Leonard Lehrman

Harvard-Radcliffe Reflections, op. 203

Organ Postlude for Harvard College Class of 1971 Reunion Memorial Service

starting with a fugue on the letters

HArvArD-rADCliFFE rEFlECtionS: “worSt ClASS EvEr”

then quoting “Fair Harvard,” 10,000 Men of Harvard,”

“Change the World, It Needs It” and “Let’s Change the Woild”

prem. by composer, Harvard Memorial Church, Sep. 22, 2011

(3’21”)  Posted on YouTube at

Republicans, op. 201

Cabaret song for duo, words by composer,

inspired by but not based on Jean Reizner’s “Barry’s Boys”

premiered at Kutsher’s June 18, 2011 by Helene Williams & composer

viewable on YouTube at

Suite #2 for String Quartet: Remembrance, op. 197

4 movements:

1) I Remember (in memoriam Jacob Rosenberg, 1922-2008, Lodz Ghetto survivor)(2′)
[see op. 149 #2]
2) Hitler in Hameln: The Honorary Citizen (after Henryk M. Broder)(3′)
[see op. 79 #5]
3) I’d Like to Go Away Alone (after Alena Synkova, 1926- , Terezin survivor)(2′)
[see op. 105 ]
4) From 6 Million Nameless Graves (after Edith Segal (1902-1997) & Hirsh Glik)(3′)

We Are Innocent, op. 94

cantata on letters of Julius & Ethel Rosenberg, 1987-88, 45’30”

for baritone (or tenor), soprano, and optional chorus, with piano or orchestra

in 12 movements, prelude & 2 interludes.

First complete performance by Helene Williams and Peter Schlosser,

with composer at piano, on “Meet the Composer” grant,

at Bryant Library, Roslyn 6/14/88;

also perf. at Museum of Fine Art (Roslyn)10/6/88,

Community Church of Boston, 12/11/88, WESPAC (Ardsley, NY) 12/22/88;

prem. with (Metropolitan Philharmonic) Chorus

at Community Church of NY 6/19/88

also perf. WQXR-AM, NY (“The Listening Room”) 12/8/88

#2, 1, 7 & 4 perf. at Weill Recital Hall benefit for Ezrath Nashim 6/14/89

and at Temple Sinai of Roslyn 8/20/89

prem. w/Soloists, Chorus & Orchestra:

Metropolitan Philharmonic Chorus & Orch, cond. by composer

[Associate Conductor: Bill Grossman]

Marymount Manhattan Theater 6/11/89;

video on YouTube as indicated below:

audio recording: OPUS ONE #145

other perfs w/Helene Williams, Ronald Edwards & Chor:

Plandome Unitarian Church 6/19/93;

w/Helene Williams, Gregory Mercer & Chor:

6/15/03 Puffin Cultural Forum, Teaneck NJ;

6/18/03 Stephen Wise Free Synagogue, Manhattan


1) Childhood Memories (Julius)

2) The Shofar (Ethel [+Chorus])

3) Together (Julius & Ethel)

4) We Are Innocent (Julius & Ethel [+Chorus])

5) How Sad I Was To Leave You (Ethel) + Interlude

6) How Much You Have Given Me (Julius)

7) The Astounding Spectacle (Ethel & Julius [+Chorus])

7A) Interlude

8) A Visit From Mother (Ethel)

9) Of Course It Isn’t Easy (Julius)

10) “Mercy”?

11) On the Threshold of Death (Julius)

(Variations on a theme by Edith Segal, used by permission)

12) To Michael & Robert (Ethel & Julius [+Chorus])

Glorious War Song, The, op. 95 #17

Lyrics by Joel Shatzky & composer;

#17 from Superspy!: The S-e-c-r-e-t Musical, op. 95, 1988;

rev. in 1991; prem. at Tarrytown Music Hall WESPAC Benefit 3/15/91;

recorded by Helene Williams & composer on Songs of Conscience

cassette 3/91 & CD 6/03; also perf. on Composers Concordance concerts,

CAMI HAll & C.W. Post College, 2/92

Tell Me, What Is Love?, op.95 #10

Words by Joel Shatzky; #10 from Superspy!: The S-e-c-r-e-t Musical, op. 95,

1988; rev. 1989; expanded from 2′ to 3′

premiered by Helene Williams 12/27/90 Gay Men’s Health Crisis, NYC

on Center for Contemporary Opera Blitzstein program, sponsored by MTC;

also perf. LICA Songs of Love concert 2/5/95, North Merrick Library,

and repeated many times thereafter; recorded on Capstone  CPS 8647;

performed by Michele Eaton & Stephanie Watt, LICA concert 2/11/11.

Girl Without Morals, A, op. 95 #9

#9 from Superspy!: The S-e-c-r-e-t Musical, book by Joel Shatzky;

lyrics by composer & Shatzky, 1988; 5′

performed by Helene Williams at Hadassah, 6/88,

Jewish Arts Festival of L.I., 9/3/89,

and many other times as part of program The Jewish Woman in Song;

also by Kathryn Wieckhorst, Gershwin Hotel cabaret, 2/19/09

Superspy!: The S-e-c-r-e-t Musical, op. 95A

Book: Joel Shatzky; Lyrics: Composer & Shatzky

revised as one-act cabaret for 2 people (48′) 14 numbers:

1) The Real Realpolitik

2) I Am I… Or Am I? – Why Do I Love Him?

3) We’re Right Because We’re Right

4) The Geneticist’s Song

5) The SDI Waltz (arr. of op. 87, text by composer)

6) Deniability

7) Side by Side with Cyanide

8) Just a Little Favor

9) A Girl Without Morals

10) Tell Me, What Is Love? [expanded version]

11) Superspy

12) A Cure for Everything

13) An Upbeat Ending

14) Superspy-Realpolitik (Encore)

prem. by Helene Williams & composer,

US Peace Committee-Paris 7/7/89; NY 11/18/89

also perf. 2/22/90 Nassau Community College Little Theater;

Chelsea Mansion, E. Norwich (Nassau Cty Ofc of Cultural Dev) 10/20/90;

and Turtle Bay Music School, sponsored by Center for Contemporary Opera

11/17-18/90; command perf for Tom Lehrer, Santa Cruz, 12/91.

Superspy!: The S-e-c-r-e-t Musical, op. 95

Book: Joel Shatzky; Lyrics: Composer & Shatzky

for Soprano, Mezzo, Tenor, 2 Baritones & Piano; 18 numbers, 2 acts, c. 2 hrs.

1) I Am I – Or Am I?

2) We’re Right Because We’re Right

3) Why Do I Love Him?

4) The Geneticist’s Song

5) The SDI Waltz (arr. of op. 87, text by composer)

6) Deniability

7) Side by Side with Cyanide

8) Just a Little Favor

9) A Girl Without Morals

10) Act I Finale

11) I Am I – Why Do I Love Him?

12) Tell Me, What Is Love?

13) Superspy

14) The Real Realpolitik

15) Superspy – Realpolitik

16) A Cure for Everything

17) The Glorious War Song

18) Act II Finale: An Upbeat Ending

#11, 2, 5, 9, 6, & 13-15 previewed by Helene Williams & composer 3/6/88

at Metropolitan Philharmonic Orchestra chamber concert and

on “Contrasts” concert series at Tom O’Horgan’s in New York;

first complete public reading at First St. Playhouse, Ithaca, NY 3/20/88

Revised as op. 95A, q.v.

Birthday of the Bank, The, op. 97

one-act opera based on composer’s translation of Chekhov’s

Yubilei for SMTBarB (& Extras), commissioned by

Opera America for Lake George Opera Festival,

prem. there 8/3/88 – excerpted,

staged & introduced by Rosalind Elias

(quotes from her signature tune,

“Must the Winter Come So Soon,”

from Samuel Barber’s Vanessa, among other things);

28 numbers (50′);

prem. staged & conducted by composer 6/12/98 concertante,

Adelphi Univ.;


6/21/98 Glenwood Presbyterian Church, Glenwood Landing;

NYU Theater 6/22/98 – all 3 part of LICA’s EastEuroFest;


9/6/99 Jewish Arts Festival of Long Island, Commack NY

9/30/99 Queens College

with Ronald Edwards, Peter Ludwig, Maro Partamian,

Janis Sabatino Hills, Benjamin Spierman/Nathan Bahny,

Natalia Jitomirskaia; videotaped by Helene Williams

Universal Declaration of Human Rights, The, op. 99

setting of preamble for SATB and Piano or Winds & Percussion

(8′) Summer 1988; prem. at United Nations 10/26/88

by Solo Quartet of the Metropolitan Philharmonic Chorus

(Helene Williams, Mara Goodman,

Herman Gaddy, Douglas Kiddie);

also perf. by them, Temple Sinai, Roslyn 8/20/49;

and by Christ Church Babylon Choir 10/24/04

Zelophehad’s Daughters, op. 100 #3

#3 of Sisters, op. 100 – last of 3 Biblical monologues;

for solo soprano & piano or 9 instruments (3’40”)

or SSMAA Quintet & piano or 9 instruments (4’53”);

prem. separately 6/12/89 National Council of Women,

Time-Life Bldg, NYC; also performed widely in Florida

and in Europe by Helene Williams;

prem. w/dancers: 6/23/91 Merkin Hall by Helene &

Wendy Osserman Dance Co., viewable on YouTube:

Lot’s Wife, op. 100 #1

#1 (6’45”) from Sisters, op. 100 – 3 Biblical monologues (1989)

for Female Voice & Piano or 9 instruments;

performed separately by Helene Williams & composer at piano,

Theater unterm Dach, E.Berlin 6/27/89,

Dresden Center for Contemporary Music 7/1/89, and at

Downtown Music Productions Holocaust Mem concert 3/5/90

Sisters, op. 100

3 monologues based on first-person stories of Biblical women

(1989) 16’11” for Female Voice & Piano or 9 instruments

recorded by Helene Williams & composer at piano

on “Songs of Conscience” (1990):

1) Lot’s Wife

2) Miriam

3) Zelophehad’s Daughters

prem. 6/14/89 Weill Recital Hall

prem. with dancers: Cadmon Hill-Clinton Dance Choir,

Paulina Kent Dennis, dir.; Temple Sinai, Roslyn 8/20/89;

prem. of complete solo version: Golden Fleece Ltd.,

Theater 22, 3/31/90

prem. of complete solo version w/cl.-bc.-alto sax, vc, pno,

perc. & synth: LICA, Bryant Library 3/21/93

Requiem for Hiroshima, A, op. 101

setting of text by Lee Baxandall (1959, rev. 1988-9) 25′

for SATB Soli, Chorus & Orch

chamber orch version: shakuhachi, fl./picc., cl., tpt,

koto, perc., pno, vn, va, vc, cb

in 6 movements:

1) Dies Irae (THE DEAD CRY OUT)

2) Mors stupebit (WHO MAY JUDGE)


4) Lacrymosa (THE KILLED)

5) Rex Tremendae (THE KILLER)

6) Libera Me (NO REST)

last movt previewed Union Theological Seminary

CALC 25th anniversary 7/22/90

entire work previewed w/Solo Octet & Piano, WQXR 8/3/90

premiere: Riverside Church 8/5/90

w/Voices Saintpaulia, Inoue Chamber Ensemble,

& Solo Quartet of the Metropolitan Philharmonic Chorus

conducted by Geoffrey Fairweather; broadcast WBAI 8/7/90

prem.w/Solo Octet, Piano & Organ: 9/3/95

Malverne Community Presbyterian Church (LICA concert)

New World, op. 102

subtitle: An Opera About What Columbus Did to the “Indians”

(100′) 55 numbers, in 1 or 2 acts;

commissioned by Puffin Foundation in honor of

50th anniversary of American Music Center

and Columbian Quincentennial;

libretto by composer & Joel Shatzky

(credit withdrawn at his request 11/30/92);

7 soloists, 2 rappers, pno, perc., 3 synthesizers

+opt. Chorus, Ballet, Tpt, Tb, Conchs.

Separable numbers:

#1 Kaytawari’s Monologue #2 Crew’s Entrance

#3 Columbus’s Aria #6 Nudity Chorus #9 Prayer

#11 Rodrigo #16 Isabella’s Bolero #17 Quartet (Act I)

#26 Guarionex #27 Yuisa #29 Kaytawari’s Vision

#30 George #32 Columbus-Isabella Duet #34 Quartet (Act II)

#37 De Torres #44 Rap Number #46 Tainos’ Mourning Chorus

partial performances:

#16 by Helene Williams at Golden Fleece Ltd. Composers’ Chamber Theater

Square One program @Theater 22, NYC 3/31/90;

#1, 3 by Ronald Edwards at

Union Theological Seminary CALC 25th anniversary 7/22/90

& WBAI 10/12/90;

#2, 6 chorus preview:

Second International Naturist Opera Workshop,

Belezy, France 7/90;

#16 at Third International Naturist Opera Workshop,

Belezy, France 7/92 and at

Haus der Kirche, Berlin 9/1/92

& Dresden Center for Contemporary Music 9/5/92;

#3, 16, 37, 32 LICA concert, Heckscher Park, Huntington 8/6/91

All of the above previewed on WQXR’s

“The Listening Room” 10/12/91 10pm;

Suite of excerpts broadcast on WBAI 10/14/91.

#11 sung by Ivan Thomas, broadcast on WBAI Arts Magazine 2/8/93

complete performances:

full concert premiere by After Dinner Opera Co.

(& Meet The Composer) @ Lincoln Center 10/12/91;

staged premiere co-sponsored by LICA, East End Arts Council

& NYFA S.O.S. Grant, Puffin Foundation

Hngtn & Suffolk County Arts Council,

Heckscher Park, Huntington 8/11/92;

N.Y. City staged premiere co-sponsored by

East End Arts Council-NYFA S.O.S. Grant

& Meet The Composer, Donnell Library 2/9/93;

Music received rave review from George Wallace in

Opera Monthly. Casts also included Mark Wolff,

Eugene Green, Elliott Z. Levine, Robert Ross,

Peter Ludwig, Shirley Perkins. Staged by Benjamin Spierman.

Production photos at


Ma Adam (What Is Man?), op. 103

in Hebrew or in English, for tenor & organ

text from Psalms, translation by composer

for Cantor Charles Osborne 9/89

premiered by him & composer, Temple Emanuel, Newton MA

9/29/90 (Yom Kippur)

also performed by Gregory Mercer & composer,

Temple Judea, Manhasset, NY 4/3/03

I’d Like to go Away Alone, op. 105

setting of poem by Alena Synkova (child survivor of Terezin)

Eng. tr. by Jeanne Nemcova, for Voice & Piano/Organ

(1’27”) 2/91, premiered at Merkin Hall 6/23/91 by

Helene Williams & Composer; recorded on

Songs of Conscience cassette 3/91 & CD 6/03;

arr. (op. 105A)  for Solo Soprano with SATB Chorus

& Piano/Organ; premiered by Cantor Susan Alcott,

Asbury Choir, Asbury United Methodist Church 4/27/95;

also performed by Helene Williams &

Workmen’s Circle Chorus, CUNY Graduate Ctr, 4/18/04

Edith Segal Love Song Cycle, An, op. 107

on 7 poems from For Dreamers Who Dare (1975)

(6’30”) 1992:

Remembrance – Severance – The Two – Loneliness –

Scars – Your Hand – Waiting

premiered by Helene Williams & composer,

Greenwich House “Village Varieties” concert

by Composers Concordance 11/19/92

and at LICA Chelsea Center concert 5/22/93,

Songs of Love concert 2/5/95; recorded on Capstone CPS 8647

Helene Wiliams sings Songs of Love

Love Song Cycle on Seven Poems by Elizabeth Gurley Flynn, op. 112

poems written in 1939; setting for Soprano & Piano, 7/93;

(10′) commissioned by Corliss Lamont & dedicated to him,

Beth Lamont, Rosalyn Baxandall, & Helene Williams;

premiere by Helene & composer, Bethpage Library 3/4/94;

Composers Concordance, Kosciuszko Fdn 3/11/94;

Westchester Peace Action Coalition

(in memory of corliss) 6/3/95;

LICA Songs of Love, N. Merrick Library 2/5/95;

recorded at Hicksville Library 3/29/97,

released on Capstone CPS 8647:

Helene Williams sings Songs of Love.

1) If I can step within

2) To My Jewish Friend in Pittsburgh

3) The beauty of love

4) I lock my heart against you [partially reprised as 5A&6A)

5) Won’t you unlock –

6) To Carlo [Tresca], South Beach (After 14 Years)

7) On “Equality”

Journey of Life, op. 115

setting for Voice & Piano of poem by William Cullen Bryant

(3’43”) Summer, 1994, in memory of Arthur James;

premiered by Helene Williams & composer,

LICA Bryant Bicentennial Concert, Bryant Library 10/30/94

and SUNY-Purchase 11/3/94; recorded on Capstone CPS 8623

The William Cullen Bryant Bicentennial Concert

by The Long Island Composers Alliance

Rabbi & the Rich Man, The, op. 116

aka “The Parable of the Mirror,”

setting for voice & piano of text based on Hassidic legend,

used by S. Ansky in The Dybbuk

and by Bernard Malamud in Suppose A Wedding;

incorporated into one-act opera based on Malamud, op. 125.

Premiered 3/2/95 as part of A Blitzstein Cabaret,

Medicine Show, NYC; also at NOA Boston convention

symposium on Blitzstein’s Sacco and Vanzetti, 12/2/95

Longest Stairs, The, op. 117

setting of poem by Norman Rosten

from his Songs for Patricia

composed in his memory, 3/95 (81”)

version for voice & piano, premiered by

Helene Williams & composer, BargeMusic Bkln 4/4/95;

version for piano alone premiered 5/17/95

Borough Hall, Brooklyn

Song, op. 120A

2003 completion of 1925 13-measure sketch by Marc Blitztsein

on poem by Rupert Brooke, for Voice & Piano;

also arr. for SATB & Piano;

premiered by Helene Williams & Leonard Lehrman

and recorded by them 10/9/04 in Boulder, CO;

released on Original Cast Records OC 6127

The Marc Blitzstein Centennial Concert CD;

choral version premiered at Blitzstein Centennial concerts,

Feb.-Mar. 2005

Smoking Glasses, op. 120 #3

#3 of Three Completions of Songs Begun by Marc Blitzstein

completion of 1938 musical sketch for voice & piano, 7/95

recorded by Gregory Mercer & Leonard Lehrman,

Original Cast Records OC 4441,

and published in The Marc Blitzstein Songbook, v.2

(Boosey & Hawkes, 2001)

Expatriate, op. 120 #1

#1 of Three Completions of Songs Begun by Marc Blitzstein

completion of musical sketch for voice & piano

begun by Marc Blitzstein to his lyrics from

No For An Answer Act II Scene 5

first presented 4/6/95 Madison WI Sonneck Society

first public performance 6/11/95 LICA concert,

Center Moriches Free Library

recorded by Leonard Lehrman, Orig Cast Records OC 4441

published in Marc Blitzstein Songbook, v. 1

(Boosey & Hawkes, 1999)

Yedid Nefesh, op. 121 #2

“Beloved of the Soul” (6′)

arrangement of traditional prayer in Hebrew or English tr.

by composer; words & melody by R. Eliezer Azkiri (16th cent.)

for mezzo, clarinet & piano,

commissioned by Marion Capriotti, Fall 1994;

re-arranged by composer for soprano, violin & piano, 2010:

premiered by Helene Williams, Herbert Feldman & composer

Dec. 19, 2010 LICA concert, Plainview-Old Bethpage Library

Sonnetina #9, op. 123

setting for voice & piano (3′) of sonnet by

Wiliam Kunstler on Corliss Lamont, Oct. 1995

Text: June 3, 1995

premiere by Janis Sabatino Hills & composer,

LICA concert, Adelphi Univ., 10/7/96

also performed by Helene Williams & composer, NCRRC,

Tamiment Library, NYU 6/19/08 in honor of

Kunstler’s widow, Marjorie Ratner Kunstler

Suppose A Wedding, op. 125

one-act opera (53′) after Scene from a Play

by Bernard Malamud, 4/96

concert premiere 9/2/96 IJAFLI, Suffolk Y, Commack

co-sponsored by LICA, Puffin Foundation,

East End Arts Council-NYFA SOS Grant;

staged premiere 6/1/97 LICA concert at

Hebrew Union College-Jewish Institute of Religion, Manhattan

for soprano, mezzo, character tenor, high baritone,

male one-liner, piano/orch; publisher: Theodore Presser

as part of trilogy, Tales of Malamud

intermezzo between Idiots First, op. 37 & Karla, op. 38

or independent work; includes Leon’s Arietta (2’30”)

and “The Rabbi and the Rich Man,” op. 116 (q.v.)

Cast: Ronald Edwards, Lenora Eve/Lucy Sorlucco,

Benjamin Spierman, Janis Sabatino Hills, Joel Ackerman;

directed & conducted from the piano by the composer

videotaped by Helene Williams – soon to be on YouTube

Harvard Hero for Our Time, A, op. 126

for voice & piano, words by composer (3′) 1996

on the Unabomber, Ted Kaczynski,

with reference also to Teddy Roosevelt, et al;

premiere by composer, Sanders Theater, Harvard, 6/6/96

also at Merrick Library LICA Concert honoring

80th Birthday of J. Willard Roosevelt, 1/18/98

Echo, op. 128

setting for 2 voices a cappella, 1996 of Christina Rossetti poem (3′)

premiered by Helene Williams & Ronald Edwards,

Kleine Szene, Saechsische Staatsoper, Dresden, Germany 7/2/96

and by Ron with Janis Sabatino Hills

at Adelphi University 10/7/96 (both LICA concerts);

also sung by Helene & Paul Sperry

on Composers Concordance concert  5/27/04

Mi Chamocha, op. 129 #6

#6 from Friday Evening Service, op. 129 (1996) in Hebrew (2′)

octatonic setting for solo voice & piano/organ

(w/optional unison chorus)

sung by Helene Williams on LICA concerts at

Malverne Community Presbyterian Church, 11/15/98

and Plainview-Old Bethpage Library 12/19/10

Friday Evening Service, op. 129

in Hebrew & English (45′), 1996, for Cantor, SATB, Children’s Choir,

Organ/Piano +obbligato Flute, Clarinet, Harp, Cello, Violin (in #12)

commissioned by North Shore Synagogue,

dedicated to Rabbi Daniel Fogel, premiered there 4/11/97 (45′)

1. Prelude

2. A New Song (Shir Chadash)(Heb. & Eng.)

3. Reader’s Kaddish (Heb.)

4. Barchu (Heb.)

5. Shma (Heb.)

6. Mi Chamocha (Heb.)

7. Hashkivenu (Heb./Eng.)

8. V’Shamru (Heb.)

9. Avot V’Emaot (Heb. [arr.])

10. Yis’mchu (Heb.) [op. 53 #1]

11. Zog nit keynmol (Yiddish & Eng.[arr.])

12. Shalom Rav (Heb.)[w/Vn obblig.]

13. Meditation

14. May the Words (Eng.) [op. 52A]

15. Adoration (Eng.) [op. 53#2]

16. Kaddish Underscore [op. 63]

17. Lo Yisa Goi (Heb.[arr.])

18. Postlude