 2 guitars, with accompaniment reduced for piano.

Reproduced from manuscript.

Plate no.: E.M.T. 969.

Je n'irai pas.... Paris: La S.A.C.E.M., 1966.

2 p.

Words by Renee Corsi.

For voice and piano.

Description based on entry in Choeur (p. 57).

La prison de Seville.--Paris: E.F.M., [n.d.].

For 2 oboes, clarinet, bassoon, trombone, cello, double bass, drum set, harpsichord, 2 sopranos, 3 tenors, and baritone.

Description based on Choeur (p. 108), where it is included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

Choeur (p. 121) also identifies a 1966 radio broadcast (of an individual cue?) titled Anniversaire de Cervantes. Since 1966 is the 350th anniversary of the death of Miguel de Cervantes, such a radio broadcast seems very timely.

1967

Le snaque.--Paris: E.F.M., 1967.

For trumpet, trombone, cello, double bass, accordion, 2 guitars, and piano.

Description based on Choeur (p. 108); included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

Choeur (p. 118) also identifies a 1968 radio broadcast of Le Snack; possibly the same work.

1968

Jeunesse: etude pour accordeon solo / Jean Wiener et Marcel Azzola. Paris : Gerard Billaudot, c1968.

8 p.; 31 cm.

"Finale de la Coupe de France O.R.T.F. de l'accordeon 1968, Morceau impose-Seniors Classique."

Reproduced from manuscript.

Duration: 4:07.

Plate no.: EFM 2379.

Koenigsmark / paroles de Jean Kerchbron.--Paris: E.F.M., 1968.

For flute, 4 oboes, 2 clarinets, 2 bassoons, 3 trumpets, 3 trombones, 2 violins, viola, cello, double bass, 2 timpani, piano, and soprano.

Description based on Choeur (p. 106), who includes it in section VII (Musique radiophonique et archives sonores)-l (Illustrations musicales pour la television).

Scherzo-sport.--Paris: E.F.M., 1968.

For 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, 3 violins, viola, cello, double bass, and piano.

Description based on Choeur (p. 108); included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

Sonate pour violoncelle et piano / Jean Wiener.--Paris: Musique Contemporaine, Editions Salabert, c1970.

1 score (38 p.) + 1 part (12 p.); 32 cm.

"1968"--Caption of score.

Reproduced from manuscript (not Wiener's hand).

Plate no.: M.C. 430.

Per Chamfray (p. 164), the work was completed in 1970 and premiered by Mstislav Rostropovitch (the dedicatee) in 1972.

Troika moscovite / Jean Wiener.--Piano conducteur.--Paris: E.F.M. Technisonor, c1968.

1 condensed score (8 p.); 32 cm.

For 2 flutes, 2 oboes, clarinet, bassoon, 3 trumpets, 3 trombones, accordion, timpani, and string quintet.

Reproduced from manuscript; notated on three staves.

Duration: 3:25.

Plate no.: E.F.M. 1369.

According to Taylor (p. 6), "He joined the Communist party in 1938 and remained a member until his death in 1982. Some of his compositions directly relate to politics: ... [including] Troika moscovite (1968)."

1969

Concert: pour orchestre et un piano principal / Jean Wiener.--Partition d'orchestre.--Paris: Editions francaises de musique: Technisonor, c1974.

1 score (50 p.); 35 cm.

Reproduced from manuscript.

Plate no.: E.F.M. 1498.

Choeur (p. 124) titles the work Concerto pour orchestre a cordes et piano principal.

Chamfray (p. 164) gives 1969 as the year of composition and indicates that the work was premiered by "l'Orchestre de Chambre de la

Radio, dir. Andre Girard, avec l'auteur" and published by Ed. Transatlantiques. Elsewhere, Chamfray gives the title as Conceit pour orchestre de chambre avec piano principal, with a duration of 20 minutes; scored for flute, 3 oboes, bassoon, 3 trumpets, trombone, and strings; and premiered 21 May 1970 by l'Orchestre de Chambre de l'O.R.T.F. (94)

Farish cites the work thusly: "Concerto for piano and orchestra [20']--1.3.0.1. 0.3.2.0. strings.pno solo--FRANCAIS sc,pts rent (W1212)." (95)

II est ne le divin enfant.--Paris: E.F.M., 1969.

For 4 oboes, bassoon, trumpet, violin, cello, double bass, harpsichord, piano, and soprano.

Description based on Choeur (p. 107); included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

L'inconnu.--Paris: E.F.M., 1969.

For flute, 2 oboes, bassoon, trumpet, violin, cello, double bass, and piano.

Description based on Choeur (p. 106), where it is included in section VII (Musique radiophonique et archives sonores)-l (Illustrations musicales pour la television).

Reportage sur un squelette.--Paris: E.F.M., 1969.

For 3 oboes, 3 trumpets, 3 trombones, 3 violins, viola, cello, double bass, accordion, harpsichord, and piano.

Description based on Choeur (p. 107), who includes it in section VII (Musique radiophonique et archives sonores)-l (Illustrations musicales pour la television).

Solitude tambour.--Paris: E.F.M., 1969.

For trumpet, trombone, cello, double bass, drum set, accordion, and piano.

Description based on Choeur (p. 108); included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

1970

Un seul jour de la vie.--Paris: E.F.M., 1970.

For trombone, violin, viola, cello, double bass, drum set, and piano.

Description based on Choeur (p. 107), where it is included in section VII (Musique radiophonique et archives sonores)-l (Illustrations musicales pour la television).

1971

Bouvard et Pecuchet.--Paris: E.F.M., 1971.

For 3 oboes, bassoon, 3 trumpets, trombone, violin, cello, double bass, accordion, harpsichord, and piano.

Description based on Choeur (p. 107), who includes it in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

Chant funebre pour les morts de la montagne: pour soprano solo, choeur mixte et orchestra.--Paris; Munchen: Gerard Billaudot Editeur, [n.d.].

Instrumentation: 1.3.1.1.-0.3.1.0.,Klav, Cemb, Str, GCh, Solo-Sopr.

Description based on WorldCat entry: (http://www.worldcat.org/oclc/725601854).

In his autobiography (p. 201), Wiener gives the title as Chant pour les Morts en montagne, identifies the work as a cantata, and indicates that the text is by Samivel.

The French Wikipedia article on Wiener gives the title as Chant pour les Morts en Montagne and the date as 1971. (96)

Chamfray (p. 164) gives the title as Chant pour les morts en Montagne and the date as 1973; the work is listed as unpublished.

Choeur (p. 52) gives the publisher as E.F.M.; no date is given. She lists the instrumentation as: flute, 3 oboes, clarinet, bassoon, 3 trumpets, trombone, 4 violins, viola, cello, double bass, piano, harpsichord, soprano, and 4-part mixed chorus.

Billaudot's catalog gives the instrumentation as: Choeur mixte et orchestre, with EFM2381-0 as the publisher's number; the duration is listed as 34 minutes. (97)

Farish includes this entry: "Chant Funebre Pour Les Morts De La Montagne, For Solo Voice, Chorus And Orchestra [34'50"]--1.3.1.1. 0.3.1.0. pno, hpsd, strings, S solo, mix cor--FRANCAIS sc, pts rent (W1210)." (98)

Le golem.--Paris: E.F.M, 1971.

For bassoon, 3 trumpets, trombone, 3 violas, cello, double bass, drum set, accordion, piano, 3 male singers, and 3 female singers.

Description based on Choeur (p. 107), who includes it in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

1972

Hirgence ou les sortileges.--Paris: E.F.M., 1972.

For trombone, viola, cello, double bass, accordion, harpsichord, and piano.

Description based on Choeur (p. 107), where it is included in section VII (Musique radiophonique et archives sonores)-2 (Illustrations musicales pour la radio).

1980

3 moments de musique: pour le piano / Jean Wiener.--Paris: Editions Musicales Transatlantiques, c1982.

21 p.; 30 cm.

Date of composition: "Ete 1980."

Duration: 9 minutes.

Contents: Lento--Vivace--Lentissimo.

Plate no.: EMT 1648.

This, the last of Wiener's compositions to be published during his lifetime, is dedicated to his wife, Suzanne.

Mellers discusses this work; he gives the title as Trois moments de musique pour Pierre Cornevin, and dates the work 1981. (99) Pour Pierre Cornevin is actually a separate composition for piano, which was composed in 1981 and has not yet been published.

SCORES WITHOUT DATES

Chanson des greves / paroles de Paul Eluard et Madeleine Riffaud.--Paris : Ed. La voix du 19eme, [n.cl.].

Description based on entry in Choeur (p. 63); Choeur includes this in the category "Chansons engagees" (protest songs).

La chanson des voyelles.--Paris: Ed. Musicale pour l'image, [n.d.].

3 p.

Words by Maurice Bourdet.

For voice and piano.

Description based on entry in Choeur (p. 56). Choeur tartare ou choeurs de sotnias tartare / paroles de Georgius et Bertal Maubon.--Paris: Ed. Echo et Choudens, [n.d.].

4 p.

For voice and piano.

Description based on entry in Choeur (p. 52).

Elle avait un p'tit quelque chose.--Paris: Ed. Musicale cinematographique, [n.d.].

2 p.

Lyrics by Louis Poterat.

For voice and piano.

Description based on Choeur (p. 60).

Mellers describes it thus: "A deliciously singable, lilting insouciant tune as Elle avait un p'tit quelque chose, with its amiably detached lyric...." (100)

Fidelite / paroles de Madeleine Riffaud; creation de Charles Imbert.--Paris : Ed. Association des Anciens F.F.I., [n.d.].

2 p.

For voice.

Description based on entry in Choeur (p. 63); it is included in the category "Chansons engages" (protest songs).

J'n'ai qu'ga.--Paris: Ed. Echo et Choudens, [n.d.].

2 p.

Words by Paul Charline.

For voice and piano.

Description based on entry in Choeur (p. 57).

Lexique: ballet pour orchestre.--Paris; Munchen: Editions Salabert, [n.d.].

Duration: 28:00.

Publisher's no: Salabert--ref. 4132.

Description based on WorldCat entry: (http://www.worldcat.org/oclc /725147906).

Farish includes the following entry: "Lexique [28']--2.2.2.2. 2.3.2.0. timp, pere, harp, strings--sc,pts SALABERT rent (W1215)." (101)

Ne fait pas de promesses.--Paris: Ed. Musicale pour l'image, [n.d.].

2 p.

Words by Rosine Saviol.

For voice and piano.

Description based on Choeur (p. 61).

Trabadjava / paroles de P. Charline.--Paris: Ed. Echo et Choudens, [n.d.].

3 p.

Description based on Choeur (p. 90). Though Choeur indicates this is from a film titled Ah, les vacances, attempts to corroborate the existence of the film have been unsuccessful.

Valser ensemble.--Paris: Ed. Echo et Choudens, [n.d.].

2 p.

Words by Paul Charline.

For voice.

Description based on entry in Choeur (p. 57).

Wei' wel' welcome.--Paris: Ed. Fortin, [n.d.].

1p.

Words by R. A. Courjon.

For voice.

Description based on entry in Choeur (p. 57).

GALLEY

Loin de vous.--[193-?].

[2] p.; 40,5 x 30 cm.

Song for voice and piano.

Incipit: Vous murmurez partir.

Description based on BnF entry: (http://catalogue.bnf.fr/ark:/12148/cb39583426n). The cataloging indicates that this is published and gives the edition as "Epreuve" (proof); it indicates that the music is by Wiener, and that the singer Suzanne Peignot was a former owner of this copy.

DOUBTFUL PUBLICATIONS

Ire suite de danses: pour orchestre.--[Paris?]: Ed. Heugel.

Description based on Chamfray (p. 164), who gives the date of composition as 1954. No additional information is included.

Les Discophiles francais issued two related recordings. The first (SD3) contains the six movements of Suite de danses sur un theme (see entry above, under 1957); the disc is titled: Suite a danser de Jean Wiener sur un theme. The second recording (EX 25.022) also contains the six movements of Suite de danses sur un theme, where they are identified as lere suite; this disc also contains a 2e suite, which includes a different valse, slow, and musette. The origin of these three movements has not been determined.

Les Discophiles francais also issued all nine movements as a recording with the cover tide Musique d'ambiance (disque 25022); the back of the cover and the disc labels give the title as Suite a danser de Jean Wiener. According to a note on the container of Forgotten Records fr 826 (2013), Hewitt's recording was made in 1953. Chamfray may have taken these recordings of two suites issued by Les Discophiles francais and construed them to be published works. No corroboration could be found that Heugel published any numbered suites by Wiener.

2e suite de danses: pour orchestre.--[Paris?]: Ed. Heugel. Description based on Chamfray (p. 164); the date of composition is given as 1955.

See previous entry for details.

SPURIOUS ATTRIBUTION

Chicken reel / Jean Wiener; arrangement pour quatour de saxophones de Pierre Camier.--Athies-les-Arras: P. Duhautois, c2002.

1 score (2 p.) + 4 parts; 30 cm.

"Melodie populaire irlandaise"--Caption.

Publisher's no.: PD 233.

Actually a popular American piano tune from 1910, composed by Jos. M. Daly. Wiener arranged it as the opening theme for Histoires sans paroles, a weekly French television broadcast of short silent films; Wiener also improvised music for these weekly film showings. Omar Yagoubi transcribed some of Wiener's improvisations for the series, along with "Chicken Reel," in the collection Histoires sans paroles, published by Les editions du Chant du monde in 1992. Yagoubi's inclusion of "Chicken Reel" in this collection, along with his 1986 recording of the work (on Le Chant du monde: LDC 78867-LDC 78868), probably led to this misattribution of "Chicken Reel" to Wiener.

In his later years, Wiener continued to compose music for the concert hall, film and television, radio, and the stage. Unfortunately, much of this later music remains in manuscript, such as the Sonate sans nom of 1973, and from the next year, the Sonate "demodee," both for piano. In an online interview posted in 2015, pianist Simon Ghraichy describes a new edition of Wiener's piano music to be published by Editions Eschig and Salabert; (102) none of these new scores has yet appeared in print.

Clearly, the entries above represent an extreme distillation that can only begin to suggest threads in the varied career of Jean Wiener. One can find evidence of Wiener's proclivity for juxtaposing elements of popular and art music, his early and ongoing fascination with jazz, ramifications of his Jewish ancestry during World War II, his growing affinity for the communist movement in France, and his lifelong involvement with film music. I hope that this bibliography will serve as useful groundwork for further investigations into the riches of Wiener's musical life.

David Prochazka is music/special materials cataloger and associate professor of bibliography at the University of Akron. Work such as this inevitably involves help from many corners. At the risk of offending by unintentionally omitting someone's name, much gratitude is extended to the those who have helped along the way, including John Ball, Theresa Boware, Patricia Cesare, Aimee deChambeau, Lisa Lazar, Kristina Coley, Melanie McGurr, Lori Fielding, and Caitlin Noussias (the University of Akron); David Krupka (University of Toronto); Sharon Benamou (University of California, Los Angeles); Kerry Carwile Masteller (Harvard University); Charlotte Prost and Stephanie Husson (Sorbonne Universites); Carla Williams (Ohio University); Mary Bruesch (University of New Mexico); and Kevin LaVine (Library of Congress). Also thanks to Geo. W. Crenshaw and Sharon Best for sage editorial advice and much-needed support.

Translations provided by the author. URLs cited herein accessed 21 November 2018.

(1.) Roger Shattuck, The Banquet Years: The Arts in France. 1885--1918: Alfred Jerry, Henri Rousseau, Erik Satie, Guillaume Apollinaire (New York: Harcourt, Brace, 1958).

(2.) Dominique Amy, "Wiener [Wiener], Jean," in The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980), 20:404.

(3.) Juliette Choeur, "Jean Wiener: Catalogue de son oeuvre" (Memoire de maitrise, Universite de Paris-Sorbonne, 1989).

(4.) Denise Pilmer Taylor. "La musique pour tout le monde: Jean Wiener and the Dawn of French Jazz" (PhD diss., University of Michigan, 1998).

(5.) Wilfrid Mellers, "Jean Wiener and Music for Entertainment," Scrutiny: A Quarterly Review 6, no. 3 (December 1937): 284-302.

(6.) Wilfrid Mellers, "Jean Wiener redivivus," Tempo 170 (September 1989): 24-29.

(7.) Jean Wiener, Allegro appassionato, Les batisseurs du XXe siecle (Paris: P. Belfond, 1978).

(8.) Jean Wiener, Allegro appassionato (Paris: Fayard, 2012).

(9.) International Federation of Library Associations and Institutions, ISBD: International Standard Bibliographic Description, consolidated ed., IFLA Series on Bibliographic Control, 44 (Berlin: De Gruyter Saur, 2011).

(10.) Mellers, "Jean Wiener and Music for Entertainment," 288.

(11.) Graham Johnson and Richard Slokes, A French Song Companion (Oxford: Oxford University Press. 2000), 498.

(12.) Claude Chamfray, "Jean Wriener (ne le 19-111-1896)," Le courrier musical de France 52 (4eme trimester 1975): 163.

(13.) H. H. Stuckenschmidt, "Notizen surjungsten franzozischen Musik," Musikblatter des Anbruch 7, no. 10 (December 1925): 541.

(14.) Mellers, "Jean Wiener and Music for Entertainment," 293-94; Mellers, "Jean Wiener redivivus," 2728.

(15.) Rachel Franklin, "American Jazz in the Works of Jean Wiener, Maurice Ravel, and Darius Milhaud" (DMA lecture-recital essay, Peabody Institute of the Johns Hopkins University, 1995), 25-30.

(16.) Martin Guerpin, "Georges Auric, Jean Wiener et le fox-trot: Le musique 'savante' au risque du jazz (1920-1931)," in Jazz, pouvoir et subversion de 1919 a nos jours, ed. Pascale Cohen-Avenel (Bern: Peter Lang, 2014), 307-9, 316-18.

(17.) Martin Guerpin, "L'exotisme en question: Le cas de la reception du jazz dans la musique savante francaise de l'entre-deux-guerres," Revue musicale OICRM 3, no. 1 (February 2016): 8, 13.

(18.) Wiener, 46.

(19.) Mellers, "Jean Wiener and Music for Entertainment," 288-89, 291-92, 302.

(20.) Eduard Beninger, "Neue Klaviermusik," Musikblatter des Anbruch 11, no. 4 (April 1929): 182.

(21.) Mellers, "Jean Wiener and Music for Entertainment," 295.

(22.) Johnson and Slokes, A French Sung Companion, 498.

(23.) Johannes Herwig, "Die musikalischen Wanderungen des Jean Wiener," in A due: Musical Essays in Honour of John D. Bergsagel & Heinrich W. Schwab, ed. Ole Kongsted, Niels Krabbe, Michael Kube, Morten Michelsen, with the assistance of Lisbeth Larsen (Copenhagen: Royal Library Section of Musicology, University of Copenhagen, 2008), 222-26.

(24.) Mary Frances Ahern Coleman, "French Songs of the Jazz Age: Cultural Influences on Select Vocal Works of Debussy, Satie, Wiener, and Milhaud from 1899-1925" (DMA recital document, Shenandoah Conservatory, 2015), 77-83.

(25.) Taylor, "Musique pour tout le monde," 193.

(26.) Israel Citkowitz, "Experiment and Necessity--New York, 1932," Modern Music 10, no. 2 (January/ February 1933): 113.

(27.) M. Robert Rogers. "Jazz Influence on French Music," Musical Quarterly 21, no. 1 (January 1935): 64.

(28.) Francois Porcile, La belle epoque de la musique francaise: Le temps de Maurice Ravel (1871-1940), Les chemins de la musique (Paris: Fayard, 1999), 228-29.

(29.) Marc Danval, "Doucet, Clement," in Dictionnaire du jazz a Bruxelles et en Wallonie (Liege: P. Mardaga, 1991), 1 (31).

(30.) Mellers. "Jean Wiean and Music for Entertainment," 289.

(31.) Johnson and Stokes. A French Song Companion, 498.

(32.) Mellers, "Jean Wiener and Music for Entertainment," 288-91; Mellers, "Jean Wiener redivivus," 25-27.

(33.) Taylor, "Musique pour tout le monde," 93.

(34.) Frederick Brown, An Impersonation of Angels: A Biography of Jean Cocteau (New York: Viking Press, 1968), 212-13.

(35.) Taylor, "Musique pour tout le monde," 252-62.

(36.) Louis Vuillemin, "Concerts meteques ...," Is courrier musieal2St no. 1 (1 January 1923): 4.

(37.) Taylor, "Musique pour tout le monde," 119.

(38.) Wiener, 115-17, 221.

(39.) Encyclopedic multimedia de la comedie musicale theatrale en France, 1918-1944, s.v. "Olive chez les negres," http://194.254.96.55/cm/?for=fic&cleoeuvre=360.

(40.) Daniele Pistone, "Opera in Paris during the Roaring Twenties," trans. E. Thomas Glasow, Opera Quarterly 13, no. 2 (Winter 1996): 59.

(41.) Snsan C. Cook, "Flirting with the Vernacular: America in Europe 1900-45," in The Cambridge History of Twentieth-Century Music, ed. Nicholas Cook and Anthony Pople (Cambridge: Cambridge University Press, 2004), 160, 175.

(42.) Martin Guerpin, "Georges Auric, Jean Wiener et le fox-trot," 302, 323-29.

(43.) Mellers, "Jean Wiener and Music for Entertainment," 228, 292, 294.

(44.) Herwig, "Die musikalischen Wanderungen des Jean Wiener," 226-29.

(45.) Beninger, "Neue Klaviermnsik," 182.

(46.) Franklin, "American Jazz," 22, 24-25, 37.

(47.) Margaret K. Farish, ed., Orchestral Music in Print, Music-in-print Series, 5 (Philadelphia: Musicdata, 1979), 910.

(48.) Susan C. Cook, Opera for a Neiu Republic: The Zeitopern of Krenek, Weill and Hindemith, Studies in Musicology, no. 96 (Ann Arbor: UMI Research Press, 1988), 59.

(49.) Beninger, "Neue Klaviermusik," 182.

(50.) Franklin, "American Jazz," 22-24, 37.

(51.) Le cinema francais, s.v. "Jean WIENER," http://wuiv.cinema-francais.fr/les_compositeurs/wiener_jean.htm.

(52.) "Charles Trenet--integrale vol 2--1934--1938," Fremeaux & Associes, http://www.fremeaux.com/index.php?page=shop.product_details&category_id=74&flypage=shop.flypage&product_id=752&:option= com_virtuemart.

(53.) Porcile, La belle epoque, 354. "In October [1936, Roger Desormiere] accompanied Maurice Chevalier on another successful recording, Ma pomme, Mon vieux Paris, Vous valez mieux qu 'un sourire, sung injulien Duvivier's L'Homme dujour (music co-written by Borel-Clerc, Desormiere, and Wiener)...."

(54.) Denis-Constant Martin and Olivier Roueff, La France du jazz: Musique modernite et identite darn la moitie du XXe siecle. Collection eupalinos---Jazz et musiques improvises (Marseille: Editions Parentheses, 2002), 168-69.

(55.) Jean Wiener, "Deso," in Roger Desormiere et son temps: Textes en homage, reunis par Menise Mayer et Pierre Souvtchinsky (Monaco: Editions du Rocher, 1966), 31-34.

(56.) Darius Milhaud, My Happy Life, trans. Donald Evans, George Hall, and Christopher Palmer (London: Marion Moyars, 1995), 136.

(57.) Michel Faure, Du neoclassicisme musical dans la France du premiere XXe siecle (Paris: Klincksieck, 1997), 228.

(58.) Wiener, 104.

(59.) Wiener. 13-14.

(60.) Wiener, 163.

(61.) Francois Porcile, Les conflits de la musique francaise (1940-1965), Les chemins tie la musique (Paris: Fayard, 2001), 36.

(62.) Porcile, Les conflits de la musique francaise, 36.

(63.) Scoutopedia, s.v. "Chansonnier des eclaireurs," https://fr.scoutwiki.org/Chansonnier_des_%C3 %A9claireurs.

(64.) Catherine Bertho-Lavenir, La roue et le stylo: Comment nous sommes devenus touristes (Paris: Editions Odile Jacob, 1999), 359-61.

(65.) Porcile Les conflits de la musique francaise, 36.

(66.) Le cinema francais, s.v. "Untel pere et fils," https://www.cinema-franeais.fr/les_films/films_d/films_duvivier_julien/untel_pere_et_fils.htm.

(67.) Porcile Les conflits de la musique francaise, 36.

(68.) "Il etait line fois Jean Wiener ...," posted on Qobuz 10 January 2008.

(69.) Library of Congress Name Authority File, s.v. "Rudd, 1900-1990," http://id.loc.gov/authorities/names/no2009140922.

(70.) Nous continuous la France, accessed via Cine-archives, https://www.cinearchives.org/Films-447-120-0-0. html.

(71.) "Il etait line fois Jean Wiener ...." posted on Qobuz 10 January 2008, http://www.qobuz.com/fr-fr/info/qobuz-info%2Frencontres%2Fil-etait-une-fois-Jean-wiener5914.

(72.) Thornz-Vermeersch: Archives communales d'Ivry-sur-Seine, http://www.fonds-thorez.ivry94.fr/thorez_cin/pop_img_fash.php?type_consult=xml&appli=a&num=l,2&rep=../&pos=2&cle=12.

(73.) Porcile, Les conflits de la musique francaise, 228.

(74.) S dobrym utrom, druz'ya! / slova M. Ruffo; russkiy tekst T. Sikorskoy; rauzyka Zhana V'yenera (Frantsya).--In: Pesni druzey. Sbornik pervyy.--[Moskva]: Muzgiz, 1952.--(Notnoye prilozhenive k zhurnahi "Sovetskaya muzyka"; no. 5-1952).

(75.) Porcile, Les conflits de la musique francaise, 222-24.

(76.) Scoutopedia, s.v. "Vaillants," http://fr.scoutwiki.org/Vaillants.

(77.) Mellers, "Jean Wiener redivivus," 29.

(78.) Porcile, La belle epoque, 82.

(79.) Porcile, Les conflits de la musique francaise, 246-47.

(80.) Ibid., 304.

(81.) Zoloto / slova Marka Lyanzhana; perevod T. Sikorskoy; muzyka Zhana V'yenera (Frantsya).--In: Pesni druzey. Vypusk devyatyy.--Moskva: [Muzgiz], 1957.--(Notnoye prilozheniye k zhurnalu "Sovetskaya muzyka"; n 5-1957).

(82.) Johnson and Stokes, A French Song Companion, 498.

(83.) Marcel Worms, pianist, notes to Works far piano, by Jean Wiener, BVHAAST CD 9614 (1996), compact disc, p. 26.

(84.) Farish, Orchestral Music in Print, 910.

(85.) BnF catalogue general, s.v. "Les chantefleurs," http://catalogue.bnf.fr/ark:/12148/cb37863246j.

(86.) Johnson and Stokes, A French Song Companion, 498-99.

(87.) IMDb, s.v. "Arretez le massacre," https://www.imdb.com/title/tt0149713/fullcredits?ref_=tt_ov_st_sm.

(88.) IMDb, s.v. "The Nabob Affair," https://www.imdb.com/title/tt0053573/?ref_=fn_al_tt_1.

(89.) Farish, Orchestral Music in Print, 910.

(90.) Anionic Golea, "Les caprices d'Euterpe," Musica disques no. 98 (May 1962): 32.

(91.) Porcile, Les conflits (le la musique francaise, 277.

(92.) University of Toronto Library catalog, s.v. "Le Marionettiste: Football," https://search.library.utoronto.ca/details?219935.

(93.) Wikipedia, s.v. "Histoires sans paroles," http://fr.wikipedia.org/wiki/Histoires_sans_paroles.

(94.) Claude Chamfray, "Premieres auditions in France," Le courrier musical de France no. 31 (3e trimester 1970): 110.

(95.) Farish, Orchestral Music in Print, 910.

(96.) Wikipedia, s.v. "Jean Wiener," http://fr.wikipedia.org/wiki/Jean_Wiener.

(97.) Gerard Billaudot online catalogue, s.v. "Choeurs avec ensemble 011 orchestra," https://www .billaudot.com/en/catalog.php?inst=Orchestre&cat=Ch%C5%93urs%20avec%20ensemble%20ou%20orchestre.

(98.) Farish, Orchestral Music in Print, 910.

(99.) Mellers, "Jean Wiener redivivus,"29.

(100.) Mellers. "Jean Wiener and Music for Entertainment," 297.

(101.) Farish, Orchestral Music in Print, 910.

(102.) Simon Ghraichy, "Simon Ghraichy a propos de la nouvelle edition des oeuvres pour piano de Jean Wiener," interview presented by Universal Music Publishing Classical, Durand-Salabert-Eschig, posted by UMP Classical 17 April 2015, https://www.youtube.com/watch?v=hCFjpM9PdxY.

Caption: Fig. 1. An early publicity postcard issued by Max Eschig et Cie, ca. 1924

Caption: Fig. 2. The cover of Album Wiener-Doucet, based on a poster by Paul Colin, 1929 ([C] With kind permission by UNIVERSAL EDITION A.G., Vienna, www.universaledition.com)

Caption: Fig. 3. The cover of Wiener's Chansons pour nos metiers, illustrated by Valentine Hugo (<<hansons religieuses >>, [C] Editions du Seuil, 1946, 1950)

Caption: Fig. 4. Title page of the original lead sheet for "Le grisbi," 1954

Caption: Fig. 5. Title page for the Israeli edition of "Le grisbi," 1954

Caption: Fig. 6. Album cover for the cast recording of Les bargasses, photo by Anne Nordmann, 1965
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